Erotic sculptures and depiction of sexual imagery on Indian temples (places of worship) and their meaning and significance

1. Temple Erotica -
Beyond Khajuraho
Poosha Darbha

2. The Breath-taking temples of Khajuraho – “The capital of Kama Sutra”

18. Sun Temple,
Konark

23. Bhubaneswar, Odisha

26. Reactions:
• Shock, Annoyance,
embarrassment, offence,
avoidance, repugnance
• Titillation, blush, arousal,
indulgence, intrigue,
curiosity
• Description:
Vulgar, Obscene, pervert,
brutal, shameless

27. Questions:
• Temples: Places of gods,
saints, worship and sacred
legends
• Why profane scenes of
charming women, loving
couples, actual coitus, orgies
and even unusual sexual
practices?
• Why on temples? Why not on
palaces, monuments and
other public places?

28. Common Interpretations
• Porn depiction mirroring lax
moral standards
• Visual manual of Kama Sutra;
educative purpose
• Cathartic character
• Representation of sexual
practices of contemporary
society

29. • Test for the
devotees’ conquest
of worldly desires
• Symbolic of Union
of Purusha with
prakruti / Atma
with Paramatma
• Warding off evil
eye/evil spirits

30. Understanding the enigma
Extensive Studies into the
- spatio-temporal history
of the temple architecture
- Iconology
- social,
cultural,
religious, and
political conditions
& of inscriptions, texts & literature

31. Unique features of erotic sculptures India
• Almost exclusively in stone (vis-a-vis, wood,
ceramics, terracotta, marble)
• Almost exclusively on temples;
• Therefore always of religious character
(They are secular in other parts of the world: Greece
& Rome, Japan, modern western Europe)
• Fairly widely distributed across the country,
• But confined to a limited period
• Pervaded all religions – Hindu, Buddhist and Jain

32. Madhya Pra Khajuraho 900- 1050 AD
Orissa Bhubaneswar 750-1250 AD
Konark 750-1250 AD
Puri 750-1250 AD
Gujarat Delmel, Limbojimata 10th C AD
Sunak Nilakantha 11th AD
Modhera 1100 AD
Rajasthan Ramgarh (Kota) Bodoli 8th AD
Bhand Devra 10th C AD
Jagat, Udaipur Ambika Matha 960 AD
Ranakpur Adinatha& Chowmukhi 15th AD
AP Gandikota, Kadapa Ranganayakaswami 16th AD
KoilKuntla Veerabhadra Swamy 16th AD
Kurnool Dt 16th AD
Guntur Dt 16th AD
Karnataka Somanathpura Chennakesava 1270 AD
Belgami Tripurantakeswara 1070 AD
Halebid Kedareswara 13th AD
We find prominent temples depicting erotic sculptures in:

34. It’s there in our blood
• Some form of erotic depiction since
times immemorial in Indian culture
• The earliest portrayal of sex is on
the terracottas and similar cultural
objects. (Daimabad 5000 BC)
One of the
Mankind’s 1st
erotic?
- Bhimbetka
Earliest depiction of the sexual act on a pot in India
Daimabad, MR, (Chalcolithic (copper) age c.5000BC

35. Fertility Goddess “Nagna Kabandha’ Alampur,
Telangana
Mother goddess in Terracotta,

36. Meliaputti, Andhra Pradesh Kamakhya, Asom

37. Devipuram, Andhra Pradesh

38. 5-faced Shiva,
Budhanilkantha, Nepal
Mukhalinga, Bhumara,
MP (5th-6th c CE)
Gudimallam, AP.

42. Ancient India - Fertility goddesses
• These depictions center
around fertility cults &
beliefs
• Reflect the ancient
connection of sex and
religion
• Maurya period (322-185
BC ) onwards, full-
fledged cult of mother
goddess of the
"opulent" type in a belt
from north-west to
eastern parts of India.
Chandrakethugarh Opulent mother goddess Lauriya

43. • Gradually male
consorts came to be
associated.
(Ex: Rupar, Rajgir,
Patna, Kausambi,
Ahichchatra,
Chandrakethugarh
– represent ritual couples
or mithunas)
• Mithuna vs. Maithuna
• (Mithuna : a couple or a
pair may/not be involved
in erotic relationship
• Maithuna : Coitus
Kausambi
Ahichchatra

44. Progression of erotic temple sculpture
Mithuna (2c BC – 1c BC)
• Earliest depictions of mithunas are
near goddess SRI;
- on the kalasas, door-jambs :
- associated with auspicious fn.
• Salabhanjikas fertilizing the tree
served the same function -
depicted on arches in early
architecture.
Sanchi

45. Ancient period - Mithuna
• Mithuna motif gradually detached
itself from the magico-religious
function and became an art motif.
• Gradually acquires sensuous touch.
• Yet, the attributes of prosperity, fertility,
fruitfulness still associated with these sculptures
in this period.
• More obvious from the latter part
of 1 BC (Ex: Bodh Gaya, Mathura)
Mathura 2C AD

46. Ancient Period - Mithuna
• (The Mathura Yakshis are objects
of art satisfying the tastes of
sensuous public).
Mathura 2C
AD

47. Ancient Period - Mithuna
• In some cave temples (ex: Karle) erotic
motifs oblivious of their Buddhist
surroundings represent merry making
carefree couples.
• Their placement on the entrance —
auspicious function;
• Looks and abandon - reflect tastes of
sensuous public.
Karle

48. Ancient Period - Mithuna
• Pastoral-agriculture society —> trade and
urbanization;
• Beliefs and cults typical of pastoral
agricultural continued into urban
situation.
• But lost their original purpose;
reinterpreted acc to social needs
of the time.
• Cultic function superseded by esthetic &
the sensual.
Karle

49. Early medieval period
(500-900 AD)
Growing conducive atmosphere
• Feudal chiefs & landed aristocrats
rose to imp social positions
• Histories of major dynasties of the
period show that humble local
chiefs rose to power by subjugating
weak rulers.
• Spared no efforts to glorify their
family origins.

50. Early Medieval period
• Depended on Brahmans for the
social recognition of their status
• Brahmans, being practitioners of
dharma, ensured the rulers fulfill
Poorta Dharma, consisting of
building temples, tanks and
charitable works…
• Daana and temple building activity
were the central aspect of religious
behavior of the period AD 500 to
1400.
Mukteswar , Bhubaneswar

51. • Feudal social conditions - the right
soil for the nourishment of Pauranic
and Tantric religions.
• A host of fertility and vegetation
rites, agricultural festivities,
purificatory rites and local vratas
were reinstated.
• The feudal atmosphere also fostered
interest in magic, superstitions and
supernatural beliefs.
Early Medieval period

52. • In contrast to the rigorous path of
asceticism, shortcut devices to
Moksha were advocated and their
virtues extolled.
• Belief in the supernatural power of
sex is reinforced.
• Maithuna and other ‘Ma’kaaras
were believed to please the deities.
Early Medieval period

53. • In this socio cultural setting, the
treatment of erotic motif recd
special attention.
• Mithuna was established in Art
canons by now
• More frequently depicted near the
deities & on the door-jambs,
reflecting their auspicious &
ornamental nature.
(Deogarh, Ajanta, Ellora, Aurangabad,
Bhubaneswar, Mukhalingam, Rajim, Sirpur,
Lalitagiri, Udayagiri, Baijanatha etc).
Early Medieval period
Deogarh

54. Early Medieval
• Reflect the aristocratic
background &
cultivation of Sringara,
as portrayed in the
Sanskrit works of the
period
(Kalidasa, Bana, Harsha et al).
• Maithuna too was
depicted on some
monuments of this
period
Tripurantakeswara, Balligavi

55. Early Medieval period
• Depicted unobtrusively and
inconspicuously in some corners
unexposed to the devotee.
• Lacked sensuousness of the later
centuries;
• Some were akin to the primitive art
- reminding of the fertility rites

56. Early Medieval period
• Where they were
placed on the doors
conspicuously, were
associated with
auspiciousness
(mangala).
• Thus the early
representation of
maithuna seem to
magico-religious in
function.

57. • AD 900 onwards outburst of
profuse and blatant depiction of
maithuna and orgies
(Ex: Khajuraho (950-1150 CE)
• All India phenomenon
• Scenes representing Tantric
Practices are frankly depicted
Later Medieval period :
900 AD – 1400 AD

58. Orgies,
Sun Temple, Modhera
• “…the rapid spread of Tantric
elements and crystallization of
feudal tendencies during 8th-9th
c. CE, … provided a suitable
ground for the outburst”

59. CONTRIBUTING FACTORS: 1. TANTRA influence
“…the rapid spread of Tantric elements and crystallization of feudal tendencies
during 8th-9th c. CE, … provided a suitable ground for the outburst”
- NOT tantric art, but art influenced by Tantrism without being
functionally related to Tantric sadhana.
The Tantric atmosphere of the period reinforced
belief in the magical efficiency of sexual symbols,
belief in their auspicious & luck-bringing power.
The already prevalent depiction of erotic motifs on temples
got further impetus.

60. • Tantrism also caused general
permissiveness towards sex and love of
the body.
• The regional silpa canons permitted
depiction of erotica on both Tantric and
Non-tantric temples.
• Advocated use of sexual means to
attain non-duality, Vs. the idea of
renunciation
• —> lead to veneration of sex
in contrast to condemnatory attitude of
earlier period.
TANTRA influence (Cont’d)

61. Popularity of Purtadharma gave great impetus to
temple- building
Bringing fame and renown on builders. –
Competition among feudal chiefs: larger, more
ornate and embellished temples.
“In no other time in history were religious buildings
so lavishly ornate. They rivalled the splendour of
royal palaces.”
Temples amassed wealth and power; priests and
functionaries indulged in corrupt sexual practices
per literary and epigraphic evidence.
2. Fulfillment of Poortha Dharma

62. Devadasi System:
Puranas advocated dedication of young girls
to temples.
Prevalent in all regions of the country;
Originally had a sacred function, owing to
the belief of the magical efficacy of
performing sexual act near the deity. (But
under medieval conditions, exploited for
sexual gratification).
Voluptous devadasis had to give public
shows (prekshanakams) which were likely to
lead to sexual excesses.
3. Devadasi System

63. The medieval temple is not just a
religious institution or place of
worship
- also a socio-cultural institution with
royal-aristocratic patronage. –
- In this environment and the class
associated with it, the sexual motif
became a major preoccupation of
art.
4. Power of the temple

64. • Influenced by 2 factors:
• Regionalism and conventionalism.
• From about 10th c. regional attitudes
dominated the culture, incl. temple art.
• Both sculptural and literary art were
governed by canons.
• Maithuna became a convention after 900
AD.
• Its depiction, however, was in accordance
with the regional traditions & canons
5. Nature of erotic depiction

65. • Once established in Silpa-canons, it
became a motif by itself exercising magical
power.
• The artists did not have to know the
original purpose of the motif, They just
followed the art-canons without question.
• Probably the original purpose and
meaning were lost over time, and new
meaning or justification attributed to it.
5. Nature of erotic depiction
Osian, Rajasthan

66. Each region had a distinctive local
approach towards erotic motifs –
in their number,
size,
detail,
placement on the temple,
and nature of depiction.
A.D. 900-1400, each region has
interpreted the erotic motif per its own
cultural beliefs and patterns.
Regional variations

67. In the South, erotic figures are believed to
protect buildings from the evil eye.
Puri : erotic sculptures scare away the
demons of lightning. (mentioned in the
Utkalakhanda of the Skanda Purana too).
The Silpa Prakasa of Orissa mentions the
magico-propitiatory and magico-
defensive purposes of the symbolic
representation of sex.
Regional variations

68. The regional schools of Gujarat, Maharashtra and
Mysore recognized the necessity of the
depiction of sexual motifs, presumably for their
magical functions in removing evils.
They do not glorify the motifs. Permit only crude
representation, and relegate them to
insignificant places
No dearth of skill: Elegant depiction of surasundaris
The depiction of maithuna-couples and orgies
flanking images of deities in the temples of
Gujarat and Maharashtra reminds of the
original fertility rites.
It probably symbolizes the maithuna-makaara to
be offered to the deity.
Regional variations
Induru, Karnataka
Badami, Karnataka

69. Chandella and Orissan schools:
• We see a sophisticated, elegant
and frank approach to erotic
motifs.
• The maithuna and orgiastic themes
assigned important places in the
sculptural scheme of the temple
• Their size large enough to attract
the attention of pilgrims.
Regional variations

70. In the Khajuraho temples they are also
carved on the inner wall of the
garbhagriha
In the Orissan school, the placement of
erotic motifs on lotus pedestals
indicates the attitude of veneration
towards them.
The climax of Orissan art is seen at
Konarak where erotic figures pulsate
with the joy of life.
The portrayal of stark sexuality is also
treated lyrically.
Regional variations

71. • Sexual depiction is prevalent in
Indian art from ancient times.
• Expression depends upon the
socio-cultural conditions of the
period.
• Sexual representation of the
Medieval temples  result of
combi. of several factors in the
course of history.
• The already established art-
tradition of decorating monuments
with auspicious mithuna motifs
facilitated the development of
Medieval sexual expression.
SUMMARY
“Multi-Tasking” Thirumayam, TN

72. • Prolific depiction of sexual motifs brought
to the fore by the influence of Tantrism.
• Further impetus by the sensual
atmosphere of the Medieval temple;
• An outcome of a no. of factors like
• glorification of purtadharma,
• proliferation of feudal chiefs and rulers,
• their extravagant expenditure on temple-
building,
• their love for adorning T’s with intricate
alankaras,
• the widespread prevalence of the
devadasi institution, etc.
…. SUMMARY
Virupaksha, Hampi

73. • Conventionalism and regionalism
determined the manifestation of sexual
motifs.
• Sexual representation in Indian culture
has no philosophical or rational
motivation behind it.
• It’s a continuity and persistence of
primitive and popular cultural
elements.
SUMMARY
Dichpalli, AP

74. • Not an anomaly in Hindu culture…
Erotic motifs were in harmony with
the religious environment to which
they belonged .
• They were alankaras!
SUMMARY
Aihole, Karnataka

75. Kumbakonam, Tamiladu

76. Simhachalam, AP
Srimukalingam, AP
Srikurmam, AP

77. Ranganatha, Nellore, AP

80. Aihole, Karnataka

81. Chennakesava, Macherla, AP
Ajanta
Bhatkal

82. Bhormadeo,
Chttisgarh

84. Jagdish-mandir Udaipur
Jagdish-mandir Udaipur

85. HAMPI

86. BAGALI

88. MANDWA MAHAL, CHATTISGARH

93. Sarpavaram
AP

94. Chamba
Himachal Pradesh

96. Uchchishta Ganapathi,
Kumakonam, TN