a trip with brother, Hampi-3

...continued from a trip with brother, Hampi-2.

The first half of the day was spent in and around Chakrathirta. We discovered shrines hidden among the boulders on the right bank of Tungabhadra. Then we went to the twin natural caverns, where inside one of the caverns is a prehistoric painting. Then we rested in the other cave and went to the double storied mantapa of Vysaraya Matha. There we rested again and enjoyed the panoramic view. Then we saw the two Vishnu temples and Varaha temple before going to Yantrodharaka Hanuman Devastana. By then it was nearing lunch time, we headed back to the car and planned to drive to KSTDC lodge for lunch. However, midway we noticed the open-air eatery, we stopped and decided to try food here. It was a good decision, the experience of having food under a Neem tree was nice. The eatery was right besides this ancient stepped well.

And, on the opposite side of the road is an ancient temple dedicated to Hanuman.

During my last trip i.e. in Dec 2024 with Sridhar, we used to lunch and nap at KSTDC ...two hours of daylight lost. We decided to skip nap, instead we headed back to Krishna Bazaar. We parked Deepak's Brio and walked down to the ancient market place. The idea was to look around without moving too much. With hardly any tourists here, the place was peaceful. We parked ourselves inside the pavilions. I was imagining stalls, merchandise, sellers and buyers. Surely, in the crowd would be stealthy ones looking for opportunities to pinch valuables. Maybe even beggars and urchins.

Amazing that this simple construction has been standing for centuries. I guess the space enclosed between four columns was one stall. Probably merchants rented out the required number of stalls to set up their shops.

ASI board planted here describes the monument as follows: 

ಕೃಷ್ಣ ದೇವಾಲಯದ ಮುಂಭಾಗದಲ್ಲಿ ರಥಬೀದಿಯನ್ನು ಒಳಗೊಂಡ ಪ್ರದೇಶವೇ ಕೃಷ್ಣ ಬಜಾರು. ಕೃಷ್ಣ ಬಜಾರನ್ನು ಶಾಸನಗಳಲ್ಲಿ ಕೃಷ್ಣ ದೇವರ ತೇರುಬೀದಿ, ಕೃಷ್ಣಾಪುರ ಪೇಟೆಯೆಂದು ಕರೆಯಲಾಗಿದೆ. ಉತ್ಸವ ಸಂದರ್ಭಗಳಲ್ಲಿ ಕೃಷ್ಣನ ವಿಗ್ರಹವನ್ನು ರಥದಲ್ಲಿಟ್ಟು ರಥೋತ್ಸವ ನಡೆಸಲಾಗುತ್ತಿತ್ತು. ಕೃಷ್ಣ ಬಜಾರು ವಿಜಯನಗರ ಆಳ್ವಿಕೆಯ ಕಾಲದಲ್ಲಿ ` ಸಾಂಸ್ಕೃತಿಕ, ಧಾರ್ಮಿಕ ಆಚರಣೆಗಳ ಕೇಂದ್ರವಾಗಿರದೆ, ಪ್ರಮುಖ ವ್ಯಾಪಾರ ಕೇಂದ್ರವೂ ಆಗಿದ್ದಿತು. ಕೃಷ್ಣ ಪೇಟೆಯು ಸುಮಾರು ಅರ್ಧ ಕೀ.ಮಿ. ಉದ್ದ ಮತ್ತು ೪೯.೫ ಮೀಟರ್ ಅಗಲದಷ್ಟು ವಿಸ್ತಾರತೆಯನ್ನು ಹೊಂದಿದೆ. ಪೇಟೆಯ ಎಡ ಮತ್ತು ಬಲ ಭಾಗದಲ್ಲಿ ಸುಮಾರು ಮೂರು ಅಡಿಗಳ ಅಧಿಷ್ಠಾನ ಹೊಂದಿದ ಸಾಲು ಮಂಟಪಗಳು ಮತ್ತು ಈಶಾನ್ಯಕ್ಕೆ ಪವಿತ್ರ ಪುಷ್ಕರಣಿಯನ್ನು ಕಾಣಬಹುದು.

ಈ ಪೇಟೆಯ ವಾಯುವ್ಯ ದಿಕ್ಕಿನಲ್ಲಿ ಮುಖ್ಯ ರಸ್ತೆಗೆ ಹೊಂದಿಕೊಂಡಂತೆ ದೊಡ್ಡದಾದ ಕಲ್ಲಿನಿಂದ ನಿರ್ಮಿಸಿದ ತೊಟ್ಟಿಯಂತಹ ಪೆಟ್ಟಿಗೆಯನ್ನು ನಿರ್ಮಿಸಿದ್ದು, ಚಿಕ್ಕ ಮಂಟಪವನ್ನು ಹೊಂದಿದೆ. ಈ ಪೆಟ್ಟಿಗೆಗೆ ಸಣ್ಣ ರಂಧ್ರವಿದ್ದು, ಇದರಲ್ಲಿ ಭಕ್ತರು, ವ್ಯಾಪಾರಿಗಳು ಮತ್ತು ನೀಡುತ್ತಿದ್ದರೆನ್ನಲಾಗಿದೆ. ಇದನ್ನು ಅಂದಿನ ವರ್ತಕರು ದೇಣಿಗೆ ಕೃಷ್ಣ ದೇವಾಲಯದ ಹುಂಡಿಯೆಂದೇ ಹೇಳಲಾಗುತ್ತದೆ. ಇಲ್ಲಿನ ಪುರಾತತ್ವ ಉತ್ಪನನದ ಸಂದರ್ಭದಲ್ಲಿ ಕೃಷ್ಣ ದೇವಾಲಯದ ಬಳಿ ಚೀನಾದ ಮಣ್ಣಿನ ಬಟ್ಟಲುಗಳು ಪತ್ತೆಯಾಗಿದ್ದು, ಕ್ರಿ.ಶ. ೧೫೪೫ರ ಅವಧಿಯ ಸದಾಶಿವರಾಯನ ಕಾಲದ ಶಾಸನವೊಂದರಲ್ಲಿ ಪ್ರತಿ ಸೋಮವಾರ ಮಾರಾಟವಾದ ಸರಕುಗಳ ಮೇಲೆ ಮತ್ತು ಪ್ರತಿ ಅಂಗಡಿಯಿಂದ ಒಂದು ನಾಣ್ಯವನ್ನು ತೆರಿಗೆಯಾಗಿ ಸಂಗ್ರಹಿಸಲಾಗುತ್ತಿತ್ತು ಎಂದು ಉಲ್ಲೇಖಿಸಿದೆ. ಕೃಷ್ಣ ಬಜಾರು ಮುಖ್ಯವಾಗಿ ದವಸ ಧಾನ್ಯಗಳ ಪ್ರಮುಖ ಮಾರುಕಟ್ಟೆಯಾಗಿತ್ತೆಂಬುದು ಅಚ್ಯುತರಾಯನ ಶಾಸನವೊಂದರಿಂದ ಸ್ಪಷ್ಟವಾಗುತ್ತದೆ.

Krishna Bazaar is one of the recently excavated sites of Hampi. The inscription mentions it as the Chariot Street of Lord Krishna. The idol of Krishna used to be placed in the chariot for a procession during festivities and celebrations. Krishna Bazaar was not only a centre of cultural and religious practices but also a major market place of the metropolis. Krishna Bazaar is over half a kilometre in length and about 49.5 metres in width. There are long rows of pavilions along the Bazaar Street on 3 feet high adhistana (platform). The sacred pushkarani (pond/tank) is located on the north east of this bazaar.

To the northwest of this bazaar, along the main road there is a small pavilion with a large rectangular chest carved out of a huge boulder. This chest has a small opening on top in which devotees and visitors used to offer donations. Vijayanagara was famous for its trade. Chinese porcelain items were discovered near Krishna temple during the excavation. The 1545 C.E. inscription of the Sadashiva period mentions that tax was collected on sold goods every Monday and one coin was collected from each shop. It is clear from the Achyutaraya's inscription, that Krishna Bazaar was a major market for grains.

The bazaar's water tank is similar to many other water tanks seen at Hampi. Stepped sides and central mantapa. I wonder what the purpose of that mantapa was. Place for meditation? Notice the sculpture on the base.. big fish eating small fish. Was it a message to the businessmen.. grow or be eaten.

One thing about ancient monuments is the level of attention given to every structure. There was no discrimination. See the detailed work in this Shikhara. Even the canopy slabs are so well finished.

Another board planted in the vicinity gives an insight into the trade aspect of Vijayanagara empire. Here are the transcriptions:

ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯದ ಸಂಸ್ಕೃತಿ ಮತ್ತು ಇಲ್ಲಿನ ಹಲವು ವಸ್ತುಗಳು ಏಷ್ಯಾ ಮತ್ತು ಯುರೋಪಿನ ವ್ಯಾಪಾರಿಗಳನ್ನು ಆಕರ್ಷಿಸಿತ್ತು. ವಿಜಯನಗರದ ರಾಜಧಾನಿಯಲ್ಲಿ ಅಪಾರವಾಗಿ ಬೆಳೆಯುತ್ತಿದ್ದ ವ್ಯಾಪಾರ ವಹಿವಾಟಿನಿಂದಾಗಿ ಅರಸರು ಸಾಮ್ರಾಜ್ಯದ ವಿವಿಧ ಭಾಗಗಳಿಗೆ ರಾಜಧಾನಿಯಿಂದ ಉತ್ತಮ ರಸ್ತೆ ಹಾಗೂ ಸಾರಿಗೆ ವ್ಯವಸ್ಥೆಯನ್ನು ಕಲ್ಪಿಸಿದ್ದರು. ಹಂಪಿಯಲ್ಲಿ ವ್ಯಾಪಾರವು ತನ್ನ ಉತ್ತುಂಗ ಮಟ್ಟವನ್ನು ತಲುಪಿತ್ತು ಎಂಬುದಕ್ಕೆ ಇಲ್ಲಿನ ಏಳು ಬಜಾರುಗಳು ಸಾಕ್ಷಿಯಾಗಿ ನಿಂತಿವೆ.

ವ್ಯಾಪಾರವು ಮೂಲತಃ ಕೃಷಿ ಆಧಾರಿತವಾಗಿದ್ದರೂ ಸಕ್ಕರೆ, ರೇಷ್ಮೆ, ಸಂಬಾರ ದಿನಸುಗಳು, ಬಟ್ಟೆ ಮತ್ತು ಕಬ್ಬಿಣ ಉತ್ಪಾದಿಸುವ ಕೈಗಾರಿಕೆಗಳೂ ಇದ್ದವು. ವಿಜಯನಗರದ ಪೇಟೆಗಳು ತನ್ನ 'ಪುರ'ಗಳ ನಡುವಣ ವ್ಯಾಪಾರಕ್ಕೂ ಪ್ರಸಿದ್ಧವಾಗಿದ್ದು ಅಲ್ಲಿ ಬಹಿರಂಗವಾಗಿ ಚಿನ್ನ, ಬೆಳ್ಳಿ, ಮುತ್ತು ರತ್ನ, ವಜ್ರ ವೈಡೂರಗಳನ್ನು ಮಾರುತ್ತಿದ್ದರೆಂದು ಅಬ್ದುಲ್ ರಜಾಕ್ ತಿಳಿಸುತ್ತಾನೆ.

ನಗರ ಪೇಟೆಗಳ ವ್ಯಾಪಾರ ಚಟುವಟಿಕೆಗಳು ಮತ್ತು ಸಾರಿಗೆಯ ಬಗ್ಗೆ ಶಾಸನಗಳು ಮತ್ತು ಸಾಹಿತ್ಯ ಕೃತಿಗಳಲ್ಲಿ ವಿವರಣೆಗಳಿವೆ. ಸಾಮ್ರಾಜ್ಯದಲ್ಲಿ ಅರಬರು ಕುದುರೆ ವ್ಯಾಪಾರವನ್ನು ನಡೆಸುತ್ತಿದ್ದರು. ಹಾಗೆಯೇ ಸೈನ್ಯಕ್ಕೆ ಬೇಕಾದ ಆನೆಗಳನ್ನು ಶ್ರೀಲಂಕಾದಿಂದ ತರಿಸಿಕೊಳ್ಳುತ್ತಿದ್ದರೆಂದು ತಿಳಿಯುತ್ತದೆ. ಇಂತಹ ವ್ಯಾಪಾರದ ಚಿತ್ರಗಳು ದೇವಾಲಯಗಳ ಶಿಲ್ಪಗಳಲ್ಲಿ ಮತ್ತು ಮಹಾನವಮಿ ದಿಬ್ಬದ ಪಟ್ಟಿಕೆಗಳ ಮೇಲೆ ಕಂಡುಬರುತ್ತವೆ. 

ಬೋಗದ ವಸ್ತುಗಳು, ಹವಳ, ಪಾದರಸ, ಸೀಸ, ತವರ, ಕರ್ಪೂರ ಹಾಗೂ ಸೈನ್ಯಕ್ಕೆ ಅವಶ್ಯಕವಾದ ಕುದುರೆ, ಆನೆ ಮುಂತಾದವು ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯಕ್ಕೆ ಪ್ರಮುಖವಾಗಿ ಆಮದು ಆಗುತ್ತಿದ್ದವು, ಹಾಗೆಯೇ ಅಕ್ಕಿ, ಗೋಧಿ, ಶುಂಠಿ, ಸಕ್ಕರೆ, ರೇಷ್ಮೆ, ಸಂಬಾರ ದಿನಸುಗಳು, ಬಟ್ಟೆ ಮುಂತಾದವು ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯದಿಂದ ಬೇರೆ ದೇಶಗಳಿಗೆ ರಫ್ತು ಆಗುತ್ತಿದ್ದವು. ಹೀಗೆ ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯದ ಆರ್ಥಿಕ ಅಭಿವೃದ್ಧಿಯು ಹೆಚ್ಚಾಗಿ ವ್ಯಾಪಾರ ಮತ್ತು ವಾಣಿಜ್ಯವನ್ನೇ' ಆಧರಿಸಿತ್ತು. ಆದರೆ ಕ್ರಿ.ಶ. ೧೫೬೫ರಲ್ಲಿ ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯ ಪತನವಾದ ನಂತರ ವಿದೇಶಿಗರು ತಮ್ಮ ವ್ಯಾಪಾರ ಸಂಬಂಧಗಳನ್ನು ಕಳೆದುಕೊಂಡರು. ಆ ನಂತರ ನಗರವು ಪಾಳು ಬಿದ್ದಿತು.

The cosmopolitan culture of the Vijayanagara Empire attracted traders from Asian and European countries. The flourishing trade within the capital forced the rulers to connect the different parts of the empire with the capital city.

Overall, there are seven bazaars which indicate that business was flourishing.
The economy was primarily agro-based, although several industries produced sugar, silk, spices, clothes, iron, etc Abdul Razzaq describes to the prevalence of inland trade, with gold, silver, gems, diamonds, and precious stones being sold in an openly.

Inscriptions and written accounts talk about the hectic flow of traffic and movement of merchandise and goods through the city's bazaars. Horses were brought by the Arabs, and elephants from Sri Lanka, for the Vijayanagara army. Such trades have been captured in sculptures found in the temples, and on the bands of Mahanavami Dibba.

The Vijayanagara Empire imported luxurious items like corals, mercury, lead, tin, camphor, and horses & elephants needed for the army. Similarly, rice, wheat, ginger, sugar, silk, spices, and clothes were exported from the kingdom. After the fall of the Vijayanagara Empire in 1565 C.E., the trade-ties with foreign countries was lost. The city was in ruins soon after this.

This market is called Krishna Bazaar since it is situated opposite Sri Krishna Devalaya temple complex. That's my guess. The complex's Gopura is an imposing structure despite its ruined condition. At least one tier of the Gopura is missing if not more. With sunlight blazing into the camera lens, the picture turned out hazy.

This is an interesting object situated between the market place and temple complex. This is the chest in which donations were collected. What a solid chest with heavy lids! I guess coins and jewelry were dropped in. Wondering how the donations were used.. for building more temples and mantapas? Towards maintenance of water tanks and roads?

Vishnu's symbols Shankha, Chakra & Naama along with Sun & Moon are engraved on the side facing Krishna temple. The lids have holes in them, one circular and the other square. Probably the holes too were kept covered in the nights. Surely there would guards watching this treasure chest around the clock.

When you are at Hampi and visiting Krishna temple, make sure you see this monument. Yes, that's Krishna temple complex's Gopura. Also, in the same class as this chest is the monolithic water trough near Hazara Rama Devastana.

The imposing remains of the Gopura. One must feel humbled at the sight of monuments.

Close to the Gopura is a board describing the temple complex:

ಈ ದೇವಾಲಯವು ಬಾಲಕೃಷ್ಣನಿಗೆ ಮುಡಿಪಾಗಿದೆ. ದೇವಾಲಯದ ಆವರಣದೊಳಗಿರುವ ಶಿಲಾಶಾಸನವು ಕ್ರಿ.ಶ. 1515 ರಲ್ಲಿ ಕೃಷ್ಣದೇವರಾಯನು ಉದಯಗಿರಿಯಿಂದ ತಂದ ಬಾಲಕೃಷ್ಣನ ವಿಗ್ರಹವನ್ನು ಸ್ಥಾಪಿಸಿದನೆಂದು ದಾಖಲಿಸುತ್ತದೆ. ಈ ವಿಗ್ರಹವು ಈಗ ಚೆನೈನಲ್ಲಿರುವ ಎಗ್ಮೊರಿನ ಸರ್ಕಾರಿ ವಸ್ತುಸಂಗ್ರಹಾಲಯದಲ್ಲಿದೆ. ದೇವಾಲಯವು ಎರಡು ಪ್ರಾಕಾರಗಳಿಂದ ಸುತ್ತುವರಿಯಲ್ಪಟ್ಟಿದೆ. ಆಯತಾಕಾರದ ಒಳ ಆವರಣವದಲ್ಲಿ ಮುಖ್ಯ ದೇವಾಲಯ, ಉಪದೇಗುಲಗಳು, ಮಂಟಪಗಳು ಮತ್ತು ಇತರ ರಚನೆಗಳಿವೆ. ಮುಖ್ಯ ದೇವಾಲಯವು ಗರ್ಭಗೃಹ, ಅಂತರಾಳ, ಪ್ರದಕ್ಷಿಣಾಪಥ, ರಂಗಮಂಟಪ ಮತ್ತು ಮಹಾಮಂಟಪ ಹಾಗೂ ಜೀರ್ಣೋದ್ದಾರಗೊಂಡ ಮಂಟಪಗಳನ್ನು ಒಳಗೊಂಡಿದೆ. ರಂಗಮಂಟಪ ಮತ್ತು ಮಹಾಮಂಟಪಗಳ ಕಂಬಗಳ ಮೇಲೆ ವಿಷ್ಣುವಿನ ಹತ್ತು ಅವತಾರಗಳನ್ನು ಒಳಗೊಂಡ ಸುಂದರ ಕೆತ್ತನೆಗಳಿವೆ. ಈ ಆವರಣದಲ್ಲಿ ಅಮ್ಮನವರ ಮತ್ತು ಗಣೇಶ ಗುಡಿಗಳೂ ಸೇರಿದಂತೆ ಉಪದೇಗುಲಗಳು ಮತ್ತು ಸಣ್ಣ ಮಂಟಪ ಇದೆ. ಇವುಗಳ ಸುತ್ತಲೂ ಇರುವ ಪ್ರಾಕಾರಕ್ಕೆ ಪೂರ್ವ, ಉತ್ತರ ಮತ್ತು ದಕ್ಷಿಣದಲ್ಲಿ ಒಟ್ಟು ಮೂರು ದ್ವಾರಗಳಿವೆ. ಪ್ರಾಕಾರದ ಒಳಮುಖದಗುಂಟ ಕಂಬಗಳಿರುವ ರಚನೆಯಿದ್ದು ಇದರಲ್ಲಿ ಪಾಕಶಾಲೆ ಮತ್ತು ಎರಡು ಮಂಟಪಗಳೂ ಸೇರಿವೆ. ಪೂರ್ವ ಗೋಪುರದ ಪಶ್ಚಿಮ ಭಾಗದಲ್ಲಿ ಶ್ರೀಕೃಷ್ಣದೇವರಾಯನ ಉದಯಗಿರಿಯ ದಂಡಯಾತ್ರೆಯ ಚಿತ್ರಣವಿದೆ. ಪೂರ್ವ ಗೋಪುರದ ಪ್ರವೇಶದ್ವಾರದ ತೊಲೆಯ ಮೇಲೆ ಚಂದ್ರಗ್ರಹಣದ ಚಿತ್ರವಿರುವದು ಇನ್ನೊಂದು ವಿಶೇಷ. ಹೊರಗಿನ ಆವರಣದ ವಾಯುವ್ಯ ಭಾಗದಲ್ಲಿ ಮಂಟಪ ಮತ್ತು ತೊಟ್ಟಿ, ಆತ್ಮೀಯ ಭಾಗದಲ್ಲಿ ಕಣಜ ಮತ್ತು ಉತ್ತರ ಭಾಗದಲ್ಲಿ ಹಲವು ಮಂಟಪಗಳಿವೆ. ದಕ್ಷಿಣದಲ್ಲಿರುವ ದೊಡ್ಡ ದ್ವಾರವು ಕೃಷ್ಣಾಪುರದಿಂದ ದಕ್ಷಿಣಕ್ಕೆ ಹೋಗುವ ರಸ್ತೆಯನ್ನೂ, ಈಶಾನ್ಯದಲ್ಲಿರುವ ಮತ್ತೊಂದು ದ್ವಾರವು ಕೃಷ್ಣಾಪುರದಿಂದ ಉತ್ತರಕ್ಕೆ ಹಂಪಿಗೆ ಹೋಗುವ ರಸ್ತೆಯನ್ನೂ ಸಂಪರ್ಕಿಸುತ್ತದೆ.

This temple is dedicated to Balakrishna and the inscription on the slab set up inside the temple's compound records that in 1515 CE Krishnadevaraya installed an image of Balakrishna brought from Udayagiri. This image is now housed in the Government Museum, Egmore, Chennai. The temple is enclosed by two concentric walls. The main temple, subsidiary shrines, pavilions, and other structures are laid out in the rectangular inner enclosure. The main temple consists of garbhagriha (sanctum), antarala (antechamber), surrounded by pradakshinapatha (circumambulatory passage), rangamandapa (pillared hall) and mahamandapa (large pillared hall) and a pavilion of later addition. The pillars of rangamandapa and mahamandapa are decorated with Vaishnava figures including the ten incarnations of Vishnu. This enclosure also has subsidiary shrines including Amman and Ganesha shrines and a small mandapa. All these structures are enclosed in a prakara (enclosure) wall with three gateways on the east, north and south. The inner face of the prakara wall is lined with colonnade, which has a walled kitchen and two mandapas. The western side of the east gopura has depiction of Krishnadevaraya's Udayagiri expedition. Another noteworthy representation is that of lunar eclipse on the lintel of the east gopura entrance. The outer enclosure has a mandapa and tank on the northwest, granary on the southeast and several pavilions on the north. A large gateway at the south marks the road leading south from Krishnapura while another gateway at the extreme northeast marks the road running north from Krishnapura to Hampi.

Afternoon is a bad time to photograph this east-facing temple, shadows dominate subduing the features completely. This is the view of Krishna Devalaya through the eastern entrance. Like any other large temple here, the Mahamandapa forms the temple's facade.

This is the inner side of the Gopura. The lowest tier is made of granite blocks while the upper tiers are a combination of stone, red-bricks, mortar and stucco. Just above the lintel is interesting mural art.

Going by ASI description, the two groups of art works on the Gopura is Krishnadevaraya's Udayagiri expedition. The figure on the horse must be Krishnadevaraya, and the group behind him must be his soldiers. The soldiers are all hooded and holding swords & shields. The artists have created amazing facial expressions, looks like a candid photograph. 

On the right are several standing figures, both male and female. The tallest figure on the left seems like Vishnu since there's a Shankha. Probably there was a Chakra too. To the right is a group of men and a riderless horse. Facial expressions of this group isn't as sharp as in the former picture.

Taking a closer look at the faces. The group emanates confidence, pride and joy. This looks like a post victory group photo. I'm wondering if a western artist was involved in the creation of scene.

This is the northern entrance and its three tier Gopura.

There's still a lot to see in this temple. At this point I feel saturated. Will end this post here, and continue our tour in the next post- a trip with brother, Hampi-4.

.........

a trip with brother, Hampi-2

...continued from a trip with brother, Hampi-1.

Our tour of Hampae started at Chakrathirta the place where the east-flowing Tungabhadra takes a sharp turn towards north. In the Hindu traditions such a place is considered holy and one can find at least one temple. At Chakrathirta, there are countless shrines, mostly on the right bank. I had seen amazing pictures and eager to see them for real. This trip was the second in two months. First was with my friend Sridhar in Dec 2024, and today I was here with Deepak my brother. Sridhar and I had reached some of the spots and seen some thro lens only. This time I wanted to reach the missing ones. We spent almost an hour exploring & discovering the open and structural shrines hidden amongst the boulders. If one looks carefully one can find so sculptures of Shiva Linga, Avatars of Vishnu and Devis. Many of them meant to be open, some were intended to be structural temples but they were never completed. I felt this kind of adventure can be experienced only at Hampae.

It was time to move on. We still had to see couple of mantapas situated away from the waters. From where we stood, we could see two. One on the left and..

..another on the right. There's a ruined temple as well. See the steps carved into the boulders. That would be convenient to climb in slightly wet conditions. Further to the right on this rock hill is a series of panels depicting Dasahavatara, the ten avatars of Vishnu.

We took the steps and reached the ruined temple & mantapa. These outlying monuments are seldom visited and hence peaceful most times. This was a good spot to rest and refresh. We had carried apples, pears, fritters and water. We attacked the fruits and energized ourselves. Deepak launched his DJI Mini 2 and took a few ariel shots while I put my 12YO Canon 600D to work. Next to the ruined temple is a sculpture of Narasimha (see inset). The sculpture is in the open embossed into the rock.

In this picture, only a patch of the river is seen. In the foreground there's an open to air sculpture of Anatashayana, the form of Vishnu reclining on Adisesa the cosmic serpent symbolizing eternity. Looking at the umber of semifinished blocks lying about indicates that there was a plan of erecting a structure here. However the project was abandoned, probably when Vijayanagara collapsed.

A closer look at Anantashayana. Vishnu is in company with his consorts Lakshmi, Bhudevi, and Niladevi ...I presume. Notice that one of the consorts is emanating from Vishnu's navel. On either sides of Vishnu is Hanuman and Garuda. The sculptor's signature is engraved next to Garuda.

On the left bank is another incomplete project. One has to admire the engineers who erected that structures on such an uneven surface. It seems like a temple or maybe it was just a mantapa. Opposite the pillared structure is another platform. Panning to the right, there are slabs placed horizontally which are meant to be steps, a path for people to reach the mantapa conveniently. Over the steps are broken boulders.. builders had sourced raw material for their project from this hill itself.

Further on the left bank are the ruins of Sri Chandramouleshwara Devastana and also the ruins of the ancient bridge. When the river water level is high, it may not be able to cross the river. However one can reach the temple from Anegundi side. Perhaps in the dry months i.e. Jan onwards, it should be possible to make a way through the rocks in the riverbed. Moving further with the river one will see Purandaradasa Mantapa, Talarighatta and eventually reach Anegundi.

Lying amongst the rocks was this weathered wooden piece resembling a bicycle handle. I was tempted to pick it up and bring it home but then dropped the idea.

Deepak ended his flight session and I packed up my DSLR for the moment. It was time to move on again. We descended and made our way to the other mantapa which is slightly bigger than the earlier one. Being at a lower elevation, this was visited often by people. We didn't spend much time here and continued our trek.. next on my mind was the twin rock-shelters with a wide open space between them.

We had to trek around the base of the hill, reached the caves. The caves are aligned in such a way that one of them faces east and the other west, like two houses on a street. This is the east-facing cave. If you step out and turn right, you'll be looking in the direction of Kodandarama Devastana.

That's me standing close to the mouth. On the flat-face of that prism-shaped rock is an ancient artwork - the signature of prehistoric people. This cave is quite spacious with an 'inner chamber'. Surely this cave was inhabited for a long time hence the presence of artwork.

Here's the painting. I'm clueless as to what the figures depict. There are a couple of figures out of frame. On the right hand side there's one figure which seems like fish. On the left hand side is a geometric figure made of a triangle, a line and arc. Absolutely no idea what this collage represents.

After checking out the cave and painting, we went across to the west-facing cave. This much smaller than the other cave but the floor was free of dirt and breezy too. This was a good spot to rest. While we sat there Deepak captured a Purple sunbird and a Peninsular rock agma with the fixed lens Nikon P900. In the background the east-facing cave can be seen. Hunger prompted me to attacked the 'kadlebele vadae' which I got from the eatery at Kamalapur. It was good break from the blazing sunlight, we decided to move on.

We went eastwards towards the complex of temples and mantapa called Vyasaraja Matha. People going from Chakrathirta to Vittala Devastana have to pass by this complex. We didn't take this handsome looking steps, instead we climbed up the rock along the complex perimeter and went straight to the two-storied mantapa at the top.

We settled down again.. which was a good way to see the surroundings without tiring too much. Apparently this is one of the sentry points of the caretaker of monuments on this hill. We had a nice long chat. Presently there are a lot of caretakers at Hampi. Each has been assigned a monument or a group of monuments to watch over. In some cases the caretaker is responsible for maintaining tidiness. All caretakers are local folks employed by the archaeological department. I was happy to note this aspect.

Reluctantly we moved away from Vyasaraya Matha. Back into the sunlight, I raised the umbrella to prevent sunburn. We headed back towards Chakrathirta. On the way we stopped to check out Anantashayana idol (see inset) inside this simple looking structure called Vishnu Gudi. Check out the monolithic stone trough. This is a tiny one compared to the 12m long monolithic trough near Mahanavami Dibba.

At the beginning of Courtesans street is another temple called Vishnu Gudi. This one is a combination of natural rocks and structural temple. The sanctum are barren but the catch of this temple is the sculpture of Anantashayana on a rock which forms a wall (see inset).

Next we headed towards Yantrodharaka Hanuman Gudi. I wanted Deepak to see the unique deity which shows Hanuman trapped inside a hexagram. After a quick darshan we headed back to the parking lot. Our plan was to head back to our lodge at Kamalapur, have lunch, rest for a while and then go to Malyavanta Ragunatha Devastana. However, on the way we saw the open-air lunch place. I liked the look of the place.. having homemade food in the shade of Neem trees was appealing. Deepak too was for it. While Deepak parked his Brio I inquired the rate and checked out the items. Perfect lunch for tourists on the move.

We relished every bit of the meal. This was a new experience at Hampi.

Our plan for the second half of the day was to spend time at Krishna Bazaar and, then Malyavanta Raghunatha Devastana complex. Will continue in the following post- a trip with brother, Hampi-3.

.........

a trip with brother, Hampi-1

...continued from a trip with brother, Bhadravati and Kumathi.

Even though we hit the sack around 11 PM, we rose early. By 7-45 we left our lodge Mayura Bhuvaneshwari. Plan for the day was to explore the ruins and shrines near Chakratirtha. During the last visit i.e. in Dec 2024 with my friend Sridhar, we failed to reach the two Sahasralinga in the maze of boulders. This time I wanted to accomplish it. I spotted an eatery at the main junction of Kamalapur, the place was already buzzing but we found a vacant table. It was self-service kind of place so I got the token and waited at the counter manned by two men. I noticed there were more take-away customers and most of them in a hurry and the counter was chaotic. One of the customers ended up assisting the eatery staff in fetching items from the kitchen. Yet he was smiling and asking for his order... anna, nann parcel kodi, maguna schoolige bidbeku. After eating I got some kadlebele vada packed to have later. Also we had apple, pear and water in our bags.

We drove straight to the inner parking area which is next to the historic pathway called Kampabhupa Marga. A board planted here describes the path as follows:

ವಿಜಯನಗರ ಸಾಮ್ರಾಜ್ಯದ ರಾಜಧಾನಿಯಾದ ಹಂಪಿಯಲ್ಲಿ ಅರಸರು ಅವಶ್ಯಕತೆಗೆ ಅನುಗುಣವಾಗಿ ಹಲವು ಪ್ರಾಚೀನ ಮಾರ್ಗಗಳನ್ನು ನಿರ್ಮಿಸಿದ್ದಾರೆ. ಅಂತಹ ಪ್ರಾಚೀನ ಮಾರ್ಗಗಳಲ್ಲಿ ಕಂಪಭೂಪ ಮಾರ್ಗವು ಒಂದಾಗಿದ್ದು ಪ್ರಮುಖವಾಗಿದೆ. ಈ ಮಾರ್ಗವನ್ನು ವೀರ ಹರಿಹರರಾಯನ (ಕ್ರಿ.ಶ. ೧೩೭೭-೧೪೦೪) ಪುತ್ರ ಕಂಪಭೂಪನ ಆದೇಶದ ಮೇರೆಗೆ ತುಂಗಭದ್ರಾ ನದಿಯ ದಡದಲ್ಲಿ ವಿಶಾಲವಾದ ಕಲ್ಲಿನ ಮಾರ್ಗವನ್ನು ನಿರ್ಮಿಸಲಾಯಿತೆಂದು ತಿಳಿದುಬರುತ್ತದೆ. ಈ ಮಾರ್ಗ ವಿರೂಪಾಕ್ಷ ಬಜಾರ್ ಬೀದಿಯನ್ನು ಚಕ್ರತೀರ್ಥದೊಂದಿಗೆ ಮತ್ತು ಅಲ್ಲಂದ ಮುಂದೆ ವಿಠಲಾಪುರದ ಎರಡು ಅಂತಸ್ತಿನ ದ್ವಾರಕ್ಕೆ ಸಂಪರ್ಕ ಕಲ್ಪಿಸುತ್ತದೆ. ವಿರೂಪಾಕ್ಷ ಬಜಾರ್ ಬೀದಿಯ ಪ್ರಾರಂಭವಾಗುವ ಈ ಮಾರ್ಗವು ಬಂಡೆಗಳ ಗುಂಪಿನ ನಡುವೆ ಕಿರಿದಾದ ಹಾದಿಯ ಮೂಲಕ ಹಾದು ಹೋಗುತ್ತದೆ. ಇದನ್ನು 'ಒನಕೆ ಕಿಂಡಿ' ಅಥವಾ ಕಿಟಕಿ-ನೋಟ ಎಂದು ಸಹ ಸ್ಥಳೀಯರು ಕರೆಯುತ್ತಾರೆ. ಈ ಬಂಡೆಗಳು ಗುಹೆಯಂತಹ ದಾರಿಯನ್ನು ಕೈಗಳನ್ನು ಮಡಚಿ ನಿಂತಿರುವಂತಹ ವ್ಯಕ್ತಿಯ ಉಬ್ಬು ಶಿಲ್ಪವನ್ನು ಕೆತ್ತಲಾಗಿದೆ. ಇದು ಈ ಮಾರ್ಗವನ್ನು ನಿರ್ಮಿಸಿದ ಕಂಪಭೂಪನದ್ದು ಎಂದೇ ಊಹಿಸಲಾಗಿದೆ. ಈ ಮಾರ್ಗವು ನದಿತೀರದಲ್ಲಿರುವುದರಿಂದ ನದಿಯಲ್ಲಿ ನೀರು ಹೆಚ್ಚಾದಾಗ, ಇದು ಸಂಪೂರ್ಣವಾಗಿ ನೀರಿನಲ್ಲಿ ಮುಳುಗಿ ತನ್ನ ಸಂಪರ್ಕವನ್ನು ಕಳೆದುಕೊಳ್ಳುತ್ತದೆ.

In Hampi, the capital of the Vijayanagara empire, the rulers built many ancient paths. One of the most important of these ancient routes is the Kampabhupa Pathway. A broad stone pathway along the banks of the Turgabhadra is said to have been laid on the orders of Kampabhupa, the son of Vira Harihara Raya (1377 1404 CE). It connects the Virupaksha Bazaar Street to Chakratirtha and beyond, towards the double-storeyed gateway of Vittalapura. This pathway, starting at the eastern end of the Virupaksha bazaar passes through a narrow passage between a group of boulders, also called the 'Onake Kindi' (view through a window). A bas relief sculpture of a standing maid figure with folded hands in Anjali mudra is thought to be Kampabhupa, who ordered the construction of the pathway. When the water in the river rises this pathway is completely submerged.

This is a collage of pictures taken during two earlier trips. This natural rock formation is the 'Onake Kindi' mentioned in the previous paragraph. In the inset is my friend Sridhar posing with Kampabhupa's idol.

This is the time of the year when Tungabhadra's water level is low which is good for tourists. Here's a peaceful scene next to the ancient pathway. This is the point where the west flowing Tungabhadra takes a sharp turn towards north, flows northeast for a kilometer and half and then turns southeast. This spot is called Chakratirtha. In Hindu culture the spot where a river or stream turns north / south is considered holy. Hence one can find at least one shrine at such spots. Hampi being the capital of Vijayanagara Samrajya, one of the greatest empires of the medieval world, Chakratirtha is bound to be extraordinary.

At Chakrathirta Tungabhadra flows between two massive boulder-heap hills. The natural beauty of the rocks is breathtaking. One need not have any talents to take great pictures here, such is the beauty of the place. Here's the reflection of a partially submerged water carved rock. One can gaze at the rocks and let imagination take over.

Chakrathirta attracts tourists for not just the natural beauty and shrines but also for boat rides. There are regular row boats and motorized boats as well. Even though a coracle ride costs ₹500 upwards per person, people go for it.

We went past the ghat at Chakrathirta and Kodandarama Devastana and the headed towards the maze of rocks. Sahasralinga was to the right, but I was trying to find a way in this maze.

Last time, we gave up at one point where the going go tough. Instead we went found a spot high up in the rocks very close to Dashavatara sculpture. This time I just followed the ruined ancient pathway knowing it would lead to some shrine if not the Sahasralinga. Indeed the path lead to this structure concealed in a heap of rocks. On the left are two shrines.. idols carved on rocks left in their original positions. Wondering what kind of a mind created this amazing structure.

The first shrine. Based on the presence of Trishul & Damaru, I guess this female deity seen here is Parvati. No idea who the standing male idol represents.

The neighboring shrine is more spacious. The deity seen here seems to be Vishnu.

Or maybe its Harihara, the form which is part Shiva and part Vishnu.

The tunnel like passage opens up to this space littered with semifinished blocks of an incomplete structure. Notice the sculpture on the left side of the entrance. That seems to be sage Vyaghrapada a great devotee of Shiva.

The name Vyaghrapada is made of two words Vyaghra and Pada meaning tiger and feet. As per Hindu lore, this sage was granted legs of a tiger by Shiva to enable him to reach the most difficult places to gather flowers. 

Here's the deity of the shrine- Shiva accompanied by Nandi, Parvati and another figure which seems like Bhringi. This seems like a rare form of Shiva shown with a sword and bow, instead of Trishul & Damaru. Also Shiva is resting his hand on some curved object. Parvati's too is shown with sword and bow.

See how close the temple is to the water. In fact, this shrine along with the boulders here would be submerged during a good rainy season.

Imagine when mighty Tungabhadra has to flow in this narrow space between two boulder heap hills. Naturally water level would rise submerging the boulders, shrines and manatapas here. Here the water flows from left to right.

Looking to the left.. that's where the river turned northwards. The long manatapa seen at the end of water is Kodandarama Devastana ghat. In the background is Mathanga Betta.

Looking to the right.. Tungabhadra flows for about a kilometer and then turns southeast. In the background a hill can be seen. That's Anjanadri Betta, the birthplace of Hanuman. The hill is named after Hanuman's mother Anajanadevi. Discovering this group of hidden shrines was inspiring. Now, the focus has to be Sahasralinga. I asked the passing coracle guy about Sahasralinga. The guy without bothering to stop told me to climb the big rock. How's that for directions!

So, we traced back the way we came in and turned left. I noticed a group of four men climbing a two-step boulder. Out of hunch I asked them about Sahasralinga. Yes, join us. Deepak and I followed them. Once on top of the boulder, Sahasralinga came into view.

The first group of Linga. This group has around 850 Lingas in it. If not for the central square and rectangle there would be more than 900 Linga. At the bottom right corner is a symbolic etching of a prostrating couple. As to the significance of worshipping this many number of Linga could be to remain immersed in rituals for a long time.. mind control.

A few yards away is the second group. This one looks less crowded.

One of the guys from the group which led us here had been here earlier too. He was saying that there are a lot of Linga sculptures here. He was right, we could spot several.

Having spent over fifteen minutes admiring the Sahasralingas, we wanted to move on. There was no need to trace back our steps, instead we could go down towards the waters and walk along it. This is the way we climbed down. There's a sculpture hidden among one of the rocks here, a very unusual place for a shrine.

Of the three sculptures, one is incomplete and two seems to be complete, both are female deities. The one deity on the right has at least six pair of arms and three heads. I have no clue as to what Devi this image represents. As to the semifinished blocks lying here indicates ongoing work. For some reason the project was abandoned. Probably the great war which brought the fall of Vijayanagara was the reason. Imagine.. if the work had continued, what kind of structures we would be looking at today.

Here's another shrine dedicated to Shiva  & Parvati. The four armed Shiva is holding Trishula, Damaru, sword and Kamandala. I think Shiva's sword is called Chandrahasa. The sculptor has given Shiva thick long hair, perhaps the intention was to create matted hair.

Hampi is one place you get to see a competition between natural and manmade sculptures. Notice the lines created by varying water level.

Two Nandi sitting on the opposite side. I guess they are part of the two great Sahasralinga. It is said that Nandi's head is always turned. While it looks at Shivalinga with left eye, the right eye is looking at Parvati.

While I went back to the hidden shrine for the second time, Deepak rested on a rock next to the water. This is where I saw an otter pop it's head out and dive back immediately. I wish that beautiful creature had remained above water for a few seconds. Locally otter is called neernayi, literally meaning water dog. There are signs warning people to stay away from them since their bites can cause grievous injuries. 

On this long bad are several Shiva Linga. I guess Chakrathirta was a busy place during Vijayanagara times. Has to be going by the number of shrines and manatapas.

We decided to move on. Next we wanted to climb up to one of the mantapas. We wanted to take a break from sunlight and rest a while at the top. Will continue in the following post- a trip with brother, Hampi-2.

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