HAMPI

The City Lost In Time

View of the Hampi
 INTRODUCTION

• Hampi, a village and a temple town in Karnataka is

one of the most historically rich places.
• Listed under the UNESCO World Heritage Site as the
Group of monuments at Hampi, this city was also at Vijaya Vittala temple
one point one of the richest cities in the world when it
was at its peak.
• Located inside the Vijayanagara city, This has been
one of the most significant tourist places of attraction.
 LOCATION
• Built in the later half of the 14th Century Hampi is in
Bellary district of Karnataka.
• It is a significant historical site in India which conveys
message about the well-planned ancient cities and talks
about one of the greatest Hindu kingdoms of Indian
history.
• The closeness of Hampi to the river Tungabhadra adds to
the magnificence of its natural setting. The property
mainly covers an area of around 26 sq. km guarded by
seven lines of fortifications.
• Despite being ruined by the passing time, the destination
encompasses more than 1500 remains of artistic works
including forts, royal and sacred complexes, riverside
features, shrines, temples, pillared halls, Mandapas,
memorial structures, defense check posts, gateways,
stables, water structures, etc.
 WORLD HERITAGE SITE
• In 1986, Hampi was declared a World Heritage site by UNESCO.
• Hampi comes under cultural and built heritage which holds a
significant value in the history.
• Hampi is the 14th century capital of the Vijayanagar Empire,
located in the Tungabhadra basin in Bellary District, Central
Karnataka.
Vijaya Vittala temple
• Vittal Temple Complex is the finest example of Vijaynagar
Temple Architecture.
• A large number of royal buildings were raised by Krishnadeva
Raya (A.D. 1509-30) and Vittal Temple Complex is one of them.
• Temples of Hampi are noted for their large dimensions, florid
ornamentation, bold and delicate carvings and stately pillars
which include subjects from the Ramayana and the
Mahabharata.
• Majority of these temples in Hampi were provided with
widespread bazaars flanked on either side by storied Mandapas.

Elephant Stable
 ARCHITECTURAL DELIGHT
• Hampi is a UNESCO World Heritage Site, owing to the ancient temples, forts and
other monuments here.
• Hampi was the capital of the Vijayanagar Empire around 1500 AD, and by some
accounts, the second largest city in the world at that time.
• The terrain around Hampi is as mysterious as the ruins itself - the city is surrounded
by boulders of different sizes, and you can climb to the top of them with a little
effort to get a stunning view of the entire city and the geography.
• It is located on the banks of the Tungabhadra River. Virupaksha temple
• Famous for its massive, beautifully carved temples, Hampi tells the stories of its
existing structures. Many a visitor climb atop the Matangaparvata and get a glimpse
of Hampi and its environs.
• The way the city was built with temples and bazaars is exemplary in itself.
• On the North banks of the river Tungabhadra is the first capital of the Vijayanagar
Empire, Anegundi, the temples and stories abound, which will help one to get a
better understanding of the local heritage.

Vijaya Vittala temple

 HAMPI CULTURE
• Being a World Heritage Site, Hampi beckons thousands of tourists every year, due to which tourism industry turns out to be a chief
support of the economy of Hampi.
• Other than that, opulent manganese and iron ores of Hampi and its sound agriculture comprise the major factors of its providence.
• The culture of Hampi is chiefly marked by the cultural and religious festivals celebrated here. Other than the traditional festivals
celebrated in India, Hampi is noteworthy for its unique celebrations which include Vijaya Utsav, Purandara Festival and Virupaksha Car
Festival.
• Vijaya Utsav, widely known as Hampi Festival is the most important event commemorated here against the backdrop of the sublime
mementos of ostentatious yore. Organized by the Government of Karnataka, this annual cultural carnival is celebrated in the first week
of November for three days.
• The premier attractions of this festival include puppetry shows, dance, drama and musical concerts, fireworks and topping all the fun, a
grand procession. Vijaya Utsav certainly recreates the legacy of the royal heritage of Hampi..
• Through their festivals, cuisine, artforms, rituals, folklore & oral tradition they are still connected to their past. This is why Hampi is
often referred to as a living heritage site.
 FOUNDATION OF CAPITAL CITY
• The site the Sangamas chose for their capital was on the banks of the Tungabhadra river, a place of
religious importance, with river goddess Pampa (from which it derived its current name, Hampi)
and Virupaksha.
• The folklore narrates a curious story as to why the Sangama brothers choose this location. As per
the story, Harihara & Bukka (eldest of the 5 Sangama brothers) came to the foothills of Matanga
Hill for a hunting expedition, where they met by a sage named Vidyaranya on the foothills of
Matanga.
• The sage explained that this land protected the weak & gave them courage due to a curse laid by a
Sage named Matanga.
• He then shared that he had a vision where lord Harihara appeared and tasked him with giving
guidance to the brothers to build a capital city at this location and that it would bring great
prosperity to the people and the land.
• It is said that it was Sage Vidyaranya that brought the brothers together at Sringeri and helped lay
the foundation of the Empire.
• Vidyaranya went on to serve as an advisor to the Sangama brothers for several decades.
 LOGICAL REASONING – SITE CHOOSING
• First, it afforded them a great defensive position, with the Tungabhadra River on the
north, Sandhur hills on the south, and surrounded by ridgelines of boulder hills.
• Second, the Sangama brothers had local connections here that they could trust and
rely on, they were related to the nobles of Kampli and Anegundi.
• Third, its geographical location on the northern edges of their territory allowed them
to keep a check on their biggest enemy – the Bahmani Sultanate.
• It was during the reign of Bukkaraya that a new citadel was completed, located south
of Hampi, what today we call as “Royal Center”, what was then named as
Vijayanagara – The City of Victory.

What led to the establishment of Vijayanagara Empire ?

• Continuous attacks by the Khilji dynasty of the North
• Political Instablity in the South
• Fear factor.
• Religious turmoil
• Need to protect the interests of the Hindus & Indian Culture
 BACKGROUND
• The site of Hampi comprises mainly the remnants of the capital city of the
Vijayanagara Empire (14th-16th century CE), the last great Hindu
Kingdom.
• It encompasses an area of 4187.24 hectares, located in the Tungabhadra
basin in Bellary District, Central Karnataka.
• Hampi’s spectacular setting is dominated by river Tungabhadra, craggy
hill ranges and open plains with widespread physical remains.
• One of the unique features of temples at Hampi is the wide chariot streets
flanked by the row of pillared mandapas. Vijaya Vittala temple
• Its Famous places include Krishna temple complex, Narasimha, Ganesa,
Hemakuta group of temples, Achyutaraya temple complex, Vitthala temple
complex, Pattabhirama temple complex, Lotus Mahal complex, etc.
• By 1500 CE, Hampi-Vijayanagara was the world’s second-largest
medieval-era city after Beijing, and probably India’s richest at that time,
attracting traders from Persia and Portugal.
• The Vijayanagara Empire was defeated by a coalition of sultanates; its
capital was conquered, pillaged and destroyed by sultanate armies in 1565
(Battle of Talikota), after which Hampi remained in ruins.
 VIJAYANAGARA EMPIRE
• Vijayanagara or “city of victory” was the name of both a city and an empire.
• The empire was founded in the fourteenth century (1336 AD) by Harihara and Bukka of Sangama
dynasty.
• They made Hampi as the capital city.
• It stretched from the river Krishna in the north to the extreme south of the peninsula.
• Vijayanagar Empire was ruled by four important dynasties and they are:
 Sangama
 Saluva
 Tuluva
 Aravidu
 Krishnadevaraya (ruled 1509-29) of the Tuluva dynasty was the most famous ruler of Vijayanagar.
• He is credited with building some fine temples and adding impressive gopurams to many
important south Indian temples.
RULERS - TIMELINE
 HARIHARA I – Sangama dynasty
• Harihara I (hakka) Founder of the Sangama dynasty, the first among the four dynasties
that ruled Vijayanagara.
• Control over the valley of Tungabhadra River.Expanded his control to certain regions of
Konkan and. Malabar Coast. Credited with establishing a centralized administrative
setup. Orderly governance which afforded peace, prosperity, and security .

BUKKARAYA – Sangama dynasty

• Bukkaraya (bukka) Defeated the Shambuvaraya Kingdom of Arcot
and the Reddis of Kondavidu by 1360 and the region around
Penukonda was annexed.
• Bukka defeated the Sultanate of Madurai in 1371 and extended his
territory into the south all the way to Rameswaram.
• By 1374 he had gained an upper hand over the Bahmanis for control
of the Tungabhadra-Krishna doab. Restored religious harmony.
Constructed forts, temples & promoted agriculture.
PRABHUDEVARAYA – Sangama dynasty
• Prabhudevaraya (devaraya ii) Was popularly called ‘Hunter of the
Elephants’ & ‘Dakshinapathada Chakravarthi’.
• Extended and held territories up to the Krishna river. Conquered areas
from Ceylon to Gulbarga, and Orissa to the Malabar.
• Received royalties from Kerala & Sri lanka. Religiously tolerant ruler.

View of Vijaya Vittal Temple

KRISHNADEVARAYA – Tuluva dynasty
• The greatest emperor of the Vijayanagara Empire who reigned from 1509–
1530.
• Tackled numerous internal/external problems when he ascended throne.
• Was popularly called ‘Kannada Rajya Ramana’, ‘Andhra Bhoja’ & ‘Mooru
Rayara Ganda’ Was the most powerful of all the Hindu rulers of India at that
time.
• Unparalleled warrior, shrewed commander & political expert.

Krishnadevaraya
 THE BATTLE OF TALIKOTA 
The Catastrophe Of 1565  

• The Battle of Talikota (23 January 1565) was a watershed

battle fought between the Vijayanagara Empire and an
alliance of the Deccan sultanates.
• The Vijayanagar kingdom suffered a defeat in the battle
fought near the villages of Rakshasi and Tangdi.
• The defeat of Aliya Rama Raya led to the eventual
collapse of the polity and reconfigured Deccan politics.
• Defeat is usually blamed on the gap in relative military
prowess.
• Orientalist and nationalist historians asserted of the battle
to be a civilization-clash between Hindus and Muslims.

An artist impression of the destruction of Hampi by the invaders

following the battle of Talikota in 1565 CE
 1340 –Extent of the empire  1380 –Extent of the empire 

CONSEQUENCES OF THE BATTLE 

• The battle of Talikota ended the prominence of Vijayanagar kingdom in South Indian politics.
• The Kingdom of Mysore, Nayakas of Vellore, Nayakas of Keladi in Shimoga declared their
independence from Vijayanagar.
• The Muslim Sultanates of Deccan could not gain much out of this victory because they soon
engaged themselves in fighting among themselves and fell easy prey to the Mughals.
 AFTERMATH OF THE BATTLE 
• The aftermath of the defeat at Talikota would be
the destruction & plunder of one of the most
prosperous, wealthy & most populated city on the
entire planet at the time.
• Invaders camped in the city for over 6 months
just to destroy it.
• The kind of destruction heaped on Hampi.

1565 –Extent of the empire before the battle of Talikota 

VIJAYANAGARA ABANDONED 
• After the war, Hampi was attacked and looted for a long period, approximately six months.
• An attack of six months long definitely had to bring such massive destruction that it would have taken them forever
to rise again.
• The temples of Hampi were damaged and most of the markets were robbed. This was one of the biggest attacks that
Hampi witnessed and their golden era with this came to an end.
• After the attacks, the empire was ruled by different Kings; however, nobody really could bring back the lost glory.
• The city did function, but it had lost its strategic importance and thus got lost in time.
• Even today, the loss and destruction of the 1565 attacks can be seen in many parts of the city.
 RELIGIONS OF HAMPI
HINDUISM
• The kings of the initial days of Vijayanagara adopted Virupaksha as the sentinel deity of the kingdom.
• During these periods the Virupaksha Temple too had undergone a systematic upgrade in its architecture.
• It’s believed that the original Virupaksha temple had been a very ordinary shrine on the bank of the river Tungabhadra.
• The Vaishnava cults grew strength probably during the peak days of the Vijayanagara Empire.
• The Vittala temple, Krishna Temple, Tiruvengalanatha temple, Hazara Rama Temple, Pattabhirama Temple, are all proof of
this. Somehow the later kings of the Vaishnava faith built these temples with enthusiasm.
• The grand architectural plans and the fine details of these temples speak of their religious passion.

Vijaya Vittala temple Virupaksha of temple Narasimha Idol

 RELIGIONS OF HAMPI
ISLAMIC
• Hampi had a sizeable Muslim population. It’s peculiar to see the religious carvings on the Temple structures with Muslim
characteristics.
• The kitchen or the storehouse of Krishna Temple made in the typical Islamic style architecture.
• A number of buildings in Hampi have been identified to be associated with Islamic faith.
• There are a number of Mosques and Dargahs (shrines of revered religious figures) dotted especially at the southwest
diagonal area of the capital.
• The present day Kadirampura is believed to be the residential quarters of the Muslim army officers.
• An area lying between the Kamalapura and Vittala Temple was known as the Islamic quarter.
• The architecture of is a pleasant deviation from the typical Islamic style.

Lotus Mahal Queens Bath Elephant Stable Ahmad Khan Mosque and Tomb
 VIJAYANAGARA REDISCOVERED

• Hampi and its nearby region remained a contested and fought-over

region claimed by the local chiefs, the Hyderabad Muslim nizams,
the Maratha Hindu kings, and Hyder Ali and his son Tipu Sultan of
Mysore through the 18th century.
• The ruins of Hampi were surveyed in 1800 by Scottish Colonel
Colin Mackenzie, first Surveyor General of India. Mackenzie wrote
that the Hampi site was abandoned and only wildlife live there.
Stone chariot
• The 19th-century speculative articles by historians who followed
Mackenzie blamed the 18th-century armies of Haidar Ali and the
Marathas for the damage to the Hampi monuments.

Vijaya Vittala temple

 VIJAYANAGARA REDISCOVERED
• The Hampi site remained largely ignored until the mid-
19th century, when Alexander Greenlaw visited and
photographed the site in 1856. He created an archive of
60 calotype photographs of temples and royal structures
that were standing in 1856.
• Alexander Rea, an officer of the Archaeological Survey
department of the Madras Presidency within British
India, published his survey of the site in 1885. Robert
Sewell published his scholarly treatise “A Forgotten
Empire” in 1900, bringing Hampi to the widespread
attention of scholars. The growing interest led Rea and
his successor Longhurst to clear and repair the Hampi
group of monuments.
• The site is significant historically and archaeologically,
for the Vijayanagara period and before.The
Archaeological Survey of India continues to conduct
excavations in the area.
 ORIGINS OF RESTORATION
From 1856, photographers began to record the monuments which enabled scholars to study them.
As early as 1836 epigraphists began collecting several dozen inscriptions found at this and other
temples at Hampi.
In an effort to reconstruct the history of the city and the empire, historians collated information from
these sources with accounts of foreign travellers and other literature written in Telugu, Kannada, Tamil
and Sanskrit.

The site was preserved by the Archaeological Survey of India and the Karnataka Department of
Archaeology and Museums.
In 1976, Hampi was recognised as a site of national importance. Then, in the early 1980s, an important
project was launched to document the material remains at Vijayanagara in detail, through extensive and
intensive surveys, using a variety of recording techniques.
 METHOD OF RESTORATION

• The first step was to divide the entire area into a set of 25 squares, each designated by a letter of
the alphabet.
• Then, each of the small squares was subdivided into a set of even smaller squares. Each of these
smaller squares was further subdivided into yet smaller units.
• These detailed surveys have recovered and documented traces of thousands of structures from tiny
shrines and residences to elaborate temples. They have also led to the recovery of traces of roads,
paths, bazaars, etc.
• The latter have been located through finds of pillars bases and platforms all that remain of thriving
markets.
METHOD OF RESTORATION
GROUP OF
MONUMENTS IN
HAMPI
SACRED CENTRE
HAMPI
THE SACRED ARCHITECTURE OF HAMPI AND
VIJAYANAGAR RULERS

During the Vijayanagara period, religious activities

intensified resulting in many temples been erected along
the river, on rocks and limited portions of level ground.

This religious architecture is on an urban scale, each

complex in itself constituting the nucleus of an urban
quarter.

The temples are distinguished by their vast

rectangular enclosures, entered through towered
gateways, and approached by long streets flanked by
colonnades. Within the enclosures are shrines, altars,
halls, porches, stores, wells, tanks, Dhwajas, Stambas and
other features - all set in paved courtyards (Fritz J and
Mitchell G, 1987).

The artistic activity at Vijayanagar was closely associated

with the dynasties, which ruled the empires namely,
Sangama, Saluvas, Tuluvas and Aravidas.
SACRED CENTRE
VITTHALLA TEMPLE
This is the most artistically accomplished religious
monument in the sacred centre.

Vira Narasimha, the first ruler of the Tuluva dynasty, founded it in

the first decade of the 16th century with additions made by his
successors.

Krishnadevaraya added the hundred columned hall built up to the

southern enclosure wall, while two of his queens each added a
Gopura.

A third Gopura was an addition by Achyutaraya. In 1554, during the

reign of Sadashiva, a magnificent "swing-pavilion" was added.

Vithala temple complex showing the bazaar streets. Vithala temple complex from Bazaar Street
 Development of the Vithala temple complex
STRONG ROLE OF GEOMETRY IN over the years showing the proportion
INDIAN TEMPLE ARCHITECTURE

The Indian temple architecture inoculates high

level of geometric Proportions.

Different types of proportions can be analyzed from the plan

and the elevation of the temple complex in 1505 AD, the main
shrine was built and the prakara
around it such that the center of the Garbha
Griha (Sanctum Sanctorum) falls at the center of
a square.

Vithala temple
complex
showing
the 9 square
mandala
SPATIAL ORGANIZATION OF PARTS OF
THE TEMPLE

The temple plan is an elongated plan with the

longer direction along principal axis .

The platform on which the deity is

installed is at the higher level than the
prakara/circumambulatory levels.

The other mantapas like kalyana mantapa, uyyala mantapa,

and 100 pillared hall are kept at a little lower level than the
sanctum sanctorum.

The ceiling height at the center of the mantapa is raised and

also the plinth at the center.

(a). Plan of South-East Kalyana Mandapa,

(b). Plan of North-East Utsava Mandapa,
(c). Plan of Utsava Mndapa at the end of Bazaar Street Section of the temple
 Mahamantapa along the axis of the main temple
has a pillared hall with three entrances. The
pillars are of four types .
In addition there are exceptionally beautiful musical
pillars which gives the sound of musical notes
and musical beats. Also the huge sculpture
panels depicting the story of Mahabharatha.

Plans and
View of the
South-East
Kalyana
Manatapa
GRAMMAR OF COLUMNS AND DESIGN
ELEMENTS
Basically, we have four types of columns. One with Yali, other with sculpture
panels and yet another with miniature musical pillars etc.

The Yali column is a development from the 13th century Tamil

tradition temple architecture. Basically, the Vijayanagara columns have two
parts. One is the core shaft and the other is the figural column.

Development of composite columns

Column types (a).Yali, (b). Sculpture, (c). Sculpture core And Miniature
(d). Core and Miniature.
 Frames
from
visually
reconstru-
cted video
around the
main
(a) Photo image of existing temple complex (b) Re-constructed view of the temple shrine.
complex.
VIRUPAKSHA TEMPLE

The oldest shrine still in active worship within the

Vijayanagara site is consecrated to Shiva as the consort of Pampa.

Inscriptions referring to the 9th-10th centuries indicate that the

temple existed before the foundation of the Vijayanagara capital.

The Sangamas transformed the shrine into a major religious

monument and the Tuluvas extended it.

The hall with piers with delicately carved columns and fantastic
yalis ridden by warriors reveal the shift in sculpture.

Krishnadevaraya erected the grand Gopuram giving a

monumental scale dominating the whole context.

The broad colonnaded street served as

the main bazaar of Hampi.
A plan of the Virupaksha
temple
Most of the square
structures are shrines.
The two major gateways
are shaded in black.
Each tiny dot represents
a pillar. Rows of pillars
arranged in lines
within a square or
rectangular frame appear
to demarcate major halls,
pavilions and corridors.
Delicately carved pillars built by
Krishnadeva Raya to mark his
accession.
Ceiling Paintings in the Virupaksha Temple, Hampi

One of the striking features of the Virupaksha temple, the most important
living religious establishments in Hampi village (Hospet taluk, Bellary
District), is the painted ceiling of the open pillared hall (maharanga-
mandapa) abutting the main sanctuary.

This hall was built in 1509/1510 by the order of Krishnadeva Raya (SII,
IV, No. 258) and the general consensus among scholars is that these
paintings are roughly contemporary with the building.

However, after a careful examination of these frescos and the study of

murals at eighteenth and nineteenth century sites in Andhra and
Karnataka, it is necessary to re-assess their date.
"FORM MAKING" AND "SPATIAL ORGANIZATION"
PARAMETERS OF TEMPLE ARCHITECTURE OF HAMPI
Achyutaraya temple and market complex
The Achyutaraya temple, also called the Tiruvengalanatha temple, is about 1
kilometre (0.62 mi) east of Virupaksha temple and a part of its sacred centre is close to
the Tungabhadra River.
It is referred to be in Achyutapura in inscriptions and is dated to 1534 CE. It is one of
the four largest complexes in Hampi. The temple is unusual because it faced north.
It is dedicated to Vishnu. In Vijayanagara times, the temple was traditionally approached
from the river, first past a ceremonial tank then along the market street with a broad road.
The temple had an outer gopuram leading into a courtyard with a 100-column hall and
an inner gopuram leading to the Vishnu temple.
On each side of each pillar in the 100-column hall are reliefs of avatars of Vishnu; other
deities such as Shiva, Surya, Durga; scenes of daily life—rishi, amorous couples, jokers;
people in yoga asanas; people in namaste poses; and Vijayanagara emblems.
The temple gateway shows the Vijayanagara dynastic emblems; a boar from Varaha, a
sword, the sun and the moon. The temple and the market street are ruined but their layout
suggests it was a major market with streets provided for chariot traffic.
Unfortunately, this elegant and striking temple is in ruins as a consequence of the attacks
by the monarchs of the Bahamani kingdom. It is greatly affected by the forces of
nature over several centuries
Architecture of Achyutaraya temple
The temple is built in Vijayanagara style of temple architecture.
The principal shrine of the temple is located in the centre of a pair of rectangular concentric
enclosures.
There are pillared verandas on the interior flanks of the two courtyard walls. The outer walkways are
in a state of decay, collapse, and disintegration.
The temple is distinctly visible from the top of the Matanga Hill. It is at the end of the abandoned
Courtesan Street.
On entering the inner court one can spot a chamber that is facing the porch leading to the central
hall. There is a small shrine chamber which once sanctified an image of Garuda.
The accessible hall has few extremely lauded sculpted pillars in Hampi. The carvings are done on
monolithic blocks of rocks. The statues and sculptures on the pillars reveal themes like lord Vishnu
blessing an elephant, lord Krishna practising his flute while the calves are watching this scene with
interest and infant Krishna dancing with a snake and holding it by the tail.
There is a Mandapa which is a marriage hall of the Gods and the Goddesses for the yearly nuptials.

1.Gateways 2.Kalyanamantapa (Ceremonial Hall) 3.Colonnade 4.Open Hall 5. Main

Shrine(Sanctum) 6. Shrine of Goddess 7. Shrine for Garuda 8.Veerabhadra Temple (atop
Matanga Hill) 9.Durga Shrine 10. Courtesan's Street
Hemakuta hill monuments
The Hemakuta hill lies between the Virupaksha temple complex to the north and the
Krishna temple to the south.
It is a collection of modestly sized monuments that are the best-preserved examples of
pre-Vijayanagara and early-Vijayanagara temples and construction. The site has several
important inscriptions, is easily accessible and provides views of the some parts of Hampi
and the fertile, agricultural valley that separates the sacred centre from the urban core with
its royal centre.
The hill has more than thirty small-to-moderate-sized temples, together with water
cisterns, gateways, and secular pavilions. The latest examples are dated to the early 14th
century.
Some of the structures are differently-sized prototypes of temples or mandapas,
assembled from blocks of stones. Others are completed monuments of different designs,
such as the Phamsana style.
Two temple groups in this style look similar; each has a triple vimana consisting of
square sanctums with each set connected to its own shared square mandapa.
The towers (shikaras) on these are pyramidal granite structures consisting of eleven stacked,
shrinking squares and a top in the Deccan-style square kalasha finial.
Some of the temples in the northern side of the hill are TRIKUTACHALA STYLE of
architecture, in which three shirnes are placed in a perpendicular position to each other face
a common central hall, with outer plain walls except for the horizontal chain of floral motifs
that provide ornamentation.
SCULPTURAL DETAILS
Most of the dynasties had definite preference regarding
sculptural themes in sacred and secular buildings. There
is a marked shift in the preferences of the patrons from
martial and courtly scenes to the depiction of
mythological and religious themes.

Narrative sculpture: Narrative granite friezes craved in

expressionist style in shallow relief on courtly non-sacred
themes of the royal imagery is seen on the compound
wall of Hazara Rama Temple.

Mythological ones had gradually replaced the

Detail of an
royal theme, example Ramayana sculptures craved on arch of
outer walls of Ramachandra Temple in early fifteen the Lotus
century. Mahal

Swing pavilion from Gingee

Narasimha Monolith
Both sets are Shiva temples with triple linga; early sources misidentified these as Jain temples
because of their simple exterior and interior walls.
One of these groups has a historically important inscription that records that Kampila built the
monument in the early 14th century. This inscription links Hampi with the Kampili kingdom
and suggests an association of the Kampili history with that of Vijayanagara Empire that followed
it.
The style of temples on the Hemakuta hill suggest it may have been a study centre for
experimenting with different types of Hindu temples.
The styles present include those of the Chalukya period, the Rashtrakuta period and later
periods.
It may also have been the template for the original Virupaksha temple, which was later greatly
expanded with gopuram, mandala and other additions.
A similar monument dedicated to Narasimha, the man-lion avatar of Vishnu, is located east of
Hampi; an inscription near it states that it was operating in 1379 CE.
The speciality of the sculpture is that it is the largest monolith statue in Hampi.
The original sculpture had a small figure of Goddess Lakshmi, consort of Narasimha, sitting
on his lap. The gigantic statue was vandalized and mutilated in 1565 A.D. during the raid by
the Mughals that led to the fall of the Vijayanagara Empire.
The limbs of Narasimha’s statue were broken during the attack. The figure of Lakshmi was
separated from that of Narasimha. In the process of destruction, one of the hands of Goddess
Lakshmi was broken and even today the broken hand of the Goddess can be seen resting on the
back of Narasimha.
Architecture of Narasimha Monolith
The Lakshmi Narasimha statue at Hampi is a brilliant work of architecture.
It is a rare statue with a huge size and was crafted with great details. The statue has a height of 6.7
metres. It is one of the finest existing samples of the Vijayanagara style of architecture.
The statue of Narasimha has a finely chiselled broad chest and a well-defined mane. 
Narasimha is adorned with a beautiful headgear and is seen seated in a cross-legged position.
The sculpture portrays Narasimha sitting on the coils of Adishesha, the king of all snakes, which rises
behind him with its seven hoods.
The hoods have been beautifully designed to serve as a canopy over Narasimha’s head.
The sculpture is set within a Makara torana or arch. There is a lion-mask set above the hoods of
Adishesha. 
All these features make the statue an interesting piece of architecture.
The most unique feature of the statue is the bulging eyes of Narasimha. The large round protruding
eyes provides the statue with an exceptional look. 
Though the statue of Lakshmi is no longer sitting on the lap of Narasimha, one can imagine the
beauty of the complete statue in its original undamaged form.
It is really amazing to note that such a huge sculpture was crafted from a single boulder of granite. 
The sculpture displays the expertise of the craftsmen of that ancient era.
Ganesha Monoliths
The Hemakuta hill also has monuments with two monolithic Ganesha; the Kadalekalu
Ganesha and the Sasivekalu Ganesha.
The Kadalekalu Ganesha, named after Ganesha's gram-shaped belly, is in the middle of
Hampi's sacred centre on the east side of the hill near Matanga.
A colonnaded, open mandapa leads to the sanctum, which houses a monolithic image
of Ganesha more than 4.5 metres (15 ft) high, which was carved in-situ from extant
rock.
Ganesha's tusk and other parts have been damaged, but the left hand—which holds a rice
cake treat with his trunk reaching out for it—has survived.
The Sasivekalu Ganesha, named after Ganesha's mustard seed-shaped belly, is near the
Krishna temple south-west of the Kadalekalu Ganesha.
It is a 2.4 metres (7.9 ft) high monolith that was also carved in-situ from extant rock.
The Sasivekalu Ganesha is carved with his mother Parvati, in whose lap he sits. She is
only visible from the back of the statue.
The monument is housed inside an open-pillared mandapa; the left hand and tusk have
been damaged.
ROYAL CENTRE
HAMPI
The royal enclosure in Hampi was the Vijayanagara kingdom’s seat of power occupying an
area of 59,000 sq.m. In its prime, it housed as many as 45 buildings including the durbar
halls, platform, tanks, underground chambers, and temples. There are three entrances to the
Royal Enclosure; two in the north and one in the west.

Sprawling over many hundreds square meters, Royal Enclosure is scattered with a number of
interesting relics of the bygone era. 

The architectural style of this enclosure is symbolic of the Vijayanagara style of

architecture with traces of Mughal influence.

As with all the other features constructed by the Vijayanagara kings, the Royal Enclosure
makes ample use of granite and soapstone.

All the palaces face the east or the north and were built on raised granite platforms. These
platforms feature multiple tiers and are decorated with carved details of flowers, geese,
demon faces, elephants and human figures.
HAZARA RAMA TEMPLE

The temple is located near the core area between the residential and ceremonial area.

The main temple is approached through an open mandapa, actually an addition of early
16th century, within which is the original entrance porch with finely carved columns.

Side porches are seen on the north and south. The interior of the temple is unadorned,
except for four ornately sculpted columns in the middle.
An empty pedestal stands within the sanctuary; its three holes may have secured
images of Rama, Lakshmana and Sita, but these are lost.

The outside walls of the temple have the Ramayana sculptures already referred to set
between pilasters. The walls are raised on a basement with finely set worked mouldings
and overhung by curving eaves. A brick plaster tower rises over the sanctuary, its
original details obscured by modern restoration.
Hazara rama temple mandapam Hazara Rama temple
PRASANNA VIRUPAKSHA Temple

The Prasanna Virupaksha temple is that it is located a few meters below the ground
level. The roof of the temple is at par with the present ground level while the main
structure of the temple stands on a low lying area.

The Prasanna Virupaksha temple has been constructed following the Vijayanagara style
of architecture. The temple is a simple and beautiful structure that is located inside a
large courtyard surrounded by an enclosure wall.

This Underground Shiva temple has a flat roofed main tower. There are steps leading
from the main tower to the main pillared hall of the temple.
The temple has a garbhagriha along with an antarala. The temple also has an aradha
mantapa and a maha mantapa.

The pillars of the temple are simple and austere in appearance, unlike the carved and
engraved pillars found in most temples of Hampi.
ZENANA ENCLOSURE

Northeast of the Royal Enclosure within the walled quarters is the Zenana enclosure .The enclosure is a sprawling compound that had tall walls surrounding it
on all sides and watch towers were built.

The fortified area has two entrances. The enclosure has 4 towers but now only 3 towers are standing.

The structures of the zenana enclosures are designed in Indo Islamic architectural style.

The Zenana enclosure houses the Lotus Mahal,Queen’s Palace,stepwells and watch towers.
LOTUS MAHAL

The Lotus Mahal also known as the Kamal Mahal or Chitragini Mahal as per the old maps
found during the discovery of Hampi.It is located within the Zenana Enclosure. The
structure is surrounded by trees and lawns.
The palace was specially designed for the Royal women of Vijayanagara empire for
recreational activities.
It was also used by the kings and ministers for meetings.

The building resembles a lotus. The domes which cover the passage and balcony are
similar to opened lotus bud. The central dome is carved as a lotus bud.

The curves of the palace are given Islamic touch while the multi layered roof design is
related to Indian style Architecture.

This is a two storey pavilion which has massive pillars with arches having stucco
molding.
There are 24 pillars and the interesting fact about the pillars is that they can be filled with
water to keep the palace cool during summer.
ELEPHANT STABLES

This imposing building is the best preserved and largest in the Royal Centre.

The stables comprise a long line of eleven chambers, all with lofty arched doorways
opening onto a large open space.

The central (eleventh) chamber has a flat roof since above this sits an open gallery
probably once used by musicians and drummers. Its temple-like roof has long ago
collapsed.

The other chambers are roofed with plain or fluted domes that alternate with twelve-
sided pyramidal vaults.
Both domes and vaults are arranged symmetrically about the central gallery.

While the arched openings and domed chambers of the elephant stables are obviously
sultanate in origin, in accordance with the general features of the Vijayanagara
courtly style, the building as a whole is an original creation.
QUEEN’S BATH

The Queen’s bath is located close to the royal enclosure. It was a private bathing area
for the kings and queens. The 30 sq.m. building which is in a rectangular shape has
plain exteriors and extravagant interiors the building speaks different architectural
stories. The interiors of the buildings are in Indo Saracenic Architecture.

The building is made with a veranda around facing a big open to sky pond in the
middle. The veranda consists of windows projecting into the pool. As the city was
connected by the water canals, the pond also consist of an inlet in the center of the
veranda.

The balconies are decorated with tiny windows and supported by lotus bud and tipped
brackets.

The domes in the buildings are also individually treated with different designs. The
building also has a staircase which leads to a passage on the top, it was used by the
guards for the look – out.
KING’S AUDIENCE HALL

Known as the Durbar Hall of the King of Vijayanagara, this ruined structure of the
building has vestiges of pillar sockets and bases. An interesting fact to note is that it was
a hall with a hundred pillars, as is proved by the number of pillar sockets.

The sockets of the 100 pillars are arranged in an array of 10 x 10 on a platform of the
building. These are the remnants of the pillars that had once supported the superstructure
of the building.

The King’s Audience Hall was built with huge blocks of stone and wood. It is believed
that the two storey superstructure of the building was mostly made of wood and the
pillars were carved out of sandalwood trees.

MAHANAVAMI DIBBA

Also known as the House of Victory,is the most impressive structure in the area as the
processions for Navarathri festival were held.
The 3 tier structure stands tall at a height of 8 meters with a base measuring to 40 sq.m.
and the topmost platform measuring to 24 sq.m.

The staircase hand rails are formed by elephants and Yaali’s trunk while the friezes or
the carvings on the exterior showcase the processions, animals and hunting scenes.
STEPWELL

Among the most beautiful ruins of Hampi are the pushkarnis, ancient water
tanks. Like many Hindu temples in India, Hampi’s majestic temples have
accompanying stepped tanks or basins used for religious and ceremonial
purposes.

The pushkarnis all follow a similar architectural form, designed symmetrically

as either rectangles or squares.

Each generally has several large tiers which contain multiple steps in semi-
pyramidal form, leading down to the next level. These sacred tanks were
integral parts of each temple complex. 

The pushkarnis were fed with the water of the nearby Tungabhadra River
through a series of canals and aqueducts. While some, like the tank at the
Krishna Temple, are no longer functional, others still receive some water
through the ancient water systems.
 WATCH TOWERS

The other types are mostly located well within the royal area and other civil localities.
They are more decorated (with plastered walls, domed roof, arches etc) than the
military (made with rock slabs) ones located at the hilltops.

The watchtowers located in Danaik’s Enclosure and the one inside the Zenana Enclosure
are example of the fine watchtowers. Mohammadan Watch Tower inside the Danaik’s
Enclosure is the most ornate of all the surviving the watchtowers in Hampi.

Along the riverside on top of the boulder hills, you can spot four-pillared tiny rock
pavilions in isolation. A number of these were used as military observatory posts.
 Octagonal fountain Noblemen’s quarter Shiva temple

Palace Vira harihara Stone doors Royal centre

 URBAN CORE
● Gateways
● Ganagitti Jain Temple
● Raghunatha Temple
Bhima’s Gateway

The interesting feature of the gate is its smart design. One cannot cross
this archway in a straight line. Entry to this gateway complex is through
its western arch. Straight ahead is a huge tall block of a wall like
structure. Exit is through the north.

In other words this works like a blind spot for the invading army. Also
it’s difficult for the elephant mounted forces to take such quick
maneuvers without facing some surprise attacks.

Many scenes from the Mahabharata are carved as murals on the gate.
The lotus bud tipped brackets supporting the lintel is noteworthy.
 These are two giant boulders leaning against each
Akka Tangi Gudda other, making an archway like formation. It can be
found on the left side of the main road when we go
from the Underground Shiva Temple towards Hampi
village square. The road almost passes through
under the stones. Akka-Thangi Gudda means ‘sister
stones’ in the local language.
There are many variants of the local folklore how
these boulders came into existence. According to
one such is that these were two sisters and they
became stone as a curse when they ridiculed the
place.
In the recent past one of the boulders developed a
fissure and partly collapsed. It's attributed to the
increased vehicular traffic that passes by these twin
boulders.
Ganagitti jain temple

The Ganigitti Jain temple is near Bhima's gate in the south-east of

the urban core section of Hampi. In front of it is a monolithic lamp
pillar. The temple faced north; it is dated to 1385 CE, during the rule
of Hindu king Harihara II, based on an inscription in the temple. It
is dedicated to Tirthankara Kunthunatha and has plain walls, a
pillared mandapa and a square sanctum from which the Jina's statue
is missing.

There are capitals on the pillars and the doorways have decoration.
Over the sanctum is a Dravidian-style, narrowing square, pyramidal
tower. Other monuments in the temple compound are in ruins.
Malayavanta Raghunatha Temple

The images of the deities are carved on the face of a massive

boulder. A massive temple complex is built around this boulder,
keeping the images portion within the inner shrine. The boulder
protruding above is further enhanced with a tower structure over the
boulder. This makes boulder is an integral part of the structural
elements.

The whitewashed pillared hall stands in the axis of the main shrine
at the center of the complex. A long colonnade stands along the
enclosure wall facing the temple compound. This has been used as a
shelter and place for prayer by the pilgrims. The kalyana mantapa (a
large pavilion) is located on the southwest quarter. The sub-shrine
of the goddess is on the northern side of the main shrine. Towards
the south of the temple is a natural well with image of Krishna
playing flute carved on the inner wall (boulder) surface.
 SUBURBAN CENTRES
● Kamalapura Pattabhirama temple complex
● Ahmad Khan Mosque and tomb
● Anantashayana Temple, Hospet
The Pattabhirama temple complex

The Pattabhirama temple complex is

in the southern suburban centre
outside the sacred centre and the urban
core, about 500 metres (550 yd) from
the ASI Hampi museum.It was at the
nucleus of economic and cultural
activity of this suburb, now located
north-east of Kamalapura. The
complex, also known as Varadevi
Ammana Pattana, was likely built in
the early 16th century and dedicated to
Rama (Vishnu avatar).
The complex has a main temple, a colonnaded courtyard inside an
enclosure and a 64 (8x8 square)-pillared and roofed mandapa in front of
the sanctum. The complex and the sanctum face east; the normal
entrance was through the eastern gopura.The ruins suggest the gopuram
had six tiers. The Pattabhirama temple included a 100-pillared hall—
likely a feeding hall—attached to the southern wall of the enclosed
compound. The pillars have reliefs depicting Hindu themes which
include gods, goddesses, a scene from a Hindu text, yoga and namaste.
Ahmad Khan Mosque and Tomb

There is a Muslim monument in the south-east of the urban core on the

road from Kamalapura to Anegondi, before Turuttu canal in the irrigated
valley. This monument was first built in 1439 by Ahmad Khan, a
Muslim officer in the army of Hindu king Devaraya II. The monuments
include a mosque, an octagonal well, and a tomb. The mosque lacks a
dome and is a pillared pavilion, while the tomb has a dome and
arches.Other Muslim monuments and a graveyard were added later near
the Ahmad Khan's legacy.
Anantashayana Temple, Hospet
Krishnadevaraya had the monument
erected in 1524 to accommodate a
huge reclining image of Lord Vishnu.
No trace of this image remains within
the rectangular sanctuary of the
temple, except for a long stone
pedestal. The tower above is intact. It
consists of an unusual rectangular
brick vault with curved ends,
attaining a height of more than 24
meters. The entrance gopura is
dilapidated, with portions of its
granite walls fallen and the roof over
its passageway missing.
CHANGES OVER TIME
● Until the mid-19th century The Hampi site remained largely ignored
● 1856 Alexander Greenlaw visited and photographed the site. He created an archive of 60 calotype
photographs of temples and royal structures that were standing in 1856.
● 1980 photographs published which were held in a private collection in the United Kingdom 1885 Alexander
Rea, an officer of the Archaeological Survey department of the Madras Presidency within British India,
published his survey of the site
● 1900 Robert Sewell published his scholarly treatise A Forgotten Empire bringing Hampi to the widespread
attention of scholars.The growing interest led Rea and his successor Longhurst to clear and repair the Hampi
group of monuments.
● 1986 Hampi was declared a World Heritage site by UNESCO
● 1999 hampi added to the list of endangered sites
● 2005 heritage manage plan
● 2007 the site is removed from danger list.
● 2009-2011 Chandramauleshwarar temple conservation first complex
● 2012 Award of merit for cultural heritage conservation from UNESCO- asia pacific
● 2015 Regular state of conservation reports submitted by state party
● The Archaeological Survey of India continues to conduct excavations in the area.
 CHALLENGES – INTEGRITY
The area of the property is adequate to accommodate, represent and protect all the key attributes of the site. Most of the
monuments are in good state of preservation and conservation. Maintaining these conditions of integrity poses significant
challenges

•Mainly from pressures associated with development, planned and unplanned, which pose a threat to the landscape of the
property, as well as encroachments and changes in land use, increased agricultural activity of commercial crops that might
threaten the physical stability of the diverse monuments.

•Regulating residential constructions and potential development to accommodate visitor use, as well as infrastructure to
address communication needs attention particular bypass roads.

•Also addressing the visual impact of modern electrification fixtures, telephone poles and other elements, will also be
important to maintain the integrity of the property.
CHALLENGES – AUTHENTICITY

•The authenticity of the site has been maintained in terms of location and setting,
as the original setting comprising of river Tungabhadra and boulders is fully
retained.

• In terms of form and function, the integration of the geographic setting with
man-made features in the design and functional layout of the entire capital can
still be discerned and the form of the original city planning with suburban pattern
is evident.

•The largely untouched archaeological elements provide ample evidence of

authentic materials and construction and interventions have maintained qualities
when undertaken.

• The stages of evolution and perfection of the Vijayanagara Architecture are

evident in the monumental structures.
CHALLENGES – AUTHENTICITY
•As for traditions and techniques, the physical remains are a befitting tribute to the ingenuity of the builders in shaping the
metropolis of this grand scale by utilizing locally available material, traditional knowledge system and skilled
craftsmanship.

• Today there is a continuity of several religious rituals, associations, traditional skills, and occupations within the society
that have been maintained.

• The Virupaksha temple is in constant worship, this has led to many additions and alterations to different parts of temple
complex.

• Similarly, the haphazard growth of modern shops, restaurants in and around it and its bazaar that caters to religious and
social tourists has impacted adversely on its setting as has the asphalting of the roads over the ancient pathway in front of the
Virupaksha temple.

• The tensions between modern uses and protecting the fabric and setting of the ancient remains need to be managed with
the utmost sensitivity.
DEMOLITION OF HAMPI BAZAAR

•The main bazaar begins at the entrance of Virupaksha Temple; it is approximately ten meters wide and roughly 750
meters long.
•During the Vijayanagara Era, it was a ceremonial street for chariot festivals.
•Throughout most of the 20th century the Bazaar remained a colourful but relatively calm street.
•Some residents of Hampi village had permission to set up small shops to sell puja items proximity but, since the
late 1990s, the Bazaar increasingly became a site of haphazard development that catered primarily to international
tourists. Examples include guest houses, cyber cafes, restaurants, and ayurvedic massage parlours.
• The seemingly ad hoc nature of the Bazaar, and its location within the sacred centre was of great concern to large
scale stakeholders including UNESCO, the ASI, and State Government.
DEMOLITION OF HAMPI BAZAAR

• Although almost all the construction around the mandapas was illegal, it seemed that very little was being done on
the local level to regulate or prevent further developments of this nature.
• Over 320 families lost their residences and livelihoods. Out of the 320 families, only 11 have legal documents to the
land, further complicating the actions and repercussions and whether the state is legally obligated to provide some
kind compensation.
• In late july of 2011, the Deputy Commissioner of the Bellary (and member of HWHAMA) issued an oral warning to
the 1,500 residents of Hampi Village that demolition of their shops and homes as to begin in 24 hours.
 Investing In Local Opportunities And Pioneering Public
-Private Partnerships To Lift A Vast Ancient Metropolis Off The World Heritage In Danger List

Though conservation of historic Hampi dates to the end of the 19th century, much of that work was piece-meal, amateur
and ultimately unsuccessful. Following Hampi’s inscription on the UNESCO World Heritage List in 1986, research
revealed a much larger area endowed with archaeological sites including extensive walled settlements, religious
structures, forts, tanks, canals, fields, trade routes, civic buildings and industrial complexes.However, unplanned
development, inadequate protection and seasonal flooding threatened even the monuments within Hampi’s designated
heritage area. Meanwhile many important monuments outside the narrowly defined protected zone were stripped for
building materials to fuel the modern city’s construction boom.

After UNESCO added Hampi to the List of World Heritage in Danger in 1999, Global Heritage Fund joined in a
pioneering public-private partnership with the Hampi Foundation and the Government of Karnataka. Our efforts began
with a Master Conservation Plan for this spectacular landscape of vernacular buildings, sacred sites, monuments and
ruins, as well as strategies to address local social and economic needs.
Joint Heritage Management Program
As per the Integrated Management Plan of Hampi, a Joint Heritage Management
Program is required to be formed which will be the sole authority for decision making
concerning all aspects of heritage conservation, protection and management. The Joint
Committee is a collaboration of the Archaeological Survey of India, the State
Department of Archaeology and Museums, and the Hampi World Heritage Area
Management Authority, and has been initiated in January 2010.

As the first of its kind, JHMP aims to strengthen the technical aspects, to ensure better
coordination of technical activities and quality management. Furthermore JHMP works
towards implementing a single program and technical standards for the site and to
develop a common philosophy, policy, standards, processes and specifications that need
to be followed by the various implementing agencies. The Comprehensive Conservation
Plan, is an important responsibility of the Joint Heritage Management Program, which
focuses on safeguarding the interest of all cultural resources alone, and is an important
steps towards initiating good practice towards heritage management.
 Aligned with the primary axis of Vithhala Temple along a popular
pilgrimage route, the 15th century Chandramauleshwar Temple was the
initial focus of our conservation work at Hampi, starting with stabilization
of the foundations and conservation of its sacred chambers. Prior to GHF
involvement, Chandramauleshwar Temple faced immediate threats
including structural deterioration, environmental damage and prolonged
misuse, as a storage facility and refuse dump.

We hired locals from the nearby community of Anegundi as

stonemasons and craftspeople as well as boatmen to ferry people up and
down the river on coracle boats. Religious pilgrims and sadhus living in
an ashram on the Chandramauleshwar Temple site benefited from the
restoration work as well, as resetting the temple steps allowed adherents
to access the ashram more safely. In 2006 after much effort by Global
Heritage Fund and our partners, Hampi was removed from the List of
World Heritage in Danger.
Zones categorized by JHMP
 Site photos

BEFORE AFTER
Hampii on media

UNESCO criticises upkeep efforts in Hampi - The Hindu- May 8/2013

The World Heritage Committee, in a recent report, has severely criticised conservation efforts in
Hampi, 16th century capital City of the Vijayanagara empire. It has found the finalisation of the
heritage management plan, which began in 2005, slow and the modalities of the implementation unclear.
Referring to recent eviction and demolition of habitation in front of Virupaksha temple, the only
religious structure under worship, the committee said “the setting of the temple needs to be managed
with utmost sensitivity” and the government should work “in close cooperation with the local
community.”
UNESCO inscribed Hampi in the list of World Heritage Sites in 1986 and has provided about $100,000
for its so far. In 1999, following complaints of poor site management, lack of traffic regulations and
construction of two bridges, UNESCO placed the monuments in the list of endangered sites. Since then,
it has been periodically reviewing conservation efforts there.
Thankyou
Atiti I Anushree I Chaytra I Malavika I Ashwin I Mehadheeba I Avinash I
Roobasri I Santosh I Varshasri I Prathyusha I Rahul K I Harish Raj