Khajuraho Group of Monuments

Khajuraho Group of Monuments

UNESCO World Heritage Site
Criteria	Cultural: i, iii
Reference	240
Inscription	1986 (10th session)

The Khajuraho Group of Monuments in Khajuraho (Template:Lang-hi), a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, are one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculpture. The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site, and is considered to be one of the "seven wonders" of India.

The name Khajuraho, ancient "Kharjuravāhaka", is derived from the Sanskrit words kharjura = date palm and vāhaka = "one who carries".

Town

Khajuraho (Template:Lang-te,Template:Lang-hi) is a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, the capital city of India.

One of the most popular tourist destinations in India, Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculpture. The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site, and is considered to be one of the "seven wonders" of India.

The name Khajuraho, ancient "Kharjuravahaka", is derived from the Sanskrit word kharjur meaning date palm.

Geography

Khajuraho is at . It has an average elevation of 283 metres (928 feet).

Demographics

As of 2001 India census, Khajuraho had a population of 19,282. Males constitute 52% of the population and females 48%. Khajuraho has an average literacy rate of 53%, lower than the national average of 59.5%: male literacy is 62%, and female literacy is 43%. In Khajuraho, 19% of the population is under 6 years of age.

History

Some Bargujar Rajputs moved eastward to central India; they ruled over the Northeastern region of Rajasthan, called Dhundhar, and were referred to as Dhundhel or Dhundhela in ancient times, for the region they governed. Later on they called themselves Bundelas and Chandelas; those who were in the ruling class having gotra Kashyap were definitely all Bargujars; they were vassals of Gurjara - Pratihara empire of North India, which lasted from 500 C.E. to 1300 C.E. and at its peak the major monuments were built. The Bargujars also built the Kalinjar fort and Neelkanth Mahadev temple, similar to one at Sariska National Park, and Baroli, being Shiva worshippers

The city was the cultural capital of Chandela Rajputs, a Hindu dynasty that ruled this part of India from the 10-12th centuries. The political capital of the Chandelas was Kalinjar. The Khajuraho temples were built over a span of 200 years, from 950 to 1150. The Chandela capital was moved to Mahoba after this time, but Khajuraho continued to flourish for some time. Khajuraho has no forts because the Chandel Kings never lived in their cultural capital.

The whole area was enclosed by a wall with eight gates, each flanked by two golden palm trees. There were originally over 80 Hindu temples, of which only 25 now stand in a reasonable state of preservation, scattered over an area of about 20 square kilometres (8 sq mi).

Today, the temples serve as fine examples of Indian architectural styles that have gained popularity due to their explicit depiction of sexual life during medieval times. Locals living in the Khajuraho village always knew about and kept up the temples as best as they could. They were pointed out to an Englishman in late 19th century but the jungles had taken a toll on all the monuments.

Architecture

Lakshmana temple at Khajuraho, a panchayatana temple. Two of the four secondary shrines can be seen. Another view

Devi Jagadambi Temple

Dulhadeo Temple

The temples are grouped into three geographical divisions: western, eastern and southern.

The Khajuraho temples are made of sandstone. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons.

These temples of Khajuraho have sculptures that look very realistic and are studied even today.

The Saraswati temple on the campus of Birla Institute of Technology and Science, Pilani, India, is modeled after the Khajuraho temple.

Chronology

The temples have been assigned the following historical sequence by Dr. Kanhaiyalal Agrawal.

Sequence	Modern name	Original Deity	Note
1	Chausath Yogini	64 Yoginis	Est 9th c.
2	Brahma	Brahma	Eastern group
3	Lalgun Mahadev	Shiva	Contemp to 2
4	Matangeshwar	Shiva	In active worship
5	Varaha	Varaha
6	Lakshman	Vaikuntha Vishnu	Lakshavarma Inscription
7	Parshvanath	Adinath	Pahil inscription 954 AD, Jain Compound
8	Vishvanath	Shiva	Dhanga inscription Sam 1059
9	Devi Jagadambi	Initially Vishnu but today Parvati
10	Chitragupta	Surya
11	Kandariya Mahadeva	Shiva	Largest
12	Vamana	Vamana	Eastern Group
13	Adinath	Jina	Jain compound
14	Jawari	Vishnu	Eastern group
15	Chaturbhuja	Vishnu	Southern
16	Duladev	Shiva	South end
17	Ghantai	Jina	Only some columns remaining

Statues and carvings

The Khajuraho temples do not contain sexual or erotic art inside the temple or near the deities; however, some external carvings bear erotic art. Also, some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. There are many interpretations of the erotic carvings. They portray that, for seeing the deity, one must leave his or her sexual desires outside the temple. They also show that divinity, such as the deities of the temples, is pure like the atman, which is not affected by sexual desires and other characteristics of the physical body. It has been suggested that these suggest tantric sexual practices. Meanwhile, the external curvature and carvings of the temples depict humans, human bodies, and the changes that occur in human bodies, as well as facts of life. Some 10% of the carvings contain sexual themes; those reportedly do not show deities, they show sexual activities between people. The rest depict the everyday life of the common Indian of the time when the carvings were made, and of various activities of other beings. For example, those depictions show women putting on makeup, musicians, potters, farmers, and other folk. Those mundane scenes are all at some distance from the temple deities. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities.

Another perspective of these carvings is presented by James McConnachie. In his history of the Kamasutra, McConnachie describes the zesty 10% of the Khajuraho sculpture as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

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  Chaturbuj Temple
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  Lakshman temple
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  Lakshman temple
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  Lakshman temple
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  Lakshman temple
• 
  Lakshman temple
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  Lakshman temple
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  Outside wall of one of the temples

While the sexual nature of these carvings have caused the site to be referred to as the Kamasutra temple, they do not illustrate the meticulously described positions. Neither do they express the philosophy of Vatsyayana's famous sutra. As "a strange union of Tantrism and fertility motifs, with a heavy dose of magic" they belie a document which focuses on pleasure rather than procreation. That is, fertility is moot.

The strategically placed sculptures are "symbolical-magical diagrams, or yantras" designed to appease malevolent spirits. This alamkara (ornamentation) expresses sophisticated artistic transcendence over the natural; sexual images imply a virile, thus powerful, ruler.

Between 950 and 1150, the Chandela monarchs built these temples when the Tantric tradition may have been accepted. In olden days, before the Mughal conquests, when boys lived in hermitages, following brahmacharya until they became men, they could learn about the world and prepare themselves to become householders through examining these sculptures and the worldly desires they depicted.

While recording the television show 'lost worlds' for the history channel at Khajuraho Alex Evans, a contemporary stonemason and sculptor gave his expert opinion and forensically examined the tool marks and construction techniques involved in creating the stunning stonework at the sites. He also recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. These temples would have required hundreds of highly trained sculptors.

Landscape

The Khajuraho temples are now set in a parkland landscape. When India gained independence from Britain in 1947 the landscape setting was semi-desert and scrub. The archaeological park now has something of the character of a public park, with mowed grass, rose beds and ornamental trees. This may be popular with visitors but has no relationship with the historic landscape at the time the temples were built.

The development of landscape archaeology as an academic discipline raises questions concerning the earlier landscape of Khajuraho and the original relationship between the temple complex and the surrounding area. There are no records of what the original landscape might have been, but it is known that a large community of priests used the temple complex and that Indian gardens in the tenth century were predominantly tree gardens. They did not have lawns or herbaceous flowering plants.

Tourism

Khajuraho temple complex offers a well-made light and sound show every evening. The first show is in English language and the second one in Hindi. The show is about an hour long and covers the history, philosophy and the art of sculpting of these temples. It is held in the open lawns in the temple complex.

The Khajuraho Dance Festival, held every year in February/March, is an opportunity for visitors to experience various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

Recent discovery

The Archaeological Survey of India has recently started digging on a mound where perhaps the largest underground temple in Khajuraho has been unearthed. The dig will take at least a couple of years to conclude.

See also

• Bambar Baini the famous temple located on a hill in Laundi.
• Kandariya Mahadeva
• Hemvati
• Kalinjar
• Beejamandal
• Jain temples of Khajuraho
• List of megalithic sites
• Madhya Pradesh
• Bandhavgarh National Park

Further reading

• Phani Kant Mishra, Khajuraho: With Latest Discoveries, Sundeep Prakashan (2001) ISBN 8175741015
• Devangana Desai, The Religious Imagery of Khajuraho, Franco-Indian Research P. Ltd. (1996) ISBN 81-900184-1-8
• Devangana Desai, Khajuraho, Oxford University Press Paperback (Sixth impression 2005) ISBN 978-0-19-565643-5

External links

• Images of Khajuraho Sculptures