Monday, 20 November 2017

DHANURĀSANA: Two Versions of Bow Pose

by JACQUELINE HARGREAVES and JASON BIRCH
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Fig. 1: Appu Sahib Patumkar performing jogh [āsana]
India (19th century). Painting, gouache on paper.
Image size: 15 x 24 cm

Wellcome Library no. 574888i

This brightly rendered 19th-century Indian painting (fig. 1) is held in the Wellcome Library Collection and is currently on display in the exhibition entitled, Ayurvedic Man: Encounters with Indian medicine. It depicts a man performing a yogic posture (āsana) outdoors on a mat of antelope skin. The catalogue reports the rather cryptic comment, which it calls 'lettering' (possibly on the back of the painting):
Appu [?] Sahib Patumkar [?] performing jogh, awaiting inspiration preparatory to  turning [into a] devotee.
The form of the posture matches the description of an unnamed āsana (no. 51) in the prone (nyubja) section of an 18th-century yoga text called the Haṭhābhyāsapaddhati. The description of this āsana is as follows:

Haṭhābhyāsapaddhati 51
hastadvayena pādadvayāgre gṛhītvā ekaikaṃ pādāṅguṣṭhaṃ karṇayoḥ spṛśet || 51 || 
Grasping the toes of the feet with both hands, [the yogin] should touch the big toes, one at a time, on the ears. 
Although the Haṭhābhyāsapaddhati doesn't provide a name for this āsana, the artists of the Mysore Palace, who skilfully illustrated the chapter on āsana in the Śrītattvanidhi (19th century), borrowed the description from the Haṭhābhyāsapaddhati (fig. 2) and named it the bow pose (dhanurāsana).

Fig. 2: Dhanurāsana in the Śrītattvanidhi
Sjoman 1999: 84, pl. 18
Another example of dhanurāsana from the same period occurs in the Gheraṇḍasaṃhitā (18th-century). The posture is described as follows:

Gheraṇḍasaṃhitā 2.18
prasārya pādau bhuvi daṇḍarūpau karau ca pṛṣṭhaṃ dhṛtapādayugmam |
kṛtvā dhanustulyavivartitāṅgaṃ nigadyate vai dhanurāsanaṃ tat || 
Extending the legs on the ground like sticks, as well as the arms, both feet are held from behind and the body is moved like a bow. This is called bow pose.
Seeing that both legs are initially straight on the ground, the above description could be referring to a posture similar in form to the illustration in the Śrītattvanidhi and the Wellcome's painting. A beautifully rendered illustration of dhanurāsana in a manuscript of the Gheraṇḍasaṃhitā (fig. 3) published in Fakire und Fakirtum im Alten und Modernen Indian (Schmidt 1908: 34, pl. 12) supports this interpretation.


Fig. 3: Dhanurāsana in the Gheraṇḍasaṃhitā
Schmidt
 1908: 34, pl. 12

However, one wonders whether the word pṛṣṭha ('from behind') in the Gheraṇḍasaṃhitā’s description is indicating that both feet are held behind the body. If this were the case, one would have to assume that the yogin initially extends both arms and legs while in a prone position, holds the feet from behind (pṛṣṭha) and moves the body like a bow by pulling both feet towards the ears. This interpretation was adopted by Yogi Ghamande in his book entitled Yogasopāna-Pūrvacatuṣka (published 1905). He quotes the verse on dhanurāsana in the Gheraṇḍasaṃhitā and gives the following illustration (fig. 4).

Fig. 4: Dhanurāsana in the Yogasopāna-Purvacatuṣka
Ghamande 1905: 64 (
Āsana 34)

This form of dhanurāsana, which is a back-bending shape, is practised by most modern yoga lineages (fig. 5). It was popularised by the widely distributed book Yogāsanas authored by Swāmī Śivānanda, first published in 1934.

Fig. 5: Dhanurāsana in Śivānanda Yoga
Retrieved from the website of International Sivananda Yoga Vedanta Centres.
It is worth noting that the earliest account of dhanurāsana is in the 15th-century Haṭhapradīpikā. 

Haṭhapradīpikā 1.27

pādāṅguṣṭhau tu pāṇibhyāṃ gṛhītvā śravaṇāvadhi |
dhanurākarṣaṇaṃ kuryād dhanurāsanam ucyate || 
Having held the big toes of both feet with both hands, one should pull [them] like a bow as far as the ears. This is called bow pose.

The Sanskrit is ambiguous enough to be understood as either of the above versions of this posture. In his commentary on the Haṭhapradīpikā called the Jyotsnā, Brahmānanda (circa mid-nineteenth century) interpreted it as follows:
gṛhītāṅguṣṭham ekaṃ pāṇiṃ prasāritaṃ kṛtvā gṛhītāṅguṣṭham itaraṃ pāṇiṃ karṇaparyantam ākuñcitaṃ kuryād ity arthaḥ ||
The meaning [of dhanurāsana is as follows:] Having extended one hand by which the big toe is held, one should draw, as far as the ear, the other hand by which the [other] big toe is held.
Brahmānanda's interpretation supports the version which is described in the Haṭhābhyāsapaddhati and illustrated in both the Śrītattvanidhi and the Wellcome's painting. Yogi Ghamande (1905: 30) includes this as another version of dhanurāsana and quotes the above verse from the Haṭhapradīpikā (fig. 6). The illustration depicts a slight variation in which the big toe touches the opposite ear.

Both the Gheraṇḍasaṃhitā and the Haṭhapradīpikā were important sources in the revival of postural yoga in twentieth-century India. Therefore, it is possible that the ambiguities in their Sanskrit descriptions of dhanurāsana are responsible for the popular (mis)interpretation of this āsana as a back-bending shape in modern yoga.


Fig. 6: Another version of Dhanurāsana in the Yogasopāna-Purvacatuṣka
Ghamande 1905: 30 (Āsana 8)



Thank you to Mark Singleton for providing the images from the Yogasopāna-Pūrvacatuṣka.


REFERENCES

Ghamande, Yogi. 1905. Yogasopāna-Pūrvacatuṣka. Bombay: Janardan Mahadev Gurjar, Niranayasagar Press.

Śivānanda, Swāmī. 1993. Yoga Asanas. Sivanandanagar, India: Devine Life Society.

Schmidt, Richard. 1908. Fakire und Fakirtum im alten und modernen Indian: Yoga-Lehre und Yoga-Praxis nach den indischen Originalquellen dargestellt. Berlin: Hermann Barsdorf.

Sjoman, Norman E. and Kṛṣṇarāja Vaḍeyara. 1999. The Yoga tradition of the Mysore Palace. New Delhi: Abhinav Publications.





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Friday, 6 October 2017

The Āsana That Produces Tapas (and Misunderstandings!)

by JASON BIRCH
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Haṭhayoga texts rarely mention tapas (asceticism). When they do, they usually define it as fasting or, in the case of the Haṭhābhyāsapaddhati, 'doing one's own religious duty' (svadharmācaraṇa). The techniques of self-mortification that have made Indian ascetics famous, such as standing on one leg for twelve years, lying on a bed of nails and sitting amidst cow dung fires, were not incorporated into systems of Haṭhayoga and some texts, such as the Haṭhapradīpikā, explicitly reject any practice that afflicts the body (kāyakleśa).

However, an eighteenth-century yoga text named the Jogapradīpyakā, which was inspired by Pātañjalayoga and the Haṭhapradīpikā, is somewhat of an exception insofar as it describes a posture that is an act of asceticism (tapas), according to its name tapakār āsan. This work, which does not call its yoga haṭhayoga, is written in Braj Bhāṣā, an old form of Hindī, and was probably composed in Rājasthān. It describes tapakār āsan as follows:
First, one should set up a frame [for a swing]. Let a rope hang in the middle of it. Take the rope in between both arms and place the right shoulder on it. One should extend both legs in the direction of the sky and hold the whole body in the middle of the rope. One [rope] is at the back [of the body] and one at the front. One should keep the two ropes this way; grasp the rope with the two feet [in such a way that] the shoulder and hands remain on the rope. Then, take both hands behind and fix [them] in the following clever way; grasp the wrist of the right hand by the left hand [and vice versa1]. Do not touch the hands with the body. Fix the gaze just on the trikuṭī (i.e., confluence of three nāḍīs at the middle of the brows). He who is in a body should practise this āsana. [If he does that,] O Jayatarāma, the body of this man becomes pure.2
It seems that the yogin has his body turned upside down (i.e., legs pointing towards the sky), as in the Haṭhayogic mudrā called viparītakaraṇī. However, in tapakār āsan, the yogin places his right shoulder on a piece of hanging rope to launch himself into the inverted position. He then secures his body upside down by holding the rope with his feet.

Interestingly, the beginning of the description of tapakār āsan refers to a frame (hiṇḍolan), from the centre of which the rope is suspended. Unfortunately, the text gives no details and one might wonder how such a frame was constructed. A photo of an 'Urdhamukhi' ('one whose face is downwards') was reproduced in John Campell Oman's The Mystics, Ascetics, and Saints of India (1905: 46).3 This practice appears to be very similar to tapakār āsan because it includes the use of a frame and a rope hanging from its centre.


'An Urdhamukhi Sadhu'
Oman 1905: 46.

Tapakār āsan is depicted in an undated illustrated manuscript (perhaps, late eighteenth or early nineteenth-century) that colourfully represents the āsanas and mudrās of the Jogapradīpyakā. This manuscript is held in the British Library (Add. 24099) and its illustrations of eighty-four āsanas have been published by Gudrun Bühnemann (2007). In this work, the artist depicts the yogin in tapakār āsan suspended from a tree branch, which is another plausible way of executing this practice.


Tapakār āsan of the Jogapradīpyakā
Bühnemann 2007: 51.

It is clear that tapakār āsan is not viparītakaraṇī in the Jogapradīpyakā. The practice of viparītakaraṇī (viparitikaran in Braj) is taught in the section on mudrā(verses 561-71) and it resembles the shoulderstand of modern yoga in which the yogin's head and shoulders remain on the ground, while the legs are lifted into the air.

Another illustrated āsana manual called the Yogāsanamālā includes most of the āsanas found in the Jogapradīpyakā and was probably composed in Rājasthān in the eighteenth-century. Therefore, one would expect to find tapakār āsan depicted in it. However, there is no clear representation of this āsana in the Yogāsanamālā. Instead, one finds towards the end of the text a posture called tipakār āsan, which appears to be a corruption of tapakār āsan. Nonetheless, it is difficult to see how the illustration, which seems to represent the side splits, might be related to the description of tapakār āsan in the Jogapradīpyakā, because it does not resemble an inversion in any way nor are ropes or a frame included.


Tipakār āsan of the Yogāsanamālā
Ms. R635Y8 folio 105 recto.

The Yogāsanamālā provides no textual description of tipakār āsan. One wonders whether it is a different āsana altogether to the tapakār āsan in the Jogapradīpyakā or whether it was a mistaken interpretation of the Jogapradīpyakā’s description. It should be noted that descriptions of āsanas can be the most difficult material in yoga texts to understand. The challenge of this type of work can be seen in the illustration of the Jogapradīpyakā's tapakār āsan in the Encyclopaedia of Traditional Asanas (2013: 315). Here, the practitioner of tapakār āsan isn’t inverted, but suspended in a horizontal position with the ropes around the feet and shoulders. The ambiguity in the Braj Bhāṣā description might account for this type of misinterpretation.


Tapakāra-āsana(i) in the Encyclopaedia of Traditional Asanas
Gharote, 2013: 315.


NOTES

1 The syntax suggests that this action is done the other way as well.

2 Jogapradīpyakā 179-183 (āsana 34)
atha tapakāra āsana ||
prathama hiṇḍolana khaḍā karāvai, tāke madhya rāsi laṭakāve |
dou bāṃha vici rāsi su āneṃ, dachina kandha tāsa pari ṭhāneṃ ||179||
dou pada nabha disi pasārai, rasī madhya saba tana ko dhārai |
yeka pada eka udara hī disā, aise vidhi rākhai dou rasā ||180||
dou pada soṃ rasī ju gahe, kāndhā pāṇi rasī pari rahe |
puni dou kara pācheṃ āneṃ, tinakī jugati asī vindhi ṭhāne ||181||
dachina kara ko pahoco joī vāma hasta so pakarai soī |
tana soṃ hasta lagāve nāhī, diṣṭi sthāpe trikuṭī māṃhī ||182||
dohā – so jo hoya sarīra meṃ, āsana sādhe yeha |
jayatarāma tā purakha kī nṛmala hove deha ||183||
iti tapakāra āsana ||
179a hiṇḍolana (a swing) appears to be a variant spelling of hiṇḍola, hiṇḍolā or hiṇḍolanā. In this case, it seems to mean the frame that supports the rope.
179a khaḍā ] conj. Nirājan Kafle : kharo Ed.
179b rāsi (rope) appears to be a variant spelling of rassī or rassā.
181d jugati appears to be a variant spelling of jukti.
181d vidhi ] emend. : vindhi Ed.182a pahoco (wrist) appears to be an alternative spelling for pahuñcā.
I would like to thank James Mallinson and Nirajan Kafle for their valuable comments on this passage. This translation will appear in a future article entitled “Some Observations on the History of Haṭha- and Rājayoga from the Sixteenth to Eighteenth Century with a focus on inversions (viparītakaraṇī).”

3 I would like to thank James Mallinson for bringing my attention to this photographic plate of 'An Urdhamukhi Sadhu'.


REFERENCES

Primary Sources

Jogapradīpyakā of Jayatarāma, ed. Maheśānanda, Śarmā, Sahāya and Bodhe. Lonavla: Kaivalyadhama Śrīmanmādhava Yogamandira Samiti, 2006.

Yogāsanamālā, photocopy (R635Y8) at the library of the Kaivalyadhama Yoga Institute, Lonavla. Several stamps indicate the Rajasthān Prācya Vidyā Pratiṣṭhān, Bīkāner.

Secondary Sources

Bühnemann, Gudrun. 2007.
Eighty-four Asanas in Yoga: A Survey of Traditions (with Illustrations). New Delhi: D.K. Printworld.

Gharote, M. L., Jha, V. K., Devnath, P., Sakhalkar, S. B., & Lonavla Yoga Institute. 2013.
Encyclopaedia of Traditional Asanas. Lonavla, Pune: Lonavla Yoga Institute.

Oman, John Campell. 1905.
The Mystics, Ascetics, and Saints of India. London: T Fisher Unwin.



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Saturday, 19 August 2017

How to succeed at Āsana: A seventeenth-century Marginal Note

By JASON BIRCH



Marginal note on folio 58v. of the Yogacintāmaṇi
Ms. No. 3537, Scindia Oriental Institute, Ujjain


I'm currently translating a section on āsanas from a unique manuscript that can be accurately dated to Thursday, 5th June, 1659 CE by a scribal comment.1 At first sight, this manuscript appears to be a copy of the Yogacintāmaṇi ("A Gem of Thoughts on Yoga"), which is a very large compendium on yoga composed by Śivānandasarasvatī in the early seventeenth century. However, it is, in fact, a unique work because, in addition to the original text of the Yogacintāmaṇi, there is supplementary material on āsana, as well as numerous marginal notes, that have been added by an unknown scribe. 

The additional material in this particular manuscript includes five unprecedented āsanas that are attributed to a Lakṣmaṇasvarayogī. In contrast to attributions to mythical figures, such as Vasiṣṭha and Matsyendra, this reference to Lakṣmaṇasvarayogī may be the earliest textual record of a historical person who was known for teaching particular āsanas. 

At the lower edge of folio 58 verso, in a marginal note added to the text on āsana, the following dietary advice is given for the mastery of all āsanas: 
Lakṣmaṇasvarayogī says, "By eating rock salt (saindhava) and pepper (marīca), success arises in all the āsanas, and not by [eating other types of] salt (lavaṇa)." Because of this, itching disappears.2
Lakṣmaṇasvarayogī appears to be recommending a specific type of salt called saindhava as opposed to salt (lavaṇa) more generally understood. In Sanskrit literature, the terms saindhava and lavaṇa can be used as synonyms. However, in some texts of Āyurveda and Rasāyana, lavaṇa refers to salt of which there are various types including saindhava. For example, in the Rasārṇava, five types of salt (lavaṇa) are listed as sāmudra, saindhava, cūlikālavaṇa, sauvarcala and kāca.3

A fifteenth to sixteenth-century compendium called the Rājanighaṇṭu, which gives the names and properties of medicinal substances, states the following about saindhava:
It has nine names: saindhava, śītaśiva, nādeya, sindhuja, śiva, śuddha, śivātmaja, pathya and maṇimantha. Saindhava is a salt that is aphrodisiacal, good for the eyes, stimulates appetite, mitigates the three humours (doṣa), purifies(?), and cures ulceration and constipation.4
Therefore, Lakṣmaṇasvarayogī seems to be recommending saindhava, rather than salt in general, for  achieving success in all āsanas.

The comment 'because of this, itching disappears', which follows Lakṣmaṇasvarayogī's advice, is even more intriguing. It appears to be the scribe's opinion. The referent of the pronoun (i.e., 'this') is not entirely clear. Is itching (kaṇḍū) cured by eating rock salt and pepper or by successfully accomplishing all āsanas? 

Āyurvedic texts, such as the Aṣṭāṅgahṛdayasūtra, assert that itching is a sign of aggravated phlegm (kaphadoṣa).5 If one believes that saindhava mitigates doṣas, as the Rājanighaṇṭu states above, then it should cure itching. Nonetheless, the scribe may have been thinking of āsanas that are said to mitigate doṣas. For example, Sundaradeva, the author of the Haṭhasaṅketacandrikā, who was an āyurvedic physician (vaidya), claimed that bhadrāsana (a type of seated posture) can cure diseases caused by kapha.6

So it seems, if one has an itch, some saindhava at hand and the ability to do bhadrāsana, one should be able to self-medicate quite effectively. Then, just add pepper for success in all āsanas!


Bhadrāsana
Schmidt, Richard. 1908.
Fakire und Fakirtum im alten und modernen Indien: Yoga-Lehre und Yoga-Praxis nach den indischen Originalquellen.
Berlin: Hermann Barsdorf.



NOTES:

1 At the international conference, Yoga in Transformation, held at the University of Vienna in 2013, I presented this manuscript as evidence for the proliferation of āsana in yoga texts that were composed between the sixteenth and eighteenth centuries. Download this conference paper here. These findings will be published as a forthcoming article in the conference proceedings, Yoga in Transformation (2018).

2 Yogacintāmaṇi, ms. No. 3537, Scindia Oriental Institute, Ujjain, f. 58v (lower margin)
saindhavamarīcabhakṣaṇena sarvāsanasiddhir na tu lavaṇeneti lakṣmaṇasvarayogī || tena kaṇḍūnāśaḥ [||]

3 Rasārṇava 5.32
sāmudraṃ saindhavaṃ caiva cūlikālavaṇaṃ tathā | 
sauvarcalaṃ ca kācaṃ ca lavaṇāḥ pañca kīrtitāḥ || 

4 Rājanighaṇṭu 5.88-90
saindhavaṃ syāc chītaśivaṃ nādeyaṃ sindhujaṃ śivam | 
śuddhaṃ śivātmajaṃ pathyaṃ maṇimanthaṃ navābhidham ||5.88|| 
saindhavaṃ lavaṇaṃ vṛṣyaṃ cakṣuṣyaṃ rucidīpanam | 
tridoṣaśamanaṃ pūtaṃ vraṇadoṣavibandhajit ||5.89|| 

5 See the Aṣṭāṅgahṛdayasūtra, Sūtrasthāna, 12.53-54
śleṣmaṇaḥ snehakāṭhinyakaṇḍūśītatvagauravam |
bandhopalepastaimityaśophāpaktyatinidratāḥ || 53 ||
varṇaḥ śveto rasau svādulavaṇau cirakāritā |
ity aśeṣāmayavyāpi yad uktaṃ doṣalakṣaṇam || 54 |

6 Haṭhasaṅketacandrikā, ms. No. R3239 (transcript), Government Oriental Manuscript Library, p. 32.
atha kaphavātaroge bhadrāsanam ("Now, in the case of a disease caused by phlegm (kapha) or wind (vāta), bhadrāsana [is taught]").



The complete āsana section of this unique manuscript of the Yogacintāmaṇi will be published as part of the Haṭha Yoga Project.



Thursday, 17 August 2017

MEDICINE AND YOGA IN SOUTH AND INNER ASIA

Body Cultivation, Therapeutic Intervention and the Sowa Rigpa Industry

University of Vienna, 1st - 3rd August 2017


At the invitation of Dagmar Wujastky, University of Vienna, AyurYog Project Principal Investigator (An ERC Starting Grant).


KARL BAIER
University of Vienna


Yoga and Alchemy within fin de siècle Occultism

"In this paper I will investigate the astonishing relationship between interpretations and practices of yoga among German speaking occultists – especially within in the Habsburg Monarchy – and their new interest in alchemical theories and experiments. In particular, my analysis is based on a close reading of the writings of members of this milieu like Carl Kellner, Franz Hartmann, Gustav Meyrink and Herbert Silberer. Special interest is paid to the theoretical frame that allows them to connect yoga and alchemy."





SUZANNE NEWCOMBE
AyurYog Project, London School of Economics and Political Science


Longevity practices in India during the modern period: Public health imperatives and individual aspirations

"The logistics and economics of how to promote health and longevity amongst the vast population of India is a perennial problem. Yoga has increasingly been seen by the government of India as a potential asset in their promotion of longevity for the general population. This presentation will outline the variety of pragmatic approaches that were taken to promote yoga as public health under the category of ‘Indigenous Medicine’ from the Usman Report of 1923, to the recent promotion of AYUSH to the level of Ministry in 2014. The range of approaches to yoga reflected in government reports will be explained with reference to the a-historical experiential emphasis of many practitioners and providers of yoga-based longevity and health interventions. It will be argued that the overarching narrative of yoga in the modern period alternatively identifies the idea of longevity with an immortal soul/atman/purusha, and the unlimited potential for the refinement and purification of the material human body. I will argue that the Indian government, by promoting yoga as public health, is not necessarily regressing into an anti-Enlightenment position on rationality (as Meera Nanda has suggested). Rather, yoga as public health is an intervention that works on an experiential level for those who participate in this milieu. This paper hopes to elucidate the pragmatics of this approach."






DAGMAR WUJASTYK
AyurYog Principal Investigator, University of Vienna


Rasāyana in Sanskrit alchemical literature

"In Indian alchemical literature, the Sanskrit term “rasāyana” is predominantly used to describe alchemical operations, i.e.  all that is involved in the making and taking of elixirs for attaining a state of spiritual liberation in a living body. Rasāyana in this sense describes a series of related processes, including the preparation and chemical processing of raw materials; the admixture and further processing of materials to formulate the elixir (this can involve ritual and the use of mantras); the preparation of the practitioner (cleansing procedures for body and mind); the intake of the elixir and finally, the process of transformation the practitioner undergoes after intake of the elixir. 

However, many alchemical works also include rasāyana sections that describe a type of therapy similar in aims and methods to the rasāyana treatment known from ayurvedic medical literature. Further, when the term “rasāyana” is used to describe the characteristics or effects of a substance or formula, it very often seems to be applied in the medical understanding of the term rather than in the sense of elixir. 

In my presentation, I will present examples of rasāyana sections from a selection of alchemical treatises to explore their connections to and divergences from ayurvedic literature. I will also discuss how medical rasāyana sections are positioned within alchemical works and examine how this reflects the development of iatrochemistry in alchemical literature."






CHRISTÈLE BAROIS
AyurYog Project, University of Vienna


Longevity practices from the Chāndogya Upaniṣad onwards

"Vayas, a key term for “age” in the ayurvedic treatises, is a heuristic concept that is helpful in reflecting on issues of longevity, rejuvenation, and immortality. When considering longevity specifically, the Chāndogya Upaniṣad III.15-16 provides extensive material for reflection. In the context of ritual invocations aiming at longevity, it offers a meaning of vayas close to that found in medical treatises; it describes three periods of life, and provides us with a canonical human lifespan of 116 years. I propose to examine the conditions and reasons for prolonging life as explained in this passage, and to explore how the commentarial tradition attached to the Chāndogya Upaniṣad takes up the subject of longevity in further discussions."






GEOFFREY SAMUEL
Cardiff University


Tantric immortality: the factors of long life and the transcendence of time

"As a researcher on Tibetan longevity practices, I have been asked on a variety of occasions whether they work. An answer is by no means straightforward, in part because opinions vary as to what it is they are meant to do. As Barbara Gerke demonstrated in her field research with Tibetans in India, for many lay Tibetans, the practices are indeed directed at the attainment of a long and healthy life. Yet this pragmatic and easily understandable concern is entangled with other matters. Lamas stress that the only proper motivation for such life extension is to enable progress towards Buddhahood. Beyond this ideological commitment, which serves to reconcile the this-worldly aim of the practices with the trans-worldly orientation of the Buddhist tradition, lie more arcane matters. These include the extreme life–spans attributed to holy men in both Buddhist and Hindu traditions, and the Tantric siddhi of immortality, which may refer to the avoidance of physical death, or to its transcendence into a realm where it no longer exists or makes any sense. There is a history to this complex tangle of ideas, a history which appears to overlap, whatever the precise historical connections, with East Asian traditions of life-cultivation and inner alchemy. In this paper, I attempt to sort out some of this history, and to understand how its modern-day reflections help to create a productive ambiguity within which the apparently impossible can gain enough reality to be taken as a serious goal for Tantric practice."






Photographs of speakers and participants having interesting discussions and sharing meals:

























All photographs by Jacqueline Hargreaves
Copyright 2017.



Friday, 30 June 2017

Advice on Āsana in the Śivayogapradīpikā

by SETH POWELL 1
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Siddhāsana and Padmāsana.
Schmidt, Richard. 1908.
Fakire und Fakirtum im alten und modernen Indien: Yoga-Lehre und Yoga-Praxis nach den indischen Originalquellen.
Berlin: Hermann Barsdorf.


The Śivayogapradīpikā (c. 15th century), or “Lamp on Śiva’s Yoga” is an important and overlooked late-medieval yoga text from south India that uniquely integrates the theory and praxis of yoga within the devotional framework (bhakti) of ritual worship (pūjā). Little scholarly attention has yet been brought to bear on this text, although its prominence within south Indian Haṭha and Rājayoga traditions is attested by commentaries and citations of the Śivayogapradīpikā in several later texts on yoga.2 My ongoing dissertation research at Harvard University aims to assemble the first critical edition, translation, and in-depth study of the Śivayogapradīpikā, based on the collation of over a dozen Sanskrit manuscripts and several printed editions collected from libraries and archives across south India. In this short article, I’ll provide a brief introduction to the text, followed by an exposé of one of its instructional gems: advice on the practice of yogic posture (āsana).


An Introduction to the Text


The Śivayogapradīpikā is attributed to an author named Cennasadāśivayogī, about whom little is known beyond the text itself, although evidence suggests that he was likely a Vīraśaiva (“Heroic Devotee of Śiva”) — the form of devotional Śaivism found predominantly in the Karnataka region which traces its history to Basava, the renowned twelfth-century philosopher, poet, and statesman. Based on the extant manuscript records and commentarial traditions, the text was likely composed in the Karnataka or Tamil Nadu regions of south India around the second half of the fifteenth century, and thus falls between the nexus of the late medieval and early modern periods. As an unstudied text, it offers an important historical window onto the bricolage of Sanskrit intellectual, religious, and yoga traditions active in south India prior to the colonial period.

The Śivayogapradīpikā comprises five chapters (paṭala) and approximately 290 verses. Its teachings are unique among the corpus of second-millennium Sanskrit yoga treatises for a number of important reasons.

The soteriological goal of its yoga system, like other medieval Yogaśāstras, is the attainment of the stone-like supra-mental state of samādhi (also known as sahajā, unmanī, or amanaska) described by the author in Vedāntic terms as the oneness of the individual (jivātman) and supreme soul (paramātman) (ŚYP 3.48), and elsewhere, given the Vīraśaiva inflection of our author, as the non-dual (advaita) state of oneness with the liṅga (ŚYP 3.63). The text also extends the possibility of the yogin becoming “equal to Śiva” (śivatulya, ŚYP 3.56).

The Śivayogapradīpikā teaches the standard tetrad of medieval yogas, namely: Mantrayoga, Layayoga, Haṭhayoga, and Rājayoga — only it understands their methods as a progressive curriculum leading to Śivayoga, a unique form of Rājayoga intended for devotees of Śiva. Here, the traditional eight auxiliaries of yoga (aṣṭāṅgayoga) and the physical techniques of Haṭhayoga are reinterpreted as a method of internal ritual worship of the god Śiva (śivapūjā) — located not within the inner sanctum of the temple, but on the altar of the heart within the mind of the yogin. Thus, unlike other contemporaneous Haṭhayoga texts which tend to disavow any particular sectarian order or religious affiliation (Mallinson 2014; Birch 2015), the Śivayogapradīpikā is an unabashedly Śaiva text, aimed at devotees of Śiva. And yet, within the world of late medieval south India, I argue that the author sought to make the text appeal to Śaivas and non-Śaivas alike,3 including both renunciates and householders — a message we will see invoked in the Śivayogapradīpikā’s advice on yogic posture (āsana).


Āsanas for All


After establishing the proper context for the ritual worship of Śiva, the author describes the methods of Aṣṭāṅgayoga, which includes techniques of Haṭhayoga. Verses 2.13-15 provide recommendations for the practice of āsana, beginning with a set list of ten postures.
Then, these ten best āsanas are enumerated together — Accomplished (siddha), Lotus (ambuja), Auspicious (svastika), Liberated (mukta), Hero (vīra), Blessed (bhadra), Peacock (ahibhuj), Lion (kesari), Cow-faced (gomukha), and Comfortable Posture (sukhāsana).4
The author Cennasadāśivayogī simply lists the postures as such and provides no descriptions, although a later Kannada commentary,5 attributed to the Vīraśaiva scholar Basavārādhya (c. 17/18th century), furnishes instructions for each āsana by quoting the Vasiṣṭhasaṃhitā.6 Each of these āsanas are seated postures, save for the non-seated balancing posture, the Peacock, known more commonly as mayūrāsana. Here, however, the author has employed an unusual Sanskrit synonym, ahibhuj, which translates literally as the “snake-eater.” That peacocks eat snakes is well-known in India, and it is for this reason that they are thought to be immune to deadly poisons. Thus, in the Haṭhapradīpikā, Peacock Posture is said to make the stomach and digestive fires so strong that the yogin can even consume poison! (HP 1.31).7


Mayūrāsana. The Peacock Posture.
Mahāmandir, Jodhpur. Late 18th - 19th century.
Photograph by Lenscraft.


Likewise, rather than the more common padma for Lotus posture, the author employs the word ambuja, literally “water-born,” a common epithet for the lotus flower. Such variant names serve as a poignant reminder of the fluidity of āsana names across Sanskrit texts and traditions in the premodern period. In this case, it is unclear if these variants reflected a difference in orthopraxis, that is, of the proper manner to physically perform the āsana. More likely, the author uses these variant names simply to satisfy Sanskrit poetical and metrical purposes.

Next, the author simplifies his list of ten āsanas into three, which are then uniquely prescribed to types of yoga practitioners according to their station in life.
Lotus (ambuja) is for householders, Accomplished (siddha) is for those on paths other than householders (i.e., ascetics), and Comfortable Posture (sukhāsana) is for all — this threefold [division] is best.8
Through this verse we might gain some practical insight into the anticipated audience of the Śivayogapradīpikā, as we are informed that this yoga is available not only to ascetics but to householders (gṛhin), and indeed to all. It is interesting to note that Lotus posture is prescribed for householders, while Accomplished (siddha) is recommended for non-householders. This is because the application of siddhāsana requires pressing the the foot against the penis (e.g., dṛḍhaṃ vinyaset meḍhre pādam, HP 1.35), symbolizing, if not directly causing, celibacy. Thus, it is prescribed for celibate ascetics and not progenitive householders.9 However, for those who are unable to perform padmāsana or siddhāsana, the author reassures us, Comfortable Posture (sukhāsana) is available to all — or indeed, any preferred āsana from this list.
Indeed, any such āsana may be praised and mastered. Seated in the āsana preferred among those, the [yogin] should dwell in a solitary place.10
The author concludes this short section on yogic posture, stating that while the previous three were recommended according to one’s station, in effect, any posture on this list may be selected, so long as its recommended by tradition (praśasta), and mastered (vaśa) by the yogin. Once established, the yogin should take his seat in a secluded and solitary location (viviktathāna). The Śivayogapradīpikā then goes on to describe such an ideal locale for yogic practice, the original yogaśālā, otherwise known as the medieval yoga hut (yogamaṭha).


Śivayogapradīpikā Witnesses

Ped 1978 [1907]. Śivayogadīpikā: mantra-laya-haṭha-rājākhyacaturvidhayogānāṃ vivaraṇam Sadāśivabrahmendrapañcaratnaṃ ca. Dvitīyāvṛttiḥ. Ānandaśramasaṃskṛtagranthāvaliḥ; granthāṅkaḥ 139. Puṇyākhyapattanam: Ānandāśramaḥ.

Ked Śivayōgapradīpikā: Basavārādhyaṭīkāsamētā. M.M. Kalaburgi, and Nāgabhūṣana Śāstri, eds. Śrī Basavēśvarapīṭha taraṅga ; 4. Dhāravāḍa: Kannaḍa Adhyayanapīṭha, Karnāṭaka Viśvavidyālaya.

T1 Pondicherry IFP T.0871. Transcription of MGOL D.4385, Grantha.

T2 Pondicherry IFP T.1019d. Transcription of IFP RE.20181, Grantha(?).

T3 Pondicherry IFP T.1027a. Transcription of unknown ms. Tulu(?).

Other Sources

Birch, Jason. 2015. “The Yogatārāvalī and the Hidden History of Yoga.” Nāmarūpa 20: 4-13.

Haṭhapradīpikā. 1998. Ed. and trans., Swami Digambarji. Second edition. Lonavla, Pune: Kaivalyadhama. 

Mallinson, James. 2014. “Haṭhayoga’s Philosophy: A Fortuitous Union of Non-Dualities.” Journal of Indian Philosophy 42 (1): 225–47.

Vasiṣṭasaṃhitā. 1984. Ed., Swami Digambarji, Dr. Pitambar Jha, and Shri Gyan Shankar Sahay. Lonavla, Pune: Kaivalyadhama.



NOTES 

1 I wish to thank Jason Birch and Jacqueline Hargreaves for their kind invitation to write this post for The Luminescent, and for their valuable and astute editorial remarks. 

2 The Śivayogapradīpikā was rendered into Kannada prose with a commentary known as the Paramārthaprakāśike by Nijaguṇa Śivayogī, who may have been the same author of the important Vīraśaiva compendium the Vivekacintāmani (c. 15th century). Another Kannada commentary was written by the Vīraśaiva scholar Basavārādhya (c. 17/18th century). Citations of the Śivayogapradīpikā in later compilations on yoga include the Yogacintāmaṇi of Śivānanda (early 17th century), the Upāsanāsārasaṅgraha (17th century), the later Yogasārasaṅgraha and a commentary on the Yogatārāvalī, the Rājatarala of Rāmasvāmipaṇḍita. 

3 In the effort of inclusivity, the author Cennasadāśivayogī assures his audience that “Truly, there is no difference between Śivayoga and Rājayoga” (ŚYP 1.13ab na bhedaḥ śivayogasya rājayogasya tattvataḥ /).

4 Śivayogapradīpikā 2.13
siddhāmbujasvastikamuktavīrabhadrāhibhukkesarigomukhāni |
sukhāsanaṃ caiva samaṅkitāni tato daśemāni varāsanāni ||

2.13a siddhāmbuja- ] Ked T1 T2 ; siddhāmbujaṃ Ped ; siddhāmbujaḥ T3 • -mutkavīra- ] Ped Ked T1 ; muktavī T2 ; yuktavīra T3     2.13b -bhadrāhibhukkesarigomukhāni ] Ped T1 ; bhadrāhibhuksiṃhagavāṃ mukhāni Ked ; bhadrabhuksiṃhagavāṃ mukhāni T2 ; bhadrābhibhuksiṃhajago mukhāni T3     2.13c samaṅkitāni ] Ped Ked T3 ; samāhitāni T1 ; samāṃtāni T2     2.13d tato daśemāni ] Ked T1 ; tathā daśaitāni Ped ; tato daśamānī T2 ; tato daśaitāni T3

5 I am grateful to Shubha Shanthamurthy for her translation of Basavārādhya’s Kannada commentary.

6 The āsanas in the Vasiṣṭhasaṃhitā likely draw from the earlier Vaiṣṇava Pāñcarātra text, the Vimānārcanākalpa, which teaches a similar list of nine āsanas. I am grateful to James Mallinson for drawing this to my attention. 

7 I thank Jason Birch for this observation. 

8 Śivayogapradīpikā 2.14
gṛhiṇām ambujaṃ siddhaṃ gṛhasthetaravartmanām |
sukhāsanaṃ ca sarveṣām ity etat trividhaṃ varam ||

2.14a gṛhiṇām ambujaṃ siddhaṃ ] Ked T3 ; gṛhiṇām ambujaṃ nityaṃ Ped ; gṛhiṇām ambujamukhaṃ T1 ; gṛhiṇām ajaṃ siddhaṃ T2     2.14b gṛhasthetaravartmanām ] Ked ; siddhaṃ tv itaravartmanām Ped ; siddhādi vanavāsinām T1 ; grahasthetaravartmanām T2 T3     2.14d ity etat trividhaṃ ] Ked Ped ; madhy etat trividhaṃ T2 • varam ] Ked Ped T3 ; param T1 T2

9 I thank Jason Birch and James Mallinson for clarifying this. 

10 Śivayogapradīpikā 2.15
yāni kāni praśastāni hy āsanāni vaśāni ca |
teṣv abhīṣṭāsanāsīno viviktasthānam āśrayet ||

2.15b hy āsanāni vaśāni ca ] Ped ; hy āsanāni samāni ca Ked ; āsanāni vaśāni ca T1 T2 ; āsaneṣu vaśāni ca T3     




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