Links to Related Resources & Longer Articles:

• 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……

Collated Related Short Posts & Quotes:

“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

“There are indications that
accompany the distractions.
Such as a sense of uneasiness,
or a melancholic moodiness.
Or, as an agitation in the body
and in the breath, expressed as
unsteadiness in the limbs and
in the exhalation and inhalation.”
– Paul Harvey on Yoga Sūtra Chapter One verse 31

“In Sūtra 1.31 Patañjali suggests that the distractions
have symptomatic companions that will manifest
within different dimensions of our being. Namely,
emotionally, mentally, energetically or physically
A question is, through which aspect of our being
do the accompanying symptoms manifest for you,
emotionally, mentally, energetically or physically?
Also, how do these four symptomatic manifestations
correlate for you in terms of the cause and the effect?
Such as in an emotional symptom triggering an
emotional effect? Or, an emotional symptom
triggering an energetic effect? Or, an energetic
symptom triggering a mental effect. Or, a mental
symptom triggering a physical effect. And so on….
Furthermore, what are the ways that you can
intentionally or unintentionally support their
presence and short term and long term influence?
In other words, how do we ‘as if’ feed their presence?”
– Paul Harvey on Yoga Sūtra Chapter One verse 31

“In Sūtra 1.32 Patañjali offers the first of eight suggestions
for a Śamanam Sādhana, or short term palliative for the
symptoms accompanying the obstacles as distractions.
Given the potential of Japa around Īśvara as a Śodhanam Sādhana
to nullify the effects arising from the influence of the Antarāya,
what is the purpose of the suggestions in these next eight Sūtra?”
– Paul Harvey on Yoga Sūtra Chapter One verse 32

“Whatever is called Yoga
must have some characteristic
of Sthira and Sukha, whether it is
Āsana, Prāṇāyāma, Pratyāhāra, or Dhāraṇā.”
– TKV Desikachar on Yoga Sūtra Chapter Two verse 46

“The changes we see in one person,
(in terms of Dharma, Lakṣaṇa and Avasthā)
are because of Karma Vāsana.
The Lakṣaṇa or Avasthā that appear
very much depend on Karma Vāsana.”
– T Krishnamacharya on Yoga Sūtra Chapter Three verse 13

“Who does this?
What is the force that brings about this adjustment?
We need some means – that is called Nimitta.
We must have the intelligence to know the basic
characteristics of our materials and their possibilities.
We must also have ability to bring about desired change.
Change of the mind, as in the movement from an ordinary mind
to one that is extraordinary, is similar to the process of irrigation.
A farmer attempts to direct the flow of water from
an oversupplied plot to one with insufficient supply.
The very nature of water makes it necessary only to cut
a dam to cause it to flow. However, he must recognise
which plot is surplus, which is deprived and which
dam he must cut in order to solve his problem.”
– TKV Desikachar on Yoga Sūtra Chapter Four verse 3

“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)

Criteria for the quality of Āsana
1. One must be present in the action.
2. Even with the eyes closed one must recognise the Āsana.
3. One should not suffer and want to be away from the Āsana.
4. It is the breath which defines the quality of the Āsana.
– TKV Desikachar Switzerland 1978

“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

“Yoga is awareness,
a type of knowing.”
– T Krishnamacharya 1988

“The Lakṣana of Parśva Trikoṇāsana, or side triangle pose,
is as a movement OF the spine to the side over one leg,
rather than as a bending or arcing IN the spine towards the side.
Thus the aim is for the spine to stay straight relative to the leg,
with the intention of extending it from crown to coccyx.”
– 108 Postural Practice Pointers

“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

“Dvi Pāda Pīṭham or Two Foot Support combines
the characteristics of a lying Āsana and a backbend,
as well as offering an alternative to more intense
backbends, or as a preparation for inverted Āsana.
This Āsana can be applied initially within a dynamic
context working as a preparation for the body,
plus allowing gradual access to stronger Āsana,
such as prone backbends and inverted Āsana.
The way for progressive work to access the upper half
of the body, neck and shoulders links to a subtle and
precise work with the breath, especially the inhalation.
Here the focus of attention is supported through the
application of techniques such as, firstly, locational
breathing and then, if appropriate, directional breathing.
This can further help the involvement of the student
in the longer-term intention and purpose of the Āsana.
In its more intense Śikṣaṇa form Dvi Pāda Pīṭham is a
challenging option for the more experienced student.”
– 108 Postural Practice Pointers

“Bhujaṅgāsana is more commonly known as the
Cobra posture and is seen in many Yoga groups
as an example of a “classical” Yoga backbend.
It is an Āsana where the emphasis is intended to be
on arching the entire spine and expanding the upper
chest forwards rather than merely bending backwards.
Its energetic opening actions also make the Āsana
an  essential reference for people’s Yoga practice
as a prone backbend in one form or another.
When inhaling, the focus is to initiate
the movement of both the body and the
breath from within the Prāṇa Sthāna.
Here, the image of the Cobra expanding its hood can
be a guide to keeping the emphasis in the upper chest
and spine and not over emphasising the use of the
arms as a support. Instead, consider the role of the
arms as if to draw back from the palms of the hands
to encourage a forward movement of the sternum.
This is accompanied by a drawing away of the
feet from the hips to experience the Pūrvatāna
or front stretch Lakṣaṇa of Bhujaṅgāsana.
It may help to think of this particular category
of Pūrvatāna Āsana as engaging a wall-to-wall
Bhāvana, rather than floor to celing movement
more commonly associated with the Cobra posture.”
– 108 Postural Practice Pointers

“Janu Śīrṣāsana, known as the head to knee Āsana,
combines the qualities of a seated forward bend with
those of an asymmetrical pose, in that it works first,
on one side of the body more, then on the other side.
In this Āsana, the physical focus is on the lengthening
of the muscles of the back, spine and the extended leg,
and the rotational effects on the joints in the folded leg.
Plus, with its seated forward bend Bhāvana, there is
a natural support favouring the exhalation, offering
opportunities to both lengthen and deepen the breath.
This support, along with its  internalising and closing
qualities, offers possibilities for the student to focus on
the quality of the attention within the form of the body.
Thus, using Janu Śīrṣāsana with its seated forward bend
Bhāvana, and when linked with a mindful breath, can help
the student to experience the deeper function of the Āsana,
even if there are limitations with regard to its Śikṣaṇa form.”
– 108 Postural Practice Pointers

“Today there are many expectations
around what was known in Yoga as
Padmāsana or the lotus posture, in
terms of its place in Yoga practice.
For example, seeing this pose as a
representative of Yoga Āsana can
arouse misunderstandings as to
the role and purpose of the form.
As an emblem for a ‘classical’ sitting
Āsana, it can proffer a dual image of
a vertical strength or stability; allied
with horizontal flexibility or mobility.
This image is an important aspect in
appreciating the form and function of
Padmāsana, and is also a Bhāvana that
should be applied to any sitting Āsana.”
– 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

“In Prāṇāyāma a staged
introduction to developing
each nostril as a channel,
offers an insightful map,
as both a path and a goal
towards defining the power,
as well as in refining the
subtlety of the breath.”
– 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
– Along with a time appropriate, category
accessible Vinyāsa Krama to link the
chosen 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

“Initially, if teaching breath work in group situations,
we don’t need to worry about people using Ujjāyī
or not. Because, even if you are not using Ujjāyī
and you want the student to learn to make the
exhale longer, they must learn how to initiate the
exhalation by contracting the abdominal muscles.
So, making the exhalation longer is something
you can learn and refine independently of Ujjāyī.
Sometimes, even within the very act of making the
exhalation longer people will naturally shift to Ujjāyī.
If teaching individually, we can start with introducing
the student to the process of activating the exhalation.
However, given the uniqueness of the personal dynamic,
initiation into the art of Ujjāyī can usually be presented
within the first lesson, along with accommodating the
structural and the performance differences between the
characteristics of the exhalation and of the  inhalation.”
– 108 Yoga Teaching Path Pointers