Journal of Archaeological

Studies in India

Vol. 2, No. 2, 2022, pp. 83-100

© ARF India. All Right Reserved

URL: http://arfjournals.com/jasi
https://doi.org/10.47509/JASI.2022.
v02i02.03

The Earthy Indians: Sensuality and Sexuality

as Reflected in Early Historical Terracotta and
Contemporary Literature

Aparna Bhogal
Curator (Archaeology), CSMVS, Mumbai

Abstract: The term ‘Shringara’ has dual meaning. One meaning is ‘adornment’ Received : 15 September 2022
and another is ‘copulation’. A number of early historical terracotta (baked clay) Revised : 10 October 2022
objects ranging from C. 3rd century BCE to C. 4th century CE, in the collection Accepted : 25 October 2022
of CSMVS, apparently deal with the theme of Shringara. Terracotta plaques as
Published : 27 December 2022
well as figurines in round are recovered from different historically important sites
like Mathura, Kaushambi and Rajghat in Uttar Pradesh and Chandraketugarh in
West Bengal. One of the salient features of these objects from this vast territorial TO CITE THIS ARTICLE:
span is the sensuality either latent or articulated. These figurines consist of
beautifully bedecked females with elaborate coiffure, voluptuous and sensuous Aparna Bhogal 2022. The Earthy
Indians: Sensuality and Sexuality
figures wearing transparent clothes revealing their form. We also have amorous
as Reflected in Early Historical
couples and orgiastic scenes. Terracotta and Contemporary
It is difficult to know exactly what these terracotta figurines were made for. Literature. Journal of Archaeological
However, there are often elements of shringara in them which echo the sentiment Studies in India, 2: 2, pp. 83-100.
of contemporary poetry and drama. In this essay, some verses are selected that https://doi.org/10.47509/JASI.2022.
can enliven our appreciation of some of the terracotta figurines by relating them v02i02.03
to the verses from Gahasattasai, Buddhacharita and Saundarananda. Further, the
purpose behind their creation is also discussed.
Keywords: Chandraketugarh, Gahasattasai, Kamasutra, shringara, terracotta.

The ubiquitous term ‘shringara’ is usually taken in the sense of ‘prasadhana’ (adornment) as well as
‘maithuna’ (copulation) in Indian society. It is actually associated with erotic mood. Wide range of
ancient Indian artworks if observed reveal that our ancestors certainly had a healthy outlook towards
sensuality and sexuality. A number of early historical terracotta (baked clay) objects ranging from
C. 3rd Century BCE to C. 4th century CE, in the collection of CSMVS, bear testimony to the fact.
Though we have few human male figurines as well as animals represented in this art form, female
figures or femininity seems to be a dominant factor. These terracotta plaques or figurines in round
are recovered from different historically important sites like Mathura, Kaushambi and Rajghat in
84 Journal of Archaeological Studies in India

Uttar Pradesh and Chandraketugarh in West Bengal. One of the salient features of these objects from
this vast territorial span is the sensuality either latent or articulated which unifies them. The plethora
of beauties consist of female heads with elaborate coiffure, beautifully bedecked, voluptuous and
sensuous figures with transparent clothes revealing their form, as a part of amorous couples or even
orgiastic scenes associated with both spiritual and mundane world. Sometimes an innocent look,
sometimes a coquettish glance and graceful posture make these fragmentary but remarkably artistic
terracotta figurines more meaningful.
It is difficult to know exactly what these terracotta figurines were made for. However, there are
often elements of shringara in them which echo the sentiment of contemporary poetry and drama. In
this essay, some verses are selected that can enliven our appreciation of some of the terracotta figurines
by relating them to the verses from Gahasattasai (Gathasaptashati), Buddhacharita, Saundarananda.
Though ‘beauties’ are frequently described ‘nakhashikhanta’ (from tresses to toes) in Sanskrit and
Prakrit literature unfortunately the fragmentary terracotta figures rarely provide scope to have an idea
of one figure in totality. Like a picture made by mosaic of different pieces these fragments collectively
depict an ideal Indian woman in the glory of her youth, a dream girl perhaps every ancient Indian man
thought of.

Figure 1, Female head, Black Terracotta, Mathura, 1st century BCE, 5 cms X 4.8 cms, CSMVS, 65.12

ceejsefme kebÀ Ce ceg×s FcesCe Hesjvle-jÊe-efJemecesCe~

Yeg-}Dee-®eeJe-efJeefCeiieDe-eflekeÌKeDej×ef®í-Yeu}sCe~~ 504~~ ieenemellemeF (Mangrulkar and Badhe 1984)

Beauty! Who is not wounded by the arrows of your sharp edged eyes emerging from the bow of
your vine like eyebrows?
This head of a woman (probably pressed from a mould) has two strings of pearls or beads in
appliqué with hair ornament (now missing) in the centre bordering her forehead. Her oval face with
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 85
large expressive eyes somewhat elongated, carefully shown eyebrows, fleshy cheeks and hair decked
with small flowers certainly shows artist’s love for details. Hair is shown in linear pattern.

Figure 2, Female head, Terracotta, Kaushambi, Uttar Pradesh, 1st century

CE, 5 cms X 5.6 cms, CSMVS, 66.19

ceDeCeefiieCees Je Oetceb ceesnCe-efHeef®bí Je }esDe-efoìdþerS~

peesJJeCe-OeDeb Je ceg×e JenF megDevOeb ef®eGj-Yeejced ~~ 572~~

Like a (magical) feather captivating eyes of people, she carries her hair dressed like a perfumed
flag of youth (looking) like a fire of passion.
This female head in all probability represents lady of fashion. Her elaborate fan-shaped headdress
consists of multiple horizontal floral bands and two strings of pearls or beads adorn her forehead-
revealing portion of her hair. Large circular earrings decorated with floral pattern flank her pretty,
delicate face. Realistically delineated face with small expressive eyes bear testimony to the artist’s
skill.

Figure 3, Yakshi, Terracotta, Kaushambi, Uttar Pradesh, 1st century BCE- 1st century
CE, 5.5 cms X 5.7 cms, CSMVS, 66.18
86 Journal of Archaeological Studies in India

SF FceerDe efCeDe®íF HeefjCeDe-cee}tj-me®íns LeCeS~

leg[;ies meHHegefjme-ceCeesjns JJe efnDeS De-ceeDevles ~~ 579~~
Come! Behold!
Her breasts like ripe fruits of bilva (Aegle marmelos or Indian bael) so high like wills of good
people that cannot be confined to the heart and hence exposed.
Probably a yakshi, this high bosomed woman can also be typical representation of nayika depicted
in Sanskrit kavya with so much zeal by the poets and play writers alike.
She is represented as standing under a tree with sprays of leaves sheltering her, providing a canopy.
Her headdress is decorated with flowers. Similar flowers are shows blossoming on the tree. Though
her facial features are obscure due to the tiny size of her head, her disc-like large hanging earrings and
the necklace are significant. A sash is shown across her upper body passing between her full breasts
idealized in Sanskrit literature as suvarnakumbha or amritkumbha. Emphasizing her slender waistline,
her posture is delineated like that of shalabhanjika as she is holding branch of a tree with one of her
hands. Another hand seems busy touching her earring.
It reminds one of the verses in Buddhacharita:
®etleµeeKeeb kegÀmegefceleeb He´ieï³eev³ee }}efcyejs ~
megJeCe&keÀ}µeHe´K³eeved oµe&³evl³eë He³eesOejeved ~~ 4/35~~ yegOo®eefjle (Chaudhary 1948: Canto IV, verse 35)
…other holding fully blossomed mango-bough leaned, displaying her golden jar like bosom-
Ashvaghosha (78-150 CE) describes one of the temptresses musing for a while on a popular theme of
shalabhanjika.
The terracotta artist also seems to have dwelt on her breasts for a while as her carefully shown
nipples suggest.

DeCegjeDe-jDeCe-YeefjDeb keÀ_®eCe-keÀ}mme JJe le©efCe-LeCe-JeÆced ~

lemme ef®®eDe cegnefcce efkeÀDee ceefme-cegÎe ceDeCe-jeSCe ~~ 806~~

Like (one would seal) golden jars carrying gems of love, the God of Love has sealed openings of
the round breasts of this maiden with black (nipples)!

Figure 4, Female head, Terracotta, Kushana, C. 1st century CE, 11.5 cms X 8 cms, CSMVS, TC 114
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 87

meeceeF ie©De-peesJJeCe-efJemesme-YeefjS keÀJees}-cet}efcce~

efHeppeF Denes-cegnsCe Je keÀCCeJeDebmesCe }eJeCCeced ~~ 439~~
By bending to reach the end of her cheeks the earrings of this damsel in her full bloom of youth,
are drinking the elixir of her lavanya (youthful beauty).
This is another example of fashionable woman or Court lady though only head is available. Her
double tiara like headdress is patterned with lotus petal design. Hairstyle is revealed by lines and hair
bun is shown on the top of her head. Another prominent feature of this beautiful image is her large,
thick earrings of which only one is extant. It is further decorated with checkered pattern.
Kama Sutra (Sutra 14) (Upadhyaya (tr.) 1974: 76) recommends ‘A maiden should study in
private the sixty- four arts or kalas. Along with painting, vocal and instrumental music as well as
dancing the other arts enlisted are coloring teeth, hair, nails and other toiletries (adornments), making
various garlands, dressing and decorating body, crafting ornaments, adorning foreheads, proficiency in
pressing, shampooing and dressing hair. It is no wonder small objects like our terracotta figurines have
such wonderful coiffures, beautiful and sensuous transparent costumes and are profusely adorned too.
Vatsyayana does not forget to boast that a princess or a daughter of a highborn official, as long
as she cultivates these sixty-four arts, will certainly enjoy her husband’s favour in spite of having
a thousand wives in his harem. In Indian polygamous royal or noble households, it was definitely
useful to have knowledge of sixty-four arts (Upadhyaya 1974: 80). Verses 20 – 21 of Kama Sutra
claim (Upadhyaya 1974: 79, 80): A courtesan, endowed with character, beauty, and virtues attains an
honoured place among the public and acquires the rank of ganika if she is expert in sixty- four arts.
Such a woman is ever honoured by the king and even by the virtuous, and since she is sought after,
and courted by one and all, she becomes the cynosure among the class and enjoys universal regard. In
fact, the Sutras 11-17 mention that the sixth section dealing with courtesans was separately elaborated
by Dattaka at the request of the courtesans of Pataliputra (Upadhyaya 1974: 67). Therefore, these
courtesans like Vasantasena of Ujjayini were supposed to be beauty with brains. Ideal companions for
rasika nagaraka like Charudatta. No wonder the courtesans of Pataliputra aspired to become ideal like
the heroine of ‘Mricchhakatikam’ of Shudraka and Amrapali the celebrated beauty of Vaishali.
meJee&ë meJe&keÀ}e%eeë mLe YeeJeie´nCeHeefC[leeë~
©He®eeleg³e&mecHevveeë mJeiegCewceg&K³eleeb ieleeë ~~ 4/9~~ yegOo®eefjle (Chaudhary (ed.) 1948,Canto IV, verse 9)

Figure 5, Female Head, Terracotta, Shunga, 1st century BCE, 6 cms X 7 cms, Karl J. Khandalawala
Collection, CSMVS, 2009.658
88 Journal of Archaeological Studies in India

All of you know all the arts, are skilled in captivating the emotions, possessing beauty and
intelligence, owing to your skills you have achieved prominence.
Ashwaghosha praises the temptresses in his Buddhacharita.
DeF-HeerCe-lLeCe-GÊeefcYeDeeCeCes megDeCeg megCemeg cen JeDeCeced ~
De-efLejefcce pegppeF Ce peesJJeCeefcce ceeCees efHeS keÀeGced ~~ 917~~

Listen to my words, Oh, high bosomed beauty with raised (arrogant) head!
Why are you angry with your lover when youth is transient?
Is this highly decked shukasarika angry with her lover and not responding to his love messages?
She is depicted with beaded double strings with flower at each end adorning her forehead. Her hairstyle
also shows flowers with the largest in the centre surmounting her head. One of her earrings is visible. It
is a large circular earring with floral pattern in the centre. Her broad necklace also shows floral design.
Her sash-like upper garment or Uttariya covering her both the shoulders is suggested by striation.
Visibility of her full breasts suggests transparency of her garment. Large heavy bangles adorn her
hands. She is probably touching branch of a tree, which is not clear due to the damaged condition of
this plaque. Her left hand is supporting a bird placed on her left shoulder.
Perhaps she is waiting at the gate anxious to meet her paramour as possibly she has just received
message sent by her lover through this bird messenger!
jlLee-HeFCCe-CeDeCegHHeuee legceb mee Heef[®íS Svleced
oj-efCeefnSefnB oesefnB efJe ce[;ieue-keÀuemesefnB Je LeCesefnced ~~ 140~~

She is waiting at the gateway to welcome you with two auspicious jars of her (round) breasts,
placing (on your way) blue lotuses that her eyes are!

Figure 6, Yakshi, Terracotta, Mathura, Uttar Pradesh, 2nd century CE, 7 cms X 3.5 cms, CSMVS, 65.14
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 89

efCengDeCe-efmeHHeb len meeefjDeeF Gu}eefJeDeb ïe ieg©-HegjDees~

pen leb Jes}b ceeS Ce DeeefCecees keÀlLe Je®®eecees ~~ 589~~

Oh mother!
When this Myna described our lovemaking, in front of the elders, we just could not understand
where we should hide!
It is a representation of a woman standing cross-legged in padaswastika. One of the striking
features is large, thick anklets adorning her feet. Ends of her garment are shown hanging on her both
sides. She is touching her left breast with her right hand that can be taken as symbol of fertility and
nourishment.
She is one more example, which can be described as shukasarika. A bird is resting on her waist.
Has that bird pricked at one of her full round breasts mistaking it for fruit? Is this a representation
of a poetic fancy? Quite possible! There are innumerable verses in Sanskrit and Prakrit literature
describing beauty of maidens with such fanciful examples where birds are taking fancy of full, round
breasts looking like ripe bilva fruits.
Isn’t it appropriate depiction of sensuous figure of a nayika (heroine)? The physique of this nayika
looks epitome of Indian beauty. If carefully observed ‘areola’ is also suggested on her breasts.
These figurines (Fig.5 and 6), also remind one of Sanskrit kavya (Poetics and Dramatics) literature
where nayika or heroine is frequently described as talking to her pet bird about her lover. Birds were
trained to repeat love- phrases, which were used to remind the significant other of their undying love
or to invite them for tryst. Training parrots and mynas to speak and sing was one of the sixty- four arts
enlisted in Kama Sutra (Upadhyaya 1974: 78). It is even said that if trained properly these birds can
memorise messages and carry them where their owner wishes. In Kama Sutra, nagaraka, or man of the
town, is advised to hang in his house the cages and keep different kinds of birds in them (Upadhyaya
1974: 82). Vidushaka Maitreya observes in the 7th quadrangle of Vasantasena’s household pet birds of
different kinds (Kale 1962: 133,134).

Figure 7: Yakshi, Terracotta, Mathura, Uttar Pradesh, 1st century BCE-1st century
CE, 5.5 cms X 6 cms, CSMVS, 65.16
kebÀ leg[;ie-LeCegefkeÌKeÊesCe HegefÊe oej-efùDee HeueesSefme~
GCCeeefceDe-keÀueme-efCeJesefmeDeiIe-keÀceuesCe Je cegnsCe ~~ 256~~

Carrying your lotus like head on your high (full) breasts just as one would keep a lotus (for
worship) on the highly placed auspicious jars, who are you waiting for standing at the gate?
90 Journal of Archaeological Studies in India

This petit woman is having round moon-like face. Two large disc-like earrings flank her pretty
face little bit tilted, suggesting coquettish glance, emphasizing her graceful gait or subtly disclosing
her anticipation towards coming of something or somebody. Her heavy, puffy hairstyle is adorned with
round ornament not clearly visible. Her large breasts are shown prominently. Even in this small image,
so much damaged, the artist is successful in creating idealistic picture of her beauty.

Figure 8: Female figure, Terracotta, Mathura, Uttar Pradesh C. 1st century BCE, 13.5 cms X 6 cms,
CSMVS, TC 28
efJe}eefmeefCe-ieg©-efCeDecyees leerjG ®e}CesefnB oesefnB GJJeefnGced~
SDeeF& GCe cepPees LeCe-Yeejb keÀF Ceg GJJenF ~~ 796~~

Her two legs can carry load of heavy bottoms of this beautiful damsel but how can her single waist
hold burden of her two heavy breasts?
This mystery remained unsolved in the minds of rasika ancient Indians. However, Ashvaghosha
relishes his notions of ideal femininity in the description of Sundari, wife of Nanda.
leleÞ®e}vvetj ³eesefkeÌleleeY³eeb veKeHeYees[veeefmeleje[iegef}Y³eeb ~
He¨eeb efHe´³ee ³ee veefueveesHeceeY³eeb cetOvee& Ye³eevveece veveece vevoë ~~4/17~~ meewvojevevo (Johnston 1975: Canto IV, verse 17)

Her lotus-like feet, which were girt with tremulous anklets and the toes of which gleamed with the
brilliance of their nails… Saundarananda
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 91
Though head does not exist of this figurine, this elegantly dressed lady might be an embodiment
of fashion of the bygone days. Her earrings, long, hanging necklace reaching her navel, her broad
multi-layered girdle and heavy anklets seem quite popular in the contemporary society. Her right hand
is stretched down while her left hand rests on her waist. It seems one of the popular poses in Sanskrit
kavyas where beauties of the nayikas are depicted with much zeal.

Figure 9: Female figure, Terracotta, Mathura, Uttar Pradesh, C. 1st century BCE, 8.7 cms X 6cms,
CSMVS, TC 25
ceefmeCeb ®e[;keÀccevleer HeS HeS kegÀCeF keÀerme cegn-Ye[;ieced~
CetCeb mes cesnef}Dee penCe-ieDeb efíJeF Cen-Jeefvleced ~~ 463~~

Why is she distorting her face while walking slowly stride by stride?
Actually (as she walks) her waistband is being rubbed against the nail marks on her buttocks.
This epitome of feminine beauty again repeats the pose of fig. 8. In this case, head is extant hence
one is able to see her somewhat round face with tiny, pretty features, her hairstyle typical of those days
is consist of beaded strings adorning her forehead with a large flower on the top of her head. Her large
cylindrical earrings and necklaces are shown with much effort. Her thin waistline is embellished with
a broad girdle, which seems to have shifted slightly. Her right hand is lying aside and a left hand rests
on her waist, which gives her somewhat haughty appearance.
92 Journal of Archaeological Studies in India

One would ask her:

lej}ef®í ®evo-JeDeCes Leesj-lLeefCe keÀefjDejes© leCeg-cepPes ~

oerne Ce meceHHeFB efmeefmej-peeefceCeer keÀn Ceg os ceeCees ~~ 918~~

Oh, high bosomed Beauty with moonlike (round) face, hazy (dreamy) eyes, slim waist and thighs
like trunks of elephants, why this anger of yours when long night in the Shishira (autumn/ fall) is not
yet over?
But someone like Ashvaghosha would admire her as:
mee nemenbmee ve³eveefÜjsHeÀe Heervemlevel³egvvele He¨eekeÀesµee... ~~ 4/4~~
A very lotus-pond in the shape of a woman with her laughter for the swans, her eyes for the bees
and her swelling breasts for the uprising lotus buds…
as he describes Sundari in Saundarananda.
Such norms of ideal beauty were imbued in Indian society for generations. Ashvaghosha in his
Buddhacharita praises the beauties as:
YeeJe%eevesve neJesve ®eeleg³ee&êtHemecHeoe ~
ðeerCeecesJe ®e µeÊeÀeë mLe mebjeies efkebÀ Hegveve=&Ceeced ~~ 4/12~~ (Chaudhary 1948: Canto IV, Verse 12)

Having knowledge of the sentiments, embellished with beauty and brain (intelligence), you have
power even over women, concerning passion, why not (over) men. (means: certainly, you have more
power over men)
Highly adorned woman in her full glory of youth was in fact thought of as an auspicious symbol.
It was a sign of opulence and fertility. Often goddesses were also represented in this form suggesting
their cultic significance in the realm of fecundity (Fig. 10).

Figure 10: Mother Goddess, Black Terracotta, Mathura, Uttar Pradesh, 2nd century
BCE, 23 cms X 10 cms, CSMVS, 67.1
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 93

ceiieg ef®®e³e De-}nvlees nejes HeerCegvve³eeCeB LeCe³eeCeced ~

Gefyyecyees YeceF Gjs peGCee-CeF-HesÀCe-Heg_pe JJe ~~ 999~~

As necklace of this high bosomed lady could not find the space between her two voluptuous
breasts, just like foam floating on the waves of River Yamuna, it lies on the nipples of her breasts.
This female figurine in black terracotta might have served as prototype for depicting celebrated
femininity in later years. Identified as mother goddess this hand-modelled lady is provided with a
tiny parasol on her head emphasizing her divinity. Few protruding leaf-like patterns further embellish
her heavy headdress. Beaded earrings, strings on her forehead, her necklaces and broad girdle all are
suggested by small plaques in appliqué.

Figure 11: Mother Goddess, Black Terracotta, Mathura, Uttar Pradesh, 2nd century
BCE, 22 cms X 9.5 cms, CSMVS, TC 27
DeCCeb ue[nÊeCeDeb DeCCee ef®eDe keÀeF JeÊeCe-®íe³ee~
meecee meeceCCe-HeDeeJeFDees jsn ef®®eDe Ce nesF ~~ 962~~

This dusky lady (Shyama) is indeed not pictured (created) by usual Prajapati (Brahma-the creator
god). Her bright complexion and elegant slenderness too seem extraordinary!
94 Journal of Archaeological Studies in India

The head of this female is pressed from a mould while her body is modeled by hands. Her face is
oval and eyes are elongated. She is wearing a very elaborate headdress consisting of a number of rosettes
bearing stamped dotted pattern, bordering her face and are attached to the Damaru-shaped earrings.
They are partially covered probably by her tresses or ornaments. Her necklet has oval central piece
with vertical incised lines. Another, little longer necklace with stamped rosettes has pendant fashioned
in horse-shoe pattern. One more necklace reaching her navel is made of oval-shaped decorations with
horizontal incisions. The pendant of this necklace also follows horse-shoe pattern. Three strings on
each side are attached to this necklace and her girdle which is decorated with vertical incisions. She is
wearing plain anklets. All ornaments are shown in appliqué. She is characterized with heavy breasts,
slender waist and broad expansive hips, an ideal Mauryan female in alluring form.
Subtle sensuality was though more common in case of ancient Indian terracotta art there are no
less examples of vigorous sexual depictions.

Figure 12: Mithuna, Terracotta, Kaushambi, Uttar Pradesh, 1st century

BCE, 13.2 cms X 6 cms, CSMVS, 66.22
peeDees mees efJe efJe}keÌKees ceS efJe nefmeTCe cee{cegJeiet{es~
He{ceesmeefjDemme efCeDebmeCemme ieefCbþ efJeceiievlees ~~ 351~~

As he was (hastily) trying to undo the knot of my garment (in the dark) that was in fact already
slipped, he felt ashamed and I, while laughing, embraced him tightly.
This plaque shows couple kissing each other. Lady is embracing her lover while he touches her
girdle (or garment?). Lady is decked with earrings, armlets, necklaces, girdle and anklets. Her hair
bun is also prominently shown behind her head. The male is sporting a turban, necklace and armlets.
Ashvaghosha would have described it as:

keÀvoHe&jl³eesefjJe }#³eYetleb He´ceesoveevÐeesefjJe veer[Yetleb ~

He´n<e&leg<ì³eesefjJe Hee$eYetleb ÜbÜb menejbmle ceoevOeYetleb ~~ 4/8~~ (Johnston 1975: Canto IV, verse 8)

The twain dallied blindly together, as if they were a target for the God of Love and Rati, or a nest
to hold Delight and Joy or vessels for Pleasure and Satisfaction…
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 95
Saundarananda

Figure 13: Mithuna, Terracotta, Kaushambi, Uttar Pradesh, C. 1st century BCE, 5.6 cms X 6 cms, CSMVS,
81.4/10
Deefu}DeF efoefù-efCeyYeef®íDees efJe efJengDees efJe}iieS efmeDeS ~
HenDees efJe ®egcyeF ye}e De-}ppeS keÀn Ceg kegÀefHHemmeced ~~ 891~~

When I look with scornful glances he draws me closer, when I push him away he tries to snatch
my garment, when spanked he forcefully kisses me! How can I be angry with this shameless person?
And what happens later?
ceeCeesmenb Je efHeppeF efHeDeeF ceeCebefmeCeerDe oFDemme ~
keÀj-mebHeg[-JeefueG×eCeCeeF ceFjeF ieC[tmees ~~ 270~~

When her lover raised her mouth tenderly with his cupped fingers, the angry lady drank wine from
his mouth as it was medicine on her anger.
This is yet another plaque depicting amorous couple kissing each other. Male touches her girdle
and her head with his hands. Her narrow waist is accentuated by the extensive portion below her
waistline.
In ancient India prajotpadana or procreation was considered sacred and essential duty of grihastha,
the householder. The images of mithuna suggesting fertility were always considered auspicious and
hence they were thought to be apotropaic, a charm or amulet for warding off evil. As symbol of
procreation it stands for longevity or continuity and hence for eternal life, youth and vigour (Sengupta
2005: 58). In Atharvaveda also mithuna mark is used as a magical device to secure fertility (Keith
1995: 46).
Explicit representation of erotica is also not uncommon in ancient terracotta art. There are few
plaques displaying couples copulating or maithuna (Figs. 12 and 13).
These erotic representations have sensuous as well as ritual significance the seeds of which go to
the Vedas.
³eefvle~ Jee~ Sles~ efceLegveeled ~ ³es~ mebJelmejced~
GHe³eefvle~ DevleJexoer~ efceLegveew~ mece~ YeJele:~ lesve~
SJe~ efceLegveeled~ ve~ ³eefvle~

Yanti va ete Mithunad ye

96 Journal of Archaeological Studies in India

Samvatsaram upayanti antahvedi

Mithuno sam bhavatah teneiva
Mithunannayanti (Rajwade 1976: 86) (TaittiriyaSamhita 7-5-10)
It means after observing samvatsara satra, that is celibacy for one year, in the end, if the yajamana
or host see mithuna from yajnavedi or sacrificial altar it motivates him for copulation. It also suggests
observing copulation was considered as aphrodisiac.
According to Arputha Rani Sengupta ‘the symbolic scene (mithuna) reveals wide dispersion of
shared belief in after life, in which provocative erotica immortalize hierogamy or sacred marriage. The
ritual act indicates ‘sowing of the seed’ in an explicit manner so that the sensuous embrace transforms
the votive plaque into ‘garbhagriha’ (sanctum sanctorum). Dr Devangana Desai put forward suggestion
by D.H. Gordon that terracotta was used as votive offerings to the Mother goddess and her partner
(Desai 1975: 14).
That was on sacred level but on mundane level also a possibility cannot be overruled that such
maithuna plaques with perforations on the top were meant for hanging in the bedrooms of nagaraka
or even of courtesans (Sengupta et al 2007: 146). The Kama Sutra also mentions that clay figurines
were presented or shown by the nagaraka to his beloved (Desai 1975: 17). According to Prof. Naman
Ahuja the more recent research on these erotic images shows that the angle of vision of the viewer
of the plaques and the direction of the gaze of those depicted on the plaques actually reflect either a
self-consciously narcissistic or, at other times, a voyeuristic gaze (Ahuja: 39, 45). In medieval Indian
miniature paintings there are number of colourful illustrations of erotic poses commissioned by the
royalty or nobility. ‘Raja Shrinathji in Zenana’ (CSMVS, 57.2) depicts the king enjoying intimate
moments in harem. The painting is bordered by different erotic postures depicted in tiny compartments.
Such depictions on the walls of royal bedchamber possibly had voyeuristic function. We can also
assume that they might have worked as tools for sex education .(Murals in the King’s bedchamber of
16th century Mattancherry palace in Kerala have mythological figures engaged in love-making. I am
grateful to my colleague Nilanjana Som for bringing it to my notice).
Such maithuna scenes are also elaborately pictured in terracotta art during early historical period.
Here an example can be given of a plaque (Fig. 14) from Chandraketugarh where rather bold depiction
of sexuality is found.

Figure 14: Erotic scene, Terracotta, Chandraketugarh, West Bengal, 1st century BCE- 1st century
CE, 5 cms X 4.8 cms, Gift of Dr. Pratapaditya Pal, CSMVS, 96.2/4
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 97

®evo-meefjmeb cegnb mes meefjmees DeefceDemme cegn-jmees eflemmee ~

me-keÀDe-iien-jnmegppeue-®egcyeCeDeb keÀmme meefjmeb mes ~~ 213~~

Her face is like a moon, taste of her lips is like amrita (elixir). What can be compared with the
passionate kiss I had with my hand holding her by tresses?
This plaque shows a man advancing towards a woman and the woman is depicted seated with legs
spread. Her full breasts are shown with much care even in this small plaque. Man is shown holding
her head or her loosened hair with his left hand. He is holding something in his right hand not clearly
visible.
Perhaps he is lovingly assuring her:
oFDe-keÀj-iien-}gef}Dees Oeefcceu}es meerng-ieefvOeDeb JeDeCeced~
ceDeCeefcce SefÊeDeb ef®eDe HemeenCeb njF le©CeerCeced ~~ 544~~

During kamakrida or erotic sports, hair disheveled as held by (hand of) lover and mouth perfumed
with wine are only embellishments of the maidens that attract the attention.
Another rectangular plaque (Fig. 15) from the same site seems to be depiction of sex orgy.
oìdþdCe le©Ce-megjDeb efJeefJen-efJe}emesefnB keÀjCe-meesefnu}ced~
oerDees efJe leiieDe-ceCees ieDeb efHe lesu}b Ce }keÌKesF ~~ 547~~

Figure 15: Orgiastic scene, Terracotta, Chandraketugarh, West Bengal, 1st century BCE- 1st century
CE, 7.5 cms X 6.2 cms, Gift of Dr. Pratapaditya Pal, CSMVS, 96.2/2
98 Journal of Archaeological Studies in India

As was engrossed in viewing erotic sports of young lovers, full of different postures and passionate
expressions, the lamp was oblivious to his finished oil.
This plaque shows a group of males and females seated or standing, showing their genitalia
suggestive of orgy while a woman in the centre in uttanapada or birth giving posture is seated on the
lap of a male in coitus act both rested on the back of a human figure on his four and head down, is
peculiar. The nudity of other females and the uttanapada posture of at least three suggest it is orgiastic
scene. Did this scene have some tantric association or ritualistic significance? Kama Sutra vividly
describes such erotic congress hence they might have even secular context.
Lady in the centre is apparently performing viparita sambhoga:
efmeefn-efHe®í-uegefueDe-kesÀmes JesJevlees© efyeefCeceerefueDe×ef®í ~
oj-HegefjmeeFefj efJemeefceefj peeCemeg HegefjmeeCeB peb ogëKeced ~~ 52~~

Your hair are disheveled (looking) like peacock feathers, thighs are trembling, eyes are drowsy,
you are so fatigued after taking for a while role of man (in the love sport), can you just imagine the
men’s pain (what efforts the men take)?
There is one more interesting plaque, rectangular in shape, depicting woman in curious act (Fig.
16).

Figure 16: Female figure, Terracotta, Chandraketugarh, , West Bengal, 1st century BCE- 1st century
CE, 6.7 cms X 5.6 cms, Gift of Dr. Pratapaditya Pal, CSMVS, 96.2/3
Aparna Bhogal : The Earthy Indians: Sensuality and Sexuality as Reflected in Early Historical... 99

kegÀmegceceDee efJe DeF-Keje De-ue×-HebÀmee efJe otmen-HeDeeJee ~~

efYevovlee efJe jFDeje keÀecemme meje yeng-efJeDeHHee ~~ 326~~

Made of flowers and yet extremely sharp, cannot be touched still unbearable (causing unbearable
pain), great fighter (or conqueror), piercing yet generating love- so varied are the arrows of the God
of Love.
Seated in uttanapada posture a woman who is depicted in remarkable detail, is inserting some
arrow like object or plant in her genitalia with her right hand. Her hair is arranged in a bun and she
wears circular earrings. Though the exact purpose of this plaque remains unclear apparently, it is a
depiction of auto- eroticism.
Artificial aids to promote sexual pleasure have been known since a long time in India. Some
people resorted to the use of aphrodisiacs and others made use of artificial aids. Vatsyayana enumerates
tarka karma as a kala wherein proficiency was essential for a successful and popular nagaraka. It is
explained by commentator as ‘apadravya’. He has laid down that there should be a separate room for
preparing artificial aids in the house of nagaraka (Upadhyaya 1974: 82). Interestingly Vatsyayana has
mentioned homosexual women who indulge in sexual practices with the help of artificial aids. They
may be indulging in auto-eroticism by means of such aids. Vatsyayana has mentioned that males in the
absence of females for the sexual act, experience auto-eroticism with viyoni, vijati, figures of females
and by upamardana. The females practiced auto-eroticism by using ‘kanda’, aluka, kadali, mula-root
of tala, ketaki, fala- alabu,karkati (Upadhyaya 1974: 43). It is open secret that the life in harem for
any lady wasuncertain totally dependent on whims of her lord whose admiration for her would change
like waxing and waning of the moon.
Nonetheless, this plaque might have another aspect also- a religious aspect.According to Dr.
Pratapaditya Pal ‘the woman is extracting an ear of paddy from her sex organ. She could be the fertility
goddess behind the concept of Devi as Shakambhari (Pal 1987: 141). On mundane level the plaque
displays erotica, on a ritual or symbolic level, according to him, it would have been buoyed in the field
to improve fertility. All over north India, farmers are known to copulate on the field to improve fertility
and as a substitute; they could have inserted such plaques symbolically. It is quite convincing (email
correspondence).
However, apart from the above mentioned there are numerous other terracotta plaques from
Chandraketugarh projecting different sexual positions. From plain, old missionary position, we have
plaques depicting coitus from behind, partners standing side-by-side, bestiality, auto- eroticism and
others (Sengupta et al 2007: 140, 151). Was this variety considered just for ritualistic purpose?
The Shilpashastras, Vastushastras and other authoritative text embodying rules of sculpture and
architecture written after the Gupta period refer to the portrayal of erotic figures on doors and other
architectural parts of religious monuments (Desai 1975: 1). The ancient norms of sexuality were indeed
devoid of modern morals and concept of sin attached to it. These depictions on the mass-produced
terracotta plaques of sensuality and sexual activities in ancient Indian art should not be judged by the
modern norms. The precise idea behind this mass production of erotic scenes is unknown but their
availability on such a large scale is testament to their popularity. Is it possible that the artists- artisans
tried to cater to the needs of different strata of society? If it was so no wonder cheap and plastic material
like baked clay was selected medium for this popular art. Even if religious or ritualistic purpose is
accepted behind their creation, they interestingly reflect private aspect of social life in ancient India.
Vatsyayana echoes the earthy/ practical Indians who gave kama or sensual/ sexual pleasures due
importance:
100 Journal of Archaeological Studies in India

The pleasures of kama are as essential for the proper maintenance of the human body as is food.
Moreover, they take their very roots in dharma and artha (Upadhyaya 1974: 74).
Thus it can be said that the importance given to sensuality and sexuality by ancient Indians is
mirrored in the field of art especially terracotta art, literature and other aspects of Indian society during
early historical period.

Acknowledgement
I am indebted to Prof. Naman Ahuja for going through the manuscript and making valuable suggestions. I owe
my sincere thanks to Drs. Shreekant Jadhav, Shahida Ansari and Balaji Gajul for their support and constant
encouragement. I am also grateful to Dr. Sabyasachi Mukherjee, Director General, CSMVS as well as the
Trustees and staff of CSMVS for providing me images.
Image Courtesy: All images courtesy CSMVS, Mumbai.

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