The temples at Khajuraho were built during the Chandella dynasty, which reached its apogee between 950 and 1050. Only about 20 temples remain; they fall into three distinct groups and belong to two different religions – Hinduism and Jainism. They strike a perfect balance between architecture and sculpture. The Temple of Kandariya is decorated with a profusion of sculptures that are among the greatest masterpieces of Indian art.

Why did the Chandelas choose Khajuraho or Khajirvahila - garden of dates, as it was known then - as the site for their stupendous creations? Even in those days it was no more than a small village. It is possible given the eclectic patronage of the Chandelas and the wide variety of beliefs represented in the temples, that they had the concept of forming a seat of religion and learning at Khajuraho. It is possible that the Chandelas were also believers in the powers of Tantrism; the cult which believes that the gratification of earthly desires is a step closer to the attainment of the infinite. It is certain however, that the temples represent the expression of a highly matured civilization.

Yet another theory is that the erotica of Khajuraho, and indeed of other temples, had a specific purpose. In those days when boys lived in hermitages, following the Hindu law of being "brahmacharis" until they attained manhood, the only way they could prepare themselves for the worldly role of 'householder' was through the study of these sculptures and the earthly passions they depicted.

This group comprises Duladeo Temple with its strikingly large mandapa and exquisite figures, and Chaturbhuj Temple to the southwest of the Jatkira village that houses a huge image of the four-armed Dakshinamurti Shiva.

Just behind Chaturbhuj, the Archaeological Survey of India has begun excavating a new site in March 1999 which has revealed a temple with a plinth of 34 meters, pointing to a temple larger even than the Kandariya Mahadev. Known as Bijamandala, this mound lies 4 kms to the southeast of the Western Group. A broken marble yonipatta pedestal with a marble Shiva linga caps the mound. Several carvings of the Jain Tirthankaras have also been discovered in the temple which seems to have been abandoned before completion.

Art historians have conjectured that the plan of the sanctum of the temple at Bijamandala has similarities with that of the Kandariya Mahadev. The mound has also yielded a treasure trove of antiquities including sculptures of Mahishasuramardini, Vamana, yamuna and figurines of bulls, besides a graceful image of the goddess Saraswati.

Lakshmana Temple is closest to the entrance of the complex. Various incarnations of the Vishnu and his consort Lakshmi and the planets can be seen on the sanctum doorway. Popular legends from Krishna's life are engraved on the walls. One of the main niches enshrines a three-headed and four-armed image of Vishnu.

The temple boasts the largest number of aspara brackets. Two bands of sculpture sporting a profusion of erotic scenes run around the temple. On the subsidiary shrine at the southwest corner, one can see an architect working with his students and this is conjectured to be the temple's designer.

Vishvanath Temple to the northeast is another finely developed temple built by King Dhanga in early 11th century. The sanctum once enshrined two Shiva lingas, one of emerald and the other of stone, but only the latter remains. Facing the temples is a pavilion with a colossal Nandi bull, Shiva's favoured vehicle. The sculpted bands on the walls show seven mother goddesses with Ganesha and Virbhadra. To the southwest of the main shrines stands a small Parvati temple.

Towards the rear of the Western Group stands the largest and most impressive temple of Khajuraho - Kandariya Mahadev. Although its subsidiary shrines have long disappeared, the central shrine is in superb condition. It has the loftiest plinth and the largest number of projections and recesses. The lofty shikhara towers to a height of 31 metres. Both the interior and the exterior are exquisitely carved with figures of gods and goddesses, warriors and musicians, hunters and mythical animals, as well as the famed images of sexual union that have intrigued visitors through the ages. Stone figures of sensual celestial maidens and nubile beauties appear here in great profusion, as do erotic figures of men and women. On the same plinth stands a small Shiva temple.

The comparatively small Jagdambi Devi temple shares the same plinth as the Kandariya Mahadev but is older. Its square ceiling is richly embellished and the external walls have some of the finest figures of gods and goddesses, surasundaris and erotic couples.

North of Jagdambi Devi temple is Chitragupta, the only temple in Khajuraho dedicated to Surya, the sun god, that dates to AD 1000-25.

An ornate doorway leads to the sanctum which enshrines a standing image of Surya riding a chariot of seven horses. The basement moulding shows a processional frieze of dancing girls, hunting scenes, and elephant fights.

The neighbouring Ghantai Temple (named for the chain the bell motifs carved on its tall pillars) is a Jain temple. Only an entrance porch and a mahamandapa with a flat ornate ceiling survive. Southeast stand some more Jain templs; Adinath, Parshvanath and the only functional Jain shrine, the Santinath Temple, with a colossal image of Tirthankara Adinath. The Parshavnath is one of the best temples, not only in the group but in Khajuraho. Built during King Dhanga's reign, it is a solid structure with graceful sculpture with graceful sculpture dedicated to the first Jaina Tirthankara. It displays superb figures of Hindu gods and goddesses and some of the loveliest celestial beauties.