as shouting, beating, and using irrational retorts to startle their students into realization". These shock techniques became part of the traditional and still popular image of Chan masters displaying irrational and strange behaviour to aid their students. Part of this image was due to later misinterpretations and translation errors, such as the loud belly shout known as katsu. In Chinese "katsu" means "to shout", which has traditionally been translated as "yelled 'katsu'" – which should mean "yelled a yell" During 845-846 staunchly Taoist Emperor Wuzong of Tang persecuted Buddhist schools in China along with other dissidents, such as Christians: This persecution was devastating for metropolitan Chan, but the school of Mazu and his likes survived, and took a leading role in the Chan of the later Tang. Teachings Mazu Daoyi's teachings and dialogues were collected and published in his Jiangxi Daoyi Chanshi Yulu "Oral Records of Chan Master Daoyi from Jiangxi". Buddha Nature Though regarded as an unconventional teacher, Mazu's teachings emphasise Buddha-nature: Shock techniques Mazu Daoyi, in order to shake his students out of routine consciousness, employed novel and unconventional teaching methods. Mazu is credited with the innovations of using katsu (sudden shouts), keisaku (unexpected strikes with a stick) and unexpectedly calling to a person by name as that person is leaving. This last is said to summon original consciousness, from which enlightenment arises. Mazu also employed silent gestures, non-responsive answers to questions, and was known to grab and twist the nose of a disciple. Utilizing this variety of unexpected shocks, his teaching methods challenged both habit and vanity, a push that might inspire sudden kensho. Subitism and dhyana (zazen) A well-known story depicts Mazu practicing zazen but being rebuked by his teacher, Nanyue Huairang, comparing seated meditation with polishing a tile. According to Faure (Scholar), the criticism is not about dhyana as such, but "the idea of "becoming a Buddha" by means of any practice, lowered to the standing of a "means" to achieve an "end"". The criticism of seated dhyana reflects a change in the role and position of monks in Tang society, who "undertook only pious works, reciting sacred texts and remaining seated in dhyana". Nevertheless, seated dhyana remained an important part of the Chan tradition, also due to the influence of Guifeng Zongmi, who tried to balance dhyana and insight. "How can you rest if the one that comes as the vanguard and leaves as