CHAPTER V

Erotica Sculptures in the Temples of Tamilnadu

Erotica as a major theme down to the early medieval art of

Tamilnadu is a bye-pass road. Scholars who worked on the case studies of
temples in Tamilnadu paid a casual attention as though it is a prohibited
zone for entry. The needed attention is paid in this volume. However, it is
a major task for a student of art history because in almost all later medieval
(or early modern) Vijayanagara-Nœyaka temples erotica is a much coveted
theme; may be due to the rituals centering on erotica or need of Ĥœstras and
the fancy of the sculptor. There is no statistics of the Vijayanagara-Nœyaka
temples in Tamilnadu.1 The Nœyakas had their bases at Ceñci, Tañcœvƈr and
Maturai and concentrated on the resurrection of the temples earlier
demolished by the Muslim iconoclasts and built several new temples.2
Therefore, the present study concentrates on some temples and presents a
survey of the erotic images found in these temples.
Temples selected
The following temples have been selected on random sampling basis
from the four integral units of the Tamil country such as ToӜԂainœԂu,
KoӚkunœԂi, CżӐanœԂu and PœӜҢinœԂu. The temples are dedicated to gods and
goddess of different sectarian lineages such as ģiva, ViӸӜu, ģœkta and so on.
The temples are from the following places:
1. Avinashi Lingeswarar Temple - Coimbatore
The historic Lingeswarar temple in Avinashi is in Tiruppur district,
which was part of Coimbatore. Lord Shiva is in the form of Lingam
(Lingeswarar) is the main idol of this shrine. One of the ancient structures,

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this temple holds very rich history. It was originally built by Sundrapandian
of Kongu Pandian dynasty in the end of 12th century. Kongu Cholas built
the present structure and Krishna Raja Udayar of Mysore renovated it
during 17th century. The main tower (Raja Kopuram) damaged by
lightning in 1860 and was newly built in 1980.3Most famed Avinashi Ther
(chariot) that said to be the second largest in South India is the biggest
festival where flocks of devotees gather to pull it on the streets.
2. Arulmigu Annur Manneshwarar Temple – Annur
The Sthala Puranam relates that the temple was built by a Chera king
from Chembium. It is said that a hunter dug the ground for pulling out a
root of "Valli" (tapiaco). He was surprised to find blood bursting out of the
root and manifesting itself as a Sivalinga endowed with a pair of wings.4
The awe-struck hunter prostrated before the divine manifestation and
prayed for grace.
3. Azhakar Kovil
Thirumaliruncholai or Azhakar temple is a temple dedicated to Lord
Vishnu situated 21 km from the city of Madurai, which lies in the Tamil
Nadu state of India. When some historic and original facts surface, people
tend to treat them with reverence as it seems to be happening in Thenur, a
village in the interiors, 20 km off Madurai city. Villagers here relive an
event with much fanfare which is believed to have been performed here
four Centuries ago. The main event of this Festival is Kallazhakar Crossing
river function. Lakhs of people gather in Vaigai River to see this festival
every year. The architecture of the Azhakar temple corresponds to any of
those of south Indian temples, with large gopurams and pillared
mandapams.5 The gopuram of the Karuppa swamy shrine depicts the
passionate side of human relationship in the form of beautiful statues.
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4. Thirukutraalanaadhar kovil
Thirukootachalanathar Temple is located in the middle of the
mountains at the foot of the Main Falls. This temple is one of the ancient
temples in South India. The main idol of this temple is Lord Shiva in the
name “Thirukootachalanathar” or Kutralanathar and the Goddess is “Kuzhalal
VaiMozhi” (Goddess Parvati). Parvati s shrine is also of significance here
and is regarded as one of the 64 Shakti Peethams. The temple also houses
the shrines of Ganesh, Murugan, Shiva linga, Nagraja and Sivakami. The
temple s glory was sung by Tirugnana Sambhandar. The sthala Vruksham
(tree) of the temple is Kurumpala. The great saint Agasthiyar has
worshipped in Thirukootachalanathar Temple.6 This temple contains
many inscriptions about Chola and Pandya Kings.
5. Gangaikonda Cholapuram
The Gangaikonda Cholapuram was erected as the capital of
the Cholas by Rajendra Chola I. Kadaram (Kedah in Malaysia) at the
beginning of the 11th century C.E. It occupies an important place in the
history of India. As the capital of the Cholas from about 1025 C.E. for
about 250 years, the city controlled the affairs of entire southern India. The
Gangaikonda Cholapuram temple he constructed consists of 3 stories and
was surrounded by a huge fort-like wall, the outer wall largely destroyed
during the English rule (1896) to reuse the building material (granite rocks)
for constructing the Lower Anicut the dam built across river Kollidam.
Large bronze images were created to be carried outside the temple to
participate in daily rituals, processions, and temple festivals. The round
lugs and holes found on the bases of many of these sculptures are for the
poles that were used to carry the heavy images7. They were admired for

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the sensuous depiction of the figure and the detailed treatment of their
clothing and jewelry in Chola-period bronzes.
6. Kamakshi Amman Temple
The Kamakshi Temple is a famous Hindu temple dedicated
to Kamakshi, one of the forms of the goddess Parvati. It is located in the
historic city of Kanchipuram, near Chennai, India and is popularly
associated with Sankaracharya, one of the greatest Hindu gurus. The temple
was most probably built by the Pallava kings, whose capital was
Kanchipuram, around 6th century C.E. The main deity, Kamakshi, is seated in
a majestic Padmasana, a yogic posture signifying peace and prosperity,
instead of the traditional standing pose. The goddess holds a sugarcane
bow and bunch of flowers in the lower two of her arms and has a pasha
(lasso), an ankusha (goad) in her upper two arms. There is also a parrot
perched near the flower bunch. There are no other Parvati temples in the
city of Kanchipuram.8
7. Koodal Azhagar Koil
The Koodal Azhagar Koil is a famous Hindu temple dedicated to Lord
Vishnu located in the center of the city of Madurai, Tamilnadu, India.
Koodal is another name for Madurai and Azhaghar means the beautiful
one, in Tamil. The temple is an ancient one and very close to the
famous Meenakshi Amman Temple. It is one of the 108 divyadesams the
holy abodes of Vishnu. A beautiful vishnu temple which has Navagraham
also (Usually Navagraham is found only in shivan temple). The temple
(Horse "haya" griva avataram) is the main deity.9
8. Meenakshi Amman Temple
Meenakshi Amman Temple is a historic Hindu temple located in the
southern bank of river Vaigai in the temple city of Madurai, Tamil
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Nadu, and India. It is dedicated to Parvati who is known as Meenakshi and
her consort, Shiva, named here as Sundareswarar. The temple forms the
heart and lifeline of the 2500 year old city of Madurai. The complex houses
14 gateway towers called gopurams, ranging from 45-50m in height, the
tallest being the southern tower, 51.9 metres (170 ft) high, and two golden
sculptured vimana, the shrine over sanctum of the main deities.10
9. Kudumiyanmalai
Kudumiyamalai is located about 20 km from Puddukkotai town.
The village is centered around a small hillock, where a cave temple has
been carved on its foot. This cave temple, locally known as Melaikkovil, has
been extended continuously during later times this place held quite an
importance in the past. We found many inscriptions in and around this
temple this region would have enjoyed the continuous patronage from
various dynasties which ruled over this region. However once bustling
with social and cultural activities, at present this is a small idle village.11
10. Srivilliputtur
Thiruvilliputhoor Divya Desam is a popular 2000-year-
old Hindu temple and one of the 108 Divya Desams, the most important
abodes of Lord Vishnu. It is the birthplace of two of the most
important Alvars in the Vaishnavite tradition: Periyazhvar and Andal. The
history of Srivilliputhur centres around the Srivilliputhoor Temple,
dedicated to Andal (8th century or earlier), the only female Alvar of the
12 Alvar saints of South India. Within the temple's sanctum sanctorum is
an image of the Lord in a reclining posture; His consorts, Sri Devi and
Bhoo Devi, are shown attending to him at His feet. Sage Bhrgu stands near
His head and Markandeya is near His feet. Images of Panchamurtis,
Thumburu, Narada, Sanatkumara, Kinnara Mithuna, the Sun and the
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Moon are shown all around Rangamannar as well as representations of
Villi and Puttan, who stand reverently at His feet. The sanctum sanctorum
has three doorways from which the Lord can be seen in His reclining
posture.12
11. Thenkasi, Kasi Viswanathar temple
If Benares is Kasi of North, it is Tenkasi, Kasi of South where Lord
Siva resides to bless His devotees on the banks of river Chitraru.
Worshipping Lord here is considered to be equal to that of worshipping
him in Benares. This temple has a magnificent tower that stands 180 feet
tall and is visible from kilometres away. The huge coutryard in front of the
temple has lush green grass and in the background of the temple we see
the Podighai hills full of herbs and medicinal plants. A mandapam, leads
one inside the main temple. Inside the sanctum resides the main deity Kasi
Viswanathar , a huge Sivalingam of exceptional grace and beauty.13
12. Tiruvannamalai
Tiruvannamalai is a town in the Indian state of Tamil Nadu.
Tiruvannamalai is named after the central deity of the Annamalaiyar
Temple, Annamalaiyar. The Karthigai Deepam festival is celebrated
during the day of the full moon between November and December, and a
huge beacon is lit a top the Annamalai hill. The event is witnessed by three
million pilgrims. On the day preceding each full moon, pilgrims
circumnavigate the temple base and the Annamalai hills in a worship
called Girivalam, a practice carried out by one million pilgrim’s yearly.14
13. Uttiramerur
Uttiramerur is a small town situated near Chennai (Madras), India.
Uttiramerur, once known as Chaturvedhi Mangalam (meaning a town
with people knowledgeable of all 4 Vedas viz Rig, Yajur, Sama and
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Atharvana), followed a highly organised democratic system. Uttiramerur
is located near from Kanchipuram. It is known for its temples, built over
1200 years ago by the Pallavas and Cholas. The Pallava king Nandivarman
II established it around 750 C.E. It was ruled by the Pallavas, the Cholas,
the Pandyas, the Sambuvarayars, the Vijayanagara Rayas and the
Nayaks.15
14. Thirumuruganpoondi
Thirumuruganpoondi is a panchayat town in Tirupur District in
the Indian state of Tamil Nadu. The name of the village is derived from the
famous Murugan temple located here. The temple dates back to 9th
Century. The origin of the temple is rooted in legendary antiquity.
Soorapadma, the scourge of the gods with his retinue of demons, struck
terror in the celestial world with his sudden depredations and campaigns.
The persecuted gods approached Lord Siva and implored him to save their
lives. The holy shrine is also associated with Sundaramurthynayanar one
of the most celebrated saints of saivism. He did a pilgrimage to the holy
shrines of Siva in Kongunadu.16
15. Varadharaja Perumal Temple
Varadharaja Perumal Temple or Hastagiri or Attiyuran is
a Hindu temple dedicated to Lord Vishnu located in the holy city
of Kanchipuram, Tamilnadu, India. It is one of the Divya Desams, the 108
temples of Vishnu believed to have been visited by the 12 poet saints,
or Alwars. The temple along with Ekambareswarar Temple and Kamakshi
Amman Temple in Kanchipuram is popularly known
as Mumurtivasam (abode of trio), There is a belief that the temple was
first built by the Pallava king Nandivarman II. Varadharaja Perumal
Temple was originally built by the Cholas in 1053 and it was expanded
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during the reigns of the great Chola kings Kulottunga Chola
I and Vikrama Chola. In the 14th century another wall and a gopura was
built by the later Chola kings. 17
16. Thyagaraja Temple
Thyagaraja Temple at Tiruvottiyur (also called as Vadivudai
Amman Temple ) is a Hindu temple dedicated to Hindu god Shiva. It is
located in Tiruvottiyur in the northern part of Chennai, Tamil Nadu, India.
The temple is revered by the Tevaram hymns of Saiva nayanars, the 7th
century Tamil saint poets and classified as Paadal Petra Sthalam. The
temple is closely associated with the saint poet Sundarar and Pattinathar.
The temple has been in vogue from the Pallava times of 7th century and
widely expanded by Chola kings during the 11th century. The temple has
a seven tiered gateway tower, a tank. The temple is administered by the
Hindu Religious and Endowment Board of the Government of Tamil
Nadu. The temple draws parallel with the Thygaraja temple in
Tiruvarur as both the temples were expanded by Rajendra Chola I and
both have the same dance pose of shiva.18
17. Thirumullaivoyal
In ancient times, the forest surrounding Thirumullaivoyal was
occupied by two Kurumbars named Vanan and Onan. The king duly
defeated the kurumbas and brought with him the two white-erukku pillars
from their palace and used them while building the temple
for Masilmaninathar. It is believed that the Lord supported him in
destroying the Kurumbas by sending the Nandi. The unique feature of the
temple is the Nandi facing eastward against Lord Shiva. Also this is one of
the few temples where the positions of the Lords are interchanged. This is

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believed to be because of the urgency in providing darshan to the local
king.19
18. Nellaiappar Temple
Nellaiappar Temple is one of the famous Shiva Temples situated at
the heart of Tirunelveli, Tamil Nadu, India. The temple of Swami
Nellaiappar and Sri Kanthimathi Ambal is situated in the heart of the city.
According to the puranas, both the Gopurams were built by
Muluthukanda Rama Pandiyan and the other important parts of the
temple were constructed by Nindraseer Nedumaran who reigned in the
7th century C.E. The mani mandapam with its famous musical pillar was
built by Nindaraseer Nedumaran in the 7th century C.E. Originally the
Nellaiappar and Kanthimathi temples were two independent structures
with spaces in between. It was in 1647 C.E. that Thiru Vadamalaiappa
Pillaiyan, a great devotee of Siva linked the two temples by building the
"Chain mandapam". There are a number of stone inscriptions in the
temple. The most important of them are those Veerapandiyan who
regained about 950 C.E. and those of Rajendran I and Kulothunga Chola I.
The inscriptions of Maravarma Sundara Pandiyan refer to the Lord as
"Woodayar" and "Wodeyanayanar" and the Goddess as "Nachiar". From
the inscriptions of Kulasekkara Pandiyan we learn that he defeated the
Chera, Chola and Hoysala kings and built the outer walls of the temple
with the war booty.20
19. Ekambaranathar Temple
Ekambaranathar Temple or Ekambareswarar Temple is a Hindu
temple dedicated to Shiva, located in Kanchipuram in the state of Tamil
Nadu, India. The temple is the largest temple in the town of Kanchipuram
and is located in the northern part of the town. The
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temple gopuram (gateway tower) is 59m tall, which is one of the
tallest gopurams in India. It is one of the five major Shiva temples
or Pancha Bootha Sthalams (each representing a natural element)
representing the element -Earth. The other four temples in this category
are Thiruvanaikaval Jambukeswara(water), Chidambaram Natarajar(Sky),
Kalahasti Nathar (wind) and Thiruvannamalai Arunachaleswara (fire). It is
one of the 275 Paadal Petra Sthalams, where all of the four most
revered Nayanars (Saivite Saints) have sung the glories of this temple.21
20. Sokkeshwarar Temple
Sokkeshwarar Temple is situated near the Kamatchiamman Temple
in Kanchipuram. This temple constructed the Chola King. It is called the
Sokkeshwarar Koyil. Gowsikan is devote the temple is recognized
“Gowsikam”. This temple is known as god Sri Gowsikeshwarar. In 985
C.E. inscriptions mention the temple was built by king Uthama Cholan
and it is famous about the “Theirkkirunthu Nakkar Kovil”. This temple
was very beautiful fully sculpture the stone. It was divided into
Arthamandapam, Mugamandapam.22
Case Study: Ciӣӣaiyaӣpřԇtai Tank.
The temples listed from the above places include the erotic arts as a
supplementary theme. That is to say erotica is not the main theme for
illustration as one may find in the temples of Khajurœho or BhuvaneĤvara.
CiӢӢaiyaӢpřԆԆai is a case study because it is a water tank for the local
temple and most of the sculptures carved on the parapets of the tank deal
with erotica. In all probability it was a center of Tantric orgy around the
16th-17th century CE.
To begin with the images bearing on erotica are brought under three
broad categories; i) Associated with the Gods and Goddesses – that may be
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sacred, ii) Ritual images – cult; Tantric oriented and iii) Secular images that
portray kœmasƈtra or the fancy of the sculptor – that may be called profane.
The first category involves the Hindu gods and goddesses in the erotic
free-play as it may be based on mythologies told in the purœӜas, e.g.
Mohinū a minor incarnation, aӘĤœvatœra of ViӼӠu. The second category
purports to illustrate the rituals of the Tantric sectarian order or the cult
practices of the siddhas who followed vœmœcœra. The third category deals
with erotic images that may purport to illustrate the kœmasƈtra or the
teachings of courtesans and prostitutes and those that show the fancy of
the sculptor; e.g. a man with a abnormally long phallus. The chapter
consists of three parts, the third ealing with a case study of CiӞӞaiyaӞpřԂԂai.
The first part of this chapter deals with the sacred images that portray the
sexual dalliances of gods and goddesses.
Mohinū
Mohinū is an aӘĤœvatœra of ViӼӠu who is said to have appeared as a
bewitching damsel on certain occasions to follow ģiva; e.g.
i) To the Dœrukavana to delude the ӰӸis in the Pine Forest; the
ӰӸipatnis went after BhikӼœԆana and the ӰӸis after Mohinū
ii) To distribute the amӰta among the gods and demons; to
distract the demons by her beauty
iii) To punish Bhasmœsura when he turned against ģiva;23 the
demon obtained a boon from ģiva and tried to kill ģiva by
testing with the efficacy of the same boon, Mohinū played
tricks by dancing and killed the demon
iv) Continuation of the episode > iii < by which Mohinū deluded
ģiva that leads to a sexual contact and the birth of
Hariharaptra;24 it is added wheever the seeds of ģiva fell they
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 became the mines of silver and gold, silver is a metaphor for
semen
Images of Mohinū are redundant in the art of the Vijayanagara-Nœyakas.
Certain scenes such as the Churning the Ocean of Milk may be found in
Cave III of Badœmū.25
The mythology of Mohinū’s interaction with the ӰӸis is most popular
in the arts. The sexually provoking images with abnormally big and full
breasts maybe found in the Maturai, ģrūvilliputtƈr and Tirumeyyam temples.
A number of images have been traced from the temples under study.
These may be listed in the following account with due reference to the
most important iconographical idioms.
x An image in atibhaӚga mode is found on a pillar in the
Varadarœjasvœmi temple at Kœñci. She is nude, sexually vibrant and
presents a VirœԂ. Several ӰӸis are found below who are in different
postures of dance to attract Mohinū (Fig. 1).
x Another image in the same venue illustrates Mohinū followed by
lady assistants and ӰӸis in erotic mood. Mohinū is fitted with the
attire of a dancing girl (Fig. 2).
x Another image in the same venue finds Mohinū lifting the hands
above and dancing with cross legs. She is rude. Nearby a lady is
found. On the other side KӰӸӜa is found making gestures. It is not
clear whether the image relates to the rœsakrūҢa of KӰӸӜa (Fig. 3).
x The same maӜҢapa illustrates a gopū carrying a pot of butter on her
head. KrӸӜa pounces on her,26 which is a rœsakrūҢa theme (Fig. 4).

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x Mohinū stands like a virœԂ holding the right hand in tarjanimudra. Her
left hand is in ƈruhasta mode. Three ӰӸis are found kneeling at her
feet to earn her mercy (Fig. 5).
x The ģikhœgirūĤvara temple at KuԆumiyœmalai in its mahœmaӜҢapa
provides for a number of sculptural pillars with Mohinū images.27
In one of the pillars Mohinū is found who has the left leg lifted as
though in ƈrdhvajanu mode. She is obviously presenting a dance
recital to distract the ӰӸis that are found below (Fig. 6).
x Another image finds Mohinū with the right hand lifted and touching
the breast. She is stark nude. Ornamented with jewels she seems to be
covered with a transparent garment that is like a muslin sari (Fig. 7).
x An image in a maӜҢapa of the AӔakarkżyil temple finds Mohinū
alone.28 She has the right leg lifted and left held in ƈruhasta mode
(Fig. 8).
x In the same venue another image of Mohinū finds her beautifully
decked with a lower garment. A ӴӼi is found kneeling to the left
whose long phallus is rested on the thighs. He holds the hands in
namaskœramudra. It is to suggest total surrender to the beauty
standing close to him (Figs. 9-10).
x The agramaӜҢapa of the Ekœmranœtha temple is illustrated with a
number of iconographic specimens on its pillar sections.29 Few of
these relate to Mohinū themes. In one Mohinū stands gracefully
holding a flower in a hand. She is fitted with a big bun on head. ӯӸis
making gestures are found below; one of them holding the penis in a
hand (Fig. 11).

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x An image in a pillar section of the MūnœkӸū temple finds Mohinū in a
graceful gesture holding a spoon in the right hand. This theme is
related to the distribution of amӰta (Fig. 12).
x Another image in the MūnœkӸū temple finds Mohinū holding the right
hand in tarjanimudra. This mudra is meant for warning. Nearby ӰӸis
are not found. The pudendum of the girl clearly shown with a big
strip in the middle (Fig. 13).
x In one of the illustrations Mohinū is found smelling a flower. She
stands gracefully with the buttocks lifted up. Four ӴӼis are found
below showing various gestures to attract her (Fig. 14).
x In another image Mohinū is beautifully decorated with ornaments
and garments. A dwarf ӰӸi sands to the right upon who’s her damsel
has her right hand rested. Another dwarf ӰӸi is found lifted and
standing on the left shoulder of Mohinū (Fig. 15).
These images suggest Mohinū is a VirœԆ and the ӰӸis are pigmies.
x Another illustration in the same venue presents Mohinū being
caught by a ӰӸi-like man. He is taller than the damsel and not a
dwarf as the ӰӸis as usually shown. He takes the hand of Mohinū and
forces to accept (Fig. 16). This man is likely to be ģiva who in the
guise of a ӰӸi forces Mohinū to succumb to his will. The iconometrical
proportion of the masculine figure serves to confirm the man is
superior to the woman.
x In another illustration the woman is old. She rests her hands on a tall
walking stick. Above the feminine figure a LiӞga is illustrated. The
woman is bony (Fig. 17).

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x A pillar in the Nellaiyappar temple at Nelvřli30 finds Mohinū holding
a pot and perhaps she is distributing amӰta. An old man as tall as
Mohinū iconographically speaking stands close to her touching her
breast. This person may be one of the demons who were supposed
to receive the amӰta (Fig. 18).
x Several images of Mohinū are found in the maӠҦapas of the
Nellaiyappar temple. In one a VirœMohinū is found lifting a pot held
parallel to the shoulder. A man as tall as the hip of the maid is found
in namaskœramudra (Fig. 19).
x In another illustration the damsel is found who holds a bunch of
flowers in her right hand. She is beautifully decorated with
garments and ornaments (Fig. 20).
x Another images from the Nellaiyappar temple is fitted with
abnormally big breasts and holding a whip in the left hand. She is
decorated with the sakalabharaӜas and garments (Fig. 21). Such
images with bulging breasts are found in the Maturai and
Tirumeyyam temples.
x In another illustration the Amazonian damsel appears with two
lady-assistants. She holds a water lily in her right hand (Fig. 22).
x Another image from the Nellaiyappar temple is very interesting. She
is decorated with a crown, all types of ornaments and particularly
interesting is a garland-like necklace that hangs up to the hip. The
dress is also very interesting as it is a mini-skirt (Fig. 23).
x The KuӸӸœlam temple houses some interesting images in its
maӜҢapas. This temple also dates back to the Třvœram times.

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 The image of Mohinū appears on a pillar section. She is nude and
decorated with ornaments. She holds a folded whip in one hand and
the other is held close to the mouth in the gesture warning someone
to “shut up your mouth” or “do no nuisance”. Interestingly, she
wears high-heels shoes (Fig. 24).
x Two other illustrations from the KuӸӸœlam temple find her in
dancing mode with the hands lifted above and the legs crossed
(Figs. 25-26).
The images with garments suggests various types of Mohinūs are
illustrated; mainly with or without garments. The heavy concentration of
Mohinū images in Nœyaka period maӜҢapas is a problem to reckon with. It
is not clear whether these images are linked with the cult of the Yoginūs.
ӯӸis
Closely associated with Mohinūs are ӰӸis. They invariably appear in
association with the Mohinū images. The mythological setting is Mohinū
visiting the Dœrukavana and the ӰӸis following her to earn sexual favours.
The ӴӼis present several quixotically bad postures that show their sexual
weakness. It is to suggest yoga comes next only bhoga. Invariably all the
images are nude. They appear with top-knot or disheveled locks of hair
and beards.
x An image on a pillar in the Varadarœja of Kœñci finds a ӰӸi lifting the
hands above the head to mean total surrender (Fig. 27).
x KuԆumiyœmalai pillars finds the ӰӸis in different postures. In one
several ӴӼis are found holding the hands in different postures of
namaskœra and surrender. They are in two rows three below and
two above (Fig. 28).

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 x Two ӴӼis with the long phallus in full erection are found pulling the
garments of Molhinū. The top-knot, beard and mustaches are clearly
marked in this image (Fig. 29).
x In another case a group of five ӰӸis are following Mohinū and one
touches her buttocks to invite her attention (Fig. 30).
x The ӰӸi found kneeling in Indian toilet posture and the penis rests on
the thighs. The penis as long as the thighs; maybe 18 to 20 inches
(Fig. 31). The image is from AӐakarkżyil.
x Stucco images found on the gopura of the AӜӜœmalai temple finds a
nude man and woman standing closely. The man has the hands
lifted above the head. Nearby a ӴӼi is found seated. This scene is
likely to represent ViĤvœmitra and Menakœ (Fig. 32).
x Images from the KuӴӴœlam temple find the ӰӸis in different postures
in partly nude attitude:
i) Hands raised above the head and wearing kaupūӜa. It seems
liӞga like objects are found below upon which they stand (Fig.
33).
ii) Another ӰӸi is samapœda with jaԂas spreading on all sides is
engaged in tapas. He has the left leg bent and sole lifted up
(Fig. 34).
iii) Another ӰӸi stands at ease with the hands lifted above the
head (Fig. 35).
iv) The ӰӸi is in dvibhaӚga mode with one leg crossing the other.
The hands are lifted above the head (Fig. 36).
The popularity of Mohinū images in the art of Tamilnadu is a
problem for serious consideration. Why so many images within the roof of

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the same temple (e.g. Tirunelvřli, KuӸӸœlam, ģrūvilliputtƈr, Maturai,
Meyyam) appear is the question. It is not clear whether Mohinū was
considered Yoginū in the Tantric system. Vidya Dehejia has presented
several lists of the Yoginūs from various sources, including published
canons and manuscripts. Interestingly, none of the list includes the name
Mohinū. We find MohaӠi and Mohœnū included. It is not clear whether
ҥœkinū could be the equal of Mohinū.31 ҥœkinū appears among the
Yoginūs.32 We find such a Goddess in the Cilappatikœram, called VanacœrӠi
(forest nymph) or ҥœkinū who cajoles KżvalaӢ for a sexual intercourse,
which he avoids by uttering some spells.33
Mohinū is a canonical form of Devū listed in the ģrūtattvanidhi. She is
called Mohinū-nityœdevū in the Sœradœtilaka.34 She is raktavarӜa in colour and
invigorated due to the consumption of alcohols. Her hands are four and
hold the aӘbhuja (lotus), pœĤa, sӰӜū and pƈrӜakapœla. She is fitted with a half-
moon and the eyes are three. She is ģivasyavanitœӜ. Among the
akӸaradevatœs Mohinū is one.35 She is the presiding deity of ‘la-kœra’. Her
hands are six and the vœhana gaja. Besides, Mohinū is listed in the
Lalitœsahasranœma (epithet 562) and Devūmœhœtmya in its Devūkavacam. It is
quite likely that Mohinū came to be counted among the Yoginūs (cf.
Dehejia’s list above) in course of time. In the absence of any specific cult
centering on the Yoginū as in the north (e.g. the CatusӼaӼԆi-Yoginūs of
Khajurœho or BherœghœԆ) it is likely that Mohinū was accepted in Tamil
tradition and her images popularized. This may be the reason why Mohinū
images came to be added in huge numbers in Vijayanagara-Nœyaka
temples. The political contact of the later CżӔas and Vijayanagara emperors
with eastern India must have felicitated such a cult orientation in the Tamil
country.
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 An important idea to the underlined here is that the images of VirœԆ-
Mohinū seem to view her in ViĤvarƈpa form. According to the ģœkta
sectarians Devū is the Virœt, ViĤvarƈpinū; cf. the Lalitœsahasranœma (no. 934)
epithet ViĤvamœtœ. The illustrations pertaining to GopūvastrœpaharaӠa in
the following account represent the gopūs in VirœԆ form. These serve to
further confirm the thesis Devū is viewed in ViĤvarƈpa form.
Gopūvastrœpaharaӡa
A popular theme in the pan-Indian art, it finds vivid expression in
the Nœcciyœr TirumoӐi (9th century CE) of ŒӠԆœӐ and the Bhœgavata PurœӜa
(10th century CE), having their roots in the HarivaӘĤa of the Mahœbhœrata
(c. early centuries CE) and the ViӸӜu PurœӜa (5th century CE). It is a theme
related to the KӴӼӠalūlœ, plays of the lad KӴӼӠa with the spinsters of Gokula,
called gopūs (girls of the cowherd). When the gopūs resort to the River
Yamunœ for a bathe, removes the garments and keep them on the banks
and dip in the river, KӴӼӠa goes there unaware, steals the garments and
climbs a tree. The nude gopūs find their garments missing and appeal to
KӴӼӠa on the tree to give back their garments. This theme metaphorically is
supposed to symbolize the appeal of the jūvœtma to paramœtma to redeem
them from the clutches of the worldly cross-currents of life.36 Partly lūlœ and
partly kœma, this theme could be listed among the kœmalūlœs of KӴӠӼa. A
number of samples have been recorded from the temples under study.
Few of these specimens may be examined hereunder. These sculptural
narratives are of a stereotyped pattern as we have noted the images of
Mohinū and ӰӸis above.
x The Varadarœjasvœmi temple at Kœñci houses a specimen in one of
the pillars of the maӜҢapa. KӴӼӠa, the juvenile boy is found mounted
on a tree holding the garments of gopūs in his hands. The boughs of
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 the tree are formed in a circular maӜҢala. The gopūs are found seated
below dolefully, few standing and raising their hands above the
head in total surrender to the Lord.
In the Mohinū theme discussed in the foregoing account the ӰӸis are
nude and here the gopūs are stark nude (Fig. 37).
x Another illustration from the same temple portrays the same scene.
The revolting gopūs are found here to climb the tree to catch hold of
the culprit. Some of them stand below and express their surrender to
the Lord with the hands lifted above in namaskœramudra (Fig. 38).
x KӰӸӜa in this illustration is found dancing on the tree. The gopūs are
under the same plight. One of them is found embracing the tree
thinking it is KӰӸӜa (Fig. 39).
x Another image in a pillar of the Ekœmranœtha temple finds KӰӸӜa
dancing on the tree. Two gopūs stand below the tree admiring the
beauties of KӰӸӜa. It suggests the culprits are the gopūs who love
KӰӸӜa stealing their garments (Fig. 40).
x A pillar in the AӜӜœmalai temple finds the Lord seated on the tree. A
lonely gopū appears below with no other companion. It is not clear
whether the sculptor here wants to NappiӞӞai or Rœdhœ (Fig. 41)?
Neither NappiӞӞai nor Rœdhœ appear in the art of Tamilnadu. K.R.
Srinivasan suggests one of the maids appearing in the
Govardhanadhœri relief of the KӰӸӜa-maӜҢapa of Mœmallapuram is
NappiӞӞai.37 Raju Kalidos has recently reported an image of GaruҦa-
NœrœyaӠa with three consorts; two of LakӼmū and Bhƈ and the third
NappiӢӢai.38 Therefore the present image may be of NappiӢӢai.

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 x A pillar in the MūnœkӸū temple at Maturai finds KӴӼӠa seated on the
tree. A gopū-VirœԆ as tall as the tree stands to the right; cf. images of
Mohinū-VirœԂ above. Two of them are seated below the tree in doleful
mood. One is hiding the secret parts of body with hands and legs
(Fig. 42). The VirœԂ-gopū could easily take KӰӸӜa to task. She fails to do
it which means they love the pranks of KӰӸӜa. It is with their consent
that the whole drama is enacted.
x Another illustration from the MūnœkӸū temple finds the sportive KӰӸӜa
in dancing mode. He has both the hands uplifted as though inviting
the gopūs to climb the tree. Three gopūs are found below one seated
with a hand supporting the head to express dismay (Fig. 43). The
other two are lifting the hands above the head.
x A number of gopūs are found below and one embracing the tree. One
is found lifting the hand up and talks to KӴӼna to give back her
garments; cf. AӠԆal saying (Fig. 44):
TukilaippaӜittaruӌœyř “Give back my garments”39
x Another illustration in the MūnœkӼū temple is very interesting. KӴӼӠa
has eaten butter in huge quantity and so his stomach is big. A gopū is
found climbing the tree to catch hold of the boy. Others are seated or
standing (Fig. 45).
What may be generalized from the above account of Mohinū and
KӴœӼӠa as stealer of garments is that erotica is a subject that is inevitably
interwoven with the religious iconography of India. A good example in
this respect is the LiӞga that is housed in the garbhabӴha of all Siva
temples. In this aniconic form ģiva and ģakti are supposed to merge into

174
an entity leading to Cosmic creation. Several such forms could be isolated
to point out the erotic content in these iconographical representations; e.g.
BhikӼœԆana*, the nude handsome whose aim to distract the ӰӸipatnis
Bhairava*, the nude KӼetrapœlaka
* In these cases nudity is a disguise. They are supposed to be sky-
clad, digambara as are the Jain TūrthaӞkaras
KalyœӠasundara: the matrimonial form of ģiva
ŒliӞganamƈrti: ģiva embracing Devū
GaӞgœdhara: ģiva who takes possession of GaӞgœ40
Mahœkœla: Present in the Elloa caves (nos. XIV, XVI in
YajñaĤœla) are nude with long phallus
The present study takes into account some of the iconographical forms of
the gods that are canonical and include the erotic element.
x In two illustrations KӴӼӠa is found engaged in mithuna such as
dancing and the lady touching the Lord’s chin (Figs. 46-47). The
images are from the Varadarœja of Kœñci.
Another image from the AӠӠœmalai temple finds a woman carrying
a butter-pot on head. The boy KӴӼӠa teases her by pulling the butter-
pot and pressing her breast (Fig. 47a).
In another illustration from Uttiramřrƈr a gopū is walking and KӴӼӠa
teases her from the back. He pull her head with one hand, catching
her hip in another (Fig. 47b).
x ģiva receiving GaӞgœ is found lifting one hand above and embracing
Umœ with another hand (Fig. 48). The image is from the
EkœӜranœtha of Kœñci.
x Rati is seated on a bird vehicle and nearby a nude woman appears in
the Varadarœja of Kœñci (Fig. 49).
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x NarasiӜha is found emerging from a pillar in the Varadarœja of
Kϖci. Nearby a couple are engaged in embracing and kissing
(Fig. 50).
x NarasiӜha is engaged in fighting with HiraӠya in the Ekœmranœtha
of Kϖci. At the same time his long phallus is found in full erection
(Fig. 51).
x The gopura of the AӔakarkżyil temple accommodates a woman
delivering a child. The woman is standing and the baby’s head
coming out of the vagina.
Nearby, ViĤvœmitra and Menakœ are found. The saint refused to
accept the baby and moves away (Fig. 52).
x The same gopura accommodates an image of VaikuӠԆhamƈrti seated
with ģrū and Bhƈ on the coils of ŒdiĤeӼa. Women cœmara-bearers are
found nearby. A black nude man with a long hanging liӚga and
nude woman exhibiting the yoni are found closely (Fig. 53). The
woman is of fair colour.41
This is a naïve indicator of the association of vœmœcœra rituals in a
reputed center of the ViӼӠu cult such as AӔakarkżyil, noted as
Mœliruñcżlai in early literature.
x An image in the KuӸuӞkœlūĤvara temple accommodates an image on
a pillar. It shows ģiva and Umœ in mithuna attitude; ģiva gently
pressing the breast of Devū (Fig. 54).
x An interesting illustration in the AӠӠœmalai temple finds two nude
women offering abhiӼeka to a triĤƈla. At the bottom GaӠapati is
seated (Fig. 55).

176
 The image might pertain to some rituals in the temple which nude
women are expected to perform.
x A rare image in the Uttiramřrƈr temple is labeled KalyœӠa-Varada
on top in modern Tamil. Kalyœna here may be understood to mean
auspicious and not marriage. ViӼӠu in meditation is seated on a
padmapūԂha, supported by lions with the pƈrvahastas in añjalibandha. A
catrœvali appears above the head. The Lord is seated in
ardhapadmœsana. Presumably, the image illustrates a Dhyœni-ViӼӠu.
Two saints with hands lifted above and the legs crossed are found in
meditative posture. Both are them are nude (Fig. 56).
In this case nudity is associated with yoga and is not kœma oriented.
x An image of BhikӼœԆana appears in a devakoӸԂha of the
RœjarœjeĤvaram at KaӞkaikoӠԆacżӔapuram. The main figure
illustrates the Lord moving in the company of bhƈtagaӜas and a
leaping antelope. Subjoined to the main figure are several ӰӸipatnis,
gaӜas and vidyœdharas. The dward female figures are five and stark
nude (Fig. 57).
x An image of GaӞgœdharamƈrti appears on another devakoӸԂha of the
same RœjarœjeĤvaram. The Lord receives GaӞgœ with his rear right
arm and at the same time is pinching the breast of Umœ with the
front right arm. Bhagūratha doing penance and other miniature
carvings appear on both sides of the illustration (Fig. 58)42
x The gopura of the MūnœkӼū temple accommodates an interesting
image of Bhairava. The Lord is samapœda-sthœnaka and dvibhuja. The
right hand shows abhayahasta and left rested on a gadœ. The head is
circled by a hallow of fire. The body is completely covered by a blue

177
 overcoat of the modern western type, exposing the supine liӚga. The
dog vehicle is missing (Fig. 59). This image is likely to be one among
the aӸԂœӸԂa-Bhairavas.43
x Another interesting illustration in the MūnœkӼū temple portrays
Pƈtana-vadham. KӴӼӠa as a boy pounces on an ogress who is awful,
dislocated and appears with disheveled locks. She carries a vessel in
a hand that carries milk to feed the boy. KӴӼӠa kicks Pƈtana with a
leg and kills her (Fig. 60). The illustration is one of the dynamic
scenes in stone.
x Another image in the same temple on a pillar section portrays the
love of Sƈrya with one of his mistresses. The Lord is a petty tall
figure, holding a lotus in the right arm. A short lady may be Sœya is
in his embrace. She expresses her love to the Lord by touching his
chin (Fig. 16). This is mild form of embracing mithuna.44
From the above enumeration it may be generalized that the Hindu
gods and goddesses are illustrated in a variety of sexual postures as may
be demanded by the mythological context of the subject. Mohinū or KӴӼӠa
playing or what is called lūlœ could only be brought out in sculptural
illustration by a sexual interaction. These are the sacred images of erotica.

II

The other dimension of the theme is secular representation of erotica

that may purport to illustrate any of the Kœmasƈtra or Ratirahasya themes.
All themes that come under the category of kœmasƈtra or the fancy of the
sculptor giving shape to acrobatic mode of sexual intercourse are brought
under the present head.
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Priapus type men
The sex oriented images surveyed have brought to light several
images of men showing their manliness by sheer exhibition of their sexual
organ, the phallus or penis that is found abnormal in size as it is in case of
the Roman God of fertility, Priapus.45 These men are caricatured like
clowns in many cases. Few of these images may be examined to begin
with.
x A pillar in the ģrūvilliputtƈr temple accommodates a sexually virile
man who stands alone. His legs are bent and stand erect. His penis
so abnormally long that it extends up to the ankles. The tip of the
organ seems to have been circumcised (Fig. 62).
x An image in a pillar of the AӠӠœmalai temple illustrates ӰӸi. His jaԂas
are flowing on either side. He is bearded and holds the hand lifted
above the head as a mark of respect or pay homage to someone,
likely to be Mohinū. His penis and testicles are prominently shown
(Fig. 63). The circumcision is clearly marked.46
x An image in the Cřvƈr temple finds a dwarf seated on his heels. He
holds the abnormally long penis in his arms. Nearby a woman is
found sleeping (Fig. 64).
x Another image appears in AӔakarkżyil. Two person are founds
standing nearby. One is a dwarf and endowed with a long penis.
The tall man standing nearby holds his hand close to the penis of the
dwarf (Fig. 65). The facial expression in case of both the men is
enigmatic; the tall looks like a lion-face and dwarf like a boar-dace?
Are they NarasiӜha and Varœha? There is no mythology to support
the juxtaposition of these two avatœras of ViӼӠu found in a temple for
ViӼӠu.
179
Female of the Amazon type
As amazons challenging the Priapus type of men several images of
women standing nude and exposing the genitals are illustrated in a
number of sculptures. These images challenge the sexually virile man to
demonstrate women are in no way inferior in sexual virility. These images
are examined in the following account.
x An image in a pillar of the Varadarœja at Kœñci finds a women
standing with the knees apart. She is nude and fitted with full
bulging breasts. Behind the damsel a lion [ess?] is shown. She is
fitted with a skirt-like garment which is pulled away and with the
fingers she opens the vagina (Fig. 66).
x An image in AӔakarkżyil finds the woman standing with the knees
bent. The full breasts are hanging. Her hands are close to the vagina
in the pretension of opening it (Fig. 67).
x Another virago in the AӔakarkżyil temple is pushing a stumpy
artificial penis into her vagina (Fig. 68).
This is to suggest the nude women with their vagina open are in an
effort to invite a man to have intercourse with her or they are for
auto-eroticism.
x A virago in AӔakarkżyil stands with the knees pulled apart. Her face
is awkward as though pining for sexual intercourse. The breasts are
not that full. With both the arms she pulls away the vagina to open it
for a sexual contact (Fig. 69).
x An image from a pillar of the AӠӠœmalai temple finds the woman
standing and inserting a finger into vagina (Fig. 70).

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x An image in the AvinœӼi temple finds the woman seated supported
by a pillow behind. Her arms are stretched and rested on the pillow.
She has the knees widened and the vagina glaringly exhibited
(Fig. 71).
x Another image in the AvinœӼi temple finds the woman rested on
blocks of stone. Her vagina is open and the hole clearly shown.
Nearby a man holding his penis in hand is present. He touches the
woman and the couple are ready for sexual intercourse (Fig. 72).
x Several images of the model are accommodated on the prastara part
of the temple. In another case a woman with a bulging belly I seated
on her heels with the hands rested on the knees. She exhibits her
womanliness by displaying the vagina (Fig. 73).
x An image in the MūnœkӸū temple finds the woman standing with legs
crossed and hiding the vagina. She is naked and displays the full
breasts and invites a mate by her gestures (Fig. 74).
x An image in the ģrūvilliputtƈr temple accommodates a stark nude
woman on a pillar. She is enigmatically smiling has one hand lifted
above and the other placed near the genital. The breasts are full (Fig.
75).
x Another image in the Varadarœja of Kœñci poses like Mohinū. She is
naked and decorated with all kinds of ornaments, including a fan-
like headgear. The breasts are hanging. She holds a pot or basket in
the left arm and placed on the shoulder. Her right arm is held close
to the vagina (Fig. 76).
x In another decorated images of the same type the woman wears
anklets and tall shoes. Her breasts are barren and conical. The thighs

181
 are wide open and the vagina displayed. She holds the right hand
close to the vagina (Fig. 77).
x In another image from KuӸuӞkœlūĤvara the woman seems straddle an
artificial liӚga (Fig. 78).
This is an important image from the Tantric ritual point of view.
That is to suggest all such images of amazons are ritual bound for
intercourse with a man or artificial liӚga.
Erotica of the Kœmasƈtra model
A number of the images of men and women in sexual relations that
subscribe to the normal modes that take place in case of a married man
with a woman, both mithuna (means sexual pre-play such as kissing and
embracing) and maithuna (actual congress of the sexual organs) are
enumerated in the following account. Man in the following account is
called nœyaka and woman nœyikœ.
Mithuna
x The nœyaka and nœyikœ in the MūnœkӸi temple are found coming closer
and embracing. The man stoops down to kiss the woman. He gently
presses the breasts of the lady (Fig. 79).
x The MūnœkӸū temple in a pillar section illustrates nœyaka and nœyika
kissing. Both are standing. The man is tall and the woman short. The
man stoops below to touch the tongue of the woman and at the same
time holds the breast of the woman to evoke her sexual feelings (Fig.
80).
Another image of the same mode is found in the same temple. The
couple is dressed (Fig. 80a).
Another image of the same type in the same temple finds the
woman behind. There is no sexual contact but both are found
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 embracing each other (Fig. 80b). Several such mithuna images are
found in the MūnœkӸū temple (Figs. 80 c-d).
x An image in the Nellaiyappar temple finds the nœyaka and nœyikœ in
sexual intercourse. The man is standing and the woman has her
right leg lifted. The genitals are in union (Fig. 81). This is a normal
standing posture.
x Another image in the Nellaiyappar temple finds the nœyaka and
nœyika seated on a bench. The man embraces the woman and both
are in sexual union (Fig. 82). This is a normal seated type of sexual
intercourse.
x Another image in the KœmœkӸū temple of Kœñci finds the nœyika doing
gymnastics and mounts on the thigh of the nœyaka with one leg. Both
are in embrace. They are mounted on a bench (Fig. 83).
x Another image in the MūnœkӸū temple finds the man and woman
coming closer in contact, both taking their hands friendly and the
man with erect pens. An assistant is found nearby (Fig. 84).
x An image in the AӠӠœmalai temple finds the man and woman
engrossed in kissing. The lady with both the arms is tightly
embracing the man. Both are nude. The man lifts a leg of the woman
up. His phallus is erect (Fig. 85).
x Another scene in the AӠӠœmalai temple finds a land taking the girl
from behind. He places his leg on the woman and catches her breast
tightly. His other arm is pulling down the pot she carries on the
head. The theme relates to KӰӸӜa-lūlœ; KӰӸӜa teasing a gopū (Fig. 86).
Another image from the AӠӠœmali temple finds KӰӸӜa and gopū nude;
the boy lifting a stick and the girl trying to snatch it (Fig. 87).

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 x Several images of the mithuna type are traceable in the following
modes: Seated, embracing and kissing or just embracing (Figs. 88-
89). Standing or dancing, embracing and kissing or not kissing (Figs.
90-96). These images come under the kœmasƈtra type.
Maithuna
Man and woman lying down on the floor or bed is a common mode
of portrayal.
x The prastara part of the TirumurukaӢpƈӠԆi temple in Kżyamputtƈr
district accommodates a running panel of erotic images. In one of
the images the man and woman are engaged in coitus lying posture.
The heads are found in the opposite directions. Nearby men and
women are found playing musical instruments. Nearby a man
cohabiting a woman from the back is found (Fig. 97).
x Another image of the same type is found in the Cřvƈr temple. The
lying and standing congresses are illustrated (Fig. 98).
The lying man and woman are in inverted position, the man licking
the vagina, cunnilingus and the woman sucking the penis, fellatio
(Fig. 99).
x The gopura of the TirumurukaӢpƈӠԆi temple finds a man cohabit the
woman from the back. The woman is stooping like bow (Fig. 100).
x A stone image in the above temple finds the woman cohabit from
back and the woman stoop forward to make easy the coitus (Fig.
101).
x Another image from the same temple illustrates fellatio a woman
sucking the penis of the man (Fig. 102).

184
 x An image from the Avinashi temple finds the woman seated and the
man doing acrobatic by placing the hands on ground and lifting his
buttocks. The woman sucks the penis of the man (Fig. 103).
x An image from the ģrūvilliputtƈr temple finds a clown-like man
standing and a woman seated in between his thighs. The woman
sucks the man’s penis (Fig. 104).
x Coitus from the back is illustrated in a number of sculptures. These
may be listed as follows:
ģrūvilliputtƈr temple car (Fig. 105)
Pillar section of the MūnœkӸi temple (Fig. 106)
Pillar section of the AӠӠœmalai temple (Fig. 107)
Wall part of a shrine in the Varadarœja temple, Kœñci (Fig. 108). In
the concerned image the woman bends like a bow backwards and
the man makes easy the insertion. At the same time he found
playing a horn.
x Another image from the Varadarœja temple, Kœñci finds a woman
standing and keeping her legs widely opened. The vagina is
exposed. A man stands nearby seeking intercourse with her and
holding his long phallus in a hand (Fig. 109).
Acrobatic postures and Group sex
Men and women in group or couple performing coitus in acrobatic
postures is a common scene.
x An image in the ģrūvilliputtƈr temple finds the man seated. His
hands are held up. A woman places both her legs on the palms of
the mand. The man is engaged in cunnilingus (Fig. 110).

185
x A pillar in AӔakarkżyil accommodates an image in which the man
rests on his hands upside down. The palms of his legs are up. The
woman sits on the palms of the man. They are engaged in sexual
union (Fig. 111).
While being in acrobatic modes several men and women are found
engaged in group sex.
x The ģrūvilliputtƈr temple car accommodates an image in which a
woman bends her body backward. A man from the front inserts his
penis into her vagina. Another man from behind inserts his penis
into her mouth (Fig. 112). It is a group sex involving a woman with
two men.
Few other illustrations are fantastically imaginative in which the
sculptor had let his imagination fly freely. In these cases several men
with abnormally long phallus and women are engaged in sexual
union. Such an image has been already illustrated in Raju Kalidos
1996 and S. Settar has brought to light several images from the
Hoysala temples.47
x An image in a pillar of the MūnœkӸū temple finds two women and two
men mounted one above the other. At the bottom a man with a long
phallus is found. His penis moves up like a villa and gets into the
vagina of the woman. Above the woman another man of the same
type and up above him a woman are found. All the four joyfully
engaged in their acrobatic mode of sex. What is interesting in all
these cases is that the phalluses of the men are about two meters
long if the height of the man could be taken into account (Fig. 113).
Few more illustrations of the same type are found in the pillars of
the MūnœkӸū temple and the TirupparaӞkuӢӸam temple (reported in
186
 Kalidos 1986). These seem to reflect the fancy of the sculptor as it is a
biological wonder if a man with penis as long as two meters if to be
found. Even if he be a pigmy if the many is a meter tall his phallus
may be the equal of his height (Figs. 114-116).
x Few of the images are of the cakrœsana type. In this case several men
and women form a circle while at the same time engaged in sexual
union. This type of image is usually associated with the Tantric cult
practioners.
A simple image in AӔakarkżyil finds a man in center. He seems to be
rich person as proved by his protruding belly. Two women stand on
his either side and are in dancing mode (Fig. 117). Even if there is no
overt sexual intercourse, the aim seems to be a sexual free play.
x A rare illustration from the AӠӠœmalai temple six men and women
forming a circle, a typical cakrœsana48. It is a mixture of human beings
in which the sexual theme is not projected. However it seems few of
them are engaged in oral union(Fig. 118).
x The AӔakarkżyil temple car accommodates a number of images that
are formed into a maӜҢala (Figs. 119-120). Few of these pertain to the
sexual intercourse of men and women that is supposed to portray
some kind of cakrœsana of the Tantric mode.
Group sex
Group sex as a theme appears in many sculptures in addition to the
few noted above. The following do deserve a note. This theme could be
brought under various typological variables such as i) one woman with
two men, ii) one may with two or many women,49 iii) several men and
women in company, e.g. cakrœsana and so on.

187
 x The ģrūvilliputtƈr temple car accommodates an image in which a
woman is found standing in the middle. Two men stand on either
side. The man to the left has his penis curved and inserted into the
vagina of the woman. The other naked person on the right is found
touching the chin of the woman and engaged in mithuna. He
perhaps is waiting for his turn of the maithuna (Fig. 121).50
x Another image in the same temple car accommodates an image
which shows the woman in the middle. Two men stand on either
side and engaged in pressing the breasts of the woman. Two men
and other nude men are found standing nearby and those on the left
lifting their long phallus directed toward the woman (Fig. 122).
x A pillar in the MūnœkӸū temple finds a woman curving like a bow. A
man to the right is found inserting his penis into her vagina. The
man on the left is engaged in oral intercourse (Fig. 123).
x An image from the Varadarœja of Kœñci finds three women and two
men on group sex. The theme is rajapœna. Two women lift another
woman up above in acrobatic mode. A man with a palm show in
yœcakamudra mode is expecting the menses to pour. Another man is
seated below and holds the hand in yœcakamudra (Fig. 124).
x In another the woman is posing like an animal. The man from
behind cohabits her. Another man is helping him (Fig. 125).
Bestiality
It is a common motif in Vijayanagara-Nœyaka art. It represents two
modes i) a man copulating an animal, preferably a donkey or ii) a woman
copulating an animal, may be horse or donkey. Raju Kalidos has reported

188
twenty specimens from the temple cars of Tamilnadu. Few of these may be
reported hereunder.
x The ģrūvilliputtƈr temple car finds a man inserting his penis into the
vagina of an animal, may be donkey or cub of a cow. A woman on
the other side catches hold of the animal so that it may not run away
(Fig. 126).
x Another image in a pillar section of the same temple illustrates a
nude woman standing with legs widened. A dog lifts in head up
and licks the vagina of the woman (Fig. 127).
x In another illustration from the same temple a bear is found rearing
its female. There is no human presence (Fig. 128).
x Rearing yœlis are common motifs in sculptural pillars of the
Vijayanagara-Nœyaka period. The kalyœӠamaӠҦapa of the
ŒӔakarkżyil temple fins a rearing yœli pushing its long penis into the
anus of a man standing to its front. This is an evidence of anal
intercourse (Fig. 129); an animal playing sex with a man.
x A pillar in the AӠӠœmalai temple finds two monkeys in sexual
intercourse (Fig. 130).
x Two more illustrations from pillars of the MūnœkӼū temple and
AӔakarkżyil illustrate the sexual intercourse of monkeys; one frontal
and the other back (Figs. 131-132). In one case the penis of the male
monkey is very abnormal (Fig. 132).
Woman delivering child
An important motif common in Vijayanagara-Nœyaka art is the
delivery of a child from the mother’s womb. The main purpose of sexual
intercourse between any man or the animal kingdom is procreation of the

189
species. This motif actually could not be brought under erotica but
gynecology, particularly the treatment of women for child birth and
connected problems. The presence of such images might suggest the overt
symbolism in erotica is ultimately to reach at the melting point of giving
birth to a child. Several stereotyped illustrations of woman delivering a
child may be found. Most of these images are either in the seated or
standing mode. Few of these may be reported hereunder.
x A pillar in the ģrūvilliputtƈr temple accommodates a woman alone
with full breasts. Her legs are widended and the child is coming out
of the uterus. The belly has subsided because the child has come out
of the womb (Fig. 133).
x Another image in the Varadarœja temple finds the pregnant woman
standing and supported by two women. The belly and breats are
full. The head of the baby alone peeps out of the womb. The woman
is naked while the assistants are beautifully decked in rich garments
(Fig. 134).
x Another illustration from the ģrūvilliputtƈr temple finds the woman
seated alone the belly open as though by an anatomical operation
and the baby is found inside (Fig. 135).
Similar images are found in many temples of which ten images have
been reported in Raju Kalidos 1989.
This image may be of some concern to students of medical science of
which a brief report (synopsis of a paper) was published in the Bulletin of
the European Philosophy of Medicine and Health Care 1997.50 The images
found in the images illustrated above are shown either in standing or
sitting postures. However, it is understood that normally child delivering
women are kept normally in reclining mode either on a bed or bed-sheet.
190
Normally four or more women serve as wetnurses. Most women admitted
in hospitals are provided with a green over-gown. They are not nude
while delivering child. The genital zone alone is kept open.
Though Indian literature talks of the birth of child (e.g. the Œdiparvan
of the Mahœbhœrata, the RœmœyaӜa, KumœrasaӘbhava and so on) the
biological process by which the child comes out is not clearly told. In any
case there should have been doctors and assistants to help the mother.
Whether the mothers were kept nude or not is not clear. However, this
problem will have be further explored with the help of treatises dealing
with medicine and caesarean operation.
The question why the mother stands is the most relevant question.
Under conditions of delivery pain it is impossible for the mother either to
stand or sit. She is expected to recline. Reason may be that when the
mother stands the process of delivery of the child is expedited. If supposed
the head of the child emerges out of the uterus first due to its weight of
gravitational force the rest of the child comes out quickly. However, it is
expert in medical science to give an expert opinion on the subject.
From the above study it may be discerned that by about the
Vijayanagara-Nœyaka time most of the sculptural varieties have found a
pretext to enter the sculptural art of Tamilnadu. These include those based
on the Kœmasƈtra, Tantric rituals and the fancy of the sculptor. There is a
popular view among the elite and folk in Tamilnadu that such sculptures
were due to the distorted mental vision of the sculptor. It may be true if we
view the fanciful sculptures with abnormally long phallus which no Ĥœstras
defines. Other images could be brought under the two broad categories of
mithuna and maithuna. Those of the mithuna type definitely command the
sanction of manuals such as the Kœmasƈtra and Ratirahasya. Under the
191
maithuna type those of oral sex is noted in manuals. Those relating to
bestiality are non-canonical. Fellatio and cunnilingus are reserved subjects.
Cunnilingus of the woman to woman type is unnoted in Ĥœstra. An
important typology to be noted here is a cobra emerging from the vagina
of a maid. This type has not been spotted anywhere in the temples under
study.

III

The present part of the chapter deals with the erotic images
discovered by the author in a tank called CiӢӢaiyaӢkuӐam (Tank of the
Small Man) at a place called CiӢӢaiyaӢpřԆԆai in the ViӔuppuram tœluka in
northern Tamilnadu. The place must have been a center of the Tantric cult
during the Vijayanagara-Nœyaka period. Most sculptures on the bunds of
the tank pertain mostly to erotic ritual art. Other illustrations include those
of the Mahœbhœrata and the RœmœyaӜa themes. Eroticism is a frank theme in
the ‘Œdiparvan’ of the Mahœbhœrata and the rituals of sage ӳӼyaĤӴӞga in the
RœmœyaӜa. Most of the erotic themes examined in the foregoing part of the
thesis appear in this tank. It may be dated in the 17th century CE on the
stylistic basis of the sculptures available. All the images are carved in low
relief on granite bounders and set as parapets to support the tank. It has
been suggested the popular belief is that VaruӠa showers rain (= semen)
on looking at these sculptures.51 The images found in the tank are
examined systematically.
x Several images find a man and a woman seated and engaged in
sexual intercourse. The seated posture differs from one to another
(Figs. 136-143).

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x Several images illustrate men and women standing and engaged in
sexual union. These are in different modes such as
i) Frontal union sometime kissing (Figs. 144-147)
ii) Union from the back, the man sometime with an abnormally
long phallus (Figs. 148-152)
iii) A man and a woman in union when at the same time another
may hols standing his long phallus ready to go next in choice
(Figs. 153-155)
x The man and the woman bend their body like a bow and unite in sex
(Figs. 156-157). An old man is looking at a united couple in one (Fig.
156).
x The phallus is fancifully along that several men and women carry
and force it into the vagina of a woman (Figs. 157-161).
x Ritual sex of a woman who straddles an artificial phallus (Figs. 162-
65). In these images the woman alone appears seated widely
opening the thighs so as to mount an artificial liӚga.
x Ritual sex is also performed by men and women. In these cases the
woman is seated with the thighs opened. A man from below is in the
posture drinking the rajapœna, supposed to be the menstrual fluid of
the woman (Figs. 166-167). In another type of the image a man is
found standing nearby with his erect phallus (Fig. 168).
x Certain acrobatic postures seem to be related to ritual sex. In these
images the man is in inverted position lifting the buttock up and
supported him by the head and two arms placed on a bed. The
woman is seated on his upward palms of the legs and holds the
hands of the man for support. They are engaged in coitus in such a

193
 standing. Few images of the type have been spotted in the tank
under study. In some cases assistants are found and few are without
assistants (Figs. 169-172).
x Fellatio and homo-sex is another theme that appears as a common
genre. Several images are located that mix with other erotic images.
The typological variations are the following:
i) A woman sucking the phallus of a man (Figs. 173, 176)
ii) A woman sucking the phallus of a man, rajapœna and a man
standing with erect phallus pointing to the other two couples
(Fig. 174)
iii) A man holding his long phallus erect and inviting his partner
for sexual union (Fig. 175).
iv) Anal congress in which a man pushes his long phallus into the
anus of another person (Fig. 177).
v) Two men stand facing each other hand lifting their long
phallus in their hands (Fig. 178)
vi) A man sucking the phallus of another man (Fig. 179).
vii) A woman standing nude and exposing her vagina. Another
man fucking a woman from behind (Fig. 180)
Bestiality
Bestiality is a sexual union between a man and woman with an
animal or animal to animal intercourse. These images may pertain to the
sexual orgy of the Tantric sects or may purport to illustrate mythological
events that may be briefly enumerated below.
x A deer is in union with a woman. The woman is found grinding
grains in a stone while the deer appears behind and copulates the
maid (Fig. 181).
194
 This event may relate to the birth of Vaӌӌi, the Tamil consort of
MurukaӞ. According to the Tamil Kanta PurœӜam a ӰӸi is supposed to
have copulated with a deer that gave birth to the girl. Such an image
has been already reported from a temple car at NœӚkunřӴi. In the
present image a deer copulates a man.
x In another illustration two dogs are found in sexual union (Fig. 182).
The image is naturalistic and may not pertain to any mythical event.
It is likely to be a fancy on the part of the sculptor. Otherwise, it may
caricature the abnormal sexual intercourse of men and women
found in the tank. It might be a pointer that these men and women
behave like dogs.
x A woman leaning supporting her on a piece of boulder. A donkey
pounces on her from behind and engages in sexual union (Fig. 183).
A typical theme on bestiality such images has been reported from
various temples and temple cars.
x In another illustration of the same type a donkey copulate a woman
and at the same time a man is found holding his erect penis in a
hand directed toward the woman (Fig. 184).
A similar other image is also found in which it is not certain whether
it is a donkey or the cub of a horse. The animal is found standing
like a mean in rearing attitude (Fig. 184a).
x A donkey is found in the middle. A man from one side inserts his
long penis into the genital of the donkey. Another man with his
penis erect is found holding tightly the snaffle of the animal so that
it may not shout or run away (Fig. 185).

195
 x A wild boar is shown on left corner. A man inserts a long staff into
its genitalia. Another man is found behind the man holding the pole.
It is not clear whether they are hunting the animal or provoking its
sexual feeling (Fig. 186).
In another illustration two men are found attacking a boar from both
the front and back. They carry long poles in their hands. The man
from behind finds the pole inserted into the sexual organ of the
animal (Fig. 186a).
x In another illustration of the type the man appears like a ӴӼi with
mustache and beard (Fig. 187).
x A woman is found moving toward an animal. Another animal from
behind rears on her. Another woman is found behind who is
wonder-struck and closes the mouth with fingers (Fig. 188).

From the above study it is understood that erotic motifs appear in

temples belonging to ģiva, ViӸӜu, Devū and MurukaӞ temples. Various types
of sexual intercourses of the normal type and abnormal types appear.
Chronologically these could be fixed only in temples of the Vijayanagara-
Nœyaka period. Several images of the Tantric orgies are spotted. It is a
positive clue to the fact that the Tantric cult practices and the Yoignū cult
must have influenced the arts of the Tamils. Bestiality, sodomy and
cunnilingus are common themes for portrays. These however fail to
appear in the earlier arts of the Tamil country.

196
Notes and References

1. Raju Kalidos, Temple Cars of Medieval TamiӐaham, Madurai 1989. This

work gives a long list of 261 temples from all over Tamilnadu.
2. R.K.K. Rajarajan, Art of the Vijayanagara-Nœyakas: Architecture and
Iconography, 2 vols., Delhi 2006. This work deals with select temples
from all over South India, including KeӔadi-Ikkřri. A British scholar,
Crispin Branfoot 1998 has worked on the Nœyaka temples of the
Maturai region but it suffers from serious methodological lapses and
the author has not visited all parts of the temples surveyed by him
as his plans ear-mark zones “not surveyed”. It could not be a full-
fledged study of the art of the Nœyakas. For example, he does not
know the origin of the TirupparaӞkuӢӸam temple group and lists
only those permitted to visit. Non-Hindus are not permitted in
certain parts of the sacred zones in the temple.
3. M. Arokiaswami, The KoӚgu Country, Madras,1956, p.77.
4. Ibid, p.120.
5. Arooran. K. Nambi,Glimpses of Tamil Culture based on Periya PurœӜam,
Madurai, 1977, p.
6. C.Subramanian, Thirukuttralanathar Swamy Koil Valarau Panpadu,
Chennai, 1998,p. 57.
7. K.N.N.Sastri, The Cola, University of Madras, Madras, 1984, p.566.
8. Krishna Nanthitha, Heritage of Art and Religion, Chennai, 2006, p.145.
9. B.S.Baliga, Madras District Gazatters, Madurai, 1960.
10. Breckien Ritge, Sri Meenaskhi Sundraeshwarar Temple Worship and
Endowments, South India 1833-1925.
11. Pudukkottai Inscription, introduction,p.4.

197
12. S.K.Velmani, Tirunelveli Districk Gazetters, Vol.I, 2002, p.18.
13. Ibid, p.540
14. K.N.N.Sastri, op.cit,p.589.
15. Ibid, p.590
16. Archeology Department, Chennai,2010,45.
17. N. Ramsun, Sri Kanchi Kamokodi pithan through the Age,1962, p.121
18. Krishna Nanthitha, op.Cit,p.113.
19. R.K.K. Rajarajan, Early Historical Setting of Kϖci and its Temples,
Journal of the Institute of Asian Studies, 2013, p.48.
20. N. Ramsun, op.Cit,p.113.
21. Ibid,p. 210
22. Srinivasan, Kanchipuram through the Age, 1979,p.56.
23. ģrūmad Bhœgavatam, chaps. 7-9.
24. For detailed examination of the theme in art and literature see Raju
Kalidos, ViӼӠu’s Mohinū Incarnation: An Iconographical and
Sexological Study, East and West, Vol. 36: 1-3 (1986), pp. 183-204. This
article illustrates iconographical samples from the temple cars of
Tamilnadu relating to the following themes: i) Churning the Ocean
of Milk (figs. 1-2), ii) Mohinū and ģiva in amorous play (figs. 4-5), iii)
Mohinū and ӰӸis (figs. 7-8), iv) ViĤvœmitra and Menakœ in erotic
dealing (fig. 9), v) Bhasmœsura and so on.
25. Raju Kalidos, Encyclopaedia of Hindu Iconography: Early Medieval, Vol.
I ViӸӜu, pl. XLV.1.
26. The gopūs in these illustrations present a different picture and appear
like Mohinūs.
27. This venue is one of the centers of early medieval PœӠҦyan rock-cut
caves. Close to the cave temple a structural temple later emerged
198
 with an ornate pillared hall. The pillared maӜҢapa is likely to be of
the Nœyaka period where we find the sculptural pillars. Vide, Raju
Kalidos, op. cit., Vol. IV, Pt. I, pl. VI.1.
28. The temple for ViӼӠu here goes by the name Saundararœja (Tamil
AӔakar). It is one among the 108 divyadeĤas noted in the ParipœԂal and
Cilappatikœram (5th century CE). Vide, Jeyapriya Rajarajan, Pre-
Medieval Phase of ViӼӠuism in Tamilnadu, IAHA Abstract, Surakarta
(Java) 2012, p. 64.
29. Noted in early literature as Řkampam, it appears in the Třvœram
hymns and the Mattavilœsa of MahřndravarmaӢ I (c. 610-30 CE).
Vide, R.K.K. Rajarajan, Early Historical Setting of Kϖci and its
Temples, Journal of the Institute of Asian Studies (2013
communicated/forthcoming).
30. The present temple is an outcome of the later 14th century CE
renovations. Its history gets back to the 7th century CE as extolled in
the hymns of Třvœram. It is one among the pañcanӰtyasabhœs famous
as the Tœmiracapai “Copper Hall” of ģiva-NaԆarœja. Vide, R.K.K.
Rajarajan, PañcanӴtasabhœs: Dancing Halls Five (forthcoming).
31. Vidya Dehejia, Yoginū Cult and Temples: A Tantric, pp. 210-11.
32. Idem.
33. See Chap. II.
34. ģrūtattvanidhi 1.1.121.
35. Ibid., 1.1.180.
36. For a detailed examination of the literary motifs in Tamil and
Sanskrit see Raju Kalidos: i) The Hymns of Kżtai: An Essay in
Eroticism, In R. Kalidos ed. Sectarian Rivalry in Art and Literature, pp.
125-26.
199
 ii. Encyclopaedia of Hindu Iconography: Early Medieval, Vol. I ViӸӜu, p. 45.
37. K.R. Srinivasan, Temples of South India, p. 51.
38. Raju Kalidos, Tamil Literary Traditions: Their Relevance in the Study
of Indian Arts, pp. 35-43, figs. 2-3.
39. Nœcciyœr TirumoӐi 3.1.
40. When GaӞgœ descends on the Lord, ģiva inserts his index finger into
the vagina of the Goddess. Vide, Raju Kalidos, Temple Cars of Medieval
TamiӐaham, pp. 89-90.
41. The black man is of particular interest because the people who throng
to the temple during festivals are known as AӔakarmalai-kaӌӌaӞs. They
are black and some utterly black. During festivals in the temple,
people of the folk throng in thousands and engage in animal sacrifice
that is a common sight even today.
42. Figs. 57-58 are the early images examined in the present study. They
belong to the time of Rœjřndra I (mid-11th century CE), builder of the
temple.
43. For a list of the Bhairavas-64 see Jeyapriya Rajarajan, Terrific
Manifestations of ģiva: Vūrabhadra, pp. 3-4.
44. The sexual intercourse of Sƈrya and Sœya in the guise of horses has
been reported from one of the temples of PaԆԆadakkal. For details see
T.S. Thangamuthu, A meaningful miniature from PaԆԆadakkal, East
and West, Rome 1994, Vol. 44: 2-4, pp. 487-90.
45. Carpiceci, Pompeii 2000 Years ago and today, p. 63 fig. Such a type of
man with a mega-phallus has been reported from the Museum of the
1000-pillared Hall in the MūnœkӼū temple. This phallus is lifted by five
elephants at the tip of which a woman is seated. Vide, R.K.K.
Rajarajan, Art of the Vijayanagara-Nœyakas…, Vol. II, pl. 320.
200
46. The Hindus normally do not follow ritual circumcision. It may be an
impact of Islamic culture. However, the PiӸamalai-kaӌӌans, one among
the dominant caste group in the Maturai region seem to have
followed it down to the early 20th century.
47. Raju Kalidos, ViӼӠu’s Mohinū incarnations., East and West, Vol. 36/3-4,
fig. 13; S. Settar, The Hoysala Temples, Vol. II, pls.256-80.
48. Raju Kalidos, Temple Cars of Medieval TamiӐaham, fig. 93. Cf. figs. 94
(rajapœna), 95 (group sex), 96 (horse rearing a woman), 97 (ӰӸi with
long phallus) and for a list of erotic images see pp. 389-96.
49. I am told R.K.K. Rajarajan has communicated an article on the
ģrūvilliputtƈr temple car iconography to the East and West, Rome. It is
known that he has not taken into account the erotic images found in
the car.
50. Raju Kalidos, Nudity in Indian Art and Some Sexual Issues, Bulletin of
the European Philosophy of Medicine and Health Care, Vol. 5: 1, Nijmegen
1997, p. 85.
51. R.K.K. Rajarajan, Iconography of the Kailœsanœtha Temple…, Journal
of Hindu Studies (communicated).

201