Historically, heteronormative narratives have often found a voice in Indian art. But a closer look at ancient sculptures and texts will reveal hidden nuances and fluidity in gender representations. For instance, the Ardhanarishwar concept, where Shiva is depicted as half-male and half-female, exemplifies the acceptance of gender fluidity, and embodies the synthesis of both masculine and feminine energies within a single divine form. The androgynous form also holds profound significance—both the divine energies together create and sustain the universe, and cannot exist in isolation. The Ardhanarishwar concept provides a historical foundation for queer expression within the broader cultural context.
Veer Misra, queer illustrator and graphic designer whose work is centered around platforming and documenting queer intimacy, says Indian art has always been inherently queer. “All art is queer. It depends on the person looking at it and the people documenting it,” says the artist. While India may have had a long history of diverse gender expressions, the acceptance of queer voices in art is a relatively recent phenomenon. Things started to change with the turn of the 20th century with progressive artists like Amrita Sher-Gil and Tyeb Mehta incorporating subtle queer undertones in their work. However, the overt expressions of queerness remained largely marginalised. Then came digital platforms which provided
