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| Khajuraho temple |
I was in a dilemma, how to encapsulate the experience of my Khajuraho visit. Should I reckon Khajuraho as the fervour of an unknown sculptor who depicted many moods of life on the solid rocks of sand stone? Was it a tribute to divinity and life, expressed through a pulsating Indian art form on the temple walls of Khajuraho? Should it be named, a thrilling synthesis of idolatry and art of love making? Sometime, I felt it like flaunt of living, felicitation of biological relationship between men and women or the teachings of love making expressed on the temple walls of Khajuraho. The display of arousing moods of playful human body or precisely the art of erotica has transformed into a spectacular form of art, which proclaimed bold and proud maturity, thousand years ago. The panoply of sculptures of Hindu god and the expressive love makers on temple walls, gravitated, hypnotised, churned my nerve and surreally left their everlasting magnificence in my memory.
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| The divine sculptures on Khajuraho temple |
The jubilation of life or splendid picture of living Khajuraho, began its journey during the reign of King Bidyadhar Chandella, who initiated the work of the temple arena. As per myth, the King was a descendent of the moon. The heritage site of Khajuraho was a collaboration of Chandella Kings during 950AD to 1150AD and to save the ravages of invasion the inhabitation was shifted from this area. As the time elapsed the premise of Khajuraho remained shrouded with forests to slip away into oblivion and to some extent escaped the threat of demolition by the invaders. After a long time it was rediscovered and brought to light again with measures of restoration taken by British engineer T.S.Burt. The temple achieved its deserved recognition before the world with thronged inquisitive visitors but, all available accounts of History remain veiled before the inevitable questions in respect of Khajuraho.
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