UN—AN IMPORTANT CENTRE OF PARAMARA ART AND ARCHITECTURE M.D. KHARE. Un, which was an important centre of Paraméra art and architecture, having, according to tradition, ninety nine temples and ponds, is a small village, 16 kms, west of Khargon, the district Headquarters of the modern district of Nimar (West), and on Khargaon-Julwania road, which meets Bombay-Agra National Highway, Now, the remains of hardly a dozen temples in various stages of preservation exist here. Unfortunately not a single temple is fully preserved. Un was undoubtedly a city of temples like Bhuvaneshwar and Khajuraho. ‘That is why R.D. Banerjee had rightly expressed: “‘there is no other place in North India after Khajuraho, where, so ancient a group of temples is available.” Datable to 11th-12th Cent, A.D. and constructed during the reign of the Paramaras of Malwa, these temples belong to the Brahmanical and Jain faiths. Although the number of Brahmanical temples is larger, technically there is no difference in both the groups ‘of temples, which can be easily identified with the help of the figures as lalatabitnba where the sanctum has no images now. Made of local sandstone, in “dry” masonary, most of the temples consist of a garbhagrha (sanctum), an antardla (a vestibule) a mandara (pillared hall) supported on four pillars, mukha-mandapa (entrance porch) and two more porches, one on each side of the mandapa, for light and air. In a typical Bhimija style, the covered pradaksinapatha (citcumambulatory path) is conspicuous by its absence. The platform on which a temple stands is fairly big and often high and paved with stone slabs, which, however, are missing now. The adhisthdna (basement storey) and the jarigha (wall) carry ornamental mouldings and rows of sculptures of gods, goddesses, apsaris and erotic figures notable being those of Chimundi, Natardja and Tripurari on the bhadras, Above the central zone rises the roof consisting of a series of graded peaks, with their upward ascent, cluminating in a tall sikhara (spite), raised directly over the grabhagrha. The lyrical outline, as seen in the Sikharas of Khajuraho temples is however wanting. The interior of the temples here is equally exquisite, notable being the pillars, lintels and the ceilings. On the usual four beautifully carved pillars are placed four large lintels, which in turn support an elaborately carved dome, resumbling the workmanship of the Delvada Temple on Mount Abu.48 Art of the Paramaras of Malwa The ‘artistic treasure of Un temples abounds in various Hindu and Jain icons. As in Khajuraho, here also the cult images are carved in the round and according to the cahonical formulae, which the parivdra devatds, placed in the niches Ue Bains! the walls, are in the round or high or medium relief. But the artists of Un have displayed complete mastery over the modelling and display of female Seures, in very fascinating postures, Besides, certain secular and domestic scenes, and erotic figures also find place in this assemblage. In many cases, Un anc Khajuraho sculptures are almost identical. The most important and the largest temple is called Chaubara Derd No, 1, It stands about 70 mts. north of the road leading to Khargon and consists of ¢ sarbhagrha, an antardla, a pillared hall and three porches on its three sides, the astern porch ‘serving as a mukha-maxdapa, and provided with chhajja stones. That it was a Panchdya‘ana type of temple is evident from one of the four partly Preserved shrines in the south-west and the traces of the remaining three shrines in other corners, Siva and Septamdtrkas (seven-mothers) have been depicted on the door of the mukhamaxdapa, which is exquisitely carved. The lintel of the antardla has the representation of GaneSa, Brahma, Siva, Visnu and Sarasvati. A figure of Ganesa is shown as Lalatabirhba on the lintel of the garbhagrha. ‘The exterior of the walls also displays a few gods and goddesses as well as erotic figures, The main attraction of this temple is the mahdmanddpa, the pillars of which are fully decorated with the figures of seated gods and goddesses on its four faces below and four female figures, about 80 cms. high over them. In between there is @ row of dancers and drummers. Further up are carved six tows, five of which Fepresent gods and goddesses and the one on the top musicians and dancers, ‘The standing female figurss are the masterpieces of Un artists. Another notable feature of this temple is its Sa-paba idha inscription and two records in the northern wall of the avtardla. One of these two inscriptions mentions King Udayaditya of Malwa. Bhojasili of Dhar and Mahakilésvar Temple of Ujjain have also sarpabandha inscriptions. In the absence of printing press in those days, these permanent records must have been quite useful for the students, The only shrine of the four subsidiary shrines appears to be almost a miniature of the main temple. Standing on a high plinth and accessible by a flight of Steps, now gone, it has a small front porch, and antardla and a gurbhagrha, Although the rear portion of this shrine is damaged, leaving part of its sikhara intact, its eiling is nicely executed in the manner of the Central hall. Of the other temples, like TrambakeSvara or Mahakalésvar No. 2, NeelkantheSvar 1 and 2, Hataakesvar, Chaubard Dera No. 2, Ballalesvar, etc., the Trambakesvar temple had the largest manda?q, although now lost. An added feature of this temple is the provisions of two niches in the side walls of the avtardla, containing Brahma and Visnu with attendants. Its exterior is however, without sculptures, except three Saivic deities, Neelkanthesvar No. 2 also has two niches in the q@uardla, but its sanctum is narrow and deep, provided with descending steps. This must have also been a Panchdyatara type of temple as evident from the traces of two subsidiary shrines at its back.Un—An Important centre of Paramara Art and Architecture 49 Chaubara Dera No. 2, a Jain temple, though without its sikhara now, still remains one of the most beautiful temples of Un. It has, besides the usual components, an ardhamandapa with extensions on either side and also provided with regular flights of steps. Likewise, the two porches of the central mandapa are also accessible by steps from east and west. Its mandapa stands on eight pillars. instead of usual four having a band of kirtimukhas, birds, leaf design, seated deities, etc, Its dome is profusely decorated. This temple also has two niches in the antardla and three in its sanctum, the one in the back wall being bigger. The Gwaleivar temple is similar to the Chaubard Dera No. 2, but the floor level of its garbhagrha is about 2 mts. below that of the ° mandapa, enshrining within three inscribed huge Digambara Jain images on a pedestal. A series of short steps have also been Provided in the back wall for the use of the priests, To the north-west of the ‘Mahakalesvar temple is another, known as Ballaléévar temple, after the Paramara ruler Balldla, who appears to have wrested the power of this region from the Chalukyas of Gujrat. This temple dedicated to Siva has undergone many altera- tions, resulting in the loss of its sikhara. The temple of Un are very close to the Neelkanthévar temple Udaipur (Vidisha) in date and stlyle. It differs in being saptaratha on plan and having seven subsidiary shrines instead of the usual four. The temples of Un display a combination of architectural skill and sculptural maturity. They were not only an abode of God but also a house of all arts and learning. The sarpabandha inscription of Chaubara Dera No. 1 ‘was meant to teach the rules of grammar. The presence of erotic figures, "like those of Khajuraho or Konarak, indicates the influence of Tantricism and a continuation of the pre. historic tradition, beginning with the worship of a pole or post and female figures having pronounced busts, buttocks and genital organs. Literally the ‘lifga’ and ‘phalos’ mean a post. Eros was the god of passion as well as the fertility vand as early as the beginning of the Christian era detailed handbooks on sex contain- ing illustrations of coital positions were written jin China, and they stressed. that coitus strengthened the man both mentally and physically, Through tartricism, a believer may merge the male and femal elements in himself either by a process of intense meditation or by sexual intercourse with a woman, called his energy or “Sakti”, Be that as it may, to quote Shri Krishna Deva, these representations have given us some of the finest sculptural compositions, which vibrate with a rare sensitiveness and warmth of emotion and are remarkable for their sculptural qualityART OF THE PARAMARAS OF MALWA (Proceedings of the UGC Sponsored All-India Seminar held at Prachya Niketan, Centre of Advanced Studies in Indology & Museology, Bhopal, Jan. 21-23, 1978) Edited by R.K. SHARMA AGAM KALA PRAKASHAN DELHI