{"id":65901,"date":"2025-11-26T08:00:34","date_gmt":"2025-11-26T07:00:34","guid":{"rendered":"https:\/\/dzogchentoday.org\/?p=65901"},"modified":"2026-01-20T19:11:02","modified_gmt":"2026-01-20T18:11:02","slug":"les-quatre-testaments-des-vidyadharas","status":"publish","type":"post","link":"https:\/\/dzogchentoday.org\/fr\/les-quatre-testaments-des-vidyadharas\/","title":{"rendered":"Les Quatre testaments des vidya\u0304dharas"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.16&#8243; background_color_gradient_direction=&#8221;75deg&#8221; background_image=&#8221;https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2021\/07\/concreteBackground.png&#8221; height=&#8221;250px&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;0px||0px||true|false&#8221; locked=&#8221;on&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.16&#8243; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; 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alt=&#8221;dzogchentoday-gregoire&#8221; icon_placement=&#8221;left&#8221; image_icon_width=&#8221;33px&#8221; _builder_version=&#8221;4.27.4&#8243; _dynamic_attributes=&#8221;title,content&#8221; header_font=&#8221;|700|||||||&#8221; header_font_size=&#8221;20px&#8221; custom_margin=&#8221;||-2px|||&#8221; header_font_size_tablet=&#8221;&#8221; header_font_size_phone=&#8221;18px&#8221; header_font_size_last_edited=&#8221;on|phone&#8221; icon_font_size=&#8221;33px&#8221; global_colors_info=&#8221;{}&#8221; icon_color__hover_enabled=&#8221;on|desktop&#8221; icon_color__hover=&#8221;#13204d&#8221;]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9hdXRob3JfYmlvIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJlbmFibGVfaHRtbCI6Im9mZiJ9fQ==@[\/et_pb_blurb][\/et_pb_column][et_pb_column type=&#8221;1_2&#8243; module_class=&#8221;column2&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_blurb title=&#8221;@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9jYXRlZ29yaWVzIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJsaW5rX3RvX3Rlcm1fcGFnZSI6Im9uIiwic2VwYXJhdG9yIjoiIHwgIiwiY2F0ZWdvcnlfdHlwZSI6ImNhdGVnb3J5IiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@&#8221; use_icon=&#8221;on&#8221; font_icon=&#8221;&#xe08c;||divi||400&#8243; icon_color=&#8221;#e2e2e2&#8243; icon_placement=&#8221;left&#8221; image_icon_width=&#8221;33px&#8221; _builder_version=&#8221;4.27.4&#8243; _dynamic_attributes=&#8221;title&#8221; header_font=&#8221;|700|||||||&#8221; header_font_size=&#8221;20px&#8221; body_text_color=&#8221;#967b5d&#8221; custom_margin=&#8221;||0px|&#8221; custom_padding=&#8221;||26px|||&#8221; header_font_size_tablet=&#8221;&#8221; header_font_size_phone=&#8221;18px&#8221; header_font_size_last_edited=&#8221;on|phone&#8221; icon_font_size=&#8221;33px&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; icon_color__hover=&#8221;#13204d&#8221; icon_color__hover_enabled=&#8221;on&#8221;]<\/p>\n<p>Cet article pr\u00e9sente les <em>Quatre testaments des vidya\u0304dharas<\/em>, <em>e<\/em>nseignements essentiels des premiers ma\u00eetres du Dzogch\u00e8n.<\/p>\n<p>[\/et_pb_blurb][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;Feature 14&#8243; _builder_version=&#8221;4.16&#8243; min_height=&#8221;695px&#8221; custom_margin=&#8221;-1px|||||&#8221; custom_padding=&#8221;0px||49px|||&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;2_3,1_3&#8243; use_custom_gutter=&#8221;on&#8221; gutter_width=&#8221;2&#8243; make_equal=&#8221;on&#8221; _builder_version=&#8221;4.16&#8243; custom_margin=&#8221;|auto|-17px|auto||&#8221; custom_padding=&#8221;0px||0px|||&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;2_3&#8243; module_class=&#8221;column1&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; custom_padding_tablet=&#8221;||50px|&#8221; custom_padding_phone=&#8221;&#8221; custom_padding_last_edited=&#8221;on|tablet&#8221; global_colors_info=&#8221;{}&#8221; padding_tablet=&#8221;||50px|&#8221; padding_last_edited=&#8221;on|tablet&#8221; custom_padding__hover=&#8221;|||&#8221; padding_phone=&#8221;||50px|&#8221;][et_pb_text quote_border_weight=&#8221;0px&#8221; quote_border_color=&#8221;rgba(0,0,0,0)&#8221; module_id=&#8221;up1&#8243; _builder_version=&#8221;4.27.4&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_font_size=&#8221;18px&#8221; text_line_height=&#8221;1.8em&#8221; link_font=&#8221;Montserrat|700||||||#BF9E77|&#8221; link_text_color=&#8221;#BF9E77&#8243; link_font_size=&#8221;18px&#8221; link_line_height=&#8221;1.8em&#8221; quote_font=&#8221;Cormorant Garamond|700|||||||&#8221; quote_text_color=&#8221;#13204d&#8221; quote_line_height=&#8221;1.3em&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;Quattrocento Sans|700|||||||&#8221; header_2_text_color=&#8221;#13204d&#8221; header_2_line_height=&#8221;1.6em&#8221; header_3_font=&#8221;|700|||||||&#8221; header_3_text_color=&#8221;#000000&#8243; header_4_letter_spacing=&#8221;12px&#8221; header_5_font=&#8221;|300|||||||&#8221; header_5_text_color=&#8221;#bfbfbf&#8221; header_5_letter_spacing=&#8221;12px&#8221; header_6_font=&#8221;|700|||||||&#8221; header_6_letter_spacing=&#8221;12px&#8221; module_alignment=&#8221;left&#8221; min_height=&#8221;905.7px&#8221; custom_margin_tablet=&#8221;&#8221; custom_margin_phone=&#8221;&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;29px||29px||true|&#8221; hover_enabled=&#8221;0&#8243; quote_font_size_tablet=&#8221;&#8221; quote_font_size_phone=&#8221;&#8221; quote_font_size_last_edited=&#8221;on|desktop&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<h5>S\u00e9rie : La lign\u00e9e<\/h5>\n<p>La lign\u00e9e ancienne<\/p>\n<h2>Les Quatre testaments des vidya\u0304dharas (Rig &#8216;dzin gyi zhal chems bzhi) <a href=\"#down\"><strong>[1]<\/strong><\/a><\/h2>\n<p>&nbsp;<\/p>\n<p>Ce sont les enseignements essentiels et \u201cposthumes\u201d des quatre premiers ma\u00eetres dzogch\u00e8n. Bien que ces textes se trouvent dans les collections du <em>man ngag sde<\/em>, leur pr\u00e9sentation traditionnelle en fait les enseignements finaux des plus anciens pratiquants, et les rapporte \u00e0 Vimalamitra <a href=\"#down\"><strong>[2]<\/strong><\/a>. Leur pr\u00e9sentation est essentielle en ce qui concerne la vue du Dzogch\u00e8n.<\/p>\n<p>Ceux-ci incluent donc en premier lieu les <a href=\"https:\/\/dzogchentoday.org\/fr\/les-trois-aphorismes\/\"><em>Trois aphorismes<\/em><\/a> que <a href=\"https:\/\/dzogchentoday.org\/fr\/lhistoire-des-premiers-maitres-garab-dorje\/\">Garab Dorj\u00e9<\/a> transmit \u00e0 Ma\u00f1ju\u015br\u012bmitra. Selon le <em>Lo rgyus chen mo<\/em> <a href=\"#down\"><strong>[3]<\/strong><\/a>, Ma\u00f1ju\u015br\u012bmitra divisa ensuite les trois aphorismes en trois s\u00e9ries\u00a0:<\/p>\n<ol>\n<li>Semd\u00e9 (tib. : <em>sems sde<\/em>) pour celles et ceux dont l&#8217;esprit est d\u00e9j\u00e0 apais\u00e9\u00a0;<\/li>\n<li>Longd\u00e9 **(tib. : <em>klong sde<\/em>) pour ceux qui sont au-del\u00e0 de l&#8217;action\u00a0;<\/li>\n<li>Men ngag d\u00e9 (tib. : <em>man ngag sde<\/em>) pour ceux que concernent les instructions directes.<\/li>\n<\/ol>\n<p>Il les mit par \u00e9crit et les dissimula sous un rocher en forme de double <em>vajra<\/em>. Au milieu d&#8217;un charnier, entour\u00e9 d&#8217;innombrables <em>d\u0323a\u0304kini\u0304<\/em> et de cr\u00e9atures effrayantes, il demeura alors en contemplation dans un \u00e9tat d&#8217;\u00e9galit\u00e9 \u2014 109 ans, dit le texte. Man\u0303jus\u0301ri\u0304mitra disparut comme son ma\u00eetre, en une sph\u00e8re de lumi\u00e8re arc-en-ciel. Il laissa \u00e0 son tour son dernier testament \u00e0 son disciple principal \u015ar\u012b Si\u1e43ha (<a href=\"https:\/\/www.rigpawiki.org\/index.php?title=Shri_Singha\">Shri Singha\u00a0;<\/a> tib. : Dpal gyi seng ge), intitul\u00e9 les <a href=\"https:\/\/www.rigpawiki.org\/index.php?title=Six_Experiences_of_Meditation\">*Six exp\u00e9riences de m\u00e9ditation<\/a>* (<em>Sgom nyams drug pa<\/em>). Lorsque \u015ar\u012b Si\u1e43ha manifesta son corps de lumi\u00e8re, il confia \u00e0 son tour son testament \u00e0 <a href=\"https:\/\/www.rigpawiki.org\/index.php?title=J%C3%B1anasutra\">J\u00f1anas<\/a>\u016b<a href=\"https:\/\/www.rigpawiki.org\/index.php?title=J%C3%B1anasutra\">tra<\/a> (tib. : Ye shes mdo), les <a href=\"https:\/\/www.rigpawiki.org\/index.php?title=Seven_Nails\">*Sept clous<\/a>* (tib. : <em>Gzer bu bdun pa<\/em>) <a href=\"#down\"><strong>[4]<\/strong><\/a>. Lui aussi quitta ce monde en disparaissant en une sph\u00e8re de lumi\u00e8re, laissant \u00e0 son disciple Vimalamitra son propre testament, les <a href=\"https:\/\/www.rigpawiki.org\/index.php?title=Four_Means_of_Abiding\"><em>Quatre m\u00e9thodes contemplatives<\/em><\/a>, ou <em>Quatre mani\u00e8res de demeurer<\/em> (tib. : <em>Bzhag thabs bzhi pa<\/em>).<\/p>\n<p>&nbsp;<\/p>\n<blockquote>\n<p style=\"text-align: center;\"><span style=\"color: #bf9e77;\">\u00a0\u201cCes transmissions les plus anciennes selon la tradition sont imm\u00e9diates et contiennent d\u00e9j\u00e0 toute la profondeur et la richesse des innombrables lign\u00e9es du Dzogch\u00e8n qui en d\u00e9coulent depuis \u2014 jusqu\u2019aujourd\u2019hui.\u201d<\/span><span style=\"font-size: 18px; font-family: Montserrat, Helvetica, Arial, Lucida, sans-serif; text-align: left; color: #4d4d4d; font-weight: 500;\">\u00a0<\/span><\/p>\n<\/blockquote>\n<p>[\/et_pb_text][et_pb_image src=&#8221;https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Sri-Singha.jpg&#8221; alt=&#8221;dzogchentoday-The Four Testaments of the Vidy\u0101dharas&#8221; title_text=&#8221;dzogchentoday-The Four Testaments of the Vidy\u0101dharas&#8221; align=&#8221;center&#8221; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; width=&#8221;67%&#8221; module_alignment=&#8221;center&#8221; box_shadow_style=&#8221;preset2&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][et_pb_text _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\">\u015ar\u012b Si\u1e43ha<\/p>\n<p>[\/et_pb_text][et_pb_text quote_border_weight=&#8221;0px&#8221; quote_border_color=&#8221;rgba(0,0,0,0)&#8221; module_id=&#8221;up2&#8243; _builder_version=&#8221;4.27.4&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_font_size=&#8221;18px&#8221; text_line_height=&#8221;1.8em&#8221; link_font=&#8221;Montserrat|700||||||#000000|&#8221; link_text_color=&#8221;#BF9E77&#8243; link_font_size=&#8221;18px&#8221; link_line_height=&#8221;1.8em&#8221; quote_font=&#8221;Cormorant Garamond|700|||||||&#8221; quote_text_color=&#8221;#13204d&#8221; quote_line_height=&#8221;1.3em&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;Quattrocento Sans|700|||||||&#8221; header_2_text_color=&#8221;#13204d&#8221; header_2_line_height=&#8221;1.6em&#8221; header_3_font=&#8221;|700|||||||&#8221; header_3_text_color=&#8221;#000000&#8243; header_4_letter_spacing=&#8221;12px&#8221; header_5_font=&#8221;|300|||||||&#8221; header_5_text_color=&#8221;#bfbfbf&#8221; header_5_letter_spacing=&#8221;12px&#8221; header_6_font=&#8221;|700|||||||&#8221; header_6_letter_spacing=&#8221;12px&#8221; module_alignment=&#8221;left&#8221; custom_margin_tablet=&#8221;&#8221; custom_margin_phone=&#8221;&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;29px|||||&#8221; hover_enabled=&#8221;0&#8243; quote_font_size_tablet=&#8221;&#8221; quote_font_size_phone=&#8221;&#8221; quote_font_size_last_edited=&#8221;on|desktop&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p>Apr\u00e8s le premier testament de Garab Dorj\u00e9, les <em>Trois aphorismes<\/em>, Ma\u00f1ju\u015br\u012bmitra transmis le second \u00e0 \u015ar\u012b Si\u1e43ha, les <em>Six exp\u00e9riences m\u00e9ditatives<\/em> (<em>Sgom nyams drug pa<\/em>) <a href=\"#down\"><strong>[5]<\/strong><\/a>. Concernant directement la pratique contemplative, le c\u0153ur du texte affirme ceci, en guise de synth\u00e8se de ces six points\u00a0:<\/p>\n<p>\u00ab\u00a0\u00d4, fils de noble famille, si tu souhaites exp\u00e9rimenter la continuit\u00e9 de l&#8217;\u00e9vidence primordiale nue\u00a0:<\/p>\n<ol>\n<li>Concentre-toi sur la sph\u00e8re ultime d&#8217;\u00e9vidence primordiale (tib. : <em>rig pa&#8217;i chos dbyings<\/em>) comme objet (le ciel pur).<\/li>\n<li>Comprime les points du corps (par la posture) <a href=\"#down\"><strong>[6]<\/strong><\/a>.<\/li>\n<li>Ferme les portes de l&#8217;aller et du retour (la respiration).<\/li>\n<li>Focalise-toi sur la cible (la sph\u00e8re ultime).<\/li>\n<li>Remets-t&#8217;en \u00e0 l&#8217;immuable (corps, yeux et sagesse).<\/li>\n<li>Saisi la vaste immensit\u00e9 (la nature de la sagesse elle-m\u00eame).\u00a0\u00bb<\/li>\n<\/ol>\n<p>Bien entendu ce type de texte n\u00e9cessite une transmission orale d\u2019un ma\u00eetre qualifi\u00e9 d\u2019une lign\u00e9e authentique pour \u00eatre mis en pratique. Comme on s\u2019en rend compte \u00e0 la lecture, sans explication et commentaire, il demeure relativement herm\u00e9tique.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_image src=&#8221;https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Jnanasutra.jpg&#8221; alt=&#8221;dzogchentoday-The Four Testaments of the Vidy\u0101dharas&#8221; title_text=&#8221;dzogchentoday-The Four Testaments of the Vidy\u0101dharas&#8221; align=&#8221;center&#8221; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; width=&#8221;67%&#8221; module_alignment=&#8221;center&#8221; box_shadow_style=&#8221;preset2&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][et_pb_text _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\">Jnanasutra<\/p>\n<p>[\/et_pb_text][et_pb_text quote_border_weight=&#8221;0px&#8221; quote_border_color=&#8221;rgba(0,0,0,0)&#8221; module_id=&#8221;up3&#8243; _builder_version=&#8221;4.27.4&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_font_size=&#8221;18px&#8221; text_line_height=&#8221;1.8em&#8221; link_font=&#8221;Montserrat|700||||||#000000|&#8221; link_text_color=&#8221;#BF9E77&#8243; link_font_size=&#8221;18px&#8221; link_line_height=&#8221;1.8em&#8221; quote_font=&#8221;Cormorant Garamond|700|||||||&#8221; quote_text_color=&#8221;#13204d&#8221; quote_line_height=&#8221;1.3em&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;Quattrocento Sans|700|||||||&#8221; header_2_text_color=&#8221;#13204d&#8221; header_2_line_height=&#8221;1.6em&#8221; header_3_font=&#8221;|700|||||||&#8221; header_3_text_color=&#8221;#000000&#8243; header_4_letter_spacing=&#8221;12px&#8221; header_5_font=&#8221;|300|||||||&#8221; header_5_text_color=&#8221;#bfbfbf&#8221; header_5_letter_spacing=&#8221;12px&#8221; header_6_font=&#8221;|700|||||||&#8221; header_6_letter_spacing=&#8221;12px&#8221; module_alignment=&#8221;left&#8221; custom_margin_tablet=&#8221;&#8221; custom_margin_phone=&#8221;&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;29px|||||&#8221; hover_enabled=&#8221;0&#8243; quote_font_size_tablet=&#8221;&#8221; quote_font_size_phone=&#8221;&#8221; quote_font_size_last_edited=&#8221;on|desktop&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p><span style=\"font-size: 18px;\">\u00a0<\/span>Le testament suivant est celui de \u015ar\u012b Si\u1e43ha, transmis \u00e0 J\u00f1\u0101nas\u016btra. Il est cette fois-ci de nouveau davantage question de la Vue. Les <em>Sept clous<\/em> (<em>Gzer bu bdun pa<\/em>) <a href=\"#down\"><strong>[7]<\/strong><\/a>\u00a0sont les suivants :<\/p>\n<ol>\n<li>Cloue (fixe) (tib. : <em>gzer<\/em>) <em>sa<\/em><em>\u1e43s\u0101ra<\/em> et <em>nirv\u0101<\/em><em>\u1e47a<\/em> ensemble au moyen de la claire connaissance primordiale, lucidit\u00e9 p\u00e9n\u00e9trante.<\/li>\n<li>Cloue l&#8217;observateur (tib. : <em>sems<\/em>) et ce qui est observ\u00e9 (tib. : <em>yul<\/em>) ensemble \u00e0 l&#8217;aide de la lampe apparaissant d&#8217;elle-m\u00eame.<\/li>\n<li>Cloue esprit (tib. : <em>blo<\/em>) et ph\u00e9nom\u00e8nes tangibles (tib. : <em>dngos<\/em>) ensemble \u00e0 l&#8217;aide de la pure essence naturelle (tib. : <em>ngo bo rang dag<\/em>).<\/li>\n<li>Cloue nihilisme (tib. : <em>chad<\/em>) et \u00e9ternalisme (tib. : <em>rtag<\/em>) ensemble au moyen de la libert\u00e9 de toute vue.<\/li>\n<li>Cloue les ph\u00e9nom\u00e8nes (tib. : <em>chos can<\/em>) et la nature des ph\u00e9nom\u00e8nes (tib. : <em>chos nyid<\/em>) ensemble \u00e0 l&#8217;aide de l&#8217;\u00e9vidence primordiale non-ph\u00e9nom\u00e9nale (tib. : <em>rig pa chos min).<\/em><\/li>\n<li>Cloue torpeur (tib. : <em>bying )<\/em> et agitation <em>(tib. : rgod)<\/em> <a href=\"#down\"><strong>[8]<\/strong><\/a>\u00a0ensemble \u00e0 l&#8217;aide de la lib\u00e9ration des facult\u00e9s des sens.<\/li>\n<li>Cloue apparences et vacuit\u00e9 ensemble au moyen du Corps de r\u00e9alit\u00e9 primordialement parfait. \u00bb <a href=\"#down\"><strong>[9]<\/strong><\/a><\/li>\n<\/ol>\n<p>Dans le texte complet, ces sept clous sont ensuite redoubl\u00e9s de sept m\u00e9taphores donn\u00e9es pour pr\u00e9ciser le sens de la premi\u00e8re pr\u00e9sentation. On saisit ais\u00e9ment l&#8217;intention fondamentale du texte qui est de viser au-del\u00e0 de toute dualit\u00e9. Il s&#8217;agit de \u00ab\u00a0clouer ensemble\u00a0\u00bb ce que l&#8217;on a pris l&#8217;habitude de s\u00e9parer et de discriminer comme \u00e9tant diff\u00e9rents. Aller au-del\u00e0 des vues fausses (tib. : <em>log lta<\/em>) \u2013 dont celle des deux extr\u00eames (tib. : <em>mtha<\/em>&#8216; <em>gnyis<\/em>), mentionn\u00e9e au quatri\u00e8me clou \u2013 en vue de parvenir \u00e0 une vue juste et authentique donc non-duelle.<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_image src=&#8221;https:\/\/dzogchentoday.org\/wp-dzogtodaychen-content\/uploads\/2025\/11\/Vimalamitra.jpg&#8221; alt=&#8221;dzogchentoday-The Four Testaments of the Vidy\u0101dharas&#8221; title_text=&#8221;The Four Testaments of the Vidy\u0101dharas&#8221; align=&#8221;center&#8221; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; width=&#8221;67%&#8221; module_alignment=&#8221;center&#8221; box_shadow_style=&#8221;preset2&#8243; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][et_pb_text _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p style=\"text-align: center;\">Vimalamitra<\/p>\n<p>[\/et_pb_text][et_pb_text quote_border_weight=&#8221;0px&#8221; quote_border_color=&#8221;rgba(0,0,0,0)&#8221; module_id=&#8221;up4&#8243; _builder_version=&#8221;4.27.4&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_font_size=&#8221;18px&#8221; text_line_height=&#8221;1.8em&#8221; link_font=&#8221;Montserrat|700||||||#000000|&#8221; link_text_color=&#8221;#BF9E77&#8243; link_font_size=&#8221;18px&#8221; link_line_height=&#8221;1.8em&#8221; quote_font=&#8221;Cormorant Garamond|700|||||||&#8221; quote_text_color=&#8221;#13204d&#8221; quote_line_height=&#8221;1.3em&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;Quattrocento Sans|700|||||||&#8221; header_2_text_color=&#8221;#13204d&#8221; header_2_line_height=&#8221;1.6em&#8221; header_3_font=&#8221;|700|||||||&#8221; header_3_text_color=&#8221;#000000&#8243; header_4_letter_spacing=&#8221;12px&#8221; header_5_font=&#8221;|300|||||||&#8221; header_5_text_color=&#8221;#bfbfbf&#8221; header_5_letter_spacing=&#8221;12px&#8221; header_6_font=&#8221;|700|||||||&#8221; header_6_letter_spacing=&#8221;12px&#8221; module_alignment=&#8221;left&#8221; custom_margin_tablet=&#8221;&#8221; custom_margin_phone=&#8221;&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;29px|||||&#8221; hover_enabled=&#8221;0&#8243; quote_font_size_tablet=&#8221;&#8221; quote_font_size_phone=&#8221;&#8221; quote_font_size_last_edited=&#8221;on|desktop&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p>&nbsp;<\/p>\n<p>Enfin, vient le testament suivant, la quatri\u00e8me et dernier, celui que <a href=\"https:\/\/www.rigpawiki.org\/index.php?title=J%C3%B1anasutra\">J\u00f1anas<\/a>\u016b<a href=\"https:\/\/www.rigpawiki.org\/index.php?title=J%C3%B1anasutra\">tra<\/a> transmit \u00e0 Vimalamitra. Il s&#8217;intitule les <em>Quatre mani\u00e8res de demeurer<\/em> ou <em>Quatre m\u00e9thodes pour demeurer<\/em> (dans la contemplation) **(tib. : <em>bzhag thabs bzhi pa<\/em>) <a href=\"#down\"><strong>[10]<\/strong><\/a>. En voici un extrait\u00a0:<\/p>\n<p>\u00ab\u00a0Comme c&#8217;est merveilleux\u00a0! Si tu t&#8217;entra\u00eenes \u00e0 ceci continuellement, la joie s&#8217;\u00e9l\u00e8vera naturellement. Ecoute\u00a0! Si tu souhaites atteindre l&#8217;\u00e9tat de contemplation continue (tib. : <em>ting nge &#8216;dzin<\/em>) de la grande \u00e9galit\u00e9, exerce-toi \u00e0 demeurer sans distraction, jour et nuit, dans la r\u00e9alit\u00e9 telle quelle (tib. : <em>de nyid<\/em>)\u00a0:<\/p>\n<ol>\n<li>Si tu souhaites t&#8217;entra\u00eener dans toutes les activit\u00e9s, maintiens toutes les apparences dans la rectitude de la contemplation directe de la vision.<\/li>\n<li>Si tu souhaites ma\u00eetriser les instructions directes qui fortifient ta m\u00e9ditation, demeure dans l&#8217;unit\u00e9 de l&#8217;esprit et des ph\u00e9nom\u00e8nes tangibles, au travers de la pr\u00e9sence \u00e9veill\u00e9e de la contemplation naturelle pareille \u00e0 l&#8217;oc\u00e9an.<\/li>\n<li>Si tu souhaites atteindre la lib\u00e9ration naturelle de toutes les vues, am\u00e8ne les ph\u00e9nom\u00e8nes \u00e0 leur cessation au travers de la vision naturelle de la contemplation pareille \u00e0 la montagne.<\/li>\n<li>Si tu souhaites demeurer naturellement dans l&#8217;atteinte de toutes les r\u00e9alisations, demeure dans la base, les trois Corps, lib\u00e8re naturellement toute la confusion gr\u00e2ce aux instructions directes sur la vue de la contemplation de l&#8217;\u00e9vidence primordiale.\u00a0\u00bb<\/li>\n<\/ol>\n<p>Ainsi fut \u00e9nonc\u00e9 le dernier de ces quatre testaments des <em>Vidya\u0304dharas<\/em> qui permit la transmission directe et compl\u00e8te de l\u2019essence du Dzogch\u00e8n. Ces transmissions les plus anciennes selon la tradition sont imm\u00e9diates et contiennent d\u00e9j\u00e0 toute la profondeur et la richesse des innombrables lign\u00e9es du Dzogch\u00e8n qui en d\u00e9coulent depuis \u2014 jusqu\u2019aujourd\u2019hui. Que la transmission soit devenue par la suite le plus souvent \u201cgraduelle\u201d (comme avec les quatre initiations du <em>vajraya\u0304na<\/em>) n\u2019emp\u00eache en rien la continuit\u00e9 de la transmission imm\u00e9diate des <em>Vidya\u0304dharas<\/em>, toujours aujourd\u2019hui \u2014 et certainement demain.<\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][et_pb_divider color=&#8221;#FFD62F&#8221; divider_position=&#8221;center&#8221; divider_weight=&#8221;3px&#8221; _builder_version=&#8221;4.27.4&#8243; _module_preset=&#8221;default&#8221; module_alignment=&#8221;left&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_divider][et_pb_text quote_border_weight=&#8221;0px&#8221; quote_border_color=&#8221;rgba(0,0,0,0)&#8221; module_id=&#8221;down&#8221; _builder_version=&#8221;4.27.4&#8243; text_font=&#8221;Montserrat||||||||&#8221; text_font_size=&#8221;18px&#8221; text_line_height=&#8221;1.8em&#8221; link_font=&#8221;Montserrat|700||||||#000000|&#8221; link_text_color=&#8221;#BF9E77&#8243; link_font_size=&#8221;18px&#8221; link_line_height=&#8221;1.8em&#8221; quote_font=&#8221;Cormorant Garamond|700|||||||&#8221; quote_text_color=&#8221;#13204d&#8221; quote_line_height=&#8221;1.3em&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;Quattrocento Sans|700|||||||&#8221; header_2_text_color=&#8221;#13204d&#8221; header_2_line_height=&#8221;1.6em&#8221; header_3_font=&#8221;|700|||||||&#8221; header_3_text_color=&#8221;#000000&#8243; header_4_letter_spacing=&#8221;12px&#8221; header_5_font=&#8221;|300|||||||&#8221; header_5_text_color=&#8221;#bfbfbf&#8221; header_5_letter_spacing=&#8221;12px&#8221; header_6_font=&#8221;|700|||||||&#8221; header_6_letter_spacing=&#8221;12px&#8221; module_alignment=&#8221;left&#8221; custom_margin_tablet=&#8221;&#8221; custom_margin_phone=&#8221;&#8221; custom_margin_last_edited=&#8221;on|tablet&#8221; custom_padding=&#8221;29px|||||&#8221; hover_enabled=&#8221;0&#8243; quote_font_size_tablet=&#8221;&#8221; quote_font_size_phone=&#8221;&#8221; quote_font_size_last_edited=&#8221;on|desktop&#8221; saved_tabs=&#8221;all&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p><strong>[1]<\/strong> Ou les <em>Quatre enseignements posthumes<\/em> (ou derniers mots) des <em>vidya\u0304dharas<\/em> (<em>rig &#8216;dzin gyi &#8216;das rjes bzhi<\/em>).<strong>\u00a0 \u00a0 \u00a0<a href=\"#up1\">RETOUR<\/a><\/strong><\/p>\n<p><strong>[2]\u00a0<\/strong>Ces textes se trouvent dans le <em>Bi ma snying thig<\/em>, dans la section des Lettres d&#8217;or (<a href=\"https:\/\/tibetanbuddhistencyclopedia.com\/en\/index.php?title=Gser_yig_can&amp;action=edit&amp;redlink=1\"><em>gser<\/em> <em>yig<\/em> <em>can<\/em><\/a>). Ils auraient donc \u00e9t\u00e9 compil\u00e9s par Vimalamitra au VIIIe si\u00e8cle. La critique historique les date bien plus tardivement, \u00e0 savoir apr\u00e8s le XIe s., au moins. Les versions accessibles aujourd&#8217;hui doivent \u00e9galement beaucoup au travail de compilation de Klong chen pa. Le travail d&#8217;\u00e9dition critique de ces courts textes et de leur datation et transmission pr\u00e9cises resterait donc \u00e0 faire. Jean-Luc Achard en a donn\u00e9 une traduction fran\u00e7aise dans <em>Les testaments de Vajradhara et des porteurs-de-science<\/em>, Paris, Les Deux Oc\u00e9ans, 1995. \u00a0 \u00a0<a href=\"#up1\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[3]<\/strong> <em>Snying thig ya bzhi<\/em>, vol. 9, Trulku Tsewang, Jamyang et L. Trashi (\u00e9d.), New Delhi, 1971. Une traduction partielle se trouve dans Jim Valby, <em>The Great History of Garab Dorj\u00e9, Manjushrimitra, Shrisingha, Jnanasutra and Vimalamitra<\/em>, \u00e9d. Shang Shung, Arcidosso, 2002.\u00a0 \u00a0\u00a0<a href=\"#up1\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[4]\u00a0<\/strong>\u00c0 ce sujet, lire l&#8217;int\u00e9ressant article de Georgios T. Halkias, \u00ab\u00a0\u015ar\u012b Si\u1e43ha\u2019s Ultimate <em>Upade\u015ba<\/em>. Seven Nails that Strike the Essence of Awakening\u00a0\u00bb, dans <em>Illuminating the Dharma: Buddhist Studies in Honour of Venerable Professor KL Dhammajoti<\/em>, Toshiichi Endo (\u00e9d.), Centre of Buddhist Studies, University of Hong Kong, 2021, p. 181-194.\u00a0\u00a0 \u00a0<a href=\"#up1\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[5]<\/strong> Selon la version pr\u00e9sente dans <a href=\"https:\/\/library.bdrc.io\/show\/bdr:P264\">&#8216;Jam mgon kong sprul blo gros mtha&#8217; yas<\/a>, \u00ab\u00a0<em>&#8216;Jam dpal bshes gnyen gyi zhal chems sgom nyams drug pa<\/em>\u00a0\u00bb, dans <em>Gdams ngag rin po che&#8217;i mdzod<\/em>, 18 vol., Delhi, Shechen Pub., 1999, vol. 2, p. 9-11 (folios 5a3-6a6). \u00a0 <strong><a href=\"#up2\">RETOUR<\/a><\/strong><\/p>\n<p><strong>[6]\u00a0<\/strong>Cela concerne les six objets de la conscience (tib. : <em>yul drug<\/em>)\u00a0: les formes (tib. : <em>gzugs<\/em>), objets du sens visuel, les sons (tib. : <em>sgra<\/em>), objets du sens auditif\u00a0; les odeurs (tib. : <em>dri<\/em>), objets du sens olfactif\u00a0; les saveurs (tib. : <em>ro<\/em>), objets du sens gustatif\u00a0; les contacts (tib. : <em>reg<\/em>), objets du sens tactile, et les ph\u00e9nom\u00e8nes (tib. : <em>chos<\/em>), objets de la conscience.\u00a0\u00a0 \u00a0<a href=\"#up2\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[7]\u00a0<\/strong>\u00ab\u00a0<em>ShrI siM ha&#8217;i zhal chems gzer bu bdun pa<\/em>\u00a0\u00bb, dans <em>Snying thig ya bzhi<\/em>, 13 vol., Delhi, Sherab Gyaltsen Lama, 1975, vol. 3, p. 318-324\u00a0; voir aussi la version \u00ab\u00a0<em>ShrI siM ha&#8217;i zhal chems gzer bu bdun pa<\/em>\u00a0\u00bb, dans &#8216;Jam mgon kong sprul blo gros mtha&#8217; yas, <em>Gdams ngag mdzod<\/em>, Bkra shis dpal &#8216;byor (\u00e9d.), 18 vol., Paro, Lama Ngodrup and Sherab Drimey, 1979-1981 (BDRC W20877), vol. 2, p. 11-13.\u00a0\u00a0 \u00a0 <a href=\"#up3\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[8]<\/strong> \u00ab\u00a0D\u00e9pression et extase\u00a0\u00bb propose Mila Khyents\u00e9 Rinpoch\u00e9, de mani\u00e8re plus \u00ab\u00a0actuelle\u00a0\u00bb.\u00a0\u00a0<a href=\"#up3\"><strong>RETOUR<\/strong><\/a><\/p>\n<p><strong>[9]\u00a0<\/strong>Traduction fran\u00e7aise modifi\u00e9e \u00e0 partir d&#8217;une version de Mila Khyents\u00e9 Rinpoch\u00e9\u00a0; traduction anglaise de Georgios T. Halkias, \u00ab\u00a0The Seven Nails: S\u0301ri\u0304 Sim\u0323ha\u2019s Ultimate Upades\u0301a\u00a0\u00bb, dans <em>Illuminating the Dharma: Buddhist Studies in Honour of Venerable Professor KL Dhammajoti,<\/em> Toshiichi Endo (\u00e9d.), The University of Hong Kong 2021, p. 181-193, p. 187-188\u00a0: \u00ab\u00a0[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 <em>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\u00bb<\/p>\n<p><strong><a href=\"#up3\">RETOUR<\/a><\/strong><\/p>\n<p><strong>[10]\u00a0<\/strong>\u00ab\u00a0<em>Ye shes mdo&#8217;i bzhag thabs bzhi<\/em> \u00bb, dans Klon chen rab &#8216;byma dri med &#8216;od zer, <em>Gsung &#8216;bum<\/em>, 26 vol., P\u00e9kin, Krung go&#8217;i bod rig pa dpe skrun khang, 2009 (MW1KG4884_6A0690), vol. 1, p. 211-214, p. 212.\u00a0\u00a0 <a href=\"#up4\"><strong>RETOUR<\/strong><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;1_3&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;30px|30px|30px|30px|true|true&#8221; border_width_left=&#8221;1px&#8221; border_color_left=&#8221;#f7f2e8&#8243; border_width_left_tablet=&#8221;0px&#8221; border_width_left_phone=&#8221;&#8221; border_width_left_last_edited=&#8221;on|tablet&#8221; 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