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rtually every language on earth and is the most known Evangelion of the world. T
he Kama Sutra is extremely popular, more than Biblie and sought after by lovers
who want to add more excitement to their love lives.
The Kama Sutra found copies dates back to about 200-400 CE, about 1,600 or 1800
years or more. It is a manual for developing the erotic sensibilities, knowledge
and skill, including specific instruction on sexual techniques, as well as many
other sensual and cultural expressions, referred to as the 64 arts. The approac
h to sex in the Kama Sutra is from a secular (non-religious, non-spiritual) pers
pective, whereas Tantra is definitely spiritual. The Kama Sutra does not in any
way deny the value of spiritual practice, it is just not presenting that perspec
tive. Tantra is all about awakening to full enlightenment, while the Kama Sutra
is about great, satisfying, fulfilling sex, primarily between heterosexual coupl
es. In the Kama Sutra sex was considered an essential aspect of everyones educati
on. Sexual knowledge and skill were considered to be evidence of achievement, re
finement, intelligence, psychological maturity, and part of the good lifethe book
was actually directed toward the upper class, educated, economically affluent p
ortion of the population.
Mallanaga Vatsyayana was a very holy man (sadhu), a seer, and a sage (rishi), an
d in all of the spiritual senses of the word, a tantric. Mallanaga worshipped th
e Divine as both feminine and masculine (Shaktishiva), and lived primarily a rel
igious life. Mallanaga wrote the Kama Sutra for the ruling class (nobled rulers,
lords, princes and kings), which at that time in India s history was the Kshatr
iya, or Warrior caste. Based on mentions of 1st Century historical figures in th
e Kama Sutra, and on mentions of the Kama Sutra in early 5th Century works, we k
now that Mallanaga Vatsyayana wrote the Sutra sometime between the 1st and 4th C
enturies A.D. The Kama Sutra is simultaneously a manual of matchmaking, flirting
, sensuality in life and in sex, romantic love, human nature, attracting a man,
turning on a woman, how to seduce a man, how to captivate a woman, how to get a
man or woman to marry you, arranged marriages, affairs, gold-digging, the econom
ics of love, affairs with courtesans, keeping the affections of a lover or spous
e, love potions, charms, and everything in between. Mallanaga Vatsyayana not inc
lude deeper tantric sexual practices in his most famous work, because he knew th
at sexuality is only an appropriate spiritual tool for some good students of tan
tra marga. Mallanaga wrote the Kama Sutra for the ruling class and their educare
so they could balance and enjoy their sensual appetites with their social and s
piritual obligations as rulers. And He as a seer not to pass on secrets he knew
would be lost on many of these students.
KAMASHASTRA (kAmashastra, kAmazastra)
Kamadeva - angel of loveIn Indian literature, Kamashastra refers to the traditio
n of works on Kama. It therefore has a practical orientation, similar to that of
Arthashastra, the tradition of texts on politics, government etc. Just as the f
ormer instructs kings and ministers about government, Kamashastra aims at instru
cting the townsman (ngarika) the way to attain enjoyment and fulfillment. The ear
liest text of the Kama Shastra tradition, said to have contained a vast amount o
f information, is attributed to Nandi the sacred bull, Shiva's doorkeeper, who w
as moved to sacred utterance by overhearing the lovemaking of the god Shiva and
his wife Parvati. During the 8th century BC, Shvetaketu, son of Uddalaka, produc
ed a summary of Nandi's work, but this "summary" was still too vast to be access
ible. A scholar called Babhravya, together with a group of his disciples, produc
ed a summary of Shvetaketu's summary which remained a huge and encyclopaedic tom
e. Between the 3rd and 1st centuries BC, several authors reproduced different pa
rts of the Babhravya group's work in various specialist treatises. Among the aut
hors, those whose names are known are Charayana, Ghotakamukha, Gonardiya, Gonika
putra, Suvarnanabha, and Dattaka.
However, the oldest available text on this subject is the Kama Sutra ascribed to
Vatsyayana who is often erroneously called as "Mallanaga Vatsyayana". Yashodhar
a, in his commentary of Kama Sutra, attributes the origin of erotic science to M
allanaga, the "prophet of the Asuras", meaning it originated in prehistoric time
s. The attribution of the name "Mallanaga" to Vatsyayana is due to the confusion
of his role as editor of the Kama Sutra with that of the mythical creator of er
otic science. Vatsyayana's birth date is not accurately known but he must have l
ived earlier than the 7th century since he is referred to by Subandhu in his poe
m Vsavadatt. On the other hand Vtsyyana must have been familiar with the Arthashastr
a of Kautilya. On the other hand Vtsyyana refers to and quotes a number of texts o
n this subject, which unfortunately have been lost. Following Vtsyyana, a number o
f authors wrote on Kmashastra, some writing independent manuals of erotics, while
others commenting on Vtsyyana. Of later works well known are Kokkaka's Ratirahasy
a (13th century) and Anangaranga of Kalyanamalla (16th century). Of commentators
on Vatsyayana the most well known is Jayamangala (13th century).
Eos ( s) is passionate love, ith sensual desie and longing. The Moden Geek od
"eotas" means "(omantic) love". The tem eotic is deived fom eos. Eoticis
m is an aesthetic focus on sexual desie, especially the feelings of anticipatio
n of sexual activity. It is not only the state of aousal and anticipation, but
also the attempt though hateve means of epesentation to incite those feelin
gs. The od "eoticism" is deived fom the name of the Geek god of love, Eos
, in sanskit cultue Kama (kAmadeva). It is conceived as sensual love o the hu
man sex dive (libido). Philosophes and theologians discen thee kinds of love
: eos, philia, and agape. Of the thee, eos is consideed the most egocentic,
focusing on cae fo the self. Ancient Geek philosophys overturning of mytholog
y defines in many ways our understanding of the heightened aesthetics sense in e
roticism and the question of sexuality. Eros was after all the primordial god of
unhinged sexual desire in addition to heteroeroticism, which is the yearning of
sexual desire from the opposite sex. In the Platonic ordered system of ideal fo
rms, Eros corresponds to the subject s yearning for ideal beauty and finality. I
t is the harmonious unification not only between bodies, but between knowledge a
nd pleasure. Eros takes an almost transcendent manifestation when the subject se
eks to go beyond itself and form a communion with the objectival other. The Fren
ch philosopher Georges Bataille believed eroticism was a movement towards the li
mits of our own subjectivity and humanity, a transgression that dissolves the ra
tional world but is always transitory.
t builds trust between partners and brings them closer together emotionally and
spiritually. The word also has a wider meaning in both profane and spiritual con
texts, covering a range of meanings of "place of birth, source, origin, spring,
fountain, place of rest, repository, receptacle, seat, abode, home, lair, nest,
stable" (Monier-Williams). The yoni is also considered to be symbolic of Shakti
or other goddesses of a similar nature. In classical texts such as Kama Sutra, y
oni refers to vagina. Even more interesting linguistic example is the Sinhalese
language, which developed from old colloquial Sanskrit of North India. Possible
Lingam-Yonis have been recovered from the archeological sites at Harappa and Moh
enjo-daro, part of the Indus Valley Civilization. Joseph Campbell associates Yon
i with "Kali, "the dark one" or "death and time ruler one" who is the "blood-con
suming consort" of Shiva the Lord God.
Yoni is the Sanskrit word for the vagina that is loosely translated as "sacred s
pace" or "Sacred Temple". In Tantra, the Yoni is seen from a perspective of love
and respect. This is particularly important for men to learn. Before beginning
the Yoni Massage it is important to create a space for the woman (the receiver)
in which to relax, from which she can more easily enter a state of high arousal
and experience great pleasure from her Yoni. Her partner (the giver) will experi
ence the joy of giving pleasure and witnessing a special moment. The Yoni Massa
ge can also be used as a form of "safe sex" and is an excellent activity to buil
d trust and intimacy. Some massage and sex therapists use it to assist women to
break through sexual blocks or trauma. The goal of the Yoni massage is not solel
y to achieve orgasm, although orgasm is often a pleasant and welcome side effect
. The goal can be as simple as to pleasure and massage the Yoni. From this persp
ective both receiver and giver can relax, and do not have to worry about achievi
ng any particular goal. When orgasm does occur it is usually more expanded, more
intense and more satisfying. It is also helpful for the giver to not expect any
thing in return, but simply allow the receiver to enjoy the massage and to relax
into herself.
Kmadeva (Sanskrit:
) is the Hindu Cupid, angel or deity of love like Eros or Amor. K
va is represented as a young and handsome winged man who wields a bow and arrows
. His bow is made of sugarcane with a string of honeybees, and his arrows are de
corated with five kinds of fragrant flowers. The five flowers are: Ashoka tree f
lowers, white and blue lotus flowers, Mallika tree and Mango tree flowers. A ter
racotta murti of Kamadeva of great antiquity is housed in the Mathura Museum, UP
, India. His other names include:
- Ragavrinta (stalk of sassion),
- Ananga (incorporeal),
- Kandarpa ("inflamer even of a god"),
- Manmatha (churner of hearts),
- Manosij (he who is born of mind, a contraction of the Sanskrit phrase Sah Mana
sah jta),
- Madana (intoxicating),
Lord Kama-Deva is worshiped and invoked by the gayatri mantra, and the specific
mantra by which He is worshiped is called kama-gayatri. Vedic literatures explai
n that that sound vibration which can elevate one from mental concoction is call
ed gayatri. The kama-gayatri mantra is composed of 24 (16+8) syllables andOm is
for beginning and sometimes samput, additional syllabe like klim (kleeng). The m
antrika word "klim" added to the gayatri mantra is explained in Brahma-samhita a
s the transcendental seed of love of Godhead, or the seed of the kama-gayatri.
kma-gyatr mantram
Om (klim, klIM, kleeng)
kama-devaya vidmahe pushpa-banaya dhimahi |
tanno 'nangah pracodayat ||
kA-ma--de-vA-ya vi-dma-he pu-shpa--ba-nA-ya dhI-ma-hi |
ta-nno 'na-ngaH prA-co-da-yAt ||
This kama-gayatri is received from the spiritual master when the disciple is adv
anced in chanting and meditation upon Kama-Deva, the Archangel of Love. In other
words, this kama-gayatri mantra and samskara, or reformation of a perfect brahm
ana, are offered by the spiritual master (acarya, guru) when he sees that his di
sciple is advanced in spiritual knowledge and practice. Even then, the kama-gaya
tri is not uttered under certain circumstances. Spiritual sex is of two kinds: o
ne in accordance with the constitutional position of the self and the other in a
ccordance with the object. When one understands the truth about this life but is
not completely cleansed of material contamination, he is not factually situated
in the transcendental abode, Devachan, Salokhya, although he may understand spi
ritual life. When, however, one becomes free from the sex urges of the material
body, he can actually attain the supreme abode of Salokhyam. When one is so situ
ated, he can utter the kama-gayatri and kama-bija mantra "klim" or mantram Om kl
Ing (klIM) namaH. Short tantrika mantram toward Kaama Deva is: Om Shri Kaamaaya
Namah! or Om Shri Kaamadevaaya Namah! It is for gaining your aim love in your li
fe and love angel protection.
RATI DEVI
In Hinduism, Rati (hindi:
) is the goddess or femine angel (angeline) of passion a
nd lust, and a daughter of Daksha. She married Kma, the Lord God of Love. Rati wa
s the Hindu goddess of sexual desire and erotical love. She was the daughter of
the sun god Daksha and the wife of Kama, the god of love in Hindu myth. He is a
son of Lakshmi. Kama is represented as a winged youth bearing bow and arrows sim
ilar to the Greek Eros. Rati's father Daksha probably began as one of the pre-Ve
dic deities of India. In Vedic and post-Vedic times he took on differing charact
eristics. He is named as one of the Prajapatis, the lords of creation, and is on
e of the children of Aditi. Later he became one of the Rishis, and is the son of
Brahma, having been born of the creator-god's right thumb. He may have had aspe
cts as a creator-god or sun god himself at one point, but these are only alluded
to. Kama's mother, Lakshmi, the Hindu goddess of good fortune and beauty. She a
rose from the milky foam of the waves at the "Churning of the Ocean". Lakshmi is
the consort of Vishnu, and is his wife during each of his incarnations and also
known as Sri (Shri). Kama is called Kama Ananga ("Kama the bodiless") as well.
Kama's body was destroyed when he fired his weapon at Shiva in order to disrupt
his meditations. Shiva then opened his third eye, the gaze of which was so power
ful that Kama's body was reduced to ashes. For the sake of Kama's wife Rati (pas
sion), Shiva restored him, but only as a mental image, representing the true emo
tional and mental state of love rather than physical lust. Tantrika mantram towa
rd Rati Devi: Om Shri Ratyai Namah! It is for restoring plesure in relation.
managing a
consists o
girl, how
marriage.
Dharma, Artha and Kama are aims of everyday life, while Moksha is release from t
he cycle of death and rebirth. The Kama Sutra (Burton translation) says:
"Dharma is better than Artha, and Artha is better than Kama. But Artha should al
ways be first practised by the king for the livelihood of men is to be obtained
from it only. Again, Kama being the occupation of public women, they should pref
er it to the other two, and these are exceptions to the general rule." (Kama Sut
ra 1.2.14)
Of the first three, virtue is the highest goal, a secure life the second and ple
asure the least important. When motives conflict, the higher ideal is to be foll
owed. Thus, in making money virtue must not be compromised, but earning a living
should take precedence over pleasure, but there are exceptions. In childhood, Vt
syyana says, a person should learn how to make a living; youth is the time for pl
easure, and as years pass one should concentrate on living virtuously and hope t
o escape the cycle of rebirth.
The Kama Sutra is sometimes wrongly thought of as a manual for tantric sex. Whil
e sexual practices do exist within the very wide tradition of Hindu tantra, the
Kama Sutra is not a tantric text, and does not touch upon any of the sexual rite
s associated with
a Sutra, which is
however, is of a
e with the search
Translations of Kamasutra
The most widely known English translation of the Kama Sutra was made by the famo
us traveler and author Sir Richard Francis Burton and compiled by his colleague
Forster Fitzgerald Arbuthnot in 1883. Historian Burjor Avari has criticized Burt
on's translation as "inadequate," having had the result that the book gained a r
eputation in the West of being a pornographic work. A recent translation is that
of Indra Sinha, published in 1980. In the early 1990s its chapter on lovemaking
positions began circulating on the internet as an independent text and today is
often assumed to be the whole of the Kama Sutra.
Alain Danilou contributed a translation called The Complete Kama Sutra[16] in 199
4. This translation featured the original text attributed to Vatsayana, along wi
th a medieval and modern commentary. Unlike Burtons version, Alain Danielous new t
ranslation preserves the numbered verse divisions of the original and includes t
wo essential commentaries: the Jayamangala commentary, written in Sanskrit by Ya
shodhara during the Middle Ages, and a modern Hindi commentary by Devadatta Shas
tri. Another noteworthy difference is the preservation of the full explicitness
of the original text. All aspects of sexual life have been mentioned -- includin
g marriage, adultery, prostitution, group sex, sadomasochism, male and female ho
mosexuality, and transvestism. It was translated again in 2002 by Wendy Doniger,
the professor of the history of religions at the University of Chicago, and Sud
hir Kakar, the Indian psychoanalyst and senior fellow at Center for Study of Wor
ld Religions at Harvard University. Their translation provides a psychoanalytic
interpretation of the text.
Kamashastra and Kvya Poetry
One of the reasons for interest in these ancient manuals is their intimate conne
ction with Sanskrit ornate poetry (Kvya). The poets were supposed to be proficien
t in the Kamashastra. The entire approach to love and sex in Kvya poetry is gover
ned by the Kamashastra. Successors and commentators of Vatsyayana are Kokkoka, J
yotirisa Kavisekhara, Padmasi, Jayadeva, Devaraja, Rajanaka Ruyyaka, Sridhara, K
alyanamalla, Virabhadradeva, and others.
Vatsyayana and His Terms on Eroticism