The Kama sutra of Vatsyayana Item Preview. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! Reviewer: frukai - favorite favorite favorite favorite favorite - September 12, Subject: for business Fantastic work-from-home opportunity for everyone…Work for three to eight hours a day and start getting paid in the range of 13, to 19, dollars a month…Weekly payments…And best thing is..
Reviewer: album king - favorite favorite favorite favorite - October 9, Subject: done okay. Book I Sadharana or general principles: This book is a more of a general introduction and includes 5 parts.
Book II This book essentially covers Samprayogika, or love play and sexual union. It refers to many aspects of love-making rather uncandidly and has 10 parts! Book III This part deals with aspects of betrothal and marriage. Book IV This section looks at family life and marital bliss, and how each member of marital situation mut conduct themselves. The book has 2 parts. Part I Bharyadhikarika, the wife duties of a wife eldest and junior wives Part II Paradarika, seducing the wives of others.
Book V This book has 6 parts and deals with the various ways and wiles of both men and women, and how one can make out whether an opposite member is attracted to them. Book VI This section looks at rather diverse topics and has 6 parts. Book VII The final section looks at making the body beautiful and other ways of sexual pleasure and satisfying sexual desire.
It is called Aupanishadika, secret love, extraneous stimulation and sexual power. Truly, if one heeds the wisdom enshrined in the Kamasutra, we can see that the sage Vatsyayana showed an immense grasp of the relationship on ida and pingala, the inner man and woman in every human being. This is the underlying basis of the Tantric principles, and is the foundation of Tantra — to unite the division within, so as to experience union or yoga with the divine.
Sanskrit literature is replete with examples of this union described. Indeed, every activity was an opportunity to move forward in the path to moksha or mukti, the ulimate liberation which was one of the most significantly, and in fact, the ultimate goal in Hinduism.
Spirituality and pleasure were not different in the Hindu way of life. They were just two sides of the same coin. Comparing this with the dryness of Western literature and its seemingly antiseptic view when it comes to human sexual behaviour, we see an astonishingly liberated and enlightened view in the East towards sexual desire.
Lance Dane, who wrote one of the finest commentaries on the Kamasutra by a Westerner, has much to say about this fact. The unabashed directness of his confrontation of sexual relations, the subtleties of his perceptions of feeling, mood and emotion, the delicacy of the nuances of love rendered by a mind, freed from all fears, inhibitions and awkwardnesses of the accepting routine society, have rarely been seen in any civilization.
It is almost as if this sage shared the new kind of perception of the poetry of imperceptible feelings, which the Gupta bards were to bring to their creations along with their awareness of the life of action and conflict and stress on the earth, in the here and the now, in the flesh and the blood, in the search for harmony.
The strange thing is, we feel no shock, when we are ushered from the overtly non-sexual context of our daily lives into the very heart of the privacies of sex. There is no tittering reaction. There is hardly any trace of the boring soul-less life of the brothel.
In this view, Dane does not differ from prior translators of the Vatsyayana Kamasutra, including Forster Fitzgerald Arbuthnot and his collaboration with the nineteenth century Richard Francis Burton. Jayamangala of Yashodhara, the 13th century commentator of the text was also a well-known authority, however his works are more oriented towards the society of that time.
Dane stands out from these translations however, in providing a historic context to understanding the text, and compares it to traditions in other parts of the world. Why are these unions, recommended by Vatsyayana, different from the kind of furtive connection which takes place from complete ignorance of the feelings of each other, and from the denial of the body-souls, by those who are ashamed of the dream tryst? But the image is more abstract than concrete.
In the early Empires of the Hittites, Babylonians and the Pharaohs, in the cults presided over by the God-King, the ritual confined the freedom of human beings to express themselves, by worship of sex on the altars of the temple. But, beyond the shrines, the people resorted to secret practices, evolving sub myths for their inexpressible desires, in the spontaneous liberation of their body-souls.
In our Indian civilization, the Mother Goddess began, more and more, to be personified as yoni, as we see it in the figurines of Ahichchatra, Kausambi, Nevasa, Bhita, Pataliputra and before long, she appears with her mate, as in the human couples in love of the Mauryan and Sunga terracottas. The exuberant poetry of the Rigveda, seems to have familiarised the myth of creation of the world. In the Upanishads the imagery was more concrete. The mating of man and woman became holy sacrifice: The woman is the fire, her womb the fuel, the invitation to man the smoke, the door is the flame, entering the embrace, pleasure the spark.
In this fire the Gods form the offering, From this offering springs forth the child. Brihadaranyaka Upanishad. In the two great epics of India, the Ramayana and the Mahabharata, which recreate the desire images of what men and women ought to be, we see the spontaneous urges of the people for free love, and the worship of sex symbols, as the sources of fulfilment, transformed into a prescribed ritual as part of the Hindu Dharmic order.
These habitual repetitions had for centuries made the Slokas, verses, more and more rigid. The caste order imposed on the Dasyus had ironed out the variety of ways of life.
The high-bred fictions of super-consciousness led to Mount Kailash in the mists. The Smara Pradipa, or the light of love. The Ratimanjari, or the garland of love. The Rasmanjari, or the sprout of love. The Anunga Runga, or the stage of love; also called Kamaledhiplava, or a boat in the ocean of love. The author of the 'Secrets of Love' No. He composed his work to please one Venudutta, who was perhaps a king.
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