By Ryan Parr; Beth Singer
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4. ’’ It follows that another way of examining the mosque deals with the matching or concordance between the building as an object and its context. The situation is particularly complicated when a mosque exists in a nontraditional context. For example, a mosque in London, New York, Paris, or Rome can respond to the immediate environment, ignoring all else, or it may engender a specific thematic concept that it seeks to preserve. 14 This discussion presents us with a dichotomy between East and West that can best The Polemics of Deconstruction 15 Proposal for the Baghdad State Mosque.
Since art is not created ex nihilo, the formative themes of Muslim aesthetics suggest a dialogue between architectural form and religious practice. We may refer to the distinction between these two as a simulacrum—an artful arrangement of decorative vocabularies adapted from various kinds of spatial themes, without subjective regard for space or time. 3. The subjective use of imagery takes on importance in response to culture and environment, which means that culture and environment unfold as we study the vernacular expressions of imagery.
F. Stevens, the Dyula (Mande) distinguish three types of mosque. [T]he seritongo used by individuals or small groups of Muslims for daily prayers, is frequently no more than an area of ground marked off by stones. The misijidi [masjid] or missiri or buru is used by Muslims from several households or from a Quarter for their daily prayers and for Friday prayers if they have no access to a Friday mosque. 26 In this way, the Mande mosque shares a functional affinity with the wider community of Islam.