Question to T Krishnamacharya –

Q: What must form an essential part of a person’s daily practice?
A: A minimum of ten minutes in Antaḥ Trāṭakam, Ṣat Mukhī Mudrā
or Mahā Mudrā is essential.
– Śrī Krishnamacharya – The Pūrnācārya – published by the KYM in 1997

“I had one student who could do all the Āsana and was shocked to discover that she was unable to stay in Mahāmudrā for eight breaths! She was so flexible that she took her body for granted.
Mahāmudrā requires more than suppleness of the body.
We must be able to stay and breathe in this posture.”
– TKV Desikachar Religiousness in Yoga Chapter Four Page 45

“The best Āsana for doing Bandha are inverted, lying flat, or sitting with the back straight.
A classic posture is Mahā Mudrā, which is in fact, Mahā Mudrā only if the Bandha are used.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 200

“Another simple posture is Adho Mukha Śvan Āsana.
the next step is to try them in some sitting postures such as Mahā Mudrā.
These Bandha can also be done in the headstand.
It is easy to do Bandha in this position because the lifting,
Uḍḍīyana Bandha, and holding up, Mūla Bandha,
of Apāna to the flame is almost automatic
because now the Apāna is above the flame.
If we can do the three Bandha in these postures,
we are ready to introduce them in our Prāṇāyāma.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“Another thing that he made very simple, and practical, is the use of Mahāmudrā.
This is a very well known posture now,
but when you start looking at the texts, nothing is clear there.
He has incorporated the Āsana part, the breathing part, and the Mudrā part,
and, he feels, Mahāmudrā, if practiced every day, prevents ill health.”
– TKV Desikachar from lectures on ‘The Yoga of T Krishnamacharya’,
given at Zinal, Switzerland 1981.

“Even with my students they teach a posture
because it has been taught to them.
Like a rubber stamp.
This is not Viniyoga.
People have rigid ideas.
For example, why Cakravākāsana for this lady
after Śīrṣāsana, whereas something else,
say Mahāmudrā for somebody else.
So it does not follow what is good for me
is good for everybody.”
– TKV Desikachar France 1983

“Mahāmudrā – the great gesture, is a seated asymmetrical posture combining forward flexion of the trunk with straightening of the back. At the forefront of the boundary between the main types of Āsana and Prāṇāyāma, this Mudrā is the central pillar of his teaching of technique.”
Claude Marachel was a long serving and senior student of TKV Desikachar over 33 years from 1969-2002. This is an extract from Claude talking about what Desikachar told him about his father, Krishnamacharya.

“Mahāmudrā is the bridge between Āsana and Prāṇāyāma.”

“Mahāmudrā is a rock on which to take a seat,
amidst the swirling waves in the ocean that is the Citta.”

“Prāṇāyāma, as with Āsana and Dhyānam, was taught according
to the principles of Cikitsā, Rakṣaṇa and Śikṣaṇa Krama.
Thus we have breathing practices ranging from Cikitsā,
using simple ratio to settle an irregular breath, to Rakṣaṇa,
with competence and fluidity with various basic techniques and mild ratios,
to Śikṣaṇa and mastery of all techniques, and ratios and especially,
the Kumbhaka with long holds both after the inhale and the exhale.
The Vinyāsa Krama or steps in the evolution of practice are measured
by our practice abilities and consistency and potential within our life situation.
The longer term measure of our Prāṇāyāma potential is determined by
our skilful efforts with all four components of the breath in Āsana.
For example can we maintain 8.8.8.8. in Parśva Uttānāsana or 12.6.18.12 in Mahāmudrā?
These days though, it seems that there is not much place for or interest in the use of Kumbhaka
within breathing practices, if used at all, appear to be mainly Cikitsā or about recovery,
or at best Rakṣaṇa or constitutional, rather than Śikṣaṇa and developmental.”

“To experience the intention behind
the Bandha, the body must be prepared.
For example if the pulse remains increased
after their use, it is an indicator that we are not ready.
If excessive tension is felt in the areas where they are used,
then an indicator that we are not ready for Bandha in Mahāmudrā.”

Links to Related Posts:

Religiousness in Yoga Study Guide: The Concept, Preparation and Techniques of Bandha

Plan a practice to stay 12 breaths each side in Mahā Mudrā.

Plan a practice to stay in Mahā Mudrā with Uḍḍīyāna Bandha.

Vinyāsa Krama for the Catur Bandha in Mahā Mudrā for an advanced Āsana student……