Preface Khajuraho is a small village in Chattarpur, which was, before loss the achievement of freedom a native state in Bundelkhand but now a district in the Sagar division of Madhya Pradesh in India. The village too, which had been sometimes the capital of the Chandel Kings spanned into a big city, remarkably flourishing with power and pelt. As remains of those glorious days, there stands in the village an out- standing galaxy of about thirty-four temples in three groups, dating from the third century AD to AD thirteenth century. The temple have become world famous because of their super art and marvellous architecture. Tourists from all over the world pour down in large numbers all the year round to visit them.

The main sources of attraction for tourists are not the idols of the Hindu mythology placed in the temples, but of men and women idolised in various erotic and lustful poses exhibiting the most morbid sexual indulgence akin to erotomania.

Where the woman is single, she as it were, preparing for the stage she would enjoy the luxury of sex in groups of two, three, four and five men and women without any social barrier. She is singly as fascinating as in groups. Love, luxury and sexual indulgence constitute the main theme of idolization of the temples at large. The statues of the Hindu pantheon studded or installed in the temples have almost no attraction for the tourists coming from abroad.

A very pertinent question is, why this sort of idolisation based on sexual erotomania has been accommodated in these holy shrines, which are dignified as abodes of divine sublimity, far above the wordly defilement. They are meant for mendicants who are dedicated to hard penances in pursuance of salvation.

It has largely been acknowledged that temples have in their makeup, an overwhelming influence of the Tantrik cult. But how the Tantrik cult and its supremacy in Khajuraho, could establish them- selves therein are also the questions demanding explanation. It is also surprising how the followers of the Tantrik cult became so affluent as to be able to majestic edifices built for the propagation of their beliefs and doctrines. How the very first temple got the erotic deco- ration into existence, standing high as colossus over the old models of conservative types of temples is also a question, most astounding who was that blessed Raja under whose patronage this new type of conception incarnated into a concrete shape? To answer all these silent questions the present book has taken upon it the onerous responsibility and has manifested itself with the knowledge of the subject. It is a novel, not history though both have coordinated in its production with their utmost capacity. It is rather surprising that the Chandel Kings who brought such marvellous edifices into existence, have left even no stone inscriptions, which might throw ample light on the history of their times. That is why imagination play a great role in wearing the fabrics together of their social life and literature. But the temples themselves, if studied with inquisitive observance prove as the encyclopedia of their age.

The present novel will show that it has made a study of that age to a remarkable extent. It has its own beauty, its own fascination, and its own appeal. Like the very temple sketched in it, it is a piece of art, not for malicious but for aesthetic appreciation.

With its own riches it is very likely that it may make a room for itself in the literary world, which is ever generously accommodating. It is as I hold, the very first novel written on Khajuraho. Most remarkable in it is the dedication of art and artist on each other. I hope the readers will value the book, keeping all its salient points in their view.

One thing more, in Bundelkhand it is a tendency to pronounce the long vowel sound of 'A' converting it into sound of 'O'. Hence Khajuraha which is basically correct, has come to be pronounced as Khajuraho. Be it what it may. It does not matter much.

**Contents and Sample