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{{egyért2|Vadzsrapáni a buddhizmusban|Indra}}
[[Fájl:Vajrapani American Museum of Natural History.jpg|right|bélyegkép|Vadzsrapáni haragos ábrázolása a [[tibeti buddhizmus]]ban]]
{{ Infobox Buddhist term
| title = Vadzsrapáni
| en =
| pi =
| sa =
| bn = বজ্রপাণি
| my =
| my-Latn =
| zh = 金剛手菩薩
| zh-Latn = Jīngāngshǒu púsà
| ja = 執金剛神
| ja-Latn = Shukongōshin
| km =
| ko = 금강수보살
| ko-Latn =
| mnw =
| mnw-Latn =
| shn =
| shn-Latn =
| si =
| si-Latn =
| ta =
| th =
| bo = ཕྱག་ན་རྡོ་རྗེ་
| bo-Latn = Chakna Dorjé
| vi = Bát bộ Kim Cương
}}
{{Buddhizmus}}
'''Vadzsrapáni''' ([[szanszkrit nyelv|szanszkrit]]: "[[Vadzsra]] a kézben") az egyik legkorábbi [[bodhiszattva]] a [[mahájána|mahájána buddhizmusban]]. Ő [[Gautama Sziddhártha|Gautama Buddha]] védelmezője és vezetője, aki Buddha erejét szimbolizálja. Az ''[[Arany fény szútra|Arany fény szútrában]]'' ő a [[jaksa|jaksák]] nagy hadvezére.{{refhely|Vessantara|p=162}}
Vadzsrapáni – a mahájána buddhizmusban úgy is nevezik, hogy [[Vadzsraszattva]]{{refhely|Linrothe|p=157}} – gyakran tűnik fel a [[buddhista szimbolizmus|buddhista ikonográfiában]] Buddha alakja mellett a három legkorábbi védelmező istenség vagy [[bodhiszattva]] között. Mindhárman Buddha valamelyik erényét szimbolizálják: [[Mandzsusrí]] Buddha bölcsességét, [[Avalókitésvara]] Buddha végtelen [[együttérzés]]ét, Vadzsrapáni Buddha erejét szimbolizálja{{refhely|Santangelo|p=217-218 lábjegyzet}}, illetve mind az öt [[tathágata]] erejét.{{refhely|Linrothe|p=157}}
Vadzsrapáni az egyik legkorábbi [[dharmapála]] a mahájána buddhizmusban, aki szintén szerepel a [[théraváda]] hagyományhoz tartozó [[Tipitaka|páli kánonban]]. Vadzsrapánit dvözítik a saolin templomokban, a [[tibeti buddhizmus]]ban és a japán [[Tiszta Föld buddhizmus]]ban, ahol úgy nevezik, hogy [[Mahászthámaprápta]] és [[Amitábha]] és [[Avalokitésvara]] bodhiszattvákkal alkot hármas csoportot. Vadzsrapáni megnyilvánulási formái számos japán buddhista templomban megjelennek a [[Dharma (vallás)|Dharma]] (tanok) védelmezőjeként, akiket úgy neveznek, hogy [[Nio]]. Vadzsrapáni [[Acsala]]ként is ismert (japán: ''Fudó-Mjóó''), aki a [[vadzsra]] tartója.{{refhely|Getty|p=34}}
==Etimológia==
Vadzsrapáni egy [[szanszkrit nyelv|szanszkrit]] összetett szó, amelyben a 'vadzsra' jelentése "villámcsapás vagy gyémánt", a 'páni' jelentése "a kézben".{{refhely|Santangelo|p=217 lábjegyzet}}
==
Vadzsrapánit emberi alakban úgy ábrázolják, hogy a jobb kezében tartja a vadzsrát. Dhjáni-bodhiszattvának is nevezik, amely megegyezik [[Aksobhja|Aksobhjával]], a második [[Öt bölcsességbuddha|bölcsességbuddhával]]. Vadzsrapáni megtestesülése [[dharmapála]]ként Acsarja-Vadzsrapáni, akit gyakran három szemmel, csengővel (ghanta) és lasszóval (pása) ábrázolnak. Olykor [[jidam]]ként ábrázolják egy fejjel és négy karral, vadzsrával a kezében, kígyón fekvő embereken taposva. A szintén jidám Mahácsakra-Vadzsrapáninak három feje és hat karja van, kezében vadzsra van és kígyók, miközben [[Brahma|Brahmán]] és [[Siva|Siván]] tapos. Gyakran ábrázolják közösülés közben, ez az ún. [[jab-jum]] szimbólum. Acsala-Vadzsrapánit négy fejjel, négy karral, valamint karddal, lasszóval és vadzsrával ábrázolják, miközben démonokon tapos. Another depiction is in the form with the head, wings, and claws of [[Garuda]]. {{refhely|Getty|p=50}}
Vajrapāni's expression is wrathful, and is often symbolized as a [[yaksha]], to generate "fear in the individual to loosen up his dogmatism."{{refhely|Kalupahana|1992|p=220}} His outstretched right hand brandishes a [[vajra]], "symbolizing analytical knowledge (''jñanavajra'') that disintegrates the grasping of consciousness{{refhely|Kalupahana|1992|p=219}} Although he sometimes wears a skull crown, in most depictions he wears a five-pointed bodhisattva crown to depict the power of the five [[Dhyani Buddhas]] (the fully awakened state of the Buddha).{{refhely|Leviton|2012|p=232}}
==Mantrák==
Vadzsrapánival kapcsolatos az ''om vadzsrapáni húm phat'' [[mantra]].<ref>[http://www.wildmind.org/mantras/figures/vajrapani Vajrapani mantra - Om Vajrapani Hum]</ref><ref>[http://www.tonglen.oceandrop.org/prayers/Vajrapani_Mantra.htm Vajrapani Mantra]</ref> A fő szótag a ''húm''.
*Tibeti: ཨོཾ་བཛྲ་པཱ་ཎི་ཧཱུྂ༔
==Legendák==
[[Fájl:
A korai buddhista legendákban Vadzsrapáni is a minor deity who accompanied Gautama Buddha during his career as a wandering mendicant. In some texts he is said to be a manifestation of [[Śakra (Buddhism)|Śakra]], king of the [[Trāyastriṃśa]] heaven of Buddhist and Hindu cosmology and god of rain as depicted in the idols of the [[Gandharva]]. 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 from [[Kapilavastu]] he is stated to have assumed eight forms of devas who escorted him.{{refhely|Getty|p=50}}
According to [[Xuanzang]], the Chinese monk and traveler, Vajrapāni vanquished a large serpent at [[Udyana]]. In another version it is stated that while the [[Nāgas]] 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, the [[Garudas]].{{refhely|Getty|p=50}}
At the [[parinirvana]] of the Buddha, Vajrapāni dropped his vajra in despair and rolled himself in the dust. {{refhely|Getty|p=50}}
==Meaning==
Vajrapāni is seen as a manifestation of [[Vajradhara]] and the "spiritual reflex", the Dhyani Bhodisatava of Akshobhya.{{refhely|Getty|p=50}} On the popular level, Vajrapāni is the bodhisattva who represents the power of all the buddhas just as [[Avalokiteśvara]] represents their great compassion, and [[Manjusri|Mañjuśrī]] their wisdom.{{refhely|Santangelo|2013|p=217-218 footnotes}} He is called the Master of Unfathomable Mysteries who upholds truth even in adversities of darkness and ignorance. {{refhely|Power|2013|p=41}}
According to the [[Prajnaparamita|''Pañcaviṃsatisāhasrikā-'' and ''Aṣṭasāhasrikāprajñāpāramitā''s]], any bodhisattva on the path to [[buddhahood]] is eligible for Vajrapāni's protection, making them invincible to any attacks "by either men or ghosts".{{refhely|DeCaroli|2004|p=182}}
==Appearances and identifications==
===In Gandhara===
[[Fájl:Buddha-Vajrapani-Herakles.JPG|bélyegkép|right|alt=Vajrapāni as Herakles or Zeus|Vajrapāni as [[Heracles]] or [[Zeus]], second-century.]]
[[Fájl:'Bodhisattva Vajrapani' from Nepal, 1731, gilt bronze, Norton Simon Museum.JPG|right|bélyegkép|Bronze image Bodhisattva Vajrapani from Nepal, 1731]]
As Buddhism expanded in [[Central Asia]] and fused with [[Hellenistic period|Hellenistic influences]] into [[Greco-Buddhism]], the Greek hero [[Heracles]] was adopted to represent Vajrapāni. In that era, he was typically depicted as a hairy, muscular athlete, wielding a short "diamond" club. [[Buddhaghosa]] associated Vajrapāni with the [[deva (Buddhism)|''deva'']] king [[Indra]].{{refhely|DeCaroli|2004|p=182}} Some authors considers that the deity which is depicted is actually [[Zeus]], whose Classical attribute is the [[thunderbolt]].<ref>"In the art of Gandhara Zeus became the inseparable companion of the Buddha as Vajrapani." in Freedom, Progress, and Society, K. Satchidananda Murty, R. Balasubramanian, Sibajiban Bhattacharyya, Motilal Banarsidass Publishe, 1986, [https://books.google.com/books?id=KQubSpHFrKQC&pg=PA97 p. 97]</ref>
==
In Japan, Vajrapāni is known as {{nihongo|"the head vajra-wielding god"|執金剛神|Shukongōshin}}, and has been the inspiration for the {{nihongo|[[Nio|Niō]]|仁王||Benevolent Kings}}, the wrath-filled and muscular guardian gods of the Buddha, standing at the entrance of many Buddhist temples under the appearance of frightening, wrestler-like statues. He is also associated with {{nihongo|[[Acala]]|不動明王|Fudō-myōō}}; the [[mantra]] for Fudō-myōō references him as the powerful wielder of the [[vajra]].
{{quote|The origin of the image of Vajrapani should be explained. This deity is the protector and guide of the Buddha Sakyamuni. His image was modeled after that of Hercules. (...) The Gandharan Vajrapani was transformed in Central Asia and China and afterwards transmitted to Japan, where it exerted stylistic influences on the wrestler-like statues of the Guardian Deities (Nio).<ref>Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p23)</ref>}}
In Japan, though he is not a very popular form of statue worship, he is frequently depicted in diagrams ([[Mandala]]); the sixth formation of the Garbakhosa mandala is named as "Vajrapani enclosure" in which he is represented in 20 different forms with Kongsatta as the presiding deity.{{refhely|Getty|p=52}} In Japanese iconography he is depicted in red colour at the death of Buddha.{{refhely|Getty|p=50}}
===In Nepal===
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.{{refhely|Getty|p=52}}
==
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]].{{refhely|Getty|p=52}}
==
[[Fájl:Chengdu 2007 367.jpg|right|bélyegkép|[[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; {{refhely|Getty|p=52}} '''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;{{refhely|Getty|p=52}} 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;{{refhely|Getty|p=52}} '''Mahachakra-Vajrapani''' is a form with three heads and a third eye, and with six arms and two legs. Ihe icon is adornded 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;{{refhely|Getty|p=52}} 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 Virtous 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 accomanying Bodhisattvas but when painted in blue colour the left hand holds a double vajra;{{refhely|Getty|p=53}} 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 imgaes he is shown carrying a sword, a bottle in the shape of a gourd, a chopper or hands held in a prayer mode.{{refhely|Getty|p=53}}
==
[[Fájl:TheBuddhaAndVajrapaniGandhara2ndCentury.jpg|right|bélyegkép|The Buddha with his protector Vajrapāni. Gandhara, 2nd century]]
During the [[Kushan Empire|Kushana period]] [[Gandhara art]] depicted Vajrapani's images in which he is shown primarily as a protector of Sakhyamuni 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 [[Māra|Mara]] before his enlightenment. Scenes of Shakyamuni 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 "superiorty of his doctrine" are also common.{{refhely|Brancaccio|2010|p=169}}
{{double image|right|Ajanta Padmapani.jpg|155|Indischer Maler des 7. Jahrhunderts 001.jpg|167|Paintings of Avalokiteshvara or [[Padmapani]] and Vajrapani on either side of the Buddha in Cave 1}}
In the [[Ajanta Caves|western groups of caves]] in [[Aurangabad district, Maharashtra|Aurangabad]], Vajrapani is depicted as a bodisattva 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 pradkssina passage of cave 2 in which his presence is with other the ascetic bodisattvas like Avalokiteshvara; in this panel he has a crown in the form of a [[stupa]] with a scarf fastened over his left thigh. {{refhely|Brancaccio|2010|p=167-68}}
In the eastern group of caves at the entry to cave 6 in Aurangabad, Vajrapani is carved as a commanding persona in the form of a huge [[dvarapala]] along with Avolokiteshvara. Vajrapani image is flanked by a small attendant. He carries Vajra, his luminous weapon on the left hand, which rests on a scarf tied across his hip. His right arm is bent forward -perhaps he held a lotus like his ''paredros'' Avalokitesvara. Both the bodhisattvas guarding the entrance to cave 6 are carved wearing princely headdresses (crowns).{{refhely|Brancaccio|2010|p=167-68}}
==In literature and art==
In literature and art Vajrapani has a prominent place with his identification as a yaksha leading becoming a full scale bodhisattav. This, reflected through the [[Mahayana sutras]] has become an "emblem of esoteric knowledge and the revealer of Buddhist Tantra". In the role of yaksha, his special relationship with mountains and caves is established. According to E. Lamotte, author of books on Buddhism, Vajrapani was the chief of ''Guhayakas'' ''genies des cavernes'' or secret yakshas, who played a mysterious role in the Buddhist and brahmanical literature of India. Lamotte based his assessment on many textual passages which explained Vajrapani's use of his magic vajra to rock the mountains. The story of importance in this context narrated in the ''Mulasaravasitivada vinaya'', is the encounter between the Buddha and [[Devadutta]] in which Vajrapani's vajra strength to destruct the rock is brought out. In another textual reference, in the ''Sarvastivada vinaya vibhasha'', Vajrapani protects the [[pradakshina]] path adopting his magic weapon. This fact is verified in the location of huge Vajrapani images in [[Ajanta Caves|cave 6]] at [[Aurangabad district, Maharashtra|Aurangabad]] both at the entrance and exit end of the passage where circumambulation terminates.{{refhely|Brancaccio|2010|p=168-69}}
==Stories==
[[Fájl:The Buddha and nude Vajrapani at Jamal Garhi.jpg|bélyegkép|The [[Buddha]] and a naked Vajrapani in a frieze at [[Jamal Garhi]], [[Gandhara]].]]
===Conversion of Ambattha===
The Pāli Canon's ''Ambattha Sutta'', which challenges the 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|Shakya clan]], who are {{IAST|[[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.{{refhely|Vessantara|p=162}}
===Vajrapāni and Maheśvara===
A popular story tells how Vajrapāni kills Maheśvara, a manifestation of [[Shiva]] depicted as an evil being.{{refhely|Davidson|2012|p=148-153}}{{refhely|Kalupahana|1992|p=220}} The story occurs in several scriptures, most notably the ''Sarvatathāgatatattvasaṅgraha'' and the ''Vajrāpanyābhiṣeka Mahātantra''.{{refhely|Davidson|2012|p=148}} The story begins with the transformation of the bodhisattva [[Samantabhadra]] into Vajrapāni by Vairocana, the cosmic Buddha, receiving a vajra and the name "Vajrāpani".{{refhely|Davidson|2012|p=148-150}} [[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".{{refhely|Davidson|2012|p=150}} 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".{{refhely|Davidson|2012|p=151}}
According to Kalupahana, the story "echoes" the story of the conversion of Ambattha.{{refhely|Kalupahana|1992|p=220}} It is to be understood in the context of the competition between Buddhist institutions and [[Shaivism]].{{refhely|Davidson|2012|p=152}}
==Patron saint of Shaolin monastery==
[[Image:Varjapani magao caves.jpg|bélyegkép|150px|right|Vajrapāni at [[Mogao Caves]]'s Hidden Library, [[Dunhuang]], [[China]]. Power and anger personified. Late 9th century, [[Tang dynasty]]. Ink and colors on silk.]]
In his book ''The Shaolin Monastery'' (2008), Prof. [[Meir Shahar]] notes Vajrapāni is the [[patron saint]] of the [[Shaolin 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.<ref>{{harvp|Shahar|2008|pp=35–36}}</ref> Shaolin abbot Zuduan (1115–1167) erected a stele in his honor during the [[Song dynasty]].<ref>{{harvp|Shahar|2008|p=40}}</ref> It reads:
{{quote|According to the scripture [''[[Lotus Sutra]]''], this deity (Narayana) is a manifestation of Avalokitesvara ([[Guanyin]]).<ref>This usage of Narayana is not to be confused with [[Narayana|one of the many]] names of the Hindu god Vishnu.</ref><ref>Instead of being a stand alone Bodhisattva, Shaolin considers him to be an emanation of [[Guanyin]].</ref> 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.<ref>{{harvp|Shahar|2008|p=42}}</ref>| 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 the ''Lotus Sutra'' says Guanyin takes on the visage of whatever being that would best help pervade the dharma. The exact ''Lotus Sutra'' passage reads: “To those who can be conveyed to deliverance by the body of the spirit who grasps the ''vajra'' (Vajrapāni) he preaches Dharma by displaying the body of the spirit who grasps the ''vajra''.”<ref>{{harvp|Shahar|2008|p=85}}</ref>
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 a [[Gun (staff)|''gun'' staff]],<ref>{{harvp|Shahar|2008|p=84}}</ref> which originally "served as the emblem of the monk".<ref>{{harvp|Shahar|2008|p=102}}</ref> Vajrapāni's [[yaksha]]-like Narayana form was eventually equated with one of the four staff-wielding "[[Kinnara]] Kings" from the ''Lotus Sutra'' in 1575. His name was thus changed from Narayana to "Kinnara King".<ref>{{harvp|Shahar|2008|p=87}}</ref> One of the many versions of a certain tale regarding his creation of the staff method takes place during the [[Yuan dynasty|Yuan-era]] [[Red Turban Rebellion]]. Bandits lay siege to the monastery, but it is saved by a lowly kitchen worker wielding a long [[fire poker]] as a makeshift staff. He leaps into the oven and emerges as a monstrous giant big enough to stand astride both [[Mount 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.<ref name="Shahar_87_88">{{harvp|Shahar|2008|p=87–88}}</ref> Shahar notes the part of the kitchen worker might have been based on the actual life of the monk Huineng (638-713).<ref name="Shahar_87_88"/> In addition, he suggests the mythical elements of the tale were based on the fictional adventures of [[Sun Wukong]] from the Chinese epic ''[[Journey to the West]]''. He compares the worker's transformation in the stove with Sun's time in [[Laozi]]'s crucible, their use of the staff, and the fact that Sun and his weapon can both grow to gigantic proportions.<ref>{{harvp|Shahar|2008|p=109}}</ref>
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 manual ''Shaolin 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 the [[KMT]] General [[Shi 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.<ref>{{harvp|Shahar|2008|p=88}}</ref>
==Galéria==
<gallery>
Fájl:Vajrapani with Heraklean club.jpg|Vadzsrapáni with [[Herakles|Heraklean]] club
Fájl:VajrapaniAndMonks.jpg|Vadzsrapáni with a group of Buddhist monks. Gandhara
Fájl:Shaolinstele.jpg|1517 stele dedicated to Narayana's defeat of the Red Turban rebels
Fájl:Met, gandhara, hercules and the nemean lion, 1st century.JPG|Hercules and the Nemean lion. [[Gandhára]], 1. század
</gallery>
==Jegyzetek==
{{jegyzetek}}
===Források===
* [[Jerry H. Bentley]], "Old World Encounters. Cross-cultural contacts and exchanges in pre-modern times" (Oxford University Press, 1993) ISBN 0-19-507639-7
* John Boardman, "The Diffusion of Classical Art in Antiquity" (Princeton University Press, 1994) ISBN 0-691-03680-2
* [[Osmund Bopearachchi]], Christine Sachs, "De l'Indus à l'Oxus, Archéologie de l'Asie Centrale", ISBN 2-9516679-2-2
* {{hely|}} {{cite book|last= Brancaccio |first=Pia |title=The Buddhist Caves at Aurangabad: Transformations in Art and Religion|url=https://books.google.com/books?id=m_4pXm7dD78C&pg=PA169|date=17 December 2010|publisher=BRILL|isbn=90-04-18525-9|ref=harv}}
* {{hely|}} {{cite book|ref=harv|last=Davidson|first=Ronald M.|title=Indian Esoteric Buddhism: A Social History of the Tantric Movement|url=https://books.google.com/books?id=nwyeIyWTlEMC|year=2012|publisher=Columbia University Press|isbn=978-0-231-50102-6}}
* {{hely|}} {{cite book|ref=harv|last=DeCaroli|first=Robert |title=Haunting the Buddha : Indian Popular Religions and the Formation of Buddhism: Indian Popular Religions and the Formation of Buddhism|url=https://books.google.com/books?id=q_2XtkSRyTYC|year=2004|publisher=Oxford University Press, USA|isbn=978-0-19-803765-1}}
* Richard Foltz, "Religions of the Silk Road", 2nd edition (Palgrave Macmilla, 2010) ISBN 978-0-230-62125-1
* {{hely|Getty}} {{cite book|last= Getty |first=Alice |title=The Gods of Northern Buddhism: Their History and Iconography|url=https://books.google.com/books?id=KxczE2AZ7T8C&pg=PA52|year=1988|publisher=Courier Corporation|isbn=978-0-486-25575-0|ref=harv}}
* {{hely|}} {{cite book|ref=harv|last=Kalupahana|first=David |authorlink=David Kalupahana|title=A History of Buddhist Philosophy: Continuities and Discontinuities|url=https://books.google.com/books?id=SlDArya3YvcC|year=1992|publisher=University of Hawaii Press|isbn=978-0-8248-1402-1}}
* {{hely|}} {{cite book|last= Leviton |first=Richard |title=My Pal, Blaise: Notes on a 60-Billion-Year Friendship|url=https://books.google.com/books?id=cBGvciUDhp0C&pg=PA232|date=August 2012|publisher=iUniverse|isbn=978-1-4759-4809-7|ref=harv}}
* {{hely|Linrothe}} {{cite book|last= Linrothe |first=Robert N. |title=Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art|url=https://books.google.com/books?id=AdtYxZoG228C&pg=PA157|year=1999|publisher=Serindia Publications, Inc.|isbn=978-0-906026-51-9|ref=harv}}
* {{hely|}} {{cite book|last= Power |first=Richard |title=The Lost Teachings of Lama Govinda: Living Wisdom from a Modern Tibetan Master|url=https://books.google.com/books?id=4lRbBgAAQBAJ&pg=PR41|date=20 September 2013|publisher=Quest Books|isbn=978-0-8356-3064-1|pages=harv}}
* {{hely|Santangelo}} {{cite book |last= Santangelo |first= Paolo |title= Zibuyu, “What The Master Would Not Discuss”, according to Yuan Mei (1716 - 1798): A Collection of Supernatural Stories (2 vols) |url= https://books.google.com/books?id=aeMTAAAAQBAJ&pg=PA218 |date=9 July 2013 |publisher=BRILL |isbn= 978-90-04-21628-0 |ref=harv}}
* {{hely|}} {{cite book |last=Shahar |first=Meir |authorlink=Meir Shahar |year=2008 |title=The Shaolin Monastery: History, Religion, and the Chinese Martial Arts |location=Honolulu, HI |publisher=University of Hawai'i Press |isbn=0824831101 |ref=harv}}
* "Alexander the Great: East-West Cultural contacts from Greece to Japan" (NHK and Tokyo National Museum, 2003)
* {{hely|}} {{cite book |ref=harv |last=Tarn |first=William Woodthorpe |authorlink= William Woodthorpe Tarn |title= The Greeks in Bactria and India |url= https://books.google.com/books?id=-HeJS3nE9cAC |year=1966 |publisher= Cambridge University Press |isbn= 978-1-108-00941-6}}
* {{hely|Vessantara}} {{cite book|ref=harv|author=Vessantara|title=Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities|url=https://books.google.com/books?id=-O3Khal6UMcC|year=1993|publisher=Windhorse|isbn=978-0-904766-53-0}}
* "The Crossroads of Asia, Transformation in image and symbols", 1992, ISBN 0-9518399-1-8
==További információk==
*{{commonskat|Vajrapani}}
* Lamotte, Étienne (2003). [https://archive.org/stream/BackCopiesOfBuddhistStudiesReview/Bsr20.12003#page/n0/mode/2up Vajrapāṇi in India (I)], Buddhist Studies Reviews 20, (1), 1-30
* Lamotte, Étienne (2003). [https://archive.org/stream/BackCopiesOfBuddhistStudiesReview/Bsr20.22003#page/n1/mode/2up Vajrapāṇi in India (II)], Buddhist Studies Reviews 20, (2), 119-144
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