Art Historians

"The site was attacked by iconoclasts in the 11th century, once around 1030 CE and again around 1080 CE; the idols suffered and disappeared. No icons have been left in the site except a mutilated sculpture called Divine Couple."

"“From the very beginning of historical times, Tamilnadu was the land of Vedic traditions in every field of life. The Vedic concepts, gods, customs and manners ruled Tamil life : be it the kings, merchants, cultivators, brahmins, hunters, hill tribes, fishermen, chiefs and soldiers, cowherds, artists, musicians, dancers. They followed the Vedic ideology, worshipped Vedic Gods and propitiated their ancestors are shown abundantly in the data available”."

"Mohammed Ghori had the Hindu temples of Ajmer demolished and ordered the construction of mosques and Quran schools on their ruins…He plundered Kanauj and Kashi and destroyed their temples... [While his generals] destroyed in passing the remaining Buddhist communities of Bihar and destroyed the universities of Nalanda.... Bakhtiar Khilji “established a Muslim capital in Lakhanauti (Gaur) on the Ganga and destroyed, in 1197, its basalt temples. In Odantpuri, in 1202, he massacred two thousand Buddhist monks.... [Meanwhile, back in Delhi:] “This Quwwat-ul-Islam (Might of Islam) was built in a hurry using the debris, chiefly sculpted pillars, of twenty-seven dismantled Hindu temples.” Thirty years later, “Iltutmish did not forget that he was a Muslim conqueror. He showed himself to be very pious, never forgetting to do his five devotional daily….He likewise showed himself totally intolerant vis-à-vis the Hindus who refused to convert, destroying their temples and annihilating Brahmin communities.”"

"Towards the end of the twelfth century, while Western Europe was still wavering between a dying Roman influence and a dawning Gothicism, preliminaries to a medieval era which would make possible the development of a world-wide humanism, Asia had already lived through her classical period and, sinking into decay, was preparing to face a long period of political and spiritual unrest. While India was beginning to suffer under the yoke of the victorious Mussulman, who had come down on her from the mountains of Afghanistan and the plains of Iran, and while the domination of the Khmers was reaching its climax at Angkor, China, under pressure from the barbarians of the north, was withdrawing to the south where the Song empire, thinking itself safe from invasions, continued to live a life of luxury."

"The Japanese spirit wavered from then on between the lure of the West and the need to preserve her territorial integrity. Slowly, inexorably, Western civilization covered up with its veneer this other civilization patiently built up in the course of centuries, long nurtured in suffering and in pride by generations of men and women. But this was only in semblance. The Japan of old still dwells deep in the soul of every inhabitant of her islands and manifests itself at every turn in some euphuistic subtlety or an exquisitely delicate courtesy."

"The spirit of Japan, conceived in the Nara epoch, carried in the womb of her islands throughout the Heian period, delivered in the anguish of the Middle Ages, schooled by the rod of iron of the Tokugawas, fully grown now, benefited from all her past experiences. She cannot forget them."

"I highly value the efforts of Professor Nasser Khalili and what he has done to promote this valuable cultural heritage, to care for it and to preserve it, and to present it to current and future generations so that all who see it will learn about the brilliance of the notable and deeply-rooted Islamic civilization."

"Like most great philanthropists, he is passionate but there is a certain timeless wisdom about him too."

"Rencontre avec le plus grand collectionneur du monde, Nasser David Khalili, collectionneur de légende” (Meeting with the Greatest Collector in the world – Nasser D Khalili, legendary collector)"

"My Dear David, what can I say - here stands a Galileo. I have known you for many years when the late holy father Pope John Paul II of blessed memory created you a knight of St. Sylvester. I said of you at that time, if you remember, that you had in one person the great wisdom of 3 religious leaders, a Chief Rabbi, a Cardinal and a Grand Mufti. This is true then and it's true today."

"David is passionate about the cause of peace and has made a remarkable contribution to improving dialogue, understanding and respect between those of different faiths. I have discussed these issues with David many times over the years and it is his dedication to the cause ad his rational and compassionate thinking that has always been apparent."

"Nasser D. Khalili lives, thinks and breathes art. For him life and art are noble and inseparable. Nobody believes more in the healing power of art and the lessons we can learn from it."

"The main reason for the exhibition of Wonders of Imperial Japan at the Van Gogh Museum was its connection to Van Gogh's painting. It was Van Gogh who said I his letter to his brother Theo in 1888 "In a way all my work is founded on Japanese art""

"…the appreciation of all the Zuloaga descendants [goes] to Prof Khalili… for this superb collection of damascene art, and… for having given the world the opportunity to admire the works, not only of the Zuloagas, but of all the Basque artisans like them."

"Today I am speechless and proud to be Japanese"

"Many items in the Nasser D. Khalili collection are completely unique - without parallel in museums let alone the market. It is a collection that would be impossible to recreate."

"If you had all the money in the world, you couldn't assemble his collection now"

"His collection is certainly the best in private hands"

"…A landmark in the study of nineteenth century Spanish decorative art."

"The Khalili Collection `Enamels Of The World 1700 – 2000’, which includes spectacular masterpieces from all the major centres of enameling, is pioneering in its focused study of the subject. Unique in its scope, the Collection reveals the remarkable technical achievements of the enamellers and encourages a greater awareness of the range of their activity. For these reasons I was convinced that the first public showing of the Collection should take place in the galleries of the State Hermitage Museums in St Petersburg"

"I wish to thank one of our most dynamic UNESCO Goodwill Ambassadors, Professor Nasser D Khalili, for his passion and unfailing commitment to the values of heritage. He has spent considerable time and effort safeguarding Islamic heritage and is now the custodian of the largest group of objects related to the Holy City of Makkah."

"The Khalili collection of Meiji art of Japan is only comparable as acknowledged by many scholars and museum directors, in terms of quality and size to the collection of the Japanese Imperial family"

"The Khalili Collection of Haji and the Arts of Pilgrimage (700-2000) ranks in importance alongside the collections of the Topkapi Saray Museum in Istanbul, and includes major objects, many of which are unique and irreplaceable and have no parallel in any other collection, private or public."

"Art is a universal language that can unite the hearts of mankind, crossing all frontiers, penetrating everywhere. The moment has come for the 'people of the book' - Jews, Christians, Muslims - to speak openly to one another and to see clearly the close cultural, social, spiritual and intellectual ties that have existed between them for centuries. In fact, Jews and Muslims are cousins, and I believe it is far better for us to live together in peace and harmony, than die together in disgrace"

"An unparalleled Art Collector"

"Giving exhibitions is like throwing a drop into an ocean. Any contribution to the enhancement of the understanding of Islamic culture adds to that ocean, which I call the ocean of understanding. The greatest and one of the strongest bridges between cultures is the one that is built out of art. Religion and politics have their own dialects. The language of art is universal. There you are safe. Nobody can label you."

"Finally, money is just paper. My loyalty is to the objects; to be hnoest, I really don't care about the financial side of it too much. People forget that whenever you are faced with a masterpiece, the day you pay for it it may be a bit expensive, but if you wait one month, two months, six months, then it becomes terribly cheap."

"At that time we could not have guessed the existence of Professor Khalili’s collection… a feat which could not possibly be duplicated or even approached by any museum in the world today…"

"I used to buy a group of objects -- let's say, 10 objects for $US100,000 -- keep 3 or 4 of the best aside and sell the rest for $US250,000. I used my knowledge to create money to finance my dream.""

"During the collecting, I don't say anything. When it's done, then I speak."

"My very, very first purchase was when I was about 12 or 13. My father used to take me wherever he went buying or selling anything from the age of eight, because amongst my other sisters and brothers I was the only one who showed interest. We bought ordinary things like Persian lacquer to start with. Many years later I did my PhD on Persian lacquer"

"There are 1.6bn people following the faith of Islam. I realised that no one was representing the core and anchor of that religion, and so I took it upon myself to buy everything that was available"

"I think I was utterly blessed to realise that there were a lot of sleeping giants out there all I did is to find them, nurse them and bring them to the attention of the world."

"At this stage of my life with the permission of my family I came up with a sort of square rules of what I want to do from here onwards, the rules are very simple I said that I have to look after myself, I have to look after my family, I have to look after my friends and I have to do my charities in this order."

"I'm delighted to have every single object that we have, because every one of them is part of that picture. I know each one of them - where I bought it, whom I bought it from, how much I paid for it. That is why I was able to put together what I have put together. If somebody walked in with something, I always immediately knew whether I had a space for it, or whether I have a similar one, or a better one. Often I have made the decision whether to buy or not in less than 50 seconds."

"Every object has its note and the combination of them all makes the music. There is not much point just having the lead violin and the piano."

"Professor Khalili’s contribution to the world of art and culture is unparalleled, and for him to be called the Medici of the 21st century is no exaggeration."

"Ownership is nothing but a myth, we are only a temporary custodian of what we believe we own"

"Our collection presents the totality of Islamic art, the way it should be presented, from China to North Africa. I didn't want to collect only things that were made for kings and queens because that's the wrong way to present any culture. You have to represent the objects that were used in everyday life, in ordinary homes."

"We salute you Prof. Khalili, for enabling us to stage this unique exhibition"

"Hardly any other Indological book has had such a long life as a standard work on the early history of the Do-Aryan tribes who immigrated to India as Heinrich Zimmer's habilitation thesis "Altindiisches Leben", published in 1879. This presentation by the Berlin Indo-Europeanist and Celticist on the cultural conditions of the Indian Arya is based on a meticulous evaluation of the Rgveda. For almost a century it has retained this reputation to a certain extent up to the present day. It has produced a standard judgement that still lives on today in part in the work of Indologists and historians of India and whose basic statements have only been questioned to a limited extent - despite the much more differentiated view of the cultural milieu and religion of the Rgveda and of the migration problem associated with the question of the original homeland of the Indo-Europeans that archaeological and ethnoarchaeological research in South, Middle and Central Asia has brought about over the last sixty years."

"Given this appreciation of his person, it is understandable that the image of the Aryans that Zimmer created could become part of the overall national image of the ancestors of the Germans and as such was later received by those who derived the historical role of the Aryan race from the "oldest cultural conditions". Zimmer's reputation as an exact philologist also contributed to the fact that the correctness of this image was never doubted and the pattern of interpretation that gave rise to it was not generally questioned."

"Frits Staal... describes Heinrich Zimmer, an exponent of this ethnic division of Indian thought, as “the author of an original but one-sided description of Indian philosophies — based on an interpretation not free of racial prejudice: according to Zimmer, there is in Indian thought an opposition between the monist Vedanta philosophy which stems frorn the Vedic Aryans and the realistic dualism of Jainism and Buddhism which he links with the ‘original’ Dravidian India." He dismisses this as “romantic ideas not verified in reality”."

"Hegel's argument—and it is still the argument of those who entertain the old reluctance to confer the title "philosopher" upon the immortal thinkers of India and China—is that something is missing from the Oriental systems. When they are compared with Western philosophy, as developed in antiquity and in modern times, what is obviously lacking is the ever-renewed, fructifying close contact with the progressive natural sciences—their improving critical methods and their increasingly secular, nontheological, practically anti-religious, outlook on man and the world. This is enough, we are asked to agree, to justify the Western restriction of the classic term."

"When I was a student, the term "Indian philosophy: was usually regarded as self-contradictory, a contradictio in adjecto, comparable to such an absurdity as "wooden steel." "Indian philosophy" was something that simply did not exist."

"We of the Occident are about to arrive at a crossroads that was reached by the thinkers of India some seven hundred years before Christ. This is the real reason, why we become both vexed and stimulated, uneasy and yet interested, when confronted with the concepts and images of Oriental wisdom."

"The whole edifice of Indian civilization is imbued with spiritual meaning."

"Finally, however, under the onslaught of Islam, from the eighth century to the tenth, both Buddhist and Manichaean as well as the Nestorian Christian culture and monuments of the region were destroyed.... In the north very little survives of the ancient edifices that were there prior to the Muslim conquest: only a few mutilated religious sites remain. It is clear from Indian literature that both temples and images must have existed in the second century BC and perhaps earlier. Very little architectural evidence remains, however, antedating the epoch of the Gupta dynasty (C. AD 320-650), for it was precisely in the Ganges Valley, the central and chief area of the Gupta empire, that the Muslim empire flourished a millennium later and most of the monuments above ground were destroyed by the sectarian zeal of Islam. The oldest stone ruins that have been found represent not the beginnings of a style, but fully developed forms... Since the earliest important body of Indian art surviving to us stems from the century of Asoka, it is predominantly Buddhist. During subsequent periods, however, Buddhist and Hindu (Brahmanical) themes alternate in rich profusion. The two traditions flourished side by side, even sharing colleges and monasteries, for nearly two millenniums, until about the height of the Muslim conquest (C. AD 1200), Buddhism disappeared from the land of its birth."

"Unfortunately, the horse has become a bone of contention between two groups of historians dealing with the 'Aryan Problem' in India, the so-called Nationalists and the so-called Marxists. The former, basing their views on the archaeological findings, maintain that the people of the Indus-Sarasvati Civilization may have been the Vedic Aryans who are known in history for their chariots driven by horses, while the latter hold that the archaeological findings are 'minor', ' limited', and 'marginal', and hold onto the age-old view that the people of the Indus-Sarasvati Civilization were not horse- users, hence could not be the Vedic Aryans. To say the least, this is a strange logic. For the scientists, Indus-Sarasvati people were definitely horse-users, whether they were Vedic Aryans or not hardly concerns them. But Marshall certainly erred gro.55ly when he observed that the Indus people could not be Vedic Aryan because they were not familiar with the horse, let alone its users. Incidentally, in the Vedas the people are never called a.Warohis, that is, horsemen, they are credited only with chariots driven by horses. They ate sheep, etc. but not horse meat or camel meat. Hence, it is not surprising that the horse and camel bones are only rarely found in excavations."

"The fact that the Vedic people imported the 'horse' from Kacch is supported by Vedic literature which is full of references to the a5va owing its birth to water or sea. Uccaihfrava, the a.Sva emerging from the churning of the sea of milk or k#rasllgara, is the ass found as a wild animal in Kacch. It may be pointed out that Khirsar was a port in Kacch and it has a mound of Harappan times. It is all the more important for us that another name of Khirsar is 'Ghodewali wadi', the town (marketing centre) of horses."