Musafir

This is the epitome of the marvel of the craftsmanship of Vijayanagara architecture. This is the place where art historians can spend days understanding the design and its depth. This is the place where modern technology itself awes the creation of sounds in a stone. The Vitthala temple is in every way, a wonder.

Vitthala is the Krishna aspect of Lord Vishnu. This temple is one of the largest temples of that period, built under the patronage of Devaraya II (1422-46 AD). Substantial portions of the present structure were added during Krishnadevaraya’s (1509-1529 AD.) reign. The hundred pillared mantapa (pavilion) to the southwest of the main temple, and the Eastern and Northern gateways carved with depictions of Vishnu and his other forms, are attributed to Krishnadevaraya and his queens.

Just outside the temple, there is the Vitthala Bazaar, measuring 945 mts. in length and 40 mts. in width similar to the Krishna Bazaar and even here precious stones were sold. This should have a prominent place for business, as people from other villages and countries should have been visiting this famous tourist destination. This Bazaar leads to a sacred tank called Lokapavani. Even today, this is one of the most crowded monuments.

We can feel the importance of the temple by looking at its main entrance or the Gopura. As in most of the temples of the Vijayanagara era, the lower half of the gopura is made of stone and the upper half of brick. We should really appreciate the craftsmen carving beautiful sculptures on the brick. The picture here shows an example.

The best time to visit this temple is between 4 and 5.30 PM where heat is less and we can spend at least 1 hour in the complex. As soon as we enter the temple complex, we will understand why is the Vitthala temple the best. The complex is big with some open  space before we get to the monuments. The entire complex seems to be like a sequence of pillars everywhere.  There are 7 monuments inside out of which three are big and contains lots of pillars. To the left, there is the Narasimha Mantapa, where a pillar has the sculpture of a Yogavarada Narasimha and other various forms. The inside of this Mantapa is  filled with pillars on which stories of Krishna are sculpted beautifully. There is a platform on which the pillars are the sculpted with long carvings of lions, the mark of Vijayanagara architecture.

The main temple is built on an sculptured ornate plinth. The composite pillars of the   Sabha mantapa (congregation hall) are massive, hewn out of single granite blocks, which are designed as clusters of slender pillars. Here is the wonder that everyone talks about. Some of these, when tapped gently produce musical notes. The pillars are slim and hollow from inside. How the pillars are made so, we never know. The congregation hall is on maintenance, so tourists are not allowed to enter inside. As any of the authorized guides and they will tap the pillars and they will show this feature. We can go around the temple again and again to see this wonderful creation.  You also see this picture of a person playing the mridangam (a drum). We can hear the musical notes even when we tap on the drum. Behind the congregation hall, is the main temple and the sanctum. All around the complex, a pillared balcony runs around. We can have a good view of the balcony from the side entrance of the temple. The Mukha Mantapa of the temple has large square pillars on which various stories of the life and times of Lord Krishna are depicted nicely. The inner sanctum has two stone pedestals, which probably seated the main deity and the Devi. Even if there is no idol of the main deity “Vitthala” in the inner sanctum, there is a bust sculpted on the top of the outer ceiling of the inner sanctum. The guides make a point to show it. There are two outer walls to the main temple and there is a gap between the two. This is probably for the devotees to do the Pradakshina (rounds of the sanctum). There is a long inscription at the entrance of the main temple, probably about the consecration of the temple. The Devi shrine is simple without any sculptures.

Just in front of the congregation hall, is the icon of Vijayanagara and is perhaps the  most stunning achievement, typical of the Vijayanagara period, the Stone Chariot. This is the image that one see on any brochure about Hampi. This reproduction of a processional wooden chariot houses the image of Garuda, the vehicle of Lord Vishnu. The whole chariot is carved with ornate designs. There is a stone ladder in front of it to reach the small enclosure where the image of Garuda is located. Two elephants are on either side of the chariot suggesting they pulling it. The wheels of the chariot are large and with designs all around them.

There is a large Rangamantapa to the right of the chariot and this is also as good as the congregation hall. The platform is beautifully carved along with the ceiling. This temple complex is one of the best i have visited till date and speaks about the grandeur of the empire and the skill of the craftsmen. I have visited other temples constructed by different dynasties, but the Vijaya Vitthala Temple will always take a special place in my heart.

We then move on to reach the river Tungabhadra where other temples are waiting to be told their story.

As we move on the road from the KSTDC Hotel, we reach the Bhima’s Gate.

The Bhima’s Gate was probably one of the entrances of the kingdom as the area on the other end of the gate is barren with little habitation. This entrance is big with fortified walls of at least 20 feet. The wall or the entrance itself is plain except for two small carvings of a story of Mahabharata due to which this is named so.

Here on the wall, we see two similar carvings where Draupadi is tying her hair while Bhima is killing Kichaka. This sequence tells about the story where Draupadi vows that she will tie her hair only when Kichaka, who tries to molest her is killed. There is an idol of Bhima also in here.

We then move on to the Ganagitti Jain Temple.

This Jain temple complex,dedicated to Kunthunatha, the 17th Thirthankara of the Jaina faith, was built by Iruga, Commander-in-chief of Harihara II, and consecrated in 1386 AD..

The huge lamp column at the North facing entrance has an inscription to this effect. It is also referred to as the Kunthunatha Jain temple. It is a typical example of early Vijayanagara architecture and is known for its simplicity of form and design, with influences from the Late Chalukya period.

The temple in elevation has a terraced super structure over the sanctum, and a porch to the North and East.

As mentioned in a previous post, the Jain temples are very simple in their architecture and it goes the same with this one. There two halls before the inner sanctum and we can find the stone pedestal on which the idol once stood. Nearby on on of the platforms, we can find foot marks which signifies the marks of the Thirthankara.

We then move on on the same road after travelling 2 kilometres, there is a sign board to the Vijaya Vittala temple. We take the left road and move ahead to the Talarighatta Gate.

The Talarighatta Gate was one of the main entrance points into the urban centre of the capital from the riverside. The main road to Talarighatta (the coracle ferry point near the suspension bridge, which was stopped in middle as per UNESCO regulations) from Kamalapura pass through this arched structure.

This largely damaged structure still maintains its original intent, a gateway on the main road. A tiny shrine of Hanuman is located just in front of the gate.

It is possible to reach the top of this gateway. From there the traces of the extended fortifications are visible. Talarighatta means Toll Gate, probably its original intension. In those days, there would be guards that that stand on top and the side pavilions and collect toll from people who wish to enter the area.

We pass through the gate and move towards the Gejjala Mantapa.

The Gejjala Mantapa is a small pavilion but a very beautiful one with its exquisite design. It was used once as a Rangamantapa (dancing hall) for conducting various music and dance festivals. Each of the pillars is excellently carved and shows us the craftsmanship of the age. Even the ceiling is designed with different shapes and bells.

We then move on to the Kuduregombe Mantapa.

The Kuduregombe Mantapa is different than any other pavilion that we see in the Hampi area. As mentioned before, the entrance of any temple is guarded by elephants, lions and crocodiles.  This temple is an exception where the entrance is  guarded by horses and riders on top of them. This temple gets the name due to the horses (Kuduregombe means horse riders in Kannada). We exactly do not know to which deity this temple is dedicated to. The sanctum is empty but with a pedestal and the ceiling broken and sunlit during the day. This is a nice place to relax for some time escaping from the scorching heat of the sun. The presence of horses in place of elephants indicates that this temple was probably built by or for the traders of the Vijaya Vitthala Bazaar to worship, especially for those who were probably not allowed in the larger temples due to their caste or occupational restrictions.

We move on to the most beautiful of all the temples and monuments of Hampi, the Vijaya Vitthala temple.

There are three sites to visit in Kamalapur and all three are important. Kamalapur is a small village with insufficient facilities for food. So it is better eat in Hampi and then move over there. The first place that one can visit is the Kamalapura Museum. This is one big museum where there are lots of things to see. This is the only place where one can see a life like image of Sri Krishnadevaraya.

One needs to allocate at least a hour and a half for the museum. As we enter the museum, there is a lawn on the right and left sides and the building is in the front. Sculptures found in the area are arranged in the lawn on the left. In the middle of the lawn, there is a small pavilion (sculptures arranged to form a pavilion) in which there is a small statue of Lord Ganesha.  There are many beautiful sculptures in the lawn. You can see some of them in the pictures below.

The one that you see here is a plate on which food was served. In those days, there were no separate utensils of serving food. One of the portions of the floor was made like a container to serve food. The various items would be placed on each of the smaller enclosures. There is a place in Hampi that i could not find, called “Bhojanasala” where there are a numerous of these plates are carved on rock and that place was used to serve food for public. There are various sculptures that are broken in pieces and are found lying around.

Domingo Paes, who visited the kingdom during the reign of Sri Krishnaderaya has written in his narrative a lot about the kingdom, the culture, the festivals and of course the king himself. The following is an excerpt from his notes which describes Krishnadevaraya as seen by Domingo Paes himself.

“The King is of medium height, and of fair complexion and good figure, rather fat than thin; he has on his face signs of small-pox. He is most feared and perfect king that could possibly be cheerful of disposition and very merry; he is one that seeks to honour foreigners, and receives them kindly asking them all about their affairs whatever their condition may be. He is a great ruler and a man of justice, but subject to sudden fits of rage, and this is his title - Crisnarao (Krishnaraya) Macacao (probably Maharaj), King of Kings, Lord of the greater Lords of India, Lord of three seas and of the land…”

Inside  the museum one can find very beautiful sculptures, weapons, coins and utensils of the era. There are photographs of the important places in Hampi taken before and after excavation. We should really appreciate the work of the Archeological Survey of India (ASI) for giving us this priceless heritage. There is also a board which shows us the transformation of Kannada and Telugu languages over the years.

Probably the most interesting section is right in the middle of the museum where there is a miniature depiction of the whole Hampi area. Every hill, temple and pavilion is marked on it.  The museum is a must visit to any one who visits Hampi.

As we move on, one need to travel at least 2 kilometres to reach the next destination, the Pattabhirama Temple.

This temple, situated in the Varadarajammanapattana a suburb of the ancient city of Vijayanagara is supposed to have built by Timmaraja in 1540 AD. during the rule of Achyutharaya. The temple complex has a large courtyard enclosed by a high Prakara. The main temple has a Garbhagriha, an Antarala, Ardhamantapa and an Mahamantapa. The large and square Mahamantapa has tall and slender pillars of different types. 

The Kalyanamantapa situated to the southeast in the complex is similar to the Mahamantapa.

The Devi shrine facing east is a Dvitala vimana surmounted by Shala shikara. The Mahadwara of this temple is a good example for the late Vijayanagara style of architecture. The Mahadwara has an imposing pyramidal brick. and lime plaster Gopura with ascending but diminishing, storeys.

Not many visitors throng this place as this area is quite far from the main Hampi area. The temple looks very silent and good during evenings where once can relax inside it. There is a pillared pavilion that runs all around the temple walls making it look even beautiful. The notable feature is the Kalyanamantapa where the entrance is guarded by elephants and crocodiles. The outside of the temple complex is covered with a beautiful lawn which is well maintained by the ASI. There is also the temple tank on one side where the main festivals of the temple are held every year.

The third important monument in Kamalapur is the Domed Gateway, but despite searching for an hour in bamboo plantations and reserve forests, i could not find it.

We now return back all the way to Hampi near to the KSTDC Hotel from where we started to Kamalapur and move towards other monuments…

The Queen’s Bath is located to the southeast of the royal enclosure, with its own separated enclosed space, consisting of a complex of changing rooms and a bath. At present only the bath is extant. A strikingly, simple facaded structure, in the Indo-Islamic style of Vijayanagara architecture, the interior of the bath is total contrast, with its ornate stucco and plaster work.

The structure is 30 sq.mts., with a 15 sq.mts. bath inside, which is 1.8 mts. deep. Pillared and vaulted corridors run all around., with ornate balconies projecting into the bath. There is a water channel inlet to the East, and a moat that runs all around the structure that ensured a constant supply of fresh water. There are steps leading down to the floor of the bath to the North, and the remnants of four pillars in the centre, which probably supported a pavilion.

Looking at the Queen’s bath, we can imagine how it must have looked at its glory. The balconies would have been decorated with beautiful curtains and guarded heavily from outside. The water inside should have been of nice fragrances and filled with rose petals.  We then move to the Chandrasekhara Temple which is at a distance from the main road.

Chandrasekhara Temple: This is a double shrined temple of typical Dravida style datable to 16th century, AD. The Garbhagrihas are located to the west and north, each has an Antarala and an Ardhamantapa which opens into a common Sabhamantapa at east and south. There is a Mukhamantapa open on three sides. The basement is decorated with Tripatta Kumuda moulding. The walls are gracefully adorned with Kumbha Panjaras. There are two terraced brick-mortar super structures over the sanctums. There is also a Devi shrine facing south in the complex, which is similar to the above two shrines. 

The temple complex has a spacious courtyard with Prakara and a main entrance with a Gopura from east. The Gopura is well sculpted with dancing girls and good designs. Other than that, there is not much of craftsmanship in this temple and all the sculptures are very raw and unpolished. But the complex is big and it was probably one of the most visited temples in those days.

Then there is the Octagonal Water Pavilion which was used to provide water to the nearby buildings and temples. There is a Saraswathi temple which is in a bad shape now and also we can find some basements of big buildings which were of importance, probably offices of the various departments. 

We now move leave the village of Hampi for some time and move to the town of Kamalapur which houses the famous museum and some very beautiful temples.

The Royal enclosure, the nucleus of the capital city of Vijayanagara is the largest extant enclosures in the ancient city occupying an area of 59,000 sq.mts. and protected by lofty double walls. The enclosure had housed as many as forty three buildings.

The enclosure has three entrances, two on the north and one on the west. The northern entrance east of  the Audience Hall was the main entrance with well - guarded massive doorways arranged zig-zag on plan. The other northern entrance with flight of steps near Mahanavami Dibba platform had a doorway with exquisitely carved monolithic temple type door flaps. The western entrance leads to a passage that connects Hazararama temple on the north.

Entering the enclosure through the northern main entrance, there is a neatly plastered open courtyard and a pillared hall leading to a well decorated hall. To the south of this hall is the underground secret council chamber. To the southwest of the secret chamber was the Kings residence with as many as nine chambers including a Pooja room.

To the west and northeast of the residence were many structures. It is interesting to note that a flight of steps used to lead from a chamber to the first floor of the King’s audience hall.

To the east of the palace complex is the sacred area including a large open courtyard with well plastered floor, accommodating at the center a Homa Kunda and a tank. The two structures with a decorative plinth on the south of the sacred area were the residences of queens. 

The long rectangular pillared halls in a row arranged in units of two separated by a wide avenue on the south of the Palace complex were probably the residences of the people working in the palace complex. Water was bought to this enclosure from an external source through a main aqueduct running in the middle feeds 23 small and big tanks in the enclosure.

The so-called Public Bath located at the south eastern corner is the largest tank in the enclosure. However the most ornamental of the tanks is the Stepped tank located north of the public bath. Every ornamental member of this tank bears a mason mark indicating the exact location of the member in the construction. There is another “T” shaped tank in front of the Mahanavami Dibba platform. There is also a well in the enclosure.

Before we move to the Royal Enclosure, we take a detour towards the Zanana Enclosure.

On the way to the Zanana Enclosure, there is the office of the Archaeological Survey of India and a small open air museum of the various artefacts that are found in the region. The most notable pieces in this museum are the turret of the Chalukyan era and Lord Vishnu as Sesha Sayana.

Now we move on to our destination, the Zanana Enclosure.

The Tenali Rama pavilion: Just outside the Zanana enclosure, on a rocky area nearby, is a pillared hall named after one of the most notable courtiers of Sri Krishnadevaraya. Tenali Ramakrishna is known for his humour and notoriety. He is said to be blessed  by Goddess Gayatri after which he not only became knowledgeable and wise but also joined the “Ashtadiggajas” (Eight Wise Men) of the court of Krishnadevaraya.

The Zanana Enclosure is a structural complex with tall enclosure walls on four sides with entrances at northeast and north. The structures in this enclosure are in Indo-Islamic style of architecture. The structures are judicially spaced exemplifying manifestations of Vijayanagara secular architecture.

The Treasury Building: This rectangular building identified as the treasury stands at the north of the enclosure and is made of brick and has nice design on its top. Currently, it is modified as a small museum and holds beautiful sculptures and some very old inscriptions on stone slabs. It also contains utensils, water flasks, ports and coins of the Vijayanagar era found in the area. It also contains pictures of the monuments of Hampi taken by well known historians and officials of the East India Company. 

The Queen’s Palace: This ornate terraced building stands in the middle of the Zanana enclosure and would have been magnificent in those days. All that remains today is the basement which is very strong in construction survived the wear and tear of centuries.

The floor of the palace stands at a height of almost 10 feet marking its importance among other buildings in the vicinity. There are two levels of basement before the floor of the palace. The panels on the basement are carved with nice designs and are still intact. Although cracks have formed in the stone basement, it is still very hard. There is a small staircase to the floor and is guarded by two stone elephants. Understandably, this palace bore the brunt of the invaders and its glory lost.

To the east of the palace, there is a Jal Mahal, probably one of the buildings meant for the queen. It was also taken down and the basement is the one remaining. There is also a tank which was probably used for storage for the inhabitants. As there are no steps to the bottom of the tank, this would not have been an bath.

To the east of the Jal Mahal, is one of the most beautiful monuments of Hampi, the Lotus Mahal.

Chandikeswara Temple: Datable to 16th century AD. facing east, this temple on plan has a sanctum vestibule, a Mahamantapa on north, south and east and a Mukhamantapa. The pillars of the Mukhamantapa have rearing lions trampling elephants and Vyala sculptures. Most of the relief’s on the pillars in this temple have Vaishnava representations like Hanuman, Garuda, Balakrishna, Kamadhenu, Srinivasa, Vamana, Yashoda churning the milk etc.

The Garbhagriha has a Pitha carved with the figure of Garuda. The brick - mortar super structure over the Garbhagriha is treated with stucco representation of Vaishnava sculptures. To the north-west, is the Amman shrine. A pillared cloister runs around the two shrines. The bas relief’s of Vaishnava affinity found on the pillars indicate that the temple was originally dedicated to Vishnu.

Comparatively, this is a smaller shrine than others but it has the same elegant architecture that the other major temples have.

Uddana Veerabhadra Temple: This temple of Veerabhadra located south east of the Chandikeswara Temple is known as Mudduviranna temple as per the inscription and was consecrated by Dalavayi Jangamayya in 1545 AD. The temple as a spacious Garbhagriha, an Antarala and pillared Mukhamantapa.

The image of Chaturbhuja Veerabhadra 16 feet high is by far the largest image of Veerabhadra of Vijayanagar period found at Hampi. The image of Veerabhadra well sculpted bears bow and arrow in the upper right and left hands and the lower hands bear sword and shield. At extreme right is the goad headed Dakshabrahma.

The statue of Veerabhadra is black in colour and stands elegant. The visitor gets a good feeling when he/she enters inside the inner shrine. The same statue installed in 1545 AD. is still the main idol and it has not lost its charm. Photography is prohibited inside the shrine and that’s the reason i do not have any.

The one thing that is not understood is why this and the Virupaksha temple have not been raided. I assume that the reason could be that the invaders have not recognized the deities. Deities like Rama, Krishna or Vishnu are easily identified while a Sivalinga and Veerabhadra cannot be.

Akka Tangi Gundu:  These naturally formed stones called Akka Tangi Gundu (Twin Sister Stones) are a wonder in Hampi. Two huge boulders are inclined towards each other leaving a big gap between them at the base.

It is a nice place for having photographed. The top of the stones are filled with cobwebs and bats; a reason to be very careful.

Just before the Akka Tangi Gundu, we can see the outer perimeter walls of the Royal Enclosure. The walls are made with blocks of granite and still intact after centuries.

Prasanna Virupaksha (Underground Siva) Temple: This temple known as Prasanna Virupaksha Temple in inscriptions is popularly known as the underground temple simply because the roof of the temple is with the present ground level since it is in a low lying area.

The temple has a Garbhagriha, aligned with an Antarala, and Ardhamantapa and a Mahamantapa. The Mahamantapa has pillared corridors fused with the pillared Mukhamantapa making a larger pillared frontal Mantapa which also encloses a Dwajasthamba. The pillars of the temple are plain. The temple stylically dated to 14th century. An inscription referring to this temple states that Krishnadevaraya donated Nagalapura and other villages for worship and offering to the God for the merit of his parents, Narasanayaka and Nagajidevi.

As you see in the picture, the main temple is in a low lying area. Water stagnates the area from the inner sanctum till half of the Mukhamantapa 24x7 making it more spiritual as in our feel will automatically be cleaned before having the darshan. Once we cross the Mukhamantapa and move further, the place is dark and bats prowl inside and there have been incidents that a group of bats attack at a time.

Just in front of the inner sanctum, you can find the Nandi bull. Inside the inner sanctum, there is a small Sivalinga on a pedestal.

Moving along, we enter the Royal Enclosure…

Lakshmi Narasimha: This magnificent monolithic Lakshmi Narasimha, the fourth incarnation of Lord Vishnu, stands at a height of 6.7mts.. It is one of the finest examples of Vijayanagara sculpture. Narasimha is seated on the giant coil of Adishesha, the sacred guardian snake of Lord Vishnu, its seven hoods acting as a canopy, arched by a Kirtimukha torana in front.

The roof of the chamber enshrining the statue is missing, which had led to much weathering and damage to this monolithic sculpture. The four arms of the statue with its various attributes, have been broken, and the seated figure of his consort, Lakshmi, on his left lap, is missing. The face too has been damaged, which misled people in believing that it was the Ugranarasimha or angered Narasimha. The presence of the right hand of the goddess, embracing the Lord at the back, is the proof of it being Lakshmi Narasimha.

The statue, was consecrated by priest Krishnabhatta on the behest of Krishnadevaraya in 1528 A.D., as  per the lithic record nearby.

Badavilinga Temple: This 3 mts. high, large Sivalinga is also a monolith similar to Lakshmi Narasimha carved out of one rock in situ, the pedestal remains in a bed of water, within a small damaged shrine. Referred to as the Badavilinga, legend has it, that it was commissioned by a poor woman.

The Siva Linga as a fairly large pedestal(yoni pitha), drawing into a pranala (outlet). The central median line (somasutra) has the three-eye mark, drawn in line carving. The sanctum chamber that houses it, is a large stone, brick and mortal structure.

The water that is passed in to the shrine comes directly from the Tungabhadra river through small canals and aqueducts. Locals believe that if you throw a coin towards the Idol and wish for something, your wish will be fulfilled if the coin lands on the head of the Wish

From here, we move on to the Chandikeswara Temple.

The Krishna Temple Complex is the first of the series of temples in the Sacred Enclosure. There is a gateway near the temple to enter the main village.

The large and ornate, East facing temple, was consecrated with an icon of Balakrishna, bought from Udayagiri (Orissa), by Krishnadevaraya, as indicated in an inscription dated 1513 A.D

The temple complex built in Panchayatana style with two enclosures, has the main shrine with the sanctum, a vestibule, pillared pavilions and halls, a Devi shrine and many sub shrines. In addition there is a kitchen towards the southeast of the main shrine, and a separate store, housed within the first enclosure to the southwest.

The grand towered Eastern gateway is an outstanding example of Vijayanagara architecture. The temple walls are carved with depictions of the Bhagavata, the Puranic story of Lord Krishna, and the life of the times. The pillars of the Mahamantapa has sculpted depictions of the ten incarnations of Lord Vishnu.

Once we go through the main gopura inside, we see the main temple directly in front and a smaller shrine to the right. A corridor runs around the various shrines and there is a kitchen at the far end. It is said that free food was provided in the temple every day to the poor and needy from the temple kitchen.

Just before the main temple, there is a dhwajasthamba (the temple mast) at which,  there is an idol of Garuda, the carrier of Lord Vishnu. Confirming to the Vijayanagara architecture, the entrance of the temple is guarded by Elephants and Crocodiles.

The temple is full of pillars with idols of gods carved on them. The most notable part of all is the ceiling in the small hall before the inner sanctum. It’s carved with elegant designs and even though it has turned black due to centuries of wear and tear, it showcases the talent of the craftsmen. The ceiling is carved in two circles. The outer circle is carved with dancing women and the inner circle with peacocks. In the middle is a small protrusion.

The inner sanctum is empty and the only thing remaining is a pedestal on which the idol had once been placed. As mentioned earlier, there is a very old inscription on one of the stones. It is written in Sanskrit with Kannada script and is very clear even after centuries. The Krishna temple depicts the grandeur of the Vijayanagar empire in its true form.

Just outside the Krishna temple is the Krishna Bazaar. It is similar to the Hampi Bazaar and you can find the similar kind of constructions. Seeing the temple and bazaar, one can easily understand that it is one of the most important places or worship during then.

From here, we proceed to The Badavilinga and The Lakshmi Narasimha shrines.

The outer walls of the main temple are carved with excellent craftwork which is not at all found in any of the temples constructed in recent times. The whole outer wall contains carvings of Rama, Krishna and other gods and goddesses.

There are multiple small shrines in the Temple Complex. The most notable ones are the following.

Sri Bhuvaneswari Devi: This small shrine of the goddess is filled with Black Granite Stone. The walls and the pillars of this shrine are also black. The most beautiful feature of this temple is the wall panel above the door to the inner sanctum. The carvings are so miniature and so very detailed, we wonder how many days would have been taken to carve them.  

The room with a Pin - Hole Camera: This cannot be called a shrine but it is a must visit in the temple complex. There is a small room with nothing inside but a small hole in one of the walls through which light passes. Through the hole, we can see the main gopura of the temple at a distance. The surprising aspect is that if we see the blank wall, we see the image of the gopura in inverted position. This is a 15th Century Pin - Hole Camera Technique.

Pataleswara Swamy: This shrine is in the cellar of the temple complex. The way to the the cellar is very dark and steep that extra care need to be taken moving down. Even the shrine is very dark with a very small hole in the ceiling for light. The inner sanctum is locked and is obviously a Siva shrine with the presence of The Nandi in front of the shrine.  

There are other smaller shrines of Rathnagarbha Ganapathi, Chandreswara Swamy and Rudraksheswara Swamy.

The Matanga tank is the holy tank of the temple and located just outside the temple. Any rituals related to the lord are held near the tank. There is an old Durga Shrine near the tank.

From here, i move to the Hampi Bazaar area.

To be continued…

As soon as we see the main temple of Virupaksha, we will awe with wonder and will have a glimpse of what Hampi has to offer. There is art and sculpture everywhere on the temple. Not even the outer walls are left empty. The main entrance of the temple are guarded by two elephants and crocodiles are depicted having the legs of the elephants in their mouths. It depicts the story of “Gajendra Moksha” where Lord Vishnu saves the elephant who was about to be killed by a crocodile. This is a consistent feature of most of the temples in Hampi. Every temple has the same kind of sculpture at their entrance. There is a long stone plaque on which has an inscription which was probably written when the temple was commissioned.

Once you go inside, you will see pillars all around with exquisite carvings of Siva, Parvathi, Ganesha and others. The ceiling is also filled with paintings dated 7th Century on which the Dasavataras and the marriage of Siva and Parvathi are depicted. Inspite of the the paintings being old, they are still in good condition which tells about the quality of the work in those days. The wall panels at the ceiling are again with beautiful carvings of various stories not only of Siva but also of Vishnu. Stories like Mahishasura Mardhini and Lord Siva’s wedding and other carvings like Padmanaha Swami (Vishnu) are worth a mention. Some of the carvings are remodelled with Plaster of Paris as they have worn out. 

Every pillar has a carving of either an elephant or a lion.There is a door which leads us to the inner sanctum. On either side of the door, we find two dwarapalakas which gives a grand look and tells us the importance of the place. However, this entrance is not used anymore. The way to enter the sanctum is from its side. A camera is inside the inner sanctum which is focused on the idol and a television is put in the outer hall for the devotees to watch. This temple also houses some unusual guests, monkeys. They roam around freely among the hundreds of devotees. They play with the luggage of the devotees especially water bottles;quite a funny scene.

The inner sanctum is always incensed and the chanting of sacred words is heard almost all the time. There main deity is a Sivalinga which has a silver crown of the snake. Photography is not allowed inside the inner sanctum. I had the darshan and went on to visit the other shrines in the temple complex.

To be continued…