Historians Of Islamic Art Biography
Source:- Google.com.pkOleg Grabar, a historian of Islamic art and architecture whose imposingly broad range and analytical subtlety helped transform the Western study of Islamic culture, died Saturday at his home in Princeton, N.J. He was 81.
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Prof. Oleg Grabar
The cause was heart failure, his wife, Terry, said.
Professor Grabar, the son of the eminent Byzantinist Andre Grabar, specialized in the architecture of the seventh- and eighth-century Umayyad dynasty early in his career. In the 1960s he led the excavations at Qasr al-Hayr East in Syria, the site of an early Islamic palace in an area long thought to be a historical blank.
His interests broadened to embrace the Islamic world beyond the Middle East and a wide variety of subjects, including the architecture of Jerusalem under Islamic rule, Arabic and Persian illustrated manuscripts, Islamic ornament and contemporary Islamic architecture.
Many of his books are regarded as classics, notably “The Formation of Islamic Art” (1973) and “Islamic Art and Architecture, 650 to 1250” (1987), written with Richard Ettinghausen for the Pelican History of Art.
Through Professor Grabar’s work as a teacher, he prepared generations of art historians and museum directors who followed his lead to create new disciplines within the field of Islamic studies, expanding its scope far beyond the rather narrow limits he encountered when he entered the field.
The excavations at Qasr al-Hayr from 1964 to 1971, a project sponsored by the University of Michigan and Harvard, unearthed a palace complex in the desert northeast of Palmyra whose outer walls enclosed an area nearly three miles square with a fortified residence, courtyards and a mosque.
With others, Professor Grabar described and interpreted the site in “City in the Desert: Qasr al-Hayr East” (1978). He later directed excavations in Israel and Jordan.
In his many books and articles, he posed sweeping questions about the nature of Islamic art, seeking to discover the impulses that generated its specific forms and dynamics of growth, and to explore the interconnections between faith and sociohistorical circumstances in its development.
At the same time he wrote focused, detailed studies on the meaning of forms peculiar to Islamic art and architecture, and, in later studies, examined the relationship between traditional and modern Islamic art.
In 1982 he founded Muqarnas, a periodical for the study of Islamic art and architecture, which he edited for the next decade.
Oleg Grabar was born on Nov. 3, 1929, in Strasbourg, France, where his father taught art history at the University of Strasbourg. He attended lycées in Paris before studying ancient history at the University of Paris. In 1948, when his father received an appointment to Dumbarton Oaks, the center for Byzantine studies in Washington, he moved to the United States.
After earning a bachelor’s degree in medieval history from Harvard and diplomas in medieval and modern history from the University of Paris in 1950, he earned a master’s (1953) and a doctorate (1955) in Oriental languages and literatures from Princeton, where he wrote a dissertation on the ceremonial art of the Umayyad court.
Professor Grabar taught at the University of Michigan and Harvard, where he was named the first Aga Khan professor of Islamic art and architecture in 1980, before accepting a position at the school of historical studies at the Institute for Advanced Study in Princeton in 1990.
Professor Grabar’s many books included “The Alhambra” (1978), “The Illustrations of the Maqamat” (1984), “The Great Mosque of Isfahan” (1990), “The Mediation of Ornament” (1992) and “The Shape of the Holy: Early Islamic Jerusalem” (1996). More than 80 of his essays were collected in the four-volume “Constructing the Study of Islamic Art,” published in 2005 and 2006.
In addition to his wife, he is survived by a son, Nicolas, of Manhattan; a brother, Nicolas, of Paris; and three grandchildren.
Glaire D. Anderson (Ph.D., HTC/AKPIA at MIT, 2005) is a historian of Islamic art and architecture with a focus on Iberia and North Africa in the early caliphal period. Her publications consider Cordoban aristocratic estates and court culture; women, eunuchs and court patronage in al-Andalus; and the roles of architecture and objects in cultural interchange between medieval Islamic societies and their neighbors. In 2009 Anderson held a fellowship from the American Council of Learned Societies, and her work has been recognized by the College Art Association, the Samuel H. Kress Foundation, the Society of Architectural Historians, and the Barakat Foundation. She is Associate Professor of Islamic Art History at the University of North Carolina at Chapel Hill and serves on the Executive Board of the Historians of Islamic Art Association as Treasurer.
Since the publication of Arnold Hauser’s The Social History of Art in 1951, the scholarly melding of divergent focuses into single conversation implies, it would seem, an underlying indivisibility. Taking up diverse topics—ranging from the complex interactions between designers and patrons to the objects of material culture that mediate between design and the consumer— architectural historians have exerted beyond iconography, stylistic classifications, and manifestations of the genius of designers. Many scholars who have explored the built environment of the Persianate world have likewise embraced non-architectonic data: An esteemed study of the distribution of paper scrolls influencing innovative architectural revetments at the time of the Timurids, alongside an astute exploration of the ways Safavid feasting ceremonies (and associated material constituents) delineated the shape of Isfahan’s palaces, are two examples. At the same time sociologists, extending their territories beyond canonical sources of art and architectural libraries, call attention to agency on the part of the most ordinary of citizens, functioning to transform their built environments via commonplace mediators. In addition, the rapid growth of material culture studies suggests potential acts of agency as performed by architectural elements themselves. For example, one anthropologist’s recent work, in allowing for a novel understanding of modern Shiraz, suggests that freestanding ancient-looking columns play a part in defining and defending particular collective identities. Thus, while because of the historical burden of the architectural canon, material culture has not always merged easily into studies of Iranian architecture, instances are numerous in which buildings have been appraised vis-à-vis material culture. In this presentation, I foreground the place of material culture in the historiography of Iranian architecture, whilst introducing several case studies from my own research on domesticity in Modern Iran. Divided into three thematic sections (namely, images, objects, and bodies) my presentation will demonstrate how the study of material culture—with its processes of production, circulation, appropriation, mediation, and domestication—might allow for a more nuanced evaluation of Iranian architectural practices.
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Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
Historians Of Islamic Art Islamic Art Calligraphy And Architecture Designs Patterns Wallpapers Desktop Wallpapers Hd Calligraphy Wallpapers Calligraphy Canvas Wallpapers Canvas
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