Khajuraho a town in the Indian state of Madhya Pradesh, located in Chhatarpur District, about 620 kilometres (385 mi) southeast of New Delhi, are one of the most popular tourist destinations in India. Khajuraho has the largest group of medieval Hindu and Jain temples, famous for their erotic sculpture. The Khajuraho group of monuments has been listed as a UNESCO World Heritage Site, and is considered to be one of the "seven wonders" of India. The name Khajuraho, ancient "Kharjuravahaka", is derived from the Sanskrit word kharjurmeaning date palm.
The Khajuraho temples were built over a span of 200 years, from 950 to 1150. The Chandela capital was moved to Mahoba after this time, but Khajuraho continued to flourish for some time. Khajuraho has no forts because the Chandel Kings never lived in their cultural capital. The whole area was enclosed by a wall with eight gates, each flanked by two golden palm trees. There were originally over 80 Hindu temples, of which only 25 now stand in a reasonable state of preservation, scattered over an area of about 20 square kilometres (8 sq mi). Today, the temples serve as fine examples of Indian architectural styles that have gained popularity due to their explicit depiction of sexual life during medieval times.
The Khajuraho temples do not contain sexual or erotic art inside the temple or near the deities; however, some external carvings bear erotic art. Also, some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. There are many interpretations of the erotic carvings. They portray that, for seeing the deity, one must leave his or her sexual desires outside the temple. They also show that divinity, such as the deities of the temples, is pure like the atman, which is not affected by sexual desires and other characteristics of the physical body. It has been suggested that these suggest tantric sexual practices. Meanwhile, the external curvature and carvings of the temples depict humans, human bodies, and the changes that occur in human bodies, as well as facts of life. Some 10% of the carvings contain sexual themes; those reportedly do not show deities, they show sexual activities between people. The rest depict the everyday life of the common Indian of the time when the carvings were made, and of various activities of other beings. For example, those depictions show women putting on makeup, musicians, potters, farmers, and other folks. Those mundane scenes are all at some distance from the temple deities.
A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities. Another perspective of these carvings is presented by James McConnachie. In his history of the Kamasutra, McConnachie describes the zesty 10% of the Khajuraho sculpture as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples." While the sexual nature of these carvings have caused the site to be referred to as the Kamasutra temple, they do not illustrate the meticulously described positions. Neither do they express the philosophy of Vatsyayana's famous sutra. As "a strange union of Tantrism and fertility motifs, with a heavy dose of magic" they belie a document which focuses on pleasure rather than procreation.
That is, fertility is moot. Dr. Devangana Desai points out that there is a misunderstanding regarding representation of homosexuality in Khajuraho sculptures. It is not depicted in Khajuraho sculptures. There are two sculptures mistaken as gay figures: The much talked about scene, often misunderstood as depicting lesbian love, is the head-down sculpture on the north wall of the Vishvanatha temple of the site. The top figure whose back is seen in the panel looks like a woman, but is actually a man, whose genitals can be seen from below. The figure is mistaken for a woman because of the hair tied in a bun at the back, which was a male hair style prevalent in medieval India. The other, often misunderstood sculpture is on the south wall of the Devi Jagadamba temple. Here a bearded Shaiva (Kapalika) ascetic threatens a nude Kshapanaka monk to join his religious order, by holding his organ and raising his other hand to hit him. The monk is shown with folded hands as if surrendering. These figures represent two characters of the allegorical play Prabodhachandrodaya, staged in the Khajuraho region in the 11th century. There is no gay relationship involved in the sculptural scene.
