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Session II. Chandra Namaskāra in the ‘Warrior Shaiva’ Lineage (Vīraśaiva)


Goddess Śrī Śāradā – Gāyatrī


HRĪṂ śāradāyai vidmahe KLĪṂ somāmṛtāyai dhīmahi SAUḤ tan naḥ śaktiḥ pracodayāt || 3x ||


Sādhana – 108 ‘Names’ of the Goddess •  ‘1000 Names of Sharada’ •  In Dropbox folder •  1,008 (special ritual occasions) •  108 (before daily Namaskāra practice)


www.yogavidhi.org


Kriyāsāra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)

•  Composed by Nīla-kaṇṭha-śivācārya ca. 1350-1493 A.D. •  Vīraśaiva Lineage, founded in Maharashtra and Karnataka (South India). Vīraśaiva-based Tantras cited - Aṃśu Tantra, Ajita Tantra, Vāthula Tantra, Kāmika Tantra, etc. (all date to about 1000 A.D.)


KriyÄ sÄ ra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)


Kriyāsāra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)

Praṇāma vidhiḥ, namaskāra vidhiḥ, daṇḍavat namaskāra | Praṇāma vidhiḥ - “Ritual Sequence of Prostration” namaskāra vidhiḥ - “Ritual Sequence of Namaskāra”

Daṇḍavat namaskāra - “Namaskāra performed as a [series of] daṇḍa poses”


Kriyāsāra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)

“Next is the auspicious, highest postural vehicle (kāraṇa) of Śiva, the God of all Gods – the Daṇḍavat, the most desired ritual sequence, in which one prostrates towards the ground.” -Kriyāsāra of Nīlakaṇṭha, of the Vīra Śaiva (‘Warriors of Śiva’) Tantric lineage, comprised ca. 1350-1450 A.D. in Maharashtra or Karnataka.


Kriyāsāra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)

samāgatya drutaṃ vipraṃ praṇamya bhuvi daṇḍavat | svāmin-mātula-putro'yaṃ rakṣitaḥ pṛthivīpatiḥ ||

“That Self-Mastered One who takes the shapes of the Daṇḍa (Daṇḍavat) is proficient in rapidly prostrating towards the earth with dexterity - he is a Lord of the Earth, A Protector….”


Kriyāsāra

(ca. 14th century A.D., composed in Maharashtra or Karnataka)

Sūrya Namaskāra as a practice of Yoga nidhāyaitan namaskṛtya tasthau yogī kṛtāñjaliḥ | “When standing [before the lingam] the Yogī, with focused awareness, engaged in Añjali [mudrā], is to perform Namaskāra…”


Kriyāsāra (ca. 14th century A.D.) •  Three Daily Namaskāra Vinyāsa practices.

• Dawn Sandhyā –  12 pose, classical namaskāra (stamp series) –  daṇḍavat-based (See below) –  based on solar seed mantras x 2 –  Goal – mokṣa –  12 poses = 12 count exhale through piṅgala nāḍī (Brahmā) –  solar mantras – HRĀṂ HRĪṂ…


Kriyāsāra (ca. 14th century A.D.) • Noon Sandhyā – Cāṇḍa Namaskāra –  ‘Fierce,’ heat of the sun is high –  -16 pose sequence, based on 16 syllables of a chosen verse; –  seems to be basis for P. Jois’ Surya B –  goal: mokṣa –  16 poses = 16 count inhale through īḍā nāḍī (Vishnu)


Kriyāsāra (ca. 14th century A.D.) • Evening Sandhyā – Aṇga Pradakṣiṇa (Chandra Namaskāra) –  a.k.a. ‘Chakra Vinyāsa’; often called a ‘Full body (Aṅga) Mudrā Vinyāsa’ as one is led by the Goddesses of the 8 directions –  – many variations of poses most common is 7 x 2 = 14 –  poses seem to be inserted within the sequence of Namaskāra #2, above


Kriyāsāra (ca. 14th century A.D.) –  -> up to 64 postures are possible (Rudrayāmala gives 3 categories of āsanas inserted here, totaling 64). –  3 part prāṇāyāma – 32 poses (x2) based on breath count of holding kumbhaka for 32 counts –  goal – bubhukṣu = meaning for special powers, or blessings – compassion practice (apacāra) to remove suffering, fear of others’ warrior sequences = protection. –  bodhisattvas.


•  •  •  •  •  •  •  •  •  •  • 

E - indra W – varuṇa N = kubera NE = Īśāna NW marut S – yama SE – agni SW – rakṣasa Above – Brahmā Below/down –king of serpents


•  •  •  •  •  •  •  •  •  •  • 

E - indra W – varuṇa N = kubera NE = Īśāna NW marut S – yama SE – agni SW – rakṣasa Above – Brahmā Below/down –king of serpents


Kriyāsāra (ca. 14th century A.D.) madhu-lubdho yathā bhṛṅgaḥ puṣpāt-puṣpaṃ vanāntare | jñāna-lubdhas tathā śiṣyo guror gurv-antaraṃ vrajet ||


Aṃshu Tantra (ca. 1000 AD) primary source for the Kriyāsāra (ca. 1400 AD)– ‘Chandra Namaskāra’ madhu-lubdho yathā bhṛṅgaḥ puṣpāt-puṣpaṃ vanāntare | jñāna-lubdhas tathā śiṣyo guror gurv-antaraṃ vrajet || -Aṃshu Tantra


Aṃshu Tantra - Aṇga Pradakṣiṇa (‘Body Flow’) (=Chandra Namaskāra)

Amshu Chapter 52 – [aṅga-] pradakṣiṇa kramaḥ // Goals / Outcomes of this Practice --


Aṃshu Tantra - Aṇga Pradakṣiṇa (‘Body Flow’) (=Chandra Namaskāra)

Goals / Outcomes of this Practice – pradakṣiṇa-kramam vakṣye śrūyatām ravisat-tamaṅa / sarva-pāpa-haram caiva sarvadāna-phala-pradam // 1 sarva-roga-vināśārtham pradakṣiṇam athācaret / pracchinatti bhayān sarvān dakāram mokṣa-siddhi-dam // 2


pādau pādāntaram gacchet karau calana-varjitau/ śrutir-vācyāhṛtadhyānam catur-liṅgam pradakṣiṇam // 3-4 ‘One should move where the pair of feet in continual movement but movement of the hands is restricted (Calana-varjitau)....this is the meditation in the Pradakṣiṇa Around the four-faced liṅgam. ‘


Amshu Tantra, Introducing the Poses pradakṣiṇa-prakārasya lakṣaṇam śṛṇu suvrataṅa// 5 “O Avowed One, Hear now the particular [postures] belonging to the category [of NamaskAra practice] called ‘[Anga Pradakṣiṇa’ (‘flowing movement’)” -

savyam ca prathamam caiva apasavyam dvitīyakam / tṛtīyam savyāpasavyam ca caturtham cakram eva ca// 6 pañcamam padmam evam syāt ṣaṣṭham siṃham eva ca / śṛṅkhala saptamaṃ caiva aṣṭamam nāga-vaktrakam // 7


Aṃshu Tantra ‘Chandra Namaskāra’ Postures (ca. 1000 AD) 1.  Savya Pradakṣiṇa (right) pose 2.  Apasavya Pradakṣiṇa (left) pose 3.  savyāpasavya Pradakṣiṇa (right-left) pose 4. Cakra Pradakṣiṇa pose (circle) 5. Padma (lotus) Pradakṣiṇa pose (not seated) 6. Siṃha (Lion) Pradakṣiṇa pose 7. Shriṅkhala = tusk shaped (= 1/2 moon) PD pose 8. ‘Face of the Serpent’ Pradakṣiṇa pose 9. Daṇḍavat Pradakṣiṇa ‘Forward Moving’ transitional pose


Amshu Tantra, Introducing the Poses Aṅgam ca navamam proktam evam eva pradakṣiṇam / śivāgre daṇḍavad-bhūmau hṛdāṅjalisamāyutam // 8 “The 9th Pradakṣiṇa pose is taught specifically to be a flowing body movement of the Daṇḍavat, with the head winding up before śiva on the earth, led by añjali mudrA = aṣṭāṅga namaskāra.above, but inherent in #9)...


“The 9th Pradakṣiṇa pose is taught specifically to be a flowing body movement of the Daṇḍavat, with the head winding up before śiva on the earth, led by añjali mudrA.” = end pose - aṣṭāṅga namaskāra…..above

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