Padahastasana is the second standing pose and the companion to Padangusthasana. In this variation, the hands slide completely under the feet with the palms facing upward, so the toes rest on the wrist creases. This hand placement changes the lever arm of the fold and provides a deeper stretch to the wrists and forearms while intensifying the hamstring opening. Together with Padangusthasana, these two poses form the forward-fold gateway to the standing sequence.

The name combines pada (foot) and hasta (hand), literally meaning 'hand-to-foot pose' or 'hands under feet pose.' The placement of the hands beneath the soles of the feet is the defining characteristic that distinguishes it from Padangusthasana. In some lineages this is called 'gorilla pose' colloquially, though this name is not used in the KPJAYI tradition.

Padahastasana has 3 vinyasa. Continuing from Padangusthasana, inhale (1) — slide the hands palms-up under the feet so the toes reach the wrist creases, look up with a flat back. Exhale (2) — fold completely, elbows bending outward, head toward the shins, holding for five breaths. This is the state. Inhale (3) — look up with a flat back. Exhale, release the hands and return to Samasthitih with hands on the hips.

Coming directly from Padangusthasana, on the exhale after looking up, release the toe lock and turn the palms to face upward. Slide the hands under the soles of the feet, wiggling the fingers until the toes sit on the wrist creases. The palms press into the soles of the feet. On the inhale of vinyasa 1, look up with a concave spine, arms straight, creating length through the front body before folding on the exhale.

On the exhale, fold forward completely, bending the elbows outward and drawing the torso toward the thighs. The weight of the body presses the palms more deeply into the feet, providing traction and a passive stretch to the wrists and forearms. The legs remain straight with quadriceps engaged. The forehead or nose moves toward the shins. Hold for five full ujjayi breaths, using each exhale to deepen the fold through uddiyana bandha engagement. The sensation in the wrists provides additional feedback for presence and awareness.

On the inhale of vinyasa 3, look up with straight arms and a flat back while keeping the hands under the feet. On the exhale, withdraw the hands, place them on the hips, and on the next inhale, rise all the way to standing. Return to Samasthitih. The next pose, Utthita Trikonasana, begins from Samasthitih with a jump to the right.

The drishti is nasagra (nose tip) during the held state of the asana. When looking up on the inhale transitions, the gaze lifts forward or slightly upward to facilitate spinal extension. Consistent nasagra drishti in the fold helps maintain internal focus and prevents the neck from straining by keeping the head in a neutral relationship with the spine.

Uddiyana bandha engagement is critical here because the deeper fold demands more space in the abdominal cavity. The lower belly draws in and up on each exhale, allowing the torso to move closer to the thighs. Mula bandha provides foundational lift through the pelvic floor. Without bandha engagement, the practitioner tends to collapse into the fold passively, losing the active quality that makes the pose therapeutic.

Feet remain hip-width apart and parallel, identical to Padangusthasana. The hands slide fully under the feet with the toes on the wrist creases — if the hands cannot go all the way under, the practitioner should work to get the fingertips as far under as possible. The weight stays slightly forward toward the toes. The sitting bones point upward and the sacrum tilts anteriorly. The elbows aim outward, not backward, as the fold deepens.

Students frequently fail to get the hands fully under the feet, leaving only the fingertips beneath the toes rather than having the toes reach the wrist creases. This can be due to tight hamstrings or short arms relative to the torso. Another common error is allowing the weight to shift too far back into the heels, which makes it harder to fold deeply and increases strain on the lower back. Some students also round the shoulders forward excessively rather than broadening the collarbones.

Beyond the hamstring and posterior chain stretch shared with Padangusthasana, this variation adds a significant stretch to the wrist flexors and forearm muscles through the weight-bearing pressure on the palms. The carpal tunnel region is gently stretched open. The quadriceps work isometrically to keep the legs straight. The hip flexors (psoas, iliacus) work to draw the trunk deeper into flexion with each breath.

The wrist compression provides therapeutic benefit for mild carpal tunnel symptoms by passively stretching the carpal ligament. The forward fold continues the calming effect on the nervous system begun in Padangusthasana. Abdominal compression massages the digestive organs, supporting healthy digestion. The pose is particularly beneficial for practitioners who spend long hours at keyboards, as it counters the repetitive wrist flexion patterns of typing.

If the hands cannot reach fully under the feet, the student may bend the knees enough to slide the hands in and then work toward straightening the legs incrementally. Alternatively, the student can stand on blocks to create additional height, making it easier to get the hands underneath. For wrist injuries or acute carpal tunnel syndrome, this pose may need to be replaced with a repeated Padangusthasana or simply holding the ankles.

Padangusthasana, which directly precedes this pose, is the primary preparation. The cumulative forward folds in Surya Namaskara A (Uttanasana positions) progressively warm the hamstrings. Adho Mukha Svanasana with emphasis on pressing the palms flat prepares the wrists for the weight-bearing component of Padahastasana.

Returning to Samasthitih provides a momentary standing counterpose. The next several poses — Trikonasana and Parshvakonasana variations — take the body into lateral planes that balance the purely sagittal forward fold. The spinal extension and rotation in the upcoming standing poses serve as progressive counterposes to these initial forward folds.

The transition from gripping the toes to placing the hands under the feet represents a progression in surrender — from holding on to offering support. In the Ashtanga philosophy, the feet represent the foundation of practice, and placing the hands beneath them is a gesture of humility. Guruji (Pattabhi Jois) often said that correct practice requires the balance of sthira (steadiness) and sukha (ease), which these paired forward folds teach in their simplest form.