Queen's Indian Pomar Variation
Queen's Indian: Pomar Variation
Definition
The Pomar Variation is a branch of the Queen’s Indian Defence that arises after the moves 1. d4 Nf6 2. c4 e6 3. Nf3 b6 4. Nc3 Bb7 5. a3. It is named after the Spanish grandmaster Arturo Pomar Salamanca, who explored 5. a3 in the 1950s. By advancing the a-pawn early, White clamps down on the …Bb4 pin, keeps the option of an eventual b2–b4 queenside expansion, and prepares central play with e2–e4 or d4–d5.
Typical Move Order
The core position can develop through several paths, but the classical sequence is:
- 1. d4 Nf6
- 2. c4 e6
- 3. Nf3 b6
- 4. Nc3 Bb7
- 5. a3 (Pomar Variation)
Black’s most common replies are 5…d5, 5…c5, or 5…Be7. Each choice leads to distinct pawn‐structures and plans.
Strategic Themes
- Pre-empting …Bb4: The main positional point of 5. a3 is to discourage or eliminate Black’s typical pin …Bb4, freeing White’s c3-knight.
- Queenside Space: Having pushed the a-pawn, White can advance b2–b4 in many lines, claiming space on the queenside and dislodging the b7-bishop.
- Flexible Center: Because the c-pawn is already on c4 (not yet exchanged)
and the b-pawn can support it later, White enjoys the choice between:
- e2–e4 in one go (often after Bd3 or Bf4).
- d4–d5, seizing space when Black answers …exd5 with …Nxd5.
- cxd5 followed by g2–g3 and Bg2, steering back into more typical Queen’s Indian structures.
- Minor-piece Tension: Because White’s bishop often sits on g2 or d3 and Black’s on b7 and e7, long-term play revolves around which side can make its bishops “bite” through the pawn-chain first.
Historical Background
Arturo Pomar introduced the idea of 5. a3 in top-level play during the 1950s, seeking an antidote to Black’s annoying …Bb4 pin. The system was later adopted by elite players such as Tigran Petrosian, who employed it extensively— hence the alternative name “Petrosian System.” While never the absolute main line, the variation’s strategic richness has kept it a respected sideline all the way to modern engine-assisted chess.
Model Game
The following rapid illustration shows typical ideas for both sides:
• White’s 11.Bd3 and 12.O-O highlight the plan of harmonious development.
• Black counter-attacks in the center with …c5, typical versus the Pomar structure.
• After 17.Bf4, White’s minor pieces aim at the d6-square while keeping queenside options open.
Practical Tips
- Against 5…d5, be ready to decide quickly whether to close the center with c4–c5 or exchange on d5. Both choices lead to very different pawn structures.
- If Black plays 5…Be7 and castles rapidly, White often gains time to push e2–e4 in one move, since the bishop on e7 blocks the queen’s defense of d5.
- After 5…c5, advancing d4–d5 can give White a space advantage, but only if you are prepared to handle the isolated a-pawn that may arise after …exd5.
- Don’t hesitate to redeploy the c3-knight to b5 or e5; the absence of …Bb4 makes these maneuvers far smoother.
Interesting Facts
- Arturo Pomar was a child prodigy who drew a game with former World Champion Alexander Alekhine at the age of 13; his opening experiments, including 5. a3 in the Queen’s Indian, were part of his relentless search for fresh ideas.
- The variation received a computer-age revival when engines showed that “slow” moves like a2–a3 can contain significant latent energy.
- Although the Pomar line scores close to 50% for White in modern databases, many grandmasters employ it primarily as a surprise weapon to avoid heavily analyzed main lines after 4.g3.
- Some repertoire books list 5. a3 under both “Petrosian” and “Pomar” headings, reflecting the dual heritage of the idea.