Vijaya Vittala Temple, Hampi – The Architectural Show-piece of Vijayanagar Empire

This article is about – the Vijaya Vittala Temple, Hampi – The iconic monument of Hampi. We would talk about all interesting and significant things about the temple in the article.

Decision to walk towards the temple

We arrive quickly from the Talarigate, our previous stop, to the path leading to the Vijaya Vittala temple; the two places are in close vicinity. Autos are not allowed beyond this point.

We see a long queue of people waiting for the battery operated cab plying between this point to the Vijaya Vittala temple complex. It is getting hot and I fear that Tanmay might put the condition of going to the temple only if cab is available. The fear is unfounded as both the kids decide to walk without a single argument.

Gejjala Mantapa

At the beginning of the street is the Gejjala Mantapa – a small open pillared pavilion amidst banana plantation, having a brick and plaster parapet along with a shikhar over it. The pillars are of typical Vijayanagar style and carry the carvings of ‘purna-kalasha‘.

This structure marks the beginning of the Hampi Bazaar or the ‘car street’. This street is known as the car-street as during rathothsava the idol of deity is carried over a carriage (ratha) on this street in a grandiose procession. Gejjala Mantapa is the ceremonial place to keep the idol during that time.

In the initial stretch, the path is sandy with occasional trees on the way, providing shade. The granite boulders strewn hill present natural beautiful rocky formation – a signature landscape of Hampi.

Kudure Gombe

Midway is ‘Kudure Gombe‘ means ‘horse doll’. The structure got its name from the fine carvings of rearing horses with riders on the front pillars of the pavilion.

The shrine gives us opportunity to sit, relax, and to rejuvenate ourselves with water and snacks. We see school-kids moving in queues towards the temple.

Pushkarni of Vijaya Vittala Temple, Hampi

Further towards the temple is pushkarni. The entrance to Pushkarni is from a structure having pillars carved with riders over horses, a makar below it and the idols of Gods and Goddesses.

In the middle of the pushkarni is a temple like structure, four pillars carrying a super-structure over it.

Vijaya Vittala Temple Bazaar, Hampi

This one-kilometer long street is flanked by the decaying structures of ancient Vittala temple bazaar. Some of the granite pillars, we see today, are erected back as part of the restoration program of ASI. The Vittala bazaar was famous for horse trading and merchants from places far and wide used to come here.

One interesting thing I learnt is that the buyers used to ascertain the age of the horse by looking at its teeth. The ruins of the bazaar make me think of the life that might have thrived here in its heyday.

Gopurams of Vijaya Vittala Temple, Hampi

We enter the temple complex from the eastern side. Vittala temple has three massive gateways in east, north and south directions; all these gateways are adorned with gopurams.

The gopuram towards the southern side is the latest. These gopurams were constructed in 1513 by Rani Chinnadevi and Rani Tirumaladevi, the queens of Maharaja Krishnadevaraya.

The kalasha on the northern gopuram was donated by Chaparada Raghavappa Nayaka, the son of Uddi Timappa Nayaka, for the welfare of the king; while, according to an inscription in the temple complex, Hiriya Timmappa Nayaka, during the reign of Achyutaraya, donated gold-coins to construct pinnacle on the eastern gopuram.

The lower portion of these gates are of stone and the gopurams are made of brick and mortar. These gopurams are then decorated with mythological and religious themes in terracotta. On the eastern gopuram many of these carvings are still in good-shape. It is five-tiered. Its vaulted roof is damaged and is missing.

In the entrance porch is the beautiful statue of Ganga as was the norm. In place of the iron gate that we see today was a massive wooden gate in the olden days. Be-aware as you enter-in, else you might step-up on the devotees of Vittala prostrating before him.

About Krishnadevaraya and his Queens

Krishnadevaraya had twelve lawful wives, three of whom were the principal ones, Rani Tirumala, Rani Chinnadevi and Rani Jagmohini. Rani Tirumala was Krishnadevaraya’s crush of youth, Rani Chinnadevi was the daughter of a king of Krishnadevaraya’s vassal state and Rani Jagmohini was the daughter of the Gajapati king of Odisha.

Tele-serial Tenalirama has made Rani Tirumala and Rani Chinnadevi household names. My son Tanmay, loves the portrayal of Rani Chinnadevi (which is caricaturist in the serial) and laughs uncontrollably on her ideas of new innovative cuisines.

Vijaya Vittala Temple Complex, Hampi

As we enter inside the temple complex, the sprawling rectangular paved-courtyard (164×95 m) with aesthetically constructed pillared colonnade halls impresses us. The complex is surrounded by high compound walls. The center of the complex is adorned by the principal shrine with its axial mandapas.

This monument is definitely the most ornate of all religious edifices of the kingdom with its florid magnificence. In the courtyard, around the shrine, as we move in clockwise direction from SE direction, are present: a dilapidated kitchen in the S_E corner that faces a dormitory (either devotees stayed or were fed in this area), Kalyan Mandapa, a hundred-pillar hall, Amman shrine in north-west direction, followed by Utsava-Mandapa, and the stone chariot with Garuda shrine in the center of the courtyard.

The main-shrine is constructed at the center with an open mantapa, a closed ardh-mandapa with side-porches, a closed pradakshina path enclosing Antralaya and Garbhgriha.

Taking services of a guide in Vijaya Vittala Temple, Hampi

We decide to explore the surrounding halls before entering into the main shrine. It is evident that this beautiful complex would have several hidden gems so we decide to take the services of a guide. The idea is to have a quick round with the guide and then to revisit the same in relaxed pace soaking in the beauty of the complex.

Kalyana Mantapa of Vijaya Vittala Temple, Hampi

We start the exploration with a visit to the Kalyan Mantapa in the South-East corner of the courtyard. It is an open pillared symmetrical mantapa with recessed sides. It is raised on a platform with bas-relief sculptures of ornate designs and a series of elephants and people.

It has an outer pier carved with Yalis with warriors on their back. In the center of the courtyard, a beautiful lotus bud is carved on the ceiling; inside the outer circle are carved couples dancing and celebrating. The center is raised for seating the deity and his consort during the annual wedding festival of the God.

Is this the carving of Krishnadevaraya?

The guide points towards one of a galloping horse with its two upper legs (missing) in air and a rider on its back and suggests that in this relief, many people believe, that the rider is no-one else but Krishnadevaraya himself. The guide points towards the small-height of the rider, his royal attire and the confidence exuding from his body-language, to prove his point.

About Krishnadevaraya

Dominigo Paes, a Portuguese traveler, who visited the Vijayanagara Empire in 1520 describes Krishnadevaraya as follows:

Krishandevaraya is of medium height, and of fair complexion. He has a good figure, though rather fat than thin. On his face he has signs of small-pox. He is most feared and a perfect king. He honors foreigners and receives them kindly, asking about all their affairs, whatever their condition might be. He is a great ruler and a man of much justice, but subject to sudden fits of rages.

Interestingly, it was the travelogues of Dominigo Paes in 1520 and of Nuniz in 1536/1537 that proved beyond doubts the existence of Vijayanagar empire which was on zenith under Krishnadevaraya and suggests that he was probably the greatest of all the kings of the Vijayanagar empire.

On the ceiling of this mantapa are the original Vijayanagara paintings. The inscription in the temple complex describes this hall as Dolostava mantapa. constructed in 1554. In the hall we can also see a provision of installing a swing. It was here the idol of God was kept and swung at the time of Krishna-Janmashtmi.

Hundred-Pillared Hall of Vijaya Vittala Temple, Hampi

Abutting this south-eastern hall is hundred-pillared hall built by Krishnadevaraya in 1516. A unique tri-lingual inscription of 1516 is seen here written in Kannada, Tamil and Telugu attributing its construction to the Krishnadevaraya.

In total there are more than twenty-three inscriptions in the Vittala Temple complex of dates ranging from 1513 to 1564. These inscriptions provide invaluable historical data.

The sculptures in Dolomantapa are more refined than this hall, indicating that probably Dolomantapa was constructed after hundred-pillar hall by the artists who executed with learning/refinement attained during the construction of this hundred-pillar hall.

Musical Pillars of Vijaya Vittala Temple, Hampi

Now, the guide asks us to put our ears on slender colonnettes and tapped it gently. Wow! we could hear the melodious sound generated from the tapping.

Guide explains that in the hall there are different columns that generates different notes. Some pillars create the sound of tabla, bells, small and large.

When the English discovered these musical pillars, they got curious and neatly cut and removed one of them for further investigations.

What is inside the Musical Pillars of Vijaya Vittala Temple, Hampi

They were expecting the pillar to be hollow from inside, but that was not the case. These pillars are made of solid rock, and are of same height, width and diameter.

Then how these pillars produce different musical notes when tapped. Is it possible that the rocks were melted, mixed with different alloys and recasted.

It raises a question were Vijayanagar artisans aware of advance rock melting techniques. Or, the different notes are due to a small difference at the top of these pillars.

It seems we do not yet have a definite answer for the same; though it is mostly agreed that these pillars produce musical notes because of the presence of metallic ores and a large amount of silica inside the rocks, which were used to carve these pillars.

My past experience with Musical Pillars

I feel happy that we took the services of the guide as only he could have drawn our attention towards these master-piece musical pillars.

I remember that when we visited Madurai temple in 1998, a guide claimed the same about pillars in a museum and to prove himself correct he hit it with a stick, but the sound I could hear was more of hitting something against stone, not at all melodious and I thought that all claims of musical pillars is fake.

This pillar though really created a melody. Later, I noticed that it is not difficult to identify these pillars as most of these musical pillars got slightly blackened.

Cymatic Waves on the Ceiling of the Vijaya Vittala Temple, Hampi

There is another claim that the design on the ceilings are that of cymatic-waves (visual patterns created by the sound).

As these halls were used for dance, music and instrumental performances, so according to claimant it would be no surprise that it turned out to be true. In absence of any other information on the same, I consider it to be more of a theory of a glorious ancient past.

The Vijaya Vittala Temple Shrine / Main temple Complex, Hampi

From the hundred pillar hall, we move towards the main shrine. The main shrine was constructed in two phases. In the first phase the sanctuary and a pradakshina around was constructed. The sanctuary was then crowned by a brick-shikhar. This area was built during the reign of Devaraya-II (1422-1446 AD).

The magnificent open mahamantapa in front of the shrine was constructed by one of the commander of the Sadashivaraya in 1554. The plan of the pillared hall is complex; there are symmetrical recessed projections.

This hall stands on a 1.5 meter high intricately carved & ornate Adhisthana. There are devakosthas accommodating the avatars of Vishnu, kumbha-panjaras (vines coming out from the mouth of these pitchers), topped by Panjaras – the miniature shrines.

The richly carved reliefs on adhisthana show horse traders, conventional geese and procession of horses among several. The carved horse traders and their costumes indicate that the horse traders arrived in Hampi from far and wide.

Symmetrically placed holes of different sizes in the main complex of the Vijaya Vittala Temple, Hampi and its significance

The guide takes us around and shows us the other peculiarities of the ancient architects. He draws our attention towards symmetrically placed holes on the outer wall. These holes are present all over the outer structure and diminishes in size as one move from top of the temple to the bottom.

The last set is so small that only a twig or a thread can pass through it. This is not a single hole, but there are numerous of them present all around the temple.

The bigger holes have some structures below them which are there to divide the falling water into two streams and so on so forth.

I could not make out any plausible sense and purpose of these, except that probably they were created to provide drainage to the rain-water so the water does not accumulate and deteriorate the temple; the reasoning could not stop me from imagining the rains water falling from these holes creating a water-curtain.

Vijaya Vittala Temple, Hampi – Design based as Vimana

I read one of the theory, that as temples and shikhars over the sanctuary are named as vimana, this temple design was indeed like the design of space-shuttle with these holes being prototype for fire exhausts, as further proof of this tall claim, is the observation that the yalis around are breathing fire in the downward direction providing the energy required to propel it into space.

Its an interesting speculation. I do not agree with this, nevertheless, temples are meant for propelling the believers to the path of zenith of spirituality. Whatever be the purpose of these holes, the design intrigues.

Double Curved Eaves on Vijaya Vittala Temple, Hampi

There are double curved eaves on the corner with and without stone chains. These stone rings with intermingled loops represent the advancement of ancient technology.

How these stone chains are joined together with the eaves is another surprising part of it. The rings attached to these rings were used to light lamps.

We take a flight of steps flanked by animal balustrade to enter into the mahamantapa.

Mahamantapa of Vijaya Vittala Temple, Hampi

This hall has fifty-six pillars that are around three and half meter high. Out of these fifty-six pillars, forty pillars are lining the facade and rest of the sixteen pillars are in central area and are arranged in a manner that they create a rectangular court in center and aisle on three sides, dividing the mahamantapa in four spacious halls.

The cut-out colonnettes – Vijaya Vittala Temple, Hampi

The architectural style in Vittala temple reflects the zenith of Vijayanagar architecture. The columns in the hall are masterfully crafted in a monolithic composite pillars where the central shaft is surrounded by cut-out colonnettes. In several cases the number of these colonnettes reaches as high as fourteen.

Yali Cavings – Vijaya Vittala Temple, Hampi

The other decorative styles have rearing and roaring yalis and animal figures leaning against pillars.

These pillars also carry various forms of Narasimha (Northern hall) and diverse figures of beautiful maidens, musicians and dancers (eastern hall).

The massive pillars support the lofty ceilings composed of solid granite slabs with spans exceeding ten meters. The pillars have inverted T-shape beams to carry over these slabs.

The brackets carry the trademark Vijayanagar form of curling, inverted lotus buds. The ceilings are carved with lotus motifs and remnants of paintings can also be seen on the south side of the mantapa.

Dwarpals guarding the Garbhgrih – Vijaya Vittala Temple, Hampi

Six feet tall dwarpals standing on two-feet pedestal once guarded the sanctorum-sanctum. The left one is broken and the right one is missing. The roofless ardhamnatapa leads to the Garbhgribh (which is empty now) and the covered pradakshina around it is topped with a hemispherical dome.

Vijaya Vittala Temple, Hampi was burnt after the Vijayanagara empire lost to Sultans

This marvelously built temple also bore the burnt of jealous-iconoclastic victorious armies of neighboring Sultans, who sacked the Hampi in 1565 and also burnt the temple. I believe, the destruction mind-set has only one motto – If you can’t build something beautiful yourself, destroy those of others.

Who is Vittala?

The deity of the temple was of Vittala. The word Vit (bheet) means brick and sthala means standing. Vittala means God standing on a brick.

The deity Vittala is connected with the legend of Pundalik, who brought the deity to Pandharpur and composed devotional songs in Marathi.

There are claims that Lord Vittala found this temple too grand and opulent to reside here, and decided to return back to the temple of Pandharpur – a smaller temple but filled with the spiritual energy of the devotees and hence there is no idol in the garbhgrih.

I disagree with this reason of its abandonment as a place of worship; also as for several centuries worship happened here. I wonder, could it be mere burning of the temple or something more sinister happened here, like massacre of its devotees. These are though my own thoughts with no information of any historical data.

Vijaya Vittala Temple, Hampi – A temple of Lord Vittahala or of Lord Vishnu

I also feel that this temple might not be related with the deity in Pandharpur. According to the historian Ramkrishna G Bhandarkar, Vitthu is Kannada corruption of the word Vishnu and the suffix la and ba mean father in Marathi. So this can be the temple of Lord Vishnu. I feel more connected with this theory.

The Northern Hall of Vijaya Vittala Temple, Hampi

From the main shrine, we move to the Northern Mantapa abutting the Northern hall. We roamed around the temple twice, first with the guide and second on our own and hence are tired now. We sat and relax here and there is no-one around. Here too we see the blackened colonnettes and as we tap them we do here the musical notes, these are indeed musical pillars only.

The Stone Chariot of Vijaya Vittala Temple, Hampi

After the Northern Mantapa we move towards the iconic structure of the complex – the free standing stone-chariot facing the Vittala temple. This chariot represents the apex of the Vijayanagar’s stone carving tradition.

It is built with giant granite blocks and the joints are craftily hidden in the carvings and other decorative features. This chariot is a Garuda shrine and has all intricate and delicate details of a wooden chariot carved artistically in stone.

The remnants of earlier brick superstructure over the ratha can still be seen, though the brick-structure was lost in the nineteenth century only. This chariot and the Northern Mantapa are believed to be added to the complex in 1554.

The wheels of the stone chariot in Vijaya Vittala Temple, Hampi

The wheels of the chariot are decorated by a series of concentric floral motifs; these wheels were once painted but only traces of paints are seen on it these days. It is said that earlier it was possible to rotate these wheels; ASI had to cement them to prevent tourists from doing the same and causing damage to the wheels. The broken stone ladder in front of the chariot, once gave access to the Garuda-shrine.

This ratha is pulled by striding stone elephants. However, on close inspection we see one horse-tail being there; this ratha was initially pulled by horses only; theses stone-horses were lost and were replaced by stone elephants in nineteenth century; a renovation about which not much is known.

As I wrote earlier, the two iconic monuments in Hampi, according to me, are this stone chariot shrine of Garuda and the monolithic statue of Narasimha on Hemakuta hill. Government of India, too has recognized the beauty of this structure and the new fifty rs note carry the motif of this iconic structure.

Please click here to read about another iconi structure in Hampi – The monolithic statue of Lord Shiva

Click here to read about the Vijayanagra Architectural style in detail

Series Navigation

<< Malyavanta Hill, HampiHampi Trivia >>