kamasutra.doc

Karma Sutra Sexual Positions

Quotes / Pictures from the Karma Sutra on Sexual Positions Sitting Sexual Positions, Standing Sexual Positions, Rear entry Sex Positions of Karma Sutra In this page we have used the common spelling 'karma sutra'. Alternative spellings include 'karmasutra, kama sutra, kamasutra and kama shastra'. Position Sixty Nine

The Mutually Reciprocal Position Erotic temple sculpture from Ballegavi Kamasutra Positions

The Comfort Union Detail from a North Indian painting Erotic Sculptures of Nad-Kalse

Old Fashioned Sex About 500 years old sculpture from Nad-kalase in rural india

Karma Sutra: Ancient Indian Art of Love. History Quotes Information

Karma Sutra Sex Positions Picture Gallery & Sexual Philosophy

Karma Sutra Pictures: Gallery of Erotic Art Paintings & Statues

Karma Sutra Foreplay: Techniques to Increase Desire, Mood, Senses

Karma Sutra Oral Sex: Fellatio Cunnilingus Sexual Tips & Pics

Sitting Sexual Positions of Karma Sutra Seated, mouth to mouth, arms against arms, thighs against thighs: this is Kaurma (The Tortoise).

Karma Sutra Sex Aids & Phallic Photos Sexuality Toys / Dildos

If the lovers' thighs, still joined, are raised it is Paravartita (Turning). If within the cave of her thighs you sit rotating your hips like a black bee, it is Markata (The Monkey). And if, in this pose, you turn away from her, it is Marditaka (Crushing Spices). She sits with raised thighs, her feet placed either side of your waist; linga (penis) enters yoni (vagina); you rain hard blows upon her body: this is Kshudgaga (Striking). When your wife sits with both knees drawn tight to her body and you mirror this posture, it is known to experts in the art of love as Yugmapada (The Foot Yoke). Seated erect, the lovely girl folds one leg to her body and stretches the other along the bed, while you mirror her actions: this is Yugmapada (The Feet Yoke). If, with left leg extended, she encircles your waist with her right leg, laying its ankle across her left thigh, and you do the same, it is Svastika (The Swastika)*. *An ancient good-luck talisman based on the symbolism of a cross whirling sun-wise. The Nazis used it the wrong way round, whirling widdershins, and the Indian pundits always said this was sacrilegious and would doom them. Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels behind the other's waist, and lean back clasping one another's wrists. Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is Dolita (The Swing). If, seated face to face, your toes caress the lovely woman's nipples, her feet press your chest and you make love holding each other's hands it is Kaurma (The Tortoise). Sitting erect, grip your lover's waist and pull her on to you, your loins continuously leaping together with a sound like the flapping of elephants' ears: this is Kirtibandha (the Knot of Fame). Kneeling between her thighs, tickle her breasts and under her arms, call her 'my lovely darling' and print deep nailmarks around her nipples: thus Jaya (Victory) is expounded. Rear Entry Sexual Positions of Karma Sutra If you mount her like a dog, gripping her waist, and she twists round to gaze into your face, experts in the art of love say it is Svanaka (the Dog). If the lady, eager for love, goes on all fours, humping her back like a doe, and you enjoy her from behind, rutting as though you'd lost all human nature, it is Hirana (the Deer). When, with lotus-feet set well-apart on the ground, she bends, placing a hand upon each thigh, and you take her from the rear, it is Gardabha (the Ass). If she lies on her stomach and you seize her ankles in one hand, lift them high and make love, tilting her chin back with your other hand, it is Marjara (the Cat). She lies on her front, grasping her ankles in her own hands and pulling them up behind her: this difficult posture is known to experts as Mallaka (the Wrestler). When your mistress lays breasts, arms and forehead to the carpet, raising her buttocks high, and you guide your penis into her yoni, it is Aibha (the Elephant). You lift her ankles high; she draws up and extends her legs as though she were crawling through the air: this is Hastika (the Elephant). She stands on palms and feet; you stand behind her and lift one of her feet to your shoulder, enjoying the lovely woman: this is Traivikrama (the Stride). You kneel, as in archery, take her on your lap and bend her forward till her breasts are pressed to her thighs: this is Ekabandha (One Knot). Lying on her side, facing away, the fawn-eyed girl offers you her buttocks and your penis penetrates the house of love: this is Nagabandha (the Elephant). Standing Sexual Positions of Karma Sutra When, catching and crushing your lover in the cage of your arms, you force her knees apart with yours and sink slowly into her, it is Dadhyayataka (Churning Curds). When she leans against a wall, planting her feet as widely apart as possible, and you enter the cave between her thighs, eager for lovemaking, it is Sammukha (Face-to-face). If, as you lean against the wall, your lady twines her thighs around yours, locks her feet to your knees, and clasps your neck, making love very passionately, it is Dola (the Swing). When your lover draws up one leg, allowing the heel to nestle just behind your knee, and you make love, embracing her forcefully, it is Traivikrama (the Stride). If you catch one of her knees firmly in your hand and stand making love with her while her hands explore and caress your body, it is Tripadam (the Tripod). Her foot pressed to your heart, your arms encircling and supporting her, lean back against the wall and enjoy the lovely lady: this is Veshta (the Encircling). She stands against the wall, lotus-hands on hips, long, lovely fingers reaching to her navel. Cup her foot in your palm and let your free hand caress your angel's limbs. Put your arm around her neck and enjoy her as she leans there at her ease. Vatsyayana (the author) and others who knew the art of love in its great days called this posture Tala (the Palm). If you lean back to a wall and your lover, clinging to your neck, places both her feet in your palms and thus makes love, this is Dvitala (Two Palms). If you lift your lover by passing your elbows under her knees and gripping her buttocks while she hangs fearfully from your neck, it is Janukurpara (the Knee Elbow) Role Reversal Sexual Positions in Karma Sutra During lovemaking, ten types of blows may be struck with the penis, but of these only Upasripta (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation. It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree. If you grasp your penis and move it in circles inside her yoni, it is Manthana (Churning). When you strike sharply down into the yoni, it is Hula (the Double-edged Knife). If, when her hips are raised by a pillow, you strike a rising blow, it is Avamardana (Rubbing). If you hold your penis pressed breathlessly to her womb it is Piditaka (Pressing). If you withdraw completely and then strike her violently to the womb, it is Nirghata (the Buffet). Continuous pressure on one side of her yoni is Varahaghata (the Boar's Blow). If you thrust wildly in every direction, like a bull tossing its horns, it is Vrishaghata (the Bull's Blow). Quivering in her yoni is Chatakavilasa (Sparrow Sport), which usually heralds orgasm. The involuntary shuddering of orgasm is called Samputa (the Jewel Case). Enthroned on your penis, she places both hands on the bed and makes love, while you press your two hands to her thudding heart: this is Lilasana (Seat of Sport). She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together on the bed to one side of your body: this is Hansabandha (the Swan). The woman has one foot on your heart and the other on the bed. Bold, saucy women adore this posture, which is known to the world as Upavitika (the Sacred thread). If, with one of her feet clasped in your hand and the second placed upon your shoulder, your lady enjoys you, it is Viparitaka (Reversed). If your lover, seated above you with feet lotus-crossed and her body held erect and still makes love to you, it is known as Yugmapada (the Foot Yoke).

If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as Hansa-lila (Swan Sport). Your lover places one foot on your ankle, lodges her other foot just above your knee, and rides you, swinging and rotating her hips: this is Garuda (Garuda). If you lie flat on your back with legs stretched out and your lover sits astride you, facing away and grasping your feet, it is called Virsha (the Bull). When lovers, with legs stretched rigid and feet caressing feet, make love according to their hearts' desire, tantra scholars call it Sampada (Equal Feet) and agree it is a way to ecstasy. Stiff as a pole in the bed's center, she lies making love, cooing and warbling like a woodpigeon, the jewel of her clitoris well-polished: this is Mausala (the Pestle). When she lies on her back with her two thighs pressed tightly together and you make love to her, keeping your thighs outside hers, it is Gramya (the Rustic). If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain, it is Ratipasha (Love's Noose), a device most charming to the ladies. Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of linga and yoni: this is Lataveshta (the Clinging Creeper). When she draws up her knees and you clamp yours about her raised thighs, trapping them in a tight knot while riding saddle upon her buttocks and kissing her, it is Shankha (the Couch).

medieval Women

Birth of a Child

Medieval sculpture shows a woman in labor being assisted by midwives.

Erotic sculptures of Khajuraho

Erotic Arts of India

An Introduction to the Erotic Arts of India Introduction The year 1999 marked a great symbolic step in the history of the erotic arts of India. Two thousand years ago, sage Vatsyayana wrote his landmark manuscript, the Kamasutra (erotic codes). One thousand years later, the Chandella kings (950-1050 A.D.) built one of the finest groups of temples in India, depicting erotic positions, at their capital Khajuraho. About five centuries later, king Kallarasa of Karnataka wrote an important treatise on the subject, "Janavashya" (1450 A.D.) in Kannada. In today's fast changing world, the values and sanctity attached to erotica and eroticism have also changed. Therefore, it has become necessary to re-evaluate the Erotic Arts of India in their true perspective. Numerous writers, both Indian and foreign, have published their works on eroticism, mostly to feed the curiosity of westerners. In my decades of work on the subject, I have not come across a single book or paper that tried to study the topic without prejudice or without giving it a pornographic perspective. India thus lost immensely, through a wishful undermining of her history and art. This is an humble attempt to share my first-hand research and information about ancient erotic art and literature of India.

"We will study the Erotic Arts of India in Paintings, Wood Carvings and Sculptures" To appreciate the erotic arts of India, one must understand the role of sex in the scheme of things according to Hinduism. Hinduism is a way of life according to prescribed codes. Every Hindu has to undergo sixteen denotary rituals (samskara) and four stages of life (ashramas). The final aim of life is salvation, which is the merging of the individual soul (atma) with the supreme soul (paramatma). One can attain salvation (moksha) through dharma, artha and kama. The ancient Indians took a healthy, integrated view of all aspects of life and gave sex its due importance in the overall picture. The pursuit of pleasure (kama) is one of the important aims of life, on the path to deliverance.

Loving couple (Mithuna) – Sculpture from Jinannathapura Figures of loving couples (mithuna) in various art forms can be found in the very early periods of Indian civilization. This theme has been depicted consistently for thousands of years throughout India. Such sculpture can be found on the shrines of Buddhist, Jain, Vaishnava, Shaiva, Shakti, and also other cults, which proves its trans-religious nature. Mithuna is like any other life process and hence no taboo or inhibitions are attached to it. The worship of genitalia has been prevalent for centuries and it is considered a part and parcel of Hindu worship.

" This is an humble attempt to share my first hand research and information about ancient erotic arts of India"

Sources of Erotic Art The Erotic arts of India have been studied here primarily in three forms:

Paintings: Due to their delicate nature, only a few paintings survived the onslaught of time and climatic hazards. The Narasimha Swamy temple of Sibi has such rare wallpaintings. In the last century, the kings of Mysore brought out some books of great importance, which are profusely illustrated with erotic art. Ancient books such as "Sougandhikaparinaya" and "Shritatwanidhi" contain illustrations (example) which are indirect and suggestive, and yet very modest. Indian miniatures such as Basholi, Kangra and Rajasthani styles have produced innumerable erotic paintings to cater to their rich clientele. Wood Carvings: Many temples in India celebrate an annual chariot-festival (Rathotsava). The chariot (which is really a mobile temple) is specially built with hard woods such as teak, and innumerable panels depicting mythological themes are carved around the chariot (Ratha). Occasionally, the panels contain astonishingly explicit erotic carvings. Sculptures: The sculptural wealth has remained intact for centuries in spite of vandalism and mutilation by religious fanatics. The erotic sculptures of Khajuraho (in Madhya Pradesh) and Bhubaneshwar (Orissa) have been widely publicized, while others are almost unknown. In Karnataka State alone, there are a large number of such temples and sculptures, which will be studied individually.

Important Note An important meaning of Kama (kaa-ma, from Sanskrit) is sensuous love, or an emotional feeling of attachment. In ancient Indian thought, it is recognized as the stimulus of action and personified as the god of erotic love (Kamadeva). In the Gita, as in Buddhism, it is the source of attachment to the world and the great impediment to spiritual freedom. For lack of a better word in English, I have used the term erotica to represent Kama, although erotica may essentially connote arousal.

Kama sutra Use of Nails in Lovemaking Tips from Ancient Classic Kamasutra When love becomes intense, pressing with the nails or scratching the body with them is practiced, and it is done on the following occasions: on the first visit; at the time of setting out on a journey; on the return from a journey; at the time when an angry lover is reconciled; and lastly when the woman is intoxicated.

But pressing with the nails is not a usual thing except with those who are intensely passionate, i.e. full of passion. It is employed, together with biting, by those to whom the practice is agreeable. Type of Markings Pressing with the nails is of the eight following kinds, according to the forms of the marks which are produced:

• • • • •

•

Sounding Half moon A circle A line

A tiger's nail or claw

• •

A peacock's foot The jump of a hare The leaf of a blue lotus

The places that are to be pressed with the nails are as follows: the arm pit, the throat, the breasts, the lips, the jaghana, or middle parts of the body, and the thighs. But Suvarnanabha is of opinion that when the impetuosity of passion is excessive, the places need not be considered.

Type of Nail Marks according to Vatsyayana Size of Nails The qualities of good nails are that they should be bright, well set, clean, entire, convex, soft, and glossy in appearance. Nails are of three kinds according to their size, small, medium or large. Large nails, which give grace to the hands, and attract the hearts of women from their appearance, are possessed by the Bengalis (people of Bengal). Small nails, which can be used in various ways, and are to be applied only with the object of giving pleasure, are possessed by the people of the southern states. Mid-sized nails, which contain the properties of both the above kinds, belong to the people of the Maharashtra.

Types of Scratches When a person presses the chin, the breasts, the lower lip, or the jaghana of another so softly that no scratch or mark is left, but only the hair on the body becomes erect from the touch of the nails, and the nails themselves make a sound, it is called a 'sounding or pressing with the nails'. This pressing is used in the case of a young girl when her lover shampoos her, scratches her head, and wants to trouble or frighten her. The curved mark with the nails, which is impressed on the neck and the breasts, is called the 'half moon'. When the half moons are impressed opposite to each other, it is called a 'circle'. This mark with the nails is generally made on the navel, the small cavities about the buttocks, and on the joints of the thigh. A mark in the form of a small line, and which can be made on any part of the body, is called a 'line'. This same line, when it is curved, and made on the breast, is called a 'tiger's nail'. When a curved mark is made on the breast by means of the five nails, it is called a 'peacock's foot'. This mark is made with the object of being praised, for it requires a great deal of skill to make it properly. When five marks with the nails are made close to one another near the nipple of the breast, it is called 'the jump of a hare'. A mark made on the breast or on the hips in the form of a leaf of the blue lotus is called the 'leaf of a blue lotus'. When a person is going on a journey, and makes a mark on the thighs, or on the breast, it is called a 'token of remembrance'. On such an occasion three or four lines are impressed close to one another with the nails. Here ends the marking with the nails. Marks of other kinds than the above may also be made with the nails, for the ancient authors say that, as there are innumerable degrees of skill among men (the practice of this art being known to all), so there are innumerable ways of making these marks. And as pressing or marking with the nails is independent of love, no one can say with certainty how many different kinds of marks with the nails do actually exist. The reason of this is, Vatsyayana says, that as variety is necessary in love, so love is to be Produced by means of variety. It is on this account that courtesans, who are well acquainted with various ways and means, become so desirable, for if variety is sought in all the arts and amusements, such as archery and others, how much more should it be sought after in the present case. The marks of the nails should not be made on married women, but particular kinds of marks may be made on their private parts for the remembrance and increase of love. There are also some verses on the subject, as follows: 'The love of a woman who sees the marks of nails on the private parts of her body, even though they are old and almost worn out, becomes again fresh and new. If there be no marks of nails to remind a person of the passages of love, then love is lessened in the same way as when no union takes place for a long time.' Even when a stranger sees at a distance a young woman with the marks of nails on her breast (Translator's comment: From this it would appear that in ancient times the breasts of women were not covered, and this is seen in the paintings of the Ajanta and other caves, where we find that the breasts of even royal ladies and others are exposed), he is filled with love and respect for her. A man, also, who carries the marks of nails and teeth on some parts of his body, influences the mind of a woman, even though it be ever so firm. In short, nothing tends to increase love so much as the effects of marking with the nails, and biting. _____________________ Adapted from: The Kama Sutra of Vatsayayana The Sixty-four Art Forms Scholar Vatyayana, the writer of Kamasutra emphasizes that there is more to seduction than sex. He defines the sixty-four art forms for women to master. They are listed below. He recommends a variety of sources to learn these skills from --from elderly family members such as aunts to professionals such as nurses. Vatyayana even provides a thumb rule on how such a advisor can be trusted. The 64 Skills to become a Perfect Mate 1.Singing 2.Playing on musical instruments 3.Dancing 4.Union of dancing, singing, and playing instrumental music 5.Writing and drawing 6.Tattooing 7.Arraying and adorning an idol with rice and flowers 8.Spreading and arranging beds or couches of flowers, or flowers upon the ground 9.Coloring the teeth, garments, hair, nails and bodies, i.e. staining, dyeing, coloring and grooming 10.Fixing stained glass into a floor

11.The art of making beds, and spreading out carpets and cushions for reclining 12.Playing on musical glasses filled with water 13.Storing and accumulating water in aqueducts, cisterns and reservoirs 14.Picture making, trimming and decorating 15.Stringing of rosaries, necklaces, garlands and wreaths 16.Binding of turbans and chaplets, and making crests and top-knots of flowers 17.Scenic representations, stage playing Art of making ear ornaments Art of preparing perfumes and odors 18.Proper disposition of jewels and decorations, and adornment in dress 19.Magic or sorcery 20.Quickness of hand or manual skill 21.Culinary arts -- cooking and arrangement of food 22.Making lemonades, sherbets, acidulated drinks, and spirituous extracts with proper.flavor and color 23.Tailor's work and sewing 24.Making parrots, flowers, tufts, tassels, bunches, bosses, knobs, etc., out of yarn or thread 25.Solution of riddles, enigmas, covert speeches, verbal puzzles and enigmatical questions 26.Playing the game of Antakshari 27.The art of mimicry or imitation 28.Reading, including chanting and intoning 29.Study of sentences difficult to pronounce. It is played as a game chiefly by women, and children and consists of a difficult sentence being given, and when repeated quickly, the words are often transposed or badly pronounced 30.Practice with sword, single stick, quarter staff and bow and arrow 31.Drawing inferences, reasoning or inferring 32.Carpentry, or the work of a carpenter 33.Understanding of architecture, or the art of building 34.Knowledge about gold and silver coins, and jewels and gems 35.Knowledge of chemistry and mineralogy 36.Coloring jewels, gems and beads 37.Knowledge of mines and quarries 38.Gardening; knowledge of treating the diseases of trees and plants, of nourishing them, and determining their ages 39.Art of cock fighting, quail fighting and ram fighting 40.Art of teaching parrots and starlings to speak 41.Art of applying perfumed ointments to the body, and of dressing the hair with unguents and perfumes and braiding it 42.The art of understanding writing in encrypted script, and the writing of words in a peculiar way 43.The art of speaking by changing the forms of words. It is of various kinds. Some speak by changing the beginning and end of words, others by adding unnecessary letters between every syllable of a word, and so on 44.Knowledge of language and of the vernacular dialects 45.Art of making flower carriages 46.Art of framing mystical diagrams, of addressing spells and charms, and binding armlets 47.Mental exercises, such as completing stanzas or verses on receiving a part of them; or supplying one, two or three lines when the remaining lines are given indiscriminately from different verses, so as to make the whole an entire verse with regard to its meaning; or arranging the words of a verse written irregularly by separating the vowels from the consonants, or leaving them out altogether; or putting into verse or prose sentences represented by signs or symbols. There are many other such exercises. 48.Composing poems 49.Knowledge of dictionaries and vocabularies 50.Knowledge of ways of changing and disguising the appearance of persons 51.Knowledge of the art of changing the appearance of things, such as making cotton to appear as silk, coarse and common things to appear as fine and good 52.Knowledge of human anatomy and art of making love. 53.Various ways of gambling 54.Art of obtaining possession of the property of others by means of mantras or incantations 55.Skill in youthful sports 56.Knowledge of the rules of society, and of how to pay respect and compliments to others 57.Knowledge of the art of war, of arms, of armies, etc. 58.Knowledge of gymnastics 59.Art of knowing the character of a man from his features 60.Knowledge of scanning or constructing verses 61.Arithmetical recreations 62.Making artificial flowers 63.Making figures and images in clay 64.Art of massages and spiritual healing

Female Genitalia Worship

Genitalia Worship

by K. L. Kamat Page Last Updated: September 07,2008

Without the Yoni (womb), even the Lord cannot create. -- From a Tantric prayer Indians have regarded creation as one the the grandest miracles and have found divinity in the organs that facilitate it. Such genitalia worship typically involves the fusion of male and female organs, but in this section let us only look at the female genitalia (Yoni) as a symbol of art and mysticism.

Sculpture of Lajja Gowri The worship of "Lajja-gowri" (The Shy Goddess) is a form "Yoni" adornment. Such idols could be found at deserted temples in Karnataka, Andhra Pradesh and Maharashtra states of India. The stone or mud icon of nude female has its feet

held back so as the genitalia is prominently exhibited. She also features full grown breasts. The hands are raised and clenched in fists, or holding lotus flowers. The head is represented by large lotus. The body is very richly ornamented. The women having problems with their puberty, menses, conceiving and child-birth take vow to worship Lajja-gowri with all dedication they can command. as part of this ritual they apply butter and kumkum and sometimes lick the yoni of the idol. Another similar type of practice was prevalent at Chandragutti in Karnataka state. Women favored by the Goddess Renuka (see: Given to Goddess) being worshipped in nude (Battale-Seva). Such customs and rituals connected with eroticism are prevalent throughout India in one form or the other. Genitalia Worship

Table of Contents

•

Female Worship --"Without the Yoni, even the Lord cannot create", says a tantric prayer. Examples of female power worship.

• •

•

Devotees Flanking a Lingam

Earliest Symbol of Genitalia Worship?

• • • •

Genitalia as Art Genitalia Worship The Ishwar Linga

The Linga and its Cosmic Power One of a Thousand Lingas, Sahasralinga

•

Ruins of a Ishwara Linga

•

Wood Carving

Stone Linga

Genitalia as Art A Tantric painting depicts the Lingam and its cosmic radiance.

. Kamasutra -- The Orgasm

"..Which is your leg? which mine?" (Caption inspired by the following poem) As we fall, as we fly Not of the earth Not of the sky I start to wonder Which is your body Which is mine Which is your scream Which is mine Which is your orgasm Which is mine Who are you? Who am I? Is this Nirvana? How can I stay here forever? -- Adapated from Repro Interactive's Interpretations of the Kama Sutra

Kamasutra Positions: The Dog

Girl Learns by Watching the Dogs Mate Detail from 16th century temple sculpture

If the man mounts her like a dog, holding her waist, and she twists around to make eye contact in submission, experts in the art of love say, it is the "Shwanaka" or the position of the dog.

-- The Kamasutra Kamasutra Positions A Gallery of Sexual Positions in Indian Art First Online: June 02,2004 Page Last Updated: September 07,2008

Woman Hanging on to her Lover. Detail from a wall painting, Tumkur

A Sex Position requiring Athletic Abilities

The Wheel-Barrow Position

The Swastika Position Artist's depiction of a "Swastika" formed by the lovers' legs Karma Sutra Sexual Positions

Quotes / Pictures from the Karma Sutra on Sexual Positions Sitting Sexual Positions, Standing Sexual Positions, Rear entry Sex Positions of Karma Sutra In this page we have used the common spelling 'karma sutra'. Alternative spellings include 'karmasutra, kama sutra, kamasutra and kama shastra'.

Karma Sutra: Ancient Indian Art of Love. History Quotes Information

Karma Sutra Sex Positions Picture Gallery & Sexual Philosophy

Karma Sutra Pictures: Gallery of Erotic Art Paintings & Statues

Karma Sutra Foreplay: Techniques to Increase Desire, Mood, Senses

Karma Sutra Oral Sex: Fellatio Cunnilingus Sexual Tips & Pics

Karma Sutra Sex Aids & Phallic Photos Sexuality Toys / Dildos

Sitting Sexual Positions of Karma Sutra Seated, mouth to mouth, arms against arms, thighs against thighs: this is Kaurma (The Tortoise). If the lovers' thighs, still joined, are raised it is Paravartita (Turning). If within the cave of her thighs you sit rotating your hips like a black bee, it is Markata (The Monkey). And if, in this pose, you turn away from her, it is Marditaka (Crushing Spices). She sits with raised thighs, her feet placed either side of your waist; linga (penis) enters yoni (vagina); you rain hard blows upon her body: this is Kshudgaga (Striking). When your wife sits with both knees drawn tight to her body and you mirror this posture, it is known to experts in the art of love as Yugmapada (The Foot Yoke). Seated erect, the lovely girl folds one leg to her body and stretches the other along the bed, while you mirror her actions: this is Yugmapada (The Feet Yoke). If, with left leg extended, she encircles your waist with her right leg, laying its ankle across her left thigh, and you do the same, it is Svastika (The Swastika)*. *An ancient good-luck talisman based on the symbolism of a cross whirling sun-wise. The Nazis used it the wrong way round, whirling widdershins, and the Indian pundits always said this was sacrilegious and would doom them. Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels behind the other's waist, and lean back clasping one another's wrists. Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is Dolita (The Swing).

If, seated face to face, your toes caress the lovely woman's nipples, her feet press your chest and you make love holding each other's hands it is Kaurma (The Tortoise). Sitting erect, grip your lover's waist and pull her on to you, your loins continuously leaping together with a sound like the flapping of elephants' ears: this is Kirtibandha (the Knot of Fame). Kneeling between her thighs, tickle her breasts and under her arms, call her 'my lovely darling' and print deep nailmarks around her nipples: thus Jaya (Victory) is expounded. Rear Entry Sexual Positions of Karma Sutra If you mount her like a dog, gripping her waist, and she twists round to gaze into your face, experts in the art of love say it is Svanaka (the Dog). If the lady, eager for love, goes on all fours, humping her back like a doe, and you enjoy her from behind, rutting as though you'd lost all human nature, it is Hirana (the Deer). When, with lotus-feet set well-apart on the ground, she bends, placing a hand upon each thigh, and you take her from the rear, it is Gardabha (the Ass). If she lies on her stomach and you seize her ankles in one hand, lift them high and make love, tilting her chin back with your other hand, it is Marjara (the Cat). She lies on her front, grasping her ankles in her own hands and pulling them up behind her: this difficult posture is known to experts as Mallaka (the Wrestler). When your mistress lays breasts, arms and forehead to the carpet, raising her buttocks high, and you guide your penis into her yoni, it is Aibha (the Elephant). You lift her ankles high; she draws up and extends her legs as though she were crawling through the air: this is Hastika (the Elephant). She stands on palms and feet; you stand behind her and lift one of her feet to your shoulder, enjoying the lovely woman: this is Traivikrama (the Stride). You kneel, as in archery, take her on your lap and bend her forward till her breasts are pressed to her thighs: this is Ekabandha (One Knot). Lying on her side, facing away, the fawn-eyed girl offers you her buttocks and your penis penetrates the house of love: this is Nagabandha (the Elephant). Standing Sexual Positions of Karma Sutra When, catching and crushing your lover in the cage of your arms, you force her knees apart with yours and sink slowly into her, it is Dadhyayataka (Churning Curds). When she leans against a wall, planting her feet as widely apart as possible, and you enter the cave between her thighs, eager for lovemaking, it is Sammukha (Face-to-face). If, as you lean against the wall, your lady twines her thighs around yours, locks her feet to your knees, and clasps your neck, making love very passionately, it is Dola (the Swing). When your lover draws up one leg, allowing the heel to nestle just behind your knee, and you make love, embracing her forcefully, it is Traivikrama (the Stride). If you catch one of her knees firmly in your hand and stand making love with her while her hands explore and caress your body, it is Tripadam (the Tripod). Her foot pressed to your heart, your arms encircling and supporting her, lean back against the wall and enjoy the lovely lady: this is Veshta (the Encircling). She stands against the wall, lotus-hands on hips, long, lovely fingers reaching to her navel. Cup her foot in your palm and let your free hand caress your angel's limbs. Put your arm around her neck and enjoy her as she leans there at her ease. Vatsyayana (the author) and others who knew the art of love in its great days called this posture Tala (the Palm). If you lean back to a wall and your lover, clinging to your neck, places both her feet in your palms and thus makes love, this is Dvitala (Two Palms). If you lift your lover by passing your elbows under her knees and gripping her buttocks while she hangs fearfully from your neck, it is Janukurpara (the Knee Elbow) Role Reversal Sexual Positions in Karma Sutra During lovemaking, ten types of blows may be struck with the penis, but of these only Upasripta (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation. It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree. If you grasp your penis and move it in circles inside her yoni, it is Manthana (Churning). When you strike sharply down into the yoni, it is Hula (the Double-edged Knife). If, when her hips are raised by a pillow, you strike a rising blow, it is Avamardana (Rubbing). If you hold your penis pressed breathlessly to her womb it is Piditaka (Pressing). If you withdraw completely and then strike her violently to the womb, it is Nirghata (the Buffet). Continuous pressure on one side of her yoni is Varahaghata (the Boar's Blow). If you thrust wildly in every direction, like a bull tossing its horns, it is Vrishaghata (the Bull's Blow). Quivering in her yoni is Chatakavilasa (Sparrow Sport), which usually heralds orgasm. The involuntary shuddering of orgasm is called Samputa (the Jewel Case). Enthroned on your penis, she places both hands on the bed and makes love, while you press your two hands to her thudding heart: this is Lilasana (Seat of Sport). She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together on the bed to one side of your body: this is Hansabandha (the Swan). The woman has one foot on your heart and the other on the bed. Bold, saucy women adore this posture, which is known to the world as Upavitika (the Sacred thread). If, with one of her feet clasped in your hand and the second placed upon your shoulder, your lady enjoys you, it is Viparitaka (Reversed). If your lover, seated above you with feet lotus-crossed and her body held erect and still makes love to you, it is known as Yugmapada (the Foot Yoke). If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as Hansa-lila (Swan Sport). Your lover places one foot on your ankle, lodges her other foot just above your knee, and rides you, swinging and rotating her hips: this is Garuda (Garuda). If you lie flat on your back with legs stretched out and your lover sits astride you, facing away and grasping your feet, it is called Virsha (the Bull). When lovers, with legs stretched rigid and feet caressing feet, make love according to their hearts' desire, tantra scholars call it Sampada (Equal Feet) and agree it is a way to ecstasy. Stiff as a pole in the bed's center, she lies making love, cooing and warbling like a woodpigeon, the jewel of her clitoris well-polished: this is Mausala (the Pestle). When she lies on her back with her two thighs pressed tightly together and you make love to her, keeping your thighs outside hers, it is Gramya (the Rustic). If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain, it is Ratipasha (Love's Noose), a device most charming to the ladies. Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of linga and yoni: this is Lataveshta (the Clinging Creeper). When she draws up her knees and you clamp yours about her raised thighs, trapping them in a tight knot while riding saddle upon her buttocks The Kamasutra .

The Peddling Tortoise Position

"I am Your Mirror" Position North Indian Painting inspired by Kamasutra

If seated face to face, eye to eye she raises one hand and wraps your waist with a leg and you mirror this position while fondling the lovely woman's breast, and peddling each other's feet, This position is called the "Koorma" or the "Peddling Tortoise"

Kamasutra Sex Positions

Ancient Indian Philosophy of Kamasutra: The Art of Love Kamasutra Quotes / Pictures on Sex Positions In this page we have used the common spelling 'kamasutra'. Alternative spellings include 'kama sutra, karma sutra, karmasutra and kama shastra'.

Kamasutra: Ancient Indian Art of Kamasutra Sex Positions Picture Love. History Quotes Information Gallery & Sexual Philosophy

Kamasutra Pictures: Gallery of Kamasutra Foreplay: Techniques Kamasutra Oral Sex: Fellatio Erotic Art Paintings & Statues to Increase Desire, Mood, Senses Cunnilingus Sexual Tips & Pics

Kamasutra Sex Aids & Phallic Photos Sexuality Toys / Dildos

An ingenious person should multiply the kinds of congress after the fashion of the different kinds of beasts and of birds. For these different kinds of congress, performed according to the usage of each country, and the liking of each individual, generate love, friendship, and respect in the hearts of women. (Kamasutra, 1883) .. those things which increase passion should be done first, and those which are only for amusement or variety should be done afterwards. (Kamasutra, 1883) Though a woman is reserved, and keeps her feelings concealed; when she gets on the top of a man, she shows all her love and desire. A man should gather from the actions of the woman of what disposition she is, and in what way she likes to be enjoyed. (Kamasutra, 1883) Such passionate actions and amorous gesticulations or movements, which arise on the spur of the moment, and during sexual intercourse, cannot be defined, and are as irregular as dreams. A horse having once attained the fifth degree of motion goes on with blind speed, regardless of pits, ditches, and posts in his way; and in the same manner a loving pair become blind with passion in the heat of congress, and go on with great impetuosity, paying not the least regard to excess. For this reason one who is well acquainted with the science of love (Kamasutra), and knowing his own strength, as also the tenderness, impetuosity, and strength of the young women, should act accordingly. The various modes of enjoyment are not for all times or for all persons, but they should only be used at the proper time. and in the proper countries and places. (Kamasutra, 1883) Embracing Sex Positions of Kamasutra The two kinds of embrace take place when the lover is standing are: When a woman, clinging to a man as a creeper twines round a tree, bends his head down to hers with the desire of kissing him and slightly makes the sound of sut sut, embraces him, and looks lovingly towards him, it is called the 'twining of a creeper'. When a woman, having placed one of her feet on the foot of her lover, and the other on one of his thighs, passes one of her arms round his back, and the other on his shoulders, makes slightly the sounds of singing and cooing, and wishes, as it were, to climb up him in order to have a kiss, it is called an embrace like the 'climbing of a tree'. These two kinds of embrace take place at the time of sexual union: When lovers lie on a bed, and embrace each other so closely that the arms and thighs of the one are encircled by the arms and thighs of the other, and are, as it were, rubbing up against them, this is called an embrace like 'the mixture of sesamum seed with rice'. When a man and a woman are very much in love with each other, and, not thinking of any pain or hurt, embrace each other as if they were entering into each other's bodies either while the woman is sitting on the lap of the man, or in front of him, or on a bed, then it is called an embrace like a 'mixture of milk and water'. Babhravya has thus related to us the above eight kinds of embraces. Suvarnanabha moreover gives us four ways of embracing simple members of the body, which are: The embrace of the thighs. The embrace of the jaghana, i.e. the part of the body from the navel downwards to the thighs. The embrace of the breasts. The embrace of the forehead. When one of two lovers presses forcibly one or both of the thighs of the other between his or her own, it is called the 'embrace of thighs'. When a man presses the jaghana or middle part of the woman's body against his own, and mounts upon her to practise, either scratching with the nail or finger, or biting, or striking, or kissing, the hair of the woman being loose and flowing, it is called the 'embrace of the jaghana'. When a man places his breast between the breasts of a of Vatsyayana woman and presses her with it, it is called the 'embrace of the breasts'. When either of the lovers touches the mouth, the eyes and the forehead of the other with his or her own, it is called the 'embrace of the forehead'.

Lying Down Sex Positions of Kamasutra The Deer-woman has the following three ways of lying down: The widely opened position The yawning position The position of the wife of Indra

opened position'. At such a time the man should apply some unguent,

When she lowers her head and raises her middle parts, it is called the 'widely so as to make the entrance easy.

When she raises her thighs and keeps them wide apart and engages in

congress, it is called the 'yawning position'.

When she places her thighs with her legs doubled on them upon her learnt only by practice. The position is also useful in the case of the

sides, and thus engages in congress, it is called the 'position of Indrani' and this is 'highest congress'.

The 'clasping position' is used in 'low congress', and in the 'lowest 'mare's position'.

congress', together with the 'pressing position', the 'twining position', and the

When the legs of both the male and the female are stretched straight out over each other, it is called the 'clasping position'. It is of two kinds, down. In the side position the male should invariably lie on his left side, lying down with all kinds of women.

the side position and the supine position, according to the way in which they lie and cause the woman to lie on her right side, and this rule is to be observed in

When, after congress has begun in the clasping position, the woman presses her lover with her thighs, it is called the 'pressing position'. When the woman places one of her thighs across the thigh of her lover it is called the 'twining position'. When a woman forcibly holds in her yoni the lingam after it is in, it is called the 'mare's position'. This is learnt by practice only, and is chiefly found among the women of the Andhra country. The above are the different ways of lying down, mentioned by Babhravya. Suvarnanabha, however, gives the following in addition: When the female raises both of her thighs straight up, it is called the 'rising position'. When she raises both of her legs, and places them on her lover's shoulders, it is called the 'yawning position'. When the legs are contracted, and thus held by the lover before his bosom, it is called the 'pressed position'. When only one of her legs is stretched out, it is called the 'half pressed position'. When the woman places one of her legs on her lover's shoulder, and stretches the other out, and then places the latter on his shoulder, and stretches out the other, and continues to do so alternately, it is called the 'splitting of a bamboo'. When one of her legs is placed on the head, and the other is stretched out, it is called the 'fixing of a nail'. This is learnt by practice only. When both the legs of the woman are contracted, and placed on her stomach, it is called 'crab's position'. When the thighs are raised and placed one upon the other, it is called the 'packed position'. When the shanks are placed one upon the other, it is called the 'lotus-like position'. When a man, during congress, turns round, and enjoys the woman without leaving her, while she embraces him round the back all the time, it is called the 'turning position', and is learnt only by practice. Thus, says Suvarnanabha, these different ways of lying down, sitting, and standing should be practised in water, because it is easy to do so therein. But Vatsyayana is of opinion that congress in water is improper, because it is prohibited by the religious law. When a man and a woman support themselves on each other's bodies, or on a wall, or pillar, and thus while standing engage in congress, it is called the 'supported congress'. When a man supports himself against a wall, and the woman, sitting on his hands joined together and held underneath her, throws her arms round his neck, and putting her thighs alongside his waist, moves herself by her feet, which are touching the wall against which the man is leaning, it is called the 'suspended congress'. When a woman stands on her hands and feet like a quadruped, and her lover mounts her like a bull, it is called the 'congress of a cow'. At this time everything that is ordinarily done on the bosom should be done on the back. In the same way can be carried on the congress of a dog, the congress of a goat, the congress of a deer, the forcible mounting of an ass, the congress of a cat, the jump of a tiger, the pressing of an elephant, the rubbing of a boar, and the mounting of a horse. And in all these cases the characteristics of these different animals should be manifested by acting like them. When a man enjoys two women at the same time, both of whom love him equally, it is called the 'united congress'. When a man enjoys many women altogether, it is called the 'congress of a herd of cows'. The following kinds of congress-sporting in water, or the congress of an elephant with many female elephants which is said to take place only in the water, the congress of a collection of goats, the congress of a collection of deer take place in imitation of these animals. In Gramaneri many young men enjoy a woman that may be married to one of them, either one after the other, or at the same time. Thus one of them holds her, another enjoys her, a third uses her mouth, a fourth holds her middle part, and in this way they go on enjoying her several parts alternately. The same things can be done when several men are sitting in company with one courtesan, or when one courtesan is alone with many men. In the same way this can be done by the women of the king's harem when they accidentally get hold of a man. The people in the Southern countries have also a congress in the anus, that is called the 'lower congress'. Kamasutra Sex Positions for Role Reversal The acts to be done by the man are: Moving forward Friction or churning Piercing Rubbing Pressing Giving a blow The blow of a boar The blow of a bull The sporting of a sparrow When the organs are brought together properly and directly it is called 'moving the organ forward'. When the lingam is held with the hand, and turned all round in the yoni, it is called 'churning'. When the yoni is lowered, and the upper part of it is struck with the lingam, it is called 'piercing'. When the same thing is done on the lower part of the yoni, it is called 'rubbing'. When the yoni is pressed by the lingam for a long time, it is called 'pressing'. When the lingam is removed to some distance from the yoni, and then forcibly strikes it, it is called 'giving a blow'.

When only one part of the yoni is rubbed with the lingam, it is called the 'blow of a boar'. When both sides of the yoni are rubbed in this way, it is called the 'blow of a bull'. When the lingam is in the yoni, and moved up and down frequently, and without being taken out, it is called the 'sporting of a sparrow'. This takes place at the end of congress. When a woman acts the part of a man, she has the following things to do in addition to the nine given above: The pair of tongs The top The swing When the woman holds the lingam in her yoni, draws it in, presses it, and keeps it thus in her for a long time, it is called the 'pair of tongs'. When, while engaged in congress, she turns round like a wheel, it is called the 'top'. This is learnt by practice only. When, on such an occasion, the man lifts up the middle part of his body, and the woman turns round her middle part, it is called the 'swing'. When the woman is tired, she should place her forehead on that of her lover, and should thus take rest without disturbing the union of the organs, and when the woman has rested herself the man should turn round and begin the congress again. There are also some verses on the subject as follows: 'Though a woman is reserved, and keeps her feelings concealed; yet when she gets on the top of a man, she then shows all her love and desire. A man should gather from the actions of the woman of what disposition she is, and in what way she likes to be enjoyed. A woman during her monthly courses, a woman who has been lately confined, and a fat Art Inspired by Group Sex

Genius Art Erotica Notice how the artist has rendered the copulating couples into a horse Ancient Revels

A Group Sex Scene Depicted in Ancient Sculpture Dubella Museum, Dubella Beauty of Khajuraho Temples

The Chandela temples of Khajuraho in central India built in the tenth century A.D. Contain stunningly explicit sexual sculptures. We continue our eye opening series on the Erotic Arts of India with Kamat's commentary on the sculptures - Ed.

Erotic sculptures of Khajuraho Expectations of Khajuraho

Just like people's perception of Taj Mahal changes after seeing it in reality, the feeling one gets at the Khajuraho temples is totally different from one's expectation. The beauty is in the eyes of the beholder and the same object may appear differ different people. A maiden may appear as a mother to Ramakrishna Paramahamsa, as a sister to Swamy Vivekananda, as a daughter to an elderly person and as a lover to a romantic. I was interested in finding out what most people felt about the sculptures, and observed them from a vantage point in Khajuraho, Madhya Pradesh. As they rested under a tree, a Tamilian couple regretted having come all the way and having ignored their own temples. A Bengali couple complained about the brochure they had seen to take this trip. Apparently the brochure had close-ups of only the best sculptures. A Maharashtrian family seemed to think that the higher they went, the better the sculptures, and spent most of their time climbing up and

A well-equipped frequenter of horse races pulled out his binoculars but was disappointed that the additional lens did not help improve the visual quality of the sculpture. A family man from Andhra spent all his time attending to his young child eating the food that his wife distributed, as if the sculptures did not matter. The leader of a gang of youngsters, to preempt the disappointments of his friends, explained, "Our ancestors were very virile; they had to have sex several times a night. couldn't find many women they enjoyed the same partner in several positions. These sculptures were erected for their benefit."

A Frenchman and his daughter looked as if they were solving a mysterious problem and analyzed every sculpture in the ultimate detail. Sometimes they argued before agreeing. A newly wed American couple wondered about the advances the In made in the 10th century. The young man must have whispered "Just as we tried the Indian curry, why not try an Indian position?" The couple laughed naughtily and went on to the next temple.

Hundreds of others came, saw the sculptures, passed their own judgments, and left. But none seemed to be excited by looking at them. They all seemed disappointed that the eroticism they had expected was missing. Travel brochures and exagg publicity are responsible for this. The travel guides too seemed to exaggerate the sculpture and regularly cooked up stories in order to extract tips. No wonder that those who come here expecting a Las Vegas will be disappointed, because there is beauty and no perversion in these temples. Creations such as a cabaret or pornography, which are designed to excite human sexuality, are absent here. Even the magnetism of a curvaceous female body is missing from these sculptures. Just as w think of sex when seeing the image of a half clad Laxmi (a.k.a. Lakshmi ) or Saraswati (Hindu deities), we cannot think of sex at these temples.

Eternal Lovers, Khajuraho Why Erotica in Temples?

There are different opinions on why temples were decorated with sexually explicit sculptures. One group argues that the old kings lived in obscene luxury and that they used these for excitement. Another group thinks that it was part of sexual edu ancient India: since most people visited temples, it was an appropriate place for mass communication. Some scholars say that since Hinduism believes in the efficacy of all four paths to Moksha (Dharma, Artha, Yoga, and Kama), these sculptur provided to assist in the last of these four paths. Since these sculptures are limited to the outer walls of the temples, some people interpret them as a symbolic gate to reaching God. It is possible that at the time just preceding the construction of sculptures, monastic Buddhism was prevalent, people were losing interest in the householder-life, and the temples were built to attract people to sex and family life and to renew Hinduism.

Some others go to the extent of saying that the Khajuraho temples themselves are built upon the model of an ultimate seductress. The steps are like the feet, the Ardhmandapam are the knees, the Mandapam represents the curvaceous thighs, the s sanctorum is like the ovaries, and since it is very dark where the Linga is installed, it represents the sexual organ, etc. For a long time, the pundits have wondered why it was necessary to decorate a place of worship with sexual material, but if one the materialistic (Loukika) thoughts of Hinduism, there is nothing unnatural about them. Why Not?

How can the Indians criticize the Mithuna (mating) sculptures while worshiping Mahadev (Shiva) as a symbol of male and female organs? "All of life is God's magic;" we are all parts of divinity; our scriptures argue that to attain moksha, and to ourselves to dharma and adhyatma, we should first experience sexual fulfillment. The one who wrote the Kamasutra was none less than a sage! When the Gods themselves cannot escape the web of erotic love (Kama), what about us mere mort have saints and mystic figures (Purana-Purusha) who have sinned, we have sages who have abandoned their years of renouncement for a beautiful woman, we have deities who have slept with others' wives, we have those who have fathered deer those who have made love to and deceived even the Sun God, and we certainly have those who have conceived before marriage. If one were to make a list of these incidents that appear in Hindu scriptures, one could put western societies to sham concedes that sex is an important and integral part of life, mortals must experience it completely. Only perversions are excluded.

Sculpted Temple Panel, Khajuraho

Not all nations can have the same laws or customs about sexual behavior. What is considered natural in one may be prohibited in another. In the same country, what is considered perversion may eventually become to be acceptable. In India we kissing as a sexual act whereas in western countries it is a symbol of affection and is used just like a handshake. In America, most parts of society and the government do not object to exposing the body, except for the private parts. In England an nude dancing in theaters is a popular art form. In Scandinavian countries there is no restriction on nudity and their girls provide all the poses required by all of Europe. A Portuguese president and a Spanish president banned sexual magazines and in order to make their citizens more "civil." It is said that after they died, the prevalence of pornographic literature skyrocketed in the two countries! In England where they once punished a scholar such as Oscar Wilde for homosexuality, the pra legal today (1997). In the holy land of India, where it was once thought that embryo-homicide (bhroona-hatya) was a great crime, today it is a legal process, rewarded by the government. How quickly the standards of acceptance change

Unlike the westerners, the Indian artists did not depend on live models for their creativity. However, some intellectuals have measured the Khajuraho sculptures and argue that they are of the same proportions as human bodies. I fail to recogni relationship between being of the same proportions and using live models. I believe that these sculptures were created by the artist's imagination of lovemaking positions prevalent at that time, or based on the rules outlined in the Kamasutra. Irres how they were modeled, we have to agree on the extraordinary capabilities of the sculptors. No Indian has to be ashamed of these temple sculptures. On the other hand, we should be proud of the advanced representations of sexuality made thou

years before Alfred Kinsey published his scientific analysis of human sexuality in 1948.

There is pure beauty and no perversion in these temples.

State-of-the Art?

Just as we begin scientific research today by performing a wide survey of existing material on the topic, the ancient Indians must have first put together all the available information at the time on the topic (sexuality). The Kamasutra of Vatsyay some others support this argument. We do not know how many such masterpieces were available, as they have disappeared since. If indeed these manuscripts are missing today we should be really happy that the artists took the time to capture the of the manuscripts in stone. There is an argument in the modern world that prosperity leads to increased sexual activity. It is possible that in the very prosperous times of ancient India, people were more relaxed and therefore engaged themselv quenching physical hunger. If indeed these temples represent the social life at the time, we again must be proud of the land of abundance that was India.

If we concede that these sculptures are completely imaginary, then we must admire the grand imagination of our ancestors! It must have taken enormous talent to sculpt postures that artists never practiced or saw. Many of the sculptures have th names carved under them and it is impossible for me to think that these creations were considered vulgar, if the sculptor felt compelled to claim artistic ownership.

Although Khajuraho is most famous for these sculptures, most Indian temples have them in one form or another. Belur, Halebidu, Somanathupura, and Nugguhalli temples of the Hoysala period have many such beautiful sculptures. The Badam Banashankari temples of the Chalukya times, and the Vijayanagar temples of Bhatkal, Lepakshi and Hampi have these too. The Meenakshi temple of Madurai and Veeraranarayan temple of Gadag has erotic sculptures on their Gopuram. Ancien thought that the appropriate use of sex was an art. Perhaps that's why they called pleasure girls as artists. Many of these pleasure girls treated their profession as a form of devotion to God, and refined it as an advanced fine art. If you observe the K temples from this perspective, you will notice the real beauty of the sculptures. And then you can't have enough of it! The parents who wish to teach their children the fine difference between sex and art should take their children to Khajura

Erotic Sculptures of Nad-Kalse

Old Fashioned Sex About 500 years old sculpture from Nad-kalase in rural India Kamasutra Positions

The Comfort Union Detail from a North Indian painting Kamasutra Positions: The Tripod

The Tripod Sex Position Detail from a wall painting in Karnataka Photograph enhanced for clarity by K.L.Kamat

Man behind her Lifting her ankle with one hand and providing support with another while she wiggles to find balance This position is "Tripada" or "The Tripod"

-- The Kamasutra Kamasutra Positions: The Villager's Choice

If the woman lies on back, with her thighs in welcome, and he makes love while fondling this position is called the "Gramina" or the position of the rustic. -- The Kamasutra

Preferred Position of the Village Folk Detail from 19th century wall mural, Tumkur in Karnataka Photograph hand-enhanced by K.L.Kamat Kitchen Kamasutra

Sex in the Kitchen! In this sculpture the artist has depicted a couple in coitus even as the woman is engaged with kitchen utensils. Love Knot Position

The Love Knot Stone sculpture at the village of Induru, North Kanara Medieval Group Sex Scene

Medieval Sculpture Depicting Group Sex Detail from a sculpture Ikkeri/Keladi

Erotic Arts of India . Erotic Arts of India August 15,1997 September 07,2008

Table of Contents Kamat on Kamasutra Ever wondered why there are sexually explicit sculptures in Indian temples ? Kamat explains that ancient Hindus gave sex its due importance in the scheme of things

Beauties of Khajuraho The temples of Khajuraho built in the tenth century contain stunningly explicit sexual sculptures.

Mortal Women and Celestial Lovers Article on glorification of womanhood in Indian art.

Genitalia Worship Indians have worshipped the sexual organs for centuries. Pictures of the Linga mystique.

List of Articles

•

Beauty of Khajuraho Temples

•

•

Bestiality in Indian Art

Erotic Sculptures of Bhatkal Temple

•

•

Female Genitalia Worship

Frequently Asked Questions: Ancient Indian Erotica

•

Interpretations of the Kamasutra -- The Orgasm

•

Introduction to the Erotic Arts of India

•

• •

Janavashya of Kallarasa Kamasutra Positions: The Dog

Kamasutra Positions: The Villager's Choice

• •

• •

The Kamasutra and Its Interpretations Kamasutra: Use of Nails in Lovemaking

•

Kamasutra: The Virtue of Sex

•

•

Manasollasa on Sex

A Note on dating the period of Kamasutra

•

•

Kamasutra Positions

Kamasutra Positions: The Tripod

The Phallus: Fallacies and Fantasies

Sixty-four Art Forms According to Vatsyayana

•

The Peddling Tortoise Position

List of Pictures

• •

Amorous Couple, Wooden Sculpture Artist Lets his Imagination Go Wild

• •

A Beast Mounts a Woman

•

• •

• •

The Comfort Union Couple at Foreplay

Couple Engaged in a Game of Love Couple Entangled in a Love Knot

•

Couple on their First Night

• •

Birth of a Child

Carvings on wooden car (chariot) in Pattadakal

Depiction of Bestiality

•

Divine Recreation

Divine recreation: Krishna with two Gopikas (female cowherds)

• •

•

• •

•

Enjoying each other company Erotica from a Chariot Carving Friends Engaged in Sexual Activities

•

• •

The Double Decker

Drinking Couple -- Sculpture from a Stupa in Sanchi

Genitalia Worship

Girl preparing to meet boyfriend

A Group Sex Scene Depicted in Ancient Sculpture

•

"I read and I forgot… I saw and I understood"

• • •

In Explicit Detail… The Ishwara Lingam Islamic Kamasutra (?)

"Let Praise be Given to God that He has created Woman"

• •

•

The Love Knot

Love, like liquor, intoxicates!

Lovers, sculpture from a Khajuraho temple

The Kamasutra . Kamasutra Positions

Woman Hanging on to her Lover. Detail from a wall painting, Tumkur

A Sex Position requiring Athletic Abilities

The Wheel-Barrow Position

The Swastika Position Artist's depiction of a "Swastika" formed by the lovers' legs See Also:

• •

Kamasutra Positions: The Dog

Kamasutra Positions: The Villager's Choice

• •

Kamasutra Positions: The Tripod The Peddling Tortoise Position

The Kamasutra Kamasutra Positions: The Dog

Girl Learns by Watching the Dogs Mate Detail from 16th century temple sculpture

If the man mounts her like a dog, holding her waist, and she twists around to make eye contact in submission, experts in the art of love say, it is the "Shwanaka" or the position of the dog.

-- The Kamasutra

The Kamasutra . Use of Nails in Lovemaking Tips from Ancient Classic Kamasutra When love becomes intense, pressing with the nails or scratching the body with them is practiced, and it is done on the following occasions: on the first visit; at the time of setting out on a journey; on the return from a journey; at the time when an angry lover is reconciled; and lastly when the woman is intoxicated. But pressing with the nails is not a usual thing except with those who are intensely passionate, i.e. full of passion. It is employed, together with biting, by those to whom the practice is agreeable. Type of Markings

Pressing with the nails is of the eight following kinds, according to the forms of the marks which are produced:

• • • •

•

Half moon A circle A line

A tiger's nail or claw

• • •

Sounding

A peacock's foot The jump of a hare The leaf of a blue lotus

The places that are to be pressed with the nails are as follows: the arm pit, the throat, the breasts, the lips, the jaghana, or middle parts of the body, and the thighs. But Suvarnanabha is of opinion that when the impetuosity of passion is excessive, the places need not be considered.

Type of Nail Marks according to Vatsyayana Size of Nails The qualities of good nails are that they should be bright, well set, clean, entire, convex, soft, and glossy in appearance. Nails are of three kinds according to their size, small, medium or large. Large nails, which give grace to the hands, and attract the hearts of women from their appearance, are possessed by the Bengalis (people of Bengal). Small nails, which can be used in various ways, and are to be applied only with the object of giving pleasure, are possessed by the people of the southern states. Mid-sized nails, which contain the properties of both the above kinds, belong to the people of the Maharashtra.

Types of Scratches When a person presses the chin, the breasts, the lower lip, or the jaghana of another so softly that no scratch or mark is left, but only the hair on the body becomes erect from the touch of the nails, and the nails themselves make a sound, it is called a 'sounding or pressing with the nails'. This pressing is used in the case of a young girl when her lover shampoos her, scratches her head, and wants to trouble or frighten her. The curved mark with the nails, which is impressed on the neck and the breasts, is called the 'half moon'. When the half moons are impressed opposite to each other, it is called a 'circle'. This mark with the nails is generally made on the navel, the small cavities about the buttocks, and on the joints of the thigh. A mark in the form of a small line, and which can be made on any part of the body, is called a 'line'. This same line, when it is curved, and made on the breast, is called a 'tiger's nail'. When a curved mark is made on the breast by means of the five nails, it is called a 'peacock's foot'. This mark is made with the object of being praised, for it requires a great deal of skill to make it properly. When five marks with the nails are made close to one another near the nipple of the breast, it is called 'the jump of a hare'. A mark made on the breast or on the hips in the form of a leaf of the blue lotus is called the 'leaf of a blue lotus'. When a person is going on a journey, and makes a mark on the thighs, or on the breast, it is called a 'token of remembrance'. On such an occasion three or four lines are impressed close to one another with the nails. Here ends the marking with the nails. Marks of other kinds than the above may also be made with the nails, for the ancient authors say that, as there are innumerable degrees of skill among men (the practice of this art being known to all), so there are innumerable ways of making these marks. And as pressing or marking with the nails is independent of love, no one can say with certainty how many different kinds of marks with the nails do actually exist. The reason of this is, Vatsyayana says, that as variety is necessary in love, so love is to be Produced by means of variety. It is on this account that courtesans, who are well acquainted with various ways and means, become so desirable, for if variety is sought in all the arts and amusements, such as archery and others, how much more should it be sought after in the present case. The marks of the nails should not be made on married women, but particular kinds of marks may be made on their private parts for the remembrance and increase of love. There are also some verses on the subject, as follows: 'The love of a woman who sees the marks of nails on the private parts of her body, even though they are old and almost worn out, becomes again fresh and new. If there be no marks of nails to remind a person of the passages of love, then love is lessened in the same way as when no union takes place for a long time.' Even when a stranger sees at a distance a young woman with the marks of nails on her breast (Translator's comment: From this it would appear that in ancient times the breasts of women were not covered, and this is seen in the paintings of the Ajanta and other caves, where we find that the breasts of even royal ladies and others are exposed), he is filled with love and respect for her. A man, also, who carries the marks of nails and teeth on some parts of his body, influences the mind of a woman, even though it be ever so firm. In short, nothing tends to increase love so much as the effects of marking with the nails, and biting. _____________________ Adapted from: The Kama Sutra of Vatsayayana

The Kamasutra . Kamasutra Positions: The Tripod

The Tripod Sex Position Detail from a wall painting in Karnataka Photograph enhanced for clarity by K.L.Kamat

Man behind her Lifting her ankle with one hand and providing support with another while she wiggles to find balance This position is "Tripada" or "The Tripod"

-- The Kamasutra

The Kamasutra . The Sixty-four Art Forms

First Online: December 18,2006 Page Last Updated: September 07,2008 Scholar Vatyayana, the writer of Kamasutra emphasizes that there is more to seduction than sex. He defines the sixty-four art forms for women to master. They are listed below. He recommends a variety of sources to learn these skills from --from elderly family members such as aunts to professionals such as nurses. Vatyayana even provides a thumb rule on how such a advisor can be trusted. The 64 Skills to become a Perfect Mate 1. Singing Playing on musical instruments 3. Dancing 4. Union of dancing, singing, and playing instrumental music 5. Writing and drawing 6. Tattooing 7. Arraying and adorning an idol with rice and flowers 8. Spreading and arranging beds or couches of flowers, or flowers upon the ground 9. Coloring the teeth, garments, hair, nails and bodies, i.e. staining, dyeing, coloring and grooming 10. Fixing stained glass into a floor 11. The art of making beds, and spreading out carpets and cushions for reclining 12. Playing on musical glasses filled with water 13. Storing and accumulating water in aqueducts, cisterns and reservoirs 14. Picture making, trimming and decorating 15. Stringing of rosaries, necklaces, garlands and wreaths 16. Binding of turbans and chaplets, and making crests and top-knots of flowers 17. Scenic representations, stage playing Art of making ear ornaments Art of preparing perfumes and odors 18. Proper disposition of jewels and decorations, and adornment in dress 19. Magic or sorcery 20. Quickness of hand or manual skill 21. Culinary arts -- cooking and arrangement of food 22. Making lemonades, sherbets, acidulated drinks, and spirituous extracts with proper flavor and color 23. Tailor's work and sewing 24. Making parrots, flowers, tufts, tassels, bunches, bosses, knobs, etc., out of yarn or thread 25. Solution of riddles, enigmas, covert speeches, verbal puzzles and enigmatical questions 2.

26. Playing the game of Antakshari 27. The art of mimicry or imitation 28. Reading, including chanting and intoning 29. Study of sentences difficult to pronounce. It is played as a game chiefly by women, and children and consists of a difficult sentence being given, and when repeated quickly, the words are often transposed or badly pronounced 30. Practice with sword, single stick, quarter staff and bow and arrow 31. Drawing inferences, reasoning or inferring 32. Carpentry, or the work of a carpenter 33. Understanding of architecture, or the art of building 34. Knowledge about gold and silver coins, and jewels and gems 35. Knowledge of chemistry and mineralogy 36. Coloring jewels, gems and beads 37. Knowledge of mines and quarries 38. Gardening; knowledge of treating the diseases of trees and plants, of nourishing them, and determining their ages 39. Art of cock fighting, quail fighting and ram fighting 40. Art of teaching parrots and starlings to speak 41. Art of applying perfumed ointments to the body, and of dressing the hair with unguents and perfumes and braiding it 42. The art of understanding writing in encrypted script, and the writing of words in a peculiar way 43. The art of speaking by changing the forms of words. It is of various kinds. Some speak by changing the beginning and end of words, others by adding unnecessary letters between every syllable of a word, and so on 44. Knowledge of language and of the vernacular dialects 45. Art of making flower carriages 46. Art of framing mystical diagrams, of addressing spells and charms, and binding armlets 47. Mental exercises, such as completing stanzas or verses on receiving a part of them; or supplying one, two or three lines when the remaining lines are given indiscriminately from different verses, so as to make the whole an entire verse with regard to its meaning; or arranging the words of a verse written irregularly by separating the vowels from the consonants, or leaving them out altogether; or putting into verse or prose sentences represented by signs or symbols. There are many other such exercises. 48. Composing poems 49. Knowledge of dictionaries and vocabularies 50. Knowledge of ways of changing and disguising the appearance of persons 51. Knowledge of the art of changing the appearance of things, such as making cotton to appear as silk, coarse and common things to appear as fine and good

52.

Knowledge of human anatomy and art of making love. 53. Various ways of gambling 54. Art of obtaining possession of the property of others by means of mantras or incantations 55. Skill in youthful sports 56. Knowledge of the rules of society, and of how to pay respect and compliments to others 57. Knowledge of the art of war, of arms, of armies, etc. 58. Knowledge of gymnastics 59. Art of knowing the character of a man from his features 60. Knowledge of scanning or constructing verses 61. Arithmetical recreations 62. Making artificial flowers 63. Making figures and images in clay 64. Art of massages and spiritual healing

> The Kamasutra Ancient Revels

A Group Sex Scene Depicted in Ancient Sculpture Dubella Museum, Dubella See also: Indian Group Sex, How to Fit Four on a Single Bed, Genius Art Erotica, Medieval Sculpture Depicting Group Sex

The Kamasutra . The Erotic Arts of India

"Let Praise be Given to God that He has created Woman"

The Kamasutra Painting Inspired by Kamasutra

Islamic Kamasutra (?) Painting shows couple in Islamic attire and features engaged in coitus. It is unlikely that such paintings are based on actual models, and experts typically attribute them to artist's imagination.

The Kamasutra Art Inspired by Kamasutra

Man uses his Phallus to beat the drum! Scuplture from Bagali shows woman dancing to his tune See also: Man in Heat, Who Said Bigger is Better?!, The Phallus: Facts and Fallacies, The Phallus: Fallacies and Fantasies, The Phallus - Facts and Fallacies

The Kamasutra Kamasutra Positions

Woman Hanging on to her Lover Detail from a wall painting, Tumkur See also: The Swastika Position, Kamasutra Positions

The Kamasutra Kitchen Kamasutra

Sex in the Kitchen! In this sculpture the artist has depicted a couple in coitus even as the woman is engaged with kitchen utensils. See also: Everyday in the Kamat Kitchen, The Indian Kitchen, Community Cooking for an Auspicious Occasion, Woman Operates a Addoli (Stationary Knife)

The Kamasutra Acrobatic Sex Position

"Practice Yoga and Excel at Sex" Vatsyayana recommends physical excerise and Yoga to become a good lover

The Kamasutra Erotic Sculptures of Nad-Kalse

Old Fashioned Sex About 500 years old sculpture from Nad-kalase in rural India See also: Woman Performing Fellatio

> The Kamasutra

Position Sixty Nine

The Mutually Reciprocal Position Erotic temple sculpture from Ballegavi

The Kamasutra Art Inspired by Kamasutra

Monkey Kamasutra Detail from a sculpted pillar, Sravanabelagola

The Kamasutra

Erotic Paintings

Love, like liquor, intoxicates! Illustration from Telugu text Ragamalika

The Kamasutra Love Knot Position

The Love Knot Stone sculpture at the village of Induru, North Kanara

The Kamasutra Dating the Period of Vatsyayana According to Richard Burton, the 1883 translator of Kamasutra, it is almost impossible to fix the exact date either of the life of Vatsyayana or of his work. Different experts have provided dates ranging from first century and sixth century A.D. Vatsyayana mentions that Satakarni Satavahana, a king of Kuntala kingdom (see Satavahanas), killed Malayevati, his wife with an instrument called kartari by striking her in the passion of love, and Vatsyayana quotes this case to warn people of the danger arising from some old customs of striking women when under the influence of passion. This king of Kuntal is believed to have lived and reigned during the first century A.D., and consequently Vatsyayana must have lived after him. On the other hand, Virahamihira, in the eighteenth chapter of his "Brihatsanhita" (treats of the science of love), appears to have borrowed largely from Vatsyayana on the subject. Now Virahamihira is said to have lived during the sixth century A.D., and as Vatsyayana must have written his works previously, therefore not earlier than the first century A.D., and not later than the sixth century A.D., must be considered as the approximate date of his existence. The art forms inspired by Kamasutra that you see in this section at Kamat's Potpourri are spread from tenth century A.D. to twentieth century.

Erotic Arts of India An Introduction to the Erotic Arts of India

Introduction The year 1999 marked a great symbolic step in the history of the erotic arts of India. Two thousand years ago, sage Vatsyayana wrote his landmark manuscript, the Kamasutra (erotic codes). One thousand years later, the Chandella kings (9501050 A.D.) built one of the finest groups of temples in India, depicting erotic positions, at their capital Khajuraho. About five centuries later, king Kallarasa of Karnataka wrote an important treatise on the subject, "Janavashya" (1450 A.D.) in Kannada. In today's fast changing world, the values and sanctity attached to erotica and eroticism have also changed. Therefore, it has become necessary to re-evaluate the Erotic Arts of India in their true perspective. Numerous writers, both Indian and foreign, have published their works on eroticism, mostly to feed the curiosity of westerners. In my decades of work on the subject, I have not come across a single book or paper that tried to study the topic without prejudice or without giving it a pornographic perspective. India thus lost immensely, through a wishful undermining of her history and art. This is an humble attempt to share my first-hand research and information about ancient erotic art and literature of India.

"We will study the Erotic Arts of India in Paintings, Wood Carvings and Sculptures" To appreciate the erotic arts of India, one must understand the role of sex in the scheme of things according to Hinduism. Hinduism is a way of life according to prescribed codes. Every Hindu has to undergo sixteen denotary rituals (samskara) and four stages of life (ashramas). The final aim of life is salvation, which is the merging of the individual soul (atma) with the supreme soul (paramatma). One can attain salvation (moksha) through dharma, artha and kama. The ancient Indians took a healthy, integrated view of all aspects of life and gave sex its due importance in the overall picture. The pursuit of pleasure (kama) is one of the important aims of life, on the path to deliverance.

Loving couple (Mithuna) – Sculpture from Jinannathapura Figures of loving couples (mithuna) in various art forms can be found in the very early periods of Indian civilization. This theme has been depicted consistently for thousands of years throughout India. Such sculpture can be found on the shrines of Buddhist, Jain, Vaishnava, Shaiva, Shakti, and also other cults, which proves its trans-religious nature. Mithuna is like any other life process and hence no taboo or inhibitions are attached to it. The worship of genitalia has been prevalent for centuries and it is considered a part and parcel of Hindu worship.

" This is an humble attempt to share my first hand research and information about ancient erotic arts of India"

Sources of Erotic Art The Erotic arts of India have been studied here primarily in three forms:

Paintings: Due to their delicate nature, only a few paintings survived the onslaught of time and climatic hazards. The Narasimha Swamy temple of Sibi has such rare wall-paintings. In the last century, the kings of Mysore brought out some books of great importance, which are profusely illustrated with erotic art. Ancient books such as "Sougandhikaparinaya" and "Shritatwanidhi" contain illustrations (example) which are indirect and suggestive, and yet very modest. Indian miniatures such as Basholi, Kangra and Rajasthani styles have produced innumerable erotic paintings to cater to their rich clientele.

[more]

Wood Carvings: Many temples in India celebrate an annual chariot-festival (Rathotsava). The chariot (which is really a mobile temple) is specially built with hard woods such as teak, and innumerable panels depicting mythological themes are carved around the chariot (Ratha). Occasionally, the panels contain astonishingly explicit erotic carvings. [more]

Sculptures: The sculptural wealth has remained intact for centuries in spite of vandalism and mutilation by religious fanatics. The erotic sculptures of Khajuraho (in Madhya Pradesh) and Bhubaneshwar (Orissa) have been widely publicized, while others are almost unknown. In Karnataka State alone, there are a large number of such temples and sculptures, which will be studied individually. [more]

Important Note An important meaning of Kama (kaa-ma, from Sanskrit) is sensuous love, or an emotional feeling of attachment. In ancient Indian thought, it is recognized as the stimulus of action and personified as the god of erotic love (Kamadeva). In the Gita, as in Buddhism, it is the source of attachment to the world and the great impediment to spiritual freedom. For lack of a better word in English, I have used the term erotica to represent Kama, although erotica may essentially connote arousal.

Next: The Beauty of Khajuraho Temples

Beauty of Khajuraho Temples by K.L. Kamat First Online: August 15,1997 Page Last Updated: September 07,2008 The Chandela temples of Khajuraho in central India built in the tenth century A.D. Contain stunningly explicit sexual sculptures. We continue our eye opening series on the Erotic Arts of India with Kamat's commentary on the sculptures. - Ed.

Erotic sculptures of Khajuraho Expectations of Khajuraho Just like people's perception of Taj Mahal changes after seeing it in reality, the feeling one gets at the Khajuraho temples is totally different from one's expectation. The beauty is in the eyes of the beholder and the same object may appear differently to different people. A maiden may appear as a mother to Ramakrishna Paramahamsa, as a sister to Swamy Vivekananda, as a daughter to an elderly person and as a lover to a romantic. I was interested in finding out what most people felt about these erotic sculptures, and observed them from a vantage point in Khajuraho, Madhya Pradesh. As they rested under a tree, a Tamilian couple regretted having come all the way and having ignored their own temples. A Bengali couple complained about the tourism brochure they had seen to take this trip. Apparently the brochure had close-ups of only the best sculptures. A Maharashtrian family seemed to think that the higher they went, the better the sculptures, and spent most of their time climbing up and down. A well-equipped frequenter of horse races pulled out his binoculars but was disappointed that the additional lens did not help improve the visual quality of the sculpture. A family man from Andhra spent all his time attending to his young children and eating the food that his wife distributed, as if the sculptures did not matter. The leader of a gang of youngsters, to preempt the disappointments of his friends, explained, "Our ancestors were very virile; they had to have sex several times a night. If they couldn't find many women they enjoyed the same partner in several positions. These sculptures were erected for their benefit." A Frenchman and his daughter looked as if they were solving a mysterious problem and analyzed every sculpture in the ultimate detail. Sometimes they argued before agreeing. A newly wed American couple wondered about the advances the Indians had made in the 10th century. The young man must have whispered "Just as we tried the Indian curry, why not try an Indian position?" The couple laughed naughtily and went on to the next temple. Hundreds of others came, saw the sculptures, passed their own judgments, and left. But none seemed to be excited by looking at them. They all seemed disappointed that the eroticism they had expected was missing. Travel brochures and exaggerated publicity are responsible for this. The travel guides too seemed to exaggerate the sculpture and regularly cooked up stories in order to extract tips. No wonder that those who come here expecting a Las Vegas will be disappointed, because there is only pure beauty and no perversion in these temples. Creations such as a cabaret or pornography, which are designed to excite human sexuality, are absent here. Even the magnetism of a curvaceous female body is missing from these sculptures. Just as we do not think of sex when seeing the image of a half clad Laxmi (a.k.a. Lakshmi ) or Saraswati (Hindu deities), we cannot think of sex at these temples.

Eternal Lovers, Khajuraho Why Erotica in Temples? There are different opinions on why temples were decorated with sexually explicit sculptures. One group argues that the old kings lived in obscene luxury and that they used these for excitement. Another group thinks that it was part of sexual education in ancient India: since most people visited temples, it was an appropriate place for mass communication. Some scholars say that since Hinduism believes in the efficacy of all four paths to Moksha (Dharma, Artha, Yoga, and Kama), these sculptures were provided to assist in the last of these four paths. Since these sculptures are limited to the outer walls of the temples, some people interpret them as a symbolic gate to reaching God. It is possible that at the time just preceding the construction of these sculptures, monastic Buddhism was prevalent, people were losing interest in the householder-life, and the temples were built to attract people to sex and family life and to renew Hinduism. Some others go to the extent of saying that the Khajuraho temples themselves are built upon the model of an ultimate seductress. The steps are like the feet, the Ardhmandapam are the knees, the Mandapam represents the curvaceous thighs, the sanctum-sanctorum is like the ovaries, and since it is very dark where the Linga is installed, it represents the sexual organ, etc. For a long time, the pundits have wondered why it was necessary to decorate a place of worship with sexual material, but if one observes the materialistic (Loukika) thoughts of Hinduism, there is nothing unnatural about them. Why Not? How can the Indians criticize the Mithuna (mating) sculptures while worshiping Mahadev (Shiva) as a symbol of male and female organs? "All of life is God's magic;" we are all parts of divinity; our scriptures argue that to attain moksha, and to dedicate ourselves to dharma and adhyatma, we should first experience sexual fulfillment. The one who wrote the Kamasutra was none less than a sage! When the Gods themselves cannot escape the web of erotic love (Kama), what about us mere mortals? We have saints and mystic figures (Purana-Purusha) who have sinned, we have sages who have abandoned their years of renouncement for a beautiful woman, we have deities who have slept with others' wives, we have those who have fathered deer, we have those who have made love to and deceived even the Sun God, and we certainly have those who have conceived before marriage. If one were to make a list of these incidents that appear in Hindu scriptures, one could put western societies to shame. If one concedes that sex is an important and integral part of life, mortals must experience it completely. Only perversions are excluded.

Sculpted Temple Panel, Khajuraho Not all nations can have the same laws or customs about sexual behavior. What is considered natural in one may be prohibited in another. In the same country, what is considered perversion may eventually become to be acceptable. In India we consider kissing as a sexual act whereas in western countries it is a symbol of affection and is used just like a handshake. In America, most parts of society and the government do not object to exposing the body, except for the private parts. In England and France, nude dancing in theaters is a popular art form. In Scandinavian countries there is no restriction on nudity and their girls provide all the poses required by all of Europe. A Portuguese president and a Spanish president banned sexual magazines and pictures in order to make their citizens more "civil." It is said that after they died, the prevalence of pornographic literature skyrocketed in the two countries! In England where they once punished a scholar such as Oscar Wilde for homosexuality, the practice is legal today (1997). In the holy land of India, where it was once thought that embryo-homicide (bhroona-hatya) was a great crime, today it is a legal process, rewarded by the government. How quickly the standards of acceptance change! Unlike the westerners, the Indian artists did not depend on live models for their creativity. However, some intellectuals have measured the Khajuraho sculptures and argue that they are of the same proportions as human bodies. I fail to recognize the relationship between being of the same proportions and using live models. I believe that these sculptures were created by the artist's imagination of lovemaking positions prevalent at that time, or based on the rules outlined in the Kamasutra. Irrespective of how they were modeled, we have to agree on the extraordinary capabilities of the sculptors. No Indian has to be ashamed of these temple sculptures. On the other hand, we should be proud of the advanced representations of sexuality made thousands of years before Alfred Kinsey published his scientific analysis of human sexuality in 1948.

There is pure beauty and no perversion in these temples.

State-of-the Art? Just as we begin scientific research today by performing a wide survey of existing material on the topic, the ancient Indians must have first put together all the available information at the time on the topic (sexuality). The Kamasutra of Vatsyayana and some others support this argument. We do not know how many such masterpieces were available, as they have disappeared since. If indeed these manuscripts are missing today we should be really happy that the artists took the time to capture the contents of the manuscripts in stone. There is an argument in the modern world that prosperity leads to increased sexual activity. It is possible that in the very prosperous times of ancient India, people were more relaxed and therefore engaged themselves in quenching physical hunger. If indeed these temples represent the social life at the time, we again must be proud of the land of abundance that was India. If we concede that these sculptures are completely imaginary, then we must admire the grand imagination of our ancestors! It must have taken enormous talent to sculpt postures that artists never practiced or saw. Many of the sculptures have the artists names carved under them and it is impossible for me to think that these creations were considered vulgar, if the sculptor felt compelled to claim artistic ownership. Although Khajuraho is most famous for these sculptures, most Indian temples have them in one form or another. Belur, Halebidu, Somanathupura, and Nugguhalli temples of the Hoysala period have many such beautiful sculptures. The Badami and Banashankari temples of the Chalukya times, and the Vijayanagar temples of Bhatkal, Lepakshi and Hampi have these too. The Meenakshi temple of Madurai and Veeraranarayan temple of Gadag has erotic sculptures on their Gopuram. Ancient Indians thought that the appropriate use of sex was an art. Perhaps that's why they called pleasure girls as artists. Many of these pleasure girls treated their profession as a form of devotion to God, and refined it as an advanced fine art. If you observe the Khajuraho temples from this perspective, you will notice the real beauty of the sculptures. And then you can't have enough of it! The parents who wish to teach their children the fine difference between sex and art should take their children to Khajuraho.

See Also:

• • •

•

Temples of India

Components of a Indian Temple

Kamat PictureSearch Results for: Khajuraho

•

Kamat PictureSearch Results for: Erotica

Frequently Asked Questions about Temple Erotica

Erotic Arts of India Bestiality in Indian Art

All Photographs by K.L. Kamat Text by Vikas Kamat First Online: February 14,2004 Last updated : September 07,2008 Students of Indian erotic art who are often told about the spiritual connections of sexuality are perplexed by images of humans having sexual contact with pet animals and birds. Researchers believe that depiction of bestiality in art is but a natural extension of the form -- both as reflection of realities of life and as artists' interpretation of myths and legends. Indian mythology is full of instances where humans and animal forms have been integrated as if to indicate the parentage. Rishyashringa for instance, is said to have born to a deer by a hermit. The avatar of Narasimha (half man, half lion) is another such example. Sex with animals is sometimes shown by period artists to depict immorality (as in "destruction of the school by invading foreigners is as sinful as copulating with a dog") or punishment ("thieves who rob the temple will be offered to a sex starved bull"; see bestiality as punishment)

Following is a collection of pictures where the artists have depicted bestiality.

Woman having a Sexual Contact with her Dog "Best friend as Lover" -- detail from a wall mural, Tumkur

A Beast Mounts a Woman Ancient sculpture from Barsur depicting bestiality

A Woman Lets a Monkey Taste her Body Fluids Detail from a temple sculpture in Nad-Kalse

Ancient Bestiality Coitus with a pig, sculpture from the village of [[Ballegavi]]

See Also:

•

Kamat's Animals -- Real, imaginary, and holy Animals from India. Includes elephants, tigers, birds, insects, and other fantastic creatures.

• •

Kamat PictureSearch Results for: Erotica or bestiality

•

Topics on Tantric Cults and Practices

Kamasutra Retold -- New interpretations of ancient text Kamasutra based on post-medieval Indian sculptures, paintings, and literature. Includes graphical interpretations of many sexual positions.

Erotic Arts of India

Erotic Sculptures of Mud-Bhatkal Temple by Dr. K. L. Kamat First Online: August 15,1997 Last Updated: September 07,2008 Bhatkal is a small town (locate) on the west-coast highway along the Arabian sea in the state of Karnataka. Historically, it was an important port and played a vital role in trade during the glory days of Vijayanagara empire. The Saraswats (locally known as Konkanis) who patronized the coastal trade and amassed a lot of wealth used it for philanthropic work and temple constructions. Santappa Nayak, who traded in forces from Arabia, purchased a piece of land from the local government and constructed the Tirumala temple in 1555 A.D. Petty trades of areca-nut were donated liberally for erecting the Adike Narayan Temple. Two brothers, Bala Kini and Narayan Kini built the Raghunatha Temple in 1567 A.D. In For a lack of better term in English, the word Kama is roughly translated as erotica. The reader is encouraged to read Kamat's introduction to this series. the same year, Lakkarsa Kamat constructed the Lakshmi Narayan Temple. The erotic sculptures have a lion's share in Khetappayya Narayan Temple built in 1546 A.D. Most of the temples built are in hard granite stones and overlaid with copper plates or stone slabs. Each temple consists of "Garbha-Griha" (sanctum), and a "Sukhanasi" which is surrounded by stone blinds.

The Khetappayya Narayan Temple The Khetappayya Narayan temple is encircled by huge corridors, inner walls are decorated with panels depicting the social life of the period. Each panel measures about 4 X 3 ' and are located in separate niches. Inter-nitch spaces are decorated with floral designs. It is of importance and interest that all men and women are depicted in their contemporary dresses and ornaments. The nobles are shown with kulavi, an elongated cap, typical Vijayanagar period head wear. They have long sleeved shirts and fine dhotis which have a great resemblance to the saris worn by the women of the times. The common men have their turbans and a just a piece of coarse cloth around their waists. The women have very prominent hair ball tied just behind the head. A single piece of sari covers entire feminine body. The ornaments are very simple and down to the earth. Medieval Social Life ? The successive panels are not inter-related. The panels on erotica are inter-mixed that depict social life. Each panel is like a framed photograph of sixteenth century "Every Day Life". (see also: excerpts from Social life in Medieval Karnataka) Thus the sculptors have successfully recorded intimate personal lives of the people of that era for the benefit of posterity. Different panels could be very profitably studied in order to trace initiation to logical conclusion of erotic activities. It is generally believed in India that there is no need for teaching, coaching, or classroom for performing sexual activities. It comes naturally by observation and experimentation. This philosophy has been successfully depicted in these panels. An young woman who has attained age of puberty sits on the outer veranda of her house and wonders at the wheel-barrow game of the male and female street dogs. Near by in a specially provided platform a domesticated parrot is busy feeding on ripe fruit, unmindfully what is going on around. The lady's repeated such observations sure to kindle erotic desires in her. Seduction Physical vicinity and contact are two important factors which trigger erotic desires. In one of the panels a youthful lady is engrossed in churning curds in order to extract maximum butter out of it. Her standing posture, body curvatures and vigorous movements stimulates sexual desires in a man who is continuously observing from behind. In another situation a romantic man happens to track down a glamorous lady engrossed in her toilet. As she keeps on decorating her curvaceous body parts, one after the other, he gets more and more erotically provoked. Very soon a stage is reached when he is not able to refrain any more and hence indulges in self gratification. In an unusual panel a young lady is relaxing on cot, with her head resting on a pillow. A man younger to her volunteers to massage her tired body. Once he gets her consent, he commences working on her legs, then thighs. If she does not exhibits any resistance he might proceed to massage her vital organs as well! A sweet loving lady engrossed in cleaning utensils attracts attention of a man who could not refrain from the temptation and makes a hasty entry into her from rear.

A woman seduces man (shown with one hand on sword) There are several panels which indicate that very intimate moments are prerequisite to kindle sexual desires. "A couple on a swing" is an interesting study. While swinging themselves merrily their bodies are shown in very intimate contact with each other. They have crossed their sensitive thighs, the lady has extended her right arm on man's shoulders while the man's left arm fondles her breast. In "Talking only no action" panel, the couple is relaxing on a mattress, the man pretending as if is explaining a point coolly contacts her thigh with his left leg. The lady reciprocate his moves by her willingness gestures. In "Love me more, dear" panel a man and his woman, sitting on a cot are indulging in caressing each other. An attendee, caring a dagger in his hand offers the "drinks" to the lovers. In "Don't worry, I am here" panel, an aroused woman indulges herself in masturbation, while a man next to her depicted as if he says, "Don't worry I can perform all actions that your body in need". In "I'm ever willing and ready" a mans refrains from making advances towards his woman who is busy in her vanity. Positions and Details There are number of panels which depict different stages, positions and stages of coitus. A warrior who was about to leave for war front was coaxed by his mistress to have sex with her. The couple is shown on soft mattress spread over and wooden cot and are in the process of physically stimulating each other. An young couple is having the sex in standing position. He has clasped her firmly by entangling her waist by his right foot. He has engaged himself in kissing her lips, fondling her breasts and insertion in her genitalia. Another couple is shown in a "wheelbarrow" position. Her belly pressed to the ground, she holds his hair ball for grip, kisses him passionately. He holds her legs either side of his belly in order to insert and act very smoothly. It seems even the ascetics could not refrain from attraction of feminine body. In one such panel two sexually aroused and totally nude saints are courting a maiden. She is well-built and very strong compared to her seeker. The child birth has also been found among these panels as it is the natural culmination of all these erotic activities. In sculpture a lady seated on a cushioned platform is in labor. The two attending women are trying to soothe her pain and console her. A young nurse sitting on the ground welcomes the child out of its mother's womb. The sculptor has taken special care to show all the details in the panels. Some are detailed enough to show the lady's clitoris.

Sex and Cruelty Based on these temple sculptures, it seems that sexual crimes were abundant in medieval times. Many panels depict extra marital sex and adultery. In an unusual panel, a worrier husband is about to punish his wife's paramour after catching them in a sexual act. The wife rushes to her lover's rescue and pleads that it is she who is guilty and not her lover. In a similar situation another husband catches his wife by her hair and ruthlessly kicks her naked body. In another panel a husband has tied his lady's both hands with rope and is continuously spanking her with a cane.

Punishing the Wife's Paramour -- Bhatkal Temple Sculpture

See Also:

•

Kamat PictureSearch Results for: Erotica

• •

Kamat PictureSearch Results for: Bhatkal

Everyday Bhatkal -- Research paper on depiction of everyday life in a 16th century temple sculptures of Bhatkal town.

Female Genitalia Worship by K. L. Kamat Page Last Updated: September 07,2008

Without the Yoni (womb), even the Lord cannot create. -- From a Tantric prayer Indians have regarded creation as one the the grandest miracles and have found divinity in the organs that facilitate it. Such genitalia worship typically involves the fusion of male and female organs, but in this section let us only look at the female genitalia (Yoni) as a symbol of art and mysticism.

Sculpture of Lajja Gowri The worship of "Lajja-gowri" (The Shy Goddess) is a form "Yoni" adornment. Such idols could be found at deserted temples in Karnataka, Andhra Pradesh and Maharashtra states of India. The stone or mud icon of nude female has its feet held back so as the genitalia is prominently exhibited. She also features full grown breasts. The hands are raised and clenched in fists, or holding lotus flowers. The head is represented by large lotus. The body is very richly ornamented. The women having problems with their puberty, menses, conceiving and child-birth take vow to worship Lajja-gowri with all dedication they can command. as part of this ritual they apply butter and kumkum and sometimes lick the yoni of the idol. Another similar type of practice was prevalent at Chandragutti in Karnataka state. Women favored by the Goddess Renuka (see: Given to Goddess) being worshipped in nude (Battale-Seva). Such customs and rituals connected with eroticism are prevalent throughout India in one form or the other. See Also:

•

See more pictures of Lajja Gowri in Kamat PictureSearch

•

Male Genitalia (Linga) Worship in India

•

Erotic Arts of India

The Tantric Mysticism

Kamat's Potpourri

Timeless Theater

Arts

Erotic Arts

Genitalia Worship First Online: June 01,2001 Page Last Updated: September 07,2008 Table of Contents

•

Female Worship --"Without the Yoni, even the Lord cannot create", says a tantric prayer. Examples of female power worship.

•

•

Devotees Flanking a Lingam

Earliest Symbol of Genitalia Worship?

• • •

• •

Genitalia as Art Genitalia Worship The Ishwar Linga

The Linga and its Cosmic Power One of a Thousand Lingas, Sahasralinga

•

Ruins of a Ishwara Linga Wood Carving Genitalia Worship Linga Worship

Devotees Flanking a Lingam See also: Devotees of Shiva Lost in Worship

Genitalia Worship Genitalia Worship

Earliest Symbol of Genitalia Worship? The earliest "Linga" found in Mohenjadero remains which dates to 3000 B.C. It has a great resemble to human penis and different parts could be identified. See also: Drainage System at Mojenjo-daro, Archaeological Site of Mohenjo-daro

Genitalia Worship Stone Linga

Genitalia as Art A Tantric painting depicts the Lingam and its cosmic radiance.

Genitalia Worship

Genitalia Worship

Genitalia Worship The lady shows her respect to fully erect "Linga"

Genitalia Worship Genitalia as Art

The Ishwar Linga Stone sculpture showing the union of Yoni and Lingam See also: Genitalia Worship, The Ishwara Lingam, Ruins of a Ishwara Linga, The Linga Worship

Genitalia Worship Cave Temples of Ellora

The Linga and its Cosmic Power Sculpture form Kailas temple in Ellora shows faces of Lord Shiva radiating from a Linga. See also: Sculpture of Sitting Lord Shiva, Caves of Ajanta and Ellora, The Lord of Kailash, Art and Architecture of Rashtrakutas, Three Storied Buddhist University, Three-storied Buddhist school in Ellora, Sitting Lord Shiva

Genitalia Worship Sahasralinga Ruins, Sirsi

One of a Thousand Lingas, Sahasralinga River of Lingas near Sirsi.See also: The River of Lingas

Genitalia Worship Tantra . Topics on Tantric Cults and Practices Page Last Updated: September 07,2008 Tantra (thu-n-tra, from Sanskrit, technique or methodology): Tantra refers to a class of Sanskrit treatises of theology, yoga, construction of temples, healing, and religious practices such as spells, rituals, and symbols. Table of Contents

Genitalia Worship Female Worship Indians have regarded "Without the Yoni, creation as the grandest even the Lord cannot miracles and have create", says a tantric found divinity in the prayer. Examples of organs that facilitate it. female power worship. Worship of Women in India Dr. Kamat's paper on the tradition of worship of womanhood in India.

• •

•

Cowrie Seashell

Devotees Flanking a Lingam

Earliest Symbol of Genitalia Worship?

• • •

Genitalia Worship Genitalia as Art

Goddess Marikamba (the ferocious mother) of Sirsi

• • •

•

•

The Ishwar Linga

The Linga and its Cosmic Power Man and Woman in a Tantric Ritual

The Muladhara Chakras in the Human Body

•

One of a Thousand Lingas, Sahasralinga

• •

•

Ruins of a Ishwara Linga Sculpture of Madhya Pradesh Tantric Goddess with the Bow

Villagers with Drinking Bowls in their Hands

•

Wood Carving

See Also:

•

Kamasutra Retold -- New interpretations of ancient text Kamasutra based on post-medieval Indian sculptures, paintings, and literature. Includes graphical interpretations of many sexual positions. • Search Amazon for: Tantric Sex

•

Genitalia Worship The Linga and the Snake

Wood Carving Carving shows a snake sheltering a Linga. Barsur, Madhya Pradesh

Erotic Arts of India .

An Introduction to the Erotic Arts of India by Dr. K. L. Kamat First Online: January 1999 Last update: September 07,2008 Introduction The year 1999 marked a great symbolic step in the history of the erotic arts of India. Two thousand years ago, sage Vatsyayana wrote his landmark manuscript, the Kamasutra (erotic codes). One thousand years later, the Chandella kings (9501050 A.D.) built one of the finest groups of temples in India, depicting erotic positions, at their capital Khajuraho. About five centuries later, king Kallarasa of Karnataka wrote an important treatise on the subject, "Janavashya" (1450 A.D.) in Kannada. In today's fast changing world, the values and sanctity attached to erotica and eroticism have also changed. Therefore, it has become necessary to re-evaluate the Erotic Arts of India in their true perspective. Numerous writers, both Indian and foreign, have published their works on eroticism, mostly to feed the curiosity of westerners. In my decades of work on the subject, I have not come across a single book or paper that tried to study the topic without prejudice or without giving it a pornographic perspective. India thus lost immensely, through a wishful undermining of her history and art. This is an humble attempt to share my first-hand research and information about ancient erotic art and literature of India.

"We will study the Erotic Arts of India in Paintings, Wood Carvings and Sculptures" To appreciate the erotic arts of India, one must understand the role of sex in the scheme of things according to Hinduism. Hinduism is a way of life according to prescribed codes. Every Hindu has to undergo sixteen denotary rituals (samskara) and four stages of life (ashramas). The final aim of life is salvation, which is the merging of the individual soul (atma) with the supreme soul (paramatma). One can attain salvation (moksha) through dharma, artha and kama. The ancient Indians took a healthy, integrated view of all aspects of life and gave sex its due importance in the overall picture. The pursuit of pleasure (kama) is one of the important aims of life, on the path to deliverance.

Loving couple (Mithuna) – Sculpture from Jinannathapura Figures of loving couples (mithuna) in various art forms can be found in the very early periods of Indian civilization. This theme has been depicted consistently for thousands of years throughout India. Such sculpture can be found on the shrines of Buddhist, Jain, Vaishnava, Shaiva, Shakti, and also other cults, which proves its trans-religious nature. Mithuna is like any other life process and hence no taboo or inhibitions are attached to it. The worship of genitalia has been prevalent for centuries and it is considered a part and parcel of Hindu worship.

" This is an humble attempt to share my first hand research and information about ancient erotic arts of India"

Sources of Erotic Art The Erotic arts of India have been studied here primarily in three forms:

Paintings: Due to their delicate nature, only a few paintings survived the onslaught of time and climatic hazards. The Narasimha Swamy temple of Sibi has such rare wall-paintings. In the last century, the kings of Mysore brought out some books of great importance, which are profusely illustrated with erotic art. Ancient books such as "Sougandhikaparinaya" and "Shritatwanidhi" contain illustrations (example) which are indirect and suggestive, and yet very modest. Indian miniatures such as Basholi, Kangra and Rajasthani styles have produced innumerable erotic paintings to cater to their rich clientele.

[more]

Wood Carvings: Many temples in India celebrate an annual chariot-festival (Rathotsava). The chariot (which is really a mobile temple) is specially built with hard woods such as teak, and innumerable panels depicting mythological themes are carved around the chariot (Ratha). Occasionally, the panels contain astonishingly explicit erotic carvings. [more]

Sculptures: The sculptural wealth has remained intact for centuries in spite of vandalism and mutilation by religious fanatics. The erotic sculptures of Khajuraho (in Madhya Pradesh) and Bhubaneshwar (Orissa) have been widely publicized, while others are almost unknown. In Karnataka State alone, there are a large number of such temples and sculptures, which will be studied individually. [more]

Important Note An important meaning of Kama (kaa-ma, from Sanskrit) is sensuous love, or an emotional feeling of attachment. In ancient Indian thought, it is recognized as the stimulus of action and personified as the god of erotic love (Kamadeva). In the Gita, as in Buddhism, it is the source of attachment to the world and the great impediment to spiritual freedom. For lack of a better word in English, I have used the term erotica to represent Kama, although erotica may essentially connote arousal.

About the Author:

Janavashya of Kallarasa A Brief Note on Kannada Erotic Work Janavashya by Jyotsna Kamat First Online: June 01,2004 Page Last Updated: September 07,2008 Ancient Karnataka boasts of several texts on scientific subjects like veterinary science, medicine, horticulture, science of rains, cooking etc. Hence it is not surprising that at least six works on erotics have been identified. Like music, dance and drama, erotics was considered a field of science as well as an art form. 'Janavashya' (a.k.a. Janavasya) ascribed to Kallarasa, is a Kannada work of 15th century. It is based more on 'Ratirahasya' of Kakkoka in Sanskrit, written in 13th century than on Kamasutra. Kakkoka was more popular than Vatsyayana, the writer of Kamasutra. Kamashastra of Vatsyayana the oldest treatise on erotic science in the world, is a work of 1st century A.D. Being written in aphoristic form it was difficult for laymen to understand. Simpler works based on it appeared subsequently. Important and better known is 'Ratirahasya'. Rati is wife of God Kama. 'Rati' in Sanskrit stands for copulation as well. Preference is given to Rati instead of Kama her divine husband, indicating thereby, the leading role of a woman in love-play. 'Ratirahasya' became immensely popular. It is translated in many Indian languages besides Arabic, Persian and Turkish. Kallarasa tried to make his work more homely. The inquisitive young wife asks her husband to teach her lessons in love. It is in narrative form. The husband responds to query in a methodical way. The work is divided into thirteen chapters. The subjects dealt are traditional but simpler and convincing. The classification of women into four categories. This is to help arousal. Nuances of gestures and touches, importance of foreplay, various postures, ways of winning a partner, role of courtesans and need for medication to have healthy sex, are noteworthy. Kallarasa describes twelve ways of hugging and twelve ways of kissing. Description of an ideal bedroom and requirements are mentioned. As regards postures, it may be remembered that several temples in Karnataka have erotic poses on the outer walls, proving that they were in vogue. In an age of polygamy (at times polyandry as well), kings, nobles and aristocracy had to cope with large harems. One man was obliged to please more than on partner and had to develop techniques to please all simultaneously! Postures after animals like bull, elephant, deer, hare and even frog were in vogue. Such postures helped individuals with special leanings and body-constitution, to derive complete sexual satisfaction. Though courtesans were recognized as essential part of high society and necessary evil, extra marital (paradara) relations were forbidden. It is rather to educate people and guard women against evil forces. The author justifies inclusion of the topic on courtesans. 'Janavasya' was composed mainly for the welfare of the society as a whole. The ultimate goal of human life was liberation (moksha) of the soul and after dharma and artha, kama or fulfillment of all types of desire contributed to healthy family life. Since healthy families contributed to the strong state, right from Manu's days, a householder's life and its requirements was given prime importance in Hindu society. 'Janavasya' is in old Kannada. The text is proficiently edited by G.G. Manjunath of Mysore University. It is brought out as a publication of Center of Kannada studies of Mysore University after a critical and comparative study of seven available palm-leaf scripts. It would have been more helpful if prose translation in modern Kannada was also included. Fortunately, prose version of Kakkoka's 'Ratirahasya' by an anonymous writer of the 19th century is included in the book. This helps in a comparative study of Janavashya and Ratirahasya. Reference Kallarasa Virachita Janavasya Ed: G.G. Manjunathan. Kannada Adhyayana Samsthe, University of Mysore, Mysore 1974.

See Also:

•

Ancient Texts and Manuscripts Manasollasa on Sex The Kamasutra .

Kamasutra Positions: The Dog

Girl Learns by Watching the Dogs Mate Detail from 16th century temple sculpture

If the man mounts her like a dog, holding her waist, and she twists around to make eye contact in submission, experts in the art of love say, it is the "Shwanaka" or the position of the dog.

-- The Kamasutra See Also: Kamasutra Positions: The Tripod

The Kamasutra

The Kamasutra Kamasutra Positions: The Villager's Choice

If the woman lies on back, with her thighs in welcome, and he makes love while fondling this position is called the "Gramina" or the position of the rustic.

-- The Kamasutra

Preferred Position of the Village Folk Detail from 19th century wall mural, Tumkur in Karnataka Photograph hand-enhanced by K.L.Kamat

The Kamasutra . Kamasutra Positions A Gallery of Sexual Positions in Indian Art First Online: June 02,2004 Page Last Updated: September 07,2008

.

Woman Hanging on to her Lover. Detail from a wall painting, Tumkur

A Sex Position requiring Athletic Abilities

The Wheel-Barrow Position

The Swastika Position Artist's depiction of a "Swastika" formed by the lovers' legs

See Also:

• •

Kamasutra Positions: The Dog

Kamasutra Positions: The Villager's Choice

• •

Kamasutra Positions: The Tripod The Peddling Tortoise Position

The Kamasutra .

The Kamasutra The Kamasutra and Its Interpretations First Online: December 15, 2001 Page Last Updated: September 07,2008

Introduction The Kamashastra is the ancient Indian treatise governing the relationship of humans and the sexes. Its origins can be traced to very first rules of conduct (along with the Dharmashstra and the Athrashastra) in Hinduism. Numerous saints and sages wrote commentaries on the treatise for the common man, known as the Kamasutra (kaa-ma-soo-tra, meaning Aphorisms on Love), but as Dr. Kamat points out in his Introduction to Erotic arts of India, most of these works have been lost. Fortunately one such guide by sage Vatsyayana (a.k.a. Vatasayana) written in the early part of the Christian era (see a note on dating of the Kamasutra) is available today in its full form and beauty, and is generally referred to as The Kamasutra of Vatsyayana or simply the Kamasutra. The various editions of Kamasutra have inspired the Indian art, dance, and music for centuries and artists have interpreted the the sensuality in their own skills, imagination, and art forms. In this section we look at art and literature inspired by the Kamasutra. These interpretations and their marriage to ancient works of literature is by me, and the tongue-in-cheek commentary may be pardoned. - Vikas Kamat

Table of Contents

•

Kamasutra Sex Positions -- A gallery of sexual positions depicted in Indian murals, sculptures, and poetry.

•

•

Kamasutra Positions: The Dog

Kamasutra: Use of Nails in Lovemaking

•

•

Kamasutra Positions: The Tripod

Sixty-four Art Forms According to Vatsyayana

• • • • •

The Comfort Union Couple at Foreplay

Couple Engaged in a Game of Love

•

Couple on their First Night

A Group Sex Scene Depicted in Ancient Sculpture

•

Islamic Kamasutra (?)

"Let Praise be Given to God that He has created Woman"

• •

•

The Love Knot

Love, like liquor, intoxicates!

Man uses his Phallus to beat the drum!

•

Monkey Kamasutra

•

The Mutually Reciprocal Position

•

"Practice Yoga and Excel at Sex"

• •

Old Fashioned Sex Sex in the Kitchen!

•

Woman Hanging on to her Lover

References

•

The Kamasutra of Vatsyayana, Translated by Richard Burton, Barnes and Nobles, New York

• •

The Interpretations of the Kamasutra, Repro Interactive Kamat K. L., The Erotic Arts of India (unpublished works)

•

Search Amazon for: Kamasutra

The Kamasutra The Virtue of Sex

Unfailing pleasure awaits the prudent student of sexual science, who after thorough learning, pays due attention to dharma and artha, practices Kama without indulging in excesses, and who applies the principles of this science in a virtuous manner.

-- Vatsyayana in Kamasutra Erotic Arts of India . Mansollasa of Somadeva

Notes by K.L. Kamat First Online: September 11, 2001 Page Last Updated: September 07,2008 Erotic Arts of India The author establishes that the erotic arts spread all over India are not just based on the famous Kamasutra of Vatsyayana. Here, he is commenting on a medieval Sanskrit text Manasollasa.

Pictures!

Although these tantras were written for the royalty, they were applicable to commoners as well. --Ed

Manasollasa (maa-nus-O-llaa-sa, from Sanskrit, Happy State of Mind) is an ancient treatise written by King Sovadeva III, son of the Chalukyan emperor Vikramaditya. Manasollasa, also known as Abhilashitartha Chintamani is a Sanskrit encyclopedia, which is divided into five books (Vimsati), each one further divided into 20 sections. The Kalyana Chalukya king, Somadeva III (1127-1138 A.D.) has taken all the pains to collect up data information on art, architecture, dance, music , ornaments, food and drinks, love and lust, and presents them in a logical and methodical way. Gaekwad's Oriental Series, Bardoda (Gujarat) has published this manuscripts in three parts. Late G.K. Shrigondekar had to work for thirty six long years, from 1925 to 1961 to edit these volumes. The Manasollasa has dedicated a separate section for the erotica (Yosidupabhoga, enjoyment of women). On the basis of inheritance, physical strength and attitude towards sex, Somadeva classifies women into six types, namely, Chitrini, Padmini, Hastini, Sankhini, Mrugi, and Vadava. He says, " ... a virtuous woman is one who is beautiful, youthful, is a musician and a dancer. However, it is extremely difficult to find a woman who is excellent in every accomplishment of life. Therefore one has to try to get a woman as best as physically possible." He further warns about the physical incompatibility of "Linga" and "Yoni", the male and female organs. He insists that they should be complimentary each other. However, if linga is slightly larger it could be adjusted. But an extra large linga should be avoided at all costs as it may rupture yoni itself. Similarly a woman with too small or very large yoni should not be selected for bhoga (union) as she fails to satisfy the man.

• Intro. • Khajuraho • Manasallosa • Bhatkal • FAQ • Kamasutra •

See Also:

•

Kamasutra Retold -- New interpretations of ancient text Kamasutra based on post-medieval Indian sculptures, paintings, and literature. Includes graphical interpretations of many sexual positions.

CD-ROM

•

A Brief Note on Manasollasa

Reference:

•

Manasollasa of king Somesvara (Ed. Shrigondekar G.S.). Baroda, 1939

Phallus: Fallacies and Fantasies

by K. L. Kamat First Online: July 08,2000 Page Last Updated: September 07,2008 Contrary to common belief, most of the ancient/medieval erotic arts of India are not based on Kamasutra and fashion extra-ordinary imagination on the part of the artists. One can observe this in the often fantastic positions and the size of the vital parts.

How to Carry Large Body Parts! A sculpture of Kalyana Chalukyan Period (above) from Kalleswara temple in Bellary shows a man with extra-ordinarily large phallus. It is so big as to obstruct his movements. He is shown carrying it on his shoulders with a bamboo stick balanced with dead weight.

Man uses his Phallus to beat the drum! Scuplture from Bagali shows woman dancing to his tune In another temple, a man is shown playing drums with his phallus, while a maiden dances to his rhythms.

Man Engages in Self Gratification

See Also:

The Kamasutra The Peddling Tortoise Position

"I am Your Mirror" Position North Indian Painting inspired by Kamasutra

If seated face to face, eye to eye she raises one hand and wraps your waist with a leg and you mirror this position while fondling the lovely woman's breast, and peddling each other's feet, This position is called the "Koorma" or the "Peddling Tortoise"

Erotic Arts of India Erotic Arts of India First Online: August 15,1997 Last updated : September 07,2008

Table of Contents Kamat on Kamasutra Ever wondered why there are sexually explicit sculptures in Indian temples ? Kamat explains that ancient Hindus gave sex its due importance in the scheme of things

Beauties of Khajuraho The temples of Khajuraho built in the tenth century contain stunningly explicit sexual sculptures.

Mortal Women and Celestial Lovers Article on glorification of womanhood in Indian art.

Genitalia Worship Indians have worshipped the sexual organs for centuries. Pictures of the Linga mystique.

List of Articles

•

Beauty of Khajuraho Temples

•

• •

Bestiality in Indian Art

Erotic Sculptures of Bhatkal Temple

•

Female Genitalia Worship

Frequently Asked Questions: Ancient Indian Erotica

•

Interpretations of the Kamasutra -- The Orgasm

•

Introduction to the Erotic Arts of India

•

Janavashya of Kallarasa

•

•

Kamasutra Positions: The Dog

Kamasutra Positions: The Villager's Choice

•

•

Kamasutra Positions: The Tripod

• •

The Kamasutra and Its Interpretations Kamasutra: Use of Nails in Lovemaking

• •

Kamasutra Positions

Kamasutra: The Virtue of Sex

•

Manasollasa on Sex

A Note on dating the period of Kamasutra

•

•

The Phallus: Fallacies and Fantasies

Sixty-four Art Forms According to Vatsyayana

•

The Peddling Tortoise Position

List of Pictures

• •

Amorous Couple, Wooden Sculpture Artist Lets his Imagination Go Wild

•

A Beast Mounts a Woman

•

•

Carvings on wooden car (chariot) in Pattadakal

• • • •

The Comfort Union Couple at Foreplay

Couple Engaged in a Game of Love Couple Entangled in a Love Knot

•

Couple on their First Night

•

Depiction of Bestiality

•

•

Birth of a Child

Divine Recreation

Divine recreation: Krishna with two Gopikas (female cowherds)

•

•

• •

Enjoying each other company Erotica from a Chariot Carving

•

Friends Engaged in Sexual Activities

• •

•

Girl preparing to meet boyfriend

"I read and I forgot… I saw and I understood"

• • •

In Explicit Detail… The Ishwara Lingam Islamic Kamasutra (?)

"Let Praise be Given to God that He has created Woman"

• •

• •

Genitalia Worship

A Group Sex Scene Depicted in Ancient Sculpture

•

•

The Double Decker

Drinking Couple -- Sculpture from a Stupa in Sanchi

The Love Knot

Love, like liquor, intoxicates!

Lovers, sculpture from a Khajuraho temple

Making love on a comfortable bed, pillow and bed-spread

•

A man and two women are in the game of love.

•

•

Man and Woman in 'Beauty of Union' Man disturbs wife while she puts on make up

•

Man Fondles Two Women on a Swing

•

•

Man punishes wife's paramour

Man uses his Phallus to beat the drum!

•

•

The Mark of a Man!

Medieval Sculpture Depicting Group Sex

• •

•

Monkey Kamasutra

The Mutually Reciprocal Position

Needs of the body differ from that of the mind!

• • • • •

Old Fashioned Sex

One Woman Takes on Two Men The Phallus: Facts and Fallacies Playboy Krishna Makes Out in the Bush

• •

•

"Not Tonight Dear"

Playful Girl Friends

"Practice Yoga and Excel at Sex"

•

A Romantic Couple

Sculpted Chandela Temples Depicting Erotica

• •

•

•

•

•

Sculpture of Lajja Gowri Self help is the best help?

•

Sex in the Kitchen!

Spanking in Medieval India (?) Two playful ladies bathing together A Warrior Spends Time With Mistress

• •

Who Said Bigger is Better?! Woman Hanging on to her Lover

Woman putting on makeup excites a man

•

Woman Worshipping an Erect Linga

•

Workplace Harassment ?!

•

Worship of Linga

See Also:

•

More Pictures in Online version of Erotic Arts of India CD-ROM

• •

Kamat PictureSearch Results for: Erotica

•

Topics on Tantric Cults and Practices

Kamasutra Retold -- New interpretations of ancient text Kamasutra based on post-medieval Indian sculptures, paintings, and literature. Includes graphical interpretations of many sexual positions.

1

Wooden Sculpture

Amorous Couple, Wooden Sculpture 17th century sculpture from Karnataka

Erotic Arts of India . Extreme Erotica from Khajuraho

Artist Lets his Imagination Go Wild Sculpture from Khajuraho -- 900 A.D. See also: Mithuna, Divine Lovers, A Romantic Couple Erotic Arts of India Ancient Bestiality

A Beast Mounts a Woman Ancient sculpture from Barsur depicting bestiality See also: A Group of Memorials at Barsur in Bastar

Erotic Arts of India Carvings on Wooden Car in Pattadakal

Carvings on wooden car (chariot) in Pattadakal See also: Temple on Wheels, Temple Chariot, Tiruparankundram, Car Festivals of India, Chariot or Car Festivals of India

Erotic Arts of India Erotic Arts of India

Couple Entangled in a Love KnotSee also: Interpretations of the Kamasutra Erotic Arts of India Bestiality in Indian Art

Depiction of Bestiality Artifact from Government Museum, Goa

Erotic Arts of India Erotic Arts of India

Divine Recreation Erotic exploits of Lord Krishna are glorified and sung in Indian art and music. See also: Notes on the Bhagawadgita IV, The Song Celestial, Deer from a Mogul miniature painting, Krishna with Flute, Krisha Playing Flute under at ree, Krishna Leela (Antics of Lord Krishna), Krishna-Radha, North Indian Painting, J. Krishnamurti, Krishna and Radha Playing a game of Dice, Sarvepalli Radhakrishnan (1888-1975), Prof. A.R. Krishnasastry, Playboy Krishna Makes Out in the Bush, Divine recreation: Krishna with two Gopikas (female cowherds), Congressman Balakrishna Sharma (1897-1960), Lord Krishna describes himself, Suckling Krishna and Yashoda, Mother and Child, Krishna Milking a Cow, Orissan Painting Depicting Krishnaleela, Jiddu Krishnamurti, Painted Leather Puppet shows Krishna Charioting Arjuna's Car, Fruit Offerings to Lord Krishna, Lord Krishna Rides the Bird Garuda, Portrait of Krishnanand Kamat, Krishna Playing a Flute

> Erotic Arts of India One Man, Two Women

The Double Decker Erotic sculpture from the Dubella museum collection

Erotic Arts of India Drinking Couple - Sculpture from India

Drinking Couple -- Sculpture from a Stupa in Sanchi Erotic Arts of India Erotic Sculpture of Goa

Erotica from a Chariot Carving Government Museum collection, Panajim Erotic Arts of India . Indian Group Sex

Friends Engaged in Sexual Activities Detail from a wooden sculpture See also: One Man, Many Women

Genitalia Worship

Genitalia Worship Here, Lord Shiva is shown embedded in the Lingam See also: The Ishwara Lingam, The Ishwar Linga, Ruins of a Ishwara Linga, The Linga Worship Erotic Arts of India Damsel Admires Self in Mirror

Girl preparing to meet boyfriend Line drawing based on a stone seductress (shilabalika) in Belur See also: A Female Dancer from a Temple Sculpture in Belur, Hoysala Period, The Hoysala Dynasty, Gajasura Mardaka, God punishing the evil elephant, Dancing Ganapati, Belur Sculpture, Temples of Belur and Halebidu

Erotic Arts of India Erotic Wooden Carvings

In Explicit Detail… Sculpture shows a lady guiding the Linga into her Yoni

> Erotic Arts of India The Ishwar Linga

The Ishwara Lingam It symbolizes the union of cosmic powers of Shiva and his lover Uma, and is widely worshipped in India See also: Erotica from Nandi Temple, Khajuraho, Carved Pillar of a Lingayat Temple, Illustration Showing Peddamna, The River of Lingas, Veerashaiva Girl with Ash on Forehead, Genitalia Worship, Woman Worshipping an Erect Linga, A Lingayat Elder, The Ishwara Lingam, Hardekar Manjappa (1886-1947), The Seven Hooded Cobra, One of a Thousand Lingas, Sahasralinga, The Ishwar Linga, Ruins of a Ishwara Linga, The Linga Worship

Erotic Arts of India Lovers, from a Khajuraho temple

Lovers, sculpture from a Khajuraho temple See also: Carvings at a Khajuraho temple, Temple Complex at Khajuraho, Sculpture of Ganapati, Khajuraho, Towers of Khajuraho Temples

Making Love on a Bed

Making love on a comfortable bed, pillow and bed-spread Medieval Sculpture in Stone See also: Ancient beds

Game of Love

A man and two women are in the game of love. Wall painting from a house in the town of Sibi, Tumkur

Erotic Arts of India Beauty of Union

Man and Woman in 'Beauty of Union' Known as 'Shrungar', sex is a very popular theme of decor and beauty among Indian artists

Erotic Arts of India Playboy disturbs make-up

Man disturbs wife while she puts on make up Ancient temple sculpture See also: Man Fondles Two Women on a Swing

Erotic Arts of India Two is Better than One!

Man Fondles Two Women on a Swing Mysore Traditional Painting See also: Man disturbs wife while she puts on make up

Kamat's Potpourri

Timeless Theater

Arts

Erotic Arts

Erotic Arts of India Caught in the Act!

Man punishes wife's paramour See also: Depiction of Everyday life in Bhatkal Temples, The Khetapai Temple of Bhaktal, A Temple Sculpture Depicts Two Saints Accosting a Courtesan, The Town of Bhatkal, Birth of a Child

Art Inspired by Kamasutra

Man uses his Phallus to beat the drum! Scuplture from Bagali shows woman dancing to his tune See also: Man in Heat, Who Said Bigger is Better?!, The Phallus: Facts and Fallacies, The Phallus: Fallacies and Fantasies, The Phallus - Facts and Fallacies

> more ads Erotic Arts of India Erotic Arts of India

The Mark of a Man!

Medieval Group Sex Scene

Medieval Sculpture Depicting Group Sex

Detail from a sculpture Ikkeri/Keladi See also: Indian Group Sex, How to Fit Four on a Single Bed, Genius Art Erotica, A Group Sex Scene Depicted in Ancient Sculpture

Erotic Arts of India Two Sadhus Soliciting a Courtesan

Needs of the body differ from that of the mind! Two aroused Sadhus accosting a courtesan Medieval sculpture from India See also: An Ascetic Inviting a Woman

Erotic Paintings of India

"Not Tonight Dear" Woman expressing unwillingness for intimacy

Erotic Arts of India Erotic Paintings of India

"Not Tonight Dear" Woman expressing unwillingness for intimacy

Erotic Arts of India Erotic Paintings of India

"Not Tonight Dear" Woman expressing unwillingness for intimacy

Erotic Arts of India The Phallus: Facts and Fantasies

The Phallus: Facts and Fallacies Contrary to common belief, most of the ancient/medieval erotic arts of India are not based on Kamasutra and fashion extra-ordinary imagination on the part of the artists. See also: Man in Heat, Who Said Bigger is Better?!, Man uses his Phallus to beat the drum!, The Phallus: Fallacies and Fantasies, The Phallus - Facts and Fallacies

Erotic Arts of India Erotic Arts of India

Playful Girl Friends See also: Women in Embrace, Girl Friends, Best Friends

Erotic Arts of India Medieval Erotica

Sculpted Chandela Temples Depicting Erotica Khajuraho, Madhya Pradesh See also: Erotic Sculptures on the Chandela Temples, Sculpted Chandela Temples Depicting Erotica Erotic Arts of India A couple engages in foreplay

Self help is the best help? A couple engages in foreplay See also: Small Talk as Foreplay, Preparing for Conjugation, Couple at Foreplay

Erotic Arts of India . Medieval Sadomasochism

Spanking in Medieval India (?) Detail from a 16th century sculpture, Bhatkal depicting sadomasochism

Erotic Arts of India Two playful ladies bathing together

Two playful ladies bathing together Line drawing based on ancient text Sougandhikaparinaya See also: Isometric Projections of the Great Bath, Mohenjo-daro, Shining Water Pots in a Bathroom, Pilgrims in Varanasi, Girl bathing in a public pond, Children Bathing at the Village Pond, Bathing Scene, Bathing and Personal Hygiene in Ancient India, History of Bathing in Karnataka, Brahmins Bathing in a Public Tap

Erotic Arts of India . Mistress Seduces Man - Sculpture

A Warrior Spends Time With Mistress Note his one hand is on the sword. Temple sculpture from Bhatkal.

Erotic Arts of India

Man Balancing Large Phallus with Dead Weights

Who Said Bigger is Better?! Man Balancing Large Phallus with Dead Weights See also: Man in Heat, The Phallus: Facts and Fallacies, Man uses his Phallus to beat the drum!, The Phallus: Fallacies and Fantasies, The Phallus - Facts and Fallacies

Erotic Arts of India Erotic Arts of India

Woman putting on makeup excites a man Medieval sculpture depicting erotica

Erotic Arts of India Genitalia Worship

Woman Worshipping an Erect Linga

Man copulates while the woman milks a cow

Workplace Harassment ?! Man copulates a milking woman Sculpture from the village of Hoogoppalu

> First Online: September 29,2004 Page Last updated : September 07,2008

Table of Contents

•

• •

•

Introduction

Erotic Arts of Badami Temples Erotic Arts in the Temples of Ballegavi

Erotic Wall Paintings in Narasimha-Swamy Temple of Sibi

•

• •

•

Lajja Gowri Sculptures

•

Genitalia as Art

Erotic Works of Nad Kelse Erotic Arts on a Bhatkal Temple

Erotic Carvings in Wood and Chariot Sculptures

•

Erotic Sculptures of Khajuraho

• • •

Erotica in Indian Paintings Erotica in Indian Literature Worship of Women in Indian Art

•

References

List of Pictures

•

The "Flying Bird" Position

•

Acrobatic Erotica!

Erotic Arts CD-ROM The Erotic Arts of India CD-ROM

by K.L.Kamat First Online: September 29,2004 Page Last updated : September 07,2008

Table of Contents

• •

• •

Introduction

Erotic Arts of Badami Temples Erotic Arts in the Temples of Ballegavi

Erotic Wall Paintings in Narasimha-Swamy Temple of Sibi

•

Lajja Gowri Sculptures

•

• •

•

Genitalia as Art

Erotic Works of Nad Kelse Erotic Arts on a Bhatkal Temple

Erotic Carvings in Wood and Chariot Sculptures

•

•

Erotic Sculptures of Khajuraho

• •

Erotica in Indian Paintings Erotica in Indian Literature Worship of Women in Indian Art

•

References

List of Pictures

•

The "Flying Bird" Position

•

• •

Amorous Couple, Aihole

• •

•

•

Ardha-Narishwara

An Ascetic Inviting a Woman

•

Black and White Conjugation

•

Black and White Union

Copulating Couple -- Wooden Sculpture

•

Couple Engaged in Foreplay

•

•

A Couple in Coitus

Erotic Art from Sibi Temple

Erotic Engravings on the Partkal Temple Chariot, Goa

•

•

Erotic Painting

Erotica from Nandi Temple, Khajuraho

•

•

Erotica from a Temple Panel

Erotica from Nandi Temple, Khajuraho

• •

Erotica from Temple Panel

•

Fresco Painting at Sibi

Full Body Excitement of Tantric Sex

• •

• •

Genius Art Erotica

Group Sex Depicted in a Relief

• •

Group Sex 1228 A.D. Half Man, Half Woman

•

Hidden Sex

Homosexual Men Making Merry How to Fit Four on a Single Bed

• • • •

Ancient Bestiality

A Beauty Prepares for her Lover's Arrival

•

•

Amorous Couple Ancient Homosexuality?

• •

Acrobatic Erotica! Acrobatic Sex Position

•

Indian Fetish Indian Group Sex Interwoven Limbs Intoxication and Sex

King and his Queen Performing a Ritual for Progeny

• •

Kissing Couple

Lady Calming-down an Erect Man

• •

•

Lajja Gowri: Deity of Fertility

• •

Lady On Top Position

Lajja Gowri Sculpture, Alampuram Lajja Gowri as the Deity of Fertility

•

The Leg-locked Couple

Male Organ as a Symbol of Lord Shiva

•

Man Disturbs Wife Busy at Work

•

•

Man Fondles Wife

Man in Heat -- Sculpture from Medieval India

•

•

The Man Makes a Move

Man with Two Lovers, Sibi Painting

•

•

Mithuna -- Eternal lovers

"Not Tonight Dear" -- Couple in Conversation

• • •

One Man, Many Women

•

Oral Sex for One

Phallus as a Symbol of Lord Shiva

•

Preparing for Conjugation

Rajasthani Couple Unite in a Balcony

•

"Removal of Clothes is Optional"

• •

Romance of Uma and Shiva Romance of Shiva and Uma

• • •

•

Romancing Couple Romantic Couple

A Royal Couple in Romance

• • • •

Sculpture from Ballegavi The Seduction of Shiva Shiva Arising from a Linga Small Talk as Foreplay

"Some of the Erotic Arts are in a dilapidated state and need enhancements to study them"

•

•

A Stone Sculpture of Lajja Gowri

•

The Swastika Position

•

Tantric Fellatio

Two Men Coaxing a Woman to Cooperate in Sexual Acts

•

Two Panels Depicting Erotic Paintings

•

"Villager's Choice" Sexual Position

•

• •

A Welcome to Bed

Woman having a Sexual Contact with her Dog A Woman Lets a Monkey Taste her Body Fluids

• • •

Woman on Top Position

•

Woman Performing Fellatio Woman Relaxing her Man in Bed

Woman with Mirror Consults her Man

•

Women in Embrace

See Also:

•

• •

Erotic Arts of India -- Index

Kamat PictureSearch Results for: Erotica

•

Topics on Tantric Cults and Practices

Kamasutra Retold -- New interpretations of ancient text Kamasutra based on post-medieval Indian sculptures, paintings, and literature. Includes graphical interpretations of many sexual positions.

Erotic Arts of India

Acrobatic Erotica! Painting shows lovemaking with the aid of a pulley

Erotic Arts CD-ROM Indian Love Positions

Acrobatic Sex Position Artist has fit lovers in an impossible sex posistion. Dubella Museum Collection

Top of Page Erotic Arts CD-ROM

Sex with a Pig

Ancient Bestiality Coitus with a pig, sculpture from the village of Ballegavi See also: Woman having a Sexual Contact with her Dog, A Woman Lets a Monkey Taste her Body Fluids, A Beast Mounts a Woman, Bestiality in Indian Art

Erotic Arts CD-ROM Homosexuality in Indian Art

Ancient Homosexuality? The picture shows men (notice the mustache on one and the beard on another) engaged in sexual activity. A third man is shown carrying what looks like a large artificial phallus

Union of Male and Female

Ardha-Narishwara An excellent sculpture of "Uma-Maheswara" located at Banashankari (Bijapur district) wherein the masculine and feminine characters are beautifully carved in a single icon. See also: Half Man, Half Woman, "Ardhanarishwara" from a Maithili Painting, Ardhanarishwara, Ajanta

Union of Male and Female Erotic Arts CD-ROM Erotic Arts of India

An Ascetic Inviting a Woman See also: Needs of the body differ from that of the mind!

Top of Page >

Erotic Arts CD-ROM Medieval Makeup

A Beauty Prepares for her Lover's Arrival Detail from Khajuraho temple relief, Khajuraho

Erotic Arts CD-ROM

Intercaste Sex in India

Black and White Union Indian Painting Showing Interracial Union

Erotic Art of Sibi

Erotic Art from Sibi Temple The gold plated artwork has been scraped by vandals

Erotica in Indian Art

Erotic Painting Man greeting naked wife as a servant looks on Erotica from Temple Relief

Erotica from Nandi Temple, Khajuraho Woman guides linga into her; detail from a temple relief

Erotic Arts CD-ROM Sex in the Bathroom

Erotica from a Temple Panel Sculpture from Nad Kalase shows two ladies bathing a woman while some others engage in sexual activity

Erotica from Temple Panel

Erotica from Nandi Temple, Khajuraho

Top of Page

>

Medieval Group Sex

Group Sex 1228 A.D. Sculpture from Nad Kalse Temple

>

Erotic Arts CD-ROM Erotic Sculptures of Nad-Kalse

Homosexual Men Making Merry Detail from a sculpture from Karnataka

>

Erotic Arts CD-ROM Group Sex in Indian Art

How to Fit Four on a Single Bed Detail from a sculpture in Nad-kalse shows four people performing sexual acts on a bed while another is under the bed See also: Indian Group Sex, Genius Art Erotica, Medieval Sculpture Depicting Group Sex, A Group Sex Scene Depicted in Ancient Sculpture

>

Erotic Temple Sculpture

kamat.com/Kamat's Potpourri

Erotica from Temple Panel Detail from a temple panel, Village of Ballegavi

Erotic Arts CD-ROM Erotic Paintings

Indian Fetish Physical masturbation act in a painting found in Sibi.

Indian Group Sex Detail from a temple panel depcits people in various sex acts Erotic Sculptures of Nad-Kalse

Interwoven Limbs Sculpture from Nad-kalese, Karnataka Erotic Arts of India

Intoxication and Sex

Fertility Ritual

King and his Queen Performing a Ritual for Progeny Illustration from from Sougandhikaparinaya Romance in Indian Art

Kissing Couple Dilapidated stone sculpture, South India Erotic Wooden Carvings

Lady Calming-down an Erect Man Wooden sculpture from a chariot, Gunavante village See also:Erotic Sculptures of Nad-Kalse

Lady On Top Position Ancient sculpture from Nad-kalese Genitalia Worship

Male Organ as a Symbol of Lord Shiva Some sculptures have used black granite to erect a "Linga" at the middle of which Shiva stands out.

Lajja Gowri Sculpture

Lajja Gowri as the Deity of Fertility Sculpture of Lajja Gouri Page

Lajja Gowri Sculpture, Alampuram Deity of Fertility

Lajja Gowri: Deity of Fertility Andhra Pradesh, South India Eternal Lovers

Mithuna -- Eternal lovers Detail from a Khajuraho sculpture Rajasthani Painting

The Man Makes a Move Ancient Erotica

Man Disturbs Wife Busy at Work Derail from a wooden panel of a temple chariot, Gunavante village Romance of Commoners

Man Fondles Wife Badami sculpture Erotic Arts of India

Man in Heat -- Sculpture from Medieval India Group Sex in Indian Art

One Man, Many Women The author feels that much of the erotic art of India is simply "art", without connotations of sacredness as is believed. Sex in Indian Sculptures

Oral Sex for One Sculpture depicts a man performing auto-fellatio Genitalia Worship

Phallus as a Symbol of Lord Shiva In the Shiva temple in Kurudumalai (Karnataka) a great variety of "Lingas" could be observed.

Erotic Sculptures of Nad-Kalase

Preparing for Conjugation A woman prepares for conjugation by applying home-made lubricants Erotic Arts of India

Rajasthani Couple Unite in a Balcony Romance in Chalukyan Temples

Romance of Shiva and Uma Badami temple sculpture Romance in Indian Art

Romancing Couple Detail from a North Indian painting Royal Romance

A Royal Couple in Romance Detail from a North Indian painting Ancient Erotica

Romantic Couple Erotica from a medieval temple, Madhya Pradesh Erotic Arts of India

"Removal of Clothes is Optional" Couple making love with clothes on. Detail from a wall painting in town of Tumkur

Romance of Uma and Shiva Detail from a Badami sculpture

Ancient Erotica

Sculpture from Ballegavi Shimoga district in Karnataka

Sculpture of Badami

The Seduction of Shiva Parvati with drinking bowl in her hand. Badami sculpture

Erotica of Bhatkal Temple Small Talk as Foreplay Couple chatting on a bed -- sculpture from a medieval temple, Bhatkal Wall Painting Depicting Sexual Union

"Some of the Erotic Arts are in a dilapidated state and need enhancements to study them" (Above photograph is hand-enhanced by the author)

Erotic Paintings from India

The Swastika Position Artist's depiction of a "Swastika" formed by the lovers' legs Tantric Sex Ritual

Tantric Fellatio Sculpture from a Tantric temple, Barsur, Madhya Pradesh Erotica in Wooden Carvings

Two Men Coaxing a Woman to Cooperate in Sexual Acts Detail from a wooden panel, Southwestern India Erotica in Wall Murals

Two Panels Depicting Erotic Paintings Erotic Arts of India

Woman having a Sexual Contact with her Dog "Best friend as Lover" -- detail from a wall mural, Tumkur See also: A Woman Lets a Monkey Taste her Body Fluids, Ancient Bestiality, A Beast Mounts a Woman, Bestiality in Indian Art Bestiality in Erotic Sculptures of Nad-Kalse

A Woman Lets a Monkey Taste her Body Fluids Detail from a temple sculpture in Nad-Kalse Erotic Sculpture of Belur

Woman on Top Position If you are careful to look, you will find sex sculptures everywhere in India Erotic Sculptures of Nad-Kalse

Woman Performing Fellatio Sculpture from Nad-kalese

Romance in Indian Art

Woman with Mirror Consults her Man Chandela sculpture from Dubella Museum, Madhya Pradesh

Women in EmbraceErotica in Wooden Carvings

A Welcome to Bed Panel shows a lady in bridal dress welcoming her man, perhaps depicting first night

Ajanta