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41-475: The term lāsya is derived from the root ‘ las ’ meaning to play or to frolic. It is also translated as lively. According to legend, the Lasya was taught by Parvati to Usha , the daughter of Banasura . Usha, in turn, is regarded to have taught the dance to the milkmaids known as the gopikas , who are believed to have spread the technique to women throughout the land. Described as the prototype of all female dancing,

82-432: A rasalingam given to him by Vishvakarman , on instruction from Vishnu . As an ardent devotee of Shiva , he used his thousand arms to play the mridangam when Shiva was performing the tandavam dance. When Shiva offered Banasura a boon, the latter requested Shiva to be his city's guardian: therefore, Banasura became invincible. As time passed, he became even more cruel and arrogant. One day, Banasura's daughter, Usha, saw

123-460: A consequence, Menaka gave birth to a daughter, whom she abandoned on the banks of a river. That daughter was Shakuntala herself, the narrator of the story. Shu Ting referenced apsara in her poem "O Motherland, Dear Motherland". 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. Natya Shastra ,

164-468: A great battle. The Yadu princes and their army besieged his kingdom with 12 akshauhinis , surrounding it completely. Banasura staged a fierce counterattack. During the war, Shiva appeared on the battlefield, riding on Nandi , to protect his devotee, Banasura. Balarama fought against Banasura's commander, while Samba fought against Banasura's son. To bear witness, the leaders of the godly souls headed by Brahma came in their celestial vehicles, as also did

205-516: 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. 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

246-636: A member of a class of celestial beings in Hindu and Buddhist culture . They were originally a type of female spirit of the clouds and waters, but, later play the role of a " nymph " or " fairy ". They figure prominently in the sculptures, dance, literature and paintings of many South Asian and Southeast Asian cultures. The apsaras are described to be beautiful, youthful and elegant, and are said to be able to change their shape at will; making anyone fall for their beauty. There are two types of apsaras— laukika (worldly) and daivika (divine). They are great in

287-509: 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

328-708: A young man in her dream, made love to him, and fell in love with him. Chitralekha , a friend of Usha and a talented artist, helped Usha to identify the young man seen in her dream by sketching various portraits of the Vrishnis . Usha realised that she had dreamt of Aniruddha , the grandson of Krishna . Chitralekha, through her yogic powers, abducted Aniruddha from the palace of Krishna and brought him to Śoṇitapura. Usha worshipped her lover and furnished him with priceless garments, garlands, fragrances, lamps, and with beverages, dishes, and words. Breaking her vow of chastity with him, she kept him hidden in her maiden quarters, and

369-981: Is Rāma . The nominative singular form is अप्सरास् apsarās , or अप्सरा: apsarāḥ when standing alone, which becomes अप्सरा apsarā in Hindi, from which in turn the English "apsara" presumably is derived. The Monier-Williams et al . (1899) gives the etymology as अप् + √सृ, "going in the waters or between the waters of the clouds". Apsaras are widely known as Apsara ( អប្សរា Âbsâréa ) in Khmer , and also called Accharā in Pāli , or Bidadari ( Malay , Maranao ), Biraddali ( Tausug , Sinama ), Hapsari / Apsari or Widadari / Widyadari ( Javanese , Sundanese , and Balinese ), Helloi ( Meitei ) and Apsorn ( Thai : อัปสร ). The most ancient descriptions of apsara portray them as " water nymph "-like beings. The Rigveda tells of an apsara who

410-463: Is an asura king in Hindu mythology , ruling from the city of Śoṇitapura. He is described to be the son of Mahabali . His tale of battling Krishna is described in the Bhagavata Purana . A mighty asura , Bana once ruled over a large kingdom, Śoṇitapura. His influence was so strong and fierce that all the kings – and even some of the devas – shuddered in front of him. Banasura used to worship

451-538: 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. 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

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492-479: Is the wife of Gandharva ; however, the Rigveda also seems to allow for the existence of more than one apsara. The only apsara specifically named is Urvashi . An entire hymn deals with the colloquy between Urvashi and her mortal lover Pururavas . Later Hindu scriptures allow for the existence of numerous apsaras, who act as the handmaidens of Indra or as dancers at his celestial court serving as musicians alongside

533-605: The Angkorian temples in Cambodia (8th–13th centuries AD), 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 ,

574-554: The Mogao Caves , Yulin Caves , Tianlongshan grottoes , the Yungang , 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

615-556: The Prambanan temple compound, especially in Vishnu temple, along with the gallery, some images of male devata are found flanked by two apsaras. 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

656-506: The Lasya is danced in a variety of forms, most of which comprise the small and seductive motions of the feet. Some forms of the Lasya consist of the rapid succession of minor steps, regarded to be erotic. During the performance of the dance, the feet are kept parallel and close to one another, each foot following the other with precision in time. An example of this dance is the Mohiniyattam of Kerala . There are described to be four forms of

697-615: The Lasya: Srinkhala, Lata, Pindi, and Bhedyaka. Professor Inayat Khan in his book Munqar Musicar (1912) wrote: "Women and men both perform this dance and there are a number of recognized masters ( ustad ) of it in India. Lasya is accompanied by two sarangi players and a tabid, and sometimes a manjira (small Indian cymbals). It is danced by one woman, or by two together". Banasura Bana , also referred to as Banasura ( Sanskrit : बाणासुर , romanized :  Bāṇāsura ) ,

738-646: 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

779-621: The art of dancing, and often wives of the gandharvas , the court musicians of Indra . The apsaras reside in the palaces of the gods and entertain them by dancing to the music made by the Gandharvas. The 26 apsaras of Indra's court are each said to symbolise a different facet of the performing arts, drawing comparisons to the Muses of ancient Greece . They are also renowned for seducing rishis in order to prevent them from attaining divine powers. Urvashi , Menaka , Rambha , Tilottama and Ghritachi are

820-427: The battlefield on his peacock. After duelling with Satyaki , Bana took up arms against Krishna . However, Krishna blew his conch and instantly, Banasura's charioteer was killed and his chariot broken and shattered. When Shiva's forces had been defeated, Jvara , the embodiment of Shiva's fever, bearing three heads and three feet, attacked Krishna with scorching heat. Krishna produced his own Jvara of frigid coldness, and

861-626: The depictions of apsaras in the Tra Kieu Style of Cham art, a style which flourished in the 10th and 11th centuries AD. Apsaras are often depicted in East Asian Buddhist art. They are referred to as feitian ( simplified Chinese : 飞天 ; traditional Chinese : 飛天 ) in Chinese. They are depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in

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902-460: The elements of a refined elegance," wrote Marchal. 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

943-455: The gandharvas ("celestial musicians"). The Kaushitaki Upanishad mentions apsaras as a class of divinities associated with ointments, garlands, vestments, and powdered aromatics. The origin of the apsaras is described in the Ramayana and Puranas . Apsaras are further associated with water by relating them to the churning of the ocean , water sports, and groups such as nāgas . In many of

984-405: The glories of Krishna , requested him not to kill Banasura, whom he had bestowed with fearlessness. Obliging, Krishna replied that he had never intended to kill Banasura, since he was the son of Bali and the great-grandson of the devout Prahlada . Vishnu had promised Bali not to kill any member of his family, and therefore would not slay him. However, Krishna severed Banasura's extra arms to destroy

1025-465: The gods to defeat the giant. 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

1066-525: 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

1107-444: The hearts of individuals practicing rigid austerities, and they danced there. And possessing slim waists and fair large hips, they began to perform various evolutions, shaking their deep bosoms, and casting their glances around, and exhibiting other attractive attitudes capable of stealing the hearts and resolutions and minds of the spectators. The Mahabharata documents the exploits of individual apsaras, such as Tilottama , who rescued

1148-456: 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

1189-786: The latter's pride, leaving Banasura with only four arms. Banasura realised his mistake and bowed his head before Krishna, arranging for a chariot to seat Aniruddha and Usha for their wedding in Dvaraka. The genealogy of Banasura is as follows: Banasura's story has been narrated in Indian epic Mahabharata and Bhagavata Purana . His story as the rejected suitor for goddess Shakti is present in Tamil Sangam literary works Manimekalai and Puranaanooru ; Bhattavataar's Banasura Katha . Apsara Apsaras ( Sanskrit : अप्सरा , IAST : Apsarā , Pali : अच्छरा , romanized:  Accharā Khmer : អប្សរា Thai :นางอัปสรา) are

1230-578: The lovers lost track of the days. Catching wind of his daughter's activities, Banasura rushed to her chambers to find her playing dice with Aniruddha. Even as the prince fended off the guards, Banasura subdued him with the mystical ropes of Varuna . Usha was overwhelmed with sorrow due to this incident. Aniruddha was held captive by Banasura for a month, until Narada informed the Yadus in Dvaraka , who were searching for Aniruddha. The Yadus' army attacked Banasura in

1271-814: The modern Indonesian , the females of the vidyādharas , another class of celestial beings in Indian mythology. 'Vidyādhara' literally means 'possessed of science or spells', and refers to 'a kind of supernatural being ... possessed of magical power' or 'fairy' according to Monier-Williams' dictionary. The bidadaris are heavenly maidens, 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

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1312-509: The most famous among the apsaras. In Japan, Apsara are known as " Tennin " (天人); "Tennyo" (天女) for "female Tennin" and "Tennan" (天男) for "male Tennin". The origin of 'apsara' is the Sanskrit अप्सरस्, apsaras (in the stem form, which is the dictionary form). Note that the stem-form ends in 's' as distinct from, e.g. the nominative singular Rāmas / Rāmaḥ (the deity Ram in Hindi), whose stem form

1353-401: 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. Apsaras represent an important motif in the stone bas-reliefs of

1394-419: The sage would have to be distracted from his penances, he sent the apsara Menaka to work her charms. Menaka trembled at the thought of angering such a powerful ascetic, but she obeyed the god's order. As she approached Vishvamitra, the wind god Vayu tore away her garments. Seeing her thus disrobed, the sage abandoned himself to lust and they made love, during which Vishvamitra's asceticism was put on hold. As

1435-409: The sages, the perfected souls, and the venerable personalities, the singers and apsaras of heaven, and the yakshinis . Krishna and Shiva faced each other. Krishna used a brahmastra against Shiva's brahmastra , a mountain weapon against a wind weapon, a rain weapon against a fire weapon, and his narayanastra against Shiva's pashupatastra . Kartikeya , assaulted by Pradyumna 's arrows, fled

1476-680: The stories related in the Mahabharata , apsaras appear in important supporting roles. The epic contains several lists of the principal Apsaras, which lists are not always identical. Here is one such list, together with a description of how the celestial dancers appeared to the residents and guests at the court of the gods: Ghritachi, Menaka , Rambha , Tilottama , Purvachitti, Swayamprabha, Urvashi , Misrakeshi, Dandagauri, Varuthini, Gopali, Sahajanya, Kumbhayoni, Prajagara, Chitrasena, Chitralekha, Saha, and Madhuraswana—these and thousands more, possessed of eyes like lotus leaves, were employed in enticing

1517-467: 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

1558-449: 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

1599-445: The two fought each other. Overwhelmed by Vishnu's fever, Shiva's Jvara offered its surrender and obeisance to Krishna and departed. Krishna then put Shiva to sleep using 'Jrmbhunastra'. Meanwhile, Balarama defeated Banasura's commander. Bana rode forth upon his chariot to fight with Krishna, and the latter fought back with his Sudarshana Chakra . When Krishna started chopping Banasura's arms, Shiva returned to his senses and extolled

1640-448: 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. 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

1681-555: The world from the rampaging asura brothers Sunda and Upasunda ; and Urvashi , who attempted to seduce the hero Arjuna . A recurring theme in the Mahabharata is that of an apsara sent to distract a sage from his ascetic practices. One story embodying this theme is that recounted by the epic heroine Shakuntala to explain her own parentage. Once upon a time, the sage Vishvamitra generated such intense energy by means of his asceticism that Indra himself became fearful. Deciding that

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