Khajuraho, once the great Chandela capital, is today a village of about a few thousand people in the interiors of central India, in Chhatarpur district of Madhya Pradesh. Tradition records the existence of eighty five temples, of which only twenty five, strewn amidst lakes and fields, have survived. The temples at Khajuraho, brilliant examples of medieval Indian architecture, were built under later Chandela kings between AD 950 and AD 1050. Each ancient structure in India has a fascinating story to tell. But few match the temples of Khajuraho.

History of Khajuraho
The name Khajuraho derives from the khajur or date palm trees that once surrounded the huge Khajurvahaka Tal. Legend has it that one sultry summer night, Hemvati, the widowed daughter of a minister of the King of Benaras, was bathing in the lake when the Moon God Chandrama saw here and was entranced by her beauty. The son born out of their union was Chandravarman who grew up to found the Chandela dynasty. In order to atone for his mother's lapse, he raised temples that celebrated the union of Purush and Prakriti, man and nature, as the source of all life and creation.

Chandela Rajputs rose to power during the early 10th century AD in the land known as Jajhauti, now Bundelkhand. From being local feudatories of the Partiharas of Kannauj, they rose to become a major power in northern India. They were great patrons of the arts and equally great builders. From 12th century onward, the other rival power of central India and Muslim invaders like Mahmud Ghazni whom the Chandelas had kept at bay, began reasserting themselves. Al-Biruni, the chronicler of Mahmud Ghazni, mentions Jajhauti with 'Kajuraha' as its capital.

Construction and Architecture of Khajuraho
Temple construction continued sporadically until the 12th century. Far removed from the politcal centre of the kingdom, its location minimised the danger of external attack, making Khajuraho te Chandelas' spiritual homeland. In 1335 Ibn Batuta talks about 'Kajarra' with a great pond, flanked by temples containing idols and ascetics with matted locks living in them.

The earliest temples of Khajuraho were built in coarse granite. However, the most famous ones - including the World Heritage monuments known as the Western Group of temples - are mostly built in fine-grained buff, pink and pale yellow sandstone, quarried from neighbouring Panna. The temples belong to different religious sects like Shaiva, Vaishnava and Jain and mark the culmination of the northern Indian or Nagara style of temple architecture.

A typical Khajuraho temple sits upon a lofty stone terrace called the adisthana or jagati, over which rise the jangha or walls of the inner compartments. It also has canopied windows with balconies to admit air and light into the interior. The roof comprises turrets of varying heights, culminating in the tall and graceful curvilinear shikhara suggesting rising mountain peaks. The Khajuraho temples are almost all aligned east to west, with the entrance facing east. A profusely carved arch leads to the oblong porch or ardhamanapa, behind which is the large assembly hall or mandapa, open on three sides, followed by the still larger hall mahamandapa, a closed hall with a corridor around it. This hall finally leads into the vestibule or the antarala. Beyond this is the garbhagriha or sanctum, entered through another ornate doorway, that houses the cult deity.

The larger temples have both inner and outer ambulatory passages or sandharas. And some have subsidiary shrines on the four corners making the structure a panchayatna or five shrined complex. Both the interiors and the exterior are beautifully carved. A series of friezes runs right round the temple, from the basement to the projections and the recesses of the walls above. The inside walls, doorways, pillars, pilasters, niches, architraves and ceilings all display a wealth of ornamentation which has few parallels.

The sculptors of Khajuraho have show immense virtuosity in expressing the myriad aspects of Indian life - god and goddesses, guardians of the quarters, sensuous and graceful apsaras (nymphs), surasundaris (attendants of higher divinities), salabhanjikas (tree nymphs) in infinite moods and postures.

Chausath Yogini Temple
The Chausath Yogini Temple , made of a coarse granite is the earliest building at Khajuraho and is situated on a low granite outcrop to the south-west of the shiva-sagar tank. The temple has an exceptional plan and design. Standing on a lofty (5.4 metres high) platform, it is an open-air quadrangular (31.4 m by 18.3 m) structure of sixty -seven peripheral shrines, of which only thirty-five have now survived.

The shrines are tiny cells, each entered by a small doorway, and are severely plain and roofed by a curvilinear sikhara of an elementary form. The shrine in the back wall, facing the entrance, is the largest and constitutes the main sanctum. A few simple mouldings on the façade are all the decoration that the temple displays, but in spite of its uncouth appearance and rugged bareness, it possesses an elemental strength and reveals some basic traits of the Khajuraho style, such as a lofty platform and a jangha (wall ) divided into two registers of all the yogini temples in India, this is the most primitive in contruction and unique in being quadrangular and not circular on plan. Cunningham surmised the existence of a shrine at the center of the courtyard, but excavation revealed no such evidence.

Kandariya Mahadev Temple
(Built in circa AD 1025-50, during the reigns of Vidyadhara and Vijaipal). This Shaiva temple enshrining a linga is the largest and the loftiest monument of Khajuraho, measuring about 30.5 m each in length and height and 20 m in width , excluding the platform. Strikingly similar to the Vishvanatha, it is much more magnificent, and its mature plan and design, its grand dimensions and symmetrical proportions, its superb sculptural embellishment and architectural elaboration-all mark it out as the most evolved and finished achievement of the central Indian building-style and one of the sublimest creations of Indian architecture.

Decorated with graded and ascending series of smaller replicas of itself, totalling eighty four, the grand sikhara of the Kandariya, is a lofty and intricately-ornamented pile, somewhat restless in movement but unified in theme and design. Like the other fully-developed temples of Khajuraho, this temple consists on plan of the entrance-porch, mandaapa, maha-mandapa with lateral transepts, vestibule and sanctum enclosed by an ambulatory with transepts on the sides and the rear.