techniques of kriya yoga
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Kriya Yoga TechniquesTRANSCRIPT
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PART II: METHODOLOGY AND TECHNIQUES OF KRIYA YOGA
CHAPTER6
THEBASIC TECHNIQUES OF KRIYAYOGA
Disclaimer of Responsibility
The techniques described herein are exposed for study purposes only and should serve
as a comparison with the wors of other researchers! The author hopes this wor will
inspire intelli"ent feedbac! Any remars# criticism# corrections# and$or additions are
welcome! %efore you be"in posin" all inds of questions to yourself# read throu"h Part
&& and Part &&& of this boo so you have a thorou"h understandin" of the matter! 'ou(ll
find that as you "o throu"h it many questions will be answered!
& wish to mae clear that this boo is not a )riya 'o"a manual* & may write oneand face the problem of dividin" it into different lessons and "ivin" all the necessary
instructions for each level! However# certain delicate techniques e!"! +aha +udra#
)riya Pranayama# Thoar# and 'oni +udra cannot be learned from a manual and
require the help of an expert to chec their execution! Each person is different so it is
not possible to predict what effects an intensive practice mi"ht have on a particular
individual!
The author disclaims any responsibility in case of ne"ative results# especially if
the techniques are practiced without first havin" their execution checed by an expert!
Those who intend to carry on this practice should do so with a due sense of sacredness
and awareness of the wealth it can brin" to their life! Althou"h you should have the
ri"ht and the duty to control your own destiny# securin" expert counsel or "uidance isindispensable!
,hen you "o to an expert# please advise them of physical problems# such as hi"h blood
pressure# lun" problems# or si"ns of hyperventilation -! &f you have a particular
physical problem or handicap# an expert can lead you throu"h a very mild form of
)riya Pranayama and the correspondin" +udras . and if necessary# may recommend
that you practice them only mentally!
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Localization of the Chakras
The Chakrasare subtle astral 0ethereal1 or"ans inside the spinal cord2 ideal steps
on a mystic ladder "uidin" one safely to the deepest ecstatic experience! +any
falsely believe they can apply what they find in Yoga boos to Kriya.3nfortunately# such boos are usually filled with useless# mis"uided
representations! ,hile wastin" time in visuali4in" it all# a kriyabanruns the ris
of losin" the real meanin" of theKriyatechniques or part of their richness!
Kriyais a natural process leadin" to beneficial results and it should not be
distorted by the power of 5creative5 visuali4ation# especially if it "oes a"ainst our
body physiolo"y! ,hen certain particular conditions are established . mental
silence# relaxation# an intense desire of the soul . the piritual Reality manifests
in a captivatin" way and absorbs all one(s attention! Then# subtle movements of
ener"y in the body . or a particular centerin" of the ener"y in some parts of the
body . reveal the essence of the Chakras!
Those who practiceKriya Yoga 0kriyabans1 be"in with the basic technique
ofKriya Pranayamaand visuali4e the spine as a hollow tube extendin" from the
base of the spine to the brain! ,ith further practice# they try to locate$feel the
seven Chakras!
7i"ure 8! The perception of the Charas
First Five Chakras
The first Chakra#Muladhara# is at the base of the spinal column 9ust above the
coccy"eal 0tailbone1 re"ion! The second Chakra#Swadhisthana# is in the sacralre"ion# above and behind the "enitals or :;
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9ust below them! The fifth Chakra# Vishuddha# is at the cervical $collarbone
$thyroid level where the nec 9oins the shoulders! &ts location can be detected by
swayin" the head from side to side# eepin" the upper chest immobile# and
concentratin" on the point where you perceive a 5cracin"5 sound!
The physical locali4ation of the Chakras is improved throu"hvisuali4ation! The simplest visuali4ation that fosters the dynamics of Kriya
Pranayama is havin" the awareness travel up the spine and perceivin" the
Chakras as tiny 5twinlin" li"hts5 illuminatin" a 5hollow tube#5 which is
visuali4ed in place of the spinal cord! ,hen the awareness is brou"ht down# the
Chakras are internally perceived as or"ans distributin" ener"y 0comin" from
infinity above1 into the body! >uminous rays depart from their locations#
enlivenin"$ener"i4in" that part of the body which is in front of them! To tae the
trouble to abide by such elementary visuali4ation# avoidin" those su""ested by
"e# $geor tantricboos is the best "uarantee of havin" a beneficial practice!
Chakrasare not a physical reality2 their true location is in the astral dimension#
which is only visible to clairvoyants or whenKriya Pranayamataes# so to say#
the 5inward route5 to the inner sounds emanatin" from each Chakra.&f the mind
is sufficiently calm e!"! durin" a lon"# deep session of Kriya Pranayama# you
will be able to listen to those astral sounds and locate each Chakra astrally!
There are different levels of development of this ability? Kechari M!ra
brin"s about a "reat internali4ation process which fosters the experience
especially when the 5wind5 of the breath subsides!
Astrally locatin" Chakras is connected to the ability of travelin" within
the spinal tunnel# which in turn is the basis for reali4in" that the five Chakrasare
five different states of consciousness!&nKriyatradition# the Chakrasare related to the five %att#as? earth# water#
fire# air# and ether! @fferin" each %att#aindividually to the li"ht of the 5spiritual
eye5 "atherin" and intensifyin" in the re"ion between the eyebrows is the hi"hest
action ever conceived to dispel the last shell of illusion! However# & would
discoura"e kriyabans from bein" maniacally precise about the location of the
Chakras? the practice of the different levels of Kriya Yoga will refine their
perception!
$&na 'Me!lla oblongata( )hrma!hya( Ktastha*
The sixth Chakra(Ajna,accordin" to tradition# is in the central part of the head!
ome identify it with the hypophysis (pitit!"y# "land# others with the pi$%!&
"land# and others with the thi"' %$t"i)&% o* th% +"!i$! &t is preferable to abide
by the followin" two;step procedure!
8! 7irst detect the seat of the Medulla oblongata 0on top of the spinal
cord1! Raise your chin tensin" the muscles of the nec at the base of the occipital
bone2 concentrate on the small hollow under the bac of the head and then
ideally move inside a couple of centimeters2 while contractin" the nec muscles#
swin" your head sideways 0a few centimeters left and ri"ht12 relax the muscles of
the nec and concentrate on the Me!lla oblongata for one minute? you will
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notice that any restlessness disappears! Tradition recommends visuali4in" the
Me!lla oblongata as shaped lie the bac of a small turtle!
:! Remainin" centered in the Me!lla oblongata# conver"e your inner
"a4e onBhrumadhya# the point between the eyebrows# and observe the internal
li"ht in that re"ion! 'our perception may be va"ue but if you continue looin"internally and remain satisfied with whatever luminous perception comes# the
li"ht will intensify! trai"ht bac and about = centimeters from where the li"ht
appears is the sixth Chakra# A,$!! +editatin" with your awareness focused on it
will prepare you for the experience of Kutastha0aa thi"' %y% orspi"it!& %y%1?
a luminous point in the middle of an infinite spherical radiance! &n this re"ion#
one day# you will experience the radiance of a million suns havin" the coolness
of a million moons!
$&na Chakrais the royal entrance to the Bivine Consciousness# which is
immanent in our physical universe! 'ou will experience the entire universe as
your own body! This experience is also called Ktastha Chaitanya# Christ
consciosness# orKrishna consciosness!
ote? the term )utastha is often utili4ed at the place of %hrumadhya!
+ahasrara ')in!( Fontanelle*
Accordin" to tradition# the seventh Chakra(Sahasrara(is at the top of the head!
&t is visuali4ed as a hori4ontal dis about 8: centimeters in diameter# lyin"
immediately beneath the upper part of the cranium! &n part D of Kriya
Pranayama(when we raise our awareness from the sixth to the seventh Chakra#
this visuali4ation is enou"h to "et ecstatic absorption!Binduis located in the occipital re"ion# where the hairline twists in a ind
of vortex 0where Hindus with shaved heads wear a loc of hair1! Burin" the first
part ofKriya Pranayama(the consciousness touches )in!briefly at the end of
each inhalation! &n the hi"her phases of Kriya Pranayama# when our awareness
finds tranquility in)in!# we become aware of the bregma0anterior fontanelle
durin" infancy* located on the top of the sull at the 9unction of the coronal and
sa"ittal sutures# where the frontal bone and parietal bones meet! &t is
recommended not to override the previous sta"e of locali4ation of the sixth
Chakra 0$&na1! Bo not practice concentration on the bregma on your own
initiative except when explicitly required to by your teacher!There is always room for improvement inKriya Yoga! The most reliable
Kriya schools are careful about usin" methods whose effects are difficult to
sustain and therefore teach a "radual approach to concentration on +ahasrara.
They counsel placin" the awareness in)in!and from there becomin" aware of
bregma!
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Position for Me!itation
@ne should sit facin" east! Accordin" to Patan9ali# the yogi(s posture 0Asana1must be steady and pleasant!
Half-lotus:+ost kriyabansare relaxed in this sittin" position# which has been
used since time immemorial for meditation# because itFs comfortable and easily
mana"ed! The ey is to maintain an erect spine by sittin" on the ed"e of a thic
cushion so the buttocs are sli"htly raised! it cross;le""ed with the nees
restin" on the floor! %rin" the left foot toward the body so its sole is restin"
a"ainst the inside of the ri"ht thi"h! Braw the heel of the left foot in toward the
"roin as much as possible! The ri"ht le" is bent at the nee and the ri"ht foot is
comfortably placed over the left thi"h or calf or both! >et the ri"ht nee drop as
far as possible toward the floor! The shoulders are in a natural position! The head#
nec# chest# and spine are in a strai"ht line as if they were lined! ,hen the le"s
"et tired# reverse them to prolon" the position!
The best hand position is with fin"ers interloced as in the well;nown
photo of >ahiri +ahasaya! This balances the ener"y from the ri"ht hand to the
left and vice versa! The hand position for meditation and forPranayamais the
same because you move from Pranayama to meditation without interruption!
3sually you don(t even reali4e it!
7or certain health or physical conditions# it may be beneficial to practice
the half lotus on an armless chair provided it is lar"e enou"h! &n this way# one le"
at a time can be lowered and the nee 9oint relaxed*
Siddhasana:0Perfect Pose1 is of medium difficulty! The sole of the left foot is
placed a"ainst the ri"ht thi"h while the heel presses on the perineum! The ri"ht
heel is a"ainst the pubic bone! This le" position combined withKechari M!ra
closes the pranic circuit and maes Kriya Pranayamaeasy and beneficial! &t is
said the position helps one to become aware of the movement of Prana!
Padmasana:0lotus position1 a difficult# uncomfortable position2 the ri"ht foot is
placed on the left thi"h and the left foot on the ri"ht thi"h with the soles of the
feet turned up! &t is explained that when this$sanais combined withKechariand+hambhavi M!ra# it results in an ener"etic condition that produces the
experience of the internal li"ht comin" from each Chakra! &t helps eep the body
from bendin" or fallin" over as it tends to do when deep Pratyahara is practiced!
Pa!masana is uncomfortable for a be"inner because the nees and the anles
become extremely painful! & would not advise anyone to perform this difficult
posture2 some yogis have had to have nee cartila"e removed after years of
forcin" themselves into thePa!masana!
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,ight )asic %echni-es of Kriya Yoga
The followin" techniques are usually "iven durin" the first initiation into Kriya
Yoga? %alabya Kriya( m /apa 'in the Chakras*( Kriya Pranayama 0often
denoted simply byPranayama* in three parts( "avi Kriya(Maha M!ra( Kriya
Pranayama #ith short breath( mental Pranayama andYoni M!ra! 8
-. T!&!+y! K"iy!
tart with the ton"ue in a relaxed position with the tip li"htly touchin" the bac
of the upper teeth! Press the body of the ton"ue a"ainst the upper palate to create
a suction cup effect! +any practice %alabya Kriyaincorrectly by instinctively
turnin" their ton"ue bacwards 0or eepin" it vertical1 but this cancels the whole
effect! &t is important to have the ton"ue tip touchin" the bac of the upper teeth
before pressin" its body a"ainst the upper palate!
,hile pressin" the ton"ue a"ainst the upper palate 0roof of the mouth1#
drop$lower the bottom 9aw until you clearly feel the stretch in the lingal
frenlm0the small fold of tissue under the ton"ue that attaches it to the base of
the mouth1 07i"ure :1!
7i"ure :! Talabya )riya? pressin" the body of the ton"ue a"ainst the upper palate to
create a suction cup effect
Release the ton"ue with a clicin" sound then stic it out of the mouth and point
it toward the chin! At the be"innin"# do not exceed 8 repetitions a day to avoid
strainin" the frenlm! Eventually# you want to do
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possible to insert the ton"ue into the nasal pharynx cavity 0Kechari M!ra*.
Kechari M!ra07i"ure D1 is described in detail in the next chapter!
Even after masterin"Kechari M!ra(%alabya Kriyashould continue to be
practiced because it creates a perceivable relaxin" effect on the thinin" process!
&t is not nown why stretchin" the frenulum reduces thou"ht production#however# anyone practicin" the technique can readily verify this!
Remark
&n 0atha Yoga boos there are different su""estions for len"thenin" the
frenlm!@ne which is well nown one is wrappin" a piece of cloth around the
ton"ue and# with the help of the hands# "ently pullin" 0relaxin" and repeatin"
different times1 the cloth both hori4ontally and also up# toward the tip of the
nose! >ahiri +ahasaya was absolutely a"ainst cuttin" the frenlm to obtain
faster and easier results!
/. O0 1!p! i$ th% Ch!2"!s
tartin" with the first Chakra Mla!hara# chant the Mantra 5@m5 while
concentratin" on it2 then do the same with the second Chakraand so on up to the
fifth Chakra 01ish!!ha1 and then with)in!! Burin" the ascent# do your best to
intuitively touch the inner core of each Chakra! The descent be"ins by chantin"
5@m5 in theMe!lla oblongata# then in the cervical Chakraand so on# all the
way down to the first Chakra! Burin" this descent of awareness# try to perceive
the subtle radiation of each Chakra!
@ne ascent 0Chakras 8# :# D# G#
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introduce it! & will explain its ey details# however it is not easy to show how
they are inte"rated into a harmonious whole!
Fi"st P!"t: &o$4 +"%!th 5ith st"o$4 so$'s i$ th% th"o!t
Kechari M!rais applied! 7or those who canFt do it# touch with the tip of theton"ue the middle of the upper palate at the point where the hard palate becomes
soft! )eep mouth and eyes closed! The eyes are relaxed and focused on the
re"ion between the eyebrows but the awareness is in the Me!lla oblongata.
@neKriyabreath entails?
8! A deep inhalation throu"h the nose that produces an unvoiced sound 0lie
2&&ayi Pranayama1 in the throat# which acts lie a hydraulic pump to raise the
ener"y 0Prana1 from the base of the spinal column up to theMe!lla oblongata
and then up to)in!0occipital re"ion1!
:! A short pause of :;D seconds where the movement of the air is suspended! This
helps suspend the activity of the mind as well? a state of stability appears!
D! An unhurried exhalation throu"h the nose of the same len"th as the inhalation
that accompanies the movement of the ener"y bac to the base of the spinal
column! Burin" the last part of the exhalation# there is a clear perception of the
navel movin" in toward the spine! %y refinin" this experience and the awareness
of the navel movin" inward# one feels the action of the diaphra"m muscles and
becomes conscious of increasin" heat in the navel! This heat seems to rise from
the lower part of the abdomen!
G! Another :;D;second pause! This pause is intimately lived as a moment of
comfortable peace! The dynamic mind becomes static and is appeased!
Reference literature says perfectKriya Pranayamais = breaths per hour . about
G< seconds per breath! Kriyabans can only reach this rhythm durin" lon"
sessions! ,hereas an advanced kriyabanwould complete 8: breaths in around
minutes# be"inners should set a rhythm of 8=;: seconds per Kriya breath
0includin" the pauses1 and complete 8: breaths in a natural and unhurried way in
about G ;< minutes!
Remars
The path taen by the ener"y "radually reveals itself durin" practice! o difficult
visuali4ation is required! 'ou are centered in the Me!lla oblongata and your
inner "a4e is toward the point between the eyebrows! The awareness rises from
theMla!haraalon" the spinal column toward the second Chakra# the third# the
fourth# the fifth Chakra( theMe!lla oblongata and# if possible# up to )in!!
Burin" the pause# the radiance of Ktastha appears as a blurred li"ht or "low
permeatin" the frontal part of the brain! 'ou can sometimes perceive a sli"ht
sensation of crepuscular li"ht permeatin" the upper part of the head! &n this first
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part ofKriya Pranayama(the ener"y cannot reach either the re"ion between the
eyebrowsnor+ahasrara3 this will happen in the third part!
%reathin" durin"Kriya Pranayamais not free breathin" but restricted breathin"
that creates a clearly heard sound in the throat! This sound while inhalin" is liea quiet schhhh $J$! The sound is similar to the amplified bac"round noise of a
loudspeaer2 there is only a sli"ht hiss durin" exhalation!
There are many poor &nternet video clips of 2&&ayi Pranayamawithyogiswho
mae a horrible sound because they are usin" $vibratin" their vocal chords? this
is not correct inKriya Pranayama! 7ortunately# there are also "ood explanations
of 2&&ayi Pranayamathat & si"nal in my web site!
To mae certain the sound is correct# concentrate only on increasin" the friction
of the air flowin" throu"h your throat! A muffled sound will ori"inate! &ncrease
its frequency! &f the surroundin"s are perfectly still# a person could hear it within
a G;< meter radius . by no means outside it! However# do not expect sound
perfection yet.,henKechari M!rais eventually done correctly# the exhalin"
sound will be flute;lie? +heee +heee$JiK$! The meanin" and the implications of
this sound are discussed in the next chapter!
The inhalin" air is felt cool whereas the exhalin" air is felt moderately warm2 as
a consequence the ener"y is felt cool when risin" and sli"htly warm when
descendin"!
Burin" inhalation# the abdomen expands and durin" exhalation the abdomen isdrawn in! The breathin" is mainly abdominal2 durin" inhalation# the upper part of
the lun"s is filled two thirds full! Bo @T raise the rib ca"e or the shoulders!
As for the value of the pauses# the more you became aware of these states of
stability# the deeper your practice becomes!
Burin" the first breaths of Kriya Pranayama( do not chant m or another
Mantrain any Chakra? do not disturb the employment of a "reat mental intensity
to obtain the perception of the movement of the ener"y!
S%)o$' P!"t: p&!)i$4 O0 i$ %!)h Ch!2"!
I$t"o')tio$
The astral sounds of the Chakras can be perceived durin" the practice of Kriya
Pranayama.They capture a kriyaban(s awareness and lead it to "reater depths
without any dan"er of it "ettin" lost! They are not physical sounds2 they have
nothin" to do with the typicalKriya Pranayamasound produced by the air that
passes down the bac of the throat into the trachea and vice versa! These sounds
appear in different forms? bumblebee# flute# harp# drum# hum lie an electrical
transformer# bell!!!!
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The event of perceivin" them is not produced by the intensity of a unique
moment of deep concentration but by the accumulation of effort manifested
durin" daily sessions ofKriya 0effort is the meticulous attention to any internal
sound# no matter how faint1! Those who are not able to hear any internal sound
should not conclude somethin" is wron"! +aybe they have done an enormouseffort whose fruits will be en9oyed durin" the next day(s practice or some day in
the future! A si"n one is headin" in the ri"ht direction is a sense of mild pressure#
lie a sensation of liquid peace above or around the head often accompanied by a
certain hummin"! &t serves no purpose wonderin" if this is the real mbecause it
is probably 9ust a si"nal that the real experience is approachin"! Patience and
constancy are of prime importance! @ne day# one will awaen to the reali4ation
that one is actually hearin" a sound of 5runnin" water5!
mis similar to the sound of runnin" water or to waves breain" over
cliffs! >ahiri +ahasaya described it as a sound 5produced by a lot of people
continually striin" the dis of a bell and as continuous as oil flowin" out of a
container5!
&n the second part ofKriya Pranayama# the awareness expands into the entire
occipital re"ion up to)in!! Burin" inhalation# mis mentally chanted 0or more
accurately 5mentally placed51 in each of the first five Chakras! Burin" the pause#
mis chanted in theMe!lla oblongata# in the point between the eyebrows# and
a"ain in the Me!lla oblongata! Burin" exhalation# mis mentally placed in
each Chakra as "ently 5touchin"5 it from the bac! Therefore# while comin"
down toMla!hara# the ener"y is visuali4ed flowin" down alon" the bac of the
spinal column!
Repeat the procedure at least :G times! >et us emphasi4e a"ain? the attention is
focused on the subtle sounds that come from the Chakras rather than on the
sound of the breath! ,hat is essential is a continuous will to listen internally!
Each chantin" of the syllable mshould be accompanied by an unswervin" will
to trac down the echo of this vibration! Awareness of astral sounds must happen#
sooner or later! 'our listenin" sills will improve and you will become more
sensitive!
Thi"' P!"t: *o)si$4 !&& th% !5!"%$%ss i$to th% pp%" p!"t o* th% h%!'
This third part of Kriya Pranayama can be approached only when you havereached a daily number of G=Kriyabreaths and possibly whenKechari M!rais
achieved! Always be"in your practice with the first part ofKriya Pranayamafor
at least 8: breaths# and then sip to the second part ofKriya Pranayama until
you have completed G=Kriyabreaths alto"ether! ,e are "oin" to learn a hi"her
form of +hambhavi M!ra.
+hambhavi M!rais usually defined as the act of concentratin" on the space
between the eyebrows# brin"in" the two eyebrows toward the center with a sli"ht
wrinlin" of the forehead! @ur hi"her form of +hambhavi M!ra involvesclosed
or half;closed eyelids# the eyes looin" upward as much as possible as if looin"
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at the ceilin" but without any head movement! The li"ht tension perceived in the
muscles of the eyeballs "radually disappears and the position can be maintained
rather easily! A bystander would observe the sclera 0white of the eye1 under the
iris because very often the inferior eyelids relax! 0>ahiri +ahasaya in his well;
nown portrait is showin" this M!ra!1 Throu"h this M!ra# all one(s Pranacollects at the top of the head!
Burin" this M!rayou practice the instructions for the second part of
Kriya Pranayama0chantin" of min the prescribed places1 save the center of
awareness which is now in the upper part of the head! Continue until you have
completed the prearran"ed number of repetitions 06# /: or more!1
This practice is a real 9ewel and represents the quintessence of beauty2 while
experiencin" it# time "oes by without much notice and what could seem to be an
exhaustin" tas e!"! 8= or 8GG repetitions . turns out to be as easy as a moment
of rest! 'ou will notice the breath is rather slow! 'ou will en9oy the beautiful
feelin" of fresh air that seems to come up throu"h the spine and pierce each
Chakra(and of the warm exhaled air permeatin" each 4one of the body from top
to bottom! 'ou will actually perceive this and it is not a fi"ment of your
ima"ination* 'our attitude is apparently passive# in actual fact fully sensitive# and
therefore active in an intelli"ent way! The sound of the breath is smooth and
unbroen lie the continuous pourin" of oil from a bottle! The practice reaches
its maximum power and seems to have a life of its own! 'ou will eventually have
the impression of crossin" a mental state# which is lie fallin" asleep# then
suddenly returnin" to full awareness and reali4in" you are basin" in a spiritual
li"ht! &t(s lie a plane emer"in" from clouds into a clear transparent sy!
6. N!i K"iy!
3sin" the same method described in m /apaand without attemptin" to control
the breath# one(s awareness slowly moves up alon" the spinal column! The
Mantra m is placed in the first five Chakras# in the)in!(and in the point
between the eyebrows! The chin is then tilted down toward the throat cavity! The
hands are 9oined with the fin"ers interloced# palms face downward# and the pads
of both thumbs are touchin"! mis chanted /< times 0 some schools counsel
82 let us say that a rou"h estimate between /< and 8 is fine1 in the navel
0umbilicus1 either aloud or mentally! The thumbs li"htly press the navel for each
m! ,hile doin" this technique# a calm ener"y is perceived "atherin" in thelower;middle part of the abdomen 0thePranacurrent there is called +amana.1
The chin is then raised . the muscles at the bac of the nec are sli"htly
contracted! The concentration shifts first to the )in! and then to the third
Chakra 0movin" downward in a strai"ht line# outside the body1! The hands are
ept behind the bac and 9oined by interlocin" the fin"ers and the palms face
upward with the pads of both thumbs touchin"! m is chanted . aloud or
mentally . approximately :< times in the third Chakra! 7or every m# the
thumbs apply a li"ht pressure to the lumbar vertebrae! %y no means should the
breath be synchroni4ed with the chantin" of m.
The chin(s normal position is then resumed and mis mentally chanted in
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reverse order from the point between the eyebrows to Mla!hara! This is one
"avi Kriya0it lasts between 8G;86 seconds1! A kriyabandoes G repetitions of
"avi Kriya.
7. M!h! M'"!
@ne starts by bendin" the left le" under the body so the left heel is as near as
possible to the perineum 0between the scrotum and anus for males and between
the anus and cervical openin" for females1 with the ri"ht le" fully extended in
front! &deally# but not necessarily# you want the left heel exertin" pressure on the
perineum! This pressure is the best means of stimulatin" one(s awareness of the
Mla!hara Chakrain the coccy"eal re"ion at the root of the spine!
Throu"h a deep inhalation# the ener"y is brou"ht up the cerebrospinal tube
to the center of the head 0$&na Chakra1! This is a very simple and easily acquired
sensation so there is no need to complicate it!
Holdin" the breath# stretch forward 0in a relaxed way1 and interloc hands
so you can "rasp your bi" toe! &n this outstretched position# the chin is pressed
naturally a"ainst the chest! Continue holdin" the breath and mentally chant m
in the re"ion between the eyebrows 6;8: times! ,hile holdin" the breath# return
to the startin" position and with a lon" exhalation# visuali4e sendin" the warm
ener"y down to the base of the spinal column!
Repeat the procedure with the le" positions reversed2 ri"ht heel near the
perineum and the left le" outstretched!
Repeat with both le"s outstretched!
This is oneMaha M!ra2 it requires about 6;= seconds! Practice threeMaha
M!rafor a total of movements!
Remark
ome schools su""est drawin" the nee 0or both nees# before the third
movement1 a"ainst the body so the thi"h is as close to the chest as possible
durin" inhalation! The interloced fin"ers are placed around the nee to exert
pressure on it! This helps to eep the bac strai"ht and mae the inner sound of
the$nahata Chakraaudible!
Maha M!ramust be comfortable and it must not hurt* &nitially# most
kriyabanswill not be able to do the forward stretch without risin" bac or nee
in9ury! To avoid pain or in9ury# eep the outstretched le" bent at the nee until theposition feels comfortable! ,hile holdin" the breath in the outstretched position#
contract the anal and the abdominal muscles and draw the abdominal muscles in
sli"htly so the navel moves inward toward the lumbar center!
As we have seen# the bi" toe is "rasped while one is in the outstretched
position! ome schools insist on this detail and explain that by repeatin" this
action on each le"# the balance between the two channels 4!a andPingala is
improved! A variation is to squee4e the toenail of the bi" toe with the thumb of
the ri"ht hand2 the index and middle fin"ers are behind it and the left hand cups
the sole of the foot! ,hen the procedure is repeated with both le"s outstretched#
both toes are "rasped with the interloced hands! 0A variation is that the thumbs
==
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of each hand press the respective toenails and the index and middle fin"ers hold
the toe from behind1!
Maha M!raincorporates all the three)an!has! :,hen applied simultaneously
with the body bent forward and without excessive contraction# it helps one to beaware of both ends of +shmnaand produces the feelin" of an ener"etic current
movin" up the spine! &n due course# one will be able to perceive the whole
+shmna "a!ias a radiant channel!
8. K"iy! P"!$!y!0! 5ith Sho"t B"%!th
Pranayama #ith short breath is based upon lettin" the breath move freely#
observin" it# bein" conscious of each movement . pauses included . and
coordinatin" it with the movement of ener"y from the Mla!hara0first Chakra1
to every Chakra and vice versa! This fact invites the ener"y to move freely
upwards throu"h +shmna and downwards into each part of the body! This
action completes that ofMaha M!raand prepares you for Yoni M!ra!
After havin" drawn three deep breaths# each of them endin" with a fast and
complete an exhalation lie a si"h# your breath will be very calm! &f you place
your fin"er under both nostrils# the in"oin" or out"oin" breath will barely touch
your fin"er! This is the indication that the breath is internali4ed as it should be in
Kriya Yoga.Practice the followin" exercise and repeat the test at the end! 'ou
will feel a striin" difference!
7ocus your attention on theMla!hara Chakra! ,hen it feels natural to
inhale# inhale only what is necessary# as quicly as per instinct 0about one
second1# then pause an instant in the second Chakra.,hen it feels natural toexhale# exhale# and pause inMla!hara. ,hen it feels natural to inhale# inhale#
and pause in the third Chakra. ,hen it feels natural to exhale# exhale# and pause
inMla!hara.
Continue lie that# repeatin" the procedure between Mla!hara and the
fourth Chakra# Mla!hara and the fifth Chakra 0then Mla!hara )in!#
Mla!hara Me!lla oblongata#Mla!harafifth#Mla!hara fourth#Mla!hara
third and Mla!hara second Chakra.1 @ne cycle comprises 8 short breaths!
Repeat the cycle until you perceive your breath is very calm . almost
imperceptible!
9. M%$t!& P"!$!y!0!
7or"et about your breath! +ove your awareness up and down the spine pausin"
in each spinal center! tart with the first# move to the second# third# and so on!
After ascendin" to the)in!# be"in the descent# pausin" inMe!lla oblongata#
fifth Chakra# fourth Chakra(and so on! mmay be mentally chanted in each
Chakra! &t is convenient to center your attention for 8;: seconds on each
Chakra!
The Chakras are lie nots that can be untied if 5touched5 by one(s
: The definition of)an!has is "iven in Chapter 8
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concentration2 the secret lies in maintainin" the awareness in each of them until a
sensation of sweetness is felt . as if the Chakra were 5meltin"5! %esides a
meltin" sensation# one may also perceive the subtle radiation of each Chakra in
the body! This is a matter of pure awareness2 a natural feelin" leadin" to the
reali4ation that the Chakras are sustainin" each part of the body(s vitality!ometimes# a li"ht is perceived in the upper part of the head and a kriyaban is
able to eep the awareness there a lon" time without feelin" any fati"ue!
The process of risin" and descendin" throu"h the Chakrasis carried on as
lon" as it is comfortable! 0@ne complete round lasts about :;G minutes!1 This is
the most pleasin" part of the routine!Kriyabansdo not feel they are practicin" a
technique but en9oyin" a few moments of soothin" relaxation! This is the
moment when a deep mental silencesettles in the consciousness and in the body!
Tranquility( 5+thir %att#a5 0calm# static Prana1 is experienced in the seventh
Chakra! >ahiri +ahasaya called this state Paravastha or KriyarParavastha 5
5the state that comes after the action ofKriya5.&f# throu"h sheer willpower# such
a state were brou"ht to awareness as often as possible amid one(s daily activities#
the results would be extraordinary!
Remarks
There is a subtle difference between m /apaand mental Pranayama! m /apa
beforeKriya Pranayamais desi"ned to stimulate each Chakra! @ne pauses only
a short time in each one to vibrate the mMantra!
Burin" mental Pranayama# one is more passive# more willin" to perceive
than to stimulate and the pauses are much lon"er! ,hen the awareness stays for
: seconds upon each Chakra# and the kriyaban is relaxed there comes the
perception of a pleasurable sweet sensation and the breath slows downnoticeably! ome inner sounds as well as hues of li"ht in the screen of Ktastha
deepen the contact with the mkardimension!
ome Yoga schools advise visuali4in" the Chakra(s specific color 0red#
oran"e# yellow- lie the sequence of the rainbow colors1! A kriyaban does not
need this in order to reali4e the location and the vibration of each Chakra! &n
time# a kriyaban"ains the ability to sin"le out the different rates of vibration of
each Chakra# which is crucial in reachin" the final "oal of Kriya Yoga!
. Yo$i M'"!
At ni"ht# before "oin" to bed# be"in your practice by calmin" the wholepsychophysical system with a shortKriyaroutine 0how to or"ani4e a shortKriya
routine is explained in the next para"raph1!
To practice Yoni M!ra# raise the ener"y with a deep inhalation into the
central part of the head! &f you are able to do Kechari M!ra# press the ton"ue
firmly on the hi"hest point inside the nasal pharynx . otherwise leave the ton"ue
in its normal relaxed position! Close every 5openin"5 in the head . the ears with
the thumbs# the eyelids with the index fin"ers# the nostrils with the middle
fin"ers# the lips with the rin" and the little fin"ers . so all the ener"y 5li"hts up5
the re"ion between the eyebrows!
Throu"hout the practice# both elbows are parallel to the floor and pointin"
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out to the side! Bo not let them drop# prop them up somehow# if necessary!
Burin" this special li"ht;witnessin" act# the index fin"ers must not put any
pressure on the eyes . this would be harmful and serve no purpose* &f a kriyaban
is distracted by the pressure of the index fin"ers on the eyelids# he draws the
eyelids down with the index fin"ers and applies pressure on the corners of theeyes . on the upper cheebones!
%y holdin" the breath and mentally repeatin" mseveral times# observe
the li"ht of the 5spiritual eye5 that is "atherin" and intensifyin"! The li"ht
condenses into a "olden rin"! Hold the breath as lon" as is comfortable and until
the necessity to breathe out distracts your attention! Exhale and brin" the
awareness down alon" the spine! Yoni M!rais usually performed only once!
&nhalin" deeply and holdin" the breath usually causes discomfort after a few
seconds! To reduce the discomfort and mae it possible to deepen the practice#
practice the followin"?
At the end of a moderate inhalation 0not a typical Kriya Pranayamaone
but a shorter one1# a kriyaban fully plu"s all the head openin"s except the
nostrils# exhales a very small quantity of air# then immediately closes the nostrils!
The thoracic muscles are to be relaxed as if one intended to be"in a new
inhalation? this will "ive the sensation that the breath has become quiet in the
area between the throat and the point between the eyebrows! &n this situation#
concentration on the point between the eyebrows and the repetition of m
several times can be en9oyed to its fullest!
Traditional instruction advises increasin" mrepetitions by one per day up to a
maximum of :! @f course# forcin" is always to be avoided!
First sggestions abot the rotine
Th% i'%!& ti0% *o" p"!)ti)i$4 th% 0!i$ K"iy! "oti$%
En9oy the main routine either before breafast or before lunch at noon or late
afternoon before dinner# or at ni"ht at least :;D hours after eatin"!
The complete routine# which we have already implicitly "iven by
numberin" the techniques from 8 to =# does not wor for everyone! +any utili4eMaha M!ra and"avi Kriya as preliminary techniques and avoid techniques
requirin" movement after Kriya Pranayama! They find also that Kriya
Pranayama#ith short breathis not necessary! Their routine is very simple and
extremely en9oyable? Talabya )riya +aha +udra avi )riya )riya
Pranayama +ental Pranayama! A "ood choice is to len"then the practice of
mental Pranayamato occupy 8$D of the whole time!
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A+ot ! sho"t "oti$% !t $i4ht %$'i$4 5ith Yo$i M'"!
&f the main routine is practiced at ni"ht# you can simply add Yoni M!raat the
end! @therwise# durin" the main routine avoid Yoni M!ra( while at ni"ht create
special conditions for en9oyin" its full power! At ni"ht# you can start your
practice withMaha M!ra(thenPranayama #ith short breath# then Yoni M!ra!Then remain concentrated as lon" as possible at the point between the eyebrows
tryin" to perceive the li"ht in Ktastha! Yoni M!ra "enerates such a
concentration of ener"y at the point between the eyebrows that the quality of the
ensuin" sleep chan"es for the better! &n other words# after crossin" the
subconscious layers# your awareness may succeed in reachin" the so;called
5super conscious5 state!
Remark
There are some schools that state that Yoni M!racan(t be practiced durin" the
day! 'ou can actually practice it* However the technique is best done in the deep
calmness of the ni"ht# when silence is all around and one is totally and perfectly
relaxed!
A+ot K"iy! P"!$!y!0! i$ th"%% p!"ts
&n the be"innin"# only the first and the second part of Kriya Pranayama are
practiced? usually 8:;:G times each! @ccasionally e!"! durin" a lon"er meditation
once in a wee# you can add more repetitions2 in that case# it is fine to experience
the third part ofKriya Pranayamaalso!
,arnin"
Bo not practice only the third part ofKriya Pranayama? a routine totally basedon a stron" concentration on the +ahasrarais not appropriate for be"innin" or
medium level students! Bevelopin" a stron" ma"net in +ahasrara throu"h the
third part of Kriya Pranayama is the most powerful way of stimulatin" the
Kn!aliniawaenin"! This implies brin"in" up a lot of information from the
subconscious mind to the surface! 0ee also the discussion in Chapter !1 'ou can
experience an entire ran"e of ne"ative moods# from mared alienation from
reality to panic attacks.
Final remark abot mental Pranayama
'ou must never for"et to "ive the hi"hest importance to the soothin" phase of
mental Pranayama! AKriyaroutine that does not end with mental Pranayamais
lie an orchestra "oin" on sta"e# unpacin" the instruments# tunin" them and
then leavin" at once* &t is this phase that brin"s everythin" to"ether2 the ripples
in the mind(s lae are stilled# the awareness becomes transparent# and the Last
Realityis revealed! &t is a diffuse calmness2 the mind is at rest and silent and
"ains the ener"y necessary to be more acutely alert! &t is lie a spiral which
"radually and systematically taes care of all the levels of one(s bein"? it is a
:
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healin" process!
The value of Mental Pranayamabecomes apparent when important decisions
have to be taen! @ne has the impression that nothin" can "et in the way and that
even the "reatest difficulties will dissipate! &nside the perfect transparency of aninner order# all problems are solved! @ne is born to Kriyathrou"h the en"a"in"
practice of mental Pranayama? it pro9ects us into sheer heaven and its beauty
overflows our lives!
5!!!! it(s hard to stay an"ry when there(s so much beauty in the world! ometimes
& feel &(m seein" it all at once and &(m overwhelmed! +y heart feels it(s about to
burst!!!until & remember to relax and stop tryin" to hold on to it! And then the
beauty flows throu"h me lie rain! And & can(t feel anythin" but "ratitude for
every sin"le moment of my stupid little life! 0sli"htly modified from the movie
$merican )eaty2 81 5
D
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CHAPTER /
TECHNIQUES OF THE HIGHER KRIYAS
This Chapter is devoted to those students who have shown a passionate
commitment to the practice ofKriya! The ri"ht moment to study this Chapter is6;8: months after practicin"Kriya Yogadaily# when there is a "enuine lon"in" to
deepen the meditation experience!
,e warn the reader that the followin" techniques are not tau"ht in the
same order by other schools! The order of exposition adopted here reflects the
order of their utili4ation in a complete routine!
%heoretical vision
>et(s mae some preliminary remars concernin" >ahiri +ahasaya(s theoreticalvision of any authentic spiritual path! He essentially explains that a spiritual path
foresees four footsteps in which four internal nots are to be unfastened . the
nots bein"? ton"ue# heart# coccyx# coccyx;utastha!
The not of the ton"ue is connected with theMe!lla oblongataand with
the fifth Chakra2 the not of the heart is connected to the fourth Chakra2 the not
of the coccyx is connected with Chakra Mla!haraand# finally# the last not is
lined both with the first Chakraand with the openin" of the so;called thir! eye
between the eyebrows!
>et us attempt to put ourselves in the place of those who are about to familiari4ethemselves with the procedures called 0igher Kriyas! tudents should not be
obsessed with "ainin" tan"ible results at once# but at least understand if they are
proceedin" in the ri"ht direction! %ecomin" familiar with this simple and
effective theoretical vision is therefore necessary# for without this they ris
perceivin" Kriya Yogaas too chaotic a set of techniques amon" which they are
not able to differentiate those upon which they should concentrate# practicin"
them re"ularly for months at the exclusion of all others! ,ithout this attitude#
students relinquish Kriya practice after some unhappy attempts to devise a
satisfyin" routine! 7urthermore# a "ood theory helps a student to avoid wron"
attitudes and unfortunate choices that could hinder the process of conquerin" thedoubts and fears# settlin" in the solid territory of meditation;born intuition!
For knots
The ton"ue not is related to the physiolo"ical fact that our ton"ue is normally
unable to touch the uvula and# consequently# enter the nasal pharynx! %ecause of
this# we are not ept connected with the "reat reservoir of ener"y existin" in the
+ahasrara re"ion! 3nfastenin" such not 0/ihah 6 or /ihva 6 7ranthi 1e!1
means the freedom to access this inexhaustible internal source throu"h Kechari
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M!ra!
The obtainment of such M!ra and its use in the techniques of Kriya
implies that a subtle process of transformation is "oin" to happen in our psycho;
physical system! ,e are about to notice a quietin" of all useless# unwanted
thou"hts and intrusive mental processes# and a reindlin" of the vital force in thebody! A subtle substance 0$mrit1 be"ins to tricle down throu"h the ton"ue into
the spine and then in the whole body!
The afore;quoted "ood results are partially accomplished by turnin" bac the
ton"ue tip so it touches the middle of the upper palate at the point where the hard
palate becomes soft! This position is easy and can be accomplished ri"ht away!
As for the practice of %alabya Kriya# actually it should not be considered a
simple lin"ual frenulum stretchin" process! %alabya Kriya also closes an
important circuit! ,hen the ton"ue stics to the palate and the mouth is opened#
in that instant the ener"etic split between our body and the reserve of static
Pranalocated in the upper part of our head is momentarily healed!
,hen Kechari M!ra proper is attained# all becomes easier on our
spiritual path. &t becomes easier to perceive the exact location of Me!lla
oblongata# to listen to astral sounds# and to mer"e with the mkaraspect of the
Bivine!
This not should not be confused with the obstacle that is located in the
center between the eyebrows . this obstacle is lined with the fourth not!
The heart not obstructs the downward 9ourney of static Pranafrom +ahasrara
towardMla!hara. 3nfastenin" this not 00ri!aya 7ranti 1e!1 means brin"in"
spiritual reali4ation into the daily life! The mind is restored to health and thesuperficial emotions calm down! &f# after havin" carried out your duties
conscientiously# you avoid distractions and useless chatters# a conscious
absorption in the spiritual reality spontaneously manifests# without any effort on
your part! The mind rests in stillness and the heart is full of inexpressible 9oy!
&t has been explained that the consciousness tunes with the element 5air5
0the fourth of five %att#as.1 7or a kriyaban# the theory of the %att#asthe five
subtle elements? earth# water# fire# air and ether 0space1I is not a theme of useless
speculation! Everythin" that exists in the universe is a combination of these five
forms of ener"y! %att#asare a concrete series of states of consciousness# whose
intimate essence is experienced in the last part of the devotee(s 9ourney towardthe$bsolte Consciosness!
Tunin" with the air %att#aallows a person enter a sublime state! This
%att#a checs the cardiac plexus which controls the automatic phenomenon of
breath! A kriyabanworin" upon unfastenin" the heart not soon notices how thebreathin" process tends to calm down!
The not of the coccyxprevents a kriyabanfrom enterin" +shmnaand movin"
towardKtastha! This fact eeps the veil of illusion real! 3nfastenin" such not
0Mla!hara 7ranti 1e!1 means openin" the door to inexhaustible spiritual
reali4ation! The consciousness of the division between sexual ener"y# love
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ener"y and spiritual ener"y is overcome forever! That division is the cause of
countless conflicts! %irth to the spiritual life means their end!
This not be"ins to be loosened by the practice of"avi Kriya!Pranaand
$panaunite in the re"ion of the navel by the action of the +amanacurrent! They
are "uided in the channel of+shmnathrou"h the action ofMaha M!ra!
The last phase of Kriya path happens when the awareness starts to climb the
+shmnachannel and moves towardKtastha!Pranais now perfectly tranquil
in all the body2 the more resistant forces that prevent the vision of the piritual
>i"ht ofKtastha are "oin" to be dissolved! A perpetual stay ofKn!alini in the
$&na Chakrais "radually achieved!
%efore reachin" this hi"hly advanced state# two important reali4ations
should happen at the level of the third and of the fourth Chakra.
>et us first consider the reality that in &nternal Alchemy 0Taoism1 is
nown asDantian! This center is not 9ust a theoretical hypothesis but a tan"ible
reality! &t is located about two and one;half inches below the belly button and
about one and one;half inches inside? it can be visuali4ed as a ball about one and
one;half inches in diameter! This is the place where a kriyabanreco"ni4es the5note5 which embodies our will to live in the physical body! 0&n Kriya Yoga
boos you don(t find expressions lie? 5Comin" bac to the center5# 5Cultivation
of the spiritual embryo5 or 5The birth of the "olden flower!5 'ou find
expressions lie? 5The process of elf reali4ation be"ins in the navel center5 but
this describes the same event!1
The reali4ation created in theDantianascends then into the heart re"ion!
A kriyaban attains a devotion that nows no human limitation! Burin" the
ecstatic rapture the body may appear as a corpse while the soul burns in a perfect9oy! ,hen these two initial steps become solid throu"h further effort# a
kriyaban(s awareness mer"es with the piritual >i"ht 0inKtastha1 and reaches
the thresholds of Cosmic Consciousness!
6
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List of Kriya Yoga techniques and their relationship to the work
upon the four knots
0The underlined techniques are described in the previous Chapter1
[I] Tongue Knot
Talabya )riya
@m Lapa in the Charas
)riya Pranayama
&!8IKechari M!ra as a techni-e complete in itself
&!:IKechari M!ra cople! #ith Kriya Pranayama
[II] Heart Knot
&&!8I)asic form of%hokar
&&!:I$!vance! form of %hokar
[III] Muladhara Knot
&&&!8I Complete form of %hokar
avi )riya
+aha +udra
[IV] MuladharaKustastha Knot
)riya Pranayama with short breath
+ental Pranayama
&M!8I mkar Kriya 6 mkar Pranayama
&M!:I mkar Kriya 6 4nternalization of the practice of %hokar&M!DI mkar Kriya 6 7ayatri Kriya
'oni +udra
[V] !lternati"e procedures cooperating with the second and
third part
M!8IMacro movement %ribhangamrari '$mantrak*
M!:IMacro movement %ribhangamrari '+amantrak*
M!DIMacro movement %ribhangamrari '%hokar*
[VI] !lternati"e procedures cooperating with the fourth partM&!8IMicro movement %ribhangamrari '$mantrak*
M&!:IMicro movement %ribhangamrari '+amantrak*
NNNNNNNNNNNNNNNNNNN
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[I] Tongue Knot
Those who want to succeed in this practice must have their %alabya Kriya
checed.+any do not do it correctly# not havin" understood how to mae their
ton"ue adhere to the upper palate before openin" the mouth and stretchin" thefrenulum! ometimes# even when they are shown in person# they are still not able
to do it correctly! Here & can only emphasi4e that the main mistae is
concentratin" too much on where to place the tip of the ton"ue! &n a correct
%alabya Kriya( the tip of the ton"ue has no role* The suction effect is obtained
with the whole body of the ton"ue*
After several months of re"ular practice of %alabya Kriya# a kriyabanmay try to
attemptKechari M!ra! The test is whether the tip of the ton"ue can touch the
uvula! &f so# then for a few minutes a day use the fin"ers to push the base of the
ton"ue inward until the tip "oes beyond the uvula and touches the pharynxbehind it! @ne day# the tip of the ton"ue will enter a centimeter or so into the
nasal pharynx but slip out when the fin"ers are removed! After some more days#
on removin" the fin"ers# the tip of the ton"ue will remain 5trapped5 in that
position! This happens because the soft palate 0the part from which the uvula
han"s1 is soft# movable and acts lie an elastic band and creates a hoo! This
prevents the ton"ue from slippin" out and returnin" to its usual flat position! This
is the turnin" point!
7i"ure D! )echari +udra
otice how %alabya Kriya and Kechari M!ra are completely different*
0Compare 7i"ure D with 7i"ure : in Chapter 61! @pen your mouth in front of a
mirror durin" the first part of %alabya Kriyato see the hollow parts on each side
of the fraenum which appear isolated from the body of the ton"ue2 durin"
Kechari M!ra( it is the uvula that comes forward and only the root of the
ton"ue is visible!
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Hence# by strivin" each day to practice at least 6;8: Kriya Pranayamawith the
ton"ue in this position . despite some discomfort such as an increase in
salivation# swallowin"# and occasional interruptions to reestablish the position .
its practice becomes easy and comfortable! The sense of irritation and the
increase in salivation are soon left behind! After about three wees of practicin"in this way# you should be able to reach the same position without usin" the
fin"ers! The ton"ue will be able to insert itself into the nasal;pharynx cavity!
There will still be enou"h space left in the cavity to inhale and exhale throu"h
the nose!
The only problem mi"ht be that durin" the first three wees of Kechari
M!ra# you experience 5di44iness5 and fo""ed up mental faculties! %e prepared
for this eventuality and consider abstainin" from drivin" and any wor involvin"
a si"nificant proportion of ris durin" this time!
&!8IKechari M!ra as a techni-e complete in itself
There are two main sta"es ofKechari M!ra! After several months of tireless
practice of the afore;described sta"e 8# one achieves sta"e :# where the ton"ue
reaches the 9unction of the nasal passa"e inside the hole in the palate! The soft
tissue above the holes in the internal part of the nostrils is alluded to in Kriya
literature as the 5uvula above the uvula5! The tip of the ton"ue reaches this small
area and remains 5stuc5 there comfortably!
Accordin" toKriyaliterature# the ton"ue can be pushed even farther up!
Any "ood anatomy boo will reveal that the ton"ue cannot extend any farther
when it fills up the nasal pharynx! That assertion should therefore be understoodas a hint to what a normal person thins is happenin"! Actually# by extendin" the
ton"ue to its limit# it is possible to experience a "reat attraction toward the re"ion
between the eyebrows alon" with the sensation of havin" reached# with the tip of
the ton"ue# a hi"her position!
The same literature also affirms that throu"h Kecharione is able to perceive
5Amrita5# 5ectar5# the elixir of life . a sweet tastin" fluid triclin" down from
the brain onto the ton"ue and then into the body! To have this experience# the tip
of the ton"ue should touch three points in sequence? the uvula# a small asperity
on the roof of the nasal pharynx under the pituitary "land# and the soft tissueabove the nasal septum! The tip of the ton"ue should rotate on each of these
spots for at least :;D seconds2 then# in the manner of sippin" a liquid or testin"
a food# an essence will be savored on the ton"ue(s surface! The exercise should
be repeated several times durin" the day! D
Kechari M!racauses the life force to be withdrawn from thou"ht processes!
%ypassin" the mind(s ener"y system and chan"in" both the path and the direction
D &Fm unable to comment on the importance of sippin" the nectar since & haven(t had the experience nor#
& admit# have & even tried to have it! &Fm sharin" this information for the sae of accuracy and
completeness! &t may fascinate a kriyaban but after an initial period of intense excitement# it isfor"otten!
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of Prana flow# Kechari connects our awareness with the piritual dimension
whose seat is in the upper part of the brain! The internal chatter ceases2 silence
and transparency become the features of oneFs consciousness! The mind wors in
a more restrained way and en9oys an essential rest2 each thou"ht becomes more
concrete and precise! ,hen# durin" the daily activities Kechari M!ra ispracticed# moments of pure calmness and mental silence fill oneFs entire bein"*
ometimes# mental silence turns into an explosion of inner 9oy!
&!:IKechari M!ra cople! #ith Kriya Pranayama
Kechari M!raenables a kriyabanto tae a "iant step toward perfectin" Kriya
Pranayama! Burin" Kriya Pranayama with Kechari M!ra# the exhalation
arisin" in the nasal pharynx has a fine flute;lie sound lie a faint whistle! ome
schools call it the +hakti Mantra! &t has been liened to the 5flute of )rishna5!
%lowin" "ently on the ed"e of a sheet of paper approximates the sound! >ahiri
+ahasaya described it as 5similar to blowin" air throu"h a eyhole5! He
described it as 5a ra4or which cuts off everythin" related to the mind5! &t has the
power to cut out any external distractin" factors includin" thou"hts# and comes at
the maximal point of relaxation! ,hen distraction and anxiety arise# the sound
vanishes!
Practicin"Kriya Pranayamain this way and en9oyin" its aftereffects is an
enchantin" and astonishin" experience and one of the best moments in a
kriyabanFs life! Cultivatin" the perfection of this sound and concentratin" firmly
on it# means creatin" the best basis to arouse the msound in a way stron"er
than can be achieved throu"h the practice of the second part of KriyaPranayama! >iterature onKriya Yogaexplains that when this event happens# the
mkarexperience acquires the dynamism ofKn!alini3the soul travels throu"h
the spinal cord and burns in the 9oy of +ama!hi!
+odesty is always welcome but when this result is achieved# the positive
euphoria is so overwhelmin" that it cannot be contained 0lie findin" AladdinFs
ma"ic lamp!1 &n Kriya literature# it is said that those who reali4e a perfect
Pranayama(can achieve everythin" throu"h it! ,ell# if we dream of a faultless
Kriya Pranayama# then what we have described matches the ideal of perfection!
Personal reflection?
However "reat the effect of Kechari M!ra( & firmly believe it is important but not
indispensable! P!'!(s decision to allow initiation into the0igher Kriyas to those unable
to practiceKechari M!ra has my full approval! ,hen the ton"ue tip is turned bac and
up toward the roof of the mouth# you perceive 9ust the same striin" effect of
internali4ation that "ives you the chance of fully en9oyin" the0igher Kriyas!
& believe >ahiri +ahasaya also "ranted0igher 4nitiationto those who could not
achieveKechari M!ra.+y belief is based on his attitude and his partain" in human
sufferin"! & cannot conceive that the achievement ofKechariwas intended to create a
sharp division amon" people! @n one hand# we have the very proud kriyabans# deceived
into believin" they are more evolved than others and on the other hand# there are those
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who are hopelessly depressed for failin" in somethin" that depends not on effort
but only on physical constitution!
[II] Heart Knot
%hokaris a technique based on directin" the calmPrana 6 collected in the head
throu"hKriya Pranayama 6 towards the location of one 0usually the fourth1 or
more Chakras# by a particular movement of the head! Ouidin" Prana into the
$nahata Chakra# a li"ht "rows in the re"ion between the eyebrows! This fosters
the breathless state! %y increasin" the concentration on the spiritual li"ht# the
li"hts of all the other Chakras are revealed! The practice of %hokar is to be
deepened throu"hout the years in order to "et the ability to enter the state of
+ama!hi with 9ust one movement of the head! &t mi"ht have happened that
>ahiri +ahasaya new this technique since youth! ome forms of prayer he
learned were mild forms of %hokar! &t was his "enius to develop it to the utmostperfection! tudyin" the practices of the ufis# Gwe discover that %hokar is a
variant of the ufi(sDhikr!Dhikris the practice of the 5memory5 of the Bivine#
which is brou"ht about by repeatin" a particular short prayer durin" the day and
by "uidin" it# durin" moments of seclusion or "roup devotional practice# into
particular centers of the body throu"h specific head movements!
&&!8I)asic form of %hokar
0Thoar with one rotation . this procedure is called econd )riya by many
schools# Third )riya by P!'!(s disciples1
Throu"h %hokar( the ener"y and the intense awareness that has settled in$&na
Chakra# is directed into the$nahata Chakra! This event causes the ((death(( of the
mind? a particular state of ecstatic 5absorption5 be"ins to manifest! A kriyaban
perceives a feelin" of devotion 0)hakti1 emanatin" from the heart Chakra!
%hokaris practiced afterKriya Pranayamaand after"avi Kriya# if possible with
the ton"ue inKechari M!ra!
G ee the studies conducted by Oardet and +! +! Anawati# esp! Oardet in Revue Thomiste 08
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7i"ure G! Rotation of the head in the basic form of Thoar
Practical instructions
The syllables of the 1as!eva+antra 05m "amo )hagavate 1as!evaya51 are
mentally placed in each Chakra location!
,ith the chin restin" on your chest# inhale while simultaneously raisin"
your awareness alon" the spinal column# touchin" each Chakrawith the first sixsyllable of theMantra0mis placed in the first Chakra#"ain the second#Moin
the third#)hain the fourth# 7ain the fifth and)ain)in!.1 < Raise the chin as
if followin" the inner movement! The hands 0with interloced fin"ers1 are placed
on the navel area to create a mental pressure on the first three Chakras! Contract
moderately the muscles at the base of the spine! The breath produces only a
sli"ht# wea sound in the throat or it comes out soundless! ,hen the chin is up
and hori4ontal# the inhalation ends# and the awareness is in the )in!.
Hold your breath! Hold the muscle contraction at the base of the spine! The head
be"ins its rotation by movin" to the left shoulder 0left ear moves sli"htly toward
the left shoulder# the face does not turn left or ri"ht and the movement is free of
all bouncin"12 %eis thou"ht in theMe!lla oblongata! The head tilts bac a little
and in a sweepin" arc reaches the ri"ht shoulder# 0the ri"ht ear comin" near the
ri"ht shoulder1# the syllable 1ais thou"ht in the cervical Chakra! The rotation
proceeds# the head bends forward 9ust a little and moves left until the left ear is
near the left shoulder 0the face is not turned to the left1!
7rom this position# the chin is tilted down dia"onally as if to strie the center of
the chest# while simultaneously + is intensely vibrated in the heart Chakra!
Throu"h this last movement# a ind of hittin" is felt in the heart Chakra. A short
pause follows? 9ust what is needed to be enraptured in the radiation of ener"y
emanatin" from that Chakra! The contraction at the base of the spinal column is
eased off2 via a very subtle exhalation the remainin" syllables of the Mantraare
5placed5 in the first three Chakras 55Deinto the third one# 1ainto the second
one# and Yainto the first one! ,hile doin" this# the head is usually ept down!
The duration of this process is about :G seconds! Repeat the procedure 8: times!
At the end of this practice# retrieve psycholo"ical and physical immobility
by practicin" at least 8:Kriya Pranayama! Then practicePranayama #ith short
breathfollowed by mental Pranayama!
7or several wees# a kriyaban is "uided to perform this technique 8:
times a day# then to "radually increase the number of repetitions of one a day up
to : repetitions! After reachin" : repetitions# or after six months of D6
repetitions per day# a kriyabancan start the practice of the hi"her level of %hokar!
< & am sure the reader nows the correct pronunciation of the Mantra2 phonetic symbols are not
included! otice that in the )in!( we don(t mentally verbali4e 1a but )a? this convention has
established itself over the years!
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Remark
Bo not allow the wei"ht of the head to be the sole force pushin" the chin toward
the chest? lettin" your head simply drop would definitely be harmful! A mindful
physical effort is needed to lower the chin!
,hen you practice over
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Practical instructions
Practice afterKriya Pranayamaand after"avi Kriya# if possible with the ton"ue
inKechari M!ra!After inhalin" 0with m( "a( Mo!!!1 and raisin" thePranato the upper
part of the lun"s# partially relax the muscles of the thoracic ca"e as if you were
"oin" to be"in a new inhalation! 0The act of sealin" the lun"s 0trachea1 as when
divin"# should be avoided!1 &n this relaxed mood# repeat numerous cycles of the
head movements unhurriedly! Consequently the mental chantin" of %e in
Me!lla oblongata# 1ain the cervical and +in the heart Chakrais done several
times 0%e( 1a( +( %e( 1a( +( %e( 1a( + ...1 while holdin" the breath! top the
procedure and exhale when feelin" discomfort*
Then slowly exhale and place the syllables De( 1a( Ya in Chakras three#
two# one respectively! ,hile doin" this# eep your head down! This practice is
done ri"orously once a day! To "ive an idea of the speed of the movements# the
entire process from inhalation to exhalation with 8: repetitions of the rotation of
the head 0each rotation concludin" with the movement of the chin toward the
chest1 lasts around /;= seconds!
At the end of the procedure restore the physical and mental immobility by
practicin" at least 8: Kriya Pranayama! Then practice Kriya Pranayama with
short breath followed by mental Pranayama! Then pause with the awareness
centered in the li"ht ofKtastha!
Accordin" to tradition# a kriyaban is "uided to perform this technique
with 8: rotations# then to "radually increase the number of repetitions by one a
day up to : repetitions! This Kriyais considered mastered when one reaches
: rotations without interruptin" theKmbhakastate!
Remarks
Avoid at all costs any attempts to thwart physiolo"ical processes? tryin" to
accomplish a hi"h number of rotations# doin" them quicly# and bein" obsessed
with holdin" the breath amounts to violence a"ainst one(s body! tart with 8:
rotations and increase by one a day! 7ill the upper part of the thorax to its utmost
possible extent with Prana 6 lie a container filled to the brim with water!
implify the dynamic and the physical intensity of the movements! +ove the
chin toward the chest before completin" the head rotation! amely# after rotatin"
your head from left to ri"ht# let your chin 5fall5 toward the chest from the ri"htside# then lift it to left side and continue with the rotations! %y increasin" the
rotations# the movements of the head should be only hinted at and the chin
should not come close to the chest!
The +antra m "amo )hagavate 1as!evaya contains anotherMantra? %e 1a
+ 0Tat tvam asi Thou are That!1 The outer is a dualisticMantra0amo& bow
to Ood which is different from me12 the innerMantrais non dualistic! Burin"
the practice of the advanced form of %hokar you "o on repeatin"? ((Thou are
That# thou are That!!!!(( Reflect on this*
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0o# to perfect the a!vance! form of %hokar
>et us first "ain proficiency with a particular way of practicin" the advanced
form of %hokar! ,hen you feel you have neared your limit holdin" your breath#while eepin" the chest expanded and the abdominal muscles and diaphra"m
perfectly immobile# release a minimal 0almost imperceptible1 sip of air whenever
the chin is lowered toward the chest and let an imperceptible sip of air enter
whenever the chin is brou"ht up! Bo not do any specific act of inhalin" or
exhalin"? relax and allow the phenomenon we have described happen of its own
accord! The sensation will always be that of not breathin" at all! Thans to the
effect of this practice upon the "an"lion that re"ulate the cardiac frequency# this
frequency diminishes and the practice happens in the best conditions# bestowin"
"reat satisfactions!
At this point we are still far from the ideal practice of this form of Thoar! ,hat
we have described is only a preliminary exercise! 'ou may thin it(s invalid
0because you cheat1 but if you repeat it a sufficient number of times 0usually it(s a
matter of a couple of months1# you will discover that it has the power of main"
you taste the state of $ntar Kevala Kmbhaka 0absence of breath# when the
diaphra"m is tensed and the air is inside the lun"s1 durin" the dynamic procedure
of %hokar! 6
&nhale deeply# fillin" the lun"s completely! Expand your rib ca"e and eep it
expanded after completin" the inhalation! Try to remain in the same psycho;
physical condition you instinctively adopt when you are "oin" to tae another
((sip(( of air! 7ocus your attention on the air and Pranafillin" the upper part of
your rib ca"e? lun"s# breath# and Prana are immobile as if fro4en in the upper
part of the lun"s! ow# the decisive procedure is to move your awareness lie an
ant# climbin" the innermost channel of the spine millimeter by millimeter from
Mla!haraupwards! Practice this holdin" your breath and mentally chantin"
m( m( m!!! rapidly 0about two chants of mper second1! This action should
be very intense? put in it the distilled experience of years of Kriya! Persist with
it !!!! m5m5m5m5m5m!!!
tartin" from the base of the spine# after no more than 8
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@ne day# the spiritual >i"ht in the form of a 5)in!5 0a dot1 appears both in the
heart Chakraand inKtastha! The mind is flooded with devotion! The feelin" of
intoxication experienced in the heart center is fantastic! uch profusion of
internal 9oy often seems to overcome kriyabans# challen"in" their endurance
limit!
5+y worship is of a very stran"e ind! Holy water is not required! o special
utensils are necessary! Even flowers are redundant! &n this worship# all "ods
have disappeared# and emptiness has mer"ed with euphoria!5
0>ahiri +ahasaya1
Remark
The state of $ntar Kevala Kmbhakais also essential to brin" the practice of
Yoni M!rato perfection! &t is also useful to perfectKriya Pranayama(settin" it
upon the ideal timin" of ::Q:: 0we are "oin" to discuss this in Chapter 8:!1
7urthermore# we have explained that the procedure of $ntar KevalaKmbhaka is utili4ed durin" Mahasama!hi! ,hat happens at that moment was
described to us with these words?
((0ave a !eep inhalation( then a pase( an! then come p along the spine #hile
in#ar!ly chanting M( gi!ing yor sol to#ar! the Divine ,ternal )rahma
#ith the intention of never reentering the bo!y! ((
[III] Muladhara Knot
&&&!8I Complete form of %hokar
0Thoar with many rotations holdin" the breath# whose action is directed not
only to the fourth Chara but also to the third# second and first! This procedure is
commonly called 7ourth )riya or ((Purna )riya(( which means ((Complete )riya!((
+any )riya schools do not teach this technique preferrin" either to erase it
completely or substitute it with the sweeter# more docile and mana"eable practice
of Thoar Tribhan"amurari which we are "oin" to introduce later!1
&n the$!vance! form of %hokar# we have applied a very stron" psychophysical
pressure on the heart Chakra2 we now extend this pressure on each Chakra
below usin" the same procedure!
Bescription of the procedure
%e"in by practicin" the $!vance! form of %hokar( thus actin" upon the heart
Chakrabut only 8: times! After this is completed# exhale 0with De 1a Ya1 and
concentrate upon the third Chakraand repeat the previous procedure! This means
that each time you lower your chin to vibrate the syllable +(you mentally direct
the stroe toward the third Chakra! The muscles near that Chakracan be sli"htly
contracted# 9ust to help the process! At the end of 8: repetitions of %e 1a +#exhale 0with De 1a Ya1 and focus on the irradiation that departs from the third
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Chakra! Pause# perceivin" a particular state which is characteristic of that
Chakra! &n time# you will perceive a particular color in the point between the
eyebrows and also listen to a particular sound!
Repeat the procedure in the second and in the first Chakra! Bon( sip the
pauses to perceive the irradiation that emanates from the second and from thefirst Chakra!
Remain lon"er inMla!hara! 7eel how the ener"y rises lie waves of a
tide "rowin" hi"her and hi"her# reachin" a Chakra# then a"ain fallin" down and
movin" from the base of the spine to a hi"her center!
This procedure must be completed by "avi Kriya andMaha M!ra.'ou will
receive a "reat benefit by repeatin" the procedure 0$!vance! form of %hokar1 for
the second# then the third and finally for the heart Chakra 0and only then practice
"avi Kriya andMaha M!ra.1
Remark
This procedure requires "reat care because it affects the person(s behavior durin"
daily life! 'ou could excessively react to trivial impediments and irrational
behavior! &n short# some sharp personality traits of yours mi"ht surface with a
force that in some cases could be ((destructive!(( @bviously# they do not appear
out of nothin"# they are not caused by the technique . they express what you had
held within you for a lon" time! 0,e will reconsider this delicate point at the end
of the followin" Chapter!1
[IV] MuladharaKustastha Knot
mkar Kriyatechniques have one feature in common? a Mantramade of one or
more syllables is mentally placed inside a Chakraand repeated there many times
until a threefold effect emer"es?
8I The perception of a micro internal movement 0whose characteristic is
oscillatory or circular1 inside the Chakra.
:I The experience of listenin" to internal sounds!
DI The perception of spiritual li"ht!
The mkar Kriya techniques are an evolution of the procedures of Kriya
Pranayama and %hokar. ((Evolution(( means that while you are practicin" themyou have all the effects of Pranayama and of %hokar but you are barely
breathin"# and you maintain immobility!
&t is reasonable that these practices have to be done after the practice of
%hokar! However there are schools that put the practice of mkar Kriyasbefore
that of %hokar!
8hat !oes Kriya me!itation mean9
5,hat do you meditate about(( @ften we hear this question! People find it
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difficult to understand what is the prescribed sub9ect of meditation in the practice
of Kriya Yoga! +editation does not consists of the elaboration of lofty thou"hts
supported by fervid ima"ination! ot in the least* The thou"hts are destined to
calm down! This is the startin" point of meditation!
ot only that? sooner or later# a kriyabanlistens to a distant sound of alon";sustainin" bell! ,ell#Kriyameditation means to deepen that experience# to
become totally absorbed in it! Each part of our psyche will be harmoniously
affected! A first;ever)hakti0devotion1 will arise spontaneously# cross the wall of
the psycholo"ical dimension and mae life and spiritual experience
indistin"uishable! Reality will appear as transfi"ured . similar to a li"ht dustin"
of snow that reduces all asperities! This divine sound# which will expand in the
full mkar experience# will inspire our decisions and sustain us in difficult
moments# when the events of life conspire to mae us arduous to abide by the
daily habit of seclusion!
>et us introduce now three procedures that surely and safely lead to the
meditation state? mkar Pranayama( 4nternalization of the practice of %hokar(
and the so called 7ayatri Kriya. 0&t "oes without sayin" that the ideal practice of
these procedures is withKechari M!ra! 1
&M!8I mkar Pranayama
7irst part? with fra"mented breath
The hands# with fin"ers intertwined# rest on the abdomen! &nhalation andexhalation are fra"mented into 6 Q 6 parts! tartin" with your chin on the chest#
inhale movin" your awareness upwards alon" the spinal column while
simultaneously raisin" the chin slowly as if to accompany and push the ener"y
up! The syllables of the 1as!eva+antra 05m "amo )hagavate 1as!evaya51
are mentally placed in each Chakralocation# while main" a short pause in each!
Burin" the first 5sip5 of inhalation# the concentration is on theMla!hara# where
the syllable mis ideally ((put((2 durin" the second 5sip5# the concentration is on
the second Chakra# where the syllable"ais ideally put - and so on# until)ais
put in the)in!# the inhalation is completed and the chin is hori4ontal.
The exhalin" breath too is divided into six punctuated parts or pulses!,hile lowerin" the chin at a slow pace# the awareness comes down alon" the
spinal column! The syllable %eis placed in theMe!lla oblongata# 1ain the fifth
Chakra- and so on - +- De- 1a# until Ya is mentally chanted in the
Mla!hara!
As soon as it is comfortable# add a pause of :;D seconds both at the end of
inhalation and of exhalation! Burin" the pause after inhalation# the awareness
maes a complete# counter;clocwise turn alon" the crown of the head!
5Counterclocwise5 in this boo is always intended as if viewin" from topI!
Burin" the pause after exhalation# the awareness maes a complete# counter;
clocwise turn around theMla!hara Chakra! The rotation above happens inside
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the brain# under the cranial bone# startin" from the occipital re"ion# over )in!#
and comin" bac to it2 the head accompanies this inner movement with an almost
imperceptible rotatin" movement 0tiltin" bac sli"htly# then to the ri"ht# the
front# the left# and finally to the bac1! The rotation of the awareness around
Mla!haradoes not require physical movement!Burin" inhalation# the muscles at the base of the spinal column can be
sli"htly contracted! This contraction is maintained not only to the end of the
inhalation but also throu"hout the ensuin" pause2 then it is released and the
exhalation be"ins! 0This detail should be introduced "radually so it does not
disturb the "eneral harmony!1
The timin" of oneFirst mkar Kriyabreath depends on the individual?
usually it is approximately :;D seconds!
Remark
'ou have probably read that in a deep Pranayama# the ener"y crosses the
Chakras9ust lie the thread of a neclace passes throu"h the pearls! Bo not force
the visuali4ation of a similar hypothetical event because this does not happen!
Actually# the ((thread(( of ener"y envelops each ((pearl((! The counter clocwise
rotation of awareness around the crown shrins while comin" down# 9ust lie a
vortex# windin" around theMe!lla oblongata! ,hen exhalation be"ins and you
mentally chant %eeee# you can use the startin" instants of exhalation to intensify
the psychic pressure around the Me!lla oblongata! This internal action is
extended in a natural way to the other Chakras. The path of descent is a ((helix((
that surrounds and creates pressure around each Chakra! Oo slowly and do not
be in a hurry and let the process proceed at its own pace!
econd part? beyond breath
The breath flows soundless and# from a certain moment onwards# taes the
5inward route!5 The practice produces a wonderful state of calmness and at a
certain point# the breath is 5suced in5 and dissolved! 7rom that moment
onwards# all the physical details are only hinted at and may even disappear! The
speed of each repetition of mkar Pranayama slows down! +ovin" from one
Chakra to the next# a kriyabanbe"ins to notice the chan"e of the li"ht vibration
in the re"ion between the eyebrows! Each Chakra is felt clearly as a
concentration of calm ener"y# while your awareness is effortlessly stable in the
point between the eyebrows? this is the moment when the mkar reality isrevealed! ,ithout this revelation# the practice of mkar Kriya is deprived of its
own essence! %ein" absorbed in listenin" to astral sound creates inner bliss#
contact with our true nature# puttin" aside . at least momentarily . our E"oic
consciousness!
ptional tilization of the syllables of the Mantra
!ring the secon! phase
&n the final part of mkar Pranayama# when the breathin" process "oes alon"
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normally at its own rhythm# it is possible to deepen the concentration in each
Chakraby utili4in" the related syllable# repeated many times!
&n Mla!hara repeat m( m( m( m( m!!! a minimum of D6 times!
0Bo not useMalato count . remain immobile!1 The speed at which you chant the
syllables is about two per second! Misuali4e that Chakraas a hori4ontal dis#havin" a diameter of approximately one inch! Misuali4e these syllables movin"
on the surface of the dis in counterclocwise direction# near the circumference!
After the first round# another comes# inside the previous and so on !!! until you
ideally reach the center of the dis!
Then focus on the second Chakrawhere you will do exactly the same
action# utili4in" the second syllable of theMantra# namely?"a( "a( "a( "a( "a...about D6 times!
Then focus on the third# repeatin"Mo( Mo( Mo( Mo( Mo!!!! about D6 times!
Then focus on the fourth# repeatin")ha( )ha( )ha( )ha( )ha!!! then on the fifth
07a( 7a( 7a( 7a( 7a !!!!1# then on)in! 0)a( )a( )a( )a( )a !!!!1! ,hen you
rotate the awareness many times on the crown you will repeat %ee( %ee( %ee( %ee(
%ee- The ((absorption state(( is very stron" indeed!
Then you will focus on the fifth Chakrautili4in" 1a( 1a( 1a-!
Ooin" up this way from Mla!hara to )in! and comin" down repeatin" the
same procedure is one round? the time required is approximately G;6 minutes!
Repeat D;G times and then be lost in the meditative state!
&M!:I mkar Kriya 6 4nternalization of the practice of %hokar
After havin" completed a con"ruous number of rotations of %hokar0it can be the
basic form of %hokaror the advanced form of it1 do not interrupt this procedure
but mae it subtle! 7irst of all breathe freely! Then visuali4e the fourth Chakra
$nahata as a hori4ontal dis! @n its surface try to perceive an inner movement
sensation as if the head movements 0that you are performin" with more li"htness
and softness1 were pro9ected on its surface! 0see 7i"ure
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&n comparison with the movements of %hokar# the dynamic of the head
movements is "reatly diminished! Then stop any movement 0the breath is always
free!1 'our attention is captured by a warm radiation of ener"y that emanates
from the fourth Chakra! &n time# it is destined to become more and more mared!Repeat the practice in the third Chakra? this is not difficult# especially if
you are familiar with the complete form of%hokar! ,hile part of your awareness
remains in the head# transfer the repetitions of %e( 1a( + in the third Chakra!
Thin 5%e5 when you move to the left of its center# 51a5 when you move to the
ri"ht# 5+5 when there is a soft tap in its center! Repeat three times!
Repeat the practice in the second# then in the first# in the second# third and
fourth Chakra!
'ou reali4e how easy it is to have this perception in the fifth Chakratoo#
althou"h we have never