I bring you into the legend, the myths, and the history of these Celestial Beings Dancing with words across peoples, religions, and distant lands that meet Through beauty that speaks with hands, in silent stillness, on tiptoe
Inthe Vālmīki Rāmāyaṇa, in the Bālakāṇḍa canto, one of the epic texts of ancient India, a cosmic myth is told — the Samudra Manthan, the churning of the Ocean of Milk. It is said that Gods and Demons, though enemies by nature, temporarily allied to obtain a hidden treasure: the nectar of immortality, called Amrita. To retrieve it, they wrapped the celestial serpent Vasuki around Mount Mandara and pulled it back and forth like a rope. The mountain spun, as one does to extract butter from cream, stirring the primordial ocean.
From this cosmic chaos, many wonders emerged — Deities, gems, Celestial Beings. Among them, the Goddess of prosperity, Lakshmi, newly born, chose Vishnu as her eternal consort, embodying the union of preservation and abundance. Vishnu is one of the supreme Gods of Hinduism, the preserver and protector of the universe and of Dharma, the cosmic order. He is part of the Trimurti, the trinity that also includes Brahma, the creator, and Shiva, the destroyer.
From the Ocean of Milk also emerged Dhanvantari, the God of medicine, bearing the vessel that held the Amrita. For this, he is considered the physician of the Gods and one of Vishnu’s incarnations. There is also mention of Soma, a sacred plant from which a ritual drink was made that granted strength, inspiration, and immortality — a drink beloved by Indra, who consumed it before battle.
And yet, among all the marvels born from the Primordial Chaos, the Apsaras emerged — the most fascinating, ethereal, and radiant beings, daughters of beauty itself.
According to another myth, it is said that 120 Apsaras were created from Brahma’s eye, sent to bring harmony to the cosmos through dance. Brahma led them to the palace of Vaijayanta, in the celestial realm of Swarga, the paradise where the Devas dwell. He entrusted them to the god Indra, lord of storms, of magic, and king of the celestial deities.
The Apsaras danced to delight Indra and his consort Indrani. With their art, they kept away malevolent spirits, the Vighnas. Some texts say there were twenty-six, each representing a particular aspect of the performing arts.
In the Rigveda, the oldest of the sacred Vedic texts, the Apsaras are called Ladies of Heaven — the Svarveśyāḥ. They lived in Swarga alongside the Gandharvas, spirits of the air and divine musicians, often their consorts. Beside them, the Kinnara — mythological beings half-man and half-bird, known for their grace and musical talent. And then the Charana, wandering poets, the Vidyādhara, magical sages, fallen heroes, and virtuous Kings.
Swarga appears as an extended pantheon where virtue, music, and art coexist with divine grace. It is believed to rise above Mount Meru, the center of the universe, at the heart of the seven mythological continents called Dvipa.
According to the Śivapurāṇa, the Apsaras are a group of deities who abound in the celestial city of the Himalayas. They are seen dancing with joy, accompanied by lutes and drums, alongside the Siddhas — spiritually realized beings endowed with supernatural powers called Siddhi, obtained through meditation and ascetic discipline.
In some narratives, such as the Viṣṇu Purāṇa and the Matsya Purāṇa, it is told that the Apsaras were born from the union between the sage Kaśyapa Muni and one of his wives, giving rise to a lineage of celestial nymphs. Though born on Earth, they were led to Heaven by their father and welcomed into Swarga, the celestial realm where the Gods reside. According to other sources, they dwell on Mount Meru, the sacred center of the mythical universe. Some traditions recognize Kāmadeva, the God of Love, as their sovereign. In more recent tales, the Apsaras are associated with the gopi — the dancing companions of Krishna, incarnation of Vishnu — for their grace and devotion.
In the Brahmana, the Apsaras dwell among sacred trees, rooting themselves in nature as spirits bound to the vegetal world.
From this cosmic chaos, many wonders emerged — Deities, gems, Celestial Beings. Among them, the Goddess of prosperity, Lakshmi, newly born, chose Vishnu as her eternal consort, embodying the union of preservation and abundance. Vishnu is one of the supreme Gods of Hinduism, the preserver and protector of the universe and of Dharma, the cosmic order. He is part of the Trimurti, the trinity that also includes Brahma, the creator, and Shiva, the destroyer.
From the Ocean of Milk also emerged Dhanvantari, the God of medicine, bearing the vessel that held the Amrita. For this, he is considered the physician of the Gods and one of Vishnu’s incarnations. There is also mention of Soma, a sacred plant from which a ritual drink was made that granted strength, inspiration, and immortality — a drink beloved by Indra, who consumed it before battle.
And yet, among all the marvels born from the Primordial Chaos, the Apsaras emerged — the most fascinating, ethereal, and radiant beings, daughters of beauty itself.
According to another myth, it is said that 120 Apsaras were created from Brahma’s eye, sent to bring harmony to the cosmos through dance. Brahma led them to the palace of Vaijayanta, in the celestial realm of Swarga, the paradise where the Devas dwell. He entrusted them to the god Indra, lord of storms, of magic, and king of the celestial deities.
The Apsaras danced to delight Indra and his consort Indrani. With their art, they kept away malevolent spirits, the Vighnas. Some texts say there were twenty-six, each representing a particular aspect of the performing arts.
In the Rigveda, the oldest of the sacred Vedic texts, the Apsaras are called Ladies of Heaven — the Svarveśyāḥ. They lived in Swarga alongside the Gandharvas, spirits of the air and divine musicians, often their consorts. Beside them, the Kinnara — mythological beings half-man and half-bird, known for their grace and musical talent. And then the Charana, wandering poets, the Vidyādhara, magical sages, fallen heroes, and virtuous Kings.
Swarga appears as an extended pantheon where virtue, music, and art coexist with divine grace. It is believed to rise above Mount Meru, the center of the universe, at the heart of the seven mythological continents called Dvipa.
According to the Śivapurāṇa, the Apsaras are a group of deities who abound in the celestial city of the Himalayas. They are seen dancing with joy, accompanied by lutes and drums, alongside the Siddhas — spiritually realized beings endowed with supernatural powers called Siddhi, obtained through meditation and ascetic discipline.
In some narratives, such as the Viṣṇu Purāṇa and the Matsya Purāṇa, it is told that the Apsaras were born from the union between the sage Kaśyapa Muni and one of his wives, giving rise to a lineage of celestial nymphs. Though born on Earth, they were led to Heaven by their father and welcomed into Swarga, the celestial realm where the Gods reside. According to other sources, they dwell on Mount Meru, the sacred center of the mythical universe. Some traditions recognize Kāmadeva, the God of Love, as their sovereign. In more recent tales, the Apsaras are associated with the gopi — the dancing companions of Krishna, incarnation of Vishnu — for their grace and devotion.
In the Brahmana, the Apsaras dwell among sacred trees, rooting themselves in nature as spirits bound to the vegetal world.
12th-century sandstone apsara statue, Madhya Pradesh, India.
Image: MET DP-1062-001 — CC0 license.
The step born of water: the Apsaras and their name
Ethereal, born from vapor, she dances in the air.
There are many theories about the name Apsara. In the great epic poem Rāmāyaṇa, it is said that these Celestial Nymphs arose from the essence of the Ocean of Milk, called rasa, during its cosmic churning, known as apsu. From the union of apsu and rasa comes apsurasa, from which derives Apsara — she who emerges from the waters, incarnation of grace rising from Primordial Chaos. The Rigveda, instead, describes them as vapors or celestial mists drawn to the Sun, condensing into diaphanous and dancing forms.
There are divine Apsaras, called Daivika, born from the Samudra Manthan. But also earthly Apsaras, called Laukika, like those born from Kaśyapa and incarnated in nature. Among these are the Vṛkṣaka, considered minor Apsaras — forest spirits, mysterious guides who enchanted travelers, sometimes leading them to ruin and death.
Yet in all narratives, they are portrayed as ethereal figures, symbols of grace, beauty, and mutability — feminine beings, beautiful and supernatural. They are young and elegant, and masters in the art of dance.
Their dance is not mere art — it is a divine ritual, symbolizing joy, seduction, and cosmic harmony. They do not dance to entertain, but to maintain the order of the world. They do not follow human time or logic — they dance for what changes, for what unites.
They are also guardians of the earth’s beauty and of ancestral memory, which they honor in the eternal rhythms of the cosmos. They were associated with fertility rites. They dwell at the border between matter and spirit, body and vapor.
They are endowed with supernatural powers called prabhāva — the ability to seduce not only with beauty, but also to alter destiny, inspire art, and even interrupt ascetic penance. They excel in the arts of dance, music, and poetry. They can assume any form — human, animal, or vegetal — and often appear in the shape of a swan.
Their story, birth, and nature have made them protagonists of powerful events in ancient and sacred scriptures — figures with strong charisma and a mission, like some of the most famous Apsaras.
In the great Indian epic Mahābhārata, we find Apsaras at the center of meaningful stories. Tilottama, created to solve a difficult problem: to stop two demon brothers so powerful they could only die by killing each other. When she appears, the two brothers fall in love with her and end up destroying each other. It is a story that shows how desire can hold immense power — even the power to restore order.
In the Rāmāyaṇa, we read of the Apsara Menakā, sent by the god Indra to stop a sage named Vishvāmitra, who was meditating with such force that he threatened the balance of the celestial world. She dances and sings before him, enchants him, and interrupts his meditation to live with her. From their union is born Śakuntalā, a beloved figure in Indian literature. In this story, Menakā is not just a temptation — their tale blends love and transformation, and she becomes a woman in love.
Other texts, like the ancient Vedas and the mythological collections called Purāṇa, tell further stories. The most famous is that of the Apsara Urvasi, who falls in love with King Purūravas and agrees to live with him only on the condition that he never appears naked before her. One day, by accident, the rule is broken and Urvasi disappears into the sky. She returns to him only once a year, bears him children, but does not stay — because of that broken promise.
In another story, Urvasi seduces the warrior Arjuna, a mythical hero, third of the five Pandava brothers, conceived between Indra and Kunti, wife of Pandu. But Arjuna gently refuses her, and she becomes furious and curses him.
There are divine Apsaras, called Daivika, born from the Samudra Manthan. But also earthly Apsaras, called Laukika, like those born from Kaśyapa and incarnated in nature. Among these are the Vṛkṣaka, considered minor Apsaras — forest spirits, mysterious guides who enchanted travelers, sometimes leading them to ruin and death.
Yet in all narratives, they are portrayed as ethereal figures, symbols of grace, beauty, and mutability — feminine beings, beautiful and supernatural. They are young and elegant, and masters in the art of dance.
Their dance is not mere art — it is a divine ritual, symbolizing joy, seduction, and cosmic harmony. They do not dance to entertain, but to maintain the order of the world. They do not follow human time or logic — they dance for what changes, for what unites.
They are also guardians of the earth’s beauty and of ancestral memory, which they honor in the eternal rhythms of the cosmos. They were associated with fertility rites. They dwell at the border between matter and spirit, body and vapor.
They are endowed with supernatural powers called prabhāva — the ability to seduce not only with beauty, but also to alter destiny, inspire art, and even interrupt ascetic penance. They excel in the arts of dance, music, and poetry. They can assume any form — human, animal, or vegetal — and often appear in the shape of a swan.
Their story, birth, and nature have made them protagonists of powerful events in ancient and sacred scriptures — figures with strong charisma and a mission, like some of the most famous Apsaras.
In the great Indian epic Mahābhārata, we find Apsaras at the center of meaningful stories. Tilottama, created to solve a difficult problem: to stop two demon brothers so powerful they could only die by killing each other. When she appears, the two brothers fall in love with her and end up destroying each other. It is a story that shows how desire can hold immense power — even the power to restore order.
In the Rāmāyaṇa, we read of the Apsara Menakā, sent by the god Indra to stop a sage named Vishvāmitra, who was meditating with such force that he threatened the balance of the celestial world. She dances and sings before him, enchants him, and interrupts his meditation to live with her. From their union is born Śakuntalā, a beloved figure in Indian literature. In this story, Menakā is not just a temptation — their tale blends love and transformation, and she becomes a woman in love.
Other texts, like the ancient Vedas and the mythological collections called Purāṇa, tell further stories. The most famous is that of the Apsara Urvasi, who falls in love with King Purūravas and agrees to live with him only on the condition that he never appears naked before her. One day, by accident, the rule is broken and Urvasi disappears into the sky. She returns to him only once a year, bears him children, but does not stay — because of that broken promise.
In another story, Urvasi seduces the warrior Arjuna, a mythical hero, third of the five Pandava brothers, conceived between Indra and Kunti, wife of Pandu. But Arjuna gently refuses her, and she becomes furious and curses him.
The shared step, Apsaras, spirits, and Asian roots
Apsaras are also found in Buddhism, especially in Southeast Asia, where they emerged within local religious practices populated by spiritual beings — occupying a space somewhere between humans and gods.This led to a rich syncretism between Buddhist practice and ritual, mystical, and artistic life.
These semi-divine spiritual beings, called Devatās, often dwell in trees, river bends, or stones. They inhabit the layers of the cosmos — the afterlife, the earth, the atmosphere, and the heavens through which they move.
They marry humans, serve as emissaries between worlds, and act as guardians of the human body, sacred spaces, and hidden treasures. However, they require rituals of honor and appreciation to remain benevolent toward humans, and rituals of reconciliation to avoid offense.
For local populations, even today, the world is full of these spiritual beings — alive, active, and intimately involved in human life. From the beginning, local Buddhist practices welcomed the worship of these spirits and adapted to their presence, helping Buddhism spread throughout Asia.
In the Birth Stories known as Jātaka, which recount the Buddha’s previous lives, these celestial beings or their counterparts appear — but occupy a secondary and modest role. They are considered to exist on a plane different from humans, yet they too must submit to the cycle of life, death, and rebirth — Saṃsāra.
It is especially in East Asia and Indochina that Apsaras, through a process of syncretism, were incorporated into Buddhist iconography. We find their representations in Buddhist temples in China, Cambodia, Thailand, and Indonesia.
These celestial beings — Ten'nin — appear in the Buddhist paradise as companions of the Buddha and the Bodhisattvas. Among them are also the mythical Devatās.
Tennin, a general term for celestial beings, are mentioned in Buddhist sutras, and these descriptions form the basis for their representation in Japanese art, sculpture, and theater. Japan adopted these figures from Chinese iconography and calls them Ten'nyo 天女 — celestial nymphs. They are frequently depicted in Japanese art — in paintings and sculptures — and have inspired theatrical works as well.
In the Nō theater play Hagoromo, a Ten'nyo descends to earth and removes her feather robe, called hagoromo — from which the play takes its name. The story tells of a fisherman who spies on her and hides the robe, forcing her — unable to return to her world — to marry him. Years later, the fisherman confesses what he did, and the Ten'nyo finds her robe and returns to the sky.
In Japan, they are portrayed as women of extraordinary beauty, wearing exquisite kimonos, refined jewelry, and long scarves. They carry Asian lotus flowers — symbols of spiritual enlightenment — or play musical instruments like the biwa or flute.
But it is in Khmer culture that the Apsaras truly spread and rooted themselves in the collective imagination, gaining universal fame. In Khmer tradition, they are called Tep Apsar — where Tep means divine.
Here too, everything begins with a legend — a founding myth that tells how the people of Cambodia descend from the union between the hermit Kambu and the celestial nymph Mera, sent by Shiva. It is a myth of origin that binds dance, divinity, and national identity.
The temple of Baksei Chamkrong links the Khmer dynasty to a celestial nymph named Mera, sent by Shiva. Apsaras held particular importance in Khmer mythology during the Khmer Empire of Kambuja, whose capital is now known as Angkor.
A Khmer legend tells that King Jayavarman II, considered the founder of the Kambuja kingdom, received the realm from Indra, and that in the same moment, the Apsaras taught the people of Kambuja the art of dance. From that time on, the images of these celestial demigoddesses were carved into stone on many temple walls in Angkor.
Their bas-reliefs — like those of the Devata — are found sculpted in stone in many temples, especially at Angkor Wat, where there are about 1850 of them, all different from one another. The legendary birth of the Apsaras from the Ocean of Milk is carved into a mural at Angkor Wat.
The Apsaras — born from myth — dance in impermanence to delight gods and men. They gaze at us from the bas-reliefs of Angkor, and one might encounter them in Indonesia, China, Japan, or across Southeast Asia. But they all share a mythical trait: beautiful enough to unsettle, graceful enough to melt hearts, speaking only with their hands — that is their art.
These semi-divine spiritual beings, called Devatās, often dwell in trees, river bends, or stones. They inhabit the layers of the cosmos — the afterlife, the earth, the atmosphere, and the heavens through which they move.
They marry humans, serve as emissaries between worlds, and act as guardians of the human body, sacred spaces, and hidden treasures. However, they require rituals of honor and appreciation to remain benevolent toward humans, and rituals of reconciliation to avoid offense.
For local populations, even today, the world is full of these spiritual beings — alive, active, and intimately involved in human life. From the beginning, local Buddhist practices welcomed the worship of these spirits and adapted to their presence, helping Buddhism spread throughout Asia.
In the Birth Stories known as Jātaka, which recount the Buddha’s previous lives, these celestial beings or their counterparts appear — but occupy a secondary and modest role. They are considered to exist on a plane different from humans, yet they too must submit to the cycle of life, death, and rebirth — Saṃsāra.
It is especially in East Asia and Indochina that Apsaras, through a process of syncretism, were incorporated into Buddhist iconography. We find their representations in Buddhist temples in China, Cambodia, Thailand, and Indonesia.
These celestial beings — Ten'nin — appear in the Buddhist paradise as companions of the Buddha and the Bodhisattvas. Among them are also the mythical Devatās.
Tennin, a general term for celestial beings, are mentioned in Buddhist sutras, and these descriptions form the basis for their representation in Japanese art, sculpture, and theater. Japan adopted these figures from Chinese iconography and calls them Ten'nyo 天女 — celestial nymphs. They are frequently depicted in Japanese art — in paintings and sculptures — and have inspired theatrical works as well.
In the Nō theater play Hagoromo, a Ten'nyo descends to earth and removes her feather robe, called hagoromo — from which the play takes its name. The story tells of a fisherman who spies on her and hides the robe, forcing her — unable to return to her world — to marry him. Years later, the fisherman confesses what he did, and the Ten'nyo finds her robe and returns to the sky.
In Japan, they are portrayed as women of extraordinary beauty, wearing exquisite kimonos, refined jewelry, and long scarves. They carry Asian lotus flowers — symbols of spiritual enlightenment — or play musical instruments like the biwa or flute.
But it is in Khmer culture that the Apsaras truly spread and rooted themselves in the collective imagination, gaining universal fame. In Khmer tradition, they are called Tep Apsar — where Tep means divine.
Here too, everything begins with a legend — a founding myth that tells how the people of Cambodia descend from the union between the hermit Kambu and the celestial nymph Mera, sent by Shiva. It is a myth of origin that binds dance, divinity, and national identity.
The temple of Baksei Chamkrong links the Khmer dynasty to a celestial nymph named Mera, sent by Shiva. Apsaras held particular importance in Khmer mythology during the Khmer Empire of Kambuja, whose capital is now known as Angkor.
A Khmer legend tells that King Jayavarman II, considered the founder of the Kambuja kingdom, received the realm from Indra, and that in the same moment, the Apsaras taught the people of Kambuja the art of dance. From that time on, the images of these celestial demigoddesses were carved into stone on many temple walls in Angkor.
Their bas-reliefs — like those of the Devata — are found sculpted in stone in many temples, especially at Angkor Wat, where there are about 1850 of them, all different from one another. The legendary birth of the Apsaras from the Ocean of Milk is carved into a mural at Angkor Wat.
The Apsaras — born from myth — dance in impermanence to delight gods and men. They gaze at us from the bas-reliefs of Angkor, and one might encounter them in Indonesia, China, Japan, or across Southeast Asia. But they all share a mythical trait: beautiful enough to unsettle, graceful enough to melt hearts, speaking only with their hands — that is their art.
The shared step, Apsaras, spirits, and Asian roots
Apsaras do not end where the story ends. They continue to dance in the eyes of those who contemplate them, in the gesture of those who seek, in the silence that speaks louder than words. And perhaps, somewhere in the world, they are dancing still.
Return to the Apsara Gallery
