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real obligation to the silpa cannon, the artist who were employed
for all these constructions must have intended to satisfy the mind
of their patronizer at their best possible ways.
Accordingly, Kamrupa, a highly pro-active region for
actual Tantric practices, the patroniser and even the commoners
are well acquainted with the esoteric nature of these religious
performances. After the 5th century A.D., the fresh batches of
migrated brahmin, majority of whom though have enjoyed almost
a feudal status, attempted to have the purity i.e. the much talked
secrecy of their class distinction. Under such circumstances, the
emerging feudal lords of Brahmin by-caste along with the purohita,
the most indispensable part for all type of religious activities in
the temple, have never inspired the employed artist to make these
secret performances, exposed to the wall and thus to the visitor of
the temples. The only other major patronising half for all these
construction i.e. the Royal communities were also highly impressed
with this perennial concept of 'purity' and accordingly they also
emphasized not to carry out these erotic elements to the walls of
the temples. At the same time the common peoples are also highly
devoted to those Tantric ideals as these are all chiefly engaged
around the cult of mother goddess Kamakhya, Tamreshwari etc.
Thus, in Kamrupa no inspirations are there from any corner of the
society for the artist to work along with the erotic scenes which
are more or less the brain storm of Tantric sadhana to the temple
of this region.
Under such circumstances a question naturally arise
that if there was no inspiration for the artist from any corner of
the society, then why these erotic embellishment, though limited