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Royal Enclosure, Hampi, Krishnapura, Karnataka, India

The royal enclosure in Hampi, India, was the Vijayanagara kingdom’s seat of power.

In its prime, it housed as many as 45 buildings including the durbar halls, platform, tanks, underground chambers, and temples.

There are three entrances to the Royal Enclosure; two in the north and one in the west.

Royal enclosure plan

The Royal Enclosure

«The Royal Enclosure is the core of the Royal Centre of the ancient city of Vijayanagara. This enclosure is protected by lofty walls with three openings. There is a flight of steps in the northeast which serves as an approach to the Mahanavami Dibba and a gateway in the northwest adjacent to the King’s Audience Hall. This gateway is defined by six columns, fragments of doorjambs and threshold pieces. There is also a small doorway in the middle of the west side. Outside the enclosure wall is an exquisitely carved monolithic door and two stone posts with a mortar machine. The Royal Enclosure has foundation courses, basement mouldings and multiple layers of plaster floorings indicative of structures of various sorts and dimensions, serving a wide range of functions. This enclosure is also remarkable for the complex series of water systems including tanks, wells, aqueducts and sluices. The significant structures of the complex are Mahanavami Dibba, Audience Hall, Underground Chamber, Public Bath (Great Tank) and Stepped Tank. The structures are subjected to many successive phases of rebuilding and renovation. This leads one to believe that this enclosure was in continuous use throughout the life of Vijayanagara Empire.»


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King’s Audience Hall

«This hall is located slightly to the west of the Mahanavami Dibba in the Royal Enclosure. The accounts of Persian Ambassador Abdu’r-Razzaq and Portuguese traveller Domingo Paes refers to this magnificent structure. The King held Court and heard his subjects here and hence the Audience Hall is also called Nyayagriha (Court). This storeyed structure built in granite, faces north and on which side it has a flight of steps. The central flight of steps with balustrade in green schist leads to an intermediate platform which runs round three sides. The two large flights of steps at the eastern and western extremities leads to the top of the platform. This platform has vestiges of 100 regularly spaced stone column footings, suggesting it to be a hall of hundred pillars. Each footing has an indented square measuring 80-85 cm and a socket that held the timber columns and superstructure, that is non extant now. A flight of steps on the south leads to an upper storey, from where the King might have given audience to the public. On the west, a partly collapsed structure bounded by high granite walls is also visible.»


Panorama of the King's Audience Hall seen from the west

Underground Chamber

«This small Underground Chamber is popularly known as Secret Chamber. It is built in green schist stone and is located to the southwest of Mahanavami Dibba. in the Royal Enclosure. The structure is accessed by a flight of steps on the northwest and it leads to a narrow corridor and then to a central chamber. This central chamber has four free standing columns and engaged columns at the corners. Persian Ambassador Abdu’r-Razzaq records it as a subterranean treasury within the palace, while Portuguese traveller Domingo Paes thought it may have been a shrine. The narrowly guarded entrance and thick concrete roof suggest that this structure may have functioned as a storeroom or treasury.»


Descending to the Underground Chamber

Underground Chamber seen from the east

Underground Chamber seen from the west

Elephants flanking a staircase leading to the Royal Palace

Black Stone Pushkarani

«This square shaped beautifully articulated black stone Pushkarani is located in the Royal Enclosure. This is a unique tank among all the others. The slabs used for its construction are not found in this area or its surroundings therefore it may be concluded that it was brought from elsewhere. This tank was filled with water from the Kamalapur tank using stone sluices. Even today the stone sluice is in good condition. The Pushkarani is square shaped and the decorative pots found during its excavation suggests that this water was used for religious practices. Green colour soap stones have also been used in its construction. The steps around the Pushkarani are symmetrically arranged. During the Kalyana Chalukya and the Hoysala period, use of soap stone was integral to the architecture. Five stages of stepping platforms were buikt to step into the Pushkarani. The Hale Kannada (old Kannada) words, on each step, describe the orientation of that step. This Pushkarani was excavated by the Archaeological Survey of India (ASI) in 1988.»


Panorama of the Black stone tank seen from northwest

Panorama of the Black stone tank seen from west

Mahanavami Dibba

«The 'Mahanavami Dibba’ or ‘Dasara Dibba’, is a prominent structure in the Royal Enclosure and is popularly known to be associated with ceremonies of Mahanavami or Dasara festival. It is also termed as ‘Throne Platform’ or ‘Great Platform’. The accounts of Persian Ambassador Abdu'r-Razzaq and Portuguese traveller Domingo Paes refers to this magnificent structure. It served a royal function, probably the place from where the King viewed the festivities and cultural entertainments. The extant structure faces west and consists of three platforms set on top of one another in diminishing tiers, constructed at different periods. The flight of steps on the east and west sides, leads to the top of the third platform and that on the south leads only to the top of the first platform. On the eastern side, there are two flights of steps accessible from a common chamber with bas reliefs on the walls. The platform is built in granite and a subsequent casing in dark green schist can be seen on the west face of the first two storeys. The walls have bas reliefs of animals, royal portraits, warriors, dancers, musicians, military parades, hunting scenes etc. The carvings depicting foreign representatives, probably a Chinese embassy and Arab horse dealers reflect the foreign presence in the Vijayanagara Court. At the top of the platform, column footings are visible indicating that this platform originally had a pillared hall or pavilion.»


Great platform seen from northwest

Great platform seen from southwest

Southwest corner of the Great platform
The two lower levels of the platform is made of granite.

  • It has reliefs — possibly a catalogue of 14th-century royal activities — and lines of marching animals including elephants, horses and camels.
  • Reliefs on the south side show musicians and dancers, including female stick-dancers.
  • The third level reliefs show a battle procession, couples and scenes of common citizens celebrating Holi (Vasantotsava) by throwing water at each other.

Reliefs of elephants (top), camels, horsemen and archers (bottom)


Climbing to the top of the Great platform

Detail of the reliefs with several Yalis

  • Yalis are believed to be powerful guardians, protecting temples and their sacred paths. They are often depicted on temple pillars and entrance walls.
  • Yalis symbolize the wild and untamed forces of nature. They embody the strength and power of various animals, such as lions, elephants, and horses.
  • They are considered more powerful than lions, tigers, or elephants, representing the ultimate protector.
  • In traditional Indian architecture, Yalis are linked to Vastu Shastra, the science of architecture. They help define and enhance the sacred spaces they adorn.
  • Yalis are used to define space and spatial geometry in temple architecture.
  • Yalis are a prominent feature in South Indian sculptures, especially from the 16th century onwards.
  • They are an integral part of the rich cultural heritage and mythology of India, adding to the aesthetic and spiritual significance of Hindu monuments.

Detail of the reliefs with small temples flanked by dancers
Traditionally, temple dancers, known as devadasis or temple dancers, are considered servants of the deity and are dedicated to performing ritual dances. These dances are not just art forms but are acts of devotion and worship, deeply intertwined with religious practices.

  • The dances performed by temple dancers are offerings to the deity. Through their movements, expressions, and rhythms, they communicate prayers, stories, and emotions, embodying the spiritual connection between the devotee and the divine.
  • Temple dances are often rooted in ancient traditions and classical dance forms like Bharatanatyam, Odissi, and Kuchipudi. These dances preserve centuries-old religious stories, customs, and rituals, passing them down through generations.
  • Beyond the spiritual realm, temple dancers contribute to the cultural heritage of the community. They are custodians of traditional arts, ensuring that the cultural expressions and religious narratives remain vibrant and relevant.
  • Many Hindu rituals and festivals include dance as an integral component. Temple dancers play a crucial role in these ceremonies, enhancing the spiritual atmosphere and engaging the community in shared religious experiences.
  • In some traditions, temple dancers are seen as embodiments of divine energy. Their performances are believed to bring blessings to the temple and its worshippers, reinforcing the sacred space of the temple.

Panorama of the Royal enclosure seen from the top of the Great platform


Interior stairs on the east side of the Great platform

Panorama of the north wall of the Royal enclosure seen from the top of the Great platform


Panorama of the top of the Great platform
This large, square platform likely had a wooden mandapa (pillared hall) above it.


Coming down from the Grand platform

Great platform seen from west

Great platform seen from northwest

Panorama of the north wall of the Royal enclosure

Monolithic stone doors

  • Each door was sculpted out of a single huge boulder, demonstrating the skill and precision of the craftsmen.
  • The doors are adorned with intricate carvings, including beveled mullions and lotus buds at the junctions, resembling ornate wooden doors.
  • The doors still have door bolts and pivot shafts attached, indicating their original functionality.
  • The doors are massive, suggesting that they required an elephant to open them during their functional days.
  • These doors were part of the fortified entrance to the Royal Enclosure, a well-guarded area where the royal family lived.
  • They are located near the Mahanavami Dibba platform, an important ceremonial platform in the Royal Enclosure.
  • The doors are now lying on the ground, not attached to any structure, but their impressive engravings continue to attract visitors.
  • Despite their ruined state, the doors are a significant attraction for tourists visiting Hampi.
  • These doors are a testament to the grandeur and architectural ingenuity of the Vijayanagara Empire, offering a glimpse into the past glory of Hampi.

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Location

Location: Hampi, Karnataka 583239, India