PART II: METHODOLOGY AND TECHNIQUES OF KRIYA YOGA

CHAPTER 6 THE BASIC TECHNIQUES OF KRIYA YOGA

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

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Localization of the Chakras The Chakras are 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 boo s to Kriya. 3nfortunately# such boo s are usually filled with useless# mis"uided representations! ,hile wastin" time in visuali4in" it all# a kriyaban runs the ris of losin" the real meanin" of the Kriya techniques or part of their richness! Kriya is 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 6piritual 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 practice Kriya Yoga 0kriyabans1 be"in with the basic technique of Kriya Pranayama and 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 Cha ras

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 sacral re"ion# above and behind the "enitals or :;<cm below the navel $bellybutton i!e! halfway between M la!hara and Manip ra! The third Chakra# Manipura# is in the lumbar re"ion# at the same level as the navel$ bellybutton! The fourth Chakra# Anahata# is in the dorsal re"ion2 its location can be felt by brin"in" the shoulder blades closer and concentratin" on the tense muscles in the area between them or
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9ust below them! The fifth Chakra# Vishuddha# is at the cervical $collarbone $thyroid level where the nec 9oins the shoulders! &ts location can be detected by swayin" the head from side to side# eepin" the upper chest immobile# and concentratin" on the point where you perceive a 5crac in"5 sound! The physical locali4ation of the Chakras is improved throu"h visuali4ation! The simplest visuali4ation that fosters the dynamics of Kriya Pranayama is havin" the awareness travel up the spine and perceivin" the Chakras as tiny 5twin lin" li"hts5 illuminatin" a 5hollow tube#5 which is visuali4ed in place of the spinal cord! ,hen the awareness is brou"ht down# the Chakras are internally perceived as or"ans distributin" ener"y 0comin" from infinity above1 into the body! >uminous rays depart from their locations# enlivenin"$ener"i4in" that part of the body which is in front of them! To ta e the trouble to abide by such elementary visuali4ation# avoidin" those su""ested by "e# $ge or tantric boo s is the best "uarantee of havin" a beneficial practice! Chakras are not a physical reality2 their true location is in the astral dimension# which is only visible to clairvoyants or when Kriya Pranayama ta es# 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 Chakras are five different states of consciousness! &n Kriya tradition# the Chakras are related to the five %att#as? earth# water# fire# air# and ether! @fferin" each %att#a individually 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! $&na 'Me! lla oblongata( )hr ma!hya( K tastha* The sixth Chakra( Ajna, accordin" to tradition# is in the central part of the head! 6ome identify it with the hypophysis (pit it!"y# "land# others with the pi$%!& "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 li e the bac of a small turtle! :! Remainin" centered in the Me! lla oblongata# conver"e your inner "a4e on Bhrumadhya# 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 loo in" internally and remain satisfied with whatever luminous perception comes# the li"ht will intensify! 6trai"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 Kutastha 0a a thi"' %y% or spi"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! $&na Chakra is the royal entrance to the Bivine Consciousness# which is immanent in our physical universe! 'ou will experience the entire universe as your own body! This experience is also called K tastha Chaitanya# Christ conscio sness# or Krishna conscio sness! Cote? the term )utastha is often utili4ed at the place of %hrumadhya! +ahasrara ')in! ( Fontanelle* Accordin" to tradition# the seventh Chakra( Sahasrara( is at the top of the head! &t is visuali4ed as a hori4ontal dis about 8: centimeters in diameter# lyin" immediately beneath the upper part of the cranium! &n part D of Kriya Pranayama( when we raise our awareness from the sixth to the seventh Chakra# this visuali4ation is enou"h to "et ecstatic absorption! Bindu is located in the occipital re"ion# where the hairline twists in a ind of vortex 0where Hindus with shaved heads wear a loc of hair1! Burin" the first part of Kriya Pranayama( the consciousness touches )in! briefly at the end of each inhalation! &n the hi"her phases of Kriya Pranayama# when our awareness finds tranquility in )in! # we become aware of the bregma 0anterior fontanelle durin" infancy* located on the top of the s ull at the 9unction of the coronal and sa"ittal sutures# where the frontal bone and parietal bones meet! &t is recommended not to override the previous sta"e of locali4ation of the sixth Chakra 0$&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 in Kriya 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 0Asana1 must be steady and pleasant! Half-lotus: +ost kriyabans are relaxed in this sittin" position# which has been used since time immemorial for meditation# because itFs comfortable and easily mana"ed! The ey is to maintain an erect spine by sittin" on the ed"e of a thic cushion so the buttoc s are sli"htly raised! 6it 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 lin ed! ,hen the le"s "et tired# reverse them to prolon" the position! The best hand position is with fin"ers interloc ed as in the 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 for Pranayama is 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 with Kechari M !ra closes the pranic circuit and ma es Kriya Pranayama easy and beneficial! &t is said the position helps one to become aware of the movement of Prana! 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 $sana is combined with Kechari and +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 an les 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 the Pa!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 by Pranayama* in three parts( "avi Kriya( Maha M !ra( Kriya Pranayama #ith short breath( mental Pranayama and Yoni M !ra! 8 -. T!&!+y! K"iy! 6tart with the ton"ue in a relaxed position with the tip li"htly touchin" the bac of the upper teeth! Press the body of the ton"ue a"ainst the upper palate to create a suction cup effect! +any practice %alabya Kriya incorrectly by instinctively turnin" their ton"ue bac wards 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 ling al fren l m 0the 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 clic in" sound then stic it out of the mouth and point it toward the chin! At the be"innin"# do not exceed 8E repetitions a day to avoid strainin" the fren l m! Eventually# you want to do <E repetitions in about : minutes 088E;8:E seconds!1 After some months of practicin" %alabya Kriya re"ularly# it should be
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To chec if refinements have been added to the description of the techniques# visit www! riyayo"ainfo!net at least once a year!

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possible to insert the ton"ue into the nasal pharynx cavity 0 Kechari M !ra*. Kechari M !ra 07i"ure D1 is described in detail in the next chapter! Even after masterin" Kechari M !ra( %alabya Kriya should continue to be practiced because it creates a perceivable relaxin" effect on the thin in" process! &t is not nown why stretchin" the frenulum reduces thou"ht production# however# anyone practicin" the technique can readily verify this! Remark &n 0atha Yoga boo s there are different su""estions for len"thenin" the fren l m! @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 fren l m to obtain faster and easier results! /. O0 1!p! i$ th% Ch!2"!s 6tartin" with the first Chakra M la!hara# chant the Mantra 5@m5 while concentratin" on it2 then do the same with the second Chakra and 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 the Me! lla oblongata# then in the cervical Chakra and 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# <# )in! 1 and one descent 0Me! lla oblongata# <# G# D# :# 81 represent one cycle that lasts :<;DE seconds! Bo 6 to 8: cycles! Bo not pay any attention to the breath other than to breathe naturally! The .m Mantra may be chanted aloud durin" the first three cycles! &n the remainin" cycles chant .m mentally!
The correct pronunciation for ((.m(( is li e the ((on"(( in ((son"(( but drawn out! &t must not be pronounced li e the ((om(( in Tom e!"! ((ahm!(( &n this technique# 5.m5 is a pure prolon"ed vowel sound pronounced li e the alphabet letter ((o!(( The ((m(( is silent and the ((o(( sound is len"thened! At the end# the mouth is not completely closed . thus creatin" the nasal sound 5n"5! ,hen pronouncin" &ndian Mantras# li e .m namo bhagavate or .m namah +hivaya -# the consonant 5m5 in 5@m5 is heard! 6ome say the correct note of .m is % 06i1 before +iddle C 0Bo1! This exercise# performed with concentration# ma es the best form of Kriya Pranayama happen durin" your meditation routine! &f one cycle lasts :<;DE seconds# then each .m chant last about : seconds# which is very "ood! 6ure enou"h# a lon"er cycle e!"! GG seconds# as counseled by >ahiri +ahasaya# would be very appropriate# providin" oneFs concentration is always constant! HThe ideal practice is when a cycle lasts 6E seconds! %ut this creates boredom and many kriyabans would tend to s ip this introductory procedure!I

3. K"iy! P"!$!y!0! (Spi$!& B"%!thi$4# Kriya Pranayama is the most important technique! &t acts directly on the ener"y 0Prana1 present in the body! Kriya $charyas use different didactic strate"ies to
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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 !ra is applied! 7or those who canFt do it# touch with the tip of the ton"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. @ne Kriya breath entails? 8! A deep inhalation throu"h the nose that produces an unvoiced sound 0li e 2&&ayi Pranayama1 in the throat# which acts li e a hydraulic pump to raise the ener"y 0Prana1 from the base of the spinal column up to the Me! 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 perfect Kriya Pranayama is =E breaths per hour . about G< seconds per breath! Kriyabans can only reach this rhythm durin" lon" sessions! ,hereas an advanced kriyaban would complete 8: breaths in around A minutes# be"inners should set a rhythm of 8=;:E seconds per Kriya breath 0includin" the pauses1 and complete 8: breaths in a natural and unhurried way in about G ;< minutes! Remar s The path ta en by the ener"y "radually reveals itself durin" practice! Co 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 the M la!hara alon" the spinal column toward the second Chakra# the third# the fourth# the fifth Chakra( the Me! lla oblongata and# if possible# up to )in! ! Burin" the pause# the radiance of K tastha 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 of Kriya Pranayama( the ener"y cannot reach either the re"ion between the eyebrows nor +ahasrara3 this will happen in the third part! %reathin" durin" Kriya Pranayama is not free breathin" but restricted breathin" that creates a clearly heard sound in the throat! This sound while inhalin" is li e a quiet schhhh $J$! The sound is similar to the amplified bac "round noise of a loudspea er2 there is only a sli"ht hiss durin" exhalation! There are many poor &nternet video clips of 2&&ayi Pranayama with yogis who ma e a horrible sound because they are usin" $vibratin" their vocal chords? this is not correct in Kriya Pranayama! 7ortunately# there are also "ood explanations of 2&&ayi Pranayama that & si"nal in my web site! To ma e certain the sound is correct# concentrate only on increasin" the friction of the air flowin" throu"h your throat! A muffled sound will ori"inate! &ncrease its frequency! &f the surroundin"s are perfectly still# a person could hear it within a G;< meter radius . by no means outside it! However# do not expect sound perfection yet. ,hen Kechari M !ra is eventually done correctly# the exhalin" sound will be flute;li e? +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 is drawn in! The breathin" is mainly abdominal2 durin" inhalation# the upper part of the lun"s is filled two thirds full! Bo C@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 Mantra in 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 typical Kriya Pranayama sound 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 li e 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 of Kriya 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 enormous effort 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# li e 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 .m because it is probably 9ust a si"nal that the real experience is approachin"! Patience and constancy are of prime importance! @ne day# one will awa en to the reali4ation that one is actually hearin" a sound of 5runnin" water5! .m is similar to the sound of runnin" water or to waves brea in" over cliffs! >ahiri +ahasaya described it as a sound 5produced by a lot of people continually stri in" the dis of a bell and as continuous as oil flowin" out of a container5! &n the second part of Kriya Pranayama# the awareness expands into the entire occipital re"ion up to )in! ! Burin" inhalation# .m is mentally chanted 0or more accurately 5mentally placed51 in each of the first five Chakras! Burin" the pause# .m is chanted in the Me! lla oblongata# in the point between the eyebrows# and a"ain in the Me! lla oblongata! Burin" exhalation# .m is mentally placed in each Chakra as "ently 5touchin"5 it from the bac ! Therefore# while comin" down to M la!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 .m should 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" s ills 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 have reached a daily number of G= Kriya breaths and possibly when Kechari M !ra is achieved! Always be"in your practice with the first part of Kriya Pranayama for at least 8: breaths# and then s ip to the second part of Kriya Pranayama until you have completed G= Kriya breaths alto"ether! ,e are "oin" to learn a hi"her form of +hambhavi M !ra. +hambhavi M !ra is 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 wrin lin" of the forehead! @ur hi"her form of +hambhavi M !ra involves closed or half;closed eyelids# the eyes loo in" upward as much as possible as if loo in"
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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 Prana collects at the top of the head! Burin" this M !ra you practice the instructions for the second part of Kriya Pranayama 0chantin" of .m in 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 06E# /: 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!"! 8E= 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 unbro en li e the continuous pourin" of oil from a bottle! The practice reaches its maximum power and seems to have a life of its own! 'ou will eventually have the impression of crossin" a mental state# which is li e fallin" asleep# then suddenly returnin" to full awareness and reali4in" you are bas in" in a spiritual li"ht! &t(s li e a plane emer"in" from clouds into a clear transparent s y! 6. N!(i K"iy! 3sin" the same method described in .m /apa and without attemptin" to control the breath# one(s awareness slowly moves up alon" the spinal column! The Mantra .m is placed in the first five Chakras# in the )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 interloc ed# palms face downward# and the pads of both thumbs are touchin"! .m is chanted /< times 0 some schools counsel 8EE2 let us say that a rou"h estimate between /< and 8EE 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 the lower;middle part of the abdomen 0the Prana current 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 interloc in" 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 .m is mentally chanted in
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reverse order from the point between the eyebrows to M la!hara! This is one "avi Kriya 0it lasts between 8GE;86E seconds1! A kriyaban does 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 M la!hara Chakra in 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 one Maha M !ra2 it requires about 6E;=E seconds! Practice three Maha M !ra for a total of A movements! Remark 6ome 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 interloc ed fin"ers are placed around the nee to exert pressure on it! This helps to eep the bac strai"ht and ma e the inner sound of the $nahata Chakra audible! Maha M !ra must be comfortable and it must not hurt* &nitially# most kriyabans will not be able to do the forward stretch without ris in" bac or nee in9ury! To avoid pain or in9ury# eep the outstretched le" bent at the nee until the position feels comfortable! ,hile holdin" the breath in the outstretched position# contract the anal and the abdominal muscles and draw the abdominal muscles in sli"htly so the navel moves inward toward the lumbar center! As we have seen# the bi" toe is "rasped while one is in the outstretched position! 6ome schools insist on this detail and explain that by repeatin" this action on each le"# the balance between the two channels 4!a and Pingala is improved! A variation is to squee4e the toenail of the bi" toe with the thumb of the ri"ht hand2 the index and middle fin"ers are behind it and the left hand cups the sole of the foot! ,hen the procedure is repeated with both le"s outstretched# both toes are "rasped with the interloc ed hands! 0A variation is that the thumbs
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of each hand press the respective toenails and the index and middle fin"ers hold the toe from behind1! Maha M !ra incorporates all the three )an!has! : ,hen applied simultaneously with the body bent forward and without excessive contraction# it helps one to be aware of both ends of + sh mna and produces the feelin" of an ener"etic current movin" up the spine! &n due course# one will be able to perceive the whole + sh mna "a!i as a radiant channel! 8. K"iy! P"!$!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 M la!hara 0first Chakra1 to every Chakra and vice versa! This fact invites the ener"y to move freely upwards throu"h + sh mna and downwards into each part of the body! This action completes that of Maha M !ra and prepares you for Yoni M !ra! After havin" drawn three deep breaths# each of them endin" with a fast and complete an exhalation li e a si"h# your breath will be very calm! &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 stri in" difference! 7ocus your attention on the M la!hara Chakra! ,hen it feels natural to inhale# inhale only what is necessary# as quic ly as per instinct 0about one second1# then pause an instant in the second Chakra. ,hen it feels natural to exhale# exhale# and pause in M la!hara. ,hen it feels natural to inhale# inhale# and pause in the third Chakra. ,hen it feels natural to exhale# exhale# and pause in M la!hara. Continue li e that# repeatin" the procedure between M la!hara and the fourth Chakra# M la!hara and the fifth Chakra 0then M la!hara )in! # M la!hara Me! lla oblongata# M la!hara fifth# M la!hara fourth# M la!hara third and M la!hara second Chakra.1 @ne cycle comprises 8E 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! 6tart with the first# move to the second# third# and so on! After ascendin" to the )in! # be"in the descent# pausin" in Me! lla oblongata# fifth Chakra# fourth Chakra( and so on! .m may be mentally chanted in each Chakra! &t is convenient to center your attention for 8E;:E seconds on each Chakra! The Chakras are li e 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! 6ometimes# 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 Chakras is 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! Kriyabans do not feel they are practicin" a technique but en9oyin" a few moments of soothin" relaxation! This is the moment when a deep mental silence settles 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 Kriyar Paravastha 5 5the state that comes after the action of Kriya5. &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 /apa and mental Pranayama! .m /apa before Kriya Pranayama is desi"ned to stimulate each Chakra! @ne pauses only a short time in each one to vibrate the .m Mantra! 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 :E seconds upon each Chakra# and the kriyaban is relaxed there comes the perception of a pleasurable sweet sensation and the breath slows down noticeably! 6ome inner sounds as well as hues of li"ht in the screen of K tastha deepen the contact with the .mkar dimension! 6ome Yoga schools advise visuali4in" the Chakra(s specific color 0red# oran"e# yellow- li e 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 whole psychophysical system with a short Kriya routine 0how to or"ani4e a short Kriya 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 the eyes . on the upper chee bones! %y holdin" the breath and mentally repeatin" .m several 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 !ra is usually performed only once! &nhalin" deeply and holdin" the breath usually causes discomfort after a few seconds! To reduce the discomfort and ma e it possible to deepen the practice# practice the followin"? At the end of a moderate inhalation 0not a typical Kriya Pranayama one 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" .m repetitions by one per day up to a maximum of :EE! @f course# forcin" is always to be avoided!

First s ggestions abo t the ro tine Th% i'%!& ti0% *o" p"!)ti)i$4 th% 0!i$ K"iy! "o ti$% En9oy the main routine either before brea fast or before lunch at noon or late afternoon before dinner# or at ni"ht at least :;D hours after eatin"! The complete routine# which we have already implicitly "iven by numberin" the techniques from 8 to =# does not wor for everyone! +any utili4e Maha M !ra and "avi Kriya as preliminary techniques and avoid techniques requirin" movement after Kriya Pranayama! They find also that Kriya Pranayama #ith short breath is not necessary! Their routine is very simple and extremely en9oyable? Talabya )riya +aha +udra Cavi )riya )riya Pranayama +ental Pranayama! A "ood choice is to len"then the practice of mental Pranayama to occupy 8$D of the whole time!

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A+o t ! sho"t "o ti$% !t $i4ht %$'i$4 5ith Yo$i M '"! &f the main routine is practiced at ni"ht# you can simply add Yoni M !ra at 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 with Maha M !ra( then Pranayama #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 K tastha! 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 !ra can(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+o t 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 of Kriya Pranayama also! ,arnin" Bo not practice only the third part of Kriya Pranayama? a routine totally based on a stron" concentration on the +ahasrara is not appropriate for be"innin" or medium level students! Bevelopin" a stron" ma"net in +ahasrara throu"h the third part of Kriya Pranayama is the most powerful way of stimulatin" the K n!alini awa enin"! This implies brin"in" up a lot of information from the subconscious mind to the surface! 06ee also the discussion in Chapter A!1 'ou can experience an entire ran"e of ne"ative moods# from mar ed alienation from reality to panic attacks.

Final remark abo t mental Pranayama 'ou must never for"et to "ive the hi"hest importance to the soothin" phase of mental Pranayama! A Kriya routine that does not end with mental Pranayama is li e an orchestra "oin" on sta"e# unpac in" the instruments# tunin" them and then leavin" at once* &t is this phase that brin"s everythin" to"ether2 the ripples in the mind(s la e are stilled# the awareness becomes transparent# and the Last Reality is 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 li e a spiral which "radually and systematically ta es care of all the levels of one(s bein"? it is a
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healin" process! The value of Mental Pranayama becomes apparent when important decisions have to be ta en! @ne has the impression that nothin" can "et in the way and that even the "reatest difficulties will dissipate! &nside the perfect transparency of an inner order# all problems are solved! @ne is born to Kriya throu"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! 6ometimes & 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 li e 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 )ea ty2 8AAA1 5

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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 of Kriya! The ri"ht moment to study this Chapter is 6;8: months after practicin" Kriya Yoga daily# 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 ma e some preliminary remar s concernin" >ahiri +ahasaya(s theoretical vision 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 the Me! lla oblongata and with the fifth Chakra2 the not of the heart is connected to the fourth Chakra2 the not of the coccyx is connected with Chakra M la!hara and# finally# the last not is lin ed both with the first Chakra and 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 familiari4e themselves with the procedures called 0igher Kriyas! 6tudents 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 Yoga as 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" the doubts and fears# settlin" in the solid territory of meditation;born intuition! Fo r 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/ih ah 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 re indlin" of the vital force in the body! A subtle substance 0$mrit1 be"ins to tric le 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 stic s to the palate and the mouth is opened# in that instant the ener"etic split between our body and the reserve of static Prana located 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 .mkar aspect of the Bivine! This not should not be confused with the obstacle that is located in the center between the eyebrows . this obstacle is lin ed with the fourth not! The heart not obstructs the downward 9ourney of static Prana from +ahasrara toward M la!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 the superficial 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#as Hthe 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#as are a concrete series of states of consciousness# whose intimate essence is experienced in the last part of the devotee(s 9ourney toward the $bsol te Conscio sness! Tunin" with the air %att#a allows a person enter a sublime state! This %att#a chec s the cardiac plexus which controls the automatic phenomenon of breath! A kriyaban wor in" upon unfastenin" the heart not soon notices how the breathin" process tends to calm down! The not of the coccyx prevents a kriyaban from enterin" + sh mna and movin" toward K tastha! This fact eeps the veil of illusion real! 3nfastenin" such not 0M la!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! Prana and $pana unite in the re"ion of the navel by the action of the +amana current! They are "uided in the channel of + sh mna throu"h the action of Maha M !ra! The last phase of Kriya path happens when the awareness starts to climb the + sh mna channel and moves toward K tastha! Prana is now perfectly tranquil in all the body2 the more resistant forces that prevent the vision of the 6piritual >i"ht of K tastha are "oin" to be dissolved! A perpetual stay of K n!alini in the $&na Chakra is "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 as Dantian! 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 kriyaban reco"ni4es the 5note5 which embodies our will to live in the physical body! 0&n Kriya Yoga boo s you don(t find expressions li e? 5Comin" bac to the center5# 5Cultivation of the spiritual embryo5 or 5The birth of the "olden flower!5 'ou find expressions li e? 5The process of 6elf reali4ation be"ins in the navel center5 but this describes the same event!1 The reali4ation created in the Dantian ascends 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 perfect 9oy! ,hen these two initial steps become solid throu"h further effort# a kriyaban(s awareness mer"es with the 6piritual >i"ht 0in K tastha1 and reaches the thresholds of Cosmic Consciousness!

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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 Cha ras )riya Pranayama H&!8I Kechari M !ra as a techni- e complete in itself H&!:I Kechari M !ra co ple! #ith Kriya Pranayama [II] Heart Knot H&&!8I )asic form of %hokar H&&!:I $!vance! form of %hokar [III] Muladhara Knot H&&&!8I Complete form of %hokar Cavi )riya +aha +udra [IV] Muladhara Kustastha Knot )riya Pranayama with short breath +ental Pranayama H&M!8I .mkar Kriya 6 .mkar Pranayama H&M!:I .mkar Kriya 6 4nternalization of the practice of %hokar H&M!DI .mkar Kriya 6 7ayatri Kriya 'oni +udra [V] !lternati"e procedures cooperating with the second and third part HM!8I Macro movement %ribhangam rari '$mantrak* HM!:I Macro movement %ribhangam rari '+amantrak* HM!DI Macro movement %ribhangam rari '%hokar* [VI] !lternati"e procedures cooperating with the fourth part HM&!8I Micro movement %ribhangam rari '$mantrak* HM&!:I Micro movement %ribhangam rari '+amantrak* NNNNNNNNNNNNNNNNNNN

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[I] Tongue Knot Those who want to succeed in this practice must have their %alabya Kriya chec ed. +any do not do it correctly# not havin" understood how to ma e their ton"ue adhere to the upper palate before openin" the mouth and stretchin" the frenulum! 6ometimes# even when they are shown in person# they are still not able to do it correctly! Here & can only emphasi4e that the main mista e is concentratin" too much on where to place the tip of the ton"ue! &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 kriyaban may try to attempt Kechari 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 pharynx behind 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 li e an elastic band and creates a hoo ! This prevents the ton"ue from slippin" out and returnin" to its usual flat position! This is the turnin" point!

7i"ure D! )echari +udra

Cotice 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 Kriya to 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 Pranayama with the ton"ue in this position . despite some discomfort such as an increase in salivation# swallowin"# and occasional interruptions to reestablish the position . its practice becomes easy and comfortable! The sense of irritation and the increase in salivation are soon left behind! After about three wee s of practicin" in this way# you should be able to reach the same position without usin" the fin"ers! The ton"ue will be able to insert itself into the 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 wee s 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! H&!8I Kechari M !ra as a techni- e complete in itself There are two main sta"es of Kechari 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 5stuc 5 there comfortably! Accordin" to Kriya literature# the ton"ue can be pushed even farther up! Any "ood anatomy boo will reveal that the ton"ue cannot extend any farther when it fills up the nasal pharynx! That assertion should therefore be understood as a hint to what a normal person thin s is happenin"! Actually# by extendin" the ton"ue to its limit# it is possible to experience a "reat attraction toward the re"ion between the eyebrows alon" with the sensation of havin" reached# with the tip of the ton"ue# a hi"her position! The same literature also affirms that throu"h Kechari one is able to perceive 5Amrita5# 5Cectar5# the elixir of life . a sweet tastin" fluid tric lin" down from the brain onto the ton"ue and then into the body! To have this experience# the tip of the ton"ue should touch three points in sequence? the uvula# a small asperity on the roof of the nasal pharynx under the pituitary "land# and the soft tissue above the nasal septum! The tip of the ton"ue should rotate on each of these spots for at least :E;DE 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 !ra causes the life force to be withdrawn from thou"ht processes! %ypassin" the mind(s ener"y system and chan"in" both the path and the direction
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 sa e of accuracy and completeness! &t may fascinate a kriyaban but after an initial period of intense excitement# it is for"otten!

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of Prana flow# Kechari connects our awareness with the 6piritual 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 wor s 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 is practiced# moments of pure calmness and mental silence fill oneFs entire bein"* 6ometimes# mental silence turns into an explosion of inner 9oy! H&!:I Kechari M !ra co ple! #ith Kriya Pranayama Kechari M !ra enables a kriyaban to ta e 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;li e sound li e a faint whistle! 6ome schools call it the +hakti Mantra! &t has been li ened 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 Pranayama in 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 .m sound in a way stron"er than can be achieved throu"h the practice of the second part of Kriya Pranayama! >iterature on Kriya Yoga explains that when this event happens# the .mkar experience acquires the dynamism of K n!alini3 the 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 0li e 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 the 0igher Kriyas to those unable to practice Kechari 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 stri in" effect of internali4ation that "ives you the chance of fully en9oyin" the 0igher Kriyas! & believe >ahiri +ahasaya also "ranted 0igher 4nitiation to those who could not achieve Kechari M !ra. +y belief is based on his attitude and his parta in" in human sufferin"! & cannot conceive that the achievement of Kechari was 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 8EE

who are hopelessly depressed for failin" in somethin" that depends not on effort but only on physical constitution! [II] Heart Knot %hokar is a technique based on directin" the calm Prana 6 collected in the head throu"h Kriya 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! 6ome forms of prayer he learned were mild forms of %hokar! &t was his "enius to develop it to the utmost perfection! 6tudyin" the practices of the 6ufis# G we discover that %hokar is a variant of the 6ufi(s Dhikr! Dhikr is 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! H&&!8I )asic form of %hokar 0Tho ar with one rotation . this procedure is called 6econd )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! %hokar is practiced after Kriya Pranayama and after "avi Kriya# if possible with the ton"ue in Kechari M !ra!

6ee the studies conducted by Oardet and +! +! Anawati# esp! Oardet in Revue Thomiste 08A<:;D1

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7i"ure G! Rotation of the head in the basic form of Tho ar

Practical instructions The syllables of the 1as !eva +antra 05.m "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 Chakra with the first six syllable of the Mantra 0.m is placed in the first Chakra# "a in the second# Mo in the third# )ha in the fourth# 7a in the fifth and )a in )in! .1 < Raise the chin as if followin" the inner movement! The hands 0with interloc ed 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 %e is thou"ht in the Me! 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 1a is 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 stri e 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 Mantra are 5placed5 in the first three Chakras 55 De into the third one# 1a into the second one# and Ya into the first one! ,hile doin" this# the head is usually ept down! The duration of this process is about :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 practice Pranayama #ith short breath followed by mental Pranayama! 7or several wee s# 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 :EE repetitions! After reachin" :EE repetitions# or after six months of D6 repetitions per day# a kriyaban can 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! Cotice 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 <E repetitions# the movements of the head should be only hinted at? the chin does not come close to the chest and the stri in" of the fourth Chakra is mainly achieved by the sheer power of mental concentration! &f you have any difficultly whatsoever# stop before reachin" :EE repetitions! The presence of physical problems 0the cervical vertebrae are indeed vulnerable1 may require practicin" on alternate days! &t is better to add more cycles over time rather than face the prospect of experiencin" continuous head and nec pain throu"hout the entire day* %hokar an! the breathless state Completin" the :EE repetitions of %hokar is a deed of "reat importance! As for the possibility of obtainin" the breathless state# this effort can be compared only to the intensive practice of /apa! )reathless state means that the breath is entirely non;existent! &t does not simply mean that the breath becomes "radually quieter or that after a lon" hyperventilation# the breath is held li e free $ breath;hold divers do! &n order to reach the breathless state# one needs on the avera"e two to three years of re"ular Kriya practice! @ne needs not only the overall effect of the First Kriya techniques but also the action of the .mkar Kriya and of %hokar# important for its direct effect on the heart "an"lia in the spine which directly control the breathin" automatic reflex! This wonderful event can happen durin" the practice of any Kriya technique 0in particular durin" the practice of mental Pranayama.1 &t can also happen durin" the day# far from the moment of meditation# for example when contemplatin" somethin" so beautiful that oneFs own aesthetic sense vibrates! %efore considerin" the advanced form of %hokar we counsel you to read the third part of the boo and start the practice of /apa. H&&!:I $!vance! form of %hokar 0Tho ar with many rotations holdin" one(s breath . this procedure is commonly called Third )riya or 3ccha )riya# meanin" hi"her )riya! P!'!(s disciples call it 7ourth )riya!1 This technique is a remar able acceleration of the basic form of %hokar. The action of %hokar is repeated over and over while extendin" the len"th of the state in which the breath is held 0K mbhaka!1 &n Kriya literature# the explanation is that the heart not is st" )2 by the %hokar basic proce! re and then ) t by the a!vance! form of %hokar!
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Practical instructions Practice after Kriya Pranayama and after "avi Kriya# if possible with the ton"ue in Kechari M !ra! After inhalin" 0with .m( "a( Mo!!!1 and raisin" the Prana to the upper part of the lun"s# partially relax the muscles of the thoracic ca"e as if you were "oin" to be"in a new inhalation! 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# 1a in the cervical and + in the heart Chakra is done several times 0%e( 1a( + ( %e( 1a( + ( %e( 1a( + ... 1 while holdin" the breath! 6top 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 /E;=E 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 of K tastha! 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 :EE repetitions! This Kriya is considered mastered when one reaches :EE rotations without interruptin" the K mbhaka state! Remarks Avoid at all costs any attempts to thwart physiolo"ical processes? tryin" to accomplish a hi"h number of rotations# doin" them quic ly# and bein" obsessed with holdin" the breath amounts to violence a"ainst one(s body! 6tart with 8: rotations and increase by one a day! 7ill the upper part of the thorax to its utmost possible extent with Prana 6 li e a container filled to the brim with water! 6implify the dynamic and the physical intensity of the movements! +ove the chin toward the chest before completin" the head rotation! Camely# after rotatin" your head from left to ri"ht# let your chin 5fall5 toward the chest from the ri"ht side# then lift it to left side and continue with the rotations! %y increasin" the rotations# the movements of the head should be only hinted at and the chin should not come close to the chest! The +antra .m "amo )hagavate 1as !evaya contains another Mantra? %e 1a + 0Tat tvam asi P Thou are That!1 The outer is a dualistic Mantra 0CamoP& bow to Ood which is different from me12 the inner Mantra is 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! Than s to the effect of this practice upon the "an"lion that re"ulate the cardiac frequency# this frequency diminishes and the practice happens in the best conditions# bestowin" "reat satisfactions! At this point we are still far from the ideal practice of this form of Tho ar! ,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 ma in" you taste the state of $ntar Kevala K mbhaka 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 ta e another ((sip(( of air! 7ocus your attention on the air and Prana fillin" 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! Cow# the decisive procedure is to move your awareness li e an ant# climbin" the innermost channel of the spine millimeter by millimeter from M la!hara upwards! Practice this holdin" your breath and mentally chantin" .m( .m( .m!!! rapidly 0about two chants of .m per second1! This action should be very intense? put in it the distilled experience of years of Kriya! Persist with it !!!! .m5.m5.m5.m5.m5.m !!! 6tartin" from the base of the spine# after no more than 8<;:E seconds you(ll have reached the heart Chakra! ,hat you will perceive is a "reater freedom from the breath! ,hile remainin" in this state# practice the advanced form of %hokar. 'ou will discover how beautiful and comfortin" is the experience of rotatin" your head while the breath has actually vanished* The breath seems fro4en# dissolved in some inexplicable way in the body! Retrieve this experience in the days to come! Remember? it is a matter of inner reali4ation . an instinct which is discovered in time# provided that the previous practices have been brou"ht ahead honestly and with acute intelli"ence!
6

The breathless state with empty lun"s and a relaxed rib ca"e durin" mental Pranayama is called )ahir Kevala K mbhaka 6 as we have explained# this state is to be achieved throu"h the basic form of %hokar.

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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 Chakra and in K tastha! The mind is flooded with devotion! The feelin" of intoxication experienced in the heart center is fantastic! 6uch 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! Co 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 K mbhaka is also essential to brin" the practice of Yoni M !ra to perfection! &t is also useful to perfect Kriya 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 Kevala K mbhaka is utili4ed durin" Mahasama!hi! ,hat happens at that moment was described to us with these words? ((0ave a !eep inhalation( then a pa se( an! then come p along the spine #hile in#ar!ly chanting .M( g i!ing yo r so l to#ar! the Divine ,ternal )rahma #ith the intention of never reentering the bo!y! (( [III] Muladhara Knot H&&&!8I Complete form of %hokar 0Tho ar with many rotations holdin" the breath# whose action is directed not only to the fourth Cha ra 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 Tho ar 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 Chakra but only 8: times! After this is completed# exhale 0with De 1a Ya1 and concentrate upon the third Chakra and repeat the previous procedure! This means that each time you lower your chin to vibrate the syllable + ( you mentally direct the stro e toward the third Chakra! The muscles near that Chakra can 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( s ip the pauses to perceive the irradiation that emanates from the second and from the first Chakra! Remain lon"er in M la!hara! 7eel how the ener"y rises li e 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 and Maha 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 and Maha 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] Muladhara Kustastha Knot .mkar Kriya techniques have one feature in common? a Mantra made of one or more syllables is mentally placed inside a Chakra and repeated there many times until a threefold effect emer"es? H8I The perception of a micro internal movement 0whose characteristic is oscillatory or circular1 inside the Chakra. H:I The experience of listenin" to internal sounds! HDI 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" them you 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 Kriyas before that of %hokar! 8hat !oes Kriya me!itation mean9 5,hat do you meditate aboutR(( @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! Cot in the least* The thou"hts are destined to calm down! This is the startin" point of meditation! Cot only that? sooner or later# a kriyaban listens to a distant sound of a lon";sustainin" bell! ,ell# Kriya meditation means to deepen that experience# to become totally absorbed in it! Each part of our psyche will be harmoniously affected! A first;ever )hakti 0devotion1 will arise spontaneously# cross the wall of the psycholo"ical dimension and ma e life and spiritual experience indistin"uishable! Reality will appear as transfi"ured . similar to a li"ht dustin" of snow that reduces all asperities! 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 ma e 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 with Kechari M !ra! 1

H&M!8I .mkar Pranayama 7irst part? with fra"mented breath The hands# with fin"ers intertwined# rest on the abdomen! &nhalation and exhalation are fra"mented into 6 Q 6 parts! 6tartin" 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 05.m "amo )hagavate 1as !evaya51 are mentally placed in each Chakra location# while ma in" a short pause in each! Burin" the first 5sip5 of inhalation# the concentration is on the M la!hara# where the syllable .m is ideally ((put((2 durin" the second 5sip5# the concentration is on the second Chakra# where the syllable "a is ideally put - and so on# until )a is 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 %e is placed in the Me! lla oblongata# 1a in the fifth Chakra- and so on - + - De- 1a# until Ya is mentally chanted in the M la!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 ma es a complete# counter;cloc wise turn alon" the crown of the head! H5Countercloc wise5 in this boo is always intended as if viewin" from topI! Burin" the pause after exhalation# the awareness ma es a complete# counter; cloc wise turn around the M la!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 bac 1! The rotation of the awareness around M la!hara does 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 one First .mkar Kriya breath depends on the individual? usually it is approximately :E;DE seconds! Remark 'ou have probably read that in a deep Pranayama# the ener"y crosses the Chakras 9ust li e the thread of a nec lace 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 cloc wise rotation of awareness around the crown shrin s while comin" down# 9ust li e a vortex# windin" around the Me! 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! 6econd part? beyond breath The breath flows soundless and# from a certain moment onwards# ta es the 5inward route!5 The practice produces a wonderful state of calmness and at a certain point# the breath is 5suc ed 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 kriyaban be"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 is revealed! ,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 Chakra by utili4in" the related syllable# repeated many times! &n M la!hara repeat .m( .m( .m( .m( .m!!! a minimum of D6 times! 0Bo not use Mala to count . remain immobile!1 The speed at which you chant the syllables is about two per second! Misuali4e that Chakra as a hori4ontal dis # havin" a diameter of approximately one inch! Misuali4e these syllables movin" on the surface of the dis in countercloc wise direction# near the circumference! After the first round# another comes# inside the previous and so on !!! until you ideally reach the center of the dis ! Then focus on the second Chakra where you will do exactly the same action# utili4in" the second syllable of the Mantra# 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 Chakra utili4in" 1a( 1a( 1a -! Ooin" up this way from M la!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!

H&M!:I .mkar Kriya 6 4nternalization of the practice of %hokar After havin" completed a con"ruous number of rotations of %hokar 0it can be the basic form of %hokar or the advanced form of it1 do not interrupt this procedure but ma e 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 <1 ,hile the head is movin" left# perceive in the heart Chakra an inner li"ht movement to the left? thin the syllable %eee! ,hen the head moves ri"ht# perceive a movement ri"htward? thin the syllable 1a! ,hen the head reaches the chest# perceive that this inner movement reaches the center of the ideal coin? the center of the $nahata Chakra! Thin the syllable + ! Repeat some more times!

7i"ure <! Perception in the heart Cha ra

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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 mar ed! 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 Chakra too# althou"h we have never practiced %hokar specifically directed toward that Chakra! The movements of the head are extremely subtle now# practically imperceptible to an observer placed a couple of meters away! 'ou can have this perception in the head also# not inside $&na but around it! &n a very relaxed mood# start rotatin" the head ma in" a short radius movement* Considerin" the fontanelle as a point# the rotation of the head now draws a circle of no more than one inch of diameter! The movement of the head may be accompanied by a li"ht oscillatory movement of the torso! Thin %e in the left lobe of the brain# 1a in the ri"ht lobe and + in the frontal part of the head! ,hile you thin 6u# you can have a small 0almost invisible from the physical point of view1 9olt . you are li"htly tappin" on the door of K tastha! Repeat some more times! &t is clear how you complete the first round of the technique? the perception is recreated in the fifth# the fourth# the third# the second# the first Chakra. 'ou can of course repeat the whole round a couple of times! +a e more subtle movements until you reach perfect immobility! Birect mental pressure toward the nucleus of each Chakra! At the end# the center of your awareness naturally establishes itself in the comfortin" li"ht of the sixth Chakra! &n this immobility there is one treasure to en9oy! $lternative The mental repetition of %e( 1a( + coupled with a sensation of internal movement can end in the heart Chakra. 'ou can stay there a lon"er period of time! A burnin" aspiration towards the Bivine will be born from this! Amon" the debris of past illusions# such experience will open the doors of your spiritual reali4ation!
After the @m ar sound ceases to exist# the Efful"ent 7orm appears! Cothin" exists except the 6un of the 6oul! &# 6hama Churn# am that 6un! 0>ahiri +ahasaya1

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H&M!DI 7ayatri Kriya 06ome )riya teachers call this technique 7ourth )riya# others consider it a variation of 'oni +udra1 This technique has the same effect as Yoni M !ra but you can practice it for lon"er times# thus its effects are stron"er! 6ince it raises the awareness into K tastha# it has a power of internali4ation which is perceived easily# without a shadow of a doubt! The structure of this technique is well nown in &ndia and is considered the subtlest way of usin" the 7ayatri Mantra! 6ome boo lets contain minor variations and additional rituals! The 7ayatri Mantra is considered to be a supreme vehicle for "ainin" spiritual enli"htenment! &ts purest form is %at +avit r 1arenyam )hargho Devasya Dhimahi Dhiyo Yonaha Pracho!ayat. 0@h# "reat 6piritual >i"ht who has created the 3niverse# we meditate upon 'our "lory! 'ou are the embodiment of )nowled"e! 'ou are the remover of all &"norance! +ay 'ou enli"hten our &ntellect and awa en our &ntuition!1 This Mantra is prefaced with either a short or a lon" invocation! The short invocation is? .m )h r( .m )h vah( .m +#aha. The terms )h r( )h vah( +#aha are invocations to honor the three planes of existence 0physical# astral# and causal respectively1 and to address their presidin" deities! The lon" invocation is? .m )h r( .m )h vah( .m +#aha( .m Mahah( .m /anah( .m %apah( .m +atyam. This invocation is more complete since it reco"ni4es that there are more planes of existence? the seven Lokas! Mahah is the mental world# the plane of spiritual balance2 /anah is the world of pure nowled"e2 %apah is the world of intuition2 +atyam is the world of Absolute# 3ltimate Truth! ,e can be satisfied with the explanation that these sounds are used to activate the Chakras and connect them to the seven spiritual realms of existence! &n our procedure# we use only the openin" lon" invocation in its complete form and not all the parts of the 7ayatri Mantra! The Kriya tradition we are followin" here lin s Manip ra with .m Mahah and $nahata with .m +#aha! The reason is that the world of thin in"# evo ed by .m Mahah( is more appropriate to the nature of the third Chakra# while the causal world of pure ideas# evo ed by .m +#aha( is related to $nahata Chakra. Practical instruction Practice this technique at the end of your Kriya routine! Practice the followin" actions for each Chakra 0in the order? 8# :# D# G# <# Me! lla oblongata1? 8! Contract the muscles near the physical location of the Chakra. The contraction can be repeated two;three times!1 :! Throu"h a deep inhalation 0not necessarily as lon" as in Kriya Pranayama1 visuali4e the Chakra comin" up into the point between the eyebrows# where you perceive it as a full moon! 'ou don(t come up ((touchin"(( the other Chakras! Cow they don(t exist! 'our awareness is fully inside a Chakra and nothin" exists but the Chakra itself and K tastha!
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D! Hold the breath and focus on the 5inner space5 between the eyebrows! This comes out easily with Kechari M !ra! / @n the screen between the eyebrows# a particular color experience happens . this color is different for each Chakra. G! +entally chant at least three times the specific Mantra for the Chakra! <! 7inally# throu"h a lon" exhalation# ideally lower the Chakra from the point between the eyebrows to its proper location in the spine! The Mantras to be used are? .m )h r for M la!hara .m )h vah for +#a!histhana .m Mahah for Manip ra .m +#aha for $nahata .m /anah for 1ish !!ha .m %apah for Me! lla oblongata .m +atyam will be chanted in K tastha >et us see how to contract the muscles near the physical location of the Chakra. 7irst Chakra M la!hara? practice M la )an!ha until the abdomen and spine vibrate! Relax! +any find the followin" technical detail very useful? before liftin" a Chakra# let the inhalation ideally start from its 5frontal5 component 0perineum1# come towards its location in the spine and then come up to the point between the eyebrows! 0This can be usefully applied to the next Chakras? the pubic area is the ((frontal(( part of +#a!histhana Chakra2 Manip ra is lin ed with the navel2 the central re"ion of the sternum is the ((frontal(( part of $nahata2 1ish !!ha is lin ed with the upper front part of the throat!1 6econd Chakra +#a!histhana? practice 1airoli M !ra 0contract and relax both the urethral sphincter and the muscles of the bac near the sacral center!1 Third Chakra Manip ra? quic ly contract and relax the navel# the abdominal muscles and the lumbar area of the spine! 7ourth Chakra $nahata? brin" the shoulder blades to"ether and concentrate on the spine near the heart! Relax! 7ifth Chakra 1ish !!ha? move your head quic ly from side to side 0without turnin" your face1 a couple of times# perceivin" a "rindin" sound in the cervical vertebrae! This is only to locali4e the cervical center! Cow contract the muscles of the bac of the nec near the cervical vertebrae and relax!
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5)e;chari5 is literally translated as 5the state of those who fly in the s y# in the ether5! A particular 5space5 is created in the re"ion between the tip of the ton"ue and the point between the eyebrows and is perceived as a 5vacuum5# althou"h it is not a physical void! %y mer"in" into this empty space# it is easier for a kriyaban to perceive the rhythms of each Chakra and distin"uish them one from another!

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Me! lla oblongata? raise the chin# tense the muscles near the Me! lla oblongata 0under the occipital re"ion1# clench the teeth# and see the li"ht at the point between the eyebrows! Relax! Add a particularly intense concentration at the point between the eyebrows! Hold your breath2 raise your eyebrows# become aware of the li"ht! Repeat .m +atyam. Cow complete the 5round5 by liftin" Chakras <# G# D# :# 8# always usin" the contraction# the chantin" of the Mantra( bein" aware of any particular li"ht experience in )utastha! &f possible repeat the procedure 6 to 8: rounds! Remark Those who persevere 0refusin" the scruple that this procedure doesn(t come out with any effects1 and "ive this technique a fair trial will experience a definite transformation of their state of consciousness! &n whatever way you loo at it# the contribution of this technique in removin" the last internal obstacles bloc in" our efforts to enter + sh mna is exceptional! &f the practice seems difficult# you must improve your preparation! Every day deepen your mental Pranayama! +ove your concentration up and down the spine# intensifyin" the mental pressure around each Chakra! After listenin" to the internal sounds# you will come to perceive more and more >i"ht in the K tastha and in the hi"her part of the brain and remain mer"ed in it for a lon" time! Burin" the practice of the above described procedure# Prana always remains in the re"ion of the middle part of your head where the sixth Chakra $&na has its seat! Cow# if you notice that the barycenter 0center of mass1 of your awareness 0therefore of your Prana1 is comin" down and is "ravitatin" toward the areas controlled by the fifth or the fourth Chakra# use the previously described exercise to achieve the $ntar Kevala K mbhaka state! +a e use of it as much as necessary. Deepening of the practice The li"ht that you perceive in the heart Chakra has its proper ori"in and seat in K tastha and contains the particular vibration and li"ht frequency of each Chakra! The procedure we have described "ives the power to familiari4e with these frequencies up to the reali4ation that all the universe exists in K tastha! &n time it will be possible for you to mentally repeat ((.m )h r5 D6 times holdin" your breath! This "ives you the power to tune with earth;%att#a experiencin" the peculiar ((vibration(( of the M la!hara Chakra! At the same time# by repeatin" the Mantra ((.m )h vah(( D6 times it will be possible to tune with water;%att#a havin" its seat in the second Chakra!!!! then comes the turn of the fire;%att#a!!! 7amiliarity with the breathless state "ives you the ability to stop at each Chakra 0li e a bee on a flower1# bathin" for a precise time in the %att#a lin ed
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with that Chakra! The ideal time is what is required to do D6 repetitions of the related Mantra! 6tay with the number D6 to resist the tendency to lose yourself in a state of bliss arisin" from each Chakra! The %att#a related to a Chakra tends to entrap oneFs attention# resultin" in an indefinite pause on a Chakra with nothin" bein" accomplished! The D6 repetitions of the Mantra will help you to have full experience of each %att#a but# at the same time# "o beyond it! The meanin" of the 7ayatri Kriya is exactly this? tunin" in with each %att#a( one after the other# up and down alon" the spine until# as Kriya literature affirms# 5The last shell of illusion is bro en*5

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[V] !lternati"e procedures cooperating with the second and third part HM!8I Macro movement %ribhangam rari '$mantrak* HM!:I Macro movement %ribhangam rari '+amantrak* HM!DI Macro movement %ribhangam rari '%hokar* 0&t is a set of three techniques# commonly called 6econd# Third and 7ourth )riya by those schools that do not teach the basic form of Tho ar1 Kriya tradition requires that this technique be tau"ht in three separate sessions? between the first and the second and between the second and the third usually one year should elapse! &t is therefore unthin able to practice the last sta"e 0%hokar %ribhangam rari proper1 as an experiment and immediately expect to appreciate its potentiality! @n the contrary# persistin" stubbornly with such an attitude is an almost certain "uarantee of permanently failin" to understand and taste the richness and beauty of the %ribhangam rari;based procedures! HThis discussion is resumed at the end of Chapter A!I &n the three techniques of the %ribhangam rari Macro there is no formal instruction about the use of the breath! Each technique is supposed to be practiced with a very calm breath which may disappear in certain moments of internali4ation toward which the technique naturally leads! HM!8I Macro movement %ribhangam rari '$mantrak* Practice the followin" technique with your ton"ue in Kechari M !ra# after the practice of Kriya Pranayama and of "avi Kriya! At the end of this practice# remain with the awareness centered in the li"ht of K tastha!

7i"ure 6! &nternal movement Tribhan"amurari 886

7or"et completely your breath# let it follow its natural rhythm! Mery slowly raise Prana and awareness throu"h the spinal channel# from M la!hara to )in! . half a minute is required! Bo not pause in any of the Chakras! Cow let Prana and awareness come slowly downwards alon" the %ribhangam rari path and reach M la!hara! Another half minute is required! The %ribhangam rari path be"ins in )in! # bends to the left# descends into the seat of Me! lla oblongata# crosses it# and continues toward the ri"ht side of the body! @nce a particular point in the bac 0<;6 centimeters above the ri"ht nipple1 is reached# it reverses direction cuttin" the heart not! After reachin" a point in the bac that is <;6 centimeters under the left nipple# it chan"es its direction a"ain and points toward the seat of the last not in the coccyx re"ion! 06ee fi"ure 61 @ne round of $mantrak 0$mantrak means ((without the use of a Mantra((1 lasts one minute! &f you reali4e it is shorter# let us say G<$<E seconds# it does not mean the procedure was executed too quic ly! However# resolve to reach the exact timin"! 7or two wee s# repeat this technique :< times# once a day! Then for another two wee s repeat it <E times once a day2 then for another two wee s /< times !!!! and so on up to :EE times each day for two wee s! @nly then can you be"in the re"ular practice of the second technique? +amantrak! Remark %ribhangam rari is the best symbol of Kriya Yoga because apart from showin" the cuttin" of the three nots# it is also one symbol of +ri Krishna! The shape of Krishna# as depicted in the icono"raphy# is a form in which you can easily individuate three curves 0head# spine# bent le"!1 A sentence attributed to >ahiri +ahasaya? 5To ma e this body %ribhangam rari 0)rishna;li e1# three nots have to be crossed!5 Throu"h this procedure# K n!alini is invited to rise throu"h + sh mna! &n the be"innin"# only a minimum of Prana is able to enter the + sh mna and move upward . this is due to mental restlessness! %ut sooner or later# the K n!alini ener"y will reach the head! The technique fosters this moment because durin" each round you cross three main nots 0 7rantis1? ton"ue$Me! lla oblongata# heart# and coccyx! This happens by comin" down from head to M la!hara followin" the three;curved path %ribhangam rari 0Tri;bhan"a;murari P three; bend;form!1

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HM!:I Macro movement %ribhangam rari '+amantrak* Practice the followin" technique with your ton"ue in Kechari M !ra# after the practice of Kriya Pranayama and of "avi Kriya! At the end of this practice# remain with the awareness centered in the li"ht of K tastha!

7i"ure /! Placin" the 8: syllables alon" the Tribhan"amurari path

Completely for"et about your breath and allow it to follow its natural rhythm! Mery slowly# raise Prana and awareness throu"h the spinal channel# from M la!hara to )in! . this requires half a minute! The perception of the current is intensified by mentally chantin" the syllables of the 1as !eva Mantra. .m# "a# Mo# )ha( 7a( are vibrated into the first five Chakras and )a in )in! . Cow let Prana and awareness come slowly downwards alon" the %ribhangam rari path and reach M la!hara! Half a minute is required! The perception of the %ribhangam rari current is intensified by mentally chantin" the remainin" syllables of the 1as !eva Mantra. %eeee is chanted in Me! lla oblongata but you are able to perceive how the reverberation of this vibration touches the point between the eyebrows . thus you also will feel %eeee in K tastha! The syllables 1a( + ( De( 1a are put in the four new centers outside the spine2 Ya is vibrated in M la!hara! These four new centers are four 5vortexes5 inside the main flow of the current . they are not a new set of Chakras! Each syllable when vibrated is li e a mental %hokar 0hit1? since the technique is performed slowly# there is plenty of time to ma e these tappin"s very effective! ,e have now described one round of +amantrak# which lasts one minute! &f you reali4e it is shorter# let us say G<$<E seconds# a"ain# it does not mean the procedure has been done too quic ly! However# ma e a resolution to reach the exact timin"!

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7or two wee s repeat this technique :< times# once a day! Then for another two wee s repeat it <E times# once a day2 then for another two wee s /< times !!!! and so on up to :EE times each day for two wee s! @nly then can you be"in the re"ular practice of the third technique? %hokar5%ribhangam rari! HM!DI Macro movement %ribhangam rari '%hokar* Practice the followin" technique with your ton"ue in Kechari M !ra after the practice of Kriya Pranayama and of "avi Kriya! At the end of this practice# resume for some rounds 06;8:1 the practice of .mkar Pranayama and then remain with the awareness centered in the li"ht of K tastha! 7or"et the breath! The hands 0with interloc ed fin"ers1 are placed on the navel area so as to push the abdominal re"ion upward# thus creatin" a physical pressure on the first three Chakras! 6tartin" with the chin on the chest# move the ener"y and awareness very slowly alon" the spinal column from M la!hara to )in! ! 'our chin comes slowly up followin" the inner movement! ((Touch(( internally each Chakra with the syllables of the Mantra 0.m is placed in the first Chakra# "a in the second !!!1! ,hen ener"y and awareness are at )in! ( the chin is parallel to the "round.

7i"ure =! Tho ar;Tribhan"amurari

Cow the descent of the ener"y be"ins! The movement of the head follows millimeter by millimeter its downward ener"etic flow alon" the %ribhangam rari path# from )in! to M la!hara( crossin" the three nots and touchin" the four new centers outside the spine! All this happens in a fluid way and within DE seconds or less! The followin" description of the movements of the head may seem complicated at first but with a minimum of patience# the ri"ht movement of the head will be learned? you need only to understand that it is
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conceived as a lo"ical and effective way of intensifyin" a particular sna eli e downward flow of the ener"y! >et us now be"in to describe the movements of the head! ,ithout turnin" the face# bend your head sideways a couple of centimeters to the left! Raise the chin as much as possible 0contract the nec (s bac muscles1 and return to the middle! Reali4e how this simple movement accompanies perfectly the descent of ener"y from )in! to the Me! lla oblongata alon" the first curve of the %ribhangam rari path! Remain only an instant in this position# with the chin raised and vibrate the syllable %eeee in the Me! lla oblongata. 7urthermore# as you learned in +amantrak# perceive also the reverberation of this vibration at the point between the eyebrows! Then# from this position# slowly turn the face to the ri"ht and as far as possible! @nly the face moves# not the torso! Burin" this 6>@, movement 0do not be influenced by the dynamics of the technique of %hokar1# the inner flow of ener"y moves from the Me! lla oblongata to the ei"hth center! Here the first of five psycho;physical blows happens? the chin touches the ri"ht shoulder for an instant and the syllable 1a is vibrated in the ei"hth center! The shoulder also ma es a small upward motion to ma e contact with the chin easier! %ut be careful? if you feel you(re forcin" it# 6T@P* Those who are not able to have this contact with the ri"ht shoulder# should content themselves with comin" as close to the shoulder as possible and stimulate the ei"hth center with sheer mental stren"th! Then the face turns very slowly to the left# accompanyin"# millimeter by millimeter# the internal flow of ener"y from the ei"hth to the ninth center# and crossin" the fourth Chakra. &f possible# place the chin over the left shoulder! The second blow ta es place when the syllable + is vibrated in the ninth center and the chin for an instant touches the left shoulder# which ma es a small motion upward to ma e contact with the chin easier! Two more blows happen when the syllables De and 1a are put in the tenth and eleventh centers. The procedure is the followin"? The chin slowly moves toward the middle of the chest while "ra4in" the left collarbone! Burin" this movement# two li"ht blows are "iven to the left collarbone in intermediate positions! 0& thin 7i"ure = can help you understand what & mean for ((intermediate positions((!1 The blows are "iven of course in the moment in which the syllables of the Mantra are vibrated! 7inally# a last blow is "iven on the chest 0central position1 when the syllable Ya is vibrated in M la!hara! The essence of this particular form of (( %hokar(( consists not only in the five stro es but mainly in a constant intensification of the mental pressure alon" the whole circuit! Considerin" the action of squee4in" an almost empty tube of toothpaste to "et the last bit out "ives you a "ood idea of what happens durin" this procedure! ,hen the movements of the head are slow and enriched by a "reat stren"th of concentration and will# there is no limit to the increase of the internal ener"etic flow alon" the %ribhangam rari path!

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As in the previous technique# if you ta e G<$<E seconds to do one round# it(s @)! However# your "oal is to reach the ideal speed of 6E seconds! Repeat the procedure D6 times! After completin" the pro"rammed number of rounds# calm the system with a minimal practice of +amantrak# then relax by practicin" a simple mental Pranayama! The supervision of an expert helps to avoid any problems . & am referrin" to stress and pain in the cervical vertebrae and in the muscles of the nec ! Abrupt movements should be avoided2 instead use a deep intensity of mental concentration! 7or the first couple of wee s do not practice every day but every two or three days! As soon as possible# be"in the incremental routine of this procedure by practicin"? D6x:# D6xD#-!! D6xD<# D6xD6! %e careful to allow always one wee to elapse between one sta"e and the next! To those who have the time and "ood will to complete it# & recommend this routine as a very important feat! A minimum of =;8E months is required to complete it! Then you can start the practice of the %ribhangam rari Micro. [VI] !lternati"e procedures cooperating with the fourth part HM&!8I Micro movement %ribhangam rari '$mantrak* HM&!:I Micro movement %ribhangam rari '+amantrak* 0Commonly called 7ifth# 6ixth )riya by those school that teach Tribhan"amurari Tho ar1 HM&!8I Micro movement %ribhangam rari '$mantrak* Practice the followin" technique with your ton"ue in Kechari M !ra# after the practice of Kriya Pranayama and "avi Kriya and after a minimum of 8: rounds of %hokar5%ribhangam rari! The definitive stability of K n!alini in $&na Chakra is achieved throu"h the %ribhangam rari Micro! This technique implies the experience of the movement %ribhangam rari in small dimensions inside each Chakra( )in! ( Me! lla oblongata( in the four centers outside the spine located alon" the %ribhangam rari flow and a"ain in M la!hara! Throu"h a short inhalation# raise the Prana in the M la!hara Chakra into the point between the eyebrows! ,hen the presence of the ener"y is clearly felt in the point between your eyebrows# stop the breath and loo 5down5 at the M la!hara Chakra. Misuali4e it as a hori4ontal dis # havin" a diameter of approximately one inch! Cow# perceive on that dis the %ribhangam rari movement in reduced dimensions!

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7i"ure A! Tribhan"amurari micro;movement inside a Cha ra

Refer to 7i"ure A2 start from point % 0bac part of the Chakra1 and "o strai"ht to 7 0frontal part of the Chakra12 then return from 7 to % alon" the sna eli e path! &t does not matter whether the time it ta es is short or lon"! Exert a moderate but continuous pressure on the dis as if you had a pen and were drawin" a clear continuous mar ! 6ooner or later you will perceive somethin"! A tendency may come to ma e a very faint movement of the spinal column 0forward# left# ri"ht# left# bac to startin" position1! This movement should be almost invisible to an observer! Repeat two more times! 'our breath is held effortlessly2 the Prana remains totally in $&na Chakra! After three perceptions of the complete movement 0a complete movement is a strai"ht movement from % to 7# followed by the sna eli e movement from 7 to %1 you can relax and let Prana come down! A subtle exhalation happens but you may not be aware of it! +ove to the second Chakra and repeat the same procedure! Repeat the same procedure for Chakras D# G# <# then for )in! # then for Me! lla oblongata# then for the four centers outside the spine# and finally for M la!hara! This is round 8? practice 8: rounds! At the end of 8: rounds# remain with the awareness centered in the li"ht of K tastha! %e faithful to this practice for at least six months before startin" to familiari4e yourself with the followin" procedure! HM&!:I Micro movement %ribhangam rari '+amantrak* The technique is the same but the mental pressure is increased throu"h the repetitions of the syllables of the 1as !eva Mantra! There won(t be any further sta"e with movements of the head as we have done with %hokar %ribhangam rari. &n this last sta"e remain immobile with no movement at all of the spinal column or of the head! Here all the power of pressure has to be obtained with the sheer repetition of the syllables of the Mantra! Practice Kechari M !ra! Throu"h a short inhalation# raise the Prana contained in the M la!hara Chakra into the point between the eyebrows! ,hen the presence of the ener"y is clearly felt in the point between the eyebrows# for"et the breath and loo 5down5 at the M la!hara Chakra and mentally utter the syllables 5.m5 "a5Mo5)ha57a5)a5%e51a5+ 5De51a5Ya5! Bo this /apa without hurry!
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The micro;movement %ribhangam rari will be perceived as in the previous first part but now the mental repetition of the syllables will add a "reater 5pressure5 to it! The syllables are li e mini 5thrusts5 or 5pulsations5! The duration of a round is determined by the speed of the chantin" of the Mantra. 7or many people# the chantin" of the Mantra and consequently# the micro;movement lasts about 8E;8: seconds! Cevertheless# remember that >ahiri +ahasaya(s recommendation was 5Bon(t be in a hurry*5 @bserve the difference between "oin" slowly and with speed! &f you "o slowly# you will perceive a tremendous power! Repeat the 1as !eva Mantra three times! Prana remains totally in the head! After three perceptions of the micro;movement# repeat the same procedure in Chakras :# D# G# <# then in )in! # then in Me! lla oblongata# then in the four centers outside the spine# and finally in M la!hara! This is one round? practice 8: rounds! At the end of this practice# remain with the awareness centered in the li"ht of K tastha! Remark This procedure implies the experience of a peculiar sensation of movement within the perfect stillness of each Chakra! This experience is the surest way toward the annihilation of the E"o! This internal movement embodies the deeper aspect of the .mkar reality! Perceivin" it means to annihilate any form of duality present in the Chakras and therefore# in your awareness! This technique leads you out of time and space! @nly few Kriya schools have disclosed the nature of this micro;movement and revealed its importance! 3nfortunately# many people see frantically impossible surro"ates for it*

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CHAPTER = INTRODUCTION TO SOME INTERESTING ;ARIATIONS OF THE TECHNIQUES

Here we shall discuss the most interestin" and powerful variations of Kriya Yoga. The followin" exposition is essentially devote to the autodidact who wants to empower a certain technique beyond the usual limits to whom "enerally those who practice Kriya are used! This is possible by experimentin" with different variations until you intuitively understand the core# the "ist of a procedure! The variations that & am "oin" to discuss have different ori"in! 6ome have a "ood connection to >ahiri +ahasaya(s ori"inal le"acy! @thers have the perfume of the Ra!hasoami +ant Mat# others the power of K n!alini Yoga2 some betray the influx of the 4nternal $lchemy 6 "ei !an( the central practice of Taoism! 7lobal o tline

7our phases of the )riya process

7irst )riya

Hi"her )riyas

S Talabya )riya considered not only a preparation to )echari but a PHASE - U$*!st%$i$4 th% 2$ot o* process important in itself $$ S @m ar )riya th% to$4 % )echari +udra practiced apart from other procedures or combined with the practice of )riya Pranayama S )riya Pranayama S %asic and advanced form of PHASE / U$*!st%$i$4 th% 2$ot o* S >istenin" of internal sounds both Tho ar th% h%!"t durin" and after the practice of )riya Pranayama S )riya Pranayama S Cavi )riya# +aha +udra S Complete form of Tho ar PHASE 3 U$*!st%$i$4 th% 2$ot o* S Particular procedures# typical of S Tribhan"amurari macro M &!'h!"! )undalini 'o"a PHASE 6 G i'i$4 )o$s)io s$%ss S )riya Pranayama with short < @m ar )riya to "is% *"o0 M &!'h!"! to breath# mental Pranayama S Tribhan"amurari micro K t!sth! S 'oni +udra

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FIRST PART: ;ARIATION OF THE FIRST KRIYA TECHNIQUES -. T!&!+y! K"iy! The technique of %alabya Kriya can be enriched by massa"in" both the muscles of the ton"ue and the frenulum with one(s own fin"ers! /. O0 1!p! i$ th% Ch!2"!s H:!8I 6ome schools teach to chant 0loudly or mentally1 1am or )am or 0rom at the place of .m! Especially 0rom 0a sustained Hrooooooom1 turns out very effective in floodin" with euphoria those who practice! H:!:I 'ou can accompany the chant 0only if it is done mentally1with one or more breaths! 7ocus your awareness on the M la!hara Chakra and breath deeply visuali4in" the air comin" in and out from that point! Repeat for each Chakra3 after reachin" )in! # "o bac to M la!hara! Repeat the circuit 6;8: times! At first it will not be a sin"le point of which you become aware# but more li e an area! &n time# the sensations will become more locali4ed! 3. K"iy! P"!$!y!0! HD!8I Long e:halation an! K mbhaka +any kriyabans find the followin" instruction very comfortin" 0this detail can be applied to any Kriya Pranayama variation1! The ratio :?D for inhalation and exhalation is considered as more natural than 8?8! 07or instance? inhalation lasts 8: seconds# exhalation lasts 8= seconds!1 &n time you can add K mbhaka after inhalation! 6tartin" with G seconds you can hold your breath for a time equal to inhalation! 07or instance? 8: seconds inhale# 8: seconds hold# 8= seconds exhale!1 HD!:I Kriya Pranayama #ith $s#ini M !ra &t is a wise choice to practice $s#ini M !ra durin" Kriya Pranayama! $s#ini M !ra means contractin" repeatedly the muscles at the base of the spine with the rhythm of about two contractions per second! ,hile learnin" the technique# a yogi contracts the buttoc muscles# perineum or even the entire pelvic re"ion also2 with time# the contraction involves only the sphincter muscles! Burin" inhalation and exhalation of the first 8: Kriya breaths# $s#ini M !ra should be stron"2 subsequently# it should decrease in intensity and become li e a sli"ht internal contraction of the inferior part of the spine 0it is clear that the spine cannot be contracted? this is 9ust a sensation!1 The continuous practice of $s#ini M !ra durin" Kriya Pranayama creates the condition for K n!alini awa enin"! &t "ently pushes the $pana current upward to the navel re"ion where it meets Prana! K n!alini awa ens when Prana and $pana unite and there is perfect immobility of the body! &f this procedure appears annoyin" and disturbin"# it is essential to be unsha eable and "o ahead with it! At a certain point# by "oin" on impassively# one has the certainty that somethin" positive is happenin"! @ne perceives a
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pleasurable shiver in the spine! The day after this practice# a diffuse 9oy durin" all the day is perceived! Even the most simple Kriya routine fills one with 9oy! HD!DI Kriya Pranayama #ith M la )an!ha This practice is not beautiful as the previous one# the only purpose for which & describe it here is completeness! M la )an!ha means contractin" the perineum muscles# while a mental pressure is exerted on the lower part of the spine 0we have only one lon" contraction and not a series of contraction and release as we have in in $s#ini M !ra!1 ,e practice this M la )an!ha durin" the pause after inhalation! The "oal is to create the perception of K tastha! Burin" the last instants of inhalation of a Kriya breath# visuali4e the current reachin" )in! # then 5rotatin"5 left# comin" down a little bit and enterin" the Me! lla oblongata. &t is in this moment that M la )an!ha is practiced intensely# the breath is held and the eyebrows are raised! The sensation is that the ener"y is pushed from Me! lla oblongata into K tastha! A sensation of internal li"ht spreads from K tastha to the upper part of the brain! Then exhalation be"ins# the tension of M la )an!ha is released and the ener"y "oes down to M la!hara! Kechari M !ra cooperates with the process? durin" M la )an!ha# the ton"ue 0inside the nasal pharynx1 is pushed upward and forward! HD!GI Kriya Pranayama #ith tight heli: ,hat & am "oin" to describe# comes out very easily to those who have practiced Kriya Pranayama with $s#ini M !ra! &n this variation we for"et the existence of the Chakras and concentrate upon the spine chord only! The spinal path of the ener"y is perceived as an helix! &n a nutshell# startin" from the base of the spine# the ener"y comes up rotatin" countercloc wise alon" the spinal channel! Then the ener"y comes down alon" the same path# hence rotatin" cloc wise! Kriyabans experience a stron" sensation of physical immobility and perceive their spine as a steel bar! HD!<I $ s btle form of %hokar insi!e Kriya Pranayama ,hat we are "oin" to describe concerns only the exhalation of Kriya Pranayama! Burin" exhalation# reali4e it is not difficult to "ive a particular ((9er (( at each Chakra location! Each kriyaban has such power and you can increase it obtainin" a more stri in" effect than what is obtained by the procedure of .mkar Pranayama! &t is impossible to tell if# when you "ive the 9er # there is a short pause of the breath or# quite the reverse# there is a short emission of breath! ,hat you feel is an intensity of awareness and ener"y stimulatin" one Chakra at a time! The final 9er in M la!hara at the end of exhalation creates an intense outburst of 9oy! ,hile pro"ressin" in this practice# one can experience a really internalize! exhalation! This happens when you "ive a 9er to Me! lla
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oblongata and the physical breath disappears entirely! 4nternalize! exhalation is not accompanied by the exit of the air throu"h the nose! This is one of the mysterious facts of Kriya# difficult to understand with the sheer lo"ic! HD!6I Kriya Pranayama #ith a partic lar circ it insi!e an! o tsi!e the spine &nhale! Misuali4e the breath li e a threadli e current comin" up inside the spine# piercin" each Chakra from M la!hara to Me! lla oblongata( reachin"# at the end of the inhalation# the point between the eyebrows! Pause there for a couple of seconds! The path lin ed with exhalation is lon"er than the one lin ed with inhalation! &n detail? durin" exhalation the current moves up vertically inside the space between the frontal part of the brain and the frontal bone2 then bends bac wards movin" over the brain 0and under the cranial bones1# then bends downwards# pierces )in! and reaches Me! lla oblongata. Then the current comes down alon" the bac of the spinal column? while descendin" externally to the spine# it touches each Chakra li"htly from the bac ! ,hen it reaches M la!hara( exhalation is completed! &n time you will add to the practice the mental chant of .m in each one of the centers involved 0 Chakra 8# :# D# G# <# Me! lla oblongata while comin" up and then )in! ( Me! lla oblongata( Chakra <# G# D# :# 8 while comin" down!1 6. N!(i K"iy! HG!8I "avi Kriya sing breath an! K mbhaka also 7irst part! &nhale throu"h the nose! Hold the breath and intensify the concentration on the navel throu"h the three %andhas 0M la )an!ha# 2!!iyana )an!ha and /alan!hara )an!ha1! &n this position# with the chin tilted down# mentally chant .m 8: times in the navel exertin" a continuous mental pressure upon it! Then exhale unleashin" the )an!has and raise the chin with a sli"ht tension! 6econd part! ,ith the chin raised# inhale throu"h the nose! ,hile holdin" the breath# focus the concentration on the third Chakra Manip ra. +entally chant .m 8= times in Manip ra exertin" a form of mental pressure upon that center! Then exhale eepin" the chin in the normal hori4ontal position! Part one T part two are one "avi Kriya! As usual# a kriyaban repeats "avi Kriya four times. HG!:I "avi Kriya coming !o#n thro gh fo r !irections The followin" variation of "avi Kriya is the one many kriyabans li e the best! As it happens in the basic form of "avi Kriya# a kriyaban(s awareness "oes slowly up alon" the spinal column placin" the syllable .m in the six Chakras. Then the chin is brou"ht down toward the throat cavity! Cow# a short inhalation 0two seconds maximum# without concentratin" on the Chakras1 is followed by a very lon" exhalation# durin" which# the ener"y is felt descendin" from the frontal part of the brain# alon" a path outside the body
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to the navel# reachin" throu"h it the Dantian re"ion! H>et us remind that the Dantian can be visuali4ed as a ball about one and one;half inches in diameter! &ts center is located about two and one;half inches below the belly button and about one and one;half inches inside! I Burin" this lon" exhalation# .m is chanted mentally# rapidly# 8E;8< times# accompanyin" the descent of ener"y throu"hout the path! After a short pause in the Dantian# the head resumes its normal position! Cow each detail is repeated but the descent of the ener"y happens throu"h a different path! A short inhalation draws the ener"y into the head a"ain . The head bends but not in the front? it bends toward the left shoulder# without turnin" the face! A lon" exhalation 0with the same chantin" of .m( .m( .m;1 accompanies the downward movement of ener"y which starts from the brain(s left side and moves alon" a path outside the body at its left side 0as if shoulder or arm would not exist1! The ener"y comes down to the waist# cross it and moves toward the Dantian! The head moves bac into its normal position! After a short inhalation ( the head bends bac wards! A lon" expiration 0with the same chantin" of .m( .m( .m;1 accompanies the downward movement of ener"y which starts from the occipital re"ion and moves 0outside the body1 down to the waist where it bends# pierces the third Chakra Manip ra and moves toward the inside of the abdominal re"ion 0Dantian1! The procedure is repeated li ewise on the right side! This last exhalation concludes a mini cycle of four exhalations accompanied by four descents of ener"y towards the waist and# crossin" it# towards the re"ion of low abdomen! This mini cycle is repeated A times! &n conclusion we have had GxA P D6 descents of ener"y! After these exhalations# the procedure ends with a mental chantin" of .m in each Chakra from $&na Chakra to M la!hara! ,hat we have described lasts =;8E minutes and is equivalent to G repetitions of the basic form of "avi Kriya! Remark As the practitioner proceeds with the rotations and the effects of the technique become more and more perceptible# the movements of the head become less mar ed . the process internali4es! @ne phenomenon is remar able? at the very moment the order to exhale has been imparted by the mind# it feels as if the lun"s cannot move! 6ome instants later comes the awareness of somethin" subtle descendin" into the body! A new ind of exhalation is en9oyed# li e an internal all;pervadin" pressure! &t brin"s about a peculiar feelin" of well;bein"# harmony# and freedom! @ne has the impression one could remain li e that forever! >o"ic implies that breath is comin" out of the nose# yet you would swear it doesn(t! This may be considered the first experience of Pranayama #ith internal breath 0also called Kriya of the cells1 that we are "oin" to introduce in Chapter 8:!

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HG!DI Chanting .m alternatively bet#een K tastha an! navel All details of the basic explanation of "avi Kriya "iven in Chapter 6 up to the forward bendin" of the head remain unchan"ed! &n this variation 0really very sweet and comfortable1 the .m Mantra is mentally chanted in alternation between the point between the eyebrows and the navel 0.m in the point between the eyebrows# .m in the navel# .m in the point between the eyebrows# .m in the navel- and so on1! The most useful way of doin" it is to synchroni4e the breath with the .m chantin"! Misuali4e a tiny silver cord that comes out from the point between the eyebrows bends sli"htly and "oes down to the navel! ,hen it comes natural to have a very short inhalation# inhale 0only what is necessary1# visuali4e the movement of air risin"# throu"h the visuali4ed duct# from the navel to the point between the eyebrows# pause an instant there 9ust chant .m mentally! ,hen it comes natural to exhale# exhale# visuali4in" the movement of air "oin" down into the navel# pause and chant .m mentally in the navel! %y repeatin" this# you will mar edly feel that your breath be"ins to subside and disappear! ,hen this happens# "o on mentally chantin" the .m Mantra in alternation between the point between the eyebrows and the navel and movin" the focus of your awareness between these two points# without ceasin" bein" aware of the 5silver cord5! Carry on! ,hen .m is chanted about /< times# bend your head bac wards and repeat a similar procedure by chantin" .m in alternation between the )in! and the third Chakra. Misuali4e another tiny silver cord that connects 0outside your body1 the )in! to the third Chakra! >et your breath . if there is still a trace of breath . flow freely throu"h that cord . ,hen .m is chanted about :< times# resume the chin(s normal position and chant mentally .m in the point between the eyebrows( Me! lla oblongata( Chakras <# G# D# : and 8! This is one "avi Kriya! The optimum is to have G cycles of "avi Kriya! 7. M!h! M '"! H<!8I For#ar! ben!ings %efore the practice of Maha M !ra proper# sit in the half;lotus position or on the heels! Throu"h a deep inhalation 0not necessarily as lon" as in Kriya Pranayama1 visuali4e the first Chakra risin" into the point between the eyebrows2 hold the breath# bend the body forward! The head is placed in the re"ion between the nees 0see fi"ure 8E1! 3se your hands freely! The head comes near the ri"ht nee# the face is turned toward the left nee so that it is possible to perceive a pressure on the ri"ht side of the head2 a sensation of space is perceived inside the left side of the brain! Then repeat the same exercise with the other side of the body# reversin" the perceptions! Then the head is placed in the re"ion between the nees a"ain# the face turned downward! A pressure is felt on the forehead! A sensation of space is perceived inside the occipital re"ion! The breath is retained durin" the entire sequence! After these movements#
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resume the startin" position with the spine erect! Throu"h a lon" exhalation the ener"y comes down from $&na Chakra to M la!hara! Then concentrate on the second Chakra and repeat the procedure 0ideally raise that Chakra# bend the body forward# and so on1! 'ou can have five bows# one for each Chakra# but since you can also ideally raise $&na Chakra into Fontanelle# you can have six bows! &n some schools# this technique is called 7 r Pranayama because durin" the first bend you can mentally bow to your 7 r 3 durin" the second bend you can mentally bow to your Param;7 r ... and so on Chakra after Chakra with all your linea"e of 7 r s.

7i"ure 8E! 7orward bendin" startin" from sittin" on the heels or startin" from the half; lotus pose

%y repeatin" this 5Chakra a#akening proce! re5 on various days# when you focus on a Chakra# you will perceive a feelin" of movement# a swin"in" sensation# in it . this is a very important experience! H<!:I Maha M !ra after the ben!ings Cow practice Maha M !ra! ,hen the ri"ht le" is extended# the ri"ht hand "rabs the toes of the ri"ht foot while the left hand "rabs the inner side of the ri"ht foot 0the arch of the foot12 the face is turned left while the breath is retained! A sensation li e an inner pressure is felt on the ri"ht side of the head! &t contrasts with the free space sensation in the left side of the brain! Practicin" the opposite position# the sensations are reversed! ,hen both le"s are extended# the pressure must be felt on the front part of the head! A sensation of space is perceived inside the occipital re"ion! As usual# this exercise is repeated three times! ,hile stretchin" forward holdin" your breath in the position envisa"ed for Maha M !ra( chant .m as you come up in each Chakra( and try to perceive the afore hinted oscillation in each one! H<!DI Maha M !ra #ith a movement of a#areness ! ring K mbhaka Practice the first part of basic Maha M !ra# inhalin"# holdin" breath and bendin" forward "rabbin" the bi" toe with the index fin"ers! As you reach for the foot# raise the eyes to "a4e at the eyebrow center! Place .m in the point between the eyebrows# .m where the ton"ue touches the palate and .m in M la!hara! Repeat three times in sequence! Return to the upri"ht position! Exhale down the
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spinal channel# pushin" the navel towards the lumbar center Manip ra! Repeat a"ain this particular way of mentally chantin" .m in the symmetrical position and with both le"s outstretched! Cow practice Maha M !ra in the followin" way? before stretchin" forward# practice one full Kriya Pranayama 0inhalation and exhalation1 and hold the breath out! %end forward reachin" for the foot! ,ith breath out# apply the three )an!has 0M la )an!ha( 2!!iyana )an!ha and /alan!hara )an!ha1 and raise the eyes to "a4e at the eyebrow center! Place .m there# .m in the navel and .m in M la!hara! Repeat three times! Return to the upri"ht position# releasin" the )an!has and inhale raisin" the ener"y from M la!hara! Exhale down the spinal channel# squee4in" the navel towards the lumbar center Manip ra! Repeat a"ain in the symmetrical position and with both le"s outstretched! 8. K"iy! P"!$!y!0! 5ith sho"t +"%!th H6!8I Pranayama #ith short breath centere! in $&na >et us reconsider the technique of Kriya Pranayama #ith short breath. This wonderful technique is important for two reasons? it fosters listenin" to the internal sounds and .m sound and helps achieve the breathless state! Cow# we are "oin" to learn how this procedure can be practiced by ma in" $&na Chakra the pivot of the situation! 7ocus your attention on $&na Chakra in the center of your head! ,hen it becomes natural to inhale# inhale quic ly 0about one second1 from M la!hara to $&na Chakra. &nhale only what is necessary. ,hen it feels natural to exhale# exhale from $&na Chakra to the second Chakra. Then inhale from the second Chakra to $&na Chakra. Exhale to the third Chakra! Continue in this way !!! 0Third . A9na . fourth2 7ourth . A9na . fifth2 7ifth . A9na . fourth2 7ourth . A9na . third2 Third . A9na . second2 6econd . A9na . first! Continue repeatin" this cycle of A short breaths! After a few cycles of this beautiful procedure# it will become natural to practice it experiencin" a short pause in $&na and in each Chakra! 0&nhalation from M la!hara to $&na Chakra# pause in $&na Chakra2 exhalation from $&na Chakra to the second Chakra( pause in the second Chakra and so on!1 Burin" these pauses# you can mentally chant .m one# two or three times# visuali4in" that you are touchin" that Chakra! 6trive to perceive the astral sounds in the internal part of the ri"ht ear! To close the practice# increase your concentration in $&na! Perceive a virtual line connectin" the temples! +ove your head sideways sli"htly and slowly 0of some millimeters1 havin" a pleasant sensation of the .mkar vibration movin" from one half of the brain to the other! Biminish the movement until it is no more perceptible! Perceive another virtual line from the K tastha bac to the occipital re"ion! Perceive the .mkar vibration in the occipital re"ion and "uide it slowly towards K tastha! Pause there! Bo the reverse process! 0To "ive you an idea of the speed of this internal movement let
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us say that the movement from occipital re"ion to K tastha# short pause and bac ta es about 8:;:E seconds1! Repeat different times! A"ain swin" your head sideways and then bac and forth# in this way it is possible to discern the two linesF intersectin" point! This intersection is the best place to concentrate in order to have the full experience of .mkar Fs internal movement and to perfect your focus on $&na! 9. M%$t!& P"!$!y!0! 'ou have already learned those variations of mental Pranayama who have a real value? they are the well nown .mkar Kriya procedures! 6omethin" will be added soon 0.mkar Kriya in the crown and in the sensible points inside the head!1 :. Yo$i M '"! H=!8 I Yoni M !ra raising each Chakra into fontanelle Cover the openin"s of your head as tau"ht in Yoni M !ra! &nhale deeply with total awareness in fontanelle! Exhale from fontanelle to M la!hara2 inhale raisin" ideally this Chakra to fontanelle with the purpose of mer"in" it in the li"ht and purify it! Hold the breath for about 8E sec! Exhale and lower the M la!hara Chakra into its seat! Then place your awareness on the second Chakra2 inhale raisin" it ideally up to fontanelle to mer"e it in li"ht! Hold the breath lon"er! Bo the same thin" with all the other Chakras up to $&na! Place the heels of your palms over your eyes and calmly observe the dar ness in the re"ion between the eyebrows! &t is not difficult to perceive a white li"ht! Oo ahead for :;D min! Then lower your hands and sit quietly for some minutes before comin" up! ;ARIATIONS OF THE HIGHER KRIYAS List o* th% t%)h$i= %s 5% !"% 4oi$4 to 'is) ss
8! Mariation of the basic form of Tho ar :! Mariation of the advanced form of Tho ar D! Addin" Tadan )riya to the complete form of Tho ar G! @m ar )riya in the crown <! @m ar )riya in the sensible points inside the head 6! Alternative to the repetition of Te Ma 6u in @m ar )riya

8! 1ariation of the basic form of %hokar 'see proce! re 44.<* 07ive movements of the head substitute the rotation! There is no final stro e!1

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This procedure can be useful to those who have problems with the traditional form of %hokar and prefer a more delicate approach! &nhalation happens as in the basic form of %hokar! The chin moves up!!! .m( "a( Mo!!!! Then the breath is held! The chin bends forward# toward the throat cavity? a certain internal pressure is felt on frontal part of the heart Chakra! The head resumes its normal position and then bends sli"htly toward the left shoulder# without turnin" the face! The same experience happens? a certain internal pressure is felt on the left part of the heart Chakra! The head resumes its normal position and tilts bac wards? the same experience happens and pressure is felt on the bac of the heart Chakra! The head resumes its normal position and bends sli"htly toward the ri"ht shoulder# without turnin" the face? the pressure is felt on the ri"ht part of the heart Chakra! The head resumes its normal position# then the chin bends forward# toward the throat cavity!!! pressure is felt on the frontal part of the heart Chakra! The head resumes its normal position! Burin" these five bends# holdin" the breath# no Mantra is needed! Then the exhalation leads the awareness throu"h the Chakras to M la!hara! %e is placed in the Me! lla oblongata( 1a in the fifth Chakra- and so on - + - De- 1a# until Ya is mentally chanted in the M la!hara! The time involved depends on the individual2 usually it is approximately :E;:< seconds# but it can be lon"er! The procedure is repeated at least 8: times! &t should be noted that the different pressures on the heart Chakra are more similar to a supply of ener"y flowin" down in a tranquil way from a re"ion above the head than the typical tappin" of the %hokar! &t is obvious how this form can evolve! After inhalation# the whole set of the head movements can be repeated different times before exhalin" . always holdin" your breath! The movements become more fluid? after bendin" forward# the head does not resume its normal position and# immediately afterward# it bends to the left# then bac wards!!! :! 1ariation of the a!vance! form of %hokar 'see proce! re 44.=* 0Bifferent rotations followed by 9ust one stro e1 &n the previous Chapter we have seen that the practice of %hokar can happen with a lot of rotations of the head# repeatin" therefore various times the stro e on the heart# holdin" the breath durin" these rotations! ,e have seen how this technique is delicate# as in" for the ability to hold the breath for a lon" time! ,e now introduce a variation of %hokar in which there are different rotations of the head# deprived of whatever stro e! Burin" these rotations# "reat ener"y is stored in the head! @nly after the last rotation# the final %hokar happens! This procedure be"ins li e the advanced form of %hokar! Ta e the awareness in the upper Chakras throu"h a deep inhalation! There is the inhalation with .m( "a( Mo( )ha( 7a( )a then the breath is held and the head is moved continuously countercloc wise in circular movement! The syllable %e is put in Me! lla oblongata and 1a in the cervical Chakra! 'ou don(t "o down in the heart! The rotations of the head are deprived of any stro e!
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The procedure "oes ahead for many do4ens of rotations? %e( 1a( %e( 1a( %e( 1a!!!! while the perception of these two centers "rows in intensity! Oreat ener"y is accumulated in the head! Then only after many rotations the final %hokar is "iven? the head lowers on the breast and the syllable + is made to intensely vibrate in the heart Chakra! This is a powerful blow on heart 0((powerful(( from the psychic and pranic point of view!1 A kriyaban remains in this position for some minutes havin" the perception of a "reat devotion and beatitude! Remark &f the final stro e is "iven with "reat physical stren"th# the delicate structure of the cervical vertebrae# the muscles around them# the li"aments !!! will receive a sure dama"e! D! $!!ing %a!an Kriya to the complete form of %hokar 0see procedure &&!D1 Practice a short sequence of %a!an Kriya immediately after the practice of the complete form of %hokar. Tadan )riya? &nhale deeply# feelin" that the breath fills from top down the lun"s while the Prana 0contrarily to what happens in Kriya Pranayama1 "oes down toward M la!hara! At the end of inhalation# your awareness is focused on M la!hara! Hold your breath! >ift the body 9ust a few millimeters with the help of the hands and then let the buttoc s touch the floor with a mild 9olt! Exhale freely# perceivin" an ecstatic feelin" . this happens especially when the 9olt is experienced not as a physical movement but as an intense mental stimulus upon M la!hara! The action of liftin" the body and then droppin" it producin" a mild 9olt is called Maha 1e!a M !ra# 5Position of the "reat perforation5 . obviously it is the not of the M la!hara to be pierced! G! .mkar Kriya in the cro#n 0Expandin" procedure of @m ar )riya H&M!:I1 &n the previous Chapter we have seen how after havin" completed the practice of %hokar# the same procedure can be ((internali4ed!(( ,e have called .mkar Kriya the perception of an internal movement in each Chakra 6 up and down! 6uch feelin" is accompanied by the mental repetition of %e( 1a( + ! ,e will now discover how the internal movement sensation can be induced in the crown! The ellipse of the crown# seen from above# may be ideally divided into 8: parts!

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7i"ure 88! Crown seen from above

Than s to a short inhalation# the M la!hara Chakra is ideally raised into the crown of the head# over the occipital re"ion# on the ri"ht 0into part 585 of fi"ure 881! Cow hold the breath and eep the Prana in that point! Repeat mentally %e( 1a( + three times in that re"ion perceivin" for three times the internal movement we have described in .mkar Kriya! Exhale calmly! &n the same way raise the second Chakra into the ad9acent part 5:5 of the crown! Repeat there %e( 1a( + ... three times and deepen the experience! Repeat the same procedure for the other Chakras 0D# G# <( )in! ( Me! lla oblongata( <# G# D# : and 81 activatin" thus all the parts of the crown! After two or three complete rounds a sudden bliss manifests and one is no lon"er able to mentally chant anythin"! The procedure ends in ecstatic absorption! <! .mkar Kriya in the sensible points insi!e the hea! 0Expandin" procedure of @m ar )riya H&M!:I1 >et us a"ain ma e use of this ((internali4ed %hokar(( process in order to stimulate important centers in the brain# helpin" thus the ((pil"rima"e(( of our awareness towards +ahasrara! &nhale raisin" the M la!hara Chakra into Medulla oblongata! The breath is held in order to obtain a better focus of Prana in that spot! The internal movement sensation is perceived now inside Me! lla oblongata! @scillate slowly your head left . ri"ht . return to center# eepin" the focus of concentration in Me! lla oblongata! Thin 0mentally chant1 %e when you move to the left# 1a when you move to the ri"ht# + when you return to the center! Repeat three times# always holdin" your breath! A calm exhalation follows! Cow raise the second Chakra into the posterior part of the )%"%+%&& 0! Hold your breath! Repeat three times the afore described procedure with %e( 1a( + # focusin" all your attention into the posterior part of the cerebellum! Exhale and come down to the third Chakra location!

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7i"ure 8:! >ocatin" some particular centers inside the head

&nhale raisin" the third Chakra to the Po$s ;!"o&ii 0to perceive it# come from the cerebellum toward the center of the head# over Me! lla oblongata 6 a few centimeters forward1! Hold your breath! Repeat the procedure with %e( 1a( + three times# focusin" all your attention on the Pons Marolii! Exhale and come down in the fourth Chakra. &nhale# raisin" the fourth Chakra over the pons Marolii in the point mar ed with >6> in 7i"ure 8:. To perceive it# sli"htly swin" your head bac and forth! 7eel a hori4ontal line that comes from the point between the eyebrows bac wards! At the same time feel the vertical line that comes down from the fontanelle! This center is the point of intersection of the two lines! ,hen you have it# repeat three times at that point the procedure with %e( 1a( + ! Exhale and come down in the fifth Chakra! &nhale# raise it into the point mar ed with >7> in fi"ure 8: ! To perceive it# swin" sli"htly your head bac and forth! 7eel a hori4ontal line that comes from )in! forwards! At the same time feel the vertical line that comes down from the fontanelle! This center is the point of intersection of the two lines! Repeat three times in that point the procedure with %e( 1a( + ! Exhale and come down in Me! lla oblongata! &nhale# raise it into Bindu! Repeat three times in )in! the procedure with %e( 1a( + ! Exhale and come down to the point between the eyebrows! &nhale# ideally raise the re"ion between the eyebrows into fontanelle( which is the seventh Chakra tri""er point! Repeat there the procedure with %e( 1a( + three times! Exhale from Fontanelle to the point between your eyebrows! &nhale! Exhale from )in! to Me! lla oblongata! &nhale! Exhale from point 5<5 to cervical Chakra! &nhale! Exhale from point 5G5 to $nahata Chakra! &nhale! Exhale from pons 1arolii to third Chakra! &nhale! Exhale from Cerebell m to second Chakra! &nhale! Exhale from Me! lla oblongata to M la!hara!

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Remark 8 Cot only the points (( G (( and (( < (( but also the other centers of the head can be perceived better by the help of some li"ht oscillatory movements! ,hen you chant %e( 1a( + you can oscillate the head to the left# ri"ht and to return to the center with a small bump when you thin + ! This is of "reat help! Remark : The procedure creates a very stron" effect! &t can be described as the ability to see in a merciless way the e"o(s subtle tric s that drive human actions! The reason for many wron" decisions appears with a definitive clarity# free of all coverin" veils! The e"o is a very complicated mental structure? it is not possible to destroy it# but it can be made transparent! There is a price to pay? there mi"ht appear 0hours after the practice1 inexplicable waves of fear# the sensation of not nowin" where you are and where you are directed to! This is a natural reaction comin" from some subtle layers of the brain one has touched! 6! Making se of the Mantra )ha 7a )a %e 1a + in .mkar Kriya 0&nstead of the +antra %e 1a + 1 The .mkar Kriya technique described in the previous Chapter 0see H&M!:I1 has a remar able power of stimulatin" the Chakras leadin" you to the state of meditation! 6ome love the evocative meanin" of the central part of the +antra .m "amo )hagabate 1as !evaya. They read it as? )hagaba %evas which means? ((%ha"avan Tat Tvam Asi*(( 0'ou are that %ha"avan*1(( >et us see how to utili4e this six;syllable Mantra! >et us consider any Chakra 0except $&na1 visuali4in" it as usual . a hori4ontal dis ! %end slowly the head forward? feel a certain internal pressure on the frontal part of the Chakra! +entally chant )ha in that place! Raise your head and# without turnin" the face# bend it sli"htly toward the left shoulder! 7eel an internal pressure on the left part of the Chakra! +entally chant 7a in that place! Raise your head and tilt it bac wards! 7eel an internal pressure on the bac of the Chakra! +entally chant )a in that place! Raise your head and# without turnin" the face# bend it sli"htly toward the ri"ht shoulder! 7eel an internal pressure on the ri"ht part of the Chakra! +entally chant %e in that place! Raise your head and bend it slowly forward? feel an internal pressure on the frontal part of the Chakra! +entally chant 1a in that place! Raise your head and brin" your attention in the central part of the Chakra. +entally vibrate + there! +ovin" this way from M la!hara up# when you reach the $&na Chakra# the movement of the ener"y involves the whole median 4one of the head! The
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movements of the head remain identical 0bendin" in the front . to the left . behind . to the ri"ht . in the front . comin" up12 the syllables of the Mantra are placed? )ha in the frontal part of the head 0K tastha12 7a in the left lobe of the brain2 )a in the occipital re"ion 0feelin" )in! 12 %e in the ri"ht lobe of the brain2 1a in the frontal part of the head 0 K tastha1! Then when you raise your head# visuali4e the current reachin" the center of the head and put + in the seat of $&na Chakra! Ooin" up and comin" down# always repeatin" the same procedure 0three repetitions of the Mantra each Chakra1 constitutes one round? the required time is approximately 6 minutes! %y masterin" this procedure you will create a countercloc wise movement of ener"y inside each Chakra startin" from the periphery and endin" in its center! The effect is pure "old* After a couple of rounds you mer"e deeply in the .mkar dimension2 immobility settles and you won(t be able to move your head anymore! App%$'i?: ho5 to h!$'&% th% !pp!"%$t&y $%4!ti(% %**%)ts %0%"4i$4 *"o0 th% p"!)ti)% o* th% )o0p&%t% *o"0 o* Tho2!" &n the previous Chapter we have introduced the (( Complete form of %hokar(( . a %hokar whose action is extended to the lower Chakras! ,e have emphasi4ed how problematic may be its action upon our psyche! &t is not surprise that some kriyabans reach the conclusion that this procedure "enerates effects which are essentially ne"ative! This procedure must be completed by the procedures of "avi Kriya( Maha M !ra! They raise awareness and Prana alon" the spine! ,hat is su""ested here "oes in the same direction# increases tremendously the odds of success! &t has been ta en from K n!alini Yoga! ,e now that K n!alini Yoga is not Kriya Yoga but its the effects are heaven;sent! H8I Make se of Kapalabhati Pranayama in a targete! #ay Perform inhalation and exhalation rapidly2 exhalation should be done by contractin" the abdominal muscles forcibly and quic ly# resultin" in a bac ward push! Exhalation and inhalation alternate with equal len"ths and occur about two times per second! The navel acts as a pump and it(s almost li e usin" the abdomen as bellows! Exhalation is active# inhalation passive! A sudden contraction of the abdominal muscles raises the diaphra"m and a volume of air is expelled from the lun"s! The sound sli"htly resembles blowin" one(s empty nose! As soon as the air is forced out# the abdominal muscles relax# this allows the same volume of air to rush in2 inhalation comes automatically! Burin" each expulsion# Prana is sent to the navel and .m is mentally chanted in the navel! After 8<;:E of these short exhalations# there is a pause and the breath resumes its normal rhythm! Then another 8<;:E of these short breaths are repeated for about 8EE mental chants of .m!
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H:I 4nverte! breath 0A particular Pranayama where the breath follows a 5reversed5 path . reversed in respect to what happens in )riya Pranayama1 &nhale slowly and deeply! Prana present in the inhaled air is drawn down at the level of Manip ra! As you finish your inhalation# swallow and push down "ently with your diaphra"m in order to firmly compress the ener"y brou"ht down from above! 6imultaneously# practice M la )an!ha raisin" ener"y into the third Chakra! Practice also 2!!iyana )an!ha and /alan!hara )an!ha! Oo ahead holdin" your breath and repeatin" .m( .m( .m!!! at least 8: times! Burin" this K mbhaka the air ener"y is completely loc ed in# compressed from above and below! Hold your breath for as lon" as it is comfortable! 7eel ener"y and warmth brimmin" over into the surroundin" abdominal re"ion! Then relax the )an!has and exhale "ently feelin" breath and Prana rollin" upward throu"h the spine! @nce your first exhalation is complete# a"ain ti"hten the lower abdomen muscles# inhale a second time# swallow and push down with the diaphra"m# thus a"ain compressin" the air ener"y at the area below the navel! Hold your breath and concentrate on this area# feelin" the ener"y buildin" there! Then# a"ain# when it becomes uncomfortable to hold the breath any lon"er 0"o ahead repeatin" .m( .m( .m!!!1# exhale# releasin" the air up the spinal channel once a"ain! This practice blends to"ether Prana and $pana drawin" them into + sh mna. The ey point is to hold the breath for lon"er periods! &n order to increase further the power of the procedure# we can fra"ment each exhalation in short bursts! The lips touch in the central part and the air comes out throu"h the corners of your mouth! %y usin" 0with less force1 the Kapalabhati principle# the sound of exhalation becomes? s;s;s;s;s;s;s;s;s;s !!! 0The different 5s5 are perfectly audible1! There is a warm sensation in the lips? transfer it to the base of the spine! A warm sensation comes up 0slowly but in a perceptible de"ree1 throu"h the spine! Repeat all the procedure many times and you will see how this warm sensation comes up with more stren"th to the heart Chakra and upwards! HDI )hastrika Pranayama 0To create a "iant concentration of ener"y on the heart Cha ra1 )hastrika Pranayama is one of the most important Pranayamas of the classic Yoga 0%antric 0atha Yoga to be more precise!1 &t consists in forced rapid deep breathin"# done with the diaphra"m only! &t is used here in a tar"eted way to increase the ener"y activated with the previous practice in the heart re"ion! %reath throu"h the nose# about one complete breath per second# bein" aware of what is happenin" in the spine! 'ou can be"in with six repetitions! %y focusin" behind the heart Chakra( feel the ener"y oscillatin" approximately D centimeters below and above it! &t is li e cleanin" vi"orously the area behind this Chakra!
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'ou will feel warm in the re"ion of the fourth Chakra! Then inhale deeply# hold your breath and feel the warm sensation increasin"! Exhale intensifyin" that sensation! 'ou can now repeat %hokar upon the heart Chakra followed by )hastrika Pranayama in order to increase this warm sensation until you reach a paroxysm of 9oy! 0Consider also an incremental routine of this process. what this means is explained in Chapter A!1 After all these practices enter a total immobility and en9oy a sweet mental Pranayama! Peace# internal 9oy# calmness of breath# listenin" of internal sounds# perceivin" spiritual li"ht!!! this is what you will experience! 'our practice of Kriya will become a love story with %eauty itself! %e sure# be confident? after a certain period of time# a remar able experience of K n!alini awa enin" will happen! &t will overcome you when you rest in the supine position! ,ithout experiencin" any start of surprise# you will find yourself ferried from a sweet dream to an authentic heaven2 you will return to daily life with tears in your eyes!

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