Indian Love Paintings

161 Pages·1985·28.591 MB·English

by  Hilde Bach

Indian
Love Paintings
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Indian
Love Paintings
Hilde Bach
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Lustre Press Pvt Ltd
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C0 Hilde Bach, 1985
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All rights reserved. No part of this publication may
be reproduced, stored in a retrieval system, or
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transmitted, in any form or by any means,
electronic. mechanical, photocopying,
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the prior permission of the
copyright owner
First published 1985
Lustre Press Pvt Ltd
Varanasi, New Delhi. India
This book is a socio-cultural study.
It is compiled from the ancient Indian
texts, viz. Vatsyayana's Kama Sutra, Koka's
Ratiraha.<;)a, Jayadeva's Gita Gouinda. Kalyan Mal's
1
Arianga Ranga, Bhanudatta's Rasamanjri, and Keshav Das's
Rasikapriya. The paintings are by Indian artists
of the seventeenth. eighteenth and nineteenth
centuries. This book is aimed at academicians
and research students of psychology,
anthropology, sociology, medical
sciences, lndology and· the
history of art
Designed by 0. P. Gulati
,Jacket design by Anu Saha
Photoset in Century by
United India Press, New Delhi
Printed and bound by Leefung·Asco Printers Ltd, Hongkong
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Contents
List of Plates 6
Preface 9
1. The Background of Indian Erotic Painting 15
2. Indian Painting: Schools and Styles 22
3. Feminine Beauty 28
4. The Eight Heroines: Ashta Nayikas 49
5. Love in Separation 58
6. The Mughals: The Age of Pleasure 70
7. Love Divine 82
8. Courtesans 95
9. The Romances 107
10. Love in Union: Bahi Rati 124
11. Love in Union: Sambhoga 136
Bibliography 158
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List of Plates
PLATE 1: Padmini (the lotus woman) pluck PLATE 15: Krishna bathing with gopis.
ing flowers. Guler, c. 1800, Chandigarh Muse Kangra, eighteenth century, Bharat Kala
um, Chandigarh 33 Bhavan, Varanasi 4 7
PLATE 2: Padmini. Nurpur, eighteenth centu PLATE 16: Gopis begging Krishna to return
ry, Chandigarh Museum, Chandigarh 34 their clothes. Kangra, eighteenth century, Na
PLATE 3: Chitrini (the artistic woman) play tional Museum, New Delhi 48
ing sitar. Guler, eighteenth century, Fogg Art PLATE 17: The expectant heroine. Guler,
Museum, Boston 35 eighteenth century, Archaeological Museum,
PLATE 4: Chitrini playing ueena. Guler, c. Gwalior 52
1810, Chandigarh Museum, Chandigarh 36 PLATE 18: Lady with a lotus awaiting her
lover. Jaipur, c. 1780, Chandigarh Museum,
PLATE 5: Sankhini (the shell-woman). Guler,
c. 1800, Chandigarh Museum, Chandigarh 37 Chandigarh 53
PLATE 19: Flame-like beauty hidden in a
PLATE 6: The enchantresses ofVr aja. An il
bower of sandal trees. An illustration to the
lustration to the Rasikapriya. Bundi, eight
Rasikapriya. Bundi, eighteenth century, Na
eenth century, National Museum, New Delhi 38
tional Museum, New Delhi 54
PLATE 7: The beauty of a woman enchants a
PLATE 20: Kamoda RCJBini. Bundi, eighteenth
herd of deer. A representation of Todi RCJBini.
century, Alwar Museum, Alwar 55
Bundi, eighteenth century, Alwar Museum,
PLATE 21: The lady sinned against. Kangra,
Alwar 39
eighteenth century, National Museum, New
PLATE 8: A beautiful woman chastising an
Delhi 56
errant cat. Bundi, early eighteenth century,
PLATE 22: The forward woman seeks her
National Museum, New Delhi 40
lover on a dark night. Kangra, eighteenth cen
PLATE 9: Lady at her bath. Guler (Kangra
tury, Chandigarh Museum, Chandigarh 57
Valley), eighteenth century, Bharat Kala
PLATE 23: Girl friends trying to console a
Bhavan, Varanasi 41
love-sick lady. Basohli, c. . 1695, Dogra Art Gal
PLATE 10: The lover stealthily admiring the
lery, Jammu 60
charm of his beloved. Bundi, eighteenth centu
PLATE 24: A lady's distress reflected in the
ry, National Museum, New Delhi 42
topsy-turvy lotuses. A detail from an illustra
PLATE 11: A lady at her toilet, watched by tion of the Rasamanjri. Basohli, Dogra Art
her lover. Bundi, eighteenth century, National Gallery, Jammu 61
Museum, New Delhi 43
PLATE 25: The lament of the love-lorn lady.
PLATE 12: Ladies bathing. Guler, c. 1760, Guler, c. 1780, Chandigarh Museum,
Chandigarh Museum, CJtandigarh 44 Chandigarh 62
PLATE 13: Ladies ba!hing and listening to PLATE 26: The anxiety of the love-lorn lady.
music. Guler, c. 1760, Victoria and Albvt Mu Kangra, c. 1790, Bharat Kala Bhavan,
seum, London 45 Varanasi 63
PLATE 14: Whose heart will the lovely damsel PLATE 27: Love-sick lady watching monsoon
not twist into knots? Kangra, c. 1790, Bharat clouds. Kangra, eighteenth century,
Kala Bhavan, V aranasi 46 Chandigarh Museum, Chandigarh 64
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PLATE 28: Radha lamenting her separation PLATE 48: Radha and Krishna in a lotus
from Krishna. An illustration of the pool. Kangra, eighteenth century, Bharat Kala
Rasikapriya. Bundi, eighteenth century, Na Bhavan, Varanasi 93
tional Museum, New Delhi 65
PLATE 49: Lovers. Kangra, eighteenth centu
PLATE 29: Distress of a lady, whose husband ry, Chandigarh Museum, Chandigarh 94
has not returned from a hunt. Bundi, eight
PLATE 50: The reception-cum-bedroom of a
eenth century, National Museum, New Delhi 66
courtesan. An illustration to Bhanudatta's
PLATE 30: The burning fever of love. Bundi, Rasamanjri. Basohli, early eighteenth century,
c. 1725, Bharat Kala Bhavan, Varanasi 67 Lahore Museum, Lahore 100
PLATE 31: Ragini Seet Malhar. Bundi, eight PLATE 51: An elephant composed of conju
eenth century, Alwar Museum, Alwar 68 gating couples. Jodhpur, eighteenth century,
author's collection 101
PLATE 32: Radha pining for Krishna in
spring-time. An illustration to the Gita PLATE 52: Woman describing the charm of
Govinda. Bharat Kala Bhavan, V aranasi 69 the courtesan to a client. Guler, eighteenth ·
PLATE 33: A ladies' party in a garden. century, private collection. 102
Mudhal, seventeenth century, private collec
PLATE 53: The joy of rain. Kangra, nine
tion 75
teenth century, private collection 103
PLATE 34: A lesbian pair, Mughal, seven
PLATE 54: The moon of paradise. Bundi,
teenth century, private collection 76
eighteenth century, private collection 104
•
PLATE 35: A favourite concubine being taken
PLATE 55: A chief with-his favourite courte-
to the bedchamber. Mughal, eighteenth centu
san in summer. Nurpur, eighteenth century,
ry, private collection 77
Chandigarh Museum, Chandigarh 105
PLATE 36: Love-making in a garden pavilion.
PLATE 56: A married woman awaiting the ar
Mughal, eighteenth century, private collection
rival of her lover. Basohli, seventeenth centu
78
ry, Chandigarh Museum, Chandigarh 106
PLATE 37: A nobelman and his wife enjoying
PLATE 57: Nala and Damayanti admiring the
music. Mughal, eighteenth century,
beauty of sarus cranes. Kangra, eighteenth
Chandigarh Museum, Chandigarh 79
century, Chandigarh Museum, Chandigarh
PLATE 38: A love scene. Mughal, early eight 112
eenth century, Chandigarh Museum,
PLATE 58: Nala and Damayanti admiring the
Chandigarh 80 crescent moon. Kangra, eighteenth century,
PLATE 39: Lovers on a terrace. Mughal, National Museum, New Delhi 113
eighteenth century, Chandigarh Museum,
PLATE 59: Nala and Damayanti making love
Chandigarh 81
in a pavilion. Kangra, eighteenth century, Na
PLATE 40: Radha. Kishangarh, mid tional Museum, New Delhi 113
eighteenth century, private collection 85
PLATE 60: Nala appeases Damayanti. Copula
PLATE 41: Radha and Krishna listening to tion in a yogic posture. Kangra, eighteenth
music and watching fireworks. Kishangarh, century, National Museum, New Delhi 114
mid-eighteenth century, National Museum,
PLATE 61: Nala dismisses servant girls and
New Delhi 86 makes love to Damayanti. Kangra, eighteenth
PLATE 42: The boat of love. Kishangarh, century, National Museum, New Delhi 115
mid-eighteenth century, National Museum,
PLATE 62: Damayanti and Nala. This posture
New Delhi 87
is known as Vipreet Rati. Damayanti is happy
PLATE 43: The impatient lover. Kishangarh, and relaxed and Nala fans her. Damayanti ties
mid-eighteenth century, National Museum, her dishevelled hair and leaves the bedroom.
New Delhi 88 Kangra, eighteenth century, National Museum,
New Delhi 116
PLATE 44: Love divine. Bundi, mid
eighteenth century, Kumar Sangram Singh PLATE 63: Love in a pavilion on a warm
Collection, Jaipur 89 summer day (artist, Gur Sahai). Guler, c. 1820,
author's collectiion 11 7
PLATE 45: Lovers in a plantain grove. Jaipur,
eighteenth century, Chandigarh Museum, PLATE 64: A love scene (artist, Gur Sahai).
Chandigarh 90 Guler, c. 1820, author's collection 118
PLATE 46: Sheltering in the Rain. Guler, PLATE 65: A love scene (artist, Gur Sahai).
eighteenth century, Chandigarh Museum, Guler, c. 1820, author's collection 119
Chandigarh 91
PLATE 66: Madhavanala and Kamakandala
PLATE 47: Radha and Krishna playing Holi. making love in a garden pavilion. Kangra,
Kangra, eighteenth century, Chandigarh Muse eighteenth century, National Museum, New
um, Chandigarh 92 Delhi 120
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PLATE 67: Love-making in summer under a PLATE 79: Manmathpriya posture. Uniara, c.
starlit sky. Baghal State, early nineteenth cen 1750, Kumar Sangram Singh Collection,
tury. collection: Mian Chatar Singh of Arki 121 Jaipur 144
PLATE 68: Love-making on a moonlit night. PLATE 80: A passionate encounter. Uniara,
Baghal State, eighteenth century, collection: mid-eighteenth century, Kumar Sangram
Mian Chatar Singh of Arki 122 Singh Collection, Jaipur 145
PLATE 81: Love-making on a terrace.
PLATE 69: Ecstasy. Guler, c. 1830, author's
Jodhpur, early nineteenth century, Kumar
collection 123
Sangram Singh Collection. Jaipur 146
PLATE 70: Radha and Krishna seated on a
PLATE 82: Sambhoga. Sirohi. early nine
bed of flowers. An illustration to the
teenth century, Kumar Sangram Singh Collec
Rasikapriya. Bundi, seventeenth century, Na
tion, Jaipur 147
tional Museum, New Delhi 128
PLATE 83: Vipreet Rati. Sirohi, mid
Pl~ATE 71: Lover shooting an arrow of flow eighteenth century, Kumar Sangram Singh
ers. An illustration of Ragini Vibhasa. Bundi. Collection, Jaipur 148
eighteenth century, Alwar Museum, Alwar
PLATE 84: Vipreet Rati. Uniara. mid
129
eighteenth century, Kumar Sangram Singh
PLATE 72: Radha and Krishna kissing in a Collection, Jaipur 149
bower. An illustration to the Rasikapriya,
PLATE 85: Vipreet Rati. Sirohi, early nine
Bundi. seventeenth century, National Museum.
teenth century, Kumar Sangram Singh Collec
New Delhi 130
tion, Jaipur 150
PLATE 73: Lover untying the waist-cord of a
PLATE 86: Sambhoga. Uniara, mid-eighteenth
shy bride. Guler, eighteenth century,
century, Kumar Sangram Singh Collection.
Chandigarh Museum, Chandigarh 131
Jaipur 151
PLATE 87: Copulation while standing.
PLATE 74: A passionate embrace. An
.Jaipur. c, 1818. Kumar Sangram Singh Col
illustration to a RaJ:amala. Bundi. eighteenth
lection, Jaipur 152
century, Chandigarh Museum, Chandigarh
132 PLATE 88: Kaman asana (bow posture).
Uniara, mid-eighteenth century. Kumar
PLATE 75: The most exquisite touch is that
Sangram Singh Collection, Jaipur 153
of her bosom. Guler, early eighteenth century.
National Museum, New Delhi 133 PLATE 89: A love-scene. Guler, c. 1820, au
thor's collection 154
PLATE 76: Lovers abed. Guler, eighteenth
century, Chandigarh Museum, Chandigarh PLATE 90: Sambhoga. Guler. c. 1830. author's
134 collection 155
PLATE 77: Love-making in the rains in agar PLATE 91: In the embrace of his beloved.
den pavilion. Kangra. eighteenth century, Na man forgets the whole world. Guler, c. 1820.
tional Museum. New Delhi 135 author's collection 156
PLATE 78: Raja making love to a concubine. PLATE 92: Orgy in spring. Kangra, early
Jaipur, c. 1818, Kumar Sangram Singh Collec nineteenth century, Bharat Kala Bhavan.
tion ..J aipur 143 Varanasi 157
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Preface
RT REFLECTS the emotions and desires of men and women. Erotic art
depicts amorous situations, expressive of love and sexual desire. The earliest
erotic paintings date from the Mesolithic Age. In the primitive drawings in the
Bhimbetka caves near Bhopal in central India, erotic couples have been identi
fied. These drawings are more than five thousand years old. In Greek erotic art
satyrs and nymphs are shown copulating. These date to the middle of the sixth
century Erotic scenes were painted on terracotta oil lamps during the Hellen
BC.
istic and Roman periods. In the first century erotic frescoes of high artistic
AD
merit were painted ·in the Villa of the Mysteries at Pompeii in Italy.
With the spread of Christianity the nude and the erotic disappeared from
European art. The favourite subjects of early European artists were the crucifix
ion and the Madonna and Child. Sex was regarded as sinful. Adam and Eve were
expelled from Eden because they indulged in it. This was the Original Sin, and
sex acquired a stigma.
It is only in the early sixteenth century that nudes were again painted by
Lucas Cranach (1472-1553) and Hans Baldung (1484-1545) in religious paint
ings which are displayed in the Pinakothek Museum, Munich.
The Renaissance painters drew inspiration from pagan Greece. They
painted sensuous nudes some of which are displayed in the National Gallery,
London, the Art History Museum, Vienna, the Uffizi Gallery, Florence, and the
Prado, Madrid. The Florentine artist Botticelli in his famous painting The
Birth of Venus depicts a beautiful woman standing on an oyster shell. The Vene
tian Bellini and his pupils, Giorgione and Titian, also painted nudes. Most beau
tiful is Danae, painted by Titian and now on view in the Prado. Danae, daughter
of the King of Argos, was loved by ~us, who came to her in a shower of gold.
Titian's Venus of Urbino in the Uffizi Gallery, Florence, is another beautiful
nude.
In the legend of the judgement of Paris a number of European artists found
a theme in which there was a possibility of painting nudes. Of their many paint
ings, the best is by Rubens (1577) who painted Aphrodite, using his wife as a
model. His Rape of the Daughters of Leucippus, in Pinakothek Museum, Mu
nich, is another sensitive study of nudes.
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In the sixteenth century, the Mannerist artist Giulio Romano made twenty
drawings of coital postures. Engravings made from these drawings were pub
lished in 1524, and known as the Sedici Modi engravings. They became pop11lar
and were much copied and imitated. Giulio Romano's women are athletic and
muscular, and the drawings give an impression ofa wrestling match rather than
a delicate affair.
The greatest masterpiece of Mannerist erotic art is the Florentine painter
Angelo Bronzino's Venus, Cupid, Folly and Time (1572) in the National Gal
lery, London, in which a young man is kissing Venus and also fondling her
breast. Though this act gave the title of Folly to this painting, it is also its chief
attraction.
In the eighteenth century erotic paintings were painted by Watteau, Bou
cher and Fragonard in France. The last two painters enjoyed the patronage of
Louis XV, his mistress Madame de Pompadour and his courtiers at Versailles.
Manet's Olympia, shown in the 1865 salon caused an unprecedented scandal. In
gres' painting entitled Turkish Bath, now in the Louvre, also shows a number
of nude women. In 1792 the Spanish painter Goya painted the portrait ofa cour
tesan, Maja, who is depicted nude, reclining against bolsters on a bed in a
seductive pose. Enamelled lockets and snuffboxes painted with scenes of multi
ple intercourse were also pop11lar in eighteenth-century France.
-In the eighteenth and nineteenth centuries, albums of erotic pictures were
painted in China for the pleasure of merchants and the city rich. These pictures,
which lack tenderness, depict obese merchants copulating with expressionless
courtesans. There is no tenderness in these paintings.
Shunga or sex pictures were in vogue in the eighteenth and early nineteenth
centuries in Japan. They were the primary means of sex education and were
given to brides for their enlightenment in matters pertaining to married life.
These pictures depict virile men with large genitals fornicating with submissive
women who appear to be victims rather than joyful partners.
It is a strange coincidence that erotic paintings in France, Italy, China,
Japan and India came into vogue in the eighteenth and nineteenth centuries.
It was the age of mercantilism in Europe, an age which led to the rise of a rich
middle-class which could afford to patronize painters. For the Indian rulers,
however, it was the age of insecurity and anxiety. The St.ates ofRajasthan were
ravaged by the Marathas; the Hill St.ates of the Punjab Himalayas were threat
ened by the Sikhs. Above all there was the threat of British power which was
gradually absorbing these St.ates into its expanding dominion. As an escape from
reality, the Hindu rajas began turning their thoughts to the Krishna cult and
erotic paintings.
Erotic paintings were kept under lock and key and were viewed privately
by the owners on rare occasion. As such, beyond the family circle, no one knew
about them. Precaution was taken that adolescents- girls or boys- did not see
them. These paintings illustrated Sanskrit or Hindi texts, such as the Gita Go
vinda, the Rasamanjri, the Rasikapriya, the Sat Sai and the Ratirahasya, popu
larly known as the Koka Shastra. They were characterized by tenderness and
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