PART II: LAHIRI MAHASAYA'S KRIYA YOGA TECHNIQUES

Disclaimer
The techniques outlined here are intended for study purposes only, with the goal
of comparing them to the work of other researchers. I am looking forward to
intelligent feedback from this sharing. We are open to receiving comments,
criticisms, corrections, and additions. Before you ask the strangest and most
improbable questions, read this book in its entirety to gain a complete
understanding of the subject. As you continue reading, you will find that many
questions have been answered.
I would like to emphasize that this book is not a Kriya Yoga manual! It is not
possible to learn Kriya Yoga techniques by reading a book. Learning delicate
techniques like Maha Mudra, Kriya Pranayama, Thokar, and Yoni Mudra is a
difficult task that requires an expert who controls their execution. The effect of
intensive practice on a particular individual cannot be predicted because each
person is different.
The author is not liable for any negative results, especially if one decides to
practice the techniques without the supervision of an expert. If you plan to
continue this practice, make sure you have a strong sense of sacredness and
acknowledge the value it can bring to your life. While it is up to each person to
control their destiny, it is highly recommended to seek expert advice or guidance.
N.B. Communicating any physical problems, such as hypertension, lung
problems, and signs of hyperventilation, is necessary when you visit an expert. If
you have specific physical conditions, an expert can suggest a mild version of
Kriya Pranayama and Mudra. In case it is necessary, he could suggest practicing
them only mentally. 1

1
Since I started my website in 2006, I have continued to expand my book and
provide a new edition every year. My recommendation is to visit
www.kriyayogainfo.net at least once yearly

79
 CHAPTER 6

LAHIRI MAHASAYA'S KRIYA YOGA – PART 1

This chapter provides a description of the Kriya Pranayama technique taught by

Lahiri Mahasaya. The end of this chapter includes some simple auxiliary
techniques that can be of assistance to those who are having difficulty with this
basic technique. Kriya practices taught by other schools are not mentioned in
this article. From chapter 14 on, they will be dealt with.

INTRODUCTION
The explanation of Kriya Yoga techniques by Lahiri Mahasaya can be
found in chapters 6, 7, 8, and 9 of this book.

LOCATION OF THE CHAKRAS

The spine contains subtle astral organs known as Chakras. They are ideal
steps on a mystical ladder that leads the consciousness of the individual to
encounter the highest ecstatic experience. Visualizing a Chakra with petals,
Yantra, and Bija Mantra in its center, and all the things you'll find in Hatha
Yoga classic books, isn't important. Perceiving its approximate location is
crucial. The location will become more perceptible with Kriya Yoga
practice.
When mental silence, body relaxation and intense spiritual aspiration are in
place, Kriya Pranayama will take the inner path, so to speak. The Spiritual
Reality will become concrete without the need for mind visualizations or
whims. Realizing the reality of the Chakras will allow you to listen to their
vibrations and perceive specific tones of light emanating from their
locations. When the breath becomes extremely subtle, the practice of
Kechari Mudra will help facilitate this experience.
Each Chakra has two aspects, one internal and one external. A Chakra's
inner aspect is a vibration of light that attracts awareness upwards towards
the Spirit. The external aspect of a Chakra concerns the physical body: it is
a diffused light that awakens and supports the physical body. As you
ascend the spine during Kriya Pranayama, it's typical to perceive the
Chakras as small lights that illuminate the hollow tube of the spinal
column. As you descend, the Chakras are understood to function as energy-
distributing organs in the body: rays of light emanate from the seat of each
Chakra and rejuvenate the part of the body in front of it.

80
The first Chakra, Muladhara, is situated at the bottom of the spine, just
below the Sacrum. In the sacral area, Svadhisthana, the second Chakra,
lies halfway between Muladhara and the third Chakra. The third Chakra,
Manipura, is located in the lumbar region of the spine at the level of the
navel. Anahata, or the Heart Chakra, is the fourth Chakra found in the
dorsal region. To identify it, you should move the shoulder blades together
and focus on the tense muscles between them. Vishuddha, the fifth
Chakra, can be found at the point where the neck joins the shoulders. To
identify it, swing the head sideways, hold the torso firmly, and concentrate
on the point where a particular grinding sound is heard. The sixth Chakra
is referred to as Ajna.

Fig.1 Location of the Chakras

The Medulla and Kutastha point between the eyebrows are closely
connected to Ajna and cannot be viewed as separate entities. From a
practical point of view, the Medulla is the most important center. Finding
stability in concentration on it can lead to finding oneself in front of one's
inner Guru. We will come back to this concept at a later time.
When it comes to Kutastha, there are those who want exact instructions on
how the 'spiritual eye' should look. It would be wise not to take what you
read in literature too seriously. There are descriptions that are presented as
universal facts, but in reality, they are the personal ideas of some writer. It
is not a good idea to focus on an image found in a book and try to make it

81
appear between the eyebrows. It's better to be content with catching a
glimpse of light and fully immersing yourself in it.
The Medulla is located at the top of the spine. Lift your chin and lengthen
the neck muscles at the base of the occipital bone, focus on the small cavity
under that bone: the Medulla is located directly in front of this cavity.
It is not difficult to locate the seat of Ajna Chakra when you move from
Medulla to the point between the eyebrows. Try swinging your head side to
side (a few centimeters to the left and then to the right) to find something
that links the two temples. To find Ajna, it's necessary to focus on the
intersection point of two ideal lines. That which links the Medulla site to
the spot between the eyebrows and the one that links the two temples.
The energy flowing through the tip of the tongue during Kechari Mudra
stimulates the pituitary (or hypophysis) gland. The size of this endocrine
gland is comparable to that of a pea. It protrudes from the floor of the
hypothalamus. This gland is recommended for experiencing the spiritual
eye by a well-known Kriya school. In the same school, the role of the
pineal gland is highlighted.
This small endocrine gland is shaped like a small pine cone, which many
spiritual organizations have used as an icon. The location of it is behind the
pituitary gland on the back of the third ventricle of the brain. After
prolonged concentration on the pineal gland, you can fully experience the
white spiritual light. This is the final step to perfect meditation: becoming
lost in the state of Samadhi.
Bindu can be found at the top of the nape, near the area where the hairline
creates a vortex-like pattern. This is the shikha point where Hindus keep a
tuft of hair after tonsure. Bindu is not viewed as a Chakra on its own. It is a
significant spiritual center due to its role as a gateway that leads awareness
to the Sahasrara, the seventh Chakra situated at the top of the head. The
fontanel [we refer to the anterior fontanel, also known as ''bregma''] is
another important point to focus on in order to direct all the energy of the
body towards the Sahasrara center.

POSITION SUITABLE FOR MEDITATION

We sit facing the East. According to patanjali, the position of the Yogi
(Asana) must be stable and comfortable.
Half-lotus: The majority of kriyabans feel comfortable with sitting in this
position, which has been utilized for meditation since the dawn of time
because it provides a comfortable sitting position that is incredibly simple
to achieve. The secret to keeping your spine straight is to sit on the edge of
a thick pillow while raising your buttocks slightly. Sitting cross-legged

82
while your knees are on the floor is something you can do. Raise your left
leg and bring it towards your body until the sole of your left leg is properly
aligned with the inside of your right thigh. Pull the heel of the left foot
upward towards the groin as far as it will go. The right leg is positioned at
the knee and the right foot is ideally positioned over the left leg, calf, or
both. As much as possible, the right knee is brought down towards the
ground. In order to prolong the position, reverse your legs when they get
tired. As evidenced in the well-known photo of Lahiri Mahasaya, the hands
are interlocked. This produces a well-balanced flow of energies from the
right hand to the left and vice versa. If there are health problems or specific
physical conditions, it may be advantageous to practice half lotus on a
chair, provided that it is large and without armrests. By doing this, one leg
can be lowered at a time and the knee joint can get some rest!
Siddhasana: This pose, known as 'perfect pose', is considered to be of
moderate difficulty. The left foot's sole is put against the right thigh and the
heel is put against the perineum. The right heel lies against the pubic bone.
By combining this position of the legs with Kechari Mudra, the pranic
circuit is closed and Kriya Pranayama becomes easy and profitable. It is
clarified that this position aids in becoming acquainted with Prana's
movements.
Padmasana: This pose known as the 'Lotus position' is a challenging one.
It is often not possible to maintain it beyond a few minutes. The right foot
is positioned on the left thigh and the left foot is positioned on the right
thigh, with the toes facing upwards. The explanation is that this position,
when combined with Kechari and Shambhavi Mudras, establishes an
energetic state in the body that is suitable for observing the inner light that
arises from every Chakra. When achieving deep Pratyahara, the torso can
bend or fall, but the lotus position assists in keeping it upright and
preventing it from bending or falling.
Sitting in Padmasana can be difficult for a beginner because the knees and
ankles are in intense pain. Personally, I would not recommend anyone to
undertake this challenging position. After practicing Padmasana for years,
some yogis have had to have cartilage removed from their knees.

KRIYA PRANAYAMA

An introduction to the fundamental technique of Kriya Pranayama

The aim of this technique is to eliminate the reliance on the breathing
phenomenon that binds the soul to the body. Let's calmly clarify how this

83
unfolds.
Breath is the instrument that Kriya Pranayama utilizes. Kriya
Pranayama sessions are divided into two parts.
[a] The first section is based on taking long and deep breaths, which
create an audible sound in the throat. In three stages, this section will be
described, with the breath being constantly controlled, but in different
ways.
[b] The breath in the second section is uncontrolled and almost
absent. Paravastha, which is the fourth and final stage of Kriya Yoga, is the
name given to this stage. To get ready for section b), it's important to
constantly focus on the sensations caused by the breath in the spinal
column. If you stop counting the long breaths and allow it to move up and
down in a subtle way, you are entering the second section.

Kriya Pranayama is designed to give you the opportunity to experience

the second section, which is the state of Paravastha. During this state,
there is no mind or thought. During it, the spiritual dimension is
contacted. We have transcended our identities as I or Ego and become pure
Awareness, beyond time and space. It's important to remember that this is
the sole purpose of Kriya Pranayama. Quoting other ways of summarizing
the essence of Kriya Pranayama is neither necessary nor appropriate.

Note
It's apparent that Kriya Pranayama is a technique that requires great care.
The process of learning takes several months and requires the use of good
will, sensitivity, and intuition. I believe that a mastery of this procedure can
be achieved by practicing its initial three stages, patiently addressing the
technical details one at a time, and working on it daily. The fourth stage is
not a method of practice, but rather a state of grace that arises when the
body and mind are open to it.
While attempting to master the first stage of Kriya Yoga, it is possible to
explore and use other Kriya procedures that are described in chapter 7.
Kechari Mudra is the most significant fact that must be achieved. The
value of this Mudra is undeniable as it enables perfect Kriya Pranayama
and greatly relaxes the mind's functions.

FIRST STAGE
Avoid practicing on a full stomach. Allow an hour to pass following
breakfast and two to three hours following lunch or dinner. Sit in the
meditation position. Position yourself so that you are facing east. From this

84
point forward, it is possible to use the previously described method of
sitting on the edge of a thick cushion with your buttocks slightly raised. To
maintain a slight tension in the neck and nape muscles, the chin should be
pulled slightly inside.
Your fingers are interlinked. The mouth and eyes are closed. The Kutastha,
the spot between the eyebrows, is where attention is focused. After closing
your eyes, you find yourself in front of a dark screen. This is the
Chidakasha's internal space where both gross and subtle conscious
activities take place. Focusing on Kutastha does not involve thinking about
a dot located at the center of Chidakasha. We require a different approach
that involves expanding our awareness of this space and attempting to
perceive its edges accurately, up and down, to the right and left. This action
should be practiced and familiarized during the practice of all Kriya
techniques, from the first to the last! Practice baby Kechari by turning your
tongue back as much as possible and dilating your throat, or assume the
position of the real Kechari when you are able to.
Deeply inhale through your nose, making a hissing sound in your throat. 2
To ensure the correct sound, aim to raise the friction of the air passing
through the throat. To preserve this subtle hiss, make sure to make a slight
effort to exhale air. Ujjayi is the name given to this way of breathing. It's
explained that this sound isn't caused by vocal cords, but rather by the
movement of breath.
By using this breathing technique, you can feel a cool current rising
through your spine on inhalation and a warm thread of energy flowing
down your spine on exhalation. It's a fact that the breath that enters and
leaves the body has the sensations of coolness and warmth embedded in it.
This fact is a useful tool for progressing from simply imagining the spinal
canal to actually perceiving it.
Achieve a slow and deep breathing pattern without straining. In a
completely quiet environment, someone next to you can hear a faint sound
in your breathing, but not if they are sitting at a certain distance. It is
important to breathe primarily from the abdomen. This means that during
inhalation, the upper chest remains motionless or almost motionless, the
shoulders do not rise, while the abdomen expands.
As you exhale, the abdomen retracts. During the final phase of the
2
To me, this sound resembles that of a loudspeaker that is transmitting amplified
background noise – a quiet schhhh… /ʃ/. When exhaling, it becomes a thin hiss. It is
explained that the perfection of the sound can be achieved by practicing Kechari
Mudra. The sound of inhaling will be quite thin, while the sound of exhaling will be
similar to that of a flute, Sheee Sheee. The presence of this sound indicates that the
Pranayama has been executed properly.

85
exhalation, the navel is clearly moving towards the spine. Refinement of
this experience will result in a sensation of joy when you become more
aware of the inward movement of the navel and the action of the
diaphragm.
Inhale and exhale deeply, until your breath becomes naturally longer after a
few breaths. The observation has been made that the exhalation lasts a little
longer than the inhalation. A Kriya breath (inhalation + exhalation) should
last for about 30 seconds, but you can start with 12 seconds and gradually
increase its duration without any hurry. 3
Two brief breath pauses are present in Kriya Pranayama, one between
inhalation and exhalation and one between exhalation and inhalation. They
are typically 1-2 seconds long. They are unforced and spontaneous. These
pauses will help you appreciate their value because you will feel a sense of
tranquility during them. If the air stops moving, the mind also stops
operating. Use a Mala (beads of a rosary) or the knuckles of the fingers to
count how many breaths you take. To get started, practice 12 Kriya breaths.
As you progress, you will increase by 12 each time, resulting in the
practice of 24, 36, 48...breaths, with a maximum of 144 breaths.
This practice leads to the energy in the breath withdrawing into Sushumna,
and the breath flowing in a stream like a silk thread. For a few weeks,
focus solely on what we have explained.
By using a moderate amount of will power, you can control the flow of
energy in your spine and remain relaxed at all times. The breath will
become more refined and tranquil. Don't be hasty to add the next
instruction to your practice. Experience complete peace for several days or
even a few months by perfecting what has been explained up until this
point.
How to conclude every practice
After practicing Kriya Pranayama, it's important to try for several minutes
to reach the state of consciousness that Lahiri Mahasaya has identified as
Paravastha. When in this state, one can forget about breathing and
experience a great tranquility, without any thought. It's crucial to overcome
the I-conscience, the Ego identification, and recognize that one exists
solely as pure awareness. Spending ten or twenty minutes in this state will
give you an intimate sense of joy.

3
According to the reference literature, a perfect Kriya Pranayama requires 80
breaths in an hour, with an average of 45 seconds per breath. A beginner is far from
reaching such a rhythm. Instead, it is better for him to forget about this information
completely, relax, and enjoy his Pranayama as it spontaneously happens.

86
SECOND STAGE
Incorporate the following action into your perception of the spinal current:
chant mentally Om in every Chakra, from the Muladhara to the Medulla,
while inhaling. As you exhale, mentally chant Om in the Medulla and every
other Chakra, slowly moving towards the Muladhara. Mentally chanting
Om will occur 12 times during each breath. Going up and down the spine,
making a noise in the throat, feeling sensations of coolness and warmth,
and placing Om in each Chakra is definitely a difficult task!
Lahiri Mahasaya encourages us to pursue this goal by stating that without
chanting Om in every Chakra, we will experience a variety of useless
thoughts that will disturb us. Without the mental chanting of Om, Kriya is
described as tamasic, which means that there are constant distractions.
Mentally chanting Om can make the described procedure easier. Your
awareness is trained to be more disciplined, allowing it to patiently obey
you as you move up and down within the spine. By adhering to this
teaching, the mind will no longer be swayed in different directions and will
stay on the path of the spine.

THIRD STAGE
This lofty stage is exclusively for those who have practiced the previous
two stages for an extended period and are highly satisfied with their
progress. The practice I am describing requires starting with a minimum of
48 Kriya breaths. After completing these breaths, the center of awareness
becomes established in the fontanel or, more broadly, in the upper part of
the head. To achieve this, the eyes must be in a specific position.
In his well-known portrait, Lahiri Mahasaya holds this position. The lids of
the eyes are either closed or partially closed. The eyes are looking upwards
as much as they can, mimicking looking at the ceiling, but keeping the
head still. Gradually, the slight tension felt in the muscles attached to the
eyes disappears and the position can be held comfortably. The sclera (the
white of the eye) can be seen by the viewer beneath the iris because the
lower eyelids are often relaxed.
By positioning the eyes in this way, Prana gathers at the top of the head.
It's apparent that one must practice everything learned in the first and
second stages simultaneously during this third stage. Energy flows from
Muladhara into the seventh Chakra, but Om chanting only occurs in the
first five Chakras and Medulla.
From time to time, you may feel like you're in a state of mind that
resembles falling asleep, when suddenly regain full awareness and discover

87
that you're absorbed in the spiritual light. It's the same feeling as when an
airplane emerges from clouds into a transparent, clear sky. Practicing Kriya
Pranayama this way is truly intoxicating.

Summary of the Kriya Pranayama technique

Here are the main points to remember:

[1] Kriya Pranayama is started by taking a series of deep breaths, creating

a sound in the throat without exerting too much effort. Almost immediately,
one can perceive a sensation of coolness rising in the spine during
inhalation and a sensation of warmth falling during exhalation.
[2] Those who are skilled in recognizing these sensations can mentally
recite Om in every Chakra, both while ascending and descending.
[3] After completing the previous two stages, the attention is directed
towards the top of the head. Such attention is maintained stable in this
region for all subsequent breaths.

Note. It is appropriate to add gradually the techniques explained in chapter

7. An important achievement is to be able to practice Kechari Mudra.

EVENTS THAT CHARACTERIZE ONE'S PROGRESS IN KRIYA OVER TIME

The practice of Kriya Pranayama deepens with time. Lahiri Mahasaya
mentions this fact when talking about ''Uttam Pranayama'' (Excellent
Pranayama). I will attempt to describe certain events that can be associated
with this practice.

[1] The breath becomes more subtle

To improve your perception of the subtle spinal canal, it's crucial to inhale
deeply and slowly. While breathing, it may be beneficial to concentrate on
the frontal part of the fifth Chakra, Vishuddha. Feel that energy flows in
your spine by virtue of this Chakra. It is explained that thanks to it, a
vacuum is created in the throat, which causes energy to be raised within the
spine as if you had a syringe. Picture the movement of air as if it were
happening through a straw.
It should be noted that the current travels between the base of the spine and
the Medulla, where the sixth Chakra is situated. Avoid trying to force it to
reach the point between the eyebrows. The breath is transformed and

88
internalized thanks to a constant and persistent effort. The sound becomes
very weak, almost unintelligible. The breath seems to take on a life of its
own, moving without any effort on behalf of the practitioner.
[2] Listening to the inner sound of Om
It is possible to hear Om's inner sound while practicing Kriya Pranayama.
The practitioner may be able to hear a constant ringing similar to that of a
bell in the distance. This experience could turn into the sound of ''many
waters''. This is the authentic sound of Om.
This sound is described by Lahiri Mahasaya as being produced by multiple
people hitting the disc of a bell, and he explains that it is continuous,
similar to oil flowing from a vessel. It is certain that hearing the sounds of
rushing waters or waves lashing the rocks will lead to an ecstatic state.
[3] When one concentrates on the point between their eyebrows, they
recognize that the center of their consciousness is situated in the Medulla.
When practicing Kriya Pranayama, it's advised to observe any type of light
or color with closed eyes at the point between the eyebrows, regardless of
how faint it may be. Visualizing is not necessary, all we need to do is be
aware of what is happening. By paying attention to the point between the
eyebrows, a gentle movement can be made to bring the two eyebrows
slightly closer towards the center of the forehead.
This movement is mostly about intention and not much physical activity.
Avoid straining your eyes. It's best to let them naturally gravitate toward
the feeling of creating a vertical furrow between their eyebrows. Over time,
one comes to understand that it is beneficial to recognize the center of one's
consciousness at the back of the spine, where the Medulla is situated. This
is how the inner light is perceived at a deeper level.
[4] Correct attitude to be maintained while practicing Pranayama
Initiate every Pranayama session by realizing that it is a process that, in a
certain way, progresses automatically. To achieve the correct attitude, it is
necessary to simply enjoy the sensation of cool air rising up your spine and
then warm air flowing down. When the breath flows in and out of the
lungs, an energetic movement in the spine arises. This event can lead to a
sense of joy. After a while, this method of practicing results in an
extremely strong sense of energy. It is at this point that a devotional
attitude can arise.
Over time, many practitioners have reported finding it easier to allow the
inner Guru to perform the various Kriya breaths in their place. True Kriya
commences by utilizing the Inner Power and the Infinite Intelligence of the
Guru that is within us to perform the technique. It is the 'inner Guru' that
can control the movement of energy in the spine, not the mind or

89
willpower.
[5] Refinement of one's perceptions
Advanced students will observe an improvement in their senses: their eyes
are capable of observing deeper colors and tones. Both tastes and hearing
and touch improve. This is a consequence of a purification process that
takes place in the nervous system. Purifying our being is the goal of Kriya's
practice in order to receive or feel a more intense bliss in the brain. As the
years pass, this should become more apparent.

FOURTH STAGE
In the end, we intend to discuss a profound experience of Kriya
Pranayama. The 'Fourth Stage' is precisely what we are trying to define.
The practice described in the first three stages is a real gem that embodies
the essence of beauty. Time passes without being noticed, and what may
appear to be an exhausting task turns out to be as simple as a moment of
relaxation. It is good to focus on these stages. Eventually, the fourth stage
will come as well.
At a certain point, the breathing process stops and, according to various
writings, the breath 'becomes like a point'. In other words, it doesn't
fluctuate within the spine but remains still while the consciousness is in a
blissful state. This state is a result of years of practicing Kriya Pranayama.
Let it be clear that we are not talking about holding breath forcefully. When
it occurs, a kriyaban doesn't need to inhale; or, if they take a short
inhalation, they don't need to exhale for a very long time. Longer than
science considers possible.
People who experience this state notice, amazed but without any agitation,
that they are not breathing at all. They have the impression that a new
energy is sustaining the body's vitality internally without the need for
oxygen. When the breath is completely absent, the mind is in a state of
perfect silence or as if it has dissolved.
This is the 'Fourth Stage' of Kriya Pranayama. The mystery surrounding
this event is enticing. Numerous kriyabans find it hard to imagine it. Even
those who have been practicing for a long time with genuine dedication
believe that it is impossible and that any statement about its occurrence is
untrue. Nevertheless, it can be experienced.

WE HAVE OUTLINED REMEDIES FOR THOSE WHO FIND THE KRIYA

PRANAYAMA TECHNIQUE DIFFICULT TO PRACTICE
Following the previous instructions may be a challenge for some
individuals. There are numerous reasons to elaborate on this. I am

90
proposing four solutions. The first is for those who believe they are not
suitable for Kriya because their breathing tends to be short. We put forth
effort to persuade those individuals to change their mindset. The second
choice is for those who struggle to detect the Chakras' position. The third is
more serious and pertains to those who feel the need for a preparatory
program that is based on the classical Pranayama of Hatha Yoga.
The fourth will be depicted in chapter 15 and is intended for those who are
curious and willing to confront a totally new approach that is based on an
extremely simple procedure. Apart from the primary remedy, which is
overused, the individual can decide when and whether to commence the
standard practice of Kriya Pranayama. He or she can either abandon the
other proposed procedures or keep a small portion or all of them as they
prefer.

FIRST REMEDY FOR THOSE WHO FEEL THEIR BREATHING IS TOO

SHORT
It is a challenge to handle the fact that Kriya Pranayama has to last 45
seconds. There are many individuals who experience depression and
believe that this is impossible, at least for them. Others remain calm despite
this information and allow their breathing to be natural. They don't worry
about the length of their breath when attempting to take a slow and deep
breath. Several wise masters have also offered this advice.
The sound in the throat that should be audible during Kriya breath is still a
problem. Does it need to be clear and strong? It is stated that it is beneficial
to perceive it, but it is not recommended to exert too much effort to
improve its strength. In a nutshell, it is mentioned that if one practices with
concentration and pays attention to the chanting of Om in each Chakra,
everything should happen in the best way over several months of practice.
The wise person realizes that their Kriya practice may not be perfect
immediately and calms down. The relaxation and peace that Kriya
Pranayama provides is something they enjoy. To put it briefly, this is the
right mindset.

SECOND REMEDY FOR THOSE WHO HAVE DIFFICULTY PERCEIVING

THE POSITION OF THE CHAKRAS
Practice of Kriya in loops
We commence with a sequence of deep breaths that consistently begin at
the first Chakra, Muladhara, and progress to each of the 5 Chakras
situated above it in their natural sequence.
Each of these breaths is an invitation for Prana to enter Sushumna and start

91
ascending higher. We will always use natural, calm, and non-forced
breaths. Concentrate your mind in Muladhara.

Fig. 2 Kriya in loops

By inhaling, raise consciousness in the second Chakra. After a pause,

exhale and come back to Muladhara with awareness. Do the same thing by
raising your consciousness from Muladhara to the third Chakra through an
inhalation. Then after a pause, exhale and return with awareness in
Muladhara. Repeat the same process for every Chakra. You will be able to
arrive at Chakras 4, 5, Medulla. Now, repeat the process, reversing its
order. From Muladhara reach Medulla again, then Chakras 5, 4, 3 and 2. In
total there will be 10 breaths. This is one cycle. Perform a total of four
cycles. Thus, there are a total of 40 breaths.
Trying to grasp the reality of every Chakra, both while in Muladhara and
in any of the 5 Chakras above, is advantageous. Attempt to perceive
something in each of them. It's important to attempt to feel the reality of
each Chakra. The Chakras are a set of six spheres of spiritual light that are
placed one above another. As you enter each of these spheres, you will feel
that they transmit calmness and stillness.

A THIRD OPTION FOR SOMEONE WHO IS CAUTIOUS AND ENJOYS

PREPARATORY EXERCISES
First preparation: Nadi Sodhana – To ensure that the breath can freely
flow, it is necessary to clean the nostrils before starting the exercise. To do
this, it's recommended to use water, inhale eucalyptus oil, and blow your
nose. If one nostril is constantly blocked, it is a medical issue that requires

92
consideration. Pranayama exercises should not be practiced if there is a
serious cold causing obstruction. The mouth must be shut.
Concentrate on the Muladhara Chakra. Use your right thumb to close your
right nostril and breathe deeply and slowly through your left nostril for 6-7
seconds. Imagine that the inhaled air is lifted along the left side of the
spine. Hold your breath for 3-6 seconds by closing both nostrils. As you
hold your breath, contract the muscles at the base of your spine. This
contraction is referred to as Mula Bandha. Hold your left nostril closed,
open your right nostril, and exhale deeply and slowly.
Inhale using your right nostril. Imagine that the energy from the inhaled air
is being attracted and lifted along the right side of the spine. Hold your
breath for 3-6 seconds by closing both nostrils. Throughout this hold,
practice the Mula Bandha contraction that we previously discussed. Close
the right nostril and exhale through the left nostril in a slow, even, and deep
manner for 6-10 seconds. The first cycle is complete. Six cycles will
suffice. There are multiple ways to open and close the nostrils using
fingers. Everyone has their own preferred method. After finishing this
exercise, take a few quick breaths to ensure your blood is well-oxygenated
and fully relax.
Second preparation: Ujjayi Pranayama – Inhale deeply through the
nostrils, producing a sound, a noise in the throat. Concentrate your
attention solely on that sound. Effortlessly, the duration of each breath
increases after a few breaths. Continue until you experience two
sensations: coolness when you inhale and warmth when you exhale. Enjoy
the comfort of these sensations while remaining immobile and impassive.
It is evident that you are not performing the classical method of Kriya
Pranayama. The energy is not being directed upwards and downwards
during inhalation and exhalation. Additionally, you are not endeavoring to
perceive the location of every Chakra.
Think of the Kutastha point between your eyebrows as a cave where you're
sitting with a firm intention to remain still and enjoy the beneficial feeling
that this breathing technique brings. Don't force a precise rhythm for the
two phases of the breath. Neither of these phases occur at a specific time,
but rather when the natural urge to breathe occurs. If you fail to follow this
instruction, the effects will be minimal.
It won't be long before you realize that every exhalation generates a certain
amount of energy in your lungs and torso. The discovery of the intrinsic
power of exhalation is a process that takes time. Enjoy the experience of
observing this energy. Everything happens without effort; there's no need to
make any sensation more intense. You will eventually come across a
straightforward way to internalize your breath. It's amazing that this

93
procedure can lead to a state of deep inner awareness!

FOR THOSE WHO WANT TO TRY A METHOD THAT IS INCREDIBLY

SIMPLE
It is interesting to explore the teachings of a specific school of Kriya Yoga,
presented in chapter 15 (fourth part of this book). According to some, this
school could date back to Master Swami Pranabananda, a direct disciple of
Lahiri Mahasaya. A central point of this teaching concerns the risk for
beginners of making excessive physical effort during the practice of Kriya
Pranayama. In particular, reference is made to the tendency to force the
visualization of energy penetrating the Chakras, crossing them one by one.
The proposed solution is to concentrate exclusively on the Kutastha, the
point between the eyebrows. For a deeper understanding of this approach, I
recommend consulting the first pages of chapter 15 and applying the
teachings as needed.

94
 CHAPTER 7

LAHIRI MAHASAYA'S KRIYA YOGA – PART 2

(Completion of First Kriya)

In order to conclude the explanation of Kriya Yoga as taught by Lahiri

Mahasaya, it is necessary to include the details of the techniques that are
performed alongside the main technique. The refinement of Kriya's practice is
achieved through them.

Maha Mudra is the most effective preparation for Kriya Pranayama, and
there are also Navi Kriya and Yoni Mudra that are usually done following
it. The practice of Mental Pranayama will be added to these techniques.
We will also give a detailed explanation of how to achieve Kechari Mudra.
The primary technique of Kriya Yoga is the practice discussed in the
previous chapter. The value of it is unmeasurable: there are no other
procedures that match its beauty and effectiveness. Adding additional
technical instructions may slightly disrupt this idyll.
However, the traditional First Kriya teaching involves the use of these
additional procedures. Take your time to study every aspect of this chapter
and make an effort to follow these directions. You won't have to worry,
these techniques are both enjoyable and useful.

MAHA MUDRA
Practice the following procedure by placing a carpet on the floor. Place the
left leg under the body with its heel as close to the perineum as possible,
then extend the right leg forward. Deeply inhale and experience the energy
rising up your spine until it reaches your head.
Hold your breath, lean forward (very relaxed) and use both hands to gently
pull your right toes back a bit. When fully extended, the chin naturally rests
against the chest. Continue to hold your breath and mentally repeat 'Om' at
the spot between your eyebrows 6 times. While you do this, contract the
anal and abdominal muscles and slightly draw the abdominal muscles
inward to bring the navel toward the center of the lumbar region.

95
 Fig.3 Maha Mudra

Keeping your breath, return to your starting position. Exhale in a calm

manner and sense a flow of calming energy through your spine to your
Muladhara Chakra. Perform the same procedure with the roles of the legs
reversed and then repeat it with both legs extended. This is a Maha Mudra.
It takes about 60-80 seconds. It is necessary to repeat the Maha Mudra
three times.

A variation of Maha Mudra.

When stretching forward, it's possible to relax your breath and repeat the
Mantra Om 12 times, but not in Kutastha, but rather in Muladhara Chakra.

Note 1
Success in this Mudra must be easy and there should be no harm! Initially, it's
not possible for many kriyabans to maintain a straight leg without risking hurting
their back or knee. To avoid this, you can permit the extended leg to be slightly
bent at the knee to ensure a comfortable position! In due course, you will be able
to follow the instructions without any issues.

Note 2
It is recommended by the most severe Kriya schools to perform one Maha
Mudra for every twelve Kriya Pranayamas. The minimum number is three. (To
be clear, if you practice 60 Kriya Pranayama, you have to do Maha Mudra five
times, while if you practice 12 or 24, you need to practice three.) Unfortunately,
having heard various kriyabans, I can say that it's a miracle to come across one
that carries out the three repetitions expected. There are individuals who deceive
themselves into thinking that they are practicing Kriya correctly, but they have
never practiced a single Maha Mudra. It is evident that depriving oneself of it
and living a sedentary life causes the spine to become less elastic. As time goes
on, conditions get worse and it's almost impossible to maintain the correct

96
meditation posture for more than a few minutes, which is why Maha Mudra is
such a crucial part of a kriyaban's practice.

Effects
Maha Mudra has all three Bandhas included. Applying them
simultaneously while bending forward, one can become aware of both ends
of the Sushumna and feel an energetic current moving up the spine. As time
goes by, it becomes possible to see the entire Sushumna as a channel of
radiant energy. Using this technique alone, we have accounts of yogis who
have had fantastic experiences. According to what they are saying, there
has been a significant increase in the perception of Sushumna. There are
kriyabans who have set aside all the other Kriyas and are practicing only
144 Maha Mudras a day, divided into two sessions. Their opinion is that
Maha Mudra is the most beneficial technique in all of Kriya Yoga.

Details of little importance

It has come to my attention that some schools are insistent on irrelevant details.
For instance, they instruct the practice of bringing closer to the body the knee of
the leg being stretched to ensure that the upper leg is as close to the chest as
possible. The hands, which have their fingers intertwined, are wrapped around
the knee and apply pressure to it. Before the third movement, both knees are
brought closer to the body. It is said that this can help to keep the back straight
and allow the inner sound of the Anahata Chakra to be audible. This seems
improbable to me, but I refrain from commenting.

NAVI KRIYA
Many people find this technique to be tedious and skip it because they
don't see the benefits. In fact, practicing it is not strictly necessary when
starting Kriya Pranayama. It will become increasingly important to keep
the breath subtle before dealing with the Higher Kriyas.

Description of the technique

Don't pay attention to your breath; let it be natural. Bring your chin down
into the hollow of your throat. Repeat the Mantra 'Om' 100 times either
verbally or mentally in the navel region. Then rise the chin as high as
possible, Om is chanted about 25 times, with attention focused on the third
Chakra Manipura. This is one Navi Kriya. Perform a total of four Navi
Kriyas.

97
 Fig.4 Navi Kriya

If you'd like, the hands can be involved in this exercise. In the first part, the
thumbs gently press the navel during each Om chant by interlocking the
fingers with palms down and the tips of the thumbs touching. When the
chin is raised, the fingers intertwine behind the back and the palms are
facing upwards. For each Om, the thumbs apply light pressure to the
lumbar vertebrae.

Variant of Navi Kriya

To make this variation, chant the mantra Om alternately between the point
between the eyebrows and the navel. Mentally chant Om in Kutastha when
you experience a spontaneous inhalation. Mentally chant Om in the navel
when a spontaneous exhalation occurs. Repetition of this will result in a
strong sense of calm and the tendency for your breath to disappear. After
chanting Om for around 100 times, raise your chin. Chant Om mentally
while alternately chanting in Bindu and in Manipura. After chanting Om
about 25 times, return to the normal position of the chin. This signifies that
you have executed this version of Navi Kriya once. Finding time to
practice the entire procedure four times is difficult because this practice is
slower than the previous one. Two repetitions are sufficient due to this
reason.

YONI MUDRA
The perfect time to practice this technique is in the deep stillness of the
night, when silence is all around and one is totally and perfectly relaxed.

98
The quality of sleep following Yoni Mudra is improved. Awareness can
attain the so-called state of "Super-consciousness" by passing through the
layers of the subconscious.
Inhale deeply using a Kriya breath, guide the energy into the central part of
your head and close your ears with your thumbs. The index fingers should
be used to close the eyelids, the middle fingers should be used to close the
nostrils, and the ring and little fingers should be used to close the lips.
Pointing outward, the elbows are parallel to the ground. Make sure they
don't become too exhausted; offer them support if needed.
Hold your breath and mentally repeat 'Om' several times while looking at
the point between your eyebrows. Try to hold your breath for as long as it
feels comfortable. The index fingers shouldn't press on the eyes while
observing the light, as this would be harmful and useless! Pull the lids
downwards with your index fingers and then press onto the top of the
cheekbones at the corners of the eyes. When you feel the urge to breathe,
exhale and bring awareness down your spine. Yoni Mudra is usually done
once. After performing Yoni Mudra, try to remain focused at the center of
your eyebrows for as long as possible, in order to experience the light of
Kutastha.
[In the previous chapter, during the description of the initial stage of Kriya
Pranayama, we talked about the significance of maximizing awareness of
the inner space of Chidakasha and trying to perceive its edges well. I urge
you to read those lines again as they are of utmost significance right now.]

Fig.5 Yoni Mudra

99
At certain important schools, it is advised to increase the number of Om
repetitions by one a day, up to a maximum of 200, while holding your
breath during Yoni Mudra. It is recommended not to force. Now, is there
any way to achieve these results without using force? It is clear to us that
meeting this request is a difficult task. From my perspective, it is only after
dealing with the Thokar procedure that this undertaking can be seriously
considered.
For those who are interested in starting this journey, I have a simple
remedy that can alleviate the discomfort of a long Kumbhaka. Following a
quick inhale, firmly shut all the head openings except for the nostrils.
Release a small amount of air, then immediately close the nostrils. Relax
the chest muscles as if you are starting a new inhalation: this will give you
the sensation that your breath is calmer in the area from the throat to the
point between the eyebrows. This situation allows for the repetition of Om
and focus on the point between the eyebrows to continue for extended
periods of time.

A GUIDE TO THE FINAL PART OF THE ROUTINE

As stated in Chapter 6, the Kriya Pranayama technique is broken down
into two parts. The initial segment involves utilizing breath to stabilize and
calm the mind. The second segment involves calming the breath and
turning the mind inward until all that remains is our consciousness, which
is bliss. The name for this action is Paravastha.
Once we have completed the techniques of Kriya Yoga, we will be ready to
experience the deepest meditation. There are several ways to interpret
meditation, with some seeing it as being absorbed into a particular ecstatic
state. Some people advocate for simply taking pleasure in the benefits of
Kriya Pranayama.
However, there is a problem. Trying to get this state without calming down
the breath can result in a simple mental distraction. Therefore, to calm the
breath, we will utilize a highly effective technique that is centered around
concentrating on the Chakras. This practice is called Mental Pranayama.
So let's start with it and then move on to describe the state of Paravastha.

MENTAL PRANAYAMA
Chakras are akin to psycho-physical knots that can be dissolved through
concentration. The action gives us a sensation of vastness and freedom, like
being in heaven, and we melt in pure joy. A Kriya routine that doesn't end
in enjoying such sweetness is like a musical group that prepares all their

100
instruments, tunes them, and then leaves everything without playing! Let's
give an explanation of how to practice this technique.
Upon taking three deep breaths, allow your breath to flow naturally and let
go of it. Move your consciousness along your spine, pausing for 10-15
seconds at each Chakra.
Start by focusing on the first, then move on to the second, and so on. After
ascending to the Medulla, the descent begins with the fifth Chakra,
followed by the fourth Chakra, and so on. A complete round can be
finished within 2-3 minutes. Enjoy a few rounds while boosting your inner
tranquility. Make an effort to perceive the sweetness coming from every
Chakra.
Relax and take pleasure in the natural sweetness that happens without
causing any strain on your Chakras. Keep this experience simple by not
adding unnecessary details, as they may be helpful in other techniques but
not in this one. To cite an example, steer clear of contracting the muscles
near each Chakra, as well as intense visualizations and Bija Mantras. It's
probable that the sweetness will be dispersed. Even chanting Om mentally
in each Chakra might be disturbing at this moment. Stay mindful of every
Chakra until you sense a sweetness that feels like it's melting. During the
practice itself, you will learn the meaning of 'melting'.

PARAVASTHA
The Paravastha session in Kriya involves pure meditation that leads to
enlightenment. Paravastha is a term that means ''Awareness of the after-
effect of Kriya.'' Both the practice of Kriya Pranayama and establishing
Paravastha are vital. After performing both Kriya Pranayama and Mental
Pranayama, we have reached the state that Lahiri Mahasaya referred to as
Equilibrium. It is now possible to maintain sustained attention to
awareness without relying on objects. ''Self-consciousness'' is what the
Paravastha state is all about. In this state, we experience ''Pure Bliss.''
We no longer have to think, no longer have to realize our desires, and no
longer have to grasp goals outside of ourselves. A state of pure bliss is born
from this! In this state, we reside in the ''Present'', where we are conscious
of our ''I am''. To achieve it, all we need to do is to bring Consciousness
behind it and above it. We no longer turn our gaze towards the mental
dimension, but we turn our attention 180 degrees and focus on our own
Consciousness.
Consciousness therefore observes itself. Our attention is focused on pure
essence, which does not have any content. This is the real state of
'Paravastha', a state of self-awareness consciously maintained and
deepened. The feeling of being, of existing leads to a subtle bliss in one's

101
heart. One embraces this bliss and immerses itself in it. It expands and
expands. Paravastha is defined by this. By ignoring any disturbance
caused by thoughts, one can continue in this manner. This power to prevent
the birth of thoughts is possible if one has practiced Kriya well.
Devotion can be approached by those who are capable. If your heart comes
to the most beautiful things that have evoked strong emotions in your life,
it will bring a new level of peace and happiness that you have never
experienced before. A clear realization of the true nature of this universe
will be achieved for you.

FINAL REALIZATION
The Paravastha state's enjoyment is a major factor in the awakening of
'non-dual' wisdom. It is the manifestation of the aim of Jnana Yoga. This
form of Yoga practice that we refer to here is not based on Pranayama
exercises, but rather is derived from Paravastha and is maintained
consciously by using one's intuition. Dealing with the Advaita point of
view of non-duality is not very natural for those who are used to taking for
granted the duality typical of classical Yoga, where the seeker is seen as a
small individual who endeavors to approach the spiritual realization of the
Guru and the incomprehensible perfect vastness of the Divine.
Jnana Yoga offers a different perspective. The seeker and the Divine are
one, but the seeker is hypnotized to think they are a small part of the
Divine, a part that is filled with ignorance and suffering. Usually, people
think that Jnana Yoga is a kind of intellectual practice that involves only
reading scriptures that propose a continuous question 'Who am I?'.
True Jnana Yoga is the awakening of true Discernment-Wisdom that occurs
by dwelling in the state of 'I am'. If you ask yourself, during Paravastha,
'Who am I?', you will hear a clear answer: firstly, 'I am.' I am a
Consciousness that is immersed in Bliss and doesn't engage in life's
experiences.
To attain this awareness, the only way is to dwell and merge with the sense
of existence, understanding that you are just the content-less background of
Consciousness itself. In conclusion, you cannot live only by focusing on
techniques, and you cannot even live on pure philosophy, convinced that
no practice is necessary. To eliminate the distortion of the ego that clouds
the truth of our existence as pure joy beyond time and eternity, a practical
action must be taken.
To summarize, it's important to remember that the correct practice is not
limited to practicing Kriya techniques with excellent concentration on its
own but the one that involves ultimately dwelling in the state of
Paravastha reaching the transparent peak of Jnana Yoga, which is like a

102
transparent and lucid crystal that shines brightly, with the addition of
spontaneous devotion that is born from the silence of one's heart.

Two examples of how to conceive your routine are presented briefly here
The most rational approach is to do Maha Mudra, K. Pranayama, Navi
Kriya, Yoni Mudra at night, Mental Pranayama, and Paravastha.
Another is: K. Pranayama (only 12). Maha Mudra, Navi Kriya, completing
the chosen number of K. Pranayamas, Yoni Mudra at night, Mental
Pranayama, and Paravastha.
The second example is based on commencing with a short Kriya
Pranayama session and then utilizing the techniques of Maha Mudra and
Navi Kriya to prepare for a more intensive Kriya Pranayama session. The
sweetness of Mental Pranayama and Paravastha is what completes this
method of practice.

KECHARI MUDRA
The ancient yogis understood the value of linking the tip of the tongue to
the seat of calm Prana in the brain. The uvula is rarely touched by the
tongue and it's rare for the tongue to enter the nasal pharynx. It is explained
that this prevents people from connecting with the significant energy
resource that exists in the Sahasrara region.
The experience of Kriya Pranayama with Kechari Mudra is an enchanting
one, and it is one of the greatest moments in one's life as a kriyaban.
Generally, a novice holds their tongue in the 'baby Kechari' position. This
means that the tip of the tongue touches the palate at the point where it
goes from hard to soft.
The mind can be quieted by this simple fact. The term Kechari Mudra
entails inserting the tongue into the nasal pharynx cavity. To practice Kriya
Pranayama, it is important to have the tongue in this position. Not
everyone has the ability to practice this way. Let's explain the method
(Talabya Kriya) used to obtain Kechari Mudra.

● Talabya Kriya
The tongue is in a relaxed state, and the tip is touching the inner side of the
upper arch of teeth. Press your tongue's entire body against your upper
palate starting from this position to create a suction effect.
DON'T TURN YOUR TONGUE BACK!

103
 Fig.6 Key part of Talabya Kriya

Once you have achieved the sucker effect, lower your lower jaw by
opening your mouth and feel the stretch of the frenulum clearly. The
frenulum is the tissue that connects the tongue and the mouth's base. The
act of stretching can cause some discomfort. Expel your tongue with a snap
and then release it from your mouth to point towards your chin. In the
beginning, do not exceed 10 repetitions a day in order to avoid straining
too much or causing a wound to the frenulum. In just a few days, you can
achieve 50 repetitions in roughly two minutes.
Regrettably, some individuals are unsuccessful in understanding how to
make the tongue stick to the palate like a sucker before opening the mouth
and stretching the frenulum. They may still be unable to do it correctly,
even if it's shown to them in person.
The key to success is to try it when you're alone and relaxed. Many
individuals practice Talabya Kriya incorrectly by instinctively turning their
tongue back. Their problem is the tendency to concentrate too much on
where to place the tip of the tongue. To achieve a suction effect, the tip of
the tongue must be relaxed while the entire body of the tongue is utilized.

Note
The Talabya Kriya technique can be made even more effective by massaging
both the tongue and frenulum with your fingers. Lahiri Mahasaya was firmly
against cutting the frenulum for quicker and simpler results. Other suggestions
for stretching the frenulum can be found in Hatha Yoga texts. A commonly used

104
method involves wrapping a piece of cloth around the tongue and using your
hands, gently pulling the cloth both horizontally and upwards towards the tip of
the nose. To ensure success, it's important to relax and repeat this procedure
multiple times. In my view, these techniques are not very useful and are not even
remotely comparable to the effectiveness of Talabya Kriya.

I hope everyone understands that Talabya Kriya and Kechari Mudra are
two completely distinct practices! During the initial part of Talabya Kriya,
you can observe concave parts on both sides of the frenulum by opening
your mouth in front of a mirror. If you practice Kechari Mudra perfectly,
you will find yourself in a completely different situation. Namely, the uvula
moves forward but only the root of the tongue is noticeable because the tip
of the tongue is hidden behind the uvula!
Practicing Talabya Kriya, apart from achieving Kechari Mudra, also has a
noticeable relaxing effect on the process of thinking. Talabya Kriya should
not be viewed as a straightforward exercise for stretching (lengthening) the
frenulum of the tongue. When our tongue is stuck to the palate the
energetic fracture between our body and the static Prana reservoir located
in the upper head it temporarily healed.
You can easily enter a meditative state because of this fact. Talabya Kriya
is known for its calming effect on the thought-forming process. It's hard to
explain why acting on the frenulum can reduce the tendency to form
useless thoughts.
It's a fact that anyone can see this effect. Talabya Kriya is a physical action
that requires no concentration, which is odd to say. A distinct sensitivity in
the Medulla region can be developed by applying pressure to the tongue
against the upper palate and maintaining the suction effect on the palate.
The tongue extension detail is also significant. The tongue, when fully
extended, pulls in certain cranial bones and aids in the decompression of
the entire area.

● What happens when you practice Talabya Kriya for a few months?
It is appropriate to assess how close we are to Kechari Mudra after
practicing Talabya Kriya daily for several months.
By pushing the base of the tongue inwards with two fingers, we can check
if the tip of the tongue can touch the uvula. If the tip of your tongue is
contacting your uvula, try to push the base of your tongue inward for some
time every day. When the time comes, the tip of your tongue will be
capable of going beyond the uvula. In time, it will be possible for you to
touch the pharynx located behind the uvula. At some point, the tip of the

105
tongue will extend into the nasal pharynx for a short distance. It's likely
that removing the fingers that were pressing on the base of the tongue will
cause it to slide out immediately. After a few more days of exercise, the
tongue will remain in that position as if it had been "trapped". This moment
is crucial. The tongue can't slide out because the soft palate (from where
the uvula hangs) acts as an elastic band.

Fig.7 Kechari Mudra. The tip of the tongue enters the nasal-pharynx

The practice becomes easier and more comfortable if you practice at least
6-12 Kriya Pranayama with your tongue in this position every day. Of
course, there are drawbacks like increased salivation that occasionally
necessitate swallowing. This method of practice allows some individuals to
attain the Kechari position without the use of their fingers. The tongue tip
has the ability to enter the nasopharyngeal cavity without any assistance.
Inhaling and exhaling through the nose will always be possible in this
cavity.
According to some stories, the tongue should be able to extend even higher
than the nasal pharynx. According to anatomical atlases, the tongue is
unable to move further once it has filled the nasal pharynx. The statement
in these stories should be interpreted as a suggestion of what a typical
person deceives themselves into believing is taking place. It's possible to
have a strong attraction towards the point between the eyebrows by
extending the tongue to its maximum limit. The sensation of reaching a
higher position with the tip of the tongue originates from this.

106
While practicing Kechari Mudra during Kriya Pranayama, the exhalation
has a subtle sound that resembles that of a small flute. It is symbolically
known as the 'flute of Krishna'. This Sound is generated in the nasal
pharynx's upper part. After a prolonged period of practice, it is no longer
possible to distinguish the difference between the sound of inhalation and
that of exhalation. The sound Lahiri Mahasaya described is like blowing air
through a keyhole. He stated that it is capable of eliminating any external
factors that cause distraction, including thoughts. He explains that it's like a
razor that removes everything that's connected to the mind. The shee shee
sound can be easily intensified to bring about the awakening of Kundalini.
In any case, always allow this sound to completely engulf your mind.

Is Kechari Mudra essential for the practice of Higher Kriyas?

According to Kriya reference literature, reaching Kechari Mudra is essential for
being initiation into the Higher Kriyas. It's not uncommon for a Kriya teacher to
ask for the Kechari to be performed in person by inviting them to open their
mouths and verifying that the tongue is inserted into the nasal cavity. While
Kechari Mudra's effect is significant, I am of the opinion that it is important, but
not essential. It is false to believe that one can't attain the state of Eternal
Tranquility until one is established in Kechari Mudra, which I have heard many
times.
It's hard to believe that Kechari's achievement can create a distinct divide among
people. Those in lower classes won't be able to access the Higher Kriyas because
they won't be capable of obtaining something physical based on their constitution
instead of their efforts. They will never be able to accelerate their spiritual path
because nature has not provided them with a longer frenulum or a nasal pharynx
that is more accessible at the tip of their tongue! I find this idea to be absurd!
I am in full support of P.Y.'s decision to offer Higher Kriyas initiation to those
unable to practice Kechari Mudra. Taking into account Lahiri Mahasaya's
attitude toward taking part in human suffering, I think that this great Master also
behaved similarly.

Kechari caused me to experience dizziness that lasted for a few weeks.

Eventually, I learned to manage this mental fog. Those who are able to
reach this position of the tongue should be cautious during the first three
weeks as they may experience a feeling of dizziness that causes their
mental faculties to seem dull. It's advisable to be aware of this and consider
avoiding driving or working if there's a significant amount of risk involved.

107
I recall my initial encounter with Kechari Mudra, especially the instances
when I held this position for a many hours
When I reached stability in this Mudra, I noticed some of its effects. At
times, this technique permits the tip of the tongue to touch the area where
the nasal passage meets the nasal pharynx. In Kriya literature, the soft
tissue in the nose that contains the nasal holes is referred to as the ''uvula
above the uvula.''
The tip of the tongue is able to comfortably touch this small area. During
the execution of the Kriya routine, it is possible for breathing to become
almost still. Without looking at anything particular, the gaze suddenly stays
fixed on the infinite. The mind is calm and free from unnecessary thoughts.
The state of consciousness is marked by silence and transparency, with the
mind stopping talking.
The mind functions more rationally and gets the benefits of rest; every
thought becomes more concrete and precise. During the day's activities, it
is possible to use intuition to handle any practical difficulties that may
come up in life. The inner order's perfect transparency makes it possible to
solve problems.
Modesty is always admired, but once it's experienced, there's a great
euphoria (like discovering Aladdin's magical lamp). The ideal of perfection
in Kriya Pranayama is represented by a practice with Kechari Mudra.
The days when I spent hours with the tongue in Kechari Mudra are
especially memorable to me. I would occasionally take a walk. When I
stopped and talked to someone, I was so happy that I couldn't hold back
tears of joy.
Suddenly, joy burst out of my chest and reached my eyes. I concentrated on
the distant mountains and attempted to direct my emotions in a manner that
would transform my paralyzing joy into an aesthetic rapture. This was used
by me to conceal my joy. To the person in front of me, I would emphasize
the beauty of the scenery.
Comparing the new condition in which I spent those days to what I
believed to be the life of mystics, I became aware of the difficulty of living,
of carrying out daily and worldly duties without feeling paralyzed by an
ever-present feeling of intoxication! When I realized the benefits of
practicing Kechari Mudra and felt that it's beauty overflowed and saturated
my life, I think I was born to the original Kriya.

108
 ... it's hard to stay mad, when there's so much beauty in the world.
Sometimes I feel like I'm seeing it all at once, and it's too much, my heart
fills up like a balloon that's about to burst... And then I remember to relax,
and stop trying to hold on to it, and then it flows through me like rain and
I can't feel anything but gratitude for every single moment of my stupid
little life. (From the movie American Beauty; 1999)

MAKE SURE TO FAMILIARIZE YOURSELF WITH THE PRACTICES

MENTIONED IN CHAPTERS 6 AND 7
In my view, it's a good idea to proceed calmly without any hurry and
realize that starting well is essential. Therefore, it is fundamental to begin
with the practice of Kriya Pranayama as illustrated in Chapter 6. I have
already mentioned that taking a break in the first stage for a few weeks or
months is advantageous. Prior to moving on to the third stage, the second
stage must be given the same amount of time. The sole obstacle is when
the breath stays short and never becomes long as needed. In the last part of
Chapter 6, we have already addressed this problem.
The fact that it is not possible to identify the exact position of the Chakras
is a source of frustration. It's hard to see them as tangible realities on one's
spine. Don't worry, everything will happen spontaneously and on time.
Gradually applying the teachings of chapter 7 is advisable at this point. The
Kechari Mudra is one of the most important teachings. Unfortunately, this
Mudra is not available to everyone. It will be up to someone to give up on
it. There's no need for anything tragic. Baby Kechari can suffice!
What are the benefits of studying and practicing the Higher Kriyas?
''The spiritual path to final realization can be achieved by limiting one's
practice to the techniques of the First Kriya.'' That is what Lahiri Mahasaya
stated! Nevertheless, it is a fact that the First Kriya can be improved by
adding tools that can be deeply valued over time. According to Lahiri
Mahasaya, Thokar practice could be highly beneficial. He recognized the
fact that some of his students put in a lot of effort in practicing this
technique. As his experiences developed, he came to the realization that
there are other methods that can help one achieve perfection in the practice
of Kriya Pranayama. I am mainly talking about Thokar Tribhangamurari's
practice.
To enhance our understanding of this situation, we should examine a well-
known fact in Kriya literature. According to the explanation, Kriya Yoga is
a spiritual path that can be divided into four stages, which are defined as
follows:

109
1. Raising the tongue
2. Piercing the knot that is located in the middle of the dorsal spine
3. Cutting the knot in the navel
4. Cutting the knot situated at the center of the coccyx

Let's endeavor to clarify the essence of these knots. As you can see, their
consideration is from the top to the bottom. Now, it's important to
remember that Kundalini's journey during the embryonic stage before
human birth commences immediately after our conception. The Medulla is
the starting point. Afterwards, the cells commence the process of forming
our brain. After that, the cells of the spinal cord undergo progress. The
sequence in which these knots are untied is the same. The untying happens
when a person is born and begins to evolve humanly, physically, and even
spiritually. They are not just obstacles that need to be removed. In each of
these four phases, there are numerous subtle processes that need to take
place.
Pacifying the Prana of the entire body is the most crucial spiritual process
that results in the state of ''calm breath.'' It's crucial to remember this as we
talk about untying the four knots.
The tongue knot (Jihuah – or Jihva – Granthi) is a natural consequence of
our tongue not normally touching the uvula or entering the nasal pharynx.
Due to this reason, we are unable to access the energy reservoir located in
the Sahasrara region. Kechari Mudra can aid us in gaining access to this
inexhaustible internal source of energy and observing subtle changes in our
psychological system. The primary aim is to reduce the unwanted and
useless thoughts that our mind constantly produces.
After achieving Kechari Mudra, the journey towards Muladhara with calm
Prana has started. The heart knot (Hridaya Granthi), which is also known
as Vishnu Granthi, needs to be considered. The god of preservation is Lord
Vishnu. The desire to keep ancient knowledge, traditions, and institutions
alive is reflected in this knot. Compassion and a strong desire to aid those
in need are generated. While this is beautiful, we should also realize that by
removing this knot, we free ourselves from false bonds that are deeply
rooted in our genetic code. In the Kriya tradition, this knot dissolves after
completing the Thokar procedure. The practical significance of Thokar in
liberating us from the disasters caused by frenetic and violent emotions that
suddenly manifest will be explained by me at the end of Chapter 8. By
overcoming or mastering them, we can achieve an imperturbable state of
calm. It's evident that this is a fact that anyone can comprehend. We
comprehend how appropriate it would be to undertake at least the practice
of Thokar, also known as Second Kriya, if life circumstances permit it.

110
The navel knot, also known as Nabhi Granthi, is where the Prana and
Apana currents combine to activate the balancing Samana current.
Mastering the Navi Kriya technique or using the Tibetan Tummo method is
a way to release this knot. When our breath is calm, our consciousness is
able to connect with the spiritual channel of Sushumna located at the center
of the spine.
Now let's talk about the final knot. At the center of the coccyx, there is a
knot that holds ignorance of our infinite nature (Brahma Granthi). Spiritual
exploration is greatly hindered by this obstacle. The free movement of
Kundalini within the spine is hindered by it. Meditation cannot be effective
unless this knot is released. The world of names and forms can cause
restlessness and hinder the mind from focusing on one thing. The mind is
filled with ambitions and desires. Lahiri Mahasaya's Kriya Yoga allows for
gradual release of this knot with Kriya Pranayama. The Fourth Kriya
technique described in Chapter 8 or the Macro and Micro Tribhangamurari
techniques explained in Chapter 9 are both practiced for the same reason.
Kundalini's release from the Brahma Granti knot breaks the illusion
screen, allowing her to rise with all her power and reach Kutastha. The
yogi is comforted by the supreme Atman located in the Spiritual Heart as
the time-bound consciousness dissolves. The entire process of liberation
has been completed.
So, what is the purpose of the Higher Kriyas?
In practice, they are concerned with untying two knots: that of the heart
and that of Muladhara. The practice of the Higher Kriyas is performed
only when the breath has become more subtle and calm through Kriya
Pranayama, and obviously, when there is sufficient time for such practice.
These practices are normally carried out at the end of life, when the
individual is retired and their children have grown and are independent.

111
 CHAPTER 8

LAHIRI MAHASAYA'S KRIYA YOGA

( Higher Kriyas as explained by Major schools)

My focus is on the descriptions of Higher Kriyas that enable those who follow
the Kriya path to overcome even the most stubborn internal obstacles. The
techniques outlined involve practicing Kumbhaka, which is holding the breath.

The Higher Kriyas come in many different forms, but we will be focusing
on the tradition that was passed down by Panchanan Bhattacharya, who
was directly taught by Lahiri Mahasaya. There are two categories of
Kriyas: the initial group (which we will cover in this chapter) demands the
ability to hold one's breath for an extended period of time. This skill is
always developed with great caution and in a gradual manner.
The remaining group will be discussed in the forthcoming chapter, which
necessitates attaining the state of 'calm breath' state before practicing. The
state of 'calm breath' is achieved by the kriyaban by attaining a long, but
extremely subtle, almost non-existent breath while practicing Pranayama.
The throat is no longer making any sound. Putting into words the state of
'calm breath' is a difficult task. It is only those who have experienced it in
their own practice that can understand it.
The techniques that are covered in this chapter include the technique of
Thokar, the Advanced Thokar, and Pratichakra Omkar Kriya. Thokar is
given the name Second Kriya, while Advanced Thokar is given the name
Third Kriya, and finally Pratichakra Omkar Kriya is given the name
Fourth Kriya. These are the names commonly utilized by schools
connected to Panchanan Bhattacharya.

SECOND KRIYA: THOKAR

Once a kriyaban is well-versed in the principal technique of Kriya Yoga,
which is Pranayama, he can complete the exercise of Kriya Yoga by
adding the Thokar procedure to his routine. According to the ancient
Hatha Yoga texts, Pranayama cannot be effective without the three
Bandhas (Jalandhara, Mula, and Uddiyana). Well, these Bandhas can be
found in Thokar. According to these texts, the Bandhas are ineffective
without the Maha Veda. The fourth Chakra is subjected to a strong
injection of force by Maha Veda. In anticipation of our explanation, we can

112
say that the kriyaban uses a 'jerk' to direct his inner strength towards the
Chakra of the heart. Thokar's distinctive feature is this technical detail.
The mind experiences emptiness and encounters a state of perfect calm.
In his diaries Lahiri Mahasaya wrote:
The breath is normally oriented externally. If, through the practice of
Pranayama, it is internally oriented, then it is possible, through the
technique of Thokar, to open the door to the inner temple. With a strong
action on the Anahata Chakra the door opens. Deep absorption occurs
and this state becomes stable for a prolonged period.
Practical instruction
This procedure entails using the Vasudeva Mantra 'Om Namo Bhagavate
Vasudevaya' which has 12 syllables. 4 This mantra is used to deeply touch
each Chakra.
Bring your chin down slightly. Moderately tighten the muscles at the
bottom of your spine. To create mental pressure on the first three Chakras,
the hands have intertwined fingers placed above the navel. By adding
Uddiyana Bandha, this pressure is refined. Breathe in and slowly lift your
chin as you follow the inner movement of Prana. Mentally recite the
syllables of the Vasudeva Mantra. Om is chanted in the first Chakra, Na in
the second, Mo in the third, Bha in the fourth, Ga in the fifth and Ba in
Medulla. When you finish inhaling, hold your breath, lower your head
forward, and touch your chest with your chin.
Move your head to the left and turn your face to the left while lifting your
chin until it's over your left shoulder and parallel to the ground. Then rotate
your head to the right, in counterclockwise direction. Mentally intone Te in
the heart Chakra when the head is facing forward centered between the
shoulders and the chin is raised pushing the head backward as much as
possible. Continue rotating the head counterclockwise until the right ear
reaches the right shoulder, avoiding turning the face to the right.
Continue to rotate until the chin is back in the center and touching the
chest. Don't stop, just keep rotating by moving your head to the left,
turning your face to the left, and raising your chin until it's above your left
shoulder. At this moment, tense up the cervical muscles and chant Va in the
heart Chakra.
Continue the rotation to the right. Attained the center point between your
shoulders, bend forward, bring your chin down to your chest with a sharp
movement, and mentally chant Su in your heart Chakra.

4
I received it with the first ''v'' changed to ''b'': 'Om Namo Bhagabate Vasudevaya'. I
have become accustomed to writing it in this form in my descriptions.

113
For a mental count of six, hold your breath in this position. Mula Bandha
and Uddiyana Bandha can be used to boost energy in the heart region.
Keeping your chin down, breathe out quietly. Mentally chant De in
Manipura, Va in Swadhisthana, and Ya in Muladhara.
The duration of the exhalation should exceed the duration of the inhalation.
This moment is very important. If you concentrate on the energy that
radiates from the heart throughout the body, you will be mesmerized by the
power that this procedure can create. Repeat the Thokar process for a
minimum of 12 repetitions.

THIRD KRIYA: ADVANCED FORM OF THOKAR

Our next Kriya is an enormous acceleration of the Second Kriya that unties
the heart knot with greater force. The Kumbhaka for this Kriya must be
longer than the one planned in the Second Kriya. The instruction is to
repeat the blow on the heart, which we've previously described, numerous
times, while maintaining a flawless Kumbhaka. It is explained that the door
of Sushumna is opened by means of this form of Thokar. Upon
experiencing experiences of happiness, pain, peace, etc., the material and
psychic bondage will be cut away.
Practical instruction
Once you have chanted Su in the heart, hold your breath, shift your head
and face to the left by raising your chin over your left shoulder, and
mentally chant Te in the heart Chakra. Continue rotating the head in the
same counterclockwise direction. When the head is centered between the
shoulders, chant Va in the heart Chakra. Afterward, tilt the head forward,
bring the chin to the chest chanting Su in the heart Chakra. Hold your
breath and keep repeating these movements as long as you can. Upon
completion of your effort, exhale quietly. Chant De in Manipura, Va in
Swadhisthana, and Ya in Muladhara mentally.
But now let's take into account what Lahiri Mahasaya instructed: increase
the number of repetitions by one every day until you reach 200 repetitions
of the movement, always holding your breath! It is essential to avoid
feeling uncomfortable! Practice of this procedure with an enhanced number
of repetitions of Thokar is limited to once daily.
Let us reflect on the difficulty of enhancing the repetitions of head
movements while still maintaining a perfect Kumbhaka
Let's inquire: is it feasible to comfortably accomplish 200 rotations without
disrupting the state of Kumbhaka? Despite reducing our movements to the

114
essentials, fulfilling this request seems to be a daunting task. After 20-30
repetitions, it becomes common for kriyabans to become stuck and pant to
regain breath. Would it be acceptable to move your head in an extremely
fast way? This wouldn't be a good idea.
Think about a possible explanation for what happens to those who claim to
have accomplished that goal. When someone approaches the limit of their
ability to hold their breath, a small, almost imperceptible, sigh of air may
be released when the chin is lowered towards the chest. Perhaps a very
small, almost imperceptible amount of air enters when the chin is raised.
Please take note that I wrote 'almost imperceptible'! It is evident that a
person does not perform any particular act of inhaling or exhaling. The
kriyaban is unaware of this fact, and the phenomenon occurs
spontaneously and unconsciously. This kriyaban can be convinced that he
is maintaining perfect apnea.
I am of the opinion that this is the way to achieve the goal of 200 rotations.
Is it within the realm of possibility that practicing this way, which we
perceive as imperfect, will eventually occur in better conditions? In fact,
let's reflect on how these repetitive movements of Thokar can act on the
nerve ganglia of the heart region and influence the central cardio-
respiratory system.
Are these conditions capable of enabling you to achieve the goal of perfect
200 hundred repetitions? I cannot answer. But I cannot think that the
experience of 200 rotations occurs in a state of unspeakable suffering. I
must believe that it occurs in a state of consciousness characterized by an
increased sense of freedom from physical laws. I stress that my writing is
solely based on my personal viewpoint.

FOURTH KRIYA: PRATICHAKRA OMKAR KRIYA

The heart center is where the Prana becomes stable during the Second and
Third levels of Kriya. The Fourth Kriya can be employed to achieve a
consistently stable state of Prana throughout Sushumna, specifically in
each Chakra. The Muladhara Granti gets pierced through the practice of
the Fourth Kriya.
There are numerous variations of this technique. They all share the same
characteristic: through a deep inhalation, the energy of every Chakra is
raised and held in Kutastha for as long as possible without any discomfort.
Learning to hold your breath longer and longer is typically accomplished
by gradually increasing the time you hold it.
In Kutastha, the six Chakras are viewed as a set of six moons. It is stated
that one must be capable of maintaining Prana in Kutastha. If the Prana

115
starts descending slowly below the throat, it must be lifted up into
Kutastha again. By repeating 12 cycles of the entire procedure with
excellent mind stability, you can go beyond the realms of stability
previously achieved. This method will lead to the dissolution of the 'shell'
created by our lack of awareness of our divine nature.

Practical instruction
Concentrate on the Muladhara Chakra. Tense the muscles that are in close
proximity to its physical location. By taking a deep breath, imagine the
Muladhara Chakra rising up to the point between your eyebrows, where
you will perceive it as a full moon. Don't touch the other Chakras. During
this action, they do not exist.
Hold your breath and pay attention to the inner space between your
eyebrows. The Kechari Mudra will make this task easy. 5 There is a
particular color experience that happens between the eyebrows. Chant the
Vasudeva Mantra (Om Na Mo Bha Ga Ba Te Va Su De Va Ya) three times
while holding your breath. Carefully place its syllables into the center of
Kutastha.
Exhaling slowly is a good way to lower this Chakra from the point
between the eyebrows to its true seat in the spine. Perform a similar action
for Chakras 2, 3, 4, 5, and Medulla as well. Make sure to contract the
muscles of the spine located near the seat of the Chakra when you lift it
into Kutastha.
To complete the cycle, attract Medulla again in Kutastha and place it back
in its position. Perform the same action for Chakras 5, 4, 2, 1, as well. Be
mindful of a particular experience of light in Kutastha at all times. The key
to breaking Muladhara's knot is to experience the different Chakra in this
way. The Fourth Kriya practice is finished when the procedure described is
repeated 12 times.
The Kriya tradition involves the Chakras being connected to the five
Tattwas, which include earth, water, fire, air, and ether. 6 Offering every
5
"Ke-chari is a term that means 'the state of those who fly in the sky, in the ether'. The
area between the tip of the tongue and the intersection of the eyebrows creates a
specific spot that is perceived as a 'void', even though it's not actually a physical
void. Immersing yourself in this space makes it easier for a kriyaban to perceive the
rhythm of each Chakra.
6
It is explained that everything that exists in the universe is composed of the
combination of these five forms of energy. The theory of Tattwas is not a matter of
idle speculation for a kriyaban. The concept is that they are a concrete series of states
of consciousness that the devotee can experience during their journey towards the
dimension of Spirit.

116
Tattwa individually to the light of the spiritual eye, gathering it, and
intensifying it in the region between the eyebrows is the most effective way
to dissolve the final shell of illusion. This is the enigma surrounding the
breaking of the Muladhara knot. When this happens, Kundalini moves and
rises up.
Let us deal with the delicate subject of increasing the repetitions of the
Vasudeva Mantra in the center of Kutastha for every Chakra. Gradually,
one should achieve thirty-six repetitions for each Chakra while holding
one's breath. This is what the tradition says. We are in an identical scenario
to the one we came across with the Third Kriya. Chanting this Mantra 36
times slowly and holding our breath at that moment makes this
achievement practically impossible, making it a real torture. I abide by and
record what tradition has handed down to us.
Nonetheless, I hold the belief that the concept of 'perfect breath holding'
should be replaced with the concept of 'calm breath', which is a breath that
is very subtle and practically non-existent. Trying to achieve an unnatural
condition would be an absurd idea to strain and hurt our bodies. To avoid
feeling inferior, I suggest increasing a few numbers and being satisfied
with them. My belief is that it's best to emphasize the intensity of
concentration and the joy and well-being derived from the exercise.
After accomplishing the necessary number of cycles of the Fourth Kriya
technique, the practitioner should remain silent in a contemplative manner.
The mind must gradually separate itself from all the different thoughts by
deeply immersing itself in the vastness of stillness and perfect balance.
There are no other Sadhanas.

Conclusion
As previously stated, there are essentially two methods for teaching the
Higher Kriyas. The first method was described in this chapter. You are now
contemplating what to do with these directions. I think that you would like
to experiment with these techniques and decide which ones will be
included in your final routine. It's common for individuals to keep
practicing the Second Kriya. I hope you find the time to learn and practice
enthusiastically, and also to understand the second way in which the
Higher Kriyas were taught. Despite being challenging, this experience will
be unparalleled. We will discuss this in the next chapter.

How I acquired the information shared in the present chapter

I was aware before this book was published that the original Second Kriya was
composed of the Thokar technique and that the same procedure repeated multiple

117
times was known as Third Kriya. I received a detailed description of the Thokar's
movements from two friends who wrote to me from the USA. It was given to
them by an Indian master who had lived in the United States for a long time
before passing away. The teacher was initiated by Sri Dubey, who relied on
Panchanan Bhattacharya's teachings.

THE MOST SIGNIFICANT TECHNIQUE PRESENTED IN THIS CHAPTER IS

THE PRACTICE OF SECOND KRIYA
Let's pause for a moment to think about a common and harmful fact. Our
emotions are often superficial because they come from our fears,
weaknesses, and pessimism. To keep these emotions at bay and continue on
our own path even when facing an excruciating conflict is incredibly
important. The effects of Thokar's practice on practical life include
controlling superficial emotions that lead to irreparable decisions.
I attempted to locate the subject of 'emotions' in oriental books, but I came
across so many pedantic and useless words that didn't address the core of
the matter. The texts make a distinction between positive emotions (like
affection, happiness, and fulfillment) and negative emotions (like envy,
aggression, and illusion). After boring and useless rankings, I still failed to
comprehend the crucial concept: uncontrolled superficial emotions can lead
to disasters in our lives.
We are all familiar with how sudden bursts of violent, frantic, and
hysterical emotions can appear in our bodies and quickly disappearing. In
reality, they convey a reality that is lacking in authenticity, but has a strong
drive that culminates in hasty actions, experienced in a cerebral fever
nourished by a petty visceral pleasure.
When passion inflames the whole being, it is impossible to follow common
sense's guidance. It's a fact that in summer, hailstorms are generated,
condensed, and thickened in the air before falling to the ground and
causing any potential disasters. The process of making fatal decisions
begins in our imaginations in the same way.
In our frequent daydreams, the idea of giving up something positive but
demanding a lot of effort can lead to a distorted vision of our immediate
future. What used to make us ashamed of cowardice has now become a
shining star in the horizon of our existence. It seems like a sky that is
shapeless and gloomy suddenly becomes serene and shines bright blue.
Opening the way for catastrophe is possible when we are drawn into action
by such seductive emotions. Our crucifixion awaits us if we make a wrong
decision. A solid and unshakable decision will lead to a lifetime full of
regret. At times, it seems like a person is stubbornly pursuing ''their right
to pain and suffering'' – this statement was made by The Mother, the

118
primary disciple and companion of Sri Aurobindo.
An indomitable force can lead to misfortunes in our lives. For example,
sudden emotions can cause one to interrupt a course of study and give up
on a profession that they have dreamed of for years, one that they have
struggled and suffered for. The outcome is the same if you interrupt a
relationship with a loved one, with friends, or even with the family itself.
Whoever makes such a decision cannot be stopped: the wise words of
genuine friends no longer hold any weight.
Breaking important ties with people happens frequently because we feel
that some of our choices have been unfairly criticized. The breakup of a
friendship relationship can be a significant loss, especially if it is caused by
pride.
Many individuals find sincere criticism bothersome, as if it were a
pointless display of cruelty. As the intensity of a keen observation
increases, they feel like they're swallowing a piece of black, sharp-edged
stone.
A kriyaban may think that they are hearing the voice of their heart, but they
may actually be driven by humiliating frustrations. They have the ability to
reject any argument and harm themselves in different ways by acting in
ways that amaze those around them.
Within a few days or months, they will experience a feeling of weight; yet,
the subtle deception of the mind creates a firm belief that they could not
have acted in a different way. Despite the chance to retrace one's steps,
pride can still prevail, while the destructive action will be enjoyed with
uninterrupted voluptuousness, surrounded by flashes of blue.
In the heart, there will always be pain that cannot be erased. A good part of
one's spiritual aspirations will remain trapped in a past that can no longer
be reached due to the fear of having to face the full impact of a true and
honest memory.
The most crucial way to affect the perverse mechanism that we have
described is through the intensive practice of Thokar. 7
Through hard work and the use of this technique, we can definitely change
our attitude toward acting in this manner.
Understanding Lahiri Mahasaya's Kriya also means realizing the
importance that the practice of Thokar can have in our lives and in our way
of dealing with the persons most close to us.

7
Intensive means doing more than 48 repetitions of Thokar for a period of time.
Another way, of immense value, is to complete the incremental routine of Thokar
Tribhangamurari that we will describe in chapter 9.

119
 CHAPTER 9

LAHIRI MAHASAYA'S KRIYA YOGA

( Second part of the Higher Kriyas as taught by Satya Charan Lahiri)

I am focusing on the description of other Higher Kriyas that can be practiced

while in a 'calm breath' state. There is no attempt to hold back the breath or
make it longer.

These techniques were taught at the school of Satya Charan Lahiri, who
got them from his father Tincouri Lahiri, the son of Lahiri Mahasaya.
[Master Ashoke Kumar Chatterjee kept this lineage alive.]
In this school, the three techniques I am going to describe are called
Second, Third and Fourth Kriya however, to avoid confusion with the
techniques described in the previous chapter I will use brackets for these
names and call them either Fifth, Sixth and Seventh Kriya as they were
called by Panchanan Bhattacharya. There are good reasons why I think
that the ideal practice of the higher Kriyas should start with the eighth
chapter and then proceed with the techniques explained here.
Let's get started with the Fifth Kriya that will be given in three steps:
Amantrak, Samantrak, and Thokar. The Anahata Chakra is directly affected
by the Thokar described in the previous chapter, but this new Thokar
(which is also referred to as Thokar Tribhangamurari) affects in a special
way the Muladhara Chakra. It is clarified that when this Chakra is struck,
the Kundalini energy will move to the heart Chakra. Thus the Thokar
Tribhangamurari concludes the action of the Thokar that was explained in
the eighth chapter. The main feature of these procedures is that they are
performed in the state of 'calm breath', which is the result of a long practice
of Kriya Pranayama.
The Tribhangamurari form, which is Sri Krishna's symbol, is the starting
point for the introduction of these higher Kriyas. Tribhanga is a body
position used in traditional Indian art and dance. Standing, the body bends
in a particular direction for the knees, another direction for the hips, and
then a different direction for the shoulders and neck. Krishna playing his
flute is commonly depicted with one of his lower legs crossing over the
other.

120
The drawing below is a copy of Lahiri's diary, depicting the spine as it
appeared to him in Kutastha.

Fig. 8

In order to perceive this form, we'll begin by engraving it in our body by

moving our awareness along a prescribed path, and then by accompanying
it with the Vasudeva Mantra. Ultimately, this perception will be
strengthened through the use of specific head movements. We will
experience a significant transformation by repeating these procedures many
times. By ascending from Muladhara to the head and then descending via
the three-curve path, twelve spiritual centers will be deeply stimulated.
According to some, the Tribhangamurari movement is perceived
spontaneously when Kriya Pranayama is practiced for a large number of
times. I think instead that it is perceived after many attempts to guide one's
awareness along a very precisely prescribed path. It's difficult to articulate
what happens when we perceive such movement because there are no
words to describe a reality that is beyond our imagination. The
Tribhangamurari movement indeed seems to belong to another world.
The three procedures, Amantrak, Samantrak, and Thokar, should not be
practiced at the same time. Start with mastering the perception of
Amantrak and then, without delay, master the following ones. If you
choose to skip these steps and proceed straight away with the Thokar, you
may get a very poor result that will disappoint you.

121
FIFTH KRIYA: TRIBHANGAMURARI MACRO MOVEMENT
[This technique is referred to as Second Kriya by the school of Satya
Charan Lahiri]

First stage of practice: Amantrak

Let your breath go, don't think about it, forget about it completely. The
tongue can be in Kechari Mudra or in baby Kechari. Slowly raise your
awareness along the spinal canal, from Muladhara to Bindu. The Bindu
point is located at the back of the head a little below the Sahasrara Chakra,
where the hairline forms a vortex.

Fig.9 Tribhangamurari path as seen from the back

Then, Prana and awareness move at a slow pace along the

Tribhangamurari path. This path originates from Bindu, ascends slightly
towards the left part of the brain, and then descends towards the right part
of the body. When it reaches a specific point in the back that is
approximately 5-6 centimeters above the height of the right nipple, it turns
and moves to the left, crossing the heart node. Once it reaches a point in
the back that falls 5-6 centimeters below the height of the left nipple, it

122
changes its direction again and points towards Muladhara. The procedure,
which involves going up and down, takes approximately a minute.
In this procedure, the breath is completely forgotten. You are free to
experiment with an almost undetectable way of breathing as long as it is
useful. Later try to perceive the Tribhangamurari movement mentally,
forgetting the breath that will be free and very calm. This technique is
known as 'Amantrak', which means 'without the use of a mantra'. It was
conveyed to us that Amantrak's entire journey takes approximately one
minute. If someone completes a lap in a shorter time, such as 40 seconds,
they should not think that the practice is incorrect.
We want to emphasize now the most essential element of this practice. The
core of it is the continuous increase in mental pressure throughout the
entire circuit. Think about the physical motion of squeezing a tube of
toothpaste that's nearly empty with a pencil to get rid of any remaining
toothpaste. This image gives you a clear idea of how much mental pressure
you need to apply during this process. With great concentration and will,
you can increase the flow of energy along the Tribhangamurari path
without limits.
The routine suggests repeating this technique 25 times daily for two weeks.
Repeat it 50 times daily for another two weeks; then, 75 times daily for
another two weeks, and so on until you reach 200 times per day for two
weeks. The Samantrak instruction should only be practiced at this point.

Second stage of practice: Samantrak

The practice of Samantrak involves the use of a mantra. In this procedure,
the breath is completely forgotten as well. This is the official way to teach,
but you are free to experiment with an very subtle breath as long as it does
not pressure you to move too quickly. The syllables Om, Na, Mo, Bha, and
Ga are vibrated respectively in the first five chakras, with Ba being
vibrated in Bindu. Teee (which has eee... prolonged) is pronounced in the
upper center, situated on the left side of the brain. The syllables Va, Su, De,
and Va are placed in four new centers outside the spine; Yaaa is vibrated in
Muladhara.
These five new centers are actually five 'vortexes' in the main flow of the
current, therefore they don't represent a new set of Chakras. Vibration of
each syllable acts as a mental Thokar, or like a tap that happens in stillness.
By performing the technique slowly, there is ample time for this
stimulation to be very effective. The Samantrak route also takes around
one minute. In any case, 40/45 seconds is an excellent time. The purpose of
this procedure is to replicate what we did in Amantrak but to reinforce the

123
mental pressure on the entire path by mentally vibrating the 12 syllables of
the Mantra.

Fig.10 Tribhangamurari path, enriched with the syllables of the Mantra

The recommended daily practice repetitions for Samantrak practice now

remain the same. Do it 25 times, once a day, for two weeks. Then 50 times,
once a day, for two weeks....and so on until 200 times.

Don't be in a hurry
Amantrak and Samantrak make you perceive a specific sensation of
movement inside your body. It's best to apply the Thokar procedure only
when this energy flow is well imprinted in your consciousness. The
Mantra's syllables, Om Namo Bhagabate Vasudevaya, are planted in every
center with great care and will affect your mood. It's like activating
different lights throughout the three-curve path. It's like the sun from a
clear sky is finally coming into your practice. Discovering a previously
unknown state of ecstasy will allow you to fully experience the beauty of
life.
Some students attempt to immediately savor the power of Thokar
Tribhangamurari by conducting sporadic and disordered experiments with
Amantrak and Samantrak, without following the said rules. What could
have been experimented with Thokar may remain forever inaccessible to

124
these unfortunate people.

Third stage of practice: Thokar

[Keep in mind that this Thokar is not the same as the one mentioned in
Chapter 8]
Forget the breath. The hands with intertwined fingers are positioned on the
navel area to raise the abdominal region, resulting in mental pressure on
the first three Chakras. Place your chin on your chest and slowly guide
your energy and awareness along the spinal column from Muladhara to
Bindu.

Fig.11 Thokar Tribhangamurari as seen from the front

While you ''touch'' every Chakra internally with the Mantra syllables, your
chin slowly rises. Om is placed in the first Chakra, Na is placed in the

125
second....etc When energy and awareness reach Bindu, the chin is parallel
to the ground.
The descent of energy begins now. It is important to describe the descent
with care as it is the most delicate part. The description of the correct head
movements requires a minimum of patience. At first sight, they appear
complex. The energy flow along the Tribhangamurari path is synchronized
with the head's movement. The movements were created in a logical and
efficient way to favor the particular sinuous flow of energy and awareness.

Fig.12 The same movements (only the descent) as seen from the back

Move your face to the left by a few centimeters without changing direction,
then bring it back to the center by lifting your chin. During this movement
the inner flow of energy moves from the Bindu to a higher point on the left
side of the brain, as shown in the drawing. Pause and mentally pronounce
the syllable Teee while staying in this position. Turn your face to the right
with a slow movement. Only the face is moving, not the trunk. During this
movement, the internal flow of energy moves from the seventh point in the
brain to the point of the back on the right side.
These simple movements perfectly accompany the descent of the energy.
The first of the five psycho-physical blows happens here: the chin touches
the right shoulder briefly, and the sound of 'Va' is vibrated in the eighth

126
center. To facilitate contact with the chin, the shoulder makes a small
upward movement. In case you can't reach the right shoulder with your
chin, try to get as close to it as you can. If not, rely solely on mental
strength and the vibration of the syllable 'Va' to stimulate the eighth center.
Then the face slowly turns to the left, accompanying the internal flow of
energy from the eighth to the ninth center, crossing the fourth Chakra. If
possible, the chin should be placed over the left shoulder. The second strike
occurs when the chin briefly touches the left shoulder and the syllable 'Su'
is mentally chanted in the ninth center. A small upward movement is made
by the shoulder to make contact with the chin easier.
When De and Va are placed in the tenth and eleventh center, there are two
more hits that occur. In this modality, the chin slowly moves towards the
center of the chest and touches the left collarbone. Two light strokes are
given to the left collarbone in intermediate positions. It goes without saying
that blows are given when the Mantra's syllables are vibrated. Finally, the
center of the chest is struck while the syllable 'Ya' in Muladhara is vibrated.
Repeat this entire procedure 36 times.
In synthesis the movements of the head with the five strokes have
encouraged a further intensification of mental pressure along the entire
Tribhangamurari circuit. Now you can relax by doing a simple mental
Pranayama or a minimal Samantrak practice. Expert supervision assists in
preventing problems, which include physical issues like overexertion and
pain in the cervical vertebrae and neck muscles. Abrupt movements should
be avoided; instead, a great mental concentration should be used. For a few
weeks, it's recommended to avoid practicing this Thokar every day. It gets
better every two or three days.

Remark
The head movements during this procedure increase the intensity of the
Tribhangamurari flow. The issue is that many kriyabans concentrate solely
on delivering blows and don't realize the importance of generating mental
pressure along every millimeter of the path. Our first experience was a
sensation of movement that rises along the spine and descends along the
three-curve path. Through the Samantrak procedure, we improved the
perception of the 12 centers. Now, we must feel that the head's movements
are perfectly consistent with the internal Tribhangamurari movement,
millimeter by millimeter.
To intensify the perception of the internal flow, we can create mental
pressure along each part of it. The head's movements are designed to press
down on every millimeter of the path. Slowly moving the chin should be

127
done as if we were trying to overcome a strong resistance. Our suggestion
was similar to squeezing a nearly empty tube of toothpaste with a pencil to
extract the last little bit.

Incremental routine of the Tribhangamurari macro movement

As soon as possible, aim to finish the gradual incremental process of this
procedure. This will mark a significant moment in your life. The doses that
have been prescribed are: 36x1, 36x2, 36x3....36x35, and 36x36. It is
common for a week to pass between one stage and the next! This routine is
of utmost importance. The results are powerful and involve a significant
inner transformation. This task requires a minimum of 8-10 months to be
finished.
Amantrak and Samantrak had daily practice, but Thokar Tribhangamurari
will have weekly incremental practice. The subconscious material brought
to the surface by strong action on Muladhara and the heart Chakra needs
considerable time to be metabolized.
The process starts with 36 rounds; a week later, you practice 36x2, then
36x3, and gradually increase until you reach 36x36 repetitions. This
signifies that there are 1296 full rounds! Can you picture the strong effects
of this action? 1296 implies that you begin in the morning and finish at
night, repeating the same action multiple times. You will surely improve
your ability to open the door of Sushumna! This experience has been
prepared by you by practicing 36x35 and before 36x34.... etc... It should be
noted that you have practiced Amantrak and Samantrak for several months!

My memories of this experience

The explanation I'm giving you now is not part of the original teaching, so
feel free to use it or do without it as your intuition tells you. This is simply
an observation that my friends, who are also researchers, and I discussed
together. During my practice of Thokar's incremental routine, I observed
that it became extremely effective if practiced, from a specific point
onward, by whispering the syllables of the Mantra.
It's obvious that the first part of Thokar Tribhangamurari's incremental
session involves maintaining the Kechari Mudra position and closing the
mouth. After the initial half of the session, you can cease using Kechari
and start whispering all twelve syllables as you mentally direct them to the
position of the centers. The Mantra's syllables generate a sensation of heat
in each center, according to what is felt. A light touch coupled with a
mental intention has a special power that brings joy. Remarkable is what
happens during the downward movement, specifically when using the last

128
six syllables, and particularly the last one, chanted in Muladhara. In that
blessed instant, you can generate a desire to enhance joy and you will have
it!
In my diaries, I described that experience: 'In those moments, it became
natural for me to whisper the different syllables of the Mantra. After each
syllable, there was a brief pause that was isolated and protected from any
hurry. I was able to sense a sweet radiation emanating from the center I
was in within an instant. This increased the experience of joy, which was
limitless.' One evening, a sound of tolling bells came from a faraway
village; it was like a waterfall of light! This surprise was so unexpected that
my heart was bursting with joy. I opened my eyes, but didn't pay attention
to anything in particular. It was a miracle of delight; the intensity of such
beauty was almost impossible to bear! These words continued to repeat
somewhere at the back of my mind: "Never has a human being been
granted so much joy!"

Confession
After completing Amantrak, Samantrak, and Thokar Tribhangamurari, I
made the decision to try a procedure that wasn't included in the original
teaching. I confess to doing so based on the information I received.

Thokar Tribhangamurari utilizing the breath

We have explained the Tribhangamurari methods and highlighted the
significance of practicing them with free and uncontrolled breathing. Now
I am describing a way to practice Thokar Tribhangamurari that involves
breathing. Some yogis use this method, and I believe it is legitimate. The
description I received is as follows.
Inhale by mentally placing the syllables 'Om Na Mo Bha Ga Ba' in their
respective Chakras. Accompany the current moving through your spine by
lifting your chin. At this moment, stop breathing and, while in Kumbhaka
state, mentally descend down the Tribhangamurari three-curve path.
Perform the typical movements of Thokar Tribhangamurari, placing the
five mental syllables Tee Va Su De Va in the centers outside the spine. The
syllable 'Yaa' is placed in Muladhara.
The sense of ecstasy is typically generated by the final three blows (De Va
Yaaa). The last movement, which is the blow on Muladhara, is pleasant
because the energy is enhanced in this Chakra. Take a moment to feel the
sensation of energy. To enhance this experience, practice the Mula Bandha
and hold it lightly during the exhalation that follows. Start with a slow
exhalation, creating a distinct sound of 'eeeeee' with your breath. Exhaling

129
will result in a powerful sensation of energy descending and becoming
clearly perceptible in the area of your heart and third Chakra. The current
that rises from the Muladhara matches this current.
During the practice itself, you can often find yourself in an ecstatic state.
You will be intoxicated with joy. Practice 36 rounds of Thokar using this
method. Close this practice by resuming the Samantrak technique with free
breathing while maintaining stillness.

IMPORTANT INFORMATION ON THE TRIBHANGAMURARI MOVEMENT

The Tribhangamurari path as illustrated in Figure 8 is the one that was
explained to a direct disciple of Satya Charan Lahiri in 1978/79. Years
ago, I contacted this disciple after ending my relationship with Shibendu
Lahiri, who taught me the Tribhangamurari path in a way that wasn't
convincing to me. The person I contacted was able to answer my questions
and provided me with a photocopy of the drawing that Satya Charan, who
was now elderly, had drawn with a trembling hand.
A few years passed and I received further clarification from reliable
sources. Satya Charan Lahiri had made slight changes to this path in the
years before the person I contacted received the initiation. Our objective is
to make this modification clear.
When reaching the sixth point and chanting Ba on Satya Charan's path,
where is the seventh point? Evidently, a little higher up on the left. This is
the way I have always practiced and it is the teaching I have referenced in
this chapter. The modification explained by Satya Charan seems to be
reserved for advanced students. Upon reaching the Bindu, it is necessary to
climb up to the Fontanel, cross the skull bone, and then climb another 12
cm. Then turn to the left and descend until you pierce the pineal gland,
where the syllable 'Teee' is uttered. All other procedures remain the same as
explained in this chapter. For example, the eighth center can be found at a
specific point on the back that's approximately 5-6 centimeters above the
height of the right nipple...
If you use your breath to better perceive the Tribhangamurari path, it's
important after inhaling and reaching Bindu chanting Ba, to start a slow
exhalation, feeling the current that rises from that point, pierces the skull,
and rises several centimeters more. Then you can bend to your left and
descend towards the pineal gland where Teee is chanted.
Satya Charan emphasized that the path segment that rises from the
fontanel and then descends is represented in Lord Shiva's iconography. By
searching, the reader can see that in certain images, the Ganges river passes
through Shiva's locks and descends towards the earth to the left of Shiva.
According to Satya Charan, this is an indication of the initial stage of the

130
Tribhangamurari movement. He shared this information with the people he
initiated.
Descending from a high spot and penetrating the pineal gland can be a
significant experience for someone, in my view.

SIXTH KRIYA: TRIBHANGAMURARI MICRO MOVEMENT

[This technique is referred to as Third Kriya by the school of Satya Charan
Lahiri]
The Tribhangamurari movement is present in small dimensions in every
one of the twelve centers. We will refer to it as the Tribhangamurari micro
movement.

Fig.13 Tribhangamurari micro movement in each of the 12 centers

The way one perceives it is very subtle. The repetition of this work in each
center up and down can result in a significant amount of time being
required. It is typical for people to use this technique in their final years of
life. Once finished with the work in twelve centers, the practice could be

131
repeated in Kutastha, where one prepares for the Mahasamadhi, the final
conscious exit from the body at the moment of death.
This Kriya is taught in two steps: Amantrak and Samantrak. The practice is
known as Muladhara Granti Ved, which is the act of unfastening the knot
of Muladhara. Without using rhetorical quotes, I can say that by following
this method, one can escape the constraints of time and space and attain the
most elevated spiritual state.
Practical instruction: how to perceive the Micro movement
Our first step is to learn to experience this micro movement in small
dimensions without any Mantra. This practice is called Amantrak micro.
Try this experiment: breathe deeply and lift the Prana from Muladhara to
the spiritual eye between the eyebrows. Lower your chin slightly, hold your
breath, and stare at the Muladhara Chakra. Visualize it as a disc that lies
flat and has a diameter of a small coin. While exhaling slowly, attempt to
draw the Tribhangamurari micro movement in a smaller size on that disc.
The time it takes is irrelevant - it can be short or long, it doesn't matter.
Press ideally the disc with a steady but moderate amount of force, as
though you were holding a pen and making a precise and clear mark. From
this point forward, forget the breath.
Repeat this practice mentally in the first Chakra. Move forward to the
second Chakra and carry out the same process. Continue attempting to
perceive the micro movement in Chakras 3, 4 and 5, then in Bindu. Then in
the center that is above Bindu, then in the four centers that are located
outside the spine and finish this your first round in Muladhara. Begin
increasing the mental pressure on each center by practicing three rounds of
Amantrak micro every day for at least three months before starting to use
the syllables of Vasudeva Mantra (Samantrak micro).

Tribhangamurari micro movement utilizing the Mantra

Use breath and Kechari Mudra to lift Prana from the Muladhara Chakra
and direct it into the spiritual eye. Observing from this position, visualize
the Muladhara Chakra. You can breathe freely now. Mentally repeat the
syllables 'Om-Na-Mo-Bha-Ga-Ba-Te-Va-Su-De-Va-Ya'. Do this Japa
without hurry. Try to see how this mental chanting of the Mantra creates
the micro movement Tribhangamurari in this Chakra and realize how such
chanting adds more pressure to it. Avoid moving the spinal column or head
by remaining motionless. Here, all the power of pressure must be obtained
by repeating the syllables of the mantra. Each syllable is like a small
"pulse."

132
Take into account what we have explained to enhance the perception of the
Tribhangamurari macro movement. Instead of mentally reciting the
syllables, you can whisper them in a low voice. Well, this method remains
valid here. Make many attempts to determine if this method can be
beneficial for you.
The duration of a micro movement is determined by the speed at which you
repeat the Mantra. For a large number of people, it lasts about 10 seconds.
Remember Lahiri Mahasaya's recommendation: "Don't be in a hurry!'' Try
to feel the difference between going slow and going fast. Your power will
be immense if you move at a slow pace. Repeat the Vasudeva Mantra three
times. After perceiving the micro movement three times, repeat the process
for Chakras 2, 3, 4 and 5, followed by Bindu, then, the point above Bindu
on the left, then the four centers outside the spine, and finally Muladhara.
This is one 'round'.
Performing a practice with three rounds is a great way to finish any Kriya
Yoga routine. At the end, remain aware of the light that you will perceive in
the upper part of your head. If you don't hurry, you will enter a state that
can be described as 'beyond time.' After practicing this way, if you can find
the time to lie down on your back (Savasana), you will attain a particular
state of physical and mental stillness. The Kundalini energy could ascend
to the heart Chakra and reveal the Kutastha. If you are able to schedule an
incremental routine of this procedure, you can increase the number of
rounds per session up to 20.
The beauty of this technique is unearthly, mysterious, and ethereal. The
ruins of past illusions are transformed into spiritual realization doors. The
deeper part of the Omkar reality is embodied in this inner movement. To
perceive it implies eradicating any type of duality present in the Chakras
and consequently, in one's awareness. The center between the eyebrows
seems to merge with every Chakra, bringing them together into one reality.
The state of absorption that is generated by having this particular
perception in each Chakra is unmatched. A flame of love for the Divine is
born. The nature and importance of this micro movement have only been
revealed by a few Kriya schools. Sadly, many people are frantically
searching for unattainable substitutes for it!
Special incremental routine of the Tribhangamurari micro movement
to be performed in the last part of life
When I received this instruction, I was told that this special incremental
routine of the Tribhangamurari micro movement is a peaceful return to the
origin, a preparation to 'die forever.' This signifies the eternal freedom.
Yoni Mudra, which is done every night as a kriyaban aims to remove

133
awareness from the body and prepares for sleep, which is a "little death," is
a similar action to this one. The most effective way to prepare for the
conscious exit out of the body at the time of death (Mahasamadhi) is
through this special last incremental routine.
There are many stories about possible Kriya ways to leave the physical
shell during the Mahasamadhi process, but we cannot guarantee their
authenticity. The typical method is Thokar, according to some, while others
suggest procedures that take place exclusively in Kutastha. It is reasonable
to assume that performing Thokar's physical movements is not always
feasible. The only possible action could be to focus your awareness on the
spine or the point between the eyebrows.

Let's clarify how this final routine is accomplished

We have 36 practice sessions in this incremental routine. The new thing is
that most of these sessions take more than one day. On the first day, 36
micro movements are perceived in each of the 12 centers. In the second
session, it is necessary to perceive 36x2 micro movements in every center.
[72 micro movements are experienced without interruption in the first
Chakra, then 72 in the second Chakra, and so on...]
The third session is practiced after a few days, and it involves 36x3 micro
movements in each center. Then other days pass. The 36x4 group has a
practice that can last for one whole day. The next steps, which are 36x5,
36x6, 36x7, 36x8, usually require a full day and a portion of the following
day. This is something that is normally not done: sleeping a full night
between the two parts of what is considered a single session.
It's crucial that you recover more or less immediately after waking up in
the morning of the following day. It is not permitted to go to work and it is
suggested to remain quiet, preventing any opportunity for conversation. Of
course, common sense must always prevail: a polite response is always a
duty if someone speaks to us. It is clear that if the next sessions take
several days, the last session will take approximately 12 days!
Just to be sure that everyone understands, let's try to describe what happens
during the last session: one perceives 36x36 micro movements in each
center! This means: 1296 micro movements in Muladhara, 1296 in
Swadhisthana .... and so on, ending again after several days in Muladhara
with 1296 perceptions.
It is important to note that it is not permitted to skip any stages. Don't think
'during my next summer vacation, I will easily find a dozen days to
practice 36x36.' No! That is not the way it works. Perceiving the micro
movement 36x36 times in each center requires having perceived it 36x35

134
times beforehand. And before this, 36x34 times, and so on ....
This is truly an amazing feat. There will be numerous wonderful
experiences and all internal obstacles will be dissolved one by one. When
the practice is finished, one comes to realize that their experience cannot be
described because the bliss experienced partially erases it from memory. As
old age approaches, a kriyaban should strive to make the most of the
chance to enjoy the pleasure of completing the recommended number of
repetitions, never giving in to the temptation to practice too quickly.

The significance of the micro movement and my memory of the incremental

routine
In chapter 4, I pointed out how Swami Hariharananda had a strong
preference for discussing the three qualities of the Divine. According to
this teaching, the Divine can be experienced directly and authentically by
recognizing at least one of its qualities, which are: internal sound (subtle
sounds emitted by each Chakra which then merge into the cosmic sound of
Om); perceiving internal light and feeling a particular movement sensation
(such as oscillation or pressure).
I had mainly concentrated on the perception of internal sounds, very little
on the second aspect of light, and even less on the sensation of movement.
My spiritual journey has been successfully completed by working
diligently with the incremental routine of Tribhangamurari's micro
movement.
Let's talk about the difficulties of this demanding incremental routine and
highlight its beauty. A lot of times, my practice was hindered by an
uncontrollable drowsiness. Several daydream images appeared on the inner
screen of awareness. The situation was not resolved by changing the
position of the legs, practicing Maha Mudra frequently, or taking a short
break. The only solution was to get used to practicing while always being
half-asleep, since there was no way to prevent drowsiness (coffee, a lot of
sleep...).
As I previously mentioned, I have found it advantageous to softly whisper
the syllables, rather than mentally chanting them. During a late afternoon, I
was seated on the beach and practicing, surrounded by people who weren't
bothering me but who I could hear walking nearby. When I felt someone
watching me, I would pretend to be reading a small book that I had always
kept open on my knees. The feeling of bliss was overwhelming.
While it was sunset, I leaned against a rock and practiced with my eyes
closed. The sky was an indestructible and infinitely transparent crystal, and
the waves were always changing their colors. Hidden by the dark lenses of

135
my sunglasses, my eyes were dripping with tears. The only way I can
express my emotions is by recalling a poem.

In the end of the film Mahabharata, there is an Indian chant that is based
on the Svetasvatara Upanishad.
I know this great Spirit, which is radiant like the sun and transcends any
material notion of darkness. Only those who have a knowledge of Him
can go beyond the boundaries of birth and death. The only way to liberate
yourself is by knowing this Great Spirit. There is no other way.
As the chant recited 'There is no other way', I realized that I would never
give up on this extraordinary and wonderful state and practice.

SEVENTH KRIYA: TRIBHANGAMURARI MICRO MOVEMENT IN

KUTASTHA
[This technique is referred to as Fourth Kriya by the school of Satya
Charan Lahiri]
At the end of life, after completing all of the work in the 12 centers, one
can only focus on Kutastha. The main objective of this task is to penetrate
the star of Kutastha. There won't be a need for Pranayama. Mentally
repeating the syllables of the Mantra in the space between the eyebrows is
the sole method for practicing until the Tribhangamurari form emerges. It
is obvious that this experience is not created by a visualization procedure.
The experience will take place at the right time.
According to the explanation, during the final stage of life, the kriyaban
recognizes the right moment to depart from this body, and this awareness
occurs roughly six months beforehand. The Thokar technique is explained
to involve abandoning the body. By controlling all nine doors of the body
and focusing the mind and Prana on the heart center, the kriyaban will
immerse himself in the sacred Om Sound.
Become one with Brahma will result in no return. There is no other destiny
more important than this one. The kriyaban's objective is not to return.
With that being said, my discussion on Kriya techniques taught by Lahiri
Mahasaya is concluded. Now I'll make an effort to explain why I chose to
add two additional sections to this book. The third section of the book deals
with the theme of preventing failure on the spiritual path. My goal is to
uncover the reasons for individuals who complain of not experiencing
positive effects from Kriya Yoga practice and end up leaving this path.
My opinion is that the problem lies not in the improper application of
certain techniques, but rather in the unsuitable attitude of these seekers

136
towards the practice of Kriya Yoga. Following that, I clarify the distinction
between a 'clean' and 'polluted' spiritual path. There is much to contemplate
about this topic.
In the third section of the book, I am considering the practical utility of
Japa. Afterwards, I demonstrate the similarities between certain mystical
paths and Kriya Yoga, and finally, I come back to the topic of incremental
routines.
The fourth part of the book is devoted to discussing two significant variants
of Lahiri Mahasaya's original Kriya. Some extremely interesting points can
be found in these variations, which could be of use to some researchers. In
the remaining two chapters, I share my thoughts on how to develop a
personal routine that is effective and produces clearly visible outcomes. In
the last chapter, reflections on P.Y.'s teachings are the focus.

LAST NOTE
At times, I have been curious about the origins or tradition of
Tribhangamurari's teaching, both in terms of macro and micro. If we look
for common Yoga books, we won't be able to find anything similar. If we
use information from those who have experienced Lahiri Mahasaya's
teachings, we will only find it in certain teachers. My idea has evolved
over the years.
After meeting Babaji and being initiated into Kriya Yoga by him, Lahiri
returned to Benares (Kashi, now Varanasi) with only Kriya Pranayama as
his only instruction. I am unsure if this teaching was identical to the one he
imparted to his initial disciples. As someone who was aware of the
challenges faced by those who live not as a hermit but as someone
committed to life, he always strove to adapt the Kriya procedure to their
needs. In my view, he was the one who developed the straightforward
technique of Maha Mudra, as well as Navi Kriya and Yoni Mudra.
After learning about the procedure called Dhikr or Zikr from his Muslim
disciples, he thought it could be an important aid and therefore
incorporated this technique into his teachings. He combined it with
Pranayama, but diversified it by leaving this instruction for his more
advanced disciples. Usually, he imparted it in an initiation that followed the
first one, which he called Second Kriya. Thokar was a common name for it.
Later on, this technique was refined and became known as the Third Kriya.
Lahiri's intuition and experience led him to devise the practice of the
Fourth Kriya.
I believe he had no idea yet about the movement of three curves,
Tribhangamurari. One day, he had the opportunity to experience it in

137
Kutastha and recorded it in his diaries. This drawing depicts this movement
as seen from the front. To gain a grasp of how we might perceive it, we
must invert the right and left in this drawing. He drew the spine as a
vertical line that goes up and then down, creating three curves. The first
one goes to the left, then to the right, and then to the left until it returns to
the starting point at the base of the spine.
From this intuition, he developed a completely new procedure that is not
the classic Kriya Pranayama, but a very advanced procedure intended for
those who are able to enter a particular state that some call the 'state of
calm breath'. During times of extreme calmness and almost non-existent
breathing, these kriyabans are able to perceive this movement with three
curves. By explaining it to some disciples and comparing their experiences,
he advised them on how to gradually experience it, which led to the
creation of the preparatory techniques known as Amantrak and Samantrak.
It was natural for him to apply five powerful stimuli (Thokar) to the
perception of the Tribhangamurari movement and drew a drawing of this
practice that is depicted in some reproductions of Lahiri's diary. In
addition, he determined the recommended number of repetitions for each
practice. Some of his eminent disciples who were authorized to teach
Kriya Yoga may have made or altered these numbers.
After a certain amount of time, he came to the realization that this
movement could be felt in every Chakra, and he recorded these drawings
of this experience. This intuition is the origin of the technique we call
Micro Tribhangamurari movement. He realized that this Micro movement
was detectable in both the Chakras and certain points along the
Tribhangamurari movement, situated outside the spine. It is possible that
one of his disciples, who was authorized to teach, could have decided this
detail.
Regarding the Tribhangamurari Macro Movement, years ago I received
information that a Kriya yogi who had received initiation from PY's
organization and then left to teach Kriya on his own, used to teach Kriya
Pranayama as a technique to be practiced with a long breath that went up
into the spine and down along the Tribhangamurari path.
I comprehend that this can be done theoretically and may be useful, but I
think that Kriya Pranayama should only be taught in the spinal region
where only the Sushumna current is involved. To put it another way, I
believe that the energetic path during Kriya Pranayama should always
occur within the spine. It is only later, when the breath calms down or even
disappears, that it is possible to perceive the three-curved path.

138