Parvati Temple: Khajuraho

The Parvati Temple, Khajuraho: A History of Transformation

The Parvati Temple, though outwardly one of the smaller shrines in the Khajuraho complex, carries a history far grander than its size suggests. Dating back to the early 11th century, this temple, which is currently dedicated to Goddess Parvati, is a study in transformation. Its architectural remnants—such as the surviving plinths and a puzzling Vishnu carving on the lintel—hint at a complex past that raises questions about its original Vaishnav dedication and the extensive restoration it has required over the centuries. This temple faces east and is often considered a part of the larger Vishvanatha Temple complex.

Current Dedication and Inner Sanctum

The temple is currently dedicated to Goddess Parvati (known also by the name Gauri, "the Golden One"), the divine consort of Lord Shiva.

• Sanctum Image: The sealed sanctum (Garbha-griha) enshrines an elegant image of Gauri in the sama-bhanga pose, standing atop her vehicle, the godha (iguana). This statue can only be glimpsed dimly through the perpetually locked screen doors.

• Other Deities: Inside the temple, there is also a deity of Goddess Ganga, the celestial river, standing on a crocodile.

                                                    Goddess Parvati (Gauri)

Architectural History and Plan

The Parvati Temple has undergone extensive restoration using new materials, incorporating ruins found nearby. Only the plinths of its original structure survive today.

• Original Structure: According to an Archaeological Survey of India (ASI) inscription, the temple originally consisted of three parts: a Garbha-griha (sanctum), an Antarala (porch), and a Mukha-mandapa (entrance porch).

• Current State: Only the plinths of the sanctum and antarala have survived, while the mukha-mandapa is completely lost.

• Design: The sanctum is pancharatha in plan, with the bhadra showing additional projections. The surviving architecture has been painted white, giving it a distinctive look.

Extensively Restored Plinths of the Sanctum and Antarala (The temple has been widely restored using new materials, with only the original plinths surviving.)

The Question of Original Deity

A key contradiction exists between the temple's current dedication and its architectural evidence:

• The doorway lintel displays a sculpture of the four-armed Vishnu seated on Garuda. This indicates that the temple might have originally been built for a Vaishnav deity before being rededicated to Goddess Parvati (a Shaivite deity) sometime later.

• The arch above the sanctum door, however, depicts a sculpture featuring the Hindu Trinity: Brahma, Vishnu, and Shiva.

Sculptures and Damage

Unlike other Khajuraho temples, the Parvati Temple is not heavily ornamented with elaborate sculptures, yet its craftsmanship from the Chandela era is still visible.

• Doorway: The temple showcases intricate craftsmanship on its doorway and detailed pillars, rich with symbolism.

Intricately Carved Doorway with Vaishnav Lintel (The doorway shows Chandela-era craftsmanship, while the lintel featuring the four-armed Vishnu seated on Garuda contradicts the temple's current Shaivite dedication to Parvati.)

• Exterior Carvings: Exquisite carvings adorn the exterior walls, depicting scenes from Hindu mythology and daily life. Notably, numerous erotic sculptures of couples can be seen on the front wall on the side of the sanctum door, though the side and back walls are bare.

• Damage: Tragically, all artwork, including the statue inside the sanctum, is significantly damaged. Many pieces are defaced, and some exhibit broken limbs or beheaded figures.

Conclusion

The Parvati Temple's primary value lies in its layered history and the unique contrasts it presents. It serves as a physical record of rededication, evidenced by the contradiction between the Shaivite image of Gauri within the sanctum and the Vaishnav figure of Vishnu on the lintel. While much of the original structure is lost and sadly, the visible artwork bears heavy damage, the temple remains a significant early 11th-century ode to the divine feminine, illustrating the dynamic and evolving religious landscape of the Chandela period.