Tag Archives: tantra

Displaced and forgotten elements of practice

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Apparently, similar reformations have taken place in many traditions of India and South-East Asia over the last 150 years, mostly related to the marginalisation of the most esoteric practices. In many ways, this trend was influenced by the realities of colonization. From talking to the bearers of the Southern tradition of Siddhars, I learned that it was initially a very independent tradition. But for a time, when certain rulers came, they tried to bring as many people as possible to their faith. Sometimes this took violent forms, so the Siddhars merged with Śaivism, then with Vaishnavism, etc. And now, despite the fact that they are quite independent, there is a fusion of Shaivite elements in their practices, for example, in such practices as Vāsi-yoga (வாசி யோகம்), sometimes Śakta elements, or the mention of Śrī-yantra by Tirumūlar, Bhogar, etc. And it was also unexpected for me to learn, although familiar, that they influenced the Śramaṇic traditions, such as the Ājīvikas, Jains, early Buddhism. Apparently, in the South it was a tradition of yoga masters who led a solitary life, to whom people came for blessings, sometimes instructions, which exists to this day. This is very similar to how it is in the Northern Nāth Tradition, many Siddha-purushas, such as Gorakṣanāth (Gorakkar – கோரக்கர் in the south), Matsyendranāth (Maсchamuni  மச்சமுனி – in the south), etc., they are actually the same gurus. Of course, in the south they have their own versions of their stories, but in many ways they coincide with the northern versions.

Not long ago I reread Dr. Kate Crosby’s research on Esoteric Theravada, specifically the tradition of “borān kammaṭṭhāna“, which can be translated as “ancient place for doing” (performing spiritual practice). The name itself is very reminiscent of the Tamil āśivagam (ஆசீவகம் –– place for spiritual practice), it can be both a place for sādhana and the body of the practitioner. This researcher describes in great detail how, under the influence of colonial factors, over the course of a little less than a couple of centuries, this traditional practice of Buddhism was replaced by the cultivation of intellectualism, etc. Although there was a deep connection with medicine, oriented towards Ayurveda. Also, in the process of practice given by the master, the student experiences signs of nimitta, in the form of some pure states of consciousness. After which, through the energy channels in the nostrils, they are inhaled into the embryo of Buddha, which the practitioner forms in his body, in the womb area (garbha). Thus, similar to how in Taoist practices the practitioner grows the embryo of immortality “ling tai” in the area of dāntián, in the same way in this tradition the practitioner grows Buddha in himself. The Siddhars have the same thing with the practices of internal alchemy, with the union of the seed of Śiva and rajas of Śakti, Śiva-svarūpa is reborn inside the practitioner’s body. The lower center in the area of the “kanda” is considered as a crucible alchemical furnace, perhaps the names of some haṭha-yoga practices, such as bhastrikā-prāṇāyāma (bellows prāṇāyāma) and others are symbolically connected. Abhinavagupta in the Tantrāloka called this internal birth “yoginībhū“. The Akulavīratantra, attributed to Mahāsiddha Matsyendranāth, begins with the following verse:

श्रीमच्छन्दपादकेभ्यो नमः ।
श्रीमीनसहजनन्दं स्वकीयाङ्गसमुद्भवम् ।
सर्वमाधारगम्भीरमचलं व्यपकं परम् ।

Salutations to the feet of Śrī Macchanda!
[Bow to] Śrī Mīna [nāth], the sahajānanda, born from his own body, the Whole, the Deepest Root, the Immovable, the All-pervading, the Supreme!

That is, Matsyendranāth, through his inner birth and spiritual growth, realised his new spiritual body, through which he influenced the physical one. We can say the same about Gorakṣanāth and many other Mahāsiddhas. And when we speak of “sahaja bliss”, the term “sahaja” can mean that which is born (i.e. with the body). Something spiritual is revealed inside the body, and then, together with the body, psychophysical transformations occur.

And here is how Siddhar Bogar from the tradition of South Indian siddhas speaks about it:

கருவென்ன  சையோகங்  காமவித்தை
காணார்க ளூலகக்திற் கன்மபொகி 
உருவென்ன  கால்வேளை யுணரும்போது
ஓங்காரம்  நின்‌றிடத்தே   வித்னத்ப்பாச்க
வருவென்ன  வாவென்று வாங்கிக்கொண்டு
வாய்பேசா மூலத்தே மனதைவத்து
கருவெண்ன்  நீயென்ன மிரண்டுமொன்று
தடையாறவே கேட்டதெல்லாந்  தருகுந்தானே

“The creation of the embryo, called kāya-yoga, is the art of controlling the seed;
Worldly people do not understand the masters who have mastered the art of action,
who contemplate the said embryo of form with the duration of breathing.
In that place, where the eternal AUM sounds sublimate the vital force (seed),
performing [for this] a pulsating breath directed upward;
And, remaining in silence, concentrate your mind on the mūla-mantra.
The embryo is you and you both are one; all barriers will disappear at their core and
what is destined will be granted”…

Although, we encounter similar principles not only in the mentioned traditions, but, to one degree or another, in others. For example, in Vedism, the first sacred cord is considered to be the umbilical cord, which connects the fetus with the mother. This is the first birth, and the second is a spiritual birth, when you are physically separated from your mother and the sacred cord is given to you. The Goddess Sāvitrī becomes your Mother, you receive her mantra, which has the gāyatrī metric size.

In Śrī Vidyā we find a similar transmission, first in the form of the mantra of the young eight-year-old Goddess Bālā. Then she “grows” (the power of the awakening Kuṇḍalini Śakti grows), she becomes fifteen years old with the blossoming power of Kāma (Kāmeśvarī), known as Pañcadaśī. Then, she becomes Mahāṣoḍaśī. Guru ji Rameshchandra Sharma told me that once the syllables of Pañcadaśī were alchemical formulas, but at the moment few people deeply understand their meaning.

The well-known Śivasaṃhitā prescribes contemplation of the bījas, the mantras of Tripurasundarī in the area of the three granthis with the purpose of passing Kuṇḍalini through them. In the area of mūlādhāra–bīja (ऐं aiṃ), as the Newari Guru ji Kedarraj Rajapadhyaya explained to me earlier, there she is represented in the form of Kubjikā (a coiled Goddess), many know her as Kulakuṇḍalinī. Further, in the anāhata region, it is Kāmeśvarī in the form of Kāma-bīja (क्लीं klīṃ) and in the rudra-granthi region – Śakti-bīja (सौः sauḥ) (Parā-bīja in Kashmir Śaivism).

The Śrī Vidyā texts give a more “mature version” of this mantra in the form of Pañcadaśī, also distributing its three kūṭas (accumulations of bījas) to the same areas. Thus, we get the first bliss of vag-bhāva in the manifestation of speech on the physical level. Further, bliss (paramānanda) revealed in the form of different forms of kāma with the overcoming of the boundaries between subject and object. The bliss of renunciation, in the form of the power of renunciation (viramānanda), when we overcome the constant tendencies to get stuck in the phenomena of prapañca. And ultimately we realise the innate bliss of sahajānanda, which is symbolised by Mahāṣoḍaśī in Śrī Vidyā sādhana. You realise the essence of Śūnyatā and Pūrṇatā.

It seems that many yogic and tantric practices have been curtailed and greatly simplified, sometimes modified to serve completely opposite purposes. During the colonial period, for example, the British considered yogis and tantrikas to be very dangerous elements wandering around India, not amenable to conversion to puritanical Christianity. But when Western researchers themselves began to study Sanskrit and texts that contained many “wild elements,” the Indians themselves began to create a “good kind of Indian spirituality” for Westerners. Around the same time, we see the emergence of many modern yoga schools in India, some new forms of the “Kṛṣṇa consciousness movement” and the study of tantra by a variety of European researchers. We see how the esoteric forms of Theravada are beginning to be supplanted by those that divide the psyche and somatics, giving preference to the former. This is all very similar to how it exists in the Abrahamic cults. Of course, you can also find esoteric traditions such as Sufism, Kabbalah, Hesychasm and others, less known, however, Christian preachers mainly carried an extremely dualistic approach.

I think that these important historical factors should be known, not to underestimate their influence, in order to fully understand many methods of yoga and tantra. Only in a full-fledged form can they be an effective psychophysical transformation. Of course, someone will say that he is not interested in politics, but only in spiritual practice. However, you could see in the above-mentioned examples how politics can influence various spiritual institutions and reformat them. In my opinion, it is important to know these factors and those modern influences to which people are generally exposed now.

Ways to perceive nada

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What are the sources through which the yogi can perceive nāda? There are two main ways. The first is mantra yoga (tantras), the second is haṭha-yoga (prāṇāyāma, mudrās, etc.). Here is what the Śāradā-tilakam tantra (Рrathamaḥ paṭalaḥ) tells us:

सच्चिदानन्दविभवात् सकलात् परमेश्वरात् ।
आसीच्छक्तिस्ततो नादो नादाद् बिन्दुसमुद्भवः ॥७॥

saccidānandavibhavāt sakalāt parameśvarāt ।
āsīcchaktistato nādo nādād bindusamudbhavaḥ ॥7॥

From the eternal goodness of Parameśvara, whose nature is Eternity-Knowledge-Bliss, Śakti (power) manifested first, then the vibration (nāda) manifested from the power, and bindu manifested from the peak of the tension of nāda.

That is, if you practice yoga, then by doing practices to activate Śakti, such as bhastrikā–prāṇāyāma, etc., Śakti can release the pulsation, the vibration of nāda. Or, if you practice mantras, then “activating the mantras“, awakening them in various ways, you will also come to the perception of nāda.

Of course, these methods in the traditions have always been directly transmitted from Gurus to their students. It is more than just information or theory, although knowledge of the theory, one way or another, can help.

The fifth makara in tantra practice

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I translated a small part of the Experience in Spiritual Practice (साधना के अनुभव), the book by Rameshchandra Sharma. I think this information will be useful for many practitioners to understand the maithuna topic in Tantrism. It is necessary to practice the maithuna ritual when the sexual energy stagnates in the area of the mūlādhāra and svādhiṣṭhāna cakras. When the kuṇḍalinī ascends, the practice with it becomes a form of yoga, which is mainly contemplative. Of course, these boundaries are very relative, however, there is a general principle of connecting the two poles in order to sublimate our vision and energy. Here is the text:

The Fifth of the Five Makaras

In tantric sādhanā, the practice of pañcamakāra is found. Practice with madya (wine), māmsa (meat), etc., it can also be done with their substitutes. In the pañcamakāra, the fifth is associated with the sense-oriented pūjā, which is known as maithuna. In essence it leads to the regulation of the semen. Maithuna is also called “lata–sādhanā“, it is a special practice for awakening the svādhiṣṭhāna–cakra.

Often after the awakening of the kuṇḍalinī, when vāyu (energy) rises to the svādhiṣṭhāna–cakra, kāma (passion), ascending there, begins to transform into what we know as yoga–sādhanā. Through the identification of a woman with Devī (Goddess) and himself with Śiva, the practitioner leaves the gross states of the physical body, and his spirit and consciousness are directed to the sphere of spiritual consciousness. This often happens when practicing a mantra with prāṇāyāma. The power in the svādhiṣṭhāna or maṇipūra–cakra begins to intensify and the practitioner through asceticism becomes an ūrdhvareta – one, whose ascending sexual power is sublimated. Near the maṇipūra–cakra (just below it) in a woman is the womb (garbhāśaya), which is the most important area in their body. 

So, from the svādhiṣṭhāna–cakra to the maṇipūra–cakra there is a point of two poles, the connection of the spiritual and the physical. and through the practice of japa you connect these centers in a pure sāttvic state. In a state of full bloom of power, at the beginning of the practice, you use a special method, thanks to which the power increases and moves further in the direction of the anāhata–cakra. Mental worship is the essence, thanks to which everything basic happens there.

In the daily pūjā you can invoke the Goddess into a red flower (yellow in the case of Bagalāmukhī), and invoke Śiva in a white flower. Place the flower where the Goddess is on top of the white flower of Śiva, that will be the symbol of viparīta-rati, symbolically connecting Śiva and Śakti.

What is the correct mantra?

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What is the correct mantra to be practiced by a sādhaka following the traditional path? I suggest referring to one śloka from the Gurugītā:

ध्यानमूलं गुरुर्मूर्तिः पूजामूलं गुरुर्पदम् ।
मन्त्रमूलं गुरुर्वाक्यं मोक्षमूलं गुरूर्कृपा ॥

dhyānamūlaṁ gurormūrtiḥ pūjāmūlaṁ gurupadam |
mantramūlaṁ guruvākyaṁ mokṣamūlaṁ gurukṛpā ||

The image of the Guru is the basis of meditation, 
The feet of the Guru is the basis of worship,
The basis of mantra is Guru’s speech, 
The basis of liberation is Guru’s grace.

It may seem to someone that this is said for a beautiful word, but in reality it is not. In deed, as it is said in this śloka, it is so. However, the meaning of this śloka lies in the correct attitude towards the guru, which is not characteristic of many, especially in the Western environment, including among the so-called “spiritual practitioners”. This happens for the reason that those who declare themselves sādhakas in the West are subject to the trends of the general environment, where a lot of mass delusions are cultivated. But, if you know deeply the topic of mantras, then the mantra is the Deity, and the guru is a good practitioner. A good practitioner is one who has realised the mantra (i.e. the Divine in himself). Accordingly, the transfer of the mantra, of course, occurs from the guru to the disciple, but essentially it is the Deity itself that “transmits” itself through the guru to the disciple. I propose to think about how important, deep and sacred this process is. Therefore, it is necessary to come to the guru precisely for this kind of process. But of course, this does not happen as simply and primitively as many imagine it to be, the level of devotion and understanding of what it is must be extremely high.

Mudrā in practices of yoga and tantra

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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, khecarī–mudrā 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 vaghava–mudrā.

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.

Symbolism of the Chinnamastā image

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Today is an interesting day, the birthday of Nṛsiṃha, the incarnation of Viṣṇu, and of the Goddess Chinnamastā. According to the Toḍala-tantra, the Ten Mahāvidiyās are associated with the Ten Viṣṇu avatārs.

What do the images of Chinnamastā and Nṛsiṃha have in common? According to one legend, Nṛsiṃha came to destroy the demon Hiraṇyakaśipu. Hiraṇyakaśipu, performing austerities, asked Brahmā not to be killed either outdoors or indoors, either on the ground or in the air, either by humans or animals. Then Viṣṇu appeared in the form of a half-man and a half-lion, he killed the demon on the porch of his palace, placing him over his knee. So the demon was killed in a way that he did not expect. There is also a continuation of this story,  in which Nṛsiṃha gets drunk on the blood of the killed demon and becomes infected with it. After that, Śiva appears in the form of Śarabheśvara and neutralises the blood of the demon in Nṛsiṃha. Śarabheśvara is depicted not  just as a lion, but with wings, i.e. he has a great  ability of manifestation in various  realms, since he is able to  fly through the air. Two Goddesses appear from his wings, one is Pratyaṅgirā and the other is Śūlinī Durgā, both of which are related to the elimination of the negative influence or witchcraft on the practitioner. In fact, Śarabheśvara is nothing more than an enhanced form of Nṛsiṃha. I heard from Indian tantrikas that there are no contradictions here, because Viṣṇu and Śiva are  fused in the form of Harihara.

If you  look at the  image of Chinnamastā, you will see that it stands on Kāma, the God of sex, who is in the intercourse with his companion Rati (Goddess of passion). Thus, Chinnamastā  gets energy from passion, but in its essence, this passion is also self-transformation or sublimation. Chinnamastā chopped off her own head and holds it in her hand, while her head drinks a stream of blood from the body. Two other streams are drunk by her two companions. This is a symbol of the three channels, where Chinnamastā herself symbolises suṣumṇā and the other two Goddesses – the channels iḍā and piṅgala. In other words, Chinnamastā is a certain single reality that is present in all channels, in the power of passion and creation. In fact, it is a single indestructible force within every living form. Her mantra is the same as the Vajravārāhī mantra in Buddhism,  who is also known there as the Goddess Khecharī (mudrā) of white color. The name Chinnamastā in the mantra is “Vajravairocanī” (‘the shining lightning’), and the term vajra  could also mean “indestructibility”.

From my experience of worshiping Chinnamastā, I can say that this form is associated with a deep comprehension of one element or aspect of self, through which it is possible to penetrate into all others. You  kind of unite them and go beyond them. In yoga, for example, you exhale smoothly (rechaka) and automatically comprehend the essence of the correct inhalation (pūraka). Through both of them you comprehend the essence of the retention (kumbhaka). Kumbhaka – from the root कुम्ब् / kumb ( something which encompasses, embodies in itself). Therefore,  a  vessel is often a symbol of female genitals  (yonī), from the root यु / yu, – something which connects, forms and holds in itself. Yonī  could also mean something that is associated with  various forms of birth, all creation comes from it, all forms of life, they dissolve in it. Kumbha or a vessel is a symbol of the body, both individual and the body of the universe, all life (amṛta) and the whole universe is in it. A vessel is a symbol of the unity of external and internal space (vyoman), the void inside  and outside a vessel is one in its essence. Therefore, there is one single reality in all our bodies. We  could say that these are parts: inhalation, exhalation, retention, like other parts of yoga, besides prāṇāyāma, āsana, pratyāhāra, dhāraṇā, yama, niyama, etc. All of them are one single sādhanā, one yoga, like other yogas (rāja, karma, jñāna, laya). Unfortunately, people have separated all these methods now, although they have one goal and one reality. Once you comprehend one aspect well, you automatically come to the comprehension of its inextricable connection with  all others. Chinnamastā is a very paradoxical symbol, it is a symbol of cutting off all worldly things and at the same time it is a symbol of presence in everything. It is the transcendental, indestructible,  radiant emptiness that generates an abundance of life forms and is present in each such form.  Surely, she is associated with the complete absence of oneself in something, but also with the complete presence of oneself there. Chinnamastā is a symbol of spiritual death in which there is no conditioning by births, she is also a symbol of the fullness of life and the infinite wealth of life. Fear of death and fear of life are usually related. A yogi is one who dies for the world and through this death he is resurrected to a new vision of life in all its beauty and fullness. In this regard, Chinnamastā is a part of the Kālī pantheon (Kālī–kūla), because Kālī is connected with time, which is divided into parts, into segments. The term Kālī is feminine from kāla (‘time’), which is  masculine.  It comes from the root कल् (kal),  which is the first gaṇa (group of roots) of ten in Pāṇini, and means सङ्ख्यान (saṅkhyāna – “to count”) , and कला (kalā) is from the same root – “a part of something  general, art, etc.” She teaches to control prāṇa, and through the management of prāṇa leads to going beyond time or death.

Reflections on the origin of the name of the three bandhas

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Why do the three famous bandhas, that are often used in prāṇāyāma, have the following names: jālandhara-bandha, uḍḍiyāna-bandha, mūla-bandha?

Personally, I believe that these names in haṭhayoga, like many other things, could come from tantrism. The aim of these bandhas in yoga is to unite the prāṇas within the suṣumṇā channel, which leads to the control of prāṇa and consciousness (i.e. contemplation). There are four famous śaktipīṭhas in tantrism, such as kāmarūpā, jālandhara, uḍḍiyāna and pūrṇāgiri. Many tantras describe them not only as geographical places in India and as those that are in the central triangle of yantras, but also as located in our body, in various cakras. For example, kāmarūpā, which is associated with Satī’s yoni (one of the main places for tantra practitioners) is located in Guwahati of Assam State. In a way, this is the main place for tantrikas and śaktas, so when we say ‘mūla‘, we can translate this as “root” and as “main.” According to Yoga-cūḍāmaṇyupaniṣad (7), Gorakṣa-śatakam (10), Sidhda-sidhdānta-padhdati (2-1) and a number of other texts, this pīṭha in our body is in the area of ​​mūlādhāra-cakra. This fully corresponds to what associated with mūla-bandha.

Take other examples with pithas, for example, in Kaulajñānanirṇaya (8.20-22) jālandhara-pīṭha is located in the root cakra, although according to the SSP, it is located in the head region. In any case, jālandhara-bandha is what directs upward the flow of prāṇa going into the cakras, like uḍḍiyāna-bandha, which means the movement of prāṇa in suṣumṇā and upwards. Obviously, it is connected with uḍḍiyāna-pīṭha, regardless of the fact that different texts have it in different ways. This special pīṭha in tantrism, the center of any yantra, is also venerated by the Gurus, from whom comes the tradition in which this practice is used. For Buddhists, this is also a very significant place where many great masters came from. If we talk about ājñā-cakra, then it means “following the will of the Guru“, his transmission. But, for this we must direct ourselves from the bottom up to him. This is the dissolution of their lower nature in the Divine, thereby sublimating this nature. Of course, when we do uḍḍiyāna-bandha, we work on the entire abdomen, lifting prāṇa up through suṣumṇā. The fourth, pūrṇāgiri-pīṭha, is also located differently according to different texts, somewhere in the crown of the head, somewhere in anāhata-cakra, etc. It means the completeness arising from the fusion of different energies. Usually, pīṭhas in tantrism, as sacred places in India, are associated with the performance of some sacred processes in our body. If we say this in relation to yoga, then our fragmented, imperfect vital energy (asiddha-prāṇa) becomes perfect (siddha-prāṇa) when it makes a “pilgrimage” to different areas within suṣumṇā. Thus, we are immersed in dhyāna within ourselves.

Goddess Bālāsundarī in Śrīvidyā and Nāth Sampradāya

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This practise you can see in the Śiva Samhitā:

मूलाधारेस्ति यत्पद्य चतुर्दलसमन्वितम् तन्मध्ये वावभव बीजं विस्फुरन्तं तडित्यथम् || १९० ||
हृदये कामबीजंतु कधूककुसुमप्रभम् आज्ञारविन्दे शक्त्याख्य चन्द्रकोटिसमप्रभम्
बीजत्रयमिदं गोप्यं भुक्तिमुक्तिफलप्रदम् एतन्मन्त्रत्रयं योगी साधयेत्सिद्धिसाधकः || १९१ ||

mūlādhāresti yatpadya caturdalasamanvitam
tanmadhye vāvabhava bījaṃ visphurantaṃ taḍityatham ॥190॥
hṛdaye kāmabījaṃtu kadhūkakusumaprabham
ājñāravinde śaktyākhya candrakoṭisamaprabham
bījatrayamidaṃ gopyaṃ bhuktimuktiphalapradam
etanmantratrayaṃ yogī sādhayetsiddhisādhakaḥ ॥191॥

One needs to contemplate vāgbhava-bīja (in Śrīvidyā, it is bīja aiṃ ऐं) in the center of the four-petalled lotus (mūlādhāra), like the trembling light of lightning (vispurana). In the heart (anāhata-cakra) there is kāma–bīja (known as klīṃ क्लीं in Śrīvidyā), it is similar to a bandhuk flower (in India it is associated with passion). In the lotus of the ājñā-cakra, there is śakti–bīja (in Śrīvidyā they call it sauḥ सौः), it is like ten million moons (candrakoṭisamaprabha). This secret mantra bestows fruit both in the form of spiritual liberation and enjoyment. A yogin must diligently practice these three mantras.

Based on that, some people conclude that this is not a text of the Nāthas, but rather the vedantic one, belonging to the tradition of Śrīvidyā. But I don’t think so, the text could well belong to Nāthas. Because, one of the initiations in the Nātha-sampradāya, known as upadeśī-dīkṣā, impli