Showing posts with label prana. Show all posts
Showing posts with label prana. Show all posts

Yoga Breath

    The diverse yoga asanas are the most obvious part of the Ashtanga Yoga method (postures). 

    The unseen content, which consists of three basic strategies, is more crucial. 

    • The postures are strung together to form a yoga mala or garland using these approaches. 
    • The body is employed as a mantra in the Vinyasa Yoga method, the postures are beads, and the three essential techniques are the thread that connects the beads to build a garland of yoga postures. 
    • The method is intended to be used as a kind of movement meditation, with the transitions between each position being just as significant as the postures themselves. 

    It is critical for a newbie to understand these three key skills right away. 

    Once you've mastered them, practicing will become nearly second nature. 

    It might be difficult to work without them. 

    Ujjayi pranayama, Mula Bandha, and Uddiyana Bandha are the three methods. 

    We'll start with the first of them. 

    "Victorious breath" or "victorious stretching of the breath" is what Ujjayi pranayama implies. 

    Pranayama is a phrase made up of two words: prana and ayama. 

    Ayama denotes stretching or expanding, while prana may have a variety of meanings. 

    It's commonly translated as "inner breath" or "life force," and it's an aspect of the body's delicate structure. 

    Nadis (energy pathways) and chakras are also parts of the subtle anatomy (energy centers). 

    However, prana is sometimes used to refer to the anatomical or outside breath. 

    In this sense, pranayama refers to the expansion of breath, or the practice of breathing in a quiet, tranquil, and steady manner. 

    Ujjayi pranayama is a method of stretching the breath and so extending the life energy; when the breath is tranquil, the mind is quiet as well. 

    It necessitates a small restriction of the glottis — the upper aperture of the larynx — by sealing it partly with the epiglottis. 

    The epiglottis is a flap on the back of the throat that closes when we drink and opens when we breathe. 

    We lengthen the breath and generate a mild hissing sound by partly shutting the epiglottis, which we listen to throughout the activity. 

    The sound seems to emanate from the middle of the chest rather than the neck. 

    Any humming that accompanies a sound like wind in the trees or waves on the sea should be eliminated, since this would cause pressure on the vocal chords. 

    Listening to your own breath has a number of consequences. 

    It's a pratyahara method first and foremost. 

    Pratyahara, or "withdrawing the senses from the outside world," or, more simply, "going within," is the fifth limb of yoga. 

    Listening to your own breath focuses your attention within and away from external noises. This is a tool for meditation

    Additionally, the sound of our breath may inform us practically everything we need to know about our postural attitude. 

    The breath may seem strained, laborious, short, aggressive, flat, shallow, or quick at times. 

    We begin to correct any negative or unhelpful attitudes by returning it to the ideal of a smooth, pleasant sound. 

    • Sit in a comfortable yet upright posture to perform Ujjayi. 
    • Start making the Ujjayi sound consistently, without pausing between breaths. 
    • Give the sound a consistent quality throughout the whole breath, inhaling and exhaling. 
    • Deepen and lengthen each breath. 
    • Inhale deeply and evenly into the rib cage. 
    • Breathe into the sides, front, back, and lastly the top lobes of the lungs at the same time. 
    • The internal intercostals (the muscles between the ribs) must relax on inhalation, enabling the rib cage to expand freely when we breathe, and the rib cage must have a moderate pulsing action. 

    Our society tends to concentrate only on abdominal breathing, which results in a slouching posture as well as rib cage stiffness. 

    • This is due to a lack of activity in the intercostal muscles, which inhibits the flow of blood and vital energy in the thorax, leading to coronary disease and cardiopulmonary insufficiency. 
    • The rectus abdominis muscle, sometimes known as "the abs," relaxes in this region, giving it a slouching appearance. 
    • Slouching softens the tummy and encourages abdominal breathing. 

    Furthermore, as the rectus abdominis relaxes, the pubic bone drops, causing an anterior (forward) tilt of the pelvis, resulting in a hyperlordotic low back, also known as a sway back. 

    • The origin of the erector spinae3, the main back extensor muscle, is thus lifted. 
    • The erector spinae loses its ability to elevate the chest when it is shortened. 
    • The chest collapses, resulting in a slouching look as well as a stiff, hard rib cage. 
    • This keeps the thoracic organs from being massaged when you're breathing. 
    • The heart and lungs' resistance to sickness is lowered by a lack of massage and activity. 
    • One of the greatest postural abnormalities is the compensatory pattern, which leads to a sway back, an anteriorly tilted pelvis, and a deflated chest. 

    The major reason is favoring abdominal respiration and the resultant abdominal weakness. 

    • We breathe using both the belly and the thorax in yoga. 
    • Active breathing helps to strengthen the intercostals. 
    • The air is actually forced out of the lungs until the respiratory rest volume, or the quantity of air remaining after a thorough exhalation, is all that is left. 
    • The goal is to increase vitality by breathing more deeply. 
    • This is accomplished not by breathing as much as possible, but by entirely exhaling first to make room for the incoming inhalation. 

    There are two major reasons why you would desire to increase your breath volume. 

    To begin with, boosting our inhalation increases the quantity of oxygen we get. 

    Second, we exhale more pollutants by increasing our exhalation. 

    These poisons are divided into numerous groups: 

    • Mental poisons – examples include thoughts of conflict with another person or collective conflict, such as a desire to go to war with another country for whatever cause. 

    Fear, rage, hate, jealousy, attachment to misery, and other emotional poisons • Physical toxins, which are metabolic waste products that aren't eliminated. 

    • Toxic substances found in the environment, such as lead, nicotine, carbon dioxide, sulfur dioxide, and recreational drugs. 

    All of these poisons have a propensity to be kept and preserved in the body's "stale," "dead" places, such as around the joints or in adipose tissue, where there is only a little quantity of oxygen (fat). 

    Chronic illness may develop as a result of the building of these poisons, which causes a literal energetic death of some bodily parts before the whole organism dies. 

    In reality, the accumulation of toxins in particular tissues, as well as the concomitant loss of oxygen, is the leading cause of chronic illness. 

    We begin the initial steps toward restoring the body to its natural state of health by breathing deeply, expelling accumulated poisons, and inhaling oxygen. 

    There are a few more stages that must be completed. 

    The primary objective for practicing Ujjayi pranayama is to calm the mind, not for its physical advantages. 

    Why should the thinking be brought to a halt? 

    Yoga "Yoga is the stilling of the oscillations of the mind," says Sutra I.2. 

    "Only when the mind is still abides the seer in its true nature," says Sutra I.3. 

    A lake may be compared to the mind. 

    The surface of the lake is disturbed and ripples occur when thinking waves (vrtti) arise. 

    When you look into the water, all you see is a distorted version of yourself. 

    We witness this distortion all the time, and it's the reason we don't know who we really are. 

    This causes duhkha (suffering) and ignorance (avidya). 

    We may see who we really are after the thought waves have receded and the surface of the lake of the mind has gone calm for the first time. 

    Because the mind is entirely clear, we may reach identification with the thing to which it is oriented. 

    In yogic literature, the concept of stilling the mind's oscillations is referred to as mind arresting or mind control. 

    However, the phrase "mind control" is deceptive and regrettable. 

    Sages such as Ramana Maharshi harshly attacked it, claiming that to manage the mind, you need a second mind to control the first, and a third mind to govern the second. 

    Separate sections of your mind fighting for power over each other may lead to schizophrenia, in addition to endless regression. 

    It may progress to being a "control freak" in less severe circumstances, which makes for a miserable individual. 

    When ancient yogis understood that thinking (vrtti) and the movement of life energy (prana) occur simultaneously, they discovered a solution to this difficulty. 

    • "Both the mind and the breath are joined together like milk and water, and both of them are equal in their actions," according to the Hatha Yoga Pradipika
    • "Where the breath is, the mind starts its activities, and where the mind begins its activities, the prana begins its activities."  We now understand that the mind and the breath work in tandem. 

    Directly influencing the mind is considered tough, but it is much easier to do so via controlling the breath. 

    The practice of Ujjayi pranayama smooths the passage of prana by extending the breath. 

    • It's critical to just breathe via your nose. 
    • Heat and energy are wasted when we breathe through our mouths. 
    • It will also dehydrate us excessively. 

    If the mouth is kept open, demons will enter, according to Indian mythology. 

    • Demons are said to be envious of the merit that a yogi acquires. 
    • I'll leave it up to you to decide on this point of view. 

    Keep in mind the link between breath and movement: 

    every movement is born from a breath. 

    Instead of moving with and after the breath, the breath should be the one who initiates movement. 

    We shall be affected by the breath like the fall wind picks up leaves if we practice this manner.

    Kiran Atma


    What are the many styles of yoga breathing? 

    Some of the most common kinds of yoga breath to be aware of:

    1. Ujjayi or Ocean's Breath.
    2. Shitali pranayama or chilling breath. 
    3. Sitkari pranayama or hissing breath.
    4. Brahmari or humming breath. 
    5. Bhastrika or bellows breath.
    6. Surya Bhedana or sun breath. 


    What is Three-Part-Breath and how does it work? 

    Three-Part Breath – helps you to breathe fully and totally, and is generally the first breathing method taught to beginning yoga practitioners. The abdomen, diaphragm, and chest are the "three parts." You first totally fill your lungs and chest during Three-Part Breath. 

    Is yoga breathing beneficial to your health? 

    Controlled breathing, such as the one you just did, has been proved to lower stress, improve alertness, and strengthen your immune system. Yogis have utilized breath control, or pranayama, for ages to increase focus and vigor. 

    In yoga, how do you practice breathing? 

    As you walk at a moderate speed, practice taking long, slow, and deep breathes in and out through your nose. As you walk, try to lengthen your inhalations and exhalations. Count your steps with each complete intake and exhalation. For each inhale and exhale, aim for 10 steps or more. 

    What is the definition of complete yogic breathing? 

    As previously indicated, the whole yogic breath entails inhaling into three separate sections of your lungs. It is thus beneficial to practice the three steps separately before putting them together to perform the entire yogic breath. Inhalation and expiration are done via the nose with your mouth closed at all times. 

    What is Hatha yoga breathing and how does it work? 

    Ujjayi breathing, which roughly translates as "victory" breathing, is the kind of breathing that is often performed in most hatha yoga programs. This is not to mean that the breath should be violent in nature, but rather that it should have a consistency, resonance, and depth to it. 

    Is diaphragmatic breathing beneficial to your health? 

    It aids relaxation by reducing the negative effects of the stress hormone cortisol on the body. It brings down your heart rate. It aids in the reduction of blood pressure. It aids in the management of post-traumatic stress disorder symptoms (PTSD). 

    When it comes to yoga breathing, which stage prepares the body for meditation? 

    Yoga's essential component is pranayama, or breath control. Yoga postures and meditation are commonly used in its practice. Pranayama's objective is to enhance the link between your body and mind. According to studies, pranayama might help people relax and be more focused.



    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.

    Hinduism - What Is Vyana In Tradition Indian Physiology?


    One of the five physical "winds" responsible for fundamental physiological activities, together with prana, apana, udana, and samana, according to traditional Indian physiology.

    Unlike the others, which are associated with particular parts of the body, the vyana wind is said to pervade the whole body, keeping everything flowing and intermingled.

    Kiran Atma

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