10/09/2026
๐๐ฅ๐ข๐ ๐ฆ๐๐ก๐ฆ๐๐ง๐๐ข๐ก ๐ง๐ข ๐ฃ๐๐ฅ๐๐๐ฃ๐ง๐๐ข๐ก
๐๐ฉ๐ฆ๐ฏ ๐ด๐ฆ๐ฏ๐ด๐ข๐ต๐ช๐ฐ๐ฏ ๐ฃ๐ฆ๐ค๐ฐ๐ฎ๐ฆ๐ด ๐ข ๐ธ๐ข๐บ ๐ฐ๐ง ๐ฑ๐ฆ๐ณ๐ค๐ฆ๐ช๐ท๐ช๐ฏ๐จ
โAsana is a perceptual subject. Pranayama is a conceptual subject.โ
โ B.K.S. Iyengar
What does it mean to say that ฤsana is a ๐ฝ๐ฒ๐ฟ๐ฐ๐ฒ๐ฝ๐๐๐ฎ๐น ๐๐๐ฏ๐ท๐ฒ๐ฐ๐?
In practice, we perform actionsโextend, rotate, lengthen, root, lift. These actions produce sensations.
๐ฆ๐ฒ๐ป๐๐ฎ๐๐ถ๐ผ๐ป ๐ฐ๐ฎ๐ป ๐ฏ๐ฒ๐ฐ๐ผ๐บ๐ฒ ๐ฎ ๐บ๐ฒ๐ฎ๐ป๐ ๐ผ๐ณ ๐ฝ๐ฒ๐ฟ๐ฐ๐ฒ๐ถ๐๐ถ๐ป๐ด when we learn to distinguish what it reveals.
With the brick against the thorax, pressing it into the wall creates a clear tactile sensation.
This can help us recognize the action of the back of the thorax and thoracic vertebrae, and their relationship with the sternum as it moves forward and upward.
๐๐ฟ๐ผ๐ป๐ ๐ฎ๐ป๐ฑ ๐ฏ๐ฎ๐ฐ๐ธ ๐ฎ๐ฟ๐ฒ ๐๐ต๐๐ ๐ฝ๐ฒ๐ฟ๐ฐ๐ฒ๐ถ๐๐ฒ๐ฑ ๐๐ต๐ฟ๐ผ๐๐ด๐ต ๐ฟ๐ฒ๐น๐ฎ๐๐ถ๐ผ๐ป๐๐ต๐ถ๐ฝ, ๐ป๐ผ๐ ๐ถ๐๐ผ๐น๐ฎ๐๐ถ๐ผ๐ป.
Prashanthji uses the distinction between motor and sensory nerves to describe two directions:
๐ฎ๐ฐ๐๐ถ๐ผ๐ป ๐บ๐ผ๐๐ฒ๐ ๐ผ๐๐๐๐ฎ๐ฟ๐ฑ; ๐๐ฒ๐ป๐๐ฎ๐๐ถ๐ผ๐ป ๐ฐ๐ฎ๐ฟ๐ฟ๐ถ๐ฒ๐ ๐ถ๐ป๐ณ๐ผ๐ฟ๐บ๐ฎ๐๐ถ๐ผ๐ป ๐ถ๐ป๐๐ฎ๐ฟ๐ฑ.
Doing and receiving. Acting and perceiving.
A refined perception can guide a more ๐ฑ๐ถ๐๐ฐ๐ฟ๐ถ๐บ๐ถ๐ป๐ฎ๐๐ถ๐ป๐ด ๐ฎ๐ฐ๐๐ถ๐ผ๐ป.
This brings us closer to ๐ฉ๐ถ๐๐ฒ๐ธ๐ฎโthe capacity to distinguish clearly.
It is not about feeling more, but ๐ฟ๐ฒ๐ฐ๐ผ๐ด๐ป๐ถ๐๐ถ๐ป๐ด ๐๐ต๐ฎ๐ ๐๐ฒ ๐ณ๐ฒ๐ฒ๐น ๐ฎ๐ป๐ฑ ๐ฑ๐ถ๐๐ฐ๐ฒ๐ฟ๐ป๐ถ๐ป๐ด ๐๐ต๐ฎ๐ ๐ถ๐ ๐ฟ๐ฒ๐๐ฒ๐ฎ๐น๐.
When the brick is removed, we no longer seek its pressure.
We recognize what we learned through it.
As perception changes, so does how we inhabit the ฤsana.
Its form may changeโnot because we seek another shape, but because we perceive it differently.
๐๐ฟ๐ผ๐บ ๐๐ฒ๐ป๐๐ฎ๐๐ถ๐ผ๐ป ๐๐ผ ๐ฝ๐ฒ๐ฟ๐ฐ๐ฒ๐ฝ๐๐ถ๐ผ๐ป.
๐๐ฟ๐ผ๐บ ๐ฝ๐ฒ๐ฟ๐ฐ๐ฒ๐ฝ๐๐ถ๐ผ๐ป ๐๐ผ ๐ฑ๐ถ๐๐ฐ๐ฟ๐ถ๐บ๐ถ๐ป๐ฎ๐๐ถ๐ผ๐ป.
๐๐ฟ๐ผ๐บ ๐ฒ๐
๐๐ฒ๐ฟ๐ป๐ฎ๐น ๐ฟ๐ฒ๐ณ๐ฒ๐ฟ๐ฒ๐ป๐ฐ๐ฒ ๐๐ผ ๐ถ๐ป๐๐ฒ๐ฟ๐ป๐ฎ๐น ๐๐ป๐ฑ๐ฒ๐ฟ๐๐๐ฎ๐ป๐ฑ๐ถ๐ป๐ด.
