Sanskrit Yoga Terms
a
Abhyasa: practice; cf. vairagya
Acarya (sometimes spelled Acharya in English): a preceptor, instructor; cf. guru
Advaita ("nonduality"): the truth and teaching that there is only One Reality (Atman, Brahman), especially as found in the Upanishads; see also Vedanta
Ahamkara ("I-maker"): the individuation principle, or ego, which must be transcended; cf. asmita; see also buddhi, manas
Ahimsa ("nonharming"): the single most important moral discipline (yama)
Akasha ("ether/space"): the first of the five material elements of which the physical universe is composed; also used to designate "inner" space, that is, the space of consciousness (called cid-akasha)
Amrita ("immortal/immortality"): a designation of the deathless Spirit (atman, purusha); also the nectar of immortality that oozes from the psychoenergetic center at the crown of the head (see sahasrara-cakra) when it is activated and transforms the body into a "divine body" (divya-deha)
Ananda ("bliss"): the condition of utter joy, which is an essential quality of the ultimate Reality (tattva)
Anga ("limb"): a fundamental category of the yogic path, such as asana, dharana, dhyana, niyama, pranayama, pratyahara, samadhi, yama; also the body (deha, sharira)
Arjuna ("White"): one of the five Pandava princes who fought in the great war depicted in the Mahabharata, disciple of the God-man Krishna whose teachings can be found in the Bhagavad Gita
Asana ("seat"): a physical posture (see also anga, mudra); the third limb (anga) of Patanjali's eightfold path (astha-anga-yoga); originally this meant only meditation posture, but subsequently, in hatha yoga, this aspect of the yogic path was greatly developed
Ashrama ("that where effort is made"): a hermitage; also a stage of life, such as brahmacharya, householder, forest dweller, and complete renouncer (samnyasin)
Ashta-anga-yoga, ashtanga-yoga ("eight-limbed union"): the eightfold yoga of Patanjali, consisting of moral discipline (yama), self-restraint (niyama), posture (asana), breath control (pranayama), sensory inhibition (pratyahara), concentration (dharana), meditation (dhyana), and ecstasy (samadhi), leading to liberation (kaivalya)
Asmita ("I-am-ness"): a concept of Patanjali's eight-limbed yoga, roughly synonymous with ahamkara
Atman ("self"): the transcendental Self, or Spirit, which is eternal and superconscious; our true nature or identity; sometimes a distinction is made between the atman as the individual self and the parama-atman as the transcendental Self; see also purusha; cf. brahman
Avadhuta ("he who has shed [everything]"): a radical type of renouncer (samnyasin) who often engages in unconventional behavior
Avidya ("ignorance"): the root cause of suffering (duhkha); also called ajnana; cf. vidya
Ayurveda, Ayur-veda ("life science"): one of India's traditional systems of medicine, the other being South India's Siddha medicine
b
Bandha ("bond/bondage"): the fact that human beings are typically bound by ignorance (avidya), which causes them to lead a life governed by karmic habit rather than inner freedom generated through wisdom (vidya, jnana)
Bhagavad Gita ("Lord's Song"): the oldest full-fledged yoga book found embedded in the Mahabharata and containing the teachings on karma yoga (the path of self-transcending action), samkhya yoga (the path of discerning the principles of existence correctly), and bhakti yoga (the path of devotion), as given by the God-man Krishna to Prince Arjuna on the battlefield 3,500 years or more ago
Bhagavata-Purana ("Ancient [Tradition] of the Bhagavatas"): a voluminous tenth-century scripture held sacred by the devotees of the Divine in the form of Vishnu, especially in his incarnate form as Krishna; also called Shrimad-Bhagavata
Bhakta ("devotee"): a disciple practicing bhakti yoga
Bhakti ("devotion/love"): the love of the bhakta toward the Divine or the guru as a manifestation of the Divine; also the love of the Divine toward the devotee
Bhakti-Sutra ("Aphorisms on Devotion"): an aphoristic work on devotional yoga authored by Sage Narada; another text by the same title is ascribed to Sage Shandilya
Bhakti Yoga ("Yoga of devotion"): a major branch of the yoga tradition, utilizing the feeling capacity to connect with the ultimate Reality conceived as a supreme Person (uttama-purusha)
Bindu ("seed/point"): the creative potency of anything where all energies are focused; the dot (also called tilaka) worn on the forehead as indicative of the third eye
Bodhi ("enlightenment"): the state of the awakened master, or buddha
Bodhisattva ("enlightenment being"): in Mahayana Buddhist yoga, the individual who, motivated by compassion (karuna), is committed to achieving enlightenment for the sake of all other beings
Brahma ("he who has grown expansive"): the Creator of the universe, the first principle (tattva) to emerge out of the ultimate Reality (brahman)
Brahmacharya (from brahma and acarya "brahmic conduct"): the discipline of chastity, which produces ojas
Brahman ("that which has grown expansive"): the ultimate Reality (cf. atman, purusha)
Brahmana: a brahmin, a member of the highest social class of traditional Indian society; also an early type of ritual text explicating the rituals and mythology of the four Vedas; cf. Aranyaka, Upanishad, Veda
Buddha ("awakened"): a designation of the person who has attained enlightenment (bodhi) and therefore inner freedom; honorific title of Gautama, the founder of Buddhism, who lived in the sixth century B.C.E.
Buddhi ("she who is conscious, awake"): the higher mind, which is the seat of wisdom (vidya, jnana); cf. manas
c
Cakra or Chakra ("wheel"): literally, the wheel of a wagon; metaphorically, one of the psycho-energetic centers of the subtle body (sukshma-sharira); in Buddhist yoga, five such centers are known, while in Hindu yoga often seven or more such centers are mentioned: mula-adhara-cakra (muladhara-cakra) at the base of the spine, svadhishthana-cakra at the genitals, manipura-cakra at the navel, anahata-cakra at the heart, vishuddha-cakra or vishuddhi-cakra at the throat, ajna-cakra in the middle of the head, and sahasrara-cakra at the top of the head
Cin-mudra ("consciousness seal"): a common hand gesture (mudra) in meditation (dhyana), which is formed by bringing the tips of the index finger and the thumb together, while the remaining fingers are kept straight
Cit ("consciousness"): the superconscious ultimate Reality (see atman, brahman)
Citta ("that which is conscious"): ordinary consciousness, the mind, as opposed to cit
d
Darshana ("seeing"): vision in the literal and metaphorical sense; a system of philosophy, such as the yoga-darshana of Patanjali; cf. drishti
Deva ("he who is shining"): a male deity, such as Shiva, Vishnu, or Krishna, either in the sense of the ultimate Reality or a high angelic being
Devi ("she who is shining"): a female deity such as Parvati, Lakshmi, or Radha, either in the sense of the ultimate Reality (in its feminine pole) or a high angelic being
Dharana ("holding"): concentration, the sixth limb (anga) of Patanjali's eight-limbed yoga
Dharma ("bearer"): a term of numerous meanings; often used in the sense of "law," "lawfulness," "virtue," "righteousness," "norm"
Dhyana ("ideating"): meditation, the seventh limb (anga) of Patanjali's eight-limbed yoga
Diksha ("initiation"): the act and condition of induction into the hidden aspects of yoga or a particular lineage of teachers; all traditional yoga is initiatory
Drishti ("view/sight"): yogic gazing, such as at the tip of the nose or the spot between the eyebrows; cf. darshana
Duhkha ("bad axle space"): suffering, a fundamental fact of life, caused by ignorance (avidya) of our true nature (i.e., the Self or atman)
g
Gayatri-mantra: a famous Vedic mantra recited particularly at sunrise: tat savitur varenyam bhargo devasya dhimahi dhiyo yo nah pracodayat,"
Gheranda-Samhita ("[Sage] Gheranda's Compendium"): one of three major manuals of classical hatha yoga, composed in the seventeenth century; cf. Hatha-Yoga-Pradipika, Shiva-Samhita
Goraksha ("Cow Protector"): traditionally said to be the founding adept of hatha yoga, a disciple of Matsyendra
Granthi ("knot"): any one of three common blockages in the central pathway (sushumna-nadi) preventing the full ascent of the serpent power (kundalini-shakti); the three knots are known as brahma-granthi (at the lowest psychoenergetic center of the subtle body), the vishnu-granthi (at the heart), and the rudra-granthi (at the eyebrow center)
Guna ("quality"): a term that has numerous meanings, including "virtue"; often refers to any of the three primary "qualities" or constituents of nature (prakriti): tamas (the principle of inertia), rajas (the dynamic principle), and sattva (the principle of lucidity)
Guru ("he who is heavy, weighty"): a spiritual teacher; cf. acarya
Guru-bhakti ("teacher devotion"): a disciple's self-transcending devotion to the guru; see also bhakti
Guru-Gita ("Guru's Song"): a text in praise of the guru, often chanted in ashramas
Guru-Yoga ("Yoga [relating to] the teacher"): a yogic approach that makes the guru the fulcrum of a disciple's practice; all traditional forms of yoga contain a strong element of guru-yoga
h
Hamsa ("swan/gander"): apart from the literal meaning, this term also refers to the breath (prana) as it moves within the body; the individuated consciousness (jiva) propelled by the breath; see jiva-atman; see also parama-hamsa
Hatha Yoga ("Forceful Yoga"): a major branch of yoga, developed by Goraksha and other adepts c. 1000 C.E., and emphasizing the physical aspects of the transformative path, notably postures (asana) and cleansing techniques (shodhana), but also breath control (pranayama)
Hatha-Yoga-Pradipika ("Light on Hatha Yoga"): one of three classical manuals on hatha yoga, authored by Svatmarama Yogendra in the fourteenth century
Hiranyagarbha ("Golden Germ"): the mythical founder of yoga; the first cosmological principle (tattva) to emerge out of the infinite Reality; also called Brahma
i
Ida-nadi ("pale conduit"): the prana current or arc ascending on the left side of the central channel (sushumna nadi) associated with the parasympathetic nervous system and having a cooling or calming effect on the mind when activated; cf. pingala-nadi
Ishvara ("ruler"): the Lord; referring either to the Creator (see Brahma) or, in Patanjali's yoga-darshana, to a special transcendental Self (purusha)
Ishvara-pranidhana ("dedication to the Lord"): in Patanjali's eight-limbed yoga one of the practices of self-restraint (niyama); see also bhakti yoga
j
Jaina (sometimes Jain): pertaining to the jinas ("conquerors"), the liberated adepts of Jainism; a member of Jainism, the spiritual tradition founded by Vardhamana Mahavira, a contemporary of Gautama the Buddha
Japa ("muttering"): the recitation of mantras
Jiva-atman, jivatman ("individual self"): the individuated consciousness, as opposed to the ultimate Self (parama-atman)
Jivan-mukta ("he who is liberated while alive"): an adept who, while still embodied, has attained liberation (moksha)
Jivan-mukti ("living liberation"): the state of liberation while being embodied; cf. videha-mukti
Jnana ("knowledge/wisdom"): both worldly knowledge or world-transcending wisdom, depending on the context; see also prajna; cf. avidya
Jnana-Yoga ("Yoga of wisdom"): the path to liberation based on wisdom, or the direct intuition of the transcendental Self (atman) through the steady application of discernment between the Real and the unreal and renunciation of what has been identified as unreal (or inconsequential to the achievement of liberation)
k
Kaivalya ("isolation"): the state of absolute freedom from conditioned existence, as explained in ashta-anga-yoga; in the nondualistic (advaita) traditions of India, this is usually called moksha or mukti (meaning "release" from the fetters of ignorance, or avidya)
Kali: a Goddess embodying the fierce (dissolving) aspect of the Divine
Kali-yuga: the dark age of spiritual and moral decline, said to be current now; kali does not refer to the Goddess Kali but to the losing throw of a die
Kama ("desire"): the appetite for sensual pleasure blocking the path to true bliss (ananda); the only desire conducive to freedom is the impulse toward liberation, called mumukshutva
Kapila ("He who is red"): a great sage, the quasi-mythical founder of the Samkhya tradition, who is said to have composed the Samkhya-Sutra (which, however, appears to be of a much later date)
Karman, karma ("action"): activity of any kind, including ritual acts; said to be binding only so long as engaged in a self-centered way; the "karmic" consequence of one's actions; destiny
Karma Yoga ("Yoga of action"): the liberating path of self-transcending action
Karuna ("compassion"): universal sympathy; in Buddhist yoga the complement of wisdom (prajna)
Khecari-mudra ("space-walking seal"): the Tantric practice of curling the tongue back against the upper palate in order to seal the life energy (prana); see also mudra
Kosha ("casing"): any one of five "envelopes" surrounding the transcendental Self (atman) and thus blocking its light: anna-maya-kosha ("envelope made of food," the physical body), prana-maya-kosha ("envelope made of life force"), mano-maya-kosha ("envelope made of mind"), vijnana-maya-kosha ("envelope made of consciousness"), and ananda-maya-kosha ("envelope made of bliss"); some older traditions regard the last kosha as identical with the Self (atman)
Krishna ("Puller"): an incarnation of God Vishnu, the God-man whose teachings can be found in the Bhagavad Gita and the Bhagavata-Purana
Kumbhaka ("potlike"): breath retention; cf. puraka, recaka
Kundalini-shakti ("coiled power"): according to Tantra and hatha yoga, the serpent power or spiritual energy, which exists in potential form at the lowest psycho-energetic center of the body (i.e., the mula-adhara-cakra) and which must be awakened and guided to the center at the crown (i.e., the sahasrara-cakra) for full enlightenment to occur
Kundalini-Yoga: the yogic path focusing on the kundalini process as a means of liberation
l
Laya Yoga ("Yoga of dissolution"): an advanced form or process of Tantric yoga by which the energies associated with the various psycho-energetic centers (cakra) of the subtle body are gradually dissolved through the ascent of the serpent power (kundalini-shakti)
Linga ("mark"): the phallus as a principle of creativity; a symbol of God Shiva; cf. yoni
m
Mahabharata ("Great Bharata"): one of India's two great ancient epics telling of the great war between the Pandavas and the Kauravas and serving as a repository for many spiritual and moral teachings
Mahatma (from maha-atman, "great self"): an honorific title (meaning something like "a great soul") bestowed on particularly meritorious individuals, such as Gandhi
Maithuna ("twinning"): the Tantric sexual ritual in which the participants view each other as Shiva and Shakti respectively
Manas ("mind"): the lower mind, which is bound to the senses and yields information (vijnana) rather than wisdom (jnana, vidya); cf. buddhi
Mandala ("circle"): a circular design symbolizing the cosmos and specific to a deity
Mantra (from the verbal root man "to think"): a sacred sound or phrase, such as om, hum, or om namah shivaya, that has a transformative effect on the mind of the individual reciting it; to be ultimately effective, a mantra needs to be given in an initiatory context (diksha)
Mantra-Yoga: the yogic path utilizing mantras as the primary means of liberation
Marman ("lethal [spot]"): in Ayurveda and yoga, a vital spot on the physical body where energy is concentrated or blocked; cf. granthi
Matsyendra ("Lord of Fish"): an early Tantric master who founded the Yogini-Kaula school and is remembered as a teacher of Goraksha
Maya ("she who measures"): the deluding or illusive power of the world; illusion by which the world is seen as separate from the ultimate singular Reality (atman)
Moksha ("release"): the condition of freedom from ignorance (avidya) and the binding effect of karma; also called mukti, kaivalya
Mudra ("seal"): a hand gesture (such as cin-mudra) or whole-body gesture (such as viparita-karani-mudra); also a designation of the feminine partner in the Tantric sexual ritual
Muni ("he who is silent"): a sage
n
Nada ("sound"): the inner sound, as it can be heard through the practice of nada yoga or kundalini yoga
Nada-Yoga ("Yoga of the [inner] sound"): the yoga or process of producing and intently listening to the inner sound as a means of concentration and ecstatic self-transcendence
Nadi ("conduit"): one of 72,000 or more subtle channels along or through which the life force (prana) circulates, of which the three most important ones are the ida-nadi, pingala-nadi, and sushumna-nadi
Nadi-shodhana ("channel cleansing"): the practice of purifying the conduits, especially by means of breath control (pranayama)
Narada: a great sage associated with music, who taught bhakti yoga and is attributed with the authorship of one of two Bhakti-Sutras
Natha ("lord"): appellation of many North Indian masters of yoga, in particular adepts of the Kanphata ("Split-ear") school allegedly founded by Goraksha
Neti-neti ("not thus, not thus"): an Upanishadic expression meant to convey that the ultimate Reality is neither this nor that, that is, is beyond all description
Nirodha ("restriction"): in Patanjali's eight-limbed yoga, the very basis of the process of concentration, meditation, and ecstasy; in the first instance, the restriction of the "whirls of the mind" (citta-vritti)
Niyama ("[self-]restraint"): the second limb of Patanjali's eightfold path, which consists of purity (saucha), contentment (samtosha), austerity (tapas), study (svadhyaya), and dedication to the Lord (ishvara-pranidhana)
Nyasa ("placing"): the Tantric practice of infusing various body parts with life force (prana) by touching or thinking of the respective physical area
o
Ojas ("vitality"): the subtle energy produced through practice, especially the discipline of chastity (brahmacharya)
Om: the original mantra symbolizing the ultimate Reality, which is prefixed to many mantric utterances
p
Parama-atman or paramatman ("supreme self"): the transcendental Self, which is singular, as opposed to the individuated self (jiva-atman) that exists in countless numbers in the form of living beings
Parama-hamsa, paramahansa ("supreme swan"): an honorific title given to great adepts, such as Ramakrishna and Yogananda
Patanjali: compiler of the Yoga Sutra, who lived c. 150 C.E.
Pingala-nadi ("reddish conduit"): the prana current or arc ascending on the right side of the central channel (sushumna-nadi) and associated with the sympathetic nervous system and having an energizing effect on the mind when activated; cf. ida-nadi
Prajna ("wisdom"): the opposite of spiritual ignorance (ajnana, avidya); one of two means of liberation in Buddhist yoga, the other being skillful means (upaya), i.e., compassion (karuna)
Prakriti ("creatrix"): nature, which is multilevel and, according to Patanjali's yoga-darshana, consists of an eternal dimension (called pradhana or "foundation"), levels of subtle existence (called sukshma-parvan), and the physical or coarse realm (called sthula-parvan); all of nature is deemed unconscious (acit), and therefore it is viewed as being in opposition to the transcendental Self or Spirit (purusha)
Prakriti-laya ("merging into Nature"): a high-level state of existence that falls short of actual liberation (kaivalya); the being who has attained that state
Prana ("life/breath"): life in general; the life force sustaining the body; the breath as an external manifestation of the subtle life force
Pranayama (from prana and ayama, "life/breath extension"): breath control, the fourth limb (anga) of Patanjali's eigthfold path, consisting of conscious inhalation (puraka), retention (kumbhaka), and exhalation (recaka); at an advanced state, breath retention occurs spontaneously for longer periods of time
Prasada ("grace/clarity"): divine grace; mental clarity
Pratyahara ("withdrawal"): sensory inhibition, the fifth limb (anga) of Patanjali's eightfold path
Puja ("worship"): ritual worship, which is an important aspect of many forms of yoga, notably bhakti yoga and Tantra
Puraka ("filling in"): inhalation, an aspect of breath control (pranayama)
Purana ("Ancient [History]"): a type of popular encyclopedia dealing with royal genealogy, cosmology, philosophy, and ritual; there are eighteen major and many more minor works of this nature
Purusha ("male"): the transcendental Self (atman) or Spirit, a designation that is mostly used in Samkhya and Patanjali's yoga-darshana
r
Radha: the God-man Krishna's spouse; a name of the divine Mother
Raja-Yoga ("Royal Yoga"): a late medieval designation of Patanjali's eightfold yoga-darshana, also known as classical yoga
Rama: an incarnation of God Vishnu preceding Krishna; the principal hero of the Ramayana
Ramayana ("Rama's life"): one of India's two great national epics telling the story of Rama; cf. Mahabharata
Recaka ("expulsion"): exhalation, an aspect of breath control (pranayama)
Rig-Veda; see Veda
Rishi ("seer"): a category of Vedic sage; an honorific title of certain venerated masters, such as the South Indian sage Ramana, who is known as maharshi (from maha meaning "great" and rishi); cf. muni
s
Sadhana ("accomplishing"): spiritual discipline leading to siddhi ("perfection" or "accomplishment"); the term is specifically used in Tantra
Sahaja ("together born"): a medieval term denoting the fact that the transcendental Reality and the empirical reality are not truly separate but coexist, or with the latter being an aspect or misperception of the former; often rendered as "spontaneous" or "spontaneity"; the sahaja state is the natural condition, that is, enlightenment or realization
Samadhi ("putting together"): the ecstatic or unitive state in which the meditator becomes one with the object of meditation, the eighth and final limb (anga) of Patanjali's eightfold path; there are many types of samadhi, the most significant distinction being between samprajnata (conscious) and asamprajnata (supraconscious) ecstasy; only the latter leads to the dissolution of the karmic factors deep within the mind; beyond both types of ecstasy is enlightenment, which is also sometimes called sahaja-samadhi or the condition of "natural" or "spontaneous" ecstasy, where there is perfect continuity of superconscious throughout waking, dreaming, and sleeping
Samatva or samata ("evenness"): the mental condition of harmony, balance
Samkhya ("Number"): one of the main traditions of Hinduism, which is concerned with the classification of the principles (tattva) of existence and their proper discernment in order to distinguish between Spirit (purusha) and the various aspects of Nature (prakriti); this influential system grew out of the ancient (pre-Buddhist) Samkhya-Yoga tradition and was codified in the Samkhya-Karika of Ishvara Krishna (c. 350 C.E.)
Samnyasa ("casting off"): the state of renunciation, which is the fourth and final stage of life (see ashrama) and consisting primarily in an inner turning away from what is understood to be finite and secondarily in an external letting go of finite things; cf. vairagya
Samnyasin ("he who has cast off"): a renouncer
Samprajnata-samadhi; see samadhi
Samsara ("confluence"): the finite world of change, as opposed to the ultimate Reality (brahman or nirvana)
Samskara ("activator"): the subconscious impression left behind by each act of volition, which, in turn, leads to renewed psychomental activity; the countless samskaras hidden in the depth of the mind are ultimately eliminated only in asamprajnata-samadhi (see samadhi)
Samyama ("constraint"): the combined practice of concentration (dharana), meditation (dhyana), and ecstasy (samadhi) in regard to the same object
Sat ("being/reality/truth"): the ultimate Reality (atman or brahman)
Sat-sanga ("true company/company of Truth"): the practice of frequenting the good company of saints, sages, Self-realized adepts, and their disciples, in whose company the ultimate Reality can be felt more palpably
Satya ("truth/truthfulness"): truth, a designation of the ultimate Reality; also the practice of truthfulness, which is an aspect of moral discipline (yama)
Shakti ("power"): the ultimate Reality in its feminine aspect, or the power pole of the Divine; see also kundalini-shakti
Shakti-pata ("descent of power"): the process of initiation, or spiritual baptism, by means of the benign transmission of an advanced or even enlightened adept (siddha), which awakens the shakti within a disciple, thereby initiating or enhancing the process of liberation
Shankara ("He who is benevolent"): the eighth-century adept who was the greatest proponent of nondualism (Advaita Vedanta) and whose philosophical school was probably responsible for the decline of Buddhism in India
Shishya ("student/disciple"): the initiated disciple of a guru
Shiva ("He who is benign"): the Divine; a deity that has served yogins as an archetypal model throughout the ages
Shiva-Sutra ("Shiva's Aphorisms"): like the Yoga Sutra of Patanjali, a classical work on yoga, as taught in the Shaivism of Kashmir; authored by Vasugupta (ninth century C.E.)
Shodhana ("cleansing/purification"): a fundamental aspect of all yogic paths; a category of purification practices in hatha yoga
Shraddha ("faith"): an essential disposition on the yogic path, which must be distinguished from mere belief
Shuddhi ("purification/purity"): the state of purity; a synonym of shodhana
Siddha ("accomplished"): an adept, often of Tantra; if fully Self-realized, the designation maha-siddha or "great adept" is often used
Siddha-Yoga ("Yoga of the adepts"): a designation applied especially to the yoga of Kashmiri Shaivism, as taught by Swami Muktananda (twentieth century)
Siddhi ("accomplishment/perfection"): spiritual perfection, the attainment of flawless identity with the ultimate Reality (atman or brahman); paranormal ability, of which the yoga tradition knows many kinds
Spanda ("vibration"): a key concept of Kashmir's Shaivism according to which the ultimate Reality itself "quivers," that is, is inherently creative rather than static (as conceived in Advaita Vedanta)
Sushumna-nadi ("very gracious channel"): the central prana current or arc in or along which the serpent power (kundalini-shakti) must ascend toward the psychoenergetic center (cakra) at the crown of the head in order to attain liberation (moksha)
Sutra ("thread"): an aphoristic statement; a work consisting of aphoristic statements, such as Patanjali's Yoga Sutra or Vasugupta's Shiva-Sutra
Svadhyaya ("one's own going into"): study, an important aspect of the yogic path, listed among the practices of self-restraint (niyama) in Patanjali's eightfold yoga; the recitation of mantras (see also japa)
t
Tantra ("Loom"): a type of Sanskrit work containing Tantric teachings; the tradition of Tantrism, which focuses on the shakti side of spiritual life and which originated in the early post-Christian era and achieved its classical features around 1000 C.E.; Tantrism has a "right-hand" (dakshina) or conservative and a "left-hand" (vama) or unconventional/antinomian branch, with the latter utilizing, among other things, sexual rituals
Tapas ("glow/heat"): austerity, penance, which is an ingredient of all yogic approaches, since they all involve self-transcendence
Tattva ("thatness"): a fact or reality; a particular category of existence such as the ahamkara, buddhi, manas; the ultimate Reality (see also atman, brahman)
Turiya ("fourth"), also called cathurtha: the transcendental Reality, which exceeds the three conventional states of consciousness, namely waking, sleeping, and dreaming
u
Upanishad ("sitting near"): a type of scripture representing the concluding portion of the revealed literature of Hinduism, hence the designation Vedanta for the teachings of these sacred works; cf. Aranyaka, Brahmana, Veda
Upaya ("means"): in Buddhist yoga, the practice of compassion (karuna); cf. prajna
v
Vairagya ("dispassion"): the attitude of inner ren
VUBHUTI : VUBHUTIS ARE THE SUPREAM ACHIEVEMENT OF YOGA PRACTICE AND LIFESTYLE
a
Abhyasa: practice; cf. vairagya
Acarya (sometimes spelled Acharya in English): a preceptor, instructor; cf. guru
Advaita ("nonduality"): the truth and teaching that there is only One Reality (Atman, Brahman), especially as found in the Upanishads; see also Vedanta
Ahamkara ("I-maker"): the individuation principle, or ego, which must be transcended; cf. asmita; see also buddhi, manas
Ahimsa ("nonharming"): the single most important moral discipline (yama)
Akasha ("ether/space"): the first of the five material elements of which the physical universe is composed; also used to designate "inner" space, that is, the space of consciousness (called cid-akasha)
Amrita ("immortal/immortality"): a designation of the deathless Spirit (atman, purusha); also the nectar of immortality that oozes from the psychoenergetic center at the crown of the head (see sahasrara-cakra) when it is activated and transforms the body into a "divine body" (divya-deha)
Ananda ("bliss"): the condition of utter joy, which is an essential quality of the ultimate Reality (tattva)
Anga ("limb"): a fundamental category of the yogic path, such as asana, dharana, dhyana, niyama, pranayama, pratyahara, samadhi, yama; also the body (deha, sharira)
Arjuna ("White"): one of the five Pandava princes who fought in the great war depicted in the Mahabharata, disciple of the God-man Krishna whose teachings can be found in the Bhagavad Gita
Asana ("seat"): a physical posture (see also anga, mudra); the third limb (anga) of Patanjali's eightfold path (astha-anga-yoga); originally this meant only meditation posture, but subsequently, in hatha yoga, this aspect of the yogic path was greatly developed
Ashrama ("that where effort is made"): a hermitage; also a stage of life, such as brahmacharya, householder, forest dweller, and complete renouncer (samnyasin)
Ashta-anga-yoga, ashtanga-yoga ("eight-limbed union"): the eightfold yoga of Patanjali, consisting of moral discipline (yama), self-restraint (niyama), posture (asana), breath control (pranayama), sensory inhibition (pratyahara), concentration (dharana), meditation (dhyana), and ecstasy (samadhi), leading to liberation (kaivalya)
Asmita ("I-am-ness"): a concept of Patanjali's eight-limbed yoga, roughly synonymous with ahamkara
Atman ("self"): the transcendental Self, or Spirit, which is eternal and superconscious; our true nature or identity; sometimes a distinction is made between the atman as the individual self and the parama-atman as the transcendental Self; see also purusha; cf. brahman
Avadhuta ("he who has shed [everything]"): a radical type of renouncer (samnyasin) who often engages in unconventional behavior
Avidya ("ignorance"): the root cause of suffering (duhkha); also called ajnana; cf. vidya
Ayurveda, Ayur-veda ("life science"): one of India's traditional systems of medicine, the other being South India's Siddha medicine
b
Bandha ("bond/bondage"): the fact that human beings are typically bound by ignorance (avidya), which causes them to lead a life governed by karmic habit rather than inner freedom generated through wisdom (vidya, jnana)
Bhagavad Gita ("Lord's Song"): the oldest full-fledged yoga book found embedded in the Mahabharata and containing the teachings on karma yoga (the path of self-transcending action), samkhya yoga (the path of discerning the principles of existence correctly), and bhakti yoga (the path of devotion), as given by the God-man Krishna to Prince Arjuna on the battlefield 3,500 years or more ago
Bhagavata-Purana ("Ancient [Tradition] of the Bhagavatas"): a voluminous tenth-century scripture held sacred by the devotees of the Divine in the form of Vishnu, especially in his incarnate form as Krishna; also called Shrimad-Bhagavata
Bhakta ("devotee"): a disciple practicing bhakti yoga
Bhakti ("devotion/love"): the love of the bhakta toward the Divine or the guru as a manifestation of the Divine; also the love of the Divine toward the devotee
Bhakti-Sutra ("Aphorisms on Devotion"): an aphoristic work on devotional yoga authored by Sage Narada; another text by the same title is ascribed to Sage Shandilya
Bhakti Yoga ("Yoga of devotion"): a major branch of the yoga tradition, utilizing the feeling capacity to connect with the ultimate Reality conceived as a supreme Person (uttama-purusha)
Bindu ("seed/point"): the creative potency of anything where all energies are focused; the dot (also called tilaka) worn on the forehead as indicative of the third eye
Bodhi ("enlightenment"): the state of the awakened master, or buddha
Bodhisattva ("enlightenment being"): in Mahayana Buddhist yoga, the individual who, motivated by compassion (karuna), is committed to achieving enlightenment for the sake of all other beings
Brahma ("he who has grown expansive"): the Creator of the universe, the first principle (tattva) to emerge out of the ultimate Reality (brahman)
Brahmacharya (from brahma and acarya "brahmic conduct"): the discipline of chastity, which produces ojas
Brahman ("that which has grown expansive"): the ultimate Reality (cf. atman, purusha)
Brahmana: a brahmin, a member of the highest social class of traditional Indian society; also an early type of ritual text explicating the rituals and mythology of the four Vedas; cf. Aranyaka, Upanishad, Veda
Buddha ("awakened"): a designation of the person who has attained enlightenment (bodhi) and therefore inner freedom; honorific title of Gautama, the founder of Buddhism, who lived in the sixth century B.C.E.
Buddhi ("she who is conscious, awake"): the higher mind, which is the seat of wisdom (vidya, jnana); cf. manas
c
Cakra or Chakra ("wheel"): literally, the wheel of a wagon; metaphorically, one of the psycho-energetic centers of the subtle body (sukshma-sharira); in Buddhist yoga, five such centers are known, while in Hindu yoga often seven or more such centers are mentioned: mula-adhara-cakra (muladhara-cakra) at the base of the spine, svadhishthana-cakra at the genitals, manipura-cakra at the navel, anahata-cakra at the heart, vishuddha-cakra or vishuddhi-cakra at the throat, ajna-cakra in the middle of the head, and sahasrara-cakra at the top of the head
Cin-mudra ("consciousness seal"): a common hand gesture (mudra) in meditation (dhyana), which is formed by bringing the tips of the index finger and the thumb together, while the remaining fingers are kept straight
Cit ("consciousness"): the superconscious ultimate Reality (see atman, brahman)
Citta ("that which is conscious"): ordinary consciousness, the mind, as opposed to cit
d
Darshana ("seeing"): vision in the literal and metaphorical sense; a system of philosophy, such as the yoga-darshana of Patanjali; cf. drishti
Deva ("he who is shining"): a male deity, such as Shiva, Vishnu, or Krishna, either in the sense of the ultimate Reality or a high angelic being
Devi ("she who is shining"): a female deity such as Parvati, Lakshmi, or Radha, either in the sense of the ultimate Reality (in its feminine pole) or a high angelic being
Dharana ("holding"): concentration, the sixth limb (anga) of Patanjali's eight-limbed yoga
Dharma ("bearer"): a term of numerous meanings; often used in the sense of "law," "lawfulness," "virtue," "righteousness," "norm"
Dhyana ("ideating"): meditation, the seventh limb (anga) of Patanjali's eight-limbed yoga
Diksha ("initiation"): the act and condition of induction into the hidden aspects of yoga or a particular lineage of teachers; all traditional yoga is initiatory
Drishti ("view/sight"): yogic gazing, such as at the tip of the nose or the spot between the eyebrows; cf. darshana
Duhkha ("bad axle space"): suffering, a fundamental fact of life, caused by ignorance (avidya) of our true nature (i.e., the Self or atman)
g
Gayatri-mantra: a famous Vedic mantra recited particularly at sunrise: tat savitur varenyam bhargo devasya dhimahi dhiyo yo nah pracodayat,"
Gheranda-Samhita ("[Sage] Gheranda's Compendium"): one of three major manuals of classical hatha yoga, composed in the seventeenth century; cf. Hatha-Yoga-Pradipika, Shiva-Samhita
Goraksha ("Cow Protector"): traditionally said to be the founding adept of hatha yoga, a disciple of Matsyendra
Granthi ("knot"): any one of three common blockages in the central pathway (sushumna-nadi) preventing the full ascent of the serpent power (kundalini-shakti); the three knots are known as brahma-granthi (at the lowest psychoenergetic center of the subtle body), the vishnu-granthi (at the heart), and the rudra-granthi (at the eyebrow center)
Guna ("quality"): a term that has numerous meanings, including "virtue"; often refers to any of the three primary "qualities" or constituents of nature (prakriti): tamas (the principle of inertia), rajas (the dynamic principle), and sattva (the principle of lucidity)
Guru ("he who is heavy, weighty"): a spiritual teacher; cf. acarya
Guru-bhakti ("teacher devotion"): a disciple's self-transcending devotion to the guru; see also bhakti
Guru-Gita ("Guru's Song"): a text in praise of the guru, often chanted in ashramas
Guru-Yoga ("Yoga [relating to] the teacher"): a yogic approach that makes the guru the fulcrum of a disciple's practice; all traditional forms of yoga contain a strong element of guru-yoga
h
Hamsa ("swan/gander"): apart from the literal meaning, this term also refers to the breath (prana) as it moves within the body; the individuated consciousness (jiva) propelled by the breath; see jiva-atman; see also parama-hamsa
Hatha Yoga ("Forceful Yoga"): a major branch of yoga, developed by Goraksha and other adepts c. 1000 C.E., and emphasizing the physical aspects of the transformative path, notably postures (asana) and cleansing techniques (shodhana), but also breath control (pranayama)
Hatha-Yoga-Pradipika ("Light on Hatha Yoga"): one of three classical manuals on hatha yoga, authored by Svatmarama Yogendra in the fourteenth century
Hiranyagarbha ("Golden Germ"): the mythical founder of yoga; the first cosmological principle (tattva) to emerge out of the infinite Reality; also called Brahma
i
Ida-nadi ("pale conduit"): the prana current or arc ascending on the left side of the central channel (sushumna nadi) associated with the parasympathetic nervous system and having a cooling or calming effect on the mind when activated; cf. pingala-nadi
Ishvara ("ruler"): the Lord; referring either to the Creator (see Brahma) or, in Patanjali's yoga-darshana, to a special transcendental Self (purusha)
Ishvara-pranidhana ("dedication to the Lord"): in Patanjali's eight-limbed yoga one of the practices of self-restraint (niyama); see also bhakti yoga
j
Jaina (sometimes Jain): pertaining to the jinas ("conquerors"), the liberated adepts of Jainism; a member of Jainism, the spiritual tradition founded by Vardhamana Mahavira, a contemporary of Gautama the Buddha
Japa ("muttering"): the recitation of mantras
Jiva-atman, jivatman ("individual self"): the individuated consciousness, as opposed to the ultimate Self (parama-atman)
Jivan-mukta ("he who is liberated while alive"): an adept who, while still embodied, has attained liberation (moksha)
Jivan-mukti ("living liberation"): the state of liberation while being embodied; cf. videha-mukti
Jnana ("knowledge/wisdom"): both worldly knowledge or world-transcending wisdom, depending on the context; see also prajna; cf. avidya
Jnana-Yoga ("Yoga of wisdom"): the path to liberation based on wisdom, or the direct intuition of the transcendental Self (atman) through the steady application of discernment between the Real and the unreal and renunciation of what has been identified as unreal (or inconsequential to the achievement of liberation)
k
Kaivalya ("isolation"): the state of absolute freedom from conditioned existence, as explained in ashta-anga-yoga; in the nondualistic (advaita) traditions of India, this is usually called moksha or mukti (meaning "release" from the fetters of ignorance, or avidya)
Kali: a Goddess embodying the fierce (dissolving) aspect of the Divine
Kali-yuga: the dark age of spiritual and moral decline, said to be current now; kali does not refer to the Goddess Kali but to the losing throw of a die
Kama ("desire"): the appetite for sensual pleasure blocking the path to true bliss (ananda); the only desire conducive to freedom is the impulse toward liberation, called mumukshutva
Kapila ("He who is red"): a great sage, the quasi-mythical founder of the Samkhya tradition, who is said to have composed the Samkhya-Sutra (which, however, appears to be of a much later date)
Karman, karma ("action"): activity of any kind, including ritual acts; said to be binding only so long as engaged in a self-centered way; the "karmic" consequence of one's actions; destiny
Karma Yoga ("Yoga of action"): the liberating path of self-transcending action
Karuna ("compassion"): universal sympathy; in Buddhist yoga the complement of wisdom (prajna)
Khecari-mudra ("space-walking seal"): the Tantric practice of curling the tongue back against the upper palate in order to seal the life energy (prana); see also mudra
Kosha ("casing"): any one of five "envelopes" surrounding the transcendental Self (atman) and thus blocking its light: anna-maya-kosha ("envelope made of food," the physical body), prana-maya-kosha ("envelope made of life force"), mano-maya-kosha ("envelope made of mind"), vijnana-maya-kosha ("envelope made of consciousness"), and ananda-maya-kosha ("envelope made of bliss"); some older traditions regard the last kosha as identical with the Self (atman)
Krishna ("Puller"): an incarnation of God Vishnu, the God-man whose teachings can be found in the Bhagavad Gita and the Bhagavata-Purana
Kumbhaka ("potlike"): breath retention; cf. puraka, recaka
Kundalini-shakti ("coiled power"): according to Tantra and hatha yoga, the serpent power or spiritual energy, which exists in potential form at the lowest psycho-energetic center of the body (i.e., the mula-adhara-cakra) and which must be awakened and guided to the center at the crown (i.e., the sahasrara-cakra) for full enlightenment to occur
Kundalini-Yoga: the yogic path focusing on the kundalini process as a means of liberation
l
Laya Yoga ("Yoga of dissolution"): an advanced form or process of Tantric yoga by which the energies associated with the various psycho-energetic centers (cakra) of the subtle body are gradually dissolved through the ascent of the serpent power (kundalini-shakti)
Linga ("mark"): the phallus as a principle of creativity; a symbol of God Shiva; cf. yoni
m
Mahabharata ("Great Bharata"): one of India's two great ancient epics telling of the great war between the Pandavas and the Kauravas and serving as a repository for many spiritual and moral teachings
Mahatma (from maha-atman, "great self"): an honorific title (meaning something like "a great soul") bestowed on particularly meritorious individuals, such as Gandhi
Maithuna ("twinning"): the Tantric sexual ritual in which the participants view each other as Shiva and Shakti respectively
Manas ("mind"): the lower mind, which is bound to the senses and yields information (vijnana) rather than wisdom (jnana, vidya); cf. buddhi
Mandala ("circle"): a circular design symbolizing the cosmos and specific to a deity
Mantra (from the verbal root man "to think"): a sacred sound or phrase, such as om, hum, or om namah shivaya, that has a transformative effect on the mind of the individual reciting it; to be ultimately effective, a mantra needs to be given in an initiatory context (diksha)
Mantra-Yoga: the yogic path utilizing mantras as the primary means of liberation
Marman ("lethal [spot]"): in Ayurveda and yoga, a vital spot on the physical body where energy is concentrated or blocked; cf. granthi
Matsyendra ("Lord of Fish"): an early Tantric master who founded the Yogini-Kaula school and is remembered as a teacher of Goraksha
Maya ("she who measures"): the deluding or illusive power of the world; illusion by which the world is seen as separate from the ultimate singular Reality (atman)
Moksha ("release"): the condition of freedom from ignorance (avidya) and the binding effect of karma; also called mukti, kaivalya
Mudra ("seal"): a hand gesture (such as cin-mudra) or whole-body gesture (such as viparita-karani-mudra); also a designation of the feminine partner in the Tantric sexual ritual
Muni ("he who is silent"): a sage
n
Nada ("sound"): the inner sound, as it can be heard through the practice of nada yoga or kundalini yoga
Nada-Yoga ("Yoga of the [inner] sound"): the yoga or process of producing and intently listening to the inner sound as a means of concentration and ecstatic self-transcendence
Nadi ("conduit"): one of 72,000 or more subtle channels along or through which the life force (prana) circulates, of which the three most important ones are the ida-nadi, pingala-nadi, and sushumna-nadi
Nadi-shodhana ("channel cleansing"): the practice of purifying the conduits, especially by means of breath control (pranayama)
Narada: a great sage associated with music, who taught bhakti yoga and is attributed with the authorship of one of two Bhakti-Sutras
Natha ("lord"): appellation of many North Indian masters of yoga, in particular adepts of the Kanphata ("Split-ear") school allegedly founded by Goraksha
Neti-neti ("not thus, not thus"): an Upanishadic expression meant to convey that the ultimate Reality is neither this nor that, that is, is beyond all description
Nirodha ("restriction"): in Patanjali's eight-limbed yoga, the very basis of the process of concentration, meditation, and ecstasy; in the first instance, the restriction of the "whirls of the mind" (citta-vritti)
Niyama ("[self-]restraint"): the second limb of Patanjali's eightfold path, which consists of purity (saucha), contentment (samtosha), austerity (tapas), study (svadhyaya), and dedication to the Lord (ishvara-pranidhana)
Nyasa ("placing"): the Tantric practice of infusing various body parts with life force (prana) by touching or thinking of the respective physical area
o
Ojas ("vitality"): the subtle energy produced through practice, especially the discipline of chastity (brahmacharya)
Om: the original mantra symbolizing the ultimate Reality, which is prefixed to many mantric utterances
p
Parama-atman or paramatman ("supreme self"): the transcendental Self, which is singular, as opposed to the individuated self (jiva-atman) that exists in countless numbers in the form of living beings
Parama-hamsa, paramahansa ("supreme swan"): an honorific title given to great adepts, such as Ramakrishna and Yogananda
Patanjali: compiler of the Yoga Sutra, who lived c. 150 C.E.
Pingala-nadi ("reddish conduit"): the prana current or arc ascending on the right side of the central channel (sushumna-nadi) and associated with the sympathetic nervous system and having an energizing effect on the mind when activated; cf. ida-nadi
Prajna ("wisdom"): the opposite of spiritual ignorance (ajnana, avidya); one of two means of liberation in Buddhist yoga, the other being skillful means (upaya), i.e., compassion (karuna)
Prakriti ("creatrix"): nature, which is multilevel and, according to Patanjali's yoga-darshana, consists of an eternal dimension (called pradhana or "foundation"), levels of subtle existence (called sukshma-parvan), and the physical or coarse realm (called sthula-parvan); all of nature is deemed unconscious (acit), and therefore it is viewed as being in opposition to the transcendental Self or Spirit (purusha)
Prakriti-laya ("merging into Nature"): a high-level state of existence that falls short of actual liberation (kaivalya); the being who has attained that state
Prana ("life/breath"): life in general; the life force sustaining the body; the breath as an external manifestation of the subtle life force
Pranayama (from prana and ayama, "life/breath extension"): breath control, the fourth limb (anga) of Patanjali's eigthfold path, consisting of conscious inhalation (puraka), retention (kumbhaka), and exhalation (recaka); at an advanced state, breath retention occurs spontaneously for longer periods of time
Prasada ("grace/clarity"): divine grace; mental clarity
Pratyahara ("withdrawal"): sensory inhibition, the fifth limb (anga) of Patanjali's eightfold path
Puja ("worship"): ritual worship, which is an important aspect of many forms of yoga, notably bhakti yoga and Tantra
Puraka ("filling in"): inhalation, an aspect of breath control (pranayama)
Purana ("Ancient [History]"): a type of popular encyclopedia dealing with royal genealogy, cosmology, philosophy, and ritual; there are eighteen major and many more minor works of this nature
Purusha ("male"): the transcendental Self (atman) or Spirit, a designation that is mostly used in Samkhya and Patanjali's yoga-darshana
r
Radha: the God-man Krishna's spouse; a name of the divine Mother
Raja-Yoga ("Royal Yoga"): a late medieval designation of Patanjali's eightfold yoga-darshana, also known as classical yoga
Rama: an incarnation of God Vishnu preceding Krishna; the principal hero of the Ramayana
Ramayana ("Rama's life"): one of India's two great national epics telling the story of Rama; cf. Mahabharata
Recaka ("expulsion"): exhalation, an aspect of breath control (pranayama)
Rig-Veda; see Veda
Rishi ("seer"): a category of Vedic sage; an honorific title of certain venerated masters, such as the South Indian sage Ramana, who is known as maharshi (from maha meaning "great" and rishi); cf. muni
s
Sadhana ("accomplishing"): spiritual discipline leading to siddhi ("perfection" or "accomplishment"); the term is specifically used in Tantra
Sahaja ("together born"): a medieval term denoting the fact that the transcendental Reality and the empirical reality are not truly separate but coexist, or with the latter being an aspect or misperception of the former; often rendered as "spontaneous" or "spontaneity"; the sahaja state is the natural condition, that is, enlightenment or realization
Samadhi ("putting together"): the ecstatic or unitive state in which the meditator becomes one with the object of meditation, the eighth and final limb (anga) of Patanjali's eightfold path; there are many types of samadhi, the most significant distinction being between samprajnata (conscious) and asamprajnata (supraconscious) ecstasy; only the latter leads to the dissolution of the karmic factors deep within the mind; beyond both types of ecstasy is enlightenment, which is also sometimes called sahaja-samadhi or the condition of "natural" or "spontaneous" ecstasy, where there is perfect continuity of superconscious throughout waking, dreaming, and sleeping
Samatva or samata ("evenness"): the mental condition of harmony, balance
Samkhya ("Number"): one of the main traditions of Hinduism, which is concerned with the classification of the principles (tattva) of existence and their proper discernment in order to distinguish between Spirit (purusha) and the various aspects of Nature (prakriti); this influential system grew out of the ancient (pre-Buddhist) Samkhya-Yoga tradition and was codified in the Samkhya-Karika of Ishvara Krishna (c. 350 C.E.)
Samnyasa ("casting off"): the state of renunciation, which is the fourth and final stage of life (see ashrama) and consisting primarily in an inner turning away from what is understood to be finite and secondarily in an external letting go of finite things; cf. vairagya
Samnyasin ("he who has cast off"): a renouncer
Samprajnata-samadhi; see samadhi
Samsara ("confluence"): the finite world of change, as opposed to the ultimate Reality (brahman or nirvana)
Samskara ("activator"): the subconscious impression left behind by each act of volition, which, in turn, leads to renewed psychomental activity; the countless samskaras hidden in the depth of the mind are ultimately eliminated only in asamprajnata-samadhi (see samadhi)
Samyama ("constraint"): the combined practice of concentration (dharana), meditation (dhyana), and ecstasy (samadhi) in regard to the same object
Sat ("being/reality/truth"): the ultimate Reality (atman or brahman)
Sat-sanga ("true company/company of Truth"): the practice of frequenting the good company of saints, sages, Self-realized adepts, and their disciples, in whose company the ultimate Reality can be felt more palpably
Satya ("truth/truthfulness"): truth, a designation of the ultimate Reality; also the practice of truthfulness, which is an aspect of moral discipline (yama)
Shakti ("power"): the ultimate Reality in its feminine aspect, or the power pole of the Divine; see also kundalini-shakti
Shakti-pata ("descent of power"): the process of initiation, or spiritual baptism, by means of the benign transmission of an advanced or even enlightened adept (siddha), which awakens the shakti within a disciple, thereby initiating or enhancing the process of liberation
Shankara ("He who is benevolent"): the eighth-century adept who was the greatest proponent of nondualism (Advaita Vedanta) and whose philosophical school was probably responsible for the decline of Buddhism in India
Shishya ("student/disciple"): the initiated disciple of a guru
Shiva ("He who is benign"): the Divine; a deity that has served yogins as an archetypal model throughout the ages
Shiva-Sutra ("Shiva's Aphorisms"): like the Yoga Sutra of Patanjali, a classical work on yoga, as taught in the Shaivism of Kashmir; authored by Vasugupta (ninth century C.E.)
Shodhana ("cleansing/purification"): a fundamental aspect of all yogic paths; a category of purification practices in hatha yoga
Shraddha ("faith"): an essential disposition on the yogic path, which must be distinguished from mere belief
Shuddhi ("purification/purity"): the state of purity; a synonym of shodhana
Siddha ("accomplished"): an adept, often of Tantra; if fully Self-realized, the designation maha-siddha or "great adept" is often used
Siddha-Yoga ("Yoga of the adepts"): a designation applied especially to the yoga of Kashmiri Shaivism, as taught by Swami Muktananda (twentieth century)
Siddhi ("accomplishment/perfection"): spiritual perfection, the attainment of flawless identity with the ultimate Reality (atman or brahman); paranormal ability, of which the yoga tradition knows many kinds
Spanda ("vibration"): a key concept of Kashmir's Shaivism according to which the ultimate Reality itself "quivers," that is, is inherently creative rather than static (as conceived in Advaita Vedanta)
Sushumna-nadi ("very gracious channel"): the central prana current or arc in or along which the serpent power (kundalini-shakti) must ascend toward the psychoenergetic center (cakra) at the crown of the head in order to attain liberation (moksha)
Sutra ("thread"): an aphoristic statement; a work consisting of aphoristic statements, such as Patanjali's Yoga Sutra or Vasugupta's Shiva-Sutra
Svadhyaya ("one's own going into"): study, an important aspect of the yogic path, listed among the practices of self-restraint (niyama) in Patanjali's eightfold yoga; the recitation of mantras (see also japa)
t
Tantra ("Loom"): a type of Sanskrit work containing Tantric teachings; the tradition of Tantrism, which focuses on the shakti side of spiritual life and which originated in the early post-Christian era and achieved its classical features around 1000 C.E.; Tantrism has a "right-hand" (dakshina) or conservative and a "left-hand" (vama) or unconventional/antinomian branch, with the latter utilizing, among other things, sexual rituals
Tapas ("glow/heat"): austerity, penance, which is an ingredient of all yogic approaches, since they all involve self-transcendence
Tattva ("thatness"): a fact or reality; a particular category of existence such as the ahamkara, buddhi, manas; the ultimate Reality (see also atman, brahman)
Turiya ("fourth"), also called cathurtha: the transcendental Reality, which exceeds the three conventional states of consciousness, namely waking, sleeping, and dreaming
u
Upanishad ("sitting near"): a type of scripture representing the concluding portion of the revealed literature of Hinduism, hence the designation Vedanta for the teachings of these sacred works; cf. Aranyaka, Brahmana, Veda
Upaya ("means"): in Buddhist yoga, the practice of compassion (karuna); cf. prajna
v
Vairagya ("dispassion"): the attitude of inner ren
VUBHUTI : VUBHUTIS ARE THE SUPREAM ACHIEVEMENT OF YOGA PRACTICE AND LIFESTYLE
BANSURI AND VENU
Bansuri and venu are common Indian flutes. They are typically made of bamboo or reed. There are two varieties; transverse and fipple. The transverse variety is nothing more than a length of bamboo with holes cut into it. This is the preferred flute for classical music because the embouchure gives added flexibility and control. The fipple variety is found in the folk and filmi styles, but seldom used for serious music. This is usually considered to be just a toy because the absence of any embouchure limits the flexibility of the instrument. The flute may be called many things in India: bansi, bansuri, murali, venu and many more.
There are two main types; bansuri and venu. The bansuri is used in the North Indian system. It typically has six holes, however there has been a tendency in recent years to use seven holes for added flexibility and correctness of pitch in the higher registers. It was previously associated only with folk music, but today it is found in Hindustani classical, filmi, and numerous other genre. Venu is the south Indian flute and is used in the Carnatic system. It typically has eight holes. The venu is very popular in all south Indian styles.
Cultural and Religious Significance
The bansuri is not just a musical instrument, because it has a great cultural and religious significance among Hindus. It is an instrument associated with Lord Krishna. Numerous common names reflect these epitaphs of Krishna. Common examples are: Venugopal, Bansilal, Murali, Muralidhar, etc. Furthermore, in traditional Indian metaphysics, it is noted how remarkable it is the way the life force (pran, or literally "breath") is converted into a musical resonance (sur).
Parts of the Bansuri
We will now take a closer look at the north Indian Bansuri. It is always difficult to talk about the names for the various parts of the instrument because India is a land of many languages and dialects; therefore the following terms should be considered as representative but not universal.
Dandi - The dandi is the body of the bansuri. Bansuris may be fashioned from a variety of materials, but reeds, canes and bamboo are the most common. Ideally they should be constructed so that they taper towards the embouchure (mouth hole or mukharandra). They are therefore larger at the open end. This arrangement gives an extend range.
Mukha Randhra - This is the embouchure, or the blowing hole. professional quality bansuris in India are invariably of the transverse variety. However, there are also a number of fipple flutes which are also available. These are sometimes found among folk musicians and they are frequently given to children as toys. The transverse variety yields much better control by allowing blowing techniques to bend the notes to the desired pitches.
Swar Randhra - These are the finger holes. They are the holes that are used to play the melodies. For a 7-hole flute as shown in the side picture, the musical intervals are: half-step, whole-step, whole-step, half-step, whole-step, whole-step, whole-step. (Please note that these are approximations; the use of equal-temperament is not to be construed from this discussion.) The 7th hole (closest to the open end) is optional. When it is absent, the 6-hole flutes are tuned to: whole-step, whole-step, half-step, whole-step, whole-step, whole-step.
This 7th hole deserves special mention. Traditional north Indian folk flutes generally do not have it. The obvious advantage is that the presence of this hole extends the range of the instrument by one note. However, there is a more important and not quite so obvious advantage. Its presence gives the bansuri a more accurate pitch when overblown to produce the higher octaves.
Garbha Randhra - This is the opening of the bansuri. It should remain unoccluded at all times
Rassi - The body of the bansuri tends to crack. This is simply one of the undesirable qualities of bamboo and reed. This cracking may be reduced or eliminated by tightly binding the body with twine. This is known as rassi. One trick used by craftsmen to assure an even and reproducible tension is to tie a fixed weight to the end of the string and slowly turn the body of the bansuri to wrap the twine around it.
Technique of the Bansuri
The fingering position is shown in the accompanying photograph. Please note that the tips of the fingers are not used. Instead, it is the flat portion of the fingers, roughly an inch in from the tips that are used. This gives much more control when playing the half-holes (e.g., ornaments, flat notes).
Below are the fingerings for the notes of the Indian scale:
Bansuri and venu are common Indian flutes. They are typically made of bamboo or reed. There are two varieties; transverse and fipple. The transverse variety is nothing more than a length of bamboo with holes cut into it. This is the preferred flute for classical music because the embouchure gives added flexibility and control. The fipple variety is found in the folk and filmi styles, but seldom used for serious music. This is usually considered to be just a toy because the absence of any embouchure limits the flexibility of the instrument. The flute may be called many things in India: bansi, bansuri, murali, venu and many more.
There are two main types; bansuri and venu. The bansuri is used in the North Indian system. It typically has six holes, however there has been a tendency in recent years to use seven holes for added flexibility and correctness of pitch in the higher registers. It was previously associated only with folk music, but today it is found in Hindustani classical, filmi, and numerous other genre. Venu is the south Indian flute and is used in the Carnatic system. It typically has eight holes. The venu is very popular in all south Indian styles.Cultural and Religious Significance
The bansuri is not just a musical instrument, because it has a great cultural and religious significance among Hindus. It is an instrument associated with Lord Krishna. Numerous common names reflect these epitaphs of Krishna. Common examples are: Venugopal, Bansilal, Murali, Muralidhar, etc. Furthermore, in traditional Indian metaphysics, it is noted how remarkable it is the way the life force (pran, or literally "breath") is converted into a musical resonance (sur).
Parts of the Bansuri
We will now take a closer look at the north Indian Bansuri. It is always difficult to talk about the names for the various parts of the instrument because India is a land of many languages and dialects; therefore the following terms should be considered as representative but not universal.
Dandi - The dandi is the body of the bansuri. Bansuris may be fashioned from a variety of materials, but reeds, canes and bamboo are the most common. Ideally they should be constructed so that they taper towards the embouchure (mouth hole or mukharandra). They are therefore larger at the open end. This arrangement gives an extend range.
Mukha Randhra - This is the embouchure, or the blowing hole. professional quality bansuris in India are invariably of the transverse variety. However, there are also a number of fipple flutes which are also available. These are sometimes found among folk musicians and they are frequently given to children as toys. The transverse variety yields much better control by allowing blowing techniques to bend the notes to the desired pitches.Swar Randhra - These are the finger holes. They are the holes that are used to play the melodies. For a 7-hole flute as shown in the side picture, the musical intervals are: half-step, whole-step, whole-step, half-step, whole-step, whole-step, whole-step. (Please note that these are approximations; the use of equal-temperament is not to be construed from this discussion.) The 7th hole (closest to the open end) is optional. When it is absent, the 6-hole flutes are tuned to: whole-step, whole-step, half-step, whole-step, whole-step, whole-step.
This 7th hole deserves special mention. Traditional north Indian folk flutes generally do not have it. The obvious advantage is that the presence of this hole extends the range of the instrument by one note. However, there is a more important and not quite so obvious advantage. Its presence gives the bansuri a more accurate pitch when overblown to produce the higher octaves.
Garbha Randhra - This is the opening of the bansuri. It should remain unoccluded at all times
Rassi - The body of the bansuri tends to crack. This is simply one of the undesirable qualities of bamboo and reed. This cracking may be reduced or eliminated by tightly binding the body with twine. This is known as rassi. One trick used by craftsmen to assure an even and reproducible tension is to tie a fixed weight to the end of the string and slowly turn the body of the bansuri to wrap the twine around it.
Technique of the Bansuri
The fingering position is shown in the accompanying photograph. Please note that the tips of the fingers are not used. Instead, it is the flat portion of the fingers, roughly an inch in from the tips that are used. This gives much more control when playing the half-holes (e.g., ornaments, flat notes).
Below are the fingerings for the notes of the Indian scale:
Mataji, Vidushi Siddheswari Devi
Born on 8'th August 1908, in Banaras, Siddheshwari Devi had her initial training in Indian Classical music from Pandit Siyaji Maharaj. Later, she also trained under Pandit Bade Ram Dasji of Banaras. Siddheshwari shifted from Banaras to Delhi in 1965 and taught music in Shriram Bharatiya Kala Kendra for more than a decade till she passed away in 1977.
Siddheshwari Devi's music represented Banaras Gharana style, which lays more emphasis on the intensity of feelings and expression of emotions through musical notes and voice modulations. A stalwart of thumri, Siddheshwari's music also included khayals, dhrupads, dadras, tappas, kajris, chaitis, horis and bhajans. In thumris she specialized in "Poorabang" thumri, which is also known as the "Bol-Banav-ki thumri". Reliance on ragas was a distinctive feature of Siddheshwaris thumris. She helped in raising thumri to a classical form. She earned the title of "Thumri-Queen" and was presented the much coveted Padma Shree award in 1967.
Siddheshwari Devi strongly believed in "Guru Shishya Parampara" which has been kept alive by her daughter Vidushi Savita Devi. Savita established "Smt Siddheshwari Devi Academy of Indian Music" in the loving memory of her mother in 1977, the year in which Siddheshwari passed away.
Mataji, Vidushi Siddheswari Devi taught vocal technique and repertoire at the Kathak Kendra during the latter years of her life. In retrospect it seems inconceivable that an artist of such magnitude would teach a beginner such as I was, when I arrived at the Kathak Kendra in summer 1967. Yet she was fascinated by the musical sophistication I had acquired during thirteen years of professional training in western flute and piano, combined with my perfect vocal pitch and utterly unmodulated voice in terms of Indian vocal technique. I was a blank slate. I naively accepted the gifts Mataji gave me, whether a thumri in rag Jog or food which she cooked, while I cut onions in her kitchen on Sundays. Senior students and artists including Rita Chatterji graciously accepted my inclusion in Mataji's circle of art and love.
Mataji's full-throated, ungirlish range and daring flights up and down the raga shook me physically and shaped my aesthetic during those joyous moments when I sat with her - in the classroom, in her Pataudi House living room, and on stage in Lucknow and New Delhi. Since concerts at which she sang often lasted from early evening until early morning, I often heard other great artists such as Ustad Bismillah Khan.. For me Mataji embodied generosity, vulnerability, devotion, complex simplicity and artistry. She is joined by her daughter Savita in the on-stage photo of her typical singing position - her left hand covering one ear and the right hand extended toward the audience. When she gave me her tiny portrait - the second image of this unpretentious and open-hearted genius, she asked me to guess what was in her mind when it was snapped. Finally she said quietly ---- OM.
Born on 8'th August 1908, in Banaras, Siddheshwari Devi had her initial training in Indian Classical music from Pandit Siyaji Maharaj. Later, she also trained under Pandit Bade Ram Dasji of Banaras. Siddheshwari shifted from Banaras to Delhi in 1965 and taught music in Shriram Bharatiya Kala Kendra for more than a decade till she passed away in 1977.Siddheshwari Devi's music represented Banaras Gharana style, which lays more emphasis on the intensity of feelings and expression of emotions through musical notes and voice modulations. A stalwart of thumri, Siddheshwari's music also included khayals, dhrupads, dadras, tappas, kajris, chaitis, horis and bhajans. In thumris she specialized in "Poorabang" thumri, which is also known as the "Bol-Banav-ki thumri". Reliance on ragas was a distinctive feature of Siddheshwaris thumris. She helped in raising thumri to a classical form. She earned the title of "Thumri-Queen" and was presented the much coveted Padma Shree award in 1967.
Siddheshwari Devi strongly believed in "Guru Shishya Parampara" which has been kept alive by her daughter Vidushi Savita Devi. Savita established "Smt Siddheshwari Devi Academy of Indian Music" in the loving memory of her mother in 1977, the year in which Siddheshwari passed away.
Mataji, Vidushi Siddheswari Devi taught vocal technique and repertoire at the Kathak Kendra during the latter years of her life. In retrospect it seems inconceivable that an artist of such magnitude would teach a beginner such as I was, when I arrived at the Kathak Kendra in summer 1967. Yet she was fascinated by the musical sophistication I had acquired during thirteen years of professional training in western flute and piano, combined with my perfect vocal pitch and utterly unmodulated voice in terms of Indian vocal technique. I was a blank slate. I naively accepted the gifts Mataji gave me, whether a thumri in rag Jog or food which she cooked, while I cut onions in her kitchen on Sundays. Senior students and artists including Rita Chatterji graciously accepted my inclusion in Mataji's circle of art and love.
Mataji's full-throated, ungirlish range and daring flights up and down the raga shook me physically and shaped my aesthetic during those joyous moments when I sat with her - in the classroom, in her Pataudi House living room, and on stage in Lucknow and New Delhi. Since concerts at which she sang often lasted from early evening until early morning, I often heard other great artists such as Ustad Bismillah Khan.. For me Mataji embodied generosity, vulnerability, devotion, complex simplicity and artistry. She is joined by her daughter Savita in the on-stage photo of her typical singing position - her left hand covering one ear and the right hand extended toward the audience. When she gave me her tiny portrait - the second image of this unpretentious and open-hearted genius, she asked me to guess what was in her mind when it was snapped. Finally she said quietly ---- OM.
WHAT IS KATHAK?
KATHAK is the classical dance of Northern India. Its name derives from the Sanskrit word kathaka, storyteller. Long before Kathak was recognized as a classical dance form, these storytelling kathakas were integral players in the Indian oral tradition. They transmitted knowledge of religious epics and mythology -- such as the MAHABHARATA and the RAMAYANA -- by a combination of music, dance, acting and narration. Bhakti -- devotion -- was the principal emotion that the kathakas tried to evoke in their audience.
Rooted in the Hindu ethos common to all styles of Indian dance, Kathak developed into its present, distinct classical form in the Moghul and Rajput courts. Beginning in the Eighth Century, growing numbers of Muslim traders, adventurers, soldiers and rulers from Iran, Turkey and Afghanistan brought their own music, dance and costume styles to India. These influenced the performance practices of indigenous dancers and musicians, who sought patronage in Muslim courts. Meanwhile, Hindu Rajput rulers of Rajasthan also brought temple music and dance into their courts, modifying simple Hindu storytelling styles to reflect court entertainment etiquette, and contributing to the secularization and decoration of Kathak dance.
Modern Kathak descends from two great eighteenth-century Kathak dancers, Thakur Prasad of Lucknow and Janaki Prasad of Jaipur. Two of the major Kathak sytles are named after the geographical locus of the homes (ghar) of these great guru's: the Lucknow gharana and the Jaipur gharana. Each generation of Kathak dancers identifies himself/herself as "from the house of" his/her guru. It is as if becoming a student of a particular guru from a particular lineage gives second birth to the fledgling dancer, and from thenceforth, all the students of a particular guru are brothers and sisters -- guru bhai and guru behen -- no matter from what blood line or ethnicity or country they originally were born.
The narrative and poetic repertoire of Kathak continues to expand into the twenty-first century, including epics, devotional, romantic and mystical poetry in all the major languages of North India. Poetry written in Sanskrit, Urdu, Hindi and its dialects such as medieval Braj Bhasha and Avadhi reflects the mixed Hindu and Muslim roots of Kathak. The North Indian Hindustani style of classical music accompanies the dance, played by a musical ensemble that can include tabla and pakhawaj drums, sarangi, sitar, sarod, bamboo bansuri flute and vocalists.
Combining the spiritual fervor of the Hindu temple with opulent entertainment from the Moghul and Rajput courts, the Kathak dance tradition in the Twenty-first Century continues to evolve throught the art of Kathak dancers in India and throughout the world. Enriched by contemporary literature, music and performance practice, Kathak responds to an increasingly global culture.
Source : kathakensemble.com
READ MORE
KATHAK is the classical dance of Northern India. Its name derives from the Sanskrit word kathaka, storyteller. Long before Kathak was recognized as a classical dance form, these storytelling kathakas were integral players in the Indian oral tradition. They transmitted knowledge of religious epics and mythology -- such as the MAHABHARATA and the RAMAYANA -- by a combination of music, dance, acting and narration. Bhakti -- devotion -- was the principal emotion that the kathakas tried to evoke in their audience.
Rooted in the Hindu ethos common to all styles of Indian dance, Kathak developed into its present, distinct classical form in the Moghul and Rajput courts. Beginning in the Eighth Century, growing numbers of Muslim traders, adventurers, soldiers and rulers from Iran, Turkey and Afghanistan brought their own music, dance and costume styles to India. These influenced the performance practices of indigenous dancers and musicians, who sought patronage in Muslim courts. Meanwhile, Hindu Rajput rulers of Rajasthan also brought temple music and dance into their courts, modifying simple Hindu storytelling styles to reflect court entertainment etiquette, and contributing to the secularization and decoration of Kathak dance.
Modern Kathak descends from two great eighteenth-century Kathak dancers, Thakur Prasad of Lucknow and Janaki Prasad of Jaipur. Two of the major Kathak sytles are named after the geographical locus of the homes (ghar) of these great guru's: the Lucknow gharana and the Jaipur gharana. Each generation of Kathak dancers identifies himself/herself as "from the house of" his/her guru. It is as if becoming a student of a particular guru from a particular lineage gives second birth to the fledgling dancer, and from thenceforth, all the students of a particular guru are brothers and sisters -- guru bhai and guru behen -- no matter from what blood line or ethnicity or country they originally were born.
The narrative and poetic repertoire of Kathak continues to expand into the twenty-first century, including epics, devotional, romantic and mystical poetry in all the major languages of North India. Poetry written in Sanskrit, Urdu, Hindi and its dialects such as medieval Braj Bhasha and Avadhi reflects the mixed Hindu and Muslim roots of Kathak. The North Indian Hindustani style of classical music accompanies the dance, played by a musical ensemble that can include tabla and pakhawaj drums, sarangi, sitar, sarod, bamboo bansuri flute and vocalists.
Combining the spiritual fervor of the Hindu temple with opulent entertainment from the Moghul and Rajput courts, the Kathak dance tradition in the Twenty-first Century continues to evolve throught the art of Kathak dancers in India and throughout the world. Enriched by contemporary literature, music and performance practice, Kathak responds to an increasingly global culture.
Source : kathakensemble.com
Pandit Birju Maharaj
The most eminent Kathak dancer of recent times is Pandit Birju Maharaj. His full name is Brij Mohan Nath Mishra. He is the only son and disciple of Shri Achyan Maharaj and is a competent inheritor of the Lucknow Gharana. Birju Maharaj is a very talented and dignified personality. He is a born artist. During his childhood, he used to keenly watch and imitate various modes and ways of Kathak while his father used to give dance lessons to his students. In this way, rather playfully child Birju learned lots of things. Pleased by his son's achievements, Acchan Maharaj started to teach his son whole-heartedly. By the age of seven, Birju performed Kathak in home town Lucknow. It was the first recital in his life. The audience was spellbound at his wonderful presentation. At the age of ten, poor Birju lost his father. That was a tremenduous blow in child Birju's delicate mind. However, he tolerated that tragidy. Then he started taking dance lessons from his uncle Shri Lacchu Maharaj and Shri Shambhu Maharaj Later on, he became the teacher of Sangeet Bharati of Delhi. He teaches at the Bharatiya Kala Kendra in Delhi. He composed many dance dramas like 'Gobardhan Leela', 'Makhan Chori', 'Malti-Madhav', 'Kumar Samvav', 'Phag Bahar' etc. and gained extensive fame all over the country. His talent, dedication, vivacity, innovation enabled him to get involved in thousands of concerts not only in India but also in different places abroad. Today, whenever Kathak is discussed, Birju Maharaj's name is always raised.
Birju Maharaj has an enormous knowledge in Bol (musical phrases interlinked with drum strokes)-Laya (speed)-Taal (beats). Apart from being a Kathak dancer, he is also introduced as a singer of Bhajan, Thumri, Dadra, Hori etc. and also as a Tabla, Pakhawaj, Dholak, Naal (percussion instruments) player. He fluently plays various string instruments like Israj, Violin, Swar-Mandal, Sitar etc. To be respectful, Birju Maharaj can be introduced as a dancer, musician, composer, teacher, director, choreographer and a poet. He is an all-rounder. In 1986, he received the prestigious 'Padma Bibhushan' tittle from the goverment of India. He also received the 'Kalidas' award. He is also a recipient of 'Nehru Fellowship' in the name of India's first Prime Minister Pandit Jawaharlal Nehru. He is an instituition in himself. Currently, he is the chief faculty at Delhi's Kathak Kendra.
He is the father of two very well-known God-gifted talents - Shri Jai Kishan and Deepak Maharaj. He has many able desciples in India and abroad. Saswati Sen is one of the most versatile ones.
Born in the family of hereditary dancers, Birju Maharaj is the torch bearer of the famous family , Kalka-Bindadin Gharana of Lucknow, which has been serving the art of Kathak dance through centuries togather. Not only on India, he is familiarly known abroad, nearly all over the world. He has extensively toured all over the world, i.e. USSR, USA, Japan, UAE, UK, France, Germany, Italy, Aaustria, Czechoslovakia, Burma, Ceylon etc. for performances as well as lecture-demonstrations. Besides deing a superb dancer, he is also gifted with a number of other qualities which add to his artistic career.
He is a wonderful singer having command over, Thumri, Dadra, Bhajan and Ghazals and is also superb drummer, playing nearly all drums with ease and precision. He has given a new dimension to Kathak, by experimenting this technique in the application of dance-dramas, which has become very successful medium for mass propagation. As a choreographer he is the finest in the country today. His bold and intellectual compositions in traditional themes are brilliant, whereas his contemporary works are also refreshing in concept, crisp and entertaining.
He directed and composed music and sung playback for two classical dance sequences in the film, 'The Chess Players' directed by Satyajit Ray. A measure of his genius is the fact that at the age of 28 years, he received the Sangeet Natak Akademy Award. He is also a recipient of the country's second highest civilian award-Padma Vibhushan, besides several other pestigeous awards like- Kalidas Samman, Nritya Choodamani, Andhra Ratna, Nritya Vilas, Adharshila Shikhar Samman, Soviet Land Nehru Award, Shiromani Samman, Rajiv Ghandhi Peace Award.
He has been conferred with the Honorary Doctorate degrees from Banaras Hindu University, as well as Khairagarh University. He is widely acclaimed not only as a performer but also as an inspiring 'Guru' - teacher, having successfully trained numerous students in India and Abroad.
The most eminent Kathak dancer of recent times is Pandit Birju Maharaj. His full name is Brij Mohan Nath Mishra. He is the only son and disciple of Shri Achyan Maharaj and is a competent inheritor of the Lucknow Gharana. Birju Maharaj is a very talented and dignified personality. He is a born artist. During his childhood, he used to keenly watch and imitate various modes and ways of Kathak while his father used to give dance lessons to his students. In this way, rather playfully child Birju learned lots of things. Pleased by his son's achievements, Acchan Maharaj started to teach his son whole-heartedly. By the age of seven, Birju performed Kathak in home town Lucknow. It was the first recital in his life. The audience was spellbound at his wonderful presentation. At the age of ten, poor Birju lost his father. That was a tremenduous blow in child Birju's delicate mind. However, he tolerated that tragidy. Then he started taking dance lessons from his uncle Shri Lacchu Maharaj and Shri Shambhu Maharaj Later on, he became the teacher of Sangeet Bharati of Delhi. He teaches at the Bharatiya Kala Kendra in Delhi. He composed many dance dramas like 'Gobardhan Leela', 'Makhan Chori', 'Malti-Madhav', 'Kumar Samvav', 'Phag Bahar' etc. and gained extensive fame all over the country. His talent, dedication, vivacity, innovation enabled him to get involved in thousands of concerts not only in India but also in different places abroad. Today, whenever Kathak is discussed, Birju Maharaj's name is always raised.
Birju Maharaj has an enormous knowledge in Bol (musical phrases interlinked with drum strokes)-Laya (speed)-Taal (beats). Apart from being a Kathak dancer, he is also introduced as a singer of Bhajan, Thumri, Dadra, Hori etc. and also as a Tabla, Pakhawaj, Dholak, Naal (percussion instruments) player. He fluently plays various string instruments like Israj, Violin, Swar-Mandal, Sitar etc. To be respectful, Birju Maharaj can be introduced as a dancer, musician, composer, teacher, director, choreographer and a poet. He is an all-rounder. In 1986, he received the prestigious 'Padma Bibhushan' tittle from the goverment of India. He also received the 'Kalidas' award. He is also a recipient of 'Nehru Fellowship' in the name of India's first Prime Minister Pandit Jawaharlal Nehru. He is an instituition in himself. Currently, he is the chief faculty at Delhi's Kathak Kendra.
He is the father of two very well-known God-gifted talents - Shri Jai Kishan and Deepak Maharaj. He has many able desciples in India and abroad. Saswati Sen is one of the most versatile ones.
Born in the family of hereditary dancers, Birju Maharaj is the torch bearer of the famous family , Kalka-Bindadin Gharana of Lucknow, which has been serving the art of Kathak dance through centuries togather. Not only on India, he is familiarly known abroad, nearly all over the world. He has extensively toured all over the world, i.e. USSR, USA, Japan, UAE, UK, France, Germany, Italy, Aaustria, Czechoslovakia, Burma, Ceylon etc. for performances as well as lecture-demonstrations. Besides deing a superb dancer, he is also gifted with a number of other qualities which add to his artistic career.
He is a wonderful singer having command over, Thumri, Dadra, Bhajan and Ghazals and is also superb drummer, playing nearly all drums with ease and precision. He has given a new dimension to Kathak, by experimenting this technique in the application of dance-dramas, which has become very successful medium for mass propagation. As a choreographer he is the finest in the country today. His bold and intellectual compositions in traditional themes are brilliant, whereas his contemporary works are also refreshing in concept, crisp and entertaining.
He directed and composed music and sung playback for two classical dance sequences in the film, 'The Chess Players' directed by Satyajit Ray. A measure of his genius is the fact that at the age of 28 years, he received the Sangeet Natak Akademy Award. He is also a recipient of the country's second highest civilian award-Padma Vibhushan, besides several other pestigeous awards like- Kalidas Samman, Nritya Choodamani, Andhra Ratna, Nritya Vilas, Adharshila Shikhar Samman, Soviet Land Nehru Award, Shiromani Samman, Rajiv Ghandhi Peace Award.
He has been conferred with the Honorary Doctorate degrees from Banaras Hindu University, as well as Khairagarh University. He is widely acclaimed not only as a performer but also as an inspiring 'Guru' - teacher, having successfully trained numerous students in India and Abroad.
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