The Vibrant Imperial Hues of Vijaynagar’s Artistic Legacy
Manya Pandey BSc. Batch of ‘25
Miniatures illustrating Ramayana scenes, Nayaka, Sarasvati Mahal Library, Thanjavur, 17th century. Source
For just over two centuries, the Vijayanagara Empire held sway over the medieval landscape of South India. Established in 1336 C.E. by former chieftains, Harihara and Bukka, who invaded the peninsular region, they fortified their capital along the Tungabhadra River in the Deccan plateau and named it Vijayanagara or the “City of Victory.” Using adept diplomacy and military prowess, the Vijayanagara kings defended their realm from northern threats, extending their dominion across southern India. Regional governors, known as Nakayas, acted as their agents, overseeing territories that stretched beyond Kannada and Telugu regions into the southern Tamil areas. Despite the inland location of the capital, Vijayanagara, the kings facilitated overseas trade through coastal ports, monopolizing the commerce of warfare items. The wealth amassed from trade supported the empire’s patronage of art and literature. Described by Portuguese, Italian, and Persian visitors, Vijayanagara emerged as a prosperous city with advanced irrigation, bustling bazaars, a formidable army, and grand palaces, drawing comparisons to the magnificence of Rome.
Mucukunda’s story, Nayaka, Tiruvallur, 17th century. Source
Paintings Murals and Temples
In the era of the Vijayanagar Empire, mural art experienced a resurgence following the Chalukyas’ fervent interest in Badami’s murals. The Veerabhadra Temple in Lepakshi, Andhra Pradesh, stands as a prime example, showcasing highly decorative Vijayanagar paintings, notably on its hall ceiling. This ceiling is adorned with murals depicting scenes from epics such as the Mahabharata, Ramayana, Puranas, and life sketches of the temple’s benefactors. The Vijayanagara pictorial art is evident in the paintings across the ceiling of the main mandapa, antarala, and other shrines, executed over an initial plaster layer of lime mortar. Using vegetable and mineral colours blended with lime water in shades of yellow, ochre, black, blue, and green, with red as a background, these frescoes vividly illustrate the incarnations of Lord Vishnu. The paintings, employing a rapid watercolour technique on wet plaster, create striking compositions, emphasizing period costumes and facial expressions.
Similarly, the Virupaksha Temple in Hampi features Vijayanagar paintings covering its ceiling, primarily exploring religious themes. These paintings exhibit simplicity and vigor, portraying a linear style that captures movement and energy in the figures. The temple’s mandapa ceiling showcases a painting depicting Vidyaranya, the guru of Harihara and Bukka, founders of the Vijayanagar Empire, being carried in a palanquin. These murals exhibit rhythmic forward movement, avoiding overcrowding, and depict episodes from the life of King Manunitikanda Chola, known for his just ruling in the case of a cow and its calf. The scenes portray the king sacrificing the prince under the chariot’s wheels, with Lord Siva restoring life to both victims, praising the king’s sense of justice. While many Vijayanagar paintings focus on mythological legends and epic stories, they also provide insights into the life and customs of the Vijayanagar Empire.
In conclusion, Vijayanagara emerges as a pioneering southern Indian kingdom, uniquely uniting the linguistic and cultural landscapes of Kannada, Telugu, and Tamil. As the most formidable empire in pre-colonial South Indian history, its now-ruined capital stands as a poignant testament to the splendour of an era ruled by this city. Moreover, it vividly reflects the profound impact of Islamic-inspired influences on Indic courtly life during the Vijayanagara period. The remnants of this grand city not only symbolize its historical significance but also underscore its pivotal role as a major population centre and a crucial nexus of trade routes.
References:
1. Kamath, Suryanath U. (2001). A concise history of Karnataka: from pre-historic times to the present. Bangalore: Jupiter books.
2. Stein, Burton. (1989). Vijayanagara. Cambridge University Press. DOI: 10.1017/CHOL9780521266932.005
3. Goodding, Robert A. (2013), “A Theologian in a South Indian Kingdom: The Historical Context of the Jivanmuktiviveka of Vidyaranya”, in Lindquist, Steven E. (ed.), Religion and Identity in South Asia and Beyond: Essays in Honor of Patrick Olivelle, Anthem Press