The walls curve and glow with thousands of pieces of pastel blue tiles covering the facade of a building that suddenly breaks into a sharp sheen of a large and elegant arched door in gold.

A coloured sketch of a blue building made by the grand master of modern Indian art, M.F. Husain, in 2008, has finally seen the light of the day. That sketch today stands in the form a museum covering over 3,000 square metres in Doha, Qatar, his adopted home. The letters inscribed on the facade of this building read “Lawh Wa Qalam [the tablet and the pen]”, referring to the Divine written word. But in this case, Husain chose to reinterpret the phrase for being the author of the final chapter of his own story.

The architect of the Lawh Wa Qalam: M.F. Husain Museum, Martand Khosla, had to imagine several conversations with the artist while making sure the building carried the ethos and look of the sketch but at the same time was functional and technically sound: “Some interpretations are literal but some are metaphorical, like his cultural links and larger sense of identity. For example, different types of arches of a place, references to Yemen or Central Asia. We were thinking at several levels.”

This final chapter has come to Husain posthumously, far away from India. A promise kept by his friend and patron, Her Highness Sheikha Moza bint Nasser of Qatar, who spearheaded and helped realise his dream, even if it took 14 long years to complete after his death in 2011.

The newly opened Lawh Wa Qalam: M.F. Husain Museum in Doha is more than just a tribute to the singular artistry that M.F. Husain possessed — it is his ode to himself

The museum is part of the international circuit of art. It is sitting in the middle of East and West. It will not just preserve the story of Husain but will also bridge two parts of the world and help create a new dialogue.

The year 2025 will be remembered as a year when Husain made the biggest comeback in the world of art. In March, he became the most expensive Indian artist ever, with a record-breaking auction of his work Gram Yatra (1954) for $13.8 million. And November marked the unthinkable finale for an artist who planned for his legacy beyond his life.

In a letter to the Sheikha, Husain had proposed, “Ninety-nine paintings of Arab culture dating back to [the] Babylon Era. An installation of five horses in crystal as a symbol of strength. A museum to be built to house the collection of my Indian heritage — paintings, sculptures, films and written words. A museum to be built, designed by me. Please consider me a small soldier in the army of your cultural force.”

In response to that note, the Sheikha finally delivered on her promise, stating at the museum’s inauguration: “I am delighted to fulfil the dream of this late, esteemed artist by inaugurating the museum, which will stand as a new landmark in Education City, showcasing pages from his life and a collection of his works.”

The museum has over 150 works of Husain across two levels. One collection displays works that he made across decades of his life in India, including a few items close to his heart — his last used paint palette, brushes, last worn kurta with paint splashes and his Indian passport. It was an identity booklet that he gave up after much pain and struggle, in the face of heightened stress that he faced amidst protests and death threats in India.

His Qatari citizenship came with a promise of peace and building on his legacy further. So the second collection of the museum contains works that he made in Doha till his last breath. These include some of the 35 paintings he made from his unfinished series of 99 works on Arab civilisation. These have never been seen in public before.

Battle of Badr (2008) shows Husain’s famous horses depict the pivotal military victory of 624 AD for the Muslims against the larger Quraysh army of Mecca. Yemen (2008) takes Husain back to his own Arab roots to depict nomadic life and mud houses in the desert. And Zuljanah (2007) is a portrait of the grey Arabian stallion of Imam Hussain, celebrated for his role in the Battle of Karbala in 680 AD.

I say it with great pride, and equal humility, that Husain became my friend in the last and final decade of his life. I met him often to shoot and interview him for my stories. Each conversation was an experience. He was 65 years older than me but one never felt the age gap. In my last recorded interview with him in 2009, I had met him when was on a self-imposed exile in Dubai. It now serves as a research documentary on his life for other journalists. At that time, he was busy reading books on the Arab civilisation and preparing for his new series.

When I had sat with him inside his red Ferrari for a small drive, he started humming a tune and told me that he plans to make this sports car a part of an upcoming work. I laughed it off at that time. A week after my shoot, he was flying to Italy to work on his Morano horses. It feels great that he had shared with me these tiny bits that are now part of his work Seeroo Fi al Ardh.

The work is placed in a huge circular hall next to the main building. A red mosaic wall of ceramic chips that form a painting of Husain’s famous running horses creates a stunning backdrop for the stage. A sculpture of a winged man cast in Husain’s signature style of human form comes swooping down from above. Husain’s sculptural horses are galloping around the stage in life size, specially created in hand-blown Murano glass studios in Italy.

The horses are in five stunning colours, as light reflects through them to create magical shadows. As they run on stage in circular patterns, they disappear under the stage to clear the way for vintage cars, which spring up on hydraulic lifts and zoom in the outer circle.

In Husain’s own words when he conceptualised this work, “The entire ensemble is like a performance of dancing horses in crystal glass set to the tune of traditional song of horsemanship, chivalry and strength.” Every aspect of this was left behind by Husain with detailed instructions. He sketched out every movement, every light mood, every musical note, every mould of the glass horses and selected every car for the piece.

His creative zenith also came at a time of mental stress and crisis for him when the protests against some of his works were intensifying back home in India. He later apologised if sentiments were hurt and, much to his relief, the Supreme Court of India also cleared his name by supporting the argument of artistic freedom. He emphatically told me that wherever he travels in the world, he keeps India and the language of modern Indian art inside him. After all, it’s an original language that he had created himself!

The museum is a triumph of human spirit, unprecedented posthumous glory and the honour of a promise. Historically, Husain’s art creates a bridge of two ancient, Indian and Arab civilisations. Culturally, it’s the rediscovery of an Indian modern master who joins the league of today’s top contemporary artists of the world.

The writer is an author, multimedia journalist, cultural curator and an advocate of the Orange Economy. She has founded Asia’s first web-channel dedicated to the arts, called Hunar TV

By arrangement with The Wire

Published in Dawn, EOS, February 8th, 2026