The empire was founded by Harihara and Bukka Raya in 1336, it was an empire in the south of the country based in Deccan. It was named after its capital city ‘Vijayanagar’ or “city of victories’. It stretched from river Krishna in the north to the extreme south of the peninsula. While historians use the term Vijayanagar empire, contemporaries described it as Karnatak Samrajya. The empire’s patronage enabled its fine arts and literature to rise to new heights, and its legacy of sculpture, painting, and architecture influenced the development of the arts in South India long after the empire came to an end. There were great innovations in Hindu temple construction during this period, and many diverse temple building traditions and styles in South India came together in the Vijayanagar style of architecture, the finest examples of which are to be found in the capital Hampi. 

Vijayanagar Architecture

Vijayanagar era architecture can be broadly classified into religious, courtly, and civic architecture. Its style is a harmonious combination of the Chalukya, Hoysala, Pandya, and Chola styles that evolved in earlier centuries and represents a return to the simplicity and serenity of the past. Preferred for its durability, local hard granite was the building material of choice, as it had been for the Badami Chalukyas; however, soapstone, which was soft and easily carved, was also used for reliefs and sculptures

Temples

Vijayanagar temples are surrounded by strong enclosures and characterized by ornate pillared Kalyana mandapa (marriage halls); tall rayagopurams (carved monumental towers at the entrance of the temple) built of wood, brick, and stucco in the Chola style; and adorned with life-sized figures of gods and goddesses. This Dravida style became popular during the reign of Krishnadeva Raya and is seen in South Indian temples constructed over the next two centuries. 

Vijayanagar temples are also known for their carved pillars, which depict charging horses, figures from Hindu mythology, and yali (hippogryphs). Some of the larger temples are dedicated to a male deity, with a separate shrine intended for the worship of his female counterpart. Some famous temples exemplifying the Vijayanagar style include the Virupaksha Temple at Hampi and the Hazara Rama temple of Deva Raya I.

Palaces and Courtly Architecture

No royal palace structures from the Vijayanagar period have survived intact, and most of what is known about them has been drawn from archaeological excavations at Hampi. Most of the palaces faced east or north and stood within compounds surrounded by high, tapering stone and earth walls. They were built on raised granite platforms with multiple tiers of moldings decorated with carved friezes. Palaces usually spanned multiple levels and had tall flights of stairs flanked on either side by balustrades carved with yali and elephants. Pillars and beams were made of wood and the roofs of brick and lime concrete. The courtly architecture of Vijayanagar was generally made of mortar mixed with stone rubble and often shows secular styles with Islamic-influenced arches, domes, and vaults.

Sculpture in the Vijayanagar Empire

Vijayanagar sculpture can most commonly be seen in the reliefs, pillars, and monolithic statues of temples. The Vijayanagar Empire’s patronage enabled its fine arts and literature to rise to new heights. Its legacy of sculpture, painting, and architecture influenced the development of the arts in South India long after the empire came to an end. The mingling of South Indian styles resulted in a richness not seen in earlier centuries, including a focus on reliefs in addition to sculpture that surpassed that seen previously in India. Preferred for its durability, local hard granite was the building material of choice for architecture; however, soapstone, which was soft and easily carved, was commonly used for reliefs and sculptures. While the use of granite reduced the density of sculptured works, granite was a more durable material for the temple structure. Because granite is prone to flaking, few pieces of individual sculptures reached the high levels of quality seen in previous centuries. To cover the unevenness of the stone used in sculptures, artists employed brightly painted plaster to smooth over and finish rough surfaces.

Temple Sculpture

The sculpture was integrally linked with architecture in the creation of Vijayanagar temples. Large life-size figures of men, women, gods, and goddesses adorn the gopuram of many Vijayanagara temples. Temple pillars often have engravings of charging horses or hippogryphs (yali)—horses standing on hind legs with their forelegs lifted and riders on their backs. The horses on some pillars stand seven to eight feet tall. On the other side of the pillar are often carvings from Hindu mythology. Another element of the Vijayanagar style is the carving and consecration of large monolithic statues, such as the Sasivekalu Ganesha and Kadalekalu Ganesha at Hampi; the Gommateshvara (Bahubali) monoliths in Karkala and Venur; and the Nandi bull in Lepakshi. Examples of this style can also be seen in the Vijayanagara temples of Kolar, Kanakagiri, Shringeri, and other towns of Karnataka; the temples of Tadpatri, Lepakshi, Ahobilam, Tirumala Venkateswara, and Srikalahasti in Andhra Pradesh; and the temples of Vellore, Kumbakonam, Kanchi, and Srirangam in Tamil Nadu.

Painting in the Vijayanagar Empire

In addition to architecture and sculpture, the Vijayanagar emperors were enthusiastic patrons of painting. The Vijayanagar school of painting was renowned for its frescoes of Hindu mythological themes on temple walls and ceilings. The rulers of Vijayanagar encouraged literature, art, architecture, religious, and philosophical discussions. With the fall of the Vijayanagar empire after the Battle of Talikota in 1565 CE, the artists who were under royal patronage migrated to various other places such as Mysore, Tanjore, and Surpur. Absorbing the local artistic traditions and customs, the Vijayanagar school of painting gradually evolved into many styles of painting in South India, including the Mysore and Tanjore schools of painting. Mysore painting, an important form of South Indian classical painting, developed out of Vijayanagar painting and originated in the southern town of Mysore, in Karnataka, during the reign of the Vijayanagar emperors.

BATTLE AND BETRAYAL 

The Battle of Talikota which happened in south India during the 16th century is more commonly cited as the reason for the collapse of the Vijayanagara empire which served as the greatest defender of dharma during Islamic invasions. The battle which seemed to be resulting in an easy victory of the Vijayanagara armies led by Aliya Rama Raya ended as a disaster for the empire as a result of a cruel betrayal by Islamic mercenaries from other nations who fought on the behalf of the empire. Rama Raya removed many loyal servants of the kingdom and replaced them with officers who were allegiant to him. He also appointed two Muslim commanders, the Gilani brothers who were earlier in the service of the Sultan Adil Shah as commanders in his army, a mistake that would cost the empire in the Battle of Talikota.

During his rule, the Deccan Sultanates were constantly involved in internal fights and requested Rama Raya on more than one occasion to act as a mediator, enabling Rama Raya to push north of river Krishna and expand his domains utilizing the disunity of the Deccan Sultans. These strategic tactics and able leadership made the Vijayanagara empire reach its pinnacle during the rule of Rama Raya and thus making him the first Vijayanagara emperor to rule the banks of river Godavari. This prominent rise of the Vijayanagara empire under Rama Raya by taking the opportunities presented because of the lack of unity among Deccan sultans made them plan a war on the empire together with their full strength. Rama Raya on getting the news of this situation and being an able general decided to avoid waiting for the sultans near his borders, selected a buffer territory for the war which resulted in the Battle of Talikota.

By 29 December 1564, the first battles broke out. Qutb Shah and Nizam Shah, who were friends, decided to go on their own first and led their divisions to clash with the division of Tirumala Raya. The Hindu army inflicted defeat on the Muslims and the Sultans fled in disarray losing thousands of men in the encounter. The Sultans were shaken by this encounter and asked Adil Shah to stand by them for the intended Hindu counter-attack. Nizam Shah and Qutb Shah decided to parley with the Raya who was now orchestrating a large counter-thrust into the Muslim flanks. At the same time, Adil Shah sent a false message to the Hindu commander that he wished to remain neutral. As a result of these parleys, Rama Raya delayed his counter-thrust giving a minute but critical time window for the Muslims to regroup. Sultan Imad Shah of Berar made the first thrust by assailing the division of Tirumala Raya guarding the Krishna ford. Tirumala fell upon him with his full force and in a short but excruciating encounter destroyed the Sultan’s army and sent him fleeing for life. However, the sultans' Nizam Shah, Qutb Shah, Barid Shah on one side, and Adil Shah on the other used this distraction to cross the Krishna and attack the main Hindu divisions.

Rama Raya, though surprised, rapidly responded. Despite being in his 70s he decided to personally lead the dharmic forces and took to the field in the center. He was faced by the division of Nizam Shah. Tirumala hurriedly returned to form the left-wing of the dharmic forces that were countered by Adil Shah and traitorous Hindus under the Maratha chief Raja Ghorpade. Venkatadri formed the right-wing that was opposed by Qutb Shah and Barid Shah, fortified by Nizam Shahs' auxiliaries as the battle progressed.

On 23 Jan 1565, the armies clashed on the plains near the villages of Rakshasi and Tangadi. Venkatadri struck early and within the first two hours, the Hindu right wing`s heavy guns fired constantly on the ranks of Barid Shah. As the ranks were softened the Hindu infantry under Venkatadri plowed through the divisions of Barid Shah annihilating them. The assault was so vigorous that it looked like a Hindu victory was imminent. Qutb Shah was also in retreat when Nizam Shah sent his forces to shore up the ranks of the Sultans. Nizam Shah himself was then pressed hard by the heavy cannonade from Rama Raya`s division and was facing a Hindu infantry thrust with Ramaraya at the helm. At this point, the Sultans signaled to the Muslim officers in the Vijayanagara army to launch a subversive attack. Suddenly Ramaraya found his rear surprised by the two Muslim divisions under Gilani brothers in his ranks turning against him. About 140,000 Muslim troops had opened a vigorous rear attack on the Hindus and captured several artillery positions. Several cannon shells landed near Rama Raya's elephant and he fell from it as his mount was struck by a cannon shard. Rama Raya tried to recover but Nizam Shah dashed to seize him. When Nizam Shah asked Rama Raya to accept Islam if he wished to be spared alive, he uttered the words “Narayana Krishna Bhagavantha” after which he was beheaded by the Sultan.

Venkatadri was also killed as the Qutb Shah, Nizam and Barid put all their forces together and launched a concerted punch. Tirumala tried to stiffen the center but at that point, the whole division of Adil Shah that was waiting all the while made the final assault on the rear of Tirumala Deva Rayas division. The Vijayanagar artillery had by then been exhausted and was blasted by the Adil Shahs artillery and the Hindus faced a rout. Tirumala Deva Raya, seeing the route, fled to Vijayanagara and taking up the treasury on 1500 elephants fled south towards Penukonda.

After three days, Muslim troops entered the city. There was no one to stop them. They looted, plundered, and destroyed the city. Around 500,000 civilians were killed. Shops, temples, and houses were burnt and the murtis of Hindu deities were destroyed. This destructive episode continued for six months. And it is believed that the heat of the fire which was set in the city was so intense that it cracked the hills surrounding it. Robert Sewell, in his book The Forgotten Empire, writes “With fire and sword, with crowbars and axes, they carried on day after day their work of destruction. Never perhaps in the history of the world has such havoc been wrought, and wrought so suddenly, on so splendid a city; teeming with a wealthy and industrious population in the full plenitude of prosperity one day, and on the next seized, pillaged, and reduced to ruins, amid scenes of savage massacre and horrors beggaring description.” Thus, the Battle of Talikota which is believed as the major reason for the collapse of the majestic empire of the Vijayanagara was because of the huge betrayal in the name of Islam the intolerance of which can still be witnessed after 450 years in the ruins of the city at Hampi.