About the Museum
The Archaeological Museum at Kamalapur was established in 1956 to display antiquities retrieved from Hampi. The present building was constructed in 1972 with four galleries, a well-laid façade garden, and an open-air gallery.
The museum displays sculptures, ceramics, metal objects, inscriptions and other antiquities retrieved from excavations conducted by the survey since 1976. Objects from various localities such as Royal Enclosure, Mint Area, Paan Supari Bazaar (near Ramachandra Temple), Jaina temple complex (near Elephant’s Stable), and Noblemen’s palace (near rock-cut temple) are on display.
The Museum is known for its scale model of the Hampi valley, giving a bird’s eye view of the World Heritage site.
The first gallery houses Shaiva sculptures and the second gallery displays Vaishnava sculptures. The third and fourth galleries display a variety of excavated antiquities including copper plate inscriptions in Nagari, Telugu, and Kannada scripts and dia-positives of before and after-views of excavations carried out by Archaeological Survey of India in Hampi. Two additional galleries with antiquities on display can be visited near the Lotus Mahal and Elephant Stables to accommodate Buddhist, Jaina and Hindu antiquities found in neighbouring areas.
Gallery 1 - Shiva
Shiva is one of the most prominent deities of Hinduism, known as the god of destruction, regeneration, and meditation. He is worshipped in numerous forms and is often depicted with a third eye, a crescent moon on his forehead, and a serpent around his neck.
The origins of Shiva are complex, with roots in pre-Vedic and Vedic traditions. Shiva is associated with the Vedic deity Rudra, a fiery God of Nature.
O Pashupati, lord of all beings
You are the protector of all creatures
You are the friend of all animals
And guardian of the herd.
– Rig Veda, 10: 87
The mythology of Shiva is vast and diverse, with stories that depict him as a loving husband, fierce warrior, and compassionate teacher. Some of the prominent scriptures associated with Shiva are Shiva Purana, Linga Purana and the Rudra Hymn of the Rigveda.
In the Vijayanagara Empire, Shaivism flourished with several soldiers and Kings aligning themselves to the prominent Virashaiva movement. Several temples and maṭhas received patronage to spread the ritual path of the Sanskritic āgamas as well as the teachings of poetsaints such as Basavanna and Akka Mahadevi in vernacular languages. Scholars such as Appayya Dikshita and Sadashiva Brahmendra lived and taught during this period
Iconography of Shiva
Shiva is worshipped in various forms. Most temple sanctums honour an aniconic form known as Lingam, a phallic-shaped symbol that represents the male principle of Shiva and is associated with the creative energy of the universe.
The ātmalinga is a sacred object in Virashaiva ritual practice. It is a small, personal linga that is always kept with the devotee and is believed to represent the presence of God within oneself. This mindful ritual practice assists seekers to cultivate spiritual awareness amidst daily life.
Vīrabhadra is the tutelary deity of the Kurubas, the shepherd community. Fierce in aspect, he is the God of Destruction and Retribution.
Bhikshāṭanamūrti is a form of Shiva, depicted as a wandering ascetic or a mendicant, with a begging bowl in one hand and a staff in the other. The form symbolizes the detachment from material possessions and the acceptance of alms from devotees, representing the transience of life.
Considered as the tutelary deity of the farming communities, Bhairava is a terrifying form that represents the power of dissolution. He is also associated with esoteric Tantra and is considered a protector of sacred spaces.
There are 64 forms of Shiva in general shaivite agamas.
Gallery 2 – Vishnu
In the Hindu pantheon, Vishnu is considered to be the Preserver of the Universe. His incarnations are stories where He restores balance to the universe by defeating evil forces. He is often depicted with his four hands holding shankha (conch), chakra (discus), gadā (mace) and padma (lotus); standing tall, sleeping on his serpent-bed, or in a seated posture, often with his wife Lakshmi beside him.
The early Vijayanagara kings supported the growth of sects associated with the incarnations of Vishnu: Rama and Vitthala. Patronage to religious literature associated with the Alvars (Vaishnava poet saints) helped lay the foundation of Vaishnavism in the capital city. In later times, with the founding of the Haridasa Movement amongst the peoples and absorption of Narasimha as a royal deity, Vaishnavism thrived in the times of Devaraya II and Krishnadevadevaraya.
The construction of Vitthala Temple, the large monoliths of Narasimha, numerous panels associated with the Dashāvatāra, Rāmāyana and Mahābharata on the temple walls, and the dedication of the Ramachandra temple for the exclusive use by the royal family is an indication of the popularity of Vaishnava culture. The Vijayanagara kings also promoted the Vaishnavite cults of Tiruvengalanatha, Ranganatha (Anantashayana) and Krishna. They also supported themaṭhās dedicated to the teachings of Sri Vaishnava saints such as Ramanujacharya and Madhavacharya.
Avataras of Vishnu
Avatāra is a concept in the Hindu Purānas. It ascribes to the notion of God as Saviour and their Descent on Earth as a divine event of protection, change and celebration. Several temples are dedicated to the incarnations of Vishnu in the Vijayanagara Empire.
Whenever there is a decline in Righteousness
and increase in Sin, O Arjuna,
at that time, I will manifest myself on Earth.
– Krishna to Arjuna in Bhagavadgita 4:7
Rāma is known for his unwavering practice of dharma, his triumph over the demon king Ravana and his establishment of the ideal kingdom of Ayodhya. The epic Ramayana tells the story of his life.
Varāha is depicted as a boar with a human body. In mythology, he is described as the saviour of Mother Earth from the demon Hiranyaksha who had dragged Her to the bottom of the ocean. Varaha is associated with the power of regeneration and protection of earth.
Narasimha is depicted as a lion with a human body. He is known for his fierce and wrathful disposition which he used to destroy the demon Hiranyakashipu to save his devotee, Prahlad. He is a symbol of fearlessness and protection.
Krishna is one of the most popular Gods of the Hindu Pantheon. He is known for his role as a friend and mentor to Arjuna, a hero in the epic Mahabharata; Krishna’s teachings on Hindu Dharmaisstudied in the Bhagavadgita while his adorable childhood exploits are celebrated in the Bhagavad Purāna
- Epigraphy
Epigraphs are writings or carvings on durable materials such as stone, metal, clay, or wood. They are found on buildings or monuments, gravestones, coins, and manuscripts. Epigraphy involves the decipherment, interpretation, and analysis of these inscriptions, which can provide valuable insights into the history, language, culture, and religion of times gone by.
Copper plate inscriptions are historical legal records engraved on copper plates in India. Donative inscriptions engraved on copper plates, often joined by a ring with the seal of the donor, was the legal document registering the act of endowment. It was probably necessary to produce them when required to prove ownership/ the claim to land rights. Detailed information on land tenures and taxation have been found from these copper plate grants.
Palm leaf manuscripts are made of dried and treated palm leaves. A fine metal point was used to inscribe the letterings and art on the leaf. Subsequently, the incisions were inked. Each patra(sheet) typically had a hole through which a string could pass, and with these, the sheets were tied together with a string to bind like a book.
Temples, maṭhās and monasteries of all religions often served as centres where ancient manuscripts were routinely used for learning and where the texts were copied when they wore out.
- Vijayanagara Pottery
During the Vijayanagara period, pottery was classified into two types: red and gray ware. The pottery was further divided based on its use: cooking, storage, and religious ware. Cooking vessels were short-necked pots with a wide mouth and a slightly flaring rim to prevent spills. Storage vessels were larger, with a thick collar, bulging body, and a wide to narrow mouth. Water pots, dishes, lids, and lotas were also common. Additionally, lamps, incense burners, and donative or votive pots with identifying marks for both men and women were used for religious purposes. Bowls with vehicles of the Dikpalas were also used for religious ceremonies during this time.
- Vijayanagara Coinage
Vijayanagara Empire issued large quantities of coins in gold, silver and copper. Coins were minted in the capital city and at provincial capitals such as Barakanuru (Barakur), Mangaluru, Gundakote, Devanuru, Penugonda, Tirupati, Gutti, Adoni, Tadapatri and Nulluru.
The standard unit of coin was the gold varāha (pagoda) that weighed 3.4gms.
While gold was used mostly in the capital for large transactions, silver was used for medium transactions. For daily transactions, copper was used.
1 gold varāha = 2 pratāpa = 4 kaṭi
1 gold varāha = 8 chinna = 4 haga = 2 bélé
1 gold varāha = 16 tarā silver coins
1 silver tarā = 3 copper jital.
1 copper duggaṇi = 2 copper kaṇi = 5 kāsu = 10 ara kāsu
Kannada-Telugu or Nagari script is used on the coins to state the names and titles of the kings. Themes such as the animals, coronation of Rama and other Hindu Gods are commonly seen on the obverse of the coinage.
- Neolithic Pottery : These pottery fragments : are attributed to the Neolithic period, which occurred in South India approximately between 3000 and 1400 BCE. Typically, Neolithic pottery exhibits a notable level of polishing. Three distinct pottery types have been identified: gray ware, black ware, and red ware. These vessels served various purposes, including water and food storage, participation in religious ceremonies, and facilitation of cooking activities.
- Memorial Stones : Memorial stones are installed to commemorate those who died in the battlefield or for the protection of their community. These heroic humans are often raised in status to become demigods and a stone is erected on their ancestral lands or village temples. Many stones carry inscriptions that relate a story of the hero.
Vīragal: Hero stone. Erected in the memory of those who died in a battle. In three panels, these stones relate the final story of the hero as he ascends to heaven.
Several categories of Herostones can be seen depending on what kind of battle the hero died-
Yuddha: In a battle –can be seen in forts etc.
Ooralivu: Defending the village/ town.
Gadikālaga: defending the borders
Tūrugol: defending the cattle from raiders
Penbuyyoll: defending the modesty of women
Beṭe: during hunting
Māstigal: (Maha-sati-gal; Satigal) are memorial stones in the memory of the women who performed self-immolation on the pyre of their husband.
Vīragāra stones: are ancestral stones and are often found adjacent to agricultural or pastoral lands to define boundaries.
Ātmahuti stones: are erected in the memory of those who perform suicide. This was done when their master died. Self-immolation, self-beheading, drowning etc. can be seen.
Dhārmika stones: are erected in the memory of those perform ritual suicide for religious purposes. Nishidigas are especially found in Jaina religion, while others can be found in esoteric Hindu sects.
- Porcelain : Porcelain is a type of ceramic material that is known for its translucent, white appearance and its strength and durability. It is made by heating a mixture of kaolin, feldspar etc.to a high temperature of about 1200 and 1450⁰ C, until it becomes vitrified, or glass-like.
Excavations at Hampi have revealed several porcelain pieces of the Ming Dynasty (1368-1644). One of the most iconic Ming porcelain is the Blue and White style, which features a rich, deep blue colour created using cobalt oxide. The blue and white designs often depict scenes of nature, such as flowers, birds, and landscapes, as well as mythical creatures like dragons and phoenixes. The Famille-rose designs use a pinkish-red enamel and features delicate floral designs.
The porcelain shards are evidence of Vijayanagara’s trade connections with China.
- Stucco : Stucco sculpture is a technique in which plaster (with sand or stone dust) is applied over a framework or mould to create a three-dimensional decorative form. A key aspect of stucco is the use of layers- multiple layers of plaster are applied to build up the form. Once the plaster hasdried and hardened, the sculptor uses chisels and rasps to refine the surface of the sculpture and add detail. Finally, the sculpture may be painted or finished with other decorative techniques.
In the Vijayanagara period, many temples and other buildings retain traces of stucco-work. Stucco was applied over the stone carvings to offset the coarse sculpting on the hard granite and enhance the detailing of the images. They were painted with vibrant colours.