The Kama Sutra With Pictures:: An illustrated guide on the history of Kama sutra and the best sex styles as a newbie with the Kama sutra

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But as in sex we also like to keep things fresh, there are moments and situations where roles are reversed and the dominant becomes dominated and vice versa. This can happen during the same session: each partner experiences a new role and new exciting sensations.

Vatsyayana; SC Upadhyaya (transl) (1965). Kama sutra of Vatsyayana Complete translation from the original Sanskrit. DB Taraporevala (Orig publication year: 1961). pp.68–70. OCLC 150688197.The life of an urban gentleman, work routine, entertainment and festivals, sports, picnics, socialization, games, entertainment and drinking parties, finding aids (messengers, friends, helpers) to improve success in kama, options for rural gentlemen, what one must never do in their pursuit of kama

Coltrane, Scott (1998). Gender and families. Rowman & Littlefield. p.36. ISBN 978-0-8039-9036-4. Archived from the original on 30 April 2016 . Retrieved 15 November 2015. Out of all the necessities in the world, three come to the forefront: food, water, and reproduction. While the first two are necessary for the survival of the individual among the many, the latter is necessary for the survival of the many. Thankfully, most people tend to enjoy the process, but in some cultures, it goes far beyond enjoyment. It is valued as an art and sometimes even worshipped as a religious ideal. Most simply call it sex; others call it a way of life. This is where the Kama Sutra comes into the story. What is the Kama Sutra Really About? Y. Krishan (1972). "The Erotic Sculptures of India". Artibus Asiae. 34 (4): 331–343. doi: 10.2307/3249625. JSTOR 3249625.a b Vatsyayana; SC Upadhyaya (transl) (1965). Kama sutra of Vatsyayana Complete translation from the original Sanskrit. DB Taraporevala (Orig publication year: 1961). pp.52–54. OCLC 150688197. In the colonial era marked by sexual censorship, the Kamasutra became famous as a pirated and underground text for its explicit description of sex positions. The stereotypical image of the text is one where erotic pursuit with sexual intercourse include improbable contortionist forms. [71] In reality, according to Doniger, the real Kamasutra is much more and is a book about "the art of living", about understanding one's body and a partner's body, finding a partner and emotional connection, marriage, the power equation over time in intimate relationships, the nature of adultery and drugs (aphrodisiacs [72]) along with many simple to complex variations in sex positions to explore. It is also a psychological treatise that presents the effect of desire and pleasure on human behavior. [71] Wendy Doniger (2003). "The "Kamasutra": It Isn't All about Sex". The Kenyon Review. New Series. 25 (1): 18–37. JSTOR 4338414.

The text states that there are two sorts of "third nature", one where a man behaves like a woman, and in the other, a woman behaves like a man. In one of the longest consecutive sets of verses describing a sexual act, the Kamasutra describes fellatio technique between a man dressed like a woman performing fellatio on another man. [89] The text also mentions same-sex behavior between two women, such as a girl losing her virginity with a girlfriend as they use their fingers, [90] as well as oral sex and the use of sex toys between women. [91] Svairini, a term Danielou translates as a lesbian, [92] is described in the text as a woman who lives a conjugal life with another woman or by herself fending for herself, not interested in a husband. [93] Additionally, the text has some fleeting remarks on bisexual relationships. [90] Narasingha P. Sil (2018). "Book Review: Wendy Doniger, Redeeming the Kamasutra". American Journal of Indic Studies. 1 (1): 61–66 with footnotes. doi: 10.12794/journals.ind.vol1iss1pp61-66. While the Introduction will deal with the evidence concerning the date of the writing, and the commentaries written upon it, the chapters following the Introduction will give a translation of the work itself. It is, however, advisable to furnish here a brief analysis of works of the same nature, prepared by authors who lived and wrote years after Vatsya had passed away, but who still considered him as the great authority, and always quoted him as the chief guide to Hindoo erotic literature. This is another life-sized group of many in different sizes on this temple frankly depicting the sexual episode. Though this subject has here perhaps attained its most happy expression, it is the theme of many representations on many Indian temples. For the Hindoo mind openly faced the sexual function as the reality it is, one of the expressions of the divine mind. They held it as a peculiarly sacred and godlike function in themselves. The great number of their religious laws dealing with the sexual, the place it occupies in secular literature, show that its significance in the life of man was recognized by them at its inherent importance. And, as can be seen in these sculptures, they were not content to classify and elucidate its manifestations in writing alone. As though they would insure the uninitiate from any mistake they even illustrated the subject in stone. . . . . One commentator on this work has been so hardy as to suggest it is merely an imaginative depiction of the heavenly joys awaiting the faithful believer. But, distinctive in Indian art as this work is, the Hindoos were too serious artists and too bound up in the legends of their theology to permit us to presume that these sculptures were other than illustrations of religious subjects taken from their mythology. One wonders, however, just why so much of the decorations on a temple to the sun should depict the sexual. Neither the sect of the Sauras (which had its origin in a Persian influence) nor that of Surya (the ancient Vedic divinity of the sun) has as a principal part of its mysteries those connected with the union of the sexes. There is, however, a sect, the Sahtas, worship of woman, which does emphasize the sexual element. Many of the figures on this Audience Hall suggest a fusion of the sect of Surya with that of Naga (or some other sect of serpent worshippers) as well as with that of Sahta.

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Wendy Doniger (2016). Redeeming the Kamasutra. Oxford University Press. p.12. ISBN 978-0-19-049928-0. Archived from the original on 21 December 2019 . Retrieved 20 November 2018. Each of these pursuits became a subject of study and led to prolific Sanskrit and some Prakrit languages literature in ancient India. Along with Dharmasastras, Arthasastras and Mokshasastras, the Kamasastras genre have been preserved in palm leaf manuscripts. The Kamasutra belongs to the Kamasastra genre of texts. Other examples of Hindu Sanskrit texts on sexuality and emotions include the Ratirahasya (called Kokashastra in some Indian scripts), the Anangaranga, the Nagarasarvasva, the Kandarpachudmani, and the Panchasayaka. [40] [41] [42] The defining object of the Indian Kamasastra literature, according to Laura Desmond – an anthropologist and a professor of Religious Studies, is the "harmonious sensory experience" from a good relationship between "the self and the world", by discovering and enhancing sensory capabilities to "affect and be affected by the world". [42] Vatsyayana predominantly discusses Kama along with its relationship with Dharma and Artha. He makes a passing mention of the fourth aim of life in some verses. [43] Vedic heritage