Vijayanagara Visions

Vijayanagara Visions: Religious Experience and Cultural Creativity in a South Indian Empire, William J Jackson, (Oxford University Press),2007.
Jackson sets out the themes of this new book in the following words:The essays in this book are forays into the creative imagination of the Vijayanagara era. An examination of the images that the people of this south Indian empire (1336-1565) recorded in their lyrics and verses, and their stone carvings and stories, gives us an insight into the ideas and fantasies that engaged them and inspired them. Thise two sentences frame the themes of the volume and each chapter is essentially devoted to an analysis of questions raised by the poet singers of the Vijayanagara empire such as Purandaadasa or the metaphysical polemics of the Madhva sait philosophers like Jaya Thirtha.
An important insight animates Jackson's work. He rightly views tradition not as an ossified collection of religious rituals and beliefs but a creative and dynamic fusion of personal charisma and religious expression. He argues that it was within this context of a redfined aethetics that the South Indian music can best be located. This redefinition of tradition is necessary as there is a tendency in India to regard religion in purely instrumental terms, as is the case in all the monotheistic religions.
Chapter II contains a lengthy discussion on Purundaradas who popularised the Madhva religious identity in the Deccan region, particularly in the territories under the nominal control of the rayas of Vijayanagara. Intellectual history of the late medieval period is still so underdeveloped that we are not able to discern the reasons for the close bonds between the Vijayanagara ruler, Krishnadevaraya and the Madhve saint, Vyasathirtha. Jackson rightly emphasises the complex political and social trends in the Deccan region which underpinned the dasa movement.q
Chapter III is a study of the changing religious contours of the Vijayanagara state. Jackson does not spend time discussing the sterile view of Vidyaranya ass the founder of Vijayanagara. Hermann Kule and I have both shown that this interpretation was probably fabricated in the seventeenth century after the Battle of Talikota, 1565. In fact for the longer period of its history,Vijayanagara empire was founded on Vaishnava religious precepts. Annamacharya,Vyasaraya, Purundaradasa and Kanakadasa were all associated prominently with this period. The new feature in the cultural realm during this period was the fusion of music with worship, and Carnatic music later associated with the Trinity--Tyagaraja, Muthuswami Dikshitar and Swati Tirumal--can be traced back to the innovations in tradition introduced during this phase. Herein we have yet another example of radical innovation clothed in the rainments of tradition.
Vedanta Desika forms the subject of the IV th Chapter. This philosopher songster was the composer of several prabandhas, and Jackson discusses two texts in great detail, Hamsasandesa and Yadavabyudam.
This volume contins interesting sidelights on the cultural patterns of an important, though highly neglected aspect of medieval South Indian history. Jackson and David Dean Shulman are perhaps the foremost interpretters of late medieval South Indian literary and cultural production. This book is a must for anyone interested in Vijayanagara history, South Indian literature and music.