Entrances of Eternity: Art, Symbolism and Religious Life in Chandella Temple Doorframes

This book offers an in-depth exploration of the rich symbolism and exquisite craftsmanship of the doorframes in Chandella temples, analyzing their cultural, spiritual, and artistic significance. It examines the divine and secular sculptures adorning the three architectural elements of the temple doorways-the uttaranga (lintel), dv ara-s akh a (door jambs), and udumbara (threshold). The sculptures depicted on these doorways adhere to the injunctions of the Silpa texts, which are extensively referenced in this study.

Structured thematically, the book investigates the representations of divinities, ascetics, mythical creatures, daily life scenes, as well as depictions of flora and fauna, shedding light on how these artistic expressions reflect the religious and socio-cultural landscape of the Chandella period. Beyond its aesthetic and symbolic interpretations, this work provides deeper insights into the rulers' spiritual affiliations and artistic accomplishments, placing them within the broader historical and cultural context of early medieval India.

With its meticulous research and detailed analysis, this book serves as an essential resource for scholars, students, and enthusiasts of Indian art, architecture, and history, offering a richer appreciation of the artistic legacy of Chandella temples.

Dr Aparna Tripathi is an independent researcher specializing in the history of ancient and early medieval Indian architecture and sculpture. She completed her PhD at Banaras Hindu University, Varanasi. She has also received Small Study and Research Grants from the Nehru Trust for Indian Collections at the Victoria and Albert Museum. She has previously served as a lecturer at Dhirendra Mahila Post Graduate College, Varanasi. An accomplished scholar, she has published numerous research papers in esteemed journals and has explored various aspects of Indian art and culture in her research.

In 2006 when the late Professor Mata Prasad Tripathi, my guruvara at Deen Dayal Upadhyaya Gorakhpur Univerity, questioned me why I was not thinking of pursuing a PhD, little did I know that the course of my life was about to change which would be a lifelong fascination with the rich tapestry of India's art history, particularly the enigmatic and intricate sculptures of the Chandella temples. The artwork of the Chandella temples is rich not only because of their architectural marvel but also due to their symphony of diverse figural motifs displayed all over the temple. The pravesa-dv aras (entrance doors) of these temples held particular importance due to their distinctive ornamentation, which captivates and overwhelms the viewer with a sense of awe. The Chandella temples were designed in such a way that the temple itself represented the cosmos (vastu-purusa), with its pravesa-dv aras symbolizing a fraction (ansa) of the entire cosmic whole (purna). This amsa or the doorway is indicative of the personality or morphology of the temple and hence its study becomes very significant. They are not merely entrances, they serve symbolic and suggestive functions that are essential for comprehending the entire temple. Considerably, in many remains of dilapidated temples, the dedication of the temple is known only through the doorways. The silpak aras (sculptors) followed the canons outlined in architectural, sculptural and religious texts, while also drawing on their fertile imaginations and local traditions. Some of the remarkable sculptures seem to be the product of their original imagination as they are not found elsewhere and also their textual reference is unavailable. Essentially from the point of view of the placement of the divinities, intricate and varied figural motifs, textual studies and symbolic meaning, the pravesa-dv aras are the most significant architectural part of the temples.

The present research work is a study of sculptures carved on different parts of the doorways, such as the lintel (uttaranga), the door jambs (dv ara-s akh a) and the threshold (udumbara). It is an attempt to throw light on the religious, iconographic, socio-cultural and artistic features and the symbolic significance of figural depictions on different parts of the doorways of the temples built during the period of the Chandella rulers. The period of the Chandellas (9th-12th century C.E.) witnessed the construction of magnificent temples at Khajuraho and Ajayagadh of Madhya Pradesh and Mahoba, Kalanjar, Devagadh, Dudhai, Chandpur, Madanpur and Gairaha of Uttar Pradesh. This study shall cover the temples that have intact doorways that made significant cultural and artistic contributions and the doorway fragments especially lintels which indicate the existence of temples, their dedication and religious significance.

At Khajuraho, there are twenty-five surviving temples. Besides them, more than fifty door lintels and doorways remain in different museums and temple complexes. On this basis, we can make significant observations as to the number of temples being more than what is surviving presently at Khajuraho. An important fact to bring up here is that, as found in the Chandella temples, a temple can have two door frames, one of the godhamandapa and the other of the garbhagriha. Therefore, keeping this fact under consideration, this study may authenticate, to some extent, the traditional belief of eighty-five temples of varying sizes built at Khajuraho during Chandella's rule.

The Jaina temples of Devagadh and Madanpur, Nilakantha temple of Kalanjar, Vişņu and Śiva temples of Chandpur and Madanpur, Tripuruşa Prasadas of Dudhai and Makarbai village of Mahoba, and Siva temple of Gairaha are significant monuments for their architectural and sculptural brilliance. Though often overshadowed by the more renowned Khajuraho temples, these monuments deserve greater recognition for their exceptional craftsmanship. The doorways of these temples are adorned with figures and motifs both religious and secular-that reflect the stylistic evolution and regional variations of the Khajuraho style, marking their chronological development. Therefore, this study provides a comprehensive understanding of temple construction activities, their religious affiliations, and their alignment with the texts of temples of not only Khajuraho but other parts of the Chandella kingdom.

So far, many scholars have worked on Khajuraho sculpture and temple architecture. The works of Cunningham, Havell, Fergusson, Smith, Percy Brown, Stella Kramrisch, Krishna Deva, Eliky Zannas, Ramashray Awasthi, Devangana Desai, Urmila Agarwala, Vidya Prakash and many other scholars are incredible for their study. In the last decade C. M. Khera, 2014; Nina Sabnani, 2017; R. C. Agrawal, 2015; K. N. Dikshit, 2016; M. S. Gopalan, 2018; and S. S. Sharma, 2020 have made substantial contributions to the study of Khajuraho sculptures and temple architecture. However, no in-depth study of the doorway has been attempted so far. The sculptures of the doorframes are mentioned by a few scholars either in a different context or are discussed in articles that do not adequately address the subject. Vasudeva Sharan Agrawal in his book titled "Studies in Indian Art," has mentioned a few textual references and details of praveśa-dvaras of Gupta temples. A few more attempts in this direction were made by Thomas Donaldson, Dr Shashibala Shrivastava and Dr Usha Rani Tiwari in their articles. Thomas Donaldson's article published in Artibus Asiae in 1976 on the Doorframes on the Earliest Orissan Temples' surely discusses a few of the aspects of the doorways. However, it is based on early Orissan temples when figural and other ornamental motifs were limited. Also, this article does not compare these features with those of the Chandella temple doorways. Dr Shashibala Shrivastava's and Dr Usha Rani Tiwari's articles were published in 1994 on Khajuraho temple doorways in Khajuraho in Perspective'. These articles are compendious but very subtle. Despite these contributions, no extensive study specifically addresses the intricacies of Chandella temple doorframes. This gap indicates a need for a more detailed exploration of the topic. While the Khajuraho temples have intrigued scholars adequately, other Chandella sites have not garnered the same level of curiosity. Additionally, the bardic tale of Parmal Riso suggests that eighty-five temples once existed at Khajuraho. The twenty-five remaining temples have garnered considerable attention and academic publications. However, there is a notable research gap concerning the remaining sixty temples, which have largely been neglected. As a result, there is a lack of comprehensive understanding of the Khajuraho and the other Chandella temples that are either lost or remain only partially preserved with their doorframes. This book addresses this critical shortcoming by offering a thorough analysis of the entrance doors of these lost temples, giving a peek into their historical past.

It is with great pleasure and appreciation that I introduce Entrances of Eternity: Art, Symbolism and Religious Life in Chandella Temple Doorframes, a profound and meticulously researched work by Dr Aparna Tripathi. This book stands as a significant contribution to the field of central Indian temple architecture, shedding new light on an often-overlooked yet crucial aspect - the intricately designed and symbolically laden doorframes in ancient temples.

The conducive environment during the prolonged rule of the Chandellas resulted in advancement in literature, dance, music, and the creation of significant architectural and sculptural marvels in the Jejakabhukti. Political stability and prosperity during Chandella's rule are evident in some of the finest examples of central Indian Nagara-style temples at Khajuraho.

The grandeur of the Chandella temples has long captivated scholars, historians, and art connoisseurs. While much attention has been devoted to the sculptures and superstructures of these temples, the doorframes, which serve as sacred thresholds between the worldly and the divine, have remained a relatively underexplored subject. The author has focussed on distinctive ornamentation on one of the most significant architectural parts of the temple - pravesa-dvara (entrance door). This research not only studies figural depictions and artistic features on uttaranga (lintel), dvara-Sakha (door jambs), and udumbara (threshold) but also throw light on their religious, iconographic, socio-cultural and symbolic significance.

As a result of her minute study, the author could delineate how Silpakaras (sculptors), while following the canons outlined in architectural, sculptural and religious texts, have also, through their creative imagination, introduced certain local traditions. This ingenuity has resulted in the creation of some remarkable sculptures, which are not found elsewhere.

By interweaving art history, archaeology, and religious studies, with textual interpretations, Dr Aparna presents a nuanced and deeply insightful narrative that enhances our comprehension of central Indian temple architecture. Drawing upon extensive field research, archival sources, and textual analysis, this book offers a compelling exploration of temple doorways.

Dr Aparna's scholarly inquiry into these architectural elements brings forth an invaluable understanding of their composition, iconographic significance, and religious symbolism. It intricately examines the motifs, deities, and artistic embellishments, tracing their origins and contextualizing them within the religious and cultural milieu of the Chandella period.

What sets this work apart is not only its scholarly rigour but also its ability to engage readers beyond the academic realm. The author's lucid prose and keen analytical perspective render this book accessible to both scholars and enthusiasts of Indian heritage. Entrances of Eternity is more than just an academic study. It is an invitation to perceive temple doorframes as portals to a bygone era, rich in artistic ingenuity and spiritual depth.

Dr Aparna's dedication to studying and interpreting these architectural masterpieces is commendable. Her research serves as a testament to the importance of safeguarding India's cultural heritage and offers a renewed appreciation for the craftsmanship of the Chandella period. The insights presented in this book will undoubtedly inspire further exploration and scholarship in the field.