EROTICISM OF KHAJURAHO TEMPLES
INTRODUCTION
Khajuraho has presented an alternative reality of the humanism
of the Hindu society. The popular narratives of modesty and
social norms, are actively challenged by the sculptures of the
khajuraho temples which are brazenly erotic. The
representations of gods and goddesses engaged in sexual
acts, vividly manifested, stands out among the general temple
depictions across India.
Of the eighty-five temples built there in the tenth and eleventh
centuries, twenty-
two remain. Put together without mortar out of precision-cut
granite blocks and covered with highly polished carvings, they
survive till date, as the comprehensive symbol of the chandela
dynasty.
The temples which are intricate assemblages of porticos,
cones, drums, towers, stalagtites, exemplifies the
craftsmanship of the period and is a representation of an
alternative humanism endorsed by Hinduism. The erotic
sculptures manifesting intimate scenes between animals,
humans and goddesses are found in the freizes where the
depictions of Auto-erotic stimulation, dual and multiple
cunnilinction, penilinction, copulation, homosexual and bestial
intercourse cir-
culate about the temple walls, without primacy of place or of
artistry given to any mode. There are no signs of audacity and
objection from the viewers.
According to Prof Lingis the depictions of "the artistic
exaggeration of genitália proper to pregnancy and fertility cults
does not occur here, and many of the tableaux depict non-
impregnating manipulations. And the dyssymmetry of the sexes
does not become a practice of power and dependency. Penile
erection is not generalized into male ascendency as in the art
that casts secondary gender characteristics male chest and
male musculature - into the image of tumescence; nor does it
become the concrete symbol, the very concretion of verticality
and value. Khajuraho shows men receiving female initiative,
lying upside down beneath women; and the male figure, supple
and pliant, coils and breathes rather than hardens into
muscular erection, or into pillars about which the female would
twine, Seeking phallic support". Instead of an infiltration of the
gendered norms of masculine overpowering in the intimate act,
here is a depiction of the purity of love.
Along the same lines, Lakshminarayan Rachori argues that "the
males and
females exhibit two opposites emotions. The females female is
depicted as seeking the fragrance of love, while the male
appears to be in the indulgence that concerns with his outer
self only"
THE EROTIC SCULPTURES OF KHAJURAHO.
The erotic sculptures of khajuraho can be divided into six
categories, namely the reverses ofnpassionate individuals,
amorous couples (mithunas), Amorous Assemblies, divine
amours, Erotomaniacs and attendants and Associates.
The figures of reverses of passionate individuals include
depictions of females who exhibit the emotion of passionate
love and who engage themselves in various kinds of erotic
activities. They give the atmosphere of kahjuraho that of
intense love and passion. They have been depictedd with their
amorous features stressed. The erotic depictions of women
include them tying the hair in a joyous mood, tying her
waistband to complete her dress, holding a garland to greet her
lover, she as fully dresses expecting her lover any time,
restlessness and worried. The other depictions of love lorn
nayikas include, passionately pressing her breasts, standing in
reminiscence of her lover etc.
The figures of khajuraho are highly stylised, that is their bodies
are not a naturalistic depiction. The women in the figures are
depicted having ideal beauty.
The many erotic sculptures of khajuraho have been repoterd as
" some are rough-hewn and grotesque, some are audacious.
They are unapologetic and together they create a riot of sexual
acts: fondling and masturbation, cunnilingus and fellatio, orgies
and bestiality, and acrobatic couplings challenging, if not
impossible.
Some scholars have considered the mithuna figures depicted to
be the portrayal of the sexual postures described in the
kamasutra. However this suggestion has been refused by Prof
Desai, who argues that kamasutra was a secu,ar text and the
depictions at khajuraho are religious in nature. The paradox of
portrayal of erotic symbols is explained by desai as being
connected with the sexual practices of fertility. Desai also notes
that most of the mithuna couples were located near the
mahamandapa and the Garbhagriha intersect. She argues that
the function may be the magico defensive.
CONCLUSION.
The erotic sculptures of Kahjuraho stand as a manifestation of
the superior craftsmanship of Indian architecture and offers
alternative conceptions of spirituality and social decency. The
depictions of the mithunas, the Apsara and the elaborate
manifestation of sexual acts becomes a statement of the
alternative conception of "Hindu Humanism'. The particular way
in which these depictions have been undertaken also
transcends the generally set norms of gender with women
depicted as being seeking sexual pleasure. The
aggressiveness of the passion and the intimate act has been
brazenly depicted defying the societal norms.
