The subtle integration of these three principles of locomotion, angling and generating power in Sanatan Shastar Vidiya is known as 'Shiv Shakti' (Shiva's power). Hence, at a more esoteric level, the lovers of Shastar Vidiya know their art as the love play between Shiva, and his consort Shakti. This martial principle of Shiv Shakti is also simply known as 'Parjog' (application). It is these elements of 'parjog' that underlie Sanatan Shastar Vidiya and make it work; in its purest form, they provide Shastar Vidiya with its unique dance-like characteristic when fully expressing its cultural origins. The more one advances in the art, the more sophisticated and subtle the grades of 'parjog' become; they have no finite limit.’ As he explains, Nidar Singh demonstrates each principle using his own students and mine. Every minute detail and subtlety is explained. This is a master craftsman at work. Whether it is with empty hands or with a weapon, the underlying principles remain the same - it is the body, rooted, yet moving fluidly through a variety of subtle angle changes that suddenly looms large upon the opponent attacking ceaselessly until he is vanquished! The three principles of locomotion, angling and generating power are all present in the Taiji of old. The concepts of rooting, sinking and the ‘centre moving the peripherals,’ all correspond to these. Likewise, although the basic Taiji practitioner begins in a large ‘bow stance’ this over time becomes a much smaller natural or 'no stance’ commonly called the ‘River’ stance, based upon the Chinese characters for the word ‘river’! Not only that, Taiji in footwork establishes a range of angles from forty-five degrees to twentytwo and a half degrees and even less. Finally, Taiji teaches us that combat occurs on one foot and to never be ‘doubleweighted - we become a post and are able to move and change angles very rapidly if required. The similarities with Shastar Vidya are uncanny indeed!
Nidar Singh explaining the subtleties of angling to Paramtap!
‘There are ten classical fighting forms in Sanatan Shastar Vidiya termed 'Yudhan' (combat forms) or 'Pentra' (tactical deployments). The first six Yudhan are known as 'Khat Ang' (six limbs). These six Yudhan are based upon characters from Indian mythology that possess animal forms. When integrated, they form the seventh limb - the leopard 'parjog' (application). Beyond these are three more advanced forms referred to as 'Dev Ang' (limbs of the gods), which are based upon Shiva and his consort, the Devi (also known as 'Shakti,' 'Durga,' 'Chandi,' , etc.).
The ten collective forms in themselves are not considered as the fighting art of Shastar Vidiya; they are repositories of ancient tactics and techniques required for particular situations and environments. Each form is a continuum from the previous, building upon the skills and attributes of its predecessor. The ten collective forms in themselves are not considered as the fighting art of Shastar Vidiya; they are repositories of ancient tactics and techniques required for particular situations and environments. Each form is a continuum from the previous, building upon the skills and attributes of its predecessor.