Kumbhaka Paddhati of Raghuvira Science of Pranayama by M.L. Gharote (Ed.) and Parimal Devnath (Ed.). It is the only text dealing exclusively on the topic of. Kumbhaka Paddhati or Science of Pranayama. INR Add to cart. Reviews (0). Reviews. There are no reviews yet. Be the first to review “Kumbhaka. Kumbhaka paddhati of Raghuvira: science of prānāyāma / edited by M.L. Gharote, Parimal Devnath ; foreword by B.K.S. Iyengar.

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Kumbhaka Paddhati is the only text which deals exhaustively the topic of pranayama. It is extensively quoted by Sunderadevaanother writer on hatha-yoga kumbhaja his Hatha-sanketa-candrika and Hatha-tatva- kaumudi.

The text describes more than 50 kumbhakas, many of which are not commonly known. Despite the description of various kurnbhakasthe author is loud in praise for meru-kumbhaka of which he describes 47 stages. These include all levels of spiritual kumbhhaka.

These stages are a continuum of experiences the yogi passes through as a result of continuous-practice.

Catalog Record: Kumbhaka paddhati of Raghuvira : science of | Hathi Trust Digital Library

These are not found described in any. Foreword Kumbhaka-paddhati manual on pranayama of Sri Raghuvira, edited by Dr. Parimal Devnath is an interesting collection on the science of pranayama. Kumbhaka-paddhati explains fifty-seven types of kumbhaka with forty-seven stages. God is one, but people call him by different names. Similarly, though the text explains fifty-seven types of kumbhakas, the readers should know that the principal kumbhakas are of these types namely, antar-kumbhaka retention of breath after inhalationbahya-kumbhaka retention of breath after exhalationkumbhaka in-between interrupted puraka and recaka and one that is both instinctive and intuitive kevala-kumbhaka.

Actually, pranayama consists of four movements: As different patterns of breathing and retention can be discovered while performing different types of asanas, it is possible to adopt and adapt different types of breathing patterns and retention kumbhakaaccording to one’ internal intellectual development and mumbhaka.

These adoptions and adaptations through the various permutations and combinations express the multiples of kumbhakas. As Pranava ‘aum’ with the crescent and dot is the seed of all words, puraka represents generation or creation of energy G Brahma, pdadhati represents organization of energy 0 Visnu, recaka releases that vitious air that destroys life D Mahesvare, while bahya-kumbhaka takes one to experience the changeless, eternal state of quietude.

Pranayama is a great penance maha tapas. It is nadanusandhana, one has to investigate, inquire and search sravana, manana and nididhyasana. Lord Patanjali puts this in simple words, japa, artha and bhavana.

We have all been bestowed with pance-bhautike-serira consisting of earth, water, air and ether. They are the physical matters of the body. These five matters have their own infrastructures as panca tenmatras, namely, odour, taste, shape, touch and space. These tanmatras are the chemistry and alchemy of the body.

These are controlled by the cosmic life force visva-prana-sakti. As nature Prakrti divides into various sections, this visva-prana-sakti transforms into panca vayus as kumbhhaka, apana, samana, vyana and udana.

These five vayu’s locations have been explained in the text corresponding to the five elements and their corresponding five atomic powers. They also correspond to the five cakras namely, muladhara, svadhisthana, manipuraka, paddhari and visuddhi.

The other two cakras, ajna and sahasrara are beyond matter. These pance-vayus churn, mix, mould and blend the bhutas and tanmatras to bring their essence paddhaati and prana sakti elixir of life. We are endowed with karana-sarira causal bodysuksma-sarira subtle body and sthula-sarira gross body, also called karya-sarira. These three bodies represent the prajna awareness of self, consciousness and body asmita, citta, desa and prana acts as the link in connecting these three bodies.


For padhati, inhalation helps in expanding the self and consciousness progressively in delicate adjustment to touch the torso desawhereas in exhalation, the sense and feel of the body and consciousness is gradually released to reach the self without any disturbance or collapse in the outer body. In kumbhaka equi-balance of prana and apana is learnt. This way pranayama sadhana acts as a hub for the sadhaka to learn this connection with clarity.

In short, the secret of pranayama is the art of spacing the intelligence of the self, iumbhaka in the body desaby puraka. Uniting together the space in place is antar- kumbhaka. Releasing the breath delicately for the place to reach the inner space is recaka, bringing together the place with the interior space of the body is bahya-kumbhaka. Hence, pranayama is not only a method of balancing the energy metabolism, but it also is an experiencing the state of composed consciousness samadhana-citta.

Kumbhaka-paddhati cautions that, ‘as one climbs from the lower steps to reach the top of the ladder, one has to progress in kumbhaka, carefully observing the rules and stages of pranayama to reach the higher stages of yoga’ KP The effects of kumbhaka explained from to in this treatise are also found in the vibhuti-pada of Patanjali and hathayoge texts.

The notes given at the end of the book are a guide for sadhakas. I feel that it is a valuable book for keen pranayama sadhakas and it is a well presented book to know and understand the richness of the science, art and philosophy of pranayama. Introduction The work of editing the present text of Kumbhaka- paddhati was started with the single manuscript available in the beginning.

This manuscript is deposited in the Rajasthan Oriental Research Institute, Jodhpur the details of which are as follows- Ace. This is indicated as ‘J’. For comparison and variant readings, these quotations from Kumbhaka-paddhati were considered.

When the text was almost completed, we came to know that another manuscript copy of Kumbhaka-paddhati is deposited in the Library of Asiatic Society, Kolkata, through our friend Dr. He was kind enough to send us a Xerox copy of this manuscript for our study. We are grateful to him for his friendly gesture in the interest of yoga.

The details of this manuscript are as follows- Acc.

This is indicated as ‘A’. There are many verses missing in ‘A’ manuscript.

Kumbhaka paddhati of Raghuvira : science of prānāyāma

However, ‘A’ manuscript has been used for determining important readings. It is interesting to note that’ A’ manuscript has been noted in the Aufrecht’s Catalogus and in Catalogus Catalogrum. But the ‘J’ manuscript has not been included. We find the’ J’ manuscript important and therefore it is used as vulgate.

The author of Kumbhaka-paddhati The author of Kumbhaka-paddhati is Raghuvira. He is also mentioned as Raghava, Raghupati and Raghurama. He has given a brief account of himself in the beginning of the text from which we know that his father Siverama hailed from a royal family and was residing in Kasi Benares.

He was a descendent of Kutsa Gotra clan and was an Udicya Brahmana. Kaivalyadhama, Lonavla, has published a text called ‘Satkarma-samgraha’ edited by Dr.


In this text verse no. This ascribes its authorship to Raghuvira, Raghava or Raghunatha. From these statements it is clear that Raghava or Raghuvira has also written the above text of Satkarma-samgrahah.

There are many similarities in his writings in both of these texts which may be mentioned below: Every now and then the author has expressed his indebtedness to Siva using several of Siva’s synonyms. The text of Satkarma-samgraba apparently seems to have been written by ‘cidghananandanatha’ – ‘cidghananandanatha ‘ham kurve satkarma-sangraham.

He calls himself as the disciple of Gaganananda-natha. Raghava seems to have written another text named ‘Misraka’ having an admixture of yoga and medicine as the title indicates.

We come across quotations from KP in the works like Hathasanketa-candrika and Hatha-tatva-kaumudi authored by Sundaradeva. Both Raghuvira and Sundaradeva were residing in Kasi. But it is not known whether they were contemporaries. The title of the text The title of the text given by the author is Kumbhaka- paddhati. He also refers to kumbhamarga or the path of kumbhaka originated from Siva. Kumbhaka-paddhati and kumbhamarga may be considered as synonyms. The word kumbhaka is derived from the word kumbha meaning a water pot.

Kumbhaka Paddhati or Science of Pranayama

Just as a water pot contains water, similarly, when the lungs hold the air, it is called kumbhaka. Yoga-yajnyavalkye defines kumbhaka as ‘sampurna- kumbhavad-vayor-dharanam kumbhako bhavet’.

Kumbha is used for kumbhaka in many places in the present text. In these texts, the technique of pranayama is described in three phases, namely, paraka, kumbhaka and recaka. But in pranayama the phase of kumbhaja is most important and puraka and recaka are only complementary and supplementary phases.

Looking to the importance of the kumbhaka phase, it is considered as a synonym kumbhaks pranayama. Thus the three phases of pranayama, namely, puraka, kumbhaka and recaka are respectively the processes of filling the lungs with air, holding the air in the lungs and expelling the air from the lungs. In the phase of kumbhaka, there is no movement of breath. Therefore, smrtis define it as niscala-svasah. Physiology of kumbhaka Kumbhaka may be physiologically described as Breath Holding.

The term Breath Holding occurs frequently in the Sports literature.

In many athletic events breath is held. The physiology of breath holding involves respiratory, circulatory and cardiac changes, all of which are important. Most obvious changes are increasing level of CO2 and decreasing level of 02 in the alveolar air.

These changes reflect the changes in the level of respiratory gases in the blood.

When the partial pressure of CO2 in the alveolar air exceeds approximately 50mrn. This is called Break Point at which breathing recommences. Chemoreceptors are susceptible to chemical component of the blood.

Due to accumulation of CO2, the capacity to retain the breath is limited. In kumbhaka afferent impulses of Vagus start from the lungs and the efferent impulses of Vagus are sent back from Medulla oblongata. The afferent impulses enable us to keep the lungs in a particular stretched position and the efferent impulses help to slow down the heart. Weight of the Book: Subscribe for Newsletters and Discounts.