Rangrez and Rangdār are two commonly used words in north India. ‘Rangrez’ is a painter/dyer, and in Sufi tradition is also a word for Allah. ‘Rangdāri’ is an illegal extortion tax, and the person w...

A venture in a less traversed terrain of Indian scholarship, this article looks at the transformation in the value regimes that go into the making of colours in the Indian milieu. At one level, this study traces the sacredness imbued in colours and at another level the article delves into the genealogy that gives rise to a complex where colour, colonial investment in the economy of colours, values and experiential dynamics enshrined in the imageries and practices associated with colours all (...) come together. With these entanglements, the idea is to engage with the social fabrics and the politics of colours in the Indian milieu. In this rendering, the distinction between values and forms collapses giving us in turn a field of aesthetic experience. Mobilizing a wide range of registers, this story is narrated with key rubrics, such as, ambiguous location of colour in the discourse on visuality, social and cultural life of colours and the manner in which Western science and modernity has influenced the values pertaining to colours. However, the core anxiety is parked on the relation between colour, aesthetic experience and the question of value. (shrink)

Journal of Human Values, Volume 28, Issue 2, Page 143-160, May 2022. Recent decades have witnessed an unprecedented amount of conflict around visual representations in India. The field of the visual is the new terrain for rumour mongering and for maiming uncomfortable oppositional voices. With the fast-spreading mobile culture, penetrating social media and continued legacy of the pictorial as an embodiment of the real, the visual has taken over both the oral as well as the written words in its usefulness (...) to serve the political. Can we simply comprehend such a visual aggression by taking recourse in the enhanced role of visual media in our everyday life, along the lines of a ‘visual turn’? Is the visual sphere another surface of politics? With these key questions, this article revisits certain contemporary visual events by focusing on words that float in public spaces from streets to television screens. On a broader terrain, with an emphasis on aesthetics, the article relooks at an often-settled equation between the visual and the political on the one hand and the question of the visual as an archive of the contemporary on the other. Following Rancière’s notion of aesthetics as a field of the distribution of the sensible, this article has tried to focus on vernacular words circulating outside the confines of the literature and create a domain of political communication hitherto ignored by scholars. (shrink)