In Hindu temple architecture a sukanasa (Sanskrit : 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) as a sort of antefix. [2] 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. [3] 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. [4]
Hindu temple architecture as the main form of Hindu architecture has many varieties of style, though the basic nature of the Hindu temple remains the same, with the essential feature an inner sanctum, the garbha griha or womb-chamber, where the primary Murti or the image of a deity is housed in a simple bare cell. Around this chamber there are often other structures and buildings, in the largest cases covering several acres. On the exterior, the garbhagriha is crowned by a tower-like shikhara, also called the vimana in the south and Meru tower in Balinese temple. The shrine building often includes an ambulatory for parikrama (circumambulation), a mandapa congregation hall, and sometimes an antarala antechamber and porch between garbhagriha and mandapa. There may further mandapas or other buildings, connected or detached, in large temples, together with other small temples in the compound.
Garbhagriha is the sanctum sanctorum, the innermost sanctum of a Hindu temple where resides the murti of the primary deity of the temple. Literally the word means "womb chamber", from the Sanskrit words garbha for womb and griha for house. Generally in Hinduism only 'priests' (pujari) are allowed to enter this chamber. Although the term is often associated with Hindu temples, it is also found in Jain and Buddhist temples.
Vimana is the structure over the garbhagriha or inner sanctum in the Hindu temples of South India and Odisha in East India. In typical temples of Odisha using the Kalinga style of architecture, the Vimana is the tallest structure of the temple, as it is in the shikhara towers of temples in West and North India. By contrast, in large South Indian temples, it is typically smaller than the great gatehouses or gopuram, which are the most immediately striking architectural elements in a temple complex.
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, [5] 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. [6] 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. [7]
Antarala is a small antechamber or foyer between the garbhagriha (shrine) and the mandapa, more typical of north Indian temples.
Mandapa in Indian architecture is a pillared outdoor hall or pavilion for public rituals.
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. [8] 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. [9]
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. [10] As with the gavaksha, the motif represents a window through which the light of the deity shines out across the world. [11]
Kirtimukha is the name of a swallowing fierce monster face with huge fangs, and gaping mouth, very common in the iconography of Hindu temple architecture and Buddhist architecture in South Asia and Southeast Asia. In Southeast Asia it is often referred to as Kala, and in China it is known as the taotie, meaning (Monster of Greed).
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.
A chaitya, chaitya hall, chaitya-griha, or caitya refers to a shrine, sanctuary, temple or prayer hall in South Asian religions. The term is most common in Buddhism, where it includes a stupa at one end. Strictly speaking, the chaitya is the stupa itself, and the Indian buildings are chaitya halls, but this distinction is often not observed. Outside India, the term is used by Buddhists for local styles of small stupa-like monuments in Nepal, Cambodia, Indonesia and elsewhere. In the historical texts of Jainism and Hinduism, including those relating to architecture, chaitya refers to a temple, sanctuary or any sacred monument.
The Ajanta Caves are 30 (approximately) rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 CE in Aurangabad district of Maharashtra state of India. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotion through gesture, pose and form.
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. [12]
Professor Adam Hardy is an architect and architectural historian, and Professor of Asian Architecture at the Welsh School of Architecture, Cardiff University. He is Director of PRASADA, a centre bringing together research and practice in South Asian art and architecture.
Dravidian architecture is an architectural idiom in Hindu temple architecture that emerged in the southern part of the Indian subcontinent or South India, reaching its final form by the sixteenth century. It consists primarily of Hindu temples where the dominating feature is the high gopura or gatehouse; large temples have several. Mentioned as one of three styles of temple building in the ancient book Vastu shastra, the majority of the existing structures are located in the Southern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. Various kingdoms and empires such as the Cholas, the Chera, the Kakatiyas, the Pandyas, the Pallavas, the Gangas, the Kadambas, the Rashtrakutas, the Chalukyas, the Hoysalas, and Vijayanagara Empire among others have made substantial contribution to the evolution of Dravidian architecture. This style of architecture can also be found in parts of North India, Northeastern and central Sri Lanka.
The Badami Chalukya architecture was a temple building idiom that evolved in the 5th – 8th centuries in the Malaprabha river basin, in present-day Bagalkot district of Karnataka state, under the Chalukya dynasty. This style is sometimes called the Vesara style and Chalukya style, a term that also includes the much later Western Chalukya architecture of the 11th and 12th centuries. Early Chalukya architecture, used by George Michell and others, equates to Badami Chalukya. The earliest Badami Chalukya temples date back to around 450 A.D. in Aihole when the Badami Chalukyas were vassals of the Kadambas of Banavasi. According to historian K.V. Sounder Rajan, the Badami Chalukyas contribution to temple building matched their valor and their achievements in battle.
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. [13] 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. [14]
Hoysala architecture is the building style developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.
Vesara is one of a number of terms for a distinct stylistic tradition of Indian Hindu temple architecture primarily used in the Deccan,parts of North India and Central India, between the Vindhyas and the river Krishna. The two other prominent modes or styles are the Dravida or Dravidian of South India and the Nagara of North India. Vesara is a combination of features from these two temple styles, and its own original characteristics.
Hoysaleswara temple, also referred simply as the Halebidu temple, is a 12th-century Hindu temple dedicated to Shiva. It is the largest monument in Halebidu, a town in the state of Karnataka, India and the former capital of the Hoysala Empire. The temple was built on the banks of a large man-made lake, and sponsored by King Vishnuvardhana of the Hoysala Empire. Its construction started around 1121 CE and was complete in 1160 CE. During the early 14th century, Halebidu was twice sacked and plundered by the Muslim armies of Delhi Sultanate from northern India, and the temple and the capital fell into a state of ruin and neglect. It is 30 kilometres (19 mi) from Hassan city and about 210 kilometres (130 mi) from Bengaluru.
The Veera Narayana temple is located in Belavadi, a village in the Chikkamagaluru district of Karnataka state, India. The temple was built during the rule of the Hoysala Empire. Known to legend as Ekachakranagara, Belavadi is said to be the place mentioned in Mahabharatha where Pandava prince Bheema killed the demon Bakasura and protected the village and its people. Belavadi is 29 km southeast of Chikmagalur town on the Chikmagalur-Javagal highway. It is a short distance from the famous temple towns of Belur and Halebidu, and a visit to this town is a rewarding experience.
In Indian architecture, gavaksha or chandrashala are the terms most often used to describe the motif centred on an ogee, circular or horseshoe arch that decorates many examples of Indian rock-cut architecture and later Indian structural temples and other buildings. In its original form, the arch is shaped like the cross-section of a barrel vault. It is called a chaitya arch when used on the facade of a chaitya hall, around the single large window. In later forms it develops well beyond this type, and becomes a very flexible unit, "the most common motif of Hindu temple architecture". Gavākṣha is a Sanskrit word which means "bull's or cow's eye". In Hindu temples, their role is envisioned as symbolically radiating the light and splendour of the central icon in its sanctum. Alternatively, they are described as providing a window for the deity to gaze out into the world.
Western Chalukya architecture, also known as Kalyani Chalukya or Later Chalukya architecture, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of modern central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida temples, form a climax to the wider regional temple architecture tradition called Vesara or Karnata dravida. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.
The Ishvara Temple in Arasikere town of the Hassan district in Karnataka state, India, dates to c. 1220 CE rule of Hoysala Empire. Arasikere is located 140 km north of the historic city of Mysore and 41 km east of Hassan city. The temple, which is dedicated to the Hindu God Shiva, though modest in size and figure sculpture, is considered the most complex one in architecture among surviving Hoysala monuments because of its ground plan: a 16-point star-shaped mantapa (hall), in addition to an asymmetrical star-shaped shrine, whose star points are of three different types.
The antiquity of Architecture of Karnataka can be traced to its southern Neolithic and early Iron Age, Having witnessed the architectural ideological and utilitarian transformation from shelter- ritual- religion. Here the nomenclature ‘Architecture’ is as old as c.2000 B.C.E. The upper or late Neolithic people in order to make their shelters, they constructed huts made of wattle and doab, that were buttressed by stone boulders, presumably having conical roof resting on the bamboo or wooden posts into red murram or paved granite chips as revealed in archaeological excavations in sites like Brhamagiri, Sanganakallu, Tekkalakota, Piklihal. Megaliths are the dominant archaeological evidence of the early Iron Age. There are more than 2000 early Iron Age burial sites on record, who laid the foundation for a high non perishable architecture in the form of various distinct architectural styles of stone built burials, which are ritualistic in its character. The active religious architecture is evident 345 with that of the Kadamba Dynasty. Karnataka is a state in the southern part of India originally known as the State of Mysore. Over the centuries, architectural monuments within the region displayed a diversity of influences, often relaying much about the artistic trends of the rulers of twelve different dynasties. Its architecture ranges dramatically from majestic monolith, such as the Gomateshwara, to Hindu and Jain places of worship, ruins of ancient cities, mausoleums and palaces of different architectural hue. Mysore Kingdom (Wodeyar) rule has also given an architectural master structure in the St. Philomena's Church at Mysore which was completed in 1956, in addition to many Dravidian style architectural temples. Two of the monuments are listed under the UNESCO World Heritage List of 22 cultural monuments in India. Styles of Indo-Saracenic, Renaissance, Corinthian, Hindu, Indo-Greek and Indo-British style palaces were built in Mysore, the city of palaces. Sikh architecture at Bidar (1512) and also in Bangalore in 1956 can also be cited as having an impact on the architectural composition of the state.
The Amruteshvara temple also spelt "Amrutesvara" or "Amruteshwara", is located in the village of Amruthapura, 67 km north of Chikmagalur town in the Chikkamagaluru district of the Karnataka state, India. Located 110 km from Hassan and 35 km from Shimoga on NH 206, Amruthapura is known for the Amruteshvara temple. The temple was built in 1196 C.E. by Amrutheshwara Dandanayaka under Hoysala King Veera Ballala II.
The Kaitabheshvara temple is located in the town of Kubatur, near Anavatti in the Shimoga district of Karnataka state, India. The temple was constructed during the reign of Hoysala King Vinayaditya around 1100 AD. The Hoysala ruling family was during this time a powerful feudatory of the imperial Western Chalukya Empire ruled by King Vikramaditya VI. According to the Archaeological Survey of India, the architectural signature of the temple is mainly "Chalukyan". Art historian Adam Hardy classifies the style involved in the construction of the temple as "Later Chalukya, non mainstream, far end of spectrum". The building material used is soapstone The temple is protected as a monument of national importance by the Archaeological Survey of India.
The Kedareshvara temple is located in the town of Balligavi, near Shikaripura in the Shimoga district of Karnataka state, India. Dotted with centres of learning (agrahara), Balligavi was an important city during the 11th - 12th century Western Chalukya rule. The term Anadi Rajadhani used in medieval inscriptions to describe this town tells a tale of great antiquity. Art historian Adam Hardy classifies the style involved in the construction of the temple as "Later Chalukya, non mainstream, relatively close to mainstream". He dates the temple to late 11th century, with inscriptional evidence of additions made up to 1131, by the Hoysalas during their control over the region. The building material used is soapstone. The Archaeological Survey of India classifies the style of architecture as distinctly Hoysala. The Hoysala ruling family was during this period a powerful feudatory of the imperial Western Chalukya Empire, gaining the trappings of independence only from the period of King Vishnuvardhana. The temple is protected as a monument of national importance by the Archaeological Survey of India.
An amalaka, is a segmented or notched stone disk, usually with ridges on the rim, that sits on the top of a Hindu temple's shikhara or main tower. According to one interpretation, the amalaka represents a lotus, and thus the symbolic seat for the deity below. Another interpretation is that it symbolizes the sun, and is thus the gateway to the heavenly world.
Kedareshwara Temple is a Hoysala era construction in the historically important town of Halebidu, in the Hassan district of Karnataka state, India. It is located a short distance away from the famous Hoysaleswara Temple. The temple was constructed by Hoysala King Veera Ballala II and his Queen Ketaladevi, and the main deity is Ishwara. The temple is protected as a monument of national importance by the Archaeological Survey of India.
Panchalingeshwara Temple in Govindanahalli, Mandya district, Karnataka state, India, was constructed around 1238 A.D. during the reign of the Hoysala empire King Vira Someshwara. The name "Panchalingeshwara" literally means "five linga". The temple is protected as a monument of national importance by the Archaeological Survey of India. The famous sculptor of Hoysala times, Ruvari Mallitamma, is known to have made contributions to the temple.
The Rameshvara temple at Koodli in the Shimoga district of Karnataka state is a Hoysala construction of the non-ornate variety and is dated to the 12th century. Koodli is a town of great antiquity and is located about 9 km north-east of Shimoga city, the district headquarters. The town gets its name because it is situated at the confluence of the Tunga and Bhadra tributaries that form the Tungabhadra river. According to art historian Adam Hardy, the temple is a single vimana with an open mantapa (hall) built with Soap stone. The temple is protected as a monument of national importance by the Archaeological Survey of India.
The Saumyakeshava temple at Nagamangala was constructed in the 12th century by the rulers of the Hoysala empire. Nagamangala is a town in the Mandya district of Karnataka state, India. It is located 62 km from the historically important town Mysore, on the Srirangapatna-Sira highway. Historically, Nagamangala came into prominence during the rule of Hoysala King Vishnuvardhana when it became an important center of Vaishnava faith and received patronage from one of his queens, Bommaladevi. During the rule of Veera Ballala II, Nagamangala prospered as an agrahara and had the honorific Vira Ballala Chaturvedi Bhattaratnakara. The temple is protected as a monument of national importance by the Archaeological Survey of India.
Akkana Basadi is a Jain temple built in 1181 A.D., during the rule of Hoysala empire King Veera Ballala II. The basadi was constructed by the devout Jain lady Achiyakka, wife of Chandramouli, a Brahmin minister in the court of the Hoysala king. The main deity of the temple is the twenty-third Jain Tirthankar (saint) Parshwanath. The temple is protected as a monument of national importance by the Archaeological Survey of India.
The Jain Temple, Lakkundi or Brahma Jinalaya is located in the historically important temple town Lakkundi in the Gadag District of Karnataka state, India. Known as Lokkigundi in medieval times, the town was of considerable importance during the 11-12th century A.D. Western Chalukya rule. With the waning of their power, in 1191 A.D., the noted Hoysala empire king Veera Ballala II made this town an important garrison. The temple is protected as a monument of national importance by the Archaeological Survey of India.
The Chennakeshava temple, dedicated to the Hindu god Vishnu is located in the village of Hullekere, in the Arasikere Taluk, about 22 km from the commercial town Arasikere. It was built in 1163 A.D. by a minister of Hoysala empire king Narasimha I. The art historian Adam Hardy categorizes the architectural style as a single shrine (vimana) construction with miniature vimanas, the basic building material being Soap stone. The monument is protected by the Karnataka state division of Archaeological Survey of India.
Govindanahalli is a small village in Mandya district of Karnataka state, southern India.
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