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Gambling definition godmother pictures

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An apsara , also spelled as apsaras by the Oxford Dictionary respective plurals apsaras and apsarases , is a type of female spirit of the clouds and waters in Hindu and Buddhist culture. They figure prominently in the sculpture, dance, literature and painting of many South Asian and Southeast Asian cultures. There are two types of apsaras; laukika worldly , of whom thirty-four are specified, and daivika divine , of which there are ten.

English translations of the word "Apsara" include " nymph ", " fairy ", "celestial nymph", and "celestial maiden". In Indian mythology , apsaras are beautiful, supernatural female beings. They are youthful and elegant, and superb in the art of dancing. They are often wives of the Gandharvas , the court musicians of Indra. They dance to the music made by the Gandharvas, usually in the palaces of the gods, entertain and sometimes seduce gods and men.

As ethereal beings who inhabit the skies, and are often depicted taking flight , or at service of a god, they may be compared to angels. Apsaras are said to be able to change their shape at will, and rule over the fortunes of gaming and gambling. They are associated with fertility rites. The Bhagavata Purana also states that the apsaras were born from Kashyapa and Muni. NB The stem form ends in 's' as distinct from, e. 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.

An entire hymn deals with the colloquy between Urvashi and her mortal lover Pururavas. 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 and Menaka and Rambha and Purvachitti and Swayamprabha and Urvashi and Misrakeshi and Dandagauri and Varuthini and Gopali and Sahajanya and Kumbhayoni and Prajagara and Chitrasena and Chitralekha and Saha and Madhuraswana, these and others by thousands, possessed of eyes like lotus leaves, who were employed in enticing the hearts of persons practising rigid austerities, 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.

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 story type or theme appearing over and over again in the Mahabharata is that of an apsara sent to distract a sage or spiritual master from his ascetic practices. One story embodying this theme is that recounted by the epic heroine Shakuntala to explain her own parentage.

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 Viswamitra , the wind god Vayu tore away her garments. Seeing her thus disrobed, the sage abandoned himself to lust.

Nymph and sage engaged in sex for some time, during which Viswamitra'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.

Apsaras represent an important motif in the stone bas-reliefs of the Angkorian temples in Cambodia 8th—13th centuries AD , however all female images are not 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.

The bas-reliefs of Angkorian temples has become an inspiration of Khmer classical dance. An indigenous ballet-like performance art of Cambodia, is frequently called " Apsara Dance ". The dance was created by the Royal Ballet of Cambodia in the midth century under the patronage of Queen Sisowath Kossamak of Cambodia.

The role of the apsara is played by a woman, wearing tight-fitting traditional dress with gilded jewelries and headress modelled after Angkor bas-reliefs, [8] whose graceful, sinuous gestures are codified to narrate classical myths or religious stories.

The bidadaris are heavenly maidens, [10] living in the svargaloka or in celestial palace of Indra , described in Balinese dedari bidadari or apsara dance.

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 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. The Javanese Hindu-Buddhist tradition also influenced Bali. In Balinese dance the theme of celestial maidens often occurred. 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 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 prized offer 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. The Islamic culture lays emphasis on a entity Houri , often multiple that exist in Paradise for the company of people entering the paradise, who comfort their companions with all comforts of a relation a person receives from a husband-wife relationship. They have been depicted with exemplary beauty and ideal character.

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 bas-relief. 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 Prambanan temple compound, especially in Vishnu temple, along the gallery, some images of male devata are found flanked by two apsaras. In ancient Manipuri culture, the Meitei people, aka Manipuri people, considered these 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 Soraren deity. Angkor Wat , the largest Angkor temple built in AD , features both Apsaras and Devata , however the devata type are the most numerous with more than 1, in the present research inventory.

In , 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.

Apsaras were also an important motif in the art of Champa , medieval Angkor 's neighbor to the east along the coast of what is now central Vietnam. Especially noteworthy are the depictions of apsaras in the Tra Kieu Style of Cham art, a style which flourished in the 10th and 11th centuries AD. Apsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao Caves , Yulin Caves , and the Yungang and Longmen Grottoes.

They may also be depicted as dancers or musicians. Apsaras dance taken from the 12th-century Bayon temple at Angkor in Cambodia. Apsara Surasundari in Borobudur. Painting of Apsara at Sigiriya , Sri Lanka. From Wikipedia, the free encyclopedia. For other uses, see Apsara disambiguation. Type of female spirit of the clouds and waters in Hindu and Buddhist culture.

A statue of an Apsara holding a door frame from Baitala Deula in Odisha. A statue of an Apsara holding a bird in her hands from Baitala Deula. Apsaras are depicted on the base of the Tra Kieu Pedestal, a work of 10th-century Cham art. Apsara from Yulin Caves near Dunhuang, China. Cambridge University Press.

Gautam ed. India through the ages. The Heritage-Scape. Pusat Rujukan Persuratan Melayu. Dewan Bahasa dan Pustaka Malaysia. Retrieved 26 July Hindu deities and texts. Asuras Rakshasas Yakshas Vahanas. Hinduism Hindu mythology. India portal Cambodia portal Religion portal.

Fairy-like beings in folklore. See also Category List of beings referred to as fairies. Hidden categories: Wikipedia articles incorporating a citation from the Encyclopaedia Britannica with Wikisource reference Webarchive template wayback links Articles with short description Use dmy dates from March Use Indian English from March All Wikipedia articles written in Indian English All articles with failed verification Articles with failed verification from August Articles containing Thai-language text Pages using multiple image with auto scaled images Commons category link is on Wikidata.

Namespaces Article Talk. Views Read Edit View history. In other projects Wikimedia Commons. By using this site, you agree to the Terms of Use and Privacy Policy. Wikimedia Commons has media related to Apsara.

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