Less than a two-hour flight from Kashi, Khajuraho is my favorite place in India besides Kashi. When I take folks on a Northern Indian tour, I usually spend time in Khajuraho and Orchha to unwind, relax, and explore temples, yoga, and spirituality. Khajuraho is a modest town in the central region of India. It has captivated the fascination of both travelers and scholars due to its extraordinary ensemble of temples adorned with intricate and sensual sculptures. Dating back to the 10th and 11th centuries, these temples exemplify architectural beauty and serve as a profound historical testament, offering insights into India’s rich cultural heritage. This academic exploration delves into the Khajuraho temples’ historical, architectural, and cultural dimensions, shedding light on their significance as a repository of India’s diverse artistic, scientific, and religious traditions. One cannot help but bow down at the marvel of Khajuraho.
The Chandela Dynasty: Architectural Marvel in Stone
Khajuraho owes its historical roots to the Chandela dynasty, a medieval Indian ruling clan that flourished during the 10th to 13th centuries. Under their patronage, the temples of Khajuraho were meticulously constructed, reflecting the Chandela rulers’ role as political leaders and patrons of art and culture. These temples were conceived as centers for both spiritual contemplation and artistic expression, utilizing the scientific principles of Vastu Shastra. Vastu Shastra is the “science of architecture,” an ancient Indian system encompassing design principles, layout, measurements, ground preparation, space arrangement, and spatial geometry. It seeks to integrate architectural elements with nature, utilizing geometric patterns, symmetry, and directional alignments to harmonize life with the energies present in the environment. This traditional system, rooted in the Vedic period, systematically intertwines science, art, astronomy, and astrology, offering concepts to create living spaces in harmony with nature.
The temples of Khajuraho showcase a distinctive blend of architectural styles, prominently featuring the Nagara-style architecture characterized by ornate spires and intricately carved facades. Beyond this, the temples incorporate elements from various regional styles, underscoring the assimilative nature of Indian culture in the medieval period.
In ancient India, a dichotomy existed among ruling lineages: those tracing their heritage to the solar symbolism denoting power and dynamism, and those associated with lunar ancestry, symbolizing an appreciation for cultural arts and refinement. The Chandellas, exemplifying the latter, showcased their penchant for artistic prowess through their legacy. According to Gill (2008), Khajuraho, a village in central India, once boasted over 85 temples, but only 24 remain today, dating from the peak of the Chandella dynasty’s rule between A.D. 950-1050. The Chandella Dynasty, reigning for over four centuries, displayed military prowess, religious unity, and diplomacy in controlling Bundelkhand, central India. The dynasty’s history is reflected in temple inscriptions and sculptural elements. An inscription at the Lakshmana Temple traces the Chandella genealogy to the Moon-God Chandra, establishing their divine connection. As Sadhguru (2022) explains, the temples are best experienced at night to see the interplay of the Moon in the sky and the spiritual and energy dimensions of the construction and the space.
The Chandellas’ transition from chiefdom to empire occurred through military conquests, culminating in the reign of Dhanga (A.D. 950-999), the dynasty’s peak, Gill (2008) further continues to explain. Madanavarman, the last notable ruler, built the Duladeo temple, marking the culmination of the Chandella reign in A.D. 1165. Subsequent rulers faced challenges, and the dynasty eventually succumbed to Muslim invasions in A.D. 1309. The Chandella rule spanned from A.D. 831 to 1308, with the construction of temples occurring from A.D. 900 to 1130. The peak of temple construction correlated with the Chandellas’ zenith, emphasizing the connection between their power and architectural endeavors. The temples of Khajuraho embody India’s religious pluralism, dedicating some to Hindu deities such as Shiva, Vishnu, and Shakti or Devi, while others represent Jainism. The coexistence of the different streams within the same complex and the well-preserved Jain temples in the vicinity serves as a testament to India’s historical religious tolerance and interfaith harmony.
Vastu Purusha: The Micro and the Macro
The renowned sculptures of Khajuraho constitute its most captivating feature, numbering in the thousands and offering a vivid portrayal of everyday life in medieval India; this is especially evident if one experiences the space around dusk and dawn. The exterior friezes of numerous temples consist of intricate erotic sculptures, serving as a testament to artisans’ fidelity in representing life’s realities and human biology authentically. Paradoxically, upon entering these sacred precincts, a conspicuous transition occurs, wherein the focus shifts from the physical realm to a pursuit of spiritual transcendence. This transition is palpably mirrored in the artistic manifestations both within and outside these temples. Sadhguru speaking about the timelessness of the structures characterizes the temples as a “glorious worship and an unadulterated celebration of all aspects of life.” Indian temples transcend mere spaces for devotion or supplication; they are meticulously crafted to harmonize with cosmic geometry, and the Khajuraho monuments epitomize this design philosophy.
Although the focus is often overemphasis on sensual sculpture, far from mere sensuality, these sculptures depict various subjects, including representations of Deities, mythical creatures, animals, and nature motifs. Sexuality depiction on the temples has a purpose – sexuality is recognized as part of life, and the sensual and sexual carvings are at the bottom portions of the temples as if the temple is a seated body, where our reproductive organs are physically situated. As one moves from the bottommost layers to the top along the spinal Chakras, depicting the rise of the Kundalini energy in yoga, the sculptures become “refined” in a sense (Kanojia, 2022b). This yoga physiology and imagery provides valuable insights into the era’s social, religious, and cultural milieu, depicting the possibility of transcendence from the mundane to the Divine. This is likely the most misunderstood aspect about the Khajuraho temples. One notable relief, seemingly depicting a foursome in a literal sense, has engendered diverse scholarly interpretations. Some scholars contend that this tableau symbolizes the allegorical ascent of Kundalini energy along the Sushumna Nadi, flanked by the Ida and Pingala channels—representing Purusha and a trinity of energies. This scholarly conjecture spotlight the multi-layered interpretations embedded within these artistic expressions.
The temples reveal their profound essence during the night, especially during Pradosham, a recurring event in the Hindu calendar deeply intertwined with the worship of the deity Shiva. Devotees participate in rituals involving Rudraksha and Vibhuti adornment, performing acts of reverence like abhisheka, applying sandal paste, presenting bael leaves and fragrances, diyas or lamps, and offering naivedya – symbolizing food offerings to Shiva. According to Sadhguru (2022), experiencing the Khajuraho temples is ideal on nights of the full moon or new moon. The ambiance of the temple undergoes a transformative “mood” during specific pujas conducted at each stage, synchronized with the lunar cycle throughout the night.
Rian et al. (2007) explain that Hindu cosmology revolves around the belief in an eternal cycle of creation, sustenance, and destruction, with Brahma as the Creator, Vishnu as the sustainer, and Shiva as the destroyer and regenerator. The trinity collectively represents Parameshwar, the Supreme Being. Before each cycle, a lotus grows from Vishnu’s navel, and Brahma is born on it to begin the universe’s creation. Brahma’s cycle repeats for 100 Brahma years, after which he is reborn to initiate a new cycle. Each universe takes 4,320,000,000 years to be created and an equal span to be destroyed. Mount Meru is considered the axis of the cosmos in Hindu mythology. Gods twisted the mountain to retrieve the elixir, amrita, lost during a cosmic flood. This churning of the ocean gave birth to all beings in the universe.
According to Hindu philosophy, the ultimate goal of human life is to attain liberation from the cycle of rebirth. Worshipping and meditating on the manifested form of the Supreme Being, known as moksha, is seen as a means to achieve this liberation. Temples are considered bridges between the physical and divine worlds, acting as microcosms of the cosmos (Kanojia, 2022a). The layout of temples is graphically designed to mirror the cosmic order, with the Vastu Purusha Mandala representing the physical environment and cosmic energies. This metaphysical diagram captures supernatural forces beneath the temple, with its center as the source of cosmic energies.
Many academics have studied the architectural and spiritual aspects of the Khajuraho temples (Kramrisch, 1976; Trivedi, 1989; Singh, 2011; Dutta & Adane, 2018; Parmar & Mishra, 2021; Kanojia, 2022a, 2022b) as described in the following sections. The construction and layout of temples are intricately connected to sacred geometry, particularly the Vastu Purusha Mandala, which serves as the mathematical foundation for design. This Mandala, a yantra, represents the universal Essence’s circular dwelling structure and embodies the cosmic man’s energy. Temples, akin to classical Indian music, form mandalas that profoundly influence the consciousness of visitors. Vedic cosmology references the Earth as a square, further conceptualizing it as a mandala symbolizing the cosmos. Bhakti, characterized by love and surrender, serves as a pathway to connect with the Divine. Many initiate this journey through physical immersion, often within structures like temples. Temples, acting as powerful instruments, function as charging stations for the atman. The human body and senses, linked to the Creator, find multiple connections within these sacred spaces. Temples play a vital role in bhakti, allowing devotees to experience the Divine in consecrated surroundings. Regardless of one’s ability to transform their body into a temple, external structures like temples provide a space to rejuvenate and replenish inner energies.
The consecration of a temple depends on the consecration of the Deity within it. Consecration, or Prana Pratishta, involves the infusion of life energies through specific rituals, sounds, mantras, and forms. This process requires continuous maintenance to keep the divine energy alive. A consecrated space or object facilitates a connection with the Source of Creation when one is in its vicinity. Like applied astrology, Vastu Shastra emphasizes the importance of choosing a harmonious location for constructing a temple. Sitting in silence within a temple allows for the recharging and realignment of life energies in harmony with the cosmos, reminding us of the play of the five great elements or the Pancha Maha Bhutas that constitute existence.
The basic plan of a Hindu temple follows sacred geometry based on the Vastu Purusha Mandala, also known as a yantra. This Mandala represents the circular dwelling structure of the universal Essence, serving as a communication link between humanity and the manifest Essence of all things. Through their construction based on this Mandala, Temples connect the microcosm to the macrocosm. Temples are thus considered windows of possibility or yantras, resembling machines with metaphysical qualities representing divinities, cosmic powers, and sound vibrations. Vastu, representing the physical environment, aligns with the energy or power of the cosmic entity, known as Purusha or Universal Consciousness. The Vastu Purusha Mandala captures divine attributes and cosmic energies within the constructed space.
According to Kumar (2020), the square-shaped Mandala symbolizes energy equilibrium, with the center as the source of all energies radiating outward to the physical world. Temple plans, viewed as sacred geometry, are based on this Mandala, connecting the microcosm to the macrocosm. The Mandala is divided into squares, totaling 100, with worship in temple construction focusing on either Nirgunopasana (the abstract Supreme) or Sagunopasana (the Supreme as a personal Ishwara with specific attributes). The Mandala holds spiritual and ritualistic significance in Hindu, Jain, and Buddhist beliefs, guiding the temple’s construction based on the attributes of the presiding deity (Kumar & Kumar, 2012).
In Vastu Shastra, the Mandala serves as a guideline for room allocation, similar to the principles of Feng Shui. Both systems aim to harmonize architecture with the five outstanding elements, avoiding negative energies and fostering positive forces in human life. The Vastu Purusha Mandala establishes communication between humans and the manifest Essence of all things. In temple construction, the design, or Mandala, connects the individual to the whole, reflecting a higher motive for employing complex rhythmic patterns. Based on the metaphysical Vastu diagram, the construction captures divine attributes and cosmic energies within the temple space. Legend supports this concept, depicting a formless being trapped by creator deities, symbolizing the Vastu Purusha Mandala.
The Mandala, divided into squares, serves as a guideline for worship, accommodating either the abstract Supreme or a personal Ishwara with specific attributes. It holds significance in Hindu beliefs, symbolizing spiritual and ritualistic concepts. For example, one of the grandest structures, the Kandariya Mahadev Temple in Khajuraho, exemplifies this construction approach, employing fractal geometry to represent Hindu cosmology and depict endless life cycles. The temple’s horizontal and vertical components, such as the entrance porch, columned assembly hall, and circumambulatory path, follow the principles of the Mandala, connecting the earthly structure to higher realms. The towering shape of the temple, with its shikhara depicting Mount Kailash or Mount Meru, symbolizes the connection between the devotee’s perception of this world and the world above (Rian et al., 2007). The layout presents a Hindu temple in a symmetrical, self-repeating structure influenced by central beliefs, myths, cardinality, and mathematical principles. It follows the 8×8 (64) grid Manduka Hindu Temple Floor Plan, based on Vastupurusamandala. This 64-grid is the most sacred and prevalent Hindu temple template. The luminous saffron center, where diagonals intersect above, symbolizes the Purusha of Hindu philosophy (Parmar & Mishra, 2021).
In Khajuraho, these temples were constructed on large jagatis, platforms typically granite. The jagatis supported substantial sandstone walls and sikharas, tower-like domes. Over time, temple design in Khajuraho evolved, with structures becoming taller and the intricate designs of the sikharas growing more elaborate, as described by Parmar & Mishra (2021). In medieval India, a temple architecture style, exemplified by five components (mandapa, ardhamandapa, anatarla, cella, and mahamandapa), emerged. Lal (1970) and Gill (2008) explain that the mandapa served as the main assembly hall, the cella housed deities, the ardhamandapa was the entrance porch, the anatarla connected outer and inner areas, and the mahamandapa was an ambulatory passage. These temples, known as sandhars, had five compartments, while Nirandar temples had four, lacking the anatarla. In Khajuraho, these structures were built on large jagatis, granite platforms supporting substantial sandstone walls and elaborate sikharas. Over time, Khajuraho’s temple design evolved, featuring taller structures and more intricate sikharas. While the fundamental Essence of these Shiva and Vishnu temples remains the same, the Kandariya Mahadev temple introduces a more stylized and sophisticated presentation, reflected in its higher fractal dimension range (Dutta & Adane, 2018).
Preservation and Tourism
Following a period of decline, Khajuraho and its temples were abandoned, concealed, and preserved by dense forests. Only in the 19th century did British surveyor T.S. Burt stumble upon the still-standing ancient marvels. Eventually, the “discovery” ignited international interest, leading to restoration initiatives and securing Khajuraho’s designation as a UNESCO World Heritage Site. However, the temples have not been immune to controversy. Prudish British and Muslim conquerors, misconstruing the purportedly “sexual” content of these structures, wreaked destruction upon numerous ancient temples. Their actions stemmed from a lack of comprehension regarding local customs, cultural nuances, and the symbolic import of these depictions. Even Mahatma Gandhi, renowned for his oddball decisions, briefly entertained the notion of demolishing the Khajuraho temples. Fortunately, this proposal did not materialize, highlighting the pervasive misunderstandings surrounding these architectural treasures and their intricate symbolism within India’s cultural and spiritual tapestry.
Regrettably, the Khajuraho group of monuments now stands as a mere symbol, devoid of any rituals or worship. Despite the impeccable preservation of the structures, devotees’ access is restricted. The only active Shiva temple within the compound is the Matangeshvara Temple, dedicated to venerating Lord Shiva in the Hindu tradition. In contrast to several other temples in the vicinity renowned for their intricate erotic carvings, this temple stands distinguished by its architectural simplicity. Crafted from sandstone, its rectangular structure dons a flat roof and notably lacks the sensual sculptures prevalent elsewhere. The temple entrance hosts the lingam, symbolizing Lord Shiva, within a small porch.
Remarkably, this temple presents a unique aspect with a separate entrance, positioned beyond the perimeter of the western group of temples, adjacent to the Lakshmana temple. Exhibiting the quintessential traits of Nagara architectural style prevalent in the region, the Matangeshvara Temple unfolds with a primary shrine, entrance porch, modest and expansive halls, a vestibule, and a sanctum that enshrines a stone linga encircled by a circumambulatory passage, flanked by balconies on three sides, facilitating natural light and ventilation. The temple’s base hosts numerous niches adorned with sculptures portraying the Saptamatrikas, Shiva’s consort Parvati, and a lively depiction of Ganesha engaged in dance. As per historical records, a sage named Matanga assumed the form of a lingam and wielded authority over the deity of love. His hermitages were situated at Khajuraho, Kedarnath, Varanasi, and Gaya, which now stand as the locations for four Matangeshvara or Lord of Matanga temples. An alternative narrative suggests that the temple derives its name from an aspect of Shiva associated with controlling the Kama – the Deity of Love. Within the temple rests a towering lingam measuring 8.2 feet in height and 3.6 feet in diameter. Positioned upon a base platform reaching 3.9 feet in height and spanning a diameter of 24.9 feet.
Diligent preservation efforts ensure that future generations can witness the splendor of this historical site; one can continuously see painstaking efforts to keep the structures and the area pristine. Tourism plays a pivotal role in projecting Khajuraho’s global significance, attracting visitors from diverse corners of the world. It is best to dedicate a couple of days to walking around and experiencing the temples in this complex and also visit other temples in the area, including the Vishnu temple as well as the now robbed of its glory, the Yogini temple adjacent to the Western Group of Temples. This and other Yogini temples in the Bundelkhand area deserve a stand-alone article! There is a chill coffee shop that caters to foreign visitors, and a few shops in the area sell excellent quality silver, much of it local, some from Latin America!
Khajuraho remains a perennial source of inspiration for artists, scholars, and travelers. Its sculptures, characterized by exquisite detailing and symbolism, engender academic debates, artistic interpretations, and feminine prowess. Contemporary artists and historians draw inspiration from these ancient creations, fostering a deeper understanding of India’s Hindu cultural and spiritual lineage. The variety of hotels and accommodations, long and short-term, matches the quiet gravity of the town. The evening sound and light show is worth attending once, but carry bug spray and bundle up for the cool nights. Many hotels are affiliated with Kerala-style massage and oil therapies worth experiencing. The fresh and phenomenal food in the nature reserves and surrounding water bodies is welcoming. A visit here makes one think about the deep science behind how the soil was tested, temples built, and the town’s infrastructure followed the temple construction. Here, history is beautifully frozen in time.
In essence, Khajuraho rises above mere architectural splendor, pulsating with the heartbeat of history. It stands as a living testament to the vibrant mosaic of India’s artistry, the resilient spirit of its people, and the beacon of religious tolerance that has illuminated its path through the ages. The sculptures etched into Khajuraho’s stones are not mere carvings; they are passionate storytellers of a bygone era, offering us an invaluable window into the rich tapestry of India’s cultural legacy. As this historical gem defiantly stands against the ravages of both barbarity and time, it remains an indispensable marvel, an unwavering symbol in the epic chronicles of human history.
References
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