Garden Lady Statue (Pair)
Materials: Brown sandstone was used to create this Apsara figure (Pujarini). In Odisha, the stone variety is well-known. The statue is a work of art since we meticulously carved every last detail into it.
A lady craftsperson who devoted her life to worshipping and serving a god or a temple is portrayed by the woman in this statue. The engagement took place in a Pottukattu belief that was something like to a wedding ceremony.
These ladies were responsible for the temple’s upkeep as well as the procedures involved in making offerings. They also researched and practised classical Indian art forms including Bharatanatyam, Kuchipudi, and Odissi. They held a high social status since dance and music were integral to temple worship.
After becoming Devadasis, the women would devote their time determining sacred rites, rituals, and dances. Lady statue was supposed to live a life of celibacy, however, there have been situations of exceptions. In the eastern state of Odisha Devadasis were known colloquially as Maharis of the Jagannath temple complex.
The women who gave dancing performances inside the temple were known as Devadasis. The garden lady statue, also known as Mahari, is a reference to “those magnificent females who can control their five senses and their basic human wants and may submit themselves totally to God.” Mahari is the female who deals with God, or Mahan Nari. According to Sri Chaitanyadev, Devadasis are Sebayatas who worship God via dance and song.
The 1956 Odisha Gazette makes notice of the Devadasis dances. They had two daily routines. The Bahara Gaaunis would dance at the Sakala Dhupa. After breakfast, Lord Jagannatha will give the faithful a darshana (the devotees). The Rajaguru (the court guru) would dance close to the Garuda stambha in the centre hall while performing a Devadasi with musicians (pillar). They would just do pure dance while the audience watched.
The Bhitara Gaunis would participate in the Badashinghara, which is the main ceremony for dressing and accessorising God. Initially, Lord Jagannatha would be welcomed by male sebayatas at night while they fannied and decorated him with flowers. After they had left, a Bhitara Gaauni would enter the chamber, stand at the door (Jaya Vijaya), sing Gita Govinda songs, and maybe do a ritual dance. Once she was back outside and recognised that the Lord had slept off, the guard would then lock the main gate.
The 1956 Orissa Gazette lists nine Devadasis and eleven temple musicians. Only four Devadasis remained in existence in 1980: Harapriya, Kokilaprabha, Parashmani, and Shashimani. As of 1998, only Shashimani and Parashmani were still alive.
The daily ceremonial dance had ceased, however Shashimani and Parashmani still took part in certain of the yearly temple rituals, such as Nabakalebara, Nanda Utsava, and Duara Paka during Bahuda Jatra.
In India, a female artist is tasked with spending the remainder of her life worshipping and serving a god or a temple. These gigantic structures are admired across the world for enhancing the beauty of any area.
- The sheer prominence of these Apsara statues is mesmerizing.
- These Angel Sculptures will bring beauty to any landscape.
- In this figure, a dancing lady is standing in a devotional pose.
- The graceful look of this apsara represents beauty and devotion towards God.
- Our artisan carves this sculpture with a single block of brown sandstone, which increases the durability of this lady statues
in many folds.
- It is completely one of a kind masterpiece. Any changes are possible on a customized piece of Apsara statues, as per our Art Lover customer’s choice.
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