Kiss
Over the doorjamb of the womb-chamber of the Konārak temple in Southern India, and among the images in niches on its facade, are small, erotic sculptures of ardent couples, or mithuni. Their flowing bodies melt together in a passionate embrace, evoking the sexual play of both gods and mortals, and, paradoxically, the release from it in the union of the self and Supreme Self within a single being. Rapturously, the figures kiss. And here, under the arched brows and interlocked noses of two who are one, the lips merge in a state of bliss that knows nothing of a within or without, and in which there is no longer separation, desire or grief (Brhadaranyaka Upanishad IV:3:21; ARAS, 7Ao.044).
Behind sealed lips, we protect one of the most personal spaces of the body; we part our lips to draw in the breath of inspiration or to speak intimate feelings into the beloved's ear, finally surrendering the private self in the loving convergence of one's own lips with the lips of the other. Even when not romantic, the kiss implies affection, blessing, recognition and reconciliation. Thus the psalmist intones, "Mercy and truth are met together; righteousness and peace have kissed each other" (Psalm 85:10). The comparable climax of the Muslim hajj to the Grand Mosque in Mecca is the pilgrim's kiss upon the Black Stone of the Kaaba, an act of reverence first performed by Muhammad. In these religious traditions, kissing is a ceremonial act, a sign of the bond between kin, or respect to holy relics, prayer shawls or altars or homage to one's ruler (kissing his feet) or to one's conqueror (licking the dust beneath his feet). With the bridal kiss, Western culture bridged the sacred and the romantic, although such European fairy tales as "Sleeping Beauty" or "Snow White" mark the approach of true love by a kiss that awakens the soul, rather than kindles sexual libido.
However, the sensuous, unseemly kiss between Bronzino's Cupid and Venus, his mother- slipping the tip of the tongue into her son's lips- portrays a sly, incestuous carnality. To some cultures, the public display of kissing is considered scandalous, for its signals the opening act of coitus, and casual, devouring tongue-kissing has even suggested cannibalism. Jung, in fact, disagreeing with Freud that all libido was sexual, noted the pleasure infants take in sucking and observed that "kissing derives much more from nutrition than from sexuality" (CW 5:652). The empty "air-kisses" of celebrities or the shallow "spit-swapping" of teenagers can seem to cancel out any encounter between two halves of a single soul that we can still feel in the secular sculpture of Rodin's The Kiss. The songbirds whose crossed wings surrounded Aengus, the Celtic god of love, deteriorated into the banal "x's" that close sentimental love letters. Modern Valentines- whose puckering smooches even use kisses to veil hostility- anticipate the chilling intentions of such phrases as "kiss off" (to dismiss a stale lover), "kiss up" (to display shameless obsequiousness) and "kiss and tell" (to betray matters shared in confidence). More stunning is the submissive "kiss of shame" upon the devil's anus (or that of his masked proxy). Here, the disciple kisses the "nether-lips" at the opposite end of the body than the mouth, a practice of medieval Satanists at their black Sabbaths, which often inverted conventional ritual. Similarly, the "kiss of death," such as Judas kissing Jesus, reverses, in the perfidious intimacy of betrayal, all that is signified by the kiss of love. The kiss can also convey a different kind of reversal. Francis of Assisi placed squarely on the lips of a fearsome leper the "kiss of peace," communicating a spiritual love that drew the most reviled being of the age into the saint's most personal interior.
A kiss of passionate longing may be shunned on the
chaste movie screens of contemporary India, but it is
openly depicted in the sacred temple sculpture of the
13th century. Sandstone, Surya Temple, Konārak,
Orissa, India.
Through the identity and meaning of many of the
characters in Bronzino's mannerist allegory are still
debated, this detail is unequivocally of Venus and her
adolescent son Cupid engaged in an amorous,
incestuous kiss. Venus, Cupid, Folly, and Time, detail,
oil on panel, 1544-5, Italy.
However, the sensuous, unseemly kiss between Bronzino's Cupid and Venus, his mother- slipping the tip of the tongue into her son's lips- portrays a sly, incestuous carnality. To some cultures, the public display of kissing is considered scandalous, for its signals the opening act of coitus, and casual, devouring tongue-kissing has even suggested cannibalism. Jung, in fact, disagreeing with Freud that all libido was sexual, noted the pleasure infants take in sucking and observed that "kissing derives much more from nutrition than from sexuality" (CW 5:652). The empty "air-kisses" of celebrities or the shallow "spit-swapping" of teenagers can seem to cancel out any encounter between two halves of a single soul that we can still feel in the secular sculpture of Rodin's The Kiss. The songbirds whose crossed wings surrounded Aengus, the Celtic god of love, deteriorated into the banal "x's" that close sentimental love letters. Modern Valentines- whose puckering smooches even use kisses to veil hostility- anticipate the chilling intentions of such phrases as "kiss off" (to dismiss a stale lover), "kiss up" (to display shameless obsequiousness) and "kiss and tell" (to betray matters shared in confidence). More stunning is the submissive "kiss of shame" upon the devil's anus (or that of his masked proxy). Here, the disciple kisses the "nether-lips" at the opposite end of the body than the mouth, a practice of medieval Satanists at their black Sabbaths, which often inverted conventional ritual. Similarly, the "kiss of death," such as Judas kissing Jesus, reverses, in the perfidious intimacy of betrayal, all that is signified by the kiss of love. The kiss can also convey a different kind of reversal. Francis of Assisi placed squarely on the lips of a fearsome leper the "kiss of peace," communicating a spiritual love that drew the most reviled being of the age into the saint's most personal interior.
~Bella
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