The Parsvanath temple is the largest of the Jain temples in Khajuraho. It is also one of the finest Jain temples in India. It has an image of Parshvanatha, a Jain Tirthankara in the sanctum. In fact another important temple of this group the Adinath temple is very near to the Parshvanath temple.
The Parsvanath temple was built in the mid of the 10th century. Measuring 65.6' by 36' (20m x 11m), the Parshvanatha temple is medium-sized building compared to the western group of temples of Khajuraho. It is enclosed within a wall bearing some of the finest sculpture especially on its northern walls. It is noted for the precision of its construction and its beautifully sculpted figures, which show sensitivity in its art. This temple does not have any sexual motifs.
The Parshvanath temple is the site for some of the most popular sculpted figures like that of the of the lovely sura-sundaris (celestial beauties) – one applying make-up and another removing a thorn from her feet on the southern façade and yet another tying on ankle-bells on the northern facade. The temple has a solid outer wall embellished with three bands of graceful sculptures depicting Hindu Gods (despite its affiliation as a Jain temple). More figures can be found on the outer face of the sanctum, depicting 'apsaras' (heavenly nymphs) in a variety of poses.
This Jain temple has been heavily renovated in this century. Some of the best known non-erotic sculptures of Khajuraho are found here, particularly the lovely sura-sundaris (celestial beauties) – one applying make-up and another removing a thorn from her feet on the southern façade and yet another tying on ankle-bells on the northern façade. The outer walls of the temple have a number of figures of Vaishnava (Hindus) deities carved on the wall panels despite its affiliation as a Jain temple. The outer face of the sanctum depicts 'apsaras' (heavenly nymphs) in a variety of poses.
The themes of these carvings are picked from everyday life activities. Actions performed in daily life are beautifully shown through the work of the master craftsmen. A woman sits bent pensively on a letter, a lovely young girl removes a thorn from her foot, Sculptures including elephants, and lions and sea nymphs are also beautifully carved on the walls.
Within, the sanctum–the temple was originally dedicated to the first Tirthankara, Adinath and so inside the sanctum there is a throne, which faces a bull emblem of Adinath. The actual image of Parswanath from which the temple derives its name was installed as recently as 1860.
The temple has two axial projections at the two ends. One on the east is the ardh mandap and other on the west is a small shrine behind the garbhgriha. It was built during the early part of Dhangadeva's reign.
The Adinath temple is dedicated to the Jain saint, Adinath. The statue is about 10 feet high, and sits. It is the smallest of the main Jain temples in the enclosure. A large black statue of Adinath seated like the Buddha, in the lotus position is placed inside a small inner sanctum of the temple. One can reach there by descending some steps down inside the Adinath temple. Shoes must be removed before entering into the sanctum. The sanctum of the temple is quite simple and the Vedika (alter) seems to have been built at some later stage. The roof of the temple is beautifully made in a lotus shape with the help of stones (Padmashila). Smaller shrines each surround the temple with similar looking roofs as that of the main temple. These roofs give the typical look of a Buddhuist Stupas. Most of them are yellow in color, with black stone trimmings. Each lead to the shrine within with the help of steps built on one of their sides. The walls of these shrines do not have sculpture but all have a single large statue in the sanctum. Most of these face easts, but one faces south, and another two exactly west. Lacking any specific architectural arrangement around the temple they appear to have been built irregularly.
The Adinath temple has some of the most beautiful and sensitive human expressions locked in stones. These sculptures show woman in some of the best expression with lot of minute details. On the southern wall, there is a figure of a woman, who has received a letter with sad news. The letter received is clearly visible in one of her hands and the grief caused by the message finds expression in her face and the other hand. On the outer wall of the temple, near about the starting point of Parikrama (circumambulation) in the middle row of figures, there exists a remarkable Apsara image of a female dancer.
The beauty of her body and the movement of her feet all have been marvelously carved out. The figure is one of the most attractive. Among these charming figures of Apsaras, the figures of Shashan devis, Yakshines and Vidyadevis at their appropriate places add much charm, meaning.
Of these Apsara figures, the one looking into the mirror and applying collyrium in the eyes and the other that of a mother kissing her child are remarkable example of the craftsmanship. Great care has been taken to depict Nayikas, Kaminis, Bhaminis, and the various categories of women in a very dignified and graceful manner.
The Ghantai temple is the third in the group of Jain temple in Khajuraho. It is named for the chain the bell motifs decorated on the tall pillars of the temple. Unfortunately the Ghantai temple is almost in ruins now. Only an entrance porch and a mahamandapa with a flat ornate ceiling survive. The temple is famous for the frieze, which depicts, in graphic detail, the 16 dreams of Mahavira's mother and a multi-armed Jain goddess riding on a winged Garuda.
The Brahma temple is one of three important Hindu temples in the group of eastern temples of Khajuraho. The temple was built in circa AD 900.originally the temple seems to be built in dedication of lord Vishnu as it has a figure of the lord carved centrally on the lintel of the sanctum doorway. But in the sanctum is now enshrined a four faced image of Brahma, hence it is called the Brahma temple.
The Brahma temple is located on the banks of khajur sagar or Ninora Tal, the largest tank in Khajuraho. As a characteristic of the Khajuraho temple this temple too stands on an 11 feet high 'jagati' (platform). The 'jagati' is plain with 12 prominent offsets and its lower courses remain submerged in the water of the tank for some months of the year. This temple is really one of the earliest structures in Khajuraho, comprising only of a sanctum and an entrance porch, the latter is now completely lost and the former is roofed by a pyramidal.
It is simple in plan and design its roof is made of sandstone, while the body below it is made entirely in granite. Externally, the shrine is cruciform with a cardinal projection on each side. The more prominent projection of the vestibule on the east shows a doorway forming the entrance. The west is pierced with a small sham doorway, while the lateral projections on the north and south contain latticed windows.
Except for the figures of the Brahmanical Trinity on the lintel and of Ganga and Yamuna at the base, its doorway is plain. Its jangha wall is divided into two parts and stands on a plain adhisthan.
