Bit late arriving, evening all.
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9.00 - 001 - Bobby Stokes who scored Southampton's winner versus Man United.
9.00 - 002 - J.J. Barrie who had a number 1 with `No Charge`.
9.00 - 003 - Laverne & Shirley, first aired in 1976, a spin-off from Happy Days.
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9.03 - 004 - Bertie Mee who managed Arsenal between 1966 and 1976.
9.03 - 005 - David Bowie before the Ruby Flipper routine TVC 15.
9.03 - 006 - Phil Drabble.


text:
Vajrapāṇi (Sanskrit: "Vajra in [his] hand") is one of the earliest-appearing bodhisattvas in Mahayana Buddhism. He is the protector and guide of Gautama Buddha and rose to symbolize the Buddha's power.
Vajrapāni is extensively represented in Buddhist 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' immense compassion, and Vajrapāni protects Buddha and manifests all the Buddhas' power [1] as well as the power of all five tathāgatas (Buddhahood of the rank of Buddha).[2]
Vajrapāni is one of the earliest Dharmapalas of Mahayana Buddhism and also appears as a deity in the Pali Canon of the Theravada school. He is worshiped in the Shaolin Monastery, in Tibetan Buddhism and in Pure Land Buddhism (where he is known as Mahasthamaprapta and forms a triad with Amitābha and Avalokiteśvara). Manifestations of Vajrapāni can also be found in many Buddhist temples in Japan as Dharma protectors called Nio. Vajrapāni is also associated with Acala, who is venerated as Fudō-Myōō in Japan, where he is serenaded as the holder of the vajra.[3]
Vajrapāṇi
Tibetan depiction of the wrathful Vajrapāṇi
वज्रपाणि
Pāli
वजिरपाणि
Vajirapāṇi
金剛手菩薩
(Pinyin: Jīngāngshǒu Púsà)
金剛手菩薩(こんごうしゅぼさつ)
(romaji: Kongōshu Bosatsu)
금강수보살
(RR: Geumgangsu Bosal)
พระวัชรปาณีโพธิสัตว์
ཕྱག་ན་རྡོ་རྗེ་
Wylie: phyag na rdo rje
THL: chak na dorje
Kim Cương Thủ Bồ Tát
Venerated by
Theravada, Mahayana, Vajrayana
Buddhism portal
Vajrapāni is a compound word in Sanskrit in which 'Vajra' means "thunderbolt or diamond" and 'pāni' means "in the hand".[4]
In human form Vajrapāni is depicted holding the vajra in his right hand. He is sometimes referred to as a Dhyani-Bodhisattva, equivalent to Akshobhya, the second Dhyani Buddha. Acharya-Vajrapani is Vajrapani's manifestation as Dharmapala, often seen sporting a third eye, ghanta (bell) and pāśa (lasso). He is sometimes represented as a yidam 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 on Brahma and Shiva. He is often in union with his consort in yab-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 of Garuda. [5]
Vajrapāni's expression is wrathful, and is often symbolized as a yaksha, to generate "fear in the individual to loosen up his dogmatism."[6] His outstretched right hand brandishes a vajra, "symbolizing analytical knowledge (jñanavajra) that disintegrates the grasping of consciousness[7] 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).[8]
The mantra oṃ vajrapāṇi hūṃ phaṭ is associated with Vajrapāni.[9][10] His Seed Syllable is hūṃ.
Tibetan: ཨོཾ་བཛྲ་པཱ་ཎི་ཧཱུྂ༔
Parinirvana of Buddha.
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 said to be a manifestation of 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.[5]
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.[5]
At the parinirvana of the Buddha, Vajrapāni dropped his vajra in despair and rolled himself in the dust. [5]
Vajrapāni is seen as a manifestation of Vajradhara and the "spiritual reflex", the Dhyani Bodhisattva of Akshobhya.[5] On the popular level, Vajrapāni is the bodhisattva who represents the power of all the buddhas just as Avalokiteśvara represents their great compassion, and Mañjuśrī their wisdom.[1] He is called the Master of Unfathomable Mysteries who upholds truth even in adversities of darkness and ignorance. [11]
According to the Pañcaviṃsatisāhasrikā- and Aṣṭasāhasrikāprajñāpāramitās, any bodhisattva on the path to buddhahood is eligible for Vajrapāni's protection, making them invincible to any attacks "by either men or ghosts".[12]
Appearances and identifications
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.[13]
In Gandhara
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. 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.[12] Some authors believe that the deity depicted is actually Zeus, whose Classical attribute is the thunderbolt.[14]
The Buddha with his protector Vajrapāni. Gandhara, 2nd century
During the 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 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.[15]
Paintings of Avalokiteshvara or Padmapani and Vajrapani on either side of the Buddha in Cave 1
In the western groups of caves in 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 Avalokiteśvara; in this panel he has a crown in the form of a stupa with a scarf fastened over his left thigh. [16]
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 Avolokiteśvara. 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 Avalokiteśvara. Both the bodhisattvas guarding the entrance to cave 6 are carved wearing princely headdresses (crowns).[16]
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 Japan, Vajrapāni is known as "the head vajra-wielding god" (執金剛神 Shukongōshin), and has been the inspiration for the 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 Acala (不動明王 Fudō-myōō); the mantra for Fudō-myōō references him as the powerful wielder of the vajra.
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).[17]
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.[13] In Japanese iconography he is depicted in red colour at the death of Buddha.[5]
In Nepal
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.[13]
In Tibet
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; [13] 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;[13] 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;[13] 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;[13] 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;[18] 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.[18]
In literature and art
In literature and art Vajrapani has a prominent place with his identification as a yaksha leading becoming a full scale bodhisattva. 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 cave 6 at Aurangabad both at the entrance and exit end of the passage where circumambulation terminates.[19]
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 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.[20]
Vajrapāni and Maheśvara
A popular story tells how Vajrapāni kills Maheśvara, a manifestation of Shiva depicted as an evil being.[21][6] The story occurs in several scriptures, most notably the Sarvatathāgatatattvasaṅgraha and the Vajrāpanyābhiṣeka Mahātantra.[22] The story begins with the transformation of the bodhisattva Samantabhadra into Vajrapāni by Vairocana, the cosmic Buddha, receiving a vajra and the name "Vajrāpani".[23] 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".[24] 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".[25]
According to Kalupahana, the story "echoes" the story of the conversion of Ambattha.[6] It is to be understood in the context of the competition between Buddhist institutions and Shaivism.[26]
Patron saint of Shaolin monastery
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.[27] Shaolin abbot Zuduan (1115–1167) erected a stele in his honor during the Song dynasty.[28] It reads:
According to the scripture [Lotus Sutra], this deity (Narayana) is a manifestation of Avalokitesvara (Guanyin).[29][30] 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.[31]
—  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."[32]
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,[33] which originally "served as the emblem of the monk".[34] 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".[35] One of the many versions of a certain tale regarding his creation of the staff method takes place during the 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.[36] Shahar notes the part of the kitchen worker might have been based on the actual life of the monk Huineng (638-713).[36] 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.[37]
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.[38]
Vajrapāni with Heraklean club
Vajrapāni with a group of Buddhist monks. Gandhara
1517 stele dedicated to Narayana's defeat of the Red Turban rebels
Hercules and the Nemean lion. Gandhara, 1st century
Boddhisattva Vajrapani. Mendut near Borobudur, Central Java, Indonesia. Sailendran art c. 8th century.
^ a b Santangelo 2013, p. 217-218 footnotes.
^ Linrothe1999, p. 157.
^ Getty (1928), p. 34.
^ Santangelo 2013, p. 217 footnotes.
^ a b c d e f Getty 1988, p. 50.
^ a b c Kalupahana (1992), p. 220.
^ Kalupahana (1992), p. 219.
^ Leviton 2012, p. 232.
^ Vajrapani mantra - Om Vajrapani Hum
^ Vajrapani Mantra
^ Power 2013, p. 41.
^ a b DeCaroli (2004), p. 182.
^ a b c d e f g Getty 1988, p. 52.
^ "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, p. 97
^ Brancaccio 2010, p. 169.
^ a b Brancaccio 2010, p. 167-68.
^ Katsumi Tanabe, "Alexander the Great, East-West cultural contacts from Greece to Japan", p23)
^ a b Getty 1988, p. 53.
^ Brancaccio 2010, p. 168-69.
^ Vessantara (1993), p. 162.
^ Davidson (2012), p. 148-153.
^ Davidson (2012), p. 148.
^ Shahar (2008), pp. 35–36
^ Shahar (2008), p. 40
^ This usage of Narayana is not to be confused with one of the many names of the Hindu god Vishnu.
^ Instead of being a stand alone Bodhisattva, Shaolin considers him to be an emanation of Guanyin.
^ Shahar (2008), p. 102
^ a b Shahar (2008), p. 87–88
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
Brancaccio, Pia (17 December 2010). The Buddhist Caves at Aurangabad: Transformations in Art and Religion. BRILL. ISBN 90-04-18525-9.
Davidson, Ronald M. (2012). Indian Esoteric Buddhism: A Social History of the Tantric Movement. Columbia University Press. ISBN 978-0-231-50102-6.
DeCaroli, Robert (2004). Haunting the Buddha : Indian Popular Religions and the Formation of Buddhism: Indian Popular Religions and the Formation of Buddhism. 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
Getty, Alice (1928). The Gods of Northern Buddhism: Their History and Iconography. Courier Corporation. ISBN 978-0-486-25575-0.
Kalupahana, David (1992). A History of Buddhist Philosophy: Continuities and Discontinuities. University of Hawaii Press. ISBN 978-0-8248-1402-1.
Leviton, Richard (August 2012). My Pal, Blaise: Notes on a 60-Billion-Year Friendship. iUniverse. ISBN 978-1-4759-4809-7.
Linrothe, Robert N. (1999). Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Esoteric Buddhist Art. Serindia Publications, Inc. ISBN 978-0-906026-51-9.
Power, Richard (20 September 2013). The Lost Teachings of Lama Govinda: Living Wisdom from a Modern Tibetan Master. Quest Books. pp. harv. ISBN 978-0-8356-3064-1.
Santangelo, Paolo (9 July 2013). Zibuyu, "What The Master Would Not Discuss", according to Yuan Mei (1716 - 1798): A Collection of Supernatural Stories (2 vols). BRILL. ISBN 978-90-04-21628-0.
Shahar, Meir (2008). The Shaolin Monastery: History, Religion, and the Chinese Martial Arts. Honolulu, HI: University of Hawai'i Press. ISBN 0824831101.
"Alexander the Great: East-West Cultural contacts from Greece to Japan" (NHK and Tokyo National Museum, 2003)
Tarn, William Woodthorpe (1966). The Greeks in Bactria and India. Cambridge University Press. ISBN 978-1-108-00941-6.
Vessantara (1993). Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities. Windhorse. ISBN 978-0-904766-53-0.
"The Crossroads of Asia, Transformation in image and symbols", 1992, ISBN 0-9518399-1-8
Lamotte, Étienne (2003). Vajrapāṇi in India (I), Buddhist Studies Reviews 20, (1), 1-30
Lamotte, Étienne (2003). Vajrapāṇi in India (II), Buddhist Studies Reviews 20, (2), 119-144
Media related to Vajrapani at Wikimedia Commons
Abhidharmadīpa
The Abhidharmadīpa or Lamp of Abhidharma is an Abhidharma text thought to have been authored by Vasumitra as a response to Vasubandhu's Abhidharmakośakārikā.
The text consists of verse and prose commentary. It currently survives as an incomplete collection of Sanskrit fragments. However, the text is valuable insofar as it confirms the identity of Vasubandhu as author of the Abhidharmakośakārikā.
Acala
Acala (Sanskrit: अचल "immovable") is a dharmapala primarily revered in Vajrayana Buddhism. He is seen as a protective deity particularly in Shingon traditions of Japan where he is known as Fudō Myō-ō, in Tangmi traditions of China and Taiwan as Búdòng Míngwáng, in Nepal and Tibet as Caṇḍaroṣaṇa, and elsewhere.He is classed among the Wisdom Kings and is preeminent among the Five Wisdom Kings of the Womb Realm. Accordingly, his figure occupies an important hierarchical position in the Mandala of the Two Realms
In Japan, Acala is highly venerated in the Shingon Buddhism, Tendai, Zen, Nichiren Buddhism and in Shugendō. Fudō Myō-ō is also highly revered amongst some Yakuza members, who oftentimes draw on his intense facial expression and demeanor.
Amitābha
Amitābha (Sanskrit pronunciation: [ɐmɪˈtaːbʱɐ]), also known as Amida or Amitāyus, is a celestial buddha according to the scriptures of Mahayana Buddhism. Amitābha is the principal buddha in Pure Land Buddhism, a branch of East Asian Buddhism. In Vajrayana Buddhism, Amitābha is known for his longevity attribute, magnetising red fire element, the aggregate of discernment, pure perception and the deep awareness of emptiness of phenomena. According to these scriptures, Amitābha possesses infinite merit resulting from good deeds over countless past lives as a bodhisattva named Dharmakāra. Amitābha means "Infinite Light", and Amitāyus means "Infinite Life" so Amitābha is also called "The Buddha of Immeasurable Light and Life".
Buddhism in Japan
Buddhism in Japan has been practiced since its official introduction in 552 CE according to the Nihon Shoki from Baekje, Korea, by Buddhist monks. Buddhism has had a major influence on the development of Japanese society and remains an influential aspect of the culture to this day.In modern times, Japan's popular schools of Buddhism are Pure Land Buddhism, Nichiren Buddhism, Shingon Buddhism and Zen. As of 2008, approximately 34% of the Japanese identify as Buddhists and the number has been growing since the 1980s, in terms of membership in organized religion. However, in terms of practice, 75% practice some form of Buddhism (compared with 90% practicing Shinto, thus most Japanese practice both religions to some extent (Shinbutsu-shūgō)). About 60% of the Japanese have a Butsudan (Buddhist shrine) in their homes.
Chagpori
Chagpori, Chakpori, Chokpori, Chagpo Ri (Wylie: lcags po ri, literally "Iron Mountain"; is a spirit-mountain of Vajrapani within the city of Lhasa in Tibet. It south of the Potala and just to the left when one is facing the Potala. It is considered to be one of the four holy mountains of central Tibet.
Chagpori was the site of the monastic medical college of the same name founded there by Sangye Gyatso in 1696. This medical college, which incorporated a recently restored temple made by Thang Tong Gyalpo, was supplied with revenue generating lands and with a constant stream of students by a "monk tax". It remained an important medical institution in Tibet and Central Asia up until the mid-Twentieth century. Peter Aufschnaiter was photographed by Heinrich Harrer on top of the College of Medicine (Men-Tsee-Khang) using a theodolite for surveying the city of Lhasa. Aufschnaiter wrote, "Since 23 December 1947 I have been staying in Lhasa for some months to make a town plan, and have now been appointed to the government service by a decree of the Regent."
During the March 1959 Lhasa uprising, the medical school established by the Thirteenth Dalai Lama named Men-Tsee-Khang and a temple housing statutes of coral (Tsepame), mother-of-pearl (of Tujechempo) and turquoise (of Drolma) were demolished by the People's Liberation Army artillery as the Tibetans had placed a few cannons up there. Jianglin Li's book Tibet in Agony: Lhasa 1959 says,"On March 20 (...) That was the morning of the shelling of Chakpori Hill. While the Tibetan Medical Institute crumbled..."The monk Jampa Phuntsok of the Namgyal Monastery recalled, "when the bombardment of Chakpori Hill began (...) the Tibetans at the Potala could only watch as their beloved landmark went up in smoke." It is now crowned by radio antennas. A road has been constructed through the spur that used to connect Chagpori with the Marpori ('Red Hill') on which the Potala is built. At this spur connecting these two hills was the famous chorten Pargo Kaling, a spired reliquary with a tunnel that was destroyed by the Chinese People's Liberation Army after the March 10, 1959 Tibetan uprising..Some rebuilding has since taken place a number of old rock carvings have survived through damage. Some of them are thought to have been carved during the reign of king Songtsen Gampo (605 or 617? - 649 CE) and painted by Nepalese artists. Some buildings have been rebuilt near the base of the hill and there is now again a small temple with prayer wheels.Tradition has it that the three main hills of Lhasa represent the "Three Protectors of Tibet." Chagpori is the soul-mountain (bla-ri) of Vajrapani, Pongwari that of Manjushri, and Marpori, the hill on which the Potala stands, represents Chenresig or Avalokiteshvara.
Fierce deities
In Buddhism, fierce deities are the fierce, wrathful or forceful (Tibetan: trowo, Sanskrit: krodha) forms of enlightened Buddhas, Bodhisattvas or Devas (divine beings). Because of their power to destroy the obstacles to enlightenment, they are also termed krodha-vighnantaka, "fierce destroyers of obstacles". Fierce deities are a notable feature of the iconography of Mahayana and Vajrayana Buddhism. These types of deities first appeared in India during the late 6th century with its main source being the Yaksha imagery and became a central feature of Indian Tantric Buddhism by the late 10th or early 11th century.
Goshir Gyaltsab
Goshir Gyaltsab Rinpoche (Tibetan: རྒྱལ་ཚབ།, Wylie: Rgyal-tshab) is a leading incarnate lama (tulku) in the Karma Kagyu lineage of Tibetan Buddhism. He is believed by his followers to embody the activity of Vajrapani.The first Gyaltsab Rinpoche Paljor Dondrub (1427–1489) was born in Nyemo Yakteng and received the title Goshir (traditional Chinese: 國師; ; "state teacher") from the Emperor of China. In Tibet, Gyaltsab Rinpoche is known as Tsurphu Goshir Gyaltsab Rinpoche. He is the regent looking after Tsurphu monastery and the interests of the Karmapas in between two Karmapas. In Tsurphu, Gyaltsab Rinpoche's monastery Chogar Gong lies directly behind Karmapa's monastery.
Gyaltsab Rinpoche was recognized by the Sixteenth Karmapa before he was born in 1954 and after the official enthronement by the 16th Karmapa in 1959, Gyaltsab Rinpoche made the journey to Sikkim together with the Karmapa.
Greco-Buddhist art
Greco-Buddhist art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which developed over a period of close to 1,000 years in Central Asia, between the conquests of Alexander the Great in the 4th century BC, and the Islamic conquests of the 7th century AD. Greco-Buddhist art is characterized by the strong idealistic realism and sensuous description of Hellenistic art and the first representations of the Buddha in human form, which have helped define the artistic (and particularly, sculptural) canon for Buddhist art throughout the Asian continent up to the present. It is also a strong example of cultural syncretism between eastern and western traditions.
The origins of Greco-Buddhist art are to be found in the Hellenistic Greco-Bactrian kingdom (250–130 BC), located in today's Afghanistan, from which Hellenistic culture radiated into the Indian subcontinent with the establishment of the Indo-Greek kingdom (180–10 BC). Under the Indo-Greeks and then the Kushans, the interaction of Greek and Buddhist culture flourished in the area of Gandhara, in today's northern Pakistan, before spreading further into India, influencing the art of Mathura, and then the Hindu art of the Gupta empire, which was to extend to the rest of South-East Asia. The influence of Greco-Buddhist art also spread northward towards Central Asia, strongly affecting the art of the Tarim Basin, and ultimately the arts of China, Korea, and Japan.
List of bodhisattvas
In Mahayana and Vajrayana Buddhist thought, a bodhisattva (Chinese: 菩薩; pinyin: púsà; Japanese pronunciation: bosatsu; Korean pronunciation: bosal) is a being who is dedicated to achieving complete Buddhahood. Conventionally, the term is applied to beings with a high degree of enlightenment. Bodhisattva literally means a "bodhi (enlightenment) being" in Sanskrit. Mahayana practitioners have historically lived in many other countries that are now predominantly Hindu, Muslim or Theravada Buddhist; remnants of reverence for bodhisattvas has continued in some of these regions.
The following is a non-exhaustive list of bodhisattvas primarily respected in Indian, Tibetan Buddhism and East Asian Buddhism.
List of suttas
Suttas from the Sutta Pitaka of the Pali Canon.
List of Digha Nikaya suttas
List of Majjhima Nikaya suttas
List of Samyutta Nikaya suttas
List of Anguttara Nikaya suttas
List of Khuddaka Nikaya suttas
Mahāsthāmaprāpta is a bodhisattva mahāsattva that represents the power of wisdom, often depicted in a trinity with Amitābha and Avalokiteśvara (Guanyin), especially in Pure Land Buddhism. His name literally means "arrival of the great strength".
Mahāsthāmaprāpta is one of the Eight Great Bodhisattvas in Mahayana Buddhism, along with Mañjuśrī, Samantabhadra, Avalokiteśvara, Ākāśagarbha, Kṣitigarbha, Maitreya and Sarvanivarana-Vishkambhin.
In Chinese Buddhism, he is usually portrayed as a woman, with a likeness similar to Avalokiteśvara. He is also one of the Japanese Thirteen Buddhas in Shingon Buddhism. In Tibetan Buddhism, Mahāsthāmaprāpta is equated with Vajrapani, who is one of his incarnations and was known as the Protector of Gautama Buddha.
Mahāsthāmaprāpta is one of the oldest bodhisattvas and is regarded as powerful, especially in the Pure Land school, where he takes an important role in the Longer Sukhāvatīvyūha Sūtra.
In the Śūraṅgama Sūtra, Mahāsthāmaprāpta tells of how he gained enlightenment through the practice of nianfo, or continuous pure mindfulness of Amitābha, to obtain samādhi. In the Amitayurdhyana Sutra, Mahāsthāmaprāpta is symbolized by the moon while Avalokiteśvara is represented by the sun.
Maitripada
Maitrīpāda (c. 1007–1085, also known as Maitrīgupta, Advayavajra, and, to Tibetans, Maitrīpa), was a prominent Indian Buddhist Mahasiddha associated with the Mahāmudrā transmission. His teachers were Shavaripa and Naropa. His students include Atisha, Marpa, Vajrapani, Karopa, Natekara (also known as Sahajavajra), Devākaracandra (also known as Śūnyatāsamādhi), and Rāmapāla. His hermitage was Mithilā (also known as Tirhut), somewhere in northern Bihar and neighboring parts of southern Nepal. He was influential as the major source of the teachings of mahamudra for Tibetan Buddhism.
He is the namesake of Maitripa College.
Mañjuśrīnāmasamgīti
The Mañjuśrī-Nāma-Saṃgīti (Tibetan: འཇམ་དཔལ་མཚན་བརྗོད, Wylie: 'jam dpal mtshan brjod) (hereafter, Nama-samgiti) is considered amongst the most advanced teachings given by the Shakyamuni Buddha. It represents the pinnacle of all Shakyamuni Buddha's teachings, being a tantra of the nondual (advaya) class, along with the Kalachakra Tantra.
The Nama-samgiti was preached by Shakyamuni Buddha for his disciple Vajrapani and his wrathful retinue in order to lead them into buddhahood. The essence of the Nama-samgiti is that Manjushri bodhisattva is the embodiment of all knowledge. The Nama-samgiti is a short text, only circa 160 verses and a prose section. It is a fraction of the vast Sutras such as Avatamsaka Sutra and Prajñāpāramitā Sutras or the endless ocean of tantras such as manjushri-mula-kalpa and the mountainous Hinayana teachings and sea of sundry extra-canonical works. And yet, the Nama-samgiti contains all of the Buddha's dharmas. It summarizes everything he taught. As Shakyamuni Buddha says of the Nama-samgiti, it is "the chief clarification of words". It is the "nondual reality". Therefore, all sentient beings should definitely study and recite the manjushri-nama-samgiti.
Niō (仁王) or Kongōrikishi (金剛力士) are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapāṇi, the oldest and most powerful of the Mahayana Buddhist pantheon. According to Japanese tradition, they travelled with Gautama Buddha to protect him and there are references to this in the Pāli Canon as well as the Ambaṭṭha Sutta. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. The Niō are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitābha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism.
Orgyen Chokgyur Lingpa
Chokgyur Lingpa or Chokgyur Dechen Lingpa (1829-1870) was a tertön or "treasure revealer" and contemporary of Jamyang Khyentse Wangpo and Jamgon Kongtrul. Regarded as one of the major tertöns in Tibetan history, his termas are widely practiced by both the Kagyu and Nyingma schools.
Chokgyur Lingpa was the "manifestation," meaning the reincarnation, of King Trisong Deutsen's son, Prince Damdzin. Another of his former lives was the great terton, Sangye Lingpa, who revealed the Lama Gongdu. Chokgyur Lingpa was the last of the 100 major tertons. He was the owner of seven transmissions and is regarded as the universal monarch of all tertons. One of the reasons for this is that no other terton has revealed a teaching that includes the Space Section (Longde) of Dzogchen. There are several Mind Section (Semde) revelations and all major tertons have revealed the Instruction Section (Mengagde), but only Chokgyur Lingpa transmitted the Space Section. This is why the Dzogchen Desum is considered the most extraordinary terma that he ever revealed.
Chokgyur Lingpa's main consort was Dechen Chodron (Lady Degah) and Padmasambhava predicted that his three children would be emanations of the three family lords: Avalokiteshvara, Manjushri and Vajrapani. I don't like saying this, for it may sound like I'm bragging about my family line, but such a prophecy does exist. The Manjushri emanation was supposed to be Wangchok Dorje, the Avalokiteshvara emanation Tsewang Norbu and the Vajrapani emanation my grandmother, Konchok Paldron.
Chokgyur Lingpa founded Neten Monastery in Nangchen in 1858. It is the seat of the Neten Chokling reincarnation line.Neten Chokling Rinpoche and Tsikey Chokling Rinpoche are the fourth reincarnations of Chokgyur Lingpa.
This lineage traces back to Trisong Detsen, the Tibetan king who invited Padmasambhava to Tibet.
Potala Palace
The Potala Palace (Tibetan: ཕོ་བྲང་པོ་ཏ་ལ་, Wylie: pho brang Potala) in Lhasa, Tibet Autonomous Region, China was the residence of the Dalai Lama until the 14th Dalai Lama fled to India during the 1959 Chinese invasion. It is now a museum and World Heritage Site.
The palace is named after Mount Potalaka, the mythical abode of the bodhisattva Avalokiteśvara. The 5th Dalai Lama started its construction in 1645 after one of his spiritual advisers, Konchog Chophel (died 1646), pointed out that the site was ideal as a seat of government, situated as it is between Drepung and Sera monasteries and the old city of Lhasa. It may overlay the remains of an earlier fortress called the White or Red Palace on the site, built by Songtsen Gampo in 637.The building measures 400 metres (1,300 ft) east-west and 350 metres (1,150 ft) north-south, with sloping stone walls averaging 3 metres (9.8 ft) thick, and 5 metres (16 ft) thick at the base, and with copper poured into the foundations to help proof it against earthquakes. Thirteen storeys of buildings, containing over 1,000 rooms, 10,000 shrines and about 200,000 statues, soar 117 metres (384 ft) on top of Marpo Ri, the "Red Hill", rising more than 300 metres (980 ft) in total above the valley floor.Tradition has it that the three main hills of Lhasa represent the "Three Protectors of Tibet". Chokpori, just to the south of the Potala, is the soul-mountain (Wylie: bla ri) of Vajrapani, Pongwari that of Manjusri, and Marpori, the hill on which the Potala stands, represents Avalokiteśvara.
Purbuchok Hermitage
Purbuchok Hermitage (Phur bu lcog ri khrod) is a hermitage situated in the northeastern corner of the Lhasa Valley in the northern suburb of Dodé in the Tibet Autonomous Region of the People's Republic of China. Destroyed by the Chinese in 1959, it was mostly restored in 1984. Affiliated to the Sera Monastery, it is the last hermitage to be visited on the "Sixth-Month Fourth-Day" (drug pa tshe bzhi) pilgrimage circuit. The hills surrounding the monastery have been given name tags of the three protectors of the divine paradise namely the Avalokiteśvara, Manjusri and Vajrapani. It is also identified with the six-syllables divine mantra (sngags)- OM Mani Padme Hum.
Skanda (Buddhism)
Skanda (Chinese:塞建陀, 室建陀), also known as Wei Tuo (Chinese: 韋馱) and Idaten (Japanese: 韋駄天) is a Mahayana bodhisattva regarded as a devoted guardian of Buddhist monasteries who protects the teachings of Buddhism. He is also sometimes called in the Chinese tradition "Hufa Weituo Zuntian Pusa", meaning "Honored Dharma Protector Skanda Bodhisattva", because he is the leader of the twenty-four celestial guardian deities mentioned in the Golden Light Sutra.
In Chinese temples, Skanda faces the statue of the Buddha in the main shrine. In others, he is on the far right of the main shrine, whereas on the left is his counterpart, Sangharama (personified as the historical general Guan Yu). In Chinese sutras, his image is found at the end of the sutra, a reminder of his vow to protect and preserve the teachings.
According to legends, Skanda was the son of a virtuous king who had complete faith in Buddha's teachings. When the Buddha entered nirvana, the Buddha instructed Skanda to guard the Dharma. It was his duty to protect members of the sangha when they are disturbed by Mara, the tempter, and also to resolve conflicts amongst members of the sangha. A few days after the Buddha's passing and cremation, evil demons stole his relics. Skanda's vow of protecting the faith and Dharma was proven when he managed to defeat the evil demons and returned the relics.
Vairocana
Vairocana (also Mahāvairocana, Sanskrit: वैरोचन) is a celestial buddha who is often interpreted, in texts like the Avatamsaka Sutra, as the dharmakāya of the historical Gautama Buddha. In Chinese, Korean, and Japanese Buddhism, Vairocana is also seen as the embodiment of the Buddhist concept of Śūnyatā. In the conception of the Five Tathagatas of Mahayana and Vajrayana Buddhism, Vairocana is at the centre and is considered a Primordial Buddha.
Vairocana is not to be confused with Vairocana Mahabali, son of Virochana.
Topics in Buddhism
Three Jewels
Noble Eightfold Path
Middle Way
The Buddha
Tathāgata
Four sights
Iconography in Laos and Thailand
Suddhodāna (father)
Māyā (mother)
Mahapajapati Gotamī (aunt, adoptive mother)
Yaśodharā (wife)
Rāhula (son)
Ānanda (cousin)
Devadatta (cousin)
Places where the Buddha stayed
Buddha in world religions
Avalokiteśvara
Mañjuśrī
Mahāsthāmaprāpta
Ākāśagarbha
Kṣitigarbha
Samantabhadra
Skanda
Tārā
Kaundinya
Assaji
Sāriputta
Mahamoggallāna
Ānanda
Mahākassapa
Aṅgulimāla
Anuruddha
Mahākaccana
Subhuti
Punna
Upali
Mahapajapati Gotamī
Uppalavanna
Channa
Avidyā (Ignorance)
Buddha-nature
Dhamma theory
Five hindrances
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Kleshas
Mindstream
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Pratītyasamutpāda
Saṃsāra
Saṅkhāra
Skandha
Śūnyatā
Taṇhā (Craving)
Tathātā
Ten Fetters
Three marks of existence
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Human realm
Asura realm
Hungry Ghost realm
Animal realm
Naraka
Three planes of existence
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Korean Seon
Vietnamese Thiền
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Pre-sectarian Buddhism
Basic points unifying Theravāda and Mahāyāna
Bodhipakkhiyādhammā
Brahmavihara
Mettā
Karuṇā
Mudita
Upekkha
Buddhābhiṣeka
Dāna
Dhyāna
Five Strengths
Iddhipada
Kammaṭṭhāna
Smarana
Anapanasati
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Shikantaza
Kōan
Tertön
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Prostration
Seven Factors of Enlightenment
Dhamma vicaya
Pīti
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Śīla
Five precepts
Eight precepts
Pratimokṣa
Threefold Training
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Vīrya
Four Right Exertions
Buddhahood
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Four stages of enlightenment
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Banishment of Buddhist monks from Nepal
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Chinese Buddhist pantheon
Śākyamuni
Amitābha (Āmítuó Fó)
Bhaisajyaguru (Yàoshī Fó)
Vairocana (Pílú Zhēnǎ Fó)
Guānshì Yīn (Avalokiteśvara)
Manjushri (Wénshūshili)
Samantabhadra (Pǔxián)
Kṣitigarbha (Dìzàng Wáng)
Mahāsthāmaprāpta (Dàshìzhì)
Vajrapāṇi (Jīngāng Shǒu)
Mílè Púsa (Maitreya)
Cundī (Zhǔntí)
Four Heavenly Kings (Sì Tiānwáng)
Sangharama (Qíelán)
Skanda (Wéituó)
Yama (Yán Wáng)
Jìgōng
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: React Native: Getting a "Invalid hook call" on the release apk of React Native app **When I click to write an email and phone number in the input box the release app is crashed

I am getting this error when using the useState hook. looking at the react native docs for a reference, but am still getting this error.
Code Is here

const initialState = {
userId: '',
Email: '',
EmailErr: false,
EmailErrText: '',
loading: false,
ismailsent: false,
isotpsent: false
};
const [inputField, setInputField] = useState(initialState);
const toast = useToast();
  const inputsHandler = (e, type) => {

    if (type === "Email") {
      console.log("E data", e);
      setInputField((inputField) => ({
        ...inputField,
        Email: e,
        EmailErr: false,
        EmailErrText: "",
      }));
    }
  }

  const validation = (e) => {
    let IsValid = true;
    const { Email } = inputField;

    if (CommonConfig.isEmpty(Email)) {
      setInputField((inputField) => ({
        ...inputField,
        EmailErr: true,
        EmailErrText: "Email/Phone is required.",
      }));
      IsValid = false;

    } else if (!Email.match(CommonConfig.RegExp.EmailRegex) && !Email.match(CommonConfig.RegExp.phoneRegExp)) {
      setInputField((inputField) => ({
        ...inputField,
        EmailErr: true,
        EmailErrText: "Please enter valid Email & Phone.",
      }));
      IsValid = false;
    } else {
      setInputField((inputField) => ({
        ...inputField,
        EmailErr: false,
        EmailErrText: "",
      }));
    }
    return IsValid;
  }

  const handleForgotPassword = () => {
    if (validation()) {
      setInputField((inputField) => ({
        ...inputField, loading: true,
      }));
      const data = {
        username_phone: inputField.Email,
      };
      console.log('data', data);

      fetch(URL, {
        method: 'POST',
        body: JSON.stringify(data),
        headers: {
          'Content-Type': 'application/json',
        },
      })
        .then(response => response.json())
        .then(res => {
          console.log("Response", res);
          //Hide Loader
          setInputField((inputField) => ({
            ...inputField, loading: false,
          }));
          if (res.Success === 1) {
            setInputField((inputField) => ({
              ...inputField, loading: false, ismailsent: true, isotpsent: false
            }));
            console.log("Mail sent to your registered email Id");
            navigation.navigate('LoginScreen');
          } else if (res.Success === 2) {
            AsyncStorage.setItem("passwordDataUID", res.Info.UserId);
            AsyncStorage.setItem("passwordDataUIDPN", res.Info.PhoneNumber);
            console.log("OTP Sent to your Registered Number");
            setInputField((inputField) => ({
              ...inputField, loading: false, ismailsent: false, isotpsent: true
            }));
            // if (inputField.isotpsent === true) {
            AsyncStorage.setItem("OtpAccess", JSON.stringify(true));
            navigation.navigate('OTPVerifyScreen', {
              isPhoneVerification: true, propsData: res.Info,
            });
            // }
          } else {
            setInputField((inputField) => ({
              ...inputField, loading: false, isotpsent: false, ismailsent: false
            }));
            console.log("Invalid mobile number or email id");
          }
        })
        .catch(error => {
          //Hide Loader
          setInputField((inputField) => ({
            ...inputField, loading: false
          }));
          console.log("Error: ", error);
          console.log("Something went wrong");
        });
    }
  };

  const { Email, EmailErr, EmailErrText, loading } = inputField

<Input
                style={styles.formInput}
                InputLeftElement={
                  <Icon
                    as={<MaterialIcons name="email" />}
                    size={5}
                    ml="2"
                    color="black"
                  />
                }
                value={Email}
                onChangeText={(e) => inputsHandler(e, "Email")}
                variant="underlined"
                placeholder="Email/Phone"
              />

redpajama_set_name: RedPajamaStackExchange


Natural history books began to actively published the middle of 1980's, and natural history engraving which was not well know until then was introduced by Hiroshi Aramata, a writer and natural history researcher. The exhibition Hiroshi Aramata's collection, " Natural History Engraving" was held at Glleria Grafica in 1987. I was fortunate to have to opportunity to meet Aramata at the venue, attending opening reception. Aramata happened to be the same age as me, talking about the prints of natural history engraving and listening to the collection history of the graphic books and sharing splendid time together.
The natural history engraving produced by stipple engraving method which traditionally draws only by dots, and I was interested in the precise and minutes prints as an engraver. While staying in London, I frequently dropped by the oldest book shop Henry Sotheran in the world near Piccadilly Circus, and purchased illustrated reference book, but the natural history engraving books which bind hand-colored prints were expensive for a poor foreign student.
Among the natural history engraving of Aramata's book, "Natural History of illustrated manual", I like George Cuvier's masterpiece "Animal Kingdom" a French anthropologist in the 19th century, I would like to see the original graphic someday.
When my nature morte engravings were completed, Aiko Yamano, assistant editor of Galleria Grafica, she visited to Heibonsha where Aramata was doing work, and showed Aramata my work, and he wrote excellent preface with sharp consideration for the portfolio. As this become a momentum, I occasionally visited Heibonsha in Sanbancho, Tokyo, and requested Aramata to see his rare book collection. The large format special books were kept in the room, I was buried with the treasure books, and spent time of the supreme bliss alone. Cuviue's "Animal Kingdom" which I want to see from before was carefully hand-colored on the incredibly sensitive delicate stipple engraving printing, glowing like a jewel, and beautiful. Later on I asked to Aramata about where these books purchased, he told me that the old book shop in the Uk is sending regularly without ordering, and the invoice is very expensive, but he feel like stopping the collection as it seems not to be. I do not know any one who has deep pocket with such a large scale as Aramata. Yes indeed Henry Sotheran book shop has always been a good economic transit.
The impression of seeing to the graphic of the Aramata collection continued to engrave in my mind, and I thought that I would like to creat a full- scale natural history engraving by myself. I practiced stipple engraving and lettering for nearly a year, and completed three original sciences of engravings in 1990 in Japan for the first time. Let's post the stipple engraving of Columbian long hand sawyer beetle, hand-colored engraving and nature morte.
Takuji Kubo's natural engraving reminds me of the sensibility until the 17th century when the museum is still called the marvelous room Wunder-kammer. In a word, it is a dead body that takes a pose.
For example, in the nineteenth century pictorial illustration depicted in a precision copperplate print in the golden period, all animals used to be given animation as if they were alive, despite all specimens as models. However, in the era, Natural History dealt living creatures as dead bodies first. At the time, the factor that would make the living creatures vital was the spirit or the soul, and these problems were thought to belong to the results of God rather than. Therefore, the natural science was good, focused only on the creature as an object except for life, and focused on clearly indicating the surprise that God's wisdom is even in there. That's why people called the museum display room a wonderful room, but it would be a feeling that is also connected with hard figures of Takuji Kubo.
Then, what is the expression of God 's wisdom expressed even by the corpses? It is that form. It can be thought that shape is a thing that minus the function or role from existence. The meaning that the organs such as limbs which are dead and have no longer worked still exist as objects. That is the curse power of the form. Moreover, the shapes of the hands and feet of animals that became useless begin to claim dry beauty as things for the first time.
It is exactly the point that feels a tremendously tremendous natural eyesight on Takuji Kubo's work. Mr. 's illustrations of flora and fauna to be produced will shelve that many other iconographers will especially appreciate. If you insist on living things , there is inevitable occurrence of love of individuality, loveliness to individuals. Everyone who views that image or anything you create will unconsciously love you. However, from the carcass, is lost, only normal like seeds or archetype (prototype) is left. Those who put their eyes on the carcasses will actually unconsciously love them. However, is lost from the carcass and only ordinary such as seeds or archetypes (prototype) are left. In fact, those who keep their eyes on carcasses are truly a passionate of . In natural science, these feelings and works are called .
Takuji Kubo 's engraving, which we show to us, is nothing more than a description of seeds or archetypes that cut off attachment to individuals. The power that he lurks in the graphic line he carves is the bleaching power of death.
Materials chosen by Takuji Kubo - Copper plate - Burin - Ink - Imression machine to make one iconic image also makes the bleaching power of death antagonize the painting power of the paintbrush, and the bleaching power of death is taken as the only expression energy It is.
And, of course, such work is too hard to do, unless it is a person with a desperate soul like Takuji Kubo ー.
Stipple is stipple method. In the West, the basics of drawing is a point, the line has been thought to be formed by continuous presence of points. Accurate drawing is traditionally done by stippling, but it is the best drawing method that can be expressed without feeling. Engraving is produced by point on a copper plate with a special needle, expressing a three-dimensional sense by shading and dense points. William Ryland, who was learning Crayon law in Paris in the middle of the 18th century, returned to the UK and disseminated this technique widely. Although it is rarely done in modern times, it can be sculpted using burin instead of a needle. Depending on the motif, print with color ink, dry and then color with transparent watercolor paint. To express shiny color, the gum arabic solution mixed with water.
A hunting bee that specializes tarantula in a kind of spider wasps. The bluish body color, the color of the wing is orange, the big one the body length is more than 6 cm. This bee embraces himself as a child of tarantula, as it hunts like a hawk, it got this name. Firstly pierce the prey with a needle to make it sleep, lay eggs in half death state and hatch their children. Collected in Brazil, near Rio de Janeiro. Borrowed from the medical zoology laboratory.
Tobitokage. It lives in Southeast Asia widely, in Yaeyama Islands and Okinawa in Japan. The bone is stretched and it has an umbrella-like feather and it fly about 10 meters. Collected in Celebes Island, Indonesia. It was formalin pickled specimen, It was extremely harsh environment during creation, because it was formalin pickled specimen. Borrowed from the medical zoology laboratory.
Sparrow's young bird. To protect themself from natural enemies, sparrows create nests in very narrow places such as underground roofs, little gaps and holes. Normally they lay five or six eggs, but the chicks with poor growth among the hatched chicks are dropped from the nest by good chicks with no feathers. This is called a falling nest chick. As chicks grow, the nest becomes narrow and no bird can live. It was a sad motif which the severity of nature is felt as a shame. Discovered in Tokyo, Tama area.
Matsukasauo. When the fish alive has a black scalp in the beige, it looks like pinecones, also called pinecone fish. Have a light emitter under the eyes. When I arrived at Miyake Island early in the morning by Sutorechiya Maru of Tokai Kisen, went to the Miike beach near the harbor and sat down on the beach and touched something if I extended my hand. Looking back, this dry Mastukasauo was rolling like picking it up on a black pebble. It was a coincidental and chic encounter.
Brazilian damselfly. The South American countries inhabit large damselfly with a wing spreading length of 11 cm or more. According to the story of the collector, it seems that there will be a faint sound of feathers as they fly and approach slowly. I found the dragonfly like a wing of glider at an insect specimen shop in Tokyo, and I expressed the wing vein with a delicate line and produced engraving. When I sent this work to the United States in the early 1990's, it sold like "flying". I asked to the dealer that sold it seems that dragonflies are messengers of happiness in the United States. The design of dragonfly is often used for Tiffany's jewelry and lamp. The second generation of Tiffany & Company, Louis Comfort Tiffany seems to have inspired the design of lamps with inspiration from Katsushika Hokusai's dragonfly cartoon, but it was influenced by Japan that dragonfly became auspicious insects even in the United States because it is.


We're excited to have the acclaimed designer, and a long-time friend of Poketo's, Ellen Van Dusen of Dusen Dusen for this Pattern Design Workshop. Learn an easy, analog way to create a repeat pattern using a diverse set of materials and tools. No drawing skills necessary! You'll learn how to prepare your design for yardage printing for all kinds of textile projects. Ellen will also show you how to best digitize the files to make sure it's a perfect repeat pattern. Leave the class with multiple repeat pattern designs on paper and resources to get your pattern printed on fabric, either digitally or screen printed.
* If the workshop is sold out make sure to subscribe in the box above and once the workshop comes back online you'll be the first to hear about it.
Ellen Van Dusen launched Dusen Dusen in 2010, a womenswear line known for its bold, original prints on versatile, wearable silhouettes. Each season, the Dusen Dusen collection is developed and inspired by fine art, commercial and naïve design, as well as the brain's reaction to color, movement, and contrast. In 2015, the brand expanded with the launch of Dusen Dusen Home, a textile and home goods line that includes bedding, throws, pillows, and towels. Ellen Van Dusen was born and raised in Washington, DC and currently resides in Brooklyn, NY with her dog, Snips.


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Stanford Medicine Radiology Residency Program
Radiology Residency Program
Diagnostic Radiology Residency at Stanford University
Payam Massaband, MD
Welcome to the Stanford Radiology Residency Program!
The Stanford Diagnostic Radiology Residency is a supportive yet rigorous environment, where you will learn from a faculty acclaimed world-wide for superb teaching, outstanding patient care, and ground-breaking research.
Located in the heart of Silicon Valley, Stanford University fosters a culture of innovation and supports some of the most creative and productive scientists in the world. Stanford Radiology residents have the opportunity to partner with these individuals to help develop the imaging of tomorrow while mastering the technologies of today.
Our radiology residency program seeks to train the future leaders of radiology through a wide variety of clinical rotations and opportunities for academic enrichment. Residents provide care to the diverse patient populations throughout the San Francisco Bay Area including Stanford Health Care, Lucile Packard Children's Hospital, VA Palo Alto Health Care System, and Santa Clara Valley Medical Center.
Stanford Radiology is deeply committed to recruiting a diverse class of outstanding medical students, who will represent and be representative of the national population. We know that diverse teams not only perform at a higher level and provide better patient care, but also enrich each other, faculty, and staff. Though we define diversity broadly, including first generation to college and economic adversity, we especially seek to recruit those traditionally underrepresented in medicine and radiology: minorities, women, and trainees with disabilities.
Stanford's curriculum affords residents the flexibility to pursue personal and professional endeavors about which they feel truly passionate. Most of our residents have devoted time during their four-year residency to perform cutting-edge research, advance imaging informatics, launch innovative companies, hone clinical skills through early clinical subspecialization, learn medical design innovation, and participate in hospital-wide quality improvement projects.
A healthy work-life balance is encouraged during residency training. Our residents enjoy the beautiful climate and cultural and geographic diversity of the San Francisco Bay Area, which is within an easy drive from the Pacific Ocean, Napa Valley, Lake Tahoe, Monterey, Yosemite, and San Francisco. Palo Alto and the Stanford campus offer many unique opportunities for outdoor activities, dining, sporting events, and the cultural benefits fostered by the world-class university and city at the heart of the technology industry.
I look forward to answering any questions you may have about our program.
Minnies 2020 Best Radiologist Training Program
SUNet ID required links:
Resources and Schedules for Trainees
2020 Graduation Booklet
2020 Residents and Fellows Orientation
Timelines & Application Guidelines
PD Q&A
PD Q&A Archives
Resources & Schedules for Trainees
Grants and Projects
RadCombinator


Delivery of glucose-6-phosphatase in a canine model for glycogen storage disease, type Ia, with adeno-associated virus (AAV) vectors.
Therapy in glycogen storage disease type Ia (GSD Ia), an inherited disorder of carbohydrate metabolism, relies on nutritional support that postpones but fails to prevent long-term complications of GSD Ia. In the canine model for GSD Ia, we evaluated the potential of intravenously delivered adeno-associated virus (AAV) vectors for gene therapy. In three affected canines, liver glycogen was reduced following hepatic expression of canine glucose-6-phosphatase (G6Pase). Two months after AAV vector administration, one affected dog had normalization of fasting glucose, cholesterol, triglycerides, and lactic acid. Concatamerized AAV vector DNA was confirmed by Southern blot analysis of liver DNA isolated from treated dogs, as head-to-tail, head-to-head, and tail-to-tail concatamers. Six weeks after vector administration, the level of vector DNA signal in each dog varied from one to five copies per cell, consistent with variation in the efficiency of transduction within the liver. AAV vector administration in the canine model for GSD Ia resulted in sustained G6Pase expression and improvement in liver histology and in biochemical parameters.


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The much-debated Cousins deal was his trade. The directive to audition the younger players for the final weeks of the season came from his lips. The draft selections and/or draft day swaps – same as they were in 2015 and 2016 – will be his decisions. The hiring last week of Luke Bornn as vice-president of analytics and Scott Perry as executive vice president of basketball operations were his calls.
"I knew the staff I wanted to put together," Divac said the other day. "There was always so much (drama) going on ever since I got here, it took up a lot of my time. Finally I have been able to find people who believe in what we are trying to do and who I am very comfortable with. I like our staff very much now, with Scott (Perry), Luke (Bornn), Ken (Catanella), Mike (Bratz), Peja (Stojakovic). We filled some holes."
The basketball operations hierarchy is clear, and with the recent additions, there is a symmetry to the structure of the front office. Bornn, who was lured away from his position as vice president of A.S. Roma of the Italian Serie A soccer league, has his foot in multiple sports and disciplines. The British Columbia native has taught statistics at Harvard, co-authored six papers on defensive metrics, ball movement and real-time decision-making, and written extensively for the Boston Globe, ESPN the Magazine, Bleacher Report and Grantland.com.
But what most attracted Divac to Bornn was his ability to synthesize data and succinctly present information. Though Divac and head coach Dave Joerger value analytics as a tool in acquiring talent and coaching teams, neither perceives players as widgets nor believes players can be pieced together on assembly lines.
"Basketball is not science," Divac said. "You have talent, you develop your players, you play hard. But you want to get players who complement each other, and analytics helps in that regard. Marc Gasol the other day said stats are killing the game because a lot of stuff that's important can't be quantified. Luke is able to identify what's important and explain things in language we can understand."
The addition of Perry, 53, is even more significant given his prominent role as Divac's right-hand man, coupled with his experience in both the NBA and college ranks. Described as diligent, engaging and extremely intelligent, the new vice president thus fills that gaping hole in the front office. That he can schmooze with the best of them is no small attribute. The most successful NBA teams have someone – or sometimes more than one individual – whose relationships with college coaches, international and NBA executives and scouts afford access to practices, counselors, tutors, and, ultimately, to invaluable inside information.
Divac envisions Perry as a "boots on the ground" sort, an executive who cuts through the red tape and goes directly to the source. Before holding a similar position with the Orlando Magic for the past five years, Perry spent 12 years with the Detroit Pistons as a college scout (2000-02), director of player personnel (2002-07) and vice president of basketball operations (2008-12). During his tenure in Detroit, he worked closely with Joe Dumars putting together the teams that reached the NBA Finals in 2004 and 2005, defeating the Los Angeles Lakers in 2004.
Additionally, he was the Seattle SuperSonics assistant GM when the franchise drafted Kevin Durant, a head coach at Eastern Kentucky (1997-2000), and an assistant at Michigan, Berkeley and Detroit-Mercy.
One former Sonics coach described Perry as a "legitimate, capable basketball guy, and a great hire for the Kings, actually." Sources in Orlando also praised Perry and suggested he was caught up in the Magic's desire to make a clean sweep of Rob Hennigan's front office.
With another draft nearing, the Kings likely possessing two lottery picks and his front office strengthened, Divac is enjoying something of an offseason winning streak. His two drafts (Willie Cauley-Stein in 2015) and (Georgios Papagiannis, Skal Labissiere, Malachi Richardson) are looking better with age. His midseason swap of Cousins yielded rookie Buddy Hield, who finished strong, and a protected first-round pick. Additionally, the Kings hold the rights to Serbian star Bogdan Bogdanovic and will attempt to buy the versatile shooting guard out of his current contract this summer.
"I like the direction we're going," Divac said. "I keep hearing that we have a weak front office, and I'll take all the criticism. But I don't think that's true. Our young guys got better, the chemistry improved, you could see progress. Now we are in position, because of good cap space, our picks and possible trades, to do some things. And we will be active. We don't just want to build a team to get the eighth seed. We want to be more than that. We want to be the Kings that we were before – contenders for a title. We are working for that."
Ailene Voisin: 916-321-1208, @ailene_voisin
kings-blog
Kings' season report card: Tale of two halves for players, coach, GM
Peja Stojakovic, Sacramento Kings director of player personnel and development, and Vlade Divac, Sacramento Kings general manager, are all smiles in February during their team's first victory after a trade that sent DeMarcus Cousins to New Orleans against the Denver Nuggets. Hector Amezcua hamezcua@sacbee.com
JaKarr Sampson on the Sac to Reno commute
Bogdan Bogdanovic is Most Valuable Player of Rising Stars Challenge
Ailene Voisin
From coffee with Ali to covering the Dream Team, Ailene Voisin reflects on career highlights
By Ailene Voisin
How do you summarize a career that spanned four decades into a farewell column? This is an impossible task because there are many people to thank and many more moments to cherish, but here is a slice of what I saw and who I met along along the way.
MORE AILENE VOISIN
The 49ers benched Reuben Foster when they should be packing his bags. Enough already
As he ran to third in Boston, his wife screamed at the TV in Folsom. 'You can catch him!'
It's a bad look for Kawhi Leonard and the Spurs – and he's about to make it worse
Rudy Gay took a risk leaving the Kings. How he's become a smashing success with Spurs
UC Davis star's back pain was cancer. How she's hitting back after a 'total shock'
For the Kings to make a leap, they need a leader. Why that has to be De'Aaron Fox


Anterus St., bishop of Rome, a Greek by birth, succeeded St. Pontianus, and was, according to Eusebius, the eighteenth, according to others the nineteenth, bishop of Rome. According to the same historian, he was elected in 238, and died one month later. But, according to Baronius, who is followed by most of the modern historians, his election falls into the year 235. Anterus ordered the acts of the martyrs to be collected, which is said to have occasioned the persecution in which he suffered martyrdom himself (see Baronius, ad ann. 237, and the notes of Pagi and Mansi).


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Steve nella sua carriera ha scritto pezzi e collaborato con Richie Kotzen , Marco Mendoza , Doug Wimbish, Mark Cross, Oni Logan e altri.

Storia
Nel 1999 esce il primo album solista dal titolo "Under" ma è nel 2004 che inizia a collaborare con nomi importanti del panorama musicale quali Buddy Miles, Darryl Jones, Jeff Berlin e Danny Gotlieb con cui incide "The Steve Saluto's Fuzzy House".
Nel 2006 inizia la collaborazione con Richie Kotzen concretizzata in successivi 3 album.

Successivamente con Marco Mendoza, Atma Anur e Terry Ilous (cantante del gruppo rock statunitense XYZ) nel 2008 ha formato la band "La Famiglia Superstar" che nel 2009 ha pubblicato l'omonimo album.

Saluto fa anche parte dei White Falcon Band, un gruppo che suona cover di C.S. N.& Y. solo per divertimento.

Definito "un genio dello studio di registrazione" attualmente all'attività di musicista affianca il lavoro di produzione nel proprio studio di registrazione.

Album Solista
Under (1999)
A Different Fire (2001)
All that I'd Be (2002)
Steve Saluto's Fuzzy House, con Jeff Berlin Danny Gottlieb (2004)
Rough Beat, con Richie Kotzen (2006)
Rust & Gold, con Richie Kotzen (2008)
Resurrection, con Richie Kotzen (2010)
Another Side feat. Gianluca Mosole (2011)
Brown Eyed Soul (2011)
The Best Day (2012)
Veritas (2012)
12, con Oni Logan (2013)
The Silver Skull Legend (2015)
Rainbow (2015)
The Power of 6 Flowers (2016)
Live @ ImputLevel Rec Studio (2017)
Legacy (2018)
The Road So Far (2020)

Album con altri
Primo e Ultimo, The Ribrezzo (1996)
La Famiglia Superstar, con Marco Mendoza Terry Ilous Atma Anur (2009)

Apparizioni
 2001 - Area Sismica
 2002 - GuitarChef Vol. 1
 2012 - Alieni Alienati - Dr. U
 2013 - The Swing Factor - Chris Catena Big band Experience
 2014 - Wildstyle & Tattoo Music pt. 1

Tribute album
 2010 - Shredding Skin - (A Tribute to Whitesnake)

Videografia
 (2007)  Rough Beat (Videoclip dall'album "Rough Beat")
 (2009) Hey Jimi (Videoclip)
 (2009)  Birds (Videoclip dall'album "Rust & Gold")
 (2010) Visions (Videoclip dall'album 'La Famiglia Superstar')

Note

Altri progetti

Collegamenti esterni

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text:
Start DNA Analyzer
The Science Behind Gene Serum
Dr. M Baer
CEO M.D/PhD and Founder – GeneSerum
2010 United Kingdom
Trainings in
Nutrigenomics, Immunology, Dermatology and Genome Testing and Research
DR. M Baer, together with his Group of MIT (Massachusetts Institute of Technology) Scientists, started GenesSciences (GS) to become an innovator in the health and wellness field. Working with a renowned team of PhDs, medical advisers, and leading nutritional experts, he sought to provide best-in-class dietary supplements backed by nutrigenomics science.
Each of our products takes its inspiration from clinically researched ingredients and the world's healthiest cultures.
His quest for curiosity, exploration, and wanderlust began when he was a very young boy. Growing up in a family of chemists and scientists who immersed themselves in a biodynamic, organic lifestyle long before it was a trend, he always turned to pure, whole ingredients taken from the earth for solutions. He created GenesSciences Nutrition and DNA Technology with his lifelong passion and purpose and became the very foundations of our mission and philosophy.
GenesSciences have taken inspiration from Mother Nature herself, which has played a part in shaping the healthiest cultures through time around the world. We continuously look for solutions to the many health challenges humans face today – from beauty, weight management, age-related health issues, and everything in between. As a modern-day nutritional navigator, we travel the far reaches of the globe seeking to identify natural solutions you can trust to provide real benefit for the myriads of health needs in today's growing world. There is no jungle too remote or biodynamic vineyard and farms too far in our search for the purest ingredients and reliable, sustainable partnerships.
We seek out the finest ingredients from the purest sources and employ the highest standards of fair trade and good manufacturing practices to deliver beneficial nutritional supplements and skincare innovations for you, your family, and our own!
We welcome you to join us on our journey to wellness. We would love to share your health pursuits so that we can work together towards a healthier future.
It is about how our DNA is transcribed into mRNA and then to proteins and provides a basis for understanding the biological activity of food components. [1] Nutrigenomics has also been described by the influence of genetic variation on nutrition by correlating gene expression or single-nucleotide polymorphisms with a nutrient's absorption, metabolism, elimination or biological effects.
By doing so, Nutrigenomics aims to develop rational means to optimize nutrition, with respect to the subject's genotype. By determining the mechanism of the effects of nutrients or the effects of a nutritional regime, Nutrigenomics tries to define the causality/relationship between these specific nutrients and specific nutrient regimes (diets) on human health.
Nutrigenomics has been associated with the idea of personalized nutrition based on genotype. While there is hope that nutrigenomics will ultimately enable such personalized dietary advice, it is a science still in its infancy and its contribution to public health over the next decade is thought to be major.
Dr. Baer had consulted with Roche, Bayer, SmithKline and Upjohn. Dr. Baer's work was published in the New York Times.
© Copyright 2020 GeneSerum. All Rights Reserved
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text:
[ January 16, 2022 ] Klay Thompson, Trevor Lawrence among growing list of athletes accepting Bitcoin	Bitcoin
HomeNFT3 Sports Stars Join NFT, Crypto Craze: Stephen Curry, Tom Brady and Patrick Mahomes!
3 Sports Stars Join NFT, Crypto Craze: Stephen Curry, Tom Brady and Patrick Mahomes!
December 31, 2021 John NFT 0
Long before the Covid-19 pandemic affected the world, cryptocurrency and NFTs had already been around.
However, NFT skyrocketed in 2021, people all across the world began to migrate their purchases to the internet, including digital art, gaming, music, apparel, and more.
Despite the fact that they cannot be seen or felt in real life, non-fungible tokens (NFTs) have grown into a $27 billion market.
NFTs are one-of-a-kind crypto assets that allow collectors to use blockchain technology to authenticate, own, and exchange original authenticated versions of extraordinary digital products.
The Stephen Curry NFT was made available in Metaverse last December 20.
Stephen Curry's NFT was made possible by a collaboration with Under Armour.
The Golden State Warriors' three-time NBA Champion, has introduced a surprise Stephen Curry NFT inspired by his record-breaking three-point shot.
According to iTechPost, Golden State Warriors ace Stephen Curry is celebrating his 2974th record-breaking 3-point shot with NFTs.
Curry's online store, "The 2974 Collection," will be selling 2,974 pieces of NFTs, with all proceeds going to Curry's foundation and project partners.
The Stephen Curry NFT design was created in collaboration with Floyd Norman and Andrea McDonald.
Norman, who is now 86 years old, was Disney's first Black animator. He is well-known for his contributions to the making of some of Disney's most well-known films.
Meanwhile, McDonald, a recent college graduate and artist, on the other hand, developed the artwork by stacking a repeat "2974" print throughout to recreate a memorable image from each made 3-pointer.
The proceeds from the Stephen Curry NFT sale will help Ayesha and Stephen Curry's foundation, "Eat, Learn, Play," which was launched in 2019.
Read Also: NFL Star Tom Brady Tricks Everyone With 'Trade' Demand: It's All About Cryptos!
Tom Brady's career in the NFT sector continued on Dec. 9, 2021, with the successful introduction of an NFT collection reflecting the start of his storied NFL career on Autograph, an NFT platform that Brady co-founded with father-son combo Richard Rosenblatt and Dillon Rosenblatt.
The collection, as its name implies, features artifacts from major events leading up to Brady's drafting into the NFL in 2000.
Tom Brady, the quarterback of the Tampa Bay Buccaneers of the National Football League, just released his own non-fungible token (NFT) collection named "Live Forever: The Tom Brady Origins Collection," which focuses on his early years in the league.
The collection sold out in less than 10 minutes, bringing in roughly $1.3 million in total sales.
It is not too late to buy a Tom Brady Origins NFT if enthusiasts missed out on the public sale of the collection.
Simply follow the methods outlined in this tutorial to get one on the secondary market.
Brady's mention of cryptocurrency isn't entirely unexpected. He has already expressed his support for cryptocurrencies such as Dogecoin and Bitcoin.
As reported by Essentially Sports, Tom Brady and his supermodel wife, Gisele Bundchen, have invested in the FTX cryptocurrency exchange.
In August, the Super Bowl champion launched Autograph, his own NFT platform.
NFTs rely only on cryptocurrencies, therefore his investment in a company like this demonstrates his crypto aspirations.
However, not everyone is pleased with the shift to a new currency.
The NFL announced the restrictment that all 32 teams are temporarily forbidden from directly trading or sponsoring NFTs and cryptocurrencies.
NFL players are free to exchange and hold digital assets, despite the limits imposed on the teams. And the players are frequently observed on social media making remarks and comments on the cryptocurrency's rising and falling trends.
Related Article: Stephen Curry NFT: Release Date, How to Buy Warriors Star's 2974 NFT Collection
Three reasons why experts believe Ethereum killers would outperform ETH2.0
Valereum acquires Gibraltar-based Juno to expand on crypto-fiat bridge
Bitcoin tipped for huge crisis in 2022: 'Was a joke from the beginning' | City & Business | Finance
FTX Token(FTT)$46.17-0.02%


Who is it for? For fans of Spawn and 1990s comics.
After 205 issues, Al Williamson A.K.A. Spawn is finally coming face-to-face with his wife's killer! Get ready for the final reckoning that Spawn fans have long been waiting for, as the bloody trail of vengeance to issue 300 starts here!
Who is it for? For fans of Ocean's Eight.
Cursed at birth, Charlene "Chuck" Manchester hires out her own bad luck, providing disaster where someone else can profit.
Who is it for? For fans of GLOW on Netflix.
Who is it for? For fans of the X-Men series.
Who is the kid called Cable? Find out in this standalone issue that cataches you up to speed. Cable wasn't supposed to arrive in our time until well into adulthood...so what happened?
Who is it for? For fans of Shazam! and Ben 10.


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Determination of fish origin by using 16S rDNA fingerprinting of bacterial communities by PCR-DGGE : An application on Pangasius fish from Viet Nam
Le N'Guyen D.D., Hanh Ha Ngoc, Dijoux D., Loiseau G., Montet D.. 2008. Food Control, 19 (5) : p. 454-460.
http://dx.doi.org/10.1016/j.foodcont.2007.05.006
The determination of geographical origin is a demand of the traceability system of import-export food products. One hypothesis of tracing the source of a product is by analysing in a global way the bacterial communities of the food samples after their exportation. For this purpose, molecular techniques employing 16S rDNA profiles generated by PCR-DGGE were used to detect the variation in bacterial community structures of Pangasius fish from An Giang province, South Viet Nam harvested in different aquaculture farm and during two different seasons, the rainy season and the dry season. When the 16S rDNA profiles were analysed by multivariate analysis, distinct microbial communities were detected. The band profiles of the fish bacteria from different farms are different and are specific for each location and could be used as a bar code to certify the origin of the fish. When band profiles within the same location at different seasons were compared, we also observed the difference banding pattern for each season. Some common bands were noted which are stable throughout the seasons. These bands can be used as specific markers for this specific location. This method is a new traceability tool which provides fish products with a unique bar code and makes it possible to trace back the fish to their original location. (Résumé d'auteur)
Mots-clés : analyse microbiologique; flore microbienne; Électrophorèse; pcr; empreinte adn; identification; provenance; pangasius; viet nam
Thématique : Sciences des aliments et technologie alimentaire; Traitement et conservation des produits alimentaires
Loiseau Gérard — Persyst / UMR QUALISUD
Montet Didier — Persyst / UMR QUALISUD


text:
//==============================================================================
//         Copyright 2003 - 2012   LASMEA UMR 6602 CNRS/Univ. Clermont II
//         Copyright 2009 - 2012   LRI    UMR 8623 CNRS/Univ Paris Sud XI
//
//          Distributed under the Boost Software License, Version 1.0.
//                 See accompanying file LICENSE.txt or copy at
//                     http://www.boost.org/LICENSE_1_0.txt
//==============================================================================
#ifndef NT2_GALLERY_FUNCTIONS_INVHESS_HPP_INCLUDED
#define NT2_GALLERY_FUNCTIONS_INVHESS_HPP_INCLUDED
#include <nt2/include/functor.hpp>
#include <nt2/include/functions/numel.hpp>
#include <nt2/sdk/meta/size_as.hpp>
#include <nt2/sdk/meta/value_as.hpp>
#include <nt2/core/container/dsl/value_type.hpp>
#include <nt2/core/container/dsl/size.hpp>

/*!
 * \ingroup algebra
 * \defgroup algebra_invhess invhess
 *
 * \par Description
 *   invhess(x,y), where x is an n-vector and y an
 *    n-1 vector, is the matrix whose lower triangle agrees with
 *    that of ones(n,1)*transconj(x) and whose strict upper triangle agrees
 *    with that of [1 y]*ones(1,n).
 *
 *    the matrix is nonsingular if x(1) ~= 0 and x(i+1) ~= y(i)
 *    for all i, and its inverse is an upper hessenberg matrix.
 *    y defaults to -x(1:n-1).
 *
 *    if n is a scalar, gallery('invhess',n) is the same
 *    as invhess(_(1, n)).
 *    References:
 *    [1] F. N. Valvi and V. S. Geroyannis, Analytic inverses and
 *        determinants for a class of matrices, IMA Journal of Numerical
 *        Analysis, 7 (1987), pp. 123-128.
 *    [2] W.-L. Cao and W. J. Stewart, A note on inverses of
 *        Hessenberg-like matrices, Linear Algebra and Appl., 76 (1986),
 *        pp. 233-240.
 *    [3] Y. Ikebe, On inverses of Hessenberg matrices, Linear Algebra
 *        and Appl., 24 (1979), pp. 93-97.
 *    [4] P. Rozsa, On the inverse of band matrices, Integral Equations
 *        and Operator Theory, 10 (1987), pp. 82-95.
 *
 * \par Header file
 *
 * \code
 * #include <nt2/include/functions/invhess.hpp>
 * \endcode
 *
 *
 * \param n order of the matrix output
 *
 *
**/
//==============================================================================
// invhess actual class forward declaration
//==============================================================================

namespace nt2 { namespace tag
  {
    /*!
     * \brief Define the tag invhess_ of functor invhess
     *        in namespace nt2::tag for toolbox algebra
    **/
    struct invhess_ :   ext::unspecified_<invhess_> { typedef  ext::unspecified_<invhess_> parent; };
  }

  NT2_FUNCTION_IMPLEMENTATION(tag::invhess_, invhess, 1)
  NT2_FUNCTION_IMPLEMENTATION(tag::invhess_, invhess, 2)
  NT2_FUNCTION_IMPLEMENTATION(tag::invhess_, invhess, 3)
}

namespace nt2 { namespace ext
{
  template<class Domain, class Expr,  int N>
  struct  size_of<tag::invhess_, Domain, N, Expr>
  {
    typedef _2D                               result_type;
    BOOST_FORCEINLINE result_type operator()(Expr& e) const
    {
      size_t n =  nt2::numel(boost::proto::child_c<0>(e));
      result_type sizee;
      sizee[0] = sizee[1] = n;
      return sizee;
    }
  };

  template <class Domain, class Expr, int N>
  struct value_type < tag::invhess_, Domain,N,Expr>
  {
    typedef typename boost::proto::result_of::child_c<Expr&,0>::type      tmp_type;
    typedef typename meta::strip<tmp_type>::type                         tmp1_type;
    typedef typename boost::dispatch::meta::semantic_of<tmp1_type >::type   t_type;
    typedef typename t_type::value_type                                       type;
  };
} }

#endif

redpajama_set_name: RedPajamaGithub


text:
Armor Branch
(Redirected from Armor Branch (United States))
For other uses, see Armor (disambiguation).
Find sources: "Armor Branch" – news · newspapers · books · scholar · JSTOR (October 2015) (Learn how and when to remove this template message)
The Armor Branch of the United States Army is an active combat arms branch.
Armor branch insignia, featuring crossed sabers with an M26 Pershing tank superimposed on top
St. George is the patron saint of the U.S. Army's Armor Branch.
The Combat Arm of Decision
Branch color
It was created provisionally in 1940 as Armored Force under Chief of the Armored Force, Brigadier General Adna R. Chaffee, Jr. and took control of all tank units in infantry and cavalry units.[1]
1.1 Branch insignia
4 Current units
Even though the armor branch traces its lineage back to the original cavalry units, its first beginnings date from the First World War.
The Armored Command was headquartered at Ft. Knox, Kentucky, became effective on 2 July 1943, the Armored Center on 20 February 1944, and was discontinued on 30 October 1945. The Armor Center at Fort Knox Kentucky transferred to Fort Benning Georgia in 2010. United States Army Armor School is now located at Fort Benning.
Branch insigniaEdit
U.S. Army Service Regulation 42, change 1, dated December 29, 1917 authorized "the first insignia for the new tank service."[2] This new insignia was the image of the "front-end view of a conventionalized tank", but in appearance looked like an unidentifiable upper half circle of sort of storage or transport container. A little over 4 months later on 07 May 1918, change 2 to Regulation 42, eliminated the Army's first Tank Service and replaced it with the new U.S. Army Tank Corps, along with a newly designed collar insignia which consisted of the "side view of the Mark VIII tank above two stylized dragons breathing fire over a wreath."[3] In 1921 U.S. Army Circular 72 deactivated the U.S. Army Tank Corps, returning all armored vehicles to the Cavalry and Infantry units, which also removed the new "Tank Corps" collar insignia from the service.[4]
On 10 July 1940 the U.S. Army Armored Force was created and on February 25, 1942 Army Circular 56 created a new collar insignia, consisting of the left side view of a Mark VIII tank. This simple tank design had no decorations or other objects surrounding it, and was the insignia worn by U.S. Army personnel thru-out WWII.[5] Presently, the current U.S. Army "Armor" branch collar insignia , which consists of the front view of a U.S. M-26 Pershing tank superimposed over two crossed swords, replaces the WWII collar insignia with the "Army Regorganization Act of 1950, Section 404, Army Bulletin 9", in which the current Armor insignia became authorized to wear in February 1951.[6]
PublicationsEdit
ARMOR is the professional journal, originally published as the Cavalry Journal in 1885. The name was changed to Armor in 1940 after the transition from Horse Cavalry to Armor for the U.S. Army's Armor Branch, published by the Chief of Armor at Fort Benning, GA., training center for the Army's tank and cavalry forces.[citation needed] It is also one of the oldest publications in the U.S., founded in 1888 by cavalry officers on the American frontier as a forum for discussing doctrine, tactics, and equipment among soldiers geographically separated by the great distances of the American West.[citation needed]
WeaponsEdit
M1A1 – Main Battle Tank
Stryker – Armored Combat Vehicle
Stryker MGS – Infantry Support Vehicle
M2 Bradley IFV – Infantry Fighting Vehicle
M3 Bradley CFV – Cavalry Fighting Vehicle
Current unitsEdit
1st Armored Division
1st Cavalry Division
33rd Armor Regiment
34th Armor Regiment
103rd Armor Regiment
United States Army branch insignia
List of armored regiments of the United States Army
United States Tank Corps
Tanks in the United States
Armoured warfare
I Armored Corps (United States)
United States Armor Association
^ Army Ground Forces, Study No. 1, Chapter III: GHQ and the Armored Force
^ Laframboise p 105, 106
^ Laframboise p. 108
https://web.archive.org/web/20110513005759/http://www.history.army.mil/html/forcestruc/lineages/branches/ar/default.htm
https://web.archive.org/web/20110611015741/http://www.tioh.hqda.pentagon.mil/UniformedServices/Branches/tank_armor_obs.aspx
Laframboise, Leon W. (1976) "History Of The Artillery, Cavalry And Infantry Branch Of Service Insignia." Watson Publishing Co., Steelville, MO.
https://web.archive.org/web/20110925030226/http://www.tioh.hqda.pentagon.mil/Heraldry/ArmyDUISSICOA/ArmyHeraldryBranch.aspx?b=207
https://web.archive.org/web/20110611020230/http://www.tioh.hqda.pentagon.mil/UniformedServices/Branches/armor.aspx
http://www.armorcavalrymuseum.org/
Retrieved from "https://en.wikipedia.org/w/index.php?title=Armor_Branch&oldid=931054218"