Khajuraho Temples: A Living Archive of Tantric Wisdom
Jun 21, 2025
To the casual visitor, Khajuraho is a collection of ancient temples adorned with erotic sculptures.
But to anyone who has studied the roots of Tantra, Khajuraho is a sacred space to connect with and experience the origins of Tantra. Built during the 9th to 11th centuries by the Chandela dynasty, these temples were designed for initiation. They were sacred sites where seekers could move through a carefully encoded journey.
Every carving here tells a story of human transformation. The Khajuraho temples map out the entire Tantric worldview, that the body is not separate from the divine, and that liberation is found through, not despite, the senses.
We’ll look at how its architecture and iconography reflect core Tantric principles, why these temples were built the way they were, and what they can still teach us about the sacred relationship between eros and embodiment.
Join Us On Retreat!
In October, we are hosting a transformative Tantra retreat at the sacred site of Khajuraho, guided by Ma Ananda Sarita, Modestas Stonkus, and Swami Ganga. This 7-day immersive journey offers a rare opportunity to experience Tantra's history. You’ll meditate inside ancient temple spaces and awaken your inner energy through ritual, movement, breath, and deep presence. With three master teachers who each carry lineages of embodied wisdom, this is an invitation into the living heart of Tantra.
We welcome you to walk the same ground where mystics once gathered, and to receive the timeless teachings encoded in Khajuraho’s sacred stones. Join us for an experience that will stay with you long after you leave.
Dates: November 5–11, 2025
Overview of the Khajuraho Temple Groups
The temples of Khajuraho, which are now a UNESCO world heritage site, were built by the Chandela dynasty, a Rajput royal lineage that ruled central India between the 9th and 13th centuries. Khajuraho was part of a deliberate vision to establish a sacred site where the spiritual science of Tantra could be practiced and transmitted.
The Chandelas were known as patrons of advanced esoteric traditions. They commissioned over 85 temples, of which 22 remain today. According to oral and regional accounts, many Tantra masters and adepts lived and practiced in Khajuraho during its peak. The temples served as a kind of living university, where seekers were guided through various levels of sādhanā (spiritual practice), including mantra, yantra, ritual worship, sexual alchemy, and kundalini awakening. Among the lineages present were Kaula and Kapalika Tantrikas.
Some accounts also mention the presence of Bhairavi practitioners, female Tantric adepts. These women played an integral role in the initiatory rites depicted on the temple walls.
Western Group of Temples of Khajuraho
The Western group is the largest and most elaborately constructed. This cluster includes the Lakshmana Temple, the Kandariya Mahadeva Temple (built c. 1025 CE under King Vidyadhara), and the Vishvanatha Temple, monuments that represent the pinnacle of Chandela craftsmanship.
These temples embody the soaring curvilinear shikharas of the Nagara style, built atop high platforms (jagatis) and following the Vastu Purusha Mandala. The sculptural work is equally intricate, spanning gods, goddesses, musicians, dancers, warriors, animals, and explicit erotic scenes, all carved with precise anatomical and symbolic detail. It is within this group that the integration of Tantric philosophy into public architecture is most fully realized.
Eastern Group
Between 970 and 1050 CE, the Eastern group began to emerge, primarily as a center for Jain worship. Temples like Parshvanatha, Adinatha, and Ghantai were built. The sculptures here favor meditative postures and restrained decoration, reflecting Jain ideals of non-attachment and inner discipline.
Southern Group
The Southern group, constructed between 1050 and 1150 CE, marks the final phase of Chandela temple-building. It includes the Duladeo Temple, dedicated to Shiva, and the Chaturbhuj Temple, dedicated to Vishnu. Both are simpler in form, lacking the scale and ornamentation of the earlier temples. Chaturbhuj Temple stands out for its unique west-facing orientation; an anomaly in Indian temple design, which typically aligns structures eastward to face the rising Sun.
Each temple is structured as a journey: from the mandapa (pillared entrance hall) to the maha mandapa (great hall), through the antarala (vestibule), and into the garbha griha (sanctum), the symbolic womb of divine presence. Above this path rises the shikhara, the towering vertical axis that connects the earth to the divine.
Most temples face east to greet Surya, the Sun god. And when viewed from above, the spatial distribution of the temples - Western at the ceremonial heart, Eastern near settled Jain communities, and Southern has been interpreted as forming a kind of pentagonal mandala.
Erotic Sculptures
The erotic sculptures of Khajuraho were carved as teachings. Crafted by shilpins (sacred sculptors) who belonged to hereditary guilds and were masters of śilpa-śāstra. What may look like sensual decoration is actually a visual map of Tantric initiation.
On the outer walls you find kama in its rawest form - scenes of desire and pleasure. At the temple thresholds, the sandhis, that energy shifts, as here the carvings change in tone, signaling a turning point.
These are the moments where desire is met with awareness. And then, deeper still, at the heart of the temple, the garbha griha (the sanctum), there is no imagery at all. Just stillness. This movement from the sensual outer walls to the silent inner womb mirrors the Tantric path.
At the heart of this philosophy is the dance between Shiva (pure consciousness) and Shakti (creative power). The carvings show duality reaching for unity, the visible reaching toward the invisible. Kama, the longing shown on these walls, is iccha shakti, the force of will that moves every being toward realization.
Tantric Philosophy and Temple Architecture
When the Chandela kings began building the temples of Khajuraho in the 9th century, Tantra was a growing tradition. Across central India, Tantric practice was moving out of secret and into the public world.
Each structure is a monument to the moment Tantra emerged into the open. You can see it in the placement of the sanctum (garbha griha) at the center of each temple, a symbolic womb that holds the idea that divinity is born from within. You can feel it in the rising shikhara, the mountain-shaped tower that mimics the rising of kundalini.
The layout of each temple followed a ritual sequence: the mandapa, where the community gathered; the maha mandapa; which quieted the senses, the antarala; the threshold between thought and stillness, and finally the garbha griha; where the individual meets the absolute. To walk this path was to undergo a subtle initiation.
From Sacred Geography to Forgotten Ruin - and Back Again
By the mid-12th century, temple construction at Khajuraho had come to a close. The Duladeo and Chaturbhuj Temples, completed around 1150 CE, marked the final phase of Chandela patronage. Soon after, the dynasty’s influence declined as the Delhi Sultanate expanded into central India. Without courtly support, the region’s temple networks dissolved. The temples were abandoned as dense forests grew around them. For centuries, Khajuraho was largely forgotten, remembered only by local villagers.
In 1838, a British army engineer, Captain T.S. Burt was led to the site by local guides. What he found startled him. The temples were intact but overgrown, and their sculptures; especially the erotic ones, clashed with his Victorian sensibilities. Burt documented his findings in the Journal of the Asiatic Society of Bengal, describing the carvings as “indecent.”
Decades later, Alexander Cunningham, the first Director-General of the Archaeological Survey of India, returned to Khajuraho with a different focus. In the 1850s and 1860s, he surveyed and mapped the temples, grouped them into the Western, Eastern, and Southern clusters, and laid the groundwork for academic and conservation efforts.
By the early 20th century, the Archaeological Survey of India initiated systematic restoration under the leadership of figures like Sir John Marshall and Sir Mortimer Wheeler. They cleared vegetation, repaired damaged structures, and stabilized foundations. When UNESCO designated Khajuraho as a World Heritage Site in 1986, it was seen as one of India’s greatest architectural legacies.
Tantric Themes Embedded in Everyday Carving
The sculptures at Khajuraho were never meant to be read as decoration. They were visual teachings, crafted by trained sculptors and guided by Tantric philosophy to communicate a map of the human experience, both outer and inner. Every curve, pose, and gesture carries meaning. These carvings reflect the Tantric view that the divine is not found outside of life, but within its most ordinary and most ecstatic moments. Below are the core elements you’ll see throughout the temples, and what each one reveals.
1. The Tribhanga Pose (Three Bends of the Body)
One of the most recurrent poses at Khajuraho is the tribhanga, where the body bends gracefully at the neck, waist, and knee. This form encodes the Tantric value of surrender. The body becomes receptive, soft, open to movement. In classical Indian dance and yogic iconography, tribhanga represents the fluid current of kundalini energy. This curvature is particularly emphasized in female figures, reflecting the embodiment of Shakti, the creative force in motion. The pose draws attention to the hips and chest, locations of the svadhisthana and anahata chakras, centers of sensuality and feeling. The tribhanga teaches that spiritual sensitivity begins with the body’s ability to move and feel.
2. Mudras (Sacred Hand Gestures)
Throughout the temples, figures, both divine and human, hold specific mudras that act as energetic instructions. The abhaya mudra (raised palm) signals protection. The varada mudra (palm facing down and outward) signifies offering and surrender. Other hands form cin mudra, where thumb and forefinger touch lightly, indicating unity of individual and cosmic consciousness.
3. Eye Contact and Gaze Direction
Tantric texts describe the gaze (drishti) as an energetic conduit. In Khajuraho, sculptures often hold deliberate eye contact between lovers, between a deity and devotee, or turned inward toward the heart.
In maithuna panels, the locked gaze between couples reflects intimacy, and signals the meeting of Shiva and Shakti. Downcast gazes reflect inner absorption, meditative withdrawal. Side glances appear in scenes of desire or hesitation.
4. Jewelry and Adornment
Ornaments in Khajuraho are mapped onto the body with deliberate care. Anklets emphasize movement and presence in the feet. Waistbands draw attention to the pelvic basin, a key reservoir of life force. Armlets encircle the biceps, areas activated in pranayama. Necklaces frame the throat, the seat of vibration and mantra. Crowns signal an awakened sahasrara chakra.
5. Circular Groupings and Spirals
Dance scenes, group embrace panels, and ritual assemblies often form circular or spiral patterns. These mirror the mandala, the archetype of wholeness in Tantric visualization. In scenes with apsaras or musicians, the body curves naturally to suggest rotation, the movement of time or breath. Erotic spirals, especially in multi-bodied compositions, symbolize the interweaving of energies, Shiva and Shakti, inhalation and exhalation.
6. Intertwined Bodies and Supportive Poses
In panels showing union, lovers do not stand apart. Their bodies support, encircle, or mirror one another. In Tantric partner practices (yugal sadhana), such positions signify shared awakening. One figure may offer stability while the other leans, an externalization of inner surrender. In other panels, one figure lifts or carries another, the symbolism here is of Shakti supporting Shiva’s stillness, or Shiva holding Shakti’s energy as it rises. These poses carry lessons in polarity and reciprocity.
7. Subtle Facial Expressions (Rasa)
Each face expresses a specific rasa, an aesthetic mood. Śṛṇgāra (erotic longing) dominates, but we also find hāsya (joy), karuṇā (compassion), raudra (intensity), and adbhuta (wonder). These are energies that move through the body.
8. Placement at Thresholds (Sandhi Points)
Erotic scenes and transition figures cluster near doorways and wall junctions, never randomly. These architectural thresholds (sandhi) mark energetic thresholds too. In Tantric initiation, each crossing represents a transformation: outer to inner, sensual to contemplative, individual to universal. Placing these carvings here cues the devotee to shift awareness. ion.
9. Acts of Self-Grooming and Care
Female figures grooming themselves appear constantly: fastening anklets, applying kohl, adjusting necklaces. In Tantric practice, self-care is ritual, svādhyāya through the body. These acts are invitations to presence. They also affirm the body’s centrality as a vehicle of knowing.
10. Animal Companions and Natural Symbols
The bull represents dharma, grounded stability, and often accompanies Shaiva iconography. The peacock, with its iridescent feathers and expansive tail, appears near apsaras and often signals beauty, temptation, and illusion (maya). Elephants, placed near entrances, signify power, memory, and the awakening of deeper strength. Monkeys, mischievous and curious, reflect the untamed mind in early stages of sadhana. And then there are scenes, like the one often debated, where animals appear in sexually ambiguous positions. These are not endorsements of behavior but reflections of pashu bhava, the animal state of consciousness Tantra seeks to evolve beyond. They are warnings, not celebrations. Every animal, every scene, reminds the practitioner that consciousness evolves through stages. The carvings show all of them, not to normalize all behaviors, but to include all experiences on the way to realization.
Conclusion
Khajuraho is a living testament to a time when the sacred and the sensual were not seen as opposites. The temples here were built with precision and purpose to initiate and to awaken.
To reduce Khajuraho to erotic art is to miss the point entirely. These carvings were visual mantras, teachings in form. They reveal a culture that honored the body as divine and union as a doorway to the infinite.
FAQ
What is Khajuraho Temple famous for?
The Khajuraho Temples in Madhya Pradesh are known for their erotic sculptures, symbolic temple architecture, and integration of Tantric philosophy into stone. The Western Group, including the Kandariya Mahadev Temple and Lakshmana Temple, features some of the most detailed carvings in Indian art, depicting gods, daily life, and human emotions across over 3,000 panels.
What is homosexuality in Khajuraho sculpture?
A small number of panels in the Khajuraho group of temples depict male-male intimacy, usually in group scenes within the Western group. These are not isolated or moralized but shown as part of the broader spectrum of sexual themes and human life. They reflect Tantric acceptance of diverse expressions without gender or social taboo.
Which God is in the Khajuraho Temple?
The temples of Khajuraho are dedicated to various deities. Lord Vishnu is enshrined in the Lakshmana Temple, Lord Shiva in the Kandariya Mahadev and Duladeo Temples, and several Jain Tirthankars in the Eastern group. Each sanctum (garbha griha) holds the main idol and aligns with cosmic principles from Hinduism and Jainism.
What is the myth of Khajuraho Temple?
According to legend, the Khajuraho temples were commissioned by Chandravarman, son of the moon god and a mortal woman named Hemavati. He was told to build temples that honored every part of human life, including sexuality, worship, and the cycles that recycle life. While mythic in origin, this story reflects the temples’ function as spiritual and sensual monuments.
Another story, related by Swami Ganga, who received powerful transmissions about the Khajuraho temples from Osho, speaks of the great Tantra Master Goraknath, who settled in the area of Khajuraho with his disciples. The King journeyed to meet him and was completely transformed through meditating close to Goraknath. He fell at Goraknath’s feet and stated that he would grant any favour the master would like. Goraknath then went ahead and recounted his vision for scriptures in stone, monuments to the grandeur of the spiritual path and the attainment of inner ecstasy. The king, true to his word, commissioned the temples to be built under Goraknath’s instruction. Initially, the temples were constructed in a large lake, and people would move from one temple to the next with boats. Today, the lake is no more, and yet the temples hold a timeless grace which continues to inspire inner transformation.
