Khajuraho

Title: Khajuraho

Author: Devangana Desai

Publisher: Oxford University Press, 2001 (First published 2000)

ISBN: 9780195656435

Pages: 107

‘Monumental Legacy’ is a series of books on the rich architectural heritage of India, published by the Oxford University Press. This volume is on Khajuraho which is world famous for its magnificent temples, richness of construction and the uncharacteristic boldness in erotic depictions portrayed on its walls. Thousands of tourists visit the town every year, and there is nothing which delights a serious enthusiast of Indian temple architecture more than an authoritative text from a master of the art. Guides – both human and books – often provide fantastic and farfetched explanations for mundane things which challenge one’s commonsense. Dependable books such as this would go a long way in satisfying the craving for knowledge. Devangana Desai is a reputed art historian and former vice president of the Asiatic Society of Mumbai. She has served in the boards of well-known museums in India. She was consultant to the project on the Museum Images of Khajuraho and has also authored many books on ancient art and its rich representation in Khajuraho.

What we see in Khajuraho is a full blown representation of the religious pantheon prevailing in the tenth to twelfth centuries CE of the Chandela dynasty. Shiva, Vishnu and Surya are the male gods worshipped there, along with Jain tirthankaras. However, Desai reminds us that the adoration of mother goddesses seen in many temples was derived from the worship of Maniya Devi, a tutelary deity of the Chandelas. She was a tribal goddess of the Gonds who inhabited the tract, but was later incorporated as an aspect of Goddess Parvati in the refined theology of Hinduism. The architecture of the temples follows the Central Indian Nagara style. All the religious places more or less follow the same pattern of a sanctum (garbhagriha), a connecting chamber (antarala), a large pavilion (mahamandapa), a smaller pavilion (mandapa), a porch (mukhamandapa) and a platform (jagati). The temple’s spire rises exactly above the centre of the sanctum. This invisible axis joining the centre of the sanctum on the ground level and the finial of the superstructure above is conceived as the cosmic axis connecting the earth and heaven.

Any mention of Khajuraho evokes references to wild erotic postures sculpted on the temple walls. This is especially significant considering the Victorian morality of the Indian state and its present society. Authors are hard-pressed to explain away the presence of shocking sexual unions portrayed there which would make porn industry barons nod in agreement and smile in silent amusement. However, Desai specifically informs that such erotic sculptures don’t constitute even a tenth of the total number of such icons. Belief in ‘free love’ that once abounded in the region is clearly unfounded. Women, as usual anywhere in the medieval world, were not allowed much freedom by the male-dominated patriarchal society, whatever may be the Chandela representations on temple walls. The author suggests that the shilpashastras and other authoritative texts on temple art have recognized the auspicious and protective aspects of erotic figures. She reminds the readers that such figures appear in temples built between 900 and 1300 CE. Perhaps the tastes of the country’s elite had undergone a change in that era! Anyway, erotic figures appear on the walls only at Khajuraho, whereas it is shown on the platforms in others temples. As all apologists do, Desai puts forward a hypothesis that these figures can be metaphoric and might conceal a deeper symbolism. The influence of Kamasutra on the postures is definitely ruled out as fellatio is condemned in that ancient text, but is freely seen at Khajuraho.

Hinduism and Jainism thrived side by side in India, even though there are some indications of strife in the South. Traders generally practiced Jainism. In many places we see magnificent Jain temples accompanying equally grand Hindu temples. The kings patronized Hinduism by the medieval period. The dignified magnificence of Jain temples at Khajuraho attests to the material wellbeing of the trading community. All Jain shrines are of the Digambara sect. In addition to images of Tirthankaras, figures of Yakshas and Yakshis are freely found. The jina images are only objects of meditation and no earthly rewards are expected from their veneration. Yakshas and Yakshis fulfil the worldly needs of devotees. The main Yakshis depicted are Chakreshwari, Ambika and Padmavati who are respectively associated to Adinatha, Neminatha and Parshwanatha.

The glossary of common terms used in the book is extensive and nearly covers all attributes of Indian archeology. The great effort exerted in compiling such a long list is commendable. Equally noteworthy is the chapter on interesting places situated in and around Khajuraho that can be visited without much effort. The book’s contention that the town of Khajuraho is not connected by rail is, however, plain wrong. The rail link to the town was commissioned in 2008 and since the book was published in 2000, the omission is understandable. What is unpardonable is the tardiness of the publisher in issuing a revised edition. This book can be read in full very quickly and is an asset to the traveler who plans to visit Khajuraho.

The book is highly recommended.

Rating: 3 Star