Fabrizio Torricelli - Academia.edu (original) (raw)

Papers by Fabrizio Torricelli

Library of Tibetan Works and Archives eBooks, 1995

Ci hanno insegnato che è il soggetto a osservare l’oggetto, ma l’oggetto artistico, se veramente ... more Ci hanno insegnato che è il soggetto a osservare l’oggetto, ma l’oggetto artistico, se veramente tale, sembra evocare un incantesimo ove l’oggetto, magicamente, si fa soggetto ed il soggetto sembra liquefarsi: almeno per un momento, infatti, il logocentrico soggetto che guarda e amministra gli oggetti che lo circondano si avvede di tutta la sua finitudine e si sveglia.

In forma di parole, 2008

«Ma esiste questo pensiero, ... un pensiero che sia non pensiero?»...

The Tibet Journal, 2007

The earliest hagiographer of the siddha Tillopāda/Tilopa, Mar pa Chos kyi blo gros, gives an acco... more The earliest hagiographer of the siddha Tillopāda/Tilopa, Mar pa Chos kyi blo gros, gives an account of the conversion of eight people following their meeting with Tilopa (α, fols.7b4-10b3): (1) a yogin (rnal 'byor pa), (2) a "heretic" (mu stegs pa), (3) a magician (sgyu ma mkhan), (4) a barmaid (chang 'tshong ma), (5) a singer (glu mkhan), (6) a butcher (shan pa), (7) a materialist (rgyang 'phen pa) refusing the karmic law of cause and effect (las 'bras med par smra ba), and (8) a powerful sorcerer (mthu bo che). The core of each episode is a dramatic opposition, culminating in Tilopa"s triumph and the conversion of the other. Each conversion is followed by the instruction to the new disciple.

Disorientamenti, 2010

L'idea di un sapere dialogico aperto, di una conoscenza senza fissa dimora e di una relazione fra... more L'idea di un sapere dialogico aperto, di una conoscenza senza fissa dimora e di una relazione fra soggetti interessata, tramite il vissuto, il «punctum dolens» piazzato tra rappresentazione e processo, agli altri soggetti nel loro/nostro reciproco farsi, è ciò che fa del disorientamento meno il suo perdere l'oriente, perdere cioè una essenza di più, che poter attraversare confini senza mappe preconfezionate.

C'e una parol a che, parlando, mostra. C'e un mostrare che, mostrando, parla. Se alIa prima attiv... more C'e una parol a che, parlando, mostra. C'e un mostrare che, mostrando, parla. Se alIa prima attivita sono da ricondurre le discipline letterarie, filosofiche, storiche e filologiche, e delle arti visive e delle scienze a quelle connesse il campo d'azione della seconda. C'e un mostrare che, manifestando l'insieme e le parti di un manufatto artistico, parla dei Myot di cui quell'oggetto e simbolo complesso.

Il mGur-'bum non è un testo facile, e i migliori studiosi hanno commesso degli errori nel tradurl... more Il mGur-'bum non è un testo facile, e i migliori studiosi hanno commesso degli errori nel tradurlo». 1 esperienza, ha luogo quando la «sapienza» scaturita dall'esame degli enti (prajñá : shes-rab) si coniuga con il «mezzo» ascetico (upáya : thabs).

xeD,2 the prajiia class (shes-rab) of the anuttaratantras (b1a-na-med). They are divided in two: ... more xeD,2 the prajiia class (shes-rab) of the anuttaratantras (b1a-na-med). They are divided in two: fundamental (rtsa) and explanatory (bshad) tantras. As to the former, there is the Srf-Mahasambarodaya-tantraraja (Toh. 373); as to the latter, there are four subdivisions: (1) extraordinary (thlln-mong ma-yin), (2) ordinary (thlln-mong), (3) tantras about which there is discussion whether they are pure or not and (4) a fourth one. In the first 'extraordinary' subdivision there are the Srf-VajrGi!aka-nama-mahatantraraja (Toh. 370), the Srf-Herukablzylldaya-nama (Toh. 374), the Yoginfsaiicaya (Toh. 375), the above mentioned Srf-Mahasambarodaya-tantraraja (Toh. 373), and the CaturyoginfsampU!atantra (Toh. 376). In the second 'ordinary' subdivision there is the rGYlld-kyi rgyal-po clzen-po dpal yang-dagpar sbyor-ba'i tlzig-le (Toh. 382). As to the third subdivision including the tantras 'about which there is discussion whether they are pure or not', there are four further subdivisions:

East and West, 2000

We read in the Deb-ther sngon-po (1) that the Tibetan yogin Mi-Ia ras-pa (1040-1123) ordered his ... more We read in the Deb-ther sngon-po (1) that the Tibetan yogin Mi-Ia ras-pa (1040-1123) ordered his disciple Ras-chung rDo-rje-grags (1084-1161) to go to India and seek further spiritual instructions. In particular, he had to learn the missing four cycles of doctrines of the formless c!ikinis, out of their ninefold promulgation of the doctrine (lus-med mkha'-'gro chos-skor dgu) which, according to Mi-Ia ras-pa's master Mar-pa Chos-kyi blo-gros (1012·97), were still taught there (2). Ras-chung-pa not only obtained them from the Indian Ti-pu-pa (3), but also collected many other instructions and brought all of them back to his guru. Mi-Ia ras-pa in turn entrusted another disciple, Ngam-rdzong-pa (4), with these instructions. This latter, according to the (1) 'Gos

Archivio per l'Antropologia e la Etnologia, 1999

The threefold textual tradidion of the brGyad stong pa: sDe can, 'Phreng ba can, and bZo sbyang

Rivista degli Studi Orientali, 1999

gTsang smyon He ru ka's bDe mchog mkha' 'gro snyan brgyud kyi man ngag gi gzhung 'brel nor bu sko... more gTsang smyon He ru ka's bDe mchog mkha' 'gro snyan brgyud kyi man ngag gi gzhung 'brel nor bu skor gsum

The Tibet Journal, 1999

The threefold textual tradidion of the brGyad stong pa: sDe can, 'Phreng ba can, and bZo sbyang

East and West, 1998

The sNyan-brgyud rdo-tie'i tshig-rkang (Ka117atantrava;rapada), or sNyan-brgyud rdo-tie rnal- ray... more The sNyan-brgyud rdo-tie'i tshig-rkang (Ka117atantrava;rapada), or sNyan-brgyud rdo-tie rnal- rayogint), was translated into Tibetan in the first half of the 11th century by the Indian Naropa (956-1040) and his Tibetan disciple Mar-pa Chos-kyi blo-gros (1012-97).

East and West, 1997

The English phrase • Six Yogas of Niropa ' is a free translation of the Tibetan • N a-ro'i chos d... more The English phrase • Six Yogas of Niropa ' is a free translation of the Tibetan • N a-ro'i chos drug', as it refers to six principles or teachings (Skt. dharma; Tib. chos), the transmission of which stems in Tibet from Mar-pa Chos-kyi-blo-gros 0012-1097), a disciple of the Indian Ni~apida (Ni-ro-pi, or Ni-ro-pa, 956-1040(1», the great adept (mahasiddha; grub-thob chen-po) in Tantrism. Most of the knowledge and experience of the Vajrayina Indian masters of centuries of highest yoga tantra (anuttarayogatantra; rnal-'byor-bla-med-kyi rgyud) is summarized in these six principles which are aimed to control the vital breath and the psychic energies: hence their importance, even for those who are not • practitioners '. Generally speaking, as stated by H.H. the Dalai Lama in a public teaching(2), in the completion stage (sampannakrama; rdzogs-rim) of the anuttarayogatantra, it is indispensable to rely on methods by which one could draw the energy winds (vayu; rlung) from the left channel (lalana; brkyang-ma) and the right channel (rasana; ro-ma) of the subtle body in the central one (avadhuti; rtsa dbu-ma). If we allow for that, it is possible to categorize the whole practice in two classes. On the one hand, it is a matter of conveying the vayu-s into avadhuti. On the other hand, the yogi engaged in it is required to perform other exercises supporting this entry of the vayu-s into avadhuti. All the schools of Tibetan Buddhism consider the N a-ro'i chos drug a unique practice with distinct technical focuses, namely 1 ) According to Turrel Wylie (1982) the Fire-Male-Dragon year of Niropa's birth should be 956 instead of 1016,and the Iron-Male-Dragonyear of his death shouldbe 1040and not 1100,as proposedby Herbert Guenther (1963:VIll-lX).

East and West, 1996

In the bsTan ’gyur there is a work ascribed to Tilopā, the Chos drug gi man ngag (Ṣaḍdharmopadeśa... more In the bsTan ’gyur there is a work ascribed to Tilopā, the Chos drug gi man ngag (Ṣaḍdharmopadeśa). This brief text concerns six yogic doctrines (chos drug : ṣaḍdharma), traditionally rubricated as (1) the yogas of the inner heat (gtum mo : caṇḍālī), (2) of the illusory body (sgyu lus : māyākāya), (3) the dream (rmi lam : svapna), (4) the luminosity (’od gsal : prabhāsvara), along with (5) the yoga of the intermediate existence between death and new birth (bar do : antarābhava), and (6) of the ejection of the conscious principle (’pho ba : saṃkrānti). Tilopā would have passed them on to Nāropā, and Mar pa translated into Tibetan.

The Tibet Journal, 1996

A text concerning the yoga of the inner heat (gtum mo : caṇḍālī), first of six yogic doctrines (c... more A text concerning the yoga of the inner heat (gtum mo : caṇḍālī), first of six yogic doctrines (chos drug : ṣaḍdharma).

Library of Tibetan Works and Archives eBooks, 1995

Ci hanno insegnato che è il soggetto a osservare l’oggetto, ma l’oggetto artistico, se veramente ... more Ci hanno insegnato che è il soggetto a osservare l’oggetto, ma l’oggetto artistico, se veramente tale, sembra evocare un incantesimo ove l’oggetto, magicamente, si fa soggetto ed il soggetto sembra liquefarsi: almeno per un momento, infatti, il logocentrico soggetto che guarda e amministra gli oggetti che lo circondano si avvede di tutta la sua finitudine e si sveglia.

In forma di parole, 2008

«Ma esiste questo pensiero, ... un pensiero che sia non pensiero?»...

The Tibet Journal, 2007

The earliest hagiographer of the siddha Tillopāda/Tilopa, Mar pa Chos kyi blo gros, gives an acco... more The earliest hagiographer of the siddha Tillopāda/Tilopa, Mar pa Chos kyi blo gros, gives an account of the conversion of eight people following their meeting with Tilopa (α, fols.7b4-10b3): (1) a yogin (rnal 'byor pa), (2) a "heretic" (mu stegs pa), (3) a magician (sgyu ma mkhan), (4) a barmaid (chang 'tshong ma), (5) a singer (glu mkhan), (6) a butcher (shan pa), (7) a materialist (rgyang 'phen pa) refusing the karmic law of cause and effect (las 'bras med par smra ba), and (8) a powerful sorcerer (mthu bo che). The core of each episode is a dramatic opposition, culminating in Tilopa"s triumph and the conversion of the other. Each conversion is followed by the instruction to the new disciple.

Disorientamenti, 2010

L'idea di un sapere dialogico aperto, di una conoscenza senza fissa dimora e di una relazione fra... more L'idea di un sapere dialogico aperto, di una conoscenza senza fissa dimora e di una relazione fra soggetti interessata, tramite il vissuto, il «punctum dolens» piazzato tra rappresentazione e processo, agli altri soggetti nel loro/nostro reciproco farsi, è ciò che fa del disorientamento meno il suo perdere l'oriente, perdere cioè una essenza di più, che poter attraversare confini senza mappe preconfezionate.

C'e una parol a che, parlando, mostra. C'e un mostrare che, mostrando, parla. Se alIa prima attiv... more C'e una parol a che, parlando, mostra. C'e un mostrare che, mostrando, parla. Se alIa prima attivita sono da ricondurre le discipline letterarie, filosofiche, storiche e filologiche, e delle arti visive e delle scienze a quelle connesse il campo d'azione della seconda. C'e un mostrare che, manifestando l'insieme e le parti di un manufatto artistico, parla dei Myot di cui quell'oggetto e simbolo complesso.

Il mGur-'bum non è un testo facile, e i migliori studiosi hanno commesso degli errori nel tradurl... more Il mGur-'bum non è un testo facile, e i migliori studiosi hanno commesso degli errori nel tradurlo». 1 esperienza, ha luogo quando la «sapienza» scaturita dall'esame degli enti (prajñá : shes-rab) si coniuga con il «mezzo» ascetico (upáya : thabs).

xeD,2 the prajiia class (shes-rab) of the anuttaratantras (b1a-na-med). They are divided in two: ... more xeD,2 the prajiia class (shes-rab) of the anuttaratantras (b1a-na-med). They are divided in two: fundamental (rtsa) and explanatory (bshad) tantras. As to the former, there is the Srf-Mahasambarodaya-tantraraja (Toh. 373); as to the latter, there are four subdivisions: (1) extraordinary (thlln-mong ma-yin), (2) ordinary (thlln-mong), (3) tantras about which there is discussion whether they are pure or not and (4) a fourth one. In the first 'extraordinary' subdivision there are the Srf-VajrGi!aka-nama-mahatantraraja (Toh. 370), the Srf-Herukablzylldaya-nama (Toh. 374), the Yoginfsaiicaya (Toh. 375), the above mentioned Srf-Mahasambarodaya-tantraraja (Toh. 373), and the CaturyoginfsampU!atantra (Toh. 376). In the second 'ordinary' subdivision there is the rGYlld-kyi rgyal-po clzen-po dpal yang-dagpar sbyor-ba'i tlzig-le (Toh. 382). As to the third subdivision including the tantras 'about which there is discussion whether they are pure or not', there are four further subdivisions:

East and West, 2000

We read in the Deb-ther sngon-po (1) that the Tibetan yogin Mi-Ia ras-pa (1040-1123) ordered his ... more We read in the Deb-ther sngon-po (1) that the Tibetan yogin Mi-Ia ras-pa (1040-1123) ordered his disciple Ras-chung rDo-rje-grags (1084-1161) to go to India and seek further spiritual instructions. In particular, he had to learn the missing four cycles of doctrines of the formless c!ikinis, out of their ninefold promulgation of the doctrine (lus-med mkha'-'gro chos-skor dgu) which, according to Mi-Ia ras-pa's master Mar-pa Chos-kyi blo-gros (1012·97), were still taught there (2). Ras-chung-pa not only obtained them from the Indian Ti-pu-pa (3), but also collected many other instructions and brought all of them back to his guru. Mi-Ia ras-pa in turn entrusted another disciple, Ngam-rdzong-pa (4), with these instructions. This latter, according to the (1) 'Gos

Archivio per l'Antropologia e la Etnologia, 1999

The threefold textual tradidion of the brGyad stong pa: sDe can, 'Phreng ba can, and bZo sbyang

Rivista degli Studi Orientali, 1999

gTsang smyon He ru ka's bDe mchog mkha' 'gro snyan brgyud kyi man ngag gi gzhung 'brel nor bu sko... more gTsang smyon He ru ka's bDe mchog mkha' 'gro snyan brgyud kyi man ngag gi gzhung 'brel nor bu skor gsum

The Tibet Journal, 1999

The threefold textual tradidion of the brGyad stong pa: sDe can, 'Phreng ba can, and bZo sbyang

East and West, 1998

The sNyan-brgyud rdo-tie'i tshig-rkang (Ka117atantrava;rapada), or sNyan-brgyud rdo-tie rnal- ray... more The sNyan-brgyud rdo-tie'i tshig-rkang (Ka117atantrava;rapada), or sNyan-brgyud rdo-tie rnal- rayogint), was translated into Tibetan in the first half of the 11th century by the Indian Naropa (956-1040) and his Tibetan disciple Mar-pa Chos-kyi blo-gros (1012-97).

East and West, 1997

The English phrase • Six Yogas of Niropa ' is a free translation of the Tibetan • N a-ro'i chos d... more The English phrase • Six Yogas of Niropa ' is a free translation of the Tibetan • N a-ro'i chos drug', as it refers to six principles or teachings (Skt. dharma; Tib. chos), the transmission of which stems in Tibet from Mar-pa Chos-kyi-blo-gros 0012-1097), a disciple of the Indian Ni~apida (Ni-ro-pi, or Ni-ro-pa, 956-1040(1», the great adept (mahasiddha; grub-thob chen-po) in Tantrism. Most of the knowledge and experience of the Vajrayina Indian masters of centuries of highest yoga tantra (anuttarayogatantra; rnal-'byor-bla-med-kyi rgyud) is summarized in these six principles which are aimed to control the vital breath and the psychic energies: hence their importance, even for those who are not • practitioners '. Generally speaking, as stated by H.H. the Dalai Lama in a public teaching(2), in the completion stage (sampannakrama; rdzogs-rim) of the anuttarayogatantra, it is indispensable to rely on methods by which one could draw the energy winds (vayu; rlung) from the left channel (lalana; brkyang-ma) and the right channel (rasana; ro-ma) of the subtle body in the central one (avadhuti; rtsa dbu-ma). If we allow for that, it is possible to categorize the whole practice in two classes. On the one hand, it is a matter of conveying the vayu-s into avadhuti. On the other hand, the yogi engaged in it is required to perform other exercises supporting this entry of the vayu-s into avadhuti. All the schools of Tibetan Buddhism consider the N a-ro'i chos drug a unique practice with distinct technical focuses, namely 1 ) According to Turrel Wylie (1982) the Fire-Male-Dragon year of Niropa's birth should be 956 instead of 1016,and the Iron-Male-Dragonyear of his death shouldbe 1040and not 1100,as proposedby Herbert Guenther (1963:VIll-lX).

East and West, 1996

In the bsTan ’gyur there is a work ascribed to Tilopā, the Chos drug gi man ngag (Ṣaḍdharmopadeśa... more In the bsTan ’gyur there is a work ascribed to Tilopā, the Chos drug gi man ngag (Ṣaḍdharmopadeśa). This brief text concerns six yogic doctrines (chos drug : ṣaḍdharma), traditionally rubricated as (1) the yogas of the inner heat (gtum mo : caṇḍālī), (2) of the illusory body (sgyu lus : māyākāya), (3) the dream (rmi lam : svapna), (4) the luminosity (’od gsal : prabhāsvara), along with (5) the yoga of the intermediate existence between death and new birth (bar do : antarābhava), and (6) of the ejection of the conscious principle (’pho ba : saṃkrānti). Tilopā would have passed them on to Nāropā, and Mar pa translated into Tibetan.

The Tibet Journal, 1996

A text concerning the yoga of the inner heat (gtum mo : caṇḍālī), first of six yogic doctrines (c... more A text concerning the yoga of the inner heat (gtum mo : caṇḍālī), first of six yogic doctrines (chos drug : ṣaḍdharma).

Ciò che è giunto fino a noi sono i testi. Da quelli occorre partire. Oltre, fuori, al di là: la p... more Ciò che è giunto fino a noi sono i testi. Da quelli occorre partire. Oltre, fuori, al di là: la parola. Parola che, un tempo, fu voce: voce articolantesi in orecchi sensibili. Voce che si è fatta scrittura: scrittura arcaica, che viene da lontano. Decifrabile, ma non risuscitabile a voce. Una voce che stenta a risuonare. Versi scritti: solo quantità, ormai, che l'occhio misura ma l'orecchio non coglie. L'anima non vive come allora. Oltre, fuori: ciò di cui la parola è raccoglimento. Dimora. Il compito è cogliere quanto abita raccolto, riposto, nella parola. A quella dimora bussare, chiedere accoglienza. Possediamo i testi: testi antichi di sette, nove e dieci secoli. Testi tramandati in lingue diverse. Testi tradotti da centinaia d'anni. Qual è più prossimo alla voce, al quel cantare antico? E quale al nostro orecchio? Non necessariamente le due vicinanze coincidono. Quanto segue vuole essere traccia del pluriennale «dialogo pensoso» di chi scrive con le voci di quel remoto

© 1995: L ib ra ry o f T ib e ta n W orks an d A rch iv e s F irst P rin t 1995 R e p rin t 2 0 0 3

Tilopā’s 'Small Text' (gZhung chung)

The Tibetan text of the 'Vajraḍākinī’s Presentation of the Symbols for the Three, View, Meditatio... more The Tibetan text of the 'Vajraḍākinī’s Presentation of the Symbols for the Three, View, Meditation and Practice'

The Tibetan Text of Tilopā’s 'Doctrines of the Incorporeal Adamantine Ḍākinīs'

The Tibetan Text of Tilopā’s ‘Self-Consecration of the Glorious Sahajaśaṃvara’

This song represents an uncommon case among the Tilopan texts because we can locate with a reason... more This song represents an uncommon case among the Tilopan texts because we can locate with a reasonable degree of certainty where it was conceived and sung.