Zen: differenze tra le versioni

Molti maestri zen (ad esempio [[Línjì Yìxuán]] o [[Ikkyū Sōjun]]) si caratterizzarono anche per la loro [[iconoclastia]], volta a scardinare le rigidità mentali<ref>{{q|By the middle of the ninth century, sensitized to the recursive danger of imposing a means-end structure on the relationship between Buddhist practice and Buddhist enlightenment, a significant number of Chan communities had adopted a critical and iconoclastic stance toward the gradualism of a Buddhist establishment that insisted on disciplined study and practice as a necessary precursor to expressing one’s own, originally enlightened and enlightening nature. This stance was graphically epitomized by Linji’s (d. 866) denunciation of Buddhist scriptures as “hitching posts for donkeys” and his fierce insistence that true practitioners must be ready even to “kill ‘Buddha’” en route to becoming “true persons of no rank,” responding to each situation as needed to improvise an enlightening turn in its dynamics.|Peter D. Hershock, ''Public Zen, Personal Zen: A Buddhist Introduction''. Lanham, Rowman & Littlefield Publishers, 2014, pos. 66/277}} {{q| But rather than turning to the historical Buddha as a model, he took the route of personally exemplifying the at times shocking capacity for relating freely that featured so prominently in the recorded encounter dialogues and kōans attributed to such Tang dynasty Chan masters as Mazu, Huangbo, and Linji. In turn dismayed and angered by what he saw as the decadent aestheticism and almost fetishistic desire for power that shaped life in both gozan and rinka temples, Ikkyū came to feel a special kinship with Linji and his iconoclastic disdain for convention. But whereas Linji seems to have maintained a relatively uncontroversial monastic lifestyle, Ikkyū went well beyond rhetorical iconoclasm, making a shambles of both monastic and social convention.|Peter D. Hershock, ''Public Zen, Personal Zen: A Buddhist Introduction''. Lanham, Rowman & Littlefield Publishers, 2014, pos. 200/277}}</ref>. Collegate allo Zen è possibile inoltre trovare numerose pratiche appartenenti a campi eterogenei. Origine e fondamento delle arti e della cultura, lo Zen ispirò la poesia ([[haiku]]), la cerimonia del tè (''[[cha no yu]]'' o chadō), l'arte di disporre i fiori ([[ikebana]]), l'arte della calligrafia ([[shodō]]), la pittura ([[zen-ga]]), il teatro ([[Nō]]), l'arte culinaria ([[zen-ryōri]], [[shojin ryōri]], [[fucha ryōri]]) ed è alla base delle arti marziali (es. [[aikidō]], [[karate]], [[jūdō]]), dell'arte della spada ([[kendō]]) e del tiro con l'arco ([[kyūdō]]).