ミ Tantrism 7 力な sce 〃 e ()j 、 e だ 0 〃 C congress な C わ召だ CIC ー e S / 7 ・ C 〃な・ⅳ〃″わ the 〃た 4 〃イ female ノ〃バ 召 / 〃 e イ″わ the 〃 0 わ召〃イ″力 0 / い the ″〃 / 0 〃わ〃 g 4 なイの , female 4 〃イ 4 〃 / 〃召カ e と C 乙 CO 〃 ce 〃 / 4 〃 0 〃 OJf 、 CO 〃 SCiOtlS 〃 ess 4 〃イ e 〃 e 黒ア . ANTRISM AS A HINDU PHILOSOPHY enjoyed a large following from approxi- mately the eighth t0 the fourteenth centuries, with the medieval ages being the period when it reached its peak. A religious system based on Hindu thought, it was complicated in its rituals, although it promised what amounted to the quickest form of 襯 0 なわ 4 or liberation from the cycle of reb irths. At its simplest level Tantrism, like Hinduism, believes that the entire universe undergoes a constant process Of creation, preservation and transformation. At the fulcrum Of this are consciousness and energy, the first a male principle, the second, female. The union 0f the tWO iS the basis Of creation, preservation and transformation, for nature iS never StatiC but in a state Of flux. ln the human 70r1d , sexual intercourse iS a binding 0f the negative and positive forces of creation, and correlates with the natural world. This theory found wide acceptance in medieval lndia with the nobility of the period and was practised as a cult, with temples lending it their support. For the first time, therefore, erotic images were openly and profusely placed on temple 62 faqades. The complete melding of the principles of consciousness and energy are tO be seen in those erotic sculptures in which the t " 0 halves Of a couple appear t0 be part 0f each other, in total cohesion, the man's eyes Often trance-like indicating that the being is in harmony with the Absolute. The temples themselves, with their flow and changing images at different times 0f day, lend support tO the theory Of tantrism being practised at Khajuraho. Some feel that even the geometric design of the temples depicts the rekindling 0f energy forces. Tantra itself has its root in the Sanskrit word for body, and implies the feeling of the cosmos within the body: that is, all the energy forces present in nature, in concentrated form, can be found within the body, thus providing the shortest way tO salvation. A perfect example Of tantric intercourse is the yogic sexual posture on the facade 0f Kandariya Mahadev Temple which shows the male standing on his head, the female mounted above, their bodies perfectly aligned with the north and south pole, in a fusion Of the energies Of the cosmos.

there are tWO fine sculptures Of these in the 襯召わ 4 ー 〃〃イ 4 カ of the Lakshman temple, while the 〃 7 召わ 4 〃〃イ召カ of the Kandariya Mahadev temple has one very fine specimen. ln addition, the Museum has three s わ召 / わわ 4 卩 / / た as that merit attention. は行″〃 s or 方だ 0 〃 c Co 乙 / e & ・ There are two bodies of sexual representation in sculpture on the temple walls. The first deals with the amorous pairing of gods and goddesses, primarily Shiva-Parvati and Vishnu- Lakshmi, as well as some amorous couples on the upper bands representing sex as a bond, creating oneness, and depicting 襯 0 なわ 4. The more explicit sculptures reveal the lust essential tO sexual intercourse, over WhiCh humans must rise tO levels Of sublimity. WhiIe there is a reasonably large body of erotics, not all Of them manage tO convey the pleasure Of sexual union through facial expressions and through anatomical and ornamental detail. The best erotics are the following: Lakshman Temple : facing south, a large sculpture of a couple kissing, the body of the woman pressed against the man's; tO the north-west, in a small bracket, an amorous couple with passion evident not only on their faces but in the movement Of their bodies as well; and to the north-east, a touch of the humorous in a frieze that shows an elephant next tO a couple, laughing as it watches them make love. ln the Lakshman temple, which has the largest number Of erotic sculptures, a frieze outside the temple platform and small friezes around the main temple and inner sanctum contain orgiastic scenes and display naked lust, with the spirituality 0f sex missing. Chitragupta Temple: contains a beautiful depiction of a kiss, with the woman offering her body in total submission tO the man. Kandariya Mahadev: has few erotics, though it is regarded as the finest temple ⅲ Khajuraho for its attention tO architectural detail. lts best-known erotic sculpture suggests a yogic posture, with the figure 0f the man upside down, supported by two female assistants whO are part Of the orgiastic scene. According tO some, the figure shows signs Of tantric influences. Devi Jagdamba Temple: has the finest amorous : イ 7 カ e Ka 〃イ cn , 4 4 わ 4 イ夜 , , 花〃 / e な 4 尾わ″ ec 々〃 / ゆ the 襯 0 立 / カ e 0 だ / 〃 んわ 4 / ″ 7 観わ 0 , わ″乙肥″わ the 召な e 〃″ 0 〃 ℃ん c 襯 ra / イ e ″ , the sc ″の襯尾 s わ 4 尾〃 / 〃 e イ co 〃イ ary 召〃イ 4 尾ツ尾 ra 尾ゆ e 工 c 印〃 0 〃召 /. 7 カ e 、 / ″尾 s 尹 0 襯 the 〃 0 わ召 / / , . 々 c / 〃 g 新〃 7 ″ be / 〃市房市娵召カカ尾 c 液雇・ 0 〃 e 立カ〃 c 砒 / 〃 g ″わ 4 / e the 0 e / 0 / 〃 0 ″ g ん , / 4 〃 70 〃た々イ。 / 〃 g 4 ーわ夜・イ尾 s & 59

財イ , ofthe ー 4 夜 ce $ On a first visit the temples 0f Khajurah0 are overwhelming, for the mind is hard put t0 grasp the wealth Of sculptures, the strict adherence tO an architectural pattern and the integration Of the t 从 into a whole. TO be able t0 identify the best representations Of sculptural art in Khajuraho, visitors should specifically seek out the following specimens in different categories as among the finest representations Of lndian sculptural art. GO ホ 4 〃イ GO イイ es & ・ The very best sculptures in this category would include the following: DURGA, LAKSHMAN TEMPLE. This sculpture, fully intact, glorifies the many-armed goddess; her countenance iS blissful. VISHNU, CHATURBHUJ TEMPLE. Of the many Vishnu images in Khajurah0, this is easily the best for the balance with which the facial expressions, ornamentation and anatomical details are represented. ARDHNARISHWAR, CHATURBHUJ TEMPLE. Shiva and Parvati as Ardhnarishwar half man-half woman, is the key concept of Khajurah0, and expresses the fusion Of energy in consciousness. SHIVA-PARVATI, KANDARIYA MAHADEV TEMPLE. parvati is seated on Shiva's left thigh, and the divinities are gazing intO each other's eyes. GANGA-YAM UNA , LAKSHMAN TEMP LE. The two river-goddesses at the entrance tO the sanctum are carved in fine detail and convey a feeling 0f controlled movement. The same images housed within the Museum are alSO very good representations. PARVATI, MUSEUM. A sculpture that would rank among the finest in the country for the balance with which the figure has been sculpted; no part of the body has escaped the scupltor's meticulous chisel. Celestial 〃わ & ・ These sculptures 0f dancers, singers and musicians depict the woman as entertainer, portraying the unconscious erotic appeal Of a S bOdy movements. From the Lakshman Temple, the following specific celestial nymphs draw attention: woman writing a letter; woman playing a flute; woman putting 〃イ 00 だ (vermilion powder on forehead and parting 0f the hair indicating that she is married); woman yawning and This page: わ田″ⅳ / s 襯の , ツ、 4 celestial 〃 , 〃わ . / ん〃 7 the 盟″″〃 7 , イ印 / c ⅲ zg the 加市 4 〃 / イ ea / ツ、〃 7 / 〃 / 〃 e わ e 召″り ,. ・アイ〃 , だ 0 ″〃イ e イ℃ as い 4 s / / 〃 7 召な乙 4 〃イ C ″ / ア aceo ″ S わ / カ & 7 力な、 / / gt 〃℃ 4 な 0 わわ / わな the large 0 い 4 ″〃 / 〃 e 〃 0 記 4 〃イ ge 〃夜初バ lips 〃 4 〃加市召〃 Facing page: 7 カ 0 ″ g わ the セ〃ゆ / es ツ、 んわ可″わ 0 朝わ the e 工 c 〃 0 〃ツ、 盟召〃 ges わ : ) are 〃 0 / 0 〃 ge だ〃ルだ 尾 / / g / 01 バカ″ OS いな statue ツ、 4 尾召″ 、 / ) つ〃 7 乙わ e / 〃〃 e だ S 召〃 C 々イ〃 7 OJ 、 . / ) e 乙ゾ 、々 g の〃花〃た has the 施 0 曜力のゾ〃 g わ 0 〃 7 鰓 e のわ e 生 / she, / わ夜・ co 〃 so ル 4 , な召 / , the so ″尾 e ツ、カ〃 70 / e 〃の g ) ・ ,. 7 力な as 〃 0 / マわ e or / g / 〃召 /. / ″尾 / 〃 the sa 〃 c 々〃〃 , わ行 the 7 でカ / ac の〃 e 〃み イわ ac た the 〃肥カ e 0 イ as the 52

IF THE EROTIC COMPONENT OF KHAJURAHO'S temple sculptures invites comment, it is with good reason. perhaps no Other collection Of medieval art uses the body-metaphor as voluptuously as these sculptures. The temple walls are a living, seething mass of life and vitality; celebrating youth and beauty, they are the sanctuary 0f lovers, both divine and human. Unabashed, incredibly frank, the erotic quality 0f Khajuraho is disturbing, but also cleansing: this is the love sanctioned by the gods, a love unaccompanied by guilt and one which knows only the language 0f pleasure. sexual intercourse forms only one component Of Khajurah0's sculptural art; the Jain or Vishnu tem-ples, for instance, possess little or no eroticism, and the scenes represented on the shiva temples as Often depict everyday life as sexual union. But it is in designing the lines 0f the human b0dy that the erotic prevails. The female form is profusely depicted, with round breasts and generous curves, twisting turning in sinuous poses, each movement the minutest detail. Men wage war or sit in conference, or provide the male component Of a couple; they are depicted with all their blemishes— pot-bellied, lecherous, willing to rest, to watch—the Top left and right: 立〃の襯尾 s ッフ召愿ん〃 / ー 切′ ) 観〃 ( ↓木わ〃″肥 / わな CO 〃 SO 召なん〃〃 suggest わ e 〃わ / e 〃 ce 4 〃イ generosity 可平か / た乃 e / 〃 tages 4 尾ノん襯 the so 〃ノ朝〃 g / 0 夜・〃ホ可 君 4 バ〃 4 花〃 / e. 54

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

爿 / e 0 〃 / 〃 sex e イ″ ca 〃 0 〃 .2 7 力なカ召〃 e / 尹 0 襯 4 / 0 肥 e so ″ノ c / 〃 g わ 4 〃イ可 s わ〃 4 花〃 / e なカ / 4 記イ / 0 肥 the / 召鵬 e だ″の々ィ尾 & 〃 0 ″ / イ乙グ ea だ 4 乙召 セ ac わ e だな / 〃プ / 〃 g the eo り , 工 、 / ん襯 4 〃 ( e 〃わ 00 たわツ尾ん〃ぢ 0 〃 e 可 the カ乙広な 0 尾 0 〃肥肥 / s の , 〃 e 肥ん / e ″〃 e / 〃 g the live イ e 〃 70 〃 s / 7 観〃 0 〃 CO 〃 c ″℃〃 / マ 0 the ac わ / 〃 g. 58 than by the depiction of women, love and pleasure on the walls of temples? The temples of Khajurah0, with their contemporaries in Gujarat, Rajasthan and Orissa, alSO mirror certain social and philosophical attitudes 0f the age. For man, life has always posed a choice between acceptance of the body at the cost of the soul, and denial of the flesh for the sake of the spirit. But every now and then, as in the golden, prosperous age 0f the Chandelas, men seem t0 have reconciled the physical and the spiritual, proving that mind and matter need not necessarily be at war. To enjoy the delights of プわ (material wealth) and た m774 (sensual pleasures) while performing one's イわ・〃 (duty) was the accepted way of life for the g わ as / カ 4 (householder). The complete scheme of life included these essential stages on the path t0 detachment SO that, when ripe for the next stage Of 〃 70 た s わ 4 (liberation), man could renounce bOth without reluctance or regret. The temple structure is alSO seen in these stages. The cn わー〃 1C1 〃 6 な is allegorised as わ 4 だ〃 74 , the 〃 74 〃 6 / カ as 4 わ , the 4 〃だ 4 / as た 4 〃 7 召 (this portion contains most Of the erotic sculptures) and the gcn のわー g わ 4 signifying the liberation of 〃 70 なわ 4.

The Temples: A Guide for figures of river goddesses Ganga and Yamuna ADINATH on either side of doorway and base ; trinity 0f ロ . / ce 〃り , 爿〃・方 4 の刀 G ″ 2 ) Brahma, Vishnu and Shiva on lintel. Jain 0 (modern image of CHATURBHUJ Adinath). ( と . 7700 爿〃 , ・釦″夜 G だの ) A r c h i t e c t Ⅱ r a 1 features: Similar tO Vamana in plan; Dedication: 訪 / たわⅵ s lighter and Shiva. more proportionate. Architectural 〇n1Y4 〃 taralandgarba features: High g 百わ 4 without platform. Faces ambulatory remain west. Highly C O m p r e S S e d ( cn わー〃 ta 〃イ 4 カ and 〃 za 〃イ 4 カ destroyed). のツわー〃 za 〃イ 42 Sculptural specialities: Beautiful lattice work 〃 7 4 〃イ召カ pattems Of c わ召 / りⅥ windows along its sides. c 0 n s t r i c t e d Three bands of sculptural decorations depicting 4 〃 / and gtll わわ召 g わ召 without ambulatory. celestial beauties and deities. Topmost band is Heavy and simple shikharwith curvilinear shape smaller than 10 从℃ r tWO and carries figures Of apsaras, attendants with garlands and musical but no spires or turrets. instruments. Of particular note : the band 0f flying Sculptural specialities: Absence Of erotic 房めⅥイわバ (a class of celestial beings). R00f of sculptures. Three bands of sculptural panels on 4 〃 / has beautiful carvings. exterior, including Narsinghi (consort Of Narsingh—only such sculpture in lndia) and BRAHMA Ardhnarishwar (half-male, half-female representation 0f divinity). Remarkable four- armed Dakshinmurti Shiva in sanctum; largest Dedication: sanctum idOl at Khajuraho. Facial expression Shiva (earlier reveals Buddhist influence. Rare manifestation Of dedicated to some scholars think Shiva as Supreme Teacher Vishnu). it is Vishnu. Arc hite ctural f e a t Ⅱ r e S : Granite body, CHAUSATH YOGINI s わ / たわ 4 だ ( と . 850 爿な W 否だ〃 G 乙臾 ) S a n d S t ( ) n e . Dedication: shakti ( 64 yoginis which represent S i m p 1 e different aspects of Shakti) structure with a porch and a sanctum. Pyramidal Architectural Features: Coarse-grained granite roof with receding tiers. structure. 64 cells in quadrangular plan with a Sculptural specialities: Latticed windows. courtyard. Facing north. Four-faced linga in sanctum. Plain doorway except 92 : 当 , い ( と . -925 爿 D , ・方 as だ〃 group)

Top: K / 用襯″ 4 , ツ〃 ca 〃 e イ the / / 0 〃ー g 尾砒尹 e イ e 〃 / 〃んわ可″ ra わ 0 , usually as 4 イ eco 4 な乙℃、カ・・ / eze ーわ 4 み片ー〃 S as 4 〃イわツわ尾 the / 0 肥 e カ 4 〃 e / ツ、 sc ″の々イ尾 s , 4 〃イ Q / 〃わル ee 〃イ ~ 〃と尾〃み わ 4 〃ホ . な . frieze な尹 0 襯 L 召た訪〃 za 〃 Above: 月り / ca / 訪 4 ″ / 、 / ″尾尹 0 襯 the 朝尾Ⅲ〃〃わ″ / 0 passage ツ・ 4 愿ん〃 4 〃花〃屮 / e 、々朝〃 g the 〃 0 わ わ 4 / co ア . The 訪 4 ″ / な 4 〃り / c 召 / わ ea わ 4 グわ 0 バ e , わ 4 グ〃 0 〃 , 砒カ 0 ルッ s the struggle わ肥〃た〃 0 肥 / e イ lge 召〃イ 肥なイ 0 襯イ / c イ the ) 0 んィ〃〃 54 MythicaI Figures HAJURAHO ' S TEMPLE SCULPTURES HAVE quite a number of depictions 0f mythical beings, Often not the main figures in the bands Of sculpture that adorn the temples, but playing the role assigned t0 them by myth and in the hands of the sculptors. SharduI: The most commonly found sculptures, interspersed freely among the 4 カ saras or celestial beauties, are figures of the 訪 4 ″ / , traditionally an imaginatory creature which represents the animal within mankind. ln its most common depiction it is seen with tWO miniaturised figures Of men, one riding on its back the other placed by its feet. While the figure on the back symbolises ignorance, with the 訪のツ″ / attempting to swallow it, the one below represents knowledge. The 訪 an イ〃 / depicts the constant battle between knowledge and ignorance, between good and bad, especially with regard tO the human emotions portrayed on the temple walls ranging from passion to ego, jealousy and lust all seen as human weaknesses. The image 0f the s わツ″ / iS therefore a cautionary note for those visitors WhO see only what is offered t0 them by society and religion, bypassing the responsibility without which indulgence in human passions cannot be overcome. Traditionally depicted as a combination 0f a horse and a lion, the S わ CIII イ″ / iS alSO, in some cases, shown as a combination Of a horse and an elephant or peacock, camel or parrot, and, very unusually, a horse's body with the head of a man. These variations are unique t0 Khajurah0.

as part Of the war scenes. These small sculptures also frequently display a remarkable sense of humour. Here are orgies, scenes Of sexual perversion and more. Within the circumambulatory of the Lakshman temple, if one were tO lOOk at the lowest band of minute sculptures along the floor (you may have to lie down tO see some Of these), there are some rarely-viewed scenes Of sexual perversion, especially relating tO the woman being made love tO by an assortment Of animals ranging from the tiger to the wild boar. Above the balconies along the faqade of the Vishvanath temple (you will have to stand at the far edge of the platform tO try tO see these) is a profusion Of erotic sculptures that is easily missed because it is not at eye- level. Khajuraho iS the domain Of woman in her varied expressions, but her male counterpart has not been ignored on the canvas 0f the sculptured walls. The male divinity and the male consort both lend a semblance of balance to the profusion of female images. Along with these, there is some depiction 0f scenes of battle and everyday life, and it is her ℃ that the largest number of animal figures have been shown. The friezes depict elephants on the march; the elephant is singled out for particular representation. ln a historical and religious context, the elephant has always been closely associated with the lndian psyche; at Khajurah0, its body contours are perfectly chiselled whatever its activity, whether on the march, in battle or as part Of a procession. The artist has fl ℃ quently taken the liberty 0f endowing it with a sense 0f humour and Other endearing characteristics. During a march, one elephant tries tO trip another before it, while elsewhere a laughing elephant shares the erotic exploits Of a couple. The treatment of the horse is pragmatic, without the fine detail attendant to the elephant sculptures, for the Chandelas were not equestrian warriors, though the army did have its cavall ・ y. The horse is often used in examples of bestiality, and t0 depict the 訪″ / , the mythical beast whose lower half resembles that 0f a The 肥 e 肥 4 / / ツ、 the so ″ー肥 e co 川 e だツ、 207 なの観 / 可 4 s 叩ん / c 砒 e イ couple 0 曜、ルだ 4 肥 4 / た . The ″の襯尾な〃 0 わ / e 、ル the c / e ゆ尾 / 0 〃を the 市平 / の , 可、 0 川 4 襯 e 〃な 4 〃イわりた s 召〃イ the ア″ 襯 0 乙℃襯 e 〃な Of the わ″襯 4 〃わ 04 ) , ,. 47

」を celestial nymphs and their earthly counterparts, the 〃ゾた as , all blessed with grace, youth, beauty and charm, form an extremely important and really attractive element Of the sculptural decoration at Khajurah0. As heavenly dancers, they are shown in intricate dancing poses; as attendants Of higher divinities, they carry the lOtus flower, ornaments and the like as offerings. Portraying different moods and emotions, these beauties can be seen rinsing water from their hair, removing a thorn, writing a letter, singing, playing the flute or decorating themselves in various ways. Free from any iconographical compulsions, they are pure and simple works Of art 力のマエ ce 〃 e 〃 ce. ln hundreds 0f beautiful figures, forms and postures, they appear on the interiors Of brackets and niches in the 襯召〃イ 4 カ s , in the circumambulatory and, on a much larger scale and h greater emphasis, around the exterior—each on her own pedestal and with irresistible individual appeal. ゞ c 〃ー〃 e $ イ e カた〃 $ ec 財賞わ e 川 e $ Friezes and stray pieces Of sculpture pertaining tO secular themes cover different subjects like domestic life, groups 0f teachers and disciples, dancers and musicians, scenes Of rituals and ceremomes and SO fO れ h. These provide an interesting insight into the lifestyle and society of medieval lndia. The 立な ra イわ 4 (architect) and s わ / の / 〃 (sculptor or artisan) are frequently depicted. On the jagati (platform) 0f the Lakshman temple, the master architect can be seen teaching a group 0f disciples; in the Vishvanath he supervises the temple-building, resting his chin and bent bOdy on a wooden staff. Yet another frieze shows a piece being sculpted with hammer and chisels and then transported on a pole by six carriers. ℃ stlers acrobats, gladiators and hunters are graphically represented. Scenes Of music and dance are C01 れ 1 れ〇 , with musicians generally being male; singers and dancers, female. Attendants carry bags slung from their shoulders and princes ride horses with footmen holding umbrellas over them. A couple is seen in serious discussion; another entertains a group Of friends. One mother tempts her child with a bunch 0f mangoes, another takes her infant from the lap 0f a servant. There are alSO numerous scenes Of the army 2 0 ユも 0 ーー ヾヾでヾヾ ( 物ラッ 2 クプ ? ぐ Top: large sc ″の尾ツ、 / 尹 0 〃 7 4 〃 0 わノ c / 〃 g 肥 4 〃 0 〃 4 立 / / 市 ary 訪〃 e ップ 4 愿わ〃〃花〃 / e. Above: 爿 4 イ 5 わル 4 、 0 〃 7 the 肥 e ー 、々朝〃 g ″カカ e だわ 4 〃イツ、 D ″ 0 花〃 / e. 27