Sarnath School of Art from early to the Gupta period

The Sarnath School of Art, flourishing during the Gupta period (4th–6th century CE), represents a significant phase in Indian sculptural tradition. Located near Varanasi, Sarnath was a major Buddhist center where Emperor Ashoka erected stupas and pillars. However, it was under the Guptas that Sarnath evolved into a distinctive artistic tradition known for its refined and spiritual aesthetics.

The hallmark of the Sarnath style is its emphasis on grace, simplicity, and idealized beauty. The sculptures, particularly Buddha images, exhibit smooth contours, delicate facial features, and a sense of spiritual calmness. Unlike the Mathura School, which favored more robust figures and rich ornamentation, Sarnath artists preferred a minimalist approach. The Buddha is often depicted in the Dharmachakra Mudra (gesture of teaching) with a thin, almost transparent robe that clings closely to the body, emphasizing the form rather than the drapery folds.

Sarnath sculptures are usually carved from fine Chunar sandstone, giving them a polished and refined appearance. High-relief carving techniques further enhanced their softness and grace. The artistic ideals of Sarnath had a profound influence on Buddhist art across Southeast Asia, inspiring sculptures in Thailand, Myanmar, and Indonesia.

Overall, the Sarnath School of Art epitomizes the Gupta aesthetic of serenity, elegance, and spiritual transcendence. Its artistic legacy remains a cornerstone of Indian art history, marking a peak in Buddhist iconography that continues to inspire scholars and artists worldwide.

1. Sarnath School of Art -Gurvendra Kushwaha Ugc Research fellow, Department of ancient Indian history, culture and archaeology, Deccan College post-graduate and research Institute (Deemed to be university)

2. introduction Sarnath- sarangnath Lalitvistar - isipattana migdaya Mahavastu - Rishipattan mrigdava Divyavadana - Rishivadana Fa- hien - 4 Stupa and 2 Vihara

3. Dharmrajika Stupa Date- 3 rd century bce First sermon 1794- chetsingh Relics flowed in ganga- duncan Mahipala inscription- jagatsingh Indian museum kolkata Courtesy: Abhayjeet Saroj

4. Chaukhandi Stupa Sita rasoiya / lori ki kudan Huentsang and fahian mention Gupta period Octogonal ( Trimedhi stupa) Ahicchatra excavation- same evidence ( Shivlinga ) Cunnigham (1836)- vertical excavation Dharmachakrapravartan image- Sarnath museum Todarmal (1588)- built burj Courtesy: Abhayjeet Saroj

5. Maurya Period Sculptures, Stupa, Chaitya, Vihara, Stambh Tribhuja yaksha- Rajghat (Krishna Deva and A k narain 1940, 1957) Cylindrical base, inverted lotus, abacus, animal figure, chakra ( Oertel , 1904) Elephant-horse-bull-lion (Maha- aajaneya ) Chakra-24 spokes ( Pratityasamutpada - V s aggrawal ) Courtesy: Online

6. Kushana Period Extended chest Slim waist Subtlety and delicacy in the body Raised clothes Chivar is shown with the body Calm expression Half opened eye Extended eyebrows Extended lips Courtesy: Online ( Mankuwar Buddha Image)

7. Gupta period Sarnath developed as school of art Influenced by Mathura school of art Prabhamandala - mirror of gupta period (highly decorated) by bel, buti and flying goddesses performing pushpawarsha . Material- chunar sandstone Shining images Special chunnat Seated on pedestal Best example- seated images Buddhist>Brahmana>Jaina Courtesy: Abhayjeet Saroj

8. Key features of Sarnath School of Art Curly hairs Ushnish - clockwise hairs Sanghati on the shoulders Transparent dress Decorated chunnat Decorated Prabhamandala with Bel, Buti, Yakshini or female figure. Half opened eye Made on pedestal or lotus singhasana or lotus pedestal is decorated by Chakra or Mriga Lines on hand on the place of Triratna and Chakra Happy faces Jalanguli - fingures are connected Fifth mudra- Varada mudra (Achievement of Sarnath school)

9. Dharmachakrapravartan Mudra Recovered by Ortal - Dharmachakrapravartana mudra Calm expression Transparent dress Ushnish , clockwise moulded Chivara - decorated (on the center of both legs) Decorated prabhamandala Crocodile face Vyala figures Divine figures- pushpavarsha Seated on pedestal Chakra in the lower center Panchvargiya bhikshu Courtesy: Abhayjeet Saroj

10. Abhaya Mudra Broken Sculpture Shoulders are covered with sanghati Transparent dress Right hand in Abhay Mudra Left hand holding a Chivara Decorated Prabhamandala Vidyadharas ? May be Karghani on the waist sometimes Recovered from dharmarajika stupa Courtesy: Abhayjeet Saroj

11. Bhumisparsh Mudra Textual reference of this mudra- Sadhanmala Padmasana R-Touching the Bhumi L- on the leg Decorated Prabhamandala with divine figures Chivar -on the lower part Touching goddess earth Running female images- sent by Mar गौतम बुद्ध ने पृथ्वी को स्पर्श कर , कामदेव (मार) पर विजय प्राप्त किया, इसके बाद उन्हें ज्ञान की प्राप्ति हुई Ortal found during excavation Courtesy: Abhayjeet Saroj

12. Other images (Thousand Buddha) Courtesy: Abhayjeet Saroj (Life scenes of Gautam Buddha) Courtesy: Abhayjeet Saroj

13. Kartikeya Standing image Four armed Peacock shown behind the deity R1- shakti (Javelin) R2-Varada mudra L1- Vajra L2- Varada mudra Courtesy: Abhayjeet Saroj

14. agni Head is broken 2 arms? Flames on the backside Goat is missing Courtesy: Abhayjeet Saroj)

15. vyala Svana vyala , riding on a leogryph Date- 450 ce Courtesy: Abhayjeet Saroj)

16. Andhakasursamhara murti Destruction of great demon Date- 1150 ce two arms carries trishula (pinned the body of andhaka ) Kapala (collecting the blood) Ghanta khadga Courtesy: Abhayjeet Saroj

17. References Williams, Joanna Gottefried . 1982. The Art Of Gupta India Empire And Province. New Jersey: Princeton University Press. सरोज , अभयजीत . 2019. सारनाथ की बौद्ध कला : एक अध्ययन . Phd Diss. University Of Allahabad. Mani, B. R. 2012. Sarnath: Archaeology Art And Architecture. New Delhi: Archaeological Survey Of India. Niharika, Ajay Srivastava And Sachin Kumar Tiwary. 2020. Sarnath The Appraisal . New Delhi: Sharada Publishing House. Pandey, Om Prakash. सारनाथ की कला . New Delhi: Bharti Publication.

18. Thank you!