Exhibition proposal - The Erotic and Provocative of South Asia
Research conducted in 2023 for Asian Art studies at the University of Florida, received an A+ for original exhibition concept and choosing objects well with thorough research
“The Erotic and Provocative of South Asia” pushes societal boundaries. In the West, we are familiar with a genre of provocative art that reflects a self-expressive, more individualistic approach. In Asia, provocative art is frequently influenced by cultural traditions, spiritual beliefs, and societal values that are profoundly ingrained in collective identity. Exploration of erotic and provocative themes can have symbolic and metaphorical significance that goes beyond plain shock value. The work in this exhibit navigates a complex social landscape determined by traditions and customs. It investigates topics of desire, love, and sexuality, but only in the framework of societal norms, moral standards, and religious views.
A mock-up exhibition room created in Photoshop. Disclaimer: images are somewhat proportional to size but not exact and are just general representations of order and space.
The room is designed to be viewed like a timeline, providing a cohesive and contextual narrative to the history of erotic art. The viewer can see how societal conventions, artistic techniques, and cultural influences have altered and influenced how subjects and beliefs are depicted. A timeline-based exhibit allows the progression of artistic movements and styles to be observed.
Pushyamitra Shunga, the last Mauryan king’s principal military officer, killed his monarch and took control in 185 B.C. Because the Shungas were the Mauryans’ successors, the period following Mauryan rule is often referred to as the Shunga period. The first work viewers will see in the exhibit came from the Shunga period. Visual arts flourished throughout the Shunga period, with miniature terracotta images, bigger stone sculptures, and architectural monuments. Interesting enough, shunga, meaning “spring pictures,” is a type of Japanese erotic art tradition.
Plaque with Erotic Scene, bone sculpture, India, 1st century BCE, 2 1/6” height 2 ¼” W: Bone carving is a historic tradition in making art in India. Created during the Shunga period, the figures are engaged in intercourse. While being fairly small, the sculpture exhibits remarkable craftsmanship. This work was gifted to the Metropolitan Museum of Art by the Randall & Kathryn Smith Foundation.
Plaque with Erotic Scene serves as a strong introduction to The Erotic and Provocative in South Asia. An exact representation of the exhibition title, the sculpture is miniature but has incredible, intricate detail. While the direct intention of this relief is unknown, further research about the Shunga dynasty concludes the subjects could represent fecundity deities, royalty, or a “universal mother.” A mother goddess is often represented “with full breasts, often exaggerated in size or number” and “with a child in her arms, either being suckled or held up to her face” (H.D Sankalia, 111). In this context, the smaller figure on her side is implied to be her offspring, and is an essential part of the work. Cultural and religious context shows a focus on themes of love and fertility. The artist is also unknown, but the mastery of their craft can still be appreciated today.
Lotus-Headed Fertility Goddess Lajja Gauri, sandstone sculpture India (Madhya Pradesh) ca. 6th century, H. 4 1/16 in.: Subject Lajja Gauri is shown in position implying she is giving birth, but pregnancy is not pictured, implying the sculpture has more sexual context. The rare miniature sculpture was discovered in the Seoni district of Madhya Pradesh, central India, and is from the Samuel Eilenberg collection but was featured in 3 of the Metropolitan Museum of Art’s collections, including “The Lotus: Transcendant: Indian and Southeast Asian Art from the Samuel Eilenberg Collection,” “The Pala-Sena Period,” and the “Mother India: The Goddess in Indian Painting.”
The next piece in the sequence is the Lotus-Headed Fertility Goddess. Stylistically, the figure is similar to the female figure in the Plaque with Erotic Scene. This figure may be representational of Baubo, a lewd and sexually liberated goddess. In Sankalia’s journal article, he cites M. A. Murray’s classifications of the female fertility figures, classifying them into three groups as the Universal Mother or Isis type, the Divine Woman or Ishtar type, and the Personified Yoni or Baubo type. Headless (apart from a lotus) and armless, the figure wears a girdle and anklets with legs spread to reveal the pudendum, a posture commonly associated with sexual fecundity. In every circumstance, Murray believes “the outward spread of the thighs is essential” while the poses of arms are varied (Sankalia, 112). The figure is specifically called “Lajjā Gaurī,” which euphemistically is interpreted as “a shy woman” but really means “a shameless woman,” which is why she is headless. The lotus blossom in place of her head emphasizes this connection with fertility, and this depiction of the female form as a “life-affirming force” is one of the strongest representations in Indian iconography.
Loving Couple, ferruginous stone sculpture (Mithuna) India (Orissa) 13th century, 72” height: Bejeweled couple referred to as a mithuna erotically posed embraces each other while gazing longingly into each other’s eyes. Once a secondary decoration of a temple front, their bodies are stylistically characterized by architectural sculptures of the 13th century in northeast India. Displayed in the Metropolitan Museum of Art’s “Masterpieces of the Art of India from the Museum’s Collections.”
While not being first, the “Loving Couple” is a focal point of the exhibit considering it is the largest piece, notably in comparison to its previous counterparts. The erotic or loving couple, referred to as the mithuna, is described as “one of the most perplexing decorative motifs appearing on the temples of Orissa” (Donaldson, 75). Orissa’s notable temples were characterized by figures in “astonishingly acrobatic and erotic poses” (“Loving Couple”). Numerous meanings can be interpreted from the pair, ranging from evident commemoration of pleasure to a more metaphorical interpretation of divine unification, one aspired by the human soul. Wherever the unknown artist’s specific intention lies, the purpose the artwork serves is as “erotic imagery that is to be an obligatory decorative device which must have had the sanction of the sacred texts.” Some believe the sculptures were produced to influence sexual liberation amongst a war-scarred population “‘so that soldiers should be available to the king’ to the notion that they ‘are the touchstones by which the man of renunciation can test if his will to chastity is genuine”. Others speculate the concept of mithunas represents divine unification of the individual and symbolization of “Aum,” one of the most important symbols of Hinduism that is variably described as the essence of the highest Absolute. Another suggestion is these sculptures are just depiction of everyday human activities with no adamant intention. However, when observing the mithunas in temples with Western Mannerist art, the following conclusion is suggested from a sociological standpoint: Symptomatic of a troubled civilization, both are decadent representations of an irrational environment. The idea of the auspicious image of mithunas enhancing the iconic representations of deities and holy figures as well as its existence on temples where other decorative motifs are overlooked suggests “eroticism has an auspicious significance of some kind, as do most motifs appearing on Hindu temples.” Critics often deny this explanation, accepting the “propitious nature of auspicious motifs” yet ridiculing the apotropaic aspect. (Donaldson, 75).
Nude Man Holding Cock, earthenware ceramic, Thailand 14th-15th century, 7 ¼” height, 3 ” width, 3 ” diameter: This piece is from the Rogers Fund, 1966. The sculpture depicts a nude male figure that emphasizes sensuality of the human form, reflecting cultural attitudes surrounding sexuality and eroticism at the time.
Viewers after admiring a divine portrayal of love will proceed to come face-to-face with “Nude Man Holding Cock.” The comparison of the earthenware ceramic statue with the “Loving Couple” stone sculpture from 13th century India produces a humorous juxtaposition and irony. The “Loving Couple” sculpture reflects a more classic, idealized representation of love and intimacy, whereas “Nude Man Holding Cock” depicts sexuality in a more explicit, unceremonious manner. The positioning of the male figure, with his hands holding the bird near his crotch area, creates a visual metaphor that conveys an underlying erotic subtext. The placement of the bird in such proximity between the figure’s legs suggests a subtle play on words, as the word “cock” can also be used to describe male genitalia. This innuendo adds a layer of complexity and invites viewers to interpret the artwork in a more provocative and sensual light. The artist as well as the intended purpose is unknown. The period of the 14th-15th century is commonly known as the “Ayutthaya Period” when the kingdom had converted to Theravada Buddhism. Viewers can enjoy the irony of the work while speculating the intention on their own.
Illustration from a Nayika series, gouache with gold on paper, India c. 1820, H: 7 7/8 in. (20 cm); W: 10 in. (25.3 cm): The miniature with pale colors and delicate floral motifs depicts a woman seeking diversion from hookah while she mourns the absence of her lover. The work was created during the reign of Raja Sansar Chand of Kangra, and was gifted to the Toledo Museum of Art by Ann and Edward Searles
After a lighthearted observation of “Nude Man Holding Cock,” the exhibit takes a leap in the timeline that transitions from physical sculpture to 2D artwork. “Illustration from a Nayika series” shows a heroine, referred to as a nayika, on the terrace of her home gazing at two doves. Her body language reads as sorrowful, but a slight smile in her expression suggests hope. Her attendant offers smoking hookah to her as distraction from yearning her husband. In India’s history, the early modern period is defined as from 1526-1858, which coincides with the rise and collapse of the Mughal Empire, which was derived from the Timurid Renaissance, a period where arts and sciences were revived. Paintings of the Mughal period give viewers a glimpse into the social life of the time, with emphasis on noble life and pursuits. “Illustration from a Nayika series” was a painting that came from the Kangra School, which came about in the Punjab Hills region of India and is a well-known school of Pahari painting, which emerged during the 17th century. Inspiration for Pahari paintings derives from Vaishnavism and devotionals of 16th century Hindu saints. A characteristic of the Pahari painting “is the merger of religion and romance which later on inclines towards eroticism obviously due to the taste of the rulers. The scheme, technique, style, and color are more refined because they were often the creations of skilled painters of the Mughal court” (Agre, 571). The subject is wearing orange pajamas beneath her gold gown, a typical aspect of artwork painted under Sikh rule. The Sikhs became increasingly powerful following the defeat of the Gurkhas. “Illustration from a Nayika series” aims to evoke an emotional response from the viewer surrounding themes of longing, desire, and intimacy. While not as visually provocative as the other works displayed in the exhibit, it still invites visitors of the exhibit to appreciate and contemplate the nuances of love, passion, and eroticism within the context of Indian culture, which is the purpose of “The Erotic and Provocative of South Asia.”
Krishna Painting Radna, by George Keyt, oil on canvas, Sri Lanka, 1948, 60 cm height, 45 cm width: The painting depicts Radha’s figure being painted by Krishna, two divine Hindu subjects that are representative of divine love. The piece was given to the Victoria and Albert Museum in South Kensington, London, by Mr. Victor Sassoon. The artist is considered one of the most significant Sri Lankan poets and commits to revitalizing Indian art and culture within the work.
Lastly, to juxtapose the delicate floral motifs and pale colors of “Illustration from a Nayika series,” the final work displayed in the exhibit is cubist-inspired “Krishna painting Radha.” The deep colors and abstracted representation come from influence of recognizable Western art movements, such as Picasso’s well-known cubism. Keyt’s use of minimal but bold lines and exaggerated curves further accentuates the sensuality and the physicality of the scene’s erotic nature. The purpose of this work serves to represent “the archetypal symbol of transcendental love.” Cubism’s quasi-abstract and angular aspects can be differentiated from the influence of Kalighat art, which is seen “in the minimal use of lines, large eyes and the curves of the bodies” (“Krishna Painting Radna”). Keyt’s “magnificent craftsmanship, religious fervour, emotional intensity and aesthetic intensity combine to produce something that must be seen to be enjoyed” (Raman, 24). Rejecting Western culture values but also assimilating elements into his artistic practice, George Keyt studied Buddhist and Hindu philosophies to create the erotic work of Hindu mythological figures that is “Krishna Painting Radna.”
To conclude, the exhibition “The Erotic and Provocative of South Asia” provides a compelling exploration of the boundaries and complexities surrounding erotic and provocative art in the region. The exploration of these topics carries symbolic and figurative significance that goes beyond surface-level shock value, enabling audiences to engage with South Asia’s rich cultural tapestry. The exhibition challenges us to consider how desire, love, and sexuality are represented and understood in South Asian countries, allowing us to gain a more nuanced knowledge of the region’s aesthetic and cultural landscape.
Works Cited
“Lotus-Headed Fertility Goddess Lajja Gauri.” Metmuseum.org, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/38492. Accessed 1 May 2023.
“Nude Man Holding Cock.” Metmuseum.org, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/38377. Accessed 1 May 2023.
“Plaque with Erotic Scene.” Metmuseum.org, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/38377.
“Punjab Hills. Illustration from a Nayika series.” Gouache with gold on paper, India, circa 1820. Toledo Museum of Art, Works, http://emuseum.toledomuseum.org/objects/60732/illustration-from-a-nayika-series;jsessionid=2B2197FB855398B36678730D8965E8A4.
“Loving Couple.” Metmuseum.org, https://www.metmuseum.org/art/collection/search/37348. Accessed 1 May 2023.
Agre, Jagat Vir Singh. “SOCIAL LIFE AS REFLECTED IN THE RAJPUT PAINTING DURING THE MUGHAL PERIOD.” Proceedings of the Indian History Congress, vol. 37, 1976, pp. 569–75. JSTOR, http://www.jstor.org/stable/44139028. Accessed 1 May 2023.
Donaldson, Thomas. “Propitious-Apotropaic Eroticism in the Art of Orissa.” Artibus Asiae, vol. 37, no. 1/2, 1975, pp. 75–100. JSTOR, https://doi.org/10.2307/3250213. Accessed 1 May 2023.
Keyt, George. “Krishna Painting Radna.” Oil on canvas, 1948. Victoria and Albert Museum, London. https://collections.vam.ac.uk/item/O429002/krishna-painting-radha-painting-keyt-george/. Accessed 1 May 2023.
Raman, A. S. “ART IN INDIA TODAY.” East and West, vol. 3, no. 1, 1952, pp. 21–28. JSTOR, http://www.jstor.org/stable/29757988. Accessed 1 May 2023.
Sankalia, H. D. “The Nude Goddess or ‘Shameless Woman’ in Western Asia, India, and South-Eastern Asia.” Artibus Asiae, vol. 23, no. 2, 1960, pp. 111–23. JSTOR, https://doi.org/10.2307/3248072. Accessed 1 May 2023.