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family deities (apsaras and sura-sundaris, meaning heavenly nymphs), shown
dancing in various postures and often attired and bedecked in jewelry);
secular scenes (rulers, warriors and hunters, acrobats, dancers, musicians,
domestic scenes, and teachers and disciples); animals (camels, elephants,
horses; mithunas; and erotic. Like all other sculptures in Khajuraho, the
ones in Kandriya Mahadeva were done by unnamed artists.)
It is in Kandriya Mahadeva that Khajaraho’s sculptures attain their
“maturity.” Kandriya Mahadeva has abundant examples of all five types
of Khajuraho sculptures: cult-images.
According to the Archeological Survey of India it is “the most evolved
of the central Indian building style and one of the most sublime creations
of Indian architecture.” This accolade is due to “its mature plan and design,
symmetrical proportions and superb sculptural embellishment.”
The centerpiece here is an Image of Shiva Lingam as Kandriya Mahadeva
is a temple dedicated to Lord Shiva. The lintel of its Sanctum shows
a four-armed Shiva flanked by Brahma on the right and Vishnu on the left.
Erotic visual art was not new to India. An important sensual element runs
through various early Indian art forms, including its literature and
folk-tradition. It was expressed also in depicting loving couples (mithuna) in
sculpture, examples of which I saw in the several temples of Khajuraho, both
Hindu as in Kandriya Mahadeva Temple and, and Jains as in the Parsavantha Temple.
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