Digital Pranayama and Art of placing Finger on Nose

THE NOSE

• The nose is a cone-shaped chamber, supported by bone and cartilage, lined on the outside by skin and on the inside by mucous membranes, while the nostrils are supported and partitioned by the septum. The inner sides of the nostrils are irregular and connected by small holes to the sinuses in the skull.

• Air entering the nostrils is filtered and passed down the wind pipe to the lungs. The flow is slowed down slightly when air enters the wider passages halfway up the nose. The sides of the nasal chamber in the skull are lined by three whorled and porous bones called conchae. Shaped like the wings of a bird, they cause the air currents to spiral so that they brush the mucous membrane lining in complex and variable patterns. Pressure from the thumb and two fingers on the nose wides or narrows the nasal passages. This helps to control the shape, direction and flow of these currents. The close attention required to monitor this flow develops inner awareness. This awareness is also enhanced by learning to hear the subtle vibrations set up by the air flow. Hence the important part played by the ears in pranayama.

• The air currents also influence the organs of smell through the ethmoid bone at the base of the skull. This bone is performed for the filaments of the olfactory nerve which stimulates the limbic system of the brain concerned with transforming perception into feeling.

• Inhaled air circulates over the areas of the mucous membranes. Unless these function efficiently, breathing is strained and irregular. They may be congested by changes of atmosphere, or their secretion affected by various factors such as tobacco, smoke, infections, emotional states and so on. The flow of air is diverted periodically from one nostril to the other due to changes in the blood circulation, as well as through injury, disease or a cold. Such changes alter the shape and size of the nose, the nostrils and the nasal passages.

• Muscles attached to the cartilages are accessories which dilate or compress the nostrils. Being part of the muscle system the face connected with the lips and eyebrows they can express emotional states like anger, disgust or danger and reveal inner personality.

• According to siva svarodaya, a yoga text, the five basic elements of earth, water, light, air and ether are located in the nose. In pranayama, the flow of vital energy in the breath contacts these elements, when it passes over or through their sites and influences the behavior of the practitioner. These sites or areas shift every few minutes or so. For instance when the current of air brushes the earth site in the right nostril, it brushes the water site in the left nostril. The pattens is:

RIGHT NOSTRIL LEFT NOSTRIL Earth water water Fire Fire Air Air Ether Ether Earth

The shift from one site to the other is gradual. Many years of practice are needed to locate and distinguish the sites or areas of the five elements or energies and when and where the air is in touch with each nostril. It may take less time to locate the above areas under an experienced teacher. Precise and sensitive adjustments with the thumb and the ring and little fingers of the right hand on the nose will make the breath flow simultaneously over the same location in both nostrils creating clarity in the brain and stability in mind. The text further explains that the best and ideal time for meditation is when the breath flows in the central part of both the nostrils- the ether element.

THE ART OF FINGERING

• The training required of a sadhaka for pranayama may be compared to that for becoming a master muscian. Krsna, the divine cowherd, charmed the gopis and conquered their hearts by planing his flute, manipulating it and creating a world of mystic sounds. In his practice of pranayama, the sadhaka, delicately fingering them to manipulate breath patterns as if playing the flute.

There are several openings in wind instruments, but only two in the nose, so that the sadhaka requires greater dexterity than the flautist to control the infinitely fine and subtle tones and shades of his breath. A good musician studies the construction, shape, stops, and other characteristics of his intrument, as well as the atmospheric changes that affects it. By constantly practising with his fingertips, he trains their virtuosity for delicate adjustments, and his ears to listen for the minutest variation in sound and learns to co-ordinate the skill of his fingers with his ears. Only then can he begin to capture the strains the tone, the pitch, the resonance and the cadence – of the music. The sadhaka also studies the shape and construction of his nostrils, the texture of their outer skin, the peculiar characteristics of his own nose, such as the width of the nasal passages, deviation of his own nose, such as the width of the nasal passages, deviation of the septum and the like, as well as the atmospheric changes affecting changes affecting the texture of the skin and dryness of otherwise in the passages. He regularly practises the movements of his wrist and fingers till he becomes dexterous and is able to refine them. He adjusts the fingertips over the outer nasal skin surface covering the sites of the five elements in the nostrils. These five sites act as stops. He adjusts the flow, rhythm and resonance of breath by narrowing of widening the nasal passages at these locations by delicate fingering and by attentively listening to the sound of the breath which he modulates and corrects. The door-keepers of a temple sanctum regulate the stream of devotees, the fingers regulate the volume and flow of breath, and by narrowing the passages filter out impurities during respiration. Due to controlled inhalation through the narrowed nasal passages, the lungs have more time to absorb oxygen, whilst in controlled exhalation unused oxygen is re-absorbed and waste matter is rejected. By narrowing the nasal passages through digital control the sadhaka develops greater sensitivity and awareness. By practising ujjayi and viloma pranayamas, the sadhaka's knowledge of pranayama deepens while his body derives practical knowledge through what it has experienced. In the practice of pranayama by digital control the sadhaka unites his theoretical with practical knowledge. This co-ordination kindles his knowledge until it bursts into the flame of intelligence, which is full of resolution and energy.

• Pranayama may be broadly divided into two categories:

(a) when there is no digital control over the nostrils. (b) When the thumb and two fingers of the right hand are used to regulate and control the flow of breath through the nose. This is called digitally controlled pranayama. Moreover, this pranayama is of two types: (i) Inhalation and exhalation are practised on both sides of the nostrils, partially closing them to learn to use pressure and balance on the thumb and fingers for an even flow of breath from both nostrils. (ii) Wherein one nostril is kept blocked with the fingertips, while the breath is made to flow from the thumb side and vice versa. For example, if the breath is drawn from the right side, the ring and little fingers should be made to close the left nostril without disturbing the position of the septum and vice versa. Care is taken that the breath should not flow in the blocked nostril.

In the first category (a) only the physical body is involved. The second (b) is a more advanced pranayama is which the passage of air is regulated manually with skill and subtlety and delicate control of the fingers.

• In ancient India, as in most of the older civilisations, the auspicious and ritual ceremonial were performed with the right hand. All left – handed actions and ceremonials were regarded as being sinister. Hence the left hand may only be used in pranayama if the right hand or arm is out of action.

• Yoga texts like gheranda samhita recommend the use of the thumb, ring and little fingers of the right hand on the nose without defining their correct placement. They stress that the fore and middle fingers are not to be used. If the force and middle fingers were used, the forearm and wrist would tilt and become heavy. Moreover, correct and accurate pressure could not be applied to the nostrils since the nose would pull the fingers down and accuracy in the performance of pranayama would be lost. Similarly keeping the force and middle fingers on the centre of the forehead or extended outwards would create varying pressures on the thumb, ring and little fingers, which in turn would create uneven curvature of the digits and irregular flow of breath.

• If the force and middle fingers are folded into the hollow of the palm, the thumb rests on the right side of the nose and the ring and title fingers on the left, while the wrist is placed centrally. This enables the thumb, ring and title fingers to move on either side smoothly and freely, while the palm is balanced evenly there as well. The nerves and muscles of the middle portion of the right forearm make it the crucial place for the digital control of the breath through the nostrils. From here the middle portion are regulated.

• When seated to practise digital or manual pranayama, see that the shoulders are level and parallel to the floor and that the chin rests in the notch between the collar-bones.

• Resting the left hand on the left knee, bend the right arm at the elbow without tightening the biceps, forearm or wrist and stability, skill and sensitivity are required for controlling the width of the nasal passages, but not strength or tension.

• Do not allow the fixed right hand to touch the chest. Do not close the armpits. Do not allow the arms to press upon the chest. Keep the shoulders down and the arms passive and light, except for the tips of the thumb, ring and little fingers.

• Flex and fold the tips of the fore and middle fingers into the hollow of the palm. This brings about the proper adjustment of the tips of the ring and little fingers against the tip of the thumb, creating space between the fingers and the thumb. This makes the palm soft.

• The individual width of the tips of the ring and little fingers are much less than that of the thumb. To equalise them curve the fingers to meet the thumb, join their tips, keeping space between the knuckles. If this is difficult, place a round object, such as a cork, about half an inch wide, between the knuckles. The fingers will then become accustomed to their new position. The centre of the thumb should lie opposite the joined tips of the two fingers. Normally the skin of the thumb tip is harder and thicker than that of the two fingertips. Press the thumb tip lightly against the tips of the ring and little fingers to make it soft.

• Raise the right wrist until the tips of the thumb and the ring and little fingers are opposite the nose. Keep the front of the wrist away from the chin, and bring the tips of the thumb and of the ring and little fingers horizontally against the nostrils.

• Between the nasal bone and the cartilage there are tiny inverted V shaped notches. The skin below the V-shaped notched of the nose is concave. The tips of the thumb and digits are convex in shape. Therefore, place the thumb and digits to rest there evenly. Keep the walls of the nasal passages parallel with the septum, using pressure from the top and bottom corners parallel with the septum, using pressure from the top and bottom corners of the thumb and of the fingertips throughout the practice of pranayama. Never keep the fingers on the nostrils, but gently rotate the tips on the root of the nose towards the nostrils to feel the passage of the breath. Partially close the passage of both nostrils to measure in them the even flow of breath. If the digits are not steady, the flow of breath becomes uneven, creating strain on the nervous system and heaviness in the brain cells. Fine adjustment of the digital tips is necessary to widen or narrow the nasal pasages from moment to moment according to the movement of breath and also to suit individual requirements. The widening or narrowing of the nasal passages by digital control may be compared to the fine adjustment of the aperture of the iris of a camera lens for correct exposure of a colour film. If the aperture adjustments is inaccurate, the result will not show correct rendering of colours. Similarly, if the apertures of the nasal passages are not manipulated with subtlety, the results of pranayama will be distorted. The correct adjustment of the nasal passages will control the flow of breath from the external, meansurable area of the nostrils to the immeasurable depth within.

• In digitally controlled pranayama thumb and apposing fingers of the right hand are manipulated like a pair of calipers. Control is by the tips of the thumb on the right nostril and those of the ring and little fingers on the left nostril. These three digits are those used for the practice of pranayama for the best results.

• Normally the skin of the nose is softer than that of the tips of the thumb and the fingers. The tips get further tensed when the fingers are placed on the nose. To reduce this tension, pull back the skin of the fingers of the right hand, from the tips to the knuckles, with the left hand. See that the skin of the nostrils and of and receptive. Then the in-and out- flow of breath moves smoothly, softly and in fine from over the membranes. This receptivity in the membranes helps the thumb and fingers to learn, feel, check, control and prolong the flow of breath as well as the duration of time. For the smooth and soft flow of the breath over the membranes, adjust the digits on the nasal skin delicately.

• The softer and more sensitive the skin of the fingertips, the more accurately can the breath be controlled. The passage in each nostril is widened or narrowed by very light sensitive pressure so as to regulate the flow of breath and the subtle forms of energy associated with it.

• Do not pinch or irritate the nose, nor move the position of the septum. This not only disturbs the flow of breath on the sides of the nose, but also makes the chin lean to the stronger side. Do not jerk the fingers or the thumb. They should be subtle and at the same time mobile enough to make the fine adjustments needed to broaden or narrow the nasal passages.

• Whenever dryness or irritation is felt on the membranes, lighten the finger pressure on them without losing the contact that makes the blood flow. This is keeps the skin of the nose and of the fingertips fresh, clean and sensitive. Sometimes, if it is sticky, one may have to pull the outer skin of the nose down with the left hand.

• See that the chin does not move to the right as you bring your hand up to your nostrils.

• Those using the right hand tend to lean the chin and head towards the right while changing the finger pressures from left to right. Those who use the left hand may lean them towards the left. Learn to keep the middle of the chin in line with the middle of the sternum.

• During inhalation the flow of air through the nasal membranes moves upwards, and in exhalation downwards. Unconsciously the digits follow the breath. Adjust and move the fingers against the currents of breath.

• In pranayama the breath enters the nose at the centre by the slides of the septum, gliding effortlessly over it and then moving down to the lungs. It leaves by the outside of the nostrils near the cheeks. Use the tip of the thumb and digits differently for inhalation and exhalation.

• Divide the tips into three portions, outer, middle and inner. During inhalation the outer fingertip is used to control the incoming breath, the middle to stabilise it and the inner to channel it into the bronchi.

• In inhalation the top part of the digital tip is pressed lightly to narrow the passage at the root of the nose. The digital manipulation required may be compared to diverting water from a reservoir to surrounding fields. Air acts as the reservoir and the fingertips as the sluice gates through which water passes into irrigation channels, the bronchi. The flow is controlled by the sluice gates, through which water passes into irrigation channels, the bronchi. The flow is controlled by the sluice gates, which break the force of the current and stabilise the level of water in the channel. The channels branch off into irrigation ditches to take the water into the fields for crops. The bronchi branch off into bronchioles to take the inhaled air into the furthermost corners of the alveoli.

• In exhalation, the inner digital tips are used for control, the middle for stabilising and breaking the force, and the outer for channeling the breath. In exhalation, there will be a choking sensation. Lighten the pressure of the inner tips of the digits and make the outer ones narrow and steady. This will smooth the outflow of breath. Exhalation may be likened to the flow of a river to the sea. The flow of breath from the alveoli is like the flow of water in the mountain streams that merge into rivulets, the bronchioles. The rivulates join the tributaries and finally a great river spreads into a delta to meet the sea. The air in the branchioloes flow into the bronchi and thence into the nasal cavity, the delta, to merge into the ocean of the atmosphere.

• If the sound of the breath is rough,or if the breathing is quick, it is because the nasal passages are too wide. The flow will become smoother if the passage be narrowed. If the flow is correct and even, soft vibration will be felt by the fingertips. Listen to the resonant sound of breath and refine it. If the sound is not resonant, but harsh, it is a sign that the fingertips are vertical to the nostrils. Adjust them at once to face the nostrils horizontally.

• Act with perfect understanding between the fingertips and the nasal membranes. Touch, balance and sustained pressure, by the fingertips tracing the flow of breath will alone lead to perfection in digital pranayama.

• As we gently take in the delicate frangrance of a flower, practise pranayama as if drawing in the fragrance of the air.

• If inhalation is longer than exhalation, it indicates that the nasal passages were more blocked during inhalation than exhalation. In order to increase the length of time for exhalation, gently lessen digital pressure during inhalation, but increase it for exhalation. If it is the other way, then vice-versa. After achieving equally in both over a period of time, narrow the nasal passages to make respiration deep and long as well as smooth and subtle. Too much or no digital pressure makes the fingertips intensitive. Correct sensitivity can be achieved only by training and experience.

• Measure the smoothness and length of time taken by the first inhalation and try to maintain it when you breath out. The first breath is always the guide. The same applies when you increase the duration and also throughout your pranayama practice, for rhythm and balance is the secret of yoga.

• We unconsciously breathe the prayer 'so ham': ' He (sah) the immortal spirit am I (Aham) in respiration'. Inhalation flows with the sound of 'Sah' and exhaalation with 'Aham'. Thus unconscious prayer is said without realising its meaning and feeling. When pranayama is practised, listen to this prayer with meaning and feeling when this realisation becomes nadanusandhana in which the sadhaka gets absorbed in the sound of his own breath. This enables him to receive the incoming breath as life's elixir and a blessing from the lord, and the outgoing breath as his surrender to him.

• Keep the eyes, jaws, cheeks and the skin around the temples soft and relaxed. Do not raise the eyebrows when inhalaing.

• Forceful in – and out- breathing fosters the ego. If the flow is smooth and almost inaudible to the sadhaka, he will be filled with humanity. This is the beginning of self-culture.

• If the bone in your nose has been broken or the septum is not straight, adjust the digits somewhat differently. Find the opening of the nasal passage near the bone and keep the fingertips on the skin just above the opening. If the bend or deviation is to the right, the middle tip of the thumb should be moved up with the nasal skin: if to the left, then move the tip of the ring finger with the nasal skin.

• The ala nasi are the fleshy curved parts at the tip of the nose which flare and dilate the nsotrils. Sometimes the skin there is very soft, with the result that the nostrils get blocked at the slightest pressure. If you feel this has happened to the right nostril, move the inner tip of the thumb up towards the root of the nose.

• If the nasal skin feels very dry, lift it with the fingertips and gently push it towards the septum as you breathe in. If the nostrils feel dry, ease the pressure on the nostrils. If the digital tips do not react to the flow of breath, stop practice for the day.

• Measure the extent and fineness of the breath at the start. When the volume or the length of breath begins to vary or when the outer nostrils become hard and rough, stop practice for the day.

• Never practise digital pranayama when you have a headache, or when worried, anxious or restless, nor when the nose is blocked or running, when you have a fever or immediately afterwards. At such times practise savasana, inhaling normally, exhaling slowly and deeply.

References

The above mentioned information is added from the book called LIGHT ON PRANAYAMA by B.K.S. IYENGAR.