Sukanasa - Revision history

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[[File:Pattadakal si1479.jpg|thumb|Sukanasa with [[Shiva Nataraja]], Jambulinga Temple, [[Pattadakal]].<ref>Michell, 105</ref>]]
In [[Hindu temple architecture]] a '''sukanasa''' ({{lang-sa|शुकनास}}, [[IAST]]: śukanāsa) or '''sukanasi''' is an external ornamented feature over the entrance to the [[garbhagriha]] or inner shrine. It sits on the face of the [[sikhara]] tower (in South India, the [[Vimana (architectural feature)|vimana]]) as a sort of [[antefix]].<ref>Kramrisch, 240–241</ref> The forms of the sukanasa can vary considerably, but it normally has a vertical face, very often in the form of a large [[gavaksha]] or "window" motif, with an ornamental frame above and to the sides, forming a roughly triangular shape.<ref>Harle, 140</ref> In discussing temples in [[Karnataka]] local authors tend to use "sukanasi" (the preferred form in these cases) as a term for the whole structure of the [[antarala]] or ante-chamber from the floor to the top of the sukanasa roof above.<ref>Krishna Murthy</ref>

It often contains an image of the deity to whom the temple is dedicated inside this frame, or other figurative subjects. The vertical face may be the termination of a horizontally-projecting structure of the same shape,<ref>Harle, 147</ref> especially in temples with an [[antarala]] or ante-chamber between the [[mandapa]] or public worship hall and the garbhagriha. In these cases the projection is over the antarala.<ref>Hardy, 34</ref> Some temples have large gavaksha motifs, in effect sukanasas, on all four faces of the shikara, and there may be two tiers of sukanasa going up the tower. Sukasanas are also often found in [[Jain]] temples.<ref>Krishna Murthy</ref>
[[File:Hoysala crest on sukanasi in Kedareshvara temple at Balligavi (cropped).JPG|thumb|right|[[Hoysala]] crest of warrior fighting a lion, on the roof of the sukanasa projection, [[Kedareshvara Temple, Balligavi]]]]

The name strictly means "parrot's beak", and is often referred to as the "nose" of the temple superstructure, as part of the understanding of the temple as representing in its various parts the anatomy of the deity.<ref>Kramrisch, 240</ref> Various early texts set out proportions for the shape of the sukasana, centred on a circular gavaksha, and its size in proportion to the rest of the temple, especially the height of the shikara. They vary and in any case are not always followed.<ref>Kramrisch, 240–242</ref>

Especially in the south, the sukanasa may be topped by a [[kirtimukha]] head, the open-mouthed monster swallowing or vomiting the rest of the motif below.<ref>Kramrisch, 241</ref> As with the gavaksha, the motif represents a window through which the light of the deity shines out across the world.<ref>Kramrisch, 241</ref>

==History==
The sukanasa appears to develop from later forms of the large "chaitya arch" on the outside facade of [[Buddhist]] [[chaitya]] halls. Initially these were a large practical window admitting light to the interior, and reflecting the shape of the curved internal roof, based on timber and thatch predecessors. Later, these large motifs developed into a setting for sculpture that was largely "blind" or not actually an opening in the wall. Both phases now only survive in rock-cut "cave temples" at sites such as the [[Ajanta Caves]], where the first type can be seen at Caves 9, 10, 19, and 26, and [[Ellora]], where Cave 10 shows the second type.

According to [[Adam Hardy]], "possibly the first use of a sukanasa in a Dravida temple" is the [[Parvati temple, Sandur]] (7–8th century), using his terminology where "Karnataka Dravida" architecture is treated as a form of [[Dravidian architecture]]; others describe this as [[Badami Chalukya architecture]] or similar terms.<ref>Hardy, 74–75</ref>

In [[Hoysala architecture]], the sukanasa is typically brought forward over an antarala, and the royal emblem of the [[Hoysala Empire]], the mythical founder Sala stabbing a lion (according to the legend a tiger, but the two are not distinguished in [[Indian art]]), often stands over the barrel roof as sculpture in the round.<ref>Foekema, 22</ref> Among other places, this can be seen at the [[Bucesvara Temple, Koravangala]], both temples at the [[Nageshvara-Chennakeshava Temple complex, Mosale]], and the [[Kedareshvara Temple, Balligavi]].<ref>Harle, 257</ref>

<gallery widths="200px" heights="200px">
File:Shrine Wall Sculpture at Bucesvara Temple at Koravangala.jpg|[[Bucesvara Temple, Koravangala]] from the side. Projecting sukanasa with free-standing sculpture on the top of the Hoysala emblem.
File:Big Temple Thanjavur.jpg|[[Brihadisvara Temple]], [[Thanjavur]]
File:Pattadkallu04 (cropped).jpg|The partly dismantled [[Pattadakal#Galaganatha Temple|Galaganatha Temple, Pattadakal]], where the antefix stones of the sukanasa are missing.
File:Mukteswar Temple, stone work.jpg|[[Mukteshvara Temple, Bhubaneswar|Mukteswar Temple]], [[Bhubaneswar]], with [[kirtimukha]]
Image:Khajuraho3.jpg|[[Latina (architecture)|Latina]] shikhara of [[Adinatha temple, Khajuraho]], with very elaborate sukanasa.
</gallery>

==Notes==
{{Reflist|20em}}

==References==
{{commonscat}}
* Foekema, Gerard, ''A Complete Guide to Hoysala Temples'', Abhinav, 1996 {{ISBN|81-7017-345-0}}, [https://books.google.com/books?id=puhKEqJpElEC&printsec=frontcover google books]
* [[Adam Hardy|Hardy, Adam]], ''Indian Temple Architecture: Form and Transformation : the Karṇāṭa Drāviḍa Tradition, 7th to 13th Centuries'', 1995, Abhinav Publications, {{ISBN|8170173124}}, 9788170173120, [https://books.google.com/books?id=aU0hCAS2-08C&pg=PA183 google books]
* Harle, J.C., ''The Art and Architecture of the Indian Subcontinent'', 2nd edn. 1994, Yale University Press Pelican History of Art, {{ISBN|0300062176}}
* Krishna Murthy, M.S., [https://web.archive.org/web/20100613163432/http://jainsamaj.org/rpg_site/literature2.php?id=628&cat=42 "Jaina Monuments In Southern Karnataka"], Ahimsa Foundation (www.jainsamaj.org)
* [[Stella Kramrisch|Kramrisch, Stella]], ''The Hindu Temple'', Volume 1, 1996 (originally 1946), {{ISBN|8120802225}}, 9788120802223, [https://books.google.com/books?id=8-aS52MgIkMC&printsec=frontcover google books]
* Michell, George, ''The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu'', 1989, Penguin Books, {{ISBN|0140081445}}

[[Category:Hindu temple architecture]]
[[Category:Architectural elements]]

← Older revision		Revision as of 02:44, 8 February 2026
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			{{Short description\|Feature for the entrance of a temple}}
	[[File:Pattadakal si1479.jpg\|thumb\|Sukanasa with [[Shiva Nataraja]], Jambulinga Temple, [[Pattadakal]].<ref>Michell, 105</ref>]]		[[File:Pattadakal si1479.jpg\|thumb\|Sukanasa with [[Shiva Nataraja]], Jambulinga Temple, [[Pattadakal]].<ref>Michell, 105</ref>]]
	In [[Hindu temple architecture]] a '''sukanasa''' ({{~~lang-~~sa\|शुकनास}}, [[IAST]]: śukanāsa) or '''sukanasi''' is an external ornamented feature over the entrance to the [[garbhagriha]] or inner shrine. It sits on the face of the [[sikhara]] tower (in South India, the [[Vimana (architectural feature)\|vimana]]) as a sort of [[antefix]].<ref>Kramrisch, 240–241</ref> The forms of the sukanasa can vary considerably, but it normally has a vertical face, very often in the form of a large [[gavaksha]] or "window" motif, with an ornamental frame above and to the sides, forming a roughly triangular shape.<ref>Harle, 140</ref> In discussing temples in [[Karnataka]] local authors tend to use "sukanasi" (the preferred form in these cases) as a term for the whole structure of the [[antarala]] or ante-chamber from the floor to the top of the sukanasa roof above.<ref>Krishna Murthy</ref>		In [[Hindu temple architecture]], a '''sukanasa''' ({{langx\|sa\|शुकनास}}, [[IAST]]: śukanāsa) or '''sukanasi''' is an external ornamented feature over the entrance to the [[garbhagriha]] or inner shrine. It sits on the face of the [[sikhara]] tower (in South India, the [[Vimana (architectural feature)\|vimana]]) as a sort of [[antefix]].<ref>Kramrisch, 240–241</ref> The forms of the sukanasa can vary considerably, but it normally has a vertical face, very often in the form of a large [[gavaksha]] or "window" motif, with an ornamental frame above and to the sides, forming a roughly triangular shape.<ref>Harle, 140</ref> In discussing temples in [[Karnataka]] local authors tend to use "sukanasi" (the preferred form in these cases) as a term for the whole structure of the [[antarala]] or ante-chamber from the floor to the top of the sukanasa roof above.<ref>Krishna Murthy</ref>

	It often contains an image of the deity to whom the temple is dedicated inside this frame, or other figurative subjects. The vertical face may be the termination of a horizontally-projecting structure of the same shape,<ref>Harle, 147</ref> especially in temples with an [[antarala]] or ante-chamber between the [[mandapa]] or public worship hall and the garbhagriha. In these cases the projection is over the antarala.<ref>Hardy, 34</ref> Some temples have large gavaksha motifs, in effect sukanasas, on all four faces of the shikara, and there may be two tiers of sukanasa going up the tower. Sukasanas are also often found in [[Jain]] temples.<ref>Krishna Murthy</ref>		It often contains an image of the deity to whom the temple is dedicated inside this frame, or other figurative subjects. The vertical face may be the termination of a horizontally-projecting structure of the same shape,<ref>Harle, 147</ref> especially in temples with an [[antarala]] or ante-chamber between the [[mandapa]] or public worship hall and the garbhagriha. In these cases the projection is over the antarala.<ref>Hardy, 34</ref> Some temples have large gavaksha motifs, in effect sukanasas, on all four faces of the shikara, and there may be two tiers of sukanasa going up the tower. Sukasanas are also often found in [[Jain]] temples.<ref>Krishna Murthy</ref>
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	The sukanasa appears to develop from later forms of the large "chaitya arch" on the outside facade of [[Buddhist]] [[chaitya]] halls. Initially these were a large practical window admitting light to the interior, and reflecting the shape of the curved internal roof, based on timber and thatch predecessors. Later, these large motifs developed into a setting for sculpture that was largely "blind" or not actually an opening in the wall. Both phases now only survive in rock-cut "cave temples" at sites such as the [[Ajanta Caves]], where the first type can be seen at Caves 9, 10, 19, and 26, and [[Ellora]], where Cave 10 shows the second type.		The sukanasa appears to develop from later forms of the large "chaitya arch" on the outside facade of [[Buddhist]] [[chaitya]] halls. Initially these were a large practical window admitting light to the interior, and reflecting the shape of the curved internal roof, based on timber and thatch predecessors. Later, these large motifs developed into a setting for sculpture that was largely "blind" or not actually an opening in the wall. Both phases now only survive in rock-cut "cave temples" at sites such as the [[Ajanta Caves]], where the first type can be seen at Caves 9, 10, 19, and 26, and [[Ellora]], where Cave 10 shows the second type.

	According to [[Adam Hardy]], "possibly the first use of a sukanasa in a Dravida temple" is the [[Parvati temple, Sandur]] (7–8th century), using his terminology where "Karnataka Dravida" architecture is treated as a form of [[Dravidian architecture]]; others describe this as [[Badami Chalukya architecture]] or similar terms.<ref>Hardy, 74–75</ref>		According to [[Adam Hardy (architectural historian)\|Adam Hardy]], "possibly the first use of a sukanasa in a Dravida temple" is the [[Parvati temple, Sandur]] (7–8th century), using his terminology where "Karnataka Dravida" architecture is treated as a form of [[Dravidian architecture]]; others describe this as [[Badami Chalukya architecture]] or similar terms.<ref>Hardy, 74–75</ref>

	In [[Hoysala architecture]], the sukanasa is typically brought forward over an antarala, and the royal emblem of the [[Hoysala Empire]], the mythical founder Sala stabbing a lion (according to the legend a tiger, but the two are not distinguished in [[Indian art]]), often stands over the barrel roof as sculpture in the round.<ref>Foekema, 22</ref> Among other places, this can be seen at the [[Bucesvara Temple, Koravangala]], both temples at the [[Nageshvara-Chennakeshava Temple complex, Mosale]], and the [[Kedareshvara Temple, Balligavi]].<ref>Harle, 257</ref>		In [[Hoysala architecture]], the sukanasa is typically brought forward over an antarala, and the royal emblem of the [[Hoysala Empire]], the mythical founder Sala stabbing a lion (according to the legend a tiger, but the two are not distinguished in [[Indian art]]), often stands over the barrel roof as sculpture in the round.<ref>Foekema, 22</ref> Among other places, this can be seen at the [[Bucesvara Temple, Koravangala]], both temples at the [[Nageshvara-Chennakeshava Temple complex, Mosale]], and the [[Kedareshvara Temple, Balligavi]].<ref>Harle, 257</ref>
Line 29:		Line 30:
	==References==		==References==
	{{commonscat}}		{{commonscat}}
	* Foekema, Gerard, ''A Complete Guide to Hoysala Temples'', Abhinav, 1996 {{ISBN\|81-7017-345-0}}, [https://books.google.com/books?id=puhKEqJpElEC~~&printsec=frontcover~~ google books]		* Foekema, Gerard, ''A Complete Guide to Hoysala Temples'', Abhinav, 1996 {{ISBN\|81-7017-345-0}}, [https://books.google.com/books?id=puhKEqJpElEC google books]
	* [[Adam Hardy\|Hardy, Adam]], ''Indian Temple Architecture: Form and Transformation : the Karṇāṭa Drāviḍa Tradition, 7th to 13th Centuries'', 1995, Abhinav Publications, {{ISBN\|8170173124}}, 9788170173120, [https://books.google.com/books?id=aU0hCAS2-08C&pg=PA183 google books]		* [[Adam Hardy (architectural historian)\|Hardy, Adam]], ''Indian Temple Architecture: Form and Transformation : the Karṇāṭa Drāviḍa Tradition, 7th to 13th Centuries'', 1995, Abhinav Publications, {{ISBN\|8170173124}}, 9788170173120, [https://books.google.com/books?id=aU0hCAS2-08C&pg=PA183 google books]
	* Harle, J.C., ''The Art and Architecture of the Indian Subcontinent'', 2nd edn. 1994, Yale University Press Pelican History of Art, {{ISBN\|0300062176}}		* Harle, J.C., ''The Art and Architecture of the Indian Subcontinent'', 2nd edn. 1994, Yale University Press Pelican History of Art, {{ISBN\|0300062176}}
	* Krishna Murthy, M.S., [https://web.archive.org/web/20100613163432/http://jainsamaj.org/rpg_site/literature2.php?id=628&cat=42 "Jaina Monuments In Southern Karnataka"], Ahimsa Foundation (www.jainsamaj.org)		* Krishna Murthy, M.S., [https://web.archive.org/web/20100613163432/http://jainsamaj.org/rpg_site/literature2.php?id=628&cat=42 "Jaina Monuments In Southern Karnataka"], Ahimsa Foundation (www.jainsamaj.org)
	* [[Stella Kramrisch\|Kramrisch, Stella]], ''The Hindu Temple'', Volume 1, 1996 (originally 1946), {{ISBN\|8120802225}}, 9788120802223, [https://books.google.com/books?id=8-aS52MgIkMC~~&printsec=frontcover~~ google books]		* [[Stella Kramrisch\|Kramrisch, Stella]], ''The Hindu Temple'', Volume 1, 1996 (originally 1946), {{ISBN\|8120802225}}, 9788120802223, [https://books.google.com/books?id=8-aS52MgIkMC google books]
	* Michell, George, ''The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu'', 1989, Penguin Books, {{ISBN\|0140081445}}		* Michell, George, ''The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu'', 1989, Penguin Books, {{ISBN\|0140081445}}

	[[Category:Hindu temple architecture]]		[[Category:Hindu temple architecture]]
	[[Category:Architectural elements]]		[[Category:Architectural elements]]