很多瑜伽馆或瑜伽中心（比较专业一点的）都会提醒学员提前到达，不要迟到。我对准时的概念是，学生应该至少提前15分钟到达瑜伽馆做好所须的准备工作（进入前台、换衣服、找好位置、拿好工具、准备活动等等）。有的瑜伽馆说迟到5分钟（有的说10分钟）以后不能再进入练习场地。但其实只存在两种情况，一种是迟到，一种是没有迟到（据说人也就分成这两种）。我不理解为什么迟到5分钟是允许的。迟到15分钟并不比迟到5分钟更糟。相反，按我的观点，最糟的就是那些迟到几分钟的学员。让我们看看瑜伽课的结构，并且想一想为什么。
一堂瑜伽课（以体位练习为主）的开始和结束都是安静的。最开始的5分钟恰恰是教师引导学员进行“知觉的切换”的阶段，即从日常的忙乱、麻木、机械、浮躁的态度转换成安静、敏感、柔和、警觉的态度。如果瑜伽练习不能在一种平和、清醒和充满觉知力的状态下进行，那练习的不是瑜伽，而只是健身操而已（遗憾！）。在体位练习开始前我们必须让自己先进入一种冥想性的状态，这就是我们为什么关注呼吸和唱诵aum，这是为了让我们的注意力或知觉进入一个更高更、敏感和直观的状态，而体位练习只是这种状态的延续和深入罢了。体位是行动中的冥想（karma yoga）。如果在这个阶段不断有人闯入教室，发出声音，找位子，要别人给她让位子，摆弄瑜伽垫，等等，这是对整个课堂的冥想氛围的骚扰（除非一个教师根本不想或不能创造这种氛围，这另当别论）。迟到者的心态往往是由于知道自己迟到而非常忙乱、急躁，他们的进入也把这种感觉和能量带入了课堂，其结果是所有人，教师、学员、包括迟到者自己，谁都无法进入恰当的冥想的准备状态。因此从某种角度而言，宽容迟到者实际上是对提前和准时到达的学员的不公正待遇和惩罚。
作为教师我的处理方法曾经很简单，一旦到了该开始的时间，我就把门从里面锁上，谢绝一切迟到者。这一招非常管用，我的课从此以后没有任何人迟到。但我曾看到我的老师Karin的另一种处理方法，如果当她正在引导课堂做预备冥想或唱诵的时候有迟到的学生进入，她立刻示意他们就在门口坐下，不要走动，然后在预备冥想和唱诵结束后再让他们进入位置。
我们都会有迟到的时候，都会有无法控制的处境，但很重要的一点是，（无论在生活中还是在瑜伽练习中）我们必须懂得如何尽量减少多米诺骨牌效应，减少一个过失带来的其他过失和对自己和他人所产生的副作用。如果你在去瑜伽馆的路上发现要迟到了，Ok，首先保持安静并且安静地进入瑜伽馆，然后在进入教室前先在门口停顿一下，观察或倾听一下课堂处于什么样的状态和阶段，如果课处在刚刚开始的冥想和唱诵的阶段，你就不应该进入，这是你的修养，因为你进入而不发出噪音是不可能的，而在冥想中任何丁点的声音都是一种对冥想者的干扰和刺激，因为冥想从最基本的意义上讲就是对敏感性的培养——这是从不练习冥想的人所不能理解的。如果体位练习已经开始，这时你进入问题不大，老师有时甚至会根本没注意到你。但你自己会有些问题——你还没有做准备，你没有切换你的状态，你的身体、你的心、你的感觉仍然还在那些嘈杂的人群和堵塞的交通之中。你一下子无法立刻进入瑜伽那片内在的，安静的，专注的天空——怎么办？很简单——不要再迟到。
2007年5月10日星期四
2007年5月1日星期二
冥想身体是庙宇
选择一个舒适的盘腿坐姿，为了在这个冥想过程中帮助脊椎挺直，可把坐骨垫高5厘米左右，或垫高到使你的腹股沟略高于或至少不低于你的膝盖，这是为了使你的腹股沟和大腿内侧始终保持放松，腿部要有微妙地向外向下流淌的感觉。双手进入Jnana Mudra(拇指尖和食指尖相触，伸直另外三个手指，掌心朝上，手背放在膝盖上)，使身体的重量均匀地落在左右臀骨上。在坐定前可养成一个非常有用的习惯是：用手指把你臀部的肌肉向后、向两边分开，使坐骨更直接地压住地面，使腹股沟和大腿内侧的肌肉向内旋转。
利用坐骨和地面之间的反作用力向上伸展整条脊椎。先感觉最下面几节椎骨轻轻向前锁住骨盆，腰椎微微向前贴入胃部（但不要强迫或使腰部肌肉紧张）。在吸气时胸部展开，使胸骨和躯干正面的能量上升，同时感受肚脐两侧的皮肤微微拉长、伸展。把胸部的顶端和锁骨向两侧舒展开，向肩膀的方向延伸。让肩膀放松地下沉，离开耳朵。让背部和腰部的皮肤柔和地流向臀部。下巴微微向喉部方向收回，感觉后脑和双耳的背面向上伸展。保持尾骨到头顶的延伸感，放松面部皮肤，使表情变得安详柔和。先放松太阳穴，然后进入内部，放松眼球的背面和正面，最后再放松眼皮。先放松外耳，然后再把耳朵的内部向头颅的中心收回。
用内在的眼睛观察你胸部细微的起伏和运动，象观察一个内在海洋中的平静波涛；用你内在的耳朵倾听你的呼吸和内心那些细微的语言和声音。只是凝神谛听，不要去辨别什么，期望什么或作出任何判断或评价。不要进入头脑那些相对性的游戏（肯定／否定，喜欢／讨厌，希望／失望，赞美／贬低等等）。保持你知觉的地平线的宽广的视野，微风习习——是你轻柔缓慢的呼吸，保持2～3分钟，或直到身体、呼吸和内心都渐渐进入另一层面的安定感为止。在这期间冷静地体会呼吸如何作为一种安静的力量始终在你身体的各部分流动并且充满、影响着你的知觉。呼吸仿佛是一面镜子，通过冥想和专注于呼吸你好像逐渐看清了一个更平和稳定的自我。
现在感觉眼球轻轻向上注视着前额，并同时意守眉心的位置（Ajna Chakra，Sambhavi Mudra），凝固住所有纷乱的思绪。现在深长地吸气，吸满后屏住呼吸，然后把下巴压向锁骨，Jalandhar Bandha。屏息的同时把肚脐向内收回，轻轻上提会阴或直肠（Mula Bandha），感觉内脏和隔膜贴向胸部，保持面部、全身和内心的放松，保持内心的从容，继续观察。现在你在头脑中听见你自己清晰大声地唱颂第一个曼佗罗的声音，要以一种清晰和从容的速度唱颂完。现在放松会阴和肚脐，抬起下巴，这次用平稳的音调大声唱出第一个曼佗罗，同时冥想这个曼佗罗的声音能量正在注入眉心之间。用这一口气唱完整个曼佗罗。然后再次深深地吸气，屏住呼吸开始第二个循环。每个曼佗罗做3个循环。
第一个曼佗罗：
Aum Keshavaya Namah——专注于眉心的位置。
第二个曼佗罗：
Aum Narayanaya Namah——专注于紧靠肚脐的腹部。
第三个曼佗罗：
Aum Madhavaya Namah——专注于胸骨的中心。
第四个曼佗罗：
Aum Govindaya Namah——专注于锁骨之间的喉部。
第五个曼佗罗：
Aum Vishnavaya Namah——专注于肚脐和右腰部的中间区域。
第六个曼佗罗：
Aum Madhusudanaya Namah——专注于右肘部上方手臂外侧。
第七个曼佗罗：
Aum Trivikramaya Namah——专注于右上臂外侧接近肩膀的区域。
第八个曼佗罗：
Aum Vamanaya Namah——专注于左腹部部肚脐和左腰部的区域。
第九个曼佗罗：
Aum Shridharaya Namah——专注于左肘部上方的手臂外侧。
第十个曼佗罗：
Aum Hrishikeshaya Namah——专注于左上臂外侧接近肩膀的区域。
第十一个曼佗罗：
Aum Padmanabhaya Namah——专注于颈部后面第七颈椎的区域。
第十二个曼佗罗：
Aum Damodaraya Namah——专注于肚脐的正后方，腰椎的区域。
第十三个曼佗罗：
Aum Vasudevaya Namah——专注于Bindhu Chakra，后脑的上部。
在唱诵每个曼佗罗和冥想相应的部位之间，可放松的呼吸几次，然后再继续下一个曼佗罗和下一个部位。要清晰从容地发出每一个曼佗罗的音节，并体会曼佗罗对身体的那个部位的净化力。结束最后一个曼佗罗以后，深深地吸气，屏住呼吸，在舒适的范围内保持10~60秒。（收回肚脐，上提会阴。）先慢慢抬起头，再缓缓呼气。并感觉到随着这口呼气所有身体和内心的污染、障碍和困扰都被排出体外。保持原来的姿势和放松的呼吸，继续冥想1~3分钟。
练习的最佳时间：清晨做完清洁法和沐浴以后，开始其它练习之前。
然后整天去感觉你的身体像一座适合灵魂居住的纯洁的庙宇一样散发着美丽的灵性的光芒。你的身体得到了曼佗罗的声音构成的精微能量的净化和保护。你的感官是喜悦的出口。
利用坐骨和地面之间的反作用力向上伸展整条脊椎。先感觉最下面几节椎骨轻轻向前锁住骨盆，腰椎微微向前贴入胃部（但不要强迫或使腰部肌肉紧张）。在吸气时胸部展开，使胸骨和躯干正面的能量上升，同时感受肚脐两侧的皮肤微微拉长、伸展。把胸部的顶端和锁骨向两侧舒展开，向肩膀的方向延伸。让肩膀放松地下沉，离开耳朵。让背部和腰部的皮肤柔和地流向臀部。下巴微微向喉部方向收回，感觉后脑和双耳的背面向上伸展。保持尾骨到头顶的延伸感，放松面部皮肤，使表情变得安详柔和。先放松太阳穴，然后进入内部，放松眼球的背面和正面，最后再放松眼皮。先放松外耳，然后再把耳朵的内部向头颅的中心收回。
用内在的眼睛观察你胸部细微的起伏和运动，象观察一个内在海洋中的平静波涛；用你内在的耳朵倾听你的呼吸和内心那些细微的语言和声音。只是凝神谛听，不要去辨别什么，期望什么或作出任何判断或评价。不要进入头脑那些相对性的游戏（肯定／否定，喜欢／讨厌，希望／失望，赞美／贬低等等）。保持你知觉的地平线的宽广的视野，微风习习——是你轻柔缓慢的呼吸，保持2～3分钟，或直到身体、呼吸和内心都渐渐进入另一层面的安定感为止。在这期间冷静地体会呼吸如何作为一种安静的力量始终在你身体的各部分流动并且充满、影响着你的知觉。呼吸仿佛是一面镜子，通过冥想和专注于呼吸你好像逐渐看清了一个更平和稳定的自我。
现在感觉眼球轻轻向上注视着前额，并同时意守眉心的位置（Ajna Chakra，Sambhavi Mudra），凝固住所有纷乱的思绪。现在深长地吸气，吸满后屏住呼吸，然后把下巴压向锁骨，Jalandhar Bandha。屏息的同时把肚脐向内收回，轻轻上提会阴或直肠（Mula Bandha），感觉内脏和隔膜贴向胸部，保持面部、全身和内心的放松，保持内心的从容，继续观察。现在你在头脑中听见你自己清晰大声地唱颂第一个曼佗罗的声音，要以一种清晰和从容的速度唱颂完。现在放松会阴和肚脐，抬起下巴，这次用平稳的音调大声唱出第一个曼佗罗，同时冥想这个曼佗罗的声音能量正在注入眉心之间。用这一口气唱完整个曼佗罗。然后再次深深地吸气，屏住呼吸开始第二个循环。每个曼佗罗做3个循环。
第一个曼佗罗：
Aum Keshavaya Namah——专注于眉心的位置。
第二个曼佗罗：
Aum Narayanaya Namah——专注于紧靠肚脐的腹部。
第三个曼佗罗：
Aum Madhavaya Namah——专注于胸骨的中心。
第四个曼佗罗：
Aum Govindaya Namah——专注于锁骨之间的喉部。
第五个曼佗罗：
Aum Vishnavaya Namah——专注于肚脐和右腰部的中间区域。
第六个曼佗罗：
Aum Madhusudanaya Namah——专注于右肘部上方手臂外侧。
第七个曼佗罗：
Aum Trivikramaya Namah——专注于右上臂外侧接近肩膀的区域。
第八个曼佗罗：
Aum Vamanaya Namah——专注于左腹部部肚脐和左腰部的区域。
第九个曼佗罗：
Aum Shridharaya Namah——专注于左肘部上方的手臂外侧。
第十个曼佗罗：
Aum Hrishikeshaya Namah——专注于左上臂外侧接近肩膀的区域。
第十一个曼佗罗：
Aum Padmanabhaya Namah——专注于颈部后面第七颈椎的区域。
第十二个曼佗罗：
Aum Damodaraya Namah——专注于肚脐的正后方，腰椎的区域。
第十三个曼佗罗：
Aum Vasudevaya Namah——专注于Bindhu Chakra，后脑的上部。
在唱诵每个曼佗罗和冥想相应的部位之间，可放松的呼吸几次，然后再继续下一个曼佗罗和下一个部位。要清晰从容地发出每一个曼佗罗的音节，并体会曼佗罗对身体的那个部位的净化力。结束最后一个曼佗罗以后，深深地吸气，屏住呼吸，在舒适的范围内保持10~60秒。（收回肚脐，上提会阴。）先慢慢抬起头，再缓缓呼气。并感觉到随着这口呼气所有身体和内心的污染、障碍和困扰都被排出体外。保持原来的姿势和放松的呼吸，继续冥想1~3分钟。
练习的最佳时间：清晨做完清洁法和沐浴以后，开始其它练习之前。
然后整天去感觉你的身体像一座适合灵魂居住的纯洁的庙宇一样散发着美丽的灵性的光芒。你的身体得到了曼佗罗的声音构成的精微能量的净化和保护。你的感官是喜悦的出口。
2007年1月23日星期二
Sukhasana/Easy pose/Happy sitting pose
Sukhasana is the basic cross-legged sitting posture which we use to begin each class. In the Iyengar system of nomenclature, Sukhasana and Swastikasana are two names for the same pose.
We sit for a few minutes in Sukhasana at the beginning of class to create a receptive mind before beginning our yoga practice. In Sukhasana, begin the process of involution which you will extend and deepen throughout the class. Begin to observe yourself inwardly rather than extracting information from the external world with your eyes.
For Sukhasana, fold at least one blanket in half from the storage fold to sit on. Cross your legs at the mid-shins, not your ankles as is our common tendency. Your pubic bone and the cross of your shins should be in one line. Keep your ankles flexed a little so that your feet are on their outside edges, perpendicular to the floor, but relax your toes. The soles of your feet face to the sides and your toes will face forward. You should not be able to see your feet since they will be basically under your knees. Do not have your feet under your thighs -- try to bring your feet under your knees or further forward. Balance evenly on your sit bones. With your hands, reach back under your buttocks and manually pull your buttock flesh back and out to sides on your sitting support. As you do that, also separate your sitting bones. After you roll your buttocks outward, roll your thighs inward.
If you place your fingers on your anterior iliac crests (the "hip points") and your thumbs on the tops of your pelvis in back, they should be level. If your thumbs are lower than your fingers, your pelvis is tilting backward. If this is the case, you should sit on more height, such as another folded blanket. Your pelvis should be in a neutral position, not tilting forward or backward. This allows for normal lumbar lordosis, allows your groins to relax, and lessens the effort required to keep your torso erect. Level your pelvis both side to side and from front to back. Make sure your pelvis is upright and not tilting back. Do this every time you sit in this asana. Without this base you cannot build the rest of your spine and torso structure onto it properly. This is the foundation.
Your groins must relax and descend. You may notice a tendency for them to harden and tense to pull your torso forward into an upright position. If that is happening, take more height under your buttocks until you can sit upright with your torso perpendicular to the ground without feeling your groins tense. If you're doing the pose to practice pranayama, you especially want your legs to feel as if they're "flowing away from you" without any tension in your groins whatsoever. This may require even more height under your buttocks than you usually use a the beginning of class. Your knees should not be higher than your hips. This is another sign of needing more sitting height. Also verify that your knees are level with each other.
Take your lumbar spine very slightly and softly inward so that your lower back is concave. Draw your abdomen softly inward and upward. Sit high enough so you find you have a good lift your lower abdomen region. Lengthen the often neglected space between the pubic bone and the navel. From the right and left side floating ribs to the armpit chest, feel yourself ascend.
Lift your spine and your chest upward and also broaden your chest out to the sides. Allow your ribs to spread outward with each inhalation and note how horizontal actions of the body foster a broadening of the mind and consciousness. Move your dorsal (thoracic) spine into your body, but do it without hardening your diaphragm or your throat or eyes. Breathe in from your back body diagonally upward through your sternum and use that action to help you maintain the lift of your chest. Place your fingertips onto the blankets at your sides and press them into the blankets with your elbows flexed a little and use the lifting action of your arms to raise your torso as erect as you can. "Circularize your ampit chest" as discussed under the Tadasana section (moving your rear armpits under and upward toward your front armpits). Lift your chest. Have your front torso energy ascending and your rear torso energy descending. After you have pressed your hands down to lift your chest, also rotate your upper arms outward to broaden your chest from side to side. When you return your hands to your thighs, imagine you still have your two hands pressing down at your sides, keeping your torso just as erect. When your hands are on your thighs, the median line of your upper inner arms should align with the median line of of the sides of your torso.
When you take your hands into Anjali Mudra (Namaskarasana, Namaste position) place them palm to palm with your thumbs and the flesh of your thenar eminences against your lower sternum and your fingers together pointing away from your chest at an angle, not pointing straight up toward the ceiling. Press your palms together and then press them a little harder. Feel the bones of your hands press into each other. Take time to feel each bone press into the corresponding bone on the other side -- experience that awareness. And then after a moment or so, relax the pressure back to the point where only the skin is touching and re-experience that awareness now a little differently.
As in all asanas, soften your face, tongue, eyes, and throat areas. Keep them free from tension Keep your tongue resting on your lower palate. Have the feeling of drawing your inner ears into your head, and relaxing them downward. When you close your eyes, note there is still a tendency for them to continue to try to look outward, to seek for information from the outside. You must relax the eyeballs themselves as well is the muscles that move them in their sockets (extra-ocular muscles). Your upper eyelids close downward to meet your lower eyelids. If that seems like a silly observation, try raising your lower eyelids to your upper ones, or try having the two meet midway at the center of your eye and see how that feels. For chanting (e.g. the invocation), relax your eyes straight back into your head. For pranayama and meditation, turn them downward toward the floor as well. Keep lifting through your inner body, but allow your brain and your face, both, just to melt and descend.
Keep your sense organs relaxed. As your sense organs become quiet, your brain also becomes quieter and quieter. Feel as though your frontal brain is receding into the back of your brain. Allow your brain cells to recede and be quiet in that state. Use the rhythm of your breathing to still the "lake of your mind" and draw your awareness more and more inward.
From The Brad's Iyengar Notebook
2007年1月12日星期五
有关瑜伽的问答(三)
问: 我在练习哈塔瑜伽时有感觉你说的身体的稳定、心智的清晰但较少感受到内在的喜悦。你对此有什么看法和建议呢？
答: 我的理解是，原本的hatha yoga并无其本身的独立性，而只是raja yoga或tantra修行的辅助手段，最早的hatha yoga只有kriyas, 清洁法，也就是说在古代瑜伽师用kriya yoga净化身体内外以后，他们就可以直接进入更高的修行和冥想（对超灵的冥想），这些修行是瑜伽正真的内容。古代瑜伽师的品质和能力是我们现代人无法想象的。但后来随着人们的能力的衰退，只做kriya yoga不够了，所以hatha yoga后来又结合了asana,体位pranayama调息等等其他内容，作为补充。当时只有哲学家、出家人和真正的修行者才会练习hatha yoga，而且也不过是用来作为辅助，至少在帕檀加利的时代是这样的。这和现代人做瑜伽只是为了摆出造型和保持身材而练体位完全是两码事情。
《瑜伽经》中对体位的解释完全是心理学上的，即稳定、清晰和（内在的）喜悦。这三种相辅相成的品质包括在体位练习的过程中的感受，也包括了对体位练习的结果的描述。也就是说不管你以什么方式练习体位，只要达成或有助于这三个品质就行了。这里的喜悦是一种生命（身体、语言和思想）被净化以后的轻松和喜悦，这是一个瑜伽师，生理、心理、饮食、生活方式、交往、环境都处于净化的善良属性的结果，也是体验更高的喜乐或samadhi的先决条件。真正的瑜伽师在任何时候都应该有身体的稳定，心智的清晰和内在的喜悦，而不仅仅是在做体位的时候或其他练习的时候。只是练习一些姿势是不够的，我们必须过一种瑜伽师的净化的生活，也就是帕檀加利说的yama niyama，这时我们做任何事都会有内在的喜悦。但从体位练习的角度而言，身体的稳定是心智的清晰的开始，心智的清晰是内在的喜悦的开始。
体位本身可以只是一个身体的造型或姿势（就象舞蹈或体操），也可以是yoga asana瑜伽阿萨那,是什么完全取决于做的人的意向、动机、生活状态和生命境界，即他的目的是不是为了净化自己。一个人可以只是简单的盘腿坐而处于samadhi之中，也可以做出蝎子式而只是一种身体层面的杂技表演。
让我们不断回到经典，并理解经典的内容。namaste!
答: 我的理解是，原本的hatha yoga并无其本身的独立性，而只是raja yoga或tantra修行的辅助手段，最早的hatha yoga只有kriyas, 清洁法，也就是说在古代瑜伽师用kriya yoga净化身体内外以后，他们就可以直接进入更高的修行和冥想（对超灵的冥想），这些修行是瑜伽正真的内容。古代瑜伽师的品质和能力是我们现代人无法想象的。但后来随着人们的能力的衰退，只做kriya yoga不够了，所以hatha yoga后来又结合了asana,体位pranayama调息等等其他内容，作为补充。当时只有哲学家、出家人和真正的修行者才会练习hatha yoga，而且也不过是用来作为辅助，至少在帕檀加利的时代是这样的。这和现代人做瑜伽只是为了摆出造型和保持身材而练体位完全是两码事情。
《瑜伽经》中对体位的解释完全是心理学上的，即稳定、清晰和（内在的）喜悦。这三种相辅相成的品质包括在体位练习的过程中的感受，也包括了对体位练习的结果的描述。也就是说不管你以什么方式练习体位，只要达成或有助于这三个品质就行了。这里的喜悦是一种生命（身体、语言和思想）被净化以后的轻松和喜悦，这是一个瑜伽师，生理、心理、饮食、生活方式、交往、环境都处于净化的善良属性的结果，也是体验更高的喜乐或samadhi的先决条件。真正的瑜伽师在任何时候都应该有身体的稳定，心智的清晰和内在的喜悦，而不仅仅是在做体位的时候或其他练习的时候。只是练习一些姿势是不够的，我们必须过一种瑜伽师的净化的生活，也就是帕檀加利说的yama niyama，这时我们做任何事都会有内在的喜悦。但从体位练习的角度而言，身体的稳定是心智的清晰的开始，心智的清晰是内在的喜悦的开始。
体位本身可以只是一个身体的造型或姿势（就象舞蹈或体操），也可以是yoga asana瑜伽阿萨那,是什么完全取决于做的人的意向、动机、生活状态和生命境界，即他的目的是不是为了净化自己。一个人可以只是简单的盘腿坐而处于samadhi之中，也可以做出蝎子式而只是一种身体层面的杂技表演。
让我们不断回到经典，并理解经典的内容。namaste!
2007年1月7日星期日
Moon Day Yoga 月亮日瑜伽
首先, 也许需要了解的是, 在传统上, 或至少在古代的印度, 极少有妇女从事瑜伽修炼(至少不是公开的), 并不是她们被禁止,而是当时的社会、习俗和文化状况使妇女从事着和男子相当不同的活动和角色。不象当今的现代社会, 妇女出与自愿或经济的压力或任何其他原因，在职业上工作上差不多被社会象一个男人那样使用着,承担同等的压力和责任. 过去的妇女不练习瑜伽,也许恰好和较少有现代的男子练习瑜伽的原因类似(没有人禁止男子练习瑜伽)。瑜伽由于其原本的严肃性,哲学性,学术性和苦行的性质而属于男性活动范围(和柔韧、减肥、保持苗条、维持身材、帮助产前和产后的问题等等女性语汇没有任何关系，你翻开《瑜伽经》连读一小时而不觉得疲劳和枯燥，也许你就明白些我说的严肃是指什么)。但遗憾的是由于商业的炒作，瑜伽渐渐失去了它的严肃性和哲学性，而变成了一种廉价的时尚，高雅的男士嫌它太大众化，大众化的男士嫌它太女子气，正统的男士嫌它太另类，另类的男子嫌他太类似健身。总之，种种误解，跳进黄河也洗不清。
在印度，妇女称经期为"moon day"，月亮日，是用来内省，隐退，休息，净化和冥想的日子。从生理上讲，由于荷尔蒙分泌的变化在体力和情绪上造成的影响，推荐的是尽量减少外界的激烈繁忙的活动和刺激，转而进入内省和静心的状态。职业妇女也许并没有很大的选择，在必须上班的时候“隐退”，但她们仍可以练习在这些日子里以一种低调和隐退的心态去活动，工作和与人交往，并改变瑜伽练习的方式。
从原则上讲，经期的瑜伽练习应帮助我们消除不适和疲劳，恢复体力，稳定情绪，保持内在的宁静（虽然通常的情况恰好相反）。每个妇女在经期身心受影响的程度各不相同，因此，那些有规律地练习瑜伽的女士应该培养出一种内在的“听觉”，倾听身心所发出的信号，并用你的直觉来判断今天应不应该练习体位，练什么和如何练习等等，除了你自己没有人能替你做决定。你可以选择彻底的休息，停止任何体位练习，也可以选择非常柔和的练习以便更好地放松，如坐在地面上的或用靠垫支撑的仰卧姿势和前曲姿势。这里的关键词是：休息、放松、平和和内省。
基于这一原则，在经期应避免的练习是：
１）避免所有倒置姿势（子宫位置高于心脏的姿势），这会干扰经期身体能量（apana)向下排毒的自然过程
２）过于剧烈的容易造成紧张和疲劳的姿势
３）保持过久的站立或平衡姿势
４）剧烈的后弯动作如弓式，骆驼式，轮式等
５）所有腹部剧烈收缩和运动的姿势如，腹部旋转（jathara parivartanasana）仰卧抬腿（urdhva Prasarita padasana）和船式（navasana）
６）跳跃
７）用手臂支撑全身平衡的动作
８）避免有难度的姿势或学习新的姿势
推荐在月经期做的体位都是缓慢、平静、温和和舒适的，可自己在家中练习的有：
1.坐角式（upavistha konasana）：尾骨靠墙坐直，３～5分钟，闭上眼睛，关注呼吸
2.束角式（baddha konasana）：尾骨靠墙坐直，３～5分钟
3.仰卧英雄式（supta virasana）：背部和头用三四个大枕头垫高，前额高于下巴，5分钟
4.仰卧束角式（supta baddha konasana）：用带子绑住骶骨和双脚，5分钟
5.头至膝盖式（janusirsasana）：用椅子的边缘支撑头部，每边2~3分钟
6.单腿跪伸展式（triang mukhaikapada paschimottanasana）：用椅子的边缘支撑头部，左右各2~3分钟
7.半莲花坐单腿背部伸展式（ardha baddha padma paschimottanasana）：左右各2~3分钟
8.坐角式前曲（upavistha forward）：身体前屈，用三四个枕头支撑胸部和头部
9.坐角式侧弯（upavistha to the sade）：用三四个枕头支撑胸部和头部，左右各2~3分钟
10.双腿背部伸展式（paschimottanasana）：用三四个枕头支撑胸部和头部，5分钟
11.仰卧尸体式放松（savasana）：10分钟
调息：
平静缓慢的Ujjayi pranayama乌佳伊调息5~10分钟
nadi shodhana，纳地净化调息（鼻孔交换呼吸法）５～１０分钟
Bramari pranayama，蜜蜂调息，２～３分钟
然后做仰卧尸体式放松（savasana）５分钟
这里的练习不是注重加强柔韧性和耐力，而是去体验＂无为＂和保持内在的觉醒和平静。经期实际上不但不应该是一个瑜伽练习者的障碍，相反它可以是深化我们瑜伽体验的和开发新的练习领域的机会。你可以找一个安静的地方花更多的时间阅读有关瑜伽的经典或哲学（不要认为这不是瑜伽练习），或只练习平静的调息和冥想，或练习japa，轻柔地重复念诵或唱诵曼佗罗。
另外，给那些在经期仍然必须教课的瑜伽老师的建议是，也许这是一个你练习更多地用语言和心灵，而不是用身体去教课的机会，你的学员也许也会有新鲜的感受。我们要始终记住，瑜伽不受我们的躯体、空间和时间的限制，唯一受限制的是我们对瑜伽狭隘的理解。
在印度，妇女称经期为"moon day"，月亮日，是用来内省，隐退，休息，净化和冥想的日子。从生理上讲，由于荷尔蒙分泌的变化在体力和情绪上造成的影响，推荐的是尽量减少外界的激烈繁忙的活动和刺激，转而进入内省和静心的状态。职业妇女也许并没有很大的选择，在必须上班的时候“隐退”，但她们仍可以练习在这些日子里以一种低调和隐退的心态去活动，工作和与人交往，并改变瑜伽练习的方式。
从原则上讲，经期的瑜伽练习应帮助我们消除不适和疲劳，恢复体力，稳定情绪，保持内在的宁静（虽然通常的情况恰好相反）。每个妇女在经期身心受影响的程度各不相同，因此，那些有规律地练习瑜伽的女士应该培养出一种内在的“听觉”，倾听身心所发出的信号，并用你的直觉来判断今天应不应该练习体位，练什么和如何练习等等，除了你自己没有人能替你做决定。你可以选择彻底的休息，停止任何体位练习，也可以选择非常柔和的练习以便更好地放松，如坐在地面上的或用靠垫支撑的仰卧姿势和前曲姿势。这里的关键词是：休息、放松、平和和内省。
基于这一原则，在经期应避免的练习是：
１）避免所有倒置姿势（子宫位置高于心脏的姿势），这会干扰经期身体能量（apana)向下排毒的自然过程
２）过于剧烈的容易造成紧张和疲劳的姿势
３）保持过久的站立或平衡姿势
４）剧烈的后弯动作如弓式，骆驼式，轮式等
５）所有腹部剧烈收缩和运动的姿势如，腹部旋转（jathara parivartanasana）仰卧抬腿（urdhva Prasarita padasana）和船式（navasana）
６）跳跃
７）用手臂支撑全身平衡的动作
８）避免有难度的姿势或学习新的姿势
推荐在月经期做的体位都是缓慢、平静、温和和舒适的，可自己在家中练习的有：
1.坐角式（upavistha konasana）：尾骨靠墙坐直，３～5分钟，闭上眼睛，关注呼吸
2.束角式（baddha konasana）：尾骨靠墙坐直，３～5分钟
3.仰卧英雄式（supta virasana）：背部和头用三四个大枕头垫高，前额高于下巴，5分钟
4.仰卧束角式（supta baddha konasana）：用带子绑住骶骨和双脚，5分钟
5.头至膝盖式（janusirsasana）：用椅子的边缘支撑头部，每边2~3分钟
6.单腿跪伸展式（triang mukhaikapada paschimottanasana）：用椅子的边缘支撑头部，左右各2~3分钟
7.半莲花坐单腿背部伸展式（ardha baddha padma paschimottanasana）：左右各2~3分钟
8.坐角式前曲（upavistha forward）：身体前屈，用三四个枕头支撑胸部和头部
9.坐角式侧弯（upavistha to the sade）：用三四个枕头支撑胸部和头部，左右各2~3分钟
10.双腿背部伸展式（paschimottanasana）：用三四个枕头支撑胸部和头部，5分钟
11.仰卧尸体式放松（savasana）：10分钟
调息：
平静缓慢的Ujjayi pranayama乌佳伊调息5~10分钟
nadi shodhana，纳地净化调息（鼻孔交换呼吸法）５～１０分钟
Bramari pranayama，蜜蜂调息，２～３分钟
然后做仰卧尸体式放松（savasana）５分钟
这里的练习不是注重加强柔韧性和耐力，而是去体验＂无为＂和保持内在的觉醒和平静。经期实际上不但不应该是一个瑜伽练习者的障碍，相反它可以是深化我们瑜伽体验的和开发新的练习领域的机会。你可以找一个安静的地方花更多的时间阅读有关瑜伽的经典或哲学（不要认为这不是瑜伽练习），或只练习平静的调息和冥想，或练习japa，轻柔地重复念诵或唱诵曼佗罗。
另外，给那些在经期仍然必须教课的瑜伽老师的建议是，也许这是一个你练习更多地用语言和心灵，而不是用身体去教课的机会，你的学员也许也会有新鲜的感受。我们要始终记住，瑜伽不受我们的躯体、空间和时间的限制，唯一受限制的是我们对瑜伽狭隘的理解。
2006年12月27日星期三
TADASANA 山式
"你们连怎么用脚站立都不懂，但你们都已经想用头来倒立。”
-- B.K.S. 艾扬格
TADASANA山式的梵文念法是：塔达-萨那，“达”的发音稍稍拉长。TADA是山，ASANA是体位、姿势。简单的说就是立正。在英语中立正的口令是: “Attention!”，意思是“注意了！专心！”这非常符合TADASANA的核心要求。在艾扬格的瑜伽体系中，山式是所有其他姿势的基础和出发点，也被认为是最难的姿势（而不是最容易的姿势）。如果你没有平常心，你很难用心地练习TADASANA山式----很多人甚至不认为这是一个瑜伽姿势，这个看上去简单，其实却无限复杂的姿势。其实每一个瑜伽姿势都可以是无限复杂的，如果我们能够从“一颗沙子中看见一个世界，从一滴水里发现一个天堂”的话（威廉布莱克，英国诗人）。山式的练习就是练习如何处于当下，并同时获得完整性和平衡感。山式中所要遵循的原则几乎可运用于任何姿势，可以说衡量其他姿势的正确性，就是看我们在那些姿势中在何等程度上继续保持着山式所孕育的能量——稳定、清醒、轻快和内在的喜悦（sthira sukham asana《瑜伽经》第二章，46诗节）。所有以下的细微的身体上的要求都是为了把山式（和任何一个姿势）转化为一种内在的冥想，不要把他们看作是苛刻的躯体层面的指令。躯体的运动不是目的，对躯体的觉知和深度的观察才是体位练习的核心，这些细节会协助你。这需要躯体完整的敏感性，这样它才有可能成为灵魂的工具。任何玄之又玄、高深的哲理都得转化成具体的行动，觉悟才能产生。夸夸其谈有什么用呢？虽然也许我们的山式永远不会完美（这又有什么关系呢），但Tadasana却是随时可练习的姿势，你为什么不从现在开始，每当你排队、等车时，好好地练一下你的山式呢？在读下面的内容时，不要光只是读，站起来试一试，感受下真正的山式到底是什么感觉。
山式中的脚和脚踝
双脚大脚趾相触，脚跟微微分离。平衡有问题的人可双脚和臀部同宽。脚踝相触，第二脚趾平行。先抬起脚趾，伸展并铺开脚趾和脚掌下的皮肤。在任何站立姿势中脚趾都不应抓抠地面。 抬脚趾的动作也可帮助保持脚弓提起，防止平足。 让脚底的皮肤和骨点接触地面，你仿佛是在用脚底“盖章”。尽量清晰地感受大脚球，小脚球和脚跟中心的三角支点的概念。重心应该分布在脚跟靠前的部分。从你脚底的皮肤感受你的全身的平衡状况。我们一般倾向于站在脚掌的前端和脚掌的外围。从现在开始试试看，在所有的站立姿势中尝试更多地把重心落于脚跟。做前后左右的摆动的练习以便确定你的重心，然后静止下来，尽量减少晃动。
山式的双腿
保持胫骨垂直在脚跟的正上方。感觉小腿上的肌肉裹住腿骨，然后感受大腿四周的肌肉和皮肤上升的感觉。膝盖骨向上提起（收住髌骨周围的韧带，向上，这是需要不断重复的动作）。 如果可以用手指移动你的膝盖骨，说明你没有收紧你大腿正面的肌肉。感觉大腿内侧互相靠拢，然后向会阴方向上升。大腿肌肉向内旋，因为大腿的习惯是懒散地向外转出。
山式的臀部和骨盆
尾骨向下、轻轻向前锁住（不是夹臀部的动作）。拉长腰椎。同时感觉大腿背面向后展开。保持骨盆的中立位置，避免骨盆：
1. 前倾、后仰
2. 左右出现一前一后
3. 左右出现高低
山式的胸部
上提胸骨并在每次吸气时向两侧均匀扩张。展宽胸部，展开锁骨。但不要在背后收缩肩胛骨，上背部也要一起展宽。 可练习“艾杨格的肩胸部旋转”：吸气时感觉腋窝向前，肩部的正面向上伸展，肩部顶端后移，呼气时肩胛骨向臀部下沉，如此周而复始。吸气十向上拉长躯干正面的皮肤，从肚脐到锁骨。从躯干的中心拉长到头顶。内部和外部同时伸展。感觉正在创造躯体内部空间。
山式的肩膀
肩膀自然下垂向后，对齐并远离耳朵。使肩胛骨贴入背部，向下靠近骨盆背面。下沉时斜方肌的皮肤拉长，同时抬高胸部的顶端。练习：
1.手臂体侧伸展，掌心向上，小指一侧向上旋转
2.背后十指交叉，指关节朝下，向地面伸展手臂，下沉肩胛骨，同时收回下巴，延伸头顶
3.双手置于臀部，肘部向后，展开锁骨，肩胛骨贴入背部但同时保持互相之间的距离。
山式的手臂
学会在放松的同时完全伸长手臂，和抬高胸部的方向相反。二头肌向外旋转，前臂向内旋转。掌心对着大腿，离开大腿六英寸左右。中指朝下。
山式的脖子和头部
正视前方，头颅保持在正中心，目光柔和平静。头顶轻轻向上伸展（不要抬高下巴，从尾骨开始拉长。脖子和喉咙放松。感觉后脑勺向上提起，在不紧张的情况下，均匀拉长脖子的四周。脸部，舌尖轻轻贴在下排牙齿的后面，舌头休息在下颚上，放松舌根，离开上腭，流一个微小的空间在口腔里。喉部要象在所有姿势中那样保持放松。均匀深长的呼吸。
-- B.K.S. 艾扬格
TADASANA山式的梵文念法是：塔达-萨那，“达”的发音稍稍拉长。TADA是山，ASANA是体位、姿势。简单的说就是立正。在英语中立正的口令是: “Attention!”，意思是“注意了！专心！”这非常符合TADASANA的核心要求。在艾扬格的瑜伽体系中，山式是所有其他姿势的基础和出发点，也被认为是最难的姿势（而不是最容易的姿势）。如果你没有平常心，你很难用心地练习TADASANA山式----很多人甚至不认为这是一个瑜伽姿势，这个看上去简单，其实却无限复杂的姿势。其实每一个瑜伽姿势都可以是无限复杂的，如果我们能够从“一颗沙子中看见一个世界，从一滴水里发现一个天堂”的话（威廉布莱克，英国诗人）。山式的练习就是练习如何处于当下，并同时获得完整性和平衡感。山式中所要遵循的原则几乎可运用于任何姿势，可以说衡量其他姿势的正确性，就是看我们在那些姿势中在何等程度上继续保持着山式所孕育的能量——稳定、清醒、轻快和内在的喜悦（sthira sukham asana《瑜伽经》第二章，46诗节）。所有以下的细微的身体上的要求都是为了把山式（和任何一个姿势）转化为一种内在的冥想，不要把他们看作是苛刻的躯体层面的指令。躯体的运动不是目的，对躯体的觉知和深度的观察才是体位练习的核心，这些细节会协助你。这需要躯体完整的敏感性，这样它才有可能成为灵魂的工具。任何玄之又玄、高深的哲理都得转化成具体的行动，觉悟才能产生。夸夸其谈有什么用呢？虽然也许我们的山式永远不会完美（这又有什么关系呢），但Tadasana却是随时可练习的姿势，你为什么不从现在开始，每当你排队、等车时，好好地练一下你的山式呢？在读下面的内容时，不要光只是读，站起来试一试，感受下真正的山式到底是什么感觉。
山式中的脚和脚踝
双脚大脚趾相触，脚跟微微分离。平衡有问题的人可双脚和臀部同宽。脚踝相触，第二脚趾平行。先抬起脚趾，伸展并铺开脚趾和脚掌下的皮肤。在任何站立姿势中脚趾都不应抓抠地面。 抬脚趾的动作也可帮助保持脚弓提起，防止平足。 让脚底的皮肤和骨点接触地面，你仿佛是在用脚底“盖章”。尽量清晰地感受大脚球，小脚球和脚跟中心的三角支点的概念。重心应该分布在脚跟靠前的部分。从你脚底的皮肤感受你的全身的平衡状况。我们一般倾向于站在脚掌的前端和脚掌的外围。从现在开始试试看，在所有的站立姿势中尝试更多地把重心落于脚跟。做前后左右的摆动的练习以便确定你的重心，然后静止下来，尽量减少晃动。
山式的双腿
保持胫骨垂直在脚跟的正上方。感觉小腿上的肌肉裹住腿骨，然后感受大腿四周的肌肉和皮肤上升的感觉。膝盖骨向上提起（收住髌骨周围的韧带，向上，这是需要不断重复的动作）。 如果可以用手指移动你的膝盖骨，说明你没有收紧你大腿正面的肌肉。感觉大腿内侧互相靠拢，然后向会阴方向上升。大腿肌肉向内旋，因为大腿的习惯是懒散地向外转出。
山式的臀部和骨盆
尾骨向下、轻轻向前锁住（不是夹臀部的动作）。拉长腰椎。同时感觉大腿背面向后展开。保持骨盆的中立位置，避免骨盆：
1. 前倾、后仰
2. 左右出现一前一后
3. 左右出现高低
山式的胸部
上提胸骨并在每次吸气时向两侧均匀扩张。展宽胸部，展开锁骨。但不要在背后收缩肩胛骨，上背部也要一起展宽。 可练习“艾杨格的肩胸部旋转”：吸气时感觉腋窝向前，肩部的正面向上伸展，肩部顶端后移，呼气时肩胛骨向臀部下沉，如此周而复始。吸气十向上拉长躯干正面的皮肤，从肚脐到锁骨。从躯干的中心拉长到头顶。内部和外部同时伸展。感觉正在创造躯体内部空间。
山式的肩膀
肩膀自然下垂向后，对齐并远离耳朵。使肩胛骨贴入背部，向下靠近骨盆背面。下沉时斜方肌的皮肤拉长，同时抬高胸部的顶端。练习：
1.手臂体侧伸展，掌心向上，小指一侧向上旋转
2.背后十指交叉，指关节朝下，向地面伸展手臂，下沉肩胛骨，同时收回下巴，延伸头顶
3.双手置于臀部，肘部向后，展开锁骨，肩胛骨贴入背部但同时保持互相之间的距离。
山式的手臂
学会在放松的同时完全伸长手臂，和抬高胸部的方向相反。二头肌向外旋转，前臂向内旋转。掌心对着大腿，离开大腿六英寸左右。中指朝下。
山式的脖子和头部
正视前方，头颅保持在正中心，目光柔和平静。头顶轻轻向上伸展（不要抬高下巴，从尾骨开始拉长。脖子和喉咙放松。感觉后脑勺向上提起，在不紧张的情况下，均匀拉长脖子的四周。脸部，舌尖轻轻贴在下排牙齿的后面，舌头休息在下颚上，放松舌根，离开上腭，流一个微小的空间在口腔里。喉部要象在所有姿势中那样保持放松。均匀深长的呼吸。
2006年12月25日星期一
Tadasana/samasthiti/mountain pose
"You want to stand on your head and you don't even know how to stand on your feet."
-- B.K.S. Iyengar
Give your attention to mastering Tadasana from the very beginning of your practice. Practice Tadasana in every line you have to wait in, at the grocery store, in the ticket line at the theater, etc. All the points learned from Tadasana should be applied in each of the other asanas. In each pose, keep asking yourself, "Is there Tadasana in this body part, in this body part," and so on.
Occasionally precede Tadasana with a thorough foot massage. You have to do this to understand its benefit. Practice interlacing the fingers of one hand with the toes of your opposite foot all the way up to the webs of your fingers and toes. If this is difficult at first, practice it often.
The Tadasana of the feet and ankles
Always begin Tadasana by placing your feet. Place your feet so that your great toes and inner heels are touching. You can also do the pose with your feet hip width apart if balance is difficult. Pull your ankles together so that your inner ankles touch if your anatomy permits. Your second toes should be pointing forward and be parallel.
Lift and lengthen the soles of your feet from the middle of the arch of your foot forward on the floor or sticky mat. As you do this, spread all of your toes wide. Lengthen your toes forward as you spread them apart. Never scrunch up or grip the floor with your toes in any of the standing poses.
Then lengthen each foot from the middle of the arch back through your heels. After lengthening the soles of your feet both forward and back, broaden them side to side, even though this may be more of a feeling than a movement. Try to feel your feet widen as much as possible from the centers outward. Maximize the contact of your feet with the floor or sticky mat. Notice that this is not the same as gripping the floor with your feet or toes. Allow your feet to be soft. Lengthening and broadening them does not mean tensing them.
Cut the outer ankles in. Lift the inner arches of your feet. If that action is difficult, you can get the flavor of it by raising your toes up and spreading them which will also lift the inner arches. Then try to maintain that feeling even as you place your toes back on the mat. Another useful exercise to get the feeling of lifting the inner arches is to loop a belt across the dorsum (tops) of your feet and then bring it under both feet and up along the insides of the feet. You then pull it upward with your hands. Press through the four corners of your feet and feel the lift of your inner arches.
Bring equal weight to all four corners of each of your feet. Feel the weight of your body sink into your feet to flatten them and make them heavy. Feel the skin of the soles of your feet. Is each part of that skin touching the ground equally? In Mr. Iyengar's language, your feet should be "stamping."
Instead of the "four corners" of the feet, we also sometimes use the analogy of a tripod, taking our weight evenly to each of the three places:
(1) the mound of the big toe (head of first metatarsal)
(2) the mound of the little toe (the head of fifth metatarsal)
(3) and the center of the heel (or the inner heel)
In Tadasana our tendency is often to shift our weight more into the balls of our feet and we need to bring it back into the heels with conscious effort. Our weight should fall around the anterior part of our heels and not in the frontal feet hardly at all. Feel the weight of your body in the bones of your legs (right down through your heels), not in your groins and not in the front of your thighs. With your weight mainly on your heels see how the skin on the bottom of your foot, near the mound of your toes is free to open more. Geeta Iyengar says if the bottoms of the feet go even a little wrong the spinal muscles and the muscles of the pubic region also go wrong. Stand with as little movement as possible, watch the skin on the bottom of your feet, and see how much knowledge it can give you throughout your body.
In general, try to bring your weight a little more into your heels in all of your standing poses to draw yourself a little more into the back of your body since we usually tend to work too much from the front of our body. This is true even in daily life while standing in a line -- ask yourself are you more on the balls of your feet with your hips out in front of your feet and your torso sagging? Or can you draw your weight back a little more into your heels and be in the back of your body as much as you are in the front and lift your torso evenly from the front, back, and both sides? Try this and observe how other people stand in daily life.
There is a tendency to allow our weight to fall to the outsides of our feet and let them roll outward. Resist this by a strong inward action of your inner ankles, lifting the outer ankles to achieve this. Don't be on the outer or inner foot, bring yourself as much as possible to be centralized on the bottom of each foot. As much as you lift your outer ankles, lift your inner ankles upward equally. As you lift your ankles, lift the arches of your feet as well.
Experiment with shifting your weight back and forth slightly between each foot in order to feel more clearly the point where your weight is equally distributed between them. In any asana it sometimes helps to move deliberately out of alignment or balance to feel more clearly what it feels like to be in alignment or balance.
The Tadasana of the legs
Make sure each shinbone is exactly balancing over its heel. Take your weight onto your heels by shifting the weight of your body and taking your shins back and moving the front of your thighs toward the backs of your thighs. Especially move your inner thighs back, pulling your groins back a little but having the feeling of softening or "hollowing" them. Do not harden your groins.
Firm the muscles of your legs into your bones on all sides, both in your lower legs and in your thighs. Have the feeling of "hugging" your bones with your muscles strongly. As you squeeze your muscles inward, also feel as though you are squeezing them upward into your pelvis, particularly on all side of your thighs. Lift your hamstrings toward your buttocks. Lift your inner thighs toward your inner groins (the place where your legs meet your pelvis). Lift the front of your thighs toward your front groins and draw them back into your femurs. Lift your outer thighs toward your hips. Lift not only your muscles but your skin as well. Squeeze your inner thighs together. Just keeping your inner thighs together and not stretching your legs strongly as described is wrong Tadasana.
The action of firming and lifting your quadriceps (front thigh) muscles should also raise your kneecaps. Lift your kneecaps strongly upward and also feel as though you are drawing the tops them into your knees somewhat. Open the backs of your knees strongly so there would be no space there if you put a block up against the skin. Feel the skin at the back of your knees stretch both vertically and horizontally. All vertical actions should be accompanied by expanding horizontal intelligence as well.
In any pose where your legs are kept straight, you should lift your kneecaps. You may find that you have to keep "recharging" this action, pulling up your kneecaps each time they fall. This is a good indication that you are human. In all the standing poses, remember, if you can wiggle your patella (kneecap) with your fingers, you are not engaging your quadriceps. Raise the inside and outside of your knees equally. Lifting your kneecap is not the same as pushing your knee back and hyperextending your knee. Hyperextension of the knee is when the top of the shinbone moves back further than the bottom of the thighbone. Lifting your kneecaps and the front of your thighs (quadriceps) in fact helps to ensure that you do not hyperextend your knees. Lifting your kneecaps involves tightening your quadriceps, not squeezing your kneecaps into your knees by tightening the muscles around your kneecap. Get the feeling of both of these and ingrain the former. The latter leads to hyperextension.
Your upper calves should press forward toward your shinbones rather than bowing back in order to move your shinbone slightly forward away from your heels. You should maintain enough weight in the area of the balls of your feet to feel this forward moving action of your shins. This action will also help prevent hyperextension of your knees. Remember, while your thighs are drawing strongly back, resist forward with your upper calves and upper front shins to keep your legs straight. This type of leg action may be called "Tadasana legs" or "Uttanasana legs" and is also found in other poses like Trikonasana. However, the leg/knee action of Adho Mukha Svanasana is quite different.
To reiterate, there should be no heaviness in your calves. Feel how easy it is to just press them back? To just "rest on your calves" in Iyengar parlance? Your calves and buttocks are partners who both move forward while being resisted back by your knees and internal thighs and groins moving back. The movement of the calves forward is slight, but you must feel it.
Take the tops of your thighs back somewhat so they are directly above your ankles. Draw the front skin of your thighs back into your quadriceps muscles, which draw back into your thighbones, which draw back to press against your hamstrings which are drawing forward.
In Tadasana, the tendency is for our thighs to roll lazily outward. This is a common tendency in many poses. You will probably need to roll your thighs slightly inward to ensure that the front center line of each thigh is facing directly forward. This involves internally rotating your legs so that you are taking your inner thighs back more than your outer thighs. Note that rolling your front thighs inward and rolling your rear upper hamstrings outward are part of the same action and augment each other. Even though you're rolling your thighs inward, take your inner calves toward each other but allow your inner calf muscles to go back more. Move your inner heel skin toward your outer heel skin and turn the back of each calf to follow that movement.
Remember that these leg actions are performed (with some variation) consistently in all of the standing asanas.
The Tadasana of the pelvis, hips, and torso
As you are drawing your thigh bones backward, draw your tailbone (sacrum) underneath and forward. Lift your pubic bone upward toward your chest. You want your coccyx bone moving both downward and forward, but the heads of your thighbones (femurs) moving back. This tucking of the tailbone also applies to poses such as plank pose (where it is resisted by the rising thighs) and Caturanga Dandasana -- both of which are just variations of Tadasana really.
The buttocks in Tadasana and any other pose do not squeeze together toward each other. Instead, they engage forward into the sacrum. Tucking your tailbone under is a spinal action that begins by lengthening your lumbar spine. It is not a buttocks-squeezing action. You tighten and engage the top half of your buttocks, but not the lower half -- do not contract your anus. Again, do not squeeze your buttocks together. The tucking-under pelvis of Tadasana is everywhere in yoga. It is used in Trikonasana, Parsvakonasana, Virabhadrasana, and other poses.
Lengthening your lower back helps you to move your sit bones toward your heels, your sacrum forward, and your hip points upward. Note these are three parts of the same action.
A good summary of the three primary actions of the pelvis, hips, and thighs in this pose would be:
(1) Rotate your rear thighs outward (front thighs inward) to make space for your pelvis to tuck underneath
(2) Tuck your pelvis under into the space created (which you may also think of as lifting your frontal hip points)
(3) Compact your hips inward to seal those actions.
So, after you have established the pelvic actions, compact your hips, draw them toward each other. Draw them and your outer thighs together and hold it all in one place. But do not let that cause you to squeeze your buttocks together.
Level your pelvis in all three possible planes: front to back (so that your pelvis is neither tipping forward into the "swayback" position nor tipping back and allowing your low back to round), side to side (so that one hip is not higher than the other), and rotationally (so that your hips are square to the front). This action is also particularly important in Utthita Hasta Padangusthasana and other standing poses where the extension of the legs in various directions tends to pull the pelvis away from its neutral position. Lengthen both sides of your torso from your hips upward toward your armpits. Feel as though your torso is lifting upward off your hips, out of your pelvis.
Lift your side ribs both forward and upward. If you look at a skeleton, you observe that most of your ribcage is in the front of your body. Only the spine belongs to the back of the body. Show that in your posture. Lift your sternum toward the ceiling and expand it side to side. Whenever we lift or open the chest, we actually want to lift the manubrium (bone above the sternum) upward while we lower the xiphoid process (bone below the sternum) downward toward the navel. Draw the skin overlying your front ribs away from your sternum. Broaden your chest and collar bones. Press the skin of your back in toward your sternum to assist these actions. Project your shoulder blades through the front of your chest. Opening your chest is always an action that is done primarily with the muscles of your upper back. However, do not make the common mistake of squeezing your shoulder blades toward each other to open your chest. You must broaden your upper back as much as you broaden your chest and collar bones.
One direction given in Iyengar parlance to help establish the proper movement in the chest is to "Circularize the armpit chest." The "armpit chest" refers to the sides of the chest just underneath the armpits. The image of circularization is used to explain that this area of the chest should be moving forward while the front of the chest should be moving upward while the shoulder itself is moving backward and the back skin of the shoulder is moving downward in a circle to lift and expand the chest. Make this action strong, but don't let it cause your front ribs to jut forward or arch your low back. This action should make the nook off your front armpits and the nook of your rear armpits level with each other. Open the backs of your armpits to the front. The "circularize the armpit chest" action also incorporates taking the shoulder blades forward into chest.
Pull the skin up the front of your torso to lengthen it. Extend up the back of your body as much as the front. Also elongate through the inner core of your body up through the crown of your head. Elongate internally as well as externally. These movements create maximal space within your body. That's what Tadasana is about.
We work on lengthening the front of our torso a lot in yoga, especially in forward bends. But in actuality, in almost all poses the goal is to lengthen all sides of the torso, especially including the area from the bottom of the ribs to the tops of the pelvis on the sides of the torso and the lumbar area. Do not neglect these areas. You should not deliberately firm your abdomen, although it does retain a degree of firmness naturally from the uplifting action in your torso. Do not have it soldier-like tensed.
The Tadasana of the shoulders
Your shoulders should fall naturally down away from your ears and be aligned with your ears in the forward-to-back plane, neither rounding forward, nor being pulled back too strongly in a military-style position. Broaden and separate your shoulders away from each other so you widen your shoulder bones to the sides. Spread your collar bones to the sides and move your shoulders back enough to ensure they are aligned with your ears.
Draw your shoulder blades (scapulae) into your back and down your back toward the top of your rear pelvis while still maintaining space and breadth between them. Also draw your floating ribs in the middle of your back downward toward your rear pelvis. Do not allow these actions to compromise the uplifting of your torso.
Draw the skin on the tops of your shoulders back and downward toward your shoulder blades. Do not tense your shoulders as you do this. Relax them as much as possible. Drop your trapezius skin. As your trapezius skin drops, lift the top of your chest and "circularize your armpit chest" more.
To feel the correct Tadasana of the shoulder blades, sit on a chair with your knees under a table, put your hands underneath the table with your elbows at your sides, and pull the table gently upward with your palms. Remember the shoulder blades belong with the back. If you are lifting your arms overhead (Urdhva Hastasana), though you may extend your arms fully and strongly, do not let your shoulder blades be pulled along out of their correct position down the back. Another way of saying this is to keep your shoulders lowered down away from your ears and the tops of your shoulders and collar bones broad -- do not let your shoulders hug your ears. This is especially important in such poses as Adho Mukha Svanasana.
To understand the feeling of lifting your side ribs and sternum and drawing your shoulder blades down and into your back, extend your arms straight out to your sides and turn your palms upward strongly toward the ceiling (more from the little finger side of your palms than the thumb side). This action will help you create the feeling in your chest and upper back that you should have in virtually every yogasana. This lifting creates space in the torso for breathing deeply. Another good exercise for feeling the correct action of the shoulder blades is to interlace your fingers behind your back, palms up, knuckles toward the floor, and stretch your arms firmly down toward the floor. Feel your shoulder blades pull into and down your back, and raise the top of your skull toward the ceiling to elongate your neck and prevent your chin from jutting out.
Yet another exercise to work on the shoulders in Tadasana is to place your hands on your hips with your elbows pointing straight back to the wall behind you. Then broaden your collar bones and feel how your shoulder blades press into your body and your chest opens. Move your shoulder blades away from each other. So, there are two important actions in this exercise:
(1) your shoulder blades move inward by virtue of the actions you are doing, but
(2) you still maintain space between them.
The Tadasana of the arms
Learn to lengthen both your arms in a relaxed way, fully extending them. As much as your chest moves upward, extend your arms down strongly. Use the resistance of your arms moving down to help lift your chest. However, do not pull your arms down toward the floor so strongly as to pull your shoulders down with tension. Turn your biceps strongly outward in Tadasana, but keep your forearms and palms turning inward so that your palms face your thighs. Have your palms out about six inches away from your thighs. Move your upper arms slightly back.
The classical Tadasana is also done with your arms extended overhead, a posture called Urdhva Hastasana. When you extend your arms overhead and lift them strongly, it aids in the feeling of your torso also lifting strongly. Though you lift with your arms, do not lose the Tadasana of the shoulder blade.
The Tadasana of the neck and head
Look outward at eye level. There is a common tendency to look downward with the eyes in this pose, even though the head is level. Maintain a neutral head position. From a side view, your ear canals should align with the center of your shoulders. Have someone check this visually for you.
Gently press upward through the crown of your head. Lengthen the line all the way up from your sacrum to your head. Be as tall as you can be, like a kid trying to get on a carnival ride he's just a little too small for. As your cervical spine lengthens, you will feel some stretch in your throat, but make sure there is no tension there. Allow your neck and throat to soften.
Lift the back of your head (the base of your skull) away from your neck to lengthen your neck. Keep your neck long on all sides without tension.
Your face, eyes, tongue, and throat areas should remain soft, as in all asanas.
From The Brad's Iyengar Notebook
2006年12月10日星期日
Adho Mukha Svanasana on block 支撑住头部和脚跟的下犬式
圣哲帕檀伽里在他的《瑜伽经》中只给了体位练习一个心理学上的定义，即应该有稳定、清晰、宁静和内在喜悦的品质，sthira sukham asanam 换句话说，我们在练习中之所以不厌其烦地摆出种种姿势，其实是为了达成一个心理学上的目标和培养出一种内在的品质罢了，这些姿势本身并非目的。因此在做一个姿势的时候我们内心的体验比外表看上去如何更重要，当然一个瑜伽导师确实是会根据一个人身体的状态去判断他的学生是否放松，但目的仍是了解内在而非外在。舞蹈则相反，观众或评委看上去如何，比我现在的脚趾是否钻心的疼痛更重要，身体比心灵重要。外在比内在重要。因此瑜伽不是舞蹈的一种。因此瑜伽从来就不是用来表演的，那些所谓的表演啊竞赛啊都是些门外汉的把戏或商业策略罢了。古代的瑜伽师是在没有人的森林里为觉悟自我而修习瑜伽。
我们可以通过体位的练习来战胜虚荣，如果我们更注重内在而非外在，如果我们乐意接受躯体的局限和不完美，我们就会变得谦虚一点，少做作一点。用砖块，靠垫等可以帮助我们培养这种心态，允许工具来帮助和支撑我们，使我们舒适一些、平静一些，而不去担心别人是否认为我们无能（一种虚荣造成的抗拒）。如此瑜伽才会变得美好。
Yama
2006年12月7日星期四
Invocation to Sri Pantanjiali
这是我每次上课开始时唱诵的两段曼佗罗， 是对圣哲帕檀伽里的致敬词。想学习的朋友可以跟着下面Iyengar本人的唱诵学。
http://www.iyengaryoga.org/Resources/invocation.ram
aum
yogena cittasya padena vacam
malam sarirasya ca vaidyakena
yopakarottam pravaram muninam
patanjalim pranjaliranato smi
abahu purusakaram
sankha cakrasi dharinam
sahasra sirasam svetam
pranamami patanjalim
hari aum
Let us bow before the noblest of sages Patanjali,
who gave yoga for serenity and sanctity of mind,
grammar for clarity and purity of speech and
medicine for perfection of health.
Let us prostrate before Patanjali, an incarnation of Adisesa,
whose upper body has a human form,
whose arms hold a conch and a disc, and
who is crowned by a thousand-headed cobra.
2006年12月6日星期三
Uttanasana 站立前曲伸展式
ASANA 体位练习的定义是：身体的稳定、心智的清晰和内在的喜悦。
－－《瑜伽经》第2章，第46诗节
要点：Uttanasana 的身体重心并非均匀地分布在脚掌上，而是在脚掌的前端，脚跟只是轻轻地贴在地面上，并不承受太大压力。尾骨往上指，感受臀骨上升离开脚跟的同时让脊椎和背部象瀑布一样倾泻放松下来，头顶对着地面，脖子、面部、手臂、肩膀尽量放松。在均匀呼吸时平静地打开胸腔和肋骨的两侧。保持1～3分钟。
2006年12月5日星期二
什么是艾扬格瑜伽 Iyengar Yoga？
艾扬格瑜伽是以世界知名的印度瑜伽大师B.K.S. Iyengar所传授的古典瑜伽为基础的瑜伽体系。此系统对整个现代瑜伽界甚至更广泛的领域都具有巨大而深刻的影响力。艾扬格瑜伽以其精确严谨的肢体定位，安全而循序渐进的练习程序，瑜伽工具的使用闻名遐迩。
在asana体位练习方面，艾扬格瑜伽尤其注重身体各部分在姿势中的精确整齐的位置和细节，使肢体平衡稳固，头脑清晰，并达成内在能量的流动和觉醒。这种练习均衡地发展身体的每一部分，同时增强身体的耐力和柔韧性，更培养了对肢体和精微能量之间关系的敏感性。
为了使学生在体位练习中进入更深的层次，有时会借助瑜伽工具，如砖块、绑带、靠垫和椅子等等，让学生在一个姿势中保持很长时间，以对身体的循环或内分泌系统产生深入持久的作用。这种艾扬格瑜伽特色的方法的另一效果是能使练习者进入深层放松，使身心知觉进入安宁、和谐、圆融的境界。
在pranayama瑜伽调息方面，艾扬格瑜伽主张练习者要在有了一个坚实的体位练习基础之后才可开始。调息练习首先要求的是身体坐姿的稳定，脊柱的强壮、平衡和柔韧，内在专注力的培养。为了帮助初习者，很多调息练习都是躺着做，并用垫子支撑起脊椎、头部和胸部，以减少身体的不适和延长练习时间。耐心并按严格的步骤循序渐进地练习是成功的关键。
在精神训练方面，练习艾扬格瑜伽能培养极大的专注力。艾扬格体系的瑜伽教师因他们对姿势细节透彻清晰的描述而闻名，这种耐心、细致、不厌其烦的讲解能将学生带入一种冥想般的精神集中的状态。这种冥想状态一旦成为习惯进入练习者的生活，便带来精神的敏锐和情绪的稳定，不受内心和外在环境的困扰，更深地洞察生命和存在的本质。对认真的瑜伽练习者来说，瑜伽是体验身体的健康、智慧的流动和精神平静的手段，也是带来日常生活自由体验的方法。艾扬格瑜伽以其特有的方式来帮助练习者觉悟这一瑜伽的核心。
在asana体位练习方面，艾扬格瑜伽尤其注重身体各部分在姿势中的精确整齐的位置和细节，使肢体平衡稳固，头脑清晰，并达成内在能量的流动和觉醒。这种练习均衡地发展身体的每一部分，同时增强身体的耐力和柔韧性，更培养了对肢体和精微能量之间关系的敏感性。
为了使学生在体位练习中进入更深的层次，有时会借助瑜伽工具，如砖块、绑带、靠垫和椅子等等，让学生在一个姿势中保持很长时间，以对身体的循环或内分泌系统产生深入持久的作用。这种艾扬格瑜伽特色的方法的另一效果是能使练习者进入深层放松，使身心知觉进入安宁、和谐、圆融的境界。
在pranayama瑜伽调息方面，艾扬格瑜伽主张练习者要在有了一个坚实的体位练习基础之后才可开始。调息练习首先要求的是身体坐姿的稳定，脊柱的强壮、平衡和柔韧，内在专注力的培养。为了帮助初习者，很多调息练习都是躺着做，并用垫子支撑起脊椎、头部和胸部，以减少身体的不适和延长练习时间。耐心并按严格的步骤循序渐进地练习是成功的关键。
在精神训练方面，练习艾扬格瑜伽能培养极大的专注力。艾扬格体系的瑜伽教师因他们对姿势细节透彻清晰的描述而闻名，这种耐心、细致、不厌其烦的讲解能将学生带入一种冥想般的精神集中的状态。这种冥想状态一旦成为习惯进入练习者的生活，便带来精神的敏锐和情绪的稳定，不受内心和外在环境的困扰，更深地洞察生命和存在的本质。对认真的瑜伽练习者来说，瑜伽是体验身体的健康、智慧的流动和精神平静的手段，也是带来日常生活自由体验的方法。艾扬格瑜伽以其特有的方式来帮助练习者觉悟这一瑜伽的核心。
virabhadrasana I/warrior pose I/战士一式
Never emphasize enough the importance of the rear leg and foot. Be strong and aware of them as much as you can, even you can not see. But you have your internal eyes. The whole structure is on the rear leg and foot. Only then the decending of the groins and the acending of the arms possible.
下次再做战士一式时试着竭尽全力专注于后腿和后脚掌外侧。整个结构都在后腿和后脚上，虽然我们看不见它们。但你可以用内在的眼睛去看。手臂上升，腹股沟下沉。
摄影：Chandra（小月）
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