The art of viniyoga presumes that
the five application principles of
1. What is being taught,
2. Why it is being taught,
3. When it is being taught
4. Where it is being taught and especially
5. How it is being taught,
are personally applicable and
socially relevant to
Who is being taught.
To be within the presence of the Mantra
is to be within the presence of Grace.
1. Primary Prāṇāyāma Techniques
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.
Postural Pointer 6 – Staying in Stillness
Making the Breath longer than the Stillness.
Making the Breath longer than the Stillness
means the body needs to be completely still before
the Recaka or Exhale is started and especially before it is stopped.
Equally the the body needs to be completely still before
the Pūraka or inhale is started and especially before it is stopped.
This is harder than it sounds given the propensity to want to tweak or adjust the body
at the beginning and especially when at the end of a movement.
Thus making the breath longer than the Movement
also means making the breath longer than the Stillness.
There are some forms within the postural resources developed by Krishnamacharya that can function as either an Āsana or as a Mudrā. The choice of outcome can be realised according to the specific Bhāvana associated with the intention of the practitioner and the style of performance.
For example if we look at the possibilities around inverted postures interpreted as Āsana through forms known as Śīrṣāsana or Sarvāṅgāsana, we can cultivate the external intensity of Āsana or the internal intensity of a Mudrā through choosing either of two practice directions.
Following on from the post two days ago and yesterdays post I wanted to offer a further sample practice given to me by my teacher, TKV Desikachar. It evolved from within our one to one lessons in Chennai, from 12 years ago, in 2002 and is based around:
Kapālabhāti Kriyā 48 breaths
Sūrya Bhedana Prāṇāyāma 12 breaths 188.8.131.52. with 10″ Antar Kumbhaka and 10″ Bahya Kumbhaka
Kapālabhāti Kriyā 48 breaths
Sūrya Bhedana Prāṇāyāma 12 breaths 184.108.40.206. with 20″ Antar Kumbhaka
Bhāradvājāsana – Stay 12 breaths each side with 10″ Bahya Kumbhaka
Apānāsana and Ūrdhva Prasṛta Pādāsana
– Aṅga Laghava Dynamic combination 12 times with 10″ Antar Kumbhaka and 10″ Bahya Kumbhaka
Candra Bhedana Prāṇāyāma 24 breaths 220.127.116.11
Though obviously relevant to my personal situation as a mid fifties bloke, at that time and place, it is a further illustration of how Antar Kumbhaka (AK) and Bahya Kumbhaka (BK) can be employed whatever the Āsana or techniques chosen.
“According to Krishnamacharya,
one who has not mastered the Bāhya Kumbhaka,
has not mastered the breath.”
– TKV Desikachar 1988
I thought it might be helpful to republish a post from early 2014. Here I wanted to offer a example of a personal practice given to me by TKV Desikachar. It evolved from within our one to one lessons in Chennai, from over 35 years ago, in 1980 and is based around:
Part Four – Building our Support with Utkaṭāsana
This is the fourth in a series of articles presenting the core principles for Āsana practice as taught to me through many years of personal lessons in India with my teacher TKV Desikachar.
Postural Pointer 5 – Utkaṭāsana and sequence of movement respecting Prāṇa and Apāna
All these stages of descent are on one long exhalation.
– Lower the backside to the heels whilst keeping the back upright and the arms raised.
– Then stretch the back rounding it towards thighs whilst keeping the arms raised.
– Finally lower the arms to the ground.
All these stages of ascent are on one long inhalation.
– Raise the arms as far as we can keeping hips on the heels.
– Then straighten the back into an upright position.
– Finally lifting the backside off the heels and coming up.
Postural Pointer 4 – Dynamic Movement and the Refinement of the Breath
A longer term refinement of working with the breath in Āsana such as Paścimatānāsana,
is to begin the breath before leaving your departure point,
and finish the breath after reaching your arrival point.
In other words keeping the breath longer than the movement at all times.