Mention Khajuraho in passing in a group and immediately there will either be an awkward silence or a burst of whispers followed by giggles. No doubt, Khajuraho is popular for its erotic figurines. But.., Do you know why Indian aesthetics celebrate eroticism? Would you like to know the esoterism behind why Radha tells Krishna:
“Oh Yadhunandana!
With hands,… that are cooler than sandal balms,
Paint my breasts…
that are the ritual vessels of Kamadeva.”
~ Gita Govindam, 12 CE poetry
At the outset, the esoteric behind the brazen display of erotism at Khajuraho and other Indian places of worship is the celebration of ‘kama’. Kama, meaning desire, is a core idea of purushartha, a civilizational seed that deals with suitable ways of living a fulfilling life. Kama is thus a fountainhead that has shaped (Hindustan) Bharat’s culture. Incidentally, kama is also considered an important cause for Creation and Evolution. In this way, kama is the common link that blurs the thin line between divinity and eroticism. Introduction to this unique knowledge system can refine our aesthetic sensibilities needed for identifying true beauty and appropriately enjoying that which is truly beautiful.
Khajuraho Sculptures: Themes and meanings
In regard to the temple sculptural traditions, listed below are the generic format and meanings of sculptures in a temple based on the classical text, the Shilpa Shastra. This format is common to all medieval Hindu temples not only in India but in the far East too.
- The cult icon: This is the main deity that is consecrated in the sanctum. Sometimes the main deity may assume a form; at other times, it may remain abstract. For eg. yoni, lingam, and padam are abstracts for Shakta, Saiva, and Vaishnava cults; whereas, Kali, Somaskanda, and Ananta are some of the assumed forms popular in their respective cults.
- The attendants and surrounding deities: Usually the cardinal directions of the outer walls of the sanctum will carry other forms of the main deity to balance the radiations and channelise the energies between the inner and outer space. In large structures, many ornate columnar niches would also be included that will project the form more profoundly.
- The demi-gods: The pillared hallway leading to the sanctum can have many dynamic figurines of the vidyadhara-s (supernatural beings), gandharva-s (celestial musicians), or gana-s (deformed attendants). Their depictions can be erotic or comic. Usually the depictions of gana-s are playful and comic. The puranic tales (Hindu mythology) also got depicted in these hallways much later.
- The celestial dancers: Called as the apsara-s, they add auspiciousness to the space and they reflect the collective consciousness – of the society or the artisans who contributed to the building of the temple.
- Secular scenes: Temples were a way of documenting the lifestyle of an era and the cultural elements of a region. Hence, many activities of soldiers in battles, processions, and people from domestic life can also be found sculpted in temples.
- Animal figurines: This could be both mystical and realistic. The mystical figurines bring out the tendencies of the land and its people. The realistic portrayals show the dynasty’s cavalry, or, in a few temples, narratives of battles fought by kings will also be depicted.
- Geometric and floral designs: Among the most popular Indic designs are the lotus and the yin-yang symbols. Creeping and crawling geometric designs are also used to demarcate space, or used as borders to separate panels and walls.
Regarding Khajuraho’s architecture, art historian, Prof Devangana Desai’s observations will ring a bell for those who have already visited it. He says, ‘The sculptures at Khajuraho, are harmoniously integrated with the architecture and they add to the rhythm of the monuments… A rhythmic pattern is conveyed through the arrangement of the sculptures on the temple walls. Each temple has its pattern of arranging sculptural motifs: for eg. in the Lakshmana temple, surasundaris on the projections alternate with vyalas in recesses of the walls. The hundreds of divinities carved on the walls and niches of the inner walls are conceptually integrated with the central divinity enshrined in the sanctum. Each sculpture is part of the whole; a part of a preconceived order.’
Generally speaking, Indian temple structures are erected to tune the wildness of nature in a landscape. On that note, a temple is an artistic visual arrangement of forms in space that tame and bring harmony to an ecosystem. Hence, at Khajuraho, the earliest impact on the Bundelkhand region was during the Gupta era, who had tuned the wilderness with unusually large forms like that of Bhairava and Varaha across the Vidhya ranges. These forms were sculpted in the open as reliefs and they resonate strongly even today. This required the later rulers belonging to the Chandella dynasty to explore the aesthetics of form through the sculptural tradition differently. Thus in Khajuraho, the expressions of the temple sculptures are more dynamic (than static) and rhythmic. The emphasis is in the forms are more on rasa, higher perceptions related to taste rather than rupa, higher perceptions related to sight. This is in contrast to temples in other regions, where rupa is more prominent than rasa. But it does not mean, rasa is non-existent in other Indian temples. What is mentioned as rhythm earlier, is laya, the third aesthetic parameter of how temples of India can be experienced. In this way, laya, rasa and rupa are inherent hidden aspects of form that can elevate an aesthetic experience of a culture enthusiast to another level.
Having said that, Khajuraho is a destination chosen by Jvala for experiencing rasa, while destinations Thanjavur and Mahabalipuram are chosen for experiencing rupa and laya respectively. The aesthetic paraments related to rupa, in Indian temple forms, are a separate discipline and the knowledge of it can enrich a viewer’s experience be it: a devotee, or a connoisseur. Ultimately slow travels of Jvala, in cultural destinations are created to shape the artistic sensibilities needed for being a complete art connoisseur.
Why is Khajuraho ideal for ‘slow travel’?
In case you haven’t heard of it, slow travel is the latest buzzword in the travel industry. And the concept of ‘slow’ is to learn something local or new that will enhance the experience of the culture and/or destination. Slow travel is thus the opposite of commercial aspects of tourism.
Let us take an example to better understand slow travel: Grape can be enjoyed as a fruit, ice cream, juice, or wine. But wouldn’t you agree that the various parameters of taste like the flavour, texture, volume, consistency and complexity of grapes is more when consumed as wine than as a fruit or an ice cream? This is the reason why wine tasting destinations usually will recommend you to ideally spend 4 days at the valley to inhale the air, taste from at least 2 or 3 wineries per day for the flavour of the soil to grow on you to make one a connoisseur of wine. Now, if an appreciation for a tangible aspect of culture like wine tasting needs that much time, shouldn’t the experience of an intangible cultural heritage of a land also be given a similar amount of time? This is the reason why Khajuraho is designed for slow travel.
Besides, kama, or desire, is a very personal thought and feeling state. This makes rasa, the manifest component in each of us as our aesthetic sensibilities a very delicate and subjective parameter. So, in order to tune the subjective (sometimes suppressed) sensibilities of uninitiated art enthusiasts to making them as connoisseurs of Indian art, it calls for an expert. To ensure that you get to engage with the right people during the trip who will amplify (but not exaggerate) the experience of the destination, Jvala curates the travel at each destination. At Khajuraho, a classical dancer will play host. The host will have some activities planned that will introduce the uninitiated, but like-minded travellers into the subtle elements of Indian aesthetics that will elevate their perception and lend insights into the essence of beauty in Khajuraho sculptures. Among the planned activities are
- Introduction to kama from Kamasutra, a classical treatise
- Metaphysical relationship between kama and rasa
- Chamber concert of dance demonstrating how kama is aesthetically interpreted in visual formats
- Poetic reading of kama to differentiate the varied expressions of love between the mortals, between the immortals, between mortals and immortals
- Discussions to understand role of kama in shaping society and evolution
- Fun and Games on kama
From our experiences, we have found that after the introductions and discussions on parameters of Indian aesthetics like kama and rasa, travelers have felt the need to revisit the group of monuments for a second glance. A destination like Khajuraho will perhaps be a one-time travel, it is therefore our recommendation that it should not be rushed. It is important to spend time and take back memories, after satiating curiosities and clearing (any or) all misconceptions about Indian temples, their art, and culture.
Needless to mention, Celebrating ‘kama’, also includes:
- A Guided Tour Of Temples Of Khajuraho
- Sound And Light Show Near Western Group Of Temples
- A Drive through the Wildlife At Panna National Park
- A Picnic at an old Fort belonging to Gupta age
- A guided meditative practice at Yogini Temple
- Entry to the ASI Museum
- A Visit to Madhya Pradesh’s Tribal and Folk Art Village
If time permits, and travellers choose to extend their stay, they can choose to relinquish themselves at Raneh Falls or explore the ruins of Mastani Mahal or Rajgarh Palace on their own.
