American Institute of Indian Studies
Centre for Art and Archaeology, American Institute of Indian Studies
Parsvanatha temple (No 11), Garbhagrha, south jangha, detail: apsaras applying collyrium (ca 951-999 CE)American Institute of Indian Studies
The heaven is described in the Matsya Purana in terms of the sound of tinkling of the waist girdles and anklets of beautiful apsaras. Of the nine kinds of emotions or rasa described in early literature such as the Natya Sastra of Bharatmuni, sringara rasa holds a special mention.
The idea of sringara has well been represented in the temples in India. Here the nayika or surasundari or the apsara applying collyrium in her eyes.
Ruined Devi temple, Apsaras, from original temple of 10th cent. (ca 900-999 CE)American Institute of Indian Studies
Nayika is adorned with jewelry and admiring herself. Looking is not just an act of seeing rather it translates, interprets and also shows the awareness that one is being seen.
Parsvanatha temple (No 11), Garbhagrha, north jangha, detail showing apsaras dancing (ca 951-999 CE)American Institute of Indian Studies
Here the nayika is helped by the attendant as she wears anklets. According to Abhinavagupta, 12th century philosopher, the aesthetic expression, i.e. rasa is a form of ananda, a much sought after bliss of the yogic path.
The nati i.e. the female performer, poses and has a serene look which makes her graceful. The focussed gaze draws attention to an action, a place or part of the body.
The leg of the dancer is beautifully painted.
Laksamana temple, Garbhagrha, jangha, northwest corner, west face, detail (953-954 CE)American Institute of Indian Studies
Here she is shown applying paint on her foot.
She has arched brows and is adorned with fine clothes and jewels. Bhartrhari, a 7th century poet describes in his work, Srngarasataka, the depth, beauty and vital power of love.
Ruined Devi temple, Apsaras, Fixed in the rebuilt wall of temple (ca 900-999 CE)American Institute of Indian Studies
The nayika is sometimes shown as a damsel in distress.
The nayika is shown holding a branch
She is trying to wade off the monkey teasing her.
Isvara temple, Antarala, detail of apsaras (ca 1000-1099 CE)American Institute of Indian Studies
Sringara rasa in poetry has two main manifestations: sambhoga and vipralambha sringara, i.e. meeting the beloved and separation.
The beautiful nayika writing a letter to her beloved.
Adinatha temple (No.9), South jangha, detail (ca 1075 CE)American Institute of Indian Studies
The apsara is generally shown along with attendants. She is usually shown touching the attendant.
Parsvanatha temple (No 11), Gudhamandapa, south jangha, detail showing apsaras painting foot (ca 951-999 CE)American Institute of Indian Studies
As compared to the women the attendant is small and generally shown helping her as she dresses up.
Apsara/Mother with child, grabhgriha , north Jangha, Javeri temple, (ca1077-1099 CE) (1076-1099 CE)American Institute of Indian Studies
She is also shown holding a child, thus motherly aspect is also emphasised.
Mahanaladeva temple, Mulaprasada, south jangha, Apsaras on pratiratha (ca 1100-1199 CE (?))American Institute of Indian Studies
Mother and child shows women as life-giver and life-sustainer.
Adinatha temple (No.9), North jangha, detail (ca 1075 CE)American Institute of Indian Studies
Apsara holding her breast is seen as a mother, as a provider.
Visnu temple, Varandika, east face, left end detail (ca 1100-1199 CE)American Institute of Indian Studies
The dancer carved around the temple walls portrays the description of heaven with apsaras playing instruments and dancing.
Adinatha temple (No.9), West jangha, detail (ca 1075 CE)American Institute of Indian Studies
They are shown adorning themselves. Also can be seen removing thorn from her foot.
The celestial nymphs stands in various poses sometimes carrying box of jewellery or mirror or kohl.
Adinatha temple (No.9), South jangha, detail (ca 1075 CE)American Institute of Indian Studies
In the Khajuraho temple, 10th century CE, the wider shelves has the apsaras while on the narrow brackets are vyala, a mythical beast.
Adinatha temple (No.9), West jangha, detail (ca 1075 CE)American Institute of Indian Studies
The yali or vyala sometimes called a leogryph has bird like features. They have decorated body of a lion and are part human. Sometimes have head of a horse or a dog.
A rider is seen on the mythical beast.
Parsvanatha temple (No 11), Garbhagrha, south jangha, detail: apsaras applying collyrium (ca 951-999 CE)American Institute of Indian Studies
They are believed to be protector of the temple.
Navaranga, east wall, Mohini looking in mirror on bracket (ca 1117 CE)American Institute of Indian Studies
Sringara rasa as portrayed through the sculptures of apsaras in the temple walls has aesthetic as well as philosophical renditions. Sringara rasa is understood as bright, ujjawala, pure, suci and beautiful i.e. darsaniya. It is sacred and at the same time worldly. Classical sanskrit poetry mentions love as an elite phenomenon belonging to the world of humans. By adorning the temples with apsaras the heaven and Earth come together celebrating the beauty of life.
Dr. Shatarupa Bhattacharya, Assistant Professor, Lady Shri Ram College, University of Delhi.
