Prepare to be amazed as we delve into the extraordinary story of MF Husain, a true legend of modern Indian art. His journey concludes with an incredible legacy, one that extends far beyond his lifetime and across continents.
In 2008, a simple sketch by Husain, the grand master himself, has now evolved into a magnificent museum in Doha, Qatar. Spanning over 3,000 square meters, this museum, named 'Lawh Wa Qalam', pays homage to the divine written word and serves as the final chapter of Husain's remarkable life. But here's where it gets controversial... Husain chose to reinterpret this phrase, using it as a metaphor for his own story's conclusion.
This museum, a promise kept by Sheikha Moza bint Nasser, the former First Lady of Qatar, stands as a testament to their friendship and her dedication to realizing Husain's dream, even after his passing in 2011. 'Lawh Wa Qalam' is more than just a museum; it's a bridge between the East and the West, preserving Husain's story and fostering a new global dialogue.
The year 2025 will forever be etched in the annals of art history as the year of Husain's grand comeback. In March, his work 'Gram Yatra' (1954) shattered records, fetching an astonishing Rs 118 crores at auction, making him the most expensive Indian artist ever. And in November, we witness the unimaginable finale of an artist who meticulously planned his legacy, ensuring it would outlive him.
The museum's grand opening was a spectacle, with a stunning video show projected onto the building's façade. Qatari royalty, global collectors, and renowned Indian artists gathered to witness Husain's paintings come to life. His birds soared over Mumbai's skyline, his Kathakali dancers captivated with their enigmatic eyes, and his horses galloped from the world of Ashoka to the serene desert sands. In a powerful statement, Husain proclaimed, "My long brush, like the camel lost in a desert, has found the golden sand in Qatar."
In a humble proposal to Sheikha Moza, Husain envisioned a museum that would house his Indian heritage, including 99 paintings of Arab culture, an installation of crystal horses symbolizing strength, and a collection of his paintings, sculptures, films, and written works. He even offered to design the museum himself, considering himself a small soldier in her cultural army. Sheikha Moza honored his request, fulfilling her promise to inaugurate the museum and create a new landmark in Education City.
The museum showcases over 150 of Husain's works across two levels. One collection traces his life in India, featuring personal items, his last used paint palette and brushes, his beloved kurta splashed with paint, and even his Indian passport, a painful reminder of the protests and death threats he faced in his homeland. The second collection showcases his works created in Doha, including never-before-seen paintings from his unfinished series on the Arab civilization.
Among the exhibits, 'The Battle of Badr' (2008) depicts Husain's iconic horses in a pivotal military victory for Muslims in 624 AD. 'Yemen' (2008) takes us back to Husain's Arab roots, showcasing nomadic life and desert mud houses. 'Zuljanah' (2007) is a portrait of the legendary grey Arabian stallion of Imam Hussain, celebrated for its role in the Battle of Karbala in 680 AD. The museum's finale is a kinetic installation, 'Seeroo fi al Ardh', meaning 'Walk in the Land', a concept envisioned by Husain himself.
I had the privilege of befriending MF Husain during the last decade of his life. Each conversation was a treasure, despite our 65-year age gap. In my last recorded interview with him in 2009, I found him in Dubai, where he had self-imposed exile. He was immersed in books on Arab civilization, preparing for his new series. Even then, he shared with me his plans to incorporate his sports car into an upcoming work, a detail that now forms part of 'Seeroo...'.
'Seeroo...' is a masterpiece, housed in a circular hall adjacent to the main building. A stunning red-mosaic wall of ceramic chips serves as a backdrop, featuring Husain's famous painting of running horses. A winged man, cast in Husain's signature style, descends from above, while his sculptural horses gallop around the stage in life-size Murano glass. The horses, in five mesmerizing colors, create magical shadows as they move in circular patterns, making way for vintage cars that zoom in from hydraulic lifts.
When Husain conceptualized this work, he described it as a "performance of dancing horses in crystal glass set to a traditional song of horsemanship, chivalry, and strength." Every detail, from the movements to the lighting and musical notes, was meticulously planned by Husain, who even selected the cars for the piece. This creative zenith coincided with a period of mental stress for Husain, as protests against his work intensified in India. However, the Indian Supreme Court supported artistic freedom, and Husain emphasized that India and the language of modern Indian art were always with him, no matter where he traveled.
The museum is a triumph, an unprecedented posthumous glory, and a fulfillment of a promise. Husain's art bridges the ancient Indian and Arab civilizations, and culturally, it elevates him to the league of the world's top contemporary artists.
Sahar Zaman, author, multimedia journalist, cultural curator, and advocate of the Orange Economy, brings us this story. She founded Asia's first web-channel dedicated to the arts, Hunar TV, and can be found on X as @saharzaman.
(Edited by Saptak Datta)
