The Earliest Accounts of sana

in Yoga Literature
Dominik Wujastyk
University of Alberta
(& University of Vienna)

Vog, April 2015

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sana in Early Yoga Literature

Vog, April 2015

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Why Asana?
According to Patajalis Ptajalayogastra, the purpose of
asana sitting, posture, is
to remove the con ict of dualities (2.48)
Once that has happened, it is possible to practice
interrupting the breathing in and out (2.49),
and that in turn

destroys the karma that covers of the light of knowledge

(2.52) and
makes the mind t for concentration on one place
(dhra, 2.53).

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New Discoveries about Patajali

Four Paradigm Shifts

2
3

The text of the Ptajalayogastra, i.e., the undivided

Stra and its commentary, the Bhya, is a single
composition that can be traced back to a single author.
That author is Patajali.

This uni ed text can be plausibly dated to about CE 400.

Maas, 2006, viii . Wujastyk, 2012, Maas, 2013

The most important and authentic early commentary is

the Vivaraa of akara.
Harimoto, 2014

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Patajalis World

How much can we say about Patajalis world?

When did he live?
Ca. 325425 CE. = Gupta period.

What was the culture that surrounded him?

Buddhist.
His citations from Vasubandhu ( . 316396)

Dominik Wujastyk

sana in Early Yoga Literature

Patajalis use of Vibh materials

Vasubandhu ( . 316396)

Patajali ( . 325425)

Black = identical;
Red = important changes of sense;
blue = unimportant variations.
Diagram from maas-sarv

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Sitting Down to Meditate in Ancient India:

Pallaka
In early Buddhist descriptions, the rst thing that the
meditator does in meditation is to sit in a particular way. The
Pali says that he sits down (nisdati) and then bends the
pallakam, or perhaps, he bends to the pallakam. The
latter word is the grammatical object of bending, which is

from the root bhuj, that also covers movements like

turning and contracting. Relinquishing this posture is
expressed by the phrase breaking the pallakam.
This word is commonly translated as cross-legged, and it
may mean this. But in fact, it is a mysterious word with no
clear etymology. Its history is obscure, and the early authors
do not explain it. Later, the word also comes to mean what
you sit on, for example a cushion or chair, arriving English as
palanquin.
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Seated Meditators at the Time of Patajali

Buddha in lotus posture with

eyes closed and the teaching
hand-sign.
Sarnath, c. 475 CE

Fisher, 1993, #42.

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Seated Meditators at the Time of Patajali

Seated Buddha. Gandhara,

0200 CE. (Feet reversed.)

Behrendt, 2007, Fig. 39.

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Seated Meditators at the Time of Patajali

Seated Buddha Shakyamuni,

Ahicchatra in N. India,
Kanishka 32 = CE 161.

ibid., Fig. 18.

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Seated Meditators at the Time of Patajali

Jainism

Five postures described in the

hgasutta 5.1.396:
1
2

4
5

Jain Education International

For Private & Personal Use Only

www.jainelibrary.org

Standing (htite),
Bent Up Sitting
(ukkuusaite),
Statue Standing
(paimaht ),

Hero Posture (vrsaie),

Sitting Down Posture
(esajjite)

Amara Muni J Maharj, 2004, pp. 2.108109.

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Seated Meditators at the Time of Patajali

Open Questions

Ascetic at Harwan, 3rd-5th

century CE.
At the Buddhist site at Harwan
in the Kashmir valley, not far
from Jahangirs Shalimar
gardens, a series of enigmatic
terracotta tiles were
discovered in 1895. Some of
the tiles depict strange images
of crouching ascetics, in a style
that show no clear a liation
with any other known tradition.
Fisher, 1989, pl. 3.
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The translations that follow were done jointly by Dominik

Wujastyk and Philipp Maas from the original Sanskrit works,
consulting both printed editions and selected manuscripts.

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Bhagavadgt ch.6 I
ca. 150100 BCE

1011 After having prepared himself in a pure region a

rm seat, which is neither to high nor too low, on
which he places cloth, an antelope skin, and kua
grass, the yogi should always concentrate himself,
while he remains in solitude, alone, controlling
mind and body, without wishes and property.
12 There, the yogi focuses his intellect on a single
object and controls the activities of his mind and
senses. He should sit on the seat and practice
yoga in order to attain his own purity.

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Bhagavadgt ch.6 II
ca. 150100 BCE

13 He should hold his straight trunk, head and neck

motionless. Being rm, he beholds the tip of his
own nose and does not look around.
14 Being at peace, free from fear, rm in his vow of
chastity, he controls his mind (manas), and
focussing his consciousness (citta) on me, he
remains in concentration with me as his highest
object.

15 Concentrating himself in this way all the time, the

yogi with his controlled mind (manas) reaches the
tranquillity that depends on me, the highest form
of Nirvana.

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A Manuscript of Patajalis Work

Ahmedabad LDI 34(1)

Folios of a manuscript of the Ptajalayogastra.

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Patajali himself I
2.45 (end) 2.48

The commitments (yama) and obligations (niyama) have been

stated, together with the special abilities (siddhi). Now, we
shall explain the postures (sana), etc.
In this connection,
A posture becomes steady and comfortable
Thus, we have:
the Lotus Posture (padmsana),

the Good Fortune Posture (bhadrsana),

the Hero Posture (vrsana),
the Lucky Mark (svastika),

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Patajali himself II
2.45 (end) 2.48

the Sta

Posture (dasana),

the Supported (sopraya),

the Couch (paryaka),

Sitting Like a Sarus Crane (kraucaniadana),

Sitting Like an Elephant (hastiniadana),
Sitting Like a Camel (uraniadana),

Being Situated Flat (samasasthna),

Steady Calm (sthitaprarabdhi),
and

As is Comfortable (yathsukha), and so on like this.

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Patajali himself III

2.45 (end) 2.48

by means of relaxation of eort and merging

meditatively in innity.
It becomes completes the sentence.1
The posture (sana) is achieved because e ort stops; the
body does not tremble. Alternatively, the mind (citta),
merging meditatively into in nity, brings about the posture
(sana).
Because of that, one is not hurt by the pairs of
opposites.
Because one masters the postures, one is not overcome by
the pairs of opposites such as heat and cold.
1

Thus, the whole sentence is, A posture becomes steady and

comfortable by means of a relaxation of e ort and merging meditatively in
in nity.
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The Vivaraa Commentary by akara

Manuscript Trivandrum L 662

Edition: Rama Sastri and Krishnamurthi Sastri, 1952
Translations: Leggett, 1996; Rukmani, 2001

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The Vivaraa Commentary by akara I

2.45 (end) 2.46

The commitments (yama) and obligations (niyama) have

been stated, together with the special abilities (siddhi). Now
we shall explain the postures and so on. A posture becomes
steady and comfortable.
Posture is steady and comfortable.
One should practice that posture which produces steadiness
of mind and limbs for the person who is in it, and which does
not lead to su ering. Thus, for example: The names Lotus
Posture (padmsana), and so on, that are well known in
other disciplines, are presented.
In this connection, a pure person should sip water in the
proper manner in a pure temple, in a mountain cave, or on

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The Vivaraa Commentary by akara II

2.45 (end) 2.46

the sandbank of a river, in a place that is not close to re or

water, where there are no people, and that free from
blemishes. He should bow to the Supreme Lord, the one Lord
of the Whole World, the revered Masters of Yoga, and to his
own teachers. Facing east or north, he should take up his
position on a seat that causes no discomfort, covered with
cloth, antelope skin, and kua grass. He should take up one of
the following postures.
In this context, the Lotus Posture (padmsana) is like this:
drawing the left foot in towards oneself (pdam
upasahtya), one should then place it over the right. And
likewise, the right one on top of the left.

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The Vivaraa Commentary by akara III

2.45 (end) 2.46

Sti ening (vihabhya) the hips (kai), trunk (uras) and neck
(grva), with the gaze xed on the end of the nose, like a dead
or sleeping person, with the cavity of the lips (ohasapua)
closed like a box (samudgakavat), not touching the tops of
the teeth with the teeth, ones chin and chest separated by a
space the measure of a st, with the tip of the tongue placed
between the front teeth, with the hands on top of his heels,
one makes either the Tortoise (kacchapaka) or Brahmjali
gesture.
The posture in which one is seated, after once establishing
the position in this manner, having completely given up

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The Vivaraa Commentary by akara IV

2.45 (end) 2.46

repeated e ort at a particular adjustment of the body, is the

Lotus Posture (padmsana).
And all this is the same for the other postures (sana) too.
There is just a little variation (viea).
Thus, the posture in which one is seated, having placed the
right foot on top of the left, and the right hand on top of the
left, is the Good Fortune Posture (bhadrsana). Everything
else is the same.
Thus, in the Hero Posture (vrsana), one of the feet is
curled in (kucita), and the lower (apara) knee is placed
down on the ground. In each case, I am explaining only what
is special (viea).

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The Vivaraa Commentary by akara V

2.45 (end) 2.46

The posture in which one is seated with the right big toe
tucked in between the left thigh (ru) and calf (jagh) so that
it cannot be seen, and with the left big toe tucked invisibly in
between the right thigh (ru) and calf (jagh), in such a way
that the heels do not hurt the testicles, is the Lucky Mark
Posture (svastiksana).
The posture in which one sits down like a stick, stretching out
the feet with the ankles, big toes and knees aligned, is the
Sta Posture (dasana).
Or, the Supported (sopraya) is with a support such as a
prop or a yoga cloth ligature (yogapaa).

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The Vivaraa Commentary by akara VI

2.45 (end) 2.46

The Couch Posture (paryaksana) consists of lying with

the arms stretched out towards the knees.
Sitting Like a Sarus Crane (kraucaniadana), Sitting Like
an Elephant (hastiniadana) and Sitting Like a Camel
(uraniadana) can be understood from their similarity to the
sitting position of the Sarus crane, etc.
Being Situated Flat (samasasthitam) consists of having
the calves and thighs placed down on the ground.
Steady Calm (sthitaprarabdhi).
Steady Calm (sthitaprarabdhi) is sitting in any di erent
manner that one has thought of for oneself. And also that

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The Vivaraa Commentary by akara VII

2.45 (end) 2.46

posture in which one becomes free of e ort is called Steady

Calm (sthitaprasrabdhi).
And As is Comfortable (yathsukha). As is Comfortable
(yathsukha) is that form which produces comfort for the
seated person.
From the expression et cetera one can infer any other
posture as taught by the teacher.

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The Vivaraa Commentary by akara I

Stra 2.47

And so, now the method for mastering those postures is

presented:
by means of relaxation of eort and merging
meditatively in innity.
The sentence is completed by, it becomes. This addition
means, posture becomes rmly established. It is achieved
either by the cessation of e ort at a time after the posture is
taken up, or else by not making any e ort. By which the
body does not tremble. By which means by the cessation
of e ort. For e ort makes the body quiver. What it means is,
that by which ones posture becomes motionless. Or, it is
merged (sampanna) in in nity. In nity (ananta) means the

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The Vivaraa Commentary by akara II

Stra 2.47

All (viva); in nitude (nantya) is the fact of being in nite

(anantabhva). Being merged in that, having pervaded it,
mind (citta), established as being the All, brings about, i.e.,
makes rm, the posture.

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The Vivaraa Commentary by akara I

Stra 2.48

Because of that, one is not hurt by the pairs of

opposites (dvandva).
Because of that means because the posture becomes rm.
It appears as a natural consequence that, one is not
overcome by the pairs of opposites such as heat and cold.

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Conclusions
Reading the sutras under the assumption that the Bhya
commentary is also by Patajali makes a huge di erence
to our understanding.
Patajali knows a relatively short list of postures.
He doesnt explain how to do them.

The most useful early commentary is akaras Vivaraa.

The least useful early commentary is that of Vcaspati
Mira.
There is a lot still to learn and understand!

(This handout is downloadable from http://academia.edu.)

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References I
ge, Ve. . R. R. Kntha str and Hari Nryaa pae, eds. (1904).
VcaspatiMiraviracitaksavalitaVysabhyasametni Ptajalayogastri tath
BhojadevaviracitaRjamrtabhidhavttisametni Ptajalayogastri. Vol. 47.
nandramasasktagranthvali. Puykhya-pattana: nandramamudralaya. URL:
https://archive.org/details/patanjaliyoga.
Amara Muni J Maharj, ed. (2004). Sacitra r Sthngastra, Ganadhara r Sudharm Svmi Prata Ttya
Aga. Mla Pha Hind Agrej anuvda, vivecana eva ragna citro sahita = The Third Anga Written
by Ganadhar Shri Sudharma Swami. Illustrated Shri Sthnanga Sutra. English Translation by Surendra
Bothara. 2v. Dill: Padma Prakana.
Behrendt, Kurt A. (2007). The Art of Gandhara in the Metropolitan useum of Ar. New York, New Haven and
London: The Metropolitan Museum of Art and Yale University Press. URL:
http://www.metmuseum.org/research/metpublications/titles-with-full-text-online?searchtype=F.

Fisher, Robert E. (1989). The Enigma of Harwan. In: Art and Architecture of Ancient Kashmir. Ed. by
Pratapaditya Pal. Bombay: Marg Publications. Chap. 1, pp. 116.

Fisher, Robert E. (1993). Buddhist Art and Architecture. Reprinted 2002. London: London: Thames & Hudson.
Harimoto, Kengo (2014). God, Reason, and Yoga. A Critical Edition and Translation of the Commentary Ascribed to
akara on Ptajalayogastra 1.2328. Vol. 1. Indian and Tibetan Series. Hamburg: Department of Indian
and Tibetan Studies, Universitt Hamburg.
Leggett, Trevor (1996). akara on the Yoga Stra-s. A Full Translation of the Newly Discovered Text. First
published in 1990. Delhi: Motilal Banarsidass. URL:
http://www.amazon.com/Sankara-Sutras-Translation-Newly-Discovered/dp/8120810287.

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References II

Maas, Philipp A. (2006). Samdhipda: das erste Kapitel des Ptajalayogastra zum ersten Mal kritisch ediert =
The First Chapter of the Ptajalayogastra for the First Time Critically Edited. Aachen: Shaker.

Maas, Philipp A. (2013). A Concise Historiography of Classical Yoga Philosophy. In: Historiography and
Periodization of Indian Philosophy. Ed. by Eli Franco. Vienna. academia: 3520571.

Rama Sastri and S. R. Krishnamurthi Sastri, eds. (1952). Ptn jala[sic]-yogastra-bhya Vivaraam of
akara-Bhagavatpda Critically Edited with Introduction. Vol. 94. Madras Government Oriental Series.
Madras: Government Oriental Manuscripts Library. URL:
https://archive.org/details/Patanjala-yogasutra-bhasyaVivaranamOfSankara-bhagavatpada.
Rukmani, T. S. (2001). Yogasutrabhasyavivarana of Sankara: Vivarana Text with English Translation and Critical
Notes along with Text and English Translation of Patanjalis Yogasutras and Vyasabhasya. 2v. New Delhi:
Munshiram Manoharlal Publishers.

Wujastyk, Dominik (2012). The Path to Liberation through Yogic Mindfulness in Early Ayurveda. In: Yoga in
Practice. Ed. by David G. White. Princeton University Press, pp. 3142. academia: 3216968.

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