Four Sichuan Buddhist Steles and the Beginnings of Pure Land Imagery in China Author(s): Dorothy C. Wong Source: Archives of Asian Art, Vol. 51 (1998/1999), pp. 56-79 Published by: University of Hawai'i Press for the Asia Society Stable URL: http://www.jstor.org/stable/20111283 . Accessed: 22/11/2013 13:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of Hawai'i Press and Asia Society are collaborating with JSTOR to digitize, preserve and extend access to Archives of Asian Art. http://www.jstor.org This content downloaded from 128.143.172.192 on Fri, 22 Nov 2013 13:42:46 PM All use subject to JSTOR Terms and Conditions Four Sichuan Buddhist Steles and the Beginnings of Pure Land Imagery in China Dorothy C.Wong University of Virginia 1 he Northern and Southern Dynasties (386?589) iswell thriving economic and cultural center since Han times, a recognized as period of significant developments in but compared with Nanjing and Luoyang, capital cities Chinese art history. Idioms and artistic conventions estab where ritual art in the service of a state ideology remained lished in Han-dynasty (202 BCE?220 CE) art continued, an imperative, Sichuan always allowed artists a much while the acceptance of Buddhism and Buddhist art forms greater degree of freedom.