# Apsara

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Type of female spirit of the clouds and waters in Hindu and Buddhist culture

For other uses, see [Apsara (disambiguation)](/source/Apsara_(disambiguation)).

See also: [Apsara Dance](/source/Apsara_Dance)

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A 12th-century sandstone statue of an apsara from [Madhya Pradesh](/source/Madhya_Pradesh), India

**Apsaras**[1][2] ([Sanskrit](/source/Sanskrit_language): अप्सरस्, [IAST](/source/IAST): *Apsaras*, [Khmer](/source/Khmer_language): អប្សរា,[3] [Pali](/source/Pali_language): अच्छरा, romanized: *Accharā*,[4][5] [Thai](/source/Thai_language): อัปสร[6]) are a class of celestial beings in [Hindu](/source/Hinduism) and [Buddhist culture](/source/Culture_of_Buddhism).[7][8][9][10][11][12] They were originally a type of female spirit associated with clouds and water, but, later came to play the role of a "[nymph](/source/Nymph)" or "[fairy](/source/Fairy)". They figure prominently in the sculpture, dance, literature and paintings of many [South Asian](/source/South_Asia) and [Southeast Asian](/source/Southeast_Asia) cultures.[13]

The apsaras are described as being 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 said to excel at dancing, and are often considered the wives of the [gandharvas](/source/Gandharva), the court musicians of [Indra](/source/Indra). The apsaras reside in the palaces of the gods and entertain them by dancing to the music of 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](/source/Muses) of [Ancient Greece](/source/Ancient_Greece). They are also renowned for seducing [rishis](/source/Rishi) in order to prevent them from attaining divine powers. Famous apsaras include [Urvashi](/source/Urvashi), [Menaka](/source/Menaka), [Rambha](/source/Rambha_(apsara)), [Tilottama](/source/Tilottama) and [Ghritachi](/source/Ghritachi).[14][15]

In Japan, *Apsara* are known as "[Tennin](/source/Tennin)" (天人); "Tennyo" (天女) for "female Tennin" and "Tennan" (天男) for "male Tennin".

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## Etymology

Apsaras on Hindu Temple at [Banares](/source/Varanasi), 1913

The origin of 'apsara' is the [Sanskrit](/source/Sanskrit) अप्सरस्, *apsaras* (in the stem form, which is the dictionary form). 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*. The nominative singular form is अप्सरास् *apsarās*, or अप्सरा: *apsarāḥ* when standing alone, which becomes अप्सरा *apsarā* in Hindi, from which in turn the English "apsara" presumably is derived. The [Monier-Williams](/source/Monier_Monier-Williams) *et al*. (1899) gives the etymology as अप् + √सृ, "going in the waters or between the waters of the clouds".[16]

The "Apsaras" are widely known as ***Apsara***. Including, In [Javanese](/source/Javanese_language), [Sundanese](/source/Sundanese_language), and [Balinese](/source/Balinese_language): *Hapsari / Apsari* or *Widadari / Widyadari*; In [Khmer](/source/Khmer_language): អប្សរា (*Âbsâréa*); In [Malay](/source/Malay_language) and [Maranao](/source/Maranao_language): *Bidadari*; In [Meitei](/source/Meitei_language): *Helloi*; In [Pali](/source/Pali): *Accharā*; In [Tausug](/source/Tausug_language) and [Sama–Bajaw](/source/Sama%E2%80%93Bajaw_languages): *Biraddali*; and In [Thai](/source/Thai_language): *อัปสร* ([RTGS](/source/Royal_Thai_General_System_of_Transcription): *Apson*).

## Literature

Apsara, [Devi Jagadambi temple](/source/Khajuraho_Group_of_Monuments) at [Khajuraho](/source/Khajuraho) in [Madhya Pradesh](/source/Madhya_Pradesh), India

The most ancient descriptions of apsara portray them as "[water nymph](/source/Naiad)"-like beings.[17]

The [Rigveda](/source/Rigveda) tells of an apsara who is the wife of [Gandharva](/source/Gandharva); however, the Rigveda also seems to allow for the existence of more than one apsara.[15] The only apsara specifically named is [Urvashi](/source/Urvashi). An entire hymn deals with the [colloquy](/source/Colloquy_(religious)) between Urvashi and her mortal lover [Pururavas](/source/Pururavas).[18] Later Hindu scriptures allow for the existence of numerous apsaras, who act as the handmaidens of [Indra](/source/Indra) or as dancers at his celestial court[15] serving as musicians alongside the gandharvas ("celestial musicians").[17]

The [Kaushitaki Upanishad](/source/Kaushitaki_Upanishad) mentions apsaras as a class of divinities associated with ointments, garlands, vestments, and powdered aromatics.[19]

The origin of the apsaras is described in the [Ramayana](/source/Ramayana) and [Puranas](/source/Puranas). Apsaras are further associated with water by relating them to the [churning of the ocean](/source/Samudra_Manthana), water sports, and groups such as *nāgas*.[20]

In many of the stories related in the [Mahabharata](/source/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](/source/Menaka), [Rambha](/source/Rambha_(apsara)), [Tilottama](/source/Tilottama), Purvachitti, Swayamprabha, [Urvashi](/source/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.[21]

The Mahabharata documents the exploits of individual apsaras, such as [Tilottama](/source/Tilottama), who rescued the world from the rampaging [asura](/source/Asura) brothers [Sunda](/source/Sunda_(asura)) and [Upasunda](/source/Upasunda); and [Urvashi](/source/Urvashi), who attempted to seduce the hero [Arjuna](/source/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](/source/Shakuntala) to explain her own parentage.[22] Once upon a time, the sage [Vishvamitra](/source/Vishvamitra) generated such intense energy by means of his asceticism that [Indra](/source/Indra) himself became fearful. Deciding that the sage would have to be distracted from his penances, he sent the apsara [Menaka](/source/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](/source/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](/source/Shu_Ting) referenced apsara in her poem "O Motherland, Dear Motherland".[23]

## 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.[20]

### Gandhara

In [Gandhāran](/source/Gandhara) art[24] they are originally portrayed as winged beings placing garlands at a [stupa](/source/Stupa), the original symbolic depiction of the [Buddha](/source/Buddha) before more anthropomorphic imagery was developed. Then later once this had occurred, they are depicted crowning the [Buddha](/source/Buddha) in a similar manner to [Nike](/source/Nike_(mythology)) crowning the [gods of Ancient Greece](/source/Ancient_Greek_religion), and it is speculated that the imagery of [Nike](/source/Nike_(mythology)) was the main influence on the development of Apsara imagery. This in turn was adapted, adjusted and developed into the *Feitian* dancing-girl imagery found in [Chinese Buddhism](/source/Chinese_Buddhism) detailed below.

### Natya Shastra

*[Natya Shastra](/source/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](/source/Dhrti), Nanda, Supuskala, Supuspamala and Kalabha.

### Cambodia

Cambodia Apsara Dancer

Apsara relief sculpture on [Angkor Wat](/source/Angkor_Wat) temple wall

Apsaras represent an important motif in the stone [bas-reliefs](/source/Bas-reliefs) of the [Angkorian](/source/Angkor) temples in [Cambodia](/source/Cambodia) (8th–13th centuries AD). The shapely, celestial nymphs appeared from the foam that emerged out of the Churning of the Sea of Milk, from the Hindu creation myth.[25] 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 *[devatas](/source/Devata)*.[26]

Apsara on a 1931 [postage stamp of Indochina](/source/Postage_stamps_and_postal_history_of_Indochina)

[Angkor Wat](/source/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.[27] 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. 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.[28]

A pair of dancing apsaras on a Bayon pillar.

The [Bayon temple](/source/Bayon), built by King Jayavarman in the late 12th-early 13th century, featured some 6,250 of the dancing apsaras. Mostly found carved into the temple’s pillars, these celestial women are usually depicted dancing on lotus flowers, representing a mythical world. The apsaras portrayed dancing on the ground may represent real women performing for ritual purposes, especially when surrounded by musicians. [29]

Within [Ta Prohm](/source/Ta_Prohm) temple at Angkor, a pavilion on its eastern axis is adorned almost entirely in lifelike bas-reliefs. With 96 pillars and three welcoming porches on both sides for entrance, the structure earns the name Hall of Dancers from its multiple lintels featuring dancing *apsaras* in long rows.[30]

[Prasat Sikhoraphum](/source/Prasat_Sikhoraphum), a Khmer temple in Thailand built under [Suryavarman II](/source/Suryavarman_II), features two smiling female figures, mostly in the style of Angkor Wat. Neither figure is depicted dancing nor does anything indicate they’re dancers or musicians. Instead these are two Khmer devatas - two of only four found outside of Cambodia and the only two devatas found in Thailand.[31]

The bas-reliefs of Angkorian temples have become an inspiration of [Khmer classical dance](/source/Khmer_classical_dance). The indigenous ballet-like performance art of Cambodia is frequently called "[Apsara Dance](/source/Robam_Tep_Apsara)". The dance was created by the Royal Ballet of [Cambodia](/source/Cambodia) in the mid-20th century under the patronage of Queen [Sisowath Kossamak](/source/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,[32] whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.[33]

### Java and Bali, Indonesia

The Apsara of [Borobudur](/source/Borobudur), the flying celestial maiden depicted in a bas-relief of the 9th-century Borobudur temple, [Java](/source/Java), Indonesia

In the Indonesian language throughout medieval times, apsaras are also known as 'bidadari', being conflated with the 'vidyadharis' (from [Sanskrit](/source/Sanskrit) word *vidhyadhari*: *vidhya*, 'knowledge'; *dharya*, 'having, bearer, or bringer') known as *Bidadari* in the modern [Indonesian](/source/Indonesian_language),[34] the females of the [vidyādharas](/source/Vidyadhara), 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,[34] living in the [svargaloka](/source/Svarga) or in celestial palace of [Indra](/source/Indra), described in [Balinese](/source/Bali) dedari (bidadari or apsara) dance.

Traditionally apsaras are described as celestial maidens living in [Indra](/source/Indra)'s heaven (Kaéndran). They are well known for their special task: being sent to earth by Indra to seduce [ascetics](/source/Ascetics) who by their severe practices may become more powerful than the gods. This theme occurs frequently in Javanese traditions, including the *[Kakawin Arjunawiwaha](/source/Kakawin_Arjunawiwaha)*, written by mpu Kanwa in 1030 during the reign of king [Airlangga](/source/Airlangga). The story tells that [Arjuna](/source/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.

The Balinese [Legong](/source/Legong) dance depict celestial maidens, [Bali](/source/Bali), Indonesia.

Later in the [Javanese](/source/Java) tradition the apsara was also called *Hapsari*, also known as *Widodari* (from [Sanskrit](/source/Sanskrit) word vidyādhari). The Javanese Hindu-Buddhist tradition also influenced [Bali](/source/Bali). In Balinese dance, the theme of celestial maidens often occurs. Dances such as *Sanghyang Dedari* and *[Legong](/source/Legong)* depicted divine maidens in their own way. In the court of [Mataram Sultanate](/source/Mataram_Sultanate) the tradition of depicting heavenly maidens in dances is still alive and well. The Javanese court dances of [Bedhaya](/source/Bedhaya) portray apsaras.

However, after the adoption of [Islam](/source/Islam), bidadari is equated with [houri](/source/Houri), the heavenly maiden mentioned in the [Quran](/source/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](/source/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.

A male devata flanked by two apsaras, Vishnu temple, [Prambanan](/source/Prambanan), Java

Images of apsaras are found in several temples of ancient [Java](/source/Java) dating from the era of the [Sailendra](/source/Sailendra) dynasty to that of the [Majapahit](/source/Majapahit) empire. The apsara celestial maidens might be found as decorative motifs or also as integral parts of a story in [bas-relief](/source/Relief). Images of apsaras can be found on [Borobudur](/source/Borobudur), [Mendut](/source/Mendut), [Prambanan](/source/Prambanan), [Plaosan](/source/Candi_Plaosan), and [Penataran](/source/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](/source/Mendut) near Borobudur depicted groups of *[devatas](/source/Devatas)*, divine beings flying in heaven, which included apsaras. In the [Prambanan temple](/source/Prambanan_Temple_Compounds) 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](/source/Manipur) culture of the [Meitei people](/source/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](/source/Art_of_Champa), medieval [Angkor](/source/Angkor)'s neighbour to the east along the coast of what is now central Vietnam. Especially noteworthy are the depictions of apsaras in the [Tra Kieu Style](/source/Art_of_Champa#Tra_Kieu_Style) of Cham art, a style which flourished in the 10th and 11th centuries AD.

Apsara (Feitian), China, [Northern](/source/Northern_Wei) or [Eastern Wei](/source/Eastern_Wei) dynasty, 500–550 AD

### China

Apsaras are often depicted in East Asian Buddhist art.[35] They are referred to as *Feitian* ([simplified Chinese](/source/Simplified_Chinese_characters): 飞天; [traditional Chinese](/source/Traditional_Chinese_characters): 飛天) in Chinese.[35]

They are depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the [Mogao Caves](/source/Mogao_Caves),[36][37] [Yulin Caves](/source/Yulin_Caves),[36] [Tianlongshan grottoes](/source/Tianlongshan_Grottoes),[36] the [Yungang](/source/Yungang_Grottoes),[38] and [Longmen Grottoes](/source/Longmen_Grottoes).[39] They are also depicted on tiles of [pagoda](/source/Pagoda), such as Xiuding-si pagoda.[36]

They may also be depicted as dancers or musicians holding musical instruments such as [flute](/source/Flute), [pipa](/source/Pipa), or [sheng](/source/Sheng_(instrument)).[36] Apsara may be portrayed as multiple spirits who played music for Buddhas.[23] Generally, they are depicted with a long skirt fluttering in the wind.[36]

Apsara is sometimes portrayed as a single powerful and influential spirit[23] or [god](/source/Deity) who wears an outfit with "flowing sleeves" and lives in *[Tian](/source/Tian)*. This version of Apsara is used in [Chinese folk religion](/source/Chinese_folk_religion) as an object of worship and in [Chinese folklore](/source/Chinese_folklore).

## Gallery

		- Apsaras dance taken from the 12th-century [Bayon](/source/Bayon) temple at [Angkor](/source/Angkor) in Cambodia

		- Apsaras are depicted on the base of the Tra Kieu Pedestal, a work of 10th-century Cham art.

		- Apsara from [Yulin Caves](/source/Yulin_Caves) near Dunhuang, China

		- Apsara playing a Phoenix-headed [konghou](/source/Konghou) – Yulin Cave 15

		- Apsara [Surasundari](/source/Surasundari) in [Borobudur](/source/Borobudur)

		- Painting of Apsara at [Sigiriya](/source/Sigiriya), [Sri Lanka](/source/Sri_Lanka)

		- Apsara relief sculpture at [Angkor Wat](/source/Angkor_Wat)

		- Cambodia Apsara dance

		- Cambodia apsara dancer

## See also

- [Angel](/source/Angel)

- [Angkor Wat](/source/Angkor_Wat)

- [Art of Champa](/source/Art_of_Champa)

- [Dakini](/source/Dakini)

- [Devata](/source/Devata)

- [Dunhuang dance](/source/Dunhuang_dance)

- [Elf](/source/Elf)

- [Fairy](/source/Fairy)

- [Gandharva](/source/Gandharva) - Celestial male companions of the *apsaras*

- [Houri](/source/Houri)

- [Nymph](/source/Nymph)

- [Peri](/source/Peri), winged female creatures of [Persian mythology](/source/Persian_mythology)

- [Rusalka](/source/Rusalka)

- [Swan maiden](/source/Swan_maiden)

- [Tennin](/source/Tennin), a Japanese development of Indian *apsaras*

- [Valkyrie](/source/Valkyrie) from [Norse mythology](/source/Norse_mythology)

- [Vidyadhara](/source/Vidyadhara)

- [Yakshini](/source/Yakshini)

## Footnotes

1. **[^](#cite_ref-1)** Suryakant Tripathi Nirala. (2024). *अप्सरा [Apsara (In English)]*. New Delhi, India: Vani Prakashan. 172 pp. [ISBN](/source/ISBN_(identifier)) [978-935-7-75687-7](https://en.wikipedia.org/wiki/Special:BookSources/978-935-7-75687-7)

1. **[^](#cite_ref-2)** Yashpal. (2009). *अप्सरा का शाप [Apsara ka shrap (Curse of Nymph) (in English)]*. (Reprint of 1931). New Delhi, India: Rajkamal Prakashan. 171 pp. [ISBN](/source/ISBN_(identifier)) [978-818-0-31382-0](https://en.wikipedia.org/wiki/Special:BookSources/978-818-0-31382-0).

1. **[^](#cite_ref-3)** Singh, Jasmeet (22 July 2016). ["Everything You Must Know About the Apsara Traditional Dance – Green Cultural Travel"](https://www.greenculturaltravel.com/everything-you-must-know-about-apsara-traditional-dance/). Retrieved 15 April 2024.

1. **[^](#cite_ref-4)** American Oriental Society. (1849). "Memoir on The History of Buddhism, read before the Society May 24, 1844, by [Edward E. Salisbury](/source/Edward_E._Salisbury), Professor in Yale College", in *JOURNAL OF THE AMERICAN ORIENTAL SOCIETY VOL. I*. Boston, MA: The American Oriental Society. p. 116.

1. **[^](#cite_ref-5)** Stevenson, A. et al. (2010). "apsara", in *Oxford Dictionary of English*. (3rd Ed.). Oxford, United Kingdom: Oxford University Press. 2,069 pp. [ISBN](/source/ISBN_(identifier)) [978-019-9-57112-3](https://en.wikipedia.org/wiki/Special:BookSources/978-019-9-57112-3) cited in Bowker, J. (2000). *The Concise Oxford Dictionary of World Religions*. Oxford, United Kingdom: Oxford University Press. p. 78.

1. **[^](#cite_ref-6)** Fine Arts Department of Thailand. [""อัปสร" นางผู้เคลื่อนไหวในน้ำ"](https://www.finearts.go.th/promotion/view/35406--อัปสร--นางผู้เคลื่อนไหวในน้ำ/) (in Thai). Retrieved 7 June 2025.

1. **[^](#cite_ref-7)** Higham, C.. (2014). *Encyclopedia of Ancient Asian Civilizations*. N.Y., United States: Facts On File, Inc. p. 24. [ISBN](/source/ISBN_(identifier)) [978-143-8-10996-1](https://en.wikipedia.org/wiki/Special:BookSources/978-143-8-10996-1)

1. **[^](#cite_ref-8)** 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. [ISBN](/source/ISBN_(identifier)) [978-110-5-42805-0](https://en.wikipedia.org/wiki/Special:BookSources/978-110-5-42805-0)

1. **[^](#cite_ref-9)** 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. [ISBN](/source/ISBN_(identifier)) [978-939-2-205019](https://en.wikipedia.org/wiki/Special:BookSources/978-939-2-205019)

1. **[^](#cite_ref-10)** 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. [ISBN](/source/ISBN_(identifier)) [979-865-8-82171-9](https://en.wikipedia.org/wiki/Special:BookSources/979-865-8-82171-9)

1. **[^](#cite_ref-11)** K. Narayanaswami Aiyar. (1915). *THE PERMANENT HISTORY OF BHARATA VARSHA (India) Vol. I*. Tamil Nadu, India: Bhaskara Press. p. 420.

1. **[^](#cite_ref-12)** 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. [ISBN](/source/ISBN_(identifier)) [978-178-9-69696-7](https://en.wikipedia.org/wiki/Special:BookSources/978-178-9-69696-7)

1. **[^](#cite_ref-13)** ["Apsara | Indian religion and mythology"](https://www.britannica.com/topic/apsara). *Encyclopedia Britannica*. Retrieved 15 April 2020.

1. **[^](#cite_ref-14)** Gopal, Madan (1990). K.S. Gautam (ed.). [*India through the ages*](https://archive.org/details/indiathroughages00mada). Publication Division, Ministry of Information and Broadcasting, Government of India. p. [68](https://archive.org/details/indiathroughages00mada/page/68).

1. ^ [***a***](#cite_ref-EB1911_15-0) [***b***](#cite_ref-EB1911_15-1) [***c***](#cite_ref-EB1911_15-2) [Chisholm, Hugh](/source/Hugh_Chisholm), ed. (1911). ["Apsaras"](https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Apsaras). *[Encyclopædia Britannica](/source/Encyclop%C3%A6dia_Britannica_Eleventh_Edition)*. Vol. 2 (11th ed.). Cambridge University Press. p. 231.

1. **[^](#cite_ref-16)** [Monier-Williams, Monier, Sir](/source/Monier_Monier-Williams); Leumann, Ernst; Cappeller, Carl (1899). ["apsara"](https://books.google.com/books?id=zUezTfym7CAC&q=apsara). *A Sanskrit-English Dictionary: Etymologically and philologically arranged with special reference to cognate Indo-European languages*. Motilal Banarsidass Publishing House. p. 59. [ISBN](/source/ISBN_(identifier)) [978-81-208-3105-6](https://en.wikipedia.org/wiki/Special:BookSources/978-81-208-3105-6). {{[cite encyclopedia](https://en.wikipedia.org/wiki/Template:Cite_encyclopedia)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date))CS1 maint: multiple names: authors list ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_multiple_names:_authors_list))

1. ^ [***a***](#cite_ref-:3_17-0) [***b***](#cite_ref-:3_17-1) Stefon, Matt (20 October 2009). ["apsara"](https://www.britannica.com/topic/apsara). [Encyclopedia Britannica](/source/Encyclopedia_Britannica). Retrieved 7 June 2023.

1. **[^](#cite_ref-18)** *Rig Veda*, Book X, Hymn 95.

1. **[^](#cite_ref-19)** Cohen, Simona (2021). ["The Indian Hair-Wringing Apsaras and her Discriminating Goose: Meanings and Migrations"](https://journal.equinoxpub.com/ROSA/article/view/20975). *Religions of South Asia*. **15** (2): 156–157. [doi](/source/Doi_(identifier)):[10.1558/rosa.20975](https://doi.org/10.1558%2Frosa.20975). [ISSN](/source/ISSN_(identifier)) [1751-2697](https://search.worldcat.org/issn/1751-2697).

1. ^ [***a***](#cite_ref-:4_20-0) [***b***](#cite_ref-:4_20-1) Cohen, Simona (2021). ["The Indian Hair-Wringing Apsaras and her Discriminating Goose: Meanings and Migrations"](https://journal.equinoxpub.com/ROSA/article/view/20975). *Religions of South Asia*. **15** (2): 157. [doi](/source/Doi_(identifier)):[10.1558/rosa.20975](https://doi.org/10.1558%2Frosa.20975). [ISSN](/source/ISSN_(identifier)) [1751-2697](https://search.worldcat.org/issn/1751-2697).

1. **[^](#cite_ref-21)** *Mahabharata*, Book III: *Vana Parva*, Section 43.

1. **[^](#cite_ref-22)** *Mahabharata*, Book I: *Adi Parva*, Section 71-72.

1. ^ [***a***](#cite_ref-:2_23-0) [***b***](#cite_ref-:2_23-1) [***c***](#cite_ref-:2_23-2) Meyer, Michael (2008). *The Bedford Introduction to Literature: Reading, Thinking, Writing* (8th ed.). Boston: [St. Martin/Bedford](/source/St._Martin's_Press). p. 1311. [ISBN](/source/ISBN_(identifier)) [978-0-312-47200-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-312-47200-9).

1. **[^](#cite_ref-24)** Wannaporn Rienjang; Peter Stewart, eds. (2020). *The Global Connections of Gandhāran Art*. Oxford: Archaeopress. pp. 234–235, 238–241. [ISBN](/source/ISBN_(identifier)) [978-1-78969-695-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78969-695-0). [OCLC](/source/OCLC_(identifier)) [1197810642](https://search.worldcat.org/oclc/1197810642).

1. **[^](#cite_ref-25)** Margaret P. Hays (1955). ["Bayon : apsara bas relief"](https://search.library.wisc.edu/digital/A7ZTHVSCIQBLTJ8E). *search.library.wisc.edu/*.

1. **[^](#cite_ref-26)** Maurice Glaize, *Monuments of the Angkor Group*, p.37.

1. **[^](#cite_ref-27)** [Angkor Wat devata inventory - February 2010](http://www.devata.org/2010/02/angkor-wat-devata-inventory/) [Archived](https://web.archive.org/web/20100423123631/http://www.devata.org/2010/02/angkor-wat-devata-inventory/) 23 April 2010 at the [Wayback Machine](/source/Wayback_Machine)

1. **[^](#cite_ref-28)** Sappho Marchal, *Khmer Costumes and Ornaments of the Devatas of Angkor Wat*.

1. **[^](#cite_ref-29)** Kent davis (2011). ["Bayon Devata Goddesses of King Jayavarman VII"](https://www.devata.org/bayon-devata-goddesses-of-king-jayavarman-vii/). *devata.org/*.

1. **[^](#cite_ref-30)** Ky Chamna (2025). ["Ta Prohm Temple's Hall of Dancers: A Shared Culture and Diplomacy between Cambodia and India"](https://cambodianess.com/article/ta-prohm-temples-hall-of-dancers-a-shared-culture-and-diplomacy-between-cambodia-and-india). *cambodianess.com/*.

1. **[^](#cite_ref-31)** Kent davis (2011). ["Two Khmer Devata Goddesses in Sikhoraphum Thailand"](https://www.devata.org/two-khmer-devata-goddesses-in-sikhoraphum-thailand/). *devata.org/*.

1. **[^](#cite_ref-32)** ["Home"](https://www.roughguides.com/?titleid=107&xid=idbox_head33982200_0171). *Rough Guides*. Retrieved 15 April 2020.

1. **[^](#cite_ref-dig_33-0)** Di Giovine, Michael A. *The Heritage-Scape*. 2008, pages 293–4

1. ^ [***a***](#cite_ref-Bidadari_34-0) [***b***](#cite_ref-Bidadari_34-1) ["Bidadari"](http://kbbi.web.id/bidadari). *KBBI*.

1. ^ [***a***](#cite_ref-:0_35-0) [***b***](#cite_ref-:0_35-1) ["Flying Celestial Apsara (Feitian 飛天) 7th century"](https://www.metmuseum.org/art/collection/search/60778). *www.metmuseum.org*. [Archived](https://web.archive.org/web/20211213034654/https://www.metmuseum.org/art/collection/search/60778) from the original on 13 December 2021. Retrieved 13 December 2021.

1. ^ [***a***](#cite_ref-:1_36-0) [***b***](#cite_ref-:1_36-1) [***c***](#cite_ref-:1_36-2) [***d***](#cite_ref-:1_36-3) [***e***](#cite_ref-:1_36-4) [***f***](#cite_ref-:1_36-5) Wannaporn Rienjang; Peter Stewart, eds. (2020). *The global connections of Gandharan art : proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019*. Oxford: Archaeopress. pp. 239–241. [ISBN](/source/ISBN_(identifier)) [978-1-78969-695-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-78969-695-0). [OCLC](/source/OCLC_(identifier)) [1197810642](https://search.worldcat.org/oclc/1197810642).

1. **[^](#cite_ref-37)** Expert Committee of Chinese Society of Cultural Relics, ed. (2019). *Collection of ancient Chinese cultural relics. Volume 5, Sui, Tang and Five Dynasties : 581-960*. Translated by Guozhen Wang. Hindmarsh, SA. p. 223. [ISBN](/source/ISBN_(identifier)) [978-1-925371-44-4](https://en.wikipedia.org/wiki/Special:BookSources/978-1-925371-44-4). [OCLC](/source/OCLC_(identifier)) [1176321935](https://search.worldcat.org/oclc/1176321935).{{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: CS1 maint: location missing publisher ([link](https://en.wikipedia.org/wiki/Category:CS1_maint:_location_missing_publisher))

1. **[^](#cite_ref-38)** ["Other Divinities"](https://depts.washington.edu/chinaciv/bud/5imglshi.htm). *depts.washington.edu*. Retrieved 13 December 2021.

1. **[^](#cite_ref-39)** ["Feitian – flying Apsaras in Longmen Grottoes\[1\]"](https://www.chinadaily.com.cn/m/henan/longmen/2015-10/14/content_22186850.htm). *www.chinadaily.com.cn*. Retrieved 13 December 2021.

## References

- Marchal, Sappho. *Khmer Costumes and Ornaments of the Devatas of Angkor Wat*. First English edition. Orchid Press, 2005. [ISBN](/source/ISBN_(identifier)) [978-974-524-057-5](https://en.wikipedia.org/wiki/Special:BookSources/978-974-524-057-5)

- The [Rig Veda](http://www.sacred-texts.com/hin/rigveda/index.htm) in the English translation prepared by [Ralph T. H. Griffith](/source/Ralph_T._H._Griffith) is available online at sacred-texts.com.

- The [Mahabharata](http://www.sacred-texts.com/hin/maha/index.htm) in the English translation prepared by Kisari Mohan Ganguli is available online at sacred-texts.com.

- [The Monuments of the Angkor Group](http://www.theangkorguide.com) by [Maurice Glaize](/source/Maurice_Glaize) is available online in English translation.

## External links

Wikimedia Commons has media related to [Apsara](https://commons.wikimedia.org/wiki/Category:Apsara).

- [Chinese Apsaras depicted in Dunhuang Caves](http://www.onmarkproductions.com/html/dunhuang-caves-apsara.html)

- [Comparison of Khmer Apsaras and Devata](https://web.archive.org/web/20160305042339/http://angkorguide.net/mythology/devataapsara.html)

- [Costumes and Ornaments after the Devata of Angkor Wat by Sappho Marchal](https://web.archive.org/web/20100705230020/http://www.devata.org/2009/02/review-costumes-and-ornaments-after-the-devata-of-angkor-wat-by-sappho-marchal/) - Book review

- [Indian Devata at Rajarani Temple in Orissa](https://web.archive.org/web/20100510015351/http://www.devata.org/2009/10/rajarani-temple-indian-devata-of-orissa/)

- [Japanese traditions of celestial maidens](http://www.onmarkproductions.com/html/karyoubinga.html) *Tennin* (apsara), *Hiten* (flying apsara), *Tennyo* (celestial maiden) & *Karyobinga* (bird body with angel head)

- [Apsara Dance at Siem Reap, Cambodia](https://www.youtube.com/watch?v=RWa5oaMW8ic&context=C494995dADvjVQa1PpcFOkK6qSHXUvfDXQGbrG_YYPQJW0OiO2a-A=)

- [Sanghyang Dedari](https://www.youtube.com/watch?v=kD_5g7F8Qs0), Balinese dance depicting bidadari (vidhyadari) celestial maiden

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v t e Fairies in folklore Classifications of fairies Related articles Celtic sacred trees Changeling Elfshot Fairy fort Fairy godmother Fairyland Fairy-lock Fairy painting Fairy path Fairy riding Fairy ring Fairy tale List Familiar Household deity Hungry grass Attested fairies A–E Adhene Aibell Alp Luachra Anjana Aos Sí (Aes Sídhe) Arkan Sonney Asrai Baobhan sith Banshee Barghest Bean nighe Bergmönch Bieresel Billy Blind Biróg Bloody Bones Bluecap Blue men of the Minch Bodach Boggart Bogle Boobrie Brag Brownie Brown Man of the Muirs Bucca Buggane Bugbear Bugul Noz Buschgroßmutter Caoineag Cat sìth Cù Sìth Ceffyl Dŵr Clíodhna Clurichaun Coblynau Colt pixie Cyhyraeth Drak Drude Duergar Dullahan Dunnie Each-uisge Elf Alp Dökkálfar and Ljósálfar Elegast Erlking Half-elf Huldufólk Queen of Elphame Svartálfar F–L Fachan Fairy Queen Fänggen Fear dearg Fear gorta Fenixmännlein Fenodyree Finfolk Finvarra Fuath Gancanagh Ghillie Dhu Glaistig Glashtyn Groac'h Grindylow Gütel Gwragedd Annwn Gwyllion Gwyn ap Nudd Habetrot Hag Haltija The Hedley Kow Heimchen Heinzelmännchen Hinzelmann Hob Hobbididance Hobgoblin Hödekin Iannic-ann-ôd Jack-o'-lantern Jack o' the bowl Jenny Greenteeth Joan the Wad Joint-eater Kabouter Kelpie Kilmoulis Klagmuhme Knocker Knucker Kobold Klabautermann Korrigan Lady of the Lake Lazy Laurence Leanan sídhe Leprechaun Lubber fiend Lutin Ly Erg M–Z Mare Margot the fairy Meg Mullach Melusine Merrow Mooinjer veggey Morgen Morvarc'h Moss people Nain Rouge Nelly Longarms Nicnevin/Gyre-Carling Nis Puk Nisse Nixie Nuckelavee Nuggle Oberon Ork Peg Powler Petermännchen Pillywiggin Pixie Púca/Pwca Puck Rå Bergsrå Hulder Radande Sjörå Skogsrå Redcap Salige Frau Schrat Sebile Selkie Seonaidh Shellycoat Sleih beggey Sluagh Spriggan Sprite/Water sprite Sylph Titania Tomte Tooth fairy Trow Tylwyth Teg Undine Water bull Water horse Wicked fairy Wight Will-o'-the-wisp Wirry-cow Xana Yallery Brown Yan-gant-y-tan Fairy-like beings worldwide Worldwide Bogeyman Crone Hag Demon Classification of Devil Fallen angel Ghost Humanoid Jinn Ifrit Little people Merfolk Mermaid Merman UFO Vampire Africa Abatwa Aisha Qandicha Asanbosam Aziza Bultungin Eloko Jengu Kishi Mami Wata Obayifo Rompo Simbi Tikoloshe Yumboes Americas Alux Anchimayen Caipora Canotila Chaneque Christmas elf Chullachaqui Curupira Encantado Fastachee Fearsome critters Grey alien Hopkinsville Goblin Ishigaq Jogah Little green men Muki Nimerigar Nordic alien Nûñnë'hï Pombero Pukwudgie Saci Trauco Yunwi Tsunsdi Asia Apsara Archura Diwata Dokkaebi Fox spirit Hồ ly tinh Huli jing Huxian Inari Ōkami Kitsune Kumiho Hyang Irshi Kijimuna Korpokkur Mazzikin Mogwai Mrenh kongveal Orang bunian Peri Preta Hungry ghost Tennin Yaksha/Yakshini Yōkai Yōsei Oceania Bunyip Manaia Menehune Mimis Muldjewangk Nawao Patupaiarehe Ponaturi Taniwha Tipua Wandjina Yara-ma-yha-who Europe Eastern Bannik Căpcăun Domovoy Iele Karzełek Kikimora Leshy Lidérc Likho Ovinnik Polevik Rübezahl Rusalka Samodiva Sânziană Siren Spiriduș Ursitory Vadleany Vâlvă Vântoase Vodyanoy Zână Northern Aitvaras Ajatar Badb Black dog Ent Gabija Gremlin Halfling Haltija Headless Horseman Hiisi Jack Frost Jimmy Squarefoot Lauma Menninkäinen Morgan Le Fay Pictish Beast Troll Tuatha Dé Danann Vittra Southern Basajaun Centaur Cercopes Circe Dionysus Korybantes Maenades and Bacchantes Doñas de fuera Duende Farfadet Faun Hecate Hippocampus Kallikantzaros Kobalos Lamia Lamina Mairu Mouro Enchanted Moura Nymph List Pan Satyr Satyress Silenus Siren Thiasus Trenti Vila Western Dames blanches Dusios Dwarf Ekke Nekkepenn Frau Holle Imp Lorelei Perchta Venus in German legend Witte Wieven/Weiße Frauen/Witte Wiwer Cross-regional Christmas gift-bringer Santa Claus Companions of Christmas elf Elemental Fates Moirai Norns Green Man Goblin Gnome Ogre Salamander Sandman Wild man Category List of beings referred to as fairies

v t e Swan maiden Main article Swan maiden Supernatural women Apsara (India) Urvashi Tennin (Japan) The Crane Wife (Japan) Peacock Princess (Dai people) Peri (Persia) Vila (East Slavic) Samodiva (South Slavic) Povitrulya (Transcarpathian Ukrainian) Neraida (Greece) Valkyrie (Germanic) Völundarkviða Brunhild Kára Selkie (Norse and Celtic) The Goose Wife (Inuit) Tale types ATU 313 The Sea Tsar and Vasilisa the Wise (Russia) King Kojata (Slavic) The Green Man of Knowledge (Scotland) The Prince Who Wanted to See the World (Portugal) Lady Featherflight (North America) The Battle of the Birds (Scotland) ATU 400 The Cowherd and the Weaver Girl (China) Dong Yong and the Seventh Fairy (China) Tanabata (Japan) Chilseok (Korea) Manohara (Southeast Asia) Hassan of Basra (Arabic) The Swan Queen (Lithuania) The Nine Peahens and the Golden Apples (Serbia) The Beautiful Palace East of the Sun and North of the Earth (Sweden) Maid Lena (Denmark) The Heavenly Maiden and the Woodcutter (Korea) ATU 465 Go I Know Not Whither and Fetch I Know Not What (Russia) Adaptations Hagoromo (Noh play) The King of Ireland's Son (fantasy) Swan Lake (ballet) The Tale of Tsar Saltan (poem) Notes: "Tale types" refer to narratives of the international Aarne–Thompson–Uther Index where the swan maiden (or other type of bird) appears.

v t e Yoginis Entities Apsara Bhairavi Dakini Matrika Vajrayogini Yakshini Yogini temples Badoh Bhedaghat Hirapur Ranipur Jharial Khajuraho Mitaoli Related Maithuna Women in Hinduism Yoga for women Category

v t e Japanese Buddhist pantheon Buddhas 如来部 (Nyorai-bu) Śākyamuni (Shaka Nyorai) Amitābha (Amida Nyorai) Bhaiṣajyaguru (Yakushi Nyorai) Vairocana (Dainichi Nyorai) Five Wisdom Buddhas (Godai Nyorai) Bodhisattvas 菩薩部 (Bosatsu-bu) Maitreya (Miroku) Avalokiteśvara (Kannon) Samantabhadra (Fugen) Mañjuśrī (Monju) Mahāpratisarā (Daizuigu) Kṣitigarbha (Jizō) Ākāśagarbha (Kokūzō) Mahāsthāmaprāpta (Seishi) Vajrasattva (Kongōsatta) Vajrapāramitā (Kongō-Haramitsu) Wisdom Kings 明王部 (Myōō-bu) Five Wisdom Kings Acala (Fudō-Myōō) Rāgarāja (Aizen-Myōō) Ucchuṣma (Ususama-Myōō) Hayagrīva (Batō-Myōō) Mahāmāyūrī (Kujaku-Myoō) Yamāntaka (Daiitoku-Myoō) Heavenly deities 天部 (Ten-bu) Four Heavenly Kings (Shitennō) Eight Legions (Hachi-Bushū) Twelve Devas (Jūni-ten) Twelve Heavenly Generals (Jūni Shinshō) Twenty-Eight Legions (Nijūhachi-Bushū) Sarasvatī (Benzaiten) Vaiśravaṇa (Bishamonten) Śakra (Taishakuten) Brahmā (Bonten) Maheśvara (Daijizaiten) Mahākāla (Daikokuten) Ḍākinī (Dakiniten) Yama (Enma-Daiō) Gigeiten Skanda (Idaten) Gaṇapati (Kankiten) Hārītī (Kishimojin) Apsara (Hiten) Kalaviṅka (Karyōbinga) Lakṣmī (Kisshōten) Mārīcī (Marishiten) Vajrapāṇi (Niō) Circumstantial appearances 垂迹身部 (Suijakushin-bu) Gongen Kumano Gongen Atago Gongen Konpira Daigongen Religious masters 高僧・祖師部 (Kōsō・Soshi-bu) Nāgārjuna (Ryūju) Vasubandhu (Seshin) Bodhidharma Prince Shōtoku Kūkai Saichō Eisai Dōgen Kigen Genshin Hōnen Ippen Shinran Nichiren Sixteen Arhats Zen Tendai Shingon Pure Land Shugendō Nichiren Japanese mythology

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Adapted from the Wikipedia article [Apsara](https://en.wikipedia.org/wiki/Apsara) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Apsara?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.