Vijayanagara architecture is a vibrant combination of the Chalukya, Hoysala, Pandya and Chola styles, idioms that prospered in previous centuries.

Ruins of Hampi – UNESCO World Heritage Site Virupaksha Temple, Krishna Temple, Vittala Temple, Ugra Narasimha and Kodandarama Temple are some of the famous monuments of the Vijayanagar style.

Its legacy of sculpture, architecture and painting influenced the development of the arts long after the empire came to an end.
Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rajagopura (tower).
While the empire's monuments are spread over the whole of Southern India, nothing surpasses the vast open-air theatre of monuments at its capital at Vijayanagara, a UNESCO World Heritage Site.

In the 14th century the kings continued to build Vesara or Deccan style monuments but later incorporated dravida-style gopurams to meet their ritualistic needs.
The Prasanna Virupaksha Temple (underground temple) of Bukka Raya I and the Hazare Rama Temple of Deva Raya I are examples of Deccan architecture.
The varied and intricate ornamentation of the pillars is a mark of their work.
At Hampi, though the Vitthala Temple is the best example of their pillared Kalyanamantapa style, the Hazara Ramaswamy Temple is a modest but perfectly finished example.
A grand specimen of Vijayanagara art, the Vitthala Temple, took several decades to complete during the reign of the Tuluva kings.

Another element of the Vijayanagara style is the carving of large monoliths such as the Sasivekalu (mustard) Ganesha and Kadalekalu (Ground nut) Ganesha at Hampi, the Gomateshwara statues in Karkala and Venur, and the Nandi bull in Lepakshi.
The Vijayanagara Temples of Bhatkal, Kanakagiri, Sringeri and other towns of coastal Karnataka, as well as Tadpatri, Lepakshi, Ahobilam, Tirupati and Srikalahasti in Andhra Pradesh, and Vellore, Kumbakonam, Kanchi and Srirangam in Tamil Nadu are examples of this style.
Vijayanagara art includes wall-paintings such as Dashavathara (ten incarnations of Vishnu) and Girija Kalyana (marriage of Goddess Parvati) in the Virupaksha Temple at Hampi, the Shivapurana paintings (tales of Shiva) at the Virabhadra Temple at Lepakshi, and those at the Jain basadi (temple) and the Kamaskshi and Varadaraja Temple at Kanchi.
This mingling of the South Indian styles resulted in a richness not seen in earlier centuries, a focus on reliefs in addition to sculpture that surpasses that previously in India.

An aspect of Vijayanagara architecture that shows the cosmopolitanism of the great city is the presence of many secular structures bearing Islamic features.
The concentration of structures like pavilions, stables and towers suggests they were for use by royalty.
This harmonious exchange of architectural ideas must have happened during rare periods of peace between the Hindu and Muslim kingdoms.
The "Great Platform" (Mahanavami dibba) has relief carvings in which the figures seem to have the facial features of central Asian Turks who were known to have been employed as royal attendants.

Archaeological Survey of India's recent excavations in Hampi have revealed a large number of palatial complexes and basements of several platforms including a large number of stone images, beautiful terracotta objects and stucco figures.
Ceramics and variety of porcelain and inscribed Buddhist sculptures of 2nd–3rd century have also been unearthed.
Vijayanagara architecture is a vibrant combination of the Chalukya, Hoysala, Pandya and Chola styles, idioms that prospered in previous centuries.
Ruins of Hampi – UNESCO World Heritage Site Virupaksha Temple, Krishna Temple, Vittala Temple, Ugra Narasimha and Kodandarama Temple are some of the famous monuments of the Vijayanagar style.
Its legacy of sculpture, architecture and painting influenced the development of the arts long after the empire came to an end. Its stylistic hallmark is the ornate pillared Kalyanamantapa (marriage hall), Vasanthamantapa (open pillared halls) and the Rajagopura (tower). While the empire's monuments are spread over the whole of Southern India, nothing surpasses the vast open-air theatre of monuments at its capital at Vijayanagara, a UNESCO World Heritage Site.
In the 14th century the kings continued to build Vesara or Deccan style monuments but later incorporated dravida-style gopurams to meet their ritualistic needs. The Prasanna Virupaksha Temple (underground temple) of Bukka Raya I and the Hazare Rama Temple of Deva Raya I are examples of Deccan architecture. The varied and intricate ornamentation of the pillars is a mark of their work. At Hampi, though the Vitthala Temple is the best example of their pillared Kalyanamantapa style, the Hazara Ramaswamy Temple is a modest but perfectly finished example. A grand specimen of Vijayanagara art, the Vitthala Temple, took several decades to complete during the reign of the Tuluva kings.
Another element of the Vijayanagara style is the carving of large monoliths such as the Sasivekalu (mustard) Ganesha and Kadalekalu (Ground nut) Ganesha at Hampi, the Gomateshwara statues in Karkala and Venur, and the Nandi bull in Lepakshi. The Vijayanagara Temples of Bhatkal, Kanakagiri, Sringeri and other towns of coastal Karnataka, as well as Tadpatri, Lepakshi, Ahobilam, Tirupati and Srikalahasti in Andhra Pradesh, and Vellore, Kumbakonam, Kanchi and Srirangam in Tamil Nadu are examples of this style. Vijayanagara art includes wall-paintings such as Dashavathara (ten incarnations of Vishnu) and Girija Kalyana (marriage of Goddess Parvati) in the Virupaksha Temple at Hampi, the Shivapurana paintings (tales of Shiva) at the Virabhadra Temple at Lepakshi, and those at the Jain basadi (temple) and the Kamaskshi and Varadaraja Temple at Kanchi. This mingling of the South Indian styles resulted in a richness not seen in earlier centuries, a focus on reliefs in addition to sculpture that surpasses that previously in India.
An aspect of Vijayanagara architecture that shows the cosmopolitanism of the great city is the presence of many secular structures bearing Islamic features. The concentration of structures like pavilions, stables and towers suggests they were for use by royalty. This harmonious exchange of architectural ideas must have happened during rare periods of peace between the Hindu and Muslim kingdoms. The "Great Platform" (Mahanavami dibba) has relief carvings in which the figures seem to have the facial features of central Asian Turks who were known to have been employed as royal attendants.
Archaeological Survey of India's recent excavations in Hampi have revealed a large number of palatial complexes and basements of several platforms including a large number of stone images, beautiful terracotta objects and stucco figures. Ceramics and variety of porcelain and inscribed Buddhist sculptures of 2nd–3rd century have also been unearthed.
Architecture of Karnataka