Aśoka and His Inscriptions: A Legacy Carved in Stone

 (Courtesy: https://images.app.goo.gl/ca36q1ZPgPbsJq7WA).

By Biswarup Chatterjee

Introduction: Inscriptions as Historical Testimony.

Alongside Buddhist narratives, one of the most reliable and significant sources for reconstructing the life and ideals of Emperor Aśoka is his own inscriptions. These edicts, composed largely in his own words and issued under imperial instruction, were engraved on rocks and pillars throughout the Mauryan Empire.

Unlike manuscripts—prone to scribal errors and later interpolations—Aśoka’s stone inscriptions have survived unaltered, offering an authentic glimpse into the emperor's mind and message. 

Purpose and Audience of the Inscriptions.

Aśoka directed his inscriptions primarily toward his officials, subordinates, and royal descendants. These edicts were not intended for mass reading, given the limited literacy of the time. Instead, the emperor commanded his officers to publicly recite them to the populace.

Aśoka's motivation for engraving these messages on stone was to ensure their permanence, encouraging future generations to uphold these principles. He called them “Dhamma Lipi” (Inscriptions of the Dharma), often specifying the year of issuance—for instance:

“devānāṃpi(pri)yo piyadasi rājā evaṃ āha [I] dvādasa-vāsābhisitena mayā idaṃ ānpitaṃ [I]...”( Third Rock Edict, Girnār Version)

Where dates are absent, scholars infer chronology through contextual clues in adjacent edicts. 

Ashoka’s Innovation: A New Tradition of Stone Edicts.

Before Aśoka, no Indian ruler is known to have issued proclamations carved on stone. Traditionally, royal orders were conveyed orally by śrāvakas (announcers), accompanied by drums and conch shells.

Aśoka’s earliest proclamations, referred to as “śrāvaṇa”, were oral in nature. Over time, these were engraved and publicly displayed. While most edicts were later inscribed directly as “Dhamma Lipis,” some inscriptions (e.g., Sixth Rock Edict, Seventh Pillar Edict) show that oral traditions continued:

“ya ca kiṃci mukha[to] āňpayňmi svayaṃ dāpakaṃ vā...”  (Sixth Rock Edict: Girnār Version) 

The Persian Connection: Cultural and Administrative Influence.

Why did Aśoka introduce this unfamiliar practice of stone inscription? The answer lies in cultural exchanges with West Asia after Alexander’s invasion and during the Mauryan era.

The Persian Empire, which had long used stone inscriptions for royal decrees, influenced Northwest India. Persian officials present in Aśoka’s administration may have inspired this adaptation.

Other Persian influences on the Mauryan court include:

• Candragupta Maurya’s head-washing ceremony (mastkadhauti), a Persian royal tradition.
• Cave dwellings for the Ajivikas at Barabar Hills, resembling Persian tomb architecture.

“Iyaṃ nyagradha-guhā dattā ājīvikebhyḥ” (Barabar Hill Cave Inscriptions)

The “Mauryan Polish”, a mirror-like sheen seen on cave walls and pillars, is also attributed to Persian craftsmanship.

Excavations at Pataliputra revealed fragments of at least 80 polished stone columns, likely from a hall modeled after Persian audience chambers. The animal motifs—especially lions—on Aśokan pillar capitals also reflect Achaemenid Persian art. 

Linguistic and Script Influences.

inguistically, Aśokan inscriptions show links to Persian records:T he word “lipi” (script) resembles the Persian “dipi.”W ords like “nipesita” echo Persian “nipis,” both meaning “written.”

Most inscriptions were in regional Prakrit dialects, yet scholars agree they originated from a standardized “Aśokan Prakrit” used in the royal court. In non-Indian territories, edicts were translated into Greek and Aramaic—as seen in the bilingual Kandahar inscription and fragments from Taxila.

Scripts Used in Aśokan Inscriptions.

Brāhmī Script

Except for two sites, Shāhbāzgṛhī and Mānsehrā, all Aśokan inscriptions in India were inscribed in Early Brāhmī, considered the progenitor of Indian scripts.

Kharoṣṭhī Script

The inscriptions from Shāhbāzgṛhī and Mānsehrā are written in Kharoṣṭhī. Though ancient commentators suggested a fanciful derivation from khara (donkey) + oṣṭha (lip), the term more likely stems from Western Asian linguistic roots like the Hebrew “kharośeth.”T he Kharoṣṭhī script, along with Brāhmī, eventually faded but were later deciphered by modern scholars. 

Distribution and Classification of Inscriptions.

Aśokan inscriptions are found across India—except in Assam, Bengal, Tamil Nadu, and Kerala. Several original inscriptions have been lost over time, as noted by Xuanzang in the 7th century CE.

Historians categorize the inscriptions as follows:

• Minor Rock Edicts
• Major Rock Edicts (14 known versions)
• Kalinga Edicts (2 versions)
• Cave Inscriptions
• Pillar Edicts (6 main types; 7th only at Topra)
• Unique Inscriptions:    

               Lumbini Pillar (Birthplace of Buddha)

               Nigālī Sāgar Pillar

               Raňjīr Pillar

               Bairat Buddhabachan Inscription:

 “būddhasya kanakamūneḥ stupaḥ dvitīyaṃ …” Nigālī Sāgar Pillar

Royal Titles and Style.

In his inscriptions, Aśoka identifies as:“ devānaṃpiya piyadasi rājā” — “Beloved of the Gods, King Piyadasi.”

He seldom uses his personal name, “Aśoka.” In the Buddhabachan Inscription, he is called:“ pi(pri)yadasi lājā māgadhe...” — “King Piyadasi of Magadha.”

Notably, he uses the modest “Rājā” (King) rather than “Mahārājā” or “Rājādhirāja.”

Chronology and Historical Significance:

The regnal year is often mentioned, such as:“ In the 12th year after my coronation, this command was issued.”

There was once debate over whether this meant the 12th year was ongoing or completed. However, from the Greek and Aramaic translations of the Kandahar inscription, it has become clear that the correct meaning is: when the 12th or 13th year had already passed.

Conclusion

Aśoka’s inscriptions are monumental not only for their historical content but also for their innovations in administration, linguistics, architecture, and intercultural exchange. These messages—etched in stone yet rich in humanity—continue to echo across the centuries, offering timeless insights into the mind of one of India’s greatest rulers. 

References

• Sen, Amulya Chandra. Asoka Charita. Reprint 1999. Calcutta: Jinaratana Memorial Trust. Published by Sri D. L. S. Jayawardana, Secretary & Trustee. Distributed by Maha Bodhi Book Agency, 4-A Bankim Chatterjee Street, Calcutta–700073

• Sircar, Dines Chandra, ed. Select Inscriptions Bearing on Indian History and . Vol. I: From the Sixth Century B.C. to the Sixth Century A.D. 2nd rev. and enl. ed. Calcutta: University of Calcutta, 1965. Printed by Sibendranath Kanjilal, Calcutta University Press, 48 Hazra Road, Ballygunge, Calcutta. 

Keywords:

Ashoka, Inscriptions, Rock Edicts, Pillar Edicts, Dhamma Lipi, Mauryan Empire, Persian Influence, Brahmi Script, Kharoshthi Script, Ancient India.