Mahanavami Dibba, Hampi

In this article, we will be visiting the Mahanavami Dibba, Hampi – examining the carvings on its walls and talking about the insights it gives about the life of Vijayanagara Rayas.

Mahanavami Dibba at Royal Enclosure, Hampi

From the Queen’s bath we enter inside the royal enclosure through a massive doorway. The royal enclosure occupies an area of around 59000 square meter and was once the nucleus of the powerful Vijayanagar empire.

It was protected by a lofty double wall and housed as many as forty-five buildings. It had three entrances, two in the North and one in the West. In the North-East corner of this enclosure lies Mahanavami Dibba, a massive south-east facing platform.

It is formed of three diminishing platforms that reaches upto the height of around twelve meters. The base of this structure covers an area of around forty square meter and the final tier covers total of twenty-four square meter.

The lower two tiers dates back to the fourteenth century when the foundation of the royal enclosure was laid and the final platform was added during the Krishnadevaraya’s regime on his return from his victorious campaign against the Gajapati King of Orissa.

How granite slabs were made ready for Craftsmen-ship

The first bracket carries decorated slabs depicting life and times of the empire. The wear and tear of these shallow etchings make them appear basic and rudimentary but these reliefs still carry the original vigor and dynamism.

Our curiosity that how the massive granite boulders were made ready for the craft was quenched when a fellow tourist showed us a granite rock with neatly cut cubical holes. In the ancient times the craftsmen used to put the wet wooden wedges in these holes; as the wet wood expands it creates deep cracks in these boulders making them ready for the work.

Mahanavami Dibba and carvings signifying trade of Hampi with the Arab world

My eyes fall on the conspicuous etchings of Turkish folks leading horses and playing musical instruments.

The Vijayanagar kings realized early the importance of maintaining strong cavalry. They imported well-bred studs from the Arabian peninsula.

The Arab merchants brought them on to the ports of the Western Coast and then carried them over from the dense forested Western Ghats to Hampi, the capital of the empire. The kings were so keen in encouraging these merchants to continue the arduous journey that they paid in Gold for all the horses that reached the capital; they used to compensate for any loss during the treacherous journey also and even paid for the dead ones.

Interestingly, among the interesting, non-religious work of the time, is noted Manumanci Bhatta’s, “Haya Lakshana Sara” – a scientific study of the horses and their training. This book is dedicated to Oba Kamparaya, a dandnayaka in the court of Krishnadevaraya; this work though is now only available in parts.

Mahanavami Dibba, Hampi – Arab recruits in Vijayanagar Army

The trade and the amount of cultural interaction that happened between the Hindu empire of the South and the Muslim Arab world of Middle East was very strong, so much so that many of the Turks were also recruited in the services of the Vijayanagar kings as horse-trainers, dancers, musicians, entertainers and also as soldiers and warriors.

The fact that they did not know the local language also went in their favor as it reduced the chances of spying and conspiracies.

These Arabian recruits improved the cavalry techniques and also influenced the fashion of the time; the Persian Jackets and pointed caps were famous among kings, princes, and among the ministers too.

In the etchings the Turks are often depicted as holding staffs in the role of door-keepers and as court jesters dancing and playing Tambourines.

The travelogues of Abdul Razzak, who arrived in Hampi in 1443 as envoy of Shahrukh, the Timurid Sultan who ruled much of Persian speaking world from his capital in Herat, gives a good insight of India in the Fifteenth Century.

Mahanavami Dibba, Hampi –Involvement of Portuguese

In the sixteenth century, the Portuguese arrived in Hampi from the port of Goa. They had defeated the Arabs and captured their sea commerce.

The Portuguese also formed strong ties with the Vijayanagar empire and benefited enormously with the monopolized, lucrative trade in horses, diamonds and other precious stones.

The Vijayanagar empire also profited in this exchange. They learnt the usage of firearms. In several battles, the Portuguese army also joined Vijayanagar army and surprised the enemies of Krishnadevaraya with the usage of firearms and gave them final blow.

These Europeans also generated curiosity among the artists and even they are etched at several places wearing hats, jackets and pantaloons.

Mahanavami Dibba and the Portuguese travelers

The two of the most interesting source of information about the Vijayanagar empire comes from Domingo Paes and Fernao Nuniz, the two Portuguese travelers and musketeers, who reached Vijayanagar empire during the reign of Krishnadevaraya and Achyutadevaraya.

When the Vijayanagar was finally defeated and sacked, the Portuguese also lost their richest and best paying clients. It was only after the final defeat of the Vijayanagar empire, the Portuguese started trading with Sultans and other lesser kingdom in the South.

Mahanavami Dibba, Hampi – The court life in the Empire

The walls of the Dibba carries elements of courtly life. Here, Kings are depicted giving audience, and are shown indulged in their favorite amusements of the time. There are carvings of martial art performances, wrestling matches, scenes of hunting expeditions, battle processions and other theatrical performances.

The carvings on the dibba also show royal woman, something unique in South Indian Art. Courtly maidens can be seen holding bows and arrows.

According to Nuniz, “At that time there were twelve thousand women and these women handle sword and shield, and others who wrestle and others who blow trumpets and other pipes and other instruments which are different from ours”.

However, I repeatedly see the carving of a female archer. It makes me wonder, “Was the female archers of the Vijayanagar army were quite famous or these etchings depict one particular warrior celebrated for her sharp shootings”.

Mahanavami Dibba, Hampi – Routine life of the Vijayanagara emperors

The everyday routine of the king involved formal and ceremonial activities. Their day started with religious activities and continued with giving audience to the public, discussions with ministers, commanders, spies, and visitors; they were well guarded by a contingent of body guards, and attendants who carried over the royal insignia.

The kings delivered justice on important matters and in case of doubts consulted their Brahmin advisers.

Dominigo Paes, who arrived during the times of the Krishnadevaraya, describes in detail how the courtly affairs were conducted.

According to him, “The lords and the captains enters in the King’s court and make their salaam to him. They place their hands in the sleeves of their tunics and cast their eyes on the floor.

If the king desires to speak to any, it is done through a second person, and then the person with whom king desires to talk raises his eyes and replies to the person who questions him and then returns to his former position. So they remain till the king bids them to go and then they all turn to make salaam to him and go out”.

Mahanavami Dibba, Hampi – Vasantotsava Celebrations

On the walls of the Dibba we noticed the carvings of maidens celebrating Vasantotsava. The three major festivals celebrated in the Vijayanagar empire were Vasantotsava or Holi, Deepawali and Mahanavami.

Vasantotsava was celebrated to welcome the spring and it was celebrated with much fun and frolic; saffron water was kept along the roadside and was sprinkled on all passerby, no-one was spared, not even the royals.

Getting wet was received with joy and laughter. The festivities continued with the courtly people carrying over the sport in public bath, in small boats, throwing water on each other from their pichkari.

Mahanavami Dibba. Hampi – Vasantotsava the ancient valentine day

Vasantotsava – the spring festival was also the festival of love or the ancient valentine day. This is the time when flower blossoms, spreading their fragrance, the fragrance dissolves in the air to spread romance all around, even trees are not untouched by these emotions. They also long for the company of lovely women.

In old Sanskrit texts, it was mentioned that the Ashoka tree blossom only at the touch of a beautiful girl’s feet; Bakula must be sprinkled with wine from a maidens mouth; Tilaka blossoms at the embrace of a women and red Amarnath bears flowers only after the lovely gaze of a beautiful damsel. Such was the significance of Vasant in olden days.

Similarly, Deepawali was the festival when whole of the capital including the houses, public places and temples illuminated with diyas.

Mahanavami Dibba – A Platform for festive celebrations or a lost temple

Mahanavami Dibba has architectural and iconographic elements that were generally reserved for the temples of that time. So initially there was a debate among scholars that this could be a platform of a lost temple.

However, the final conclusion was otherwise, and there were several reasons for the same.This structure is not oriented appropriately for a spiritual place, there are no cells where the idols of God and Goddesses are carved or can be kept for the purpose of worship.

The travel accounts of all foreign travelers put the speculation to the rest as in their accounts this platform has been mentioned as hub of grand public celebrations during Mahanavami.

Mahanavami Dibba and celebrations on Mahanavami

It brings us to the third and the most important festival that was celebrated in the empire – Mahanavami. Mahanavami was celebrated for ten-day with imperial magnificence and great pride and pomp suiting to its powerful rayas (kings). It was time for them to seek blessings, power and protection from the Goddesses Pampa – the Guardian deity of the empire.

Most of the Vijayanagar kings, after the Sangma rulers, were Vishnu devotees, still the Goddess Pampa, the consort of Shiva, remained the protector deity of the king and the empire.

Mahanavami Dibba – Mahanavami celebrations and payment of tributes

There were around two hundred chiefs in the Vijayanagar empire. These captains ruling over various territories in the empire were empowered and were given complete independence as long as they remain loyal to the rayas, maintain their quota of horses, elephants and the soldiers; upkeep of this band in perfect readiness for any immediate need for a war or conflict was the price of this empowerment, along with the annual tribute to the sovereign, failing which they were liable to be instantly removed as the nobles ruled only by his good will.

For Mahanavami celebrations all these satraps were invited to the capital with their retinues and it was mandatory for them to be present on the occasion; only exceptions were for the chiefs who were towards the far end of the kingdom, presided over sensitive border areas or were in the battlefield.

During the festival, the city hosted an army of around 90,000 soldiers in 1420, a number that increased much higher later on. It was time for these satraps to give tax and contribute to the treasury of the kingdom.

Mahanavami festival was the festival to celebrate victories and to worship arms and ammunition. It was the time for the rayas to review their martial strength and from this tribute they resupplied and strengthened their troops.

The satraps who were able to please the rayas with their contributions to the treasury were invited to share betel with Rayas during the Mahanavami festival and it was considered a great honor.

Mahanavami Dibba and animal sacrifice

Mahanavami was celebrated with religious fervor and from the platform Rayas presented religious offerings and around twenty-four buffaloes, one-hundred fifty sheep were slaughtered on the last day of the festival. The butcher in-charge of this slaughter had to cut their heads with a single blow with a large sickle in his hand.

Mahanavami Dibba, Hampi and Mahanavami Celebrations as described by Nuniz and Paes

In all the travel accounts of the time, Mahanavami celebrations that followed were described in such vivid details that standing here, I am tempted to time travel and be in the company of the famous Portuguese travelers Nuniz and Paes to enjoy the proceedings.

Mahanavami celebrations – the wrestling matches

“Today is the last day of Mahanavami celebrations. In front of us enormous crowd is gathered. The crowd management system is well in place and as soon as all settles down the celebrations start with the wrestling matches. The wrestlers here are with ferocious killer instincts and their blows are powerful enough to break jaws, put out eyes and to disfigure the faces of their opponents. Among the large contingent of male wrestlers there are female wrestlers too.

Mahanavami celebrations – dance and music performances

The wrestling matches are followed by dance and music performances by gorgeous female artists. The charm of these stunning maidens, turn many heads. The Raya is watching these performances from the top of the dibba, seated on a golden throne embedded with precious stones.

Mahanavami celebrations – Some fun events at night

This portion of the day is dominated by wrestling matches, and dance and music performances; as soon as the sunsets, torches are lit on all the walls and the battlements. The whole arena is lit as day especially the place where the Raya is sitting.

Once the whole place is lit, starts many engaging plays one after the other. Suddenly enters horse-men with casting nets and starts capturing the men in the arena in their fishing nets. Its fun and there is laughter all around.

Mahanavami celebrations – fireworks

As soon as these amusements end, there is spectacle in the sky. Rockets are getting fired and there are many fire crackers. There are castles that burn. And as these castles burn they burn many bombs and rockets are fired from these castles that enthrall all present.

Mahanavami celebrations – The Horse March

As soon as these spectacular fireworks end, beautifully decorated triumph cars enter the arena. These cars are followed by a band of best horses of the empire covered in the best attire and trappings. They are led by King’s horse which is the best among the all.

These horses are carrying so much jewels and ornaments over them that my Portuguese companions feel that they are worth more than some of the cities in Portugal. The Brahmins perform Puja and sprinkle holy water and rice on the king’s horse blessing him and symbolically the king.

Mahanavami celebrations – The women bands

After this band of best-in-class studs, enter twenty-five to thirty doorkeepers with cane in their hands and whips on their shoulders; close to them come eunuchs followed by women bands playing trumpets, drums, pipes and viols. These are followed by women porters with silver canes in their hand. These porters are followed by around sixty fair young girls of age around sixteen to twenty. These young ladies are maid of honors of the queens.

They are wearing rich silk clothes and high head gears over which flowers are made of large pearls; collars on their neck are studded with jewels of gold richly set with emeralds, diamonds, rubies and pearls; these girls are wearing bracelets on their upper arms, girdles below and anklets in their feet.

These girls are carrying vessels of gold as large as small cask of water; inside these vessels there are loops of pearls fastened with wax and the vessels contain the lighted lamps. The jewelry these girls are carrying is so heavy that many of them are not able to carry on their own, and are accompanied with women who are supporting them by holding their arms and shoulders.

Mahanavami celebrations – the procession of elephants

As these women retires, the horses also leave the arena, enters the procession of elephants with trappings and decorations. On some of these elephants sit jugular, performing a variety of gambols, and on some of these elephants sit proud virile commanders wearing armour, carrying shields and wearing quilted tunics.

These elephants gather in the arena where earlier wrestling matches and dance performances were taking place. They gather, make salaam to the Raya and retire. This is the end of festivities after which sumptuous dinner is organized. With the smell of sumptuous dinner, I realize that it’s time to return to the present.

View from the top of Mahanavami Dibba, Hampi

We climb to the top of the dibba from a passage that was once used by dignitaries to climb over the platform. The top of the dibba provides vantage point to enjoy the panoramic view of the royal quarters and reminds me how Paes found the views of the city from over a city.

The enormity of Hampi at the time of Paes

He wrote, “I do not write about the size of the city as it cannot be seen from one spot. I climb over a hill from which a great part of it can be seen. I still cannot see the entire city as it lies between several ranges of hills.

What I see from here is a city as large as Rome, very beautiful to eyes. There are many groves of trees in the gardens of the houses, and many conduit of water which flows in the houses.

Near King’s palace is a palm grove and other rich fruit bearing trees. Below the Moorish quarter is a river and on its side are many orchards and gardens with many fruit bearing trees, most of them are mango trees and areca palms and also there are lime and orange trees and even white grapes grow there. These tree are so close to each other that it appears like a thick forest”.

The description of Paes about the houses in royal quarters

He also talked about the royal quarters, “From the gate to the King’s Palace, all streets have rows of houses with flat roofs which are very beautiful. These houses are of captains and of other rich and honorable man. Along the houses one can see many figures and decorations pleasing to look at.”

The whole area today is ruined so much that from the top of the Mahanavami Dibba, I can only see a cluster of square and rectangular foundations of grand buildings and magnificent pools some of which still retain their charm and grandeur.

At the top of the Mahanavami Dibba, Hampi

There are column footings on the top of the Dibba, remnants of wooden columns, which stood here supporting a massive mandap. It is eleven’0 clock and the blazing sun is becoming fiercer. There is no mandap now to give relief from Sun’s fury. All three of us take unanimous decision to get down and visit other structures in the royal quarters quickly. We will continue with the explorations of the other monuments in the royal quarter ending at Hazara Rama Temple in the next article.

Click here to read about the Hazara Rama Temple

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