The Love Making Techniques
of Kama Sutra
By Vatasyayana Lying Down Positions:
Rajrani draws up both her knees until they nuzzle the curves of her breasts; her feet find her lover’s armpits. Small girls love this posture, but becoming a goddess takes a lot of practice. She cups and lifts her buttocks with her palms, spreads wide her thighs, and digs in her heels besides her hips, while you caress her breasts: this is "Utphallaka" (The Flower in Bloom).
Grasping the ankles of the round hipped woman, whose buttocks are like two ripe gourds, raise her beautiful thighs and spread the thigh-joints widely. Full of desire, saying sweet words, approach her with your body stiff as a pole and drive straight for ward to pierce her lotus and join your limbs: experts call it "Madandhvaja" (The Flag of Cupid).
Catch hold of her two feet, raising them till they press upon her breasts and her legs form a rough circle. Clasp her neck and make love to her: this is "Ratisundara" (Aphrodite’s Delight).
Lift the lady’s feet until her soles lie perfectly parallel, one to each side of her slender throat, cup her breasts and enjoy her: this technique is "Uthkanta" (Throat-high).
Your lovely wife, lying on the bed, grasps her own feet and draws them up until they reach her hair; you catch her breasts and make love: this is "Vyomapada" (Sky-foot).
The round-thighed woman on the bed grasps her ankles and raises high her lotus feet; you strike her to the root, kissing and slapping open-palmed between her breasts: this is "Markata" (The Monkey).
She lies flat on her back, you sit between her parted knees, raise them, hook her feet over your thighs, catch hold of her breasts, and enjoy her: this is "Manmathpriya" (Dear to Cupid).
Lying-down Positions - Samputa Group:
If your penis is too small for a woman, the "Samputa" group of postures should be used: "Samputa" (the Jewel Case), "Pidita" (the Squeeze), "Veshtita" (the Entwined) and "Vadavaka" (The Mare’s Trick).
In Samputa your legs lie along hers caressing their whole length from toes to thighs.Your lover may be below you, or you may both lie on your sides, in which case she should always be on your left.
In Pidita the lovers’ thighs are interlaced and squeeze each other in rhythm.
In Veshtita she crosses her thighs or rolls each one inward, thus greatly strengthening her yoni’s grip.
When, like a mare cruelly gripping a stallion, your lover traps and milks your penis with her vagina, it is "Vadavaka" (the Mare’s Trick), which can only be perfected with long practice. When she uses it, a woman should cease to kiss her lover and simply hold the lock. Courtesans are adept at Vadavaka, and it’s a specialty with ladies from Andhra Pradesh, a state in Southern India.
From The Medieval Texts:
When lovers, with legs stretched rigid and feet caressing feet, make love according to their hearts’ desire, "tantra" scholars call it "Sampada" (Equal Feet) and agree it is a way to ecstasy.
Stiff as a pole in the bed’s center, she lies making love, cooing and warbling like a woodpigeon, the jewel of her clitoris well-polished: this is "Mausala" (The Pestle).
When she lies on her back with her two thighs pressed tightly together and you make love to her, keeping your thighs outside hers, it is "Gramya" (The Rustic).
If, encircling and trapping her thighs with yours, you grip so hard that she cries out in pain, it is "Ratipasha" (Love’s Noose), a device most charming to the ladies.
Her limbs, entwined in yours like tendrils of fragrant jasmine creeper, draw taut and slowly relax in the gentle rhythm of linga and yoni: this is "Lataveshta" (The Clinging Creeper).
She draws her limbs together, clasping her knees tightly to her breasts, her yoni, like an opening bud, offered up for pleasure: this is known as "Mukula" (The Bud).
When she draws up her knees and you clamp yours about her raised thighs, trapping them in a tight knot while riding saddle upon her buttocks and kissing her, it is "Shankha" (The Conch).
Sitting Positions:
Seated, mouth to mouth, arms against arms, thighs against thighs: this is "Kaurma" The Tortoise). If the lovers’ thighs, still joined, are raised, it is "Paravartita" (Turning).
If within the cave of her thighs you sit rotating your hips like a black bee, it is "Markata" (The Monkey). And if, in this pose, you turn away from her, it is "Marditaka" (Crushing Spices).
She sits with raised thighs, her feet placed either side of your waist; "linga" (penis) enters "yoni" (vagina); you rain hard blows upon her body: this is "Kshudgaga" (Striking).
When your wife sits with both knees drawn tight to her body and you mirror this posture, it is known to experts in the art of love as "Yugmapada" (The Foot Yoke).
Seated erect, the lovely girl folds one leg to her body and stretches the other along the bed, while you mirror her actions: this is "Yugmapada" (The Feet Yoke).
If, with left leg extended,she encircles your waist with her right leg, laying its ankle across her left thigh, and you do the same, it is "Svastika" (The Swastika)*
*An ancient good-luck talisman based on the symbolism of a cross whirling sun-wise (clockwise). The Nazis used it the other way round (anti-clockwise), whirling widdershins, and the Indian pundits always said this was sacrilegious and would doom them.
Sitting face to face in bed, her breasts pressed tight against your chest, let each of you lock heels behind the other’s waist, and lean back clasping one another’s wrists. Now, set the swing gently in motion, your beloved, in pretended fear, clinging to your body with her flawless limbs, cooing and moaning with pleasure: this is "Dolita" (The Swing).
If, seated face to face, your toes caress the lovely woman’s nipples, her feet press your chest and you make love holding each other’s hands it is "Kaurma" (The Tortoise).
Seated, the lady raises one foot to point vertically over her head and steadies it with her hands, offering up her "yoni" for lovemaking: this is "Mayura" (The Peacock).
If, sitting facing her, you grasp her ankles and fasten them like a chain behind your neck, and she grips her toes as you make love, it is the delightful "Padma" (The Lotus).
Sitting erect, grip your lover’s waist and pull her on to you, your loins continuously leaping together with a sound like the flapping of elephants’ ears: this is "Kirtibandha" (The Knot of Fame).
Kneeling between her thighs, tickle her breasts and under her arms, call her ‘my lovely darling’ and print deep nail marks around her nipples: thus "Jaya" (Victory) is expounded.
Rear-Entry Positions:
She bends well forward and grips the bedstead, her buttocks raised high; cup your hands to serpents’ hoods and squeeze her jar-shaped (sic) breasts together: this is "Dhenuka" (The Milch Cow).
If you mount her like a dog, gripping her waist, and she twists round to gaze into your face, experts in the art of love say it is "Svanaka" (The Dog).
If the lady, eager for love, goes on all fours, humping her back like a doe, and you enjoy her from behind, rutting as though you’d lost all human nature, it is "Hirana" (The Deer).
When, with lotus-feet set well-apart on the ground, she bends, placing a hand upon each thigh, and you take her from the rear, it is "Gardabha" (The Ass).
If she lies on her stomach and you seize her ankles in one hand, lift them high and make love, tilting her chin back with your other hand, it is "Marjara" (The Cat).
She lies on her front, grasping her ankles in her own hands and pulling them up behind her: this difficult posture is known to experts as "Mallaka" (The Wrestler).
When your mistress (sic) lays breasts, arms and forehead to the carpet, raising her buttocks high, and you guide your penis into her yoni, it is "Aibha" (The Elephant).
You lift her ankles high; she draws up and extends her legs as though she were crawling through the air: this is "Hastika" (The Elephant).
She stands on palms and feet; you stand behind her and lift one of her feet to your shoulder, enjoying the lovely girl: this is "Traivikrama" (The Stride).
Seize her feet and lift them high (like a wheel barrow), drive your penis into her yoni and pleasure her with vigorous strokes: this is "Kulisha" (The Thunderbolt).
You kneel, as in archery, take her on your lap and bend her forward till her breasts are pressed to her thighs: this is "Ekabandha" (One Knot).
Lying on her side, facing away, the fawn-eyed girl offers you her buttocks and your penis penetrates the house of love: this is "Nagabandha" (The Elephant).
Standing Positions:
And now for the love postures with which sculptors adorn our temple walls. When a couple make love standing, or leaning against a wall or a pillar, it is called "Sthita" (Steadied).
When the woman sits in her lover’s cradled hands, her arms around his neck, thighs gripping his waist, her feet pushing back and forth against a wall, it is "Avalambitaka" (Suspended).
When, catching and crushing your lover in the cage of your arms, you force her knees apart with yours and sink slowly into her, it is "Dadhyayataka" (Churning Curds).
When she leans against a wall, planting her feet as widely apart as possible, and you enter the cave between her thighs, eager for lovemaking, it is "Sammukha" (Face-to-face).
If, as you lean against the wall, your lady twines her thighs around yours, locks her feet to your knees, and clasps your neck, making love very passionately, it is "Dola" (The Swing).
When your lover draws up one leg, allowing the heel to nestle just behind your knee, and you make love, embracing her forcefully, it is "Traivikrama" (The Stride).
If you catch one of her knees firmly in your hand and stand making love with her while her hands explore and caress your body, it is "Tripadam" (The Tripod).
If she raises one leg and you catch hold of her little foot, caressing her breasts and telling her how much you love her, it is "Ekapada" (One Foot).
Her foot pressed to your heart, your arms encircling and supporting her, lean back against the wall and enjoy the lovely girl: this is "Veshta" (The Encircling).
She stands against the wall, lotus-hands on hips, long, lovely fingers reaching to her navel. Cup her foot in your palm and let your free hand caress your angel’s limbs. Put your arm around her neck and enjoy her as she leans there at her ease. Vatsyayana (the author) and others who knew the art of love in its great days called this posture "Tala" (The Palm).
If you lean back to a wall and your lover, clinging to your neck, places both her feet in your palms and thus makes love, this is "Dvitala" (Two Palms).
If you lift your lover by passing your elbows under her knees and gripping her buttocks while she hangs fearfully from your neck, it is "Janukurpara" (The Knee Elbow).
Your wife grips your neck and locks her legs around your waist: this is "Kirti" (Fame) - a posture not described in "Kama Sutra" or "Ratirahasya". Never try it with heavy girls.
Oral Pleasures - Fellatio Techniques:
When your lover catches your penis in her hand and, shaping her lips to an ‘O’, lays them lightly to its tip, moving her head in tiny circles, this first step is called "Nimitta" (Touching).
Next, grasping its head in her hand, she clamps her lips tightly about the shaft, first on one side then the other, taking great care that her teeth don’t hurt you: this is "Parshvatoddashta" (Biting at the Sides).
Now she takes the head of your penis gently between her lips, by turns pressing, kissing it tenderly and pulling at its soft skin: this is "Bahiha-samdansha" (The Outer Pincers).
If next she allows the head to slide completely into her mouth and presses the shaft firmly between her lips, holding a moment before pulling away, it is "Antaha-samdansha" (The Inner Pincers).
When, taking your penis in her hand and making her lips very round, she presses fierce kisses along its whole length, sucking as she would at your lower lip, it is called "Chumbitaka" (Kissing).
If, while kissing, she lets her tongue flick all over your penis and then, pointing it, strikes repeatedly at the sensitive glands-tip, it becomes "Parimrshtaka" (Striking at the Tip).
And now, fired by passion, she takes your penis deep into her mouth, pulling upon it and sucking as vigorously as though she were stripping clean a mango-stone: this is "Amrachushita" (Sucking a Mango).
When she senses that your orgasm is imminent she swallows up the whole penis, sucking and working upon it with lips and tongue until you spend: this is "Sangara" (Swallowed Whole).
Oral Pleasures—Cunnilingus Techniques:
With delicate fingertips, pinch the arched lips of her house of love very very slowly together, and kiss them as though you kissed her lower lip: this is "Adhara-sphuritam" (The Quivering Kiss).
Now spread, indeed cleave asunder, that archway with your nose and let your tongue gently probe her "yoni" (vagina), with your nose, lips and chin slowly circling: it becomes "Jihva-bhramanaka" (The Circling Tongue).
Let your tongue rest for a moment in the archway to the flower-bowed Lord’s temple before entering to worship vigorously, causing her seed to flow: this is "Jihva-mardita" (The Tongue Massage). Next, fasten your lips to hers and take deep kisses >from this lovely one, your beloved, nibbling at her and sucking hard at her clitoris: this is called "Chushita" (Sucked).
Cup, lift her young buttocks, let your tongue-tip probe her navel, slither down to rotate skillfully in the archway of the love-god’s dwelling and lap her love-water: this is "Uchchushita" (Sucked Up).
Stirring the root of her thighs, which her own hands are gripping and holding widely apart, your fluted tongue drinks at her sacred spring: this is "Kshobhaka" (Stirring).
Place your darling on a couch, set her feet to your shoulders, clasp her waist, suck hard and let your tongue stir her overflowing love-temple: this is called "Bahuchushita" (Sucked Hard).
If the pair of you lie side by side, facing opposite ways, and kiss each other’s secret parts using the fifteen techniques described above, it is known as "Kakila" (The Crow).
Role Reversal:
During lovemaking, ten types of blows may be struck with the penis, but of these only "Upasripta" (Natural), which is instinctive even to untutored cowherds, results in full clitoral stimulation.
It is a gentle forward stroke which may be varied for depth and speed, allowing a subtlety, rhythm and spontaneity which the other nine each lack to some degree.
If you grasp your penis and move it in circles inside her yoni, it is "Manthana" (Churning).
When you strike sharply down into the yoni, it is "Hula" (The Double-edged Knife).
If, when her hips are raised by a pillow, you strike a rising blow, it is "Avamardana" (Rubbing).
If you hold your penis pressed breathlessly to her womb it is "Piditaka" (Pressing).
If you withdraw completely and then strike her violently to the womb, it is "Nirghata" (The Buffet).
Continuous pressure on one side of her yoni is "Varahaghata" (The Boar’s Blow).
If you thrust wildly in every direction, like a bull tossing its horns, it is "Vrishaghata" (the Bull’s Blow).
Quivering in her yoni is "Chatakavilasa" (Sparrow Sport), which usually heralds orgasm.
The involuntary shuddering of orgasm is called "Samputa" (the Jewel Case). But no two women make love quite the same way, so orchestrate your rhythms to the moods and colors of each lover’s "raga" (emotions).
If long lovemaking exhausts you before your lover has reached her orgasm, you should allow her to roll you over your back and sit astride you, taking initiative.
If the posture gives her deep pleasure, or you enjoy its novelty, she may transpose into it as a matter of course, taking great care, however, not to expel the linga from the temple of love.
Consider: she climbs upon you, the flowers dropping from her tousled hair, her giggles turning to gasps; every time she bends to kiss your lips her nipples pierce your chest.
As her hips begin to churn, her head, flung back, bobs ever faster; she scratches, pummels you with small fists, fastens her teeth in your neck, doing unto you what you’ve often done unto her.
When she takes the man’s role, your lady has the choice of three famous lovemaking techniques: "Samdamsha" (the Tongs), "Bhramara" (the Bee) and "Prenkholita" (The Swing).
If she uses the Mare’s Trick, gripping your penis with her yoni’s vice, squeezing and stroking it, holding it inside her for a hundred heart-beats, it is known as "Samdamsha" (The Tongs).
If, drawing up her feet, she revolves her hips so that your penis circles deep within her yoni, you arching your body to help her, it is "Bhramara" (The Bee).
If she now swings her hips in wide circles and makes figures-of-eight, swaying upon your body as though she were riding on a seesaw, it is "Prenkholita" (The Swing).
When her passion has ebbed, she should rest, bending forward to lay her forehead upon yours without disturbing your yoked bodies: it won’t be long before desire stirs again.
Catching your penis, the lady with dark eyes like upturned lotus petals guides it into her yoni, clings to you and shakes her buttocks: this is "Charunarikshita" (Lovely Lady in Control).
Enthroned on your penis, she places both hands on the bed and makes love, while you press your two hands to her thudding heart: this is "Lilasana" (Seat of Sport).
She sits upright upon you, her head thrown back like a rearing mare, bringing her feet together on the bed to one side of your body: this is "Hansabandha" (The Swan).
The young woman has one foot on your heart and the other on the bed. Bold, saucy women adore this posture, which is known to the world as "Upavitika" (The Sacred thread).
If, with one of her feet clasped in your hand and the second placed upon your shoulder, your young lady enjoys you, it is "Viparitaka" (Reversed).
If your lover, seated above you with feet lotus-crossed and her body held erect and still makes love to you, it is known as "Yugmapada" (The Foot Yoke).
If she strides you, facing your feet, brings both her feet up to your thighs, and works her hips frantically, it is known as "Hansa-lila" (Swan Sport).
Your lover places one foot on your ankle, lodges her other foot just above your knee, and rides you, swinging and rotating her hips: this is "Garuda" (Garuda).
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