According to the inscription in the Lakshmana temple of Khajuraho, Yashovarman built this

magnificent temple as a proof of the undeniable power and prestige of the Chandellas. Between
the three generations of Yashovarman’s father, himself and his son, Chandellas rose from being
regional feudatories to the Pratiharas to an independent dynasty ruling from Gwalior to Varanasi
to Narmada. The group of temples that stand in Khajuraho today are a testament of their
fabulous rise and the Lakshmana temple is where the site became an almost imperial one. Of
course, other temples like the Chausath Yogini temple existed, but they did not proclaim
Chandella power like the Lakshmana temple did. However, the tantric elements in both the
temples do give some sort of a connection between the two.

The Architecture of the Lakshmana Temple:

The Khajuraho temples reveal certain peculiarities as the absence of enclosure walls and a
highly raised Jagati give them a unique appearance. All the essential elements existed:
mukhamandapa, garbhagriha, antarala, mahamandapa but with the Lakshmana temple, we
start to see balconied windows attached to the mukhamandapa. Lakshmana temple is
Sandhara-Prasara one with bhadravalokana windows for lighting and ventillation giving it an
open appearance. The superstructure with all the subsidiary shrines and lofty shikharas allude
to the lofty Mount Meru and Kailasha. The lofty jagati has a high pitha and vedibanda consisting
of a series of ornamental mouldings and creates a gentle slope. Over this stable base, we see
the jangha over which we see the aforementioned graded peaks of Meru and Kailasha. They
culminate in the largest spire which is a curvilinear Nagara Shikhara. Mukhachatushti is entered
through a makara-torana, and the Gudhamandapa is connected to the garbhagriha through the
profusely sculpted kapili. This temple is of a Panchayatana variety and faces towards east.
There are 4 subsidiary shrines at the corners of the jagati whereas a fifth one facing the
entrance must have housed Garuda but now has an image of Brahmani. The ornate pitha, with
its kapotapali, grasapatti, gajapitha, is surrounded by the vedibandha, faced with ushama
pediments and has khura, kumbha, kalasa and antarapatta. While the architectural elements of
the temple are no doubt impressive, the sculptural arrangement of the temple gives us another
fascinating angle to look at it. We look at the work of Devangna Desai now which shows the
coming together of Tantric/Pancharatra elements with the Puranic ones and how the sculptures
have created a microcosm of the imagined Universe through the temple. The sculptural
arrangement is a well-planned one and must have been guided by an acharya to correctly
represent the religious elements that the temple was meant to focus on.

The Vaikuntha Vishnu Image:

First, let's just look at the main deity inside the garbhagriha. The inscription on the porch tells us
that the temple was constructed by Yashovarman to install the prestigious and, as we will see,
politically important Vaikuntha-Vishnu image he obtained. It should be noted that the temple was
actually consecrated by son Dhangadeva as Yashovarman died by 954 CE when it was
completed. Originally, the image was held by Bhotanatha (Lord of Tibet, Bhota means TIbet)
who presented it to the Sahi king of Kangra near Kashmir. The nearness to Kashmir is important
to note as it was in that region that Pancharatra became dominant and the stylistic
representation of Vaikuntha-Vishnu comes from that region. From the Sahi king, Herambapala
of the Pratihara dynasty obtained the image with force. Yashovarman got the image from
Herambapala’s son Devapala: but whether it was with the use of force is not mentioned.
Yashovarman did not proclaim his sovereignty even when he was virtually an independent ruler
and that might have been the reason behind this ambiguity. It was around the time of the
temple’s construction that the Pancharatra or Kashmiragama started to adopt elements of
Bhagavata or Puranic Vaishnavism.

The attributes of a typical Vaikuntha-Vishnu image are: Vaikuntha, Narasimha, Varaha and
Kapila and four arms holding the usual attributes of Vishnu: shankha (conch), chakra, gada
(mace) and padma (lotus). It often has Prithvi at its feet whereas Lakshmi mostly do not find a
place. But ironically enough, this much contested image of Vaikuntha-Vishnu is not the one
housed inside the garbhagriha or the sanctum of the temple. What happened to the original
image is anyone’s guess now. The current image is a three headed Vaikuntha Vishnu image:
the fourth face of Kapila is not needed since it would face the wall anyway. The inscription does
say that the image installed by Yashovarman had four faces so the current image must have
been installed a little later. The current image is also stylistically of Chandella workmanship
alluded by a non Himalayan physiognomy, facial features, mukuta or jewellery. The mokhala
and padangada ornament are only seen in the later Khajuraho sculptures. On the pedestal, we
see a snake-hooded goddess which is identified with Lakshmi by some scholars but thefact
remains that a typical Vaikuntha-Vishnu image has Prithvi at the feet of the Vishnu. But since
Lakshmi was the primary female deity associated with Vishnu in these areas, her iconography
must have informed the Prithvi part of the image. The current image is also a heavy stine image
which would have been difficult to transport from the hills to Khajuraho. All of this points towards
the time period of late 11th century and must have been installed after whatever happened to
that politically important Vaikuntha-Vishnu image.

The coming together of Pancharatra and Purana:

Throughout the inscription, the aspect of Vishnu as “Daityari” is mentioned which points towards
the avataras aspect of Vishnu, Vaikuntha does become a minor avatara in some texts like the
Vishnu and Bhagvata Purana. But in the Lakshmana temple, Vaikuntha is not a minor deity but
the highest personal god and the supreme being with its four manifestations (faces on the
image) combine together to vanquish demons. Jayakhya Samhita says he is without an end or a
beginning and he is who creates the Universe. The avatara element is present in the inscription
but the vyuha element, or the emenation element is present in the Parikara frame of the deity.
Bot the vyuhantara (sub-vyuha) and avataras such as Matsya and Kurma are depicted on the
parikara. The four vyuhas are Vasudeva, Sankarshana, Pradyumna, and Aniruddha. But these
are not the four faces of Vaikuntha-Vishnu. Jayakhya Samhita is the text where we see both: it
says Vaikuntha has four faces, gives mantras forn the four mentioned vyuhas and separately
does that for Narsimha, Kapila and Varaha. Nothing links them here. Nothing links them here
but we can establish a link through the gunas given to them in Vishnudharmottara Purana. For
example, jnana is an attribute (guna) associated with Sankarshana whereas in the same text, it
is also attributed with the Lion-Face or Narasimha. This is a fascinating insight into how the text
brings the vyuha element and avatara together. The Parikara frame of this currently housed
deity does exactly that iconographically. Of course, it does not show the vyuhas but subvyuhas
which are related to tbe vyuhas; Infact the whole microcosm we see below is of Pancharatra
tradition and is played out in the sculptural arrangement of the Lakshmana temple.

The supreme being is unmanifest (that is without form) from which comes the stage of two
manifestations: Being and Becoming i.e. Para-Vasudeva and Lakshmi. Their bodies contain 6
divine or ideal gunas and it through the permutations and combinations of 3 pairs of 6 attributes
that we get the 4 vyuhas. Each vyuha has 3 subvyuhas (these find place in the Parikara frame
of Vaikunta-Vishnu at Lakshmana temple). Avataras come next and they come from the vyuhas
and Aniruddha is given special importance in this regard in the Pancharatra texts. Exalted
beings come next (eg, Pratiharas), then come the retinues of Vishnu like Garuda and Sesha,
then liberated souls followed by the Manus and then the men. The whole universe finds a place
in this cosmogyny.

Sanctum Wall Images (For Maitreyi: from here, you can selectively choose whatever you
like and write that. I am sure she does not expect us to write every sculptural detail):

Garbhagriha Torana: Lets now look at how these images placed in the Lakshmana temple are
arranged in the manner of the Pancharatra text. Lakshmi lustered by elephants occupies the
Lalatabimba of the sanctum door, flanked by Brahma on right and Shiva on left. This is in line
with the texts like Lakshmi Tantra and Jayakhya Samhita. But below the centre of the threshold,
we see a pot-bellied Kubera inside a niche instead of a Kshetrapala recommended by these
texts. Dwarapalas and Ganga-Yamuna are seen on the gate as well. The avataras of Vishnu are
represented on the south and north jamb. These are arranged as per the Hayasirsha
Pancharatra. The temple gives a lot of importance to the navagrahas who are represented
four-armed on the upper lintel of the door above the main lintel.

Sanctum Wall: The sanctum wall with its projections and recessions make up a 3-D yantra. The
wall is divided into lower jangha which houses the 8 dikpalas (directional divinities) which
protects against evil influences whereas the upper jangha has 8 bull-headied Vasus.
Incarnations of Vishnu are represented in the cardinal niches(ghana-dvaras). The position of
Narasimha in a niche which is seen beautifully in evening light is a clear allusion towards the
story of Narasimha killing Hiranyakashyapu. The Varaha image is in the southern ghana-dvara
whereas the Varaha face in the image faces North. Similarly, the Narasimha is on the western
ghana-dvara but faces South in the main deity image. This difference further bolsters the
argument that these faces showed a particular attribute or Guna and not the avatara. On the
Northern ghana-dvara, one would expect Kapila but finds Hayagriva. Kapila then doesnt find a
place anywhere as we saw in the case of the later main image in the sanctum but a mention in
the inscription. But certain connections between Hayagriva and Kapila can be made, including
their relation with the vyuha Pradyumna from which both emanate.

Yogasana Vishnu on the Sanctum Wall: There are three remarkable sculptural panels
representing yogasana Vishnu attended by different sets of ascetics in each panel. In the
southern upper niche Vishnu has kurma (tortoise) marked on his seat indicating his identity as
Kurma. In the northern upper niche, Vishnu has matsya (fish) marked on his seat which helps us
to identify him as Matsya-Narayana. These are unique representations of Matsya and Kurma,
for nowhere in India do we find these two in the human form of Yoga-Naryana. The relief in
western, upper cardinal niche takes us into the very heart of Pancharatra belief. The mythical
world of Shveta-Dwipa is where pure beings exist and have constant Darshana of Narayana.
Once upon a time, three rishis went to this land but were dazzled and hence couldn't see
anything. Through penance, they were finally able to see the pure creatures there. Then
Narayana appeared but they couldn't see him either. A voice from the sky says that they should
be satisfied with what they saw as only the ekantin devotees can actually witness Narayana.
This story clearly portrays the esoteric ways of the Pancharatra as superior to the harshest of
the penance. In the image, Vishnu is flanked by brilliant, haloed Ekantins whereas the rishis are
the only figures not looking at Narayana. Similarly, we see another Yogasana-Vishnu with the
raised index finger of his left hand near his mouth. This is interpreted as “mauna-vrati” by JN
Banerjea but instead of himself being silent, the Vishnu here is telling others to be silent as the
esoteric knowledge of Pancharatra can only be revealed to some.

Krishna Lila: We see 12 scenes from Krishna Lila. As we have seen, the temple is meticulously
planned but the arrangement of these scenes is interesting as it does not follow the linear
movement of one scene after the other as seen in the Bhagvata Purana when a devotee walks
through the ppradakshina patha. The scenes also dont follow any spatial logic as scenes from
Mathura, Vrindavan and Gokula are all mixed up. What can be the logic? Thematically, only one
scene does not depict the heroic actions of Krishna whereas the lilas like the stealing of butter,
so popular in sites like Gwalior do not find a mention! This accords well with the self-image
Yashovarman wanted to show via the temple. This slaying of demon also point towards the
aforementioned Daityari aspect of the deity. There could also be an association of these scenes
with magic. These 12 scenes could also be related to the dwadasha-murits (twelve forms) or
vyuhantaras. For example, the scene of Yamalaraja is associated with the “Damodara” e[ithet of
Krishna which is also a vyuhantara, Maybe there was a logic which was just not linear-time
based as in the Pancharatra, the krishna-lilas do not occur in empirical time (karya-kala) but in
transcendental one (akhanda kala). They were probably multivalent and more than one logic
drove their arrangement. Some of these sculptures are scenes are also a result of the artist
noting the Krishna-Lila Natya performances that happened in the temple as we see a number of
dancing postures.

Kapili Niches and the Mahamandapa:

Kapili of the sanctum, which joins it with the antarala has four seated goddesses including
gajalakshmi, saraswati-vidyadevi, Parvati and Kali. There are 14 surrounding deities around the
garbhgriha on the inside wall of the structure that the devotee see infront of the sanctum wall
sculptures noted above and in the mahamandapa. Karttikeya as a teacher is seen and not as a
warrior interestingly. It is appropriate in a temple focusing so much on knowledge and yoga. 10
armed Chandika in Lalitasana is also seen. The engraving below the Parvati niche says
“Udhasi” which could be the artist’s name. Other engravings like “shri” are also seen.
GajaLakshmi and Saraswati here flank an antarala niche which shows the Shiva-Parvati
marriage ceremony. These are only some of the deities seen in this arrangement and it is clear
that the architect has paired these deities like the dwarf Vamana and the mighty Vishvarupa.
The aforementioned Shiva-Parvati wedding is directly opposite the Parvati in ascetic pose
sculpture showing a possible causal relationship between the two.

Exterior of the Temple:

Vedibandha Images: There are 9 principle niches here housing an interesting set of deities.
Walking from the southern side, we start with Ganesha and end at the northern side with Durga
Kshemankari. Between them, we see 7 niches with Surya facing west in the middle. These are
youthful gods with jatas but do not seem to be Shaiva images. They are group divinities like
Sapta-Matrikas on the vedibanda in the later Kandariya Mahadev temple. These could be 6
prajapatis as the Chandellas traced their ancestry to Chandratreya Rishi who was a son of Atri,
one of the Prajapatis. These have been seen as chitrashikhandi sages who propagated the
Pancharatra doctrine but they are to be placed between Durga and Kubera. This will also pose
a question about the central image of the sun. The mounts like hamsa could allude towards the
Dikpalas as well. But Devangna Desai gives importance to the interpretation which sees them
as Grahas. These mounts are also associated with Brihaspati, Budha and Mangala. The frog in
particular is related to Shukra. Ganesha is also seen in the graha-pattas in Eastern India. Surya
is the most important in this Grahamandala of the Lakshmana temple. Their arrangement shows
some sort of a yantra-like formation. But it is also said that that the order of planets in temples
are set in the zodiacal circle at the time of its construction. Vishnudharmottara Purana fuses
Dikpala and Grahas and it will not be a surprise if a Pancharatra temple does that too,
considering both occupy the stage of “exalted beings” in the Pancharatra ladder. Other than
them, there are 26 miniature niches on the grasapattika.
Jangha (wall): Here, the images are arranged in two horizontal rows. The upper row carries
Vishnu’s vyuhantara aspects, surasundaris and vyalas. Vishnu is in tribhanga and holds the
typical padma, shankha, chakra and gada in different permutations and combinations. The lower
row represents images of Shiva (with one exception), surasundaris, naginis and mithuna
couples. Shiva is associated with Sankarshana in Pancharatra beliefs. Whether to interpret it as
an independent deity or as a part of a monotheistic Pancharatra doctrine is to be seen.

Kapili: The kapili between the garbhagriha and mahamandapa has a lot of slesha (puns)
employed. The good and bad characters of the play Prabodhachandrodaya are also seen,
Interestingly, allusions to the play are also seen in the Sarasvati image of the other kapili
mentioned. Images of Agni and a Muni are also seen here which also allude to a scene in the
play but can also be interpreted on another level with Nara and Narayana.

Superstructure Niches: Front facade has a beautiful Surya holding two lotuses image. The
inscription, so important for the temple, ends with “Namo Savitra”. The Mandapa roof has Agni
and Vayu/Soma on South and North respectively, alluding to a duality. On the rathikas of the
mahamandapa, we see mithuna couples alluding to another duality: of Purusha and Prakriti. All
these dualities are resolved in the principle niche of the antarala roof representing a
Vishnu-Vasudeva in the tribhanga pose. This is yet another cosmogony ending with Vishnu.
This image is so high up in the shikhara that it was definitely not meant to be seen.

Conclusion:
Just as the central deity shows the ultimate reality of the universe, with Vaikunta-Vishnu in the
centre, similarly the lesser deities reflect microcosmically the rest of the total reality. The upper
parts of the temple as we saw above, also symbolically represent the upper worlds! The
Lakshmana temple reflects the whole cosmogony of Pancharatra belief at a stage where the
tantric elements of this school were incorporating the Puranic elements of Bhagvata
vaishnavism. As Devanga Desai says, it is not just the superb quality of the artistic
representation but the intricate planning of arrangement of sculptures that makes Lakshmana
temple one of the finest in the subcontinent.