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This is an archive article published on June 9, 2002

Holding a Key to the Past

THERE is no place quite like Hampi in the entire country. Hampi is not a monument or a set of temples, a fort or a palace. It is a complete ...

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THERE is no place quite like Hampi in the entire country. Hampi is not a monument or a set of temples, a fort or a palace. It is a complete city, holding in that definition all that is implicit in a city, including one in ruins destroyed in the 16th century. Within its palaces, temples, market places, its monolithic gods, its places for ceremonies and its mint emanates a powerful sense of the thinking and culture of the people of the Vijayanagara Empire. Hampi has attracted international attention from scholars and historians who have researched extensively on every dimension of this culture.

This huge area where the stones speak of another life and another people needs to be given extra care and attention. It also requires careful monitoring not only because of its size but also because of the irregular terrain and the boulders that hide large segments of the area from view. There is hardly any security on the site making theft and mugging high risk factors. The broken hand of the monolithic Ganesha, joined a while ago has now mysteriously disappeared. Vandalism is another source of worry as people seem to believe that ruins ought to be ruined further, or perhaps find it another way to immortalise themselves with their graffiti. Night patrolling which is greatly required remains inadequate despite the guards who foot the vast area with torches. The ASI officers do their best within the constraints that bind them but it isn’t enough.

While granite boulders were used to create most of the city, several individual structures were further embellished with stucco which covered bricks of that period. The stucco or the coating of plaster was used to fashion gods, goddesses and their retinues atop temple entrances. Much of the stucco and the brick have now fallen, and the ASI has attempted to reconstruct these exquisite figures. Something that should never be done, in my view, because today we seem to lack the devotion and sensibility that once gave these figures the perfection that they had. Perhaps today we treat it as a job that needs to be done and nothing more. Moreover, since the quality of contemporary workmanship is inferior to the original, we will give an incorrect assessment of the original to future generations. They will accept today’s inferior work to be that of earlier centuries.

The brickwork under the stucco is what requires attention. In many areas the bricks are exposed and gradually falling off, soon to disappear. The stucco jharokas in the fabulous Queen’s Bath, supported by granite slabs, are collapsing in a similar fashion. Time and money should not be wasted on attempts at beautification. It is more important to work at not allowing the supporting granite slabs or the brickwork to disintegrate as with that will disappear a certain architectural reference which today makes us understand the building ability of these people, the influences that prevailed on them and what they in turn influenced.

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