Purvottānāsana (Upward Plank Pose) is the essential counterpose to Paścimatānāsana, stretching the entire anterior body after the deep forward fold. It is the only backbend in the seated sequence until Setu Bandhāsana at the very end. Classified as a front-body opening and posterior-chain strengthening posture, it provides a vital balance point in the seated series.

From pūrva (east, referring to the front of the body), uttāna (intense stretch), and āsana (seat). Just as paścima refers to the back body (west), pūrva refers to the front body (east). The name means 'intense stretch of the east (anterior) side,' perfectly complementing Paścimatānāsana.

Purvottānāsana has a 15-vinyāsa count. After jumping through to seated (Saptaḥ/7), the āsana state is Aṣṭau (8), held for five breaths. Inhale to lift up into the full posture, exhale to come down. The exit follows the standard vinyāsa sequence through Catvāri, upward dog, and downward dog.

From Adho Mukha Śvānāsana, inhale and jump through to Daṇḍāsana. Place the hands approximately 12 inches behind the hips with fingers pointing toward the feet. On an inhale, press into the hands and feet, lifting the hips high and dropping the head back. The entire front body lifts, creating a reverse plank shape with the soles of the feet pressing toward the floor.

In the full posture, the body forms a straight or slightly arched line from the shoulders to the feet. The arms are straight and the hands are flat on the floor, shoulder-width apart, fingers pointing toward the feet. The legs are straight and together with the feet pressing flat — big toes reaching toward the floor. The hips lift as high as possible, the chest opens broadly, and the head drops back. Breathe steadily for five breaths.

On an exhale, lower the hips back to the floor and return to Daṇḍāsana briefly. Then cross the ankles, press the palms beside the hips, inhale and lift (utplutiḥ), exhale jump back to Catvāri. Flow through Ūrdhva Mukha Śvānāsana and Adho Mukha Śvānāsana to prepare for Ardha Baddha Padma Paścimatānāsana.

Bhrūmadhya dṛṣṭi (third eye/between the eyebrows). As the head drops back, the gaze naturally settles at the third eye point. If the neck is sensitive, the practitioner may keep the head in a neutral position and gaze at the nose.

Mūla bandha is critical for supporting the lift of the pelvis against gravity. Uḍḍīyāna bandha engages to prevent the hips from sagging and to maintain integrity through the core. Together the bandhas create a buoyancy that makes the posture feel less like muscular strain and more like an energetic lift.

Hands are placed behind the hips with fingers pointing toward the feet, wrists beneath the shoulders. The chest lifts and opens as the shoulder blades draw together on the back. The hips rise to the height of the shoulders or above. The legs are active with inner thighs rotating inward and feet pressing flat. The neck extends as a natural continuation of the thoracic extension.

Insufficient hip height, creating a sagging shape rather than a strong plank or gentle arc. Splaying the feet outward instead of keeping them together and flat. Crunching the cervical spine by throwing the head back without first opening the thoracic spine. Externally rotating the shoulders, which compresses the rotator cuff.

Purvottānāsana stretches the pectoralis major, anterior deltoids, biceps, hip flexors, rectus abdominis, and the entire anterior chain. It strengthens the triceps, posterior deltoids, rhomboids, erector spinae, gluteus maximus, and hamstrings. The wrist extensors are loaded significantly, and the ankle plantarflexors work to press the feet toward the floor.

As a counterpose to forward folding, it relieves compression in the anterior spine and opens the chest, which can improve respiratory function. It counteracts the postural effects of prolonged sitting and forward-rounded shoulders. In the Yoga Cikitsā framework, it restores balance to the spine after the intense posterior stretching of Paścimatānāsana. It also strengthens the wrists, which is therapeutic for those building toward arm balances.

If the wrists are sensitive, come onto the fists or forearms (creating a reverse forearm plank). Bend the knees and place the feet flat on the floor for a table-top variation if the full posture is too demanding. In the Mysore room, beginners are usually encouraged to attempt the full shape and simply work on lifting the hips higher over time.

Paścimatānāsana immediately precedes and prepares the posterior chain through deep stretching, which primes those muscles for contraction. Sūrya Namaskāra A and B build strength in the arms and shoulders. Ūrdhva Mukha Śvānāsana cultivates the thoracic extension pattern needed here.

Purvottānāsana is itself the counterpose to Paścimatānāsana. After Purvottānāsana, the sequence moves into asymmetric forward folds (Ardha Baddha Padma Paścimatānāsana), providing a natural return to hip flexion. The brief Daṇḍāsana position upon lowering serves as a neutral reset.

The pairing of Paścimatānāsana and Purvottānāsana illustrates the yogic principle of balance — for every action there is an equal and complementary response. The Haṭha Yoga Pradīpikā emphasizes the balance of ha (sun/front body) and ṭha (moon/back body). Stretching the 'east' body after the 'west' represents the harmonization of opposing forces within the practitioner.