Hampi
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The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.
The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.
As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.
The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.
Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.
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Achyuta Rayas Temple
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Consecrated in AD 1534, this temple is an example of Vijayanagara style temple architecture in its most advanced form than any other temples in Hampi. This was one of the last grandiose temple projects executed in the capital, before the fall of the empire.
The temple dedicated to Lord Tiruvengalanatha, a form of Vishnu , was constructed by a high officer in Achyuta Raya's court and hence the name. The temple complex and the ruined market street in front of it sit in a semi secluded valley created by two hills – the Gandhamadana & Matanga hills.
The main shrine is located at the centre of two rectangular concentric courtyards. The inner sides of both the courtyard walls are lined with a cloisters or pillared verandah. The outer cloisters are mostly in ruins with the pillars scattered randomly along the wall base. Two huge ruined towers, one behind the other, give access to the temple courtyards.
On heading straight to the inner court you can spot a chamber facing the porch to the central hall. This tiny shrine chamber once enshrined an idol of Garuda, the eagle god and mount of the principal deity. The open hall just ahead spots some of the finest carved pillars in Hampi. On either side of the porch the pillars spot lion faced rampant Yalis standing on elephants. The armed solders riding the Yalis hold the chains hanging from the beast's mouth. The whole theme is carved on monolithic block of rocks. Two club-holding giant doorway guard deities stand on either side of the door to the inner sanctorum.
To the west of the main shrine is the twin chambered shrine of the goddess. A close look at the carvings on the pillars in the halls can reveal many themes like lord Krishna playing flute and the calves watching it with interest, lord Vishnu blesses an elephant, the infant Krishna dances holding the snake by its tail. At the northwest corner of the outer compound, a Kalayana Mandapa (marriage hall for the annual wedding ceremony of the God and the Goddess). A water channel is seen running along the second compound. In front of the temple is the wide Courtesan's street . A tiny exit at the northwest of the outer compound wall can take you to a boulder where a 10 handed fierce goddesses' image is carved on the rock surface. The narrow path further winds southward and joins the path to Matanga Hill top.
Hampi
-----------
The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.
The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.
As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.
The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.
Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.
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Vittala Temple
-----------------
As the epicenter of Hampi’s attractions, Vittala Temple is the most extravagant architectural showpiece of Hampi. No amount of words can explain this spectacle. The temple is built in the form of a sprawling campus with compound wall and gateway towers. There are many halls, pavilions and temples located inside this campus.
Vittala, after whom the temple is known, is a form of lord Vishnu. This aspect of Vishnu was worshiped in this part of the country as their cult deity by the cattle herds.
The temple was originally built in the 15th century AD. Many successive kings have enhanced the temple campus during their regimes to the present form. Yon can even see the remains of a township called Vittalapura that existed around this temple complex. The highlight of Vittala temple is its impressive pillared halls and the stone chariot. The halls are carved with an overwhelming array of sculptures on the giant granite pillars. The stone chariot located inside the campus is almost an iconic structure of Hampi.
One typically accesses the campus through the eastern entrance tower, next to which the ticket counter is located. On entering through this massive tower, the first thing draws your attention would be a series of compact platforms along the central axis of the campus. At the end of these platforms stands the Stone Chariot. This is in fact a shrine built in the form of a temple chariot. An image of Garuda (the eagle god) was originally enshrined within its sanctum. Garuda, according to the Hindu mythology, is the vehicle of lord Vishnu. Thus the Garuda shrine facing the temple’s sanctum is symbolic.
It may appear (and sometimes even referred to) as a monolithic structure. In reality this stone shrine was built with many giant granite blocks. The joints are smartly hidden in the carvings and other decorative features that adorn the Stone Chariot. The chariot is built on a rectangular platform of a feet or so high. All around this base platform is carved with mythical battle scenes. Though the chariot is not resting on it, the four giant wheels attached mimic the real life ones complete with the axis shafts & the brakes. A series of concentric floral motifs decorate the wheels. It appears from the marks on the platform, where the wheels rest, the wheels were free to move around the axis.
You can still see the remains of the painting on the carvings of the chariot. Probably because it was relatively protected from the natural wearing elements, the undercarriage of the chariot spots one of the best preserved specimens of this kind of paintings. It is believed the whole of the Vittala Temple’s sculptures were once beautifully painted in similar fashion using the minerals as medium.
In front of the chariot two elephants are positioned as if they are pulling the chariot. In fact these elephants where brought from elsewhere and positioned here at a later stage. Originally two horses were carved in that position. The tails and the rear legs of the horses can be still seen just behind these elephant sculptures. A broken stone ladder once gave access to the sanctum is kept between the elephants. You can still spot the marks on the floor and the doorsill where once the ladder stood.
On leaving the Stone Chariot you reach the main hall in front of the Vittala temple. This hall though partially damaged is still awe inspiring. Facing the Stone Chariot, a series of steps flanged by elephant balustrades gives access to this elevated open hall called the Maha-Mantapa (the great hall). The balustrades on the east and west porch of this hall is more dramatic with giant lion Yalis fighting the relatively dwarf elephants. The Maha-Mantapa stands on a highly ornate platform. This fluted platform is carved with a series of floral motifs. The lowermost of it is a chain of horses, its trainers and the traders.
The Maha-Mantapa contains four open halls within. The south, north and the east ones are still intact. The central western hall is collapsed, probably due to the arson that followed the fall of the capital.
The main highlight of the Maha-Mantapa is its richly carved giant monolithic pillars. The outermost of the pillars are popularly called the musical pillars. These slender and short pilasters carved out of the giant pillars emit musical tones when tapped. Probably these do not belong to any of the standard musical notes, but the musical tone of the vibes earned it’s the name. Unmindful curiosity of the visitors has damaged many of these pilasters and tapping on it is banned for the sake of preservation.
The eastern hall which is called the musicians hall is notable for sculptures of musicians on the pillars. Each of the pillars surrounding this hall is sculptured with musicians, drummers and dancers.
The southern hall is dominated with the rampant mythical creatures called Yalis. The capitals of each of the pillars branches into heavily ornate corbels with terminating with lotus buds.
The northern hall is surrounded with a series of pillars with the Narasimha (the man-lion incarnation of Vishnu) themes. The most notable ones are that of Narasimha slaying Hiranyakashipu on his lap. Prahlada is seen sitting at the base in a praying posture.
The ceilings of the halls too are of interest with the lotus like carving at the centre.
Further west is a closed hall with two porches on either side. Further ahead is the sanctum.
The inner sanctum is devoid of any idol. A narrow and unlit passageway encircles the inner sanctum. A few steps on either sides of the sanctum’s main door give access to this passage. The outer wall of the sanctum that one can only sees from this passageway is richly decorated with the Kumbha-Pankajas (the motifs where lotus flower flows out of a pot)
Mischief (?) by the architects. A image of a bull and elephant with a shared head. The left portion is complete as a bull and the right as an elephant!
The other attractions include the Goddess’s shrine in the northwest, the 100-pillared hall at the southwest, the Kalayna Mantapa (the ceremonial marriage hall) in the southeast and the pillared cloisters all around the enclosure wall.
Hampi
-----------
The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.
The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.
As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.
The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.
Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.
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Hemakuta Temples
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Some times referred to as Jain Temples, these clusters of temples on the Hemakuta hill is one of the beautiful sites in Hampi.
Thanks to its architecture these temples are mistaken for Jain Temples. In fact most of them are dedicated to Siva worship. These smart looking compact temples with pyramid-like roofs resemble that of the Jain temples.
A number of temples located on the northern end of the hills are made in what is called the Trikutachala style. That is, three shrines positioned perpendicular to the next face a common central hall. The outer walls of the temples are plane but for the horizontal chain of floral motifs carved around. The fluted foundation and the curvy eaves overhanging are other typical features on the exterior.
You can find a series of such temple complexes scattered all over the hill top. One can easily count at least three dozen structures in the vicinity. The largest and the most elaborate ones are located on the northern slop of the hill facing the Virupaksha temple campus. These are in fact one of the oldest clusters of temples in Hampi, much older than the empire itself.
The chain of temples on Hemakuta Hill (northern side) You would be first visiting this locale if you reach the hilltop from the Virupaksha temple. The whole area looks more like a gigantic sheet of rock with undulation.
Further up and a bit south you can spot a pond in the courtyard of a shrine. This shrine called the Mula (the original) Virupaksha temple is older than the grand Virupaksha temple. The front hall of this whitewashed shrine spots a series of cubical pillars of pre-Vijayanagara style. Interestingly, the porch faces the water body and the steps from the porch lands into the water. This is one of the few shrines in this are that are under active worship.
Just behind this is a tiny chamber like shrine with a pyramid roof. A Hanuman image is installed inside the shrine. This is one of the finest spots to witness a Hampi sunrise/sunset.
When you move further south, you practically get an aerial view of the Krishna Temple, Sasivekalu Ganesha, the twin monuments of Lakshminarashiha and Badavilinga shrine. At this point you can spot the two storied southern gateway to the hilltop. This area too has a number of temples built in the pre-Vijayanagara style architecture. Some of them even spots tall monolithic lamp posts inform of it. The exit through the gateway leads you to a short flight of steps carved on the rock surface. This flight of steps brings you to the Sasivekalu Ganesha statue.
Hampi
-----------
The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.
The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.
As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.
The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.
Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.
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Virupaksha Temple is located in Hampi 350 km from Bangalore, in the state of Karnataka in southern India.
Hampi sits on the banks of the Tungabhadra River in the ruins of the ancient city of Vijayanagar, capital of the Vijayanagara empire. Virupaksha Temple is the main center of pilgrimage at Hampi and has been considered the most sacred over the centuries. It is fully intact among the surrounding ruins and is still used in worship. The temple is dedicated to Lord Shiva, known here as Virupaksha, as the consort of the local goddess Pampa who is associated with the Tungabhadra River. There is also a powerful Virupakshini amma temple (mother goddess) in a village called Nalagamapalle, Chittoor district, Andhra Pradesh, approximately 100 km from Tirupati.
Historically this temple has an uninterrupted history from about the 7th century. The Virupaksha-Pampa sanctuary existed well before the Vijayanagara capital was located here. Inscriptions referring to Shiva date back to the 9th and 10th centuries.[1] What started as a small shrine grew into a large complex under the Vijayanagara rulers.[2] Evidence indicates there were additions made to the temple in the late Chalukyan and Hoysala periods, though most of the temple buildings are attributed to the Vijayanagar period.
Under the Virjayanagara rulers, in the middle of the 14th century, there began a flowering of native art and culture. When the rulers were defeated by invaders in the 16th century, most of the wonderful decorative structures and creations were systematically destroyed.
The cult of Virupaksha-Pampa did not end with the destruction of the city in 1565. Worship there has persisted throughout the years. At the beginning of the 19th century there were major renovations and additions, which included ceiling paintings and the towers of the north and east gopura.
At present, the main temple consists of a sanctum, three ante chambers, a pillared hall and an open pillared hall. A pillared cloister, entrance gateways, courtyards, smaller shrines and other structures surround the temple.
The nine-tiered eastern gateway, which is the largest at 50 meters, is well-proportioned and incorporates some earlier structures. It has a brick superstructure and a two-tiered stone base. It gives access to the outer court containing many sub-shrines.
The smaller eastern gateway leads to the inner court with its numerous smaller shrines.
A narrow channel of the Tungabhadra River flows along the temple's terrace and then descends to the temple-kitchen and out through the outer court.
Krishnadevaraya, one of the famous kings of the Vijayanagara Empire was a major patron of this temple. The most ornate of all structures in the temple, the central pillared hall is believed to be his addition to this temple. So is the gateway tower giving access to the inner courtyard of the temple. Inscriptions on a stone plaque installed next to the pillared hall explain his contribution to the temple. It is recorded that Krishna Devaraya commissioned this hall in 1510 AD.
Hampi
-----------
The city of Hampi bears exceptional testimony to the vanished civilization of the kingdom of Vijayanagar, which reached its apogee under the reign of Krishna Deva Raya (1509-30). It offers an outstanding example of a type of structure that illustrates a significant historical situation: that of the kingdoms of South India which, menaced by the Muslims, were occasionally allied with the Portuguese of Goa.
The austere, grandiose site of Hampi was the last capital of the last great Hindu Kingdom of Vijayanagar. Its fabulously rich princes built Dravidian temples and palaces which won the admiration of travellers between the 14th and 16th centuries. Conquered by the Deccan Muslim confederacy in 1565, the city was pillaged over a period of six months before being abandoned.
As the final capital of the last of the great kingdom of South India, that of the Vijayanagar, Hampi, enriched by the cotton and the spice trade was one of the most beautiful cities of the medieval world. Its palaces and Dravidian temples were much admired by travellers, be they Arab (Abdul Razaak), Portuguese (Domingo Paes) or Italian (Nicolò dei Conti).
Conquered by the Muslims after the battle of Talikota in 1565, it was plundered over six months and then abandoned. Imposing monumental vestiges, partially disengaged and reclaimed, make of Hampi today one of the most striking ruins of the world.
The temples of Ramachandra (1513) and Hazara Rama (1520), with their sophisticated structure, where each supporting element is scanned by bundles of pilasters or colonnettes which project from the richly sculpted walls, may be counted among the most extraordinary constructions of India. In one of the interior courtyards of the temple of Vitthala, a small monument of a chariot which two elephants, sculpted in the round, struggle to drag along is one of the unusual creations, the favourite of tourists today as well as travellers of the past.
Besides the temples, the impressive complex of civil, princely or public buildings (elephant stables, Queen's Bath, Lotus Mahal, bazaars, markets) are enclosed in the massive fortifications which, however, were unable to repulse the assault of the five sultans of Deccan in 1565.
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