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with revealing any emotion and seldomly the figures jut out of their niches. 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. 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 they are celestial or heavenly beings.
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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
124:
and
Surasundari are considered to be semi-divine. They are at times also represented as attendants of female divine figure. Apart from the divine and semi-divine, the earthly female representation is define as secular. Some scholars define Alasa Kanya as earthly
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Manini is also adorned with jewellery along with fine draperies. Her left hand touches the lower and the other hand is raised, which also believed to depict pride. Her eyes are just slightly open and the mouth is ajar, while lower lip expressing lasya bhava.
64:, which portrays an indolent female or maiden. There are several forms and representation of this imagery, observed mainly in temple architecture from medieval period in the form of sculptures. It is believed these female representations are a dedication to
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One of the most widely depicted alasa kanya, holding amirron in one hand and admiring her beauty with her hair in the front. The mirror can be placed in any of the hands, as per the artist. This figure is seen in bellur and
Khajuro too.
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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
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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 with
145:, however their postures change in accordance to their position or placement in the temple. In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by
129:, although one of the prominent scholar, Donaldson refers Alasa Kanya as an Apsara, who are the semi-divine figures. One of the earliest reference to Alasa Kanya is in a 9th-century manual
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The maiden is in a meditative mood with her hand in karakacchapika mudra, in the shape of an oyster and the other hand is in japa naysa, as if chanting god's name.
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Torana means a gateway, generally in case of the temples. As the name suggests the alasa kanya form arch arch or a gateway by joining her hands above her head.
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The alasya kanya is holding tip of a branch with her right hand and the other end of the branch with left. The origin of this figure could be ashoka dahoda
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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
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She is the sole musician in the group of 16, shown to be playing an instrument and her facial features depict as she is lost in music.
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The maiden has a beautiful body and is bending down on her left to tie or untie her anklet, holding a lotus bud in the right hand.
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The posture is same as matrmurti, in this case she holds a fly wishk instead of a chinf and holds her drapery with other hand.
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The alasya is standing cross legged holding a ketaki flower and has wide hips. The figure is considered to be auspicious.
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She is portrayed as a female adorned with jewellery with her right hand in naga mudra and left is resting on her hips.
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She is the most beautiful, holding a lotus in her left hand and bending towards it, while her hands rest on her hips.
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DEVANGANA SCULPTURAL IMAGE STUDY PART-II - POST GUPTA MEDIEVAL DEVANGANAS : THEIR INDIVIDUAL MOTIF ANALYSIS
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The left hand holds a baby and the right rests on her hips. This image is a depiction of fertility cult.
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432:"From Aditi /Laksmi to Dugdhadharini: A Gendered Analysis of Iconography in Post Mauryan Art"
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She represents a celestial dancer with her legs crossed and body swaying in a dance form.
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She is shown from her backside, standing with a virile attitude and her legs crossed.
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Shukasarika form of alasa kanaya with a parrot in Vaital Deul, temple, Bhubaneswar.
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Early
Temples of Orissa: From the Sixth Century A.D. to the End of Somavamsi Rule
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496:"Secular Female Imagery in Orissan Temple Architecture: the Case of Alasa Kanyas"
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The maiden is adorned with a parrot which could be replaced with a maina.
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temple, Bhubaneshwar, from 11th century depicting an alasa kanya.
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Bowie, Theodore Robert; Art, Indiana
University Museum of (1965).
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or a magical diagram which depicts the line for varying postures.
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and her characteristics. Several such forms adorn the temples of
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120:. Other female depictions often seen on the temples such as
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https://ijissh.org/storage/Volume4/Issue6/IJISSH-040604.pdf
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The sixteen types of Alasa Kanya mentioned in the text of
149:. Different postures of Alasa Kanya is derived from Alasa
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25:Alasa kanya in a niche, in Vaital Deul temple,
84:Alasa Kanya in Raja Rani Temple, Bhubaneswar
436:Proceedings of the Indian History Congress
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500:The Chitrolekha Journal on Art and Design
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16:Female sculptural form on Indian temples
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561:Kamadeva's Pleasure Garden, Orissa
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175:(pulling down a branch of tree),
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564:. B.R. Publishing Corporation.
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558:Donaldson, Thomas E. (1987).
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211:(One playing with a parrot),
203:(the one who hides herself),
187:(thoughtful and meditative),
29:, constructed in 8th century.
632:Cultural depictions of women
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591:. Commonwealth Publishers.
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199:(one holding a fly whisk),
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585:Parida, Asok Nath (1999).
215:(one wearing anklets) and
195:(the mother with child ),
191:(wearing ketaki blossom),
637:Hindu temple architecture
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522:"criticalcollective.in"
167:(innocent and simple),
163:(one forming an arch),
179:(smelling the lotus),
171:(resentful offended),
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526:criticalcollective.in
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430:Bawa, Seema (2002).
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647:Indian iconography
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76:History and origin
62:Indian iconography
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652:Hindu iconography
598:978-81-7169-519-5
571:978-81-7018-393-8
408:Konark Sun Temple
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137:Form and postures
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442:: 121–137.
376:Nupurpadika
366:Shukasarika
285:Padmagandha
219:(drummer).
213:Nupurpadika
209:Shukasarika
177:Padmagandha
58:Surasundari
34:Alasa Kanya
27:Bhubaneswar
626:Categories
414:References
207:(dancer),
173:Dalamalika
53:Alasakanyā
448:2249-1937
326:Matrmurti
275:Dalmalika
193:Matrmurti
47:romanized
531:21 April
506:21 April
456:44158081
397:See also
346:Gunthana
306:Vinayasa
201:Gunthana
101:Rajarani
42:अलसकन्या
38:Sanskrit
386:Mardala
356:Nartaki
295:Darpana
217:Mardala
205:Nartaki
197:Chamara
185:Vinyasa
181:Darpana
127:Nayikas
49::
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568:
454:
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336:Camara
264:Manini
254:Mugdha
244:Torana
169:Manini
165:Mugdha
161:Torana
151:Yantra
122:Apsara
114:Brahma
110:Vishnu
70:Odisha
612:2019,
452:JSTOR
227:Types
118:Shiva
593:ISBN
566:ISBN
533:2023
508:2023
444:ISSN
116:and
66:Devi
60:in
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36:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
