The (Male) Gaze of Shadows: The Inner Lives of Women in the Works of Ismat Chughtai and Amrita Sher-Gil
In the 1930s-40s, the rhetoric of the colonialists and the Indian nationalists sounded similar, as each group’s modernizing mission viewed women as objects of desire and protection. How did Ismat Chughtai’s Urdu short stories and Amrita Sher-Gil’s paintings respond to this dominant patriarchal discourse? Critics have often read their overlapping explorations of women’s inner lives as ‘subverting’ the ‘male gaze.’ But considering the realist locations of their works are spaces of hetero-patriarchal imagination, where does the audience’s gaze turn? Is the subversion successful?