Namma Hampi - A Symbol of Lasting Beauty

In the 14th and 15th centuries, Hampi, the former capital of the Vijayanagara Empire, was one of the most flourishing urban centers, with its architectural brilliance and vibrant economy. Even today it stands as a testament to the intersection of grandeur and destruction. Following the empire’s defeat in 1565, the city was left in ruins—a stark reminder of the fragile nature of power and prosperity.

This exhibition ‘Namma Hampi - The Epitome of Beauty’ by Lokesha R and Bhyrava B M seeks not only to celebrate Hampi’s artistic allure but to engage with its historical transformations, questioning the romanticized view of its remnants and reflecting on the forces that shaped its legacy.

The Virupaksha Temple, one of the few structures that survived the city’s downfall, remains an enduring religious landmark. Dedicated to Lord Shiva, it continues to serve as a place of worship, defying the destruction that enveloped Vijayanagara. The temple’s towering entrance gateway and finely carved details exemplify the refined artistry of the Dravidian style. Yet, its significance goes beyond aesthetics—it embodies perseverance amid adversity. Beneath its surface lie subterranean chambers, enveloped in mythology and mystery, with traditions linking them to the exile of Lord Rama and Sita.

Deep within Hampi’s architectural wonders stands the Vijay Vittala Temple, a structure that symbolizes the lost magnificence of the empire. At its core lies the famed Stone Chariot, an icon of sculptural artistry. Designed to resemble ceremonial temple chariots, it forms a visual contradiction between movement and permanence. The temple complex, dedicated to Vishnu, once echoed with melodies from its ingenious musical pillars—columns so precisely carved that they emitted harmonic sounds when struck.

Hemakuta Hill offers an architectural contrast, rising above the Virupaksha Temple with its understated shrines and mandapas. Unlike the towering grandeur of other Vijayanagara temples, Hemakuta’s shrines are modestly scaled, harmonizing with the rocky terrain. Their surfaces, adorned with delicate carvings of lotus motifs, entwining foliage, and serene depictions of deities, reflect the spiritual essence of the era without excess. This exhibition, expressed through watercolor and textured techniques, does not merely present Hampi as a visual spectacle—it interrogates its historical narratives. It compels viewers to reevaluate the ruins beyond their aesthetic appeal, examining the cultural, political, and economic shifts that define them.

The featured artists, Bhyrava B M and Lokesha R, bring their distinctive perspectives to this exploration. Bhyrava, based in Mysore, captures the nuanced interplay between realism and emotion through his delicate yet intricate watercolors. Lokesha, with roots in Tumkur, approaches art as an evolving conversation, engaging in experimentation across mediums, with printmaking at its core. His work bridges artistic tradition with contemporary discourse, fostering engagement between creator and observer. Hampi’s stones embody both triumph and loss, and this collection does not merely admire them—it listens. It encourages viewers to reconsider what has been preserved, what has faded, and what echoes remain embedded in its legacy. Through each brushstroke, Hampi’s story is reinterpreted—not as a static monument but as a fluid, evolving testament to time.

The exhibition continues till Jun 8 at Karnataka Chiitrakala Parishath

References 

- Catalogue text
- Fritz, J., & Michell, G. (2003). Hampi: A Travel Guide
- Raja, T. (2016). Dravidian Architecture and Vijayanagara Temples
- Thapar, R. (2012). Early India: From the Origins to AD 1300
- UNESCO. (2023). Hampi: A World Heritage Site

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A Journey Into The Past

Nostalgia in Stone

Manjunath Wali’s recent series of paintings depicts landscapes around prominent heritage sites, primarily those located in and around Karnataka, capturing their essence. He brings alive these landscapes that have withstood the passage of time, imprinted with narratives from a distant past.

All works in this series have been rendered plein air, on site, in an effort to represent the ephemeral atmosphere, the changes in light and colour, and effects of light and shadow prevailing at the place. The vulnerability of the monuments and the locations are evident in the rendering; the onsite painting emphasizing the immediacy and transient nature of the event and locale.

The artist’s hometown Vijayapura, and Gadag, where he studied art, are important historical places with several specimens of Chalukya and other significant articulations in close proximity, which kindled Wali’s interest in history and architecture. Combined with his artistic sensibilities, these have formed a recurrent muse for him. Wali’s fascination with these locales has resulted in repeated visits to Hampi which have materialised in this body of work and form a large part of it.

‘Nostalgia in Stone’ captures the paradoxes associated with the sites - the fragility and notions of (im)permanence of the monuments constructed in stone, and the associations with culture and heritage as tangible artefacts. Wali adopts a naturalistic approach, with a focal point, and illusion of details in the foreground, allowing the backdrop to diffuse and recede into the distance.

The soft, sentimentalized atmosphere and the play of light form a sharp contrast to the stone monuments that heighten their frailty and vulnerability. The numerous surviving ruins of Badami, Hampi and neighbouring areas - the Agastya lake, Hemakuta hill, Virupaksha temple, the watch towers, Lotus Mahal and the famous Garuda Shrine are some of the historical landmarks depicted in the paintings.

The morning light, the glorious sunsets and the afternoon shadows frolic amidst the ruins to render an enchanted image, recapturing some of the lost grandeur of the place. The sparkling pools of reflection from the water bodies, dazzling temple gopurams in the sunlight, the view from the watch towers, the glorious Garuda Shrine in the form of a chariot in the Vittala Temple complex that appears to be monolithic, offer glimpses of a magical past.

Wali’s body of work, a visual artistic documentation, is a significant attempt to emphasize concerted efforts required for conservation and preservation of heritage*.

*Excerpt from the catalogue text by Nalini S Malaviya

‘Nostalgia in Stone’ is on at Reves Art Gallery, Bangalore till 12th Jan 2020

All images are courtesy the artist

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