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30 Essential Yoga Poses: For Beginning Students and Their by Judith Hanson Lasater

By Judith Hanson Lasater


In 30 crucial Yoga Poses, Judith Lasater attracts on her wealth of yoga perform and educating event, in addition to her education as a actual therapist, to give this complete consultant for starting scholars and their teachers.

The writer discusses yoga's old eightfold course and its relevance in today's international, and is going to the guts of yoga—the all-important student-teacher relationship.

Thirty crucial yoga poses (asana), their adaptations, and respiring practices (pranayama) also are supplied, with counsel for the coed practising at domestic, and issues for the school room instructor. Sequences are provided with photographic charts for simple visible reference, and a "Mantra for day-by-day Practice" and thesaurus of anatomical phrases and assets for additional research also are incorporated.

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Extra info for 30 Essential Yoga Poses: For Beginning Students and Their Teachers

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The act of viewing a Yōga painting was often an intense contemplation of an image of one or more bodies, while painting students typically scrutinized the often naked bodies of live models and copied ideal bodies depicted in canonical works. Frequently these Yōga experiences of bodies entailed contact with racially or culturally foreign bodies, accompanied by an erotic or violent frisson. The visualization of the Other was variously undertaken with ethnographic attention to attributes of cultural difference, voyeuristic absorption with the erotic body, or the hostility of visualizing the enemy in war painting.

In terms of painting style, Kishida entrusted his Self to van Gogh and what he called “Post-Impressionism” for only a short while, from about 1911 to 1912. 2), and then in 1915 and 1916 he reined in his spontaneous gestural brushwork to a high-focused realism including trompe l’oeil simulations of surface textures and reflections informed by Northern Renaissance models such as Albrecht Dürer and Hans Holbein. 17 The influx of photographic reproductions of works of European art in the Tokyo art world gave Kishida, who would never travel to Europe, access to van Gogh and Dürer almost simultaneously.

The “health” of the art world was an ongoing preoccupation, and its greater ideological importance was articulated by entrusting it with specific functions for the larger social body of the nation; the raison d’être of the art world was the production of Japanese art for the good of the nation. 43 Such terms as “national painting” resonated with metaphors of the body employed in early-twentieth-century Japanese political discourse and terms such as “national body” (kokutai), promoted by official state ideologues to denote a timeless spiritual bond between Japanese subjects and the emperor.

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