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The Original Kama Sutra Completely Illustrated

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Johann Jakob Meyer (1989). Sexual Life in Ancient India: A Study in the Comparative History of Indian Culture. Motilal Banarsidass (Orig: 1953). pp.229–230, 240–244, context: 229–257 with footnotes. ISBN 978-81-208-0638-2. Archived from the original on 7 December 2016 . Retrieved 22 November 2018. a] Daud Ali (2011). "Rethinking the History of the "Kāma" World in Early India". Journal of Indian Philosophy. 39 (1): 1–13. doi: 10.1007/s10781-010-9115-7. JSTOR 23884104. ; Looking good, feeling good, why and how to be attractive, bewitching, being virile, paying attention, genuineness and artificiality, body art and perforations, taking care of one's sexual organs, stimulants, prescriptions and unusual practices Book 3 of the Kamasutra is largely dedicated to the art of courtship with the aim of marriage. The book's opening verse declares marriage to be a conducive means to "a pure and natural love between the partners", states Upadhyaya. [77] It leads to emotional fulfillment in many forms such as more friends for both, relatives, progeny, amorous and sexual relationship between the couple, and the conjugal pursuit of dharma (spiritual and ethical life) and artha (economic life). [77] The first three chapters discuss how a man should go about finding the right bride, while the fourth offers equivalent discussion for a woman and how she can get the man she wants. [77] The text states that a person should be realistic, and must possess the "same qualities which one expects from the partner". It suggests involving one's friends and relatives in the search, and meeting the current friends and relatives of one's future partner prior to the marriage. [77] While the original text makes no mention of astrology and horoscopes, later commentaries on the Kamasutra such as one by 13th-century Yashodhara includes consulting and comparing the compatibility of the horoscopes, omens, planetary alignments, and such signs prior to proposing a marriage. Vatsyayana recommends, states Alain Danielou, that "one should play, marry, associate with one's equals, people of one's own circle" who share the same values and religious outlook. It is more difficult to manage a good, happy relationship when there are basic differences between the two, according to verse 3.1.20 of the Kamasutra. [78] Intimacy and foreplay

Kamasutra became one of the most pirated books in English language soon after it was translated into English & published in 1883 by Sir Richard Burton. After reading and considering the works of Babhravya and other ancient authors, and thinking over the meaning of the rules given by them, this treatise was composed, according ​ to the precepts of the Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student at Benares, and wholly engaged in the contemplation of the Deity. This work is not to be used merely as an instrument for satisfying our desires. A person acquainted with the true principles of this science, who preserves his Dharma (virtue or religious merit), his Artha (worldly wealth), and his Kama (pleasure or sensual gratification), and who has regard to the customs of the people, is sure to obtain the mastery over his senses. In short, an intelligent and knowing person, attending to Dharma and Artha and also to Kama, without becoming the slave of his passions, will obtain success in everything that he may do."

Across human cultures, states Michel Foucault, "the truth of sex" has been produced and shared by two processes. One method has been ars erotica texts, while the other has been the scientia sexualis literature. The first are typically of the hidden variety and shared by one person to another, between friends or from a master to a student, focusing on the emotions and experience, sans physiology. These bury many of the truths about sex and human sexual nature. [64] [65] The second are empirical studies of the type found in biology, physiology and medical texts, focusing on the physiology and objective observations, sans emotions. [64] [65] The Kamasutra belongs to both camps, states Doniger. It discusses, in its distilled form, the physiology, the emotions and the experience while citing and quoting prior Sanskrit scholarship on the nature of kama. [65] Y. Krishan (1972). "The Erotic Sculptures of India". Artibus Asiae. 34 (4): 331–343. doi: 10.2307/3249625. JSTOR 3249625. Of Gains and Losses, attendant Gains and Losses, and Doubts; and lastly, the different kinds of Courtezans. Jorge Ferrer, Transpersonal knowledge, in Transpersonal Knowing: Exploring the Horizon of Consciousness (editors: Hart et al.), ISBN 978-0-7914-4615-7, State University of New York Press, Chapter 10 Moksha – signifies emancipation, liberation or release. [37] In some schools of Hinduism, moksha connotes freedom from saṃsāra, the cycle of death and rebirth, in other schools moksha connotes freedom, self-knowledge, self-realization and liberation in this life. [38] [39]

Vatsyayana makes a passing mention of the fourth aim of life Moksha ( liberation / Salvation ) in some of the verses in his Kamasutra. Kama – signifies desire, wish, passion, emotions, pleasure of the senses, the aesthetic enjoyment of life, affection, or love, with or without sexual connotations. [35] Gavin Flood explains [36] kāma as "love" without violating dharma (moral responsibility), artha (material prosperity) and one's journey towards moksha (spiritual liberation).

What is the Kama Sutra Really About?

Among the surviving temples in north India, one in Rajasthan sculpts all the major chapters and sexual positions to illustrate the Kamasutra. Attributed to Sage Vatsyayana, the Kama Sutra is neither exclusively nor predominantly a sex manual on sex positions. The subject of this group suggests the influence of the ideas of a serpent cult. Serpent worship is still one of the religions of India. It was formerly very widespread, and influenced the decoration of many other monuments, especially the Buddhist stupas of Sanchi and Amravati. The intimate association of the serpent with woman in the minds of all primitive peoples is not as obvious as its association with the lingam (phallus). Here the substitution of the serpent for the male organ is suggested. . . . This group appears to illustrate a part of Brahmanical belief associated with the Apsaras. They were originally spirits of the clouds and waters, semi-divine nymphs said to have sprung from the churning of the ocean. In the Rig-Veda there is but one Apsaras, who, as the wife of Gandharva, gave birth to the first mortals Yama and Yami. In the heroic age there are many Apsaras and many Gandharvas who form part of the retinue of Indra, the first as dancers, the second as musicians. One of the uses the gods had for the beautiful Apsaras was a means of humbling the ​over-pious ascetic. So strongly did the Hindoo believe in the efficacy of his ritual that he held a devotee could, through austere practices, develop supernatural powers that made him a rival and even a being superior to the gods. Obviously, the gods could not have this. To humble him through the symbolism of the sexual act was both pertinent and suggestive. . . . The figure behind the man may be another Apsaras who was sent along to make certain the reduction of an especially obdurate case, or it may have been intended to represent the god himself assisting at the rite. Or, again, the group may represent two proselytes accompanied by an instructor. b] Daud Ali (2011). "Padmaśrī's "Nāgarasarvasva" and the World of Medieval Kāmaśāstra". Journal of Indian Philosophy. 39 (1): 41–62. doi: 10.1007/s10781-010-9116-6. JSTOR 23884106. S2CID 170779101. Jyoti Puri, who has published a review and feminist critique of the text, states that the " Kamasutra is frequently appropriated as indisputable evidence of a non-Western and tolerant, indeed celebratory, view of sexuality" and for "the belief that the Kamasutra provides a transparent glimpse into the positive, even exalted, view of sexuality". [115] However, according to Puri, this is a colonial and anticolonial modernist interpretation of the text. These narratives neither resonate with nor provide the "politics of gender, race, nationality and class" in ancient India published by other historians and that may have been prevalent then. [116]

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