The UNESCO Temple City of Khajuraho: Stone, Spirit and Sensuality

Rising like a collection of celestial mountains from the forested plains of Madhya Pradesh, the temples of Khajuraho constitute one of the most astonishing architectural achievements in human history. Constructed between the 10th and 11th centuries by the Chandela Rajput dynasty, these structural masterpieces stand as a profound testament to an era of uninhibited intellectual inquiry, spiritual depth, and artistic liberation.



For centuries, the name Khajuraho has been globally synonymous with the erotic. Western travellers and local commentators alike have frequently viewed these monuments through a singular, hyper-focused lens, casting them as a stone manifestation of the Kama Sutra. Yet, to reduce the architectural brilliance of Khajuraho to mere sensuality is to misunderstand the entire foundational framework of classical Indian philosophy and medieval temple engineering. Of the thousands of meticulously rendered high-relief carvings that wrap around these sandstone fabrics, only about ten percent depict explicitly erotic themes. The remaining ninety percent represent a kaleidoscopic panorama of early medieval Indian life, cosmos, and divinity—ranging from domestic chores, hunting expeditions, and military marches to celestial nymphs, musicians, and deeply contemplative icons of the Hindu and Jain pantheons.



This article aims to look deep behind the popular imagery, analysing the profound historical context, the sophisticated architectural engineering, and the philosophical underpinnings that govern these unparalleled monuments of Central India.

1. The Chronological Tapestry: Rise, Eclipse, and Resurrection



The history of Khajuraho is inextricably bound to the fortunes of the Chandela Rajputs, a powerful clan that emerged as feudatories of the Gurjara-Pratihara empire before declaring sovereignty in the early 10th century CE. At their zenith, the Chandelas ruled over Jejakabhukti (modern-day Bundelkhand), establishing a formidable domain defended by magnificent hilltop fortresses like Kalinjar and Ajaygarh. While their military might secured their borders against rivals and early Islamic incursions, it was their cultural and devotional fervour that transformed their capital, Khajuraho—then known as Khajjuravahaka (the bearer of date palms)—into a magnificent sacred metropolis.

The Myth of Origin and the Moon God



According to regional folklore and the poetic traditions of the Prithviraj Raso, the Chandelas traced their lineage to a cosmic liaison. The story speaks of Hemavati, the exceptionally beautiful daughter of a royal priest from Varanasi. While bathing in a lotus-filled river under the full moon, her beauty smote Chandra, the Moon God. He descended to Earth and seduced her. Distressed by the social dishonour of an unwed union, Hemavati was comforted by the deity, who prophesied that she would give birth to a son destined to become a great king. The son, Chandravarman, grew up to found the Chandela dynasty. To honour his mother's memory and expiate her perceived sins through an uninhibited celebration of human desire and spiritual purity, he initiated the construction of the grand temples. While modern historians view this as a classic origin myth designed to confer divine legitimacy (the Chandravanshi lineage) upon a rising indigenous clan, it beautifully reflects the dualistic embrace of human passion and cosmic destiny that characterizes the site.

The Golden Age of Construction



The vast majority of Khajuraho’s temples were built during a relatively short, explosive window of artistic creativity between 950 and 1050 CE. Each successive Chandela monarch sought to outdo his predecessor in the scale, complexity, and vertical ambition of his religious monuments:

Yashovarman (r. c. 925–950 CE): He effectively asserted Chandela independence and commissioned the magnificent Lakshmana Temple to celebrate his political ascendancy and his acquisition of a prestigious Vishnu idol from his former Pratihara overlords.



Dhanga Deva (r. c. 950–1002 CE): Under his lengthy and prosperous reign, temple building reached a highly sophisticated standardized form. He patronized the majestic Vishvanatha Temple (dedicated to Shiva) and the Parsvanatha Temple (dedicated to the Jain Tirthankara), demonstrating an enlightened policy of religious pluralism.

Vidyadhara (r. c. 1003–1035 CE): Widely regarded as the most powerful monarch of the dynasty, Vidyadhara successfully repulsed the destructive raids of Mahmud of Ghazni. To commemorate this monumental military triumph and showcase his supreme devotion, he commissioned the breath taking Kandariya Mahadeva Temple—the absolute apex of Khajuraho's architectural evolution.

Historical Insight: A Pluralistic Spiritual Hub



Khajuraho was never a monastic settlement or an isolated hermitage; it was a vibrant cosmopolitan centre where diverse religious philosophical traditions coexisted and cross-pollinated. The presence of monumental temples dedicated to Vishnu, Shiva, the Goddess (Shakti), Surya (the Sun God), and various Jain Tirthankaras within the same geographic space indicates an extraordinary environment of theological tolerance and intellectual syntheses.

The Medieval Eclipse and 19th-Century Rediscovery



By the late 13th century, the geopolitical centre of gravity shifted. The Chandelas were severely weakened by Delhi Sultanate campaigns under Qutb-ud-din Aibak and later Alauddin Khalji. The spectacular capital of Khajuraho was gradually abandoned as the court retreated to safer defensive strongholds. Slowly, inexorably, the central Indian jungle reclaimed the valley. The dense vegetation wrapped around the tall stone spires, hiding them from the sight of passing armies and iconoclastic campaigns that decimated temples across northern India. For nearly five centuries, the monuments existed only as whispers among local tribal communities.



This forced isolation proved to be the site's salvation. In 1838, Captain T.S. Burt, an engineer in the British East India Company's army, was informed by his native palanquin-bearers of spectacular ruins hidden deep within the forest. Guided through treacherous terrain, Burt stumbled upon the Western Group of temples. Though initially shocked and scandalized by the uninhibited erotic art—noting in his journals that they were "extremely indecent"—he recognized their peerless artistic merit. His discovery triggered a series of archaeological surveys by Alexander Cunningham, the first Director-General of the Archaeological Survey of India (ASI), who painstakingly documented the ruins, laid the groundwork for their preservation, and introduced Khajuraho to the modern global consciousness.

2. Sacred Geometry: The Anatomy of Nagara Architecture



Architecturally, the temples of Khajuraho represent the absolute zenith of the Central Indian or Chandela school of the Nagara style. Unlike the sprawling contemporary Dravidian temples of Southern India, which are characterized by massive enclosure walls, expansive courtyards, and monumental gateway towers (gopurams), the temples at Khajuraho are compact, self-contained, and hyper-focused on verticality. They do not sit inside walled compounds; instead, they are elevated on high, massive stone terraces known as Jagati.

The Metaphor of the Cosmic Mountain



The design of a Khajuraho temple is a physical manifestation of Hindu cosmology, explicitly engineered to resemble Mount Meru or Mount Kailash, the mythical axis mundi and home of the gods. As an observer approaches the temple, the structure rises in a series of ascending peaks, culminating in the tallest tower directly over the inner sanctum. This design creates a powerful optical illusion of infinite verticality and cosmic scale, drawing the eye—and the spirit—continually upward.

The Five-Part Architectural Blueprint



The standard fully developed Khajuraho temple (referred to as sandhara if it possesses an internal ambulatory pathway) follows a strict linear, east-west axial layout consisting of five sequential components:

1) Ardha-mandapa (Entrance Porch): A modest, open transitional space that introduces the devotee to the temple. It features highly decorated pillars and stone lintels, designed to slow down the visitor’s stride and transition their mind from the outer mundane world to the sacred realm.

2) Mandapa (Assembly Hall): A larger, covered hall where devotees gather to offer prayers, witness sacred dances, or listen to philosophical discourses. The ceilings here are marvels of concentric stone carving.
   


3) Maha-mandapa (Great Hall): The grand central transept, often featuring lateral transepts with projecting latticed windows that admit controlled, dramatic shafts of natural light and ventilation, illuminating the intricate carvings within.

4) Antarala (Vestibule or Antechamber): A narrow, dimly lit threshold zone connecting the bustling outer halls with the silent core. It symbolizes the bridge between human consciousness and divine reality.



5) Garbhagriha (Sanctum Sanctorum): The windowless, dark, unadorned square chamber housing the principal deity’s idol. The stark simplicity of this chamber contrasts sharply with the exuberant exterior, focusing all the devotee’s visual and spiritual attention entirely on the divine presence.

The Shikhara and the Urushringas



The most defining engineering feature of Khajuraho is the main spire, the Shikhara. In the grandest temples, like the Kandariya Mahadeva, the main Shikhara is surrounded by a complex cluster of miniature, graded subsidiary spires called Urushringas. These smaller towers cling to the main central spine, mimicking the foothills of a massive mountain range. This was not merely an aesthetic choice; it was a sophisticated engineering solution that distributed the immense downward and outward structural thrust of the solid stone tower, allowing the architects to achieve unprecedented heights without risking structural collapse.

3. Beyond the Sensual: Decoding the Iconography and Philosophy



To truly appreciate Khajuraho, one must decode the sophisticated language of its sculptural bands. The exterior walls are typically wrapped in two or three horizontal bands of high-relief sculptures, executed in rich, warm-hued sandstone. These friezes function as a structural narrative, read from left to right as the devotee performs the ritual circumambulation (Pradakshina) around the exterior platform.

1) Devatas & Dikpalas: Majestic figures of the supreme gods (Shiva, Vishnu, Brahma), their consorts, and the guardians of the eight cardinal directions (Dikpalas) stationed at precise geometric corners. Establishes the cosmic order, securing the temple structure as a safe, consecrated micro-universe.



2) Surasundaris & Apsaras: Exquisitely carved celestial maidens engaged in everyday human actions: wringing wet hair, looking into mirrors, applying eye makeup, adjusting anklets, or writing letters. Celebrates the divine aspect of female beauty, grace, creative energy (Shakti), and the sacred nature of everyday existence.

3) Mithuna & Maithuna: Couples in varying stages of intimacy, ranging from tender embraces (Mithuna) to complex, acrobatic, and explicit sexual congress (Maithuna). Represents the non-dualistic union of the human soul with the divine, fertility, and the fulfilment of Kama.



4) Vyala / Shardula: Mythical, composite beasts featuring the body of a lion and the head of an elephant, horse, or parrot, often shown dominating a human figure. Symbolizes the untamed, primordial forces of nature and human passions that must be mastered through spiritual discipline.

The True Meaning of the Erotic Sculptures



Why did a deeply conservative, religious society carve explicit sexual acts on the exterior walls of their holiest spaces? Scholars, art historians, and theologians offer several deeply layered interpretations that transcend modern concepts of pornography:

1. The Four Aims of Life (Purusharthas): Classical Hindu philosophy dictates that an integrated, righteous human life must pursue four essential goals: Dharma (righteousness/duty), Artha (material prosperity), Kama (pleasure, love, and aesthetic enjoyment), and Moksha (spiritual liberation). By placing explicit depictions of Kama on the exterior temple walls alongside scenes of Dharma and Artha, the Chandelas acknowledged sensory pleasure as a legitimate, necessary, and sacred component of the human journey. It was a holistic worldview that refused to divorce the physical body from the spiritual quest.



2. The Metaphor for Ultimate Liberation (Moksha): The Upanishads frequently employ the intimacy of human sexual union as the closest earthly metaphor for the ecstatic experience of spiritual enlightenment. Just as a lover forgets the external world and all sense of ego when locked in a deep embrace with the beloved, the individual soul (Atman) loses its separate identity upon merging with the Supreme Consciousness (Brahman). The *Maithuna* scenes are stone metaphors for this ultimate non-dualistic union.

3. Tantric Philosophy and Ritual Practices: The 10th century witnessed a significant rise in Kaula and Kapalika Tantric sects across Central India, which enjoyed royal patronage under the Chandelas. Tantric practices sought spiritual transformation not through the denial of physical desires, but through their conscious, ritualized sublimation. The explicit carvings may have served as instructional diagrams, symbolic representations of esoteric energy channels, or visual records of Tantric rituals designed to break down conventional dualistic notions of clean and unclean.



4. A Visual Threshold Test: Geometrically, the most explicit erotic scenes are located precisely on the outer juncture walls (the Kapili zones) connecting the Maha-mandapa (human world) with the Garbhagriha (divine world). This placement suggests a psychological test. The devotee circumambulating the exterior is confronted with the absolute peak of worldly temptation and sensory attachment. If the mind remains distracted by these outer physical manifestations, it is not yet ready to enter the dark, silent inner sanctum to experience the unmanifested, formless divine reality.

4. The Architectural Masterpieces: A Group-by-Group Analysis



The surviving 25 temples of Khajuraho are distributed across three distinct geographic clusters: the Western, Eastern, and Southern Groups. To assist the discerning cultural traveller, we break down the definitive highlights of each cluster.

The Western Group: The Crown Jewels



The Western Group is the most extensive, architecturally advanced, and impeccably maintained cluster in Khajuraho. Located close to the modern town centre, it contains the absolute masterpieces of the Chandela era.

Kandariya Mahadeva Temple

Standing as the undisputed masterpiece of Khajuraho, the Kandariya Mahadeva Temple represents the absolute zenith of the Nagara architectural style. Built by King Vidyadhara around 1030 CE, it is dedicated to Shiva. The temple rises a spectacular 31 meters above its terrace. Its main Shikhara is surrounded by 84 stunning subsidiary Urushringas, creating an overwhelming rhythm of ascending stone waves. The exterior features over 800 larger-than-life sculptures carved with an astonishing fluidity; the limbs of the figures seem to bend with the grace of classical dancers. The interior features a magnificent, dark sanctum housing a pristine marble Shiva Lingam.

Lakshmana Temple



As one of the earliest structurally complete temples in the cluster (built c. 939–954 CE), the Lakshmana Temple is unique because it retains its full Panchayatana (five-shrine) layout. The central Vaishnava temple is flanked by four smaller subsidiary shrines at the corners of the terrace. The base plinth features a highly detailed, continuous narrative narrative frieze depicting military processions, royal courts, domestic scenes, and a legendary elephant march. Inside the sanctum stands an extraordinary, three-headed idol of Vishnu in his Vaikuntha manifestation, carved from a single block of highly polished stone.

Vishvanatha Temple

Commissioned by King Dhanga in 999 CE, this temple shares many architectural parallels with the Lakshmana Temple. It is celebrated for its exceptional interior bracket figures—exquisitely detailed Surasundaris engaged in secular activities like writing letters or playing musical instruments. Facing the temple is a dedicated pavilion housing a massive, monolithic sculpture of Nandi, the sacred bull of Shiva, polished to a glass-like sheen.

The Sun Temple (Chitragupta)



The Chitragupta Temple is the only monument in Khajuraho dedicated exclusively to Surya, the Sun God. Facing due east to catch the first rays of the dawn, its inner sanctum features a majestic, five-foot-tall idol of Surya driving his celestial chariot pulled by seven horses. The exterior walls feature a rare, fascinating carving of the temple's architects holding their tools and drafting layouts.

The Eastern Group: The Syncretic and Jain Temples

Located near the old village of Khajuraho, the Eastern Group offers a fascinating look at the religious harmony of the era, comprising several ancient Hindu temples and a magnificent complex of walled Jain temples.

Parsvanatha Temple



The largest and most important Jain temple in the group, the Parsvanatha Temple is renowned for its architectural precision and restraint. Unlike the Hindu temples, its layout is oblong and lacks projecting side balconies, creating a continuous, smooth outer wall. The carvings here are noted for their exceptional delicacy and sweetness of expression. Paradoxically, despite being a Jain temple dedicated to an ascetic Tirthankara, the exterior walls feature beautiful depictions of Vaishnava themes, including Rama, Sita, Hanuman, and Krishna, highlighting the fluid, porous boundaries between religious groups in medieval India.

Adinatha Temple

Slightly smaller and located immediately adjacent to the Parsvanatha, this temple is dedicated to the first Jain Tirthankara, Adinatha. Only the sanctum and the vestibule survive, but the exterior walls retain three magnificent bands of elegant sculptures, dominated by graceful celestial maidens and musicians.

Vamana and Javari Temples



These are isolated Hindu temples located further north in the cluster. The Vamana Temple is dedicated to the dwarf incarnation of Vishnu, situated amid lush green fields, while the nearby Javari Temple is celebrated for its exceptionally tall, slender Shikhara and a beautifully carved, delicate stone gateway (Torana).

The Southern Group: The Quiet Outliers



Set at a distance from the main tourist hubs, the Southern Group receives fewer visitors, offering a contemplative, tranquil atmosphere ideal for deep study and photography.

Duladeo Temple

Dedicated to Shiva, the Duladeo Temple represents the final phase of creative activity in Khajuraho (built c. 1100–1150 CE). While the architecture shows signs of a transition toward a more rigid style, the interior features some of the most dynamic, deeply undercut sculptures of flying celestial figures (Vidyadharas) found anywhere in the valley.

Chaturbhuj Temple



This temple is an anomaly in Khajuraho. It is the only major temple that faces due west, positioned perfectly to capture the warm, golden glow of the setting sun. It features a stark exterior devoid of explicit erotic sculptures. However, stepping inside the narrow, sun-drenched sanctum reveals one of the most stunning sights in the entire region: a magnificent, nine-foot-tall, four-armed idol of Vishnu, carved with exquisite detail. At sunset, the light beams through the entrance porch, illuminating the face of the deity in a dramatic display of natural lighting design.

Conclusion: The Eternal Symphony in Stone

The temples of Khajuraho stand as a monumental reminder of a golden age when art, philosophy, and human experience were integrated into a harmonious whole. They challenge the modern viewer to look past superficial taboos and embrace a more profound, expansive vision of existence—one where the physical and the metaphysical, the sensual and the spiritual, do not conflict but actively elevate one another. To walk among these sandstone monuments is to step into a world where human passion was sanctified, and where the finest minds of an era used stone to write a timeless love letter to the cosmos.

5. The Connoisseur’s Travel Blueprint



To experience Khajuraho to its absolute fullest, a visit requires careful planning and a deliberate pace. Use this curated travel blueprint to maximize your journey.

Optimal Timing & Seasonal Considerations

The ideal season to explore Khajuraho is between October and March. During these winter months, the Central Indian climate is pleasantly cool, making the extensive walking required to explore the stone terraces highly comfortable. Dawn and dusk during these months offer spectacular, soft golden light that brings out the rich textures of the sandstone carvings.

For culture enthusiasts, timing a trip to coincide with the annual Khajuraho Dance Festival (held every year in February) is highly recommended. This world-renowned week-long festival brings India’s finest classical dancers to perform against the illuminated backdrop of the illuminated Western Group temples—re-establishing the ancient medieval connection between sacred architecture and classical performing arts.

Curated Itinerary Strategy



Day 1: Dawn Exploration of the Western Group. Dedicate at least 4 to 5 hours to exploring the Kandariya Mahadeva, Lakshmana, and Vishvanatha temples. Hire an ASI-certified heritage guide to systematically unpack the iconographic narratives on the walls. In the evening, attend the official Light and Sound Show narrated in the voice of legendary actor Amitabh Bachchan.

Day 2: The Eastern and Southern Groups. Start early at the Eastern Group to observe the quiet dignity of the Jain temples. In the late afternoon, head to the isolated Chaturbhuj Temple in the south. Arrive precisely an hour before sunset to witness the dramatic illumination of the nine-foot Vishnu idol by the setting sun.

Essential Preservation Etiquette

As a UNESCO World Heritage site, these fragile structures require extreme care from visitors. Avoid touching the low-relief sculptures, as the natural oils from human skin accelerate the erosion of the historic sandstone. Always remove footwear before stepping onto the inner thresholds of active worship spaces, such as the Matangeshvara Temple, which has seen continuous devotional practice for over a thousand years.
 
6. Other Tourist Attractions in Madhya Pradesh



1) Madhya Pradesh: The land of adventure tourism

2) 8 Heritage Destinations you must visit in Madhya Pradesh

3) Discover these Hidden Gems of Madhya Pradesh

4) Udayagiri Caves: 5th century cultural beauty of Madhya Pradesh

5) 11th Century Bhojeshwar Temple: Home to one of the largest Shiva lingas in the world

6) Moti Masjid: An important landmark in Bhopal

7) Jehan Numa Palace Hotel: Bhopal’s royal boutique address

8) Chanderi Sari: 700 years of history and a traditional handloom icon of India

9) Sanchi Stupa: Indian heritage gem that gave torana architecture to the world

10) Hidden Bundelkhand Kingdom called Orchcha

11) A Jungle Safari in Pench Tiger Reserve: Straight out of the Jungle Book

12) Bhopal’s Taj-ul-Masajid: One of the largest mosques in Asia

13) Ken Gharial Sanctuary: A fragile and vulnerable ecosystem

14) Bhopal: The city of lakes

15) Bandhavgarh National Park: In tiger territory

16) Birla Mandir: An important landmark in Bhopal

17) Bheem Betika: Of prehistoric structures, caves, drawings and paintings

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A Jungle Safari in Pench Tiger Reserve: A Wild Photo Story!

A couple of weeks back, I was exploring the tiger reserves of Central India – Tadoba Andhari Tiger Reserve in Maharashtra and Pench Tiger Reserve in Madhya Pradesh. I was visiting Tadoba after 5 years and Pench after 16 years and boy did I have a ball of a time. Over the course of this week and the next, I will be sharing my experiences along with the many gorgeous photos and videos that I clicked at these stunning wildlife destinations of Central India. Let me begin with a wild photo story from Pench Tiger Reserve, the land of Mowgli, Bagheera, Baloo, Sher Khan and Kaa. During a safari in Pench National Park, you will feel as if the jungle is coming to life. That is how I felt as I got to see the many different flavours of wild Pench is just two days. This photo series aims to share those different flavours with you. Hope you like them and do stay tuned for more photos and videos from my wildlife holiday to Central India.

Above photo: I saw my first tiger within the first two hours of my first tiger safari in Pench. Meet Lakshmi, a gorgeous tigress who was out marking her territory after some overnight rains in Pench Tiger Reserve. Only 2 jeeps got to see her and she silently crept right behind our jeep. No wonder, stealth is their biggest weapon.



Above photo: This is the view of entering Pench tiger reserve from the Karmajhiri gate in the early hours of the morning. Teak, mahua, crocodile bark tree, tendu, flame of the forest and other species make up these dense woods.



Above photo: We saw this gorgeous male leopard within the first 30 minutes of entering the tiger reserve. He was quietly sitting on his rock throne and watching the world go by. After a lot of us jeeps noticed him sitting there, he moved on to the lake bed, thereby giving us unobstructed view of him for the next 30 minutes. A great and long leopard sighting.



Above photo: Spotted deer are one of the prettiest herbivores in the Indian jungle. This is a handsome male with large antlers and dark brown breeding colours. During the breeding season, spotted deer’s coat changes to dark brown or black and they grow antlers. Post the breeding season, their coat returns to their regular brown colour and they shed their antlers.



Above photo: This small monitor lizard seemed to enjoy feasting on the termites coming out from the termite hill. A great source of nutrition and protein for the monitor lizard.



Above photo: This massive male tiger called Swastik came to this watering hole with a full belly. He cooled himself in the pool, quenched his thirst and then gave us a long and really close sighting. He was also seen snarling at all the forest jeeps as we has blocked his path. I have a full video of this encounter. More on this in another blog post.



Above photo: Pench is an absolutely pretty forest. It’s dense woods, diverse landscapes and water bodies make you feel like you are in a different part of the jungle almost at every third turn.



Above photo: This is the Indian roller, a gorgeous bird that shows its multiple hues of blue when it flies. When it sits like this in the picture, you see more of its brown plumage. It is the state bird of Karnataka, Telangana and Odisha.



Above photo: This is the ghost tree or Sterculia Urens. It is one of those trees that requires very little water to grow, grows near rocky slopes and remains leafless for close to half a year. It’s main tree trunk and bark glistens in the night and that is what gives it its name as it is visible in the otherwise dark forest. It’s gum lets out a gum that is used as a laxative and a tablet binder in the medical world.



Above photo: A lot of us see these rhesus macaques in our Indian cities and we try to protect ourselves and our food from their mischievous nature. The ones in the forest are also equally naughty and social, but you hardly see such gorgeous coats and chiselled body on the urban monkeys.



Above photo: This is a crested serpent eagle, a medium to large species of eagle that is usually found on empty branches of trees looking for its prey. Personally, I find its yellow eyes really captivating.


Above photo: India’s national bird, the peacock, thrives inside Pench National Park. You can see and hear it almost in every nook and corner of Pench Tiger Reserve.



Above photo: Another gorgeous raptor bird, the changeable hawk eagle or the crested hawk eagle is a large eagle that is slightly larger in size when compared to the crested serpent eagle. It’s large crest gives it its beautiful form and name.



Above photo: This is the northern plains grey langur, another primate that is seen in large numbers at Pench National Park. The grey langur is a bit more shy when compared to the macaques, but they play a very vital role in the maintenance of the forest. They are usually seen alongside the spotted deer and form a symbiotic relationship when it comes to eating and alerting each other of the predators.


Above photo: This is the same male leopard that you had seen sitting on top a rock earlier. Here, it is walking along the boundary of a nearby water body and trying to find a place where it can peacefully quench its thirst.




Above photo: One can also see a lot of hornbills during a safari in Pench national park. This is the grey hornbill. Also, got to see the Malabar pied hornbills, but unfortunately, couldn’t click any good photos as they tend to stay in the top branches of most trees.



Above photo: This is a sub-adult nilgai or blue bull, a type of antelope found in India. As it matures into an adult, its coat will turn dark blue to black and it will have a sheen to it.



Above photo: Usually, I see a lot of wild dogs or dhole in the forests of Central India, but this time around, I couldn’t spot these pack hunters. Rather, spotted these golden jackals at multiple places. This is one such instance where they are exploring their territory and kept on criss crossing the jeep track in front of us.



Above photo: Indian gaurs are the largest bovine species to be found in India. They are very strong, muscular and can easily be spotted by the white coloured socks that they wear naturally on their legs. Here, you can see a large muscular male sitting with his female partner.



Above photo: Indian gaurs can be quite intimidating when you find them in the middle of your jeep track. These large creatures wearing more than a 1000 kilograms can overturn a forest jeep with their head. Usually, they are very calm, but they can become unpredictable especially when there is a young one in their herd.



Above photo: This is an alpha male Indian gaur. They are heavily muscular and can weigh anywhere between 2000 and 3000 kilograms. They look like a body builder and they usually have a short fuse. Which means, you should leave them alone if you find yourselves around a large male Indian gaur.



Above photo: Usually, the morning jungle safari at Pench Tiger Reserve starts at 5:30 AM and ends at 11:30 AM. This means that you get the opportunity to have a bush breakfast. There are lots of shielded enclosures within the jungle where you can have such a breakfast. This bush breakfast was arranged by Pench Tree Lodge, one of the top resorts in Pench. The driver and the naturalist help set this table in the forest and you can either have a quick and dirty breakfast in case you wish to explore more of the jungle or you can have a relaxed breakfast and share stories from your day so far.

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