| Vajrapāṇi | |
|---|---|
 Tibetan statue of Vajrapani,c. Late 12th – Early 13th century | |
| Sanskrit | वज्रपाणि Vajrapāṇi |
| Pāli | वजिरपाणि Vajirapāṇi |
| Chinese | 金剛手菩薩 (Pinyin:Jīngāngshǒu Púsà) |
| Japanese | 金剛手菩薩 (romaji:Kongōshu Bosatsu) |
| Khmer | វជ្របាណិ (vach-cheak-baa) |
| Korean | 금강수보살 (RR:Geumgangsu Bosal) |
| Mongolian | Очирваань |
| Tagalog | Baklapani |
| Thai | พระวัชรปาณีโพธิสัตว์ (Phra Watcharapani Phothisat) |
| Tibetan | ཕྱག་ན་རྡོ་རྗེ་ Wylie: phyag na rdo rje THL: chak na dorje |
| Vietnamese | Kim Cương Thủ Bồ Tát |
| Information | |
| Venerated by | Theravada,Mahayana,Vajrayana |
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Vajrapāṇi (Sanskrit; Pali:Vajirapāṇi, 'holder of the thunderbolt', lit. meaning, "Vajra in [his] hand") is one of the earliest-appearingbodhisattvas inMahayana Buddhism. He is the protector and guide ofGautama Buddha and rose to symbolize the Buddha's power.
Vajrapāni is also called Chana Dorji and Chador and extensively represented inBuddhist iconography as one of the earliest three protective deities or bodhisattvas surrounding the Buddha. Each of them symbolizes one of the Buddha's virtues:Manjushri manifests all the Buddhas' wisdom,Avalokiteśvara manifests all the Buddhas' immensecompassion, and Vajrapāni protects Buddha and manifests all the Buddhas' power[1] as well as the power of all fivetathāgatas (Buddhahood of the rank of Buddha).[2]
Vajrapāni is one of the earliestDharmapalas ofMahayana Buddhism and also appears as adeity in thePali Canon of theTheravada school. He is worshiped in theShaolin Monastery, inTibetan Buddhism and inPure Land Buddhism (where he is known asMahasthamaprapta and forms a triad withAmitābha andAvalokiteśvara). Manifestations of Vajrapāni can also be found in many Buddhist temples in China, Taiwan and Japan asDharma protectors guarding monastery and temple gates. Vajrapāni is also associated withAcala, where he is serenaded as the holder of the vajra.[3]
Vajrapāni, "holder of thethunderbolt",[4][5] is a compound word inSanskrit in which 'Vajra' means "Diamond or Thunderbolt", and 'pāni' literally means "in hand".[6]
In human form Vajrapāni is depicted holding the vajra in his right hand. He is sometimes referred to as a Dhyani-Bodhisattva, equivalent toAkshobhya, the secondDhyani Buddha. Acharya-Vajrapani is Vajrapani's manifestation asDharmapala, often seen sporting athird eye,ghanta (bell) and pāśa (lasso). He is sometimes represented as ayidam with one head and four hands in a form known as Nilambara-Vajrapani, carrying a vajra, and treading on personage lying on snakes. Mahacakra-Vajrapani, also a yidam, is depicted with three heads and six arms, carrying a vajra and snakes whilst treading onBrahmā andMaheśvara. He is often in union with his consort inyab-yum. Acala-Vajrapani is depicted with four heads, four arms and four legs carrying a sword, a lasso and vajra, treading on demons. Another depiction is in the form with the head, wings, and claws ofGaruda.[7]
Vajrapāni's expression is wrathful, and is often symbolised as ayaksha, to generate "fear in the individual to loosen up hisdogmatism."[8] His outstretched right hand brandishes avajra, "symbolysinganalyticalknowledge (jñanavajra) that disintegrates the grasping ofconsciousness.[9] Although he sometimes wears a skull crown, in most depictions he wears a five-pointed bodhisattva crown to depict the power of the fiveDhyani Buddhas (the fully awakened state of the Buddha).[10]
ThemantraOṃ Vajrapāṇi Hūṃ Phaṭ is associated with Vajrapāni.[11][12] His Seed Syllable ishūṃ.
In early Buddhist legends, Vajrapāni is a minor deity who accompanied Gautama Buddha during his career as a wandering mendicant. In some texts, he is stated to be manifestation ofŚakra, king of theTrāyastriṃśa heaven of Buddhist and Hindu cosmology. As Śakra, it is said that he was present during the birth of Tathagata. As Vajrapāni he was the god who helped Gautama escape from the palace at the time of his renunciation. When Sakyamuni returned fromKapilavastu he is stated to have assumed eight forms of devas who escorted him.[7]
According toXuanzang, the Chinese monk and traveler, Vajrapāni vanquished a large serpent atUdyana. In another version it is stated that while theNāgas came to worship the Buddha and hear his sermons, Vajrapāni assumed the form of a bird to deceive them so that they were not attacked by their deadly enemies, theGarudas.[7]
At theparinirvana of the Buddha, Vajrapāni dropped his vajra in despair and rolled himself in the dust.[7]
Vajrapāni is seen as a manifestation ofVajradhara and the "spiritual reflex", the Dhyani Bodhisattva of Akshobhya.[7] On the popular level, Vajrapāni is the bodhisattva who represents the power of all the buddhas just asAvalokiteśvara represents their great compassion, andMañjuśrī theirwisdom.[13] He is called the Master of Unfathomable Mysteries who upholds truth even in adversities of darkness and ignorance.[14]
According to thePañcaviṃsatisāhasrikā- andAṣṭasāhasrikāprajñāpāramitās, any bodhisattva on the path tobuddhahood is eligible for Vajrapāni's protection, making them invincible to any attacks "by either men or ghosts".[15]
As Buddhism expanded inCentral Asia and fused withHellenistic influences intoGreco-Buddhism, the Greek heroHeracles was adopted to represent Vajrapāni.[16] In that era, he was typically depicted as a hairy, muscular athlete, wielding a short "diamond" club.Buddhaghosa associated Vajrapāni with thedeva kingIndra.[15] Some authors believe that the deity depicted is actuallyZeus, whose Classical attribute is thethunderbolt.[17] The image of Vajrapani as a wrestler-like figure would eventually influence the statues of guardian deities in East Asia.[18]
During theKushan Empire,Gandhara art depicted Vajrapani's images in which he is shown primarily as a protector ofSakyamuni and not in the role of a bodhisattva. In theIndrasalaguha scenes, mountains form a part of his environment where his presence during the conversion of the nagaApalala is shown. In these depictions, he is shown wearing exclusive Western attire and always in the presence of other deities. The reliefs in this art form depict Vajrapani always present in the scenes where Buddha is converting people; his presence is shown when the Buddha confronts the opponents of thedharma like Mara before his enlightenment. Scenes of Sakyamuni competing with the heretics are also part of this art tradition. Scenes of Buddha using the vajra of Vajrapani as the "magic weapon" to performmiracles and propagate "superiority of hisdoctrine" are also common.[19]
In the western group of caves of theAjanta Caves inAurangabad, Vajrapani is depicted as a bodhisattva with his vajra in a tableau, avotive panel of sculptural composition in which he in a standing posture (the only extant figure) over a lotus to the left of a Buddha in adhyanasana. In this panel he is adorned with a tall crown, two necklaces, a snake armlet and holds the vajra in his left hand, and resting on a scarf tied across his hips. This closeiconographic composition is at the entrance to the porch of cave 2 and in the incomplete porch of cave 1. Suchvotive carved panels with Vajrapani are also seen in the interior of theparikrama passage of cave 2, in which he is paired with other bodhisattvas likeAvalokiteśvara. In this panel he has a crown in the form of astupa with a scarf fastened over his left thigh.[20]
In the eastern group of caves, at the entry to cave 6, Vajrapani is carved as a commanding persona in the form of a hugedvarapala, along with Avalokiteśvara. Here, he is flanked by a small attendant. He carries the *vajra*, a luminous weapon in his left hand, which rests on a scarf tied across his hip. His right arm is bent forward, and possibly once held a lotus, similar to Avalokiteśvara. Both figures at the entrance of cave 6 are depicted wearing crowns (makuṭa).[20]
In China, Vajrapāni, known as the "vajra-holding god" (執金剛神Zhíjīngāng shén), is widely venerated in his dual manifestation as the "vajra warriors" (金剛力士Jīngāng Lìshì) or "Benevolent Kings" (仁王Rénwáng), two muscular guardian deities that usually stand at each side of theshanmen in Buddhist temples and monasteries. The statue on the right side is traditionally named "Guhyapāda" (密跡金剛Mìjī jīngāng), while the one on the left is traditionally named "Nārāyaṇa" (那羅延天 Nàluóyán tiān), both of whom aredharmapalas in theChinese Buddhist canon. InChinese folk religion, they are also known as "Generals Heng and Ha" (哼哈二將Hēnghā èrjiàng), so named because the right statue usually has its mouth open to pronounce the sound "a", while the other usually has it closed to utter the sound "heng". The two sounds are thestart and end sounds in Sanskrit, symbolizing the basis of sounds and bearing the profound theory of Dharma.[21]Guhyapāda, in particular, is also considered one of theTwenty Devas orTwenty-Four Devas in the Chinese Buddhist pantheon. In theShaolin tradition, Vajrapāni is venerated as anavatar ofAvalokiteśvara who manifested to protect the monastery during the Yuan dynasty.[22]
InJapan, Vajrapāni is calledShukongōshin (執金剛神), theon'yomi reading of his Chinese name. As in China, his image was the inspiration for theNiō (仁王, Benevolent Kings), the wrath-filled and muscular guardian of the Buddha, found at the entrance of many Buddhist temples.
Vajrapāni is also associated withAcala (不動明王,Fudō-myōō); themantra for Fudō-myōō references him as the powerful wielder of thevajra. Though he is not a very popular form of statue worship in Japan, he is frequently depicted in diagrams (mandala). The sixth formation of theWomb RealmMandala is called the "Vajrapani enclosure", in which he is depicted in 20 different forms, withVajrasattva as the presiding deity.[23] In Japanese iconography he is depicted in red colour at the death of Buddha.[7]
InIndonesia, Vajrapani is depicted as a part of triad withVairocana andPadmapani. A famous 3 metres tall stone statues of Vairocana, Padmapani, and Vajrapāni triad can be found in central chamber ofMendut temple, located around 3 kilometres east fromBorobudur, Central Java. Both seated Padmapani and Vajrapani, regarded as the guardian of Buddha Vairocana, are depicted as a handsome well-built men with serene expression adorned with exquisite crown and jewelries. The statues are the fine example of the 9th century Central JavaneseSailendran art, which influenced the Buddhist art in Southeast Asia, includingSrivijayan art of Sumatra and Malay Peninsula (Southern Thailand).
In Cambodia, three monasteries dated to 953 AD are dedicated to the worship of the triad of the Buddha—Prajnaparamita and Vajrapani; image of Vajrapani with four arms is venerated in one of these monasteries. Also, in niches are standing images of Vajrapani carved with four or two arms on each of the four faces of monoliths found inWestern Cambodia.[23]
In Nepal, Vajrapani is depicted holding a vajra supported on a lotus with its stem held in the right hand while the left hand is shown in a posture of "charity and argument". His paintings are in white colour.[23]
In Tibet, Vajrapani is represented in many fierce forms. Some of the notable ones are:Vajrapani-Acharya (Dharamapala) in a human form with only one head with a third eye with hair raised and crowned by a skull with fiery expression. His neck is adorned with a necklace of snakes, and with waist band made of tiger skin covered with skulls. Stepping to the right, his lifted hand holds a vajra. When painted in blue colour the image is encircled by flames with images of small Garudas;[23]Nilambara-Vajrapani with one head, with a third eye, a crown made of skull with four or six arms and in some cases with untidy hair bedecked with vajra and snake. Two hands are crossed to the breast in mystic posture (mudra), the second right hand is lifted up and carries a vajra. Stepping to the right, regally crowned and lying over a bed of snakes;[23] inAchala-Vajrapani form he is shown with four heads, four arms and four legs adorned with symbols of vajra, sword, lasso and skull cup (kapala) and trampling over demons;[23]Mahachakra-Vajrapani is a form with three heads and a third eye, and with six arms and two legs. The icon is adorned with symbols of vajra, snake withyum held in its main hands, and asshakti it to his left is shown holding a skull-cup (kapala) andgrigug (chopper or hooked knife). The icon is shown stepping over Brahma on the right and on Shiva to the left;[23] in theThunderbolt-Wielder form known as "snake charm form" to protect from snake bites, he is depicted sitting on alotus throne carried by peacocks. The right hand posture holds one end of rope noose to capture snake demons while the left hand held over the hips carries the other end of the noose. He is followed by two bodhisattvas—"Sarvanivarana-Vishkambhin, Effacer of Stains, andSamantabhadra, the Entirely Virtuous One". His adornments consist of a tall crown and snakes coiling his arms and ankles. In a painted form, usually in white colour "crossed-vajra" is held to the left raised above the accompanying Bodhisattvas but when painted in blue colour the left hand holds a double vajra;[24] his Garuda form is with wings and claws or with human head with a beak or head with wings fully spread (his painted form is in blue colour). he may be trampling over a demon or dead naga (snake). In some images he is shown carrying a sword, a bottle in the shape of a gourd, a chopper or hands held in a prayer mode.[24]
In Vietnamese Buddhism, Vajrapani is considered theDharma and is said to have eight Vajrapani, called Bát bộ kim cương. Sùng Thiện Diên Linh stele (built 1122) in Long Đọi Temple from theLý dynasty mentioned eight.[25] These eight Dharma protectors are often arranged in Vietnamese Buddhist temples as to protect the Dharma, followers and Buddhist worship facilities. The eight Dharma protectors have their own names:
Although they are eight, all eight are gathered into a unified group, divided into two rows, four in each row, not separated to worship.
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Vajrapani holds a prominent position in the Buddhist canon and is identified as a yaksha leader who has become a full-scale bodhisattva. This, reflected through theMahayana sutras has become an "emblem of esoteric knowledge and the revealer of Buddhist Tantra".[citation needed] As a yaksha, he maintains a special relationship with mountains and caves.
According to Buddhist scholarE. Lamotte, Vajrapani was the chief of theGuhayakas (genies des cavernes), who played an important role in Esoteric Buddhist and Brahmanical literature of India. Lamotte based his assessment on many textual passages which explained Vajrapani's use of his magic vajra to shake mountains.
TheMūlasarvāstivāda vinaya includes a narrative about how Vajrapani used his strength to destroy the boulderDevadatta used in his attempt to murder the Buddha. In theSarvastivada vinaya vibhasha, Vajrapani protects thepradakshina path with his magic weapon. This association correlates with the presence of large images of Vajrapani inCave 6 atAurangabad, located at both the entrance and exit of the circumambulation passage.[26]
The Pāli Canon'sAmbattha Sutta, which challenges the rigid nature of caste system, tells of one instance of him appearing as a sign of the Buddha's power. At the behest of his teacher, a young Brahmin named Ambatha visited the Buddha. Knowing the Buddha's family to be theShakya clan, who areKshatriya caste, Ambattha failed to show him the respect he would a fellow Brahmin. When the Buddha questioned his lack of respect, Ambatha replied it was because the Buddha belongs to a "menial" caste. The Buddha then asked the Brahmin if his family was descended from a “Shakya slave girl”. Knowing this to be true, Ambatha refused to answer the question. Upon refusing to answer the question for a second time, the Buddha warned him that his head would be smashed to bits if he failed to do so a third time. Ambatha was frightened when he saw Vajrapāni manifest above the Buddha's head ready to split the Brahmin's head in 7 pieces with his thunderbolt. He quickly confirmed the truth and a lesson on caste ensues.[27]
A popular story tells how Vajrapāni killsMaheśvara, a manifestation ofShiva depicted as an evil being.[28][8] The story occurs in several scriptures, most notably theSarvatathāgatatattvasaṅgraha and theVajrāpanyābhiṣeka Mahātantra.[29] The story begins with the transformation of the bodhisattvaSamantabhadra into Vajrapāni by Vairocana, the cosmic Buddha, receiving a vajra and the name "Vajrāpani".[30]Vairocana then requests Vajrapāni to generate his adamantine family in order to establish amandala. Vajrapāni refuses because Maheśvara "is deluding beings with his deceitful religious doctrines and engaging in all kinds of violent criminal conduct".[31] Maheśvara and his entourage are dragged toMount Meru, and all but Maheśvara submit. Vajrapāni and Maheśvara engage in a magical combat, which is won by Vajrapāni. Maheśvara's retinue become part of Vairocana's mandala, except for Maheśvara, who is killed, and his life transferred to another realm where he becomes a Buddha namedBhasmeśvaranirghoṣa, the "Soundless Lord of Ashes".[32]
According to Kalupahana, the story "echoes" the story of the conversion of Ambattha.[8] It is to be understood in the context of the historical competition between Buddhist institutions andShaivism.[33]in south Asia and southeast Asia.
In his bookThe Shaolin Monastery (2008), Prof.Meir Shahar notes Vajrapāni is thepatron saint of theShaolin Monastery. A short story appearing in Zhang Zhuo's (660–741) Tang anthology shows how the deity had been venerated in the Monastery from at least the eighth century. It is an anecdotal story of how the Shaolin monk Sengchou (480-560) gained supernatural strength and fighting ability by praying to the Vajrapāni and being force-fed raw meat.[34] Shaolin abbot Zuduan (1115–1167) erected a stele in his honor during theSong dynasty.[35] It reads:
According to the scripture [Lotus Sutra], this deity (Narayana) is a manifestation of Avalokitesvara (Guanyin).[36][37] If a person who compassionately nourishes all living beings employs this [deity's] charm, it will increase his body's strength (zengzhang shen li). It fulfills all vows, being most efficacious. ... Therefore those who study Narayana's hand-symbolism (mudra), those who seek his spell (mantra), and those who search for his image are numerous. Thus we have erected this stele to spread this transmission.[38]
— Stele re-erected (chong shang) by Shaolin's abbot Zuduan
Instead of being considered a stand-alone deity, Shaolin believes Vajrapāni to be an emanation of the Bodhisattva Guanyin. The Chinese scholar A'De noted this was because theLotus Sutra says Guanyin takes on the visage of whatever being that would best help pervade the dharma. The exactLotus Sutra passage reads: "To those who can be conveyed to deliverance by the body of the spirit who grasps thevajra (Vajrapāni) he preaches Dharma by displaying the body of the spirit who grasps thevajra."[39]
He was historically worshiped as the progenitor of their famous staff method by the monks themselves. A stele erected by Shaolin abbot Wenzai in 1517 shows the deity's vajra-club had by then been changed to agun staff,[40] which originally "served as the emblem of the monk".[41] Vajrapāni'syaksha-like Narayana form was eventually equated with one of the four staff-wielding "Kinnara Kings" from theLotus Sutra in 1575. His name was thus changed from Narayana to "Kinnara King".[42] One of the many versions of a certain tale regarding his creation of the staff method takes place during theYuan-eraRed Turban Rebellion. Bandits lay siege to the monastery, but it is saved by a lowly kitchen worker wielding a longfire poker as a makeshift staff. He leaps into the oven and emerges as a monstrous giant big enough to stand astride bothMount Song and the imperial fort atop Mount Shaoshi (which are five miles apart). The bandits flee when they behold this staff-wielding titan. The Shaolin monks later realize that the kitchen worker was none other than the Kinnara King in disguise.[43] Shahar notes the part of the kitchen worker might have been based on the actual life of the monk Huineng (638–713).[43] In addition, he suggests the mythical elements of the tale were based on the fictional adventures ofSun Wukong from the Chinese epicJourney to the West. He compares the worker's transformation in the stove with Sun's time inLaozi's crucible, their use of the staff, and the fact that Sun and his weapon can both grow to gigantic proportions.[44]
Statues and paintings of kinnaras were commissioned in various halls throughout Shaolin in honor of his defeat of the Red Turban army. A wicker statue woven by the monks and featured in the center of the "Kinnara Hall" was mentioned in Cheng Zongyou's seventeenth century training manualShaolin Staff Method. However, a century later, it was claimed that the Kinnara King had himself woven the statue. It was destroyed when the monastery was set aflame by theKMT GeneralShi Yousan in 1928. A "rejuvenated religious cult" arose around kinnaras in the late twentieth century. Shaolin re-erected the shrine to him in 1984 and improved it in 2004.[45]
Heracles became Vajrapani, guardian of Sakyamuni. There is a wealth of material and studies on the subject... to explain how Heracles went from being a purely classical Greek figure to being a guardian god in the Buddhist pantheon.
In the art of Gandhara Zeus became the inseparable companion of the Buddha as Vajrapani.
Media related toVajrapani at Wikimedia Commons.svg)
