FashionEra.in-Hatha|Vinyasa Yoga Make The Body Supple, Strong, Improve Breath ... . Vinyasa is derived from Hatha yoga, though the postures and practice is different. Both Hatha and Vinyasa yoga make the body more supple and

Ashtanga Vinyasa Yoga or Ashtanga Yoga is an ancient system of yoga popularized by K. Pattabhi Jois.[1] Pattabhi Jois began his yoga studies in 1927 at the age of 12, and by 1948 had established an institute for teaching the specific yoga practice known as Ashtanga (Sanskrit for "eight-limbed") Yoga

Principles
The term viṅyāsa refers to the alignment of movement and breath, a method which turns static yoga postures into a dynamic flow. The length of one inhale or one exhale dictates the length of time spent transitioning between postures. Poses are then held for a predefined number of breaths. In effect, attention is placed on the breath and the journey between the postures rather than solely on achieving perfect body alignment in a pose, as is emphasized in Hatha yoga.

The term vinyasa also refers to a specific series of movements that are frequently done between each pose in a series. This viṅyāsa 'flow' is a variant of Sūrya namaskāra, the Sun Salutation, and is used in other styles of yoga beside Ashtanga Vinyasa Yoga. A standard viṅyāsa consists (for example) of the flow from caturaṅga, or plank, to caturaṅga daṇḍāsana, or low plank, to ūrdhva mukha śvānāsana or upward-facing dog, to Adho Mukha Svanasana, or downward-facing dog.

The breathing style used in Ashtanga Vinyasa Yoga is Ujjayi which is a relaxed diaphragmatic style of breathing, characterized by an ocean sound which resonates in the practitioner's upper chest. Throughout a practice, this specific breathing style is maintained in alignment with movements. The steady cycle of inhales and exhales provides the practitioner with a calming, mental focal point. Additionally, viṅyāsa and Ujjayi together create internal heat, which leads to purification of the body through increased circulation and sweating.

Another major principle of Ashtanga Vinyasa Yoga are bhandas, or muscle locks, which focus energy the body and are closely tied to the breath.

Ashtanga Vinyasa Yoga is different from many yoga classes in the west in that the order of poses is completely predefined. A practice will comprise of four main parts: an "opening sequence," one of the six main "series", a back-bending sequence, and a set of inverted postures, referred to as the "finishing sequence." Practice always ends with savasana, or resting pose. The opening sequence begins with 10 Sun Salutations and then several standing postures. Next, the practitioner will do one of the six main series, referred to as the Primary series(Yoga Chikitsa), Intermediate series(Nadi Shodhana)or Advanced A, B, C, or D (Sthira Bhaga) series level. Newcomers to Ashtanga Yoga practice the primary series, after learning the standing sequence. The Primary Series is the most important series as it forms the basis of the entire system. Practitioners may advance to more difficult series over a period of years or decades, but the goal of this style is not to learn the more difficult poses but rather to learn to maintain internal focus throughout the practice.

Daily or regular practice is highly emphasized in Ashtanga Vinyasa Yoga. Ashtanga Yoga is traditionally taught in Mysore style (supervised self practice, named after the city in India where Ashtanga originates), where each student moves through the practice at his or her own pace and level. An individual with an established Ashtanga practice might take between an hour and two hours, depending on his or her own personal speed, but a beginner will likely have a shorter practice. Yoga studios which teach Mysore practice are hard to find and these classes are often only taught by those authorized to teach by the Ashtanga Yoga Research Institute. It is more common to find classes devoted to a specific series, often at a standardized pace, and guided by an instructor. However, even traditional Myysore-style teachers offer "led" classes either weekly or monthly.

History and legend
The Ashtanga Vinyasa series is said to have its origin in an ancient text called the Yoga Korunta, compiled by Vamana Rishi, which Krishnamacharya received from his Guru Rama Mohan Brahmachari at Mount Kailash in the early 20th century.[3] In addition, there is evidence that the Ashtanga Vinyasa series incorporates exercises used by Indian wrestlers and British gymnastics.[4]. Recent academic research details documentary evidence that physical journals in the early 20th century were full of the postural shapes that were very similar to Krishnamacharya's asana system [5]. In particular, the flowing surya namaskar which later became the basis of Krishnamacharya's Mysore style, was not yet considered part of yogasana[6].

Krishnamacharya has had considerable influence on many of the modern forms of yoga taught today. Among his students were many notable present-day teachers such as K. Pattabhi Jois, B.K.S. Iyengar, Indra Devi, and Krishnamacharya's son T.K.V. Desikachar. Krishnamacharya was well known for tailoring his teachings to address specific concerns of the person or group he was teaching[citation needed], and a vinyasa series for adolescents is a result of this[citation needed]. When working under the convalescing Maharaja of Mysore, Krishnamacharya set up a shala, or yoga school in the palace grounds and adapted the practice outlined in the Yoga Korunta for the young boys who lived there[citation needed]. Vinyasa has since been thought of as a physically demanding practice, which can be successful at channeling the hyperactivity of young minds. This system can also be used as a vessel for helping calm ongoing chatter of the mind, reducing stress and teaching extroverted personalities to redirect their attention to their internal experience.

Eight Limbs of Ashtanga
The sage Patanjali outlined eight aspects—or "limbs"— of spiritual yogic practice in his Yoga Sutras:[7]

Sanskrit English
Yama moral codes
Niyama self-purification and study
Asana posture
Pranayama breath control
Pratyahara sense control
Dharana intention
Dhyana meditation
Samadhi contemplation

The first four limbs—yama, niyama, asana and pranayama—are considered external cleansing practices. According to Pattabhi Jois, defects in these external practices are correctable while defects in the internal cleansing practices—pratyahara, dharana, dhyana and samadhi—are not. Pattabhi Jois thought these internal defects to be potentially dangerous to the mind unless the correct Ashtanga Yoga method was followed.[8] Thus Pattabhi Jois emphasized that the "Ashtanga Yoga method is Patanjali Yoga." [9]

Higher level practices within Hatha
Bandhas
There are three bandhas which are considered our internal body locks, prescribed in the different postures. The bandha is a sustained contraction of a group of muscles that assists the practitioner not only in retaining a pose but also in moving in and out of it. The Mūla Bandha, or root lock, is performed by tightening the muscles around the pelvic and perineum area. The Uḍḍīyāna Bandha, often described as bringing the navel to the base of the spine, is a contraction of the muscles of the lower abdominal area – this bandha is considered the most important bandha as it supports our breathing and encourages the development of strong core muscles. Jālaṅdhara Bandha, throat lock, is achieved by lowering the chin slightly while raising the sternum and the palate bringing the gaze to the tip of the nose.

Drishtis
Drishti (dṛṣṭi), or focused gaze, is a means for developing concentrated intention. The most common is Ūrdhva, or upward gazing, where the eyes are lifted, with the spine aligned from crown to tailbone. This technique is employed in a variety of postures.

There are, in total, nine drishtis that instruct the yoga student in directing his or her gaze. Each pose is associated with a particular drishti. They include:

Aṅguṣṭha madhyai: to the thumb
Bhrūmadhya: to the third eye, or between the eyebrows
Nāsāgrai: at the tip of the nose (or a point six inches from the tip)
Hastagrai: to the palm, usually the extended hand
Pārśva: to the left/right side
Ūrdhva: to the sky, or upwards
Nābhicakra: to the navel
Pādayoragrai: to the toes