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Five variation of Uddhiyana

Article in Yoga Mimamsa · January 1972

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 Five variation of Uddhyana*
(UDDIYANA PANCAKA)
By
Dr. M. V. Bbole; M. D.**
Bhole, M.V. (1972): Five variations of Uddiyana (Uddiyana Panchaka). Y.M., XV:2; 25-35

ABSTRACT
In an analytical study based in some important yogic texts, it has been shown that (a)
Uddhiyana, (b) Uddhiyana Bandha, (c) Uddhiyana Mudra, (d) Tadagi Mudra and (e) Tadagi
Mudra could be termed as five variation of Uddhiyana.

INTRODUCTION

Hathayoga gives stress on Asanas, Kumbhakas and Karapas fur attaining Rajayoga
(2a). Karapas mean accessories. In Hathayoga these accessories are classified in three
groups viz. Kriyr\s, Bandhas and Mudras. Uddiylma, one of the important practices of
Hathayoga, is made use of in these Karanas. In one way it is used in various Kriyas like
Nauli, Vayu-bhaksana, Sankkhapraksalana etc , as a Bandha in Prapayama in another way
and in many Mudras like Vajroli, Sakticalana, Sahajoli, AmroIi, Viparttakarapj, Ta9agi etc.
in still another manner. In Kriyas, Uddiyana is practised afler exhalation with an attempt at
mock-inhalation, in Prapayama it - is practised during antar-kumbhaka while in Mudras it is
practised continuously for a considerable length of time irrespective of a particular phase of
breathing. In the present article different techniques of Uddiyana have been considered in
the light of the background given above.

Eessential Feature and Effect of Uddiyana

According to various texts, pulling back of the abdominal wall towards the spine is the
essential physical feature of Uddiyana and the important wording is:

Udare pascimam tamam (la, 2f, 5b, 9A, 9Bc 9Cb)

(i.e. pull back the abdomen or stretch the abdomen posteriorly.) (Here Udare has been taken
to mean the abdominal wall).

The effect of such a physical practice of pulling the abdominal wall backward has
been described on the Prana activity within the body and is denoted in the following.
 Baddho yen a susumnayam pranasuddiyate yatah (2d, 9Bb, 9Db,).
(i. e. the Prana is confined to the Susumna and there it rises up).

Uddinam kurute yasmildavisrantam mahakhagah

(la, 2e, 9Ca, 6E).
[i. e. (UMiylma) makes the great bird (Prapa) fly incessantly (through the Susumna).]

BASIC TECHNIQUES OF UDDIYANA

(I) The lower abdominal wall below the umbilicus has to be pulled backwards and this
seems to be the common and the most essential factor in many 'descriptions related with the
technique of Uddiyana.

Nabhau liiigasya madhye tu utjfjyanakhyam ca bandhayet

(9 De) the nava} [i. .e. uddiyfma Bandha is to be performed between and the genitals (pubic
symphisis).]

Nabheradhah lingadurdhwmuddyanam namakam tasya bandhanena (4)

(i. e. by the Bandha (bond) named Uddiyana, which is applied below the nave] and above
the genitals).

Udaroi pascimam tanam adhonabhernigadyate (9 Cb) (i. e. stretch the abdomen

backwards below the level of umbilicus. )

(II) In other descriptions about the technique of Uddiyana it has been mentioned that
the portion above the umbilicus also should be pulled back along with the portion below
the
umbilicus.

Nabherurdhvamdhascapi tanoin kuryat prayatnatah

. (2g, 50, 9Dc)
(i.e. with effort pull back the region above and below the navel )
 Though not so clearly mentioned, other descriptions probably imply the same thing
which is indicated by the use of such terms as 'ca' or 'tu'

Udare pascimain tanain nabherurdhvain ca (or tu) karayet (la, 2f,5b, 9a) l(i. e. stretch
the abdomen posteriorly above the navel also (along with the portion below the navel)].

Relation between different phases of breathing and Uddiyana:

This has not been mentioned in these or other verses directly describing the technique
of Uddiyana. So it is probable that the abdominal wall could be pulled Backwards towards
the spine in different phases of(controlled or uncontrolled) breathing or else the position of
the abdominal wall, which is pulled backwards, could be maintained during uncontrolled or
controlled breathing for a considerable length of time as is expected to be done in many
Mudras.

Uddiyana in Pranayama.
Even though relation between Uddiyana and uncontrolled breathing is not mentioned,
in relation to pranayama we find different directives as where to introduce Uddiyana in the
performance of Pranayama:

Kumbhakante recakiidau kar tavyastuddiahakah.

(2b, 9Bb, 9Db, 9F) I).
e. Uddiyana should be performed during the last portion of kumbhaka before starting
Recaka.

Purakante kumbhakadye kartavyastuddiaanakah.

(Ie, 3b, 8a)
(i. e. perform Uddiyana after paraka at the start of Kumbhaka.)

According to these references Uddiyana is to be performed either towards the end of

Antar-kumbhaka before Recaka or after Puraka at the beginning of Antar-kumbhaka.
Majority of the references recommend it to be performed during Antarkumbhaka.

Yoga Bija (6), on the other hand, gives a different version. It mentiones that Uddiyana
should be performed at the end of kumbhaka and recaka. It is is a recent publication and the
author seems to have included the technique of Uddiyana performed after exhalation. He
has used the terms used for Pranayama instead of normal breathing.
Uddiyana in Kriyas.

The technique of Uddiyana which is required to be followed for different Kriyas is

different from the one described above. This seems to be the traditional technique of
Uddiyana which is practised after exhalation. It is prevalent in most of the yoga schools
teaching yoga practices all over India. Swami Kuvalayananda standardized this traditional
technique and has described it in details in this journal (7a, 7c). This technique seems to
have been followed in all the recent literature describing Uddiyana. Popularly this is termed
as Uddiyana Bandha.

Uddiyana in Mudras.

As breathing has to be continued for a long time in Mudras, question of breath holding
does not arise. Only the abdominal wall has to be kept pulled backwards in Mudras
employing Uddiyana.

Tadagi Mudra as a Variation of Uddiyana

Gheranda Samhita and some other texts mention one Mudra, namely, Tadagi which
very much resembles Uddiyana in its basic technique as far as the pulling of the abdominal
wall backwards is concerned:

Udaram pascimottanam tadagakruti karayet / (lb)

'.

Udaram pascimottanam krutva caiva tadagavat / (3a)

Udaram pascimattanam krutva ca tadagakrutilz / (8b)

All the three verses mean the same, that is. make the abdomen look like a pond (i. e.
Tadaga). This could only be achieved by performing Uddiyana Mudra in supine passion.

The only difference between Tadagi Mudra and Uddiyana Mudra seems to be in the
position of the body. According to the traditional teachings, Tadagi Mudra is to be practised
in supine position. So one can easily conclude from this that Tadagi Mudra is nothing but
practising Uddiyana as a Mudra in the supine position.
Detailed Techniques and Proposed Names for Different Variations of Uddiyana:

Based on the information given about the techniques of Uddiyana so far, one comes to
think that there are three distinct ways of performing Uddiyana along with the fourth variety
which is called as Tadagi Mudra. Even though the abdominal wall is getting pulled
backwards in all the three varieties of Uddiyana, the breathing pattern in each of them is
different. The physiological effect of these variations have been observed to be different in
the same subject and the findings of these observations are going to be published in a
separate article (ldj.-Hence, for a clear-cut distinction of these different variations of
Uddiyana it is better to go through their techniques in more detaIJs and name them
differently as proposed below to avoid confusion.

1. Uddiyana:
According to the traditional teachings, Uddiyana is performed after deep exhalation
with an attempt at mock inhalation. The chest wall is expanded and the abdominal wall is
kept relaxed. As air is not allowed to enter the lungs during mock-inhalation, the abdominal
wall above and below the navel gets sucked inwards and upwards under the lower tribs (Fig.
1) forming an hollow due to he development of negative pressure in the thoracic region
(7b). The position is held till one can continue the effort at mock-inhalation. It is evident
that better the attempt at mock-inhalation and longer the time of its continuation (which is
actually breathholding), more effective win be the Uddiyana performed. In the same way
better the relaxation of the abdominal muscles,
more effective will be-the suction of the abdominal wall and the performance of Uddiyana.
In this technique of Uddiyana, the movement of the thorax (i.e. its expansion) is primary
and purposeful while that of the abdominal wall is passive and secondary to the movement
of the thorax.

This type of Uddiyana can be practised in sitting, standing, squatting, topsy-turvy (7a)
or in lying down position.

As already mentioned above, this Uddiyana forms an essential part of certain kriyas. It
has great - therapeutical and cultural value, but according to the authorities in Yoga its
spiritual importance is not as high as other types of Uddiyana. References mentioning
pulling back of the abdomen above and below the navel may be indicating this type of
Uddiyana (la, 2g, 5b, 9Dc).

Swami kuvalayananda has called it Just" UDDIY ANA" (7a, 7b) and it would be
better to retain the same term for this type of Uddiyana.

2. Uddiyana Bandha.
.
In Prapayama, Uddiyana has to be. performed during Kumbhaka either at the end of Puraka
or beginning of Recaka. Here the lower abdominal muscles have to be actively contracted
and due to this contraction the abdominal wall is pulled backwards.The portion above the
umbilicus bulges outwards slightly during this manoeuvre ( Fig. 2). This is practised along
with other two practices, 'Mula Bandha' and 'Ja]andhara Bandha', an"' these three together
are called as 'Bandhatraya' (9Da, 9Ba) Some schools of Yoga do not refer to these Bandhas,
but Hathayogic tradition gives stress on these Bandhas during the practice of Prapayama.

Even though this type of Uddiyana could be performed in various positions of the
body, generally it is practised in the sitting position prescribed for Pranayama.

This is the technique of Uddiyana to be followed in Pranayama. References mentioning

pulling back of the abdomen below the navel may be indicating this type of Uddiyana (4.
9Cb, 90c). The practice of this Bandha is supposed to start certain types of sensations in the
pelvic region which are made to travel upwards through the Susumna upto the level of the
Uddiyana Pitha (9Dd,9De). According to authorities in Hathayoga this type of Uddiyana'
has great spiritual significance 'part from its cultural and therapeutical values. '

II yoga texts refer to this type of Uddiyana as a Bandha. So it may be called,

'Uddiyana Bandha.'

3. UDDIYANA MUDRA

When Uddiyana is to be performed as a part of certain Mudras, then the technique

becomes different. As a matter of fact, Mudras are always practised for a considerable
length of time. For such a long time one cannot have Kumbhaka either internal or external
as is required for Uddiyana Bandha, nor one can have an attempt at mock-inhalation after
deep exhalation as is required for Uddiyana as mentioned above. The breathing (controlled
or uncontrolled) must continue for such a long period without much interruption. In Sakti-
calna Mudra, for example, after Bhastrika Prapayama, the region around the navel is to be
contracted and this has to be
maintained upto two Muhurtas (i. e. approximately 1 1/2 hours) or even more by gradual
practice (2h). This contraction at the navel region is nothing but Uddiyana according to its
definition.

Apart from the various Mudras where Uddiyana forms an essential part in their
technique,
Uddiyana itself has been mentioned as a Mudra (2c). So even independently one could
continue one's breathing by keeping the abdominal wall slightly contracted (Fig. 3) and this
could be done in various positions as mentioned above.

Uddiyana performed as a Mudra or in other Mudras is supposed to intensify the

sensations started in Pranayama and it also further helps to channe1ise them along certain
pathways known as Nadis. Thus Uddiyana performed in Mudras has a) so great spiritual
significance as that in Pranayama.

This variation of Uddiyana, therefore, may be called as 'Uddiyana Mudra'.

4. TADAGI and

5. TADAGI MUDRA

In Tadagi Mudra, the abdominal wall has to be taken backwards in supine position
(Fig. 4). This is nothing but doing Uddiyana Mudra in supine position as already mentioned.
When it is done in that particular position, it gives an appearance of 'Tadga' (i. e. pond) to
the abdomen. In the same way Uddiyana could also be practiced.

Experimental work (7d) shows that the berathing pattern and the pressure changes
taking place in body during Uddiyana and Uddiyana Mudra performed in lying down
position are different in magnitude in comparision to the changes taking place in the
respective practices performed in sitting or standing positions.

The supine position makes the practice of keeping the abdominal wan pulled
backwards for considerable length of time more comfortable than in other positions.
Keeping the legs bent in the knees makes the practice of this Mudra easier than keeping the
legs stretched.

Taking into consideration the points mentioned above, it would be proper to call
Uddiyana performed in supine position as 'TADAGI' and Uddiyana Mudra in the same
position as 'TADAGI MUDRA'. The 3ppearnce of a pond which the abdomen develops
during this particular position of the body also adds to this nomenclature.

From the pressure changes taking place within the body, it could be said that Tadagi
Mudra (i. e Uddiyana Mudra in supine position) is milder in bodily effects in comparison to
different types of Uddiyana, yet equally effective as far as its spiritual significance is
concerned. Therefore tradition stresses practice of Tadagi Mudra for long period, several
times during the day and over porlonged duration.
Summary:

Taking into consideration the differences in the techniques and breathing patterns of
different varieties of Uddiyana different names, viz. Uddiyana, Uddiyana Bandha, Uddiyana
Mudra, Tadagi and Tadagi Mudra have been suggested to distinguish between them and to
avoid confusion.

Acknowledgements :
 The author is indebted to Swami Digambarji, Director of Research for his valuable
guidance for preparing this article and to other staff members for their constructive
comments and suggestions.

REFERENCES

1. Gheranda Samhita-Edited by S. C. Vasu, Published by The Theosophical Publishing

House, Adyar, Madras, 1933.
a. Chapt. HI, Verse 10, p. 47.
b. Chapt. III, Verse 61, p. 64.
c. Chapt. V, Verse 49, p. 98.

2. Hathapradipika of Svatmarama-Edited by Swami Digambarji and Pandit R. G. Kokaje.

Published by Kaivalyadhama S. M. Y. M. Samiti, Lonavla (Dist. Poona), India, 1970.
a. Chapt. I, Verse 67, p. 33.
b. Chapt. II. Verse 45, p. 54.
c. Chapt. III, Verses 6 & 7, p. 73.
d. Ibid. Verse 54, p. 95.
e. Ibid. Verse 55, p. 95. f. Ibid. Verse 56, p. 95. g. Ibid. Verse 58, p. 96.
h. Ibid. Verses 111 to 113, p. 120.
3. Hathayoga Samhita-Edited by Vivekananda. Published by Shri Bharat Dharma Maha
MandaI Office, Banaras, 1921.
a. Chapter on Mudras, Verse 94. p. 46.
b. Chapter on Pranayama. Verse 11, p. 61.
4. Sidtlha Siddhanta Paddhati of Gorakhnath-Published by Shri Yogindra
Purnanathji, Sanskrit College, Mayapur, Hardwar, 1939. Chapt. II, Notes on Verse 14.
5. Siva Samhita-Edited by R. B. Nafldalal Sinha. Published by The Panini Office, Sukumari
Ashram, Allahabad, India, 1942.
a. Chapt. IV, Verse 72, p. 55.
b. Ibid. Verse 73, p. 55.
6. Yoga Bija-Edited by Harishankarji Shastri, Published by
Yoga Pracharini, Banaras, 1899 14. Verse 118, p. 14.
7. Yoga-Mimamsa (Journal)-Edited by Swami Kuvalayan anda. Published by
Kaivalyadhama, Lonavla, Dist. Poona (India).
a. Volm. I, pp. 9-\4, 1924.
b. Volm. VI, pp. 203-208, 1956.
c. Volm. VI, pp. 209, 1956.
8. Yoga Tattwamrut - Edited by Baburao Chimanaji Gondhale. Published by Ravji Shridhar
Gondhalekar, Poona (India), 1897.
a. Part J, Chapt. 17 Verses 77-78, P.
b. Part II, Chapt. 10, Verses 37-38, P.
9. Yoga Upanishads-Edited by Palldit A. Mahadeva Shastri. Published by The Adyar Library
and Research Centre, Adyar, Madras-20 (India), 1968.
A. Dhyana Bindu Upanished. Verse 76, p. 203.
B. Yoga Kundalyupanished:
 a. Chapt. I, Verse 41. p. 313.
b. Ibid. Verse 47, p. 313.
c. Ibid. Verse 49, p. 313.
C. Yoga Chudamanyupanishad:
a. Verse 48, p. 346.
b. Verse 49, p. 346.
D. Yoga Shikhopanishad :
a. Chapt. I, Verses 101 to 103, p. 410. b. Ibid. Verse 106, p. 411
c. Ibid. Verse 108, p. 411
d. Ibid. Verse 175, p. 426.
e. Chapt. V, Verse 38, p. 446.
E. Varahopanishad: Chapt: V, Verse 6, p. 502.
F. Shandilyopanishad: Chapt. I, Verse 11, p. 533.

* Presented in modified form at the A II India Yoga Seminer held at Ahmedabad from 12th to 14th Aug.
72.
**Deputy Director of Scientific Research, Kaivalyadhama S. M. Y. M. Samiti, Lonavla.

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