Many Indian apsaras were identified with names and were central in myths. However, since they were not attributed specific physical features or attributes, artistic depictions do not individualize them. they are originally portrayed as winged beings placing garlands at a
stupa, the original symbolic depiction of the
Buddha before more anthropomorphic imagery was developed. Then later once this had occurred, they are depicted crowning the
Buddha in a similar manner to
Nike crowning the
gods of Ancient Greece, and it is speculated that the imagery of
Nike was the main influence on the development of Apsara imagery. This in turn was adapted, adjusted and developed into the
Feitian dancing-girl imagery found in
Chinese Buddhism detailed below.
Natya Shastra Natya Shastra, the principal work of dramatic theory for Sanskrit drama, lists the following apsaras: Manjukesi, Sukesi, Misrakesi, Sulochana, Saudamini, Devadatta, Devasena, Manorama, Sudati, Sundari, Vigagdha, Vividha, Budha, Sumala, Santati, Sunanda, Sumukhi, Magadhi, Arjuni, Sarala, Kerala,
Dhrti, Nanda, Supuskala, Supuspamala and Kalabha.
Cambodia temple wall Apsaras represent an important motif in the stone
bas-reliefs of the
Angkorian temples in
Cambodia (8th–13th centuries AD). The shapely, celestial nymphs appeared from the foam that emerged out of the Churning of the Sea of Milk, from the Hindu creation myth. However, not all female images are considered to be apsaras. In harmony with the Indian association of dance with apsaras, Khmer female figures that are dancing or are poised to dance are considered
apsaras; female figures, depicted individually or in groups, who are standing still and facing forward in the manner of temple guardians or custodians are called
devatas.
Angkor Wat, the largest Angkor temple (built in 1113–1150 AD), features both
Apsaras and
Devata, however, the devata type are the most numerous with more than 1,796 in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm as seen below) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period. Some devatas appear with arms around each other and seem to be greeting the viewer. "The devatas seem to epitomize all the elements of a refined elegance," wrote Marchal. The
Bayon temple, built by King Jayavarman in the late 12th-early 13th century, featured some 6,250 of the dancing apsaras. Mostly found carved into the temple’s pillars, these celestial women are usually depicted dancing on lotus flowers, representing a mythical world. The apsaras portrayed dancing on the ground may represent real women performing for ritual purposes, especially when surrounded by musicians. Within
Ta Prohm temple at Angkor, a pavilion on its eastern axis is adorned almost entirely in lifelike bas-reliefs. With 96 pillars and three welcoming porches on both sides for entrance, the structure earns the name Hall of Dancers from its multiple lintels featuring dancing
apsaras in long rows.
Prasat Sikhoraphum, a Khmer temple in Thailand built under
Khmer King Suryavarman II, features two smiling female figures, mostly in the style of Angkor Wat. Neither figure is depicted dancing nor does anything indicate they’re dancers or musicians. Instead these are two Khmer devatas - two of only four found outside of Cambodia and the only two devatas found in Thailand. The bas-reliefs of Angkorian temples have become an inspiration of
Khmer classical dance. The indigenous ballet-like performance art of Cambodia is frequently called "
Apsara Dance". The dance was created by the Royal Ballet of
Cambodia in the mid-20th century under the patronage of Queen
Sisowath Kossamak of Cambodia. The role of the apsara is played by a woman, wearing a tight-fitting traditional dress with gilded jewelry and headdress modelled after Angkor bas-reliefs, whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.
Java and Bali, Indonesia , the flying celestial maiden depicted in a bas-relief of the 9th-century Borobudur temple,
Java, Indonesia In the Indonesian language throughout medieval times, apsaras are also known as 'bidadari', being conflated with the 'vidyadharis' (from
Sanskrit word
vidhyadhari:
vidhya, 'knowledge';
dharya, 'having, bearer, or bringer') known as
Bidadari in the modern
Indonesian, living in the
svargaloka or in celestial palace of
Indra, described in
Balinese dedari (bidadari or apsara) dance. Traditionally apsaras are described as celestial maidens living in
Indra's heaven (Kaéndran). They are well known for their special task: being sent to earth by Indra to seduce
ascetics who by their severe practices may become more powerful than the gods. This theme occurs frequently in Javanese traditions, including the
Kakawin Arjunawiwaha, written by mpu Kanwa in 1030 during the reign of king
Airlangga. The story tells that
Arjuna, in order to defeat the giant Niwatakawaca, engaged in meditation and asceticism, whereupon Indra sent apsaras to seduce him. Arjuna, however, managed to conquer his lust and then to win the ultimate weapons from the gods to defeat the giant. dance depict celestial maidens,
Bali, Indonesia. Later in the
Javanese tradition the apsara was also called
Hapsari, also known as
Widodari (from
Sanskrit word vidyādhari). The Javanese Hindu-Buddhist tradition also influenced
Bali. In Balinese dance, the theme of celestial maidens often occurs. Dances such as
Sanghyang Dedari and
Legong depicted divine maidens in their own way. In the court of
Mataram Sultanate the tradition of depicting heavenly maidens in dances is still alive and well. The Javanese court dances of
Bedhaya portray apsaras. However, after the adoption of
Islam, bidadari is equated with
houri, the heavenly maiden mentioned in the
Quran, in which God stated that the 'forbidden pearls' of heaven are for those men who have resisted temptation and borne life's trials. Islam spread in the Malay archipelago when Arabic traders came to trade spices with the Malays; at that time, Hinduism formed the basis of the Malay culture, but
syncretism with the Islamic religion and culture spawned the idea of a
Bidadari. It is usually seen as a prize offered to those who lived a lifestyle in service to and pleasing to God; after death, the Bidadari was the man's wife or wives, depending on what type of person he was. The worthiness of a man who was offered Bidadari depended upon his holiness: how often he prayed, how much he turned away from the 'outside world', and how little he heeded worldly desires. , Java Images of apsaras are found in several temples of ancient
Java dating from the era of the
Sailendra dynasty to that of the
Majapahit empire. The apsara celestial maidens might be found as decorative motifs or also as integral parts of a story in
bas-relief. Images of apsaras can be found on
Borobudur,
Mendut,
Prambanan,
Plaosan, and
Penataran. At Borobudur apsaras are depicted as divinely beautiful celestial maidens, pictured either in standing or in flying positions, usually holding lotus blossoms, spreading flower petals, or waving celestial clothes as if they were wings enabling them to fly. The temple of
Mendut near Borobudur depicted groups of
devatas, divine beings flying in heaven, which included apsaras. In the
Prambanan temple compound, especially in Vishnu temple, along with the gallery, some images of male devata are found flanked by two apsaras.
Manipur, India In the ancient
Manipur culture of the
Meitei people of northeastern India, apsaras are considered as celestial nymphs or
hellois as the flying creatures resembling the human female body attracting the male wanderers or any knights who lost their ways in the woods. They were known for their beauty, glamour, magical powers and enchanting supernatural Androphilic Magnetism. They are believed to be seven in number and are the daughters of the sky god or the
Soraren deity.
Champa Apsaras were also an important motif in the
art of Champa, medieval
Angkor's neighbour to the east along the coast of what is now central Vietnam. Especially noteworthy are the depictions of apsaras in the
Tra Kieu Style of Cham art, a style which flourished in the 10th and 11th centuries AD. or
Eastern Wei dynasty, 500–550 AD
China Apsaras are often depicted in East Asian Buddhist art. They are referred to as
Feitian () in Chinese.
Yulin Caves, and
Longmen Grottoes. They are also depicted on tiles of
pagoda, such as Xiuding-si pagoda. They may also be depicted as dancers or musicians holding musical instruments such as
flute,
pipa, or
sheng. Apsara may be portrayed as multiple spirits who played music for Buddhas. Generally, they are depicted with a long skirt fluttering in the wind. Apsara is sometimes portrayed as a single powerful and influential spirit or
god who wears an outfit with "flowing sleeves" and lives in
Tian. This version of Apsara is used in
Chinese folk religion as an object of worship and in
Chinese folklore. ==Gallery==