Links to Related Resources & Longer Articles:

• A Twelve Day Intensive Prāṇāyāma Sadhana proposal for Nāḍī Śodhana….
• cYs Practitioner Training Programme Retreat Extract 2 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 3 – Self Planning & Self Practice
• In exploring the links between Āsana and the Breath and Prāṇāyāma…
• Studying, Practicing and Learning the Tri Bandha involves Theory, Techniques and Cautions…
• The breath can be a key to unlocking the mystery of the relationship……
• The continued effort of the Breath is that which gives life……
• Within the Yoga Sutra Patañjali offers numerous lists which can reflect nuances or gradings…

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

“In Sūtra 1.33 Patañjali offers four Bhāvana as reflections on our relationships with others.
We can also suggest they are listed in a progressively linked order.
Here, the question is:
Are they are presented in an order from gross to subtle, or is it vice versa?
In other words, looking at Upekṣā as the subtlest and most difficult to cultivate.
Or, are they are presented in an order from subtle to gross?
In other words, looking at Maitrī as the subtlest and most difficult to cultivate.”
– Paul Harvey on Yoga Sūtra Chapter One verse 33

“When you begin to observe the habitual pull
of the mind along a particular sensory path
towards an object, you can cultivate a choice.
In that, rather than being habitually drawn
towards the external object of the senses,
you can instead choose to turn the mind
back and inwards towards experiencing
the root and source of a particular sense.
This can serve both as an object to bind the
mind, out of which, steadiness can arise.
As well as being an inquiry into both the
role and sources of the senses, which in
turn can help us to more fully understand
how we choose to relate to our environment.
Also, a steady mind can offer a means by
which you can sense, perceive and process
experiences more deeply, more subtly.
However,
it is also very possible to have a subtle perception,
but an unsteady mind.”
– Paul Harvey on Yoga Sūtra Chapter One verse 35

“This state of being allows flawless perception.
What the person sees cannot be error.
What they say cannot be disproved.
Nothing is excluded from their perception,
be it gross or subtle, simple or complicated.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 48

“The order is important
– from gross to subtle,
we need one to appreciate the next.”
– TKV Desikachar on Yoga Sūtra Chapter Two verse 1

Still subtler layers of meditative reflection
as in Samādhi, can reveal the source of this
confused sense of “I” Am-ness, as in leading us
to the roots from which the tree trunk, and then
the branches grew, namely the ultimate illusion.
These hidden roots sustain this existential illusion
where, what in reality is transient, adulterated,
infused with suffering and non-Spiritual,
is personally lived and experienced as if
everlasting, unadulterated, infused
with pleasant feelings and Spiritual.
– Paul Harvey on Yoga Sūtra Chapter Two verse 5

“Within the practice guidelines for Prāṇāyāma
Length and Subtlety are the fruits of a process,
they are not tools for use within this process.
The tools here are Deśa, Kāla and Sāṃkhya.
By these the breath becomes Dīrgha and Sūkṣma,
in other words the breath becomes Long and Subtle.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 50

“Some Prāṇāyāma Techniques prioritise Length.
Other Prāṇāyāma Techniques prioritise Subtlety.
While yet other Prāṇāyāma Techniques prioritise Both.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 50

“When working with the Breath in Āsana,
it’s perhaps less appealing initially,
but ultimately more attractive, satisfactory
and effective, to integrate a Bhāvana on
the Samāpatti of Śaithilya and Ananta,
within a developmental Prāṇāyāma Sādhana,
focused towards the Siddhi of Dīrgha or Length,
supported by its counterpoint, Sūkṣma or Subtlety.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 50

“Non-perception of Nature is because of subtlety,
not because of non-existence,
since Nature is perceived through its effects.
These effects are intelligence and the rest.
Some are similar to Nature and some dissimilar.”
– Paul Harvey on Sāṃkhya Kārikā Āryā Eight

“You have to practice in such a way that
day to day the breath gets longer and subtler.”
– From T Krishnamacharya’s composition,
the Yoga Rahasya Chapter Two verse 30

“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

“It is not enough in Āsana to just
work at lengthening the breath.
We need also to explore how to
refine the subtlety of the breath.
Whether within a single Āsana,
a number of Āsana in one practice,
or within the evolution of all aspects
of our practice over a number of years.”
– 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

“Sarvāṅgāsana is the Āsana commonly known as
shoulder stand. It is seen as one of the so called
“classical” inverted Āsana, the other “classical”
inverted Āsana being Śīrṣāsana, or head stand.
This Āsana draws together a firmness in the
body, with the subtler purpose of the breath,
with a sense of inner attention for the student.
For this triad to be realised, certain steps need
to be respected with regards to a rationale for
the application of Sarvāṅgāsana, along with
appropriate choices in long-term and short-term
preparation for its use, incorporating appropriate
use of Pratikriyāsana, and cultivation of an
increasing length of stay in the Āsana.
For adults, the most important link whilst in
the Āsana is the relationship with the breath.
Cultivating the power of the breath can also help
in keeping the practitioner attentive to the possible
bio-stresses accumulating from staying in the Āsana.”
– 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

“In supporting a cultivation, within or through Āsana,
of the subtler aspects of Bāhya Aṅga Sādhana, such
as Pratyāhāra, it can be a more helpful marker to be on
the lookout for sensory incontinence, rather than say,
being more preoccupied with physical choreography.
Such as how we can unconsciously leak, through randomly
opening the eyes or vaguely keeping the eyes open, when
transiting into or changing sides around such as seated Āsana.
For example, arriving into or departing from a choreographically
demanding asymmetrical Āsana such as Ardha Matsyendrāsana.
In other words, remaining alert and using the space between the
breath when moving from or returning to its link Āsana, Daṇḍāsana.
Another example is the potential for sensory incontinence when
moving into or out of or especially when changing sides, with
more popular or familiar seated Āsana such as Janu Śīrṣāsana.”
– 108 Postural Practice Pointers

“Āsana has three complementary facets that
need to be considered as unique potentials
for development within any Vinyāsa Krama.
Firstly, exploring the body in terms of what is
its potential regarding Strength and Flexibility.
Secondly, exploring the breath in terms of what
is its potential regarding Length and Subtlety.
Thirdly, exploring the mind in terms of what is
its potential regarding Attention and Attitude.
– 108 Postural Practice Pointers

“Cakra Bhāvana on the Breath within Twisting Āsana…
To present guideline focus points, when exploring the
relationship of Directional Breathing and Directional
Movement within the body in Parivṛtti Āsana.
Illustrated here within Jaṭhara Parivṛtti, as a sensing
of the breath linked to a progressive spiral movement
within the trunk, and felt within the length of the spine.
It is a descending and an ascending Cakra Bhāvana
supporting the length and subtlety of the breath within
the body on both the inhalation and the exhalation.
Here, the Pūraka, or inhalation is felt as if, from the
Viśuddhi Cakra downwards through both the Anahāta
Cakra and the Maṇipūra Cakra,  to the Svādhiṣṭhāna Cakra.
Whereas the Recaka, or exhalation is felt as if, from the
Svādhiṣṭhāna Cakra upwards through both the Maṇipūra
Cakra and the Anahāta Cakra, to the Viśuddhi Cakra.”
– 108 Postural Practice Pointers

“Cit Mudrā –
A means to appreciate the subtlety of Yoga Sūtra Chapter Two verse 46 –
the integration of the qualities of steady attentiveness and spacious clarity.”
– 108 Mudrā Practice Pointers

“In Learning the Tri Bandha we engage with certain potential contraindications:
1. The Tri Bandha reduce the length and subtlety of the breath.
2. The accumulative effect when repeated should be more intense,
but often the opposite is what can actually happen.
3. In the beginning the use of the Tri Bandha can disturb the system and
create tendencies, such as for the practitioner to lose their temper.
4. The continued use of the Tri Bandha can easily
raise tensions in the neck and shoulders.
5. If the abdomen appears to be retracted strongly, but the breath
is getting shorter the practitioner is probably cheating.”
– 108 Mudrā Practice Pointers

“In the beginning, Ujjāyī is experienced more as a sound.
As we refine its relationship with the breath, through
increasing the Length and deepening the Subtlety,
Ujjāyī is felt more as a sensation within the body
and less as a sound and vibration in the throat.”
– 108 Prāṇāyāma Practice Pointers

“One role for a staged descent
within a Prāṇāyāma practice,
in terms of ratio and length,
is to offer a receptive space to
reveal any side effects of effort.
Here it can be actually more
difficult to step down gradually
in stages rather than just stopping.
Thus a subtle mirror in the descent
can reveal any stress in the ascent.”
– 108 Prāṇāyāma Practice Pointers

“The inquiry into the nature, purpose
and potential within the long term
practice of Prāṇāyāma has at least
five initial progressions such as in:
Firstly, looking at choosing
accessible and appropriate
techniques and breath ratios.
Secondly, progressing through
both the length of a breath,
and slowing down the number
of breaths needed per minute.
Thirdly, in cultivating experiential
skills to access a range of variable
ratio choices, according to short
term daily needs within broader
longer term developmental steps.
Fourthly, the ongoing refinement
of the subtlety within the external
vibrational sound, enhancing the
inner sense of flow, within the
overall experience of the breath.
Fifthly, the integration of Prāṇāyāma into
our personal Sādhana, its role as a primary
means towards Dhāraṇā, and its place as a
priority choice within our Yoga practice.”
– 108 Prāṇāyāma Practice Pointers

“So, what can we develop as a starting point in
deepening the use of the breath in Prāṇāyāma?
By exploring our personal strengths and issues.
1. In terms of a progression in both the length
and the subtlety of the inhale and the exhale.
2. In experiencing the role for the Antar Kumbhaka,
in how it can enhance the effects of the inhalation.
Rather than just being a substitute for the inhalation.
3. In experiencing the role for the Bāhya Kumbhaka,
in how it can enhance the effects of the exhalation.
Rather than just being a substitute for the exhalation.”
– 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

“We, as practitioners of Yoga today,
do use many Āsana techniques as a
means for change in our personal
Yoga practice and teaching work.
Yet, Yoga emphasizes that Āsana
is only a means to serve a subtler
or more internalised practice in our
journey from the outer to the inner
namely, the practice of Prāṇāyāma.
What is this practice and how do we
cultivate a deeper relationship with
Prāṇāyāma, through which we could
experience the sagacity of the maxim
emphasised by T Krishnamacharya?”
Namely:
“Practice Āsana for the body,
and Prāṇāyāma for the mind.”
– 108 Yoga Practice Pointers

“One of the major tools in bringing or
refining the level of observation to the
subtler aspects of our body, emotions
and mental patterns is Prāṇāyāma.”
– 108 Yoga Practice Pointers

Different Types of Postural Activity in Āsana Practice
“Finally, 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 psychological ideal of remaining there.
According to the definition in  Chapter Three verse 2 of
the Yoga Sūtra, a continuity of psychic activity is the ideal.
This is seen as the ability to stay, as if in the same moment, as
one moment melds into the next moment and the next moment.
In other words, the ability to internally maintain a continuity of
experience as if maintaining an apparent stillness of movement.
Access to such subtle states requires a containment of movement
that ultimately extends from the body to the breath to the mind.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

“I wonder if Modern Postural Yoga is confusing,
experiencing a supple body,
with experiencing a subtle body?”
– 108 Yoga Teaching Path Pointers

“A suggested strategy is to
focus primarily on the length
of the breath when working in
group class situations with Āsana.
Whereas, a suggested strategy is to
focus primarily on the subtlety of
the breath when working in group
class situations with Prāṇāyāma.”
– 108 Yoga Teaching Path Pointers

“In terms of Prāṇāyāma from
a one-to-one perspective,
we need to consider whether
the practice starting point for
the practitioner is from a Rakṣaṇa,
Cikitsā, or Śikṣaṇa Krama viewpoint.
From  a Rakṣaṇa Krama viewpoint,
the situation we are focusing on initially
is on developing the length of the breath.
From a Cikitsā Krama viewpoint,
the practitioner’s energy and
respiratory capacity may be low,
so the scope for working on the length
of the breath may well be limited.
Therefore a suggested strategy initially,
is to focus on the subtlety of the breath.
Whereas, from a Śikṣaṇa Krama viewpoint,
the potential is there to work and develop
both the length and the subtlety of the breath.
So both options can be explored from the onset.”
– 108 Yoga Teaching Path Pointers

“One approach in the Viniyoga of
teaching the art of breath work
within group situations is that of,
within working Āsana the Bhāvana is
on cultivating the length of the breath.
Whereas, within seated Āsana the Bhāvana
is on cultivating the subtlety of the breath.
The technique of Ujjāyī can be used within
both situations as in, placing the focus on
length within working Āsana, and placing
the focus on subtlety within seated Āsana.”
– 108 Yoga Teaching Path Pointers