The sculptural styles practiced during the Gupta period represent the last significant stages in the development of Indian Buddhist art, as Hinduism gradually displaced Buddhism in the post-Gupta era. The Gupta sculptural style lived on, however, as Hindu art in the north retained many Gupta elements for centuries to come. More importantly, the Gupta style spread internationally. Its influence can be seen in the Tang-era 7th century colossal Buddha image at Longmen, 9th century sculpture of Heian-period Japan, and even in14th century Sukhothai-style bronzes from Thailand.

Gupta images are often described as soft, simple and organic. When compared with sculpture of the previous Kushan era, it has more in common with images created in the Mathura region than those crafted in Gandhara. Gupta images, however, usually possess a more emotive quality, expressing a gentleness and an inner serenity not found in the Kushan styles.

One of the simplest yet most effective innovations dating to this period is the depiction of heavily lidded, downcast eyes. Though this feature may have its origins in Gandhara imagery, it was perfected by Gupta artists and would became a signature element of their style, along with the so-called "snail shell curls" used on images of the Buddha. The clinging drapery is also a standard Gupta feature; other images are often decorated with a fold pattern resembling a series of strings arranged in regular parallels (referred to as "string drapery").

This image of the Buddha stands with his hands in a gesture known as the abhaya mudra: both hands held palm-forward, the right hand pointed up, the left pointed down. The gesture communicates serves to communicate to followers that there is nothing to fear if one takes refuge in the dharma, the Buddhist law.