This indispensability of sex in life manifested best in medieval Indian sculpture and architecture. For some four hundred years the sculptor discovered his essential man and woman and architect the exterior of his temple in youthful vigorous couples engaged in activities which manifested 'kama', the sex. It was a complex kind of visualisation, expressed best in the temples of Khajuraho and Konarka, wherein the architect 'sculpted' the temple, enshrined the 'divine' but discovered in 'love' - the manifestation of 'kama', his prime thought and aesthetics.
This wooden panel, chiseled with fine strokes and minute details, though not a true copy in size or dimensions but truer one in spirit and theme, imitates the timeless art of Khajuraho - theme, style and thought, in its essence. It combines a number of significant sculptures, which characteristically define Khajuraho's vision of 'kama'. It depicts various modes of enjoying sex. The central part of the panel consisting of the couple engaged in coition and a female and a male figure flanking on the right and left represents in all exactness the central panel of the eastern facade of the Kandaria Mahadeo, the best known of all Khajuraho temples. This panel adheres to one of the 'asanas' identified in Vatsyayana's Kamasutra. In this mode of union the female lands with massive force from above and the male hooks her by her vulva and holds her on his organ. It makes penetration deeper and the delight transcendental. The maiden on his right is in an attempt to draw his arm. She will be contented even if he titillates her vulva by his fingers. The excited male on left resorts to masturbation.
There are on the left side of this central couple three figures - a male in the middle and two females on sides. The male would have preferred union with the woman on his left but instead the maid on his right takes possession of his phallus. The helpless man contents himself and the expectant partner by mere titillating her vulva, though in the process he enjoys two instead of one partner and has his pleasure doubled. As for the woman on his right even the touch of his organ sends her into a trance. Towards right to centre one male is coupled with three females. With one of them he is engaged in sexual congress whereas the other two, perceiving no chance for themselves, attem pt at satisfying themselves differently. The woman on couple's left is seen inciting her companion on her left for homosex and the maid on extreme right is satisfying herself with her own hand.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
Of Related Interest:
Khajuraho (Grey Stone Sculpture)
Khajuraho (Batik Painting On Cotton)
In That Heaven Where Faces are Flowers and Eyes Fragrance (Miniature Painting on Paper)
Erotic Sculpture of India A Socio Cultural Study (Hardcover Book)
How to care for Wood Statues?
Wood is extensively used in sculpting especially in countries like China, Germany, and Japan. One feature that makes the wood extremely suitable for making statues and sculptures is that it is light and can take very fine detail. It is easier for artists to work with wood than with other materials such as metal or stone. Both hardwoods, as well as softwood, are used for making sculptures. Wood is mainly used for indoor sculptures because it is not as durable as stone. Changes in weather cause wooden sculptures to split or be attacked by insects or fungus. The principal woods for making sculptures and statues are cedar, pine, walnut, oak, and mahogany. The most common technique that sculptors use to make sculptures out of wood is carving with a chisel and a mallet. Since wooden statues are prone to damage, fire, and rot, they require proper care and maintenance.
It is extremely important to preserve and protect wooden sculptures with proper care. A little carelessness and negligence can lead to their decay, resulting in losing all their beauty and strength. Therefore, a regular clean-up of the sculptures is a must to prolong their age and to maintain their shine and luster.
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