Love in Khajuraho art and in Indian tradition of Thought The Khajuraho temples have hundreds of sculptures depicting every aspect of the Expressions of love and lovemaking. These folks took fucking serious. This was a religious sexperience and They felt the earth move under their sandals. I love the fact that their way of life makes so much more sense than the hoarding me me me energy that tightens up against the jugular of humanity. The passion, devotion, higher state is oozing from the dry carved rock. The long endless kiss, the eternal interwoven embrace, Foreplay, mid play after play, Undressing. Orgies with Cirque de Sole penetration and then throw in a few farm animals and you get the idea that these folk had way more fun then we ever did. Hi honey I'm home from temple.. How was it I wish I went. It was great .. I came 6 times while I had my feet up Gupta's and Soniya's pussies. I reached a new connection with god. That's lovely dear. I remember back on my first trip to India in 1995, I saw a single picture of the temples of Khajuraho. These amazing monuments attest to the possibility that people can live in a civilized society, with completely different ritualistic customs regarding sexuality and it's role in religion. When you compare these attitude to those of the modern societies in the West, east and Middle east we see that we have moved backwards on the continueum in having sex play a more sacred and realistic role in society. The magical imformation would still be covered up if it weren't up to those nosy, greedy Englishmen who found these temples buried in the middle of nowhere. That started a mind blowing experience. 800 years ago in these mind blowing temples ..a common intercourse between two or more members of the congregation you would resemble this ..excuse me Gupta ..would you mind blowing me? Gee thanks...I'll put something in the basket! Khajuraho temples have hundreds of sculptures portraying various positions of coition and love making - a long and languished kiss; an unlocking excited embrace; the passionate male removing his partner's garment or she herself doing it; female, bitten by Kama, tossing and titillating or even the mukha-maithuna, as treatises call it; female partner riding her male by herself or assisted by others so that his organ penetrates into her with fuller pressure and to greater depths; male doing intercourse from behind, a typical posture of animals in coition; a yogi, a disabled, a bearded divine and other unusual players being engaged in coition; and, even animals being made the partners of the game, things which the modern mind would consider obscene and vulgar. Was it so also with the ancient man or with the man of early medieval era? perhaps not. The known traveler Ibn Batuta, whose travel memoirs have been a great source of Indian history, records to have visited Khajuraho in A. D. 1335. According to him, temples were always thronged by crowds of mahantas and common devotees. Obviously, people those days thought of sex and love differently.

The Vedic Brahmanism - Shaivism and Vaishnavism, favoured family life and deified instinct of sex as Kama and the female in union with him as his consort Rati and held them in great reverence. Buddhism advocated renunciation and Jainism to its extreme. The Indian art vision was not, however, subservient to metaphysical principles of any of these faiths. The art tradition perceived temple as the microminiaturised manifestation of the cosmos. Cosmos is the manifest form and the outer frame of the Formless Supreme Who pervades it without and enshrines within. In exact analogy, the outer frame of the temple is the material manifestation of the cosmos, and as enshrines the Formless Supreme within the cosmos so the deity does within the temple - sanctum sanctorum. Obviously, this outer frame should have all that the cosmos has - all its passions, emotions, instincts, frailties, or even perversions.

Hence, it is least surprising that Jain temples at Khajuraho have as much abundance of sex panels as have Brahmanical temples. The tradition may be traced back to Ajanta and in early Mithuna sculptures of Gupta art. Ajanta does not have scenes of coition, kissing or embracing, but in sensuous modeling of its female figures even this religious art is not far behind. In Brahmanical temples of Khajuraho, this aspect is more thrusting. Brahmanism divided life into four stages - artha, money, kama, sex or love, dharma, right path, and moksha, salvation and prescribed that one might neither attain right path nor salvation unless passes through the stages of artha and kama.

Vaishnavism further widened the cult. It perceived love and creation as God's prime attributes. Hence, in human love Khajuraho artists discovered reflection of God's divine act. Shaivism conceived love as enlivening energy generated by union and interaction of male and female generative factors. Shaktism seems to have inspired the Khajuraho art most. Kaul Kapalika sect, a Tantrika expansion of Shaktism, emphasized that body was most intimately linked with mind and soul and, hence, the factors that motivated the body and charged inherent energies also charged and elevated mind and soul. Kapalika tantrikas believed that sex, instinct to love, Kama, was body's integral part, or rather its enlivening strength, major source of motivation, which charged in sexual union prepared body, and thereby soul and mind, for harbouring all pleasurable sensations which finally led to parmananda, state of transcendental ecstasy, when ego disappeared and self united with and merged into universal or cosmic self, and yoni-sadhana, methodically performed sexual union using principles of Yoga, was its most appropriate instrument, and Khajuraho, perhaps, its best laboratory.