|caught this week's total eclipse, here it is just beginning|
An even bigger Typhoon is due to this Weekend/Monday, I may get another lie in and home practice.
|TY 1419 (VONGFONG)|
That's Veronique above in the centre of the room, she recently came back from Sharat's extended
It's curious experiencing the different focus of attention, the varying concerns of different teachers especially after spending the last few months in Crete with Kristina and Manju where so many of the old ways are still alive and present.
Old ways, new ways, interesting to explore them all and see later which elements end up remaining a part of one's Ashtanga practice and perhaps even one's yoga practice.
In Nietzsche's sense, Crete seemed more Dionysian, oh so Dionysian, here the stress appears, for the moment at least, to be more Apollonian.
Both are considered essential to Nietzsche, the Dionysian needs form and form without the Dionysian.... well, "...what's the point, Stan", an empty eggshell.
Either way it's all good work but a relief to come home and do my regular practice in the evening.
I could do with some Apollonian form perhaps, there's seven years of bad habits for poor Veronique to deal with, plus a general lack of interest over the years in the 'correct' vinyasa of the day (Although recently I obsessed on the count for a while in Primary - Anyone have a bootleg audio of Sharat's 2nd series count?).
Mostly though I just want to tidy up my 2nd series, get my strength and stamina back such that I can explore Krishnamacharya's approach to Intermediate asana, in the same way I've been looking at his Primary this last year or two. Unfortunately only certain aspects of Krishnamacharya's original Ashtanga survived parampara, Archaeology is required.
Talking of Archeology
I came across a Zen monk ( who seems to have open Zazen sessions) with an obsession for the Elgin marbles, supposedly he's been to see them ten times at least and says that on seeing them he realised what was wrong with his Zazen.
You can run the link through google translate for an English'ish version. http://www.geocities.jp/tensho_ji/index.html
The wonderful marbles should of course be back in their rightful place Athens in the beautiful new National Archeological Museum below the Parthenon http://www.namuseum.gr/index-en.html (we'll take that replica though).... and as Free of charge for anyone to visit as in the British Museum, poor Zen monk couldn't have visited ten times if he'd had to pay 7 euros each visit.
This is the google English translation of a blog post where the Monk explains the impression the marbles made on him as well as on his Zazen
"In attitude and flexible nature, beautiful and behave freely-actively - and was named "Parthenon-style" to live like this. By using a return to a flexible attitude of the original, freedom-activeness that their have you originally emerged. And since is that it is available to everyone."
"Zen and Parthenon style quest of attitude beautiful flexible & free natural"
People think it's strange title also will most likely. I think so too.
I came to explore as most important thing,
Such as Shinran Shonin and Jesus or Zen Buddhism,,
The ones that you feel sincerely "It's really important this is!" And,
It was very religious naturally.
At the same time, to explore the nature of the body also is important,
In the process, that it has met a sculpture in the Parthenon was a milestone.
And exploration of Zen and zazen, is quest of Parthenon sculpture,
In a strange form myself, and connected, and has been explored.
(It will continue until death) the course of the quest,
I think you would like to spell out in this blog.
Direction you are thinking now,
· (Failure can be seen very well) my experience in the body and posture
- Zen in the "free-flexible"
Words used 臨済 Zen master is repeated ("free",
The "flexible", teacher Dogen has been described as the root of Buddhism. )
· "Waist stand" and "put the hip" mean?
-Of (or mind) and body "center" is?
-Wonder of the body seen in sculpture Parthenon actual Zen flexible
I'm more than happy to have my asana poked about a bit, sure I'd get a rougher ride in an Iyengar class. Also, encountering the latest manifestation of vinyasa is a source of much interest and even amusement in the case of drishti since I tend to practice with my eyes shut... "I have to look where?" See this post on focal points. Must do a comparison post on Krishnamacharya's original Ashtanga vinyasa (put to one side in his later teaching) and current vinyasa, been meaning to for some time.
One last thought on form....
The 'Zen circle 'below, isn't that round, tear it up and start again
and as for this 'wabi sabi' pot.....
I liked this sentiment from the Ashtanga San Diego Blog
जलपूर्णेष्वसंख्येषु शरावेषु यथा रवेर् ।
एकस्य भात्यसंख्यत्वं तद्वद्भोऽत्र दृश्यते ।।
उपाधिषु शरावेषु यो संख्या वर्तते परम् ।
सा संख्या भवति यथा रवौ चात्मनि तत्तथा ।।
In the same way that a single sun reflects innumerable times in innumerable bowls full of water, so diversity is seen in the world. But just as there are as many suns as there are bowls, so there are as many selves as there are conditions for their appearance.
"In the Ashtanga yoga community we like to speak (or write) a lot about how the practice is more than physical and can be practiced by anyone willing to devote themselves to this endeavor. Unfortunately, our constant stream of asana-selfies, highlighting ever more difficult physical postures, can undermine the message we attempt to communicate. It is a delicate balance as there is beauty and serenity in an asana practice done properly, when it is performed as sacrifice. I find myself wondering though, what sort of different message would we be able to communicate if we started turning our cameras and our blogs upon others? Not in criticism but in praise, in awe, in grateful recognition of the stunning, varied forms of the practice. "
|Cheat sheet of Sury namaskars made up different embers of the shala, love this, hope they do a full Primary soon. Full size pdf here http://www.ashtangasd.com/discussion/downloads|
and everything else is included so why not this....
The Kitchen Sink
|form at the expense of function?|