PART II: METHODOLOGY AND 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 works of other researchers. The author hopes this work will
inspire intelligent feedback. Any remarks, criticism, corrections, and/or additions are
welcome. Before you begin posing all kinds of questions to yourself, read through art
!! and art !!! of this book so you have a thorough understanding of the matter. "ou#ll
find that as you go through it many questions will be answered.
! wish to make clear that this book is not a $riya "oga manual% ! may write one
and face the problem of dividing it into different lessons and giving all the necessary
instructions for each level. &owever, certain delicate techniques e.g. 'aha 'udra,
$riya ranayama, Thokar, and "oni 'udra cannot be learned from a manual and
require the help of an expert to check their execution. (ach person is different so it is
not possible to predict what effects an intensive practice might have on a particular
individual.
The author disclaims any responsibility in case of negative results, especially if
the techniques are practiced without first having their execution checked 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 bring to their life. Although you should have the
right and the duty to control your own destiny, securing expert counsel or guidance is
indispensable.
)hen you go to an expert, please advise them of physical problems, such as high blood
pressure, lung problems, or signs of hyperventilation *. !f you have a particular
physical problem or handicap, an expert can lead you through a very mild form of
$riya ranayama and the corresponding 'udras + and if necessary, may recommend
that you practice them only mentally.
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.&AT(/ 0
THE BASIC TECHNIQUES OF KRIYA YOGA FIRST STEP
Localization of the Chakras and of particular centers in the brain
The Chakras are subtle astral 1ethereal2 organs inside the spinal cord3 ideal steps
on a mystic ladder guiding 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 trying to
recreate internally the attractive images you find on the 6ew Age books, you
could run the risk of losing the real meaning 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 takes,
so to say, the 8inward route8 and the 5piritual /eality 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 light pouring forth from their
locations. "ou will also develop the ability to single out the different rates of
vibration of each Chakra. The practice of Kechari Mudra 1explained in this
.hapter2 will foster this experience especially when the 8wind8 of the breath
subsides.
Therefore, don#t be maniacally precise about each Chakra location. &ere
you will not find instruction like9 ##Third Chakra is located at :; 1;rd :umbar
<ertebra2 behind navel## or ##=ifth Chakra is located at .,##*. or instruction how
to visuali4e their supposed specific color and the number of their petals, each one
decorated with a 5anskrit letter... Too much 8creative8 visuali4ation is against
starting 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 8light8 attracting
your awareness upward, toward the 5pirit. The external aspect of a Chakra, its
physical side, is a diffuse 8light8 enlivening and sustaining the life of the
physical body. 6ow, while climbing the ladder of the spine during Kriya
Pranayama you can conceive the Chakras as tiny 8twinkling lights8
illuminating a hollow tube which is the spinal cord. Then, when the awareness is
brought down, the Chakras are internally perceived as organs distributing energy
1coming from !nfinity above2 into the body. :uminous rays depart from their
locations, enlivening 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
coccygeal 1tailbone2 region. The second Chakra, Swadhisthana, is in the sacral
region, halfway between Muladhara and Manipura. The third Chakra,
Manipura, is in the lumbar region, at the same level as the navel. The fourth
Chakra, Anahata, is in the dorsal region3 its location can be felt by bringing the
shoulder blades closer and concentrating on the tense muscles in the area
,?
between them or >ust below them. The fifth Chakra, Vishuddha, is located where
the neck >oins the shoulders. !ts location can be detected by swaying the head
from side to side, keeping the upper chest immobile, and concentrating on the
point where you perceive a 8cracking8 sound.
Through the practice of Kriya Pranayama you will learn how to detect the
seat of the Medulla 1##'edulla oblongata## on top of the spinal cord2. )hile
centered in the Medulla, converge your inner ga4e on Bhrumadhya, the point
between the eyebrows, and observe a faint internal light in that region. !f you
come straight back about - centimeters from where the light 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 kingdom of 5pirit.##. By finding stability of
concentration there, the internal light in !hrumadhya 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 @ivine
.onsciousness immanent in our physical universe. "ou will experience the entire
universe as your own body. This experience is also called Kutastha Chaitanya.
A5ometimes the term Kutastha is utili4ed at the place of !hrumadhya.B
=igure C. :ocation of the .hakras
The energy flowing through the "adi of the tongue during Kechari Mudra
stimulates the pituitary ga!". The pituitary gland, or hypophysis, is an
endocrine gland 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 greatest mystery of the spiritual path is the role of the pi!#a
ga!", or epiphysis. This is another small endocrine gland in the brain. !t is
shaped like a tiny pine cone 1symbolically, many spiritual organi4ations, have
used the pine cone as an icon2. !t is located behind the pituitary gland, at the back
of the third ventricle of the brain. &aving full experience of the white spiritual
-D
:ight there is considered the apex of your 5adhana 1spiritual practice.2
!n the commentary on the Bhagavad Eita by 5wami ranabananda Eiri 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 !ama is located on
the right side of the brain above the right ear. )e shall have the opportunity to
utili4e them during the practice of those %igher Kriyas happening in the region
of the brain above the ideal plan containing #$na Chakra.
Bindu is located in the occipital region, where the hairline twists in a kind of
vortex 1where &indus with shaved heads wear a lock of hair2. @uring the first
part of Kriya Pranayama the consciousness touches !indu briefly at the end of
each inhalation. !n the higher phases of Kriya Pranayama, when our awareness
finds tranquility in !indu, we become aware of the Fontanelle A)e mean the
anterior fontanelle more properly called ##Bregma##.B Sahasrara is at the top of
the head. !t is perceived as light radiating from the upper part of the cranium.
The #ig$t$ Chakra is the highest center we are going to consider. !t is located at
about ;D centimeters above =ontanelle.
P%&iti%! '%r M#"itati%!
7ne should sit facing east. According to atan>ali, the yogi#s posture 1Asana2
must be steady and pleasant.
Half-lotus: 'ost kriyabans are relaxed in this sitting position, which has been
used since time immemorial for meditation, because itFs comfortable and easily
managed. The key is to maintain an erect spine by sitting on the edge of a thick
cushion so the buttocks are slightly raised. 5it crossGlegged with the knees
resting on the floor. Bring the left foot toward the body so its sole is resting
against the inside of the right thigh. @raw the heel of the left foot in toward the
groin as much as possible. The right leg is bent at the knee and the right foot is
comfortably placed over the left thigh or calf or both. :et the right knee drop as
far as possible toward the floor. The shoulders are in a natural position. The head,
neck, chest, and spine are in a straight line as if they were linked. )hen the legs
get tired, reverse them to prolong the position.
The best hand position is with fingers interlocked as in the wellGknown
photo of :ahiri 'ahasaya. This balances the energy from the right 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 large enough. !n this way, one leg
at a time can be lowered and the knee >oint relaxed%
-C
Siddhasana: 1erfect ose2 is of medium difficulty. The sole of the left foot is
placed against the right thigh while the heel presses on the perineum. The right
heel is against the pubic bone. This leg position combined with Kechari Mudra
closes the pranic circuit and makes Kriya Pranayama easy and beneficial. !t is
said the position helps one to become aware of the movement of Prana.
Padmasana: 1lotus position2 a difficult, uncomfortable position3 the right foot is
placed on the left thigh and the left foot on the right thigh 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 energetic condition that produces the
experience of the internal light coming from each Chakra. !t helps keep the body
from bending or falling over as it tends to do when deep Pratyahara is practiced.
Padmasana is uncomfortable for a beginner because the knees and the ankles
become extremely painful. ! would not advise anyone to perform this difficult
posture3 some yogis have had to have knee cartilage removed after years of
forcing themselves into the Padmasana.
Eig$t Ba&i( T#($!i)u#& %' Kriya Y%ga
The following techniques are usually given during 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.
C

*+ Taa,ya Kriya
5tart with the tongue in a relaxed position with the tip lightly touching the back
of the upper teeth. ress the body of the tongue against the upper palate to create
a suction cup effect. 'any practice (alabya Kriya incorrectly by instinctively
turning their tongue backwards 1or keeping it vertical2 but this cancels the whole
effect. !t is important to have the tongue tip touching the back of the upper teeth
before pressing its body against the upper palate.
)hile pressing the tongue against 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 tongue that attaches it to the base of
the mouth.2 /elease the tongue with a clicking sound then stick it out of the
mouth and point it toward the chin. At the beginning, do not exceed CD
repetitions a day to avoid straining the frenulum. (ventually, you want to do ID
repetitions in about J minutes 1CCDGCJD seconds.2
After some months of practicing (alabya Kriya regularly, it should be
possible to insert the tongue into the nasal pharynx cavity 1This is Kechari
Mudra described in detail in the next .hapter.2
C
To check if refinements have been added to the description of the techniques, visit
www.kriyayogainfo.net at least once a year.
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(ven after mastering Kechari Mudra (alabya Kriya should continue to be
practiced because it creates a perceivable relaxing effect on the thinking process.
!t is not known why stretching the frenulum reduces thought production,
however, anyone practicing the technique can readily verify this.
=igure J. $ey part of Talabya $riya
Remark C
!n %atha Yoga books there are different suggestions for lengthening the
frenulum. 7ne which is well known one is wrapping a piece of cloth around the
tongue and, with the help of the hands, gently pulling 1relaxing and repeating
different times2 the cloth both hori4ontally and also up, toward the tip of the
nose. :ahiri 'ahasaya was absolutely against cutting the frenulum to obtain
faster and easier results. The technique of (alabya Kriya can be enriched by
massaging both the muscles of the tongue and the frenulum with one#s own
fingers.
Remark J
(alabya Kriya and Kechari Mudra are completely different% 7pen your mouth in
front of a mirror during 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 tongue3
during Kechari Mudra it is the uvula that comes forward and only the root of the
tongue is visible%

-+ O. /apa i! t$# C$a0ra&
5tarting with the first Chakra Muladhara, chant the Mantra 87m8 while
concentrating on it3 then do the same with the second Chakra and so on up to the
fifth Chakra 1.ishuddha2 and then with !indu. @uring the ascent, do your best to
intuitively touch the inner core of each Chakra. The descent begins by chanting
87m8 in the Medulla, then in the cervical Chakra and so on, all the way down to
-;
the first Chakra. @uring this descent of awareness, try to perceive the subtle
radiation of each Chakra.
7ne ascent 1Chakras C, J, ;, K, I, !indu2 and one descent 1Medulla, I, K,
;, J, C2 represent one cycle that lasts JIG;D seconds. @o 0 to CJ cycles. @o not
pay any attention to the breath other than to breathe naturally. The )m Mantra
may be chanted aloud during the first three cycles. !n the remaining cycles chant
)m mentally.
The correct pronunciation for ##)m## is like the ##ong## in ##song## but drawn out. !t
must not be pronounced like the ##om## in Tom e.g. ##ahm.## !n this technique, 8)m8
is a pure prolonged vowel sound pronounced like the alphabet letter ##o.## The ##m##
is silent and the ##o## sound is lengthened. At the end, the mouth is not completely
closed + thus creating the nasal sound 8ng8. )hen pronouncing !ndian Mantras,
like )m namo bhaga'ate * or )m namah &hi'aya *, the consonant 8m8 in
87m8 is heard. 5ome say the correct note of )m is B 15i2 before 'iddle . 1@o2.
This exercise, performed with concentration, makes the best form of
Kriya Pranayama happen during your meditation routine. !f one cycle lasts JIG
;D seconds, then each )m chant last about J seconds, which is very good. 5ure
enough, a longer cycle e.g. KK seconds, as counseled by :ahiri 'ahasaya, would
be very appropriate, providing oneFs concentration is always constant. The ideal
practice is when a cycle lasts 0D seconds. But this creates boredom and many
kriyabans would tend to skip this introductory procedure.
1+ Kriya Pra!aya.a 2Spi!a Br#at$i!g3
Kriya Pranayama is the most important technique. !t acts directly on the energy
1Prana2 present in the body. Kriya #charyas use different methods to introduce
it. &ere ! describe my own didactic strategy.
Fir&t Part: %!g ,r#at$ 4it$ &tr%!g &%u!"& i! t$# t$r%at
5it facing east. "our posture should be steady and pleasant. 'aintain an erect
spine. =or this purpose you can utili4e the trick described previously sitting on
the edge of a thick cushion so the buttocks are slightly raised. The chin is little
down, near the chest 1your neck muscles maintain an even slight tension.2 "our
fingers are interlocked like in the wellGknown photo of :ahiri 'ahasaya.
Kechari Mudra 1if you are able to do it2 is applied. 7therwise, touch with the tip
of the tongue the upper palate at the point where the hard palate becomes soft.
This is enough to make the mind completely still. 'outh and eyes are closed.
"our awareness is stable at the Medulla or at the #$na Chakra.
!n order to locate Medulla raise your chin and tense the muscles of the neck at
the base of the occipital bone3 concentrate on the small hollow under that bone.
Medulla is >ust anterior to that hollow under the occipital bone near the brain
stem.
!n order to locate the #$na Chakra move from that point toward the point
between the eyebrows. !f you slowly swing your head sideways 1a few
centimeters left and right2 having the sensation of something connecting the two
-K
temples, it is possible to locate the seat of #$na. =ocus your awareness at the
intersecting point of two lines9 the line connecting the hollow under the occipital
bone with the point between your eyebrows and the line connecting the two
temples.
6ow prepare yourself for a sweet and calm abdominal breathing. This means that
during inhalation, the upper part of the thorax remains almost immobile.
&ave a deep breath, then another9 don#t worry about the length of inhalation and
of exhalation. Breathe again and again and you will discover how you breath
becomes naturally long and comforting. 'erge your awareness with the beauty
of deep breathing. .heck again that breathing is mainly abdominal. @uring
inhalation, the abdomen expands and during exhalation the abdomen is drawn in.
@uring inhalation, the upper part of the lungs is filled two thirds full. @o 67T
raise the rib cage or the shoulders.
About visuali4ation we have already stressed that it suffice to visuali4e the spine
as a hollow tube.
/hat is a Kriya breath0
!t is a deep inhalation through the nose that produces an unvoiced sound 1like in
1$$ayi Pranayama2 in the throat, which acts like a hydraulic pump to raise the
energy 1Prana2 from the base of the spinal column up to the Medulla. art of the
energy comes up to !indu 1occipital region2 but it is perfectly natural that, as a
beginner, you don#t notice this detail.
A short pause of JG; 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 JG; seconds.
An unhurried exhalation through the nose follows. !t is, more or less, of
the same length as the inhalation. !t could be longer. The exhalation accompanies
the movement of the energy back to the base of the spinal column. @uring the
last part of the exhalation, there is a clear perception of the navel moving in
toward the spine. By refining this experience and the awareness of the navel
moving inward, you will feel the action of the diaphragm muscles and become
conscious of increasing heat in the navel. This heat seems to rise from the lower
part of the abdomen. But this perception may require weeks or months before
appearing.
Another short pause of JG; seconds follows. This pause is intimately lived
as a moment of comfortable peace. The dynamic mind becomes static and is
appeased.
)ell, what we have described is one Kriya breath. !t is recommended to practice
CJ Kriya breaths + if possible without interruption. /eference literature says
perfect Kriya Pranayama is -D breaths per hour + about KI seconds per breath.
Kriyabans can reach this rhythm only during long sessions. "ou will complete CJ
breaths in a natural and unhurried way in about K GI minutes. !n time you will CJ
breaths in around ? minutes.
-I
Remark
The path taken by the energy gradually reveals itself during practice. 6o difficult
visuali4ation of energy coming up to Medulla is required. @uring the pause, the
radiance of Kutastha appears as a blurred light or glow permeating the frontal
part of the brain. "ou can sometimes perceive a slight sensation of crepuscular
light permeating the upper part of the head. !n this sweet way of starting the
Kriya practice the energy cannot reach either the region between the eyebrows
nor &ahasrara2 this will happen later.
Breathing during $riya ranayama is not free breathing but restricted
breathing that creates a clearly heard sound in the throat. This sound while
inhaling is like a quiet schhhh /L/. The sound is similar to the amplified
background noise of a loudspeaker3 there is only a slight hiss during exhalation.
There are many poor !nternet video clips of 1$$ayi Pranayama with yogis who
make a horrible sound because they are using /vibrating their vocal chords9 this
is not correct in Kriya Pranayama. =ortunately, there are also good explanations
of 1$$ayi Pranayama that ! signal in my web site.
:et us consider terms like9 8laryngeal contracture8 or 8inspiration against
airway resistance.8 This is a clear way of explaining what is happening. ! hope
there is no room for misunderstanding.
To make certain the sound is correct, concentrate only on increasing the
friction of the air flowing through your throat. A muffled sound will originate.
!ncrease its frequency. !f the surroundings are perfectly still, a person could hear
it within a KGI meter radius + by no means outside it. &owever, do not expect
sound perfection yet. )hen Kechari Mudra is eventually done correctly, the
exhaling sound will be fluteGlike9 &heee &heee /LiM/. The meaning and the
implications of this sound are discussed later.
@uring inhalation, we perceive a cold current coming up through the spine. 7r
simply a fresh sensation. !t is fresh like the inhaling air. )e perceive a lukewarm
sensation during exhalation. @oes our energy activate the 3da and Pingala
currents and we are perceiving themN 7ur purpose is that our energy and
awareness moves inside the spiritual channel of &ushumna. )e are practicing
:ahiri 'ahasaya#s Kriya and are proud we move our current in &ushumna *.
6o, don#t think in that way. Be humble and accept the fact that in the beginning
the energy is 67T flowing through &ushumna. .onsider the idea that the spine is
like an onion. ! mean its section is like the section of an onion9 there are many
layers. )e begin moving along the external layers and slowly, month after
month, we wear out one layer after the other until.... until something starts
happening in &ushumna. And this is pure heaven. <ery rarely this happens since
the beginning. !n the early stages, during inhalation Prana flows in !da, and
during exhalation in Pingala%
But in Kriya literature we read that Prana moves in &ushumna + well, if
you want to think this, follow this idea, this illusion. !f this inspires you, 7k. 7ne
day Prana will surely flow through &ushumna.
-0
!f you want to have a sure progress, try to practice always in a >oyful mood.
(n>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.
@uring the first Kriya breaths do not chant )m or another Mantra in any
Chakra9 you are employing a great mental intensity of awareness to follow all
the points we have already described. :et weeks or months pass by before
experiencing the second part of Kriya Pranayama.
S#(%!" Part: .#!tay ($a!ti!g O. i! #a($ C$a0ra 4$i# i&t#!i!g t%
i!t#r!a &%u!"&
After some weeks you are ready to add to your CJ Kriya breaths another set of
CJ breaths which will bring you nearer to what :ahiri 'ahasaya referred to as
1ttam Pranayama, a higher form of Kriya Pranayama.
J
!n this new set of Kriya breaths, during inhalation, )m is mentally chanted 1or,
more simply, 8mentally placed82 in each one of the six Chakras from Muladhara
to Medulla. @uring the pause you can remain thoughtless or chant an additional
)m in the point between the eyebrows. @uring exhalation, chant again )m in the
Medulla and in all the other Chakras coming down to Muladhara.
As long as it comes natural to you, place )m in each Chakra as gently
8touching8 it from the back. Therefore, while coming down to Muladhara,
visuali4e the energy flowing down along the back 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 nothing to do with the
sound produced by the air in the throat. They appear in different forms
1bumblebee, flute, harp, drum, hum like an electrical transformer, bell....2 and
capture a kriyaban#s awareness leading it to greater depths without any danger of
getting lost. (ach chanting of the syllable )m should be accompanied by an
unswerving will to track down the echo of this vibration until you become aware
of the astral sounds. "ou need a continuous will to listen internally. "our
listening skills will improve and you will become more sensitive.
A very important fact to understand is that the event of perceiving those
sounds is not produced by the intensity of a unique moment of deep
concentration but by the accumulation of effort manifested during 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
something is wrong. 'aybe they have done an enormous effort whose fruits will
be en>oyed during the next day#s practice or some day in the future. A sign one is
heading in the right direction is a sense of mild pressure, like a sensation of
liquid peace above or around the head often accompanied by a certain humming
J
)hen, during Kriya Pranayama the Prana enters the &ushumna channel and the breath disappears,
this is called 1ttam 1higher2 Pranayama. There cannot be throat sounds but only real )mkar sound.
-,
in the entire occipital region.
!f you perceive it, it serves no purpose wondering if this is the real )m
because it is probably >ust a signal that the real experience is approaching. Oust
intensify your awareness of that region, especially its right part. atience and
constancy are of prime importance. 7ne day, you will awaken to the reali4ation
that you are actually hearing a sound of 8running water8. :ahiri 'ahasaya
described it as a sound 8produced by a lot of people continually striking the disk
of a bell and as continuous as oil flowing out of a container8. 5urely, when you
hear the sound of running waters or of waves breaking over cliffs, you can be
sure you are on the right track.
A great experience is hearing a distant sound of a longGsustaining bell.
)hen this happens there is no more distinction between Pranayama and the
deepest meditation state.
Remark
Both part one and part two of Kriya Pranayama are important. @on#t skip 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 skip the second part.
/ather, instead of being content with the required CJ additional Kriya breaths,
extend your effort with one or two more cycles of breaths. :ahiri 'ahasaya
wrote that going ahead without chanting )m in each Chakra, your Kriya
becomes 8tamasic8 Aof negative natureB and many kinds of useless thoughts arise.
The mind won#t focus on the @ivine but distract you.
T$ir" Part: (#!t#ri!g y%ur t$# a4ar#!#&& at t$# upp#r part %' t$# $#a"
This third part of Kriya Pranayama can be approached only when you have
reached a daily number of K- Kriya breaths and, possibly, when real Kechari
Mudra is achieved. Always start your practice with the first part of Kriya
Pranayama for at least CJ breaths3 then en>oy the second part of Kriya
Pranayama until you have completed K- Kriya breaths altogether 1CJ of C
st
P;0
of J
nd
.2
&hambha'i Mudra is the act of concentrating on the space between the eyebrows,
bringing the two eyebrows toward the center with a slight wrinkling of the
forehead. There is a higher form of &hambha'i that requires closed or halfGclosed
eyelids. 1:ahiri 'ahasaya in his wellGknown portrait is showing this Mudra.2
The eyes look upward as much as possible as if looking at the ceiling but without
any head movement. The light tension perceived in the muscles of the eyeballs
gradually 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. Through this Mudra, all one#s Prana collects at
the top of the head.
@uring this Mudra you practice the instructions of the second part of
Kriya Pranayama 1chanting of )m in the prescribed places2 but the center of
awareness is now at the upper part of your head. Become stable in this 'udra
--
and complete the number of repetitions you have decided to practice 10D, ,J or
more.2
This practice is a real >ewel. Time goes by without much notice and what could
seem to be an exhausting task e.g. CD- or CKK 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 feeling of fresh air that seems to come up through the spine and pierce
each Chakra and of the warm exhaled air permeating each 4one of the body
from top to bottom. "ou will actually perceive this and it is not a figment of your
imagination% "our attitude is apparently passive, in actual fact fully sensitive,
and therefore active in an intelligent way. The sound of the breath is smooth and
unbroken like the continuous pouring 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 crossing a mental state, which is like falling asleep, then
suddenly returning to full awareness and reali4ing you are basking in a spiritual
light. !t#s like a plane emerging from clouds into a clear transparent sky.
A&ere ends the explanation of $riya ranayama 15pinal Breathing.2 :et us resume the description of the
other techniques 1to be practiced after $riya ranayama.2B
5+ Na6i Kriya
Hsing the same method described in )m *apa and without attempting to control
the breath, one#s awareness slowly moves up along the spinal column. The
Mantra )m is placed in the first five Chakras, in the !indu and in the point
between the eyebrows. The chin is then tilted down toward the throat cavity. The
hands are >oined with the fingers interlocked, palms face downward, and the
pads of both thumbs are touching. )m is chanted from ,I to CDD times in the
navel 1umbilicus2 either aloud or mentally. The thumbs lightly press the navel for
each )m. )hile doing this, a calm energy Ait is called &amanaB expands from the
lowerGmiddle part of the abdomen.
The chin is then raised as much as possible + the muscles at the back of
the neck are slightly contracted. The concentration shifts first to the !indu and
then to the third Chakra 1moving downward in a straight line, outside the body2.
The hands are kept behind the back and >oined by interlocking the fingers and the
palms face upward with the pads of both thumbs touching. )m is chanted +
aloud or mentally + approximately JI times in the third Chakra. =or every )m,
the thumbs apply a light pressure to the lumbar vertebrae. By no means should
the breath be synchroni4ed with the chanting 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 CKDGC0D seconds2. A kriyaban does K
repetitions of "a'i Kriya.
-?
=igure ;. 6avi $riya
7+ Ma$a Mu"ra
7ne starts by bending the left leg 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 opening for females2 with the right leg fully extended in
front. !deally, but not necessarily, you want the left heel exerting pressure on the
perineum. This pressure is the best means of stimulating one#s awareness of the
Muladhara Chakra in the coccyx region at the root of the spine.
Through a deep inhalation, the energy is brought up the spine to the #$na
Chakra. This is a very simple and easily acquired sensation so there is no need to
complicate it.
&olding the breath, stretch forward 1in a relaxed way2 and interlock hands
so you can grasp your big toe. !n this outstretched position, the chin is pressed
naturally against the chest. .ontinue holding the breath and mentally chant )m
in the region between the eyebrows 0GCJ times. )hile holding the breath, return
to the starting position and with a long exhalation, visuali4e sending the warm
energy down to the base of the spinal column.
/epeat the procedure with the leg positions reversed3 right heel near the
perineum and the left leg outstretched.
/epeat with both legs outstretched.
This is one Maha Mudra3 it requires about 0DG-D seconds. ractice three Maha
Mudra for a total of ? movements.
Remark
5ome schools suggest drawing the knee 1or both knees, before the third
movement2 against the body so the thigh is as close to the chest as possible
during inhalation. The interlocked fingers are placed around the knee to exert
pressure on it. This helps to keep the back straight and make 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 risking back or knee
in>ury. To avoid pain or in>ury, keep the outstretched leg bent at the knee until the
position feels comfortable. )hile holding the breath in the outstretched position,
?D
contract the anal and the abdominal muscles and draw the abdominal muscles in
slightly so the navel moves inward toward the lumbar center.
As we have seen, the big toe is grasped while one is in the outstretched
position. 5ome schools insist on this detail and explain that by repeating this
action on each leg, the balance between the two channels 3da and Pingala is
improved. A variation is to squee4e the toenail of the big toe with the thumb of
the right hand3 the index and middle fingers are behind it and the left hand cups
the sole of the foot. )hen the procedure is repeated with both legs outstretched,
both toes are grasped with the interlocked hands. 1A variation is that the thumbs
of each hand press the respective toenails and the index and middle fingers hold
the toe from behind2.
Maha Mudra incorporates all the three !andhas. )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 feeling of an energetic current
moving up the spine. !n due course, one will be able to perceive the whole
&ushumna "adi as a radiant channel.
=igure K. 'aha 'udra
8+ Kriya Pra!aya.a 4it$ &$%rt ,r#at$
"our eyebrows are raised to facilitate the experience of divine :ight.
.oncentration is upon 5oulGcenter #$na. The tongue is in Kechari Mudra or
rolled up against the palate.
Pranayama -ith short breath is based upon letting the breath move freely,
observing it, being conscious of each movement + pauses included + and
coordinating it with a particular movement of energy. There is a loving
awareness of your breathing. After having drawn three deep breaths, each of
them ending with a fast and complete an exhalation like a sigh, your breath will
be very calm. The breath enters through the nose and dissolves in #$na. !f you
place your finger under both nostrils, the ingoing or outgoing breath will barely
touch your finger. This is the indication that the breath is internali4ed .
6ow, part of your awareness goes to Muladhara. )hen it feels natural to
inhale, inhale only what is necessary, as quickly 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
?C
in Muladhara.
.ontinue like that, repeating the procedure between Muladhara and the
fourth Chakra, Muladhara and the fifth Chakra 1then Muladhara4!indu,
Muladhara4Medulla, Muladhara4fifth, Muladhara4fourth, Muladhara4 third and
Muladhara4second Chakra.2 7ne cycle comprises CD short breaths. /epeat the
cycle until you perceive your breath is very calm + almost imperceptible.
=igure I. 7ne cycle of $riya ranayama with short breath
9+ M#!ta Pra!aya.a
=orget totally about your breath. 'ove your awareness up and down the spine
pausing in each spinal center. 5tart with the first, pause there, move to the
second, pause....and so on. After ascending to the !indu, begin the descent,
pausing in Medulla, fifth Chakra, fourth Chakra and so on. !t is convenient to
center your attention for CDGJD 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 maintaining the awareness in each of them until a
sensation of sweetness is felt, as if the Chakra were 8melting8. Chakras are like
knots that can be untied if 8touched8 by one#s concentration. Besides a melting
sensation, one may also perceive the subtle radiation of each Chakra in the body.
'ake sure that this does not become a technical detail to be applied through will
and concentration. @on#t disturb the sweetness of the absorption process. This is
only a spontaneous reali4ation that the Chakras are sustaining each part of the
body#s vitality.
The process of rising and descending through the Chakras is carried on as
long as it is comfortable. 17ne complete round lasts about JGK minutes.2 This is
the most pleasing part of the routine. Kriyabans do not feel they are practicing a
technique but en>oying a few moments of soothing 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 5
8the state that comes after the action of Kriya8. !f, through sheer willpower, such
a state were brought to awareness as often as possible amid one#s daily activities,
the results would be extraordinary.
?J
Remark
There is a subtle difference between )m *apa and mental Pranayama. )m *apa
before Kriya Pranayama is designed to stimulate each Chakra. "ou pause only a
short time in each one to vibrate the )m Mantra.
@uring mental Pranayama, you are more passive, more willing to
perceive than to stimulate. The pauses in each Chakra are much longer. )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 light in the screen of
Kutastha deepen your contact with the )mkar dimension.
A&ere ends the main routine. 6ow follows the explanation of "oni 'udra to be practiced >ust before
going to bed.B
:+ Y%!i Mu"ra
At night, before going to bed, begin your practice by calming 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 energy into the central part of the
head. !f you are able to do Kechari Mudra, press the tongue firmly on the highest
point inside the nasal pharynx + otherwise leave the tongue in its normal relaxed
position. At the same time, close every 8opening8 in the head + the ears with the
thumbs, the eyelids with the index fingers, the nostrils with the middle fingers,
the lips with the ring and the little fingers. !n this way the Prana will 8light up8
the region between the eyebrows.
Throughout the practice, both elbows are parallel to the floor and pointing
out to the side. @o not let them drop, prop them up somehow, if necessary.
@uring this special lightGwitnessing act, the index fingers 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 fingers and apply pressure on the upper
cheekbones at the corners of the eyes.
)hile mentally repeating )m several times and holding the breath,
observe the light of the 8spiritual eye.8 The light intensifies and condenses into a
golden ring. &old the breath as long as is comfortable and until the necessity to
breathe out distracts your attention. (xhale and bring the awareness down along
the spine. Yoni Mudra is usually performed only once. Traditional instruction
advises increasing )m repetitions by one per day up to a maximum of JDD. 7f
course, forcing is always to be avoided.
After Yoni Mudra remain concentrated as long as possible at the point
between the eyebrows trying to perceive the light in Kutastha. Then open your
eyes and stare at what is before you but do not observe anything in particular.
)atch without watching. Euide your attention to fontanelle. After a while you
will become aware of a subtle line of white :ight, softened, as a fog, around all
ob>ects. The :ight will become progressively white and greater. Avoid thinking.
$eep the ga4e fix. After I minutes close your eyes and rest for awhile before
standing.
?;
Remark C
&olding the breath causes discomfort. To reduce it and make it possible to
deepen the practice, practice the following9
At the end of a moderate inhalation 1not a typical Kriya Pranayama one
but a shorter one2, a kriyaban fully plugs all the head openings 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 begin a new
inhalation9 this will give 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 concentrating on the point between the
eyebrows can be en>oyed to its fullest.
Remark J
There are some schools that state that Yoni Mudra should not be practiced during
the day. "ou can actually practice it% &owever the technique is best done in the
deep calmness of the night, when silence is all around and one is totally and
perfectly relaxed. !f the main routine is practiced at night, you can simply add
Yoni Mudra at the end. 7therwise, during the main routine avoid Yoni Mudra
while at night create special conditions for en>oying its full power. Yoni Mudra
generates such a concentration of energy at the point between the eyebrows that
the quality of the ensuing sleep changes for the better. !n other words, after
crossing the subconscious layers, your awareness may succeed in reaching the
soGcalled 8super conscious8 state.
=igure 0. "oni 'udra
?K
App#!"i; t% C$apt#r 8: &%.# (%u!&#& '%r a ,#gi!!#r
f you are an a!solute !e"inner# start with $lassi$ Pranayama%
!n my opinion a student should always test their predisposition for Kriya Yoga. To this
purpose, a very good routine is the practice of "adi &odhana Pranayama followed by
1$$ayi Pranayama.
I+ Na"i S%"$a!a Pra!aya.a. !t is important to clean the nostrils before
beginning the exercise so the breath can flow smoothly. This can be done with water or
inhaling eucalyptus essence and blowing the nose. !f one of the nostrils is permanently
obstructed, that is a problem that needs to be solved medically. !f the obstruction is due
to a severe cold, no Pranayama exercise should be practiced.
C. The mouth must be closed.
J. .lose the right nostril with the right thumb and inhale through the left nostril
slowly, uniformly, and deeply for 0GCD seconds.
;. ause for a mental count of ; after each inhalation.
K. .lose the left nostril with the right little finger and ring finger of the same hand.
I. (xhale through the right nostril with the same uniform and deep rhythm.
0. .hange nostrils.
,. $eep the left nostril closed, inhale through the right nostril.
-. .lose the right nostril with the right thumb and exhale through the left nostril
slowly, uniformly, and deeply for 0GCD seconds.
This corresponds to one cycle. Begin with 0 cycles gradually working up to CJ cycles.
Hse a mental count to make sure the time is the same for both the inhalation and the
exhalation. @o not overdo the breathing to the point of discomfort. The nostrils can be
closed with the fingers in different ways depending on the preference of the practitioner.
II+ U<<ayi Pra!aya.a. The technique consists of breathing in and out deeply
through both nostrils while producing a sound/noise in the throat. After a few daysF
practice, the respiratory action is lengthened without effort. This exercise is normally
practiced CJ times. 'entally count to ensure that the inhalation and the exhalation have
the same duration. .oncentration on the comfort and the induced calmness is important9
this allows the concentration to become deeper.
III+ C%!(#!trati%! #;#r(i&#. /emain perfectly immobile and relaxed for at least
I minutes. The breath is natural and calm, the attention intensely focused on the point
between the eyebrows.
After an initial period of practice, the !andhas are added during "adi &odhana
Pranayama. :et us define the !andhas9 !n *alandhara !andha the neck and the throat
are slightly contracted, and the chin tilts down toward the breast. !n 1ddiyana !andha
1in a simplified form2 the abdominal muscles are slightly contracted3 the perception of
energy inside the abdominal region and in the spinal column is intensified. @uring
Mula !andha the perineum muscles + between the anus and the genital organs + are
contracted in an attempt to lift the abdominal muscles in a vertical way, while pressing
back the inferior part of the abdomen.
?I
@uring "adi &odhana Pranayama, after having inhaled 1either through the left
or through the right nostril2 the yogi closes both nostrils3 during the ensuing short pause
the three !andhas are applied simultaneously. racticing with intensity and strength of
concentration, you#ll feel a sensation of energetic current sliding up along the spinal
column + an almost ecstatic internal shiver.
:ater, if it is comfortable, one can vary the time ratio of inhalation, retention
1Kumbhaka2, and exhalation. The exhalation should last twice the time necessary for the
inhalation and the pause after the inhalation should be four times as long. This scheme
will be denoted as C9K9J. @uring the long pause, the three !andhas are applied
simultaneously. Time can be measured through mental chanting of )m. !nhale for a
slowly count of ; )m. &old the breath for a count of CJ )m. (xhale for a count of 0
)m.
Those who undertake constant practice of this routine will start to perceive the flow of
energy that moves up and down the spine. !t goes without saying that students who do
not succeed in practicing such an elementary routine regularly for at least ; to 0 weeks
should not even consider the idea of practicing Kriya Yoga.
5ome books quote scientific research endorsing the benefit of "adi &odhana
Pranayama. !t should be practiced first because it balances 3da and Pingala currents.
3da 1feminine in nature, tied to introversion and to the state of rest2 flows vertically
along the left side of the spinal column, while Pingala 1masculine in nature, tied to
extroversion and to the state of physical activity2 flows parallel to 3da on the right side.
&ushumna flows in the middle and represents the experience halfway between the two9
the ideal state to be achieved right before beginning the practice of meditation. An
imbalance between 3da and Pingala is responsible for a lack of introversionG
extroversion harmony in many people. 7verGfunctioning of the 3da channel results in
introversion, while predominance of the Pingala leads to a state of extroversion.
There are times when we feel more externali4ed3 others when we are more
internali4ed. !n a healthy person, this alternation is characteri4ed by a balance between
a life of positive relationships and a serene contact with one#s own depths. (xcessively
introverted persons tend to lose contact with external reality. The consequence is that
the ups and downs of life seem to gang up against them in order to undermine their
peaceful composure. (xcessive extroverts betray frailty in dealing with their
unconscious feelings and might face unexpected distressing moments. 6ow, the
exercise fosters an equilibrium between 3da and Pingala and in due time, between a
tendency to introversion and a tendency to extroversion.
There are four types of brain waves. @uring deep sleep, delta waves are
predominant 1CGK oscillations per second2, and in a do4e, the theta waves 1KG-
oscillations per sec.2 dominate. The brain waves that interest us are the alpha waves 1-G
C; oscillations per sec.2. They are mostly present when the person has closed eyes, is
mentally relaxed but still awake and able to experience. )hen the eyes are opened, or
the person is distracted in some other way, the alpha waves are weakened, and there is
an increase of the faster beta waves 1C;GKD oscillations per sec.2.
The amount of alpha waves shows to what degree the brain is in a state of
relaxed awareness. ((E measurements prove that alpha waves increase during
meditation and the amount of alpha waves in each brain half balance out. 6ow, the
more we practice "adi &odhana, the more the alpha waves tend to become equal. "adi
&odhana creates that perfect balance which is the best condition to enter the meditation
state.
?0
1$$ayi is the very foundation of Kriya Pranayama. Those who practice it and pay due
attention to the natural throat sound of the breath will discover that the core
phenomenon of Kriya Pranayama happens spontaneously.
=or many students, the combined practice of "adi &odhana and 1$$ayi becomes such a
>oyous discovery of wellGbeing and >oy that they may develop an 8addiction8 to it. (ven
if they won#t ##upgrade## to Kriya, a minimal practice of these two techniques will always
be part of their life.
Master &riya "radually# a'oidin" fren(ies or o!sessions
There is a fren4y that accompanies a traditional Kriya initiation where all the practical
instructions are transmitted hastily in one single lesson% This is what happens with mass
initiations. )ithin a few days, almost all details are forgotten and one goes through a
crisis. The teacher is no longer there and the other fellow kriyabans dismiss their
fraternal duties by stating they are not authori4ed to give counsels.
/eceiving Kriya during a one to one session is the best alternative. eople who
had this privilege 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 blessing, please don#t call your teacher every other day with
tortuous and bi4arre questions. @on#t believe that something valuable can spring only
from an impeccable execution of the 8magic recipe8 of Kriya. /eali4e how important it
is to en>oy the practice as it comes out naturally. )ork on refinements only afterward9
the practice itself will help you.
Those who pour into their Kriya path a remarkable commitment, but get nothing
in return are those whose expectations are a shield that prevents the genuine beauty of
Kriya from entering their life. Hsually they are soon tired of asking questions and will
eventually abandon everything.
How to $on$ei'e a simplified &riya routine
The complete routine, which we have already implicitly given by numbering the
techniques from C to , 1P - at night2, may be too long and complicated for a beginner.
"ou can simplify it but pay attention to have three essential parts9 preparation, central
part where you keep your awareness moving up and down the spine and, finally, the
meditation phase.
As a simple i!tr%"u(t%ry pra(ti(#, many utili4e only (alabya Kriya, others
Maha Mudra and "a'i Kriya in order to avoid techniques requiring movement after
Kriya Pranayama. 7thers persevere in the practice of "adi &odhana Pranayama
although it is no part of Kriya Yoga. They experimented with various techniques and
then chose the most effective practice. @o the same, experiment and then have the
courage to follow your intuition%
The (#!tra part 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.g. during a longer meditation once in a week, you can add more repetitions3 in that
case, en>oy the third part of Kriya Pranayama also. "ou#ll do not such thing as utili4ing
only the third part of Kriya Pranayama% A routine totally based on a strong
concentration on the &ahasrara is not appropriate for beginning or medium level
?,
students. @eveloping a strong magnet in &ahasrara through the third part of Kriya
Pranayama is the most powerful way of stimulating the Kundalini awakening. This
implies bringing up a lot of information from the subconscious mind to the surface. "ou
might experience an entire range of negative moods.
As for the last part 1.#"itati%!2, for sure it does not consists of the elaboration
of lofty thoughts supported by fervid imagination. 6ot in the least%
;
/est in calmness, en>oy your calm breath9 mental Pranayama is all in all. A good
choice is to lengthen the practice of mental Pranayama to occupy C/; of the whole
time. Eiving the highest importance to the soothing phase of mental Pranayama is the
key to success in Kriya.
Reali(e the 'alue of )ala!ya &riya and *m +apa
The value of (alabya Kriya and )m *apa in calming your mind is fantastic. !n :ahiri
'ahasaya#s Kriya, the preliminary techniques are (alabya Kriya and the chanting of
)m in the Chakras. A kriyaban should never overlook 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>oying the induced
calmness. (ven in this short time one will taste a very deep calmness.
7ddly enough, (alabya Kriya doesn#t require concentrating on anything, it is
purely physical. Oust as an attempt to >ustify this, we can say that merely pressing the
tongue against the upper palate and maintaining the suction effect on the palate for CDG
CI seconds, can, in and of itself, generate sensitivity in the Medulla area in a very short
time. The detail of extending the tongue plays an important part too. )hen the tongue is
fully extended, it pulls on some cranial bones and leads to decompression of the whole
area.
Reali(e the 'alue of Maha Mudra
!t is very wise that a kriyaban practices Maha Mudra before Kriya Pranayama. !t is
good to feel the difference between Kriya Pranayama with and without Maha Mudra.
The most serious schools of Kriya recommend that for every CJ Kriya Pranayama, one
should perform one Maha Mudra 6 three remains the minimum number. 1To make it
clear, those who practice 0D Kriya Pranayamas should perform Maha Mudra five
times, while those who practice CJ or JK Pranayamas should perform it three times.2
Hnfortunately, having listened to different kriyabans, ! dare say it would be a miracle if
kriyabans regularly practiced even the three required repetitions. 7thers believe they
are practicing Kriya correctly without ever practicing one single Maha Mudra% There is
no doubt that if you regularly skip 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 having achieved fantastic experiences using only this
technique. According to their accounts, the perception of &ushumna has increased
tremendously. There are kriyabans who have set aside all the other Kriya techniques
and practiced CKK Maha Mudra in two sessions daily. They consider Maha Mudra the
most useful among all Kriya Yoga techniques.
! vividly recommend to study the variation of Maha Mudra that you will find in
.hapter ?.
;
8)hat do you meditate aboutN## 7ften we hear this question. eople 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 during mental Pranayama.
?-
,njoy the !eauty of Pranayama with short !reath not only durin" a &riya routine !ut
also durin" additional free moments durin" the day
A famous Kriya teacher said that if you want to make remarkable spiritual progress, you
should engage yourselves in being aware of at least C,J- breaths a day. (xperiencing
this is surely possible for everyone + at least once in a week + by practicing the
technique of Pranayama -ith short breath for about three hours. This is a great feat that
will surely produce the )mkar experience.
t is not ne$essary to $ouple &riya -o"a with a psy$holo"i$al work
5ome kriyabans exacerbate the previous obsession for technical details by not trusting
the sheer employment of a technique, even it is done correctly, unless it is coupled with
toilsome psychological work.
They want to build brick by brick, by the sweat of their brow, as if it were a
highly complex pro>ect of adding new structure to old structure, the ma>estic building of
their redemption. They think that only by tormenting their psychological structure is it
possible to uproot any deeply ingrained bad habit and the very roots of iniquity and
egoism. 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 @ivine resides outside our human dimension and therefore we can progress
only if we start a strenuous fight against our instincts. /eligious conditioning can be
very strong, fatal in certain cases.
5ome entertain the thought of retiring from active life in order to live a life of selfG
denial. The few who have the opportunity to achieve this 1not necessarily entering a
convent but for example quitting their >ob and living by a modest lifetime annuity2 are
doomed to discover that this sudden leap into this so ardently longedGfor condition does
not fulfill their desire for perennial peace coupled with ardent mystical inspiration. The
initial feeling of total freedom from worldly engagements breeds good results in
meditation but not so deep as imagined. They suffer from an inexplicable drastic
diminishing 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 being devoted to a deep
practice of Kriya or to *apa or whatever spiritual activity they choose, is depleted in too
many useless occupations.
@o not impose on yourself perfect chastity. There are famous books on Yoga
demanding impossible things. &ow precious would be a book that teaches how to use
one#s own intelligence and to think with one#s own head%
Avoid any compulsive process of self analysis. @o not try to discover exact
grounds on which to >ustify continuous fluctuations between feelings of wellGbeing and
>oy during Kriya and periods where there will be nothing pleasurable or exciting. The
best attitude is to let Kriya enter your life and bring all the possible benedictions
without tormenting yourself because you feel unworthy. Blessed are those who have the
courage to go ahead unswervingly, in spite of their failures, worthlessness and
unsuitability%
Behave like a dedicated maid who does her daily duties with patience and
circumspection. 5he prepares the daily meal, taking care of all the details from the
tedious task of peeling potatoes to the final art of putting on the finishing touches. The
awareness of having completed her >ob well is her gratification.
!n time there is a greater reward for those who practice Kriya conscientiously
even if they see no apparent result. 5omething tremendously vast will manifest and
crush down any dichotomy of worthy/unworthy, pure/impure. !t is not only a matter of
??
astral sounds and light, cosmic expansion, or basking in endless >oy 6 your very
perception of /eality will change. 5ome will rediscover an almost forgotten potentiality
of aesthetic en>oyment 1as if they had eyes and heart for the first time23 others will be
deeply moved by the significance of their family, by the value of lifelong 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 abiding by not only
atan>ali#s moral rules but also commonGsense guided health rules. 7ften there is a clear
split between the new interest in meditation and other wellGrooted social habits.
!t#s a good rule for a teacher to pretend not to notice problematic delusive
student behavior. Hndoubtedly after months of practice, some changes 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 get free from a harmful habit, you need only to give him a glance and a smile.
The point is that beginners are not able to reali4e they are slaves to bad habits. :et us
take for example the problem of smoking. &ow many have a clear vision of the real
situationN aradoxically, it is easier to quit smoking because of a new ecological vogue
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 make their tongue adhere to the upper palate before opening the
mouth and stretching the frenulum. 5ometimes, even when they are shown in person,
they are still not able to do it correctly. &ere ! can only emphasi4e that the main mistake
is concentrating too much on where to place the tip of the tongue. The suction effect is
obtained with the whole body of the tongue9 the tip of the tongue has no role%
6ow, when you are sure to practice (alabya Kriya correctly, after several
months of regular practice of it, try to attempt Kechari Mudra. The test is whether the
tip of the tongue can touch the uvula. !f so, then for a few minutes a day use the fingers
to push the base of the tongue inward until the tip goes beyond the uvula and touches
the pharynx behind it. Eo ahead in this way for weeks.
7ne day, the tip of the tongue will enter a centimeter or so into the nasal
pharynx but slip out when the fingers are removed. But, after some more days, on
removing the fingers, the tip of the tongue will remain 8trapped8 in that position. This
happens because the soft palate 1the part from which the uvula hangs2 is soft, movable
and acts like an elastic band and creates a hook. This prevents the tongue from slipping
out and returning to its usual flat position. This is the turning point. By striving each
day to practice at least 0GCJ Kriya Pranayama with the tongue in this position + despite
some discomfort such as an increase in salivation, swallowing, 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 weeks of practicing in this way, you should be able to reach the same position
without using the fingers. The tongue will be able to insert itself into the nasalGpharynx
cavity. There will still be enough space left in the cavity to inhale and exhale through
the nose.
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=igure ,. osition of the tongue in the first stage of $echari 'udra proper
Kechari Mudra causes the life force to be withdrawn from thought processes.
Bypassing the mind#s energy system and changing 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 works in a more restrained way
and en>oys an essential rest3 each thought becomes more concrete and precise. )hen,
during the daily activities Kechari Mudra is practiced, moments of pure calmness and
mental silence fill oneFs entire being% 5ometimes, mental silence turns into an explosion
of inner >oy. The only problem might be that during the first three weeks of Kechari
Mudra, you experience 8di44iness8 and fogged up mental faculties. Be prepared for this
eventuality and consider abstaining from driving and any work involving a significant
proportion of risk during this time.
After several months of tireless practice, your tongue will reach the >unction of the
nasal passage 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 tongue reaches this small area and remains 8stuck8 there comfortably.
According to Kriya literature, the tongue can be pushed even farther up. Any
good anatomy book will reveal that the tongue 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 thinks is happening. Actually, by extending the tongue to its limit, it is
possible to experience a great attraction toward the region between the eyebrows along
with the sensation of having reached, with the tip of the tongue, a higher position.
The same literature also affirms that through Kechari one is able to perceive
8Amrita8, 86ectar8, the elixir of life + a sweet tasting fluid trickling down from the
brain onto the tongue and then into the body. To have this experience, the tip of the
tongue should touch three points in sequence9 the uvula, a small asperity on the roof of
CDC
the nasal pharynx under the pituitary gland, and the soft tissue above the nasal septum.
The tip of the tongue should rotate on each of these spots for at least JDG;D seconds3
then, in the manner of sipping a liquid or testing a food, an essence will be savored on
the tongue#s surface. The exercise should be repeated several times during the day.
K
Kechari Mudra enables a kriyaban to take a giant step toward perfecting Kriya
Pranayama. @uring Kriya Pranayama with Kechari Mudra, the exhalation arising in
the nasal pharynx has a fine fluteGlike sound like a faint whistle. 5ome schools call it
the &hakti Mantra. !t has been likened to the 8flute of $rishna8. Blowing gently on the
edge of a sheet of paper approximates the sound. :ahiri 'ahasaya described it as
8similar to blowing air through a keyhole8. &e described it as 8a ra4or which cuts off
everything related to the mind8. !t has the power to cut out any external distracting
factors including thoughts, and comes at the maximal point of relaxation. )hen
distraction and anxiety arise, the sound vanishes.
racticing Kriya Pranayama in this way and en>oying its aftereffects is an
enchanting and astonishing experience, one of the best moments in a kriyabanFs life.
.ultivating the perfection of this sound and concentrating firmly on it, means creating
the best basis to arouse the )m sound in a way stronger than can be achieved through
the practice of the second part of Kriya Pranayama. :iterature on Kriya Yoga explains
that when this event happens, the )mkar experience acquires the dynamism of
Kundalini2 the soul travels through the spinal cord and burns in the >oy of &amadhi.
'odesty is always welcome but when this result is achieved, the positive euphoria is so
overwhelming that it cannot be contained 1like finding AladdinFs magic lamp.2 !n Kriya
literature, it is said that those who reali4e a perfect Pranayama can achieve everything
through it. )ell, if we dream of a faultless Kriya Pranayama, then what we have
described matches the ideal of perfection.
s &e$hari Mudra indispensa!le.
Kriya literature affirms that Kechari Mudra is decisive to receive initiation into the
%igher Kriyas. There is nothing unusual that a Kriya teacher wants the student#s mouth
opened in front of them and see the tongue disappear into the nasal pharynx.
&owever great the effect of Kechari Mudra, ! firmly believe it is important but
not indispensable. The affirmation that ! have often heard9 8Hntil one is established in
Kechari Mudra, one cannot achieve the state of (ternal Tranquility8 is false%
Those who are depressed because they are not able to achieve Kechari Mudra,
should remember that many mystics who experienced the @ivine never heard of
Kechari Mudra. There are many who have practiced (hokar with enthusiasm and with
admirable commitment, who have benefited from its remarkable effects but who have
not reali4ed this Mudra.
But the crucial point is that we cannot conceive that the achievement of Kechari
was intended to create a sharp division among people. .onfined to a lower class are
those poor little fellows who will never get the &igher $riyas >ust because they don#t
succeed in reali4ing something physical that doesn#t depend on their efforts but on their
constitution. They will never succeed in speeding up their spiritual path like those
kriyabans that nature has endowed with a longer bridle or with a nasal pharynx more
accessible to the tip of the tongue.
K
!Fm unable to comment on the importance of sipping the nectar since ! haven#t had the experience nor,
! admit, have ! even tried to have it. !Fm sharing this information for the sake of accuracy and
completeness. !t may fascinate a kriyaban but after an initial period of intense excitement, it is
forgotten.
CDJ
.".#s decision to allow initiation into the %igher Kriyas to those unable to
practice Kechari Mudra should have our full praise. .onsidering :ahiri 'ahasaya#s
attitude to partake of our imperfection and suffering, ! believe he too behave similarly +
although we don#t know for certain.
,nd ea$h &riya routine with at least ten minutes of mental Pranayama
Mental Pranayama has a divine beauty. )ithout mental Pranayama Kriya Yoga risks
becoming a selfGimposed torture, a nightmare. ! bet that without it one unfailingly gives
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 like an orchestra
going on stage, unpacking the instruments, tuning them and then leaving at once% !t is
this phase that brings everything together3 the ripples in the mind#s lake are stilled, the
awareness becomes transparent, and the Last Reality is revealed. !t is a diffuse
calmness3 the mind is at rest and silent and gains the energy necessary to be more
acutely alert. !t is like a spiral which gradually and systematically takes care of all the
levels of one#s being9 it is a healing process.
<ery few people have lamented they got nowhere with such practice. )hen ! could
verify the reason of such despondency, ! reali4ed that they had not understood the
meaning and purpose of that teaching. They kept on exerting a mental and even
physical pressure on each Chakra unable to relax and catch the sweetness that
emanates from them. They had embellish the teaching with various details like
contracting the muscles near each Chakra... therefore all the sweetness had dispelled...
!f the practice happens in the right spirit, then it gives birth to one of the rare
moments in the day where you can utili4e your meditation born intuition for effective
handling any issue that arises from life. Therefore the value of Mental Pranayama
becomes apparent when important decisions have to be taken. 7ne has the impression
that nothing can get in the way and that even the greatest difficulties will dissipate.
!nside the perfect transparency of an inner order, all problems are solved. 7ne is born to
Kriya through the engaging 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 like !#m seeing it all at once, and it#s too much, my heart fills up like a
balloon that#s about to burst... And then ! remember to relax, and stop trying to
hold on to it, and then it flows through me like rain and ! can#t feel anything but
gratitude for every single moment of my stupid little life. 1=rom the movie
#merican !eauty3 C???2 8
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.&AT(/ ,
SECOND STEP OF KRIYA YOGA
!n this book ! have chosen to describe Kriya Yoga in F%ur St#p& %r L#6#&: each
5tep envisages more than one technique.
The 5econd 5tep is made up of9
ACB )mkar Pranayama
AJB 7lementary form of (hokar
A;B #d'anced form of (hokar
AKB Micro (hokar
)mkar Pranayama is a very subtle variation of the second part of Kriya
Pranayama3 the 7lementary form of (hokar is a technique based on directing,
through a particular movement of the head, the calm Prana 6 collected in the
head through Kriya Pranayama 6 towards the location of the heart Chakra3 the
#d'anced form of (hokar is an acceleration of the 7lementary form of (hokar9
the action of (hokar is repeated while extending the Kumbhaka state. The Micro
(hokar procedure is a wonderful way to deepen your experience of mental
Pranayama and your tuning with the )mkar /eality.
The present .hapter is for those students who have shown a passionate
commitment to the practice of Kriya Yoga. The right moment to study it is 0GCJ
months after practicing Kriya daily, when balance between 3da and Pingala is
established and the coarseness of the breathing process has decreased. About the
necessity of having achieved Kechari Mudra before practicing (hokar, consider
the note at the end of this .hapter. !n my opinion what is essential is the genuine
longing to deepen the meditation experience.
3ntroduction to Re'ersed !reathing
:et us begin by clarifying what Re'ersed !reathing is. @on#t overlook the
following explanation only because it deals with a concept which is usually
discussed Taoism or !nternal Alchemy. !t consists in an important clarification
that usually 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
breathing.
The breathing we have utili4ed in the three parts of Kriya Pranayama is
an abdominal breathing. :et us call it Natura Br#at$i!g.
@uring inhalation we expand our belly creating more room to hold the air
in. Abdomen and stomach expand as we breathe in, contract as we breathe out.
This relaxes, calms down the mind and gives an increase of energy from the
fresh air entering our body.
!nternal Alchemy calls that this natural breathing9 8ostGBirth Breathing8
because it is the breathing pattern we use after our birth. The !nternal Alchemy
CDK
teaching is to inhale and expand the abdomen on all four sides of the body filling
the Dantian with Prana. )hile exhaling, we contract the abdomen from all four
sides and condense the Prana in the Dantian.
I
The R#6#r&#" Br#at$i!g is the opposite of 6atural breathing. 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 breathing produces an intake of pure
energy through the navel and calls it 8reGBirth Breathing.8 /eceiving nutrients
by a fetus from its mother via the umbilical cord, is analogue to this breathing
process.
!n %igher Kriyas we practice the /eversed Breathing or we dwell in the
breathless state. Hnfortunately the /eversed Breathing is usually explained in a
vague way. The instruction is more or less the following9 ##ractice a Kriya breath
but during inhalation add 1ddiyana !andha.## 5ometimes the term 1ddiyana 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 forget this instruction ending to
practice abdominal breathing. But this has a different role. =or example a good
Kriya teacher should explain that the knot of the heart is opened via the /everse
Breathing pressure. !f we want to master the procedure of (hokar we have no
other choice than to master the /everse breathing procedure + otherwise our
travel ends with unfruitful attempts to cope with the #d'anced 8orm of (hokar.
Always keep in your mind that9
ACB Kriya Pranayama is always to be practiced with abdominal breathing3 then in
"a'i Kriya we create something particular in the navel region and it is with this
##something## 1they call it9 &amana current2 that we are going to practice any
possible %igher Kriya. 7nly after deep relaxation and balance of Prana 5 #pana,
the =ire path opens during inhalation and the substance originated from the
mixture of Prana and #pana enters &ushumna burning any obstacle and lifting
our spirit toward the @ivine.
AJB These two breathing patterns cannot be mixed up at will. !t is wrong to think
that the first can be neglected to practice only the second. The /eversed
Breathing can take place only after a certain amount of 6atural Breathing 1JD is
the minimum.2
I
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.
CDI
=*> OMKAR PRANAYAMA
First part/ with fra"mented !reath
This is to be practiced after at least JK Kriya Pranayama breaths and "a'i Kriya.
The hands, with fingers intertwined, rest on the abdomen. !nhalation and
exhalation are fragmented into 0 P 0 parts. 5tarting with your chin on the chest,
inhale moving your awareness upwards along the spinal column while
simultaneously raising the chin slowly as if to accompany and push the energy
up. @uring your inhalation you apply fully the scheme of /eversed Breathing.
Abdomen and stomach contracts.
The syllables of the .asude'a 'antra 1)m "amo !haga'ate .asude'aya2
are mentally placed in each Chakra location, while making a short pause in each.
@uring the first 8sip8 of inhalation, the concentration is on the Muladhara, where
the syllable )m is ideally ##put##3 during the second 8sip8, the concentration is on
the second Chakra, where the syllable "a is ideally put * and so on, until !a is
put in the !indu, the inhalation is completed and the chin is hori4ontal.
The exhaling breath too is divided into six punctuated parts or pulses.
)hile lowering the chin at a slow pace, the awareness comes down along the
spinal column. The syllable (e is placed in the Medulla, .a in the fifth Chakra*
and so on * &u* De* .a, until Ya is mentally chanted in the Muladhara.
0
)hile coming down, don#t be in a hurry, become familiar with the abdominal
expansion.
As soon as it is comfortable, add a pause of JG; seconds both at the end of
inhalation and of exhalation. @uring the pause after inhalation, the awareness
makes a complete, counterGclockwise turn along the crown of the head.
A8.ounterclockwise8 in this book is always intended as if viewing from topB.
@uring the pause after exhalation, the awareness makes a complete, counterG
clockwise turn around the Muladhara Chakra. The rotation above happens inside
the brain, under the cranial bone, starting from the occipital region, over !indu,
and coming back to it3 the head accompanies this inner movement with an almost
imperceptible rotating movement 1tilting back slightly, then to the right, the
front, the left, and finally to the back2. The rotation of the awareness around
Muladhara does not require physical movement.
@uring inhalation, the muscles at the base of the spinal column can be
slightly contracted. This contraction is maintained not only to the end of the
inhalation but also throughout the ensuing pause3 then it is released and the
exhalation begins. 1This detail should be introduced gradually so it does not
disturb the general harmony.2
The timing of one 8irst )mkar Kriya breath depends on the individual9
usually it is approximately JDG;D seconds but from a certain point onwards, the
speed of each repetition of )mkar Pranayama slows down. The breath is
0
! am sure the reader knows the correct pronunciation of the Mantra3 phonetic symbols are not
included. 6otice that in the !indu we don#t mentally verbali4e .a but !a9 this convention has
established itself over the years.
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8sucked in8 and seems to be dissolved. =rom that moment onwards, all the
physical details are only hinted.
Remark C
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. (ach
fragment of breath creates a pressure on a different Chakra. Ereat bliss is
gradually built but only if the procedure does not happen mechanically.
Remark J
"ou have probably read that in a deep Pranayama, the energy crosses the
Chakras >ust like the thread of a necklace passes through the pearls. @o not force
the visuali4ation of a similar hypothetical event because this does not happen.
Actually, the ##thread## of energy envelops each ##pearl##. The counter clockwise
rotation of awareness around the crown shrinks while coming down, >ust like a
vortex, winding around the Medulla. )hen exhalation begins and you mentally
chant (eeee, you can use the starting instants of exhalation to intensify the
psychic pressure around the Medulla. 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. Eo slowly and do not be in a hurry and let
the process proceed at its own pace.
Remark ;
'oving from one Chakra to the next, a kriyaban begins to notice the change of
the light vibration in the region between the eyebrows. Being absorbed in
listening to astral sound creates inner bliss, putting aside + at least momentarily +
our (go 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 !reath
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 ;0 times.
1@o 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 disk,
having a diameter of approximately one inch. <isuali4e these syllables moving
on the surface of the disk in counterclockwise 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 disk.
Then focus on the second Chakra where you will do exactly the same
action, utili4ing the second syllable of the Mantra, namely9 "a "a "a "a "a...
about ;0 times.
Then focus on the third, repeating Mo Mo Mo Mo Mo.... about ;0 times.
Then focus on the fourth, repeating !ha !ha !ha !ha !ha ... then on the fifth
CD,
19a 9a 9a 9a 9a ....2, then on !indu 1!a !a !a !a !a ....2. Then rotate the
awareness many times around the crown while mentally remaining silent. Then
focus on Medulla repeating many times (ee (ee (ee (ee (ee *
Then you will focus on the fifth Chakra utili4ing .a .a .a *. then
fourth.... third *. second *. Muladhara.
Eoing up this way from Muladhara to !indu and coming down from
crown to Muladhara is one round9 the time required is approximately KG0
minutes. /epeat ;GK times and then be lost in the meditative state + the
##absorption state## is very strong indeed.
=-> ELEMENTARY FORM OF THOKAR
(hokar is practiced after Kriya Pranayama and after "a'i Kriya, if possible
with the tongue in Kechari Mudra. &ere ! 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 digested, can one face the #d'anced
form of (hokar.
Pra(ti(a i!&tru(ti%!&
Oust like )mkar Pranayama, the syllables of the .asude'a 'antra 1)m "amo
!haga'ate .asude'aya2 are to be placed mentally in each Chakra location.
)ith the chin resting on your chest, inhale while simultaneously raising
your awareness along 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, !ha in the fourth, 9a in the fifth and !a in !indu.2 /aise the chin as if
following the inner movement. The scheme of Re'ersed !reathing is fully
applied. The hands 1with interlocked fingers2 are placed on the navel area to
create a mental pressure on the first three Chakras. .ontract moderately the
muscles at the base of the spine. The breath produces only a slight, weak 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 !indu.
&old your breath. &old the muscle contraction at the base of the spine.
The head begins its rotation by moving to the left shoulder 1left ear moves
slightly toward the left shoulder, the face does not turn left or right and the
movement is free of all bouncing23 (e is thought in the Medulla. The head tilts
back a little and in a sweeping arc reaches the right shoulder, 1the right ear
coming near the right shoulder2, the syllable .a is thought 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 diagonally as if to strike the
center of the chest, while simultaneously &u is intensely vibrated in the heart
Chakra. Through this last movement, a kind of hitting is felt in the heart Chakra.
A short pause follows9 >ust what is needed to be enraptured in the radiation of
energy emanating from that Chakra. The contraction at the base of the spinal
column is eased off3 via a very subtle exhalation the remaining syllables of the
Mantra are 8placed8 in the first three Chakras 6 De into the third one, .a into the
second one, and Ya into the first one. )hile doing this, the head is usually kept
CD-
down. The duration of this process is about JK seconds. /epeat the procedure CJ
times. Traditionally, one begins with CJ rotations and increases by one every day
up to a maximum of JDD repetitions.
At the end of this practice, relax by en>oying CJ 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 light manifesting at the
point between the eyebrows.
Remark C
@o not allow the weight of the head to be the sole force pushing the chin toward
the chest9 letting your head simply drop would definitely be harmful. A mindful
physical effort is needed to lower the chin.
)hen you practice over ID repetitions, the movements of the head should
be only hinted at9 the chin does not come close to the chest and the striking 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
JDD repetitions.
The presence of physical problems 1the cervical vertebrae are indeed
vulnerable2 may require practicing on alternate days. !t is better to add more
cycles over time rather than face the prospect of experiencing continuous head
and neck pain throughout the entire day%
Remark J
As you have read, a kriyaban is guided to perform this technique CJ times a day,
then to gradually increase the number of repetitions of one a day. The goal is to
achieve JDD repetitions.
!nstead of increasing the number of repetitions of one a day, you can add
six repetition per week. !n this way it is more easy to remember the number of
repetition you are supposed to do. @uring the first week practice CJ repetitions
each day. Then consider the practice of C- repetitions each day etcetera.
!f there are problems, practice this technique every other day. The third
week 1>ust to give you an example2 you can practice JK repetitions on alternate
days. !t is not necessary to practice every day3 rather it is wise to work three days
a week on the average. )hen you reach a consistent number of repetitions
1more that 0D2 the effects are very strong. Therefore be very careful.
ABefore considering the practice of the #d'anced form of (hokar develop the good habit of practicing
*apa daily with sincere commitment.B
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=1> AD?ANCED FORM OF THOKAR
!n Kriya literature it is explained that the heart knot is &tru(0 by the 7lementary
form of (hokar and then (ut by the #d'anced form of (hokar.
Pra(ti(a i!&tru(ti%!&
ractice after Kriya Pranayama and after "a'i Kriya, if possible with the tongue
in Kechari Mudra. )ithout full mastering of Re'ersed !reathing process, the
execution of the following technique is practically impossible.
After inhaling 1with )m "a Mo...2 and raising the Prana to the upper
part of the lungs, partially relax the muscles of the thoracic cage as if you were
going to begin a new inhalation. The act of sealing the lungs 1trachea2 as when
diving, should be avoided. !n this relaxed mood, repeat numerous cycles of the
head movements unhurriedly. .onsequently the mental chanting of (e in
Medulla, .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 holding the breath. 5top the procedure
and exhale when feeling discomfort%
Then slowly exhale and place the syllables De .a Ya in Chakras three,
two, one respectively. )hile doing this, keep your head down. This practice is
done rigorously once a day. To give an idea of the speed of the movements, the
entire process from inhalation to exhalation with CJ repetitions of the rotation of
the head 1each rotation concluding with the movement of the chin toward the
chest2 lasts around ,DG-D seconds. Traditionally, one begins with CJ cycles of the
head movements unhurriedly during one single breath and increases by one
every day up to JDD repetitions. This Kriya is considered mastered when one
reaches JDD rotations without interrupting the Kumbhaka state.
At the end of this practice you can follow the counsels given for the 7lementary
form of (hokar or be lost in the heavenly delight induced by the practice of the
Micro (hokar introduced at the end of this .hapter.
Ma&t#ri!g t$# A"6a!(#" '%r. %' T$%0ar
The task of mastering this technique seems impossible. 5uccess with the
#d'anced form of (hokar means practicing a great number of cycles of the head
movements unhurriedly during one single breath. Actually many kriyabans reach
a certain number of repetitions 1markedly under 0D2 with undeclared discomfort
and get bogged down at this point + unable to go forward, having achieved
nothing, disappointed. There is a subtler ability that one must discover. &ere you
will find my recipe. @oes it makes you perplexN 7k9 may be it is questionable,
however it works.
CCD
8irst strategy
=irst of all9 avoid at all costs any attempts to accomplish a high number of
rotations, doing them quickly, and being obsessed with holding the breath. This
is violence against one#s body.
!nhale as you have learned in /everse Breathing. =ill the upper part of the
thorax to its utmost possible extent with Prana 6 like 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 completing the head rotation.
6amely, after rotating your head from left to right, let your chin 8fall8 toward the
chest from the right side, then lift it to left side and continue with the rotations.
By increasing 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 holding your breath, while keeping
the chest expanded and the abdominal muscles and diaphragm 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 brought up.
@o not do any specific act of inhaling or exhaling9 relax and allow the
phenomenon we have described to happen of its own accord. The sensation will
always be that of not breathing at all. Thanks to the effect of this practice upon
the ganglion that regulate the cardiac frequency, this frequency diminishes and
the practice happens in the best conditions, bestowing great satisfactions.
A!f, during this form of (hokar, a deep breath happens, let it happen3 it is not a
failure3 if you are able to maintain the right attitude, you will be closer to your
goal. Be confident, be full of >oy. 6aturally, in order to be sure of the success,
you must have completed honestly the required number for the 7lementary form
of (hokar 1gradually increasing the number of breaths up to JDD.2 &ave you
completed itN !f not then reconsider this task. B
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 think
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 making you taste the state of #ntar Ke'ala Kumbhaka 1absence of
breath, when the diaphragm is tensed and the air is inside the lungs.2
,
,
The breathless state with empty lungs and a relaxed rib cage during mental Pranayama is called
!ahir Ke'ala Kumbhaka 6 usually it happens long before #ntar Ke'ala Kumbhaka
CCC
&econd strategy
/ead again the definition of Re'ersed !reathing given at the beginning of this
.hapter. :et us call it9 ##Re'ersed !reathing :## in order to distinguish it from its
important development that we are going to learn now. )hile Re'ersed
!reathing : is applied in )mkar Pranayama and in the 7lementary form of
(hokar 1and can also be adopted optionally during Maha Mudra and Yoni
Mudra2, this Re'ersed !reathing ; is applied in the #d'anced form of (hokar.
1)e shall see that it can be utili4ed in 8ourth Kriya too and discover that it is the
most powerful tool to enter the breathless state instantaneously, with >ust one
inhalation.2
@efinition of /eversed Breathing J
!nhale with a Re'ersed !reath. =eel the energy coming up slowly from the first
to the second Chakra from the second to the third. =eel the navel region coming
inside. 6ow the upper part of your lungs is almost filled completely3 your rib
cage is expanded. &ave a pause. =ocus your attention on the upper part of your
rib cage. 6ow, remaining exactly in this situation, mentally chant )m )m )m...
rapidly 1about two chants of )m per second2 feeling your awareness like an ant,
crawling up the innermost channel of the spine millimeter by millimeter from
Muladhara upwards. After no more then KG0 seconds, you#ll have reached the
heart Chakra2 go up further, in the region between the fourth and the fifth
Chakra. This region corresponds to the upper part of the lungs and chest. "ou
will perceive a greater freedom from the breath. !f your body condition is perfect
1if you are moderate with eating and your are on an empty stomach2 you will
en>oy a wonderful breathless state.
The secret is that the action of mentally chanting )m )m )m... really
draws energy in the spine from all the body. "ou must put in the action of
mentally chanting, the distilled experience of years of Kriya. This is Re'ersed
!reathing ;.
6ow let us come back to the topic. !t is not difficult to understand how to
practice the #d'anced form of (hokar utili4ing the Re'ersed !reathing ;.
ractice the inhalation of Re'ersed !reathing ; + 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 !ha in the fourth, 9a in the
fifth and !a in !indu expand a little bit further the rib cage 1sometimes the
intention to expand is more important than the actual expansion2 and complete
the inhalation.
)hile remaining stable in this state, without ever letting the abdomen relax and
expand or the rib cage relax and therefore the Prana come down from the higher
CCJ
part of the lungs, discover how beautiful and comforting is the experience of
rotating 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.
Kriya is an art. !t is your choice to decide if, after different rotations, feeling you
have neared your limit, you utili4e the first strategy. !t stands to reason% But the
great, 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 brought ahead honestly and
with acute intelligence.
Remark
The suggestion of the ##ant crawling up the spine## comes from a Kundalini Yoga
technique. The complete technique is the following9 !nhale from the ;rd eye and follow
the internal breath/energy down the Chakras all the way to Muladhara. At Muladhara,
hold the breath, practice Mula !andha while expanding the chest and the ribcage a little
further. At this point come up inside the spine continuously repeating mentally )m5)m5
)m5)m5)m5)m * all the way to Kutastha. &aving actually reached Kutastha, release
Mula !andha and exhale into the space of Kutastha. /epeat.
=5> MICRO THOKAR
"ou should know 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 having the power to induce a state of
unequaled internali4ation%
After having completed the scheduled number of rotations of (hokar
1advanced form of it2 do not interrupt this procedure but make it subtle. =irst of
all breathe freely. Then visuali4e the fourth Chakra #nahata as a hori4ontal disk.
:et us learn how to perceive an inner movement sensation on its surface. To this
purpose we go ahead with the head movements but with more lightness and
slowness. )hile the head is moving left, we perceive in the heart Chakra a weak
internal movement to the left. )e mentally chant the syllable (eee. )hen the
head moves right, we perceive a movement rightward. )e think the syllable .a.
)hen the head bows forward 1it is a not marked movement2, we perceive that
the inner movement reaches the center of the fourth Chakra. )e vibrate there the
syllable &u. )e go ahead repeating9 (e .a &u (e .a &u.... but, gradually, 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 great 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 again first, second, third, fourth, fifth, sixth. 5ixth again, 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 .
CC;
=igure -. 'icro Thokar perceived in .hakra K
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. erceiving it means to annihilate any form of
duality present in the Chakras and therefore, in your awareness. This experience
changes and deepens the way you practice Kriya Pranayama. !t is as if the center
between the eyebrows become one with each lower Chakra, fusing them in a
unique reality. This will lead you out of time and space. A burning aspiration
towards the @ivine is born from this. Among the debris of past illusions, such
experience open the doors of the spiritual reali4ation.
7nly few Kriya schools have disclosed the nature of this micro5mo'ement
and revealed its importance. Hnfortunately, many people seek frantically
impossible surrogates for it%
I.p%rta!t utii@ati%! %' t$i& t#($!i)u# t% r#a($ t$# ,r#at$#&& &tat#
The procedure of Micro (hokar combined with Kriya Pranayama -ith short
breath is a great aid in achieving the breathless state. !f you practice ##Te, <a, 5u##
correctly, with ##5u## producing a precise sensation 1tickling/ecstatic2 experience
in the center of a Chakra Prana will enter &ushumna and the need of breathe
will disappear. :et us clarify9
=ocus your attention on the Muladhara Chakra. <ibrate 1think with emphasis2
8(e .a &u8 in Muladhara. @o it once. Try to feel that 8(e .a &u8 creates an
oscillatory movement inside Muladhara. )hen it becomes natural to have a very
CCK
short inhalation, inhale only what is necessary, pause an instant and concentrate
on the second Chakra. &old the breath gently and vibrate 8(e .a &u8 in the
second Chakra. (xhale when you feel like exhaling, concentrate on Muladhara
vibrate <(e .a &u< there. )hen it becomes natural to have a very short inhalation,
inhale only what is necessary, pause an instant and concentrate on the third
Chakra. &old the breath gently and vibrate 8(e .a &u8 in the third Chakra.
(xhale when you feel like exhaling, concentrate on Muladhara vibrate <(e .a
&u< there.
Eo on like that, repeating the procedure between Muladhara and the
fourth Chakra2 Muladhara and fifth Chakra2 Muladhara 6 !indu2 Muladhara 6
Medulla2 Muladhara 6 fifth Chakra2 Muladhara 6 fourth Chakra2 Muladhara 6
third Chakra2 Muladhara 6 second Chakra. As you see, one cycle is made of CD
short breaths. /epeat more than one cycle, increasing your concentration until
your breath is almost nonexistent. ause in #nahata Chakra, repeating there 8(e
.a &u8 many, many times, until you perceive light both in #nahata Chakra and in
the point between the eyebrows. This is the best condition to reali4e the
breathless state. 7ne day you will be able to stop the breath and any movement
in the body3 it will be like a miracle.

86o me pidQis que lo explique. T#!g% # 'u#g% en las .a!%&8
1Earcia :orca2
CCI
.&AT(/ -
THIRD STEP OF KRIYA YOGA
As we have seen, the &econd Kriya &tep is made up of )mkar Pranayama,
7lementary form of (hokar #d'anced form of (hokar and Micro (hokar. The
&econd Kriya &tep is generally know as T&7$A/ $/!"A.
The (hird Kriya &tep is made up of9
ACB Circulation of energy in the upper part of the brain
AJB %igher form of (hokar in the upper part of the brain
A;B Ke'ala Kumbhaka= to get mastery in achie'ing the breathless state
AKB #stral &amadhi= merging in the di'ine Light in Cerebellum and in the Pineal
9land
The (hird Kriya &tep is generally know as 7'$A/ $/!"A because a kriyaban
brings to perfection their experience of the )mkar /eality.
=*> CIRCULATION OF ENERGY IN THE UPPER PART OF THE BRAIN
Aalternative name ##Third $riya##B
AThe techniques that we are describing in this (hird Kriya &tep had received
names ranging from (hird to &i>th Kriya. ! will report those alternative names in
brackets. The reason is that renowned masters like &-ami &atyananda 9iri and
&ri &ailendra !e$oy Dasgupta have utili4ed them. )ell, the following procedure
is also called ##Third $riya.## Therefore, please do not confuse this single
procedure with the whole (hird Kriya &tep%B
)hen the practices of 8irst and &econd Kriya can be considered mastered and
qualities like equanimity and mental silence manifest in the active life, it is
appropriate to start the practice of this subtle procedure. This Kriya is divided
into different levels of intensity and difficulty. The first part is the quintessence
of the Re'ersed !reathing. !n the second, one is guided to perceive a circular
movement of energy around the center of the brain, the soGcalled .ave of
Brahma 1third ventricle of the brain.2 'oving repeatedly awareness and Prana
through the cells of the brain, one experiences the all pervading divine :ight and
reali4es that a divine power is accomplishing all the duties of daily life.
! think it may be of inspiration to quote here the words of two great Kriya
teachers9
##The (hird KriyaFs practice is taught for establishing oneself firmly in the
wave/path of Prana'a "ada. The (hird Kriya is there for one to take up that
CC0
"ada in a specific way and become completely established in it.## 15wami
5atyananda Eiri2
##The (hird Kriya is known as )mkar Kriya from the fact that with diligent
performance of this Kriya, the revelation of the )mkar sound becomes a reality.##
15ri 5ailendra Be>oy @asgupta2
=a> Pra!aya.a 'r%. Kuta&t$a t% !a6# 2Da!tia! r#gi%!3
The Mantra utili4ed in this practice is !ha59a5!a5(e5!a5&u, the central part of
the Mantra utili4ed in &econd Kriya 18)m "a Mo !ha 9a !a (e !a &u De .a
Ya82. !ha 9a and !a are mentally chanted following air and Prana coming
down from Kutastha into Manipura2 (e .a and &u are mentally chanted
following air and Prana rising up from Manipura to 8ontanelle.
The Mantra !ha59a5!a5(e5!a5&u resonates as ##!haga'an (at ('am #si?# whose
meaning is9 ##The @ivine you have worshiped is your higher 5elf. "ou are that
@ivine%##
=igure ?. ranayama from $utastha to the @antian region
!nhale in three portions. Through the first portion of inhalation, draw breath and
energy from the point between the eyebrows into Medulla where you vibrate the
syllable !ha. Through the second portion of inhalation, draw breath and energy
from Medulla into the cervical Chakra where you vibrate the syllable 9a.
Through the third portion of inhalation, draw breath and energy from the cervical
Chakra into heart Chakra where you vibrate the syllable !a.
Abiding by the principles of Re'ersed !reathing, during each part of the
inhalation continuously contract the abdomen. 6ow make a short pause 1;G0
CC,
seconds, holding your breath2 intensifying the pressure upon the navelGthird
Chakra region 1Dantian.2
After the pause, exhale in three portions. @uring the first portion of
exhalation, feel the energy from the Dantian rising into the heart Chakra where
you vibrate the syllable (eee. @uring the second portion of the exhalation feel the
warm energy rising from the heart Chakra into the cervical Chakra where you
vibrate the syllable .a. Through the last portion of the exhalation guide the
energy from the cervical Chakra into 8ontanelle where you vibrate the syllable
&u. /epeat this practice CJ times, adding CJ breaths each month, until you reach
CD- repetitions.
Then practice the following procedure after checking that your breath flows
evenly through both nostrils.
5it quietly, breath a few breaths, until you can tangibly feel yourself
breathing energy. !nhale in three portions, vibrating the syllables !ha 9a !a
exactly as you have done in the previous practice. )hile inhaling, gradually
build a strong energetic pressure through Mula !andha from the lower abdomen
upwards lifting the pelvic floor. As you finish your inhalation, add 1ddiyana
!andha and *alandhara !andha. The chest is relaxed, the pressure is upon the
navelGManipura region 1Dantian.2 ush down gently with your diaphragm in
order to firmly compress the energy brought down from above.
The air energy is completely locked in, compressed both from above and
below. Eo ahead holding your breath and repeating )m )m )m... CJ times or
more for as long as it is comfortable. =eel warmth increasing and brimming over
into the surrounding abdominal region.
6ow, slowly release the tension in the abdomen. 5tart a long, calm
exhalation 1in three portions putting (ee !a and &u in the related centers2
coming up with your chin. =eel the pressure of Prana rising gently up the central
channel of the spine to heart Chakra, cervical Chakra and from there, directly to
&ahasrara. /epeat ;0 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
region. !t travels downwards via the path of the tongue 1Kechari Mudra2, it heals
the whole body and originates a blissful state. =rom that moment onwards you
will reali4e that an internal source of fresh energy fills each part of your body up
to a cellular level. The physical breath seems to dissolve.
Remark
This procedure is what some schools give as (hird Kriya leaving out the
following techniques. Actually it means a tremendous step forward in your
spiritual path.
CC-
=,> Cir(uati%! %' #!#rgy i! t$# upp#r part %' t$# ,rai! ai"#" ,y p$y&i(a
.%6#.#!t
The breath is natural, not controlled. ractice Kechari Mudra to the best of your
ability. Bend your head forward. =eel the energy present in the frontal region of
your head and mentally vibrate B$a there. )ithout raising your chin to normal
position, guide slowly your head in the position in which the head is bent toward
the left shoulder + as if you try touching the left shoulder with your left ear. =eel
the energy present in the left side of the brain 1over your left ear2 and mentally
vibrate Ga there. =rom this position, guide slowly both your head and the flow
of energy backwards in the occipital region of the brain. 'entally vibrate Ba
there. 5lowly guide your head in the position in which the head is bent toward
the right shoulder + as if you try touching the right shoulder with the right ear.
'entally chant T### on the right side of the brain 1over your right ear.2 Always
feel the flow of energy moving to each position. 5lowly return to initial position
with the head bent forward. 'entally vibrate Ba there.
6ow, slowly straighten your head and return with chin parallel to the ground
while your attention moves toward the central part of your brain 1the .ave of
Brahma2 under =ontanelle. 'entally vibrate Su there. This completes the first
round. =or two weeks, repeat this technique JI times, once a day. Then for
another two weeks repeat it ID times once a day3 then for another two weeks ,I
times .... and so on up to JDD times each day for two weeks. At the end of each
session, inhale deeply, focus all your attention in 8ontanelle and listen to the
internal sound of )m.
=igure CD. Thokar in the upper part of the brain
This rotation of energy is, by some teachers, called (hokar Kriya. The reason is
that during this practice the energy moves -ith pressure through the brain
substance. /eflect9 (hokar has not the unique meaning of ##blo-## but also that of
##touching -ith pressure.## This internal pressure, this friction 1which will reach its
CC?
peak during the next technique2, creates the @ivine :ight manifestation. The
experience of this :ight, coupled with that of the )mkar internal 5ound,
harnesses a kriyabanFs effort on the right, infallible path toward the direct
experience of the @ivine.
=(> T$# pr#6i%u& pr%(#"ur# i! i..%,iity
After having completed the required number of rotations, it is not difficult to
move to this last part in which the energetic movement happens in immobility.
/epeat mentally, without hurry and without moving your head, the
syllables !ha 9a !a (e !a &u trying to perceive the same energetic
movement you have previously induced. A ball of :ight is turning inside your
brain. After each round, this :ight comes internally from the point between the
eyebrows into the cave of !rahma. The pituitary and the pineal gland are
enlivened and stimulated. ractice about ;0 rounds during each Kriya routine.
Then deepen your concentration in the ##.ave of Brahma.## This is the seat
of resonance with the ocean of cosmic )m vibration. )hen the soul rests here
without thoughts, experiencing the @ivinity of creation through )m, then
Kundalini starts her >ourney upwards.
To close the practice, inhale deeply, place all your attention in 8ontanelle and
feel that your soul is separated from your body and fluctuates in the void.
3mportant remark
!f this practice makes you feel unfocused or spacey 1living in a state of too much
euphoria, which is not always the best condition to face the problems of daily life2, then
it is wise to end the practice by focusing upon the spinal Chakras and not on the
8ontanelle. "ou can come down with your awareness into each Chakra 1from #$na to
Muladhara2 pausing in each one. The rotation of energy experienced in the brain may
now be experienced in smaller dimensions in each Chakra. <isuali4e each Chakra as a
hori4ontal disk, having a diameter of approximately one inch. <isuali4e the syllables of
the 'antra R!ha 9a !a (e .a &uS inside the Chakra. 5tart from the frontal part of the
Chakra, then to the left, back, right, front and in the center. /epeat three times. Then go
to the next Chakra. !n this way, come down to Muladhara and then go up to #$na.
.ome down and up again a couple of times + if it is possible. This will add an
unbelievable sweetness to your meditation, enriching and stimulating the )mkar
experience. Truly this practice can be called ##providential.##
CJD
=-> HIGHER FORM OF THOKAR IN THE UPPER PART OF THE
BRAIN Aalternative name ##=ourth $riya##B
Through this procedure, Kumbhaka becomes effortless and each Chakra in turn
reveals to you. This is the decisive factor to unfasten the Muladhara knot.
##The 8ourth Kriya, the technique to attain "ada includes the experience of the
different Chakras, this leads to breaking the Muladhara knot.##
15wami 5atyananda Eiri2
##The 8ourth Kriya is difficult3 in fact, impossible to perform unless one has
mastered the art of the (hird Kriya. @ue to the supreme level of breath mastery
which is required to perform the technique, the mastery of the (hird Kriya is
required before stepping into the 8ourth.## 15ri 5ailendra Be>oy @asgupta2
The full meaning of Kechari + roaming in the space + is fully reali4ed now.
Therefore practice Kechari Mudra to the best of your ability. =ocus on the C
st
Chakra. Apply the teaching of the re'ersed breathing= inhale deeply and ideally
raise the Muladhara Chakra in the central part of the brain, under &ahasrara,
over #$na Chakra. <isuali4e it as a disk large as the circulation of energy that
you have previously created in the upper part of your head. =eel that the air is
squee4ed from the abdomen and stored in the upper part of the lungs. &old your
breath and start to put into motion the rotation of the energy in the head >ust as
you have learned to do previously. The rotation of the energy happens in the head
but, at the same time, it happens also around the real location of the Muladhara
Chakra at the base of the spine. &ence, two rotations of energy happen at the
same time9 it seems difficult but it will become natural. A/emember also that at
the end of each circle, the flow of energy is directed inside toward its center.B
This practice induces the experience of the )mkar sound. "ou will focus
only upon it and wonFt need Mantra chanting. The experience of :ight pervading
the central part of the brain comes as a consequence.
The ideal number of rotations associated with each Chakra is ;0 but a
beginner is contented with a smaller number. Hsually the need to breathe will
disappear. (xhale when you need to exhale and guide the Muladhara Chakra
back to its location at the base of the spine.
!nhale raising the second Chakra and repeat the procedure. /epeat the
procedure for each Chakra up to #$na. /epeat it again for #$na and then for all
the other Chakras down to Muladhara. The practice ends by breathing freely,
putting all the attention in the 8ontanelle. eace, internal >oy, breathless state,
listening to internal sounds, perceiving the spiritual :ight... this is what you will
experience.
"our practice of Kriya will become a love story with Beauty itself. Be
sure, be confident9 after a certain period of time, a remarkable experience of
Kundalini awakening will happen. !t will overcome you when you rest in the
CJC
supine position. )ithout experiencing 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 ;0 1complete2 rotations of Prana in your brain for each
Chakra, namely K;J rotations of energy during CJ Kumbhakas + then you will
perceive the entire universe filled with the effulgence of @ivine :ight.
=igure CC. &igher form of Thokar. (xample9 the =ourth .hakra is raised
Remark
!t is perfectly natural to approach this practice by slightly rotating your head 1and
also by mentally chanting the six syllables of the Mantra.2 Although this is not
required, this might be useful for beginners. !f this happens, try to move
gradually toward physical immobility and toward listening to actual )mkar
5ound.
CJJ
=1> KE?ALA KUMBHAKA: TO GET MASTERY IN ACHIE?ING THE
BREATHLESS STATE Aalternative name ##=ifth $riya##B
##7nce the 8ourth Kriya has been mastered, the kriyaban does not need any more
guidance. &e becomes an expert. &e divines processes of 8ifth, &i>th and other
%igher Kriyas for himself in order to remain continuously immersed in the
quietude and ecstasies. %igher Kriyas than the 8ourth can be divined out by the
Kriya Yogi himself, as the principle underlying these is mastered after
successfully completing the four Kriyas.## 15ri 5ailendra Be>oy @asgupta2
This and the next technique are practiced with full concentration on the
0th Chakra+
The @th Chakra is the seal of the astral body. The astral body consists of the
impressions and effects of Karma from millions of previous births. The @th
Chakra is the gateway to our 5elf, to that which transcends the human side. !t is
the center of spiritual compassion and spiritual selflessness. !t enables us to
witness the circumstances of our lives with compassion rather than >udgment. !t
helps you to become completely selfless. A kriyaban who reali4es the essence of
this Chakra lives in the dimension of Hnity, full of compassion for all creatures.
The opening of the @th Chakra involves the cleansing of wornGout
psychological patterns, remnants of countless incarnations. These patterns are the
last of what holds you to the cycle of death and rebirth.
=a> Pra!aya.a up t% t$# #ig$t C$a0ra
!nhale, slowly drawing Prana from Muladhara to the @th Chakra, ;D centimeters
above the 8ontanelle. @uring this procedure, donFt focus on any other Chakra in
the spine. 'ove up feeling distinctly that the energy crosses the 8ontanelle and
reaches the @th Chakra. .oncentrate there and en>oy the equilibrium state
between inhalation and exhalation. (xhale sweetly, letting Prana descend from
the @th Chakra to Muladhara. =eel distinctly that the energy, coming down,
crosses the 8ontanelle. !n 'uladhara, concentrate on the equilibrium state
between exhalation and inhalation. )hen you feel the need to inhale repeat the
procedure. /epeat again and again until the state of your consciousness is totally
changed and your breath is very subtle, almost nonGexistent.
=,> A($i#6i!g t$# ,r#at$#&& &tat#
!nhale sweetly from Muladhara to the @th Chakra, raising breath and Prana.
.oncentrate on the equilibrium state between inhalation and exhalation. (xhale
sweetly from the @th Chakra down the spine, but do not come do-n intentionally
to the Muladhara Chakra. "ou will see that the exhaling current reaches
spontaneously a certain point in the spine. This point is not necessarily one of the
different Chakras. )herever this point is, it is fundamental to feel it clearly
inside the spine. This point becomes the starting point of the ne>t inhalation.
CJ;
!nhale then from this new starting point into the @th Chakra. The current comes
up through the spine9 now the length of the path is obviously shorter. .oncentrate
on the equilibrium state between inhalation and exhalation. (xhale sweetly down
the spine9 probably the exhaling current makes a shorter path, shorter than the
previous. This is the new starting point. !nhale from this new position upwards...
By repeating this procedure, you will reach a particular mental and physical
condition in which you will remain breathless, -ith total focus on the
@th Chakra.
!f, after a long pause, the breath appears again, repeat the process from the
beginning 1inhaling from Muladhara2. Eo ahead patiently, unperturbed. The
point is to make the breath cease, entering a dimension where it is no longer
necessary.
=igure CJ. The breath moves between Bhuloka and Brahmaloka and then dissolves
CJK
=(> Cir(uati%! %' Lig$t ar%u!" t$# :t$ C$a0ra
"ou are in the breathless state, totally and perfectly settled at the @th Chakra.
/emember the experience you had with the (hird Kriya. &ere, the same
circulation of energy happens, but instead of happening around the cave of
!rahma, it now happens around the @th Chakra. 6ow you are above your body,
in the space. "ou perceive a ball of :ight that makes a circulation around your
@th Chakra and then comes internally. This is repeated as many times as
necessary. @o not utili4e any Mantra.
=or two weeks, have this perception JI times, once a day. Then for another two
weeks, repeat it ID times once a day3 then for another two weeks, ,I times ....
and so on up to JDD times each day for two weeks.
=5> ASTRAL SAMADHI: MERGING AITH THE DI?INE LIGHT IN
CEREBELLUM AND IN THE PINEAL GLAND Aalternative name9 ##5ixth
$riya##B
Through the practice of this procedure a kriyaban has full experience of divine
:ight. The state of TAT T<A' A5! manifests9 Thou and ! are 7ne, and always
have been 7ne. @uring this time of divine oneness, one is devoid of body
consciousness and unaware of oneFs surroundings. To ordinary people it is a
deathGlike state, but for an advanced practitioner it is divine ecstasy.
=a> Gui"i!g t$# Lig$t t%4ar" t$# C#r#,#u.
)hat we have experienced thus far is a ball of :ight that rotates around the
@th Chakra and then curves inward, hitting its center. )e now learn how to guide
that ray of :ight downwards, toward the .erebellum.
After one rotation of :ight around the @th Chakra, raise your chin A>ust
like the standard position during the second part of "a'i KriyaB and feel a ray of
:ight coming down, piercing the =ontanelle at an angle, and striking the
.erebellum. /emain immobile for a few seconds, wholly immersed in the
intensity of the da44ling white :ight shining from there to the whole brain.
:ower your chin without losing the concentration upon the :ight. /est a moment
there, and then repeat the procedure.
=or two weeks, have this perception JI times, once a day. Then for another two
weeks, repeat it ID times once a day3 then for another two weeks, ,I times ....
and so on up to JDD times each day for two weeks. "ou will see that the divine
:ight stabili4es in the Cerebellum.
CJI
=igure C;. The :ight moves from the -
th
.hakra to .erebellum
=,> E!t#ri!g t$# Pi!#a ga!"
=igure CK. The :ight moves from the .erebellum to the ineal gland
erceiving constant divine :ight in .erebellum is a very high state, but you must
learn how to go beyond it9 learn to locate your ineal Eland and enter it. /aise
your inner ga4e to a 0DT angle. !ntuitively condense all the :ight and direct it
toward your ineal Eland. Above and behind the #$na Chakra, deep into the
.erebrum, the Pineal 9land is located + white in color like the foam in milk.
CJ0
!ntuitively direct all the :ight toward a point which is very near the .erebellum,
but slightly forward and above it, along a line forming a 0DT angle 1with the
pavement.2 By repeating this perception, the formless state is intensified in the
.erebellum until it succeeds in entering the ineal Eland. &ere the supreme
union with the @ivine takes place. !t can take months or even years to complete
successfully this procedure and enter the ineal Eland.
After the 7mkar sound ceases to exist
the (ffulgent =orm appears.
6othing exists except the 5un of the 5oul.
!, 5hama .hurn, am that 5un.
Lahiri Mahasaya
-
-
:ahiri 'ahasaya is 5hama .hurn + 5hyama .haran. This sentence is contained in :ahiri 'ahasaya#s
diaries. 'any sentences from the diaries are to be found in the book urana urusha by @r. Ashok
$umar .hatter>ee
CJ,
.&AT(/ D?
TRIBHANGAMURARI THOKAR AND OTHER ?ARIATIONS
)ri!han"amurari )hokar 1Ma$ro2
This variation of (hokar is so important that it deserves a special analysis. !t
would be most correct to say that this is not even a variation of the procedure of
(hokar we have described in .hapter ,9 it is a wholly new teaching.
Actually it is taught in three separate sessions9 between the first and the
second initiation and between the second and the third one, usually there is one
year of lapse. )hen you practice the procedure learned in the second session,
you practice, at the same time, the one learned in the first session Afterward
when you practice the last stage 1(hokar (ribhangamurari proper, you practice
also the previous two, as one single procedure.
!t is therefore unthinkable to practice the third procedure right from the
beginning and expect to appreciate its potentiality.
(ribhangamurari is the best symbol of Kriya Yoga because apart from showing
the cutting of the three knots, it is also a symbol of &ri Krishna. The shape of
Krishna, as depicted in the iconography, is a form in which you can easily
individuate three curves 1head, spine, bent leg.2 A sentence attributed to :ahiri
'ahasaya9 8To make this body (ribhangamurari 1$rishnaGlike2, three knots have
to be crossed.8
Through this procedure, Kundalini is invited to rise through &ushumna. !n
the beginning, only a minimum of Prana is able to enter the &ushumna and move
upward + this is due to mental restlessness. But sooner or later, the Kundalini
energy will reach the head. The technique fosters this moment because during
each round you cross three main knots 19rantis29 tongue/Medulla, heart, and
coccyx. This happens by coming down from head to Muladhara following the
threeGcurved path (ribhangamurari 1TriGbhangaGmurari U threeGbendGform.2
8irst procedure= #mantrak
#mantrak means ##without the use of a Mantra.##
ractice the following technique with your tongue in Kechari Mudra,
after the practice of Kriya Pranayama and of "a'i Kriya. !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. At the end of this
practice, remain with the awareness centered in the light of Kutastha.
After a deep breath, forget it wholly. <ery slowly raise Prana and awareness
through the spinal channel, from Muladhara to !indu + half a minute is required.
@o not pause in any Chakra. Then let Prana and awareness come slowly
downwards along the (ribhangamurari path and reach Muladhara. Another half
minute is required.
CJ-
=igure CI. Tribhangamurari movement
The (ribhangamurari path begins in !indu, bends to the left, descends into the
seat of Medulla, crosses it, and continues toward the right side of the body. 7nce
a particular point in the back 1IG0 centimeters above the right nipple2 is reached,
it reverses direction crossing the heart knot. After reaching a point in the back
that is IG0 centimeters under the left nipple, it changes its direction again and
points toward the seat of the last knot in the coccyx region. 7ne round of
#mantrak lasts one minute. !f you reali4e it is shorter, let us say KI/ID seconds, it
does not mean the procedure was executed too quickly. &owever, resolve to
reach the exact timing.
=or two weeks, repeat this technique JI times, once a day. Then for another two
weeks repeat it ID times once a day3 then for another two weeks ,I times .... and
so on up to JDD times each day for two weeks. 7nly at this point you are
supposed to practice the following instruction.
&econd procedure= &amantrak
&amantrak means ##with the use of a Mantra.##
The perception of the (ribhangamurari current is intensified by mentally
chanting the syllables of the .asude'a Mantra. )m, "a, Mo, !ha 9a are
CJ?
vibrated into the first five Chakras !a in !indu. (eee is chanted in a particular
way in Medulla9 (eee 1with prolonged eee ...2 is a long sound whose
reverberation touches the point between the eyebrows. 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. (ach syllable when vibrated is like a
mental (hokar 1hit29 since the technique is performed slowly, there is plenty of
time to make this stimulation very effective.
)e have now described one round of &amantrak, which lasts one minute.
!f you reali4e it is shorter, let us say KI/ID seconds, again, it does not mean the
procedure has been done too quickly. &owever, make a resolution to reach the
exact timing.
=or two weeks repeat this technique JI times, once a day. Then for
another two weeks repeat it ID times, once a day3 then for another two weeks ,I
times .... and so on up to JDD times each day for two weeks. Then apply the
following final instruction.
(hird final procedure= (hokar (ribhangamurari
=orget the breath. The hands 1with interlocked fingers2 are placed on the navel
area so as to push the abdominal region upward, thus creating a physical pressure
on the first three Chakras. 5tarting with the chin on the chest, move the energy
and awareness very slowly along the spinal column from Muladhara to !indu.
"our chin comes slowly up following 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 energy and awareness are at !indu the chin is
parallel to the ground.
6ow the descent of the energy begins. The movement of the head follows
millimeter by millimeter its downward energetic flow along the
(ribhangamurari path, from !indu to Muladhara crossing the three knots and
touching the four new centers outside the spine. All this happens in a fluid way
and within ;D seconds or less. The following description of the movements of the
head may seem complicated at first but with a minimum of patience, the right
movement of the head will be learned9 you need only to understand that it is
conceived as a logical and effective way of intensifying a particular snakelike
downward flow of the energy. :et us now begin to describe the movements of
the head.
)ithout turning the face, bend your head sideways a couple of centimeters to the
left. /aise the chin as much as possible 1contract the neck#s back muscles2 and
return to the middle. /eali4e how this simple movement accompanies perfectly
the descent of energy from !indu to Medulla along the first curve of the
(ribhangamurari path. /emain only an instant in this position, with the chin
raised and vibrate the syllable (eee in the Medulla. erceive how this vibration
reaches the point between the eyebrows.
C;D
=rom this position, slowly turn the face to the right and as far as possible.
7nly the face moves, not the torso. @uring this 5:7) movement 1do not be
influenced by the dynamics of the technique of traditional (hokar learned in
chapter ,2, the inner flow of energy moves from Medulla to the eighth center.
&ere the first of five psychoGphysical blows happens9 the chin touches the
right shoulder for an instant and the syllable .a is vibrated in the eighth center.
The shoulder also makes a small upward motion to make contact with the chin
easier. But be careful9 if you feel you#re forcing it, 5T7% Those who are not able
to have this contact with the right shoulder, should content themselves with
coming as close to the shoulder as possible and stimulate the eighth center with
sheer mental strength.
Then the face turns very slowly to the left, accompanying, millimeter by
millimeter, the internal flow of energy from the eighth to the ninth center, and
crossing the fourth Chakra. !f possible, place the chin over the left shoulder. The
second blow takes place when the syllable &u is vibrated in the ninth center and
the chin for an instant touches the left shoulder, which makes a small motion
upward to make 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 following9 The chin slowly moves
toward the middle of the chest while gra4ing the left collarbone. @uring this
movement, two light blows are given to the left collarbone in intermediate
positions. The blows are given of course in the moment in which the syllables of
the Mantra are vibrated. =inally, a last blow is given 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
strokes but mainly in a constant intensification of the mental pressure along the
whole circuit. .onsidering the action of squee4ing an almost empty tube of
toothpaste to get the last bit out gives you a good idea of what happens during
this procedure. )hen the movements of the head are slow and enriched by a
great strength of concentration and will, there is no limit to the increase of the
internal energetic flow along the (ribhangamurari path.
/epeat the procedure ;0 times. After completing the programmed number of
rounds, calm the system with a minimal practice of &amantrak, then relax by
practicing a simple mental Pranayama.
The supervision of an expert helps to avoid any problems + ! am referring
to stress and pain in the cervical vertebrae and in the muscles of the neck. Abrupt
movements should be avoided3 instead use a deep intensity of mental
concentration. =or the first couple of weeks do not practice every day but every
two or three days.
As soon as possible, begin the incremental routine of this procedure by
practicing9 ;0xJ, ;0x;,*.. ;0x;I, ;0x;0. Be careful to allow always one week
to elapse between one stage and the next.
C;C
To those who have the time and good will to complete it, ! recommend
this routine as a very important feat. A minimum of -GCD months is required to
complete it.
After the 'acro movement (ribhangamurari we consider the 'icro movement
(ribhangamurari
)ri!han"amurari Mi$ro
After a minimum of CJ rounds of (hokar (ribhangamurari you can experience
the movement (ribhangamurari in small dimensions inside the CJ centers of the
Macro (ribhangamurari path.
=igure C0. Tribhangamurari micro movement in each of the CJ centers
Through a short inhalation, raise the Prana from the Muladhara Chakra into the
spiritual eye between your eyebrows. Eently lower your chin, hold your breath
and look 8down8 at the Muladhara Chakra. <isuali4e it as a hori4ontal disk,
having a diameter of approximately one inch. erceive on that disk the
(ribhangamurari movement in reduced dimensions. @on#t worry about the
required time9 it may be short, it may be long *. it doesn#t matter. (xert a
moderate but continuous pressure on the disk as if you had a pen and were
drawing a clear continuous mark. /epeat two more times. "our breath is held
effortlessly3 the Prana remains totally in #$na Chakra. After three perceptions of
the 'icro movement, you can relax and let Prana come down. A subtle
exhalation happens but you may not be aware of it.
'ove to the second Chakra and repeat the same procedure. /epeat it for
Chakras ;, K, I, then for !indu, then for Medulla, then for the four centers
outside the spine, and finally for Muladhara.
This is round C9 practice two more rounds. Be faithful to this practice for at least
six months before starting to increase the mental pressure upon each center
employing the syllables of the .asude'a Mantra.
C;J
Mi$ro )hokar )ri!han"amurari utili(in" the Vasude'a Mantra
ractice Kechari Mudra. Through a short inhalation, raise the Prana from the
Muladhara Chakra into the spiritual eye between your eyebrows. =orget the
breath and look 8down8 at the Muladhara Chakra. 'entally utter the syllables
8)m5"a5Mo5!ha59a5!a5(e5.a5&u5De5.a5Ya8. @o this *apa without hurry.
erceive the microGmovement (ribhangamurari and reali4e how the mental
chant of the CJ syllables add a greater 8pressure8 to it.
/emain immobile with no movement at all of the spinal column or of the
head. &ere all the power of pressure has to be obtained with the sheer repetition
of the syllables of the Mantra. These syllables are like mini 8thrusts8 or
8pulsations8.
The duration of one round is determined by the speed of the chanting of
the Mantra. =or many people, the chanting of the Mantra and consequently, the
microGmovement lasts about CDGCJ seconds. /emember that :ahiri 'ahasaya#s
recommendation was 8@on#t be in a hurry%8 7bserve the difference between
going slowly and with speed. !f you go slowly, you will perceive a tremendous
power.
/epeat the .asude'a Mantra three times. Prana remains totally in the
head. After three perceptions of the microGmovement, repeat the same procedure
in Chakras J, ;, K, I, then in !indu, then in Medulla, then in the four centers
outside the spine, and finally in Muladhara. This is one round9 practice ;GCJ
rounds. At the end of this practice, remain with the awareness centered in the
light that you will perceive in the upper part of your head.
C;;
SECOND PART: OTHER ?ARIATIONS OF THE KRIYA TECHNIQUES
! have decided to include here a description of some useful variations of the main
techniques of Kriya Yoga. They have different origins. 5ome have a good
connection to :ahiri 'ahasaya#s original legacy. 7thers have the perfume of the
Radhasoami &ant Mat, others the power of Kundalini Yoga3 some betray the
influx of the 3nternal #lchemy 6 "ei Dan the central practice of (aoism.
)hat ! am going to describe might seem not important, however some
variations are commonly appreciated and adopted at the place of the standard
techniques. 7ften they represent a way to expand the potentialities of the
canonical technique.
=*> ?ARIATIONS OF OM /APA
*ther !ija Mantras instead of *m
5ome schools teach to chant 1loudly or mentally2 .am or !am or %rom at the
place of )m. (specially %rom 1a sustained &rooooooom2 turns out very effective
in flooding with euphoria those who practice.
3tili(in" the !reath
)hen you mentally chant )m in a Chakra, you can emphasi4e the effect of this
action by inhaling ##in## it and exhaling ##from## the same. To be more clear, focus
your awareness on the Muladhara Chakra and breath deeply visuali4ing the air
coming in and out from that point. /epeat this for each Chakra.
4ith a stron" fo$us in Medulla
=ocus your awareness in Medulla. Become 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 energy at first Chakra location.
=rom Medulla, bring part of your awareness in the second Chakra.
/epeat #s-ini Mudra feeling the quiver of energy at second Chakra location.
:et the same happen in the third .hakra, then in the fourth, fifth, Medulla. Then
Medulla again, fifth, fourth, third, second, first Chakra. This is one cycle. 5ix
cycles are enough.
Remark
#s-ini Mudra means contracting repeatedly the muscles at the base of the spine
with the rhythm of about two contractions per second. )hile learning the
technique, a yogi contracts the buttock muscles, perineum or even the entire
pelvic region also3 with time, the contraction involves only the sphincter
muscles.
#s-ini Mudra is different from Mula !andha. !n Mula !andha we have
C;K
only one long contraction and not a series of contraction and release as we have
in #s-ini Mudra. Both in Mula !andha and in #s-ini Mudra you mentally exert
a pressure on the lower part of the spine.
=-> ?ARIATIONS OF KRIYA PRANAYAMA
4ith 5on" e6halation and &um!haka
The ratio J9; for inhalation and exhalation is very comforting and more natural
than C9C. AJ9; means that if inhalation lasts CJ seconds, exhalation lasts C-
seconds.B !n time you can add Kumbhaka after inhalation. 5tarting with K
seconds you can hold your breath for a time equal to inhalation. A=or instance9 CJ
seconds inhale, CJ seconds hold, C- seconds exhale.B This detail can be applied
to each following Kriya Pranayama variations.
&riya Pranayama 17
st
part2 with Aswini Mudra
racticing #s-ini Mudra continuously during Kriya Pranayama is a wise choice.
@uring inhalation and exhalation of the first CJ Kriya breaths, #s-ini Mudra
should be strong3 subsequently, it should decrease in intensity and become like a
slight 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 awakening. As you
know, Kundalini awakens when Prana and #pana unite and there is perfect
immobility of the body. 6ow, through #s-ini Mudra, you gently push the #pana
current upward to the navel region where it meets Prana.
!f this procedure may seem annoying and disturbing, it is essential to be
unshakeable and go ahead with it. At a certain point you will have the certainty
that something positive is happening. "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 evening will fill you with >oy.
&riya Pranayama 17
st
part2 with Mula Bandha
@uring the last instants of inhalation of a Kriya breath, visuali4e the current
reaching !indu, then 8rotating8 left, coming down a little bit and entering the
Medulla. !t is in this moment that Mula !andha is practiced intensely, the breath
is held and the eyebrows are raised. The sensation is that the energy is pushed
from Medulla into Kutastha. A sensation of internal light spreads from Kutastha
to the upper part of the brain.
Then exhalation begins, the tension of Mula !andha is released and the
energy goes down to Muladhara. Kechari Mudra cooperates with the process9
during Mula !andha, the tongue 1inside the nasal pharynx2 is pushed upward and
forward.
&riya Pranayama 17
st
part2 with parti$ular per$eption of rotatin" ener"y
)hat ! am going to describe, comes out very easily to those who have practiced
the two previous instructions. After some days of successful practice of #s-ini
C;I
Mudra or Mula !andha during Kriya Pranayama, the spinal path of the energy
is perceived as an helix. !n a nutshell, starting from the base of the spine, the
energy comes up rotating counterclockwise along the spinal channel. Then the
energy comes down along the same path, hence rotating clockwise. "ou will
experience a strong sensation of physical immobility and perceive your spine as
a steel bar. "ou are very near to the state of &amadhi.
&riya Pranayama 1
8nd
part2 with parti$ular Chakra stimulation
)hat we are going to describe concerns only the exhalation of the J
nd
part of
Kriya Pranayama. A!t comes out easily to those who have practiced the previous
instructions.B
@uring exhalation, reali4e that it is not difficult to give a particular ##>erk##
at each Chakra location. (ach kriyaban has such power and you can increase it.
)hen you give the >erk, 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 energy stimulating one Chakra at a time. The
final >erk in Muladhara at the end of exhalation creates an intense outburst of
>oy.
)hile progressing in this practice, you can experience a really
internalized exhalation. This happens when you give a >erk to Medulla and the
physical breath disappears entirely. 3nternalized exhalation is not accompanied
by the exit of the air through the nose. This is one of the mysterious facts of
Kriya, difficult to understand with the sheer logic.
=1> ?ARIATIONS OF NA?I KRIYA
Chantin" *m alternati'ely !etween &utastha and na'el
This is a very sweet and comfortable variation of "a'i Kriya. All the details of
the standard "a'i Kriya given in .hapter 0 up to the forward movement of the
head remain unchanged. 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 doing it is to synchroni4e the breath with the )m
chanting. <isuali4e a tiny silver cord that comes out from the point between the
eyebrows bends slightly and goes down to the navel. )hen it comes natural to
have a very short inhalation, inhale 1only what is necessary2, visuali4e the
movement of air rising, through 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, visuali4ing the movement of air going down
into the navel, pause and chant )m mentally in the navel. By repeating this, you
will markedly feel that your breath begins to subside and disappear. )hen this
happens, go on mentally chanting the )m Mantra in alternation between the
point between the eyebrows and the navel and moving the focus of your
awareness between these two points, without ceasing being aware of the 8silver
C;0
cord8. .arry on.
)hen )m is chanted about ,I times, bend your head backwards and
repeat a similar procedure by chanting )m in alternation between the !indu and
the third Chakra. <isuali4e another tiny silver cord that connects 1outside your
body2 the !indu to the third Chakra. :et your breath + if there is still a trace of
breath + flow freely through that cord. )hen )m is chanted about JI times,
resume the chin#s normal position and chant mentally )m in the point between
the eyebrows Medulla Chakras I, K, ;, J and C. This is one "a'i Kriya. The
optimum is to have K cycles of "a'i Kriya.
9a'i &riya $omin" down throu"h four dire$tions
The following variation of "a'i Kriya is the one many kriyabans like the best.
As it happens in the basic form of "a'i Kriya, a kriyaban#s awareness goes
slowly up along the spinal column placing the syllable )m in the six Chakras.
Then the chin is brought down toward the throat cavity.
6ow, a short inhalation 1two seconds maximum, without concentrating on
the Chakras2 is followed by a very long exhalation, during which, the energy is
felt descending from the frontal part of the brain, along a path outside the body
to the navel, reaching through it the Dantian region.


@uring this long exhalation, )m is chanted mentally, rapidly, CDGCI times,
accompanying the descent of energy throughout 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 energy happens through
a different path. A short inhalation draws the energy into the head again. The
head bends but not in the front9 it bends toward the left shoulder, without turning
the face. A long exhalation 1with the same chanting of )m )m )mA2
accompanies the downward movement of energy which starts from the brain#s
left side and moves along a path outside the body at its left side 1as if shoulder or
arm would not exist2. The energy comes down to the waist, cross it and moves
toward the Dantian.
The head moves back into its normal position. After a short inhalation the head
bends backwards. A long expiration 1with the same chanting of )m )m )mA2
accompanies the downward movement of energy which starts from the occipital
region 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 region
1Dantian2. The procedure is repeated likewise on the right side.
This last exhalation concludes a mini cycle of four exhalations accompanied by
four descents of energy towards the waist and, crossing it, towards the region of
low abdomen. This mini cycle is repeated ? times. !n conclusion we have had
Kx? U ;0 descents of energy. After these exhalations, the procedure ends with a
mental chanting of )m in each Chakra from #$na Chakra to Muladhara.
)hat we have described lasts -GCD minutes and is equivalent to K
repetitions of the basic form of "a'i Kriya.
C;,
=igure C,. The most important variation of 6avi $riya9 the energy enters the Dantian
along four directions
Remark
As the practitioner proceeds with the rotations and the effects of the technique
become more and more perceptible, the movements of the head become less
marked + the process internali4es. 7ne phenomenon is remarkable9 at the very
moment the order to exhale has been imparted by the mind, it feels as if the lungs
cannot move. 5ome instants later comes the awareness of something subtle
descending into the body. A new kind of exhalation is en>oyed, like an internal
allGpervading pressure. !t brings about a peculiar feeling of wellGbeing, harmony,
and freedom. 7ne has the impression one could remain like that forever. :ogic
implies that breath is coming out of the nose, yet you would swear it doesn#t.
This may be considered the first experience of Pranayama -ith internal breath
1also called Kriya of the cells2 that we are going to discuss in .hapter CJ.
9a'i &riya with &um!haka
!nhale, hold the breath and intensify the concentration on the navel through the
three !andhas 1Mula !andha, 1ddiyana !andha and *alandhara !andha2. !n
this position, with the chin tilted down, mentally chant )m CJ times in the navel
exerting a continuous mental pressure upon it. Then exhale unleashing the
!andhas and raising the chin with a slight tension.
)ith the chin raised, inhale through the nose. )hile holding the breath,
focus the concentration on the third Chakra Manipura. 'entally chant )m C-
times in Manipura exerting a form of mental pressure upon that center. Then
exhale keeping the chin in the normal hori4ontal position. art one V part two
are one "a'i Kriya. /epeat four times.
C;-
=5> ?ARIATION OF MAHA MUDRA 1This genial variation of Maha Mudra
was taught by 5wami &ariharananda Eiri2
=a> First part/ forward !endin"s at your waist
Before practicing this variation of Maha Mudra, sit on the pavement in the halfG
lotus position or on the heels. (xhale. .oncentrate on #$na. Become aware of
Muladhara. Through a deep inhalation 1not necessarily as long as in Kriya
Pranayama2 visuali4e the breath coming from the physical location of
Muladhara up the spine until you complete the breath at #$na. &old your breath.
Bend at the waist and preferably touch the floor with your head. 1The head is
placed in the region between the knees. Hse your hands freely in order to achieve
this position comfortably.2
=igure C-. =orward bent. =irst position
Eently breathe out and let the breath free. After touching the forehead to the
floor, twist first to the right, nearing the right earlobe to the right knee. The head
comes near the right knee, the face is turned toward the left knee so that it is
possible to perceive a pressure on the right side of the head3 a sensation of space
is perceived inside the left side of the brain. /emain in this position for ; to ;D
seconds. 'ove head back to center until forehead touches ground. Then repeat
the same exercise with the other side of the body, reversing the perceptions.
'ove your head until your left ear is directly over the left knee. Try to
experience internal pressure in the rightGside of your head3 a sensation of space is
perceived inside the right side of the brain. /emain in this position for ; to ;D
seconds. Then the head is placed in the region between the knees again, the face
turned downward. A pressure is felt on the forehead. A sensation of space is
perceived inside the occipital region.
@uring this delicate process you are breathing normally and your
awareness is mainly at #$na Chakra while your eyes are focused on !hrumadhya
1the point between the eyebrows.2 Then sit up straight, inhaling deeply. Through
a long exhalation let the energy go down from #$na Chakra to Muladhara.
Through a deep inhalation visuali4e the breath coming from the physical
C;?
location of &-adhisthana up the spine until you complete the breath at #$na....
/epeat all the previous process.
Then repeat this process for Manipura #nahata .ishuddha and #$na Chakra. !n
this way you will en>oy six bows.
?
=,> Se$ond part/ Maha Mudra with a parti$ular position of the head
Bend the left leg under the body so the left heel is near to the perineum. @raw the
right knee against the body so the thigh is as close to the chest as possible. The
interlocked fingers are placed >ust below knee applying pressure to your internal
organs. Take I to 0 very deep breaths with moderate pressure applied to knee.
Then inhale deep and hold, extend the right leg, bow down, breath normally and
massage the right leg from the foot to the thigh and hip. Then grasp the right foot
in this way9 the right hand grabs the right toes while the left hand grabs the inner
side of the middle part of the right foot 1the arch of the foot2. The face is turned
to the left. "ou perceive a sensation like an inner pressure on the right side of the
head. !t contrasts with the free space sensation in the left side of the brain. .hant
)m six times in the point between your eyebrows. Then inhale and hold, sit back
up onto your left foot with right knee folded into your chest, then exhale into
normal conscious breathing.
=igure C?. <ariation of 'aha 'udra9 notice the position of the hands and of the head
ractice the whole procedure by reversing the perceptions and the position of the
legs. ! won#t repeat everything + don#t forget the chant of )m six times in the
point between your eyebrows.
6ow, draw both knees against your body. (xtend both legs, bow down,
breath normally and massage both legs from feet to thighs and hips. Then grasp
both feet9 right hand to right toes, left hand to left toes. Breathe normally, flex
feet K or I times then relax with the head down as near to knees as possible.
(xperience internal pressure on the front part of the head. A sensation of space is
perceived inside the occipital region. .hant )m six times in the point between
your eyebrows. Then inhale and hold, sit up and massage toes, then fold legs
back to chest and exhale. As usual, this exercise is repeated three times.
?
To repeat this process for #$na Chakra means9 stand erect, inhale, visuali4e the breath moving from
#$na forward to !hrumadhya, hold your breath, bend at the waist....place your head between the
knees, breathe out and let the breath free *
CKD
After this intense form of Maha Mudra you can use your hands like in Yoni
Mudra, close only left ear and listen to the internal sounds. Then close only the
right ear and listen. Then close both ears and listen. Then try to listen without
closing ears.
Remark C
To increase the power of these two procedures 1##bendings## followed by a
particular form of Maha Mudra2, you can hold your breath when you are down.
"ou will get a very strong sensation of energy rising up and intensifying in the
point between your eyebrows. Breath retention is a powerful Kundalini
stimulator. !f you are not ready for the power generated by this procedure, if you
feel like 8spaced out8 after your meditation or if you feel too much irritable, don#t
hold your breath.
Remark J
)hen you bend your body left, your right nostril will open. )hen you bend your
body right, your left nostril will open. )hen you bend your body in the front,
you get equal pressure of flow of breath inside your nostrils. "ou get balance of
the mind and calmness in your body. "our spinal chord passage will open.
The lunar channel of 3da is situated at the left side of the spine3 the solar
channel of Pingala is situated at the right side of the spine. Both chords cling to
each other. By the repeated practice of Maha Mudra, they are separated and, as a
consequence, an hollow passage is opened between the two. The opening of the
spiritual passage within the spine 1&ushumna2 is the starting point of the practice
of meditation.
=7> ?ARIATION OF OMKAR PRANAYAMA 1This genial variation of )mkar
Pranayama was taught by 5wami &ariharananda Eiri2
.onsider the second part of )mkar Pranayama 1the breath is not controlled.2
=ocus on Muladhara Chakra. erceive there the three qualities of the @ivine.
/epeat )m )m )m )m )m )m ..... different times. Then focus on
&-adhisthana and repeat "a "a "a "a "a "a.... many times... Then Mo Mo Mo
Mo Mo Mo .... in Manipura !ha !ha !ha !ha !ha !ha... in #nahata 9a 9a 9a
9a 9a 9a.... in .ishuddha !a !a !a !a !a !a * in #$na practice the
following five bows of the head9
The chin bends '%r4ar" towards the throat cavity9 the divine :ight flows down
from above the head 1seat of the (ternal Tranquility2 into the occipital region of
the brain, then into the spine and into the body. After feeling this for about CDGJD
seconds, resume the normal position and bend the head slightly toward the #'t
shoulder, without turning the face. The previous experience of the divine :ight
infusion happens again. @ivine :ight flows down from above the head into the
right part of the brain, then into the spine and into the body. /emain in this
position for about CDGJD seconds, then resume the normal position. 6ow the head
CKC
bends ,a(04ar"&9 the same experience happens and divine :ight flows down
into the frontal part of the brain, then the spine and the body. /emain in this
position for about CDGJD seconds, then into the spine and into the body. 6ow the
head bends slightly toward the rig$t shoulder, without turning the face. The
same experience happens and divine :ight flows down into the left part of the
brain, then into the spine and into the body. To close the round, the chin bends
'%r4ar", towards the throat cavity9 the same experience happens ...... The head
then resumes its normal position.
6ow focus on #$na and repeat9 (e (e (e (e (e (e ....., then focus on .ishuddha
and repeat .a .a .a .a .a .... and so on... until you repeat Ya Ya Ya Ya Ya Ya ... in
Muladhara.
/epeat at least three times the whole process.
)ell, what is the point, what is the difference with the canonical techniqueN
5wami &ariharananda explained that after many repetitions of this procedure, the
upper part of the brain will remain ideally in the space, separated from the
physical body. &e said that this procedure ends in ##cracking the coconut.## The
coconut is the head, whose upper part is detached from the lower part.
"ou must actively cooperate to reach this result. "ou must induce, invite
the divine energy in each part of the head. The spiritual :ight will gradually
pervade the upper part of the head.
=8> ?ARIATION OF THOKAR
)hokar with different mo'ements of the head
.onsider the 7lementary form of (hokar. 5tart with your chin parallel to the
ground. After inhaling with )m in Muladhara, "a in the second Chakra, Mo in
the third, !ha in the fourth, 9a in the fifth and !a in the sixth, bend your head
forward and touch your chin to your chest. &old your breath. =orm this position,
move your head to the left turning your face to the left and raising your chin until
it is over the left shoulder and parallel to the floor. Then start a slow rotation of
your head back in counterclockwise direction. )hen your head is centered
between the shoulders and your chin is up as much as possible 1and the muscles
at the back of your neck are contracted2 chant )e at the heart Chakra.
/elease the contraction and continue the counterclockwise rotation of
your head so that your right ear moves toward the right shoulder 1this means that
you don#t turn your face to the right.2 @o not make a pause there but continue the
circle until your chin is again centered, touching your chest. )ithout pausing
there, continue the motion by moving your head to the left, turning your face to
the left and raising your chin until it is over the left shoulder. At that point,
slightly raise your chin, contract the cervical muscles and chant Va at the heart
Chakra.
/elease the contraction and continue the rotation, but this time when you
reach the midpoint between the shoulders 1chin is not forcefully up like in the
CKJ
previous round2, gently tilt the head forward, bring the chin to the chest, and
chant Su at the heart Chakra. 6ow raise your chin until it is again parallel to the
floor and start the exhalation. .hant De at Manipura, .a at &-adhisthana, and
Ya at Muladhara.
/emark
The above description of the motion of the head is divided into parts. But the
complete movement should be smooth and without breaks.
)hokar upon all the Chakras
5tart by practicing the #d'anced form of (hokar thus acting upon the heart
Chakra but only CJ times. Then exhale 1with De .a Ya.
6ow repeat the procedure of the #d'anced form of (hokar 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 again, second, third, fourth. As you direct
your stroke toward a Chakra, the muscles near that Chakra can be slightly
contracted, >ust to help the process.
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 .hakra when you chant Ya.
"ou can repeat this variation of (hokar for a reasonable number of times.
At the end of it, focus on the energy that rises like waves of a tide from
Muladhara growing higher and higher, reaching a Chakra, then again falling
down and moving from the base of the spine to a higher center and so on, until
you feel the energy in the heart Chakra and in the head.
Remark
This procedure requires great care because it affects the person#s behavior during
daily life. "ou could excessively react to trivial impediments and irrational
behavior. !n short, some sharp personality traits of yours might surface with a
force that in some cases could be ##destructive.## 7bviously, they do not appear
out of nothing, they are not caused by the technique + they express what you had
held within you for a long time.
)hokar upon all the Chakras - stron"er 'ariation
An experienced kriyaban practices (hokar directing the stroke repeatedly upon a
.hakra H6T!: there is a definite result9 ! mean experiencing the (att-a related
to that Chakra. A good order is to practice upon heart Chakra, then third, second,
first, again second, third and fourth. The &amadhi state is often experienced at
the end of the practice provided that the kriyaban is able to regain complete
mental and physical immobility.
7ften the effects of this practice are difficult to metaboli4e. The process
tries to the limit your psychological soundness 1for this reason it is not
commonly taught.2 !t is not surprising that some kriyabans reach the conclusion
that this procedure generates effects which are essentially negative. They have
also reported to feel drained of any devotion, motivation and >oy. 5ome hint at
CK;
the ##dark night of the soul## described by mystics. This is surely an exaggeration.
!n my opinion the best solution is to conclude the routine by resuming the
practice of Kriya Pranayama, second part, for a great number, until the breath
seems to disappear. .oncluding with "a'i Kriya, Maha Mudra and Yoni Mudra
is also advisable.
=9> UTILIBATION OF MICRO THOKAR TO STIMULATE
PARTICULAR CENTERS IN THE BRAIN
The Micro (hokar procedure can be also utili4ed to stimulate or activate
particular centers in the brain and along the crown of the head. This is a very
good preparation for the (hird Kriya &tep.
!nhale from Muladhara into the M#"ua. &old your breath. 7scillate slowly
your head left + right + return to center, keeping the focus of concentration in
Medulla. 'entally chant (e when you move to the left, .a when you move to the
right, &u when you return to the center. /epeat three times, always holding your
breath. A calm exhalation follows.
6ow inhale from the second Chakra into the C#r#,#u.. &old your
breath. /epeat three times the same oscillations of the head with (e .a &u,
focusing all your attention on the .erebellum. (xhale and come down to the
third Chakra location.
!nhale from the third Chakra into the P%!& ?ar%ii 1to perceive it, come from the
cerebellum toward the center of the head, over Medulla 6 a few centimeters
forward2. &old your breath. /epeat the procedure with (e .a &u three times,
focusing all your attention on this center. (xhale and come down in the fourth
Chakra.
!nhale from the fourth Chakra into the T$aa.u&. To perceive it, slightly
swing your head back and forth. =eel a hori4ontal line that comes from the point
between the eyebrows backwards. At the same time feel the vertical line that
comes down from the fontanelle. The Thalamus is the point of intersection of the
two lines. )hen you have it, repeat three times at that point the procedure with
(e .a &u. (xhale and come down in the fifth Chakra.
!nhale from the fifth Chakra into a point .i"4ay ,#t4##! T$aa.u&
a!" F%!ta!##. To perceive it, swing slightly your head back and forth. =eel a
hori4ontal line that comes from !indu 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. /epeat three times in that point the procedure with
(e .a &u. (xhale and come down in Medulla.
!nhale from Medulla into F%!ta!##. /epeat three times in that point the
procedure with (e .a &u. (xhale remaining in 8ontanelle.
!nhale into 8ontanelle, exhale from 8ontanelle into the point midway between
Thalamus and =ontanelle.
!nhale into 8ontanelle, exhale from 8ontanelle into the Thalamus.
CKK
!nhale into 8ontanelle, exhale from 8ontanelle into the ons <arolii
!nhale into 8ontanelle, exhale from 8ontanelle into the .erebellum.
!nhale into 8ontanelle, exhale from 8ontanelle into the 'edulla.
/emain with your awareness in the 'edulla or practice the following procedure
devoted to stimulate the crown of the head.
:et us consider the technique of )mkar Pranayama. )e have seen that at the end
of inhalation there is a pause where the awareness makes a complete, counterG
clockwise turn along the crown of the head. This rotation happens inside the
brain, under the cranial bone. 7ne starts the round from the occipital region
1!indu2 and comes back to it.
The section of the brain containing !indu and extending hori4ontally to
the upper part of the frontal region of the brain is very important in the practice
of the %igher Kriyas. (mphasis is given to experience the energy through the
brain substance + this movement happens with a particular internal pressure.
)ell, now we are going to practice the Micro (hokar along the same path%
!nhale from Muladhara into the occipital region of the brain 1!indu.2 =ocus in
this part of the brain, hold your breath and go through the experience of the
'icro movement ; times 1by repeating (e !a &u ; times.2 (xhale calmly.
!nhale from the second Chakra into the ad>acent part, to the right of
!indu. =ocus in this part of the brain, hold your breath and go through the
experience of the 'icro movement ; times 1by repeating (e !a &u ; times.2
(xhale calmly.
!nhale from the third Chakra into the part of the crown over your right ear.
* ; Micro (hokar holding your breath... !nhale from the fourth Chakra into the
part of the crown ad>acent to the previous part along the counterclockwise
direction of our movement. * ; Micro (hokar holding your breath... !nhale from
the fifth Chakra into the part of the crown over the eyebrows point. * ; Micro
(hokar holding your breath... !nhale from Medulla into the central part of your
brain under 8ontanelle. * ; Micro (hokar holding your breath... /epeat this last
action of inhaling from Medulla... !nhale from the fifth Chakra into the part of
the crown over the eyebrows point. * ; Micro (hokar holding 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 region of the brain 1!indu.2 !nhale
from the fourth Chakra into the part of the crown ad>acent to the previous part
along the counterclockwise direction of our movement. * ; Micro (hokar
holding your breath... !nhale from the third Chakra into the part of the crown
over your left ear. * ; Micro (hokar holding your breath... !nhale from the
second Chakra into the ad>acent part. * ; Micro (hokar holding your breath...
!nhale from Muladhara into the occipital region of the brain 1!indu.2 * ;
Micro (hokar holding your breath...
This is one round. After two or three rounds, a sudden bliss manifests and
one is no longer able to mentally chant anything. The procedure ends in ecstatic
absorption.
CKI
Remark
The described procedures create a very strong effect. !n a merciless way you
become aware of the ego#s subtle tricks that drive human actions. The reason for
many wrong decisions appears with a definitive clarity, free of all covering veils.
The ego 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 might appear 1hours
after the practice2 inexplicable waves of fear, the sensation of not knowing where
you are and where you are directed to. This is a natural reaction coming from
some subtle layers of the brain you have touched.
=:> ?ARIATIONS OF YONI MUDRA
-oni Mudra intensifyin" the prin$iples of Re'ersed Breathin"
!n this variation of Yoni Mudra you create, during inhalation, a great mental
pressure inside the spine. Then you apply the hand Mudra 1>ust what we have
described in the standard Yoni Mudra2 and, while holding your breath, you
increase this pressure by applying all the possible !andhas and Mudras 1Mula,
.a$roli, 1ddiyana *alandhara.2
.a$roli means working with the muscles which control the passage of
urine. "ou have to observe first what muscles are acting when passing urine and
suddenly cause the flow to stop. By repeatedly doing this you will learn to
exercise the proper muscles only. As for *alandhara !andha you rotate the face
left and right and then lower the chin as far as it is comfortably. @uring these
movements, you let your fingers stay in place, closing the openings.
!t is easy to feel the stretching of &ushumna from the third eye to the root.
&old your breath for a time that does not create discomfort. The internal pressure
upon the spine becomes the only focus of your concentration. !n other words you
don#t chant )m )m... in Kutastha. @uring Kumbhaka you focus on this column
of light from Muladhara to the fifth Chakra. (xhale smoothly, relaxing each
tension, and you will discover how sweet and comforting is the focus on
Kutastha that ensues consequently. "ou will practice only three of these Yoni
Mudra.
Ad'an$ed form of -oni Mudra
!n the following practice of Yoni Mudra each Chakra is raised separately. 5tart
your practice by utili4ing the wellGknown hand Mudra.
Become aware of Muladhara Chakra. .ontract the muscles near
Muladhara9 the back part of the perineum. "ou can keep the contraction until the
abdomen and spine vibrate. Then lift this Chakra through an inhalation to the
point between the eyebrows. &old the breath for as long as you feel comfortable
1about CD GCI sec2 while trying to perceive the particular light of Muladhara in
Kutastha.
/elax the physical tension and exhale. Breathe out with 8huhG
huhhhhhhhh8 and ideally place Muladhara Chakra back down to its original
position. Then make a ##leap of awareness## to the second Chakra &-adhisthana
CK0
and contract the muscles of the sex organ and the sacrum. "ou can practice
.airoli Mudra 1contract and relax both the urethral sphincter and the muscles of
the back near the sacral center.2 Then do exactly what you have done with the
Muladhara Chakra...
)hen &-adhisthana is again in its initial position, with a ##leap of
awareness## focus on the third Chakra Manipura. Tighten the muscles of the
abdomen at the level of the navel9 quickly 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...
/epeat the same scheme for #nahata Chakra. (xpand the chest. Bring the
shoulder blades together 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 quickly from side
to side 1without turning your face2 a couple of times, perceiving a grinding sound
in the cervical vertebrae. This is only to locali4e the cervical center. 6ow
contract the muscles of the back of the neck near the cervical vertebrae. Then lift
this Chakra through an inhalation to the point between the eyebrows. &old ....
etc.
Medulla9 raise the chin, tense the muscles near the Medulla 1under the
occipital region2, clench the teeth, and see the light at the point between the
eyebrows. =eel that you are offering your #$na center to the light of the spiritual
eye in !hrumadhya. (xhale and release all contraction.
To end the procedure, put the palms of your hands over the eyelids and remain
there seeing a white light for JG; min. )hen the light disappears, lower your
hands.
Remark
'any find the following technical detail very useful9 before lifting a Chakra, let
the inhalation ideally start from its 8frontal8 component, come towards its
location in the spine and then come up to the point between the eyebrows. The
erineum is the frontal component of Muladharathe pubic area is the ##frontal##
part of &-adhisthana Chakra3 Manipura is linked with the navel3 the central
region of the sternum is the ##frontal## part of #nahata3 the upper front part of the
throat is linked with .ishuddha.
=C> GAYATRI KRIYA
5ome kriyabans practice this technique at the place of all the %igher Kriyas that
come after (hokar. )e know that this technique is very ancient and existed
before :ahiri 'ahasaya begun teaching. !ts structure is well known in !ndia and
is considered the subtlest way of using the 9ayatri Mantra. This Mantra is
considered to be a supreme vehicle for gaining spiritual enlightenment. The
purest form of 9ayatri Mantra is (at &a'itur .arenyam !hargho De'asya
Dhimahi Dhiyo Yonaha Prachodayat. 17h, great 5piritual :ight who has created
CK,
the Hniverse, we meditate upon "our glory. "ou are the embodiment of
$nowledge. "ou are the remover of all !gnorance. 'ay "ou enlighten our
!ntellect and awaken our !ntuition.2
This Mantra is prefaced with either a short or a long invocation. The short
invocation is9 )m !hur )m !hu'ah )m &-aha. The terms !hur !hu'ah
&-aha are invocations to honor the three planes of existence 1physical, astral,
and causal respectively2 and to address their presiding deities. The long
invocation is9 )m !hur )m !hu'ah )m &-aha )m Mahah )m *anah )m
(apah )m &atyam. This invocation is more complete since it recogni4es that
there are more planes of existence9 the seven Lokas. Mahah is the mental world,
the plane of spiritual balance3 *anah is the world of pure knowledge3 (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 opening long invocation in its complete form and not
all the parts of the 9ayatri Mantra. The Kriya tradition we are following here
links Manipura with )m Mahah and #nahata with )m &-aha. The reason is that
the world of thinking, evoked by )m Mahah is more appropriate to the nature of
the third Chakra, while the causal world of pure ideas, evoked by )m &-aha is
related to #nahata Chakra.
Become aware of the Muladhara Chakra. .ontract the muscles near its physical
location9 the contraction can be repeated twoGthree times. Through a deep
inhalation 1not necessarily as long as in Kriya Pranayama2 visuali4e the
Muladhara Chakra coming up into the point between the eyebrows, where you
perceive it as a full moon. "ou don#t come up ##touching## the other Chakras.
6ow they don#t exist. &old the breath and focus on the 8inner space8 between the
eyebrows. This comes out easily with Kechari Mudra.
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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 !hur
Then, through a long exhalation, ideally lower this Chakra from the point
between the eyebrows to its proper location in the spine. 6ow you know what to
do with each other Chakra.
The Mantras to be utili4ed are9
)m !hur for Muladhara
)m !hu'ah for &-adhisthana
)m Mahah for Manipura
)m &-aha for #nahata
)m *anah for .ishuddha
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8$eGchari8 is literally translated as 8the state of those who fly in the sky, in the ether8. A particular
8space8 is created in the region between the tip of the tongue and the point between the eyebrows and
is perceived as a 8vacuum8, although it is not a physical void. By merging into this empty space, it is
easier for a kriyaban to perceive the rhythms of each Chakra and distinguish them one from another.
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)m (apah for Medulla
Add a particularly intense concentration at the point between the eyebrows. &old
your breath3 raise your eyebrows, become aware of the light. /epeat )m &atyam.
6ow complete the 8round8 by lifting Chakras I, K, ;, J, C, always using the
contraction, the chanting of the Mantra being aware of any particular :ight
experience in Kutastha. !f possible repeat the procedure 0 to CJ rounds.
!n Kriya tradition, the Chakras are related to the five (att-as9 earth, water, fire,
air, and ether. 7ffering each (att-a individually to the light of the 8spiritual eye8
gathering and intensifying in the region between the eyebrows is the highest
action ever conceived to dispel the last shell of illusion.
The experience of the changing colors in the spiritual eye means to
perceive the particular vibration and light frequency of each Chakra. By
familiari4ing with these frequencies leads you to the reali4ation that all the
universe exists in Kutastha.
!f you persevere 1refusing the scruple that this procedure doesn#t come out with
tangible effects2 and give this technique a fair trial, you will experience a definite
transformation of your state of consciousness. !n whatever way you look at it,
the contribution of this technique in removing the last internal obstacles blocking
our efforts to enter &ushumna is exceptional.
!n time it will be possible for you to mentally repeat ##)m !hur8 ;0 times holding
your breath. This gives you the power to tune with earthG(att-a experiencing the
peculiar ##vibration## of the Muladhara Chakra.
At the same time, by repeating the Mantra ##)m !hu'ah## ;0 times it will
be possible to tune with waterG(att-a having its seat in the second Chakra....
then comes the turn of the fireG(att-a...
=amiliarity with the breathless state gives you the ability to stop at each
Chakra 1like a bee on a flower2, bathing for a precise time in the (att-a linked with
that Chakra. The ideal time is what is required to do ;0 repetitions of the related
Mantra. 5tay with the number ;0 to resist the tendency to lose yourself in a state of
bliss arising from each Chakra. The (att-a related to a Chakra tends to entrap oneFs
attention, resulting in an indefinite pause on a Chakra with nothing being
accomplished. The ;0 repetitions of the Mantra will help you to have full
experience of each (att-a but, at the same time, go beyond it. The meaning of the
9ayatri Kriya is exactly this9 tuning in with each (att-a one after the other, up and
down along the spine.
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App#!"i; t% C$apt#r C: R#'#(ti%!& a,%ut t$# Tri,$a!ga.urari .%6#.#!t
The Macro mo'ement (ribhangamurari is perceived first by simply moving
one#s awareness along a prescribed path, then this perception is reinforced
through the help of the .asude'a Mantra and then through the help of the
movements of the head.
As for the purpose of this perception, the main idea is that it induces the
natural movement of Kundalini energy, guiding it to cross the three main knots
19ranti29 tongue/Medulla, heart and coccyx. !t is obvious that this theoretical
explanation would require more space and other key clarification. The given
description has raised many doubts in the readers. Their legitimate ob>ections are
worth quoting.
A very pertinent one was9 ##These techniques come from 5atya .haran
:ahiri 1grandson of :ahiri 'ahasaya2 but we have no proof they come from
:ahiri 'ahasaya. )e know that 5atya .haran practiced seriously after retiring.
6ow, who guided him, as his father Tincouri :ahiri was no more there. .ould he
have misinterpreted the diaries and diagrams describing the (hokar techniqueN##
7ther readers asked why many schools don#t teach anything related to the
(ribhangamurari movement but consecrate the last stages either to (hokar or to
9ayatri Kriya 1the process of raising the Chakras into Kutastha.2
As many have observed, some drawings which appeared in Kriya Yoga
books, inspired by :ahiri 'ahasaya#s diaries, show something similar to the
(ribhangamurari movement but not identical.
7ther questions show the genuine desire to understand where in one#s
daily routine to place the (ribhangamurari techniques and, above all, if the
(hokar5 (ribhangamurari can replace the different stages of (hokar.
!n my opinion (hokar5(ribhangamurari doesn#t substitute for the classic form of
(hokar2 (ribhangamurari techniques are an enrichment, you can test their power
only by practicing them. The problem is that their effect cannot be received if the
counseled numbers for each one of them are ignored.
They require an immense amount of dedication during a long part our life
+ ! mean years not months.
The (ribhangamurari techniques have the power to create a permanent
transformation in your attitude towards Kriya by making you acquainted with a
mostly unknown ecstatic state while fully living the experience of life + let us
define it as a sort of trance with open eyes. 7nce again, ! must stress that they
should be experienced first inside a rigid scheme of 3ncremental Routines.
5ome students try to relish right away the power of (hokar
(ribhangamurari by a desultory, systemGless experimentation, far from abiding
by the aboveGmentioned rules. )hat could be the real impact of the (hokar5
(ribhangamurari technique remains unknown and not even vaguely
foreshadowed.
6ow, if you consider the enormous amount of time that these 3ncremental
Routines require, you understand that no one is able to tackle with them without
having an extreme trust in another person, in one who gives you that instruction,
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who looks into your eyes and with a serene smile challenges you to experience
the mystery of Hnworldly Beauty they contain.
The only thing ! can do, the only thing worth doing, is to relate what is stored in
my memory + the experiences that happened and the spiritual advice received.
)hat happened in my life was a miracle. )hen ! received these techniques, !
was completely free from work. ! could complete all the 3ncremental Routines as
they were proposed to me, even those that appeared as ##impossible.## 7f course,
receiving a boost, a strong encouragement, from a person who had already
practiced them was indispensable. !f ! had read those techniques in a book, !
would have surely failed in respecting the numbers3 the effect would have been
far from being the same.
7ne of the most difficult periods of my life began when ! received the #mantrak
technique. ! felt down and had strange emotional and mental mood changes. !t
was like experiencing a slow recovery from a nervous breakdown that robbed me
of my energy and >oy of living. Actually ! felt an absolute lack of enthusiasm3 it
was as if there existed no activity that could produce any satisfaction. ! felt
extraneous to activities that ! would otherwise have found very enticing. 5ome
days ! remained in my room doing nothing, as in a state of convalescence.
!n some ways ! was prepared for this event. 'y teacher had explained that
by perceiving this new flow of energy along the (ribhangamurari path, one
would foster a decrease in the hectic condition caused by superficial emotions.
The impression of having no feeling, of being dull, insensible, was only an
illusion due to this meaningful internal transformation.
)hen the amount of practice spent perceiving the (ribhangamurari flow
became greater than one hour, ! felt like ! was going to explode. ! felt how
difficult it was to bear all that power. 'y dreams were very lucid3 ! woke up in
the morning as if ! had lived a deeply intriguing and captivating adventure.
7ddly, when ! approached the JDD repetitions, any trouble disappeared. That
period was marked by an uncurbed enthusiasm about my new practice.
After having completed the prescribed numbers of #mantrak, without
waiting for the official initiation, ! immediately started the practice of
&amantrak. All of us in the small group knew what would have been the
technique of &amantrak by simply reflecting on its name 1&a5mantrak U with the
Mantra.2 !t had to be a CJ syllable Mantra9 obviously ##)m "amo !haga'ate
.asude'aya.##
! had my first &amantrak session in springtime on a near perfect day,
when the pure air, fresh but pleasant, invited me to practice outdoors, where !
en>oyed a blue sky with a small cluster of clouds floating in the golden light. !
was really happy, and it seemed ! had entered a new dimension. There were only
few repetitions of the technique, but they changed my mood. &amantrak was like
turning on various lights along the threeGcurved path. !t was as if so much sun
and clear skies finally entered my practice. The Mantra#s syllables, which ! put
with care like seeds in each center, would warm me up the way the sun warmed
up the land around me.
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The only problem was that the use of the Mantra would induce me to go
speedily. !t was only when ! decided to make a special effort to go ahead slowly,
that the (ribhangamurari path began to be 8lit.8
@espite the fact that pauses in each Chakra were short, ! had the
impression of reaping the reward of my practice of the 9ayatri Kriya. The colors
of the Chakras, namely the colors of the relative (att-as were perceived, first
timidly and then always with great clarity.
Though having not yet completed the last sessions of &amantrak, my soul was
already pro>ected upon the next step, eagerly anticipating its effects. The words
of my teacher at the time resounded in my mind9 ##The practice of (hokar
1meaning the (hokar5(ribhangamurari technique2 will produce a state of
intoxication9 you will be drunk with >oy all day long%##
At long last, ! received the yearnedGfor technique. That moment of my life
was really a magic one. ! would be lying if ! did not say that ! have an endless
nostalgia for it. 5ince ! practiced this routine in summer and in the open air, !
associate it with long sunsets, with evenings that seemed to have no end.
Through this procedure, the (ribhangamurari flow is intensified by
specific movements of the head. !n .hapter ? ! have described how a continuous
slow movement of the chin ends with a >erk directed on a specific center, then,
after a micro pause, the movement restarts and there is another >erk directed on
the next center and so on + five >erks. The problem is that many kriyabans focus
all the attention on giving the strokes and don#t understand the value of creating
mental pressure along each millimeter of the path. The desire to get a strong
effect too soon should be curbed. The (hokar5(ribhangamurari can be ideally
mastered in four steps. :et us here consider the movement sensation up the spine
and down along the threeGcurved path9
C. =irst of all it is necessary to feel that the movements of the head
accompany perfectly, millimeter after millimeter, the flow of the internal
current. =or some time, we make a point of forgetting any attempt at
intensification. Before considering a further step, we do our best to obtain
an uninterrupted perception of the current.
J. 7nly now we can try to intensify the perception of the internal flow by
creating a mental pressure along each part of it. )e utili4e the movements
of our head to 8touch with pressure8 each millimeter of the path, up and
down. The chin is to be moved slowly as we are striving to win a strong
resistance. !n .hapter ? we have suggested the idea9 ##like squee4ing with a
pencil an almost empty tube of toothpaste to get the last little bit out. ##
;. 6ow we focus on what is happening when, stopping for a fraction of a
second, we vibrate the related syllable in a center. )e develop a resolve to
become aware of each of the CJ centers. )hile points C and J benefit from
our effort with #mantrak, point ; benefits from our effort with &amantrak.
CIJ
K. 7nly at this point we give all possible emphasis to the five strokes and
we perceive also what is radiating out of each center after the stroke.
!f ! could add a fifth further point, it would be to give extreme attention to what
happens while chanting (eeee in the Medulla. !n that moment we must try to
reach 1to become intensely aware of2 the Kutastha.
:et me now give an idea of what the standard 3ncremental Routine of (hokar5
(ribhangamurari implies.
)hile #mantrak and &amantrak are practiced every day, the 3ncremental
sessions of (hokar5(ribhangamurari are practiced once a week 1the other days
one can, however, practice up to ;0 repetitions.2 A kriyaban must have had all
the time necessary to metaboli4e the subconscious material that the strong action
exerted upon Muladhara brings to the surface.
A kriyaban perceives first a tranquil flow of energy rising along the spine
during JDG;D seconds 1this is in itself a strong experience2, then while coming
down, the head follows the inner flow along the threeGcurved path, cutting the
three main knots during JDG;D seconds. The movements are perfectly rational
and have only one purpose9 to increase the strength of the process. !n five places
linked with .a &u De .a Ya we have the strokes. By moving the head left, then
right, then left, a kriyaban creates an 3da5Pingala balance. At this point there is
the stroke upon the Muladhara followed by the ascent through the spine. By
repeating this process again and again, there is real hope that one succeeds in
entering the &ushumna channel, stopping the breath and en>oying a blissful
ecstatic state%
7ne begins with ;0 rounds3 a week later one practices ;0xJ, then ;0x; ...
and finally ;0x;0 repetitions. This means CJ?0 rounds% .an you imagine the
powerful effects of this actionN CJ?0 means that you begin in the morning and
end in the night, doing again and again the same action. There is no doubt that
you#ll succeed in opening the door of &ushumna% 7f course you have prepared
this experience by practicing ;0x;I, and before that ;0x;K.... And don#t forget
that you have practiced #mantrak for months and &amantrak for another cycle of
months%
:iving those long sessions sitting in the open countryside, in total freedom and in
a state of mystical ##intoxication## was an unforgettable event. =or weeks ! had the
tendency to practice too quickly, risking never tasting the essence of the
procedure. !n time ! appreciated going slowly and feeling that the process of
(hokar happened along the whole path. This created a particular mental intensity
of perception.
)hen in the late afternoon the practice neared the end, ! was keen to
diminish the strength of the movements of my head and to en>oy the pure
vibration of each syllable. Towards the end of those blessed days ! often violated
the instruction to chant the syllables only mentally. ! slowly uttered each syllable
in a whisper, en>oying a micropause after each of these utterings. This was
enough to perceive the sweet irradiation springing out from each center. This
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perception amplified my experience of >oy. !n this 3ncremental Routine ! found
not only peace but love, bliss, intoxication... everything.
7ne evening, a sound of tolling bells came from a distant village + it was
like a cascade of light% !t was so unexpected% A part of my mind went on
repeating9 8A human being has never been granted so much >oy%8
To each dubious kriyaban ! would like to say9 ##Be assured that if you
practice the correct number of #mantrak and &amantrak, then the experience of
(hokar5(ribhangamurari will never disappoint you and will become your
favorite technique%##
About two months after beginning this last practice, ! took part in a group
pilgrimage and walked a full night in order to reach a beautiful sanctuary the
following morning. ! moved around as if my heart bore a bra4ier within. !
perceived that the center of my personality was not in the brain, but in my heart.
)alking on, ! would murmur the CJ syllables of the Mantra, ideally putting each
one of them in the related center. ! was perfectly aware that mine was not a
commonly established way of practicing, but ! could not avoid it.
! started to perceive something in my heart, a sort of tension of tenderness.
! experienced the strong power that procedure has of changing the way you look
at life. ! reali4ed that my mates# lives were wrapped up in love. ! understood that
the reality of love was the most intense force of life, corrupted only by the
pollution of mind. ! felt that human beings could not by instinct avoid loving or
taking care of somebody + their own children for example. ! had no doubts that
they were able to give their own life for their children. There was in each one of
them the power for great and incredible actions. As a consequence, they could
not avoid painful experiences.
! felt as though our lives were soaked in love as well as pain and tragedy.
This duality was involved in earthly existence, interwoven with our being. The
sentiment of this inescapable reality was experienced as a painful grip tearing my
chest apart. As the sun rose over our path and the sanctuary appeared over a hill,
something thawed in my depths and there came such an intensity of love that the
same experience turned into a 8blissful8 pain.
6ow ! was ready to focus all my efforts on the Micro (ribhangamurari
mo'ement. !t was impossible however to drop the Macro (ribhangamurari
mo'ement entirely. ! began experiencing the Macro Mo'ement as a form of *apa
before each Kriya routine. )ith the encouragement of another kriyaban 6 who
practiced in this way for months + ! began practicing it with open eyes. =or
reasons that escape my understanding, the psychological effect of this practice
was remarkable. =rom the very beginning ! had reali4ed that an important detail
was to move not only my head but my ga4e also, smoothly, without >erks. 5ince
this detail is very important, let me dwell upon it.
! started with open eyes and chin on the chest. The eyes looked at the
floor. ! murmured in a whisper the syllables of the Mantra and simultaneously
raised my chin and ga4e. 'y attention moved centimeter after centimeter,
looking at anything that was before me. Then, without turning the face, my head
CIK
moved toward the left shoulder, then returned to the center while at the same
time ! raised the chin up as much as possible. @uring this movement, my eyes
turned up high. )hen, from that chinGup position, my face slowly turned to the
right, my eyes followed the movement and ended by looking attentively at the
area on my right, as far back as possible. Then my face slowly turned to the left.
The eyes followed the movement, shifting hori4ontally without losing any detail
of what was in front of me and ended by looking attentively at the area to my
left, as far as possible. @uring the last four strokes given from the left, the
intensity of my ga4e diminished and the eyelids closed. !n the final instant ! felt
like falling asleep. !n this way ! repeat the procedure again and again.
The first effect ! noticed from the first day of practice was the intensity of
oneiric activity. 5ome dreams remained very vivid in my imagination during the
morning hours. ! considered this a privileged way of creating a dialog with the
unconscious sphere.
! perfected the ability to meditate anywhere and not be disturbed by
anything. )hile in the beginning ! was inclined to be maniacal in preparing the
proper meditation environment and became nervous and worried about the
slightest thing, now ! loved to meditate in unusual places and impossible
situations + e.g. traveling by train or watching a movie. ! saw that, strangely
enough, such occasions could establish, by contrast, a particular state of
awareness yielding unhopedGfor results.
'y practice of Macro (ribhangamurari mo'ement with open eyes
continues to the present day and ! don#t want to contemplate the eventuality of
dropping it.
&ome remarks about Micro (ribhangamurari routine
)hen ! received this instruction ! was told that, analogously to the Yoni Mudra
which is practiced every night at the moment a kriyaban prepares to withdraw
his awareness from the body and from the physical world and gets ready for
sleep + which is a 8small death8 + the Micro mo'ement (ribhangamurari
3ncremental Routine is like a peaceful return to the origin + a preparation to 8die
forever8 + meaning to become forever free in 5pirit. !t was explained to me that
this last 3ncremental Routine, besides being the best preparation for the conscious
exit out of the body at death 1Mahasamadhi2, burned forever the necessity of
reincarnating.
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A kriyaban should make every effort to create the opportunity to grant
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As for what happens during the process of Mahasamadhi, we have heard many stories about
possible ##Kriya ways## of leaving the physical shell3 obviously we cannot vouch for their authenticity.
5ome assert that the typical practice is (hokar, others hint at procedures happening entirely in
Kutastha. )e can reasonably assume that it is not always possible to perform the physical movement
of (hokar. To focus one#s awareness in the spine or at the point between the eyebrows may be the only
thing possible. The most interesting thing !#ve heard is that some kriyabans during the last weeks or
months before leaving the body, practice only one technique9 perceiving the Micro5mo'ement
(ribhangamurari nel Kutastha. At the moment of death, they merge with the !nfinite through the
same procedure.
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himself the >oy and the privilege of completing the recommended number of
repetitions without every yielding to the temptation of hurried practices.
!n Micro5mo'ement 3ncremental Routine we have ;0 sessions of practice. )hat#s
new is that the ma>or part of this session requires more than one day.
7n the first day you perceive ;0 'icroGmovements in each of the CJ
centers 1you start from what we have already envisaged in chapter ,.2 The
second session requires that you perceive ;0xJ 'icro movements in each center.
A"ou experience one single long round9 ,J 'icro movements in the first Chakra
without interruption, then ,J in the second Chakra, and so on....B After some
days, you face the third session with ;0x; 'icro movements in each center. Then
other days pass by. Then you have your ;0xK session which will fill up your
whole day.
The next steps9 ;0xI, ;0x0, ;0x,, ;0x-, will not only fill up a whole day
but also part of the next day. Therefore you must divide your effort into two
parts. )hat was heretofore never allowed now happens9 you can sleep a whole
night between the two parts which are considered one session. )hat is important
is that you start more or less immediately on the morning of the next day.
Therefore, you are not allowed to go to work and it is also recommended that
you keep silent, avoiding any opportunity for conversation. 1&owever, the use of
common sense should always prevail3 if addressed, a polite reply is always
imperative.2
"ou can now understand that the following sessions require more days3
the last session requires about CJ days% :et me describe what happens during the
last session9 you perceive ;0x;0 micro movements in each center% This means9
CJ?0 micro movements in Muladhara, CJ?0 in &-adhistan.... and so on, ending
after some days in Muladhara with CJ?0 movements.
!t is clear that you can complete this routine only when you are free from
work. :et me emphasi4e that one should never skip over a stage. @on#t think,
##7n my next 5ummer holidays !#m going to find a do4en days to practice ;0x;0.##
6o% !t does not work in this way. Before perceiving the 'icro movement ;0x;0
times in each center you must have perceived it ;0x;I times. And before this,
you should have perceived it ;0x;K times, and so on....
.ompleting this 3ncremental Routine is really a giant achievement. 'any
splendid experiences will happen and the last internal obstacles will be cleared
one after another.
The period in which ! was absorbed in this process is enveloped in my memory
by a dreamy aura. ! even still find it hard to remember it3 sometimes, only in >est,
! ask myself if it actually existed. =or more than two years ! deviated from the
common way of living. ! practiced all day long, every day, out in the open if
possible.
! used to carry along a seat made of a plastic and a wool layer, something
to drink, and a thirtyGsixGbead rosary. ! would sit down, breathe deeply and
proceed with the Mantra and the consequent 'icro movement. At the end of
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each cycle, ! would move an ob>ect, a little stone, from one side of my body to
the other to keep track of the approximate number of ;0 cycles.
7ften an invincible drowsiness overpowered all my best efforts. 7n the
inner screen of my awareness a lot of images were displayed like dreamlike
visions. 6o help came from changing the position of the legs, practicing Maha
Mudra several times, or interrupting the practice for a short pause. 'any times !
wondered what benefit, if any, could be received from what seemed to be a
voyage into the unconscious world of dreams.
After interrupting the practice to get some rest, ! found out, however, that
it did not solve my problem + sleepiness came back as soon as ! resumed the
practice. There was no way 1coffee, a lot of rest*2 to find some relief from it3
there was nothing to do but to accept the situation.
! went on increasing the length of my sessions. =rom a certain moment
onwards, especially by assuming Kechari Mudra, the drowsiness changed into an
extraordinary condition of relaxation. 'ore than once ! found my back slightly
bent forward3 ! learned not to straighten it with a sudden movement, because that
would interrupt the condition of absorption and quiet.
After many hours of practice, at the end of my day, occasionally, ! was
caught by such euphoria that ! felt the irresistible instinct to swing the body. !t
was like dancing from a sitting stance, accompanying the dance with a subtle
form of internally hitting the center where ! was focusing my concentration.
)henever ! pronounced the seventh syllable, my trunk swung left, thinking of
the following one it swung right... and then left again. )hen ! thought the last
syllable my trunk quivered a little, giving such a profusion of bliss%
! learned to practice without being disturbed by anything3 in this way, the
technique landed in my life as a new instinct arousing spontaneously when ! sat
down and straightened my spine. =rom that moment onwards, the heart Chakra
became a reality manifesting very easily as a warm, pulsing sensation3 the other
Chakras became easy detectable by inducing, through a moderate use of
attention, a swinging sensation in them. This event deepened my way of
practicing the Kriya techniques erasing forever the necessity of any
visuali4ation.
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7ne day ! was on a cliff not far from a beach where a small number of
people used to go for a walk. ! took shelter under a tree from the sun, and at dusk
! went to the beach, leaned my back against a rock and stayed there, pretending
to stare at a distant ob>ect. ! practiced keeping my eyes open. The sky was an
indestructible crystal of infinite transparency and the ocean waves were
continually changing their color, having in themselves an almost unbearable
charm. ! was trying to hide my tears behind the black lenses of my sunglasses. !
cannot describe what ! felt except in poetic form.
There is an !ndian song 1in the final part of the movie Mahabharata2
whose lyrics are taken from the &'etas'atara 1panishad G 8! have met this Ereat
CJ
(ven a little practice of this exercise is a miracle of sweetness. !n the last part of your Kriya routine,
you can perceive three microGmovements in each of the CJ centers starting from Muladhara and
returning to Muladhara. By repeating this for three rounds, you plunge into a state without parallel.
After this routine, you can lay down in corpse pose 1&a'asana2 obtaining a particular state of physical
and mental immobility where the Kundalini energy will rise into the heart Chakra.
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5pirit, as radiant as the sun, transcending any material conception of obscurity.
7nly the one who knows &im can transcend the limits of birth and death. There
is no other way to reach liberation but meeting this Ereat 5pirit.8 )hen ! listen to
the beautiful voice of the !ndian singer repeating 8There is no other way8, my
heart knows that nothing has the power to keep me away from this state and this
terrifically beautiful practice, which ! will en>oy for the rest of my life.
/emark about the utili4ation of breath while practicing the previous procedures.
Kriya #charyas usually recommend to forget breath during the (ribhangamurari
procedures. ! have experimented with breath and now ! suspect that when in some
Kriya books you read about the huge number of Kriya breaths practiced 1C,J- or
JD,;02 by some yogis in the last part of their life, this number refers to practices lived
in the (ribhangamurari scheme or in other schemes like Pranayama -ith short breath
1see my chapter 02.
C,J- can be experienced partly during Macro (ribhangamurari and partly
during Micro, where the breath not very long utili4ed in the first becomes almost
evanescent during the second. JD,;0 is, in my opinion, practiced in more than one day,
especially while facing the ##impossible## numbers of the incremental routine of Micro
(ribhangamurari.
6o one, not even the same practitioner could be accurate about the precise details of the
experience. Ereat part of the long meditative session is lived in an intuitively guided
state which has the characteristics of the daydream/reverie state. )hen you have
completed your practice, you discover that you cannot describe it because the bliss
experienced has totally effaced from your memory the modalities of your experience.
!f you practice a short number of (hokar (ribhangamurari you can utili4e your breath
to intensify its power. )hat ! received from mouth of a kriyaban is the following9
5tarting with chin down, slowly inhale placing the syllables in the Chakras as you do in
the (hokar (ribhangamurari procedure.
1"ou can utili4e the /everse Breathing, therefore don#t forget to contract the navelG
Manipura region.2 At the end of inhalation, after placing !a in the !indu, your chin is
up, parallel to the soil.
6ow hold your breath and feel and intensification of energy in the upper part of
the thorax. At the same time check the contraction of the navelG Manipura region.
)hile experiencing a comfortable Kumbhaka guide the energy along the
(ribhangamurari path down into Muladhara. The instructions are exactly those of
(hokar (ribhangamurari2 the only difference is that now you are holding your breath
and the experience is much more intense. )hile you are moving your head Aif you have
doubts about the movements, read again the previous ##third part= (hokar
(ribhangamurari##B place the last six syllables in the related centers. 6ow raise your
chin and then, with total focus on Medulla exhale slowly experiencing a descent of
fresh energy in all the body 1internal organs and skin.2 Then repeat the process for as
long the breath is not dissolved.
CI-