SARNATH and The Gupta BUDDHA

Dr UdayDokras

I
Sarnath (also known as Deer Park, Sarangnath, Isipatana Deer Park, Rishipattana, Migadaya,
or Mrigadava) is a town northeast of Varanasi, in Uttar Pradesh, India. As
the Lalitavistara sutra states, the Gautama Buddha chose "Deer Park by the Hill of the Fallen
Sages, outside of Varanasi" for his first teaching after he attained enlightenment [1] in Bodh
Gaya. The teaching is entitled Dhammacakkappavattana sutra. Sarnath is one of the eight most
important pilgrimage sites for Buddhists, and has been nominated to become a UNESCO World
Heritage Site.

Sarnath is where Gautama Buddha's sangha first convened, when he gave the first teaching to the
Buddha's original five disciples Kaundinya, Assaji, Bhaddiya, Vappa and Mahanama, known
as The First Turning of the Wheel of Dharma. This teaching occurred circa 528 BCE when the
Buddha was approximately 35 years of age.

The buddha before Gautama Buddha is Kassapa Buddha, who was born in Sarnath to where he
returned and joined his sangha of men and women in order to give his first teaching.
Several sources state that the name Sarnath is derived from Saranganath that translates as, “Lord
of the Deer”. According to Buddhist history, during the local king's hunting trip, a male deer
(buck) offered to sacrifice himself to save the life of a female deer (doe) that the king was aiming
to kill. Impressed, the king then declared his park would thereafter be a deer sanctuary.
According to the Mahaparinibbana Sutta that is Sutra 16 of the Digha Nikaya, the Buddha
mentioned Sarnath as one of the four Buddhist pilgrimage sites his devout followers should visit
and look upon with feelings of reverence. The other three sites are Lumbini, the birthplace of the
Buddha; Bodh Gaya, where Buddha achieved enlightenment; and, Kushinagar, where the
Buddha attained parinirvana.

Sarnath is located eight kilometres (five miles) northeast of Varanasi near the confluence of
the Ganges and the Varuna rivers.

The name Sarnath derives from the Sanskrit word Sāranganātha (or Sārangnāth in the Pali
language), which translates to "Lord of the Deer" in the English language. [13] The name refers to
an ancient Buddhist legend, in which the Bodhisattva was a deer and offered his life to a king
instead of the doe the king was planning to kill.
The king was so moved that he created the park as a deer sanctuary. The term for "deer park"
is Mriga-dāva in Sanskrit, or Miga-dāya in the Pali language.
Isipatana is another name used to refer to Sarnath in Pali, the language of the Pali Canon. This
name corresponds to the name Rishipattana in the Sanskrit language. The terms isi (Pali)
and rishi (Sanskrit) refer to an accomplished and enlightened
person. Isipatana and Rishipattana therefore translate to "the place where holy men
descended",or "the hill of the fallen sages".

1
History
5th century BCE – 6th century CE
Buddhism flourished in Sarnath during the second urbanisation, c. 600– 200 BCE, from the time
of the Mahajanapadas through the Nanda Empire and Maurya Empire periods, in part because of
patronage from kings and wealthy merchants based in Varanasi. By the 3rd century CE, Sarnath
had become an important centre for the Sammatiya school of Buddhism, one of the early
Buddhist schools, as well as for art and architecture.However, the presence of images
of Heruka and Tara indicate that Vajrayana Buddhism was also practised here. Images of Hindu
deities such as Shiva and Brahma were also found at the site, while a Jain temple was located
very close to the Dhamek Stupa.Buddhism further expanded in India during the Gupta (4th to 6th
centuries) period. Faxian was a Chinese Buddhist monk who travelled extensively throughout
northern India from 400–411 CE. In his description of Sarnath, he mentioned seeing four large
towers and two viharas with monks residing in them.

6th century – 8th century

The influence of Buddhism continued to grow during the Later Gupta (6th–8th centuries).
When Xuanzang visited Sarnath around 640 CE, he reported seeing hundreds of small shrines
and votive stupas, and a vihara some 61 metres (200 feet) in height containing a large statue of
the Buddha. Xuanzang also wrote that "There are about 1500 priests here, who study the Little
Vehicle according to the Sammatiya school.[19] In his writings, Xuanzang mentioned a pillar
constructed by Ashoka near a stupa that marked the location where the Buddha set the wheel of
the law in motion.

8th century – 12th century

During the Pala (8th–11th centuries) period, the rulers built new mahaviharas such
as Odantapuri, Somapura, Jagaddala, and Vikramashila and patronised existing ones such
as Nalanda and Sarnath. During this time, Buddhist pilgrims and monks from all over Asia
travelled to Sarnath to meditate and study. The Palas were the last major Buddhist dynasty to
rule in the Indian subcontinent. They were replaced by the Gahadavala dynasty, whose capital
was located at Varanasi.

Although the Gahadavala kings were Hindu, they were tolerant of Buddhism. Inscriptions
unearthed at Sarnath in the early 20th century indicate that some of the monasteries there
enjoyed royal patronage from the Gahadavala rulers. For example, in a mid-12th-century
inscription attributed to Queen Kumaradevi (consort of King Govindachandra) and member of
the Pithipati dynasty of Bodh Gaya. She takes credit for the construction or restoration of a living
quarters for monks.

It is widely asserted that the structure referred to in the Kumaradevi inscription is the Dharma
Chakra Jina Vihar, but the evidence for this is inconclusive. Whatever the case, it is likely to be
among the last structures to be built at Sarnath prior to its destruction in 1194. The inscription,
excavated at Sarnath in March 1908, is currently maintained at the Sarnath Archeological
Museum.

Late 12th century: the destruction of Sarnath

2
Along with Sarnath, the most important Buddhist mahaviharas in India
were Vikramashila, Odantapuri, and Nalanda, all located in present-day Bihar. All four of these
centres of learning continued to thrive throughout the 12th century, probably because of the
protection, support and tolerance demonstrated by the Pala and Gahadavala rulers. For example,
the Kumaradevi inscription mentions that King Govindachandra had protected Varanasi from
invasions by the Ghaznavids which the inscription refers to as Turushkas[note 1] in the early to mid-
12th century. Apart from North India, Buddhism had been declining throughout the Indian
subcontinent and had virtually disappeared by the 11th century.

Muslim conquests in the Indian subcontinent in the late 12th century brought massive plunder
and destruction to northern India. Most notable among these were the Indian campaigns of
Muhammad of Ghor, the Ghurid dynasty ruler from Ghazni, which is in present-day
Afghanistan. Qutb ud-Din Aibak — the commander of Muhammad of Ghor's army — led his
men from Ghazni to Varanasi and Sarnath in 1194 CE. Jayachandra (c. 1170–1194 CE) was the
reigning Gahadavala dynasty king at that time and was killed during the Battle of Chandawar.
Virtually everything of value in Varanasi and Sarnath was destroyed or plundered.

Qutbuddin Aibek reportedly carted away some 1400 camel loads of treasure. According to the
13th-century Persian historian Hasan Nizami, "nearly 1000 temples were destroyed and mosques
were raised on their foundations, the Rais and chiefs of Hind came forward to proffer their
allegiance [to the Ghurids]".

While Qutbuddin Aibek destroyed Sarnath, it was the troops of Muhammad Bakhtiyar Khalji—
another of Muhammad of Ghor's slave generals—that continued to destroy sites sacred to
Buddhists. They destroyed Vikramashila in 1193, Odantapuri in 1197, and Nalanda in 1200. The
Buddhists who survived in northern India fled to Nepal, Sikkim, Tibet,[33] or South India. By the
end of the 12th century, Buddhist monastic centers and their vast libraries had nearly disappeared
from the Indian subcontinent.

However, according to some scholars, fresh re-assesments of evidence from archaeology in

addition to historical records have disputed this view of Muslim invasions as the major cause of
the decline of Buddhism in India or the destruction of such Buddhist sites as Sarnath — arguing,
instead, "that Brahmanical hostility toward Buddhists resulted in the destruction of Sarnath and
other sites".According to archaeologist Giovanni Verardi: "Contrary to what is usually believed,
the great monasteries of Gangetic India, from Sarnath to Vikramaśīla, from Odantapurī to
Nālandā, were not destroyed by the Muslims, but appropriated and transformed by the Brahmans
with only the occasional intervention of the Muslim forces". According to Verardi, "orthodox"
Brahmins — who had been gaining in power and influence during
the Gahadavala and Sena dynasties, the rival Hindu-revivalist dynasties of northern/eastern India
— "accepted Muslim rule in exchange for the extirpation of Buddhism and the repression of the
social sectors in revolt." Archaeologist Federica Barba writes that the Gahadavalas built
large Hindu temples in traditional Buddhist sites such as Sarnath, and converted Buddhist shrines
into Brahmanical ones: Evidence indicates that Buddhists had been expelled from Sarnath during
the mid 12th-century, under the Gahadavala rule, and it already was in the process of being
converted to a large Shiva temple compound before Muslim invaders arrived.

3
18th century: rediscovery and looting

Very few Buddhists remained in India after their persecution and expulsion at the end of the 12th
century by the Ghurids. Buddhists from Tibet, Burma, and Soutast Asia continued to make
pilgrimages to South Asia from the 13th to the 17th centuries, but their most common destination
was Bodh Gaya and not Sarnath. Sarnath continued to be a place of pilgrimage for Jains,
however. A 17th-century Jain manuscript written in 1612 CE (the Tirthakalpa, by Jinaprabha
Suri) describes a Jain temple in Varanasi as being located close to "a famous Bodisattva
sanctuary" at a place called dharmeksā. This Sanskrit word translates to "pondering of the law",
and clearly refers to the Dhamek Stupa.

India experienced an increase in visitation by European people in the late 18th century. In
1778, William Hodges became possibly the first British landscape painter to visit India.[39] While
there, he made careful observations of the art and architecture he encountered. He published an
illustrated book about his travels in India in 1794. In his book, he described mosques and other
Islamic architecture, Hindu temples, and Greek-inspired columns. Hodges also briefly described
the Dhamek Stupa, although he mistook it to be a ruined Hindu temple.

In what is the first incontrovertible modern reference to the ruins at Sarnath, Jonathan Duncan (a
charter member of the Asiatic Society and later Governor of Bombay) described the discovery of
a green marble reliquary encased in a sandstone box in the relic chamber of a brick stupa at that
location. The reliquary was discovered in January 1794, during the dismantling of a stupa
(referred to by Alexander Cunningham as stupa "K" or the "Jagat Singh stupa",later identified as
the Dharmarajika Stupa) by employees of Zamindar Jagat Singh (the dewan of Maharaja Chait
Singh, the Raja of Benares). Duncan published his observations in 1799.

The reliquary contained a few bones and some pearls, which were subsequently thrown into
the Ganges river.The reliquary itself has also disappeared, although the outer sandstone box was
replaced in the relic chamber, where it was rediscovered by Cunningham in 1835. The bricks of
the stupa were hauled off and used for the construction of the market in Jagatganj, Varanasi.
Jagat Singh and his crew also removed a large part of the facing of the Dhamek Stupa, and
removed several Buddha statues which he retained at his house in Jagatganj.

19th century: more looting and early archeological excavations

The next modern description of Sarnath was by Francis Buchanan-Hamilton, who visited the site
around 1813. He drew a crude map of the site—which he called Buddha Kashi—at that time.
Colin Mackenzie was an officer in the British East India Company who later became the
first Surveyor General of India. Visiting Sarnath in 1815, he was the first to describe a dedicated
exploration of the ruins. Throughout the early 19th century, amateur archeologists explored and
excavated at Sarnath, removing antiquities, and several artists drew sketches of the site
(especially of the Dhamek Stupa).

In 1835–1836, a 21-year-old British Army engineer with the Bengal Engineer

Group named Alexander Cunningham conducted the first systematic archaeological excavations
at Sarnath.[ He had carefully studied the writings of Faxian and Xuanzang, two Chinese
Buddhist monks who travelled extensively throughout northern India in the early 5th and early

4
7th centuries, respectively. Based on their writings and those of Duncan, he conducted some
careful measurements and excavations at Sarnath in 1835–1836. During the course of these
excavations, Cunningham discovered and removed many statues from monastery "L" and temple
"M", as well as the sandstone box reported by Duncan from the Dharmarajika Stupa. He
presented these items to the Asiatic Society of Bengal, and they are now located in the Indian
Museum in Kolkata.[45] By 1836, Cunningham had conclusively identified Sarnath as the location
of the Buddha's first sermon. In 1861, Cunningham became the founder and first Director-
General of the Archaeological Survey of India.

In 1851–1852, Markham Kittoe (1808–1853) conducted further excavations at Sarnath. Kittoe

noted the presence of four stupas at Sarnath and excavated a structure he described as a hospital,
which was located roughly midway between the Dhamek and Jagat Singh stupas. He also
recovered a seated Buddha statue from Jagat Singh's house and transcribed its inscription. In his
writings, Kittoe speculated that Sarnath was destroyed as a result of a great fire.
Sometime in the mid-19th century, Sarnath was subjected to further depredations, as 48 statues
and a tremendous amount of bricks and stones were removed from the historic site to be used in
the construction of two bridges over the Varuna River. A final instance of despoilation occurred
around 1898, when many bricks and stones were removed from Sarnath and used as ballast for a
narrow-gauge railway that was under construction at that time.

20th century: extensive excavations and restoration

Friedrich Oertel's plan of

excavation.

The lion capital was found in 1905 to the west of the main shrine, which is to the north of the
"Jagat Singh" stupa.
Friedrich Oertel conducted extensive excavations in 1904-1905. His team focused on the area
near stupa "J" (the Dhamek Stupa), stupa "K" ("Jagat Singh stupa", now known as the
Dharmarajika Stupa), monastery "L", temple "M", hospital "N", monastery "O", and
the Ashokan pillar. In March 1905, the team exhumed parts of the base and shaft of the pillar

5
with its Schism Edict, lion capital, and remnants of the dharmachakra sculpture. Dating to c.
241-233 BCE, these are the oldest and most important relics discovered at Sarnath thus far. J. Ph.
Vogel translated the inscription—which was written in the Brahmi of the Maurya period-and
tentatively dated it to 249 BCE.

Present day
According to the Mahaparinibbana Sutta (Sutta 16 of the Digha Nikaya), the Buddha mentioned
Sarnath as one of the four places of pilgrimage his devout followers should visit and look upon
with feelings of reverence. During the British East India's colonial rule, ancient sites such as
Sarnath were subjected to extensive archaeological study. Certain levels of restoration occurred
decades later.
Consequently, Sarnath has regained its former status as a place of pilgrimage, both for Buddhists
and Jains. In 1998, Sarnath was nominated for inclusion on the United Nations Educational,
Scientific and Cultural Organization (UNESCO) list of World Heritage Sites of outstanding
universal value to cultural heritage. The nomination comprises two groups of monuments: group
"A" is represented by the Chaukhandi Stupa, while all other monuments (e.g., temples, stupas,
monasteries, and the pillar of Ashoka) are included as part of group "B".
The sites of the greatest importance to Buddhist pilgrims include:
 The Dhamek Stupa is considered to mark the location of the Buddha's first teaching.
Scholars believe that the name of the stupa might be a combination of the words 'Dharma
Chakra', which means Turning the Wheel of Dharma. A reliquary stupa was built on the site
after the Buddha's passing, and then likely modified by Ashoka who in 249 BCE was
recorded as changing the stupa while he was gathering and redistributing the Buddha's relics.
Its inner chambers had held reliquaries. It is an impressive structure, 39 metres (128 feet)
high and 28 metres (92 feet) in diameter.
 The Dharmarajika Stupa is one of the few pre-Ashokan stupas remaining at Sarnath,
although only the foundations remain. It has been the subject of extensive depredations and
archaeological excavations, from the late 18th through the early 20th century.
 The Ashokan pillar erected here was broken during the invasions of the 12th century but
many of the pieces remain at the original location. The pillar was originally surmounted by
the Lion Capital of Ashoka, which in turn served as the base of a large 32-spoke
sandstone wheel of dharma. The lion capital and the wheel of dharma, presently on display at
the Sarnath Archeological Museum, now symbolize the modern state of India. Both of these
appear on the emblem of the Supreme Court of India, and the wheel of dharma is
incorporated in the flag of India.
 The ruins of the ancient Mulagandha Kuty Vihara mark the place where the Buddha spent
his first rainy season. This was the main temple later marked by the presence of the Ashokan
pillar at the front. The fifth-century CE sandstone sculpture of Buddha Preaching his First
Sermon was found in the vicinity. The contemporary Mulagandha Kuty Vihara, dating from
the 1930s, currently holds the bone relics of the Buddha.
 The Dharma Chakra Jina Vihar, a massive monastery and living quarters for monks believed
to have been constructed or restored in the mid-12th century at the behest of Kumaradevi, a
wife of Govindachandra (c. 1114–1155 CE).
 The Chaukhandi Stupa, located 800 metres (1⁄2 mile) outside of Deer Park, commemorates
the place where the Buddha reunited his first five disciples Kaundinya, Assaji, Bhaddiya,

6
 Vappa, and Mahanama. It is capped with an octagonal brick tower that was erected as a
memorial to Emperor Humayun by his son Akbar in 1588 CE.
 The Sarnath Archeological Museum houses the famous Lion Capital of Ashoka, which
survived a 14-metre (45 ft) drop to the ground from the top of the Ashokan pillar, and
became the State Emblem of India and national symbol on the flag of India. The museum
also houses the original fifth-century CE sandstone sculpture of Buddha Preaching his First
Sermon, as well as the Kumaradevi inscription

Modern places of worship

Buddhist monk in Sarnath

In addition to the archaeological ruins, there are a number of other pilgrimage sites and places of
worship in Sarnath. Among these are included:
 The modern Mulagandha Kuty Vihara is a temple constructed by the Maha Bodhi Society; it
was opened to the public in 1931. Wealthy Hawaiian philanthropist and benefactor Mary
Robinson Foster provided much of the financial support for this project,
while Anagarika Dharmapala supervised its construction. Dharmapala was a Sri
Lankan Buddhist monk who was instrumental in the revival of Buddhism in India after it had
been virtually extinct in that country for seven centuries. The temple contains a gilded
replica of a 5th-century CE sculpture of Buddha Preaching his First Sermon. Its interior
walls are extensively decorated with frescoes by Japanese artist Kosetsu Nosu (1885-1973),
depicting important events in the life of the Buddha.
 Anagarika Dharmapala Museum & offices of the Maha Bodhi Society, located on
Dharmapala Road, just south of the modern Mulagandha Kuty Vihara
 A standing Buddha statue, 24.3 m (79 ft 9 in) in height, inspired by the Buddhas of Bamiyan,
is located on the grounds of the Thai temple and monastery at Sarnath. Construction began in
1997, and the statue was finally unveiled in 2011.
 A number of countries and regions in which Buddhism is a major religion (such as
Cambodia, China, Japan, Korea, Myanmar, Sri Lanka, Thailand, Tibet, and Vietnam) have
established temples and monasteries in Sarnath in the style that is typical for their respective
cultures, so visitors can gain insight into Buddhism from the perspectives of many different
cultures. A bodhi tree planted by Anagarika Dharmapala which has grown from a cutting
of the one at Bodh Gaya.

 Padmasambhava Buddhist Center: Padma Samye Chokhor Ling Monastery, Orgyen Samye
Chokhor Ling Nunnery, Khenchen Palden Sherab Rinpoche Stupa
 Vajra Vidya Institute for Higher Buddhist Studies
 Garden of Spiritual Wisdom, located on the grounds of the Chaukhandi Stupa

7
As a Jain pilgrimage site-The Sarnath Jain Tirth

Sarnath Jain Tirth

Singhpur (Simhapuri), a village approximately 1.7 kilometres (1 mile) northwest of Sarnath, [38] is
believed to be the birthplace of Shreyansanatha, the 11th tirthankara of Jainism.[77] It is also the
place where four of the five auspicious life events of Shreyansanatha took place. According
to Jain cosmology, the fifth auspicious life event is the attainment of moksha. Shreyansanatha
was among the twenty Jain tirthankaras who attained moksha in Sametshikhar.[77]
Sarnath has been an important pilgrimage site for Jains for centuries.[78] A 17th-
century Jain manuscript describes a Jain temple in Varanasi as being located close to "a famous
Bodisattva sanctuary" at a place called dharmeksā. This Sanskrit word translates to "pondering
of the law", and clearly refers to the Dhamek Stupa. The current edifice—Sarnath Jain Tirth (also
known as the Shri Digamber Jain Temple or Shreyanshnath Jain Temple)—was constructed in
1824.[38] Located only about 70 metres (230 feet) southwest of the Dhamek Stupa, this temple is
dedicated to Shreyansanatha.The main deity of this temple is a blue-coloured statue of
Shreyansanatha, 75 centimetres (30 inches) in height, in the lotus position

In her 1832 poetical illustration Sarnat, a Boodh Monument., to a picture by Samuel

Prout, Letitia Elizabeth Landon compared the four major religions of the world and mentioned
the persecution and subsequent expulsion of the Buddhists from India.

Sarnath is one of the locations of Rudyard Kipling's 1901 novel Kim. Teshoo Lama stays at the
"Temple of the Tirthankhers" in Sarnath when not on his pilgrimages.

"The Nameless City" is a fictional short story published in 1921 by H. P. Lovecraft. When the
narrator of this story sees the ruins of the Nameless City, he "thought of Sarnath the Doomed,
that stood in the land of Mnar when mankind was young, and of Ib, that was carven of grey stone
before mankind existed."[82] Lovecraft had previously described the fictional city of Sarnath in
his 1920 story "The Doom That Came to Sarnath".

8
 1. Plan of excavations at Sarnath, with sites labelled using Alexander Cunningham's
terminology (1835)
2. Plan of excavations at Sarnath, with sites labelled using contemporary English
terminology
3. View of Sarnath during archaeological excavations, 1907. Camera angle from the ruins
of the ancient Mulagandha Kuty Vihara towards the Dhamek Stupa; the Sri Digamber
Jain temple can be seen on the right side of the photograph.
4. Buddha statue inside a votive stupa at Sarnath

The Lion Capital of Ashoka, the Buddha Preaching his First Sermon sculpture, and
the Ashokan pillar, along with other antiquities as they appeared upon their exhumation at
Sarnath on 15 March 1905 (photograph by F. O. Oertel).
The Lion Capital of Ashoka and national emblem of India, now located in the Sarnath
Archeological Museum, as it appeared in 2011/Dharmarajika Stupa, from the pre-Ashokan
period, as it appeared in 2007

9
Pieces of the pillar of Ashoka at Sarnath, as they appeared in 2016, protected behind a glass
enclosure/Brahmi inscription on the main pillar of Ashoka at Sarnath

Greco-Persian sculpture of the head of a West Asian foreigner from the Maurya period,
Sarnath Museum
Perso-Ionic capital of the Mauryan period, excavated at Sarnath[86]
Opposite side of the same capital, excavated at Sarnath, depicting an elephant

The Bala Bodhisattva, an important statue for dating Indian art, was discovered at Sarnath. The
statue was dedicated in "the year 3 of Kanishka" (circa 129 CE).[87]
Exterior of the Sri Digamber Jain temple at Sarnath

10
 Interior of the Sri Digamber Jain temple at Sarnath

The modern Mulagandha Kuty Vihara, a Buddhist temple constructed by the Maha Bodhi
Society at Sarnath/Fresco in the modern Mulagandha Kuty Vihara, by Japanese artist Kosetsu
Nosu depicting the Maras attempting to distract the Buddha from gaining enlightenment

Temple and monastery of the Tibetan community in Sarnath/Seated statue of the Buddha, with
standing Buddha statue in the background, on the grounds of the Thai temple and monastery at
Sarnath

Sarnath school of art arose near Sarnath, Bihar, as its name suggests. The figures are
displayed in a plain, transparent drapery that covers the shoulders and has an ornamented halo
behind the head. This article will explain to you the concepts related to the Sarnath school of
art which will be helpful in Indian Art and Culture preparation for the UPSC Civil service exam.

 The mix of cream-colored sandstone and aluminum made it stand out. The sculptures
at this school were impeccably adorned and devoid of any form of nakedness.
 Many Buddha images in Sarnath have basic translucent drapery covering both shoulders
and a minimally adorned halo around the head, but the drapery folds and the halo around
the head are elaborately embellished in Mathura Buddha figures.
 Sultanganj Buddha is a good illustration of this (7.5ft in height).

11
Sarnath school of art
Historical background
 The Sarnath style primarily produced Buddhist art.
 "Sarnath Buddhas are probably the greatest single achievement of the Indian sculptor,"
largely establishing the representation of the Buddha that was followed in eastern India
and Southeast Asia for many centuries, as well as the general representation of the
human body in India.
 The mature style did not emerge until 450–475, according to a number of dated samples.
 Buddha images in Siam, Cambodia, and Java were created in the Sarnath style.

Significance
 Influence - indigenous, it is devoid of outside influences.
 Themes - Mostly Buddhist art was made in the Sarnath style.
 Features of sculpture - In contrast to the columnar rigidity of previous Mathura works,
Sarnath brings not only a delicacy and refinement of form, but also a relaxed
attitude by bending the body slightly on its own axis in the case of the standing figure,
thereby adding to it a certain litheness and movement.
 The slim physiognomy creates an impression of mobility, the body closely following the
modelling in all its minute subtleties, even in the case of the seated figure.
 The folds have all almost vanished; the only remnants of the draperies are the faint lines
on the torso that suggest the garment's boundaries.
 The folds that come apart are given a muslin-like texture once more. The body, in all
its smooth, gleaming plasticity, is the main focus of the Sarnath artists.

12
  The drapery folds and the halo around the head are lavishly embellished in Mathura
Buddha figures, whereas many Buddha statues in Sarnath have basic translucent drapery
covering both shoulders and a lightly ornate halo around the head.
 Type of sandstone - It stood out because of the combination of cream-colored sandstone
and aluminium.
 Other features - From Sarnath, the image of the standing Buddha is a magnificent
example of Gupta art at its peak.
 The gently sculpted figure's right hand is raised in a protective posture. Unlike
the Mathura Buddha's beautifully carved drapery folds, just the diaphanous robe's
fringe is represented here.
 The sublime being is genuinely deserving of the exquisite execution of the figure
matched by its tranquil spiritual expression.

Ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
o

13
 II
Sarnath Jain Tirth, also called the Shreyanshnath Jain Pilgrimage, is a group
of Jain temples in Sarnath. They are located near Dhamek Stupa. Simhapuri, present-day
Singhpuri village, is believed to be the birthplace of the Shreyansanatha, the 11th tirthankara.
The place also marks four of five Kalyanaka (auspicious events) of
Shreyansanatha: Chyavan (tirthankara enter's their mother's
womb), Janm (birth), Diksha (renunciation) and Kevala Jnana (omniscience). Mahavira also
delivered sermons at Sarnath and Varanasi.
The ruins near a relatively new Digambara temple are of an ancient Jain temple erected by
the Śvetāmbaras.

About Digambara temple

The temple was constructed in 1824 CE to commemorate the birthplace of Shreyansanatha.
The mulnayak (primary deity) of the temple is a large image of Shreyansanatha and impressions
of footprints. The temple also features attractive frescoes depicting the life of Mahavira.

Digambar temple and Śvetāmbara temple ruins/Idol of Shreyansanatha

The Buddha in the Sarnath Museum, in the teaching posture The Buddha Preaching his First
Sermon is a stone sculpture of the 5th-century CE showing Gautama Buddha in the "teaching
posture" or dharmachakra pravartana mudrā. The relief is 160 cm (5 ft 3 in) tall, and was
excavated at Sarnath, India by F. O. Oertel during the 1904–1905 excavation season of
the Archaeological Survey of India (ASI); it was found in an area to the south of the Dhamek
Stupa.

14
A product of the local Sarnath school of sculpture, it has been displayed at the Archaeological
Museum at Sarnath, the first site museum of the ASI, from the time of the museum's completion
in 1910. It is best known for the Buddha images showing the subject, "type considered a
hallmark of the Sarnath school of Buddhist art",and is described by Denise Leidy as "justifiably
one of the most famous representations of the Buddha in Asian art", and by Robert E. Fisher as
"the most famous Gupta [Buddha] image"

Description
The sculpture depicts the Buddha giving the famous "Sermon in the Deer Park" at Sarnath,
where the Buddha initiated his teachings, which are recorded on the
Pali Dhammacakkappavattana Sutta. In this sculpture, the Buddha is seated in
the padmāsana posture (or "lotus position"), with his hands in the dharmachakra pravartana
mudra, literally the mudra of "turning the wheel of dharma", by means of teaching. He is
delivering the first sermon to the five disciples shown, at a much smaller scale, below, with
the dharmachakra in the centre. The wheel is flanked by couchant deer, symbolizing the deer
park (Mrigadava) at Sarnath, where the event took place.

The five disciples were Kaundinya, Assaji, Bhaddiya, Vappa and Mahanama, all of
them Brahmins who had known Siddharth in the past. They are known as the Pañca
bhadravaggiyā monks.[1] In addition to the five, there is a kneeling woman and a child. The
throne has mythical beasts, a makara and a vyala (shardula), on each side, as required by
convention. On both sides of the circular ornate halo, there is a flying deva bearing a tray of
flowers.

Sarnath is intimately connected to the dharmachakra, a wheel symbol in Buddhism. The Lion
Capital of Ashoka originally supported a large dharmachakra (thus the lions served as the
support for the dharmachakra). During the excavations, the broken stone dharmachakra was
found.

The Dharmachakra Jina Vihar is another example of the importance of the dharmachakra at
Sarnath. In a mid-12th-century inscription attributed to Queen Kumaradevi (consort
of Govindachandra), she takes credit for the construction of a living quarters for monks.[11] It is
widely asserted that the structure referred to in the Kumaradevi inscription is the Dharmachakra
Jina Vihar, but the evidence for this is inconclusive. Whatever the case, it is likely to be among
the last structures to be built at Sarnath prior to its destruction in 1194. [12] The inscription is
currently maintained at the Sarnath Museum.

15
Appreciation

1905, Excavation at Sarnath, with the Lion Capital of

Ashoka (centre) and the Dharma-chakra-pravartana Buddha sculpture (right)

Of the hundreds of Buddha images produced by the Sarnath School, arguably the best known is
this Dharmachakrapravartana image, showing the First Sermon preached at the Deer Park in
Sarnath. John Huntington has analyzed this sculpture in detail. He wrote "Nowhere in the whole
of Buddhist art is there a more clearly and specifically articulated vision of the event than this
image... The image is also highly nuanced and to the aware observer has a vastly
complex Buddhological message, to be read on several levels."

One of the most well-known Buddha images from ancient South Asia, according to Catherine
Becker, this Gupta period representation of the Buddha turning the wheel of dharma in the deer
park at Sarnath is a canonical example of the "golden age" of Gupta sculpture.

According to Robert E. Fisher, "we are confronted with a figure of great spiritual bearing, far
removed from the earlier, heavy yaksha-derived images. Now attention is directed to the
meaning of the faith, instead of to the person of the Buddha. His form is highly abstracted,
extraneous details are eliminated and our attention is drawn to the focused gaze and to the face
and hands, areas surrounded by smooth unadorned surfaces. These combine to convey a meaning
extending beyond the episode of the First Sermon, and on to the transcendent dimensions
of Mahayana Buddhism. The transcendent effect equals that found in the colossal images
at Kanheri and Bamiyan, but without recourse to overpowering size".

Krishna Dev, formerly and latterly, David Berry Knapp, the mayor of Rajneeshpuram, Oregon,
described the sculpture as follows: "This outstanding image radiates the Master's adamant
resolve and strength, combined with complete equanimity, compassion and tender grace. The
inspired artist of this masterpiece has caught the moment when the great teacher who had
achieved Supreme Enlightenment after six years of strenuous exertion, felt overwhelmed with
compassion for the suffering humanity and condescended to turn the Wheel of Law... The
momentous events of the First Sermon and the founding of the Buddhist Sangha are
immortalised in this unique sculpture ... Combining elemental strength with tender grace and
subtle delicacy with transcendental sublimation, this luminous image indeed constitutes a
masterpiece of the Indian, nay World art, enshrining the noble teachings of Lord Buddha."

16
Radha Kumud Mookerji, born 1884, nationalist historian of India, wrote originally in 1947: "The
Sarnath seated image of the Buddha in the act of his preaching the first sermon is considered as
one of the masterpieces of Indian art, and of its Gupta style marked by its symbolism."

Replica at the Mulagandhakuti Vihara

Mulagandhakuti ViharaThe replica at the Mulgandha Kuti Vihar/After the excavations, a new
temple was commissioned by the Maha Bodhi Society for construction in 1931. The frescoes on
the walls were painted by the noted Japanese painter, Kosetsu Nosu. The focal point of the
temple is a gilded replica of the famous sculpture of the Buddha in the Dharmachakra Pravartana
mudra. Anagarika Dharmapala, the founder of the Maha Bodhi Society actively guided the
construction of the temple.

Replicas of the Sarnath Buddha

The image is sometimes referred to as simply as the Sarnath Buddha. This is one of the most
reproduced Buddha images. Other images probably influenced by it include:

 Birla Mandir Delhi Buddha Vihar, inaugurated by Mahatma Gandhi in 1939.

 On one face of the Rajgir Vishwa Shanti Stupa
 India gifted a 16-feet high Buddha statue to Sri Lanka to be installed at the sacred Sri Dalada
Maligawa temple at Kandy in 2010.
 Replica at the Luoyang White Horse Temple within the Sanchi stupa replica (Yindufodian)
[21]

 Replica at the Palelai temple Singapore.

 Poh Ern Shih Temple, Singapore
 Ancient sandstone replica found at an Udupi suburb in 2021.
Small as well as large replicas in wood, marble, bronze, terracotta and plaster are widely
reproduced and sold in India and overseas using the term "Sarnath Buddha".

17
Gallery of replicas and similar works

1. Budhha Vihar in Birla Mandir Complex Delhi

2. Rajgir Vishwa Shanti Stupa
3. Poh Ern Shih (Singapore) Sarnath Buddha copy
4. White Horse Temple Indian hall (Yindufodian), Luoyang, China

5. A different Sarnath Dharmachakra Pravartana Buddha of same period, British Museum

6. Phra Buddha Mettapanyanath (10 feet high), Wat Khung Taphao, Thailand
7. International Buddhist Museum at Kandy, Sri Lanka
8. Buddha Shakyamuni or Vairochana Kashmir
9. Monastery of Tam Bao Son, Quebec, Canada
10 Modern Thai depiction

18
 III
What happened at Sarnath in the 300 years between Buddha and Ashoka?
Archaeology has clues

Three centuries elapsed between Buddha attaining enlightenment and Ashoka’s rise as Emperor
of Magadha in 268 BCE. This niggled at archaeologist and numismatist BR Mani when he
launched an excavation at Sarnath in 2013-14.
“There is a common perception that everything started with Ashoka at Sarnath, but I knew that it
couldn’t be true,” said Mani, the former director general of the National Museum.
“Indian archaeology has undergone many changes, and Sarnath is probably the only example
which witnessed the (changing) style of excavations… right from 1815 onward, decades before
Alexander Cunningham came into the picture as the first director general of the Archaeological
Survey of India,” said Mani.
Digging for answers
Sarnath is one of the few archaeological sites in India with an excavation history spanning more
than 200 years. In 1815, the first surveyor general of India, Colonel Colin McKenzie, initiated
work at the site. Later, around 1834-36, Cunningham discovered important structures as well as
relics. It was a pivotal moment in Indian archaeology, but the first site museum was established
only in 1910 by then ASI director-general Sir John Marshall.
Along with his colleagues Harold Hargreaves and Daya Ram Sahani, Marshall continued
excavations in the first half of the 20th century.
“They found the Lion Capital, the famous preaching Buddha statues, the Ashoka Pillar—one of
the earliest and most imposing structures at Sarnath, which is our national emblem today,” said
Mani.

Sarnath Lion Capital-1904-05 | photo: X/@ASIGoI

19
Everything came to a halt with World War II. There were no excavations at Sarnath until Mani
restarted it in 2013-14. Before digging, he and his team had to study all previous excavation
reports.The team dug four trenches to find the original bricks and foundations of the structures.
They had to go all the way down to the natural soil so they could see the different construction
layers and figure out when settlement first began.
They excavated the northern side of the site, where they found a “dump of significant but
damaged Buddha sculptures” dating back to the late 4th or early 5th century. The results
suggested that the foundation of the Apsara temple rested on a strong base of brick beds.There
are layers suggesting the construction period, The carbon samples collected from the site, which
were sent to Florida (for testing), and, to everyone’s surprise, got dated to early 4th century BCE.

During the Gupta period (c. 320 – 647 C.E., named for the Gupta dynasty) there were
tremendous advances in poetry, prose, and drama as well as important discoveries in
mathematics and astronomy. This was the age of some of the most celebrated creatives in Indian
history, including the fifth century writer Kālidāsa whose works would influence generations of
writers. This was also the period in which the fifth century astronomer Aryabhata theorized that
the earth rotated on its own axis and calculated the solar year at 365.3586805 days.

The Puranas, a compendium of religious literature considered sacred to both the Hindu and Jain
religious traditions and consisting of stories and the genealogies of the gods, folk tales, and
traditional lore, grew in prominence during the Gupta years. While it is difficult to date
the Puranas because they contain anonymous texts compiled over many centuries both before
and after the Gupta period, we know that Puranic stories were a popular religious and cultural
reference during the Gupta years from the depiction of Puranic episodes in art and
architecture. Kālidāsa’s poetry and plays also frequently engaged with episodes from
the Puranas.

The Guptas were ambitious rulers and by the end of the fourth century claimed dominance over a
vast swathe of northern India. They maintained a capital at Pataliputra, the same ancient center
used by the formidable, and earlier, Mauryanempire (4th – 2nd century B.C.E.) and that of the
emperor AshokaMaurya (3rd century B.C.E.).

Emperor Chandragupta II on his horse, c. 380 – 415 C.E., gold coin (The British
Museum)/Varaha panel, cave number 5, 5th century C.E., Udaigiri rock-cut caves, Madhya
Pradesh
The gold coin above shows Chandragupta II — one of the earliest and most successful Gupta
rulers — who reigned from c. 380 C.E. to 415 C.E. Chandragupta is regally dressed, as is his

20
horse, and he holds a bow as his sash flies behind him. This type of iconography emphasizes
the emperor’s identification as a conqueror and the inclusion of a goddess (on the reverse
side of this coin, not shown) implies divinely mandated rule. FaHsien, a Buddhist pilgrim
from China, who was in India during the reign of this king wrote with admiration about the
prosperity of the empire, describing it as a charitable place with hospitals, rest-houses, and
medicine for those in need.

The Golden Age of Indian Culture?

Although Gupta overlordship was significant throughout the empire in the early years and
later, local rulers were allowed a fair bit of autonomy in their territories. It is important
therefore to not conflate the innovations and achievements of the Gupta period with the
Guptas, and to acknowledge the contributions of regional dynasties. This is particularly
important when works of art and architecture dated to the Gupta period are missing
contextual information. Rather than assigning the Gupta dynastic label to these works of art
and architecture, art historians use methods of connoisseurship to understand the artists,
patrons, and provenance of these works. In the process, we are able to better understand the
artistic developments of the period as a whole.
The Guptaperiod was termed the “Golden Age of Indian Culture” by some early observers
who assigned the vast quantity and sophisticated quality of art from that period to the
sponsorship of the Guptas. The term “Golden Age” was based on the desire of these writers
for an ideal or classical style of art (using the art of ancient Greece as an example), and the
opinion that art after the Gupta period was less classical and too decadent to be tasteful. The
artistic developments of regional kingdoms in the Gupta era problematizes this Eurocentric
perspective. The fifth and sixth century rock-cut temples at Ajanta and Elephanta, in the
domain of the Vakataka and Kalachuri rulers respectively, are prominent sites that point to a
richer and more complex art history of the Gupta period. That is not to say that the Gupta
rulers themselves were not important patrons of art and architecture. The Udaigiri complex of
rock-cut caves in Madhya Pradesh (a large state in central India) is a an exceptional site with
inscriptions that indicate sponsorship from the Gupta court. Nineteen of the site’s twenty
caves are dedicated to Hindu gods and date to the fourth and fifth centuries; one cave is
dedicated to the Jain religion and is dated to the early fifth century.

21
 Standing Buddha Offering Protection, late 5th century, red sandstone, Mathura (The
Metropolitan Museum of Art) Varaha, 5th century CE, Eran, Madhya Pradesh
Scholars have suggested that the Guptas may have been especially attached to the
Varaha avatar of Vishnu. A remarkable sculpture — this time showing the Varaha avatar in the
form of a boar (not a man-boar as at Udaigiri cave number 5) — is found in Eran, another site in
Madhya Pradesh. Eran has a number of temples dated to the Gupta period and its association
with the Guptas is well-established by way of inscriptions.
This sculpture of the Buddha Sakyamuni can be assigned to the late 6th or early 7th century, a
period in which the Gupta Dynastystyle of northern and north eastern India was at its summit.
The Gupta period (4th to 6th century) is noted as a time during which the quintessential Buddha
image was created, becoming an iconic form which was disseminated and copied throughout the
Asian Buddhist world. Gupta style stands at a crossroads in art historical developments in the
sub-continent. The aniconic tradition of representing the Buddha was abandoned by this stage in
favor of depictions of the deified Buddha and the Gupta period boasts some of the most
impressive examples. Scholars have suggested that the style of the Gupta Buddha evolved out of
the Gandhara and Mathura style of Buddhas. The Gandhara and Mathura Buddhas were distinct
versions of the Buddha image developed during the Kushanempire (2nd century B.C.E. – 3rd
century C.E.) in the Gandhara and Mathura regions respectively. Kushan-ruled territories became
part of the Gupta empire and it is certainly possible that the aesthetic style of Buddha images
produced in those areas inspired the development of the Gupta Buddha.

During the Gupta period, Sarnath developed its own unique style of sculptural art. Standing
Buddha: Both the Gandhara and Mathura school only produced seated Buddha sculptures.
However, the production of standing Buddha was a special feature of Sarnath school of
sculpture.
The Gupta style embodies the earlier figurative styles of north and north west India (Mathura and
Gandhara), while achieving a new power and sophistication. It is noted for the full, sensuous
modelling of faces and bodies, for a subtlety of expression and for the harmonious proportions of
its figures. During these centuries the workshops at Sarnath, a monastic complex built on the site
of the Buddha's first sermon, became especially artistically influential. A particular type of
standing Buddhaimage was produced here whose body is covered by a diaphanous robe, which
22
clings to the figure while flaring at the sides. This was to become the prototype for a multitude of
later images including the Radiant Buddha.
https://resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2012/02/
ARTH406-1.4.1-The-Gupta-Style-of-the-Buddha-its-influence-in-Asia.pdf

Copies of each other…The

Mathura Buddhas of 5 th Century

The Bimaran casket or Bimaran reliquary is however the earliest Buddha image known to
man. is a small gold reliquary for Buddhist relics that was found inside the stupa no.2
at Bimaran, near Jalalabad in eastern Afghanistan.

The Stupa Nb.2 at Bimaran, where the reliquary was excavated. Drawing by Charles Masson.
When it was found by the archaeologist Charles Masson during his work in Afghanistan between
1833 and 1838, the casket contained coins of the Indo-Scythian king Azes II, though recent
research by Robert Senior indicates Azes II never existed and finds attributed to his reign

23
probably should be reassigned to Azes I. The most recent research however (2015) attributes the
coins to Indo-Scythian king Kharahostes or his son Mujatria, who minted posthumous issues in
the name of Azes.
The Bimaran reliquary is sometimes dated, based on coinage analysis, to 0–15 CE (Fussman),
more generally to 50–60 CE (British Museum), and sometimes much later (2nd century CE),
based on artistic assumptions only. It is currently in the collections of the British Museum. The
dating of this unique piece of art has a strong bearing on the chronology of Buddhist art and the
creation of the Buddha image, as its advanced iconography implies that earlier forms had
probably been existing for quite some time before.

Detail of the Buddha, where the rare posture and light dress are visible.
The casket is a small container reminiscent of the Pyxis of the Classical world. It was found
without its lid. There is a lotus decorating the bottom.
The casket features hellenistic representations of the Buddha (contrapposto pose,
Greek himation, bundled hairstyle, wearing a moustache, realistic execution), surrounded by the
Indian deities Brahma and Śakra, inside arched niches (called "homme arcade", or caitya)
of Greco-Roman architecture. There are altogether eight figures in high-relief (two identical
groups of Brahman-Buddha-Indra, and two devotees or Bodhisattvas in-between) and two rows
of rubies from Badakhshan.
Owing to their necklace, bracelets, and armbands, and halo, the two devotees are most probably
representations of Bodhisattvas. They hold their hands together in a prayerful gesture of
reverence, AñjaliMudrā. The casket is made in gold-repoussé and is very small, with a height
of 7 cm (2+3⁄4 in). It is considered as a masterpiece of the Greco-Buddhist art of Gandhara.

The Buddha: a rare iconography

The Buddha seems to walk sideways. His right forearm goes across his chest to form the Abhaya
mudra. His left fist is clenched on his hip. The gown of the Shakyamuni Buddha is quite light
compared to that of the other known representations of the standing Buddha (see Standing
Buddha (Tokyo National Museum)), tending to follow the outline of the body, in a rather light
way. These are probably the first two layers of monastic clothing the antaravasaka and

24
the uttarasanga, without the heavier overcoat, the sangati, which would only go as low as the
knees and be more markedly folded. Also, his gown is folded over the right and left arm (rather
than being held in the left hand as in the classical Buddha image), suggesting some kind of scarf-
like uttariya. He has an abundant topknot covering the ushnisha, and a simple halo surrounds his
head. This combination of details of the iconography (posture and clothing) is rare and only
otherwise known in the coins of Kanishka (c. 150 CE), where they bear the inscription
"Shakyamuni Buddha", in apparent contrast to his coins of the "Buddha" where he wears the
heavy topcoat. The posture itself is well known in the art of Gandhara in sculptures of the
Buddha as a Bodhisattva, but in these cases, he wears the Indian princely dhoti and the royal
turban.

The Bimaran casket, illustrated by Charles Masson: view in volume, flattened view of a half
portion of the casket, and bottom.

The steatite box that contained the Bimaran casket/ Inscriptions on the steatite box.
The Bimaran casket was kept in a steatite box, with inscriptions stating that it contained some
relics of the Buddha. When opened in the 19th century, the box did not contain identifiable
relics, but instead some burnt pearls, bead of precious and semi-precious stones, and the four
coins of Azes II.

25
Broadly speaking, the image of the Buddha emerged during the first few centuries C.E. in two
major centers of Indian art during the Kushana period. One center of artistic production was the
ancient region of Gandhara, an area that includes northwestern India as well as parts of present-
day Pakistan and Afghanistan. The Gupta period (4th to 6th century) however is noted as a time
during which the quintessential Buddha image was created, becoming an iconic form which was
disseminated and copied throughout the Asian Buddhist world. Gupta style stands at a crossroads
in art historical developments in the sub-continent.

For a few more centuries the Buddhist art continued to develop in India, flourishing in the Gupta
period, also known as the golden age, which lasted from the 4th to the 6th century. Almost all of
the works we can see today are religious sculptures, though the period saw the emergence of the
Buddha figure and Jain Tirthankara figures. The Gupta period is significant for its creations of an
“ideal image” of the Buddha, achieved through the combination of his traits from the region of
Gandhara and the sensual form of Mathuran artists. These Gupta Buddhas later became the
model for the generations of artists who followed, in post-Gupta and Pala India, in Nepal,
Thailand, and Indonesia.

A Chinese wooden Bodhisattva

from the Song Dynasty

Buddhist Art Outside of India

As Buddhism expanded to the places outside of India, its aesthetics mixed with other influences,
leading to different views on the religion and art. There are two main routes of Buddhist art:
the Northern route, with the inception in the 1st century AD. in Central Asia, Tibet, Bhutan,
Korea, Japan, and China where the Mahayana Buddhism was prominent, and the Southern
route in Myanmar, Thailand, Vietnam, and Cambodia, where Theravada Buddhism was
dominant.

Northern Route
In Afghanistan, Buddhist art thrived until the spread of Islam that came in the 7th century. The
best examples of Afghan art were the Buddhas of Bamyan, and the sculptures that blended
Hellenistic, or Greco-Roman influence and post-Gupta mannerism. However,

26
the Islamic religion was not tolerant towards Buddhism, as it was no the religion “of the Book”,
and it was considered to depend on idolatry. In Islamic art, human figurative art was prohibited,
which led to the systematic destruction of Buddhist art by the Taliban regime.

In Central Asia, the expansion of the Former Han to the West caused the increased influence of
the Hellenistic civilizations, especially the Greco-Bactrian Kingdom on the Buddhist art. This led
to the expansion of Buddhism to the communities on the Silk Road, where some cities were
filled with stupas and Buddhist monasteries. The eastern part of Central Asia was rich with
Serindian art, influenced by the Indian and Hellenistic sculptures, as well as by the
Gandharanstyle.

In China, Buddhism appeared in the 1st century AD., and it brought the idea of statue
to Chinese art. One of the earliest instances of Buddhist art in China is the sculpture found in
the Han dynasty burial in the province of Sichuan, created circa 200 AD., showing a heavy
Gandharan influence. During the Tang dynasty, artists were influenced by the Gupta period, but
in the year 845, the emperor Wuzong prohibited the foreign religions, including Zoroastrianism,
Nestorianism, and Buddhism, in favor of the indigenous Daoism. He seized all Buddhist
artworks and forced the religion to go underground. Under the Song dynasty, however, Chan
Buddhism (which will later become Zen Buddhism) prospered. China is a country with the
richest collection of Buddhist art, including the Mogao Caves in the province of Gansu, the
Longmen Grottoes in Henan province, and the Dazu Rock Carvings, which are the most
important Buddhist sculptural sites.

In Japan, Buddhism was discovered in the 6th century, and accepted the religion in the centuries
to come. The government often sponsored the creation of numerous sculptures and paintings.
The Japanese style was influenced by the Chinese, Korean, Indian, and Hellenistic styles, and
the period between the 8th and the 13th century was especially fruitful for the development of
Buddhist art. In the 12th century, the Japanese Zen art was at its peak, characterized by paintings
and poetry (especially haiku), as well as by the Ikebana art, and the Chanouy tea ceremony.

In Tibet, one of the most significant creations was the mandala, a diagram of a “divine temple”
comprised of a square enclosed by a circle, the purpose of which was to help with the focus of
attention during meditation. The strongest influences here were the Gupta and Hindu art.

Southern Buddhist Route

In Myanmar, the strongest influences came from India. Beikhtano temple in
central Myanmar was the earliest instance of Buddhist art, and it dates back to the time between
the 1st and the 5th century. The influences of Gupta and post-Gupta periods can be seen, and
later the jeweled statues of the Buddha were created.

Cambodia saw the expansion of Buddhism under the Khmer Empire when over 900 temples
were built all over the country. Angkor had a Buddhist temple complex where a large number of
sculptures and other artworks are preserved.

In Thailand, Buddhist art was influenced by India and Gupta tradition, as well as by the
Cambodian Khmer art, based on the Mahayana, with the creation of Bodhisattvas in large

27
numbers. In the 13th century when Theravada Buddhism was introduced, highly stylized images
became prominent, and during the Ayutthaya period, the Buddha was represented with lavish
clothing and jeweled ornaments.

Indonesia was heavily influenced by India as well, accepting both Mahayana and Vajrayana
Buddhism. A large number of statues of Bodhisattvas can be found all over the region. But
probably the richest remnants of Buddhist art can be seen in Java and Sumatra, one of the most
important ones being the temple of Borobudur, which is actually the largest Buddhist building in
the world. The temple was created after the Buddhist concept of the universe, the Mandala,
comprised of 505 images of the Buddha and a bell-shaped stupa. The oldest Buddhist building in
Indonesia is the Batu Jaya stupas that date back to the 4th century AD. In Sumatra, there are the
temples MuaraTakus and Muaro Jambi, and the most beautiful example of this type of art is the
statue of Prajnaparamita, the goddess of wisdom from Singhasari. Unfortunately, the Buddhist
art of the region was destabilized by the expansion of Islam in the 13th century, however, some
remnants of this art can still be found in Indonesia.

The detail of the statue of Prajnaparamita from Singhasari, East Java via wikipedia.org

The Gupta Buddha

The aniconic tradition of representing the Buddha was abandoned by this stage in favor of
depictions of the deified Buddha and the Gupta period boasts some of the most impressive
examples. Scholars have suggested that the style of the Gupta Buddha evolved out of the
Gandhara and Mathura style of Buddhas. The Gandhara and Mathura Buddhas were distinct
versions of the Buddha image developed during the Kushanempire (2nd century B.C.E. – 3rd
century C.E.) in the Gandhara and Mathura regions respectively. Kushan-ruled territories
became part of the Gupta empire and it is certainly possible that the aesthetic style of Buddha
images produced in those areas inspired the development of the Gupta Buddha.
The process bywhich the amalgamation of features from both the Gandhara and Mathura
styles led to the Gupta image was surely a complex and involved process that developed over
centuries. In addition, while Gupta period artists appear to have inherited the developments
of the Kushanempire in many aspects, they likely also gained from the developmentsof art
28
produced in other regions and kingdoms — both previous and contemporaneous. It is helpful
to also remember that artists and therefore styles of art may have been itinerant at various
points in history.
Gupta period Buddhas are characterized by covered shoulders, a head full of tight curls that
cover even the ushnisha, and ornately carved halos. Images of the Jina (the 24 great teachers
and perfected beings of the Jain religion) from this period are closely similar to Buddha
images, especially in the rendering of a head of tight curls. The Jina’s posture and adornment
follows the iconographic prescriptions of Jain sacred imagery and emphasize immobility and
austerity.

“Gupta” as a style

While using the Gupta dynastic label to categorize all art produced in the Gupta period is, as
we have seen above, problematic, there are certain developments in style and iconography
from the Gupta period that are important to note, such as the tendency to render deities as
life-sized or larger and the consistent use of hierarchic scaling. See the Varaha panel at
Udaigiri above, for example.
Workshops in the Gupta period also employed signature styles. Images of the Buddha from
the Mathura region, for instance, were produced in mottled red sandstone. The Mathura
workshops also preferred to render the folds of the Buddha’s robes as looped strings as
opposed to the thick folds preferred by Gandharan workshops in the Kushan period. Buddha
images from the region of Sarnath, on the other hand, were made from a yellowish-tan
sandstone and are shown wearing smooth robes.

Left to right: Buddha, 3rd century CE, schist, Gandhara (The Metropolitan Museum of
Art); Standing Buddha, c. 5th century CE, red sandstone, Mathura (RashtrapatiBhavan

29
Presidential Palace, New Delhi); Standing Buddha, 474 CE, sandstone, Sarnath (Sarnath

Museum)
Scholars believe that portable Gupta period Buddhas, carried by pilgrims backto their
homelands, played a role in the development of the Buddha image in the art of East and
Southeast Asia. The Gupta Buddha would also influence later images of the Buddha in South
Asia — such as those thatwere produced in the territory of the Pala dynasty (c. 700 – 1200)
in eastern India. The Pala period saw the Buddha image develop even further and is notable
for its inclusion of ornate crowns.

Gupta period sculpture and painting

In addition to its prolific production of Buddha images, the Gupta period is also known for its
Hindu and Jain sacred imagery fashioned from terracotta, stone, and metal. Surviving
terracotta examples include sculptural plaques that were meant to adorn the walls of temples.

30
Krishna Killing the Horse Demon Keshi, 5th century, terracotta (The Metropolitan Museum
of Art)
The terracotta panel above shows the Hindu god Krishna (also an avatar of Vishnu) killing
the horse demon Keshi. Krishna pushes the horse-demon back with his leg and sticks his
elbow in Keshi’s mouth to stop the demon’s advance. If there is any doubt as to the aftermath
of this encounter, the dead Keshi lies at the bottom of the panel.
Painting too was likely a popular art-form in the Gupta period, although sadly, few examples
have survived. If the mural paintings at the Buddhist rock-cut caves of Ajanta are any
indication, painting techniques by the fifth century were highly developed. Ajanta’s paintings
are also priceless for the clues that they contain on the artistic achievements of the period; we
only need look at the accessories and clothes worn by the protagonists of the murals as well
as at the architectural spaces that they occupy to better know the style of jewelry, textiles,
and secular architecture that was popular at that time.

31
Mural in cave 1, Ajanta, 5th century C.E., Aurangabad

Temple architecture

Most Gupta-period architecture that survives in-situ is religious in nature and is built from
stone and brick. A modest temple structure known as number 17 at the sacred complex at
Sanchi – famous for its great stupa, and believed to date to the early fifth century, gives an
idea of the early style of Indian temple architecture.
Gupta Buddha Images, The Gupta Style of the Buddha & its influence in Asia

The Dvaravati style derived from Indian archetypes such as

Amaravati and Gupta styles and were integrated with local
art. Dvaravati art and images went roughly through three
stages: In the initial stage, there was heave Indian influence,
later on the art became more independent locally, and still later
influence of Khmer art is visible.

So, initially the faces depicted would resemble Indian

sculptures. Later on, influenced by local styles, the aureole
would appear in a lotus bud shape or orb over the cranial
protuberance. Large hair curls are visible, and the eyebrows
would resemble a crows wings curve, like a flying bird.

32
Dvaravati art - Buddha Image Protuding eyes, with flat nose and thick lips are common.
at Wat Na Phramen, Standing Buddha images performing the Vitarka (Preaching)
Ayutthaya. Notice that the posture, with robes hanging to mid shin level (see example). In
Buddha is seated in the sitting images, a short mantle is placed over the left
'European style'. The Buddha shoulder. Khmer influence became visible later on with a more
displays none of the 'classical' square face and cleft chin.
mudras, and His Hands are
laying peacefully palms down
on His Knees.

This sculpture can be assigned to the late 6th or early 7th century, a
period in which the Gupta Dynasty-style of northern and north eastern India was at its
summit.
The Gupta period (4th to 6th century) is noted as a time during which the quintessential
Buddha image was created, becoming an iconic form which was disseminated and copied
throughout the Asian Buddhist world. Gupta style stands at a crossroads in art historical
developments in the sub-continent.
The Gupta style embodies the earlier figurative styles of north and North West India
(Mathura and Gandhara), while achieving a new power and sophistication. It is noted for the
full, sensuous modelling of faces and bodies, for a subtlety of expression and for the
harmonious proportions of its figures. During these centuries the workshops at Sarnath, a
monastic complex built on the site of the Buddha's first sermon, became especially
artistically influential. A particular type of standing Buddha image was produced here whose
body is covered by a diaphanous robe, which clings to the figure while flaring at the sides.
This was to become the prototype for a multitude of later images including the Radiant
Buddha.

33
At Mathura, another important northern Indian artistic centre, other standing images were
produced in which the folds of the garment were prominently shown. The Radiant Buddha
therefore shows an ancestry embracing both traditions, it reveals the long flaring transparent
garment of Sarnath and at the same time the prominent folds of Mathura.
Though the Indian Gupta style is confined historically to the 4th to late 6th centuries, the
immediate north Indian legacy of the style, sometimes referred to as the Post-Gupta style,
extends into the 7th and 8th centuries, the time-frame to which this sculpture belongs. The
image is close in style to the large bronze standing Buddha of the 7th-8th century discovered
at Sultanganj in eastern India during the mid 19th century and now housed in
the Birmingham Museum. The other two surviving standing bronze Buddha images of the
same date and style are held at the Metropolitan Museum of Art in New York and the Los
Angeles County Museum of Art.
The Gupta style, and its related Buddha images, were to be highly influential for the many
regional schools of sculpture that arose in later periods all over the Indian subcontinent. Its
influence can be discerned in the sculptures of eastern and northern India from the 8th to the
12th centuries (Pala Dynasty) and felt in the Himalyan kingdoms of Nepal during the 5th to
9th centuries (Licchavi Dynasty), Kashmir (7th to the 14th centuries) and in Tibet from the
11th onwards. But the significance of the Gupta-style Buddha reached far beyond the Indian
subcontinent itself. It was carried with the teachings of the Buddha throughout Asia and laid
the foundation for images produced in Tang China, (7th to 10th centuries) and in the Hindu-
Buddhist states of Southeast Asia.
Buddha Image Under the Guptas

Under the benevolent patronage and inspiration of the Gupta rulers (320 - 646 AD), the art of
sculpture attained its all-time height. The Buddha images of Mathura and Gandhara phases
were definitely magnificent and gorgeous, but the Gupta images were not only different but
also without a parallel before and after. In accordance with the artistic perception of a
spiritual image and of the era, these Buddha images of the subsequent period have enshrining
on their faces a kind of celestial calm, serenity, a gentle smile, divine glow and unique
composure. (illus) With a distinction of its own, there developed at Sarnath a great center of
Buddhism and Buddhist art. Sarnath came out with its own image of Buddha, unique in its
spiritual perception and enchanting in aesthetic glow. There enshrines upon the lips of
Sarnath Buddha image a gentle celestial smile and on the calm oval face the lyrical

34
 tenderness of a full blooming rose. It has retained the long earlobes of the Mathura image but
its massive physiognomy has been replaced by a tender slender figure with long arms and
fine delicate long fingers. The robe has greater transparency as has a wet silk garment. The
image has greater thematic thrust and is more expressive. Embellishment becomes more
pronounced and the earlier halo has now a more decorative character.

Budha Gupta (476-495 AD) |

REFERENCES

1. http://new.exoticindiaart.com/article/lordbuddha
2. (http://www.vam.ac.uk/collections/asia/asia_features/buddhism/radiant_buddha/
style/index.html)

IV
The Wheel of Dharma
When Buddha first reached awakening, he is said to have explained his findings to five ascetics.
This first teaching is marked as the moment at which the Wheel of Dharma was activated. As it
was not permitted to depict Buddha in his human form, the wheel became the symbol of
Buddhism, often carved into the artworks and created by the craftsmen of that time.
Dharmacakra is the symbol taken from Jain tradition, an ancient Indian religion that
promotes ahimsa (non-violence) towards all the living beings on this Earth. One of the earliest
instances of Dharma art is the Sarnath pillar, one of the Pillars of Ashoka. These pillars were
built by the Mauryan king Ashoka in the 3rd century BC. In this pillar, the lion serves as a

35
reference to Buddha, and at the bottom, the wheels and an ox are emerging from a stylized lotus
flower.

The actual Wheel of Dharma is comprised of three basic parts: the hub, the rim, and the spokes.
It was said that the round shape of the Dharma represents the perfection of the Buddhist
teaching, the rim represents mindfulness and concentration which are the glue that holds the
dharma together, the hub is a symbol of moral discipline, and the three swirls on the hub can
sometimes represent the Three Treasures – Buddha, dharma, and sangha. The spokes can
symbolize various things depending on their number. When the Dharma wheel has four spokes,
which is very rare, they represent the Four Noble Truths: dukkha (the truth of
suffering), samudaya (the truth of the cause of suffering), nirhodha (the truth of the end of
suffering), and magga (the truth of the path that frees one from suffering). When it has eight
spokes, the most commonly used one, they represent the Eightfold Path. When it has ten spokes,
they represent the ten directions, and when it has twelve spokes they represent the Twelve Links
of Dependent Origination. When the wheel has 24 spokes, they represent the combination of the
Twelve links and liberation from Samsara, and this type of wheel is also known as Ashoka
Chakra. Finally, when the wheel has 31 spokes, they represent the 31 realms of existence, taken
from ancient Buddhist cosmology.

“Three things cannot be long hidden: the sun, the moon, and the truth.” – Buddha
This paraphrased quote by the Buddha can be interpreted in a number of ways, and each one can
be as genuine as the next one. However, we have chosen to interpret is as the Three Turnings of
the Dharma. It is said that the Buddha had turned the wheel three times, which represent three
teachings of Buddhism. The first one he taught when he rose from meditation and explained
the Four Noble Truths. The second turning marked the inception of Mahayana Buddhism, and
it is said to have happened some 500 years after the first, and it presented the ideal of practice as
a bodhisattva, the one who seeks to bring enlightenment to all beings. The third turning offered
the focus on the Buddha nature, which basically meant that all beings can reach enlightenment as
they are all fundamentally of Buddha nature.

The Grand Maitreya Project statue

manufacturing process via lionsroar.com

36
Contemporary Buddhist Art
Contrary to popular belief, Buddhist art is not just the relic of the past. There are many
prominent contemporary artists who create such artworks, especially with the new-found interest
in the Buddhist religion we are witnessing today. Not only visual arts, but literature as well has
expressed the Buddhist influence, as seen in the works of Transcendentalists Ralph Waldo
Emerson and Henry David Thoreau, as well as in writings of Walt Whitman, J.D. Salinger (who
was greatly influenced by Zen Buddhism), Jack Kerouac’s The Dharma Bums and Big Sur, Allen
Ginsberg’s Howl, and Gary Snyder’s Turtle Island. When it comes to visual art, the great Marcel
Duchamp was greatly influenced by the philosophy of Buddhism, and the painters Mark
Tobey, Agnes Martin, Jasper Johns, Brice Marden, , and Ad Reinhardt reported that they found
sources of inspiration in Buddhism. The artists TenzingRigdol and GonkarGyatso address
Buddhist themes in their works, although the primary goal of their art is their own artistic
expression and not the devotion to the religion. In Mongolia, a super large-scale statue of the
standing Maitreya Bodhisattva is to be built under the spiritual direction of Dalai Lama. Tsherin
Sherpa depicts Buddhist symbols in his works, along with Tenzin Norbu, Dedron, and
KesangLamdark.

As Buddhism is becoming more and more accepted by the middle-class people it is certain that
the Buddhist art will continue to prosper. In the time of great political and religious turmoil, a
peaceful religion such as Buddhism is getting its second (or is it third) comeback with its pacifist
teachings and non-violent rules.

Albert Einstein once said, “If there is any religion that could respond to the needs of modern
science, it would be Buddhism.”

“Greater in battle than the man who would conquer a thousand-thousand men, is he
who would conquer just one – himself” – Gautama Buddha
https://www.widewalls.ch/magazine/take-step-m-museum

Gupta Art and Architecture, Paintings, Sculptures, Numismatic Art

Gupta Art & Architecture (320-550 CE) epitomized India's Golden Age, influencing sculpture,
temple design, literature, and science. It shaped Hindu, Buddhist, and Jain traditions, with
legacy seen in later architecture, numismatics, and art.It flourished during the Gupta Empire
(320-550 CE), representing a classical peak in Indian artistic expression. Gupta sculpture
dominated this period, with Mathura and Sarnath emerging as key centres, producing iconic
Hindu deities, Buddha figures, and Jain Tirthankaras. Gupta sculpture, influenced by Greco-
Buddhist art from Gandhara, is noted for its grace and elegance, embodying a “Classical
decorum.“
Additionally, the Gupta era laid the foundation for Hindu temple architecture, as seen in the
Dashavatara Temple at Deogarh. However, this period saw a decline in rock-cut architecture,
with construction halting until the late 5th century. Monuments such as the Ajanta, Elephanta,
and Ellora caves reflect the monumentality and aesthetic balance of the Gupta style.

37
Gupta Art and Architecture Gupta Empire
Gupta Empire (320-550 CE), founded by Sri Gupta, is celebrated as the Golden Age of India due
to its advancements in art, literature, science, and education. Rulers like Samudragupta and
Chandragupta II expanded the empire, fostering cultural achievements. Scholars such as
Kalidasa and Aryabhatta rose to prominence, while Nalanda University became a major centre
for learning.
 Gupta’s administration was highly organized, with a thriving economy based on
agriculture and trade. Religious tolerance was prevalent, with Hinduism, Buddhism,
and Jainism coexisting.
 However, by the late 5th century, the empire faced a decline due to Huna invasions,
internal conflicts, and economic challenges.

Gupta Art and Architecture Art

Gupta Age was notable for the tremendous progress achieved in the field of art. The artistic and
cultural progress achieved during the Gupta rule can be called the culmination of Indian
intellectual activities. The prime contribution of this age lies in the development of perfect
images belonging to both Brahmanical and Buddhist religions.

Gupta Art Paintings

Gupta art paintings are a hallmark of ancient Indian history, celebrated for their unmatched
glory, intricate beauty, and religious themes. These artworks are renowned for their exceptional
naturalism, graceful compositions, and idealized human forms. Gupta paintings often depict
serene figures with calm expressions, reflecting a divine and tranquil atmosphere that captivates
art enthusiasts worldwide.
 Ajanta Cave Paintings: Found primarily in the Ajanta Caves, these artworks showcase
the artists’ technical skill in fresco painting, employing vivid colours, delicate shading,
and fine lines to illustrate scenes from Buddhist Jataka tales.
 Further, Ajanta paintings, characterized by their lifelike quality and brilliance of
colours, depict significant events in the life of Buddha and reflect the sophistication of
Gupta art.
 The Bagh Caves and Sigiriya in Sri Lanka also display the impact of the Ajanta style, a
further testament to the enduring legacy of Gupta paintings.

Gupta Art Sculptures

Gupta sculptures are known for their distinct styles, primarily emerging from centres like
Mathura, Varanasi/Sarnath, and Nalanda. Characterized by large figures of deities such as
Buddha, Vishnu, and Shiva, these sculptures reflect the dynasty’s strong preference for Vishnu.

Gupta Sculpture Classical Phase

Gupta period is recognized as the classical phase of Indian sculpture, where art techniques were
perfected, and ideals of beauty were clearly defined. Artistic trends from Bharhut, Amaravati,
Sanchi, and Mathura merged into a unified plastic tradition. Gupta sculpture derived its plasticity
from Mathura and its elegance from Amaravati but belonged to a higher ideal with a closer
harmony between art and thought.

38
  Mathura remained the primary art centre, with Sarnath and Kosambi also gaining
prominence in the 5th and 6th centuries.
 The Udayagiri caves showcased early Hindu iconography, including Durga
as Mahishasurmardini and the Saptamatrikas.
Gupta Temple Sculptures
Gupta temple sculptures are best represented by the large panel of Sheshashayi Vishnu from the
temples at Deogarh (Uttar Pradesh) and the great Boar (Varaha) at the entrance of temples of
Udayagiri (Madhya Pradesh) and Ajanta are excellent specimens of figure sculptures.
 At a Shiva temple in Ahichhatra (Uttar Pradesh), there are life-sized terracotta images of
Ganga and Yamuna standing on Crocodile and the Tortoise, respectively, who are the
attendants of Lord Shiva.

Gupta Sculptures Example

Gupta period produced remarkable stone and bronze Buddha sculptures found at sites
like Nalanda, Mathura, Sarnath, Paharpur, Ajanta, and Nagarjunakonda. These works influenced
art in Southeast Asia, Central Asia, and China, exemplifying refined craftsmanship, spiritual
depth, and innovation. The following examples illustrate key features of Gupta Buddha
sculptures:
 Buddha from Mathura: A 5th-century sandstone image with abhayamudra and intricate
details in the halo and robe.
 Buddha from Sarnath: A standing Buddha showing a relaxed, refined posture with a slight
body bend.
 Seated Buddha in Dharmachakrapravartana Mudra: A Chunar sandstone figure
representing the turning of the Wheel of Law, reflecting artistic finesse.

Gupta Numismatic Art
Gupta coins were thoroughly indigenous in their art, motif, and execution and lacked any foreign
influence. In terms of their artistic merit, purity, diversity, and originality, the gold coinage of the
Imperial Guptas hardly has any equal to the coinage of India.
 Artistic Quality: Gupta coins are renowned for their high relief, intricate details, and
exceptional craftsmanship. They often featured lifelike depictions of rulers, deities, and
symbolic motifs.
 For example, Samudragupta’s coins depict him performing the Ashvamedha Yajna
with meticulous detail.

 Epigraphy: The coins often featured inscriptions in Sanskrit using the Brahmi script,
reflecting the Gupta rulers’ promotion of Sanskrit as a cultural and linguistic medium.
 For example, Kumaragupta I’s coins bear the inscription “Shri Mahendraditya,”
marking a cultural shift from the earlier use of Prakrit.
 Diversity in Coinage: Gupta coinage displayed a wide range of types, each representing
different aspects of the ruler’s identity or accomplishments.
 For example, Chandragupta I’s “Tiger-Slayer” coin symbolizes his valour by depicting
him slaying a tiger, a theme unique to the Gupta era.
 Metallurgical Excellence: Gupta coins were made from high-quality gold, silver, and
copper, with a particular focus on purity and weight. This reflected the economic
prosperity and stability of the Gupta Empire, as seen in their gold dinaras.

39
  Religious Symbolism: Gupta coins frequently represented gods like Vishnu, Lakshmi, and
Ganga, alongside rulers in divine or heroic poses. These depictions not only served as
religious symbols but also emphasized the rulers’ divine authority.
 For example, Chandragupta II’s gold coins, which portray him as a bow-wielding
warrior, with Lakshmi seated on a lotus on the reverse.
Gupta Art and Architecture Architecture
Gupta period was the phase of Brahmanical resurgence. The Gupta kings were very interested in
building temples and installing images of their favourite gods (ishta-deva) therein.

Gupta Temple Architecture

The spread of Bhakti ideology and the increased importance given to image worship resulted in
the building of several free-standing temples. The Gupta age marks the formative phase of
temple construction in India.
 Gupta temples represent an evolution from the earlier rock-cut shrines. The temples were
made of stone or brick.

 Early Gupta Temples: Gupta era reflects remarkable creativity and a deep appreciation
for beauty, particularly evident in the design of Gupta temples. Initially, these temples
featured small structures with central shrines, designed with roofs that had spouts for
effective drainage of water.
 Shape and layout: These early temples typically consisted of a square
chamber accompanied by a columned portico or verandah in front, establishing a
foundational layout that influenced the design of temples in the later Gupta and post-
Gupta periods.
 Temple No. 17: One of the earliest extant Gupta temples is Temple No. 17 near the
chaitya hall at Sanchi.
 Notable examples include the Dashavatara Temple at Deogarh, the Bhitargaon
Temple near Kanpur, the Parvati Temple at Nachna-Kuthara in the Panna district, and
the Temple at Bhitari in Ghazipur district.
 Later Gupta Temples: Later Gupta temples, such as the Deogarh temple dedicated to
Vishnu, feature a square chamber that houses the image of the primary deity.

 Each of the four corners has subsidiary shrines that encase secondary deities, making it
one of the earliest examples of the Panchayatana style.
 Relief: The Deogarh temple is also notable for its ornate sculptural reliefs, including
the Nara-Naranaya relief, the Gajendramoksha relief, and the “Vishnu on Shesha”
relief.
 Shikhara: Additionally, the elaborately carved shikhara seen in this temple are further
reflected in the brick temple at Bhitargaon.

Gupta Cave and Buddhist Architecture

Alongside the erection of temples, cave architecture was also in vogue. This was
because Buddhism was also followed widely in this period, even though Gupta rulers were
patrons of Hinduism. In this sense, the rule of the Guptas was secular as seen in the
establishment of Nalanda University by Kumaragupta.

40
  Cave temple at Udayagiri, Vidisha (MP): The carvings found here are the earliest intact
body of Hindu art in India. They constitute evidence of the fact that many Hindu
iconographic ideas were already well established by the early 5th century CE.

 Evidence of magnificent Stupas, Chaityas and Viharas of the Gupta period are found at the
Buddhist sites of- Sarnath (UP), Nalanda (Bihar), Rajgir (Nalanda district, Bihar), etc.
 The Dhamekh stupa at Sarnath is spectacular due to its variety of geometric patterns and
artistic designs.
 The earliest brick structure of the Buddhist University at Nalanda founded
by Kumaragupta-I belongs to this era.
 Buddhist chaityas, cave structures in western Maharashtra, and monasteries at Kanheri,
Bhaja, Junnar, Bedsa, and Mahar (all in Maharashtra) were commissioned by the
aristocracy and affluent guilds, merchants, and artisans.
 The Mani-naga Jaina temple at Rajgir is also notable from this period.

Gupta Art and Architecture Literature

Gupta period is remarkable for the production of secular literature, which consisted of a fair
degree of ornate court poetry. This period also shows an increase in the production of religious
literature. The Greatest Indian Sanskrit poets, dramatists, grammarians, playwrights, and science
scholars are known from the Gupta period. The Gupta period (4th to 6th century CE) is
considered a golden age for Sanskrit literature, with Sanskrit becoming the official language of
the Gupta court and spreading among Buddhist and Jain scholars. During this time, Classical
Sanskrit emerged from Prakrit, and the Nagari script evolved from Brahmi, solidifying Sanskrit’s
central role in Indian literature and intellectual life.

1. Religious Texts: The 18 Maha Puranas, including the Vishnu Purana, Bhagavata Purana,
and Matsya Purana, reached their final form during the Gupta period, contributing
significantly to Hindu literature.
 Smritis, Shastras (law books), and Epics were composed, solidifying the intellectual
foundation of the era.
2. Epic Redaction: The great Indian epics, the Ramayana and Mahabharata, were redacted
and finalized during the 4th-5th century CE, further enriching the cultural fabric of the
period.
3. Prayaga-Prashasti: Harishena, a prominent poet and scholar, composed the Prayaga-
Prashasti (inscribed on the Mehrauli Iron Pillar) in honor of Samudragupta,
demonstrating the integration of literature with royal patronage.

Renowned Literary Figures and Works

 Kalidasa (one of the nine jewels, or Navratnas, in the court of Chandragupta II) is
considered one of the greatest poets in Indian history. His famous works include:
 Abhijnana Shakuntalam (a drama)
 Malavikagnimitram (a play)
 Vikramorvashiyam (a drama)
 Raghuvamsham (poem)
 Ritusamhaara (poem)
 Kumarasambhavam (epic)

41
  Meghadutam (poem)
 Bhasa, a pioneering poet of the early Gupta period, wrote 13 plays, contributing to the
dramatic arts.
 Bhairavi, another important poet, authored Kiratarjuniyam, which is a key work in
Sanskrit literature.
 Vishakhadatta is renowned for his work, Mudrarakshasa, a political drama that explores
intrigue and strategy in the Mauryan court.
 Vatsyayana made a significant contribution with the Kamasutra, a treatise on love,
relationships, and human behavior.
 Shudraka wrote the Mrichchhakatika, a play centered on the romantic story of a poor
Brahmin trader and a beautiful courtesan.

Development of Sanskrit Grammar and Lexicography

The Gupta period also saw notable advancements in Sanskrit grammar and lexicography:
 Panini’s Sanskrit grammar, dating back to around the 6th-4th century BCE, was further
developed and codified during this time.
 Patanjali, who lived in the 2nd century BCE, contributed to the interpretation and
refinement of Panini’s grammar.
 Amarsimha, a prominent lexicographer of the Gupta period, wrote the Amarakosha, one
of the most important Sanskrit dictionaries, which remains widely used.

Gupta Age Science & Technology

Besides having great intellectual vigour, Indians of the Gupta age also possessed a scientific
spirit of enquiry and pursued scientific subjects. Also, the rulers gave a great push to scientific
studies. Apart from this, the period was also a major milestone in the evolution of Indian
philosophical ideas and led to the development of six major schools of Indian philosophy.
 Mathematics: “Zero” and the evolution of the decimal system are credited to the path-
breaking discoveries of the Gupta period. Brahmagupta, Aryabhatta, and Varahamihira
were the earliest and foremost mathematicians and astronomers of the world.
 Astronomy: Varahamihira wrote Brihat Samhita which deals with astronomy,
astrology, botany, natural history, and physical geography.
His Panchasiddhantika throws light on five astronomical theories (siddhantas) that were
in use during Varahamihira’s time.)
 His creations on horoscopy Laghu-Jataka and Brihaj-Jataka are widely consulted.
 Aryabhatta authored the Aryabhattiyam, covering mathematics and astronomy, and
accurately explained solar and lunar eclipses in his Surya Siddhanta.
 He was the first to propose that the Earth revolves around the Sun, introduced sine
functions, and developed the decimal place-value system.
 Medicine and Veterinary Science: The notable treatises on medicine include Charaka
Samhita and Sushruta Samhita written by Charak and Sushruta.
 The Hastyayurveda written by Maharshi Palakapya is the first systematic treatise on
veterinary science.
 Philosophical Schools: The following six schools/ systems of philosophies were well-
developed including Nyaaya, Vaisheshika, Sankhya, Yoga, Mimamsa, and Vedanta.

42
Gupta Art and Architecture Influence on Later Indian Art
Gupta era innovations shaped Indian and Southeast Asian temple architecture. Elements like
shikhara (tower) and mandapa (pillared hall) became defining features, influencing Nagara and
Dravidian styles as seen in Khajuraho (India), Angkor Wat (Cambodia), and Borobudur
(Indonesia).
 South India’s Chalukyas, Pallavas, Rashtrakutas, and Cholas and North
India’s Pratihara and Chandela dynasties adopted Gupta architectural principles.
 This influence extended to Prambanan (Indonesia), My Son (Vietnam), and That Luang
(Laos), while later Mughal, Rajput, and Southeast Asian art also reflected Gupta
aesthetics.
 Ooooooooooooooooooooooooooooooooooooooooooooooooooooooooo

43