by A. J. PHILIP
Tiwari led us through the gate into a vast expanse of manicured green lawns, tall trees, paved footpaths and an array of temples of different sizes. Of course, it was not always like this. In fact, after the decline of the Chandela dynasty and the arrival of the Mughals, the temples fell into disuse with wild weeds and trees growing all over the area and mud accumulating over the structures.
One intriguing aspect of Khajuraho is that there are no remains of palaces and forts, which strengthens the theory that it was the cultural, not the administrative, capital of the Chandela dynasty. They never felt compelled to have a fort, though the temples were in a walled complex.
There were in all 80 temples located in what is today known as the western, eastern and southern groups. It was Alexander Cunningham, the pioneering archaeologist, who got the area excavated and brought the exquisiteness of the temples to the world’s attention. However, it was Dr Rajendra Prasad, India?s first President, who after a visit to Khajuraho, asked the Archaeological Survey of India, to protect and preserve the temples for posterity.
Alas, only 25 or so temples could be saved, the rest having crumbled beyond recognition. Khajuraho got a boost when it was declared a UNESCO World Heritage Site. The guide first took us to the Varaha mandap, opposite the Lakshmana temple. A flight of stairs led us to an open pavilion, which housed a large sculpture of Varaha, the boar incarnation of Vishnu. It was a large single piece of rock on which were sculpted hundreds of gods and goddesses.
Just outside the enclosure was a Shiv temple bustling with worshippers. It is known as the temple of Matangeshwara. It has an enormous lingam, nearly 3 metres high, believed to have been brought there by Arjuna and worshipped by Yudhishtira. As we walked in clockwise direction, the first site we entered was the Lakshmana temple.
The temples in Khajuraho were built between 950 and 1150 BC. Sandstones were used for the construction of these timeless marvels. Instead of mortar, mortise and tenon joints were used to keep the stones together using the principles of gravity.
All the major temples are built on raised platforms. They are famous for erotic sculptures, which form only 10 per cent of the total. There is a misconception that the temples depict gods and goddesses in amorous pursuits. Except for Shiva and Parvati, who symbolize cosmic union, there is no such depiction. The amorous couples are mostly human beings.
The temple walls have several layers of sculptures that depict life during the Chandela period in all its variety. There are scenes that show elephants in procession, hunters pursuing their prey, musicians playing for the royals, couples drunk on love and liquor and female attendants fanning their king. Of course, there are couples indulging in activities that force a sculpted lady to close her eyes with both her hands.
The inside walls are as delicately carved and embellished as the outside ones, though sex is not depicted there. In the sanctum sanctorum is the three-headed image of Vishnu-Vaikuntha, which features one human head and the head of two of Vishnu?s avatars, a lion and a boar.
Theories abound as to why sex in diverse forms is depicted in these temples. One story is that the Moon god was so enamoured of the beauty of a young maiden, taking bath in a pool that he descended on earth for a passionate affair. Before returning to the celestial world, he swore that she would beget a son, who would build a temple to celebrate the beauty of their divine love. Thus was born the Rajput Chandela dynasty.
“There are 84 positions in the Kama Sutra and they are all depicted here”, said the guide. But on checking I found that his information was wrong as Maharshi Vatsyayana had thought of only 64 and all of them are not depicted there.
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