28 Best Sights in Khajuraho, Side Trips from Delhi

This temple, which lies west of the Lakshmana, is the tallest and most evolved temple in Khajuraho in terms of the blending of architecture and sculpture, and one of the finest in India. Probably built around 1025–50 by King Vidyahara (the greatest of the Chandela kings), it follows the five-shrine design. Its central spire, which towers 102 feet above the platform, is actually made up of 84 subsidiary towers built up in increments. The feeling of ascent is repeated inside, where each succeeding portico rises a step above the previous one, and the inner sanctum is higher still; dedicated to Shiva (Mahadev is another name for Shiva), this inner sanctum houses a marble lingam with a 4-foot circumference. Even the figures on this temple are taller and slimmer than those elsewhere. The rich interior carving includes two beautiful toranas (arched doorways). Outside, three bands of sculpture around the sanctum and transept bring to life a whole galaxy of Hindu gods and goddesses, mithunas, celestial handmaidens, and lions.

The late-11th-century Adinath Temple, a minor shrine, is set in a small walled compound southeast of the Ghantai temple. Its porch and the statue of the Tirthankara (literally, Ford-Maker, a figure who leads others to liberation) Adinatha are modern additions. Built at the beginning of the Chandelas' decline, this temple is relatively small, but the spire and base are richly carved.

Across the street from Matangesvara Temple, this museum displays exquisite carvings and sculptures that archaeologists have recovered from the temple sites. The three galleries attempt to put the works into context, according to the deities they represent.

As part of continuing explorations since 1999, the largest temple yet—4 meters longer than the Kandariya Mahadeva—has been partially unearthed. On the Bijamandala you can see multiple tiers of beautifully carved moldings and a Shiva lingam placed on a marble pedestal. Images of Vishnu and Brahma have been found as well, and it also houses a lovely image of Saraswati. Archaeologists surmise that the temple, begun in the late 10th or early 11th century and between the Duladeo and the Chaturbhuj, may never have been completed, judging by the remains and unfinished statues found on the site.

This granite-and-sandstone temple, one of the earliest here (circa 900), is probably misnamed. Although Brahma is a member of the triad of Hinduism's great gods, along with Shiva and Vishnu, he rarely gets a temple to himself. (The only other famous Brahma Temple is at Pushkar, in Rajasthan.) It differs in design from most of the other temples here, particularly in the combination of materials and the shape of its spire. Nearby is Ninora Tal, one of the largest tanks in Khajuraho.

This small 12th-century temple, nearly 3 km (2 miles) south of Duladeo, is often ignored given its distance from the main complex. It has an attractive colonnade entrance and a feeling of verticality thanks to its single spire. Inside, its impressive four-armed image of Vishnu in a sunken sanctum, may be the single most striking piece of sculpture in Khajuraho. The exterior sculpture here is not nearly as impressive as other examples in the area, but the temple is definitely the best place in Khajuraho to watch the sun set. In the north corner there is a rare image of the goddess Narsimhi, who has a lion's face and a human body.

The oldest temple at Khajuraho is set on a granite outcrop southwest of the Shivsagar Tank, a small artificial lake. It may have been built as early as AD 820. It's dedicated to Kali (a form of the goddess Durga, Slayer of Demons), and its name refers to the 64 (chausath) female ascetics (yogini) who serve this fierce goddess in the Hindu pantheon. A little more than half that number have survived. Unlike its counterparts, which are made of pale, warm-hued sandstone, this temple is made of granite.

This temple that's just north of the Devi Jagdamba also resembles it in construction. In honor of the presiding deity, the sun god Surya, the temple faces east, and its cell contains a 5-foot-tall image of Surya complete with the chariot and seven horses that carry him across the sky. Surya also appears above the doorway. In the central niche south of the sanctum is an image of Vishnu with 11 heads; his own face is in the center, and the other heads represent his 10 main incarnations. Sculptural scenes of animal combat, royal processions, masons at work, and joyous dances depict the lavish country life of the Chandelas. It also has an ancient three-story stepped tank (water reservoir).

In late February or early March, Khajuraho holds an annual, weeklong dance festival, set in part against the backdrop of the temples. This superb event attracts some of the country's best performers. Contact the tourist office for more information.

This temple was originally dedicated to Vishnu, as indicated by a prominent sculpture over the sanctum's doorway. It now honors Parvati, Shiva's consort, but because her image is black—a color associated with Kali—it's also known as the Kali Temple. From the inside, its three-shrine design makes the temple appear to be shaped like a cross. The third band of sculpture has a series of erotic mithunas, considered some of the finest sculpture of this type in all of Khajuraho. The ceilings are similar to those in the Kandariya Mahadev, and the three-headed, eight-armed statue of Shiva is one of the best cult images in Khajuraho.

Though built in the customary five-shrine style, this 12th-century temple looks flatter and more massive than most Khajuraho shrines. About 900 yards south of the Eastern Group's Ghantai, it stands near the Khudar rivulet. Probably the last temple built in Khajuraho, the Duladeo lacks the usual ambulatory passage and crowning lotus-shaped finials. Here, too, in this temple dedicated to Shiva, eroticism works its way in, though the amorous figures are discreetly placed.

All that's left of the temple here are its pillars, festooned with carvings of pearls and bells. Adorning the entrance are an eight-armed Jain goddess, Chakreshvari, riding the mythical bird Garuda and a relief illustrating the 16 dreams of the mother of Mahavira, the founder and greatest figure in Jainism and a counterpart to the Buddha. The temple sits south of the Vamana, Javari, and Brahma temples, toward the Jain complex.

Drive or bike to the Gharial Sanctuary on the Ken River, 28 km (17 miles) away; the park was set up to protect the slender-snouted crocodile and has some lovely waterfalls. The Madhya Pradesh Tourism office has information about renting a jeep, and can provide directions.

Small and well-proportioned, this temple is just south of the Vamana and roughly contemporary with it. It has a simplified three-shrine design: the two main exterior bands of sculpture bear hosts of heavenly maidens. It's also dedicated to Lord Vishnu.

Across from the Varaha Temple stands this temple dedicated to Vishnu. It is the only complete temple remaining. Along with Kandariya Mahadeva and Vishvanath, this edifice represents the peak of achievement in North Indian temple architecture. All three temples were built in the early to mid-10th century, face east, and follow an elaborate plan resembling a double cross, with three tiers of exterior sculpture on high platforms. The ceiling of the portico is carved with shell and floral motifs. The support beam over the entrance to the main shrine shows Lakshmi, goddess of wealth and consort of Vishnu, with Brahma, Lord of Creation, on her left and Shiva, Lord of Destruction, on her right. Around the exterior base are some of Khajuraho's most famous sculptures, with gods and goddesses on the protruding corners, erotic couples or groups in the recesses, and apsaras and sur-sundaris (apsaras performing everyday activities) in between. Along the sides of the tall platform beneath the temple, carvings depict social life, including battle scenes, festivals, and more X-rated pursuits. According to the inscription on the Lakshmana Temple, it was built by King Yasovarman. The whole temple was built to house an image of Vishnu given him by his Pratihara overlord, Devapala. This image (it can still be seen here) was originally brought over from Tibet.

Lying in ruins, with the original portico missing, this Shiva temple is 600 meters west of Chausath Yogini. It is historically significant because it was built of both granite and sandstone, marking the transition from Chausath Yogini to the later temples.

Sharing the platform with the Kandariya Mahadev and the Devi Jagdamba, this small temple is mostly in ruins. Now dedicated to Shiva, it may originally have been a subsidiary temple to the Kandariya, probably dedicated to Shiva's consort. In the portico stands a remarkable statue of a man caressing a mythical horned lion.

Just outside the boundary of the Western Group stands this temple, which has its own gate to the left of the entrance. It's the only one still in use here; worship takes place in the morning and afternoon. The lack of ornamentation, the square construction, and the simple floor plan date this temple to the early 10th century. It has large bay windows, a projecting portico, and a ceiling of overlapping concentric circles. An enormous lingam (a phallic symbol associated with Shiva), nearly 8½ feet tall, is enshrined in the sanctum.

This simple temple, which faces Vishvanath, houses a monolithic statue of Shiva's mount, the massive and richly harnessed bull Nandi.

Open October through June, Panna National Park is ideal for viewing wildlife such as antelope, deer, and all kinds of monkeys; if you come for one of the twice-daily safaris (departing early morning and midafternoon), you may see one of the 27 elusive tigers in the Panna Tiger Reserve. The best viewing season is January through March.

This temple was built in the mid-10th century during the reign of King Dhangadeva. It is the largest and finest in the Eastern Group's Jain complex and holds some of the best sculpture in Khajuraho, including images of Vishnu. In contrast to the intricate calculations behind the layout of the Western Group, the plan for this temple is a simple rectangle, with a separate spire in the rear. Statues of flying angels and sloe-eyed beauties occupied with children, cosmetics, and flowers adorn the outer walls. The stone conveys even the texture of the women's thin garments.

The small and heavily rebuilt temple, near Vishvanath, was originally dedicated to Vishnu. The present icon is that of the goddess Ganga (a representation of the river Ganges) standing on her mount, the crocodile.

Set within the walled Jain temple complex alongside the Adinath and Parsvanath temples, the Shantinath Temple is a collection of small, early-11th-century shrines. Though remodeled extensively, it still contains some old Jain sculptures. The main draw is the 12-foot idol of Lord Shantinath in the inner sanctum.

This popular 50-minute extravaganza, narrated in Hindi and English, traces the story of the Chandela kings and the temples from the 10th century to the present. The exact showtime varies based on sunset, so confirm it with your hotel or the tourist office. Buy tickets at the tourism office.

There's an excellent collection here, consisting of more than 500 artifacts of terra-cotta, metal, and wood crafts, paintings, jewelry, and masks from all over Madhya Pradesh and the Bastar region (known for tribal crafts) in the neighboring state of Chhattisgarh.

The late-11th-century Vamana Temple, the northernmost one in the Eastern Group, is dedicated to Vishnu's dwarf incarnation (though the image in the sanctum looks more like a tall, sly child). The sanctum walls show unusual theological openness, depicting most of the major gods and goddesses; Vishnu appears in many of his forms, including the Buddha, his ninth incarnation. Outside, two tiers of sculpture are concerned mainly with the nymphs of paradise, who strike charming poses under their private awnings. The pretty view from this temple includes barley fields.

Just inside the main entrance gate, to your left, next to a small Lakshmi temple, is this beautiful temple dedicated to Vishnu's Varaha avatar (his incarnation as a boar). It was built circa 900–925. Vishnu assumed this form in order to rescue the earth after a demon had hidden it in the slush at the bottom of the sea. In the inner sanctum, all of creation is depicted on the massive and beautifully polished sides of a stone boar, which in turn stands on the serpent Shesha. The ceiling is carved with a lotus relief, which represents the flowering of the crown chakra, the spiritual center.

Two staircases lead up to this temple, the northern one flanked by a pair of lions and the southern by a pair of elephants. The Vishvanath probably preceded the Kandariya, but here only two of the original corner shrines remain. On the outer wall of the corridor surrounding the cells is an impressive image of Brahma, the three-headed Lord of Creation, and his consort, Saraswati. On every wall the female form predominates, portraying some women's 10th-century occupations: writing a letter, holding a baby, applying makeup, or playing music. The nymphs of paradise are voluptuous and provocative, the erotic scenes robust. An inscription states that the temple was built by Chandela King Dhanga in 1002. The temple sits on a terrace to the east of the Chitragupta and Devi Jagdamba temples.