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in number, survived to the temple like Madan- Kamdeva. Regarding
this question it can be said that by the time of 9th century A.D the
erotic imageries, both mithuna, maithna, bestiality along with other
sexual representation have emerged as the essential silpa cannon
for any Indian temple structure. As the scion of the greater Indian
architectural tradition, the essentiality of these erotic imageries
have certainly been realized for all the temple scheme here in
Assam also. But the social obligation primarily the pro-Tantric
exposition of erotic sculpture often allowed them to have their slot
only to the unimportant corners of the temple as it being
exemplified here at Madan-Kamdeva where the erotic imageries
are being relegated chiefly to the narathara section, an
unimportant place of the main temple plinth. Again, because of
the small sizes of these erotic imageries, it is also not possible to
treat them aesthetically. Thus by providing less important places
and accordingly small sizes to the erotic imageries, our age old
artist had tried to make an amicable solution of two of their
perrineal problem i.e. their real obligation to the silpa cannon
and simultaneously to satisfy the mind of their patronizer. The
success of these two mechanism have duly been realised at Madan-
Kamdeva. It is because of their attachment primarily to the less
important places of the temple and also because of their small.
sizes the erotic imageries at Madan-Kamdeva often escape the sight
of the general visitor and they still remain unexposed under an
exposed state of condition.