Kamasutra

Kamasutra Art Gallery - 3

Lataveshta, the Clinging Creeper, mentioned in two medieval texts, is the natural line arising from the Pidita-Veshtita sequence given in Kama Sutra. Although the painting has some Kashmiri features, it is probably a product of the Delhi bazaars. It is interesting to think that paintings such as this were still being made when Burton and Arbuthnot sat down with their pandits to make their translation of Vatsyayana's text. Delhi, bazaar style, nineteenth century.

The inscription to this lavishly ornamented miniature describes the lovers as being in the Mudita (Gladenning) posture, which results in great pleasure. The posture can develop into Shulachita, or Jrimbhitaka. Or it the lady draws up and extends her legs alternately, it would become the most celebrated of Kama Sutra's postures, the Venudaritak, or Splitting Bamboo. Jaipur, mid nineteenth century.

This rather difficult looking posture must owe something of its strangeness to the painter's use of perspective. It appears to be a variant of what Ratiratnapradipika describes as Shulanka, which gets its name because, when seen from above, the man's stiff body and the woman's raised legs resemble the three prongs of the trident. Mewar c.1760

A prince of Jodhpur and his wife in a difficult variant of Bandhura, the Curved Knot. Did the lady ever amuse herself with some of the priceless absurdities of the Jodhpur treasury, like the pair of diamond eyebrows that hook, like spectacles, over the ears? And she was one of those who left her handprints on the wall of the Loha Gate of Jodhpur Fort as she went to immolate herself on the funeral pyre of her husband, the Maharaja? Jodhpur early eighteenth century.

Nepalese tantrics in a simple standing posture. They wear consecrated amulets and the man has a Gurkha hat. Nepal was one of the strongholds of the tantric tradition and many Nepalese temples - like rustic Khajurahos - are embellished with gaudily painted woodcarvings of amorous couples. The couple in this painting regard each other as man and woman, but as embodiments of Parvati and Shiva. Their favoured sexual postures are usually yoga derived and they will use mantras and breathing techniques to prevent themselves coming to orgasm and so dissipating the kundalini energy with which their bodies are charged.Nepal, c. 1700

A demanding variation of Janukurpara, the knee elbow position. The girl's arms in this painting, instead of being round her lover's neck, are clasped about his waist. The Kotah love of vegetation is expressed by the banana leaves over the garden wall. Notice the blue and the white Chinese vases standing in the niches that all old Indian houses have in their walls. Kotah, late eighteenth century.