Erotics of the body politic
The naked and the clothed
in Empires of light
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

A discourse on veiling and unveiling was implicated in changing notions of the body in nineteenth century India, prominent amongst which was the place of the female nude. Introduced by European artists and taught at the British-run academic art schools in India, the nude was also displayed in the houses and palaces of the elite as a symbol of good taste. This chapter argues that this idea of the nude – as the body shorn of all clothing – was premised upon Enlightenment ideas of the ‘naked truth’ that assumed the naked body as ‘natural’ and prior to representation. In the Indian context, however, as many authors have noted, it was the adorned body that was regarded as auspicious. This chapter evaluates how the female body becomes the site of an inordinate erotic investment in nineteenth-century Indian pictorial practice, premised upon exactly such a mechanism of veiling and unveiling, providing us with some historical perspective in recent debates on nudity in Indian painting.

Empires of light

Vision, visibility and power in colonial India


All Time Past Year Past 30 Days
Abstract Views 60 60 1
Full Text Views 0 0 0
PDF Downloads 0 0 0