Beruflich Dokumente
Kultur Dokumente
IIJ% Pp IZH
S1/1 IH 1111 '2-cm
llhho'Ph\
CoL Yoga Poses 122
B/W 1llus 14
Index
"'J lw ' oga Tradition of the Mysore
P.li.H.L'" traces the developments in
I lw yog. tradition that has led to the
strongest yoga tradition practised in
tlw world today, from Krishna
lll.l('<HiM to Pattabhi Jois' Astanga
yoga system and the Iyengar system.
I he spread of these yoga systems all
ovtr the modern world is unparal
leled in the history of yoga; it
partakesof thenatureofa mass move
ment. The introduction traces the
dlvelopment farther back by looking
1nto a hbtory of asanas itself, garer-
1 ng evidence from different periods
in Indian hi<tory and relating this to
the basic h'ts of yoga philosophy.
I he book requires us to view the his
tory and development of yoga from
.111 entirely new perspective. The in
troduction centres around a transla
tiOn of the yoga section of the
RITA TTY ANIDHI, the oldest text
,\Vailable at present substantiating a
developed asana practice. This text,
written in the 1880's, foreshadows
our own period.
R< 350
Te Yo
g
Trdton of te M
y
ore Pace
i
'
For th e wh i stl e
blowi ng yogi ns
j
The Yoga Tradton of te
M
y
ore Palace
N.E. 8jomm
m
PUBLICTIONS
obhiNOV publicaTiONS
First Edition 1996
Second Edition 1999
N.E. Sjoman
All rights resered. No part of this book may be reproduced or transmit
ted in any form or by any means, electronic or mechanical, including
photocopying, recording or by any information storage and retrieval
sstem, without permission i writng from the publishers.
Pblih
Shakt Mai
Ahinav Publicatons
E-37 Hauz Ka
New Delhi-110016
Phones: 6566387, 6524658, 6562784
Fax: 91- 1 1-6857009
e-mail: shakti@nde.vsnl.net.in
abhinav.abhinaf@axcess.net.in
Website: http/ /ww .abhinavexports.com
ISBN 81-701 7-389-2
Phototeetting and Pocssing b
Ta Chand Sons
Naraina
New Delhi
Pnte at
D.K. Fine Art Press P. Ltd.
Ashok Vhar
Delhi
CON1EN1b
Foreword by His Highness, Srikantadatta
Narasimharja Wadiyar
Preface to the Second Edition
Preface to the First Edition
Mysore Yoga Painting
Synopsis of Painting by Swami Sivapriyananda
Illustatons of the
A
sanas from the SRATANIHI
Introduction
The Yoga Traditon of the Mysore Palace 35
The Nature of Indian Trditon 36
The Yoga Traditon 36
Textual Surey of the Yoga Tradition 37
Modem Practces of Yoga 39
The Subject and Source of the Present Study 40
Development in the Philosophical Yoga Tradition
from Patafjali 41
The
A
sana Tradition 43
The Modem
A
sana Traditions 48
B.KS. Iyengar's
A
sana Teaching 49
Pattabhi Jois's
A
sana Teaching 50
B.KS. Iyengar's Reformation of the
Jois/Krishnamacariar Series 50
Krishnamacariar's Yoga Teaching 50
Krishnaraja Wodeyar - Student and Paton of Yoga 52
The Mysore Palace Gymnastcs Traditon 53
The Mysore Palace Wrestling Traditon 56
The Yoga Section of the SRATANIHI 57
Conclusions 59
1
3
5
9
1 3
1 4
1 5
35
2 The Yoga Traditio ofthe Mysoe Palc
Translaton of the SRATANIHI Text 69
Appendix 1-Alphabetcal list of asanas from
The Complt llustratd Book of Yoga 87
Appendix II-Alphabetical list of asanas from Firt Stes
t Hig Yoga 90
Appendix III-Alphabetcal list of asanas fom the
H THRiIK, GHRl ASA,
SIVASIA and GORKSIA 98
Appendix IV-List of asanas in the order taught by
Pattabhi Jois at his tga Yoga Research
Institute in Mysore 100
Appendix V-Alphabetical list of asanas fom
Kishnamacariar's YOGKA 102
Appendix VI-Yoga section of the MSUU MS 1 03
Appendix VII-Photographs fom the W AYAiIK 1 06
Appendix VIII-Photographs from Kishnamacariar' s
YOGAMKA 1 08
Appendix IX-Alphabetical list of asanas from the
SRATVANIHI 1 10
Bibliogaphy 1 1 3
Index 1 1 7
r
ORWOB
THE PALACE
MVSORE-570 001
{ 2601
Phone
520601
(here is a continuous record of involvement and patronage of Yoga
at the Mysore Palace for over 200 years. The oldest records found
are in the SRATANIHJ, the most complete document in the His
tor of Yoga Aanas found todate. This work was compiled-by Mummadi
Krishnaraja Wodeyar himself and is translated with the illustrations here.
The introduction taces other infuences in the Yoga System. It
documents the educational interests and efforts of Nalwadi Krishnaraja
Wodeyar in installing Krishnamacariar at the Palace and in the Yoga Sala,
teaching Members of the Royal Family and the Public at large through
the Royal Pathasala.
That Yoga System, a synthesis of many different schools of exercise,
some almost defunct, has spread over the entire World through its pri
mar preceptors Krishnamacariar, B.K.S. Iyengar and Pattabhi Jois.
It is gratifing to look back at the farsightedness of my ancestors and
know that, through them, countless students of Yoga, all over the World,
in ever single countr, have been able to share in the benefts and
secrets of Yoga.
1 . 3. 1995
*
ERACE 1O 1 bECOND WON
(he response to the book has been grating and refreshing for the
most part. It is a privilege to be able to bring out the second edition.
In this second edition, there are a number of minor errors or omis
sions that have been corrected. B.K.S. Iyengar has stated that he was
never Pattabhijois' student. This has been incorporated in the text. There
have been some minor additons to the bibliography that bring up to
date recent material on the Yogasitram of Pataijali. My own study of the
Yogasitam is now complete and brings to a conclusion my studies of
the histor of yoga as such. This has been hastened, actually made largely
unnecessar, by the excellent comparison of Buddhist meditation prac
tices with the meditation prctces in Patijali's sitras published by S.
Tandon. Occasions remain for studies to amplif sketchy parts and re
claim transfgured parts of this reconsttuted yoga histor.
The criticism that the Indian schoolmen make of wester thinkers
is that they are unaware of their presuppositons. The presuppositons,
which here are actually the reasons why people do yoga-why ver difer
ent people in diferent times have done yoga, have been careflly exem
plifed in this book. Literature indicating animistic beliefs, a search for
power, sympathetic magic appropriaton, deliberate delusionar tactics,
therapeutics and health, social groupings, a gradated spiritual discipline,
a basic metaphysical understanding and so on have been presented a
diverse points of view. This is an attempt to understand an underlying
motivation for following the teaching of yoga and thus, to understand
why yoga has surived. This appears to have passed unnoticed by most
readers. This is not surprising as there has not even been any attempt at
understanding the implications of the fact that the book brings into
queston the partcular narrative histor of yoga as it is known and drawn
on by trying to tace an outline of the important developments in the
practice tradition. It would seem to be a serious problem i our history,
which presumably forms the basis for our acton, is shown to be largely
fabrication.
5
6 The Yoga Tradition of the Mysore Palc
Yoga as a spiritual discipline is discussed in the context of Indian
metphysical systems. Linkages have been made to the Yogasitram and
I have gone on, as mentioned above, to write articles examining frther
the sitras of Pataijali. This examination has not been academic, but
technical in terms of the philosophy, and speculative. This examination,
interdisciplinar by nature, draws on and includes the work of practi
toners of meditation ... the work of people who have practsed yoga and
meditation as a spiritual discipline.
Interestingly enough, in our own time, yoga has become a social
phenomenon. This might be partly because the most recent innovative
practtoners of yoga have been Vaishnavas who seem to be oriented
more towards social organization-social systems, status, economics,
however one wants to see it, than the Saivites who have had their heydy
more than one hundred years ago and have formerly been on the fringes
of social apparatus. Of course, the whole guru-sia tradition is part of a
scial bonding complex and is particularly attractive at present to people
who are alienated fom family complexes; one of the most difcult a
pects of our perilous modernism. I have heard a yoga student say,
"Pattabhijois is like a father to re". With such emotive social complexes
one i invariably entangled in all the moralizing, status seeking and so
on that goes with the territor. And the territor is social loyalt or group
ing, competition and economics.
In fact, most of the yoga people who have commented on the book
have been interested in the partcular status of their teacher or have
wated to elicit some gossipy ttbit fom me. I have been ver carefl to
avoid this with fll awareness that the world runs on gossip. I have been
ver careful to excise such elements from the work presented. These
sorts of statements perhaps sere the "hagiographical imperatve" quite
efciently. My interests, though, have been the partcular and not the
general. A I try to avoid generalites leaving my mouth, I have for the
most part failed to live up to these interests. I have also avoided respond
ing when reproached with generalities. All the same, I have tried to be
generous with my information and have let, as far as possible, the re
search speak for itself Because of this, the reader can form his own con
clusions. Pattabhi Jois, when asked what he thought of this book, told
one of his students that I had written it just to make money of of him.
The few academics that have commented have been mostly inter-
Peac to th Seco Edition
7
ested in the preface where they are referred to and have told me repeat
edly that academics are "just like that" but they were never able to say
such things themselves. In other words, they have copted my indepen
dence and made me one of them. Others, who I won't mention by name
as they are not part of this stor, have said that the book is "not quite
academic". Others again have proclaimed my research "may be flawed".
It is not possible to address these statements since no details are given,
for example, as to the nature of the "flaws". Indeed, one might suspect
that such statements are maliciously intended in that they question the
credibility of what ha- been ofered without ofering specifc critique,
opportunit for dialogue, for rejoinder, correction or modifcation of
views. The carefl documentation of my statements, however, speak for
itself This kind of critique is power tripping. And that has been impor
tant in our own scholastics, our history and the histor of yoga.
Yoga spread into China primarily because of the promise of super
natural powers. The mythology of Superman is the American counter
dream. And there is a dream batte going on, a batte of mythology and
metaphysics. I tend to think of the American Superman dream as more
adolescent. The Indian yogi fgure is more practical in some senses
attractive to people who have already abandoned Superman and maybe
even Santa Claus (economics?) . But the Indian yogi fgure, in spite of
the Vaishnavite socialization, is an outlaw by nature, specifcally, by the
nature of his sadhana. The power dream although dubious at best, is a
fantasy to work by, a rite of passage, but perhaps ultimately unsustan
able to a keen student of yoga. The serious pursuit of yoga is a touch
stone that .allows us to generate our own individual understanding fom
a corporeal base. But dream worlds have the imprint tenacit of delu
sion based advertising. Yoga has been around a few more years than
Superman; indeed, it is probably the mythological source complex of
the latter and is, in a very individual or personal way, the archetpal
mythical hero journey. The continued interest of the wester world in
yoga, in advertising and the ideas of purit, tradition, superiorit, the
ideas of privileged and powerful secret knowledges that one can acquire
like 1s and cars all belong to that same complex and inform the gur
si complex as understood today. One can witness the success of the
term "power yoga" that has so recently appeared and come into vogue.
B.K.S. Iyengar, in a remark he probably does not remember, said to
me once, "Everything has come to me but nothing stays. "
8 The Yoga Tradition ofthe Mysoe Palc
Pataijali has said that a word, once spoken, sets up a vibraton that
continues on into infity. He also says that one single word, corectly
spoken, is sufcient to achieve enlightenment. The vibration that is the
primal desire to speak, is the vibraton that originated this universe. The
realizaton of that primal vibration was a mystical experience. All this
might point to the fact,
.
among other things, that we ought to be careful
what we say.
People have misinterpreted my dedication. The "whistle blowing
yogis" are the Nathas according to Briggs. But he made a mistake, it was
not a whistle they carried but a chillum. Why woulyogis want a whistle?
Mysore, 1999
N.E. Sjoman
ERACE 1O 1 W1 WON
/need to explain the point of view taken in this work wth the aim of
distnguishing it from much of current academics. This is necessar
because I am partially a product of academic leaing and use academic
formats. There have been other stronger influences on my leaing
which are not academic; which would indeed be excluded from aca
demic consideraton. Secondly, since relocatng to Canada, my personal
experience is that academics are irrevocably involved with politcs. In
variably this reflects in academic work at all levels. The result: one be
comes highly suspicious of academics and their work. It is not enough
to accept the "format" or discourse of the work; one needs to see the
person behind the work, his background and to evaluate his personal
integrit. Ofcial credentals are not a reliable measure of integrit.
Much of what passes .for a "critcal atttude" desirable in "scientfc"
understanding is an agenda for exercising dominance, a closet
legitmisaton of appropriaton.
In order to explain the point of view of this work, I have to explain
the issues I have brought to it and thus speak of my own education. I
do this in order that the reader may understand the preparaton I bring
to the work and as an acknowledgement of the many teachers that have
shared their wisdom and their leaing with me.
I began studying philosophy and mathematical logic at the Univer
sity of British Columbia in Canada. Quine's deductive logic w disap
pointing for me because it was not possible to arrive at any further
knowledge than what was contained inthe premise. Godel 's proof seemed
to me to state that no mathematcal system was complete or possible to
complete unless you postulated "one". Because of disappointent with
this, I switched to English literature and language.
The study of literature at that time in Canada w basically the co
lonial syllabus of English classics with a developing branch of American
literature. I was fortunate at this tme to have as a mLntor Dr. Craig
Miller. He treated me as if I were special and, because of that, I wanted
9
10 The Yoga Tradition of the Mysoe Palc
to be special for him. I felt though that English literature was boring and
began to read whatever European literature. in tanslaton that I could
get my
h
ands on. I remember thinking when I graduated that I ought
to have known something about something. I did not feel I did.
I then went to Sweden where I began the study of European (called
world literature there) and Scandinavian literatre. My mentors here,
through difcult tmes, were Boel and Cl Reinhold Smedmark. They
helped me, often in spite of my fagging will, through Scandinavian
language, literature and culture. My leaing here was in the "old sys
tem", the French and German learning system. Eventually I studied
Histor of Religion and began an intensive study of Indo logy specializing
in Sanskrit. Sanskrit became my consuming interest and passion-an
inner urge which had no logical or rational source. Here, Chandrakant
Desai taught me to memorize and somehow or other awakened my
memor to many things. Mter seven years of study I was disappointed
with Euopean leaing. My teachers, philologues, kw all the irregu
larites of the language, but could not speak the language. This always
seemed like an artcial intellectual exercise to me. The study of religion
w really a study of European attitudes towards religion at diferent
periods in histor. Subsequently, I considered this the "orientalist" phase
of my educaton.
I beganstudyinginindiaat theCenteofAdvcedStudies in Sanskit
at Pune Universit. In Pune though, the main part of my leaing w
with Indian traQitonal leaing, eventually with paQQits and sastis. I
w ostacized for this; the Universit w considered progressive. The
Indian taditonal leaing system is a 2000year-ld apprentce system
which is, even in subjects such as l
o
gic and grammar, a metaphysical
system of learning. I have spoken of this in my paper "The Memor Eye".
That system has virtually disappeared today and I consider myself privi
leged for being able to share in that leaing in the small way I did. Mter
Pune, I studied with sastris in Mysore for another fourteen years. There
were many highly specialized paQQits and sstris there because of royal
patronage. For me, learning in this way w somehow a partcipation in
"mainstream" leaing. From that perspective, Wester leaing looked
like the soluton of pseudo-problems by means of ego assertion.
I remember with afecton many of the geat paQQits who gave their
tme to me -Sivakrishna Sasti, Srinivaa Sasti, Vighnahari Deo,
Peac t th Firt Editio 1 1
Ramasastri, S.N. Varadacarya, K.S. Varadacarya, Visvesvara Diksita,
Rmacandra Rao and others.
I began studying yoga in Sweden with a young Frenchman who had
recovered his body usage fom a crippling car accident. I studied with
B.KS. Iyengar in Pune during the fve years I w there. I felt that my
learing in.Sanskrit would never have been possible without the leamin g
in yoga from him. At present, I could not think of living itself without
the intangible beneft of the teachings in yoga.
In repect of this partcular work, I want to menton tat I applied
for grants from the Social Science and Humanites Research Council in
Canada a number of times in order to search in the libraries of Nata
maths, in private palace libries and so on in order to obtain materials
that might have added to this history of asanas. I had as embled a team
that could travel wit me covering nine languages and able to participate
in virtually any circumstnce -the circumstnces would have required
us to visit a ascetc yogins rather than scholars. The Social Science and
Humanites Research Council never saw ft to give that grant and I was
unable to carr out tat search. It alwys seemed to me that this w a
unique project, something that would give baic materials for research
and something that no one except myself would have been able to do.
I want to point out a well that this study is far fom complete. Apart
fom the possible materials that I have not been able to search for, there
is a wealth of literature-PUAS, AGAMS, independent studies that
have barely been noticed, Buddhist material and so on, all of which have
something to contribute to this history. It has been neglected because
o
f
the idea that Pataijali is the defnitive end of yoga, virtually the source
and the end of the tadition. That view is a superimposed orientalist
textual-based view.
Many fiends have supported me while I worked on this material.
Sr Dattatreya has asisted and supported me at all tmes. Without him
this book would not exist. I also wish to menton Suzanne and the late
Perez Meranji, )ette Zerfa, Swami Sivapriyananda, Carmel Berkson,
and Ktie Ohe.
Srikantadatta Narasimharaja Wadiyar permitted me to take
photographs of the yoga section of the SRATANIHI from the
Maharani's manuscript in the Sarasvati Bhandar Library. P.
Maribasavaradhya at the Oriental Institute in Mysore transliterated the
12 The Yoga Traition of the Mysoe Palc
Old Kanna<a script into danagar. Venkatacala Sasti at the KannaQa
Institute in Mysore translated MSUU MISIR for me and directed
me to varous other sources of information. Dr. Bill Walker went through
the text repeatedly making it "readable".
A work of this nature is perhaps abrasive to particular interests.
While awe of this, my intention has been to look as closely as I could
at the astounding development of this particular taditon and to exam
ine the yoga tradition as a whole through that. I consider, as many
people do, that yoga embodies a great mystery. I hope that what little
materal I have been able to collect will be of interest to the readers of
the work.
I am a participant in this tradition -a participant with rare prepa
ration and access to Indian scholastics. I have had intense taining in
yoga and a sustained interest in spiritual disciplines. I personally con
sider academics or knowledge an art of clear thinking rather than a
career. Thus, I place myself distnctly in the realm of the arts. The
academic objective viewpoint is a logical fallacy based on domination as
opposed to understanding. I feel that the only possible way of commu
nicatng any meaningfl sense of justice in this world is through one's
personal sense of order, one's aesthetc. The a, being a manifestation
of the human spit and love, are one of the few things that remain with
us in this world; one of the only things that have any value.
Mysore, 1995 N.E. Sjoman
/lysorc Pai111ing of lhc Eigln Yoga Cokras
Photogr:1ph: Swami Sivlpriyananda
Synopsi: Swmti Sivapriyananda
The presiding deities. of cakras :uc rcpresemed on each side of the ckras. There is an unknown cakra hdow the miimkrt which consists of two
haf moons or crescents that contain bia mamras and fgure of deilies that arc not clearly visible.
Around the figure. there nine yogis and three deities, alof ccm performing isanas. The isan:ts arc named in six CC.The upper lef
figure looks < if he is doing pamorrfnim111l The isanas is not named (the unmarked 3san:ts an nanllxl :lcording to Iyengar' nomcncl:uurc). The
deity beside him is doin
g
kinavl r-runi. The deity to the right of the fgure is doing gm1imu. nc figure in the upper riglu hand corner is
doing kapiliunmr. Below him is mnlrndr. The figure in the bottom right corner is doing dluwnmman' iiJmur. nu figure to the lt.ft of him is marked and
:tppcar to rnd _o.None of Lhe others arc marked. The middle figure appear to be doing mnJfirinwr. ll1c next 1 the left .]_1cr
to be doing a t./otoor prcpar.uion for th:u. The lef comer is not dt:ar a. an u.una. \n the left side the top figure .1ppca to he d()ing M ftmn
of garb!Jflpi;tii samr and the next one down is doing)'ognnidrtisnnn.
The p>inoing is probably dl>blc to the 18l cenH]by the style.
) d` . 3 . . g
l ..
..
, - - . . * ~
===1 d~.=-=
^ v .;. . .:
: @ .--
'. e.
^
c: =<~ _=r~
.
...... * "
(.:'1.,C"o c 'oo
- .
["'' , _- ..
!...-"
eo"-;u-
uo " = " t
&
^* .. _
~. _ ..
+
to--=
. Anantana
V.
3. A>i huJtann
5. Pn'ankasana
2. Ullintana
4. Naukimw
6. KnndukiimJn
" `
=+q3
Pl. 2
a
7.
9.
,
Dhvajasarw 8. Narakilarrn
Vttrasarra 10. l'rlctisarra
Parighasarw 12. Sarpasarra
13. Giana 14. Mnliana
Pl. S
15. Tarafiarw 16. Paradhiua11a
17. Ltlrigaliuarw 18. iana
19. ,radisa11a 20. Lut{hiwwa
. 9
21. Trikuiisn11a 22. .Sailkvtilnow
23. Rnthiana 24. Saiiisa11n
25. Ajiiaull 26. Citnkthann
Pl. 5
27. 1tikiana 21. llluimdt'tijiisflnfl
2!. 1itti)tisa 1a 30. /nkf Ha11n
-:- c ^~ ': g
W
#
" t= E "\=<-
"
. "
:~~
31. Knpilia nn
Pl. 6
33. Batlthapatlria na
35. LktuuH
32. Mayiri ana
!H. KhatgiJnna
36. Ktkkufiana
7: -: .. 0 <rx
e t . f
--_?=<7, :"
;
* c_
_a _ ~ &
c=<Q
.
Pl. 7
37.
39.
41.
\tnariisana
Ganfilalla
Pitiukim11a
<==
-0 c~Kg
&
_-.,-
<
38. Syntisann
40. Siiimw
42. Smpiia11a
'13. Parvatasarw
Pl. 8 45. HariiJana
47. Pi.isarw
_-,
. .. +=^
v
: r
-
c
44. Milisana
46. Dviir$isana
18. Uchi1akiisana
= oU 1
u
a
--
V @" % 9: e ..
=^T4-;__~-,J : (~1g
\J-c f
Ce=_L77
t~6= 18
'
g` _:- L~A--
e _-
-z .. u:. : -
"
- ;.-- o Co<r: c ..o:"
. :: .
c..
9. Onrnuibiislnn
Pl. 9
51. vmu03utm
53. Utpiliiwtw
_"
50. Gmhimtw
52. 1ubtislllfl
54. llfrrmtw
5:1. 'til(ntffifflllfl
Pl. 10
57. 1njJOiiJnnn
59. St'fJtiJnnn
?^P- " =-u
&
'
_ * -. :lo S!t
C ..
. e t .
z-;_>oT\
~
56. DhnwiJaun
58. htnHI'Stltld
60. 7nrnjaluki.nlla
61. Mia/ana 62. Truilramia1a
Pl. II
63. JarHIJimuz 61. YogiJarra
65. Daufiirma 66. Varnluisotw
GC[ ~ C =M
K
m );Cc
Ue - _ c
-
I.XOp-_=-~
67. Krartiaimna
. Z
O. 1/ar'IDlntJ
71. .ukrnua
_uo
\ 8
(
.
<;
..., 0 -
,,
.
68. \'fiYfijlfiQ
70. .mtsnnn
72. \'plliilfl
73. A.ladhaniana 74. Uuanapadiana
Pl. 13
75. Sukharw 76. Sirr hiana
77. Bhadriisana 78. Vr.mna
!
79. Padriana
Pl. 14
81. l'rapadalctiarw
L'~+t!~
-.~:;:; 'o ; T
<
- - -
,:d ~ @ 0
80.
82.
RA
Siddhasana
Mararttaniana
Jin+nsc`nn
4
4
85. UttOnakitruisnna 86. Viratisana
Pl. 15
Si. J\lt/ismw 88. Kukku{otnii.ana
HH mmnriitnkiictmn Vitw,ilnnrl\'ii.cnnn
Pl. 16
91. Kmlambiwna
93. Pnrpn{twna
O Ardharandriana
94. P,,hhi10na
96. +ilw
x
iiana
97. Biililitigiisana 98. 1ultilarakri.ana
Pl. 17
99. Bhiiriisana 100. Siwdtiann
101. St,nrgi.ana 102. .1lal.nrmlwpi{luisa m1
IO:. )"tm_tisnnn 101. l'tka{thatw
105. SukiJtnlla 106. Vtthiinolthincalla
Pl. 18
107. Ardhapaicimottiimisana 108. UrdllvopaiclmottGnlisana
109. Dharwrcana I 10. 1aufJinihnna
Ill. PangmraJia11a I 12. lnllguhuhkrt(tilalla
.
.. . - C . .. c\. * `
o-:-o ---
- ooo '"".-
Q
"' ..
W
- ~~ q D :-
~
1 4
=77<'"" a.?
<~ . .
: (
.. _.. '" .: 1.
-~
0
---
q;y
'
-v '
=mi s
"r _ q 1 _ . .
r!-
.
Pl. 20 121. l'ogapn!!frWIn 122. .tijalrkiJtma
INTRODUCTION
T YOGA TmON OF TE
MSOR PACE
( he yoga tradition that evolved through the patronage and partici
pation of the Wodeyar royal family, rajas of the kingdom of Mysore,
has today supplanted or afected a majorit of the yoga teaching tradi
tions primarily through the teachings of B.KS. Iyengar and his students.
This tradition is strongly preoccupied with the practice of asaas or yoga
positions, appears to be distinct from the philosophical or textual tradi
tion, and does not appear to have any basis as a tradition as there is no
textual support for the asanas taught and no lineage of teachers. A tras
lation of the "SRATANIH"1 manuscript from the Mysore Palace
from somewhere beteen 1811 and 1868 containing 121 illustrations of
asanas presented here indicates some sort of textual basis. A attempt t<
trace the tradition historically indicates a much older tradition ad gives
us a glimpse into the actual evolvement of the teachings of yoga from the
time ofPataijali. This enables us to examine our ideas of"tradition" and
the treatment of tradition by the adherents of the textual tradition, the
ancient practitioners of yoga and the modern student of yoga who claim
ancient authorit. The attempt to study the asana tradition by comparing
names of asanas with older sources and other traditions reveals a com
mon fund and considers material that should give us a surprising ad
direct insight into dynamic living tradition-into the very essence of
tradition that makes it a living tradition rather tha a lineal historic
tradition create
d
and substantiated by academic tradition. Through the
understanding gained in this process, it is p
t of
t
he yoga system or are they created or enlarged upon
40 The Yoga Tradition of th Mysore Palce
in the ver recent past in response to moder emphasis on movement?
Modern practitioners of yoga have not been of much help. Most of them
have indiscriminately alleged the support of ancient authorities in order
to lend authenticic to their own practice. In fact, their practices have
no real textual justifcation and there is
n
o
c
ontinuous tradition of prac
tice that can be traced back to the texts on yoga.
THE SUJCT A SOUCE OF T PRE STUY
The asana tradition is the subject of this study. A study of the evolution
of the asana tradition, its relation to older yogic textual traditions, to yoga
practice taditons and to exercise systems curent during the period of
our study that have contibuted to that tradition as well as its relation to
the particular textual tradition to be traced here provides insight into the
history of the asana tradition. Through that a further insight into the
history of yoga itelf is inevitable as the pattern of evolvement unfolds.
The histor of yoga lacks virtually any kind of historical continuit apart
from that of the sparse texts on yoga which are far apart in tme, lacking
in substantial idea content beteen them, and without the context of a
suriving practice or scholastic tradition. Perhaps this is why this area has
not attracted serious historical attention.
The obvious direction to tur to is the performance taditon i the
hope of establishing some sort of meaningfl continuity through a re
examination of sources and through the reconstructon of performance
tradition. Until now, no textual source for seriously documenting an
asana tradition has been uncovered. The textual source presented here
is a part of the "
S
RATAIHI" manuscript i the Mysore Oriental
Institute. The illustrations are from the Maharani' s copy of the
"
S
RATAIHI" and fom the "HTHAYOGA PRiIK"23 both
manuscript from the Sarti Bhandar Librar, the private librar of His
Late Highness Sri jayachamarajendra Wodeyar, and presented here by
the grace of His Highness Srikantadatta Narasimharaja Wadiyar. The
il lustrations are of 122 asanas found in the yoga section of the
"
S
RATAIHI" The "
S
RATAIHI" is attributed to Mummadi
Krishnaraja Wodeyar who lived from 1794 to 1868. The illustations of
asanas are tken from the "HA THYOG PRiIK ", a compilation of
diferent yoga text. The date of this manuscript is not ascertainable. 24
The illustratons of the yoga asanas in the "
S
RATAIHI" at the
Oriental Institute are unfnished.25 The fgures have not been shaded
and colour has not been added to the seat and the vibhuti marks as in
Introduction 41
the other manuscripts. This text provides a unique documentation of a
diversity of asanas fom an earlier date than the modem texts -approxi
mately 150 years earlier. It is unique in its concentration on asanas.
The Mysore Palace is not merely the repositor of tis important text
on yoga; the Mysore Palace also patronized Krishnamacariar from whom
the most popular yoga tradition and practices of modem times have
arisen. This did not come directly through him but primarily through
the teachings of B.KS. Iyengar, his student.
This textual source and the historical material provide a vital link for
the student of the histor of yoga. However, they raise more questions
than they answer.
Before beginning a more detailed examination of the histor of yoga
and asanas, a descripton of the
S
RATANIHI and its origins is
necessar. The manuscript is a compilation of dhyinalkas, meditation
verses, probably compiled fom the PuraQas, describing the iconographic
details of deities that are worshipped or meditated upon. In addition, it
contains sections on games, animals, music, ragas, yoga and so on. The
manuscript, attributed to Mummadi Krishnaraja Wodeyar, initiates the
Mysore School of Painting.
Mummadi Krishnaraja Wodeyar w the greatest patron of- the arts
in Mysore. The artisans and scholars of the Viayanagara kingdom had
fed to Mysore and Tanjavur with the collapse of that empire. During the
reign of Mummadi Krishnaraja Wodeyar there was a renaissance in Mysore
of painting, music, literary productions and architecture. Over sixt
literary productions, many of them artistically illustrated, were attributed
to the Maharaja alone. He assumed the throne at the age of fve years and
was deposed in 1831 by the British for incompetence. His predecessors
and his successors all contributed to this period of intense artistic activit.
The
S
RATANIHiis one of the fnest product of the Mysore Royal
Court. Standards of music and art initiated there continue even today.
The Mysore court patronized Krishnamacariar whose yoga system, through
B. KS. Iyengar, has spread over the entire world. The
S
RATANIHI
is indicative of a long tadition of interest in yoga prior to Krishnamacariar.
DEOPM I T PIOSOPHC YOGA
TmON FOM PATAA
Yoga is one of the traditional orthodox philosophical disciplines in In-
42 The Yoga Tradition of.the Mysore Palce
dian thought. If its development as a school is to be considered, then the
evolution or line of thought in other sastras or philosophical disciplines
could be examined to compile a set of expectations for the yoga sastra
a well.21i Each sastra, in it4 beginning stages, tied to present a complete
metaphysical system. For exampl, nyiya, or logic, presented a range of
categories from gross matter to divinity. A this school of thought devel
oped, however, many of these categories became mere appendices; the
real concentration of the logic school w on the process of inference
itelf In the case of Vedanta, the proofs of Brahman and the various
corollaries of that dwindled in importance beside the establishment of
mithyitva or illusoriness or absurdity of any conditional proposition.
In the scheme of the sas as a whole, yoga enjoyed a unique position.
It was regarded as a metaphysical school or distinct philosophical posi
tion but it was also regarded as the means for pursuing virtually any
metaphysical discipline. A a means t
h
ough, the metaphysics of yoga,
specifcally the acceptance of duality in the form of pra and prakri,
was rejected by Vedanta27 and Nviya. The limbs or constituent parts of
this yoga were given by Pataijali as:
yamaniyamasanapi1iyamapratihiradhira1ihyinaamidhayals
[the eight limbs of yoga are yama (restaints) , niyama (obserances) ,
asana (yoga positions) , pra1ayima ( breathing practces) , pratyihira
(wthdrawal of the-senses) , dhira1i (concentration) , dhyina (medi
tation) , and samidhi (realization) ]
Speculation on the nature of the reducton to essential elements in
the yoga sasta comparable to the evolution in the other sastas as out
lined above, would remove yama and niyam, the restraints and obser
vances, frst.
A
sana, or movement ad stillness,
2
9 which involves both
the voluntar and the autonomic nerous system, would make yama and
niyama superfluous. :io They are contained in the idea of movement it
self. :u When the idea of movement is extended in this fashion, pri1iyi
'l
2
would probably either be considered as part of the concept of asana or
the culmination of asana evolvement having as its scope the refnement
of movement in the process of breathing. The other categories, pratihara,
dhara1i, dhyina, and samidhi, could be subsumed under samadhi as, in
fact, they are to a large extent in the text itself. In the text, they are treated
as contributor practices to samidhi ad ultimately become part of it.:
The next step would be the elimination of asanas since priTiyama would
Introduction 43
be the conclusion or fnal stages of movement. A we have seen, from the
very lack of textual information on them, from their treatment as subsid
iar to either pritiyima or samidhi, asanas have had a doubtful status in
the history of yoga as a whole. Then, if samidhi is the end of yoga, asanas
too could be eliminated and samidhi's causal factor (yoga is, tradition
ally, a means after all) , priTayima, could be considered the very essence
of yoga.
YOG CAby Sivananda Sati states pritiyima eibhyisa
kramea pratihiradhiratidhyinaamidhisabdenocate, 3 pritiyima, merely
by increasing its practice intensity, is called by the name pratyihira,
dhirati, dhyina, and samidhi. This is quoted in the commentary JYOTNA
on the HTHRDiIK.35 YOGACAlgives as its support for
this VASI$THA, 36 DA TATRYA, s; and SKAPlA3x and goes on to
quote exact measures and details for when pri1i yima becomes pratihira,
dhirati and so on according to these puraQic sources. These measures
refer to the length of the kumbhaka or retention of breath in pritiyima.
Viiana Bhiu in the YOGA VATIK39 on YOGASOR 3. 1, 2 and 3
refers to these ideas in his commentary on Patafjali on these terms and
quotes the GARUAPlA40 as authority for these exact measures. In
Hatha Yoga, Theos Bemhard41 makes reference to actual practices in
which he was required to suspend the breath for one hour, the minimum
requirement for samidhi. Theos Berhard goes on to say " .. .it is easy to
understand why samidhi is so seldom achieved. The discipline is too
severe. " The tradition of pritiyima has largely died out in modern times
since yoga has obtained the popularity of the masses: the decline in
practice is due to the spread of an exacting discipline into the general
population. However, the one limb that has fourished is the asana ta
dition.
T AAA TmON
If asanas are going to be the culmination of the yoga tradition or the
touchstone through which the tradition has been presered, they will
have to be examined in detail, shown to have a solid basis and shown to
have some sort of "mystique" that enables them to be considered as the
legitimate vehicle of a tradition that must be taken seriously either by the
mere fact of its surval or by the compelling nature of its present evolve
ment. A glance at the pictures in almost any of the myriad books on
aanas or yoga should be enough to make anyone suspect that they might
4 The Yoga Tradition of the Mysoe Palc
not make it to heaven or anywhere else they might be going on the asanas
illustated there.
Furthermore, records of asanas will need to be cross referenced in
order to try and trace some kind of historical continuity that would sere
as the basis for documentation of a historical tradition of asanas. This will
require tracing names and comparing the asanas themselves, where
possible, independently of the names.
What other sources could sere for such an investigation?
The vayamils, literally gymnasiums, are the indigenous exercise
arenas in the older cities of India run by the ascetic orders and by the
garti or wrestler orders. These continue to be popular even today
and represent a whole substrata of exercise that would be worthwhile
examining. These viyimils are places of exercise routines that are
primarily aerobic in nature. The movements practised in these places
incorporate muscular contraction and repettion. The exercise systems
of the West, coming from Grecian athletics, are based on muscular con
taction. Grecian athletics itself had military origins; its aim was the de
velopment of musculature on a movable limb in order to impel a weapon
efectively beyond the limits of the body. But the yogic system of move
ment is not based primarily on muscular contraction. It is based on
stretching. Furthermore, it centres on the spine and not on the limbs.
Muscular contraction does play a part in it, but only an initial part. Yogic
movement requires that the initial movement develops into stretching
and culminates in balance and relaxation.
103. Draw the feet together and draw the toes into the base of the body.
Bring the heels under the penis. Bring the soles of the feet together. This
is yonyasana, the womb.
Notes: In Iyengar t his is ei t her baddhakotisana or mulabandhisana.
GHEJASA!ITA III. 33-38 has a yonimudri. Firt Stes to Highe Yoga ha an
asana of this name (59) .
104. Place the soles of the feet on the ground and bring the knees to
the base of the ears. This is utkatasana, the haught.
Notes: This name is found in Iyengar but a diferent asana is illustrated here.
GHRJAS!HITA 11.27 describes a diferent asana. Stll another asana is
illustrated in Firt Stes to Highe Yoga.
105. Bring the heels onto the navel and then bring the thighs tog
e
ther.
This is suktisana, the womb.
Notes: See 103 above. The form and descripton are comparable to kadambiana
in Iyengar.
106. Sit down and stand up again and again. This is utthinotthinisana,
standing repeatedly.
Notes: These are kneebends as shown in the wrestler manuals.
107. Stretch one foot out and press the perineum with the heel of the
other foot. Extend the arms and grip the toes of the foot. Place the head
above the
:
knee. This is ardhapaicimottinasana, the half back stetcher.
Notes: This is similar to the padmottinisana variatons shown in Iyengar but
84 Th Yoga Tradition ofth Mysoe Palc
it is not quite the same as any of them. The basis of this, pa.cmottaniana, has
not been mentioned in this text.
108. Take the pa5cmottiniana position. Place one foot behind the
neck. This is urdhvapa5cmottinaana, the upper back stretcher.
Notes: The name of the base aaa, pa.cmottniana, which name is well know,
is not found in the text. There is an urdhvamukhpacmottniana in Iyengar
but it is diferent from this. The aaa closest to this in form is skandi sana.
109. Take the tips of the toes with the two hands and touch the ears
with the toes. This is dhanurisana, the bow.
Notes: The dhnurian i Iyengar is diferent fom this. The closest one to
this form is akacadhanurian.
1 10. Hold the testicles and penis frmly between the legs and stnd up.
This is kaupiniana, the orientl jock strap.
1 1 1 . Take the myfrisana (32) positon. Hold the wrist of one hand
with the other hand. This is pangmyurisana, the lame peacock.
1 12. Take kukkutisana (36) positon. Take the wrist of one hand with
the other hand and raise the body wi th one hand. This i s
pangkukkutisana, the lame rooster.
T PE OR STAA AAA
1 13. Stretch the legs like a stck on the ground ad hold the toes with
the hands. Then rest the forehead on the knees. This is garbhisana, the
embro.
Notes: This aana is what is commonly know a pa.cmottaniana in Iyengar
ad o.thers, GHASIA 11.26 ad HTHRlIK 1.28. See 107
ad 108 above.
1 14. Lie fce down. Cross the heels ad take hold of the toes with the
hads and roll. This is nyubisana, the face-own asana.
:
Notes: This is similar to some of the dhnuriana variations in Iyengar.
1 15. Lie face down. Bring the to heels to the neck grasping the ankles
with the hands. This is pidahataa'yogisana, the hand and foot connec
ton asana.
Transltion of th Sntattvanidhi Text 85
Notes: A similar name to this, pidahatisana, does occur in Iyengar but a dif
ferent asana is illustrated. This asana also appears similar to the dhanurisana
in Iyengar.
1 1 6. Bind the fngers of the to hands. Pass the whole body through
the_ arms and then wring the body. This is hatinglibaddhisana, the
bound fnger asana.
1 1 7. Place the knee in front of one side of the chest. Place the ankle
in front of the other. Hold it with the hand. This is hdinusafyogisana,
the heart-knee connection asana.
Notes: This asana name is not found in Iyengar. The form or movement is used
as a preliminary for loosening the hip for padmasana.
1 1 8. Take the prenkhisana (94) positon. Bring the feet over the head
. . keeping the buttocks on the ground. This is preikhisana, the shaker.
1 19. Bind the to hands together. Hop in and out leaping beyond the
body. This is utinisana, the fying-up asana.
Notes: This movement is very similar to movements used by the wrestlers.
1 20. Strike the arms. Strike the thighs. Strike the sides of the body and
so on. Strike wth the fst, the arm and the heel on the foor. This is
ku!fanatrayisana, the triple strike.
Notes: This is very similar to movements used by the wrestlers.
1 21 . Fold the arms and the legs. Hold them up level and place a
meditaton band held by the loose fngers. This is yogapattisana.
Notes: There are sculptures of fgures seated with a meditation band on the
Nanjangud temple which was patronized by the Mysore royal family. These
fgures are seen elsewhere in sculpture and painting. Even though entirely out
of use today, it appears that this was the alternative to the meditation positions
for attaining stabilit and support for the back.
1 22. Place the knees on the ground and the to hands on the heart.
This is aijalikisana, the asana of supplication.
Notes: This asana must have been considered a ftting mmlam for the end of
the treatise. A similar asana called paratisana, but with the legs in padmasana,
is found in Iyengar.
AEEENDO
Alphabetcal list of asanas from The Complte Illustrated Book of Yoga
Abbreviatons: ( )
A
sana number
I Iyengar
s SRATAIHI
F Firt Stes to High Yoga (the cross-references
to this text are occasional only)
The spellings of the asana names have been standardized. Where asanas
have diferent names from I, this is indicated by notation. Where asanas
correspond to or difer from S, this is indicated by notation.
akaradhanurasana (includes variatons; similar shown in I)
anjaneasana (2 ?) (1-hanuminisana)
anjaneisana (similar to ekapadarajakapotasana II in I)
ardhamatsedrasana
ardha.alabhasana
baddhapadmisana
bekisana (misspelling for bhekisana; called dhrvisana in I)
bhadrisana (1-baddhakoTisana)
bhujangisana (variaton 3, 1-rijakapotisana)
cakrisana (1-urdhvadhanurisana; includes variatons named
trangukhottanisana and U$/risana i I)
dhanurisana (variaton 4, 1-bhekisana)
dvipadaSisana (1-yoganidrisana)
ekapidacakrisana (1-ekapadordhvadhanurisana)
ekapadahatisana (1-rcikisana)
ekapidaSir$iana (includes variations named skandisana, bhairaviana,
suptapadanlhisana and another not shown in I)
garbhasana (1-garbhapiTfisana)
88 The Yoga Tradition of the Mysore Palc
garti ana (I)
gmukhasana (similar asana shown in I)
graisana (not shown in I)
gptisana or muktisana
hali sana
hatapadisana (l-upavi$[ako1isana)
januir$isana (includes the variation named
parvrtajanuSir$asana by I and another that is not shown in I)
kakisana ( 1-bakasana)
kandapitisana (1-mulbandhisana)
kapotisana (1-called ekapadarajakapotisana)
kaTapitisana
kf1isana ( 1-kalbhairavisana)
kukku[isana
kunasana
mankukisana (not shown in I)
matsisana (variation 4 not found in I)
mayurisana (includes variations not show i n I)
muktisana or gptisana
nabhipitisana (1-kandisana)
na[arajisana
omkariana or pra'avisana (called viraicisana in I)
padahastisana (variation 2 called parvottanisana in I)
pada1g$[hisana (1-not shown)
padmisana
parivakakisana (1-parvabakasana)
paratisana (1-goraasana)
pa.cmottanisana (includes variations named
urdhvamukhapa.cmottanisana and purottanisana in I)
pra'avisana or omkarisana
fTadhanurisana (similar to pada1f$!hsana in I)
fTamatsedrisana
piTasuptavajrisana (called kapotasana by I)
sakticalin' (1-preliminary to mulbandhsana)
salbhisana (includes variations not show by I)
sarangisrna
savisana
setubandhisana
Apedix I
siddhisana
si'hisana (similar to si'hisana in I)
siringfhasana (not found in I)
Srasana (includes variations named separately by I)
sukhisana
suptavajrasana (called suptati rasana by I)
89
suranamaskira ( this is not shown a a sequence in I but the separate
asanas which comprise this old unit of asanas are shown by him)
svastikisana
tolngli sana (similar to ardhanivasan
a in I, F-no. 1 80)
trko7isana (variation 2 called parvrttatrko7asana & other variations not
found in I)
urdhvapadmasana (shown a Sirasana variation in I)
utthitakursana (I -alled dvipidaSirasana)
vajrasana
vakrasana (l-dvipiakau7finyasana & variation 2 is ivakrasana)
vityinasana ( this is probably a misspelling for vitiyanasana and is the
same as l ' s)
vitiyanasana (this asana is not found in I and another asana has the
name assigned to this one)
virisana (1-gomukhasana)
vrsckasana
yogadantasana ( 1-- named yogada7lasana)
yogamudri (1-not shown, but Pattabhi jois does teach an aana similar
to this)
AEENDOU
Alphabetcal list of asanas from Firt Sts to Highe Yoga
Abbreviatons:
I
s
refets to asana number
refers to Iyengar
refers to SRATANIHI
Spellings have been standardized. "?" indicates dubious Sanskrt.
Notatons indicate similarities and diferences to aa and names. Where
no notaton is made, the asana is not found in other texts.
apanisana ( 140)
ardhacakrisana ( 214)
ardhacandrisana (260) similar to kapotisana in I
ardhamatsendrisana ( 15)
arhotthitisana (88)
asisana ( 18) similar to yogadarjasana in I
tavakrisana ( 1 12) this is diferent from the asana of this name in I
haddhapadmisana (9)
hakapipraara7asana ( 1 24) I-ekapiahakasana
hakisana ( 33)
hakotyanisana ( 189) I-dhrvisana
hhadrisana ( 60)
hhagasana (59) !-preparation for milhandhasana
hhairavisana ( 256) !-similar to virahhadrasana I; I shows another asana
under this name
-
hhrgisana ( 1 63)
hhujadarasana ( 192)
cakorisana (241 )
cakrisana ( 48)
cakravakasana (245)
candranamaskarasana ( 74) this is similar to the well known siranamaskara
movement
90
. Apendix II 91
catakasana ( 197) this asana position i s not found i n I but i s found i n the
later book of T. Krishnamacariar
catupadasana ( 210)
chamgadarasana ? ( 1 1 6) this is similar to kurasana in I.
da1asana (76)
dhanurikaratasana ? (23) similar to I' s akanadhanurasana
dhanurasana (82)
dhrvasana I & II ( 1 10) similar to vrk$asana
dvihastabaddhasuptaikapadajanusparasana (24 7)
dvihatacakrasana ( 153)
dvihataikapadotthitasana (246) I-ekapidabakasana
dvihastotthitapidaprasaratasana ( 181) I-!ittihhasana
dvikotasana ( 1 70)
dvipadabhujottinasana (244)
dvipadacakrasana ( 109)
dvipadagvasana (55) I-dvipadaiiasana
dvipadaikahastathitordhvahatasana (262) I -vifamitrasana
dvipadanasagasparsasana (206)
dvipadang#hasthitasana (226)
dviparsvafr #hahhimukhasana (220)
dviparfasana (81 ) I-parfadhanurasana
ekahastadatfasana ( 191 )
ekahastafr sthakotasana ( 1 77)
ekahataiarrotthanasana ( 21 1 )
ekapadadvihastabaddhasana ( 101)
ekapadagvidtfi ana (30) similar to I' s kilbhairavasana
ekapadagvasana (92) I-ekapadaSiasana
ekapadahastadatfasana ( 212)
ekapadajanuhaddhasana ( 183)
ekapadanthasana (69)
ekapadasana ( 136) I-virabhadrasana
ekapaasana (201 ) this name is used by Iyengar for F's no. 92
ekapadavipartamastakasparsasana ( 259) I-ekapadarajakapotasana
eapadavirimsana (99) similar to rs vr$asana
ekapadotthanacakrasana (261 ) . I-ekapidavipartadatfasana
ekapadotthanajanuSasana ( 144) I-krauicasana
ekapadotthitahastapadaprasaratasana ( 1 1 0)
ekapadotthitardhabaddhapadmasana ( 1 10)
92 The Yoga Tradition of the Mysore Palce
ekotthitaikapidaprasararisana ( 258) I-ekapidakauruJinyisana
gajisana (56) see S 1 3
garbhisana (53) I-yoganidrisana
garti sana ( 42) same name in I
gmukhisana ( 6) similar to I' s gomukhisana
grisana ( 1 4 ) I-baddhakori ana
gvacakrisana ( 154)
guptisana ( 16)
hali sana (28) same in I
ha1isana (34) similar to bkisana in I; another asana has this name in I
hastabaddhapadmisana ( 149)
hastabaddha5irapidisana ( 1 30)
hastabhujisana (86)
hastadhirordhvapidavakrisana ( 263) I-adhomukhavrisana
hastapidahaddhisana ( 146)
hastapidagupt isana ( 13)
hastapidamerdartisana ( 227)
hastapidatrkorisana ( 217)
hastapidavistrisana ( 1 75)
hastairacakrisana ( 15 7)
has(airisana ( 14 7) I-adhomukhavrkisana
hastasthitapidotthinisana ( 1 1 7)
hastasthitatirakurdhvingisana ( 228)
hastasthitordhvapadmi.sana ( 161 )
hastotthitordhvapadaprasararisana ( 1 21 )
hastotthitordhvapidatilsa1yuktisana ( 1 43)
jinuhaddhapidingli sana ( 1 06)
jinufrlhahaddhapadmiana ( 1 79)
janvisana (62) I-vitiyanisana
kikisana (36) similar to bakisana in I
kalyirisana ( 41 )
kamali sana ( 5)
kandapzQisana ( 1 31 ) same name and aana in I
kandap'tordhvanamaskirisana (254) as above
kapotisana ( 1 84) this asana is not found in I but a diferent asana wth
this name is found
kan'tisana (29) same asana, same name in I
khagisana (97)
Apedix II
khanjanisana ( 195) similar to liUibhasana in I
kmisana (77) I-parvrtaparvakorisana
93
krauncisana (89) this is a preliminar positon for bakisana in I. He uses
this name for another asana
krauncotanisana (229) similar to bakisana in I
kukkutisana (24) same in I
kunni sana (22) this asana is not found in I but a diferent asana there
has this name
ltisana ( 38)
mahav'risana ( 105)
makarisana (57) I-caturangadartisana or nakrisana
martukisana ( 1 1 )
martukyisana (221 )
matyisana ( 3 7) same in I
matsedrasana (20) same in I
mayuracali sana ( 1 78)
ryurisana 1, 2 & 3 (39) similar to I but includes variations not found
in I and which have diferent names
mayurisana ( 4) I-padmamayurisana
ndartavakrisana ( 1 02)
mrgisana ( 1 34)
muthagarbhasana ( 61 ) I-garbhapirtasana
muktisana ( 1 2)
mulabandhanabhitatanisana (239)
mulp'tabhunamisana ? (83)
m/ibaddhahastacakrisana ( 1 51 )
nabhidaranasana ( 1 18) I-purottanisana
nabhip'tisana (90)
nabhyisana ( 1 32) similar to kandisana in I
naukasana ( 1 52) similar to ardhanavasana in I
pidamphitotthitanasana ( 199)
padahatacatukorisana (91 )
piahastaprthacakrisana ( 141 ) I-kapotisana
padahastisana (84) same in I
pidakuncanasana .(237)
pidanamaskarisana ( 148) hali sana (?) in I
padaig#ha.ikhasparsisana ( 1 35) I-natarajisana
padangthasthitanitambisana ( 186)
94 The Yoga Tradition of the Mysoe Palc
pidangthotthitasana ( 1 08)
pidapasaratakacchapasana (58) 1-kurasana
pidapasarataarangatulsana (26) da1asana (?) in I
pidasaicalnasana ( 150)
pidaantulnasana ( 104)
pidatilasa1yuktabhunamanasana ? ( 188)
!ida
i
alsa1yuktamurdhasparsasana (238)
padatrkotasana ( 1 14)
padavakrapalyasana (202)
pidavikalingisana ( 249)
padmajinubaddhotthitasana (234) 1-kukkutasana
padmasana (2) same in I
padma5irasana (98)
pirtipztasana ( 213)
parvakikasana ( 1 1 3) 1-parvabkaana
parfatrkotasana ( 25 7) 1-pirsvakotasana
paratisana ( 1 7) similar to graasana in I
parankasana ( 31 ) this asana is not found in I; another asana with this
name is found in I
pa5cimottanasana ( 19) same a in I
Variations:
ardhabaddhapadma
dvihatapasarata
ekapida I-trangukhaikapidapa5cimottanasana
janubaddha
jinup
r
thabaddha 1-marcasana
padabaddha
pidagnva 1-skandisana
pitihaddha similar to pa5cimottanasana in I
Pthabaddha
P
r
thamufibaddha
vipartapadaprasaratasana 1-upatfakOasana
patangasana (223)
pavanamuktasana ( 21)
pikasana (68)
pritisana ( 1 66)
P
r
thabaddhaikapadajinusparsasana ( 243)
Pthabaddhajinubhunamaskirasana ( 1 26)
Apedix II
Prthabaddhajinusparisana ( 216)
Jthabaddhapithaniikisparsisana ( 85)
Prthabaddhapidaprasaratisana ( 75)
P
rthabaddhisana ( 248)
Pr#hapidasthitisana ( 1 82)
pirasuptavajrisana (50) similar to suptavirisana in I
piraviSrimisana (250) I-savisana
pirottinisana (80) 1-hali sana; anoter asana ha tis name in I
sahajisana (251 )
sakuiyisana ( 222)
salbhisana ( 120) same name and asana in I
saminisana ( 1 27)
sankatisana ( 43)
sankocisana ( 17 4)
sarangasana ( 171) I-ga1abhe1isana
sirkisana (67) I-bakiana
sarisana ( 71) I-bhujangisana
saringabaddhisana ( 1 65)
saringacakrisana ( 1 56)
saringisana (27) same asana and name a in I
stingadatfavatisana (208)
atpidisana ( 1 22)
savisana ( 218) similar to savisana i n I
sayanapidaaicalnisana (264)
sayanotthinisana ( 198)
set'handhisana ( 1 38) same in I
sitdhisana ( 1 ) same in I
si
t
sana ( 103)
si1hisana (63) similar to te same asana in I
sirapifisana (95)
sirafr thapadmasana (232) I-Pit4isana i
sarangasana
sirabaddhotthitajinusparsisana ( 1 69) similar to nivisana i I
Siracakrisana ( 1 58)
Sirapidisana (253)
Sirisana ( 72) same in I
skandasaicalnisana ( 1 42)
sthitordhvapidavistrisana ( 1 67).
sukisana (52)
95
96 The Yoga Tradition of the Mysore Palc
sukhisana ( 4) same in I
suptaikapadakararisana ( 1 19)
s
.
uptaikapadarisana (87) I-yoganidrisana
suptaikapadordhvisana ( 1 25)
suptapadang!hisana (252)
suptapadangthisana (96)
suptavajrisana ( 49) I-suptavirisana
suranamaskarisana ( 73)
sutarrgisana ? ( 4 7)
svastikisana ( 3)
t&asana (51 ) this asana is not found in I an
d
a similar asana with the
same name is found
til!ihhisana (230) this asana is not found in I but a diferent asana with
this name is found
tolanglasana ( 1 80) this asana is not found in I it is similar to
ardhanavisana in I; this is found in Swami Vishnudevananda
,
s book
trkorisana (78) same in I
tulsana (25) I-llsana (?)
ugisana ( 164) I-upavifakorisana
ulkapadapraararisana ( 1 55)
upadhanisana ( 100) I-bhairavisana
urdhvaikapadisana (205)
urdhvapadatalsa7yuktisana ( 1 76)
urdhvapadmamukhabhusparsisana (231 )
urdhvapadmisana ( 194) given a Sasana variation in I
urdhvavajrisana ( 240)
.
Zrdhvotthanisana ( 1 28)
risana ( 35) same in I
utkatisana (32)
uttamangisana (225) I-kukkulisana
uttanakunasana ( 70) I-garbhapirasana
uttanamartukisana ( 4)
uttanapadisana (54)
utthitapadmasana ( 193) similar to paratasana in I
utthitabhujotthinasana ( 1 29) similar to liUihhisana in I
uttitadvianusirasparsiana ( 172)
utthitadvipadagvisana ( 45) dvipadaSisana
utthitahastadviparvapidaprasararisana ( 18 7)
Apendix II
utthitahastapidatrko'asana ( 1 85)
utthitahastaprasara1asana (207) 1-parvrtatrko1isana ( ?)
utthitaikapiagvisana (236) I
cakorasana
utthitaikapidahatisana ( 46)
utthitaikapidajinuSr$asana ( 1 3 7) I -trvikramisana
utthitaikapidikaTa1asana ( 204)
utthitajin usirasa'yuktasana ( 1 23) 1-uUinasana
utthitakumbhakasana ( 1 07)
utthitapidahatabaddhabhunamaskirasana ( 1 73)
utthitirdhacakrasana ( 1 39)
utthitaSir$asana ( 159) 1-pifuhamyurasana
vajrangasana ( 64)
vajrasana ( 7) 1-virasana
vakrasana ( 1 68) I-Q${ivakrisana
vak$asthalajinupitasana (93)
vimadak$i1apirvasvisigamanasana ( 1 1 1 )
vimanasana (235)
vikaitakamalsana ( 1 15)
vikatisana ( 196) 1-hanuminasana
vipantahastabhunamnasana (94)
vipartahatapidasana (200)
vipantakara1isana (215)
vipartapidamastakaparsasana ( 1 33) 1-rijakapotisana
vipartapidingu${hasirasparasana (233) 1-dhanurasana variation
vipartapidapraara1isana ( 79) I-samako1asana
vipantapadmaiayanordhvamukhasana (224)
vipantordhvapadmasana (203)
virisana (8) a diferent asana with this name is shown in I
vistrahatapidacakrasana (219) 1-viparta.albhasana
vistrapidahataparsasana (209)
vistrapidapirvabhunamaskirasana ( 162)
vistrapidasana ( 1 60) I-upavi$ko1i ana
vistrapidodhvanamaskirasana ( 255) I-samako1asana
vivrakara1asana (242)
vrk$asana ( 65) another asana has this name in I
v
r
scikasana (66) same in I
yinasana ( 1 90)
yinoyinisana ( 1 45)
yonyisana (59) !-variation of mulbandhasana
97
AEEENDOU
a. Aphabetcal list of asanas from
the HATHRiIK
bhadrisana 1 . 54
dhanurisana 1 .25
gomukhaana 1 .20
kukkutisana 1 . 23
kfn ana 1 .22
matsedrisana 1 . 26
mayurisana 1 . 30
padmisana I . 44
pa.cimottinisana 1 . 28
savisana 1 .32
siddhana 1 .35
si1hisana 1 . 50
svatikana 1 . 19
uttinauri sana 1 . 24
vipaitaaraTi 3. 78
virisana 1 .21
b. Aphabetcal list of asanas from
the GHASIA
bhadrisana 2. 9
bhujangisana 2. 42
dhanurisana 2. 18
garqisana 2. 37
gomukhisana 2. 16
goralisana 2. 24
gptisana 2. 20
kukkutisana 2. 31
kuri sa1'a 2. 32
makarisana 2. 40
98
mfUi ana 2.34
mtisana 2. 21
mterisana 2.22
myurapthana 2. 29
myurisana 2. 30
mukti ana 2. 1 1
padmasana 2. 8
pacimttinisana 2. 26
salbhisana 2.39
sankatisana 2.28
savisana 2. 19
siddhaana 2. 7
si1hana 2. 1 4
svatikisana 2. 1 3
utrisana 2. 41
utkatisana 2. 27
uttinauni sana 2. 33
uttinamfUi ana 2. 35
vajrisan 2. 1 2
virisana 2. 1 7
vr/isana 2. 36
vrisana 2. 38
yogisana 2.43
c. Aphabetical l ist of asanas in
the SIASIA
padmasana
siddhana
svatikana
ugisana
Apendix III
d. Aphabetical list of asanas in
the GORASAlHrrA
padmasana
siddhasana
99
e. Other texts such as B[A
YOGIAJAVALKYA, VASI$THA
. SAni., do not contain asanas
at all.
AEEEDO W
List of asanas (not alphabetical) in the order taught by Pattabhi jois at
his tiga Yoga Research Institute in Mysore. Spellings have been stan
dardized.
1 . Suranamkara A-9 vinytsts 25. kukkutasana
2. Suranamkara B17 vinytsa 26. badhak0tsana
Primar
A
sanas
27. upaTtakortsana
28. suptakoTsana
1 . padanthtsana
29. suptapidangthtsana
2. padahasttsana
30. suptaparvasahittsana
3. utthitatrkortsana
31 . ubhayapadangthtsana
4. utthitapar$vakortsana
32. urhvamukhapa.cmottantana
5. pasartapadottantsana
33. setubandhtsana
6. parvottantsana
7. utthitapadangthasana
Intermediate
A
sanas
8. utthitaparvasahitasana 1 . patsana
9. ardhabaddhapadmottantsana 2. krauictsana
1 0. utkattsana 3. salbhtsana
1 1 . virabhadrtsana 4. bhektsana
12. pa.cimottantsana 5. dhanurtsana
13. purottantsana 6. par$vadhanurtsana
14. ardhabadhapaicimottantsana 7. utrtsana
15. tiranmukhaikapidapacmotta- 8. lghuvajrtsana
nts ana 9. kapottsana
16. janu.tsana 1 0. suptavajrtsana
1 7. marctsana A 1 1 . nakrtsana
18. manctsana B 1 2. baktsana
19. manctsana c 1 3. bharadvajtsana
20. manctsana D 14. ardhamatsedrtsana
21 . navtsana 1 5. ekapadaSrtsana
22. bhujapilsana 1 6. dvipadaStsana
23. kunsana 1 7. yoganidrtsana
24. garbhapi1ana 18. lillihhtsana
1 00
Apedix I
101
19. piichamayurasana 31. suptatrvikramiana
20. mayurasana
32. saminasana
21 . kara7tasana
33. paratisana
22. vajrasana
34. utthitasvatikisana
23. urdhvadhanurasana
35. hanuminasana
24. ekapiaringasana
Pat II (Advanced Aaas)
25. nirilmbaaringasana
1 . si1hasana
26. parghisana
2. vrksisana
27. gomukhasana
3. v
i
p
rtacakrasana
28. vitiyanasana
4. marcisana E, F
Advanced Aanas
5. marcasana G, H
1 . visvimitrasana
6. yogasana
2. va4thisana
7. bhadrasana
3. kaSapasana
8. siddhisana
. 4. cakoasana
9. adhomukhapadana
5. skandasana
10. bhujangasana
6. bhairavasana
1 1 . yogada7tasana
7. durasana
1 2. trvikramasana
8. urdhvakukku{asana
13. samako7asana
9. gilvasana
14. virisana
1 0. ekapidabakisana
15. parankasana
1 1 . kau7tinyasana
16. dikasana
12. ativakrasana
1 7. na{arijisana
1 3. v
ir
ncasana A
18. tiranmukhottinasana
1 4. viricasana B
19. krkacasana
15. piTamatsedrasana
20. Sirapidasana
1 6. rijakapotasana
21 . pangkukku{sana
1 7. ekapidarajakapotasana
22. tiasana
18. vipartada7qsana
23. pangmayurasana
19. ekapidavipartada7taana
24. ga7tabheana
20. bakasana
25. urdhvapraartapii ana
21 . ekapidadhanurasana
26. tiranmukhotthitatrk0asana
22. ikaTadhanurasana
27. suptakandasana
23. piding!hadhanurasana
28. ardhacakrasana
24. viparta5alabhasana
29. taraasana
25. uttana5albhasana
26. vrscikasana
30. yogapithasana
27.
;
ulbandhasana
31. silamba5irasana
32. niralmbaSrasana
28. kandapitasana
33. paratasana
29. bddhasana
30. ekapidakapotasana 34. savasana
AFFENDOV
Alphabetical list of asanas from Krishnamacariar' s YOGAMKA
adhomukhasvinisana 7
ardhabaddhapidottinisana 4
ardhabaddhapascimottinisana 9
baddhakorisana 1 3
baddhapadmisana 18
bakisana 21
bhairavisana 32
bhujapitisana 19
buddhisana 30
cakorisana 33
caturangada'isana 5
dirisana 35
dvipidasirisana 28
ekapidasirisana 27
garcabherttisana 38
jinusirisana 1 1
kapili sana 31
kfnnisana 22
mncisana 25
nivisana 20
nirilmbasaringisana 26
pirvottinisana 2
pascimottinisana 8
prasirtapidottinisana 3
rikisana 36
skandisana 34
1 02
suptakorisana 24
suptapidingu!hisana 1 4
suptapirsving!hisana 1 5
variation given is suptirdhapar
vraikapidisana
tiranmukhaiapipacmttinaana
1 0
trvikramisana 3 7
ubhayapiding!hisana 23
upavi!akorisana 1 2
irdhvamukhaivinisana 6
uttinisana 1 (8 kinds)
a. adhomukhisana
b. hastapidottini.sana
c. tiranmukhottinisana (this is
triangmukhottinisana i n
Iyengar, n.b. "triaig" i s cor
rupt for "tiryai )
d. cakrisana
(only these 4 listed)
utthitahastapidingu!hisana 1 7
variation given is utthitapidapai
cimottinisana
utthitapirsvakorisana 1 6
yoganidrisana 29
AEEENOV
fSUU MSIR (Yoga section describing Sri Nalvadi Krishnarajendra
Wodeyar translated by Dr. T.V. Venkatacala Sastri , Professor ofKnnaga,
Mysore Universit)
The work is fom the modern period but the language is old Knnaga.
The piece describes a yoga session of Krishnaraja Wodeyar I. In these
verses, the asanas are assumed to have an inner nature that is associated
with their specifc name. In other words, there is a mystical realization
content connected with each particular asana. A keen investigator into
the value or efcacy of yoga might like to compare the attitudes and
motivations of modern students of yoga. The raja, in a number of cases,
becomes the embodiment of the essence of that asana. The asanas thus
have a much greater dimension than mere physical elements. This is not
immediately noticeable to someone not familiar with the language.
1 1 5. From success in yama, 1 niyama1 is achieved and then practising asanas
which are comfortable (sukham) , 1 the body is balanced (samam) , the neck
and the head are in line. Then he meditates on the space between the
eyebrows, exhales slowly, inhales slowly and holds the breath.
1 16. He takes the padmasana position. He inhales slowly through the
left side once. Then he retains the breath. He exhales through the right
and again, inhales through the right slowly to the maximum and retains
the breath once again. Then he exhales through the left side.
1 1 7. Now he is in pri1iima. He has withdrawn the senses (pratyihira) . 1
The mind is i n a state of control (nirodha) . 1 He has controlled the mind
in this good position and is sunk in meditation. He sees nothing any
longer and has come to samidhi. He is seeing the tattva1 . now and has
reached a state of bliss.
1 18. Now he exhales through the left. Then he inhales through the left.
He retains the breath. Then he exhales through the right and retains
the breath again, and then givng place to apina through the susumna
becoming the ver self, he (?) .2
103
104 The Yoga Tradition of the Mysore Palc
1 19, 1 20, 1 21 , and 1 22. 3
123. Svatikisana: He takes the position of svatikisanaand attains good
ness as he is a wise man. His calves and thighs are folded together. He
keeps his feet in the middle of his body. His body is balanced.
1 24. Gomukhasana: He brings the left and right heel underneath the
right and left buttocks. He looks like Krishna then whose cows are in
front of him.
1 25. Vrisana: The right foot is pushed into the lef thigh and the left
foot into the right thigh. The elders say this is but natural for a king."
126. Kunisana The heels press the anus, the earlier position remains
the same. He looks like a tortoise. Seeing this, heavenly gods take the
churning stick in their hands thinking that it is time for them to churn
the ocean once again.
127. Kukkutisana: The hands are placed beteen the hollow of the
thighs and the calves in the pa
d
miana position and then he lifts the body
up with the support of those hands pressing the ground.
1 28. Uttinakurasana: From kukkutisana he lies on his back and brings
his hands on his neck to form a line. Thus he looks like a tortoise upside
down.
129. Dhanurisana: He takes hold of the toe of one foot and pulls it to
the ear like a bow. Then he holds the stetched leg with the other hand
by which he looks like an archer.
130. Matsendriana: He holds the right leg which has a bent thigh from
the back side. His right hand holds the left toe. His body is bent to the
left and the fce is tured back. Our king is he who has gained grand
victory.5
131. Paicimottinisana: He stetches the legs like a stick and holds the
tip of the toes. His knees kiss his head caressingly.
132. Mayuriana: The elbows are placed to become a support for the
navel. The body is stetched so that head and heels are balanced. He
looks like a stck held alof in the air resembling the peacock. People
look at him with awe.
133. The most auspicious of asanas which are as meritorious as living
beings are Siddha, Har, Padma, and Bhadra.
1 34. Siddhisana: The left heel is placed beteen the anus and the penis.
The right is placed on top of the penis. The chin is placed on the heart
Apedix V 1 05
at a distance of four fngers below the chin. The restrained sense organs
are kept on the space beteen the eyebrows.
1 35. Padmiana: The right leg is placed on the left thigh and the left
leg on the right thigh. He holds the toes with the hands crossed behind
the back. The chin is placed on the chest. He meditates on the tip of
the nose. Thus the lotus-yed king sits performing padmana.
136. Narahariana or Si1hiana: The mouth is fully open. He concen
trates closely on the tip of the nose. He resembles him with fearful coun
tenance. His heels are placed below the testicles crossing each other. His
free hands are pressing on the knees. He is verily Narasi:pha, the god.
Notes
1These are technical terms from Patafjali's YOGASORkl.
20riginal unclear.
:hese are general verses about yoga therefore omitted here.
'That is, vir means heroism and the heroism is one of the inherent traits of a royal
personage.
"Original confused.
AEEEOV
Photograp.s fom the WAYAMlIK illustatng source material for
yoga asanas in te wester gymnastcs manual written by te Mysore
Palace gmnast
1. urdhtlfUlhanuriana
p
re
p
aration
5. vipantacri ona showing how the
movement is tught
107
2. urdhvadhanuriana
6. ma7ali ana or that t
ype of movement
108
3. wg dow the wll
(
p
re
p
aton for backbends)
4. handstnd
10. llan
T Yog Trait ofth Mysoe Palc
7. lavakiana
8. hakana
9. m
y
iana
AEEDV
Photographs found in Kshnamacariar's YOGN A
1. Three photographs of the groups of stdent fom the yogaa show
ing the stong gmnatc inuence in the yogaala.
2. Photograph of the yogla showing the gnatc equipment ad
the ropes.
109
1 10 Th Yo
g
a Tratio ofth Mysue Palc
AEEENOO
Alphabetical list of aaa from the SRATANIHI
ajisana 25
alingisana 96
anantisana 1
aialikisana 1 22
aikusisana 3
aratyacatakisana 89
ardhacandrisana 95
ardhapa5cimottanisana 1 07
arasadhanisana 73
baddhapadmisana 33
bakisana 30
balliigisana 97
bhadrasana 77
bharadvajasana 28
hharasana 99
ckrasana 35
catakisana 26
dattisana 65
dhanurasana 109
dheukasana 58
dhrvasana 56
dhvajasana 7
dr$adasana 19
dviSzTisana 46
gajasana 1 3
garbhasana 1 13
gartasana 39
gahasana 50
ha7asana 45
I l l
hartisana 69
hastiiglibaddhasana 1 16
hrj anusaryogasana 1 17
kadambasana 91
kikasana 27
kamapzehasana 83
kaicasana 92
kandukasana 6
kapalsana 31
kapotasana 57
kaupinasana 1 10
khatgasana 34
krauicasana 67
kubasana 52
kukkulasana 36
kukkulodinasana BB
kullcakrisana 98
kuUanatrayasana 1 20
Ligalsana 1 7
lutlhasana 20
malsana 44
mararottanasana 82
matsasana 1 4
matsedrapithasana 102
mayirasana 32
me$asana 87
misalsana 61
naradasana 1 00
narakasana 8
1 1 2
naukaana 4
nyubaana 1 14
padamatakasatyogaana 1 15
padmaana 79
padukaana 41
pangkukkutaana 1 1 2
pangm
a
yuraana 1 1 1
para5vadhaana 1 6
parghaana 1 1
paroriana 63
parataana 93
parataana 43
parankaana 5
piaana 4 7
preikhiana 94
preikhaana 1 18
rathaana 23
aana 18
sankvaana 22
saraana 1 2
saraana 42
sasaana 24
savaana 70
siddhaana 80
sithiana 76
sukaana 71
sukhaana 75
suktyaana 105
sulana 40
svatikaana 59
svaraana 101
feaana 38
The Yoga Tradition of the Mysore Palce
ti'ravaana 55
tarakaana 1 5
tirannaukaana 84
titt'raana 29
trkitaana 21
trvikramaana 62
trajalukaana 60
ucch'r$akiana 48
urrinaana 1 19
urdhvapa5cimottinisana 108
iranibhyaana 49
U$/riana 54
utkataana 104
utpzraana 53
uttinakuri ana 85
uttinapadaana 7 4
uttinaana 2
utthinotthinaana 106
vajaana 68
vinaraana 3 7
varihaana 66
vetraana 9
vimalana 51
vipantanraana 90
v'raana 78
viratisana 86
aana 10
vtaana 72
Vapidik$eaana 81
yogaana 64
yogapauaana 1 21
yonyaana 103
BHOU8H
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S
TA
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1 1 3
1 1 4 The Yoga Tradition ofthe Mysoe Palc
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Krishnamacariar, T.N. YOGAMKA. Mysore: Mysore Palace,
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Bibliogaphy 1 15
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1 16 The Yoga Traition of the Mysoe Palc
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U
Adhomukhapadmasana, 101
Adhomukhasana, 1 02
AdhomukhaSnasana, 65, 71 , 1 02
Adhomukhavrasana, 54, 73, 92
Ajasana, 1 9, 73
Akanadhanurasana, 84, 87, 91 , 1 01
Ali ngasana, 30, 82
Anantfsana, 1 5, 69
Afjalikasana, 34, 85
Anjaneyasana, 87
Ankusasana, 1 5 , 69
Apanasana, 90
Ara-yaditakasana, 29, 82
Ardhabaddhapadma, 94
Ardhabaddhapadmottanasna, 1 00
Ardhabaddhapadottanasana, 1 02
Ardhabaddhapa5cimott3nasana, 1 00, 1 02
Ardhacakrasana, 90, 101
Ardhacandrasana, 30, 82, 90
Ardhamatsyendrasana, 87, 90, 1 00
Ardhanavasana, 89, 93, 96
Ardhapascimottanasana, 32, 57, 83
Ardhasalabhasana, 87
Ardhotthitasana, 90
Arghyasana, 57, 75
Assuna, 90
A<1\'akrasana, 55, 89, 90, 97, 1 tn , 1 08
As\'asadhanasana, 27, 80
Baddhako-asana, 83, 87, 92, 1 00, 1 02
Baddhapadmasana, 20, 75, 87, 90, 1 02
Bakapadaprasara-asana, 90
Bakasana, 1 9, 55, 73, 74, 88, 90, 92, 93, 95,
1 00, 1 01 , 1 02, 1 08
BakoQQiyanasana, 90
Balalingasana, 31 , 82
Bekasana, 87
Bhadrasana, 27, 80, 87, 90, 98, 101
Bhagasana, 90
Bhairavasana, 69, 87, 90, 96, 1 01 , 1 02
Bhardvjasana, 1 9, 74, 1 00
Bharasana, 31 , 82
Bhekasana, 87, 1 00
Bhrngasana, 90
BhujadaiQcsana, 90
Bhujangasana, 54, 71 , 76, 87, 95, 9R,
1 01
BhujapiQasana, 1 00, 1 02
Bhujasana, 67, 76
Buddhasana, 1 01 , 1 02
Cakorasana, 90, 97, 1 01 , 1 02
Cakrasana, 20, 75, 87, 90, 1 02
Cakrvakasana, 90
Candrnamaskarasna, 72, 90
Catakasana, 1 9, 73, 91
Caturangadarsasana, 65, 1 02
Caturangada-tQasana, 54 ,65, 66, iR. 1 : 1
Catupadasana, 91
Chamagadarasana ? , 91
1 17
1 18
Dapqsana, 2, 7d, d2, 9l , 94
Dardursanam, b7
Dhanurkapapsana ?, 9l
Dhanursana, 32, 7, d4, db, d7, 9l ,
97, 9d, l , l 4
Dhanvntar sana, l 3
Dhcnuksana, 24, 7d
Dhnn?sana, 24, 77, d7, 9, 9l
Dhv]sana, l b, 7
D|ksana, l l
Ddsana, l d, 72
Drana, 7d, l l , l 2
Dv1bhu]sanam, b7
UhmddhuQQda]nuQaa,
9l
Dvhastacakrana, 9l
DvhastakaQdouhtna,9l
Dv1hastaQmsarapa, 94
Dv1hastotthtaQdaQmsarapsana, 9l
Dv1kopsana, 9l
Dv1Qdabhu]ottnsana, 9l
Dv1Qdacakrsana, 9l
Dv1Qdagrivsana,9l
Dv1Qdakahastath|tordhvohastsana,9l
Dv1Qdakaupq|nysana, d9
Dv1QdangrasQamsana, 9l
Dv1Qdngu(hasthtsana, 9l
Dv1Qdasirsana,d2, d7, d9, 9l , 9b, l ,
l 2
Dv|QrsvQ|hbhmukhsana, 9l
Dv1Qrsvusana, 9l
Dv1sirsana, 22, 7b
Lkahastadapqna, 9
LkahastaQ(hakopsana, 9
Lkahastasarirotthnsana, 9l
The Yoga
Tradition of the Mysoe Palc
LkaQda, 94
LkaQdabaksana, 9, 9l , l l
LkaQdacakrsana, d7
LkaQdadhanursana, ll
LkaQdadvhastabaddhsana,9l
LkaQdagrivddapqsana, 9
LkaQdagriana, 9l
LkaQdahasmdapqsana, 9l
LkaQdahastsana, d7
LkaQda]nubaddhsana, 9l
LkaQdakaQotsana, l
LkaQdakaup qnysana, 92
LkaQdnguhsana, 9l
LkaQdar]akaQotsana, d7, dd, 9l , l l
LkaQdsana, 9l
LkaQdasawngsana, l l
LkaQdasirna, d7, 9l , l , l 2
LkaQdav1Qaritadapqsana, 9l , l l
LkaQdav1QaritamastakasQarsana, 9l
LkaQdav1rmsana, 9l
LkaQdordhvodhanursana, d7
LkaQdotthnacakrsana,9l
LkaQdotthna]nusirsana, 9l
LkaQdotthtahastaQdaQmmpna,9l
LkaQdotthm dhabaddhaQadmsana,9l
LkotthmQdaQrarapsana, 92
Ga]sana, l 7, b7, 7l , 72, 73,dl , 92
GIawsana, ll
Gapqabhcrupqsana, 74, 9b, l l , l 2
Gapcssana, l 3
GarbhaQ|pqsana, l 3, dl , d7, 93,9b, l
Garbhsana, 33, b7, d4, d7, 92
Garuqsana, 2l , b7, 7b, dd, 92, 9d
Gomukhsana, dd, d9, 92, 9d, l l , l 4
Gorna, 7b, dd, 92, 94, 9d
Grahsana, 23, 77
Indx
Griwcakrsana, 92
Grh?sanam, b7
GuQtsana, 88, 92,98
HaIsana, 72, 88, 92,93, 9
Hatnssana, 22, 7b, 92
Hanumnasana, 87, 97, l l
Harpsana, 2b, 79
HastabaddhaQadm
ana, 92
HastabaddhasmQdsana, 92
Hastabhu]sana, 92
HastadhrordhwQdawa, 92
HastnguIbaddhsana, 33,8
HastaQdabaddhsana, 92
HastaQdaguQmsana, 92
HastaQdamcrudapqsana,92
HastaQdsana, 88
HastaQdatrkopsana,92
HastaQdavsqtsana, 92
HastaQdott nsana, l2
Hastasircakrsana, 92
Hastasirsana, 92
Hastasth|taQdotthnsana, 92
Hastasthtatakrdhvngsana, 92
HastasthtordhwQadmsana, 92
HastotthtordhwQdaQrampsana, 92
HastotthtordhvaQdatIasaqyuktsana,
92
H|_nusaq:yogsana, 33, 8
_nubaddha, 94
_nubaddhaQdnsana, 92
_nuQhabaddha, 94
]nuQhabaddhaQadmsana, 92
]nusirsana, 88, I , I 2
]nvsana, 92
Kdambsana, l 3, 3, 82, 83
Kksana, l 9, 73, 74, 88, 92
Ksanam, b7
KIabharavsana, 88, 9l
KIypana, 92
KmaIsana,92
KmaQi(hsana, 28, 8l
Kcysana, 3, 82
KndaQiqsana, 88, 92, l l
KndaQiqordhvanamaskna, 92
Kndsana, 88, 93
Knduksana, l , 7, 7
KQIsana, 2, 7, 74
KQIsana, l 3, 1 2
1 1 9
KQomsana, 24, 77, 88, 9, 92, 93, l
Krapqsana, l l
KrpaQiqsana, 88, 92
Krtaviry_unsana, l 3
KasyaQsana, l l
Kuqnysana, l l
KuQinsana, 32, 84
Khaqgsana,2, 7
Khagsana, 92
Kha]ansana, 93
Kopsana, bb, 93
Kaucsana, 2b, 79, 9l , 93, l
Kraucoqqiynsana, 93
psana, 88
Krukacsana, l I
Kub]sana, 23, 77
Kukkusana,2,b7,7,7b,77,d4,88,93,
94, 9b, 98, l , l 4
Kukku(odnsana, 29, dl
KuIIacakrsana, 3l , 82
Kumbhaka, 7l
Krmsana, b7, 88, 9l , 93, 94, 9d, l ,
l 2, l 4
120
Kuanatrayna, 33, h
l>ghuvgrsana, 79, l
lngalsana, l 7, 72
Ltna, 93
loIsana, , 9b, lh
luhsana, h, bl , 72
Madhysanam, b7
Mahv1rsana, 93
Makarsana, 93, 9h
Mlsana, 22, 7b, h2
MapqaIsana, 4, 7
Mapqtkna, 93, 9d
Mpqtkysana, 93
Mankuksana, hh
Mancsana, 94, l , l l , l 2
Mr]rottnsana, 2h, h
Matpsana, l 7, 72, 79, dd, 93, 9h
Matsycndra, l 3
MatsycndraQ(hsana, 3l , h3
Matsycndrna, h3, 93, 9h. l 4
MaytracaIna, 93
May raQ(hsana, 9h
May rsana, l 3, 2, 4, 7,74, h4, dd, 93,
9h, l l , l 4, l h
Mayrysana,93
Mcrudaqav'akrsana, 93
Mcsana,29, hl
M@sana, 93
Mqhagarbhsana, 93
Muktsana, hh, 93, 9d
MtIabandhanbhtqansana, 93
MtIabandhsana, h3, hh, 9, 97, l l
MtIacakra, l 3
MIaQqabhmmsana ? , 93
MtsaIna, 2, 7h
The Yoga Tradition of the Mysoe Palc
Mubaddhahastacakrana, 93
Nbhdarsansana, 93
NbhQqsana, dh,93
Nbhysana, 93
Nakrsana, 93, l
Nradsana, 3 , d3
Naraharysana, l
Namksana, l b, 7, 72, 74, hl
Na(ar]sana,hh, 93, J l
Nauksana, l , b9, 7, hl , 93
Nvsana, 7, 9, , l 2
NrIambasar't\gsana, , 2
NrIambasrsana, l l
Nyub]sana, 33, h4
Lmkrna, hh
ldabaddha, 94
ldagi1v, 94
ldagumQhtotthtnsana, 93
ldahastacatukopsana, 93
ldahastaQhacakrana, 93
ldahastasatnyogsana, 33, h4
ldahastsana, 4, 7b, h, hh, 93, l
ldakucansana,93
ldamastakasaqyogsana, 3J,h4
ldanamaskrsana, 93
ldngt(hadhanursana, l l
ldngu(hsana, hh, l
ldngu(haskhsQarssana, 93
ldngu(hasth tantambsana, 93
ldngt(hotthmsana, 94
ldaQmaraakacchaQsana, 94
ldaQrasarapasar?ngatuIna, 94
ldasacaIansana, 9i
ldantuIansana, 9 I
ldatIasaqytktabhunamansana? , 94
Indx
ldamIasatnytktamrdhasQarssana, 94
ldatrkopsana, 94
ldavakraQIysana, 94
ldavkaIngsana, 94
ladma]nubaddhotthtsana, 94
ladmamayrsana, 74, 93
ladmsana, 28, 7, 74, 7, 78, 8, 8l , 83,
8, 88, 94, 98, 99, 3, l 4,
ladmasrsana, 94
lduksana, 2 , 7b
langukukku sana, 32, 84, l
langumay rsana, 32, 84, l l
larasvadhsana, 7, 72
larghsana, l b, 7l ,
Iarvtta]nusrsana, 88
larv|ttaQrsvakosana, 93
larvttatrkqsana, 89, 97
laropysana, 2, 78
larQasana, 3, 82
lrpbaddha, 94
lrpQqsana, 94
lrsvabaksana, 88, 94
lrsvadhanursana, 9l , l
lrwakksana, 88, 94
lrsvakpsana, 94
lrsvasarngsana, 7
lrsvatrkopsana, 94
lrsvounsana, 8h, l , l2
laramsana, 22, 7b, 8, 88, 94, 9b, l
laanksana, l , 7, 94, l
lssana, 22, 7b, l
lascdsanam, b7
lascmottnsana, l 3, 7, b, 83, 84, 88,
94, 98, l , l 2, l 4
latangsana, 94
lavanamuktsana, 94
121
lhapaguQtsanam, b7
lksana, 94
lchamaytrsana, 97, l
lpqsana, 9
lrsana, 94
lrapavsana, 88
lrartaQdottnsana, , 2
lrcnkhsana, 3, 33, 82, 8
lhabaddha, 94
lhabaddhakaQda]nusQarsana, 94
lhabaddha]nubhnamaskrna,94
lhabaddha]nusQarssana, 9
labaddhaQdm1ana,
9
lhabaddhaQdaQrasarapsana, 9
lhabaddhsana, 9
lhamu(baddha, 94
lhaQdasthmsana, 9
lrpadhanursana, 88
ltrpamatsycndrsana, 88,
lrpasuQtava]rsana, 88, 9b
ltrpavsrmsana, 9
lrotmnsm\a, 88, 93, 9,
K]akaQotsana, 87, 97, l
K]sana, 7, 73
Kathsana, l 8, 73
ciksana, l 2
ksana, 7, 72
Kucksana, 87
5accd mudr, 8
5aha]sana, 9
5aktcIn, 88
bakuysana, 9
5aIabhsana, 88, 9, 98, l
5Iambasrsana, l l
1 22
5amakmsana, h, 97, l l
5amnsana, 9, l
5at1ka(sana, 9, 9d
5ankocsana, 9
5at\kv'sana, lh, 73
5araIsana, h, 7
5arangsana,9
5r|ksana, 9
5arQsana, b, 2, 7 , 7b, 9
5arngabaddhsana, 9
5ar'ngacakrsana, 9
5arngsana, 7, hh, 9
5assana, lh, 73
5(ngadat)qav'atsana, 9
a(Qdsana, 9
5av'sana, 2b, 79, hh, 9, 9d, l
SayanaQdasacaIansana, 9
5ayansana, 7
5ayanotthnsana, 9
5ctubandhsana, hh, 9,
5|ddhsana,2h, 79,h, h9,9, 9h,99, l l ,
4
5iIsana, 9
5|qhsana,27, b7,d,d9,9,9d, l l , l b
5|rasana, 74
5|raprakmsanam, b7
5|rt1gu(hsana, h9
5|raiIsana, 9
5|rap(haQadmsana, 9
5|rsanam, b7
5irabaddhotth|t_nusQarssana, 9
5iracakrsana, 9
5irapdsana, 9,
5irsana, 7, b7, 74, h9, 9, 9b
5kandsana, h h7, 9 0 , l 2
The Yoga Tradition of the Mysore Palc
5kandasacaIansana,9b
5th|tordhvaQdav1sttsana,9b
5uksana, 2b, 79, 9b
5ukhsana, 27, d, d9, 9b
5uktysana, 32, d3
5Isana, 2l , 7
5uQta|kaQdkarapsana,9b
5upta| kaQdasirsana, 9b
5uQta|kaQdordhvsana, 9b
5uQtakandsana, lOJ
5uQtakopsana, l , l 2
5uQtaQdn(hsana,b9,d7,9b,I ,l 2
5uQtaQrsv'ngu(hsana, l 2
5uQtaQrsv'asah|tsana,
5uQtrdhaQar|va|kaQdsana, l 2
5uQtatrn1kramsana, l l
5uQtav'a]rsana, 79, d9, 9b, l
5uQtav1rsana, d9, 9, 9b
5anamaskra,4,h,72,7d,d9,9,9b,
l
5utarmgsana ? , 9b
5v'argsana, 3l , d3
5vastksana, 24, 7d, d9, 9b, 9h, l 4
5vottnsana, dl
5ycnsana, 2l , 7b
Jqsana, 4, bb, 9b, l l
Jpqav'san 2 77
Jarakv'sana, l 7, 72, ll
J|ryat1mukha|kaQdaQasc| mottnsana,
bb, , l 2
J|ryanmukhottnsana, l l , l 2
J|anmukhotth|tatr|kopsana, l l
J|annauksana, 2h, h
(|| bhsana, 7b, 9 , 93, 9b, l
J|tti(sana, l 9, 74
JoIngtIsana, h9, 9b
Indx
Triargmukhaikapadapascimottinasana,
94
Triargmukhottanasana, 7b, 87, l2
Trikmasan<. 89, 9b
Trikitasana, l 8, 73
Trivikramasana, 2b, 78, 97, l l , l 2
Tpajalukasana, 24, 78
Tulasana, 9b
Ubhayapadanguthasana, l , l 2
Ucchirakasana, 22, 77
Udarasanam, b7
U ccanasana, 33, 8b
Ugrasana, b7, 9b, 98
UlikapadaprasaraQasana, 9b
U padhanasana, 9b
Upavilakmasana, 88,94,9b,97,l ,l 2
Ordhvadhanurasana, b4, 7b, 87, l l , l 7
Ordhvaikapadasana, 9b
Ordhvakukkulasana, l l
Ordhvamukhapascimottanasana, 84, h8,
I
Ordhvamukhasvanasana, bb, bb, l 2
Ordhvapadatalasaryuktasana, 9b
0 rdhvapadmamukhabh ispana, 9b
Ordhvapadmasana, 89, 9b
Ordhvapascimottanasana, 32, 84
Ordhvaprasaritapadasana, l l
Ordhvasanam, b7
0 rdhvavarasana, 9b
Ordhvotthanasana, 9b
OrQanabhysana, 23, 77
Utrasana, 23, 77, h7, 9b, 98, l
U tkatasana, 3l, 83, 9b, 98, l
Utpicasana, 23, 77
U uamangasana, 9b
Uttanakirmasana, 29, 8l , 9b, 98, l 4
U uanamm:(lfkasana, 9b, 9h
Uttanapadasana, 27, 8, 9b
Uttana5alabhasana, l l
Uttanasana, l b, bb, b9, 97, l 2
Utthanotthanasana, 32, 83
Utthilapadmasana, 9b
Utthitabhttotthanasana, 9b
Utthi tad,'anusirasparsasana, 9b
Utthitadvipadagrivasana, 9b
1 23
U tthitahastadviparsvapadaprasarm;asana,
9b
Utthitahastapadarguthasana, 77, l 2
UtthitahastapadatrikoQasana, 97
UtthitahastaprasaraQasana, 97
Utthitaikapadagrivasana, 97
U tthitaikapadahastasana, 97
Utthitaikapadajanusirasana, 97
U tthi taikapadakaraQasana, 97
Utthitajanusirasaryuktasana, 97
Utthitakumbhakasana, 97
Utthitakfarmasana, 89
U tthitapadahatabaddhabhftnamak.1rna,
97
Uuhitapadangulhasana, l
Utthitapadapascimottinasana, l 2
UtthitaparsvakoQasana, bb, l , l 2
Utthitaparsvasahitasana, I
Utthitardhacakrasana, 97
Utthitasirasana, 97
Utthitasvastikasana, l l
Utthitatrikm;asana, l
Vajrargasana, 97
Vajrasana, 2h, 79, h, h9, 97, 9h, l l
Vajrolimudra, bb
Vakrasana, h9, 97
Vaassthalajanupicasana, 97
124
Vmadat)aQrsvasvsgamansana, 97
Vmansana, 97
Vnarsana, 2 , 7b
Varhsana, 2b, 79
Vas|hsana,
Vtyansana, 89, 92,
Vqnsana, 89
Vctnisana, b, 7
VkastakamaIsana, 97
V|kasana, 97
V|maIsana, 23, 77
V|Qaritacakrsana,,b , 72,7, , 7
V|Qaritadapqna, l l
V|Qaritahastabhnamansana, 97
V|QaritahastaQdsana, 97
V|Qaritakarapsana, 97
VQaritakamp, b7, 7, 74, 8 , 98
V|Qantanqsana, 29, 7, 82
V|QantaQdamastakasQarssana,97
V|QaritaQdngusasrasQarssana, 97
V|QaritaQdaQrasarapsana, 94, 97
V|QaritaQadmaynordhwmukhsana,97
V|QaritasaIabhsana, 97, l l
Y|QaritordhmQadmsana, 97
V'irabhadrsana, 9, 9l , l
V'|racysana, 8d
V`irsana, 27, 79, 8, 89, 97, 98, l l , l 4
Th Yoga Traitio of th Mysoe Palce
V|mtana, 29, 8
V|rcsana, l
VsqtahastaQdacakrsana,97
VstmQdahastasQarssana, 97
VsqmQdaQrwbhnamaskrsana, 97
VsqtaQdsana, 97
VsqtaQdordhwnamaskmna, 97
Vwmtrana, 9 ,
Vytakarapsana, 97
Vksana, 7
Vana, l b, 82, 9 , 97, 98,
Vtna, 2b, 79
VQdQsana, 28, 8l
Vana, 98
Vsctkana, 7b, 82, 89, 97, l
Ynsana, 97
Ynoqqiynana, 97
Yogadapqna, 3, 77, 89, 9,
Yogadantsana, 89
Yogamudr, 78, 89
Yogandrana, 3, 87, 92, 9b, l , l 2
YogaQaa, 34, 8b
YogaQina,
Yogna, 2b, 78, 98, l l
Yonmudr, 83
Yonysana, 3l , d3, 97
The author, Or. N. Sjoman, is ,, S.lll
skritist trained i n traditional S,lns"t
schools as well as in Universiti es 111
North America, Europe and lndr.1
eventually taking a Vidyavacasp.ltr
degree from Pune University. I ni
tia11y, he learned yoga from B.K.S
Iyengar and continued as a student
during an eighteen year sojour in
India. He has taught yoga with Sri
Dattatreya all over the world. He
received an Honorary Doctorate in
Yoga from the Nippon Yoga Cakkti
in 1982. He has published .lCdlmic
articles, articles on art and cul t un
and a book with Sri D.ltt, l l rty,,
entitled "An Introduction to South
Indian Music". I e is a visunl .1rt ist, ,,
painter, sculptor, and textile Jrtist.
ISBN 81-7017-389-6
znd Edition 1999