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rama raya (1484–1565)
borrowing from the Persian world, presents a classic instance of an idea, and
a term, that resisted appropriation by any single language or ethnic group.
50
Virtually every ruler at Vijayanagara included “sultan” among his other titles.
And while most were content with “Sultan among Indian kings,” Rama Raya
went further and styled himself “Sultan of the World” (gola suratrana), a title
even more inflated than “Chalukya Emperor” (Calukya-cakravarti).
51
As for the visual arts, metropolitan Vijayanagara, especially the Royal Center,
is saturated with Persian architectural elements: domes, vaulted arches, para-
pets of merlons, corner finials, fine plasterwork, and so forth (see Plate 7).
52
The same holds for the city’s layout. As Wagoner has further noted, Vijayana-
gara’s citadel does not appear in the center of a concentric mandala pattern, as
is prescribed in classical Indian texts, and is actually seen in the Kakatiya capital
of Warangal. Rather, it appears off to one side, a design that finds antecedents
in Indo-Persian citadels as in Daulatabad (1326–27), or a few years earlier in
Tughluqabad (1320–23). Similarly, whereas Vijayanagara’s north-facing throne
hall has no known precedent in classical Indian courts, it does find antecedents
in most Persian or Persian-inspired courts – as at Bidar, Sultanpur (i.e., Tughluq
Warangal), Tughluqabad, and Samarqand – extending clearly back to Perse-
polis, capital of the ancient Persian Empire. To that famous site, too, can
be traced the widespread tradition of royal halls with forty columns, 100
columns, or even 1,000 columns. These are found in courts throughout the
Iranian plateau and South Asia, as in Delhi’s “Hazar Sutun” (1343) built by
Muhammad bin Tughluq. Moreover, Vijayanagara’s multi-columned “House
of Victory” and “Great Platform” find striking correspondences to the throne
hall and Apadana of Persepolis. As on the Apadana, sculptural reliefs carved at
the base of Vijayanagara’s Great Platform depict processions of figures bearing
tribute to the enthroned king.
53
Further linking Vijayanagara with the wider Persian world were the thou-
sands of Iranian or Deccani Muslim mercenaries who took up service with
50
Phillip B. Wagoner, “‘Sultan among Hindu Kings’: Dress, Titles, and the Islamicization of Hindu
Culture at Vijayanagara,” Journal of Asian Studies 55, no. 4 (November 1996): 851–80.
51
Konerunatha Kavi, Padya Balabhagavatamu (1543), in Krishnaswami Aiyangar, ed., Sources of
Vijayanagar History, 204.
52
George Michell, “Royal Architecture and Imperial Style at Vijayanagara,” in The Powers of Art:
Patronage in Indian Culture, ed. Barbara S. Miller (New Delhi, 1992), 175. See also Catherine B.
Asher, “Islamic Influence and the Architecture of Vijayanagara,” in Vijayanagara – City and Empire:
NewCurrents of Research, ed. Anna Dallapiccola (Stuttgart, 1985), 188–95.
53
Phillip B. Wagoner, “The Islamicate Contribution to the City Plan of Vijayanagara,” Paper deliev-
ered at a symposium on “Hindu and Muslim in Precolonial South Asia,” University of Texas, Austin
(November 13, 1998).
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