The very word Kundalinī is not mentioned as such in western books or article titles before the 1970’s.
KUNDALINĪ1: [depending on how one is unfolding the words in Sanskrit kund to burn (Dixon p tbc); kunda to coil or to spiral or circular, winding (Mohan, p 13)] so-called because it is believed to lie like a serpent in the root chakra Mūlādhāra at the base of the spine2 coiled in a spiral shape3 [depicted either flattened out or 3 and ½ times4 around the Śiva Lingam source: Yogakuṇḍalinī5, Chapter I]. It is also encountered as kuṇḍalinī-shakti6. The unfolding and raising of the Kundalinī [metaphorically7] are the important works of an adept to master the forces of nature8 [ibid], since when sitting dormant, she is supporting the physical body while spiritual life is believed to be impeded [Campbell, 2000; Lochtefeld, 2001, Svoboda p 57]. It is metaphorically rendered in the Hindu stories of Krishna and his love for the Gopi-s [Svoboda pp 191ff] (manifested through a [platonic]-love agape αγάπη relationship between the student and his soul) and that of Raja (King) Rama and his companions in the Ramayana [the soul as the student King] [ibid p 237ff].
This process9 is the means toward the goal of yoga i.e. the transformation of the entire being of the individual [ibid]: this is the original, Vedantic view [Vishnuswaroop, 2017]. Starting from the base point, the upward linear movement of Kundalinī, unhindered from any external stimuli, is a symbolical reference to the straight line of development i.e. the principle of all development as such [Daniélou p 408] and it is a counteract to the cosmological evolution of matter as described in the Indian science of Sāṃkhya. Thus, she must be understood as a process, the vector of which is opposite to ahamkara [Svoboda pp 53ff] and considered metaphorically as the hidden, secret key provided by Puruṣa itself to involute toward the Divine10. Seemingly, Kundalinī, although manifested in the evolutionary scheme of Sāṃkhya, is fundamental [next to all of the terms the yoga novice is encountering through her / his journey e.g. chakras, nadis, prana, etc.] primarily in the dissolving process of the ego as described by Sāṃkhya, on which yoga is based [?].
The Yogakuṇḍalinī Upaniṣad does give directions for accessing the hidden serpent power but hardly describes the concept, which apparently, was something relatively known these days. It is a major part of the scripted works and teaching of Tantra [the possibility that she originates from different eras and cultures is still debatable], thus, given little attention by the Vedic scholar cultures11, the religious sects of which were trying to establish themselves as ultimate bearers of the only truth, more or less like every other religion that existed on this planet. Tantric texts are primarily symbolical – compared to the more abstract, mystical content of Vedic-era texts – and as such, they can be read using multiple keys [liturgical, yogic, tantric etc]. Considering that tantra’s goal is the transubstantiation of every [supposedly] concrete experience, the concept of Kundalinī through the yogic lense is breaking the texts’ down to the various stages of meditation they are referring to [Bharati p tbc]. The symbol of Kundalinī is the medium or tool [read: yantra] that helps the Sādhaka to indulge in the practice of deep meditation [by means of chakras etc] only after having grasped the inner reality and having it crystallized into his imagination [Jung et al p xxxix]; in that sense it is identical to the dual-polarized scheme of Patañjali [ibid] which is developed some centuries ago, against the teachings of the Vedas [tbc].
The description of Kundalinī in later texts and bibliography is a mixture of information in the threshold of new-age philosophies that seem to be expanding and going beyond what is found in the ancient texts [tbc]. Kundalinī is a psycho-spiritual energy, the energy of the consciousness12; a concentrated field of intelligent, cosmic, invisible energy, intrinsic and vital to life. Reputedly beginning in the base of the spine when a man or woman begins to evolve as wisdom/Presence is earned through spiritual surrender. Kundalinī has been described as liquid fire and liquid light [Dixon p tbc, sources are missing13] and is an aspect of Shakti, the divine female energy and consort of Śiva [source: Yogakuṇḍalinī Upaniṣad]; shakti is the power through which the ultimate pure consciousness Śiva evolves into mind and matter14 (according to both the Sāṁkya and the Yoga Darśana-s) [Mohan, 2000]. The ultimate outcome of Kundalinī is the union of Will15 (shakti-Kundalinī), Knowledge (prana-Kundalinī) and Action (para-Kundalinī)16 [Dixon p tbc]; thus, the yogi is regressing [or involuting17: Mohan 2000 p 18 schema] the natural flow of creation to unite the dual aspects of the cosmos back to the primal entity. The inner fire [i.e. agni] is the most potent of all forces, for it knows no limits and penetrates the fabric of space, matter and time [Dixon p tbc, possible ref: Svoboda p tbc] and despite fascinating and potent it tends to be equally dangerous and destructive.
There is a debate as to the function of Kundalinī in the body when tethered by means of yoga-meditation prāṇāyāma and mudrā18:
T Krishnamacharya was a strong believer of what the author of Yogayājñavalkya19 scripted i.e. that Kundalinī is blocking the entrance of the base of the suṣumṇā Nadi and thus, must be expelled, to allow prana to flow upward. This abides with the general conundrum that, in most cases Kundalinī is regarded as a blockage20, and specifically in Śaiva traditions [for which she was an integral part] she is represented as having blocked with her mouth the central canal, thus, the need to wake her up and move aside is needed21 [Birch 2020]; interestingly, this mode of thinking seems to coincide with the western science of the mind: around the same time that Krishnamacharya was teaching in India, C G Jung [1932] was unfolding the concept of Kundalinī in the west, right before the storm of the second world war, aided by universal symbolism and archetypal mythological imagery; [since it contradicts that original tantric view we might call this the modern version]. Note however that Jung’s effort to approach the Eastern system from a Western point of view is fundamentally faulty [as he himself acknowledging22 (Jung et al. pp 9, 13] later allowing the New Age movement to borrow and built upon this mode of thinking even further. The imagery of the snake symbol guarding [i.e. blocking] the ultimate treasure ["sacred spring of immortality"] that every human craves forms a patterned mythological story found among many religious and cultural including the Old Testament and the story of the Greek Argonauts or the Tree of Life [Eliade 1957 p164ff].
On the opposite spectrum Kundalinī is alias from prāṇa: it stands as a representation of our evolutionary brain circuit described equally with scientific terms. She is normally pinned-down on the base of the spine due to 1 gravitation and 2 our own evolutionary history i.e. the evolution of humanoids from protocell organisms [to then, fish… etc also rendered as stages sealed with a chakra] [Maehle 2021].
It seems that many authors of that era approached all these techniques with caution and informed their audience about their dark aspects, as we have seen by comparison of other texts that refer to similar yogic practices such as prāṇāyāma etc. The general idea was that practice required great vitality and that it took a long time to bear fruit. Yoga was a fire that would eventually consume the yogi [Remski 2018]. Gopi Krishna is famous for having multiple negative experiences from the awakening of the serpent power and C G Jung was also equally concerned with the impediments of a westerner undertaking and delving into the Kundalinī transformative path, without however abolishing the meaning and effects inherent to her presence as archetypal metastory23.
"Raising Kundalini can be utilized for (1) creativity (2) increase of intellect and (3) memory (4) achievements in the fields of arts and (5) science, (6) mystical states and revelations. [...] it can further be abused (7) for the satisfaction of one's egotism" [Maehle 2022].
Aliases:
Vidyut lata i.e. the lightning creeper [Svoboda p 61]
The ego (not the Freudian or western notion) [Svoboda p 60]
Kundalinī-shakti (as individualized Adya) [Svoboda p 59]
Chit-shakti (as opposing Maya-shakti: Ahamkara I-ness) [Svoboda p 53]
Ma or God the Mother alias of Shakti [Svoboda p 56]
The Goddess with a Kundala [Svoboda p 63]
Kubjikā i.e. the Hunchback [ibid]
Whore or Harlot [colloquial: specific to the Naths, Svoboda p 75, 85]
Savioress [sic] Herself, in Liquid Form [Woodroffe p tbc]
Prana-Kundalinī (Knowledge) [Dixon p tbc]
Para-Kundalinī (Action) [Dixon p tbc]
Kula-Kundalinī [Svoboda]: the purest or Her Forms; usually encountered in Ajna Chakra
1 The root of the word is kundala i.e. coiled rope [Lochtefeld, 2001] or earring [Svoboda 1993 p 210]: there is a connection between the earring (i.e. the pierced ear) and kundalinī; the ear is full of important nadis, which is why the Chinese have gone in for ear acupuncture in such a big way. Nath sadhus aka Kan-Phatas (Pierced-Ears) are expected to be celibate, and one reason why they pierce their ears is because when you pierce the earlobe in just the right place (if not, it will cause serious implications) you can prevent hydrocele, which may become a complication of celibacy. The earring should remain there for the rest of their lives and if it breaks the sadhu should immediately commit suicide.
2 Visual references for this claim are provided tbc: note dates of the images and all relevant info.
3 Dixon is apparently not referring to the image rendered in the Yogakuṇḍalinī Upaniṣad i.e. the Uroboros. However, there are artistic references tbc to this idea found only in paintings but also in sculpture in different places and cultures: There is in the Musee Guimet, in Paris, from China of the Chou Dynasty, c. 1027-256 BC, a coiled bronze serpent, showing just three and a half turns, which to me at least, very strongly suggests the Kundalinī in the Mūlādhāra [Kieffer, 1988 p 14]; possibly the spiral artistic depiction was the closer rendering to something being coiled.
4 The three refers to the three guṇas and the one-half to the cobra’s mouth, the seat of the ego: it is one half because ego is Shakti, which is only half Śiva, the Shaktiman or controller of Shakti [Svoboda p 69]. They are also representing the three and a half letters of the word OṂ: A, U, M and anusvāra (nasalization) at the end (excluding the bindu: orthographic dot over the anusvāra [ibid p 78].
5 The title Yoga-Kundalinī Upanishad literally means the secret doctrine of Kundalinī yoga [Lochtefeld, 2001]; the term yoga can be derived from either of two roots, 1 yujir yoga (to yoke i.e. join) or 2 yuj samādhau (to concentrate or to stay, to be absorbed) [Dasgupta, 1975 p 226]; the first root implies movement and the second root stay; In some texts, Yoga is defined as a means (or movement) and in other texts it is defined as the end (or staying) [Mohan, 2000] which presents as with the paradox of action and in-action at the same time.
6 The word is of feminine gender and connotes the Mother Goddess and Her power, Shakti [Mohan p 13]; in that context Kundalinī is an individualized version of Adya [creative power], the original Shakti of the Universe [Svoboda p 59].
7 The symbol of the snake is commonly linked with transcendence, because it was traditionally a creature of the underworld — and thus was a mediator between one way of life and another [Jung et al pp 152(149)].
8 This is metaphorically [or mythologically] represented as the re-union of Śiva and Shakti, and the creation of the eternal form of Śiva, Sadashiva [Svoboda p 69].
9 but not the one and only way to (spiritual) liberation.
10 i.e. reversing the outward projection of energy that led to incarnation [Svoboda p 57]; one of the most common ways to access that key and its possibilities is by means of sadhana: Sadhana is a matter of preventing Kundalinī from identifying with a limited human personality so that She can identify with a cosmic personality [ibid p 120] and this where visualisation comes strongly into play, assisted by mantra repetition [image and sound are fundamentally bound in Tantric traditions just like in the Judea-Christian and many others]; both of which are reinforcing your new cosmic image.
11 Tantra [esp. the left-hand practices] being a more extroverted, physical and pleasure-seeking philosophy i.e. The sects that followed left-handed tantric practices worshipped the womb of women externally, and also indulged in meat eating, drinking alcohol, and sexual practices for realization, worshipping the Divine Kundalinī as a mother Goddess called Tantropasana [notice the intermingling with the word āsana here tbc]; however, this should be read next to the fact that materialistic philosophies were pre-existing in the time of the Vedas [Mohan pp 15-16]. I can understand that simply as another manifestation of a similar approach to life that did its cycle and re-manifested later; similar to the course of many other philosophies that have sprung around the globe.
12 i.e. consciousness in eastern terminology and not according to the western idea.
13 This is a possible ref to the external sacrificial vedic practices, including consumption of drink made of the soma plant; aka “the Savioress [sic] Herself in Liquid Form” [Woodroffe p tbc] tantric traditions substituted the extracted liquid of soma with wine or other intoxicants that were previously liturgically cleansed through intense sadhana techniques [Svoboda 1993 p 123].
14 This is the process of evolution in cosmology and biology that begins with the breaking of the monad into the dual; tbc
15 […] it is the highest possible expression of one’s will-power [Svoboda p 60].
16 The union of Will and Action is [also?] an Alchemical Idea; it is very deliberately described in the book a Vision [1925] by W B Yeats [tbc pp 72ff], a rather mystical and hard-to-decipher text with many metaphors and symbolic language: the symbolism that Yeats is using to refer to this union is the opposite triangles also found in the eastern representation of the heart chakra Anāhata. Dixon seems to be open to alchemical interpretations and symbolism, [such as the concept of agni as purifying power: Mohan 2000] in the book as well. The crossing of the two triangles is also the yantra of the union of Śiva and (Kundalinī) Shakti [also for Prana and Apana]; thus, a connection must be made [tbc]. Yogic techniques are also found to be metaphorically referred to or referenced as alchemical processes [e.g. Kumbhaka the alchemical pot source: The Luminescent 2020 the Yogic Breath, on-line webinar].
17 The basic principle in all forms of contemplation and meditation in Kuṇḍalinī yoga is that the energies should involute back to the primal source. The grosser elements of the subtle body should dissolve in the subtle elements; each class of bhutas (gross elements) is dissolved into the next class of tattvas in the ascending order (subtle elements) [see Sāṃkhya diagram]. Śiva Saṁhitā [1. 78] explains: the earth [Mūlādhāra] becomes subtle and dissolves into water [Svādhiṣṭhāna]; water is resolved into fire [Maṇipūra]’ fire similarly merges into air [Anāhata]; air is absorbed into ether [Viśuddha]; and ether is resolved into avidyā, which merges into great Brahman [Sahasrāra] [Khanna, 1981 p 123].
18 Mudrā [metaph. eating grain] in this context is the holding of the body in a certain posture to encourage free movement of Kundalinī within it [Svoboda p 96].
19 the book dispels much of the aura of mystery surrounding the concept of Kundalinī, by explaining it logically and relating it to other terms and concepts in Vedic thought, such as Agni, Prana, the nadis, and so on [Mohan, 2000 p 2].
20 ref P Jois: in Sanskrit Kundalinī means ignorance, you will release your ignorance through the practice you are learning; the author analyzed this statement as follows: ignorance is a cause of stress. Yoga practice releases and transmutes the bound-up tension from stress. This is the alchemy of yoga, releasing Kundalinī and increasing prana, converting negative energy to healing energy [Williams, D. My Search for Yoga, 2020]; A G Mohan also refers to Kundalinī as a representative of ignorance that is blocking the main Nadi [sushumna] guarding the door of the Divine [2000, pp 13(18)ff].
21 More on this subject: other forms of yoga such as Iyengar, hardly ever make mention of her at all; it mostly depends on tradition and how they perceived liberation and despite the fact that most teachings deviate from the means of achievement, they generally agree to the fact that prana should be raised across the spinal canal Sushumna with samadhi ensuing when it reaches the top of the head [ibid].
22 There are many different kinds of yoga and Europeans often become hypnotized by it, but it is essentially Eastern, no European has the necessary patience and it is not right for him. The more we study yoga, the more we realize how far it is from us; a European can only imitate it and what he acquires by this is of no real interest. For Jung, the danger was one of mimetic madness: the European who practices yoga does not know what he is doing. It has a bad effect upon him, sooner or later he gets afraid and sometimes it even leads him over the edge of madness. This led him to conclude that in the course of the centuries the West will produce its own yoga and it will be on the basis laid down by Christianity [Jung, Yoga and the West, in Collected Works, vol. 11, §876]. In his account of spontaneous Kundalinī experiences in the West Lee Sannella also highlighted a notable divergence from the Eastern depictions, i.e. by contrast, the clinical picture [in the west] is that the Kundalinī energy travels up the legs and the back to the top of the head, then down the face, through the throat, to a terminal point in the abdominal area [ibid The Visions Seminar, vol. 7, 30–31].
