Lizards of Hampi: Watchers between Worlds
Published on: 27/11/2025
Photo title: Shivling flanked by a lizard on its left at Hampi
|Photo Credits: Alok Ranjan
Colossal boulders, rocky landscapes and monumental temples - welcome to the ancient capital of the Vijayanagara kingdom, Hampi.
It was almost as grand as I had expected it to be. But something smaller and more enchanting caught my eye - the lizards! Not only the monitors and agamids but also the geckos; they darted up and across the grey granite walls of the shrines that they called home. Initially I had discarded their presence as “ordinary” but the more I explored the local communities the more it became evident that in Hampi even the tiniest beings carry stories older than time.
My fellow adventurers and I made our way to the Virupaksha temple complex on a fine sunny morning. There was a gentle breeze and it carried a sweet fragrance as it made its way past the pillars.
“They are more than just lizards, child. They are watchers.”, he whispered. It was near the Temple that a frail old priest said these words to me as I was photographing a gecko on the wall. Little did I notice that some wall carvings depicted the lingam being embraced or guarded by lizards. The elderly priest went on to explain a belief that is still alive across South India — a tradition called “Palli Vizhum Palan,” meaning the falling lizard’s omen.
According to this ancient practice, where a lizard falls on one’s body — right shoulder, left arm, or near the head — signifies a message from destiny itself. These interpretations are recorded in palm-leaf manuscripts and still recited by some temple astrologers. For the folk of Hampi, the lizard isn’t a mere creature of stone and shadow — it’s a divine messenger.
Over the years the creature’s ability to defy gravity, cling to vertical walls and exist between light and darkness, has made it a symbol of balance, endurance, and spiritual awareness. For the priests, the presence of lizards in these sanctuaries is not a bother but a sign of sacred harmony between the gods and their guardians.
As I wandered deeper into this mystical world, I found many locals referring to a popular name — Jogulamba Devi, the fierce and mystical form of Goddess Shakti. Though her main shrine stands in Alampur, her legend echoes through the Deccan, even in the stone corridors of Hampi.
Distant Deccan folklore says, Jogulamba sends lizards, snakes, and scorpions as her messengers and protectors. These creatures are not seen as pests or threats, but as extensions of her will — each serving a purpose in maintaining the balance of life and death.
In folklore, Goddess Jogulamba is surrounded by creatures that thrive in the margins, neither feared nor adored but almost always misjudged and accepted as her protectors. Her crown, adorned with reptiles and amphibians, signifies that no aspect of creation is too humble or too frightening to be divine. She represents transformation, death, and renewal — much like a lizard shedding its skin.
One evening, as I watched the twilight settle over the Tungabhadra, a villager shared a story passed down through generations. “The lizards are her eyes,” he said softly, “they see what the goddess sees.” And then he continued. . .
Many moons ago a sage sat deep in meditation near a shrine of the Devi when a lizard quietly crawled up his back and came to rest near his neck. Instead of recoiling, the sage sat still — and then in that state he received a vision of the goddess herself, radiant and terrible, surrounded by reptiles. Since then, devotees have believed that a lizard crossing one’s path near a Jogulamba shrine is a divine sign instead of misfortune.
Photo title: Shivling with a lizard at Hampi
|Photo Credits: Alok Ranjan
Villagers believe that when a cobra or viper appears near a shrine or home, it is not by accident — it is Jogulamba’s messenger, often seen as a warning or reminder of her presence. If the snake passes peacefully, it is said to bring blessings and fertility to the land. But if it strikes or shows aggression, people believe it is because some ritual has been neglected, or the goddess’s domain has been disturbed.
The lizards, especially the common wall gecko, are seen as her eyes and ears. They appear suddenly, disappear quietly, and are believed to carry omens and messages from the Devi. In this context a lizard’s sudden call or movement inside a home is often said to mean the goddess has noticed you — either in blessing or warning. At the heart of these beliefs lies the profound ecological and spiritual idea that Goddess Jogulamba governs the forces beyond human control.
Her creatures — the reptiles and amphibians — represent Earth/moisture (frogs), death/transformation (snakes) and awareness/fate (lizards).
By sending them, the Devi reminds people that nature watches, reacts, and balances. When these creatures appear in unusual numbers, it is taken as a message that the land or its people have disturbed the natural order — and rituals of appeasement are performed to restore harmony.
In tantric belief, these creatures are connected to kundalini energy — the primal life force coiled like a serpent within all beings. Thus, Jogulamba sending snakes or lizards is not a punishment, but a way of awakening awareness within an individual and then the community. It is to urge humans to respect the subtle forces of nature.
My journey into this serpentine lore reminded me of my temple tour in Tamil Nadu, a few years ago. Kanchipuram is home to one of the most fascinating symbols of a similar belief — the Golden and Silver Lizards of Varadaraja Perumal Temple.
There, high on the ceiling of a sanctum, two gleaming lizards — one in gold and the other in silver — are enshrined beneath a canopy of intricate carvings. Their origin, I learned, lies in an ancient legend that flows as so. . .
Two disciples of Sage Gautama once made a minor mistake during a sacred ritual and were then cursed to become lizards. They remained so until Lord Vishnu, moved by their devotion, touched them and restored their divine form. The spot of their redemption became sanctified, and the lizards immortalised in metal.
Pilgrims from all over South India travel to Kanchi to touch these golden lizards with reverence. It is believed that doing so washes away sins, grants fortune, and protects them against ill omens. Watching the pilgrims reach upward, I remember being struck by how this simple creature, often rejected as disgusting, had become an eternal emblem of faith.
Back in Hampi, the myths I had gathered seemed to weave themselves into a larger fabric, one of a collective belief. The temples, with their sun-baked pillars and fractured reliefs, felt alive because of the presence of these quick-legged messengers. Every flicker on a wall, every tiny shadow on stone, carried the quiet pulse of something sacred.
As I sat near the Tungabhadra Riverone dusky evening, camera by my side, a small lizard appeared beside me, its throat pulsing with each breath. Earlier that day I had the pleasure of encountering a rather hefty monitor lizard at the fringes of a nearby bill. I sat recounting the moment when our eyes had met. The bells from Virupaksha Temple presently echoed across the water, and for a moment, everything felt connected — faith, nature, stone, and silence.
It struck me then that the lizards of Hampi are more than symbols or superstition. They are keepers of time, witnesses to centuries of devotion and decay, of kingdoms that rose and crumbled. In their stillness, they embody a truth that transcends belief — that even the humblest creatures are part of the divine narrative etched into our world. And the watchers remain.
In Hampi, I didn’t just find architecture or wildlife.
I found the seamless thread between belief and biology, between story and survival. In these sacred lands even the smallest beings tell the greatest stories.
Preanka Roy
Preanka Roy is an adventurist by chance and a creative director by choice. With years of experience in Advertising, Marketing and Journalism behind her, Preanka has served at prominent organisations across India. An avid reader, author and published poet she enjoys different approaches to creative writing. Her deep love for the forests of South India has inspired her to take on environmental activism and forward the cause of wildlife conservation through photography.
The Tiger of the Skies: An encounter with the Peregrine Falcon
Butterfly Safari in the Western Ghats: a possibility? - Part 2
A Photographer’s Guide to the Central Kalahari Game Reserve - Light, dust, dramatic skies and the art of capturing desert wildlife
Butterfly Safari in the Western Ghats: a possibility?
Desert Bones and Dust Trails: Reading the Kalahari’s Ancient Ground
Life in the Sands: The Surprising Riches of the Kalahari
Peek into Coorg’s Culture at Madikeri’s Government Museum
The Kalahari in Miniature: What You Miss When You Only Look for Big Game
Anegundi’s quiet empire of women: the banana-fibre story
Little Feet, Ancient Rhythms: Young Keepers of the Kodava Culture
Water, Wildlife, and the Art of Waiting in the Kalahari
Tracking Wildlife: What the Sand Tells You in the Kalahari
Singing of confluences, tangible and intangible
Strange Encounters: What We See and What We Miss
Water, Stone, and Empire: Reading Vijayanagara in the Evolve Back Kamalapura Palace
The Unusual Suspects: Creatures You Didn’t Expect in the Kalahari
The Ultimate Family Safari: Multigenerational Travel in Africa Creates Unforgettable Bonds
Locking Horns: An Afternoon with the Other King
The Arboreal By-lanes of Coorg: A Street Photographer's Foray into Bird Photography
Lone Warrior: An Encounter with the Grey-headed Fish Eagle
Under the Kalahari Sky: A Journey Through Africa’s Night Sky
Reptilian Sibilances, Mollusc Stillnesses, Fern Rustlings
Sri Purandara Mantapa: A hall that echoes the raagas of devotion
Cultural Extravaganza: Kodava Music & Dance Forms
The Kalahari Skies: An Everchanging Canvas of Colour
The San People of the Central Kalahari Game Reserve: Guardians of an Ancient Culture
Anegundi: ‘Monkey Business’ in the ‘Elephant Pit’
African Wild Dogs - one of Africa's most captivating carnivores and most endangered species
Discovering the Brown Hyenas of the Central Kalahari Game Reserve
An Aural Journey through Nagarahole: The Sound of Life
Five Wildlife Sightings You Can Expect Without Going on Safari
Into the Valley of Deception: The Central Kalahari Game Reserve
The Cup That Cheers: The Changing Taste of Coffee
Craft Calling: Traditional Lambani Arts and Crafts and the Sandur Kushala Kala Kendra
An Aural Journey through Nagarahole: The Language of Deception
An Aural Journey through Nagarahole: The Sound of Tardiness
Taking Terrific Photos on Safari: Getting the Trophy Shot
Adapt and Survive: Reaching the Pinnacle of Specialisation
Into the night – nocturnal life in the Kalahari
An Aural Journey through Nagarahole: The Seen and the Sawing
Hampi Ruins in the 1900s: Stellar Photographs From A Forgotten Historical Text
Touring Kabini with Your Eyes Closed: An Aural Journey through Nagarahole: Alarms True and False
North Karnataka’s Threesome — Badami, Aihole, & Pattadakallu
Hampi Ruins in the 1900s — The Gateways into the City
A Lone Porcupine fights off an entire pride of Lions!
The cute little denizens of the Kamalapura Palace, Hampi
From the Kitchens of Evolve Back – Jallad Roti | Akki Roti
From the Kitchens of Evolve Back – Qubani ka Meetha and Shahjahani ka Meetha
From the Kitchens of Evolve Back – Murgh-e-Lazeez
From the Kitchens of Evolve Back – Nizami Machali ka Salan
From the Kitchens of Evolve Back – Dum ki Nalli
From the Kitchens of Evolve Back – Anapa Ginjala Pulusu
An Aural Journey through Kabini: Pre-Dawn Critters and Jitters
From the Kitchens of Evolve Back – Raan-e-Kamalapura
From the Kitchens of Evolve Back – Baghara Baingan
From the Kitchens of Evolve Back – Natukodi Pulusu
From the Kitchens of Evolve Back – Tondekai Palya
From the Kitchens of Evolve Back – Royala Igaru
From the Kitchens of Evolve Back – Koli Chuttada
From the Kitchens of Evolve Back – Karibelle Cutlet
The Battle of Talikota and the Sacking of Hampi
From the Kitchens of Evolve Back – Kori Ghee Roast
Ten Interesting Facts About the Kalahari Desert
From the Kitchens of Evolve Back – Vazhachundum Thoran
From the Kitchens of Evolve Back – Mezze Platter
From the Kitchens of Evolve Back – Grilled Pork Ribs
An Aural Journey through Kabini: The Beginnings
Harihara & Bukka: founders of the Vijayanagara Empire
From the Kitchens of Evolve Back – Pazham Puzhungiyathu
From the Kitchens of Evolve Back – Peppercorn chocolate mousse
From the Kitchens of Evolve Back – Kabsah Laham Bis
From the Kitchens of Evolve Back – Vazhakanda Thoran
From the Kitchens of Evolve Back – Banana Bajji
From the Kitchens of Evolve Back – Pazham pori
From the Kitchens of Evolve Back – Joojeh – e – Koobideh
From the Kitchens of Evolve Back – Vegetable Kurma
From the Kitchens of Evolve Back – Pandi Curry
From the Kitchens of Evolve Back – Kerala Fish Curry
Nalknad Palace – off the beaten track in Coorg
Designing the Sidapur Coffee and Culture Museum
Why you should put a backwater boat safari at the forefront of your Kabini visit – 2
Why you should put a backwater boat safari at the forefront of your Kabini visit – 1
Chikka Veerarajendra of Coorg and his Thirteen Wives
The Architecture of Ainmanes: Form follows Function
Kodava Ainmanes – the heart of the Kodava Clan
From the Kitchens of Evolve Back – Sutta Sigadi Mathu Hannugalu
From the Kitchens of Evolve Back – Masala Raagi Cheela
From the Kitchens of Evolve Back – Tandoori Zaffrani Paneer & Tandoori Phool
From the Kitchens of Evolve Back – Tumbida Ginnu
From the Kitchens of Evolve Back – Raagi Mudde Bassaru
From the Kitchens of Evolve Back – Hurida Meke Mamsa
From the Kitchens of Evolve Back – Masala Hoo Kosu
From the Kitchens of Evolve Back – Kuruba Adina Saru
From the Kitchens of Evolve Back – Sutta Naati Koli
From the Kitchens of Evolve Back – Savatekayi Suttadu
From the Kitchens of Evolve Back – Kendadali urida sigadi mathu meenu
From the Kitchens of Evolve Back – Bidirinalli Beyisida Koli
From the Kitchens of Evolve Back – Hurida Koli
First glimpse of god – the Black Panther of Kabini
The Battle of Raichur: The Beginning of the End