Bagoas, a eunuch of remarkable beauty and in the very flower of boyhood, who had been loved by Darius and was afterward to be loved by Alexander the Great.
He conquered the world, but not himself. He achieved his dream, but the triumph didn't bring the joy he expected. In the end, Alexander the Great left the world as every human does - with empty hands. The eternal dilemma remains: is it better to be an unhappy winner or a happy loser?
After all, we enter this world with nothing, and we leave it the same way. Everything in between is how we choose to spend our time.
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New version of Alexander the Great in Persia. I didn't like the way the art looked at first, so I redrew it.
Tritiya Prakriti (Sanskrit: तृतीयप्रकृति) - "third nature" or "third gender," referring to individuals who are neither exclusively male nor female in body or mind.
Tritiya Prakriti acts as an umbrella term, sometimes associated with hijras (transgender/eunuchs) and various other classifications described in ancient texts.
Ancient Indian literature often viewed those of the third sex as having unique, sometimes spiritually powerful capabilities due to their ambiguous nature. While western colonial laws, such as the Criminal Tribes Act, heavily marginalized gender-variant people, contemporary perspectives are reviving the pre-colonial understanding of their respected role.
In the context of performance, their dance is not merely art but a ritualistic act of channeling divine energy.
Shiva is intimately connected to this concept through the androgynous form of Ardhanarishvara, representing the seamless merging of masculine and feminine principles, making him a central figure representing gender fluidity and transcending the binary.
In South India, Shiva is worshipped as Thaiyumanavar ("he who became the mother"), embodying the maternal role to assist a devotee in childbirth, further highlighting his ability to shift gender roles.
Historical Note: This character depicts a historical eunuch—a male who underwent castration before puberty. The absence of testosterone naturally influenced their physiological development, leading to a distinct androgynous appearance. It is crucial to understand that despite their feminine aesthetics, high-pitched voices, or specific mannerisms, they were historically recognized as a unique category of men, not women. Secondary sexual characteristics and social expressions—such as clothing or gait—do not redefine biological sex; they illustrate its diverse manifestations across cultures. My goal is to reflect the authentic diversity of the male experience throughout history, free from modern ideological projections.
On Aesthetics and Artistic Intent: For over a decade, I have encountered the misconception that depicting effeminate or androgynous men is a "fetish." This view ignores a vast cultural heritage. From the courts of Byzantium and Persia to the traditions of India, China, and Japan, feminine-presenting men (including eunuchs, actors, and aristocrats) were a standard and respected part of the social fabric. To label these historical aesthetics as "perversion" is to ignore centuries of human culture.
Furthermore, there is a striking double standard in how we view gender expression: while masculine clothing on women is widely accepted as a stylistic choice, feminine expression in men is often unfairly sexualized. To suggest that "femininity" is inherently shameful or sexual when adopted by a man is, in itself, a devaluation of the feminine. As an artist, I reclaim the right to explore these aesthetics as a matter of style, history, and human expression, rather than a niche "fetish."
Addressing the "Misogyny" Paradox: I am frequently asked: "If you like feminine aesthetics, why not just draw women?" This question is rooted in a deeply sexist assumption—that beauty, grace, and adornment belong exclusively to women. To suggest that an artist "must" be a misogynist to find beauty in a feminine male form is a bizarre inversion of logic. In reality, the true prejudice lies with those who believe that femininity is so "low" or "shameful" that it should be off-limits to men. If you view a man in feminine dress as a "perversion" or a "fetish," you are the one sexualizing and devaluing the feminine. You are reducing a vast aesthetic tradition to a mere kink.
On Artistic Intent vs. Modern Projections: The accusation that I "cannot draw men" or "secretly want to draw women" stems from a narrow, modern-Western gaze that recognizes only one type of masculinity: the hyper-masculinized warrior. However, throughout the history, the "effeminate" male was often the peak of aristocratic and spiritual refinement. I am not "replacing" women; I am reclaiming a lost chapter of male history. I refuse to limit my creativity to satisfy modern gender binaries that are, historically speaking, a mere blink of an eye.
A man has every right to look and dress as he pleases while remaining a man. My art is a celebration of that freedom, not a fetish, and certainly not a projection of hate.
A Note on Bodily Expression in Art: Some might argue that the very act of focusing on the physical beauty and grace of a character implies fetishization. To this, I counter with the entire history of classical art. From the nude male marble statues of antiquity to the semi-nude deities, Apsaras, and Gandharvas adorning thousands of ancient Indian temples, the human form—clothed, draped, or exposed—has been used as a vessel for the divine. If grace is sexual, and a beautiful male body is a 'kink', then all temple architecture and classical painting are perversions. True art transforms the physical form into a spiritual and aesthetic language. It is the viewer’s responsibility to look past their own modern hang-ups and understand the culture being depicted.
The beauty of the Byzantine eunuch was defined by a highly prized, liminal aesthetic—a delicate fusion of youthful, feminine, and angelic traits. Their appearance, characterized by a tall stature and smooth, luminous skin, was revered as a symbol of both purity and imperial luxury. Often likened to celestial beings, these individuals were far more than mere court officials; they served as living icons of the Byzantine aesthetic ideal. As explored in "Angels and Eunuchs: The Beauty of Liminal Masculinity" (Res: Anthropology and Aesthetics, 2007), they embodied a unique form of masculinity that transcended traditional boundaries.
Roman emperor Domitian and Flavius Earinus - his favorite eunuch lover.
HQ 4k full artwork + steps process
Some excerpts from beautiful poem about Earinus by ancient authors.
Martial (from Epigrams, Book 9)
A mirror advising his beauty & a sweet-smelling lock
of hair - these are the presents set up as sacred
to Pergamum's god by the palace-slave his master loves
most, the boy whose name signifies "springtime".
The land counting among its treasure such a gift
is blessed, and needn't yearn for Ganymede's hair.
(Statius, Silvae 3.4)
...a boy of incomparable beauty,
outshining the stars, at play before the altar of the god.
....a wonderful gift for a leader of men. No commonplace duties
await you. Your destiny is the palace, to be a slave for love.
I've never seen, I swear, nor engendered anything so sweet
the whole world over. Endymion will yield you place;
Attis too, and the youth destroyed by fruitlessly loving
an empty reflection on the pond. The sea-blue nymph would prefer
to catch you & your water-jar, and drag you firmly under.
You're beyond them all, boy. The only man more handsome
is he to whom I'll give you."
Statius reports that the poem dedicated to the young eunuch was written at the latter's request. Modern scholars, however, are of the opinion that the order (probably given to Martial as well) must ultimately have come from Domitian himself, with Earinus serving as go-between. (Source: Wikipedia)
Callinicus: The Angelic Guardian of the Sacred Bedchamber
This portrait depicts Callinicus, the Grand Chamberlain and praepositus sacri cubiculi to Emperor Justinian I. His poised silhouette and the presence of the quill and book symbolize not only his high administrative rank but also his profound enlightenment.
The poet Leontius Scholasticus immortalized Callinicus in epigrams originally attached to his icons, celebrating both his physical grace and his rare "spiritual beauty". In this illustration, Callinicus embodies the Byzantine ideal of the eunuch: a mediator between the earthly Emperor and the Divine, possessing an "angelic" stature. He was famously described as "sowing gentleness" into the ears of the Emperor as he prepared for sleep.
A figure of unwavering loyalty, Callinicus was present at Justinian’s bedside during his final hour in November 565, eventually helping Justin II secure the throne. His legacy lives on not only through the monasteries established on his former estates but through the enduring legend of the "angelic beauty" of those who transcended the earthly for the sake of the heavenly.
Sources:
“Callinicus was a eunuch who rose to the rank of praepositus sacri cubiculi, one of the most senior palace officers responsible for Justinian's private quarters. Callinicus was present when Justinian died in November 565 and helped Justin II secure the throne. He probably died before the start of the miaphysite persecution in 571 since Joh. Eph., EH 2.41, reports that Callinicus had presented him with a villa which John then turned into a monastery.”
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The Eunuch in Byzantine History and Society
By Shaun Tougher
Sideris also highlights the particularly interesting instances of Callinicus [...]. Callinicus was the grand chamberlain of Justinian I, and was celebrated by Leontius Scholasticus in an epigram, which was originally attached to an icon of the eunuch. The epigram remarks on Callinicus' spiritual beauty as well as his physical beauty. It also imagines the eunuch sowing gentleness (geatxinv) in the ears of the emperor as he goes to sleep.
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Praise the beauty of eunuchs such as Justinian’s praepositus sacri cubiculi Callinicus; later, they were compared to angels. See Ringrose, “Eunuchs as Cultural Mediators,” 86–89; Tougher, “Aesthetics of Castration,” 50–51; Neri, La bellezza, 164–65.
King Alexander the Great and his lover and advisor Bagoas, who was not only the most beautiful and charming person of this time, but he was also a powerful courtier who had his own spies (Quintus Curtius Rufus describes the case of the execution of Orxines), he was engaged in judicial affairs and intelligence. These duties were common to palace eunuchs in almost all ancient cultures. It is a mistake to consider eunuchs simply servants in harems (in fact, a not big part served in harems) or weak-willed lovers of powerful men. Eunuchs were themselves powerful courtiers, they were engaged in administrative and military affairs, often, took power into their own hands and became "shadow rulers". Curtius, through the mouth of Orxines, calls Bagoas "the ruler of Asia", emphasizing his high role during the reign of Alexander.
Please note, the painting is not a historical reconstruction, but an imaginary vision of the artist; no one knows what it actually looked like or whether it happened at all or not.
When I was drawing I thought about my fantasy AU story more.
The comic was originally planned as a short four-page story. I began working on it nine years ago, in 2017, but completing the project proved difficult due to the emotional weight and density of the subject. For this reason, only the first pages are being shared at this time, as a fragment rather than a finished narrative.
This work is an attempt to see a historical figure as a human being, with complexity, dignity, and contradictions — not as an embodiment of evil or decline. Without justification, and without condemnation.
This comic is not intended as a political statement, nor as an attempt to pass historical judgment.
It is also not a purely fictional story. It is inspired by a real historical figure — Khusro Khan, a eunuch who rose to power and briefly ruled the Delhi Sultanate. His life has come down to us through conflicting and often hostile sources, written with clear ideological and moral bias. Rather than reconstructing events or choosing one interpretation over another, my focus was on the inner state of a person living through violence, dependency, and loss — without attaching that experience to any specific religion, state, or political system.
If this fragment resonates with you, if you like it, I may continue the story.
Spring comes to Varkána — the land the Persians called the Land of Wolves.Hyrcania greets him with dense forests, fruit orchards, and the cold breath of the Elburz Mountains. The air is scented with spring, blossoms, and mist.
Bagoas rides at full gallop — a young eunuch of a fallen king’s court, until recently the beloved of Darius.Now his fate shifts, as the wind shifts over the Caspian Sea.He is neither trophy nor shadow, but a plea for mercy, heard by Alexander the Great.
In these lands, the wolf is not a symbol of cruelty, but of strength, valor, and loyalty.And Bagoas, beautiful and seemingly fragile, carries within him the same untamed resilience.Hyrcania accepts him — as it accepts all who move forward, not knowing who they will become tomorrow.
I finally finished this artwork. It took me a long time. It was started in 2017.
Alexander and Bagoas in a private moment of closeness. Wrapped in one another’s arms, they share an intimate kiss — a union of passion, tenderness, and mutual longing. Their bond was not momentary, but deep and enduring, shaped by affection, loyalty, and the quiet intensity of love behind the splendor of power.
Happy New Year everyone!
I planned to draw the art for January 1st, but it took longer than I expected. I wanted to depict something special, so I chose Alexander and Bagoas, my old favorites.
I've decided to write the article below using my archives. There will be more information, but there won't be enough space.
Bagoas: Between Power, Beauty, and Distorted Memory
In popular culture, the name Bagoas is almost always mispronounced — and misrepresented.
He is reduced either to an exotic ornament at the side of Alexander the Great, or to the humiliating stereotype of an “eastern boy-slave,” stripped of will, character, and agency. Both versions are not merely inaccurate; they are symptoms of a deeper problem. For centuries, Western tradition has been unable and unwilling to understand eunuchs. And the further we move away from Alexander’s era, the harsher and cruder this distortion becomes.
Yet the historical Bagoas was a far more complex and significant figure.
Eunuchs in Achaemenid Persia: Not “Castrated Slaves,” but an Elite
In Achaemenid Persia, eunuchs occupied a distinct and institutionally defined position.
Castrated before puberty, they were perceived as standing outside conventional male roles — and precisely for that reason were regarded as pure, trustworthy, and reliable. They posed no threat in dynastic struggles, had no claims to succession, and could therefore exist at the very center of political life.
Eunuchs served as translators, keepers of secrets, diplomats, and intermediaries between courts and cultures. They knew languages, laws, rituals — and, most importantly, the psychology of power. It is no coincidence that figures such as Bubaces stood close to Darius III: a eunuch who refused to abandon the king even when his fate was already sealed.
Bagoas belonged to this very tradition.
There is another point that must be emphasized. Persian eunuchs were not chattel slaves in the Greco-Roman sense. In the Achaemenid Empire, there existed a principle according to which a Persian could not be a slave in his own land; whether man, woman, or eunuch. Land of the Aryans, the land of free people, was not rhetorical flourish but a legal and cultural foundation.
Bagoas’s Origin and Status
Ancient sources* — above all Arrian — identify a Bagoas as a Persian, the son of Pharnuces. There is a well-founded hypothesis that this Pharnuces may have been Pharnaces, a general of Darius III, a relative of the royal family and brother of one of the king’s wives, who fell at the Battle of the Granicus, where many members of the Achaemenid elite fought and died.
If this is correct, Bagoas could not have been a marginal figure at court. He came from a noble background, was raised within the courtly environment, and possessed both education and political experience. He spoke Greek and acted as a translator; he knew the inner workings of Persian power and its secrets.
The episode of the desecration of Cyrus’s tomb is telling. It is Bagoas who informs Alexander of the sacrilege committed by the satrap Orxines and initiates the investigation, dispatching “specially trained men” — in effect, his own network of agents. This is not a passive victim of circumstance, but someone accustomed to acting and to influencing outcomes.
*Note: The reluctance of modern scholars to identify these references as pertaining to the same individual reflects not the ambiguity of the ancient sources, but a methodological and cultural discomfort with acknowledging the political agency of a eunuch intimately connected to Alexander, and by modern discomfort with the convergence of eunuch status, power, and erotic legitimacy.
Meeting Alexander: Not a “Gift,” but an Intercessor
A common myth claims that Bagoas was simply “presented” to Alexander. The sources tell a different story if we read carefully.
After the murder of Darius III, Nabarzanes (one of the conspirators) desperately sought a way to save his life. It was Bagoas who interceded on his behalf before Alexander. Quintus Curtius Rufus explicitly notes that Alexander granted clemency solely at Bagoas’s insistence.
This detail is crucial. Alexander was notorious for his hatred of traitors and did not hesitate to execute men for far lesser crimes. Bagoas’s influence, therefore, was not ornamental. It was real, acknowledged, and effective.
Alexander’s Ethics and the Uniqueness of Bagoas
Alexander was not a man who accepted any “beautiful gift” placed before him. Ancient authors record at least two occasions when he refused boys offered to him, judging such offerings either cruel or insulting.
He refused to accept a youth upon seeing his distress; he insisted on respect for the family of Darius; he executed his own soldiers for violence against women; he encouraged lawful marriage rather than plunder and humiliation.
Against this background, Alexander’s bond with Bagoas appears not as decadence or “eastern excess,” but as a deliberate choice grounded in ethics.
The Beauty of Bagoas: Why It Disturbed
Quintilian, the Roman rhetorician, contrasts Bagoas and Megabyzus with the canonical ideal of male beauty — Polyclitus’s Doryphoros. His words are often misread, but the meaning is clear enough: the beauty of eunuchs unsettled Roman notions of masculinity.
This was not about ugliness, but about competing aesthetics: the martial, rigid, muscular ideal versus one that was androgynous, soft, and sensuous. What disturbed the Romans was not weakness, but the allure of a form of beauty that did not fit established categories.
Bagoas Is Neither Angel nor Victim
Modern interpretations almost always fall into one of two extremes. Either Bagoas is portrayed as a passive, submissive slave, or he is transformed into an abstract, nearly bodiless observer, devoid of desire and will.
Both approaches strip him of humanity and personality.
Bagoas was beautiful, intelligent, powerful, politically active, and emotionally alive. He could love, feel jealousy, influence others, and seek revenge. It is precisely this complexity that makes him inconvenient for stereotypes and thus so often erased.
Why His Image Is Still Distorted
The story of Bagoas is deeply uncomfortable.
It dismantles binary ideas of gender, challenges the Western monopoly on “noble love,” undermines the image of a passive East, and renders meaningless the notion of the eunuch as “incomplete.”
That is why films, novels, and popular histories continue to flatten him into caricature.
A Personal Dimension
For me, Bagoas is not merely a figure of antiquity.
He is an image around which years of texts, drawings, and reflections have taken shape. At the same time, he is tied to a painful personal experience, one marked by mockery, aggression, and the imposition of cliches in place of a living, complex history.
Returning to Bagoas is difficult. But that is precisely why it matters to speak about him honestly — without distortion or humiliation.
I began this image as a reflection on angels as eunuchs in the Byzantine tradition. Beings beyond gender and bodily desire. Pure, beautiful, radiant.In the process, it became the image of Archangel Michael. A guardian, a protector, an archistrategos.
Later, I realized that it was also an illustration for my own story.
A dream of an angel who, with time, takes on a human face.
This angel is about love. Unconditional and sacrificial. A love that protects and forgives. Heavenly in its purity, yet deeply human in its joy and sorrow.
Androgynous gods. My original character from a fantasy story. I began this large-scale artwork in 2019. I painted it sporadically, as I wanted to depict it exactly as I imagined it. It was something mystical, hermaphrodite or androgynous gods at the dawn of creation.
I've been working on this art for a long time. In the painting, two graceful eunuch musicians embody a synthesis of the ancient East and the Hellenistic world. Their bodies are not a sign of loss, but a celebration of form, talent, and spirit that transcends rigid boundaries of gender.Their music flows through the quiet garden, beneath golden arches, across centuries.
I continue exploring this theme because I receive sincere and supportive messages from people around the world. Among them are intersex, trans, nonbinary, and queer individuals — people who have often felt "invisible" in culture and art.
My work has meant something to them. That’s why I keep going.
