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The Ananga Ranga, from Kalyana Malla, is a Sanskrit text
akin to the much more popular Kama Sutra.
Although the texts share a number of qualities, both being “guides” of
sorts to living a good life; the Ananga Ranga is different in that it stresses
the importance of the relationship. In
comparison, the Kama Sutra offers advice for engaging in extramarital affairs,
whereas the Ananga Ranga is more oriented towards relieving some of the boredom
that is liable to creep into any long term relationship. You can find the entire text of the Ananga
Ranga HERE.
In the Ananga Ranga, the positions (known as postures) are sectioned into groups
known as bandha or asana. Male-on-top
positions are called uttana-bandha, supine postures; side-by-side positions are
called tiryak-bandha, transverse positions; sitting postures are called
upavishta; and female-on-top positions are called purushayita-bandha, or
role-reversal positions.
[NOTE: Click on images for larger versions]
Supine Postures
In the first position of this section, the Level Feet Posture, the man kneels,
lifts his partner’s hips, bracing himself against her, and places each of her
legs over his corresponding shoulder; although this position can be done
without raising her hips, it is less stimulating.
In the second position, the Raised Feet Posture, the woman bends her knees and draws them up
towards her chest, the man then enters her from a kneeling position and the
female can then rest her feet upon his hips; this position also allows for the
man’s hands to be free to caress her breasts, as he is not using his hands to
support himself.
The third position, the Refined
Posture uses the exact same positioning as the Level Feet Posture, except
that instead of her legs resting upon his shoulders, they are passed upon each
side of his body to allow for deeper penetration.
The fourth position, Kama’s
Wheel, requires the man to sit with legs outstretched and parted; the woman
then, facing the man, lowers herself upon his member, extending her legs in
kind past his body. To complete the
pattern, the man extends his arms upon either side of her frame to support her
as she leans back, creating the spoke-like pattern.
In the fifth position, the Intact Posture, the woman lies upon her back. As she raises her legs, bending them at the
knee, the man lifts her buttocks slightly so that the woman can then rest her
feet against the man’s chest and he can enter her from a kneeling
position. A slight variant of this is to
rest her buttocks upon the man’s thighs in order to free the hands for fondling
of her breasts.
In the sixth position, the Placid Embrace, the man lifts her from the small of her back and
enters her; then the woman crosses her legs behind her partner’s back and wraps
her hands around the back of his neck, thus creating an intimate embrace where
she can pull him closer.
In the seventh position, the Gaping Position, the woman arches her back or uses cushions to
support it so that her genitals are more open to exposure; in this position,
the male might also use cushions to kneel upon should he need to raise himself to
meet her vagina at equal height.
In the eighth position, the Encircling Position, the woman raises her feet and crosses them,
one atop the other, and pulls her knees to her chest in order to make a diamond
shape framing her vagina; this exposes her genitals for direct stimulation and
penetration.
In the last position of this section, the Splitting Position, the man takes her
legs, which remain closed together, and pushes her knees towards her chest,
resting her feet upon one shoulder; then he enters her from a kneeling
position; take note it is possible to achieve this position penetrating her
first from a kneeling position and then moving her legs in the appropriate
fashion.
Transverse Postures
In the first position of this section, the Crab Embrace, the man enters the woman
and lies between her thighs; one of her legs remaining beneath his and the
other passing on top to rest just beneath his chest. Penetration is deep in this position,
although movement is restricted; also, the use of a hand for caressing one’s
partner will be the opposite of the side you are lying on, so take that into
consideration before positioning.
The second position, the Transverse Lute depicts a position where both partners legs remain
relatively closed, opening just enough to allow for penetration; a useful tip
on this position is to bend the knee, making thrusting more comfortable.
Sitting Postures
In the first position of this section, the Lotus Position, the man sits
cross-legged and the woman, facing him, sits upon his lap, extending her feet
past his sides; this position allows for free use of both partners’ hands to
explore each-other’s bodies.
The second position, the Accomplishing Position, uses the exact same positioning as seen in
the Lotus Position except that in this one, the woman raises one leg slightly,
using her hand for balance, in order to increase friction on the penis.
In the third position, the Position of Equals, the woman sits astride the man, facing him,
passing her legs at about his midsection and crossing behind his back; from
here, the woman can lean back, using her hands to support and balance herself
while the man can make use of his free hands.
In the fourth position, the Snake Trap, the woman sits astride the man, each with their legs
extending past one another, the man’s under the woman’s; then, each partner
leans back and grips the others ankles.
Thrusting can be accomplished using a rocking motion; this position is
also ideal for watching the in and out action.
In the fifth position, the Paired Feet Position, the man sits with his legs apart, the woman
then squats upon his member, from here, she can lie back and he can press her
thighs together for a tighter constriction; this position does not allow for
much thrusting on either end, but it is good for face to face contact.
In the last position of this section, the Crying Out Position, the man lifts the
woman with her legs draped over his elbows, then settling her atop his penis
and moving her from side to side; in a variation called the Monkey Position, the man moves her back
and forth instead. This position
requires a strong upper body for the man and for the woman to be light.
Role-Reversal
Positions
In the first position of this section, the Orgasmic Role-Reversal, the woman
squats upon the man’s thighs, inserts his penis, closes her legs, and uses a
churning motion for thrusting; in this position, the woman can control the
speed, angle, and depth of penetration, making it ideal to bring about her
orgasm.
In the second position, the Ascending Position, the woman sits cross-legged upon the man’s
thighs and, capturing the man’s penis, moves herself up and down upon it.
In the third and final position of this section, the Inverted Embrace, the woman lies atop
the man, chest to chest, using her hands to steady herself, she inserts his
penis and moves her hips in whichever direction she so chooses.
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