The Enduring Legacy of Poetry in Indian Epigraphy

By Divya Chowdhary, M.A. (Palaeography, Epigraphy & Numismatics) Indian Institute of Heritage, Noida

While poetry is often associated with literary traditions, its role in Indian epigraphy highlights its enduring importance beyond literature. From the oral traditions of the Vedic age to the meticulously inscribed poetic verses on stone and metal, Indian civilization has long recognized poetry- numerous in Sanskrit- as a powerful tool for preserving history, ideology, and artistic expression.

The Vedic Oral Tradition and the Power of Verse

Before the advent of written records, oral transmission was the primary means of preserving and disseminating knowledge. The Vedic texts, such as the Rigveda, are composed in poetic meters like the Anushtubh and Gayatri, which facilitated memorization and ensured the continuity of sacred knowledge across generations. The recitation of these hymns followed strict phonetic and metrical rules, making it possible to preserve them accurately for centuries before they were eventually written down. This method of transmission underscores the cognitive advantages of verse, aiding in retention and recall.

Inscribing Poetry: The Transition from Oral to Written Form

As Indian civilization progressed, poetry found a lasting presence in inscriptions, immortalizing historical events, royal achievements, and religious beliefs. These inscriptions, often written in Sanskrit or Prakrit provide archaeological evidence of India’s poetic heritage.

The Junagarh Inscription of Rudradaman

One of the earliest known Sanskrit inscriptions, the Junagarh inscription of Rudradaman, is a remarkable example of poetic expression in epigraphy.  It mentions the construction of the Sudarshana reservoir during Chandragupta Maurya’s reign and later improvements under Ashoka by a Yavana, Tushaspha. Scholars view it as evidence of ancient India's record-keeping traditions, as Rudradaman would not have known these details otherwise. The inscription is also the first long Sanskrit record in poetic style, marking a turning point in epigraphic Sanskrit and serving as a prototype for later poetic inscriptions of the Gupta era.

Fig. 1 Junagadh Rock Inscription. Source: https://prepp.in/news/e-492-junagarh-rock-inscription-art-and-culture-notes

Fig.2 Sections on the Allahabad Pillar. Source: Wikimedia Commons

Prayaga Prashasti of Samudragupta

Another striking example is the Prayag Prashasti, inscribed on the Ashokan Pillar at Allahabad. Composed by the court poet Harisena in elegant Sanskrit verse, this inscription extols the military campaigns and virtues of Samudragupta of the Gupta Empire. Its poetic structure, filled with metaphors and hyperboles, transforms a political document into a literary masterpiece, demonstrating how poetry served as a means of glorifying rulers and their deeds.

Fig.3 Estampage of the Prayag Prashasti. Source: Wikimedia Commons

Fig. 4 Gupta script inscription "Maharaja Sri Gupta", mentioning the first ruler of the dynasty king Sri Gupta. Inscription by Samudragupta on the Allahabad pillar, where Samudragupta presents king Gupta as his great-grandfather. Dated circa 350 CE. Photo source: Wikimedia Commons.

Fig. 5  The Allahabad Pillar having the Prayaga Prashasti of Samudragupta. Source: Wikimedia Commons.

A verse (7) from the Prayag Prashasti reads as:-

“By whom, with the impetuosity of the prowess of (his) arm, which grew to overflowing, having singly and in a moment uprooted Achyuta and Nāgāsēna and Gaṇapati come together in a battle (against him) thereafter, causing, indeed, the scion of the Kōta family to be captured by (his) forces, (while) amusing himself at (the city) named Pushpa, while the sun . . . . . . the banks . .”

(Translation by D.R. Bhandarkar)

Fig.6  The Allahabad Pillar as seen by the missionary Joseph Tiefenthaler in the 18th century. Source: Wikimedia Commons

Aihole Inscription of Pulakeshin II

The Aihole inscription, composed by Ravikirti in Sanskrit, commemorates the achievements of the Chalukyan king Pulakeshin II. The inscription, engraved in poetic form on the Meguti Jain temple in Karnataka, draws inspiration from classical kavya traditions. It portrays Pulakeshin as a formidable ruler who resisted Harsha’s expansion, further illustrating how epigraphical poetry was used to assert royal authority and legitimacy.

Fig.7 The Meguti Jaina Temple. Source: Wikimedia Commons.

Fig.8 Focused view of the stone slab at Meguti Jaina Temple. Source: Wikimedia Commons.

The concluding verses from this inscription, as translated by F. Kielhorn go as:

“This stone mansion of Jinêndra, a mansion of every kind of greatness, has been caused to be built by the wise Ravikîrti, who has obtained the highest favour of that Satyâśraya whose rule is bounded by the three oceans. Of this eulogy and of this dwelling of the Jina revered in the three worlds, the wise Ravikîrti himself is the author and also the founder. May that Ravikîrti be victorious, who full of discernment has used the abode of the Jina, firmly built of stone, for a new treatment of his theme, and who thus by his poetic skill has attained to the fame of Kâḷidâsa and of Bhâravi!”

Ramachandra Temple Inscription of Devaraya I/II

Even in later periods, poetic inscriptions continued to thrive. The Hazara Rama Temple in Hampi, known as “Shri Ramachandra Temple” houses an inscription (palaeographically dated to 15th century) in the Nandinagari script, utilizing upama or simile in Sanskrit poetry.

Fig.9 Nandinagari-Sanskrit inscription on the east base of the temple, just below the Kannada one. S.I.I. 252 Source: Divya Chowdhary

Transliteration in Latin:

“Śrī vāṇīva bhojarājam tripurāmbā vatsarājmiva

Kālīva vikramārkam kalyati pampādya devarāya nr̥upam”.

It translates in English to:

“(The one who is) like King Bhoja in wisdom, like King Vatsaraja in devotion (to the goddess Tripuramba), like (goddess) Kali in valour/fierceness (or a reference to King Vikramaditya), and like the Sun in radiance, manifests as the Lord of (the region of) Pampa (ie. Hampi/ Tungabhadra) (or a double reference to the Adikavi Pampa or the goddess Pampa), the king Devaraya.” (Translit. and transl. by the author)

Conclusion: The Archaeological Evidence of Poetry

The presence of poetry in Indian inscriptions serves as undeniable archaeological evidence of the enduring significance of verse beyond literary traditions. From the Vedic oral traditions to the meticulously composed Sanskrit inscriptions, poetry has played a crucial role in preserving history, glorifying rulers, and asserting cultural identity. The poetic inscriptions of Rudradaman, Samudragupta, Pulakeshin II, and others demonstrate that verse was not merely an artistic choice but a powerful tool for communication and remembrance. As we celebrate World Poetry Day, these inscriptions remind us that poetry has not only enriched literature but has also been etched into the very fabric of history—quite literally, in stone.

Bibliography:-

1. Bhandarkar, D. R., B. C. Chhabra, and G. S. Gai, eds. 1981. Corpus Inscriptionum Indicarum: Inscriptions of the Early Gupta Kings. New Delhi: Archaeological Survey of India.

2. Fleet, John Faithfull. 1888. Corpus Inscriptionum Indicarum, Vol. 3. Calcutta: Government of India.

3. Kielhorn, F. 1904. "Junagadh Rock Inscription of Rudradaman." Epigraphia Indica 8 (6): 36–49.

4. Ray, Himanshu Prabha, Salila Kulshreshtha, and Uthara Suvrathan, eds. 2022. The Routledge Handbook of Hindu Temples: Materiality, Social History and Practice. New Delhi: Routledge India.

5. Salomon, Richard. 1998. Indian Epigraphy: A Guide to the Study of Inscriptions in Sanskrit, Prakrit, and the Other Indo-Aryan Languages. Oxford: Oxford University Press.