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[Full title: Religion or Religious Condition (B) Tantrism (2) Aesthetic Explanation of Tantric Ideal at Madan-Kamdev]

With this brief discussion, let us now examined the matter about the all possible aesthetic explanation of Tantric ideals to the available sculptural product here at Madan-Kamdev. Before initiating discussion, one has to remember the following points, first, there are two categories of art in relation to Tantrism i) the genuine Tantric art consisting of mandala, yantra, symbolic union of male female principles, divine couples etc. which are all functionally related to Tantric sadhana ii) art influenced by Tantrism without being functionally related to it like sexual orgies and human couples. Secondly, it should further be mentioned that art has voiced the truth and values of India's endless metaphysical quest. Accordingly, there are some sculptures in the medieval period which have duly exposed the prime metaphysical truth of Tantrism i.e. unity in duality in the name of the combine effort of male female principle, however, of divine standard (as stated earlier) like Siva-Parvati, Dhyani Buddha-Prajnaparamita, Manjusri-Tara etc. All these divine representation are of mithuna in nature. This concept of unity in duality, has an another aspect in term of the maithuna sculpture of human nature where couple are normally in a self absorbed stage of mind, that means, they abstain themselves completely from the world of activity, in other word they are in a stage of illusion or Mayasakti which is the prime essence of Tantrism. 170 Thirdly, the Tantric concept of unity in 169 168 167. Desai, D. : Op-cit, 1985, p. 144. 168. Mukherjee, R.K.: The Cosmic Art of India, 1965, p. 45. 169. Ibid, p. 44. 170. Ibid, p. 41.

} 271 duality had an another meaningful aesthetic exposure in terms of the antipodal principles and aspect of life as exposed in combine efforts of tender fierce, sweet dreadful, serene-tumultuous etc. Thus, whatever might be the criteria of Tantric exposition, here at Madan-Kamdev our virgin sight was attracted simply to a concept of negativity, in a sense that no such major Tantric representation (in terms of mithuna and maithuna) are there to execute prominently, except the divine couple in the garbha griha of the main temple. This observation is only because of our humble consideration that mithuna (Characteristically divine in nature) and maithuna (mainly the yogic natured one) are two of the elementary aesthetic items which beared the optimum scope for any major Tantric explanation. The reason behind this negative application can better be explained to a well known fact which referred Kamrupa as one of the most celebrated land for any Tantric performances of ultimate standard. Tantric observations, (mainly the extreme natured one) are always sought to be esoteric in nature. Thus, the sculptors and their patrons who were born and brought up in a pro-Tantric atmosphere here in Kamrupa, must have beared a deep sense of respect to those secret Tantric observation which in turn inspired them to refuse any pro-Tantric elaboration to the walls of their prime constructions. That means 171. Ibid., p.42. As for example Siva on one hand, embodies sexuality, fertility and the abundance of nature, but on the other, he represents the great ascetics, whose sexual passion are completely sublimated (Stutley, M.: Illustrated Dictionary of Hindu Iconography, 2003, ix). Similarly the lord has a clam and contemplative mood, but at the same time, he had a fierce appearance with lord Bhairava and Vice-Versa.

272 negative appreciation 172 here at Madan-Kamdev, was nothing but an effort on behalf of the sculptors and patrons, by which they tried to show their utmost sincerity to the concept of Tantric esoterism. However, regarding this it should further be remembered that the least possible exposure of Tantric ideals as we observed is not an unique phenomenon only to temple ranges at MadanKamdeva, but it found to be the best preferred aesthetic principle of this region, 173 probably in the name of paying homage to the highly favoured concept of Tantric esoterism. In other word, the concept of negative aesthetic sensation seem to be a technique used here to express gratitude to the popular ideal of secret Tantric culture at Madan-Kamdev. Along with that, sculptor here at Madan-Kamdev tried to express their gratitude to the Tantric ideals in terms of another important metaphysical concept of Tantrism i.e. ''unity in duality' in their overall execution. In aesthetic, different type of formulations have been applied to explain the concept of unity in duality or the antipodal aspect of life. And among these formation mithuna and maithuna, representing a concept of unity in the male female principles found to be the most popular one. 172. We tried to apply term negative here not to mean that the sculptures of Madan-Kamdev strictly avoided all type of Tantric depiction but to make it clear that the sculptor here, selected those section of the temple for pro-Tantric elaborations which are not easily visible to the visitor in their first sight. 173. Even to the wall of the famous Kamakhya temple, the epicentre of Tantric culture, no such elaboration in terms of mithuna or sexo-yogic maithuna sculptures are there to observe.

273 Fortunately, we have found both mithuna and maithuna type of sculptures here at Madan-Kamdev. The mithuna sculptures of this site are mainly of divine in nature and they are all blatently exposed to the visitors, comparing to those of the maithuna sculptures. As stated earlier, the deity in the garbha griha of the main temple plinth at Madan-Kamdev is in a mithuna formate of Uma-Maheswar. Apart from that, two other mithuna sculptures are there, one of them in relief form attached to the narathara section of the surviving temple plinth while the other is now conserved to the site museum almost in a broken state of condition. Except the couple to the narathara section, other two have showed a divine bondage in their exposition and accordingly they can be referred as two of the ideal product of genuine Tantric art. 174 Regarding the execution of maithuna sculptures, it is interesting to note that Tantrism was one of the major factors in bringing about the transformation in the depiction from mithuna to maithuna. Along with that people's belief in the magical efficacy of sex and its increasing social acceptability (to the depiction of sex) with the passes of time, were two of the other causes to work behind this conversion. 176 Whatever might be the cause of their conversion, it is true that both Hindu and Buddhist Tantric considered maithuna as their ultimate essentiality, without which no Tantric sadhana 177 ever be complimented as successful one. Mithuna and maithuna are the culminating point of the observations of five ma-karas along 174. The genuine Tantric arts are those aesthetic product which have practical use in any Tantric form of sadhana. 175. Desai, D. : Op-cit, 1985, p. 145. 176. Ibid. 177. Kakati, B.K. : Purani Kamrupar Dharmar Dhara(As), 1955, p. 95.

} 274 with four others, namely as madya, mina, mamsa and mudra. Here the term mudra can be explained with different meanings i) as symbolic hand gestures, ii) as fried rice, iii) a female partner in Tantric rites, iv) as a particular posture of congress in Tantric rites and v) as attitudes or positions of the body in hatha yaga, through which a sadhaka tried to control nerves and muscles of a particular region of a body. 178 Maithuna and mudra in terms of a particular posture of sexual union are intimately connected with each other. In explaining the fact it is interesting that - Buddhist and different schools of Hindu Tantrics, considered semen as their ultimate bija and so they never like to flow it out, and thus with the hatha yogic practices of mudra, bandha, asana and pranayama, they would normally tried to check the flow of their semen at the time of their ultimate performance of sadhana. 179 Unfortunately, we have found no such yogic natured maithuna sculptures at Madan-Kamdev. Sexual orgies that are available mainly to the narathara section of the main temple plinth have beared an aristocratic appearance in their exposure (as explained in earlier chapter). In other word, while referring to the composition of sexual orgies, no such major Tantric sentiment is there to observe, except the scope for the exposition of the concept of fertility in their execution. That means, on the line of sexuality,. no such acute Tantric explanation is possibly to those sculptural 178. Desai, D. : Op-cit, 1985, p. 235. 179. Sacrifice of semen to the fire or to the deity is an another aspect of some of the school of Hindu Tantrism. Thus, the maithuna mainly of the yogic natured one can better be considered as an art produced under the overwhelming influence of Tantrism.

275 composition at Madan-Kamdev. This was possible for the shake of extreme esoteric concept involved with the performances of maithuna. Thus, though not at the edges of sexuality, the influence of Tantrism to the sculptural composition of MadanKamdeva however, be referred to some other explanation. Accordingly, there are some sculptures which have clearly reflected a Tantric concept in combination of attributes of charming and demonic i.e. the miracle of interplay of antipodal aspect of life - tender and fierce, sweet and deadful, serene and tumultuous. in their composition. As for example, the sculptures of Vaikuntha Vaisnavi with her serene beauty being represented in demonic character as she sit on a dead man whose body has been eaten by a fox and birds from two sides. Similarly, the deity identified as Tritria Tripura, may also be explained as combine effort of a charming beauty and a demonic character specially when we observed that this beautiful deity being adorned with a naramundamala (which is nothing but an explanation of her malicious character) around her waist portion. The existence of these type of deities have normally highten the importance of this locality with Tantric modalities. Apart from that, the sculptures of Madan-Kamdev have also successfully highlighted some other important features of Tantrism. Best among them is the concept of fertility. Normally, the erotic representations are referred in appropriation of a magico- religious concept of sex i.e. the fertility. But, at Madan-Kamdev, the erotic representations have conveyed an aristocratic or palatial character in their exposition and thus offering us a limited scope to have 180. Mukherjee, R.K.: Op-cit, p. 42.

276 any explanation of the concept of fertility. Still, there are representations, specifically the scenes of bestiality and pair of pigs in which one mate with other from the rear, with whom we can safely assigned the concept of fertility. 181 As stated earlier, it was from eight century A.D., Tantrism has slowly gained its ground throughout the Indian sub continent and ultimately every older religion lost itself in the maze of mysticism and engulfed by host of mudra, mandala, kriyas and charyas. Indian aesthetics while serving as the reflector of different social values have normally tried to expose all these changing social modalities in their presentation. The available aesthetic products at Madan-Kamdev are the best prove example of this fact. Accordingly, on the way to explain the possible aesthetic appropriation of Tantric culture here at Madan-Kamdev, another identical composition of eight pateled lotus chakra, scattered to the entire ranges of this famous archaeological site, have attracted our attention (fig. 18.5). There is no doubt about it that these are all the broken part of temples. But still, the nature of their execution, more appropriately, their composing similarity with a specific description of the Kalika Purana have tempted us to call them as Surya chakras or an attempted derivations of Surya mandala. 182 Though they are not in complete bartualakar shape, but still the two lump, one above the other, with eight symmetrical divisions in the centre and their astadala composition have the special significance to note. As we all know, Tantra prescribed a short cut route to moksa or ultimate liberation with the help of 181. Majumdar, R.C.(ed.): The Age of Imperial Kanauj, 1993, p. 259. 182. Barttulan Mandalam Casya Astapatrasamanitam (Kalika Purana 78/48).

277 some magical and psychological aids and of them mandala and yantra are two of the prominent aids for any Tantric sadhana along 183 with mantra kavachas and mudra. Each mandala is associated with certain rites and ceremonies for worshipping deities or propitiating the evil spirit. 184 That mean, Surya or Sun also appeared to have enjoyed a Tantric affection here in Kamrupa. However, that affection was exposed not to his any other aesthetic representation but, only in consecrating his mandala to the walls of the temple and thus to save them from the sight of the evil spirits. Again in assigning these Surya chakra with Tantric affiliation it is interesting to find that these identical representation have beared the similarity with the Vasikarana Yanta of astadala formation(Fig. 21.2). Normally, mandala and yantra consists of two concentric parts, one formed by the eight central petals of the lotus and other by triangles as it appeared almost in all major yantras like Devi Yantra, Sri Yantra etc. This has further strengthen our presumption, specially when we tried to assimilate the identity of these Surya chakra with a Tantric subscription. Despite of all these identical representation, Madan-Kamdev however, can never be explained as a product of genuine Tantric art as their product have beared a decorative insignia in installation. However, in creation, these type of aesthetic product certainly have raised some amount of inspiration from peculiar Tantric formulations. That means, though these are not the product of genuine Tantric art but still they can be referred as the product of Tantric inspiration. 185 183. Desai, D. : Op-cit, 1985, p. 114. 184. Majumdar, R.C.(ed.): Op-cit, 1993, p. 264. 185. Douglas, N. : Tantra Yoga, 1971, Pic.

278 Apart from that, there is an unique sequence to the narathara section of the main temple plinth which has represented a concept of a subsidiary Tantric culture, practiced in Kamrupa at one time. This sequence represented a scene of human sacrifice in front of a peculiar type of deity. Regarding human sacrifices it should be remembered that the pro-Tantric treatises, like the Yogini Tantra have issued due recognition to the concept of the sacrifice of human blood. The continuous courses of the sequences of the narathara section of the main temple plinth at Madan-Kamdev, have suggested that in this specific representation a war captive being sacrifice in front of a unique deity. The deity before whom the captive being sacrificed appeared to have a special identity not only because of his pot bellied Ganesh like appearance but also because of his ayudhas that he holds in his two hands i.e. a small knife in his right hand and a bowel in his left hand from which he drink something with the help of a straw like article. Thus, his overall appearance inspired us to call him as being an image of Agnibetala, the Tantric form of lord Ganesh. Whatever might be the fact, naravali or human sacrifice is an age old tradition of human civilization which being systematized here in Kamrupa at least from the time of 11 th/12 th century A.D. i.e. from the probable date of the initiation of the Kalika Purana. This. tradition was continued, though not in vigorous manner, in the eastern part of Kamrupa till the reigning period of great Ahom 188 186. Sarmadoloi, H.N. : Asomat Sakti Sadhana Aru Sakta Sahitya(As), 1998, p. 192. 187. The Kalika Purana has made due recognition to the system of sacrificing war captive : 67/106-107). 188. Kalika Purana 79/100-101.

279 king Gaurinath Simha. In introducing this tradition of naravali with a Tantric inception it should further be remembered that with the passes of time, the Tantric practices became mixed with Kapalika, Aghori, Nathist, Saivite and Shakta rite and also with more primitive tribal and animist influences and thus coup up a concept of sacrifice in its fold. 189 Again, the term Tantra implies a system, of practices, specially the magical one, if it is systematic should better be termed as Tantric by nature. discussion has made it clear that the Kamrupi society was bit more frequented with the heinous tradition of human sacrifice, which is nothing but a magical concept of Tantric initiation, practiced purely in search of fertility, as we have explained in our earlier chapter. Thus, the Apart from that there are some other sequences to the narathara section of the main temple plinth which have represented some pro Tantric social activities like the production of alchemy, existence of Guru, Devadasi 191 etc. All these exposition normally led us to conclude, all along the line of proposition put forwarded by Directorate of Archaeology, Assam that MadanKamdeva was an important centre of Tantric mode of worship. Regarding this we would simply like to add that no such acute Tantric exposition is there to find among the available aesthetic products at Madan-Kamdev. This is because of an obligation or respect to the concept of Tantric esoterism. Despite of all negative 189. Douglas, N. : Op-cit, 1971, p. 13. 190. Ibid, p.3. 191. The institution of Devadasi might have developed in Assam under Tantric influence as described in the Yogini Tantra Choudhury, P.C. : HCPA, 1987, p. 326.

280 sensation, the influence of Tantrism reveal here in terms of expressing the unity in the antipodal aspect of life along with the concept of fertility and some other social activities popularly referred in association of Tantric culture. On the light of these exposition of Tantric influences if we tried to have the solution of an another important question regarding the specific sectarian obligation that the aesthetic product have beared with any of those medieval Tantric sects of our earlier discussion, again the problem of negativity stand on the way of our assessment. But still, the majestic presence of Uma Maheshwar in Yugal form in the garbha griha of the main temple, along with some sequential representations to the narathara section exposing the tradition like using of wine even by the womenfolk on the occasion of the performance of linga puja as well as scene representing to the tradition of preparing rasaysana etc. have inspired us to make some unrest proposition that almost all Tantric tradition like the Kapalika, Kalamukha, Nathpanthis are highly pro-active in the Kamrupi society. The tradition of hatha yoga or kaya sadhana, one of the primary item of all Tantric sects certainly have enjoyed popular respect from the people of Kamrupa but, they in the name of their respect to the ideal of Tantric esoterism, never stand in favour of depicting them to the walls of their respective temples.