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| Home > Hatha Yoga Techniques > Mudra
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| | Hatha Yoga Mudra
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 Kumbhaka`s goal is to achieve the prana or breath retention, and the assistance that seals that retention is "Mudra". In short, breathing goes hand in hand with Mudra`s completing a closed circuit for proper induction of Pranayama. Mudra basically refers to the following meaning:
Kind of hand position or gesture.
Muscular contraction or other physical position, which facilitates the retention of prana within the body and focuses awareness on a particular point.
Bandhas are the principle contactions that means `lock` or `binding`. The hatha texts do not provide much information regarding hand positions. Occasional references to hands appear in the descriptions of Mudras of the second sort.
Mudra as locks are given prominent importance in the textual works mentioned.
Uddlyana-bandha
(`flying up lock`)
In this particular lock, entire air in the lungs is exhaled or emptied, and the abdomen is drawn back strongly towards the spine and up towards the thorax. This forces prana upwards along Sushumna.
Mula-Bandha
(`Root lock`)
In this Mudra, yoni is contracted and pressed with the heel so that the apana, or downward-flowing prana, is forced upwards. Although Yoni basically refers to the female genitalia, but here denotes the perineum or, the muscular tissue between the anus and the posterior part of the external genitalia (corresponding to Muladhara Chakra). The intention of this mudra is to unite apana with prana, thereby intensifying bodily heat. This in turn arouses the `sleeping` force of Kundalini, who uncoils like a snake struck by a stick.
Jalandhara - Bandha
Jala refers to anything `watery` or `fluid`. Another similar term "Jaala" means to the net or web. According to Hatha Yoga Pradipika, both meanings are implied in the name of this mudra:
"Because it `binds` the network of subtle channels and dams up the downward-flow of `moon-fluid` (nabhojala), this bandha, which prevents diseases of the throat is called Jalandhara."
The technique involves drawing the chin in and pressing it down towards the jugular notch between the collar bones. This particular position helps in preventing the passage of air through the throat. This channelises the flow of prana through ida and pingala.
Maha-mudra
(great seal)
In this mudra, the yoni is pressed with the left heel, while the right leg is extended and the toes clasped. Jalandhara and Mula-Bandha are simultaneously applied. This is then repeated with the opposite leg extended.
Maha-bandha
(great lock)
The perineum is pressed with the left heel, and the right foot is placed sole-upwards on the left thigh. Mula-Bandha is applied, along with either Jalandhara or jihva-bandha. Jivha bandh is the `tongue lock` in which the teeth are clenched
and the tongue pressed firmly against them. Again the posture is repeated with the legs swapped over.
Mahu-vedha
(great penetration)
Vedha (sometimes bheda) here refers to the `piercing` of the chakras and granthis. The piercing force is generated within the Sushumna Nadi results from the perfection of this technique. It Involves assuming the Maha-bandha while placing the hands flat on the ground on either side of the buttocks. The weight of the body is then taken upon the hands and the buttocks repeatedly struck upon the ground. This gives stimulation to the Muladhara-chakra. Due to the difficulty of raising the the lower foot off the ground when it is tucked beneath the perineum (as in maha-bandha), many suggests that one sit in padmasana (lotus posture) instead when performing maha-vedha.
Khechari-mudra
Kha is a synonym of Akasha, which is variously translated as space, sky or ether. Akasha tattva refers to the most refined of the five elements (Mahabhutas). It is from this element that the other four are said to arise. Khechari may be rendered as `moving in space`, and Khechari-mudra as `the seal which involves moving in space`. This phrase may be simplistically interpreted as the mudra producing some form of levitation. But the Siddhas refer to it as Khechari because it involves the `moving in space` of both the mind and the tongue. The mind is said to `move in space` in the sense that attention is focused upon the `space` in the centre of the brow, i.e. ajna-cakra. Similarly the tongue is said to do so because, it is turned back and lodged in the space behind the soft palate.
The tongue is positioned as such to stem the tide of Bindu (or soma), the vital `.nectar` whose downward flow results in loss of energy and eventually death. Bindu is thought to condense into seminal fluid due to the influence of sexual desire. In order for it to be retained in the soma-Chakra without one`s experiencing agitation or frustration, Khechari-Mudra must go hand-in-hand with the transcendence of erotic impulses. This mudra also obstructs the passage of air into the lungs. Hence it can only be successfully performed by yogis who have mastered the art of holding prana and breath in the body for an extended or even indefinite period of time(Kevala Kumbhaka). In order to perform khechari-mudra successfully the tongue must be lengthened to the extent that it can reach the cavity behind the soft palate. To this end, the tongue is pulled out of the mouth and gradually stretched until its tip reaches the space between the eyebrows. To facilitate the tongues capability for it to turn back fully, is to slice through the fraenum linguae (which normally attaches the tongue to the bottom of the mouth) using a razor or sharp leaf. A hair`s breadth cut will be made each day for approximately six months until the fraenum is completely severed. Thiws is an extremely intricate procedure and should be done only under an expert or guru.
It is believed that remaining with the tongue turned upwards in Khechari-mudra even for half a moment will bring about immunity from disease.
Vipantakarani
(reversing process)
This particular mudra involves turning the body upside-down. It should be done in such a way so that the soft palate, where from the vital `moon nectar` is held to flow, is situated below the navel centre. By doing so, the Nectar is more easily retained in the soma-chakra as opposed to its being consumed by the microcosmic `sun` (surya) located at the navel. This serves to retain the life giving nectar, and our march towards death is reversed. The procedure should be learnt from one`s guru and not from written texts. Several commentators interpret it as a version of the shoulder stand (sarvangasana). While, in the Gheranda-Samhita, its description resembles the headstand (sirsasana).
Vajroli-mudra
(`Mighty`, `Adamantine`, or `Thunderbolt` seal)
This particular mudra is mostly surrounded by controversy due to its involving sexual intercourse. This is considered much against conventional traditions, and hence descriptions are usually omitted from many works, or translations of Htah Yoga Pradipika on the grounds that `they describe Vajroli, Sahajoli, and Amaroli mudras, practices which are not followed in sattvic sadhana or pure spiritual practice.
It is true that the yama of brahmacharya (abstinence) is integral to most yoga systems, including hatha-yoga. But this is often regarded in the narrow sense of `continence` or `celibacy`. This particular view may be interpreted more broadly to mean `moving or being intent upon Brahman`. In the latter case active sexual relationship is not omitted.
Vajroli-mudra may be practised by both men and women, and that it involves the voluntary prevention of ejaculation at the moment of orgasm. For the man, this is effected by firmly contracting the perineum (yoni) and `sucking` the seminal fluid (bindu) up into the bladder. And if ejaculation has already occurred, the bindu mixed with female secretions (called rajas) may be drawn back up
through the urethra.
The Hath Yoga Pradipika describes two further practices related to vajroli, namely Sahajoli (`strong`, `mighty`) and Amaroli (`immortal`). The first of these apparently involves both sexual partners besmearing their bodies with a mixture made from water and the ashes of burnt cow-dung. This should be done following sexual intercourse in which vajroli has been performed and while sitting in a pleasant (sukha) frame of mind. It is stated that sahajoli is `successful only for those who are virtuous, brave, truth-seeing and free from jealousyand not for those who Harbour jealousy`.
Amaroli consists in inhaling the odour of and. drinking, one`s own urine on a daily basis. According to, it is the middle part of the stream that should be absorbed, water of Siva.
Apart from the literal manifestation of these practices, symbolic interpretation is alos mentioned in Hath Yoga Pradipika which states that `Chitta`s being equanimous and vayu`s travelling through the middle path (i.e. susumna-nadi) give rise to amaroli, vajroli and sahajoli,` thereby suggesting that these three mudras involve internal states as opposed to (or in addition to) their being practices performed by two sexual partners. Since, on a subtle level, both rajas and bindu are held to exist in every individual, whether male or female, vajroli can be interpreted as the process of `uniting` these `forces` or `principles` within oneself, and not simply as mixing together semen and female secretions, which are, after all, held to be only the physical manifestations of these vital fluids.
Similarly, sahajoli may be taken to refer to the internal savouring and distribution of these combined fluids following the blissful `orgasm` of samadhi. As so often in yoga, the literal and the Figurative interpretations need not exclude one another.
Shakticalam-Mudra
(Raising the Shakti)
Saklicalam does not refer to one specific `seal` or lock` but to the process of arousing and elevating Kundalini (or Sakti). The procedure involves that one should press the kanda (in the navel region) with the feet, perform bhastrika-kumbhaka, and contract the `sun` (bhanu) (corresponding to the solar plexus). Such powerful activity in the region of the abdomen is designed to generate sufficient heat to stimulate the serpent power and provoke her upward movement.
Sambhavi - Mudra
Sambhavi is another name for Shakti. In literal sense it refers to "belonging to, Sambhu (Siva)". This mudra intends to make yogi identity himself as tattva. In this context, the statement refers to the `Truth` or `Reality` or more symbolically, "the state enjoyed by Sambhu". The practice does not involve any physical movement, but consists, in fixing one`s attention upon an `internal object` (Antar - Lakshya). Gheranda-Samhifa states simply that attention should be focussed in the `inner eye` and the vision of the Self (atman) rejoiced in.
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