by Libbie MILLS, Department for the Study of Religion, University of Toronto
For a paper presented at the 2019 Edinburgh meeting of the American Council for Southern Asian Art (ACSAA), I worked through a range of Sanskrit texts
Aṃśumatkāśyapa chapter 96; Aṃśumadāgama 56; Agnipurāṇa 67 and 103; Ajitāgama 73 and 94; Aparājitapṛcchā 49, 50, 52, 109, 110 and 111; Īśvarasaṃhitā 19; Kāmikāgama P32, P58, U33, U34, U35, and U45; Kāśyapajñānakāṇḍa 104; Kiraṇa 63; Tantrasamuccaya 11; Dīptāgama 59; Devyāmata 64; Piṅgalāmata 12; Pratiṣṭhālakṣaṇasārasamuccaya 21; Prāsādamaṇḍana 8; Bṛhatkālottara jīrṇoddhārapaṭala; Mayamata 5 and 35; Mayasaṃgraha 5, along with the accompanying Bhāvacūḍāmaṇi commentary by Bhaṭṭa Vidyākaṇṭha; Mohacūrottara 5; Rauravāgama 44; Vimānārcanakalpa 62, 64, 69, 70, 71, 72, 73, 74, 76, and 77; Viṣṇusaṃhitā 24; Śilparatnākara 5; Samarāṅgaṇasūtradhāra 44 and 45; Suprabhedāgama 54, 55 and 56 ; Somaśambhpaddhati kriyāpāda 10.
on jīrṇoddhāra, the removal (uddhāra) [and replacement] of the old (jīrṇa), for temples and icons.
While the term jīrṇoddhāra clearly implies a renovation, I veer away from translating it in that way, in order to respect the meaning held by the compound itself, which is that of a removal of what is old. The emphasis on the removal side of renovation, as opposed to the replacement side, holds sense when one reads accounts of the great harm that comes from an old object if it is not removed and disposed of. Of course, replacement will follow removal, and much attention is paid in jīrṇoddhāra literature to how that is carried out, but it is the removal of the corrupting force of an old item that is given principal importance in the labelling of the procedure.[Read more…] about Talking to Yourself: Commentary as Fatnotes