Abstract
his investigations with the formative period of the Umayyads, at a time when other scholars regarded monuments and artifacts belonging to that period as Byzantine or, even more absurdly, post-Sasanian. His work on the Dome of the Rock and his later book, The Formation of Islamic Art, defined the parameters of early Islamic art and established its distinct identity, while acknowledging its debt to preceding cultures. As a token of recognition to Professor Grabar for instilling in me, as in many of his students, an interest in reconstructing a context for the study of Islamic art from within, I present him with this article. It attempts to address some of the contextual issues relating to his favorite monument, the Dome of the Rock.
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