vijayanagar in A Sentence

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    The Vijayanagar Empire.

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    Vijayanagar Empire 1336-1646.

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    The Vijayanagar Kingdom.

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    Court of Vijayanagar long ago lauded Diviseema poets for their talent exalted.

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    Vijayanagar empire(1336- 1646) fostered indigenous traditions and encouraged arts, religion and literature in Sanskrit, Kannada, Telugu and Tamil.

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    The city is named for its Raju inhabitants, Telugu speakers who migrated there during the Vijayanagar(1336- 1565) conquest.

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    Vijayanagar Empire(1336-1646) patronised and fostered indigenous traditions and encouraged arts, religion and literature in Sanskrit, Kannada, Telugu and Tamil.

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    Vijayanagar Empire was founded in 1336 A. D., with the intention of saving Hinduism from the onslaught of Islam.

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    The very peculiarities of their plan and elevation could not afford the starting point for the Vijayanagar series.

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    As a capital of the Vijayanagar Empire, Hampi grew as a trade center for cotton, spices, horse and gem stones.

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    Abdur Razzaq considers Vijayanagar to be one of the most splendid cities anywhere in the world which he had seen or heard of.

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    On the basis of the revised study, the government decided in 1970 to set up three new steel plants at Salem, Visakhapatnam and Vijayanagar.

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    The fortress built on the hill during the Vijayanagar era(1336-1565) was used in Hindu, Muslim and British wars from the 17th to the 19th centuries.

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    The Vijayanagar rule saw the glorious days of Hinduism when the famed emperors, Krishnadeva Raya in particular, built new temples and beautified the old ones.

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    The temple built in the local reddish granite is easily the largest among early Vijayanagar temples, consisting of the sanctum and axial mandapa combined into one unit.

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    Harihara I(reigned 1336- 56) then established his new capital, Vijayanagar, in an easily defensible position south of the Tungabhadra River, where it came to symbolize the emerging medieval political culture of south India.

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    It may perhaps be a Vijayanagar renovation of an earlier foundation during the Hoysala interregnum and not a standing Hoysala example as some scholars aver in the wake of the suggestion of the epigraphist.

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    In 1509 When on his death bed, legend has it that Vira Narasimha Raya requested his minister Saluva Thimma(Thimmarasa) to blind his younger brother Krishna Deva Raya so that his own eight-year-old son could become king of Vijayanagar.

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    THE POST- Vijayanagar TEMPLES After the fall of the central power following the disastrous battle of Talikotta in 1564 and the ruination of Vijayanagar city, the capital of the empire was shifted in succession to Penukonda, Chandragiri and finally to Vellore.

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    Inside the eastern apse, or the eastern half of the structure is accommodated a large pillared mandapa with twelve peripheral pillars each of which is a huge monolith of the composite character that becomes the feature of Vijayanagar temples to come.

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    It was derived from the name of a Telugu ruler Damarla Chennappa Nayakudu, father of Damarla Venkatapathy Nayak, a Nayak ruler who served as a general under Venkata III of the Vijayanagar Empire from whom the British acquired the town in 1639.

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    What may be reasonably considered to be the quintessence of later Vijayanagar architecture and sculptural art, as evolved in the southern half of the Vijayanagar empire, is the unique example of a moderate- sized temple unit in the large Ranganatha temple complex in Srirdngam.

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    Thus this unique temple, which is a bold experiment, as it were, in the blending of architectural features, borrowed from far and near, and cleverly harmonized with a unique plan and elevational lay- out, is an interesting early Vijayanagar production of great merit.

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    The Pallavas of Kancheepuram(9th century AD), the Cholas of Thanjavur(a century later), the Pandyas of Madurai, and the kings and chieftains of Vijayanagar(14th- 15th century AD) were devotees of the Lord and they competed with one another in endowing the temple with rich offerings and contributions.

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    It marked a definite break and made the designers and the architect- sculptors think in terms of the new material and urged them to put forth their best, both in terms of number and quality that would reflect the aim and genius of the Vijayanagar epoch.

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    Another characteristic Vijayanagar innovation, made as if to display the great skills their craftsmen had achieved in working hardstones, is the pendent links of stone chains cut out of the same corner stone of the kapota or cornice which is found round the eastern corners of this temple.

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    The result was that these two parallel traditions continued in the south in the respective regions till the advent of the Vijayanagar empire in the second half of the fourteenth century, which soon embraced in its ambit both these regions and in fact soon extended practically over the whole of south India.

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    The problem of a break or disruption of the continuity of the development of the vimana temple in hardstone that had all along been the choice and character of the farther south, to which area Vijayanagar hegemony soon extended in the reign of Harihara' s contemporary and successor Bukka, was not so keen in that area.

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    The series of temples of this later Chola and later Pandya periods, terminated by the disruption brought about by the brief Muslim invasion and revival under the Vijayanagar empire of the south, often revert to the system of brick- building for the super- structural talas over the stone body of the vimanas and gopuras, the mandapas alone being wholly of stone.

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    But in the initial years of the nascent empire wherever faced with the challenge of raising up imposing edifices that would accord with the ambition and pride of the rising empire, the Vijayanagar architects have responded by making some bold and daring experiments and produced structures that would seem to be aberrant in the geographical and cultural context but yet exhibiting merit and fine composition.

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