“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 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 Switzerland 1981

“It must be remembered that Śīrṣāsana is
one form of the Viparīta Karaṇī Mudrā.
For those who cannot do Śīrṣāsana
or any other inverted posture,
alternatives do exist.
Mahāmudrā is one such alternative
which would yield similar benefits.”
– TKV Desikachar KYM Darśanam February 1994

“The Breath is the activating force in all aspects of the Āsana.
For example, when comparing a dynamic performance
of an Āsana with the static performance of an Āsana,
the difference is in the degree or extent of the movement.
Thus, from a Viniyoga or application of Āsana perspective,
whether the extent of the movement is what is seen
as long-range, mid-range, short-range, or even micro,
the activating force of the Breath is integral to the Āsana.
From a developmental viewpoint, as in a longer-term
Vinyāsa Krama, this a journey from those Āsana that
mainly favour long-range movement, towards those Āsana
and Mudrā that mainly favour micro-range movement.
Within this developmental refinement in the relationship
of Breath as the activating force, sit the place and roles
of mid-range movement and short-range movement.”
– 108 Postural Practice Pointers

“Mahāmudrā is the bridge between Āsana and Prāṇāyāma.”
– 108 Mudrā Practice Pointers

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

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

“According to such as the Gheraṇḍa Saṃhitā,
Aśvinī Mudrā and Mūla Bandha are seen as very
different forms in terms of definition and application.
Regarding application, only Aśvinī Mudrā is focussed around
the repeated contraction of the anal sphincter muscles.
Whereas, Mūla Bandha is a single sustained contraction.
It also appears that there are differing certainties within
the modern use, definition and application of the two terms,
with a single contraction variant of Aśvinī Mudrā often being
passed off in ‘Krishnamacharya’ terminology, as if Mūla Bandha.
For example, Mūla Bandha being described as somethng you
take all the time whether sitting, talking, walking, or eating.
This would not be possible given T Krishnamacharya’s view of
what is Mūla Bandha and its relationship to Uḍḍīyana Bandha.
Comparing Mūla Bandha to Aśvinī Mudrā:
Aśvinī Mudrā can be an outcome of an effective Mūla Bandha.
If Mūla Bandha is good then Aśvinī Mudrā can follow automatically.
But not the other way round, as Aśvinī Mudrā is only
a localised contraction of the anal sphincters.
Also, Mūla Bandha is considered as complete,
whether or not Aśvinī Mudrā is there.
Also, the use of Aśvinī Mudrā can produce gas and
too much use can affect the peristaltic reflex.
Plus avoid in certain conditions such as haemorrhoids.
Āsana can be used for the same effect on these organs.
A direct Aśvinī Mudrā pushes the stomach forward,
so its contraindicated for Mūla Bandha.
Thus, Krishnamacharya’s view of what is Aśvinī Mudrā and what is
Mūla Bandha differed, both in terms of definition, technique, and
application, as well as regarding the student starting prerequisites,
Vinyāsa Krama and links to other layers of their Yoga Sādhana.”
– 108 Mudrā Practice Pointers

“As with Prāṇāyāma, the role and practice of Mudrā
needs to be considered from two distinct, but
complementary and developmental viewpoints.
In other words, there are Mudrā that are primarily
utilised within the context of Haṭha Yoga and there are
Mudrā that are utilised within the context of Rāja Yoga.
Within these two viewpoints, there are also those Mudrā
that can be applied in either context, depending on the
Saṃkalpa and Bhāvana employed by the practitioner.”
– 108 Mudrā Practice Pointers

“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.”
– 108 Prāṇāyāma Practice Pointers

“One aspect in the refinement of Nāḍī Śodhana
is an almost undetectable deftness within
the finger movement when using Mṛgi Mudrā,
whilst keeping them permanently on the nostrils.”
– 108 Prāṇāyāma Practice Pointer

“Bhāvana for the Breath in Āsana, Mudrā and Prāṇāyāma
– Pūraka – Lifting from the Viśuddhi Cakra
– Antar Kumbhaka – Expanding from the Anahāta Cakra
– Recaka – Contracting from the Svādhiṣṭhāna Cakra
– Bāhya Kumbhaka – Sustaining from the Mūlādhāra Cakra”
– 108 Prāṇāyāma Practice Pointers

“Bhastrikā is Kapālabhāti plus finger control with Mṛgi Mudrā.
There are several practice combinations around Bhastrikā:
1. Inhale Left Nostril, Exhale Left Nostril continuously
2. Inhale Right Nostril, Exhale Right Nostril continuously
3. Inhale Left Nostril, Exhale Right Nostril continuously
4. Inhale Right Nostril, Exhale Left Nostril continuously
5. Inhale Left Nostril, Exhale Right Nostril and
Inhale Right Nostril, Exhale Left Nostril continuously
However, the student needs to be proficient in the
practice of Kapālabhāti before introducing Bhastrikā.”
– 108 Prāṇāyāma Practice Pointers

“When using Mṛgi Mudrā in Nāḍī Śodhana
the control should not be at the nose.
The fingers are a guide more than a valve.
Thus you should not bend the nose.
The main control for the Inhale and for
the Exhale is in the chest not the fingers.”
– 108 Prāṇāyāma Practice Pointers

“What constitutes lazy Mudrā practice?”
– 108 Yoga Practice Pointers

“The role of Sādhana such
as Mudrā, Mantra and Nyāsa,
are to take one beyond Duḥkha,
rather than take one out of Vikṣepa.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Mudrā
rather than expecting the Mudrā
to bring life to you.”
– 108 Yoga Practice Pointers

“Explore how the Breath can:
– Challenge Standing Āsana.
– Support Lying Āsana.
– Develop Inverted Āsana.
– Stimulate Prone Backbend Āsana.
– Refine Sitting Āsana.
– Channel Sitting Mudrā.
– Transcend Seated Prāṇāyāma.”
– 108 Yoga Practice Pointers

“The longer-term measure of our Prāṇāyāma
potential is determined by our skilful efforts
within all four components of the breath in Āsana.
For example, can we maintain a ratio of 8.8.8.8.
in Parśva Uttānāsana or 12.6.18.12 in Mahāmudrā?”
– 108 Yoga Practice Pointers

“Bṛṃhaṇa Kriyā and Laṅghana Kriyā, as
expansive and contractive activities, are two
potentials explored through Āsana and the Breath.
Alongside the practice of Āsana, Mudrā and Prāṇāyāma,
they are actualised through a theoretical understanding of
the primary principles that inform Haṭha Yoga and Āyurveda.
The alchemical process underpinning this understanding
is the relationship between the two primary principles of
Prāṇa and Agni in order to influence Haṭha Yoga concepts such
as Prāṇa, Apāna, Sūrya, Candra, Nāḍī, Cakra and Kuṇḍalinī.
In terms of Bṛṃhaṇa Kriyā and Laṅghana Kriyā, the
Viniyoga of Bṛṃhaṇa effects a dispersion of Agni from
the core to the periphery and the Viniyoga of Laṅghana
effects a concentration of Agni from the periphery to the core.
Integrating the application of these two specific processes
facilitates access, through the Merudaṇḍa, Prāṇa and Agni,
to either energising or cleansing potentials, or as collaborative
outcomes within the practice of Āsana, Mudrā and Prāṇāyāma.”
– 108 Yoga Practice Pointers

The Viniyoga of Breath Ratio within Śikṣaṇa Practice
“Svatantra within Āsana, Mudrā
and Prāṇāyāma implies knowing
the self-application and effects of
breath ratios, as well as you know
the self-application and effects of
the forms of the important Āsana.”
– 108 Yoga Practice Pointers

“Better not to confuse:
– Bodywork with Āsana.
– Energywork with Mudrā.
– Breathwork with Prāṇāyāma.
– Mindwork with Dhyānam.
– Voicework with Mantra.
– Soulwork with Puruṣa.”
– 108 Yoga Study Path Pointers

“According to the Paramparā of
Krishnamacharya and Desikachar,
Āsana begets Mudrā,
Mudrā begets Prāṇāyāma,
Prāṇāyāma begets Pratyāhāra,
Pratyāhāra begets Dhāraṇā,
Dhāraṇā begets Dhyāna.
Of these five Upāya, only
Dhyāna is Meditation.”
– 108 Yoga Study Path Pointers

Links to Related Posts:

• Āsana & Mudrā Practice Techniques Glossary
  – Grouped into Standing, Kneeling, Lying,
  Inverted, Backbend, Seated & Sitting
• Prāṇāyāma & Bandha Practice Techniques
  – Grouped into Primary, Secondary & Ancillary Techniques
• Yoga Practice Planning and Theory Questions – Collected & Collated
• Āsana Mudrā and Prāṇāyāma Planning Questions – Collected & Collated
• A fundamental facet in the principles of Āsana, Mudrā and Prāṇāyāma practice……
• A series on Āsana Part One – Moving into our Bodies with Samasthiti
• A Sūtra Class began with a dedication, it had the effect of orienting…
• Āsana practice as a prerequisite to exploring how to integrate Prāṇāyāma
• Compendium of Quotes from TKV Desikachar on the Yoga of T Krishnamacharya……
• Cultivating the skills within Yoga Practice Planning for Individual Students
• cYs Practitioner Training Programme Retreat Extract 1 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 2 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 3 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 4 – Self Planning & Self Practice
• Design a practice with an emphasis on working with arm movements in Bhujaṅgāsana as preparation for Dhanurāsana.
• Design an Āsana practice around Dhanurāsana  and Ardha Matsyendrāsana
• Design and Experiment with a Practice around Baddha Koṇāsana and Mahā Mudrā…
• Design an evening Practice before going out (as if) to teach Yoga…
• Design a practice leading to staying in Sarvāṅgāsana for 8 minutes…
• Design a practice to stay 8 minutes in Paścimatānāsana…
• Guidelines for exploring the Breath in Āsana Mudrā and Prāṇāyāma
• Laṅghana Kriyā has two functional dimensions…
• Plan a practice to stay 12 breaths each side in Mahā Mudrā.
• Plan a practice to stay in Mahā Mudrā with Uḍḍīyāna Bandha.
• Propose a 50′ practice to experience the link between Mudrā and Prāṇāyāma.
• Reflections on TKV Desikachar’s Teaching and Svatantra……
• Saravāṅgāsana as a Mudrā – Part One
• Śīrṣāsana as a Viparīta Karaṇī Mudrā
• Sound – A Means Beyond Āsana and Prāṇāyāma……
• The breath can be a key to unlocking the mystery of the relationship……
• The breadth, depth and potential of Desikachar’s teachings on practice……
• There are some forms within the postural resources developed by……
• The Link between the practice limbs of Āsana, Mudrā, Prāṇāyāma and Dhyānam
• The Viniyoga of Inversion as an Āsana or as a Mudrā……
• Though there are many different aspects to formal ‘home’ practice……
• Viniyoga Vignette 5 – Introducing Uḍḍīyana Bandha within an Āsana practice
• Vinyāsa Krama for the Catur Bandha in Mahā Mudrā for an advanced Āsana student……