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Mounia Chekhab Abudaya
Dr. Mounia Chekhab-Abudaya is Deputy Director of Curatorial Affairs at the Museum of Islamic Art, Doha, Qatar. She completed her Ph.D. in Islamic Art History and Archaeology at the Pantheon Sorbonne University in Paris and is specialized on the Western Mediterranean, manuscripts and pilgrimage-related devotional materials in the Islamic world. For the 2017-2018 Academic year, Mounia Chekhab-Abudaya undertook a research project in Harvard university as a post-doctoral research associate, in the Aga Khan Programme for Islamic Architecture.
With a great interest in languages, Dr. Chekhab-Abudaya holds a double degree in Literal Arabic and Middle-Eastern Dialects from the National Institute of Oriental Languages and Civilizations (INALCO). She studied Persian and Turkish respectively at INALCO and the Ecole Normale Supérieure of Paris.
Dr. Chekhab-Abudaya taught Islamic Art at undergraduate and graduate levels at the Pantheon Sorbonne, INALCO and other universities (EHESS, HBKU, Georgetown University-Qatar). She helped at the Department of Islamic Art at the Louvre Museum in Paris for the preparation of their permanent galleries reopened in September 2012.
At MIA, she has curated Hajj – The Journey through Art (2013 - 2014) in collaboration with the British Museum, Building Our Collection: Ceramics of Al Andalus (2014), and Qajar Women (2015). She also assisted in the making The Hunt: Princely Pursuits in Islamic Lands (2015) and co-curated two more exhibitions in 2017: Imperial Threads: Motifs and Artisans from Turkey, Iran and India, and Powder & Damask, Islamic Arms and Armor from the collection of Fadel Al Mansoori. In 2020-2021, she co-curated with Dr. Hubert Bari the exhibition A Falcon's Eye: Tribute to Sheikh Saoud Al Thani.
She took part in the revamping of the Museum of Islamic Art's permanent galleries, which reopened in 2022, alongside a temporary exhibition Baghdad: Eye's Delight. In 2024, she curated an exhibition entitled Splendours of the Atlas : A Voyage through Morocco's heritage, in partnership with the National Foundation of Museums of Morocco.
Supervisors: Alastair Northedge
With a great interest in languages, Dr. Chekhab-Abudaya holds a double degree in Literal Arabic and Middle-Eastern Dialects from the National Institute of Oriental Languages and Civilizations (INALCO). She studied Persian and Turkish respectively at INALCO and the Ecole Normale Supérieure of Paris.
Dr. Chekhab-Abudaya taught Islamic Art at undergraduate and graduate levels at the Pantheon Sorbonne, INALCO and other universities (EHESS, HBKU, Georgetown University-Qatar). She helped at the Department of Islamic Art at the Louvre Museum in Paris for the preparation of their permanent galleries reopened in September 2012.
At MIA, she has curated Hajj – The Journey through Art (2013 - 2014) in collaboration with the British Museum, Building Our Collection: Ceramics of Al Andalus (2014), and Qajar Women (2015). She also assisted in the making The Hunt: Princely Pursuits in Islamic Lands (2015) and co-curated two more exhibitions in 2017: Imperial Threads: Motifs and Artisans from Turkey, Iran and India, and Powder & Damask, Islamic Arms and Armor from the collection of Fadel Al Mansoori. In 2020-2021, she co-curated with Dr. Hubert Bari the exhibition A Falcon's Eye: Tribute to Sheikh Saoud Al Thani.
She took part in the revamping of the Museum of Islamic Art's permanent galleries, which reopened in 2022, alongside a temporary exhibition Baghdad: Eye's Delight. In 2024, she curated an exhibition entitled Splendours of the Atlas : A Voyage through Morocco's heritage, in partnership with the National Foundation of Museums of Morocco.
Supervisors: Alastair Northedge
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available online
https://doi.org/10.1093/acrefore/9780199340378.013.952
This is an open access article distributed under the terms of the CC BY 4.0 license.
also available online
https://brill.com/view/journals/mcmw/3/2/article-p267_6.xml
Sheikh Saoud was passionate about ‘cabinets of curiosities’ and the combination between natural history and antiquities in particular. The exhibition celebrates his collecting vision through an eclectic display including natural history, antiquities, jewellery, photography and modern and contemporary artworks that recalls the ‘cabinets of curiosities’ tradition.
Despite the fact that the Gulf region has a longstanding history of collecting practices, Sheikh Saoud can be considered one of the last royals who amassed thousands of very diverse objects for his country with a real passion and eye for arts and culture. To his vast collections, he added a conservation facility to preserve and breed endangered species at his Al-Wabra farm, which gained world-wide admiration.
Ce carreau a probablement fait partie d’un ensemble ayant décoré le sol du palais d’al-Jawsaq al-Khaqani, palais construit pour le calife al-Mu‘tasim entre 836 et 842.
cases and pen boxes, manuscripts, jewellery and ceramics, are
juxtaposed with photographs from the Qajar period that were
selected from the Women’s Worlds in Qajar Iran digital archive of
the Harvard University Library. We were delighted to include artwork
reproductions by contemporary artists Hojat Amani, Shadi Ghadirian
and Mahmood Sabzi inspired by Qajar photographic practice and
iconography, which demonstrate how the imagery of Qajar women
continues to inspire artists today.
The exhibition and the catalogue explore four themes on the images
of women in 19th-century Iran:
Notions of Beauty is a section presenting changes in the
perception of female beauty over time and the definition of
femininity during the Qajar era.
Daily Life shows the portrayal of women and their daily activities in
the private versus the public sphere.
Women, Power and Refinement displays images of women in an
aristocratic context and how these images indicate the important
role of women and their refinement at the court.
Women as Symbols in Qajar Art demonstrates how images
of women were used to represent archetypal heroines and icons
from famous stories that are still popular in Iranian society today.
Our colleagues Amélie Couvrat-Desvergnes (Paper Conservator) and
Stefan Masarovic (Stone and Wood Conservator) have put a lot of
effort into conserving the objects on view in this exhibition and we
are very pleased and honoured to have been able to integrate their
valuable expertise in this catalogue.
We are very proud to present a completely new and innovative
approach to Qajar art. The few previous exhibitions on the topic
have for instance mainly focused on the official portrayals of male
Qajar officials, especially the royal image that was disseminated in
various media from coins to rock reliefs and photographs.
The Qajar Women exhibition and accompanying catalogue
indeed provide an opportunity to showcase and publish MIA’s
permanent collection and give the audience insight into the lives
of 19th-century Iranian women, while exploring how images of
women were employed in Qajar artistic production.
This volume, through the systematic analysis and comparison of some qṣūr of southeastern Algeria (Rīġ, Mzāb, Miya and al-Manī‘a), reveals common architectural features that can be used to identify a common type of qṣar in this region. The analysis of the construction material shows the primary use of limestone with a local mortar (timchent) and date palm trunks (phoenix dactylifera) for the structural elements (ceilings, doors, arcs, domes). Adobe bricks (ṭūb) are used in the housing and the defence systems punctuated by towers and pierced doors.
Despite a discontinuity within the historical narrative, the establishment of populations in this area of the Sahara appears to be much earlier than the medieval period and the qṣar is certainly not a creation ex nihilo of the modern era. Because of their numerous modifications and extensions over several centuries, the qṣūr problematise the dating of such settlements. However, the comparison of its main components encourages the development of a typology to identify some common characteristics that would help position the qṣar among the urban planning of the dār al-islām
available online
https://doi.org/10.1093/acrefore/9780199340378.013.952
This is an open access article distributed under the terms of the CC BY 4.0 license.
also available online
https://brill.com/view/journals/mcmw/3/2/article-p267_6.xml
Sheikh Saoud was passionate about ‘cabinets of curiosities’ and the combination between natural history and antiquities in particular. The exhibition celebrates his collecting vision through an eclectic display including natural history, antiquities, jewellery, photography and modern and contemporary artworks that recalls the ‘cabinets of curiosities’ tradition.
Despite the fact that the Gulf region has a longstanding history of collecting practices, Sheikh Saoud can be considered one of the last royals who amassed thousands of very diverse objects for his country with a real passion and eye for arts and culture. To his vast collections, he added a conservation facility to preserve and breed endangered species at his Al-Wabra farm, which gained world-wide admiration.
Ce carreau a probablement fait partie d’un ensemble ayant décoré le sol du palais d’al-Jawsaq al-Khaqani, palais construit pour le calife al-Mu‘tasim entre 836 et 842.
cases and pen boxes, manuscripts, jewellery and ceramics, are
juxtaposed with photographs from the Qajar period that were
selected from the Women’s Worlds in Qajar Iran digital archive of
the Harvard University Library. We were delighted to include artwork
reproductions by contemporary artists Hojat Amani, Shadi Ghadirian
and Mahmood Sabzi inspired by Qajar photographic practice and
iconography, which demonstrate how the imagery of Qajar women
continues to inspire artists today.
The exhibition and the catalogue explore four themes on the images
of women in 19th-century Iran:
Notions of Beauty is a section presenting changes in the
perception of female beauty over time and the definition of
femininity during the Qajar era.
Daily Life shows the portrayal of women and their daily activities in
the private versus the public sphere.
Women, Power and Refinement displays images of women in an
aristocratic context and how these images indicate the important
role of women and their refinement at the court.
Women as Symbols in Qajar Art demonstrates how images
of women were used to represent archetypal heroines and icons
from famous stories that are still popular in Iranian society today.
Our colleagues Amélie Couvrat-Desvergnes (Paper Conservator) and
Stefan Masarovic (Stone and Wood Conservator) have put a lot of
effort into conserving the objects on view in this exhibition and we
are very pleased and honoured to have been able to integrate their
valuable expertise in this catalogue.
We are very proud to present a completely new and innovative
approach to Qajar art. The few previous exhibitions on the topic
have for instance mainly focused on the official portrayals of male
Qajar officials, especially the royal image that was disseminated in
various media from coins to rock reliefs and photographs.
The Qajar Women exhibition and accompanying catalogue
indeed provide an opportunity to showcase and publish MIA’s
permanent collection and give the audience insight into the lives
of 19th-century Iranian women, while exploring how images of
women were employed in Qajar artistic production.
This volume, through the systematic analysis and comparison of some qṣūr of southeastern Algeria (Rīġ, Mzāb, Miya and al-Manī‘a), reveals common architectural features that can be used to identify a common type of qṣar in this region. The analysis of the construction material shows the primary use of limestone with a local mortar (timchent) and date palm trunks (phoenix dactylifera) for the structural elements (ceilings, doors, arcs, domes). Adobe bricks (ṭūb) are used in the housing and the defence systems punctuated by towers and pierced doors.
Despite a discontinuity within the historical narrative, the establishment of populations in this area of the Sahara appears to be much earlier than the medieval period and the qṣar is certainly not a creation ex nihilo of the modern era. Because of their numerous modifications and extensions over several centuries, the qṣūr problematise the dating of such settlements. However, the comparison of its main components encourages the development of a typology to identify some common characteristics that would help position the qṣar among the urban planning of the dār al-islām
Through a variety of historical objects from MIA's collection, in juxtaposition with photographs and contemporary artworks inspired by the Qajar period, we explore the meaning of the image of women at the onset of modernity.
From the texture and visual culture of women's daily lives to the refinement of the Qajar court, from symbolism and mythology to the shifting understanding of female beauty over time, this exhibition looks at the representation of women in the art of Qajar Iran from a variety of angles.
On display at the Museum of Islamic Art, Qatar from 8 April 2015 - 11 June, 2016, this exhibition examines the centrality of the female form to the artwork of the Qajar period in Iran (1785-1925). Through a variety of historical objects from MIA's collection, in juxtaposition with photographs and contemporary artworks inspired by the Qajar period, we explore the meaning of the image of women at the onset of modernity.
From the texture and visual culture of women's daily lives to the refinement of the Qajar court, from symbolism and mythology to the shifting understanding of female beauty over time, this exhibition looks at the representation of women in the art of Qajar Iran from a variety of angles.
This exhibition was co-curated by Dr Mounia Chekhab-Abudaya (Curator, Museum of Islamic Art) and Dr Nur Sobers-Khan (Curator, Museum of Islamic Art). A catalogue is forthcoming at the end of 2015.
islamique de Doha (Qatar) et auteur de l'ouvrage Le qsar, type d’implantation humaine au
Sahara : architecture du Sud Algérien (Archaeopress, 2016), l'équipe de l'atelier Mondes
Sahariens organise une journée d'étude sur le thème des qsûr sahariens. Dans la même
optique que celle qui anime l'atelier mensuel, cette rencontre se veut être l'occasion de
faire dialoguer des spécialistes de champs disciplinaires variés (histoire, anthropologie,
géographie, archéologie...) autour d'un même thème, dans le but de dynamiser et enrichir
les travaux respectifs de chacun. Objet d'étude complexe, aux multiples facettes, le qsar
saharien sera abordé par le prisme de travaux récents menés dans différents espaces sahariens
(Maroc, Mauritanie et Algérie). En ménageant des plages réservées à la discussion,
l'équipe de l'atelier Mondes Sahariens espère que cette journée sera aussi l'occasion d'un
dialogue constructif entre les intervenants et les participants à l'atelier.
Exposition de Saïd Bouterfa sur les manuscrits du Touat au CJB du 17 au 21 avril 2018 PROGRAMME Introduction Présentation du programme ANR Touat