Parshvanath temple constructed after Lakshmana is the jaina temple. This Jaina temple also has love-making and cohabiting couples. But, sexual representation is totally depart on it even when its contemporary, the Lakshamana temple, show it blatantly. There are depictions of maithuna on the garbhagriha wall in the interior of the temple. Erotic figures on the Jaina temple are vital, as the Jainas are known for their demanding attitude to sex.

The three famous temples of Khajuraho- Lakshmana, Vishvanath and Kandariya, present erotic groups on the wall similar to the antarala which lies between the balconies of mahamandapa and the garbhagriha.
The outer walls of the Vishvanatha and Kandariya are divided in their altitude into three sculptural zones giving the artists six compartments for flourish on the antarala walls, one on each side of the temple.

In Vishvanatha temple, the under compartments of the north and south antarala walls are filled by divine groups, each containing of a god flanked by two associates. Whereas in Kandariya temple, built twenty five years later, even the lower booth of the antarala wall are filled by orgiastic groups in place of the divine groups.

Perhaps the erotic group, being favored and alluring, held greater interest to the builders than the divine group which was chaste and sober. The space provided by the compartments on the antarala walls not only made it important for the artists to portray a group figures but that in course of time there also emerged to be a propensity to replace the deities by the erotic figures.

The Surya temple represents romantic motifs on the jangha along with the figures of deities and surasundaries, and also on the plinth, superstructure, cornices etc. The description is civilized and elegant, and contrasts entirely with that of Modhera temple. At Konarak, the erotic motif is allover and is seen in all larger parts of the temple. It is organized on the lotus pedestals and in temple created mundis and thus venerated by the builders of the temple. Thus, he place give out to the erotic motifs of the temples is in harmony with the architectural canons of region. The sectarian affiliation of the temple is not the determining factor in the treatment of erotic motifs on the temple.

An fascinating and notable discovery was made, it was clearly disclosed that the nature and type of erotic motifs were deteriorated by the architectural conventions of the region. Each region emerge to have had its own version of erotic motifs reflected in the size and placement occupied to them in the architectural scheme of the temple and the nature and extent of erotic display.

The architect has placed erotic sculptures on the wall portion between the two balconies in the three major Hindu Sandhara temples. This wall portion is actually the architectural juncture of the big hall (mahamandapa) and the sanctum sanctorum (garbha griha).

Forms, once accepted in art, have a inclination to become conventionalized and presume the character of motifs. The method of conventionalization became a major factor in Indian culture, leading to endurance and inertia in the use of motifs.

Both the magico-religious and secular aspects of sex have fused together in the actual behaving of sexual motifs in temples. There is an basic association between sex and religion and their intimate connection as manifest in the religion associated with the Hindu temples.

The magico-sexual themes represented in art contain male and female exposing generative organs, the achievement of the coital act and also the refined versions of these in the form of surasundaries with exposed pudenda, love-making couples etc.

The couple illustrate the power of vegetation is in themselves a centre of energy. The force of vegetation is being increased by the fact of being ‘represented’. The couple having magico-religious purpose, is considered to be a centre of divine energy.

Sexual behaving include the subject such as Ascetics and royal persons in sex-play, bestiality, dance and revelry in erotic scenes, lotus pedestals provided for sexual figures etc.