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This article presents the Four Testaments of the Vidy\u0101dharas, essential teachings from the early masters of Dzogchen.<\/p>\n
[\/et_pb_blurb][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Feature 14″ _builder_version=”4.16″ min_height=”695px” custom_margin=”-1px|||||” custom_padding=”0px||49px|||” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ use_custom_gutter=”on” gutter_width=”2″ make_equal=”on” _builder_version=”4.16″ custom_margin=”|auto|-17px|auto||” custom_padding=”0px||0px|||” global_colors_info=”{}”][et_pb_column type=”2_3″ module_class=”column1″ _builder_version=”4.16″ custom_padding=”|||” custom_padding_tablet=”||50px|” custom_padding_phone=”” custom_padding_last_edited=”on|tablet” global_colors_info=”{}” padding_tablet=”||50px|” padding_last_edited=”on|tablet” custom_padding__hover=”|||” padding_phone=”||50px|”][et_pb_text quote_border_weight=”0px” quote_border_color=”rgba(0,0,0,0)” module_id=”up1″ _builder_version=”4.27.4″ text_font=”Montserrat||||||||” text_font_size=”18px” text_line_height=”1.8em” link_font=”Montserrat|700||||||#BF9E77|” link_text_color=”#BF9E77″ link_font_size=”18px” link_line_height=”1.8em” quote_font=”Cormorant Garamond|700|||||||” quote_text_color=”#13204d” quote_line_height=”1.3em” header_font=”|700|||||||” header_2_font=”Quattrocento Sans|700|||||||” header_2_text_color=”#13204d” header_2_line_height=”1.6em” header_3_font=”|700|||||||” header_3_text_color=”#000000″ header_4_letter_spacing=”12px” header_5_font=”|300|||||||” header_5_text_color=”#bfbfbf” header_5_letter_spacing=”12px” header_6_font=”|700|||||||” header_6_letter_spacing=”12px” module_alignment=”left” min_height=”905.7px” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”29px||29px||true|” hover_enabled=”0″ quote_font_size_tablet=”” quote_font_size_phone=”” quote_font_size_last_edited=”on|desktop” saved_tabs=”all” locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
The ancient lineage<\/p>\n
<\/p>\n
These are the essential and \u201cposthumous\u201d teachings of the first four Dzogchen masters. Although these texts are found in the man ngag sde<\/em> collections, their traditional presentation makes them the final teachings of the most ancient practitioners, and attributes them to Vimalamitra [2]<\/strong><\/a>. Their presentation is essential to the Dzogchen View.<\/p>\n These therefore include first and foremost the Three Aphorisms<\/em><\/a> that Garab Dorj\u00e9<\/a> transmitted to Ma\u00f1ju\u015br\u012bmitra. According to the Lo rgyus chen mo \u00a0[3]<\/strong><\/a>,\u00a0Ma\u00f1ju\u015br\u012bmitra then divided the three aphorisms into three series:<\/p>\n He wrote them down and hid them under a rock shaped like a double vajra<\/em>. In the middle of a mass grave, surrounded by countless d\u0101kin\u012bs<\/em> and frightening creatures, he remained in contemplation in a state of equanimity for 109 years, according to the text. Ma\u00f1ju\u015br\u012bmitra disappeared like his master, in a sphere of rainbow light. In turn, he left his last testament to his main disciple \u015ar\u012b Si\u1e43ha (Shri Singha<\/a>; Tib.: Dpal gyi seng ge), entitled the \u201c*Six Experiences of Meditation<\/a>\u201d* (Sgom nyams drug pa<\/em>). When \u015ar\u012b Si\u1e43ha manifested his body of light, he in turn entrusted his testament known as the \u201cSeven Nails<\/em>\u201d (Tib.: Gzer bu bdun pa) [4]<\/strong><\/a> to J\u00f1anas\u016btra<\/a> (Tib.: Ye shes mdo<\/em>), . He also left this world by disappearing into a sphere of light, leaving to his disciple Vimalamitra his own testament, the \u201c*Four Contemplative Methods<\/a>\u201d*, or Four Ways of Abiding<\/em> (Tib.: Bzhag thabs bzhi pa<\/em>).<\/p>\n <\/p>\n <\/p>\n \u00a0\u201cAccording to the tradition, these oldest transmissions are immediate and contain the full depth and richness of the countless Dzogchen lineages that have flowed from them ever since\u2014right up to the present day.\u201d<\/span>\u00a0<\/span><\/p>\n<\/blockquote>\n [\/et_pb_text][et_pb_image src=”https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Sri-Singha.jpg” alt=”dzogchentoday-The Four Testaments of the Vidy\u0101dharas” title_text=”dzogchentoday-The Four Testaments of the Vidy\u0101dharas” align=”center” _builder_version=”4.27.4″ _module_preset=”default” width=”51.2%” module_alignment=”center” custom_margin=”|265px||||” custom_padding=”|66px||||” box_shadow_style=”preset2″ global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”|123px||||” global_colors_info=”{}”]<\/p>\n \u015ar\u012b Si\u1e43ha<\/p>\n [\/et_pb_text][et_pb_text quote_border_weight=”0px” quote_border_color=”rgba(0,0,0,0)” module_id=”up2″ _builder_version=”4.27.4″ text_font=”Montserrat||||||||” text_font_size=”18px” text_line_height=”1.8em” link_font=”Montserrat|700||||||#000000|” link_text_color=”#BF9E77″ link_font_size=”18px” link_line_height=”1.8em” quote_font=”Cormorant Garamond|700|||||||” quote_text_color=”#13204d” quote_line_height=”1.3em” header_font=”|700|||||||” header_2_font=”Quattrocento Sans|700|||||||” header_2_text_color=”#13204d” header_2_line_height=”1.6em” header_3_font=”|700|||||||” header_3_text_color=”#000000″ header_4_letter_spacing=”12px” header_5_font=”|300|||||||” header_5_text_color=”#bfbfbf” header_5_letter_spacing=”12px” header_6_font=”|700|||||||” header_6_letter_spacing=”12px” module_alignment=”left” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”29px|||||” hover_enabled=”0″ quote_font_size_tablet=”” quote_font_size_phone=”” quote_font_size_last_edited=”on|desktop” saved_tabs=”all” locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n <\/p>\n After Garab Dorj\u00e9’s first testament, the Three Aphorisms<\/em>, Ma\u00f1ju\u015br\u012bmitra passed on the second, the Six Meditative Experiences<\/em> (Sgom nyams drug pa<\/em>) [5]<\/strong><\/a>,<\/strong> to \u015ar\u012b Si\u1e43ha. Dealing directly with contemplative practice, the essence of these six points can be summarised as follows:<\/p>\n “O son of noble family, if you wish to experience the continuity of naked primordial awareness:<\/p>\n Of course, this type of text requires oral transmission from a qualified master of an authentic lineage in order to be put into practice. Without explanation and commentary, it remains relatively obscure, as we can see from reading it.<\/p>\n <\/p>\n <\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Jnanasutra.jpg” alt=”dzogchentoday-The Four Testaments of the Vidy\u0101dharas” title_text=”dzogchentoday-The Four Testaments of the Vidy\u0101dharas” align=”center” _builder_version=”4.27.4″ _module_preset=”default” width=”51.2%” module_alignment=”center” custom_margin=”|265px||||” custom_padding=”|119px||||” box_shadow_style=”preset2″ global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”|123px||||” global_colors_info=”{}”]<\/p>\n Jnanasutra<\/p>\n [\/et_pb_text][et_pb_text quote_border_weight=”0px” quote_border_color=”rgba(0,0,0,0)” module_id=”up3″ _builder_version=”4.27.4″ text_font=”Montserrat||||||||” text_font_size=”18px” text_line_height=”1.8em” link_font=”Montserrat|700||||||#000000|” link_text_color=”#BF9E77″ link_font_size=”18px” link_line_height=”1.8em” quote_font=”Cormorant Garamond|700|||||||” quote_text_color=”#13204d” quote_line_height=”1.3em” header_font=”|700|||||||” header_2_font=”Quattrocento Sans|700|||||||” header_2_text_color=”#13204d” header_2_line_height=”1.6em” header_3_font=”|700|||||||” header_3_text_color=”#000000″ header_4_letter_spacing=”12px” header_5_font=”|300|||||||” header_5_text_color=”#bfbfbf” header_5_letter_spacing=”12px” header_6_font=”|700|||||||” header_6_letter_spacing=”12px” module_alignment=”left” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”29px|||||” hover_enabled=”0″ quote_font_size_tablet=”” quote_font_size_phone=”” quote_font_size_last_edited=”on|desktop” saved_tabs=”all” locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n The following testament is that of \u015ar\u012b Si\u1e43ha, and was transmitted to J\u00f1\u0101nas\u016btra. Once again, the focus is more on the View than the \u201cpractice\u201d itself. The Seven Nails<\/em> (Gzer bu bdun pa<\/em>) [7]<\/strong><\/a>\u00a0are as follows:<\/p>\n In the full text, the meaning of the initial presentation is clarified by seven metaphors that reinforce the seven nails. The text’s fundamental intention is clear: to aim beyond all duality. It is a matter of \u201cnailing together\u201d what we have become accustomed to separating and discriminating as being different. This involves going beyond false views (Tib.: log lta<\/em>)\u2014including those of the two extremes (Tib.: mtha<\/em>‘ gnyis<\/em>), mentioned in the fourth nail\u2014in order to arrive at a correct, authentic, and therefore non-dual view.<\/p>\n <\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Vimalamitra.jpg” alt=”dzogchentoday-The Four Testaments of the Vidy\u0101dharas” title_text=”The Four Testaments of the Vidy\u0101dharas” align=”center” _builder_version=”4.27.4″ _module_preset=”default” width=”51.2%” module_alignment=”center” custom_margin=”|265px||||” custom_padding=”|119px||||” box_shadow_style=”preset2″ global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”|123px||||” global_colors_info=”{}”]<\/p>\n Vimalamitra<\/p>\n [\/et_pb_text][et_pb_text quote_border_weight=”0px” quote_border_color=”rgba(0,0,0,0)” module_id=”up4″ _builder_version=”4.27.4″ text_font=”Montserrat||||||||” text_font_size=”18px” text_line_height=”1.8em” link_font=”Montserrat|700||||||#000000|” link_text_color=”#BF9E77″ link_font_size=”18px” link_line_height=”1.8em” quote_font=”Cormorant Garamond|700|||||||” quote_text_color=”#13204d” quote_line_height=”1.3em” header_font=”|700|||||||” header_2_font=”Quattrocento Sans|700|||||||” header_2_text_color=”#13204d” header_2_line_height=”1.6em” header_3_font=”|700|||||||” header_3_text_color=”#000000″ header_4_letter_spacing=”12px” header_5_font=”|300|||||||” header_5_text_color=”#bfbfbf” header_5_letter_spacing=”12px” header_6_font=”|700|||||||” header_6_letter_spacing=”12px” module_alignment=”left” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”29px|||||” hover_enabled=”0″ quote_font_size_tablet=”” quote_font_size_phone=”” quote_font_size_last_edited=”on|desktop” saved_tabs=”all” locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n Finally, the fourth and last testament is transmitted by J\u00f1anas\u016btra<\/a> to Vimalamitra. It is entitled *The Four Means of Abiding (*or Ways<\/em>, Methods)<\/em> (in Contemplation) (Tib.: bzhag thabs bzhi pa<\/em>) [10]<\/strong><\/a>. Here is an excerpt:<\/p>\n “How wonderful! If you practice this continuously, joy will arise naturally. Listen! If you wish to attain the state of continuous contemplation (Tib.: ting nge ‘dzin<\/em>) of great equality, practice abiding without distraction, day and night, in reality as it is (Tib.: de nyid<\/em>):<\/p>\n Thus was stated the last of the four testaments of the Vidy\u0101dharas, which allowed for the direct and complete transmission of the essence of Dzogchen. According to the tradition, these oldest transmissions are immediate and contain the full depth and richness of the countless Dzogchen lineages that have flowed from them ever since\u2014right up to the present day. The fact that transmission subsequently became mostly \u201cgradual\u201d (as with the four initiations of the Vajray\u0101na<\/em>) does not prevent the continuity of the immediate transmission of the Vidy\u0101dharas<\/em>, still today\u2014and perhaps tomorrow.<\/p>\n [\/et_pb_text][et_pb_divider color=”#FFD62F” divider_position=”center” divider_weight=”3px” _builder_version=”4.27.4″ _module_preset=”default” module_alignment=”left” global_colors_info=”{}”][\/et_pb_divider][et_pb_text quote_border_weight=”0px” quote_border_color=”rgba(0,0,0,0)” module_id=”down” _builder_version=”4.27.4″ text_font=”Montserrat||||||||” text_font_size=”18px” text_line_height=”1.8em” link_font=”Montserrat|700||||||#000000|” link_text_color=”#BF9E77″ link_font_size=”18px” link_line_height=”1.8em” quote_font=”Cormorant Garamond|700|||||||” quote_text_color=”#13204d” quote_line_height=”1.3em” header_font=”|700|||||||” header_2_font=”Quattrocento Sans|700|||||||” header_2_text_color=”#13204d” header_2_line_height=”1.6em” header_3_font=”|700|||||||” header_3_text_color=”#000000″ header_4_letter_spacing=”12px” header_5_font=”|300|||||||” header_5_text_color=”#bfbfbf” header_5_letter_spacing=”12px” header_6_font=”|700|||||||” header_6_letter_spacing=”12px” module_alignment=”left” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding=”29px|||||” hover_enabled=”0″ quote_font_size_tablet=”” quote_font_size_phone=”” quote_font_size_last_edited=”on|desktop” saved_tabs=”all” locked=”off” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n [1]<\/strong> Or the Four Posthumous Teachings<\/em> (or last words) of the vidya\u0304dharas (rig ‘dzin gyi ‘das rjes bzhi<\/em>).\u00a0 \u00a0 \u00a0BACK<\/a><\/strong><\/p>\n [2] <\/strong>These texts can be found in the Bi ma snying thig<\/em>, in the Golden Letters\u2019 section (gser<\/em> yig<\/em> can<\/em><\/a>). They are said to have been compiled by Vimalamitra in the 8th century. Historical criticism dates them much later, namely after the 11th century at least. The versions available today also owe much to the compilation work of Klong chen pa. The critical editing of these short texts and their precise dating and transmission therefore remains to be done. Jean-Luc Achard has provided a French translation in Les testaments de Vajradhara et des porteurs-de-science<\/em> (The Testaments of Vajradhara and the Bearers of Science), Paris, Les Deux Oc\u00e9ans, 1995.\u00a0\u00a0BACK<\/strong><\/a><\/p>\n [3]\u00a0<\/strong>Snying thig ya bzhi<\/em>, vol. 9, Trulku Tsewang, Jamyang and L. Trashi (eds.), New Delhi, 1971. A partial translation can be found in Jim Valby, The Great History of Garab Dorj\u00e9, Manjushrimitra, Shrisingha, Jnanasutra and Vimalamitra<\/em>, Arcidosso, ed. Shang Shung, 2002.\u00a0\u00a0 \u00a0 \u00a0BACK<\/strong><\/a><\/p>\n [4]\u00a0<\/strong>On this subject, see the interesting article by Georgios T. Halkias, “\u015ar\u012b Si\u1e43ha’s Ultimate Upade\u015ba<\/em>. Seven Nails that Strike the Essence of Awakening,” in Illuminating the Dharma: Buddhist Studies in Honour of Venerable Professor KL Dhammajoti<\/em>, Toshiichi Endo (ed.), Centre of Buddhist Studies, University of Hong Kong, 2021, p. 181-194.\u00a0\u00a0 \u00a0\u00a0BACK<\/strong><\/a><\/p>\n [5]<\/strong> According to the version found in \u2018Jam mgon kong sprul blo gros mtha\u2019 yas<\/a>, \u201c’Jam dpal bshes gnyen gyi zhal chems sgom nyams drug pa,\u201d in Gdams ngag rin po che’i mdzod<\/em>, 18 vols., Delhi, Shechen Pub., 1999, vol. 2, p. 9-11 (folios 5a3-6a6). \u00a0 \u00a0 BACK<\/a><\/strong><\/p>\n [6]<\/strong> This concerns the six objects of consciousness (Tib.: yul drug<\/em>): forms (Tib.: gzugs<\/em>), objects of the visual sense; sounds (Tib.: sgra<\/em>), objects of the auditory sense; smells (Tib.: dri<\/em>), objects of the olfactory sense; tastes (Tib.: ro<\/em>), objects of the sense of taste; contacts (Tib.: reg<\/em>), objects of the sense of touch; and phenomena (Tib.: chos<\/em>), objects of consciousness. \u00a0 BACK<\/strong><\/a><\/p>\n [7]<\/strong> \u201cShrI siM ha’i zhal chems gzer bu bdun pa<\/em>,\u201d in Snying thig ya bzhi<\/em>, 13 vols., Delhi, Sherab Gyaltsen Lama, 1975, vol. 3, p. 318-324; see also the version \u201cShrI siM ha’i zhal chems gzer bu bdun pa<\/em>,\u201d in \u2018Jam mgon kong sprul blo gros mtha\u2019 yas, Gdams ngag mdzod<\/em>, Bkra shis dpal ‘byor (ed.), 18 vols., Paro, Lama Ngodrup and Sherab Drimey, 1979-1981 (BDRC W20877), vol. 2, pp. 11-13. \u00a0 BACK<\/strong><\/a><\/p>\n [8]\u00a0<\/strong>\u201cDepression and ecstasy\u201d is suggested by Mila Khyentse Rinpoche, in a more \u201ccontemporary\u201d manner.\u00a0\u00a0 \u00a0\u00a0BACK<\/strong><\/a><\/p>\n [9]<\/strong> French translation modified from a version by Mila Khyentse Rinpoche; Another english translation can be found in Georgios T. Halkias, \u201cThe Seven Nails: S\u0301ri\u0304 Sim\u0323ha’s Ultimate Upades\u0301a,\u201d p. 187-188: “[1] Strike the interval between sam\u0323sa\u0304ra and nirva\u0304n\u0323a with the nail of primordial wisdom\u2019s unobstructed luminosity. [2] Strike the juncture between knower and its object with the nail of self-arising light. [3] Strike the duality between mind and matter with the nail of self-purified essence. [4] Strike the division between affirmation and negation with the nail of [gaining] utmost freedom from views. [5] Strike the juncture between subjects [phenomena] and their nature with the nail of intrinsic awareness of the dharmata\u0304<\/em>. [6] Strike the interval between dullness and agitation with the nail of the five sense doors [resting] in utter relaxation. [7] Strike the distinction between appearance and emptiness with the nail of the primordially perfected dharmaka\u0304ya. ” \u00a0 \u00a0BACK<\/strong><\/a><\/p>\n\n
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