The concept of Jirnoddhara: The philosophy of Preservation

Distinguished Guests

It is a very happy occasion for all of us to assemble here to share our experience in
preserving our built heritage in the form of temples in Bharatavarsha with special
focus on Andrapradesh temples. To my knowledge, such exercise is for the first time
wherein the traditional methodology of preserving these temples is scheduled to be
discussed with the conservation scientists and stakeholders. We are very much
indebted to the Department of Endowments Government of Andrapradesh for
motivating a Forum for transmission of the experiences of the Archaeologists and
conservation scientists with the present day engineers engaged in prolonging the life
of the Heritage buildings including temples.

In fact this would be a turning point in the renovation policy of the all stake holders
not only in AP but in the entire country. The philosophy of reconstruction in the
name of rejuvenation remains as a bygone technique and the conservation with the
minimum intervention is going to be a new dimension in the field of
Jirnnoddharana. In the absence of this subject in the normal syllabus of the
curriculum, the gap between the traditional knowledge holders and the modern
engineers such progrmmes would certainly bridge it.

It is well known that we have inherited a rich cultural heritage from our ancestors.
Our Culture and Traditions have not only survived for more than 5000 years, but
are also living ones, unlike many which disappeared. It is therefore our duty to
preserve & protect our culture, values and traditions, that our posterity will
continue our traditions & values and enjoy the fruits thereof.

By the time we became independent from colonial rule, we have realized that most
of our heritage lies in a much neglected condition. Perhaps the reason is the sudden
stoppage of royal pattern we experienced for many centuries. No doubt our colonial
masters evinced keen interest in the heritage and attempted to survey, catalogue and
document the cultural remains. In the 19th century they established the
archaeological survey on India to preserve very few of them. But the fact remains
that even today a large number of monuments especially temples are in a pathetic
condition. On one hand we had felt the financial constraints and on the other hand
the traditional technical knowledge had completely disappeared.
In 1922 Sir John Marshall published his Conservation Manual, which formed the
basis for the conservation policy to be followed by the colonies. It is in this context
that the concept of Jirnnoddharana becomes relevant.

Such magnificent temples are architectural wonders and they reflect the brilliant
long term planning of their creators. At the time of the construction did they not
consider about their upkeep, maintenance, conservation and preservation?
Our literary sources as well as the study of the materials used in them and from
epigraphical wealth, it becomes very transparent that our ancients not only created
these monumental wealth, but also clearly enunciated the principles of upkeep,
maintenance, conservation, restoration and reuse.

These principles are enshrined in the concept Jirnnoddhara. This is the term we
come across in our Sanskrit texts, viz. Agamas, Vaastu Sastras and inscriptions.
The term directly means ‘to repair or restore that which is broken or mutilated.
The agama texts and texts on Vaastu (architecture) not only describe in detail the
Process of construction beginning with the selection of the site of construction, but
also prescribe the action to be taken for preservation and restoration due to age,
natural calamities, vandalism due to war and other factors causing damage and
destruction.

The agama texts belong to three categories:

1) Saivagama. 2) Vaikhanasagama and 3) Pancharatra, the former dealing with the
Saiva sect and the latter two with the Sri Vaishnava. Besides we have got Tantra
texts, mostly adapted from the Pancharatra texts, but common for all sects
including the saktha cult.
The major texts which have sections or chapters on Jirnnoddhara are:
Kara agama, Kamikagama, Prasnasamhita, Marichisamhita and Merutantra,
Tantrasamuchchaya

A text called Siddhantasekhara (15th century) has a specific chapter on

Jirnnoddhara. Another text 'Manushyalaya Chandrika' in Malayalam script, also of
the 15th century, is a treatise on the construction of houses for human habitation.
Similarly, the existence of treatises on architecture in Jaina and Buddhist traditions
cannot be ruled out.
Vaastu texts define the intricacy of the planning parameters of cities, villages,
temples and interiors, including fine art of 'fitting design’. The fascinating Silpa
texts record these, beginning with kautilya's Artha Sastra of the second century
BCE and this tradition extended to the texts, more specifically on planning such as
Manjushrivastu Vidya Sastra of the 5th century, the Manasara of the seventh and
the Mayamata of the 9th century CE. The Manasara clearly states that this
compendium was a compilation of material gathered from over three hundred other
texts, on the architecture and planning in the sub-continent at that time .
The thirty fifth chapter of the Mayamata, on renovation work, refers to the subject
of conservation in a following manner:
"A temple (may be) ruined, broken down, fallen down, aged as to its material or
decrepit. Those (temples) whose characteristics are still perceptible in their
principal and secondary elements (are to be renovated) with their own material if
they are lacking anything or have some similar type of flaw, the sage wishing to
restore them, (must proceed in such a way that) they regain their integrity and they
are pleasantly arranged (anew), this (is to be done) with the dimension - height and
width - which were theirs, with decorations consisting of corner elongated and other
components with out anything being added (to what originally •misted) and always
in conformity with the advice of the knowledgeable".
Similarly many valuable notes on the subject of conservation or restoration have
been identified in ancient texts, some examples of which are referred here. J.N.
Banerjee refers to 7 CE Chinese visitor, Huein Thsang to India and records that' in
ancient times’ Sasanka, the enemy and oppressor of Buddhism, cut down the Bodhi
Tree, destroyed the roots down to the water, and burnt what remained. A few
months afterwards Purnavarma, the last descendent of Asoka on the throne of
Magadha, by pious efforts brought the Tree back to life and in that one night it
became about 10 feet high."
Here is a clear example of restoration after the original was defiled by a non-
believer, for the stone wall which was setup by Purnavarma was nothing but a
reconstruction. The Silaprakara (Stone Wall) erected in the 1* century BCE by the
pious zeal and munificence of Arya Kurangi, the wife of Indragnimitra, perhaps the
local chieftain. What Puma Varma did was to use the old materials Thabha (pillars).
Suds (joining pieces) and Usnisas (coping stones), all made of grayish sand stone. In
rebuilding the wall new material Granite) was used when the old was not good
enough.

RESTORATION OF STRUCTURES
The texts prescribe sets of rules for restoration of temple structures as well as
sculptures. Let us first deal with structural rules.
With regard to structural repairs we come across very interesting terminology both
in the texts and inscriptions, which indicates different types of repairs and
renovations to be carried out to the structure from time to time.

Khanda-sphutita - Jirnnoddhara: Repairing the portions which are damaged and

mutilated, and which have developed various types of accretions.

Khanda-sphutita- Navakarma: Repairing and renovation, as well as renewal.

Sphuta-nirakarana: removing accretions. The term sphuta-sphutita may also be

taken to mean "bulged" or "out of plumb" portions, which indicates setting right
such deformities.
Sudhakarana-Applying new white color or plastering with white mortar.
Taru-gulma-nirmalikarana: removing the over grown vegetation, moss and lichen.
To revert to the rules for restoration of the temple structures: when extreme
damage occurs to the structures to anga, upangas by vegetation, trees, anthills, bees
etc., there is no need to build a new balalaya to carry out renovation. (Balalaya is a
ritual to capture the power vested in the main deity in a pot and seal the same to
keep in a temporary room or in another shrine, and continue to offer worship, until
renovation is' completed and the original deity is reconsecrated and vested with a
power taken out of the sealed pot.) Instead of the Sakti or power of the temple could
be invoked in the Mahabera (the principal Vimana) and the renovation work
carried out. Such repair work is called Navikarana. When, however, the Vimana is
fallen or damaged, worn-out, devoid of anga struck by lightening its color got faded,
or the very space lost, a balalaya should be built and rebuilding carried out. Shri
Prasna Samhita also agrees with this method. However, it adds that if differences of
options crop up, any one of the following three models may be adopted to settle the
dispute, (a) Samyama-consensus (b) Chitka (lot) and (c) the decision of great pious
men(Mahatmas)
A point of great significance to modern conservators is the following passage which
stipulates:
(A) In restoration, the same form and the proportion should be maintained.
(B) The same school, to which the temple or sculpture belongs, should be followed.
(C) The same material should only be used.
(D) The same measurements should be maintained.
(E) When done otherwise, calamities would befall on the Ruler the people.
Restoration of Sculptures
The earliest reference to a restoration of sculpture is recorded in the introductory
part of the Sanskrit composition known as Avantisundarikatha by the poet Dandin,
who is considered to be the contemporary of Pallava king Rajasimha, in the
beginning of the 8th CE. The reference is to the restoration of the arm near the
wrist of the sculpture of Vishnu Anantasayin in the shore temple complex at
Mamallapuram (Mahabalipuram). Dandin himself was a learned person in
architecture and temple arts. He refers in this work to one lalitalaya, son of
Mandhata, a great master in architectural science who could surpass even the
Yavanas. As already stated, the Ananthasayasin sculpture was slightly damaged in
one of its arms, near the wrist. Lalitalaya restored the broken part. Visiting the
royal court at Kanchi, he invited the poet Dandin to come to Mamallapuram to see
the restoration he had done. Dandin went to Mamallapuram with his friends and
saw the sculpture by the side of the waves. "In the enchanting environment of cool
breeze, and the waves almost touching the feet of the image Anantasayin, he saw the
extraordinary skill of the sculptor in the restoration work. The work was so perfect
that he could not notice the wrist, (Manibandha), any traces of restoration. He
admired the work of lalitalaya"
This account brings out many important facts: (a) it shows that as early as the 8th
century CE the restoration of damaged parts of a sculpture was recognized as a
skilled art: (b)that damaged sculptures could be restored: (c) even poets and learned
men took Keen interest in examining such restoration work: and (d) that the
restored part should be absolutely true to the original. Further this would go against
the popular belief that if a stone sculpture is damaged, it should not be worshipped.
There are several agamic passages dealing with the specific question of what should
be done with broken sculptures.
They treat them under prayaschitta vidhi. There are minor variations in rules
between one text and another.
The deities are classified differently as
Self-manifest image Svayambhu Murtis
Those consecrated by sages: Arsha Pratishta
Humanly made, Manusha Pratishta.

In the case of former two there is no question of discarding the damaged images. In
the case of humanly made, repairs should be made to the damaged parts as far as
possible and only where repairs cannot be made, they should be deposited in deep
waters. For this purpose, the images are divided into two categories: Major limbs
and minor limbs. When damages are in major limbs of the stone sculpture, it should
be discarded, otherwise it can be mended and the worship can be continued.

Some textual authorities throw more light on this practice. The Mariachi Samhita,
an early Vaikhanasa text of the Vaishnavites, says that the stone sculpture, if found
damaged in parts other than Mahangas, should be repaired and not discarded. Its
divine power should be invoked in Balalaya; the broken sculpture should be buried
in the ground; over the ground the rite called Mahasanto should be performed and
next day the sculpture should be re excavated as if new stone obtained from the
earth and the broken parts should be restored. Even in the case of Mahangas
broken, if it could be repaired, the same process should be attempted.

In this case also the sculpture should be discarded. One, who abandons a stone
sculpture that could be restored, is a sinner. The text calls such restoration work as
punas-sandhana.

Another text Silparatna records -"when an image is broken it should never be

discarded: but when its arms, hands, feet and legs are severed, when it is broken,
split up or nine yava portions of it are gone or when it gets disfigured, it is usually
to be discarded. If its fingers etc are cut off (or broken) the sages recommend
binding (repairing) them."
Parameswara Samihta states that broken stone images could be restored with gold.
Sri Prasna Samhita calls restoration as punah-karma. If it is not possible to restore
stone sculptures, then they may be thrown into deep waters.
Tantra Samuchchaya, a Tantra work of Kerala scholl deals in detail about this
particular aspect.
Ananda Coomara Swamy also refers to conservation of ruined temples and images,
when he quotes a record in the Sukaraneethisara of Shukracharya, a medieval
treatise on the Statecraft and social organizations: "The king should not set up or
keep in a temple, a disproportioned or a broken image, worn out images of angels
and ruined temples are to be restored".
In the case of wood, the rule is that it can be restored if possible. If not, it should be
burnt to ashes and the ash thrown into water. In the case of metal images, repairs
should be carried out to various parts. If it is not possible to repair, the metal image
should be melted down and the same should be used for making a similar idol.
So far we have dealt with Sanskrit sources and rules pertaining to the concept of
Jirnnoddhara in the agamic texts.

The epigraphical references throughout India are replete with examples of

restoration, reconstruction and repairs to ancient structures. There are numerous
references in copper and lithic records to show that the restoration was nothing but
conservation and preservation of the ancient edifices insitu as much as possible with
out dismantling them. Some of them from Andrapradesh are listed in the manual
released to day by the H’ble Minister for Endowments,AP.

The question arises, that when we have such a rich and living tradition, why should
we dismantle the ancient edifices and reconstruct new models with modern
materials. Neither the religious texts fully endorse such application with out due
regard to the ancient marvels neither the modern materials are certified to be more
sturdy enough to stand longer than the old stood all these centuries. This does not
mean that the conservators should be conservatives, but can use the modern
techniques to stabilize and prolong the life of the temples with out meddling with
their original characteristics. It should be remembered that the ancient Architects
have used reversible materials in these temples and it is not very difficult to restore
them with ancient grandeur if there is a determination to preserve them with
ancient beauty.
We can always draw upon technology and innovations of the world and adopt them
to our own needs. India, has through centuries, shown that she can absorb all
external influences and beautifully blend to give them a Pan Indian purview.

Friends, I am honoured to have been invited to gear up this exercise and REACH
FOUNDATION is always ready to share any responsibility with you all to preserve
these temples with ancient grandeur and Sanctity.
I hope you'll consider my random thoughts seriously and take them forward. Once
again I am grateful to you especially to the commissioner Endowments Department
AP for this privilege and honours.

Om Shantih Shantih Shantih

T.Satyamurthy
Managing Trustee, REACH F OUNDATION
CHENNAI