TEACHINGS OF TIBETAN YOGA(2) Visualizing the Main Psychic-Nerves, or NadisWhen the vision of body-hollowness lias become clear,the yogi should tlien visualize the Central Channel in thecenter of the body. Its upper end reaches the top of thehead, and then curves down to the point between the twoeyebrows; its lower end reaches a point about four fingersbelow the navel; its width is that of whipcord; and its coloris white on the outside and red within. The yogi shouldalso visualize the other two Channels, namely, the Rightand Left [Roma and Junma]. Their width is that of anarrow shaft; the color of the Right Channel is red slightlytinged with white, and that of the Left, vice versa. Thesetwo Channels run parallel to but about half an inch fromthe Central one. Their upper ends also reach the top ofthe head and then curve down to the two nostrils. Allthree Channels are hollow, straight, clear, and transparent.Some instructions say that the Central Channel is as thickas an arrow shaft and the other two as thick as [wheat]stalks; that the Right and Left Channels should be visualizedas the intestines of a goathoary and old; that theCentral Channel should be visualized as blue in color, theRight is red, and the Left as white; others say that allthree Channels are white on the outside and red inside.Although these instructions vary in many ways, one canchoose any one of them for practice.Some instructions add that the upper end of the CentralChannel reaches the Gate of Purity and the lower endextends all the way down to the opening in the privy organ.But I think it would be better to follow the instructionsgiven above.When these three Channels are seen clearly, the yogishould then visualize the Four Cakras in the head, throat.chest, and navel, respectively. The Navel Cakra is alsocalled the Transformation Center, and has sixty-four nadisextending upward like the ribs of a reversed unbrella; theHeart Cakra is called the Dharma Center, with eight nadisextending downward like an umbrella's ribs; the ThroatCakra is called the Enjoyment Center, with sixteen nadisextending upward; and the Head Cakra, the Great JoyCenter, has thirty-two nadis extending downward. All fourCakras are connected with, or "sprout" from the CentralChannel, as ribs from the stick of an umbrella. From thetip of each nadi numerous thin "nerves" spread out to coverall parts of the bodyforming innumerable networks orplexus. All these nadis are red inside and white outside,and each is hollow within. Some say that they are eitherred or yellow, some that the Throat and Navel Centers arered. the Heart Center white, and the Head Center green,One may, however, practice either way. If one cannot visulilizethem clearly all at once, he should visualize a part ata time. But the important point is to make the vision extremelyclear, [especially that of the three main nadis, orChannels, and the Four Cakras]. Some instructions saythat in addition to these four Cakras, the Crown Cakra andthe Privy Cakra should be added, thus making a total of six;some say one may visualize all the 72,000 nadis in theentire body. But I think one can do with, or without, theseadditional Cakras and nadis.(3) The Vase-Breathing ExercisesThe best time to practice Vase-Breathing is when the breath flows evenly through both nostrils. If one finds thatmore air is passing through one nostril than the other, one should lie down on that side and use the thumb to closethat nostril, forcing the air out through the other one. After a number of breaths, he will find the air running evenlythrough both nostrils.Now sit up, use a finger to close the left nostril, an make a long exhalation through the right one. Then, [afterinhaling] make a short exhalation, then a long and gente one. Practice this three times, then do the same with theleft 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 expulsados.

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, pressingthe 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 "Vase-Breathing Exercise."When the yogi can hold the air no longer, he should take a very short breath to relieve the tension, roll thebelly 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 ofthe Five Elements, in five different colors, being drawn into the nostrils from a distance of about ten inches fromthe 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 Essenceof 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 themidpoint between the two eyebrows. According to another instruction, the pranas of the Five Elements should bevisualized 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 methodwhich 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 temporaryexperiences, he will not benefit much in the long run; besides, he will meet with innumerable [other] dif-Acuities. Therefore a beginner is not advised to practice the vigorous type of Vase-Breathing; instead, he shouldpractice the gentle Vase-Breathing, which will do him a world of good with little or no hindrances. Also, he isstrongly recommended not to practice any vigorous type of Vase-Breathing before he has become proficient withthe gentle one. The so-called gentle Vase-Breathing is to hold the air for a short while, release it before there is anystrain, then at once draw in another breath and hold it again. All this should be repeated eight to ten times, makingone complete round. Then the yogi may rest for a short while before repeating it. One should try to prolong theholding period gradually and gently; he should never breathe through the mouth, and should avoid any placewhere 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 requirementHere a few words should be said about the [preliminary] sign of the pranas entering the Central Channel. This takesplace 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 BindusThe yogi should visualize a small white drop [like a dewdrop], about the size of a small pea, sparkling buttransparent, 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, heshould visualize the Tig Le ascending from between the eyebrows to the upper end of the Central Channel; andduring 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 ThroatCenter until, without effort, the vision becomes extremely clear. Finally he should visualize the Tig Le dropping downfirst 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 theNavel Cakra] and at the same time practice the Vase- Breathing five to seven times. One should notice here thatduring inhalation, the Tig Le drops down to the lower Cakras; when the breath is held, it remains in the center ofthe 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 ExercisesIt is through bodily exercises that many of the knots in the nadis are untied. They improve the flow of the pranasand Tig Les in the nadis; they also rejuvenate impaired pranas, nadis, and Tig Les. One should therefore learn andpractice the various bodily exercises given in Tantric texts; this is extremely important. Special attention should bepaid to the practice of the Six Rotation Exercises of Naropa a fundamental exercise of the Heat Yogaboth at thebeginning and end of meditation. He should also practice for specific purposes other exercises which he can find inmy 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 kneesto 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, likethe wind from a bellows, fanning the Dumo-fire to an intense heat; when dissolving, he should think of all thepranas in the body as gathering at, and evaporating into, this Dumo-fire. During the ["shooting" or] exhalation, theDumo rises through the Central Channel.The fire of Dumo is the foundation of Heat Yoga; it should therefore be visualized very clearly in order actuallyto produce heat. A firm and clear visualization of the Dumo must be established [before one can hope for substantialprogress]. At the start, the blazing tongue of Dumo should not be visualized as more than the height of a finger'sbreadth; then gradually it increases in height to two, three, and four fingers' breadth. This blazing tongue of Dumois thin and long, shaped like a twisted needle or the long hair of a hog; it also possesses all four characteristics ofthe Four Elementsthe firmness of earth, the wetness of water, the warmth of fire, and the mobility of air; but itsoutstanding 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 producethe 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-BreathingFollowing 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 Black-Practitioner, 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 Vase-Breathing 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 promptlyp. 180producing 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 slowly.Filling-up the air: After taking in the air, press it down and hold it. As the yogi inhales, he should think that the air comes in through the two nostrils and enters into thep. 181[paragraph continues] Right and Left Channels, filling them up (like breath inflating balloons made of entrails.)Dissolving-the-air: When both channels, Right and Left, are full, all the air enters into the Central Channel with a "Whoosh."At this time the yogi should swallow the spittle in the mouth and press the upper air down and pull the lower air up from both the lower gates71 to the small Ah word. Then the yogi should concentrate on his visualizations and hold his breath as long as he can. The holy Pag-mo-grub-pa said in his instructions-stanza: "From the Right and Left Channels the air enters into the Central Channel and fills it. When the breath can be held no longer, the yogi should release it for a very short timethe duration of snapping one's finger. The air left in the body should be used for the dissolving practice."Though this instruction is somewhat contradictory on two points with the instruction given before, except the fourth step (the dissolving step), the other three (taking-in, holding, and exhaling the air) are expounded. The filling-up practice means inhaling the air that fills the Right and Left Channels, and the dissolving practice means the departure of the air from the two channels and its entrance into the Central Channel; thereby the Central Channel is filled with air, but the air in the Right and Left Channel is dissolved or emptied.As to the manner of practicing the Vase-Breathing at the Navel Center, some claim that the lower air should not be pulled up, merely pressing the upper air down will do; others say that the yogi should press the air down at first, then, after a while, pull up the lower air three times. These sayings are wrongfully given through ignorance of thep. 182essence of Vase-Breathing practice. The right practice is to combine the Live-Prana above the navel with the Tur Sel Prana71a below the navel. As the Dom Gyun Tantra says:"The up-going air and the down-going airShould 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 unsoundbecause the true and sound teaching is to visualize the small Ah word whereupon the two pranas unite*. Therep. 183are 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 hisp. 184mind for only a short moment. To visualize a steady picture is difficult. In the after-meditation period, however, he will sometimes experience the appearance of a steady picture in his mind clearly, without any effort. In the same way he will learn that natural and easy breath-holding cannot come without practice and effort. Therefore, until the natural breath-holding or breath-remaining comes to pass, he should try to prolong the breath-holding exercise gently. Even if he exerts himself in holding the breath for a long period the prana will not remain at the place desired. Furthermore, too much exertion will cause many troubles and do little good, so, until the prana can be easily and naturally placed in the Navel Center, the yogi should gently prolong the breath-holding exercise. If one knows how to practice this exercise proficiently, one will be able to know whether the prana naturally remains and whether the prana can be led to the desired place.The best time to practice Vase Breathing is neither just before nor just after eating, but when the stomach is neither too full nor too empty. The practice should be carried out without interruption, yet not for too long a period. At times the yogi should rest for a while.During the Vase Breathing, word-visualization should also be practiced. The yogi should clearly visualize the four wordsAh, H, O, Haat the four respective centers of navel, heart, throat and head that are knotted (by the nerves) as mentioned before.Thereupon, the yogi should visualize an Ah word, the essence of fire and Dumo, blazing with brightness. This word-of-fire is then fanned and stimulated by the wind from the Privy Wheel, and its heat rises up and ascends to the H, O and Ha words. The three words begin top. 185melt, 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.

Footnotes176:* 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 prontitudp. 180produciendo 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-mo-grub-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 expulsadosAquellos 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 ligeramente.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, respectivamente.Algunos dicen que durante el proceso de disolucin se debe primero visualizar el aire como llenando el canal central, a continuacin los cuatro Chakras y finalmente todos los nadis del cuerpo entero; pero esto es criticado por otros como un mal mtodo que har que el aire se escape del cuerpoNunca 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 BindusEl yogui debe visualizar una pequea gota blanca [como una gota de roco], aproximadamente del tamao de un guisante, chispeante perotransparente, 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, sedebe visualizar la Tig Le ascendiendo desde entre las cejas al extremo superior del canal central; ydurante 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 GargantaCentrar hasta que, sin esfuerzo, la visin se vuelve extremadamente clara. Finalmente se debe visualizar el Tig Le descenderprimero 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 elOmbligo Cakra] y al mismo tiempo practicar la respiracin Florero- cinco a siete veces. Hay que notar aqu quedurante la inhalacin, la Tig Le cae hasta los Chakras inferiores; cuando se lleva a cabo la respiracin, que permanece en el centro deel 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 corporalesEs a travs de ejercicios corporales que muchos de los nudos en los nadis estn desatados. Mejoran el flujo de los pranasy Tig Les en los nadis; tambin rejuvenecer pranas deteriorados, nadis, y Tig Les. Entonces, uno debe aprender ypracticar los diversos ejercicios corporales que figuran en los textos tntricos; esto es extremadamente importante. Especial atencin debe serpagado a la prctica de los Seis ejercicios de rotacin de Naropa -a ejercicio fundamental del Yoga, tanto calor en elprincipio y fin de la meditacin. Tambin debe practicar para fines especficos otros ejercicios que puede encontrar enmi 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 rodillaspara 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 igualel viento de un fuelle, avivando el Dumo el fuego a un calor intenso; cuando se disuelve, debe pensar de toda lapranas en el cuerpo como en la recoleccin, y se evapora en este Dumo fuego. Durante la exhalacin ["disparar" o], elDumo 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 realidadpara producir calor. Una visualizacin firme y clara de la Dumo se debe establecer [antes de que uno puede esperar sustancialprogreso]. Al comienzo, la lengua ardiente de Dumo no debe ser visualizada como algo ms que la altura de un dedo deamplitud; luego, gradualmente aumenta en altura a anchura de dos, tres y cuatro dedos. Esta lengua ardiente de Dumoes delgado y largo, con forma de aguja torcida o el pelo largo y de un cerdo; tambin posee todas las cuatro caractersticas delos cuatro elementos, la firmeza de la tierra, la humedad del agua, el calor del fuego, y la movilidad de aire; pero sucalidad 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 producirel 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.