The Southern group
While the dancing apsaras of its interiors and the flying Vidyadharas on the top rows of its facadas show vigorous tension and movements, its sculptures are overburdened with ornamentation. While some figures on this temple are of an exceptional artistic merit , the plastic treatment has, on the whole, become fluid and, in many cases, lacks depth of relief, which is evident on a majority of the apsaras-figures of the exterior.
The iconography of this temple also shows some distinctive traits. The Ashtavasu figures are invariably depicted here with a crocodile-mount in place of the usual bull, while Yama and Nritti, two of the Dikpalas, wear their raised curls in a stylized fan-shape. The facades carry tedious repetitions of the images of the standing Shiva and Shiva-Parvati with identical attributes, displaying a poverty of ideas and a degeneration of art.
Thus, plastically and iconographically, the temple marks the exhaustion of the remarkable vitality for which the Khajuraho sculptures are justly famous, and its peculiarities, both sculptural and architectural, are such that it could be placed only at the end of the finer series of the Khajuraho temples.
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