Contents
Foreword v
Appreciation ix
Preface xi
Acknowledgements xix
Abbreviations xx
List of Illustrations xxi
Part-I APSARA - THE DANCER
I. Introduction 3
1. Technological Advancement 4
2. Dynastic Greatness 4
3. Religious and Social Developments 5
II. General Description of the Belur Cennakesava Temple 8
The Structure of Belur Cennakesava Temple and Its Relation to the Mandala 10
III. Apsaras 15
1. Apsaras in Ancient Indian Literature 15
2. Historical and Socio-Religious Aspects of Dancers - The Patras 16
3. Sculptural Evidences in Karnataka 18
4. Textual Reference 25
IV. The Attendants of Apsaras 30
The Identification of the type of Dasi Present in the Apsara Sculptures 31
of Belur Cennakesava Temple
V. A Brief Note on the Standing Postures Commonly Observed in Apsara Sculptures 33
VI. Rasa - Sentiments 37
VII. Apsara in Srngara Rasa 39
1. Srngara Evoked in a Beautiful Place (Ramya Desa) 40
2. Srngara - Through Art (Gandharva Kala) 41
A. Stringed Instruments ('Tata' Vadyas) 43
B. Percussion Instruments (Avanaddha Vadyas) 44
C. Wind Instrument (Susira Vadya) 47
D. Metallic Instrument - Cymbals (Ghana Vadya) 47
E. Graceful Dancing Postures 48
3. Srngara in a Pleasant Time (Ramya Kala) 50
4. Srngara through Dress (Vesa Bhogadi Sevanai) 52
A. Apsara in 'Kesa £rrigara' (Hair Decoration) 53
B. Abharana Srngara (Decoration with Ornaments) 54
C. Srngara Avalokana (Admiring her Charm in a Mirror) 54
VIII. Apsara in Vira Rasa 57
IX. Apsara in Bhayanaka Rasa 59
X. Apsara in Raudra Rasa 62
XI Apsara in Adbhuta Rasa 64
XII. Apsara in Hasya Rasa 65
XIII. Apsara in Santa Rasa 68
Epilogue - Part I 69
Appendix
Musical Instruments Used by Apsara in Belur Cennakesava Temple 73


Part-II APSARA - THE PHILOSOPHER
I. Introduction 79
1. The Four States of the Soul - The 'Avasthas' 80
2. 'Gunas' - The Texture of Thoughts and Actions 81
3. Manifestation of Rajoguna in Jagrut Avastha 82
4. Analysis of Apsara Sculptures in Jagrut Avastha –
A Restless State of Mind 84
A. Ambition to Look Good 84
B. Passion 85
C. Pride and Vanity 85
D. Haste and Anxiety 86
E. Superficial Lifestyle 86
F. Fluctuating Moods (Pleasure) 86
G. Fluctuating Moods (Pain) 87
H. Scheme for Pleasure 87
I. Anger 87
J. Fear and Anger 88
II. Svapna Avastha - The Process of Transformation 89
1. Analysis of Apsara Sculptures in Svapna Avastha 89
A. A Parade of Thoughts 90
B. Manonigraha (Capturing the Mind) 91
C. Destruction of Avidya (Ignorance) and May a (Illusion) 91
2. TheKosas 92
III. Susupti Avastha - A State of Calmness 95
1. Apsara in Susupti Avastha 95
2. Manifestation of Sattvikguna in Susupti Avastha 95
3. Nadayoga 97
4. Ahata Nada - The Power of Sound 99
5. Anahata Nada - The Vibrations of Soul and Music 100
6. Control of Mind through Nada 102
7. Kundalini Chakra 103
8. The Four Stages of Sound 106
9. Depiction of the Four Stages of Nadayoga in Apsara Sculptures 110
10. Analysis of Apsara Sculptures in Susupti Avastha and the Stages 111
of Ahata Nadayoga
A. First Stage of Nadayoga - Focussing the Mind on Para Nada 111
B. Second Stage of Nadayoga - Pasyanti: 113
The Visualisation of Knowledge -Svadhyaya
C. Third Stage of Ahata Nadayoga - Madhyama: An Exploration 114
i. Tuning of the Body 114
ii. Tuning of the Mind 115
iii. Exploration of the Melody - Nadanusandhana 115
iv. Absorbing the Intricacies of Rhythm Pattern - Laya yoga 116
v. Dance - An Expression of Joy 117
D. Fourth Stage in Nadayoga - Vaikhari 119
11. Contemplation on Ahata and Anahata Sounds 119
IV. Analysis of Apsara Sculptures in Tuny a Avastha - A State of Bliss 121
Epilogue - Part II 123
Glossary of Sanskrit Terms for Part I 125
Glossary of Sanskrit Terms for Part II 129
Bibliography 133
Index 135