The first Prakasha or section of the Indian text Shilpaprakasha, a treatise on architecture and sculpting talks about a popular element in Indian temple art- beauteous young women, in different postures and forms adorning the walls and other parts of the sanctum with their grace. These enchanting maidens are called “Alasya Kanya” or idle women, a name derived from their laid-back attitude and bodily posture in which their allure is best displayed by the sculptor.
According to the Shilpaprakasha- “As a Vaasa (home) and Kreeda (playfulness) is incomplete without the presence of a young woman, so is art without the imagery of the feminine, fruitless and devoid of pleasure.” The numbers of Alasya Kanya are 16 or 32 or even more, but the essence of these stunning female icons is one- the artistic exaltation of fertility and auspiciousness possessed by women.
One of the most recurring motifs from the Alasya Kanya retinue is the lady with a mirror, also known as Darpana- she who holds a darpana or mirror. This Panchaloha bronze Darpana statue depicts a young maiden engrossed in gazing at her beauty, which can mesmerize humans, gods, Yakshas, and Gandharvas (celestial beings).
The lady with the mirror stands on an inverted lotus pedestal, wearing delicate ornaments and fine clothes that cling to her body. Her slightly bent left knee suggests a relaxed mood- of contemplation over the charms of her exquisiteness. The high-raised side bun of this bronze Darpana statue holds back her hair, to help us relish the angelic beauty of her girlish countenance.
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