Alasa Kanya: Difference between revisions
added sections |
|||
| Line 4: | Line 4: | ||
== History and Origin == |
== History and Origin == |
||
Dominantly there are three types of female imagery in hindu temple architecture,divine semi-divine and secular. The divine Images are a portrayal of Goddesses, standing alone as well as in the for of consorts of hindu-deity - Vishnu, Brahma and Shiva. Other female depictions often seen on the temples such as apsara, sursundaris, nagis, alasa kanyas are considered to be semi-divine, they are at times also represented as attendants of of female divine figure. Apart from the divine and semi-divine , the earthly female representation is define as secular.<ref name=":0" /> Some scholars define alasa kanya as earthly nayikas, although one of the prominent scholar, Donaldson refers alasa kanya as an Apsara, who are the semi-divine figures.<ref>{{Cite web |title=criticalcollective.in |url=https://criticalcollective.in/ArtHistoryDetail.aspx?Eid=586 |access-date=2023-04-21 |website=criticalcollective.in}}</ref>One of the earliest reference to alasa kanya isi in a 9th century manual -Shilpa Prakash.<ref |
Dominantly there are three types of female imagery in hindu temple architecture,divine semi-divine and secular. The divine Images are a portrayal of Goddesses, standing alone as well as in the for of consorts of hindu-deity - Vishnu, Brahma and Shiva. Other female depictions often seen on the temples such as apsara, sursundaris, nagis, alasa kanyas are considered to be semi-divine, they are at times also represented as attendants of of female divine figure. Apart from the divine and semi-divine , the earthly female representation is define as secular.<ref name=":0" /> Some scholars define alasa kanya as earthly nayikas, although one of the prominent scholar, Donaldson refers alasa kanya as an Apsara, who are the semi-divine figures.<ref>{{Cite web |title=criticalcollective.in |url=https://criticalcollective.in/ArtHistoryDetail.aspx?Eid=586 |access-date=2023-04-21 |website=criticalcollective.in}}</ref>One of the earliest reference to alasa kanya isi in a 9th century manual -Shilpa Prakash.<ref name=":1" /> Alasa kanya means indolent female or maiden.<ref name=":1">{{Cite journal |last=Bawa |first=Seema |date=2002 |title=FROM ADITI /LAKSMI TO DUGDHADHARINI: A GENDERED ANALYSIS OF ICONOGRAPHY IN POST MAURYAN ART |url=https://www.jstor.org/stable/44158081 |journal=Proceedings of the Indian History Congress |volume=63 |pages=121–137 |issn=2249-1937}}</ref> |
||
== |
== Form and Postures == |
||
Alasa kanya is depicted in an erotic manner, to enchant man with their playful glances. Common posture of alasa kanya is with her hands above her head in uromandali hasta, how ever their postures changes in accordance to their position or placement in the temple. <ref>D<small>EVANGANA SCULPTURAL IMAGE STUDY PART-II - POST GUPTA MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS</small> http://dspace.hmlibrary.ac.in:8080/jspui/bitstream/123456789/1719/12/12_Chapter%206.pdf</ref><ref name=":0" />In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by Shilpa Prakasha.<ref name=":0" /> Different postures of alasa kanya is derived from alasa yantra or a magical diagram which depicts the line for varying postures.<ref>{{Cite book |last=Donaldson |first=Thomas E. |url=https://books.google.co.in/books/about/Kamadeva_s_Pleasure_Garden_Orissa.html?id=tQLWAAAAMAAJ&redir_esc=y:%20Orissa,%201987,%20pp.%20343-344 |title=Kamadeva's Pleasure Garden, Orissa |date=1987 |publisher=B.R. Publishing Corporation |isbn=978-81-7018-393-8 |language=en}}</ref> |
Alasa kanya is depicted in an erotic manner, to enchant man with their playful glances. Common posture of alasa kanya is with her hands above her head in uromandali hasta, how ever their postures changes in accordance to their position or placement in the temple. <ref>D<small>EVANGANA SCULPTURAL IMAGE STUDY PART-II - POST GUPTA MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS</small> http://dspace.hmlibrary.ac.in:8080/jspui/bitstream/123456789/1719/12/12_Chapter%206.pdf</ref><ref name=":0" />In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by Shilpa Prakasha.<ref name=":0" /> Different postures of alasa kanya is derived from alasa yantra or a magical diagram which depicts the line for varying postures.<ref>{{Cite book |last=Donaldson |first=Thomas E. |url=https://books.google.co.in/books/about/Kamadeva_s_Pleasure_Garden_Orissa.html?id=tQLWAAAAMAAJ&redir_esc=y:%20Orissa,%201987,%20pp.%20343-344 |title=Kamadeva's Pleasure Garden, Orissa |date=1987 |publisher=B.R. Publishing Corporation |isbn=978-81-7018-393-8 |language=en}}</ref> |
||
Shilpa Prakash, the historic text defines minimum sixteen forms of alasa kanya - eTorana (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 ( |
Shilpa Prakash, the historic text defines minimum sixteen forms of alasa kanya - eTorana (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). <ref>{{Cite book |last=Parida |first=Asok Nath |url=https://books.google.co.in/books/about/Early_Temples_of_Orissa.html?id=EZ5NAAAAYAAJ&redir_esc=y |title=Early Temples of Orissa: From the Sixth Century A.D. to the End of Somavamsi Rule |date=1999 |publisher=Commonwealth Publishers |isbn=978-81-7169-519-5 |language=en}}</ref> |
||
Alasa kanya depiction can also be discussed in reference to the evolution of temple architecture in Odisha. During the 8th century the female figures such as alasa kanya sculptures are placed alone inside the niches, surrounded by scrolls, the sculptures given impression of being self-absorbent with revealing any emotion and seldomly the figures jut out of their niches. Progressing to the 10th century with the development of 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. From 11th century onwards the figure becomes more beautiful and is some of the best examples of alasa kanya sculptures.As the height of the temples become double storey, the figures are placed above the eye level giving an impression that the are celestial or heavenly beings.<ref name=":0" /><ref>The Sculpture of Odisha- A Study on Women on Odishan Temple Dr. Ramakanta Bhuyan, International Journal of Innovative Studies in Sociology and Humanities (IJISSH) ISSN 2456-4931 (Online) Volume: 4 Issue: 6 | June 2019,https://ijissh.org/storage/Volume4/Issue6/IJISSH-040604.pdf</ref> |
|||
The 16 types of alasa kanya could be categorized into four groups as oer the chronology - |
|||
Revision as of 19:15, 21 April 2023
 | This article, Alasa Kanya, has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
Reviewer tools: Inform author |
Surasundari is a popular female imagery of a young maiden depicting feminine beauty and grace, there are several forms and representation of this imagery,[1] observed mainly in temple architecture from medieval period in the form of sculptures. It is believed these female representations are a dedication to devi and her characteristics. Alasa Kanya is one of the sem-divine female interpretation which adorns the temples of Odisha.[2]
History and Origin
Dominantly there are three types of female imagery in hindu temple architecture,divine semi-divine and secular. The divine Images are a portrayal of Goddesses, standing alone as well as in the for of consorts of hindu-deity - Vishnu, Brahma and Shiva. Other female depictions often seen on the temples such as apsara, sursundaris, nagis, alasa kanyas are considered to be semi-divine, they are at times also represented as attendants of of female divine figure. Apart from the divine and semi-divine , the earthly female representation is define as secular.[2] Some scholars define alasa kanya as earthly nayikas, although one of the prominent scholar, Donaldson refers alasa kanya as an Apsara, who are the semi-divine figures.[3]One of the earliest reference to alasa kanya isi in a 9th century manual -Shilpa Prakash.[4] Alasa kanya means indolent female or maiden.[4]
Form and Postures
Alasa kanya is depicted in an erotic manner, to enchant man with their playful glances. Common posture of alasa kanya is with her hands above her head in uromandali hasta, how ever their postures changes in accordance to their position or placement in the temple. [5][2]In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by Shilpa Prakasha.[2] Different postures of alasa kanya is derived from alasa yantra or a magical diagram which depicts the line for varying postures.[6]
Shilpa Prakash, the historic text defines minimum sixteen forms of alasa kanya - eTorana (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). [7]
Alasa kanya depiction can also be discussed in reference to the evolution of temple architecture in Odisha. During the 8th century the female figures such as alasa kanya sculptures are placed alone inside the niches, surrounded by scrolls, the sculptures given impression of being self-absorbent with revealing any emotion and seldomly the figures jut out of their niches. Progressing to the 10th century with the development of 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. From 11th century onwards the figure becomes more beautiful and is some of the best examples of alasa kanya sculptures.As the height of the temples become double storey, the figures are placed above the eye level giving an impression that the are celestial or heavenly beings.[2][8]
References
- ^ Bowie, Theodore Robert; Art, Indiana University Museum of (1965). Ancient Indian Sculpture and Painting. Indiana University Art Museum.
- ^ a b c d e Editor (2020-07-27). "Secular Female Imagery in Orissan Temple Architecture: the Case of Alasa Kanyas". The Chitrolekha Journal on Art and Design. Retrieved 2023-04-21.
{{cite web}}:|last=has generic name (help) - ^ "criticalcollective.in". criticalcollective.in. Retrieved 2023-04-21.
- ^ a b Bawa, Seema (2002). "FROM ADITI /LAKSMI TO DUGDHADHARINI: A GENDERED ANALYSIS OF ICONOGRAPHY IN POST MAURYAN ART". Proceedings of the Indian History Congress. 63: 121–137. ISSN 2249-1937.
- ^ DEVANGANA SCULPTURAL IMAGE STUDY PART-II - POST GUPTA MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS http://dspace.hmlibrary.ac.in:8080/jspui/bitstream/123456789/1719/12/12_Chapter%206.pdf
- ^ Donaldson, Thomas E. (1987). Kamadeva's Pleasure Garden, Orissa. B.R. Publishing Corporation. ISBN 978-81-7018-393-8.
- ^ Parida, Asok Nath (1999). Early Temples of Orissa: From the Sixth Century A.D. to the End of Somavamsi Rule. Commonwealth Publishers. ISBN 978-81-7169-519-5.
- ^ The Sculpture of Odisha- A Study on Women on Odishan Temple Dr. Ramakanta Bhuyan, International Journal of Innovative Studies in Sociology and Humanities (IJISSH) ISSN 2456-4931 (Online) Volume: 4 Issue: 6 | June 2019,https://ijissh.org/storage/Volume4/Issue6/IJISSH-040604.pdf