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Vitthala Temple, Hampi, Krishnapura, Karnataka, India

The Vitthala temple and market complex is over 3 km (1.9 mi) north-east of the Virupaksha temple near the banks of the Tungabhadra River, India.

It is an artistically sophisticated Hindu temple in Hampi, and is part of the sacred centre of Vijayanagara.

It is unclear when the temple complex was built, and who built it; most scholars date it to a period of construction in the early-to-mid-16th century.

The temple was dedicated to Vitthala, a form of Krishna also called Vithoba.

Approaching Vitthala temple along the Kampabhupa pathway

Panorama of the outer wall of Vitthala temple seen from Kampabhupa pathway


After passing the outermost wall we reached the king's balance


Folk and Tribal Culture

«The area around the river Tungabhadra, especially near the historic settlement of Kanakagiri, was inhabited by many tribes who lived off the pasture lands with their cattle, long before the Vijayattagara Empire was established. The local chieftains of the tribes were the first rulers of the realm. The fertility of the land was a great resource and hence a reason for the tribes to be self-sufficient. Animal husbandry was their primary occupation. These tribes continue to live in the region even today. Although they may no longer only rear cattle or practise their traditional pursuit, they are seen in their traditional attire on specific occasions.

Some of the ancient tribes that are now slowly disappearing are as mentioned here: Mvsabeda-notified tribe, Kadugolla-pastoral tribes and shepherds, Alemari Kuruba-nomadic tribe, Hakki-Pikki-hunter-gatherer tribe, Panci and Paradi-bird hunters, Harina Shikari-deer hunters, Monda Community-Hattavadis, Hellava-community that documents family trees, Kavalethu (Yetina Basava)-Have cow and ox, storytellers reciting Sita-Rama Kalyana, Durga Murugi, Sudugadu Sidda-Black magicians, Dakkala-mythological storytellers, Kondamama-future tellers, Bengal Tribe-Fishers (de-notified tribe), Lambani-Rajput clan.»


Kings balance

«This two-pillared structure with a cross beam on the top is popularly called "king's balance", owing to the relief on the base of the North face that depicts Krishnadevaraya and his consorts. It is supposed to have been used on the occasion of Tulapurusha Dana, when a person would weigh himself against precious materials that would then be distributed among the poor, a practice that continues even today.

The tall pillars with kudu arches at the corners rest on a base consisting of three mouldings — Pada, Kantha and Kapota. Two pairs of tall, slender pilasters rest on brackets with addorsed lions adorning the four sides of the pillars. The horizontal, beam bears a miniature shala at the center and two kutas at the comers.

The three loops beneath the beam were probably used to hang the weighing balance.»


Panorama of king's balance seen from northwest

  • The balance was used by the kings of the Vijayanagara Empire during special occasions such as coronations, eclipses, and festivals like Dasara. The king would weigh himself against gold, silver, gems, and precious stones, and then distribute these valuables to the priests and the needy.
  • The structure consists of two beautifully carved granite pillars that are about 4.5 m (15 ft) tall. These pillars support a heavy stone beam that is approximately 3.6 m (12 ft) long.
  • The King's Balance is a testament to the grandeur and generosity of the Vijayanagara kings. It symbolizes the wealth and prosperity of the empire and its commitment to charity and religious practices.
  • It is situated to the southwestern part of the Vitthala Temple, near the end of the Kampabhupa's Path.

Tirumangai Alwar temple
Just before we reach the Vitthala temple, we can see, on the left side, the Tirumangai Alwar temple.

  • The temple is dedicated to Lord Vishnu and is associated with the 12 Alvar saints, particularly Thirumangai Alvar, who is considered one of the most learned and superior among them.
  • The temple showcases traditional Dravidian architecture with intricate carvings and sculptures depicting various episodes from Hindu mythology.
  • Thirumangai Alvar composed numerous hymns in praise of Lord Vishnu, which are part of the Nalayira Divya Prabandham, a collection of 4000 Tamil verses.
  • The temple is a center for Vaishnavite traditions and rituals, attracting devotees and scholars from various parts of the world.
  • The temple is surrounded by serene landscapes, adding to its spiritual ambiance.

Panorama of Tirumangai Alwar temple (left) and Vitthala temple (right) seen from south


Map of Hampi with location of Vitthala temple

South gate (gopuram) of Vitthala temple

  • The South Gopuram is an ornate gateway tower that serves as the main entrance to the temple complex. It is designed to be grand and imposing, reflecting the importance of the temple.
  • The gopuram is adorned with detailed carvings and sculptures depicting various Hindu deities, mythological stories, and floral motifs. These carvings are not only decorative but also serve to educate and inspire worshipers.
  • The gopuram typically has multiple levels, with each level featuring similar architectural elements but on a diminishing scale. This creates a rhythmic and harmonious visual effect.
  • The top of the gopuram is crowned with a kalasam, a bulbous stone finial that is a distinctive feature of South Indian temple architecture.
  • The gopuram symbolizes the gateway to spiritual enlightenment and serves as a connection to the divine. It is a testament to the rich cultural heritage and religious devotion of the region.

Discourse hall

«This pillared centres had developed all around the temples, markets and socio-religious spaces from the reign of Praudha Devaraya (1422-1446) to Sadashivaraya (1532-1572). The sixteenth century might have been pavilion that dates to the third quarter of Vitthala temple complex. Built in a featureless plinth, the Vitthala temple, facing the southern. It stands at the south-western corner of used during religious or social ceremonies.

found on the lintel of the North entrance, depicting a seated Gajalakshmi can be entrances are still discernible. A relief collapsed but the North and South South and East walls have partially slabs inserted between the pillars. its walls are built of rectangular granite platform occupies part of the pavilion and brackets support a simple roof. A raised around fifty six tall pillars witch angled car street.»


Kirtimukha

«The Kirtimukha (roughly translated as "face of glory") is an ornamental motif common in Hindu and Buddhist temple a architecture across South India and Southeast Asia. The story of Kirtimukha is said to originate from the Shanda Purana. The Kirtimukha is the face of a demon lion that Shiva is said to have created to destroy Rahu Rahu, however, seeks Shiva's protection, and the demon lion is left without a prey. Shiva then orders the lion to eat its own limbs and stop only at the face. The Kirtimukha is thought to ward off evil influences and serves as a guardian of the temple threshold. It can also be found adorning the figure of the deity and is not be confused for a Simhamukha (lion face). The Kirtimukha, engaged in the act of self-swallowing, is also a motif for the all-consuming nature of time. This prominent motif adorns the idols of gods. The Kirtimukha is the symbol of power and appears mainly on the adhishtana, pillars and dwaragopura walls of Hampi temples.»


Panorama of the east gate (gopuram) of Vitthala temple

  • The East Gopuram serves as a grand entrance to the temple complex, welcoming devotees and visitors with its imposing structure.
  • Like other gopurams, it is adorned with detailed carvings and sculptures depicting various Hindu deities, mythological stories, and floral motifs.
  • The gopuram has multiple levels, with each level featuring similar architectural elements but on a diminishing scale, creating a rhythmic and harmonious visual effect.
  • The top of the gopuram is crowned with a kalasam, a bulbous stone finial that is a distinctive feature of South Indian temple architecture.
  • The East Gopuram symbolizes the gateway to spiritual enlightenment and serves as a connection to the divine.

Vitthala temple

«The Vitthala temple, represents the highest watermark of the Vijayanagara style of art and architecture. The temple is considered to be built under the patronage of Devaraya II (1422 - 46 CE) on the basis of a reference in Uttara Narasimha Purana that Proluganti Tippa, a general of Devaraya II, built a bhogamandapa (food preparation pavilion) to the god Vitthalapathi. However, there are no other authentic epigraphical evidence to determine the date of its original foundation. Substantial additions to the temple were made during the reign of Krishnadevaraya (1509 to 1529 CE). The temple is dedicated to Vitthala, an incarnation of Vishnu as Krishna. The temple faces east and consists of a garbhagriha (sanctum), antarala (antechamber), pradakshinapatha (circumambulatory passage) around garbhagriha and antarala, rangamandapa (pillared hall) and maharangamandapa (large pillared hall). The maharangarnandapa added in 1554 CE was identified as Uyyale (swing) mandapa and some of its pillars when tapped gently, produce musical notes. An architectural marvel of the Vijayanagara empire, the vahana shrine for housing the image of Garuda is in the form of a stone chariot and resembles a processional wooden chariot. The temple complex also consists of hundred pillared mandapa constructed by Krishnadevaraya, two kalyanamandapas, Lakshminarayana shrine, Adinarayana shrine, another shrine on the southwest and shrine of Alwars. All these are enclosed in a prakara wall with gopuras on the south, north and east. Those on the east and north were built in 1513 CE by the two queens of Krishnadevaraya.»


Ticket purchased online
As with other historical monuments in India, the entrance ticket can be purchased online by scanning this QR code.


Going through the east gate

Dancing girls inside the east gate
These sculptures are believed to represent celestial dancers or apsaras, who are divine beings in Hindu mythology.

  • Apsaras are considered to be celestial beings who entertain the gods and goddesses in the heavenly realms. Their presence at the temple symbolizes the divine and the sacred.
  • The dancing girls embody beauty, grace, and artistic expression. They remind devotees of the importance of these qualities in spiritual and worldly pursuits.
  • The presence of these sculptures at the entrance of the temple signifies the connection between the earthly and the divine. They serve as a reminder that the temple is a gateway to the divine realm.
  • These sculptures also reflect the rich cultural heritage of the Vijayanagara Empire, showcasing the artistic and architectural prowess of the time.

Panorama of the inner courtyard
The inner courtyard is a harmonious blend of spirituality, art, and architecture, making it a significant cultural and religious site.

  • Maha Mantapa (Main Hall): This is the largest hall in the temple complex, known for its intricate carvings and massive pillars. It serves as the main gathering area for devotees and ceremonies.
  • Ranga Mantapa (Dance Hall): Also known as the Hall of Dance, this hall is famous for its beautifully carved pillars that produce musical sounds when tapped. It is a testament to the artistic and architectural brilliance of the Vijayanagara Empire.
  • Kalyana Mantapa (Marriage Hall): This hall is used for conducting marriage ceremonies and other important rituals. It is adorned with detailed carvings and sculptures.
  • Utsava Mantapa (Festival Hall): This hall is used for various temple festivals and celebrations. It is designed to accommodate large gatherings and is richly decorated.
  • Stone Chariot: One of the most iconic structures in Hampi, the Stone Chariot is a monolithic structure resembling a temple chariot. It is intricately carved and stands as a symbol of Hampi's architectural heritage.
  • Devi Shrine: This shrine is dedicated to the Goddess and is an important part of the temple complex. It is adorned with beautiful carvings and sculptures.

Stone Chariot

  • The chariot is carved out of a single block of granite, showcasing the exceptional craftsmanship of the Vijayanagara artisans.
  • The chariot is adorned with detailed carvings and sculptures depicting various deities, floral designs, and other motifs. These intricate details highlight the artistic prowess of the time.
  • The chariot's wheels are carved in such a way that they appear to be movable, although they are fixed in place. The axles and other structural elements are also meticulously detailed.
  • The chariot is believed to be a shrine dedicated to Garuda, the vehicle of Lord Vishnu. A statue of Garuda, the mythical bird, was once housed inside the chariot.
  • The Stone Chariot symbolizes the divine chariot of the gods and is a significant element in Hindu temple architecture. It represents the idea of the temple as a vehicle for spiritual ascent and connection with the divine.

Maha Mantapa (Main Hall)

  • This hall is renowned for its massive, intricately carved granite pillars. Each pillar is a masterpiece, depicting various deities, mythical creatures, and scenes from Hindu epics.
  • One of the most fascinating aspects of the Maha Mantapa is the set of musical pillars. These slender pillars, when tapped, produce musical notes. This unique feature showcases the ingenuity and skill of the Vijayanagara artisans.
  • The Maha Mantapa is spacious, designed to accommodate large gatherings of devotees during festivals and ceremonies. The open layout allows for easy movement and a clear view of the central deity.
  • The ceilings of the hall are equally impressive, adorned with elaborate carvings and motifs. These add to the grandeur and spiritual ambiance of the space.
  • At the center of the hall is the sanctum sanctorum, where the main deity is enshrined. The sanctum is surrounded by a series of smaller shrines and halls, creating a complex and intricate architectural design.
  • The Maha Mantapa serves as the heart of the temple complex, where important rituals, ceremonies, and gatherings take place. It is a symbol of the religious and cultural heritage of the region.

Two elephants flanking the eastern staircase of the Main hall

  • Elephants are considered protectors and guardians of sacred spaces in Hindu culture. Placing them at the entrance serves to guard the temple from negative energies and protect the sanctity of the space.
  • Elephants symbolize strength, power, and stability. Their presence at the temple entrance signifies the power and majesty of the divine and the temple itself.
  • Elephants are associated with Lord Ganesha, the remover of obstacles. Their placement at the temple entrance signifies the removal of spiritual obstacles for devotees as they enter the sacred space.
  • Elephants are also symbols of prosperity and good fortune. Their presence at the temple is believed to bless the devotees with prosperity and well-being.
  • These elephants not only add to the architectural beauty of the temple but also enhance its spiritual ambiance, making the entrance a sacred threshold for devotees.

Small columns surrounding the large columns of the Main hall

  • The small columns are adorned with elaborate carvings depicting various deities, mythical creatures, and intricate floral patterns. These carvings showcase the artistic skill of the Vijayanagara artisans.
  • Some of these smaller columns are part of the famous musical pillars of the Maha Mantapa. When tapped, they produce musical notes, adding to the acoustic marvel of the temple.
  • These smaller columns provide structural support to the large pillars and the overall architecture of the hall. They are essential for maintaining the stability and integrity of the structure.
  • The small columns contribute to the overall aesthetic appeal of the Maha Mantapa. Their detailed work and harmonious design enhance the visual grandeur of the hall.
  • The small columns often depict scenes and motifs that have symbolic meanings, reflecting the religious and cultural themes important to the temple's patrons.

Engravings of horsemen at the base of the Main hall

  • The engravings feature finely detailed depictions of horsemen, showcasing the skill and precision of the Vijayanagara artisans. The attention to detail is evident in the intricate portrayal of the horses and riders.
  • The horsemen are often depicted in dynamic poses, conveying a sense of movement and action. This adds a lively and realistic touch to the stone carvings.
  • The engravings may depict scenes from historical or mythological battles, highlighting the martial culture and valor celebrated during the Vijayanagara period.
  • Besides the horsemen, the base of the Maha Mantapa is adorned with various ornamental designs and motifs, adding to the overall aesthetic appeal of the structure.
  • The horsemen symbolize strength, bravery, and nobility. Their presence at the temple underscores the importance of these virtues in the cultural and religious context of the time.

Interior of the Main hall
The interior of the Maha Mantapa (Main Hall) of the Vitthala Temple is a splendid display of Vijayanagara architecture.

  • The hall is supported by large, intricately carved granite pillars. Each pillar features detailed sculptures of deities, mythical creatures, and various motifs, showcasing the skill of the artisans.
  • Among these pillars are the famous musical pillars, which produce musical notes when tapped. This unique feature adds an acoustic element to the temple's architectural marvel.
  • The ceilings of the Maha Mantapa are adorned with elaborate carvings and designs, adding to the grandeur and spiritual ambiance of the space.
  • The main sanctum is located at the center of the hall, where the deity is enshrined. The sanctum is surrounded by smaller shrines and halls, creating a complex and intricate architectural layout.
  • The hall is filled with various decorative elements, including carvings of dancers, musicians, and scenes from Hindu mythology. These decorations add to the temple's cultural and religious significance.
  • The Maha Mantapa has a spacious layout designed to accommodate large gatherings of devotees during festivals and ceremonies. The open design allows for easy movement and a clear view of the central deity.

Entering the Kalyana Mantapa (Marriage Hall)

  • This hall is known for its intricate carvings and detailed stonework. The pillars, walls, and ceilings are adorned with exquisite sculptures depicting mythological stories, deities, and dancers.
  • One of the most fascinating features of the Kalyana Mantapa is its musical pillars. When tapped, these pillars produce musical notes, which is why they are also referred to as the "musical pillars" of Hampi.
  • The mantapa stands on an elevated platform, which adds to its grandeur. This platform is decorated with carvings that showcase various aspects of life during the Vijayanagara period.
  • The marriage hall is richly decorated with motifs of flora, fauna, and celestial beings. The attention to detail in these carvings is remarkable and reflects the skill of the artisans of that era.
  • The main area of the hall is an open space where rituals and ceremonies would take place. This central area is surrounded by the intricately carved pillars that support the roof.
  • The Kalyana Mantapa holds a significant place in the cultural and religious history of Hampi. It was used for conducting wedding ceremonies, adding a sacred and joyous aspect to the temple's function.

Horsemen riding lions and rearing on elephants on the pillars of the Kalyana Mantapa (Marriage Hall)

  • Lions symbolize courage, strength, and royal power. In Hindu mythology, the lion is also associated with the goddess Durga, who rides a lion as her mount, representing divine strength and the power to overcome evil.
  • Elephants symbolize wisdom, stability, and power. They are also associated with Lord Ganesha, the remover of obstacles and the deity of wisdom and new beginnings.
  • The imagery of horsemen on lions and elephants might symbolize the protective guardians of the temple. These figures are often depicted in a stance of readiness, suggesting their role in safeguarding the sacred space.
  • These powerful animals, when ridden by horsemen, could symbolize the triumph of spiritual over worldly challenges. The horsemen could represent devotees or spiritual warriors who have mastered worldly desires and are riding these magnificent beasts as a sign of their spiritual conquest.
  • The horsemen represent the warrior spirit, courage, and the readiness to defend righteousness (dharma). In the context of a marriage hall, it could symbolize the protective nature of a husband or the divine protector of the marital union.
  • Horses are also symbolic of a journey. The horsemen could represent the spiritual journey of the soul, guided by divine virtues (represented by the animals) through life’s obstacles and toward enlightenment.
  • The combination of these powerful symbols in the context of a marriage hall underscores the importance and sanctity of the marital union, with divine protection and blessings for strength, wisdom, and courage.

Interior of the Kalyana Mantapa (Marriage Hall)

  • The most famous feature of the mantapa is its musical pillars. When struck, these pillars produce musical tones, each resonating with a different note. This acoustic marvel showcases the advanced understanding of sound and stone by the artisans.
  • The pillars are adorned with detailed carvings depicting scenes from Hindu mythology, including deities, celestial beings, and episodes from the Ramayana and Mahabharata.
  • The ceilings of the Kalyana Mantapa are richly decorated with intricate designs and patterns. These often include floral motifs, geometric patterns, and mythological figures.
  • The central part of the ceiling typically features a lotus medallion, symbolizing purity and cosmic harmony.
  • The main hall stands on an elevated platform, which is also beautifully carved. This platform is often used for the performance of rituals and ceremonies, making it a focal point during events.
  • The central open space is designed to accommodate wedding ceremonies and other rituals. It is surrounded by the carved pillars, creating an atmosphere of grandeur and sanctity.
  • The walls and panels of the mantapa are filled with bas-reliefs and sculptures. These panels often narrate stories from mythology and folklore, serving both decorative and educational purposes.
  • The layout and design of the mantapa are symmetrical and balanced, reflecting the Vijayanagara Empire's emphasis on harmony and order in architecture.
  • Each element, from the smallest carving to the grand pillars, is meticulously planned to contribute to the overall aesthetic and spiritual experience.

Sculpture incorporating two different animals within a single carving
At the base of the Kalyana Mantapa (Marriage Hall). An excellent example of the artistic ingenuity of the Vijayanagara artisans. These types of sculptures are known for their optical illusions and intricate carvings.

  • The sculpture cleverly incorporates two different animals within a single carving. Depending on which part you cover or focus on, you see one animal or the other. This showcases the skill and creativity of the artisans.
  • The level of detail in these sculptures is remarkable. Each animal is carved with great precision, ensuring that both images are clear and recognizable.
  • These dual-image sculptures often carry symbolic meanings, reflecting the duality and interconnectedness of life. They may represent themes from mythology or moral stories.
  • The interactive nature of these sculptures engages the viewer, inviting them to explore and discover the different perspectives. This adds an element of wonder and curiosity to the experience.
  • Creating such sculptures requires a high level of artistic mastery and an understanding of visual perception. It demonstrates the advanced techniques and creativity of the Vijayanagara craftsmen.

Sculpture of an elephant bending a tree with its trunk
At the base of the Kalyana Mantapa (Marriage Hall).

  • Elephants are revered in Hindu culture as embodiments of strength, wisdom, and stability. The depiction of an elephant interacting with a tree underscores the importance of these qualities in spiritual and everyday life.
  • Trees represent life, growth, and natural harmony. The elephant's interaction with the tree symbolizes the balance between power and the natural world, highlighting the interconnectedness of all life forms.
  • Elephants are associated with Lord Ganesha, who is known as the remover of obstacles and the deity of wisdom. The sculpture signifies Ganesha's blessings, ensuring that devotees are free of obstacles as they enter the sacred space.
  • Both elephants and trees are symbols of fertility and abundance. This imagery reflects the temple's prayers for prosperity, growth, and well-being for its devotees.
  • Elephants as guardians of sacred spaces protect the sanctity and purity of the temple. This sculpture emphasizes the protective and nurturing role of spiritual guardians.

Panorama of the South gate (left) and the Main hall (right)

Small temples at the base of the Main hall

  • These small temples exhibit the characteristic Dravidian architectural style, which includes pyramid-shaped towers (Vimana) and richly decorated carvings.
  • These temples are constructed from granite, similar to the rest of the Vitthala Temple complex, showcasing both durability and the artisans' skill in stone carving.
  • Each small temple houses sculptures of various Hindu deities. These are meticulously carved and often depict gods and goddesses in various poses and forms.
  • The exterior walls are adorned with intricate carvings depicting mythological stories, floral patterns, and animal motifs. This not only adds to the aesthetic appeal but also conveys religious and cultural narratives.
  • Many of these small temples feature open pillared halls (Mandapas), which are used for various ritualistic and ceremonial purposes. The pillars themselves are often intricately carved with motifs and scenes from mythology.
  • Some of the small temples also include the famous musical pillars that produce different musical notes when tapped, a unique feature of the Vitthala Temple complex.
  • These small temples serve as sacred spaces for devotees to offer prayers and perform rituals. They often house the main deity's idol and are considered highly auspicious.
  • The layout and design of these temples often follow symbolic patterns, representing cosmic principles and the connection between the divine and the earthly realms.
  • The floors of these temples are sometimes adorned with carvings that depict various symbolic designs, adding to the sacred atmosphere.
  • The small temples are designed with a high degree of symmetry and harmony, reflecting the Vijayanagara Empire's architectural philosophy of balance and order.
  • These temples are seamlessly integrated with the main hall, contributing to the overall grandeur and spiritual ambiance of the Vitthala Temple complex.

Horsemen riding lions and rearing on elephants on the pillars of the Main hall


Sala fighting the lion on both sides of the south door
The symbol of the Hoysala Empire is a depiction of Sala (also known as Poysala) fighting a tiger or sometimes a lion.

  • According to legend, Sala was a young boy who saved his Jain guru by killing a tiger with a single blow, after his guru encouraged him by saying "Poy Sala" (strike Sala).
  • This act of bravery became the emblem of the Hoysala dynasty and can be seen in almost every temple built by the Hoysalas.

Entering the Main hall through the south door.

Panorama of the interior of the Main hall next to the Sanctum


Geruda carved on the capital of a column

  • Garuda, the mighty eagle, serves as the vahana (vehicle) of Lord Krishna, who is an incarnation of Lord Vishnu. In this role, Garuda carries Krishna through the skies, symbolizing the divine power and swiftness of the deity.
  • Garuda's role as Krishna's mount signifies his unwavering devotion and loyalty to the deity. It exemplifies the ideal relationship between a devotee and the divine, marked by service and dedication.
  • Garuda is known for his strength and courage, often depicted as fighting against evil forces and protecting the divine realm. He serves as a guardian and ally to Krishna in various mythological tales.
  • In several stories, Garuda aids Krishna in rescuing and protecting devotees from harm. This reinforces his role as a divine protector and ally in the service of the supreme deity.
  • Garuda is also considered a representation of the Vedas, the sacred scriptures of Hinduism. His association with Krishna symbolizes the embodiment of divine knowledge and wisdom.
  • The image of Garuda carrying Krishna through obstacles symbolizes the soul's journey towards liberation, guided and protected by divine grace.
  • Various legends highlight the interactions and relationship between Garuda and Krishna. For instance, in the story of Krishna's rescue of his parents from the demon Kamsa, Garuda plays a crucial role in transporting Krishna swiftly and safely.
  • Garuda is also referenced in the Mahabharata, where he plays a role in the greater narrative involving Krishna, further emphasizing their interconnected relationship.
  • Garuda, with his powerful wings and majestic flight, symbolizes freedom and liberation. In his relationship with Krishna, this signifies the liberation of the soul through divine grace and knowledge.
  • Garuda's relationship with Krishna is multifaceted, encompassing themes of devotion, protection, wisdom, and liberation. Their bond exemplifies the deep connection between the divine and the devotee, showcasing the virtues of loyalty, service, and spiritual guidance.

Krishna suckling from his mother Yashoda's teat

  • This scene exemplifies the unconditional love and nurturing care that a mother provides to her child. It highlights the boundless affection that the divine mother, Yashoda, has for Krishna, symbolizing the nurturing aspect of the divine.
  • Yashoda, in this role, represents the divine mother who nurtures and sustains all life. Krishna, though the Supreme Being, is depicted as receiving care and sustenance, emphasizing the importance of nurturing and love in spiritual growth.
  • By showing Krishna in this very human act, the divine is made relatable and accessible. It underscores the concept that the divine can manifest in simple, everyday moments of life.
  • This scene fosters a sense of intimacy between the devotee and the divine, encouraging a personal and loving relationship with God.
  • Krishna as a child, receiving nourishment from his mother, symbolizes innocence and purity. This image reminds devotees of the pure, untainted nature of the divine and the importance of maintaining purity in their own lives.
  • The act of suckling reflects a pure, natural bond of dependency and trust, symbolizing the devotee's absolute faith and reliance on the divine for spiritual nourishment.
  • In Hindu symbolism, milk represents purity and spiritual nourishment. By suckling, Krishna receives this nourishment, symbolizing the intake of spiritual wisdom and sustenance that devotees seek from the divine.
  • This act highlights the cyclical nature of giving and receiving within the spiritual context. The divine provides nourishment and care to devotees, who in turn offer their love and devotion.
  • Yashoda embodies the universal mother figure, representing the divine feminine energy that nurtures all creation. Her role as Krishna's mother highlights the maternal aspect of the divine, emphasizing care, protection, and unconditional love.
  • This imagery also portrays the divine in different roles, emphasizing that the Supreme Being can take on various forms and relationships to teach spiritual lessons and foster devotion.
  • The depiction of Krishna suckling from his mother's teat encapsulates themes of love, purity, spiritual nourishment, and the intimate, accessible nature of the divine.

Baby Krishna
Baby Krishna is also known as Bala Krishna or Gopala.

  • Baby Krishna symbolizes the pure, untainted innocence of a child. His playful and mischievous activities remind devotees to cherish the simplicity and joy of childhood.
  • His divine playfulness, known as "Leela," represents the spontaneous and joyful nature of the divine. These actions, though mischievous, are imbued with a deeper spiritual significance, reflecting the joy of creation and the universe.
  • Baby Krishna's interactions with his mother Yashoda, and the villagers of Gokul, symbolize the boundless, unconditional love that the divine offers to all beings.
  • Even as a child, Krishna displayed acts of compassion and protection, such as subduing the serpent Kaliya, symbolizing his role as a divine protector.
  • Krishna is often depicted as a cowherd, highlighting his deep connection with nature and animals. This emphasizes the importance of living in harmony with nature and caring for all living beings.
  • The melodious music from Krishna's flute represents the divine sound that harmonizes the universe, bringing peace and spiritual awakening to those who hear it.
  • Baby Krishna is a central figure in the Bhakti movement, which emphasizes personal devotion and a loving relationship with God. His devotees, particularly the gopis (cowherd maidens), exhibit intense love and devotion, symbolizing the soul's longing for union with the divine.
  • His human-like qualities and relatable childhood stories make Krishna accessible to devotees, fostering a personal and intimate connection with the divine.
  • Despite his youthful form, baby Krishna's divine powers are evident in his ability to overcome obstacles and vanquish demons. This symbolizes the triumph of good over evil and the strength of divine grace even in the most innocent and vulnerable forms.
  • The stories of baby Krishna's childhood represent the journey of the soul from innocence to spiritual awakening. His life inspires devotees to grow spiritually while maintaining the purity and joy of a child.

Krishna stealing butter while his mother churns the butter

  • Butter and milk are symbols of purity, nourishment, and abundance. By seeking and stealing butter, Krishna signifies the divine desire to nurture and sustain life.
  • The act of Krishna stealing butter is part of his divine play or "Leela." It demonstrates the playful and loving nature of the divine, making it accessible and relatable to human experiences.
  • Krishna, as a child, represents innocence and purity. His mischievous actions remind devotees to embrace the simplicity and joy of life, untainted by worldly complexities.
  • The story emphasizes the unconditional love between Krishna and his mother, Yashoda. Her indulgence and affection towards Krishna highlight the nurturing aspect of the divine mother.
  • Krishna’s stealing of butter can be seen as a metaphor for the soul’s pursuit of spiritual joy over material possessions. It encourages devotees to seek higher spiritual satisfaction rather than being bound by material desires.
  • By stealing butter, Krishna breaks the conventional boundaries, symbolizing the breaking of the ego and the liberation from worldly attachments.
  • Yashoda’s churning of butter represents the continuous effort and devotion required in spiritual practice. Despite Krishna’s playful disruptions, her dedication symbolizes the unwavering commitment of a devotee.
  • Yashoda’s acceptance of Krishna’s actions reflects the ultimate surrender to the divine will, acknowledging that all actions and events are guided by the divine for a higher purpose.
  • This story highlights the intimate and personal relationship that devotees can have with the divine. Krishna’s endearing antics make him approachable and beloved, fostering a deep sense of Bhakti (devotion).
  • The story of Krishna stealing butter, while seemingly simple and playful, carries profound spiritual teachings about love, devotion, purity, and the joyful nature of the divine.

Baby Krishna dancing with a ball of butter in his hand

  • Krishna's dance with butter represents the divine joy and playfulness that the Supreme Being embodies. It reminds devotees that spirituality can be joyful and filled with love and laughter.
  • This playful act is a part of Krishna's "Leela" or divine play, illustrating that the divine can engage in seemingly mundane activities to teach profound lessons.
  • The image of baby Krishna with butter emphasizes his childlike innocence and purity. Butter, being a product of milk, symbolizes the purest form of nourishment, and Krishna's love for it reflects his pure, untainted nature.
  • This depiction encourages devotees to embrace simplicity and purity in their lives, cherishing the small joys and innocent pleasures.
  • Butter in this context can be seen as "prasadam" (divine offering), symbolizing spiritual nourishment that Krishna provides to his devotees. His dance indicates that he is joyously sharing this spiritual sustenance with the world.
  • Krishna's fondness for butter underscores his role as a nurturer, providing sustenance and care for his devotees.
  • Butter represents the essence extracted from milk, symbolizing the soul's essence. By dancing with butter, Krishna illustrates the importance of transcending material desires and ego to attain spiritual essence.
  • His carefree dance signifies detachment from material possessions and desires, encouraging devotees to seek spiritual fulfillment over worldly attachments.
  • Krishna's playful act with butter highlights his intimate and loving relationship with his devotees. It symbolizes the reciprocal love between the divine and the devotees, where each act of devotion is met with divine playfulness and grace.
  • This image inspires devotees to develop a loving and personal relationship with Krishna, fostering Bhakti or devotional love that is joyful and filled with divine play.
  • Even in his playful acts, Krishna's dance can be seen as a metaphor for the triumph of goodness and purity over evil and corruption. His joyous dance signifies the celebration of divine virtues.

Vertical panorama of the pillar with baby Krishna

Entrance to the Sanctum

Panorama of the south side of the Vitthala temple seen from the south gate


Vittala Bazaar or Car Street in front of the east gate of the Vitthala Temple

  • The Vittala Bazaar was once a bustling market during the Vijayanagara Empire, serving as a commercial hub where traders and locals exchanged goods.
  • The bazaar is known as the "Car Street" because it was used for the grand procession (rathothsava) during festivals, where the deity's idol was carried on a chariot.
  • At the eastern end of the bazaar is the Gejjala Mantapa, a small open-pillared pavilion used for ceremonial purposes during the rathothsava.
  • Along the bazaar, we can see the ruins of ancient pavilions and structures that once formed part of the market and homes.
  • Midway through the bazaar is the Kudure Gombe Mantapa, featuring fine carvings of rearing horses with riders.
  • The bazaar is flanked by chains of boulder hills, creating a unique and picturesque natural backdrop.
  • The bazaar runs parallel to the Tungabhadra River, adding to the scenic beauty of the area.
  • The bazaar was the route for the annual festival procession, making it a significant cultural and religious site.
  • Opposite the Kudure Gombe Mantapa is a large temple tank with a pavilion at the center, which was used during the functional days of the temple.

See Also

Source

Location

Location: Hampi, Nimbapura, Karnataka 583239, India