Brahmi Publication

Mithila, History, Literature and Art

Lakshminath Jha: His Magnum Opus


Paintings : Lakshminatha Jha

by Dr. Mitranath Jha

Sexual drive has always been a significant factor in human life and its proper development. Sexual inspiration has its original and intimate connection with the religious, mythological, magical and other valuable elements of human growth and development . The language of sex has been so allusive that it is virtually impossible for the seeker to discover the factual truth behind the multi-layered mysteries of imagery.

Our ancient sages have always devised the real paths to human liberation. Maharshi Vatsyayana was the greatest thinker of his times and his KAMASUTRA is a monumental treatise on the science and art of love of all-time significance.

Much has been done on the KAMASUTRA of Vatsyayana by Indian as well as foreign scholars but as regards the integrity of the works, either they have taken certain plates from certain temples or places of architecture or they have used the photographs of some ancient classics for the production of their works in an attractive manner.

The most significant and striking factor of our present work is that we have given herein multi-coloured picture plates created by one of the most brilliant artists of this region. With the artist’s ingenuity, we have embarked upon the project to explain each and every sutra of Vatsyayana with a synchronous illustration through multi-coloured picture plates prepared by the artist himself. The work with the English and Hindi-renderings of the original sutras with their profusely illustrated annotations , has thus turned into an exciting reading and also an authentic research material .

The book originally envisages nine broad divisions of Vatsyayana’s treatise on Indian Erotica- covering the classification of male and female genitals, the erogenous zones in human bodies for sexual stimulus and finally various attitudes in coitus. While dealing with Vatsyayana’s erotology i.e. embossing, caressing , kissing, fondling, nail scratching and biting in love-play, we have tried to preserve the classical grace of the original sutras in the annotations and also in the paintings.

Further, the ethnocentric classification of male and female – their sexual mores and taboos, habitual preferences including coitus between partners of varying age brackets and aphrodisiac mannerism have also been painted with appropriate explanations. In this rare compendious volume of Indian Erotica, profusely illustrated throughout with the superb paintings, one can enjoy the real sexual ecstasy combined with spiritual bliss.

This book is a unique and enviable collection of erotic paintings, strictly based on the sutras of Vatsyayana . It is unique, both culturally and in its contents. It provides an important source for the scholar, critic and psychologist as also is of equal interest to the general reader for the insight it gives into the society which accepts sexuality as a positive. phenomenon and its elaboration as part of a civilized and cultured life.

The ethnocentric sexual habits and likings among the men and women of Avanti, Abhir, Malva, Eravati, Nivada, Sindh, Shatadra, Pataliputra, Kamrup, Utkal, Kaushal, Dravida, Laat et al, characteristically varying in their preferences, are erotologically formulated in the sutras we have explained in our annotations and delineated in the picture plates. Although the facts are related to the men and women of the Vatsyayana era, they are basically primordial, so relevant to our times, too.

The archaic names, prevalent in times of Vatsyayana’s Aryavarta, have their unmistakable counterparts in the modern states of Gujarat , Andhra Pradesh , Madhya Pradesh, Tamil Nadu , Orissa, Bengal, Bihar, Maharashtra and others . Accordingly, the men ad women of the Maharashtra regions are described adept in all sixty four skills (64 kalas) of love making The picture plates of Attitudinal postures in coitus are relatively closer, rather closest, to Vatsayana’s Sutras than those in which erotic art has the touch of the artist’s innovation.

Utphullaka (Blossoming), lndranik (knotting of thighs), Samputaka ( clasping of thighs ), Piditaka (oppressive posture not to be confused with ‘masochism), Benudarita (Bamboo splits), Sthirarat (Suspending) and Biparitarat (role reversal coitus) are all annotated with the paintings tru to the sutras of Vatsyayana. In oral congress, the various techniques of fellatio like Amra Chusitaka (mango sucking), Tongue – caressing and soft- biting are, according to Vatsyayana the techniques for prolonged orgasm to maximize ecstasy . All these techniques have been well – depicted in the paintings in an erotological way so as to give the clear concept of the items .

In addition to above, Coitus Interruptus for contraception and animal techniques like those of horse, dog, deer, donkey and elephant for innate pleasure as well as procreation have also been dealt with and depicted to suit both the contraceptive and procreative purposes as desired.

Depicting animal sex in the backdrop, we have projected human sex acts to the best of Kama Sutra’s picturisation. Thus the picturised explanation of the concerned sutras in the contraceptive dimension makes this work of art tremendously relevant to modern-day needs.

Finally this compendious volume containing 115 (one hundred and fifteen) multi coloured plates and textual contents running into 245 (two hundred and forty five) pages, is a unique blend of intellectual height and artistic flight of imagination. This is a life time work of a dedicated artist and a devoted researcher . This work will prove an asset to any collection, private or public or any national as well as international institution of excellence. This work is undeniably a unique and historic contribution to the area of Indian Erotica.

Publishers may contact for the publication of the complete book.

error: Content is protected !!