Links to Related Resources & Longer Articles:

• Can we find some similar characteristics between various individuals around Āsana practice…
• Compendium of Quotes from TKV Desikachar on the Yoga of T Krishnamacharya……
• Considerations for Vinyāsa Krama around Bakāsana……
• Guidelines for skilful dynamics within the performance of Vīrabhadrāsana……
• Longer term Vinyāsa Krama within the Viniyoga of the breath in Āsana……
• My understanding on the context and content of Yoga Makaranda….
• Nāma, Rūpa, Lakṣana – The Name, Form and Characteristics of Āsana
• Navarātri or the Nine Nights of Durgā as a time for Mantra Sādhana……
• The Viniyoga of Inversion as an Āsana or as a Mudrā……

Collated Related Short Posts & Quotes:

“Insight follows the aggregate
of deliberation on the gross,
to reflection on the subtle,
resulting in a feeling of happiness,
culminating in a sense of oneness.”
– Paul Harvey on Yoga Sūtra Chapter One verse 17

“In Sūtra 1.17 Patañjali presents Asmitā, or the
sense of oneness, as the culmination of four
successively subtle forms of a meditational
process, collectively described as Saṃprajñāta.
How do we compare Asmitā in this verse
with the Asmitā described as one of the
five Kleśa listed in Chapter Two verse 3?”
– Paul Harvey on Yoga Sūtra Chapter One verse 17

“When we repeat the sacred syllable OM
while reflecting on Īśvara,
we forge a link through which
we relate to the highest one.
In this singular and simple way our
meditation brings us close to Īśvara,
who resides in our heart in a most subtle form.
Since ancient times this has been the manner
of meditation followed by the most learned.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 28

“The association with the world full of form and change starts with the mind.
Suffering caused because of this association is an eye opener.
Who is suffering?
Who is recognising it?
What can release this suffering?
All these questions exist because of this association,
even though it may often be painful”
– T Krishnamacharya on Yoga Sūtra Chapter Two verse 23

“When we repeat the sacred syllable OM
while reflecting on Īśvara,
we forge a link through which
we relate to the highest one.
In this singular and simple way our
meditation brings us close to Īśvara,
who resides in our heart in a most subtle form.
Since ancient times this has been the manner
of meditation followed by the most learned.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 28

“Then, he has also some views on Dhyāna.
Since Dhyāna is a characteristic of mind,
and since the mind is limited to form,
Deśa, or the object of meditation,
must be Saguṇa and not Nirguṇa.
Ordinary people need certain forms,
certain visualisations, for Dhyāna,
so any Dhyāna which is Nirguṇa is only Vikalpa.”
– TKV Desikachar Switzerland 1981.

“In meditation,
one must make the transition
from the gross, that which has form
and which can be seen by the mind,
to the subtle, the formless.”
– TKV Desikachar Madras December 19th 1988

“Don’t always visualise the physical form.
In other words not just a vertical
axis of the legs and the spine,
but instead the feeling of Uttāna.
It may be some years before it is
vertical or it may be vertical
without a feeling of Uttāna.”
– TKV Desikachar 1991

“Uttānāsana is an intense standing forward bend.
It is often used to begin a sequence of Āsana.
Its use can improve mobility in the primary joints
and extend muscles, primarily on the back of the body.
Its form respects the movements adapted in daily life.
The use of an intense closing Āsana implies
some cautions in the stretched areas of the body,
such as the lower back, sacrum, hips and legs.
The awareness can be placed on the abdomen
leading to a longer, smoother exhalation and
counterbalancing, with this inner work, the
physical effort required by its dynamic approach.
There are a number of adaptations to support
the student experiencing a feeling of melding
between the energetic flow of the movement
and the depth and stillness of the breath.”
– 108 Postural Practice Pointers

“Vīrabhadrāsana represents the fighting stance of the  warrior
Vīrabhadra, who is said to represent the fierce form of Maṅgala.
He was created by Śiva from a matted lock of his own hair,
in a vengeful response to the death of his wife Satī after
her self-immolation in the sacrificial fire at her father’s Yajña.
It’s a demanding standing position coupled with a backbend in the spine
to give the Āsana its opening energising and strengthening qualities.
The focus of attention can be brought to the chest and upper back
through its form and the emphasis on the breath, especially the inhalation.
Its role as an expansive, demanding standing Āsana can be
graduated to suit the practice capacity of the student.”
– 108 Postural Practice Pointers

“Supta Pādāṅguṣṭhāsana is a lying and apparently
relatively simple Āsana in its external form.
It is described as the fingers and thumbs holding the
big toes of each foot, with the legs extended straight
and held upwards at an angle of 45 degrees with the
spine and head fully in contact with the ground.
In reality, this is literally beyond the reach of most students.
Though, given consistent time and appropriate development
in accessing this Āsana, there is the possibility of deep work.
This is initially felt primarily through the effect on the legs,
Though, given time the primary effect is felt more in the spine.
As a Samāna Āsana, an equal breath would be emphasised with
a Samavṛtti ratio, perhaps incorporating the use of Kumbhaka.
The focus of attention is on the spine, from crown to coccyx,
and is accessed via the breath, which can help support the
student’s effort within the external demands of the Āsana,
such as that more often found within the tightness in the legs.”
– 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

Bhāvana on Ujjāyī as a Dhāraṇā Deśa
“Ujjāyī is a form of Ajapā Mantra.”
– 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

“Adapting the form of Yoga is one thing.
Adapting the roots of Yoga another.
Better not to confuse the two when choosing.”
– 108 Yoga Practice Pointers

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

A third factor, that of Respect for Responses
“Āsana are not automatic but can become so.
The inevitability of voluntary actions is that we
get used to them and they become involuntary.
With this, the risk factor is increased as well.
So what is voluntary and what is involuntary is
completely different when there is a ‘new’ response.
However, such a response needs to be linked to
something deeper than just merely a ‘tweaking’,
or ‘inventive’ variation within the form of the body.
Given, that in Yoga the breath is that which gives life.
By cultivating a role for, and the purpose of the breath,
we are creating and re-creating a situation for, not just new,
but also more subtle responses to occur and reoccur.
Within this field for enhancing awareness,
through our relationship with the breath,
the risk factor is reduced as well.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

“Ultimately our experience of the Āsana is refined
through the mystery of the breath,
rather than the mastery of the form.”
– 108 Yoga Practice Pointers

The Viniyoga of Breath Ratio within Śikṣaṇa Practice
“Svatantra within Āsana, Mudrā
and Prāṇāyāma implies knowing
the self-application and effects of
breath ratios, as well as you know
the self-application and effects of
the forms of the important Āsana.”
– 108 Yoga Practice Pointers

“Tradition is honouring the function.
Innovation is adapting the form.
Good not to get the two confused
or even worse – the wrong way round.”
– 108 Yoga Teaching Path Pointers

“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

“Plan a practice where the Pradhāna or crown
is working dynamically in the Pūrṇa form
of Eka Pāda Uttāna Mayūrāsana.”
– Yoga Practice Planning and Theory Questions – Collected & Collated