Editing Apsara (section)

==In arts==
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.<ref name=":4" />

===Natya Shastra===
''[[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.

===Cambodia===
[[File:L%27apsara_colonial_stamp_1931.jpg|thumb|Apsara on a 1931 [[Postage stamps and postal history of Indochina|postage stamp of Indochina]]|left|213x213px]]
[[File:Apsara Relief Sculpture on Angkor Wat Temple Wall Feb 10 2000.jpg|alt=Apsara Relief Sculpture on Angkor Wat, Cambodia, Temple Wall|thumb|Apsara relief sculpture on [[Angkor Wat]] temple wall]]
Apsaras represent an important motif in the stone [[bas-reliefs]] of the [[Angkor]]ian 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 ''[[devata]]s''.<ref>Maurice Glaize, ''Monuments of the Angkor Group'', p.37.</ref>

[[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.<ref>[http://www.devata.org/2010/02/angkor-wat-devata-inventory/ Angkor Wat devata inventory - February 2010] {{webarchive |url=https://web.archive.org/web/20100423123631/http://www.devata.org/2010/02/angkor-wat-devata-inventory/ |date=23 April 2010 }}</ref> Angkor Wat architects employed small apsara images (30–40&nbsp;cm as seen below) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110&nbsp; 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.<ref>Sappho Marchal, ''Khmer Costumes and Ornaments of the Devatas of Angkor Wat''.</ref>
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 "[[Robam Tep Apsara|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,<ref>{{Cite web|url=https://www.roughguides.com/?titleid=107&xid=idbox_head33982200_0171|title=Home|website=Rough Guides|language=en-US|access-date=2020-04-15}}</ref> whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.<ref name=dig>Di Giovine, Michael A. ''The Heritage-Scape''. 2008, pages 293–4</ref>

===Java and Bali, Indonesia===
[[File:Apsara from Borobudur, gallery 1, 9th century, photo ca. 1900.jpg|thumb|right|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 language|Indonesian]],<ref name="Bidadari"/> the females of the [[Vidyadhara|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,<ref name="Bidadari">{{cite web | title = Bidadari | website = KBBI | url = http://kbbi.web.id/bidadari}}</ref> living in the [[svarga]]loka or in celestial palace of [[Indra]], described in [[Bali]]nese 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 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.
[[File:Condong dancer DYK crop.JPG|thumb|left|The Balinese [[Legong]] dance depict celestial maidens, [[Bali]], Indonesia.]]
Later in the [[Java]]nese 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.

[[File: Devata and Apsaras Prambanan 09.jpg|thumb|right|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 [[Relief|bas-relief]]. Images of apsaras can be found on [[Borobudur]], [[Mendut]], [[Prambanan]], [[Candi Plaosan|Plaosan]], and [[Penataran Temple|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 Compounds|Prambanan temple]] compound, especially in Vishnu temple, along with the gallery, some images of male devata are found flanked by two apsaras.

===Manipur, India===
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.

===Champa===
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 [[Art of Champa#Tra Kieu Style|Tra Kieu Style]] of Cham art, a style which flourished in the 10th and 11th centuries AD.
[[File:Apsarases,_1_of_5,_China,_Northern_or_Eastern_Wei_dynasty,_500-550_AD,_gilt_bronze_-_Arthur_M._Sackler_Museum,_Harvard_University_-_DSC00866.jpg|thumb|213x213px|Apsara (feitian), China, [[Northern Wei|Northern]] or [[Eastern Wei]] dynasty, 500–550 AD]]

===China===
Apsaras are often depicted in East Asian Buddhist art.<ref name=":0">{{Cite web|title=Flying Celestial Apsara (Feitian 飛天) 7th century|url=https://www.metmuseum.org/art/collection/search/60778|url-status=live|access-date=2021-12-13|website=www.metmuseum.org|archive-url=https://web.archive.org/web/20211213034654/https://www.metmuseum.org/art/collection/search/60778 |archive-date=13 December 2021 }}</ref> They are referred to as feitian ({{Lang-zh|t=飛天|s=飞天}}) in Chinese.<ref name=":0" />

They are depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the [[Mogao Caves]],<ref name=":1">{{Cite book|url=https://www.worldcat.org/oclc/1197810642|title=The global connections of Gandharan art : proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019|date=2020|editor1=Wannaporn Rienjang |editor2=Peter Stewart |isbn=978-1-78969-695-0|publisher=Archaeopress |location=Oxford|pages=239–241|oclc=1197810642}}</ref><ref>{{Cite book|url=https://www.worldcat.org/oclc/1176321935|title=Collection of ancient Chinese cultural relics. Volume 5, Sui, Tang and Five Dynasties : 581-960|date=2019|editor=Expert Committee of Chinese Society of Cultural Relics |translator=Guozhen Wang |isbn=978-1-925371-44-4|location=Hindmarsh, SA|pages=223|oclc=1176321935}}</ref> [[Yulin Caves]],<ref name=":1" /> [[Tianlongshan Grottoes|Tianlongshan grottoes]],<ref name=":1" /> the [[Yungang Grottoes|Yungang]],<ref>{{Cite web|title=Other Divinities|url=https://depts.washington.edu/chinaciv/bud/5imglshi.htm|access-date=2021-12-13|website=depts.washington.edu}}</ref> and [[Longmen Grottoes]].<ref>{{Cite web|title=Feitian – flying Apsaras in Longmen Grottoes[1]|url=https://www.chinadaily.com.cn/m/henan/longmen/2015-10/14/content_22186850.htm|access-date=2021-12-13|website=www.chinadaily.com.cn}}</ref> They are also depicted on tiles of [[pagoda]], such as Xiuding-si pagoda.<ref name=":1" />

They may also be depicted as dancers or musicians holding musical instruments such as [[flute]], [[pipa]], or [[Sheng (instrument)|sheng]].<ref name=":1" /> Apsara may be portrayed as multiple spirits who played music for Buddhas.<ref name=":2" /> Generally, they are depicted with a long skirt fluttering in the wind.<ref name=":1" />

Apsara is sometimes portrayed as a single powerful and influential spirit<ref name=":2" /> or [[Deity|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]].