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ApsarasSuryakant Tripathi Nirala. (2024). अप्सरा Apsara. New Delhi, India: Vani Prakashan. 172 pp. Yashpal. (2009). अप्सरा का शाप Apsara. (Reprint of 1931). New Delhi, India: Rajkamal Prakashan. 171 pp. . (, , American Oriental Society. (1849). "Memoir on The History of Buddhism, read before the Society May 24, 1844, by Edward E. Salisbury, Professor in Yale College", in JOURNAL OF THE AMERICAN ORIENTAL SOCIETY VOL. I. Boston, MA: The American Oriental Society. p. 116.Stevenson, A. et al. (2010). "apsara", in Oxford Dictionary of English. (3rd Ed.). Oxford, United Kingdom: Oxford University Press. 2,069 pp. cited in Bowker, J. (2000). The Concise Oxford Dictionary of World Religions. Oxford, United Kingdom: Oxford University Press. p. 78. Khmer language-Cambodia: អប្សរា) are a class of celestial beings in Hinduism and Buddhist culture.Higham, C.. (2014). Encyclopedia of Ancient Asian Civilizations. N.Y., United States: Facts On File, Inc. p. 24. Thakur P., Kalidasa, and Arthur W. Ryder. (2012). "GLOSSARAY: Apsara", in ABHIJNANSAKUNTALAM (The Recognition of Sakuntala--A Well-known Sanskrit Play by KALIDASA, The Greatest Poet and Dramatist in the Sanskrit Language.) (Improvised Edition): Originally Translated by Arthur W. Ryder. N.C., United States: Lulu Press, Inc. 202 pp. Madhumita Dutta and Soumya Narayan Datta. (2021). "The Mythology of the Apsara Urvasie and its modern interpretation by Arundhuti Bhadra", in URVASIE From Mythological To Postmodern Reflections. West Bengal, India: Cognition Publications. p. 52. Kumar, Ajit et al. (2020). Apsara Sadhana (Evocation Magic of Ancient Hindu Celestial Beauties): Ramba, Urvasi, Tilotama, Sasi Devi, Kanchanamala, Kulaharini, Ratnamala, Bhusani and Many More Information Regarding Attraction. N.p.: Amazon Digital Services LLC - KDP. 44 pp. K. Narayanaswami Aiyar. (1915). THE PERMANENT HISTORY OF BHARATA VARSHA (India) Vol. I. Tamil Nadu, India: Bhaskara Press. p. 420.Stewart, P. and Rienjang, W. (2020). The Global Connections of Gandharan Art Proceedings of the Third International Workshop of the Gandhara Connections Project, University of Oxford, 18-19th March, 2019. Oxford, United Kingdom: Archaeopress Publishing Limited. p. 240. 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 and 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 the art of dancing, and often wives of the , 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 in order to prevent them from attaining divine powers. Urvashi, Menaka, Rambha, Tilottama and Ghritachi are 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".
Apsaras are widely known as Apsara (អប្សរា ) in Khmer language, and also called Accharā in Pāli, or Bidadari (Malay language, Maranao language), Biraddali (Tausug, Sinama language), Hapsari / Apsari or Widadari / Widyadari (Javanese, Sundanese, and Balinese), Helloi (Meitei language).
The Rigveda tells of an apsara who 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. Rig Veda, Book X, Hymn 95. 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 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 Samudra Manthana, water sports, and groups such as nāgas.
In many of 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 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. Mahabharata, Book III: Vana Parva, Section 43.
The Mahabharata documents the exploits of individual apsaras, such as Tilottama, who rescued 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. Mahabharata, Book I: Adi Parva, Section 71-72. Once upon a time, the sage Vishvamitra generated such intense energy by means of his asceticism that Indra himself became fearful. Deciding that 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 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".
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. Later in the 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.
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 Relief. Images of apsaras can be found on Borobudur, Mendut, Prambanan, Candi Plaosan, and Penataran Temple.
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.
They are depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao Caves, (2025). 9781789696950, Archaeopress. ISBN 9781789696950 (2025). 9781925371444 ISBN 9781925371444 Yulin Caves, Tianlongshan grottoes, the Yungang Grottoes, 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 Deity 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.
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