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Mudra is a Sanskrit word derived from the root mud, 'please' or 'delight' and dravay, the causal form of dru, 'to draw forth'.2 It has been so defined because its performance is said to give pleasure and satisfaction to the object of reference (with form or formless), which in turn rebound on the practitioner.

The term mudra has been used with different meanings at different periods of time. In this study I will refer to it as meaning gesture and attitude. Every mudra can be seen as a symbolic expression of psycho-physiological, emotional, devotional and aesthetic attitudes which the practitioner is aiming to ultimately experience.
Mudras are not mere creations of an inventive mind but originally came spontaneously to adepts and still occur today to the jivanmukta, liberated person.3 The fundamental tantric principle behind mudra is that 'whatever is in the macrocosm, also exists in the microcosm.' Man is a microcosm – whatever exists in the outer universe can also be experienced in him. 4
Tantric and yogic literatures describe over one hundred different forms of mudras.5 According to their physical denotations, they can be categorized into approximately five groups: (i) Hasta, hand; (ii) Mana, head; (iii) Kaya, postural; (iv) Bandha, lock; (v) Adhara, perineal.6 Mudras are also mentioned as being of three varieties: gross, subtle and the highest. The mudras formed by bodily parts are considered gross, while mudras formed in combination with mantras are subtle. The highest (causal) mudra occurs when the symbolic meaning of the mudra is experienced or revealed to the practitioner; that meaning is itself the essence of the mudra.
Mudra, like no other yogic practice, is recognized as an external instrument with the capacity to prepare the mind for meditation.7 It sustains the flow of thoughts in preparation for recognizing more subtle levels of perception. It is at this stage that our mind must assume the quality of sakshi bhava, becoming a silent witness to mental activities. Mudra is like a key which opens aspects of our mind for us to view.
Mudras generate cues of the supreme reality, taking the practitioner nearer to the final truth, representing the nearest 'figure' of this truth as a mirror would represent reality. As the mirror reflects what is in front but not behind, similarly different mudras just reflect different aspects of the highest reality. They attempt to preserve the infinite within the finite, as a bowl of water attempts to contain the reflection of the sun. In this way the mudra can be seen as a science of connection between the infinite and the finite.

Aspect of awareness

To understand what lifts a simple posture or gesture into the realm of mudra requires some understanding of psycho-physiological interactions. One way to understand this is to look at the brain. During the process of human evolution there is a gradual linking up of the cortex with the deep primitive, sensory structure of the brain. This process is called telencephalization, which means bringing what is normally instinctive into awareness, into conscious control.8 So, awareness has a seat – if any seat has to exist – which may be associated with both the cerebral activity areas involving midbrain and cortex.
There can be no expansion of awareness without firstly starting to become aware. During mudra practice, we start to become aware of the thoughts which emerge before, during and after the practice. We are creating fixed, repetitive postures and gestures which can snap the practitioner out of instinctive habit patterns and establish a more refined awareness.9 A generalized mass of energy is then specifically focused on the cortex, an organ that can be described as the higher physical representation of the psyche.

STUDY 1 – SHAMBHAVI MUDRA

(Shambavi is the consort of Shambhu, Lord Shiva, who represents the state of higher consciousness.)

In laya yoga shambhavi mudra is defined as a pratyahara technique, i.e. it leads to sensory withdrawal.10 Shambhavi steadies the wandering mind, leading it to focus with accuracy. Wherever the eyes go the mind follows, so when the gaze is fixed on a single point, the mind also becomes single pointed and the thoughts aligned. Thus shambhavi mudra is also a form of trataka and a means to achieve dharana, the meditative state of relaxed concentration.11 Therefore, shambhavi mudra forms a bridge between hatha yoga and raja yoga. It is both a technique and a state of attainment. (A pointer about the gaze being a spontaneous representative of an inner state comes from the Western and Eastern religious iconography. We will often notice the eyes looking at the eyebrow centre, depicting the ecstatic state of saints.)

Physiology of the eye

The eye, when examined using the criteria of being an optical instrument, is found to be rather imperfect. The eye provides an image on the retina but this is just the beginning of the extraordinary neural process of decoding visual perception. The flow of neuronal stimulation is not straight from retina to cortex – midway it passes through the midbrain structures which support the telencephalization process. Furthermore, from the endocrine system's point of view, it is observed that shambhavi mudra influences the hormonal secretion of the pituitary, the master gland.
During shambhavi mudra the eyes are not kept in the primary position, but are moved to a fixed gaze at the eyebrow centre and this implies a peculiar coordination of the eyeball muscles. The motor nerves that supply the muscles of the eyes follow a different and independent path to the optic nerve, although they also travel through the midbrain to reach the occipital cortex. Here, both of the two afferent and efferent types of nerves are at work at the same time, generating a peculiar neuronal configuration.
It has been demonstrated that alpha waves arise particularly from the occipital areas of the brain and their appearance is especially associated with visual inattention. This alpha sensitivity is a matter of special interest because it is related to the hypnagogic psychological dimension where deep relaxation and archetypal imagery take place.12 Alpha sensitivity thus plays an important role in the expansion of extra-sensorial awareness.

Neutral cerebral flow

Instrumental observations have been able to confirm that increased activity during visual stimulation causes striking changes in local cortical brain blood-flow and metabolism.13 Having such a premise, we can reasonably expect an increased flow of prana in the activated cortical areas.
The beauty of shambhavi mudra in particular is that no actual sensorial stimulus is sent to the brain. Gazing at an internal point, no carrier of symbology comes in-between. Having no sensorial significance to be understood by the brain, the subtle pranic energy itself is first analyzed, with its 'shapes' arranged by midbrain structures. After that, due to the directed stimulation, a type of neutral signal is sent to the cortex. The naked process of thought itself is immediately pinpointed, and this is the first step towards thoughtlessness, the prerequisite of expanding psychic awareness. The result can be the recognition by the practitioner of new dimensions of thought – the awareness having been expanded.

STUDY 2 – PRANAM MUDRA

(The meaning of pranam here is 'offerings of salutation'.)


Pranam mudra (also known as namaskara mudra) is performed by joining the two hands together, and having the palms and the five fingers fully touching each other. Hands are organs of action, and the motor nerves (which end in the motor cortex) control their movement. At the same time, hands are sensory organs. On the palms and fingertips, skin tactile sensibilities are provided by different nerves whose impulses are transmitted to the sensory cortex and also to the adjacent association areas where it is assumed the sensory stimulations have the final elaboration of sensation.14
Fingers are also shown to have 'extra-sensorial' ability, cutaneous optical and sound sensitivity. Experiments show that subliminally the skin of the hands perceives light stimuli, comprehensive of colour differentiation.15In this case, as with shambhavi, both afferent and efferent nerves are at work at the same time, generating a peculiar neuronal configuration.
When the fingers touch another part of the body, a circuit is produced which allows energy that would have been otherwise dissipated to travel back into the body along the nadis. Hand mudras, where fingers are joined, engage the motor cortex at very subtle levels. Once pingala nadi is engaged then a signal goes back through ida nadi to the brain. By holding these extremely sensitive areas in a certain fixed position, a loop of energy moves from the motor cortex down to the hand and then back to the brain. Thoughts and experiences are generated, and our detached observation of these can give useful insights into discovering our more subtle dimensions.
Furthermore, the right hand is controlled by the left hemisphere of the brain and the left hand by the right hemisphere. When we join the hands we create a closed criss-cross circuit, a situation of equally distributed brain stimulation which generates mental balance. This leads to a greater possibility of relaxed concentration. The circuits stimulated are then brought into the sphere of conscious awareness. Repetition over a period of time makes this subtle action more conscious; we become increasingly aware of the effect. Then the mudra gains power in its expression and brings knowledge to the practitioner.

Psychological dimensions

A mudra can work successfully by itself, but when it is associated with the proper mental and emotional attitude, the efficacy is multiplied. From the cognitive psychological point of view, pranam mudra involves a mental state of humility, regard for something other than oneself, a submission and appreciation of differences in status. The practitioner recognizes the existence of a superior entity. Here the term 'superior' is employed in its philosophical sense – the practitioner recognizes something existing sine principium, in fact timeless. This implies the abandonment of one's identity, individuality and the egoistic attitude of possession. This transaction can be established only between caring partners, and a feeling of joy derives from the recognition of this common sharing. The feeling of love has also to be present. It is important because it facilitates the sense of partaking of the nature and qualities of the mental object.16
Further steps on the expansion of awareness are related to the inner control of the mind by a total disintegration of the ego. This state consists of facing and confronting the shadow self, the unconscious forces, facing the perception of the polarity principles manifesting as one creative/destructive continuum. At this stage, one either advances towards total liberation or returns to material conditions.17

Conclusion

What we call life is within the body; what we call eternity, too, is within this body. The body is not 'that', but 'that' is in the body.
Thus, the body has been the field for profuse scrutiny by researchers of different disciplines, who found it necessary to chart and map it at different levels in order to start the voyage to the shore of the ultimate reality. Yogis have divided and subdivided the body-prana-mind system to such an extent that they can confidently direct a complete mastery over the discipline of concentration through specific processes. Concentration is essential for fine-tuning the awareness to become an organism with an in-built receiving and transmitting set to communicate with the ultimate reality. Man's awareness is capable of being attuned to the highest level only when the prescribed discipline is undergone. Behind the science of the mudra, ages of practices alone stand as a proof.
Our existence in this world is always plunged in a dimension of life that is psycho-physiological in itself – we are body, mind and psyche (soul) – one together. This understanding is reflected in the practice of mudras, which are psycho-physiological attitudes.
Mere gesticulation or physical movement which is not prompted by an inner attitude and does not have symbolic content could not be called mudra. At the same time, no matter how much our awareness has expanded, while we are embodied we still need to eat and answer all the other physiological bodily calls. So even in spiritual practice we cannot live without the body. In mudra the split between body and soul is absent; there exists a mutual dependence and influence of one upon the other. Then the logic behind the description of mudra as a psycho-physiological attitude is clear when we look at the transitory stage of our evolution. We were 'inert' matter, then we became animal with a predominantly sensorial awareness. Now we are human beings possessing a psychic awareness intermingled with the sensorial, and we are gradually moving towards cosmic awareness. From human to divine.

References

1 Swami Niranjanananda Saraswati, unpublished satsang, 5 April 1999, BSY Audio Cassette Library.
2 Kularnava Tantra in: Swami Satyananda Saraswati. Asana Pranayama Mudra Bandha, Bihar Yoga Bharati, Munger, 1996.
3 B. Baumer, 'Mudra. Its Metaphysical Basis in Kashmir Shaivism', in B.N. Saraswati, S.C. Malik, Art. The Integral Vision, D.K. Printworld, New Delhi, 1994.
Lee Sannella, Kundalini – psychosis or transcendence? Lee Sannella, San Franisco, 1976.
4 J. Woodroffe, Shakti and Shakta, Ganesh, Madras, 1959.
5 P. Kupfer, Mudra, Uni-Yoga, Sao Paolo, Brazil, 1995.
Swami Gitananda, Mudras, Ananda Ashram, Pondicherry, India, 1972.
G. Feuerstein, Tantra, Shambala, Boston & London, 1998.
U. Dev, The Concept of Shakti in the Puranas, Nag, Delhi, 1987.
H. Chakraborti, Sakta Tantrik Cult in India, Punthi-Pustak, Calcutta. 1996.
G. Buhnemann, Puja, Institute for Indology, University of Vienna, Vienna, 1988. S.C. Banerji, Tantra in Bengal, Manohar, New Delhi, 1992.
6 Swami Satyananda Saraswati, A Systematic Course in the Ancient Tantric Teachings of Yoga and Kriya. Bihar School of Yoga, Munger, 1981.
7 Swami Digambar, in Philosophico Literary Research Dept., Yoga Kosha, Kaivalyadhama S.M.Y.M. Samiti, Lonvala, India, 1978.
8 Swami Niranjanananda Saraswati, Yoga Darshan, Sri Panchdashnam Paramahamsa Alakh Bara, Deoghar, 1993.
9 Swami Niranjanananda Saraswati, Prana Pranayama Prana Vidya, Bihar School of Yoga, Munger, 1994.
10 G. Feuerstein, Encyclopedic Dictionary of Yoga, Unwin, London, 1990.
11 Swami Niranjanananda Saraswati, Dharana Darshan, 1st edition, Sri Panchdashnam Paramahamsa Alakh Bara, Deoghar, 1993.
12 Swami Satyananda Saraswati, Yoga Nidra, 6th edition, Bihar School of Yoga, Munger, 1998.
13 M.E. Raichle, 'Images of the Brain in Action', The Mind, Oxford University Press, Oxford, 1987.
14 Guyton & Hall, Textbook of Medical Physiology, Prisma, Bangalore, 1996.
15 G. Lozanov, Suggestology and Outline of Suggestopedy, Gordon & Breach, New York, 1978.
16 S.K. Ramachandra Rao, Bharatiya-Pranama-Paddhati, Kalpatharu Research Academy, Bangalore, 1997.
17 A. Mookerjee, M. Khanna, The Tantric Way, Thames & Hudson, London, 1977
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Have you ever experienced silvery streaks of light, minute specks of light dancing in the air about you while you were out in the sun looking up at the blue sky? Those dancing points of light are prana, the life force that permeates all existence. It is contained in everything, the air we breathe, the food we eat.
It is this prana that sustains our being. It is prana, the subtle life force, that leaves the body at the time of death. By the withdrawal of this prana, the body dies.
Try the following practice and consciously recharge yourself with this vital force of life... You may relax in any position that is comfortable for you. Close the eyes, and attune yourself physically and mentally for the ensuing practice. Do not move until the practice is over and do not open your eyes. Your breath should be normal and natural.
Focus your attention on the right hand, become fully aware of the right hand. As you breathe in, feel that you are breathing in through the pores in the skin of the right hand. As you breathe out, feel that you are breathing out through the pores of your right hand.
Then concentrate on the left hand for a while, breathing in and out through the pores as before-mentally, of course. In the same manner, consciously breathe in through the pores of the skin of the different parts of the body- the face, arms, back, chest, legs and feet. Be aware of the pores of your skin. Do you feel a slight tingling sensation over all the various parts of the body as you breathe in and out?
As you breathe in and out normally, feel all the pores inhaling and exhaling with every breath. As you pass over the various parts of the body, visualise the tiny streaks of light penetrating every pore of the skin in that particular part. With practice, you will be able to see the light streaks- prana- entering your body.
Feel prana entering the pores and pervading the whole body as you breathe in and out. Keep your attention on breathing in prana over the entire body through the pores of the skin as you inhale. Keep your attention on breathing out through all the pores as you exhale. Be aware only that you are breathing in and out through all the pores of the body at once.
Then visualise a stream of golden light flowing in through the pores as you inhale. Visualise a greenish blue light flowing out from the pores as you exhale. Feel all the tiredness and tension leaving as you breathe out.
Next, take your awareness to manipura chakra in the spine, behind the navel. The symbol of this pranic centre is a golden ball of fire- the fire of digestion that releases prana from food, the vital fire that warms us in winter and gives us a positive outlook all year round. As you breathe in, see streaks of light being devoured by the flames in manipura. The fire feeds itself from all over the body, absorbing from the stomach and abdomen the prana that is the real nutrition in food, soaking up life energy through the lungs and the pores of the skin. Now as you breathe out, see these brilliant, golden tongues of flame flare out into every part of the body, taking light and warmth, vitality and optimism to each cell, to the most dim and distant corners of consciousness.
It is most important to take your time in resuming normal consciousness again. Do not hastily end your practice, but let your mind, your thoughts, your breathing become fully externalised again. Be completely attuned both physically and mentally to the outside environment, be sure you are completely extrovert before you open your eyes and proceed to get up and move about.
Hari om tat sat

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In normal states prana is under agitation. Too many distractions, sensory and sensual, affect the harmony of prana in our personality. When the pranas are disturbed, then it is natural that thoughts and emotions will be disturbed, the subtle systems of the body, the brain and the nervous systems will be disturbed. There comes a time when we have to understand the function of the pranas in order to go within.

Most of the time yoga teachers and even yogis tend to work with linear, logical concepts related to the mind. But that is not enough. Apart from saying 'observe the vrittis', 'observe the thoughts', 'observe your actions and reactions', we need to develop an understanding of the energy interactions within ourselves. The knowledge of energy interactions begins with an understanding of prana.

Understanding pranamaya kosha

Our physical and mental state is a good indication of our pranic condition. The technique of prana nidra aims at providing harmony and balance in the structure of pranamaya kosha. Pranamaya kosha is between annamaya and manomaya koshas, between the body and the mind. In our normal practices we jump from the body to the mind, ignoring the activities, functions and manifestations of pranamaya kosha. We believe that we can activate the pranas through the practices of pranayama, pranavidya and kundalini kriyas. Some people who are sensitive enough to become tuned to the energy interactions can do it, but others cannot. They scratch the surface of the iceberg, the pranaberg, and remain there.
Sometimes we feel tingling sensations running up and down the spine or running wild through the arms and legs. We begin to believe that the pranas have awakened, but that is not the case. What we are experiencing is the uncontrolled function of energy. We have to learn how to control the expression of energy in the physical body, the energy structure, the mental structure and the psychic structure. In order to develop a deeper understanding of pranic interaction, we need to develop sensitivity of mind. This is where prana nidra comes in.

Prana nidra: pranic sleep

Prana nidra is a technique of pratyahara. You may think that it is similar to yoga nidra because of the name, but yoga nidra is sleepless sleep, and prana nidra is pranic sleep. What is pranic sleep? Firstly, sleep is a state of absolute relaxation. Secondly, sleep is also defined as a vritti, a natural process which can disconnect the mind from the outer world, and thus avoid overloading the brain. If we do not sleep for three or four days and try to continue functioning in our normal routine, we will ultimately have problems. There is too much pressure on the human brain to cope with a continuous state of wakefulness. The efficiency and energy of the body and mind are also reduced. Sleep is a natural process of disconnection. It is like a valve which allows us to remove the excess pranic, mental and emotional agitations from our personality, to have some form of balance and relaxation.
Prana nidra aims at completing these two functions: harmonizing and relaxing the agitated pranas, and disconnecting them from the body as well as the mind, so that they can flow freely in their own dimension or kosha. How can we do this? In prana nidra, the breath becomes the medium to get in touch with the pranic flow. Energy flows through each and every part of our body, every cell, atom, muscle and organ is an expression of energy. In the practice we observe the breathing process in different parts of the body, for example, breathing in through one leg and out through the other, breathing in through one arm and out through the other. In this way we gradually sensitize our mind to become receptive to the flow of energy.

Fusion of mind and prana

When we have become receptive to the flow of energy, fusion of mind and energy occurs. The moment that happens, breath awareness is lost and energy awareness develops. This energy awareness is developed by experiencing the pranic flow as a current, as electrical energy. In prana nidra we are not trying to awaken the pranas. Other techniques, such as prana vidya, can be used to awaken and direct the pranas.
In prana nidra, after we develop awareness of energy as a flow or vibration, we move that pranic awareness into the locations of the five subpranas: prana, apana, samana, udana and vyana. Each level of these pranas is observed and if any imbalance is seen at that psychic level, it is removed. In this way we prepare ourselves for moving into the higher states of dharana, where fixation and concentration of mind can take place without the distraction of pranic activity. This is the basic concept of prana nidra.

Antar darshan: inner vision

Antar darshan is another technique of intensifying selfawareness, becoming aware of what is happening at a much deeper level than the conscious state. Here the word 'conscious' means the expressing nature, the manifesting quality, which can be also be subconscious and unconscious. By deeper aspects of the conscious state, I am referring to the area which we are not aware of normally, the source which is beyond the conscious area or dimension.
The practice of antar darshan follows the practice of antar mouna. In antar mouna we observe the thoughts by going through the six stages. We simply move from sensorial awareness to awareness of thoughts and the ability to actually stop them, to generating thoughts and then again stopping them. In this way we learn how to remain free from the influences of thoughts.
In antar darshan we go deeper than that. Antar means 'inner', darshan means 'to have the vision of inner being'. This inner being, the little guy within each one of us, relates to the world through feelings. In the practice of antar darshan, we create abstract images and ideas, and observe the feelings associated with them. For example, during our meditation practice, without our desiring it, an image comes up of a person whom we love, respect and adore. This impression is already in our mind. Possibly as a result of the meditation technique we are practising, the memory is released and comes to the surface of the mind.
While observing the image, the intensity of feeling is so overpowering that we begin to cry. We feel our hearts begin to open, we feel a flow of very strong emotion, affection, attachment, and we get caught up in that current. We retain that impression and do not allow it to dissipate naturally. The moment we retain that impression again, it becomes an archetype, another memory. So there is no release. We look at something and we say consciously, “I acknowledge it, I observe it, I feel it”, but because of our intense association with it, we create a mirror image of the same memory and store it. In this way more impressions are created and stored. Therefore, despite our best efforts we are not able to experience the meditative state.

Experiencing the harmony of emotions

The same thing can happen with another image, form or shape which brings out the force of negativity, anger or hatred, memories of pain and suffering. We react violently and create a mirror image that comes to the surface of the mind. Every thought that comes is associated with a feeling or a group of feelings. Antar darshan is recognizing those feelings, one by one, and following the feeling back to its source. If the feeling is affection, where has it come from? Is it a true expression of my love, of my respect? Is it a manifestation of my insecurity which has come up in the form of affection? If I break off that link of affection for a moment, do I feel a void inside? If I feel empty or hollow, then what kind of reaction is that bringing to the surface of my mind? Do I get disturbed? Do I become insecure?
In this way we recognize areas of our personality which have brought up an emotion associated with either an image, a thought, a desire or an ambition. We go through the process of channelling emotional energy in the right direction by recognizing its source. Recognition of this source leads to harmony of emotions, disassociation of emotions from the tamasic and rajasic activities which we normally perform.

Transcending tamas and rajas

Tamasic or rajasic activities are conditions or states which relate to the identity of the self. In the absence of words they are selfish attitudes towards life, hanging on to life and not allowing positive transformation to take place. The tamasic and rajasic qualities allow life to go on without any contradiction, with more and more desires, ambitions and searching for satisfaction. They allow life to continue with hopes of obtaining something good from life. But they do not allow life to be transcended. They maintain us in one channel without allowing us to emerge onto dry ground.
So, through antar darshan we gain a recognition of our emotional states, which ultimately leads to disassociation of feeling from the rajasic and tamasic qualities, to re-establishing the feelings in the sattwic flow. That is the purpose of antar darshan.

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A chakra or a wheel is a point of prana (energy)in our subtle body, located in the physical counterparts of our body like the veins, arteries and nerves. Yoga is an extremely beneficial way to release the prana or life force whenever it is stuck. Yoga releases the musty energy and invites fresh energy in our system through the poses and breathing.

Each of the seven chakras has its own vitality and is related to our emotional well-being. TheMuladhara or root chakra is located at the base of the spine and is related to basic human instinct and survival. The Swadishthana is located above the root chakra, at the sacrum and corresponds to the reproductive cycle. Above that is the Manipura, located in the stomach area and deals with self-esteem, power, fear etc. and physically it deals with digestion. Above this is Anahata, located in the chest just above the heart and deals with love, inner peace and devotion. This is followed by Vishuddhi, located in the throat and dealing with communication, self-expression etc. Above this is Ajna, which is between the eyebrows and responds to intuition, imagination and ability to deal with situations. Finally, there is Sahasrara, which is at the very top of the head and deals with inner and outer beauty, connection to spirituality, etc.

When yoga and mudras are practiced, the chakras get balanced and make our system, both physical and emotional, function in a stable, balanced manner. Some of these yoga poses include:

Tadasana (Mountain Pose)

Mountain Pose encourages your connection with Earth, connects you with your own body and grounds you in the present moment.


Veerabhadrasana (Warrior pose)

This is a strong asana that creates a firm connection between the Earth and your body. This yoga pose allows your prana to move through your body, rooting you through the first chakra. It physically strengthens your legs, opens your hips and can help with knee and lower back strength.

Setu Bandhasana (Bridge Pose)

This is a dynamic root chakra yoga pose that allows your feet to be firmly rooted into the Earth and your spine engaged in the release of excess root chakra energy. Bridge Pose also stimulates the throat chakra, opens the heart and solar plexus chakras, and balances the sacral chakra.

Along with these, certain mudras also help release the prana and open up the chakras. They include:

Muladhara:

Sit comfortably with your spine straight and focus your attention your perineum.Form a circle with your forefingers and thumbs. Rest your hands on your knees with palms up.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Swadishthana:

Sit comfortably with your spine straight and focus your attention on the area one-inch below your navel across to lumbar vertebra one.Rest your right hand over your left with the palms up, in your lap with thumbs touching lightly.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Manipura:

Sit comfortably with your spine straight and focus your attention on the area of your navel to solar plexus and across to thoracic vertebra eight.With your fingers straight, touching at the top and pointing forward, form a V with your thumbs crossed right over left.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Anahata:

Sit comfortably with your spine straight and focus your attention on the area of your heart across to thoracic vertebra one.Form a circle with your forefingers and thumbs. Rest your left hand palm up on your left knee. Raise your right hand up to the center of your breasts with palm angling slightly toward your heart.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Vishuddhi:

Sit comfortably with your spine straight and focus your attention on the area of the base of your throat across to cervical vertebra three.Form a circle with your thumbs touching and the rest of your fingers crossed and loosely cupped. Raise your hands in front of your throat, solar plexus, or rest them on your lap.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Ajna:

Sit comfortably with your spine straight and focus your attention on the area of your third eye, beginning slightly above the point between the eyebrows across to cervical vertebra one, encompassing the skull’s interior.Form a heart with your thumbs touching at the tips and your forefingers, ring and pinky fingers touching at the second phalanges. Raise your middle fingers to form a crown. Raise your hands in front of your third eye, solar plexus, or rest them on your lap.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Sahasrara:

Sit comfortably with your spine straight and focus your attention on the area of your crown at the top of your head up and to three inches above your skull.Clasp your hands with fingers crossed inside and left thumb underneath the right. Raise your ring fingers to form a crown. Raise your hands over your head, in front of your solar plexus, or rest them on your lap.Inhale deeply and exhale.Repeat for 7 to 10 breaths.

Trataka 
(1) Keep the picture of Lord Krishna, Rama, Narayana or Devi in front of you. Look at it steadily without winking. Gaze at the head; then at the body; then at the legs. Repeat the same process again and again. When your mind calms down look at a particular place only. Be steady till tears begin to flow. Then close the eyes and mentally visualise the picture.

(2) Gaze on a black dot on a white wall or draw a black mark on a piece of white paper and hang it on the wall in front of you.

(3) Draw the picture Om (!) on a piece of paper and have it before your seat. Do Trataka on it.

(4) Lie down on an open terrace and gaze at a particular bright star or on the full moon. After some time, you will see different colours of lights. Again some time later, you will see only a particular colour throughout, and all other surrounding stars will disappear. When you gaze at the moon, you will see only a bright moon on a black background. At times you will see a huge mass of light all around you. When gazing becomes more intense, you can also see two or three moons of the same size and at times you cannot see any moon at all even though your eyes may be wide open.

(5) Select at random any place in the open sky in the morning or evening hours and gaze at it steadily. You will get new inspirations.

(6) Look at a mirror and gaze at the pupil of your eye.

(7) Some people do Trataka at the space between the two eyebrows or at the tip of the nose. Even during walking, some persons do Trataka at the tip of the nose.

(8) Advanced students can do Trataka at the inner Chakras, (Padmas). Muladhara, Anahata, Ajna and Sahasrara are the important centres for Trataka.

(9) Keep a ghee-lamp before you and gaze at the flames. Some astral entities give Darshan through the flames.

(10) Very few Yogins do Trataka on the sun. It requires the help of an experienced man by their side. They begin to gaze on the rising sun and after gradual practice they do Trataka on the sun even in the midday. They get some special Siddhis (psychic powers) by this practice. All are not fit for this Sadhana. All the first 9 exercises will suit everyone and they are harmless. The last one, sun-gazing should not be attempted until you get the help of an experienced man.


Practicing yoga daily, along with mudras, meditations and breathing exercises can help open up these chakras, which can have a very positive and bright effect on our body, mind and soul.
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We will try to concentrate on the colours and petals of the chakras, and we will try to visualize them.

Please be seated in one of the meditative poses.
Sit in padmasana, siddhasana, vajrasana or sukhasana, whichever you can maintain easily, without discomfort, for fifteen to twenty minutes.
Remove your eyeglasses and close your eyes and mouth.
Rest your hands lightly on the knees, with the elbows relaxed.
The fingers should be in chin or gyana mudra, with the index fingers at the root of the thumbs, and the other three fingers together and straight, but not stretched.
The back and the head should be straight, but at the same time, there should be no tensing or tightening in any part of the body.
See that the head, back and spine are in one straight line.
Neither raise the shoulders nor lower them.
Do not lean the head to either side.
Keep absolute consciousness and awareness of the instructions, and try to visualize the chakras described, at their correct location.

Visualization practice

First, take your consciousness to mooladhara, at the seat of the perineum. Visualize mooladhara chakra as a four petalled dark red lotus.
Then visualize swadhisthana chakra, a six petalled vermilion lotus, at the bottom of the spinal cord. Manipura, a yellow lotus with ten petals, behind the navel.
Anahata, a blue lotus with twelve petals, behind the heart.
Vishuddhi, a purple lotus with sixteen petals, behind the throat.
Ajna, a gray coloured lotus with two petals, behind the eyebrow centre.
Bindu, like the full moon, a golden moon at the top back of the head.
Sahasrara, a thousand petalled bright red lotus at the crown of the head.
Please go on visualizing each of them in turn, one after the other, going from mooladhara up to sahasrara, and from sahasrara back down to mooladhara. Train your consciousness to visualize the chakra symbols in their correct position. Be careful not to visualize the symbol of vishuddhi at swadhisthana, or the symbol of mooladhara at anahata.
Visualize mooladhara, a four petalled dark red lotus; Swadhisthana, a six petalled vermilion lotus; Manipura, a ten petalled yellow lotus; Anahata, a twelve petalled blue lotus; . Vishuddhi, a sixteen petalled purple lotus; Ajna, a two petalled gray lotus; Bindu, like the full moon;
Sahasrara, a thousand petalled bright red lotus. Please try to visualize the symbol of each chakra. You have to remember them for the future. Keep yourself alert and aware of the lotus symbols- how they look, their shape and colour, their root and their stem.

The mantras

In each of the chakras try to find the pericarp at the centre of the flower, where the petals are joined to the stem. Within that centre section of the flower is a written mantra.
Of course, these mantras are primarily sounds, but they are also Sanskrit syllables, written in Devanagri script. There is a different mantra, with a different sound, for each chakra.
The sound belonging to mooladhara chakra is Lam; swadhisthana, Vam; manipura, Ram; anahata, Yam; vishuddhi, Ham; ajna, Om.
Actually, there are three sounds associated with ajna. From left, to centre, to right, they are Ham, Om and Ksham.
Bindu is the point from which sound emanates. It is the creator of all sound or vibration, but in itself, it is soundless.
And sahasrara also has no sound. So inside the four petals of the mooladhara lotus is written the mantra Lam;
Inside the six vermilion petals of the swadhisthana lotus is Vam;
Inside the ten yellow petals of the manipura lotus is Ram; Inside the twelve petalled blue lotus of anahata is Yam; Inside the sixteen petalled purple lotus of vishuddhi is Ham;
Inside ajna are Ham, Om and Ksham, on a two petalled gray lotus.
Then comes bindu, the soundless centre, without colour or form.
Finally, the thousand petalled bright red lotus of sahasrara.
Please remember them again...

Finish

Now become aware of your physical body seated on the floor. Become aware of the whole environment. Become aware that you have been practising meditation on the symbols of the chakras.
Hari Om Tat Sat. Please inhale deeply, and while exhaling, chant Om.

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