ELEVENTH PRESENTATION OF THE CHARLES LANG FREER MEDAL APRIL 2001 5, ^ALU^'/ op N F(LJE£< 736 I dOOl ELEVENTH PRESENTATION OF THE CHARLES LANG FREER MEDAL APRIL 2001 5, OlegGrabar, ca. 1995 Contents Introduction Milo ClevelandBeach 4 From the Museum to the University and Back Oleg Grabar 9 Oleg Grabars Recent Bibliography 31 Introduction Milo Cleveland Beach Director, Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution r ** F \ HE PRESENTATION of the Charles Lang Freer Medal is an I occasion for the Freer Gallery of Art to reaffirm its commit- Jl. ment, and that of its founder, to the fostering and recogni- tion of scholarship at the highest level.The Freer Medal was inaugu- rated in 1956 to honor the gallerys founder, Charles Freer.The Medal was designed by the sculptor Paul Manship, and it has been awarded only ten times. Professor Oleg Grabar, who today becomes the eleventh recipient of the Medal, is preceded in this distinction by Osvald Siren, Ernst Kiihnel, Yashiro Yukio, Tanaka Ichimatsu, Laurence Sickman, Roman Ghirshman, Max Loehr, Stella Kramrisch, Alexander Soper, and (most recently) Sherman E. Lee. It is an immensely distinguished list. While Professor Grabar has been pivotal in the study of Islamic art in the United States for the last half century, his work has also had enormous impact internationally on understanding ofthe arts ofIslam. It is not only through his research and its diffusion through publica- tions and lectures that his influence is so profoundly felt. Oleg Grabar is a model of scholarly discipline, but also of the ways by which schol- arship is communicated and made engaging. Having known many of his students over the years, I can attest to their esteem for and absolute dedication to Oleg Grabar as a teacher and a person. And because of 4 the training he provided, these students now hold many of the greatest academic and museum positions at major institutions throughout the world. Born in Strasbourg, France, in 1929, the first of two sons of the Byzantinist Andre Grabar, Oleg Grabar came to America for his uni- versity education, earning his B.A. (1950) from Harvard College in medieval history and his M.A. (1953) and Ph.D, (1955) from Princeton University in oriental languages and literatures and the history of art. He began his teaching career in 1954 at the University of Michigan, an institution that has always maintained close ties with the Freer Gallery; but in 1969, he moved to his alma mater. Harvard, where he was named the first Aga Khan Professor of Islamic Art and Architecture in 1980. Professor Grabars accomplishments began with his participation as agraduate student in an American Numismatics Societyseminarthat led to an early interest in coinage andhis earliestpublications. Hewrote a dissertation on the art and ceremony of the Umayyad court, which generated several important articles on the art of the Umayyads in Syria. He expanded his research on early Islamic architecture into a series of lectures at Oberlin College on the origins of Islamic art and this eventually became one of his most influential works. The Formation ofMamieArt(1973), a study that has been continually in print andwidely translated. Other important publications on early Islamic architecture range from a study of the Alhambra (1978) in Islamic Spain to The Great Mosque ofIsfahan (1990) and TheDome oftheRock (1996). While studying at Princeton, Professor Grabar became interested in Islamic manuscripts aftertaking a course underthe renowned arthis- torian KurtWeitzmann. His interests in the illustrated book resulted in a series of groundbreaking publications, including the early thir- teenth-century Maqamatby al-Hariri and the celebrated fourteenth-cen- tury Mongol Book ofKingsknown as the ‘‘Demotte’’ Shahnama. In the late 5 OlegGrabarwithstudents intheArthurM.Sackler Gallerystoragearea, 1990 1980s, the Sackler Gallery purchased the collection of Henri Vever, which included eight illustrated pages from this crucially important Shahnama, a manuscript from which the Freer already owned seven illus- — trations making these galleries the major center for study of this book. Because of the regulations then applying at the Freer Gallery, the Freer and Sackler pages could not be exhibited together in public space; however, they could be placed together within the Sackler storage areas. We offered this possibility to Professor Grabar, who arrived with a full class of graduate students and was joined by a number of past students who had heard about the event.The result was a day-long private exhi- bition and seminar, and it remains one of the greatest days in the his- tory of the Freer and Sackler. In the mid-1970s. Professor Grabar became interested in the con- temporary practice of architecture in the Islamic world through his involvement with the Aga Khan Award for Architecture.This associa- tion served to broaden his interests and experience beyond the tradi- tional confines of the medieval period, and his extensive travels allowed him to study contemporary uses and interpretations of traditional structures.The support that developed for contemporary Islamic archi- tecture has made this one of the most exciting contemporary architec- tural traditions in the world. The association with the Aga Khan and the Aga Khan Award soon led to the establishment of the Aga Khan Program for Islamic Archi- 6 tecture at Harvard and the Massachusetts Institute of Technology. Professor Grabar was named the programs joint director and with his colleagues he laid the foundation for an enterprise that has been in exis- tence and highly influential for more than twenty years. In 1990, Professor Grabar retired from Harvard to assume his present position as professor in the School of Historical Studies at the Institute for Advanced Study in Princeton, New Jersey, and to devote himself full-time to lecturing and research. In his career, which spans half a century. Professor Grabar has been honored with numerous medals and published more than 20 books and 130 articles. He has — trained about 60 Ph.D.s in Islamic art and architecture a record that must be unrivaled. Since this group includes not only the last four cura- tors of Islamic art at the Freer Gallery, but also the current director of the International Art Museums at the Smithsonian, Dr.Thomas Lentz, we are beholden in manyways to Professor Grabar. Oleg Grabars productivity continues today at a remarkable level. In 2000, for example, he published Mostly Miniatures: An Introduction to Persian Painting and this year a new edition has appeared of his funda- mental survey The Art and Architecture of Islam: 6jO—lijO, written with Richard Ettinghausen and MarilynJenkins-Madina. Articles and reviews seem to materialize effortlessly. It is a great honor therefore to ask Oleg Grabar to come forward for the presentation. On behalf of the chancellor and the regents of the Smithsonian Institution, and the curators and staff of the Freer Gallery, I hereby present you with the Freer Medal.The citation, as written on the medal itself, reads: For distinguished contribution to the knowledge andunderstanding of ^ Oriental civilizations as reflected in theirarts. 7 1 1 i & “V”-' l"cA*" ^jfcU««ji--2i»»>^»j5 ^42>:kG:^u)^ ijl j Iskandar(AlexandertheGreat)attheTalkingTree,fromacopyoftheShanamabyFirdawsi(d. 1020).Iran, Tabriz, ca. 1335—40; ink, opaquewatercolor,andgoldonpaper.40.8x30.1 cm.FreerGalleryofArt, SmithsonianInstitution,PurchaseF1935.23