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Kamasutra
Art Gallery - 4
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To judge from the tales told by ex-ministers of
various pre-independence Indian courts, it has been common ever since
Vatsyayana's day for princes to be entertained by several of their ladies
at once. The king in this painting is Maharaja Ram Singh of Kotah
(1827-65), but the picture was probably intended as a piece of discreet
flattery. Vatsyayana calls this situation Goyuthika, the
Herd. Kotah,c. 1840-50 |
| This painting of the Jodhpur Maharaja enjoying
two ladies at the same time, clearly illustrates the Indian preference for
round-limbed, slightly plump girls. The trivalli, three
faint creases about the waist, was the supreme sign of beauty. The
king and the lady who now claims his attention are in the Kshudgara posture
which calls for vigourous action, hence his use of the Hula stroke.
Jodhpur, early nineteenth century. |
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The couple in this very striking miniature are
in the posture described as Charunarikshita by the love text Ratikallolini.
The contrast between the lady's pale body and the rich red carpet is
both unusual and effective. Here again, the treatment of the face
echoes certain characteristics of the earlier Guler style. Pahari,
Sikh School, mid nineteenth century. |
| This extraordinary Heath-Robinson device is
obviously the painter's interpretation of the posture called Utkalita in
Ananga Ranga. The fact that Kalyana Malla derived his
information from an Orissan source is interesting because the favourite
task of Orissan painters and engravers was to illustrate the Kama
Sutra and its possible that Vatsyayana's Prenkholita was the
original of this posture. Jaipur, nineteenth century. |
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The couple are making love in what Vatsyayana
describes as the Sthita position and the man's left hand is
poised to deliver a blow in the Apahasta (Backhand) manner.
Mewar late eighteenth century. |
| The couple are leaning back in a posture that
somewhat resembles the Yugmapada of Ratirahasya, and he
appears to be striking her in the Samatala way. Yashodhara
expands upon Vatsyayana's remarks about the more dangerous blows,
confiding that Shatkarni was so filled with desire at the sight of
Malyavati who, after a long illness, had dressed in her best clothes for a
festival, that he forgot her fragile condition and struck her during
lovemaking. Pahari, Sikh School, mid nineteenth century. |
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