बाहुं प्रकोष्ठेऽक्षमालामासीनं तर्कमुद्रया ॥३८॥
ká¹›tvorau daká¹£iṇe savyaá¹
pÄda-padmaá¹ ca jÄnuni
bÄhuá¹ prakoá¹£á¹he 'ká¹£a-mÄlÄm
ÄsÄ«naá¹ tarka-mudrayÄ
ká¹›tvÄ - having placed; Å«rau - thigh; daká¹£iṇe - at the right; savyam - the left; pÄda-padmam - lotus feet; ca - and; jÄnuni - on his knee; bÄhum - hand; prakoá¹£á¹he - in the end of the right hand; aká¹£a-mÄlÄm - rudrÄká¹£a beads; ÄsÄ«nam - sitting; tarka-mudrayÄ - with the mudrÄ of argument.
His left leg was placed on his right thigh, and his left hand was placed on his left thigh. [This sitting posture is called vÄ«rÄsana.] In his right hand he held rudrÄká¹£a beads, and his finger was in the mode of argument.
The sitting posture described herein is called vÄ«rÄsana according to the system of aá¹£á¹Äá¹…ga-yoga performances. In the performance of yoga there are eight divisions, such as yama and niyama — controlling, following the rules and regulations, then practicing the sitting postures, etc. Besides vÄ«rÄsana there are other sitting postures, such as padmÄsana and siddhÄsana. Practice of these Äsanas without elevating oneself to the position of realizing the Supersoul, Viṣṇu, is not the perfectional stage of yoga. Lord Åšiva is called yogÄ«Å›vara, the master of all yogÄ«s, and Kṛṣṇa is called yogeÅ›vara. YogÄ«Å›vara indicates that no one can surpass the yoga practice of Lord Åšiva, and yogeÅ›vara indicates that no one can surpass the yogic perfection of Kṛṣṇa. Another significant word is tarka-mudrÄ. This indicates that the fingers are opened and the second finger is raised, along with the arm, to impress the audience with some subject matter. This is actually a symbolic representation.
