Thursday, 17 May 2012

Balasahib's 'original' 1928 Suya Namaskar , sun salutation

The Ten Point Way to Health by Shrimant Balasahib Rajah of Aundh




Nice website about Aundh here

I'm pretty sure the princely state of Aundh neighbouring Mysore.
I came across reference to the Surya namaskara of Balasahib Rajah of Aundh again yesterday in Elsizabeth's book,

First There is a Mountain: A Yoga Romance [Hardcover]
Elizabeth Kadetsk.

HH Meherban Shrimant Raja BHAVAN RAO SHRINIVAS 'BALA SAHIB', Pant Pratinidhi of Aundh [1868-1951]
Seems the Rajah had tried to introduce the practice of the Sun Salutation into all his schools and promote it as a general way to health, there are descriptions of rows of young boys performing the Surya namaskara as if in a drill. This ties in with something  I was reading earlier in the week in the Mark Singleton Yoga Body book about there being a  'Surya namaskar a'  class introduced at the Mysore palace, separate to Krishnamacharya's asana class and supposedly not taught by him.

Krishnamacharya seems to have been a little suspicious of this practice, it was a criticism of his I believe about later Ashtanga, 'too many Surya namaskaras'. That said the Ten points to health  book also includes the chants to the different stages to the Surya namaskara and this was something he taught to Ramaswami and that he taught to us on the Vinyasa Krama TT course, although we were taught three accompanying mantra's.

The full booklet can be found here, look out for counted vinyasa, drishti, focus on breath, long inhalations and exhalations, breath retention, bandhas and a use of mantras.

The ten point way to health published 1928 (in English in 1938)

Or as a free to download pdf file below and over on the left of the blog along with the other free downloads

The Ten Point Way to Health by Shrimant Balasahib Rajah of Aundh pdf JM Dent Publishers

Some background to the book?

'...most Yoga students and teachers are not aware that the famous Surya Namaskar, and the variations out of the South Indian Schools of Hatha, never existed before the 20th century. In 1937 the Raja of Aundh was studying Law in London and attracted much attention by teaching a family system of exercises. This resulted in a London journalist publishing articles and ultimately a book. As a result, the Surya Namaskar rapid spread rapidly throughout the world, including India. Today, many in both East and West, believe this to be a traditional practice; it is not. No Brahman Hindu, reciting the sacred Gayatri, while facing the sun, has ever been taught to do Surya Namaskar. Surya Namaskar is a very modern innovation or invention in a long history of evolving Yoga practices'. from HERE

and here is the cover, the index, the diagram at the back showing the different stages and the chant.






So what to make of this? The publication of 1928 dates it to around the time Krishnamacharya 'left the mountains' (1922) and first went to teach  at the Mysore palace (he returned to Mysore in 1924 ), there is a two year period when he was traveling through India, giving demonstrations and becoming involved in debates etc. before returning to Mysore. The stages of the Surya Namaskar do seem to form the framework of the vinyasa on which his Asana are performed. Krishnamacharya's Yoga Makaranda was published in 1934 and the Yogasanagalu in 1941. Did Krishnamacharya teach Surya namaskara to the Rajah of Aundh in the early 1920's or was it the other way around. We find the basic structure of the surya namaskara in Krishnamacharya's Yoga Makaranda of 1934 and one can assume this is an approach that Krishnamacharya had been teaching for a number of years.

It does say on page 43 of the ten points to health booklet....

"We give the fundamentals to the age-old method of performing Surya namaskaras, and the one followed by our revered father, the late Rajah of Aundh. for fifty-fie years he did these surya namaskaras".

Which would take it back to around 1870-80


Patabhi Jois of course included the surya namaskar pretty much as above in his version of Ashtanga in Yoga Mala 1954 (which included a separate section devoted to Surya namaskar a)and even published his own separate booklet in 2005 which is available from KPJAYI below is the cover and what they have to say about it on the website.


"The Surya Namaskara form the foundation for the entire method of the practice of yoga – and, as we all know, if one’s foundation is firm, then whatever is supported by it will be stable as well. So, if the Surya Namaskara are first learned properly and their inner meaning grasped, then all the various asanas, pranayamas and the like that follow them will be useful and beneficial in their outcomes.

In creating this small booklet, it is Pattabhi Jois’s wish that all practitioners who undertake the practice of Surya Namaskara do so with a proper understanding of their inner significance and of their practical method, so that health, clarity of mind and spiritual elevation may be achieved".

Interestingly he states in the booklet that...
'... no asana practice is complete without sun worship. Without its focussing of mental energies, yoga practice amounts to little more than gymnastics and as such loses meaning and proves fruitless. indeed the surya Namaskara should never be mistaken for mere physical exercise-for something incidental, that is, that that simply precedes the asanas of yoga." p11 Surya namaskara


And finally this from Mark Singleton's response to Ramaswami's newsletter in an earlier post of mine


"What I am interested in is how innovators like the Raja of Aundh
revived suryanamaskar in the context of vyayama, and how it was
initially promoted as an Indian alternative to Sandow bodybuilding. I
am also interested in how (to Sri Yogendra's chagrin) it was
subsequently incorporated by others into physical culture-oriented
yoga practices.
You ask, "Are these physical drills, yoga exercises or devotional
practices? Which came first? God knows, Lord Ganesa knows". Well, the
answer is that it depends entirely on context. In modern times the
context can often be radically different. For example, into which
category should we place a mass drill-type practice of suryanamaskar
for children led by the Raja of Aundh circa 1935? Certainly he did not
categorize it as yoga himself. It would have looked to many like a
standard drill gymnastics of the time, and was to some extent
conceived by the Raja as a replacement for this. And yet he clearly
also recognized the "traditional" meaning of sun prostration." . Response to "Yoga Gymnastique

Sunday, 13 May 2012

More on Yoga Sutra II-47 "...focusing the mind on the breath' and Ramaswami's Vinyasa Krama Teacher training course 2012

Yoga Sutra II-47 


“प्रायत्नशैथिल्यानन्तसमापत्तिभ्याम्”

prayatnashithilyanantasamapattibhyam” 


"prayatna - effort (of life which is breathing)

saithilya - smooth (make it smooth)

ananta-samapattibhyam:

          ananta -breath

          samapattibhyam - focusing on it


By making the breath smooth (and long), and by concentration or focussing the mind on the breath, the perfection of the posture is obtained.

Note: Krishnamacharya interprets this sutra differently than other teachers. he gives the correct technical meaning (in this context) fromn prayatna or Jivana prayatna, or effort of life which is breath. he says that it is the breath that should be made smooth and effortless, not the posture. it is not physical; it is the breathing" p55

*The translation and treatment of the sutra is from Patanjali's Yoga Sutras Based on the teaching of Srivatsa Ramaswami by Pamela Hoxsey and taught on the Vinyasa Krama teacher training course that I attended in 2010. This is relevant because Ramaswami spent over thirty years, from the 1950's to the 1980's, as Krishnamacharya's student.
-------------------------------------
from MY STUDIES WITH SRI KRISHNAMACHARYA Srivatsa Ramaswami in Namarupa Spring 2007
"Going back to my notes on Yoga Sâtra classes with my guru, I found a very interesting interpretation of the sâtra, Prayatna-ùaithilya anantasamápattibhyám. The word prayatna, very commonly used in India, basically means “effort.” úaithilya indicates “softness.” So Prayatna- ùaithilya could mean “mild effort”; hence you find that many writers on the Yoga Sâtras declare that the way to achieve perfection in a yoga posture is to “ease into the posture effortlessly.” This is easier said than done. There are hundreds of practitioners who cannot relax enough to be able to easily get into a posture like the Lotus, for example. So we have to investigate the meaning of the word prayatna as used by the darùanakáras in those days. Prayatna according to Nyáya, a sibling philosophy to yoga, is a bit involved. Nyáya explains prayatna of three kinds (prayatnaê trividhaê proktam). Two of them are the effort put
in for happiness (pravätti) and the effort to remove unhappiness (nivätti). Every being does this all the time. One set of our efforts is always directed toward achieving happiness and the other toward eradicating unhappiness. But the third type of effort relevant here is the effort of life (jàvana-prayatna). What is effort of life? It is the breath or breathing. Now we can say that prayatna-ùaithilya is to make the breath smooth. Thus in ásana practice according to Vinyása Krama, the breath should be smooth and by implication long (dàrgha).

The other part of the sâtra refers to samápatti, or mental focus. Where or on what should the mental focus be? It is to be on ananta (ananta-samápatti). Now we have to investigate the contextual meaning of the word ananta, translated as “endless” or “limitless,” which many writers equate with infinity. So some schools tend to say that while practicing ásanas, one should focus the attention on infinity, which is inappropriate— and impossible, at least for the vast majority of yogàs. Ananta also refers to the serpent, Ädiùeüa, whose incarnation Patañjali is believed to be. So some schools suggest that one should focus on a mental image of Ädiùeüa or Patañjali. It may be possible, but it is uncomfortable to think that Patañjali would write that one should focus on his form for the success of ásana practice. So what might ananta symbolically signify? The word ananta can be considered to be derived from the root, “ana”—to breathe (ana ùváse). We are all familiar with the group of words práóa, apána, vyána, etc., names of the five práóas derived from the root “ana.” So in the sâtra, ananta could mean “breath”; ananta-samápatti is then translated as “focusing the mind on the breath.” In fact Ananta, or the serpent king, is associated with air. Mythologically the cobra is associated with air; there is a common mythological belief that cobras live on air. If you look at the icon of Naôarája (the dancing úiva), you will find all five elements of the universe (earth, water, air, fire, and space) represented symbolically in úiva. The matted red hair represents fire, the Gaïgá in his tresses, the water element; the air element is said to be represented by the snake around the lord’s neck. So ananta-samápatti would mean focusing the attention on the breath or práóa.

Thus this sâtra means that while practicing ásana, one should do smooth inhalations and exhalations and focus the attention on the breath. Since Vinyása Krama involves several aesthetic movements into and within yoga postures, to achieve the coordination of movement, breath, and mind, one should synchronize the breath with the movement with the help of the focused mind. By such practice, slowly but surely, the union of mind and body takes place, with the breath acting as the harness.
But why don’t other texts talk about it? There is a saying, “Anuktam anyato gráhyam.” If some details are missing from one text, they should be gathered from other complementary texts. Haôha-yoga-pradàpiká explains a number of ásanas but does not mention breath synchronization and other basic parameters. But Haôha-yoga-pradàpiká proclaims that its instructions are like a prerequisite for the Rája Yoga practice of Patañjali. These two texts are therefore compatible. Thus we can conclude that Patañjali gives the basic parameters of ásana practice (and also of the other aïgas like Práóáyáma), but for details we have to refer to compatible texts like Haôha-yoga-pradàpiká, Yoga- Yájñavalkya and others".
See here for the full article.
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I had the good fortune to attend Ramaswami's five week Vinyasa Krama TT course in June/July 2010 at LMU in LA, 

Here's the info for this years upcoming Vinyasa Krama TT course


Here's a short movie some students made after last years course, it includes a short interview with Ramaswami and opens with my favourite chant.


The video below is  from 2010, the year I was there, mainly an excuse to put a slide show of some of the photo's from the asana element of the course to a backing of Ramaswami chanting. The first chant is a bit quiet, the second is the one I still listen to in savasana every morning.

Saturday, 12 May 2012

More Yogasanagalu translation; Final page of first section.

Below is the final page of the first section and directly follows the asana table from yesterday.


TRANSLATION

“Vinayasas” many people are curious about its secret.  Some others want to know its basis.  I agree.

“प्रायत्नशैथिल्यानन्तसमापत्तिभ्याम्”
“prayatnashithilyanantasamapattibhyam”
 
Please see Patanjala yogasutra and Vyasabhasha (P 2, S 47)

Enjoy the two types.

Vachaspathi Mitra in that commentary

“सांसिद्धिकोहिप्रयत्न​ः शरीरधारको न योगांगस्योपदेश्टव्यासनस्य कारनम्।  तस्मात् उपदेश्टव्यासनस्यायमसाधकः विरोधीच स्वाभाविकः प्रयत्नः। तस्य च याध्रुच्छिकासनहेतुतया सननियमोपहंत्यत्वात्॥”

“Saamsiddhiko hi prayatnah shariradharako na yogangasyopadeshtavyasanasya kaaranam.  Tasmat upadeshtavyasanasyayamashadhakah virodhi cha swabhavikah prayatnah.  Tasya cha yadruchhikasanahetutayaa sananiyamopahamtyatvat.”

“तसात् उपधिश्टनियमासनम् अभ्यस्यता स्वाभाविकप्रयत्नशैथिल्यात्मा प्रयत्न अस्तेयः नान्यथा उपदिश्टं आसनं सिध्यतीति स्वाभाविकप्रयत्नशैथिल्यं आसनसिद्धिहेतुः।”

“tasmat upadishtaniyamaasanam abhyasyataa svaabhaavikaprayatnashaithilyaatmaa prayatna asteyah naanyatha upadishtam asnam sidhyateeti svaabhavikaprayatnashaithilyam asanasiddhihetuh”

“अनन्ते व्या-नागनायके स्थिरतरपणासहस्रविध्रुतविश्वंबरामंढले समापन्नं चित्तं आसनं निर्वर्तयतीति”

“Anante vya-naganayake sthiratarapanasahasravidhrutavishwambaramandale samapannam chittam asanam nirvartayateeti”

Therefore, how many breathings for which asana?  When is inhalation?  When is exhalation? In what way? When body is stretched forward, inhalation or exhalation? What about when you raise your head? To know this mystery and practice in order is called Vinayasa.  These along with the significance of each asana will be discussed in 1 to 32.  

----------------------------------------------------------------------------

Notes
The translation and treatment of the sutra below is from Patanjali's Yoga Sutras Based on the teaching of Srivatsa Ramaswami by Pamela Hoxsey and taught on the Vinyasa Krama teacher training course that I attended in 2010. This is relevant because Ramaswami spent over thirty years, from the 1950's to the 1980's, as Krishnamacharya's student.
Yoga Sutra II-47 


प्रायत्नशैथिल्यानन्तसमापत्तिभ्याम्


“prayatnashithilyanantasamapattibhyam”

"prayatna - effort (of life which is breathing)

saithilya - smooth (make it smooth)

ananta-samapattibhyam:

          ananta -breath

          samapattibhyam - focusing on it

By making the breath smooth (and long), and by concentration or focussing the mind on the breath, the perfection of the posture is obtained. Note: Krishnamacharya interprets this sutra differently than other teachers. he gives the correct technical meaning (in this context) fromn prayatna or Jivana prayatna, or effort of life which is breath. he says that it is the breath that should be made smooth and effortless, not the posture. it is not physical; it is the breathing" p55 ------------------------------- I also found an Online edition of The Yoga Sutras with Vyasa's commentary and the explanation/gloss called tattva- vaicardi of Vachaspati Micra ( Mitra) quoted in length in the text above.
http://archive.org/details/yogasystemofpata00wooduoft

II- 47. By relaxation of effort or by a [mental] state-of-balance with reference to Ananta [A posture] results. With these words the sentence is completed. When efforts cease the posture is completed,so that there is no agitation of the body. Or the mind-stuff comes into a balanced-state with reference to Ananta and produces the posture. (Vyasa) Having stated what the postures are, he tells what are the means of attaining them. 47.By relaxation of effort or by a [mental] state-of-balance with reference to Ananta. A natural effort sustaining the body is not the cause of this kind of posture which is to be taught as an aid to yoga. For if its cause were such, the preaching of it would be purposeless in that it could be naturally perfected. Therefore this natural effort does not accomplish this kind of posture which is to be taught and is contrary [to it]. For in so far as this [natural posture] is the cause of an arbitrarily chosen posture it is the destroyer of the specific kind of posture. Consequently a man, practising the specific posture as taught, should resort to an effort which consists in the relaxation of the natural effort. Otherwise the posture taught cannot be accomplished. Or . . . with Ananta,^ the Chief of Serpents, who upholds the globe of the earth upon his thousand very steadfast hoods, [with him] the mind-stuff comes into a balanced state and produces the posture". (Vachaspati Micra)

translation of Ananta
Ananta is another name for Vishnu (the infinite. limitless one) and often gets translated as infinity, some argue that the meaning of this sutra is to meditate upon the infinite, Sankara puts it like this,

"When the mind attains samadhi on that which stands pervading all existence, the posture is perfected, made firm" p275  

As Ramaswami states
"Krishnamacharya interprets this sutra differently than other teachers..."

"There is another interpretation of the word ananta. The...meaning comes from the word "ana" which means to breathe. Ana means preach. for example, prana, apana, vyana, and so on. They all come from the root ana, to breath. So, here ananta refers to the breath. Ananta Samapatti is to focus your attention on the breath. Anatasamapatti is to focus your attention on the life force which is the breath." p97-98

Friday, 11 May 2012

Asana screenshots from Krishnamacharya / Iyengar 1938 documentary film footage

This relates to Krishnamacharya's Yoagasanagalu asana table from yesterday's post.

I find it useful to look at Krishnamacharya's Yoga Makaranda (1934, 2nd edition 1938 ) the Krishnamacharya/Iyengar documentary footage (1938) and Krishnamacharya's Yogasanagalu (1941) together.

In Yoga Makaranda we have 40+ asana described in detail

Yogasanagalu has 25 asana described in detail but these seem to be the same as those in the Yoga Makaranda.

Yogasanagalu has the table (see yesterdays post) listing 200 asana, their vinyasas and the focus of the breath in the posture

The table is divided into Primary, Middle and Proficient groups of asana.

The Primary and Middle groups correspond closely to the current Ashtanga Primary and Intermediate Ashtanga series ( the Primary group also corresponds closely with the order in which the asana are described in the earlier Yoga Makaranda). The Proficient group contain many if not most of the Asana from Advanced A and B ( now subdivided again into 3rd, 4th, 5th and 6th series).

Perhaps the most striking difference between Krishnamacharya's 'original' Ashtanga and current practice is that the Proficient (Advanced) postures don't seem to have been turned into a recognisable series in the 30's and 40's but are rather jumbled together as we find in the list.

While the Primary and Middle groups are not described as a series it does seem reasonable to assume that they were practiced in the rough framework of a series, this is suggested by the similarities in the order in which they are described in Yoga Makaranda (1934), listed in Yogasanagalu (1941) and found later in Pattabhi Jois' Yoga Mala, there seems to be consistency.

The proficient group of asana were perhaps then learned and practiced as extensions to the postures in the Primary and Middle group and this would reflect how Ramaswami was taught by Krishnamacharya in the 50's-80's, E.G. janusirsasana moving through akarna dhanurasana to eka pada sirsasana and on into kasyapasana, skandasana and durvasana.

Michael Gannon relates in his DVD ( Heaven and Earth) that Pattabhi Jois told him the Primary series was for everyday, the Intermediate series for teachers and the Advanced postures for demonstration.

In the 1938 documentary film footage below we find Krishnamacharya and his family, including Iyengar demonstrating asana. Krishnamacharya is mainly seen demonstrating the shoulder stand and headstand variations almost exactly as I was taught them by Ramaswami suggesting a continuity and consistency of practice that stretches back further than when Ramaswami was taught them in the 50's-80's but back at least as far  as the 30's, the Mysore palace years.

Iyengar is mostly demonstrating the Proficient group of postures most of which we find in the list from Yogasanagalu but with some others that have been overlooked or deliberately left out. Kandasana for example is not in the list but Iyengar relates how Krishnamacharya asked him to perform it for the first time in a demonstration in 1938 (same year as the movie), "Bring both feet together towards the chest, as if you were doing namaskar a with the feet". (from My yoga journey in Vol 1 of Astadala Yogamala).

The 1938 demonstration, then, gives us a look at how the proficient postures were approached in demonstration in this period and shows us that there were many more postures that Krishnamacharya was teaching at that time that did not appear in the Yogasanagalu table of asana.

The 1938 demonstration also reveals that the approaches we think of as the modern ashtanga of Pattabhi Jois (reflected in the Iyengar section of the movie)  and the Vinyasa Krama of Srivatsa Ramaswami (Krishnamacharya's own demonstration of head and shoulder stand vinyasas), and also of  the viniyoga of Desikachar (the demonstrations by Krishnamacharya's family (?)), existed side by side right from the beginning, they were, just that, differences of approach dependent on the situation, the students and the short term as well as long term goal of the practice.

This perhaps suggests that in our own practice it is not a question of switching from one style of asana practice to another but rather of bringing in other aspects of these different approaches as our practice develops. Exploring Longer inhalations and exhalation, kumbhaka (breath retention), adding or switching different variations of a posture into our practice, considering longer stays and finishing our practice with pranayama as well as perhaps a meditative practice such as chanting perhaps, japa (mantra) meditation and the study of 'appropriate' texts. For those of who practice a slower approach and a wider range rotating rather than fixed asana, perhaps occasionally narrowing the range of asana, fixing a framework and practicing with equal inhalation and exhalation for shorter stays may also be an option to explore.


Screenshots from the Krishnamacharya documentary footage of 1938 


List of above asana (asterisk indicates found in Yogasanagalu list)
*Ekapadasirsasana A. *Eka pada sirsasana B. *Kasyapasana. *Bhairavasana.Chakorasana. *Durvasana.Skandasana.*Astavakrasana.*Aandha bherundasana B.Ghandha berundasana C.*Ekapada viparita dandasana. Koundinyasana A. Koundinyasana B. *Urdhava kukkutasana. Pingu kukkutasana. *Eka pada bakasana B. *Bakasana. Supta bhekasana. Kandasana. *Vashitasana. *Viswamitrasana.* Kukkutasana.Gandha pindasana. Ardha badha padma kapotasana. *Yogapitha. *Dhanurasana. *Parsva dhanurasana. Padangusthasana dhaurasana A. Padangusthasana dhaurasana B .Ardha vashitasana. *Hanumanasana. *Supta trivikramasana. *Natajarasana. Parivritta natajarasana. Supra hasta padangustasana. *Viparita dandasana. Parivritta eka pada dhanurasana. Eka pada dhanurasana. Bakasana variation. *Mayurasana (from sirsasana). Parivritasana. *Pincha mayurasana. *Vrishikasana. Eka pada vrishikasana. Urdhva dandasana. *Vatayanasana.


Krishnamacharya, Headstand and Shoulder stand vinyasas
see Supine Vinyasa Krama practice sheets HERE  and Inverted practice sheets HERE for similarities




* A DVD version of the above film footage is available from many of the Iyengar schools, for example here http://www.iyi.org.uk/iyengar-yoga-london/iyengar-yoga-shop/

Thursday, 10 May 2012

Complete asana table from Krishnamacharya's Yogasanagalu, Primary, Middle and Proficient asana groups

Visit The ongoing Yogasanagalu (1941) Translation Project page for the translation we have so far.



UPDATE
NOTE: With the translation of Krishnamacharya's second book Yogasanagalu ( Mysore 1941 - 3rd edition with additional chapter 1972) now complete, I'm just putting the finishing touches on a free to download edition of the full text that will be available for personal study on the Free Download page at the top of the blog.




'Therefore, how many vinysas for asanas? Asana position comes at which vinyasa count?  When do you perform rechanka and puraka?  When to do antah kumbhaka and bahya kumbhaka?  What are its benefits?  For yoga practitioners information, it is listed in the table below'.
Yogasanagalu

Yogasanagalu Asana table









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Notes

Kumbhaka
Antah kumbhaka (purakha kumbhaka) = retention of the breath after inhalation
Bahya kumbhaka (recaka kumbhaka= retention of the breath after exhalation
Ubhya kumbhaka = retention of the breath after both inhalation and exhalation

*In the Primary group above kumbhaka is indicated explicitly in only three postures, baddha padmasana, uttanasana and sethubandasana. In the earlier Yoga Makaranda (1934) however, kumbhaka is indicated other primary postures. This may be that while learning the Primary asana we may forgo kumbhaka in most of the primary postures until gaining familiarity and a degree of proficiency with those asana when we would then begin to work in the kumbhaka. this may be made clearer as the translation continues.

Kumbhaka (mentioned explicitly) in the Yoga Makaranda Primary asana
Tadasana (here implies samasthiti )- purakha kumbhaka
Uttanasana -purakha kumbhaka (we can perhaps presume that all the uttanasana variations would also include antha kumbhaka EG. padahastasana, parsvauttanasa
na, prasaritapadauttanasana.
Ardha baddha padma uttanasana - recaka kumbhaka
Urdhavamukhssvanasana - puraka kumbhaka
Adhomukhssvandasana - recaka kumbhaka
Paschimottanasana - purkha kumbhaka (recaka kumbhaka implied ?)
janusirsasana - purka kumbhaka & Rechaka kumbhaka
Upavistakonasana "recaka kumbhaka is the central principle for this posture"
badhakonasana - recaka kumbhaka
Suptapaddangusthasana- recaka kumbhaka
utthitahastapadangusthasana - recaka kumbhaka
Bhujapidasana - recaka kumbhaka
marichiyasana - recaka kumbhaka ?


Pictorial representation of the table (made up of my old file pictures ).






Krishnamacharya's Primary group (Incomplete ; made up of pictures from his Yoga Makaranada).
Original table