The Bandhugupta Inscription at Sarnath: An Epigraphic and Art Historical Study

Introduction

Among the significant epigraphic remains of early Indian Buddhism, the inscription of the Elder Bandhugupta discovered at Sarnath stands as a unique testimony to both the religious life of the Gupta era and the artistic innovations of its sculptors. Situated beneath the pedestal of a headless Buddha image, this inscription not only preserves the memory of a revered elder but also exemplifies a rare technique of stone carving. The present study translates, contextualizes, and analyzes the Bandhugupta inscription within the wider framework of Gupta history, Buddhist art, and epigraphic practice.

The Archaeological Context

The inscription was unearthed in 1902 (B.E. 2445) near the Dhamekh Stupa at Sarnath by Friedrich Oertel, during systematic excavations of the site. The image to which the inscription belongs is a seated Buddha in bhūmisparśa-mudrā (earth-touching gesture), a canonical representation of the Buddha’s victory over Māra at Bodh Gaya.

Although the head of the statue was already missing at the time of its discovery, the prabhāmaṇḍala (halo) behind the figure remained intact. Stylistically, the sculpture belongs to the Gupta school of art, characterized by idealized proportions, serene expression, and subtle modeling of the body.

What distinguishes this statue, however, is not its form but the raised-letter inscription carved beneath its pedestal—a rare feature in Indian epigraphy.

The Inscription

The text of the inscription, in Sanskrit and Brahmi script of the Gupta period, reads:

देयधर्मो यं शाक्यभिक्षो स्थवीर बन्धुगुप्तस्य

Transliteration:
Deyadharmo yaṁ Śākyabhikṣo sthavīra Bandhuguptasya

Translation:
“This pious gift (deyadharma) belongs to the Śākya monk, the Elder (Sthavīra) Bandhugupta.”

Epigraphic Note

The terminology is significant:

• Deyadharma – denotes a religious gift, merit-making donation, or pious endowment. It indicates that the image functioned as a material support for Buddhist devotion, consecrated through the act of donation.

• Śākya Bhikṣu – literally “the monk of the Śākya lineage,” a standard honorific for ordained monks tracing spiritual descent from the Buddha.

• Sthavīra – a Sanskrit equivalent of the Pali Thera, denoting an elder or senior monk, often with the connotation of spiritual authority.

The use of such terminology situates Bandhugupta within the monastic hierarchy of the Gupta period and reflects the continuity of early Buddhist honorific titles.

Artistic Technique

Unlike most inscriptions that were incised by chiseling grooves into the stone, the Bandhugupta inscription was created in raised relief. This method required the sculptor to carefully cut away the stone surrounding the drafted letters, leaving the inscription standing out in high relief.

Such a process was exceptionally demanding, as even a minor error could damage or detach the letters. The result is an inscription of remarkable visual prominence, suggesting that both the donor and the artisans intended to emphasize its enduring visibility.

To date, this is the only known example of such relief-carved inscription at Sarnath, marking it as a unique artifact in Gupta epigraphy.

The Gupta Dynasty and Religious Patronage

The Gupta dynasty (c. 240–550 CE / B.E. 783–1093) was one of the most influential dynasties of early India. Seventeen rulers carried forward the lineage, their names often ending with the suffix -gupta, such as Chandragupta, Samudragupta, Skandagupta, and Buddhagupta.

The capital at Pāṭaliputra (modern Patna) served as the political and cultural hub, with influence extending across Bihar, Bengal, Uttar Pradesh, Madhya Pradesh, Haryana, and Rajasthan. While the dynasty supported Hinduism, Buddhism, and Jainism, the period is particularly noted for the flourishing of Buddhist art at Sarnath and the growth of Nālandā University as a major center of Buddhist learning.

Monks Bearing the Gupta Suffix

An interesting phenomenon of the Gupta era is the adoption of the suffix -gupta not only by rulers but also by monks and intellectuals. Known examples include:

1. Bandhugupta – Sarnath inscription (this study)

2. Prajñāgupta – Kurkihar inscription

3. Kṣāntigupta – Nālandā inscription

4. Dharmagupta – Kanheri Cave No. 3 inscription

5. Nandigupta – Sanchi inscription

6. Buddhagupta – Ajanta Cave No. 2 inscription

7. Manorathagupta – Sarnath inscription

8. Saṅghagupta – Ajanta Cave No. 10 inscription

9. Arahantagupta – Sanchi inscription

This practice suggests that the Gupta name carried symbolic prestige, possibly signifying both cultural affiliation with the ruling dynasty and a spiritual identity within the Buddhist order.

Significance of the Bandhugupta Inscription

The Bandhugupta inscription provides crucial insights into the Buddhist landscape of the Gupta age:

1. Religious Identity – It confirms the active role of monks as patrons of religious art, not merely recipients of royal donations.

2. Epigraphic Rarity – The raised-relief inscription demonstrates an extraordinary technique, unique in the corpus of Gupta inscriptions.

3. Historical Continuity – The title “Sthavīra” links the monastic hierarchy of the Gupta era with earlier Buddhist traditions.

4. Integration with Royal Culture – The monk’s adoption of the “-gupta” suffix reflects the interconnection between the Buddhist Sangha and the ruling dynasty’s cultural sphere.

Conclusion

The Bandhugupta inscription at Sarnath represents a confluence of religious devotion, artistic innovation, and historical identity. As the only known relief-carved inscription of its kind at the site, it bears testimony to the refinement of Gupta artisanship and the active participation of Buddhist monks in the cultural life of the dynasty.

Far beyond a simple donor’s record, the inscription memorializes the Elder Bandhugupta’s devotion and preserves for posterity a glimpse into the religious and artistic vibrancy of Gupta India.