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[Full title: Erotic Explanation at Madan-Kamdev (9) Exhibitionism]

Another popular motif of erotic art as we have found at Madan-Kamdev is the exhibitionism i.e. the blatant exposition of male/female genital organs. Exemplified this concept, the best surviving sculpture here to the site museum is of a seated man of pot bellied nature to an architrave (fig. 16.1). The head of the image is now totally damage and the remaining part have shown that the man is in an acrobatic pose where the main torso being placed in between the two legs, as if he sit on his buttocks; at the same time, the two hands of the image are being planted on the ground, simply to keep his balance. His erect lingam as well as his testicle are blatantly exposed to the visitor emphasizing an apotropaic concept to work behind the execution of the sculpture. Simultaneously, as being a part of a pillar this sculpture must have serve the purpose of bhararaksaka. The dwarf Yaksas or the Ganas(fig.16.2) are the another important representation that have been found at MadanKamdeva to include in this category. Here, the Ganas are being primarily represented as atlantes or weight carrier (bhararaksaka). It is interesting to note that normally Yaksa and Gana have different iconographical representation, but when they are being used as an atlantics in any Indian architecture they appears to be iconographically interchangeable in their sculptural imitation. Ganas are found as being sited in kukutasana with upraised hands, the palms of the same adhering to the horizontal above. These are the off sized figure in toto as their head and 149 149. Sastri, T.V. G. : Dwarf in Indian Sculpture,(An articles) Published in the Journal 'Art Asiatiques', Vol.VI, 1959, p.51.

150 203 stomach portion are disproportionately large and archaic in nature comparing to their hands and legs. Normally the atlantid Gana to the Indian architecture equipped with an apotropaic concept with their exposed lingam. But, in case of the Ganas at MadanKamdeva, the erosion have made it now quite difficult to identify the sign of the erect lingam and thus to confirm its apotropaic concept. Similarly with exposed genital organ another highly eroded nude female figure is there to an architrave to the site museum at Madan-Kamdev (fig.16.3). This figure, shown to be seated on a peculiar type of bowel with uttanapada posture and thus she has denuded her yoni to the visitor. Unfortunately, in its present state of condition, the erosions have distorted not only the beauty of this sculpture but at the same time it has also made it now quite difficult to ascertain the exact identity of the sculpture. Apart from that, some highly eroded sculptural representations also survived to the narathara section which can safely be included in this category of exhibitionism. Thus, attracting our attention the first sculpture of our consideration is of a female figure stand with her out stressed legs and accordingly intended to exposed her yoni pradesha more accurately to the visitor with the help of her hands(fig.16.4). Similarly there are some other female figures who stand straight and keeping their hands apart around the middle part of their body in such a way that they intended to expose their physique to the visitor(fig. 16.5). However the amount of exposition of these representations are not so acute enough, comparing to the other sculptures of this category at Madan-Kamdev. 150. Thomas & Danaldson, Op-cit, 1158.

204 Now in explaining this matter of exhibitionism it is interesting to remembers that Yoni is a surrogate of energy or power 151 and it being always regarded as a life giving force. Similarly, the erect lingam generally refers to apotropaic power rather than sexual excitement. In other word displaying of sexual organ is.......to be an 152 154 153 act of defance to turn aside evils in magico-religious beliefs and practices. Thus, yoni and lingam have an auspicious and defensive character and accordingly both of them endowed with magical power. This perception, however of male exhibitionism have became popular to Indian architecture, in the form of Yaksas/Ganas, after 10 th Century A.D. and from that time onward only, they are frequented to the tala bandhana beneath the raha nich or at the top of stambha designs to support symbolically the baranda moulding of a temple. 155 Thus, the first two representation i.e. the headless male sited in acrobatic posture with erect lingam and the Ganas, certainly have beared an apotropaic concept with them to expose. But at the same time their limited availability to the trances at Modan-Kamdeva, have issued for us a renewed scope to think about their chronological sequences and accordingly we can sum up only with a generalized view that the apotrophic concept and its sculptural execution have not received their popularity with the sculptors at Madan-Kamdev and in that sense these can be regarded as the product of a transitional period when this 151. Ibid, p.1156. 152. Ibid. 153. Desai, D. Op-cit, p.77. 154. Ibid, p.94. 155. Thomas & Donaldson: Op-cit, p.1158.

205 architectural principle seem to have gained its ground to the soil of this great centre of plastic activities. On the other hand, the next representation i.e. the deity with uttanapada posture looked to be an attempt to depict popular Tantric from of rite, yonibhisekha. This is a Tantric rite in which a yoni being prepared in a ritualistic mode of consecration. In a normal yonibhisekha representation, a second person is always there as in charge of preparing yoni for a ritualistic consecration of sex. However, in case of this representation here at MadanKamdeva, no such person is there and instead of that two snake like twizer with their open mouth look to have survived on the two side of the yoni as if they are preparing yoni of the deity for any rituals. Again after repeated observation it appeared that the deity sits on a Siva linga. Thus, the deity whose yoni being placed in contact of a Siva linga look to have offered her stimuli to the same only after the appropriate performance of yonibhisekha rite with the help of some twizer like objects of the linga. The offering of female stimuli to the god is a common phenomenon for any Tantric from of rites. The sophisticated version of this Tantric tradition survived even today also, when water or milk as the substitute of female secretion being offered to the god through the cup of argha which are in the shape of yoni. The Worshipper also remain thankful to the god after accepting this water or milk as Padjal through the delicate triangle of the argha, an artificial representation of the sexual triangle of the woman folk. However, the popular tradition referring to the drinking of Padajala, in 156. Ibid, p.1189. 157 157. Wall, A. : Sex and Sex Worship, 1919, pp.479-80.

206 search of the blessings of the god certainly have its connection with the Tantric concept of Rajapana. On the line of this discussion we can consider our concern sculptural representation as being the raw version of the offering of female stimuli to the Siva linga. Thus, it is the only erotic presentation available. at Madan-Kamdev whose presence being coup up with a Tantric from of worship. Other types of presentation of this category as available to the narathara section look to have no ritualistic exposure in their stand. As described earlier there are two type of representation and in the first of its kind, an woman intentionally expose her yoni pradesh(fig. 16.4) which can be considered as a defensive attitude, so to protect the constructing arena of the temple from the evil eyes or from any evil designs. The genital organs, as stated earlier, have an inbuilt defence mechanism and their instant considered as an act insult, which sufficiently decompose the enemy at their first sight. Even today also the symbolic expression of male female genital organs with the help of different hand gestures have popularly used in resisting his or her opponent. Another important point to observe about this representation is that it being affix to the cornice of the main temple plinth and accordingly stand in a delink state of condition with the other descriptions as available to the narathara section of the main temple plinth. Depending on that discussion it can safely presumed that this is certainly be a totem used to the temple plinth as a means of popular defance. In representing the glamorous expression of physical beauty, the other female figures of this category, to the narathara section as describe earlier, might have referred to the existence of i

207 a special class of woman whose survival being primarily based on their exposition of physical beauty as well as their proficiency in sixty four kalas(fig. 16.5).