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PART II: METHODOLOGY AND TECHNIQUES OF KRIYA YOGA

CHAPTER 6 THE BASIC TECHNIQUES OF KRIYA YOGA

Disclaimer of Responsibility The techniques described herein are exposed for study purposes only and should serve as a comparison with the wor s of other researchers! The author hopes this wor will inspire intelli"ent feedbac ! Any remar s# criticism# corrections# and$or additions are welcome! %efore you be"in posin" all inds of questions to yourself# read throu"h Part && and Part &&& of this boo so you have a thorou"h understandin" of the matter! 'ou(ll find that as you "o throu"h it many questions will be answered! & wish to ma e clear that this boo is not a )riya 'o"a manual* & may write one and face the problem of dividin" it into different lessons and "ivin" all the necessary instructions for each level! However# certain delicate techniques e!"! +aha +udra# )riya Pranayama# Tho ar# and 'oni +udra cannot be learned from a manual and require the help of an expert to chec their execution! Each person is different so it is not possible to predict what effects an intensive practice mi"ht have on a particular individual! The author disclaims any responsibility in case of ne"ative results# especially if the techniques are practiced without first havin" their execution chec ed by an expert! Those who intend to carry on this practice should do so with a due sense of sacredness and awareness of the wealth it can brin" to their life! Althou"h you should have the ri"ht and the duty to control your own destiny# securin" expert counsel or "uidance is indispensable! ,hen you "o to an expert# please advise them of physical problems# such as hi"h blood pressure# lun" problems# or si"ns of hyperventilation -! &f you have a particular physical problem or handicap# an expert can lead you throu"h a very mild form of )riya Pranayama and the correspondin" +udras . and if necessary# may recommend that you practice them only mentally!

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Localization o t!" C!a#$a% an& o 'a$tic(la$ c"nt"$% in t!" )$ain The Chakras are subtle astral 1ethereal2 or"ans inside the spinal cord3 ideal steps on a mystic ladder "uidin" one safely to the deepest ecstatic experience! &n )riya we don(t try to visuali4e a Chakra but to perceive approximately its location! The practice of the different levels of Kriya Yoga will refine this perception! 5urely it is not possible to eliminate visuali4ation completely but if waste time in tryin" to recreate internally the attractive ima"es you find on the 6ew A"e boo s# you could run the ris of losin" the real meanin" of the Kriya techniques! 7n the contrary# when certain particular conditions are established . mental silence# relaxation# an intense desire of the soul . the practice of Kriya Pranayama ta es# so to say# the 8inward route8 and the 5piritual Reality manifests! 'ou will then perceive the reality of the Chakras in the astral dimension! 'ou will be able to listen to their astral vibration as well as hues of li"ht pourin" forth from their locations! 'ou will also develop the ability to sin"le out the different rates of vibration of each Chakra. The practice of Kechari Mudra 1explained in this Chapter2 will foster this experience especially when the 8wind8 of the breath subsides! Therefore# don(t be maniacally precise about each Chakra location! Here you will not find instruction li e9 ((Third Chakra is located at :; 1;rd :umbar <ertebra2 behind navel(( or ((=ifth Chakra is located at C>((-! or instruction how to visuali4e their supposed specific color and the number of their petals# each one decorated with a 5ans rit letter!!! Too much 8creative8 visuali4ation is a"ainst startin" up the Kriya process! The nature of each Chakra reveals two aspects# one internal and one external! The internal aspect of a Chakra# its essence# is a vibration of 8li"ht8 attractin" your awareness upward# toward the 5pirit! The external aspect of a Chakra# its physical side# is a diffuse 8li"ht8 enlivenin" and sustainin" the life of the physical body! 6ow# while climbin" the ladder of the spine durin" Kriya Pranayama, you can conceive the Chakras as tiny 8twin lin" li"hts8 illuminatin" a hollow tube which is the spinal cord! Then# when the awareness is brou"ht down# the Chakras are internally perceived as or"ans distributin" ener"y 1comin" from &nfinity above2 into the body! :uminous rays depart from their locations# enlivenin" the part of the body which is in front of them! The first Chakra# Muladhara# is at the base of the spinal column ?ust above the coccy"eal 1tailbone2 re"ion! The second Chakra# Swadhisthana# is in the sacral re"ion# halfway between Muladhara and Manipura! The third Chakra# Manipura# is in the lumbar re"ion# at the same level as the navel! The fourth Chakra# Anahata# is in the dorsal re"ion3 its location can be felt by brin"in" the shoulder blades closer and concentratin" on the tense muscles in the area between them or ?ust below them! The fifth Chakra# Vishuddha# is located where the nec ?oins the shoulders! &ts location can be detected by swayin" the head from side to side# eepin" the upper chest immobile# and concentratin" on the
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point where you perceive a 8crac in"8 sound! Throu"h the practice of Kriya Pranayama you will learn how to detect the seat of the Medulla oblongata 1on top of the spinal cord2! ,hile centered in the Medulla oblongata# conver"e your inner "a4e on Bhrumadhya# the point between the eyebrows# and observe a faint internal li"ht in that re"ion! &f you come strai"ht bac about / centimeters from where the li"ht appears# you have found the seat of the sixth Chakra Ajna! This Chakra is considered the ((seat of the soul(( or the ((door to the in"dom of 5pirit!((! %y findin" stability of concentration there# the internal li"ht in Bhrumadhya will expand in the experience of the spiritual eye 1Kutastha2 a luminous point in the middle of an infinite spherical radiance! This experience is the royal entrance to the Aivine Consciousness immanent in our physical universe! 'ou will experience the entire universe as your own body! This experience is also called Kutastha Chaitanya! B5ometimes the term Kutastha is utili4ed at the place of Bhrumadhya!C The ener"y flowin" throu"h the adi of the ton"ue durin" Kechari Mudra stimulates the 'it(ita$* +lan&! The pituitary "land# or hypophysis# is an endocrine "land about the si4e of a pea! &t forms a protrusion at the bottom of the brain hypothalamus! &t is said to be the physical counter part of !"na Chakra! 7ne of the "reatest mystery of the spiritual path is the role of the 'in"al +lan&# or epiphysis! This is another small endocrine "land in the brain! &t is shaped li e a tiny pine cone 1symbolically# many spiritual or"ani4ations# have used the pine cone as an icon2! &t is located behind the pituitary "land# at the bac of the third ventricle of the brain! Havin" full experience of the white spiritual :i"ht there is considered the apex of your 5adhana 1spiritual practice!2 &n the commentary on the %ha"avad Dita by 5wami Pranabananda Diri there is a hint to two further spiritual centers in the brain9 Roudri and Bama! Roudri is located on the left side of the brain above the left ear# while Bama is located on the ri"ht side of the brain above the ri"ht ear! ,e shall have the opportunity to utili4e them durin" the practice of those #igher Kriyas happenin" in the re"ion of the brain above the ideal plan containin" !"na Chakra! Bindu is located in the occipital re"ion# where the hairline twists in a ind of vortex 1where Hindus with shaved heads wear a loc of hair2! Aurin" the first part of Kriya Pranayama, the consciousness touches Bindu briefly at the end of each inhalation! &n the hi"her phases of Kriya Pranayama# when our awareness finds tranquility in Bindu# we become aware of the Fontanelle B,e mean the anterior fontanelle more properly called ((%re"ma((!C Sahasrara, is at the top of the head! &t is perceived as li"ht radiatin" from the upper part of the cranium! The "i+!t! Chakra is the hi"hest center we are "oin" to consider! &t is located at about ;E centimeters above =ontanelle!

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Po%ition o$ M"&itation 7ne should sit facin" east! Accordin" to Patan?ali# the yogi(s posture 1Asana2 must be steady and pleasant! Half lotus: +ost kriyabans are relaxed in this sittin" position# which has been used since time immemorial for meditation# because itFs comfortable and easily mana"ed! The ey is to maintain an erect spine by sittin" on the ed"e of a thic cushion so the buttoc s are sli"htly raised! 5it crossGle""ed with the nees restin" on the floor! %rin" the left foot toward the body so its sole is restin" a"ainst the inside of the ri"ht thi"h! Araw the heel of the left foot in toward the "roin as much as possible! The ri"ht le" is bent at the nee and the ri"ht foot is comfortably placed over the left thi"h or calf or both! :et the ri"ht nee drop as far as possible toward the floor! The shoulders are in a natural position! The head# nec # chest# and spine are in a strai"ht line as if they were lin ed! ,hen the le"s "et tired# reverse them to prolon" the position! The best hand position is with fin"ers interloc ed as in the wellG nown photo of :ahiri +ahasaya! This balances the ener"y from the ri"ht hand to the left and vice versa! The hand position for meditation and for Pranayama is the same because you move from Pranayama to meditation without interruption! Hsually you don(t even reali4e it! =or certain health or physical conditions# it may be beneficial to practice the half lotus on an armless chair provided it is lar"e enou"h! &n this way# one le" at a time can be lowered and the nee ?oint relaxed* Siddhasana: 1Perfect Pose2 is of medium difficulty! The sole of the left foot is placed a"ainst the ri"ht thi"h while the heel presses on the perineum! The ri"ht heel is a"ainst the pubic bone! This le" position combined with Kechari Mudra closes the pranic circuit and ma es Kriya Pranayama easy and beneficial! &t is said the position helps one to become aware of the movement of Prana! !admasana: 1lotus position2 a difficult# uncomfortable position3 the ri"ht foot is placed on the left thi"h and the left foot on the ri"ht thi"h with the soles of the feet turned up! &t is explained that when this !sana is combined with Kechari and $hambha%i Mudra# it results in an ener"etic condition that produces the experience of the internal li"ht comin" from each Chakra! &t helps eep the body from bendin" or fallin" over as it tends to do when deep Pratyahara is practiced! Padmasana is uncomfortable for a be"inner because the nees and the an les become extremely painful! & would not advise anyone to perform this difficult posture3 some yogis have had to have nee cartila"e removed after years of forcin" themselves into the Padmasana!

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Ei+!t Ba%ic T"c!ni,("% o K$i*a Yo+a The followin" techniques are usually "iven durin" the first initiation into Kriya Yoga9 &alabya Kriya, 'm (apa )in the Chakras*, Kriya Pranayama 1often denoted simply by Pranayama* in three parts, a%i Kriya, Maha Mudra, Kriya Pranayama +ith short breath, mental Pranayama and Yoni Mudra! 0 -. Tala)*a K$i*a 5tart with the ton"ue in a relaxed position with the tip li"htly touchin" the bac of the upper teeth! Press the body of the ton"ue a"ainst the upper palate to create a suction cup effect! +any practice &alabya Kriya incorrectly by instinctively turnin" their ton"ue bac wards 1or eepin" it vertical2 but this cancels the whole effect! &t is important to have the ton"ue tip touchin" the bac of the upper teeth before pressin" its body a"ainst the upper palate! ,hile pressin" the ton"ue a"ainst the upper palate 1roof of the mouth2# drop$lower the bottom ?aw until you clearly feel the stretch in the lingual frenulum 1the small fold of tissue under the ton"ue that attaches it to the base of the mouth!2 Release the ton"ue with a clic in" sound then stic it out of the mouth and point it toward the chin! At the be"innin"# do not exceed 0E repetitions a day to avoid strainin" the frenulum! Eventually# you want to do JE repetitions in about @ minutes 100EG0@E seconds!2 After some months of practicin" &alabya Kriya re"ularly# it should be possible to insert the ton"ue into the nasal pharynx cavity 1This is Kechari Mudra, described in detail in the next Chapter!2 Even after masterin" Kechari Mudra, &alabya Kriya should continue to be practiced because it creates a perceivable relaxin" effect on the thin in" process! &t is not nown why stretchin" the frenulum reduces thou"ht production# however# anyone practicin" the technique can readily verify this! Remark 0 &n #atha Yoga boo s there are different su""estions for len"thenin" the frenulum! 7ne which is well nown one is wrappin" a piece of cloth around the ton"ue and# with the help of the hands# "ently pullin" 1relaxin" and repeatin" different times2 the cloth both hori4ontally and also up# toward the tip of the nose! :ahiri +ahasaya was absolutely a"ainst cuttin" the frenulum to obtain faster and easier results! The technique of &alabya Kriya can be enriched by massa"in" both the muscles of the ton"ue and the frenulum with one(s own fin"ers! Remark @ &alabya Kriya and Kechari Mudra are completely different* 7pen your mouth in front of a mirror durin" the first part of &alabya Kriya to see the hollow parts on each side of the frenulum which appear isolated from the body of the ton"ue3
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To chec if refinements have been added to the description of the techniques# visit www! riyayo"ainfo!net at least once a year!

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durin" Kechari Mudra, it is the uvula that comes forward and only the root of the ton"ue is visible* /. O0 1a'a in t!" C!a#$a% 5tartin" with the first Chakra Muladhara# chant the Mantra 87m8 while concentratin" on it3 then do the same with the second Chakra and so on up to the fifth Chakra 1,ishuddha2 and then with Bindu! Aurin" the ascent# do your best to intuitively touch the inner core of each Chakra! The descent be"ins by chantin" 87m8 in the Medulla oblongata# then in the cervical Chakra and so on# all the way down to the first Chakra! Aurin" this descent of awareness# try to perceive the subtle radiation of each Chakra! 7ne ascent 1Chakras 0# @# ;# I# J# Bindu2 and one descent 1Medulla oblongata# J# I# ;# @# 02 represent one cycle that lasts @JG;E seconds! Ao 6 to 0@ cycles! Ao not pay any attention to the breath other than to breathe naturally! The 'm Mantra may be chanted aloud durin" the first three cycles! &n the remainin" cycles chant 'm mentally! The correct pronunciation for (('m(( is li e the ((on"(( in ((son"(( but drawn out! &t must not be pronounced li e the ((om(( in Tom e!"! ((ahm!(( &n this technique# 8'm8 is a pure prolon"ed vowel sound pronounced li e the alphabet letter ((o!(( The ((m(( is silent and the ((o(( sound is len"thened! At the end# the mouth is not completely closed . thus creatin" the nasal sound 8n"8! ,hen pronouncin" &ndian Mantras# li e 'm namo bhaga%ate - or 'm namah $hi%aya -# the consonant 8m8 in 87m8 is heard! 5ome say the correct note of 'm is % 15i2 before +iddle C 1Ao2! This exercise# performed with concentration# ma es the best form of Kriya Pranayama happen durin" your meditation routine! &f one cycle lasts @JG ;E seconds# then each 'm chant last about @ seconds# which is very "ood! 5ure enou"h# a lon"er cycle e!"! II seconds# as counseled by :ahiri +ahasaya# would be very appropriate# providin" oneFs concentration is always constant! The ideal practice is when a cycle lasts 6E seconds! %ut this creates boredom and many kriyabans would tend to s ip this introductory procedure! 2. K$i*a P$ana*a0a 3S'inal B$"at!in+4 Kriya Pranayama is the most important technique! &t acts directly on the ener"y 1Prana2 present in the body! Kriya !charyas use different methods to introduce it! Here & describe my own didactic strate"y! Fi$%t Pa$t: lon+ )$"at! 5it! %t$on+ %o(n&% in t!" t!$oat 5it facin" east! 'our posture should be steady and pleasant! +aintain an erect spine! =or this purpose you can utili4e the tric described previously sittin" on the ed"e of a thic cushion so the buttoc s are sli"htly raised! The chin is little down# near the chest 1your nec muscles maintain an even sli"ht tension!2 'our fin"ers are interloc ed li e in the wellG nown photo of :ahiri +ahasaya! Kechari Mudra 1if you are able to do it2 is applied! 7therwise# touch with the tip of the ton"ue the upper palate at the point where the hard palate becomes soft! This is enou"h to ma e the mind completely still! +outh and eyes are closed!
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'our awareness is stable at the Medulla oblongata. &n order to locate Medulla, raise your chin and tense the muscles of the nec at the base of the occipital bone3 concentrate on the small hollow under that bone! +ove from that point toward the point between the eyebrows! 6ow if you slowly swin" your head sideways 1a few centimeters left and ri"ht2 havin" the sensation of somethin" connectin" the two temples# it is possible to locate the seat of Medulla! @ Medulla is placed at the intersectin" point of two lines9 the line connectin" the hollow under the occipital bone with the point between your eyebrows and the line connectin" the two temples! 6ow prepare yourself for a sweet and calm abdominal breathin"! This means that durin" inhalation# the upper part of the thorax remains almost immobile! Have a deep breath# then another9 don(t worry about the len"th of inhalation and of exhalation! %reathe a"ain and a"ain and you will discover how you breath becomes naturally lon" and comfortin"! +er"e your awareness with the beauty of deep breathin"! Chec a"ain that breathin" is mainly abdominal! Aurin" inhalation# the abdomen expands and durin" exhalation the abdomen is drawn in! Aurin" inhalation# the upper part of the lun"s is filled two thirds full! Ao 67T raise the rib ca"e or the shoulders! About visuali4ation we have already stressed that it suffice to visuali4e the spine as a hollow tube! -hat is a Kriya breath. &t is a deep inhalation throu"h the nose that produces an unvoiced sound 1li e in /""ayi Pranayama2 in the throat# which acts li e a hydraulic pump to raise the ener"y 1Prana2 from the base of the spinal column up to the Medulla oblongata. Part of the ener"y comes up to Bindu 1occipital re"ion2 but it is perfectly natural that# as a be"inner# you don(t notice this detail! A short pause of @G; seconds follows! The movement of the air is suspended! This helps suspend the activity of the mind as well9 a state of stability appears! & repeat9 no more than @G; seconds! An unhurried exhalation throu"h the nose follows! &t is# more or less# of the same len"th as the inhalation! &t could be lon"er! The exhalation accompanies the movement of the ener"y bac to the base of the spinal column! Aurin" the last part of the exhalation# there is a clear perception of the navel movin" in toward the spine! %y refinin" this experience and the awareness of the navel movin" inward# you will feel the action of the diaphra"m muscles and become conscious of increasin" heat in the navel! This heat seems to rise from the lower part of the abdomen! %ut this perception may require wee s or months before appearin"! Another short pause of @G; seconds follows! This pause is intimately lived as a moment of comfortable peace! The dynamic mind becomes static and is appeased!
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,orthy to quote is the fact that 5ri 'u teswar recommended visuali4in" the Medulla oblongata as shaped li e the bac of a small turtle!

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,ell# what we have described is one Kriya breath! &t is recommended to practice 0@ Kriya breaths . if possible without interruption! Reference literature says perfect Kriya Pranayama is /E breaths per hour . about IJ seconds per breath! Kriyabans can reach this rhythm only durin" lon" sessions! 'ou will complete 0@ breaths in a natural and unhurried way in about I GJ minutes! &n time you will 0@ breaths in around K minutes! Remark The path ta en by the ener"y "radually reveals itself durin" practice! 6o difficult visuali4ation of ener"y comin" up to Medulla oblongata is required! Aurin" the pause# the radiance of Kutastha appears as a blurred li"ht or "low permeatin" the frontal part of the brain! 'ou can sometimes perceive a sli"ht sensation of crepuscular li"ht permeatin" the upper part of the head! &n this sweet way of startin" the Kriya practice, the ener"y cannot reach either the re"ion between the eyebrows nor $ahasrara0 this will happen later! %reathin" durin" )riya Pranayama is not free breathin" but restricted breathin" that creates a clearly heard sound in the throat! This sound while inhalin" is li e a quiet schhhh $L$! The sound is similar to the amplified bac "round noise of a loudspea er3 there is only a sli"ht hiss durin" exhalation! There are many poor &nternet video clips of /""ayi Pranayama with yogis who ma e a horrible sound because they are usin" $vibratin" their vocal chords9 this is not correct in Kriya Pranayama! =ortunately# there are also "ood explanations of /""ayi Pranayama that & si"nal in my web site! :et us consider terms li e9 8laryn"eal contracture8 or 8inspiration a"ainst airway resistance!8 This is a clear way of explainin" what is happenin"! & hope there is no room for misunderstandin"! To ma e certain the sound is correct# concentrate only on increasin" the friction of the air flowin" throu"h your throat! A muffled sound will ori"inate! &ncrease its frequency! &f the surroundin"s are perfectly still# a person could hear it within a IGJ meter radius . by no means outside it! However# do not expect sound perfection yet. ,hen Kechari Mudra is eventually done correctly# the exhalin" sound will be fluteGli e9 $heee $heee $LiM$! The meanin" and the implications of this sound are discussed later! Aurin" inhalation# we perceive a cold current comin" up throu"h the spine! 7r simply a fresh sensation! &t is fresh li e the inhalin" air! ,e perceive a lu ewarm sensation durin" exhalation! Aoes our ener"y activate the 1da and Pingala currents and we are perceivin" themN 7ur purpose is that our ener"y and awareness moves inside the spiritual channel of $ushumna! ,e are practicin" :ahiri +ahasaya(s Kriya and are proud we move our current in $ushumna -! 6o# don(t thin in that way! %e humble and accept the fact that in the be"innin" the ener"y is 67T flowin" throu"h $ushumna! Consider the idea that the spine is li e an onion! & mean its section is li e the section of an onion9 there are many layers! ,e be"in movin" alon" the external layers and slowly# month after month# we wear out one layer after the other until!!!! until somethin" starts
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happenin" in $ushumna! And this is pure heaven! <ery rarely this happens since the be"innin"! &n the early sta"es# durin" inhalation Prana flows in &da# and durin" exhalation in Pingala* %ut in Kriya literature we read that Prana moves in $ushumna . well# if you want to thin this# follow this idea# this illusion! &f this inspires you# 7 ! 7ne day Prana will surely flow throu"h $ushumna! &f you want to have a sure pro"ress# try to practice always in a ?oyful mood! En?oy the sounds# the sensations# the pauses! As for the value of the pauses# the more you became aware of them# the deeper your practice becomes! Aurin" the first Kriya breaths, do not chant 'm or another Mantra in any Chakra9 you are employin" a "reat mental intensity of awareness to follow all the points we have already described! :et wee s of months pass by before experiencin" the second part of Kriya Pranayama! S"con& Pa$t: 0"ntall* c!antin+ O0 in "ac! C!a#$a 5!il" li%t"nin+ to int"$nal %o(n&% After some wee s you are ready to add to your 0@ Kriya breaths another set of 0@ breaths which will brin" you nearer to what :ahiri +ahasaya referred to as /ttam Pranayama# a hi"her form of Kriya Pranayama! ; &n this new set of Kriya breaths# durin" inhalation# 'm is mentally chanted 1or# more simply# 8mentally placed82 in each one of the six Chakras from Muladhara to Medulla oblongata. Aurin" the pause you can remain thou"htless or chant an additional 'm in the point between the eyebrows! Aurin" exhalation# chant a"ain 'm in the Medulla oblongata and in all the other Chakras comin" down to Muladhara. As lon" as it comes natural to you# place 'm in each Chakra as "ently 8touchin"8 it from the bac ! Therefore# while comin" down to Muladhara# visuali4e the ener"y flowin" down alon" the bac of the spinal column! 6ow let me introduce a very subtle detail! 'our attention should be focused on the astral sounds that come from the Chakras rather than on the sound of the breath! These sounds are not physical sounds3 they have nothin" to do with the sound produced by the air in the throat! They appear in different forms 1bumblebee# flute# harp# drum# hum li e an electrical transformer# bell!!!!2 and capture a kriyaban(s awareness leadin" it to "reater depths without any dan"er of "ettin" lost! Each chantin" of the syllable 'm should be accompanied by an unswervin" will to trac down the echo of this vibration until you become aware of the astral sounds! 'ou need a continuous will to listen internally! 'our listenin" s ills will improve and you will become more sensitive! A very important fact to understand is that the event of perceivin" those sounds is not produced by the intensity of a unique moment of deep
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,hen# durin" Kriya, the Prana enters the $ushumna channel# the breath disappears# there are no throat sounds and the no coldGwarm currents! This is called /ttam 1hi"her2 Pranayama.

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concentration but by the accumulation of effort manifested durin" daily sessions of Kriya 1effort is the meticulous attention to any internal sound# no matter how faint2! Those who are not able to hear any internal sound should not conclude somethin" is wron"! +aybe they have done an enormous effort whose fruits will be en?oyed durin" the next day(s practice or some day in the future! A si"n one is headin" in the ri"ht direction is a sense of mild pressure# li e a sensation of liquid peace above or around the head often accompanied by a certain hummin" in the entire occipital re"ion! &f you perceive it# it serves no purpose wonderin" if this is the real 'm because it is probably ?ust a si"nal that the real experience is approachin"! Oust intensify your awareness of that re"ion# especially its ri"ht part! Patience and constancy are of prime importance! 7ne day# you will awa en to the reali4ation that you are actually hearin" a sound of 8runnin" water8! :ahiri +ahasaya described it as a sound 8produced by a lot of people continually stri in" the dis of a bell and as continuous as oil flowin" out of a container8! 5urely# when you hear the sound of runnin" waters or of waves brea in" over cliffs# you can be sure you are on the ri"ht trac ! A "reat experience is hearin" a distant sound of a lon"Gsustainin" bell! ,hen this happens there is no more distinction between Pranayama and the deepest meditation state! =or"et everythin" 1what you are doin"# the number or Kriya breaths done or to be done2 and become totally absorbed in it! Do ahead listenin" to it and each part of your psyche will be harmoniously affected! A firstG ever Bhakti 1devotion2 will arise spontaneously# cross the wall of the psycholo"ical dimension and ma e life and spiritual experience indistin"uishable! Reality will appear as transfi"ured . similar to a li"ht dustin" of snow that reduces all asperities! Remark %oth part one and part two of Kriya Pranayama are important! Aon(t s ip the first! The first part is very powerful because you devote all your attention to the sound of breath until you produce a particular flute sound! This stimulates Kundalini and therefore $amadhi! And# of course# don(t s ip the second part! Rather# instead of bein" content with the required 0@ additional Kriya breaths# extend your effort with one or two more cycles of breaths! :ahiri +ahasaya wrote that "oin" ahead without chantin" 'm in each Chakra# your Kriya becomes 8tamasic8 Bof ne"ative natureC and many inds of useless thou"hts arise! The mind won(t focus on the Aivine but distract you! T!i$& Pa$t: c"nt"$in+ *o($ t!" a5a$"n"%% at t!" (''"$ 'a$t o t!" !"a& This third part of Kriya Pranayama can be approached only when you have reached a daily number of I/ Kriya breaths and# possibly# when real Kechari Mudra is achieved! Always start your practice with the first part of Kriya Pranayama for at least 0@ breaths3 then en?oy the second part of Kriya Pranayama until you have completed I/ Kriya breaths alto"ether 10@ of 0st P;6 of @nd!2
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$hambha%i Mudra is the act of concentratin" on the space between the eyebrows# brin"in" the two eyebrows toward the center with a sli"ht wrin lin" of the forehead! There is a hi"her form of $hambha%i that requires closed or halfGclosed eyelids! 1:ahiri +ahasaya in his wellG nown portrait is showin" this Mudra!2 The eyes loo upward as much as possible as if loo in" at the ceilin" but without any head movement! The li"ht tension perceived in the muscles of the eyeballs "radually disappears and the position can be maintained rather easily! A bystander would observe the sclera 1white of the eye2 under the iris because very often the inferior eyelids relax! Throu"h this Mudra# all one(s Prana collects at the top of the head! Aurin" this Mudra you practice the instructions of the second part of Kriya Pranayama 1chantin" of 'm in the prescribed places2 but the center of awareness is now at the upper part of your head! %ecome stable in this +udra and complete the number of repetitions you have decided to practice 16E# >@ or more!2 This practice is a real ?ewel! Time "oes by without much notice and what could seem to be an exhaustin" tas e!"! 0E/ or 0II repetitions . turns out to be as easy as a moment of rest! 'ou will notice the breath is rather slow! 'ou will en?oy the beautiful feelin" of fresh air that seems to come up throu"h the spine and pierce each Chakra, and of the warm exhaled air permeatin" each 4one of the body from top to bottom! 'ou will actually perceive this and it is not a fi"ment of your ima"ination* 'our attitude is apparently passive# in actual fact fully sensitive# and therefore active in an intelli"ent way! The sound of the breath is smooth and unbro en li e the continuous pourin" of oil from a bottle! The practice reaches its maximum power and seems to have a life of its own! 'ou will eventually have the impression of crossin" a mental state# which is li e fallin" asleep# then suddenly returnin" to full awareness and reali4in" you are bas in" in a spiritual li"ht! &t(s li e a plane emer"in" from clouds into a clear transparent s y!
6H"$" "n&% t!" "7'lanation o K$i*a P$ana*a0a 3S'inal B$"at!in+.4 L"t (% $"%(0" t!" &"%c$i'tion o t!" ot!"$ t"c!ni,("% 3to )" '$actic"& a t"$ K$i*a P$ana*a0a.48

9. Na:i K$i*a Hsin" the same method described in 'm (apa and without attemptin" to control the breath# one(s awareness slowly moves up alon" the spinal column! The Mantra 'm is placed in the first five Chakras# in the Bindu, and in the point between the eyebrows! The chin is then tilted down toward the throat cavity! The hands are ?oined with the fin"ers interloc ed# palms face downward# and the pads of both thumbs are touchin"! 'm is chanted from >J to 0EE times in the navel 1umbilicus2 either aloud or mentally! The thumbs li"htly press the navel for each 'm! ,hile doin" this# a calm ener"y Bit is called $amanaC expands from the lowerGmiddle part of the abdomen! The chin is then raised as much as possible . the muscles at the bac of the nec are sli"htly contracted! The concentration shifts first to the Bindu and then to the third Chakra 1movin" downward in a strai"ht line# outside the body2!
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The hands are ept behind the bac and ?oined by interloc in" the fin"ers and the palms face upward with the pads of both thumbs touchin"! 'm is chanted . aloud or mentally . approximately @J times in the third Chakra! =or every 'm# the thumbs apply a li"ht pressure to the lumbar vertebrae! %y no means should the breath be synchroni4ed with the chantin" of 'm. The chin(s normal position is then resumed and 'm is mentally chanted in reverse order from the point between the eyebrows to Muladhara! This is one a%i Kriya 1it lasts between 0IEG06E seconds2! A kriyaban does I repetitions of a%i Kriya. ;. Ma!a M(&$a 7ne starts by bendin" the left le" under the body so the left heel is as near as possible to the perineum 1between the scrotum and anus for males and between the anus and cervical openin" for females2 with the ri"ht le" fully extended in front! &deally# but not necessarily# you want the left heel exertin" pressure on the perineum! This pressure is the best means of stimulatin" one(s awareness of the Muladhara Chakra in the coccyx re"ion at the root of the spine! Throu"h a deep inhalation# the ener"y is brou"ht up the spine to the !"na Chakra! This is a very simple and easily acquired sensation so there is no need to complicate it! Holdin" the breath# stretch forward 1in a relaxed way2 and interloc hands so you can "rasp your bi" toe! &n this outstretched position# the chin is pressed naturally a"ainst the chest! Continue holdin" the breath and mentally chant 'm in the re"ion between the eyebrows 6G0@ times! ,hile holdin" the breath# return to the startin" position and with a lon" exhalation# visuali4e sendin" the warm ener"y down to the base of the spinal column! Repeat the procedure with the le" positions reversed3 ri"ht heel near the perineum and the left le" outstretched! Repeat with both le"s outstretched! This is one Maha Mudra3 it requires about 6EG/E seconds! Practice three Maha Mudra for a total of K movements! Remark 5ome schools su""est drawin" the nee 1or both nees# before the third movement2 a"ainst the body so the thi"h is as close to the chest as possible durin" inhalation! The interloc ed fin"ers are placed around the nee to exert pressure on it! This helps to eep the bac strai"ht and ma e the inner sound of the !nahata Chakra audible! Maha Mudra must be comfortable and it must not hurt* &nitially# most kriyabans will not be able to do the forward stretch without ris in" bac or nee in?ury! To avoid pain or in?ury# eep the outstretched le" bent at the nee until the position feels comfortable! ,hile holdin" the breath in the outstretched position# contract the anal and the abdominal muscles and draw the abdominal muscles in sli"htly so the navel moves inward toward the lumbar center! As we have seen# the bi" toe is "rasped while one is in the outstretched
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position! 5ome schools insist on this detail and explain that by repeatin" this action on each le"# the balance between the two channels 1da and Pingala is improved! A variation is to squee4e the toenail of the bi" toe with the thumb of the ri"ht hand3 the index and middle fin"ers are behind it and the left hand cups the sole of the foot! ,hen the procedure is repeated with both le"s outstretched# both toes are "rasped with the interloc ed hands! 1A variation is that the thumbs of each hand press the respective toenails and the index and middle fin"ers hold the toe from behind2! Maha Mudra incorporates all the three Bandhas! I ,hen applied simultaneously with the body bent forward and without excessive contraction# it helps one to be aware of both ends of $ushumna and produces the feelin" of an ener"etic current movin" up the spine! &n due course# one will be able to perceive the whole $ushumna adi as a radiant channel! <. K$i*a P$ana*a0a 5it! %!o$t )$"at! 'our eyebrows are raised to facilitate the experience of divine :i"ht! Concentration is upon 5oulGcenter !"na! The ton"ue is in Kechari Mudra or rolled up a"ainst the palate! Pranayama +ith short breath is based upon lettin" the breath move freely# observin" it# bein" conscious of each movement . pauses included . and coordinatin" it with a particular movement of ener"y! There is a lovin" awareness of your breathin"! After havin" drawn three deep breaths# each of them endin" with a fast and complete an exhalation li e a si"h# your breath will be very calm! The breath enters throu"h the nose and dissolves in !"na! &f you place your fin"er under both nostrils# the in"oin" or out"oin" breath will barely touch your fin"er! This is the indication that the breath is internali4ed . 6ow# part of your awareness "oes to Muladhara. ,hen it feels natural to inhale# inhale only what is necessary# as quic ly as per instinct 1about one second2# then pause an instant in the second Chakra. ,hen it feels natural to exhale# exhale# and pause in Muladhara. ,hen it feels natural to inhale# inhale# and pause in the third Chakra. ,hen it feels natural to exhale# exhale# and pause in Muladhara. Continue li e that# repeatin" the procedure between Muladhara and the fourth Chakra# Muladhara and the fifth Chakra 1then Muladhara Bindu# Muladhara Medulla oblongata# Muladhara fifth# Muladhara fourth# Muladhara third and Muladhara second Chakra.2 7ne cycle comprises 0E short breaths! Repeat the cycle until you perceive your breath is very calm . almost imperceptible! =. M"ntal P$ana*a0a =or"et totally about your breath! +ove your awareness up and down the spine pausin" in each spinal center! 5tart with the first# pause there# move to the second# pause!!!!and so on! After ascendin" to the Bindu# be"in the descent#
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The definition of Bandhas is "iven in Chapter 0

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pausin" in Medulla oblongata# fifth Chakra# fourth Chakra, and so on! &t is convenient to center your attention for 0EG@E seconds on each Chakra! 1'm may be mentally chanted in each Chakra but it is better not to disturb the mental silence!2 The secret lies in maintainin" the awareness in each of them until a sensation of sweetness is felt# as if the Chakra were 8meltin"8! Chakras are li e nots that can be untied if 8touched8 by one(s concentration! %esides a meltin" sensation# one may also perceive the subtle radiation of each Chakra in the body! +a e sure that this does not become a technical detail to be applied throu"h will and concentration! Aon(t disturb the sweetness of the absorption process! This is only a spontaneous reali4ation that the Chakras are sustainin" each part of the body(s vitality! The process of risin" and descendin" throu"h the Chakras is carried on as lon" as it is comfortable! 17ne complete round lasts about @GI minutes!2 This is the most pleasin" part of the routine! Kriyabans do not feel they are practicin" a technique but en?oyin" a few moments of soothin" relaxation! This is the moment when a deep mental silence settles in the consciousness and in the body! Tranquility, 8$thir &att+a8 1calm# static Prana2 is experienced in the seventh Chakra! :ahiri +ahasaya called this state Para%astha or Kriyar Para%astha 2 8the state that comes after the action of Kriya8. &f# throu"h sheer willpower# such a state were brou"ht to awareness as often as possible amid one(s daily activities# the results would be extraordinary! Remark There is a subtle difference between 'm (apa and mental Pranayama! 'm (apa before Kriya Pranayama is desi"ned to stimulate each Chakra! 'ou pause only a short time in each one to vibrate the 'm Mantra! Aurin" mental Pranayama# you are more passive# more willin" to perceive than to stimulate! The pauses in each Chakra are much lon"er! ,hen your awareness stays for some seconds upon a Chakra# and you are relaxed there comes the perception of a pleasurable sweet sensation and your breath slows down noticeably! 5ome inner sounds as well as hues of li"ht in the screen of Kutastha deepen your contact with the 'mkar dimension!
6H"$" "n&% t!" 0ain $o(tin". No5 ollo5% t!" "7'lanation o Yoni M(&$a to )" '$actic"& >(%t )" o$" +oin+ to )"&.8

?. Yoni M(&$a At ni"ht# before "oin" to bed# be"in your practice by calmin" the psychoG physical system by a short Kriya routine 1for example 'm (apa in the Chakras followed by Pranayama +ith short breath2! Then# with a deep inhalation# raise the ener"y into the central part of the head! &f you are able to do Kechari Mudra# press the ton"ue firmly on the hi"hest point inside the nasal pharynx . otherwise leave the ton"ue in its normal relaxed position! At the same time# close every 8openin"8 in the head . the ears with the thumbs# the eyelids with the index fin"ers# the nostrils with the middle fin"ers# the lips with the rin" and the little fin"ers! &n this way the Prana will 8li"ht up8
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the re"ion between the eyebrows! Throu"hout the practice# both elbows are parallel to the floor and pointin" out to the side! Ao not let them drop# prop them up somehow# if necessary! Aurin" this special li"htGwitnessin" act# the index fin"ers must not put any pressure on the eyes . this would be harmful and serve no purpose* 'ou can draw the eyelids down with the index fin"ers and apply pressure on the upper chee bones at the corners of the eyes! ,hile mentally repeatin" 'm several times and holdin" the breath# observe the li"ht of the 8spiritual eye!8 The li"ht intensifies and condenses into a "olden rin"! Hold the breath as lon" as is comfortable and until the necessity to breathe out distracts your attention! Exhale and brin" the awareness down alon" the spine! Yoni Mudra is usually performed only once! Traditional instruction advises increasin" 'm repetitions by one per day up to a maximum of @EE! 7f course# forcin" is always to be avoided! After Yoni Mudra, remain concentrated as lon" as possible at the point between the eyebrows tryin" to perceive the li"ht in Kutastha! Then open your eyes and stare at what is before you but do not observe anythin" in particular! ,atch without watchin"! Duide your attention to fontanelle! After a while you will become aware of a subtle line of white :i"ht# softened# as a fo"# around all ob?ects! The :i"ht will become pro"ressively white and "reater! Avoid thin in"! )eep the "a4e fix! After J minutes close your eyes and rest for awhile before standin"! Remark 0 Holdin" the breath causes discomfort! To reduce it and ma e it possible to deepen the practice# practice the followin"9 At the end of a moderate inhalation 1not a typical Kriya Pranayama one but a shorter one2# a kriyaban fully plu"s all the head openin"s except the nostrils# exhales a very small quantity of air# then immediately closes the nostrils! The thoracic muscles are to be relaxed as if one intended to be"in a new inhalation9 this will "ive the sensation that the breath has become quiet in the area between the throat and the point between the eyebrows! &n this situation# the repetition of 'm several times while concentratin" on the point between the eyebrows can be en?oyed to its fullest! Remark @ There are some schools that state that Yoni Mudra should not be practiced durin" the day! 'ou can actually practice it* However the technique is best done in the deep calmness of the ni"ht# when silence is all around and one is totally and perfectly relaxed! &f the main routine is practiced at ni"ht# you can simply add Yoni Mudra at the end! 7therwise# durin" the main routine avoid Yoni Mudra, while at ni"ht create special conditions for en?oyin" its full power! Yoni Mudra "enerates such a concentration of ener"y at the point between the eyebrows that the quality of the ensuin" sleep chan"es for the better! &n other words# after crossin" the subconscious layers# your awareness may succeed in reachin" the soGcalled 8super conscious8 state!
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SOME NOTES TO HELP A BEGINNER "f you are an absolute beginner# start with $lassi$ !ranayama% &n my opinion a student should always test their predisposition for Kriya Yoga! To this purpose# a very "ood routine is the practice of adi $odhana Pranayama followed by /""ayi Pranayama 1see Appendix to Chapter 0# where a "ood elementary Pranayama routine is discussed in detail!2 Those who underta e constant practice of a similar routine will start to perceive the flow of ener"y that moves up and down the spine! &t "oes without sayin" that students who do not succeed in practicin" such an elementary routine re"ularly for at least ; to 6 wee s should not even consider the idea of practicin" Kriya Yoga! /""ayi is the very foundation of Kriya Pranayama! Those who practice it and pay due attention to the natural throat sound of the breath will discover that the core phenomenon of Kriya Pranayama happens spontaneously! =or many students# the combined practice of adi $odhana and /""ayi becomes such a ?oyous discovery of wellGbein" and ?oy that they may develop an 8addiction8 to it! Even if they won(t ((up"rade(( to Kriya# a minimal practice of these two techniques will always be part of their life! Master &riya without fren'ies or obsessions There is a fren4y that accompanies a traditional Kriya initiation where all the practical instructions are transmitted hastily in one sin"le lesson* This is what happens with mass initiations! ,ithin a few days# almost all details are for"otten and one "oes throu"h a crisis! The teacher is no lon"er there and the other fellow kriyabans dismiss their fraternal duties by statin" they are not authori4ed to "ive counsels! Receivin" Kriya durin" a one to one session is the best alternative! People who had this privile"e usually remember the words of their teacher# with the same voice inflection# for all of their lives! &n certain circumstances# a student is introduced to the Kriya techniques a bit at a time so that they can experience them without any tension! &f you have this blessin"# please don(t call your teacher every other day with tortuous and bi4arre questions! Aon(t believe that somethin" valuable can sprin" only from an impeccable execution of the 8ma"ic recipe8 of Kriya! Reali4e how important it is to en?oy the practice as it comes out naturally! ,or on refinements only afterward9 the practice itself will help you! Those who pour into their Kriya path a remar able commitment# but "et nothin" in return are those whose expectations are a shield that prevents the "enuine beauty of Kriya from enterin" their life! Hsually they are soon tired of as in" questions and will eventually abandon everythin"! How to $on$ei(e a simplified &riya routine The complete routine# which we have already implicitly "iven by numberin" the techniques from 0 to > 1P / at ni"ht2# may be too lon" and complicated for a be"inner! 'ou can simplify it but pay attention to have three essential parts9
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preparation# central part where you eep your awareness movin" up and down the spine and# finally# the meditation phase! As a simple int$o&(cto$* '$actic"# many utili4e only &alabya Kriya# others Maha Mudra and a%i Kriya, in order to avoid techniques requirin" movement after Kriya Pranayama! 7thers persevere in the practice of adi $odhana Pranayama althou"h it is no part of Kriya Yoga! They experimented with various techniques and then chose the most effective practice! Ao the same# experiment and then have the coura"e to follow your intuition* The c"nt$al 'a$t is Kriya Pranayama but in particular occasions you can utili4e Kriya Pranayama +ith short breath at its place! ,e have clarified that in 7ccasionally e!"! durin" a lon"er meditation once in a wee # you can add more repetitions3 in that case# en?oy the third part of Kriya Pranayama also! 'ou(ll do not such thin" as utili4in" only the third part of Kriya Pranayama* A routine totally based on a stron" concentration on the $ahasrara is not appropriate for be"innin" or medium level students! Aevelopin" a stron" ma"net in $ahasrara throu"h the third part of Kriya Pranayama is the most powerful way of stimulatin" the Kundalini awa enin"! This implies brin"in" up a lot of information from the subconscious mind to the surface! 'ou mi"ht experience an entire ran"e of ne"ative moods! As for the last part 1 0"&itation2# for sure it does not consists of the elaboration of lofty thou"hts supported by fervid ima"ination! 6ot in the least* J Rest in calmness# en?oy your calm breath9 mental Pranayama is all in all! A "ood choice is to len"then the practice of mental Pranayama to occupy 0$; of the whole time! Divin" the hi"hest importance to the soothin" phase of mental Pranayama is the ey to success in Kriya! Reali'e the (alue of )alabya &riya and *m +apa The value of &alabya Kriya and 'm (apa in calmin" your mind is fantastic! &n :ahiri +ahasaya(s Kriya# the preliminary techniques are &alabya Kriya and the chantin" of 'm in the Chakras! A kriyaban should never overloo them! They usher a kriyaban into a state that is considered a real 8benediction!8 A meditation session could be composed of only these two techniques followed by a few minutes of en?oyin" the induced calmness! Even in this short time one will taste a very deep calmness! 7ddly enou"h# &alabya Kriya doesn(t require concentratin" on anythin"# it is purely physical! Oust as an attempt to ?ustify this# we can say that merely pressin" the ton"ue a"ainst the upper palate and maintainin" the suction effect on the palate for 0EG0J seconds# can# in and of itself# "enerate sensitivity in the Medulla oblongata area in a very short time! The detail of extendin" the ton"ue plays an important part too! ,hen the ton"ue is fully extended# it pulls on some cranial bones and leads to decompression of the whole area!

8,hat do you meditate aboutN(( 7ften we hear this question! People find it difficult to understand that the prescribed sub?ect$ob?ect of contemplation in the practice of Kriya Yoga is the 'mkar reality that manifests durin" mental Pranayama.

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Reali'e the (alue of Maha Mudra &t is very wise that a kriyaban practices Maha Mudra before Kriya Pranayama! &t is "ood to feel the difference between Kriya Pranayama with and without Maha Mudra! The most serious schools of Kriya recommend that for every 0@ Kriya Pranayama# one should perform one Maha Mudra 3 three remains the minimum number! 1To ma e it clear# those who practice 6E Kriya Pranayamas should perform Maha Mudra five times# while those who practice 0@ or @I Pranayamas should perform it three times!2 Hnfortunately# havin" listened to different kriyabans# & dare say it would be a miracle if kriyabans re"ularly practiced even the three required repetitions! 7thers believe they are practicin" Kriya correctly without ever practicin" one sin"le Maha Mudra* There is no doubt that if you re"ularly s ip this technique and lead a sedentary life# the spinal column will lose its elasticity! 7ne(s physical condition deteriorates over the years and it becomes almost impossible to maintain the correct meditation position for more than a few minutes . that is why Maha Mudra is so important for kriyabans! There are reports of yogis havin" achieved fantastic experiences usin" only this technique! Accordin" to their accounts# the perception of $ushumna has increased tremendously! There are kriyabans who have set aside all the other Kriya techniques and practiced 0II Maha Mudra in two sessions daily! They consider Maha Mudra the most useful amon" all Kriya Yoga techniques! & vividly recommend to study the variation of Maha Mudra that you will find in Chapter K! ,njoy the beauty of !ranayama with short breath not only during a &riya routine but also during additional free moments during the day A famous Kriya teacher said that if you want to ma e remar able spiritual pro"ress# you should en"a"e yourselves in bein" aware of at least 0>@/ breaths a day! Experiencin" this is surely possible for everyone . at least once in a wee . by practicin" the technique of Pranayama +ith short breath for about three hours! This is a "reat feat that will surely produce the 'mkar experience! "t is not ne$essary to $ouple &riya -oga with a psy$hologi$al work 5ome kriyabans exacerbate the previous obsession for technical details by not trustin" the sheer employment of a technique# even it is done correctly# unless it is coupled with toilsome psycholo"ical wor ! They want to build bric by bric # by the sweat of their brow# as if it were a hi"hly complex pro?ect of addin" new structure to old structure# the ma?estic buildin" of their redemption! They thin that only by tormentin" their psycholo"ical structure is it possible to uproot any deeply in"rained bad habit and the very roots of iniquity and e"oism! 7ften they impose upon themselves useless privations and attempt unnatural renunciations! They do not understand what the spiritual dimension of life is! Their idea is that the Aivine resides outside our human dimension and therefore we can pro"ress only if we start a strenuous fi"ht a"ainst our instincts! Reli"ious conditionin" can be very stron"# fatal in certain cases!
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5ome entertain the thou"ht of retirin" from active life in order to live a life of selfGdenial! The few who have the opportunity to achieve this 1not necessarily enterin" a convent but for example quittin" their ?ob and livin" by a modest lifetime annuity2 are doomed to discover that this sudden leap into this so ardently lon"edGfor condition does not fulfill their desire for perennial peace coupled with ardent mystical inspiration! The initial feelin" of total freedom from worldly en"a"ements breeds "ood results in meditation but not so deep as ima"ined! They suffer from an inexplicable drastic diminishin" of the sharpness of their concentration! They are fully aware of how insane this is# yet they cannot ?ustify why their free time# instead of bein" devoted to a deep practice of Kriya or to (apa or whatever spiritual activity they choose# is depleted in too many useless occupations! Ao not impose on yourself perfect chastity! There are famous boo s on Yoga demandin" impossible thin"s! How precious would be a boo that teaches how to use one(s own intelli"ence and to thin with one(s own head* Avoid any compulsive process of self analysis! Ao not try to discover exact "rounds on which to ?ustify continuous fluctuations between feelin"s of wellGbein" and ?oy durin" Kriya and periods where there will be nothin" pleasurable or excitin"! The best attitude is to let Kriya enter your life and brin" all the possible benedictions without tormentin" yourself because you feel unworthy! %lessed are those who have the coura"e to "o ahead unswervin"ly# in spite of their failures# worthlessness and unsuitability* %ehave li e a dedicated maid who does her daily duties with patience and circumspection! 5he prepares the daily meal# ta in" care of all the details from the tedious tas of peelin" potatoes to the final art of puttin" on the finishin" touches! The awareness of havin" completed her ?ob well is her "ratification! &n time there is a "reater reward for those who practice Kriya conscientiously even if they see no apparent result! 5omethin" tremendously vast will manifest and crush down any dichotomy of worthy$unworthy# pure$impure! &t is not only a matter of astral sounds and li"ht# cosmic expansion# or bas in" in endless ?oy 3 your very perception of Reality will chan"e! 5ome will rediscover an almost for"otten potentiality of aesthetic en?oyment 1as if they had eyes and heart for the first time23 others will be deeply moved by the si"nificance of their family# by the value of lifelon" friendship and will be surprised by the intensity of the responses of love from their heart! At the onset of their Kriya path# some students are far from abidin" by not only Patan?ali(s moral rules but also commonGsense "uided health rules! 7ften there is a clear split between the new interest in meditation and other wellGrooted social habits! &t(s a "ood rule for a teacher to pretend not to notice problematic delusive student behavior! Hndoubtedly after months of practice# some chan"es in a kriyaban(s temperament and habits will appear# but they will be unstable! A teacher values the constancy of the practice of meditation and avoids censorial attitudes! 7ften# to help a kriyaban "et free from a harmful habit# you need only to "ive him a "lance and a smile! The point is that be"inners are not able to
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reali4e they are slaves to bad habits! :et us ta e for example the problem of smo in"! How many have a clear vision of the real situationN Paradoxically# it is easier to quit smo in" because of a new ecolo"ical vo"ue than as a result of a lucid vision of one(s addiction to nicotine! How to a$hie(e &e$hari Mudra Hnfortunately some kriyabans do not do &alabya Kriya correctly! They have not understood how to ma e their ton"ue adhere to the upper palate before openin" the mouth and stretchin" the frenulum! 5ometimes# even when they are shown in person# they are still not able to do it correctly! Here & can only emphasi4e that the main mista e is concentratin" too much on where to place the tip of the ton"ue! The suction effect is obtained with the whole body of the ton"ue9 the tip of the ton"ue has no role* 6ow# when you are sure to practice &alabya Kriya correctly# after several months of re"ular practice of it# try to attempt Kechari Mudra! The test is whether the tip of the ton"ue can touch the uvula! &f so# then for a few minutes a day use the fin"ers to push the base of the ton"ue inward until the tip "oes beyond the uvula and touches the pharynx behind it! Do ahead in this way for wee s! 7ne day# the tip of the ton"ue will enter a centimeter or so into the nasal pharynx but slip out when the fin"ers are removed! %ut# after some more days# on removin" the fin"ers# the tip of the ton"ue will remain 8trapped8 in that position! This happens because the soft palate 1the part from which the uvula han"s2 is soft# movable and acts li e an elastic band and creates a hoo ! This prevents the ton"ue from slippin" out and returnin" to its usual flat position! This is the turnin" point! %y strivin" each day to practice at least 6G0@ Kriya Pranayama with the ton"ue in this position . despite some discomfort such as an increase in salivation# swallowin"# and occasional interruptions to reestablish the position . its practice becomes easy and comfortable! The sense of irritation and the increase in salivation are soon left behind! After about three wee s of practicin" in this way# you should be able to reach the same position without usin" the fin"ers! The ton"ue will be able to insert itself into the nasalGpharynx cavity! There will still be enou"h space left in the cavity to inhale and exhale throu"h the nose! Kechari Mudra causes the life force to be withdrawn from thou"ht processes! %ypassin" the mind(s ener"y system and chan"in" both the path and the direction of Prana flow# Kechari connects our awareness with the 5piritual dimension whose seat is in the upper part of the brain! The internal chatter ceases3 silence and transparency become the features of oneFs consciousness! The mind wor s in a more restrained way and en?oys an essential rest3 each thou"ht becomes more concrete and precise! ,hen# durin" the daily activities Kechari Mudra is practiced# moments of pure calmness and mental silence fill oneFs entire bein"* 5ometimes# mental silence turns into an explosion of inner ?oy! The only problem mi"ht be that durin" the first three wee s of Kechari Mudra# you experience 8di44iness8 and fo""ed up mental faculties! %e prepared for this eventuality and
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consider abstainin" from drivin" and any wor involvin" a si"nificant proportion of ris durin" this time! After several months of tireless practice# your ton"ue will reach the ?unction of the nasal passa"e inside the hole in the palate! The soft tissue above the holes in the internal part of the nostrils is alluded to in Kriya literature as the 8uvula above the uvula8! The tip of the ton"ue reaches this small area and remains 8stuc 8 there comfortably! Accordin" to Kriya literature# the ton"ue can be pushed even farther up! Any "ood anatomy boo will reveal that the ton"ue cannot extend any farther when it fills up the nasal pharynx! That assertion should therefore be understood as a hint to what a normal person thin s is happenin"! Actually# by extendin" the ton"ue to its limit# it is possible to experience a "reat attraction toward the re"ion between the eyebrows alon" with the sensation of havin" reached# with the tip of the ton"ue# a hi"her position! The same literature also affirms that throu"h Kechari one is able to perceive 8Amrita8# 86ectar8# the elixir of life . a sweet tastin" fluid tric lin" down from the brain onto the ton"ue and then into the body! To have this experience# the tip of the ton"ue should touch three points in sequence9 the uvula# a small asperity on the roof of the nasal pharynx under the pituitary "land# and the soft tissue above the nasal septum! The tip of the ton"ue should rotate on each of these spots for at least @EG;E seconds3 then# in the manner of sippin" a liquid or testin" a food# an essence will be savored on the ton"ue(s surface! The exercise should be repeated several times durin" the day! 6 Kechari Mudra enables a kriyaban to ta e a "iant step toward perfectin" Kriya Pranayama! Aurin" Kriya Pranayama with Kechari Mudra# the exhalation arisin" in the nasal pharynx has a fine fluteGli e sound li e a faint whistle! 5ome schools call it the $hakti Mantra! &t has been li ened to the 8flute of )rishna8! %lowin" "ently on the ed"e of a sheet of paper approximates the sound! :ahiri +ahasaya described it as 8similar to blowin" air throu"h a eyhole8! He described it as 8a ra4or which cuts off everythin" related to the mind8! &t has the power to cut out any external distractin" factors includin" thou"hts# and comes at the maximal point of relaxation! ,hen distraction and anxiety arise# the sound vanishes! Practicin" Kriya Pranayama in this way and en?oyin" its aftereffects is an enchantin" and astonishin" experience# one of the best moments in a kriyabanFs life! Cultivatin" the perfection of this sound and concentratin" firmly on it# means creatin" the best basis to arouse the 'm sound in a way stron"er than can be achieved throu"h the practice of the second part of Kriya Pranayama! :iterature on Kriya Yoga explains that when this event happens# the 'mkar experience acquires the dynamism of Kundalini0 the soul travels throu"h the spinal cord and burns in the ?oy of $amadhi! +odesty is always welcome but
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&Fm unable to comment on the importance of sippin" the nectar since & haven(t had the experience nor# & admit# have & even tried to have it! &Fm sharin" this information for the sa e of accuracy and completeness! &t may fascinate a kriyaban but after an initial period of intense excitement# it is for"otten!

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when this result is achieved# the positive euphoria is so overwhelmin" that it cannot be contained 1li e findin" AladdinFs ma"ic lamp!2 &n Kriya literature# it is said that those who reali4e a perfect Pranayama, can achieve everythin" throu"h it! ,ell# if we dream of a faultless Kriya Pranayama# then what we have described matches the ideal of perfection! )he (alue of mental !ranayama Mental Pranayama has a divine beauty! ,ithout mental Pranayama, Kriya Yoga ris s becomin" a selfGimposed torture# a ni"htmare! & bet that without it one unfailin"ly "ives up Kriya Yoga# unless one is sustained by the excitement and expectations created in him by a heavy process of indoctrination! A Kriya routine that does not end with mental Pranayama is li e an orchestra "oin" on sta"e# unpac in" the instruments# tunin" them and then leavin" at once* &t is this phase that brin"s everythin" to"ether3 the ripples in the mind(s la e are stilled# the awareness becomes transparent# and the 4ast Reality is revealed! &t is a diffuse calmness3 the mind is at rest and silent and "ains the ener"y necessary to be more acutely alert! &t is li e a spiral which "radually and systematically ta es care of all the levels of one(s bein"9 it is a healin" process! <ery few people have lamented they "ot nowhere with such practice! ,hen & could verify the reason of such despondency# & reali4ed that they had not understood the meanin" and purpose of that teachin"! They ept on exertin" a mental and even physical pressure on each Chakra, unable to relax and catch the sweetness that emanates from them! They had embellish the teachin" with various details li e contractin" the muscles near each Chakra!!! therefore all the sweetness had dispelled!!! &f the practice happens in the ri"ht spirit# then it "ives birth to one of the rare moments in the day where you can utili4e your meditation born intuition for effective handlin" any issue that arises from life! Therefore the value of Mental Pranayama becomes apparent when important decisions have to be ta en! 7ne has the impression that nothin" can "et in the way and that even the "reatest difficulties will dissipate! &nside the perfect transparency of an inner order# all problems are solved! 7ne is born to Kriya throu"h the en"a"in" practice of mental Pranayama9 it pro?ects us into sheer heaven and its beauty overflows our lives!
8!!! it(s hard to stay mad# when there(s so much beauty in the world! 5ometimes & feel li e &(m seein" it all at once# and it(s too much# my heart fills up li e a balloon that(s about to burst!!! And then & remember to relax# and stop tryin" to hold on to it# and then it flows throu"h me li e rain and & can(t feel anythin" but "ratitude for every sin"le moment of my stupid little life! 1=rom the movie !merican Beauty3 0KKK2 8

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CHAPTER > INTRODUCTION TO SECOND KRIYA

&n this boo Kriya Yoga is described in six steps9 six )riya &nitiations! The Kriyas comin" after the first are also called 'mkar Kriyas! :ahiriFs Kriya is a unique pro"ressive process of deeper and deeper tunin" into the 'mkar Reality! ,hen balance between 1da and Pingala is established throu"h Kriya Pranayama and the coarseness of the breathin" process decreases# the 'mkar manifestation of the Aivine increases and becomes the all in all! The 'mkar Kriyas will be explained in Chapters > and /! They are perfectly coherent9 each level is the deepenin" of the previous one! Each one increases oneFs experience of the 'mkar Reality! The present Chapter# where you will find the definition of the 5econd step 1or level2 of Kriya Yoga is devoted to students who have shown a passionate commitment to the practice of Kriya Yoga! The ri"ht moment to study it is 6G0@ months after practicin" Kriya daily# when there is a "enuine lon"in" to deepen the meditation experience! The 5econd step 1or level2 of Kriya Yoga is made up of9 'mkar Pranayama 5lementary form of &hokar !d%anced form of &hokar B&mportant variations of &hokar will be described in Chapter KC 'mkar Pranayama is a very subtle variation of the second part of Kriya Pranayama3 the 5lementary form of &hokar is a technique based on directin"# throu"h a particular movement of the head# the calm Prana 3 collected in the head throu"h Kriya Pranayama 3 towards the location of the heart Chakra3 the !d%anced form of &hokar is an acceleration of the 5lementary form of &hokar9 the action of &hokar is repeated while extendin" the Kumbhaka state! &n order to master them# it is very important to have clear in mind what Re%ersed Breathing is! 1ntroduction to Re%ersed Breathing Aon(t overloo the followin" explanation only because it deals with a concept which is usually discussed Taoism or &nternal Alchemy! &t consists in an important clarification that usually we kriyabans do not receive! The point is that if we want to practice the #igher Kriyas in the best of the ways# we shall have to learn a new form of breathin"! &t is called Re%ersed breathing! :et us define it clearly!

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The breathin" we have utili4ed in the three parts of Kriya Pranayama is an abdominal breathin"! :et us call it Nat($al B$"at!in+! Aurin" inhalation we expand our belly creatin" more room to hold the air in! Abdomen and stomach expand as we breathe in# contract as we breathe out! This relaxes# calms down the mind and "ives an increase of ener"y from the fresh air enterin" our body! &nternal Alchemy calls that this natural breathin"9 8PostG%irth %reathin"8 because it is the breathin" pattern we use after our birth! The &nternal Alchemy teachin" is to inhale and expand the abdomen on all four sides of the body fillin" the Dantian with Prana! ,hile exhalin"# we contract the abdomen from all four sides and condense the Prana in the Dantian! > The R":"$%"& B$"at!in+ is the opposite of 6atural breathin"! Abdomen and stomach contracts as we breathe in# expand as we breathe out! This increases the element of ((fire(( 1it is the &att+a of the third Chakra2 in our body! &nternal Alchemy explains that this breathin" produces an inta e of pure ener"y throu"h the navel and calls it 8PreG%irth %reathin"!8 Receivin" nutrients by a fetus from its mother via the umbilical cord# is analo"ue to this breathin" process! &n #igher Kriyas we practice the Reversed %reathin" or we dwell in the breathless state! Hnfortunately the Reversed %reathin" is usually explained in a va"ue way! The instruction is more or less the followin"9 ((Practice a Kriya breath but durin" inhalation add /ddiyana Bandha!(( 5ometimes the term /ddiyana is not utili4ed9 for example an important Kriya school recommends to start a Kriya inhalation but exert a continuous mental pressure to drive the breath from the lower part of the abdomen towards the chest! 7f course this is a very clear instruction but the problem is that we tend to for"et this instruction endin" to practice abdominal breathin"! %ut this has a different role! =or example a "ood Kriya teacher should explain that the not of the heart is opened via the Reverse %reathin" pressure! &f we want to master the procedure of &hokar, we have no other choice than to master the Reverse breathin" procedure . otherwise our travel ends with unfruitful attempts to cope with the !d%anced 6orm of &hokar. Always eep in your mind that9 B0C Kriya Pranayama is always to be practiced with abdominal breathin"3 then in a%i Kriya we create somethin" particular in the navel re"ion and it is with this ((somethin"(( 1they call it9 $amana current2 that we are "oin" to practice any possible #igher Kriya! 7nly after deep relaxation and balance of Prana 2 !pana# the =ire path opens durin" inhalation and the substance ori"inated from the mixture of Prana and !pana enters $ushumna burnin" any obstacle and liftin" our spirit toward the Aivine! B@C These two breathin" patterns cannot be mixed up at will! &t is wron" to thin
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The Dantian can be visuali4ed as a ball about one and oneGhalf inches in diameter! &ts center is located about one and oneGhalf inches below the belly button and about two and oneGhalf inches inside!

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that the first can be ne"lected to practice only the second! The Reversed %reathin" can ta e place only after a certain amount of 6atural %reathin" 1@E is the minimum!2 6-8 OMKAR PRANAYAMA First part. with fragmented breath This is to be practiced after at least @I Kriya Pranayama breaths and a%i Kriya! The hands# with fin"ers intertwined# rest on the abdomen! &nhalation and exhalation are fra"mented into 6 P 6 parts! 5tartin" with your chin on the chest# inhale movin" your awareness upwards alon" the spinal column while simultaneously raisin" the chin slowly as if to accompany and push the ener"y up! Aurin" your inhalation you apply fully the scheme of Reversed %reathin"! Abdomen and stomach contracts! The syllables of the ,asude%a +antra 1'm amo Bhaga%ate ,asude%aya2 are mentally placed in each Chakra location# while ma in" a short pause in each! Aurin" the first 8sip8 of inhalation# the concentration is on the Muladhara# where the syllable 'm is ideally ((put((3 durin" the second 8sip8# the concentration is on the second Chakra# where the syllable a is ideally put - and so on# until Ba is put in the Bindu# the inhalation is completed and the chin is hori4ontal. The exhalin" breath too is divided into six punctuated parts or pulses! ,hile lowerin" the chin at a slow pace# the awareness comes down alon" the spinal column! The syllable &e is placed in the Medulla oblongata# ,a in the fifth Chakra- and so on - $u- De- ,a# until Ya is mentally chanted in the Muladhara! / ,hile comin" down# don(t be in a hurry# become familiar with the abdominal expansion! As soon as it is comfortable# add a pause of @G; seconds both at the end of inhalation and of exhalation! Aurin" the pause after inhalation# the awareness ma es a complete# counterGcloc wise turn alon" the crown of the head! B8Countercloc wise8 in this boo is always intended as if viewin" from topC! Aurin" the pause after exhalation# the awareness ma es a complete# counterG cloc wise turn around the Muladhara Chakra! The rotation above happens inside the brain# under the cranial bone# startin" from the occipital re"ion# over Bindu# and comin" bac to it3 the head accompanies this inner movement with an almost imperceptible rotatin" movement 1tiltin" bac sli"htly# then to the ri"ht# the front# the left# and finally to the bac 2! The rotation of the awareness around Muladhara does not require physical movement! Aurin" inhalation# the muscles at the base of the spinal column can be sli"htly contracted! This contraction is maintained not only to the end of the inhalation but also throu"hout the ensuin" pause3 then it is released and the exhalation be"ins! 1This detail should be introduced "radually so it does not disturb the "eneral harmony!2
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& am sure the reader nows the correct pronunciation of the Mantra3 phonetic symbols are not included! 6otice that in the Bindu, we don(t mentally verbali4e ,a but Ba9 this convention has established itself over the years!

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The timin" of one 6irst 'mkar Kriya breath depends on the individual9 usually it is approximately @EG;E seconds but from a certain point onwards# the speed of each repetition of 'mkar Pranayama slows down! The breath is 8suc ed in8 and seems to be dissolved! =rom that moment onwards# all the physical details are only hinted! Remark 0 As you have noticed# this procedure is similar to the second part of Kriya Pranayama! This similarity has led some teachers not to mention it! This choice is disputable because 'mkar Pranayama prepares to the art of &hokar. Each fra"ment of breath creates a pressure on a different Chakra! Dreat bliss is "radually built but only if the procedure does not happen mechanically! Remark @ 'ou have probably read that in a deep Pranayama# the ener"y crosses the Chakras ?ust li e the thread of a nec lace passes throu"h the pearls! Ao not force the visuali4ation of a similar hypothetical event because this does not happen! Actually# the ((thread(( of ener"y envelops each ((pearl((! The counter cloc wise rotation of awareness around the crown shrin s while comin" down# ?ust li e a vortex# windin" around the Medulla oblongata! ,hen exhalation be"ins and you mentally chant &eeee# you can use the startin" instants of exhalation to intensify the psychic pressure around the Medulla oblongata! This internal action is extended in a natural way to the other Chakras. The path of descent is a ((helix(( that surrounds and creates pressure around each Chakra! Do slowly and do not be in a hurry and let the process proceed at its own pace! Remark ; +ovin" from one Chakra to the next# a kriyaban be"ins to notice the chan"e of the li"ht vibration in the re"ion between the eyebrows! %ein" absorbed in listenin" to astral sound creates inner bliss# puttin" aside . at least momentarily . our E"o consciousness! This is the moment when the 'mkar reality is revealed! ,ithout this revelation# the practice of 'mkar Kriya is deprived of its own essence! Se$ond part. with $alm breath The breath is natural 1as in mental Pranayama.2 &n each Chakra we shall mentally repeat its associated syllable many# many times! &n Muladhara repeat 'm, 'm, 'm, 'm, 'm!!! a minimum of ;6 times! 1Ao not use Mala to count . remain immobile!2 The speed at which you chant the syllables is about two per second! <isuali4e that Chakra as a hori4ontal dis # havin" a diameter of approximately one inch! <isuali4e these syllables movin" on the surface of the dis in countercloc wise direction# near the circumference! After the first round# another comes# inside the previous and so on !!! Hsually those rounds come more an more near the center of the dis ! Then focus on the second Chakra where you will do exactly the same action# utili4in" the second syllable of the Mantra# namely9 a, a, a, a, a...
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about ;6 times! Then focus on the third# repeatin" Mo, Mo, Mo, Mo, Mo!!!! about ;6 times! Then focus on the fourth# repeatin" Bha, Bha, Bha, Bha, Bha !!! then on the fifth 17a, 7a, 7a, 7a, 7a !!!!2# then on Bindu 1Ba, Ba, Ba, Ba, Ba !!!!2! Then rotate the awareness many times around the crown while mentally remainin" silent! Then focus on Medulla oblongata repeatin" many times &ee, &ee, &ee, &ee, &ee Then you will focus on the fifth Chakra utili4in" ,a, ,a, ,a -! then fourth!!!! third -! second -! Muladhara! Doin" up this way from Muladhara to Bindu and comin" down from crown to Muladhara is one round9 the time required is approximately IG6 minutes! Repeat ;GI times and then be lost in the meditative state . the ((absorption state(( is very stron" indeed! 6/8 ELEMENTARY FORM OF THOKAR &hokar is practiced after Kriya Pranayama and after a%i Kriya# if possible with the ton"ue in Kechari Mudra. Here & will describe the ideal practice that allows results impossible to conceive! & will also describe what is the best practice after &hokar! 7nly when all this is di"ested# can one face the !d%anced form of &hokar! P$actical in%t$(ction% Oust li e 'mkar Pranayama# the syllables of the ,asude%a +antra 1'm amo Bhaga%ate ,asude%aya2 are to be placed mentally in each Chakra location! ,ith the chin restin" on your chest# inhale while simultaneously raisin" your awareness alon" the spinal column! Touch each Chakra with the first six syllable of the Mantra 1'm is placed in the first Chakra# a in the second# Mo in the third# Bha in the fourth# 7a in the fifth and Ba in Bindu.2 Raise the chin as if followin" the inner movement! The scheme of Re%ersed Breathing is fully applied! The hands 1with interloc ed fin"ers2 are placed on the navel area to create a mental pressure on the first three Chakras! Contract moderately the muscles at the base of the spine! The breath produces only a sli"ht# wea sound in the throat or it comes out soundless! ,hen the chin is up and hori4ontal# the inhalation ends# and the awareness is in the Bindu. Hold your breath! Hold the muscle contraction at the base of the spine! The head be"ins its rotation by movin" to the left shoulder 1left ear moves sli"htly toward the left shoulder# the face does not turn left or ri"ht and the movement is free of all bouncin"23 &e is thou"ht in the Medulla oblongata! The head tilts bac a little and in a sweepin" arc reaches the ri"ht shoulder# 1the ri"ht ear comin" near the ri"ht shoulder2# the syllable ,a is thou"ht in the cervical Chakra! The rotation proceeds# the head bends forward ?ust a little and moves left until the left ear is near the left shoulder 1the face is not turned to the left2! =rom this position# the chin is tilted down dia"onally as if to stri e the center of the chest# while simultaneously $u is intensely vibrated in the heart
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Chakra! Throu"h this last movement# a ind of hittin" is felt in the heart Chakra. A short pause follows9 ?ust what is needed to be enraptured in the radiation of ener"y emanatin" from that Chakra! The contraction at the base of the spinal column is eased off3 via a very subtle exhalation the remainin" syllables of the Mantra are 8placed8 in the first three Chakras 3 De into the third one# ,a into the second one# and Ya into the first one! ,hile doin" this# the head is usually ept down! The duration of this process is about @I seconds! Repeat the procedure 0@ times! Traditionally# one be"ins with 0@ rotations and increases by one every day up to a maximum of @EE repetitions! At the end of this practice# relax by en?oyin" 0@ repetitions of the 'mkar Pranayama 1only first part2 then practice mental Pranayama 1optionally preceded by Kriya Pranayama +ith short breath.2 Then pause with the awareness centered both in the heart Chakra and in the li"ht manifestin" at the point between the eyebrows! Remark 0 Ao not allow the wei"ht of the head to be the sole force pushin" the chin toward the chest9 lettin" your head simply drop would definitely be harmful! A mindful physical effort is needed to lower the chin! ,hen you practice over JE repetitions# the movements of the head should be only hinted at9 the chin does not come close to the chest and the stri in" of the fourth Chakra is mainly achieved by the sheer power of mental concentration! &f you have any difficultly whatsoever# stop and do not try at any cost to reach the @EE repetitions! The presence of physical problems 1the cervical vertebrae are indeed vulnerable2 may require practicin" on alternate days! &t is better to add more cycles over time rather than face the prospect of experiencin" continuous head and nec pain throu"hout the entire day* Remark @ As you have read# a kriyaban is "uided to perform this technique 0@ times a day# then to "radually increase the number of repetitions of one a day! The "oal is to achieve @EE repetitions! &nstead of increasin" the number of repetitions of one a day# you can add six repetition per wee ! &n this way it is more easy to remember the number of repetition you are supposed to do! Aurin" the first wee practice 0@ repetitions each day! Then consider the practice of 0/ repetitions each day etcetera! &f there are problems# practice this technique every other day! The third wee 1?ust to "ive you an example2 you can practice @I repetitions on alternate days! &t is not necessary to practice every day3 rather it is wise to wor three days a wee on the avera"e! ,hen you reach a consistent number of repetitions 1more that 6E2 the effects are very stron"! Therefore be very careful!

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B%efore considerin" the practice of the !d%anced form of &hokar, & counsel each riyaban to practice (apa daily with sincere commitment! Read all you can find about the ((Prayer of the heart!((C 628 AD@ANCED FORM OF THOKAR &n Kriya literature it is explained that the heart not is %t$(c# by the 5lementary form of &hokar and then c(t by the !d%anced form of &hokar! P$actical in%t$(ction% Practice after Kriya Pranayama and after a%i Kriya# if possible with the ton"ue in Kechari Mudra! ,ithout full masterin" of Re%ersed Breathing process# the execution of the followin" technique is practically impossible! After inhalin" 1with 'm, a, Mo!!!2 and raisin" the Prana to the upper part of the lun"s# partially relax the muscles of the thoracic ca"e as if you were "oin" to be"in a new inhalation! The act of sealin" the lun"s 1trachea2 as when divin"# should be avoided! &n this relaxed mood# repeat numerous cycles of the head movements unhurriedly! Consequently the mental chantin" of &e in Medulla oblongata# ,a in the cervical and $u in the heart Chakra is done several times 1&e, ,a, $u, &e, ,a, $u, &e, ,a, $u ... 2 while holdin" the breath! 5top the procedure and exhale when feelin" discomfort* Then slowly exhale and place the syllables De, ,a, Ya in Chakras three# two# one respectively! ,hile doin" this# eep your head down! This practice is done ri"orously once a day! To "ive an idea of the speed of the movements# the entire process from inhalation to exhalation with 0@ repetitions of the rotation of the head 1each rotation concludin" with the movement of the chin toward the chest2 lasts around >EG/E seconds! Traditionally# one be"ins with 0@ cycles of the head movements unhurriedly durin" one sin"le breath and increases by one every day up to @EE repetitions! This Kriya is considered mastered when one reaches @EE rotations without interruptin" the Kumbhaka state! At the end of this practice you can follow the counsels "iven for the 5lementary form of &hokar or be lost in the heavenly deli"ht induced by the practice of the Micro &hokar introduced at the end of this Chapter! Ma%t"$in+ t!" A&:anc"& o$0 o T!o#a$ The tas of masterin" this technique seems impossible! 5uccess with the !d%anced form of &hokar means practicin" a "reat number of cycles of the head movements unhurriedly durin" one sin"le breath! Actually many kriyabans reach a certain number of repetitions 1mar edly under 6E2 with undeclared discomfort and "et bo""ed down at this point . unable to "o forward# havin" achieved nothin"# disappointed! There is a subtler ability that one must discover! Here you will find my recipe! Aoes it ma es you perplexN 7 9 may be it is questionable# however it wor s!

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6irst strategy =irst of all9 avoid at all costs any attempts to accomplish a hi"h number of rotations# doin" them quic ly# and bein" obsessed with holdin" the breath! This is violence a"ainst one(s body! &nhale as you have learned in Reverse %reathin"! =ill the upper part of the thorax to its utmost possible extent with Prana 3 li e a container filled to the brim with water! 5implify the dynamic and the physical intensity of the movements! +ove the chin toward the chest before completin" the head rotation! 6amely# after rotatin" your head from left to ri"ht# let your chin 8fall8 toward the chest from the ri"ht side# then lift it to left side and continue with the rotations! %y increasin" the rotations# the movements of the head should be only hinted at and the chin should not come close to the chest! ,hen you feel you have neared your limit holdin" your breath# while eepin" the chest expanded and the abdominal muscles and diaphra"m contracted and immobile# release a minimal 1almost imperceptible2 sip of air whenever the chin is lowered toward the chest and let an imperceptible sip of air enter whenever the chin is brou"ht up! Ao not do any specific act of inhalin" or exhalin"9 relax and allow the phenomenon we have described to happen of its own accord! The sensation will always be that of not breathin" at all! Than s to the effect of this practice upon the "an"lion that re"ulate the cardiac frequency# this frequency diminishes and the practice happens in the best conditions# bestowin" "reat satisfactions! B&f# durin" this form of &hokar# a deep breath happens# let it happen3 it is not a failure3 if you are able to maintain the ri"ht attitude# you will be closer to your "oal! %e confident# be full of ?oy! 6aturally# in order to be sure of the success# you must have completed honestly the required number for the 5lementary form of &hokar 1"radually increasin" the number of breaths up to @EE!2 Have you completed itN &f not then reconsider this tas ! C There is no doubt that we are still far from the ideal practice of this form of &hokar! ,hat we have described is only a preliminary exercise! 'ou may thin it(s invalid 1because you cheat2 but if you repeat it a sufficient number of times 1usually it(s a matter of a couple of months2# you will discover that it has the power of ma in" you taste the state of !ntar Ke%ala Kumbhaka 1absence of breath# when the diaphra"m is tensed and the air is inside the lun"s!2 K

The breathless state with empty lun"s and a relaxed rib ca"e durin" mental Pranayama is called Bahir Ke%ala Kumbhaka 3 usually it happens lon" before !ntar Ke%ala Kumbhaka

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$econd strategy Read a"ain the definition of Re%ersed Breathing "iven at the be"innin" of this Chapter! :et us call it9 ((Re%ersed Breathing 8(( in order to distin"uish it from its important development that we are "oin" to learn now! ,hile Re%ersed Breathing 8 is applied in 'mkar Pranayama and in the 5lementary form of &hokar 1and can also be adopted optionally durin" Maha Mudra and Yoni Mudra2# this Re%ersed Breathing 9 is applied in the !d%anced form of &hokar. 1,e shall see that it can be utili4ed in 6ourth Kriya too and discover that it is the most powerful tool to enter the breathless state instantaneously# with ?ust one inhalation!2 Aefinition of Reversed %reathin" @ &nhale with a Re%ersed Breath! =eel the ener"y comin" up slowly from the first to the second Chakra, from the second to the third! =eel the navel re"ion comin" inside! 6ow the upper part of your lun"s is almost filled completely3 your rib ca"e is expanded! Have a pause! =ocus your attention on the upper part of your rib ca"e! 6ow# remainin" exactly in this situation# mentally chant 'm, 'm, 'm!!! rapidly 1about two chants of 'm per second2 feelin" your awareness li e an ant# crawlin" up the innermost channel of the spine millimeter by millimeter from Muladhara upwards! After no more then IG6 seconds# you(ll have reached the heart Chakra0 "o up further# in the re"ion between the fourth and the fifth Chakra. This re"ion corresponds to the upper part of the lun"s and chest! 'ou will perceive a "reater freedom from the breath! &f your body condition is perfect 1if you are moderate with eatin" and your are on an empty stomach2 you will en?oy a wonderful breathless state! The secret is that the action of mentally chantin" 'm, 'm, 'm!!! really draws ener"y in the spine from all the body! 'ou must put in the action of mentally chantin"# the distilled experience of years of Kriya! This is Re%ersed Breathing 9. 6ow let us come bac to the topic! &t is not difficult to understand how to practice the !d%anced form of &hokar utili4in" the Re%ersed Breathing 9. Practice the inhalation of Re%ersed Breathing 9 . as we have explained3 then without further inhalation mentally vibrate 'm in the first Chakra# a in the second# Mo in the third! Then while you place Bha in the fourth# 7a in the fifth and Ba in Bindu expand a little bit further the rib ca"e 1sometimes the intention to expand is more important than the actual expansion2 and complete the inhalation! ,hile remainin" stable in this state# without ever lettin" the abdomen relax and expand or the rib ca"e relax and therefore the Prana come down from the hi"her part of the lun"s# discover how beautiful and comfortin" is the experience of rotatin" your head 1with &e, ,a, $u,&e, ,a, $u.!!!2 while the breath has actually vanished# seems fro4en# dissolved in some inexplicable way in the body!
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Kriya is an art! &t is your choice to decide if# after different rotations# feelin" you have neared your limit# you utili4e the first strate"y! &t stands to reason* %ut the "reat# incommensurately beautiful discovery is that this remedy is no more necessary* &t is a matter of inner reali4ation . an instinct which is discovered in time# provided that the previous practices have been brou"ht ahead honestly and with acute intelli"ence!
Remark The su""estion of the ((ant crawlin" up the spine(( comes from a Kundalini Yoga technique! The complete technique is the followin"9 &nhale from the ;rd eye and follow the internal breath$ener"y down the Chakras all the way to Muladhara! At Muladhara# hold the breath# practice Mula Bandha while expandin" the chest and the ribca"e a little further! At this point come up inside the spine continuously repeatin" mentally 'm2'm2 'm2'm2'm2'm - all the way to Kutastha! Havin" actually reached Kutastha# release Mula Bandha and exhale into the space of Kutastha! Repeat!

INTRODUCTION TO MICRO THOKAR 'ou should now that there is a wonderful procedure that can be applied after &hokar9 that of Micro &hokar 1also called Micro mo%ement!2 &t is an intensification of mental Pranayama havin" the power to induce a state of unequaled internali4ation* After havin" completed the scheduled number of rotations of &hokar 1advanced form of it2 do not interrupt this procedure but ma e it subtle! =irst of all breathe freely! Then visuali4e the fourth Chakra !nahata as a hori4ontal dis ! :et us learn how to perceive an inner movement sensation on its surface! To this purpose we "o ahead with the head movements but with more li"htness and slowness! ,hile the head is movin" left# we perceive in the heart Chakra a wea internal movement to the left! ,e mentally chant the syllable &eee! ,hen the head moves ri"ht# we perceive a movement ri"htward! ,e thin the syllable ,a! ,hen the head bows forward 1it is a not mar ed movement2# we perceive that the inner movement reaches the center of the fourth Chakra! ,e vibrate there the syllable $u! ,e "o ahead repeatin"9 &e ,a $u, &e ,a $u!!!! but# "radually# we care that the physical movement 1of the head2 is only hinted and eventually disappear! After a couple of minutes# our attention is totally introverted! This procedure is "reat in itself# but if we have time at disposal# we can extend it to each Chakra! The perception is recreated in the third# second# first Chakra. Then a"ain first# second# third# fourth# fifth# sixth! 5ixth a"ain# fifth# fourth# third!!!! &n each Chakra we perceive the Micro &hokar three times or more# as we prefer! The whole round is repeated at will! The experience can end in the heart Chakra ! This experience can be ri"htly called ((Prayer of the #eart(( accordin" to the definition "iven by the Heysichasts! &e ,a $u is a Mantra on its own9 1Tat tvam asi Q Thou are That!2 The Mantra 'm amo Bhaga%ate ,asude%aya is dualistic 16amoQ& bow to Dod which is different from me23 the Mantra &e ,a $u is non
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dualistic! Put your spiritual yearnin" in this repetition of &e ,a $u* This experience is the surest way toward the annihilation of the E"o! This procedure implies the experience of a peculiar sensation of movement within the perfect stillness of each Chakra! This internal movement embodies the deeper aspect of the 'mkar reality! Perceivin" it means to annihilate any form of duality present in the Chakras and therefore# in your awareness! This experience chan"es and deepens the way you practice Kriya Pranayama! &t is as if the center between the eyebrows become one with each lower Chakra# fusin" them in a unique reality! This will lead you out of time and space! A burnin" aspiration towards the Aivine is born from this! Amon" the debris of past illusions# such experience open the doors of the spiritual reali4ation! 7nly few Kriya schools have disclosed the nature of this micro2mo%ement and revealed its importance! Hnfortunately# many people see frantically impossible surro"ates for it*
After the 7m ar sound ceases to exist the Efful"ent =orm appears! 6othin" exists except the 5un of the 5oul! &# 5hama Churn# am that 5un! 4ahiri Mahasaya 0E

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:ahiri +ahasaya is 5hama Churn . 5hyama Charan! This sentence is contained in :ahiri +ahasaya(s diaries! +any sentences from the diaries are to be found in the boo Purana Purusha by Ar! Asho )umar Chatter?ee

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CHAPTER /

HIGHER KRIYAS BEYOND THE SECOND Premise9 there are different ways of labelin" the different procedures of :ahiriFs Kriya! & have decided to abide by the followin" scheme! Amon" others# $+ami $atyananda 7iri adopted it! S"con& K$i*a. As we have seen# $econd Kriya is made up of 'mkar Pranayama# 5lementary form of &hokar and !d%anced form of &hokar. The main purpose of $econd Kriya is unfastenin" the heart not! T!i$& K$i*a. This Kriya is made up of three techniques! Their purpose is to force the ener"y in the upper re"ion of the brain 1first technique2 and then move it around the so called ((Cave of %rahma(( 1second and third technique!2 Fo($t! K$i*a. %ased upon the experience of the &hird Kriya# this procedure includes the experience of the different Chakras in order to brea the Muladhara not! Fi t! an& Si7t! K$i*a. These two last procedures embody an effort to enter the Pineal Dland! Throu"h the 6ifth Kriya we consolidate the experience of the breathless state and have a deep experience of the Aivine :i"ht radiatin" from the Pineal Dland! Throu"h the $i:th Kriya we shall enter the Pineal Dland and en?oy what is called !stral $amadhi! The :i"ht of the 5oul mer"es with the li"ht of the Cosmic Consciousness! The 5oul and the 5pirit become one! THIRD KRIYA ,hen the practices of 6irst and $econd Kriya can be considered mastered and qualities li e equanimity and mental silence manifest in the active life# it is appropriate to start the practice of the &hird Kriya! This Kriya is in three parts! The first part is the quintessence of Reversed %reathin"! &n the second and third part# one is "uided to perceive a circular movement of ener"y around the center of the brain# the soGcalled Cave of %rahma 1third ventricle of the brain!2 +ovin" repeatedly awareness and Prana throu"h the cells of the brain# one experiences the all pervadin" Aivine :i"ht! The story of %elalsena symboli4es this Kriya! %elalsena cut off his head and surrendered it to :ord )rishna! :ord )rishna put %elalsenaFs head on a hi"h pillar in the s y! %elalsena remained alive but for"ot his body and all identification with his duties! =rom the s y# he could see who# in the battlefield in )uru shetra# was really fi"htin" the war! &n a similar way# you will reali4e that your soul is separated from the body! 'ou will reali4e that a divine power is accomplishin" all the duties of daily life! & thin it may be of inspiration to quote here the words of two "reat Kriya teachers9
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((The &hird KriyaFs practice is tau"ht for establishin" oneself firmly in the wave$path of Prana%a ada! The &hird Kriya is there for one to ta e up that ada in a specific way and become completely established in it!(( 15wami 5atyananda Diri2 ((The &hird Kriya is nown as 'mkar Kriya from the fact that with dili"ent performance of this Kriya# the revelation of the 'mkar sound becomes a reality!(( 15ri 5ailendra %e?oy Aas"upta2 THIRD KRIYA A FIRST PART The Mantra utili4ed in this practice is Bha27a2Ba2&e2Ba2$u# the central part of the Mantra utili4ed in $econd Kriya 18'm a Mo Bha 7a Ba &e Ba $u De ,a Ya82! Bha, 7a and Ba are mentally chanted followin" air and Prana comin" down from Kutastha into Manipura0 &e, ,a and $u are mentally chanted followin" air and Prana risin" up from Manipura to 6ontanelle. The Mantra Bha27a2Ba2&e2Ba2$u resonates as ((Bhaga%an &at &%am !si;( whose meanin" is9 ((The Aivine you have worshiped is your hi"her 5elf! 'ou are that Aivine*(( 6a8 Si0'l" '$oc"&($" to )" +$a&(all* inc$"a%"& &nhale in three portions! Throu"h the first portion of inhalation# draw breath and ener"y from the point between the eyebrows into ,ishuddha where you vibrate the syllable Bha! Throu"h the second portion of inhalation# draw breath and ener"y from ,ishuddha into !nahata where you vibrate the syllable 7a! Throu"h the third portion of inhalation# draw breath and ener"y from !nahata into Manipura where you vibrate the syllable Ba! Abidin" by the principles of Re%ersed Breathing# durin" each part of the inhalation continuously contract the abdomen! 6ow ma e a short pause 1; seconds# holdin" your breath2 intensifyin" the pressure upon the navelGthird Chakra re"ion 1Dantian!2 After the pause# exhale in three portions! Aurin" the first portion of exhalation# feel the ener"y from the Manipura risin" into !nahata where you vibrate the syllable &eee. Aurin" the second portion of the exhalation feel the warm ener"y risin" from !nahata into ,ishuddha where you vibrate the syllable ,a. Throu"h the last portion of the exhalation "uide the ener"y into 6ontanelle where you vibrate the syllable $u. Repeat this practice 0@ times# addin" 0@ breaths each month# until you reach 0E/ repetitions! 6)8 Int"n%" '$oc"&($" to )" int$o&(c"& lat"$ Practice the followin" procedure only when breath flows evenly throu"h both nostrils! 5it quietly# breath a few breaths# until you can tan"ibly feel yourself breathin" ener"y! &nhale in three portions# vibratin" the syllables Bha 7a Ba exactly as you have done in the previous BaC practice! ,hile inhalin"# "radually
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build a stron" ener"etic pressure throu"h Mula Bandha from the lower abdomen upwards, liftin" the pelvic floor! As you finish your inhalation# add /ddiyana Bandha and (alandhara Bandha! The chest is relaxed# the pressure is upon the navelGManipura re"ion 1Dantian!2 Push down "ently with your diaphra"m in order to firmly compress the ener"y brou"ht down from above! The air ener"y is completely loc ed in# compressed both from above and below! Do ahead holdin" your breath and repeatin" 'm, 'm, 'm!!! 0@ times or more for as lon" as it is comfortable! =eel warmth increasin" and brimmin" over into the surroundin" abdominal re"ion! 6ow# slowly release the tension in the abdomen! 5tart a lon"# calm exhalation 1in three portions puttin" &ee, Ba and $u in the related centers2 comin" up with your chin! =eel the pressure of Prana risin" "ently up the central channel of the spine to heart Chakra# cervical Chakra and from there# directly to $ahasrara! Repeat ;6 times! After ten breaths you will feel that !nahata Chakra is warm# pervaded by the internal flame! After about another ten breaths it is the turn of ,ishuddha Chakra to become warm! After another ten breaths# the ((fire(( melts the !mrit 1nectar2 in the upper part of your head! This nectar descends down the spine into the navel re"ion! &t travels downwards via the path of the ton"ue 1 Kechari Mudra2# it heals the whole body and ori"inates a blissful state! =rom that moment onwards you will reali4e that an internal source of fresh ener"y fills each part of your body up to a cellular level! The physical breath seems to dissolve! Remark The practice of the procedures BaC and BbC or even only BaC is what some schools "ive as &hird Kriya leavin" out the followin" techniques! Actually it means a tremendous step forward in your spiritual path! However# the intense procedure BbC# when carried out hastily without proper preparation# ?ust to experiment somethin"# will only ma e you feel nervous# as if somethin" had not "one to ri"ht way! The "enerated power# in fact# doesn(t succeed in bein" absorbed! THIRD KRIYA SECOND PART The breath is natural# not controlled! Practice Kechari Mudra to the best of your ability! &n Third )riya second part we utili4e some movements of the head! %end your head forward! =eel the ener"y present in the frontal re"ion of your head and mentally vibrate B!a there! ,ithout raisin" your chin to normal position# "uide slowly your head in the position in which the head is bent toward the left shoulder . as if you try touchin" the left shoulder with your left ear! =eel the ener"y present in the left side of the brain 1over your left ear2 and mentally vibrate Ga there! =rom this position# "uide slowly both your head and the flow of ener"y bac wards in the occipital re"ion of the brain! +entally vibrate Ba there! 5lowly "uide your head in the position in which the head is bent toward the ri"ht shoulder . as if you try touchin" the ri"ht shoulder with the ri"ht ear! +entally chant T""" on the ri"ht side of the brain 1over your ri"ht ear!2 Always feel the
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flow of ener"y movin" to each position! 5lowly return to initial position with the head bent forward! +entally vibrate Ba there! 6ow# slowly strai"hten your head and return with chin parallel to the "round while your attention moves toward the central part of your brain 1the Cave of %rahma2 under =ontanelle! +entally vibrate S( there! This completes the first round! =or two wee s# repeat this technique @J times# once a day! Then for another two wee s repeat it JE times once a day3 then for another two wee s >J times !!!! and so on up to @EE times each day for two wee s! At the end of each session# inhale deeply# focus all your attention in 6ontanelle and listen to the internal sound of 'm.
This rotation of ener"y is# by some teachers# called &hokar Kriya! The reason is that durin" this practice the ener"y moves +ith pressure throu"h the brain substance! Reflect9 &hokar has not the unique meanin" of ((blo+(( but also that of ((touching +ith pressure.(( This internal pressure# this friction 1which will reach its pea durin" the 6ourth Kriya2# creates the Aivine :i"ht manifestation! The experience of this :i"ht# coupled with that of the 'mkar internal 5ound# harnesses a kriyabanFs effort on the ri"ht# infallible path toward the direct experience of the Aivine!

THIRD KRIYA THIRD PART After havin" completed the required number of rotations# it is not difficult to move to this last part# in which the ener"etic movement happens in immobility! %reathe naturally and practice Kechari Mudra to the best of your ability! Repeat mentally# without hurry# the syllables Bha, 7a, Ba, &e, Ba, $u tryin" to perceive the same ener"etic movement you have induced throu"h the movements of your head! ,hat happened in the first part of &hird Kriya# here happens without movin" your head! A ball of :i"ht is turnin" inside your brain! After each round# this :i"ht comes internally from the point between the eyebrows into the cave of Brahma! The pituitary and the pineal "land are enlivened and stimulated! Practice about ;6 rounds durin" each Kriya routine! Then deepen your concentration in the ((Cave of %rahma!(( This is the seat of resonance with the ocean of cosmic 7m vibration! ,hen the soul rests here without thou"hts# experiencin" the Aivinity of creation throu"h 'm# then Kundalini starts her ?ourney upwards! To close the practice# inhale deeply# place all your attention in 6ontanelle and feel that your soul is separated from your body and fluctuates in the void! This is the meditation inherent to the &hird Kriya procedure! *ptional $on$lusion of )hird &riya meditation &t is recommended to practice the &hird Kriya as part of a balanced routine includin" the essence of the 6irst and the $econd Kriya techniques! &f the effects of the practice of the &hird Kriya ma e you feel unfocused or spacey 1livin" in a state of too much euphoria# which is not always the best condition to face the

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problems of daily life2# then it is wise to end the practice by focusin" upon the spinal Chakras and not 6ontanelle! At the end of your chosen number of rotations of &hird Kriya# come down with your awareness into each Chakra 1from !"na to Muladhara2 pausin" in each one! The rotation of ener"y experienced in the brain throu"h the practice of the &hird Kriya may now be experienced in smaller dimensions in each Chakra! <isuali4e each Chakra as a hori4ontal dis # havin" a diameter of approximately one inch! <isuali4e the syllables of the Mantra RBha 7a Ba &e ,a $uS inside the Chakra in which you are pausin"# startin" from the frontal part of it# then to the left# bac # ri"ht# front and in the center! Repeat three times! Then "o to the next Chakra! &n this way# come down to Muladhara and then "o up to !"na! Come down and up a"ain a couple of times . if it is possible! This will add an unbelievable sweetness to your meditation# enrichin" and stimulatin" the 'mkar experience! Truly this practice can be called ((providential!(( FOURTH KRIYA The 6ourth Kriya technique is a hi"her form of Pranayama# conceived to definitively awa en all the Chakras utili4in" the circulation of ener"y in the brain brou"ht about by the process of &hird Kriya! The main characteristic of the 6ourth initiation is that it has the power to "uide you unflinchin"ly into the !ntar Ke%ala Kumbhaka state 1which# as we have seen in the previous Chapter# is hi"her than the simple breathless state!2 ,hat you discover is that by practicin" this technique patiently# your Kumbhaka becomes effortless and each Chakra in turn reveals to you! This is the decisive factor to unfasten the Muladhara not! ((The 6ourth Kriya# the technique to attain ada includes the experience of the different Chakras# this leads to brea in" the Muladhara not!(( 15wami 5atyananda Diri2 ((The 6ourth Kriya is difficult3 in fact# impossible to perform unless one has mastered the art of the &hird Kriya! Aue to the supreme level of breath mastery which is required to perform the technique# the mastery of the &hird Kriya is required before steppin" into the 6ourth!(( 15ri 5ailendra %e?oy Aas"upta2 P$oc"&($" o t!" Fo($t! K$i*a Practice Kechari Mudra to the best of your ability! 1The full meanin" of Kechari . roamin" in the space . is fully reali4ed now!2 =ocus on the Muladhara center! &nhale a Kriya breath and ideally raise the Muladhara Chakra in the central part of the brain# under $ahasrara# over !"na Chakra! <isuali4e it as a dis lar"e as the circuit of ener"y that you have learned in the &hird Kriya! =eel that the air is squee4ed from the abdomen and stored in the upper part of the lun"s! 1This happens throu"h masterin" Mula Bandha and /ddiyana Bandha!2 Hold your breath and start to put into motion the rotation of the ener"y in the head ?ust as you have learned to do in the &hird Kriya!
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B((Rotation(( means complete rotation! Remember that a complete rotation of ener"y durin" the practice of the &hird Kriya envisa"es that at the end of each circle# the flow of ener"y is directed inward toward the cave of Brahma! &n this technique you donFt need Mantra chantin" because the practice itself induces the experience of the 'mkar sound and you will focus only upon it! The experience of :i"ht pervadin" the central part of the brain comes as a consequence and you will naturally fully open to it! The ideal number of rotations associated with each Chakra is ;6 but a be"inner is contented with a smaller number! The state of !ntar Ke%ala Kumbhaka will surprise you when the ri"ht moment will come9 never force the Kumbhaka state! Exhale when you need to exhale and "uide the Muladhara Chakra bac to its location at the base of the spine! &nhale raisin" the second Chakra and repeat the procedure! Repeat the procedure for each Chakra up to !"na. Repeat it a"ain for !"na and then for all the other Chakras down to Muladhara! The practice ends by breathin" freely# puttin" all the attention in the 6ontanelle! Peace# internal ?oy# breathless state# listenin" to internal sounds# perceivin" the spiritual :i"ht!!! this is what you will experience! 'our practice of Kriya will become a love story with %eauty itself! %e sure# be confident9 after a certain period of time# a remar able experience of Kundalini awa enin" will happen! &t will overcome you when you rest in the supine position! ,ithout experiencin" any start of surprise# you will find yourself ferried from a sweet dream to an authentic heaven3 you will return to daily life with tears in your eyes . tears born of endless devotion! ,hen you master this procedure . when effortless Kumbhaka stabili4es and you are able to experience ;6 1complete2 rotations of Prana in your brain for each Chakra# namely I;@ rotations of ener"y durin" 0@ Kumbhakas . then you will perceive the entire universe filled with the efful"ence of Aivine :i"ht! Remark 0 &f# after a short Kumbhaka# for example after ;GI rotations of Prana# you feel si"nificant discomfort# very probably you need to practice more Kriya Pranayama and spend more time perfectin" the previous sta"es of &hird Kriya! ,e can say in "eneral that those who s ip the &hird Kriya preparation ris never bein" able of experiencin" the power and the beauty of the 6ourth Kriya! Remark @ &t is perfectly natural to approach this practice by sli"htly rotatin" your head 1and also by mentally chantin" the six syllables of the Mantra!2 Althou"h this is not required# this mi"ht be useful for be"inners! &f this happens# try to move "radually toward physical immobility and toward listenin" to actual 'mkar 5ound!

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FIFTH KRIYA ((7nce the 6ourth Kriya has been mastered# the kriyaban does not need any more "uidance! He becomes an expert! He divines processes of 6ifth# $i:th and other #igher Kriyas for himself in order to remain continuously immersed in the quietude and ecstasies! #igher Kriyas than the 6ourth can be divined out by the Kriya Yogi himself# as the principle underlyin" these is mastered after successfully completin" the four Kriyas!(( 15ri 5ailendra %e?oy Aas"upta2 There is an episode in the %ha"avad Dita in which :ord )rishna shows His cosmic universal form to Ar?una! :ord )rishnaFs head touches the hi"h heaven 1%rahmalo a2 while his feet touch the earth 1%hulo a!2 &n 6ifth Kriya# a subtle breath is to be inhaled from %hulo a to %rahmalo a and exhaled down to %hulo a! This is to reali4e :ord )rishna from the tiniest ob?ect to the infinite %rahman! The 6ifth and the $i:th Kriya are practiced with full concentration on the /th Chakra. The <th Chakra is the seal of the astral body . the door "ivin" you the power of experiencin" this body! 1&t has been explained that the techniques of the &hird and 6ourth Kriya prepare one to contact the astral body! The astral body consists of the impressions and effects of Karma from millions of previous births!2 The <th Chakra helps to develop the ability to be completely selfless! Actually it is the "ateway to our 5elf# to that which transcends the human side! &t is the center of spiritual compassion and spiritual selflessness! &t enables us to witness the circumstances of our lives with compassion rather than ?ud"ment! A kriyaban who reali4es the essence of this Chakra lives in the dimension of Hnity# full of compassion for all creatures! The openin" of the <th Chakra involves the cleansin" of wornGout psycholo"ical patterns# remnants of countless incarnations! These patterns are the last of what holds you to the cycle of death and rebirth! %e careful with the practice of the 6ifth Kriya9 you mi"ht feel alienated and un"rounded! Confusion often follows! Therefore it is necessary to remind yourself that you are not in dan"er of losin" your mind* 6I8 B$"at!in+ $o0 B!(lo#a to B$a!0alo#a &nhale# slowly drawin" Prana from Muladhara to the <th Chakra# ;E centimeters above the 6ontanelle! Aurin" this procedure# donFt focus on any other Chakra in the spine! +ove up feelin" distinctly that the ener"y crosses the 6ontanelle and reaches the <th Chakra. Concentrate there and en?oy the equilibrium state between inhalation and exhalation! Exhale sweetly# lettin" Prana descend from the <th Chakra to Muladhara! =eel distinctly that the ener"y# comin" down# crosses the 6ontanelle! &n +uladhara# concentrate on the equilibrium state between exhalation and inhalation! ,hen you feel the need to inhale repeat the procedure! Repeat a"ain and a"ain until the state of your consciousness is totally chan"ed and your breath is very subtle# almost nonGexistent!
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6II8 Ac!i":in+ t!" )$"at!l"%% %tat" &nhale sweetly from Muladhara to the <th Chakra# raisin" breath and Prana! Concentrate on the equilibrium state between inhalation and exhalation! Exhale sweetly from the <th Chakra down the spine# but do not come do+n intentionally to the Muladhara Chakra! 'ou will see that the exhalin" current reaches spontaneously a certain point in the spine! This point is not necessarily one of the different Chakras! ,herever this point is# it is fundamental to feel it clearly inside the spine! This point becomes the starting point of the ne:t inhalation. &nhale then from this new startin" point into the <th Chakra! The current comes up throu"h the spine9 now the len"th of the path is obviously shorter! Concentrate on the equilibrium state between inhalation and exhalation! Exhale sweetly down the spine9 probably the exhalin" current ma es a shorter path# shorter than the previous! This is the new startin" point! &nhale from this new position upwards!!! %y repeatin" this procedure# you will reach a particular mental and physical condition in which you will remain breathless# +ith total focus on the <th Chakra! &f# after a lon" pause# the breath appears a"ain# repeat the process from the be"innin" 1inhalin" from Muladhara2! Do ahead patiently# unperturbed! The point is to ma e the breath cease# enterin" a dimension where it is no lon"er necessary! 6III8 Ci$c(lation o Li+!t a$o(n& t!" ?t! C!a#$a 'ou are in the breathless state# totally and perfectly settled at the <th Chakra! Remember the experience you had with the &hird Kriya! Here# the same circulation of ener"y happens# but instead of happenin" around the cave of Brahma# it now happens around the <th Chakra! 6ow you are above your body# in the space! 'ou perceive a ball of :i"ht that ma es a circulation around your <th Chakra and then comes internally! This is repeated as many times as necessary! Ao not utili4e any Mantra! =or two wee s# have this perception @J times# once a day! Then for another two wee s# repeat it JE times once a day3 then for another two wee s# >J times !!!! and so on up to @EE times each day for two wee s! SIBTH KRIYA After a successful practice of &hokar# the forces that prevent the vision of the :i"ht of Kutastha are overcome! The 8%indu8 1dot2 ori"inatin" in the heart Chakra is therefore established in Kutastha! Throu"h the practice of the 5ixth )riya we have full experience of divine :i"ht! The sta"e of unity with %rahma is accomplished! The state of TAT T<A+ A5& manifests9 Thou and & are 7ne# and always have been 7ne! Aurin" this time of divine oneness# one is devoid of body consciousness and unaware of oneFs surroundin"s! To ordinary people it is a deathGli e state# but for an advanced practitioner it is divine ecstasy!

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6I8 G(i&in+ t!" Li+!t to5a$& t!" C"$")"ll(0 ,hat we have experienced thus far is a ball of :i"ht that rotates around the <th Chakra and then curves inward# hittin" its center! ,e now "uide that ray of :i"ht downwards# toward the Cerebellum! Throu"h the $i:th Kriya we shall see how the allGpervadin" formless state comes down li e a roc et from Brahmaloka# in the form of a searchli"ht! &t pierces the =ontanelle and stops in the Cerebellum! After one rotation of :i"ht around the <th Chakra# raise your chin B?ust li e the standard position durin" the second part of a%i KriyaC and feel a ray of :i"ht comin" down# piercin" the =ontanelle at an an"le# and stri in" the Cerebellum! Remain immobile for a few seconds# wholly immersed in the intensity of the da44lin" white :i"ht shinin" in the Cerebellum! :ower your chin without losin" the concentration upon the :i"ht! Rest a moment there# and then repeat the procedure! =or two wee s# have this perception @J times# once a day! Then for another two wee s# repeat it JE times once a day3 then for another two wee s# >J times !!!! and so on up to @EE times each day for two wee s! 'ou will see that the divine :i"ht stabili4es in and around the Cerebellum! 6II8 Ent"$in+ t!" Pin"al +lan& Perceivin" constant Aivine :i"ht in Cerebellum is a very hi"h state# but you must learn how to "o beyond it9 learn to locate your Pineal Dland and enter it! Raise your inner "a4e to a 6ET an"le! &ntuitively condense all the :i"ht and direct it toward your Pineal Dland! Above and behind the A?na Cha ra# deep into the Cerebrum# the Pineal 7land# white in color li e the foam in mil # is located! &ntuitively direct all the :i"ht toward a point which is very near the Cerebellum# but sli"htly forward and above it# alon" a line formin" a 6ET an"le 1with the pavement!2 %y repeatin" this perception# the formless state is intensified in the Cerebellum until it succeeds in enterin" the Pineal Dland! Here the supreme union with the Aivine ta es place! =rom then onwards# havin" transcended the six Chakras# your awareness will always remain in the Pineal Dland! &t can ta e months or even years to complete the practice of the $i:th Kriya and enter the Pineal Dland!

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CHAPTER EK @ALUABLE @ARIATIONS OF SOME KRIYA PROCEDURES & have decided to include here a description of the most useful variations of the main techniques of Kriya Yoga! They have different ori"ins! 5ome have a "ood connection to :ahiri +ahasaya(s ori"inal le"acy! 7thers have the perfume of the Radhasoami $ant Mat# others the power of Kundalini Yoga3 some betray the influx of the 1nternal !lchemy 3 ei Dan, the central practice of &aoism! The purpose of includin" here the followin" descriptions is subtle! ,hile practicin" any variation# you will discover the true nucleus of the technique# the part that does not chan"e! 6ow# the more this immutable nucleus becomes impressed in your mind# the more your practice of Kriya Yoga will mar edly improve! ,hat & am "oin" to describe mi"ht seem not important# however & am sure that some variation will be appreciated and adopted at the place of the standard technique! As you will notice# some variations are actually an effective preparation for practicin" with success the more difficult standard technique# other represent a way to expand its potentialities! 6-8 @ARIATIONS OF OM 1APA *ther bija Mantras instead of *m 5ome schools teach to chant 1loudly or mentally2 ,am or Bam or #rom at the place of 'm! Especially #rom 1a sustained Hrooooooom2 turns out very effective in floodin" with euphoria those who practice! 0tili'ing the breth ,hen you mentally chant 'm in a Chakra# you can emphasi4e the effect of this action by inhalin" ((in(( it and exhalin" ((from(( the same! To be more clear# focus your awareness on the Muladhara Chakra and breath deeply visuali4in" the air comin" in and out from that point! Repeat this for each Chakra! 1ith a strong fo$us at Medulla =ocus your awareness in Medulla! %ecome aware of the first Chakra# mentally chant 'm three times there! Htili4e a delicate form of !s+ini Mudra. 'ou will feel a quiver of ener"y at first Chakra location! =rom Medulla# brin" part of your awareness in the second Chakra! Repeat !s+ini Mudra, feelin" the quiver of ener"y at second Chakra location! :et the same happen in the third Cha ra# then in the fourth# fifth# Medulla! Then +edulla a"ain# fifth# fourth# third# second# first Chakra! This is one cycle! 5ix cycles are enou"h! Remark !s+ini Mudra means contractin" repeatedly the muscles at the base of the spine with the rhythm of about two contractions per second! ,hile learnin" the
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technique# a yogi contracts the buttoc muscles# perineum or even the entire pelvic re"ion also3 with time# the contraction involves only the sphincter muscles! !s+ini Mudra is different from Mula Bandha. &n Mula Bandha we have only one lon" contraction and not a series of contraction and release as we have in !s+ini Mudra! %oth in Mula Bandha and in !s+ini Mudra you mentally exert a pressure on the lower part of the spine! 6/8 @ARIATIONS OF KRIYA PRANAYAMA 1ith 2ong e3halation and &umbhaka The ratio @9; for inhalation and exhalation is very comfortin" and more natural than 090! B@9; means that if inhalation lasts 0@ seconds# exhalation lasts 0/ seconds!C &n time you can add Kumbhaka after inhalation! 5tartin" with I seconds you can hold your breath for a time equal to inhalation! B=or instance9 0@ seconds inhale# 0@ seconds hold# 0/ seconds exhale!C This detail can be applied to each followin" Kriya Pranayama variations! &riya !ranayama 45st part6 with Aswini Mudra Practicin" !s+ini Mudra continuously durin" Kriya Pranayama is a wise choice! Aurin" inhalation and exhalation of the first 0@ Kriya breaths# !s+ini Mudra should be stron"3 subsequently# it should decrease in intensity and become li e a sli"ht internal contraction of the inferior part of the spine 1it is clear that the spine cannot be contracted9 this is ?ust a sensation!2 This practice creates the condition for Kundalini awa enin"! As you now# Kundalini awa ens when Prana and !pana unite and there is perfect immobility of the body! 6ow# throu"h !s+ini Mudra# you "ently push the !pana current upward to the navel re"ion where it meets Prana! &f this procedure may seem annoyin" and disturbin"# it is essential to be unsha eable and "o ahead with it! At a certain point you will have the certainty that somethin" positive is happenin"! 'ou perceive a pleasurable shiver in the spine! The day after this practice# a diffuse ?oy will permeate your activities and even the most simple Kriya routine at evenin" will fill you with ?oy! &riya !ranayama 45st part6 with Mula Bandha Aurin" the last instants of inhalation of a Kriya breath# visuali4e the current reachin" Bindu# then 8rotatin"8 left# comin" down a little bit and enterin" the Medulla oblongata. &t is in this moment that Mula Bandha is practiced intensely# the breath is held and the eyebrows are raised! The sensation is that the ener"y is pushed from Medulla oblongata into Kutastha! A sensation of internal li"ht spreads from Kutastha to the upper part of the brain! Then exhalation be"ins# the tension of Mula Bandha is released and the ener"y "oes down to Muladhara! Kechari Mudra cooperates with the process9 durin" Mula Bandha# the ton"ue 1inside the nasal pharynx2 is pushed upward and forward!
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&riya !ranayama 45st part6 with parti$ular per$eption of rotating energy ,hat & am "oin" to describe# comes out very easily to those who have practiced the two previous instructions! After some days of successful practice of !s+ini Mudra or Mula Bandha durin" Kriya Pranayama# the spinal path of the ener"y is perceived as an helix! &n a nutshell# startin" from the base of the spine# the ener"y comes up rotatin" countercloc wise alon" the spinal channel! Then the ener"y comes down alon" the same path# hence rotatin" cloc wise! 'ou will experience a stron" sensation of physical immobility and perceive your spine as a steel bar! 'ou are very near to the state of $amadhi! &riya !ranayama 47nd part6 with parti$ular Chakra stimulation ,hat we are "oin" to describe concerns only the exhalation of the @ nd part of Kriya Pranayama! B&t comes out easily to those who have practiced the previous instructions!C Aurin" exhalation# reali4e that it is not difficult to "ive a particular ((?er (( at each Chakra location! Each kriyaban has such power and you can increase it! ,hen you "ive the ?er # it is impossible to tell if there is a short pause of the breath or# quite the reverse# there is a short emission of breath! ,hat you feel is an intensity of awareness and ener"y stimulatin" one Chakra at a time! The final ?er in Muladhara at the end of exhalation creates an intense outburst of ?oy! ,hile pro"ressin" in this practice# you can experience a really internali=ed exhalation! This happens when you "ive a ?er to Medulla oblongata and the physical breath disappears entirely! 1nternali=ed exhalation is not accompanied by the exit of the air throu"h the nose! This is one of the mysterious facts of Kriya# difficult to understand with the sheer lo"ic! 628 @ARIATIONS OF NA@I KRIYA Chanting *m alternati(ely between &utastha and na(el All the details of the standard a%i Kriya "iven in Chapter 6 up to the forward bendin" of the head remain unchan"ed! &n this variation 1really very sweet and comfortable2 the 'm Mantra is mentally chanted in alternation between the point between the eyebrows and the navel 1'm in the point between the eyebrows# 'm in the navel# 'm in the point between the eyebrows# 'm in the navel- and so on2! The most useful way of doin" it is to synchroni4e the breath with the 'm chantin"! <isuali4e a tiny silver cord that comes out from the point between the eyebrows bends sli"htly and "oes down to the navel! ,hen it comes natural to have a very short inhalation# inhale 1only what is necessary2# visuali4e the movement of air risin"# throu"h the visuali4ed duct# from the navel to the point between the eyebrows# pause an instant there ?ust chant 'm mentally! ,hen it comes natural to exhale# exhale# visuali4in" the movement of air "oin" down into the navel# pause and chant 'm mentally in the navel! %y repeatin" this# you
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will mar edly feel that your breath be"ins to subside and disappear! ,hen this happens# "o on mentally chantin" the 'm Mantra in alternation between the point between the eyebrows and the navel and movin" the focus of your awareness between these two points# without ceasin" bein" aware of the 8silver cord8! Carry on! ,hen 'm is chanted about >J times# bend your head bac wards and repeat a similar procedure by chantin" 'm in alternation between the Bindu and the third Chakra. <isuali4e another tiny silver cord that connects 1outside your body2 the Bindu to the third Chakra! :et your breath . if there is still a trace of breath . flow freely throu"h that cord . ,hen 'm is chanted about @J times# resume the chin(s normal position and chant mentally 'm in the point between the eyebrows, Medulla oblongata, Chakras J# I# ;# @ and 0! This is one a%i Kriya! The optimum is to have I cycles of a%i Kriya! 8a(i &riya $oming down through four dire$tions The followin" variation of a%i Kriya is the one many kriyabans li e the best! As it happens in the basic form of a%i Kriya# a kriyaban(s awareness "oes slowly up alon" the spinal column placin" the syllable 'm in the six Chakras. Then the chin is brou"ht down toward the throat cavity! 6ow# a short inhalation 1two seconds maximum# without concentratin" on the Chakras2 is followed by a very lon" exhalation# durin" which# the ener"y is felt descendin" from the frontal part of the brain# alon" a path outside the body to the navel# reachin" throu"h it the Dantian re"ion! Aurin" this lon" exhalation# 'm is chanted mentally# rapidly# 0EG0J times# accompanyin" the descent of ener"y throu"hout the path! After a short pause in the Dantian# the head resumes its normal position! 6ow each detail is repeated but the descent of the ener"y happens throu"h a different path! A short inhalation draws the ener"y into the head a"ain . The head bends but not in the front9 it bends toward the left shoulder# without turnin" the face! A lon" exhalation 1with the same chantin" of 'm, 'm, 'm>2 accompanies the downward movement of ener"y which starts from the brain(s left side and moves alon" a path outside the body at its left side 1as if shoulder or arm would not exist2! The ener"y comes down to the waist# cross it and moves toward the Dantian! The head moves bac into its normal position! After a short inhalation , the head bends bac wards! A lon" expiration 1with the same chantin" of 'm, 'm, 'm>2 accompanies the downward movement of ener"y which starts from the occipital re"ion and moves 1outside the body2 down to the waist where it bends# pierces the third Chakra Manipura and moves toward the inside of the abdominal re"ion 1Dantian2! The procedure is repeated li ewise on the right side! This last exhalation concludes a mini cycle of four exhalations accompanied by four descents of ener"y towards the waist and# crossin" it# towards the re"ion of low abdomen! This mini cycle is repeated K times! &n conclusion we have had IxK Q ;6 descents of ener"y! After these exhalations# the procedure ends with a
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mental chantin" of 'm in each Chakra from !"na Chakra to Muladhara! ,hat we have described lasts /G0E minutes and is equivalent to I repetitions of the basic form of a%i Kriya! Remark As the practitioner proceeds with the rotations and the effects of the technique become more and more perceptible# the movements of the head become less mar ed . the process internali4es! 7ne phenomenon is remar able9 at the very moment the order to exhale has been imparted by the mind# it feels as if the lun"s cannot move! 5ome instants later comes the awareness of somethin" subtle descendin" into the body! A new ind of exhalation is en?oyed# li e an internal allGpervadin" pressure! &t brin"s about a peculiar feelin" of wellGbein"# harmony# and freedom! 7ne has the impression one could remain li e that forever! :o"ic implies that breath is comin" out of the nose# yet you would swear it doesn(t! This may be considered the first experience of Pranayama +ith internal breath 1also called Kriya of the cells2 that we are "oin" to discuss in Chapter 0@! 8a(i &riya with Re(ersed Breathing &nhale# hold the breath and intensify the concentration on the navel throu"h the three Bandhas 1Mula Bandha# /ddiyana Bandha and (alandhara Bandha2! &n this position# with the chin tilted down# mentally chant 'm 0@ times in the navel exertin" a continuous mental pressure upon it! Then exhale unleashin" the Bandhas and raisin" the chin with a sli"ht tension! ,ith the chin raised# inhale throu"h the nose! ,hile holdin" the breath# focus the concentration on the third Chakra Manipura. +entally chant 'm 0/ times in Manipura exertin" a form of mental pressure upon that center! Then exhale eepin" the chin in the normal hori4ontal position! Part one U part two are one a%i Kriya! Repeat four times. 698 @ARIATIONS OF MAHA MUDRA 9enial (ariation of Maha Mudra taught by Swami Hariharananda 9iri %efore practicin" this variation of Maha Mudra# sit on the pavement in the halfG lotus position or on the heels! Exhale! Concentrate on !"na! %ecome aware of Muladhara! Throu"h a deep inhalation 1not necessarily as lon" as in Kriya Pranayama2 visuali4e the breath comin" from the physical location of Muladhara up the spine until you complete the breath at !"na! Hold your breath! %end at the waist and preferably touch the floor with your head! 1The head is placed in the re"ion between the nees! Hse your hands freely in order to achieve this position comfortably!2 Dently breathe out and let the breath free! After touchin" the forehead to the floor# twist first to the ri"ht# nearin" the ri"ht earlobe to the ri"ht nee! The head comes near the ri"ht nee# the face is turned toward the left nee so that it is possible to perceive a pressure on the ri"ht side of the head3 a sensation of space is perceived inside the left side of the brain! Remain in this position for ;
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to ;E seconds! +ove head bac to center until forehead touches "round! Then repeat the same exercise with the other side of the body# reversin" the perceptions! +ove your head until your left ear is directly over the left nee! Try to experience internal pressure in the ri"htGside of your head3 a sensation of space is perceived inside the ri"ht side of the brain! Remain in this position for ; to ;E seconds! Then the head is placed in the re"ion between the nees a"ain# the face turned downward! A pressure is felt on the forehead! A sensation of space is perceived inside the occipital re"ion! Aurin" this delicate process you are breathin" normally and your awareness is mainly at !"na Chakra while your eyes are focused on Bhrumadhya 1the point between the eyebrows!2 Then sit up strai"ht# inhalin" deeply! Throu"h a lon" exhalation let the ener"y "o down from !"na Chakra to Muladhara! Throu"h a deep inhalation visuali4e the breath comin" from the physical location of $+adhisthana up the spine until you complete the breath at !"na!!!! Repeat all the previous process! Then repeat this process for Manipura, !nahata, ,ishuddha and !"na Chakra! &n this way you will en?oy six bows! 00 6ow we are "oin" to practice Maha Mudra in a very peculiar way! %end the left le" under the body so the left heel is near to the perineum! Araw the ri"ht nee a"ainst the body so the thi"h is as close to the chest as possible! The interloc ed fin"ers are placed ?ust below nee applyin" pressure to your internal or"ans! Ta e J to 6 very deep breaths with moderate pressure applied to nee! Then inhale deep and hold# extend the ri"ht le"# bow down# breath normally and massa"e the ri"ht le" from the foot to the thi"h and hip! Then "rasp the ri"ht foot in this way9 the ri"ht hand "rabs the ri"ht toes while the left hand "rabs the inner side of the middle part of the ri"ht foot 1the arch of the foot2! The face is turned to the left! 'ou perceive a sensation li e an inner pressure on the ri"ht side of the head! &t contrasts with the free space sensation in the left side of the brain! Chant 'm six times in the point between your eyebrows! Then inhale and hold# sit bac up onto your left foot with ri"ht nee folded into your chest# then exhale into normal conscious breathin"! Practice the whole procedure by reversin" the perceptions and the position of the le"s! & won(t repeat everythin" . don(t for"et the chant of 'm six times in the point between your eyebrows! 6ow# draw both nees a"ainst your body! Extend both le"s# bow down# breath normally and massa"e both le"s from feet to thi"hs and hips! Then "rasp both feet9 ri"ht hand to ri"ht toes# left hand to left toes! %reathe normally# flex feet I or J times then relax with the head down as near to nees as possible! Experience internal pressure on the front part of the head! A sensation of space is perceived inside the occipital re"ion! Chant 'm six times in the point between your eyebrows! Then inhale and hold# sit up and massa"e toes# then fold le"s bac to chest and exhale! As usual# this exercise is repeated three times!
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To repeat this process for !"na Chakra means9 stand erect# inhale# visuali4e the breath movin" from !"na forward to Bhrumadhya# hold your breath# bend at the waist!!!!place your head between the nees# breathe out and let the breath free -

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After this intense form of Maha Mudra you can use your hands li e in Yoni Mudra# close only left ear and listen to the internal sounds! Then close only the ri"ht ear and listen! Then close both ears and listen! Then try to listen without closin" ears! Remark 0 To increase the power of these two procedures 1((bendin"s(( followed by a particular form of Maha Mudra2# you can hold your breath when you are down! 'ou will "et a very stron" sensation of ener"y risin" up and intensifyin" in the point between your eyebrows! %reath retention is a powerful Kundalini stimulator! &f you are not ready for the power "enerated by this procedure# if you feel li e 8spaced out8 after your meditation or if you feel too much irritable# don(t hold your breath! Remark @ ,hen you bend your body left# your ri"ht nostril will open! ,hen you bend your body ri"ht# your left nostril will open! ,hen you bend your body in the front# you "et equal pressure of flow of breath inside your nostrils! 'ou "et balance of the mind and calmness in your body! 'our spinal chord passa"e will open! The lunar channel of 1da is situated at the left side of the spine3 the solar channel of Pingala is situated at the ri"ht side of the spine! %oth chords clin" to each other! %y the repeated practice of Maha Mudra# they are separated and# as a consequence# an hollow passa"e is opened between the two! The openin" of the spiritual passa"e within the spine 1$ushumna2 is the startin" point of the practice of meditation! 6;8 @ARIATIONS OF YONI MUDRA -oni Mudra intensifying the prin$iples of Re(ersed Breathing &n this variation of Yoni Mudra, you create# durin" inhalation# a "reat mental pressure inside the spine! Then you apply the hand Mudra 1?ust what we have described in the standard Yoni Mudra2 and# while holdin" your breath# you increase this pressure by applyin" all the possible Bandhas and Mudras 1Mula# ,a"roli# /ddiyana, (alandhara.2 ,a"roli means wor in" with the muscles which control the passa"e of urine! 'ou have to observe first what muscles are actin" when passin" urine and suddenly cause the flow to stop! %y repeatedly doin" this you will learn to exercise the proper muscles only! As for (alandhara Bandha, you rotate the face left and ri"ht and then lower the chin as far as it is comfortably! Aurin" these movements# you let your fin"ers stay in place# closin" the openin"s! &t is easy to feel the stretchin" of $ushumna from the third eye to the root! Hold your breath for a time that does not create discomfort! The internal pressure upon the spine becomes the only focus of your concentration! &n other words you don(t chant 'm 'm!!! in Kutastha! Aurin" Kumbhaka you focus on this column of li"ht from Muladhara to the fifth Chakra! Exhale smoothly# relaxin" each tension# and you will discover how sweet and comfortin" is the focus on
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Kutastha that ensues consequently! 'ou will practice only three of these Yoni Mudra! Ad(an$ed form of -oni Mudra &n the followin" practice of Yoni Mudra, each Chakra is raised separately! 5tart your practice by utili4in" the wellG nown hand Mudra! %ecome aware of Muladhara Chakra! Contract the muscles near Muladhara9 the bac part of the perineum! 'ou can eep the contraction until the abdomen and spine vibrate! Then lift this Chakra throu"h an inhalation to the point between the eyebrows! Hold the breath for as lon" as you feel comfortable 1about 0E G0J sec2 while tryin" to perceive the particular li"ht of Muladhara in Kutastha! Relax the physical tension and exhale! %reathe out with 8huhG huhhhhhhhh8 and ideally place Muladhara Chakra bac down to its ori"inal position! Then ma e a ((leap of awareness(( to the second Chakra $+adhisthana and contract the muscles of the sex or"an and the sacrum! 'ou can practice ,airoli Mudra 1contract and relax both the urethral sphincter and the muscles of the bac near the sacral center!2 Then do exactly what you have done with the Muladhara Chakra!!! ,hen $+adhisthana is a"ain in its initial position# with a ((leap of awareness(( focus on the third Chakra Manipura! Ti"hten the muscles of the abdomen at the level of the navel9 quic ly contract and relax the navel# the abdominal muscles and the lumbar area of the spine! Then do exactly what you have done with the previous two Chakras... Repeat the same scheme for !nahata Chakra! Expand the chest! %rin" the shoulder blades to"ether and concentrate on the spine near the heart! =eel the contraction of the muscles near the dorsal center! Then do exactly what you have done with the previous three Chakras... =ocus on the fifth Chakra ,ishuddha! +ove your head quic ly from side to side 1without turnin" your face2 a couple of times# perceivin" a "rindin" sound in the cervical vertebrae! This is only to locali4e the cervical center! 6ow contract the muscles of the bac of the nec near the cervical vertebrae! Then lift this Chakra throu"h an inhalation to the point between the eyebrows! Hold !!!! etc! Medulla oblongata9 raise the chin# tense the muscles near the Medulla oblongata 1under the occipital re"ion2# clench the teeth# and see the li"ht at the point between the eyebrows! =eel that you are offerin" your !"na center to the li"ht of the spiritual eye in Bhrumadhya! Exhale and release all contraction! To end the procedure# put the palms of your hands over the eyelids and remain there seein" a white li"ht for @G; min! ,hen the li"ht disappears# lower your hands! Remark +any find the followin" technical detail very useful9 before liftin" a Chakra# let the inhalation ideally start from its 8frontal8 component# come towards its
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location in the spine and then come up to the point between the eyebrows! The Perineum is the frontal component of Muladhara,the pubic area is the ((frontal(( part of $+adhisthana Chakra3 Manipura is lin ed with the navel3 the central re"ion of the sternum is the ((frontal(( part of !nahata3 the upper front part of the throat is lin ed with ,ishuddha! 6<8 @ARIATIONS OF THOKAR )hokar with (ery mild blows This procedure can be useful to those who prefer a delicate approach! &nhale with 'm a Mo Bha 7a Ba as it is described in the Elementary form of Tho ar! Hold your breath! The chin bends forward# toward the throat cavity9 a certain internal pressure is felt on frontal part of the heart Chakra! The head resumes its normal position and then bends sli"htly toward the left shoulder# without turnin" the face! The same experience happens9 a certain internal pressure is felt on the left part of the heart Chakra! The head resumes its normal position and tilts bac wards9 the same experience happens and pressure is felt on the bac of the heart Chakra! The head resumes its normal position and bends sli"htly toward the ri"ht shoulder# without turnin" the face9 the pressure is felt on the ri"ht part of the heart Chakra! The head resumes its normal position# then the chin bends forward# toward the throat cavity!!! pressure is felt on the frontal part of the heart Chakra! The head resumes its normal position! Aurin" these five bends# holdin" the breath# no Mantra is needed! Then the exhalation "uides the awareness throu"h the Chakras to Muladhara! The syllable &eee is vibrated in Medulla, ,a in the fifth Chakra!!!! and so on!!!!Ya is vibrated in Muladhara! The time involved for this &hokar depends on the individual3 usually it is approximately @EG@J seconds# but it can be lon"er! The procedure is repeated at least 0@ times! &t should be noted that the different pressures on the heart Chakra are more similar to a supply of ener"y flowin" down in a tranquil way from a re"ion above the head than the typical tappin" of the &hokar! )hokar upon all the Chakras# to unfasten the Muladhara knot @a$ The followin" procedure may be called ((Complete form of &hokar!(( +any Kriya schools do not teach it but choose either to erase it completely or to substitute it with the sweeter# more docile and mana"eable practice of &ribhangamurari form of &hokar which will be discussed soon! %e"in by practicin" the !d%anced form of &hokar, thus actin" upon the heart Chakra but only 0@ times! Then exhale 1with De, ,a, Yaaa2 and repeat the previous procedure but each time you lower your chin# you will vibrate the syllable $u in a different Chakra, in this order9 third Chakra# second# first# first a"ain# second# third# fourth! As you direct your stro e toward a Chakra# the muscles near that Chakra can be sli"htly contracted# ?ust to help the process!

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At the end of these > repetitions of &e ,a $u# exhale and focus on the irradiation that departs from the third Chakra when you chant De, from the second Chakra when you chant ,a, from the first Cha ra when you chant Yaaa! 'ou can repeat this variation of &hokar for a reasonable number of times . At the end of it# feel how the ener"y rises li e waves of a tide from Muladhara "rowin" hi"her and hi"her# reachin" a Chakra# then a"ain fallin" down and movin" from the base of the spine to a hi"her center! Remark This procedure requires "reat care because it affects the person(s behavior durin" daily life! 'ou could excessively react to trivial impediments and irrational behavior! &n short# some sharp personality traits of yours mi"ht surface with a force that in some cases could be ((destructive!(( 7bviously# they do not appear out of nothin"# they are not caused by the technique . they express what you had held within you for a lon" time! )hokar upon all the Chakras# to unfasten the Muladhara knot @a$ / There is a different way of practicin" this complete form of &hokar. An experienced kriyaban practices &hokar directin" the stro e repeatedly upon a Cha ra H6T&: they have a definite result9 & mean seein" and experiencin" the &att+a related to that Chakra. A "ood order is to practice upon heart Chakra# then third# second# first# a"ain second# third and fourth! The $amadhi state is often experienced at the end of the practice provided that the kriyaban is able to re"ain complete mental and physical immobility! Remark 7ften the effects of this practice are difficult to metaboli4e! The process tries to the limit your psycholo"ical soundness 1for this reason it is not commonly tau"ht!2 &t is not surprisin" that some kriyabans reach the conclusion that this procedure "enerates effects which are essentially ne"ative! They have also reported to feel drained of any devotion# motivation and ?oy! 5ome hint at the ((dar ni"ht of the soul(( described by mystics! This is surely an exa""eration! &n my opinion the best solution is to conclude the routine by resumin" the practice of Kriya Pranayama# second part# for a "reat number# until the breath seems to disappear! Concludin" with a%i Kriya# Maha Mudra and Yoni Mudra is also advisable! )hokar )ribhangamurari Kriya tradition requires that this hi"her procedure be tau"ht in three separate sessions9 !mantrak# $amantrak and &hokar &ribhangamurari proper! %etween the first and the second and between the second and the third usually one year should elapse! &t is therefore unthin able to practice the last sta"e 1 &hokar &ribhangamurari proper2 as an experiment and immediately expect to appreciate its potentiality! &t is supposed you practice it with a very calm breath which may disappear in certain moments of internali4ation toward which the technique naturally leads! :ater we shall discuss a variation where you utili4e the breath!
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&ribhangamurari is the best symbol of Kriya Yoga because apart from showin" the cuttin" of the three nots# it is also one symbol of $ri Krishna! The shape of Krishna# as depicted in the icono"raphy# is a form in which you can easily individuate three curves 1head# spine# bent le"!2 A sentence attributed to :ahiri +ahasaya9 8To ma e this body &ribhangamurari 1)rishnaGli e2# three nots have to be crossed!8 Throu"h this procedure# Kundalini is invited to rise throu"h $ushumna! &n the be"innin"# only a minimum of Prana is able to enter the $ushumna and move upward . this is due to mental restlessness! %ut sooner or later# the Kundalini ener"y will reach the head! The technique fosters this moment because durin" each round you cross three main nots 1 7rantis29 ton"ue$Medulla oblongata# heart# and coccyx! This happens by comin" down from head to Muladhara followin" the threeGcurved path &ribhangamurari 1TriGbhan"aGmurari Q threeG bendGform!2 6irst part? !mantrak Practice the followin" technique with your ton"ue in Kechari Mudra# after the practice of Kriya Pranayama and of a%i Kriya! At the end of this practice# remain with the awareness centered in the li"ht of Kutastha! =or"et completely your breath# let it follow its natural rhythm! <ery slowly raise Prana and awareness throu"h the spinal channel# from Muladhara to Bindu . half a minute is required! Ao not pause in any of the Chakras! 6ow let Prana and awareness come slowly downwards alon" the &ribhangamurari path and reach Muladhara! Another half minute is required! The &ribhangamurari path be"ins in Bindu# bends to the left# descends into the seat of Medulla oblongata# crosses it# and continues toward the ri"ht side of the body! 7nce a particular point in the bac 1JG6 centimeters above the ri"ht nipple2 is reached# it reverses direction cuttin" the heart not! After reachin" a point in the bac that is JG6 centimeters under the left nipple# it chan"es its direction a"ain and points toward the seat of the last not in the coccyx re"ion! 7ne round of !mantrak 1!mantrak means ((without the use of a Mantra((2 lasts one minute! &f you reali4e it is shorter# let us say IJ$JE seconds# it does not mean the procedure was executed too quic ly! However# resolve to reach the exact timin"! =or two wee s# repeat this technique @J times# once a day! Then for another two wee s repeat it JE times once a day3 then for another two wee s >J times !!!! and so on up to @EE times each day for two wee s! Then apply the followin" instruction! $econd part? $amantrak The perception of the &ribhangamurari current is intensified by mentally chantin" the syllables of the ,asude%a Mantra. 'm# a# Mo# Bha, 7a, are vibrated into the first five Chakras and Ba in Bindu. &eeee is chanted in Medulla
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oblongata but you are able to perceive how the reverberation of this vibration touches the point between the eyebrows . thus you also will feel &eeee in Kutastha! The syllables ,a, $u, De, ,a are put in the four new centers outside the spine3 Ya is vibrated in Muladhara! These four new centers are four 8vortexes8 inside the main flow of the current . they are not a new set of Chakras! Each syllable when vibrated is li e a mental &hokar 1hit29 since the technique is performed slowly# there is plenty of time to ma e this stimulation very effective!
B:et us remar that# when you are practicin" the $amantrak procedure# you are practicin" !mantrak at the same time! Afterwards when you will practice &hokar2 &ribhangamurari you will practice !mantrak and $amantrak at the same time! To be brief# the procedure of &ribhangamurari is not made up of three different techniques but is essentially one sin"le internal process mastered in three different steps!C

,e have now described one round of $amantrak# which lasts one minute! &f you reali4e it is shorter# let us say IJ$JE seconds# a"ain# it does not mean the procedure has been done too quic ly! However# ma e a resolution to reach the exact timin"! =or two wee s repeat this technique @J times# once a day! Then for another two wee s repeat it JE times# once a day3 then for another two wee s >J times !!!! and so on up to @EE times each day for two wee s! Then apply the followin" final instruction! &hird part? &hokar &ribhangamurari Practice the &hokar &ribhangamurari after the practice of Kriya Pranayama and of a%i Kriya! At the end of this practice# resume for some rounds 16G0@2 the practice of 'mkar Pranayama and then remain with the awareness centered in the li"ht of Kutastha! =or"et the breath! The hands 1with interloc ed fin"ers2 are placed on the navel area so as to push the abdominal re"ion upward# thus creatin" a physical pressure on the first three Chakras! 5tartin" with the chin on the chest# move the ener"y and awareness very slowly alon" the spinal column from Muladhara to Bindu! 'our chin comes slowly up followin" the inner movement! ((Touch(( internally each Chakra with the syllables of the Mantra 1'm is placed in the first Chakra# a in the second !!!2! ,hen ener"y and awareness are at Bindu, the chin is parallel to the "round. 6ow the descent of the ener"y be"ins! The movement of the head follows millimeter by millimeter its downward ener"etic flow alon" the &ribhangamurari path# from Bindu to Muladhara, crossin" the three nots and touchin" the four new centers outside the spine! All this happens in a fluid way and within ;E seconds or less! The followin" description of the movements of the head may seem complicated at first but with a minimum of patience# the ri"ht movement of the head will be learned9 you need only to understand that it is conceived as a lo"ical and effective way of intensifyin" a particular sna eli e

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downward flow of the ener"y! :et us now be"in to describe the movements of the head! ,ithout turnin" the face# bend your head sideways a couple of centimeters to the left! Raise the chin as much as possible 1contract the nec (s bac muscles2 and return to the middle! Reali4e how this simple movement accompanies perfectly the descent of ener"y from Bindu to the Medulla oblongata alon" the first curve of the &ribhangamurari path! Remain only an instant in this position# with the chin raised and vibrate the syllable &eeee in the Medulla oblongata. =urthermore# as you learned in $amantrak# perceive also the reverberation of this vibration at the point between the eyebrows! Then# from this position# slowly turn the face to the ri"ht and as far as possible! 7nly the face moves# not the torso! Aurin" this 5:7, movement 1do not be influenced by the dynamics of the technique of &hokar2# the inner flow of ener"y moves from the Medulla oblongata to the ei"hth center! Here the first of five psychoGphysical blows happens9 the chin touches the ri"ht shoulder for an instant and the syllable ,a is vibrated in the ei"hth center! The shoulder also ma es a small upward motion to ma e contact with the chin easier! %ut be careful9 if you feel you(re forcin" it# 5T7P* Those who are not able to have this contact with the ri"ht shoulder# should content themselves with comin" as close to the shoulder as possible and stimulate the ei"hth center with sheer mental stren"th! Then the face turns very slowly to the left# accompanyin"# millimeter by millimeter# the internal flow of ener"y from the ei"hth to the ninth center# and crossin" the fourth Chakra. &f possible# place the chin over the left shoulder! The second blow ta es place when the syllable $u is vibrated in the ninth center and the chin for an instant touches the left shoulder# which ma es a small motion upward to ma e contact with the chin easier! Two more blows happen when the syllables De and ,a are put in the tenth and eleventh centers. The procedure is the followin"9 The chin slowly moves toward the middle of the chest while "ra4in" the left collarbone! Aurin" this movement# two li"ht blows are "iven to the left collarbone in intermediate positions! The blows are "iven of course in the moment in which the syllables of the Mantra are vibrated! =inally# a last blow is "iven on the chest 1central position2 when the syllable Ya is vibrated in Muladhara! The essence of this particular form of (( &hokar(( consists not only in the five stro es but mainly in a constant intensification of the mental pressure alon" the whole circuit! Considerin" the action of squee4in" an almost empty tube of toothpaste to "et the last bit out "ives you a "ood idea of what happens durin" this procedure! ,hen the movements of the head are slow and enriched by a "reat stren"th of concentration and will# there is no limit to the increase of the internal ener"etic flow alon" the &ribhangamurari path!

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Repeat the procedure ;6 times! After completin" the pro"rammed number of rounds# calm the system with a minimal practice of $amantrak# then relax by practicin" a simple mental Pranayama! The supervision of an expert helps to avoid any problems . & am referrin" to stress and pain in the cervical vertebrae and in the muscles of the nec ! Abrupt movements should be avoided3 instead use a deep intensity of mental concentration! =or the first couple of wee s do not practice every day but every two or three days! As soon as possible# be"in the incremental routine of this procedure by practicin"9 ;6x@# ;6x;#-!! ;6x;J# ;6x;6! %e careful to allow always one wee to elapse between one sta"e and the next! To those who have the time and "ood will to complete it# & recommend this routine as a very important feat! A minimum of /G0E months is required to complete it! )hokar )ribhangamurari employing long breath and &umbhaka As announced# we shall discuss here how to utili4e the breath to intensify the power of &hokar &ribhangamurari! ,e shall utili4e the Reversed %reathin" ?ust as we have done with the forms of &hokar discussed in chapter >! 5tartin" with chin down# slowly inhale placin" the syllables in the Chakras as you have done in the previous &hokar &ribhangamurari procedure! 1'ou are now utili4in" the Reverse %reathin"# therefore don(t for"et to contract the navelG Manipura re"ion!2 At the end of inhalation# after placin" Ba in the Bindu# your chin is up# parallel to the soil! 6ow hold your breath and feel and intensification of ener"y in the upper part of the thorax! At the same time chec the contraction of the navelG Manipura re"ion! ,hile experiencin" a comfortable Kumbhaka, "uide the ener"y alon" the &ribhangamurari path down into Muladhara! The instructions are exactly those of &hokar &ribhangamurari0 the only difference is that now you are holdin" your breath and the experience is much more intense! ,hile you are movin" your head Bif you have doubts about the movements# read a"ain the previous (( third part? &hokar &ribhangamurari((C place the last six syllables in the related centers! 6ow raise your chin and then# with total focus on Medulla, exhale slowly experiencin" a descent of fresh ener"y in all the body 1internal or"ans and s in!2 Then breath normally if you need it# and when you are calm repeat the process! 'ou can repeat it from 0@ up to ;6 times! 6=8 @ARIATIONS OF MICRO THOKAR The Micro &hokar was defined in Chapter >! &t was experienced inside each Chakra! &t can be also experience inside the brain and alon" the crown of the head! This is a very "ood preparation for &hird Kriya 1see Chapter /!2 0tili'ation of Mi$ro )hokar to stimulate parti$ular brain $enters &nhale from Muladhara into the M"&(lla o)lon+ata! Hold your breath! 7scillate slowly your head left . ri"ht . return to center# eepin" the focus of
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concentration in Medulla oblongata! +entally chant &e when you move to the left# ,a when you move to the ri"ht# $u when you return to the center! Repeat three times# always holdin" your breath! A calm exhalation follows! 6ow inhale from the second Chakra into the C"$")"ll(0! Hold your breath! Repeat three times the same oscillations of the head with &e, ,a, $u# focusin" all your attention on the Cerebellum! Exhale and come down to the third Chakra location! &nhale from the third Chakra into the Pon% @a$olii 1to perceive it# come from the cerebellum toward the center of the head# over Medulla oblongata 3 a few centimeters forward2! Hold your breath! Repeat the procedure with &e, ,a, $u three times# focusin" all your attention on this center! Exhale and come down in the fourth Chakra. &nhale from the fourth Chakra into the T!ala0(%. To perceive it# sli"htly swin" your head bac and forth! =eel a hori4ontal line that comes from the point between the eyebrows bac wards! At the same time feel the vertical line that comes down from the fontanelle! The Thalamus is the point of intersection of the two lines! ,hen you have it# repeat three times at that point the procedure with &e, ,a, $u! Exhale and come down in the fifth Chakra! &nhale from the fifth Chakra into a point 0i&5a* )"t5""n T!ala0(% an& Fontan"ll"! To perceive it# swin" sli"htly your head bac and forth! =eel a hori4ontal line that comes from Bindu forwards! At the same time feel the vertical line that comes down from the fontanelle! This center is the point of intersection of the two lines! Repeat three times in that point the procedure with &e, ,a, $u! Exhale and come down in Medulla oblongata! &nhale from Medulla oblongata into Fontan"ll"! Repeat three times in that point the procedure with &e, ,a, $u! Exhale remainin" in 6ontanelle! &nhale into 6ontanelle# exhale from 6ontanelle into the point midway between Thalamus and =ontanelle! &nhale into 6ontanelle# exhale from 6ontanelle into the Thalamus. &nhale into 6ontanelle# exhale from 6ontanelle into the Pons <arolii &nhale into 6ontanelle# exhale from 6ontanelle into the Cerebellum! &nhale into 6ontanelle# exhale from 6ontanelle into the +edulla oblon"ata! Remain with your awareness in the +edulla oblon"ata or practice the followin" procedure! Remark The described procedure creates a very stron" effect! &n a merciless way you become aware of the e"o(s subtle tric s that drive human actions! The reason for many wron" decisions appears with a definitive clarity# free of all coverin" veils! The e"o is a very complicated mental structure9 it is not possible to destroy it# but it can be made transparent! There is a price to pay9 there mi"ht appear 1hours after the practice2 inexplicable waves of fear# the sensation of not nowin" where you are and where you are directed to! This is a natural reaction comin" from some subtle layers of the brain one has touched!
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Mi$ro )hokar in the $rown :et us consider the technique of 'mkar Pranayama! ,e have seen that at the end of inhalation there is a pause where the awareness ma es a complete# counterG cloc wise turn alon" the crown of the head! This rotation happens inside the brain# under the cranial bone! 7ne starts the round from the occipital re"ion 1Bindu2 and comes bac to it! The section of the brain containin" Bindu and extendin" hori4ontally to the upper part of the frontal re"ion of the brain is very important in the practice of the #igher Kriyas! Aurin" &hird and 6ourth Kriya we move our awareness alon" the same circuit! Emphasis is "iven to experience the ener"y throu"h the brain substance . this movement happens with a particular internal pressure! ,ell# now we are "oin" to practice the Micro &hokar alon" the same path* The only difference is that now9 BaC we don(t start from the frontal part of the brain but from the occipital re"ion! BbC we shall stimulate / re"ions in the crown 1not only I as in &hird Kriya.2 &nhale from Muladhara into the occipital re"ion of the brain 1 Bindu.2 =ocus in this part of the brain# hold your breath and "o throu"h the experience of the +icro movement ; times 1by repeatin" &e Ba $u ; times!2 Exhale calmly! &nhale from the second Chakra into the ad?acent part# to the ri"ht of Bindu! =ocus in this part of the brain# hold your breath and "o throu"h the experience of the +icro movement ; times 1by repeatin" &e Ba $u ; times!2 Exhale calmly! &nhale from the third Chakra into the part of the crown over your ri"ht ear! - ; Micro &hokar holdin" your breath!!! &nhale from the fourth Chakra into the part of the crown ad?acent to the previous part alon" the countercloc wise direction of our movement! - ; Micro &hokar holdin" your breath!!! &nhale from the fifth Chakra into the part of the crown over the eyebrows point! - ; Micro &hokar holdin" your breath!!! &nhale from Medulla oblongata into the central part of your brain under 6ontanelle! - ; Micro &hokar holdin" your breath!!! Repeat this last action of inhalin" from Medulla!!! &nhale from the fifth Chakra into the part of the crown over the eyebrows point! - ; Micro &hokar holdin" your breath!!! 6ow we move our awareness into the left part of the brain in order to complete the round and return to the occipital re"ion of the brain 1Bindu.2 &nhale from the fourth Chakra into the part of the crown ad?acent to the previous part alon" the countercloc wise direction of our movement! - ; Micro &hokar holdin" your breath!!! &nhale from the third Chakra into the part of the crown over your left ear! - ; Micro &hokar holdin" your breath!!! &nhale from the second Chakra into the ad?acent part! - ; Micro &hokar holdin" your breath!!! &nhale from Muladhara into the occipital re"ion of the brain 1 Bindu.2 - ; Micro &hokar holdin" your breath!!!

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This is one round! After two or three rounds# a sudden bliss manifests and one is no lon"er able to mentally chant anythin"! The procedure ends in ecstatic absorption! A different way of pra$ti$ing Mi$ro )hokar after the e3perien$e of )ribhangamurari After a minimum of 0@ rounds of &hokar &ribhangamurari, you can experience a very effective variation of Micro &hokar! This variation implies the experience of the movement &ribhangamurari in small dimensions inside the 0@ centers of the Macro &ribhangamurari path! Throu"h a short inhalation# raise the Prana from the Muladhara Chakra into the spiritual eye between your eyebrows! Dently lower your chin# hold your breath and loo 8down8 at the Muladhara Chakra. <isuali4e it as a hori4ontal dis # havin" a diameter of approximately one inch! Perceive on that dis the &ribhangamurari movement in reduced dimensions! Aon(t worry about the required time9 it may be short# it may be lon" -! it doesn(t matter! Exert a moderate but continuous pressure on the dis as if you had a pen and were drawin" a clear continuous mar ! A tendency may come to ma e a very faint movement of the spinal column 1forward# left# ri"ht# left# bac to startin" position2! This movement should be almost invisible to an observer! Repeat two more times! 'our breath is held effortlessly3 the Prana remains totally in !"na Chakra! After three perceptions of the complete movement you can relax and let Prana come down! A subtle exhalation happens but you may not be aware of it! +ove to the second Chakra and repeat the same procedure! Repeat it for Chakras ;# I# J# then for Bindu# then for Medulla oblongata# then for the four centers outside the spine# and finally for Muladhara! This is round 09 practice two more rounds! %e faithful to this practice for at least six months before startin" to increase the mental pressure employin" the syllables of the ,asude%a Mantra. Mi$ro )hokar )ribhangamurari utili'ing the Mantra Practice Kechari Mudra! Throu"h a short inhalation# raise the Prana from the Muladhara Chakra into the spiritual eye between your eyebrows! =or"et the breath and loo 8down8 at the Muladhara Chakra. +entally utter the syllables 8'm2 a2Mo2Bha27a2Ba2&e2,a2$u2De2,a2Ya8! Ao this (apa without hurry! Perceive the microGmovement &ribhangamurari and reali4e how the mental chant of the 0@ syllables add a "reater 8pressure8 to it! Remain immobile with no movement at all of the spinal column or of the head! Here all the power of pressure has to be obtained with the sheer repetition of the syllables of the Mantra! These syllables are li e mini 8thrusts8 or 8pulsations8! The duration of one round is determined by the speed of the chantin" of the Mantra. =or many people# the chantin" of the Mantra and consequently# the
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microGmovement lasts about 0EG0@ seconds! Remember that :ahiri +ahasaya(s recommendation was 8Aon(t be in a hurry*8 7bserve the difference between "oin" slowly and with speed! &f you "o slowly# you will perceive a tremendous power! Repeat the ,asude%a Mantra three times! Prana remains totally in the head! After three perceptions of the microGmovement# repeat the same procedure in Chakras @# ;# I# J# then in Bindu# then in Medulla oblongata# then in the four centers outside the spine# and finally in Muladhara! This is one round9 practice ;G 0@ rounds! At the end of this practice# remain with the awareness centered in the li"ht that you will perceive in the upper part of your head!

6?8 @ARIATION OF FOURTH KRIYA 9ayatri &riya 5ome Kriya teachers call this technique 6ourth Kriya! Accordin" to my search this technique is very ancient and existed before :ahiri +ahasaya be"un teachin"! &ts structure is well nown in &ndia and is considered the subtlest way of usin" the 7ayatri Mantra! 5ome boo lets contain minor variations and additional rituals! The 7ayatri Mantra is considered to be a supreme vehicle for "ainin" spiritual enli"htenment! The purest form of 7ayatri Mantra is &at $a%itur ,arenyam Bhargho De%asya Dhimahi Dhiyo Yonaha Prachodayat. 17h# "reat 5piritual :i"ht who has created the Hniverse# we meditate upon 'our "lory! 'ou are the embodiment of )nowled"e! 'ou are the remover of all &"norance! +ay 'ou enli"hten our &ntellect and awa en our &ntuition!2 This Mantra is prefaced with either a short or a lon" invocation! The short invocation is9 'm Bhur, 'm Bhu%ah, 'm $+aha. The terms Bhur, Bhu%ah, $+aha are invocations to honor the three planes of existence 1physical# astral# and causal respectively2 and to address their presidin" deities! The lon" invocation is9 'm Bhur, 'm Bhu%ah, 'm $+aha, 'm Mahah, 'm (anah, 'm &apah, 'm $atyam. This invocation is more complete since it reco"ni4es that there are more planes of existence9 the seven 4okas! Mahah is the mental world# the plane of spiritual balance3 (anah is the world of pure nowled"e3 &apah is the world of intuition3 $atyam is the world of Absolute# Hltimate Truth! ,e can be satisfied with the explanation that these sounds are used to activate the Chakras and connect them to the seven spiritual realms of existence! &n our procedure# we use only the openin" lon" invocation in its complete form and not all the parts of the 7ayatri Mantra! The Kriya tradition we are followin" here lin s Manipura with 'm Mahah and !nahata with 'm $+aha! The reason is that the world of thin in"# evo ed by 'm Mahah, is more appropriate to the nature of the third Chakra# while the causal world of pure ideas# evo ed by 'm $+aha, is related to !nahata Chakra. 6-8 El"0"nta$* '$actic" o Ga*at$i K$i*a %ecome aware of the Muladhara Chakra! Contract the muscles near its physical
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location9 the contraction can be repeated twoGthree times! Throu"h a deep inhalation 1not necessarily as lon" as in Kriya Pranayama2 visuali4e the Muladhara Chakra comin" up into the point between the eyebrows# where you perceive it as a full moon! 'ou don(t come up ((touchin"(( the other Chakras! 6ow they don(t exist! Hold the breath and focus on the 8inner space8 between the eyebrows! This comes out easily with Kechari Mudra! 0@ 7n the screen between the eyebrows# a particular color experience happens . this color is different for each Chakra! +entally chant at least three times the specific Mantra for the Muladhara Chakra? 'm Bhur Then# throu"h a lon" exhalation# ideally lower this Chakra from the point between the eyebrows to its proper location in the spine! 6ow you now what to do with each other Chakra! The Mantras to be utili4ed are9 'm Bhur for Muladhara 'm Bhu%ah for $+adhisthana 'm Mahah for Manipura 'm $+aha for !nahata 'm (anah for ,ishuddha 'm &apah for Medulla oblongata Add a particularly intense concentration at the point between the eyebrows! Hold your breath3 raise your eyebrows# become aware of the li"ht! Repeat 'm $atyam. 6ow complete the 8round8 by liftin" Chakras J# I# ;# @# 0# always usin" the contraction# the chantin" of the Mantra, bein" aware of any particular :i"ht experience in Kutastha! &f possible repeat the procedure 6 to 0@ rounds! &n Kriya tradition# the Chakras are related to the five &att+as9 earth# water# fire# air# and ether! 7fferin" each &att+a individually to the li"ht of the 8spiritual eye8 "atherin" and intensifyin" in the re"ion between the eyebrows is the hi"hest action ever conceived to dispel the last shell of illusion! The experience of the chan"in" colors in the spiritual eye means to perceive the particular vibration and li"ht frequency of each Chakra! %y familiari4in" with these frequencies leads you to the reali4ation that all the universe exists in Kutastha! &f you persevere 1refusin" the scruple that this procedure doesn(t come out with tan"ible effects2 and "ive this technique a fair trial# you will experience a definite transformation of your state of consciousness! &n whatever way you loo at it# the contribution of this technique in removin" the last internal obstacles bloc in" our efforts to enter $ushumna is exceptional!
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8)eGchari8 is literally translated as 8the state of those who fly in the s y# in the ether8! A particular 8space8 is created in the re"ion between the tip of the ton"ue and the point between the eyebrows and is perceived as a 8vacuum8# althou"h it is not a physical void! %y mer"in" into this empty space# it is easier for a kriyaban to perceive the rhythms of each Chakra and distin"uish them one from another!

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6/8 A&:anc"& '$actic" o Ga*at$i K$i*a &n time it will be possible for you to mentally repeat (('m Bhur8 ;6 times holdin" your breath! This "ives you the power to tune with earthG &att+a experiencin" the peculiar ((vibration(( of the Muladhara Chakra! At the same time# by repeatin" the Mantra (('m Bhu%ah(( ;6 times it will be possible to tune with waterG&att+a havin" its seat in the second Chakra!!!! then comes the turn of the fireG&att+a!!! =amiliarity with the breathless state "ives you the ability to stop at each Chakra 1li e a bee on a flower2# bathin" for a precise time in the &att+a lin ed with that Chakra! The ideal time is what is required to do ;6 repetitions of the related Mantra! 5tay with the number ;6 to resist the tendency to lose yourself in a state of bliss arisin" from each Chakra! The &att+a related to a Chakra tends to entrap oneFs attention# resultin" in an indefinite pause on a Chakra with nothin" bein" accomplished! The ;6 repetitions of the Mantra will help you to have full experience of each &att+a but# at the same time# "o beyond it! The meanin" of the 7ayatri Kriya is exactly this9 tunin" in with each &att+a, one after the other# up and down alon" the spine!

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