Yogopanishads – Mandala-brahmana Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Mandala-Brahmanopanishad (maṇḍalabrāhmaṇopaniṣad) - Mandala Brahmana Upanishad belongs to the Shukla Yajur Veda and it has the five Brahmanas. Upanishads, as we are aware, have Aranyakas and Brahmanas. Another way of distinguishing the arrangement of the Upanishad is the Jnana Kanda and Karma Kanda. And this particular Upanishad, Mandala Brahmana Upanishad, belongs to the Shukla Yajur Veda and it has five Brahmanas. We should not confuse. Brahmanas does not mean the Brahmin community. The Brahmanas means pathways to Brahma Tatva. And that is how there are first Brahmana, second Brahmana, third, fourth and fifth. The first Brahmana has thirty-four mantras, the second one has thirty-two mantras, the third Brahmana has eight mantras, the fourth one has six mantras and the last fifth one has nine mantras. So putting together, the entire Mandala Brahmana Upanishad has eighty-nine mantras.

 

The Upanishad is a discussion between Yajnavalkya Maharishi and Lord Surya, Surya Bhagawan. So Yajnavalkya Maharishi goes to Aditya Loka and there he asks questions to Bhagawan Surya and Surya replies. So there is a discussion between Yajnavalkya Maharishi and Aditya the Surya, the Lord. And the Upanishad begins with that, the description of the attainment of the Atman, the essence of entire Yoga practice, the essence and the goal, the final achievement, realization in the entire Yoga practices, Yoga Siddhanta and the Yoga Abhyasa is a sadhaka has to experience, recognize that he is an all-pervading omniscient, omnipotent and omnipresent being, termed as the Paramatman. For that realization the methods used, the techniques applied, the practices enlisted are the various Yoga techniques and Yoga methods and the Upanishad gives, begins with the Yama, the practice of Yama, Chatur-vidha Yamaha it is.

 

The Yama in the Mandala, Brahmana Upanishad contains four Yamas and these four Yamas are very interesting. The first Yama is the conquest of heat, cold, food and sleep. One who conquers gains Jayatvam on Ushna, Sheetaha, Sheetoshna Ahara Nidra and Vijayaha that is the Yama. So the four Yamas as per as in Mandala Brahmana Upanishad is gaining victory over heat, cold, food and sleep. It means one should not complain or get affected by heat. One should not complain and get affected by cold and at the same time one should not complain and get affected by food. Similarly one should not complain and get affected by sleep. Oh! I have slept less. There is no time for me to sleep. I am unable to sleep. Sleeplessness, inability to sleep such complaints coming over such complaints. You gain mastery over the sleep. Similarly food, cold, heat that gaining victory, winning over these four things is the Yama, plus Shantihi, Nishchalaha then Vishayendriya Nigraha. So Vijaya on these four things then having Shantihi maintaining a calm state of the mind peaceful state of the mind is a part of Yama. Nishchalaha - undeterred undisturbed that quality is the Yama. And the last and the fourth one is the Vishayendriya Nigraha One is able to hold himself or herself against the push of the Vishayas and Indriyas the rush and the force, the flow of the Indriyas, the demands of the Indriyas for its Vishayas, for its objects there is a Nigraha there is a control on that. So this is the Yama.

 

Then similarly Niyama has nine Niyamas and the nine Niyamas are:

gurubhaktiḥ satyamārgānuraktiḥ sukhāgatavastvanubhavaśca tadvastvanubhavena। tuṣṭirni:saṅgatā ekāntavāso manonivṛttiḥ phalānabhilāṣo vairāgyabhāvaśca niyamāḥ ।।

 

The nine Niyamas have been given: Guru Bhakti, a devotion, reverence, respect towards the Guru. Then Satya Marga Anurakti - love, like to follow the path of truth, an attachment to the path of truth that is the Satya Marga Anurakti. One should love to follow truth one should like to follow the truth, and one should feel happy in abiding by the truth. Then enjoyment of the real sukhāgatavastvanubhavaśca - enjoyment of the truth, real nature of oneself. Then Tushtihi - Santushtaha. Nishangataha, a sense of detachment. Being happy Ekantavasaha. Then Mano Nivrittihi - lesser and lesser desires. Then the most important dimension is Nishkama to the Karmaphala. The work which we do and the results which come and there is no attachment and having detachment to the Karmaphala. So Nishkama Bhava and a detached attitude towards the Karmaphala performing duty, actions responsibilities delivering the responsibilities and duties as a sense of absolute unselfish way - Kartavyata Dhrishti. Then Vairagyaha. These are the nine Niyamas.

 

Then the Upanishad talks about the Asana practice. Then Pratyahara, Dharana, Dhyana and Samadhi. And while talking about the Asana, the Upanishad prescribes simple rule that stabilize for a long time in a particular position. That is Asana. Stabilizing in a particular position for a long time and transporting the mind to the calm, serene, vastness  - "sukhāsanavṛttiściravāsaścaivamāsananiyamo bhavati॥" Sukham, and mind is in stability without any discomfort for a long time. This is Asana.

 

Then it talks about Pranayama - inhalations and exhalations then holding of the breath. Then specifies inhalation, exhalation and Kumbhaka - Inhalation for 16 matras and exhalation for 32 matras and the Kumbhaka for the 64 matras. A practice where 16 matras of the Puraka, 64 matras of the Kumbhaka, and 32 matras of the Rechaka. Instead of saying 16, 64 and 32 we should find out the ratio in that and then practice the inhalation, exhalation and the Kumbhaka practice. So the inhalation, Kumbhaka and Rechaka is there. Puraka, Kumbhaka, Rechaka. Puraka is 16 matras, Kumbhaka is 64 matras i.e. 4 times of the Puraka, and 32 matras is the Rechaka, twice of the Puraka, 4 times of the Puraka is Kumbhaka and this is how the relationship, the ratio has to be maintained. That is best for the Pranayama practice.

 

Then the Dhyana and then the practice of higher practices are followed. It talks about the Pratyahara. And Deha pancha dosha - the 5 Doshas of the body, the defects of the body or we can say the qualities are to be overcomed - what we should gain mastery in our physical level. It gives 4 things: One is the lust, anger, imbalanced breath, fear and sleep - Kama, Krodha, Prana Samvedana, Bhaya and Nidra. One has to gain mastery over this for the practice of higher dimensions of the yoga practice or yoga practice Yoga Abhyasa involves gaining a mastery over these 4 things. Kama, Krodha and imbalance in the Prana, Bhaya and sleep. In other way Akamaha and Akrodhaha then Samapranayamaha then Abhayaha and a mastery over Nidra. That is how the Mandala Brahmana Upanishad explains the practical dimensions.

 

Then the Upanishad talks about the internal and 2 types of Taraka Yoga. Taraka Yoga means experiencing and feeling or fixing the mind on one single thought or idea or the object internal and external. Antara Lakshya Lakshanam - Internally fixing the mind, on the center of the eyebrows or at the top of the head. Focus the mind there. Fix the mind there. Two methods have been given: Focusing the mind, focusing the entire awareness at the center of the eyebrows or at the top of the head. Then Taraka and the Amanaska. Antarlakshyalakshanam, Bahirlakshalakshanam - Then the internal and the external meditations have been given. External meditation is using any object, any image and using that, utilizing it and meditating on that contemplating on that its qualities, its colors its form, its fame, its name is all external. Then internal is not dependent on outside extremely, completely focused on inside, and for that, center of the eyebrows or the top of the head is given. Its a wonderful practice how the Mandala Brahmana Upanishad explains techniques for meditation.

Then the entire second Brahmana is completely devoted to the Shambhavi Mudra and talking about the Shambhavi Mudra the Mandala Brahmana Upanishad gives a brilliant explanation of the Amavasya, Pratipada and Poornimaha. That means if the eyes are completely closed, it is darkness Amavasya and if the eyes are opened slightly, it is Pratipada, Pratipada generally means the first day after Amavasya or first day after Poornima also in some places it is used like that. First day after Amavasya is the Pratipada eyes are closed, then we are about to open the eyes, just about to open Pratipada it is, that is called as the half closed eyes or little opened eyes. Then Poornima is fully opened eyes. And Shambhavi Mudra is one is cut off from all the external temptations, distractions by keeping the eyes completely closed, Amavasya and completely cut off from all the external things by slightly closing the eyes. Completely cut off, even when the eyes are fully opened like a Poornima. These are the stages of the Shambhavi Mudra and Shambhavi Dhyana, explained in the Mandala Brahmana Upanishad and that is how it gives, and how Omkara has to be practiced by inhaling and exhalation, by the practice of the chanting of the Omkara.

 

śabdakālalayena divārātryatīto bhūtvā sarvaparipūrṇajñānenonmanyavasthāvaśena brahmaikyaṃ bhavati। unmanyā amanaskaṃ bhavati।।

 

It says that the mind becomes mindless, thoughts are reduced to a state of to a level of thoughtless state - Amanaska Stithi. From Taraka level to the Amanaska level, it comes. Then the Upanishad beautifully describes about the five states. The Jagradha avastha, Sapna avastha, Sushupti avastha, Turiya avastha and Turiyatita avastha. And each stage of this, in the Poornima, in the Pratipada, in the Amavasya. These are all just beautiful suggestions and methods and techniques for the levels of dharana and the meditation. The levels, the five levels in the Poornima, five levels in the Pratipada, five levels in the Amavasya. This is how the Mandala Brahmana Upanishad beautifully describes the explanations. The descriptions are only this much.

 

And then the third Brahmana talks about the Taraka Yoga and it uses the word beyond Amanaska, there is Unmani level. That Unmani level is another higher dimension where Nivritti Sankalpa, Pravritti Sankalpa, all Jagratadi pancha avasthaha have gone. Then the mind, consciousness rises from the Pravritti Sankalpa to the Nivritti Sankalpa. Meaning a Sankalpa of Nivritti, oh nothing is there, even that experience of nothingness, even that experience is dropped. That is also dissolved. That is the level of the Amanaska level. And that is what the Tritiya Brahmana talks about the level of it and names it as the Unmani sthiti. In the Hata Pradhipika also we find this word Unmani.

 

Chaturtha Brahmanam, the fourth one, talks about the importance of the Raja Yoga practices. "Vyoma Panchaka Jnanam Tatthalamcha". The five Akashas, it talks about the five Akashas, five levels, five types of Akasha: Akashaha, Parakashaha, Mahakashaha, Suryakashaha, Paramakashaha. Vyoma Panchakam it is called. The five types, five levels or five stages of the Akasha it is. Akasha, Parakasha, Mahakasha, Suryakasha and Paramakashaha. This is the five Akasha Panchakam. Vyoma Panchakam and meditation on this Vyoma Panchakam is a beautiful technique given in the Mandala Brahmana Upanishad. Meditation on these five means what? It means Akashaha, sky. It is not looking at the sky. And it is not even not looking at the sky. It is an experience of vastness within ourselves. This experience of vastness within ourselves by keeping eyes closed or eyes opened is immaterial. Or when you keep our eyes opened and in front of there is a vastness. Say we are standing at the beach and in front of us is a vast expansive ocean is there. Then the Akashaha, Parakashaha, Mahakashaha, Suryakashaha and Paramakashaha. The feeling and the vision and experience nearest to you, little far away, still far away, still far away. Where we have a feeling, a line where the sky touches the ocean. Actually it doesn't touch but we feel it is touching and beyond that is the Paramakashaha. Like that, levels of Vyoma Panchakam is being given.

 

Similarly the last one, the fifth Pancham Brahmanam is the most important one which says that mind is the cause for all bondages and mind is the cause for all freedom and liberation. And that is an important dimension. "Bandha Mokshanat Mana Eva Karanam". Chittam is the important dimension, important material or important constituent of ourselves. Which is responsible for the Bandhaha or for the Layaha or for the Moksha.

 

tadeva cittaṃ nirāśrayaṃ manonmanyavasthāparipakvaṃ layayogyaṃ bhavati।।

tallayaṃ paripūrṇe mayi samabhyaset । manolayakāraṇamahameva॥

 

It is Mana which is responsible for Layaha or for the Bandhaha. So entire world, entire difficulty, all problems. Whether it is material problems or spiritual problems, whether it is internal psychological problems or problems in our relationships, it is the mind which is responsible. The Mandala Brahmana Upanishad beautifully explains this dissolution of the mind is the solution. And that dissoluted mind is the Amanaska sthiti which is the dissolution for all the problems. And that is how the Mandala Brahmana Upanishad explains, gives various techniques in overcoming our all physical, psychological, emotional, intellectual, the bondages, the problems of emotional relationships, the psychological relationships, the inter-human relationships, the inter-human emotional clashes, it is the mind which is responsible. And that is why this unraveling the mind, unraveling the activities of the mind, and finally gaining a mastery over the mind is the level. And ultimately this state of Amanaska sthiti makes one to realize, to establish in that state, where one is one with that one which is common in the entire creation. That is where Mandala Brahmana Upanishad concludes its teaching. Aum Shanti Shanti Shanti:

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मुक्तसंग्ङोऽनहंवादी धृत्युत्साहसमन्वित:।
सिद्ध‌‌यसिद्धयोर्निर्विकार: कर्ता सात्त्विक उच्यते ॥१८.२६॥

Freed from attachment, non-egoistic, endowed with courage and enthusiasm and unperturbed by success or failure, the worker is known as a pure (Sattvika) one. Four outstanding and essential qualities of a worker. - Bhagwad Gita : XVIII-26

Yogopanishads – Yogakundali Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Yoga Kundali Upanishad (yogakuṇḍaly upaniṣad) - This Upanishad belongs to the Krishna Yajurveda, has three chapters And the first chapter contains 87 mantras; the second chapter contains 49 mantras; and the last and the third one contains 35 mantras. In all, this Yoga Kundali Upanishad Has 171 mantras. The Upanishad opens beautifully, the first chapter 'Vayur Jayoh' means the importance of gaining mastery over the pranayama. It begins with that. It beautifully says the cause for the mind to operate, means manas chanchalam, the cause for Chitta Vritti - Why is there a Chitta Vritti? Why is there a thought in the mind? The reason for the thought in the mind. In fact, the reason for the mind itself. The reason for the activity of the mind, the cause for the Chitta Vritti. Beautifully the Upanishad puts it: Hetu Dvayam - There are two hetus, two reasons:

hetudvayaṃ hi cittasya vāsanā ca samīraṇaḥ ।

tayorvinaṣṭa ekasmistadvāvapi vinaśyataḥ ॥

Vasanas - tendencies - what we commonly call it as the 'Samskaras'. The deep rooted 'Vasanas', 'Samskaras', the deep imbibed deeply embedded characters - that is the reason. And second one is the flow of Prana: the inhalation and exhalation. By controlling any of one, the other one is controlled and by that the mind is controlled. You see there is a triangle here: the mind, the breathing, and the vasanas. The activity in the mind is because of the movement of the Prana or because of the Vasanas. So by controlling the Vasanas The breathing comes under control; by controlling the breathing, the Vasanas come under the control; by controlling any one the other two are controlled. How beautifully the practice is given. And for the control of the Prana, the Vayu, is the basic one, because that is the easier one. That is how the Upanishad puts it.

'tayorādau samīrasya jayaṃ kuryānnaraḥ sadā।'

It is easier for a Nara to control the breathing, easily. So the practice is emphasized on that: how to gain mastery, regulate, harness, harmonize, synchronize, and slow down the speed of flow of breathing. The Upanishad gives three things: one is Mitaharaha, Asanam, and Shakti Chalanam. Tritiyakam - three methods have been given. Mitahara - then what does Mitahara mean? The Mitha itself is a measurement, meaning measured eating, eating food, eating food in a measured way. And what is the measured way? It gives beautifully...

"eteṣāṃ lakṣaṇaṃ vakṣye śṛṇu gautama sādaram । susnigdhamadhurāhāraścaturthāṃśavivarjitaḥ ॥

bhujyate śivasaṃprītyai mitāhāraḥ sa ucyate।"

—that is, partaking of nourishing, sweet food, good food, enjoyable food. One fourth of it, and half is left for the Vayu and water, and the food is offered to the God. This is exactly what the Hathapradipika also explains in Mitahara.

Then Asanaha. So Mitahara—like this, food should be eaten. Our regular daily intake of food should be like this. It is not that whenever we eat, we should take like this. The entire intake of the food should be like that, whether it is in a day, as per our requirement and necessity. How much food we should take, this specifies.

Then the Asanam, practice of Asanah. The Upanishad emphasizes and gives, mentions only the Padmasana. "āsanaṃ dvividhaṃ proktaṃ padma vajrāsanaṃ tathā॥." Padmasana and Vajrasana—two Asanas have been mentioned.

ūrvopari ceddhatte ubhe pādatale yathā ।

padmāsanaṃ bhavedetatsarvapāpapraṇāśanam॥

Both feet should be put on the other foot's thigh, meaning right foot on left thigh and left foot on right thigh. It doesn't specify which foot should be on the other thigh. It can be right on the left and left on the right, or left on the right and right on the left. It differs.

Similarly, Vajrasanam: "vāmāṅighramūlakandādho hyanyaṃ tadupari kṣipet। samagrīvaśira:kāyo vajrāsanamitīritam॥" means: place the left heel under the buttock, left buttock, and right heel over it. It gets beautifully described in the Vajrasanam in the Yoga Kundali Upanishad is: The left foot is placed under the navel of the Kanda, and the right heel is placed above that. It is something like crossing the right heel, crossing the right ankle on the left ankle, and sitting on it. The neck should be straight. This is the Vajrasana position explained in the Yoga Kundali Upanishad.

Then the Upanishad talks about the Shakti Chalana practice and it gives a beautiful name, Saraswati Chalanam. An explanation is given: what is Shakti Chalana? The rousing of the Saraswati Shakti in the Saraswati Nadi by inhalations and exhalations and the Kumbhaka practices. Then, various types of practices of Pranayama have been explained in the Yoga Kundali Upanishad. Beautiful it is. It says "Pranayama Bhedaha" varieties of the Pranayamas it talks about "prāṇarodhamathedānīṃ pravakṣyāmi samāsataḥ।", then it gives the names of the various Pranayamas:

sūryojjāyī śītalī ca bhastrī caiva caturthikā।

bhedairava samaṃ kumbho yaḥ syātsahitakumbhakaḥ ।।

Then it says, the Upanishad explains the practice of Surya Kumbhaka, Ujjayi Kumbhaka, Shitali Kumbhaka, and Bhastri Kumbhaka or Bhastrika, all to be practiced with Sahita Kumbhaka. With Sahita Kumbhaka, with holding the breath inside, and that is how Sahita Kumbhaka has two meanings, two interpretations. It can be Sahita Kumbhaka, meaning it can be Antara Kumbhaka or Vahya Kumbhaka: after inhalation, holding the breath, and after exhalation, holding the breath. But holding the breath is Sahita Kumbhaka. And the meaning of Sahita also is important. It is to be useful and proportionate. "Hita" means practicing of Kumbhaka should not be troublesome; it should do good. So, how much should be the holding time of the Kumbhaka? It should do good; it should not do harm. And how much, by doing how much it will do good and be useful, that is a description—very important guidance which is to be known. So Sahita is generally interpreted as along with Kumbhaka or after inhalation. That meaning stands, but the more inner and deeper meaning is the practice of Kumbhaka should be useful and it should do good. There is another explanation also: doing Kumbhaka, practicing Kumbhaka, will do good, Sahita. So, various dimensions are to be taken while we practice the Pranayama.

So the Pranayama is explained: the Surya Kumbhaka. It doesn't say Surya Bheda Pranayama or Surya Anuloma Viloma Pranayama. It talks about Surya Kumbhaka. And Surya Kumbhaka means

dakṣanāḍyā samākṛṣya bahiṣṭhaṃ pavanaṃ śanaiḥ ।

yatheṣṭaṃ pūrayedvāyu recayediḍayā tataḥ ॥

The external air has to be inhaled through the right nostril. The name given is Dakshina, Dakshinanadi. And "yatheṣṭaṃ pūrayedvāyu recayediḍayā tataḥ ॥," through Idaya.

How beautifully the Upanishad, to avoid confusion of nomenclature, uses different names. For the right, it uses Dakshina instead of using the word Pingala. For the left, it uses the name Idaya instead of using Vama. This is only because of enhancing or specifying explicitly, specification, explicit specification it is. And how much the air should be inhaled: one should feel the breath of inhalation at the cranium, Kapalaha it calls it. And inhaling like that, then exhale it through the left nostril. And after exhaling through the left nostril, again inhale through the right nostril. So, inhaling with the right nostril and exhaling with the left nostril, and again inhaling with the right nostril and exhaling with the left nostril, and always the length of the breath is to be felt at the cranium, at the Kapalaha. This is the Surya Kumbhaka practice.

Then the Upanishad explains the Ujjayi Kumbhaka. How Ujjayi should be practiced. Ujjayi should be practiced. How it is to be practiced, beautifully it explains:

mukhaṃ saṃyamya nāḍībhyāmākṛṣya pavanaṃ śanaiḥ ॥

 

yathā lagati kaṇṭhāttu hṛdayāvadhi sasvanam।

pūrvavatkumbhayetprāṇaṃ recayediḍayā tataḥ ॥

 

śīrṣoṃditānalaharaṃ galaśleṣmaharaṃ param ।

sarvarogaharaṃ puṇyaṃ dehānalavivardhanam ॥

 

nāḍījalodaraṃ dhātugatadoṣavināśanam।

With the mouth well under control, slowly drawing the air through both the nostrils. Inhalation with the right nostril and the left nostril. Inhalation with both the nostrils, Ida and the Pingala Nadi: "mukhaṃ saṃyamya nāḍībhyām". Both Purakaha and Rechakaha. And that Purakaha is to be with both nostrils, and Rechakaha is to be with the left nostril. And this is how the Ujjayi Pranayama is explained. Very simple: just drop the neck, inhale with both the nostrils, and exhale only with the left nostril. And this practice gives tremendous benefits. That is how the Upanishad puts it and enhances the resistance power against diseases. And this is how Ujjayi is to be practiced—Ujjayi Pranayama it is.

Then the Upanishad gives the Shitali Kumbhaka. Shitali Kumbhaka is: "śanaistu ghrāṇarandhrābhyāṃ recayedanilaṃ sudhīḥ॥ gulmaplīhādikāndoṣānkṣayaṃ pittaṃ jvaraṃ tṛṣām।" Inhale the air, draw the air, take the air through the tongue, and exhale with both the nostrils. Inhalation through the tongue, exhalation with both nostrils. This is the Shitali Kumbhaka, not Shitali Pranayama. Shitali Kumbhaka. You should always remember, Pranayama is a method to experience the Kumbhaka. Pranayama is the tool for the experience of Kumbhaka. Pranayama is the technique and the method and the tool to achieve the Kumbhaka. So, Shitali Kumbhaka is the Kumbhaka which is achieved by the practice of inhalation and exhalation the way it is explained in Shitali Kumbhaka practice. That is, inhaling through the tongue, and exhaling through both the nostrils. This is the Shitali Kumbhaka.

Then the Bhastrika Kumbhaka is explained beautifully. One has to sit in the Padmasana and exhale the vital air, the prana, through the nostrils and control the effort at the mouth level in such a way that it occupies the sound, the cranium from the throat. You should fill in a little air up, then exhale again and again. Continuous inhalations and exhalations with thoracic activity, Hridaya, at the chest level, and avoiding the movements of the body. Then the air will be moving throughout the whole body, and this wakes up the kundalini. This is how the Yoga Kundali Upanishad explains the Bhastrika Pranayama. So, continuous inhalations and exhalations, sitting in Padmasana, body kept straight and balanced, aligned properly. Properly aligned and balanced sitting posture of the Padmasana, inhalations and exhalations which are very active and feeling it at the Hridaya level. And that is how the Bhastrika Kumbhaka is to be practiced.

Then the Yoga Kundali Upanishad explains the standard Bandhatrayas: the Moola Bandha, Uddiyana Bandha, and the Jalandhara Bandha.

Moola Bandha is explained as all of us are aware. It is a constriction of the anal sphincters where the apana goes out. This is called the Moola Bandha, constriction of the sphincters where apana gets released. That is the Moola Bandha.

Then the practice of Uddiyana Bandha. Uddiyana Bandha is the practice exclusively explained by the Yoga Kundali Upanishad. It is to be practiced in the Paschimottanasana. It specifies which asana it should be practiced. It puts it beautifully:

gulphadeśasamīpe ca kandaṃ tatra prapīḍayet।

paścimaṃ tāṇamudare dhārayedaye gale॥

 

śanaiḥ śanairyadā prāṇastundasandhiṃ nigacchati।

tundadoṣaṃ vinirdheya kartavyaṃ satataṃ śanaiḥ॥

So, one should practice the Uddiyana Bandha in Paschimottanasana. It is very useful, but the Upanishad also specifies and gives that it can be done in the Vajrasana.

tasmāduḍḍīyaṇākhyo'yaṃ yogibhiḥ samudāhṛtaḥ।

sati vajrāsane pādau karābhyāṃ dhārayedaḍham॥

In sitting in Vajrasana, firmly holding with two hands, two feet, means hold the feet in Vajrasana and then practice the Uddiyana Bandha. Then the Paschimottanasana. So, the interpretation and normal understanding of the Ujjana Bandha is the practice of Ujjana Bandha in Vajrasana and the practice of Ujjana Bandha in Paschimottanasana. Two ways, two methods of practicing the Uddiyana Bandha. There is also an understanding saying that the Uddiyana Bandha is to be practiced in Paschimottanasana after holding the ankles with the palms.

Then the Upanishad describes the Jalandhara Bandha, locking the throat by pressing the chin against the chest at the Kanta Kupa, at the throat, and then holding the breath. And the Upanishad also gives it, this when constriction of the throat is made, and the importance of the rise of the energy within moves into the Brahmanadihi. That is how it beautifully explains: "madhye paścimatāṇena syātprāṇo brahmanāḍigaḥ ॥" The Prana rises from the center and moves upwards by the practice of Jalandhara Bandha. It is this, and this is an important dimension.

Then the Upanishad talks about Abhyasaha Kumbhaka Sankhya Niyamaha. The practice of Upanishad, the practice of Kumbhaka, Sankhya is given:

prathame divase kāryaṃ kumbhakānāṃ catuṣṭayam।

pratyekaṃ daśasaṃkhyākaṃ dvitīye pañcabhistathā ॥

 

viṃśatyalaṃ tṛtīye'hni pañcavṛddhyā dinedine ।

kartavyaḥ kumbhako nityaṃ bandhatrayasamanvitaḥ ।।

The Upanishad, the Yoga Kundali Upanishad, specifies the time of holding the breath or the number of times the Kumbhakas are to be practiced. You should remember this very beautifully. The Upanishad gives the practice of the Kumbhakas explained above: that is the Surya Kumbhaka, Shitali Kumbhaka, Bhastrika Kumbhaka are to be practiced with specific timing. The Upanishad specifies these four Kumbhakas - the Shitali, Ujjayi, Bhastrika, and Surya Kumbhaka. In all these four Kumbhakas - Surya Kumbhaka, Ujjayi Kumbhaka, Shitali Kumbhaka, then Bhastrika Kumbhaka - are to be practiced every day.

On the first day, ten times each one: ten times Surya Kumbhaka, ten times Ujjayi Kumbhaka, ten times Shitali Kumbhaka, ten times Bhastrika Kumbhaka.

Next day, the second day, five times should be added, fifteen and fifteen. Third day, five more to be added, twenty, like that every day progressively add five rounds each one. It's a very important practice. All the four are to be practiced, and each one, the number of rounds has to be enhanced five times.

What an amount of practice the Yoga Kundali Upanishad specified instructs a person in the practice of Pranayama or in the Kumbhaka. Many people interpret it that it is not all the four are to be practiced five times, five rounds of addition every day. Each practice alone five rounds is sufficient. But Upanishad is very clear. It mentions very clearly that it is to be all the four. All the four are to be "pūrvoktena krameṇaiva samyagāsanamāsthitaḥ।" - Kramenaiva, in the serial order it is. So, that is how the Yoga Kundali Upanishad specifies the number of rounds of these four Kumbhakas are to be practiced - the Shitali, Ujjayi, Bhastrika, and the Surya Kumbhaka.

Then the Upanishad explains the various dimensions of the Keshari Mudra. The entire second chapter is full of Keshari Mudra. The 49 mantras talk only about the Keshari practice. The entire second chapter of the Yoga Kundali Upanishad is completely dedicated to the Keshari practice, explained in detail with full explanations. There is no other yoga text or yoga Shastra which gives a complete, in-detail explanation of the Keshari Vidya as given in the second chapter of the Yoga Kundali Upanishad, with 49 mantras. It's a beauty to go to and study the entire practice given in the second chapter of the Yoga Kundali Upanishad.

Then the third chapter is called as the Melana Mantra. Very beautifully the Upanishad explains Melana Mantra, how do we conjoin, how do we incorporate the practices, the difference in seeing. How do we see, when we are seeing, when we are perceiving. This is Melana Mantra, it is called. Beautifully the Upanishad says Amavasya, Pournami and Pratipada, the first one after the Amavasya. It says that closing the eyes is Amavasya, darkness. Closing the eyes a little bit, about to close or about to open. This is Pratipada, first one.

Generally Pratipada is understood as the first day after Amavasya. But that first day means a little opening. So that little opening after Amavasya and little opening left off before the Amavasya. That is the, the Upanishad beautifully describes that one. That is the Pratipada is the eyes, half closed eyes. Or just about to close or just about to open. That is the Pratipada it is. Purnami is the eyes fully opened. And this Amavasya, Pratipada and Pournami has also been given, explained imaginary, symbolically by the Upanishad: Amavasyaha - eyes are shut. Means the entire person, the human nature, entire human character is shut off. From the external world, it is cut off. And the Pratipada is slightly open, just slightly open. And slightly open to see or just about to close. Only little bit open, about to be closed. This is the Pratipada, to the world. And the Pournami is the eyes are fully opened and the person is completely aware of the external. This also the Upanishad explains. The Purnami or the Jagrata Avasthaha, Pratipada or the Swapna Avasthaha and Amavasya is the Sushupti Avasthaha it is. That is how the Upanishad brilliantly gives a nice imagery for the meditation.

It explains at the end of the closing of the Upanishad it gives it, it is like the light covered with the pot with holes. A pot with holes. The light placed inside a pot with holes. We can just imagine a lamp is there, a burning lamp. And that burning lamp is covered with the pot having holes. From every hole of the pot the light is illuminated. The light comes out. Every ray, every light which is coming out of the hole of the pot seems to be different. As we see different lights are coming from the holes of the pot. But all the source of these different lights seemingly coming out of the different holes of the pot, the source is one and the same. The Upanishad gives beautifully. The entire body and its activities are like the one, only the illuminating Atman within. Once the pot is broken or removed, the light remains as it is. And once the light is removed, the pot is there without light. A beautiful explanation and imagery is given. And for the light to manifest itself, the pot has to be broken. This is another important dimension of the Yoga Kundali Upanishad. How the importance of the body and the Atman within inside. That is why the Upanishad explains Jeevan Mukthi and Videha Mukthi. It gives it beautifully. What is Jeevan Mukthi and what is Videha Mukthi?

dhyāyannāste muniścaivamāsupterāmṛtestu yaḥ।

jīvanmuktaḥ sa vijñeyaḥ sa dhanyaḥ kṛtakṛtyavān॥

It is Jeevan Mukthi. And Videha Mukthi:

jīvanmuktapadaṃ tyaktvā svadehe kālasātkṛte।

viśatyadehamuktatvaṃ pavano'spandatāmiva॥

And that is how the importance of Jeevan Mukthi and Videha Mukthi has been described at the end of the Yoga Kundali Upanishad belonging to the Krishna Yajurveda, having three chapters and 171 brilliant masterly mantras explaining the various types of Pranayamas, Kumbhakas, Mithaharaha, Bandhas. The Upanishad also talks about the importance of practicing the Pratyahara and also the various dimensions. Let us conclude here. Aum Shanti Shanti Shanti:

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कथा : विवेकानन्द केन्द्र { Katha : Vivekananda Kendra }

Katha Blog : http://katha.vkendra.org

Katha Google Group : https://groups.google.com/forum/?hl=en#!forum/daily-katha

Vivekananda Rock Memorial & Vivekananda Kendra : http://www.vivekanandakendra.org
Read n Get Articles, Magazines, Books @ http://prakashan.vivekanandakendra.org

Let's work on "Swamiji's Vision - Eknathji's Mission"

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मुक्तसंग्ङोऽनहंवादी धृत्युत्साहसमन्वित:।
सिद्ध‌‌यसिद्धयोर्निर्विकार: कर्ता सात्त्विक उच्यते ॥१८.२६॥

Freed from attachment, non-egoistic, endowed with courage and enthusiasm and unperturbed by success or failure, the worker is known as a pure (Sattvika) one. Four outstanding and essential qualities of a worker. - Bhagwad Gita : XVIII-26

Yogopanishads – Yogachudamani Upanishad

Transcription of the lecture given by Mananeeya Sri Hanumantaraoji, All India Vice President of VRM & VK

Yoga Chudamani Upanishad (yogacūḍāmaṇyupaniṣad). Chudamani is the crest jewel, the best, the most important, the essential. So this Upanishad, Yoga Chudamani Upanishad, explains, describes the most essential practices of the Yoga. The Upanishad begins with the Yoga Anga Shatkam, the six Angas of the Yoga:

āsanaṃ prāṇasaṃrodhaḥ pratyāhāraśca dhāraṇā।

dhyānaṃ samādhiretāni yogāṅgāni bhavanti ṣaṭ॥

That is the Upanishad mantra: Asana, Pranayama, Pratyahara, Dharana, Dhyana, and Samadhi. A slight deviation from the Patanjali Yoga Sutras, Ashtanga Yoga. The Yamaniyamas are not included in this.

So the Shadangas of the Yoga Chudamani Upanishad are these six. And Yoga Chudamani Upanishad belongs to the Samaveda. And there are 121 mantras. And in these Shadangas, beginning with the Asana, two Asanas have been mentioned for the practice of the other five Angas or other important Angas. They are:

ekaṃ siddhāsanaṃ proktaṃ dvitīyaṃ kamalāsanam ।

ṣaṭcakraṃ ṣoḍaśādhāraṃ trilakṣyaṃ vyomapañcakam ॥

Siddhasana and Kamalasana, a beautiful name in epithet for the Padmasana. Padmasana name is well known. But Yoga Chudamani Upanishad mentions the same as the Kamalasana. Then the Upanishad describes that "Yoga Siddhaye Avasyakam Deha Tatva Jnanam". For the best benefits, for the highest benefits, and for the establishment in the Yoga, one must know Deha Tatva Jnanam, knowledge about the body. Body knowledge is essential for the Yoga Siddhi.

Then Upanishad explains the constituents of the body. And in that constituents, it increases, emphasizes the Shat Chakras. And it talks about the Muladhara Chakrani. And each Chakra, it explains. Just for example, Muladhara Chakra:

caturdalaṃ syādādhāraṃ svādhiṣṭhānaṃ ca ṣaḍdalam।।

nābhau daśadalaṃ padmaṃ hṛdaye dvādaśārakam।

ṣoḍaśāraṃ viśuddhākhyaṃ bhrūmadhye dvidalaṃ tathā।।

sahastradalasaṃkhyātaṃ brahmarandhre mahāpathi।

The way the Upanishad explains the importance of the knowledge of the body and gives us the various existence, constituents of our body. The Shat Chakras are actually present in the body. And it explains in an imagery, a symbolic manner that the Muladhara has four petals, Swadhishthana has six petals, the navel region has ten petals, the heart has twelve petals, the Vishuddhi has sixteen petals, and the center of the eyebrows, Agnya Chakra, has two petals. And the last one, the Brahma Chakra, has one thousand petals. This recognizing, presenting a lotus with various petals and different colors is a part of many of the other Upanishads and Yoga texts. It doesn't mean actually there are lotuses in the body and there are actually petals in the body. It signifies a symbolic of some physical part in the body as looked by the Yoga masters who considered the human body as the best tool, as a vehicle to attain the important dimensions of the Yoga.

And that is how the Upanishad goes further into the Nadi Maha Chakram. It explains it. The Nadi Sthanas, the various Nadis and their places and the flow of the Prana in these Nadis. The effects of the flow of Prana in these Nadis. Even the Upanishad gives various names: Ida, Pingala, Sushumna, Gandhari, Hastajuha, Yashaswini, Pusa, Alambusa, Kuhu, Shankhini. Such names have been given. And when the Prana flows in these Nadis, what are the effects? What are the activities it controls and manifests? In these Nadis, the entire body is under the influence of the flow of the Prana. And the flow of the Prana with various speeds, various intensities, various volumes, the change of speed, volume, and intensity in different Nadis at different times affects psychophysiological activities.

Then the Upanishad explains beautifully the Pancha Pranas: Prana, Apana, Udana, Samana, and Vyana. And then it explains the Pancha Upapranas: Naga, Kurma, Krikara, Dhananjaya, and the Devadatta. These various combinations with various directions of flows. That is how the entire human body, the psychophysiological constituent of the body, the emotions, Manah, Buddhi, Ahankara, Chittaha, Raga, Dveshas (likes and dislikes), the physical activities, the Pancha Gnanendriyas, the Pancha Karmendriyas, and all the activities are all monitored, in fact, directed and fueled by the flow of Prana in these various Nadis and the Chakras. And the Upanishad emphasizes there is a need to understand, so that there can be a balance and alignment brought in for the practices of Pratyahara, Dharana, and Dhyana. That is the importance of the Pranayama. Then Upanishad talks about the important dimension of the Ajapa Gayatri Anusandhanam.

etatsaṃkhyānvitaṃ maṃtraṃ jīvo japati sarvadā॥

 

ajapā nāma gāyatrī yogināṃ mokṣadā sadā।

asyāḥ saṃkalpamātreṇa sarvapāpaiḥ pramucyate ॥

 

anayā sadṛśī vidyā anayā sadṛśo japaḥ।

anayā sadṛśaṃ jñānaṃ na bhūtaṃ na bhaviṣyati ॥

 

kuṇḍalinyā samudbhūtā gāyatrī prāṇadhāriṇī।

prāṇavidyā mahāvidyā yastāṃ vetti sa vedavit।।

Ajapa Gayatri Anusandhanam is the continuous awareness of the Omkara while the flow of the Prana. This flow of the Prana harmonizing with the chanting and the sound of Pranava is an important dimension of the Ajapa Gayatri practice. That is how the Upanishad explains beautiful mantras on the dimensions. Then the Yoga Chudamani Upanishad also talks about the Bandhatrayam i.e. Bandhatraya, and the well-known Kechari, Vajroli, Mahamudra. Then also the Jalandhara Bandha, Udhyana Bandha, and the Mulabandha. Then this Bandhatraya plus these three Mudras: Mulabandha, Udhyana Bandha, and the Jalandhara Bandha. Combinations of Kechari, Vajroli, and the Mahamudra.

Then the practice of the Pranayama. Then the practice of the Omkara. Aligning all these practices leads to the Yoga Siddhi. This is how the Upanishad goes into raptures in explaining the practices of the Khechari Mudra. How the Khechari should be practiced? What is its effect? How Vajroli should be practiced? What is its effect? And what are the timings it has to be practiced? Then the practice of the Mahamudra it talks. Then the most important is the Pranava Japa.

padmāsanaṃ samāruhya samakāyaśirodharaḥ।

nāsāgradṛṣṭirekānte japedoṃkāramavyayam॥

The Upanishad talks about how Omkara Japa, Pranava Japa, should be practiced. It says one should sit in Padmasanam and align the body Samaha with samakāyaśirodharaḥ. The body has to be aligned with an erect spine and the neck. And then Padma in Padmasanam. Then nāsāgradṛṣṭi. The Drishti should be at the tip of the nose. Then the japedoṃkāramavyayam. Then the Omkara Japa has to be practiced. A very beautiful essential mantra. A practical instruction on how to practice the Omkara Mantra and the Pranava Mantra it is. Then the Pranava Mantra Pratekam Arthaha:

akāro jāgrati netre vartate sarvajantuṣu। ukāraḥ kaṇṭhataḥ svapne makāro hyadi suptitaḥ।।

The Akara, Ukara, Makara. And the rising from the mouth level, Hridaya, the chest level, and the abdominal level. This is how the Upanishad beautifully explains Akara, Ukara, and Makara. And this experience, again, the Upanishad explains beautifully. The Akara is the Jagratavastaha; Ukaraha is the Swapna Avastaha; And the Makara is the Sushupti Avastaha. And the practice and the chanting and the awareness of the chanting is to be like a "tailadhārāmivācchinnaṃ dīrghaghaṇṭāninādavat." That means it should be practiced unbroken, continuous, like the flow of the oil, and "dīrghaghaṇṭāninādavat," the long sound, reverberating sound of a bell.

bhūrbhuvaḥ svarime lokāḥ somasūryāgnidevatāḥ ।

yasya mātrāsu tiṣṭhanti tatparaṃ jyotiromiti ॥

The Upanishad also explains how Akara, Ukara, Makara are connected with the Gayatri Mantra:

oṃ bhūrbhuvaḥ svaḥ tatsaviturvareṇyaṃ

bhargo devasya dhīmahi dhiyo yo naḥ pracodayāt ||

The Upanishad links the both Bhur Bhuvah Saramthi Lokaaha: Bhulokaaha Sahalokaaha And Bhur Lokaaha And Akara, Ukara, Makara, How they are connected to that. Then the Upanishad also talks about the Pranayama Lakshanam. Then The importance of the Pranayama How it is to be practiced:

baddhapadmāsano yogī prāṇaṃ candreṇa pūrayet।

thārayedvā yathāśaktyā bhūyaḥ sūryeṇa recayet।।

Nadi Shuddhi - Nadi Shuddhi Pranayama. This description of Nadi Shuddhi Pranayama how Nadi Shuddhi Pranayama should be practiced. Yoga Chudamani Upanishad Emphasizes and instructs the Yoga Sadhaka that the Sadhaka should sit in Padmasana "baddhapadmāsano yogī prāṇaṃ candreṇa pūrayet।". You begin the Nadi Shuddhi Pranayama while inhaling through the left nostril and exhale with the right nostril - "amṛtodadhisaṃkāśaṃ gokṣīradhavalopamam।". Then that inhalation through the left nostril And exhalation through the right nostril. Again inhale through the right nostril and exhale with the left nostril.

prāṇaṃ cediḍayā pibenniyamitaṃ bhūyo'nyathā recayetpītvā piṅgalayā samīraṇamatho baddhavā tyajedvāmayā।

Inhale through the left nostril, exhale through the right nostril. Again, inhale through the right nostril and exhale through the left nostril. This is the Nadi Shuddhi Pranayama, Nadi Shodhanam. And while explaining this, it doesn't specify any specific timing or length of it. It says that "Yatha Shaktihi," as much as possible. So, it depends on the sadhaka's ability and capability of how much time they can inhale and exhale, the length and speed of exhalation and inhalation. Exhalation is left to the individual practitioner but emphasizes that it should be slower and slower, without giving any specific timing and matraha.

But further, the Upanishad explains if a timing has to be followed, what should be the timing to be followed. It explains that, though it leaves it to the "Yatha Shakti," that "Yatha Shaktihi" also is specified.:

recakaḥ pūrakaścaiva kumbhakaḥ praṇavātmakaḥ।

prāṇāyāmo bhavedevaṃ mātrādvādaśasaṃyutaḥ॥

 

mātrādvādaśasaṃyuktau divākaraniśākarau।

doṣajālamabadhrantau jñātavyau yogibhiḥ sadā।।

 

pūrakaṃ dvādaśaṃ kuryātkumbhakaṃ ṣoḍaśaṃ bhavet।

recakaṃ daśa coṃkāraḥ prāṇāyāmaḥ sa ucyate॥

Dvadasamatra inhalation; then shodhashamatra kumbhakam; Dashamatra rechakam. If you have to put it into seconds that is 12 seconds of puraka, 16 seconds of kumbhakam, then 10 seconds of rechakam.

pūrakaṃ dvādaśaṃ kuryātkumbhakaṃ ṣoḍaśaṃ bhavet।

recakaṃ daśa coṃkāraḥ prāṇāyāmaḥ sa ucyate॥

his is also interpreted as a normal chanting of Omkara chanted for 12 times during inhalation. Then hold the breath while chanting Omkara in a normal speed for 16 times of chanting Omkara. Then exhale while chanting the Omkara 10 times. So, the chanting of Omkara, how much time we take, that also is left out to the individual. So, the mantra is interpreted as Matraha but also is interpreted or to be understood while inhalation, chanting of 12 Omkaras or how much time a person takes to chant Omkara in his own way of chanting. That much time for the puraka and 16 times of chanting Omkara, how much time he takes is the kumbhakaha, and rechakaha for the 10 times.

Now, it is not necessarily exactly to follow this 12, 16, and 10, but a ratio can be brought out from this, a convenient ratio, and a sadhaka can practice it suitable to his own or her own way of capacity because Yatha Shakti should not be forgotten. This is how the Yoga Chudamani Upanishad explains the importance of Omkara chanting and combining it with the inhalations and exhalations of the Nadi Shuddhi Pranayama. Then the Upanishad beautifully describes Prana Abhyasaha, the lakshanas, the benefits, or the effects and the results of the Pranayama and the Nadi Shuddhi benefits. Very beautifully, it explains.

 

prāṇāyāmena yuktena sarvarogakṣayo bhavet।

prāṇāyāmaviyuktebhyaḥ sarvarogasamudbhavaḥ॥

 

If pranayama is done properly, all diseases will be eliminated, and if pranayama is done in a wrong way, it generates all diseases. So, a proper, correct practice of pranayama cures diseases, and a wrong practice of pranayama becomes a cause for the generation of diseases. One should be very careful. A beautiful caution was given by the Yoga Chudamani Upanishad in practicing pranayama.

 

yuktaṃyuktaṃ tyajedvāyu yuktaṃyuktaṃ prapūrayet ।

yuktaṃyuktaṃ prabadhnīyādevaṃ siddhimavāpnuyāt ॥

The Upanishad beautifully explains that to be suitable, Yuktam, it is. Depending upon the ability and the capacity of the sadhaka. So though the Upanishad gives the ratio for practice, that ratio also has to be adjusted and maintained as per the capability and ability of the practitioner. That is how important dimension is given.

Then the Upanishad explains, "Pranayama bhyase indriya pratyahara avasyakaha." By the practice of pranayama, one will enhance his ability and mastery over the pratyahara, sense control, ability to reign the speed, pressure, and force of the indriyas. One can reign, control, and gain mastery over one's own speed and force, pressure of the desires. This ability and capacity to postpone the pressure to fulfill the desire, that is an important dimension of the pratyahara.

So the sadangas, that is the asana Kamalasana and the Siddhasana, then the structure of the body, then the nadis, then the nadi shuddhi, then the importance of the pranayama, then the dharana and dhyana, the Omkara Dhyana. That is how the Yoga Chudamani Upanishad, the Samaveda Upanishad, which was having about one hundred and twenty one mantras, concludes, presents beautifully the practical dimension of the yoga practices, which should be extremely useful to all of the practitioners in the field of yoga in enhancing our own ability to raise our own lifestyle and to enhance our practices to a higher level.

A simple, normally confining ourselves to the practice of asanas and pranayama, kriyas, mudras, bandhas, for the sake of exhibitionism, for the sake of fame and name, are to be curtailed, and that is also a part of practicing of the pratyaharaha. And that is how the Yoga Chudamani Upanishad reorients the entire practices of asana, pranayama, and the entire sadangas, and gives a beautiful suggestion, specific suggestions for the practice of the Omkara Dhyana and the Omkara Japa and the Ajapa Gayatri practice. And let us see the other Upanishads, and let us conclude here. Aum Shanti Shanti Shanti.

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कथा : विवेकानन्द केन्द्र { Katha : Vivekananda Kendra }

Katha Blog : http://katha.vkendra.org

Katha Google Group : https://groups.google.com/forum/?hl=en#!forum/daily-katha

Vivekananda Rock Memorial & Vivekananda Kendra : http://www.vivekanandakendra.org
Read n Get Articles, Magazines, Books @ http://prakashan.vivekanandakendra.org

Let's work on "Swamiji's Vision - Eknathji's Mission"

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Follow Vivekananda Kendra on   blog   twitter   g+   facebook   rss   delicious   youtube   Donate Online

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मुक्तसंग्ङोऽनहंवादी धृत्युत्साहसमन्वित:।
सिद्ध‌‌यसिद्धयोर्निर्विकार: कर्ता सात्त्विक उच्यते ॥१८.२६॥

Freed from attachment, non-egoistic, endowed with courage and enthusiasm and unperturbed by success or failure, the worker is known as a pure (Sattvika) one. Four outstanding and essential qualities of a worker. - Bhagwad Gita : XVIII-26