Apsara

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.

Apsara on a 1931 postage stamp of Indochina

Devata relief sculpture on Angkor Wat Temple Wall

Apsaras represent an important motif in the stone bas-reliefs of 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.[10]

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.[11] 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.[12]

Khmer Apsara dancers

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,[13] whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.[14]

The Apsara of Borobudur, 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,[15] 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,[15] 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 a 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.

The Balinese Legong 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 occurred. 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 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 prized offer 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.

A male devata flanked by two apsaras, Vishnu temple, Prambanan, 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.

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.

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.

Apsara (feitian), China, Northern or Eastern Wei dynasty, 500–550 AD

Apsaras are often depicted in East Asian Buddhist art.[16] They are referred to as feitian (simplified Chinese: 飞天; traditional Chinese: 飛天) in Chinese.[16]

They are depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao Caves,[17][18] Yulin Caves,[17] Tianlongshan grottoes,[17] the Yungang,[19] and Longmen Grottoes.[20] They are also depicted on tiles of pagoda, such as Xiuding-si pagoda.[17]

They may also be depicted as dancers or musicians holding musical instruments such as flute, pipa, or sheng.[17] Generally, they are depicted with a long skirt fluttering in the wind.[17]

Apsara is sometimes portrayed as a single powerful and influential spirit[9] 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.

Apsara is also portrayed as multiple spirits who played music for Buddhas.[9]