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)
Tags: India Hampi ancient ruins karnataka north Karnataka tourism tourist history palaces temple vijayanagar vijayanagar Kingdom Vijayanagara krishna deva raya South India Indian Heritage Historical India Nikon D60 dSLR Nikon D60 by Mukul Banerjee ASIA Bharat Mukul Banerjee © Mukul Banerjee images photo Pics photographs www.mukulbanerjee.com Mukul Banerjee Photography Hindusthan © Mukul Banerjee Photography
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Tags: Hampi India ruins vijayanagar ancient karnataka north Karnataka tourism tourist history palaces temple vijayanagar Kingdom Vijayanagara krishna deva raya Heritage South India Indian Heritage Historical India Nikon D60 dSLR Nikon D60 by Mukul Banerjee ASIA Bharat Mukul Banerjee © Mukul Banerjee images photo Pics photographs www.mukulbanerjee.com Mukul Banerjee Photography Hindusthan © Mukul Banerjee Photography
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Gol Gumbaz is the mausoleum of Muhammad Adil Shah (1627 -56), the seventh ruler of the Adil Shahi dynasty. A fine specimen of Adil Shahi architecture, this mammoth tomb is a dominant landmark of Bijapur. The construction of the Gol Gumbaz was completed in 1659, after 20 years of meticulous craftsmanship.
The chief attraction of the mausoleum is its central dome, which is second in size only to the dome of St Peter's Basilica in Rome and stands unsupported by any pillars. Another astonishing facet of the Golgumbaz is its whispering gallery, which is an acoustic marvel. The gallery has been designed in such a way that the tick of a watch or the rustle of paper can be heard across a distance of 37m and the faintest sound is echoed eleven times over.
The tombs of Sultan Adil Shah, his two wives, his mistress Ramba, his daughter and grandson are located under the central dome. The octagonal turrets which project at an angle and the huge bracketed cornic below the parapet, are important features of this monument. From the gallery around the dome, which can be reached by climbing up the turret passages, one can have a fabulous view of the town.
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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 . Partially due to its off location from the main tourist track and the hidden nature of the temple's location makes it less crowded, welcome news for the ones like a quiet tour.
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. This sanctum with the circumambulatory corridor around it is empty and dark. Though harmless the noisy bats hanging inside the dark corners can scare an unsuspecting visitor.
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.
Tags: India Hampi ancient ruins karnataka north Karnataka tourism tourist history palaces temple vijayanagar vijayanagar Kingdom Vijayanagara krishna deva raya South India Indian Heritage Historical India Nikon D60 dSLR Nikon D60 by Mukul Banerjee ASIA Bharat Mukul Banerjee © Mukul Banerjee images photo Pics photographs www.mukulbanerjee.com Mukul Banerjee Photography Hindusthan © Mukul Banerjee Photography
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Bijapur Jama Masjid, built between 1557 and 1686, is the largest and the first constructed mosque in Bijapur, Karnataka. One of the finest mosques in India, it is a massive structure with huge onion-shaped domes.
It was constructed during the period of Adil Shah I, a ruler of Adil Shahi Kingdom, to commemorate the Talikota victory. Later during the reign of the Mughal Emperor Aurangzeb, many alterations were made and a gateway was erected on the eastern side. He also painted the floor with 2,250 squares for the worshippers.
Jama Masjid holds a copy of Koran, written in gold. It also has a large hall that is divided into 45 compartments. The Barah Cummon created with twelve interleaving arches is where programs are staged.
Tags: arches arch architecture Bijapur Adil Shah wondersoftheworld tourism tomb southindia pray prayer bymukulbanerjee d60 northkarnataka nikon nikond60 muslim monument medivalindia medival islamic islam indianheritage india history historicalindia historical heritage hdr ASIA Bharat Mukul Banerjee © Mukul Banerjee images photo Pics photographs mywinners www.mukulbanerjee.com Mukul Banerjee Photography Hindusthan © Mukul Banerjee Photography
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