THE GENUS OF KHAJURAHO SCULPTURES
Major Categories: Six In Number.
Thrust On: Cult Images And Deities.
Other Categories: Celestial Nymhs, Secular Sculptures.
The sculptures at Khajuraho are divisible into six broad
categories.
Sculptures of Divine Deities
The second category of sculptures comprises familial, attendant and
enclosing divinities, besides numerous categories of gods and goddesses.
These occur in the niches or are figured against the wall of the
temple and are executed either in
the round or in high or medium relief. Those occurring in the niches are
more formal and partake of the iconographic qualities of the cult-images
of the first category.
The remaining figures of gods and goddesses, which include those of the
'dikpalas', are less formal and freer. These usually stand in a lively
'tribhanga' and are distinguishable from human figures only by their
peculiar headdress.
In most cases, the gods wear the same dress and ornaments as human
figures and are to be distinguished from the latter by a sign of diamond
on the chest. It is the same as the 'Kaustubha-Mani' on the chest of
Vishnu and the 'Srivatsa' on the chest of Jain figures and by a long
garland, resembling the ' Vaijayanti -Mala' of Vishnu, which constitutes
the cognizance of gods at Khajuraho.
Cult Images
The first category comprises cult-images executed almost completely in
the round. These are formal and generally stand erect and have a large
nimbus and a back-slab decorated with figures of attendant gods and
goddesses. As these are images fashioned in strict conformity with
orthodox formulae, postures and attributes, they reveal a thin aesthetic
vision.
There are a few exceptions, of which the colossal image, enshrined as the
principal deity of the
Chaturbhuja
Temple, is noteworthy. This image is less formal and, unlike other
enshrined deities, stands in an elegant 'tribhanga' and has a dignified
expression of transcendental calm and bliss.
Celestial Nymphs
The third category consists of the 'sura-sundaris', (celestial beauties)
or 'apsaras' (celestial dancers) who account for the finest and most
common sculptures at Khajuraho. 
The 'sura-sundaris' are invariably depicted as youthful beauties, wearing
the choicest gems and garment and full of winsome grace and charm. As
celestial dancers (apsaras), they are shown dancing in various postures.
As attendants of the higher divinities, they are represented with hands in
'anjali' (adoration) or in some other 'mudra', or as carrying the lotus
flower, mirror, garland, water-jar, dress, ornaments, etc., as offerings
for the deities.
But more often, the 'sura-sundaris' are depicted to express common human
moods, sentiments and fancies and are often difficult to distinguish from
conventional 'nayikas' or heroines. Such 'apsaras' are shown as disrobing,
yawning, scratching the back, looking into the mirror, rinsing water from
the wet plaits of hair, plucking thorn, fondling a baby, playing with a
pet like the parrot or monkey, writing a letter, playing a flute or veena,
painting designs on the wall or adorning themselves in various ways by
painting the feet, applying collyrium or vermilion, etc.
Demi-Gods
The fourth category comprises of demi-gods other than the celestial
beauties and includes 'Pramathas' or ' Ganas' (cherubs), 'Kumaras' or
'bhara-putrakas' (Atlantean figures), 'Gandharvas' (celestial musicians)
and 'Vidyadharas' angels, who are also depicted on the Khajuraho temples
in large number and with great effect. They are all divine attendants,
with specific functions and assignments and their positions in the
architectural scheme are largely fixed in the art-conversions.
Thus, the top row of the 'jangha' representing the celestial world, was
reserved for the 'Vidyadharas' and 'Gandharvas', shown alone or with
couples, on almost all the local temples erected after circa 1050. The
Vidyadharas attend on the gods (who may be present physically or
symbolically) and invariably fly or hover round them, carrying flowers or
garlands or sporting sword or staff, while the 'Gandharvas' are shown
likewise, playing on musical instruments.
Secular Sculptures
The fifth category consists of secular sculptures, which comprise
miscellaneous themes including domestic scenes, teacher and disciples,
dancers and musicians and erotic couples or groups. The last have yielded
some of the finest sculptural compositions of
Khajuraho,
vibrating with a rare sensitiveness and warmth of human emotion. Some of
the erotic couples like those of the
Jagadambi Temple
are distinguished by an expression of intense absorption and rapture,
which transcend from the physical to the spiritual plane.
Animals Sculptures
The
sixth or the last category consists of sculptures of animals including the
'vyala', which is a heraldic and fabulous beast, primarily represented as
a rampant horned lion with an armed human rider on the back and a warrior
counter-player attacking it from behind. Numerous varieties of this basic
type are known with heads of elephant, man, parrot, boar, etc. the 'vyala'
is normally figured in the recesses of the 'jangha' but also appears on
the 'sukanasika' and in the interior. Like the 'aspires', this is a most
typical and popular sculptural theme of Khajuraho and is invested with a
deep symbolism.
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