|If you can't beat 'em.... and the Jain's say it's ok...|
Looking at the picture in the Yogāsana-Jaina ,
perhaps I need to think about bringing my head
through and straightening more.
There are references of 107 (āsana no. 18 is missing) āsanas, of which only 17 have been described in Sanskrit verses and their translation has also been provided. The rest of the āsanas are available only with their names and illustrations. Following are the list of āsanas recorded in this manuscript and presented through graphical pictures.
Nice to see Chatuaranga dandasana in the text here called Maralasana, or more popularly at the time of writing Hansasana
|fig 20 āsana No. 31 - Marālāsana or more popularly at the time of writing Hansasana - more recently chatauranga dandasana|
|Nanzoin Temple in Sasaguri, Fukuoka Prefecture, Japan|
A general estimate about the content of the manuscript
- The manuscript has a total of 66 folios. Twenty-four āsanas have been given independent status, i. e. one āsana in one folio (refer Figure 1), whereas 42 folios have been presented with the illustrations of two āsanas in one folio.
Figure 1: Dīkṣāsana with Note (Folio No - 1)
Click here to view
- The manuscript seems to be a compilation or is at least rewritten by the translator of the verses available on 17 āsanas. āsana no. 18 is missing.
- Nothing is known about the author of this text nor do we have any additional information about the Ms. As the beginning statement and colophon are missing, nothing can be said with regard to the author.
- Seventeen āsanas have been described in Sanskrit, along with their translation. A total of 35 verses have been devoted for the description of 17 āsanas.
- The translation of two verses indicates that the translator is not the original writer of the manuscript "Yogāsana." We find this in the context of the translation of 11 th āsana, i.e. Siddhāsana, and the 13 th āsana, i.e. Dakṣiṇāsana.
- While translating the verse on Siddhāsana, the translator writes that this āsana is also known as Muktāsana, Guptāsana, andVajrāsana, as we find in Haṭhapradīpikā (Digambar & Kokaje, 1998, Ch. I / 37). The addition of Muktāsana in this context indicates that he is not the original writer of the manuscript or verses but only a compiler, and also that he was familiar with Haṭhapradīpikā. Similarly, we find that in the context of Dakṣiṇāsana (āsana no. 17), while translating the verse on this āsana, the translator writes, "According to me, the same effect is possible if we do it from the left side." This sentence confirms that the original writer of the verses is different from the translator.
- The selection of āsanas, the way they have been described, and their illustrations, all indicate that this manuscript and the āsanas contained therein are related with the followers of Jaina religion. Even in the Jaina religion, these āsanas seem to represent the śvetāmbar Jaina sect of Jaina religion, which insists on wearing white clothes and keeping the mouth covered with a piece of white cloth. The mouth covered with a piece of cloth is visible in the illustration of the last āsana named "Vyākhyānāsana" (see āsana No. 108 of the current Ms.)
- These āsanas also give us information about the āsanas popular in Jaina tradition. We have the information of two traditions ofāsana identified as "MUNI" and "YOGI" tradition according to Haṭhapradīpikā (Digambar & Kokaje, 1998, Ch. I /18). The āsanas described in the text under study seem to be the āsanas of Jaina tradition, especially the āsanas such as Dīkṣāsana,Vyākhyānāsana, and so on. This also provides a reason to think about the possibility of various traditions of āsanas.
- The sketches provided as illustrations also give a reflection of a Jaina Muni or a Jaina follower.
- Out of the 17 āsanas described in metrical forms in the Anuṣtup metre, we find an instruction of meditation upon Arihanta Deva in 9āsanas. These nine āsanas are: Dīkṣāsana, Padmāsana, Svastikāsana, Nivṛtyāsana, Paρjāsana, Bhagāsana, Devaguruvandanāsana, Paρcāṅanamaskārāsana, and Kārmukāsana. We also find instructions for the recitation of "OM" inSiddhāsana and " śaṃ" referring to Parameṣṭhī in Dakṣiṇāsana.
see also perhaps
my post from last year
Origin's of Modern Yoga Asana: Comparison of Krishnamacharya's teachers drawings and Norman's Sjoman's Sriitattvanidhi (1880's) presentation in his Mysore palace book
|Parsvanatha with seven-hooded cobra canopy, standing in kayotsarga pose, Chakravarti Paloja, Gulbarga, Southern India, 12th century. Black shale sculpture. f V and A London.|