Kurmasana has sixteen vinyasas, the 7th and 9th vinyasas of which constitute the states of the asana.
The state of the 9th vinyasa is called Supta Kurmasana [Reclined Tortoise] (see figure).
METHOD
Begin with the first 6 vinyasas of the first Surya Namaskara, as specified in earlier asanas. In the 7th
vinyasa and doing puraka, jump as in Bhujapidasana, lower down to the floor with the strength of the
arms, stretch the arms out under the thighs, straighten the legs, put the chin on the floor, lift the head to
some extent, and do rechaka and puraka as much as possible. Then, doing rechaka, bring the hands up
behind the back and take hold of the wrist; this is the 8th vinyasa. Next, cross the legs over each other,
put the head on the floor, and do puraka and rechaka as much as possible; this is the 9th vinyasa, the
state of which is called Supta Kurmasana. The next vinyasas follow those of Bhujapidasana.
IMAGINE THAT YOU GET A JOB AS A MODEL FOR AN artist who’s going to carve a statue of Avalokiteśvara, the buddha of infinite compassion. Avalokiteśvara is to be seated holding the wish-fulfilling gem in front of the lotus flower (padma) of the heart, and your alignment must be perfect! All you have to do is sit in that pose and not move.
It takes extraordinary focus to picture what Avalokiteśvara looks like, bringing your attention again and again to rest along the plumb line of your body. Releasing the palate in silent contact with a softening tongue and feeling a smooth, steady breath unfold, you begin to experience all the physical patterns associated with inhaling. You then drop even more deeply in, observing as the breath effortlessly turns around; the exhalation dissolves all those endless forms back to their roots, like petals falling from a flower. The centers of your ears are directly over the centers of the shoulder joints, so they’re aligned exactly on the coronal plane of the body; your hip joints are centered in that same precise line. The back of the diaphragm spreads, and you notice that right around the twelfth thoracic vertebra, a radiant point of awareness is forming a warm, vibrant circle. You envision yourself having four arms, but you know not to pinch any of the shoulder blades together or the artist will kick you out and hire someone else as the model. So you drop back into the breath and feel more arms growing—just a few at first, but then an infinite number sprout and reach up out of that warm, vibrant area in the middle of your lower back. The center of each palm tingles, and you realize you can actually see through the palms as you reach out to all other sentient beings, but you’re not distracted by this visual stimulation. It’s hard work and you start to sweat, but if you release the palate and the muscles in the back of the tongue, your mind clears; you feel an extension along the spine, out through sides of your body, and then up through the crown of the head as if you are growing bigger and taller. The pose feels easy, steady, and buoyant. You cultivate a vivid sense of concentration and form and, at the same time, the ability to dissolve and let go.
This is how alignment was taught in ancient times before the study of anatomy and theories of biomechanics and postural alignment became the norm. In those days, alignment was embodied through visualizing deity forms, which brought the finer qualities of the emotions, sensations, and thought patterns into the breath and body. Artists trained for generations in a highly disciplined manner to reproduce in their sculptures and drawings exactly what sages had discovered to be, through lifetimes of practice and visualizations, optimal forms of alignment. Forms that would facilitate a physiologically awake and open, integrated, and finely tuned state of being that is perfectly suited for contemplative practice. Symbolic representation of this kind of esoteric knowledge followed prescribed patterns and proportions that were described in minute detail so that one could meditate on a deity form and feel correct alignment. In those days, teachers didn’t bother describing the alignment of joints or any of that dry, boring anatomical stuff. Instead, they went right for the source—the deity form—and breathed right into it.
There are thirteen vinyasas in Utkatasana; the 7th vinyasa is its state. The vinyasa method described for
the first Surya Namaskara is important to know for this asana.
METHOD
First, begin with the initial six vinyasas of the first Surya Namaskara. After the 6th vinyasa and doing
puraka, jump into the 1st vinyasa of the second Surya Namaskara, and perform rechaka and puraka as
much as possible; this is the 7th vinyasa. (Rechaka and puraka for the first six vinyasas must be
performed in the same manner as in the first Surya Namaskara.) Then, doing rechaka and puraka, press
the hands to the floor by the sides of the feet, put the whole weight of the body on the two hands, and
lift the body up off the floor; this is the 8th vinyasa. Then, doing rechaka, throw the body back with the
force of the arms, and hold the position, as in the 4th vinyasa of the first Surya Namaskara; this is the
9th vinyasa. Then, doing puraka, do the 5th vinyasa of the Surya Namaskara; this is the 10th vinyasa.
Next, doing rechaka, do the 6th vinyasa of the Surya Namaskara; this is the 11th vinyasa. Then, doing
puraka, do the 3rd vinyasa of the Surya Namaskara; this is the 12th vinyasa. Then, do the 2nd vinyasa of
the Surya Namaskara; this is the 13th vinyasa. Then, Samasthiti.
BENEFITS
Utkatasana increases the strength of the waist, which becomes slender, and makes the body light. It also
prevents pain associated with the vertebral column.
THE VINYASA METHODS FOR THE FIRST NINE ASANAS HAVE NOW BEEN described. The vinyasas of the
asanas that follow begin as they do for the first six vinyasas of the first Surya Namaskara. Then, from the
7th vinyasa on, the vinyasas, as well as rechaka and puraka, prescribed for respective asanas differ. I will try to describe the differences as much as possible as they occur.
Again, no asana should be performed without following the proper method of vinyasa. If this is ignored,
the organs of the body may not develop, fat may not be reduced, and the body could grow ill. In addition,
some organs may strengthen, while others become weak, or an organ that was meant to be strengthened
may weaken instead. In addition, if there is no steadiness in the movements of rechaka and puraka, then
the balance of the heart could be upset, which could weaken it. When this occurs, the nadis become
spoiled, and when they spoil, all parts of the body are weakened. Therefore, asanas and the like (puraka,
rechaka, etc.) should be practiced following the methods of vinyasa, which is best learned from a Guru
experienced in yoga shastra. I consider it my earnest duty to caution the reader and aspirant not to try to
learn these methods from books, reflections [photos], or pseudo-yogis.
Hereafter, vinyasa methods are not dealt with deeply. Instead, only the state of an asana, vinyasa, and
their benefits are described. However, should something special come up, I will describe it.
