INDO-ARYAN: KHAJURAHO GROUP

One of the most refined and finished manifestations of Indian architecture in the Indo Aryan
style.

Unlike Orissa, Khajuraho temples do not illustrate a development over a long period of time.
Erected within the relatively narrow interval of a 100 years, from 950 AD to 1050 AD.

Build during the dynasty of the Chandela Rajas, a dynasty noted for its structural productions.

100 miles SE of the town of Jhansi; over 30 in number; most of them occupying a site
measuring approximately a square mile in extent.

Deserted for several centuries, no regular ritual is held within their halls; still well preserved and
in good condition.

Represents different beliefs of saivite, vaishnaivite and jains.

Architectural characteristics
Each temple stands on a high and solid masonry terrace, the intention being to detach itself
from its temporal environment. No customary walled enclosure.

Temple, not as a number of conjoined buildings, but as one unified structure forming a compact
architectural synthesis.

None of them is of any great size. Largest is slightly over 100 in length.

Not imposing edifices. They rely for their appearance on their elegant proportions, graceful
contours and rich surface treatment.

Latin cross shape in plan with long E-W axis; the sole entrance is from east at the foot of the
cross.

Three main compartments - garbha griha , mandapa and ardhmandapa. Supplementing these
are antarala and in more developed examples-the transcepts or mahamandapa

Raised on the lofty terrace, Khajuraho temples resolve themselves into 3 main parts

high basement storey,

walls and openings of interior compartments,

grouping of roofs culminating in tall and graceful shikhara; vertical projections

accentuate the soaring impulse

A rich and diverse series of mouldings lightens the substantial proportions of the plinth, the
spreading base seems to grip firmly the pavement of the terrace.

While the remaining surfaces of the structure are solids, voids have been introduced in the
central zone thus bringing in light and air, at the same time, forming a vivid band of intense
shadow in the whole composition.

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 Another outstanding feature of the central zone is decorative motif which fills in the wall spaces
between the openings. Two or three parallel friezes, conjoined and following the alternate
projections and recesses of the wall are carried round the entire body. Having statutory
mouldings in high relief (dimensions less than half life size), these friezes present a moving
pageant and never ending processions of life like forms, shapely in appearance, exquisite in
workmanship and inexhaustible in interest. There are 650 such figures in Kandariya Mahadeva
Temple alone.

Architecture here pulsates with a human vitality not ordinarily found in building art.

Each compartment is distinguished by a separate roof, the smallest and lowest being the
portico, next in height is the central hall, the two sweeping up in line of mass to the tall shape of
the tower surmounting the whole.

Khajuraho roofs are domical in contour (Orissa - pyramidal).

Khajuraho spires are highly refined and elegant. Graceful shape of the spire is effected in two
ways:

by the subtle alignment of the main curves

rhythmic disposal of the subsidiary members attached to them

Beauty of spire is because of its flowing profile. However principle refinement is attributed to the
design and distribution of the miniature turrets or URUSRINGAS, which were superimposed on
the sides to break up the mass.

Designed strictly according to the requirements of the ritual, combined with the necessity for a
certain economy of space.

Entrance on east - tall flight of steps rising steeply owing to excessive height of plinth, but
increasing its dignity.

The doorway leads to a passage or porch which expands into a rectangular portico
(ardhmandapa)

open sided

ceiling on pillars

sloping seat backs or asanas as dwarf walls

Mandapa is a moderately large square compartment with four pillars in the centre supporting the
roof. Mahamandapa or trancepts extends on two sides of Mandapa Antarala is the shallow
passage that leads to cella.

Interiors are richly decorated with sculptures.

Average size of Mandapa is only 25 feet square, no great space to cover with a roof, but the
weight of the domocal mass above makes the underpinning necessary. Mandapa has four
pillars with four beams - structurally sound.

There are several functional and ornamental features in the Mandapa. Sculpture is superbly
applied mainly over capitals of the pillar, architrave and ceiling.

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 Capitals of bracket order but overlaid with ornament and figure sculpture structure obscured.

The finest work is produced in the ceiling of the shallow dome over the Mandapa. The design of
this ceiling work is very complex but is invisible because of the darkness of chamber.

KANDARIYA MAHADEVA TEMPLE

Siva temple; largest of the entire series

109 long,60 wide externally; total height 116 feet

Double armed cross plan with transepts leading to Mandapa

Another pair has windows to give light to the processional passage, while there is also a similar
aperture for illuminating this corridor in the rear.

There are six compartments in all - portico, main hall, transepts, vestibule, sanctum and
ambulatory.

Broad terrace with ample space all around

The base above the terrace is formed of a plinth 13 feet high sloped rapidly upwards by means
of a succession of prominent string courses.

This sloping substructure is surmounted by a kind of dado supporting the massive inclined
setbacks or asanas above which appear the window openings divided up by pillars, with the
wide eave or chhajja overhanging the whole.

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