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[Full title: Erotic Explanation at Madan-Kamdev (5) Vayantarata and Homosexuality]

The representation of secular sex or the sex in harem is one of an important feature of the erotic sculpture, available at Madan-Kamdev. Depicting two of the most familiar sexual motif of Indian erotic art, Vayantarata [=Vyanta-Rata?], and homosexuality, two consecutive sequences are there on the right side of the main temple plint which can better be described as the best surviving representations of secular sex at Madan-Kamdev. Referring to the sequence of Vayantarata(fig.14.1) i) there is a couple in which an woman being mate by the male from the rear, ii) a male attendant, stand in front of the mating couple and helped the woman to bend forward and to accept penetration from the rear in ease iii) another woman sit behind the couple with a such an expression that she tried to reject her sight as far as possible from all sexual activities occurs in the scene. In the second sequence there are three women, two of them being depicted here as engaged in homosexual activities, other woman while sitting on a stool, here also, tried to repudiate herself completely from the activities of the women by turning her head completely towards her back. While to explaining the sequence of Vayantarata, a general suggestion made by Desai over the question of the presence of male attendant in an erotic group have raised a new speculation

195 133 about the secular identity of the sequence. According to Bana's descriptions in Harshacarita, no male attendants are allowed to the Indian harem excepts the dwarfs, their presence (male attendant) may be regarded as an indication of ritualistic sex. Thus, in case of our concern sequence, repeated observations, specially on the professional get up, have made it confirmed that the person attending the couple is no other than a dwarf. This normally inspired us to designate it as being a representation of sex, if not of the royal harem but at least of an aristocratic life circle. Availing further confirmation to this conclusion, there is another sequence, just immediate to the sequences of Vayantarata [=Vyantarata?] where a male and a female stands face to face and hold their hands to each other as if they are in a deal for any sexual act. 7 Similarly to explain the next scene, we have to remember the summarizing conclusion put forwarded by historian D. Pattanaik about homosexuality that in the Hindu literature the concept of homosexuality though not be recognized or approved as a part of the mainstream, but its existence was acknowledge. In the Mahabharata, it is stated that sometimes two women together unite in the sex act, one of them holds artificial male organ. Kamasutra too refers to artificial organs. There is mention of the use of a phallus shaped 135 136 134 plant by women. Different treatises like Manu Samhita Narada Smriti, 137 138 Yajnavalka Smriti defined homosexuality as an 133. Desai, D. : Op-cit, p.141. 134. Wikipedia: http:/pattanaik d.erotic art @ 2005. 135. Banerjee, S.C.: Crime & Sex in Ancient India, 1964, p.139. 136. Manu Samhita VIII/369 to 70. 137. Narada Smriti XV/76. 138. Yajnavalkya Smriti 11/289.

196 unnatural sexual behaviour of the human being and condemned it as punishable. In this connection, the Kamasustra of Vatshyana have made an interesting description of both masculine and feminine type of homosexuality. Referring about the feminine type of homosexuals, it has informed us that a special class of woman was there to the Indian society, known as Svairini (Suvarnanbha) who normally gave preferences in making relation only with her own kind and they refused to accept any restriction on their sexual liberty. 139 Thus these two sequences ie the sequence of Vayantarata and homosexuality, can safely be considered as the true representations of a high profile amorous sentiment of our ancestral society. In support of this conclusion we can put forwarded a general explanation that our age old sculptors have always tried to maintain a close circuit relation with their wealthy patronisers. This tendency provide an indirect opportunity to get themselves informed about the sexual life of the harem as well as to realise the sexual fantasy which are highly proactive to the leisure loving mind of the upper class people of the society, as we have stated earlier. Thus, primarily to appease the sexual fantasy of their patraoniser, the sculptors, adorned with the spirit of their well acquainted knowledge's about the sexual activities in the harem, inclined to depict these type of secular sex on the outer surfaces of the walls of our religious shrines, the best providing ground where only the sculptors have the scope to expose the senses of their aesthetic excellency. 139. Upadhyaya, S.C.(tr.) : Kamasutra of Vatsyayana(1961),1984,p.89.=