The erotic sculpture of the Lakshmana
temple can be easily associated with vatsyayana – Kamasutra. These sculptures a can easily be divided into
six categories reflect different erotic moods[1].
Group (I) this group of sculpture are
mostly single of the Apasrasa or the celestial beauties, sursundaries or the
entertainer of god. They display nudity, unloosening of knot their garment,
arising sensuousness by displaying their youth, erotic moods. There bodies are
voluptuous.
Group (ii)
This group sculpture have single
domesticate male and female couple of embracing, kissing and the amorous moods.
Group (iii)
This group of sculptures has passionate
embracing, kissing and many postures of the Kamasutra like the nail makes and
other game postures
Group (IV)
They depict the sexually congress and extra
vaginal coital. These are mostly in the standing postures; there is a depiction
of, two men engaged with one woman and vice versa, and also oral congress as
well vice verse.
There is a presence of the 3 party with
cohabiting
Group (v)
There are sculptures of plural intercourse
4 person predicating with one woman or three men participating with one man,
The congress between human and animal like
dogs, ass, mare, deer are show the basic urge for men and the animal are the
same. The profusion of erotic sculpture on large number portraying the royal
couple, ascetic reveals that tantrisim was quite popular among sculptor and the
patron.
Sculptures on the Lakshmana temple have a
depiction of the play prabodharchrya written by krshna Misra was the court
poet of the Chandellas. The sutra dhara of the Khajuraho have device
the characters of the play on the temple .some these sculpture as erotic as
well. There is depict of the union king viveka and his wife Upanishad who plays
s the protagonist of the play .the union is shown by two sursundaries[2].
There is identification two sursundaries on the buttress. There is sursundaries
on lower row arranging her necklace on the upper garment by raising her arm.
This is like to the description do the mithyadrishtri, the beloved of the king
mahamoha in the prabodhancandrodayya.Mahamoha describes her as on who exhibits
sport fully rows, nail marks on her arms on the pretext of keeping in place on
the garland. These sursundaries as well as mithunas observed independently
their context as motif of the temple art. This sculpture figure they revealed
as parts and plots of the play.
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