his study of the networks of Indian calendar art has shown how the
‘‘bazaar’’ is a peculiarly slippery term, describing a for-
mation constituted byand integral to colonial tradeyet at the same time
demarcated by colonial knowledge as a separate, ‘‘informal,’’ ‘‘native’’
realm. As part of a vernacular arena, it is comprised of idioms ‘‘born
in the master’s house’’: that is, they are disjunct and subaltern yet con-
dering the coexistence of epistemologically parallel yet pragmatically
and performatively interconnected worlds. This coexistence has per-
sisted into the post-independence era, such that Indian subjects have
had to negotiate their participation in various types of ethos, ranging
between vernacularand cosmopolitan or ‘‘English-medium.’’ This issue
of the postcolonial disjuncture between knowledge formations and so-
cial practices underlies my analysis of how the production, circulation,
and consumption of bazaar images confounds the modernist narrative
of the supersession of the sacred by art, and with it the attendant dis-
tinctions between religion, art, and commerce, between fetish objects
and (re)productive subjects, between the visual or ideational and the
corporeal.Thus I have argued that these images signal some of theways
in which modernity exceeds its own—very powerful—stories about
itself. On the way, I have also sought to demonstrate what is yielded
Previous Page Next Page