Tuesday, 15 November 2016

Typology of Modern Yoga

By JACQUELINE HARGREAVES

Over the summer of 2015, I had an opportunity to sit down with Dr. Elizabeth de Michelis and discuss the emerging field of academic study on Modern Yoga. 

Our discussion led to the creation of the diagram, Typology of Modern Yoga, which is based on the classification model first developed by Dr de Michelis in her important book, A History of Modern Yoga. This diagram aims to be a helpful tool for understanding the ever-evolving types of Yoga practised today and it explains the original coining of the term Modern Postural Yoga (MPY), which has become widely used within the Yoga community.































Her book paved the way for further academic study into Modern Yoga with some Universities now offering graduate level programmes, such as:

Master of Arts in Traditions of Yoga and Meditation at the School of Oriental and African Studies (SOAS), University of London, UK.

Master Programme in Yoga Studies at Ca’ Foscari University, Venice, Italy (in Italian).

Master of Arts in Yoga Studies at Loyola Marymount University, Los Angeles, California, USA.


Thursday, 22 September 2016

The Infinite Lightness of Being | Katherine Virgils Exhibition


The Infinite Lightness of Being | Katherine Virgils Exhibition
5 - 29 October 2016
2a CONWAY STREET, LONDON | REBECCA HOSSACK ART GALLERY



If you have never had an opportunity to travel to the exquisite desert lands of Jodhpur, Rajasthan, then you have a chance to taste its colour and vibrancy this October in London at the exhibition entitled, The Infinite Lightness of Being.

Artist Katherine Virgils draws upon imagery of the Nath Yogis and the delicate miniature paintings of the Mahamandir, which was a temple built by the Maharaja Man Singh (1803 - 43) for his Nath guru. This temple was the legacy of the Maharaja Man Singh whose patronage of the Naths in the 1830s led to a total revision of artistic impression. These miniature figures are of historical significance because they attest to a complex āsana practice in existence in eighteenth-century Rajasthan. Many of the āsanas are also described and illustrated in manuscripts of yoga texts of the period.

Katherine's work has driven a cultural and historical resurgence in Jodhpur this year. In January, she was invited by the current Maharaja Gaj Singh to set up her studio at the top of the magnificent Mehrangahr Fort and hold an exhibition there. The Mehrangahr Fort holds one of the world's most comprehensive collections of yoga manuscripts, many of which are being studied as part of the Haṭha Yoga Project at SOAS, University of London. 

Re-imagining the yogis, Virgils uses ancient methods and new technology alike. Indian miniature painting methods and gold leaf are blended with earth pigments, whilst the scale of each yogi is radically altered, the imagery becoming more resonant with a 21st century audience.


The show at the Rebecca Hossack Art Gallery is the first time this specific yogic imagery has been seen in London and incorporates a lecture on yoga and its heritage by Dr. James Mallinson (Principal Investigator for the Haṭha Yoga Project), to be held on the 5th October at the gallery, from 6.30pm








Monday, 1 August 2016

The Role of Herbs in Medieval Yoga


Ascetics preparing and consuming narcotics.
Private Collection, Awadh, Northern India.
Reproduced in J.P. Losty (July 2016, p. 30)
Ascetics and Yogis in Indian Painting: The Mughal and Deccani Tradition


An extract from the forthcoming publication:

Did Āyurveda Influence Medieval Yoga Traditions? Preliminary Remarks on their Shared Terminology, Theory and Praxis. 

by Dr Jason Birch
Generally speaking, the role of herbs in medieval yoga texts is marginal at most. Most yoga texts do not mention them and those that do, mention them only in passing without details of recipes and their specific benefits for yogins. 
Moreover, even in those texts which describe herbal preparations, such as the Khecarīvidyā and the Yuktabhavadeva, the information on herbs appears to be unconnected to the system of yoga practice taught in the same texts. This suggests that the use of herbs was, at most, an inessential supplement for some yogins. In fact, even as Haṭhayoga became more sophisticated in the late medieval period with the integration of more elaborate techniques, metaphysics and doctrines, the Jogapradīpyakā is the only text [...] that explains how the practice of yoga might be combined with taking medicinal herbs for a period of time. The emphasis on attaining liberation in medieval yoga texts may partly explain the paucity of information on herbs, because the use of herbs is mainly advocated for the attainment of Siddhis
[...]  
As to how herbs might have been combined with the practice of yoga, the most elaborate and compelling account of this is found in the eighteenth-century, Brajbhāṣā Jogapradīpyakā. 
Next, I will describe herbs and explain [them] extraordinarily clearly. Without herbs, one does not obtain Siddhis. Therefore, the yogin should always take herbs. Collect [the herb called] Bhṛṅga along with its root and having dried it, make a powder of it. Take black sesame, Emblic Myrobalan and curd and, having mixed [them] with three sweeteners, one should take the whole [mixture]. It will remove all ailments and diseases, and old age and death will disappear. Jayatarāma will speak of [other] herbs which have these qualities. One who consumes a single leaf of the Nirguḍī [plant] three times every day for a year, this will be the result: one destroys both old age and death. One should seek and obtain the [herbs called] Nirguḍī, Nalanī and Mūṇḍī from the forest in equal quantities. Then, combine them with sugar and ghee and, having taken them for a year, one obtains success. For six months, one should treat sulphur, make equal amounts of sesame and bitter orpiment and, having combined [them] with three sweeteners, make a powder. [By taking this powder,] one obtains the state of youth and immortality. Thus, the [section on] herbs. 
Now, the [yogin’s] manner of living [while undertaking the practice of Khecarī Mudrā]. First, build a solitary hut in a forest or [in the grounds of] a hermitage, where it pleases the mind. For six months, one should steadily practice postures and not talk with any people. One should repeat Mantras day and night, consume rice and water, and avoid salt. One should not eat dry ginger, the [fruit of the] wood-apple tree nor radish. [However,] one can eat a little sweet food. Having done the practice, one should take those herbs which were described previously. When every seventh day, [which is] Sunday, comes, one should cut [the fraenum]; every fortnight, milk [the tongue] and, day and night, churn it with the mind focused. When one does this for six months, one obtains a strong Khecarī [Mudrā]. The tongue grows four finger-breadths [in length] and one obtains two fruits, devotion and liberation. That man who has done what has to be done, washes off the impurities of birth and death. O Jayatarāma, having held one drop [of bindu] in the body, it dissolves in copper, which [then] becomes gold. This is the special quality of Khecarī Mudrā.   

bahuri auṣadi varani sunāu, divya divya prakaṭa kahi gāū |
auṣadi vinā sidhi nahī lahai, tātai jogī avaṣadi nita gahai ||665||
bhṛṅga samūla saṃgraha ānai, tāhi sukāyaru cūraṇa ṭhānai |
kriṣṇatila āmala dadhi levai, madha triya sādhi sakala kau sevai ||666||
dohā – roga vyādhi sab hī kaṭai, jarāmṛtyu miṭi jāya |
jayatarāma avaṣadha bhaṣai, to ye tā guṇa thāya ||667||
caupāī – eka eka nirguḍī pāta, dina prati tīn vera jo ṣāta |
varasa vāra hai aisau hovai, jarāmṛtyu donauṃ so ṣovai ||668||
nirguḍī nalanī arū mūṇḍī, sama kari vana tai lyāvai ḍhuṃḍhī |
bahuri sarkarā ghṛta ju milāve, varasa divasa sādhyā sidhi pāvai ||669||
ṣaṭa māsa gandhaka so dharai, tila karu golocana samakarai |
madhu traya jukti cūrṇa kara ṣāvai, ajara amara padavī so pāvai ||670||
iti auṣadha || 

atha rahana vidhāna |
caupāī - prathama ekānta maṭhī ika ṭhānai, vana graha māhi jahāṃ mani mānai |
ṣaṭa māsa āsana driḍha dharai, prāṇī mātra soṃ bāta na karai ||671||
mantrajāpa nisadina hī ucārai, cāvala peya bhaṣi lūṇa nivārai |
nāgara bela mūli nahi ṣāve, kachuka mīṭho bhojana pāvai ||672||
pūrava avaṣadha varanī joī, sādhana karai tāsa kau soī |
divasa sātavai ravidina āvai, tā tā dina chedana ju karāvai ||673||
pāṣi pāṣi prati dohana karai, mathana aho nisi hī mana dharai |
aisai karata māsa ṣaṭa jāvai, vṛddha khecarī pāvai tavai ||674||
aṅgura cyāri jībha baḍhi āvai, bhakti mukti dou phala pāvai |
kṛtya kṛtya soī nara hoya, janma mṛtya mala ḍārai dhoya ||675||
dohā - garayau ju tāṃvā uparai, būnda eka dhari deha |
jayatarāma so kanaka hoya, khecarī kā guṇa yeha ||676||
iti khecarī ||

Jogapradīpyakā 665 - 76 (Trans. Jason Birch)

666d madha (ms. ba) ] emend. : madhi Ed. 674b vṛddhi (ms. a) ] emend : vṛddhi Ed. I would like to thank Nirājan Kafle for his helpful comments on this passage.

Ascetics consuming sweets and narcotics.
Private Collection, Awadh, Northern India.
Reproduced in J.P. Losty (July 2016, p. 29)
Ascetics and Yogis in Indian Painting: The Mughal and Deccani Tradition









Thursday, 14 July 2016

VINYĀSA: Medieval and Modern Meanings

By JASON BIRCH and JACQUELINE HARGREAVES
Download this article as a PDF

Jālandharnāth at Jalore
By Amardas Bhatti.
India, Rajasthan, Marwar, Jodhpur, ca. 1805–10.
Opaque watercolor and gold on paper; 39 x 29 cm.
Mehrangarh Museum Trust, RJS 4126


The term vinyāsa is used in many different contexts in medieval literature. In describing a temple (mandira) in which a yogin should practise, for example, the Nandikeśvarapurāṇa specifies that it should have a beautiful design (ramyavinyāsa).1 In this context, vinyāsa means design or arrangement.

The term vinyāsa rarely occurs in medieval yoga texts. However, it does appear more frequently in the ritual sections of medieval Tantras. Nonetheless, never does the term vinyāsa mean the movement that links breath with postures (āsana) as is the case in modern yoga.

An excellent reference work on the meaning of words particular to Tantra is the Tāntrikābhidhānakośa. This extensive dictionary (in five volumes) has been written by an international team of scholars who are the foremost specialists in this field. Volume five, which is forthcoming, states that vinyāsa is a synonym for nyāsa

Nyāsa is defined in volume three of the Tāntrikābhidhānakośa (2013: 342) as:
The imposition or ritual placement of mantras on the body or on the material representation of the deity (sometimes on an object or a surface) in order to install the power of a mantra. It is a widespread practice, which is tantric and even more generally Hindu or Buddhist.2
In discussions on the practice of āsana and other techniques in medieval yoga texts, the term vinyāsa is not used. However, when related verbal forms (such as vinyasya) are used, they mean 'to fix or place'.

In the Haṭhapradīpikā, for example, vinyasya occurs in one of the descriptions of Siddhāsana:
Having placed (vinyasya) the left ankle on the penis and having put the other ankle on that, this is Siddhāsana
meḍhrād upari vinyasya savyaṃ gulphaṃ tathopari |
gulphāntaraṃ ca nikṣipya siddhāsanam idaṃ bhavet ||1.38||
A similar instance is found in the Dattātreyayogaśāstra (133), which describes the chin-lock in Mahāmudrā as “fixing the chin on the chest” ([...] cibukaṃ hṛdi vinyasya [...]).

The above medieval meanings are unrelated to the usage of vinyāsa in modern yoga, which denotes 'movement' rather than 'fixing'. A. G. Mohan (2010: 29) succinctly explains the modern meaning of vinyāsa in his biography of his teacher Kṛṣṇamācārya:
A special feature of the asana system of Krishnamacharya was vinyasa. Many yoga students today are no doubt familiar with this word – it is increasingly used now, often to describe the 'style' of a yoga class, as in 'hatha vinyasa' or 'vinyasa flow'. Vinyasa is essential, and probably unique, to Krishnamacharya's teachings. As far as I know, he was the first yoga master in the last century to introduce this idea. A vinyasa, in essence, consists of moving from one asana, or body position, to another, combining breathing with the movement.
Although Mohan's comments do not rule out a medieval precedent for Kṛṣṇamācārya's Vinyāsa, we are yet to find such a precedent in a medieval yoga text or Tantra.

The research of Dr James Mallinson and Dr Mark Singleton supports and further elaborates on these findings. They have also investigated related terms such as vinyāsakrama, viniyoga and pratikriyāsana. The following is an excerpt of a note from their forthcoming book Roots of Yoga (2017):
The Sanskrit word vinyāsa used (with considerable variation of meaning) by Krishnamacharya and his students to denote a stage in one of these linked sequences is not found with this meaning in premodern texts on yoga. Related verbal forms (vinyāsa is a nominal formation from from the verbal root √as prefixed by vi- and ni-), such as the absolutive vinyasya, are found in a handful of posture descriptions with the meaning “having placed [x on y]”, e.g. Vasiṣṭhasaṃhitā 1.72 (3.6 “Having placed one foot on one thigh, and the other foot under the other thigh...”). Vinyāsa and related words are more common in tantric texts, where they usually refer to the installation of mantras on the body. The compound vinyāsakrama, which has been used by Krishamacharya and his students to denote a particular sequence of linking poses, is not found in premodern yoga texts. We have found five instances of it in tantric works. In four it refers to a sequential installation of mantras; in the fifth, Kṣemarāja’s commentary on verse 9 of the Sāmbapañcāśikā, it is used to refer to the sequence of strides across the three worlds taken by Viṣṇu in his Vāmana incarnation. The modern usage of vinyāsa is thus a reassignment of the meaning of a common Sanskrit word; the usage in modern yoga parlance of the word viniyoga (which in Sanskrit means “appointment”, “employment”, or “application”) to mean tailoring yoga to individual needs is a similar reassignment, while the word pratikriyāsana, used in the Krishnamacharya tradition to mean a “counter pose”, is a modern coinage not found in any premodern Sanskrit texts.

Gosain Sagargir, a Śaiva Yogī, 
seated on a Leopard Skin 3
Mankot, c. 1700.
Brush drawing with opaque pigments on paper, 21.2 × 17.3 cm. 








We would like to thank Shaman Hatley for informing us of the draft entry of vinyāsa in the forthcoming Tāntrikābhidhānakośa (vol. 5); Christèle Barois for her comments on our translation of the Tāntrikābhidhānakośa (vol 3) entry on nyāsa; and James Mallinson and Mark Singleton for allowing us to quote a note from their forthcoming book Roots of Yoga.


NOTES

1 This verse of the Nandikeśvarapurāṇa is quoted with attribution in the nineteenth-century commentary on the Haṭhapradīpikā called the Jyotsnā (1.13).

2 "L’imposition ou placement rituel de mantras sur le corps ou sur le support de la divinité (parfois sur un objet ou une surface) afin d’y installer la puissance du mantra est une pratique tantrique et même généralement hindoue, ou bouddhique, très répandue" (Tāntrikābhidhānakośa III, 2013: 342).

3 Francesca Galloway, Court Paintings from Persia and India 1500–1900. London: Francesca Galloway, 2016, p. 74.


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Monday, 4 July 2016

Hathayogic Bandhas and Mudras of the Amritasiddhi

968 CE Lokeśvara (i.e. Avalokiteśvara) at the Mañjunāth temple at Mangalore
Photo Credit: James Mallinson



Advice from the earliest known Yoga text to teach the Haṭhayogic Bandhas and Mudrās.



Dr James Mallinson observes in his significant article, The Amṛtasiddhi: Haṭhayoga's Tantric Buddhist Source Text, that the Amṛtasiddhi was composed before the mid-twelfth century in a Vajrayāna Buddhist milieu and it contains many doctrinal innovations.

The Amṛtasiddhi is the earliest known yoga text to teach the practice of Mahāmudrā, Mahābandha and Mahāvedha with the throat-lock (kaṇṭhabandha) and root-lock (mūlabandha).
In a beautiful place, where there are agreeable customs, good people, plentiful food and no danger, one should practise the path of yoga. [...] The practice [of MahāmudrāMahābandha and Mahāvedha] should be done in such a way that the breath is not afflicted. For, when the breath is afflicted, the fire burns the bodily constituents.
śubhe deśe śubhācāre sajjanair vā samanvite |
abhyased yogamārgaṃ tu subhikṣe nirupadrave ||
prāṇapīḍā yathā na syād abhyāsaḥ kriyate tathā |
pīḍite prāṇavāte hi dhātuṃ dahati pāvakaḥ || 
Amṛtasiddhi 19.5 and 19.8 (Trans: Jason Birch) 
Mallinson (2016: 6) states, "These practices, which involve bodily postures and breath control, are used to make the breath enter the central channel and rise upwards.  They are an innovation of the Amṛtasiddhi and are taught in all subsequent haṭhayoga texts, albeit sometimes with different names."


Read Dr Mallinson's full article on Academia.edu:

The Amṛtasiddhi: Haṭhayoga's Tantric Buddhist Source Text