November 2008

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The appeal of these objects is immediate as well as universal. Khalili emphasises that he did not begin to collect Islamic art because it was Islamic but because it was beautiful – and was incredulous so few others thought so. From the first, his publications and exhibitions had a kind of proselytising zeal: they posed a challenge to the traditional Eurocentric view of art history in which Islamic art was marginalised as a ‘minor’ art. He now realises that the Trust’s books and exhibitions can play a small but more critical role on a wider stage. ‘Everything changed after 9/11’, he tells me. ‘There was a realisation in the West that people needed to know more about the world of Islam. Out of 193 countries recognised by the UN, over 50 are Muslim – that is some 22 per cent of the world’s surface and around 1.3 billion people. Now all the major museums of the world want to have Islamic art exhibitions or new or enhanced Islamic galleries, and the Islamic world, too, has realised that Islamic culture can give them a voice.’

One of the revelations of this show, both in Sydney and Abu Dhabi, was Muslims’ thirst for their own culture and the realisation that so many had little knowledge of their contribution to world culture – whether in science, medicine or art. Next month, the Khalili Family Trust is donating 20,000 copies in Arabic of Khalili’s own general history, a ‘Timeline’ of Islamic art and architecture, to the countries of the Arab League for distribution to schools and universities. He has also slashed the price of his books on Amazon.

As to the future of this still-growing collection – he added around 200 pieces last year – nothing yet is decided. In 1992, Khalili’s offer to lend his Islamic art collection to Great Britain fell on deaf ears – a separate museum bearing his name was not to be funded by the taxpayer. He has not given up hope – not least because his wife and three sons are British – but now realises that any museum will have to come with a building and an endowment of at least £100m. ‘Once I am in this position, I will decide what to do’, he muses. ‘If the opportunities are right, I will do it in London. If not, I will do it elsewhere.’ What is clear is that he will never relinquish control over his beloved collection. It is also clear that even if anyone had the time and the money – and hundreds of millions of pounds would clearly be needed – no one could put together such a collection ever again.

‘The Arts of Islam: Treasures from the Nasser D. Khalili Collection’ is at the Emirates Palace Hotel, Abu Dhabi, until 22 April. www.artsabudhabi.com