“Working together with and directed by past impressions,
the three Guṇa, Sattva, Rajas and Tamas determine
whether the mind is calm, agitated or dull.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 4

“Mental activities are called Kliṣṭa when they result
in Duḥkha and Akliṣṭa when they do not.
When the three Guṇa are dominant,
Jīva is troubled and mental activities result in Duḥkha.
When the mind is free from desires, inclined toward discrimination
and seeking truth, mental activities do not result in Duḥkha.
– T Krishnamacharya on Yoga Sūtra Chapter One verse 5

“We can experience an absence of
thirst for the ephemeral Guṇa
when the recognition of the
eternal Puruṣa pulls us more.”
– Paul Harvey on Yoga Sūtra Chapter One verse 16

“These five Kleśa surround the heart of every individual.
They are related to the three Guṇa known as Sattva, Rajas and Tamas.
As long as one chooses not to inquire into the true nature of one’s self and acts mechanically,
they will unknowingly contribute to the dominance of the Kleśa.”
– T Krishnamacharya on Yoga Sūtra Chapter Two verse 3

“Similarly, because of the proximity of Citta and Puruṣa,
what is the quality of one is taken to be of the other.
In our convention they are often taken as one
and not two distinct entities with different natures.
This state is Asmitā.”
– T Krishnamacharya on Yoga Sūtra Chapter Two verse 6

“This Sūtra describes the origin of Duḥkha.
Duḥkha arises because of change, greed and conditioning.
Besides the Guṇa cause inherent changes unexpectedly.
This disturbs balance and Duḥkha follows.”
– T Krishnamacharya on Yoga Sūtra Chapter Two verse 15

“What is the nature of the Dṛśya or what can be perceived?
It has three qualities; it reveals, it acts, it has substance.
It has many components, the objects known and the means to know them.
They serve two roles.
When in strong association with the perceiver they produce pleasure or pain –
when this association is absent they let the perceiver visualise its own nature.
Experience of pleasure or pain is by the perceiver.
Freedom from them is also its fundamental situation.
This freedom is no different from Mukti.”
– T Krishnamacharya on Yoga Sūtra Chapter Two verse 18

“Without Rajas Guṇa
there can be no Pariṇāma.”
– T Krishnamacharya on Yoga Sūtra Chapter Three verse 16

“For me, still to this day, one of the simplest, direct and most succinct definitions on the purpose of Āsana within the processes and practices of Haṭha Yoga, is the definition offered in the Haṭha Pradīpikā Chapter One verse 17.
It is a definition valid for any situation, discussion or presentation, or as a response to questions from any background, or level of interest around why we practice Āsana.
It can also be a springboard to linking physiological qualities, such as the relationship of Agni, to the energetic qualities of health and lightness of limb. Or investigation of the commentary by Brahmānada, as that explores psychological qualities such as the relationship of the Guṇa, Rajas, to mental qualities such as steadiness.”
– Paul Harvey on Haṭha Pradīpikā Chapter One verse 17

“Its the combination (of Guṇa) thats important.
There is the simile of the oil lamp in the Sāṃkhya Kārikā Śloka 13.
The cotton wick – Light Property (Sattva)
The basin or bowl – Heavy Property (Tamas)
The oil – Flows this way or that (Rajas)
The moment you dip the cotton in the oil it takes on that property.
Thus the Guṇa work together to produce the flame.”
– TKV Desikachar on Sāṃkhya and Yoga

“Everything we see,
including the instrument of mind,
has three qualities or natures.
All matter has the three qualities.
In Saṃskṛta they are known as Guṇa.
In Sāṃkhya it is said that every problem
comes from the Guṇa and their interplay.
The effects can be based on what we see, eat, hear,
and the effects of what we see, eat, hear.
In Yoga one who has mastered themselves is one
who can produce whatever Guṇa is required.”
– TKV Desikachar on Sāṃkhya and Yoga

“One’s own actions can develop or make one Guṇa prominent.
Thus we can plan or practice Āsana or Prāṇāyāma to promote one Guṇa.
The practice of Yoga can influence the Guṇa.
the room where you practice can affect the Guṇa
by photographs, colour of paint, smell.
Even Mantra are classified into Guṇa.
This needs to be considered when using Mantra for the individual.
Meditation can be related to the Guṇa.
The object of our inquiry must be related or,
in accordance with what we want to produce.”
– TKV Desikachar on Sāṃkhya and Yoga

“There is an impression in some schools
that Tamas and Rajas are to be rejected.
This is not so, both are necessary.
It is the combination thats important.”
– TKV Desikachar on Sāṃkhya and Yoga

“Lightness or Sattva is not always correct.
Sometimes it is necessary to create
heaviness and activity for memory, etc.”
– TKV Desikachar on Sāṃkhya and Yoga

“Its the combination (of Guṇa) thats important.
There is the simile of the oil lamp in the Sāṃkhya Kārikā Śloka 13.
The cotton wick – Light Property (Sattva)
The basin or bowl – Heavy Property (Tamas)
The oil – Flows this way or that (Rajas)
The moment you dip the cotton in the oil it takes on that property.
Thus the Guṇa work together to produce the flame.”
– TKV Desikachar on Sāṃkhya and Yoga

“The Doṣa and the Guṇa are related,
we need to be able to understand the Guṇa
to be able to understand the Doṣa.”
– From study notes with TKV Desikachar England 1992

“We might want to consider the notion that the
most important standing Āsana is Samasthiti.
Its role is to ensure we engage with the next Āsana
from a place of attention and aware anticipation,
and after it, return to a place of fullness and reflection.
As if we are experiencing the fullness of the aftertaste
that naturally follows the ingestion of well-cooked food.
It’s learned Bhāvana is a quality of stillness within any
moment of inaction, ere to a transition to the next action.”
– 108 Postural Practice Pointers

Bhāvana on Śavāsana within a Śikṣaṇa Āsana practice.
“Inherent within the application of Śavāsana
as an Āsana within a Śikṣaṇa Krama practice,
is the active cultivation of a quality of Nirodha,
or what can be described as ‘witness awareness’.
As in the notion of the Cit observing the Citta.
Thus, a key to directing the attention in
Śavāsana, is to intentionally cultivate
a quality of passive observation.”
– 108 Postural Practice Pointers

General Guidelines for Practice Planning:
“Look to cultivate a quality of Sattva by
diminishing Tamas and channelling Rajas.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Furthermore, the consideration of movement
or stasis sits within a relationship to the
deeper purpose of Āsana within our journey
through the body and the breath, to the mind
and beyond, through considerations such as:
In relation to the fluctuations of the Guṇa.
Ideally, dynamic work is a state of still movement,
rather than a state of active movement, as in Rajas.
Equally, static work is a state of bright stasis,
rather than a state of dull stasis, as in Tamas.
Thus, in relation to the Guṇa, the application
of both movement and stasis in Āsana need to be
appropriately supported by a quality of Sattva.
As in a quality of stillness within dynamic work
and a quality of brightness within static work.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Links to Related Posts:

• Question to Krishnamacharya – “Can you explain the concept of Vinyāsa and Pratikriyā Āsana?”
• TKV Desikachar talks on Śraddhā in the light of the Yoga Sūtra……
• Yoga Sūtra on Stress – An interview with TKV Desikachar