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(2) Visualizing the Main Psychic-Nerves, or Nadis

When the vision of body-hollowness lias become clear,
the yogi should tlien visualize the Central Channel in the
center of the body. Its upper end reaches the top of the
head, and then curves down to the point between the two
eyebrows; its lower end reaches a point about four fingers
below the navel; its width is that of whipcord; and its color
is white on the outside and red within. The yogi should
also visualize the other two Channels, namely, the Right
and Left [Roma and Junma]. Their width is that of an
arrow shaft; the color of the Right Channel is red slightly
tinged with white, and that of the Left, vice versa. These
two Channels run parallel to but about half an inch from
the Central one. Their upper ends also reach the top of
the head and then curve down to the two nostrils. All
three Channels are hollow, straight, clear, and transparent.
Some instructions say that the Central Channel is as thick
as an arrow shaft and the other two as thick as [wheat]
stalks; that the Right and Left Channels should be visualized
as the intestines of a goathoary and old; that the
Central Channel should be visualized as blue in color, the
Right is red, and the Left as white; others say that all
three Channels are white on the outside and red inside.
Although these instructions vary in many ways, one can
choose any one of them for practice.
Some instructions add that the upper end of the Central

Channel reaches the Gate of Purity and the lower end

extends all the way down to the opening in the privy organ.
But I think it would be better to follow the instructions
given above.
When these three Channels are seen clearly, the yogi
should then visualize the Four Cakras in the head, throat.
chest, and navel, respectively. The Navel Cakra is also
called the Transformation Center, and has sixty-four nadis
extending upward like the ribs of a reversed unbrella; the
Heart Cakra is called the Dharma Center, with eight nadis
extending downward like an umbrella's ribs; the Throat
Cakra is called the Enjoyment Center, with sixteen nadis
extending upward; and the Head Cakra, the Great Joy
Center, has thirty-two nadis extending downward. All four
Cakras are connected with, or "sprout" from the Central
Channel, as ribs from the stick of an umbrella. From the
tip of each nadi numerous thin "nerves" spread out to cover
all parts of the bodyforming innumerable networks or
plexus. All these nadis are red inside and white outside,
and each is hollow within. Some say that they are either
red or yellow, some that the Throat and Navel Centers are
red. the Heart Center white, and the Head Center green,
One may, however, practice either way. If one cannot visulilize
them clearly all at once, he should visualize a part at
a time. But the important point is to make the vision extremely
clear, [especially that of the three main nadis, or
Channels, and the Four Cakras].

Some instructions say

that in addition to these four Cakras, the Crown Cakra and
the Privy Cakra should be added, thus making a total of six;
some say one may visualize all the 72,000 nadis in the
entire body. But I think one can do with, or without, these
additional Cakras and nadis.
(3) The Vase-Breathing Exercises
The best time to practice Vase-Breathing is when the breath flows evenly
through both nostrils. If one finds that
more air is passing through one nostril than the other, one should lie
down on that side and use the thumb to close
that nostril, forcing the air out through the other one. After a number of
breaths, he will find the air running evenly
through both nostrils.
Now sit up, use a finger to close the left nostril, an make a long exhalation
through the right one. Then, [after
inhaling] make a short exhalation, then a long and gente one. Practice
this three times, then do the same with the
left nostril, and finally with both nostrils.
When breathing out, the Yogi should think that all hindrances, sins, and
sicknesses in the body are expelled.
obstculos , pecados , y enfermedades en el cuerpo son
Those who have never practiced this exercise before, should press each
nostril with the index finger of the same side, and press the side of the
chest with the opposite arm and fist when breathing out. The yogi
should put his two fists on both knees when breathing through
both nostrils. After each exhalation he should inhale deeply, bending
the neck slightly before he breathes out again.
This is called the "Breath of Nine Blowings," and should only be done once
or twice at the outset of meditation. If one practices it too much, he will

have headaches and breathing troubles. But sometimes, in the middle of

a meditation, he can practice this exercises very gently when needed.
Now, the main practice of the Vase-Breathing exercise:
1. Sit as instructed before, and straighten the spine slightly.
2 Put a pillow or blanket about three inches thick ,under the hips. Then
draw in gently a long, subtle breath, pressing
the air down below the navel, and swallow spittle with the air. Tragar
saliva con el aire.
Now contract the sphincter muscle of the anus slightly, and hold the air
at the Navel Cakra. When the yogi has become proficient in pressing
down the air, he can then contract the sphincter muscle more
srongly than before without moving the abdomen.
This practiceof pressing the upper air down, pulling the lower air up,
and mingling them at the Navel Center so that the protruding lower belly
takes the shape of a vase or potis for this reason, called the "VaseBreathing Exercise."
When the yogi can hold the air no longer, he should take a very short
breath to relieve the tension, roll the
belly muscle three times, and try to hold the breath once more as long as
possible. When he can do so no longer,
he should raise the head slightly and release the air as slowly as he can.
These four processes are called inhaling,
filling, dissolving, and shooting.
Some visualizations should be practiced during the Vase- Beathing
exercise: when inhaling, visualize the pranas of
the Five Elements, in five different colors, being drawn into the nostrils
from a distance of about ten inches from
the nose; when filling, visualize the air descending through both Channels
as though inflating the intestines of a goat,
passing through the intersection point, entering the Central Channel. and
remaining there; when dissolving, visualize
the air circulating [within] the Central Channel; when shooting, visualize a
Tig Le, which symbolizes the Essence

of Prana-Mind, shooting up through the Central Channel and out at the

Head Center. This shooting visualization,
however, should only be practiced once at the start of a meditation; to do
so too often leads to trouble.
According to some Gurus, during the shooting process one should
imagine the air leaving the body through the
midpoint between the two eyebrows. According to another instruction, the
pranas of the Five Elements should be
visualized as Five-colored light-beams emanating from numerous tiny
triangular-shaped thunderbolts [dorjes].
These tiny dorjes enter, emerge, and remain in the body during the
inhaling, exhaling, and holding process, respectively.
Some say that during the dissolving process one should first visualize the
air as filling the Central Channel,
then the Four Cakras, and finally all the nadis of the entire body; but this
is criticized by others as a bad method
which will cause air to leak from the body.
It is never advisable to start with this intensive type of Vase-Breathing,
because while one may gain some temporary
experiences, he will not benefit much in the long run; besides, he will
meet with innumerable [other] difAcuities. Therefore a beginner is not advised to practice the vigorous type
of Vase-Breathing; instead, he should
practice the gentle Vase-Breathing, which will do him a world of good with
little or no hindrances. Also, he is
strongly recommended not to practice any vigorous type of VaseBreathing before he has become proficient with
the gentle one. The so-called gentle Vase-Breathing is to hold the air for a
short while, release it before there is any
strain, then at once draw in another breath and hold it again. All this
should be repeated eight to ten times, making

one complete round. Then the yogi may rest for a short while before
repeating it. One should try to prolong the
holding period gradually and gently; he should never breathe through the
mouth, and should avoid any place
where the air is smoky or bad while doing this exercise. If one can hold
the breath without strain for two minutes,
he is considered to have fulfilled the minimum requirement for mastering
the pranas; for four minutes is average: but if for six minutes or more,
that is the highest requirement
Here a few words should be said about the [preliminary] sign of the
pranas entering the Central Channel. This takes
place when, at any time during meditation, the breath begins to flow
smoothly and evenly through both nostrils,
then becomes extremely subtle, and finally stops completely, this
phenomenon, however, can also occur when the prana sinks or leaks [ ? ].
If the former, one feels his mind becoming dim and sluggish; if the latter,
he cannot visualize at all clearly. But these phenomena do not happen in
the case of the pranas' entering the Central Channel. One should bear
this great difference in mind.
(4) Manipulating the Bindus
The yogi should visualize a small white drop [like a dewdrop], about the
size of a small pea, sparkling but
transparent, at the midpoint between his eyebrows. He should think that
this drop [Tig Le, or bindu] is the embodiment of his own mind, and
visualize it until it becomes extremely clear. Then, while breathing in as
above, he
should visualize the Tig Le ascending from between the eyebrows to the
upper end of the Central Channel; and
during the holding process, he should concentrate on it.
While he breathes out he should imagine the Tig Le flowing down again to
the midpoint between the brows. He should do all this several times.
Then, he takes a long breath and pushes the air down to the Navel
Center. At the same time he should imagine that the Tig Le drops down to
the Navel Center through the Central Channel like a small iron ball falling

through a tube with a rattle; then, while holding the breath, he should
concentrate on the Tig Le at the Navel Center. When he exhales, the Tig
Le returns again to the Head Center through the Central Channel.
[Steadily to improve this meditation] the yogi should first visualize the Tig
Le dropping down only to the Throat
Center until, without effort, the vision becomes extremely clear. Finally he
should visualize the Tig Le dropping down
first to the Heart and then to the Navel Center.
After mastering this practice, the Yogi should concentrate upon the Tig Le
at a given Cakra [especially the
Navel Cakra] and at the same time practice the Vase- Breathing five to
seven times. One should notice here that
during inhalation, the Tig Le drops down to the lower Cakras; when the
breath is held, it remains in the center of
the Cakra; and during exhalation, it returns to the midpoint between the
eyebrows. At the end of every meditation one should concentrate upon
this Center.
(5) Bodily Exercises
It is through bodily exercises that many of the knots in the nadis are
untied. They improve the flow of the pranas
and Tig Les in the nadis; they also rejuvenate impaired pranas, nadis, and
Tig Les. One should therefore learn and
practice the various bodily exercises given in Tantric texts; this is
extremely important. Special attention should be
paid to the practice of the Six Rotation Exercises of Naropa a
fundamental exercise of the Heat Yogaboth at the
beginning and end of meditation. He should also practice for specific
purposes other exercises which he can find in
my volume, The Red Book of Heat Yoga. [This book is unavailable at the
present time, either in Tibetan, or in English translation. Tr.]
Now, to build a good foundation for Heat Yoga, the following practices
should be stressed:

Sit on the floor, cross the legs, put a high pillow under the hips, and tie a
cotton belt to fasten the waist and knees
to steady the body during meditation. Sitting in the "Seven-fold Seated
Posture of Vairocana" as instructed before, the yogi may now practice the
Vasebreathing exercise, but he should not do so when too full or too
hungry, nor at noon or midnight. The best time is when the breath flows
evenly through both nostrils.
One should therefore start to practice when the breathing is about to
shift from one nostril to the other, for then the breath is balanced in both
nostrils. When visualizing, this does not alter the effort made on the
nadis, but more stress should be placed on seeing the Dumo-fire at the
intersection of the Three Channels below the navel. This Dumo-fire is
shaped like a small Tibetan A [ Q, ] word [or an ovoid or almond-shaped
flame with a sharp and narrow tongue which tapers to a point like a
twisted needle or a thin corkscrew].
Reddish-brown, intensely hot and undulating, it can produce heat and
bliss in all nadis throughout the body.
When inhaling and filling, the yogi should imagine the air flowing down
the Right and Left Channels, and, like
the wind from a bellows, fanning the Dumo-fire to an intense heat; when
dissolving, he should think of all the
pranas in the body as gathering at, and evaporating into, this Dumo-fire.
During the ["shooting" or] exhalation, the
Dumo rises through the Central Channel.
The fire of Dumo is the foundation of Heat Yoga; it should therefore be
visualized very clearly in order actually
to produce heat. A firm and clear visualization of the Dumo must be
established [before one can hope for substantial
progress]. At the start, the blazing tongue of Dumo should not be
visualized as more than the height of a finger's
breadth; then gradually it increases in height to two, three, and four
fingers' breadth. This blazing tongue of Dumo
is thin and long, shaped like a twisted needle or the long hair of a hog; it
also possesses all four characteristics of

the Four Elementsthe firmness of earth, the wetness of water, the

warmth of fire, and the mobility of air; but its
outstanding quality still lies in its great heatwhich can evaporate the
pranas and produce the Bliss.
The yogi who follows the above instructions should be able to lay a good
foundation for Dumo Yoga and produce
the Heat and Bliss.
Some say that in the Heat Yoga practice one should also visualize the four
bija syllables in the Four Cakras.
This is described in the Tantras of Hevajra and Demchog. but not in most
writings of the Six Yogas.
The Practice of Vase-Breathing
Following the preceding instructions, the yogi should first clearly visualize the nerve
[nadi = Tib. rtsa. Ed.] system in general, then concentrate on the center of the Central
Channel at the cross section of the three channels. Next, the yogi should meditate on the
four words in the different nerves; especially should he concentrate on the small Ah
word in the Central Channel at the Navel Center. If this mind-holding object can be
stabilized, the mind and prana will converge to it. Thus the mind reaches the state of
concentration and the pranas are collected. This is stated in the Tantra of Bde-Mchog
and the Expounding Tantra Sambhodra of Hevajra.
During the practice of Vase-Breathing, the yogi should also meditate on the four words
in the four Chakras. This is taught by the great accomplished yogis the BlackPractitioner, Lawaba, and Ocean-Born, as well as in many holy scriptures, especially in
those important pith-instructions of the Perfecting Yoga given in the Tantras. But that
the four words should all be visualized, is not given, even in the instruction of VaseBreathing Practice in the Whisper Teaching.
The Yogi should well acquaint himself with the meditation procedure as given in the
preceding instructions. Through this practice the pranas will enter into the Central
Channel and by the power of the fire of Dumo the Bodhi-Heart will be meltedthus
the Four Blisses will definitely arise. But there are many Tibetan teachers who give the
teaching of Dumo in a manner which combines all the practices of nerve (Rtsa), word,
and Vase-Breathing at one time and declares that it is for the sake of promptly
p. 180
producing the Dumo experience that the combined practice is given.
"The taking-in, the filling-up, the dissolving,
And the shooting like the arrow are the four steps."

This stanza shows the four special steps of the Vase-Breathing practice that was found
in the pith instructions of the gurus in the past and favored by them. There is a certain
commentary which says that "the four" means the four bases; this is a mistake,
however, that was made through overlooking the text of the Tantras.
The physical preparations for the breathing exercise are the same as given before. The
best time to practice this breathing exercise, according to the instructions of the
accomplished Yogi Pag-mo-grub-pa is the time when the breathing runs equally (in
both nostrils).
Pag-mo-grub-pa adds: "Although many gurus say that the best time to practice this
breathing exercise is the time when the air runs equally (through both nostrils), (in the
light of serious meditation) the breathing practice should be carried on day and night."
In order to make the proper time explicit, this instruction is given first.
In general, the prana70 is the essence of the expression of the Buddhas. In this practice
the exercise should be carried out when most of the Lotus-Shelter-Air ascends. This is
stated in the Lotus Commentary of the Dorn Tyun Tantra.
Now, the explanation of the taking-in-air: The yogi should not inhale through the
mouth but through the nostrils. He should not breath in roughly, but inhale gently and
Filling-up the air: After taking in the air, press it down and hold it. As the yogi inhales,
he should think that the air comes in through the two nostrils and enters into the
p. 181
[paragraph continues] Right and Left Channels, filling them up (like breath inflating
balloons made of entrails.)
Dissolving-the-air: When both channels, Right and Left, are full, all the air enters into
the Central Channel with a "Whoosh."
At this time the yogi should swallow the spittle in the mouth and press the upper air
down and pull the lower air up from both the lower gates71 to the small Ah word. Then
the yogi should concentrate on his visualizations and hold his breath as long as he can.
The holy Pag-mo-grub-pa said in his instructions-stanza: "From the Right and Left
Channels the air enters into the Central Channel and fills it. When the breath can be
held no longer, the yogi should release it for a very short timethe duration of
snapping one's finger. The air left in the body should be used for the dissolving
Though this instruction is somewhat contradictory on two points with the instruction
given before, except the fourth step (the dissolving step), the other three (taking-in,
holding, and exhaling the air) are expounded. The filling-up practice means inhaling
the air that fills the Right and Left Channels, and the dissolving practice means the
departure of the air from the two channels and its entrance into the Central Channel;

thereby the Central Channel is filled with air, but the air in the Right and Left Channel
is dissolved or emptied.
As to the manner of practicing the Vase-Breathing at the Navel Center, some claim that
the lower air should not be pulled up, merely pressing the upper air down will do;
others say that the yogi should press the air down at first, then, after a while, pull up
the lower air three times. These sayings are wrongfully given through ignorance of the
p. 182
essence of Vase-Breathing practice. The right practice is to combine the Live-Prana
above the navel with the Tur Sel Prana71a below the navel. As the Dom Gyun Tantra
"The up-going air and the down-going air
Should be joined together by the mind."
This stanza explains the way of practicing the Vase-Breathing by combining or uniting
the up-going and down-going prana. Thus we know that the up-going and down-going
air should be combined and that they should not be pulled up simultaneously, but one
after another. If there is no special reason for a particular meditation, the up-going air
should be drawn and pressed first; afterwards, pull up the down-going air. It is not
necessary to pull the down-going air three times.
"Shooting the air like the arrow." This illustrates the manner of expelling the air from
the body. When the yogi exhales the air, he should visualize it arising through the
Central Channel freely, like gas through a pipe. One should not visualize the air going
out of the body through the crown of the head.
About the practice of drawing the up-going and the down-going air together at the
Navel Center, one important point should be mentioned: some say the yogi should
visualize the whole body full of Prana; some say the Prana should be visualized only
full above the Heart Center or above the Throat Center. These instructions are unsound
because the true and sound teaching is to visualize the small Ah word whereupon the
two pranas unite *. There
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are two reasons for this. First, through leading the Prana into the Central Channel, the
Life-Prana and the down-going prana are unified. Second, through visualizing words,
the essential mental concentration process is automatically completed. Furthermore,
whenever the mouth of Ro-ma and Rkyang-ma are open, the mouth of the Central
Channel is closed and vice versa.
Through the practice of Vase-Breathing, the out-going breathing from the Ro-ma and
Rkyang-ma is stopped; and through visualizing the air entering into the Central
Channel, the yogi eventually will be able actually to lead the incoming air into the
Central Channel.

The manner and the duration of holding the breath are explained by Pag-mo-grub-pa
as follows: In the beginning stage, practice on taming the nerves is emphasized. The
yogi should not hold his breath to the point of strain. The yogi should hold the breath
easily and not for too long. Gradually, he should increase the duration of the holding
period. Until the breath becomes very smooth and submissive, he should not engage in
the stronger breathing practices, such as shaking the upper part of the body and
forcibly pulling up the prana. He should release his breath before he feels
uncomfortable, and not try to hold it too long. Even if he tries to do so, it will not help
the gathering of pranas in the Central Channel, for the prana will remain in the
Transformation Wheel only a moment and then go outside. Although to hold the prana
outside the Wheel Center for a long period will produce a little warmness and bliss, it
does not help the prana to enter into the Central Channel.
In the practice of visualization, the yogi tries to visualize the subject clearly, but a clear
image appears in his
p. 184
mind for only a short moment. To visualize a steady picture is difficult. In the aftermeditation period, however, he will sometimes experience the appearance of a steady
picture in his mind clearly, without any effort. In the same way he will learn that
natural and easy breath-holding cannot come without practice and effort. Therefore,
until the natural breath-holding or breath-remaining comes to pass, he should try to
prolong the breath-holding exercise gently. Even if he exerts himself in holding the
breath for a long period the prana will not remain at the place desired. Furthermore,
too much exertion will cause many troubles and do little good, so, until the prana can
be easily and naturally placed in the Navel Center, the yogi should gently prolong the
breath-holding exercise. If one knows how to practice this exercise proficiently, one will
be able to know whether the prana naturally remains and whether the prana can be led
to the desired place.
The best time to practice Vase Breathing is neither just before nor just after eating, but
when the stomach is neither too full nor too empty. The practice should be carried out
without interruption, yet not for too long a period. At times the yogi should rest for a
During the Vase Breathing, word-visualization should also be practiced. The yogi
should clearly visualize the four wordsAh, Hm, Om, Hamat the four respective
centers of navel, heart, throat and head that are knotted (by the nerves) as mentioned
Thereupon, the yogi should visualize an Ah word, the essence of fire and Dumo, blazing
with brightness. This word-of-fire is then fanned and stimulated by the wind from the
Privy Wheel, and its heat rises up and ascends to the Hm, Om and Ham words. The
three words begin to
p. 185

melt, and the melted drops all fall to the Ah word and unite with it, becoming one. This
one drop is the self-nature of the Innate Bliss, whereupon the yogi should concentrate.
In this process of holding mind to the subject, the yogi should visualize the Dumo-Ti-Le
burning with the tiny fire-tongue.
The yogi should visualize the melting Bodhi-Heart begin to drop from the respective
Wheels and fill up the Ah word, and then concentrate on visualizing the Ah word until
the signs of a stable visualization appear.
If the visualization becomes stable, the light of Dumo will shine. The body, both inside
and out, and the things in the house can all be seen clearly as one sees the olive fruit in
one's own palm. Thus it is important to visualize the Ah word shining with its burning
tongue, clearly and vividly. Through this practice the brightness-aspect of Samadhi will
increase, and a perfect Samadhi will be obtained.

176:* We have inserted the four technical Sanskrit terms.
The Hevajra Tantra states also the alternative tradition of this highest bliss as third in
order, thus implying its correspondence with the Heart Center of the Sacred Light of
Vairoana p. 177 and his co-power, the Lord of the Center of the five Dhyani Buddhas.
This tacit identification with the heart, and not the usually given hair-splitting reasons,
is the true esoteric basis for the alternative order, which is thus seen not to be
"artificial" as D. L. Snellgrove (Hevajra Tantra, Oxford, Vol. I, p. 137) surmises, saying
hence not correctly that "it is associated with no improved interpretation of them (the
Four Blisses) as a coherent set." This conclusion is understandable, however, for anyone
not familiar with the relation of the Four Misses to the Chakras, for that relation
provides the only solid and practical basis for the non-arbitrariness Snellgrove rightly
sought. The moment the Chakras are taken into account, the only proper position for
the Highest or Innate Bliss is seen at once to he third, placing it in direct
correspondence with the Heart Center, where it uniquely belongs.Ed.
178:* We would rather say, as better agreeing with practice: Which comes from the
Heart Center, and in mediated through the Navel Center. Ed.
178:** Both from conversations with other practitioners of yoga and from personal
experience, the editor can unequivocally state that the greatest heat (gTum-mo) can be
generated and more easily controlled through the use of the Heart Center rather than
through the navel plexus, allowing the latter to function unconsciously under orders of
the Heart Center, as it were, and as a distribution pointbut not bestowing any direct
attention on the navel per se. Even on a cold night the bodily heat thus generated with
comparative simplicity is pervasive and intense.Ed.
182:* There is a third and synthesizing view and doctrine here not mentioned in the
text; namely, to maintain the conscious concentration of the prana at the heart center,

letting that center be the means for the (unconscious) command to the Navel Center for
its (the prana's) distribution.Ed.
La Prctica de la respiracin-jarrn:
Siguiendo las instrucciones anteriores, el yogui debe visualizar primero
claramente el sistema nervioso [nadi = Tib. rtsa] en general, a
continuacin concentrarse en el centro del Canal Central en la seccin
transversal de los tres canales. A continuacin, el yogui debe meditar en
las cuatro palabras en los diferentes nervios; especialmente en caso de
que concentrarse en la palabra Ah pequea en el Canal Central en el
Centro del Ombligo. Si este objeto que sostiene la mente se puede
estabilizar, la mente y el prana convergern en l. As, la mente alcanza
el estado de concentracin y los pranas son recogidos. Esto se afirma en
el Tantra del Bde-Mchog y el Tantra Sambhodra revelado de Hevajra.
Durante la prctica de la respiracin-jarrn., el yogui tambin debe
meditar en las cuatro palabras en los cuatro Chakras. Esto se ensea por
los grandes yoguis consumados las NegroPracticante, Lawaba y Nacido
del Ocano, as como en muchas escrituras sagradas, especialmente en
aquellas importantes instrucciones medulares del Yoga del
Perfeccionamiento dado en los Tantras. Pero que las cuatro palabras
deben todas ser visualizadas, no se da, incluso en la instruccin de la
prctica de la respiracin-jarrn en la Enseanza susurrada. El Yogui debe
tambin familiarizarse con el procedimiento de la meditacin como se indica en las
instrucciones anteriores. A travs de esta prctica los pranas entrarn en el Canal Central y
por el poder del fuego de Dumo el Corazon Bodhi se se derretiry as los Cuatro
Bienaventurados sin duda surgirn. Pero hay muchos maestros tibetanos que dan la
enseanza de Dumo de manera que combina todas las prcticas de los nervios (rtsa), palabra
y la prctica de la respiracin-jarrn a la vez y dicen que es en aras de la prontitud
p. 180

produciendo la experiencia Dumo que se da en la prctica combinada.

"El tomar ,el llenado, la disolucin,
Y los disparos como la flecha son los cuatro pasos. "
Esta estrofa muestra los cuatro pasos especiales de la prctica de la
respiracin-jarrn que se encontr en las instrucciones esenciales de los
gurs en el pasado y favorecida por ellos. Hay un cierto comentario que
dice que "los cuatro" significa las cuatro bases; esto es un error, sin
embargo, este fue hecho con vistas al texto de los Tantras.
Las preparaciones fsicas para el ejercicio de respiracin son las mismas
dadas anteriormente. El mejor momento para practicar este ejercicio de

respiracin, de acuerdo con las instrucciones del consumado Yogi Pag-mogrub-pa es cuando se respira por igual por ambas fosas nasales.

(3) Los ejercicios de respiracin- jarrn.

El mejor momento para practicar la respiracin- jarrn, es
cuando la respiracin fluye uniformemente a travs de ambas
fosas nasales.
Si se encuentra que ms aire pasa a travs de una fosa nasal que
la otra , uno debe tumbarse en ese lado y utilizar el pulgar para
cerrar esa fosa nasal, forzando el aire a travs de la otra.
Despus de una serie de respiraciones, encontrar el aire
pasando de manera uniforme a travs de ambas fosas nasales.
Ahora sintese, utilice un dedo para cerrar la fosa nasal izquierda, haga una larga
exhalacin a travs de la derecha. Entonces, [despus de inhalar] haga una breve
exhalacin, y luego de una larga y suave. Practique esto tres veces, y luego haga lo
mismo con la fosa nasal izquierda, y finalmente con ambas fosas nasales.
Al exhalar, el yogui debe pensar que todos los obstculos,
pecados y enfermedades en el cuerpo son expulsados
Aquellos que nunca han practicado este ejercicio antes, deben
presionar cada fosa nasal con el dedo ndice de la misma cara, y
presionar el lado del pecho con el brazo opuesto y el puo al
exhalar. El yogui debe poner sus dos puos en ambas rodillas
cuando respire a travs de ambas fosas nasales. Despus de
cada exhalacin se debe inhalar profundamente, doblando el
cuello levemente un poco antes de exhalar nuevamente.
Esto se llama el "Aliento de Nueve Soplidos," y slo debe hacerse
una vez o dos veces al comienzo de la meditacin. Si uno practica
demasiado, tendr dolores de cabeza y problemas respiratorios.
Pero a veces, en medio de una meditacin, puede practicar estos
ejercicios muy suavemente cuando sea necesario.
Ahora, la prctica principal del ejercicio Respiracin- Jarrn :
1. Sintese como se indica antes, y enderece la columna
2 Coloque una almohada o una manta de unos ocho centmetros
de espesor, debajo de las caderas. Luego haga suavemente un

suspiro largo y sutil, presionando el aire hacia abajo, debajo del

ombligo, y trague saliva con el aire.
Ahora contraiga el msculo del esfnter del ano ligeramente, y
mantenga el aire en el Chakra del Ombligo
Cuando el yogui se ha convertido en experto en presionar hacia
abajo el aire, entonces puede contraer el msculo del esfnter
con ms fuerza que antes sin mover el abdomen.
Esta prctica de presionar el aire superior hacia abajo, tirando
del aire inferior hacia arriba y mezclndolos en el centro del
ombligo, de modo que la parte inferior del abdomen que
sobresale toma la forma de un florero o pote-es por esta razn,
que es llama el "Ejercicio Respiracion- jarron ".
Cuando el yogui ya no puede contener el aire , debe tomar muy poco aliento para
aliviar la tensin, hacer girar el vientre tres veces, Y tratar de mantener el
aliento una vez ms el mayor tiempo posible. Cuando ya no
pueda ms debe levantar la cabeza ligeramente y soltar el aire
tan lentamente como le sea posible. Estos cuatro procesos se
llaman inhalar, llenando, disolucin, y disparando.
Algunas visualizaciones deben ser practicadas durante el
ejercicio de respiracin- Florero-: al inhalar, visualiza los pranas
de los Cinco Elementos, en cinco colores diferentes, entrando en
las fosas nasales desde una distancia de unos diez centmetros
de la nariz; cuando se llena, visualizar el aire descendente a
travs de ambos canales como si se inflaran los intestinos de una
cabra, pasando a travs del punto de interseccin, entrando en el
Canal Central y permaneciendo all; cuando se hace la disolucin,
visualice el aire circulante [dentro ] del canal central; cuando se
hace el disparo, visualizar un Tig Le, que simboliza la esencia de
Prana-Mente, disparando a travs del canal central y hacia fuera
del Centro de la Cabeza.
Esta visualizacin de disparo, sin embargo, slo debe practicarse
una vez al comienzo de una meditacin; para hacerlo demasiado
a menudo conduce a problemas.
Segn algunos gurs, durante el proceso de rodaje hay que
imaginar el aire que sale del cuerpo a travs del punto medio
entre las dos cejas.

De acuerdo con otra instruccin, los pranas de los cinco elementos deben ser
visualizados como 5 haces de luz coloreada que emanan de numerosos rayos
triangulares diminutos [dorjes].
Estos diminutos dorjes entran, salen, y permanecen en el cuerpo
durante la inhalacin, la exhalacin, y el proceso de retencin,
Algunos dicen que durante el proceso de disolucin se debe primero visualizar el aire
como llenando el canal central, a continuacin los cuatro Chakras y finalmente todos
los nadis del cuerpo entero; pero esto es criticado por otros como un mal mtodo que
har que el aire se escape del cuerpo
Nunca es recomendable comenzar con este tipo intensivo de
Respiracin-Jarron, ya que mientras uno puede ganar un poco de
experiencias temporarias, no es muy beneficioso a largo plazo;
adems, encontrar innumerables [otras] dificultades. Por lo
tanto a un principiante no se le aconseja practicar el tipo
vigoroso de Respiracin-Jarrn ; en cambio, que debera practicar
en forma suave que le dara un mundo de bondades y pocas
dificultades. Adems, se le recomienda encarecidamente no
practicar cualquier tipo vigoroso de respiracin-jarrn antes de
que se ha convertido en perito con la suave. El llamado tipo
suave de respiracin-jarrn es contener el aire por un corto
perodo de tiempo, liberarlo antes de que produzca tensin
entonces, a su vez tomar otra respiracin y mantener de nuevo.
Todo esto se debe repetir de ocho a diez veces, lo que hace una
ronda completa. Entonces el yogui puede descansar un rato
antes de repetirlo. Uno debe tratar de prolongar el perodo de
retencin de manera gradual y suavemente; nunca se debe
respirar por la boca, y se debe evitar cualquier lugar donde el
aire est cargado de humo o mal,al hacer este ejercicio. Si uno
puede aguantar la respiracin sin esfuerzo /tensin durante dos
minutos, se considera que ha cumplido el requisito mnimo para
el dominio de los pranas; durante cuatro minutos es
normal/promedio : pero si se retiene durante seis minutos o ms
se alcanza el requisito ms alto.
Aqu algunas palabras deben ser dichas sobre el signo
[preliminar] de los pranas entrando en el Canal Central.
Esto se produce cuando, en cualquier momento durante la
meditacin, la respiracin comienza a fluir sin problemas y de
manera uniforme a travs de ambas fosas nasales,

Entonces se convierte en extremadamente sutil y finalmente se

detiene por completo, este fenmeno, sin embargo, tambin
puede ocurrir cuando se hunde o se fuga el prana [? ].
En el primer caso, uno siente su mente convertirse en tenue y
dbil; en el ltimo caso , no se puede visualizar todo claramente.
Sin embargo, estos fenmenos no ocurren en el caso de los
pranas entrando en el Canal Central. Hay que tener esta gran
diferencia en mente.
(4) La manipulacin de la Bindus
El yogui debe visualizar una pequea gota blanca [como una gota de
roco], aproximadamente del tamao de un guisante, chispeante pero
transparente, en el punto medio entre las cejas. l debe pensar que esta
cada [Tig Le, o bindu] es la encarnacin de su propia mente, y visualiza
hasta que se vuelve extremadamente clara. Luego, mientras se respira en
el anterior, se
debe visualizar la Tig Le ascendiendo desde entre las cejas al extremo
superior del canal central; y
durante el proceso de explotacin, se debe concentrar en l.
Mientras exhala l debe imaginar el Tig Le fluye hacia abajo de nuevo en
el punto medio entre las cejas. Se debe hacer todo esto varias veces.
Luego, toma un largo suspiro y empuja el aire hacia el centro del ombligo.
Al mismo tiempo se debe imaginar que el Tig Le desciende hasta el
centro del ombligo a travs del canal central de una pequea bola de
hierro que cae a travs de un tubo con un cascabel; entonces, mientras
se mantiene la respiracin, que debe concentrarse en el Le Tig en el
centro del ombligo. Cuando exhala, el Tig Le devuelve de nuevo al centro
de la cabeza a travs del Canal Central.
[Constantemente mejorar esta meditacin] el yogui debe primero
visualizar el Tig Le descender slo a la Garganta
Centrar hasta que, sin esfuerzo, la visin se vuelve extremadamente
clara. Finalmente se debe visualizar el Tig Le descender
primero al Corazn y luego a el centro del ombligo.
Despus de dominar esta prctica, el yogui debe concentrarse en la Tig
Le en una Cakra dado [especialmente el

Ombligo Cakra] y al mismo tiempo practicar la respiracin Florero- cinco a

siete veces. Hay que notar aqu que
durante la inhalacin, la Tig Le cae hasta los Chakras inferiores; cuando
se lleva a cabo la respiracin, que permanece en el centro de
el Cakra; y durante la exhalacin, devuelve al punto medio entre las
cejas. Al final de cada meditacin uno debe concentrarse en esta Center.
(5) Ejercicios corporales
Es a travs de ejercicios corporales que muchos de los nudos en los nadis
estn desatados. Mejoran el flujo de los pranas
y Tig Les en los nadis; tambin rejuvenecer pranas deteriorados, nadis, y
Tig Les. Entonces, uno debe aprender y
practicar los diversos ejercicios corporales que figuran en los textos
tntricos; esto es extremadamente importante. Especial atencin debe
pagado a la prctica de los Seis ejercicios de rotacin de Naropa -a
ejercicio fundamental del Yoga, tanto calor en el
principio y fin de la meditacin. Tambin debe practicar para fines
especficos otros ejercicios que puede encontrar en
mi volumen, El Libro Rojo de Yoga Heat. [Este libro no est disponible en
este momento, ya sea en tibetano, o en la traduccin Ingls. Tr.]
Ahora, para construir una buena base para Yoga calor, las siguientes
prcticas hay que destacar:
Sintese en el suelo, cruzar las piernas, ponga un alto almohada debajo
de las caderas, y atar un cinturn de algodn para sujetar la cintura y las
para estabilizar el cuerpo durante la meditacin. Sentado en el "siete
veces Sentado Postura de Vairocana" como se indica anteriormente, el
yogui puede ahora practicar el ejercicio Vasebreathing, pero no debera
hacerlo cuando demasiado llena ni con demasiada hambre, ni al medioda
o medianoche. El mejor momento es cuando la respiracin fluye
uniformemente a travs de ambas fosas nasales. Por lo tanto, uno debe
comenzar a practicar cuando la respiracin est a punto de pasar de una
ventana de la nariz a la otra, porque entonces la respiracin se equilibra
en ambas fosas nasales. Al visualizar, esto no altera el esfuerzo realizado

en los nadis, pero ms estrs se debe colocar al ver el Dumo el fuego en

la interseccin de los tres canales por debajo del ombligo. Este Dumo el
fuego tiene la forma de una pequea palabra tibetana A [Q] [o un ovoide
o llamas en forma de almendra con una lengua afilada y estrecha que se
estrecha a un punto como una aguja torcida o un sacacorchos fina].
De color marrn rojizo, intensamente caliente y ondulante, puede
producir calor y la felicidad en todos los nadis en todo el cuerpo.
Cuando la inhalacin y el llenado, el yogui debe imaginar el aire que fluye
por los canales derecho e izquierdo, y, al igual
el viento de un fuelle, avivando el Dumo el fuego a un calor intenso;
cuando se disuelve, debe pensar de toda la
pranas en el cuerpo como en la recoleccin, y se evapora en este Dumo
fuego. Durante la exhalacin ["disparar" o], el
Dumo sube por el Canal Central.
El fuego de la Dumo es el fundamento de la yoga de calor; por lo que
debe ser visualizado claramente el fin realidad
para producir calor. Una visualizacin firme y clara de la Dumo se debe
establecer [antes de que uno puede esperar sustancial
progreso]. Al comienzo, la lengua ardiente de Dumo no debe ser
visualizada como algo ms que la altura de un dedo de
amplitud; luego, gradualmente aumenta en altura a anchura de dos, tres
y cuatro dedos. Esta lengua ardiente de Dumo
es delgado y largo, con forma de aguja torcida o el pelo largo y de un
cerdo; tambin posee todas las cuatro caractersticas de
los cuatro elementos, la firmeza de la tierra, la humedad del agua, el
calor del fuego, y la movilidad de aire; pero su
calidad excepcional an reside en su gran calor que puede evaporar los
pranas y producir la Bienaventuranza.
El yogui que sigue las instrucciones de arriba debe ser capaz de
establecer una buena base para Dumo Yoga y producir
el calor y la dicha.
Algunos dicen que en la prctica del yoga Heat tambin hay que
visualizar las cuatro slabas bija en los cuatro Chakras.

Esto se describe en los Tantras de Hevajra y Demchog. pero no en la

mayora de los escritos de los Seis Yogas.