Kenneth Ray Stubbs,

Kyl e Spence 3
Richa r d Stodart
 Digitized by the Internet Archive
in 2023 with funding from
Kahle/Austin Foundation

https://archive.org/details/kamasutraofsexua0000stub
 An €&xtraordinary
Couples Qideo

Also by the
same author
the Couch ofRove
Erotic Massage: The Tantric Touch
of Love
The Essential Tantra: A Modern

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Guide to Sacred Sexuality
Secret Sexual Positions: Ancient
Techniques for Modern Lovers
Erotic Passions: A Guide to
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Orgasmic Massage, Sensual
Bathing, Oral Pleasuring,
and Ancient Sexual
Positions
Kenneth Ray Stubbs, Ph.D. with Louise-Andrée Sauinier
Iilustrated by Kyle Spencer

EROTIC
PASSIONS Ses (4

Orgasmic Massage
Sensual Bathing
Oral Pleasuring
Ancient Sexual Positions

Ray Stubbs, Pb.D.

id byKyle Spencer
 AMA SUTRA
OF

A POSITIONS

THE TANTRIC ART OF LOVE

Sensual Practices from Secret Sexual Positions

2 - Kenneth Ray Stubbs, Ph.D.

Illustrated by Kyle Spencer and Richard Stodart

Jeremy P. Tarcher/Putnam 2

a memberof Penguin Putnam Inc.

New York
While the author has made every effort to provide accurate telephone numbers and Internet addresses at the time of publica-
tion, neither the publisher nor the author assumes any responsibility for errors, or for changes that occur after publication.

Most Tarcher/Putnam books are available at special quantity discounts for bulk purchase for sales promotions,
premiums, fund-raising, and educational needs. Special books or book excerpts also can be created to fit
specific needs. For details, write Putnam Special Markets, 375 Hudson Street, New York, NY 10014.

A Word of Caution
The purpose of this book is to educate. It is not intended to give medical or psychological therapy.
Whenever there is concern about physical or emotional illness, a qualified professional should
be consulted. Not all the sexual positions in this book are for every body. Some of the
positions were accomplished only after years of yogic practice.
The author, illustrator, and publisher shall have neither liability nor responsibility to any person or
entity with respect to any loss, damage, injury, or ailment caused or alleged to be caused directly
or indirectly by the information or lack of information in this book.

Jeremy P. Tarcher/Putnam
a member of
Penguin Putnam Inc.
375 Hudson Street
New York, NY 10014
www.penguinputnam.com

The exercises in this book have been previously published in

Secret Sexual Positions © 1998 Kenneth Ray Stubbs, Ph.D.

First published in 2001 by Secret Garden Publishing

First Jeremy P. Tarcher/Putnam Edition 2003

Illustrations © 1992, 1998, 2001 by Kyle Spencer

All rights reserved. This book, or parts thereof, may not
be reproduced in any form without permission.
Published simultaneously in Canada

Library of Congress Cataloging-in-Publication Data

Stubbs, Kenneth Ray.
Kama Sutra of sexual positions : the tantric art of love / by Kenneth Ray Stubbs ;
illustrated by Kyle Spencer and Richard Stodart.
Deecnt:
Originally published: Tucson, Az. : Secret Garden Publishers, 2001.
ISBN 1-58542-218-5
1. Vatsyayana. Kamasatra. 2. Sex instruction. 3. Love. 4. Sexual excitement.
I. Spencer, Kyle. Il. Stodart, Richard. _ Ill. Title.
HQ31.S9895 2003 2002032030
613.9'07—dc21

Printed in Korea

LoS Se) 79 LOG Gree

This book is printed on acid-free paper. ©

Contents Introduction

Ancient Lovers 13

Kama Sutra ZI

The Perfumed Garden 25

Ananga-Ranga 33

Ishimpo 39

A Chronology of Sexual Embrace

About the Author and Artists 63

Acknowledgments 63
ee,hy ee
Introduction From thirteenth-century India on the temple walls of Konarak,
we easily see life-size stone carvings revealing women and men
in almost every conceivable sexual embrace.

In the Ishimpo (ee shem’ poh), a thousand-year-old Japa-

nese medical text, we are instructed in a healing sexual position
named the Wild Horse Leaps, where the female’s feet are lifted
toward the heavens and the “jade stalk” is inserted deeply into the
“jade gate.”

From the biblical Song of Songs, we glean a hint of the plea-

sures of oral-vaginal sex—a thousand years before Christianity:
“lam my beloved’s, and my beloved is mine: he feedeth among
the lilies.”

From the early sixteenth-century North African Arabic world,

we read The Perfumed Garden: “Let praise be given to God that
He has created woman with her beauty and appetizing flesh: that
He has endowed her with hair, waist, and throat, breasts that swell,
and amorous gestures which increase desire.2 . . . God has granted
us the kiss on the mouth, the cheeks and the mouth, as also the
sucking of luscious lips, to provoke an erection at a favorable
time.”?

To many other peoples of many other times, the intertwin-

ing of sin and sex would appear strange, perhaps incomprehen-
sible. To pronounce sex as forbidden fruit might even be heresy.

Sex is primordial. Sexual energy is sacred. Sexual pleasure

is healing and transformative. These conceptions were inherent
in the worldview of many ancients who tasted of the tree of knowl-
edge and learned that the fruit should never be forbidden.

The original Kama Sutra was written by a holy man in India

almost two millennia ago. Today in the West, “Kama Sutra” has
often come to be interpreted as a bible of sex. It is in this sense
that | chose the title Kama Sutra of Sexual Positions as an intro-
duction to ancient lovers of many different cultures where the
sexual and the sacred were the weaver of the tapestry of life.

Most of the images herein are based on paintings or written

descriptions from India, China, and Japan. Some of the methods
go back to very early writings. Some come to us from the proba-
bly mythical Chinese Yellow Emperor and his three wise-woman
sexual mentors of some 5,000 years ago. In all likelihood, most
Kama Sutra ofSexual Positions

of the sexual methods here antedate recorded history, for our sexuality is inherent.

While much of the available ancient lover material often assumes a male reader and a male
acting as the directing partner, the underlying tone is usually far more egalitarian, sensual, and
empathetic than much of the sexually explicit material generated in the West in recent centuries.

A complete set of sexual positions is far from the goal here. This is a fun book to use in con-
templating possibilities from ancient lovers, human beings who came before us and who sought
and discovered the sweet beauty of the fruit.

The Illustrations
Some of the illustrations are based on photographs of modern lovers interpreting the writ-
ings and paintings from ancient lovers. Several of the people in these images are quite accom-
plished in yoga, as can be seen in the flexibility required in some of the positions. Most of the
lovers are experienced in different forms of meditation, as seen.in their eye connections.

The largest set of illustrations presents a wide variety of positions by ancient lovers. These
are intended to simply convey the sexual embrace itself with a hint of the garments, accessories,
and environment of some ancient cultures.

Another set of illustrations comes from sensual sculptures on temple walls in India. While
an embarrassment to some contemporary puritanical Indians, these sculptures are among the
finest erotic art in the world.

Finally, the classic Japanese erotic art style known as shunga gives us a refreshingly different
view of sexual embrace.

While coming to us mostly from writings and art over many centuries and many cultural
milieus, all the illustrations here are by Kyle Spencer. Often the positions included are the result
of my instruction to her to have fun with this project of 100 illustrations. | suggested she vary
patterns in garments, envision new settings, and basically follow her artistic heart.

Kama Sutra of Sexual Positions is a revised, all-color edition of my earlier Secret Sexual
Positions. | invited Richard Stodart, another artist, to bring color to the original black-and-white
illustrations and to compose some of them as montages. | encouraged him to express his artistic
vision to celebrate the dynamic diversities of the sexual embrace.

The Text
We are greatly indebted to Sir Richard Burton (1821-1890) for translating into English three
very important erotological texts from non-Western cultures. The famous Kama Sutra comes from
India, compiled by Vatsyayana about the fourth century c.f. However, that book is based on
earlier writings, possibly from the third century 8.c.e., with an earlier source work dating back to
about the eighth century 8.c.e. (Note that 8.c.e. means Before Common Era and is equivalent to
B.c. Similarly, C.£. is equivalent to A.D.)

Derived from the Kama Sutra, the Ananga-Ranga by Kalyana Malla comes from thirteenth-
century C.£. India after Islamic influences. The third of Burton's translations, The Perfumed Garden by
Sheikh Nefzawi, is from the Islamic culture of early sixteenth-century North African Arabic Tunis.
Going farther east, we have the Japanese Ishimpo, compiled in the late tenth century C..
and based on Chinese medical texts and teachings going back to the probably mythical Chinese
Yellow Emperor, possibly around 2700 8.c.e.
Kama Sutra of Sexual Positions adapts and summarizes some of the sexual positions recom-
mended by these ancient cultures. References to animals are common, and the missionary posi-
tion is but one possibility.

The poetry accompanying some of the images is my interpretation and expression of writ-
ings from poets and mystics through the ages. Lover, nature, and God/Goddess are often a spiral-
ing oneness for these mystics, who commonly danced in the realm of the sacred and the sexual.
At times, my words might be only a distant resemblance of the ancient poet’s voice as | speak
through my modern consciousness.

The biblical Song of Songs, often attributed to Solomon, is the basis for most of the poems.
Inanna is the Sumarian Goddess Queen of Heaven and Earth. Her legend predates Solomon’s
rule by at least two millennia, and the biblical Abraham was born in this ancient land of Sumer.

Rumi, born in Afghanistan in the thirteenth century C.£., was a conventional teacher until at
thirty-seven he met a wandering Islamic mystic. Lalla, in fourteenth-century Kashmir, left her
home at twenty-four and became a wandering mystic, sometimes dancing naked in the streets in
ecstasy. Longchenpa was a fourteenth-century Tibetan master in the Tantric tradition. St. Teresa of
Avila was a sixteenth-century Spanish Catholic nun who became known for her overtly ecstatic
expressions as she communed with God. Finally, Chaco is now a set of ruins located in the
southwestern U.S. These were sacred ceremonial structures built by a highly evolved Native
American culture beginning in the mid-ninth century to mark the yearly cycle of the sun and the
eighteen-and-a-half-year cycle of the moon.

Conclusion
The following images and words can serve as inspiration for those of us raised in a con-
sciousness were sex is forbidden fruit. Even if the fruit is not forbidden for us, there is always
more to learn, more pleasure to share. My suggestion to the reader is to explore the diversities.
Have fun. Open the imagination. Sip the nectar and eat “of the fruit of the tree which is in the
midst of the garden.”*

In the embrace, become One.

1 Song of Songs 6:3.

2 Sir Richard Burton, trans., Charles Fowkes, ed., The Perfumed Garden
(Rochester, VT: Park Street Press, 1992), p. 11.
3 Ibid., p. 10.
4 Genesis 3:3.
 outh winds,
“north winds
| call to you
My fruit has ripened
on the vine

Come, breathe upon

my garden
so my lover might find
his way
in the night

inspired by
the Song of Songs
 y fields are wet with % ‘ ;
rain.
Who will plow my fertile earth?
+

My blossoms.awaken in the
morning.
Who will breathe my
fragrance into his flute so | might
dance on the wind?

My moon is full.
My figs and grapes are swollen.
Who will feast in my
temple?

inspired by
the legends of Inanna
Séncient_Lovers She went to the sheepfold, to the
shepherd. ...

When she leaned back against

the apple tree, her vulva was
wondrous to behold.

Rejoicing at her wondrous vulva,

.../nanna applauded herself... .
As for me, Inanna,

Who will plow my vulva?

Who will plow my high field?
Who will plow my wet ground?
Who will station the ox there?
Her lover, Dumuzi the King,
replies he will.
Then plow my vulva, man of my
heart!
Plow my vulva!"

This story of Inanna comes from some of

humankind’s earliest known writings. Almost
4,000-year-old cuneiform tablets depict Inanna
(ee nah’ nuh), the goddess, Queen of Heaven
and Earth, as revering her vulva, its beauty, and
her sexual desires. Her religious legend, which
may go back more than 5,500 years, is from
Sumer, a small part of the land area we now
generally call the Middle East.

The entangled web of our modern sexual

consciousness to a great extent also comes from
Sumer, though mostly from a very different reli-
gious lineage than Inanna’s. About 4,000 years
ago, Abraham, strictly obeying what he believed
to be the commands of his god Yahweh, left Ur,
once the capital city of Sumer, to find a new
land which his “seed” would inherit.

Abraham is the patriarchal progenitor of

Judaism, Christianity, and Islam. The religious
 Kama Sutra ofSexual Positions

beliefs and societal laws that have sprung forth These poetic praises from the Song of
from these three pervasive legacies provide the Songs, or Song of Solomon, often bear striking
foundation of many of the modern lovers’ sexual resemblances to Inanna’s hymns. This should
beliefs and customs. come as no surprise. Solomon built temples for
The male gender decides; the female gen- a variety of female and male deities other than
Yahweh, and the Sumerian civilization was part
der follows. Not only are the spirit and the body
of his roots.
different; the spirit is morally superior. Pleasures
of the flesh are sinful. Sex is solely for procre- Solomon's kingdom was a bustling empire
ation. Only the missionary position is con- of commerce and far-reaching alliances bring-
doned. The wages of sin are illness and death. ing cultural contact with those far beyond a
While many of us modern lovers would provincial world of sheepherders and_ purist
contend that most or all of these beliefs are old- priests. Goddess traditions honoring the cycles
fashioned, such tenants remain deeply embed- of the moon as well as earth-centered fertility
ded in our collective unconscious. (Even at the
ceremonies celebrating the fecundity of plants,
end of the twentieth century, the Chief Justice herds, and humans alike abounded both within

of the U.S. Supreme Court wrote, “Public nu- the diverse early Hebrew people and in sur-
dity is the evil the state seeks to prevent. . . .”? rounding cultures.
litalics added].) Nonetheless, a priesthood with a single,
In contrast, also in the entangled web of wrathful, male deity was to be the dominating
our modern sexual consciousness, a compel-
power for the early Hebrews. Even ethnic
ling anomaly exists among the Jewish and Chris- cleansing of other male and female deities’ fol-
tian canonical texts. A thousand years after lowers, including the slaughter of all men,
Abraham, Solomon women, and children, was not uncommon.
inherited the throne from
David to become the most extolled king of Is- Sometimes, though, the gold, domesticated ani-
rael. With a probably exaggerated estimate of mals, and female virgins were spared and made
700 wives and 300 concubines, Solomon
property.?
no
doubt had ample opportunity to explore the The Christianity of Paul (d. 62-68 c.e.) fol-
amatory realms. Often though probably inac- lowed, then the conversion of the Roman Em-
curately attributed to him, the Song of Songs pire to Christian doctrine (early 4th century),
graces our minds with images lovers would feel: later the sex-is-sin philosophies of Augustine
(345-430) and Aquinas (1225-1274). Eventu-
Let him kiss me with the kisses of
his mouth: for thy love is better ally, either with active promotion or acquies-
than wine. [Song of Songs 1:2] cence from the Church of Rome or Protestant
powers, over 500 years of formal Inquisitions
A bundle of myrrh is my well-
beloved unto me; he shall lie all were to leave little semblance of spiritual tradi-
night betwixt my breasts. [Song tions espousing sex as a sacrament. After per-
of Songs 1:13] haps up to nine million burnings at the stake
! am my beloved’s, and his de- and other tortured — deaths,?_ _—-European
sire is toward me. [Song of Songs Christenom had basically committed genocide
7:10] on those who would dare to engage in spiritual

14
practices which Inanna, Astarte, Aphrodite, and we might see a far healthier possibility of our
other Western European sex-embracing deities sexual selves.
might proclaim.
Kama is the god of love in India. Similar
In the Americas, Balboa would unleash his to Cupid, Kama has a bow that shoots love-pro-
large, specially trained attack dogs on indig- ducing flower arrows. The term kama itself can
enous peoples for their common sexual customs be translated as “love, pleasure, sensual gratifi-
deemed heretical to the Church of Rome. Add cation.”
the influence of the puritanical wings of the
A sutra is a collection of concise state-
Protestants, and we find the Western twentieth-
ments, written so that they might be more eas-
century modern lover inheriting the legacy of a
ily memorized. In the case of the Kama Sutra,
virtual sexual wasteland.
scripturelike advice provides guidance not only
For almost 4,000 years, our principal cul- on succeeding in the arts of love and sex, for
tural heritage has known and taught little in the which the book is most known, but also on at-
arts of love and sex. Moreover, a wondrous unity taining virtue and wealth. Ironically, with sexual
of sex and spirit has been philosophically un- censorship waning in the 1960s and various
conscionable. printings of this formerly illicit treasure becom-
ing commonly available, it is the sections on
virtue and wealth that are often conveniently
And then there was Sir Richard Francis edited out.
Burton.
Writing the Kama Sutra somewhere be-
Burton (1821-1890) was a famous British tween the fourth century 8.c.e. and the fourth
explorer and prolific author, with forty-three vol- century c.e., Vatsyayana described himself in the
umes on his explorations and almost thirty vol- conclusion of this significant compilation and
umes of translations. adaptation of previous writings in India:
Based on his fluency in forty languages and The Kama Sutra was composed,
dialects as well as extensive experiences of “go- according to the precepts of Holy
ing native” in India and in Muslim cultures, Writ, for the benefit of the world,
by Vatsyayana, while leading the
Burton translated and secretly printed the Kama
life of a religious student, and
Sutra in 1883, the Ananga-Ranga in 1885, and
wholly engaged in the contem-
The Perfumed Garden in 1886. (Often co- plation of the Deity.°
translating with Burton was his close friend Fos-
Where sexual union can symbolize the
ter Arbuthnot.)
union of cosmic energies, it would not seem
Risking prosecution, imprisonment, and strange that a holy person could write a text
disgrace in Victorian Britain, Burton was a bi- describing the arts of love and sex. Harmony in
cultural messenger, clandestinely bringing the universe and harmony between lovers are
glimpses of ancient lovers’ arts of love and sex but a mirror of each other.
long suppressed in the West. Probably more
Beginning in the third and forth centuries
than any other single individual in the English
in India, a dynamic spiritual movement known
language, Burton lifted the sex-is-sin veil.so that

13)
 he shade of
your apricot tree
comforts me from
the midday sun

The redness of the

pomegranate seed
the nectarof the grape
slip from your lips
to mine

Your lily’s fragrance

lifts me to a realm
where midday and
midnight are one

| am lost in your
garden

inspired by
the Song of Songs
as Tantra (tahn’ tra) began to appear. By that book shall know how delicious
time many of the dominant religious themes an instrument is woman, when
emphasized asceticism: Only by denying the artfully played upon; how ca-
pable she is of producing the
body and abstaining from pleasure could one
most exquisite harmony; of ex-
lead a holy life. Suffering and penance, includ- ecuting the most complicated
ing self-inflicted pain, were next to godliness. variations and of giving the
divinest pleasures.”
Tantra, to an ascetic, might be considered
The third of Burton’s translations, The Per-
hedonistic indulgence. For a Tantric adept, all
fumed Garden by Sheikh Nefzawi, comes to us
of life and death is embraced. Every experience,
from the Islamic culture of early sixteenth-cen-
especially sex, is an opportunity to discover
tury North African Arabic Tunis. Here again,
more deeply our inherent nature.
pleasure more than procreation is praised:
Various meditations, including sexual cer-
If you wish to experience an
emonies and positions, some apparently agreeable copulation, one that
adapted from the Kama Sutra information, were gives equal satisfaction and plea-
developed to teach the follower on this path. sure to both parties, it is neces-
Through meditation, our experience of daily ex- sary to frolic with the woman and
excite her with nibbling, kissing,
istence—the good, the bad, the ugly, the beau-
and caressing. Turn her over on
tiful—is transformed from attachment to enlight-
the bed, sometimes on her back,
enment. sometimes on her belly, until you
Tantra, indeed, is a path, often requiring see by her eyes that the moment
of pleasure has arrived... .°
many years of commitment to various medita-
tions, or “surrender to,” as a Tantrika might con- No slam-bam-thank-ya-ma’am aura is ex-
ceptualize it. This path is for those seeking more alted in these treatises translated by Burton,
than a new romantic or sexual skill. Nonethe- except, of course, when such encounters are
less, this diverse philosophy, which has had sig- mutually rewarding for both partners.
nificant influences on Hinduism and Buddhism,
Looking to the ancient lovers farther east
gives us some insight into the ancient lovers’
in China and Japan, we often find more of a
embrace of the sacred and the sexual, a view
medical emphasis in the numerous sexual texts,
far outside the sex-is-sin perversion pervading
such as the twenty-eighth section of the Japa-
our Western sexual legacy. nese Ishimpo. This is a compilation and adap-
In late twelfth-century India, the Ananga- tation of many earlier Chinese texts often ex-
Ranga, or The Hindu Art of Love, was written tensively influenced by Taoist spiritual philoso-
by Kalyana Malla. Arriving after Islamic phy. (Tao is pronounced dow, like wow begin-
conquerings and cultural influences, this book, ning with a d.)
however, is derived from the Kama Sutra. Em- One gets longevity by loving the
phasizing a marriage relationship, the manual essence, cultivating the spiritual,
accentuates the mutual pleasure and harmony and partaking of many kinds of
of the genders: medicines; if you’ do not know
the ways of intercourse, partak-
And thus all you who read this | ing of herbs is of no benefit.’

eZ
Kama Sutra of Sexual Positions

Being in harmony with our inner nature

might be considered the quintessence of Taoist ' Diane Wolkstein and Samuel Noah Kramer, /nanna:
Queen of Heaven and Earth (New York: Harper &
philosophy, dating back to at least the fourth
Row, 1983), various selections.
century B.c.e. in China. Sexual health is an es-
> “Ban on Nude Dancing Backed by High Court,”
sentia: aspect of health if we are to live in bal- Los Angeles Times, Home Ed., 22 June 1991, pt. A, p.
ance with Heaven and Earth. So part of a A-1.
physician’s role would be to facilitate our sexu- > “So the LORD our God delivered into our hands Og
ality remaining in harmony with the other as- also, the king of Bashan, and all his people . . . and
we took all his cities at that time. . . threescore cities
pects of our life—including knowing which
... utterly destroying
the men, women, and children,
sexual positions help heal which conditions. of every city.” [Deuteronomy 3:3-6]

Also striking to the Western modern lover's * “And the booty, being the rest of the prey which the
men of war had caught, was six hundred thousand
ear is the sensual ambiance of the poetic lan-
and seventy thousand and five thousand sheep, and
guage describing sex. “The clouds and the rain” threescore and twelve thousand beeves, and three-
and “the mists and the rain” refer to intercourse. score and one thousand asses, and thirty and two
A penis is a “jade stalk” or a “bamboo horse.” thousand persons in all, of women that had not
known man by lying with him.” [Numbers 31:32-35]
A “pearl on the jade step” is a clitoris, while a (See When God Was a Woman by Merlin Stone
“coral gate,” “jade pavilion,” and “magic field”
” “
[New York: Harvest/Harcourt Brace Jovanovich,
are the female genitals in general. “Fire inside 1976] for an extensive discussion of the early He-
brews and the surrounding sex-positive cultures.)
the jade pavilion” would be a woman’s orgasm.
° See Elinor W. Gadon, The Once and Future
Goddess (New York: HarperCollins, 1989), p. 113,
and Starhawk, Dreaming the Dark, new edition (Bos-
Sexuality as sacrament or as forbidden ton: Beacon Press, 1982, 1988), p. 187.
fruit—both themes are apparent as we examine
° Sir Richard Burton and F. F. Arbuthnot, trans.,
our human history. Kama Sutra and other an- Charles Fowkes, ed., The Illustrated Kama Sutra,
cient texts give us a hint of the world of ancient Ananga-Ranga, Perfumed Garden (Rochester, VT:
Park Street Press, 1991), p. 18.
lovers who danced in the center of the sacred
circle. 7 Ibid.,
p. 68.
® Sir Richard Burton, trans., Charles Fowkes, ed., The
Kama Sutra of Sexual Positions is my in- Perfumed Garden (Rochester, VT: Park Street Press,
terpretation and my honoring of the teachings 1992), p. 32.
of these ancient lovers. ” Howard S. Levy and Akira Ishihara, trans., The Tao
of Sex (Lower Lake, CA: Integral Publishing, 1989), p.
When we dance naked ile
! hear your heartbeat
There | soar
in the spiral
There | embrace
the circle

Is this why
God gave us lovers?
Noe
ee
 GLE DE ae
STAMAT UuULTA Most descriptions in Sir Richard Burton’s
translation indicating the male being in charge of
Oy all the actions are edited so that the female is now
Vatsyayana more of an equal participant and initiator.

An ingenious person should mul-

Cpe eee ee tiply the kinds of congress after
selected and Adapted Positions the fashion of the different kinds
of beasts and of birds. For these
different kinds of congress, per-
formed according to the . . . lik-
ing of each individual, generate
love, friendship, and respect in
the hearts of women.

Widely opened position

When she lowers her head and raises her
middle parts.
Yawning position
When she raises her thighs and keeps them
wide apart.
Position of Indrani
When she places her thighs with her legs
doubled on them upon her sides.
Clasping position
When the legs of both the male and the fe-
male are stretched straight out over each other.
It is of two kinds, the side position and the
supine position.

Pressing position
When, after congress has begun in the clasp-
ing position, the woman presses her lover with
her thighs.
Twining position
When the woman places one of her thighs
across the thigh of her lover.
Mare’s position
When a woman forcibly holds in her yoni
[female genitalia] the lingam [penis] after it
is in.
Rising position
‘ When the female raises both of her thighs
straight up.
Yawning position
When she raises both of her legs, and places
them on her lover’s shoulder.
ZI
Kama Sutra ofSexual Positions

Pressed position Congress of a cow

When the legs are contracted, and thus held When a woman stands on her hands and feet like
by the lover before his bosom. a quadruped, and her lover mounts her like a bull.
At this time everything that is ordinarily done on
Half-pressed position the bosom should be done on the back.
When only one of her legs is stretched out.
United congress
Splitting of a bamboo position When a man enjoys two women at the same time,
When the woman places one of her legs on
both of whom love him equally.
her lover’s shoulder, and stretches the other
out, and then places the latter on his shoul- Lower congress
der, and stretches out the other, and contin- When congress is in the anus.
ues to do so alternately.

Fixing of a nail
When one of her legs is placed on the head,
and the other is stretched out.
Crab’s position
When both the legs of the woman are con-
tracted and placed on her stomach.

Packed position
When the thighs are raised and placed one
upon the other.

Lotuslike position
When the shanks are placed one upon the
other.

Turning position
When a man, during congress, turns round,
and enjoys the woman without leaving her,
while she embraces him round the back all
the time.

Supported congress
When a man and a woman support themselves
on each other’s bodies, or on a wall, or pillar,
and thus while standing.
Suspended congress
When a man supports himself against a wall,
and the woman, sitting on his hands joined
together and held underneath her, throws her
arms round his neck, and putting her thighs
alongside his waist, moves herself by her feet,
which are touching the wall against which the
man is leaning.

22
 hould you find
my beloved
tending his flock
in the hills,
lean closely
to his ear
and beckon him
run as the gazelle
to my lips
for | am faint
with the fever
of love.

inspired by
the Song of Songs
Lhe Lerfumed Garden Most descriptions in Sir Richard Burton’s
translation indicating the male being in charge of
by all the actions are edited so that the female is now
Sheikh Nefzawi more of an equal participant and initiator. Brack-
ets indicate a significant modification of content
or terms.
Selected and Adapted Positions
First posture
The woman lies on her back and raises her
thighs; then, getting between her legs, the man
introduces his member. Gripping the ground
with his toes, he will be able to move in a
suitable manner. This posture is a good one
for males who have long members.

Second posture
If the male’s member is short, the woman lies
on her back and he raises her legs in the air so
that her toes touch her ears. Her buttocks be-
ing thus raised, the vulva is thrown forward.
Now he introduces his member.

Third posture
She lies on the ground and he gets between
her thighs; then, with one of her legs on his
shoulder and the other under his arm, he pen-
etrates her.

Fourth posture
She stretches on the ground and puts her legs
on his shoulders; in that position his member
will be exactly opposite her vulva which will
be lifted off the ground. That is the moment he
introduces his member.
Fifth posture
The woman lies on her side on the ground;
then, lying down and getting between her
thighs, the man introduces his member. This
posture is apt to give rise to rheumatic or sci-
atic pains.

Sixth posture
The woman rests on her knees and elbows in
the position for prayer. In this posture the vulva
stands out behind. He enters her thus.

Seventh posture
The woman is on her side; then the male, sit-
ting on his heels, will place her top leg on his
Kama Sutra ofSexual Positions

nearest shoulder and her other leg against his womb. This posture should only be used when
thighs. She will keep on her side, and he will the penis is short and soft.
be between her legs. He introduces his mem-
The frog’s posture
ber and moves her backward and forward
The woman is on her back and her thighs
with his hands.
raised till her heels are close to her buttocks.
Eighth posture Now the man seats himself in front of her
With the woman on her back, he kneels vulva and introduces his member; then put-
astride her. ting her knees under his armpits and, grasp-
ing the upper part of her arms, he draws her
Ninth posture
to himself at the propitious moment.
The woman rests, either face forward or the
reverse, against a slightly raised platform, her The clasping of hands and feet
feet remaining on the ground and her body With the woman on her back, the man sits on
projecting in front. She will thus present her his heels between her thighs and grips the
vulva to the man’s member, which he will in- floor with his toes; she will now put her legs
troduce. round his body and he will put his arms about
her neck.
Tenth posture
The woman is on a rather low divan, grasping The raised legs posture
the woodwork with her hands; then with her While the woman is lying on her back, the
legs on his hips and gripping his body, he will man takes hold of her legs and, holding them
introduce his member, at the same time grasp- close together, raises them until her soles point
ing the divan. When the lovers begin to work, to the ceiling; then clasping her between his
they let their movements keep time. thighs, he introduces his member, taking care
Eleventh posture at the same time not to let her legs fall.
The woman lies on her back with her buttocks The goat’s posture
raised by a cushion placed under them. She The woman lies on her side and stretches out
puts the soles of her feet together with the man the bottom leg. The man crouches down be-
between her thighs. tween her thighs, lifts her top leg and intro-
The closure duces his member. He holds her by the arms
The woman lies on her back, her buttocks or shoulders.
raised with a cushion; then the man gets be-
The Archimedean screw
tween her legs, keeping his toes on the floor,
While the man is lying on his back, the woman
and presses her thighs against her chest. Now
sits on his member, keeping her face towards
he passes his hands under her arms to clasp
his. She then places her hands on the bed, at
her to himself, or tightly grips her shoulders.
the same time keeping her belly off his; she
That done, he introduces his member and
now moves up and down and, if the man is
draws her towards himself at the moment of
light in weight, he may move as well. If the
ejaculation. This posture may be painful for
woman wishes to kiss the man, she need only
the woman, for, with her thighs pressed on
lay her arms on the bed.
her chest and her buttocks raised with the
cushion, the walls of the vagina are forced The ancient swing
together, and, as a consequence—the uterus The woman is suspended face upwards from
being pushed forward—there is not enough the ceiling by means of four cords [wide
room for the penis, which can only be inserted sashes] attached to her hands and feet and
with difficulty, and which impinges on the another supporting the middle of her body.

26
a
Kama Sutra ofSexual Positions

Her position should be such that her vulva is face is turned towards her back; now, placing
now opposite his member, the man standing his hands on her shoulders, he introduces his
up. He introduces his member and then be- member. The woman then grasps the man’s
gins to swing her, first away from him, then feet and draws them towards her; she forms
toward him. He thus alternately introduces thus, with the man’s body, a bow to which
and withdraws his member, and so he con- she is the arrow.
tinues until he ejaculates.
Reciprocating motion
The somersault The man, seated on the ground, brings the
The woman should let her trousers fall to her soles of his feet together, at the same time low-
ankles so that they are like fetters. She then ering his thighs. The woman then sits on his
bends down till her head is in her trousers, feet and clasps his body with her legs and his
when the man, holding her legs, pulls her over neck with her arms. The man then grasps the
onto her back. He then kneels down and pen- woman’s legs, and, moving his feet toward
etrates her. It is said that there are women, his body, carries the woman within reach of
who, when lying on their back, can put their his member, which he introduces. By a move-
feet under their head without the help of their ment of his feet he now moves her backward
hands or trousers. and forward. The woman should take care to
facilitate this movement by not pressing too
The ostrich’s tail
heavily. If the man fears that his member. will
The woman lies on her back, and the man
be drawn right out, he must grasp the woman
kneels at her feet; then he raises her legs and
around the body and be satisfied with such
places them round his neck so that only her
movement as he can give with his feet.
head and shoulders remain on the ground.
Now he penetrates her. Sitting on the member
The man sits down and stretches out his legs,
Putting on the sock
and the woman sits on his thighs and crosses
The woman being on her back, the male sits
her legs behind his back. She places her vulva
between her legs and places his member be-
opposite his penis and lends a guiding hand.
tween the lips of her vulva, which he grasps
She then puts her arms around his neck, and
with the thumb and first finger. He then moves
he puts his round her waist and raises and low-
so that the part of his member which is in
ers her on his member, in which movement
contact with the woman is subjected to rub-
she assists.
bing, and continues so until her vulva is moist
with the liquid which escapes from his penis. Coition from behind
Having thus given her a foretaste of pleasure, The woman lies face downward and raises
he enters her completely. her buttocks with a cushion; the man lies on
her back and introduces his member while she
The mutual view of the buttocks
The man lies on his back, and the woman,
slips her arms through his elbows.
turning her back to him, sits on his member. The sheep’s posture
He now clasps her body with his legs and she The woman kneels down and puts her fore-
leans over until her hands touch the floor. Thus arms on the ground; the man kneels down
supported she has a view of his buttocks, and behind her and slips his penis in her vulva,
he of hers, and she is able to move conve- which she makes stand out as much as pos-
niently. sible. His hands should be placed on her
Drawing the bow shoulders.
The woman lies on her side, and the man, also The camel’s hump
on his side, gets between her legs so that his The woman, who is standing, bends forward
i aan
 till her fingers touch the floor; the man gets The jointer
behind and copulates, at the same time grasp- The man and the woman sit down facing each
ing her thighs, lf the man withdraws while the other; the woman then puts her right thigh on
woman is still bending down, the vagina emits the man’s left thigh, and he puts his right thigh
a sound like the bleating of a calf, and for on her left one. The woman guides his mem-
that reason some women object to the pos- ber into her vagina and grasps the man’s arms
ture, while he grasps hers. They now indulge in a
seesaw motion, leaning backward and _for-
Standing on the wall
ward alternately, taking care that their move-
While facing each other, the woman, hanging
ments are well-timed.
with her arms round the man’s neck, raises
her legs and with them clasps him around the The stay-at-home
Waist, resting her feet against a wall. The man The woman lies on her back, and the man,
now introduces his member, with cushions under his hands, lies on her.
When the introduction has taken place, the
The fusion of love
woman raises her buttocks as far as possible
The woman lies on her right side and the man
from the bed, and the man accompanies her
on his left: he stretches his bottom leg straight
in the movement, taking care that his mem-
gown and raises his other leg, letting it rest
ber is not withdrawn. The woman then drops
on the woman's side. Now he pulls the
woman's top leg onto his body and then in-
her buttocks with short sharp jerks, and, al-
troduces his member. The woman may help if
though the two are not clasped together, the
she likes, to make the necessary movements.
man should keep quite close to the woman.
They continue this movement, but it is neces-
Inversion sary that the man be light and the bed soft;
The man lies on his back and the woman lies otherwise, pain will be caused.
on him. She grasps his thighs and draws them
The blacksmith’s posture
toward her, thus bringing his member into
prominence. Having guided it in, she puts her The woman lies on her back with a cushion
hands on the bed, one on each side of the under her buttocks. She now draws her knees
man’s buttocks. It is necessary for her feet to onto her chest so that her vulva stands out
be raised on a cushion to allow for the slope like a sieve; she then guides in the member.
The man now performs for a moment or two
of the penis, The woman moves. This posture
may be varied by the woman sitting on her the conventional movements. He then with-
heels between the man’s legs. draws his member and slips it between the
women’s thighs in imitation of the blacksmith
Riding the member who draws the hot iron from the fire and
The man lies down and places a cushion un- plunges it into cold water.
der his shoulders, taking care that his buttocks
remain on the floor. Thus placed, he raises his The seductive posture
The woman lies on her back and the man
legs ull his knees are close to his face. The
woman then sits on his member. She does not crouches between her legs, which he then puts
ie Gown, but sits astride, as though on a under his arms or on his shoulders. He may
saddle formed by the man’s legs and chest. hold her by the waist or the arms.
By bending her knees, she can now move up-
ward and downward; or she may put her
Knees on the floor, in which case the man
moves her with his thighs while she grasps
Wee ch nes
S NMOuIGers,
our love is like the night mist.
In the morning
my petals drip
with desire.

inspired by
an African proverb
Zo
° .o
* GO Mo ao
o% Poof
CO ° °
Stnanga-LZeanga The use of Sir Richard Burton’s original trans-
lation of husband and wife remains, though most
by descriptions indicating the male being in charge
Kalyana Malla of all the actions are edited so that the female is
now more of an equal participant and initiator.

Selected and Adapted Positions

Samapada-uttana-bandha
With the wife upon her back, both legs raised
and placed upon his shoulders, the husband
sits close to her and enjoys her.

Nagara-uttana-bandha
With the wife upon her back, the husband sits
between her legs, raises them both, keeping
them on the other side of his waist, and en-
joys her.

Traivikrama-uttana-bandha
When one of the wife’s legs is left lying upon
the bed or carpet, the other being placed upon
the head of the husband, who supports him-
self upon both hands.
Vyomapada-uttana-bandha
When the wife, lying upon her back, raises
with her hands both legs, drawing them as far
back as her hair; the husband then sitting close
to her, places both hands upon her breasts and
enjoys her.

Smarachakrasana or the Kama’s wheel position

A mode very much enjoyed by the voluptu-
ary. In this form the husband sits between the
legs of his wife, extends his arms on both sides
of her as far as he can, and thus enjoys her.

Avidarita
When the wife raises both her legs, so that
they may touch the bosom of her husband,
who, sitting between her thighs, embraces and
enjoys her.
Saumya-bandha
Given by the old poets to a form of congress
much in vogue among the artful students of
the Kama Shastra (ancient Vedic texts concern-
ing sensual pleasure, which predate the Kama
Sutra). The wife lies supine, and the husband,
as usual, sits; he places both hands under her
back, closely embracing her, which she returns
by tightly grasping his neck.

33
our neck adorned with bells
your hair braided with shells
Dance my dream awake, my love

The spring rains

have swollen my rivers
To the beat of my drum,
dance, dance deep into the night
inspired by the Song ~y
Jrimbhits-asana Vaidurit-asana
The wife’s body is in the form of a bow with The husband embraces his wife’s neck very
little pillows or pads beneath her hips and closely, and she does the same to him.
head. The husband then raises the seat of plea-
sure and rises to it by kneeling upon a cush- Phanipash-asana
The husband holds his wife’s feet, and the wife
ion. This is an admirable form of congress,
those of her husband.
and is greatly enjoyed by both.
Sanyaman-asana
Veshtita-asana
The husband passes both the legs of his wife
When the wife lies upon her back cross-
under his arms at the elbow, and holds her
legged, and raises her feet a little; this posi-
neck with his hands.
tion is very well fitted for those burning with
desire. Yugmapad-asana
Is a name given by the poets to that position
Venuvidarita
in which the husband sits with his legs wide
The wife, lying upon her back, places one leg
apart, and, after insertion and penetration,
upon her husband's shoulder, and the other
presses the thighs of his wife together.
on the bed or carpet.
Vinarditasana
Sphutma-uttana-bandah
A form possible only to a very strong man with
When the husband, after insertion and pen-
a very light woman; he raises her by passing
etration, raises the legs of his wife, who still
both her legs over his arms at the elbow, and
lies upon her back, and joins her thighs closely
moves her about from left to right, but not
together.
backwards or forwards, till the supreme mo-
Vinaka-tiryak-bandha ment arrives.
When the husband, placing himself alongside
Markatasana
of his wife, raises one of his legs over her hip
Is the same position as Vinarditasana; in this,
and leaves the other lying upon the bed or
however the husband moves the wife in a
carpet. straight line away from his face, that is, back-
Samputa-tiryak-bandha wards and forwards, but not from side to side.
When both man and woman lie straight upon
Knee and elbow standing-form
their sides, without any movement or change
A posture which also requires great bodily
in the position of their limbs.
strength in the man. Both stand opposite to
Karkata-tiryak-bandha each other, and the husband passes his two
When both being upon their sides, the hus- arms under his wife’s knees, supporting her
band lies between his wife’s thighs, one un- upon the inner elbows; he then raises her as
der him, and the other being thrown over his high as his waist, and enjoys her, whilst she
flank, a little below the breast. must clasp his neck with both her hands.

Padm-asana Hari-vikrama-utthita-bandha
The husband in this favorite position sits cross- The husband raises only one leg of his wife,
legged upon the bed or carpet, and takes his who with the other stands upon the ground.
wife upon his lap, placing his hands upon her
Kirti-utthita-bandha
shoulders. This requires strength in the man. The wife,
Upapad-asana clasping her hands and placing her legs round
While both are sitting, the woman slightly her husband's waist, hangs, as it were, to him,
raises one leg by placing her hand under it, whilst he supports her by placing his forearms
and the husband enjoys her. under her hips.

35
4
ai
The cow posture
The wife places herself upon all fours, supported on her hands and feet (not her knees), and the
husband approaching from behind, falls upon her waist, and enjoys her as if he were a bull. There
is much religious merit in this form.
Elephant posture
The wife lies down in such a position that her face, breast, stomach, and thighs all touch the bed
or carpet. The husband, extending himself upon her, and bending himself like an elephant, with
the small of the back much drawn in, works underneath her, and effects insertion.

Contrary position
The wife lies straight upon her outstretched husband with her breast being applied to his bosom;
she presses his waist with her hands, and moving her hips sharply in various directions, enjoys
him.

Like the large bee

The wife, having placed her husband at full length upon the bed or carpet, squats upon his thighs,
closes her legs firmly after she has effected insertion; and, moving her waist in circular form, churn-
ing, as it were, enjoys her husband, and thoroughly satisfies herself.
Utthita-uttana-bandha
The wife, whose passion has not been gratified by previous copulation, should make her husband
lie upon his back, and sitting cross-legged upon his thighs, should seize his lingam [penis], effect
insertion, and move her waist up and down, advancing and retiring; she will derive great comfort
from this process.

Bi
Sshimpo These descriptions are loose adaptations
from the /shimpo translation in The Tao of Sex by
Howard S. Levy and Akira Ishihara.
by
Tamba Yasuyori
The dragon turns over
With the female lying down on her back, the
Selected and Adapted Positions male lies on top of her with his thighs press-
ing on the mat, the female raises her vagina
to receive the jade stalk, he moves about lei-
surely, eight shallow followed by two deep,
and repeating.
The tiger’s tread
The female faced downward in a crawling
position, her buttocks up and head down, the
male kneels behind her and embraces her
belly. Then he inserts his jade stalk and pen-
etrates deeply.
The monkey springs
The male is kneeling, and the female lies on
her back with her thighs on his shoulders.
Her buttocks and lower back are raised.

Cicada affixed
With the female lying front downward, the
male kneels behind and inserts his jade stalk
deeply into her vagina.
The tortoise mounts
The female lies on her back with her knees
bent to her chest. While pushing her feet to-
wards her breasts, the male inserts his jade
stalk deeply and follows with both deep and
shallow strokes.
The phoenix flutters
The female lies on her back with her knees
bent and thighs pointing upward. The male
crawls between her thighs and deeply inserts
his jade stalk.
A rabbit sucking a hair
The male lies flat on his back, extending his
legs. Facing his feet, the female straddles him,
her knees to the outside.

Fish with scales joined

The male lies on his back, extending his legs.
Facing his head, the female straddles him, her
knees to the outside. The female moves so as
to prolong her pleasure.

39
—
he winter rains are over, my love
the rivers run swiftly

Come, come to my garden

and drink of my fountain

inspired by
the Song of Songs
Cranes with necks intertwined The donkey of early, mid, and late spring
The male sits in a squatting position with the Standing, the female bends forward, resting
female facing him and straddling his thighs, her hands on the bed or floor. The male stands
she embraces his neck while he embraces her behind, holding her waist with his hands, and
buttocks and assists her hip movements. inserts the jade stalk into the jade gate.
Silkworm reeling silk
The female is on her back and after the male
inserts the jade stalk, she entwines both legs
around his back and embraces the man’s
neck.

Shifting-turning dragon
The female lies on her back with both legs
bent up, the male kneels at the female’s thighs
and with his left hand pushes both of her
ankles upward and forward. He then inserts
the jade stalk into the jade gate with his right
hand.
Fish eye to eye
The male and the female lie down on their
side face-to-face, and the female places one
leg over the man. They suck each other's
mouths and sip each other’s tongues.
Sky-soaring butterfly
The man is on his back with both legs ex-
tended, and the female squats on top of him
face to face. Then she advances with her
hands his male tip into the jade gate.
The seagull soars
Standing beside the bed, the male lifts the
female’s legs onto his shoulders and inserts
his jade stalk. Depending on the height of
the bed, the female’s upper back or neck and
shoulders rest on the bed.
The horse’s shaking hooves
The female is lying on her back, and the male
lifts one of her legs onto his shoulder and
inserts his jade stalk deeply.
Mountain goat facing a tree
The male sits with his legs extended, and the
female straddles his thighs, facing his feet.
The female then lowers her head and ob-
serves the insertion of the jade stalk while
the male embraces her waist.

4]
 oS

4 fF enwe revel in our love’s passion

_ through the night, | sleep not.
When you are in flight away from my lips
in the night, neither can my head find solace.

Either way,
drinking from this cup of desire, | shall die.

| pray it be in your arms.

inspired by
Rumi
 ASS

here might | learn to make love?

Where might | discover my poem?

The wings of the night whisper | should seek you here in my chest.
| unlock its gate and find your flame
to light my path.

The locks of your hair reveal

you beneath.

My poem is on
your breath.
inspired by Rumi
 worship at your altar
of wildflowers from the hills,
of narcissus and
apricot blossoms.
Where do you hide them,
for my vision
perceives only you?

Beloved,
when you enter my chamber,
my lips blossom into nectar,
my belly births fragrance.

Why do you wait so long

to return?

inspired by
_ the Song of Songs”
Kama Sutra of Sexual Positions

46
 hile you sleep,
| will come
to gather spices in your garden
| will taste
your wild honey
| will bathe in your spring stream
| will sing softly to the night
that you might dream of love

inspired by
the Song of Songs
 e* q**
See, theidoor's op ae 7
» ©
F * =? * a @
o * “inspired by y
es the Song of Songs . +
¢
* - *
is 2
“
iS
 x. ~'>
: ; _ = is kL.

ince you are but an illusion

singing my songs in my day dreams,
dancing in my night dreams,

perfect in your illumination,

your soul neither seeks me
nor rejects me.

Together we burst out in one laughter

in the belly of God. ©,
y

ie
inspired by
Longchenpa
he wheel of love —
shall we turn it?
In the night, we know
not where it might go.

Where but through the journey

into the night, my love,
will we find the light?

inspired by
the Kama Sutra
 DANN GL Sete
SAeuae
Bee Seon ue
Seat

x
A
Si Ss
ay ar rae
Rae
As
pinasnanauets TRE NCTC OM TRAE ee NSEe o EN ARN A OOS eNO R
ne
AGE

Ler

VIM LI
CGB
7
1GP
‘Oy 4WsAh 7 VAC O
LOAUUL O | JIWUUSG

2 1BSColE. means Before Common Era and is equivalent to B.c.

2 (Cale means Common Era and is equivalent to a.p.

C, 3500 Bacck. Possible beginning of Inanna legend in Sumer area.

C, 2HO0O BCE. Possible birth time of the probably mythical Chinese Yellow
Emperor, to whom much of the information in the Chinese sex
manuals as well as the Japanese /shimpo is often attributed.

6, POO Beate Abraham’s birth; father of Judaism, Christianity, and Islam.

Born in Sumer area.

55
c. 1750 8.c.e. Inanna legend written down on cuneiform tablets in Sumer.
c. 1050 8.c.c. Solomon reigns over an empire and a harem of possibly up to
700 wives and 300 concubines. Possibly writes the biblical Song
of Songs.
c. 800 B.c.E. In India, Shvetaketu summarizes the “rules of love,” which are
later distilled and compiled, eventually becoming the Kama
Sutra.

c. 563 B.c.e. Siddhartha Gautama, the Buddha, born in northern India.

c. 400-200 B.c.£. Beginnings of Taoism as a system of philosophy in China.
(=A Bee Jesus born, estimated dates.
Cr2005CE. Beginning of Tantra movement in India.
c. 300-400 c.£. Kama Sutra written by Vatsyayana in India, various
estimated dates of writing. Alain Daniélou, in a new
translation in 1994, places the writing during the fourth
century c.e., with the texts from which the Kama Sutra is
compiled going back to at least the third century B.c.c.,

with an earlier source work coming from Shvetaketu in the

eighth century 8...

Sf
 Coe ORGTE: Mohammed born.
984 C.e. Ishimpo written by Tamba Yasuyori in Japan: a compilation of
many earlier Chinese writings with Taoist influences.
€: 1000,c8 Khajuraho temples built in India, with some of the world’s
finest erotic sculpture.

c.1200c.t. | Ananga-Ranga written by Kalyana Malla in India.

1231,1251c.t. Formal beginnings of the Christian Inquisitions, lasting over
500 years.
C1 Z5OEE: Konarak temples constructed in India, displaying extensive
erotic sculpture.

al jee)
 G1 500'C-E. The Perfumed Garden written by Sheikh Nefzawi in North
Africa.
1660-1860 c.£. Japanese shunga art style flourishes, displaying uninhibited
Sex.
1S70er Ishimpo rediscovered by the Chinese in Japan.

ws ier lea eaeae eens

1803°C.E; Kama Sutra translated into English.

TSO5eC.E. Ananga-Ranga translated into English.
1886 C.c. The Perfumed Garden translated into English.
#390) CE. Sir Richard Francis Burton dies, and his wife immediately
burns most of his unpublished erotological translations and
writings.

59
 1933.c2 Nazis burn books and records from the prominent Institute for
Sexology in Berlin.
1948 c.e. Kinsey’s Sexual Behavior in the Human Male published.
1953 °Cree Kinsey’s Sexual Behavior in the Human Female published.
1960s c.e. _ Birth control pill popularized.
1966 Ce. Masters and Johnson’s Human Sexual Response published.

1IGS CE. Ishimpo’s section on sexuality translated into English as The Tao of
Sex.
1970 cE, Masters and Johnson’s Human Sexual Inadequacy published.

60
a a OS 5 Panes Seo LUD SHTESIEE
About the Author and Artists

The Author

Kenneth Ray Stubbs, Ph.D., is a certified sexolo-

gist and a certified masseur. Originally trained
as a sociologist, he eventually studied and gave
trainings in massage and sexuality for both the
general public and sex therapists throughout
North America and Europe. He has also taught
as an adjunct faculty member at the Institute for
the Advanced Study of Human Sexuality in San
Francisco and is the author of eight books on
sexuality, as presented on his website:
www.sexandspirit.com.

The Illustrator Acknowledgments

Kyle Spencer is a freelance illustrator residing in Kyle Spencer, the illustrator, indeed is able to
Oakland, California. She has a bachelor’s de- show us the fun, the joy, and the intimacy sex
gree from the Academy of Art College in San can be. She brings such a soft sensuality to
Francisco. Her art also appears in Erotic Mas- images of the lovers’ dance. | am deeply grate-
sage, The Essential Tantra, Erotic Passions, and ful for her abilities and support. The different
Kiss of Desire, as well as in Tantra: The Maga- illustration styles here span almost a decade of
zine and Ecstasy Journal. her artistic development.

The Designer Richard Stodart, another accomplished artist,

has creatively developed this book’s cover,
Richard Stodart has been a professional artist for contributed significantly to the layout design,
more than twenty-five years. A native of Trinidad, and colored Kyle’s original black-and-white
West Indies, his images have been described as illustrations. | am honored by his friendship
“sensitively thoughtful yet translucent, combin- and artistic inspiration.
ing the wild electricity of wakefulness with the
vivid languour of lucid dreaming.” His works Several individuals were instrumental in advis-
appear in magazines and as book covers and ing which sexual positions to include. Harley
illustrations. Richard can be contacted at 512 SwiftDeer Reagan, Jwala, and Louise-Andrée
Old Glebe Point Road, Burgess, VA 22432. For Saulnier played principal roles. Also, | often
more on his work as well as purchasing informa- gave Kyle a free hand in selecting from the
tion, visit his website: myriad of photographs and illustrations from
www.crosslink.net/~stodart many different sources.

63
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Cover aden by David Walker —

Cover Photograph ©Photonica
Photograph of Kenneth Ray Stub

Oe - ISBN 1-58542-218-5

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