Académique Documents
Professionnel Documents
Culture Documents
one complete round. Then the yogi may rest for a short while before
repeating it. One should try to prolong the
holding period gradually and gently; he should never breathe through the
mouth, and should avoid any place
where the air is smoky or bad while doing this exercise. If one can hold
the breath without strain for two minutes,
he is considered to have fulfilled the minimum requirement for mastering
the pranas; for four minutes is average: but if for six minutes or more,
that is the highest requirement
Here a few words should be said about the [preliminary] sign of the
pranas entering the Central Channel. This takes
place when, at any time during meditation, the breath begins to flow
smoothly and evenly through both nostrils,
then becomes extremely subtle, and finally stops completely, this
phenomenon, however, can also occur when the prana sinks or leaks [ ? ].
If the former, one feels his mind becoming dim and sluggish; if the latter,
he cannot visualize at all clearly. But these phenomena do not happen in
the case of the pranas' entering the Central Channel. One should bear
this great difference in mind.
(4) Manipulating the Bindus
The yogi should visualize a small white drop [like a dewdrop], about the
size of a small pea, sparkling but
transparent, at the midpoint between his eyebrows. He should think that
this drop [Tig Le, or bindu] is the embodiment of his own mind, and
visualize it until it becomes extremely clear. Then, while breathing in as
above, he
should visualize the Tig Le ascending from between the eyebrows to the
upper end of the Central Channel; and
during the holding process, he should concentrate on it.
While he breathes out he should imagine the Tig Le flowing down again to
the midpoint between the brows. He should do all this several times.
Then, he takes a long breath and pushes the air down to the Navel
Center. At the same time he should imagine that the Tig Le drops down to
the Navel Center through the Central Channel like a small iron ball falling
through a tube with a rattle; then, while holding the breath, he should
concentrate on the Tig Le at the Navel Center. When he exhales, the Tig
Le returns again to the Head Center through the Central Channel.
[Steadily to improve this meditation] the yogi should first visualize the Tig
Le dropping down only to the Throat
Center until, without effort, the vision becomes extremely clear. Finally he
should visualize the Tig Le dropping down
first to the Heart and then to the Navel Center.
After mastering this practice, the Yogi should concentrate upon the Tig Le
at a given Cakra [especially the
Navel Cakra] and at the same time practice the Vase- Breathing five to
seven times. One should notice here that
during inhalation, the Tig Le drops down to the lower Cakras; when the
breath is held, it remains in the center of
the Cakra; and during exhalation, it returns to the midpoint between the
eyebrows. At the end of every meditation one should concentrate upon
this Center.
(5) Bodily Exercises
It is through bodily exercises that many of the knots in the nadis are
untied. They improve the flow of the pranas
and Tig Les in the nadis; they also rejuvenate impaired pranas, nadis, and
Tig Les. One should therefore learn and
practice the various bodily exercises given in Tantric texts; this is
extremely important. Special attention should be
paid to the practice of the Six Rotation Exercises of Naropa a
fundamental exercise of the Heat Yogaboth at the
beginning and end of meditation. He should also practice for specific
purposes other exercises which he can find in
my volume, The Red Book of Heat Yoga. [This book is unavailable at the
present time, either in Tibetan, or in English translation. Tr.]
Now, to build a good foundation for Heat Yoga, the following practices
should be stressed:
Sit on the floor, cross the legs, put a high pillow under the hips, and tie a
cotton belt to fasten the waist and knees
to steady the body during meditation. Sitting in the "Seven-fold Seated
Posture of Vairocana" as instructed before, the yogi may now practice the
Vasebreathing exercise, but he should not do so when too full or too
hungry, nor at noon or midnight. The best time is when the breath flows
evenly through both nostrils.
One should therefore start to practice when the breathing is about to
shift from one nostril to the other, for then the breath is balanced in both
nostrils. When visualizing, this does not alter the effort made on the
nadis, but more stress should be placed on seeing the Dumo-fire at the
intersection of the Three Channels below the navel. This Dumo-fire is
shaped like a small Tibetan A [ Q, ] word [or an ovoid or almond-shaped
flame with a sharp and narrow tongue which tapers to a point like a
twisted needle or a thin corkscrew].
Reddish-brown, intensely hot and undulating, it can produce heat and
bliss in all nadis throughout the body.
When inhaling and filling, the yogi should imagine the air flowing down
the Right and Left Channels, and, like
the wind from a bellows, fanning the Dumo-fire to an intense heat; when
dissolving, he should think of all the
pranas in the body as gathering at, and evaporating into, this Dumo-fire.
During the ["shooting" or] exhalation, the
Dumo rises through the Central Channel.
The fire of Dumo is the foundation of Heat Yoga; it should therefore be
visualized very clearly in order actually
to produce heat. A firm and clear visualization of the Dumo must be
established [before one can hope for substantial
progress]. At the start, the blazing tongue of Dumo should not be
visualized as more than the height of a finger's
breadth; then gradually it increases in height to two, three, and four
fingers' breadth. This blazing tongue of Dumo
is thin and long, shaped like a twisted needle or the long hair of a hog; it
also possesses all four characteristics of
This stanza shows the four special steps of the Vase-Breathing practice that was found
in the pith instructions of the gurus in the past and favored by them. There is a certain
commentary which says that "the four" means the four bases; this is a mistake,
however, that was made through overlooking the text of the Tantras.
The physical preparations for the breathing exercise are the same as given before. The
best time to practice this breathing exercise, according to the instructions of the
accomplished Yogi Pag-mo-grub-pa is the time when the breathing runs equally (in
both nostrils).
Pag-mo-grub-pa adds: "Although many gurus say that the best time to practice this
breathing exercise is the time when the air runs equally (through both nostrils), (in the
light of serious meditation) the breathing practice should be carried on day and night."
In order to make the proper time explicit, this instruction is given first.
In general, the prana70 is the essence of the expression of the Buddhas. In this practice
the exercise should be carried out when most of the Lotus-Shelter-Air ascends. This is
stated in the Lotus Commentary of the Dorn Tyun Tantra.
Now, the explanation of the taking-in-air: The yogi should not inhale through the
mouth but through the nostrils. He should not breath in roughly, but inhale gently and
slowly.
Filling-up the air: After taking in the air, press it down and hold it. As the yogi inhales,
he should think that the air comes in through the two nostrils and enters into the
p. 181
[paragraph continues] Right and Left Channels, filling them up (like breath inflating
balloons made of entrails.)
Dissolving-the-air: When both channels, Right and Left, are full, all the air enters into
the Central Channel with a "Whoosh."
At this time the yogi should swallow the spittle in the mouth and press the upper air
down and pull the lower air up from both the lower gates71 to the small Ah word. Then
the yogi should concentrate on his visualizations and hold his breath as long as he can.
The holy Pag-mo-grub-pa said in his instructions-stanza: "From the Right and Left
Channels the air enters into the Central Channel and fills it. When the breath can be
held no longer, the yogi should release it for a very short timethe duration of
snapping one's finger. The air left in the body should be used for the dissolving
practice."
Though this instruction is somewhat contradictory on two points with the instruction
given before, except the fourth step (the dissolving step), the other three (taking-in,
holding, and exhaling the air) are expounded. The filling-up practice means inhaling
the air that fills the Right and Left Channels, and the dissolving practice means the
departure of the air from the two channels and its entrance into the Central Channel;
thereby the Central Channel is filled with air, but the air in the Right and Left Channel
is dissolved or emptied.
As to the manner of practicing the Vase-Breathing at the Navel Center, some claim that
the lower air should not be pulled up, merely pressing the upper air down will do;
others say that the yogi should press the air down at first, then, after a while, pull up
the lower air three times. These sayings are wrongfully given through ignorance of the
p. 182
essence of Vase-Breathing practice. The right practice is to combine the Live-Prana
above the navel with the Tur Sel Prana71a below the navel. As the Dom Gyun Tantra
says:
"The up-going air and the down-going air
Should be joined together by the mind."
This stanza explains the way of practicing the Vase-Breathing by combining or uniting
the up-going and down-going prana. Thus we know that the up-going and down-going
air should be combined and that they should not be pulled up simultaneously, but one
after another. If there is no special reason for a particular meditation, the up-going air
should be drawn and pressed first; afterwards, pull up the down-going air. It is not
necessary to pull the down-going air three times.
"Shooting the air like the arrow." This illustrates the manner of expelling the air from
the body. When the yogi exhales the air, he should visualize it arising through the
Central Channel freely, like gas through a pipe. One should not visualize the air going
out of the body through the crown of the head.
About the practice of drawing the up-going and the down-going air together at the
Navel Center, one important point should be mentioned: some say the yogi should
visualize the whole body full of Prana; some say the Prana should be visualized only
full above the Heart Center or above the Throat Center. These instructions are unsound
because the true and sound teaching is to visualize the small Ah word whereupon the
two pranas unite *. There
p. 183
are two reasons for this. First, through leading the Prana into the Central Channel, the
Life-Prana and the down-going prana are unified. Second, through visualizing words,
the essential mental concentration process is automatically completed. Furthermore,
whenever the mouth of Ro-ma and Rkyang-ma are open, the mouth of the Central
Channel is closed and vice versa.
Through the practice of Vase-Breathing, the out-going breathing from the Ro-ma and
Rkyang-ma is stopped; and through visualizing the air entering into the Central
Channel, the yogi eventually will be able actually to lead the incoming air into the
Central Channel.
The manner and the duration of holding the breath are explained by Pag-mo-grub-pa
as follows: In the beginning stage, practice on taming the nerves is emphasized. The
yogi should not hold his breath to the point of strain. The yogi should hold the breath
easily and not for too long. Gradually, he should increase the duration of the holding
period. Until the breath becomes very smooth and submissive, he should not engage in
the stronger breathing practices, such as shaking the upper part of the body and
forcibly pulling up the prana. He should release his breath before he feels
uncomfortable, and not try to hold it too long. Even if he tries to do so, it will not help
the gathering of pranas in the Central Channel, for the prana will remain in the
Transformation Wheel only a moment and then go outside. Although to hold the prana
outside the Wheel Center for a long period will produce a little warmness and bliss, it
does not help the prana to enter into the Central Channel.
In the practice of visualization, the yogi tries to visualize the subject clearly, but a clear
image appears in his
p. 184
mind for only a short moment. To visualize a steady picture is difficult. In the aftermeditation period, however, he will sometimes experience the appearance of a steady
picture in his mind clearly, without any effort. In the same way he will learn that
natural and easy breath-holding cannot come without practice and effort. Therefore,
until the natural breath-holding or breath-remaining comes to pass, he should try to
prolong the breath-holding exercise gently. Even if he exerts himself in holding the
breath for a long period the prana will not remain at the place desired. Furthermore,
too much exertion will cause many troubles and do little good, so, until the prana can
be easily and naturally placed in the Navel Center, the yogi should gently prolong the
breath-holding exercise. If one knows how to practice this exercise proficiently, one will
be able to know whether the prana naturally remains and whether the prana can be led
to the desired place.
The best time to practice Vase Breathing is neither just before nor just after eating, but
when the stomach is neither too full nor too empty. The practice should be carried out
without interruption, yet not for too long a period. At times the yogi should rest for a
while.
During the Vase Breathing, word-visualization should also be practiced. The yogi
should clearly visualize the four wordsAh, Hm, Om, Hamat the four respective
centers of navel, heart, throat and head that are knotted (by the nerves) as mentioned
before.
Thereupon, the yogi should visualize an Ah word, the essence of fire and Dumo, blazing
with brightness. This word-of-fire is then fanned and stimulated by the wind from the
Privy Wheel, and its heat rises up and ascends to the Hm, Om and Ham words. The
three words begin to
p. 185
melt, and the melted drops all fall to the Ah word and unite with it, becoming one. This
one drop is the self-nature of the Innate Bliss, whereupon the yogi should concentrate.
In this process of holding mind to the subject, the yogi should visualize the Dumo-Ti-Le
burning with the tiny fire-tongue.
The yogi should visualize the melting Bodhi-Heart begin to drop from the respective
Wheels and fill up the Ah word, and then concentrate on visualizing the Ah word until
the signs of a stable visualization appear.
If the visualization becomes stable, the light of Dumo will shine. The body, both inside
and out, and the things in the house can all be seen clearly as one sees the olive fruit in
one's own palm. Thus it is important to visualize the Ah word shining with its burning
tongue, clearly and vividly. Through this practice the brightness-aspect of Samadhi will
increase, and a perfect Samadhi will be obtained.
Footnotes
176:* We have inserted the four technical Sanskrit terms.
The Hevajra Tantra states also the alternative tradition of this highest bliss as third in
order, thus implying its correspondence with the Heart Center of the Sacred Light of
Vairoana p. 177 and his co-power, the Lord of the Center of the five Dhyani Buddhas.
This tacit identification with the heart, and not the usually given hair-splitting reasons,
is the true esoteric basis for the alternative order, which is thus seen not to be
"artificial" as D. L. Snellgrove (Hevajra Tantra, Oxford, Vol. I, p. 137) surmises, saying
hence not correctly that "it is associated with no improved interpretation of them (the
Four Blisses) as a coherent set." This conclusion is understandable, however, for anyone
not familiar with the relation of the Four Misses to the Chakras, for that relation
provides the only solid and practical basis for the non-arbitrariness Snellgrove rightly
sought. The moment the Chakras are taken into account, the only proper position for
the Highest or Innate Bliss is seen at once to he third, placing it in direct
correspondence with the Heart Center, where it uniquely belongs.Ed.
178:* We would rather say, as better agreeing with practice: Which comes from the
Heart Center, and in mediated through the Navel Center. Ed.
178:** Both from conversations with other practitioners of yoga and from personal
experience, the editor can unequivocally state that the greatest heat (gTum-mo) can be
generated and more easily controlled through the use of the Heart Center rather than
through the navel plexus, allowing the latter to function unconsciously under orders of
the Heart Center, as it were, and as a distribution pointbut not bestowing any direct
attention on the navel per se. Even on a cold night the bodily heat thus generated with
comparative simplicity is pervasive and intense.Ed.
182:* There is a third and synthesizing view and doctrine here not mentioned in the
text; namely, to maintain the conscious concentration of the prana at the heart center,
letting that center be the means for the (unconscious) command to the Navel Center for
its (the prana's) distribution.Ed.
La Prctica de la respiracin-jarrn:
Siguiendo las instrucciones anteriores, el yogui debe visualizar primero
claramente el sistema nervioso [nadi = Tib. rtsa] en general, a
continuacin concentrarse en el centro del Canal Central en la seccin
transversal de los tres canales. A continuacin, el yogui debe meditar en
las cuatro palabras en los diferentes nervios; especialmente en caso de
que concentrarse en la palabra Ah pequea en el Canal Central en el
Centro del Ombligo. Si este objeto que sostiene la mente se puede
estabilizar, la mente y el prana convergern en l. As, la mente alcanza
el estado de concentracin y los pranas son recogidos. Esto se afirma en
el Tantra del Bde-Mchog y el Tantra Sambhodra revelado de Hevajra.
Durante la prctica de la respiracin-jarrn., el yogui tambin debe
meditar en las cuatro palabras en los cuatro Chakras. Esto se ensea por
los grandes yoguis consumados las NegroPracticante, Lawaba y Nacido
del Ocano, as como en muchas escrituras sagradas, especialmente en
aquellas importantes instrucciones medulares del Yoga del
Perfeccionamiento dado en los Tantras. Pero que las cuatro palabras
deben todas ser visualizadas, no se da, incluso en la instruccin de la
prctica de la respiracin-jarrn en la Enseanza susurrada. El Yogui debe
tambin familiarizarse con el procedimiento de la meditacin como se indica en las
instrucciones anteriores. A travs de esta prctica los pranas entrarn en el Canal Central y
por el poder del fuego de Dumo el Corazon Bodhi se se derretiry as los Cuatro
Bienaventurados sin duda surgirn. Pero hay muchos maestros tibetanos que dan la
enseanza de Dumo de manera que combina todas las prcticas de los nervios (rtsa), palabra
y la prctica de la respiracin-jarrn a la vez y dicen que es en aras de la prontitud
p. 180
respiracin, de acuerdo con las instrucciones del consumado Yogi Pag-mogrub-pa es cuando se respira por igual por ambas fosas nasales.
De acuerdo con otra instruccin, los pranas de los cinco elementos deben ser
visualizados como 5 haces de luz coloreada que emanan de numerosos rayos
triangulares diminutos [dorjes].
Estos diminutos dorjes entran, salen, y permanecen en el cuerpo
durante la inhalacin, la exhalacin, y el proceso de retencin,
respectivamente.
Algunos dicen que durante el proceso de disolucin se debe primero visualizar el aire
como llenando el canal central, a continuacin los cuatro Chakras y finalmente todos
los nadis del cuerpo entero; pero esto es criticado por otros como un mal mtodo que
har que el aire se escape del cuerpo
Nunca es recomendable comenzar con este tipo intensivo de
Respiracin-Jarron, ya que mientras uno puede ganar un poco de
experiencias temporarias, no es muy beneficioso a largo plazo;
adems, encontrar innumerables [otras] dificultades. Por lo
tanto a un principiante no se le aconseja practicar el tipo
vigoroso de Respiracin-Jarrn ; en cambio, que debera practicar
en forma suave que le dara un mundo de bondades y pocas
dificultades. Adems, se le recomienda encarecidamente no
practicar cualquier tipo vigoroso de respiracin-jarrn antes de
que se ha convertido en perito con la suave. El llamado tipo
suave de respiracin-jarrn es contener el aire por un corto
perodo de tiempo, liberarlo antes de que produzca tensin
entonces, a su vez tomar otra respiracin y mantener de nuevo.
Todo esto se debe repetir de ocho a diez veces, lo que hace una
ronda completa. Entonces el yogui puede descansar un rato
antes de repetirlo. Uno debe tratar de prolongar el perodo de
retencin de manera gradual y suavemente; nunca se debe
respirar por la boca, y se debe evitar cualquier lugar donde el
aire est cargado de humo o mal,al hacer este ejercicio. Si uno
puede aguantar la respiracin sin esfuerzo /tensin durante dos
minutos, se considera que ha cumplido el requisito mnimo para
el dominio de los pranas; durante cuatro minutos es
normal/promedio : pero si se retiene durante seis minutos o ms
se alcanza el requisito ms alto.
Aqu algunas palabras deben ser dichas sobre el signo
[preliminar] de los pranas entrando en el Canal Central.
Esto se produce cuando, en cualquier momento durante la
meditacin, la respiracin comienza a fluir sin problemas y de
manera uniforme a travs de ambas fosas nasales,