・よト、 みゑ亠 のい 7 カ e 襯襯 e わ 4 〃イ尹 0 〃 7 the La なわ〃 ta 〃 花〃 / e. , 、 c / 〃 g so ″ , わを〃 70 た / 〃 g / ←ー 0 〃 e ツ、 the ア〃 e e 工召〃 / es ツ、 erotic art, especially 肥″わだ 4 the ア″ / ango Ⅲ・・可 the わ 0 の , カ os 襯尾 & The わ 4 〃イ召な 0 has 4 〃″〃 7 わ e だツ、〃 4 召 g た am り観 s と〃 / e / 〃 zages 肥″わ c 肥〃 s ツ、 e 〃い ). The ce 〃〃観 / 、 / ″尾ツ、ⅱ訪〃″なア召〃た e イの , 4 豆〃 ge だ 4 〃イ召〃 4 力、 ra 4 カカ / 〃 g 片〃市 0 〃わ催ノわ尾わイ . couples in sculpture in Khajurah0. Three couples here are truly outstanding in the field of sculptural art, located respectively facing south, south-west and east. Vishvanath TempIe: two sculptures, one facing south, the Other west, merit particular attention for the unusual poses Of the couples making love—acrobatic and physically impossible, they are representative, nevertheless, of the artistry 0f Khajurah0's sculptors. ヨカ lt ん ca / お″尾 & ・ Some of the fine mythical figures depicited here are found nowhere else outside Of Khajuraho. The 訪のツ″ / figure dominates sculptural art in Khajurah0. An unusual 紡 4 イ″ / sculpture in Lakshman temple shows this mythical creature dominated by man. Other unique 紡のツ″な with varying expressions include three SCulPtUreS in Parsvanath TempIe and two in Adinath Temple. The finest Keechak figures include two of these dwarf load-bearers at Lakshman Temple, their expressions depicted very clearly. The Lakshman Temple also has the best depiction of Kiritimukhas in a frieze. 42

Sculptural specialities: Entrance porch flanked Bhu-Varaha: Vishnu as giant boar lifting Earth by exquisitely carved crocodiles. Exterior walls portrayed as a gentle goddess. Lakshmi-Narayan have three bands 0f sculptures containing graceful embracing; Buddha; Hari Hara; Nri-Varaha etc. figur ℃ s and celestial nymphs. KANDARIYA MAHADEV ( と . 7025 爿 D , ・ W 否だ〃 Group) Dedication: Shiva ( / / 〃 ga 〃 7 ). Architectural features: The largest and tallest monument in Khajurah0. Common platform with Arc hite ctural Devi Jagdamba Temple and Mahadev shrine features: Fine- grained sand- (containing the stone. Only C h a n d e 1 a temple with emblem of original plat- young man form intact. grappling with 召 4 〃 c わ観〃 , i O n ) 1. e. one ma11Ä shrine 嶬 h four but all four subsidiary shrines. Only temple with all four s u b s i d i a r y subsidiary shrines intact. Each corner shrine has shrines have porch supported by two pillars and a sanctum. disappeared. Five compartments: 4 ′ツわー〃 7 召〃イ 4 カ Main shrine has CII わー襯 4 〃イ 4 カ , 襯 4 わ 4 ー〃〃イ召カ 襯 4 〃イ 4 カ , 〃 7 召わ 4 ー襯 4 〃イ 4 カ with lateral transepts, 4 〃 ra / and gtll カわ 4 g わ 4 with an ambulatory 4 〃 ra / , gal わわ ag わ召 with ambulatory and lateral and transepts on the sides and the rear. s わ / たわ 4 だ transepts on sides and in the rear. MOSt evolved clustered with minor s わ / たわ 4 R00fs on porch 訪 / たわ 4 だ with 84 replicas of itself. Roof of and hall are pyramidal. compaftments designed in the shape Ofa mountain Sc Ⅱ lp れ雅 specialities: processional friezes on peak, complete with 〃 4 た and た 4 / 4 訪 . platform contain scenes from daily life, religious Sculptural specialities: MOSt ornamental myths, hunting and battle scenes, erotic motifs mouldings on basement. Largest number Of and bestiality, master architect with students and sculptures. Four-loop のだ 4 〃 4 at entrance. Exterior panel depicting Chandela rulers. Entrance porch temple wall has bold architectural mouldings and has two-loop 〃た ora 〃 4 (crocodile arch) three broad bands of figurative sculptures. Erotics flanked by gladiators. Exterior walls have two are clustered in tWO areas, north and south in the broad bands of sculptures of gods, goddesses, junction between shrine and hall (vestibule). female figures and couples; brackets contain Brackets contain seven mother-goddesses. Seven- segment cella door. Elaborate doorway 0f sanctum different forms of Vishnu; rare sculpture 0f Lord has scrolls with mythical animals and nymphs Ram on top panel; carving 0f カ 4 〃 c わ ag 〃 / (five and river goddesses Ganga and Yamuna at base. fires) ーー only one of its kind in lndia. c わ 4 / り , 確 lntricate carvings on ceilings. Plain sanctum with arches in geometrical patterns on s わ / たわ 4 marble lingam forms a sharp contrast tO outer Doorway Of sanctum has rich carvings Of lions, embellishments. cherubs, incarnations Of Vishnu, depiction Of nine planets ( 〃砒 gra わ 4 立 figure 0f Lakshmi KHAJI. JRAHO MUSEUM (spouse 0f Vishnu) and scene depicting the Contains sculptures retrieved from the temples. churning Of the ocean. Exquisite carvings Four galleries : shaiva, Vaishnava, Jain, Assorted. ceilings. The わー〃 7 召〃イ召カ ceiling is rated one 0f Colossal sculpture Of Dancing Ganesh at entrance. 94 IAKSHMAN ( 95 イ爿 D , ・ W だ〃 G 川 ~ ). Dedication: Vishnu (the deity is known as Ramchandra or Chaturbhuj). 1

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

Sculptural Specialities: CeiIing is decorated with a large lotus ⅲ relief, enclosed by a border Of rosettes. Monolithic image of Varaha carved out ofyellow sandstone, accompanied by serpent Sesha and earth-goddess. The image is decorated with 674 figures of gods and goddesses in neat rows, which include Brahma (creator) , Vishnu (preserver), Shiva (destroyer) , Saraswati (goddess oflearning), Ganga (river), 〃砒 gra わ as ( 9 planets), 〃 agas and 〃 ag / 〃 ( ma に and female snakes) and イな (guardians of four cardinal points). Dedication: V i s h n u VISHVANATH (Vamana iS dwarf form). Architectural features: High p 1 a t f ( ) r m . Dedication: 爿だイわー〃〃 6 / 召カ Shiva (stone ()f which only 1 i n g a m p I i n t h original one Of remains), 〃 7 召わ 4 ー〃 7 召〃イ召カ with lateral transepts, and stone 4 〃 ra イ , garbhagrihawithout ambulatory. Mono- emeralds). spired s わ / たわ召 somewhat massive and squat. Architectural Sculptural specialities: / たわ 4 だ with c わ 4 / り観 f e a t Ⅱ r e S : arches. Exterior はⅡ s have tWO rows Of sculptures S h a r e s containing celestial beauties in different postures. platform with confined tO Erotic scenes are almost absent Nandi pavilion WhiCh faces main shrine. subsidiary niches Of roof pediments. ln main 尸召〃 c わの〃ーー of four subsidiary shrines, only niches Of sanctum are figures Of the trinity tWO remain. Main shrine has 召 r イわー〃 74 〃イ 4 カ (Brahma , Vishnu , Shiva) with their consorts in 〃 74 〃し / 4 カ〃 74 わ 4 ー〃 74 〃 6 ん with transepts, 4 〃 7 観 / , upper row and several incarnations Of ViShnu in garba g わ 4 , with ambulatory and transepts on lower. Within the sanctum, a figure 0f Buddha in the sides and in the rear. earth-touching position on a wall. Main figure is Sculptural specialities: One subsidiary shrine Of four-armed Vamana with an elaborate frame. contains a four-faced lingam and the Other an image 0f Durga (Shiva's spouse). Three broad bands of sculptured figures. Ceiling has carved design 0f many-petalled flowers and hanging stamens. Within the temple, the main hall and passageway Of shrine contain some Ofthe loveliest sculpttll ℃ s. Notable sculptures: woman with fruit in one hand, parrot in the Other; woman playing a flute; mother caressing child; celestial nymphs looking intO a mirror ()1& in dancing poses. Depictions Of erotic art alSO present. SHANTINATH ( と . 7028 爿〃 , ・方 as だ〃 G 川乙 ) Dedication: Jain (image of Adinath). Architectural features: Extensively modern- ised. ObIong enclosure of shrine cells survives. VAMANA ( と . 7050 ー 75 〃・方だ〃 G の ) ( と . 7002 爿〃 , ・Ⅳ否だ〃 G 0 乙臾 ) 4 1 VARAHA ( と . 900 ー 925 爿 . な W 否だ〃 G 川〃 2 ) Dedication: Varaha (Vishnu's boar incarnation). Architectural Features: NO platform. Lower half of plinth of granite, upper of sandstone. small pavilion type temple facing Lakshman Temple. Rectangular hall with pyramidal roof enshrines a huge statue Of a boar. 96

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

stretching her back; woman showing a letter with an attitude Of supplication. From the Kandariya Mahadev TempIe, the following examples Of the celestial entertainer should be viewed: woman removing her IO ℃ r garments tO reveal her genitalia, with a scorpion on her thigh representing passion; woman pouring wine intO the cup held in the hands Of a man; woman with a bunch Of mangoes and a parrot; a woman standing lOSt in thought while a monkey tugs at her clothes; the stylised pose of a woman dressed in the fashion 0f the age. From the Devi Jagdamba TempIe: a woman offering her bOdy in tOtal submission tO a man; putting 〃イ 00 だ on her forehead; woman showing the wrinkles on her genitalia, again with a scorpion on her thigh; woman pulling the beard 0f a man. From Vishvanath TempIe : look out for the 〃の , , / た as , known for their lissom figures and sharply-defined features, at variance with similar figures in the Other temples. N0te the hairstyles, ornaments and the highly developed clothes-sense. The figures look like they have been specially posed, and are very elegant. Vamana Temple: two studies 0f posed figures 0f celestial nymphs that are renowned for their beauty and detail. From Parsvanath Temple: Studies of nymphs in various poses, for example, while applying collyrium t0 the eyes, painting the feet with 4 / , painting a wall, removing a thorn from the foots, tying ankle bells preparatory tO a dance performance. From Adinath Temple: a dancer in the typical pose of the area, with a drummer seated by her feet; applying 豆〃イ 00 だ on her forehead; note the detail with which they have been captured in stone. From Duladeo TempIe : one figure is most striking, that of a nymph tying a waist belt. TWO Other categories of celestial beings must be mentioned here. The first consists Of ga 〃イわ 4 観 s (nymphs in the floating position holding flower garlands), た / 〃〃 aras (celestial musicians) and 房のイわ召 (holding swords). The best examples of these are to be found on the upper bands of the Parsvanath and Duladeo temples. The other category consists of the s わ 4 / わわ 4 可 / た as or tree-goddesses and 广 Preceding pages: g 〃 / , the 尾 Go グ肥 / わな co 〃 so S 肥 4 わ 4 , ノん襯 the 〃 0 カノ c / 〃 g 襯襯 e わ 4 〃 4 Pa バ〃 4 花〃 / e. lmages such e , / the 襯 4 / e 市房〃 / り , カ / ac / 〃 g 0 〃 e わ 4 〃イわの , わ e 〃 the わ 0S0 襯 Oj 、わな CO 〃 SO 6 た 2 / け the 0 〃 e 〃 e 可 / 〃 g , the s ″わ / / 襯の , 可〃〃 / 0 〃召〃イ the カ / 4 〃 e. This page: The La 愿ん〃 4 〃花〃 / e 召〃 . c / 〃 g so ″ has 4 立 / 〃と″可 4 カ ra ア g ″尾 s , 4 〃イ 0 / 〃 the upper わ 4 〃イ 4 尾 〃 70 〃 g e , the ツ・印毓 / な″尾ツ、 4 肥 0 〃〃カ / のツ〃 g 肥″わ 4 わ召 / / reaches 4 ん g わ level ツ、 artistic excelle 〃 ce. The 4 カ ras 0 〃 this 〃イ平 0 e / 4 わ 0 co 協ⅳ尾を each イ協と尾厩尹 0 〃 7 the 0 夜・ . 58

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

7 力なカ e c 尹の〃 4 〃 e / 尹 0 〃 7 the 市〃砒わ花〃 / e イ印 / c な 4 〃 / 〃 0 席 4 〃ー pe バ 0 〃 age being 4 〃イ e イわ施な″ 0 バ カア e か尾平 ec パ his office 0 だのプな e. 46 the letter with her lover's village mentioned on it, and requesting them tO carry her letter tO him over a journey only two hours long. Some images 0f gods and goddesses are placed far above eye level, and visitors must make an effort tO stand at the edge 0f temple platforms and survey the upper reaches Of the temples tO spot some for instance, the beautiful depiction Of masterpieces Lord Ram with a bow and arrow in the Lakshman temple; or Agni, the fire god, in minute detail. The higher end of the Vishvanath temple has a sculpture 0f Vishnu in hiS universal form as recounted in the epiC 召わ ag Ⅲイ G ″ 4. Again, there are some very good examples Of divinities tO be seen at the highest levels of the ambulatories, difficult t0 spot because 0f the very soft natural light filtering in through the windows. The Lakshman temple has the complete ん S わ〃 4 L / 4 depicted along the upper end of the circumambulatory; this Often escapes attention as ℃Ⅱ . some of the best hidden' sculptures deal with erotics. One should spend time looking for these in the small friezes along the temple walls, especially

The わ ac た″Ⅵ〃可 Devi 、々 g イ 4 〃 7 わ 4 花〃 / e , 、朝〃 g 肥 e 新わ召 s as 添カ〃 c の 4 / c わ arac the 〃 / 〃イ″なゾ〃 / り , , 6 / g 臾 / c イ / 〃 召 SO 〃れ , カ 4 ー″〃″ S ″ 4 / 〃 74 〃〃 er. 7 カ e ノ / g ″′℃ / 〃 the / 0 ″℃ r わ召〃イ is ツ、 Va 〃〃 4 , the イ肥 4 、 / 〃 C4777 召〃 0 〃 OJ 、一 'is わ〃″ , ・ the ce 〃な 4 / わ 4 〃イカ / / 〃わな盟仼″の観朝〃 e わ 0 わ as co 〃尾イイ e の〃 ta 〃冰〃 0 〃 , ・ the ″カカ e だわ召〃イ召 ra わ〃 74 肥″わわな CO 〃 SO 54 房 / 7 ツ . on the march and processions marked by gaiety and revelry. These include some remarkable representations Of real and mythical animals. Of special interest are the 訪 cn ″ / , the lion, the cosmic boar and the rat. Elephants are shown in combat and in a playful mood, one pulling the leg 0f the other with its trunk. Camels, though rare, can be seen on the Vishvanath temple. The 訪 cn ″ / , a fabulous beast, is a popular theme at Khajurah0 and has rich symbolic significance. lt is always a combination Of tWO animals, with the lower half mainly that of a horse, while the upper part could be a horned lion, elephant, boar or even a peacock. Then there are the 〃 7 / ″〃を the erotic couples or groups which, strictly speaking, belong t0 the category Of secular themes. Friezes on some IO ℃ r panels, Often accompanying scenes Of armies on the march, depict 28

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