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Kinnaras and Kinnaris in South and South East Asian Art

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 Kinnaras and Kinnaris in South and South East Asian Art

Akhil K. N* and Preeta Nayar

Department of Archaeology
University of Kerala, Kariavattom, Thiruvananthapuram 695 581
Kerala, India
Phone: 96564663928*, 9495626707
E-mail: [email protected]*, [email protected]

Abstract
Kinnaras and Kinnaris (the female counterpart) are musically talented semi divine celestial
beings. They have been referred to in Hindu and Buddhist mythologies. In
Mahabharata, Kinnaras are described as living in Mount Mandara, and as per Buddhist
mythology, they are believed to have come from the Himalayas to watch over the well-being of
humans in times of trouble or danger. Kinnara is described to have a body of half-man and half-
horse or half-man and half-bird. Kinnari is described as half-woman and half-bird. Kinnaras
and Kinnaris have been depicted in sculptures and murals throughout South and South East
Asian *countries. Kinnaras are referred to in scriptures as having the hybrid form of horse and
human, but in iconography, kinnaras are usually shown as half-man and half -bird, though
there are exceptions. The paper discusses the conceptual and concrete representations of
kinnaras and kinnaris in South and Southeast Asian countries.

Keywords: Kinnaras, Kinnaris, Buddhist mythology, Iconography, South East Asia

Introduction
Indian mythology speaks about many strange creatures having unique physical
features. These strange creatures are a combination of various animals or birds, and
sometimes, it includes parts of human body. Indian literature mainly uses two terms,
vyaala and ihaamṛga, to define hybrid creatures. The puranas have extensively provided
the idea of these composite creatures, which resulted in the creation of a large number
of vyaala or ihaamṛga such as gajaanana (elephant-faced), hayaanana (horse-faced),
siṁhaanana (lion-faced), vyaaghraanana (tiger-faced), mṛgendravadana (lion-faced),
makaranana (crocodile-faced), ashvamukha (horse-faced) and others. The early Indian art
depicts a large number of composite creatures having the body or head of a being
joined with the body parts of another being (Sharma, 2015).

Kinnaras or kimnaris are hybrid demi Gods who sing, dance and play musical
instruments in Heaven. These demi Gods are either shown as a human with the head
of a horse or leg of a bird. The Sanskrit meaning of kinnaras justifiably is: ‘what
human?’. Kinnaris are the female counter part of kinnaras. They are renowned for their
dance, song and poetry (Rao, 2003). They are mentioned in most of the ancient Indian
literature and are depicted in pictures and sculptures throughout South and South East
Asian countries.
 Akhil and Preeta Nayar 2022: 172-182

Kinnaras in Hindu Literature

According to Manusmriti, kinnaras are said to be created by one of the ten Prajapatis.
The epic Mahabharata gives an iconographic description of kinnaras. It describes kinnaras
as half-man and half-horse and their character is specified in Adi parva of the epic.
Bhagavad-Gita states that kinnaras are a kind of demi-God who play musical instrument
and sing with Gandharvas. Regarding the origin of kinnaras, Puranas say that they were
born out of the thumb of Lord Brahma. Certain Puranas also mention that they are the
children of sage Kashyapa. According to Agnipurana (chapter 51), kinnaras are a sect of
devas who hold veena in their hands. In Sanskrit dictionaries, Kinnaras are mentioned as
sons of Aswamukhas talented in dance and music (Hiemstra, n.d.).

Kinnaras in Buddhist Literature

In Buddhism, kinnaras are classified under the ‘lower Gods’ whose function is to attend
on Buddha and Bodhisattvas. According to Maha Prajnaparamita sastra (chapter XV),
kinnaras are divine artists who play music for Gods. Their residence is on the Ten Jewel
Mountain (Hiemstra, n.d.). Jataka stories describe kinnaras as innocent harmless
creatures like birds who are fond of music. Their dresses are made of flower and they
feed on pollen. They bath in streams, swing in creepers and sleep on flower beds.
Kinnaras play on lute (veena) and kinnari plays cymbals.

Hindu Mythology of Kinnaras

According to Hindu mythology, Gandharvas and kinnaras form the orchestra at the
banquets of Gods. In Shivapurana, they are described as the attendants of Kubera and
are represented either with horse body and human head or vice-versa. In Hindu
tradition, kinnaras are believed to be the inhabitants of Himalayan region. Mahabharata
and Puranas mention region north to Himalaya as the abode of a tribal people called
Kambojas who are skilled in horse ride and horse warfare. The myth of Kinnara
probably came from these horse man (Hiemstra, n.d.).

Buddhist Mythology of Kinnaras

According to Buddhist mythology, kinnaras are the inhabitants of Himalayas who
watch over the well-being of humans. They are the musical accompaniments of apsaras
on pipes. Chanda-Kinnara Jataka refers to kinnaras as the incarnation of Buddha. In
Chanda-Kinnara Jataka, it is said that Bodhisatva was born as a kinnara prince named
Chandaka who lived in the Himalayas with his wife. Once they came down the
Himalayas to play in a stream. Unfortunately, Chandaka was shot down by a king
since he fell in love with Chandaka’s wife. Chandaka’s wife cried out loud, begging
God to save her husband. By the cry of her pain, the throne of Lord Indra became
unbearably hot. So, Indra approached them as a brahmin and sprinkled water on
Chandaka to save his life. Indra then advised them not to come down the mountain
and they followed his advice (Bewer, n.d.).

There are a few more Jataka stories regarding kinnaras. One of them is that the kinnaras
were caught, put into cages and presented to the kings for their delight. Another story
is about a kinnara nursing a baby, whose parents went to woods. One of the Jataka

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stories mentions the autobiography of a kinnara who describes himself as human-like

(Panchamukhi, 1951).

Iconographic Features of Kinnaras and Kinnaris

Kinnara figure usually has a human body with head of a horse (India) or with wings
and legs of a bird (South East Asia). It has one head, two eyes and two arms.
Sometimes the figure is shown as holding a lute. Kinnara’s ornaments are necklace
(stanahara), garland (mala) or necklace up to waist, jeweled girdle (ratna-avyanga), loin
cloth (kaupin or chitravastra), armlet (angada), bracelet (kankana), wristlet and anklet
(Bunce, 2000) (Fig.1).

Fig.1. Kinnara from Kailashnath temple,

Kanchipuram.
(Courtesy: Shruti Chakraborty)

Kinnaras in Ancient Indian Buddhist Art

The earliest evidence of kinnara in India is a fragmentary panel of Gandharan style
belonging to 4th century BCE. The panel represents worship of a stupa by two suparas
and five kinnaras. Of the five kinnaras, two on the right and one on the left hold boxes
filled with flowers and the last two on the left hold brooms. Ancient sculptures of
Sanchi, Barhut, Amaravati, Nagarjunakonda, Mathura and the paintings of Ajanta
depict kinnaras. In Buddhist art, the kinnaras are represented as half-bird half-human
creatures flanking the stupa, holding a garland or tray or both. The offering scene of
kinnaras is the feature of early Indian Buddhist art. In Ajanta painting of cave-I, kinnara
is shown as playing a short necked veena (Panchamukhi, 1951).

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Kinnaras in Ancient Indian Hindu Art

Most of the Hindu dynasties such as Guptas, Pallavas, Cholas and Palas have depicted
kinnaras in their art. Kinnaras depicted on the ‘Descent of Ganga’ in Mahabalipuram are
half-bird half-human beings. Of the four figures, two are kinnaras and two are kinnaris.
Both kinnaras are holding veena/zither and are probably singing or praising the event.
The kinnaris are accompanying the males with cymbals (Figs.2&3). The kinnari at
Avantipur temple in Kashmir is interestingly carved like a bird having a human head
with projecting breasts (Fig.4). After 10th century the main characteristic of kinnara
happened to be an extremely decorated tail. A few examples of this are seen in
Vaidyanadeswara temple in Talakad (Fig.5&8) and in sculptures of the Palas (Fig.6).
The kinnari on the fresco at Kailasanatha temple in Kanchipuram plays a flute and is
accompanied by a kinnara (Fig.7).

Fig.2. Kinnara couple I, Fig.3. Kinnara Couple II, Fig.4. Kinnari, Avantipur
Mamallapuram, 8th century Mamallapuram, 8th century CE temple, Kashmir, 9th century
CE (Courtesy: Indian Columbus 2021) CE
(Courtesy: Richard Mortal 2017) (Courtesy: Bharani B.P.)

Fig.5. Kinnaras, Vaidhyanatheswara Fig.6. Kinnara, 11th Fig.7. Kinnara fresco, Kailasanatha
temple, Talakad, 14th century CE century CE, Pala period temple, Kanchipuram
(Courtesy: Nageswara Rao) (Courtesy: Dina (Courtesy: Dinodia)
Bangdel)

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Fig.8. Kinnaras, Vaidhyanatheswara temple, Talakad, 14th century CE.

(Courtesy: Nageswara Rao)

Kinnara in the Art of South East Asian Countries

Buddhism is believed to have entered the South East Asian countries by the Buddhist
missionaries and through trades with India, China and Sri Lanka. By 5 th century,
Buddhism spread to Myanmar and Thailand and by 13th century, the Theravada
Buddhist school became the dominant tradition of South East Asian countries.
Through the transmission of Buddhism, the concept and form of kinnaras also flowed
to the South East Asian countries. Kinnaras are more popular and more frequently
depicted in these countries. They are often seen depicted in wood, stone, bronze and
murals (Tibetan Buddhist Encyclopedia.com).

Kinnara in the Art of Tibet

Tibetan art is mostly oriented towards Buddhism and it is largely influenced by the
Pala art in India. In Tibet, the kinnaras are known as shang-shang or miamchi. They are
believed to be the inhabitants of Himalayan region. Interestingly Shang, the Tibetan
name of kinnara, came from a cymbal like ritualistic instrument played in Himalayan
region. According to Tibetan Buddhism, kinnaras are celestial musicians usually
depicted with cymbals and they symbolize enlightened activity. In Nispannayogavali,
the kinnara king is reddish-white in colour and is engaged in playing on the musical
instrument vina. In Tibet, the kinnaras are most often seen in bronze and their main
characteristic is extended tail with elaborated decoration (Figs. 9,10 &11). Their upper
body is human like and lower body is like bird and their wings are shown attached
with the tail (Hiemstra n.d.) (Tibetan Buddhist Encyclopedia.com).

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Fig. 9. Kinnari, 13th -14th century Fig. 10. Kinnara, 14th-15th century Fig.11. Kinnari, 15th century
CE, Tibet, gilt bronze, Yale CE, Tibet, gilt copper CE, Tibet, gilt copper
University Art Gallery (USA) (Courtesy: Piguet)

Kinnara in the Art of Myanmar

Kinnaras came to Myanmar with the spread of Buddhism. According to Burmese
mythology, kinnaras are benevolent spirits who protect humans in times of danger.
Here masculine one is called keinnaya or kinnaya and feminine keinnayi or kinnayi. In
Burmese Buddhism, kinnaras are one of the 108 past animal lives of Buddha and one of
the 108 symbols on the footprints of Buddha. In Myanmar, kinnaras are frequently seen
on murals (Fig.12&13). The earliest representation of kinnara in Myanmar is the six
mural panels from Abeyadana temple, Pagan of 11th century CE. The theme is the
famous kinnaya tale from the Mahawhsathauminga jataka. Stone carving of kinnara is seen
at Kyauk-ku-umin temple, Bagan. The main feature of Burmese kinnara is that the half-
bird half-human creature has its wings on their back, as part of the human half
(Figs.14&15). Even today the kinnara motifs are a part of Burmese people. They
decorate Pagodas and greeting cards sent to married couples with kinnara motifs (Moree
and San San Maw 1995) (Tibetan Buddhist Encyclopedia.com.)

Fig.12. Kinnara. Mural, Fig.13. Kinnara. Fig.14. Kinnara, corner Fig.15. Kinnara,
12th century CE, Mural, Payathun zu piece wooden Monk’s wooden
Lemyethna temple, temple, Myanmar sculpture, 18th century preaching chair,18th
Myanmar 13th century CE CE century CE,
(Courtesy: Benoy K. Behl (Courtesy: Moree and (Courtesy: Moree and Mandalay Palace
2004) San San Maw 1995) San San Maw 1995) Museum (Courtesy:
Moree and San San
Maw 1995)

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Syncretism in Sculptural Art of South and South East Asia 2022

Kinnara in the Art of Thailand

Thai art was influenced by the direct contact of Indian traders which led to the
development of Buddhist and Hindu art inspired by Indian traditions. According to
Thai tradition, kinnari is half-celestial dancer and half-celestial swan (hong). In
Thailand, the male one is called kinnon and female one kinnaree. They are frequently
seen on murals, framed paintings, ornamental door panels, ceramics and window
shudders. Kinnaree is more famous in Thailand and she is depicted as a young princess
having human form above waist and bird form below waist. She symbolizes divine
love and care. The most famous kinnaree is Manora, a heroine in one of the stories
contained in Pannas Jataka. The main characteristic feature of kinnaras in Thailand is
they are not represented as a character in a particular story. While comparing with the
kinnaras of other South East Asian countries, the wings of kinnaras in plastic art in
Thailand are less decorated (Figs. 16-20). In Thai paintings, the kinnaras have more
decorated tails (Tibetan Buddhist Encyclopedia.com, n.d.) (Pakditawan, 2015)

Fig.16. Kinnara musician, Stucco Fig.17. Kinnari dancer, Fig.18. Covered ceramic with
7-8th century CE Mono stucco relief, 11th Kinnari,18th century CE
Phra Pathom Chedi National century CE National Museum, Bangkok.
Museum, Nakhon Pathom, (Courtesy: Jukka O.
Thailand Miettinen)

Fig.19. Kinnara and kinnari in mythical Hymavata, paper Fig.20. Kinnari, paper painting of
painting, early 20th century CE, British
19th century CE, British library. Museum.

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Kinnara in the Art of Cambodia

In Cambodia, kinnara is called kener and kinnari as kinnari only. The concept and form
of kinnaras are the same as that of the other South East Asian countries. The kinnaris are
often depicted in Cambodian art and literature rather than kinnara and they are
considered as the symbol of beauty (Fig.21). The kinnara image seen on the 7th century
CE temples of Sambor Prey Kuk is considered as one of the earliest depictions of
kinnara in Cambodian art. A few images of dancing kinnara couples have been carved
in Angkor Wat temple of 12th century CE. But in post Angkor architectures, kinnaras are
often seen as carved figures in supporting columns (Gail, 2012) (Tibetan Buddhist
Encyclopedia).

Fig.21. Kinnara with hybrid garland, Angkor Wat temple, Cambodia, 12th century CE (Gail 2012)

Fig.22. Kinnaras from Candi Borobudur Magelang Temple Indonesia,

(Courtesy: Gunawan Kartapranata

Kinnara in the Art of Indonesia

Similar to other South East Asian countries, the Indonesian art has been influenced by
the Indian art and culture since 1st century CE by the spread of both Hinduism and
Buddhism. Kinnaras’ nomenclature in Indonesia is same as that of Indian context. The
images of kinnaras are found in Kalasan, Sewu, Sari, Borobudur, Mendut, Pawon,
Prambanan and other temples (Figs.22-23).

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The main feature of kinnaras in Indonesia is that they are seen either as human in upper
part and bird in lower part or as birds’ head replaced with human head. They are
usually depicted as guarding the divine tree kalpavriksha. Unlike other South East Asian
countries, in Indonesia kinnaras are seen in both Hindu as well as Buddhist temples
(Tibetan Buddhist Encyclopedia.com, n.d.).

Fig.23. Kinnara, Kinnari, Apsara, and Devata guarding Kalpataru, Fig.24. Kinnaras on the wall of
8th century CE, Pawon temple, Java, Indonesia Prambanan Hindu temple, Java
(Courtesy: Gryffindor) Island, Indonesia
(Courtesy: A. Bhikkhu)

Fig.25. Kinnara dance scene Greek Harpy, 500 BCE; British

(Courtesy: Dryn Nakhuda 2007) Museum (Courtesy: Hirmer
Fotoarchiv)

Kinnara- Kinnari dance

The dance of kinnara couple is famous all over the South East Asian countries. The
theme is the love between Buddha and kinnara prince Manora. The most famous one is
the Burmese kinnara-kinnari dance (Fig.25). Kinnara dance is known in different names
in these countries. The southern Thai traditions relate to a dance drama known as nora
or manora where the performer is dressed like a bird. The story is inspired by the story
of Manora. Thai-Yai bird dance in Thailand is a kinnara-kinnari dance of the Shan people
(Igunma 2020). Robam Kenorei or Robam Kenor is a traditional dance wherein kinnara
couples dance in a lotus pond. It is usually performed in Royal Ballet of Cambodia
(Gail, 2012).

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Conclusion
Kinnaras and kinnaris are celestial musicians in Hindu as well as Buddhist mythology.
Iconographically they are described as having hybrid form with horse and human
features or bird and human features. But in art, they are generally depicted as birds
with the head of man or maiden. In India, kinnaras first appeared in Buddhist art, the
Gandharan sculptures. The Gandharan depiction of kinnaras is similar to the
“Greek/Roman Harpies”- the half-human and half-bird personification of storm wind.
Probably, the Indian kinnaras were inspired from the Greek/Roman Harpies. Except the
figure of horse headed Kinnara from Bodhgaya, all other Buddhist depictions of
kinnaras show them in half bird-half man form. Even though the Hindu texts prescribe
half human-half horse form for kinnara, in Hindu temples they are usually shown as
half bird-half human. That may be probably because of Buddhist influence.

The concept and form of kinnaras and kinnari reached South East Asian countries with
the transmission of Buddhism from India to these countries. They are seen in
sculptures and murals as decorations, as single or as couples and as part of narrations.
In Burmese temples, kinnaris are most often seen in murals. In Thailand and
Cambodia, the figures of kinnars are often used as decorations in temples. In Java
in Indonesia, they are depicted as guarding the divine tree kalpatar (kalpavriksha).
Kinnaras are much more popular in the South East Asian counties than in India. This is
evident from the number of sculptures and the adaptation of kinnaras to performing
arts in these countries.

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