5.2. Erotic Figures (scenes) in Odisha temples

A discussion on Orissan sculpture will remain incomplete without a reference to the erotic figures (scenes), which form an important aspect in the decorative programme of the Orissan temple sculpture. These sculptures can be divided into two broad categories namely amorous couples (mithunas) and male and female figures engaged in sexual acts. The first type is sober one. It does not look vulgar in spite of its sex appeal. In this type the couple stands close to each other with a feeling to love. In some examples they place their hands on each other's shoulder and in other hand the male is found directly engaged in various sexual acts. The preservation has gone to such an extent that in one example from Sisiresvara temple the sexual intercourse between a man and an animal has been depicted. In the early temples the mithuna figures occur on the walls and recessed kanthi and sometimes on the doorjambs. They are prominently displayed on the temples and because of their profusion at Konarka, that temple is considered to be "the most obscene building in the world by some". 58 The second type of sculptures are rarely found on the temples prior to the Vitala Sisiresvara. But from these 44

59 temples onwards they are found in increasing number. From the 10th century AD onwards these sculptures appear on the upper jangha of the bada of temples. The occurrence of such erotic sculptures on the body of the religious shrines goes against the sense of morality. Even though sex forms an important aspect of Tantricism, a cult of Brahmanism and Vajrayana cult of Buddhism, its public display is revolting to the minds of general Indian people.60 The 'Silpa texts, discovered so far, are not specific about the purpose of their carvings on the temples. Therefore, it is a wonder how such carvings were allowed and given prominence on the walls of the temples. K.C. Panigrahi traces the origin of the erotic sculptures to the Tantricism and the form of Mahayana Buddhim, which prevailed during the rule of the early Bhaumakaras." In these cults, sex is considered as the means to attain the spiritual merit. He writes, "Having once been allowed to exist in the temples of a particular period they aquired the force of a convention. 62 According to Jitendranatha Banerjee and Vidya Dehjia the sexual scenes on the walls the Varahi temple at Caurasi are the visual representation of some aspects of Kaula-kapalika cult.63 If Tantricism was responsible for the appearance of such sculptures on the temple walls, they would have been limited to the Sakta temples only. But they are found carved on the temples of other cults such as Saiva, Vaisnava and Saura. The temples belonging to the Ganga period are gracefully depicted with these sculptures in greater number. On the celebrated Sun Temple at Konarka,they have been lavishly displayed. Percy Borwn tried to interpret the erotic sculptures of Konarka in terms of the mithuna movement which, he believed, led to the decline of Orissa. From the historical point of view such a theory cannot be accepted, for the Ganga rule was followed by yet another brilliant epoch under the Suryavamsi kings of Orissa. It is generally believed that erotic figures are inspired by Tantric practices, but this may not be always true. In this regard, Karuna Sagara Behera has referred to the fact that far from corrupting people the obscene figures "were in all probability meant to test the self-restraint of a visitor before he was entitled to reap the merits of his visit to the god". 64K.C.Panigrahi has advocated such a view in his book, which is reasserted by Behera. The practice of depicting mithuna figures on the doors is very ancient in India. The mithuna figures were considered as auspicious symbol and therefore 45

placed at the entrance to the house. 65 Perhaps, it was for the same purpose that the mithuna figures were carved on the walls of the temples. In India sex occupied an important position in the scheme of life as decided by ancient sages. In this connection A.L. Basam refers, "of all legitimate pleasures, sexual pleasure was thought to be the best. "Therefore, sex has been glorified in the ancient literatures, both secular and religious. Even treaties on the sexual life of man were composed of which Kamasutra by sage Vatsyayana is noteworthy. Some of the religious sects, of which mention has been made earlier, adopted sex as the means to achieve spiritual merit. The depiction of erotic motifs has become a part of the Indian artistic tradition and Sastric sanction for it cannot be ignored. The Brhata Sammhita of Varaha Mihira (6th century AD) mentions that doorjambs of the temples should be decorated with several auspicious objects including amorous couples. In the Agni Purana we find that doorways should be decorated with mithunas. The Samaranganasutradhara enjoins that women should be represented as engaged in sexual activity. The Skanda Purana recommends the depiction of erotic sculptures as device to avert horror and protect the temple from thunderbolt. By carving these auspicious motifs the early artist was not only beautifying the temple but was also ensuring the security of the structure. In course of time, profusion was by product of further celebration and development. It seems that sex constituted an important aspect of man's activities all through the ages. It was not considered as an outlet of animal possession but what Basham says, "as a positive religious duty". "Therefore; it was natural that the sexual pre occupations of men found manifestation in the temple sculptures. It is wrong to say that the erotic sculptures are noticed on the temples spread all over India, the most notable being the Hindu and Jaina temples of Khajuraho in Central India K.S. Behera has suggested in this perspective that their deliberate purpose was not to overwhelm people by vulgarism but to awaken a feeling of aversion for the worldly life for which they stand and lead the devotee into the holy abode of the god .68 The Sirpur stone inscription of the time of Maha-Siva Gupta records: "Oh king; do not turn your mind to this, seeing what has been clearly described of this wonderful world (samara) under the guise of the temple". Deliberate or Purposeless, symbolitical or mere convention, such sculptures in any case, lend charm and validity to the temple and at once impress a visitor. The presence of 46

obscene (erotic) figures not only on the Jagannatha temple of Puri, but also in other temples in Odisha has engaged in attention of many scholars to trace its significance. Such obscene figures were intended to protect the structures against lightening, cyclone or other visitations of nature. 69 Devangana Desai concludes by saying that our study of sexual representation in Indian culture convinces us that there is no philosophical or rational motivation behind it. Its presence in religious art is a pointer to the continuity and persistence of primitive and popular cultural elements in a civilized society. Far from being an anomaly in Hindu culture, erotic motifs were in harmony with the religious environment to which they belonged with the majestic, courtly and artistic temples. They are depicted as alamkaras of temples.70 Refuting the views of Devangana Desai, another eminent scholar like J.P. Singh Deo has stated that some of the erotic sculptures are based on the poses described in the Kamasutra and are not the works of the imagination of the artists; though some poses of "Sex-yogic" posess." K.C. Panigrahi has described that occurrence of erotic scenes on the Orissan temples is due to the Tantric influence.72 The presence of erotic couples on the temple-walls is by no means peculiar to Orissa, though they are represented more prominently and profusely here in some of temples. From the archaeological evidence available, it appears, it was a part of the Indian temple architecture. In short, they occur on the temples of different cults situated all over India and covering a wide-range of time. It can be said that the erotic sculptures in all its forms found their places on the temples as a result of man's preoccupation in sexual activities, which was then an important aspect of social life. Tantricism or for that matter any other cult, cannot be considered as responsible for their carving on the temples. This much we can say that these cults might have helped their proliferation.