Alasa Kanya

Alasa Kanya (Sanskrit: अलसकन्या, romanized: Alasakanyā) is a form of Surasundari in Indian iconography, which portrays an indolent female or maiden.^[1][2] 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 Devi and her characteristics. Several such forms adorn the temples of Odisha.^[3]

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 Vishnu, Brahma and Shiva. Other female depictions often seen on the temples such as Apsara 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.^[3] 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.^[4] One of the earliest reference to Alasa Kanya is in a 9th-century manual Shilpa Prakasha.^[1]

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, however their postures change in accordance to their position or placement in the temple.^[5] In some instances alasa kanya figures are standing together in a row, this is referred as Nari Bandhan by Shilpa Prakasha.^[3] 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: Torana (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 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.^[3][8]

The sixteen types of Alasa Kanya mentioned in the text of Shilpa Prakasha is described below^[3]

• Rajarani Temple
• Konark Sun Temple