Alasa Kanya

Alasa Kanya (Sanskrit: अलसकन्या, romanized: Alasakanyā) is a form of Surasundari in Indian iconography, which portrays an indolent female or maiden.

[5] In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by Shilpa Prakasha.

[6] Shilpa Prakash, the historic text defines minimum sixteen forms of Alasa Kanya: Torana (one forming an arch), Mugdha (innocent and simple), Manini (resentful offended), Dalamalika (pulling down a branch of tree), Padmagandha (smelling the lotus), Darpana (holding a mirror), Vinyasa (thoughtful and meditative), Ketakibharana (wearing ketaki blossom), Matrmurti (the mother with child ), Chamara (one holding a fly whisk), Gunthana (the one who hides herself), Nartaki (dancer), Shukasarika (One playing with a parrot), Nupurpadika (one wearing anklets) and Mardala (drummer).

Progressing to the 10th century with the development of Panch Ratha plan, figures of alasa kanya are placed on the corners of the temples, here the sculptures are not confined to the niches but are carved in relief and is part of different scenes.

As the height of the temples become double storey, the figures are placed above the eye level giving an impression that they are celestial or heavenly beings.

Alasa kanya in a niche, in Vaital Deul temple, Bhubaneswar , constructed in 8th century.
Alasa Kanya in Raja Rani Temple, Bhubaneswar
Shukasarika form of alasa kanaya with a parrot in Vaital Deul, temple, Bhubaneswar.
Rajarani temple, Bhubaneshwar, from 11th century depicting an alasa kanya.