Vajrapani

Vajrapāni as Heracles or Zeus, second-century.

As Buddhism expanded in Central Asia and fused with Hellenistic influences into Greco-Buddhism, the Greek hero Heracles was adopted to represent Vajrapāni.[14] In that era, he was typically depicted as a hairy, muscular athlete, wielding a short "diamond" club. Buddhaghosa associated Vajrapāni with the deva king Indra.[13] Some authors believe that the deity depicted is actually Zeus, whose Classical attribute is the thunderbolt.[15] The image of Vajrapani as a wrestler-like figure would eventually influence the statues of guardian deities in East Asia.[16]

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  Vajrapani, protector of the Buddha
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  The Buddha with his protector Vajrapāni. Gandhara, 2nd century
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  Vajrapani, 3-4th century

Paintings of Avalokiteshvara or Padmapani and Vajrapani on either side of the Buddha, from cave 1 of the Ajanta Caves

During the Kushan Empire, Gandhara art depicted Vajrapani's images in which he is shown primarily as a protector of Sakyamuni and not in the role of a bodhisattva. In the Indrasalaguha scenes, mountains form a part of his environment where his presence during the conversion of the naga Apalala 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 the dharma 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 perform miracles and propagate "superiority of his doctrine" are also common.[17]

In the western group of caves of the Ajanta Caves in Aurangabad, Vajrapani is depicted as a bodhisattva with his vajra in a tableau, a votive 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 a dhyanasana. 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 close iconographic composition is at the entrance to the porch of cave 2 and in the incomplete porch of cave 1. Such votive carved panels with Vajrapani are also seen in the interior of the parikrama passage of cave 2, in which he is paired with other bodhisattvas like Avalokiteśvara. In this panel he has a crown in the form of a stupa with a scarf fastened over his left thigh.[18]

In the eastern group of caves, at the entry to cave 6, Vajrapani is carved as a commanding persona in the form of a huge dvarapala, 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).[18]

General Heng in Dadaocheng Cisheng Temple, Taiwan

General Ha in Dadaocheng Cisheng Temple, Taiwan

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 the shanmen 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 are dharmapalas in the Chinese Buddhist canon. In Chinese 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 the start and end sounds in Sanskrit, symbolizing the basis of sounds and bearing the profound theory of Dharma.[19] Guhyapāda, in particular, is also considered one of the Twenty Devas or Twenty-Four Devas in the Chinese Buddhist pantheon. In the Shaolin tradition, Vajrapāni is venerated as an avatar of Avalokiteśvara who manifested to protect the monastery during the Yuan dynasty.[20]

In Japan, Vajrapāni is called Shukongōshin (執金剛神), the on'yomi reading of his Chinese name. As in China, his image was the inspiration for the Niō (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 with Acala (不動明王, Fudō-myōō); the mantra for Fudō-myōō references him as the powerful wielder of the vajra. Though he is not a very popular form of statue worship in Japan, he is frequently depicted in diagrams (mandala). The sixth formation of the Womb Realm mandala is called the "Vajrapani enclosure", in which he is depicted in 20 different forms, with Vajrasattva as the presiding deity.[21] In Japanese iconography he is depicted in red colour at the death of Buddha.[5]

The Buddha Vairocana (center) flanked by Padmapani (left) and Vajrapāni (right). Mendut, 8th century

In Indonesia, Vajrapani is depicted as a part of triad with Vairocana and Padmapani. A famous 3 metres tall stone statues of Vairocana, Padmapani, and Vajrapāni triad can be found in central chamber of Mendut temple, located around 3 kilometres east from Borobudur, 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 Javanese Sailendran art, which influenced the Buddhist art in Southeast Asia, including Srivijayan 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 in Western Cambodia.[21]

Bronze image Bodhisattva Vajrapani from Nepal, 1731

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.[21]

Thangka of a Dharmapala.

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; [21] 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;[21] in Achala-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;[21] 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 with yum held in its main hands, and as shakti it to his left is shown holding a skull-cup (kapala) and grigug (chopper or hooked knife). The icon is shown stepping over Brahma on the right and on Shiva to the left;[21] in the Thunderbolt-Wielder form known as "snake charm form" to protect from snake bites, he is depicted sitting on a lotus 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, and Samantabhadra, 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;[22] 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.[22]

In Vietnamese Buddhism, Vajrapani is considered the Dharma and is said to have eight Vajrapani, called Bát bộ kim cương. Sùng Thiện Diên Linh stele (built 1122) in Long Đọi Temple from the Lý dynasty mentioned eight.[23] 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:

• Thanh Trừ Tai
• Tích Độc Thần
• Hoàng Tùy Cầu
• Bạch Tịnh Thủy
• Xích Thanh Hỏa
• Định Trừ Tai
• Tử Hiền Thần
• Đại Thần Lực

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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  Statue of Vajrapāṇi, Long Đọi Temple, Hà Nam Province (1118–1121, Trần dynasty)
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  Vajrapāni figurine, Bát Tràng kiln, Hanoi, Revival Lê dynasty, 17th century AD
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  2 out of 8 Bát bộ kim cang statues at Phật Cô Đơn temple
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  2 out of 8 Bát bộ kim cang statues at Phật Cô Đơn temple

The Pāli Canon's Ambattha 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 the Shakya clan, who are Kshatriya caste, Ambatha 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 strike the Brahmin down with his thunderbolt. He quickly confirmed the truth and a lesson on caste ensues.[25]

A popular story tells how Vajrapāni kills Maheśvara, a manifestation of Shiva depicted as an evil being.[26][6] The story occurs in several scriptures, most notably the Sarvatathāgatatattvasaṅgraha and the Vajrāpanyābhiṣeka Mahātantra.[27] The story begins with the transformation of the bodhisattva Samantabhadra into Vajrapāni by Vairocana, the cosmic Buddha, receiving a vajra and the name "Vajrāpani".[28] Vairocana then requests Vajrapāni to generate his adamantine family in order to establish a mandala. Vajrapāni refuses because Maheśvara "is deluding beings with his deceitful religious doctrines and engaging in all kinds of violent criminal conduct".[29] Maheśvara and his entourage are dragged to Mount 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 named Bhasmeśvaranirghoṣa, the "Soundless Lord of Ashes".[30]

According to Kalupahana, the story "echoes" the story of the conversion of Ambattha.[6] It is to be understood in the context of the historical competition between Buddhist institutions and Shaivism.[31]in south Asia and southeast Asia.