A General Survey of the Art and Architecture of Vijayanagar

Abstract

The Hindu Vijayanagar Empire was headquartered in South India's Deccan plateau. Established in 1336 by Harihara I (1336–1356 CE), it flourished politically and culturally under Emperor Krishna Deva Raya (1509–1529 CE) until 1646, when the Muslim Sultans of Bijapur and Golkonda seized it. Patronage helped the empire's fine arts and literature flourish, and its sculpture, painting, and architecture shaped South Indian arts long after the empire ended. This century saw major breakthroughs in Hindu temple construction, and the Vijayanagar style of architecture, whose best specimens are in Hambi, combined various South Indian temple building traditions and styles. Vijayanagar architecture was religious, courtly, and municipal. It’s perfect blend of Chalukya, Hoysala, Pandya, and Chola styles from prior centuries evokes the simplicity and calm of the past. As with the Badami Chalukyas, local hard granite was the preferred building material, but soapstone, which was soft and easily carved, was also used for reliefs and cultures. Wall paintings in the Virupaksha Temple at Hampi depict the Dashavatara (the Ten Avatars of Vishnu) and the Girijakalyana (the marriage of Shiva's consort Parvati); the Shivapurana murals (the Tales of Shiva) at the Virabhadra temple at Lepakshi; and those at the Kamaakshi and Varadaraja temples in Kanchi. The 1500-page Sritattvanidhi, commissioned by MummadiKrishnarajaWodeyar, is the most famous Mysore school manuscript. The representations of gods, goddesses, and mythological figures in this graphic compilation provide painters advice on composition, color, personality, and mood. These paintings also portray seasons, eco-happenings, animals, and plants. The Visnudharmottara Purana, Abhilasitarthacintamani, and Sivatatvaratnakara also discuss painting's goals and principles, pigment preparation, brushes, chitrakar qualifications, and technique.