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[Full title: Erotic Explanation at Madan-Kamdev (4) Guru/Ascetics]

To the narathara penal there is another sequence which being composed of an ascetic/guru in an initiating mood, as if he initiated or conducting his usual siksadana secession by muttering mantra in a special gesture (fig. 13.1). The solitary figure of the meditating guru, here in this sequence, has procured an woman as his associate, however the erosion have made it now quite difficult to ascertain her working involvement in this very scene. 124 Regarding the presence of an ascetics in an architectural penal it should be remembered that in contrast to the paucity of inscriptional evidence crediting king with the construction of specific temples, new motifs are introduced in the iconographic programme in the mid 10 th century, possibly influence by the emerging popularity of the Kaulacaras, which testify to the increased importance of the guru and the patron in the changing socio-religious concept of the temple complex. The Kaulacare, while stressing on muttering of mantra and the instruction of guru i.e. by emphasizing on a cult of individuals they simply opens the door to the depiction of royal figures in the iconographic programme and eventual secularization of the temple complex. For the Kaulacaras Guru is the father, guru is the mother, guru is god Mahesvara himself, even when god Siva is wroth,, the guru is the savior, but when the Guru himself is angered, there is none to save. Depending on a verse as quoted by Jayadratha (12 th century), in his commentary on Tantraloka of Abhinavagupta, D. Desai intended to state that kaula Tantra was originating in Kamrupa. The pages 125 124. Thomas & Donaldson: Op-cit, p.1170 125. Ibid. 127 126. Avalon, A & Padia, Matshya Purana (ed.) : Kularna Tantra, 1965, pp.77-81 127. Desai, D. : Op-cit, p.127 126

192 of our own Yogini Tantra have also reflected the popularity of Kaula Tantra in Assam where a complete chapter being dedicated in respect of guru and his role in the life of man. Thus, to explain the very scene of our discussion when we referred to its nearby sequences, on one side first there is an woman who look to be hammered on something (due to erosion, it is now quite difficult to identify the exact object on which she hammered), there is another highly eroded scene of copulation almost of Yab-Yum type. On the other side of the sequence of guru, there is a penal, joined perpendicularly, by placing an woman at the cornise. The penal composed of are two highly eroded sequences, probably of divine personals of pot bellied identities. Exposed genitalia along with weighty testicles are two of the important features of these divine personals to look. In its present eroded state of condition, it is now difficult not only to confirm the exact identities of these two short statured corpulent bodies but also to ascertain the working activities of other corresponding sequences. Under such circumstances, no concrete, explanation or the reason behind the existence of guru to this architrave is possible except the scene of Yab-Yum. YabYum is an unique erotic representation, primarily concern to Tantric Buddhism. where a couple sits in close frontal embrace. This coitus posture being specifically prescribed for delayed ejaculation or it is a pose served as coitus reservatus. In Buddhist Tantrism and in some school of Hindu Tantrism (Nath and Sahajiya scct.), the semen called bodhichitta or bija is not to be cast. The fall of semen considered as 128 128. Ibid, p.44 129. Ibid, p.77 129

130 131 193 a great sin. The Semen must not be emitted otherwise Yogins falls under the law of time and death. So to check the flow of semen, the sadhaka normally preferred to practice hatha yogic technique. The Yab Yum type as shown to the narathara section at MadanKamadeva though not be designated as a complete sexo-yogic or hatha yogic posture, but still the in composed complexities as it exposed to the visitors have inspired us to recon it as being an alternate method symbolizing coitus reservatus, designed specifically for any Tantric sadhana. Again, in attempting to resolve the problem of the identities of two pot bellied sculptures on the other side of our concern sequence of guru, the point that came to our mind is that these two idols have showed close physical resemblance with some important gods both for the Hindu and Buddhist, namely Ganesh, Kubera and Jambhala. Interestingly these gods are always stands in corporation of the concept of prosperity. Further, the question regarding their exposed genetalia it should be remembered that the genital organs have always been considered with a defensive identity. In this direction it is also interesting to note that the aim and objects of the tantrics were either to obtain emancipation or the countless Siddhis or perfection, mostly for prosperity and happiness in the present life. Thus, by applying the theory of permutation and. combination, the matter can safely be sum up in the following words that though not the exact identities, these two looked to be the divine scions of popular worship, taken place in search of 132 130. Ibid, p.114 131. Dasgupta, S.B.: Introduction to Tantric Buddhism, 1950, p.187 132. Bhattacharyya, B.: An Introduction to Buddhist Esoterism, 1964, p.83

194 protecting prosperity. Secondly guru, a technical expert of Tantric sadhana here being represented as an official in charge of instructing, initiating or concluding any Tantric sikshadana session for prosperity and happiness in which maithuna is to be the ultimate rite to perform.