Revealed: Reasons Behind Erotic Sex Sculptures and Architecture on Hindu Temple Walls

India has been a land of temples with finest art and architecture across its geographical destinations. While very often many endless questions start brainstorming after being ascertained with the erotic sex sculptures on the wall so of temple for the devotees and visitors to the holy religious place. Discussions and rumors have been abundant after these erotic sculptures while only a few could be found valid and acceptable.


Markandeshwar Temple, Maharashtra

Why Do Hindu Temples Walls and Other Structures Have Sex Sculptures and Architecture?

Hindu religion is one of the largest religion which is followed by millions across globe and has its roots relating to early inception of humans and civilization on earth. Temples of Hindu have been often denoted as the replicas of the cosmology of the universe. As per the spiritual and religious manuscripts and Vedas it has been stated that  the architecture and the sculptures of  a temple not only limns the cosmology of the universe but explicitly portrays  sensual material pleasures on their walls, which conveys the point that we do not have to get distracted by these temptations and should move forward single mindedly towards the Lord and Almighty.

Nudity has always been associated with renunciation in spirituality in most of largest religions which have been followed my many across the world. India’s highly followed spiritual and motivational leader Vivekananda said “Unless you are spiritually mature  enough, don’t read Raslila, because you are going to mis read it” Hence we can conclude that for the uninformed vision these depictions of erotic sculptures may appear vulgar, but to the informed one they are replicas of the soul’s spiritual journey towards God which can be claimed as the first point and the primary understanding.

Temples which are well known for the erotic sculptures and architecture.

By R P K Rathodallindiaroundup3


Patrick Staff on Tom of Finland and “The Foundation” at IMA Brisbane


PATRICK STAFF, The Foundation, 2015. Installation view, Chisenhale Gallery, 2015. Courtesy the artist. Photo: Andy Keate.

The Foundation at Brisbane’s Institute of Modern Art (IMA) is the first solo exhibition in Australia of Patrick Staff, a British artist who considers ideas of discipline, dissent, labour, and the queer body through his varied, interdisciplinary, and often collaborative practice. Curated by IMA’s Executive Directors, Aileen Burns and Johan Lundh, The Foundation is a film installation that explores queer intergenerational relationships negotiated through historical materials.

Taking as his point of departure the Tom of Finland Foundation in Los Angeles, home to the archive of the erotic artist and gay icon and a community of people that care for it, Staff has combined documentary footage of the foundation with a series of choreographic sequences shot within a specially constructed to create a film that explores how a collection is formed, the communities that produce and are produced by a body of work, and ideas of intergenerational relationships and care.

To find out more about The Foundation, which is at IMA Brisbane from August 8 to October 10, 2015, Blouin Art Info got in touch with Patrick Staff and asked him a few questions.

I first visited the Tom of Finland Foundation in 2012, on a friend’s recommendation. I went there expecting a ‘typical’ archive (receptionist, appointment, white gloves, concrete building), but instead found it to be a community of people living and working together in a three-storey clapboard house. Spending time there, I learnt how the house had been bought and set up as an intentional community of gay leather men in the 1970s. They hosted Tom of Finland (Finnish artist Touko Laaksonen, 1920–91) in the latter part of his life spent in Los Angeles and in the 1980s formalised themselves to preserve his vast catalogue of homoerotic art, whilst endeavouring to ‘educate the public to the cultural merits of erotic art and in promoting healthier, more tolerant attitudes about sexuality’.

What struck me most about the Foundation was not knowing immediately who lived there, worked there, was volunteering or just hanging around. I quickly felt welcomed into that space – in parts, I was aware, because of my appearing male – sharing food and talking, looking through the archives, the domestic spaces, as well as the dungeon and ‘pleasure garden’. I was immediately sensitive in that house to thinking about the nature of intergenerational queer relationships; the relationship between gender, inheritance and cultural memory; and perhaps, most of all, of care: care for the individual’s body, for a body of work, for the literal bodies of a community. I wasn’t interested in making a work about that place, the people or Tom himself, but began to try to formulate something made with all of them. Over time, it became increasingly about understanding my own queer, transgender identity and about interrogating the body as a living political archive.






G. B. JONES, Riot Jones

While most people, especially those in the queer community, are aware of the works of Tom of Finland, you would be hard pressed to find many who would know the work of G. B. Jones. Founder of the proto-riot grrrl band, Fifth Column, filmmaker and artist, Jones first published her drawings in her fanzine J.D.s (stands for Juvenile Delinquents) which she co-published with filmmaker Bruce LaBruce.

One of the aspects, of what are known as the Tom Girl drawings is the appropriation of the fetish art of Tom of Finland. While the images are, like Tom of Finland, highly erotic they also in many examples depict the figures as a threat to authority. Hence Arnold J. Kemp’s words below.

Jones gave her series of drawings names like Tattoo Girls, Cruising and I am a Fascist Pig.

Artist Arnold J. Kemp said of G.B. Jones work:

G.B. Jones has an uneasy fascination with authority and uses her gender and sexual preference to exploit fantasies of rock & roll, sex, groupies, booze, drugs, money, leather, torn jeans, motorcycles and stardom as an all out assault against values that would strive for assimilation of queer culture into the mainstream. She’s every queer girl and boy’s hero, whether you want her to be or not. Believe it or don’t, she is looking out for every queer’s best interests.

G. B. JONES bio:

Born: Bowmanville, Ontario, Canada, 1965 
Lives: Toronto, Ontario, Canada
Early ’80s: Forms queer punk and Fifth Column
1991: Her drawings are first shown in New York galleries.
1996:  G. B. Jones, is released. It is a book of her drawings edited by Steve LaFreniere. The book is banned in Canada.
2010 – 2011: The first full and comprehensive retrospective of Jones’ work was held at Lexander in Los Angeles.