Oleg Grabar

Biographic Data

ID961208
NAMEOleg Grabar
GIVEN NAMESOleg
FAMILY NAMEGrabar
SIGNATUREGRABAR O
AFFILIATIONSHarvard University Press
VERIFIEDNo
TOTAL WORKS90
TOTAL CITATIONS13
AUTHOR COUNT84
EDITOR COUNT6
FIRST PUBLICATION YEAR1960
LATEST PUBLICATION YEAR2024
H-INDEX2

  • Islamic Visual Culture, 1100-1800: Constructing the Study of Islamic Art, Volume II

    Oleg GrabarBOOKIslamic Visual Culture, 1100-18002024

  • Patterns and Ways of Cultural Exchange

    Oleg GrabarCHAPTERIslamic Visual Culture, 1100-18002024

  • Islamic Archaeology, an Introduction

    Oleg GrabarCHAPTERHistorical Archaeology2019

    Islamic archaeology shares with a number of other archaeological efforts the problem of concerning itself with a highly literate culture, whose history, thought and institutions are easily available through texts. From Morocco to India there are some thirty thousand monuments of Islamic architecture still standing in varying degrees of preservation. The uniquely Islamic technique of luster had been known for many decades before excavations at Sam…

  • On Knowledge and Education

    Oleg GrabarARTICLEMuqarnas Online2011

  • De l’ornement et de ses définitions

    Open AccessOleg GrabarARTICLEPerspective2010

    Voilà plus de vingt ans que j’ai organisé puis publié, en anglais et en français, une série de conférences sur l’ornement. Je pensais à l’époque pouvoir développer, à partir de considérations diverses sur le sujet, une synthèse des théories générales sur les manières dont nous percevons la création artistique, d’une part, et sur l’exemple plus restreint des formes spécifiques aux arts des pays de l’Islam avant 1700, d’autre part. À défaut d’une s…

  • Why was the Shahnama Illustrated

    Open AccessOleg GrabarARTICLEIranian Studies2010Cited by: 1

    A long-standing puzzle in our knowledge of the culture surrounding the Shahnama lies in the fact that its illustrations, which became so well known, postdate the appearance of the text by nearly 300 years. There are several ways of explaining this anomaly. All contribute something to our understanding of Iranian culture, but none is entirely satisfactory. This essay suggests that a solution may lie in a better understanding of the social and ideo…

  • Claude Vibert‐Guigue, Les peintures de Qusayr ‘Amra. Un bain omeyyade dans la bâdiya jordanienne

    Oleg GrabarARTICLESyria2009

    C’est un bien rare destin que celui des peintures qui recouvraient (et recouvrent encore, mais avec une peau nouvelle) la vaste majorité des voûtes et des murs du petit bain omeyyade de Qusayr Amra, à quelques 85 km à l’est d’Amman en Jordanie. L’édifice fut découvert en 1898 par le savant explorateur tchèque Alois Musil. Ce dernier y revint en 1901 accompagné d’un peintre, Alphons Mielich, qui copia les peintures. Certaines de ces peintures fure…

  • The Dome of the Rock

    Oleg GrabarBOOKDome of the Rock2006Cited by: 5

  • Chapter eleven. Silks, pots and jugs: Al-Jahiz and objects of Common Use

    Oleg GrabarCHAPTERIconography of Islamic Art2005

  • La mosquée et le sanctuaire Sainteté des lieux en Islam

    Oleg GrabarARTICLERevue de l histoire des religions2005Cited by: 1

    La présente contribution propose, à titre préliminaire, de considérer l’idée du sacré dans le monde de l’Islam à partir de l’architecture et de distinguer trois catégories de monuments religieux : 1) les grands sanctuaires panislamiques (comme La Mecque, Médine et Jérusalem) dont le caractère sacré est plus ou moins constant ; 2) la mosquée, aux valeurs sacrées variables selon le moment ; 3) les lieux saints (mashahid), qui, quelles qu’en soient …

  • Memoirs of Fellows and Corresponding Fellows of the Medieval Academy of America

    Jaroslav Folda, Oleg Grabar et al.ARTICLESpeculum2004

  • Dissemination

    Oleg GrabarCHAPTER2003

  • Stchoukine [Shchukin], Ivan

    Oleg GrabarCHAPTER2003

  • Islamic art: History, culture, and patronage

    Walter B Denny, Oleg Grabar et al.CHAPTER2003

  • The Story of Portraits of the Prophet Muhammad

    Oleg GrabarARTICLEStudia Islamica2003Cited by: 1

    earliest representation of the Prophet Muhammad known to us today appears in a mid-thirteenth century illustrated manuscript in Persian entitled The Poem of Warqa and Gulsha.' Several Arabic texts dated as early as the tenth century mention the existence of painted portraits of Muhammad, as well as of Jesus and several figures from the Old Testament. setting for these paintings is the Byzantine realm at the time of the emperor Heraclius (r. 610-6…

  • From the Icon to Aniconism: Islam and the Image

    Open AccessOleg GrabarARTICLEMuseum International2003Cited by: 3

    (2003). From the Icon to Aniconism: Islam and the Image. Museum International: Vol. 55, No. 2, pp. 46-53

  • What Should One Know about Islamic Art

    Open AccessOleg GrabarARTICLERes: Anthropology and Aesthetics2003

  • Islamic Art and Architecture: 650–1250

    Richard Ettinghausen, Oleg Grabar et al.BOOKThe art and architecture of Islam…2002

    BOOKIslamic Art and Architecture: 650–1250Richard Ettinghausen, Oleg Grabar, Marilyn Jenkins-Madina https://doi.org/10.37862/aaeportal.00202 Stable URL: https://aaeportal.com/?id=-20102Copy Yale University Press/Pelican History of ArtThis classic book provides an unsurpassed overview of Islamic art and architecture from the seventh to the thirteenth centuries, a time of the formation of a new artistic culture and its first flowering in the vast a…

  • Les portraits du Prophète Mahomet à Byzance et ailleurs

    Oleg GrabarARTICLEComptes-rendus des séances de l…2002Cited by: 1

  • Space and Holiness in Medieval Jerusalem

    Oleg GrabarARTICLEISLAMIC STUDIES2001

  • Two Safavid Paintings: An Essay in Interpretation

    Oleg Grabar, Mika NatifARTICLEMuqarnas Online2001

  • Two Safavid Paintings: An Essay in Interpretation

    Open AccessOleg Grabar, Mika NatifARTICLEMuqarnas Online2001

    Founded by Oleg Grabar in 1983, Muqarnas is the first academic journal devoted to art, architectural history, archaeology, as well as all aspects of Islamic visual and material cultures, historical and contemporary. Full-length articles are accompanied by shorter submissions grouped under a separate section titled “Notes and Sources,” for which we particularly welcome studies that introduce textual and visual primary sources. Muqarnas is sponsore…

  • Two Safavid Paintings: An Essay in Interpretation

    Oleg Grabar, Mika NatifARTICLEMuqarnas Online2001

  • Reflections on Qajar Art and Its Significance

    Open AccessOleg GrabarARTICLEIranian Studies2001

    It is with some reluctance that I agreed to contribute a few remarks to conclude a learned and fruitful colloquium and to react, once again, to a wonderful exhibition on Qajar art. My reluctance is simple to explain and to justify. Such professional competencies as I have are those of a medievalist who begins to feel slightly uneasy by the middle of the fourteenth century. But, then, as a historian of the visual arts and as an individual curious …

  • Interpreting late antiquity: Essays on the postclassical world

    G W Bowersock, Peter Robert Lamont Brown et al.BOOKInterpreting late antiquity2001

    Introduction Remaking the Past, by Averil Cameron Sacred Landscapes, by Beatrice Caseau Philosophical Tradition and the Self, by Henry Chadwick Religious Communities, by Garth Fowden Barbarians and Ethnicity, by Patrick J. Geary War and Violence, by Brent D. Shaw Empire Building, by Christopher Kelly Christian Triumph and Controversy, by Richard Lim Islam, by Hugh Kennedy The Good Life, by Henry Maguire