“Yoga Sūtra Chapter One verse 2 is a Lakṣaṇa Sūtra in that it
describes the characteristics of Yoga as Citta Vṛtti Nirodha.”
– TKV Desikachar on Yoga Sūtra Chapter One verse 2

“Then what is required is
the clarity that is stable in
the midst of provocation and
the ability to do ones duty
with complete dedication,
without insisting on results.”
– TKV Desikachar on Gītārtha Saṃgraha of Śrī Yāmunācārya Śloka Six
(Yāmunācārya commentary on Bhagavad Gītā Chapter Two)

“The mind has the characteristics that make other things possible.
To develop tendencies or Saṃskāra.
The mind can also adapt and change or Pariṇāma.
Saṃskāra is the opposite of Pariṇāma.”
– TKV Desikachar on Sāṃkhya and Yoga

“The Āsana in which you sit can alter the characteristics of the breath.”
– TKV Desikachar 1980

“Forward Bends are back stretching Āsana in terms of Bhāvana.
Thus in Paścimatāna Āsana one of the foci is on avoiding pushing
from the lower back as you bend forward.
Thus move forward from the abdominal area by drawing it back,
to encourage the lower back to respond by lengthening.
If we push from the lower back in forward bends,
such as Paścimatānāsana, it can tighten this area,
thus inhibiting the focus on the quality of the Apāna Lakṣaṇa,
as well as transferring stress to the sacrum, hips and hamstrings.”
– 108 Postural Practice Pointers

“As a teacher it can be helpful to consider Āsana as
vehicles to transmit the fundamental principles of practice.
For example a cardinal principle of practice is that Āsana
have a primary and a secondary aspect within their Lakṣana.
Thus we must inquire into what is the primary aspect in this Āsana,
and what is the secondary aspect in this particular Āsana?
The idea is to maintain the integrity of the primary characteristics.
Thus we may need to compromise the secondary characteristics.
For example in Uttānāsana to sustain the primary work in the spine
we can consider a secondary compromise by releasing the knees.”
– 108 Postural Practice Pointers

“The art of improvisation in Āsana functions
through two core practice principles, namely
that of the modification in and of the Āsana
and that of the variation in and of the Āsana.
Each can be defined more specifically in that:
Modification is that which brings you closer to
the Lakṣaṇa or core characteristics of an Āsana.
Variation is that which can take you away from
the Lakṣaṇa or core characteristics of an Āsana.”
– 108 Postural Practice Pointers

“One aspect to the art of modification in Āsana,
is in order to sustain a specific direction of Candra
according to the primary Lakṣaṇa of and in an Āsana,
amidst a contrary potential to stimulate a dispersion
of Candra, because of the demands of the secondary
Lakṣaṇa overpowering that of the primary Lakṣaṇa.
This also implies that we have personally embedded
a theoretical and experiential understanding, through
study of the process in the Viniyoga of Āsana, according
to their inherent primary and secondary characteristics.”
– 108 Postural Practice Pointers

“To help facilitate the characteristics
inherent within a particular ratio,
the mental counting needs to be
stronger than the mental mood.”
– 108 Prāṇāyāma Practice Pointers

“The ‘seed’ of potential for Ujjāyī as an
Ajapā Mantra abides within the ‘shell’ of
a Bhāvana for Ujjāyī as a Dhāraṇā Deśa.
The Deśa also needs to be supported by
utilising a locationally relevant Ādhāra,
as in this instance, the Viśuddhi Ādhāra.
Further considerations can be around the
linking of the sound of Ujjāyī to a semantic
thought-form, by adding Mano Japā Rūpa to
this Ajapā, as some do through using Haṃsa.
However, one could argue that this formation,
shifting from a non-language feeling-based
experience into a language thought-based
experience, can detract from the Bhāvana,
in that a unique Lakṣaṇa of Ujjāyī resides in
the notion of ‘sounding’ without language.”
– 108 Prāṇāyāma Practice Pointers

Different Types of Postural Activity in Āsana Practice
“This would also involve a theoretical study of
the Lakṣaṇa of individual or groups of Āsana.
This is supported by exploring the advantages and
disadvantages of movement or stay in specific Āsana.
All of which to help in appreciating which Āsana
are best used dynamically, or which Āsana are
best used statically and which Āsana can serve the
practice in both a dynamic and static application.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Consequently in looking at the principles
of working with dynamic and static,
we must consider the following:
– The Lakṣaṇa of the chosen Āsana
– The Lakṣaṇa of the practitioner’s body
– The Lakṣaṇa of the practitioner’s breath
– The Lakṣaṇa of the practitioner’s mind
– The Vinyāsa Krama to link the Āsana
with the practitioner’s individual
body, breath and mind.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

A third factor, that of Respect for Responses
“We must consider our waking posture,
which is usually standing or sitting.
Thus, we have a gap from this to
the main Āsana we intend to use.
How can we bridge this gap from everyday
postures to Āsana, in terms of form and function?
Principles of practice are means to bridge the
gaps according to place, time and circumstances.
Here, we can cultivate steps towards being
able to access an Āsana with a conscious
composure, remaining awake within it
and maintaining a respect for responses.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

We must also consider the safety factors
“Along with creating a situation for ‘new’ responses to occur,
any guidelines must also consider the safety factor.
This is helped by being able to distinguish characteristics
between say Bhujaṅgāsana and Paścimatānāsana.
Thus an elementary knowledge of what happens
in the body is required, along with consideration
of prerequisites and appropriate Pratikriyāsana.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

“My Āsana study with Desikachar was shaped around forming
a deep appreciation of specific core principles that underpin
the planning and practice of Āsana and their application to
the individual student’s constitution, psychology and need.
Amongst these dozen or so core principles,
the first group when looking at any Āsana in depth,
were the concepts of Nāma, Rūpa and Lakṣaṇa, or the
name, form and characteristics of that particular Āsana.
Obviously, the Nāma is a useful tag point for identification
and the Rūpa is vital as a reference point for the Sat Viniyoga,
or right application of the Āsana within overall considerations of
initial direction and outcomes through such as the Śikṣaṇa Krama,
Rakṣaṇa Krama or Cikitsā Krama application of the forms used.
However, I do feel these days that our understanding in Āsana
practice is more dominated by the Nāma and the Rūpa with
little emphasis on the Lakṣaṇa or inherent characteristics of the
Āsana and how understanding this aspect can have a profound
effect on the approach, application and outcome of the overall or
accumulative impact of the Āsana within the student’s practice.
The teachings of Krishnamacharya around Āsana included
an in-depth appreciation of the Lakṣaṇa, especially around
the thirty or so primary and secondary support Āsana such as
Uttānāsana, Jaṭhara Parivṛtti, Bhujaṅgāsana or Januśīrṣāsana.”
– 108 Yoga Teaching Path Pointers

Links to Related Posts:

• A sample Parivṛtti and Paścimatāna Themed Group Practice
• Can we find some similar characteristics between various individuals around Āsana practice…
• Guidelines for skilful dynamics within the performance of Vīrabhadrāsana……
• Nāma, Rūpa, Lakṣana – The Name, Form and Characteristics of Āsana
• The Viniyoga of Inversion as an Āsana or as a Mudrā……