を第鵬長第 立″ e / e 〃 0 〃 , ⅱ訪〃 at わ〃巵 7 力な 〃 / e なり / ca / ツ、 the んわ可″ ra わ 0 s り , 厄・ わ″ / 〃 0 〃 4 カ / 4 グ 7 〃″訪召尾 s ″わ 4 ル 4 〃 / s んツ〃 e , ″わ 4 〃 4 ′わー〃 74 〃イ 4 カ , 召 〃 7 召〃イ召 2 , 召〃 74 わ 4 ー〃 74 〃 4 カ , 4 〃 4 〃み 4 ′ / 4 〃 4 garba g わ 4 ″わ 4 〃 4 〃 7 わ″ / 0 . / 0 〃だ . 04 イ e わ as the な 4 市″ 0 〃召 / 尾 e わ召〃ホ可 sc ″の襯尾 . Lord Shiva. AII the temples have one entrance and most Of them face east, with the excep-tion Of the Chaturbhuj and the Lalguan Mahadev temples which face west and the Chausath Yogini, facing north. The ground plan of the Khajurah0 temples has four compartments—the 召 / わー〃 74 〃召カ or entrance porch; the 〃昭〃こ / 召 2 an assembly hall; the 4 〃 ra / or vestibule and the gtll わ 4 ー g わ召 or sanctum, where the deity is installed. The 〃〃イ召カ , while imparting elegance, also served as the waiting hall for the devotees, and provided them with shelter from the rain or heat. ln some temples an extra 〃 74 〃イ召 / トー the 〃 74 わ 4 〃 7 召〃 6 ん〃トー is added for size and splendour; it is distinguished from the 〃 ICI 〃 6 / 乙 by its pair of lateral transepts. Some of the larger temples have an inner ambulatory ゆ ra イ召なん〃の around the sanctum, in which case the sanctum alSO has a pair Of lateral transepts and a rear transept. Technically, temples with one pair 0f lateral transepts are called 〃 / 7 観〃イわ 4 だ and those with tWO pairs SCI 〃イわ 4 The ceiling of each compartment is supported on 74

Why Erotics? 7 カ e 臾 Q 々バ / 0 〃 O] 、のつ〃 c sc ″の / 7 イ尾 s 4 ー んわ可″ ra わ 0 is co 可ⅳ s / 〃 g , ・ 0 , だ尾厩 the / 4 工〃 70 なツンイ eca イ e 厩 soc たり , , 4 尾 召〃召の工 e イ″ ca 〃 0 〃 , 0 だ 0 0 , カ 0 / 〃 / マわ e な旦ア、 / ん〃 7 the わ 4 / で . 〃バ 4 の the 立 / わ〃〃 7 爿尾 0 , 4 〃召な e 〃ー 臾 c ″尾ん砒 / 0 〃、ルだ the 〃り , 仂 / ca / 〃 e 〃 7 Ⅲな 0 だ召尾 0 , / 〃〃イ e イの肥 C11 Q 〃、 evil 平 / ts? 〃、 the / 召 0 , わ砒で c のプ 4 / 〃ゆ立尾 cee イ / 〃た e げ ) / 〃 g the / 昭 4 可 the 〃屮 / 4 / / 0 だ 4 0 4 〃イ 、 ) ℃召いイ e 平 / 厄 e なわ〃 g な 0 / 襯 e ル r ce 〃 /〃戸e& These sc ″の々〃℃ s 召尾、 / ト 0 〃 7 the 〃 0 わノ c / 〃 g 〃 7 襯 e 召〃イ″カカ夜・わ 4 〃ホッ、 ⅱ訪〃襯わ花〃 / e. 55

丘 7 カ e / 0 肥 e だわ 4 〃イ the 〃 0 わ 4 〃 の the 尾の・ツ、 / 4 愿ん na 〃花〃 / e な / 〃 0 席 4 〃乙、 / ・ the 、 / ig 〃尾ツ、 4 0 〃 74 〃 カ〃〃 / 〃 g 0 4 0 川尹 0 襯わ e ル 0 た爿 s 〃 74 〃召な e 〃イ召〃み立 / カカ 07 おわ e 匚 / わ 0 ー / 〃 な s 々 , ・わ砒なツ、カプ / c 〃 / am ・ / 〃尾な the わ 4 〃イわ ag slu 〃 g 尹 0 襯 わな訪 0 ″ / イ夜つ〃 co 〃〃 0 s り . 7. 7 力なカ 4 〃 e / 尹 0 襯 the / 0 肥 e だ so ″ー 、々 c / 〃 g わ 4 〃イ〃 at わ花〃 / e s わ 0 肥 s 4 肥 0 〃 7 召〃カ召 / 〃な〃 g わ e / と / alta, 4 な召イ″ / 0 〃 / 〃カ尾 4 / e 〃乙 / 〃カ 4 ホッ、加市 4 , especially 召襯 0 〃 g 、 ) , , 0 ″〃 g わイ es 召〃イイ 4 〃 ce パ . 10 & , 4 celestial 〃 , 〃ゆわ 4 〃ホ her 〃 70 乙℃〃 qe 〃ー OJ 、わ e だ、〃〃 ge バ 0 〃 the わ e だ e / 4 わ 0 わ 4 / バり , , / e , 4 〃イ the / 召愿ん〃 4 〃花〃 / e 〃 0 わ肥 4 〃 . No the ea : c / 〃 g / 0 肥 e 〃イツ、 4 12. 〃叩が礪 / 〃 g the ア″尹 0 襯 celestial 〃 , 〃わ尾ん〃 g わ e だわ ac た . 召 2S4 だ 4 を StlCh as 乙わな 0 〃 e Oj 、 4 わル″ g のわだ 0 〃 the images sensuousness 乙わ 4 み乙わ e SC ″ / カ乙 0 わ CIS 11. 爿わ ea ″ⅳ / 印尾〃〃 0 〃ツ、 the の〃 0 〃 g e 襯 . subject, an イなカ ro わ the わ e 尾 e 0 匚 / わ″だ sc ″の厚〃℃ s 0 〃 the た 0 わ / のわ e だ eyes. 乃なな 0 〃 e ツ、 0 〃り , 花〃ゆ / e 訪 0 肥 s 4 肥 0 〃〃 4 カカゆ / 〃 g . c / 〃 g lower わ 4 〃イ可 2 召バ〃わ 10. 爿 sc ″の襯尾ノん襯 the so 〃ー 可、↓襯召〃 4. / . 乃っ襯 the so ″ー肥 e ノ朝〃 g 肥 4 〃 わ砒 , ゾ〃 g 、々 / / e 〃砒霍の , , の市望 / の , 0 〃 e 肥ん / e 市立 0 わ / 〃 g , わ召グわ e だ市 s 爿〃乙 scn 4 カカ / 0 / 〃 0 ″ g s 襯の , 砒 K わ可″わ 0. 肥 rit / 〃 g 4 / e 召 . / ″ e 厩 41 12

みをーをー、 7 Sculpture The sc ″の尾 s 砒 4 イ 0 翔 the 〃 / é、々 04 イ es 4 〃イ 肥 or / イツ、市房〃 / 可 e かカ 07 なの , 4 / bridges the 々 / 〃尾 4 / 〃パッ、 the 尾 4 / 4 〃イ the ea /. 乃な so ″ノ c / 〃 g / 0 肥 わ 4 〃イ尹 0 襯召〃砒わ 花〃 / e has 4 〃 e 工イな″ e s たイ e O] 、 4 〃 Often- 孕 K わ可″ ra わ 0 立 / 々 / ec た 4 〃 4 カ sara カ 4 / 〃な〃 g カ eyes ″わ た 0 カ /. She なア召〃イり the 〃り / ca / 訪 4 ″ / , 4 な 4 イ″ / 0 〃 4 / CO 襯わ / 〃召〃 0 〃 ツ、 4 わ 0 バ e 召〃イ〃 0 〃 , 0 〃 the left, 4 〃イ 4 e 〃 70 ′℃″〃″ S ″ 4 / 0 〃 e OJ 、 4 わ 0 バ e 召〃イ e / わ召厩 0 〃 the だん . 乃 e , / 〃襯 , are ア 4 〃イの , / 〃 zages 可 召 4 / ra 〃 7 0 ん訪〃 4 's 0 / イの・わ夜 : ) 4 〃イ his CO 〃 SO 火夜ノ 4 な 0 〃 the / ツ 4 〃イッフ 4 愿ん〃 / 4 〃イ 訪〃″ 0 〃 the ′ん . 25

beams and architraves, resting on walls, pillars and pilasters. The minor compartments normally have flat ceilings relieved by the lotus design. The larger ceiling Of the 〃 74 わ 4 〃 74 〃イ 4 カ iS carried a square framework of architraves supported on four central pillars. This square framework graduates intO an octagonal shape before turning circular at the top. The floor of each succeeding compartment Of the temple is on a higher level so that the last, the g のわ召ー g わ 4 , is placed at the highest level. This vertical move or upward pull is evident everywhere, beginning with the solid masonry of the 、 / 4g4 な This , the open, spacious platform on which each temple stands, is a distinguishing feature Of Khajuraho temples. The Lakshman temple, with which the Khajuraho style takes on a distinct identity, still has its original platform intact. The elevation plan 0f the temples consists Of the basement storey the 4 イな召〃 4 ーー on the 、 / ag 召な over which rests the 、 / 4 〃 g わ 4 or the wall portion of the temple, forming the central zone. The balconied openings set in these walls form another striking feature of the Khajuraho temples. 市 ile they make a picturesque contrast Of voids and solids, they also serve to admit air and light into the shrine. Above the 〃 g わ 4 is the 訪 / 舫召だ or the spire. Each compartment has its individual roof; just as the floors within the temples are set at successively higher levels, SO the corresponding roofs outside rise in tiers. Each roof is covered with a cluster of s わ / たわ 4 バ and 〃Ⅲー訪 / たわ 4 バ (half-spires) arranged in a rise-and-break design, with a maximum congregation on the roof over the sanctum. The cu ハ rilinear S わ / たわ 4 ア、 are crowned by an の〃 4 / 4 た and a / 4 訪 which together form a distinctive feature Of the nagara' temples. The kalash—the water pot or auspicious jar—is the container Of nectar, the prize tO which the devotee aspires, his release from the world of death and decay. The 4 〃 ta / 4 た , a ribbed ring of stone, encircles the た召 / as わ and denotes pure essence. The temple is often seen as a human body housing G0d ⅲ its soul (sanctum). The base or the 4 イな召〃 4 represents legs, the mid-portion 、 / 4 〃 g わ 4 is seen as the waist, and the top, the 訪 / たわ 4 becomes the head with its crown of た 4 / 4 紡 and 4 〃た . Some of the larger temples have subsidiary shrines on each corner Of the 、 / 召 g 召な making the structure a complete カ 4 〃 c わ召 , 召〃 (complex of five shrines). Although the Kandariya This page: 7 カ e わ 4 〃 g / 〃 g bell co / ″襯〃 尹 0 〃 7 G わ召〃 / 花〃屮 / e カ召 s sc 〃の襯尾 s 可 ga 〃イわ 4 . , CIS. , た / 〃〃 aras 4 〃イ乙 , ゾイ ) ノ 4 イわ召 7 0 / 〃 g celestial わ e / 〃 gs). Overleaf: アイ〃乙肥ップ 4 愿ん〃 4 〃 花〃や / e ″わ盟 4 〃 ges わルのマ 0 0 〃 e 豆イ e. La なん〃 4 〃花〃 / e な / 〃 0 召〃 4 . ルだ″な the 0 〃ゆ立 / 尾 / 房〃 g セ〃 / e / 〃んわ可″ ra わ 0 わⅵ〃 / 〃 the 〃 0 わ加市 4 〃カ召〃 c わの〃 4 style / 4 〃 / 〃訪〃 e 4 〃イ、ル″ s ″ / 市 4 り , s わ〃 . い″召 / ゆ / 〃 such cases the 立 / わ豆市 ary 訪〃 es わ 0 ″ the 〃 7 み , go ホッ、 the 〃 / 〃 / り ,. / ん〃 7 the カ〃 c 4 / 〃 c 々ィ〃 7. 加 the c 召ツ、なⅱ s わ〃″ 〃 / e , the 立 / / cn ・ s 肥 0 ″ / イわ砒でわ〃 イ e 市 ca イ D ″鵬召 , 加イ ra , & イ 4 4 〃イ g 〃 / , わイ 0 〃わ 0 ″ e 0 だ / 〃召 / tmages 4 〃 ' ′〃 07 で . 75

dancers), were a means Of attracting them. At the same time , in viewof the competition faced from Other sects and religions, it was religious allegoty in the form 0f erotic art that acted as a means Of defense: voyeurs, and Others whO came tO scoff, SO the theory went, would eventually remain t0 pray. This theory might not be as simplistic as it appears When one realises that, even a thousand years later, they serve as the initial draw for many visitors WhO, likewise, return enriched and enlightened. Sonne observers suggest that the erotic sculptures illustrate the rites and practices Of comparitively obscure religious cults - ー - Tantriks, Shakts, Kauls and Kapaliks, sexual union being one Of the essentials in their ceremonial worship. Apparently these sects were in existence during the period 0f the Khajurah0 temples and had their centres in the region surrounding the Chandela kingdom. AIso in the area were several ⅲ b 紅 1 belts, and the influence of their fertility cults cannot be ruled out. Finally, there are the interpretations Of ancient and profound philosophies which find expression on the temple walls. According to the Hindu st01Y 0f creation, 7 力なな 4 り / ca / 夜つ〃 c カ 0 ″尾ノ ) つ〃 7 んわ可″わ 0 , イ孕 / c イ 0 〃 the 1 ゆ力の・わ召〃イ the 〃 0 わ召〃ツ、ⅱ訪Ⅲ〃 4 〃厄 7 カ e カ 0 ″尾なわ ase イ 0 〃 yogic e 工夜℃な e. , 襯 the ee sa 〃 4 0 だ the わ ea イ 臾 0 I 〃″わ the 0 〃 7 召〃″カⅵイ e イ 0 肥〃 . 7 り〃 tale 召な〃立カ 0 the co みの / e , ″わ the 肥 0 〃 za 〃 's ア〃 ge . ル〃襯 / 〃 g the ge 〃 / 盟 / ツ、 0 〃 e ツ、夜〃 . 乙わ e なな 召〃 / 〃 7 召 g / 〃 4 り , カ 0 ″尾 . はカ・″〃 e 工夜℃な es OJ 、 / わな〃 4 々〃℃召な 0 わ召 SO 〃わ CIS な / 〃 the 、尾召イ Of 〃なな〃 7 カ尾 4 / e 〃 / ・召 / マ / / ・ / 〃肥 / 〃 the / ℃ g / 0 〃 , れ , , ″わ se 工〃 4 / ″〃 / 0 〃 used CIS 4 s わ 0 c ″ / マ 0 g 召 / 〃 / 〃 g 襯 0 た s わ 4 0 だ 〃〃 0 〃ノん〃 7 the c わⅲ〃ツ、尾わ / わ & 65

ノお Mahadev and Vishvanath temples are also of the カ 4 〃訪の〃 type, only the Lakshman temple has all four corner shrines intact. The gradual evolution 0f the Khajurah0 temple over tWO centuries can be seen from the simple granite Chausath Yogini and the Brahma temples through the Matangeshwar, Lakshman, Vishvanath and the Kandariya Mahadev, and finally the Chatur-bhuj and DuIadeo. Made of coarse-grained granite, the tiny shrines 0f the Chausath Yogini have elemen-taty s わ / たわ召バ and no ornamentation. The Brahma and the Lalguan Mahadev exhibit the transition in the building material used with their granite bOdies and roofs Of sandstone. ln the Varaha, granite remains limited tO the lower half of the plinth and the Matangeshwar becomes the first temple built wholly 0f sandstone. The balconied windows, elementary cusps in the ceiling and some ornamentation has started taking shape in these temples, but the Khajurah0 style actually comes intO its own with the Lakshman temple. With this temple begins the ascent which progresses in 7 カ e 〃わ 4 ー〃〃イ 42 D 夜 , ゾ g イ at 〃 花〃 / e 肥″わ the ga 叩・ , の the / 〃〃 e だ 〃 c 襯襯な / わ巵ルカ施 the ga 彑ア c 召〃℃イ肥″わ images Of イル / 〃″ / e を the / 0 召小わ〃 g カ″ / 4 バ are 4 / 襯 0 娵 イりツ、 0 召〃肥〃〃 0 〃 . カ 7 〃 / es such カ召なん〃 4 〃 0 だ Ka 〃イカ 盟 4 わ召イ“ , e カ〃 / 4 バ are イ ecora イ″わ / 〃 tages 可 go ホ 4 〃イ go イイ s い 訪召 / わわ 4 可 / た as 4 〃イ ga 〃イわ 4 尾召 s 召〃イ / 〃 tages 可 K c わ 4 た . 爿〃 the 〃 / es わ 4 イ カ〃 / 4 バ 0 〃肥ん c わ the ceili 〃 gs 尾 s イ . 78

reference from a traveller chronicling his journey. With the decline of the Chandela dynasty after Vidyadhar (1() 18 ー 1029 (D) , Khajuraho was known only as a minor religious centre; it は S accorded none Of the importance given tO Hindu pilgrimage spots such as Banaras. MOSt Of its temples were abandoned; the only one still used for worship was the Matangeshwar with its large Shivling. The rest were just stones and ruins harbouring wildlife and sometimes ascetics. This is attested by Ibn-Batuta, wh0 visited Khajurah0 in 55 ; he calls it 'Kajarra'—'where there is a great pond about a mile in length near which are temples containing idols which the Muslims have mutilated. ln the centre Of that pond there are three cupolas Of red stone, each Of three storeys; and at the far corner Of the pond are cupolas ⅲ which live a body of the jogis who have clotted their hair and let them grow so that they become as long as their bOdies and on account Of their practising asceticism their COlour had become extremely yellow. Many Musalmans follow them in order tO take lessons from them. lt is said that 24 イ 4 〃 7 0 わ 4 〃 / なた〃 0 肥〃 as 佃〃 g 召 4 わ 4 召〃イわ / / イ the 、ル 0 みツ、 盟 4 〃 ge 訪 ar 花〃 / e. ルだ as / 0 〃 g as 召〃 , 0 〃 e c 召〃尾〃肥襯わ催 . 7 カ 0 ″ g わ he does 〃 0 / マ . ″ the S わル 4 〃 / e , 4 〃イ Q / 〃 7 観な es わな乙・ , 0 / ce / 〃 4 〃 ge だ ag 召 / 〃 s / ・ the go イを he 平 e 〃ホ〃 7 ″ c わツ、わな″〃肥 s ″で中 / 〃 g the カ 4 の the 〃巵 Guides 〃 7 / 川 es だツ のな ascetic ″わわな〃 7 召″ e イわ召な as 召 〃肥〃 7 だツ、 the C わ 4 〃 / 4 の盟り , , わ曜 the の観 c / OJ 、な c / 召 / 〃 7 わ as 〃でだ bee 〃 es 盟わ / / 訪 e イ . 85

bestiality. Further up are single sculptures of women, courting couples and amorous ones, totally absorbed in themselves, in various erotic poses. 0f these capture the fine nuances Of human emotions; a lover presents a gift tO his beloved but makes her first cover her eyes; another mischievously encourages a monkey in order tO draw hiS nervous companion closer. The serene expressions Of the participants are in striking contrast tO the physical abandon and acrobatic postures Of some figures. ln the recesses occur some orgiastic scenes involving complicated poses, Often explained as tantric rituals and practices. There are different theories regarding the fluid bends and curves shown by some figures to a seemingly impossible degree. WhiIe some scholars attribute these tO yoga and calisthenics, Others suggest that the artisan gave full vent tO his imagination, going even further than was prescribed by the ん〃わ召 . A highly convincing theory is one which claims that these so- called picture-positions' on the walls were due to the constructional needs Of the temple which required that the images be placed on a vertical axis, even if they were conceived and carved in a lying-down position. Visualized horizontally arranged, many of these compositions, with their tortuous and difficult poses, immediately shed all their mystery. The temples built in the prosperous days of the Chandela dynasty, such as the Lakshman, Parsvanath, Devi Jagdamba and Kandariya Mahadev, display manifold variations on the erotic theme, while the later ones like the Chaturbhuj and the Adinath are less erotically oriented. ln the Duladeo, the erotic element is totally absent. Though the erotic sculptures of Khajuraho have received the maximum exposure, they form only a part of an entire range of carvings. ln addition to these categories are the beautiful sculptural bands which adorn the outer and inner wall surfaces Of the temples and the ornate motifs on the pillars and ceilings inside the temples, which exhibit intricate workmanship. The わー〃〃 6 / 召カ ceiling of the Lakshman temple is considered one of the best in central lndia. 1 This page: ⅱ s わ〃″ / 〃わな尾召 / 〃 7. ・召〃 / 〃 7 カ尾ル e sc ″の々〃℃ OJ 、 the P / ℃ s の 7 で as イ中 / c イ″ん〃 4 わ rac た / 〃 the ゆ力の・ わ 4 〃イツ、 the 〃 0 席わ″Ⅵ〃可 Devi 、 g イ 4 〃 7 わ 4 OverIeaf: S わル 4 / 〃わな 4 、汐 e は召わ召 / ん , な尾 cog 〃に e イ the 、〃 7 〃 / 4 だな / わ曜 es ツ、 召な / イ e 〃 / ・ 4 〃イ 4 s 〃召た e 0 ″ g わわ〃 70 ″〃 4 the わ″〃 Na 〃硎わわ〃 replaced の , 4 イ og. 乃なわ rac イ、 / な″尾なノん〃 7 召た紡〃〃花〃巵 Page 引 : 爿、 / 〃〃 70 e だ go イイ e , ⅱ観 Devi, ⅵ〃 7 〃召だの the 〃 / 〃イ″ go イイ e ツ、 / ea 川 / 〃 g , Saras 4 ″ . 召 0 are イ印たセイ 肥″わ the 乙℃ e 〃 4 ( s な・ / 〃 ge イ〃〃バ / c 召 / / 〃 s な″〃 ze 〃なわ 00 たを 4 / 0 々バ 4 〃イ 4 カ 0 た 7 力なわⅢ c イ / 〃 zage なノん〃 7 the / 0 の・ わ 4 〃イ可尸 4 〃襯わ花〃 / e's ″ノ c / 〃 g 2 9

the faqades and within the temples. These can be independently observed, or a guide will single out those which are outstanding examples because Of their subject matter. For those who wish to see beyond what is on immediate Offer here are some pointers tO the discovery Of sculptures not commonly viewed. The very best examples of sculptural art are usually to be found in the depiction of 召カ s 召 s or celestial nymphs. Often, some of the best of these are located at eye level within the 〃〃 4 カ or the ambulatory of the main temple. Though the light ⅲ the temples is never bright, it is sufficient tO study the sculptures, especially tO read their expressions and note the fine details with which they have been invested. As an example, the Lakshman Temple has a sculpture 0f an 召カ立〃観 holding a letter in one hand, with some writing visible on the letter; she holds up two fingers of her other hand and has a beseeching look on her face. This masterpiece is rarely viewed by most visitors. What the 4 力、 sa / 観 is attempting tO dO is show viewers Top left: 〃 / 〃尾 s ⅲ zg ″の襯尾、 0 〃 7 the 〃 0 わノ c / 〃 g 〃 7 襯 e わ召〃イツ、 D 夜 . ゾ 、々 g イ 4 〃 7 花〃巵 7 カ e co 乙 / e e 〃 7 の be S わ召〃 g 4 〃 / 〃″ / 〃召ー e 〃 70 〃 IC? 〃な the 0 〃 74 〃 カ / の・ , s 肥″わ the わホ / 〃 the 〃〃 's 〃 ecklace. ム e 尾 SO 〃 te わ / イイ e 〃 4 〃工たり , , she な at セ〃″〃 g co 〃 ro ″ g わわの・ silence. 2 Top right: 乃な 4 〃 70m ″ s co 乙の / e 尹 0 〃 7 the 〃 0 わ 4 〃可 D 夜ツ、々 g イ〃わ 4 花〃屮 / e's ″カカ e だわ 4 〃イな 4 〃 0 〃な〃市〃 g 召工 4 〃 / e ツ、 the 0 〃 e 〃 ess ()J 、〃 74 〃 4 〃イれ , , 0 / 〃 4 〃 / 〃ーわ e / だ / e ツ、 the 立 / わ / / 〃肥 . 7 カ e / 〃肥 / 〃 e イ わ 0 イた s 4 カカ ea だ as 0 〃 4 なカ / / e the 〃 74 〃 's eyes see 〃 7 / 〃イ / ca 4 み he わ召 s e 〃尾イ 召〃観〃 ce. 45