Creating any form of art transports you to a meditative state. The world around you as if does not exist, so engrossed are you in that process of creating. And I feel while carving shapes out of a stone slab one needs to be completely into it, at the highest and deepest kind of concentration level. You can not erase it, you can’t delete it, you can’t add a stroke of brush here and there to make it perfect.  Every stroke of hammer leaves a permanent imprint. No, I have never held a hammer to carve anything on stone but have enjoyed a wonderful experience of watching these artists at work in Hampi, prior to Hampi festival 2017.

Hampi is a magnificent open gallery of the architectural grandeur and sculpting magnificence. These artists were working on their pieces to participate in a competition to be held during Hampi festival. Themes mostly belonged  either to Vijaya nagar Empire or other temples, figures carved by the artists of the yonder years.



Sculptors at work



Badami cave temples taking shape


This one was sitting a little away from rest of the artists, listening to music on phone, he was giving shape to a stone while few others peeped inside from window.






He is etching image of Raja krishna deva Raya


All pictures by Sunder Iyer





Badavilinga is the largest monolithic Shivalinga in Hampi. The name and the story behind it makes an interesting read. Badavilinga is said to be combination of two words — Badava and Linga. Badava in the local language means poor and we were told that this temple was commissioned by a poor peasant woman, hence the name. All other temples, sculptures dotting Hampi are said to have royal patrons, either kings or their chieftains.

The huge Shivalinga stands inside a small stone chamber occupying almost entire chamber. The Shivalinga is placed on a large circular pedestal which in turn stands submerged in water. The chamber is always filled with water as a water channel flows through it. This is a kind of symbolic representation of the holy river Ganges coming down on earth and it’s flow being controlled by  Lord Shiva.

The mythological story related to River Ganges coming down to earth

Raja Bhagirath did great penance for years and years to bring the Ganges down to earth from heaven. It is said that the holy river Ganges was born in the Kamandal of Brahma. Raja Bhagirath was doing this penance to provide moksha/liberation to his sixty thousand ancestor who died due to curse of………… Ultimately when Goddess Ganges was convinced to come down to earth, it was feared that the entire creation would be washed away due to her tremendous power and force. Hence Lord Shiva was requested to  control her flow by making her descend on earth via His long, matted tangled hair.

Another attractive feature of this Shivalinga is the three eyes etched on it, representing three eyes of Lord Shiva.

The stone chamber around Shivalinga has no ceiling and sun rays enter through open space to bathe the Linga in golden light. The entire concept of it is beautiful. The huge black stone Shivalinga bathed in golden sunlight and swaying water ripples at the bottom. All the Panch Tatva as if congregate at one place — the sky, air, water, the warmth of sunlight and earth.  Besides that to be on the spot while sun rays enter the enclosure is kind of living a divine moment. Occasionally the sun light  reaches water below and the flickering light on water surface looks like lighted lamp. The almost inaudible murmuring of ripples sounds like mantras.



Badavilinga bathed in celestial light


Laxmi Narasimha or Ugra Narsimha is located near  Badavilinga. This is said to be the biggest statue/ idol of any deity in Hampi. Both these temples are located on the road that connects royal area to the sacred area.

As per Hindu mythology Narsimha is another form of Lord Vishnu. Lord Narsimha is depicted having human body with a face of lion. He is considered to be a great protector of his devotees. Story of Prahlad in Hindu mythology is associated with this avatara of Lord Vishnu.

In this temple Lord Narsimha sits  cross legged in yogic  mudra  with a serpentine hood over his head. He is shown seated over coils of snake, the Sheshnaga, whose seven heads are clearly visible in the hood above deity’s head. It is said that originally Goddess Laxmi was depicted sitting on His lap. The temple was severely damaged during attacks by invaders. Now only a hand of Goddess can be seen. In Hindu mythological images Vishnu is seen lying on Sheshnaga, floating in the ocean and Goddess Laxmi is invariably with him. Though in those images Lord Vishnu is not shown in His Narsimha form.

Standing before the giant, magnificently chiselled statue I felt humbled not just by the divine aura but also by the stupendous creativity and unfathomable imagination of those artist of the times bygone. I tried to imagine Goddess Laxmi sitting there beautiful, delicate, decked in/ with all finery and ornaments  and the irreparable loss saddened me. At the same spot, at the same moment the realization hit me forcefully how creative and how destructive humane mind can be. It all depends  on what we believe in and what we want to leave for posterity.




Laxmi Narsimha and Badavilnga, both the temples in one frame

All the pictures by Sunder Iyer.

Hazara Rama temple is the only temple situated in the center of the royal enclosures – residential and ceremonial. Due to it’s location it is inferred that this was the private temple of royalty. The temple is dedicated to Lord Rama.

This temple can be said small when compared to other temple enclosures in Hampi like Krishna temple, Vittala temple, Virupaksha temple etc.. The reason can be attributed to it being the private shrine for royalty. The temple premises displays very well maintained green lawns.

The unique feature of the temple is sculpted friezes depicting the story of Ramayana in three tiers all around the outer wall enclosing the main shrine area. Due to this extensive depiction of Rama’s life sculpted in stone, the temple is known as Hazara Rama. Besides this there are sculpted narratives related to Lav- Kush and Bal Krishna too.

The temple has a flat roofed Dwarmandapa.




crossing the Dwarmandapa one enters Rangamandapam. High pillars made of black stone with attractive carvings of God and Goddesses like Hanumana, various avataras of Vishnu. Lord Ganesha and Goddess Durga adorn the Rangamandapam.These intrinsically carved black stone pillars glistened in the semi darkness of Rangamandapam. In the entire pink colour scheme of the temple these black pillars stand out magnificently.  Why this temple only in entire Hampi we rarely find any sculpture in black stone. Whatever might have been the reason of placing these black pillars in the Rangamandapam but in that quiet afternoon when the sun shone brightly outside in the cool darkness of mandapam the black pillars as if invoked a deep solemnity.



Most of the time we fail to reach within, to realize that deep down inside us is that part of the supreme being which when reached imparts the blissful state of being at peace with self.


Silence is the most important part of communication.

The Rangamandapam has doors opening to north and south side.



The outer walls of the temple are decorated with various  relics of Rama, Krishna, scene portraying festivities, processions of horses, elephants, dancing women etc.


This richly ornate outer wall of the temple too is a unique feature of Hazar Rama temple. The panels beautifully portray the abundance, the prosperity of the period.


Another view of the outer wall.hampii_7nw



can you make out the scenes from Ram’s life? I felt that the story started from the lowest panel. It went all around the temple the the middle panel and then the top one. here is just a part.  Is that Dasharatha getting boon from Rashi, Dasharatha with three queens? In the middle one it appears that there are scenes from Ram Vanvas.



can you spot the Dhanush Bhang scene?






In the middle panel are you able to make out Sita haran scene.Ravana , pushpak vimana, kidnapped Sita. In the third one is it  wounded Jatayu meeting Rama and Laxaman?





Two of Krishna’s images on the walls of temple. There are many others. I specially loved this one. The ornaments, the lovely face, the eyes.


The goddess


The gopura, the ruined and destroyed still holds an undeniable charm







The stillness inside synchronized with serenity outside and the moment stayed with me for ever.

All the pictures by Sunder Iyer.
















Vittala temple at Hampi is another magnificent imprint of the extraordinary craftsmanship of the sculptors of the Vijayanagara Empire. The temple is said to be built in 15th century during the period of Devraya 2nd, one of the ruler of the Vijayanagar empire . Many extensions were done and new structures added to it by Krishnadev Raya, the most famous ruler of Vijaynagar empire. The sprawling campus of Vittala temple consists of many halls, mandapams, gopurams etc but the stone chariot and the hall with musical pillars are two of it’s crown jewels.


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The main entrance of Vittala temple on the east side. It appears that the primary building material of this gopura was red brick. It is very likely that the same was partially destroyed after the fall of Vijayanagara empire in the battle of Talikota.

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Images carved on the floor of the gate of the temple…devotees.

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An overview of Vittala temple complex, just after entering through the east gate.

The iconic stone chariot of Vittala temple now finds it’s place in recently printed fifty Rs. currency notes. It is said that initially this stone chariot was the shrine dedicated to Garuda, the vehicle of Lord Vishnu, the Vittala. It appears that this chariot is a monolithic structure but it is not . This was built by many giant granite rocks and the joints are hidden under the carvings and other decorative patters. Such amazing was the skill of the craftsmen that even stones as if turned into silk when in their hands. The chariot does not rest on wheels. As a shrine it was built on a high rectangular platform but the wheels on the sides are set in the manner as if they carry the chariot. The wheels are complete with axis, shafts and brakes etc.



The iconic Chariot at Vittala temple, Hampi. The clouds above and behind it painting the perfect background for Garuna’s shrine …imagine Garuna floating through azure expanse, wings wide spread with spirit so determined.


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Another angle of Garuna’s shrine – the Hampi chariot.

Behind the stone chariot is Maha Mandapa. This consists of four halls but the unique feature of Maha Mandapa  is it’s exquisitely carved and sculpted musical pillars. There are fifty six such pillars. Every main pillar has seven small pillars around it. It is said that these minor pillars emit the sound of different musical instruments. I have not experienced it as some repairing work was going on inside.

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The Mahamandapa with musical pillars.

Even if we leave apart the unique music emitting quality of pillars the entire Mandap is  very graceful and magnificent. The exquisite carvings impart it a kind of delicacy. This Mandapa stands on very ornate platform which has bas reliefs of horses. Entire Mandapa is divided into four halls, each facing different directions. Each hall has it’s own steps and entrance. The front, that is east facing is the one with musical pillars.


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A closer look of East facing hall of Mahamandapa. The horses on the base and carvings can be seen. Repairing work was going on in this hall when we visited.

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The guide at the temple.



This Mandapa is highly ornate . Pillars with mythical Yali are its special feature. In the picture with me are the guide and guard, Prashant. We had hearty chat about life at Hampi, the cultural heritage, art and creativity. Prashant is very passionate about photography. He showed me his photo gallery and he had many wonderful shots . It was really enlightening to talk to these two young men.


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I love those white clouds, sailing through the blue sky, inviting me to limitless journey to yonder lands where everything assimilates into ultimate.

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We met him in one of the Mandapam. His mother was  sweeping the mandapam. The little bundle of energy became so fascinated by Sunder’s camera that he wanted to peep inside the lens from the front instead of posing for a click.




And the sun showered it’s blessings….

  1. All the pictures by Sunder Iyer.




Hampi in Karnataka, India is an UNESCO site, a site of rich heritage of sculpture, architecture, culture and history. Hampi, the glorious capital of  the great Vijayanagara empire.The area of about 26 sq, Km. is studded with ruins of temples, small  and grand temples. Many of these are restored to great extent and others might have been buried under the ground completely destroyed.

Among this large bevy of magnificent temples Virupaksha temple holds a special place due to many reasons.

Virupaksha temple , we can trace it back to our mythological references. Hemkuta hills on which this temple is located is said to be the place where Lord Shiva was doing his penance[ tapsya, dhyan] when Kamdev, God of love disturbed Him in order to help the local girl Pampa who was deeply in love with the lord and wanted to marry Him. Pampa was ultimately successful in impressing Lord by her severe penance and deep devotion and He agreed to marry her but in the process Kamdev had to bear the burnt of Shivas anger and that too literally. Shiva opened His third eye in anger and Kamdev turned into ashes. So here Shiva opened His third eye. Does it have any relation with Shiva being worshiped here as Virupaaksha? Aksha means eye, Virup means formless- formless eye. In deeper sense it refers to consciousness — seeing without eyes, feeling without skin, means absorbing everything without the help of sense organs and that is the state of yoga samidhi. On these hills Shiva was in samadhi awastha.

The recorded history of this temple is from seventh century A.D. Inscriptions from ninth century are still there in temple premises. The inner sanctum of temple is older than the Vijayanagara empire. This temple has a history of active worship of more than 2000 years.It is believed that despite various attacks, destruction of mighty Vijayanagar empire, ravages of Hampi in the hands of time, the puja, archna in the temple continued uninterrupted. This in itself is very reassuring. It strengthens our faith in the Super being, the divine entity.

Exterior of temple-—The east facing gate is the main gate of the temple. In front of it is about one kilometer long bazar with shops on both the sides of wide path. The lines of colonnaded shop reflect on the great planning skills of the people in power at that time. At the end of the Bazar there sits a giant monolithic Nandi on high platform facing the temple. In Lepakshi too the big monolithic Nandi sits about a kilometer away from Virupaksha temple. What could have been the thought behind this? Why Nandis were not made just in front of the temples or inside the temples? In Brihdeshwara, Tanjore too the Nandi idol is mammoth but it is inside the temple. Though placed under a separate canopy, on a separate high raised platform but inside temple premises just outside the door leading to Garbhgrah but in these two Virupaksha temples they are placed at a distance. Does it have anything to do with this particular form of Shiva?

Gopuram of Virupaksha temple – The gopura on the bazar side was under renovation when we visited Hampi. However even the horizontally, vertically rods fitted all around the lofty gopura were not able to mar the grandeur, the majesty of the nine storied gopura. Another gopura is on the tank side. This too is built almost in the same style and grandeur. The progressively narrowing figure of gopuram is built of brick and mortar. there are exquisitely sculpted characters and figures on the lower tiers of the nine story Gopuram. In every storey in the middle is a small door like open structure. Somebody told that there is provision of going to the top of the Gopuram, May be there are stairs inside the structure. Not sure about that. just a thought. On the top of Gopuram there are two horn like projections at each end and in the middle is placed Kalash.



The shape of Gopuram always remind me of hands with folded palms. The entire structure as if speaks on behalf of us…. we send our reverential salutations to Almighty, up there.




This is Kanakgiri gopura side of the temple, the holy tank side of the temple. I spent an evening on it’s bank. The still waters of the tank with reflection of Gopura nestled close to it’s heart appeared to say a clear heart is the abode of the sacred and pious entities. How pacifying and calming was it’s impact. Far and wide the distant blue horizon invited one to drop all the binding chains and soar high with stretched wings and light heart to pastures unknown. The deep waters of tank locked the gaze and took it deep up to the core of the being. These are the moments when I forget that I exist.

Kalyan Madapam


This Mandapam in the temple courtyard with carved pillars and painted ceiling is an exquisite example of the impeccable skills of artists of the Vijayanagar empire period. This mandapam is said to be the contribution of one of the most famous king of Vijayanagar empire, Krishnadeva Raya. It is known as Kalyan Mandapam or Rang Mandapam. The mythological figures carved on the pillars, the carving on the panels above the pillars and the colourful depiction of various mythological anecdotes leave one spellbound.Such treasures of our rich heritage not only fascinate us but prompt us to explore more, to learn more, to go deeper.



A closure look of the paintings on the ceiling of the mandapam. The colours still retain their brightness though centuries have passed.



Another look of the Kalyan Madapam






Second Courtyard

A small three tiered gopura leads us to the second courtyard of the temple. The outer and the first courtyard houses architecturally beautiful structures but this second courtyard houses the soul of the temple. Not only the main shrines of Virupaksha Shiva, the consort of the local goddess  Pampa[ pampa is associated with river Tungbhadra] but also many shrines are fitted in between the collonaded pathway encircling the courtyard. Even when the day is sparkling blue and gold outside certain niches and antechambers in this section are dusky with some sun rays filtering  in at some places. A small shrine tucked in the wall, a lone deepak burning steady, devotees sitting here and there engrossed in their own inside world– the entire area pulsate with deep positive energy. You sit quietly with your eyes closed for few minutes and the murmurs of tourists gradually turns into whispers and then a complete silence engulfs you and a little blue glow suffused your inside. The pervading energy makes you feel secured and protected , a feeling of being in womb.






















Some other deities are Bhuvaneshwari, Pataleshwara, Navgrah, Nagas, and Ganesha, Hanumana

There are some shrines outside Kanakgiri Gopura, on the side of tank.



The inverted  shadow image of the gopura on the wall of one of the ante image is another attraction of the temple. The pin hole camera effect.The shadow falls on the wall which is close to the rear end of the temple, quite far away from the entry gopura.




Another special feature of the temple is a big kitchen and the water connectivity system here. Water from river Tungbhadra was carried directly to the the temple kitchen through underground canal system. I am not very sure whether the system is functional presently or not but the network of pipelines can be seen.

The annual chariot festival celebrated in February every year and marriage festivity activities of Virupaksha and Pampa too take place with great fervor.


Visiting Virupaksha temple at Hampi was an enriching experience for me in more than one way. It took me back to glorious pages of history of my land, my race and strengthened my being like that tree whose roots go deep inside earth and it faces the rough weather with  faith on bonds that hold it firmly.

All the pictures by Sunder Iyer (more…)

That morning standing on the top of those ruins on Malyawant hill, when my glance fell on you for the first time, I was transfixed. You were standing there, many feet down in the compound of Raghurama temple but I felt as if you are gradually spreading inside me. Tall, stately, graceful, branches clad with green leaves and those bunches of white, delicate silky flowers, you looked divine. The mystique early morning blue swirled around you slowly very slowly rising upwards. you know what I felt…I felt as if a fairy, a devkanya,  had descended from heaven to enjoy the magical moonlight under your equally magical persona and now with first rays of sun filtering in, she is leaving to her abode, caressing and tickling you  with her Aanchal. Those soft, simmering  mellow golden spots on your leaves and flowers made you look radiating indulgent, affectionate smiles. Even from the height I was standing on, the white spread of  flowers under you was clearly visible. What I felt is beyond words. The peace, the pious feel, you filled in my heart…I felt blessed.

And when we came down and I stood there under you, it was like literally getting drenched in the showers of blessings. The delicate white flowers with long, slender greenish white pedicile and small white star shaped petals on the tip, dropped from above gradually, rhythmically. On the branches high above were thousands and thousands hanging in bunches like chandeliers. I felt enriched to the core of my being. That was a sacred moment.

I don’t know by what name are you called? But I felt if Kalptaru [ the mythical tree found in heaven abovem which is believed to fulfill all your wishes, if you deserve ] is there, it must look and feel like you only.





All pictures by Sunder Iyer.


The Sunrise

We decided to have a date with rising sun on Matanga hill. Started climbing the steps to top at about 5 A.M. It was quite dark. Though steps are there but not well laid down. Diversions too are there in between hence it is advisable to be accompanied by some local person while venturing on hills in dark. If possible take a torch with you. We had our auto wallah with us. The climb is not too high. We reached the top in about twenty five to thirty minutes time. Four persons — two girls and a young couple were already there with their cameras all set and ready to capture the majestic entrance of sun. We too settled down on the side facing valley and hills beyond.

I feel we can never appreciate the charisma of sunrise to it’s full extent if we have not waited for it in the darkness. The tranquility all around, the soft silky wisps of air, the mystique translucency of darkness and that expectant gaze fixed on horizon for the glimpse of the first hint of emergence of sun….every thing for the time being as if stood still. Slowly the sky behind the hills started changing colours. Just a hint, little bit of diffused light. Chains of hills, the boulders in the valley stirred slowly into existence.  The illuminated clouds were suffused with ethereal glow.Hearts set on prayer tune with batted breath we waited and then we felt it…. the red orb behind the clouds. Slowly the curtain parted and there was the smiling , big red sun on grayish blue sky. To hold an eye to eye communication with the celestial being was a divine experience. Slowly I let go my breath. The realization dawned upon me then only that I was holding it . With this descended a feeling of being burden free, a quiet strength to face to face what lies ahead.









I stood up to look around. Down there in the valley the entire  Achyut Rai temple complex lay spread. We have been to this temple day before but this aerial view presented entirely different perspective. The gopuram stood high. The temple enclosures spread wide but the entire complex mingled homogeneously with the surrounding rocky terrain. Not only this temple complex, ribbon like serpentine Tungbhadra, the roads meandering through the green trees, big rocks jutting out into the valley,each and every boulder scattered all around, the big tall trees, the tiny blades of grass… all looked like an essential part of a bigger scheme of thing. The scene before eyes filled the heart with all embracing emotions. The elevated perspectives do widen and deepen our thoughts.





View of Achyutrai temple from Matanga hill …. If one wants one can come down from hill and directly go to visit this temple.


Every boulder there has a story etched in it’s heart.


The Tungabhadra….

By this time the silky golden sun rays had descended on the earth. The delicate tufts of slender grass blades on hill top glistened with fresh beauty. Gentle morning zypher tickled the grass blades and they danced with mirth. I turned around and for the first time noticed a modest white colored top of temple on the rock.





Veerbhadra temple

This is Veerbhadra temple. In fact while coming up we passed through the courtyard of this temple and then ascended steps to reach the hill top. But due to darkness we couldn’t notice the arch of entrance, the courtyard .Most of the part of the temple is in ruined condition yet a long covered varandah with view to valley was kept clean by the Sadhu, who frequents this temple. In the niche of the verandah in a dark corner we found two idols too . The main shrine is of Veerbhadra. It is a cult of Shiva followers and it appears that during it’s prime time significant number of Humpi population followed this cult. Veerbhadra is one of the raudra form Shiva.



Gopuram of Veerbhadra temple.

“When we try to pick out anything by itself, we find it hitched to everything else in the Universe.”


A view from covered verandah of Veerbhadra temple. Many such mandpam are found on hills ,on way to temple.


veerbhadra Swami…. The main deity of temple.

The sadhu in the temple informed us that still an annual fair takes place there and many pilgrims belonging to a particular community and cult gather here in large number.



The Sadhu we met in the temple. He was making these trinkets with thread tatting and displayed them for sale.


view of Virupaksha temple from Matanga Hills.

Mythological references

As per our mythological stories Matanga Rishi is one of the very first crusader against untouchability. By birth he belonged to  lower caste. Caste system at that time used to be very rigid. Once unknowingly he crossed the path of princess of the kingdom and was beaten for this so called offense. He protested against this injustice outside king’s palace and  later on attained a place and respect of a Rishi by his severe penance, knowledge and divine powers.

We find another reference of Matanga Rishi  in Aranyakand of Ramayana. Near Hampi on another side of Tungabhadra it’s Kishkindha Kshetra. The kingdom of strong,powerful monkey king Bali. The story goes like this.

Once a mighty bull named DunDubhi arrived at Bali’s kingdom and challenged him to fight. Bali could never ignore a challenge hence he fought with him. After a long and ferocious fight Bali killed Dundubhi. He caught the corpse of mighty bull with two horns, raised it high in air and threw it far. The corpse landed on Yagnavedi of Matanga Rishi at Rishyamuk parvat. Matanga Rishi cursed that who so ever has polluted his Yagna would be blown into pieces if he ever stepped on this hill. Indra informed Bali about this curse in presence of Sugreev and Hanuman and this curse of Matanga Rishi proved to be a boon to Sugreev.  When due to certain misunderstanding Bali was after Sugreev’s life, Sugreev along with Hanuman ran to this hill only as Bali could not dare to step on this due to Matanga Rishi’s curse.

I feel most of us know about Shabri. The lady who tasted every Jujuberry fruit in her basket before offering it to Rama, when during his fourteen year exile period he once happened to meet her. Shabri was disciple of Matanga Rishi.

And that was glorious start of the day for us…..divine sunrise, enriching emotions, panoramic nature specters, people we met, faith and belief. Matnga hills. I wrote this morning with sunrise colours, dipped in early morning scent and kept it deep in my heart.



“The world is big and I want to have a good look at it before it gets dark.”


All pictures by Sunder Iyer