Hampi: Tales from the splendorous ruins of an erstwhile city in Karnataka, Pt.4

"THE STONES HERE SPEAK TO ME, AND I KNOW THEIR MUTE LANGUAGE...BUT I AM A RUIN MYSELF, WANDERING AMONG RUINS.” ― Heinrich Heine

Beyond the timeless tales of the rise and fall of empires, the extraordinary cultural landscape of Hampi ignites our minds. It represents a triumph of human endeavor, in the mastery over the crafting and sculpting of one of the least tractable of rocks, granite. The sculptors of yore created poetry into stone from the highly geometric to the most fantastical of figurative forms that throb with life. From the ordinary musician to an exalted deity, from anthropomorphic to zoomorphic representations, from the abode of gods to those of animals such as elephants provide an extraordinary testament to humankind’s ability to create an aesthetic environment even in the most desolate and inhospitable of locations, transformed into a backdrop of surreal and daliesque beauty of art and architecture.

The landmark years for Hampi – Post Vijayanagar Empire:

1. 1565 - The Vijayanagar empire ended after being attacked and plundered.

2. Late 19th century – Hampi received attention from the then British Indian Government.

3. 1903 - The monuments were protected by the then Archaeological Survey of India under the Ancient Monuments Act (1903-04).

4. 1956 - Ancient Monuments Act; 56 ‘monuments’ declared as nationally protected monuments and 700 protected by the Karnataka State Department of Archaeology under its Act.

5. 1980 - Beginning of the International Documentation project bringing in international focus to the place.

‘The city of Bidjanagar is such that the pupil of the eye has never seen a place like it, and the ear of intelligence has never informed that there existed anything to equal it in the world. It is built in such a manner that seven citadel and the same number of walls enclosed each other’ - Abdu’r Razzak, the Persian Ambassador, AD 1443

Touring Hampi: The last hurrah

I could have ended on Part 3 by stretching it a bit. But instead will wrap today listing out the remaining places as Hampi Ruins. Though not all these ruins are in Hampi per say. Geographically, mostly they are in nearby places like Kamalpur and Anegundi. Without further ado, let’s jump right into it.

DAY - 3: [HOSAPETE - HAMPI - KAMALPUR - ANEGUNDI] – 16th August 2019 (Friday)

*****KAMALPUR*****

A busy small village located at the southern fringe of the Hampi ruins. Out of some of the major attractions that are located here, we could only manage visiting three –

Malyavanta Hill - It is a hilltop where one can reach by a vehicle. The view and ambiance are remarkable. The main temple here is the Malyavanta Raghunath Temple. The narrow but decently paved uphill path terminates in front of the eastern gate of the temple campus.

• Malyavanta Raghunath Temple - It is dedicated to Lord Raghunath (Ram). The mythical association of the place with Hampi’s version of Ramayana is interesting. Lord Ram and his brother Lakshman were looking for a shelter during the monsoon. Ram aimed an arrow in the direction of Malyavanta Hill. A cleft on the boulder atop the Malyavanta Hill was made. Ram and Lakshmana waited here till the monsoon season finished and then marched towards Lanka with monkey army to rescue Sita. The images of the deities are carved on the face of a massive boulder. Lord Rama and Lakshmana are sitting posture, Sita is standing next to them, and Hanuman, in a kneeling posture with great attitude. A massive temple complex is built around this boulder, keeping the images portion within the inner shrine.

• No admission fee. Photography allowed.

Vitthala temple - One of the major attractions of Hampi. Vitthala of Vijay Vitthala temple is beyond comparison. From Hampi bus stand one can get a bus for Kamalpur bus stand. Then another bus to Vitthala from there. We went via car. Vitthala has the most extravagant architecture among all Indian temples. 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. The highlight of the Vitthala temple is its impressive pillared halls and the stone chariot. And the halls are carved with an overwhelming array of sculptures on the giant granite pillars. The stone chariot located inside is almost an iconic structure of Hampi. It’s believed that the stone chariot was mobile and was used in temple ceremonies. The stone wheels are now almost frozen, though one can distinctly see the wheel fixed on the axis.

Vitthala is name of Krishna. 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. One can even see the remains of a township called Vittalapura that existed around this temple complex. The chariot inside the temple complex is believed as the past carriage of the Garuda, eagle god (bahan of Vishnu).

• Chariot of Garuda - One typically accesses the campus through the eastern entrance tower, next to which the ticket counter is located. A series of compact platforms along the central axis of the campus. At the end of these platforms stands the Stone Chariot. An image of Garuda was originally enshrined within its sanctum (chariot). Garuda shrine (chariot) is facing the main temple’s sanctum as a symbolic gesture of its obedience towards Vishnu. It appears as a monolithic structure. But originally 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 wheel’s rest, the wheels were free to move around the axis. One 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 Vitthala 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.

• Maha-Mandap - On leaving the Stone Chariot we reached the main hall. It is partially damaged. Facing the Stone Chariot, a series of steps flanged by elephant balustrades gives access to this elevated open hall called the Maha-Mandap (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-Mandap 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-Mandap 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 Maha-Mandap has richly carved giant monolithic pillars. The outermost of the pillars are popularly called the musical pillars.

  • 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. Currently tapping on it is banned as past visitors have damaged many of these pilasters.

  • The Eastern hall - It is called the musicians hall and 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 - It 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 - It is surrounded with a series of pillars with the Narasimha themes. The most notable ones are that of Narasimha slaying Hiranyakashipu on his lap. Prahallad 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 center. Further west is a closed hall with two porches on either side. Further ahead is the sanctum.

• The inner sanctum - It 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 see from this passageway is richly decorated with the Kumbha-Pankajas (the motifs were lotus flower flows out of a pot).

The other attractions include the Goddess’s shrine in the northwest, the 100-pillared hall at the southwest, the Kalyan-Mandap (ceremonial marriage hall) in the southeast and the pillared cloisters all around the enclosure wall.

• There is an admission fee to enter Vitthala Temple. The same ticket can be used for the same day to enter the Zenana Enclosure area in the Royal Centre. Using video camera charges extra.

The Kings’ Balance – 5-metre or so tall ‘balance’ (frame) is located near southwest of the Vitthala Temple. Also called as Tula Bhara or Tula Purushadana, the king used to weigh himself with gold, gems, silver, precious stones etc. and distributed to the priests. It’s believed that this had been done during the special ceremony seasons like solar or lunar eclipses. There are three loops on top of the balance, into which the balance actually hung, only the frame is present now, the balance is not.

• No admission fee. Photography allowed.

What we missed in Kamalpur - Archaeological Museum, Pattabhi Rama Temple, Domed Gateway, Bhima’s Gate, Ganigitti Temple, Talarigatta Gate, Gejjala Mandap, Kuduregombe Mandap

*****ANEGUNDI*****

Anegundi was the capital of the region, before it was shifted to Hampi. This was the core of a tiny kingdom that eventually expanded into the Vijayanagar Empire covering the whole of South India. Currently Anegundi is sleepy village with a principally farming community inhibiting it. This is located at the opposite bank of the river.

Anjaneya Hill – It is believed to be the birthplace of Hanuman, located in the center of Anegundi. At the top of the hill is the temple dedicated for Hanuman. According to mythology he was born to Anjana, so also known as Anjaneya and his birthplace as Anjaneyadri (Anjaneya’s hill). The temple (almost looks like an old house) is always kept closed (to prevent monkeys). The view from hilltop is marvelous - patches of paddy fields, Coconut plantations and the whole of the ruins sites is visible from there. The way to the hilltop is stepped. It takes about 20-30 minutes to climb for an able bodied person.

Yantrodharaka Hanuman Temple - It is a functioning shrine located behind the hillside, a bit uphill on the riverside. It is also dedicated to Hanuman. It is also called Pranadeva Temple, eulogized by Vyasaraya (Hindu philosopher, scholar and poet belonging to the Dvaita order of Vedanta and the patron saint of the Vijayanagar Empire). Idol is depicted on a granite boulder. Hanuman is shown seated in padmasana within the center of Srichakra which is known as Yantra. His right hand is held in Vyakhyanamudra and the left hand is held in Dyanamudra. He wears Kiritamukuta, and other usual ornaments on body. Over yantra carvings of 12 monkeys holding tails of one another as they face backwards. It is a representation of the 12 days of prayers that Sri Vyasaraja did before the Lord blessed him. There were lot of monkeys there when we visited, I also remember an old tree in the temple campus having a lot of cloth balls hanging from them. I enquired but the native present there at that time, weren't fluent in either Hindi or English. Hence, not sure but my guess is those cloth balls were promise of some kind made to the God, like we see thread binding in trees in northern India.

• No admission fee. Photography allowed.

What we missed in Anegundi - Pampa Sarovar, Hachappa Mandap, Rishimukh Hill/Island and Chandramouliswara Temple in Rishimukh.

Overall to we missed a few other places that falls under this section they are listed below -

• Overall Missed - another Narasimha Temple, Sugreeva’s Cave, Ancient Bridge, Purandaradasa Mandap, Inscribed Vishnu Temple.

There is a local folktale of Karnataka. Vijayanagar kings spent so much money on these temples. That even the Lord Vishnu started getting uncomfortable with the extravaganza and decided to leave this Kingdom, leading to the fall of the Empire.

During evening in our hotel we went to the swimming pool. While there, I was in my deep thoughts, thinking about the ruins that said so much about the grandeur splendor and fabulous wealth the city once enjoyed.

Nothing is permanent, with so much pompousness and power, comes arrogance. Arrogance leads to fall. In 1565, the last proper ruler of Vijayanagar Empire Rama Raya, known for his arrogance and indifference, underestimated the rising power of the alliance of Deccan Sultanates. Unprepared, in the iconic Battle of Talikota, he was killed. The enemies entered the city that had not prepared itself for war. The city was plundered, looted, burnt, and destroyed. Overnight, the inhabitants fled, the royal families disappeared, and the enemies returned with stolen treasures. Slowly, people forgot about this majestic city of Vijayanagar, and it remained isolated and defeated for centuries lying in the ruined state in which it lies to this day.

I trip to Hampi was at an end. But the tour was far from over. We had one more day. But it was not for Hampi. It was for Badami, Aihole and Pattadakal.

*******THE END*******

<<== PART -3 BADAMI, AIHOLE, PATTADAKAL ==>>

References:

1. A Forgotten Empire (Vijayanagar) – A contribution to the history of India, Robert Sewell

2. Verghese, A., (2002), Archaeology, Art and Religion: New Perspectives on Vijayanagar, Oxford University Press, New Delhi.

3. Michell, G. and J. M. Fritz, (1986), Hampi: Splendors of Vijayanagar Empire, Lavanya Publishers, Bombay.

4. Hampi Archeological Heritage Tourism Destination - An Analysis, BRICS Young Scientist Forum, Bangalore Conclave 2016, 25 Sep—01 Oct

5. Wikipedia

6. IMDB

7. Google Maps