The apsaras are the celestial nymphs living in svargaloka (heaven). They perhaps got their name since they are supposed to move among waters, among the clouds. Their main work is to please Indra the lord of the gods, by dancing and singing. Indra often deputes them to seduce the sages engaged in severe austerities, since they may become more powerful than himself if they succeed.
They are said to have been born out of the milk ocean when it was churned by the gods and demons to get nectar. According to other versions they were born out of the palm of Brahma the creator. They are too numerous to be listed. Urvasi, rambha, menaka, and tilottama are the most prominent among them. They are closely associated with the demigods known as Gandharvas. Popular Buddhism has adopted some of them in its mythological lore.
Significance of Apsaras in Vedic Literature
According to the Vedas, Apsaras are originally believed to be water nymphs. They are exceedingly beautiful and sensuous, thereby having the capability to lure, attract, and amuse. They were experts in dance and music and were the court entertainers of Indra Puri -The heavenly kingdom of Lord Indra. These cosmic nymphs were the companions of the Gandharvas, while some were created with a devoted mission to be a reason or a cause. Apsaras have been a consistent part of Hinduism, having an insightful presence in Vedic literature.
Apsaras were renowned for their exquisite skill in performing dance, music, and theatre arts. They were professional women artists of the Indra Lok who mastered sixty-four arts and crafts. It is believed that they were in fact, created by Brahma to enrich the performing arts. They were full of grace and were called upon to perform in all kinds of rituals and celebrations.
Aside from impressing the gods, Apsaras also served the purpose of seducing tortuous asuras to compel them to destroy themselves and save humanity. The most famous story in this regard is that of Apsara Tilottama. Tilottama’s beauty was created to seduce the Asuras (demons), Sunda, and Upasunda. Ultimately, in this seduction, Tilottama’s goal was to entice the two Asuras into battle.
Tilottama successfully seduces both Asuras, causing them to kill each other over her love. Similarly, the Vishnu Purana mentions a charming Apsara, Mohini, has a mention of the charming Apsara Mohini who was also considered an incarnation of Vishnu himself.
She evolved out of the ocean during the Amrita Manthan and distracted the asuras from consuming the urn of the Divine elixir that came out in the process. She also led to the death of Bhasmasura, an asura who was granted the boon that he could burn people and turn them into ashes by touching their heads.
Indra often appoints the Apsaras to distract the sages and kings who are progressing along the path of divinity. He fears that once they complete their penance, the highly spiritual and evolved sages will take over his throne. Hence, Apsaras are sent to seduce them with their charm and beauty, distracting them from their spiritual pursuit.
One such famous incident is that of Guru Vishwamitra and Apsara Menaka. Menaka used her charm to seduce the great sage Vishwamitra, and queen Shankuntala was born out of their relationship. Apsaras who succeeded in seducing powerful sages and achieving their mission would earn the wrath of the latter and would also be cursed by them.
In such cases, the children born of them (usually female) would be abandoned by both the sage and the nymph and would end up being brought up by foster parents such as Shakuntala. Similarly, the Kuru-Pandava teacher Drona was born because his father lost control of seeing an apsara. Kripacharya, Kripi, Shuka, and Rishyashringa were all born this way.
While many times, sages and kings have fallen for the heavenly charm of Apsaras, there are instances wherein they failed to do so. According to the Hindu Mythology Arjuna, son of Indra was once tried to be seduced by Apsara Urvashi. But considering that Urvashi was like a mother figure to him, as she was married to King Pururavas, whose dynasty Arjuna belongs to, he rejected her.
This led to him incurring a curse that he would have to live as a eunuch. Another instance is that of the divine sages Nara and Narayana who were meditating in the Himalayan forests. Indra sent Apsaras Rambha, Menaka, and Tilottama to distract them. However, the sages were intent on their meditation and austerities.
So, they blessed the apsaras but seeing that they were still to seduce them, the Apsaras continued their dance. Seeing this, Narayana slapped his thigh and manifested a beautiful woman with his power and ability who was named Urvashi. She was far more beautiful than the three apsaras, Rambha, Tilottama, and Menaka. This made them realize their mistake of challenging such great sages and bowed in humility.
Apsaras, the heavenly maidens were sure to enchant the artists, who have used their beauty to decorate the sacred structures- the Hindu temples from ancient times. From the woman with tree and vegetation sculpture becoming popular as “Shalabhanjika”, to the dancing and musician Apsaras and the youthful women adorning themselves standing in the brackets, corners, pillars, and hallways of temples, statues of Apsaras were inspired by the literary description of these exquisite women. There are several categories of divine women in Indian art, generally clubbed together under the umbrella of “Apsara”, some of the most popular ones we have mentioned here-
For long, women as Devadasis or the servants of the Lord had been in the service of Hindu temples, cleaning, preparing food, and offering dance and music to the deity. These women learned the art of ornamentation, dance, singing, and playing various instruments while reaming in the temple complex at a young age, and were trained to look after the god or goddess who resided in the sanctum.
The legends of their devotion and service seem to have inspired the statues of Apsaras or beautiful women as musicians. These are life-size or small statues in which the women appear with traditional Indian musical instruments such as Dholak, Veena, and cymbals while standing in graceful postures. Made in the iconography of ancient temples, these statues of Apsaras are a luxurious traditional decor.
Shuka-Sarika or woman with a parrot is one of the most popular imagery not only in statues, but in paintings and poetry of India. The woman is beautifully adorned from head to toe and is often seen in a conversation with her pet parrot. Various sources identify the parrot as her lover, her friend, a messenger from the beloved, or a symbol for the god of love and passion- Kamadeva, who sits on a Shuka or parrot.
The parrot amuses the young heroine, listens to her secrets, and passes love messages between couples, becoming an essential part of traditional love stories in books and art. A symbol of love and beauty, the statue of a woman with a parrot is a graceful presence in any space.
The heroine engaged in adorning herself (Sringaar-rat Nayika), is also a classic imagery from Indian poetry and drama, as the pinnacle of beauty, youth, and femininity. The statue of Apsaras in temples is often seen placing a necklace around their neck, tying the knot of their skirt or girdle, wearing an anklet, or applying kohl.
This figure is a part of the romantic imagination of the poet and artists, who immortalized the decked-up lady or women preparing themselves to meet their beloved. The act of ornamentation or Sringaar is seen as a prelude to the union with the lover as well as the readiness and announcement of a woman’s youth and fertility, considered an auspicious sign.
The most iconic depiction of a woman or Apsara applying vermillion or sindoor on her forehead comes from the famous Khajuraho temple of Mahdya Pradesha. The Apsaras is seen holding a mirror or Darpana in one hand, which has earned her the name “Darpana Sundari or Darpana” (beauty with mirror), while her other hand reaches the parting on her forehead, putting the red tint of Sindoor, an ancient symbol of fortune, femininity worn by the married Hindu women as a wish for the longevity of their husband and bliss of their marital bond.
Another imagery that links women as Apsaras with the idea of fertility and auspiciousness is the popular Shalabhanjika. Made globally famed for the figures adorning the site of Sanchi in Central India, the image comprises a woman standing with a creeper in her, hanging from the branch of a tree, holding a tree, or pulling at the branch of a fruit-laden tree.
The link between fertility and fruition in nature, the fecundity of the earth, and the youthfulness of women is a traditional part of Indian culture. Many classical Indian texts discuss the ritual of “Dohada” when a young woman touches a tree or sprinkles wine on it from her mouth, resulting in her virtue of fertility being transferred into the tree, bringing it to fruition. Women and spring is an ancient concept, and images of Apsaras with vegetation reinstate the charm of ancient sites into modern spaces.
The exquisite Apsara of the Chandel period can be found online you do a web search for “Apsara”. The graceful pose and supple form of the Apsara, her intricate ornamentation, and her animated presence make this sandstone sculpture a masterpiece. Inspired by such one-of-a-kind pieces, modern sculptors have made beautiful masterpieces in stone and metal. These artworks embody the virtue of divine beauty and are transformative pieces of art that make any space turn into a regal palace.
Adorning the temples of the Hoysala period, the Apsaras in the temples of Halebidu are some of the best depictions of divine maidens in Indian art. Imagined with all the traditional ideals of beauty, the Apsaras of Hoysala times are gorgeous, ornamented richly from head to toe, and are shown in distinct moods and poses. A few interactive images of Apsaras with monkeys who pull on their dress, Apsaras dancing, or divine maidens as warriors are a part of the art treasures of the Hoysalas, who took the already enchanting presence of Apsaras and made them ethereal.
Women in Indian culture are synonymous with beauty and femininity. She is the embodiment of all things virtuous and appealing. In line with this idea are the images of Apsaras, which represent beauty made transcendental, in the form of heavenly women, who are beyond human imagination. Apasaras simply put, become the peak of femininity, and a figure that inspires and is inspired by Sanskrit romance in poetry and prose.
The beloved of Kamadeva, Rati (passion) is a lesser-known female, a goddess to some and the embodiment of Kama’s powers to others. Rarely depicted in art, in comparison to other legendary females, Rati (though not an Apsara), symbolizes female perfection and beauty, like the Apsaras.
Artists take inspiration from her sculptures in Mithuna (union) statues with Kama and her descriptions in the Puranas as the most beautiful woman, a perfect partner for the god of love. As she who enchants the heart of the world-enchanter- Kama, Rati is a celestial woman who embodies the reverence Indian culture holds for Saundarya (beauty).
Not an Apsara, but born to one (Menaka), Shakuntala is also a favorite of traditional Indian artists, when it comes to the depiction of divine beauty. Shakuntala is often seen with the deer she protects from King Duhsyanta, who visits her abode in the forest during his hunt.
Popular due to the legendary Sanskrit work by Kalidasa- Abhijnana Shakuntalam”, Shakuntala is the zenith of feminine beauty and can be seen not only in metal and stone statues but in modern artworks such as those done by Raja Ravi Varma, as a manifestation of beauty beyond this world.
Archaeological evidence in various parts of India indicates the presence of Apsaras in mythology. Many temples still have the carvings of the celestial nymphs. The dancing panel sculptures found in the Prasenajit pillar, Bharhut, Ramappa temple, Kakatiya, Palampet, etc. show the mastery of Indian sculptors in making heavy stones levitate and gyrate.
Similarly, the sculpture of a celestial nymph from Gyraspur, Gurjara-Pratihara is also one of the finest creations in this category. The jewelry is minimal, but the undulations of the necklace bring out the swell of the torso, the slenderness of the waist, and the ample curve of the hip.
We, at Exotic India, have an exquisite collection of Apsara statues that perfectly capture the ethereal beauty and grace of Apsaras. They are available in different postures which are unique to our collection. Standing Apsara, Apsara applying vermillion, dancing Apsara, etc. are some from a wide variety of alluring statues that are sure to add an otherworldly aura to your home and other surroundings.
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