This monography attempts to study the Art of Khajuraho from an absolutely new perspective: Architecture vis-à-vis it sornament, mainly the non-religious Devangana sculptures, including the ‘Mithuna’, on the basis of the Sanskrit texts. ‘Mithuna’ is the most debated and also the most widely misunderstood phenomenon of Indian Art. Arbitary surmises have obscured its real meaning and purpose and have confused the issue. Too much sacred, esoteric and metaphysical significance has been attached to the Indian Art and this aspect has been explained, without any textual support, on fanciful conjectures. Study of its FORMAL aspect has been almost entirely missed. Indian Art is sacred in the sense that it is only through the religious media that it has expressed itself; otherwise, as the study of the Silpa texts, classical works of Poetry and Drama andm more specifically the works on Poetics shows it has grown and developed formally and independently of any religious injunction. The key to its understanding lies in these texts. This is a classical problem and it is with the textual support of the classical literature of the same age that the author has ventured to solve it. In essence, it is a study of Indian Aesthetics based on Sanskrit texts, about 100 of which have been quoted in original. The temples of Khajuraho have been dealt with stylistically. The work attempts to study Indian Art in general and the Art of Khajuraho in particular, in its formal aspect, over and above the much professed and generally superfluous esoteric, metaphysical and ritualistic interpretation thereof and as such it is the first work of this type.