Showing posts with label Pranyama. Show all posts
Showing posts with label Pranyama. Show all posts



The growth of vinyasa (Birch 2018, 101–180) has been one of the most exciting developments in contemporary yoga. 

Despite its widespread appeal, no comprehensive philosophy for its methodologies and operations has yet to be developed. 

The practices of asana – the "steady seat" of postural yoga – have been emphasized in both modern and traditional yoga, seeing it as necessary for contemplative activities. 

Vinyasa, on the other hand, views transitions between poses as equally important — at its most extreme, it advocates for continuous fluid movement that is inspired by and synchronized with breath. 

Asana yoga approaches have always attempted to recreate a profound sensation of changelessness. 

The body is held immobile, suspended breathing (a refinement of bodily immobility) is valued, and an effort is made to stop the mind's workings by bringing it to a point of fixity – essentially negating mundane bodily processes in order to achieve a more lucid experience of the unity that it sees as the true nature of the universe. 

"... defined and continuous focus, dubbed ekagrata ('on a single point,') is gained by integrating the mental flux... 

which clogs the mental stream and so produces a 'psychic mass,' a solid and unified continuity," according to Eliade (Eliade 1958, 47–48). 

This might be related to Milesian pre-Socratic thinkers' attempts to figure out what the actual essence of the cosmos as a basic or primordial material was. 

In this perspective, Vinyasa, on the other hand, shares a more Heraclitian idea, positing that the basis is a process rather than a substance. 

As its ekagrata, it favors the evenness with which the process develops above the fixity on a single and immovable point. 

The practices of vinyasa yoga include maintaining evenness of breath and synchronizing it with evenness of bodily movement in order to achieve evenness of mind, but it might be argued that evenness of mind is the first need. 

Breath, body, and mind are most likely engaged in a dynamically reciprocal relationship. 

The vinyasa approaches imply that time passes at a constant pace, with no "moments" of higher significance. 

The passage of time might also be equally accelerating, decreasing, or flowing irregularly, according to different theories. 

A fourth alternative is that time is only an abstract convention for an everlasting and undifferentiated present that is simultaneously brought into existence and obliterated - something that, ironically, constitutes unity via its ceaseless changingness. 

An attempt is made to maintain a longer breath in order to build awareness of this never-ending flow. 

Postures are shifted about and given no more weight than the movement toward or away from them. 

Because there is a distinction as the breath transitions from intake to exhale and back again, there is a sensation that length does matter, which would lead one to reject the view that there is no such thing as time. 

The duration of a breath does give a fairly realistic restriction for the development of focus or concentration — it is a very small period of time to maintain attention. 

When it's finished, there's minimal connection to the experience since there's no investment in it, and the next breath, with its own set of obstacles, comes quickly after. 

  • Each breath is special and should be savored for what it is and what it reveals over time. 
  • With each breath, the process starts again, and there is no fidelity to previous or future breaths. 
  • When respiration and movement are stated to be synchronized, it signifies more than "they happen at the same time." 
  • Each breath should be full yet regulated without exerting unnecessary pressure. 
  • The accompanying movement is similar - that specific breath could only cause that movement – the movement aims to be a flawless portrayal of what that breath is – not only as it occurs in time, but also as it shares its features. 

In the same way, the intellect is in perfect harmony with the breath. 

If the breath is a little ragged, it means the mind is agitated as well. 

The breath is thought to be an accurate intermediate between physical and mental processes, with each portion mediating and attempting to precisely represent the status of the whole as it travels through a continuous transition. 

This vinyasa philosophy presents an alternative to asana's pursuit of stillness perfection, saying that no matter how hard an asana practitioner tries to stay still, their breathing will always result in movement. 

Furthermore, blood continues to flow through the body in asana, cells continue to multiply and die, and the endocrine system continues to operate. 

The asana yogi would seem to be seated on a planet that spins on its axis as it hurtles around the sun – a solar that is part of a developing and slowly rotating galaxy that is part of an expanding cosmos (Rees 2001, 50–51). 

In summary, the nature of reality is this process of movement and change, and it is important to attune oneself to this process in order to be one with it. 

There are also significant distinctions between asana and vinyasa. 

Asana practitioners "gaze" within in quest of the oneness of underlying Self, eventually seeking detachment from body feeling - subjecting oneself to intense physical challenges until mastery is accomplished in stillness. 

The vinyasa method shown here, on the other hand, begins energetically at an infinitely tiny place inside the pelvic region and flows externally with a unification of breath, body, and mind. 

Before delving into the meaning of inner and outward, it's important to define the words prana and pranayama (yogic terminology for energy and the practices used to move it). 

The meaning of prana and, by extension, pranayama, is unclear. 

Prana is defined by Eliade as "organic energy expelled by breath and exhalation" (Eliade 1958, 58), but he does not specify what that organic energy is or where it goes. 

  • Vital life force energy is a frequent current definition, albeit it's unclear if the term vital implies that there are additional types of life force energy. 
  • Prana, according to Swami Rama, pervades everything of existence, even inanimate things (Rama 2002, 202). 

This wide definition might imply that prana is a kind of energy similar to that found at the atomic level. 

The word yama is frequently translated as "restraint," although it may also be translated as "control" or "manipulation."  

The goal of asana yoga is to put the prana into a condition where there is no flux - no energy discharge. 

The Hatha Yoga Pradipika (Sinh 1915, 4.18) and the Siva Samhita (Vasu 1914–15, 2.13) both list the nadis (or channels) in the body via which prana passes (72,000 and 350,000, respectively). 

In their book Roots Of Yoga, James Mallinson and Mark Singleton discuss how the primary nadis start at the "base" chakra and travel to the "crown" chakra (top of the head), allowing prana to flow through the "subtle body" (Mallinson and Singleton 2017, 171–184). 

The idea of a mysterious source of energy near the base of the spine with attached channels through which energy rises is a premise so pervasive and adamantly held that one must take a step back to appreciate what an extraordinary and peculiar assertion this is if taken literally – predicated on "subtle bodies" with elaborate structures that defy demonstration but have apparently resonated with practitioners throughout the ages; replete with "subtle bodies" with elaborate structures that belie demonstration. 

The "lower" chakras (nexuses of pranic energy) are more primitive and instinctive; the "higher" chakras (nexuses of pranic energy) are more noble and spiritual; The lower ones are more simple in their qualities, while the higher ones are more elaborate in their elaboration. 

It's debatable to what extent these alleged structures should be regarded literally in reality. 

They are, nevertheless, imaginatively strong weapons with both poetic and metaphoric resonance. 

The vinyasa philosophy described here claims that literal understanding of the "subtle body" and its architecture is impossible. 

Vinyasa, on the other hand, loosely adheres to this energetic foundation and interprets it as imagery that serves as a metaphor for its ekagrata of continuous flow. 

This imagery is a useful poetic conception around which the vinyasi can cohesively integrate the concrete efforts of body, mind, and breath. 

It is unique to each individual and is a useful poetic conception around which the vinyasi can cohesively integrate the concrete efforts of body, mind, and breath. 

Whatever shape a nadi and the energy that passes through it take, it's probable that each person imagines it differently ("My sushumna is like a glittering thread"; "Mine is like a plastic tube"). 

The mula (albeit not a chakra) is the location where this energy originates, and it is seen as an endlessly tiny and fictitious, but theoretically powerful, point positioned in the pelvic region somewhere between the sitting bones, pubic bone, coccyx, and pelvic floor. 

This is where the outward flow of prana is said to begin. 

Though "root" is a commonly accepted translation of mula, this meaning may lose some of the nuance that "location or site of origin" suggests. 

The vinyasa imagery serves as a strong focus point — its ekagrata – from which the whole body moves together. 

This assumption offers the framework for imagining prana (the activity of pranayama) flowing from this infinitely tiny place - so minuscule that it equates to a zero on a number line. 

Mula is the beginning point for the continual flow of energy in the direction of the legs and feet, as well as the torso, head, and arms - compared to light spreading forth. 

Zero points on number lines and light emitted from infinitely tiny points should be recognized for what they are: culturally particular metaphors attempting to create parallels for an experience that each practitioner would interpret differently. 

This idea of vinyasa places a premium on creative participation with the event, just as it does on intellectual, emotional, and physical engagement. 

The event consumes the totality of one's existence. 

Both asana and vinyasa appear to hold extreme polar positions on the surface – one a complete negation of self and the other a complete affirmation – but they are both predicated on the entry (or rebirth) into a different sphere of being or experience – that of understanding the true nature of reality. 

The way by which they strive to assure their capacity to recreate the experience at will is via technical mastery. 

Each has significant challenges to overcome in this endeavor. 

The numerous distractions of one's own thoughts must be quelled in asana - for those searching within – as they aim to discover a new and more universal plane of awareness. 

Those gazing outwards have the challenge of absorbing everything that their senses provide them and reacting to it in a completely coherent manner - one that sees the blatant manifestation of a distinct and developing "other" with whom they are attempting to blend their knowledge. 

Vinyasa Yoga recognizes that each person conducts this as a unique and imaginative endeavor, and so it falls within the ambit of aesthetic philosophy.

Sensory Control 

Pratayahara refers to the link between the senses and the mind in this vinyasa paradigm. 

Despite the fact that it appears in most current yoga sessions in some form, it is seldom mentioned by name. 

There are three working definitions of vinyasa's processes. 

The first is "sense withdrawal," which is the most common. 

Working with the eyes closed may be one of the techniques used, with the goal of eliminating any visual distractions. 

Yoga on a mat works in the same manner — by constraining the area in which the practice takes place, it reduces the influence of sensory information that comes from outside of it. 

Another term for it is "sense refinement." The effort of vinyasa to maintain movement, for example, might be supported by sensory information. 

The slight sense of air travelling between the fingers may be noticed when one moves one's arm and hands across space. 

The sensacion between the fingertips, however modest, provides a clear measurement of how smooth the movement is. 

It's worth noting that there's considerable overlap between the two definitions. 

Other sensual information becomes more evident when you shut your eyes to practice. 

"Rethinking" or "thinking differently" is the third definition of pratayahara. 

"When the mind is upset by incorrect ideas, the solution is to ponder the contrary," Phulgenda Sinha recommends. 

For example, instead of focusing on the multiple body parts required for vinyasa, imagine yourself as an energy singularity spreading forth to overcome distractions. 

Focused Concentration

The act of concentrating on a "single point" or ekagrata is referred to as dharana. 

The volume of this single point is significant; it may be thought of as a dot (or infinitely bigger or smaller) as well as an interior space (such as the space between the brows - the third eye). 

The practitioner makes a conscious effort to devote their whole self to filling or encompassing this singularity. 

Because the ekagrata's size and form are varied, exterior objects for contemplation may be anything from a lotus bloom to a dot on paper. 

Internally, everyone's perception of the third eye (and where it is located) is different. 

In vinyasa, the concept of volume is crucial. 

In their interaction with external stimuli, the vinyasa practitioner attempts to expand the volume of awareness to the extent of their capacities in the conditions of the location where they practice, a process known as dhyana. 

Dhyana is a kind of meditation that is often used in the performing arts. 

Actors' work must be sized correctly to match the theatre. 

Their act is "projected" to suit the location. 

The size of the theatre is the volume of their awareness. 

If someone coughs in the third row distracts them, that becomes the size of their awareness area (and the performance suffers). 

This whole process starts early in practice, when they first create a reality between themselves and their fellow actors, which subsequently grows to fill the rehearsal space. 

The majority of non-actors think that an actor adopts an emotional demeanor; that they, for example, simulate the feeling of grief. 

This, however, is not how it is done. 

Instead, the audience gets the impression that a character is sad because the actor develops the audience's intuition over the course of a series of simple and specific "actions" – 

"I pick up the teacup... 
bring it to my lips... 
put it down untouched" – and the sum of these individual actions creates the impression. "

Individual moments in theatre are chosen and performed in a manner that is, for the most part, unlike actual life. 

They are carried out with a single goal in mind. 

This singularity of focus is quite similar to the kind of single-pointed concentration used in vinyasa yoga as it moves through the postures. 

The vinyasi, like the teacup actor, tries to arrange their practice with a set of roughly repeatable movements. 

Only one action is performed on each inhale and exhale. 

An inhale may be the first step toward a high arch, while an exhale might be the first step toward a forward bend. 

When one examines each particular portion of the body, there is basically just one movement. 

In the instance of the high arch, the arms may form a single arc; the pelvis would only move forward; and the rib cage would expand evenly – and all of these motions occur at the same pace as the breath, allowing them to attain their maximum movement at the same moment. 

Each breath, as well as the movement it causes, is a record of the mind. 

Someone who is very anxious to imitate a high arch they like may hurry to bring the arms back farther than the breath allows. 

Mind (or spirit) and body (matter) are both transitory and transient elements of the same reality, and each breath gives a window into an individual's connection with that reality. 

The dhyana practice demonstrates how space and volume interact to effect the practitioner. 

Things that aren't "of" the practitioner - things that are "other" – have an impact on how the practitioner perceives reality. 

The way movement is elicited changes in a chilly space. 

The person also alters the environment. 

The exertion of their movement, for example, warms the space somewhat — their "energy" changes "the other." When an actor is performing a sad scene, the energy used in conceiving the volume of their awareness (a theatrical space) will make someone in the back row to feel sad as well (regardless of whether the circumstances of their life are happy or otherwise). 

The volume of awareness in a yoga studio may be confined or increased in a variety of ways. 

Rectangular yoga mats are very universally used and are a contemporary addition to yoga practice. 

While they provide cushioning and traction, they also restrict many people's connection with space by acting as a barrier that protects them from intrusion while simultaneously preventing further growth. 

Many children will rush to keep their feet, hands, or heads on the mat at all times. 

There are certain things that can help. 

For example, if a studio is large, it tends to attract one's attention into it; and the use of music has the ability to establish a more expanded link between the practitioner and whatever "space" the music indicates. 

The Space And Reality In Between You And Existence

The operations of the "actor's melancholy" or the yoga practitioner's encounter with "the other" seem to take place in a field (Between Space). 

What is the difference between space and time? 

The volume of consciousness may theoretically be endless, like the apeiron of the pre-Socratics. 

From the rectangle of a yoga mat to the edge of the perceivable cosmos, it's a long distance. 

Even the comparatively short distances of our near cosmic neighborhood challenge the imagination13, albeit imagination is one human tool for traversing such space. 

By quantifying the issue, science has been able to solve it. 

When written as words on a paper, fourteen billion light years14 does not seem to be that daunting. 

Asana practice appears to posit that this vastness is the same as the volume that can be discovered internally by negating thought-movements until there is an irreducible essence of negligible volume (that is also immaterial and temporally unbound), and that this foundation – the "essential self" – is the same as the universe. 

Although the concept of the infinitely tiny and endlessly huge being the same may seem illogical, there are plausible explanations. 

According to the Big Bang Theory, the whole universe arose from a single point of great density and high temperature. 

The vinyasa yogi's concentration on expanding the volume of awareness might be seen as a personal effort to mimic this process, while the asana yogi's inner gaze strives to reverse time and space, bringing the whole cosmos back into a single fundamental point that holds the All. 

Physics and yoga comparisons are always forced. 

In theory, physical yoga practice has the same aim as physics, but it may be hampered by the restrictions of its "laboratory." 

There is still the chance that a prodigy sadhu had insights as implausible as Maxwell's or Einstein's recognition that Newtonian physics, although seeming to be common sense (space and time as absolutes), is not the reality (that space and time are warped). 

It is still too early to draw definitive conclusions on how current scientific knowledge of space influences the contemporary yogi's perception of "actual reality" - yet it may be cautiously accepted as a leap of faith that the universe is not as we see it. 

It is useful to study what may be seen and acquired from "life as it is lived" with incomplete knowledge. 

In the Between Space, there are "dhyanic" components to how a theatrical audience's attention works. 

Their level of awareness must embrace everything the performer is doing. 

The way a sunset is viewed provides a better explanation of how volume of awareness and the Between Space interact. 

The magnificence of a sky richly colored with colored light and shadows playing on the clouds may encourage one to feel beautiful. 

The experience of beauty, on the other hand, does not exist if no one sees it (just as the audience's grief does not exist if no one sees it - beauty and sadness are experiences, not objects in and of themselves). 

Only when the participant's volume of awareness is extended to take in the scope - the Between Space – in which the experience is supposed to occur, can the experience occur. 

There is no consideration of whether such cumulonimbus clouds would be better if they were cirrus clouds in the participant's experience. 

Acceptance and involvement are present. 

The audience, as little as their involvement may seem, plays an important role since the feeling of beauty would not be possible without them. 

In the far greater realm of the cosmos itself, the vinyasi serves the same purpose. 

The phrase samadhi might refer to a direct experience of the Totality. 

To achieve total yoga unity, there must be a dissolution of the idea that the person seeing is separate from the sunset – so that they exist without distinction. 

It takes a leap of faith to think that this can be done with the power of imagination.

References & Further Reading: 

Bhaktivedanta Narayana Gosvami Maharaja, Sri Srimad and Śrīla Bhaktivinoda Ṭhākura, Pure Bhakti: Bhajana-rahasya, 2nd Edition. New Delhi: Gaudiya Vedanta Publications, 2015.

Birch, Jason. “The proliferation of asana-s in late-medieval yoga texts.” In Yoga and transformation historical and contemporary perspectives, edited by Karl Baier, Philipp A. Maas, and Karin Preisendanz, 101–180. Vienna: Vienna University Press, 2018.

Coomaraswamy, Ananda K. The dance of Siva: essays on Indian art and culture.
New York: Dover, 1985.

Cooper, David E. “Introduction.” In Aesthetics: the classic readings, edited by David E. Cooper, 1–10. Oxford: Blackwell Publishers, 1997.

Eliade, Mircea. Yoga immortality and freedom, translated by Willard R. Trask. 
Princeton: Bollingen Foundation, Princeton University Press, 1958.

Herbermann, Charles, ed. “The Absolute.” In Catholic Encyclopedia. New York: Robert Appleton Company, 1913.

Jakubczak, Marzenna. “The purpose of non-theistic devotion in the classical Indian tradition of Sāmkhya-Yoga.” Argument, vol. 4 (January, 2014): 55–68.

Jaspers, Karl. The origin and goal of history, translated by Michael Bullock. London: Routledge, 1955.

Johnson, Williams J., translator. The Bhagavad Gita. Oxford: Oxford University Press, 2009.

Lewis-Williams, David and David Pearce. Inside the neolithic mind. London: Thames and Hudson, 2005.

Mallinson, James and Mark Singleton. Roots of yoga. New York: Penguin Books, 2017.

McGilchrist, Iain. The master and his emissary: the divided brain and the making of the Western world. New Haven: Yale, 2009.

Rama, Swami. The science of breath. Delhi: The Himalayan Institute Press, 1979.

Rama, Swami. Sacred journey: living purposefully and dying gracefully. Delhi: Himalayan Institute Hospital Trust, 2002.

Rees, Martin. Our cosmic habitat. Princeton: Princeton University Press, 2001.

Sinh, Pancham. The Hatha Yoga Pradipika: Sanskrit text with English translation. New 
Delhi: Munshiram Manoharlal Publishers, 1915.

Sinha, Phulgenda. The Gita as it was: rediscovering the original Bhagavad Gita. LaSalle: Open Court, 1986.

Stark, Rodney and William Sims Bainbridge. The future of religion. Berkeley: University of California Press, 1985.

Tarnas, Richard. The passion of the Western mind: understanding the ideas that have shaped our world view. London: Pimlico, 1991.

Vasu, Rai Bahadur Srisa Chandra, translators. Siva Samhita. New Delhi: Munshiram Manoharlal Publishers, 1914–15.

Yoga And Yoga Asanas - Pranyama For Proper Blood Circulation

The natural accomplishment of main and small canals, as well as a beautiful sewage and drainage system, is the circulation of blood from the heart, out into the body, and back again. 

  • The heart pumps oxygen-rich blood out via the arteries to the body's main and smaller organs. Smaller tubes called capillaries connect the arteries to the circulatory system's returning veins at their ends. 
  • The stale, de-oxygenated blood, which is now loaded with carbon dioxide, is returned to the lungs via the heart, where it is cleansed and given back to the heart for a fresh cycle through the body. 
  • The blood circulates in three main circuits, each of which is regulated and controlled by breathing. 

Adham Pranayarna, or abdominal breath, regulates lower blood circulation into the lower pelvis and down to the feet. 

Women are notoriously bad abdominal breathers, resulting in pelvic tightness, poor circulation in the feet and ankles, chilly feet, varicose veins in the legs, fluid retention, and lymph gland congestion. 

  • The intercostal breath, Madhyam Pranayama, controls blood flow into the torso of the body, circulating blood to the liver and intestines as well as providing blood to the heart muscles. 
  • Women have a natural ability to breathe in the middle of their breath. So few people have stomach problems and have minimal heart disease. 

As a consequence of their poor mid-breathing, men are at risk for heart disease. 

  • An inadequate blood supply deprives the heart muscles of essential oxygen, resulting in ischemia, cardiac insufficiency or shortage of blood flow to the heart muscles, and the resulting Angina Pectoris, with its sensation of suffocation and restriction of blood into the pectoral muscles. 
  • The most prevalent illness that leads to all other cardiac problems is myocardial ischemia. 
  • The clavicular breath, also known as Adhyam Pranayama or Adhi Pranayarma, pumps blood up into the neck and head and out into the arms. 
  • The brain cells are starved as a result of poor upper circulatory system circulation. 
  • Sugar and oxygen are essential for the brain's survival. Both of these components are provided by a well-functioning circulatory system. 

The head's sense organs are the first to be damaged, resulting in hearing loss and vision loss. Other senses fading, headaches, all kinds of stress, hair loss, and skin problems.

  • Anything that makes it difficult to breathe or circulate properly should be avoided. 
  • The lungs are poisoned by toxic gases and industrial effluvia when you live in a contemporary, industrial region. 
  • Even living in a rural community is becoming a respiratory danger owing to D.D.T. supernitrate residue in the air and fumes from contemporary automated agricultural farming emissions. 
  • Industrial toxins masquerading as preservatives pollute our food. 
  • Food processing is inherently harmful to one's body's health. 
  • We pickle the system by sprinkling salt, sugar, and condiments on our meals. 
  • Tea, coffee, colas, sodas, and alcohol all contribute to a condition known as "blood addiction," which causes us to desire these substances. 

The usage of drugs has given the issue of bad habits a whole new dimension. 

  • Millions of people are ignorant of their addiction to common chemical compounds found in supermarkets and pharmacy stores. 
  • The number one cause of lung and blood stream pollution is smoking cigarettes, cigars, and using a smoking pipe. 
  • No other habit has contributed more to the development of lung and vascular disease. 
  • Even living in close quarters with a heavy smoker has its drawbacks. 
  • According to studies, inhaling "slipstream smoke" has the same consequences as smoking. 

No one should begin practicing the science of Pranayama and Hatha Yoga unless they have quit smoking. 

A holistic view of our surroundings, as well as a Yoga ecosystem, is required. Complete breathing, like in Mahat Yoga Pranayama, activates the brain's Respiratory Centre, allowing healthy, oxygenated blood to flow to all parts of the body. Toxic poisons are shuffled off to different organs of elimination, but especially the lungs and kidneys, by the same; regulated, controlled breathing.

You may also want to read more about Yoga here.

You may also want to read more about Yoga Asanas and Exercises here.

Yoga And Yoga Asanas - What Is Mahat Yoga Pranayama?

The only kind of breathing deserving of the term Deep Breathing is the Yoga version of the "Complete Breath." 

  • The breath is regulated such that air reaches the abdominal region of the lungs first, then the middle, and lastly the upper clavicular area. 
  • The breath is exhaled in the same sequence every time: low, mid, and high. Employ Aprakasha Mudra with the hands while performing this. 
  • A "swallowing of the breath movement" after the incoming breath to assist hold in the breath and prevent bronchiospasm. 
  • This swallowing motion is comparable to swallowing water or food, and it gives you control over the nerves connected to aware breathing. 

If doing this Mudra is difficult, try focusing your attention on the back of your head, in the Occipital region of the skull, and swallowing should become easier. 

  • This Mudra is effective in overcoming hypnotic indoctrination. 
  • Place one hand on the diaphragmatic region and the other on the mid chest to assist in establishing good control over these three breathing regions. 
  • After the lower lobes have been filled, the lower hand may be lifted to the high chest region, or the mind can be focused into the high lobes. 
  • Start a long, slow, deep breath with the hands in the recommended position, regulating at least one-third of the time to the abdominal area, then continuing the breath into the mid chest for another third of the time allotted, and finally filling the high clavicular area of the chest for the remaining one-third of the count. 
  • A "two count" into each of the lung regions is suggested for a novice, so that the breith arrives two times two times two (2x2x2) until the Complete or Grand Yoga Breath is achieved. 
  • The breath should be kept in for a brief time before being exhaled in the same sequence and timing as the inhalation (2x2x2). 
  • That is, the breath is expelled first from the lower lobes, then from the middle lobe. 
  • Finally, there are the higher lobes that we gradually move onto. 

It's also worth noting that in each part, the outgoing breath comes from the back lobes first, then the side lobes, and finally the front lobes. 

  • A short respite should be given at this stage for the novice before repeating the full cycle for three to six cycles. 

After gaining some positive control, the period of holding in the breath can be increased to the same length as the incoming and outgoing breaths, and a held out breath can be added over time (see Stikha Pronaya ma).

You may also want to read more about Yoga here.

You may also want to read more about Yoga Asanas and Exercises here.

What Are Psychic Breathing Techniques In Yoga?

    With the exception of the Yogic Rhythmic Breathing instructions, the majority of the exercises deal with the physical plane of effort, which, while important in and of itself, is also regarded by the Yogis as providing a substantial foundation for efforts on the psychic and spiritual planes


    • Do not, however, dismiss or dismiss the physical aspect of the issue, for a healthy body is required to sustain a sound intellect, and the body is also the temple of the Ego, the lamp in which the Spirit's light shines. 
    • Everything has its place, and everything is excellent in its place. The matured man is one who understands the importance of body, mind, and spirit and gives each its due. 
    • Neglecting either is a mistake that must be corrected sooner or later; it is a debt that must be paid back with interest. 


    • The Psychic part of the Yogi Science of Breath, is presented as a series of exercises, each with its own explanation. 
    • You'll note that rhythmic breathing is coupled by instructions to "carry the notion" of certain desired outcomes in each exercise. 
    • This mental attitude provides a clear path for the Will to exert its power. 
    • I can't go into detail on the power of the will in this work, so I’ll assume you already know something about it. 
    • If you're new to the topic, you'll discover that doing the exercises will give you a lot better understanding than any amount of theoretical instruction, since, as the ancient Hindu saying goes, "He who eats a grain of mustard seed understands more of its flavor than he who sees an elephant load of it." 




    The Yogic Rhythmic Breath, is the foundation of all Yogic Psychic Breathing. 

    • To minimize unnecessary repetition in the next exercises, I will simply state, "Breathe Rhythmically," and then offer instructions for using the psychic force, or directed Will power, in conjunction with the rhythmic breath vibrations. 
    • After a little practice, you will notice that after the first rhythmic breath, you will no longer need to count since your mind will have grasped the concept of time and rhythm and you will be able to breathe rhythmically practically effortlessly. 
    • This will cleanse the mind so that the psychic vibrations may be sent in the direction of the Will.





    • Breathe rhythmically while lying flat on the floor or in bed, totally relaxed, with hands gently resting over the Solar Plexus (over the pit of the stomach, where the ribs begin to separate). 
    • Each inhalation will draw in an increasing amount of prana or vital energy from the Universal supply, which will be taken up by the nervous system and stored in the Solar Plexus after the rhythm is completely established. 
    • Will that the prana, or vital energy, is distributed throughout the body, to every organ and part; every muscle, cell, and atom; every nerve, artery, and vein; from the top of your head to the soles of your feet; invigorating, strengthening, and stimulating every nerve; recharging every nerve center; sending energy, force, and strength throughout the system. 
    • Try to imagine the inrushing prana flowing in from the lungs and being immediately taken up by the Solar Plexus, then being transmitted to all areas of the system, down to the finger tips and down to the toes, while exercising the will. It is not essential to exert effort in order to employ the Will. 
    • All that is required is demanding that thing you intend to generate and then visualizing it in your mind. Calm command with a mental image is considerably superior than coercive willingness, which only wastes force. 
    • The preceding workout is quite beneficial, as it considerably refreshes and develops the nervous system while also providing a relaxing sensation throughout the body. It's particularly useful if you're fatigued or haven't had much energy lately. 





    • Breathe rhythmically while lying down or sitting upright, with the concept that you are breathing prana. 
    • Then, when you exhale, direct the prana to the hurting area to restore circulation and nerve current. 
    • Then inhale additional prana in order to expel the painful situation; then exhale while keeping the concept that you are extinguishing the agony. 
    • Alternate the two mental instructions above, stimulating the portion with one exhale and driving away the discomfort with the next. 
    • Continue for seven breaths, then practice the Cleansing Breath and take a few moments to relax. 
    • Then do it again until you feel better, which should be soon. 
    • Before the seven breaths are completed, many aches will be eased. 
    • You may get faster improvements if you put your palm over the hurting area. 
    • Send a prana current down your arm and into the sore area. 





    • Breathe regularly when lying down or sitting upright, and direct circulation to any portion of your body that may be suffering from poor circulation using exhalations. 
    • This is useful in situations of chilly feet or headaches, since blood is directed downward in both circumstances, warming the feet in the first instance and easing pressure on the brain in the second. 
    • If you have a headache, start with the Pain Inhibiting and then send the blood downhill. 
    • As the circulation flows downhill, you will notice a warm sensation in your legs. 
    • The will is mostly in charge of circulation, and regular breathing makes the job simpler. 





    • Breathe regularly and urge that a good supply of prana be inhaled while lying down in a relaxed position. 
    • Send the prana to the afflicted region with the breath in order to stimulate it. 
    • Exhale every now and again with the mental demand that the unhealthy state be driven out and gone. 
    • In this exercise, pass your hands down your body from your head to the problem area. 
    • Hold the mental picture of prana flowing down the arm and via the finger tips into the body, reaching the injured portion and mending it whenever you use your hands to cure yourself or others. 
    • Of course, I can only offer broad guidance in this article without going into depth about the many types of sickness, but a little practice of the preceding exercise, slightly modified to match the circumstances, can provide excellent benefits. 
    • Some Yogis practice the technique of placing both hands on the affected part and breathing rhythmically while visualizing themselves pumping prana into the diseased organ or part, stimulating it and driving out diseased conditions, much like pumping dirty water out of a bucket and filling it with fresh water. 
    • If the mental picture of the pump is clearly retained, with the inhale indicating the raising of the pump handle and the exhale indicating real pumping, this final approach is quite successful. 





    I are unable to discuss the psychological healing of sickness by prana in depth in this article since it is irrelevant to its objective. However, I can and will provide you with easy, straightforward guidelines that will allow you to accomplish a great deal of good in the lives of others. 


    The essential point to remember is that you may absorb a significant quantity of prana and also transmit it into the body of another person, boosting weakening areas and organs and imparting health and driving away unhealthy conditions by using rhythmic breathing and regulated mind. 


    • To feel the inflow of prana and the power going down your arms and out of your finger tips into the body of the patient, you must first learn to construct such a vivid mental picture of the desired situation. 
    • Breathe regularly for a few minutes until the rhythm is well established, then lay your hands on the patient's afflicted portion of the body, allowing them to rest gently over the portion. 
    • Then, using the "pumping" technique mentioned in the last exercise (Self-Healing), fill the patient with prana until the sick state is gone. 
    • Raise your hands and "flick" your fingers every now and then, as if you were trying to get rid of the sickness. 
    • It's a good idea to do this on occasion and to wash your hands afterward, since you could pick up a trace of the patient's unhealthy state. 
    • After the treatment, repeat the Cleansing Breath many times. 
    • Allow the prana to flood into the patient in a constant stream throughout the therapy, allowing yourself to be nothing more than the pumping apparatus that connects the patient to the global source of prana and allows it to flow freely through you. 
    • You don't need to move your hands hard, just enough to allow the prana to flow freely to the damaged areas. 
    • Rhythmic breathing must be repeated often during the therapy to maintain the rhythm and allow the prana to flow freely. 
    • It is preferable to put the hands on bare skin, but if this is not feasible or desirable, put them over clothes. 
    • During the therapy, vary the aforementioned procedure by caressing the body gently and softly with the finger tips, keeping the fingers slightly parted. 
    • This is really relaxing for the patient. In long-standing situations, giving the mental command in words, such as "get out, get out," or "be strong, be strong," as the case may be, might help you exercise the will more forcefully and to the point. 


    Use your own judgment and inventiveness to adapt these instructions to the demands of the situation. I’ve given you the broad ideas, which you may put to use in a variety of ways. 


    • If properly studied and executed, the following seemingly simple instruction will allow one to do all that the top "magnetic healers" can, despite the fact that their "systems" are more or less clunky and sophisticated. 
    • They are misusing prana and mislabeling it as "magnetism." 
    • They might treble their efficiency if they combined rhythmic breathing with their "magnetic" therapy





    Prana colored by the sender's thinking may be projected to others who are willing to accept it at a distance, and therapeutic work may be done in this manner. 

    This is the key of "absent healing," which has received a lot of attention in recent years in the Western world. 

    The healer's thought sends out and colors the sender's prana, which then flashes across space and lodges in the patient's mental system. 

    It is invisible, and like Marconi waves, it goes past barriers on its way to the individual who is tuned in to hear it. To treat people at a distance, you must first create a mental picture of them and then feel yourself in rapport with them. 


    This is a psychic technique that relies on the healer's mental pictures. 

    When rapport is developed, it manifests as a feeling of closeness. 

    That's basically all I have to say about it. It can be learned with a little practice, and some people will succeed on their first try. 


    • "I am giving you a source of vital energy or strength, which will revitalize you and cure you," say mentally to the distant patient after rapport has been established. 
    • Then imagine the prana leaving your consciousness with each rhythmic breath exhale, traveling across space in one moment, and reaching and curing the sufferer. 
    • It is not required to schedule treatments at certain times, but you may do so if you choose. 
    • As he anticipates and opens himself up to your psychic power, the patient's receptive state attunes him to accept your vibrations anytime you send them. 
    • Allow him to put himself in a calm and receptive state if you agree on hours. 
    • The major underlying premise of the Western world's "absent treatment" is as follows. With a little effort, you can accomplish these things as well as the most well-known healers.





    Thoughts may be projected via the final technique (Distant Healing), and others will experience the effects of the thoughts sent out, with the caveat that no bad idea can ever harm someone whose thoughts are good. 


    • Good thoughts are always positive in comparison to bad ones, and terrible ideas are always negative in comparison to good ones. 
    • However, by sending thought waves to another in this manner and charging the prana with the message he desires to express, one might pique another's curiosity and attention. 
    • If you want another's affection and compassion and have feelings for him, you may give him such thoughts with impact, as long as your motivations are clean. 
    • Never, however, try to influence someone to his detriment, or from impure or selfish motivations, since such ideas will only resurface and damage the sender, while the innocent person will be unaffected. 
    • When utilized properly, psychic power is OK; but, be wary of "black magic" or inappropriate and unholy applications of it, since such efforts are like to playing with a dynamo, and the person trying such things will very certainly be punished by the act itself. 
    • However, no one with impure objectives ever achieves a high level of psychic strength, and a pure heart and intellect are impenetrable to incorrect psychic strength. 


    • Nothing can harm you if you keep yourself pure. 





    If you are ever in the company of people of a low mental order and feel depressed by their thoughts, breathe rhythmically a few times to generate additional prana, and then surround yourself with an egg-shaped thought aura using the mental image method to protect yourself from the gross thought and disturbing influences of others. 





    If you feel that your vital energy is running short and you need to replenish it fast, the ideal option is to put your feet together (side by side, of course) and lock the fingers of both hands in whichever manner seems most comfortable. 

    This effectively shuts the circuit and stops prana from escaping via the extremities. After that, breathe rhythmically a few times to experience the recharging effect. 





    • You may help a buddy who is lacking in energy by sitting in front of him with your toes touching his and his hands in yours. 
    • Then both of you breathe regularly, with you establishing the mental picture of giving prana into his system and him keeping the mental picture of receiving it. 
    • People with little vitality or a passive will should be cautious about who they perform this experiment on, since the prana of someone with wicked ambitions will be colored by that person's thoughts, giving him a brief advantage over the weaker person. 
    • However, by closing the circuit (as previously described) and taking a few rhythmic breaths, ending with the Cleansing Breath, the latter may easily erase such effects. 





    By breathing regularly and holding the glass of water by the bottom with the left hand, then collecting the fingers of the right hand and gently shaking them over the water, as though shaking droplets of water off of your finger tips into the glass, water may be charged with prana. 


    • It is also necessary to hold the mental picture of the prana being transmitted into the water. 
    • Water that has been charged in this way is proven to be stimulating to weak or unwell people, especially when a healing thought is associated with the mental picture of the prana transfer. 
    • The same warning that was offered in the last exercise applies to this one, however the risk is somewhat diminished. 





    Not only can the mind be directed by the will to govern the body, but the controlling will may also be used to train and nurture the mind itself. 


    This, which the Western world refers to as "Mental Science," etc., has proven to the Western world elements of the Yogi's long-held truth. 

    • The simple calm demand of the Will works wonders in this regard, but the impact is substantially enhanced when the mental exercise is combined with rhythmic breathing. 
    • Holding the right mental picture of what is sought during rhythmic breathing might help you develop desirable attributes. 
    • This method may be used to gain desirable attributes such as poise and self-control, as well as greater power. 
    • By nurturing the opposing attributes, undesirable attributes may be eradicated. 


    The Yogi Rhythmic Breath may be utilized with any or all of the "Mental Science" exercises, "treatments," and "affirmations." 


    The activity that follows is an excellent general one for acquiring and developing excellent mental abilities. 

    1. Lie down in a passive position or sit up straight. 
    2. Imagine yourself as possessing the traits you want to grow, and demand that your mind nurture them.
    3. Breathe in a steady pace while maintaining the mental image. 
    4. Carry the mental image with you as much as possible, and make every effort to live up to the ideal you've created. 
    5. You'll see that you're steadily approaching your goal. 

    The Yogi Rhythmic Breathing supports the mind in developing new combinations, and the Western student will find the Yogi Rhythmic Breathing a valuable ally in his "Mental Science" efforts. 





    Physical characteristics may be gained using the same techniques as those used to obtain mental characteristics. Of course, I don't imply that small men can be grown tall, or that severed limbs can be restored, or that other miracles can be performed. 

    However, the expression of the countenance may be altered, and bravery and overall physical attributes may be enhanced by Will control and rhythmic breathing. 

    • As a man thinks, he looks, acts, walks, sits, and so on. 
    • Better thinking will result in improved appearance and behavior. 


    To grow any area of the body, focus your attention on it while breathing regularly and visualizing an increased quantity of prana, or nerve power, being sent to the area, enhancing its vitality and development. 

    This approach may be used to any portion of the body that needs to be developed. In their workouts, many Western athletes employ a variation of this strategy. 

    • Students who have followed our directions up this far will have no trouble applying Yogi ideas to the above activity. 
    • The main guideline for this exercise is the same as it was for the last one (Acquiring Mental Qualities). 





    Fear, Worry, Anxiety, Hate, Anger, Jealousy, Envy, Melancholy, Excitement, Grief, and other negative emotions are susceptible to Will control, and rhythmic breathing performed when the pupil is "willing" allows the Will to work more smoothly in such instances. 


    • The Yogi pupils have found the following practice to be the most beneficial, albeit the experienced Yogi has little need for it since he has long ago grown spiritually above these unpleasant mental traits.
    • The Yogi student, on the other hand, finds the activity to be quite beneficial to him as he develops. Breathe rhythmically while focusing your concentration on the Solar Plexus and mentally commanding it to "Get Out." 
    • Send the mental order firmly just as you start to exhale, and visualize the unwanted feelings being transported away by the expelled air. 
    • Rep seven times more, ending with the Cleansing Breath, and see how you feel. 
    • The mental order must be issued "in earnest," since anything less than that will not suffice.





    The Yogis are well knowledgeable on how to utilize and misuse the reproductive principle in both men and women. 

    Some clues of this esoteric information have leaked out and been utilized by Western authors on the topic, and this has resulted in a great deal of good. 


    I can only touch on the issue here, so I’ll present a practical breathing practice that will help the learner to transform reproductive energy into vitality for the whole system, rather than waste it in lusty indulgences in or out of married relationships. 


    • The reproductive energy is creative energy, and it may be absorbed by the system and transformed into strength and vigor, serving the aim of regeneration rather than creation. 
    • If young men in the Western world grasped these core concepts, they would spare themselves a lot of pain and anguish in the long run, and they would be cognitively, morally, and physically stronger.
    • Those who practice this conversion of reproductive energy get a lot of energy. 
    • They will be filled with a tremendous amount of life power, which will radiate from them and appear as "personal magnetism." 
    • The energy that has been transmuted may now be channeled into new channels and put to good use. 
    • As its mission is to produce, nature has concentrated one of its most potent expressions of prana into reproductive energy. 
    • The most important vitality is concentrated in the tiniest of spaces. The reproductive organism is the most powerful store battery in animal existence, and its force may be sucked upward and employed, as well as used in normal reproductive tasks or squandered in chaotic desire.


    I can just mention the aforementioned facts without trying to prove them since the bulk of our pupils are familiar with regeneration ideas. 


    • It's a basic Yogi activity for transforming reproductive energy. 
    • It is simple to do and is combined with rhythmic breathing. 
    • It may be done at any time, but it is most beneficial when one feels the impulse the strongest, since this is when the reproductive energy manifests and is most readily transmuted for restorative reasons. 


    The following is the exercise: 


    1. Keep your attention focused on the concept of Energy rather than on regular sexual ideas or fantasies. If these ideas enter your head, don't be dismayed; instead, see them as expressions of a power that you want to use to improve your body and mind. 
    2. Fix your thoughts on pulling the reproductive energy upward to the Solar Plexus, where it will be transmuted and stored as a reserve source of vital energy, whether you're lying down or sitting up. 
    3. Then breathe rhythmically, seeing the reproductive energy being drawn up with each inhale. 
    4. Make a command of the Will that the energy be pulled upward from the reproductive organization to the Solar Plexus with each breath. 
    5. You will be aware of the upward flow of the energy and experience its energizing influence if the rhythm is properly established and the mental picture is clear. 
    6. By providing the mental command and keeping the mental picture of the transmission to the brain, you may pull mental force up to the brain instead of the Solar Plexus, resulting in an increase in mental power. 
    7. Following the aforementioned practice, drawing up the energy with the breath and sending it out with the expiration, the man or woman undertaking mental creative work, or physically creative labor, will be able to utilize this creative energy in their job. 
    8. Only the bits of the work that are required will be passed into the job being done in this final kind of exercise, with the remainder being stored in the Solar Plexus.
    9. You'll notice that it's not the reproductive fluids that are brought up and employed, but rather the etheric pranic energy that animates the latter, the reproductive organism's "soul." 
    10. During the transmuting exercise, it is common to allow the head to tilt forward freely and organically. 





    The Yogis have found the following practice to be very effective in boosting brain activity in order to produce clear thinking and reasoning. 


    It has a fantastic impact on cleansing the brain and neurological system, and individuals who work with their minds will find it particularly beneficial, both in terms of helping them to perform better work and as a method of rejuvenating and cleaning the mind after long periods of mental labor. 


    1. Sit in an upright position with your spine straight and your eyes well to the front, your hands resting on the top portion of your thighs. 
    2. Breathe regularly, but instead of inhaling through both nostrils as in normal workouts, seal the left nostril with your thumb and inhale through the right. 
    3. Remove your thumb and shut your right nostril with your finger before exhaling through your left nose. Inhale through the left nostril without moving your fingers, then exhale through the right nostril without moving your fingers. 
    4. Then, alternating nostrils as above, inhale through right and exhale through left, and so on, shutting the unused nostril with the thumb or fingers. 


    This is one of the most ancient kinds of Yogi breathing, and it is quite significant and helpful, and it is well worth learning. 

    However, Yogis find it humorous because this practice is often promoted as the "Whole Secret" of Yogi Breathing in the Western world. 

    "Yogi Breathing" conjures up images of a Hindu sitting upright, alternating nostrils in the process of breathing in the imaginations of many Western readers. "It's just this and nothing else." 






    The Yogis have a favorite kind of psychic breathing that they practice on occasion, and it has been given a Sanskrit name that is roughly identical to the above. 

    I’ve put it last since it demands work on the student's part in the areas of rhythmic breathing and mental visualization, which he's already mastered via the previous exercises. 

    "Blessed is the Yogi who can breathe through his bones," says an ancient Hindu proverb, sums up the main concepts of the Grand Breath. 

    The pupil will emerge from this practice with every bone, muscle, neuron, cell, tissue, organ, and part electrified and attuned by the prana and the rhythm of the breath. 


    It's a system-wide cleansing, and those who do it correctly will feel as if they've been given a brand-new body, from the top of their heads to the tips of their toes. 


    1. Lie down in a comfortable, relaxed posture. 

    2. Breathe in a rhythmic pattern until the rhythm is perfect. 

    3. Then, as you inhale and exhale, imagine the breath being drawn up through the bones of the legs and then forced out through them; then through the bones of the arms; then through the top of the skull; then through the stomach; then through the reproductive region; then upward and downward along the spinal column; and finally as if the breath were being inhaled. 

    4. Then, utilizing the mental image from the preceding exercises, send the stream of prana to the Seven Vital Centres, one by one, as follows: 

        1. To the temples. 
        2. To the nape of the neck. 
        3. To the very bottom of the brain. 
        4. To the Solar Plexus.
        5. To the Sacramental Area (lower part of the spine). 
        6. To the area around the navel. 
        7. To the area of reproduction. 
        8. Sweep the prana stream from head to feet multiple times to complete the exercise. 

    5. Finally, take a cleansing breath.



    You may also want to read more about Yoga here.

    You may also want to read more about Yoga Asanas and Exercises here.