The Art of Islam
SAAD NASEER 2002
Islamic art has been developing since the seventh century and is a manifestation of a complex civilization that often seems mysterious to the Western world. It creates an immediate and distinct impact through its brilliant use of color and its remarkable balance between design and form. Its strong aesthetic overcomes differences in language, culture, and creed. Islamic art not only invites a closer look but also summons the viewer to learn more. An understanding of Islamic art may be the first step toward understanding the history of this civilization. Islamic art not only refers to art created specifically in the service of Islam but also to secular art produced in lands under Islamic rule or influence, whatever the artist’s religious affiliation. It refers to an art unified in style and purpose, and indeed there are certain common features that distinguish the arts of all Islamic lands. In Islamic culture, decorative arts provide the primary means of artistic expression, in contrast to Western art, in which painting and sculpture are preeminent. Illuminated manuscripts, glazed ceramics, carved stone and wood, brown glass, inlaid metal work and woven textiles and carpets, all occupied the creative minds of artists, becoming highly developed art forms. These works include small scale objects of daily use such as delicate glass beakers, as well as more monumental architectural decoration such as glazed tile panels from building façades. These objects were meticulously created and carefully decorated, often with rare and costly materials. Islamic art encompasses architecture. However, decorative art, and how it has been applied to the architecture of mosques, is what I find most intriguing. The use of tiles and the multiplication of given geometric patterns and architectural elements creates a feeling of continuous space and this is what inspired my painting – a Western replica.
Art is one of the most primitive forms of communication; it is still one of the most powerful. I will let my painting speak on my behalf.

Saad Naseer (BLA ’02/M.D. ’02) currently practices as a diagnostic radiologist in Peoria, Illinois.
Inquiring Minds
BOB STECKMEST 2002
Words as Scalpels
(on reading When Race Becomes Real)
AMRITA BURKICK 2003
I weep for the lost innocence — my own The child’s eyes that could see a human being Before skin color, language And oh-so-many preconceptions and hesitations.
I weep for the time before I learned (And tried again to unlearn) Usual lies of power and difference.
Through these words I look back Through painful reflections And shattered mirrors of me and you.
If we can’t return to innocence Can we cut away unhealed wounds? Can we somehow be whole And learn to be humane again?