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Erotic Linga Temples of Khajuraho

DR Uday Dokras
Worship and Ritual

The great and lesser Hindu gods are worshiped in a number of concentric circles of public
and private devotion. Because of the social basis of Hinduism, the most fundamental
ceremonies for every Hindu are those that involve the rites of passage (samskaras). These
begin with birth and the first time the child eats solid food (rice). Later rites include the first
haircutting (for a young boy) and the purification after the first menstruation (for a girl);
marriage; and the blessings upon a pregnancy, to produce a male child and to ensure a
successful delivery and the child's survival of the first six dangerous days after birth (the
concern of Shashti, goddess of Six). Last are the funeral ceremonies (cremation and, if
possible, the sprinkling of ashes in a holy river such as the Ganges) and the yearly offerings
to dead ancestors. The most notable of the latter is the pinda, a ball of rice and sesame seeds
given by the eldest male child so that the ghost of his father may pass from limbo into rebirth.
In daily ritual, a Hindu (generally the wife, who is thought to have more power to intercede
with the gods) makes offerings (puja) of fruit or flowers before a small shrine in the house.
She also makes offerings to local snakes or trees or obscure spirits (benevolent and
malevolent) dwelling in her own garden or at crossroads or other magical places in the
village.

Many villages, and all sizable towns, have temples where priests perform ceremonies
throughout the day: sunrise prayers and noises to awaken the god within the holy of holies
(the garbagriha, or “womb-house”); bathing, clothing, and fanning the god; feeding the god
and distributing the remains of the food (prasada) to worshipers. The temple is also a cultural
center where songs are sung, holy texts read aloud (in Sanskrit and vernaculars), and sunset
rituals performed; devout laity may be present at most of these ceremonies. In many temples,
particularly those sacred to goddesses (such as the Kalighat temple to Kali, in Kolkata), goats
are sacrificed on special occasions. The sacrifice is often carried out by a special low-caste
priest outside the bounds of the temple itself. Thousands of simple local temples exist; each
may be nothing more than a small stone box enclosing a formless effigy swathed in cloth, or
a slightly more imposing edifice with a small tank in which to bathe. In addition, India has
many temples of great size as well as complex temple cities, some hewn out of caves (such as
Elephanta and Ellora), some formed of great monolithic slabs (such as those at
Mahabalipuram), and some built of imported and elaborately carved stone slabs (such as the
temples at Khajuraho, Bhubaneshwar, Madurai, and Kanjeevaram). On special days, usually
once a year, the image of the god is taken from its central shrine and paraded around the
temple complex on a magnificently carved wooden chariot (ratha).

Many holy places or shrines (tirthas, literally “fords”), such as Rishikesh in the Himalayas or
Benares on the Ganges, are the objects of pilgrimages from all over India; others are
essentially local shrines. Certain shrines are most frequently visited at special yearly festivals.
For example, Prayaga, where the Ganges and Yamuna rivers join at Allahabad, is always
sacred, but it is crowded with pilgrims during the Kumbha Mela festival each January and
overwhelmed by the millions who come to the special ceremony held every 12 years. In
Bengal, the goddess Durga's visit to her family and return to her husband Shiva are celebrated
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every year at Durgapuja, when images of the goddess are created out of papier-mâché,
worshiped for ten days, and then cast into the Ganges in a dramatic midnight ceremony
ringing with drums and glowing with candles. Some festivals are celebrated throughout India:
Diwali, the festival of lights in early winter; and Holi, the spring carnival, when members of
all castes mingle and let down their hair, sprinkling one another with cascades of red powder
and liquid, symbolic of the blood that was probably used in past centuries.

This extremely conservative country was once home to the world’s first sex treatise and the erotic art on display is
perhaps more shocking now than when it was created.

But India was not always like this. Sexual norms were far more liberal before the 13th Century.

What led to the creation of Khajuraho temples?

As per the legends, Hemvati was a beautiful woman, after whom the Khajuraho temples were
built. One day, when she was bathing in a pool in Benaras, the Moon God was swooned by
her beauty, and could not wait any longer to see her. They conceived a child and named him
Chandravarman. However, she feared that her child might have to face harassment as he was
born out of wedlock. She was so distressed that she cursed the Moon God, who later
prophesied that the child will grow up to become a great king.

Just like the prophecy, the child indeed grew to become a great king, who founded the
Chandela dynasty. One day, after Hemvati passed away, her son saw her in his dreams, where
she asked him to construct temples that would depict human passions.

India has been a particularly conservative country for the last few hundred years, influenced
by the puritanism of several groups, including Islamic dynasties, British overlords and the
country’s own Brahmin priestly caste. But India was not always like this. Sexual norms were
far more liberal before the 13th Century, giving equal importance to the secular and the
spiritual. Sex was taught as a subject in formal education, and Kamasutra, the world’s first
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sex treatise, was written in ancient India between the 4th Century BCE and the 2nd Century.

Sculptures of a sexual nature (Credit: Charukesi Ramadurai)

In fact, if you look closely, reminders of these more liberal times can be seen across the
country. They’re literally carved in stone in the form of erotic motifs on the lower walls of
the 13th Century Sun Temple at Konark in the east Indian state of Orissa. Nudity is
prominent in the paintings and sculptures of heavenly maidens at Maharashtra’s Buddhist
rock-cut monastic caves, Ajanta (2nd Century BCE) and Ellora (5th to 10th Centuries).

Of the original 85 temples, just more than 20 remain (Credit: Charukesi Ramadurai)
India's most graphic example of erotic temple art
However, the best-preserved and most graphic example of erotic temple art can be found in
the small town of Khajuraho in the central Indian state of Madhya Pradesh. Its elegantly
carved Hindu temples were declared a Unesco World Heritage site in 1986. Built by the
Chandela dynasty between 950 and 1050, only 22 of the 85 original temples remain.
When I entered the 6sqkm site late one winter afternoon, the sandstone glowed a burnished
gold. Local women carried fresh flowers and incense sticks for their prayers, while visitors
perambulated the outer corridors, gawking at the profuse and intricate sculptures that covered
every inch of the walls. There were images of gods and goddesses, warriors and musicians,
animals and birds. It could have been a scene from any temple in India.
Many of these carvings were of an intensely erotic nature, featuring men, women and animals.
But on closer inspection, many of these carvings were of an intensely erotic nature, featuring
men, women and animals. There were depictions of threesomes, orgies and bestiality.
Although I knew what to expect, I was still taken aback by shapely maidens and virile men
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contorting their bodies in impossible sexual positions, right next to sculptures of divine
beings smiling blissfully at the devout. Although a few stones were chipped and several limbs
broken, the carvings were incredibly pristine, considering that the temples are more than
1,000 years old.

admire the stone carvings /A woman offers prayers at the temple

There are various theories about the existence of such graphic erotic motifs. One of the more
exotic ones propounds that since Chandela kings were followers of Tantric principles, which
dictate the balance between the male and female forces, they promoted their faith in the
temples they created.
Some believe the depiction of sexual activities was considered a good omen.
Other theories have to do with the role of temples themselves in those times: they were
considered places of learning as well as worship – especially of the finer arts, including the
art of lovemaking. In addition, some believe that the depiction of sexual activities in temples
was considered a good omen because it represented new beginnings and new life.

Carvings cover every inch of the outer walls

That apart, Hinduism has traditionally considered sex an essential part of life, which could be
why the carvings are casually interspersed between others that portray activities as varied as
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prayer and war. The fact that they are set in plain view and not tucked away in an obscure
corner seems to suggest that their creators meant for them to be seen by all.

Isolation helped these graphic motifs survive

Bizarrely, there’s no reason why these ornate temples were built at Khajuraho, since there’s
no clear record of whether there was even a kingdom in this location. The survival of these
graphic motifs can likely be attributed to their isolation for hundreds of years in the region’s
once-thick forest, only rediscovered by Englishman Captain TS Burt in 1838. In fact, Burt
himself had to be persuaded by his Indian attendants to make the journey; he didn’t believe
anything of interest would be found at the remote spot. These charmed temples have also
managed to evade the wrath of India’s moral police, who in recent years banned or destroyed
a range of cultural artefacts, ranging from Salman Rushdie’s books to MF Hussain’s
paintings.
But what I found even more interesting than the explicit carvings and the history behind them
was the fact that entire families were quietly engrossed in the guide’s speech as he analysed
the spicier carvings high on the walls of the magnificent Kandariya Mahadeva temple. No
eyebrows were raised, no embarrassed looks were exchanged, no giggles escaped young lips.
Perhaps the art is unobjectionable when crouched within a religious context – but I came
away believing that Khajuraho holds within its walls a larger lesson on tolerance for India.

Many sculptures depict bestiality

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KHAJURAHO, ITS EROTIC RELIEFS AND THE CHANDELAS

KHAJURAHO
Khajuraho (600 kilometers southeast of Delhi, 400 kilometers south of Agra) is remote
city famed for its erotic temples. The origin of the temples and the history of the
Chandela dynasty that built them is not completely understood. But it is known that at
least 850 temples were built between A.D 950 and 1050 over a wide area, of which 22 are
still in fairly good shape. The city was built in such a remote location so that it could
escape the ravages of invaders.
What makes Khajuraho so interesting are the sculptures of gods, goddesses and mortal in
various love-making positions on the sandstone walls of the temples. In one extraordinary
bas-relief a man doing a headstand is shown getting it on with a woman — held off the
ground by a pair of large-breasted assistants — doings the splits. The sculptures are
considered to be some of the best examples of erotic Hindu art in India. Most of the
temples have two or three bands of these sculptures.
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Khajuraho is situated in Madhya Pradesh among the Vindhya mountain range and
features both Hindu and Jain temples. The stunning intricate sculptures depict different
aspects of life — spirituality, love, friendship, sports and royal life — as well as sex.
Khajuraho was designated a UNESCO World Heritage Site in 1987. The complex of
Khajuraho represents a unique artistic creation, as much for its highly original
architecture as for the sculpted decor of a surprising quality made up of a mythological
repertory of numerous scenes of amusements of which not the least known are the scenes,
susceptible to various interpretations, sacred or profane.

Khajuraho is believed to have been built in a relatively short period of time: over
100 years, between A.D. 950-1050. The complex consists of 22 temple structures from a
group of 85 original ones that were built. Forgotten for centuries, they were rediscovered
in the 1850s and restored. The temples were conceived and built under the rule of the
Chandela dynasty. As for the source of the name Khajuraho, it is said the Chandela rulers
built a huge wall around the temples. The wall had eight gates flanked on either side by
khajur or date palm trees, which is found in abundance in this region. The temples were,
thus, called khajura vatika, or bearing khajura.

According to UNESCO: “Khajuraho is one of the capitals of the Chandella rulers, a

dynasty of Rajput origin which came into power at the beginning of the 10th century, and
reached its apogee between 950 and 1050. Of the 85 temples which were constructed at
Khajuraho during the Chandella period (and which were still resplendent: when the great
traveler Ibn Battuta noted them in 1335), 22 still exist, disseminated within an area of
about 6 square kilometers. [Source: UNESCO World Heritage Site website]

“The great “love temples” of northern India, including Khajuraho, were built in the
eleventh century by the Chandella dynasty...As, monuments of two distinct religions,
Brahminism and Jainism, the temples of Khajuraho are nonetheless distinguished by a
common typology: they comprise an elevated substructure, over which rises the body of
the richly decorated building, the 'jangha', covered with several registers of sculpted
panels on to which open-work galleries are opened. This is crowned by a series of
bundled towers with curvilinear contours, the Sikharas.

“The highest are found over the sanctuary of the divinity. Each of these towers, which is
characteristic of the temples in the Nagera style, symbolizes the 'cosmic mountain',
Mount Kailasha. The typical plan comprises an entrance, a large hypostyle hall
(mandapa), a dark sanctuary and finally various annexes.”

Chandelas
The Chandelas were the builders of Khajuraho. They ruled much of the Bundelkhand
region (then called Jejakabhukti) in central India southeast of Delhi between the 9th and
the 13th centuries. The Chandela or Chandel were a rajputs (a powerful military caste).
The Chandel dynasty is famous in Indian history for Maharaja Rao Vidyadhara, who
repulsed the attacks of Mahmud of Ghazni and was behind much of the erotic sculptures
at Khajuraho. The word Chandela is said to have evolved from of Chandratreya,
combination of two words indicating the lineage Chandra vamsa and Atreya gotra.
The origin of the Chandelas is shrouded in mystery. A legend attributes their descent to
the union of the Moon (Candrama) with a Brahman damsel. This is obviously an absurd
myth, invented for giving the clan a noble pedigree. In the opinion of Vincent Smith,
however, the indications are that the Chandelas sprang from the aboriginal stock of the
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Bihars or the Gonds, and their original seat was Maniyagarh on the Ken river in the
Chatarpur State.

The most important cities in the Chandela kingdom were Khajuraho, Kalanjara, and
Mahoba. Vincent Smith remarks: “The first-named town, with its group of magnificent
temples, may be regarded as the religious, the second, with its strong fortress, as the
military, and the third, with its palace, as the civil capital.” The Chandelas beautified
Bundelkhand by constructing a large number of exquisite religious edifices and
embanked lakes. One of the latter was the Madanasagara, formed by Madanavarman at
Mahoba.

The Chandelas came into prominence in southern Bundelkhand under the leadership of
Nannuka early in the ninth century. His grandson was Jeja or Jayasakti, after whom the
kingdom was called Jejakabhukti. It appears from traditions and epigraphic testimony that
the first few princes of the dynasty were feudatories of the great Pratihara emperors of
Kanauj. But Harsadeva Chandela enhanced the prestige and influence of the family
considerably by placing Mahlpala (Ksitipala) on the Imperial throne in opposition to his
brother or half-brother, Bhoja II. During the reign of Yasovatman, the Chandelas gained a
larger measure of independence, and aggrandised themselves at the cost of their
neighbours, viz., the Cedis, Malavas, Kosalas, etc. According to an inscription, found at
Khajuraho, Yasovarman was “a scorching fire to the Gurjaras,” and that he “easily
conquered the fort of Kalanjara,” one of the important strongholds of the Pratiharas. He is
also said to have compelled Devapala Pratihara to surrender to him a celebrated image of
Vaikuntha (Visnu), which he subsequently set up in a stately shrine at Khajuraho.

Chandelas Kings
Dhanga (c. A.D. 950-1002) was Yasovarman’s son and successor. Strangely enough,
however, he invokes the name of the Pratihara king (Vinayakapala II) as his overlord in
the Vikrama year 1011-954 A.D. It would, therefore, appear that like the Nizam of the
Deccan and the Nawabs of Oudh, who were virtually independent and yet nominally
acknowledged the suzerainty of the great Moghul at Delhi, the Candel ruler did not all at
once break off formal relations with the effete Imperial power at Kanauj, but for some
time maintained an outward show of submission. Subsequently-, the kingdom of
Jejakabhukti saw its palmy days under Dhanga, for an inscription, discovered at Mhow,
alleges that he attained to “supreme lordship after inflicting a defeat over the king of
Kanyakubja.” The success of the Chandelas is confirmed by the Khajuraho epigraph,
wherein we arc told that Dhariga ruled the earth “playfully acquired by the action of his
long and strong arms, as far as Kalanjara, and as far as Bhasvat situated (?) on the banks
of the river.Malava; from here to the banks of the river Kalindl (Jumna), and from here
also to the frontiers of the Cedi country, and even as far as that mountain called Gopa
(Gopadri), which is the unique abode of marvel.” The loss of Gwalior must have dealt a
severe blow to the fortunes of the Pratiharas, since thereby the Chandelas got hold of a
strategic position, which they could well use as a base for further encroachments. Indeed,
it is likely that towards the close of his reign Dhariga carried his arms up to Benares,
where he granted a village to a Brahman in the Vikrama year 1055-998 A.D. In 989 or
990 A.D. when Jayapala, the Sahi king, invited prominent Hindu states to help him in
resisting the aggressions of Sabuktigin, Dhariga, along with other potentates, promptly
responded with men and money, and shared the disaster suffered by the confederate
army.
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Ganda was Dhariga’s son, Ganda. He joined the coalition formed by Anandapala Sahi in
1008 A.D. to repel the invasion of Mahmud but nothing availed the Hindus and their
forces were utterly routed by the Sultan. Next, •Ganda sent an expedition under the
crown-prince, Vidyadhara, to punish Rajyapala of Kanauj for his pusillanimous surrender
to Mahmud about the end of 1018 A.D. The Pratihara monarch was, of course, slain, but
when the tidings reached Ghazni the Sultan was so enraged that he forthwith marched
against Nanda (Ganda) 1 to repress his audacity. Thus, the opponents came face to face in
H. 410— 1019 A.D. Just at the psychological moment, however, the Chandela ruler
became alarmed at the intrepidity and strength of the Muslim hosts, whereupon under
cover of night he c fled with some of his baggage and equipments.’ 2 In H. 413 — X022
A.D. Mahmud attacked the Candel territories for the second time. Having taken Gwalior
in 1023 A.D. he invested Kalanjara. Again, Nanda or Ganda cowardly submitted to the
invader, who thereupon gave him back the conquered forts, and triumphantly returned
home with a large booty.

Klrtivarman was the next distinguished member of this dynasty. He revived the power of
the Chandelas, which had been eclipsed in the time of his predecessors owing to the
military activities of the Kalacuri kings, Garigeyadeva and Laksml-karna. Klrtivarman
himself was vanquished by the latter in the earlier part of his reign, but it appears from
inscriptions and the prologue to Krisna Misra’s Vrabodha-Candrodaya, an allegorical
play in honour of Visnu and the Vedanta philosophy, that the Candel ruler eventually
won a decided Victory over his mighty Cedi rival.

Madanavarman was another notable figure, whose known dates range from 1129 to 1163
A.D. He claims to have defeated the “lord of Gurjara,” generally identified with
Siddharaja-Jayasimha of Gujarat (c. 1095- 1143 A.D.). An inscription, found at Man
(Jhansi district), further testifies that Madanavarman overcame the Cedi monarch
(perhaps Gaya-Karna); exterminated his Malava i.e., Paramara contemporary; and forced
the “king of Kail,” probably identical with Vijayacandta Gahadavala, “to pass his time in
friendly behaviour.”
Paramardi, or Paramal of popular traditions, was the last prominent Candclla sovereign.
He ruled from circa 1165 A.D. to 1203. We learn from the Madanapur inscription 2 and
Cand’s R a so that he sustained a reverse in 1182-83 A.D. at the hands of Prithvlraja
Cauhan who occupied Mahoba and other fortresses in Bundelkhand. But Paramardi
escaped complete annihilation, and afterwards recovered the lost ground. In 1203 A.D. he
offered stubborn resistance to Qutb-ud-dln Aibak during the siege of Kalanjara. Finding
that the odds were altogether against him, Paramardi capitulated, but he died before
fulfilling any of the terms imposed. His minister, Ajadcva, then took up the defence; he
also had, however, to surrender soon after. Qutb-ud-din next captured Mahoba, and put
the subjugated territory under the charge of a Muslim governor. The Chandelas were thus
kid low, although they lingered on as petty chieftains.until the sixteenth century.

Khajuraho Temples
Based on their geographical location, Khajuraho’s two dozen or so temples are grouped
into three areas: Eastern, Western and Southern. Kandariya, the largest, most and most
typical of the Khajuraho temples, is dedicated to Shiva. The main shrine is exquisitely
carved and features delicate details. Among the other temples worth visiting are Chaunsat
Yogini (the oldest surviving shrine), Devi Jagada (temple dedicated to Kali), Chitragupta,
Vishwanath, Lakshmana, Varaha and Matangeswara temple.
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The temples are spread over an area of six square kilometers. They are dedicated to both
Hindu deities and Jain figures. About six of these temples have Lord Shiva as the main
idol, eight are dedicated to Lord Vishnu, one each to Lord Ganesha and the Sun God,
while three are dedicated to Jain tirthankaras (saints). The largest among these is the
Kandariya Mahadeva Temple, dedicated to Lord Shiva. It is also one of the four holy
sites of Shiva worship, the other three being Kashi, Kedarnath and Gaya.

According to UNESCO: “ Only about 20 temples remain; they fall into three distinct
groups and belong to two different religions – Hinduism and Jainism. They strike a
perfect balance between architecture and sculpture. The Temple of Kandariya is
decorated with a profusion of sculptures that are among the greatest masterpieces of
Indian art.” Some of the temples are deteriorating at an alarming pace due to irrigation
canals in the area that have raised groundwater levels, causing water to rise through the
stones by capillary action and deteriorating the stones.

Sculptures at the Khajuraho Temples

The temples have several thousand statues and art works, with Kandarya Mahadeva
temple alone decorated with over 870. Some 10 percent of these iconographic carvings
contain sexual themes and various sexual poses. A common misconception is that, since
the old structures with carvings in Khajuraho are temples, the carvings depict sex
between deities; however the kama arts represent diverse sexual expressions of different
human beings. Core Hindu values are expressed in multitude of ways. Even the Kama
scenes, when seen in combination of sculptures that precede and follow, depict the
spiritual themes such as moksha. In the words of Stella Kramrisch, This state which is
“like a man and woman in close embrace” is a symbol of moksa, final release or reunion
of two principles, the essence (Purusha) and the nature (Prakriti).

Stella Kramrisch said: “There is iconographic symbolism embedded in the arts displayed
in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the
Kama scenes, when seen in combination of sculptures that precede and follow, depict the
spiritual themes such as moksha. This state which is “like a man and woman in close
embrace” is a symbol of moksa, final release or reunion of two principles, the essence
(Purusha) and the nature

The Khajuraho temples represent many forms of arts that flourished in medieval Rajput
kingdoms, including Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and
Kavyamimansa poems and dramas. In addition to the sculptures believed to represent
sexual practices there are many imaginary animals, including the vyalas (hybrids of a
lion, horse and many other animals). In South India, vyalas face outward towards the
person viewing the sculpture. At Khajuraho, the vyalas face sideways and many scholars
wonder why. Also at Khajuraho, the vyalas appear ro have equal status with the gods and
apsarases, the female spirit of the clouds and water. This could possibly mean that the
vyalas were just as important as Hindu gods in the Chandella religion.

Erotic Sculptures at Khajuraho

The Khajuraho temples feature a variety of art work, of which 10 percent is sexual or
erotic art outside and inside the temples. Some of the temples that have two layers of
walls have small erotic carvings on the outside of the inner wall. Some scholars suggest
these to be tantric sexual practices. Other scholars state that the erotic arts are part of
Hindu tradition of treating kama as an essential and proper part of human life, and its
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symbolic or explicit display is common in Hindu temples. Over 90 percent of the art work
at the temple is about daily life and symbolic values in ancient Indian culture. The
Khajuraho temples represent one expression of many forms of arts that flourished in
Rajput kingdoms of India from the A.D. 8th through 10th century.

The sexual-themed Khajuraho sculptures are "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."
These paintings are “Greatly influenced by the Tantric school of thought, the Chandela
kings promoted various Tantric doctrines through royal monuments, including temples.
Sculptors of Khajuraho depicted all aspects of life. The society of the time believed in
dealing frankly and openly with all aspects of life, including sex. Sex is important
because Tantric cosmos is divided into the male and female principle. Male principle has
the form and potential, female has the energy. According to Hindu and Tantric
philosophy, one can not achieve anything without the other, as they manifest themselves
in all aspects of the universe. Nothing can exist without their cooperation and
coexistence. In accordance with ancient treaties on architecture, erotic depictions were
reserved for specific parts of the temples only. The rest of the temple was profusely
covered with other aspects of life, secular and spiritual.

Important Temples at Khajuraho

Kandariya Mahadeva Temple is the tallest, the largest and the most stunning in the
Khajuraho complex. Built sometime during 1025-1050, with about 870 spectacular
sculptures, it is considered to be the spiritual abode of Lord Shiva. It is most popular for
its ornate architecture, including statues of beautifully adorned women. The structure has
a shikhara (spire) about 31 meters high that depicts Mount Kailash. This main spire is
surrounded by 84 miniature spires (Urushringas).
Kandariya is most sexual and typical of the Khajuraho temples. The main shrine is
exquisitely carved and features delicate details. The temple houses a lingam (phallic
symbol honoring Shiva) made of marble in its sanctum sanctorum, with 646 statues
dotting its boundary. Facing towards the east, the entrance of the temple has a staircase
and porch that have been adorned with garlands chiselled out of solid single stone. It is
believed that Raja Dhandadeva, a Chandela ruler, built this temple.
Chitragupta Temple is located in the east direction and faces the rising sun. It is the only
temple dedicated to the Sun God and was constructed in the 11th century. A 5-foot-tall
idol of the deity sitting on a chariot driven by seven horses sits in the temple. The walls of
the temple are beautifully carved and give a glimpse of various historical events. The
prime attractions include an image of Lord Vishnu in the 11-headed form on the south
wall. Visitors are also left mesmerised by the intricate carvings of dancing girls, elephant
fights, processions and hunting scenes done on the interior of the temple. The exterior of
the temple is also beautiful and one can find sculptures of apsaras (celestial nymphs),
vyalas, mithunas and deities there. Moreover, more than 70 other figures have been
carved on the balcony panels of the temple. The doorways are also elaborately
ornamented and portray a series of three figures of the Sun God, similar to the one in the
sanctum sanctorum. One can also visit the three-storeyed stepped tank inside the
premises. Called as chopra, it was also constructed by the Chandela rulers.
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Western Temples at Khajuraho

According to UNESCO: “The most important group of monuments is massed in the
western zone, not far from the archaeological museum, including the temples of Varaha,
Lakshmana, Matangeshwara, Kandariya, Mahadeva Chitragupta, Chopra Tank, Parvati,
Vishwanatha and Nandi. [Source: UNESCO]
“Yasovarman (AD 954) built the temple of Vishnu, now famous as Lakshmana temple;
this is an ornate and evolved example of its time proclaiming the prestige of the
Chandellas. The Visvanatha, Parsvanatha and Vaidyanatha temples belong to the time of
King Dhanga, the successor of Yasovarman. The Jagadambi, Chitragupta, are noteworthy
among the western group of royal temples of Khajuraho. The largest and grandest temple
of Khajuraho is the immortal Kandariya Mahadeva which is attributed to King Ganda
(1017-29).
Lakshman Temple (in the Western group of temples) is considered to be the oldest and
the most aesthetically pleasing. It was one of the first temples built by the Chandela
kings, and the patron of this temple is believed to be Yashovarman, who gained control
over areas in the Bundelkhand region of central India. Yashovarman sought to build this
temple to mark his rule over these territories. However, he died before the construction
was completed and his son, Dhanga, took over the work and dedicated the temple in 954.
The temple showcases the trinity of Lord Brahma, Lord Vishnu and Lord Shiva. Built on
a high platform, it is made in a tiered format with intricately carved columns.
The main idol of the temple is an image of Lord Vishnu in a three-headed avatar called
Vaikuntha. It is placed in the inner chamber known as garba griha (sanctum sanctorum),
which is an architectural feature of most Hindu temples. The building of the temple
reflects a Nagara style of architecture, owing to the flat-roofed entry porch called
mandapa and a shrine called vimana. The shrine of Nagara temples comprises a base
platform and a superstructure called shikhara (spire).
Chaunsat Yogini (in the Western group of temples) is a composition of small hut-like
structures surrounding an open courtyard. Standing apart from all other temples in the
area, it was built in 875-900 and is a part of the Western group of temples. The temple is
dedicated to 64 female yoginis (female attendants) who are considered to be forms of the
Mother Goddess. This temple is quite unique and is the only one here that is built with
local granite. Its architecture is quite simple and has no ornamentation. The walls are
almost bare and lack the characteristic carvings of temples in Khajuraho. There are a total
of 67 shrines in the temple complex and the largest one is dedicated to Goddess Durga,
who is presented in the form of Mahishasura Mardini. Two shrines are for Maheshvari
and Matrikas Brahmani and the other 64 are dedicated to the yoginis. This temple is
believed to be the oldest yogini temple in India.
Eastern and Southern Temples at Khajuraho
Among the temples in the east and south groups are also comprise noteworthy complexes
(the temples of Ghantai, Parshvanath, Adinath, Shantinath, Dulhadeo, Chaturbhuja. The
four Jain temples lie among the Eastern group of temples. These include the Adinath,
Shantinath, Parsvanath and Ghantai temples, which were constructed under the reign of
the Chandela rulers.
The eastern group contains the Parsvanath temple, a large Jain structure noted for the
detailed sculptures on the northern outer wall. Other notable temples in this group are the
Ghantai and Adinath temples and the three Hindu temples of Brahma, Javari and
Vamana, the last of which is adorned with a variety of sensuous sculptures. the southern
group includes the two temples of Duladeo and Chaturbhuj.
Parsvanath Temple (in the eastern group of Temples) is largest of the Jain temples in
Khajuraho. It is noted for its spectacular tiered construction and intricate sculptures. It
13

belongs to the Eastern group of temples and its architecture is quite similar to that of the
Hindu temples here. The temple is believed to have been constructed in the 10th century
during the rule of Dhangadeva (950-999) of the Chandela dynasty. It was previously
devoted to the first tirthankara (religious saint) of the Jains, Adinath. However, in 1860,
the image of Parsvanath was put in.
The temple attracts visitors for its intricate architecture and its walls depict the images of
elephants, sea nymphs and lions. Though it is a Jain temple, one can see images of Hindu
deities like Vaishnav as well, on its walls. The temple has some key architectural features
like a couple of axial projections at its two ends called the ardh mandapa (the hall) to the
east and a small shrine to the west called the garba griha (sanctum sanctorum).
Dulhadev Temple (in the southern group of temples) was built by the Chandelas in 1130,
this temple is dedicated to Lord Shiva and houses a lingam (phallic symbol honoring
Shiva). Its architecture is quite fascinating and the temple has five small chambers and a
closed hall. The finishing on the idols is beautiful and shows the skill of the craftsmen of
that time. The temple walls and ceilings boast heavily intricate carvings and visitors are
often left mesmerised by the stone-carved images on the walls. Attractive figurines of
apsaras (celestial nymph) and other mythological figures also adorn its walls. Dulhadev is
another name for Lord Shiva in this region that refers to the lord as a 'dulha' or
bridegroom. Historians consider it to be one of the last temples built by the Chandelas.
Deor Kothar
Deor Kothar (200 kilometers east of Khajuraho) is a Buddhist site said to have been built
under the patronage of Mauryan king, Ashoka, and dates back to 3rd century B.C.
Stretching for almost 3 kilometers, the complex, which is believed to have once been a
bustling commercial town on the trade route called Dakshinapatha, was discovered in
1982. Several structures were excavated here, including monasteries, a water channel
system, an ancient pathway, and 30 stone stupas, four brick stupas, potsherds of black
polished ware, which was the pottery of everyday use between 700 and 300 B.C. One of
the pillars excavated here has an inscription that says it was erected in the memory of
Lord Buddha.
The architecture of Deor Kothar is quite interesting and the complex boasts four stupas,
the most ever found at a site of this period. The bricks used are of various shapes such as
a twirling lotus, a simple flower pot on a three-tiered pedestal (the carving of which
shows traces of early Buddhist art) and a conical lotus bud. These can be seen on the
railing posts of the largest brick stupa rising to a height of 30 feet.
The site was discovered by PK Mishra and Ajit Singh in 1982 and it was declared a place
of national importance by the Government of India in 1988. Today, it is being preserved
and conserved by the Archaeological Survey of India (ASI).
Panna and Panna National Park
Panna National Park (40 kilometers south Khajuraho) in central India harbors many
species of wildlife including tigers, sambar and chitral deer, porcupines, and leopards and
cover 200 square miles. It has a fairly large population of 30 to 40 sloth bears. It has a lot
of humans. There are 15 villages within the park and 50 just outside it. A number of
villagers in the area of the park have been attacked by sloth bears.
The park was once a raja’s hunting ground. There are a number of caves in par whose
walls are adorned with ancient paintings. The number of tigers in increasing. The tigers
often roam outside the park and the effort to save them has included efforts outside the
park. Illegal sandstone mines that fragments the tiger’s habitat and polluted the water in
the park have been closed down. The rangers have motorcycles and a troop carrier which
has enabled them to battle poachers more effectively
14

With the meandering Ken river and spectacular waterfalls, the national park attracts both
wildlife enthusiasts and adventure seekers. One can spot the gharial, a huge reptile of the
crocodile family found only in the Indian subcontinent, and a variety of flora and fauna
here. Spend a day or two here, and explore the park in a jeep or on the back of an
elephant. Earlier, the park was the hunting ground of the erstwhile rulers of Panna,
Bijawar and Chhatarpur states. The Panna National Park is the 22nd Tiger Reserve of
India.
Panna was the capital of Maharaja Chhatrasal’s kingdom in 17th century. The town,
meaning emerald, is a diamond mining center. Panna is famous for its huge Palladian-
style Pajgarth Palace.

The Kandariya Mahadeva Temple (Devanagari: कंदारिया महादेव मंदिर, Kandāriyā

Mahādeva Mandir), meaning "the Great God of the Cave", is the largest and most
ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh,
India. It is considered one of the best examples of temples preserved from the medieval
period in India.

Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group

Kandariya Mahadeva Temple is located in the Chhatarpur district of Madhya Pradesh

in Central India.[1] It is in the Khajuraho village, and the temple complex is spread over an
area of 6 square kilometres (2.3 sq mi).[2] It is in the western part of the village to the west of
the Vishnu temple.
The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well
connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south
of Mahoba, 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres
(27 mi) away from Panna, 175 kilometres (109 mi) by road away from Jhansi on the north,
and 600 kilometres (370 mi) to the south - east of Delhi. It is 9 kilometres (5.6 mi) from the
railway station. Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services
to Delhi, Agra and Mumbai. It is 6 kilometres (3.7 mi) from the temple.
15

Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple,
one of the best examples of temples preserved from the medieval period in India, is the
largest of the western group of temples in the Khajuraho complex which was built by the
Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorum.
The Kandariya Mahadeva temple was built during the reign of Vidyadhara (r. c. 1003-1035
CE).[9] At various periods of the reign of this dynasty many famous temples dedicated to
Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain
religion were built. Vidhyadhara, also known as Bida in the recordings of
the Muslim historian Ibn-al-Athir was a powerful ruler who fought Mahmud of Ghazni in the
first offensive launched by the latter in 1019. [1] This battle was not conclusive and Mahmud
had to return to Ghazni. Mahmud again waged war against Vidhyadhara in 1022. He attacked
the fort of Kalinjar. The siege of the fort was unsuccessful. It was lifted and Mahmud and
Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his
success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple,
dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in
the temple mentions the name of the builder of the temple as Virimda, which is interpreted as
the pseudonym of Vidhyadhara.[1] Its construction is dated to the period from 1025 and 1050
AD.
All the extant temples including the Kandariya Mahadeva Temple were inscribed in 1986
under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation
and under Criterion V for the culture of the Chandelas that was popular till the country was
invaded by Muslims in 1202.

Various features of the temple marked on the Kandariya Mahadeva Temple.

Simplified map of the temple

16

The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex,
which is the largest among the three groups of the Khajuraho complex of temples. This
western group of temples, consisting of the Kandariya, Matangeshwara
and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo
gram)" representing the three forms of Shiva. The temple architecture is an assemblage of
porches and towers which terminates in a shikhara or spire, a feature which was common
from the 10th century onwards in the temples of Central India.[12]
The temple is founded on a massive plinth of 4 metres (13 ft) height. The temple structure
above the plinth is dexterously planned and pleasingly detailed. The superstructure is built in
a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical
source of creation of the world.[8] The superstructure has richly decorated roofs which rise in a
grand form terminating in the shikara, which has 84 miniature spires.[4] The temple is in layout
of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva
Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and
20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is
called the "largest and grandest temple of Khajuraho".A series of steep steps with high rise
lead from the ground level to the entrance to the templeThe layout of the temple is a five-part
design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho
complex. Right at the entrance there is torana, a very intricately carved garland which is
sculpted from a single stone; such entrances are part of a Hindu wedding procession.The
carvings on the entrance gate shows the "tactile quality of the stone and also the character of
the symmetrical design" that is on view in the entire temple which has high relief carvings of
the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp
inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are
of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and
other uniform designs which has created a pleasant picture that is unique to this temple,
among all others in the complex.

The main temple tower with 84 mini spires

17

Erotic sculptures on the external walls of the temple

In the interior space from the entrance there are three mandapas or halls, which successively
rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber
where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is
surrounded by interlinked passages which also have side and front balconies. Due to
inadequate natural light in the balconies the sanctum has very little light thus creating a "cave
like atmosphere" which is in total contrast to the external parts of the temple. In the interior
halls of the temple and on its exterior faces there are elaborately carved sculptures of gods
and goddesses, musicians and apsaras or nymphs. [4] The huge pillars of the halls have
architectural features of the "vine or scroll motif". In the corners of the halls there are insets
which are carved on the surface with incised patterns. There is a main tower above the
sanctum and there are two other towers above the other mantapas also in the shape of "semi-
rounded, stepped, pyramidal form with progressively greater height". The main tower is
encircled by a series of interlinked towers and spires of smaller size. [19] These are in the form
of a repeated subset of miniature spires that abut a central core which gives the temple an
unevenly cut contour similar to the shape of a mountain range of mount Kailasa of
the Himalayas where god Shiva resides, which is appropriate to the theme of the temples
here.
The exterior surfaces of the temples are entirely covered with sculptures in three vertical
layers.[4] Here, there are horizontal ribbons carved with images, which shine bright in the sun
light, providing rhythmic architectural features. Among the images of gods and heavenly
beings, Agni, the god of fire is prominent.[14] They are niches where erotic sculptures are fitted
all round which are a major attraction among visitors. Some of these erotic sculptures are
very finely carved and are in mithuna (coitus) postures with maidens flanking the couple,
which is a frequently noted motif. There is also a "male figure suspended upside" in coitus
posture, a kind of yogic pose, down on his head. [4] The niches also have sculptures
of Saptamatrikas, the septad of mother goddesses along with the
gods Ganesha and Virabhadra. The seven fearful protector goddesses include: Brahmi seated
on a swan of Brahma; Maheshwari with three eyes seated on Shiva's bull Nandi;
Kumari; Vaishnavi mounted on Garuda; the boar-headed Varahi; the lion-
headed Narasimhi and Chamunda, the slayer of demons Chanda and MundaThe image of
Sardula, a mythical creature

Vishvanatha Temple
18

The Vishvanatha Temple is a Hindu temple in Madhya Pradesh, India. It is located among the western
group of Khajuraho Monuments, a UNESCO World Heritage site. The temple is dedicated to Shiva, who is
also known as "Vishvanatha" (IAST: Viśvanātha), meaning "Lord of the Universe".
The temple is believed to have been commissioned by the Chandela king Dhanga, and was probably
completed in 999 CE or 1002 CE. Its architectural style is similar to that of the older Lakshmana
Temple and the newer Kandariya Mahadeva Temple. It features several sculptures of various
deities, surasundaris (celestial maidens), couples making love, and mythical creatures.A dedicatory
inscription, now affixed to the porch of the Vishvanatha temple, provides information about the
construction of a Shiva temple by the Chandela king Dhanga.The original date of the inscription is read
variously as 1056 VS (999 CE) or 1059 VS (1002 CE).
The inscription mentions that Dhanga's descendant Jayavarman had it re-written in clear letters in 1173
VS. It states that Dhanga constructed a magnificent Shiva temple with two lingas (symbols of Shiva). One
linga – Marakateshvara ("Emerald Lord") – was made of emerald. The other linga
– Pramathanatha ("Lord of Pramathas or goblin-like spirits") – was made of stone. The inscription appears
to have been issued after Dhanga's death: it states that after living for more than a hundred years, Dhanga
attained moksha by abandoning his body in the waters of Ganga and Yamuna. Unlike some other Chandela
temple inscriptions, it does not mention the Pratihara overlords of the Chandelas. This suggests that the
Chandelas were no longer vassals of the Pratiharas by this time. The bit about the emerald linga (possibly
an emerald-studded linga) also supports this theory. According to the Puranas, a jewel-studded linga is an
appropriate donation to be made upon the fulfilment of a desire. This suggests that Dhanga built the temple
after attaining a high political status as a sovereign.
Based on this inscription, scholars believe that the temple was completed in 999 CE or 1002 CE. However,
according to art historian Shobita Punja, the temple referred to in this record may or may not be the
Vishvanatha temple. According to her, there is a possibility that Dhanga built two temples, one with a
stone linga and another with an emerald linga.
The inscription names Chhichha (or Chiccha) as the architect of the temple. It states that the
temple's torana (gateway) was designed by Vishvakarma (the patron deity of architects), who had
The Vishvanatha temple is characteristic of the Central Indian architectural style that begins
with Lakshmana Temple (c. 930–950 CE) and culminates with the Kandariya Mahadeva Temple (c. 1030
CE). These three temples represent the most fully developed style at Khajuraho.

Comparison with related temples

Lakshmana temple (back)

19

Vishvanatha Temple (side)/Kandariya Mahadeva Temple (side)

The Vishvanatha site was designed as a panchayatana complex, which comprises one main shrine
surrounded by four smaller subsidiary shrines. However, only two of the smaller shrines now survive.
[14]
The main shrine is oriented towards the east. [13] Nandi Temple, the shrine to its east is dedicated to
Shiva's mount Nandi, whose 2.2 m high statue faces the main shrine. The shrine in the south-west is
dedicated to Shiva's consort Parvati. The Parvati temple is partially damaged, with only its sanctum
(garbhagriha) and roof (shikhara) surviving. The sanctum houses an idol of Parvati standing on an iguana.
20

The main shrine with its two subsidiary shrines

The main shrine is an example of the nagara style: it contains an entrance porch (ardha-mandapa), a small
hall (mandapa), a large hall (maha -mandapa), a vestibule (antarala), and a sanctum (garbhagriha) with a
roof tower (shikhara).[14] All these are located on a base with several sculptures. The stairs leading from the
base to the porch are flanked by lions on one side, and elephants on the other side. The rectangular plan of
the main shrine measures 27.5 metres (90 ft) x 13.7 metres (45 ft).

Vishvanatha Temple/Kandariya Mahadeva Temple/ Comparison of lingas in the sanctum

The sanctum has a stone linga; the emerald linga mentioned in the inscription is missing. [17] The linga is
surrounded by a passage for parikrama (circumambulation). The sanctum has balconies on three sides for
light and ventilation.
Sandstone is the main building material used in the structure.
The base of the temple has several niches with sculptures of the Saptamatrikas (seven goddesses), Shiva's
consort Parvati and a dancing Ganesha.

Exterior reliefs
21

Parvati/Dancing Ganesha

Elephant at the steps/Loving couple/Erotic sculpture

The exterior portion above the base has three bands featuring sculptures of various
deities, surasundaris (female figures) such as apsaras, and mythical creatures. The surasundaris are shown
performing various day-to-day activities, such as applying sindoor (vermilion powder) to their foreheads
and kohl to their eyes, wringing their hair after bathing, playing flute, plucking thorn from their feet,
dancing, admiring themselves in a mirror, dressing or simply posing provocatively. Their hairstyles,
patterned garments, ornaments and expressive faces are noticeable in these sculptures. parikrama passage
in the sanctum features what Ali Javid and Tabassum Javeed call the "most striking carvings of females in
Khajuraho".One figure shows a surasundari playing a flute, with her body slightly bent sideways,
22

exhibiting the contemporary ideal of the female body. Another figure, which is partially damaged, shows a
damsel in a dancing pose. One sculpture shows a mother holding her baby: she is slightly bending
sideways to let her baby sit on her hip. Another one shows a female lifting her left foot behind her, and
applying dye on it. Yet another one shows a maiden trying to tie her bra behind her back, as the twisted
body accentuates her curves.

Surasundaris at Vishvanatha Temple

Plucking a thorn/Playing flute in sanctum

Fixing her hair/ With vyala, a mythical beast

23

The north and south walls of the temple feature erotic reliefs.[14][19] The junction of the vestibule and the
sanctum features a variation of the famous "acrobatic sex" sculpture at the newer Kandariya Mahadeva
temple. Like the Kandariya sculpture, this one also features a couple supported by two women, but in this
sculpture, the man is on the top. The woman at the bottom fingers the woman on the left with one hand,
while her other hand rests on the ground for support. Some sculptures feature men indulging in bestiality,
as women cover their eyes.[18]

Comparison of erotic sculptures

Embracing couple at the Lakshmana temple/Embracing couple at the Vishvanatha Temple

Acrobatic sex at Vishvanatha Temple: Man on top/Acrobatic sex at Kandariya Mahadeva Temple: Woman
on top
The interior features faceted pillars in all the rooms. The ceiling and the brackets supporting it are
intricately carved.[14] However, the bracket figures in the large hall are now badly worn
24

Interpretations of erotic sculptures

Various interpretations of the erotic sculptures have been proposed. Colonial arts administrator Ernest B.
Havell considered these as a product of a decadent phase in the Hindu society. A contrasting view is that
these are Kamashastra-inspired artistic tradition of a broad-minded society. Vidya Dehejia, a professor of
South Asian Art at Columbia University, states that these sculptures depict the rites of
the Kaula and Kapalika sects. These sects believed that only those who can resist the sensual temptations
can achieve salvation. To realise whether one can rise above such temptations, one had to experience them
while remaining unaffected. Thus, these sects provided a theological excuse for the over-indulgent
Chandela rulers to engage in "the most debased practices".
According to the Indian art historian Devangana Desai, the erotic sculptures at Vishvanatha and Kandariya
Mahadeva Temples served the following functions:

 These sculptures have a deeper, hidden meaning: they represent a "yogic-philosophic concept",
using sandhya-bhasha (metaphorical code language). The tantrikas (tantra practitioners) used such
language to avoid exposing their practices to the general public.
 These figures conceal a yantra used for worship.
 The figures of couples having sex (maithuna) are present at the juncture walls that connect the
sanctum to the hall. These were believed to magically protect the monument at its most vulnerable
part.
 The erotic sculptures can give pleasure to the non-initiatied visitors to the temple.
Fred Kleiner, a professor of art and architecture at Columbia University, believes these sculptures
symbolise "fertility and propagation of life and serve as auspicious protectors" of the sacred temple.
[19]
Margaret Prosser Allen, a University of Delaware academic, mentions that the erotic sculptures depict
the aim of human life: the union with the universal being. This depiction is based on the belief that the
universe is a result of the "cosmic union of male and female elements".

Matangeshvara temple मतंगेश्वर मन्दिर

The Matangeshvara temple (IAST: Matangeśvara Mandir) is a Shiva temple in the Khajuraho town
of Madhya Pradesh, India. It is located among the Western group of temples. Among the Chandela-era
monuments of Khajuraho, it is the only Hindu temple that is still actively used for worship.
The Archaeological Survey of India (ASI) assigns the Matangeshvara temple to 900-925 CE, because it
has a plain design unlike the later temples of Khajuraho. [1] However, scholar Rana P. B. Singh assigned it
to approximately 1000 CE. According to the history, a sage named Matanga manifested in form of a
lingam, and controlled the god of love. His hermitages were located at
Khajuraho, Kedarnath, Varanasi and Gaya. These are now the sites of four Matangeshvara ("Lord of
Matanga") temples. Another account states that the temple is named after an aspect of Shiva who
controlled the god of love. The Matangeshvara temple is a larger-scale version of the Brahma temple in
terms of plan and design It has a square plan. It houses a 2.5 m high lingam, which is 1.1 m in diameter.
The base platform of the lingam is 1.2 m high and 7.6 m in diameter. The lingam
has Nagari and Persian inscriptions.
25

Ganesha statue at

the entrance

The Matangesvara temple is the plainest looking among the sandstone temples of Khajuraho.[1] It is not
richly decorated: its interior walls, exterior walls and curvilinear tower are devoid of carvings The ceiling
features elementary floral cusps.
Among the Hindu temples of Khajuraho, the Matangeshvara temple is the only widely active site of
worship.Around Shivaratri in February or March, a three-day ceremony is organized here to celebrate
Shiva's marriage. It is attended by around 25,000 people. The lingam is bathed, dressed and decorated like
a human bridegroom during the ceremony.