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1. Khajuraho Temples of Love

Dance FestivaI OR A WEEK IN MARCH EVERY YEAR, the Western Group of temples becomes the setting for a dance festival. The event, now on the international calendar, though the dance forms are classical lndian, is organised by the cultural department 0f Madhya Pradesh. The Vishvanath Temple is used as the floodlit background for the event, staged after sunset. Participation is limited tO dancers with creditable reputations, and includes names that have burned bright on the artistic firmament for years. lt can be safely surmised that the use of the temples as a stage depicting lndian classical dances—ranging from Bharatanatyam and Kathak to Odissi Chhau, Kuchipudi, Kathakali and Manipuri, among Others iS a contemporary happening. Sculptures on the temple walls depict dancers in poses from folk-art forms that were native tO the region; it is possible that some Of these dances were alSO staged within the temples. 90 These are not now known, and such dance forms any folk dance forms, in fact ーー have not been used at the festival. The musical instruments depicted on the sculptures are, however, still in use, many being employed during the festival (although music only plays a functional role here, in SUPP0rt 0f the dances, which are the real highlight 0f the festival). The 4 〃〃 ua / イ 4 〃 ce 、 / 冰″ / 砒んわ可″ ra わ 0 わ〃 gs の ge / カ夜マわ e わ e 可 e co ″〃〃ュな / e 〃 0 カ e 7 〃 召 g 〃 the exciting わ ac たイ川カッ、 e 〃 / es.

2. Khajuraho Temples of Love

Shivratri Mela NE THEORY ABOUT THE KHAJURAHO temples surmises that the original 85 temples were built tO commemorate the marriage Of shiva and Parvati. Shiva is the God of Destruction and part Of the Hindu trinity, the source of regeneration which led to the worship of the phallus; his union with Pa ハ rati is regarded as the base of cosmic energy. This may explain some of the erotic figures on the temple walls as celebrating the powetful, divine union. The theory postulates that the sculptures were images Of people captured in motion at the point when Shiva's marriage party arrived at the celestial town where the couple were tO ℃ d. Certainly the underlying force of the temples is the worship of Shiva and Shakti, with a large number of images dedicated tO this mendicant god surrounded by other divinities of the Hindu pantheon, celestial beings and humans in a drama of unending life. Shivratri, the annual occasion celebrating the birth of Shiva, is a major lndian festivity, and the only one to be celebrated with traditional zeal at Khajurah0. lt is the one link that has endured between Khajuraho past and present. Even when the temples were abandoned to the jungle, the temple bells would peal on Shivratri, as people from outlying areas came to this arena 0f the gods t0 pray bef01 ℃ Shiva. The date for Shivratri is calculated according to the Hindu solar calendar, and usually falls in March. Early that morning villagers arrive at Matangeshwar Temple to bathe the Shivling, the god's powerful phallic symbol, with milk and water. Fruits and flowers ℃ offered to the deity, oil lamps lit and foreheads smeared with the 〃 / 4 た , while over the throng 0f people that will continue from dawn tO late in the night, the temple bells peal as they must have done a thousand years before. A procession Of Shiva and parvati images is taken through the village and the wedding takes place with complete rituals. A local 〃肥 / 4 (fair) springs up around the water tank wher ℃ the people bathe bef01 ℃ entering shiva's presence. Here are fOlk acrobats gymnasts, performers and sellers 0f the little wooden and clay toys that village children love. Opposite page: ル ra なゾは / 4 / 〃おわⅢ ary ー は尾わな the 0 〃ゆ / oc 召 / celebratio 〃 assoc イ″わ the セ〃 / es / 〃 K わ可″わ 0. 7 カ e 0 〃をセ〃 7 カた / 〃 ac 〃乙℃ use, 」イ 4 〃 ges わ 4 な the 、 / わロバ Q/ 、 4 けル″たを thro 〃 ged ど 0 e 当 / ) 初〃イ 4 〃の 〃 7 〃 / g ん . 」佃〃 ges わ・尾〃 / 〃 e イ the 乙で〃″ e. / だ一わな 4 〃〃″ 4 /. / と S 乙ゾり , even なわ e 〃 the 〃なれで尾。 / 0 ' the / . Above: AS ″わ〃 70 〃 / es / 〃カ 7 イ , the prese 〃 ce Q / 、 4 カ e な e e 〃〃召 / CO 〃イ″け the 々 ICI な 4 oc イ″わ〃 / 〃イ″力だ叩℃だ 4 〃イ wo バわれ 17

3. Khajuraho Temples of Love

prop for the more energetic female form who, crafted over and over, in varying moods nevertheless emerges as a mysterious figure, one that men cannot fully understand. MOSt visitors are surprised to discover that the much-publicised erotic scenes form only a small part of Khajuraho's sculptural wealth; yet, in the file 0f Khajuraho memories, it is always the erotic factor which remains associated with the temples. Does it mil ・ ror the ultimate decadence Of a depraved society, or explain the profound philosophy of a highly enlightened one? Explanations have been sought at various times by various people, from scholars like Mulk Raj Anand, Vidya Prakash and KanwarIaI to the local guides and gurus. The simplest explanation reverts tO the legend Of Hemvati and her brief, passionate interlude with the Moon god, which could only be condoned through the performance of the ritual わわ 4 〃Ⅵつ g ) Ⅵ by her emperor-son. The ritual of the yagya included the depiction of erotic figures or pictures ( わわ 4 〃のⅥー c わ″第 ) as admissions Of guilt and as lessons in morality. ls it not possible that, once Hemvati's guilt had been absolved, rulers of the dynasty went back tO the same images in successive temples, bOth to remind the people of how the dynasty began, and t0 continually propitiate the gods? Ca1Nings 0f couples performing the sexual act, known as 〃 7 ″わ″〃を are routinely depicted on temples, since the lndian s わ as 〃観 s (canons) consider them propitious symbols that ward off evil and render the building immune to destruction. Historically, 〃 7 / ″〃 sculptures, motifs or symbols have been depicted in lndia over a period 0f nearly 2,()()() years, from the 2nd century BC to at least the 17th century AD. They are present at the shrines Of various religious sects in the whole geographical vastness Of lndia, from Kashmir tO Kerala and from Gujarat tO Assam. some scholars suggest that the artist in Khajuraho simply followed the general tradition, carving the 〃 7 / / カ″〃 s as a matter Of course; if this is SO, he tOOk 乃なカ召〃 e / ノん〃 7 the 〃 0 わ wall 可 / 愿ん〃召〃花〃 / e わ as 4 わ e は可 0 ″〃イ / 〃 g sc ″の / 7 〃で & These / 〃 c / ″イ e な 〃 7 / 〃〃 couple ″わ襯 / 召〃イ 4 〃な 6 / / c ⅲ zg だ奴リ . Whi/e figures / 〃わ 0 だに 0 〃 / カ召〃 e な召尾カ c “ / ″わ 01 行召〃 l) , 記〃記ツ、 カ尾 6 / 夜 7 〃 / 〃“ / 0 / e / c 召娵 the subjects asce 〃 6/ ノ ) つ〃 7 わ 4 ″ / es 召〃イ sce 〃 es ツ、 e ツの , , life celestial わ〃 g を c ″ / 〃 7 / 〃 4 / 7 ・〃 g / 〃 / 〃 ICIges O] 、 deities. 55

4. Khajuraho Temples of Love

lndia and proclaimed himself an independent king. He led military expeditions towards the north and the south and took control of the mighty fortress at Kalinjar; under his regime the Chandelas became a power tO reckon 嶬 th. Yashovarman ordered the mag-nificent Lakshman temple and with this began the era of temple building that a thousand years later remains unrivalled in the realm Of religious art. His successors Dhangdev, Ganda and Vidyadhar continued the brilliant building traditions Of their predecessor. lt was during the reign of Vidyadhar, the most powerful of all the Chandelas, that Mahmud of Ghazni started his invasions Of northern lndia .While Vidyadhar twice engaged Mahmud in battle, his successors could not withstand the continuous onslaught 0f the Muslims and their supremacy in the region declined. Although they continued to rule over a small territory comprising Mahoba , KaIinjar and Khajurah0 up to the first quarter of the 14th century, from the end of the 1 lth century onwards they were considered only a minor northern lndian dynasty. The heyday of their g101Y was undoubtedly the period between 950 ー 1()50 AD, and it was during this period of comparative peace and prosperity that the greatest temples 0f Khajuraho were erected. lt is fortunate that though the later Chandelas were defeated a number of times by the Turks (both Mahmud of Ghazni and Mohammed Ghori), the temples did not suffer at the hands of the invaders. Probably the timely shifting of the capital to Kalinjar saved them from the wreck of invading fury. lt is also possible that the Muslim armies never actually penetrated intO Khajuraho, deterred by hills and dense jungles, rugged territory and a hostile populace. Butthe very factors which saved them from destruction became in turn responsible for the obscurity of these splendid temples, and for centuries these treasures remained sunk in oblivion, lost to the outside world. Of the original 85 temples, 20 have survived the ravages Of time tO proclaim the artistic reputation Of the Chandelas and tO immortalize the reign of their dynasty. 7 力な s 〃 tall 尹たカ / ace イ / 0 肥 the large sc ″の / 7 イ尾 s 0 〃 the SO ″ 4 〃 OJ 、 ⅱ紡〃襯わ花〃ゆ / e イ印 so / 市 e バ / 〃 co 〃 7 わ襯 . 7 カ e large 〃″〃 7 わ e だツ、カ 4 〃 e な イ夜 , , 0 イの sce 〃 es Of れⅥだ〃 7 / 〃つだ the social co 〃市″ 0 〃 s ツ、 the ⅲ 7 肥召〃イ the s 愿ツ、 を〃 g のわツわ尾 the C わ召〃 / 4 Ⅲ / e パ . 21

5. Khajuraho Temples of Love

気い 4S0 , Hemvati was the beautiful daughter Of Hemraj , the royal priest 0f Kashi (Varanasi). One summer night, while she was bathing in the sparkling waters 0f a lotus-filled pond, the Moon god was so awestruck by her beauty that he descended to earth in human form and ravished her. The distressed Hemvati, whO was unfortunately a child-widow, threatened tO curse the god for ruining her life and reputation. TO make amends for his folly the Moon god promised that she would become the mother Of a valiant son. 'Take him to Khajjurpura' , he is believed to have said. 'He will be a great king and build numerous temples surrounded by lakes and gardens. He will also perform a yagya (religious ceremony) through which your sin will be washed away. ' Following his instructions, Hemvati left her home to give birth to her son in a tiny village. The child, Chandravarman, s as lustrous as his father, brave and strong. By the time he was 16 years 01d he could kill tigers or lions with his bare hands. Delighted by his feats, Hemvati invoked the Moon god, whO presented their son with a touchstone which could turn iron into gold, and installed him as king at Khajurah0. Chandravarman achieved a series Of brilliant victories and built a mighty fortress at Kalinjar. At his mother's request he began the building 0f 85 glorious temples with lakes and gardens at Khajurah0 and performed the わわ 4 〃の , 4 つ観観 which expunged her of her guilt. A variation Of the same legend introduces Hemvati as the widowed daughter 0f Mani Ram, the royal priest 0f Kalinjar. AS a result Of a mistake in his calculations the priest informed his king that a particular night was puranmasi (full moon night) and not the dark night that it actually turned out tO be. ln her concern for her father's reputation the beautiful Hemvati prayed t0 the Moon god, wh0 was gracious enough t0 uphold the word Of the priest but in return for his favour, ravished the daughter. The grieving father was so shame-stricken that he cursed himself and turned intO a stone, which was later worshipped by the Chandelas as Maniya Dev. Hemvati gave birth tO a son, the sage Chandrateya, wh0 became the progenitor 0f the Chandela clan. Historically speaking, the area around Khajurah0 has always been renowned for its cultural achievements. カバ c だの〃 0 〃 s. / ん〃 7 ⅱ訪〃砒わ花〃 / e g / 0 だの′ the C わ 4 〃イ e / 4 rulers 4 〃イイ c わ e the 襯な / わ″ s 4 〃イカだの℃イ e 市 ca イの the deities 肥″わ / 〃 . 7 わ e / 〃 sc 〃 0 〃 s 4 尾 / 〃 Sa 〃 4 the 0 乙加市 4 〃 / 4 〃 g ″召 ge, , 加 the . D 夜観〃 ag / sc だのみ″カ / c わな / 〃 / 〃 use. 15

6. Khajuraho Temples of Love

1 Keechak: Keechak is the figure usually placed atop a column which takes upon itself the weight 0f the temple walls, of the 訪 / たわ 4 and balconies. Keechak is identified in lndian mythology as a dwarf wrestler of immense strength whO served in the court Of King Virat, the ruler in whose empire the five Pandava brothers and their bride, Draupadi, found sanctuary during the exile imposed on them by the Kauravas. Since they were supposed to be incognito, Keechak tried tO take liberties with Draupadi, and was killed by Bhim. He has, however, endured as a symbol of strength, so strong that he could lift elephants with his stunted hands, placing them over his shoulders. He was, therefore, the perfect figure to be used in the decorative idiom, carrying the burden Of the temples. The dwarf is usually blessed with a great deal of strength in lndian myths, and is often shown as an attendant figure for royalty or nobility. lt was during the Sunga and Kushan periods that the dwarf began to find identification on the platform of lndian art. Kirtimukha: Used primarily as a decorative motif in friezes, Kirtimukha finds a place in lndian mythology as an evil demon who pleased Lord Shiva with years of worship. Lord Shiva was forced tO ask him what he wanted as a boon. The demon asked for something tO eat that would never finish, and Shiva granted him the boon, with the condition that he would have to eat himself. The demon had no choice but to obey, and the world was thereby rid of the evil monster. Kirtimukha is usually depicted with a face akin tO a dragon's and something in its mouth, at the end Of which is another small face, signifying self-annihilation. K c わ 4 た , the / 04 小わ〃 g イ 4 な カ / ace イ 0 〃カ可 co / Ⅲ〃〃 s 0 〃 the e ん可 the 〃 / é肥 4 / な 4 〃イ / 尾 & 乃な〃り / ca / ノ〃尾可 g 尾尾〃 g な わ e / イわ砒℃わ〃 4 w 尾 s / 〃 the CO ″ Of ん / 〃 g Vira as 〃肥〃〃 0 〃 e イ / 〃 the g 尾加市 4 〃 epic, the 盟 4 カ 4 励 ara . The カ / ac の〃 e 〃ー可 the apsaras わな side な カプ可 the grand イés 〃 , わ the couple 召わ 0 the w / 〃イ 0 な 4 〃 e 工 4 〃 / e 可 the た / 〃イ可 s ″ゆ s K わ可″ ra カ 0 has / 〃 0 尾 for the 0 わ尾夜・ willi 〃 g / 00 たわ 0 〃イ the 0 わ / 0 ″ & 55

7. Khajuraho Temples of Love

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.

8. Khajuraho Temples of Love

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

9. Khajuraho Temples of Love

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

10. Khajuraho Temples of Love

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