They were built on raised granite platforms with multiple tiers of mouldings decorated with carved friezes. Palaces usually spanned multiple levels and had tall flights of stairs flanked on either side by balustrades carved with yali and elephants.
Pillars and beams were made of wood and the roofs of brick and lime concrete. The courtly architecture of Vijayanagar was generally made of mortar mixed with stone rubble and often shows secular styles with Islamic-influenced arches, domes, and vaults. Vijayanagar sculpture can most commonly be seen in the reliefs, pillars, and monolithic statues of temples. Its legacy of sculpture, painting, and architecture influenced the development of the arts in South India long after the empire came to an end.
The mingling of South Indian styles resulted in a richness not seen in earlier centuries, including a focus on reliefs in addition to sculpture that surpassed that seen previously in India.
Preferred for its durability, local hard granite was the building material of choice for architecture; however, soapstone, which was soft and easily carved, was commonly used for reliefs and sculptures. While the use of granite reduced the density of sculptured works, granite was a more durable material for the temple structure.
Because granite is prone to flaking, few pieces of individual sculptures reached the high levels of quality seen in previous centuries. In order to cover the unevenness of the stone used in sculptures, artists employed brightly painted plaster to smooth over and finish rough surfaces. Sculpture was integrally linked with architecture in the creation of Vijayanagar temples.
Large life-size figures of men, women, gods, and goddesses adorn the gopuram of many Vijayagara temples. Temple pillars often have engravings of charging horses or hippogryphs yali —horses standing on hind legs with their fore legs lifted and riders on their backs. The horses on some pillars stand seven to eight feet tall. On the other side of the pillar are often carvings from Hindu mythology. Another element of the Vijayanagar style is the carving and consecration of large monolithic statues, such as the Sasivekalu Ganesha and Kadalekalu Ganesha at Hampi; the Gommateshvara Bahubali monoliths in Karkala and Venur; and the Nandi bull in Lepakshi.
Painting in the Vijayanagar Empire, which evolved into the Mysore style of painting, is best illustrated in the elaborate wall paintings of temples. In addition to architecture and sculpture, the Vijayanagar emperors were enthusiastic patrons of painting. The Vijayanagar school of painting was renowned for its frescoes of Hindu mythological themes on temple walls and ceilings.
The rulers of Vijayanagar encouraged literature, art, architecture, religious, and philosophical discussions. With the fall of the Vijayanagar empire after the Battle of Talikota in CE, the artists who were under royal patronage migrated to various other places such as Mysore, Tanjore, and Surpur. Absorbing the local artistic traditions and customs, the Vijayanagar school of painting gradually evolved into many styles of painting in South India, including the Mysore and Tanjore schools of painting.
Mysore painting, an important form of South Indian classical painting, developed out of Vijayanagar painting and originated in the southern town of Mysore, in Karnataka, during the reign of the Vijayanagar emperors. Mysore paintings are known for their elegance, muted colors, and attention to detail. Popular themes include Hindu gods and goddesses and scenes from Hindu mythology.
The Vijayanagar throne was a befitting seat for one of the greatest Emperors of the time. It was a silver throne and embellished with gems and other rare stones. It was placed on a raised platform in the durbar hall where the Emperor held court wherever he was in Vijayanagar.
Soon after the battle of Talikota, the Vijayanagar forces abandoned the city to its fate and fled. Gangs of robbers and bandits took away whatever they could. A little later, the Muslim invaders came to Vijayanagar and took away whatever they could lay their hands on.
Yet, some prized articles eluded them and one of them was the throne of Vijayanagar. Historians now have come to believe that the throne is in Vijayanagar albeit in another form.
They saw when the royal family fled Vijayanagar in , they gifted the throne for safe keeping to the Virupaksha Temple , hoping to return one day. Alas, this never happened and Vijayanagar remained a dead city centuries after the Talikota battle. A historian from Andhra Pradesh, Dr. Krishna Rao, who is an authority on Krishnadevaraya, and who has made films and written on Vijayanagar, has opined that the throne is very much in Hampi.
Rao claims to have seen the throne at the Virupaksha temple. Dr Rao and other historians say that Krishna Deve Raya and some other kings were coronated in the temple.
Krishna Deve Raya was coronated on August 7, The throne is of pure silver and it has several engravings on it. The throne is presently being used by the priests of the Virupaksha Temple to place the consort of Virupaksha on it. This view needs to be given a thought as unlike other temples, the Muslim invaders spared it to a large extent. Now this view needs to answer another question If the throne of Krishna Deve Raya is at Virupaksha Temple , what about the throne in Mysore.
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