mudrā

Devanāgarī: मुद्रा Translation: seal Similar words:bandha Related concepts:haṭha, kuṇḍalinī, āsana, mahā, uḍḍīyāna, mūla, aśvinī, jālandhara, sarvāṅgāsana, mahāmudrā, viparīta, karaṇī, śīrṣāsana, taḍāka, añjali, mṛgi, prāṇāyāma

Appears in

Haṭha Yoga Pradīpikā:

Chapter 3: 14

Click here for complete Saṃskṛta Index

Commentaries around

“Mudrā practice is important since it assists the ten Prāṇa to move freely in the Nāḍī.”
– T Krishnamacharya introducing Chapter Three in the Gheraṇḍa Saṃhitā

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

“We must begin to do these Bandha in some
simple postures so our bodies can get used to them.
The easiest posture is to lie flat on the back.
We call this Taḍāka Mudrā when we
do Uḍḍīyana Bandha in this position,”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“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

“He has very clear ideas on the Ṣat Kriyā and the Mudrā.
He believes that if a person does Āsana properly, with breathing,
and has certain restraints regarding food, there is no need for these Kriyā.”
– TKV Desikachar from lectures on ‘The Yoga of T Krishnamacharya’,
given at Zinal, Switzerland 1981.

“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.

“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.”

“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 and 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.”

“Ṣat Mukhi Mudrā –
A means to ‘Listen’ to the Space within the Heart.”

“When using Mṛgi Mudrā to control the nostril flow in Prāṇāyāma,
the ring finger and thumb remain as if glued onto the nostrils,
with one nostril being fully closed and one nostril partially closed,
with adjustments to the pressure according to technique and ratio.
Even when using Ujjāyī within techniques such as Anuloma Ujjāyī,
the finger and thumb remain as if sealed on the sides of the nostrils.
Externally it’s as if there is nothing to observe in terms of the body.
Internally there is a vibrant flow within the dynamics of the breath.”