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SEX and the Indian Temples

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SEX and the Indian Temples  We Indians even have a god for sex - Kama. So it is only natural that we have erotic sculptures on our temples. There have been many questions raised on the reason behind having erotic sculptures and sexual imagery in a place otherwise considered so 'holy' and 'pure'. There are a few theories floating about but the most popular one seems to be that in order to enter a place so pure, you need to relieve yourself of all your desires and lust. It is by acceptance of lust and desire in you that you can learn to control it. Furthermore, these sculptures are always on the outer walls of temples meaning that the humans need to leave their desires outside before stepping in. In many Indian manuscripts, sex was considered to be spiritual and not hedonistic. There are many such theories but the fact remains that these temples are known more for their erotic sculptures than the deities residing inside. 1. Khajuraho, Madhya Pradesh The most f...
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Different Folk Songs of Assam

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A ssam has a unique pride of place when it comes to traditional folk songs and music. Region-wise  however, these traditional songs and music have their own distinct styles and forms, and they differ in their rendition patterns, thanks to different cultures in different parts of the state. Yet, all these combine together to make the colourful composite Assamese culture. And, even as we march towards modernity, these very folk traditions reflect our cultural identity.  Historians claim that a distinctive culture of the conglomeration of Songs, Musical Instruments and Dance was observed in Assam during the 2nd century. The legend of Princess Usha of Sonitpur and her cohort  Chitralekha  also enlighten us on the Musical expertise of the Assamese women. History also claims that Assamese Music was admired even in China. Goalpariya songs are a major component of the Assamese folk traditions. With a distinctive style, these folk songs instantly touch ...
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बाणभट्ट की आत्मकथा

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बाणभट्ट की आत्मकथा ‘ Banabhatta Ki Atmakatha’  ( Autobiography of Banabhatta’ written by Hazari Prasad Dwivedi.  Dwivedi’s highly poetic masterwork, which also purports to be the autobiography of the classical Sanskrit poet Banabhatta. Interpreting Banabhatta ki Atmakatha for a contemporary audience is no easy task, for the text demands not one but two leaps in time. First, it has to be approached as a text pre-occupied with the task of nation-building – Dwivedi wrote it in 1946, very much in the context of approaching independence. And second, it has to be read as a historico-philosophical take on the socio-religious tussles that characterised North Indian society in the seventh century AD, when the historical Banabhatta lived. Banabhatta was the court poet of King Harshavardhana, who rose to power in North India after the decline of the Gupta Empire, ruling from Kannauj and Thanesar (now a small town in Haryana). In fact, Banabhatta’s lyrical-but-florid Sansk...
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