Khajuraho

The high bloom of the Middle Ages (10.-13th C. A.D.) with regard to its architectural completion, developed without a doubt under the rule of the Candella dynasty, in Khajuraho. This city is located in Madhya Pradesh (central India), 800km northwest of Bhubaneshvar, with an estimated 10,000 inhabitants it is not far from the holy river Yamuna the most important supply of the Ganges.

Under the rule of Dhanga (950-1002), Khajuraho had its sphere of influence to  Gwalior in the west and Varanasi in the east; and became a melting pot for the different cultures from central -, north and south India. Their buildings architecture belongs to the Nagara style of which they are some of the most beautiful examples.

The fall of this region after the 11th Century was caused by attacks from the Muslims, raids of Mohammed of Ghur (approx. 1200) and the later annexation of the province by the Sultan of Delhi (1310). Of the 85 original temples, today only 22  survive,some of them undamaged.

Khajuraho survived unaffected by historical events and was rediscovered by western travellers in 1840. It was neither the structural quality, nor the historically rich art motives which impressed  the western travellers, but the closely embraced pairs or groups of figures in various sexual positions that were the desired sculpture decoration of the temples.

Characteristics of the sculptures are narrow faces, with almond-shaped eyes, strongly drawn brows, full bosoms and richly bejeweled. These miracle-pretty and harmonious figures were called in former times scandalous or pornographic; attention had not been given to the religious meaning, but only the illustrated content.

In the Hindu mythology and especially in the Tantrism divine perfection is based on unit. The contrasts of man and woman, uniting in their strive for divine perfection. In the Shivaismus there is the combination of the male and female principle represented, for example through linga (Phalli symbol of Shiva) and yoni (Shivas wife Parvati, in  which female principle are symbolized as Vulva).

The sculptures, which can be seen in different forms of the sexual act and affectionate positions, do not only express lust, but give love a cosmic dimension. The relief’s clarify the presence of the large law (dharma). It is represented in the cosmic dance of Shiva in the cycle of becoming and passing, in which the continuation of all life is justified.

The erotic scenes of Khajuraho illustrate the sexual act, it represent a ceremony, which sanctifys the actions of the lovers (mithuna). [1]

[1] This section is a summary out of:  Stierlin 2002, p. 129, 146f.