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This monograph studies the Art of Khajuraho from a new perspective: Architecture vis a vis its ornament, mainly the non religious Devangana Sculptures including the 'Mithuna', on the basis of Sanskrit texts. 'Mithuna ' is the most debated and also the most widely misunderstood phenomenon of Indian Art. Too much sacred, esoteric and metaphysical significance has been attached to the Indian Art and this aspect has been explained without any textual support, on fanciful conjectures.Indian Art is sacred in the sense that it is only through the religious media that it has expressed itself; otherwise as the study of the Silpa texts, classical works of Poetry and Drama and, more specifically the works on Poetics shows it has grown and developed formally and independently of any religious injunction. The key to its understanding lies in these texts. This is a classical problem and it is with the textual support of the classical literature of the same age that the author has ventured to solve it. In essence, it is a study of Indian Aesthetics based on Sanskrit texts, about 100 of which have been quoted in original . The temples of Khajuraho have been dealt with stylistically. The work attempts to study Indian Art in general and Art of Khajuraho in particular, in its formal aspect, over and above the much professed and generally superfluous esoteric, metaphysical and ritualistic interpretation thereof and as such it is the first work of this type.
- A privileged visual journey through one of the most famous Indian heritage sites Situated in the northern Indian state of Madhya Pradesh, Khajuraho is renowned as much for the elegance of its architecture as for the sensuality of its sculpture. Khajuraho has become one of the unmissable sights for any traveler to India, and owes its international reputation to the lavishness of its numerous Hindu shrines. Formerly an important political and religious center, it is thought to have contained up to ninety-five temples, as the many ruins concealed under otherwise-anonymous hillocks scattered throughout the valley attest. Only twenty-five survive. The earliest mention of Khajuraho dates from the seventh century. After the collapse of the Candella kingdom, the site experienced almost four centuries of oblivion, and the once proud city-state turned into a sleepy village nestling in what had become an arid basin for several months of the year. British hunters rediscovered it quite by chance at the beginning of the nineteenth century. Since then, the area has undergone several phases of restoration, as befits one of the leading sites of the world's cultural heritage. The highly unusual nature of its temple depictions has given this area a somewhat 'scandalous' reputation, unleashing, over the years, interpretations of all kinds.
For centuries, the erotic sculptures of the temples of Khajuraho have thrilled human imagination. Do these sculptures merely ornament, or can their presence be attributed to some other reason? All these questions related to the architecture of these templ
This Book Is Primarily An Introduction To The Magnificient World Of The Khajuraho Temples, Their History, Patronage, Court Culture, Religion, Iconography And The Distinctive Features Of Sculptures And Architecture.
An updated version of the critically-acclaimed Divine Ecstasy: The Story of Khajuraho, this is an eye-opening book on one of India's most fascinating heritage sites and is indispensable reading for all those interested in rediscovering India's cultural past. Includes 67 photographs.
Illustrations: 101 colour plates and 125 b/w illustrations Description: The book offers a closer view of the divinities and their configurations, particularly in the major Hindu temples of Khajuraho. It concentrates on the iconic schemes and patheons of two magnificent temples, one a rare preserved shrine of Vaikuntha-Vishnu and the other dedicated to Siva. It highlights the important cult of the Yoginis and the syncretic role of Surya in Khajuraho's pantheon. In the process of viewing the temple as a whole and its images within a well-integrated scheme, several earlier non-specified images could be seen in their proper context and for the first time identified and interpreted. The images of planetary divinities on the podium around the Lakshmana temple, or the Sveta-dvipa scene (Back Cover) are some such new interpretations offered in the book. The book presents an account of the topography of this medieval sacred centre, its patrons, the Chandella rulers, and erudite court culture. The elite's love for double-entendre is revealed in the sculptural art as well as poetic stanzas of their inscriptions on temples. The language of puns and enigma (sandhya-bhasha helps us in understanding the significance of erotic sculptures which apparently are sensual figures but actually conceal a deeper symbolism.