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Love is probably the most important in human lifes.

Angel or deity of love and se


x is Kama Deva. Spiritual practice with Kama Deva help for love. The Kama Sutra
of Vatsyayana, might be called a treatise on men and women, their mutual relatio
nship, and connection with each other. It is a work that should be studied by a
ll, both old and young, teens and matures. It can also be fairly commended to th
e student of social science and of humanity. This work is not intended to be us
ed merely as an instrument for satisfying human desires but it is ancient manual
of deep and spiritual erotical life educare. A good person, acquainted with the
true principles of this science, and who preserves his Dharma, Artha, and Kama,
and has regard for the practices of the people, is sure to obtain the mastery o
ver his senses. Kamasutra is a part of traditional 64-fold Tantra culture.
KAMA-SUTRA
MANUAL of YOUR SEXUAL LIFE

The word Kamasutra is from Sanskirit language and there is no synonym of it in t


he English language. And one thing more Sanskrit and Hindi are two different lan
guages. Kamasutra (Hinduism) an ancient Sanskrit text giving rules for sensuous
and sensual pleasure and love and marriage in accordance with Hindu law. Kamasut
ra is the ancient Bible of proper spiritually sexual life. Kamasutra (Sanskrit:
), (a
Kama Sutra), is an ancient Indian art/text widely considered to be the standard
work on love in Sanskrit literature. It is said to be authored by Mallanaga Vat
syayana. A portion of the work deals with human sexual behavior. The Kama Sutra
is most notable of a group of texts known generically as Kama Shastra (Sanskrit:
Kma stra). Traditionally, the first transmission of Kama Shastra or "Discipline of
Kama" is attributed to Nandi the sacred bull, Shiva's door keeper, who was move
d to sacred utterance by overhearing the lovemaking of the god and his wife Parv
ati and later recorded his utterances for the benefit of mankind. Historian John
Keay says that the Kama Sutra is a compendium that was collected into its prese
nt form in the second century CE.

Kamadeva - angel of loveKama (


kma, kAma) is a Sanskrit word that has the general me
anings of "wish", "desire", and "intention" in addition to the specific meanings
of "pleasure" and "(sexual) love". Used as a proper name it refers to Kamadeva,
the Hindu univerasal God of Love or Archangel of Love. The Kama Sutra (Sanskrit
:
kAmasUtra/M), (alternative spellings: Kamasutram or simply Kamasutra), is an ancie
Indian text widely considered to be the standard work on love in Sanskrit litera
ture. It is said to be authored by Mallanaga Vatsyayana. A portion of the work d
eals with human sexual behavior. The Kama Sutra is mostly notable of a group of
texts known generically as Kama Shastra (Sanskrit: Kma hstra). Traditionally, the f
irst transmission of Kama Shastra or "Discipline of Kama" is attributed to Nandi
the sacred bull, Shiva's doorkeeper, who was moved to sacred utterance by overh
earing the lovemaking of the god and his wife Parvati and later recorded his utt
erances for the benefit of mankind. Historian John Keay says that the Kama Sutra
is a compendium that was collected into its present form in the second century
CE; however, given that Mallanaga Vatsyayana wrote sometime in the Gupta period
(between 4th and 6th centuries), this speculation of Keay's is doubtful.
The text emphasizes what was known as the purusharthas, or the four main goals o
f life. The first is dharma, or the act of living with virtue. The second, Artha
, deals with material prosperity. Kama relates to erotic and aesthetic pleasures
. Moksha is liberation through being released from the cycle of life and death.
The first three goals can be achieved in every day life and are ordered accordin
g to importance (yes, sex is the least important). The Kama Sutra is not by defi
nition a tantric text as it does not discuss the sacred rites that are meant to
accompany those acts. But many who follow tantra do use the book as a guideline
or starting point from which they can build their tantric rituals. The sexuality
that is included in this book is meant to correspond to that notion of Kama. Th
ough it does have a religious nature, the Kama Sutra has been translated into vi

rtually every language on earth and is the most known Evangelion of the world. T
he Kama Sutra is extremely popular, more than Biblie and sought after by lovers
who want to add more excitement to their love lives.
The Kama Sutra found copies dates back to about 200-400 CE, about 1,600 or 1800
years or more. It is a manual for developing the erotic sensibilities, knowledge
and skill, including specific instruction on sexual techniques, as well as many
other sensual and cultural expressions, referred to as the 64 arts. The approac
h to sex in the Kama Sutra is from a secular (non-religious, non-spiritual) pers
pective, whereas Tantra is definitely spiritual. The Kama Sutra does not in any
way deny the value of spiritual practice, it is just not presenting that perspec
tive. Tantra is all about awakening to full enlightenment, while the Kama Sutra
is about great, satisfying, fulfilling sex, primarily between heterosexual coupl
es. In the Kama Sutra sex was considered an essential aspect of everyones educati
on. Sexual knowledge and skill were considered to be evidence of achievement, re
finement, intelligence, psychological maturity, and part of the good lifethe book
was actually directed toward the upper class, educated, economically affluent p
ortion of the population.
Mallanaga Vatsyayana was a very holy man (sadhu), a seer, and a sage (rishi), an
d in all of the spiritual senses of the word, a tantric. Mallanaga worshipped th
e Divine as both feminine and masculine (Shaktishiva), and lived primarily a rel
igious life. Mallanaga wrote the Kama Sutra for the ruling class (nobled rulers,
lords, princes and kings), which at that time in India s history was the Kshatr
iya, or Warrior caste. Based on mentions of 1st Century historical figures in th
e Kama Sutra, and on mentions of the Kama Sutra in early 5th Century works, we k
now that Mallanaga Vatsyayana wrote the Sutra sometime between the 1st and 4th C
enturies A.D. The Kama Sutra is simultaneously a manual of matchmaking, flirting
, sensuality in life and in sex, romantic love, human nature, attracting a man,
turning on a woman, how to seduce a man, how to captivate a woman, how to get a
man or woman to marry you, arranged marriages, affairs, gold-digging, the econom
ics of love, affairs with courtesans, keeping the affections of a lover or spous
e, love potions, charms, and everything in between. Mallanaga Vatsyayana not inc
lude deeper tantric sexual practices in his most famous work, because he knew th
at sexuality is only an appropriate spiritual tool for some good students of tan
tra marga. Mallanaga wrote the Kama Sutra for the ruling class and their educare
so they could balance and enjoy their sensual appetites with their social and s
piritual obligations as rulers. And He as a seer not to pass on secrets he knew
would be lost on many of these students.
KAMASHASTRA (kAmashastra, kAmazastra)
Kamadeva - angel of loveIn Indian literature, Kamashastra refers to the traditio
n of works on Kama. It therefore has a practical orientation, similar to that of
Arthashastra, the tradition of texts on politics, government etc. Just as the f
ormer instructs kings and ministers about government, Kamashastra aims at instru
cting the townsman (ngarika) the way to attain enjoyment and fulfillment. The ear
liest text of the Kama Shastra tradition, said to have contained a vast amount o
f information, is attributed to Nandi the sacred bull, Shiva's doorkeeper, who w
as moved to sacred utterance by overhearing the lovemaking of the god Shiva and
his wife Parvati. During the 8th century BC, Shvetaketu, son of Uddalaka, produc
ed a summary of Nandi's work, but this "summary" was still too vast to be access
ible. A scholar called Babhravya, together with a group of his disciples, produc
ed a summary of Shvetaketu's summary which remained a huge and encyclopaedic tom
e. Between the 3rd and 1st centuries BC, several authors reproduced different pa
rts of the Babhravya group's work in various specialist treatises. Among the aut
hors, those whose names are known are Charayana, Ghotakamukha, Gonardiya, Gonika
putra, Suvarnanabha, and Dattaka.

However, the oldest available text on this subject is the Kama Sutra ascribed to
Vatsyayana who is often erroneously called as "Mallanaga Vatsyayana". Yashodhar
a, in his commentary of Kama Sutra, attributes the origin of erotic science to M
allanaga, the "prophet of the Asuras", meaning it originated in prehistoric time
s. The attribution of the name "Mallanaga" to Vatsyayana is due to the confusion
of his role as editor of the Kama Sutra with that of the mythical creator of er
otic science. Vatsyayana's birth date is not accurately known but he must have l
ived earlier than the 7th century since he is referred to by Subandhu in his poe
m Vsavadatt. On the other hand Vtsyyana must have been familiar with the Arthashastr
a of Kautilya. On the other hand Vtsyyana refers to and quotes a number of texts o
n this subject, which unfortunately have been lost. Following Vtsyyana, a number o
f authors wrote on Kmashastra, some writing independent manuals of erotics, while
others commenting on Vtsyyana. Of later works well known are Kokkaka's Ratirahasy
a (13th century) and Anangaranga of Kalyanamalla (16th century). Of commentators
on Vatsyayana the most well known is Jayamangala (13th century).

EROS AND EROTICISM


In Greek mythology, Eros (Greek: ) as the pimodial god of lust, love, and inteco
use; he as also oshipped as a fetility deity. His Roman countepat as Cup
id. In some myths, he as the son of the deities Aphodite and Aes, but accodi
ng to Plato's Symposium he as conceived by Poos (Plenty) and Penia (Povety) a
t Aphodite's bithday. This explains the diffeent aspects of love. His Roman e
quivalent as Cupid, "desie", also knon as Amo, "love". Accoding to taditio
n hich as made by Eatosthenes, Eos as pincipally male the paton of love b
etteen men and omen, hile Aphodite uled as the feminine paton of love bet
een men and omen. Thoughout Geek thought, thee appea to be to sides to the
conception of Eos; in the fist, he is a pimeval deity ho embodies not only
the foce of eotic love but also the ceative uge of eve-floing natue, the
fistbon Light fo the coming into being and odeing of all things in the cosm
os. In Hesiod's Theogony, the most famous Geek ceation myth, Eos spang foth
fom the pimodial Chaos togethe ith Gaia, the Eath, and Tataus, the unde
old; accoding to Aistophanes' play The Bids, he bugeons foth fom an egg
laid by Night conceived ith Dakness. In the Eleusinian Mysteies, he as os
hiped as Potogonus', the fist-bon. Thee ae simila ideas to the Kama concep
t in India.
Eos ( s) is passionate love, ith sensual desie and longing. The Moden Geek od
"eotas" means "(omantic) love". The tem eotic is deived fom eos. Eoticis
m is an aesthetic focus on sexual desie, especially the feelings of anticipatio
n of sexual activity. It is not only the state of aousal and anticipation, but
also the attempt though hateve means of epesentation to incite those feelin
gs. The od "eoticism" is deived fom the name of the Geek god of love, Eos
, in sanskit cultue Kama (kAmadeva). It is conceived as sensual love o the hu
man sex dive (libido). Philosophes and theologians discen thee kinds of love
: eos, philia, and agape. Of the thee, eos is consideed the most egocentic,
focusing on cae fo the self. Ancient Geek philosophys overturning of mytholog
y defines in many ways our understanding of the heightened aesthetics sense in e
roticism and the question of sexuality. Eros was after all the primordial god of
unhinged sexual desire in addition to heteroeroticism, which is the yearning of
sexual desire from the opposite sex. In the Platonic ordered system of ideal fo
rms, Eros corresponds to the subject s yearning for ideal beauty and finality. I
t is the harmonious unification not only between bodies, but between knowledge a
nd pleasure. Eros takes an almost transcendent manifestation when the subject se
eks to go beyond itself and form a communion with the objectival other. The Fren
ch philosopher Georges Bataille believed eroticism was a movement towards the li
mits of our own subjectivity and humanity, a transgression that dissolves the ra
tional world but is always transitory.

In Freudian psychology, Eros, also referred to in terms of libido, libidinal ene


rgy or love, is the life instinct innate in all humans. It is the desire to crea
te life and favours productivity and construction. Eros battles against the dest
ructive death instinct of Thanatos (death instinct or death drive). Love Magic i
s the attempt to bind the passions of another, or to capture them as a sex objec
t through magical means rather than through direct activity. It can be implement
ed in a variety of ways such as written spells, dolls, charms, or different ritu
als. Yet an objection to eros and erotic representation is that it fosters a sub
ject/object relationship in which the object of desire is mere projection of the
needs of desiring subject. Love as eros is considered more base than philia (fr
iendship) or agape (self-sacrificing love). But erotic engagement paradoxically
individuates and de-individuates the desirer. Some believe defining eroticism ma
y be difficult since perceptions of what is erotic fluctuate. For example, a vol
uptuous nude painting by Peter Paul Rubens could have been considered erotic or
pornographic when it was created for a private patron in the 17th century. Simil
arly in the United Kingdom and United States, D. H. Lawrence s sexually explicit
novel Lady Chatterley s Lover was considered obscene and unfit for publication
and circulation in many nations thirty years after it was completed in 1928, but
may now be part of standard literary school texts in some areas. In a different
context, a sculpture of a phallus in Africa may be considered a traditional sym
bol of potency though not overtly erotic.
In Roman mythology, Cupid (Latin cupido) is the god of erotic love and beauty. H
e is equated with the Greek god Eros, and another one of his Latin names is Amor
(cognate with Kama). In popular culture Cupid is frequently shown shooting his
bow to inspire romantic love, often as an icon of Valentine s Day. Given that Cu
pid is a personification of love, and in particular sexual love, the ancients fa
ced a difficult dilemma when they had to account for his parentage. If sexual lo
ve did not exist yet, by what process could they give birth to the god of love?
Accordingly, there are many different stories about Cupid s parentage. Cicero pr
ovides three different lineages: son of Mercury (Hermes) and Diana (Artemis), so
n of Mercury and Venus (Aphrodite), and son of Mars (Ares in Greek mythology) an
d Venus. It seems that Cupid did not gain parents until later Greek antiquity. A
ccording to Hesiod s Theogony, the most ancient Greek theoography, Eros - the Gr
eek equivalent of Cupid - was created coevally with Chaos and the earth. Through
out ancient mythological writing, there appear to be either two Cupids or two si
des to the figure of Cupid. One is the son of Jupiter (Zeus) and Venus. He is a
lively youth who delights in pranks and spreading love. The other is a son of Ny
x and Erebus, known for riotous debauchery. Cupid s cult was closely associated
with that of Venus, with Cupid being worshipped as devotedly as she. Additionall
y, Cupid s power was supposed to be even greater than his mother s, since he had
dominion over the dead in Hades, the creatures of the sea and the gods in Olymp
us. Some of the cults of Cupid suggested that Cupid as son of Night and Hell mat
ed with Chaos to produce both men and gods, making the gods the offspring of lov
e. Cupid is a holiday character and symbol usually representing Valentines Day a
nd the emotion of love. Cupid is the Roman version of the Greek deity Eros and t
he Hindu deity Kama. The most common representations of Cupid include a baby wit
h wings and a bow and arrow.

YONI -The Great Womb


Yoni - literally, the "source;" also "womb". In Tantra Yoga, yoni refers more to
the vagina. The word yoni (Sanskrit
yoni) is the Sanskrit word for "divine passage
", "place of birth", "womb" - more as nature as a womb and cradle of all creatio
ns or "sacred temple" (cf. lila). Yoni (YO-NEE) is the Sanskrit word for the vag
ina. In Tantra, the vagina is a sacred part of the female body, which must be tr
eated with care and respect. The Yoni massage is a sensuous form of intimacy tha

t builds trust between partners and brings them closer together emotionally and
spiritually. The word also has a wider meaning in both profane and spiritual con
texts, covering a range of meanings of "place of birth, source, origin, spring,
fountain, place of rest, repository, receptacle, seat, abode, home, lair, nest,
stable" (Monier-Williams). The yoni is also considered to be symbolic of Shakti
or other goddesses of a similar nature. In classical texts such as Kama Sutra, y
oni refers to vagina. Even more interesting linguistic example is the Sinhalese
language, which developed from old colloquial Sanskrit of North India. Possible
Lingam-Yonis have been recovered from the archeological sites at Harappa and Moh
enjo-daro, part of the Indus Valley Civilization. Joseph Campbell associates Yon
i with "Kali, "the dark one" or "death and time ruler one" who is the "blood-con
suming consort" of Shiva the Lord God.
Yoni is the Sanskrit word for the vagina that is loosely translated as "sacred s
pace" or "Sacred Temple". In Tantra, the Yoni is seen from a perspective of love
and respect. This is particularly important for men to learn. Before beginning
the Yoni Massage it is important to create a space for the woman (the receiver)
in which to relax, from which she can more easily enter a state of high arousal
and experience great pleasure from her Yoni. Her partner (the giver) will experi
ence the joy of giving pleasure and witnessing a special moment. The Yoni Massa
ge can also be used as a form of "safe sex" and is an excellent activity to buil
d trust and intimacy. Some massage and sex therapists use it to assist women to
break through sexual blocks or trauma. The goal of the Yoni massage is not solel
y to achieve orgasm, although orgasm is often a pleasant and welcome side effect
. The goal can be as simple as to pleasure and massage the Yoni. From this persp
ective both receiver and giver can relax, and do not have to worry about achievi
ng any particular goal. When orgasm does occur it is usually more expanded, more
intense and more satisfying. It is also helpful for the giver to not expect any
thing in return, but simply allow the receiver to enjoy the massage and to relax
into herself.

Dharma - Artha - Kama - Moksha


The literature of ancient India deals
s. According to ancient Hindu-wisdom,
bed in various ways such as the theme
, Grammar, Medicine, Politics etc and

with a great number of scientific question


the life of a human serves has been descri
of Astronomy, Geometry, Phonetics, Metrics
the total goal is the :

* Dharma - the complete collection of virtuous, religious works as a basis for


Families, Civilrights, Codex of Behaviour, Dharmashastra, written by Manu.
* Artha - material possessions, earthly well-being, Arthashastra, written by Ka
utilya.
* Kama - love and all its associated pleasures of the senses, Kamasutra, writte
n by Vatsyayana.
* Moksha - Spiritual Liberation, Enlightment, Salvation.
Dharma is obedience to the command of the Shastra or Holy Writ of the Hindus to
do certain things, such as the performance of sacrifices, which are not generall
y done, because they do not belong to this world, and produce no visible effect
and not to do other things such as eating meat, which is often done because it
belongs to this world, and has visible effects. Dharma should be learnt from the
Shruti (Holy Writ) and from those conversant with it.
Artha is the acquisition of arts, land, gold, cattle, wealth, equipages and frie
nds. It is further, the protection of what is acquired, and the increase of what
is protected. Artha should be learnt from the king s officers and from merchant
s who may be versed in the ways of commerce. Artha should always be first pract
iced by the king for the livelihood of men is to be obtained from it only.

Kama is sensuous love, emotional feeling of attachment. In ancient Indian though


t is recognized as the stimulus of action and personified as the god of erotic l
ove. This is the enjoyment of appropriate objects by the five senses of hearing
, feeling, seeing, tasting and smelling, assisted by the mind together with the
soul. The ingredient in this is a peculiar contact between the organ of sense a
nd its object, and the consciousness of pleasure which arises from that contact
is called Kama. Kama is to be learnt from the Kama Sutra (aphorisms on love) an
d from the practice of citizens. When all the three, viz. Dharma, Artha and Kam
a, come together, the former is better than the one which follows it, i.e. Dha
rma is better than Artha, and Artha is better than Kama. Kama being the occupa
tion of public women, they should prefer it to the other two, and these are ex
ceptions to the general rule.
Moksha is freedom from birth and death. In Hinduism, liberation from the bondage
of worldly action is based on detachment and freedom within oneself. The neares
t English equivalent is salvation.
According to the Kamasutra, all of these aspects of the life of a human being, s
hould be of equal importance, without any of these spheres taking precedence ove
r the others. In order to attain a fulfilled and meaningful life, the striving a
fter one goal shouldn t hamper the striving after the others. Neglecting one of
these areas leads to a diminished stability and to a dangerous imbalance in man.
Practicing dharma, artha and kama makes it possible to lead a meaningful and jo
yous life in this world and the next. Sexuality and Erotic are seen as being imp
ortant, integrated elements of the human existence - the same as eating - and ap
art from serving the sensual pleasures , also help mankind to propagate , just a
s eating keeps the body alive. The sensual pleasures of erotic and sexuality not
only serve to increase the joy of life and maintain psychological balance, but
aid the further development of the mental-spiritual spheres. The senses are perc
eived as being a refinement of the physical on a higher plane of consciousness w
hereby, in conclusion, sexuality and erotic contain the secret of life within th
em.

KAMADEVA - Angel of Love and Sex

Kmadeva (Sanskrit:
) is the Hindu Cupid, angel or deity of love like Eros or Amor. Km
va is represented as a young and handsome winged man who wields a bow and arrows
. His bow is made of sugarcane with a string of honeybees, and his arrows are de
corated with five kinds of fragrant flowers. The five flowers are: Ashoka tree f
lowers, white and blue lotus flowers, Mallika tree and Mango tree flowers. A ter
racotta murti of Kamadeva of great antiquity is housed in the Mathura Museum, UP
, India. His other names include:
- Ragavrinta (stalk of sassion),
- Ananga (incorporeal),
- Kandarpa ("inflamer even of a god"),
- Manmatha (churner of hearts),
- Manosij (he who is born of mind, a contraction of the Sanskrit phrase Sah Mana
sah jta),
- Madana (intoxicating),

- Ratiknta (lord of the seasons),


- Pushpavn,
- Pushpadhanva (one with bow of flowers) or just
- Kma ("longing").
Kamadeva, is son of Hindu goddess Sri (Shri, ri) and, additionally, is the incarn
ation of Pradyumna, Krishnas son. In his spiritual form he is believed to be Kris
hna, by Vaishnava followers in Hinduism. Special singing this all names help to
find love in our life...
The name Kama-deva (IAST kma-deva) can be translated as 'divine love' or 'god of
love'. Kamadeva is also a known as a name of Vishnu in Vishnu Purana and Bhagava
ta (SB 5.18.15). It is also sometimes used as name of Shiva and the name of auth
or of Sanskrit work Prayaschita padyata. Kamadeva is one of the names and epithe
ts used for Krishna. Deva means heavenly or divine. Kama (IAST kma) can be litera
ry translated as wish, desire or longing, especially as in sensual love or sexua
lity. Kama is also a name used for Agni. The name is also used in Rig Veda (RV 9
, 113. 11). Kameshwara Temple, in Aragalur. The Stala purana indicates that Kama
deva woke up Shiva at this place. The temple has eight Bhairava statues. Kamadev
a is this who tried distract Lord Siva from deep meditation with his passionate
influence and feminine associates. He is distinguished from spiritual Kamadeva i
n vaishnava cult. According to the Shiva purana, Kamadeva is a son or a creation
of Brahma while according to other sources including the Skanda purana, Kamadev
a is a brother of Prasuti; they are both the children of Shatarupa, a creation o
f Brahma. Later interpolations consider him as son of Vishnu. All sources concur
on the fact that Kamadeva is wed to Rat Dev, a daughter of Prasuti and Daksha.
The deity of Kamadeva along with his consort Rati-devi is included in the panthe
on of Vedic-Brahmanical deities such as Shiva and Parvati. In Hindu traditions f
or the marriage ceremony itself, the bride's feet are often painted with picture
s of Suka, the parrot vahana of Kamadeva. One should not misunderstand or associ
ate worship of Kamadeva, as being sexually oriented, as the religious rituals ad
dressed to him offer a means of purification and reentry into the community. Dev
otion to Kamadeva keeps desire within the framework of the religious tradition.
Kamadeva also appears in other stories and becomes the object of certain devotio
nal rituals for those seeking health, physical beauty, husbands, wives, and sons
. In one story Kamadeva himself succumbs to desire, and must then worship his lo
ver in order to be released from this passion and its curse. His companions are
a cuckoo, a parrot, humming bees, the season of spring, and the gentle breeze. A
ll of these are symbols of spring season. Images and stories about Hindu god Kam
adeva are traced to the verses of the Rig Veda and Atharva Veda although he is b
etter known and lesser known stories of the Puranas.
The story of the birth of Kamadeva is told differently in several Puranas. In so
me stories Kamadeva arises from the mind of the creator, Brahma. In other storie
s he is the son of Sri (Shri Devi). Kamadeva is sometimes portrayed as being com
pletely at the service of Indra. Just as Siva accepted Ganga, flowing from the s
nowy mountain, Kamadeva married his consort Rati. She carries a discus and a lot
us in her hands, with arms compared with the lotus-stalks. Rati is often a minor
character in many traditional dramas involving Kamadeva, she is in some ways re
presents an attribute of the god of desire. Goddess Vasanta also accompanies Kam
adeva, but unlike Rati whose very essence is desire, Vasanta emerges from a sigh
of frustration. Kama is often takes park in Puranic battles. As a warrior, Kama
deva needs troops of soldiers.
THE SECRET PRAYER for LOVE

Lord Kama-Deva is worshiped and invoked by the gayatri mantra, and the specific
mantra by which He is worshiped is called kama-gayatri. Vedic literatures explai
n that that sound vibration which can elevate one from mental concoction is call
ed gayatri. The kama-gayatri mantra is composed of 24 (16+8) syllables andOm is
for beginning and sometimes samput, additional syllabe like klim (kleeng). The m
antrika word "klim" added to the gayatri mantra is explained in Brahma-samhita a
s the transcendental seed of love of Godhead, or the seed of the kama-gayatri.
kma-gyatr mantram
Om (klim, klIM, kleeng)
kama-devaya vidmahe pushpa-banaya dhimahi |
tanno 'nangah pracodayat ||
kA-ma--de-vA-ya vi-dma-he pu-shpa--ba-nA-ya dhI-ma-hi |
ta-nno 'na-ngaH prA-co-da-yAt ||
This kama-gayatri is received from the spiritual master when the disciple is adv
anced in chanting and meditation upon Kama-Deva, the Archangel of Love. In other
words, this kama-gayatri mantra and samskara, or reformation of a perfect brahm
ana, are offered by the spiritual master (acarya, guru) when he sees that his di
sciple is advanced in spiritual knowledge and practice. Even then, the kama-gaya
tri is not uttered under certain circumstances. Spiritual sex is of two kinds: o
ne in accordance with the constitutional position of the self and the other in a
ccordance with the object. When one understands the truth about this life but is
not completely cleansed of material contamination, he is not factually situated
in the transcendental abode, Devachan, Salokhya, although he may understand spi
ritual life. When, however, one becomes free from the sex urges of the material
body, he can actually attain the supreme abode of Salokhyam. When one is so situ
ated, he can utter the kama-gayatri and kama-bija mantra "klim" or mantram Om kl
Ing (klIM) namaH. Short tantrika mantram toward Kaama Deva is: Om Shri Kaamaaya
Namah! or Om Shri Kaamadevaaya Namah! It is for gaining your aim love in your li
fe and love angel protection.

RATI DEVI
) is the goddess or femine angel (angeline) of passion a
In Hinduism, Rati (hindi:
nd lust, and a daughter of Daksha. She married Kma, the Lord God of Love. Rati wa
s the Hindu goddess of sexual desire and erotical love. She was the daughter of
the sun god Daksha and the wife of Kama, the god of love in Hindu myth. He is a
son of Lakshmi. Kama is represented as a winged youth bearing bow and arrows sim
ilar to the Greek Eros. Rati's father Daksha probably began as one of the pre-Ve
dic deities of India. In Vedic and post-Vedic times he took on differing charact
eristics. He is named as one of the Prajapatis, the lords of creation, and is on
e of the children of Aditi. Later he became one of the Rishis, and is the son of
Brahma, having been born of the creator-god's right thumb. He may have had aspe
cts as a creator-god or sun god himself at one point, but these are only alluded
to. Kama's mother, Lakshmi, the Hindu goddess of good fortune and beauty. She a
rose from the milky foam of the waves at the "Churning of the Ocean". Lakshmi is
the consort of Vishnu, and is his wife during each of his incarnations and also
known as Sri (Shri). Kama is called Kama Ananga ("Kama the bodiless") as well.
Kama's body was destroyed when he fired his weapon at Shiva in order to disrupt
his meditations. Shiva then opened his third eye, the gaze of which was so power
ful that Kama's body was reduced to ashes. For the sake of Kama's wife Rati (pas
sion), Shiva restored him, but only as a mental image, representing the true emo
tional and mental state of love rather than physical lust. Tantrika mantram towa
rd Rati Devi: Om Shri Ratyai Namah! It is for restoring plesure in relation.

Parts and Chapters of Kama-Sutra


The Kama Sutra written by Vatsyayana consisted of mystical seven sections furthe
r divided into mystucal number thirty-six chapters. We will discuss each of thes
e sections to glean the details of what Vatsyayana was trying to convey in the K
ama Sutra and the importance he placed on specific subjects. The Mallanaga Vatsy
ayana's Kama Sutra has 36 chapters, organized into 7 parts. According to both th
e Burton and Doniger translations, the contents of the book are structured into
7 parts like the following:
1. Sadharanadhikaranam - Introductory, General Observations
Chapters on contents of the book, three aims and priorities of life, the acquisi
tion of knowledge, conduct of the well-bred townsman, reflections on intermediar
ies who assist the lover in his enterprises (5 chapters). The first section of t
he Kama Sutra consisted of five chapters explaining the contents of the manuscri
pt, the three major aims and priorities of life according to the Hindu belief sy
stem of the day, the acquisition of knowledge, suitable conduct for the well-bre
d townsman and various reflections on intermediaries who assist the lover in his
enterprises.
2. Samprayogikadhikaranam - On sexual union
Chapters on stimulation of desire, embraces types, caressing and kisses, marking
with nails, biting and marking with teeth, on copulation (positions), slapping
by hand and corresponding moaning, virile behavior in women, superior coition an
d oral sex, preludes and conclusions to the game of love. It describes 64 types
of sexual acts (10 chapters). The second section of the Kama Sutra consisted of
ten chapters on the stimulation of desire, various forms of embraces, caressing
and kisses, marking a partner with the use of the finger nails, biting and marki
ng a partner using the teeth, on positions of copulation, explanations of sexual
practices such as slapping with the hand and moaning that accompanied the pract
ice, evidence of virile behavior in women, superior coitus and oral sex practice
s, along with preludes and conclusions to the game of love. There are 64 types o
f sexual acts described in this section which has become the part of the Kama Su
tra for which the book is most widely known.
The Kama Sutra is sometimes wrongly thought of as a manual for tantric sex. Whil
e sexual practices do exist within the very wide tradition of Hindu tantra, the
Kama Sutra is not a tantric text, and does not touch upon any of the sexual rite
s associated with some forms of tantric practice. Also the Buddha preached a Kam
a Sutra, which is located in the Atthakavagga (sutra number 1). This Kama Sutra,
however, is of a very different nature as it warns against the dangers that com
e with the search for pleasures of the senses.
Translations of Kamasutra
The most widely known English translation of the Kama Sutra was made by the famo
us traveler and author Sir Richard Francis Burton and compiled by his colleague
Forster Fitzgerald Arbuthnot in 1883. Historian Burjor Avari has criticized Burt
on's translation as "inadequate," having had the result that the book gained a r
eputation in the West of being a pornographic work. A recent translation is that
of Indra Sinha, published in 1980. In the early 1990s its chapter on lovemaking
positions began circulating on the internet as an independent text and today is
often assumed to be the whole of the Kama Sutra.

Alain Danilou contributed a translation called The Complete Kama Sutra[16] in 199
4. This translation featured the original text attributed to Vatsayana, along wi
th a medieval and modern commentary. Unlike Burtons version, Alain Danielous new t
ranslation preserves the numbered verse divisions of the original and includes t
wo essential commentaries: the Jayamangala commentary, written in Sanskrit by Ya
shodhara during the Middle Ages, and a modern Hindi commentary by Devadatta Shas
tri. Another noteworthy difference is the preservation of the full explicitness
of the original text. All aspects of sexual life have been mentioned -- includin
g marriage, adultery, prostitution, group sex, sadomasochism, male and female ho
mosexuality, and transvestism. It was translated again in 2002 by Wendy Doniger,
the professor of the history of religions at the University of Chicago, and Sud
hir Kakar, the Indian psychoanalyst and senior fellow at Center for Study of Wor
ld Religions at Harvard University. Their translation provides a psychoanalytic
interpretation of the text.
Kamashastra and Kvya Poetry
One of the reasons for interest in these ancient manuals is their intimate conne
ction with Sanskrit ornate poetry (Kvya). The poets were supposed to be proficien
t in the Kamashastra. The entire approach to love and sex in Kvya poetry is gover
ned by the Kamashastra. Successors and commentators of Vatsyayana are Kokkoka, J
yotirisa Kavisekhara, Padmasi, Jayadeva, Devaraja, Rajanaka Ruyyaka, Sridhara, K
alyanamalla, Virabhadradeva, and others.
Vatsyayana and His Terms on Eroticism