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Ashtanga Yoga. Gregor Maehle
Читать онлайн.Название Ashtanga Yoga
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isbn 9781577319863
Автор произведения Gregor Maehle
Жанр Эзотерика
Издательство Ingram
In the ancient treatise Yoga Korunta, vinyasa refers to every counted movement, accompanied by breath and focal point. The vinyasa count is a format in which the Rishi Vamana recorded the Ashtanga practice in the Yoga Korunta.
Each movement that is needed to enter and exit a posture in the traditional way is counted. Since the postures differ greatly not only from each other but also in the way in which they are entered and exited, they also differ very much in regard to the number of sequential movements that are needed to perform them (their vinyasa counts). So Padangushtasana has only three vinyasas (counted movements) whereas Supta Padangushtasana has twenty-eight. All vinyasas are flowing movements. The only one that is held is the vinyasa where we are in the state of the asana. To be in the state of the asana means to be in and to hold a posture. For Padangushtasana, for example, this is vinyasa three. This vinyasa is held usually for five breaths, though for therapeutic purposes it may be held for twenty-five breaths or more. The fact that one vinyasa may consist of up to twenty-five breaths leads us to the understanding that vinyasa count and the number of breaths, the breath count, are not identical.
In the following section I describe the postures following the half-vinyasa count. That is the way I learned it in Mysore and it is the normal mode of practice today.
To make this text more accessible to beginners I have counted the vinyasas in English. The original vinyasa count is, however, in Sanskrit, and it is important to preserve this precious tradition. Accordingly, I use the Sanskrit count when I conduct a vinyasa-count class. For those who want to study the vinyasa count more closely, I recommend K. Pattabhi Jois’s Yoga Mala and Lino Mieles’s Ashtanga Yoga.
1. The expression ‘yoga mala’ was coined by Shri K. Pattabhi Jois, and he is the author of a book with that title.
2. Prana has another meaning in the context of the principle of the ten individual currents within the life force, where it has reference to inhaling only.
3. The origin of a muscle is the end that is closer to the center of the body, called the proximal end; its insertion is the end more distant from the center of the body, called the distal end.
4. Yoga Sutra I.41.
5. Hatha Yoga Pradipika IV.24, trans. Pancham Sinh, Sri Satguru Publications, Delhi, 1915, p. 50.
6. Yoga Sutra II.47.
7. This process is described by Andre Van Lysbeth in his book Die grosse Kraft des Atems, which he wrote after he studied with K. Pattabhi Jois in the 1960s.
8. Hatha Yoga Pradipika III.56.
9. Hatha Yoga Pradipika III.73.
10. Hatha Yoga Pradipika IV.17.
11. Yoga Sutra I.2.
12. Yoga Yajnavalkya, trans. A. G. Mohan, Ganesh & Co., Madras, pp. 81–82.
13. Aparokshanubhuti of Sri Shankaracharya, trans. Sw. Vimuktananda, Advaita Ashrama, Kolkata, 1938, p. 63.
14. Brahma Sutra I.I.23.
15. Chandogya Upanishad I:II:5.
16. G. C. Adams, Jr., trans. and comment, Badarayana’s Brahma Sutras, Motilal Banarsidass, Delhi, 1993, p. 60.
17. Yoga Sutra II.48.
Asana Names
Like the entire creation, the names of the asanas can be divided into four groups: lifeless forms, animal forms, human forms, and divine forms.
Asanas such as Trikonasana (Triangle Posture) and Navasana (Boat Posture), representing lifeless forms, occur predominantly in the Primary Series.
The Intermediate or Second Series is dominated by postures named after animals, for example Shalabasana (Locust Posture), Kapotasana (Pigeon Posture), and Krounchasana (Heron Posture).
The human race is represented by asanas dedicated to the ancient rishis. Examples are Marichyasana (Posture of the Rishi Marichi), Bharadvajasana (Posture of the Rishi Bharadvaja), and Durvasasana (Posture of the Rishi Durvasa).
Asanas named after divine forms — such as Natarajasana (Lord of the Dance Posture), Hanumanasana (Posture of Lord Hanuman), and Skandasana (Posture Dedicated to Lord Kartikeya) — occur, like those dedicated to rishis, mainly in the Advanced A or Third Series.
The Yogic Approach
The Ashtanga Vinyasa Yoga practice is a movement meditation. The goal is that every breath taken becomes a conscious one. The set sequence, the consistent flow, the internal holding of the bandhas, the drishti, and listening to the sound of the Ujjayi pranayama are all techniques designed to withdraw the senses.
This facilitates focused concentration so that meditation becomes possible. Absence of the Ujjayi sound, shallow breathing, and fidgeting usually indicate that the mind has taken over and focus has been lost.
In the Yoga Sutra, Patanjali gives three stanzas on asana.1 Their simplicity is profound.
Posture is steadiness and ease.
True posture is then when effort ceases and meditation on infinity occurs.
In asana there is no assault from the pairs of opposites.
Posture is steadiness and ease.
This stanza describes the qualities of posture. Steadiness implies effort and strength. Ease implies relaxation and release. These opposites are complementary. The effort required to build a strong body produces steadiness and gives ease of posture.
True posture is then when effort ceases and meditation on infinity occurs.
The ultimate aim of any limb of yoga is for us to experience our true nature. In practice, and in the following descriptions of how to perform each posture, sensitivity, awareness, and heightened concentration are demanded. Eventually, when the posture is known, we can drop the details and “be” in the posture. Effort ceases; the posture is expressed from within; meditation on infinity occurs. Infinity is a quality of our true nature.
In asana there is no assault from the pairs of opposites.
Steadiness and ease are themselves a pair of opposites, and yet, when in balance, each supports and allows the other to express itself fully. With excess effort the body becomes insensitive and the mind agitated. With excess ease the body becomes sluggish and the mind dull. Both aspects of this duality must be embraced. In his book Awareness through Movement, Moshe Feldenkrais points out that, if one lifts an iron bar and a fly alights on it, no difference can be noticed. If, however, you hold a feather you will notice if a fly lands on or takes off from it. With excess effort there is no room for improvement, as full effort has already been exerted. Sensitivity reserves the space to observe differences, to adapt the posture and to learn. In the space between the opposites, the mind falls still.
Action and Counteraction / Posture and Counterposture
These opposites also exist as fundamental differences between the actions that transport us into a posture and those that maintain it. As a rule of thumb, actions that