Qatar Foundation (QF) for Education, Science and Community Development will inaugurate “Lawh wa Qalam: The Maqbool Fida Husain Museum” this Thursday, a new cultural landmark in Qatar dedicated to celebrating the legacy of one of the most influential figures in modern art.
The museum houses 140 original works and personal artifacts that narrate the story of M.F. Husain, highlighting pivotal moments in his life and career from the 1950s until his final days in Doha.
It also features archival materials, films, sketches, and a unique artistic element that reflects Husain’s ongoing dialogue with human stories, shared spiritual themes, creative expressions, and the evolution of civilizations across time and space.
Opening to the public on November 28, the museum aims to be a space for creativity, dialogue, learning, and discovery. It joins the growing network of public spaces within Qatar Foundation’s Education City that celebrate art and heritage. To mark the occasion, QF held an introductory session featuring Kholoud Al Ali, Executive Director of Community Engagement and Programs at QF; Nouf Mohammed, Project Director of the museum’s curatorial file; and Martand Khosla, the museum’s architect.
Al Ali emphasized QF’s commitment to promoting the arts in society, noting that the museum complements other artistic initiatives such as Mathaf: Arab Museum of Modern Art and over 100 public artworks across QF. She described the museum as a space for inspiration and creativity, designed to foster artistic dialogue and meaningful connections across all ages and backgrounds.
Nouf Mohammed highlighted that the museum reflects Husain’s extraordinary journey and embodies the vibrant spirit of Education City. She noted that the museum will be a milestone within the city’s multidisciplinary knowledge ecosystem, showcasing the power of creativity to inspire, educate, and promote cross-cultural understanding.
The museum presents Husain’s diverse artistic expressions through multimedia storytelling, including paintings, films, textiles, photography, and poetry, across three distinct galleries. One of the highlights is “Seeroo fi al Ardh,” a standalone installation located in Education City and considered Husain’s final masterpiece. It celebrates human progress and will be featured as a dynamic, immersive experience.
Architect Martand Khosla explained that the 3,000-square-meter building was inspired by an original sketch by Husain himself, which shaped the museum’s architectural concept. The design is based on four key elements: a striking blue building, a white cylindrical tower, a prominent yellow pathway, and a tented area. Khosla aimed to reflect Husain’s connection to both his Indian heritage and the Arab culture he embraced in Doha, with interactive spaces such as the tower offering a 360-degree cinematic experience of the artist’s work.
During a media tour, Qatari artist Yousef Ahmad described the museum as a significant addition to Qatar’s cultural landscape. He noted the deep historical ties between India, Qatar, and the Gulf region, making the presence of a museum dedicated to a prominent Indian artist in Doha both meaningful and natural.
He said when there is a museum bearing M.F. Husain’s name on the other side of India, it becomes a beacon for artists and enthusiasts.
He praised Qatar’s consistent efforts to attract world-renowned architects and artists, affirming the country’s steady progress in establishing a robust museum culture.
He also emphasized the importance of showcasing Eastern artistic traditions that have influenced Western civilizations.
Ahmad encouraged families, students, and educators to visit the museum, calling it a refined space that chronicles the life and century-spanning creativity of a legendary artist.
Reflecting on the artistic interplay between Arab and Indian cultures in Husain’s work, Ahmad recalled the artist’s connection to Qatar dating back to 1984, when he was invited by the Ministry of Culture.
At the time, Ahmad was head of the Fine Arts and Exhibitions Department. He noted that Husain often blended Indian visual motifs, such as horses, elephants, and cows, with Arabic calligraphy, particularly in his “Seeroo fi al Ardh” series.
