Kanheri Caves - Part 14
I have been documenting the Kanheri Caves through a series of detailed articles. In earlier parts, I explored the architectural layout and sculptural grandeur of Cave No. 3—covering its majestic entrance, the imposing pillars within the Chaitya hall, colossal Buddha images, donor couple sculptures, extensive sculptural panels along the verandah walls, the central stupa, lion-crowned pillars, votive stupas, and some of the earliest Buddha figures found in the site.
This is the 14th article in the series. In this part, I begin focusing on the inscriptions found in and around Cave No. 3, which add another layer of depth to our understanding of the site’s history, patronage, and Buddhist affiliations.
Inscription No. 1
This large and prominently carved inscription is found on the right-hand gatepost of the Chaitya, as viewed by an approaching visitor.
Characters: Brahmi script, 2nd century CE
Language: Prakrit
Content: The inscription is significant on many levels. It records the construction and dedication of the Chaitya by various individuals and groups associated with the Bhadrayaniyas, a known Hinayana Buddhist sect. Although part of the inscription is damaged, enough survives to offer a rich understanding.
According to the inscription, the Chaitya excavation was initiated by two brothers—Gajasena and Gajamita—referred to as "khatiyas" or excavators. It was done during the fifth fortnight of the monsoon season and appears to have been overseen by a range of contributors including monks, lay worshippers, artisans, and patrons.
Among the named monks are: Achala, Gahala, Vijayamita, Bodhika and Dhammapala. It also names Aparenu(ka), a lay worshipper and merchant, son of Ananda, who is stated to have completed the donation. The inscription further states that the work was supervised by Thera Seumla, and carried out by artisans such as Selavaḍhaki (stonemasons), Kaḍhichaka (carvers), Mahakaṭaka (chief workers) and Mithika (polishers).
The purpose of the Chaitya excavation is described as being for the benefit of: deceased parents of the donors, their families, relatives and all sentient beings for their happiness and welfare.
What stands out about this inscription is its comprehensive documentation of the social, religious, and technical ecosystem surrounding the creation of this monumental space. It even uses occupational titles that are rarely seen elsewhere in Indian epigraphy, offering glimpses into the organization of ancient Buddhist construction teams.
The inscription also contains a possible reference to the Satavahana king Gotamiputra Yajnasri Satakarni, as suggested by the mention of “Gotam(i)putasa Sati-Siri Yalasa,” placing the construction securely in the early 2nd century CE.
Inscription No. 2
Engraved on the left-hand gatepost of the same Chaitya, this inscription records a wide range of religious donations across multiple Buddhist centers.
Characters: Brahmi script, 2nd century CE
Language: Prakrit
Content: Although the text is partially damaged and fragmented, enough is legible to reconstruct a significant portion of its content. The inscription appears to record a long list of meritorious donations made by a single donor—not only at Kanheri, but also at various other locations in western India.
From the surviving fragments, the following details can be gathered:
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At Kanheri, some addition to the Chaitya seems to have been made (L.2), though the exact nature is lost.
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A perpetual endowment (akhayanivi) is mentioned (L.3), but its specific purpose is no longer legible.
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In the Soparaka district (modern-day Nala Sopara), three additional structures—possibly monk cells—were added to an existing complex (L.4–5).
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At the Ambalikavihara in Kalyan, a chaitya, a hall of reception (upathanasala), and monastic cells (ovaraka) were constructed (L.5–6).
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In Paithan, the donor built a chaityagriha (chaitya hall) and thirteen cells, along with another perpetual endowment (akhayanivika) (L.6–8).
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Within the Paithan region, specifically at a place called Rajatalaka, a meditation room (kuti) and a residential cell (kodhi or koṭhi) were erected at a vihara named Sevajuya (L.8–10).
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A monastery (sagharama) was also constructed and endowed with a perpetual grant, for the benefit of the monks (L.10–11). The inscription concludes by stating that these and other gifts were made for the donor’s spiritual merit (puṇyartha).
What makes this inscription noteworthy is its geographical span—covering places like Kanheri, Sopara, Kalyan, and Paithan—and its reference to multiple architectural forms, including chaityas, viharas, reception halls, monk cells, meditation huts, and monastic residences. It reflects the widespread nature of Buddhist patronage in the early centuries CE, and how a single donor’s influence could extend across regions.
Also notable is the repeated mention of akhayanivika, a term that refers to a perpetual or undiminishing endowment, indicating the establishment of a sustainable source of support for the monastic institutions—a sign of well-organized sangha patronage.
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Inscription No. 3
This three-line inscription appears below a standing Buddha image on the outer verandah wall, between the left gatepost and the colossal Buddha image nearby.
Characters: Brahmi script, 5th century CE
Language: Sanskrit
Content: The inscription states that the image was commissioned by Sakya monk Buddhaghosha, a disciple of the Tripitaka master Dharmavatsa. It reflects both monastic devotion and an emphasis on scholarly lineage within the Buddhist tradition.
Inscription No. 4
Carved beneath a seated Buddha image in Pralambapadasana posture (legs hanging down), displaying the Dharmachakra mudra, within the verandah of Cave No. 3.
Characters: Brahmi script, 5th century CE
Language: Sanskrit
Content: The figure is described as the meritorious gift of Sakya monk Dharmagupta. Though concise, the inscription underscores personal piety and sectarian identity, particularly through the mention of the Sakya affiliation.
Inscription No. 5
This nine-line inscription is engraved on a pilaster within a small chamber to the left of the cave’s entrance, near a standing Buddha figure.
Characters: Brahmi script, 5th century CE
Language: Sanskrit
Content: The inscription records a donation by the teacher Buddharakshita. It concludes with a rare and profound sentiment: “May all beings become Buddhas.” This compassionate aspiration aligns with Mahayana ideals and is paralleled in a few inscriptions from Ajanta.
In the next episode, I will continue with the remaining inscriptions of Cave No. 3, including painted records, fragmentary inscriptions on stone slabs, and an important copper plate inscription linked to the Traikutaka dynasty.
Stay tuned for more.
Happy travelling.
Bibliography - "Kanheri Inscriptions" by Shobhana Gokhale
This is Part 13 of the series of articles on Kanheri Caves. If you are interested to read the earlier parts of the series, click the links below.
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