Kushagra Rajesh Sengar - The Erotic Carvings of Khajuraho

INTRODUCTION

The erotic art of Khajuraho has been a subject of great interest, ever since its discovery by the British engineer T.S Burt in the late 19th century. Even after years of speculation now, erotic art of Khajuraho remains a mystery.

In presenting this work to the reader, the intention of the author has been to provide a crisp account, of the sphinxian mystery of erotic temple art of Khajuraho. A lot has already been written on the subject, but since this is a highly academic subject, the available academic writings may not appeal much to the laymen who might be interested in the subject.

This work is produced, strictly, keeping in view the interest of such people, and effort has been made to provide, as far as possible, a condensed account of the major opinions and theories that exist on this subject, in a lucid style.

In the present work, we intend to lay down a body of principles, arguments, beliefs, and shreds of myths surrounding the erotic art of Khajuraho, and in the process attempt to answer the questions that have for long tickled the imagination of the world.

The cut and thrust of our focus, however, would be confined to the understanding of erotic art alone. We shall not venture in to other aspects of these temples such as architectural plan, religious, political, or mythological influences on them etc. These elements might feature in this work only in places where their omission might present a hindrance in the path of our proposed enquiry.

We also endeavor to present in the outline various theories that have cropped up, as a direct consequence, of the attempts made to understand these erotic carvings. In the light of these theories, the reader would be able to obtain a primary acquaintance with the framework of general principles that may enable him to build an understanding about these carvings, and might as well give him a peek in to the mind of the artisan, who executed them with exceptional skill.

Anyone scarcely acquainted with the mainstream Hindu thought of our day might find the idea of having erotic carvings in a temple, offensive even antithetical, to the core spiritual principles laid down in the scriptures of Hinduism. But, the truth is far more complex than a common follower of the religion could ever come to understand.

Most temples that were commissioned during the period in question have these erotic themes as a quintessential part of their architectural plan. Was this an anomaly? We know not. Nevertheless, the paradox arising from these carvings dilutes and subsequently dissolves, when we turn our attention to the literature written down during the time of erection of these temples, especially the treatises dealing with Tantra.

It is in these ancient texts that the first clues would appear, which when followed meticulously, afford us a change to understand these carvings in a systematic manner, at least to some extent.

Therefore we have sketched a brief account of the Tantra philosophy for the reader, so as to acquaint him with its elements that inspired and thus contributed to the art of Khajuraho. Also, other important literary works bearing some connection, direct or indirect, with the erotic art of Khajuraho have found a brief representation in this work, though their comprehensive account is certainly beyond the scope of this work.

In the pursuit of subtle significance of these carvings, we must not ignore the grandeur and the visible beauty of the art. For, the primary attraction of Khajuraho remains the elegance and the finesse with which the artisan has entered upon his carvings, instantly imparting to them a sense of vivid movement, an underlying animation, as if a soul is present in the stone.

To pay homage to the extraordinary skill of the artisan, we have devoted one complete chapter to the carvings of Khajuraho; the chapter deals with the various kinds of carvings to be found on the walls of these temples and also briefly discusses them in the context of the Silpa Sastra. The account, however, is by no means exhaustive as it only covers them in the outline and do not dwell on them any further.

No art form must be viewed in isolation, therefore it was important to discuss the life of the times when the temples were erected. It is important to note the significant changes that came in the social, political and religious life of India between 5 century B.C and 5 century A.D, and the subsequent impact that they had on the later era, when erotic art first made its appearance. We have discussed these changes and through that established the logic as to why this art gained more prominence in the middle ages, though it was always present in the sub terrain of our society.

In the end, it must be impressed upon the reader that the author claims no scholarship as regards art history, archaeology, or interpretation of erotic art. The present work is merely a collation of various arguments, beliefs, and theories in the light of which the author has attempted to set forth a system of understanding that would be useful to a common reader. In doing so, the author has obviously drawn much from the suggestions of various scholars, mentioned herein, quite often but not without blending them with his own more frequently