Nagara Style: Khajuraho Temples

• The temples of Central India evolved from the nagar style of the temple architecture which started in the
Gupta period. By the eighth century it expanded to central India.
• The earliest temples in this region are the brick temples of Lakshmana at Sirpur (Chhatisgarh),
Vaidyanatha Mahadeva Temple at Baijnath and Sikara Temple at Baroli (Rajasthan).
• Before the temples reached at maturity at Khajuraho they passed through a transitional phase. The two
temples leading to the final development of Khajuraho are Keshavanarayana Temple at Amarkantaka
and the Virateshvara Temple at Sohagpur.
• The plan of Keshavanarayana Temple consists of Garbhagriha-Antarala-Mandapa all aligned in one
axis. The garbhagriha is panchratha in plan and has same five-fold division in its vertical axis. The Raha
Pagas project beyond the gandi. The projecting pagas and double amalakas show an approach towards
the typical central Indian style. The square Mandapa has kakshasanas and chhajas (overhanging eaves).
• The Virateshvara Temple at Sohagpur represents another step in evolution of Central Indian Temple
Style. The plan of the temple consists of the Garbhagriha-Antarala-Mandapa-Ardha Mandapa all
aligned in one axis. The addition of the ardha mandapa characterises the typical central Indian temple
style. The garbhgiha is saptaratha in plan has the same divisions in its vertical axis. Two bandhas divide
the jangha into three sections. The raha pagas project beyond the gandi and three instead of two
amalakas crown the top.
 Nagara Style: Khajuraho Temples

Lakshmana at Sirpur Vaidyanatha Mahadeva Temple at Baijnath

Sikara Temple at Baroli
 Nagara Style: Khajuraho Temples
Keshavanarayana Temple Virateshvara Temple at Sohagpur
 Nagara Style: Khajuraho Temples

• The zenith of the typical central Indian temple types and sculpture was
attained at Khajuraho, the capital of the Chandellas from the middle of the
tenth to the twelfth century.
• The temples of this period are built of fine grained variety of sandstone in
different shades ranging from buff to pink or pale yellow, quarried at Panna
on the east coast of the river Ken.
• The earliest ones such as Chausath-Yogini, Lalguan-Mahadeva and
Brahma temples were made of either wholly or partially of granite.
• Around twenty-five temple of different sizes may still be found at Khajuraho
which can be divided into the western, eastern and southern groups.
Nagara Style: Khajuraho Temples
 Khajuraho Temples: Features

• These compact and lofty structures are saptaratha in plan without any enclosure wall.
• Four shrines along with the main shrine make them panchayatana.
• They stand on jagati which give them addition height and prominence.
• As far as their elevation is concerened, on the basis of the shikharas, these can be divided in two parts, i.e.,
those with the anga-shikharas (urushringas) and those without the urushringas around the main shikhara.
• From the point of the view of their plan they can be divided sandhara (with pradakshinapatha) and
nirandhara (without pradakshinapatha) categories.
• The sandhara type have the balconied windows which are the most characteristics feature of the
Khajuraho temples. In both divisions of elevation and plan, the temples without anga shikharas and
without pradakshinapathas are usually the earlier ones.
• The largest and most characteristics temples are the Lakshmana, Parshvanatha, Vishvanatha and
Kandariya Mahadeva temples.
• A flight of steps and a doorway decorated with an ornate makara torana leads into interior. Aligned in one
east-west axis, the various compartments of the temple are united both internally and externally, but each
element has its own roof.
 Khajuraho Temples: Features (Plan)
• The ardh mandapa is a verandah open on three sides. Pillars support the roof and overhanging chhaja
(eave). The ardhamandapa is surrounded by kasshasanas which serve both as seats on the inside and as
low decorative walls on the outside, with their outward sloping lean-backs and fence like ved below.
• The ardh mandapa enlarges into the mandapa, which in the bigger temples is a continuation of the same
balconied open verandah, with kakshanasas on both sides and pillars carrying the roof.
• In the larger temples such as the Lakshmana, Vishvanatha, Kandariya Mahadeva, a new element makes its
appearance, namely the maha mandapa. This is an open hall with balconies attached on both sides, for
which the thickness of the wall had to be opened to give entrance to these balconies.
• The plan of these temples is sandhara. Hence three more balconies are attached to the pradakshinapatha
around the garbhagriha-one at each side of the passage and another at the back.
• These balconies opening into the ardha mandapa, mandapa, maha mandapa and pradakshinapatha not
only supply air and light to the interior, but aesthetically they are the most baeutiful elements of the
Khajuraho temples. Thses balconies are composed of two pillars holding the roof and chajja (eave) and are
surrounded by kakshasnas which serve the double purpose of seats on the inside and low ornamental walls
on the outside, with their outward sloping back and fence like vedis underneath.
• The maha mandapa has not only the pillars of the verandah, but four columns in the centre hold the
architraves which support the ceiling.
• The antarala, with one or more chandrashalas (moonstones) and a flight of steps, leads from the maha
mandapa up to the garbhagriha. All the interior parts of the temple are richly carved.
Khajuraho Temples: Features (Plan)
 Khajuraho Temples: Features (Elevation)
• The elevation of the Khajuraho temples, like the saptaratha plan, has very distinctive and rich features. In
addition to jagati, which provides a common platform, the temple stands on a high adhishthana subdivided
into a series of ornamental mouldings with an outward slope. Over this rises bada (temple wall), on which the
jangha is divided by two bandhanas, thus raising the usual five sections of Odisha (pabhaga-tala jangha-
bandhana-upar jangha-baranda) to seven segments called saptanga bada (pabhaga-jangha-bandhana-
jangha-bandhan-jangha-baranda).
• The saptaratha plan of the shrine, and the seven vertical segments on the bada (sap-tang-bada) are the
highest achievement in Indian architectural design. The increased jangha sections provide the background for
the rich sculptural decorations which alternate with the balconied windows.
• These latter stand out from the body of the temple and rest on the projecting adhishthana. Their rectangular
box-like form, with small pilsters and the outward sloping back of the kakshasnas to upholding the
overhanging chajjas, provide a calm tectonic contrast to the exuberance of the jagati portions.
• Each element of the temple has its own roof. The lowest appears over the ardha mandapa, higher over the
mandapa, still higher over the maha mandapa and the loftiest covers the garbhgriha. This ascending height
of the shikharas symbolises the mount Kailasha or Meru.
• The graceful shikhara over the garbhagriha has a curvilinear design. The raha pagas continue beyond the
shikhara and terminate in a triangular form reaching almost to the amalaka. Around the main shikhara are
grouped a series of its replicas, known as urushringas. Over the beki (neck) rest two amalakas, one large and
the other smaller. The latter supports the kalasha over which appears the ayudha.
Khajuraho Temples: Features (Elevation)
 Khajuraho Temples :Chronological Development

• The Chausath-Yogini temple made of rough granite, is one of the

earliest temples at Khajuraho. It has an extraordinary design, with
sixty-four plain minuscule shrines forming an open air quardrangle.
Only thirty-five out of these still remain. Each has a primitive
curvilinear shikhara.
• The Lalguan- Mahadeva temple, made partly of granite and partly of
sandstone shows a transitional phase. Originally the temple had two
components-a sanctuary and a portico. The latter, however ruined and
the rset of the structure is almost dilapidated too. The pyramidal
superstructure consisted of diminishing tiers of the pidha. A nandi
stands on its west front.
 Khajuraho Temples :Chronological Development

Chausath-Yogini Temple Lalguan- Mahadeva Temple

 Khajuraho Temples :Chronological Development

• The Brahma temple resembles the Lalguan temple in plan, building material,
design and decoration with variations in a few details. It has pyramidal roof.
The receding pdhas, with ribbed ghanta, two amalakas and a kalasha show a
step forward in the evolution of these early temples.
• The Matangeshvara temple, one of the earliest has three canopied balconies.
• The Varaha and Nandi shrines are interesting from the point of view of
roofing. The Varaha shrine stands on a high plain jagati. The pillars uphold
the pyramidal roof composed of receding tiers, with a ghanta, amalakas, and
a kalasha on top. The more developed Nandi shrine stands on a high jagati
with well formed adhishthana mouldings. The pillars hold up the roof of the
open verandah but in the case of kakashasnas form a parapet all around. The
smaller roofs covering the projecting balconies surround the central
pyramidal roof with pidhas, hanging eaves shade the entire building.
Khajuraho Temples :Chronological Development

Brahma Temple Matangeshvara Temple

Khajuraho Temples :Chronological Development

Varaha Shrine Nandi Shrine

 Khajuraho Temples :Chronological Development

• Among the nirandhara temples, the Vamana temple and the Javari temple
are the best examples.
• The Vamana temple has a balconied entrance portico, a closed mandapa
with a pair of balconied windows and a ruined shikhara without urushringas.
• At the Javari temple, the open ardha mandapa and mandapa show the fully
developed box-like balcony with sloping backs of kakshasanas. Two pillars
uphold the hanging eave. The roofs of these two temples are richly treated.
• The Devi Jagadambi temple has a large ardha mandapa with three pillars on
the sides to uphold the hanging eave. The closed mandapa, with the saptanga
bada and a pair of three-pillared balconies, give the temple a monumental
aspect. The shikhara, with more urushringas, has a richly carved base.
Khajuraho Temples :Chronological Development
Vmana Temple Javari Temple
 Khajuraho: Jaina Temple

• The Jaina temples have their enclosure on the eastern side. The largest
among them is the Parshvanatha temple (c. 1002 CE). It has an ardha
mandapa and a closed mandapa, followed by a shikhara with
urushringas. It does not have balconies, but the closed inner
pradakshinapatha around the garbhagriha is provided with lattice
windows to admit light and air.
Khajuraho: Parshavanatha Jain Temple
 Khajuraho Temples at Climax: Lakshmana Temple

• The Lakshmana temple built

around 950 CE, belongs to the
snadhara type.
• All the subsidiary shrines-one at
each corner and a fifth in front of
this panchayatana complex
remains intact.
• Only a few urushringas cluster
around the shikhara. Artistic
figure sculptures adorn the pillars
of the maha mandapa.
• A makara torana beautifies the
entrance of the temple.
Khajuraho Temples at Climax: Lakshmana Temple
 Khajuraho Temples at Climax: Vishvanatha Temple
• The Vishvanatha temple,
built around 1002 CE,
anticipates the climax reched
in the Kandariya Mahadeva
temple.
• It belongs to the
panchayatna type, but only
two of its four susidiary
shrines survive.
• Just a few urushringas
surround the rather plain
shikhara.
• The sculptural decoration is
however elaborate and
proportionate.
 The Zenith of Khajuraho Temples: Kandariya Mahadeva Temple
• The Kandariya Mahadeva temple is the largest
and the tallest among the Khajuraho temples.
• It measures 30.5 metres in length and height and
20 metres in width excluding the platform.
• It shows maturity and refinement in architecture.
• Unobstructed by an enclosure, it stands
majestically on a high jagati.
• It is panchayatana in type but the four small
shrines at the corners have perished.
• Numerous smaller copies of the main tall
shikhara cluster around it in an ascending order.
• This produces a feeling of impetuous movement.
Although the repetition of the similar ornamental
design and luxurious carving recur throughout
the temple, they do not produce monotony-rather
a feeling of rhythmic harmony pervades the
whole conception.
The Zenith of Khajuraho Temples: Kandariya Mahadeva Temple