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The various techniques of pranayama control the quality, depth and timing of the
breath primarily through different ratios of inhalation (puraka: 'to fill'), exhalation
(recaka: 'to empty') and retention (kumbhaka: 'pot-like'). The diverse ratios of
these dimensions of the breath are designed to optimise its purificatory functions,
which is a necessary precursor to the more important task of guiding (or forcing)
prana into susumna-nadi.
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When the nadis are full of impurities, the
breath [prana] does not go into the middle nadi, susumna. Then there is no attainment
of the object nor arriving at Unmani avastha ('that state which transcends the mind
[manas]'). (HYP: 2.4)
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When the practice of pranayama has balanced the various dosas and pranas and purified
the nadis, the focus turns to regulating the flow of prana through ida and pingala-nadis,
before redirecting that flow into susumna-nadi. Pingala and ida-nadis are also referred
to as 'ha' or the surya (sun) channel and 'tha' or the candra channels respectively,
and it is the redirection of the prana in these nadis into susumna that is meant
by the 'union of sun and moon' in one common understanding of Hatha-Yoga.
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When the breath [prana] flows through the susumna,
then the mind becomes steady. This steadiness of the mind (citta) is called Manonmani
[or Unmani] avastha [Samadhi state]. (Hatha Yoga Pradipika: 2.42) |
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Patanjali treats pranayama as a precursor to the three 'internal limbs' (antar anga)
of his system: dharana (concentration), dhyana (meditation) and samadhi. In Hatha
Yoga pranayama is not merely preparatory but its central practice, with Brahmananda
(Jyotsna: 2.12) and others holding that the higher limbs of Patanjali's system are
achieved in Hatha-Yoga by retaining prana in susumna-nadi for increasing periods
of time. In both cases, though, the most important aspect of pranayama is kumbhaka
(retention), which strictly speaking denotes the suspension of the flow of breath
in order to steady the mind.
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Asana having been perfected, suspension of
either of the processes of drawing in external air and exhaling internal air constitutes
a pranayama.(Yoga Sutra: 2.49)
At the end of the retention of breath in kumbhaka, the mind (citta)
should be made free of objects. By thus practising, the stage of Raja-Yoga is reached.
(Hatha Yoga Pradipika: 2.77)
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Kumbhaka is of two kinds which are sometimes referred to as sahita ('supported')
and kevala ('absolute'). Sahita kumbhaka is the retention of breath as part of a
cycle of inhalations and exhalations and includes both antara kumbhaka ('inner retention')
where the breath is held within the body, and bahya-kumbhaka ('external retention')
where the breath is held outside of the body. Kevala-kumbhaka is the spontaneous
retention of the breath for an indefinite period without the requirement to inhale
or exhale, and it is in this state that prana is said to flow into susumna-nadi.
The various pranayama techniques detailed in Hatha texts are also referred to as
kumbhakas and eight such practices are described below, though it should be kept
in mind that there is a degree of divergence in the descriptions of these in various
Hatha texts. In addition to these eight, the Hatha-Yoga-Pradipika (2.7-10) among
other texts also mentions the practice of alternate nostril breathing known as nadi
sodhana ('to purify') or anuloma viloma, which activates and harmonises ida and
pingala-nadis.
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Surya-bheda-kumbhaka: in this context surya ('sun') represents pingala-nadi and
the right nostril, while bheda is taken to mean 'to pierce or pass through', which
when combined denotes the practice of inhaling solely through the right nostril
and exhaling through the left.
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Ujjayi-kumbhaka: ujjayi means 'victorious' or more literally 'uplifting'. This kumbhaka
is performed by breathing through both nostrils while constricting the throat (i.e.,
slightly closing the glottis) enough to enable an audible rasping sound to be made:
'the breath fills the space from throat to the heart with a noise' (Hatha-Yoga-Pradipika:
2.51).
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Sitkari kumbhaka: sit is an onomatopoeic term that means 'hissing', and kari means
'maker' or 'that which produces'; so this is the 'hissing kumbhaka' or the kumbhaka
that produces a hissing sound. It involves inhaling through the mouth with the lips
slightly apart, teeth gently touching, and tongue freely suspended. After retention,
the breath is exhaled through the nose. Sitkari cools the body, and can be done
after bhastrika kumbhaka to counterbalance the excess heat produced in the body
by that practice.
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Sitali kumbhaka: sitali means 'that which cools' as well as 'calm, passionless,
unemotional', and is performed like sitkari, except that the sides of the tongue
are curled over to form a tube which protrudes between the lips through which air
is sucked in, and after a brief retention exhaled through the nose. Apart from the
difference in the position of the lips and tongue, the only difference between sitkari
and sitali is that the former is focused on the hissing sound and the latter on
the cooling sensation of the breath.
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Bhastrika kumbhaka: bhastra can mean 'bellows', and in bhastrika one breathes 'like
a bellows', i.e. with rapid inhalation and exhalation through both nostrils driven
by a forceful pumping action in the upper abdomen. This practice is said to fan
the 'internal fire', and because of this is believed to be particularly effective
for breaking through the three granthis within susumna-nadi.
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Brahmari-kumbhaka: bhramari signifies 'that which belongs to a bee', especially
its sound, so in this pranayama a 'bee like' or humming sound is produced during
inhalation and exhalation that focuses awareness and attunes the practitioner to
the 'inner sounds' or nada.
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Murccha kumbhaka: murccha can mean 'swooning' or 'to expand, pervade' and generally
involves fixing one's attention between the eyebrows (i.e., on ajna-cakra) while
retaining the breath. This practice is said to produce a euphoric state reminiscent
of fainting that is nonetheless not a state of unconsciousness but one of heightened
awareness in which everything which is not the Self (atman) dissolves.
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Plavini kumbhaka: plava means 'floating' and plavini 'that which floats', and the
HYP (2.70) describes this practice as enabling one to float 'like a lotus leaf'
on the surface of water due to the filling of the body with air (and prana). Exactly
how the technique is performed is not made clear. Other sources describe plavini
as similar to vata-sara-dhauti, except the air is retained in the stomach and intestines
and not expelled immediately. Some yogis practice plavini before going into samadhi
for days together so that the stomach remains full during their fast.
Mudras and Bandhas
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making every effort, the (various) mudras should
be practised to awaken the great goddess (kundalini) who sleeps at the mouth of
susumna (the doorway to the Absolute).
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The term mudra (from mud = 'joy' + ra = 'to give') can mean 'gesture',
'hand pose' or 'seal' among other things, and is so called because mudras are said
to please the deities and reveal the bliss of the Self. In a general sense, mudras
are symbolic hand positions or gestures that are used in rituals and Indian classical
dance to express inner feelings and states, or to convey virtues such a s charity,
knowledge and courage. Representations of Hindu deities and saints often include
mudras.
In Hatha Yoga the term mudra has a broader connotation, including hand positions
or gestures as well as specific muscular contractions and physical poses other than
asanas that involve more than the hands, all of which are designed to 'seal' the
body to facilitate the retention of prana and focus awareness. When prana acculumates
and awareness turns inwards, mudras occur spontaneously as a natural expression
of particular inner states. The voluntary practice of mudras, either by themselves
or in conjunction with asanas and pranayama, is designed to elicit similar inner
states by regulating the flow of prana.
The principal muscular contractions are also referred to as bandhas (from the verb
root bandh = 'to bind') which means 'lock' or 'binding', and alludes to the action
of binding or locking prana in particular parts of the body in order to channel
it into susumna-nadi. Bandhas can be practised alone but are more often employed
in pranayama, with different combinations of the three main bandhas (which are described
below) accompanying both antara and bahya kumbhakas to aid the unification of prana
and apana vayus.
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