understandably t0 celestial beauties and the female form in general and, controversially, to graphic sexual representations. Over the years a number Of explanations have been forthcoming for the presence Of erotic sculptures at what was essentially a religious centre; no single theory, however, has been able tO justify their profusion. Were these temples centres Of tantrism, WhiCh cites sex as an important component 0f human development towards the AbsoIute were they merely a reactionary swing away from the austerities preached by the Buddha? Perhaps the answer ⅱⅡ be found as excavations in the region continue, but this much is certain: Buddhism did at one time have a strong presence here, just as tantric rituals enjoyed a wide appeal during the medieval period. As Chandela power diminished, the importance of their sometime-capital also waned. lts heavily forested terrain could not provide much revenue, and served tO deter invading Muslim armies (for whom the temples were Of little interest, while the sculptures could only have appeared offensive—they certainly did to T. S. Burt, the British engineer who is credited with their 'discovery' in the mid- 19th century). The temples were never, strictly speaking, 'lost', for villagers and tribal inhabitants Of the region were familiar with them; they continued tO use one temple in particular ーー Matangeshwar Mahadev ーー for worship, especially on the occasion 0f Shivratri. While early travellers such as Alberuni and lbn Batuta had reported the presence Of the temples, they were not dwelt on at any length, possibly because 0f their being abandoned and overgrown by bushes and weeds. Burt announced their presence tO the world, and the first major data on them was collected by General Alexander Cunningham in his & イル 0 加市 4 reports. Early this century there was some interest in the temples, but their inaccessibility made their study and regular travel tO the site impossible. Over time roads were laid and the minimal facilities provided; then, a couple of decades ago, the first luxury hotel project revived interest in the region, and the resurrection Of Khajurah0 began. 五 / 〃 g 〃 0 わー ea 新わ e / 0 肥 the な 4 市 0 〃召 / わ 4 〃ホッ、″の襯 this small niche / 〃 Ka 〃イのカ観はわ召イ夜 , , 花〃 / e co 〃 / 〃 s 4 〃 4 襯 orot バ CO 乙の / e. 7 カ e sc ″ののだわ as た e 〃 / / わ夜 es 肥 / e かカ 07 のⅥ / , e 〃イ 0 肥 / 〃 g the piece 肥″わ 4 〃″〃イ夜カッ〃 g 記〃ツ、 わ″〃 70 ″ the 肥 0 襯 4 〃カ″ / な the 襯 4 〃 's わ田肥わ施 he 〃た / 0 わ夜 :

」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

乃 0 ″ g わ〃 / 〃市 / , the 〃 / es ツ、んわ可〃わ 0 〃 7 召 , well わ 4 乙℃召 / e 0 〃召みな secular 4 〃イ 4 カカ ea な 4 肥 / イ e cross-secti ・ 0 〃 Of カグ 7 〃ツな℃ / / / 〃 the ル川 G 乙の 0 s ″尾 q アⅱ s Ⅵ〃 4 4 〃イ 24 尾 / 88 surrounded by inhospitable terrain, was a thriving city; by the first half of the 20th century it was just one of the millions of villages dotting the lndian countryside, only its group Of temples setting it apart from the rest. Even nature had changed; gone were the たわ可″バ from which the city derived its name, replaced by mahua trees whose golden 日 ( ) ℃ rs turned intO intoxicant fruit used tO brew country liquor. lt was only after the visit Of lndia's first President, Dr. Rajendra Prasad, to Khajurah0 in 1955 that the Archae010gical Suwey 0f lndia t00k up the task 0f clearing, fencing and restoring the temples. Then their potential was finally realised; they were hailed as the find of the century, as important as the Ajanta and EIIora caves. 嶬宝 h only a small Circuit House, also built in 195 タ Khajuraho now attracted art historians, scholars and offbeat travellers whose intensity Of purpose saw them through tedious journeys over rough terrain. Two such travellers were Shyam Poddar and his companion, Bert Hemphill. The year was 1955 and the travellers were struck by the place's immense potential

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

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

THE FIRST IMPRESSION OF A KHAJURAHO TEMPLE IS that of one giant carving reaching out to the skies. A closer 100k, which brings int0 focus the hundreds of sculptures of gods and goddesses, celestial beauties and their enchanting human counterparts, mythical animals and the mundane, only serves tO strengthen this impact. ln the temples Of Khajuraho architecture and sculpture are perfectly integrated, making them dual masterpieces Of these arts. The sculptures belong to the surface on which they are carved, as its constituent, integral part. They are not added from the outside after completion 0f the framework, but are carved out of the same blocks of stone which form the structural fabric 0f the temple. The builders evolved a formula for the placement of the sculptures, each set occupying its assigned zone, and this has been uniformly adhered to. Thus the temple rose, tier upon tier, with the sculptured slabs being placed simultaneously according t0 their scheme of depiction. The 1 ℃ gion around Khajurah0 was famous for its sophisticated stone art, as a wide variety Of stone for assorted techniques 0f chiselling was available and the artisans had acquired extraordinary skills over the ages. Khajurah0 itself is surrounded by hills forming offshoots of the Panna range which belong, in turn, t0 the Vindhyas. TO its south, the river Ken (ancient Karnavati) and its tributaries have cut deep gorges through the massive Vindhyan sandstone. The upper Vindhyan or Kaimur stone provides excellent building material in the form Of a fine-grained sandstone Of rich shades, varying from buff to light pink, large quantities of which have been used for the temples. Although it is based on classical traditions, the sculptural art 0f Khajurah0 is essentially medieval. Situated in the heart Of central lndia, it was open tO the artistic influences Of the east and west; it is this artful blending of the sensuousness 0f the east with the newous angular modelling of the west that lends the sculptures of Khajurah0 their amazing human vitality. The fine profiles, three-quarter profiles and back-views exhibit the sculptors' fascination with the human form. Judiciously placed along the recesses and protuberances, the sculptures mingle with the 4 7 カ e 4 な 4 〃な , 0 ″ / イ SO 〃 lé? 〃〃 (é)S CO / 〃わ / 〃 e みわ e な / わ″セ s ツ、 / Ⅲ 4 〃イⅱ訪〃″ / 〃 4 豆〃 gle 、 / ig ″尾た〃 0 〃 as / / 4 / / 召 7 , such as な 0 〃 e ノト 0 〃 7 the はカバ e ″〃 7. 7 わ e sculptor わ召 s give 〃 the CO 〃 7 わ / 〃 4 ″ 0 〃 OJ 、 the 々 0 gods 0 〃 e わ 0 のわ曜 e かわ 4 / バり , / い 0 川〃 e 〃 4 〃イわ 4 〃イ功 e / 〃Ⅲ〃 le 〃イ / 〃 g ″なわ the 々 0 , ・ S わル 4 is s わ 0 肥〃″わわな / 7 ツイ e 〃 4 s わ〃″ w ″わわなイなロバ . 24

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

L に」 襯 0 イ e 川訪〃 e イ e イ / c 召イの〃召〃″襯 4 〃 , the 〃 70 〃た q ア go イ召 oc 厄イ肥″わ 0 4 〃 7 , わ e ツ、 the epic 火 4 〃 7 のⅥ〃 4 , / 0C4 イ en ル″の the village ツ、んわ可″わ 0. 7 カ e / 〃 tage なお″ / カ , , / ので尾イ肥″わ 4 カ as ッ、 イ夜 , , 0 es ア / c た Q 〃、 the カの place 0 〃 e な . ル尾わホ肥ん / e e た / 〃 g the わ/C新/ 〃 gs ツ、 the go ホ . THE DWINDLING P 〇嶬上 R OF THE CHANDELA RAJPUTS had shrunk their realm, and by the 12th and 1 タ h centuries their limited capital was of little political interest. Alternate power centres developed, and the once-wealthy feudatory empire could no longer extend its patronage tO the arts; in consequence, the settlements gr ℃ w smaller as artisans looked tO Other states for their livelihood. Where once there were the vestiges of an empire, the forest now encroached, swamping buildings, tanks and temples. The dark canopy 0f the forest lent sanctuary to wild beasts; but through the under-growth, along paths they knew, people from nearby settlements, whose ancestors had worshipped at the shrines Of the Chandelas, journeyed on special occasions t0 pray before Shiva. The lost temples of Khajuraho were rediscovered in the 19th century, but would have to wait till well into the 20th century before they could regain the fame they enjoyed during the reign of the Chandelas. The intervening years provided only the occasional passing 84

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

LOCATED IN THE PROVINCIAL STATE OF MADHYA Pradesh Khajurah0 is known the world over for its temple architecture and sculpture. The construction Of these thousand-year Old temples took a little over tWO centuries; in terms Of architecture, they form the high point of the north lndian 'nagara' style. Of the 85 temples believed to have been built between the 9th and 12th centuries only 20 have survived, many in splendid condition, others having given way to the ravages Of time and nature. Close to and around Khajuraho is forest land; a small clearing houses a village populated by no more than 5 000 1 ℃ sidents, but visited each year by tourists from all over the ・ world. Hotels, restaurants and souvenir shops front the entrances tO the tWO distinctive groups 0f temples; little boys switch from Spanish to French tO German in rapid succession as they peddle handicrafts or mineral water; signboards, t00 , are posted in various languages, and the villagers now seldom bother to look up when they hear the drone of aeroplanes overhead. The focal point of tourist activity is, of course, the temples built by the Chandela Rajputs, who traced 7 力な〃 4 〃 c / 〃 g Ga 〃 esh . / ん〃 7 4 s 〃 zall their descent from the Moon god. The head of the clan niche / 〃訪〃砒わ花〃 / e わわ / わな is reputed tO have been a valiant warrior 410 fought 〃肥ツ、 the カ叩〃 / 4 だ砒な / わ es ツ、 / 's SO 〃 . Ganesh な CII e イ as 4 尾〃 70 r ツ、 lions bare-handed (hence the emblem, frequently seen obstacles 4 〃イな 2 だ叩″イわツわ尾 0 e だ at the temples, of a warrior grappling with a lion); he go ホ . ルだな尾 4S0 〃 . 乃なカ 0 な〃た is said t0 have ordered the building of the temples as e / わ 4 厩功イ go イな〃 7 イ / 〃 tes 訪 0 〃 a means Of salvation for his mother, Hemvati, whO / 〃 the role ツ、わな . e as 召〃肥〃市 ca 厩 was ravished by the Moon god. The spate of temple- 0 だ CIS cosmic 4 〃 ce だ . building which began about the middle of the 9th century and continued until the early 12th century must have used the services Of thousands Of sculptors, architects and masons; unfortunately, there is almost no record Of this activity in the annals Of lndian history. By the time the last temple was completed the Chandela dynasty had sunk into oblivion. Khajuraho was the Chandela capital for only a brief period; they ruled for the most part from Kalinjar and other parts of the Bundelkhand region, with Khajuraho remaining their religious centre. The most important aspect 0f the temples is the abundance 0f sculptures that decorate the faqades and interiors Of the shrines. ln this profusion of images attention has understandably been paid to divinities, less