Indian Architecture (Buddhist and Hindu Periods) c26.6

c26.6

The principal temples in the city of Vijayanagar are the Vitthala and the Hazara Rama, but there are several others of no little interest. The Vitthala, although not the grand temple of the city which is traditionally ascribed to the Pampapati temple, is by far the most exquisitely ornate building on the site. Begun by Raja Krishna Deva in 1513, it was continued by his successor Achyuta Raja (1529-42) but owing to its elaborate character was never entirely finished. It stands within a rectangular courtyard 500 feet long by 310 feet wide, which is surrounded by cloisters formed of a triple row of pillars, entrance being obtained through three gopurams, those on the east and south being the more important. At least six separate structures, mostly in the form of pillared halls are within this stone-flagged enclosure, the largest, that of the main temple occupying the centre, while the others are disposed around in their prescribed position. The central building is dedicated to Vishnu in the form of Vitthala or Vithoba (*Panduranga*), one of the embodiments of the god Krishna, and is a long low structure of one story averaging 25 feet in height, and in length 230 feet, aligned from east to west Its lack of height is partly due to its being incomplete, for any superstructure that it ever possessed, being of brick and plaster, has fallen into decay. Although appearing externally as one long building, it consists of three distinct compartments, namely an *ardhamandapa* or open pillared portico in front, a *mandapa* or closed assembly hall in the middle, and the *garbha griha* or sanctuary in the rear. The part which first attracts attention on account of its supremely rich appearance is the *mahamandapa*, or portico, a columned pavilion, not square in plan as it has deeply recessed sides, but measuring 100 feet across its extreme length and width. Standing on a moulded plinth five feet in height with flights of steps, elephant guarded, on its three free sides, the whole composition is heavily shadowed by means of an immensely wide double-flexured eave, above the parapet of which rises an irregular outline of brickwork turrets, the remains of the original superstructure.