In search of Kamadeva: When our ancestors worshipped and celebrated the God of love

There are hundreds of figurines on the outer walls of Shree Jagannath Mandir at Puri. A tourist or a devotee, in hurry to pay obeisance to the Lord of the Universe, may miss one beautiful tablet on the right side of the eastern main door of the main temple. Carved in black granite, this tablet stands at shoulder height and is smeared with vermillion. You may notice women going to that tablet. Placing their left hand over the right hand in such a manner that the bangles in both hands come on top of one another, they touch their forehead on the tablet and seek blessings. Then they put the smeared vermillion on their forehead and move away.

You may also notice a few men touching the feet of Hanuman ji tablet placed between black granite tablet and the main door. Men ignore the black stone tablet. I stayed there for a long time watching the stream of devotees and found that except the one very old man no one else went to that black granite tablet.

Curiosity took me close to that black stone tablet. It is not a large tablet. On a square bed, a man is holding a woman with his left hand. His right hand is taking support of the wall and his right leg is over the woman’s right thigh. The woman has her hand clasped on the back of the man. She is resting on the stomach of the man. By raising her chest aloft and keeping her face down, she has made it easy for the man to kiss her.

Indian temples have always been the cultural centres of society. Many temples have sculptures depicting daily life of the people including an intimate relationship between man and woman. But neither at Khajuraho nor at Konark or at any other place, I found such statues being revered with that much faith the way the women devotees do at Shree Mandir.

I asked a few ladies about the deities depicted on that tablet. Pat came the reply. They are Rati and Kamadeva. The devotees seek the blessings of love god and his consort for a happy conjugal life. A little later, on the south gate of the temple complex, I met the only man who bowed his head before the Rati-Kamadeva tablet. I asked him the same question and the old man replied with a broad smile, “That’s Radha-Krishna. Incarnation of the Lord and Mahalakshami.”

I wondered why the women gave straightforward answers and the man masked his. True, Radha-Krishna also symbolises love. But, traditionally, depiction of their love has been platonic. However, Rati and Kamdev have always been bold and on your face kind. From the medieval period they have been favoured out from the pantheon of gods worshipped. Is this because, after the thirteenth century, boldness in our expression, power in our thoughts diminished? What else could be the reason that we don’t witness such daring in Indian art post Khajuraho, Konark and Shree Jagannath temple?

A fundamental condition of devotion is being at ease. The more we are at ease, our communication and our focus becomes better and clearer. Naturally among the two, woman is more grounded, thus more at ease. She is prakriti. This is the reason even in social relationships, women are more poised, dedicated, clearer and capable to carry out the responsibilities. Perhaps a pair of X chromosomes has something to do with it!

Is this the reason she understands and values the importance of physical, emotional and materialistic pleasures in a marriage more than the man? Is this fundamental understanding and being at ease with the basic instincts the reason that unlike men, women are not hesitant to worship Rati and Kamadeva and seek their blessings?

This emphasis on shringar brings us to one of the greatest Indian poets, Jaydeva. He was born in 12th century at Kenduli Sasan near Puri. Every verse of his Geet-Govinda is extremely sweet and immensely endearing. In one of the Geet-Govind ashtapadi, Krishna sends a Gopi to Radha with a message to come to the beautiful breezy banks of the River Yamuna to meet him.

Rati-sukha-sare gatam abhisare madan-manohar-vesham!

Na kuru nitambini gaman-vilambanam anusara tam hrudayesam!

dhira-samire yamuna-tire vasati vane vanamali!

gopi-pina-payodhara-mardana-chanchala-karayuga-sali! 

Here Krishna in a heart-stealing getup like Kamadeva is waiting for Radha and the Gopi is urging Radha to go quickly to her beloved. The boldness of the emotion in Geet-Govind and more importantly its acceptance by the society in general and priests in particular (Geet-Govind is an integral part of the Jagannatha tradition) is truly remarkable.

Perhaps ruthless oppression and onslaught on the then Indian culture by the Turk, Afghan, Mongol and Mughals was a reason that we became what we are today.

Returning back to the Rati and Kamadeva story. In the Atharva Veda, Kamadeva is mentioned as the supreme deity, a mover of creation. He is one of the gods in the principal group of gods called Vishwedevas, invoked in religious ceremonies. Mounted on parrot (melodious talk), holding a bow of sugarcane (sweetness in action) and five arrows made of flower (tantalising attack), this love god has many other names that explain what love does with a living being. He is Manmath, one who agitates the heart; Atanu, one without the body; Ragaavrinta, a stalk of passion; Ananga, an incorporeal or without material existence; Kandarp, one who can even provoke the gods; Madan, intoxicating; Manasija, who is born of mind; Abhipura, other names of both Brahma (creator) and Vishnu (nourisher); Ratikant, lord of Rati (love); and Kusumshara, one with arrows of flower, etc.

In Indian culture, attributes and symbols of Kamadev like five flowers (white lotus, blue lotus, Ashoka, mango and jasmine), cuckoo, parrot, humming bees, etc, all are related to the spring, the season of Kamadeva. Holi, the festival of colours, also called Vasantotsav is closely related to the god of love.

No one can beat Kama except an ascetic of the highest order like Mahadeva. The story of incineration of Kama by Lord Shiva (kama-dahan) comes in Matsya Purana, Shiva Purana and other Puranas and also in Bal Kand of Ramcharitmanas, very beautifully narrated by the great Bhakti poet Tulasidas ji. After the death, Kamadeva is reborn as Pradyumna, a handsome son of Shri Krishna and Devi Rukmini.

There is an ancient temple of Madan Kamadeva at Baihata Chariali in Assam’s Kamrup district. A few other Kamadeva temples are at Aragalur (perhaps the place where he provoked Shiva), at Kamyavan in Vrindavan, at Thadikombu in Dindigul and at Abhaneri.

Kama is one of the four Purusharthas and therefore our ancestors always celebrated and valued its attributes.

The writer is an author and essayist. Views expressed here are personal.

Read all the Latest News , Trending News ,  Cricket News , Bollywood News , India News and Entertainment News here. Follow us on Facebook , Twitter and Instagram .