KHAJURAHO By Devangana Desai, Oxford, Rs 395INDIAN EROTICA By Alka Pande and Lance Dane,Roli, Rs 695 The two books, Khajuraho and Indian Erotica, explore different aspects of Indian erotic art. Considering the vastness and complexity of the subject, it is commendable that each is able to encapsulate all the important facets and diverse interpretations of Indian erotica, without succumbing to the dangers of over-simplification and omission. Both books are products of meticulous research and it helps that neither claims to be a comprehensive study of Indian erotic art. Khajuraho is part of the Oxford Monumental Legacy Series, a set of small books on world heritage sites in India. Devangana Desai examines the erotic sculptures of Khajuraho against the larger backdrop of religion, delineating the relationship between sexuality and divinity in Indian philosophy and religious texts. She is careful to remind readers that, though Khajuraho is famous for its erotic sculptures, 'erotic figures do not even account for one-tenth of the site's sculptures, most of which represent divinities, celestial females and animals'. The temples were essentially places of worship built between 900 AD and 1130 AD, when the Chandella dynasty ruled the area, then called Kharjuravahaka. There are numerous interpretations of these erotic sculptures -some say they depict the fertility rites of tribal gods while others read hidden spiritual symbolism in them. An architectural text of the time, for instance, refers to yantras - lines drawn around temples to ward off evil - 'which have to be hidden from the gaze of non-initiated persons by covering them up with erotic figures, which in turn would 'delight' lay persons.' Desai describes the architecture of all 22 extant temples in detail, along with illustrations and diagrams. The sexuality-divinity duality is conveyed through these descriptions: 'The emblem or icon of the divinity is installed in the innermost chamber, erotic sculptures surround it. At the centre is the formless, non-duality; life emanates from this formless cosmos; the human form - male and female - represents duality in perfection; the bliss of their physical union is symbolic of the return to original bliss, non-duality. The sexual, then, is the physical manifestation of the spiritual.' Desai dismisses some common assumptions about the Khajuraho erotica. For example, the notion that the Tantric sect of the Kapalikas was somehow connected to the building of 'these meticulously planned temples'. The Kamasutra is also dismissed with the argument that the 'depiction of erotic figures on religious buildings does not seem to have originated in a secular interest in sex manuals'. One of the charming qualities of Khajuraho is that it doubles-up as a travel guide providing useful information to prospective visitors, including tips on accommodation and conveyance. But Khajuraho does more than that - it actually inspires a visit. In Indian Erotica, Alka Pande attempts to trace representations of sexuality in the Indian visual and performing arts, 'right from the representation of erotic symbols, which predate history, to the erotic imagery which screams out in print and electronic ads.' One merit of this book is its originality of approach. The earthy sensuality of early terracotta images of the Mother Goddess, for example, is juxtaposed the come-hither sexuality of modern advertising graffiti. Pande also contrasts the arcane divinity of Tantric and other religious erotica with the lurid sexuality shown on celluloid. The book also explores differences between erotica and pornography and includes discussions about various intriguing aspects of erotic art over the centuries. But Indian Erotica's USP lies in its colourful photographs - from Rajasthani miniature paintings to Tantric art and portraits from the Kamasutra - all of which are captured by Lance Dane's camera.