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The Tibetan artist and poet Gendun Chopel was born in He was identified as an incarnate lama, and ordained as a Buddhist monk. In he renounced his vows, quit Tibet for India, learned Sanskrit and — if his long poem, usually translated as A Treatise on Passion, is to be taken at face value — copulated with every woman who let him. Twelve years later he returned to Tibet, and was thrown into prison on trumped-up charges. The experience broke him. If Chopel had wanted to show off to his peers back home he could simply have translated the Kama Sutra —but where would have been the fun in that?
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Himalayan Buddhist Art 101: Controversial Art, Part 4 – The Female Nude

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The Tibetan Passion Book puts the Kama Sutra in the shade | The Spectator

Buddhist practice and Buddhist art have been inseparable in the Himalayas ever since Buddhism arrived to the region in the eighth century. But for the casual observer it can be difficult to make sense of the complex iconography. Himalayan style erotic art, or obvious depictions of a sexual nature, are generally of three types: there are the embracing couples found in the highest level of Buddhist tantra, ithyphallic deities , and nude female figures. As for the couples, they are not very revealing in their embrace, with their anatomy is mostly concealed.
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The Tibetan Passion Book puts the Kama Sutra in the shade

Excerpts: Padmasambhava The great 8th c. Indian mahAsiddha, tantrika, and missionary to Tibet, Padmasambhava, is a figure of unparalleled significance in Tibetan Buddhism. In iconography he is often depicted flanked by his two most accomplished tantric consorts: the Indian prioncess MandAravA and the Tibetan queen Yeshe Tsogyel.
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The protagonists in this drama are no mere mortals but gods. History and myth thus form a union. If we take the philosophy of Vajrayana literally then all the events of the tantric performance ought to be able to be found again in the history of Tibet. The latter should therefore be interpreted as the expression of a sexual dynamic. Before we ourselves begin to search for symbolic connections and mythic fields behind the practical political facts of Tibetan history, we should ask ourselves whether the Tibetans have not of their own accord conducted such a sex specific and sexual magic interpretation of their historical experiences.
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