Archaeological Museum, Khajuraho/पुराणवस्तू संग्रहालय, खजुराहो, Rajnagar Rd, Sevagram, Khajuraho, Madhya Pradesh.

The visit to this Archaeological Museum, one of the UNESCO, World Heritage Sites, Khajuraho, was a part of the “Bhopal, Udayagiri Rock Cut Caves, Bhimbetka Rock Shelters, Sanchi, Bhojpur, and Khajuraho – of Madhya Pradesh Heritage Walk” organized by the எண்திசை வரலாற்று மரபுநடைக்குழு, between 25^th and 28^th December 2024.

 

HISTORICAL BACKGROUND

The monumental group of Khajuraho was brought to light by T.S Burt, a British engineer in 1838, and then work was carried out in detail by the study of Alexander Cunningham, between 1852 and 1863. Khajuraho's nomenclature is due to one of its gates, which was ornamented with two golden Khajur trees (date palm), as per one tradition. A recent study highlighted that the celestial nymph has a scorpion (Khajur) on her thigh, which marks passion; possibly, the place was named Khajur-Vahaka or Khajuraho.

During the Janapada time, the region was part of the Vatsa kingdom, and then it came under Mauryan supremacy, which is known from the Asokan rock edict at Gujjara in the Datia district. However, before Chandella, the region witnessed the rule of the Kushanas, Nagas, Vakatakas, Imperial Guptas, and the Pratiharas. According to Chandellas and other contemporary records, the land was known as jejakbhukti or jejakabhukti, with a few derivative variants like jejahuti, jajhauti, and jijhauti in Chandellas' times. The Mahoba inscription delineates the genealogy of the Chandella dynasty and states that the kingdom has been named after King Jeja. The earliest inscription of King Dhanga, dated to 954 CE, suggests the occupation of Khajuraho by the Chandella rulers. Alberuni, in 1022 CE, speaks of the region as Jajahuti. The Madanpur inscription dated to 1182 CE refers to the territory as Jajakabhukti or Jajakamandala.

THE MUSEUM

With the keen interest and initiative of W.E. Jardine, the then political agent of Bundelkhand, loose sculptures and other cultural edifices were collected from the ruined temples and preserved in an enclosure, which laid the foundation of the museum in 1910. This thoughtful collection is known as the Jardine Museum. However, the present museum was conceptualized in 1952 after the Archaeological Survey of India took charge and named it the Archaeological Museum.

The preserved and displayed antiquities are primarily associated with the Chandellas, a powerful medieval dynasty that predominantly ruled over the region around Khajuraho, which was anciently known as Kharjura-Vahaka and was a religious capital city.

The museum's nucleus was a large collection of Brahmanical, Hindu, Jaina, and Buddhist sculptures and architectural parts of temples. The present museum exhibits a good number of well-carved sculptures in a modern display concept.

The New Museum, located near Circuit House, houses more antiquities. It consists of six galleries for sculptures and architectural elements. The antiquities date from the 9th to the 12th Centuries CE and shed significant light on the region's social-cultural aspects.

HINDU SCULPTURES

Ambika, Material-Sand Stone, Acc. No. 820, Circa 10th-11th Century CE. There is a standing statue of Jain Ambika, below which is the marking of cherry holders and worshipers. In the central part is Tirthankara, with mango bunches and elephants.

Hari-Hara, Material-Sand Stone, Acc. No. 3316, Circa 10th-11th Century CE. Harihara, in the form of a quadrilateral, is wearing a jata, kiritmukut, kundal, necklace, waistband, and vanamala with the ganas in a sambhanga posture.

Temple donor, Material:- Sand Stone, Acc. no-3425, Circa 10th-11th Century CE. The figure of the temple donor is seated on a cushion. He is jeweled with a necklace, earrings, and anklets. A seven-line inscription with the Vikram Samvat date 1013 is inscribed on its pedestal. His beard is depicted with a series of curly ball hairs.

Dancing Ganesha, Material: Sand Stone, Acc. no-3317, Circa 10th-11th century CE. Ten-armed Lord Ganesha is depicted in a dancing position. In the right arm, hold a battle axe, suci-mudra. vyakhyana mudra and other hands are broken. The left arms represent Madoka (Sweets), broken tusks, snakes, and others. On either side of the legs are represented by drummer and flute players. The vehicle rat is carved in low relief in a standing posture.

Vamana Vishnu, Material: Sand Stone, Acc. no-3342, Circa 10th-11th Century CE. Vamana, the eighth incarnation of the Vishnu image, is shown in a standing posture. He has four arm holdings: conch, wheel, acca mala, and varada mudra. Its parikar is decorated with other incarnations of Vishnu, along with water divinities, vyala, etc. He has coiled hair on his head, and his body is decorated with different ornaments.

Sadashiva, Material-Sand Stone, Acc. No. 1098, Circa 10th-11th Century CE. Sadashiv with six heads wearing jatamukut has twelve hands and four legs, of which two legs are in Yogasana posture and the remaining two in Bhadrasan posture. Shivling is situated on the top of the statue, and Srivatsa is marked on the chest.

Sadashiva, Material-Sand Stone, Acc. No. 367, Circa 10th-11th Century CE. Sadashiv, with three heads, is sitting in a Lalitasan posture. He has eight hands, out of which only two hands are currently visible, the rest are broken. The inscription is engraved at the bottom of the statue.

Parvati, Material-Sand Stone, Acc. No. 1015, Circa 10th-11th Century CE. Statue of Parvati standing on a lotus. Ganesha and Kartikeya are engraved in both the upper hands of Parvati. Shivlinga is inscribed on the top of the statue.

Parvati, Material-Sand Stone, Acc. No. 1009, Circa 10th-11th Century CE. Four armed Parvati statues in standing posture on a lotus flower. Ganesha and Kartikeya are seated in Sanal Padma in the upper hands of Parvati. Brahma and Vishnu are enshrined on both sides of the idol.

Trimurti, Material-Sand Stone, Acc. No. 64, Circa 10th-11th Century CE. Hari Har Pitamah idol. There is an inscription of Brahma on the right side of the statue, Vishnu in the middle, and Shiva on the left.

Saptmatrikas, Material-Sand Stone, Acc. No. 458, Circa 10th-11th Century CE. Ganesh and Virbhadra are shown on both sides of the idol, and Saptamatrikas are shown in the middle.

Varahi, Material-Sand Stone, Acc. No. 863, Circa 10th-11th Century CE. Four armed Varahi are sitting in Lalitasan. He has a vessel in her left hand. There is an inscription of Yognarayan on the top of the statue.

Parvati, Material-Sand Stone, Acc. No. 967, Circa 10th-11th Century CE. Statue of Four armed Parvati standing on a lotus. In whose upper both hands Ganesha and Kartikeya are shown. In the upper part of Parikar, there is a marking of Vidhadharas and Gandharvas.

Yogini, Material-Sand Stone, Acc. No. 409, Circa 10th-11th Century CE. The twelve-armed Yogini statue is sitting on an owl. A sword and shield are inscribed in two hands of the goddess, and the remaining hands are broken. This statue is very ornate. Gandharvas and attendants are marked around the statue.

Vamana, Material-Sand Stone, Acc. No. 431, Circa 10th-11th Century CE. Vamana statue standing on Padma,

Gajalaxmi, Material-Sand Stone, Acc. No. 819, Circa 10th-11th Century CE. The marking of Ganesh and Karikeya on both sides of the idol of Gajalaxmi sitting in Lalitasana posture on Padmasana.

Shiva-Parvati, Material-Sand Stone, Acc. No. 492, Circa 10th-11th Century CE. Image of Umalingana Idol of Shiva embracing and holding Trident.

Mother and Child, Material-Sand Stone, Acc. No. 1837, Circa 10th-11th Century CE. Mother and child (possibly Krishna’s birth) in a position lying on a huge serpent, 5 deities on the top of the statue. Durga and Ganesha are seated.

Uma-Maheshwar, Material-Sand Stone, Acc. No. 505, Circa 10th-11th Century CE. The Umalingan idol of Shiva is seated in the Lalitasana posture on a lotus throne. Common figures of Brahma, Vishnu, Ganesha, Kartikeya, Shiva Gana, Nandi, Singh, Bhringi, and female attendants.

Uma-Maheshwar, Material-Sand Stone, Acc. No. 504, Circa 10th-11th Century CE. Image of Umalingana Murti of Shiva standing in tribhanga posture. Shiva embraces and holds the snake in his hand, and Uma holds a flower in her left hand.

Shiva, Material-Sand Stone, Acc. No. 517, Circa 10th-11th Century CE. Four Armed Shiva standing in Tribhanga posture holding a garland, kamandalu, snake, and trident.

Ganesha, Material-Sand Stone, Acc. No. 1101, Circa 10th-11th Century CE. Ganesha with Sixteen Arms. Marking of Musicians and devotees.

Ganesha, Material-Sand Stone, Acc. No. 1117, Circa 10th-11th Century CE. Twelve-arm dancing Ganesha. Marking of lotus-holding attendants.

BUDDHIST SCULPTURES

Budhha, Material-Sand Stone, Circa 10th-11th Century CE. Lord Buddha is sitting in the Bhumisparsha posture on lotus petals. In the lower part of which the inscription is engraved.

JAIN SCULPTURES

Adinath Tirthankara, Material-Sand Stone, Acc. No. 1667, Circa 10th-11th Century CE. Adinath is sitting on a decorated throne. There is a marking of Jatajute, cherry holders, other Tirthankaras, Vidyadharas, and animal motifs.

Adinath, Material-Sand Stone, Circa 10th-11th Century CE. Seated Jain Tirthankara Adinath

Adinath, Material-Black Besalt Stone, Acc. No. 457, Circa 10th-11th Century CE. Padmaseen Jain Tirthankar Mahavir Swami is engraved on black basalt stone, and a Nagri inscription is engraved on the statue.

Adinath, Material-Sand Stone, Acc. No. 1730, Circa 10th-11th Century CE. Sitting statue of Jain Tirthankara Adinath, marking of figures wearing chauris on both sides of the statue and Navgrahas, etc. on the back of the statue.

Adinath, Material-Sand Stone, Acc. No. 1727, Circa 10th-11th Century CE. The sitting statue of Jain Tirthankara Adinath marks Devi Chakreshwari on the back of the statue.

Adinath, Material-Sand Stone, Acc. No. 1651, Circa 10th-11th Century CE. Seated Jain Tirthankara Adinath.

Adinath, Material-Sand Stone, Acc. No. 1614, Circa 10th-11th Century CE. Adinath, the enthroned Jain Tirthankara.

Adinath, Material-Sand Stone, Acc. No. 1678, Circa 10th-11th Century CE. Sitting statue of Jain Tirthankara Adinath and possibly with Parshvanath and Vidyadharas marking.

LOCATION OF THE TEMPLE: CLICK HERE

--- OM SHIVAYA NAMA ---