Tag Archives: Sanskrit

crane or crow?

bakasana_yogi_toes_inc

The two names for the asana come from the Sanskrit words baka (“crane”) or kak (“crow”), and asana (आसन) meaning “posture” or “seat”.

While different yoga lineages use one name or another for the asana, Dharma Mittra makes a distinction, citing Kakasana as being with arms bent (like the shorter legs of a crow) and Bakasana with arms straight (like the longer legs of a crane). In the west, practitioners often mistranslate the Sanskrit “Bakasana” as the English “Crow Pose”.

From Wikipedia

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aad guray

Aad Guray Nameh  / I bow to the primal truth;

Jugaad Guray Nameh  / I bow to the truth for all creation;

Sat Guray Nameh / I bow to the perfect truth;

Siri Guru Dev-ay Nameh / I bow to the great invisible truth.


ashtanga yoga opening and closing chants

Ashtanga Yoga Opening Chant

Om
Vande Gurunam Charanaravinde
Sandarshita Svatma Sukava Bodhe
Nih Sreyase Jangalikayamane
Samsara Halahala Mohashantyai
Abahu Purushakaram
Shankhacakrsi Dharinam
Sahasra Sirasam Svetam
Pranamami Patanjalim
Om

Translation

I bow to the lotus feet of the Gurus
The awakening happiness of one’s own Self revealed,
Beyond better, acting like the Jungle physician,
Pacifying delusion, the poison of Samsara.
Taking the form of a man to the shoulders,
Holding a conch, a discus, and a sword,
One thousand heads white,
To Patanjali, I salute.

 

Ashtanga Yoga Closing Chant

Om
Svasthi Praja Bhyaha Pari Pala Yantam
Nya Yena Margena Mahim Mahishaha
Go Brahmanebhyaha Shubamastu Nityam
Lokah Samastah Sukhino Bhavantu
Om Shanti Shanti Shantihi

Translation

May all be well with mankind.
May the leaders of the earth protect in every way by keeping to the right path.
May there be goodness for those who know the earth to be sacred.
May all the worlds be happy.
OM Peace, Peace, Perfect Peace.

More info on Shri K Pattabhi Jois Ashtanga Yoga Institute Website


vedanta

Sankaracharya

Shankara, also called Shankaracharya (born 700?, Kaladi village?, India—died 750?, Kedarnath), philosopher and theologian, most renowned exponent of the Advaita Vedanta school of philosophy, from whose doctrines the main currents of modern Indian thought are derived. He wrote commentaries on the Brahma-sutra, the principal Upanishads, and the Bhagavadgita, affirming his belief in one eternal unchanging reality (brahman) and the illusion of plurality and differentiation.

Vedanta, one of the six orthodox systems (darshans) of Indian philosophy and the one that forms the basis of most modern schools of Hinduism.

The name is a morphophonological form of Veda-anta = “Veda-end” = “the appendix to the Vedic hymns”. It is also said that “Vedānta” means “the purpose or goal [end] of the Vedas”.  Vedanta can also be used as a noun to describe one who has mastered all four of the original Vedas.

In earlier writings, Sanskrit ‘Vedānta’ simply referred to the Upanishads, the most important and philosophical of the Vedic texts. However, in the medieval period of Hinduism, the word Vedānta came to mean the school of philosophy that interpreted the Upanishads.

Vedānta is also called Uttarā Mīmāṃsā, or the ‘latter enquiry’ or ‘higher enquiry’, and is often paired with Purva Mīmāṃsā, the ‘former enquiry’. Pūrva Mimamsa, usually simply called Mimamsa, deals with explanations of the fire-sacrifices of the Vedic mantras (in the Samhita portion of the Vedas) and Brahmanas, while Vedanta explicates the esoteric teachings of the Āraṇyakas (the “forest scriptures”), and the Upanishads, composed from the 9th century BCE until modern times.

All sub-schools of the vedanta propound their philosophy by interpreting the Prasthanatrayi, literally, three sources, the three canonical texts of Hindu philosophy, especially of the Vedanta schools. It consists of:

The Upanishads, known as Upadesha prasthana (injunctive texts), and the Śruti prasthāna (the starting point of revelation)
The Brahma Sutras, known as Nyaya prasthana or Yukti prasthana (logical text)
The Bhagavad Gita, known as Sadhana prasthana (practical text), and the Smriti prasthāna (the starting point of remembered tradition)

The Upanishads consist of twelve or thirteen major texts, with total 108 texts. The Bhagavad Gītā is part of the Mahabhārata. The Brahma Sūtras (also known as the Vedānta Sūtras), systematise the doctrines taught in the Upanishads and the Gītā.

All major Vedantic teachers, like Shankara, Rāmānuja, and Mādhvāchārya, have composed often extensive commentaries not only on the Upanishads and Brahma Sutras, but also on the Gita. While it is not typically thought of as a purely Vedantic text, with its syncretism of Samkhya, Yoga, and Upanishadic thought, the Bhagavad Gita has played a strong role in Vedantic thought.

No single interpretation of the texts emerged, and several schools of Vedanta developed, differentiated by their conceptions of the nature of the relationship and the degree of identity between the eternal core of the individual self (atman) and the absolute (brahman). These range from the nondualism (Advaita) of the 8th-century philosopher Shankara to the theism (Vishishtadvaita; literally “Qualified Nondualism”) of the 11th–12th-century thinker Ramanuja and the dualism (Dvaita) of the 13th-century thinker Madhva.

The Vedanta schools do, however, hold in common a number of beliefs; transmigration of the self (samsara) and the desirability of release from the cycle of rebirths; the authority of the Veda on the means of release; that brahman is both the material (upadana) and the instrumental (nimitta) cause of the world; and that the self (atman) is the agent of its own acts (karma) and therefore the recipient of the fruits, or consequences, of action (phala). All the Vedanta schools unanimously reject both the heterodox (nastika) philosophies of Buddhism and Jainism and the conclusions of the other orthodox (astika) schools (Nyaya, Vaisheshika, Samkhya, Yoga, and, to some extent, the Purva-Mimamsa).

The influence of Vedanta on Indian thought has been profound, so that it may be said that, in one or another of its forms, Hindu philosophy has become Vedanta. Although the preponderance of texts by Advaita scholastics has in the West given rise to the erroneous impression that Vedanta means Advaita, the nondualistic Advaita is but one of many Vedanta schools.

Excerpts from Vedanta Articles on Wikipedia and Encyclopaedia Britannica


symbolism behind natarajasana

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Depicted in southern Indian art dating back to the 10th through 12th centuries, Shiva Nataraja dances at the center of the wheel of samsara, a cosmic ring of fire that symbolizes the eternal cycle of birth, life, and death.

The name Shiva derives from a Sanskrit root that means “liberation,” and liberation or freedom is what the dancing four-armed Shiva Nataraja expresses. He can’t stop the passage of time or the fire that surrounds him, but he can find bliss amid the chaos. His dreadlocks shake as he balances on the demon of avidya, or ignorance. In one of his hands, he holds a drum on which he beats the passage of time. Another hand holds a conch shell, recalling the power of the sound of Om that reverberates through the universe. In a third hand, the flame of vidya, or knowledge, reveals the internal light of our true nature. One of Shiva’s right hands is held up in Abhaya Mudra, a gesture of fearlessness. It’s the fearlessness that comes from knowing one’s own transcendent nature—that though the mortal form you inhabit will change and die, there is an energy within you that will continue on, like the pulsation of an atom or the light from the supernova of a dying star that reaches earth with its beauty.

Shiva’s heart is the center of the wheel; the hub that stabilizes him within the great cycles of cosmic change.  When you make the shape of the pose, you embody both the wheel of samsara and the hub. As you settle into this backbend, balanced steadily on your standing leg, your heart lifted and open, feel free to reach a hand forward in one of several positions. Either hold the hand up in a “stop in the name of love” kind of gesture that is the equivalent of the gesture of fearlessness that Shiva uses; or join the first finger and thumb in Jnana Mudra, the yogi’s “okay” symbol. Or simply turn the palm up in a gesture that signifies you are ready to surrender to the change that is afoot.

The beauty of working toward a difficult pose is that, in the best of circumstances, the desire for the form of the pose eventually falls away. Along the way, the fire of the practice may leave you free from desire for the final pose, as you embody steadiness and joy in your own Shiva’s dance.

Excerpt from Yoga Journal article Joy to the World by Alanna Kaivalya


kali

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The Dark Tantric Goddess by Rabi Behera

The worship of a mother goddess as the source of life and fertility has prehistoric roots, but the transformation of that deity into a Great goddess of cosmic powers was achieved with the composition of the Devi Mahatmya (Glory of the goddess), a text of the fifth to sixth century, when worship of the female principle took on dramatic new dimensions. The goddess is not only the mysterious source of life, she is the very soil, all-creating and all consuming.

Kali makes her ‘official’ debut in the Devi-Mahatmya, where she is said to have emanated from the brow of Goddess Durga (slayer of demons) during one of the battles between the divine and anti-divine forces. Etymologically Durga’s name means “Beyond Reach”. She is thus an echo of the woman warrior’s fierce virginal autonomy. In this context Kali is considered the ‘forceful’ form of the great goddess Durga.

Kali is represented as a Black woman with four arms; in one hand she has a sword, in another the head of the demon she has slain, with the other two she is encouraging her worshippers. For earrings she has two dead bodies and wears a necklace of skulls ; her only clothing is a girdle made of dead men’s hands, and her tongue protrudes from her mouth. Her eyes are red, and her face and breasts are besmeared with blood. She stands with one foot on the thigh, and another on the breast of her husband.

Kali’s fierce appearances have been the subject of extensive descriptions in several earlier and modern works. Though her fierce form is filled with awe- inspiring symbols, their real meaning is not what it first appears- they have equivocal significance:

Kali’s blackness symbolizes her all-embracing, comprehensive nature, because black is the color in which all other colors merge; black absorbs and dissolves them. ‘Just as all colors disappear in black, so all names and forms disappear in her’ (Mahanirvana Tantra). Or black is said to represent the total absence of color, again signifying the nature of Kali as ultimate reality. This in Sanskrit is named as nirguna (beyond all quality and form). Either way, Kali’s black color symbolizes her transcendence of all form.

Kali’s nudity has a similar meaning. In many instances she is described as garbed in space or sky clad. In her absolute, primordial nakedness she is free from all covering of illusion. She is Nature (Prakriti in Sanskrit), stripped of ‘clothes’. It symbolizes that she is completely beyond name and form, completely beyond the illusory effects of maya (false consciousness). Her nudity is said to represent totally illumined consciousness, unaffected by maya. Kali is the bright fire of truth, which cannot be hidden by the clothes of ignorance. Such truth simply burns them away.

She is full-breasted; her motherhood is a ceaseless creation. Her disheveled hair forms a curtain of illusion, the fabric of space – time which organizes matter out of the chaotic sea of quantum-foam. Her garland of fifty human heads, each representing one of the fifty letters of the Sanskrit alphabet, symbolizes the repository of knowledge and wisdom. She wears a girdle of severed human hands- hands that are the principal instruments of work and so signify the action of karma. Thus the binding effects of this karma have been overcome, severed, as it were, by devotion to Kali. She has blessed the devotee by cutting him free from the cycle of karma. Her white teeth are symbolic of purity (Sattva), and her lolling tongue which is red dramatically depicts the fact that she consumes all things and denotes the act of tasting or enjoying what society regards as forbidden, i.e. her indiscriminate enjoyment of all the world’s “flavors”.

Kali’s four arms represent the complete circle of creation and destruction, which is contained within her. She represents the inherent creative and destructive rhythms of the cosmos. Her right hands, making the mudras of “fear not” and conferring boons, represent the creative aspect of Kali, while the left hands, holding a bloodied sword and a severed head represent her destructive aspect. The bloodied sword and severed head symbolize the destruction of ignorance and the dawning of knowledge. The sword is the sword of knowledge, that cuts the knots of ignorance and destroys false consciousness (the severed head). Kali opens the gates of freedom with this sword, having cut the eight bonds that bind human beings. Finally her three eyes represent the sun, moon, and fire, with which she is able to observe the three modes of time: past, present and future. This attribute is also the origin of the name Kali, which is the feminine form of ‘Kala’, the Sanskrit term for Time.

Kali’s dwelling place, the cremation ground denotes a place where the five elements (Sanskrit: pancha mahabhuta) are dissolved. Kali dwells where dissolution takes place. In terms of devotion and worship, this denotes the dissolving of attachments, anger, lust, and other binding emotions, feelings, and ideas. The heart of the devotee is where this burning takes place, and it is in the heart that Kali dwells. The devotee makes her image in his heart and under her influence burns away all limitations and ignorance in the cremation fires. This inner cremation fire in the heart is the fire of knowledge, (gyanagni), which Kali bestows.

The image of a recumbent Shiva lying under the feet of Kali represents Shiva as the passive potential of creation and Kali as his Shakti. The generic term Shakti denotes the Universal feminine creative principle and the energizing force behind all male divinity including Shiva. Shakti is known by the general name Devi, from the root ‘div’, meaning to shine. She is the Shining One, who is given different names in different places and in different appearances, as the symbol of the life-giving powers of the Universe. It is she that powers him. This Shakti is expressed as the i in Shiva’s name. Without this i, Shiva becomes Shva, which in Sanskrit means a corpse. Thus suggesting that without his Shakti, Shiva is powerless or inert.

Excerpts from Article Mother Goddess as Kali – The Feminine Force in Indian Art by Nitin Kumar


why teach sanskrit names

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The gradual introduction of traditional names can teach your students more than you might initially think. Dr. Douglas Brooks, Sanskrit scholar and Professor of Religion at the University of Rochester, believes one of the best reasons to use the Sanskrit terms is to stir up interest and nurture curiosity. The Sanskrit suggests there’s more to yoga than athletic activity, Brook says. “If you think yoga is only stretching, don’t learn the names,” he says. “But if you really want to teach, you need to know where the references come from.”

If you—or your students—start using Sanskrit names more regularly, it may inspire you to learn more about the language of the yogic tradition. Sanskrit has been called the mother of all Indo-European languages. It is considered to be one of the oldest languages on Earth; predating—Greek and Latin, arising from the Proto Indo European language spoken 7000-8000 years ago. The word “sanskrit” itself translates to perfected, polished, or refined. And that translation is appropriate, given the healing power the language is thought to have.

According to Jay Kumar, a Sanskrit scholar and yoga teacher who has produced a CD and manual on how to pronounce Sanskrit, each of the 50 letters of the Sanskrit alphabet are thought to have a sound frequency with a specific therapeutic benefit. “When you tap into the sound of yoga you really experience Yoga with a capital Y,” said Kumar. In Vedic belief, each word is encoded with consciousness. To put this simply, the pose name and the effect of the pose are one. So by simultaneously saying or hearing the Sanskrit name and performing the pose, we can feel the “click” of unity between sound and body.

“The symbolic aspect of the pose is in the name,” says Iyengar teacher and Open Sky Yoga director Francois Raoult. “Listen to ‘bhastrika’ [the Sanskrit name for Breath of Fire]. There is a lot of wind in the sound when you speak it, like breath.”

Raoult confirms that understanding yogic lexicon can make teaching and learning easier. “When you start to get more mature as a practitioner, there’s a lot of cross references between poses that are helpful. You can hear ‘create the actions of Tadasana in Sirsasana’ instead of a whole mess of instructions. It makes the teaching clearer. It gives more refinement because you can cross reference and explain one pose in terms of another pose.”

And there are other benefits as well. For one thing, Sanskrit breaks down the barriers between people who speak different languages. “The beauty of the Sanskrit terms is that they are a universal reference,” says Raoult. “No matter where you are on the planet, you have the Sanskrit terms so you don’t have to worry. Whether you say the word “plie” [to reference a ballet movement] in Japan or France, it means the same thing.”

This universal language creates a deeper, more spiritual connection. Because Sanskrit names communicate meaning through sound and yoke sound and sensation, they reveal to each individual the universal experience of the pose. Knowing the Sanskrit and connecting it to our practice roots us in tradition and gives us a common vocabulary. This is the first step in seeking that connection that is yoga’s promise.

Excerpts from Yoga Journal Article Why Teach Sanskrit Names By Marget Braun