The Dhyanabindu Upanishad is  (supposedly) associated with the Sama Veda. It spans over 105 verses, but ¼ of the text feature also a text written in prose between the 93^rd and 94^th Verse. It is a six-limb practice of yoga and the Yamas and Niyamas are here not included. From a postural point of view, the text mentions only four asanas, but clearly states:

 There are as many asanas as there are living beings. Maheshvara (The great lord) knows the distinctive features of them all (verse 42).

Both Krishnamacharya, Pattabhi Jois and BKS Iyenagar have repeatedly been quoting this verse as an argument that the ancient tradition of yoga must certainly by far outnumber the numbers of asanas referred to in Hatha Yoga Pradipika and other texts. The main focus of this text is how to become aware of the luminous essence of the self (Atman), through primarily mindful pranayama practice and deeper insights regarding the esoteric body.

In the opening verse it is stated that ‘even if one has accumulated great sin amounting to many mountains high’, it can certainly be destroyed through the yoga of meditation. What is being mediated here is thus how to break the chain of suffering and find the ultimate support that delivers from confusion, separation and ignorance and awakens the highest support of the mind and senses. This is here articulated to be the Bindu, the indestructible essence that in turn give support to the Nada (spiritual sound), Prana, Mind and Senses. It is the elixir of life and supposedly situated somewhere in the forefront of our forehead.

Pranava (OM) is the ultimate sound that includes ‘wholeness’ and reflects the inner essence of bindu. This is to be contemplated by seekers of truth.

The reason given is because all being exists in Brahman, and the sound of Brahman is OM, when meditating on OM that very essence may manifest more clearly within the pracitioner. The three letters constituting OM: A, U, M, are thus thoroughly explained with their distinctive element, color, place, guna and presiding deity. A metaphor is given where ‘OM is the bow, where the arrow of the self (atman) is placed in order to aim for the target of Brahman’ (verse 15). The monosyllable OM is therefore to be contemplated as a luminous crystal reflecting the brilliant light of the inmost ruler (Ishvara).

The first recommended practice of Pranayama is something similar to Nadishodhana. One is urged to inhale through the left nostril, fill the stomach with air and then contemplate OM, as prescribed earlier with encircling flames in the middle of the body. In this initial stage, Brahma is contemplated upon during inhalation, Vishnu in the retention, and Rudra on the exhalation of the breath, all for the sake of awakening the divine essence of the heart. Here the meter also changes, and instead of being the regular anushtub[1] meter, the author now switches into trishtub[2] as if to call the attention of the reader/listener. This change of meter happens on three occasions and here we are urged to consider the sound of OM equivalent to the inner Hamsa (swan), witnessing the patterns of the breath, yet in itself, still and constant. When the mind becomes absorbed in this inner essence, an effulgence like the sun, one may reach the end of ones separate existence and eventually attain the highest state, here qualified to be the seat of Visnu.

Afther Vishnu have been eulogized as the inmost essence of the heart beyond the external layers of lotus, sun, moon, fire and spiritual light (prabha), he is to be meditated upon as the supreme being and ruler of men. The second pranayama practice here recommended is a little different. Here Lord Vishnu should be meditated upon during the inhalation seated in the center of the navel, then Lord Brahma should be meditated upon seated in the heart during retention of breath, and then finally Lord Shiva should be visualized in between the eyebrows during exhalation, effulgent like pure crystal. If the practitioner can here visualize the brightness of the sun, moon and agni, and further distinguish between the three seats, prosodies, brahmas, and letters of the monosyllable OM, he may eventually attain the highest seat which is above bindu, nada and kala and tap into an uninterrupted source of sound, flow and grace. To attain this seat, which is equivalent to the inmost knowledge of the three Vedas one is recommended to do the following:

The Yogin should draw up the breath through the stalk of the sushumna and center it in the middle of the eyebrows, which is the seat of nectar and the great place of Brahman (39-40).  

The four main postures recommended in the initial stages of this practice are Siddha, Bhadra, Simha and Padma-asana. Then the first three chakras are explained up to Manipuraka (the center of the navel), together with the principles nadis, and the five pranas and five vayus. The Jiva (soul) is trapped within this network of nadis and is constantly under the influence of prana and apana and is never at rest, but like a bird tied to a string. This Jiva fluctuates with the coming and going of the breath, and according to the text it makes the sound ‘ha’ as it exhales and ‘sa’ as it inhales. When you put the two syllables together it becomes ‘hamsa’ (swan) or due to laws of grammar you can change it around and pronounce it as “so’ ham”.[3] This is referred to as Ajapa Gayatri mantra. The continuous sound the Jiva makes while inhaling and exhaling, day and night, year after year. The suggestive point in this metaphor is that when a man/woman can come to understand that there is a ‘divine’ presence that has taken up residency in the body, he/she is fit to start practicing the awakening of the Kundalini Shakti, which may open the door to salvation.

Here we find another meter change from anustubh to shardula vikridita[4] and the practitioner is urged to ‘clasp the feet with the hands while seated in the padmasana posture, place the chin on the chest and then fix the mind in dhyana, while internally pulling the air (apana) up and expanding the breath’. Through this practice, superior wisdom may dawn within the practitioner due to the awakening of Shakti.

Three principle bandhas[5] are then introduced for the prevention of the fall of bindu (nectar) and its destruction in the fire of digestion. One may assume this is the major theme of this Upanishad to prevent the fall of bindu and preserve its energy within the brain/body rather than allow for its dissipation through sensual stimuli and excessive activity. Khecari mudra is also then introduced, but I will not comment on that here.

The final meter change takes place while introducing the Mahamudra (verse 93), and after this we are once again reminded of the inmost center of the heart where the Atma, dwells within the lotus of eight petals. Here a long prose text follows where the personality traits of an individual is explained according to where the jiva has its absorption within the eight-petal lotus. This is illustrated in the diagram underneath that points out what direction the jiva is absorbed in, the color of the lotus and what principle acts it is inclined to when it rests in a particular position.

 

Direction of the Lotus	Colour	Mind inclined towards
Eastern petal	White	Dharma and Bhakti
South-eastern petal	Red	Sleep and Laziness
Southern petal	Black	Hate and Anger
South-western petal	Blue	Desire for negative and harmful actions
Western petal	Chrystal	Flirtation and entertainment
North western petal	Ruby	Dispassion
Northern Petal	Yellow	Happiness and Loving kindness
North-eastern petal	Lapis Lazuli	Incurring wealth, charity and passion.
In between petals		Imbalances of Vayu, dosha and agni. Numerous problems will arise.
In the middle		Knows everything, infinite joy and ecstasy.

 

This idea that the state of the mind of a person depends upon where his soul rests within the lotus of the heart is an interesting perspective and also reflected in the Hamsa Upanishad. For most of us, it may be all speculation, but the author of this work attributes the four states of waking, sleep, dreamless sleep and Turiya, also to be dependent on where the jiva rests within the lotus. The highest state is naturally when the jiva rests within the center, the prana and apana have been united and inner soul realizes the whole universe is the nature of Atman. This is the highest state of Turiyatita (beyond the forth), when everything is bliss and one has reached a state beyond all opposites.

The entry-point in attaining these higher states of awareness comes from the capability to center the breath in the sushumna nadi and allow for its subtle awakening within the spine.  Then knowledge of the respective element, breath, deity and form associated with each letter of the alphabet[6] may manifest and one comes to understand the sacredness of sound. The practice of Pranayama is considered the ultimate practice to also enter the higher limbs of yoga and it seems almost impossible to master them without it. The central teachings is to find the inner gateway that causes the breath to enter the sushumna, then pay attention to the internal sounds that may awake within it, and as the prana raises up to the crown of the forehead, one may eventually come to see Purusha and Prakrti together as nothing but his own Atman. This is the highest teaching, according to this text, to attain Kaivalya and understand the secret gem situated in the forehead, the moonlight of truth, the drop of immortality as nothing but the seat of the great Lord, situated within men.

 

---

[1] Eight syllables to the quarter, thirty-two in the verse.

[2] Eleven syllable to the quarter, forty-four in the verse.

[3] Also meaning “That I am”, one of the famous great sayings of Vedanta.

[4] Nineteen syllables to the quarter, fifty-six to the verse, which is quite a change from the regular standard thirty-two syllable verse.

[5] Mula-bandha, Uddyana-bandha and Jalandhara-bandha.

[6] Here primarily ya, ra, la, va and ha.