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Medium 9780253340481

Chapter Seven Three Stories in Search of My Father

Samuel S. Bak Indiana University Press ePub
Medium 9780253013064

4 • Gyapagpa Temple’s Painting Style and Its Antecedents

Melissa R. Kerin Indiana University Press ePub

Based on the insights of the last two chapters it is clear that the Gyapagpa Temple’s sixteenth-century painting program was the result of a vital ’Bri gung (Drigung) resurgence that affected much of the western Himalayan region during the late medieval period. Given this temple’s significant role in piecing together the region’s religious history, a lingering question must be raised: How could this valuable historic document have gone underanalyzed for so long? The answer to this question is enmeshed within at least two interconnected issues regarding trends in South Asian, and specifically Tibetan, art historical scholarship. As for the first of these two issues, there has generally been a tendency to document, analyze, and publish Tibetan art from earlier rather than later periods. Much of Tibetan art history has focused on earlier material of the eleventh through fourteenth centuries.1 Indeed, this is the case with the late sixteenth-century paintings at the Gyapagpa Temple, which were overshadowed by neighboring eleventh- and twelfth-century painting programs, both in the compound and in surrounding villages, such as Tabo. Antiquity was not always the deciding factor, however. It would seem that issues of connoisseurship also came into play when scholars neglected Gyapagpa’s paintings. Likely, its now faded paintings with limited modeling and sometimes clumsily executed lines inspired scholars to look at other sites, with similarly dated murals, such as at the religious and political centers of Tabo, Tholing, and Tsaparang.

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Medium 9780253008527

Gallery of Paintings with Artists' Captions

Indiana Plein Air Painters Association Quarry Books ePub

with Artists' Captions

All dimensions are vertical first, then horizontal.

 

House of the Singing Winds with Pergola
(Brown County)
by Todd A. Williams
oil

12" × 16"

With the historical significance of Brown County and the artists that colonized that area in the early 1900s, it became an obvious location of interest for me. T. C. Steele's home, the House of the Singing Winds, was at the top of my list. To paint in the footsteps of T. C. Steele was a dream come true.

 

Tunnel
(Wayne County)
by Wyatt LeGrand
oil

18" × 24"

Bridges are odd things to paint. I think it's funny how I always end up chopping off the roadway running off the opposing sides of the bridge. Without the road, path, or railway, what use is the bridge? Maybe I'm painting bridges like they're tunnels. I'm more interested in the objects they span than the destinations they connect.

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Chapter Thirteen Closure

Samuel S. Bak Indiana University Press ePub
Medium 9780253353801

6 The Big Lebowski and Paul de Man: Historicizing Irony and Ironizing Historicism

Edward P Comentale Indiana University Press ePub

Joshua Kates

Let me begin by historicizing, not irony, but the Dude, though these two options may turn out to be closer than one suspects. The link between the Dude, the hero of the Coen brothers’ 1998 film The Big Lebowski, and the era of the 1960s has seemed to many incontestable. I propose, however, not the 1960s themselves, but a certain reception and interpretation of this era in the 1970s as Jeff’s actual socio-cultural reference point.

Indeed, at issue in the character and way of life of Jeff—as his homonym, the Big Lebowski, points out—is the fate of the already failed revolutionary hopes of the 1960s, as these have been taken up and “processed” by the 1970s. Jeff as we are shown him, in fact, has no living contact with that earlier era. The Dude cannot even be imagined actually doing any of the earlier deeds attributed to him, or to his supposed archetype Jeff “the Dude” Dowd: taking over campus buildings, writing the Port Huron Statement, etc. So, too, from the beginning of Lebowski, Lebowski little and big are distinguished along the axis of activity and quiescence, laziness and achievement (suited to the reference of the 1970s), not in terms of politics or political commitment (as would befit the 1960s). Big Lebowski is credited with being an achiever at least five times after the film’s opening, and even the doting cowboy narrator calls the Dude the laziest man in L.A. (Of course, by the end of the film, the attribute of achievement having been stripped from the putatively “larger” Lebowski, and Jeff having fathered a still smaller Lebowski, it is not clear who really is the big Lebowski: perhaps the larger-than-life, and about to become large with child, Maude Lebowski?)

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