Centre for Yoga Studies

The Art of Personal Sādhana

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    vinyāsakrama

    Devanāgarī: विन्यासक्रम Translation: arrangement in a sequence; special placing step by step Similar words:vinyāsa, krama Related concepts:nyāsa, saṃnyāsa, viniyoga, pratikriyā, pratikriyāsana, sarvāṅgāsana, āsana

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    “In the indian tradition we have the idea of Varṇa–Āśrama–Dharma
    and Dharma–Artha–Kāma–Mokṣa.
    According to a persons environment, development
    or stage of activity in life, the choice must vary.
    Which will help a person grow at the body and mental level?
    So as such it should be Sṛṣṭi Krama for a certain level of people.
    In old times. up to the age of 24 years should be in the direction of Sṛṣṭi Krama.
    In other words more risk taken with the body, more ability to grasp ideas.
    i.e. Vinyāsa almost like gymnastics.
    Not suitable for older person starting Yoga.
    We need to be open to this beautiful idea of adaptation.”
    – TKV Desikachar France August 1983

    “In terms of the transition within
    a Vinyāsa Krama from standing
    Āsana to lying Āsana and beyond.
    Choose not to lie down for  Śavāsana
    until you feel you don’t need to lie down.”
    – 108 Postural Practice Pointers

    “When considering the Viniyoga of Pratikriyāsana
    within a student’s personal practice,
    it may help to look at the integration of
    their intended role from three perspectives.
    – Firstly their intended role as a counterposture,
    thus more from a physiological perspective.
    – Secondly their intended role as a compensation,
    thus more from a psychological perspective.
    – Thirdly their intended role as a transition,
    thus more from a sequential perspective.
    Appropriate integration of these three
    principles constitute an essential component in
    the Vinyāsa Krama utilised within practice planning.”
    – 108 Postural Practice Pointers

    “How do we know that a student is ready to attempt
    a more progressive Āsana such as Sarvāṅgāsana?
    From following a core principle in the teachings of Vinyāsa Krama.
    In that, the Pratikriyāsana for a particular Āsana needs
    to be mastered before that particular Āsana is attempted.
    For example, if we want to teach Sarvāṅgāsana,
    because it will have a specific potential for the particular student,
    then we teach the Pratikriyāsana Bhujaṅgāsana first.
    So the student first works around Bhujaṅgāsana
    within their personal practice and the information that arises
    guides the teacher as to their readiness for, in this case, Sarvāṅgāsana.
    The information arising from observing how
    the student practices Bhujaṅgāsana guides
    the teacher as to the appropriateness of Sarvāṅgāsana.
    The information that feeds back may be on the level
    of Annamaya, Prāṇamaya, Manomaya or beyond.
    Obviously, this implies that we are observing the student’s practice directly.
    Once the student shows an adequate performance of Bhujaṅgāsana
    and it can be integrated into their existing personal practice,
    then we can be more secure that the student is ready to approach
    integrating Sarvāṅgāsana into their regular practice.”
    – 108 Postural Practice Pointers

    “Within the teachings of T Krishnamacharya,
    as transmitted to TKV Desikachar,
    the role of Śavāsana within an Āsana practice was as
    a transitional link pose between categories of Āsana.
    For example between Standing and Lying Āsana,
    or Lying and Inverted Āsana,
    or Inverted and Prone Backbends,
    or Prone Backbends and Seated Āsana,
    or Seated Āsana and Sitting Practices.
    The extent of its use and length of rest at each stage,
    when transiting from one category to another within our
    Āsana practice journey, was dependent on the facility
    of the practitioner and the intensity of the practice.
    Within this individualised variance is the guiding
    principle that the role of Śavāsana is to facilitate a
    smooth transition for the flow of the breath and also
    the pulse through and beyond the Āsana practice,
    as a marker for the practitioner’s state of mind.
    However according to Desikachar the Viniyoga of
    Śavāsana was seen in terms of recovery from the
    fatigue of the preceding aspect of the practice rather,
    than say recovery from the preceding aspects of one’s life.
    Regarding the approach for the recovery
    from the preceding aspects of one’s life,
    amongst other things such as Āhāra and Vihāra,
    the wider purpose, content, duration and frequency
    of the Āsana practice must be carefully reconsidered.”
    – 108 Postural Practice Pointers

    “The Breath is the activating force in all aspects of the Āsana.
    For example, when comparing a dynamic performance
    of an Āsana with the static performance of an Āsana,
    the difference is in the degree or extent of the movement.
    Thus, from a Viniyoga or application of Āsana perspective,
    whether the extent of the movement is what is seen
    as long-range, mid-range, short-range, or even micro,
    the activating force of the Breath is integral to the Āsana.
    From a developmental viewpoint, as in a longer-term
    Vinyāsa Krama, this a journey from those Āsana that
    mainly favour long-range movement, towards those Āsana
    and Mudrā that mainly favour micro-range movement.
    Within this developmental refinement in the relationship
    of Breath as the activating force, sit the place and roles
    of mid-range movement and short-range movement.”
    – 108 Postural Practice Pointers

    “According to such as the Gheraṇḍa Saṃhitā,
    Aśvinī Mudrā and Mūla Bandha are seen as very
    different forms in terms of definition and application.
    Regarding application, only Aśvinī Mudrā is focussed around
    the repeated contraction of the anal sphincter muscles.
    Whereas, Mūla Bandha is a single sustained contraction.
    It also appears that there are differing certainties within
    the modern use, definition and application of the two terms,
    with a single contraction variant of Aśvinī Mudrā often being
    passed off in ‘Krishnamacharya’ terminology, as if Mūla Bandha.
    For example, Mūla Bandha being described as somethng you
    take all the time whether sitting, talking, walking, or eating.
    This would not be possible given T Krishnamacharya’s view of
    what is Mūla Bandha and its relationship to Uḍḍīyana Bandha.
    Comparing Mūla Bandha to Aśvinī Mudrā:
    Aśvinī Mudrā can be an outcome of an effective Mūla Bandha.
    If Mūla Bandha is good then Aśvinī Mudrā can follow automatically.
    But not the other way round, as Aśvinī Mudrā is only
    a localised contraction of the anal sphincters.
    Also, Mūla Bandha is considered as complete,
    whether or not Aśvinī Mudrā is there.
    Also, the use of Aśvinī Mudrā can produce gas and
    too much use can affect the peristaltic reflex.
    Plus avoid in certain conditions such as haemorrhoids.
    Āsana can be used for the same effect on these organs.
    A direct Aśvinī Mudrā pushes the stomach forward,
    so its contraindicated for Mūla Bandha.
    Thus, Krishnamacharya’s view of what is Aśvinī Mudrā and what is
    Mūla Bandha differed, both in terms of definition, technique, and
    application, as well as regarding the student starting prerequisites,
    Vinyāsa Krama and links to other layers of their Yoga Sādhana.”
    – 108 Mudrā Practice Pointers

    “One primary prerequisite to initiation into a Tri Bandha Sādhana
    was an ability in Prāṇāyāma within a Vinyāsa Krama around
    Nāḍī Śodhana where the crown was 12 breaths at 12.12.12.12.
    Thus, before being taught Uḍḍīyana Bandha,
    an essential precursor to Mūla Bandha,
    there needed to be competence in sustaining Prāṇāyāma,
    within a Vinyāsa Krama leading to a crown ratio of 1.1.1.1.
    with the Pūraka, Antar Kumbhaka, Recaka and Bāhya Kumbhaka
    each set at 12 seconds in a crown of 12.12.12.12. for 12 breaths.
    Thus, a Vinyāsa Krama peak of almost 10 minutes sustaining the crown
    ratio within a Prāṇāyāma practice, with the entire practice itself totalling
    over 20 minutes, all performed with one technique, Nāḍī Śodhana.
    This technique alone is already in itself demanding to sustain with
    an inaudible softness, as if pouring oil slowly and smoothly amidst
    an almost undetectable deftness of finger movement on the nostrils.
    A further example of how there needs to be an effortless skill in working
    with the Kumbhaka and how our fluency with all four components of the
    breath sets a practice direction and evolution in that, amongst other goals,
    it determines our readiness to incorporate the Tri Bandha into our Sādhana.”
    – 108 Mudrā Practice Pointers

    “Sometimes the Vinyāsa Krama,
    or special placing of steps from,
    is more important than the steps to.
    At other times the Vinyāsa Krama,
    or special placing of steps to,
    is more important than the steps from.
    In our life as well as our practice.”
    – 108 Yoga Practice Pointers

    “When considering what, why and how to practice,
    it can be helpful to consider our starting point.
    For example, are we looking for the role of an Āsana
    practice to help in recovering from a situation
    where we are as if personally overdrawn.
    Also, what is the nature of our ‘overdraft’?
    Is its impact or origin physical, energetic, psychological
    or emotional, or even a combination of more than one?
    Here the concepts of too little, too much, or wrong
    can also be helpful as a reference in that, as well as
    considering the nature of the ‘overdraft’, we need to
    consider the means we undertake to remedy this
    aspect of the situation. In other words our first
    priority is to choose to plan practice steps that
    will initially reduce the negative aspect at least.
    However, sometimes we can try something that is
    as if a short term loan and at a high rate of interest
    in terms of time, effort, energy and commitment.
    Thus whilst finding our situation temporarily
    improving a further depletion can possibly arise as
    we find ourselves unable to as if ‘keep up with the
    extra payments’ given the nature of the original
    depletion and its current impact on our potentials.
    So having a clear reference point in terms of
    identifying the nature of our starting point, and
    the short term or longer term potentials of a
    choice of an appropriate remedy, is as important
    as our personal determination to clear the deficit
    that has knowingly or unknowingly emerged within us.”
    – 108 Yoga Practice Pointers

    “One of the potentials in the Haṭha Yoga teachings of
    Krishnamacharya and Desikachar is the understanding
    around the Viniyoga or application of Bṛṃhaṇa Kriyā
    and Laṅghana Kriyā in terms of their potential to enhance
    sensory stimulation or to diminish sensory stimulation.
    Both approaches can be used where appropriate to impact
    on how we are stimulated by the world through the senses and
    thus be more drawn to interact with it in a more extravert way,
    or how our sensory stimulation is quietened and thus we are
    more easily able to withdraw from the activities of the senses.
    Both approaches are valid and applied according to our changing age,
    life situation and life stage. Here the role of a teacher is helpful in
    learning the skills of self application within our practice planning.
    We can learn how we can fine-tune our practice according to our basic
    nature and where it needs to be within day to day living and its demands.
    This alchemical process would also be difficult to explore other
    than in some very generalised way within a weekly group class
    given the mix of the age, gender, interests, needs, potentials and
    core physiological, energetic and psychological natures of the students.
    Let alone where they are in their life circumstances, external demands,
    work roles and life stage or even the teacher having time and situation to
    explore each student personally to gain some insight into what is happening
    at that life moment within the small window offered by time and group size.
    Hence, throughout Krishnamacharya and Desikachar’s teaching life,
    apart from formalised group classes for children and young adults,
    they taught personal practice only through individual lessons.”
    – 108 Yoga Practice Pointers

    “Another lesser-known facet to the practice tool of Pratikriyāsana
    is the application of it in the practice planning steps, not in the
    more usual sense of its perception as a postural counterpose,
    rather its application in order to reduce a negative state of being
    and the impact that we are currently experiencing, whether at a
    physical, energetic, psychological or emotional level of being.
    In this context, Pratikriyāsana means the practice planning steps
    when choosing and arranging Āsana that will effect an counter action
    on our current state of negativity expressing itself and impacting on
    our sense of well-being, whether body, mind, energy or emotions.
    Thus, opposite action Āsana to a currently unhelpful sense of being.”
    – 108 Yoga Practice Pointers

    General Guidelines for Practice Planning:
    “In terms of practice planning the spirit of Viniyoga
    is achieved by two broad means:
    1. The selection of practice material that is appropriate
    to the needs and circumstances of the student.
    2. The intelligent use of Vinyāsa Krama.”
    – 108 Yoga Planning Pointers
    – The Viniyoga of Planning Principles Guidelines – Collected & Collated

    Different Types of Postural Activity in Āsana Practice
    “Linking Dynamic and Static Āsana within a Vinyāsa Krama.
    In this respect the application of the principles of
    both dynamic and static work, when planning for
    Āsana practice, allows for a more efficient use of
    the body and respect for the variables such as
    time of day, time of year, time of life, preceding
    or following activities, the length of practice,
    the role of practice, our practice needs, etc.”
    – 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

    “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 Teaching Path Pointers

    Links to Related Posts:

    – Practice Theory:

    • Āsana & Mudrā Practice Techniques Glossary
      – Grouped into Standing, Kneeling, Lying,
      Inverted, Backbend, Seated & Sitting
    • Prāṇāyāma & Bandha Practice Techniques Glossary
      – Grouped into Primary, Secondary & Ancillary Techniques
    • Collected Practice Theory Posts on Viniyoga
    • Collected Practice Theory Posts on Pratikriyāsana
    • Collected Practice Theory Posts on the Breath
    • Collected Practice Theory Posts on Śikṣaṇa
    • Collected Practice Theory Posts on Rakṣaṇa
    • Collected Practice Theory Posts on Cikitsā
    • Collected Practice Theory Posts on Laṅghana
    • Collected Practice Theory Posts on Bṛṃhaṇa
    • A fundamental facet in the principles of Āsana, Mudrā and Prāṇāyāma practice……
    • A series on Āsana Part One – Moving into our Bodies with Samasthiti
    • A series on Āsana Part Two – Growing from our Roots with Tāḍāsana
    • Considerations for Vinyāsa Krama around Bakāsana……
    • Correct vibrational intonation was an important emphasis within all aspects of Mantra initiation
    • Cultivating the skills within Yoga Practice Planning for Individual Students
    • Discuss the different aspects of Vinyāsa Krama in Prāṇāyāma…
    • Finding your starting point within Āsana to set a direction and route towards a goal…
    • My understanding on the context and content of Yoga Makaranda
    • Prāṇāyāma – Where to Start? Part Three
    • Principles behind why Krishnamacharya only taught adults 121……
    • Question to Krishnamacharya – “Can you explain the concept of Vinyāsa and Pratikriyā Āsana?”
    • Strange to find my bananas enveloped by Yoga teachings on Vinyāsa Krama……
    • 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 idea of Vinyāsa, begin from where you are, go to a point, and……
    • The Viniyoga of Inversion as an Āsana or as a Mudrā……
    • Trumperies and Tactics for the Discerning Gardener……
    • We need to consider the process that surrounds one’s Āsana practice…

    – Practice Planning:

    • Āsana Mudrā & Prāṇāyāma
      – Collected Practice Planning and Practice Theory Questions
    • Āsana Mudrā & Prāṇāyāma
      – Collected Viniyoga of Practice Planning Principles
    • Design a practice with an emphasis on working with arm movements in Bhujaṅgāsana as preparation for Dhanurāsana.
    • Design an evening Practice before going out (as if) to teach Yoga…
    • Design an Āsana Practice according to the principles taught by TKV Desikachar
    • Design an Āsana practice around Dhanurāsana  and Ardha Matsyendrāsana
    • Design an Āsana practice to include three hand balance Āsana of your choice…
    • Design an Āsana practice to move towards being able to work dynamically in Ūrdhva Prasṛta Pādāsana
    • Design and Experiment with a Practice around Bhujaṅgāsana and Paścimatānāsana…
    • Design and Experiment with a Practice around Parśva Uttānāsana and Janu Śīrṣāsana…
    • Design a Practice for the morning after a heavy meal and late night…
    • Design a Practice to experience the application of Sound in Āsana…
    • Design a Prāṇāyāma for yourself to include Śītalī, Anuloma Ujjāyī and Nāḍī Śodhana
    • Design a Prāṇāyāma for yourself to include a crown ratio of 1.1.1.1. in Nāḍī Śodhana
    • Design a practice leading to staying in Sarvāṅgāsana for 8 minutes…
    • Design a practice to stay 8 minutes in Paścimatānāsana…

    – Practice Examples:

    • An example of a Secondary Yoga Practice, primarily for early evening use
    • A sample Parivṛtti and Paścimatāna Themed Group Practice
    • Example of a Vinyāsa Krama around Jaṭhara Parivṛtti
    • Examples of Vinyāsa Krama for Sitting Āsana within a Single Practice.
    • Longer term Vinyāsa Krama within the Viniyoga of the breath in Āsana……
    • Vinyāsa Krama for Upaviṣṭa Koṇāsana from TKV Desikachar’s Notebooks
    • Vinyāsa Krama for the Catur Bandha in Mahā Mudrā for an advanced Āsana student……
    • Viniyoga Vignette 5 – Introducing Uḍḍīyana Bandha within an Āsana practice

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