Khajuraho, a UNESCO World Heritage Site located in the state of Madhya Pradesh, India, is renowned for its exquisite temples adorned with intricate sculptures and architectural brilliance. Dating back to the Chandela dynasty of the 10th and 11th centuries, the Khajuraho temples represent a remarkable fusion of religion, art, and cultural expression. This comprehensive description will delve into the historical context, architectural features, religious significance, and artistic motifs that define the splendor of Khajuraho.

2. The Khajuraho:
The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit
(kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who
carries" or bearer). Local legends state that the temples had two golden
date-palm trees as their gate (missing when they were rediscovered). Desai
states that Kharjuravāhaka also means scorpion bearer, which is another
symbolic name for deity Shiva (who wears snakes and scorpion garlands in
his fierce form).

3. Cunningham's nomenclature and systematic documentation work in 1850s
and 1860s have been widely adopted and continue to be in use. He grouped
the temples into the Western group around Lakshmana, Eastern group
around Javeri, and Southern group around Duladeva.
The Khajuraho Group of Monuments are a group of Hindu and Jain temples
in Chhatarpur district, Madhya Pradesh, India. They are about 175 kilometres
(109 mi) southeast of Jhansi, 10 kilometres (6.2 mi) from Khajwa, 9
kilometres (5.6 mi) from Rajnagar, and 49 kilometres (30 mi) from district
headquarter Chhatarpur. The temples are famous for their Nagara-style
architectural symbolism and a few erotic sculptures.

4. Location:
The Khajuraho monuments are located in the Indian state of Madhya
Pradesh, in Chatarpur district, about 620 kilometres (385 mi) southeast
of New Delhi. The temples are located near a small town also known as
Khajuraho, with a population of about 24,481 people (2011 Census).
Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR),
with services to Delhi, Agra, Varanasi and Mumbai. The site is also
linked by the Indian Railways service, with the railway station located
approximately six kilometres from the entrance to the monuments.
The monuments are about ten kilometres off the east-west National
Highway 75, and about 50 kilometres from the city of Chhatarpur, which
is connected to the state capital Bhopal by the SW-NE running National
Highway 86.

5. The 10th-century Bhand Deva Temple in Rajasthan was built in the style of
the Khajuraho monuments and is often referred to as 'Little Khajuraho'.

6. History:
The Khajuraho group of monuments was built during the rule of the Chandela
dynasty. The building activity started almost immediately after the rise of their
power, throughout their kingdom to be later known as Bundelkhand. Most
temples were built during the reigns of the Hindu kings Yashovarman and
Dhanga. Yashovarman's legacy is best exhibited by the Lakshmana Temple.
Vishvanatha temple best highlights King Dhanga's reign. The largest and
currently most famous surviving temple is Kandariya Mahadeva built in the
reign of King Vidyadhara. The temple inscriptions suggest many of the
currently surviving temples were complete between 970 and 1030 AD, with
further temples completed during the following decades.
The Khajuraho temples were built about 35 miles from the medieval city of
Mahoba,[19] the capital of the Chandela dynasty, in the Kalinjar region. In
ancient and medieval literature, their kingdom has been referred to as Jijhoti,
Jejahoti, Chih-chi-to and Jejakabhukti.

7. The first documented mention of Khajuraho was made in 641 by Xuanzang,
a Chinese pilgrim who described encountering several dozen inactive
Buddhist monasteries and a dozen Hindu temples with a thousand
worshipping brahmins. In 1022 CE, Khajuraho was mentioned by Abu
Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni
in his raid of Kalinjar; he mentions Khajuraho as the capital of Jajahuti.The
raid was unsuccessful, and a peace accord was reached when the Hindu
king agreed to pay a ransom to Mahmud of Ghazni to end the attack and
leave.

8. Architecture:
Khajuraho temples, almost all Hindu temple designs, follow a grid
geometrical design called vastu-purusha-mandala. This design plan has
three important components – Mandala means circle, Purusha is universal
essence at the core of Hindu tradition, while Vastu means the dwelling
structure.

9.  Amalaka: This disk-like architectural element crowns the top of the
shikhara (sikhar), symbolizing the cosmic axis and connecting the earthly
realm to the heavens.
 Sikhar (Shikhara): The sikhar refers to the towering spire or
superstructure that rises above the sanctum sanctorum (garba griha) of
the temple. It is often elaborately adorned and serves as a visual focal
point.
 Garba Griha: The garba griha, or womb chamber, is the innermost
sanctum of the temple where the main deity is enshrined. It represents
the cosmic center and is the holiest part of the temple.
 Pradakshina: This is a circumambulatory path that surrounds the garba
griha. Devotees walk clockwise around it as part of the worship ritual,
symbolizing their journey around the divine.
 Jagati: The jagati is a raised platform on which the temple stands. It
signifies the sacred space of the temple and facilitates the devotees'
approach to the deity.

10.  Adhisthana: The adhisthana is the temple's base or platform, providing
structural support. It often features intricate carvings or relief work
depicting various motifs and symbols.
 Transepts: Transepts are lateral extensions branching out from the main
axis of the temple. They may house additional shrines, mandapas, or
serve as ceremonial spaces.
 Kalasha: Kalasha refers to the decorative finial or pot-like structure
placed atop the shikhara. It symbolizes abundance, prosperity, and
divine energy.
 Urushninga: This architectural feature is a projection located at the top of
the temple's entrance. It often serves as a decorative element and may
also have symbolic significance.
 Antarala: The antarala is a vestibule or intermediate chamber connecting
the main sanctum (garba griha) with the mandapa (hall). It acts as a
transitional space between the sacred and secular areas of the temple.

11.  Maha Mandapa, Mandapa, Ardh Mandap: These are various types of halls
or pavilions within the temple complex used for congregational gatherings,
rituals, and festivities. The maha mandapa is the largest and most central,
followed by the mandapa (hall) and ardh mandap (half hall).
 East: The orientation of the temple, particularly its entrance (usually facing
east), holds symbolic significance in Hindu tradition, aligning with the rising
sun and symbolizing the journey from darkness to enlightenment.

12. Arts and sculpture:
The Khajuraho temples feature a variety of artwork, of which 10% 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 the Hindu tradition of treating kama as an essential and
proper part of human life, and its symbolic or explicit display is common in Hindu
temples. James McConnachie, in his history of the Kamasutra, describes the
sexual-themed Khajuraho sculptures as "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.

13. The temples have several thousand statues and artworks, with Kandarya
Mahadeva Temple alone decorated with over 870. Some 10% 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. The vast majority of arts depict various aspects the everyday life,
mythical stories as well as symbolic display of various secular and spiritual
values important in Hindu tradition. For example, depictions show women
putting on makeup, musicians making music, potters, farmers, and other
folks in their daily life during the medieval era. These scenes are in the outer
padas as is typical in Hindu temples.
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
nature (Prakriti).

14. 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. In the words of Stella
Kramrisch.

15. Tourism and cultural events:
The temples in Khajuraho are broadly divided into three parts: the Eastern
group, the Southern Group and the Western group of temples of which the
Western group alone has the facility of an audio-guided tour wherein the
tourists are guided through the seven-eight temples. There is also an audio
guided tour developed by the Archaeological Survey of India which includes
a narration of the temple history and architecture.

16. The Khajuraho Dance Festival is held every year in February. It features
various classical Indian dances set against the backdrop of the Chitragupta
or Vishwanath Temples.
The Khajuraho temple complex offers a son et lumière (sound and light)
show every evening. The first show is in English language and the second, in
Hindi. It is held in the open lawns in the temple complex, and has received
mixed reviews.[citation needed]

17. Thank You !
“Khajuraho: Where History
Comes to Life !”