The Amṛtasiddhi as a Nātha text

Not long ago student of mine sent me a curious article by Kurtis R. Schaeffer The Attainment of immortality: from Nāthas in India to buddhists in Tibet. It is dedicated to a text, which James Mallinson identified as ‘buddhist one’, which is, in my opinion, not quite correct. I also find his another claim, when during an online interview he said that the Haṭha-yoga-pradīpikā is the Vīraśaiva text only because Allama Prabhudeva is mentioned there, to be also incorrect. An attempt to take only one name related to Vīraśaivism from a huge number of listed names, ignoring all the others, and attribute the whole text to Vīraśaiva, seems very strange to me. Especially when the text itself is quite distant from the main doctrine of Vīraśaivism and its goals. The same thing is with the text Amṛtasiddhi, a conclusion that this is a Buddhist text is based on the fact that it contains several Buddhist elements, at the same time completely ignoring the huge number of Śaiva elements. This text is more Nātha related, and Virūpakṣanāth (one of the famous Nāthas) could add some elements from Buddhism there. I believe that texts of this kind should be judged primarily by the number of prevailing elements of a particular tradition. And it is obvious there, that the elements of Nāthism are dominant. But for me, even without reading the article, it is clear that the text is not Buddhist, not least because there was the Mahāmudrā practice in Buddhism in those times and it was not in the form of haṭha-yoga practice. All Vajrayāna Buddhists perfectly understand what it is. So what was the point in calling completely different levels of practice in Vajrayāna with the same term? Here is another example from the Amṛtasiddhi:

म्रियन्ते मेरुवेधेन  ब्रह्माद्या देवता ध्रुवम्
आदौ संजायते क्षिप्रं वेधो ऽयं ब्रह्मग्रन्थितः॥

mriyante meruvedhena  brahmādyā devatā dhruvam 
ādau saṃjāyate kṣipraṃ vedho ‘yaṃ brahmagranthitaḥ॥

By piercing Meru (suṣumnā with prāṇa), Brahma and other Gods are getting killed.
First, this (prāṇa) quickly pierces the Brahma-granthi (Brahma knot).

ब्रह्मग्रन्थिं ततो भित्त्वा विष्णुग्रन्थिं भिनत्यसौ
विष्णुग्रन्थिं ततो भित्त्वा रुद्रग्रन्थिं भिनत्यसौ ॥

brahmagranthiṃ tato bhittvā viṣṇugranthiṃ bhinatyasau
viṣṇugranthiṃ tato bhittvā rudragranthiṃ bhinatyasau॥

Thus, when the Brahma-granthi is pierced, the Viṣṇu-granthi (Viṣṇu knot) is pierced.
When the Viṣṇu-granthi is pierced, the Rudra-granthi (Rudra knot) is pierced.

रुद्रग्रन्थिं ततो भित्त्वा छित्वा मोहमयीं लताम्
उद् घाटयत्ययं  वायुर्ब्रह्मद्वारं सुगोपितम् ॥

rudragranthiṃ tato bhittvā chitvā mohamayīṃ latām 
ud ghāṭayatyayaṃ  vāyurbrahmadvāraṃ sugopitam ॥

Thus, piercing the Rudra-granthi, the “vines of illusion” (the intricacies of Māyā) are getting cut off. Further, ascending upward, Vāyu (air) penetrates into the super secret, Brahmadvāra (the door of Brahma).

The question is, what is so ‘Buddhist’ in these images of Purāṇic Devatās, and where in Buddhism such names of granthas are being mentioned?

There are also many other arguments in the article, for example, mentions of jīvanmukti, when a practitioner is likened to Śiva in yogic realisation etc. That is why I consider the statement of attribution of the text to Buddhism to be incorrect. Of course, some borrowings could come to Indian yoga or tantra from Buddhism, but we also have to consider the main goals of different sampradāyas. For instance, we cannot call Pancharātra ‘a yogic tradition’, if it is in fact a Vaiṣṇava bhakti oriented sect full of its specific karmakāṇḍa etc. If I take, let’s say, Yogi Bhajan’s Kundalini-yoga and claim that it belongs to a Sikh tradition, it will be an incorrect statement. Even if you find a Sikh lineage Sant Mat, where meditation on light and sound is practiced, it doesn’t make it the main practice of the whole tradition. And again, we cannot conclude from this that it is the rationale for what Yogi Bhajan developed while living in California. Just as it is not entirely accurate to say that the Ashtanga Vinyasa style is a ‘tradition’, it is more correct to say that it is rather a modern yoga style. It could be called a tradition being spread in the West on the condition Iyengar or Pattabhi Jois would have transmitted the same sacred threads (janeū), which they had from their Gurus – to their students. Which didn’t happen, and most likely couldn’t have happened. But, if this did happen, I doubt that such disciples would have the same discipline and practice that they exercise on masse today. And although these teachers were good innovators, we should not confuse a style and gymnastic exercises with dīkṣā, discipleship, nitya sādhanā and etc. For those who want to seriously understand these things, I highly recommend taking these factors into account, although there are actually a lot of them.

The role of suṣumṇā in the mantra realisation

Looking through the Bengali text, the Bṛhattantrasāra, written by Guru Kṛṣṇānandāgamavāgīśa, I found an interesting point regarding the mantra practice, where the Gautamīya-tantra is quoted. We know that there is a classical practice of puraścaraṇa in the form of japa, homatarpaṇamārjana and brāhmaṇa bhojana. However, it speaks of a certain “exception”, which, in my opinion, is a transitional moment of sādhanā, “joining” in itself the goals of vāmācāra and yoga of the Nāthas (vajrolī). I decided to share this piece of text with you, maybe it will give someone an additional understanding of the tantra and Nātha yoga practice.

गौतमीये
पशुभावे स्थिता मन्त्राः प्रोक्ता वर्णास्तु  केवलाः 
सौषुम्ने  ध्वन्युच्चरिता  प्रभुत्वं प्राप्नुवन्ति ते
मन्त्राक्षराणि चिच्छक्तौ प्रोतानि परिभावयेत्
तामेव परमव्योम्नि परमामृतबृंहिते
दर्शयत्यात्मसद्भावं पूजाहोमादिभिर्व्विनेति
मूलमन्त्रं प्राणबुद्ध्या सुषुम्नामूलदेशके
मन्त्रार्थं तस्य चैतन्यं जीवं ध्यात्वा पुनः पुनः

In the Gautamīya Tantra:

The mantras practiced in the paśu bhava are recited only at the letter level. The Suṣumṇā-related, practiced sounds are overflowing with power. During jāpa, the mantrāksharas should be fully connected to the power of consciousness. That (mantra) in the highest space is nourished by the highest bliss. Pūjā, homa and etc. are not required for this type of practice, practice the main mantra* through the power of consciousness in the root area (the base) of suṣumṇā (genitals). Practice meditation over and over again with that mantra essence, the consciousness of a living being.

Mūlamantra (the root mantra) is the main mantra of a Deity. For example, Śiva’s mantra is oṃ namaḥ śivāya, Gaṇeśa’s mantra is oṃ gaṃ gaṇapataye namaḥ, etc.

Whether foreigners can follow the Vedic tradition or not?

As to whether a foreigner can follow something Indian or not. To clarify this, I will quote from the Yajurveda. I specifically take the Veda, since there is an opinion that one can receive initiation only in Tantrism, the Bhakti or the Nātha traditions, but not in the Vedic one, etc. Here is a śloka from the Śukla Yajurveda (Vājasaneyī Saṃhitā), from which follows that there is no absolute radicalism towards foreigners even in Vedism:

यथे॒मां वाचं॑ कल्या॒णीमा॒वदा॑नि॒ जने॑भ्यः।
ब्र॑ह्मराज॒न्या॑भ्याँ शू॒द्राय॒ चार्या॑य च॒ स्वाय॒ चार॑णाय। (यजु ० २६। २)

I have transmitted the auspicious words of the Vedas for people like brāhmaṇas, for kṣatriyas, vaiśyas, śūdras and for araṇāyas (foreigners).

Forceful yoga of the Sun and Moon

The term haṭha-yoga as “an effort or force” has very ancient roots associated not only with the ferocious cults of Yoginis, but also with earlier sources originating in the Vedas. And the understanding of haṭha-yoga, as the yoga of the Sun and Moon, borrowed by such nāthas as Gorakṣanāth and others from the kaula tantra teachers like Matsyendranāth and Ādināth. If you look at popular dictionaries, then ह ‘ha’ is identical to Viṣṇu and Śiva, especially Bhairava, which indicates annihilation. In jyotiṣa (the Indian astrology), in addition to Mars and Saturn, the Sun can also be considered as one of the aggressive planets. In haṭha-yoga, the Sun is a fire eating the nectar of life and leading to death consequently. This is all symbolism indirectly indicating the Sun. If you look at ठ ‘ṭha‘, one of the meanings is “disk of the moon” in the Monier Williams’s dictionary. Also, the bīja ठं ‘ṭhaṃ‘ in tantrism is used as the mantra of nectar, which essentially indicates the nature of the Moon. The Moon has a creative nature, and the Sun is destructive one, together they harmonise each other.

Names from the Kālī Sahasranāmāvalī

५ ९ ४. ॐ पिङ्गलायै नमः।
594. oṃ piṅgalāyai namaḥ ।
Reverence for one, who has the Sunny color.

५ ९९. ॐ सुषुम्नायै नमः।
599. oṃ suṣumnāyai namaḥ ।
Reverence for the Most Magnificent.

६००. ॐ इडायै नमः।
600. oṃ iḍāyai namaḥ ।
Reverence for one, who is a symbol of goodness and comfort.

This is one example, which shows us that all the basic elements of the human psychophysics are also manifestations of the Divine in man.

The connection between Dhūmāvatī and yoga

The Dhūmāvatī jayantī is going to be very soon, and you could find a lot about her celebration on the Internet. Thinking about whether to write this posting or not, I came to the conclusion that I could not write much, because, there are things that need to be kept in secret and shared only with the closest students. Nevertheless, I will share some things. This Goddess is known in the Vedas and Purāṇas under various names, such as nirṛti – who is the external opposite to the world order (ṛta). She is old or ancient. This Goddess arose from the body of Pārvatī or Sati in the form of smoke, hence the name. And this smoke itself symbolises something outliving in this world, but reaching upward. Therefore, it is a symbol of sannyasa and the highest renunciation. I am not going to write very much, but will give some interesting examples. Here is an interesting description of the highest cakra (nirvāṇacakra), according to Siddha-siddhānta-paddhati:

अष्टमं ब्रह्मरन्ध्रं निर्वणचक्रं सूचिकाग्रभेद्यं धूमशिखाकारं ध्यायेत् तत्र जालन्धरपीठं मोक्षप्रदं भवति ॥८॥

aṣṭamaṃ brahmarandhraṃ nirvaṇacakraṃ sūcikāgrabhedyaṃ dhūmaśikhākāraṃ
dhyāyet tatra jālandharapīṭhaṃ mokṣapradaṃ bhavati॥8॥

The eighth is brahmarandhra, nirvaṇa-cakra. It is necessary to contemplate the image of a stream of smoke, thin as the tip of a needle. There is the jālandhara pīṭha, bestowing liberation.

One of the Dhūmāvatī’s bīja-mantras is ठः (ṭhaḥ), which symbolises amṛta (the nectar of immortality), associated with the upper cakras, such as ājñā, guru-cakra, sahasrāra.

There is a very famous story among nātha-yogis associated with Paraśurāma and how he performed the prāyaścitta (atonement) with the blessing of GorakṣanāthGorakṣanāth appeared before Paraśurāma from smoke (mañju), therefore, Gorakṣanāth is known by the name Mañju Nāth in the South of India.

I don’t really like that nāthas are identified only with haṭha-yoga, because yoga is just yoga, with its different aspects, while the Nāthasampradāya is generally the way of yoga. Moreover, on all continents now, haṭha-yoga, as a rule, is understood extremely primitively. However, haṭha-yoga has more to do with the Nāthasampradāya. Honoring Dhūmāvatī, I saw the following names in her sahasranāma:

ॐ हठिन्यै नमः। ॐ हठसम्प्रीत्यै नमः ।ॐ हठवार्तायै नमः ।ॐ हठोद्यमायै नमः ।ॐ हठकार्यायै नमः ।ॐ हठधर्मायै नमः। ॐ हठकर्मपरायणायै नमः ।ॐ हठसम्भोगनिरतायै नमः ।ॐ हठात्काररतिप्रियायै नमः ।ॐ हठसम्भेदिन्यै नमः।

oṃ haṭhinyai namaḥ। oṃ haṭhasamprītyai namaḥ ।oṃ haṭhavārtāyai namaḥ ।oṃ haṭhodyamāyai namaḥ ।oṃ haṭhakāryāyai namaḥ ।oṃ haṭhadharmāyai namaḥ। oṃ haṭhakarmaparāyaṇāyai namaḥ ।oṃ haṭhasambhoganiratāyai namaḥ ।oṃ haṭhātkāraratipriyāyai namaḥ ।oṃ haṭhasambhedinyai namaḥ।

Furthermore, it is interesting that the sexuality (rati) is not mentioned in contrast to haṭhāt (through brute force), as it is slightly opposite, but with the positive attitude (priyā) to their combination. The goddess is revered as a form of righteousness (dharma), in the form of hard effort (haṭha), etc. I immediately recall the mention in the early tantras of such sādhanā, as haṭha and priyamelaka, the practitioner’s connection with yoginis in a “dangerous” and “pleasant” form. Of course, in sahasranāmahaṭha is not referred to as the union of the sun and moon. However, it is obvious that even if the term “haṭha” is understood as “with force”, it will not contradict the merging of the moon and the sun, Śiva and Śakti.

Why do the texts say that paścimottānāsana activates suṣumṇā and awakens the kuṇḍalinī?

It so happened in India, that spiritual practices are most often performed facing east. Accordingly, the west (conditionally) is our back, the south is the right and hot side and the north is left and cold. The Sun is associated with vital power, it rises in the east and sets (i.e. disappears) in the west. We fall asleep at sunset and our senses become silent, and they turn on at sunrise. We can see basically everything that is in front of us, on the sides, below and even sometimes from above, but we cannot see our back. We can only feel it, while there should be an inversion element, i.e. direction inward, listening to our sensations inside. The west is a symbol of the extinction of activities, the completeness of them, so it is suṣumṇā. It is also no coincidence that one of the well-known traditions, where kuṇḍalinī is worshiped in the form of the Goddess Kubjikā, is called paśchimāmnayā – the Western Doctrine. Paśchima – from paścāt (behind, the last, completed, western), therefore it is a symbol of suṣumṇā, self-absorption. Thus, paścimottānāsana is focused specifically on the direction of attention and the prāṇa in suṣumṇā along with it. This āsana is also focused on the conscious activation of suṣumṇā with pratyāhāra and the awakening of the kuṇḍalinī power.

How to understand the term aṅga in the context of yoga

What is अङ्ग / aṅga in yoga, is it a step or a section? On the one hand, we find following interpretations in the Viveka Mārtaṇḍa:

117. Thanks to the twelve prāṇāyāmas – pratyāhāra is achieved. Thanks to the twelve pratyāhāras – good dhāraṇā is attained.

118. Thanks to the twelve dhāraṇās – dhyāna is known, and due to the twelve dhyānas, samādhi is achieved.

On the other hand, we find quite a few texts where aṅgas often go in a sequence that is not popular for most.

https://matsyendranatha.com/?p=353

Basically, the free order of aṅgas is found either in tantras or in texts that have been influenced by tantra. These are partly Purāṇas, as well as Nātha texts. If we look at the meaning of the term ‘aṅga’ in different dictionaries, it means: ‘a part’, ‘a division’, ‘relating to the base’, ‘anything inferior or secondary’, ‘supplement’, ‘contiguous’. In tantric texts, methods are sometimes named as ‘upāya’, which also means ‘a trick’, ‘a ruse’. This allows us to understand that it is impossible, in practice, to put a technique higher than its main goals, which often causes the “modern yoga“. The “parts” can be compared with the organs of the body; we cannot say that we need a heart, but we do not need a brain or liver. We need an organism in which absolutely everything works simultaneously and harmoniously. In this regard, āsanas cannot exist separately from pratyāhāraprāṇāyāmadhyāna or samādhi (even if it is fragmentary). The yoga state and the yoga path are primary, while aṅgas are secondary, but they all work on the main tasks.

Mudrā in practices of yoga and tantra

We know that there are different types of mudrās in yoga, as well as in the practices of pūjā. What is common between them and what is the difference?

Let’s start with the grammatical meaning of the term. मुद्रा / mudrā originates from the root मुद् / mud, which could be of two classes. The first class चुरादिः / curādiḥ treats मुद् / mud as संसर्ग / saṃsarga – ‘mixing, unification’, which may in the sense coincide with the meaning of the terms ‘yoga’ or ‘bandha’ (binding, unification). Another class is भ्वादिः / bhvādiḥ, in which the root मुद् is interpreted as हर्ष / harṣa – ‘joy’. That could shed light on the understanding of mudrās in general, in spite of all their differences.

Then, what could be considered as mudrās? Firstly, there are yogic mudrās, such as mahāmudrā, mahābandha, etc. Secondly, there are hand mudrās, which are mostly used in pūjās in India. Thirdly, the mudrās as certain states of consciousness, for example, khecarīmudrā as continuous awareness, not as curling of the tongue back into the mouth above the palate. Although some of these mudrās may have names similar to ones in haṭha-yoga, but mudrā could be a state of consciousness, let’s say, as mahāmudrā in Buddhism. Fourthly, various forms of the Goddesses are called mudrās. Fifthly, money with certain images, signatures on documents, certain signs that convey some important meaning are called mudrās. Sixthly, certain attributes are sometimes called mudrās. For instance, in the Vaiṣṇava Śrī  Sampradāya such attributes, as a sacred thread (yajñopavīta), ashes (bhasma), skull (kapāla) and others, are also called mudrās. Or, in the Nātha Sampradāya – earrings, symbolising the archetype of Śiva, are also sometimes called mudrās. The attributes, which are hold by Deities are also sometimes called mudrās. Seventhly, in Kaśmīr Śaivism, Abhinavagupta divides mudrās into three categories: 1) performed by the body (dehodbhava) mentioned above, 2) states of consciousness (manobhava), which were also mentioned above, 3) he also names mantras, as vaghavamudrā.

For further clarification, I would like to give one more example, this time from a Western tradition. Some Greek philosophers, Aristotle, Plato for instance, had such a view regarding the genesis that there is the supreme consciousness or spirit, and there is an inert and lifeless matter. So, when the supreme consciousness comes into contact with that matter, then forms reflecting the paramount plan of the Creator arise. I think, it considers the meaning of the term ‘mudrā’ in a right way. Each created form is a transmitter and a reflection of the supreme consciousness, therefore everything in the world is arranged, everything interacts with everything and everything is in its place. That very well reflects a concept such as ṛta from the Vedas or the later one – dharma. When you peer into the essence of phenomena, through that you can come to the awareness from an ultimate source.

So, what do all these mudrās have in common, despite all the differences? All of them contain a certain, highly significant archetype. Even if we practise, for instance, such mudrās as mahāmudrā from haṭha-yoga or viparītakaraṇī, these are not just body poses. Of course, nowadays, most haṭha-yoga practitioners utilise these practices without any attempt to go deeper into their essence. But, if you take a look at the descriptions of all yoga techniques, then the mudrās are described in a poetic, colorful language there, and very few people understand that we can meditate on the very description of these methods. Thus, jānu-śīrṣāsana ceases to be just a body pose, when you realise that one leg represents the solar channel and the other – the lunar one, etc.

Probably, you know that sometimes we can understand each other without words, on the level of gestures or glance. Why is that so? Because, all these levels transmit the meaning and precisely that element of ‘meaning’, especially when it comes to the ultimate meaning, makes them all mudrās. So, the speech that has become logos, which tries to convey a very high meaning, becomes both a mantra and a mudrā. A nāth, who wears kuṇḍalas (attributes of Śiva), wears them realising himself as Śiva and he never takes them off, since they are forever, eternal, just like Śiva himself. Kuṇḍalas are a symbol of your meditation, or of something that is beyond sleep, wakefulness, and generally any worldly change. Although of course, not everyone knows that meaning, even among those who receive and wear them. Unfortunately, that is not explained to everyone who receives them. And if there is something high and meaningful, you never remain indifferent, and if that is really so, then you cannot be insincere. A mudrā is something that affects you very deeply, you can attain samādhī and samādhī itself could also be a mudrā. If it is a level of essentiality, the differences are conditional there. A mudrā instantly makes you both attentive and responsible. For example, you signed an agreement that you will be going to work at a certain time, put a signature there. It connects you with something, because there is also bandhana. But, this bandha does not have a negative meaning, because the other meaning of the root and the term as a whole is something that gives joy. If there is a high meaning and the joy associated with it, then it becomes a practice of mudrā. Hand mudrās, with which you resonate with deities, thereby creating a subtle and deep channel of communication, work on the same principle. That is the use of the essential meaning displayed in a sign, in this case, performed by various positions of hands. If there is a mantra, and you engage with it and get into its higher meaning, then it becomes mudrā too. If mudrās activate a connection with the Divine in you, that connection gives you perfections, therefore it is believed that mudrās grant siddhis.

Vajrolī in Buddhism and Indian traditions

Recently, one of my students asked me a question, “Is it true that there is semen retention in Vajrayana (in the practice of karmamudrā of the Completion stage), but is it not so in Indian tantras?”

First of all, I think that it is wrong to sacrifice a human nature to religious corporations, dividing it into Tibetan and Indian one. There is a tendency to think that if you are a Tibetan, you can retain semen, and if you are an Indian, the practice must necessarily be different. The  retention  of ejaculation in the practice of maithuna or karmamudrā is an allegory. In Indian kaulācāra, this kind of practices implies ejaculation, as an analogue of pūrṇāhuti in agnihotra. After which, this substance is mixed with wine and then used in pūjā. There is a lot of evidences of that fact, for example, in the Guhyasamāja-tantra:

विण्मूत्रशुक्ररक्तादीन् देवतानां निवेदयेत्।
एवं तुष्यन्ति सम्बुद्धाः बोधिसत्त्वा महाशयाः॥२१॥

viṇmūtraśukraraktādīn devatānāṃ nivedayet।
evaṃ tuṣyanti sambuddhāḥ bodhisattvā mahāśayāḥ ॥21॥

It is necessary to offer the secretion: urine, semen, female bodily fluids and offer them to the Deities. Thus, it will satisfy the great awakened ones, buddhas and bodhisattvas.

Prior to that, there is a recommendation to practice intercourse with a beautiful young woman. In order, for example, to offer semen in pūjā, it is obvious that there must be present a finalised ritual of maithuna. And there is quite a bit of such recommendations in Vajrayana. These kinds of transgressions in Vajrayana, which seems to be full of  savagery to the common man, in fact, are not much different from saptamakaras in aghora, which took a lot from traditions like kāpālikas.

If you read a description of vajrolī or amarolī in the Haṭha-yoga-pradīpikā, you will see that there is a recommendation to mix the released semen with ash and apply it as a tilaka. That is, it means that ash is a symbol of amṛta, as well as semen. It says of the same principles as in the description from the Guhyasamāja-tantra and other Buddhist texts. Here is a very similar fragment from the Yoni-tantra:

भक्त्या द्रव्यं जपेन्मन्त्रं जप्त्वा मैथुनमाचरेत् शु्क्तोत्सरणकाले च शृ्णु पार्वति सुन्दरि
योनितत्त्वं समादाय तिलकं क्रियते यदि शतजन्मावर्ज्जितं पापं तत्क्षणादेव नश्यति ॥20-21॥

bhaktyā dravyaṃ japenmantraṃ japtvā maithunamācaret 
śuktotsaraṇakāle ca śṛṇu pārvati sundari
yonitattvaṃ samādāya tilakaṃ kriyate yadi
śatajanmāvarjjitaṃ pāpaṃ tatkṣaṇādeva naśyati ॥20-21॥

The sādhaka should chant the mantra and enjoy the ‘substances’ during the practice of maithuna. Listen, beautiful Parvatī, if a sādhaka makes himself a tilaka with ‘yoni fluids’ after an orgasm, then he will instantly forsake all the sins associated with a hundred births. (20-21)

The requirement given here is very similar to the one from the Haṭha-yoga-pradīpikā. Probably, the goal here is not to retain semen so that there is no ejaculation at all. If the process is contemplative, then such a suspension or extension of the act occurs naturally. And the practitioner accomplishes that not by themselves and not because their ego wants it, like they can feed it by being ‘good technicians’. Here, the Goddess also controls the process through you. And the prolongation of the act is needed more in order to satisfy the Goddess in a woman, so she will bestow siddhi through her satisfaction. And at the end of the ritual, pūrṇāhuti is being done in the form of an orgasm. A prolongation of the act may occur due to the desire to satisfy the Divine. But not at all in order to demonstrate some kind of  ‘athletic abilities’ to stretch time, in which many people mistakenly believe. Each practice has a main task that must not be forgotten, otherwise it loses its true purpose and value, no matter how exclusive the technique may look. As we can see, ūrdhvaretā could be understood as  retracting substances back, but that is not by drawing them back into the genitals. That could be, for instance, the communion in the form of tilaka (as ūrdhva is the head area), and so on. And the most important thing is what happens on a psychic level, psychic vibes are significant. For a yogin who understands the essence of this practice, the physical side may be less relevant. They can perceive the sexual energy of life and flowering in their essence. Therefore, for some, a yogic practice is simply the essence of such ceremonies, even without their external implementation.