Khajuraho: Witnessing Humanity’s Spectrum in Stone

Step into a world where human passion is etched in stone and the boundaries between the sacred and the sensual beautifully blur. The Khajuraho temples are not just architectural marvels; they are India's profound artistic statement to the world. Witness firsthand the extraordinary craftsmanship and the captivating narrative of life, love, and joy brought forth by the ingenious Chandela Rajputs.

The Khajuraho Group of Monuments in Chhatarpur district, Madhya Pradesh, India, comprises Hindu and Jain temples. Famous for their Nagara-style architecture and some erotic sculptures, they were built by the Chandela dynasty between 885 and 1000 CE. The Kandariya Mahadeva Temple stands out for its intricate sculptures and artistic expression. The site was rediscovered in 1838 by British engineer Captain T.S. Burt and recognised as a UNESCO World Heritage site in 1986 for its outstanding architecture and testimony to the Chandela civilisation.

The name Khajuraho derives from the Sanskrit words for date palm ("kharjura") and bearer ("vahaka"). Local legends say rediscovered temples lacked the two golden date-palm trees that once served as their gate. while Desai suggests "scorpion bearer" as a symbolic name for Shiva.

History

The Chandela dynasty built the Khajuraho monuments primarily during the reigns of kings Yashovarman (Lakshmana Temple) and Dhanga (Vishvanatha temple), starting soon after their rise to power in Bundelkhand. The largest surviving temple, Kandariya Mahadeva, was built during King Vidyadhara's reign. Inscriptions suggest completion of many surviving temples between 970 and 1030 CE, with others following.

The first documented mention of Khajuraho was in 641 by Chinese pilgrim Xuanzang, who noted several dozen inactive Buddhist monasteries and a dozen Hindu temples. In 1022 CE, Persian historian Abu Rihan-al-Biruni described Khajuraho as the capital of Jajahuti during Mahmud of Ghazni's unsuccessful raid. Khajuraho remained in active use until the late 12th century, after which the Delhi Sultanate attacked in the 13th century. Moroccan traveller Ibn Battuta visited in the 14th century, noting "mutilated" idols and yogis.

While India has over 2 million Hindu temples reflecting diverse culture, temple architecture, defined by Shilpa Shastra, mainly follows Nagara (North), Dravida (South), and Vesara (Mixed) styles. The Nagara style features a Garbhagriha (sanctum), Shikhara (curvilinear tower), and Mandapa (entrance hall), evolving from single to multiple Shikharas with the Garbhagriha under the tallest tower. Khajuraho temples exemplify the Nagara style with a sanctum, antarala, mahamandapa, ardha mandapa, mandapa, and pradakshina-path.

Khajuraho, known for ornate temples, was built by Chandela rulers between 900 and 1130 CE. First mentioned by Abu Rayhan al-Biruni (1002 CE) and Ibn Batuta (1335 CE).

The Chandela Empire, ruling central India from the 10th to 14th centuries, was known for its patronage of art and architecture, with rulers inclined towards Shaivism, Vaishnavism, and Jainism. Ancient Kharjjura-vahaka represents distinct art and temple architecture, recalling the Chandella rule's richness.

Khajuraho was the Chandella rulers' principal seat, adorned with tanks and numerous temples of sculptural and architectural splendour. Historical records mention 85 temples spread over 20 sq km by the 12th century, of which about 25 survive, covering 6 sq km. in various states of preservation. The majority of the temples are built from fine-grained sandstone, in contrast to the granite used for the Chausath-Yogini, Brahma, and Mahadeva.

Yasovarman (c. 954 AD) built the ornate Lakshmana (Vishnu) temple, showcasing Chandella prestige. The Visvanatha, Parsvanatha, and Vaidyanatha temples date to his successor, King Dhanga. The Jagadambi and Chitragupta temples are notable in the western group. The largest temple, Kandariya Mahadeva, is attributed to King Ganda (1017-29 AD). Later, smaller but elaborate temples include Vamana, Adinatha, Javari, Chaturbhuj, and Duladeo.

From the 13th to 18th centuries, the region was under Muslim rule, leading to some temple desecration and neglect. Khajuraho's isolation helped protect the temples from further destruction, as vegetation and forests overgrew on them. Local Hindus led British surveyor T.S. Burt to the rediscovery of the temples in the 1830s. Alexander Cunningham later reported their continued secret use by yogis, with Hindu pilgrimages during Shivaratri. The earliest drawings of the temples were prepared by F.C. Maisey in 1852.

Khajuraho's Lunar Legend

Khajuraho's temples, built in just a century, are steeped in a captivating legend. The story tells of Hemwati, a Brahmin priest's beautiful daughter, who bore a son, Chandravarman, to the moon god. Chandravarman later founded the Chandela dynasty.

Years later, Hemwati appeared to her son in a dream, urging him to build temples depicting the full spectrum of human passions. This request has two interpretations: either the carvings served as a reminder of worldly desires' fleeting nature, leading to spiritual emptiness, or they reflected Tantrism, where embracing earthly desires could lead to liberation. Regardless, Hemwati's dream inspired Khajuraho's unique artistic expression.

Temple Design Philosophy

Central India's Vindhya mountain (Kalinjar) temple sites, centered in Khajuraho, embody the Hindu tradition of building where deities like Shiva were believed to pray. Characteristically located near water bodies (currently Sib Sagar, Khajur Sagar/Ninora Tal, Khudar Nadi; legendarily 64, with 56 identified), most temples (except Chaturbhuja) face sunrise.

Sunrise orientation, a significant symbolic element in Hindu temple design, is observed in all these temples except Chaturbhuja. Their layout integrates masculine/feminine deities, symbolizing interdependence, and artworks depict Hinduism's four life goals: dharma, kama, artha, moksha. Of the surviving temples, six are Shaiva, eight Vaishnava, one Ganesha, one Surya, and three Jain; some ruins lack definitive deity assignments.

The site's overall design adheres to the Hindu mandala principle (squares and circles), with the territory laid out in three triangles forming a pentagon, interpreted by scholars as symbolizing tri-lokinatha (three realms) and panch-bhuteshvara (five cosmic substances). Shiva, the destroyer and recycler, controlling cosmic dance, is central.

The temples feature intricate carvings, with erotic sculptures comprising under 10% and proportionally balanced within the broader depiction of human life and Hindu values, often requiring close observation. The art expresses the Āgamas' three concepts: Avyakta (unmanifested), Avyaktavyakta (partially manifested), and Vyakta (manifested), reflecting cosmology, philosophy, and practices.

The Beejamandal temple is under excavation, identified with the Grahpati Kokalla inscription's Vaidyanath temple. The Matangeshvara temple remains an active worship site, featuring a large lingam on a wide platform. The most visited, Kandariya Mahadev, covers 6,500 sq ft with a 116 ft spire.

Khajuraho: A Late 10th Century Synthesis

Representing a near-equal presence of Vaishnavism, Shaivism, and Jainism, the Khajuraho temples were likely built and used concurrently in the late 10th century, a testament to Hindu and Jain tolerance according to Will Durant. Their layout features major temples surrounded by smaller ones in a grid pattern, also common in Hindu temple complexes like Angkor Wat and those in Parambaran and South India. The largest Shiva temple is Kandarya Mahadeva, and the largest Vaishnava group includes Chaturbhuja and Ramachandra.

Nagara Architecture

Nagara style temple architecture, originating around the 5th century AD in northern and central India, is a significant part of ancient India's cultural and architectural heritage. Rooted in Hinduism, these temples are distinguished by their towering shikharas (spires), intricate carvings, and symbolic designs that blend art with divinity. The term "Nagara" itself means "city," highlighting its connection to urban architectural principles.

Key Characteristics and Layout

Nagara temples typically follow a distinct layout reflecting cosmic order and spiritual journeys:

Vastu Purusha Mandala: The temple's design is aligned with this sacred cosmic diagram, ensuring harmony with universal forces and establishing the temple as a microcosm of the universe.
Garbhagriha (Sanctum Sanctorum): The innermost, holiest chamber, often square, where the principal deity resides. It symbolizes the womb of creation.
Pradakshina Patha (Circumambulation Path): A clockwise path around the garbhagriha for devotees to show respect and seek blessings.
Vimana (Tower): The main spire, or shikhara, symbolizes Mount Meru, the abode of the gods, and represents the ascent from the earthly to the celestial realm.
Mandapa (Congregation Hall): A communal space for rituals and gatherings, supported by intricately carved pillars depicting deities and mythological narratives.
Antarala (Vestibule): A transitional space between the garbhagriha and the mandapa, symbolizing the journey from the material to the divine.
Ardha-mandapa (Entrance Porch): The entrance, often featuring ornate pillars and carvings, serving as a visual prelude to the temple's interior.
Peripheral Structures: Smaller shrines and subsidiary structures often surround the main complex, honoring various deities and contributing to the overall design.

Architecture of the temples

Hindu temple architecture commonly utilises the Manduka mandala, an 8x8 grid plan. The central Brahma pada houses the primary deity, encircled by Devika padas for other gods. The outer Paisachikas padas symbolise negative aspects, while the eastern edge features Surya and Indra representing light and hope. The Manusha padas represent the human journey of choice towards the core, where the deep saffron circle embodies the formless Universal One (Purusa). This design, ranging from simple to complex grids, universally incorporates circles and squares in layout and spire. Concentric turning squares in spires above the Brahma pada reflect structural design and Hindu philosophy (Vastu Shastras). The main deity and the Purusa are located at the centre. The vastu-purusha-mandala, combining mandala (circle), purusha (universal essence), and vastu (dwelling), is fundamental to Hindu temple design, as seen in Khajuraho.

Khajuraho temples' striking visual appeal arises from intricate mathematical and geometric precision that embodies cosmic philosophy. Their architectural layout symbolically mirrors the universe, from the towering Shikhara to the Mandala ceilings, with a central focus above the sanctum's deity representing cosmic energy. East-facing entrances are common.

Built on the 8x8 Manduka Vastu purusha mandala grid, Khajuraho represents the zenith of northern Indian temple design. Sandstone structures on ornate platforms (jagati) feature Nagara-style Shikhara (symbolising Mount Kailasa) atop the sanctum (garbhagriha), which enshrines the Purusha and main deity within a symmetrical, layered framework derived from Hindu principles.

The temples present a spatial hierarchy of interconnected areas: entrance porch (ardha-mandapa), main hall (mandapa), vestibule (antarala), and sanctum. Larger examples include transepts and circumambulatory paths. Pillared halls (mandapas) serve pilgrims. The Shikhara (Vimana) crowns the vastu-purusha-mandala, embellished with smaller shikharas and linked to sacred mountains.

A central ambulatory path (pradakshina) encircles the deity and Purusa. Pillars, walls, and ceilings are richly carved with depictions of kama, artha, dharma, and moksha. The interplay of the mandala (circle) and vastu-purusha-mandala (square) symbolises the earthly and divine.

The temples reflect the harmonious coexistence of different faiths under Chandela rule. The sculptures showcase an extraordinary blend of religious and secular themes.

Construction

Constructed from sandstone on near-invisible granite foundations, the mortar-free structures utilise precise mortise and tenon joints held by gravity. Megalithic columns and architraves weighed up to 20 tonnes. Ageing more rapidly, the 19th-century brick and mortar repairs have darkened, creating a visible contrast with the temple's original materials.

The Khajuraho and Kalinjar region's high-quality, precisely carvable sandstone enabled the intricate details seen in surviving sculptures (hair strands, nails, jewellery). Recreations for the "Lost Worlds" show suggested the immense labour involved, with a small sculpture taking 60 days. Experiments quarrying limestone indicated that building these temples would have required hundreds of skilled sculptors.

Art and Sculpture

The seamless unity of sculpture and architecture defines Khajuraho. Symmetrically placed mandapas and diverse artwork, though individually distinct, showcase this integration.

Despite erotic art comprising about 10% (often smaller, interior carvings), the exteriors captivate with twisting, bejewelled apsaras, rows of griffins, and detailed maithunas. These dynamic stone surfaces, animated by depictions of full-figured apsaras engaged in activities such as applying cosmetics, washing their hair, playing games, dancing, and the continuous act of adjusting their girdles, alongside scenes of daily life, vibrantly express Hindu beliefs and human emotions.

The erotic depictions are attributed by scholars to either Tantric practices or Hinduism's acceptance of kama.

Mystical Temples

The temple complex is divided into three spheres: the Western, Eastern, and Southern. The Western group consists of the majority of temples, the Eastern comprises carved Jain temples, while the Southern group has only a few temples. These are dedicated to both Hindu deities and Jain figures. Let us explore these temples now.

Western Group of Temples

The iconic temples in the Western Group are situated on the west of the Bamitha-Rajnagar road on the banks of Sib-Sagar. They comprise six major edifices and are dedicated to the Shaivite and Vaishnavite cults.

Kandariya Mahadeva Temple: Khajuraho's Grandest Shrine

Nestled in Sevagram, the Kandariya Mahadeva Temple, built between 1025-1050 AD, is the largest and most majestic temple in Khajuraho. Spanning over 31 meters (102 feet) in length and crowned with a central spire reaching 101 feet, it exemplifies architectural harmony and finesse.

Architecture and Artistry

Constructed from sandstone, the temple's walls are renowned for their erotic carvings, offering a unique perspective on India's cultural heritage. Unlike typical Hindu temples, its interior features an open passage around the sanctum, forming a high altar. Tiered roofs lead the eye upwards, while every surface is adorned with rich carvings depicting geometric patterns, deities, celestial beings, and intricate motifs.

The temple boasts nearly 900 intricately carved figures, each standing between 2.5 and 3 feet tall. Its arched entrance is decorated with celestial beings, musicians, and floral carvings interspersed with figures of ascetics. Dedicated to Lord Shiva, the sanctum houses a marble Shiva lingam at the centre of the Garba Griha, inviting visitors to appreciate its spiritual and historical significance.

Exterior Details and Sculptures

The base of the door jambs features female figures symbolising Ganga and Yamuna, accompanied by their respective mounts: a crocodile and a tortoise. The exterior is further adorned with numerous apsaras and nymphs in diverse postures. With its intricate carvings and towering spires, the temple exudes a sense of divine grandeur. The beautiful frescoes of women in various postures gracing its walls make it one of Khajuraho's most stunning tourist sites.

Ekattarso Mahadeva Temple: Khajuraho's Ancient Yogini Shrine

The Ekattarso Mahadeva Temple, also known as Chausath Yogini Temple, in Sevagram, is Khajuraho's oldest temple, possibly dating back to AD 820. Situated on a low rocky eminence southwest of Sib-Sagar Lake, it's unique in Khajuraho for being built entirely of granite and orientated northeast-southwest.

Architecture and Spiritual Significance

This ancient temple, surrounded by serene landscapes, offers a tranquil retreat for pilgrims seeking blessings. It stands on a massive plinth with a courtyard measuring 104 feet long by 60 feet wide. Originally, the temple comprised 65 small cells: one dedicated to Goddess Kali and the remaining 64 to the Yoginis, or female attendants of Kali, from whom the temple gets its name ("Chausath" meaning 64). Currently, only 35 of these cells remain, with no images surviving within them. The cells are roofed with small spires (sikharas) adorned with triangular ornaments imitating chaitya windows. Scholars believe this and similar open-air, often circular, temples in remote India served as focal points for an esoteric cult. There is no dated inscription to confirm the temple's precise age.

Lalguan Mahadeva Temple

The Lalguan Mahadeva temple, located a few hundred yards northeast of the Chausath Yogini temple, is a historically significant site despite its ruined state. The original portico is gone, but the temple is notable for its transitional architectural features.

It was constructed using a combination of both granite and sandstone, showcasing a shift in building materials. The designs are relatively simple, with limited ornamentation, which marks a crucial point in the evolution of temple architecture in the region. This simplicity distinguishes it from the later, more intricate, and highly decorated structures that followed.

Matangeshwar Temple

The Matangesvara Temple, located just outside the Western Group boundary, is Khajuraho's only active temple, hosting morning and afternoon worship. Dating back to the early 10th century, its simple design—marked by a lack of ornamentation, square construction, and a straightforward floor plan—features bay windows, a projecting portico, and a ceiling of overlapping concentric circles. The sanctum houses an impressive 8.5-foot-tall lingam.

Lakshmana Temple

Architectural Highlights

Built by King Yashovarman between 930-950 AD, this east-facing Vaishnavite masterpiece features an elaborate "double cross" plan with three tiers of exterior sculpture on a high platform. Its preserved subsidiary shrines and decorative jagati (platform) make it unique in Khajuraho.

Exquisite Carvings

The temple is renowned for its intricate carvings, which cover nearly every surface. The mandapam ceiling boasts shell and floral motifs. Above the main shrine's entrance, a lintel depicts Lakshmi flanked by Brahma and Shiva, with a planetary frieze above. The doorway relief illustrates the churning of the ocean, while the sanctum walls narrate Krishna's legends.

Iconic Sculptures and Symbolism

The exterior base showcases some of Khajuraho's most famous sculptures: gods and goddesses on protruding corners, erotic couples in recesses, and apsaras in between. Friezes along the tall platform depict daily life, including battles, festivals, and amorous scenes. Inside, an 8.5-foot, three-headed Vishnu (Vaikuntha) icon, representing his human, Narasimha, and Varaha incarnations are surrounded by images of his ten avatars. The walls come alive with deities, sensual figures symbolising fertility and love, and even a captivating scene of a woman removing a thorn from her foot.

Chandela Legacy

The Lakshmana Temple stands as a testament to Chandela brilliance, proclaiming their prestige through its unparalleled detail and architectural evolution.

Varaha Temple

Upon entering the Western Group complex, you'll find the Varaha Temple (circa 900-925) on your left. This shrine is dedicated to Vishnu's Boar Incarnation (Varaha), a form he took to rescue the earth from a primordial slush. Inside the sanctum, a massive, polished stone boar, standing on the serpent Shesha, depicts all of creation on its sides. The ceiling features a lotus relief.

Mahishasura Mardini Temple

The Mahishasuramardini Temple in Khajuraho, built between 950 and 1050 AD, is dedicated to Goddess Durga in her form as the slayer of the demon Mahishasura. Its carvings, known for their confrontational nature, present a striking contrast to conventional Indian erotic ideals, making it a captivating example of India's rich artistic heritage.

Vishwanath Temple

The Vishwanath Temple, located east of the Chitragupta and Devi Jagdamba temples, is dedicated to Lord Shiva (also known as Vishwanath, "Lord of the Universe"). Believed to predate the Kandariya Temple, it features two surviving corner shrines.

Architecture and Inscriptions

Accessed by two staircases—one flanked by lions, the other by elephants—the 90-foot-tall temple houses a lingam with an emerald inside the sanctum. The entrance depicts Lord Shiva on Nandi, flanked by Brahma on his goose and Vishnu on his eagle. Two Sanskrit inscriptions within the mandapa detail the genealogy of Chandela kings from Nannuka to Dhanga. The larger inscription, dated 1002 CE, confirms King Dhanga built and dedicated the temple to Shiva.

Sculptural Details

The outer corridor walls display an impressive image of the three-headed Brahma and his consort Saraswati. Dominating the walls are depictions of 10th-century women engaged in daily activities like writing, holding babies, applying makeup, or playing music. Voluptuous nymphs of paradise and robust erotic scenes are also prominent. These sculptures are thought to symbolically represent a cosmic design.

Devi Jagadambi temple

The Devi Jagadambi Temple was built by the Chandela dynasty between 1000 and 1025 AD. Originally dedicated to Vishnu, as evidenced by a sculpture over the sanctum doorway, it is now dedicated to Parvati, Shiva's consort. Due to its black image of the deity, it is also known as the Kali Temple.

Architecture and Sculpture

This temple shares its elevated platform with the Kandariya Mahadeva Temple and closely mirrors the Chitragupta Temple's layout. It exhibits Nagara-style architecture with a towering shikhara (spire). The temple's foundation follows a five-part (pancha-ratha) structure, transitioning to a seven-part (sapta-ratha) plan as it rises, adding visual complexity. Uniquely, its doorkeepers are strategically placed only in the east and west, unlike the Chitragupta Temple.

The interior's three-shrine design gives it a cross shape. Notable sculptures include a four-armed female holding lotus flowers (possibly Lakshmi) and a three-headed, eight-armed Shiva sculpture on the western facade

Exquisite Carvings

The temple's exterior walls are adorned with intricate carvings arranged in three horizontal bands. The lower two bands depict Vishnu and his avatars, while the topmost band features sensual and expressive figures characteristic of Khajuraho's artistic legacy. The presence of Dikpala figures, guardians of the directions, with unique expressions, is a distinctive feature, particularly the Yama figure on the southern side. A dynamic sculpture of a warrior fighting a mythical beast (Sardula or Vyala), believed to be the emblem of the Chandela dynasty, greets visitors at the temple's approach. The ceilings are similar to those in the Kandariya Mahadeva.

Chitragupta Temple

The Chitragupta Temple, also known as Bharatji's Temple, is a captivating sun-kissed masterpiece located slightly north of the Devi Jagadamba Temple within Khajuraho's Western Group. Built around 1000-1025 AD, its architectural style and sculptural flair are similar to the nearby Jagadambi Temple.

Dedicated to Surya, the Sun God

Facing east in honour of its presiding deity, the temple's sanctum enshrines a striking 5-foot image of Surya, the Sun God, depicted in high boots and driving a chariot pulled by seven horses. Surya also appears prominently above the doorway, and three smaller sculptures of him grace the ornate lintel.

Architectural and Sculptural Details

The temple's layout includes an entrance porch, a spacious maha-mandapa, a vestibule, and the sanctum with a circumambulatory path. Its ceiling ingeniously transforms from a square to an octagon, then to diminishing circles, showcasing the era's architectural ingenuity.

The exterior walls are a rich canvas of medieval life and mythology. Sculptural scenes abound, depicting animal combat, royal processions, masons at work, and joyous dances, all reflecting the lavish country life of the Chandela period. A particularly intriguing sculpture is the eleven-headed Vishnu in the central niche south of the sanctum, where the central head represents Vishnu himself, and the surrounding ten symbolize his incarnations. Other notable carvings include celestial women (apsaras and surasundaris), elephant fights, and hunting scenes.

Surrounding Shrines

Facing the main temple is the simpler Nandi Temple, which enshrines a massive, richly harnessed monolithic statue of Nandi, Shiva's sacred bull. Nearby, the small and heavily rebuilt Parvati Temple, originally dedicated to Vishnu, now houses an icon of the goddess Ganga standing on her crocodile mount.

Eastern Group

Temple on Khajuraho Sagar: A Unique Early Structure

Situated on the banks of Khajuraho Sagar, this Brahma temple is one of the oldest surviving structures in the complex, believed to have been constructed in the latter half of the 9th or earlier half of the 10th century CE. Its chaturmukha (four-faced) image inside the sanctum is thought by some to be Lord Shiva, though local worshippers often identify it as Lord Brahma.

Misidentified Deity and Architectural Simplicity

Despite its name, the temple is likely misidentified. The four-faced (chaturmukha) image within the sanctum is believed to be of Lord Shiva, though local worshippers often mistake it for Brahma. This aligns with the fact that Brahma, a titular member of the Hindu triad, rarely has dedicated temples. Furthermore, figures of Lord Vishnu occupy the central positions on the lintels of the sanctum and west windows.

Architecture and Materials

The temple faces west, with figures of Lord Vishnu occupying the central positions on the sanctum's lintels and west windows. Its shikhara is built of sandstone. Notably, this temple represents a transitional period in construction, being one of the few Khajuraho temples built using both granite and sandstone. While the outer walls are mostly devoid of sculptures and the plan is simpler compared to other Khajuraho temples, the intricate, adorned figurines within make for an interesting study.

Originally consisting of a garbha-griha (sanctum) and a porch, only the garbha-griha housing the chaturmukh lingam remains, as the porch has been destroyed. Its plan is simpler than other Khajuraho temples, with outer walls largely devoid of sculptures. Its distinctiveness also lies in the combination of materials and the shape of its shikhara (spire), significantly different from most other Khajuraho temples.

A Glimpse into Early Artistry

The temple, despite its simpler design, offers an interesting study of the intricate, adorned figurines of its time, providing a glimpse into the early artistry of the Khajuraho complex

Vamana Temple: A Northern Gem of Khajuraho

The Vamana Temple, located in Khajuraho's northern sector, dates to the late 11th century. Dedicated to Vishnu's dwarf incarnation, Vamana, the five-foot-high image in the sanctum, though appearing as a tall child, represents the deity who subdued a demon king.

Architecture and Iconography

Measuring approximately 63 feet in length and 46 feet in breadth, the temple stands on an exceptionally high platform. It's a Nirandhara (ambulatory-less) structure, featuring a sapta-ratha sanctum, vestibule, a grand assembly hall with lateral transepts, and an entrance porch. The exquisitely engraved walls testify to its glorious architecture.

The sanctum walls display unusual theological openness, showcasing most major gods and goddesses. Vishnu appears in many forms, including the Buddha, his ninth incarnation. A figure of Lord Brahma in the bhumisparsa-mudra (earth-touching gesture) is also present. The upper row around the sanctum depicts Brahma with his consort to the south and Vishnu with his consort to the north. The lower row features images of Varaha, Narasimha, and Vamana. The facade is intricately carved with sculptures of various gods, their consorts, female figures, and mythological characters like Varaha and Nandi. The towering shikhara is also adorned with minutely carved designs.

Javari Temple: A Concise Overview

The Javari Temple, a smaller yet exquisite shrine dedicated to Lord Vishnu, is located just south of the Vamana Temple in Khajuraho's Eastern Group of Temples. Built between 1075 and 1100 AD, it's roughly contemporary with the Vamana Temple.