Apsara
Note that the stem-form ends in 's' as distinct from, e.g. the nominative singular Rāmas / Rāmaḥ (the deity Ram in Hindi), whose stem form is Rāma.
[16] The Kaushitaki Upanishad mentions apsaras as a class of divinities associated with ointments, garlands, vestments, and powdered aromatics.
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.
[20]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.
[19] 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.
[24] Angkor Wat architects employed small apsara images (30–40 cm as seen below) as decorative motifs on pillars and walls.
They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers.
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,[26] whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.
'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.
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.
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.
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 temple of Mendut near Borobudur depicted groups of devatas, divine beings flying in heaven, which included apsaras.
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.
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.
[30] Apsara is sometimes portrayed as a single powerful and influential spirit[22] or god who wears an outfit with "flowing sleeves" and lives in Tian.
