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A unique feature of the Khajuraho temples is that, contrary to custom,
they are not enclosed within walls, but stand on a high terrace of solid
masonry, as though in an effort to rise above their temporal
surroundings. In addition, the constituent parts are not built as
separate units but present an architectural synthesis of striking unity.
The Khajuraho temples are, however, not as imposing in size as the
Orissan, but achieve the same grandeur through their graceful
proportions and superb surface decoration. The largest of these is only
about a hundred feet in length. As a rule there are three main
compartments, namely, the garbhagriha, the mandapa and the
ardhamandapa or entrance portico, arranged in the fashion of a
cross. The antarala, the mahamandapa or the transepts and
the perambulatory passage supplement the other compartments in the more
developed examples. The aspiring quality associated with most styles of
temple architecture is emphasized in the Khajuraho group to a marked
degree. The entire mass of granite or sandstone, of which most of these
are constructed, appears to have an upward movement, the effect of
loftiness being further enhanced by a number of pronounced vertical
projections. The range of open porches with overhanging eaves running
horizontally around the temple serves to let in light, thus throwing a
band of vivid shadow over the entire composition.
The exterior of the temples,
decorated with parallel friezes in high relief, displays a rare wealth
of human and divine forms, pulsating with life and warmth, moving in a
pageant of unending variety and presenting themes of inexhaustible
interest. The graceful animation of these lifelike forms, the consummate
skill with which they are executed on the stone walls, and the vast
variety and ingenuity of the techniques employed are unparalleled in any
other similar style of temple architecture. The tenuous, flowing lines
of the shikhara give it an elegant and refined quality which the Orissan
shikharas do not possess in the same degree. The solid strength
of these temples becomes infused with fresh beauty on account of the
graceful shikharas. In sharp contrast with the austerely simple
interiors of the Orissan temples, the halls at Khajuraho are richly
carved. In addition to the oversailing courses of masonry the richly
sculptured ceiling is supported by four pillars –one at each corner of
the hall – which bear heavily ornamented bracket capitals. The pillars
are carved above and below with grotesque figures of dwarfs and
griffins. In the spaces in-between are statuettes of sculptured feminine
forms in attitudes of enchanting grace and loveliness. The sharp
contrast presented by the forbidding appearance of the former and the
pervasive beauty of the latter perhaps symbolizes the triumph of beauty
over ugliness, or that of the spiritual over the bestial.
As in the wall sculptures of the Orissan temples, eroticism is a
recurrent theme in the shrines at Khajuraho. Various theories have been
advanced to account for this, but the commonly accepted explanation is
that the many erotic groups depicted here with such abandon represent,
the mithuna ritual of the Tantric cult, according to which
personal salvation can be attained only through experience: both sensual
and spiritual. Another belief is that, being a powerful human experience
signifying complete fulfillment through union, the sexual experience
here symbolizes the fusion of the individual with the divine. Yet
another theory holds that since such sculptures are usually found on the
exterior surfaces of a temple and are absent from the interior, it may
be concluded that they are meant to test the devotion of the worshipper
or to warn him against entering the sanctum until he has conquered
carnal desire. Whatever the significance of these sculptures may be, it
is fairly clear from their intrinsic artistic merit that the sculptors
who fashioned them found the temple walls an easy canvas for the
depiction of such an elemental theme as love between man and woman.
The twelve Vaishnava and Shaiva
temples to the northwest of the site form the most important of the
groups at Khajuraho. Among these is the Shiva shrine of Kandariya
Mahadev, the largest and most representative of all the Khajuraho
temples. Planned like a double armed cross, this temple has an air of
vibrancy attributable as much to the masterly skill with which the
various parts of the temple are related, as to the superb gallery of
sculptures which embellishes its walls.
Built on the same principle as the
Kandariya Mahadev, but much smaller, are the Shiva temple of Vishvanath
and the Vishnu temple of Chaturbhuj. The former is believed to have been
built around 1000 A.D. and both are of the panchayatana type. Facing the
Vishvanath temple and built on the same platform is a small temple which
houses a colossal statue of Nandi, Shiva's bull. The temple of Devi
Jagadamba, now dedicated to the goddess Kali, was originally a Vishnu
shrine. There were four additional shrines, which are characteristic of
panchayatana temples, but these have now disappeared. The
Chhattr-ka-patr temple is dedicated to Surya, the Sun-God, and is noted
for its elegant proportions. Another notable temple is dedicated to
Varaha, the boar incarnation of Vishnu, a large sculptured figure which
is installed in the center. The Matangeshwara and Parvati temples are
also notable examples of the northwestern group at Khajuraho.
Basically similar to the Brahmanical
temples, the Jain temples grouped together on the southeast of the site
are remarkable in that there is an almost complete absence of window
openings which characterize the foregoing group. The parallel friezes
of the statuary relieve the monotony of the walls to some extent. At
intervals, portions project like buttresses from the sculptured friezes
and are carved into pillared niches where the sacred images are
enshrined.
The Parshwanatha is the largest and
the most beautiful Jain temple at Khajuraho. The sanctum contains an
ornamental throne and a sculptured bull, the emblem of Adinath, the
first of the Jain Teerthankars. The modern image of Parshwanatha was
installed late in the 19th century. It is significant that this Jain
temple also houses images and sculptures of Brahmanical gods and
goddesses, for it speaks of a spirit of tolerance not often seen in
places of worship.
A cluster of 12 pillars, standing a
little apart from the main group, is all that remains of the Jain temple
known as Ghantai, but these have attracted considerable attention on
account of their Attic beauty. According to Percy Brown, it is
"evidently the handiwork of a group of the most accomplished craftsmen
of the time."
Along with Jain temples, this
southeastern group also includes Brahmanical ones such as the Duladev
and the Chaturbhuj. The Kunwar Math lying south of the Jain group near
Kurar Nala is perhaps the finest example of this class. Remains of
temples, belonging to the same period and of the same type, have been
found, as far as Rewa State (e.g., the Visvanath temple at Maribag).
Temples which may roughly be called Central Indian are found in various
states of preservation situated all the way from Jabalpur to Jhansi, and
as far as Orissa and Rajasthan. The Shiva temple at Baroli, believed to
date from the 9th or 10th century, compares very well with contemporary
structures in Orissa, both from the point of view of richness of design
and fineness of sculpture.
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