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KANCHI KAILASANATHAR TEMPLE

HISTORY
The Kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located
in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It
is dedicated to the Lord Shiva, and is known for its historical importance. The
temple was built from 685-705CE by a Rajasimha (Narasimhavarman II) ruler of
the Pallava Dynasty.
PLAN

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  The plan of the temple shows the layout of a typical Pallava sanctuary.
 The temple, entirely made of sandstone, faces east and is dedicated to Shiva.
 It is entered to the east through a gateway or gopuram.
 The courtyard in which it stands is surrounded by smaller shrines framed by pillars rising from the
heads of rampant lions, typical of the Pallava style.
 The sanctuary enshrining the linga is covered by a four-storeyed pyramidal tower.
 In front of it stands a pillared pavilion (mandapa) decorated with sculptures of rearing yalis and Shaiva
figures.
 This leads to another hall before the cell surrounded by a circumambulatory passageway.
ARCH FEATURES
 The foundation of the temple is made of granite, in order to bear the weight of all the sandstone above.
 The entrance wall is lined with eight small shrines - two to the left of the doorway, and the rest to its
right.
 Inside is a small shrine with a gopuram above it. This was an addition by Mahendravarman. Its walls
are adorned with sculptures of several forms of Shiva The low-slung sandstone compound contains a
large number of carvings, including many half-animal deities which were popular during the early
Dravidian architectural period.
 The structure contains 58 small shrines which are dedicated to
various forms of Shiva.
 These are built into niches on the inner face of the high
compound wall of the circumambulatory passage.
 The temple has retained the Pallava architecture in its original
stylized form with influence of the later styles developed by
the Chola Dynasty and Vijayanagara Emperors.
 It is of stone built architecture unlike the rock cut architecture
built into hallowed caves or carved into rock outcrops as
in Mahabalipuram.
 The tall gopuram (tower) is to the left and the temple complex
is to the right.
 The temple's foundations are made of granite, which could
withstand the weight of the temple, while the superstructure,
including the carvings, are all made of sandstone.
 Initially, only the main sanctuary existed with
pyramidal vimana and a detached mandapa (main hall). The
temple complex is complete in all respects as it
has garbagriha (sanctum sanctorum), antarala (inner
enclosure), mandapa, a high compound wall, and an entrance
gate, the gopuram.
 The mandapa, which was initially detached, was made part of
the main shrine by interposing an ardhamantapa (smaller hall).
The pillars of the mandapa have the repetitive features of
mythical lion mounts.
 The structure has a simple layout with a tower or vimana at the
center of the complex.
 The vimana of the temple, above the main shrine (sanctum
sanctorum), is square in plan and rises up in a pyramidal shape.
 The tower has many levels rising proportionately.
 At the top of this tower, there is a small roof in the shape of a
dome.
 The pillar elements with mythical animal shapes (lions on the
base) are extra features in Pallava style. Lion pillars were a

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 Pallava speciality, and in this temple, they seem to have chosen to go with an absolute profusion of
erect lions facing almost all directions.

 At the entrance,
the gopuram walls are
plastered. Its entrance wall
has eight small shrines and a
gopura, precursor to the
main gopura.
 At some later stage, the
mandapa and the sanctuary
were joined by an
intermediate hall called
the ardhamantapa, which is
reported to have marred the
beauty of the temple to some
extent. The temple is
enclosed within walls in a
rectangular layout.

The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum.
 Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very
elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity.
 On each face of the outer walls of the main shrine there are many carvings of deities.
 In the south facing wall the sculpture depicts Shiva as Umamaheshavara(Shiva with his
consort Parvati) with Lingodbhava (emergence of Shiva as fiery pillar - linga) surrounded
by Brahma and Vishnu and flying amaras on the lower level.
 The exterior faces of the vimana (tower) have images of aspects of Shiva
 In the inner walls of the prakara (circumambulatory passage) there is galaxy of images of Durga,

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 The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in
several directions.
 Outside, a stone Nandi (or bull) sits on a pedestal facing the temple complex, surrounded by four lion
pillars.

CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to
make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven
steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of
passage through life. After the circumambulation, the exit is through a pit or another narrow passage
symbolic of death. [7][18] The entry point for this passage is called Gate of Death. It is believed that making
the circumambulation round the various deities would usher the same blessings as visiting paradise. During
completion of circumambulation - Crawling and coming out of the passage also indicates that your coming
out of mother's womb and also explains Hindu's belief of rebirth. Hence, exit is called Gate of Birth

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 _ I N D O - A R Y A N - Northern Hindu Style
HISTORY
 Northern Hindu Style or Indo Aryan Style had spread over at least 3/4 TH part of northern India.
 The earliest movement started in the state of Orissa, (ancient Kalinga). It offered strong resistance to
Mauryas but finally subdued to Ashoka in 260 B.C.
 After Ashoka’s death Kalinga regained its independence and later became more powerful under
Kharavela.
 In AD 610 it was under king Sasanka but after his death Harsha Conquered Orissa.
 The beginning of this Orissa group is seen at Bhubaneswar where there are about 30 temples.
 Most important are the temple of Jagannath at Puri (1000 AD) built by Mahashivagupta Yayati II and
Sun Temple at Konark(1250 AD) built by Narasinha I.
 The other groups are confined to some areas such as Khajuraho all of which were built in a period of
hundred years from AD 950 to 1050 under Chandella Rajput Rajas of Bundhelkand who ruled from
Mahoba.
 The largest of entire series is Shiva temple of Kandariya Mahadev(1000AD) at Khajuraho.
 Further the Northern Hindu Style was extended to Rajputana, Gujarat and Deccan.
CHARACTERISTIC FEATURES OF ORISSA TEMPLES
 The Orissa temple is remarkable for its plan and elevation.
 The ground plan of the temple is square the most basic, rational and elementary of all geometric forms,
used by the Hindus.
 They adopted mainly trabeated style of construction. ( is a building systemwhere strong horizontal elements are
held up by strong vertical elements with large spaces between them)
 The temples are distinguished by vertical offset projections called “rathas” (on plan) or “pagas” (on
elevation). Depending on the number of pagas, the temples are classified into triratha, pancharatha,
saptaratha and navaratha

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 The main temple rests on high platform
called “Pista”.
 The temple is approached by an
assembly hall, known as “Jaga-Mohan”
– one which pleases the world.
 The main temple is called as “Rekha
Deul” because of its emphasis on
vertical lines.
 The Jaga-Mohan is also called as the
“Pida Deul” since, it is composed of
Pidas. The deity is placed in the garba-
griha of Rekha Deul over which rises the
spire or “Sikhara”
 The Hindus regarded the temple as the
body of Cosmic Man (Purusha). So the
lower upright part of the main Deul is
known as “Bada” (feet) and the upper
tapering part is known as “Chhapra”
(trunk) Over the Chhapra, is a large
melon shaped feature called “Amalaka”
(cap stone) crowned with “Kalasa” (head) – called “Amrit – Kalasa”, symboling the jar of Nectar.
 The other feature of this temple is that the pillars are notable for their absence.
 The interior is plain, featureless but exterior walls are profusely ornamented.
 Due to the religious ritual developments other buildings were added in front, in one axial line such as
“Bhog-Mandir” – offering hall in the front, and followed by “Nat-Mandir” or Dancing Hall.
 Similarly the “Jaga-Mohan” has the lower upright part – the “bada” and upper tapering part “Pida” in
the form of terraced pyramid which is crowned with “Ghanta-Kalasa”
 The temple is now the abode of God as manifested in human shape.


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LINGARAJA TEMPLE BHUBANESWAR , ORISSA

 LOCATION: Bhubaneshwar, Orissa

 BUILT BY: Jajati Keshari
 BUILT IN: 11th century
 DEDICATEDTO: Harihar (a form of Shiva &Vishnu) •
 ARCHITECTURE STYLE: Kalinga Architecture
 MATERIAL USED : Laterite stone
 TOTAL AREA: 1049.66 sq m

HISTORY
 The Lingaraj Temple in Bhubaneswar, dedicated to Lord Shiva, or Tribhuvaneswar represents the
perfect harmony between Orissa's architectural style and decorative motifs.
 Lingaraj Temple is believed to be the oldest and largest temple of Bhubaneshwar, it is more than 1100
years old,.
 The temple of Lingaraja is highly revered by the followers of Hinduism.
 Temple is dedicated to Lord Shiva, who is considered as the destroyer as per the Hindu thoughts
 The term 'Lingaraj' suggests 'the king of Lingas', where 'linga' is the phallic form of Lord Shiva
 The Shiva linga is said to have emerged from the earth (Bhu) here and hence it is called Bhubaneswar.
 n the 11th century, when the king shifted his capital from Jaipur to Bhubaneshwar, he started the
construction of Lingaraj temple.
 The assembly hall (jagamohana), sanctum and temple tower were built during the eleventh century,
while the hall of offering (bhogamandapa) was built during the twelfth century.

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ARCHITECTURE
 One of the finest examples of purely Hindu temple in India.
 Its base measures 17m side but due to projecting faces it is not square.
 The “Bada” or lower storey is vertical one-third of its height and above, it has parabolic curve rising
to a height of 38m from the ground.
 Over it is a necking or beki above which rests the melon shaped fluted disc or “amal-sila” and crowned
with “kalasa”.
 The deep fluted ribs and miniature replicas of the Deul, add to the verticality of the soaring sikhara
which dominates over all the 65 temples.
 The outer surface is exuberantly carved with gods, goddesses, nymphs. “Jagamohan” is 22m long and
17m wide, with its lower storey “bada”, rising to a height of 10m and its “pida” a pyramidal tower
attaining a height of 30 from the ground. The Nat mandir and Bhog mandir are of smaller sizes but are
of the same style. In the courtyard there are temples of Parvati, Ganesh, Kartikeya, Balraj, Subhadra
and Krishna.
 The Lingaraj temple faces east and is built of sandstone and laterite.
 The main entrance is located in the east, while there are small entrances in the north and south.
 The temple has four components namely, Garbhagriha, jagamohana (assembly hall), natamandira
(festival hall) and bhogamandapa (hall of offerings).
 The assembly hall (jagamohana), sanctum and temple tower were built during the eleventh century,
 • While the hall of offering (bhoga-
mandapa) was built during the twelth
century
 The door in the gate of the entrance porch is
made of sandalwood.
 The wall is 2.3 m thick and surmounted by
a plain slant coping.
One can enter the temple complex through 'simha
dwara' (the lion's gate), where lions flank both the
sides, crushing elephants under their feet.
 The exterior walls of the hall has decorative
sculptures of men and beast The tower walls are
sculpted with female figures in different poses.
 The bhogamandapa (hall of offering) measures 42 ft
X 42 ft from the inside, 56.25 ft * 56.25 ft from the
outside and has four doors in each of the sides.
 The natamandira (festival hall) measures 38 ft X 38
ft from the inside, 50 ft * 50 ft from the outside, has
one main entrance and two side entrances. The side
walls of the hall has decorative sculptures displaying
women and couples.
 The jagamohana (assembly hall) measures 35 ft *30
ft from the inside, 55 ft *50 ft from the outside,
entrances from south and north and has a 98 ft tall
roof.
 The tower is 180 ft high and the complex has 150
smaller shrines.
 The hall of offering and assembly hall both has a
pyramidal roof. It bears an inverted bell and a kalasa
in the top.
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GARBA GRIHA
 The Rekha deula has a 54.864 m
tall pyramidal tower over the
sanctum and measures 6.7 m x 6.7
m from the inside
 16 m x 16 m from the outside over
the sanctum.
 A shiva linga 3m high and 2..5m
in dia is installed in garba-griha
 It is covered with decorative
design and seated lion projecting
from the walls.
 The sanctum is square in shape
from the inside.
 The tower walls are sculpted with
female figures in different poses
 The temple has a vast courtyard
mired with hundreds of small shrines

JAGAMOHANA (ASSEMBLY HALL)

 The tower is 30 m high
 The jagamohan (assembly hall) measures 11 m x 9.1 m from the inside
 17 m x 15 m from the outside
 The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with
intervening platform as in the hall of offering.
 Entrances from south and north
 The facade to the entrances are decorated with perforated windows with lion sitting on hind legs.
 The inverted bell above second unit is adorned by kalasa and lions

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  In the interior of the jag mohan are two rows of pillars, three in
 Each row, producing a miniature nave and aisles; these pillars were originally monoliths having plain
square shafts, no bases, but with volute bracket capitals.

NATAMANDIRA (FESTIVAL HALL)

 The natamandira (festival hall) measures 12 m x 12 m from the inside
 15 m x 15 m from the outside
 Has one main entrance and two side entrances.
 The side walls of the hall has decorative sculptures displaying women and couples.
 It has a flat roof sloping in stages
BHOGAMANDAPA (HALL OF OFFERINGS)
 The bhogamandapa (hall of offering) measures 13 m x 13 m from the inside
 17.15 m x 17.15m from the outside
 It has four doors in each of the sides.
 The exterior walls of the hall has decorative sculptures of men and beast.
 The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with
intervening platform.
 It bears an inverted bell and a kalasa in the top

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SUN TEMPLE KONARK

Location : Puri District, State of Orissa

Dedicated to : Sun God
Built by : King Narasimhadeva I - ruler of the Ganga dynasty

 An Architecture Marvel of Eastern India and A symbol of India's heritage, Konark Sun Temple,
commonly known as Konark is situated in the eastern state of Odisha (earlier known as Orissa), India
and is one of the eminent tourist attractions.
 Located on the shoreline, now a little over 3 km from the sea, the temple takes the form of the chariot
of Surya (Arka), the sun god, and is heavily decorated with stone carving.
 Konark houses a massive temple dedicated to the Sun God. The word 'Konark' is a combination of two
words 'Kona' and 'Arka'. 'Kona' means 'Corner' and 'Arka' means 'Sun', so when combines it becomes
'Sun of the Corner'.
 Konark Sun Temple is situated on the north eastern corner of Puri and is dedicated to Sun God.
 Konark is also known as Arka khetra. There are three images of the Sun God at three different sides of
the temple, positioned in proper direction to catch the rays of the sun at morning, noon and evening.
 Sun Temple of Konark, built in the middle of 13th century, is a massive conception of artistic
magnificence and engineering dexterity.
 King Narasimhadeva I, the great ruler of the Ganga dynasty had built this temple, with the help of 1200
artisans within a period of 12 years (1243-1255 A.D.).
 Since the ruler used to worship the Sun, the temple was considered as a chariot for the Sun God.
 Konark Temple was designed in the form of a gorgeously decorated chariot mounted on 24 wheels ,
each about 10 feet in diameter, and drawn by 7 mighty
horses.
 The huge wheels carved at the base of the temple are
one of the major attractions. The spokes of the wheels
serve as sun dials and the shadows cast by these can
give the precise time of the day. The Sun Temple, built
in the thirteenth century. The spokes of the wheels serve
as sun dials and the shadows cast by these can give the
precise time of the day.

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 The pyramidical roof soars over 30m in height.
 The temple complex also contains erotic sculptures
 The entrance is guarded by two giant lions, which are each
shown crushing a war elephant. Each elephant in turn lies on
top of a human body. The temple symbolizes the majestic
stride of the Sun god.
 At the entrance of the temple is a Nat Mandir. This is where
the temple dancers used to perform dances in homage to the
Sun god.
 All around the temple, there are various floral and geometric
patterns. The temple is now partly in ruins, and a collection of its sculptures is housed in the Sun Temple
Museum, which is run by the Archaeological Survey of India.
 The main sanctum which (229 ft. high) was constructed along with the audience hall (128 ft. high) having
elaborate external projections.
 The main sanctum which enshrined the presiding deity has fallen off.
 The Audience Hall survives in its entirely, but only small portions of the Dancing Hall (Nat Mandir) and the
Dining Hall (Bhoga-Mandap) have survived the vagaries of time.

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 The Temple compound measures 857 ft (261 m) by 540 ft (160 m).
 The alignment of the Sun Temple is on the east-west direction.
 The Temple is located in natural surroundings, abounding with casuarina plantations and other types of
trees such as mahogany, rosewood, eel which grow on sandy soil.
 Every inch of the temple is covered with sculpture of an unsurpassed beauty and grace, in tableaux and
freestanding pieces ranging from the monumental to the miniature.
 Thousands of images include deities, celestial and human musicians, dancers, lovers, and myriad scenes
of courtly life, ranging from hunts and military battles to the pleasures of courtly relaxation. These are
interspersed with birds, animals (close to two thousand charming and lively elephants march around the
base of the main temple alone), mythological creatures, and a wealth of intricate botanical and geometrical
decorative designs. The famous jewel-like quality of Orissan art is evident throughout, as is a very human
perspective which makes the sculpture extremely accessible.

INTERESTING FACTS
 The Konark is the third link of Odisha's Golden Triangle. The first link is Jagannath Puri and the
second link is Bhubaneswar (Capital city of Odisha)
 The Konark temple is constructed as a gigantic chariot with 24 wheels about three meters high and
pulled by 7 horses, housing the Sun God within
 The entrance is guarded by two huge lions, each killing a war elephant and beneath the elephant is a
man. The lions represent pride, elephants represent wealth and both of them consumes man
 Konark temple was initially built on the sea bank but now the sea has receded and the temple is a
little away from the beach. This temple was also known as 'BLACK PAGODA' due to its dark color
and used as a navigational landmark by ancient sailors to Odisha
 Everyday, the Sun's rays would reach the Nata Mandir from the coast and reflects from the diamond
placed at the center of the idol
 A heavy magnet was placed at the temple top and every two stones of the temple is sandwiched by
iron plates. The idol
was said to have been
floating in air due to the
arrangement of
magnets. The magnet at
the top is said to have
disturbed compasses for
coastal voyagers and
later on removed

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ARCHITECTURAL CHARACTER OF KHAJURAHO GROUP OF
TEMPLES
 The Khajuraho Group of Monuments is a group of Hindu temples and Jain
temples in Chhatarpur district, Madhya Pradesh, India,
 They are a UNESCO World Heritage Site. The temples are famous for
their nagara-style architectural symbolism and their erotic sculptures.
 The Khajuraho group of monuments was built during the rule of
the Chandela dynasty.
 Khajuraho temples, like almost all Hindu temple designs, follow a grid
geometrical design called vastu-purusha-mandala.
 design plan has three important components - Mandala means
circle, Purusha is universal essence at the core of Hindu tradition,
while Vastu means the dwelling structure.
 Most Khajuraho temples deploy the 8x8 (64) padas grid Manduka Vastupurushamandala, with pitha
mandala the square grid incorporated in the design of the spires.
 The primary deity or lingas are located in the grid's Brahma padas.
 The mandapas, as well as the arts, are arranged in the Khajuraho temples in a symmetric repeating
patterns, even though each image or sculpture is distinctive in its own way.
 All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.
 Above the vastu-purusha-mandala of each temple is a superstructure with a dome
called Shikhara (or Vimana, Spire).
 Variations in spire design come from variation in degrees turned for the squares
 In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk
around and ritually circumambulate the Purusa and the main deity.
 The pillars, walls, and ceilings around the space, as well as outside have highly ornate carvings or
images of the four just and necessary pursuits of life - kama, artha, dharma, and moksa. This clockwise
walk around is called pradakshina.
 Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east
side, serves as the waiting room for pilgrims and devotees.
 The mandapas are also arranged by principles of symmetry, grids, and mathematical precision. This
use of same underlying architectural principle is common in Hindu temples found all over India.
KANDARIYA MAHADEVA TEMPLE

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Kaṇḍāriyā Mahādeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India. It is in
the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi). [2] It
is in the western part of the village to the west of the Vishnu temple.

 Khajuraho was once the capital of the Chandela dynasty.

 one of the best examples of temples preserved from the medieval period in India, is the largest of the
western group of temples in the Khajuraho complex which was built by the Chandela rulers.
 Shiva is the chief deity
 The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the
largest among the three groups of the Khajuraho complex of temples.
 This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples,
is compared to a "cosmic design of a hexagon representing the three forms of Shiva.
 The temple is founded on a massive plinth of 4 metres (13 ft) height.
 The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said
to be the mythical source of creation of the world.
 The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara,
which has 84 miniature spires.
 The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the
Kaṇḍāriyā Mahādeva Temple.
 This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft)
in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and
grandest temple of Khajuraho".
PLAN
A series of steep steps with high rise lead from the ground level to the entrance to the temple.
Right at the entrance there is torana, a very intricately carved garland which is sculpted from a single stone;
such entrances are part of a Hindu wedding procession.
The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the
symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines.

 In the interior space from the entrance there are three mandapas or halls, which successively rise in
height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where Shiva's
wife, Parvati is deified, and a central sanctum or garbhagriha (literal meaning "womb chamber") where
the Shiva linga, the phallic emblem of Shiva is deified.

CONSTRUCTION
 The temples are grouped into three geographical divisions: western, eastern and southern.
 The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from
view.
 The builders didn't use mortar: the stones were put together with mortise and tenon joints and they
were held in place by gravity.
 This form of construction requires very precise joints.
 The columns and architraves were built with megaliths that weighed up to 20 tons.
 The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be carved
precisely.
 The surviving sculpture reflect fine details such as strands of hair, manicured nails, and intricate
jewellery.
PLAN
The architectural plan provides for a series of interconnected chambers, approached by visitors in the following
sequence. A rectangular entrance hall (ardhamandapa) leads from the steps into a central pillared hall
(mandapa). This leads to the darkened sanctuary (garbhagrha) above which is the main tower and spire. Inside
the sanctuary is a marble devotional image (linga) representing Shiva. The sanctum and mandapa are encircled
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by an ambulatory. Throughout the building the architecture and the accompanying decorative art is
deliberately symbolic, and follows a standard pattern of Hindu iconography. Thus the ornate carvings on the
pillars, walls and ceilings of the interior as well as the exterior of the temple include depictions
of kama, artha, dharma and moksa - the four just and necessary pursuits of life.
Exterior structure
The exterior structure of Kandariya Mahadev is based on a main tower (shikhara), the temple's highest point,
which symbolizes Mount Kailash, Shiva's Himalayan mountain home. This main tower is surrounded by 84
smaller spires (urushringas). The whole building is made of sandstone, with a granite foundation. No mortar
was used in the temple's construction: the stones were connected with mortise and tenon joints, held in place
by gravity. The columns and architraves are composed of megaliths weighing up to 20 tons.

SCULPTURE

Kandariya Mahadev is decorated with

a huge amount of stone sculpture,
depicting matters of everyday life as
well as animals and humans. The
entrance porch, for instance, is flanked
by carvings of crocodiles springing
from the diminutive columns and
supported by a multitude of smaller
figures, each with a profusion of
minutely carved details. On the
exterior of the towers are repetitive
friezes of intricately carved human and
divine figures. . On the exterior of the
towers are repetitive friezes of
intricately carved human and divine
figures.As a result sculptors were able
to represent fine details including
strands of hair, manicured nails and
intricate jewellery.

As it happens, the temple's outside

surfaces contain one of the most
extensive arrays of erotic relief
sculpture in the world, although much
of the iconography is symbolic. At any
rate the erotic figures are consistent
with the Tantric belief in the primal life
energy of physical coupling,
incorporated into religious buildings
for its associations with fertility and joy. Not surprisingly however, the English colonial archeologists who
excavated Kandariya Mahadev in 1906 were deeply shocked by what they saw. As a result, guidebooks of
central India strongly discouraged visitors to the site for fear of impropriety and moral corruption. See
also: Indian Sculpture (3300 BCE - 1850).

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