Osama Nofal Masters

‫‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‬ ‫‪ ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‬ ‫‪ ‬ﻗﺴﻢ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‬ ‫‪۲۰۰٥ ‬‬

‫‪ ‬ﺭﺳﺎﻟﺔ‪ ‬ﻣﺎﺟﺴﺘﻴﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺗﺤﺖ‪ ‬ﻋﻨﻮﺍﻥ‬

‫‪ ‬ﺗﺄﺛﻴﺮ‪ ‬ﻣﻮﺩﻳﻮﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻓﻦ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‬ ‫‪The Reflection of Le Corbusier’s Modulor on Contemporary Art ‬‬ ‫‪ ‬ﻣﻘﺪﻣﺔ‪ ‬ﻣﻦ‬

‫‪ ‬ﺃﺳــﺎﻣﺔ‪ ‬ﺳـﻤﻴﺮ‪ ‬ﻧ‪ ‬ﻮﻓﻞ‬

‫‪ ‬ﻣﻌﻴﺪ‪ ‬ﺑﻜﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪ ‬ﺟﺎﻣﻌﺔ‪ ٦ ‬ﺃﻛﺘﻮﺑﺮ‬

‫‪ ‬ﺑﺈﺷـﺮﺍﻑ‬

‫‪ ‬ﺃ‪ . ‬ﺩ‪ . ‬ﻧــــﺎﺯﻙ‪ ‬ﺣﻤـــــﺪﻱ‬

‫‪ ‬ﺃ‪ . ‬ﺩ‪ . ‬ﻣﺼﻄﻔﻰ‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻔﺘـﺎﺡ‬

‫‪ ‬ﺃﺳﺘﺎﺫ‪ ‬ﻣﺘﻔﺮﻍ‪ ‬ﺑﻘﺴﻢ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‬

‫‪ ‬ﺃﺳﺘﺎﺫ‪ ‬ﻣﺘﻔﺮﻍ‪ ‬ﺑﻘﺴﻢ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺍﻟﻔﻨﻮﻥ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺎﻭﻟﺖ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‬

‫‪۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﺍﻧﺘﻈﺎﻡ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺨﻀﻊ‪ ‬ﻟﻬﺎ‪ ) ‬ﺍﻟﻔﻴﻠﻮﺗﺎﻛﺴﺲ‪( ‬‬

‫‪۱۹ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﻣﻘﺪﻣﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻭﺍ‪ ‬ﻟﻔﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‬

‫‪۲٥ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻭﺍﻟﻘﻄﺎ‪ ‬ﻉ‪ ‬ﺍﻟﻔﻀﻲ‬

‫‪۲۹ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻔ‪ ‬ﻨﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﺭﺗﺒﻄﺖ‪ ‬ﺑﺎﻟﻨﺴﺐ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‬ ‫‪ ‬ﻭﺍﻟﺬﻫﺒﻴﺔ‬ ‫‪ ‬ﺃﻭﻻ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۳۲ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻨﺤﺖ‬

‫‪٤٥ ‬‬

‫‪ ‬ﺛﺎﻟﺜﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‬

‫‪٤۷‬‬

‫‪۲۱۲ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺍ‪ ‬ﻟﻔﻨﻮﻥ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﺑﻌﺾ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺎﻭﻟﺖ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪: ‬‬ ‫‪ ‬ﻳ‪ ‬ﺘﻢ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺎﺝ‪ ‬ﺍﻟﻤﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺢ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﻮﺩﻳ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻱ‪ ‬ﺣﻘﺒ‪ ‬ﺔ‪ ‬ﺯﻣﻨﻴ‪ ‬ﺔ‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‬ ‫‪ ‬ﻳﺘﻮﺍﻓﻖ‪ ‬ﻣﻊ‪ ‬ﺟﻤﻴﻊ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻭﺍﻷﺭﻗﺎﻡ‪ ‬ﻓﻴﻪ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﻳﺘﺤﻘ‪ ‬ﻖ‪ ‬ﺍﻟﻐ‪ ‬ﺮﺽ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻣﻪ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺭﺑ‪ ‬ﻂ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺑﺒﻌﻀ‪ ‬ﻬﺎ‬ ‫‪ ‬ﻭﺇﻳﺠ‪ ‬ﺎﺩ‪ ‬ﺍﻟﺘﺠ‪ ‬ﺎﻧﺲ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ،‬ﻭ‪ ‬ﺇﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺍﻟﻤﻨﻄ‪ ‬ﻖ‪ ‬ﺍﻟﻌﻘﻼﻧ‪ ‬ﻲ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ، ‬ﻭﺇﺿ‪ ‬ﻔﺎء‪ ‬ﺻ‪ ‬ﻔﺔ‪ ‬ﺍﻷﺑﺪﻳ‪ ‬ﺔ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ، ‬ﻭﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‬ ‫‪ ‬ﻟﺼﺎﺣﺒﻪ‪ ‬ﻛﺎﻟﺠﺎﺋﺰﺓ‪ ‬ﺍﻟﻜﺒﺮﻯ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺣﺼﻞ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻧﺘﻴﺠﺔ‪ ‬ﺗﻤﻜﻨﻪ‪ ‬ﻣﻦ‪ ‬ﻣﺤﺎﻛ‪ ‬ﺎﺓ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻼﻗﺎﺗﻬ‪ ‬ﺎ‪ ‬ﻭﺇﻳﺠ‪ ‬ﺎﺩ‪ ‬ﻟﻐ‪ ‬ﺔ‪ ‬ﺭﻣﺰﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺧﺎﺻﺔ‪ ‬ﺑﻪ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺎﻭﻟﺖ‪ ‬ﺍﻟﻨﺴﺒ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪­ : ‬‬ ‫‪ . ۱ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﺍ‪ ‬ﻟﻤﺼﺮﻳﺔ‪: ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻵﺛﺎﺭ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻋﺘﺒﺮﺕ‪ ‬ﺣﻠﻘﺔ‪ ‬ﺍﻟﻮﺻﻞ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺧ‪ ‬ﺘﻼﻑ‪ ‬ﺃﻧﻮﺍﻋﻬ‪ ‬ﺎ‪ ‬ﻭﺍﻟﻤﻘﻴ‪ ‬ﺎﺱ‬ ‫‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻡ‪ ‬ﻓﻴﻬﺎ ‪ ­ ‬ﻗﻀﻴﺐ‪ ‬ﺧﺸﺒﻲ‪ ‬ﻣﻘﺴﻢ‪ ‬ﺇﻟﻰ‪ ۲۸ ‬ﻣﺴﺎﻓﺔ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺗﻨﻘﺴﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻣﺘ‪ ‬ﺪﺭﺝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﺣﺎﺕ‬ ‫‪ ‬ﺍﻟﺼ‪ ‬ﻐﻴﺮﺓ‪ ) ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺎﻓﺘﻴﻦ‪ ،‬ﻭﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺛﻼﺛ‪ ‬ﺔ‪ ... ،‬ﺇﻟ‪ ‬ﺦ‪ ، ( ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺍﻟﺴﺎﺩﺳ‪ ‬ﺔ‪ ‬ﻳﻮﺟ‪ ‬ﺪ‪ ‬ﺭﻣ‪ ‬ﺰ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‬ ‫‪ ‬ﺍﻟﻤﺼﺮﻱ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪٦ ‬‬

‫‪1 ‬‬

‫‪ ‬ﺍﻛﺘﺸﻔﻪ‪ Edme Francois Jomard ‬ﻋﺎﻡ‪www.aiwaz.net – ۱۸۲۲ ‬‬

‫‪­ ۲ ­ ‬‬

‫‪ ‬ﻭﻫﺬﺍ‪ ‬ﻳﺪﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻳﻘﺴﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻋﺪﺩ‪ ‬ﻣﺘﺴﺎﻭ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺟﺰﺍء‪ ‬ﻭﻫﻮ‪: ‬‬ ‫‪ ‬ﺇﻣﺎ‬

‫‪ ٦ ‬ﺃﺟﺰﺍء‪ ، ‬ﻭﻳﺴﻤﻰ‪ ‬ﺣﻴﻨﻬﺎ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﺼﻐﻴﺮ‪ ،‬ﻭﻳﺄﺗﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺮﺗﺒﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﻴﻮﻉ‬

‫‪ ‬ﻭﺇﻣﺎ‬

‫‪ ۷ ‬ﺃﺟﺰﺍء‪ ، ‬ﻭﻳﺴﻤﻰ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ،‬ﻭﻳﺴﺘﺨﺪﻡ‪ ‬ﻓﻲ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻤﺘﻤﻴﺰﺓ‪ ‬ﻭﺍﻟﻬﺎﻣﺔ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻋﺎﻡ‬

‫‪ ‬ﺷﻜﻞ‪۷ ‬‬

‫‪ ‬ﻳﺘﻜﻮﻥ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﻣﻦ‪ ۲۸ ‬ﺟﺰءﺍ‪ ‬ﺑﺎﻧﻘﺴﺎﻣﻪ‪ ‬ﺇﻟﻰ‪ ۷ ‬ﺭﺍﺣﺎﺕ‪ ‬ﻳﺪ‪ ‬ﻋﺮﺿ‪ ‬ﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻭﺍﺣ‪ ‬ﺪﺓ‪ ٤ ‬ﺃﺻ‪ ‬ﺎﺑﻊ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻳﻜﺒ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﺼﻐﻴﺮ‪ ‬ﺑﺮﺍﺣﺔ‪ ‬ﻳﺪ‪ ‬ﻛﺎﻣﻠﺔ‬ ‫‪ ‬ﻭﺗﺮﺟﻤﺔ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻘﺎﻳﻴﺲ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻨﻈﻢ‪ ‬ﺍﻟﺤﺎﻟﻴﺔ‪ ‬ﻫﻲ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺼﻐﻴﺮ‬

‫‪ ٤٤٫۹۲ ‬ﺳﻢ‬

‫‪ ۱۷٫٦۸٥ ‬ﺑﻮﺻﺔ‬

‫‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬

‫‪ ٥۲٫٤ ‬ﺳﻢ‬

‫‪ ۲۰٫٦۳۲ ‬ﺑﻮﺻﺔ‬

‫‪ ‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﻳﺸ‪ ‬ﺘﻤﻞ‪ ‬ﺍﻟﻤﺨﻤ‪ ‬ﺲ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﻋﻠﻴﻬﻤ‪ ‬ﺎ‪ ‬ﻣﻌ‪ ‬ﺎ‪ ‬ﻓﻴﻜ‪ ‬ﻮﻥ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻌﻪ‪ ٥۲٫٤ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﻧﺼ‪ ‬ﻒ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‬ ‫‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ‬ﺑﻪ‪ ٤٤٫٦ ‬ﺳﻢ‪ ، ‬ﻭﺫﻟﻚ‪ ‬ﻋﻨﺪ‪ ‬ﺣﺴﺎﺏ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ﻓﻲ‪ ‬ﺍﻟﻤﺨﻤﺲ ‪۱٫٦۱۸۰۳٤ = F‬‬

‫‪ ‬ﺷﻜﻞ ‪۸‬‬

‫‪­ ۳ ­ ‬‬

‫‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻧﺴﺐ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻫﻲ‪ ‬ﺍﻷﺳﺎﺱ‪ ‬ﻓﻲ‪ ‬ﺍﺑﺘﻜﺎﺭ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻝ‪ ‬ﺍﻟﻤﺘﺒﻊ‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﺃﺳﺎﺱ‪ ‬ﻛﺎﻓ‪ ‬ﺔ‪ ‬ﺍﻟﺘﻜﻮﻳﻨ‪ ‬ﺎﺕ‪ ‬ﺍﻷﺧ‪ ‬ﺮﻯ‪، ‬‬ ‫‪ ‬ﻭﻓﻲ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‪ ‬ﺻﻮﺭﺓ‪ ‬ﻟﻤﻠﻚ‪ ‬ﺟ‪ ‬ﺎﻟﺲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻛﺮﺳ‪ ‬ﻴﻪ‪ ‬ﻟ‪ ‬ﻴﺲ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﺳ‪ ‬ﻤﺎﺕ‪ ‬ﻣﻌﻴﻨ‪ ‬ﺔ‪ ‬ﻭﺣﻮﻟ‪ ‬ﻪ‪ ‬ﺷ‪ ‬ﺒﻜﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺮﺑﻌ‪ ‬ﺎﺕ‪ ‬ﻳﺒﻠ‪ ‬ﻎ‬ ‫‪ ‬ﺍﺭﺗﻔﺎﻋﻬ‪ ‬ﺎ‪ ۱۸ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﺗﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺑﻐ‪ ‬ﺮﺽ‪ ‬ﺍﻟﺘﻜﺒﻴ‪ ‬ﺮ‪ ‬ﻷﻧﻬ‪ ‬ﺎ‪ ‬ﺣ‪ ‬ﺪﺩﺕ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﻭﺍﺗﺠﺎﻫﺎﺗ‪ ‬ﻪ‪ ‬ﺑﻤﻨﺘﻬ‪ ‬ﻰ‪ ‬ﺍﻟﺪﻗ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭﺑﺠ‪ ‬ﻮﺍﺭﻩ‪ ‬ﺃﺣ‪ ‬ﺮﻑ‪ ‬ﻣﺘﻜ‪ ‬ﺮﺭﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﺫﺭﺍﻉ‪ ‬ﺗ‪ ‬ﺪﻝ‪ ‬ﺯﻭﺍﻳ‪ ‬ﺎﻩ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻛﻮﻧ‪ ‬ﻪ‪ ‬ﻣﻘﻴﺎﺳ‪ ‬ﺎ‪ ، ‬ﻭﺑﺎﻟﻔﻌ‪ ‬ﻞ‪ ‬ﻳﻌﺘﺒ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‬ ‫‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻟﻠﻘﻴﺎﺱ‬

‫‪ ‬ﺷﻜﻞ‪۹ ‬‬

‫‪ ‬ﻳﻘ‪ ‬ﻊ‪ ‬ﺍﻟﺸ‪ ‬ﺨﺺ‪ ‬ﺍﻟﺠ‪ ‬ﺎﻟﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ۱٥ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻭﻳﻘ‪ ‬ﻊ‪ ‬ﺭﺃﺳ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ۲٫٥ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ،‬ﺃﻱ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﻮﻥ‪ ‬ﺍﻟ‪ ‬ﺮﺃﺱ‪ ‬ﻳﺤﺘ‪ ‬ﻞ‪ ‬ﺛﻤ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﻓﺈﻥ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺳﻮﻑ‪ ‬ﻳﻘﻊ‪ ‬ﻓﻲ‪ ۲۰ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﻳﺤﺘ‪ ‬ﻞ‪ ‬ﺍﻟﺴ‪ ‬ﺒﻊ‪ ‬ﻭﺍﻟﻨﺼ‪ ‬ﻒ‪ ‬ﻓ‪ ‬ﺈﻥ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺳ‪ ‬ﻮﻑ‬ ‫‪ ‬ﻳﻘﻊ‪ ‬ﻓﻲ‪ ۱۸٫۷٥ ‬ﻣﺮﺑﻌﺎ‪ ،‬ﺃﻱ‪ ‬ﻳﻜﻮﻥ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ‬ﻣﻦ‪ ‬ﺃﺧﻤﺺ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﻨﺒ‪ ‬ﺖ‪ ‬ﺷ‪ ‬ﻌﺮ‪ ‬ﺍﻟﺠﺒﻬ‪ ‬ﺔ‪ ۱۸ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ،‬ﻭﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‬ ‫‪ ‬ﻫﻲ‪ ‬ﺍﻷﻗﺮﺏ‪ ‬ﻟﻠﺼﺤﺔ‪ ‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﺸ‪ ‬ﺨﺺ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ٤ ‬ﺃﺫﺭﻉ‪ ‬ﺻ‪ ‬ﻐﻴﺮﺓ‪ ‬ﻟﻮﻗ‪ ‬ﻮﻉ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ‬ﻓ‪ ‬ﻲ‪ ٤٫٥ ‬ﻣﺮﺑﻌ‪ ‬ﺎﺕ‪،‬‬ ‫‪ ‬ﻭﻛﺬﻟﻚ‪ ٦ ‬ﺃﻗﺪﺍﻡ‪ ‬ﻟﻮﻗﻮﻉ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻓﻲ‪ ۳ ‬ﻣﺮﺑﻌﺎﺕ‬ ‫‪ ‬ﺷﻜﻞ ‪۱۰‬‬

‫‪­ ٤ ­ ‬‬

‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻳﺘﻀﺢ‪ ‬ﺑﻨﺎء‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺑﺎﻻﺳﺘﻨﺎﺩ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻭﺩﺍﺋﺮﺓ‪ ‬ﻭﻣﺜﻠﺚ‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻷﺿ‪ ‬ﻼﻉ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﺤ‪ ‬ﺎﻝ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﺳ‪ ‬ﻜﺘﺶ‪ ‬ﺩﺍ‬ ‫‪ ‬ﻓﻨﺸﻲ‪ ‬ﻹﻧﺴﺎﻥ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ،‬ﻭﻳﺘﻢ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ۲۰ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ،‬ﻭﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻊ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ۱٤ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪،‬‬ ‫‪ ‬ﻭﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ۱٥ ‬ﻣﺮﺑﻌﺎ‪ ،‬ﻭﻳﻘﻊ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﻌﺠﺰ‬

‫‪ ‬ﻗﺒﻴﻞ‪ ‬ﺍﻷﺳـﺮﺓ‪ ‬ﺍﻟﺴﺎﺩﺳﺔ‪ ‬ﻭﺍﻟﻌﺸﺮﻳﻦ‪ ‬ﻗﺴّﻢ‪ ‬ﻃﻮﻝ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ۱۸ ‬ﻗﺴ‪ ‬ﻤﺎ‪ ،‬ﻭﻳﻨﺤﺼ‪ ‬ﺮ‪ ‬ﻫ‪ ‬ـﺬﺍ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺷﻌﺮ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ‬ﺣﻴﺚ‪ ‬ﻋﺒﺮ‪ ‬ﻋﻦ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﺎﻟﻘﺎﻣ‪ ‬ﺔ ‪ ، Fathom ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ‬ﺍﻟﺼ‪ ‬ﻐﻴﺮ ‪ ، Small Cubit ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﺮﻓ‪ ‬ﻖ‪ ‬ﻭﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻹﺑﻬ‪ ‬ﺎﻡ‪ ،‬ﻭﻳﺘﺴ‪ ‬ﺎﻭﻯ‪ ‬ﻣ‪ ‬ﻊ‪ ۱ / ٤ ‬ﻃ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺍﻟﻘﺎﻣﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۱ ‬‬

‫‪ ‬ﻭﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﺫﻟﻚ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻧﺴﺐ‪ ‬ﺭﺳﻢ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﻛﻤﺎ‪ ‬ﻫﻮ‪ ‬ﻭﺍﺿﺢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ‬ﺍﻷﻭﻟﻰ‪ 1st Canon ‬ﺍﻟﺘﻲ‪ ‬ﺍﺗﺒﻌﺖ‪ ‬ﻗﺒﻴﻞ‪ ‬ﺍﻷﺳﺮﺓ‪ ۲٦ ‬ﺣﻴﻦ‪ ‬ﻗﺴّﻢ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺇﻟﻰ‪ ۱۸ ‬ﻗﺴﻤﺎ‬ ‫‪ ۱ ‬ﻗﺎﻣﺔ‬ ‫‪Fathom ‬‬ ‫‪ ۱ ‬ﺫﺭﺍﻉ‪ ‬ﺻﻐﻴﺮ‬

‫‪ ‬ﺍﻻﺭ‪ ‬ﺗﻔﺎﻉ‪ ‬ﻣﻦ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ) ‬ﺣﺪﻭﺩ‪ ‬ﺍﻟﺸﻌﺮ‪ ۱۸ ( ‬ﻣﺮﺑﻊ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻃﺮﻑ‪ ‬ﺍﻹﺑﻬﺎﻡ‬

‫‪Small Cubit ‬‬ ‫‪ ۲ / ۳ ‬ﺫﺭﺍﻉ‪ ‬ﺻﻐﻴﺮ ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺮﺳﻎ‪ = ‬ﻗﺪﻡ‪ ‬ﻭﺍﺣﺪ‬

‫‪­ ٥ ­ ‬‬

‫‪ ۱ ‬ﻗﺎﻣﺔ‬

‫‪ ٤٫٥ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ٤ ‬ﻗﺎﻣﺔ‬

‫‪ ۳ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ٦ ‬ﻗﺎﻣﺔ‬

‫‪ ۱ ‬ﺫﺭﺍﻉ‪ ‬ﻣﻠﻜﻲ‬

‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻃ‪ ‬ﺮﻑ‪ ‬ﺍﻹﺻﺒﻊ‪ ‬ﺍﻟﻮﺳﻄﻰ‬

‫‪ ٥ ‬ﻣﺮﺑﻊ‬

‫‪ ٥ / ۱۸ ‬ﻗﺎﻣﺔ‬

‫‪Royal Cubit ‬‬ ‫‪ ۱ ‬ﻗﺒﻀﺔ‪Fist ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺑﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺫﻟﻚ‪ ‬ﺍﻹﺑﻬﺎﻡ‪ ۱ ۱ / ۳ = ‬ﺇﺻﺒﻊ‬

‫‪ ۱ ۱ / ۸ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ۱٦ ‬ﻗﺎﻣﺔ‬

‫‪ ۱ ‬ﺇﺻﺒﻊ‬

‫‪ ‬ﻭﻳﻘﺴﻢ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺇﻟﻰ‪۱ / ۱٦ ، ۱ / ۸ ، ۱ / ٤ ، ۱ / ۳ ، ۱ / ۲ ‬‬

‫‪ ۱ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ۱۸ ‬ﻗﺎﻣﺔ‬

‫‪Finger ‬‬ ‫‪ ۱ ‬ﻋﺮﺽ‪ ‬ﻳﺪ‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﻇﻬﺮ‪ ‬ﺍﻟﻴﺪ‪ ‬ﻣﻦ‪ ‬ﻓﻮﻕ‪ ‬ﻣﻔﺎﺻﻞ‪ ‬ﺍﻷﺻﺎﺑﻊ‪ ‬ﺍﻷﺭﺑﻊ‬

‫‪ ۰٫٥ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ۲٤ ‬ﻗﺎﻣﺔ‬

‫‪Hand ‬‬

‫‪ ‬ﻭﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺟ‪ ‬ﺎءﺕ‪ ‬ﺍﻷﺳ‪ ‬ـﺮﺓ‪ ‬ﺍﻟﺴﺎﺩﺳ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻌﺸ‪ ‬ﺮﻳﻦ‪ ‬ﻋ‪ ‬ـﺪّﻝ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺍﻟﺸ‪ ‬ﺒﻜﻲ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﻳﻘﺴ‪ ‬ﻢ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻘﺎﻣ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ۲۱ ‬ﻗﺴ‪ ‬ﻤﺎ‪،‬‬ ‫‪ ‬ﻭﺟﻌﻞ‪ " ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ Royal Cubit " ‬ﻫﻮ‪ ‬ﻭﺣﺪﺓ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻳﺘﺴ‪ ‬ﺎﻭﻯ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻃﻮﻟ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻊ‪۱ / ٤ ‬‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﻘﺎﻣﺔ‪ ،‬ﻭﻳﺴﺎﻭﻱ‪ ۷ ‬ﻋﺮﻭﺽ‪ ‬ﻳﺪ‪ ،‬ﻭﻫﻮ‪ ‬ﺃﻣﺮ‪ ‬ﻳﺨﺎﻟﻒ‪ ‬ﺍﻟﻮﺍﻗﻊ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺑ‪ ‬ﺸ‪ ‬ﻜﻞ‪ ‬ﻭﺍﺿ‪ ‬ﺢ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‬ ‫‪ ‬ﻟﺴﺘﺔ‪ ‬ﻋﺮﻭﺽ‪ ‬ﻳﺪ‪ ‬ﻓﻘﻂ ‪ ، ۱ ‬ﻭﻛﺎﻥ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﻘﺎﻣﺔ‪ ‬ﻓﻲ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺮﺣﻠﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﻳﻘﺎﺱ‪ ‬ﺑﺎﻟﻤﺴﺎﻓﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻗﺎﻋ‪ ‬ﺪﺓ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﺃﺳ‪ ‬ﻔﻞ‬ ‫‪ ‬ﺣﺘﻰ‪ ‬ﺟﻔﻦ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻣﻦ‪ ‬ﺃﻋﻠﻰ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲ ‬‬

‫‪1 ‬‬

‫‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻔﺘﺎﺡ‪ ‬ﺭﻳﺎﺽ‪ " ،‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ " ‬ﺹ‪۱٦۳ ­ ۱٦۰ ‬‬

‫‪­ ٦ ­ ‬‬

‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ 2nd Canon ‬ﺍﻟﺘﻲ‪ ‬ﺍﺗﺒﻌﺖ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻷﺳﺮﺓ‪ ۲٦ ‬ﺣﻴﻦ‪ ‬ﻗﺴّﻢ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺇﻟﻰ‪ ۲۱ ‬ﻗﺴﻤﺎ‬ ‫‪ ۱ ‬ﻗﺎﻣﺔ‬

‫‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺟﻔﻦ‪ ‬ﺍﻟﻌﻴﻦ‪Eye Lid ‬‬

‫‪ ۲۱ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ ‬ﻗﺎﻣﺔ‬

‫‪Fathom ‬‬ ‫‪ ۱ ‬ﺫﺭﺍﻉ‪ ‬ﻣﻠﻜﻲ‬

‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻃﺮﻑ‪ ‬ﺍﻹﺑﻬﺎﻡ‬

‫‪ ٥ ۱ / ٤ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ٤ ‬ﻗﺎﻣﺔ‬

‫‪Royal Cubit ‬‬ ‫‪ ۲ / ۳ ‬ﺫﺭﺍﻉ‪ ‬ﻣﻠﻜﻲ‬

‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺮﺳﻎ‪ = ‬ﻗﺪﻡ‪ ‬ﻭﺍﺣﺪ‬

‫‪ ۳ ۱ / ۲ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ٦ ‬ﻗﺎﻣﺔ‬

‫‪Royal Cubit ‬‬ ‫‪ ۱ ‬ﻗﺒﻀﺔ‪Fist ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺑﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺫﻟﻚ‪ ‬ﺍ‪ ‬ﻹﺑﻬﺎﻡ‪ ۱ ۱ / ۳ = ‬ﺇﺻﺒﻊ‬

‫‪ ۱ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ۲۱ ‬ﻗﺎﻣﺔ‬

‫‪ ۱ ‬ﻋﺮﺽ‪ ‬ﻳﺪ‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﻇﻬﺮ‪ ‬ﺍﻟﻴﺪ‪ ‬ﻣﻦ‪ ‬ﻓﻮﻕ‪ ‬ﻣﻔﺎﺻﻞ‪ ‬ﺍﻷﺻﺎﺑﻊ‪ ‬ﺍﻷﺭﺑﻊ‬

‫‪ ۰٫۷٥ ‬ﻣﺮﺑﻊ‬

‫‪ ۱ / ۲۸ ‬ﻗﺎﻣﺔ‬

‫‪Hand ‬‬ ‫‪ ۱ ‬ﺇﺻﺒﻊ‬

‫‪ ‬ﻭﻳﻘﺴﻢ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺇﻟﻰ‪۱ / ۱٦ ، ۱ / ۸ ، ۱ / ٤ ، ۱ / ۳ ، ۱ / ۲ ‬‬

‫‪Finger ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺟﻬﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﺃﺛﺒﺘ‪ ‬ﺖ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﺒ‪ ‬ﺮﺩﻱ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺑﺤﺜ‪ ‬ﺖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺏ‪ ‬ﻭﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺃﻥ‬ ‫‪ ‬ﻗﺪﻣﺎء‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﻗﺪ‪ ‬ﻭﺿﻌﻮﺍ‪ ‬ﻗﻮﺍﻋﺪﺍ‪ ‬ﻟﻠﻜﺴﻮﺭ‪ ‬ﺍ‪ ‬ﻻﻋﺘﻴﺎﺩﻳﺔ‪ ،‬ﻓﻠﻮ‪ ‬ﺃﻥ‪ ‬ﺧﻄﺎ‪ ‬ﻣﺴ‪ ‬ﺘﻘﻴﻤﺎ‪ ‬ﻗﺴّ‪ ‬ﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﺒﻌﺔ‪ ‬ﺃﻗﺴ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﺈﻥ‪ ‬ﺍﻟﻘﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﻳﻤﺜﻞ‪ ۱ / ۷ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺨﻂ‪ ،‬ﻭﻳﻌﺒﺮ‪ ‬ﻋـﻦ‪ ‬ﺍﻟﺒ‪ ‬ﺎﻗﻲ‪ ‬ﺑﺄﻧ‪ ‬ـﻪ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‪ ، ۱ / ۷ – ۱ ‬ﻣ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﺪﺍ‪ ‬ﺍﻟ‪ ‬ﻜﺴ‪ ‬ﺮ‪ ۲ / ۳ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﻟ‪ ‬ﻪ‬ ‫‪ ‬ﺭﻣﺰ‪ ‬ﺧﺎﺹ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋ‪ ‬ﻴﻦ‪ ‬ﺣ‪ ‬ﻮﺭﺱ‪ ،‬ﻭﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻜ‪ ‬ﻮّﻥ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺮﻣ‪ ‬ﺰ‪ ‬ﺗﻌﺒ‪ ‬ﺮ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻜﺴ‪ ‬ﻮﺭ‬ ‫‪ ‬ﺍﻻﻋﺘﻴﺎﺩﻳﺔ ‪ ، ۱ ‬ﻭﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﻘﺪﻳﻢ‪ ‬ﻗﺪ‪ ‬ﺃﻛﺪ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ " ‬ﺍﻟﺠﺰء‪ ، " ‬ﻭﻣﺎ‪ ‬ﻳﻜﻤﻠ‪ ‬ﻪ‪ ‬ﻟﻴﺠﻌﻠ‪ ‬ﻪ‪ " ‬ﻛ‪ ‬ﻼ‪ ، " ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻷﺳﻠﻮﺏ‪ ‬ﺍﻟﻔﻠﺴﻔﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻋﺒﺮ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻜﻢ‪ ‬ﻭﺍﻟﻜﻴ‪ ‬ﻒ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻧﻔﺴ‪ ‬ﻪ‪ ‬ﺍﻷﺳ‪ ‬ﻠﻮﺏ‪ ‬ﺍﻟﻤﻌﺘﻤ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻢ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺟﺰﺃﻳﻦ‪ ‬ﻭﻓﻘﺎ‪ ‬ﻟﻘﺎﻋـ‪ ‬ﺪﺓ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻓﻬﻮ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﻳﺒﻴﻦ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻴﻢ‪ ‬ﺍﻟﺜﻼﺛﺔ‪: ‬‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺠﺰء‪ ‬ﺍﻷﻛﺒﺮ‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺠﺰء‪ ‬ﺍﻷﺻﻐﺮ‬ ‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﻜﻠﻲ‬ ‫‪ . ۲ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ ‪: Vitruvius ‬‬ ‫‪ ‬ﻭﻫﻲ‪ ‬ﺃﻭﻝ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻣﺘﻜﺎﻣﻠﺔ‪ ‬ﺗﺤﺪﺛﺖ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻛﻌﻠﻢ‪ ‬ﻗﺎﺋﻢ‪ ‬ﺑﺬﺍﺗﻪ‪ ‬ﻭﻟﻪ‪ ‬ﻗﻮﺍﻋﺪ‪ ‬ﻭﺃﺻﻮﻝ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺑﻪ‪: ‬‬ ‫‪De Architectura Libri Decem ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﻗﺴّ‪ ‬ﻢ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﺧﺼﺎﺋﺺ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺇﻟﻰ ‪:‬‬ ‫· ‪ ‬ﺗﻨﺎﺳﻖ‪ ‬ﺍﻟﺠﺰء‪ ‬ﻣﻊ‪ ‬ﺍﻟﻜﻞ‪ ،‬ﻭﻫﻲ‪ ‬ﺍﻟﺼﻔﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﻄ‪ ‬ﻲ‪ ‬ﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﻗﻴﻤﺘﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻤﻌﻨﻮﻳ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﺎﺩﻳ‪ ‬ﺔ‪ ،‬ﻭﻟﺘﻄﺒﻴ‪ ‬ﻖ‬ ‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﺒﺪﺃ‪ ‬ﻳﻨﺒﻐﻲ‪ ‬ﺣﺴﺎﺏ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻝ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳُﺨﻀﻊ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺍﻟﻤﻘﺎﺳﺎﺕ‪ ‬ﻟﺘﻨﺎﺳﺒﺎﺕ‪ ‬ﺟﻤﻴﻠﺔ‬ ‫‪1 ‬‬

‫’‪Cauville Sylvie, ‘ EDFOU ‬‬

‫‪­ ۷ ­ ‬‬

‫· ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‪ ‬ﺍﻟﻤﻨﺎﺳﺐ‪ ‬ﻟﻜﻞ‪ ‬ﺟﺰء‪ ‬ﻣﻦ‪ ‬ﺍﻷﺟﺰﺍء‪ ،‬ﻭﻳﺘﻮﻗﻒ‪ ‬ﻋﻠﻰ‪ ‬ﻭﺿﻊ‪ ‬ﺃﺟﺰ‪ ‬ﺍء‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺗﺒﻌﺎ‪ ‬ﻟﺼ‪ ‬ﻔﺎﺕ‬ ‫ﻭﺧﻮﺍﺹ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‬ ‫· ‪ ‬ﺍﻟﺘﻮﺍﻓ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺂﻟﻒ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ،‬ﺇﺫ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺃﻥ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﺎﺋﻠ‪ ‬ﺔ‪ ‬ﻭﺍﺣ‪ ‬ﺪﺓ‪ ،‬ﻭﻳﺘﻌﻠ‪ ‬ﻖ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‬ ‫ﺑﺎﻷﺑﻌﺎﺩ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻟﻠﻌﻤﻞ‬ ‫·‬

‫ﺗﻤﺎﺛﻞ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﻤﺴﺘﻌﻤﻠﺔ‪ ‬ﻭﺳﻴﺎﺩﺗﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻛﻜﻞ‬

‫· ‪ ‬ﻣﻼءﻣﺔ‪ ‬ﺍﻟﺒﺮﻧﺎﻣﺞ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻟﻠﻈﺮﻭﻑ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ،‬ﻛ‪ ‬ﺄﻥ‪ ‬ﻳﺤﻘ‪ ‬ﻖ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻐ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻤﻄﻠ‪ ‬ﻮﺏ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻭﻳﺘﻨﺎﺳ‪ ‬ﺐ‬ ‫ﻣﻊ‪ ‬ﻃﺮﺍﺯﻩ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫· ‪ ‬ﺍﻻﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻨﺎﺳﺐ‪ ‬ﻟﻠﻮﺳﺎﺋﻞ‪ ،‬ﻭﺍﻻﺳﺘﻌﻤﺎﻝ‪ ‬ﺍﻟﺤﻜﻴﻢ‪ ‬ﻟﺮﺃﺱ‪ ‬ﺍﻟﻤﺎﻝ‪ ‬ﻭﺍﻟﻤﻮﺍﺭﺩ‪ ‬ﻭﺍﻷﻣﻜﺎﻧﻴﺎﺕ‪ ،‬ﻭﻳﺨﺺ‪ ‬ﺑ‪ ‬ﺎﻟﻄﺒﻊ‬ ‫‪ ‬ﺍﻟﻨﺎﺣﻴﺔ‪ ‬ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ‬ﻭﻃﺮﻳﻘﺔ‪ ‬ﺍﻟﺘﻤﻮﻳﻞ‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺫﻛﺮ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺎﺏ‪ " : ‬ﻭﻻ‪ ‬ﻳﺴ‪ ‬ﺘﻄﺎﻉ‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﻫﻴﻜ‪ ‬ﻞ‪ ‬ﻋﻈ‪ ‬ﻴﻢ‪ ‬ﺇﻻ‪ ‬ﺑﺎﻻﺳ‪ ‬ﺘﻌﺎﻧﺔ‪ ‬ﺑﻄ‪ ‬ﺮﻕ‪ ‬ﻭﺃﺳ‪ ‬ﺎﻟﻴﺐ‬ ‫‪ ‬ﺗﺄﺧﺬ‪ ‬ﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﺑﻌﻴﻦ‪ ‬ﺍﻻﻋﺘﺒﺎﺭ‪ ‬ﻛﻤﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﺤ‪ ‬ﺎﻝ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻟﻺﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺻ‪ ‬ﺤﻴﺢ‪ ‬ﺍﻟﺒﻨﻴ‪ ‬ﺔ‪ ،‬ﻓﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻷﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺧﻠ‪ ‬ﻖ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪: ‬‬ ‫‪ o ‬ﻣﻨﺒﺖ‪ ‬ﺷﻌﺮ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺬﻗﻦ‬

‫‪ ۱۰ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺬﻗﻦ‬

‫‪ ۸ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﻭﺍﻹﺑﻂ‬

‫‪ ۸ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﻣﻨﺒﺖ‪ ‬ﺷﻌﺮ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ‬ﻭﺃﻋﻠﻰ‪ ‬ﺍﻟ‪ ‬ﺼﺪﺭ‬

‫‪ ۷ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺭﺳﻎ‪ ‬ﺍﻟﻴﺪ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻷﺻﺒﻊ‪ ‬ﺍﻟﻮﺳﻄﻰ‬

‫‪ ۱۰ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻭﺣﻠﻤﺔ‪ ‬ﺍﻟﺜﺪﻱ‬

‫‪ ٤ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪ ٤ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﻃﺮﻓﻲ‪ ‬ﺍﻟﻴﺪﻳﻦ‪ ‬ﺍﻟﻤﻔﺮﻭﺩﺗﻴﻦ‬

‫‪ ‬ﻣﺜﻴﻞ‪ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﺃﻗﺼﻰ‪ ‬ﻋﺮﺽ‪ ‬ﻟﻸﻛﺘﺎﻑ‬

‫‪ ٤ \ ۱ ‬ﺍﻟﺠﺴﻢ‬

‫‪ o ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺬﻗﻦ‪ ‬ﻭﺍﻷ‪ ‬ﻧﻒ‬

‫‪ ۳ \ ۱ ‬ﺍﻟﻮﺟﻪ‬

‫‪ o ‬ﻣﻨﺒﺖ‪ ‬ﺷﻌﺮ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ‬ﻭﺍﻟﺤﺎﺟﺒﻴﻦ‬

‫‪ ۳ \ ۱ ‬ﺍﻟﻮﺟﻪ‬

‫‪ o ‬ﻃﻮﻝ‪ ‬ﺍﻷﺫﻥ‬

‫‪ ۳ \ ۱ ‬ﺍﻟﻮﺟﻪ‬

‫‪ ‬ﻛﻤﺎ‪ ‬ﺃﻥ‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺗﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ٤ ‬ﺃﺻﺎﺑﻊ‪ ،‬ﻭﺍﻟﻘﺪﻡ‪ ‬ﻣﻦ‪ ٤ ‬ﺭﺍﺣﺎﺕ‪ ‬ﻳﺪ‪ ،‬ﻭﺍﻟﺬﺭﺍﻉ‪ ‬ﻣﻦ‪ ٦ ‬ﺭﺍﺣ‪ ‬ﺎﺕ‪ ‬ﻳ‪ ‬ﺪ‪ ،‬ﻭﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‬ ‫‪ ٤ ‬ﺃﺫﺭﻉ‪ ،‬ﻭﺍﻟﺨﻄﻮﺓ‪ ٤ ‬ﺃﺫﺭﻉ‪" ‬‬ ‫‪1 ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺃﻟﻔﺖ‪ ‬ﻳﺤﻴﻰ‪ ‬ﺣﻤﻮﺩﺓ‪ " ،‬ﻧﻈﺮﻳﺎﺕ‪ ‬ﻭﻗﻴﻢ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ " ‬ﺹ‪۱۳۸ ­ ۱۳٤ ‬‬

‫‪­ ۸ ­ ‬‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﺍﻟﻨﺺ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺗﺮﺟﻤﻪ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫﻴﺌ‪ ‬ﺔ‪ ‬ﺍﻟﺮﺳ‪ ‬ﻢ‪ ‬ﺍﻟﻤﻘﺎﺑ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺮﺟ‪ ‬ﻊ‪ ‬ﺗﺎﺭﻳﺨ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٥۱۳ ‬ﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﻜﻞ‬ ‫‪ ‬ﺭﺟﻞ‪ ‬ﻳﻤﺪ‪ ‬ﺫﺭﺍﻋﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻭﺿﻊ‪ ‬ﺃﻓﻘﻲ‪ ‬ﻳﺤﻴﻂ‪ ‬ﺑﻪ‪ ‬ﻣﺮﺑﻊ‪ ،‬ﻭﺗﻤﺴﻪ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﺎﺭﺝ‪ ‬ﺗﺘﺨﺬ‪ ‬ﻣﻦ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﺴﺮﺓ‪ ‬ﻣﺮﻛﺰﺍ‪ ‬ﻟﻬﺎ‬

‫‪ ‬ﺷﻜﻞ‪۱۳ ‬‬

‫‪ ‬ﻭﻟﻢ‪ ‬ﻳﺬﻛﺮ‪ ‬ﺃﻳّﺎ‪ ‬ﻣﻦ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﺃﻭ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‪ ‬ﺃﻥ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﻫﻮ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﻔﺮﺝ‬

‫‪ ‬ﻳﺘﺒﻴﻦ‪ ‬ﻟﻨﺎ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﻣﻘﻴﺎﺱ‪ ‬ﺃﺳﻔﻞ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺃﻥ‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ٤ ‬ﺃﺫﺭﻋ‪ ‬ﺔ‪ ‬ﺃﻭ‪ ۲٤ ‬ﺭﺍﺣ‪ ‬ﺔ‪ ‬ﻳ‪ ‬ﺪ‬ ‫‪ ، Palm ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻧﺎﺗﺞ ‪ ، ( ٤ x ۳ x ۲ x ۱ ) ‬ﻭﻳﻘﺘﺮﺏ‪ ‬ﻭﺗﺮ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻣﻦ‪ ۳٤ ‬ﺭﺍﺣﺔ‪ ‬ﻳﺪ‪ ،‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻧﺎﺗﺞ‬ ‫‪ ، [ ( ٤ + ۳ + ۲ + ۱ ) + ( ٤ x ۳ x ۲ x ۱ ) ] ‬ﻭﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺮﻗﻤﻴﻦ‪ ‬ﻧﺠﺪ‪ ‬ﺍﻟﺮ‪ ‬ﻗﻢ‪ ۲۹ ‬ﻭﻳﻤﺜﻞ‪ ‬ﻃﻮﻝ‪ ‬ﻭﺗﺮ‬ ‫‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ، ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﺩﻭﺭﺍﻥ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﻣﺮﻛ‪ ‬ﺰﻩ‪ ‬ﺑﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﻣﻘ‪ ‬ﺪﺍﺭﻫﺎ‪ ٤٥ ‬ﺩﺭﺟ‪ ‬ﺔ‪ ‬ﺗﻠﺘﻘ‪ ‬ﻲ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺤ‪ ‬ﻴﻂ‬ ‫‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻷﻋﻠﻰ‬

‫‪1 ‬‬

‫‪en.wikipedia.org/wiki/vitruvian_man‬‬

‫‪­ ۹ ­ ‬‬

‫‪ ‬ﻭﻳﻘﺎﺭﻥ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻭﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺭﺳﻢ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‬ ‫‪ ‬ﺍﻟﺬﺭﺍﻉ‬

‫‪ ‬ﺍﻟﻘﺪﻡ‬

‫‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪ ‬ﺍﻟﺴﻨﺘﻴﻤﺘﺮ‬

‫‪ ‬ﺍﻟﺒﻮﺻﺔ‬

‫‪ ‬ﺍﻷﺻﺒﻊ‬

‫‪٤ ‬‬

‫‪٦ ‬‬

‫‪۲٤ ‬‬

‫‪۱۸۲٫۹ ‬‬

‫‪۷۲ ‬‬

‫‪۹٦ ‬‬

‫‪ ‬ﻗﻄﺮ‪ ‬ﺍﻟﻤﺮﺑﻊ‬

‫‪٥٫٦٦ ‬‬

‫‪۸٫٤۸ ‬‬

‫‪۳٤ ‬‬

‫‪۲٥۸٫٦ ‬‬

‫‪۱۰۱٫۸ ‬‬

‫‪۱۳٥٫۸ ‬‬

‫‪ ‬ﻗﻄﺮ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‬

‫‪٤٫۸۳۳ ‬‬

‫‪۷٫۲٥ ‬‬

‫‪۲۹ ‬‬

‫‪۲۲۱ ‬‬

‫‪۸۷ ‬‬

‫‪۱۱٦ ‬‬

‫‪ ‬ﻣﺤﻴﻂ‪ ‬ﺍﻟﻤﺮﺑﻊ‬

‫‪۱٦ ‬‬

‫‪۲٤ ‬‬

‫‪۹٦ ‬‬

‫‪۷۳۱٫٥ ‬‬

‫‪۲۸۸ ‬‬

‫‪۳۸٤ ‬‬

‫‪ ‬ﻣﺤﻴﻂ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‬

‫‪۱٥٫۲ ‬‬

‫‪۲۲٫۸ ‬‬

‫‪۹۱٫۱ ‬‬

‫‪٦۹٤٫۲ ‬‬

‫‪۲۷۳٫۳ ‬‬

‫‪۳٦٤٫٤ ‬‬

‫‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﻤﺮﺑﻊ‬

‫‪۱٦ ‬‬

‫‪۳٦ ‬‬

‫‪٥۷٦ ‬‬

‫‪۱۳۱٦۷٫٤ ‬‬

‫‪٥۱۸٤ ‬‬

‫‪۹۲۱٦ ‬‬

‫‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‬

‫‪۱۸٫۳٥ ‬‬

‫‪ ‬ﺃﺿﻼﻉ‪ ‬ﺍﻟ‪ ‬ﻤﺮﺑﻊ‬

‫‪۱۰٥٦۸٫۳ ٥۹٤٤٫۷ ۱٥۰۹۹٫٥ ٦٦۰٫٥۲ ٤۱٫۲۸ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸ‪ ‬ﻲ‪ ‬ﻣﺘﻮﺍﻟﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻞ‪ Pell ‬ﻟﻴﺴ‪ ‬ﻮﻍ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩ‪ ‬ﺍﻷﺻ‪ ‬ﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺔ ‪ √ 2 ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﻜ‪ ‬ﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺜﻤﻦ‬ ‫‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﻤﺜﻠﻬﺎ‪ ‬ﺍﻟﻤﺘﻮﺍﻟﻴﺔ ‪ ... ۱٦۹ ۷۰ ۲۹ ۱۲ ٥ ۲ ۱ ‬ﺇﻟﺦ ‪ ، ۱ ‬ﻭﻧﻈﺎﻣﻬﺎ‪ ‬ﻳﺘﺄﺗﻰّ‪ ‬ﺑﻤﻀ‪ ‬ﺎﻋﻔﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺭﻗ‪ ‬ﻢ‪ ‬ﻭﺟﻤ‪ ‬ﻊ‬ ‫ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ‬ﻋﻠﻴﻪ *‪ ، ‬ﻭﻣﻤﺎ‪ ‬ﻳﺆﻛﺪ‪ ‬ﺫﻟﻚ‪:‬‬

‫· ‪ ‬ﺍﻟ‪ ‬ﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻭﻣﺮﻛﺰ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪ ۲٫٥ ‬ﺭﺍﺣﺔ‪ ‬ﻳ‪ ‬ﺪ‪ ،‬ﻭﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻭﻧﻬﺎﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺃﻃ‪ ‬ﺮﺍﻑ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‪ ‬ﺍﻟﻤﺮﻓﻮﻋ‪ ‬ﺔ‪ ) ‬ﺃﻭ‪ ‬ﻣﻨﺘﺼ‪ ‬ﻒ‪ ‬ﺿ‪ ‬ﻠﻊ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﻞ‪ ۹٫٥ ( ‬ﺭﺍﺣ‪ ‬ﺔ‪ ‬ﻳ‪ ‬ﺪ‪ ،‬ﻭﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺘﻴﻦ‬ ‫‪ ‬ﻳﺴﺎﻭﻱ‪ ۱۲ ‬ﻭﻫﻮ‪ ‬ﻣﻦ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﺍﻟﻤﺘﻮﺍﻟﻴﺔ‬

‫· ‪ ‬ﻃﻮﻝ‪ ‬ﻭﺗﺮ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ۳٤ ‬ﺭﺍﺣﺔ‪ ‬ﻳﺪ‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ، ۲ x ( ٥ + ۱۲ ) ‬ﻭﻫﻮ‪ ‬ﻣﻦ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﺍﻟﻤﺘﻮﺍﻟﻴﺔ‬ ‫‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺮﺟﺢ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺎﺩ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺘﻮﺍﻟﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﻴﺎﻣ‪ ‬ﻪ‪ ‬ﺑﺘﻠﺨ‪ ‬ﻴﺺ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ‬ﺧﺼﻮﺻ‪ ‬ﺎ‪ ‬ﻭﺃﻥ‬ ‫‪۲ ‬‬

‫‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﺫﻛﺮ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﺸﻬﻴﺮ‪ ‬ﺿﺮﻭﺭﺓ‪ ‬ﺍﻻﻋﺘﻤﺎﺩ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻤﺜﻤﻦ‪ ‬ﻓﻲ‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﺍﻟﻤﺪﻥ‬

‫‪1 ‬‬

‫‪ ‬ﺍﻧﻈﺮ ‪www.aiwaz.net‬‬ ‫* ‪ ‬ﺍﻧﻈﺮ‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‬ ‫‪2 ‬‬ ‫ﺍﻟﻤﺮﺟﻊ‪ ‬ﺍﻟﺴﺎﺑﻖ‬

‫‪­ ۱۰ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤ ‬‬

‫‪ ‬ﻋﻨﺪ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺮﺑﻌﺎﺕ‪ ‬ﻧﺠﺪ‪ ‬ﺍﻟﺮﻗﻢ‪ ۸ ‬ﻣﺴﻴﻄﺮﺍ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﻭﻏﺎﻟﺒﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺗﺠﺎﻫﺎﺕ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ،‬ﻓﻨﺠ‪ ‬ﺪ‬ ‫‪ ‬ﺃﻥ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺎﻟﺘ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﺮﺓ‪ ‬ﻳﺤﺘ‪ ‬ﻞ‪ ۲۲ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻭﻳﺘ‪ ‬ﺮﻙ‪ ۲۱ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ( ۳ x ۷ ) ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﺍﻟﺠﻬﺘ‪ ‬ﻴﻦ‪ ،‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﻠﻔ‪ ‬ﺖ‬ ‫‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺳﺎﺳﻲ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺴﺎﻭﻱ‪۷ \ ۲۲ ‬‬

‫‪ ‬ﻛﺬﻟﻚ‪ ‬ﻋﻨﺪ‪ ‬ﺭﺳﻢ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﺑﻌﺎﺕ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﻭﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻧﺼ‪ ‬ﻒ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺴ‪ ‬ﺒﻘﻪ‪ ‬ﻭﻳ‪ ‬ﺪﻭﺭ‬ ‫‪ ‬ﻋﻨﻪ‪ ‬ﺑﺰﺍﻭﻳﺔ‪ ‬ﻣﻘﺪﺍﺭﻫﺎ‪ ٤٥ ‬ﺩﺭﺟﺔ‪ ‬ﻧﺠﺪ‪ ‬ﺃﺣﺪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺮﺑﻌﺎﺕ‪ ‬ﻳﺘﻄﺎﺑﻖ‪ ‬ﺿﻠﻌﻪ‪ ‬ﺍﻷﺳﻔﻞ‪ ‬ﻣﻊ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻱ‪ ‬ﺍﻷﺿ‪ ‬ﻼﻉ‪ ‬ﻟ‪ ‬ﻪ‬ ‫‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻤﺮﻛﺰ‪ ‬ﻭﺗﻘﻊ‪ ‬ﺭﺅﻭﺳﻪ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺤﻴﻂ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﺲ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺳﺎﺳﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻞ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﻜ‪ ‬ﻮّﻥ‬ ‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﺤﻜﻤﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻭﺍﻟﺪ‪ ‬ﺍﺋﺮﺓ‪ ‬ﻭﺍﻟﻤﺜﻠﺚ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﻭﻋ‪ ‬ﺪﺓ‪ ‬ﻣﻮﺍﺿ‪ ‬ﻊ‪ ‬ﺃﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺧﺮﻯ‪ ،‬ﻣﻨﻬﺎ‪ ) : ‬ﺍﻟﺴﺮﺓ‪ ،‬ﺍﻟﺮﻛﺒﺘﻴﻦ‪ ،‬ﺍﻟﻤﺮﻓﻘﻴﻦ‪ ،‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺼﺪﺭ‪ ... ،‬ﺇﻟﺦ‪( ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱٥‬‬

‫‪­ ۱۱ ­ ‬‬

‫‪ . ۳ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻓﺮﺍﻧﺴﻮ‪ ‬ﺍ‪ ‬ﺑﻠﻮﻧﺪﻝ ‪: François Blondel ‬‬ ‫‪ ‬ﻭﺗﻘ‪ ‬ﻮﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻌﺪﺩﻳ‪ ‬ﺔ‪ ‬ﻭﺇﻳﺠ‪ ‬ﺎﺩ‪ ‬ﺍﻟﺘﻨﺎﺳ‪ ‬ﺒﺎﺕ‪ ‬ﺍﻟﻤﻘﺒﻮﻟ‪ ‬ﺔ‪ ‬ﺑﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺑﺴ‪ ‬ﻴﻄﺔ‪ ،‬ﻭﻳﺸ‪ ‬ﺮﺣﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺘﺤﻠﻴ‪ ‬ﻞ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﻲ‬ ‫‪ ‬ﻟﺒﻮﺍﺑﺔ‪ ‬ﺳﺎﻥ‪ ‬ﺩﻳﻨﻴﺲ‪ Saint Denis ‬ﺍﻟﺘﻲ‪ ‬ﺻﻤﻤﻬﺎ‪ ‬ﺑﻨﻔﺴﻪ‬

‫‪ ‬ﺷﻜﻞ ‪۱٦ ‬‬

‫‪ . ٤ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻓﻴﻮﻟﻴﻪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ ‪: Viollet le Duc ‬‬ ‫‪ ‬ﻭﺗﺘﺠﻪ‪ ‬ﻧﺤﻮ‪ ‬ﺍﻷﺳﻠﻮﺏ‪ ‬ﺍﻟﺘﺨﻄﻴﻄﻲ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ، ‬ﻭﺭﻛﺰ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻨﺼﺮ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺗﺤﻠﻴﻼﺗ‪ ‬ﻪ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻋﺘﻘ‪ ‬ﺪ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﻴﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻣﺎء‪ ‬ﺭﺑﻄ‪ ‬ﻮﺍ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﻜﻮﻧﻴ‪ ‬ﺔ‪ ‬ﺑﺎﻟﻤﺜﻠ‪ ‬ﺚ‪ ‬ﺫﻱ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ ‪ ٥ : ٤ : ۳ ‬ﻭﺍﻋﺘﺒ‪ ‬ﺮﻭﻩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺜﻠﺜ‪ ‬ﺎﺕ‪،‬‬ ‫‪ ‬ﻭﺍﺳﺘﻌﻤﻠﻮﺍ‪ ‬ﻛﺬﻟﻚ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻟﺴﺎﻗﻴﻦ‪ ‬ﻣﺜﻞ‪ ‬ﻫﺮﻡ‪ ‬ﺧﻮﻓﻮ‪ ‬ﺫﻱ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ٤ ‬ﻟﻠﻘﺎﻋ‪ ‬ﺪﺓ‪ ۲٫٥ : ‬ﻟﻼﺭﺗﻔ‪ ‬ﺎﻉ‪ ، ‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺣﺎﻻﺕ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ‪: ‬‬ ‫‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﻘﺎﺋﻢ‬

‫‪٥ : ٤ : ۳ ‬‬

‫‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻟﺴﺎﻗﻴﻦ ‪ ٤ ‬ﻟﻠﻘﺎﻋﺪﺓ‪ ۲٫٥ : ‬ﻟﻼﺭﺗﻔﺎﻉ‬ ‫‪۱ ‬‬

‫‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻷﺿﻼﻉ ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻘﺴﻢ‪ ‬ﻣ‪ ‬ﺤﻴﻂ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺛﻼﺛﺔ‪ ‬ﺃﻗﺴﺎﻡ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ ‪ ، ‬ﻭﻣﺜﺎﻝ‪ ‬ﺫﻟﻚ‪ ‬ﺗﺤﻠﻴﻠﻪ‪ ‬ﻟﻘﻮﺱ‪ ‬ﺗﻴﺘﻮﺱ ‪Arc ‬‬ ‫‪ ، de Titus ‬ﻭﻛﺬﻟﻚ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺮﺃﺳﻲ‪ ‬ﻟﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﺳﺎﻥ‪ ‬ﺇﺗﻴﻦ‪Saint Etienne ‬‬

‫‪1 ‬‬

‫‪ ‬ﺃﻟﻔﺖ‪ ‬ﻳﺤﻴﻰ‪ ‬ﺣﻤﻮﺩﺓ‪ " ،‬ﻧﻈﺮﻳﺎ‪ ‬ﺕ‪ ‬ﻭﻗﻴﻢ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ " ‬ﺹ ‪۱٤٥‬‬

‫‪­ ۱۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱۷ ‬‬

‫‪ . ٥ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺃﻭﺟﺴﺖ‪ ‬ﺛ‪ ‬ﻴﺮﺵ ‪: August Thiersch ‬‬ ‫‪ ‬ﻭﻫﻲ‪ ‬ﺗﺆﻣﻦ‪ ‬ﺑﺎﻟﺘﻨﺎﻇﺮ‪ ‬ﻭ‪ ‬ﺇ‪ ‬ﺛﺒﺎﺕ‪ ‬ﺍﻟﺘﺸﺎﺑﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻟﻸﺳﻄﺢ‪ ، ‬ﻭﻳﻌﺒﺮ‪ ‬ﻋﻨﻬﺎ‪ ‬ﺭﻳﺎﺿﻴﺎ‪: ‬‬ ‫‪ ‬ﺃ‪ \ ‬ﺏ‪ = ‬ﺝ‪ \ ‬ﺩ‪ = ‬ﺱ‪ \ ‬ﺹ‪ ... = ‬ﺇﻟﺦ ‪ ، ۱ ‬ﻭﻳﻘﻮﻡ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺑﺎﻟﻤﻘﺎﺭﻧﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻧﺴﺐ‪ ‬ﻭﺯﻭﺍﻳﺎ‪ ‬ﻣﻮﺍﺿ‪ ‬ﻊ‪ ‬ﻣﺘﻘﺎﺭﺑ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‬ ‫‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺃﻭ‪ ‬ﺧﺎﺭﺟﻪ‪ ،‬ﻭﻣﻨﻄﻘﻪ‪ ‬ﻓﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻳﻨﺒﻐ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺃﻥ‪ ‬ﻳﻠﺘ‪ ‬ﺰﻡ‪ ‬ﺑﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻣﻌﻴﻨ‪ ‬ﺔ‪ ‬ﻳﻌﻤﻤﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﺎﺋﺮ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﻌﻤﻞ‪ ،‬ﻭﻻ‪ ‬ﻳﺤﺘﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﻫﺪ‪ ‬ﺭﺅﻳﺘﻬ‪ ‬ﺎ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻧﺠ‪ ‬ﺢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﺛﺒ‪ ‬ﺎﺕ‪ ‬ﻧﻈﺮﻳﺘ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺜﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺸﻬﻴﺮﺓ‪ ‬ﻓﻲ‪ ‬ﻣﺼﺮ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﻭﺍﻹﻏﺮﻳﻖ‪ ‬ﻭﺍﻟﺮﻭﻣﺎﻥ‪ ‬ﻭﺍﻟﺒﻴﺰﻧﻄﻴﻴﻦ‪ ‬ﻭﻋﻤﺎﺭﺓ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۸ ‬‬

‫‪1 ‬‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﺑﺨﻼﻑ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺃ‪ \ ‬ﺏ‪ = ‬ﺏ‪ \ ‬ﺝ‪ = ‬ﺝ‪ \ ‬ﺩ‪ ... = ‬ﺇﻟﺦ‬

‫‪­ ۱۳ ­ ‬‬

‫‪ . ٦ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻣﻮﺳﻴﻞ ‪Mossel ‬‬

‫‪ ‬ﻭﺗﻌﺘﻤﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻟﺘﺤﻠ‪ ‬ﻴﻼﺕ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﺗﺤﻠ‪ ‬ﻴﻼﺕ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺫﺍﺗﻬ‪ ‬ﺎ‪ ‬ﻛﺎﻷﻋﻤ‪ ‬ﺪﺓ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻗﺴ‪ ‬ﻢ‬ ‫‪ ‬ﻣﻮﺳ‪ ‬ﻴﻞ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻤﺘﺴ‪ ‬ﺎﻭﻳﺔ‪ ( ... ­ ۲٤ ­ ۱٦ ­ ۱۲ ­ ۱۰ ) ‬ﻟ‪ ‬ﺘﻼﺋﻢ‪ ‬ﻣﻮﺍﺿ‪ ‬ﻊ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‬ ‫‪ ‬ﺭﺋﻴﺴﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺒﻨﻰ‬

‫‪ ‬ﺷﻜﻞ‪۱۹ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۰ ‬‬

‫‪ ‬ﻟﻜﻨﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﻌﺐ‪ ‬ﺍﻟﺤﻜﻢ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺨﺘﻠﻒ‪ ‬ﻧﻈﻢ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺑﻘﺎﻋ‪ ‬ﺪﺓ‪ ‬ﻭﺍﺣ‪ ‬ﺪﺓ‪ ‬ﻻ‪ ‬ﺗﺸ‪ ‬ﺮﺡ‪ ‬ﻛﻴﻔﻴ‪ ‬ﺔ‪ ‬ﺗﻮﺻ‪ ‬ﻞ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧﺴ‪ ‬ﺒﺘﻪ‬ ‫‪ ‬ﺍﻟﻤﻌﺘﻤﺪﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻨﻔﻴﺬ‬ ‫‪ . ۷ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺩﻭﺭ‪ ‬ﺭ‪DÜrer ‬‬

‫‪ ‬ﻭ‪ ‬ﻗﺪ‪ ‬ﺣﺪﺩ‪ ‬ﻋﻼﻗﺔ‪ ‬ﻛﻞ‪ ‬ﺟﺰ‪ ‬ء‪ ‬ﺑﺎﻟﻜﻞ‪ ،‬ﺣﺘﻰ‪ ‬ﻭ‪ ‬ﺻﻞ‪ ‬ﻓﻲ‪ ‬ﺩﻗﺘﻪ‪ ‬ﺇﻟﻰ‪ ۱ / ٤۰ ‬ﻣﻦ‪ ‬ﻃﻮﻝ‪ ‬ﻗﺎﻣﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﻭﻣﻦ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺴﺐ‪: ‬‬ ‫‪۱ / ۲ ‬‬

‫‪ ‬ﻗﺎﻣﺔ‪ = ‬ﺍﻟﺠﺬﻉ‪ ) ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺑﺎﺳﺘﺜﻨﺎء‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻭﺍﻟﻴﺪﻳﻦ‪ ‬ﻭﺍﻟﺮﺟﻠﻴﻦ‪trunk ( ‬‬

‫‪۱ / ٤ ‬‬

‫‪ ‬ﻗﺎﻣﺔ‪ = ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺬﻗﻦ‪ ‬ﻭﺍﻟﺼﺮﺓ‬ ‫‪ = ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺭﺑﻠﺔ‪ ‬ﺍﻟﺴﺎﻕ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‬

‫‪۱ / ٦ ‬‬

‫‪ ‬ﻗﺎﻣﺔ‪ = ‬ﻃﻮﻝ‪ ‬ﺍﻟﻘﺪﻡ‬

‫‪­ ۱٤ ­ ‬‬

‫‪۱ / ۸ ‬‬

‫‪ ‬ﻗﺎ‪ ‬ﻣﺔ‪ = ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻗﻤﺔ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻭﺍﻟﺬﻗﻦ‬

‫‪ ۱ / ۱۰ ‬ﻗﺎﻣﺔ‪ = ‬ﻃﻮﻝ‪ ‬ﺍﻟﻮﺟﻪ‪ ‬ﻭﻋﺮﺿﻪ‪ ) ‬ﺑﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺫﻟﻚ‪ ‬ﺍﻷﺫﻧﻴﻦ‪( ‬‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﻛﻒ‪ ‬ﺍﻟﻴﺪ‬ ‫‪۱ / ۱۲ ‬‬

‫‪ ‬ﻗﺎﻣﺔ‪ = ‬ﻋﺮﺽ‪ ‬ﺍﻟﻮﺟﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺧﻂ‪ ‬ﻓﺘﺤﺎﺕ‪ ‬ﺍﻷﻧﻒ ‪narici ‬‬ ‫‪ ‬ﺳﻤﻚ‪ ‬ﺭﺑﻠﺔ‪ ‬ﺍﻟﺴﺎﻕ ‪malleolo ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۱ ‬‬

‫‪ . ۸ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺇﻳﺮﻧﺴﺖ‪ ‬ﻧﻴﻮﻓﺮﺕ ‪Ernest Neufert ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﺍ‪ ‬ﻟﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻹﻏﺮﻳﻘﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻟﺒ‪ ‬ﻮﻟﻴﻜﻠﻴﺘﺲ ‪ ، ۱ ‬ﻭﺃﺷ‪ ‬ﺎﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‬ ‫‪ Bauentwurfstlehre ‬ﺇﻟﻰ‪ ‬ﻋﺪﺩ‪ ‬ﻛﺒﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪1 ‬‬

‫‪ ‬ﻋﻠﻴﺔ‪ ‬ﻣﺤﻤﻮﺩ‪ " ،‬ﺣﺮﻛﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﻟﻠﻤﺴﻜﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ ، " ‬ﺹ ‪٥٦‬‬

‫‪­ ۱٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۲‬‬

‫‪­ ۱٦ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳ ‬‬

‫‪ ‬ﻭﺑﺎﺗﺨﺎﺫ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺭﺃﺳﻪ‪ ‬ﺗﺴﺎﻭﻱ ‪ ۸ : ۱ ‬ﻣﻦ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ‬ﻧﺴﺘﺨﻠﺺ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻘﻮﺍﻋﺪ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻃﻮﻝ‬ ‫‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪: ‬‬ ‫‪ ‬ﻭﺣﺪﺓ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺮﺃﺱ‬

‫‪ ‬ﺃﻃﻮﺍﻝ‪ ‬ﺍﻟﺠﺴﻢ‬

‫‪۰٫٥ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﻣﺴﺘﻮﻯ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻔﺎﺻﻞ‪ ‬ﺍﻷﺻﺎﺑﻊ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻬﺎﻳﺘﻬﺎ‬

‫‪۰٫۷٥ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺮﺳﻎ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻷﺻﺎﺑﻊ‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﻋﻈﻤﺔ‪ ‬ﺍﻟﻘﺺ‪ ،‬ﻭﻋﻈﻤﺔ‪ ‬ﺍﻟﺘﺮﻗﻮﺓ‬ ‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﺮﺃﺳﻲ‪ ‬ﻟﻌﻈﻢ‪ ‬ﺍﻟﻜﺘﻒ‪ ،‬ﻭﻋﻈﻢ‪ ‬ﺍﻟﺼﺪﺭ‬

‫‪۱ ‬‬

‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺣﻠﻤﺘﻲ‪ ‬ﺍﻟﺜﺪﻱ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﺟﻞ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺧﻂ‪ ‬ﺣﻠﻤﺎﺕ‪ ‬ﺍﻟﺜﺪﻱ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺴﺮﺓ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺿﻠﻌﻲ‪ ‬ﺍﻟﺤﻮﺽ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﺟﻞ‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﻘﺪﻡ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﺳﻔﻞ‪ ‬ﻋﻈﻢ‪ ‬ﺍﻟﻜﺘﻒ‪ ‬ﺇﻟﻰ‪ ‬ﺑﺮﻭﺯ‪ ‬ﻋﻈﻢ‪ ‬ﺃﺳﻔﻞ‪ ‬ﺍﻟﺮﻗﺒﺔ‬

‫‪۱٫٥ ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﺍﻟﺼﺪﺭ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﺟﻞ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻣﻔﺼﻠﻲ‪ ‬ﺍﻟﻮﺭﻙ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﺟﻞ‬

‫‪۲ ‬‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺮﻓﻖ‪ ‬ﻭﺃﻃﺮﺍﻑ‪ ‬ﺍﻷﺻﺎﺑﻊ‬ ‫‪ ‬ﻋﺮﺽ‪ ‬ﺟﺬﻉ‪ ‬ﺍﻟﻤﺮﺃﺓ‪ ‬ﺑﻤﺎ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺍﻟﻴﺪﻳﻦ‪ ‬ﻋﻨﺪ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﺼﺪﺭ‬

‫‪­ ۱۷ ­ ‬‬

‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ ‪ ‬ﻣﺎ ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻟﻜﻌﺐ ‪ ‬ﻭﺍﻟﺮﻛﺒﺔ‪ ،‬ﻭﺍﻟﺮﻛﺒﺔ ‪ ‬ﻭﻋﻈﻤﺔ‬ ‫‪ ‬ﺍﻟﺤﻮﺽ‬ ‫‪ ‬ﻋﺮﺽ‪ ‬ﺍﻷﻛﺘﺎﻑ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﺟﻞ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﺮﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‬

‫‪۳ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﺮﺓ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﺮﻛﺒﺔ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻹﺑﻂ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻃﺮﺍﻑ‪ ‬ﺍﻷﺻﺎﺑﻊ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻌﺠﺰ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‬

‫‪٤ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺻﻮّﺭ‪ ‬ﺍﻟﻤﺼﺮﻳﻮﻥ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺁﻟﻬﺘﻬﻢ‪ ‬ﺑﻨﺴﺒﺔ‪ ‬ﺍﻟﺮﺃﺱ‪ ۸ : ۱ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ،‬ﻭﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﺮﺟ‪ ‬ﺎﻝ‪ ‬ﺑﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪۲ ‬‬

‫‪ ۷ : ۱ ‬ﺇﻟﻰ‪ ۷٫٥ : ۱ ‬ﻣﻦ‪ ‬ﺍﻟﺠﺴﻢ‪ ،‬ﻭﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻨﺴﺎء‪ ‬ﺑﻨﺴﺒﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ٦٫٥ : ۱ ‬ﺇﻟﻰ‪ ۷ : ۱ ‬ﻣﻦ‪ ‬ﺍﻟﺠﺴﻢ‬

‫‪ ‬ﻭ‪ ‬ﺗﻌﺘﺒ‪ ‬ﺮ‪ ‬ﺍﻻﺧﺘﻼﻓ‪ ‬ﺎﺕ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺤﻀ‪ ‬ﺎﺭﺍﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺑﺎﻟﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟ‪ ‬ﺮﺃﺱ‪– ‬‬ ‫‪ ‬ﺍﺧﺘﻼﻓﺎﺕ‪ ‬ﻃﻔﻴﻔﺔ‪ ،‬ﻭﻫﻲ‪: ‬‬

‫‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻹﻏﺮﻳﻘﻴﺔ ‪ ) ‬ﺑﻮﻟﻴﻜﻠﻴﺘﺲ‪( ‬‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪ ۷ ۲ / ۳ = ‬ﺭ‪ ‬ﺃ‪ ‬ﺱ‬ ‫‪ ۸ ‬ﺭﺅﻭﺱ‬

‫‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ‪ ) ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪( ‬‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪= ‬‬

‫‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻹﻳﻄﺎﻟﻴﺔ ‪ ) ‬ﺃﻟﺒﺮﺗﻲ‪( ‬‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪ ۷ ۱ / ۲ = ‬ﺭ‪ ‬ﺃ‪ ‬ﺱ‬

‫‪ ‬ﻣﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ‪ ‬ﻓﻲ‪ ‬ﺗﻤﺜﺎﻝ‪ ‬ﺩﺍﻭﻭﺩ‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪= ‬‬

‫‪ ۷ ‬ﺭﺅﻭﺱ‬

‫‪ ‬ﻟﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪= ‬‬

‫‪ ۸ ‬ﺭﺅﻭﺱ‬

‫‪ ‬ﺭﻳﻤﺒﺮﺍﻧﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟ‪ ‬ﺸﻤﺎﻝ‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪= ‬‬

‫‪ ۷ ‬ﺭﺅﻭﺱ‬

‫‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻷﻟﻤﺎﻧﻴﺔ ‪ ) ‬ﺩﻭﺭﺭ‪( ‬‬

‫‪ ‬ﺍﻟﺠﺴﻢ‪ ۷ ۱ / ۲ = ‬ﺇﻟﻰ‪ ۸ ‬ﺭﺅﻭﺱ‬

‫‪1 ‬‬ ‫‪2 ‬‬

‫‪www.maths.adelaide.edu.au/people/pscott/history/ ‬‬ ‫‪www.dace.co.uk‬‬

‫‪­ ۱۸ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﺍﻧﺘﻈﺎﻡ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺨﻀﻊ‪ ‬ﻟﻬﺎ‪ ) ‬ﺍﻟﻔﻴﻠﻮﺗﺎﻛﺴﺲ‪( ‬‬ ‫‪ ‬ﻧﺒﺬﺓ‪ ‬ﻋﻦ‪ ‬ﺗﺎﺭﻳﺦ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪­ : ‬‬ ‫‪ o ‬ﺍﻟﻤﺼﺮﻳﻮﻥ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ‬ﻫﻢ‪ ‬ﻣﺼﺪﺭ‪ ‬ﺍﻟﻌﻠﻮﻡ‪ ‬ﺍﻹﻏﺮﻳﻘﻴﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﻋﺮﻓﻮﺍ‪ ‬ﺑﻤﻼﺣﻈ‪ ‬ﺎﺗﻬﻢ‪ ‬ﻟﻸﺭ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻨﻤ‪ ‬ﺎﺫﺝ‬ ‫‪ ‬ﺍﻟﻨﺒﺎﺗﻴﺔ‪ ،‬ﻭﻫﻢ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺃﺧﺬ‪ ‬ﻧﺴﺐ‪ ‬ﺗﺼﻤﻴﻤﺎﺗﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺤﻴﻄ‪ ‬ﺔ‪ ‬ﻭﺩﻭّﻥ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻠﻮﻣ‪ ‬ﻪ‪ ،‬ﻭﺗﻮﺻ‪ ‬ﻠﻮﺍ‬ ‫‪ ‬ﻛﺬﻟﻚ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺼﻔﺮ‪. ‬‬ ‫‪ o ‬ﻛﺘﺐ‪ ‬ﺛﻴﻮﻓﺮﺍﺳﺘﻮﺱ‪ ۲۸٥ – ۳۷۰ ) Theophrastus ‬ﻕ‪ . ‬ﻡ‪ ( . ‬ﺗﺤﻘﻴﻘﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﺫﻛﺮ‪ ‬ﻓﻴﻪ‪ ‬ﺃﻭﺿ‪ ‬ﺎﻉ‬ ‫‪ ‬ﺃﻭﺭﺍﻗﻪ‪ ‬ﻓﻲ‪ ‬ﻣﺘﺴﻠﺴﻼﺕ‪ ‬ﻣﻨﺘﻈﻤﺔ‪. ‬‬ ‫‪ o ‬ﻛﺘﺐ‪ ‬ﺑﻼﻳﻨﻲ‪ ( ۷۹ – ۲۳ ) Pliny ‬ﻛﺘﺎﺑﻪ‪ " ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ " ‬ﺍﻟﺬﻱ‪ ‬ﺗﻀﻤﻦ‪ ‬ﻭﺻﻔﺎ‪ ‬ﺗﻔﺼ‪ ‬ﻴﻠﻴﺎ‪ ‬ﻟﻨﻤ‪ ‬ﺎﺫﺝ‬ ‫‪ ‬ﻧﺒﺎﺗﻴﺔ‪ ،‬ﻭﺍﻋﺘﻤﺪﻫﺎ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺗﺼﻨﻴﻔﻲ‪. ‬‬ ‫‪ o ‬ﻋﺎﻡ‪ ۱۲۰۲ ‬ﺗﻮﺻﻞ‪ ‬ﻓﻴﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸﻲ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺘﺘﺎﺑﻌﺘﻪ‪ ‬ﻛﺤﻞ‪ ‬ﻟﻤﺸ‪ ‬ﻜﻠﺔ‪ ‬ﺃﻋ‪ ‬ﺪﺍﺩ‪ ‬ﺗﻨﺎﺳ‪ ‬ﻞ‪ ‬ﺍﻷﺭﺍﻧ‪ ‬ﺐ‪ ‬ﺷ‪ ‬ﻬﺮﻳﺎ‪ ،‬ﻭﺍﺭﺗﺒﻄ‪ ‬ﺖ‬ ‫‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺑﺎﻟﺼﻔﺮ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‬ ‫‪F ( k+1 ) / F ( k ) = 0 ‬‬ ‫‪ o ‬ﺳﺒﻖ‪ ‬ﻟﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸﻲ‪ ‬ﻏﻴﺮﻩ‪ ‬ﺣﻴﺚ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻣﻼﺣﻈ‪ ‬ﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺍﺳﻜﺘﺸ‪ ‬ﺎﺗﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻨﻤ‪ ‬ﻮﺫﺝ‪ ‬ﺍﻟﺘﻜ‪ ‬ﺮﺍﺭﻱ‬ ‫‪ ‬ﺍﻟﺤﻠﺰﻭﻧ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﺸ‪ ‬ﺎﺑﻬﺖ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻼﺣﻈ‪ ‬ﺎﺕ‪ ‬ﺑﻮﻧﻴ‪ ‬ﻪ‪ Bonnet ‬ﻋ‪ ‬ﺎﻡ‪ ۱۷٥٤ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‬ ‫‪ Recherches sur l'Usage des Feuilles dans les Plantes ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﺣﺘ‪ ‬ﻮﻯ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﺼ‪ ‬ﻔﺎﺕ‪ ‬ﺍﻟﺠﻴﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﺑﺎﻟﺘﺮﺍﻛﺒ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴ‪ ‬ﺔ‪ ‬ﺍﻟ‪ ‬ﻤﺘﻘﺎﺑﻠ‪ ‬ﺔ‪ parastichies ‬ﻭﺍﻋﺘﺒ‪ ‬ﺮ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺒﺎﺕ‪. ‬‬ ‫‪ o ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋ‪ ‬ﺎﻣﻲ‪ ۱۸۳۱ ‬ﻭ‪ ۱۸۳٥ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺃﻟﻜﺴ‪ ‬ﻨﺪﺭ‪ ‬ﺑ‪ ‬ﺮﺍﻭﻥ ‪ Alexander Braun ‬ﻣﻼﺣﻈﺎﺗ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﺷﺘﻤﺎﻝ‪ ‬ﺍﻟﺘﺮﺍﻛﺒﺎﺕ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺔ‪ ‬ﺍﻟﻤﺘﻘﺎﺑﻠﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﻓﻴﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﻭﺭﺍﺗﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻴﻤ‪ ‬ﻨ‪ ‬ﻰ‪ ‬ﻭﺍﻟﻴﺴ‪ ‬ﺮﻯ‪ ‬ﻣﺘﻌﺎﻗﺒ‪ ‬ﺔ‬ ‫‪ ‬ﺣﺴﺐ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‬ ‫‪ o ‬ﻋﺎﻡ‪ ۱۸۷٥ ‬ﻧﻈﺮ‪ ‬ﻭﺍﻳﺰﻧﺮ‪ Weisner ‬ﺯﺍﻭﻳﺔ‪ ‬ﺍﻻﻧﺤﺮﺍﻑ‪ ‬ﺍﻟﻤﻨﻔﺮﺟﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻻﺧﺘﻴﺎﺭ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‬ ‫‪ ) ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ( ‬ﻛﻄﺮﻳﻘﺔ‪ ‬ﻟﺘﻜﺒﻴﺮ‪ ‬ﺣﻴﺰ‪ ‬ﺍﻟﻮﺭﻗﺔ‪ ‬ﺍﻟﻤﺘﻌﺮﺿﺔ‪ ‬ﻟﻠﻀﻮء‪. ‬‬ ‫‪ o ‬ﻋ‪ ‬ﺎﻡ‪ ۱۸۷۸ ‬ﻭﺻ‪ ‬ﻒ‪ ‬ﺷ‪ ‬ﻮﻳﻨﺪﻧﺮ‪ Simon Schwendener ‬ﺍﻟﺘﻐﻴ‪ ‬ﺮﺍﺕ‪ ‬ﺍﻟﺪﻗﻴﻘ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﺑﺰﺍﻭﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻻﻧﺤﺮﺍﻑ‪ ‬ﺍﻟﻤﻨﻔﺮﺟﺔ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﻨﺒ‪ ‬ﺖ‪ ‬ﺍﻷﻭﺭﺍﻕ‪ ‬ﻭﻣﺤ‪ ‬ﻴﻂ‪ ‬ﺳ‪ ‬ﺎﻕ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ‬ﺃﺛﻨ‪ ‬ﺎء‪ ‬ﻧﻤ‪ ‬ﻮﻩ‪ ‬ﻣﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻳﻘﻮﺩﻧﺎ‪ ‬ﺃﻛﺜﺮ‪ ‬ﺇﻟﻰ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ ‪.‬‬

‫‪­ ۱۹ ­ ‬‬

‫‪ o ‬ﻛﺘﺐ‪ ‬ﺃﺩﻟﺮ‪ Adler ‬ﺃﺳﺎﺳﻴﺎﺕ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﻋﺎﻡ‪ ، ۱۹۷٤ ‬ﻭﺃﻋﺎﺩ‪ ‬ﻛﺘﺎﺑﺔ‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﻭﺻﺤﺤﻬﺎ‪ ‬ﺭﻭﺟﺮ‪ ‬ﺟ‪ ‬ﻴﻦ‬ ‫‪ Roger Jean ‬ﻋﺎﻡ ‪۱۹۸٤ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻫﻨﺎﻙ‪ ‬ﺃﺭﺑﻌﺔ‪ ‬ﺃﻧﻮﺍﻉ‪ ‬ﺃﺳﺎﺳﻴﺔ‪ ‬ﺳﻬﻠﺔ‪ ‬ﺍﻟﻤﻼﺣﻈ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﻧﺘﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧ‪ ‬ﻲ‪ ‬ﻷﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻴ‪ ‬ﺴ‪ ‬ﻴﺮ‬ ‫‪ ‬ﺗﺘﺒﻌﻪ‪ ‬ﻭﺗﺼﻨﻴﻔﻪ‪ ‬ﺗﺒﻌﺎ‪ ‬ﻟﻌﺪﺩ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺎﺕ‪ ‬ﺍﻟﻤﺮﺋﻴﺔ‪ parastichies ‬ﺍﻟﺘﻲ‪ ‬ﻳﺤﺘﻮﻳﻬﺎ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺗﺮﺟﻤ‪ ‬ﺔ‪ ‬ﺃﻧﻈﻤﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﻋﻼﻗﺎﺕ‪ ‬ﺭﻳﺎﺿﻴﺔ‪ ‬ﺑﺴﻴﻄﺔ‪. ‬‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻷﻧﻮﺍﻉ‪ ‬ﺍﻷﺭﺑ‪ ‬ﻌﺔ‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻧﻈﻤﺔ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺔ‪ ‬ﺍﻟﻤﺄﻟﻮﻓﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺟ‪ ‬ﻪ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻮﻡ‪ ،‬ﻭﺗﻮﺟ‪ ‬ﺪ‪ ‬ﺍﻟﻨﻤ‪ ‬ﺎﺫﺝ‪ ‬ﺍﻷﺧ‪ ‬ﺮﻯ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‬ ‫‪ ‬ﻧﺎﺩﺭ‪ ‬ﻗﻠﻤﺎ‪ ‬ﻳﺬﻛﺮﻫﺎ‪ ‬ﻋﻠﻤﺎء‪ ‬ﺍﻟﻨﺒﺎﺕ‪. ‬‬

‫‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﻤﺰﺩﻭﺝ‪­ : ‬‬ ‫‪ ‬ﺣﻴﺚ‪ ‬ﺗﻨﻤﻮ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻷﺟﺰﺍء‪ ‬ﺍﻷﺧﺮﻯ‪ ‬ﻭﺍﺣﺪﺓ‪ ‬ﺗﻠﻮ‪ ‬ﺍﻷﺧﺮﻯ‪ ‬ﻋﻠﻰ‪ ‬ﺯﺍﻭﻳﺔ‪ ۱۸۰ ‬ﺩﺭﺟﺔ‪ ‬ﻣﻦ‪ ‬ﺳﺎﺑﻘﺘﻬﺎ‬

‫‪ ‬ﺷﻜﻞ‪۲٤ ‬‬

‫‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺪﻭﺍﺭ‪­ : ‬‬ ‫‪ ‬ﺣﻴﺚ‪ ‬ﻳﻨﻤﻮ‪ ‬ﻋﻨﺼﺮﺍﻥ‪ ‬ﺃﻭ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻣﻦ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻤﻨﺒﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟ‪ ‬ﺴﺎﻕ‪ ‬ﺳﻮﻳﺎ‪ ) ‬ﺛﻼﺛﺔ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻜﻞ‪ ، ( ‬ﻭﺗﺨ‪ ‬ﺮﺝ‬ ‫‪ ‬ﻛﻞ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺑﻌﻜﺲ‪ ‬ﺳﺎﺑﻘﺘﻬﺎ‪ ،‬ﻭﻳ‪ ‬ﺴﺘﻤﺮ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﻌﺎﻗﺐ‬

‫‪ ‬ﺷﻜﻞ‪۲٥ ‬‬ ‫‪1 ‬‬

‫‪www.math.smith.edu/~phyllo/‬‬

‫‪­ ۲۰ ­ ‬‬

‫‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪­ : ‬‬ ‫‪ ‬ﻭﻫـﻮ‪ ‬ﺍﻟﻨﻤﻮﺫﺝ‪ ‬ﺍﻷﻛﺜﺮ‪ ‬ﺷﻴﻮﻋـﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﻨﻤ‪ ‬ﻮ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻨﺒﺎﺗﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪﺓ‪ ‬ﺗﻠ‪ ‬ﻮ‪ ‬ﺍﻷﺧ‪ ‬ﺮﻯ‪ ‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺗﺴﻤﻰ‪ " ‬ﺯﺍﻭﻳﺔ‪ ‬ﺍﻻﻧﺤﺮﺍﻑ‪ ‬ﺍﻟﻤﻨﻔﺮﺟﺔ‪ divergence angle " ‬ﻋﻦ‪ ‬ﻣﺎ‪ ‬ﻗﺒﻠﻬﺎ‪ ،‬ﻭﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻗﺮﻳﺒ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‬ ‫‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺑﺰﺍﻭﻳﺔ‪ ‬ﻣﻘﺪﺍﺭﻫﺎ‪ ، [ ( F ­۲ ) x ۳٦۰ ] ۱۳۷٫٥۱ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﻳﻤﻜﻨﻨﺎ‪ ‬ﺗﺴﻤﻴﺔ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻧﺘﻈﺎﻡ‬ ‫‪ ‬ﻓﻴﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸﻲ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٦ ‬‬

‫‪ ‬ﻭﻳﺘﻢ‪ ‬ﺗﺤﺪﻳﺪ‪ ‬ﻧﻮﻉ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪ ‬ﺑﻤﻌﺮﻓﺔ‪ ‬ﻋﺪﺩ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺎﺕ‪ ،‬ﻭﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻣﻨﻘﺴ‪ ‬ﻤﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﺋﻠﺘﻴﻦ‪ ‬ﻣﻜ‪ ‬ﻮﻧﺘﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺯﻭﺝ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ،‬ﻓﻬﻲ‪ ‬ﻻ‪ ‬ﺗﻘﺒﻞ‪ ‬ﺍﻟﻘﺴﻤﺔ‪ ‬ﺇﻻ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﺍﻟﺼﺤﻴﺢ‪ ‬ﻛﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺒ‪ ‬ﻴﻦ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‪ ‬ﺗﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻋ‪ ‬ﺪﺍﺩ ‪، ۲ ‬‬ ‫‪ ۳ ‬ﻭﻫﻤﺎ‪ ‬ﻋﺪﺩﺍﻥ‪ ‬ﻣﺘﺘﺎﻟﻴﺎﻥ‪ ‬ﻣﻦ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓﻴﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸﻲ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۷ ‬‬

‫‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ : ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪­ : ‬‬ ‫‪ ‬ﻭﻓﻴﻪ‪ ‬ﺗﻨﻤﻮ‪ ‬ﺍﺛﻨﺎﻥ‪ ‬ﺃﻭ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﻨﺒﺎﺗﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻤﻨﺒ‪ ‬ﺖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺴ‪ ‬ﺎﻕ‪ ) ‬ﻭﺭﻗﺘ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ، ( ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﺪﻭﺭﺓ‪ ‬ﺍﻟﻮﺍﺣﺪﺓ‪ ‬ﺗﻨﺘﺸﺮ‪ ‬ﺣـﻮﻝ‪ ‬ﺍﻟﻤﺮﻛﺰ‪ ‬ﻭﺗﺪﻭﺭ‪ ‬ﻟﺘﻮﻟـ‪ ‬ﺪ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪ ‬ﻟﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻧﺤ‪ ‬ﺮﺍﻑ‪ ‬ﺛﺎﺑﺘ‪ ‬ﺔ‪ ،‬ﻭﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‬ ‫‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻻﻧﺘﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺐ‪ ‬ﺍﻟﺤﻠﺰﻭﻧ‪ ‬ﻲ‪ ‬ﻣﺘﺸ‪ ‬ﺎﺑﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻟﻨﻤ‪ ‬ﺎﺫﺝ‪ ،‬ﻭﻧﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺭﺻ‪ ‬ﺪﻩ‪ ‬ﺑ‪ ‬ﺤﺼ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﺪ‪ ‬ﺩ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﺍﺕ‬ ‫‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻛﻼ‪ ‬ﺍﻻﺗﺠﺎﻫﻴﻦ ‪.‬‬

‫‪­ ۲۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۸ ‬‬

‫‪ ‬ﻭﻫﻲ‪ ‬ﺗﻘﺒﻞ‪ ‬ﺍﻟﻘﺴﻤﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻋﺪﺍﺩ‪ ‬ﺑﺨﻼﻑ‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺢ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺒ‪ ‬ﻴﻦ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‪ ‬ﺗﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻋ‪ ‬ﺪﺍﺩ ‪، ۱۰ ‬‬ ‫‪ ۱٦ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻘﺒﻞ‪ ‬ﺍﻟﻘﺴﻤﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌـﺪﺩ‪ ۲ ‬ﻓﺘﻌﻄﻲ‪ ‬ﺃﻋﺪﺍﺩ‪ ۸ ، ٥ ‬ﺃﻳﻀﺎ‪ ‬ﻋﺪﺩﺍﻥ‪ ‬ﻣﺘﺘﺎﻟﻴﺎﻥ‪ ‬ﻣﻦ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓﻴﺒﻮﻧﺎﺗﺸﻲ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۹ ‬‬

‫‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪­ : ‬‬ ‫‪ ‬ﻫﻲ‪ ‬ﺯﺍﻭﻳﺔ‪ ‬ﺗﻈﻬﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻭﺭﻗﺔ‪ ‬ﺃﻭ‪ ‬ﻋﻨﺼﺮ‪ ‬ﻧﺒﺎﺗﻲ‪ ‬ﻭﺁﺧﺮ‪ ،‬ﻭﻫﻲ‪ ‬ﻭﺛﻴﻘﺔ‪ ‬ﺍﻟﺼﻠﺔ‪ ‬ﺑﺎﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺪﺭ‬ ‫‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺟﻴﻦ‪ R. Jean ‬ﻋﺎﻡ‪ ۱۹۹٤ ‬ﺃﻧﻪ‪ ‬ﻣﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ٦٥۰ ‬ﻓﺼ‪ ‬ﻴﻠﺔ‪ ‬ﻧﺒﺎﺗﻴ‪ ‬ﺔ‪ ،‬ﻭ‪ ۱۲٥۰۰ ‬ﻋﻴﻨ‪ ‬ﺔ‪ ‬ﺗﻈﻬ‪ ‬ﺮ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﻨﺴﺒﺔ‪ % ۹۲ ‬ﻣﻨﻬﺎ‪ ‬ﺟﻤﻴﻌﺎ‪ ،‬ﻭﻫﺬﻩ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺗﻘﺪﺭ‪ ‬ﺑـ‪ ۱۳۷٫٥۱ ‬ﺩﺭﺟ‪ ‬ﺔ‪ ­ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻟﻤﺤ‪ ‬ﻴﻂ‬ ‫‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪. ‬‬ ‫‪ ‬ﺷﻜﻞ‪۳۰ ‬‬

‫‪ ‬ﻭﻳﺘﻢ‪ ‬ﺣﺴﺎﺑﻬﺎ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪: ‬‬ ‫‪(1– 0.618034 ) x 360 ‬‬

‫‪ ‬ﻭﻳﺒﻴﻦ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺍﻟﻌﺪّ‪ ‬ﻣﻦ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻞ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻟﺨﺎﺭﺝ‪ ،‬ﻭﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻭﺁﺧﺮ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺫﻫﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﺗﻜﺘﻤ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ‬ﻓﻴﺼ‪ ‬ﺒﺢ‪ ‬ﺃﻗ‪ ‬ﺮﺏ‪ ‬ﺭﻗ‪ ‬ﻢ‪ ‬ﻟﻨﻘﻄ‪ ‬ﺔ‪ ‬ﺍﻟﺒﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﺍﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺗ‪ ‬ﺠ‪ ‬ﺎﻩ‪ ۲۱ ) ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪، ( ‬‬ ‫‪ ‬ﻭﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻠﻴﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ﺮﺏ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‪ ‬ﺍﻟﺒﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﺍﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻻﺗﺠ‪ ‬ﺎﻩ‪ ‬ﺍﻵﺧ‪ ‬ﺮ‪ ۳٤ ) ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ، ( ‬ﻭﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗﺖ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻣﻨﻬﻤﺎ‪ ‬ﺃﺳﺎﺱ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺎﺕ‪ ‬ﺍﻟﺤﺴﺎﺑﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﺗﺠﺎﻫﻪ‪ ‬ﺣﺘﻰ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻷﺭﻗﺎﻡ ‪.‬‬

‫‪­ ۲۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۳۱ ‬‬

‫‪ ‬ﻭﻫﻨﺎﻙ‪ ‬ﺃﻣﺜﻠﺔ‪ ‬ﻛﺜﻴﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺗﺸ‪ ‬ﻴﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﻜ‪ ‬ﺮﺍﺭ‪ ‬ﻇ‪ ‬ﺎﻫﺮﺓ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺘ‪ ‬ﺎﺑﻊ‪ ‬ﺍﻷﻭﺭﺍﻕ‪ ‬ﻭﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻨﺒﺎﺗﻴ‪ ‬ﺔ‬ ‫ﻣﻦ‪ ‬ﺍﻟﺰﻫﻮﺭ‪ ‬ﻭﺍﻟﺜﻤﺎﺭ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪­ ۲۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۳۲ ‬‬

‫ﻭﻧﺴﺘﻄﻴﻊ‪ ‬ﺍﻟﻘﻮﻝ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ F‬ﻫﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻋﺎﻟﻤﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧﺎﺭﺗﺸ‪ ‬ﻲ‪ ‬ﺃﻭ‪ ‬ﻏﻴﺮﻫ‪ ‬ﺎ‪ ‬ﻷﻥ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺗﻮﺟ‪ ‬ﺪ‬ ‫‪ ‬ﺩﻭﻣﺎ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺃﻱ‪ ‬ﺭﻗﻤﻴﻦ‪ ‬ﻣﺘﺘﺎ‪ ‬ﻟﻴﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ) ‬ﺃﻛﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﻔﺮ‪( ‬‬

‫‪ ‬ﺷﻜﻞ ‪۳۳‬‬

‫‪­ ۲٤ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﻣﻘﺪﻣﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻬ‪ ‬ﻨﺪﺳﺔ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪: ‬‬ ‫‪ ‬ﻟﻮ‪ ‬ﺭﺟﻌﻨﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺣﻮﺍﺱ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻭﺗﻨﺎﻭﻟﻨﺎ‪ ‬ﺣﺎﺳﺘﻲ‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﻣﺤ‪ ‬ﺮﻙ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﻭﺍﻟﻠﻤ‪ ‬ﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻘﺎﺭﻧ‪ ‬ﺔ‬ ‫‪ ‬ﺳﺮﻳﻌﺔ‪ ‬ﻟﻮﺟﺪﻧﺎ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ o ‬ﺗﺴﺘﻄﻴﻊ‪ ‬ﺍ‪ ‬ﻟﻴﺪ‪ ‬ﺑﻤﻔﺮﺩﻫﺎ‪ ‬ﺇﺩﺭﺍﻙ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﻣﻦ‪ ‬ﺣﻮﻟﻬﺎ‪ ‬ﻓﻲ‪ ‬ﻏﺮﻓﺔ‪ ‬ﻣﻈﻠﻤﺔ‪ ‬ﺑﻴﻨﻤ‪ ‬ﺎ‪ ‬ﻻ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﺇﺩﺭﺍﻛ‪ ‬ﻪ‪ ‬ﻟﻜﻨﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺗﻘﺪّﺭﻩ‬ ‫‪ o ‬ﺇﺩﺭﺍﻙ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺛﻼﺛﻲ‪ ‬ﺍﻷﺑﻌﺎﺩ‪ ‬ﺃﻛﺜﺮ‪ ‬ﺑﻜﺜﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺗﻘﺪﻳﺮ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻭﻭﺟﻬﺔ‪ ‬ﻧﻈﺮﻫﺎ‬ ‫‪ o ‬ﺗﺪﺭﻙ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺍﻟﻤﻨﻄﻘﺔ‪ ‬ﺍﻟﻘﺮﻳﺒﺔ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺑﻴﻨﻤﺎ‪ ‬ﺗﻘﺪﺭ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺍﻟﻤﻨﻄﻘﺘﻴﻦ‪ ‬ﺍﻟﻘﺮﻳﺒﺔ‪ ‬ﻭﺍﻟﺒﻌﻴﺪﺓ‬ ‫‪ o ‬ﺗﻄﻠﻖ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺻﻔﺔ‪ ‬ﺍﻟﺜﻘﻞ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺠﻔﺎ‪ ‬ﻑ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺒﺮﻭﺩﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺷﻴﺎء‪ ،‬ﻭﻫﻲ‪ ‬ﺻﻔﺎﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺃﻥ‪ ‬ﺗﻨﺨ‪ ‬ﺪﻉ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻣﻦ‪ ‬ﻭﺟﻮﺩﻫﺎ‪ ‬ﺃﻭ‪ ‬ﻋﺪﻣﻪ‬ ‫‪ ‬ﻧﺨﻠﺺ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻳﺘﻄﻠ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﻫﺪﺓ‪ ‬ﻣﺠﻬ‪ ‬ﻮﺩﺍ‪ ‬ﺃﻛﺒ‪ ‬ﺮ‪ ‬ﺑﻜﺜﻴ‪ ‬ﺮ‪ ‬ﻟﻠﻤﻼﺣﻈ‪ ‬ﺔ‪ ،‬ﻓﻤ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻨ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﺎﻟﻌﻴﻦ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻗ‪ ‬ﺪّﺭﺕ‬ ‫‪ ‬ﻭﺿﻊ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻭﺗﺨﻴﻠﺖ‪ ‬ﻧﻘﺎﻁ‪ ‬ﺯﻭﺍﻟﻪ‪ ‬ﻭﺃﺑﻌﺎﺩﻩ‪ ‬ﻭﺗﺮﺟﻤﺖ‪ ‬ﺣﺎﻟﺘﻪ‪ ‬ﻭﻣﻠﻤﺴﻪ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻓﺮﺍﻍ‪ ‬ﻳﺄ‪ ‬ﺧﺬ‪ ‬ﻗﻴﻤﺘ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﻭﻻ‪ ‬ﻭﺟﻮﺩ‪ ‬ﻟﻪ‪ ‬ﻣﻦ‪ ‬ﻏﻴﺮﻫﺎ‪. ‬‬ ‫‪ ‬ﺇﺫﻥ‪ ‬ﻻ‪ ‬ﺑﺪ‪ ‬ﻣﻦ‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻘﺎﺩﺭﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺇﺗﻤﺎﻡ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‪. ‬‬

‫‪ " ‬ﺍﺳﻊ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﻞ‪ ‬ﻣﻌﺮﻓ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻮﺟ‪ ‬ﻮﺩﺍﺕ‪ ‬ﺍﻟﺨﺎﻟ‪ ‬ﺪﺓ‪ ،‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻮﺟ‪ ‬ﻮﺩ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻟﺤﻈﺔ‪ ‬ﺛﻢ‪ ‬ﻳﻔﻨﻰ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺍﻟﻤﻘﺎﺑﻠﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺣﻘﻴﻘﺔ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻤﺤﺴﻮﺑﺔ‪ ‬ﻭﺣﺠﺎﺏ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻨﺴﺒﻲ‪ ‬ﻃﺎﻟﻤﺎ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻣﻮﺿﻊ‪ ‬ﻧﻘ‪ ‬ﺎﺵ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﻟﺤﻘ‪ ‬ﺐ‬ ‫‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻭﻗﺪ‪ ‬ﺯﺍﺩﺕ‪ ‬ﺣﺪﺓ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻨﻘﺎﺵ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻣﻦ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ،‬ﺻ‪ ‬ﺤﻴﺢ‪ ‬ﺃﻥ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻷﻭﻝ‬ ‫‪ ‬ﺑﺪﺃ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻛﺘﺴﺎﺏ‪ ‬ﻃﺮﻕ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‪ ‬ﺍﻟﻌﻠﻤﻲ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺤﻘ‪ ‬ﺐ‪ ‬ﺍﻟﺰﻣﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻭﺟ‪ ‬ﺪ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺤﺴ‪ ‬ﻮﺏ‪ ‬ﻣﺜ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻟﻤ‪ ‬ﺼﺮﻱ‪ ‬ﺍﻟﻘﺪﻳﻢ‪ ‬ﻭﺍﻟﻴﻮﻧﺎﻧﻲ‪ ‬ﻭﺍﻟﺒﺎﺑﻠﻲ‪ ‬ﻫﻲ‪ ‬ﻗﻤﺔ‪ ‬ﺍﻟﺘﻄﻮﺭ‪ ‬ﺍﻟﺘﺪﺭﻳﺠﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺳﺒﻘﻬﺎ‪ ،‬ﺣﻴﺚ‪ ‬ﺳ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺟﻨﺒ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺟﻨ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ ‪ – ‬ﻭﺇﻥ‪ ‬ﻛﺎﻧﺖ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻘﺎﺋﺪ‪ ‬ﻭﺍﻟﺪﻟﻴﻞ‪ – ‬ﻭﺗﻜﺎﺗﻔﺖ‪ ‬ﻛﻞ‪ ‬ﺍﻟﺠﻬﻮﺩ‪ ‬ﻣﻦ‪ ‬ﺃﺟﻞ‪ ‬ﺧﺪﻣﺔ‪ ‬ﻗﻀﻴﺔ‪ ‬ﻭﺍﺣ‪ ‬ﺪﺓ‪ ‬ﻭﻫ‪ ‬ﺪﻑ‬ ‫‪ ‬ﺟﻤﺎﻋﻲ‪ ‬ﻭﺍﺣﺪ‪ ،‬ﻭﻫﻲ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻛﺘﺴﺐ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻣﺎ‪ ‬ﺗﻼﻫﺎ‪ ‬ﻣﻦ‪ ‬ﻓﻦ‪ ‬ﻭﻫﻨﺪﺳﺔ‪ ‬ﺃﻓﻀﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻗﺪﻣﺘ‪ ‬ﻪ‪ ‬ﻟﻠﺒﺸ‪ ‬ﺮﻳﺔ‪ ،‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻭﺻ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺣﻘﺒﺔ‪ ‬ﺍﻟﺘﻄﻮﺭ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻠﺘﻬﺎ‪ ‬ﺯﻣﻨﻴﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﻭﻫﻲ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺿﺎﻑ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻜﺜﻴ‪ ‬ﺮ‪ – ‬ﻭﻟﻠﺘ‪ ‬ﺎﺭﻳﺦ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪– ‬‬ ‫‪ ‬ﻭﺍﺳﺘﻜﻤﻞ‪ ‬ﺍﻟﻄﺮﻳﻖ‪ ‬ﻣﻦ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﻫﺒﻮﻁ‪ ‬ﻣﻨﺤﻨ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻄ‪ ‬ﻮﺭ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻴﺎ‪ ‬ﻭﺣ‪ ‬ﺪﻭﺙ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﻧﻘﺴ‪ ‬ﺎﻣﺎﺕ‪ ‬ﺍﻟﻔﻜﺮﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﺛﺮﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻫﺪﺍﻑ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻤﺠﺎﻻﺕ‪ ‬ﻭﻣﻨﻬﺎ‪ ‬ﺍ‪ ‬ﻟﻔﻦ‪ ‬ﻭﺻﻠﻨﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ‬ﺣﻴﺚ‪ ‬ﺗﻮﻗﻔ‪ ‬ﺖ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺇﻋﻄ‪ ‬ﺎء‬ ‫‪1 ‬‬

‫‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ،‬ﺍﻟﺠﻤﻬﻮﺭﻳﺔ ‪٥۲۷‬‬

‫‪­ ۲٥ ­ ‬‬

‫‪ ‬ﻣﻔﻬﻮﻡ‪ ‬ﺍﻟﺤﻘﻴﻘﺔ‪ ،‬ﻭﺍﺗﺨﺬﺕ‪ ‬ﺷﻜﻼ‪ ‬ﻣﻦ‪ ‬ﺃﺷﻜﺎﻝ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻻ‪ ‬ﻳﺤﻤﻞ‪ ‬ﺗﻨﺎﻗﻀﺎﺗﻪ‪ ‬ﺑﻞ‪ ‬ﻳﺮﺗﻘﻲ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺴﺘﻮﻯ‪ ‬ﺃﻋﻠ‪ ‬ﻰ‪ ،‬ﻭﺍﻟﻴ‪ ‬ﻮﻡ‪ ‬ﻭﺻ‪ ‬ﻠﺖ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺮﺩﺓ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺇﻟﻘ‪ ‬ﺎء‪ ‬ﺍﻟﻀ‪ ‬ﻮء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻔﻬ‪ ‬ﻮﻡ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ‬ﺍﻟﺤﻘﻴﻘ‪ ‬ﻲ‪ ،‬ﻭﺍﻗﺘﺮﺑ‪ ‬ﺖ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﻮﻧﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﻴﺔ‪ ،‬ﻋ‪ ‬ﻠ‪ ‬ﻰ‪ ‬ﺧ‪ ‬ﻼﻑ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ‬ﺍﻟﻔﻌﻠ‪ ‬ﻲ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﻓ‪ ‬ﺎﻋﺘﺒﺮﺕ‪ ‬ﺫﺍﺗﻴ‪ ‬ﺔ‪ ‬ﻭﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻮﺿﻮﻋﻴﺔ‪. ‬‬

‫‪ ‬ﻛﻠﻤﺔ‪ ‬ﻫﻨﺪﺳﺔ‪ ‬ﻃﺒﻘﺎ‪ ‬ﻟﻌﻠﻢ‪ ‬ﺃﺻﻮﻝ‪ ‬ﺃﻟﻔﺎﻅ‪ ‬ﺍﻟﻜﻠﻤﺎﺕ ‪ etymology ‬ﻫﻲ‪ ‬ﻛﻠﻤﺔ‪ ‬ﻳﻮﻧﺎﻧﻴﺔ‪ ‬ﺗﺸ‪ ‬ﻴﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﻗﻴﺎﺳ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻣﺘﺮﻳﺔ‪ ‬ﻋﺸﺮﻳﺔ‪ ‬ﺗﺨﺘﺺ‪ ‬ﺑﻤﻮﺍﺿ‪ ‬ﻊ‪ ‬ﺍﻷﺷ‪ ‬ﻴﺎء‪ ،‬ﻭﺳ‪ ‬ﻤﻴﺖ‪ ‬ﺑﻬ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺳ‪ ‬ﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻤﺘﺨﺼﺼ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﺘﻨﺎﻓ‪ ‬ﺴ‪ ‬ﻴﻦ‪ ‬ﻭﻗﺘﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻭﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﺃﺿ‪ ‬ﻔﻮﺍ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻄ‪ ‬ﺎﺑﻊ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻃﻔﻲ‪ ‬ﺍﻟﺘﻘﻠﻴ‪ ‬ﺪﻱ‪ ،‬ﻭﻻ‪ ‬ﺗﺨ‪ ‬ﺮﺝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﻴ‪ ‬ﺰ‪ ‬ﻛﻮﻧﻬ‪ ‬ﺎ‪ ‬ﻧ‪ ‬ﻮﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ ‪ ، ۱ ‬ﻭ‪ ‬ﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻷﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﻭﺍﻟﺰﻭﺍﻳ‪ ‬ﺎ‪ ‬ﻭﺍﻟﻤﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﻭﺍﻟﻤﻘ‪ ‬ﺎﺩﻳﺮ‪ ‬ﻭﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﻟ‪ ‬ﻢ‬ ‫‪ ‬ﻳﺴﺘﻄﻴﻌﻮﺍ‪ ‬ﺃﻥ‪ ‬ﻳﻐﺎﺩﺭﻭﺍ‪ ‬ﻣﻨﻄﻘﺔ‪ ‬ﺍﻟﺤﺴﺎﺑﺎﺕ‪ ‬ﺍﻟﻌﻘﻼﻧﻴﺔ‪ ‬ﺧﻼﻝ‪ ‬ﻣﺮﺍﺣﻞ‪ ‬ﺗﻄﻮﺭﻫﻢ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﻱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ۷ ‬ﻗ‪ ‬ﺮﻭﻥ‪،‬‬ ‫‪ ‬ﻓﻘﺪ‪ ‬ﻇﻞ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪ ‬ﻫﻮ‪ ‬ﺃﻗﺼﺮ‪ ‬ﻣﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻘﻄﺘ‪ ‬ﻴﻦ‪ ،‬ﺃﻱ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳ‪ ‬ﻨﺠﺢ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﺛﺒ‪ ‬ﺎﺕ‪ ‬ﻓﻜ‪ ‬ﺮﺓ‪ ‬ﺍﻟﻼﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺭﺑﻄﻬﺎ‪ ‬ﺑﻤﻐﺰﻯ‪ ‬ﺃﻭ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻣﺎﺩﺍﻣﺖ‪ ‬ﺍﻟﻼﻧﻬﺎﻳﺔ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻠﻤﻮﺳﺔ‪ ‬ﺑﺎﻟﻴﺪ‪ ‬ﻭﺑﻌﻴﺪﺓ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻘﻴﺎﺱ‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺮﻓﺔ‪ ‬ﺑﺎﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﻭﺻﻠﺘﻨﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺍﻟﻤﺨﻄﻮﻃ‪ ‬ﺎ‪ ‬ﺕ‪ ‬ﺍﻟﻴﺪﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﻨﺎﻗﻠ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺍﻟﺘﻐﻴﻴ‪ ‬ﺮ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﻳﺎﺩﻱ‪ ‬ﺍﻟﻨﺴّﺎﺥ‪ ،‬ﻭﺟﺎءﺕ‪ ‬ﻣﺘﺄﺧﺮﺓ‪ ‬ﺟﺪﺍ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﺍﻟﻤﻴﻼﺩﻱ‪. ‬‬

‫‪ ‬ﻟﻢ‪ ‬ﻳﻤﺘﻠﻚ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﻃﺮﻕ‪ ‬ﺃﻭ‪ ‬ﺭﻣﻮﺯ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﺠﺒﺮ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺳﺲ‪ ‬ﻻﺣﻘﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻳﺎ‪ ‬ﺩﻱ‪ ‬ﻋﻠﻤﺎء‪ ‬ﻣﺴﻠﻤﻴﻦ‪ ،‬ﻟ‪ ‬ﺬﻟﻚ‪ ‬ﻛ‪ ‬ﺎﻧﻮﺍ‬ ‫‪ ‬ﻳﻠﺠ‪ ‬ﺆ‪ ‬ﻭﻥ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻕ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻟﺤ‪ ‬ﻞ‪ ‬ﻣﻌ‪ ‬ﺎﺩﻻﺗﻬﻢ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻬ‪ ‬ﻢ‪ ‬ﻛ‪ ‬ﺎﻧ‪ ‬ﻮﺍ‪ ‬ﻳﺤﻮﻟﻮﻧﻬ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﻭﻣﺴ‪ ‬ﺎﺣﺎﺕ‬ ‫‪ ‬ﻭﺃﺣﺠﺎﻡ‪ ،‬ﻭﺑﻔﺮﺽ‪ ‬ﺃﻋﻠﻰ‪ ‬ﻗﻴﻤﺔ‪ ‬ﻟﻬﺬﻩ‪ ‬ﺍﻟﻤﺘﻐﻴ‪ ‬ﺮﺍﺕ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﺎﻧﻮﺍ‪ ‬ﻳﺤﺼ‪ ‬ﻠﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺤ‪ ‬ﻞ‪ ،‬ﻭﺇﺫﺍ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﺣﺔ‬ ‫‪ ‬ﺃﻭ‪ ‬ﺍﻟﺤﺠﻢ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻘﺎﺑﻞ‪ ‬ﻟﻠﻘﻴﺎﺱ‪ ‬ﻓﺈﻧﻪ‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﻄﻘﻲ‪. ‬‬

‫‪ ‬ﻻ‪ ‬ﺗﻜﻤﻦ‪ ‬ﻋﻈﻤﺔ‪ ‬ﺍﻹﺳ‪ ‬ﻬﺎﻡ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺤﻀ‪ ‬ﺎﺭﻳﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻨﻬﻢ‪ ‬ﺃﻭ‪ ‬ﺃﻓﻜ‪ ‬ﺎﺭﻫﻢ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻗﺘ‪ ‬ﺮﺍﺏ‪ ‬ﺗﻄ‪ ‬ﻮﺭ‪ ‬ﻓﺮﺿ‪ ‬ﻴﺎﺗﻬﻢ‬ ‫‪ ‬ﺍﻟﻮﺍﺿﺤﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻨﻄﻖ‪ ‬ﺍﻻﺳﺘﻨﺘﺎﺟﻲ‪ ‬ﺍﻟﻤﺤﺴﻮﻡ‪ ‬ﺍﻟﻤﺮﺍﻓﻖ‪ ‬ﻟﻄﺮﻳﻘﺘﻬﻢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻔﻜﻴ‪ ‬ﺮ‪ ،‬ﻓﻤ‪ ‬ﻊ‪ ‬ﺇﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺗﺼ‪ ‬ﻮﺭ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺘﻬﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﻧﻬﺎ‪ ‬ﺗﻬﺬﻳﺐ‪ ‬ﺗﺠﺮﻳﺪﻱ‪ ‬ﺇﻻ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺗﺤﻤﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﻬﺎﻳﺔ‪ ‬ﻧﻘﺎﻁ‪ ‬ﺿﻌﻒ‪ ‬ﺗﻌﻜﺲ‪ ‬ﺑﻌﻀﺎ‪ ‬ﻣﻦ‪ ‬ﻣﺸﻜﻼﺗﻬﻢ‪ ‬ﻓﻲ‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﺍﻟﻔﻬ‪ ‬ﻢ‪ ‬ﺍﻟﻜﺎﻣ‪ ‬ﻞ‬

‫‪۲ ‬‬

‫‪ ، ‬ﻭﺑﺎﻟﻘﻴﺎﺱ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺒﺴﺎﻃﺔ‪ ‬ﻭﺍﻟﻮﺿﻮﺡ‪ ‬ﺍﻟﺒﺪﻳﻬﻲ‪ ‬ﻓﻲ‪ ‬ﻫﻨﺪﺳﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﻳﺼ‪ ‬ﻌﺐ‪ ‬ﻋﻠﻴﻨ‪ ‬ﺎ‪ ‬ﺗﺼ‪ ‬ﻮﺭ‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﺍﻛﺘﺸ‪ ‬ﺎﻓﻬﻢ‪ ‬ﻟﻜﺜﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﺩﺉ‪ ‬ﺍﻟﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪ ،‬ﻭﺃﻏﻠ‪ ‬ﺐ‪ ‬ﺍﻟﻈ‪ ‬ﻦ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﻃﺎﻟﻤ‪ ‬ﺎ‪ ‬ﺃﺣﺒ‪ ‬ﻮﺍ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﺱ‪ ،‬ﻭﺃﻗ‪ ‬ﺎﻣﻮﺍ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻭﺣﺪﺍﺗ‪ ‬ﻪ‪،‬‬ ‫‪ ‬ﻭﺧﺎﺻﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺨﺎﺭﻳﻂ‪ ‬ﻛﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺪﺓ‪ ،‬ﻭﻟﻢ‪ ‬ﻳﺮﻭﺍ‪ ‬ﺣﺘﻰ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﻤﺸﺘﺮﻛﺔ‪ ‬ﺑﻴﻨﻬﺎ‬ ‫‪1 ‬‬

‫‪Ivins, Jr.William M., ' Art & Geometry ' p. 39 ‬‬ ‫‪Ibid, p. 53 2 ‬‬ ‫‪3 ‬‬ ‫‪Ibid, p. 91‬‬

‫‪­ ۲٦ ­ ‬‬

‫‪۳ ‬‬

‫‪ ‬ﻭﺭﻏ‪ ‬ﻢ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺘﻄ‪ ‬ﻮﺭ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻭﺻ‪ ‬ﻞ‪ ‬ﺇﻟﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻴﻮﻥ‪ ‬ﻣ‪ ‬ﺬ‪ ‬ﻫﻼ‪ ‬ﺑ‪ ‬ﺎﻟﻨﻈﺮ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻌﺎﻧ‪ ‬ﺎﺗﻬﻢ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺭﻣ‪ ‬ﻮﺯﻫﻢ‬ ‫‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﺍﻟﺼﻌﺒﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻟﺪﻳﻬﻢ‪ ‬ﻣﻌ‪ ‬ﺎﺩﻻﺕ‪ ‬ﻣﻨﻄﻘﻴ‪ ‬ﺔ‪ ‬ﻟ‪ ‬ﺒﻌﺾ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺩﻳﺴ‪ ‬ﺎﺭﺟﻮﺱ ﻭﺑﺎﺳ‪ ‬ﻜﺎﻝ *‪ ‬ﺍﻟﻼﺣﻘ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻟﻜﻨﻬﻢ‪ ‬ﻟﻢ‪ ‬ﻳﺘﺮﻛﻮﺍ‪ ‬ﺑﺼﻤﺎﺕ‪ ‬ﻭﺍﺿﺤﺔ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻻﻓﺘﻘﺎﺭﻫﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ،‬ﻭﻟﻠﺼ‪ ‬ﻴﻐﺔ‪ ‬ﺍﻟﻌﺎﻣ‪ ‬ﺔ‪ ‬ﻟﻠﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺁﻧ‪ ‬ﺬﺍﻙ‪،‬‬ ‫‪ ‬ﻣﻤﺎ‪ ‬ﻳﺪﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻻﺧﺘﻼﻑ‪ ‬ﺍﻟﺸﺎﺳﻊ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻨ‪ ‬ﻈﺮﻳﺔ‪ ‬ﻭﻣﻜﺎﻓﺌﺎﺗﻬﺎ‪ ‬ﺍﻟﻤﻨﻄﻘﻴﺔ‬

‫‪ ‬ﺑﺎﻟﻄﺒﻊ‪ ‬ﺗﺰﺍﻣﻦ‪ ‬ﺗﻄﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻭﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻋﻤﻮﻣﺎ‪ ‬ﻭﺧﺎﺻﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ،‬ﻭﻣﻨﺬ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻹﻳﻄ‪ ‬ﺎﻟﻲ‬ ‫‪ ‬ﺍﺯﺩﺍﺩﺕ‪ ‬ﺣﺎﺟﺔ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﺇﻟﻰ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ،‬ﻭﻗﺪ‪ ‬ﻭﺟﺪ‪ ‬ﻣﻦ‪ ‬ﺑﻴﻨﻬﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻳ‪ ‬ﺘﻘﻦ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻢ‪ ،‬ﻭﺃﺑ‪ ‬ﺮﺯ‪ ‬ﻫ‪ ‬ﺆﻻء‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻟﺒﺮﺗ‪ ‬ﻲ‪* ‬‬ ‫‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻭﻗ‪ ‬ﻊ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻝ ‪ Della Pittura ‬ﻋ‪ ‬ﺎﻡ‪ ۱٤۳٥ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨﺘﺼ‪ ‬ﻒ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺗﻘﺮﻳﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻭﻓ‪ ‬ﺎﺓ‪ ‬ﻣﺎﺳﺎﺷ‪ ‬ﻴﻮ‬ ‫‪ Masaccio ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱٤۲۷ ‬ﻭﻭﻓ‪ ‬ﺎﺓ ‪ Van Eyck ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱٤٤۰ ‬ﻭﻫﻤ‪ ‬ﺎ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﺒّ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻻﺣﺴ‪ ‬ﺎﺱ‪ ‬ﺑﺎﻟﻜﺘﻠ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﺸﺨﺼﻴﺔ‪ ‬ﻭﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻟﺘﻌﺒﻴﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﻓﺮﺍﻍ‪ ‬ﺛﻼﺛﻲ‪ ‬ﺍﻷﺑﻌﺎﺩ‪ ،‬ﻭﺍﻋﺘﺒﺮﺍ‪ ‬ﻣﻊ‪ ‬ﺩﻭﻧﺎﺗﻴﻠﻠﻮ ‪ Donatello ‬ﺍﻟﺜﻮﺭﻳﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﺃﻛ‪ ‬ﺪﻭﺍ‬ ‫‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺻ‪ ‬ﻼﺑﺔ‪ ‬ﻭﻣﻤﻴ‪ ‬ﺰﺍﺕ‪ ‬ﺷﺨﺼ‪ ‬ﻴ‪ ‬ﺎﺗﻬﻢ‪ ،‬ﻭﻭﺿ‪ ‬ﻌﻬﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﻋﺎﻃﻔﻴ‪ ‬ﺔ‪ ‬ﻣﺘﻘﺎﺭﺑ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﻢ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﺮﺍﻍ‬ ‫‪ ‬ﺛﻼﺛ‪ ‬ﻲ‪ ‬ﺍﻷﺑﻌ‪ ‬ﺎﺩ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋﻬ‪ ‬ﺪ‪ ‬ﺑﻴﻠﻴ‪ ‬ﺮﻳﻦ‪ * ‬ﻧﺠ‪ ‬ﺪ‪ ‬ﺭﺍﻓﺎﻳ‪ ‬ﻞ ‪ Raphael ‬ﺻ‪ ‬ﺎﺣﺐ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﺗﻜﻮﻳﻨ‪ ‬ﺎﺕ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻖ‬ ‫‪ ‬ﺍﻟﻔﺮﺍﻏﻲ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻣﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ‪ ‬ﺃﻋﻈﻢ‪ ‬ﻣﻦ‪ ‬ﺍﺑﺘﻜﺮ‪ ‬ﺍﻟﻜﺘﻞ‪ ‬ﺍﻟﺤﺠﻤﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﻋﻨﺪﻣﺎ‪ ‬ﻇﻬﺮ‪ ‬ﻓﻴﺠﻨﻮﻻ‪ * ‬ﻓ‪ ‬ﻲ‪ ‬ﺭﻭﻣ‪ ‬ﺎ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺛﻼﺛﻴﻨﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺴﺎﺩﺱ‪ ‬ﻋﺸﺮ‪ ‬ﻛﺎﻥ‪ ‬ﺗﻴﺘﻴﺎﻥ ‪ Titian ‬ﻓﻲ‪ ‬ﻗﻤﺔ‪ ‬ﻣﺠﺪﻩ‪. ‬‬

‫‪ ‬ﻋﺎﺻ‪ ‬ﺮ‪ ‬ﺩﻳﺴ‪ ‬ﺎﺭﺟﻮﺱ‪ ‬ﻭﺑﺎﺳ‪ ‬ﻜﺎﻝ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻓﻴﻼﺳ‪ ‬ﻜﺎﺯ‪ Velasques ‬ﻭﺭﻳﻤﺒﺮﺍﻧ‪ ‬ﺖ ‪ Rembrandt ‬ﺍﻟﻠ‪ ‬ﺬﻳﻦ‪ ‬ﺗﻤﻜﻨ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺇﺣﻜﺎﻡ‪ ‬ﺍﻟﺴﻴﻄﺮﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﻭﻣﺎ‪ ‬ﻳﺤﻮﻳﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺷ‪ ‬ﺨﺎﺹ‪ ‬ﻭﺃﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺫﻱ‪ ‬ﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﻣﺘﺒﺎﺩﻟ‪ ‬ﺔ‪ ،‬ﻭﻳ‪ ‬ﺄﺗﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑﻌ‪ ‬ﺪﻫﻢ‪ ‬ﻓﻴﺮﻣﻴ‪ ‬ﺮ‬ ‫‪ ، Vermeer ‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺗﻴﺮﻧ‪ ‬ﺮ ‪ Terner ‬ﻭﻛﻮﻧﺴ‪ ‬ﺘﺎﺑﻞ ‪ Constable ‬ﺍﻟﻠ‪ ‬ﺬﻳﻦ‪ ‬ﺍﺳﺘﻜﺸ‪ ‬ﻔﺎ‪ ‬ﺃﻋﻤ‪ ‬ﺎﻕ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺒﻴﺌ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﺭﺟﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﺴ‪ ‬ﺒﻮﻕ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻇﻬ‪ ‬ﺮﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻬ‪ ‬ﺪ‪ ‬ﺑﻮﻧﺴ‪ ‬ﻴﻠﻴﺖ ‪ Poncelet ‬ﻭﻓﻮﻧﺴ‪ ‬ﺘﺎﺩﺕ ‪ Von Staudt ‬ﺍﻟﻠ‪ ‬ﺬﻳﻦ‪ ‬ﺗﺮﻛ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﺎﻟﻎ‬ ‫‪ ‬ﺍﻷﺛﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻤﻨﻈﻮﺭﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺼﻒ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪. ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺼﻒ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺘﺎﺳ‪ ‬ﻊ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ، ‬ﻭﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺗﺨﻠ‪ ‬ﺺ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺘﻐﻠﻮﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻓﻜ‪ ‬ﺎﺭﻫﻢ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪– ‬‬ ‫‪ ‬ﻇﻬ‪ ‬ﺮﺕ‪ ‬ﺍﻟﻤﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺄﺛﻴﺮﻳ‪ ‬ﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻻﻧﻄﺒﺎﻋﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻛﺎﻓﺤ‪ ‬ﺖ‪ ‬ﻟﺘﺤﻮﻳ‪ ‬ﻞ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﻤ‪ ‬ﺮﻳﻦ‪ ‬ﺑﺼ‪ ‬ﺮﻱ‪ ‬ﻧﻘ‪ ‬ﻲ‪ ‬ﺑﻌﻴ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻟﻤﺘﺒﻌﺔ‪ ،‬ﻓﺒﻴﻨﻤﺎ‪ ‬ﺗﻌﺎﻣﻞ‪ ‬ﻣﻮﻧﻴﻪ ‪ Monet ‬ﻭﺁﺧﺮﻭﻥ‪ ‬ﻣﻊ‪ ‬ﻣﻔﺮﺩﺍﺕ‪ ‬ﺍﻟﻀﻮء‪ ‬ﻭﺍﻟﻠﻮﻥ‪ ‬ﻟﺘﺤﻘﻴﻖ‪ ‬ﺫﻟﻚ‪ ،‬ﺁﺛﺮ‪ ‬ﺩﻳﺠ‪ ‬ﺎ‬ ‫‪ Degas ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﻭﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻣﺒﺎﻋ‪ ‬ﺪﺍ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﻨﻈ‪ ‬ﻮﺭﻩ‪ ‬ﻭﺻ‪ ‬ﻴﻐﺘﻪ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺍﻟﺼ‪ ‬ﺎﺭﻣﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻗﺎﻣ‪ ‬ﺖ‬ ‫‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻷﻛﺎﺩﻳﻤﻴﺔ‪ ‬ﻭﺗﻘﺎﻟﻴﺪ‪ ‬ﺍﻟﺘﺼﺤﻴﺢ‪ ‬ﺍﻟﻤﺠﺮﺩ‪ ‬ﻟﻠﻨﺴﺐ‪ ‬ﻭﺍﻟﻤﻨﻈﻮﺭ‪.‬‬

‫*‬

‫ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬

‫‪­ ۲۷ ­ ‬‬

‫‪ ‬ﻟﻢ‪ ‬ﻳﺘﺮﻙ‪ ‬ﺍﻟﻔﻨﺎﻧﻮﻥ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻋﻬﺪ‪ ‬ﻣﺎ‪ ‬ﺑﻌﺪ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻣﺸﺎﺭﻑ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮﻳﻦ‪ ‬ﺑﺼ‪ ‬ﻤﺎﺕ‪ ‬ﻭﺍﺿ‪ ‬ﺤﺔ‪ ‬ﻛﺎﻟ‪ ‬ﺬﻳﻦ‬ ‫‪ ‬ﺳﺒﻘﻮﻫﻢ‪ ،‬ﺭﺑﻤﺎ‪ ‬ﻷ‪ ‬ﻥ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻧﺎﺿ‪ ‬ﻠﻮﺍ‪ ‬ﺑﺸ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﻞ‪ ‬ﺗﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻣﺆﻛ‪ ‬ﺪ‪ – ‬ﻋﻘﺎﺋ‪ ‬ﺪﻱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣ‪ ‬ﻮﺍﻝ‪ ‬ﻛﺜﻴ‪ ‬ﺮﺓ‪ – ‬ﻳﺴ‪ ‬ﻌﻰ‬ ‫‪ ‬ﻹﻇﻬﺎﺭ‪ ‬ﻣﻌ‪ ‬ﺎﻥ‪ ‬ﺗﻌﻜ‪ ‬ﺲ‪ ‬ﺣ‪ ‬ﻮﺍﺱ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﻭﺍﻟﻴ‪ ‬ﺪ‪ ‬ﻣﻌ‪ ‬ﺎ‪ ،‬ﺃﻭ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻹﺩﺭﺍﻙ‪ ‬ﻣﺠﺘﻤﻌ‪ ‬ﻴﻦ‪ ،‬ﺧﺮﺟ‪ ‬ﻮﺍ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻔﺮﺿﻴﺎﺕ‪ ‬ﺍﻟﻌﺪﻳﺪﺓ‪ ‬ﺍﻟﻤﺘﻨﺎﻗﻀﺔ‪ ،‬ﻓﺄﺗﻰ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻮﺟﻮﺩ‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻧ‪ ‬ﺎﺭ‪ ‬ﻣﺸ‪ ‬ﻌﻞ‪ ‬ﺍﻟﻮﺿ‪ ‬ﻮﺡ‪ ‬ﻭﺍﻟﻘ‪ ‬ﻮﺓ‪ ‬ﻭﺍﻟﻘﻴﻤ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺆﻛ‪ ‬ﺪﺓ‪ ‬ﻟﻤ‪ ‬ﻦ‪ ‬ﺣﻮﻟ‪ ‬ﻪ‬ ‫‪ ‬ﻭﻟﻤﻦ‪ ‬ﺗﻼﻩ‪. ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻭﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﺳﻠﻚ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻣﺴ‪ ‬ﻠﻜﺎ‪ ‬ﺁﺧ‪ ‬ﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺍﻟﺘﻄ‪ ‬ﻮﻳﺮ‪،‬‬ ‫‪ ‬ﻓﻬﻲ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺑﺪﺃ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﻀﻮﺋﻲ‪ ‬ﻳﺨﻄﻮ‪ ‬ﺧﻄﻮﺍﺗﻪ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺧﺎﺭﺝ‪ ‬ﺍﻟﻤﻌﺎﻣﻞ‪ ‬ﻗﺎﺻ‪ ‬ﺪﺍ‪ ‬ﺍﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﺍﻟﻌﻤﻠﻴ‪ ‬ﺔ‪ ،‬ﻣﻨﺘﺠ‪ ‬ﺎ‬ ‫‪ ‬ﺻﻮﺭﺍ‪ ‬ﺗﺘﻌﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺁﻟﻲ‪ ‬ﻣﺤﺴﻮ‪ ‬ﺏ‪ ‬ﻣﺴ‪ ‬ﺒﻘﺎ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﻋﺪﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻜ‪ ‬ﺎﻣﻴﺮﺍﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ،‬ﻭﻧﻤ‪ ‬ﺖ‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺮﻓﺔ‪ ‬ﺣﺘﻰ‪ ‬ﺃﺿﺤﺖ‪ ‬ﻋﻠﻤﺎ‪ ‬ﺟﺪﻳﺪﺍ‪ ،‬ﻭﻭﺛﻘﺖ‪ ‬ﺍﻟﺼﻠﺔ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﻄﺒﻮﻋ‪ ‬ﺎﺕ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱ ۱۸٤۷ ‬ﻭﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮﻳﻦ‪ ‬ﺍﺣﺘ‪ ‬ﻞ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﻀ‪ ‬ﻮﺋﻲ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﺃﻛﺒ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻒ‪ ‬ﻭﺍﻟﻤﺠ‪ ‬ﻼﺕ‪ ‬ﺍﻟﻤﺘﺪﺍﻭﻟ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩ‬ ‫‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﺣﺘﻰ‪ ‬ﺃﺻﺒﺤﻨﺎ‪ ‬ﻣ‪ ‬ﻌﻮﺩﻳﻦ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻟﺪﺭﺟ‪ ‬ﺔ‪ ‬ﺍﻧﺰﻋﺎﺟﻨ‪ ‬ﺎ‪ ‬ﺍﻟﻮﺍﺿ‪ ‬ﺢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺭﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺤﻤﻞ‪ ‬ﺍﻧﺤﺮﺍﻓﺎ‪ ‬ﺑﺴﻴﻄﺎ‪ ،‬ﻭﻧﻌﺘﺒﺮﻩ‪ ‬ﺧﻄﺄ‪ ‬ﻓﺎﺩﺣﺎ‪. ‬‬

‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻻﻗﺘﻨﺎﻉ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻤﺒﺎﺷﺮ‪ ‬ﺑﺎﻟﻤﻨﻈﻮﺭ‪ ‬ﻫﻮ‪ ‬ﻣﺎ‪ ‬ﺳﺒﺒﻪ‪ ‬ﺍﻧﺘﺸﺎﺭ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﻀ‪ ‬ﻮﺋﻲ‪ ،‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺃﻭﺻ‪ ‬ﻞ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺱ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻻﻋﺘﻘﺎﺩ‪ ‬ﺍﻟﺮﺍﺳﺦ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻀ‪ ‬ﻮﺋﻲ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻋﻤﻮﻣ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍ‪ ‬ﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺤﻘﻴﻘ‪ ‬ﻲ‪ ‬ﺍﻟﻨﻬ‪ ‬ﺎﺋﻲ‪ ،‬ﻣﺜﻠﻤ‪ ‬ﺎ‪ ‬ﺍﻋﺘﻘ‪ ‬ﺪﻭﺍ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻋﻬﺪ‪ ‬ﺇﻗﻠﻴﺪﺱ‪ ‬ﺑﺄﻥ‪ ‬ﻫﻨﺪﺳﺘﻪ‪ ‬ﻫﻲ‪ ‬ﺍﻟﺤﻘﻴﻘﺔ‪ ‬ﺫﺍﺗﻬ‪ ‬ﺎ ‪ ، ۲ ‬ﻭﻳﺨﺘﻠ‪ ‬ﻒ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﻭﺍﻟﺒﺼ‪ ‬ﺮﻳﺎﺕ‪ ‬ﺍﻷﺣﺎﺩﻳ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺜﻴﻼﺗﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺤﻘﻴﻘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﻔﻌﻠﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻭﻇﺎﺋﻒ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺍﻟﺒﺸﺮﻳﺔ‪ ،‬ﺣﻴﺚ‪ ‬ﺗﺴﺘﺨﺪﻡ‪ ‬ﺍﻟﻜﺎﻣﻴﺮﺍﺕ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻷﺣﺎﺩﻱ‪ ‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻓﻬ‪ ‬ﻲ‪ ‬ﺗﺤﻤ‪ ‬ﻞ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺘﺤﺮﻳ‪ ‬ﻒ‪ ،‬ﻭﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘﺤﺮﻳ‪ ‬ﻒ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺃﺻ‪ ‬ﺒﺢ‪ ‬ﻋ‪ ‬ﺎﺩﺓ‪ ‬ﻟ‪ ‬ﺪﻳﻨﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻻ‪ ‬ﻳﻼﺣﻈ‪ ‬ﻪ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ،‬ﻭﺍﻟﺼ‪ ‬ﺤﻴﺢ‪ ‬ﻃﺒﻘ‪ ‬ﺎ‪ ‬ﻟﻌﻠ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻷﻧﻴﺴﻴﻜﻮﻧﻴﺎ ‪ Anisiconia ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻻ‪ ‬ﺗﺘﻄ‪ ‬ﺎﺑﻖ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﻠﺘ‪ ‬ﺎ‪ ‬ﻋﻴﻨ‪ ‬ﻲ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺇﻻ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﺎﻻﺕ‪ ‬ﻧ‪ ‬ﺎﺩﺭﺓ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺭﺓ‬ ‫‪ ‬ﺫﺍﺕ‪ ‬ﺣﺠﻢ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻓﻴﻬﻤﺎ‪ ،‬ﻓﻤﺎ‪ ‬ﺑﺎﻟﻨﺎ‪ ‬ﺑﺎﻟﻌﺪﺳﺎﺕ‪ ‬ﺍﻟﺼﻨﺎﻋﻴﺔ‪. ‬‬

‫‪ ‬ﻧﺨﻠﺺ‪ ‬ﻣﻤﺎ‪ ‬ﺳﺒﻖ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﺗﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺷﻬﺮ‪ ‬ﻣﻌﺎ‪ ‬ﻟﻢ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻋﺼﺮ‪ ‬ﻟﺘﺮﺑﻄﻪ‪ ‬ﺑﻜﻞ‪ ‬ﻣﺎ‪ ‬ﻫﻮ‪ ‬ﻋﻘﻼﻧﻲ‪ ‬ﻭﺭﺍﺳ‪ ‬ﺦ‪،‬‬ ‫‪ ‬ﻭﺗﺒﻨﻲ‪ ‬ﻋﻠﻴﻪ ‪ – ‬ﻭﻋﻠ‪ ‬ﻰ‪ ‬ﺑﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻨﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻌﻠﻤﻴ‪ ‬ﺔ‪ – ‬ﻣﻔﺎﻫﻴﻤﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺸﺨﺼ‪ ‬ﻴﺔ‪ ‬ﻭﺍﻟﺤﻴﺎﺗﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺨﺘﻠ‪ ‬ﻒ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺎﻻﺕ‪ ‬ﻭﻣﻨﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺑﺎﻟﻄﺒﻊ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺩﻭﻣ‪ ‬ﺎ‪ ‬ﺃﻗ‪ ‬ﺮﺏ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ،‬ﻓﻜﻤ‪ ‬ﺎ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻳﻢ‬ ‫‪ ‬ﺃﺳﺎﺳﺎ‪ ‬ﻟﻜﻞ‪ ‬ﺍ‪ ‬ﻟﻔﻨﻮﻥ‪ ،‬ﻭﺑﻨﻴﺖ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﻭﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻓﻲ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﻭﻣـﺎ‪ ‬ﺗﻼﻫ‪ ‬ﺎ؛‪ ‬ﺗﻈ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ـﻲ‪ ‬ﺍﻟﺮﺍﺋ‪ ‬ﺪﺓ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﻼﺣﻘﺔ‪ ،‬ﺣﻴﺚ‪ ‬ﺗﺘﺄﺛﺮ‪ ‬ﺑﺘﻌﺪﻳﻼ‪ ‬ﺗﻬﺎ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺷﺌﻮﻥ‪ ‬ﺍﻟﺤﻴﺎﺓ‪. ‬‬ ‫‪Ibid, p. 107 1 ‬‬ ‫‪2 ‬‬ ‫‪Ibid, p. 108‬‬

‫‪­ ۲۸ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ : ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺗﻤﺜﻠﻪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺭﺟﺔ‪ ‬ﺍ‪ ‬ﻟﺜﺎﻧﻴﺔ‬ ‫‪x² ­ x ­ 1 = 0 ‬‬ ‫‪1/x = x ­ 1 ‬‬ ‫‪ ‬ﻭﺍﻟﻤﺘﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺭﻗ‪ ‬ﻢ‪ ‬ﻋ‪ ‬ﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﺍﻟ‪ ‬ﺮﻗﻤﻴﻦ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﻴﻦ‪ ‬ﻟ‪ ‬ﻪ‪ ،‬ﻭﺗﺴ‪ ‬ﻤﻰ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺔ‬ ‫‪ ‬ﻓﻴﺒﻮﻧﺎﺭﺗﺸﻲ‬ ‫‪1 1 2 3 5 8 13 21 34 55 … etc ‬‬ ‫‪ ‬ﻭﻳﻜﻮﻥ‪ ‬ﻣﺘﻮﺳﻂ‪ ‬ﻣﻌﺎﻣﻠﻬﺎ‪ ‬ﻫﻮ‪: ‬‬

‫‪1.618034 ‬‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‬

‫‪½ ( √ 5 + 1 ) ‬‬

‫‪ ‬ﻭﻟﻮ‪ ‬ﺣﺎﻭﻟﻨﺎ ﻋﻤﻞ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺭﻗ‪ ‬ﻢ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻟﺤﺼ‪ ‬ﻠﻨﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪: ‬‬ ‫‪1 1 1 3 5 9 17 31 57 105 … etc ‬‬ ‫‪ ‬ﻣﺘﻮﺳﻂ‪ ‬ﻣﻌﺎﻣﻞ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﻫﻮ‪: ‬‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﺣﻞ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‬

‫‪1.839286755 ‬‬

‫‪۱ ‬‬

‫‪x³ ­ x² ­ x ­ 1 = 0 ‬‬

‫‪ ‬ﻭ‪ ‬ﺇﺫﺍ‪ ‬ﻛﺎﻥ‪ ‬ﺍﻟﺘ‪ ‬ﻤﺜﻴﻞ‪ ‬ﻟﻠﻤﻌﺎﺩﻟﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺑﺎﻟﺸﻜﻞ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‬ ‫‪ ‬ﺣﻴﺚ‬

‫‪( a + b ) : b = b : a ‬‬

‫‪ ‬ﺷﻜﻞ‪۳٤ ‬‬

‫‪1 ‬‬

‫‪www. kees . cc / gldsec . html ‬‬

‫‪­ ۲۹ ­ ‬‬

‫‪ ‬ﻳﻜﻮﻥ‪ ‬ﺍﻟﺘﻤﺜﻴﻞ‪ ‬ﻟﻠﻤﻌﺎﺩﻟﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺠﺴﻢ‪ ‬ﻟﻜﻮﻧﻬﺎ‪ ‬ﻣﻌﺎﺩﻟﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺭﺟﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‬ ‫‪ ‬ﺣﻴﺚ‬

‫‪( a + b + c ) : c = c : b = b : a ‬‬

‫‪ ‬ﺷﻜﻞ‪۳٥ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۳٦‬‬

‫‪­ ۳۰ ­ ‬‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‪ ‬ﻓﺘﻤﺜﻠﻪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺭﺟﺔ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻴﺔ‬ ‫‪x² ­ 2x ­ 1 = 0 ‬‬ ‫‪x ­ 1/x = 2 ‬‬

‫‪ ‬ﻭﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﻔﻀﻴﺔ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ‬ﻣﻀﺎﻓﺎ‪ ‬ﺇﻟﻴﻪ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺴﺒﻘﻪ‪ ، ‬ﻭﻫﻲ‪ ‬ﻓﻲ‬ ‫‪ ‬ﻋﺪﺓ‪ ‬ﻣﺠﻤﻮﻋﺎﺕ‪ ‬ﺃﻫﻤﻬﺎ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺑﻞ‪ Pell ‬ﺍﻷﻭﻟﻰ‪: ‬‬ ‫‪169 408 … etc ‬‬

‫‪1 2 5 12 29 70 ‬‬

‫‪ ‬ﻭﺍﻟﺜﺎﻧﻴﺔ‬

‫‪1 3 7 17 41 99 239 577 … etc ‬‬

‫‪ ‬ﻭﺍﻟﺜﺎﻟﺜﺔ‬

‫‪1 4 9 22 53 128 309 746 … etc ‬‬

‫‪ ‬ﻭﺍﻟﺮﺍﺑﻌﺔ‬

‫‪1 5 11 27 65 157 379 915 … etc ‬‬ ‫‪… ‬‬

‫‪ ‬ﻭﻳﻜﻮﻥ‪ ‬ﻣﺘﻮﺳﻂ‪ ‬ﻣﻌﺎﻣﻠﻬﺎ‪ ‬ﻫﻮ‪: ‬‬

‫‪2.414214 ‬‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‬

‫‪√ 2 + 1 ‬‬

‫‪ ‬ﺷﻜﻞ‪۳۷ ‬‬

‫‪ ‬ﻭﻫﻨﺎﻙ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻷﻧﻈﻤﺔ‪ ‬ﺍﻷﺧﺮﻯ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻤﻌﺎﻣﻼﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻣﺜﻞ‪: ‬‬ ‫‪½ ( √ 5 + 1 ) ‬‬

‫‪ ) 1.618034 ‬ﺫﻫﺒﻲ‪( ‬‬

‫‪√ 5 + 2 ‬‬

‫‪4.236068 ‬‬

‫‪√ 2 + 1 ‬‬

‫‪ ) 2.414214 ‬ﻓﻀﻲ‪( ‬‬

‫‪½ ( √ 29 + 5 ) ‬‬

‫‪5.192582 ‬‬

‫‪½ ( √ 13 + 3 ) ‬‬

‫‪3.302776‬‬

‫‪­ ۳۱ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﺳ‪ ‬ﺘﻌﺮﺍﺽ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﻧﻤ‪ ‬ﺎﺫﺝ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺭﺗﺒﻄ‪ ‬ﺖ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻭﺍﻟﺬﻫﺒﻴﺔ‪: ‬‬ ‫‪ ‬ﺃﻭﻻ‪ : ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪­ : ‬‬ ‫‪ ‬ﺃﻫﺮﺍ‪ ‬ﻣﺎﺕ‪ ‬ﺍﻟﺠﻴﺰﺓ ‪ ۲۷۰۰ ) Giza Pyramids ‬ﻕ‪ . ‬ﻡ‪( . ‬‬

‫‪ ‬ﺷﻜﻞ‪۳۸ ‬‬

‫‪ ‬ﻳﻌﺘﺒ‪ ‬ﺮ‪ ‬ﻫ‪ ‬ﺮﻡ‪ ‬ﺧﻮﻓ‪ ‬ﻮ‪ ‬ﺃﻛﺒ‪ ‬ﺮ‪ ‬ﺻ‪ ‬ﺮﺡ‪ ‬ﺛﺎﺑ‪ ‬ﺖ‪ ‬ﻭﺃﻋﻈ‪ ‬ﻢ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻴﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺦ‪ ، ‬ﻭﻫ‪ ‬ـﻮ‪ ‬ﺍﻟﻮﺣﻴ‪ ‬ﺪ‪ ‬ﺍﻟﺒ‪ ‬ﺎﻗﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻋﺠﺎﺋﺐ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﻘﺪﻳﻢ‪ ‬ﺍﻟﺴﺒﻌﺔ‪ ، ‬ﻭﺗﺼ‪ ‬ﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻻﻋﺘﻘﺎﺩﺍﺕ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻬﺪﻑ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑﻨﺎﺋ‪ ‬ﻪ‪ ) ‬ﺑﺠﺎﻧ‪ ‬ﺐ‪ ‬ﻛﻮﻧ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﺪﻓﻨﺎ‪ ‬ﻟﻠﻔﺮﻋ‪ ‬ﻮﻥ‬ ‫‪ ( ‬ﻫﻮ‪ ‬ﺟﻌﻠﻪ‪ ‬ﺃﺩﺍﺓ‪ ‬ﻟﻌﻠﻮﻡ‪ ‬ﺍﻟﻔﻀﺎء‪ ‬ﺍﻟﺨﺎﺭﺟﻲ‪ ‬ﻭﺃﻏﺮﺍﺽ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻷﺭﺽ‪. ‬‬

‫‪ ‬ﻭﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﻓﻴﺒﻴّ‪ ‬ﻨﻬﺎ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺳﺎ‪ ‬ﺕ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‬ ‫‪ ‬ﺍﻟﻤﻠﻜﻲ‬

‫‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪ ‬ﺍﻟﻤﺘﺮ‬

‫‪ ‬ﺍﻟﺒﻮﺻﺔ‬

‫‪ ‬ﺍﻷﺻﺒﻊ‬

‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‬

‫‪٤٤۰ ‬‬

‫‪۳۰۸۰ ‬‬

‫‪۲۳۰٫۳٥ ‬‬

‫‪۹۰٦۸٫۸ ‬‬

‫‪۱۲۳۲۰ ‬‬

‫‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‬

‫‪۲۸۰ ‬‬

‫‪۱۹٦۰ ‬‬

‫‪۱٤٦٫۷۱ ‬‬

‫‪٥۷۷٦ ‬‬

‫‪۷۸٤۰ ‬‬

‫‪ ‬ﺍﻟﻤﻨﺤﺪﺭ‬

‫‪۳٥٦ ‬‬

‫‪۲٤۹۲ ‬‬

‫‪۱۸٦٫٥۲ ‬‬

‫‪۷۳٤۳٫۲ ‬‬

‫‪۹۹٦۸ ‬‬

‫‪ ‬ﺍﻟﺤﺎﻓﺔ‬

‫‪٤۱۸ ‬‬

‫‪۲۹۲٦ ‬‬

‫‪۲۱۹٫۲۱ ‬‬

‫‪۸٦۳۰٫٤ ‬‬

‫‪۱۱۷۰٤ ‬‬

‫‪ ‬ﻣﺤ‪ ‬ﻴﻂ‪ ‬ﻣﺮﺑ‪ ‬ﻊ‪ ‬ﺍﻟﻘﺎﻋ‪ ‬ﺪﺓ‪ = ۱۷٦۰ = ٤ x ٤٤۰ = ‬ﻣﺤ‪ ‬ﻴﻂ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻧﺼ‪ ‬ﻒ‪ ‬ﻗﻄﺮﻫ‪ ‬ﺎ‪ ۲۸۰ = ‬ﺫﺭﺍﻋ‪ ‬ﺎ‪ ‬ﻣﻠﻜﻴ‪ ‬ﺎ‪،‬‬ ‫‪ ‬ﻭﻣﺴﺎﺣﺘﻬﺎ‪ ، ٤٤۰ ۰۰۰ = ‬ﺑﻴﻨﻤﺎ‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﻤﺮﺑﻊ‪۱۹۳٦۰۰ = ‬‬

‫‪­ ۳۲ ­ ‬‬

‫‪ ‬ﻭﺗﺒﻌﺪ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻓﻲ‪ ‬ﺃﻗﺮﺏ‪ ‬ﻧﻘﻄﺔ‪ ‬ﻟﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﻤﺲ‪ ‬ﻣﺴﺎﻓﺔ ‪ 147 x 10 6 ‬ﻛﻢ‪ ،‬ﺃﻱ‪ ‬ﻣﺎ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ ‪ 280 x 10 9 ‬ﺫﺭﺍﻋ‪ ‬ﺎ‪ ‬ﻣﻠﻜﻴ‪ ‬ﺎ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺇﺷﺎﺭﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻬﺮﻡ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۳۹ ‬‬

‫‪ ‬ﻭﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﻭﺳﻂ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﻓﻴﺒﻴّﻨﻬﺎ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪:‬‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‬ ‫‪ ‬ﺍﻟﻤﻠﻜﻲ‬

‫‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪ ‬ﺍﻟﻤﺘﺮ‬

‫‪ ‬ﺍﻟﺒﻮﺻﺔ‬

‫‪ ‬ﺍﻷﺻﺒﻊ‬

‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‬

‫‪٤۱۰ ‬‬

‫‪۲۸۷۰ ‬‬

‫‪۲۱٥٫۲٦ ‬‬

‫‪۸٤۷٤٫۹ ‬‬

‫‪۱۱٤۸۰ ‬‬

‫‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‬

‫‪۲۷٥ ‬‬

‫‪۱۹۲٥ ‬‬

‫‪۱٤۳٫۸۷ ‬‬

‫‪٥٦٦٤ ‬‬

‫‪۷۷۰۰ ‬‬

‫‪ ‬ﺍﻟﻤﻨﺤﺪﺭ‬

‫‪۳٤۳ ‬‬

‫‪۲٤۰۱ ‬‬

‫‪۱۷۹٫٦۷ ‬‬

‫‪۷۰۷۳٫۷ ‬‬

‫‪۹٦۰٤ ‬‬

‫‪ ‬ﺍﻟ‪ ‬ﺤﺎﻓﺔ‬

‫‪٤۰۰ ‬‬

‫‪۲۸۰۰ ‬‬

‫‪۲۰۹٫٤٤ ‬‬

‫‪۸۲٤٥٫۸ ‬‬

‫‪۱۱۲۰۰ ‬‬

‫‪ ‬ﺍﻟﻘﻄﺮ‬

‫‪٥۸۰ ‬‬

‫‪٤۰٦۰ ‬‬

‫‪۳۰٤٫٤۳ ‬‬

‫‪۱۱۹۸٥٫۳ ‬‬

‫‪۱٦۲٤۰ ‬‬

‫‪ ‬ﻭﺗﻮﺟﺪ‪ ‬ﻋﻼﻗﺔ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻫﻨﺎ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ‬ﻭﺍﻻﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﻭﺍﻟﻤﻨﺤ‪ ‬ﺪﺭ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﻞ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‪ ‬ﻓﻴﺜ‪ ‬ﺎﻏﻮﺭﺙ‬ ‫‪ ‬ﺍﻟﺸﻬﻴﺮ ‪٥ ٤ ۳ ‬‬

‫‪1 ‬‬

‫‪nssdc.gsfc.nasa.gov/planetary/factsheet/‬‬

‫‪­ ۳۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪٤۰ ‬‬

‫‪ ‬ﻭﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻗﻴﺎﺳﺎ‪ ‬ﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﺻﻐﺮﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﻓﻴﺒﻴّﻨﻬﺎ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‬ ‫‪ ‬ﺍﻟﻤﻠﻜﻲ‬

‫‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪ ‬ﺍﻟﻤﺘﺮ‬

‫‪ ‬ﺍﻟﺒﻮﺻﺔ‬

‫‪ ‬ﺍﻷﺻﺒﻊ‬

‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‬

‫‪۲۰۰ ‬‬

‫‪۱٤۰۰ ‬‬

‫‪۱۰٥٫٥ ‬‬

‫‪٤۱٥۳٫٦ ‬‬

‫‪٥٦۰۰ ‬‬

‫‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‬

‫‪۱۲٥ ‬‬

‫‪۸۷٥ ‬‬

‫‪٦٥٫٥٥ ‬‬

‫‪۲٥۸۰٫۸ ‬‬

‫‪۳٥۰۰ ‬‬

‫‪ ‬ﺍﻟﻤﻨﺤﺪﺭ‬

‫‪۱٦۰ ‬‬

‫‪۱۱۲۰ ‬‬

‫‪۸٤٫۱٤ ‬‬

‫‪۳۳۱۲٫٦ ‬‬

‫‪٤٤۸۰ ‬‬

‫‪ ‬ﺍﻟﺤﺎﻓﺔ‬

‫‪۱۹۰ ‬‬

‫‪۱۳۳۰ ‬‬

‫‪۹۹٫۳۱ ‬‬

‫‪۳۹۰۹٫۸ ‬‬

‫‪٥۳۲۰ ‬‬

‫‪ ‬ﺍﻟﻘﻄﺮ‬

‫‪۲۸۳ ‬‬

‫‪۱۹۸۱ ‬‬

‫‪۱٤۹٫۲ ‬‬

‫‪٥۸۷٤٫۱ ‬‬

‫‪۷۹۲٤ ‬‬

‫‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﻘﻮﺩﻧ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩﻳﻦ‪ ۸ : ٥ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﻓﻴﺒﻮﻧﺎﺭﺗﺸ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻊ‪ ‬ﺍﻟﻘﺎﻋ‪ ‬ﺪﺓ‬ ‫‪ ‬ﻭﺍﻻﺭﺗﻔﺎﻉ‪، ‬‬ ‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺫﻛ‪ ‬ﺮ‪ ‬ﻫﻴ‪ ‬ﺮﻭﺩﻭﺕ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻗﺎﻟ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻜﻬﻨ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﻴﻦ‪ ‬ﺃﻥ‬ ‫‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﻛﻞ‪ ‬ﻭﺟﻪ‪ ‬ﻣﻦ‪ ‬ﺃﻭﺟﻪ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﺗﺴﺎﻭﻱ‪ ‬ﻣﺮﺑ‪ ‬ﻊ‬ ‫‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﻪ‪ ‬ﺍﻷ‪ ‬ﺳﺎﺳ‪ ‬ﻲ ‪ ، ۱ ‬ﺃﻱ‪ ‬ﺃﻧﻨ‪ ‬ﺎ‪ ‬ﺇﺫﺍ‪ ‬ﻓﺮﺿ‪ ‬ﻨﺎ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‪= ‬‬ ‫‪ ، √x ‬ﻭﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻊ‪ ‬ﺍﻟﻘﺎﻋ‪ ‬ﺪﺓ‪ ، 2 = ‬ﻳﺼ‪ ‬ﺒﺢ‪ ‬ﺍﻻﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﻞ‬ ‫‪ ‬ﻟﻠﻬ‪ ‬ﺮﻡ ‪ ، x = slant high ‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﺗﺼ‪ ‬ﺒﺢ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻭﺟ‪ ‬ﻪ‬ ‫‪ ) ‬ﻧﺼﻒ‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ‬ﻣﻀﺮﻭﺑﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪x = ( ‬‬ ‫‪ ‬ﺷﻜﻞ‪٤۱ ‬‬ ‫‪1 ‬‬

‫‪www.maths.adelaide.edu.au/people/pscott/history/‬‬

‫‪­ ۳٤ ­ ‬‬

‫‪ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺗﺼﺒﺢ‪ ‬ﻟﺪﻳﻨﺎ‪ ‬ﺑﺎﻻﻋﺘﻤﺎﺩ‪ ‬ﻋﻠﻰ‪ ‬ﻓﻴﺜﺎﻏﻮﺭﺙ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ ‪ ، x² = x + 1 ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻤﻌﺎﺩﻟ‪ ‬ﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺤﺪﺩﺓ‪ ‬ﻟﻠﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ F = 1.618034‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‬ ‫‪ ‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻬﺮﻡ = ‪√ F‬‬

‫‪ ‬ﻭﺍﺭﺗﻔﺎﻋﻪ‪ ‬ﺍﻟﻤﺎﺋﻞ = ‪F‬‬

‫‪ ‬ﻭﻫﺬﺍ‪ ‬ﺍﻷﻣﺮ‪ ‬ﺗﺘﺴﺎﻭﻯ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻷﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‬

‫‪ ‬ﻭﻫﺬﺍ‪ ‬ﻣﺎ‪ ‬ﻳﺆﻛﺪ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻋﻠﻰ‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺃﻃﻮﺍﻝ‪ ‬ﺃﺿﻼﻉ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﻛﻤﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣﻮﺿ‪ ‬ﺢ‪ ‬ﺑﺎﻟﺸ‪ ‬ﻜﻞ‪ ( ٤۲ ) ‬ﺇﺫ‪ ‬ﺃﻥ‬ ‫‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﻞ‪ \ ‬ﻧﺼ‪ ‬ﻒ‪ ‬ﺿ‪ ‬ﻠﻊ‬ ‫‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‪ ۳٥۲ = ‬ﺫﺭﺍﻋﺎ‪ ۲۲۰ \ ‬ﺫﺭﺍﻋ‪ ‬ﺎ‬ ‫‪۱٫٦ = ٥ \ ۸ = ‬‬ ‫‪ ‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‪ ‬ﺍﻷﻛﺒ‪ ‬ﺮ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﺍﻷﺿ‪ ‬ﻼﻉ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟ‪ ‬ﻮﺗﺮ‪ ، ۸ : ٥ = ‬ﺑﺎﻻﻋﺘﻤ‪ ‬ﺎﺩ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﻣﺤﻴ‪ ‬ﻂ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻗﺎﻋـﺪﺓ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‬ ‫‪ ‬ﻣﺤ‪ ‬ﻴﻂ‪ ‬ﺍﻟﺪﺍﺋ‪ ‬ـﺮﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻧﺼ‪ ‬ﻒ‪ ‬ﻗﻄﺮﻫ‪ ‬ﺎ‬ ‫‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺪﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺻ‪ ‬ﻮﻝ‬ ‫ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻨﺴﺒﺔ ‪22/7 ≈ ²F x 5/6 ≈ 4/ √ F ≈ p‬‬

‫‪ ‬ﺷﻜﻞ ‪٤۳‬‬

‫‪­ ۳٥ ­ ‬‬

‫‪ ‬ﻭﺑ‪ ‬ﺎﻟﻨﻈﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺤ‪ ‬ﻴﻂ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻟ‪ ‬ﻤﺸ‪ ‬ﻬﺪ‪ ‬ﺍﻷﻫﺮﺍﻣ‪ ‬ﺎﺕ‪ ‬ﻧﻼﺣ‪ ‬ﻆ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺍءﻩ‪ ‬ﻋﻠ‪ ‬ﻰ ‪ ، √ 3 ، √ 2 ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻇﻬ‪ ‬ﺮﺕ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﺃﻳﻀﺎ‪ ،‬ﻭﻫﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‪ ، ۱٫۷۳۲ ، ۱٫٤۱٤ ‬ﻣﻊ‪ ‬ﻣﻼﺣﻈﺔ‪ ‬ﺃﻥ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﻫﺬﻳﻦ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩﻳﻦ‬ ‫‪ ۳٫۱٤٦ = ‬ﺍﻟﺬﻱ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺴﺒﺔ ‪ ، p‬ﺃﻣﺎ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻨﻬﻤﺎ‪ ‬ﻓﻬﻲ‪۱۱ : ۹ ‬‬ ‫‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﺮﺑﻂ‪ ‬ﺑﻴﻨﻬﻤﺎ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻟﻮﻛﺎﺱ‪ ، ‬ﻭﻣﺘﺘ‪ ‬ﺎﺑﻌﺔ‪ ‬ﺑﻴﻞ ‪ Pell ‬ﺍﻟﺜﺎﻟﺜﺔ‪ ‬ﻛﻤﺎ‪ ‬ﻫﻮ‪ ‬ﻣﻮﺿﺢ‪ ‬ﺑﺎﻟﺸﻜﻞ‬

‫‪ ‬ﺷﻜﻞ‪٤٤ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻋﻼﻗﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻟﻠﺮﺑﻂ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻧﺠﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﻄ‪ ‬ﺎﻉ‪ ‬ﺟ‪ ‬ﺎﻧﺒﻲ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﺃﻥ‪ ‬ﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﺎﺕ‪ ‬ﺍﻷﻫﺮﺍﻣ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﺍﻟﻤﺴﺎﻓﺎﺕ‪ ‬ﺑﻴﻨﻬﺎ‬

‫‪ ‬ﺷﻜﻞ ‪٤٥‬‬

‫‪­ ۳٦ ­ ‬‬

‫‪ ‬ﻭﺍﻟﻌﻼﻗﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺪﻭﺍﺋﺮ‪ ‬ﺍﻟﻤﺤﺼﻮﺭﺓ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻗﻄﺎﻉ‪ ‬ﻛﻞ‪ ‬ﻫﺮﻡ‪ ‬ﻭﺍﻷﺧﺮﻯ‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ‬ﺑﻪ‪ ‬ﺍﻟﻤﺮﺳ‪ ‬ﻮﻣﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﻘﺎﻃ‪ ‬ﻪ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﺗﻮﺿﺢ‪ ‬ﺍﻻﺭﺗﺒﺎﻁ‪ ‬ﺑﻴﻦ‪ ‬ﻧﺴﺐ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ،‬ﻭ‪ ‬ﻳﺒﻴﻨﻬﺎ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬

‫‪ ‬ﺷﻜﻞ‪٤٦ ‬‬

‫‪ ‬ﻭﺑﺠﻤﻊ‪ ‬ﻣﺤﻴﻂ‪ ‬ﺍﻟﺪﻭﺍﺋﺮ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﺍﻟﻤﺤﺼﻮﺭﺓ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻗﻄﺎﻋ‪ ‬ﺎﺕ‪ ‬ﺍﻷﻫﺮﺍﻣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻧﺤﺼ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻗﻢ‪ ۱٫٦۱٥ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﺟﺪﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﺎﻱ‪۱٫٦۱۸ ‬‬ ‫‪ ‬ﻭ‪ ‬ﻧﺴﺘﻨﺘﺞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺒﻖ‪ ‬ﺃﻥ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺍﻷﻫﺮﺍﻣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﺪﺓ‪ ،‬ﻭﻣﺸ‪ ‬ﻬﺪﻫﺎ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‬ ‫‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻋﺘﻤﺎﺩﺍ‪ ‬ﺗﺎﻣﺎ‪.‬‬

‫‪­ ۳۷ ­ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬

‫*‬

‫‪ ٤۳۳ – ٤٤۷ ) The Parthenon ‬ﻕ‪ . ‬ﻡ‪( . ‬‬

‫‪ ‬ﺷﻜﻞ‪٤۷ ‬‬

‫‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﻫ‪ ‬ﻢ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺛﻴﻨ‪ ‬ﺎ‪ ، ‬ﺑﻨ‪ ‬ﻲ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺨ‪ ‬ﺎﻣﺲ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺍﻟﻤ‪ ‬ﻴﻼﺩ‪ ،‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﺼ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﻟﺒﻴ‪ ‬ﺮﻳﻜﻠﻴﺲ‬ ‫‪ ، Pericles ‬ﺑﻨ‪ ‬ﺎﻩ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴ‪ ‬ﺎﻥ‪ ‬ﺇﻛﺘﻴ‪ ‬ﻨﺲ‪ Ictinus ‬ﻭﻛ‪ ‬ﺎﻟﻴﻜﺮﺍﺗﺲ‪ Callicrates ‬ﺗﺤ‪ ‬ﺖ‪ ‬ﺇﺷ‪ ‬ﺮﺍﻑ‪ ‬ﺍﻟﻨﺤ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻓﻴﺪﻳﺎﺱ‪Phidias ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻳﻌﺘﺒﺮ‪ ‬ﺃﻛﺒﺮ‪ ‬ﻣﻌﺒﺪ‪ ‬ﺑﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻄﺮﺍﺯ‪ ‬ﺍﻟﺪﻭﺭﻱ‪ ،‬ﺑﻴﻨﻤﺎ‪ ‬ﺍﻹﻓﺮﻳﺰ‪ ‬ﺍﻟﻤﺘﻬﺎﻟﻚ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻄ‪ ‬ﺮﺍﺯ‪ ‬ﺍﻷﻳ‪ ‬ﻮﻧﻲ ‪ ، ۲ ‬ﻭﻟ‪ ‬ﻢ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓﻴ‪ ‬ﻪ‬ ‫‪ ‬ﺃﻱ‪ ‬ﻧﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻼﻁ‪. ‬‬

‫‪ ‬ﺍﺗﺒﻊ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻋﺪﺩ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﻮﺍﻋﺪ‪ ،‬ﻣﻨﻬﺎ‪­ : ‬‬ ‫‪ ­ ۱ ‬ﻭﺿﻊ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺑﺤﻴﺚ‪ ‬ﺗﻮﺍﺟﻪ‪ ‬ﺃﺭﻛﺎﻧﻪ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﺍﻟﺠﻬﺎﺕ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﻟﻠﺒﻮﺻﻠﺔ‪ ،‬ﻭﻫﻲ‪ ‬ﻗﺎﻋ‪ ‬ﺪﺓ‪ ‬ﺍﺳ‪ ‬ﺘﻤﺮﺕ‬ ‫‪ ‬ﺍ‪ ‬ﻟﻜﺎﺗﺪﺭﺍﺋﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺴﻴﺤﻴﺔ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﺗﺒﺎﻋﻬﺎ‪ ،‬ﻭﺃﺻﻠﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﺍﻟﻘﺪﻣﺎء‬

‫‪ ­ ۲ ‬ﺷﻜﻠﻪ‪ ‬ﺍﻟﻨﻬﺎﺋﻲ‪ ‬ﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ۹ ‬ﻣﻜﻌﺒﺎﺕ‪ ‬ﺑﻄﻮﻝ‪ ٤٫٥ ‬ﻭﻋﺮﺽ‪ ، ۲ ‬ﺑﻨﺴﺒﺔ ‪ ٤ : ۹ ‬ﺗﻀﻢ‪ ۸ x ۱۷ ‬ﺃﻋﻤ‪ ‬ﺪﺓ‪،‬‬ ‫‪ ‬ﻭﺑﻤﺴﺎﺣﺔ‪ ‬ﺗﻘﺮﻳﺒﻴﺔ‪ ‬ﺗﺒﻠﻎ‪ ۲۲۷٥ ‬ﻣﺘﺮﺍ‪ ‬ﻣﺮﺑﻌﺎ ‪.‬‬

‫*‪ ‬ﺍﻋﺘﺒﺮ‪ ‬ﻻﺣﻘﺎ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﻣﺴﻴﺤﻴﺔ‪ ،‬ﺛﻢ‪ ‬ﻣﺴﺠﺪﺍ‪ ،‬ﻭﻧﺎﻟﻪ‪ ‬ﺍﻟﺪﻣﺎﺭ‪ ‬ﺍﻟﺒﺎﻟﻎ‪ ‬ﻣﻦ‪ ‬ﺟﺮﺍء‪ ‬ﺍﺗﺨﺎﺫﻩ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﻟﻠﻘﺼﻒ‪ ‬ﺍﻟﻤﺪﻓﻌﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﺿ‪ ‬ﺪ‪ ‬ﺗﺮﻛﻴﺎ‪ ‬ﻣﻦ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﺒﻨﺪﻗﻴﺔ‪ ‬ﻋﺎﻡ‬ ‫‪ ۱٦۸۷ ‬ﻡ‪ ،‬ﻭﻓﻲ‪ ‬ﺃﻭﺍﺋﻞ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﺗﻢ‪ ‬ﻧﻘﻞ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻛﺒﻴﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺭﺧﺎﻡ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻤﺘﺤﻒ‪ ‬ﺍﻟﺒﺮﻳﻄﺎﻧﻲ‪ ‬ﻋﻠﻰ‪ ‬ﻳﺪ‪ ‬ﺍﻟﻠﻮﺭﺩ‪ ‬ﺇﻟﺠﻦ‪ ، Elgin ‬ﻭﺗﻮﺟﺪ‪ ‬ﺃﺟﺰﺍء‬ ‫‪ ‬ﺃﺧﺮﻯ‪ ‬ﻣﻨﻪ‪ ‬ﻓﻲ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﻭﺃﺛﻴﻨﺎ‪ ‬ﻭﺍﻟﻔﺎﺗﻴﻜﺎﻥ‪. ‬‬ ‫‪ 1 ‬ﻭﻳﻘﺘﺮﺏ‪ ‬ﻣﻌﻨﻰ‪ ‬ﺍﻻﺳﻢ‪ ‬ﻣﻦ‪ ‬ﺧﺪﺭ‪ ‬ﺍﻟﻌﺬﺭﺍء‪ ‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﻛﻠﻤﺔ‪ Parthenos ‬ﺑﺎﻟﻴ‪ ‬ﻮﻧﺎﻧﻴﺔ‪ ‬ﺗﻌﻨﻲ‪ ‬ﻋﺬﺭﺍء‪Virgin ‬‬ ‫‪2 ‬‬ ‫‪see Osborne Harold, ' The Oxford Companion to Art ' P. 816‬‬

‫‪­ ۳۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪٤۸ ‬‬

‫‪ ­ ۳ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻇﻬﺮﺕ‪ ‬ﻓﻲ‪ ‬ﻣﻌﺒﺪ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻟﻢ‪ ‬ﺗﻈﻬﺮ‪ ‬ﻓﻲ‪ ‬ﻣﻌﺎﺑﺪ‪ ‬ﺃﺧﺮ‪ ‬ﻱ‪ ،‬ﻓﻮﺍﺟﻬ‪ ‬ﺔ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﺍﻟﺒﺎﺳ‪ ‬ﺘﻢ‪ ‬ﻧﺴ‪ ‬ﺒﺘﻬﺎ‪: ۱ ‬‬ ‫‪ ، ۱٫۳ ‬ﻭﻣﻌﺒﺪ‪ ‬ﻧﺎﻳﻚ‪ ، ۲٫٤ : ۱ ‬ﻣﻤﺎ‪ ‬ﻳﺆﻛﺪ‪ ‬ﺃﻥ‪ ‬ﻟﻜﻞ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻪ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺹ‪ ‬ﻭﺗﻨﺎﺳ‪ ‬ﺒﺎﺗﻪ‪ ،‬ﻭﺃﻥ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‬ ‫‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﻴﻦ‪ ‬ﻃﻮﺭﻭﺍ‪ ‬ﺣﺴﺎﺑﺎﺗﻬﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻥ‪ ‬ﻭﺻﻠﻮﺍ‪ ‬ﺇﻟﻰ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻣﻌﺒﺪ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﻧﺼﻒ‪ ‬ﻗﻄﺮ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﺍﻟ‪ ‬ﺘﻲ‪ ‬ﺗﻌﺎﻟﺞ‪ ‬ﻧﺴﺐ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺑﺤﻴﺚ‪ ‬ﻳﻜﻮﻥ‬ ‫· ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻌﻤﻮﺩﻳﻦ‪ ‬ﺇﻟﻰ‪ ‬ﻗﻄﺮ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻌﻤﻮﺩ ‪٤ : ۹ ‬‬ ‫· ‪ ‬ﻋﺮﺽ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻷﻋﻤﺪﺓ ‪٤ : ۹ ‬‬ ‫· ‪ ‬ﻗﻄﺮ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻹﻓﺮﻳﺰ ‪٤ : ۹ ‬‬ ‫· ‪ ‬ﺃﻣﺎ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺇﻟﻰ‪ ‬ﻗﻄﺮ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﻓﻬﻮ‬

‫‪۱ : ٥٫٤۸ ‬‬

‫‪!! ‬‬

‫‪ ‬ﺷﻜﻞ‪٤۹ ‬‬

‫‪ ­ ٤ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺷﻜﻞ‪ ‬ﺍﺳﻄﻮﺍﻧﺎﺕ‪ ‬ﻣﺴﻠﻮﺑﺔ‪ ‬ﺗﻈﻬﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺒﻌ‪ ‬ﺪ‪ ‬ﻭﻛ‪ ‬ﺄﻧﻬ‪ ‬ﺎ‪ ‬ﺗﺘﻘ‪ ‬ﺎﺭﺏ‪ ‬ﻟﻠ‪ ‬ﺪﺍﺧﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻨﺘﺼ‪ ‬ﻒ‪،‬‬ ‫‪ ‬ﻭﺗﻢ‪ ‬ﺫﻟﻚ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺇﺿﺎﻓﺔ‪ ‬ﺍﻧﺘﻔﺎﺥ‪ ‬ﻃﻮﻟﻲ‪ ‬ﺑﺴﻴﻂ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺟﺴﺪﻫﺎ‪ ‬ﻟﺘﻈﻬﺮ‪ ‬ﻣﺴﺘ‪ ‬ﻘﻴﻤﺔ‪ ‬ﺗﻤﺎﻣﺎ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﺎﻧﺐ‪ ،‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺯﻳ‪ ‬ﺎﺩﺓ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺮﻛﻨﻴ‪ ‬ﺔ‪ ‬ﻧﻈ‪ ‬ﺮﺍ‪ ‬ﻟﻌ‪ ‬ﺪﻡ‪ ‬ﺍﻣﺘ‪ ‬ﺪﺍﺩ‪ ‬ﺣ‪ ‬ﺎﺋﻂ‪ ‬ﺍﻟﻤﻌﺒ‪ ‬ﺪ‪ ‬ﺧﻠﻔﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻭﻏﻤﺮﻫ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻀ‪ ‬ﻮء‪ ‬ﻓ‪ ‬ﻼ‪ ‬ﺗﻈﻬ‪ ‬ﺮ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻧﺤﺎﻓ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺑﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ، ‬ﺑﻴﻨﻤ‪ ‬ﺎ‪ ‬ﻳﻘ‪ ‬ﻞ‪ ‬ﺍﻟﺒﻌ‪ ‬ﺪ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺑﺠﻮﺍﺭﻫ‪ ‬ﺎ‪،‬‬ ‫‪ ‬ﻭﻏﺎﻟﺒﺎ‪ ‬ﻣﺎ‪ ‬ﻳُ‪ ‬ﺜﺒﺖ‪ ‬ﻣﻘﺎﺱ‪ ‬ﻗﻄﺮ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻌﺎﺑﺪ‪ ‬ﺍﻹﻏﺮﻳﻘﻴﺔ‪ ‬ﺣﺘﻰ‪ ‬ﺍﻟﺜﻠﺚ‪ ‬ﺍﻷﺳﻔﻞ‪ ‬ﻻﺭﺗﻔﺎﻋﻬ‪ ‬ﺎ‬

‫‪۱ ‬‬

‫‪ ­ ٥ ‬ﻳﻜﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺑﻴﻦ‪ ‬ﻧﺴﺐ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﻋﺪﻡ‪ ‬ﺗﺄﻛﻴﺪ‪ ‬ﺍﻟﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺒﻘﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‪ ،‬ﻭﺃﻧﻪ‪ ‬ﻟﻢ‪ ‬ﻳﺼﻠﻨﺎ‪ ‬ﻣﻦ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺤﻘﺒﺔ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺸﻴﺮ‪ ‬ﺇﻟﻰ‪ ‬ﻛﻴﻔﻴ‪ ‬ﺔ‪ ‬ﺗﻮﺻ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ﺬﻳﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﻧﺴﺐ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪. ‬‬ ‫‪ ‬ﺗﻢ‪ ‬ﺍﻟﻜﺸﻒ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻥ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻣﺘﺪﺭﺟﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻃﺮﺍﻑ‪ ‬ﻧﺤﻮ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ‬ﺑﻔﺎﺭﻕ‪ ‬ﻣﺘ‪ ‬ﺮ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‬ ‫‪ ‬ﺗﻘﺮﻳﺒﺎ‪ ،‬ﻭﻋﻨ‪ ‬ﺪ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘ‪ ‬ﺪﺭﺝ‪ ‬ﻭﺟ‪ ‬ﺪ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺠﻮﺍﻧ‪ ‬ﺐ‪ ‬ﺍﻷﺭﺑﻌ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻑ‬

‫‪1 ‬‬

‫‪ ‬ﺃﻟﻔﺖ‪ ‬ﻳﺤﻴﻰ‪ ‬ﺣﻤﻮﺩﺓ‪ " ،‬ﻧﻈﺮﻳﺎﺕ‪ ‬ﻭﻗﻴﻢ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ " ‬ﺹ‪۱٥٦‬‬

‫‪­ ۳۹ ­ ‬‬

‫‪ ‬ﻭﺍﻟﻤ‪ ‬ﻨﺘﺼﻒ‪ ‬ﺇﻟﻰ‪ ‬ﺧﻤﺴﺔ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﺗﺤﻤﻞ‪ ‬ﻣﻌﺪﻝ‪ ‬ﺍﻟﺘﺪﺭﺝ‪ ‬ﻓﻲ‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪ ‬ﻋﻠﻰ‪ ‬ﻫﻴﺌﺔ‪ ‬ﻗﻄﻊ‪ ‬ﻣﻜ‪ ‬ﺎﻓﺊ ‪، ۱ Parabola ‬‬ ‫‪ ‬ﻭﺣﺪﺗﻪ‪ ٤ ‬ﻣﻢ‪ ،‬ﻭﻫﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‪ ‬ﻧﺰﻭﻻ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪: ‬‬ ‫‪٤ ‬‬

‫‪۱۲ ‬‬

‫‪۲۰ ‬‬

‫‪۲۸ ‬‬

‫‪۳٦ ‬‬

‫‪ ‬ﺷﻜﻞ‪٥۰ ‬‬

‫‪ ‬ﻳﺒﻠﻎ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ۱٤ ‬ﻭﺣﺪﺓ‪ ‬ﻣﻮﺩﻳﻮﻟﻴﺔ‪ ‬ﻭ‪ ٦ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ،‬ﺑﻴﻨﻤ‪ ‬ﺎ‪ ‬ﻳﺤﺘ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻮﺩ‪ ۱۱ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﻣﻮﺩﻳﻮﻟﻴ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﻨﻀ‪ ‬ﺪ ‪entablature ‬‬

‫‪ ۳ ‬ﻭﺣﺪﺍﺕ‪ ‬ﻣﻮﺩﻳﻮﻟﻴﺔ‪ ‬ﻭ‪ ٦ ‬ﺃﺟﺰﺍء‬

‫‪ ‬ﺍﻃﻠﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺮﺳﻮﻣﺎﺕ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﻮﺩ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻷﻋﻮﺍﻡ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ۱۹۲۳ ‬ﻭ‪۱۹۳۱ ‬‬ ‫‪ ‬ﻟﻤﺒﻨﻰ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﺑﻴﻦ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺑﺎﻻﻧﻮﺱ‪ Balanos ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺤﺔ‪ ‬ﻟﻜ‪ ‬ﻞ‪ ‬ﺍﻟﻜﺘ‪ ‬ﻞ‪ ‬ﺍﻟﺮﺧﺎﻣﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﺨﺪﻣﺔ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻷﻓ‪ ‬ﺎﺭﻳﺰ‪ ‬ﻭﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻭﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ،‬ﻭﻭﺟ‪ ‬ﺪ‪ ‬ﺗﺸ‪ ‬ﺎﺑﻬﺎ‪ ‬ﻛﺒﻴ‪ ‬ﺮﺍ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﺒﺎﻟﻎ‪ ۱۷٥ ‬ﺳﻢ‪ ، ‬ﻭﻗﺪ‪ ‬ﺃﺭﺟ‪ ‬ﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺧ‪ ‬ﺘﻼﻑ‬ ‫‪۲ ‬‬

‫‪ ‬ﺇﻟﻰ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﻗﺼﺮ‪ ‬ﻗﺎﻣﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻠﺠﻨﺲ‪ ‬ﺍﻷﻧﺠﻠﻮ‪ ‬ﺳﺎﻛﺴﻮﻧﻲ‪ ‬ﻭﺍﻟﻔﺎﻳﻜﻨﺞ‬

‫‪1 ‬‬

‫‪ ‬ﻟﻢ‪ ‬ﻳﻜﻦ‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ‪ ‬ﻫﻮ‪ ‬ﻭﺣﺪﻩ‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻡ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﻨﺤﻨﻴﺎﺕ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﺑﻞ‪ ‬ﺍﺷﺘﺮﻙ‪ ‬ﻣﻌﻪ‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﺰﺍﺋﺪ ‪ Hyperbola ‬ﻓﻲ‬ ‫‪ ‬ﺗﻴﺠﺎﻥ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺪﻭﺭﻳﺔ‬ ‫‪2 ‬‬ ‫‪LC, ‘ The Modulor ’ p‬‬

‫‪­ ٤۰ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪٥۱ ‬‬

‫‪ ‬ﻭﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ ‪ ‬ﻣﻦ ‪ ‬ﻭﺟﻬﺔ ‪ ‬ﻧﻈﺮ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻧﺼﺐ ‪ ‬ﻋﻈﻴﻢ ‪ ‬ﻭﻗﻄﻌﺔ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻨﺤﺖ ‪ ‬ﺍﻟﺤﻘﻴﻘﻲ ‪ ‬ﻭﻟﻴﺲ ‪ ‬ﻣﺠﺮﺩ‬ ‫‪ ‬ﻣﺒﻨﻰ ‪ ‬ﻗﺎﺋﻢ ‪ ‬ﻋﻠﻰ ‪ ‬ﺿﺮﻭﺭﺓ ‪ ‬ﺗﻜﺮﺍﺭ ‪ ‬ﺑﻌﺾ ‪ ‬ﺍﻷﺭﻗﺎﻡ ‪ ‬ﻣﺜﻞ ‪ ‬ﺑﻌﺾ ‪ ‬ﺍﻟﻜﺎﺗﺪﺭﺍﺋﻴﺎﺕ‪ ،‬ﻓﻬﻮ ‪ ‬ﻣﺘﺸﻌﺐ ‪ ‬ﺍﻷﻭﺟﻪ ‪ ‬ﻭﺍﻟﺮﺅﻯ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﻣﻜﺎﻧﻪ ‪ ‬ﻋﻠﻰ ‪ ‬ﻗﻤﺔ ‪ ‬ﺍﻷﻛﺮﻭﺑﻮﻟﻴﺲ ‪ ‬ﺍﻟﺬﻱ ‪ ‬ﺗﺰﻳﺪ ‪ ‬ﺍﺭﺗﻔﺎﻋﺎﺕ ‪ ‬ﺃﻋﻤﺪﺓ ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ ‪ ‬ﻣﻦ ‪ ‬ﺍﺭﺗﻔﺎﻋﺎﺗﻪ ‪ ‬ﺇﻟﻰ ‪ ‬ﻋﺸﺮﺓ ‪ ‬ﺁﻻﻑ ‪ ‬ﻣﺘﺮ‬ ‫‪ ‬ﺑﺎﻟﻀﺒﻂ‪ ،‬ﻛﻤﺎ‪ ‬ﻳﺒﻠﻎ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺫﺍﺗﻬﺎ‪ ۱۰ ‬ﻡ‪ ‬ﺗﻤﺎﻣﺎ‪ ،‬ﻣﻤﺎ‪ ‬ﻳﺰﻛﻲ‪ ‬ﺣﺪﺱ‪ ‬ﺍﻟﻔﺮﻧﺴﻴﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﺧﺘﺮﺍﻋﻬﻢ‪ ‬ﺍﻟﻼﺣﻖ‪ ‬ﻟﻮﺣﺪﺓ‬ ‫‪۱ ‬‬

‫‪ ‬ﺍﻟﻤﺘﺮ‪ ‬ﻋﺎﻡ‪ ۱۷۹۳ ‬ﻡ‬

‫‪1 ‬‬

‫‪LC, ‘ Modulor 2 ’, p.100‬‬

‫‪­ ٤۱ ­ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﻗﺪﻡ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﺗﺤﻠﻴﻼﺗﻬﻢ‪ ‬ﻟﻠﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻣﻨﻬﻢ‪ ‬ﻓﻴﻮﻟﻴﻪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ‪ ‬ﻋﺎﻡ‪۱۸٦۳ ‬‬

‫‪ ‬ﺷﻜﻞ ‪٥۲‬‬

‫‪­ ٤۲ ­ ‬‬

‫‪ ‬ﻛﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﻓﻲ‪ ‬ﺃﻣﻴﻨﺰ ‪( ۱۲۳٦ – ۱۲۲۰ ) Cathedral of Amiens ‬‬

‫‪ ‬ﺷﻜﻞ‪٥۳ ‬‬

‫‪ ‬ﺑﻨﺎﻫﺎ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺭﻭﺑﺮﺕ‪ ‬ﺩﻭ‪ ‬ﻟﻮﺯﺍﺭﺷ‪ ‬ﻴﻪ‪ Robert De Luzarches ‬ﺑﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺃﻣﻴﻨ‪ ‬ﺰ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﺮﻧﺴ‪ ‬ﺎ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻘ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﻭﻛﺎﻟﻴﺲ ‪ Calais ‬ﻭﻗﺪ‪ ‬ﺃﻧﺸﺌﺖ‪ ‬ﻓﻲ‪ ‬ﻋﻬﺪ‪ ‬ﺍﻟﺮﻭﻣﺎﻥ‪ ‬ﻟﺘﻤﺜﻞ‪ ‬ﺃﺭﻭﻉ‪ ‬ﻣﺜﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻘﻮﻃﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻛﺒ‪ ‬ﺮ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻓﺮﻧﺴﺎ‬ ‫‪ ‬ﻗﺴﱢﻢ‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﺍﺳﺘﻨﺎﺩ‪ ‬ﺍ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺼﻠﻴﺐ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻲ‪ ‬ﻓﻲ‪ ‬ﺗﻨﺴﻴﺐ‪ ‬ﻳﺘﻄﺎﺑﻖ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﺜ‪ ‬ﺎﻟﻲ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﻌﺒ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺤﻘﻴﻘﺔ‪ ‬ﺍﻟﺮﻭﺣﻴﺔ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻟﻜﻨﻴﺴﺔ‪ ‬ﻫﻲ‪ ‬ﺟﺴﺪ‪ ‬ﺍﻹﻟﻪ‪. ‬‬

‫‪ ‬ﺷﻜﻞ ‪٥٤‬‬

‫‪­ ٤۳ ­ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻘﻂ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﺜﻤ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﻤﺘﻜ‪ ‬ﻮﻥ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﻣ‪ ‬ﺮﺑﻌﻴﻦ‪ ،‬ﻭﺑﻤ‪ ‬ﺎ‪ ‬ﺃﻥ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ ‪ √ 2 ‬ﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺫﺍ‪ ‬ﻧﻈﺎﻣﻴﻦ‪ ‬ﻟﻠﺘﻨﺴﻴﺐ ‪ ، ۱ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺗﻜ‪ ‬ﺮﺭ‪ ‬ﺍ‪ ‬ﻟﻤ‪ ‬ﺜﻤﻦ‪ ‬ﺛ‪ ‬ﻼﺙ‪ ‬ﻣ‪ ‬ﺮﺍﺕ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﺘ‪ ‬ﺪﺍﺧﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺟﻤ‪ ‬ﺎﻟﻲ‪ ،‬ﻭﺭﻣ‪ ‬ﺰﻱ‬ ‫‪ ‬ﻛﺬﻟﻚ‪ ‬ﺣﻴﺚ‪ ‬ﻣﺜﻞ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺟﺰءﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺜﺎﻟﻮﺙ‪ ‬ﺍﻟﻤﻘﺪﺱ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪٥٥ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﻜ‪ ‬ﺮﺭ‪ ‬ﺍﻟﻤ‪ ‬ﺜﻤﻦ‪ ) ‬ﺍﻟﻨﺠﻤ‪ ‬ﺔ‪ ‬ﺍﻟﺜﻤﺎﻧﻴ‪ ‬ﺔ‪ ( ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﺰﺟ‪ ‬ﺎﺝ‪ ‬ﺍﻟﻤﻌﺸ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﺒﺎﻙ‬ ‫‪ ‬ﺍﻟﺠﻨﺎﺡ‪ ‬ﺍﻟﺠﻨﻮﺑﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪. ‬‬ ‫‪ ‬ﻟﻢ‪ ‬ﻳﻜﻦ‪ ‬ﺑﻨﺎءﻭ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﻮﺳﻄﻰ‪ ‬ﻋﻠﻰ‪ ‬ﺩﺭﺍﻳﺔ‪ ‬ﺑﺄﺩﻭﺍﺕ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻟﺘﺴ‪ ‬ﺎﻋﺪﻫﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻭﺇﻧﺸ‪ ‬ﺎء‪ ‬ﻣﺒ‪ ‬ﺎﻧﻴﻬﻢ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪﻭﺍ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﺩﻭﺍﺕ‪ ‬ﺍﻟﺘﻘﻠﻴﺪﻳ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﺤﺎﻓ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻤﺔ‬ ‫‪ ‬ﻭﺍﻟﺒﻮﺻﻠﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻮﺍﺗﺮ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻬﺎ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﻋﻬﺪ‪ ‬ﺇﻗﻠﻴﺪﺱ‪ ،‬ﻭﺭﻏﻢ‪ ‬ﺫﻟﻚ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻋﻮﺍ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺍء‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‬ ‫‪ ‬ﺍﻟﻤﺠﺴﻢ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻟﻠﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻣﻜﻌﺐ‪ ‬ﺿﺨﻢ‪ ‬ﻣﻨﻘﺴﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ۲۱٦ = ٦ x ٦ x ٦ ‬ﻣﻜﻌ‪ ‬ﺐ‪ ‬ﺻ‪ ‬ﻐﻴﺮ‪ ،‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻊ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﻣﻨﻬﺎ‪ ۲۳ ‬ﻗﺪﻣﺎ‪ ‬ﻭ‪ ٦ ‬ﺑﻮﺻﺎﺕ‪ ۷٫۱٦ ) ‬ﻣﺘﺮﺍ‪ ، ( ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﺴﻤﻰ‪ ‬ﺑﺎﻟﻤﻘﻴﺎﺱ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﺍﻟﻔﺮﻧﺴﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺷ‪ ‬ـﺎﻉ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻣﻪ‬ ‫‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﺮﻧﻴﻦ‪ ‬ﺍﻟﻌﺎﺷﺮ‪ ‬ﻭﺍﻟﺨﺎﻣﺲ‪ ‬ﻋﺸﺮ‪ ،‬ﻭﻗ‪ ‬ـﺪ‪ ‬ﺣﻜ‪ ‬ﻢ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘﻨﺎﺳ‪ ‬ﺒﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﺟﺰﺍﺋ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻣﺴﺎﺣﺎﺕ‪ ‬ﻭﺣﻮﺍﺋﻂ‪ ‬ﻭﺃﻣﺎﻛﻦ‪ ‬ﻟﻠﺪﻋﺎﻣﺎﺕ‬

‫‪ ‬ﻭﻳﺘﺒﻴﻦ‪ ‬ﺍﻗﺘﺮﺍﺏ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻣﻦ ‪ ‬ﻋﺸﺮﺓ‪ ‬ﺃﺿﻌﺎﻑ‪ ‬ﻃﻮﻝ‪ ‬ﺟﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻻﻧﺴﺎﻥ‪ ‬ﺑﺎﻟﺴﻨﺘﻴﻤﺘﺮ‬

‫‪ ‬ﺷﻜﻞ‪٥٦ ‬‬

‫‪1 ‬‬

‫‪www.maths.adelaide.edu.au/.../ Amiens and its cathedral‬‬

‫‪­ ٤٤ ­ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻨﺤﺖ‪­ : ‬‬ ‫‪* ‬‬

‫‪ ‬ﻟﻤﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ ‪( ۱٥٦٤ ­ ۱٤۷٥ ) ‬‬

‫‪ ‬ﺗﻤﺜﺎﻝ‪ ‬ﺩﺍﻭﻭﺩ‬

‫‪ ‬ﺷﻜﻞ‪٥۷ ‬‬

‫‪ ‬ﻳﻮﺟﺪ‪ ‬ﺍﻟﺘﻤﺜ‪ ‬ﺎﻝ‪ ‬ﺍﻷﺻ‪ ‬ﻠﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻛﺎﺩﻳﻤﻴ‪ ‬ﺔ‪ ‬ﻓﻠﻮﺭﻧﺴ‪ ‬ﺎ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﻧﻘﻠ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۸۷۳ ‬ﻭﺍﻟﺘﻤﺜ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺤ‪ ‬ﺎﻟﻲ‪ ‬ﺍﻟﻤﻮﺟ‪ ‬ﻮﺩ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻤﻴﺪﺍﻥ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻧﺴﺨﺔ‪ ‬ﻃﺒﻖ‪ ‬ﺍﻷﺻﻞ‪ ‬ﻣﻨﻪ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﻓﻴﻪ‪ ‬ﻧﺴﺒﺔ‪ ۷ : ۱ ‬ﻟﻴﺆﻛﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺷﺒﺎﺑﻪ‪ ، ‬ﻭﻗﺪ‪ ‬ﺧﺸﻲ‪ ‬ﺃﻧﻪ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﻣﺮﺍﻋﺎﺗﻪ‪ ‬ﻟﻨﺴ‪ ‬ﺒﺔ‪ ۷٫٥ : ۱ ‬ﺃﻥ‪ ‬ﻳﺼ‪ ‬ﺒﺢ‪ ‬ﺭﺃﺳ‪ ‬ﻪ‬ ‫‪ ‬ﺻﻐﻴﺮ‪ ‬ﺍ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺮﺅﻳﺔ‪ ‬ﺧﺼﻮﺻﺎ‪ ‬ﻭﺃﻥ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﻗﺎﻋﺪﺗﻪ‪ ‬ﻳﺼﻞ‪ ‬ﺇﻟﻰ‪ ‬ﻧﺤﻮ‪ ۷ ‬ﺃﻣﺘﺎﺭ‬

‫‪ ‬ﺷﻜﻞ‪٥۸ ‬‬

‫‪* ‬‬

‫ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬

‫‪­ ٤٥ ­ ‬‬

­ ٤٦ ­

‫‪ ‬ﺛﺎﻟﺜﺎ‪ : ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪: ‬‬ ‫*‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﺤﺎﻛﻤﺔ‪ ‬ﻗ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻨﺎﺭ ‪ Trial by Fire‬ﻋﺎﻡ‪ ۱۳۲٥ ‬ﻟﺠﻴﻮﺗﻮ‪( ۱۳۳۷ – ۱۲٦۷ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪٥۹ ‬‬

‫‪ ‬ﻧﻼﺣﻆ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺴ‪ ‬ﺘﻄﻴﻞ‪ ‬ﺫﻫﺒ‪ ‬ﻲ‪ ،‬ﻭﺃﻥ‪ ‬ﺟﻴﻮﺗ‪ ‬ﻮ‪ ‬ﺍﺳ‪ ‬ﺘﻔﺎﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺿ‪ ‬ﻼﻉ‪ ‬ﺍﻟﺼ‪ ‬ﻐﺮﻯ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻄﻴﻞ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺮﺑﻌﻴﻦ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺠ‪ ‬ﺎﻧﺒﻴﻦ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﻬﺎﻳﺘﻬﻤ‪ ‬ﺎ‪ ‬ﻗﺎﺋﻤ‪ ‬ﺎ‪ ‬ﺍﻟﻌ‪ ‬ﺮﺵ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨﺘﺼ‪ ‬ﻒ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ، ‬ﻭﺗﻤ‪ ‬ﺎﺱ‪ ‬ﺑﻄ‪ ‬ﻞ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺃﻗﻄﺎﺭﻫﻤﺎ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ‬ﻳﺨﺘﻠﻒ‪ ‬ﻃﻮﻟﻪ‪ ‬ﺑﺎﺧﺘﻼﻑ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﺍﻟﻠﻮﺣﺔ‬

‫*‬

‫‪ ‬ﻭﺗﺴﻤﻰ‪ ‬ﻛﺬﻟﻚ ‪St. Francis before the Sultan‬‬

‫‪­ ٤۷ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻳﺴﻠﻢ‪ ‬ﺍﻟﻤﻔﺎﺗﻴﺢ‪ ‬ﺇﻟﻰ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺑﻴﺘﺮ‬

‫*‬

‫ﻟﺒﻴﺘﺮﻭ‪ ‬ﺑﻴﺮﻭﺟﻴﻨﻮ ‪( ۱٥۲۳ – ۱٤٤۸ ) ‬‬

‫‪by Pietro Perugino ‬‬

‫‪Christ Handing the Keys to St. Peter ‬‬

‫‪ ‬ﺷﻜﻞ‪٦۰ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺃﺷﻬﺮ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻹﻃﻼﻕ‪ ‬ﻭﻣﻜﺎﻧﻬﺎ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺳﻴﺴ‪ ‬ﺘﻴﻦ‪ ‬ﺑﺎﻟﻔﺎﺗﻴﻜ‪ ‬ﺎﻥ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ، ۸۲ – ۱٤۸۱ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧﺎﻣ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻹﻓﺮﻳﺴﻚ‪ ،‬ﻭﺗﺼﻮﺭ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺑﻴﺘﺮ‪ ‬ﻭﻫﻮ‪ ‬ﻳﺘﺴﻠﻢ‪ ‬ﻣﻔﺎﺗﻴﺢ‪ ‬ﻣﻤﻠﻜﺔ‪ ‬ﺍﻟﺴﻤﺎء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻴﺢ‪ ‬ﺫﺍﺗ‪ ‬ﻪ ‪ ! ‬ﻭﺑﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻌﺪﻳ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﺪﺍﺧﻞ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﺗﻌﺘﻤﺪ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻨ‪ ‬ﺎﻇﺮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺷ‪ ‬ﻘﻴﻬﺎ‪ ‬ﺍﻷﻳﻤ‪ ‬ﻦ‪ ‬ﻭﺍﻷﻳﺴ‪ ‬ﺮ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺟﻌ‪ ‬ﻞ‬ ‫‪ ‬ﺑﻴﺮﻭﺟﻴﻨ‪ ‬ﻮ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟ‪ ‬ﻤﻔ‪ ‬ﺎﺗﻴﺢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻨﺘﺼ‪ ‬ﻒ‪ ‬ﺗﻤﺎﻣ‪ ‬ﺎ‪ ‬ﻭﻳﻼﻗ‪ ‬ﻲ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﻗﻔ‪ ‬ﻞ‪ ‬ﺑﻮﺍﺑ‪ ‬ﺔ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺭﺃﺳ‪ ‬ﻴﺎ‪ ،‬ﻭﻃﻮﻟ‪ ‬ﻪ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‬ ‫‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺒﻮﺍﺑﺔ‬

‫‪ ‬ﺷﻜﻞ ‪٦۱‬‬

‫*‬

‫ﺍﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬

‫‪­ ٤۸ ­ ‬‬

‫‪ ‬ﺍﻋﺘﻤﺪ‪ ‬ﺑﻴﺮﻭﺟﻴﻨﻮ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻤﺮﻛﺰﻱ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺟﻌﻞ‪ ‬ﻣﻦ‪ ‬ﻣﻜﺎﻥ‪ ‬ﺍﻟﻘﻔﻞ‪ ‬ﺍﻟﻨﻘﻄﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘﺠﻪ‪ ‬ﺇﻟﻴﻬﺎ‪ ‬ﺍﻷﻧﻈ‪ ‬ﺎﺭ‪ ‬ﻟﻜﻮﻧﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ‬ﻭﻟﻜﻮﻧﻬﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻫﺒ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺳ‪ ‬ﻔﻞ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ،‬ﻭﺑﺠﻌ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺮﺅﻭﺱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺘﻮﻳﻴﻦ‪ ‬ﺃﻓﻘﻴ‪ ‬ﻴﻦ‪ ‬ﺃﻋﻄ‪ ‬ﻰ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‬ ‫‪ ‬ﺍﺗﺰﺍﻧﻬﺎ‪ ‬ﺍﻟﻜﺎﻣﻞ‬

‫‪ ‬ﺷﻜﻞ ‪٦۲‬‬

‫‪­ ٤۹ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻌﺸﺎء‪ ‬ﺍﻷﺧﻴﺮ‬

‫ﻟﻠﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸﻲ *‪( ۱٥۱۹ – ۱٤٥۲ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪٦۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪٦٤ ‬‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺑﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻣﻴﻼﻧ‪ ‬ﻮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻳﻄﺎﻟﻴ‪ ‬ﺎ‪ ،‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺠ‪ ‬ﺮﺓ‪ ‬ﺍﻟﻄﻌ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﻳ‪ ‬ﺮ‪ ‬ﺳ‪ ‬ﺎﻧﺘﺎ‪ ‬ﻣﺎﺭﻳ‪ ‬ﺎ‪ ‬ﺩﻳﻠ‪ ‬ﻼ‪ ‬ﺟ‪ ‬ﺮﺍﺯﻱ ‪Santa Maria ‬‬ ‫‪Della Grazie ‬‬

‫‪ ‬ﺍﺳﺘ‪ ‬ﺨﺪﻡ‪ ‬ﺩﺍﻓﻨﺸﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﺍﻟﺨﻄﻲ‪ ،‬ﻭﺑﻜﻮﻧﻬﺎ‪ ‬ﺗﻘ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺎﺕ‪ ‬ﺣﺠ‪ ‬ﺮﺓ‪ ‬ﺍﻟﻄﻌ‪ ‬ﺎﻡ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺷ‪ ‬ﻜﻠﺖ‬ ‫‪ ‬ﺍﻣﺘﺪﺍﺩﺍ‪ ‬ﻭﻫﻤﻴﺎ‪ ‬ﻟﻬﺎ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ،‬ﻭﻟﻸﺳ‪ ‬ﻒ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺗﺴ‪ ‬ﺒﺒﺖ‪ ‬ﺭﻃﻮﺑ‪ ‬ﺔ‪ ‬ﺍﻟﻐﺮﻓ‪ ‬ﺔ‪ ‬ﻭﺳ‪ ‬ﻮء‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺠ‪ ‬ﺪﺍﺭ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺗﺪﻫﻮﺭ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﺮﻳﻌﺎ‪ ،‬ﻭﺑﻔﻀ‪ ‬ﻞ‪ ‬ﻣﺤﺎﻭﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﺮﻣﻴﻢ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﺪﺛﺖ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋ‪ ‬ﺎﻣﻲ‪ ۱۹٤۷ ‬ﻭ‪ ۱۹٥٤ ‬ﺗﻤ‪ ‬ﺖ‪ ‬ﺇﻋ‪ ‬ﺎﺩﺓ‬

‫*‬

‫ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬

‫‪­ ٥۰ ­ ‬‬

‫‪ ‬ﺟﺰء‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺿﻮﺡ‪ ‬ﺍﻟﻤﻔﻘﻮﺩ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ،‬ﻭﺑﺎﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ ‬ﻓﺎﻟﺘﻜﻮﻳﻦ‪ ‬ﺍﻟﻤﺤﻜﻢ‪ ‬ﻭﻣﺎ‪ ‬ﻳﺼ‪ ‬ﺎﺣﺒﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺩﻗ‪ ‬ﺔ‪ ‬ﺭﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻳﺪﻝ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻈﻢ‪ ‬ﺷﺄﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‬

‫‪ ‬ﺃﺑﻌﺎﺩ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ۸٫۸ ‬ﻣﺘﺮ ‪ ‬ﻃﻮﻻ‪ ٤٫٦ ،‬ﻣﺘﺮ ‪ ‬ﻋﺮﺿﺎ‪ ،‬ﻭﻗﺪ ‪ ‬ﻟﺠﺄ ‪ ‬ﺩﺍﻓﻨﺸﻲ ‪ ‬ﻣﺜﻞ ‪ ‬ﻣﻌﻈﻢ‪ ‬ﻣﺼﻮﺭﻱ ‪ ‬ﻋﺼﺮ ‪ ‬ﺍﻟﻨﻬﻀﺔ ‪ ‬ﺇﻟﻰ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ ‪ ‬ﺍﻷﻗﻄﺎﺭ ‪ ‬ﻟﺘﻘﺴﻴﻢ ‪ ‬ﺍ‪ ‬ﻟﻠﻮﺣﺔ ‪ ‬ﻃﻮﻟﻴﺎ ‪ ‬ﻭﻋﺮﺿﻴﺎ ‪ ‬ﺇﻟﻰ ‪ ‬ﺃﺭﺑﺎﻉ‪ ،‬ﻭﻳﻼﺣﻆ ‪ ‬ﺍﺣﺘﻮﺍء ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﻋﻠﻰ ‪ ‬ﻋﺪﺩ ‪ ‬ﻛﺒﻴﺮ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪ ‬ﺷﻜﻞ ‪٦٥‬‬

‫‪­ ٥۱ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻋﺬﺭﺍء‪ ‬ﺳﻴﺪﻳﺎ‬

‫‪Madonna della Sedia ‬‬

‫‪ ‬ﻟﺮﺍﻓﺎﻳﻴﻞ ‪( ۱٥۲۰ – ۱٤۸۳ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪٦٦ ‬‬

‫‪ ‬ﻳﺘﻀﺢ ‪ ‬ﺍﻋﺘﻤﺎﺩ ‪ ‬ﺭﺍﻓﺎﻳﻴﻞ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﺨﻤﺎﺳﻲ ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ ‪ ‬ﺍﻟﺬﻱ ‪ ‬ﺗﻤﺲ ‪ ‬ﺭﺅﻭﺳﻪ ‪ ‬ﻣﺤﻴﻂ ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ ‪ ‬ﻓﻲ ‪ ‬ﺇﺣﻜﺎﻡ ‪ ‬ﺗﺼﻤﻴﻢ ‪ ‬ﺍﻟﻠﻮﺣﺔ‪،‬‬ ‫‪ ‬ﺣﻴﺚ ‪ ‬ﺗﻈﻬﺮ ‪ ‬ﺑﻌﺾ ‪ ‬ﺍﻻﺗﺠﺎﻫﺎﺕ ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ ‪ ‬ﺍﻟﺘﻲ ‪ ‬ﺗﻢ ‪ ‬ﺑﻨﺎﺅﻫﺎ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻷﻗﻮﺍﺱ ‪ ‬ﺍﻟﻤﺮﺗﻜﺰﺓ ‪ ‬ﻋﻠﻰ ‪ ‬ﺭﺅﻭﺱ ‪ ‬ﺍﻟﻤﺨﻤﺲ‬ ‫‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‬

‫‪ ‬ﺷﻜﻞ ‪٦۷‬‬

‫‪­ ٥۲ ­ ‬‬

‫‪ ‬ﻧﻼﺣﻆ ‪ ‬ﺗﺪﺍﺧﻞ ‪ ‬ﻋﺪﺓ ‪ ‬ﻣﺨﻤﺴﺎﺕ ‪ ‬ﺑﺪﺍﺧﻞ ‪ ‬ﺍﻟﻤﺨﻤﺲ ‪ ‬ﺍﻷﺳﺎﺳﻲ ‪ ‬ﻟﻠﺤﺼﻮﻝ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﻮﺍﺿﻊ ‪ ‬ﺍﻷﺟﺴﺎﻡ ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ ‪ ‬ﻭﺍﺗﺠﺎﻫﺎﺕ‬ ‫‪ ‬ﺣﺮﻛﺔ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺑﺪﺍﺧﻞ ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ،‬ﻭﻛﻞ‪ ‬ﻣﺨﻤﺲ‪ ‬ﻳﻤﺲ‪ ‬ﻣ‪ ‬ﺎ ‪ ‬ﻗﺒﻠﻪ‪ ‬ﻭﻟﻪ‪ ‬ﻧﺼﻒ‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻠﻴﻪ‪ ،‬ﻭﻣﻤﺎ‪ ‬ﻳﻜﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻭﺟﻮﺩ‬ ‫‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﻌﻤﻞ‬

‫‪ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻮﺣﺔ‪ ‬ﻋﺬﺭﺍء‪ ‬ﺃﻟﺒﺎ ‪ The Alba Madonna ‬ﻳﺆﻛﺪ‪ ‬ﻋﻠﻰ‪ ‬ﻟﺠﻮء‪ ‬ﺭﺍﻓﺎﻳﻴﻞ‪ ‬ﺇﻟﻰ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻄﺮﻳﻘﺔ‬

‫‪ ‬ﺷﻜﻞ ‪٦۸‬‬

‫‪­ ٥۳ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﺮﺑﻴﻊ ‪Primavera ‬‬

‫ﻟﺒﻮﺗﻴﺸﻴﻠﻲ *‪( ۱٥۱۰ – ۱٤٤٥ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪٦۹ ‬‬

‫‪ ‬ﻭﻫ‪ ‬ﻨ‪ ‬ﺎ‪ ‬ﻇﻬ‪ ‬ﺮ‪ ‬ﻣﻘﺼ‪ ‬ﺪ‪ ‬ﺑﻮﺗﻴﺸ‪ ‬ﻴﻠﻲ‪ ‬ﺑﻮﺿ‪ ‬ﻮﺡ‪ ‬ﻟﻠﺘﻌﺒﻴ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺘﻨ‪ ‬ﺎﻏﻢ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ، ‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺗ‪ ‬ﺄﺛﺮﻩ‬ ‫‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﻷﻟﺒﺮﺗ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻋﺮّﻓﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٤۸٥ ‬ﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ ‪ Dereaedificatoria ‬ﺑﺎﻟﺘﻨ‪ ‬ﺎﻏﻢ‪ ‬ﺍﻟﺸ‪ ‬ﻔﺎﻑ‬ ‫‪ ‬ﺍﻟﻤﺰﺩﻭﺝ ‪ ، [ 4 : 6 : 9 Double Diapente ] ‬ﺍﻟﺬﻱ‪ ‬ﻳﻨﺘﺞ‪ ‬ﻋﻦ‪ ‬ﺗ‪ ‬ﺪﺍﺧﻞ‪ ‬ﻧﺴ‪ ‬ﺒﺘﻴﻦ‪ ‬ﺧﻤﺎﺳ‪ ‬ﻴﺘﻴﻦ ‪2 : 3 = 4 : 6 ‬‬ ‫‪ ، = 6 : 9 ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﻃ‪ ‬ﻮﻟﻲ‪ ‬ﻟﻤﺴ‪ ‬ﺘﻄﻴﻞ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺨﻀ‪ ‬ﻊ‪ ‬ﻟﻠﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺗﻮﺟ‪ ‬ﺪ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺘﻘﺴﻴﻤﺎﺕ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻣﻦ‪ ‬ﺃﺣﺪ‪ ‬ﺍﻟﺠﻮﺍﻧﺐ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻵﺧﺮ‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻳﻼﺣ‪ ‬ﻆ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﺃﻥ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﺍﻷﺷ‪ ‬ﺨﺎﺹ‪ ‬ﻳﺘﺴ‪ ‬ﺎﻭﻯ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﻃ‪ ‬ﻮﻟﻲ‪ ‬ﻟﻴﺤﻘ‪ ‬ﻖ‪ ‬ﺑﻮﺗﻴﺸ‪ ‬ﻴﻠﻲ‪ ‬ﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺍﻟﺘﺠ‪ ‬ﺎﻧﺲ‬ ‫‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ‬ﺍﻟﻜﺎﻣﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ،‬ﻣ‪ ‬ﻊ‪ ‬ﺍﺳ‪ ‬ﺘﻔﺎﺩﺗﻪ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻗﻄ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻤﺮﺑﻌ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻟﻤﺴ‪ ‬ﺘﻄﻴﻼﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻨﺴ‪ ‬ﻴﻖ‪ ‬ﺍﺗﺠﺎﻫ‪ ‬ﺎﺕ‬ ‫ﺍﻟﺤﺮﻛﺔ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻌﻤﻞ‬

‫* ‪ ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬ ‫‪1 ‬‬ ‫‪www.maths.adelaide.edu.au/‬‬

‫‪­ ٥٤ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۷۰ ‬‬

‫‪ ‬ﻭﻳﺘﻀﺢ‪ ‬ﺗﻜﺮﺍﺭ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺘﻪ‪ " ‬ﻣﻴﻼﺩ‪ ‬ﻓﻴﻨﻮﺱ‪ " ‬ﻋﺎﻡ‪ ۱٤۸٥ ‬ﻡ‬

‫‪ ‬ﺷﻜﻞ ‪۷۱‬‬

‫‪­ ٥٥ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺗﻌﻤﻴﺪ‪ ‬ﺍﻟﻤﺴﻴﺢ‬

‫‪Le Baptême du Christ ‬‬

‫ﻟﺒﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ *‪( ۱٤۹۲ – ۱٤۱٦ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪۷۲ ‬‬

‫‪ ‬ﺗﻘﺘﺮﺏ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ۱٦۷٫۳ ) ‬ﺳ‪ ‬ﻢ‪ ۱۱٦٫۲ x ‬ﺳ‪ ‬ﻢ‪ ( ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ √ ۲ ‬ﺑﻔ‪ ‬ﺎﺭﻕ‪ ۲ ‬ﺳ‪ ‬ﻢ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ،‬ﻭﺗﻨﻘﺴ‪ ‬ﻢ‪ ‬ﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺟﺰﺃﻳﻦ‪ ‬ﻃﻮﻟﻴﻴﻦ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻤﺎ‪ √ ۲ ‬ﺃﻳﻀﺎ‪ ،‬ﻭﻋﻨ‪ ‬ﺪ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺮﺑﻌﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﺍﻟﺠ‪ ‬ﺰﺃﻳﻦ‪ ‬ﻳﺘﻀ‪ ‬ﺢ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﺗﻨﻘﺴ‪ ‬ﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺛﻼﺛﺔ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻃﻮﻟﻴﺔ‪ ‬ﺃﻛﺒﺮﻫﺎ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺠﺰء‪ ‬ﺍﻟﻤﺘﻮﺳﻂ‪ ‬ﻭﻫﻮ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻼ‪ ‬ﻗﺔ‪ √ ۲ ‬ﺃﻳﻀﺎ‪ ‬ﻣﻊ‪ ‬ﻛﻼ‪ ‬ﺍﻟﺠﺰﺃﻳﻦ‬ ‫‪ ‬ﺟﺴﻢ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻌﻨﺼﺮ‪ ‬ﺍﻟﺮﺋﻴﺴﻲ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﺸﻬﺪ‪ ،‬ﻭﻳﻤﺜﻞ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ‬ﻧﺼﻒ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ،‬ﻭﺛﻼﺛﺔ‪ ‬ﺃﺭﺑﺎﻉ‪ ‬ﻗﻄﺮ‬ ‫‪ ‬ﺍﻟﻘﺒﺔ‪ ،‬ﻭﻧﺴﺒﺔ‪ ‬ﺭﺃﺳﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ‬ﺍﻟﻜﻠﻲ‪ ‬ﻫﻲ‪ ۸ : ۱ ‬ﻛﻤﺎ‪ ‬ﺭﺃﻯ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮ‪ ‬ﺱ‪ ‬ﻣﻦ‪ ‬ﻗﺒﻞ‪ ‬ﻓﻴﻤﺎ‪ ‬ﺍﺳﺘﻨﺘﺠﻪ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‬

‫* ‪ ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬ ‫‪1 ‬‬ ‫‪sunsite.dk/cgfa/francesc/p­frances1.htm‬‬

‫‪­ ٥٦ ­ ‬‬

‫‪۱‬‬

‫‪ ‬ﺷﻜﻞ‪۷۳ ‬‬

‫‪ ‬ﺟﺰﻉ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻳﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻳﻤﺜﻞ‪ ‬ﻗﻄﺮﻫﺎ‪ ‬ﺛﻠﺚ‪ ‬ﺍﺭﺗﻔﺎﻋﻪ‪ ،‬ﻭﻧﺼﻒ‪ ‬ﻗﻄﺮ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﺲ‬ ‫‪ ‬ﺍﻟﻄﺎﺋﺮ ‪ ‬ﻓﻮﻗﻪ‪ ،‬ﻭﺭﺑﻊ ‪ ‬ﻗﻄﺮ ‪ ‬ﺍﻟﺪﺍﺋﺮﺓ ‪ ‬ﺍﻟﻤﻜﻤﻠﺔ ‪ ‬ﻟﻠﻘﻮﺱ‪ ،‬ﻭﺳﺪﺱ ‪ ‬ﺍﺭﺗﻔﺎﻉ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﺍﻟﻜﻠﻲ‪ ،‬ﻭﻓﻲ ‪ ‬ﺍﺳﻜﺘﺶ ‪ ‬ﻟﻔﺮﺍﻧﺴﻴﺴﻜﻮ‬ ‫‪ ‬ﺟﻮﺭﺟﻴﻮ ‪ ‬ﻣﺎﺭﺗﻴﻨﻲ ‪ Francesco Giorgio Martini ‬ﺃﺣﺪ ‪ ‬ﻣﻌﺎﺻﺮﻱ ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ ‪ ‬ﺭﺑﻂ ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪ ‬ﺟﺴﻢ ‪ ‬ﺍﻟﻤﺴﻴﺢ ‪ ‬ﻓﻲ‬ ‫‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﻭﻧﺴﺐ ‪ ‬ﻣﺴﻘ‪ ‬ﻂ ‪ ‬ﻋﺎﻡ ‪ ‬ﻟﻜﻨﻴﺴﺔ ‪ ‬ﺣﻮّ‪ ‬ﻟﻬﺎ ‪ ‬ﺑﺮﻭﻧﻴﻠﻴﺘﺸﻲ ‪ Brunelleschi ( 1377 ­ 1446 ) ‬ﺇﻟﻰ ‪ ‬ﻛﻨﻴﺴﺔ‬ ‫‪ ‬ﻓﻠﻮﺭﻧﺴﺎ ‪ ‬ﻓﻲ ‪ ‬ﺛﻼﺛﻴﻨﻴﺎﺕ ‪ ‬ﺍﻟﻘﺮﻥ ‪ ‬ﺍﻟﺨﺎﻣﺲ ‪ ‬ﻋﺸﺮ‪ ،‬ﻭ‪ ‬ﻫﻮ ‪ ‬ﻳﺘﻜﻮﻥ ‪ ‬ﻣﻦ ‪ ۱٥ ‬ﻋﻠﻰ ‪ ۹ ‬ﻣﺮﺑﻌﺎﺕ‪ ،‬ﻳﺨﺮﺝ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻤﺮﺑﻊ‬ ‫‪ ‬ﺍﻟﻤﺮﻛﺰﻱ‪ ‬ﺟﻨﺎﺣﺎ‪ ‬ﺍﻟﻜﻨﻴﺴﺔ‪ ‬ﻭﺟﻮﻗﺔ‪ ‬ﺍﻟﻤﺮﺗﻠﻴﻦ‪ ‬ﻣﻦ‪ ‬ﻋﻼﻗﺔ ‪ √ ۲ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺣﺮﻛﺔ‪ ‬ﺍﻷﻗﻄﺎﺭ‪ ،‬ﻭﻳﺒﻘﻰ ‪ ‬ﺍﻟ‪ ‬ﻤﺴﺘﻄﻴﻞ ‪ ‬ﺍﻷﻛﺒﺮ‬ ‫‪ ‬ﻭ‪ ‬ﻧﺴﺒﺘﻪ‪ ‬ﺃﻳ‪ ‬ﻀﺎ‪√۲ ‬‬

‫‪­ ٥۷ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۷٤‬‬

‫‪­ ٥۸ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻀﺮﺏ‪ ‬ﺑﺎﻟﺴﻮﻁ ‪Flagellation ‬‬

‫‪ ‬ﻟﺒﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ‪( ۱٤۹۲ – ۱٤۱٦ ) ‬‬

‫‪ ‬ﺷﻜﻞ‪۷٥ ‬‬

‫‪ ‬ﻳﺘﻨﺎﺳﺐ‪ ‬ﻃﻮﻝ‪ ‬ﻭﻋﺮﺽ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ٥۹ ) ‬ﺳﻢ ‪ ۸۱٫٥ x ‬ﺳﻢ ‪ ( ‬ﻣﻊ‪ ‬ﻧﺴﺒﺔ ‪ √ ۲ ‬ﺃﻳﻀﺎ‪ ،‬ﻭﻳﺘﻀﺢ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺍﻫﺘﻤﺎﻡ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ‬ ‫‪ ‬ﺑﺎﻟﻤﻨﻈﻮﺭ ‪ ‬ﺍﻟﻤﺮﻛﺰﻱ ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺗﻠﺘﻘﻲ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺯﻭﺍﻟﻪ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻋﺮﺿﻴﺎ‪ ‬ﻭﻓﻲ ‪ ‬ﺍﻟﺮﺑﻊ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻟﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﻔﻞ‪،‬‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺟﺎﻧﺐ‪ ‬ﺗﻄﺒﻴﻘﻪ‪ ‬ﻟﻠﻨﺴﺒﺔ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‪ ‬ﻟﻜﻦ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺮﻛﺐ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺤﺼﺮ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﻤﺠﻠﻮﺩ‪ ‬ﻓﻲ‪ ‬ﺧﺎﻧﺔ‪ ‬ﻭﺍﺣﺪﺓ‪ ‬ﺭﺃﺳﻴﺎ‬

‫‪­ ٥۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۷٦‬‬

‫‪­ ٦۰ ­ ‬‬

‫ﻟﻮﺣﺔ‪ ‬ﻓﺮﺍ‪ ‬ﻟﻮﻛﺎ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‬

‫*‬

‫‪ ‬ﻟﺠﻴﺮﺍﺭﺩﻱ‪ ‬ﺑﺎﺭﺑﺎﺭﻱ ‪( ۱٥۱٦ ­ ۱٤٤۰ ) ‬‬

‫‪ ­ ۱ ‬ﺍﻟﺨﻤﺎﺳﻲ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ­ ۲ ‬ﺇﻗﻠﻴﺪﺱ‬ ‫‪ ­ ۳ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‬ ‫‪ ­ ٤ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‬ ‫‪ ­ ٥ ‬ﻓﺮﺍ‪ ‬ﻟﻮﻛﺎ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‬ ‫‪ ‬ﺷﻜﻞ‪۷۷ ‬‬

‫‪ ‬ﺗﺼﻮﺭ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‪ ‬ﻭﻫﻮ‪ ‬ﻳﺤﺪﻕ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺴﻢ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺸﻔﺎﻑ‪ ‬ﺃﻣﺎﻣ‪ ‬ﻪ‪ ‬ﻭﻳﻘﺎﺭﻧ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﻨﺺ‪ ‬ﻣﻜﺘ‪ ‬ﻮﺏ‪ ‬ﻳﺘﺎﺑﻌ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺷﻤﺎﻟﻪ‪ ،‬ﻭﺑﺮﺳﻢ‪ ‬ﻫﻨﺪﺳﻲ‪ ‬ﻳﺤﺪﺩﻩ‪ ‬ﻋﻠﻰ‪ ‬ﻳﻤﻴﻨﻪ‪ ‬ﻳﺸﻴﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺳﻢ‪ ‬ﺇﻗﻠﻴﺪﺱ‪. ‬‬ ‫‪ ‬ﺭﺟ‪ ‬ﺢ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺣﺜﻮﻥ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺮﺳ‪ ‬ﻢ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻳﺸ‪ ‬ﻴﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺐ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻛﺘﺒﻬ‪ ‬ﺎ‪ ‬ﺇﻗﻠﻴ‪ ‬ﺪﺱ‪ ‬ﻭﺃﺳ‪ ‬ﻤﺎﻫﺎ‪ " ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪" ‬‬ ‫‪ ، The Elements ‬ﻫﺬﻩ‪ ‬ﺍﻟﻜﺘﺐ‪ ‬ﺗﻄﺮﺡ‪ ‬ﻣﺴﺄﻟﺔ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﻭﺗﻜﺘﺸﻒ‪ ‬ﺭﻭﻋﺔ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪،‬‬ ‫‪ ‬ﺛﻢ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻭﺿﻊ‪ ‬ﺇﻗﻠﻴﺪﺱ‪ ‬ﻧﻈﺮﻳﺘﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۳۰۰ ‬ﻕ‪ . ‬ﻡ‪ ، . ‬ﻭﻛﻴﻔﻴ‪ ‬ﺔ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺫﻫﺒﻴ‪ ‬ﺔ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‬ ‫‪ ‬ﺑﻮﺻﻠﺔ‪ ‬ﻭﻣﺴﻄﺮﺓ‪ ‬ﻓﻘﻂ‪. ‬‬

‫ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﺭﺃﻱ‪ ‬ﺣ‪ ‬ﺪﻳﺚ‪ ‬ﻳﻘ‪ ‬ﻮﻝ‪ ‬ﺑ‪ ‬ﺄﻥ‪ ‬ﺍﻟﺤ‪ ‬ﺮﻑ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻲ‪ ‬ﻓ‪ ‬ﺎﻱ ‪ F‬ﺟ‪ ‬ﺎء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻄﻠ‪ ‬ﻊ‪ ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﺍﻟﻨﺤ‪ ‬ﺎﺕ‪ ‬ﻓﻴ‪ ‬ﺪﻳﺎﺱ‪ Phidias ‬ﺣﻴ‪ ‬ﺚ‬ ‫‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‪ ‬ﻟﻺﺷﺎﺭﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪.‬‬

‫*‬

‫ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬

‫‪­ ٦۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۷۸ ‬‬

‫‪ ‬ﺳﻤﻴﺖ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﺑﺬﺭﺍﺕ‪ ‬ﺍﻟﻜﻮﻥ ‪ atoms of the universe ‬ﻋﻠﻰ‪ ‬ﺃﻳﺪﻱ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﻴﻦ‪ ،‬ﻭﻛﻤ‪ ‬ﺎ‪ ‬ﻧﻌﺘﻘ‪ ‬ﺪ‬ ‫‪ ‬ﻧﺤﻦ‪ ‬ﺃﻥ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ ‬ﻓﻲ‪ ‬ﺍﻟﻜﻮﻥ‪ ‬ﻣﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺫﺭﺍﺕ‪ ،‬ﺍﻋﺘﻘﺪ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﻮﻥ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺻﻞ‪ ‬ﺍﻟﻔﻴﺰﻳﺎﺋﻲ‪ ‬ﻟﻜﻞ‪ ‬ﺷﻲء‪ ‬ﻳﺮﺟﻊ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﻤﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ‬ﺑﺼ‪ ‬ﻔﺘﻬﺎ‪ ‬ﺗﺮﻣ‪ ‬ﺰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ : ‬ﺍﻷﺭﺽ‪ – ‬ﺍﻟﻬ‪ ‬ﻮﺍء‪ – ‬ﺍﻟﻨ‪ ‬ﺎ‪ ‬ﺭ‪ – ‬ﺍﻟﻤ‪ ‬ﺎء‪ – ‬ﺍﻟﻜ‪ ‬ﻮﻥ‪ ،‬ﻭﻛﻤ‪ ‬ﺎ‪ ‬ﻧﻌﺘﻘ‪ ‬ﺪ‪ ‬ﻧﺤ‪ ‬ﻦ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺫﺭﺍﺕ‪ ‬ﺍﻟﻜﻮﻥ‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺇﻟﻜﺘﺮﻭﻧ‪ ‬ﺎﺕ‪ ‬ﺗ‪ ‬ﺪﻭﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﺪﺍﺭﺍﺕ‪ ‬ﻣﺤ‪ ‬ﺪﺩﺓ‪ ،‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺍﻋﺘﻘ‪ ‬ﺪ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻴﻮﻥ‪ ‬ﺃﻥ‪ ‬ﻟﻬ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺠﺴ‪ ‬ﻤﺎﺕ‬ ‫‪ ‬ﻧﻄﺎﻗﺎﺗﻬﺎ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺍﻟﻤﺤﺪﺩﺓ‪ ،‬ﺣﻴﺚ‪ ‬ﻳﺘﻮﺍﻓﻖ‪ ‬ﻛﻞ‪ ‬ﻣﺠﺴﻢ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻠﻴﻪ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﻨﺘﻈﻢ‪ ‬ﻭﺩﻗﻴﻖ‪ ،‬ﻭﻫﺬﺍ‪ ‬ﻣﺎ‪ ‬ﻳﺪﺭﺳﻪ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‬ ‫‪ ‬ﻛﻤﺎ‪ ‬ﻫﻮ‪ ‬ﻣﺒﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ – ‬ﻛﻴﻔﻴﺔ‪ ‬ﺗﻨﺎﺳﺐ‪ ‬ﻛﻞ‪ ‬ﻣﺠﺴﻢ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻠﻴﻪ‪. ‬‬

‫‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﺑﺎﺷ‪ ‬ﻴﻮﻟﻲ‪ ‬ﻭﺩﺍ‪ ‬ﻓﻨﺸ‪ ‬ﻲ‪ ‬ﺑﻜﺘﺎﺑ‪ ‬ﺔ‪ ‬ﺃﻃﺮﻭﺣ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‬

‫‪Divine ‬‬

‫‪ Proportion ‬ﻃﺒﻌﺖ‪ ‬ﻋﺎﻡ‪ ، ۱٥۰۹ ‬ﻭﺗﻤ‪ ‬ﺖ‪ ‬ﺇﻋ‪ ‬ﺎﺩﺓ‪ ‬ﻃﺒﺎﻋﺘﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻴﻼﻥ‪، ۱۸۹٦ ‬‬ ‫‪ ‬ﺛﻢ‪ ‬ﻓﻲ‪۱۹٦۱ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۷۹‬‬

‫‪­ ٦۲ ­ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﻦ‪ ‬ﺃﻳﻦ‪ ‬ﺃﺗﻴﻨﺎ؟‪ ‬ﻭﻣﺎ‪ ‬ﻧﺤﻦ؟‪ ‬ﻭﺃﻳﻦ‪ ‬ﺳﻨﺬﻫﺐ؟‬

‫‪ ‬ﻟﺠﻮﺟﺎﻥ‬

‫‪ ‬ﺷﻜﻞ‪۸۰ ‬‬

‫‪ ‬ﺗﻜﺜ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺮﺑﻌ‪ ‬ﺎﺕ‪ ‬ﻭ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ، ‬ﻟﻜ‪ ‬ﻦ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻤﻲ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﺷ‪ ‬ﺒﻜﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺨﻤﺴﺎﺕ‪ ‬ﺍﻟﻤﻨﺘﻈﻤﺔ‪ ،‬ﻭﺭﻏﻢ‪ ‬ﻏﺮﺍﺑﺔ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻨﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﺒﻜﺎﺕ‪ ‬ﺇﻻ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻳﺘﻀ‪ ‬ﺢ‪ ‬ﺃﺛ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺨﻤﺴ‪ ‬ﺎﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻭﻣﺴﺎﻫﻤﺔ‪ ‬ﺍﻷﻗﻮﺍﺱ‪ ‬ﻣﻦ‪ ‬ﻣﺮﺍﻛﺰ‪ ‬ﺍﻟﻤﺨﻤﺴﺎﺕ‪ ‬ﻓﻲ‪ ‬ﺍﺗﺠﺎﻫﺎﺕ‪ ‬ﺣﺮﻛﺔ‪ ‬ﺍﻟﻌﻴﻦ‬

‫‪ ‬ﺷﻜﻞ ‪۸۱‬‬

‫‪­ ٦۳ ­ ‬‬

­ ٦٤ ­

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻓﻜﺮ‪ ‬ﻭﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻭﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺣﻴﺎﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪٦٦ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬

‫‪۱۰۱ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪۱۱۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﻣﻮﺩﻳﻮﻟﻮ‪ ‬ﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻣﺮﺍﺣﻞ‪ ‬ﺗﻄﻮﺭ‪ ‬ﻩ‬

‫‪۱۱۸ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪: ‬‬

‫‪ ‬ﺍﻧﻌﻜﺎﺱ‪ ‬ﻣﻮﺩ‪ ‬ﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻮﺍﺣﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ ‪۱٤٤ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺩﺱ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻤﺎﺫﺝ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۱٥۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺑﻊ‪: ‬‬

‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‬

‫‪۱۷٤‬‬

‫‪­ ٦٥ ­ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﺩﺭﺍﺳﺔ‪ ‬ﻓﻜﺮ‪ ‬ﻭﺃ‪ ‬ﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻭﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﺣﻴﺎﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪* ‬‬

‫‪ ‬ﻓﻲ‪ ۱۸۸۷ / ۱۰ / ٦ ‬ﻭﻟﺪ‪ ‬ﺷ‪ ‬ﺎﺭﻟﺰ‪ ‬ﺇﺩﻭﺍﺭﺩ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ ‪ Charles Edouard Jeanneret ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻻ‪ ‬ﺷ‪ ‬ﻮ‬ ‫‪ ‬ﺩﻭ‪ ‬ﻓﻮﻥ‪ ،‬ﻓﻲ‪ ‬ﻣﻨﻄﻘﺔ‪ ‬ﺍﻟﺠ‪ ‬ﻮﺭﺍ ‪ La Chaux de fonds, Jura ‬ﺍﻟﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﻟﻜ‪ ‬ﺎﻧﺘﻮﻥ‪ ‬ﻧﻴﻮﺷ‪ ‬ﺎﺗﻴﻞ‪ ‬ﺑﺴﻮﻳﺴ‪ ‬ﺮﺍ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﺪﺓ‬ ‫‪ ‬ﺃ‪ ‬ﻣﻴﺎﻝ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺤﺪﻭﺩ‪ ‬ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ،‬ﻟﻮﺍﻟﺪﻳﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﺮﻭﺗﺴﺘﺎﻧﺖ‪ ‬ﻣﻦ‪ ‬ﺃﺻﻮﻝ‪ ‬ﺍﺳﺘﻮﻃﻨﺖ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻧﻴﻦ‪ ‬ﺍﻟﺜﺎﻟ‪ ‬ﺚ‪ ‬ﻋﺸ‪ ‬ﺮ‬ ‫‪ ‬ﻭﺍﻟﺮﺍﺑﻊ‪ ‬ﻋﺸﺮ‪. ‬‬ ‫‪ ‬ﻭﺍﻟﺪﻩ‪ ‬ﻛﺎﻥ‪ ‬ﻣﺰﺧﺮﻓﺎ‪ ‬ﻷﺳﻄﺢ‪ ‬ﺍﻟﺴﺎﻋﺎﺕ‪ ‬ﺑﺎﻟﻤﻴﻨﺎ‪ ، ‬ﻫﺬﺍ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺴﻮﻳﺴ‪ ‬ﺮﻱ‪ ‬ﺍﻷﺻ‪ ‬ﻴﻞ‪ ، ‬ﻭﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺫﺍ‪ ‬ﺷﺨﺼﻴﺔ‪ ‬ﻗﻴﺎﺩﻳﺔ‪ ،‬ﺃﻣﺎ‪ ‬ﻭﺍﻟﺪﺗﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻣﺎﺗﺖ‪ ‬ﻓﻲ‪ ‬ﺳﻦ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﺔ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ،‬ﺩﺭﺑ‪ ‬ﺖ‬ ‫‪ ‬ﺃﺧ‪ ‬ﺎﻩ‪ ‬ﺍﻷﻛﺒ‪ ‬ﺮ‪ ‬ﻟﻴﺼ‪ ‬ﺒﺢ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻴﺎ‪ ،‬ﻭﺗﻨﺒ‪ ‬ﺄﺕ‪ ‬ﻟ‪ ‬ﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺎﻟﻌﺒﻘﺮﻳ‪ ‬ﺔ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻣﻮﻟﻌ‪ ‬ﺎ‬ ‫‪ ‬ﺑﺎﻟﺪﺭﺍﺳﺔ‪ ‬ﻣﺮﺗﺪﻳﺎ‪ ‬ﻧﻈﺎﺭﺗﻪ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ‪ ،‬ﻭﺑﺎﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﻛﻮﻧﻪ‪ ‬ﻏﻴﺮ‪ ‬ﻣﺎﻫﺮ‪ ‬ﻓﻲ‪ ‬ﺍﺳﺘﻌﻤﺎﻝ‪ ‬ﻳﺪﻳ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻠﻌﺐ‪ ‬ﺗﻌﻮﺯﻩ‪ ‬ﺍﻟﺮﺷﺎﻗﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺮﻛﺔ‪ ‬ﻭﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﻣﺜﻞ‪ ‬ﺑﻘﻴﺔ‪ ‬ﺍﻟﺼﺒﻴﺔ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﻣﻮﻫﺒﺘ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻻﺳﻜﺘﺸﺎﺕ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻭﺍﺿﺤﺔ‪. ‬‬ ‫‪ ‬ﺷﻜﻞ‪۸۲ ‬‬

‫‪ ۱۹۰۰ ‬ﺗﺮﻙ‪ ‬ﺍﻟﻤﺪﺭﺳﺔ‪ ‬ﻓﻲ‪ ‬ﺳﻦ‪ ‬ﺍﻟﺜﺎﻟﺜﺔ‪ ‬ﻋﺸﺮﺓ‪ ‬ﻭ‪ ‬ﺍﻟﺘﺤﻖ‪ ‬ﺑﻤﺪﺭﺳﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﻤﺤﻠﻴﺔ‪ ‬ﻟﻴﺼ‪ ‬ﺒﺢ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻭﺍﻟ‪ ‬ﺪﻩ‪ ،‬ﻭﺗﺘﻠﻤ‪ ‬ﺬ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﻳﺪ‪ ‬ﺃﺳﺘﺎﺫ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻄﻠﺒ‪ ‬ﺔ‪ ‬ﻳﺘﺨﺬﻭﻧ‪ ‬ﻪ‪ ‬ﻣﺜ‪ ‬ﺎﻻ‪ ‬ﻳﺤﺘ‪ ‬ﺬﻯ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺷ‪ ‬ﺎﺭﻟﺰ‪ ‬ﻟﻮﺑﻼﺗﻮﻧﻴﻴ‪ ‬ﻪ ‪ ، L'eplatenier ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻳﺄﺧ‪ ‬ﺬﻫﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻐﺎﺑ‪ ‬ﺔ‬ ‫‪ ‬ﻟﻠﺮﺳﻢ‪ ‬ﻭﻳﻘﻮﻝ‪ ‬ﻟﻬﻢ‪ " : ‬ﻣﺎ‪ ‬ﺃﻣﺎﻣﻜﻢ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻜﻼﺳﻴ‪ ‬ﻜﻲ‪ ،‬ﺗﻌﻠﻤﻮﺍ‪ ‬ﻣﻨﻪ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻜﻼﺳﻴﻜﻲ‪ ‬ﻣﺎ‪ ‬ﺃﻣﻜﻨﻜﻢ‪ ،‬ﺛﻢ‪ ‬ﺍﻧﺴـﻮﻩ‪ ‬ﺳﺮﻳﻌﺎ‬ ‫‪ ‬ﻟﺘﺘﻤـﻜﻨﻮﺍ‪ ‬ﺑﻌﺪﻫـﺎ‪ ‬ﻣﻦ‪ ‬ﺍﺑﺘﻜﺎﺭ‪ ‬ﺷﻲء‪ ‬ﺟﺪﻳﺪ‪* " ‬‬ ‫‪ ۱۹۰٤ ‬ﺗﺎﺑﻊ‪ ‬ﺩﺭﻭﺳﺎ‪ ‬ﻋﻠﻴﺎ‪ ‬ﻓﻲ‪ ‬ﻓﻦ‪ ‬ﺍﻟﺪﻳﻜﻮﺭ‪ ‬ﻋﻠﻰ‪ ‬ﻳ‪ ‬ﺪﻱ‪ ‬ﻟﻮﺑﻼﺗﻮﻧﻴﻴ‪ ‬ﻪ‪ ،‬ﻭﻃﻠ‪ ‬ﺐ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﺭﺟ‪ ‬ﻞ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﺘﻘﻴ‪ ‬ﺪ‪ ‬ﺑﺘﻘﺎﻟﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻷﺭﺳﺘﻘﺮﺍﻃﻴﺔ‪ ‬ﺑﻨﺎء‪ ‬ﺑﻴﺘﻪ‪ ‬ﻓﻲ‪ ‬ﻻ‪ ‬ﺷ‪ ‬ﻮ‪ ‬ﺩﻭ‪ ‬ﻓ‪ ‬ﻮﻥ‪ ‬ﻓﻘﻀ‪ ‬ﻰ‪ ‬ﺍﻟﺴ‪ ‬ﻨﺘﻴﻦ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻟﻴﺘﻴﻦ‪ ‬ﻓ‪ ‬ـ‪ ‬ﻲ‪ ‬ﺗﺸ‪ ‬ﻴﻴﺪ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﻓﺎﻟﻴ‪ ‬ﻪ‪ ‬ﺑﻤﺴ‪ ‬ﺎﻋﺪﺓ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‬ ‫‪ ‬ﺭﻳﻨﻴﻪ‪ ‬ﺷﺎﺑﺎﻻﺯ ‪ René Chapallaz ‬ﺣﻴﺚ‪ ‬ﻛﺎﻥ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻟﺘﺄﺛﻴ‪ ‬ﺚ‪ ‬ﻭﺍﻟﺘﺠﻤﻴ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‪ ‬ﻭﺍﻟﺮﻳﻠﻴ‪ ‬ﻒ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺟﻲ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺠﻤﺎﻟﻮﻥ‪ ‬ﻣﻦ‪ ‬ﻧﺼﻴﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ۱ ‬ﺣﻴﺚ‪ ‬ﻫﺠﺮ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﺍﻟﺴﻮﻳﺴﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﻭﺧﺎﺻ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﻌﻠﻘ‪ ‬ﺔ‪ ‬ﺑﺎﻟﺴ‪ ‬ﻘﻒ‪،‬‬

‫‪ * ‬ﺍﺗﺨﺬ‪ ‬ﺍﺳﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ Le Corbusier ‬ﻛﻤﺆﻟﻒ‪ ‬ﻋﺎﻡ ‪ ، ۱۹۲۰ ‬ﻭﻛﻤﻌﻤﺎﺭﻱ‪ ‬ﻋﺎﻡ‪ ، ۱۹۲۲ ‬ﻭﻛﻤﺼﻮﺭ‪ ‬ﻋﺎﻡ ‪ ، ۱۹۲٦ ‬ﻭﻓﻲ‪ ‬ﻟﻄﻴﻔﺔ‪ ‬ﺃﻥ‪ ‬ﻣﺠﻤﻮﻉ‬ ‫‪ ‬ﺍﺳﻤﻪ‪ ‬ﺍﻟ‪ ‬ﺜﻼﺛﻲ‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﺗﺒﻌﺎ‪ ‬ﻟﺘﺮﺗﻴﺐ‪ ‬ﺍﻟﺤﺮﻭﻑ‪ ‬ﺑﺎﻟﻠﻐﺔ‪ ‬ﺍﻻﻧﺠﻠﻴﺰﻳﺔ‪ ۲۲٦ = ‬ﻭﻫﻮ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻣﻊ‪ ‬ﻳﺪﻩ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‪ ‬ﻷﻋﻠﻰ‪ ‬ﺗﺒﻌﺎ‪ ‬ﻟﻘﻮﺍﻋﺪ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪1 ‬‬ ‫‪Frampton Kenneth, ' Le Corbusier ' pp. 10‬‬

‫‪­ ٦٦ ­ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺍﺑﺘﻜﺮ‪ ‬ﺣﻮﺽ‪ ‬ﻏﺴﻴﻞ‪ ‬ﻋﻤﻠﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻷ‪ ‬ﺳﻤﻨﺖ‪ ‬ﻳﺴﺨﻦ‪ ‬ﺑﺎﻟﺤﺮﺍﺭﺓ‪ ‬ﺍﻟﻤﺮﻛﺰﻳﺔ‪ ‬ﻟﻠﻤﺒﻨﻰ‪ ‬ﻣﻤﺎ‪ ‬ﻳﻜﻔ‪ ‬ﻲ‪ ‬ﻹﺫﺍﺑ‪ ‬ﺔ‪ ‬ﺍﻟ‪ ‬ﺜﻠﺞ‪ ،‬ﻭﻋﻨ‪ ‬ﺪﻣﺎ‬ ‫‪ ‬ﻗﺎﻟﺖ‪ ‬ﺍﻟﺒﻠﺪﻳﺔ‪ ‬ﺍﻟﻤﺤﻠﻴﺔ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺒﻴﺖ‪ ‬ﻻ‪ ‬ﻳﺘﻔﻖ‪ ‬ﻣﻊ‪ ‬ﺣﻴﺜﻴﺎﺕ‪ ‬ﺍﻟﻤﻜﺎﻥ‪ ‬ﻛﺎﻥ‪ ‬ﺭﺩﻩ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﻜﺎﻥ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻻ‪ ‬ﻳﺘﻔﻖ‪ ‬ﻣﻌﻬﺎ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۸۳ ‬‬

‫‪ " ‬ﺍﻟﻔﻦ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻨﺴﻴﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺪﻓﻊ‪ ‬ﺍﻟﺸﻌﺮ‪ ‬ﻟﻤﺼﺎﺭﻋﺔ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﺸﺠﺮ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹۰۷ ‬ﺃﺭﺍﺩ‪ ‬ﺍﻻﺑﺘﻌﺎﺩ‪ ‬ﻋﻦ‪ ‬ﺍ‪ ‬ﻟﻤﻨﺎﺥ‪ ‬ﺍﻟﺴﻮﻳﺴﺮﻱ‪ ‬ﻓﺴﺎﻓﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺷﻤﺎﻝ‪ ‬ﺇﻳﻄﺎﻟﻴﺎ‪ ‬ﻭﻣﻨﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺑﻮﺩﺍﺑﺴﺖ‪ ‬ﺛﻢ‪ ‬ﻓﻴﻴﻨ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺻ‪ ‬ﺪﻳﻘﻪ‬ ‫‪ ‬ﺍﻟﻨﺤﺎﺕ‪ ‬ﻟﻴﻮﻥ‪ ‬ﺑﻴﺮﻳﻦ ‪ Léon Perrin ‬ﺣﻴﺚ‪ ‬ﺍﻃﻠﻊ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﻓﻜﺎﺭ‪ ‬ﺍﻟﻤﺠﺪﺩﺓ‪ ‬ﻟﻠﻤﻌﻤﺎﺭﻱ‪ ‬ﺃﺩﻭﻟ‪ ‬ﻒ‪ ‬ﻟ‪ ‬ﻮﺱ ‪Adolphe Loos ‬‬ ‫‪ ، ‬ﻭﺍﻟﺘﻘﻰ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺑﺎﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺟﻮﺯﻳﻒ‪ ‬ﻫﻮﻓﻤﺎﻥ‪. Josef Hoffmann ‬‬

‫‪ ۱۹۰۸ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﺑﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‪ ‬ﺷ‪ ‬ﺘﻮﺗ‪ ‬ﺰ‪ ‬ﺭ ‪ Stotzer ‬ﻭﻣﻨ‪ ‬ﺰﻝ‪ ‬ﺟﺎﻛﻮﻣﻴ‪ ‬ﻪ ‪ Jacquemet ‬ﺑﺠ‪ ‬ﻮﺍﺭ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‪ ‬ﻓﺎﻟﻴ‪ ‬ﻪ‪ ‬ﺃﺛﻨ‪ ‬ﺎء‬ ‫‪ ‬ﻭﺟﻮﺩﻩ‪ ‬ﻓﻲ‪ ‬ﻓﻴﻴﻨﺎ‪ ،‬ﻭﺃﺻﺒﺤﺖ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻨﺎﺯﻝ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﺗﻌﻜﺲ‪ ‬ﺍﻷﺻﺪﺍء‪ ‬ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨﻄﻘ‪ ‬ﺔ‪ ‬ﺍﻟﺠ‪ ‬ﻮﺭﺍ‪ ، ‬ﺛ‪ ‬ﻢ‪ ‬ﻏ‪ ‬ﺎﺩﺭ‬ ‫‪ ‬ﻓﻴﻴﻨﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﺣﻴﺚ‪ ‬ﺗﻌﺮﻑ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺯﻳﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﻮﻗ‪ ‬ﺖ‪ ،‬ﻭﻋﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻤﻮﺟ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻫ‪ ‬ﻨﺎﻙ‪ ‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﺑﻴﻜﺎﺳﻮ‪ ‬ﻛﺎﻥ‪ ‬ﻗﺪ‪ ‬ﺃﺗﻢ‪ ‬ﺃﻭﻝ‪ ‬ﻟﻮﺣﺔ‪ ‬ﺗﻜﻌﻴﺒﺔ‪ ‬ﻟﻪ‪ ‬ﻭﻫﻲ‪ ‬ﺁﻧﺴﺎﺕ‪ ‬ﺃﻓﻴﻨﻮﻥ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﺗﺠ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻮﻳﺮﻩ‬ ‫‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﻣﻜﻮﻧ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻣﺴ‪ ‬ﻄﺤﺔ‪ ،‬ﻭﺗ‪ ‬ﻼﻩ‪ ‬ﺑ‪ ‬ﺮﺍﻙ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻹﺗﺠ‪ ‬ﺎﻩ‪ ‬ﺍﻟﺘﻜﻌﻴﺒ‪ ‬ﻲ‪ ،‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻮﻗ‪ ‬ﺖ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﻭﺟﺪﺕ‪ ‬ﻓﻴﻪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺳﻴﺰﺍﻥ‪ ‬ﺍﻟﻘﺎﺋﻠﺔ‪ ‬ﺑﺄﻥ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻣﻜﻮﻥ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻷﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺍ‪ ‬ﻟﺒﺴ‪ ‬ﻴﻄﺔ‪ ‬ﻭﻫ‪ ‬ﻮ‬ ‫‪ ‬ﺍﻟﻜﺮﺓ‪ ‬ﻭﺍﻟﻤﺨﺮﻭﻁ‪ ‬ﻭﺍﻹﺳﻄﻮﺍﻧﺔ‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﻻﻗﺖ‪ ‬ﻗﺒﻮﻻ‪ ‬ﻓﻲ‪ ‬ﺍﻷﻭﺳﺎﻁ‪ ‬ﺍﻟﻔﻨﻴﺔ‬

‫‪۲ ‬‬

‫‪* ‬‬

‫‪ ۱۹۰۹ ‬ﻋﻤﻞ‪ ‬ﻓﻲ‪ ‬ﺃﺗﻴﻠﻴﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺃﻭﺟﺴﺖ‪ ‬ﺑﻴﺮﻳﻪ ‪ Auguste Perret ‬ﻟﻔﺘﺮﺓ‪ ‬ﺻﺒﺎﺣﻴﺔ‪ ‬ﻭﺍﺳﺘﻐﻞ‪ ‬ﺑﻘﻴﺔ‪ ‬ﻳﻮﻣ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺃﺑﺤ‪ ‬ﺎﺙ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﻜﺘﺒ‪ ‬ﺎﺕ‪ ‬ﻭﻣﺘ‪ ‬ﺎﺣﻒ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ،‬ﻓ‪ ‬ﺪﺭﺱ‪ ‬ﻣﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﺴ‪ ‬ﻚ‪ ‬ﺑﺸ‪ ‬ﻐﻒ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻭﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﻮﻃﻲ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﺩﺭﺱ‬ ‫‪ ‬ﺍﻟﻤﻴﻜﺎ‪ ‬ﻧﻴﻜﺎ‪ ‬ﻭﺍﻻﺳﺘﺎﺗﻴﻜﺎ‪ ‬ﻭﻭﺻﻞ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻌﺮﻓﺔ‪ ‬ﻣﺎ‪ ‬ﻳﺮﻳﺪ‪ ‬ﺩﺭﺍﺳﺘﻪ‪ ‬ﻭﻫﻮ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﺍﻟﻘﻮﻯ‪ ‬ﻭﺍﻋﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‬ ‫‪LC, ' The Modulor ' pp. 81 1 ‬‬ ‫‪2 ‬‬ ‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔ‪ ‬ﺔ‪ " ‬ﺹ‪۲۰ ‬‬ ‫‪ * ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬

‫‪­ ٦۷ ­ ‬‬

‫‪ ‬ﻭﺭﺁﻫﺎ‪ ‬ﺟﻤﻴﻠﺔ‪ ‬ﻭﻣﻨﻄﻘﻴﺔ‪ ‬ﻭﻛﺎﻣﻠﺔ‪ ،‬ﻓﺒﺪﺃﺕ‪ ‬ﺩﺭﺍﺳﺎﺗﻪ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﻟﻠﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ‬ﻭﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺪ‪ ‬ﺍﻟﻤﻬﻨ‪ ‬ﺪﺱ‪ ‬ﺑ‪ ‬ﺎﺟﻲ ‪Pages ‬‬

‫‪ ‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﺷ‪ ‬ﻬﺮ‪ ‬ﺍﻷﺧﻴ‪ ‬ﺮﺓ‪ ‬ﻹﻗﺎﻣﺘ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ ‪ ، ۱ ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﺑﻴﺮﻳ‪ ‬ﻪ‪ ‬ﺭﺃﻱ‪ ‬ﻳﻘ‪ ‬ﻮﻝ‪ ‬ﺃﻥ‪ ‬ﺍﻟ‪ ‬ﺪﻳﻜﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺘﺠﻤﻴ‪ ‬ﻞ‪ ‬ﺩﻭﻣ‪ ‬ﺎ‬ ‫‪ ‬ﻳﺨﻔﻲ‪ ‬ﻋﻴﻮﺏ‪ ‬ﺍﻹﻧﺸﺎء‪ ،‬ﻭﺃﺳﺮﻫﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺴﻪ‪ ،‬ﻭﻣﻀﻰ‪ ‬ﻓﻲ‪ ‬ﺗﻌﻠﻢ‪ ‬ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴﻠﺢ‪ ،‬ﻭﻋﺎﺩ‪ ‬ﻓﻲ‬ ‫‪ ‬ﺃﻛﺘ‪ ‬ﻮﺑﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻻ‪ ‬ﺷ‪ ‬ﻮ‪ ‬ﺩﻭ‪ ‬ﻓ‪ ‬ﻮﻥ‪ ‬ﻟﻌ‪ ‬ﺮﺽ‪ ‬ﻓﻜﺮﺗ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻣﺤﺘﺮﻓ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ ‪Ateliers d'art Réunis ‬‬

‫‪ ‬ﻭﺍﻟﻨﺎﺗﺠﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻣﺘﺪﺍﺩ‪ ‬ﺍﻟﺘﺄﺛﻴﺮ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﻟﻠﻮﺑﻼﺗﻮﻧﻴﻴﻪ‪ ‬ﺍﻟﺬ‪ ‬ﻱ‪ ‬ﺃﺭﺍﺩ‪ ‬ﺇﻧﺠﺎﺯ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺇﻗﻠﻴﻤﻲ‪ ‬ﻻﺑﺘﻜﺎﺭ‪ ‬ﻭﻋﺮﺽ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪. ‬‬

‫‪ " ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻧﻌﻠ‪ ‬ﻢ‪ ‬ﺃﻥ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻜ‪ ‬ﻮﻥ‪ ‬ﻛﻠ‪ ‬ﻪ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﺔ‪ ،‬ﻭﺃﻥ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺏ‪ ‬ﻣﻜﺘ‪ ‬ﻮﺏ‪ ‬ﺑﻌﺸ‪ ‬ﺮﺓ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ،‬ﻭﺃﻥ‬ ‫‪ ‬ﺍﻟﻨﻮﺗﺎﺕ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‪ ‬ﺟﻤﻴﻌﻬﺎ‪ ‬ﺳﺒﻌﺔ‪ ،‬ﻭﺃﻥ‪ ‬ﺍﻟﺴﻨﺔ‪ ‬ﻣﻜﻮﻧﺔ‪ ‬ﻣﻦ‪ ۱۲ ‬ﺷﻬﺮﺍ‪ ‬ﻟﻜﻞ‪ ‬ﺷ‪ ‬ﻬﺮ‪ ۳۰ ‬ﻳﻮﻣ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻳ‪ ‬ﻮﻡ‪ ۲٤ ‬ﺳ‪ ‬ﺎﻋﺔ‬ ‫‪ ... ‬ﺇﻟﺦ‪ – ‬ﻧﺪﺭ‪ ‬ﻙ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﻫﻮ‪ ‬ﻣﻔﺘﺎﺡ‪ ‬ﺍﻟﺤﻴﺎﺓ‪" ‬‬

‫‪۲ ‬‬

‫‪ ۱۹۱۰ ‬ﺳﺎﻓﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻟﻤﺎﻧﻴﺎ‪ ‬ﻭﺍﺳﺘﻘﺮ‪ ‬ﻓﻲ‪ ‬ﻣﻴﻮﻧ‪ ‬ﻴﺦ‪ ‬ﻭﻋﻤﻞ‪ ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺛﻴ‪ ‬ﻮﺩﻭﺭ‪ ‬ﻓﻴﺸ‪ ‬ﺮ ‪ Theodor Fisher ‬ﻭﺑﺤ‪ ‬ﺚ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺨﻄﻴﻂ‪ ‬ﺍﻟﻌﻤﺮﺍﻧ‪ ‬ﻲ‪ ،‬ﻭﺗﻌ‪ ‬ﺮﻑ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻜﺎﺗ‪ ‬ﺐ‪ ‬ﻭﺍﻟﻨﺎﻗ‪ ‬ﺪ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻲ‪ ‬ﻭﻟ‪ ‬ﻴﻢ‪ ‬ﺭﻳﺘ‪ ‬ﺮ ‪ ، William Ritter ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺗﻠﻘ‪ ‬ﻰ‬ ‫‪ ‬ﻋﺮﺿﺎ‪ ‬ﺑﺘﻌﻴﻴﻨﻪ‪ ‬ﺑﺎﺣﺜﺎ‪ ‬ﻓﻲ‪ ‬ﻣﺪﺭﺳﺘﻪ‪ ‬ﻓﻲ‪ ‬ﻻ‪ ‬ﺷ‪ ‬ﻮ‪ ‬ﺩ‪ ‬ﻭ‪ ‬ﻓ‪ ‬ﻮﻥ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﻛﺘﺎﺑﺘ‪ ‬ﻪ‪ ‬ﺑﺤﺜ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺣﺮﻛ‪ ‬ﺔ‪ ‬ﺗﻄ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪* ‬‬

‫‪ ‬ﺃﻟﻤﺎﻧﻴﺎ‪ ‬ﺑﺎﻹﺷﺎﺭﺓ‪ ‬ﺇﻟﻰ ‪ ‬ﺍﺗﺤﺎﺩ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻷﻟﻤ‪ ‬ﺎﻧﻲ ‪ ، ‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﺪﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺯﺍﺭ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻟﻤ‪ ‬ـﺪﻥ‪ ‬ﺍﻷﻟﻤﺎﻧﻴ‪ ‬ﺔ‪ ‬ﻭﺃﺻ‪ ‬ﺒﺢ‪ ‬ﺑﺎﺭﻋ‪ ‬ﺎ‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻐ‪ ‬ﺔ‪ ‬ﻭﻫ‪ ‬ﺬﺍ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺎﻋﺪﻩ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﻣﻜﺘ‪ ‬ﺐ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺑﻴﺘ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﻴ‪ ‬ﺮﻧ‪ ‬ﺰ‪ Peter Behrens ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﻟﺘﻘ‪ ‬ﻰ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻣﻜﺘﺒﻪ‪ ‬ﻷﻝ‪ ‬ﻣﺮﺓ‪ ‬ﺑﺎﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﻟ‪ ‬ﻮﺩﻓﻴﺞ‪ ‬ﻣ‪ ‬ﻴﺲ‪ ‬ﻓ‪ ‬ﺎﻥ‪ ‬ﺩﺭ‪ ‬ﺭﻭﻩ‪ ،‬ﻭﻭﺍﻟﺘ‪ ‬ﺮ‪ ‬ﺟﺮﻭﺑﻴ‪ ‬ﻮﺱ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﺻ‪ ‬ﺒﺢ‪ ‬ﺛﻼﺛ‪ ‬ﺘﻬﻢ‪ ‬ﻓﻴﻤ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺃﻋﻈﻢ‪ ‬ﻣﻌﻤﺎﺭﻳﻲ‪ ‬ﺍﻟﻌﺎﻟﻢ‪. ‬‬ ‫‪ ۱۹۱۱ ‬ﺑﺪﺃ‪ ‬ﺭﺣﻠﺘﻪ‪ ‬ﻣﻦ‪ ‬ﺃﻟﻤﺎﻧﻴﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺸﺮﻕ‪ ‬ﻣﻊ‪ ‬ﺻﺪﻳﻘﻪ‪ ‬ﻛﻠﻴﺒﺸﺘﺎﻳﻦ ‪ Klipstein ‬ﺍﻟﻄﺎﻟ‪ ‬ﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺎﺭﻳﺦ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﻴ‪ ‬ﺮﻥ‬ ‫‪ ‬ﻭﺻﻞ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺇﺳﻄﻨﺒﻮﻝ‪ ‬ﺛﻢ‪ ‬ﺃﺛﻴﻨﺎ‪ ‬ﻭﺇﻳﻄﺎﻟﻴﺎ‪ ‬ﻣﺮﻭﺭﺍ‪ ‬ﺑﻌﻈﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ‬ﺍﻟﻮﺍﺻﻠﺔ‪ ‬ﺑﻴﻨﻬﻢ‪ ،‬ﻭﻗﺪ‪ ‬ﺃﻣﻀﻰ‪ ‬ﺳ‪ ‬ﺘﺔ‪ ‬ﺃﺳ‪ ‬ﺎﺑﻴﻊ‪ ‬ﻳ‪ ‬ﺘﻔﺤﺺ‬ ‫‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﺍﻷﻛﺮﻭﺑﻮﻟ‪ ‬ﻮﺱ‪ ‬ﺣ‪ ‬ﺎﻣﻼ‪ ‬ﺛﻴﺎﺑ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻇﻬ‪ ‬ﺮﻩ‪ ‬ﻭﺩﻓﺘ‪ ‬ﺮ‪ ‬ﺍﺳﻜﺘﺸ‪ ‬ﺎﺗﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻳﺪﻳ‪ ‬ﻪ‪ ‬ﻭﺫﻛ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﻴﺮﺗﻪ‪ ‬ﺍﻟﺬﺍﺗﻴ‪ ‬ﺔ‪ ‬ﻋﻨ‪ ‬ﻪ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺍﻹﺣﺴﺎﺱ‪ ‬ﻳﻮﻟﺪ‪ ‬ﻣﻦ‪ ‬ﻭﺣﺪﺓ‪ ‬ﺍﻟﻬﺪﻑ‪ ،‬ﻣﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﺤ‪ ‬ﻞ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻤﻘﻠ‪ ‬ﻖ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺮﺧ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﺎﻟ‪ ‬ﺐ‪ ‬ﻧﻘ‪ ‬ﻲ‪ ‬ﻭﻭﺍﺿ‪ ‬ﺢ‬ ‫‪ ‬ﻭﺍﻗﺘﺼﺎﺩﻱ‪ ،‬ﻭﺃﻧﻪ‪ ‬ﻗﺪ‪ ‬ﺗﻤﺖ‪ ‬ﻛﻞ‪ ‬ﺗﻀﺤﻴﺔ‪ ‬ﻭﺗﻄ‪ ‬ﻬﻴﺮ‪ ‬ﻭﻭﺻ‪ ‬ﻠﺖ‪ ‬ﺍﻟﻠﺤﻈ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻨﺎﺳ‪ ‬ﺒﺔ‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻋﺠ‪ ‬ﺰ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻐﻨﺎء‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺃﻱ‬ ‫‪ ‬ﺷﻲء‪ ‬ﺁﺧﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻌﺒﺪ‪ ‬ﻓﺒﻘﻴﺖ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺑﺤﺴﻬﺎ‪ ‬ﺍﻟﺴ‪ ‬ﻤﻌﻲ‪ ‬ﻭﺍﻟﺘﺮﺍﺟﻴ‪ ‬ﺪﻱ‪ ‬ﺍﻟﻮﺍﺿ‪ ‬ﺢ‪ ،‬ﻭﻣﺎﺯﺍﻟ‪ ‬ﺖ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻗﺎﺋﻤ‪ ‬ﺔ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺭﺽ‪ ،‬ﻭﺑﻴﻨﻤﺎ‪ ‬ﺃﻟﻤﺴﻬﺎ‪ ‬ﺑﺄﺻﺎﺑﻌﻲ‪ ‬ﻭﺃﻻﻃﻔﻬﺎ‪ ‬ﺃﻟﺘﻘﻂ‪ ‬ﻧﺴﺒﻬﺎ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ‬ﺍﻟﺮﺍﺋﻌﺔ‪ ،‬ﺍﻟﻮﺍﻗﻊ‪ ‬ﻟﻴﺲ‪ ‬ﻟﻪ‪ ‬ﻋﻼﻗ‪ ‬ﺔ‪ ‬ﺑﻤ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻮ‬

‫‪see Brooks, ' Le Corbusier Formative Years ' pp. 157 1 ‬‬ ‫‪2 ‬‬ ‫‪LC, ' The Modulor ' pp.75 ‬‬ ‫‪ * ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬

‫‪­ ٦۸ ­ ‬‬

‫‪ ‬ﺍﻟﻤﻜﺘﻮﺏ‪ ، ‬ﻓﻜﻞ‪ ‬ﺷﻲء‪ ‬ﻫﻨﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺻﻴﺤﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻹﻟﻬﺎﻡ‪ ،‬ﺃﻭ‪ ‬ﺭﻗﺼﺔ‪ ‬ﻓﻲ‪ ‬ﺿﻮء‪ ‬ﺍﻟﺸﻤﺲ ‪ ، ۱ ‬ﻭﺍﺳﺘﻤﺮﺕ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺮﺣﻠﺔ‬ ‫‪ ‬ﻟﺨﻤﺴ‪ ‬ﺔ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﺃﻧﺠ‪ ‬ﺰ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ۳۰۰ ‬ﺭﺳ‪ ‬ﻤﺔ‪ ،‬ﻭﺍﻟ‪ ‬ﺘﻘﻂ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪ ٥۰۰ ‬ﺻ‪ ‬ﻮﺭﺓ‪ ‬ﺿ‪ ‬ﻮﺋﻴﺔ‪ ،‬ﻭﻣ‪ ‬ﻸ‪ ٦ ‬ﺩﻓ‪ ‬ﺎﺗﺮ‪ ‬ﺑﻤﻼﺣﻈﺎﺗ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻟﺘﻲ‪ ‬ﻧﺸﺮﻫﺎ‪ ‬ﻓﻲ‪ ‬ﺳﻠﺴﻠﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻘﺎﻻﺕ‪ ‬ﺑﻌﻨﻮﺍﻥ‪ " ‬ﺃﻭﺭﺍﻕ‪ ‬ﺑﺂﺭﺍء‪ ‬ﻣﻦ‪ ‬ﻻ‪ ‬ﺷﻮ‪ ‬ﺩﻭ‪ ‬ﻓﻮﻥ‪ " ‬ﺍﻟﺘﻲ‪ ‬ﺍﻧﺘﻬﺖ‪ ‬ﺭﺣﻠ‪ ‬ﺘﻪ‪ ‬ﺇﻟﻴﻬﺎ‪. ‬‬

‫‪ " ‬ﺇﻥ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻨﺴﺐ‪ .. ‬ﺫﻟﻚ‪ ‬ﺍﻟﻼﺷﻲء‪ ‬ﺍﻟﺬﻱ‪ ‬ﻫﻮ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ .. ‬ﻭ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺠﻌﻞ‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﺗﺒﺘﺴﻢ‪" .. ‬‬

‫‪۲ ‬‬

‫‪ ۱۹۱۲ ‬ﻋﻴﻦ‪ ‬ﻛﺄﺳﺘﺎﺫ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻌﺒﺔ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻟﻤﺪﺭﺳﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻓﻲ‪ ‬ﻻ‪ ‬ﺷﻮ‪ ‬ﺩﻭ‪ ‬ﻓﻮﻥ‪ ‬ﺗﺤﺖ‪ ‬ﻗﻴ‪ ‬ﺎﺩﺓ‪ ‬ﻟﻮﺑﻼﺗﻮﻧﻴﻴ‪ ‬ﻪ‪ ،‬ﻭﻧﺸ‪ ‬ﺮ‪ ‬ﺑﺤﺜ‪ ‬ﻪ‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﺎﺕ‪ ‬ﺍﻷﻟﻤﺎﻧﻴ‪ ‬ﺔ ‪ ، E'tude sur le Mouvement d'Art Décoratif en Allemagne ‬ﻭﺑﻨ‪ ‬ﻰ‪ ‬ﻣﻨ‪ ‬ﺰﻻ‬ ‫‪ ‬ﻟﻌﺎﺋﻠﺘ‪ ‬ﻪ‪ ‬ﻫﻨ‪ ‬ﺎﻙ ‪ ، Villa Jeanneret­Perret ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻣﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﺨﺮﻳ‪ ‬ﻒ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻋ‪ ‬ﺮﺽ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺼ‪ ‬ﺎﻣﻴﻢ‬ ‫‪ ‬ﻭﺍﻟﺮﺳﻮﻡ‪ ‬ﺍﻟﻤﺎﺋﻴﺔ‪ ‬ﻋﻦ‪ ‬ﺭﺣﻠﺘﻪ‪ ‬ﺗﺤﺖ‪ ‬ﻋﻨﻮﺍﻥ‪ ‬ﻟﻐﺔ‪ ‬ﺍﻟﺤﺠﺎﺭﺓ‪. ‬‬ ‫‪ ۱۹۱۳ ‬ﺑﺪﺃ‪ ‬ﻋﻤﻠﻪ‪ ‬ﺍﻟﻤﺴﺘﻘﻞ‪ ‬ﻭﻃﺒﻊ‪ ‬ﻛﺮﻭﺗﺎ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻤﻪ‪ ‬ﻳﺼﻒ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻛﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﻳﻌﻤ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺠﻤﻴ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‬ ‫‪ ‬ﻭﻣﺘﺨﺼﺺ‪ ‬ﻓـﻲ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴـﻠﺢ‪ ، ‬ﻭﻋﻠﻰ‪ ‬ﻣ‪ ‬ـﺪﻯ‪ ‬ﺍﻟﺴ‪ ‬ـﻨﺘﻴﻦ‪ ‬ﻭﺍﻟﻨﺼ‪ ‬ـﻒ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻟﻴﺘﻴﻦ‪ ‬ﻗﺴ‪ ‬ﻢ‪ ‬ﻭﻗﺘ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‬ ‫‪ ‬ﻭﺍﻟﺘﻤﺮﺱ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﻣﻊ‪ ‬ﺯﻳﺎﺩﺓ‪ ‬ﺩﺧﻠﻪ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺗﺠﺎﺭﺓ‪ ‬ﺍﻟﺘﺤﻒ‪ ،‬ﻭﻗﺪ‪ ‬ﺃﻋﺠ‪ ‬ﺐ‪ ‬ﺑ‪ ‬ﺎﻟﻔﻦ‪ ‬ﺍﻟﺘﺮﺍﺛ‪ ‬ﻲ‪ ‬ﺍﻟﻔﻠﻜﻠ‪ ‬ﻮﺭﻱ‬ ‫‪ ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻳﺼ‪ ‬ﻔﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻯ‪ ‬ﺍﻟﺼ‪ ‬ﻐﻴﺮﺓ‪ ‬ﺑﺄﻭﺭﺑ‪ ‬ﺎ‪ ‬ﺍﻟﺸ‪ ‬ﺮﻗﻴﺔ‪ ‬ﻭﺗﺮﻛﻴ‪ ‬ﺎ‪ ‬ﻭﻛﺄﻧ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺜ‪ ‬ﻞ‪ ‬ﺍ‪ ‬ﻷﻋﻠ‪ ‬ﻰ‪ ‬ﻟ‪ ‬ـﻜﻞ‪ ‬ﺍﻟﺜﻘﺎﻓ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻤﺘﺤﻀﺮﺓ‪ ،‬ﻭﺫﻟـﻚ‪ ‬ﻟﻌﺎﻟﻤﻴﺘ‪ ‬ﻪ‪ ‬ﻭﻗ‪ ‬ﺪﻡ‪ ‬ﺟ‪ ‬ﺬﻭﺭﻩ‪ ‬ﻭﻋﻤ‪ ‬ﻖ‪ ‬ﻗ‪ ‬ﻮﺍﻩ‪ ‬ﺍﻟﺮﻭﺣﻴ‪ ‬ﺔ‪ ،‬ﻭﺑ‪ ‬ﺎﻟﻄﺒﻊ‪ ‬ﺗﺠ‪ ‬ﺪ‪ ‬ﺍﻟﻤﻘﺎﺑﻠ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺎﻝ‬ ‫‪ ‬ﺍﻟﻌﻤﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﻘﺪﻣ‪ ‬ﺔ‪ ،‬ﻭﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺠﻨ‪ ‬ﻮﺏ‪ ‬ﺍﻟﻜﻨﺴ‪ ‬ﻴﺔ‪ ‬ﺍﻟﻮﺟﺪﺍﻧﻴ‪ ‬ﺔ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ ‬ﺭﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﺸ‪ ‬ﺮﻕ ‪ Voyage d'Orient ‬ﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻳﺮﻣﺰ‪ ‬ﻟﻠﺪﻭﻝ‪ ‬ﺑﺎﻟﺮﻣﻮﺯ‪ C ‬ﻭﻫﻲ‪ ‬ﻟﻠﺜﻘﺎﻓ‪ ‬ﺔ ‪ F ، Culture ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻟﻠﺘ‪ ‬ﺮﺍﺙ ‪ I ، Folklore ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻟﻠﺼ‪ ‬ﻨﺎﻋﺔ ‪، Industry ‬‬ ‫‪ ‬ﻭﻛﺎﻥ‪ ‬ﻧﺼﻴﺐ‪ ‬ﺍﻷﺳـﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﻨﺎﻋﺔ‪ ‬ﻷﻟﻤﺎﻧﻴﺎ‪ ،‬ﻭﺗﻘﺎﺳﻤﺖ‪ ‬ﺍﻟﺜـﻘﺎﻓﺔ‪ ‬ﻣ‪ ‬ﺪﻥ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻭﺭﻭﻣ‪ ‬ﺎ‪ ‬ﻭﺃﺛﻴﻨ‪ ‬ﺎ‪ ،‬ﻭﺣ‪ ‬ﺎﺯﺕ‪ ‬ﺑ‪ ‬ﻼﺩ‪ ‬ﺍﻟﺒﻠﻘ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‪ ‬ﺍﻟﺘ‪ ‬ﺮﺍﺙ‪ ‬ﻭﺍﻟﻤﺨ‪ ‬ﺰﻭﻥ‪ ‬ﺍﻟﺸ‪ ‬ﻌﺒﻲ‪ ،‬ﻛ‪ ‬ﻞ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﺒﻴﻠﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﺰﺝ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﻴﺌﺎﺗ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻭﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪. ‬‬

‫‪ ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺃﻋﺠ‪ ‬ﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺭﺣﻠﺘ‪ ‬ﻪ‪ ‬ﺑﻤ‪ ‬ﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻭﻧﺴ‪ ‬ﺒﻪ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﺟﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﻄﻨﺒﻮﻝ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﻋﻤﺎﺭﺗﻬ‪ ‬ﺎ‪ " : ‬ﻟﻘ‪ ‬ﺪ‪ ‬ﻣﻨﺤﺘﻨ‪ ‬ﺎ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻌﺮﺑﻴ‪ ‬ﺔ‪ ‬ﺩﺭﺳ‪ ‬ﺎ‪ ‬ﻻ‪ ‬ﻳﻘ‪ ‬ﺪﺭ‪ ‬ﺑ‪ ‬ﺜﻤﻦ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺍﺳ‪ ‬ﺘﻮﻋﺒﺖ‪ ‬ﻛﻴ‪ ‬ﻒ‪ ‬ﻳ‪ ‬ﻨﻔﺾ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‬ ‫‪ ‬ﻭﻳﻨﻜﺸﻒ‪ ‬ﻟﻠﻤﺎﺭ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻟﻪ‪ ‬ﻭﺍﻟﻤﺘﻨﻘﻞ‪ ‬ﻓﻴﻪ‪ ‬ﻣﻦ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻵﺧﺮ‪ ،‬ﻭﻫﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻋﻜﺲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺒﺎﺭﻭﻛﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻮﺭ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﻣﻌﺎﻟﺠﺎﺕ‪ ‬ﻟﻨﻘﻄﺔ‪ ‬ﻣﺮﻛﺰﻳﺔ‪ ،‬ﻭ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻲ‪ ‬ﻓ‪ ‬ﺄﻧ‪ ‬ﺎ‪ ‬ﺃﻓﻀ‪ ‬ﻞ‪ ‬ﺩﺭﺱ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻌﺮﺑﻴ‪ ‬ﺔ‪ ، ۳ " ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﺻ‪ ‬ﺒﺤﺖ‪ ‬ﺍﺳ‪ ‬ﻄﻨﺒﻮﻝ‬ ‫‪1 ‬‬

‫‪compare LC, ' Towards a New Architecture ' pp. 206 ‬‬ ‫‪ 2 ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪۱۹۲ ‬‬ ‫‪3 ‬‬ ‫‪LC, ' Oeuvre Complète: 1929­1934 ' pp.24‬‬

‫‪­ ٦۹ ­ ‬‬

‫‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻤﺸﻬﺪ‪ ‬ﺍﻟﺤﻀﺎﺭﻱ‪ ‬ﺍﻟﻨﻤ‪ ‬ﻮﺫﺟﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻻ‪ ‬ﻳﻨﺴ‪ ‬ﻰ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻣﺘﻔ‪ ‬ﺮﺩﺓ‪ ‬ﺣﻘﻘ‪ ‬ﺖ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺧﻼﻝ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺗﺼﻤﻴﻤﻬﺎ‪ ‬ﺍﻟﻘﻴﺎﺳﻲ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻨﺎﺻﺮ‪ ‬ﻣﻜﻌﺒﺔ‪ ،‬ﻭﺃﺟﻤﻞ‪ ‬ﻣﺎ‪ ‬ﺗﻜﻮﻥ‪ ‬ﻋﻠﻴﻪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺎﻓﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺒﺤﺮ‪ ‬ﻭﻟﻴﺲ‪ ‬ﻛﻤﺎ‪ ‬ﺗﺒﺪﻭ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﺍﻗﻊ‪ ‬ﻣﻦ‪ ‬ﺷﻮﺍﺭﻋﻬﺎ‬

‫‪۱ ‬‬

‫‪ ۱۹۱٤ ‬ﺻﻨﻊ‪ ‬ﻧﻤﻮﺫﺟﺎ‪ ‬ﺗﻔﺼﻴﻠﻴﺎ‪ ‬ﻟﻄﺎﺑﻘﻴﻦ‪ ‬ﻛﺎﻧﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﺴﺎﻃﺔ‪ ‬ﻟﻴﺼﺒﺤﺎ‪ ‬ﺗﺼﻤﻴﻤﺎ‪ ‬ﻟﻠﻌﺒﺔ‪ ‬ﺃﻃﻔ‪ ‬ﺎﻝ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺳ‪ ‬ﺘﺔ‬ ‫‪ ‬ﺃﻋﻤﺪﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴﻠﺢ‪ ،‬ﻭﺛﻼﺛﺔ‪ ‬ﻛﻤﺮﺍﺕ‪ ‬ﺃﻓﻘﻴﺔ‪ ‬ﺃﺳﻤﻨﺘﻴﺔ‪ ،‬ﻭﺳ‪ ‬ﻠﻢ‪ ‬ﻣﺜﺒﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺩﻋﺎﻣﺔ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺴﺘﺔ‪ ‬ﺃﺭﺍﺣﺖ‬ ‫‪ ‬ﺍﻟﻮﺍﺟﻬﺎﺕ‪ ‬ﻭﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻭﻇﻴﻔﺔ‪ ‬ﺍﻟﺘﺤﻤﻴﻞ‪ ‬ﻭﺍﻟﻤﺴﺎﻧﺪﺓ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺃﺑﻌ‪ ‬ﺪﺕ‪ ‬ﻋﻨﻬ‪ ‬ﺎ‪ ،‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺗﺤﺮﻳﻜﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺃﻭ‪ ‬ﺗﺸ‪ ‬ﻜﻴﻠﻬﺎ‪ ‬ﺃﻭﺩﻣ‪ ‬ﺞ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻤ‪ ‬ﻮﺫﺝ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﺃﻓﻘ‪ ‬ﻲ‪ ‬ﺃﻭ‪ ‬ﺭﺃﺳ‪ ‬ﻲ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺮﻏﺒ‪ ‬ﺔ‪ ‬ﻟﺘﻌﻄ‪ ‬ﻲ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻻﻣﺘﻴ‪ ‬ﺎﺯﺍﺕ‪ ‬ﺍﻟﻨﺤﺘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻟﻠﻤﻌﻤﺎﺭﻱ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻌﻮ‪ ‬ﻣﺔ‪ ‬ﻭﺇﻓﺮﺍﺩ‪ ‬ﻭﺇﻇﻬﺎﺭ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻄﺤﺎﺕ‪ ‬ﺍﻷﻓﻘﻴ‪ ‬ﺔ‪ ،‬ﻭﺃﺳ‪ ‬ﻤﺎﻩ‪ ‬ﺑﻴ‪ ‬ﺖ‪ ‬ﺍﻟ‪ ‬ﺪﻭﻣﻴﻨﻮ ‪ Dom­ino ‬ﻭﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺍﺧﺘﺼﺎﺭ‪ ‬ﻟـ ‪ Domicile­Innovation ‬ﺃﻱ‪ : ‬ﻓﻜﺮﺓ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻹﻗﺎﻣﺔ‪ ‬ﺩﺍﺋﻤﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۸٤ ‬‬

‫‪ " ‬ﻣﻔﺘﺎﺡ‪ ‬ﺍﻟﻤﻨﺰﻝ‪ ‬ﺍﻟﻤﻴﻜﺎﻧﻴﻜﻲ‪ ‬ﻫﻮ‪ ‬ﻋﻨﺼﺮ‪ ‬ﺍﻟﺸﺒﺎﻙ‪ ‬ﺍﻟﻤﻮﺣﺪ‪ ‬ﻭﺍﻟﻤﻨ‪ ‬ﺘﺞ‪ ‬ﻛﻤﻴ‪ ‬ﺎ‪ ‬ﻭﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺗﻌ‪ ‬ﺪﻳﻞ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺰﻝ‪ ‬ﻭﺗﻜﻴﻴﻔ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﺳﺎﺳﻪ‪" ‬‬

‫‪۳ ‬‬

‫‪ ۱۹۱٦ ‬ﺗﻢ‪ ‬ﺑﻨﺎء‪ ‬ﺳﻴﻨﻤﺎ‪ ‬ﻻﺳﻜﺎﻻ ‪ La Scala ‬ﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻘﻂ‪ ‬ﺍﻷﻓﻘ‪ ‬ﻲ‪ ‬ﻟﺸ‪ ‬ﺎﺑﺎﻻﺯ‪ ،‬ﻭﻓ‪ ‬ﻴﻼ‪ ‬ﺷ‪ ‬ﻮﻭﺏ ‪ Schwob ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻻ‪ ‬ﺷﻮ‪ ‬ﺩﻭ‪ ‬ﻓﻮﻥ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻧﺘﻬﻰ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻤ‪ ‬ﺎ‪ ۱۹۱۷ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﻭﻷﻭﻝ‪ ‬ﻣ‪ ‬ﺮﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺤ‪ ‬ﻴﻂ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺳ‪ ‬ﻤﻨﺖ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻠﺢ‬ ‫‪ ‬ﺍﻟﻤﻘﺎﻭﻡ‪ ‬ﻟﻠﺤﺮﻳﻖ‪ ‬ﺣﻴﺚ‪ ‬ﺍﺗﺨﺬ‪ ‬ﻣﺜﺎﻻ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ،‬ﻭﻗﺎﻣ‪ ‬ﺖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﻣﺴ‪ ‬ﻘﻂ‪ ‬ﺃﻓﻘ‪ ‬ﻲ‪ ‬ﻣﺮﺑ‪ ‬ﻊ‪ ،‬ﻭﺻ‪ ‬ﻴﻐﺔ‪ ‬ﺇﻳﻘﺎﻋﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺷ‪ ‬ﺒﻜﺔ‬ ‫‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﺴﺎﻋﺪﺓ‪ A1 B A B A1 : ‬ﺣﻴ‪ ‬ﺚ ‪ A ‬ﺿ‪ ‬ﻌﻒ‪ ‬ﺍﻻﺭﺗﻔ‪ ‬ﺎﻉ‪ A1 ،‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋﻤ‪ ‬ﻮﺩﻳﻦ‪ ‬ﺃﻭ‪ ‬ﺑ‪ ‬ﺎﻛﻴﺘﻴﻦ‪ ،‬ﻭﻫﻜ‪ ‬ﺬﺍ‬ ‫‪ ‬ﻭﺿﺢ‪ ‬ﺗﻮﻇﻴﻔﻪ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻷﻭﻝ‪ ‬ﻣﺮﺓ‪ ‬ﻓﻲ‪ ‬ﻣﺒﺎﻧﻴﻪ‪ ‬ﻋﺒﺮ‪ ‬ﻣﺎ‪ ‬ﺃﺳﻤﺎﻩ‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﱢﻤﺔ‪ ،‬ﻓﻜﺎﻧﺖ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ ‪1:1.618 ‬‬

‫‪1 ‬‬

‫‪Celik Zeynip, ‘ Le Corbusier, Orientalism, Colonialism ’, 1992 ‬‬ ‫‪Frampton Kenneth, ' Le Corbusier ' pp. 21 2 ‬‬ ‫‪3 ‬‬ ‫‪Salingaros Nikos A., 'A Scientific Basis For Creating Architectural Forms' pp. 288‬‬

‫‪­ ۷۰ ­ ‬‬

‫‪ ‬ﺍﻷﺳ‪ ‬ـﺎﺱ‪ ‬ﻓ‪ ‬ـﻲ‪ ‬ﺣﺴ‪ ‬ﺎﺏ‪ ‬ﺍﻟﻮﺍﺟﻬ‪ ‬ﺎﺕ‪ ،‬ﻛ‪ ‬ـﺬﻟﻚ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺍﻷﻗ‪ ‬ـﻮﺍﺱ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﻳ‪ ‬ﺔ‪ ‬ﻟﺘﺤﻘﻴ‪ ‬ﻖ‪ ‬ﺇﺳ‪ ‬ﻘﺎﻁ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺎﺕ‪ ‬ﺍﻟﺠﺎﻧﺒﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻮﺍﺟﻬﺎﺕ‪ ‬ﺍﻷﺧﺮﻯ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۸٥ ‬‬

‫‪ ۱۹۱۷ ‬ﺍﻧﺘﻘﻞ‪ ‬ﺇﻟﻰ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﻭﻋﻤﻞ‪ ‬ﻟﺪﻯ‪ ‬ﻣﺎﻛﺲ‪ ‬ﺩﻭ‪ ‬ﺑ‪ ‬ﻮﺍ‪ Max Du Bois ‬ﻛﺎﺳﺘﺸ‪ ‬ﺎﺭﻱ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ،‬ﻭﻛﻤ‪ ‬ﺪﻳﺮ‪ ‬ﻣﺴ‪ ‬ﺎﻋﺪ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻃﻮﺏ‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﺫﻱ‪ ‬ﺍﻟﺘﺮﻛﻴﺐ‪ ‬ﺍﻟﺨﺎﺹ‪ ‬ﺑﺪﻭﺑﻮﺍ‪ ،‬ﻭﺍﺳﺘﻤﺮ‪ ‬ﻓﻲ‪ ‬ﺗﺮﻛﻴﺰﻩ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻹﺳ‪ ‬ﻜﺎﻥ‪ ‬ﻣ‪ ‬ﻨﺨﻔﺾ‪ ‬ﺍﻟﺘﻜ‪ ‬ﺎﻟﻴﻒ ‪، ۱ ‬‬ ‫‪ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺃﻭﺍﺧ‪ ‬ﺮ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘﻘ‪ ‬ﻰ‪ ‬ﺑﺄﻣﻴﺪﻳ‪ ‬ﻪ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ ‪ ، * Amédée Ozenfant ‬ﻭﻗﺎﻣ‪ ‬ﺖ‪ ‬ﺑﻴﻨﻬﻤ‪ ‬ﺎ‪ ‬ﺻ‪ ‬ﺪﺍﻗﺔ‪ ‬ﺭﺍﺋﻌ‪ ‬ﺔ‪ ‬ﺍﻛﺘﺴ‪ ‬ﺐ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺧﻼﻟﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻄﺎﻗ‪ ‬ﺔ‪ ‬ﻭﺍﻹﺻ‪ ‬ﺮﺍﺭ‪ ‬ﻭﺍﻟﺘﺤ‪ ‬ﺪﻱ‪ ،‬ﻭﺍﻛﺘﺴ‪ ‬ﺐ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﺍﻟﺤ‪ ‬ﺲ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﻭﺍﻟﻨﻈ‪ ‬ﺮﺓ‬ ‫‪ ‬ﺍﻟﺸﺎﻣﻠﺔ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۸٦ ‬‬

‫‪ ۱۹۱۸ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﻦ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪ‪ ‬ﻭﺍﻟﺜﻼﺛ‪ ‬ﻴﻦ‪ ‬ﺃﻧﻬ‪ ‬ﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻟﻮﺣﺘ‪ ‬ﻪ‪ ‬ﺍﻟ‪ ‬ﺰﻳﺘﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻋﻨﻬ‪ ‬ﺎ‪ " : ‬ﺃﻥ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻷﻛﺮﻭﺑﻮﻟﻮﺱ‪ ­ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺛﻴﻨﻮﻥ ‪ ­ ‬ﻳﻜﻤ‪ ‬ﻦ‪ ‬ﺧﻠ‪ ‬ﻒ‪ ‬ﺛﻨﺎﻳ‪ ‬ﺎ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﺎ‪ ، ۲ " ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻛﺘ‪ ‬ﺎﺑﻴﻦ‪ ‬ﻭﻣﻜﻌ‪ ‬ﺐ‬ ‫‪ ‬ﺃﺑﻴﺾ‪ ‬ﻋﻠﻰ‪ ‬ﺭﻑ‪ ‬ﺍﻟﻤﻮﻗﺪ‪ ،‬ﻭﺃﻗـﺎﻡ‪ ‬ﺍﻹﺛﻨﻴﻦ‪ ‬ﺑﻌﺪ‪ ‬ﻓﺘﺮﺓ‪ ‬ﻣﻌﺮﺿ‪ ‬ﺎ‪ ‬ﻷﻋﻤﺎﻟﻬﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟ‪ ‬ﺎﻟﻴﺮﻱ‪ ‬ﺗﻮﻣ‪ ‬ﺎﺱ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﻣﺴ‪ ‬ﺎﻫﻤﺔ‬ ‫‪Frampton Kenneth, ' Le Corbusier ' pp. 21 1 ‬‬ ‫‪ * ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬ ‫‪2 ‬‬ ‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp.38‬‬

‫‪­ ۷۱ ­ ‬‬

‫‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬﻤ‪ ‬ﺎ‪ ۲۰ ‬ﻟﻮﺣ‪ ‬ﺔ‪ ‬ﺗﺤﻤ‪ ‬ﻞ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﻮﺣ‪ ‬ﺪ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺃﺳ‪ ‬ﻤﻮﻩ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺫﺍﺕ‪ ٤۰ ‬ﻧﻘﻄ‪ ‬ﺔ‪، 40 points, figures ‬‬ ‫‪ ‬ﻓﺄﻃﻠﻖ‪ ‬ﺍﻟﻨﻘﺎﺩ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﺍﻟﻤﺰﺍﻳﺪﺓ ‪ ، ۱ ‬ﻭﻗﺪ‪ ‬ﻧﺸﺮﺍ‪ ‬ﻣﻘﺎﻟﺘﻬﻤﺎ‪ " ‬ﻣﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ Aprés le Cubisme " ‬ﻓ‪ ‬ﻲ‪۱٥ ‬‬ ‫‪ ‬ﺃﻛﺘﻮﺑﺮ‪ ‬ﻭﻗﺪ‪ ‬ﺍﻓﺘﺘﺤﺖ‪ ‬ﺑﺎﻟﻌﺒﺎﺭﺓ‪ " : ‬ﺃﻣﺎ‪ ‬ﻭﻗﺪ‪ ‬ﺍﻧﺘﻬﺖ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﻓﻜﻞ‪ ‬ﺷﻲء‪ ‬ﻳﻨﺘﻈﻢ‪ ‬ﻭﻳﺘﻀﺢ‪ ‬ﻭﻳﺼﻴﺮ‪ ‬ﻧﻘﻴﺎ‪" ‬‬ ‫‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻗ‪ ‬ﺪﺭ‪ ‬ﻛﻼﻫﻤ‪ ‬ﺎ‪ ‬ﺍ‪ ‬ﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻻﻧﺴ‪ ‬ﺠﺎﻡ‪ ‬ﻭﺍﻟﺘﻌﺒﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﺎﻟ‪ ‬ﺐ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻭﺇﻃ‪ ‬ﻼﻕ‪ ‬ﺍﻟﻌﻨ‪ ‬ﺎﻥ‪ ‬ﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺼ‪ ‬ﺎﻓﻲ‪ ‬ﻭﺗﻘ‪ ‬ﺪﻳﺮ‪ ‬ﺃﻫﻤﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺎﻛﻴﻨﺔ‪ ،‬ﻭﻛﺎﻥ‪ ‬ﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﺃﻭﻝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻃﻠ‪ ‬ﻖ‪ ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ ‪ Purism ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻋﻤﺎﻟﻬﻤ‪ ‬ﺎ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﺻ‪ ‬ﺒﺤﺖ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‬ ‫‪ ‬ﻓﻨﻴﺔ‪ ‬ﺗﻐﻄﻲ‪ ‬ﺍﻷﺑﻌﺎﺩ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﺴﺎﻃﺔ‪ ‬ﻭﺍﻻﻗﺘﺼﺎﺩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﺳﺎﺋﻞ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺤﻘﻖ‪ ‬ﺍﻟﻘﻴﻤﺔ‬

‫‪ " ‬ﻓﻜﺮﺓ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺗﺄﺗﻲ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻠﻮﻥ‪ ،‬ﻓﺎﻟﺸﻜﻞ‪ ‬ﺃﻫﻤﻴﺘﻪ‪ ‬ﺃﻭﻟﻴﺔ‪ ،‬ﻭﺍﻟﻠﻮﻥ‪ ‬ﻫﻮ‪ ‬ﺃﺣﺪ‪ ‬ﻣﻠﺤﻘﺎﺗﻪ‪" ‬‬

‫‪۲ ‬‬

‫‪ ۱۹۱۹ ‬ﺃﺳﺴﺎ‪ ‬ﻣﺠﻠﺔ‪ ‬ﺍﻟﻔﻜﺮ‪ ‬ﺍﻟﺠﺪ‪ ‬ﻳﺪ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ ‪ L'ESPRIT NOUVEAU ‬ﻭﻫﻲ‪ " ‬ﻧﺸﺮﺓ‪ ‬ﻋﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻋﻠ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﺧﺼﺼ‪ ‬ﺖ‪ ‬ﻟﻠﻨﺸ‪ ‬ﺎﻃﺎﺕ‪ ‬ﺍﻟﻤﻌﺎﺻ‪ ‬ﺮﺓ‪ ، " ‬ﻭﻭﺟﻬ‪ ‬ﺖ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻮﺭﻳﻦ‪ ‬ﻭﺍﻟﻨﺤ‪ ‬ﺎﺗﻴﻦ‪ ‬ﻭﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﻭﺍﻟﻜﺘ‪ ‬ﺎﺏ‬ ‫‪ ‬ﻭﺍﻟﻤﻮﺳﻴﻘﻴﻴﻦ‪ ‬ﻭﺍﻟ‪ ‬ﺼﻨﺎﻋﻴﻴﻦ‪ ‬ﻭﺍﻟﻤﻬﻨﺪﺳﻴﻦ‪ ،‬ﻭﺃﻇﻬﺮﺕ‪ ‬ﻧﻮﻋﻴ‪ ‬ﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻹﺻ‪ ‬ﺪﺍﺭﺍﺕ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻔﻴﺔ‪ ‬ﺍﻟﺜﻘﺎﻓﻴ‪ ‬ﺔ‪ ‬ﺑﻤﺤﺘﻮﻳﺎﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻭﺭﺳﻮﻣﻬﺎ‪ ‬ﻓﺠﺎءﺕ‪ ‬ﻣﻌﺘﺪﻟﺔ‪ ‬ﻭﻣﺤﺎﻓﻈﺔ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺳ‪ ‬ﻌﺖ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺑﻠ‪ ‬ﻮﺭﺓ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﺓ‪ ‬ﺍﻟﻘﺎﺋﻠ‪ ‬ﺔ‪ ‬ﺑﻀ‪ ‬ﺮﻭﺭﺓ‪ ‬ﺍﻟﺘﻔﻜﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‬ ‫‪ ‬ﺑﻌﻴﺪﺓ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‪ ‬ﻓﻲ‪ ‬ﻇﻞ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻵﻟ‪ ‬ﺔ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﻛﺘﺎﺑﻬ‪ ‬ﺎ‪ : ‬ﺃﺩﻭﻟ‪ ‬ﻒ‪ ‬ﻟ‪ ‬ﻮﻭﺱ‪ ، Adolf Loos ‬ﺇﻟ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻮﺭ ‪، Elie Faur ‬‬ ‫‪ ‬ﻟ‪ ‬ﻮﻳﺲ‪ ‬ﺃﺭﺍﺟ‪ ‬ﻮﻥ ‪ ، Louis Aragon ‬ﺑ‪ ‬ﻮﻝ‪ ‬ﺩﻭﺭﻣﻴﻴ‪ ‬ﻪ ‪ ، Paul Dorméé ‬ﺟ‪ ‬ﻴﻦ‪ ‬ﻛﻮﻛﺘ‪ ‬ﻮ ‪ ، Jean Cocteau ‬ﻭﺑ‪ ‬ﺎﻟﻄﺒﻊ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ﻭﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﺍﻟﻠﺬﻳﻦ‪ ‬ﻛﺘﺒﺎ‪ ‬ﻣﻌﻈﻢ‪ ‬ﻣﻘﺎﻻﺗﻬﺎ‪ ،‬ﻭﻛﺎﻧﺎ‪ ‬ﻳﺘﺨﺬﺍﻥ‪ ‬ﺃﺳ‪ ‬ﻤﺎء‪ ‬ﻣﺴ‪ ‬ﺘﻌﺎﺭﺓ‪ ‬ﻟﻴﻮﻫﻤ‪ ‬ﺎ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺱ‪ ‬ﺑﻜﺜ‪ ‬ﺮﺓ‪ ‬ﻛﺘﺎﺑﻬ‪ ‬ﺎ‪،‬‬ ‫‪ ‬ﻭﻣﻦ‪ ‬ﻣﻮﺿﻮﻋﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺠﻠﺔ‪ : ‬ﺍﻟﻤﻨﺎﺯﻝ‪ ‬ﺍﻟﻤﺼﻨﻌﺔ‪ ‬ﻛﻤﻴﺎ‪ ،‬ﺍﻟﺒ‪ ‬ﺎﺭﺛﻴﻨﻮﻥ‪ ،‬ﺍﻟﺴ‪ ‬ﻴﺎﺭﺓ‪ ‬ﻛﺒﺮﻫ‪ ‬ﺎﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻓﻀ‪ ‬ﺎﺋﻞ‬ ‫‪ ‬ﺍﻟﺘﻮﺣﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ‪ ،‬ﻭﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﻤ‪ ‬ﺔ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻷﻣﺮﺍﺗﺨ‪ ‬ﺬ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺭﺳ‪ ‬ﻤﻴﺎ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺳ‪ ‬ﻢ‪ ) ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﺟ‪ ‬ﺪ‬ ‫‪ ‬ﻭﺍﻟﺪﺗﻪ‪ ( ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻋﺎﻡ‪ ، ۱۹۲٦ ‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﻤﺮﺕ‪ ‬ﺍﻟﻤﺠﻠﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪ ۱۹۲٥ ‬ﻓﻲ‪ ۲۸ ‬ﻋﺪﺩﺍ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﺍﻧﻔﺼ‪ ‬ﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺎﺭﺽ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺘﺮﻛﺔ‪ ، ‬ﻭﻳﺠ‪ ‬ﺪﺭ‪ ‬ﺑﺎﻟ‪ ‬ﺬﻛﺮ‪ ‬ﻫﻨ‪ ‬ﺎ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺣ‪ ‬ﺮﻑ‪ ‬ﺍﻟﻄﺒﺎﻋﻴ‪ ‬ﺔ‪ ‬ﻟﻤﺠﻠ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﺍﺳﺘﺨﺪﻣﺖ‪ ‬ﻓﻲ‪ ‬ﺃﻏﻠﺐ‪ ‬ﺍﻟﻜﺘﺐ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﺻﺪﺭﻫﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪. ‬‬

‫‪Le Corbusier, ' Art d'Aujourd'hui ' 1 ‬‬ ‫‪2 ‬‬ ‫‪Le Corbusier, ' Après le Cubisme ' 1918‬‬

‫‪­ ۷۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۸۷ ‬‬

‫‪ " ‬ﻻ‪ ‬ﺃﺣﺪ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻧﺤﺎﺗﺎ‪ ‬ﻓﻘﻂ‪ ‬ﺃﻭ‪ ‬ﻣﺼﻮﺭﺍ‪ ‬ﻓﻘﻂ‪ ‬ﺃﻭ‪ ‬ﻣﻌﻤﺎﺭﻳﺎ‪ ‬ﻓﻘﻂ‪ ،‬ﺍﻹﺑﺪﺍﻉ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻱ‪ ‬ﻧ‪ ‬ﻮﻉ‪ ‬ﻳﺨ‪ ‬ﺮﺝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺣﻴ‪ ‬ﺰ‪ ‬ﺍﻟﺘﻨﻔﻴ‪ ‬ﺬ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺭﻋﺎﻳﺔ‪ ‬ﺍﻟﺸﻌﺮ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹۲۰ ‬ﺗﻌ‪ ‬ﺮﻑ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻓﺮﻧﺎﻧ‪ ‬ﺪ‪ ‬ﻟﻴﺠﻴ‪ ‬ﻪ ‪ ۲ Fernand Léger ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻣﻬﺘﻤ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻤﺎﻛﻴﻨ‪ ‬ﺔ‪ ‬ﻭﺃﺑﻌﺎﺩﻫ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻻﺟﺘﻤﺎﻋﻴ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ،‬ﻗ‪ ‬ﺪ‪ ‬ﺗ‪ ‬ﺄﺛﺮ‪ ‬ﺑ‪ ‬ﻪ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﺣﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺑ‪ ‬ﺪﺍﺧﻞ‪ ‬ﺇﻃ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺠﺮﻳﺪﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺟﺬﺑﺘ‪ ‬ﻪ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘﺎﻟ‪ ‬ﺐ‪ ‬ﺍﻻﺟﺘﻤ‪ ‬ﺎﻋﻲ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻗ‪ ‬ﺎﻝ‪ " : ‬ﺇﻥ‪ ‬ﺇﺑ‪ ‬ﺪﺍﻉ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻐ‪ ‬ـﺪ‪ ‬ﺳ‪ ‬ﻴﻜﻮ‪ ‬ﻥ‪ ‬ﺑﻌﻴ‪ ‬ﺪﺍ‪ ‬ﻋ‪ ‬ـﻦ‪ ‬ﺇﺩﺭﺍﻛﻨ‪ ‬ﺎ‪ ،‬ﻓﻜﻠﻤ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻧﺼﺮﻑ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻨﻘﻴﺔ‪ ‬ﺳﺘﻜﻮﻥ‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﺍﻟﻘﺮﻳﺒﺔ‪ ‬ﻣﻦ‪ ‬ﺟﺴﺪﻩ‪ ‬ﻓﻲ‪ ‬ﺍﺳﺘﻌﻤﺎﻟﻪ‪ ‬ﺍﻟﻴﻮﻣﻲ‪ ‬ﺃﻗﻞ‪ ‬ﺻﻠﺔ‪ ‬ﺑﻬﺎ‪" ‬‬

‫‪۳ ‬‬

‫‪ " ‬ﺗﺨﻄﻰ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺣﺪﻭﺩ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﺘﺠﺮﻳﺒﻴﺔ‪ ‬ﺑﺘﻌﻘﺒﻪ‪ ‬ﻟﻤﺜﺎﻟﻴﺔ‪ ‬ﺍﻟﻨﻘﺎء‪ ،‬ﻭﺍﺳﺘﻄﺎﻉ‪ ‬ﺻ‪ ‬ﻨﻊ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﻣﺜ‪ ‬ﺎﻟﻲ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﺩﻭﻥ‪ ‬ﺍﻟﺤﺎﺟ‪ ‬ﺔ‬ ‫‪ ‬ﻻﺗﺼﺎﻝ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺎﺩﺓ‪ ‬ﻭﺍﻟﻮﺍﻗﻊ‪ ،‬ﺃﻭ‪ ‬ﺍﺑﺘﻜﺎ‪ ‬ﺭ‪ ‬ﺭﻣﺰ‪ ‬ﻟﻠﻜﻤﺎﻝ‪ ،‬ﺃﻭ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺧﻄ‪ ‬ﺄ‪ ‬ﻋﻤﻠ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻲ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﺪﺭﻙ‪ ،‬ﻣﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻳﺆﺩﻱ‪ ‬ﻛﺎﻟﻌﺎﺩﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻧﻌﺰﺍﻝ‪ ‬ﺍﻟﺸﻌﺮﺍء‪ ‬ﺍﻷﻧﻘﻴﺎء‪" ‬‬

‫‪٤ ‬‬

‫‪ ‬ﺗﻤﺖ‪ ‬ﺇﻋﺎﺩﺓ‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﻗﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺃﻭ‪ ‬ﺗﻨﻈ‪ ‬ﻴﻢ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﺃﺿ‪ ‬ﻌﻒ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻔﺘ‪ ‬ﺮﺓ‬ ‫‪ ‬ﺗﻌﺎﻟﺖ‪ ‬ﺍﻟﺼﻴﺤﺎﺕ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻻﺗﺠ‪ ‬ﺎﻩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﺎﺕ‪ ‬ﺍﻟﺜﻘﻴﻠ‪ ‬ﺔ‪ ،‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺑ‪ ‬ﺪﺃﺕ‪ ‬ﺩﻭﺭﺓ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻟﻠﺘﺨﻄ‪ ‬ﻴﻂ‪ ‬ﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‪ ‬ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﺍﺻﻄﺪﻡ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘﺠﺪﻳ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻔ‪ ‬ﺎﻫﻴﻢ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻭﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺘﻘﻠﻴﺪﻳ‪ ‬ﺔ‪ ،‬ﻟﻜ‪ ‬ﻦ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﺓ‪ ‬ﺍﺳ‪ ‬ﺘﻤﺮﺕ‪ ‬ﻭﺃﺑ‪ ‬ﺪﺕ‬ ‫‪ ‬ﺿﺮﻭﺭﺓ‪ ‬ﺍﻹﻧﺘﺎﺝ‪ ‬ﺍﻟﻜﻤﻲ‪ ‬ﻟﻠﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﺃﻭ‪ ‬ﺃﺟﺰﺍﺋﻬ‪ ‬ﺎ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺣﻜ‪ ‬ﻢ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻌﻤﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺆﺳﺴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﻴﺔ‪ ‬ﺍﻟﻤﻌﺎﺻ‪ ‬ﺮﺓ‪ ‬ﺑﺈﻧﺘﺎﺟﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻟﻠﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﺳ‪ ‬ﺎﺑﻘﺔ‪ ‬ﺍﻹﻧﺘ‪ ‬ﺎﺝ‪ ‬ﻭﺍﻟﺘﺠﻬﻴ‪ ‬ﺰ‪ ،‬ﻣﻤ‪ ‬ﺎ‪ ‬ﺃﺑ‪ ‬ﺪﻯ‪ ‬ﺿ‪ ‬ﺮﻭﺭﺓ‪ ‬ﺇﺣﻜ‪ ‬ﺎﻡ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺼ‪ ‬ﻴﻎ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪ ‬ﺍﻟﺴ‪ ‬ﻠﻴﻤﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‬ ‫‪ ‬ﺍﻟﺘﻮﻓﻴﻖ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻈﺎﻣﻲ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﻭﻫﻤﺎ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﻤﺘﺮ‪ ‬ﻭﻧﻈﺎﻡ‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‪ ‬ﻟﻠﺤﻔﺎﻅ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﻭﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‬ ‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp.43 1 ‬‬ ‫‪2 ‬‬ ‫‪ ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬ ‫‪LC, ' City of Tomorrow ' pp. 22 3 ‬‬ ‫‪4 ‬‬ ‫‪Le Corbusier, ' La Peintre Moderne ' 1925‬‬

‫‪­ ۷۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۸۸ ‬‬

‫‪ ۱۹۲۲ ‬ﻳﻨﺘﻘﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻹﻗﺎﻣ‪ ‬ﺔ‪ ‬ﻣﻜﺘﺒ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ 35 rue de sevrés ‬ﻣ‪ ‬ﻊ‪ ‬ﻗﺮﻳﺒ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﻴﻴ‪ ‬ﺮ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ ‪ * ‬ﻓ‪ ‬ﻲ‪ ‬ﺳﻮﻳﺴ‪ ‬ﺮﺍ‬ ‫‪ ‬ﺣﻴﺚ‪ ‬ﺃﺳﺴﺎ‪ ‬ﻣﺤﺘﺮﻓﺎ‪ ‬ﻟﻠﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄ‪ ‬ﺎﺑﻖ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺩﻳ‪ ‬ﺮ‪ ‬ﻳﺴ‪ ‬ﻮﻋﻲ‪ ‬ﻗ‪ ‬ﺪﻳﻢ‪ ،‬ﻭﻳﺼ‪ ‬ﺒﺢ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻷﺳ‪ ‬ﺘﻮﺩﻳﻮ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﻣﻀﻲ‪ ‬ﺍﻟﻮﻗﺖ‪ ‬ﻣﺤﻂ‪ ‬ﺃﻧﻈﺎﺭ‪ ‬ﺷﺒﺎﺏ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻴﺎﺑ‪ ‬ﺎﻥ‪ ‬ﻭﺑﺮﻳﻄﺎﻧﻴ‪ ‬ﺎ‪ ‬ﻭﺍﻟﻮﻻﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ‪ ‬ﻭﺃﻣﺮﻳﻜ‪ ‬ﺎ‪ ‬ﺍﻟﺠﻨﻮﺑﻴ‪ ‬ﺔ‪ ،‬ﻭﻻ‬ ‫‪ ‬ﻳﻤﻀﻲ‪ ‬ﺃﺳﺒﻮﻉ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻣﻦ‪ ‬ﻏﻴﺮ‪ ‬ﺯﻭﺍﺭ‪ ،‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣ‪ ‬ﻤﺮ‪ ‬ﻃﻮﻳﻞ‪ ‬ﻣﺘﺮﺏ‪ ‬ﻳﺆﺩﻱ‪ ‬ﺇﻟﻰ‪ ‬ﺳﻠﻢ‪ ‬ﺩﻭﺭﺍﻧﻲ‪ ‬ﻳﻘ‪ ‬ﻮﺩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺑ‪ ‬ﺎﺏ‬ ‫‪ ‬ﺧﺸﺒﻲ‪ ‬ﻗﺪﻳﻢ‪ ‬ﺣﻴﺚ‪ ‬ﻏﺮﻓﺔ‪ ‬ﺍﻻﻧﺘﻈﺎﺭ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺤﻮﻱ‪ ‬ﺑﻮﺍﺑﺔ‪ ‬ﺻﻐﻴﺮﺓ‪ ‬ﻣﻌﻠ‪ ‬ﻖ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﻻﻓﺘ‪ ‬ـﺔ ‪ " ‬ﻣﻤﻨ‪ ‬ﻮﻉ‪ ‬ﺍﻟ‪ ‬ﺪﺧﻮﻝ‪ ، " ‬ﻭﺭﺍءﻫ‪ ‬ﺎ‬ ‫‪ ‬ﻣﻜﺘﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻀﻴﻖ‪ ‬ﺑﺄﺑﻌﺎﺩ‪ ۲٦٦ x ( ۳۳ + ۲۲٦ ) x ۲۲٦ ‬ﺳﻢ‪ ،‬ﻭﻫﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﻴﺄﺗﻲ‬ ‫‪ ‬ﻻﺣﻘ‪ ‬ﺎ‪ ،‬ﻭ‪ ‬ﻳﺤ‪ ‬ﻮﻱ‪ ‬ﺻ‪ ‬ﻮﺭﺓ‪ ‬ﻓﻮﺗﻮﺟﺮﺍﻓ‪ ‬ﻴ‪ ‬ﺔ‪ ‬ﻛﺒﻴ‪ ‬ﺮﺓ‪ ‬ﻷﻃﻔ‪ ‬ﺎﻝ‪ ‬ﻳﻠﻌﺒ‪ ‬ﻮﻥ‪ ‬ﻣﻌﻠﻘ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻘﻔﻪ‪ ،‬ﻭﻳﻈ‪ ‬ﻞ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺣﺘ‪ ‬ﻰ‬ ‫‪ ‬ﻭﻓﺎﺗﻪ‪ ،‬ﻭﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻧﻔﺴﻪ‪ ‬ﺗﻘﺎﻡ‪ ‬ﺃﻭﻝ‪ ‬ﻧﺪﻭﺓ‪ ‬ﻋﺎﻣﺔ‪ ‬ﻳﺤﻀﺮﻫﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺴﻮﺭﺑﻮﻥ‪ ‬ﻟﻤﻨﺎﻗﺸ‪ ‬ﺔ‪ ‬ﻧﻤﺎﺫﺟ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪. ‬‬ ‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻳﻲ‪ ‬ﺍﻟﺼ‪ ‬ﺪﺍﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﺍﺛ‪ ‬ﺔ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺃﺛﻨ‪ ‬ﻰ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺩﻋ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺗﻠﺒ‪ ‬ﻲ‪ ‬ﺍﻻﺣﺘﻴﺎﺟ‪ ‬ﺎﺕ‪ ‬ﻭﻻ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﺗﻄﺒﻴﻘ‪ ‬ﺎ‪ ‬ﻷﻧﻈﻤ‪ ‬ﺔ‪ ‬ﻋﺮﻓﻴ‪ ‬ﺔ‪ ،‬ﻭﺑﻴﻨ‪ ‬ﺖ‪ ‬ﻛﺘﺎﺑﺎﺗ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﺪﻯ‪ ‬ﺭﻏﺒﺘ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺃﺳﺎﻟﻴﺐ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺍﻟﻤﻠﻬﻤﺔ‪ ‬ﺑﺎﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻛﻤﺎ‪ ‬ﺍﻣﺘﻸﺕ‪ ‬ﻛﺘﺒﻪ‪ ‬ﺑ‪ ‬ﺎﻟﻄﺮﻕ‪ ‬ﺍﻟﻌﻠﻤﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻧﺠ‪ ‬ﺎﺯ‬ ‫‪ ‬ﺍﻟﻌﻤﻞ‪. ‬‬

‫‪ " ‬ﻓﻜﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻛﺠﺎﻟﺐ‪ ‬ﻟﻠﻔﺮﺍﻍ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹۲۳ ‬ﻳﻨﺸﺮ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﻣﻘﺎﻻﺗﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ ‬ﺃﺳ‪ ‬ﻤﺎﻩ‪ " ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪Towards a New " ‬‬

‫‪ Architecture ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺮ‪ ‬ﻛﻨﻤ‪ ‬ﻮﺫﺝ‪ ‬ﻭﺣﻴ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺐ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﺨﺼﺼ‪ ‬ﺔ‪ ‬ﻭﺿ‪ ‬ﻤﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﺍﻷﺩﺏ‬ ‫‪ ‬ﺍﻟﺠ‪ ‬ﻮﻫﺮﻱ‪ ‬ﺍﻟﻤﺘﻜﺎﻣ‪ ‬ﻞ‪ ‬ﻟﻠﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮﻳﻦ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﻭﻝ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺐ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺳ‪ ‬ﺎﻋﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻬﺮﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻋﺎﻟﻤﻴ‪ ‬ﺎ‪ ،‬ﺣﻴ‪ ‬ﺚ‬ ‫‪ * ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬ ‫‪1 ‬‬ ‫‪Le Corbusier, ' Art d'Aujourd'hui ' 1950‬‬

‫‪­ ۷٤ ­ ‬‬

‫‪ ‬ﻭﺻﻒ‪ ‬ﺍ‪ ‬ﻟﻌﻤﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﻮﻧﻬ‪ ‬ﺎ‪ ‬ﺃﺳ‪ ‬ﻠﻮﺑﺎ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﻃ‪ ‬ﺮﺍﺯ‪ ‬ﻟ‪ ‬ﻮﻳﺲ‪ ‬ﺍﻟﺮﺍﺑ‪ ‬ﻊ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ‬ﻭﺍﻟﺨ‪ ‬ﺎﻣﺲ‪ ‬ﻋﺸ‪ ‬ﺮ‬ ‫‪ ‬ﻭﺍﻟﺴﺎﺩﺱ‪ ‬ﻋﺸﺮ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻄﺮﺍﺯ‪ ‬ﺍﻟﻘﻮﻃﻲ‪ ‬ﻣﺜﻼ‪ ‬ﻫﻮ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﺮﻳﺸ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺭﺃﺱ‪ ‬ﺍﻟﻤ‪ ‬ﺮﺃﺓ‪ ،‬ﻓﺎﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻷﺳﺘﺎﺫ‪ ‬ﺍﻟﻤﺼﺤﺢ‪ ‬ﻭﻣﻮﺯﻋﺔ‪ ‬ﺍﻟﻜﺘﻞ‪ ‬ﻣﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺗﺤ‪ ‬ﺖ‪ ‬ﺍﻟﻀ‪ ‬ﻮء‪ ،‬ﻓﺒﻤ‪ ‬ﺎ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﻜﻌﺒ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻟﻤﺨ‪ ‬ﺎﺭﻳﻂ‪ ‬ﻭﺍﻷﺳ‪ ‬ﻄﻮﺍﻧﺎﺕ‪ ‬ﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻈﻬﺮﻫﺎ‪ ‬ﺍﻟﻀﻮء‪ ‬ﻟﻴﺴﺘﻔﺎﺩ‪ ‬ﻣﻨﻬﺎ‪ ،‬ﻓﺈﻥ‪ ‬ﻋﻴﻮﻧﻨﺎ‪ ‬ﺟﻌﻠﺖ‪ ‬ﻟﺘﺮﺍﻫ‪ ‬ﺎ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ، * ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺎﺏ‬ ‫‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﻨﺰﻝ‪ ‬ﻫﻮ‪ ‬ﻣﺎﻛﻴﻨﺔ‪ ‬ﻟﻠﻌ‪ ‬ﻴﺶ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ،‬ﻭﺍﻟﻌﺎﻃﻔ‪ ‬ﺔ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﺩﺭﺍﻣ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺤﺠ‪ ‬ﺮ‪ ‬ﺍﻷﺻ‪ ‬ﻢ‪ ،‬ﻓﻠ‪ ‬ﻢ‪ ‬ﻳﻈﻬ‪ ‬ﺮ‪ ‬ﺑﺄﻧ‪ ‬ﻪ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‬ ‫‪ ‬ﻧﺼﻴﺮ‪ ‬ﻟﻠﻔﻦ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﺃﻭ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻓﺤﺴﺐ‪ ‬ﺑﻞ‪ ‬ﻇﻬ‪ ‬ﺮ‪ ‬ﺑﺄﻧﻪ‪ ‬ﻣﺸﺮﻉ‪ ‬ﺍﺟﺘﻤﺎﻋﻲ‪ ‬ﻗﺪﻳﺮ‪ ‬ﻭﻧﺎﻗﺪ‪ ‬ﻓﻴﻠﺴﻮﻑ‬

‫‪۱ ‬‬

‫‪ ۱۹۲٤ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺟ‪ ‬ﺎﻥ‪ ‬ﺑﺎﺩﻭﻓﻴﺸ‪ ‬ﻲ ‪ Jean Badovici ‬ﺑﻨﺸ‪ ‬ﺮ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﺭﻳﻊ‪ ‬ﻭﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻤﻨﻔ‪ ‬ﺬﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻨﺘﺠﻬ‪ ‬ﺎ‪ ‬ﻣﻜﺘ‪ ‬ﺐ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺑﻴﻴﺮ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﻨﻈﻢ‪ ‬ﻓﻲ‪ ‬ﻣﺠﻠﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﻟﺤﻲ‪ ‬ﻭﺑﺼﻔﺔ‪ ‬ﺩﻭﺭﻳﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪۱۹۳۸ ‬‬

‫‪ " ‬ﻳﺒﺪﻭ‪ ‬ﺃﻥ‪ ‬ﺍﻹﺑﺪﺍﻉ‪ ‬ﻳﻨﺒﻊ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺤﺎﺟﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻭﺿﻊ‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﻓﻲ‪ ‬ﻧﻈﺎﻡ‪" ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۸۹ ‬‬

‫‪ ۱۹۲٥ ‬ﺇﻧﺸﺎء‪ ‬ﺟﻨﺎﺡ‪ ‬ﺍﻟ‪ ‬ﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ ‪ L'ESPRIT NOUVEAU ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻤﻲ‪ ‬ﻟﻠﻔﻨ‪ ‬ﻮﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪،‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﺻﻞ‪ ‬ﻓﻜﺮﺓ‪ ‬ﺗﻄﻮﺭﺕ‪ ‬ﻣﻊ‪ ‬ﺑﻴﻴ‪ ‬ﺮ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۲۲ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻜﻼ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺍ‪ ‬ﻟﻠﻤﺴ‪ ‬ﺎﺣﺔ‪ ‬ﺍﻟﺼ‪ ‬ﺎﻟﺤﺔ‬ ‫‪ ‬ﻟﻠﺴ‪ ‬ﻜﻨﻰ ‪ space habitable ‬ﻣﺴ‪ ‬ﺘﺜﻨﻴﺎ‪ ‬ﻓﻜ‪ ‬ﺮﺓ‪ ‬ﺍﻟ‪ ‬ﺰﺧﺮﻓ‪ ‬ﺔ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻭﻣﺴ‪ ‬ﺘﻌﻴﻨﺎ‪ ‬ﺑﻨﻤ‪ ‬ﺎﺫﺝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺪﺍﺕ‪ ‬ﺍﻟﻤﻨﺰﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‬ ‫‪ ‬ﻟﺸﺎﺭﻟﻮﺕ‪ ‬ﺑﻴﺮﻳﺎﻥ ‪ ۳ ‬ﻭﻗﺪ‪ ‬ﺍﻋﺘﺒﺮ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺛﻮﺭﻳﺎ‪ ‬ﻷﻧﻪ‪ ‬ﻓﺮﻕ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻻﺳﺘﺨﺪﺍﻣﺎﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻟﻠﺨﺎﻣﺎﺕ‪ ‬ﺣﺴﺐ‪ ‬ﻧﻮﻋﻴﺘﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻭﻗﺖ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺍﻟﺨﺎﻣ‪ ‬ﺎﺕ‪ ‬ﻻ‪ ‬ﺗﺆﺧ‪ ‬ﺬ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻻﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﺘﻮﺣﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ‪ ‬ﻣﺘﻀ‪ ‬ﺎﺭﺑﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻵﺭﺕ‪ ‬ﻧﻮﻓﻮ‪ ‬ﺍﻟﺰﺧﺮﻓﻲ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺍﻋﺘﺒﺮ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻋﺪﺍﺋﻴﺎ‪ ‬ﻭﺗﻢ‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺃﺳﻮﺃ‪ ‬ﺑﻘﻌـﺔ‪ ‬ﻟﻴﻌ‪ ‬ﺮﺽ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ـﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﺒﻨ‪ ‬ﺎﻩ‪،‬‬ ‫‪ ‬ﺛﻢ‪ ‬ﺑﻨﻲ‪ ‬ﺳ‪ ‬ﻮﺭ‪ ‬ﺣﻮﻟﻬ‪ ‬ﺎ‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﻪ‪ ‬ﺃﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺃﻣﺘ‪ ‬ﺎﺭ‪ ‬ﻟﺤﺠ‪ ‬ﺐ‪ ‬ﺍﻟ‪ ‬ﺰﻭﺍﺭ‪ ‬ﻋﻨ‪ ‬ﻪ‪ ­ ‬ﺃﺯﺍﻟ‪ ‬ﻪ‪ ‬ﺭﺋ‪ ‬ﻴﺲ‪ ‬ﺍﻟ‪ ‬ﻮﺯﺭﺍء‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻲ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺍﻻﻓﺘﺘ‪ ‬ﺎﺡ‬ ‫‪ ‬ﻣﺒﺎﺷﺮﺓ ‪ ، ­ ‬ﻛﺬﻟﻚ‪ ‬ﺍﻋﺘﺮﺽ‪ ‬ﺍﻟﻌﻀﻮ‪ ‬ﺍﻟﻔﺮﻧﺴﻲ‪ ‬ﻋﻠﻰ‪ ‬ﻣﻨﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺠﺎﺋﺰﺓ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺣﺴﺐ‪ ‬ﻗﺮﺍﺭ‪ ‬ﺑﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻋﻀ‪ ‬ﺎء‬ ‫‪1 ‬‬

‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪٤٥ ‬‬ ‫‪LC, ' La Peintre Moderne ' 1925 2 ‬‬ ‫‪3 ‬‬ ‫ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬

‫‪­ ۷٥ ­ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻟﺠﻨﺔ‪ ‬ﺍﻟﺘﺤﻜﻴﻢ‪ ،‬ﻟﻜﻦ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻭﺡ‪ ‬ﺍﻟﺠ‪ ‬ـﺪﻳﺪﺓ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻉ‪ ‬ﺍﻻﻧﺘﺼ‪ ‬ﺎﺭ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻋﻨﺼ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺰﻣﻦ‪ ‬ﻭﺑﻘ‪ ‬ﻲ‪ ‬ﻭﺣ‪ ‬ﺪﻩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﺫﻫ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺑﻴﻦ‪ ‬ﺑﻘﻴﺔ‪ ‬ﺍﻷﺟﻨﺤﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻭﻗﺘﻨﺎ‪ ‬ﺍﻟﺤﺎﺿﺮ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۰ ‬‬

‫‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻓﻴﺮﻧﺎﻧ‪ ‬ﺪ‪ ‬ﻟﻴﺠﻴ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ " : ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻭﻝ‪ ‬ﺑﺮﻫ‪ ‬ﺎﻥ‪ ‬ﻋﻤﻠ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﺃﻇﻬ‪ ‬ﺮ‪ ‬ﺻ‪ ‬ﻴﻐﺔ‪ ‬ﻧﻘﻴ‪ ‬ﺔ‪ ‬ﻟﻠﺘﺼ‪ ‬ﻤﻴﻢ‬ ‫‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﺑﻌﺪ‪ ‬ﻓﺘﺮﺓ‪ ‬ﻃﻮﻳﻠﺔ‪ ‬ﻟﻢ‪ ‬ﻳﻌﺮﻑ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺃﺣﺪ‪ ‬ﻣﻌﻨﻰ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﺼﻄﻠﺢ‪ ،‬ﻓﻘﺪ‪ ‬ﺍﺧﺘﻔﻰ‪ ‬ﺗﺤﺖ‪ ‬ﺍﻟﺴﺘﺎﺋﺮ‪ ،‬ﻭﻟ‪ ‬ﻮّﻥ‪ ‬ﻭﺭﻕ‪ ‬ﺍﻟﺤ‪ ‬ﺎﺋﻂ‬ ‫‪ ‬ﺍﻟﺼﻮﺭ‪ ‬ﻭﺣ‪ ‬ﻞّ‪ ‬ﻣﺤ‪ ‬ﻞ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺰﺧﺮﻓﻴ‪ ‬ﺔ‪ ، ( ۰۰۰ ) ،‬ﻭﻋ‪ ‬ﺮﺽ‪ ‬ﻋﻠﻴﻨ‪ ‬ﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺣﺎﺋﻄ‪ ‬ﺎ‪ ‬ﺃﺑ‪ ‬ﻴﺾ‪ ‬ﻛﻨ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺎﺟ‪ ‬ﺔ‬ ‫‪ ‬ﺇﻟﻴﻪ‪ ،‬ﻓﻬﻮ‪ ‬ﺷﻲء‪ ‬ﺟﻤﻴﻞ‪ ، ۱ " ‬ﻛﻤﺎ‪ ‬ﺗﻀﻤﻦ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﻟﻠﻴﺠﻴﻪ‪ ،‬ﻭﻣﻨﺤﻮ‪ ‬ﺗﺎﺕ‪ ‬ﻟﻠﻴﺒﺸﻴﺘﺰ‪ ،‬ﻟﺌﻼ‪ ‬ﻳﺼﻌﺐ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺣﺪ‪ ‬ﻓﻬ‪ ‬ﻢ‬ ‫‪ ‬ﻣﻘﺼﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻋﻦ‪ ‬ﻋﺎﻟﻢ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻭﻟﻴﺲ‪ ‬ﻣﺠﺮﺩ‪ ‬ﺍﻟﻮﻇﻴﻔ‪ ‬ﺔ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻻﻧﺘﻘ‪ ‬ﺎﺩ‪ ‬ﻳﻨﺼ‪ ‬ﺐ‬ ‫‪ ‬ﻋﻠﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﺒﺎﻧﻴﻪ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ۱۹۲۰ ‬ﻭ‪ ، ۲ ۱۹۳۰ ‬ﻭﻗﺎﻡ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﺑﻨﺸ‪ ‬ﺮ‪ ‬ﻣﺆﻟﻔﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﻨﻈ‪ ‬ﻴﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻳﻨﻲ‪ ،‬ﻭﻛﺘ‪ ‬ﺎﺏ‬ ‫‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺰﺧﺮﻓﻲ‪ ‬ﺍﻟﻴﻮﻡ‪ ،‬ﻭﻛﺘﺎﺏ‪ ‬ﺍﻟﺮﺳ‪ ‬ﻢ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ،‬ﻭﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻛﺬﻟﻚ‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺍﻧﺠﺬﺍﺑ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﺴ‪ ‬ﻴﺎﺭﺍﺕ‪ ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻳﻘ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺗﻌﻠﻤ‪ ‬ﻮﺍ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻴﻜﺎﻧﻴﻜ‪ ‬ﺎ‪ ‬ﺍﻟﺴ‪ ‬ﻴﺎﺭﺍﺕ‪ ،‬ﻭﺍﺷ‪ ‬ﺘﺮﻯ‪ ‬ﺳ‪ ‬ﻴﺎﺭﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧ‪ ‬ﻮﻉ ‪ Voisin ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺼ‪ ‬ﻮﺭﻫﺎ‪ ‬ﺃﻣ‪ ‬ﺎﻡ‬ ‫‪ ‬ﻣﺒﺎﻧﻴ‪ ‬ـﻪ‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻭﺍﺋ‪ ‬ـﻞ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﺃﺭّﺧ‪ ‬ﻮﺍ‪ ‬ﻷﻧﻔﺴ‪ ‬ﻬﻢ‪ ‬ﻣﺮﺍﺣ‪ ‬ﻞ‪ ‬ﺃﻋﻤ‪ ‬ﺎﻟﻬﻢ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﺑﺎﻟﺘﻘ‪ ‬ﺎﻃﻬﻢ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺭ‬ ‫‪ ‬ﺍﻟﻔﻮﺗﻮﺟﺮﺍﻓﻴﺔ‪ ‬ﻟﻌﻤﺎﺋﺮﻫﻢ‪ ،‬ﻭﻗﺪ‪ ‬ﺻﻤﻢ‪ ‬ﺳﻴﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺎﻡ‪ ۱۹۲۸ ‬ﺃﺳﻤﺎﻫﺎ‪ ‬ﺳﻴﺎﺭﺓ‪ ‬ﺍﻟﺤﺪ‪ ‬ﺍﻷﺩﻧﻰ‬

‫‪1 ‬‬

‫‪۳ ‬‬

‫‪Salingaros Nikos A., ' A Scientific Basis For Creating Architectural Forms ' pp. 289 ‬‬ ‫‪ 2 ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪۷۳ ‬‬ ‫‪3 ‬‬ ‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp.71‬‬

‫‪­ ۷٦ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۱ ‬‬

‫‪ ۱۹۲٦ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺗﻌﺎﻣﻠ‪ ‬ﻪ‪ ‬ﻭﺍﺿ‪ ‬ﺤﺎ‪ ‬ﺟ‪ ‬ﺪﺍ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺃﻗﺎﻣ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺍﻟﺪﻭﺭ‪ ‬ﺍﻟﻌﻠﻮﻱ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻏﺮﻓﺔ‪ ‬ﻭﺍﺣﺪﺓ‪ ‬ﻛﺒﻴﺮﺓ‪ ‬ﻣﻜﻌﺒﺔ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺗﺼ‪ ‬ﻨﻊ‪ ‬ﻭﺍﺟﻬﺘﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭ‪ ‬ﺍﻟﺴ‪ ‬ﻔﻠﻲ‪ ‬ﻣﺴ‪ ‬ﺘﻄﻴﻼ‪ ‬ﺫﻫﺒﻴ‪ ‬ﺎ‪،‬‬ ‫‪ ‬ﻭﺍﻟﺪﻭﺭ‪ ‬ﺍﻟﺴﻔﻠﻲ‪ ‬ﻛﺬﻟﻚ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﺫﻫﺒﻲ‪ ‬ﻣﺴﺘﻌﺮﺽ‪ ،‬ﻓﻜﺎﻥ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻗﺘﺼﺎﺩﻳﺎ‪ ‬ﺟﻤﻴﻼ‪ ،‬ﻭﻛﻤﺎ‪ ‬ﻳﻘﻮﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﻠﻤﺎ‬ ‫‪ ‬ﺍﺯﺩﺍﺩﺕ‪ ‬ﺛﻘﺎﻓﺔ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﻗﻠ‪ ‬ﺖ‪ ‬ﻣﻈ‪ ‬ﺎﻫﺮ‪ ‬ﺍﻟﺰﺧﺮﻓ‪ ‬ﺔ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻧﺸ‪ ‬ﺮ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ ‬ﺍﻟﻨﻘ‪ ‬ﺎﻁ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ‬ﻟﻠﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‬ ‫‪ ‬ﻭﻫﻲ‪: ‬‬ ‫‪ ( ۱ ) ‬ﺭﻓﻊ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻋﻤﺪﺓ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺠﻌﻠﻪ‪ ‬ﺻﺤﻴﺎ‪ ‬ﻭﻳﻤﻜﻦ‪ ‬ﺍﻟﻤﺮﻭﺭ‪ ‬ﺗﺤﺘﻪ‬ ‫‪ ( ۲ ) ‬ﻋﻤﻞ‪ ‬ﺣﺪﻳﻘﺔ‪ ‬ﺳﻄﺢ‪ ‬ﺃﻭ‪ ‬ﺣﺪﺍﺋﻖ‪ ‬ﻣﻌﻠﻘﺔ‬ ‫‪ ( ۳ ) ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻟﺤﺮ‪ ‬ﺑﺎﻟﻬﻴﻜﻞ‪ ‬ﺍﻟﺨﺮﺳﺎﻧﻲ‪ ‬ﻭﺍﺳﺘﻌﻤﺎﻝ‪ ‬ﺍﻟﻘﻮﺍﻃﻴﻊ‪ ‬ﺍﻟﺨﻔﻴﻔﺔ‬ ‫‪ ( ٤ ) ‬ﺍﺳﺘﻌﻤﺎﻝ‪ ‬ﺍﻟﺸﺒﺎﺑﻴﻚ‪ ‬ﺍﻷﻓﻘﻴﺔ‪ ‬ﺍﻟﻄﻮﻳﻠﺔ‪ ‬ﺑﻌﺮﺽ‪ ‬ﺍﻟﻐﺮﻑ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻮﺍﺟﻬﺎﺕ‬ ‫‪ ( ٥ ) ‬ﺍﻟﻮﺟﻬﺔ‪ ‬ﺍﻟﺤﺮﺓ‪ ‬ﺑﺎﻟﺨﺮﻭﺝ‪ ‬ﺑﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﻛﻮﺍﺑﻴﻞ‪ ‬ﺗﺤﻤﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﻤﺮﺗﺪﺓ‪ ‬ﻟﻠﺪﺍﺧﻞ‬ ‫‪ ( ٦ ) ‬ﺣﺎﺟﺒﺎﺕ‪ ‬ﺍﻟﺸﻤﺲ‬

‫‪1 ‬‬

‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ ‪۸٦‬‬

‫‪­ ۷۷ ­ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۲ ‬‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﻓﻘﺪ‪ ‬ﺃﺻﺒﺢ‪ ‬ﻳﻤﻀﻴﻬﺎ‪ ‬ﺑﺎﺳﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻦ‪ ‬ﺑﻌﺪ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ‪ ، ‬ﻭﺃﺻﺒﺢ‪ ‬ﻳﻤﺰﺝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﺍﻟﻨﻤﺎﺫﺝ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﺰﺟﺎﺟﺎﺕ‪ ‬ﻭﻋﻠﺐ‪ ‬ﺍﻟﻜﺒﺮﻳﺖ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻏﻤﻮﺿ‪ ‬ﺎ‪ ‬ﻭﻋﻀ‪ ‬ﻮﻳﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻘﻔ‪ ‬ﺎﺯﺍﺕ‪ ‬ﺍﻟﺠﻠﺪﻳ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺃﺷﻴﺎء‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺿﺌﻴﻠﺔ‪ ‬ﺍﻷﻫﻤﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻘﻮﺍﻗﻊ‪ ‬ﻭﺍﻟﻌﻈﺎﻡ‪ ‬ﻭﺛ‪ ‬ﻤﺎﺭ‪ ‬ﺍﻟﺼﻨﻮﺑﺮ‪ ‬ﻭﺍﻟﺤﺒﺎﻝ‪ ‬ﻭﺍﻟﺠﺬﻭﺭ‪ ‬ﻭﺍﻷﺧﺸﺎﺏ‪ ‬ﺣﻴﺚ‪ ‬ﺃﺳﻤﺎﻫﺎ‬ ‫‪ " ‬ﺃﺟﺴﺎﻣﺎ‪ ‬ﺫﺍﺕ‪ ‬ﺭﺩﻭﺩ‪ ‬ﻓﻌﻞ‪ ‬ﺷﻌﺮﻳﺔ‪ ، ۱ " ‬ﻭﺭﻏﻢ‪ ‬ﺍﺳﺘﻤﺮﺍﺭﻩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺇﻻ‪ ‬ﺃﻧﻪ‪ ‬ﻟـﻢ‪ ‬ﻳﻜﻦ‪ ‬ﻳﻌﺮﺽ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺣﺘﻰ‪ ‬ﻳﻘﺒ‪ ‬ﻞ‬ ‫‪ ‬ﺑﻪ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﻛﻤﻌﻤﺎﺭﻱ‪ ‬ﻣﺤﺘﺮﻑ‪ ‬ﻗﺒﻞ‪ ‬ﺃﻱ‪ ‬ﺷﻲء‪ ‬ﺁﺧﺮ‬

‫‪ ‬ﺷﻜﻞ‪۹۳ ‬‬

‫‪1 ‬‬

‫‪Moos, ' Le Corbusier as Painter ' P. 89, Le Corbusier, ' New World of Space ' pp. 33‬‬

‫‪­ ۷۸ ­ ‬‬

‫‪ ۱۹۲۷ ‬ﺗﻘﺪﻡ‪ ‬ﻓﻲ‪ ‬ﻣﺴﺎﺑﻘﺔ‪ ‬ﻟﻤﺸﺮﻭﻉ‪ ‬ﺇﻧﺸﺎء‪ ‬ﻣﺒﻨﻰ‪ ‬ﻋﺼﺒﺔ‪ ‬ﺍﻷﻣﻢ‪ ‬ﻓﻲ‪ ‬ﺟﻨ‪ ‬ﻴﻒ‪ ،‬ﻭﻛﺎﻥ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻋﻪ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﺍﻟﻮﺣﻴ‪ ‬ﺪ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺑﻴﻦ‪ ۳٦۰ ‬ﻣﺸﺮﻭﻉ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻧ‪ ‬ﺎﻝ‪ ‬ﺃﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺃﺻ‪ ‬ﻮﺍﺕ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺻ‪ ‬ﻞ‪ ‬ﺗﺴ‪ ‬ﻌﺔ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﻣﻤﺜ‪ ‬ﻞ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﺠﻨ‪ ‬ﺔ‪ ‬ﺃﺻ‪ ‬ﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺇﺧﺮﺍﺟﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺴﺎﺑﻘﺔ‪ ‬ﻷﻧﻪ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺍﻟﺤﺒ‪ ‬ﺮ‪ ‬ﺍﻟﺸ‪ ‬ﻴﻨﻲ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣﻨﺼ‪ ‬ﻮﺹ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺸ‪ ‬ﺮﻭﻁ‪ ‬ﻭﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺑ‪ ‬ﺪﻻ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﺣﺒ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﻄﺒﺎﻋﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﻛﺎﻥ‪ ،‬ﻭﻭﺻﻔﻬﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺣﻴﻨﻬﺎ‪ ‬ﺑﺎﻟ‪ ‬ﻤﺠﺎﻧﻴﻦ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﺣﻮﺍﻟﻲ‪ ٦ ‬ﺳﻨﻮﺍﺕ‪ ‬ﻭﺭﻏﻢ‪ ‬ﻛﻤﻴﺔ‪ ‬ﺭﺩﻭﺩ‪ ‬ﺍﻷﻓﻌﺎﻝ‬ ‫‪ ‬ﺍﻟﻤﻨﺎﻫﻀﺔ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﺗﻐﻴﻴﺮ‪ ‬ﻣﻜﺎﻥ‪ ‬ﺍﻟﻤﺒﺎﻧﻲ‪ ‬ﻗﺪﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗﺼﻤﻴﻤﺎ‪ ‬ﺁﺧﺮ‪ ‬ﻣﺘﻜﻴﻔﺎ‪ ‬ﻣﻊ‪ ‬ﺷ‪ ‬ﺮﻭﻁ‪ ‬ﺍﻟﻤﻜ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‪ ‬ﻭﻟ‪ ‬ﻢ‪ ‬ﻳﺆﺧ‪ ‬ﺬ‪ ‬ﺑ‪ ‬ـﻪ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ، ‬ﺛ‪ ‬ﻢ‪ ‬ﺗﻜﺸ‪ ‬ﻒ‪ ‬ﻟﻠﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﺍﻟﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻭﺟ‪ ‬ـﻪ‪ ‬ﺍﻟﺸ‪ ‬ﺒﻪ‪ ‬ﺍﻟﻜﺒﻴ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻧُﻔ‪ ‬ﺬ‪ ‬ﻭﺗﺼ‪ ‬ﻤﻴﻢ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ، ‬ﻏﻴﺮ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﻌﻮﻳﺾ‪ ‬ﺍﻟﻮﺣﻴﺪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻧﺎﻟﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻌﺪ‪ ۱۲ ‬ﻋﺎﻣﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻮﺍﻗﻌ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻥ‪ ‬ﺟﺎﻣﻌ‪ ‬ﺔ‬ ‫‪ ‬ﺯﻳﻮﺭﻳﺦ‪ ‬ﺍﺷﺘﺮﺕ‪ ‬ﺍﻟﺮﺳﻮﻣﺎﺕ‪ ‬ﺍﻟﺘﺨﻄﻴﻄﻴﺔ‪ ‬ﺍﻟﻤﻘﺪﻣﺔ‪ ‬ﻟﻠﻤﺴﺎﺑﻘﺔ‪ ‬ﺗﻘﺪﻳﺮﺍ‪ ‬ﻟﻬﺬﺍ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﺍﻟﻜﺒﻴﺮ‬ ‫‪ ‬ﻭﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺑﺪﺃ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺳﻠﺴﻠﺔ‪ ‬ﻣﺤﺎﺿﺮﺍﺕ‪ ‬ﻓﻲ‪ ‬ﻣﺪﺭﻳﺪ‪ ‬ﻭﺑﺮﺷﻠﻮﻧﺔ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۹٤ ‬‬

‫‪ " ‬ﺃﻓﻀﻞ‪ ‬ﺍﻟﺮﺳﻢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﺮﺡ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻜﻼﻡ‪ ، ‬ﻓﻬﻮ‪ ‬ﺃﺳﺮﻉ‪ ، ‬ﻭﻣﻨﺎﻃﻖ‪ ‬ﺍﻟﻜﺬﺏ‪ ‬ﻓﻴﻪ‪ ‬ﺿﻴﻘﺔ‪" ‬‬

‫‪ ۱۹۲۸ ‬ﺳﺎﻓﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺭﻭﺳﻴﺎ‪ ‬ﻓﻲ‪ ‬ﺃﻭﻝ‪ ‬ﺯﻳﺎﺭﺓ‪ ‬ﻟﻪ‪ ‬ﺇﻟﻰ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﻭﺑ‪ ‬ﺪﺃ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻗﺼ‪ ‬ﺮ‪ ‬ﺍﻟﺴﻨﺘﺮﻭﺳ‪ ‬ﻴﻮﺱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻮﺳ‪ ‬ﻜﻮ‪ ‬ﻭﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺃﺳ‪ ‬ﻤﺎﻩ‪ " ‬ﺍﻟﻘﺼ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﺪﻳﻢ‪ ‬ﺍﻟﺴ‪ ‬ﻼﻟﻢ‪ " ‬ﻭﺍﻫ‪ ‬ﺘﻢ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﺑﺎﻧﺴ‪ ‬ﻴﺎﺑﻴﺔ‪ ‬ﺍﻟﺤﺮﻛ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺃﺟﺰﺍﺋ‪ ‬ﻪ‪ ، ‬ﻭﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺳ‪ ‬ﺌﻞ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‬ ‫‪ ‬ﺍﻟﻤﺎﺿﻲ‪ ‬ﻫﻨﺎﻙ‪ ‬ﺃ‪ ‬ﺟﺎﺏ‪ " : ‬ﺇﻋﺎﺩﺓ‪ ‬ﺇﺣﻴﺎء‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺎﺿﻲ‪ ‬ﻫﻮ‪ ‬ﺧﻄﺄ‪ ‬ﺇﺟﺮﺍﻣﻲ‪ ،‬ﻓﻬﻲ‪ ‬ﻟﻢ‪ ‬ﺗﻌﺪ‪ ‬ﺃﻋﻀﺎء‪ ‬ﺣﻴﺔ‪ .. ‬ﻟﻢ‪ ‬ﺗﻌ‪ ‬ﺪ‬ ‫‪ ‬ﺳﻮﻯ‪ ‬ﺃﺷﺒﺎﺡ‪ ‬ﻣﻦ‪ ‬ﻋﺠﻴﻨﺔ‪ ‬ﺍﻟﻮﺭﻕ‪ ، ‬ﺗﺮﺟﻊ‪ ‬ﺃﻫﻤﻴﺘﻬﺎ‪ ‬ﻓﻘﻂ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺣﺘﻔﺎﻇﻬﺎ‪ ‬ﺑﻄﺎﺑﻌﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﻗ‪ ‬ﺖ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﻣﻌﺎﺻ‪ ‬ﺮﺓ‪ ، ‬ﺭﺑﻤ‪ ‬ﺎ‬ ‫‪۱ ‬‬

‫‪ ‬ﺗﻔﻴﺪﻧﺎ‪ ‬ﻛﺪﺭﺱ‪ ‬ﺍﻵﻥ‪ ‬ﻭﺗﺜﻴﺮ‪ ‬ﺇﻋﺠﺎﺑﻨﺎ‪ ‬ﻓﻘﻂ‪" ‬‬

‫‪1 ‬‬

‫‪Cohen, ' Le Corbusier & the Mystique of the USSR ' pp. 44‬‬

‫‪­ ۷۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹٥ ‬‬

‫‪ ‬ﻭﺳ‪ ‬ﺎﻓﺮ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻣﺮﻳﻜ‪ ‬ﺎ‪ ‬ﺍﻟﻼﺗﻴﻨﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ـﻲ‪ ‬ﺃﻭﻝ‪ ‬ﺯﻳ‪ ‬ﺎﺭﺓ‪ ‬ﻟ‪ ‬ـﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻟﻌ‪ ‬ـﻘﺪ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺤﺎﺿ‪ ‬ﺮﺍﺕ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ، ‬ﻭﻋﻨ‪ ‬ﺪ‪ ‬ﻋﻮﺩﺗ‪ ‬ﻪ‪ ‬ﺍﻧﻀ‪ ‬ﻢ‪ ‬ﻟﻨ‪ ‬ﺪﻭﺍﺕ‪ ‬ﺗﺒ‪ ‬ﺎﺩﻝ‪ ‬ﺍﻷﻓﻜ‪ ‬ﺎﺭ‪ ‬ﻭﺍﻟﻤﻌﻠﻮﻣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺪﻭﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺭﺃﻯ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺿﺮﻭﺭﻳﺔ‪ ‬ﻫﻮ‪ ‬ﻭﺑﻌﺾ‪ ‬ﺍﻷﺻﺪﻗﺎء‪ ‬ﻭﺫﻟﻚ‪ ‬ﺑﺎﻟﻤﺴﺎﻧﺪﺓ‪ ‬ﺍﻟﻤﺎﺩﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻫﻴﻠ‪ ‬ﻴﻦ‪ ‬ﺩﻭﻣﺎﻧ‪ ‬ﺪﺭﻭﺕ ‪ ، Helén de mandrot ‬ﻭﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﺗﺤﻮﻱ‪ ‬ﻣﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﻭﻓﻨﺎﻧﻴﻦ‪ ‬ﻭﻧﻘﺎﺩ‪ ‬ﻓﻦ‪ ‬ﻭﺳﻴﺎﺳﻴﻴﻦ‪ ‬ﻭﻫﺪﻓﻬﺎ‪ ‬ﺍﻻﻫﺘﻤ‪ ‬ﺎﻡ‪ ‬ﺑﺎﻟﺤ‪ ‬ﺪﻭﺩ‪ ‬ﺍﻟﻮﻃﻨﻴ‪ ‬ﺔ‪ ‬ﻭﻧ‪ ‬ﻮﺍﺡ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺗﺨﻄ‪ ‬ﻴﻂ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ‬ﻭﺗﺴ‪ ‬ﻤﻰ ‪ C.I.A.M. ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﺧﺘﺼ‪ ‬ﺎﺭ ‪Congres Internationaux d'Architecture ‬‬

‫‪ ، Moderne ‬ﻭﻛﺎﻥ‪ ‬ﻛﻞ‪ ‬ﺍﺟﺘﻤﺎﻉ‪ ‬ﻟﻪ‪ ‬ﺻﻔﺘﻪ‪ ‬ﻭﻣﻮﺿﻮﻋﻪ‪ ‬ﻣﺜﻞ‪ : ‬ﺃﺳﺎﺳ‪ ‬ﻴﺎﺕ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ،‬ﺍﻟﺒﺤ‪ ‬ﺚ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺠ‪ ‬ﻤﺎﻟﻴ‪ ‬ﺎﺕ‪،‬‬ ‫‪ ‬ﺍﻟﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﻗﻠﻴﻠ‪ ‬ﺔ‪ ‬ﺍﻟﺘﻜﻠﻔ‪ ‬ﺔ‪ ،‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻭﺍﻟﻤﺮﺍﻛ‪ ‬ﺰ‪ ‬ﺍﻻﺟﺘﻤﺎﻋﻴ‪ ‬ﺔ‪ ،‬ﺍﻹﺳ‪ ‬ﻜﺎﻥ‪ ‬ﻭﺍﻟﺒﻬﺠ‪ ‬ﺔ‪ ،‬ﺍﻟﻌ‪ ‬ﺎﺩﺍﺕ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮﻳﺔ‪ ... ‬ﺇﻟ‪ ‬ﺦ‪،‬‬ ‫‪۱ ‬‬

‫‪ ‬ﻭﺍﺳﺘﻤﺮﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻌﻬﺎ‪ ‬ﻗﺮﺍﺑﺔ‪ ۳۰ ‬ﻋﺎﻣﺎ ‪ ‬ﻭﻗﺪ‪ ‬ﺑﺎﺷﺮ‪ ‬ﺧﻼﻝ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺴﻨﺔ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺷ‪ ‬ﺘﺎﻳﻦ ‪Villa stein ‬‬

‫‪ ، ‬ﻭﻫﻲ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺗﺤﻔﺔ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﺗﻮﺿﺢ‪ ‬ﻣﺴﺎﻗﻄﻬﺎ‪ ‬ﺍﻟﻜﻴﻔﻴﺔ‪ ‬ﺍﻟ‪ ‬ﺘﻲ‪ ‬ﺻﻤﻤﻬﺎ‪ ‬ﺑﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻦ‪ ‬ﺗﻮﺍﻓﻖ‪ ‬ﻣ‪ ‬ﺪﻫﺶ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻧﺴﺒﻬﺎ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹٦ ‬‬

‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp.70­71 1 ‬‬ ‫‪2 ‬‬ ‫‪Frampton Kenneth, ' Le Corbusier ' pp. 76­77‬‬

‫‪­ ۸۰ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۷ ‬‬

‫‪ ‬ﻭﻓﻲ‪ ‬ﻣﻘﺎﺭﻧﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻷﻳﺰﻭﻣﺘﺮﻱ‪ ‬ﻟﻔﻴﻼ‪ ‬ﺷﺘﺎﻳﻦ‪ ‬ﻭﺇﺣﺪﻯ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻠ‪ ‬ﻚ‪ ‬ﺍﻟﻔﺘ‪ ‬ﺮﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫﻴﺌ‪ ‬ﺔ‬ ‫‪ ‬ﻃﺒﻘﺎﺕ‪ ‬ﻣﺘﻮﺍﻟﻴﺔ‪ ‬ﻳﺘﻀﺢ‪ ‬ﺍﻟﺘﺸﺎﺑﻪ‪ ‬ﺍﻟﺸ‪ ‬ﺪﻳﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺒ‪ ‬ﺪﺃ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﺍﻟﻌﻤﻠ‪ ‬ﻴﻦ‪ ‬ﻭﺗﺼ‪ ‬ﺪﻕ‪ ‬ﻣﻘﻮﻟ‪ ‬ﺔ‪ ‬ﻟﻮﻛ‪ ‬ﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻥ‬ ‫‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﻫﻲ‪ ‬ﻣﺼﺪﺭ‪ ‬ﺇﻟﻬﺎﻣﻪ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‬

‫‪ ‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﻇﻬ‪ ‬ﻮ‪ ‬ﺭ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻷﻧﺜ‪ ‬ﻮﻱ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺭﻱ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻧﻌﻜ‪ ‬ﺲ‪ ‬ﺗ‪ ‬ﺄﺛﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﺎﻟﺨﻂ‬ ‫‪ ‬ﺍﻟﻜﻮﻓﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺠﺰﺍﺋﺮ‪ ‬ﻋﻠﻰ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﺷﻜﻞ‪ ‬ﺍﻟﻤﺒﺎﻧﻲ‪ ‬ﻓﻲ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﻭﺧﺼﻮﺻﺎ‪ ‬ﻓﻲ‪ ‬ﻣﺴﻘﻄﻬﺎ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻓﺠ‪ ‬ﺎءﺕ‪ ‬ﻛ‪ ‬ﻤ‪ ‬ﺎ‪ ‬ﻗﺎﻟ‪ ‬ﺖ‬ ‫‪ ‬ﻣﺎﺭﻱ‪ ‬ﻣﺎﻛﻠﻴﻮﺩ ‪ Mary Mcleod ‬ﻣﺜﻞ‪ ‬ﻣﻨﺤﻨﻴﺎﺕ‪ ‬ﻧﻬﺮ‪ ‬ﺍﻷﻣﺎﺯﻭﻥ‪ ‬ﺑﻔﻌﻞ‪ ‬ﺍﻟﻬﻮﺍء‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۸ ‬‬

‫‪McLeod, ' Le Corbusier & Algiers ' P.63, Moos Cites Rafi, ' Le Corbusier et les Femmes d'Alger ' 1 ‬‬ ‫‪pp. 58‬‬

‫‪­ ۸۱ ­ ‬‬

‫‪ ‬ﻭﻟﻢ‪ ‬ﻳﺴﺘﻄﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﺣﺮﺍﺯ‪ ‬ﺍﻟﺪﻣﺞ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺭﺍﺩﻩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺠﺰﺍﺋ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋﻤﺎﺭﺗ‪ ‬ﻪ‪ ‬ﺍﻟﻐﺮﺑﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻭﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻹﺳ‪ ‬ﻼﻡ‬ ‫‪ ‬ﺍﻟﺮﻭﺣﻴﺔ‪ ‬ﻟﻌﺪﻡ‪ ‬ﻓﻬﻤﻪ‪ ‬ﺍﻟﻜﺎﻣﻞ‪ ‬ﻟﻬﺬﻩ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﺍﻓﺘﺘﺎﻧﻪ‪ ‬ﺑﻬﺎ‪ ،‬ﻣﻤ‪ ‬ﺎ‪ ‬ﺣﻤﻠ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺗﺨﻄ‪ ‬ﻴﻂ‪ ‬ﻣﺪﻳﻨﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﻋﺮﺑﻴﺔ‪ ‬ﻭﻓﺮﻧﺴﻴﺔ‪ ‬ﻭﻣﻨﺎﻃﻖ‪ ‬ﻣﺘﻔﺎﻋﻠﺔ‪ ‬ﺑﻴﻨﻬﻤﺎ‬

‫‪۱ ‬‬

‫‪ ۱۹۲۹ ‬ﺃﻧ‪ ‬ﺘﺞ‪ ‬ﺍﻟﺘﻌ‪ ‬ﺎﻭﻥ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻤﻲ‪ ‬ﻭﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﺑﻴ‪ ‬ـﻦ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻭﺑﻴﻴ‪ ‬ﺮ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ‪ ‬ﻭﺷ‪ ‬ﺎﺭﻟﻮﺕ‪ ‬ﺑﻴﺮﻳ‪ ‬ﺎﻥ ‪Charlotte ‬‬ ‫‪ Perriand ‬ﺑﻌﺾ‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﺍﻷﺛﺎﺙ‪ ‬ﺍﻟﻤﻨﺰﻟﻲ‪ ‬ﺍﻟﻤﺒﺘﻜﺮ‪ ،‬ﻭﻣﺜﺎﻝ‪ ‬ﺫﻟﻚ‪ ‬ﺍﻟﻜﺮﺳﻲ‪ ‬ﺍﻟﻤﻤﺪﺩ ‪Chaise Longue ‬‬

‫‪ ‬ﺷﻜﻞ‪۹۹ ‬‬

‫‪ " ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻟ‪ ‬ﻴﺲ‪ ‬ﻋﻘﺎﺑ‪ ‬ﺎ‪ ،‬ﺃﻧ‪ ‬ﺖ‪ ‬ﺗﺘ‪ ‬ﻨﻔﺲ‪ ‬ﺑﺎﻟﻌﻤ‪ ‬ﻞ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻨﻔﺲ‪ ‬ﻭﻇﻴﻔ‪ ‬ﺔ‪ ‬ﻻ‪ ‬ﺇﺭﺍﺩﻳ‪ ‬ﺔ‪ .. ‬ﻟﻴﺴ‪ ‬ﺖ‪ ‬ﺛﻘﻴﻠ‪ ‬ﺔ‪ .. ‬ﻭﻻ‪ ‬ﺧﻔﻴﻔ‪ ‬ﺔ‪ ، ‬ﻟﻜﻨﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻣﺘﻮﺍﺻﻠﺔ‪" ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۰ ‬‬

‫‪ ۱۹۳۰ ‬ﺃﺻ‪ ‬ﺒﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣﻮﺍﻃﻨ‪ ‬ﺎ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻴﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺯﻭﺍﺟ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﻳﻔ‪ ‬ـﻮﻥ‪ ‬ﺟ‪ ‬ﺎﻟﻴﺲ ‪ Yvonne Gallis ‬ﺍﻟﺒﺴ‪ ‬ـﻴﻄﺔ‬ ‫‪ ‬ﺍﻟﺼﻐﻴﺮﺓ‪ ‬ﻣﻦ‪ ‬ﻣﻮﻧ‪ ‬ﺎﻛﻮ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﺗﻜ‪ ‬ﻦ‪ ‬ﻣﺘﻘﺒﻠ‪ ‬ﺔ‪ ‬ﻟﻠﺤ‪ ‬ﻮﺍﺋﻂ‪ ‬ﺍﻟﺰﺟ‪ ‬ﺎﺟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻘﺘﻬﺎ‪ ‬ﻭﻟﻜﻨﻬ‪ ‬ﺎ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺍﻷﻗ‪ ‬ﺪﺭ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻔﻬ‪ ‬ﻢ‬ ‫‪ ‬ﺣﺎﻟﺔ‪ ‬ﺯﻭﺟﻬﺎ‪ ‬ﺍﻟﻤﺘﻘﻠﺒﺔ‪ ،‬ﻭﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻓﻘﺪ‪ ‬ﺍﺳﺘﻤﺮﺕ‪ ‬ﺗﺠﺎﺭﺑﻪ‪ ‬ﻓﻲ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ـﺔ‬ ‫‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪ ‬ﻭﻣﺸـﺮﻭﻉ‪ ‬ﺗﻄﻮﻳﺮ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﻭﻗﺪ‪ ‬ﺟﺎء‪ ‬ﺍﻵﻥ‪ ‬ﺑﺘﺼﻤﻴﻤﻪ‪ ‬ﺍﻟﻔﺮﻳ‪ ‬ﺪ‪ ‬ﻟﻠﻤﺪﻳﻨ‪ ‬ـﺔ‪ ‬ﺍﻟﻤﺸ‪ ‬ـﻌﺔ‪ " ‬ﺍﻟﻤﺸ‪ ‬ﺮﻗﺔ‪Radiant " ‬‬

‫‪ City ‬ﺍﻟﻘﺎﺑﻠﺔ‪ ‬ﻟﻠﺘﻄ‪ ‬ﻮﻳﺮ‪ ‬ﻭﺍﻟﺘﻮﺳﻊ‪ ‬ﻟﻜﻞ‪ ‬ﺟﺰء‪ ‬ﻣﻨﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺪﺓ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺗﺨﺬﺕ‪ ‬ﺭﺅﻳﺔ‪ ‬ﻗﺮﻳﺒﺔ‪ ‬ﻣﻦ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻟﻴﻮﻧ‪ ‬ﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸ‪ ‬ﻲ‬ ‫‪ ‬ﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻟﺘﺠ‪ ‬ﺎﺭﻱ‪ ‬ﺑﻤﺜﺎﺑ‪ ‬ﺔ‪ ‬ﺍﻟ‪ ‬ﺮﺃﺱ‪ ‬ﻭﺍﻟﻤﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻟﺜﻘ‪ ‬ﺎﻓﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘﻠ‪ ‬ﺐ‪ ‬ﻭﺍﻟﺘﺠﻤﻌ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‬ ‫‪Celik Zeynip, ‘ Le Corbusier, Orientalism, Colonialism ’, 1992 1 ‬‬ ‫‪2 ‬‬ ‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp. 56‬‬

‫‪­ ۸۲ ­ ‬‬

‫‪ ‬ﻛﺎﻟﺮﺋﺘﻴﻦ ‪ ، ۱ ‬ﻭﻗﺪ‪ ‬ﻗﺎﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘ‪ ‬ﺎﺏ ‪ " : Simply Urbanism ‬ﺑﻬ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﺓ‪ ‬ﺍﻟﻀ‪ ‬ﺨﻤﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺤ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻮﺣﺸ‪ ‬ﻲ‪ ‬ﺍﻟﻐ‪ ‬ﺎﻣﺮ‬ ‫‪ ‬ﻧﺤﺮﻕ‪ ‬ﺟﺴﻮﺭﻧﺎ‪ ‬ﻭﻧﻘﻄﻊ‪ ‬ﺻﻠﺘﻨﺎ‪ ‬ﺑﺎﻟﻤﺎﺿﻲ‪ " ‬ﻭﻗﺼﺪ‪ ‬ﻓﻲ‪ ‬ﺟﻤﻠﺘﻪ‪ ‬ﻭﺟﻮﺏ‪ ‬ﺍﺧﺘﻔﺎء‪ ‬ﺍﻟﺸﻮﺍﺭﻉ‪ ‬ﺍﻟﻤﺰﺩﺣﻤﺔ‪ ‬ﻭﺃﺭﺻﻔﺔ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﺓ‬ ‫‪ ‬ﻭﺍﻟﻤﻴﺎﺩﻳﻦ‪ ‬ﺍﻟﻤﻜﺘﻈﺔ‪ ‬ﻭﺍﻷﺣﻴﺎء‪ ‬ﺍﻟﻌﺸﻮﺍﺋﻴﺔ‪ ،‬ﻭﺃﻥ‪ ‬ﻳﺤﻴﻰ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺻﺤﻲ‪ ‬ﻓﻲ‪ ‬ﺃﺑﺮﺍﺝ‪ ‬ﻣﻨﻈﻤﺔ‪ ‬ﻭﻣﻨﺴ‪ ‬ﻘﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺎﺕ‬ ‫‪ ‬ﻣﻨﻔﺼﻠﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺤﻴﻂ‪ ‬ﺍﻟﺤﺪﺍﺋﻘﻲ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﺑﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﻧﺎﻃﺤ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺴ‪ ‬ﺤﺎﺏ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺸ‪ ‬ﺎﺭﻳﻌﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺛﺎﺑ‪ ‬ﺖ‪ ‬ﻟﺘﺘﺴ‪ ‬ﻢ‪ ‬ﺑ‪ ‬ﺎﻷﻓﻖ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪ‪ ‬ﻷﻥ‬ ‫‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻳﻤﺸ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺭﺽ‪ ‬ﻣﺴ‪ ‬ﺘﻮﻳﺔ ‪ ، ۳ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﺤ‪ ‬ﻮﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺨﻄﻄﺎﺗ‪ ‬ﻪ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻴﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺮﺍﻛ‪ ‬ﺰ‪ ‬ﺍﻟﺘﺠﺎﺭﻳ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﻤﺼﺎﺭﻑ‪ ‬ﻭﺷﺌﻮﻥ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﺍﺧ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻭﺿ‪ ‬ﻌﻬﺎ‪ ‬ﺧﺎﺭﺟﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺠﻬ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻘﺎﺑﻠ‪ ‬ﺔ‪ ‬ﻟﻠﻤﺼ‪ ‬ﺎﻧﻊ‪ ‬ﻭﺍﻟﺨ‪ ‬ﺪﻣﺎﺕ‬ ‫‪ ‬ﺍﻷﺧﺮﻯ‪ ،‬ﻭﻣﺜ‪ ‬ﻞ‪ ‬ﺟﻤﻴﻊ‪ ‬ﻣﺨﻄﻄﺎﺗﻪ‪ ‬ﻟﻤﺪﻥ‪ : ‬ﺑﺮﺷﻠﻮﻧﺔ‪ ،‬ﺍﻟﺠﺰﺍﺋﺮ‪ ،‬ﺃﻧﺘﻮﺭﺏ‪ ،‬ﺑﻮﺍﻧﻴﺲ‪ ‬ﺃﻳ‪ ‬ﺮﺱ‪ ،‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﺎﻧﺖ‪ ‬ﺩﻱ ‪Saint­ ‬‬

‫‪ Dié ‬ﺍﻟﻔﺮﻧﺴﻴﺔ‪ – ‬ﻟﻢ‪ ‬ﺗﻨﻔﺬ‪. ‬‬

‫‪ ۱۹۳۱ ‬ﺗﻢ‪ ‬ﺍﻻﻧﺘﻬﺎء‪ ‬ﻣﻦ‪ ‬ﺑﻨﺎء‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ ‪ Villa Savoye ‬ﺫﺍﺕ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬

‫‪1 ‬‬

‫‪Frampton Kenneth, ' Le Corbusier ' pp. 55 ‬‬ ‫‪Rybczynski Witold, ' The Architect: Le Corbusier ' Time magazine, 8 june 1998 2 ‬‬ ‫‪3 ‬‬ ‫‪see Le Corbusier, ' Radiant City ' pp. 133­134‬‬

‫‪­ ۸۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۲ ‬‬

‫‪ ۱۹۳۲ ‬ﻭﺑﻌ‪ ‬ﺪ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺭﺩﻭﺩ‪ ‬ﺍﻷﻓﻌ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺴ‪ ‬ﻴﺌﺔ‪ ‬ﺿ‪ ‬ﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺃﻛ‪ ‬ﺎﺩﻳﻤﻴﻴﻦ‪ ‬ﻳﻄﻌﻨ‪ ‬ﻮﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺁﺭﺍﺋ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻜﻮﻧﻪ‪ ‬ﻣﻦ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻤﺘﺨﺮﺟﻴﻦ‪ ‬ﻓﻲ‪ ‬ﻛﻠﻴﺔ‪ ‬ﺟﺎﻣﻌﻴﺔ‪ ، ‬ﺍﻧﻄﻠﻘﺖ‪ ‬ﻣﻈﺎﻫﺮﺓ‪ ‬ﻋﺎﻣﺔ‪ ‬ﻓﻲ‪ ‬ﺻﺎﻟﺔ‪ ‬ﻭﺍﺟﺮﺍﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻧﻈﻤﻬ‪ ‬ﺎ‪ ‬ﻃﻠﺒ‪ ‬ﺔ‬ ‫‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠ‪ ‬ﺔ‪ ‬ﻭﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺒ‪ ‬ﻮﻟﻲ‪ ‬ﺗﻜﻨﻴ‪ ‬ﻚ‪ ‬ﻟ‪ ‬ﺮﺩ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭﻩ‪ ، ‬ﻭﻣﻨ‪ ‬ﺬ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺦ‪ ‬ﻭﺣﺘ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۳٥ ‬ﻗ‪ ‬ﺎﻡ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺴﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻣﺤﺎﺿ‪ ‬ﺮﺍﺕ‪ ‬ﻭﻧ‪ ‬ﺪﻭﺍﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺯﻳ‪ ‬ﻮﺭﻳﺦ‪ ‬ﻭﺍﺳ‪ ‬ﺘﻮﻛ‪ ‬ﻬﻮﻟﻢ‪ ‬ﻭﺃﻭﺳ‪ ‬ـﻠﻮ‪ ‬ﻭﺭﻭﻣ‪ ‬ﺎ‪ ‬ﻭﻣﻴﻼﻧ‪ ‬ـﻮ‪ ‬ﻭﺑﺮﺷ‪ ‬ﻠﻮﻧﺔ‬ ‫‪ ‬ﻭﻧﻴﻮﻳﻮﺭﻙ‪ ‬ﻭﺷﻴﻜﺎﻏـﻮ‪ ‬ﻭﻓﻴﻼﺩﻳﻠﻔﻴﺎ‪ ‬ﻭﻳﺎﻝ‪ ‬ﻭﺑﻮﺳﻄﻦ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۳ ‬‬

‫‪ ‬ﻛﻤﺎ‪ ‬ﻗﺎﻡ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺑﺒﻨﺎء‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺍﻟﺴﻮﻳﺴـﺮﻱ‪ ‬ﻟﻠﻄﻠﺒﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺍﻟﺠﺎﻣﻌﻴﺔ‪ ‬ﺑﺒﺎﺭﻳﺲ‪ ،‬ﻭﻃﻠﺐ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻻﺣﻘ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﺎﻡ‪ ۱۹٤۸ ‬ﻋﻤﻞ‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻓﻘﺎﻡ‪ ‬ﺑﻌﻤﻞ‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﻓﻮﺗﻮﺟﺮﺍﻓﻴ‪ ‬ﺔ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺘﻬﺎ‪ ٤۰ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻣﻜﻮﻧ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪٤٤ ‬‬ ‫‪ ‬ﺟﺰءﺍ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻟﻮﺍﺡ‪ ‬ﺧﺸﺒﻴﺔ‪ ‬ﻣﺘﻼﺻﻘﺔ‪ ، ‬ﻣﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻃﻮﻟﻬﺎ‪ ۱۱ ‬ﻡ‪ ، ‬ﻭﺍﺭﺗﻔﺎﻋﻬﺎ‪ ۳٫٦٦ ‬ﻡ‬

‫‪1 ‬‬

‫‪Charbonnier Georges, ' Le Monologue du peintre, vol.2 ' 1960‬‬

‫‪­ ۸٤ ­ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰٤ ‬‬

‫‪ ۱۹۳٤ ­ ۱۹۳۳ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣﺨﻄ‪ ‬ﻂ‪ ‬ﻟﺠ‪ ‬ﺰء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺍﺳ‪ ‬ﺘﻮﻛﻬﻮﻟﻢ‪ ،‬ﻭﺁﺧ‪ ‬ﺮ‪ ‬ﻟﻨﻴﻤ‪ ‬ﻮﺭﺱ‪ ، Nemours ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻟ‪ ‬ﺰﻟﻴﻦ‬ ‫‪. Zlin ‬‬ ‫‪ ۱۹۳٥ ‬ﻭﺑﺪﻋﻮﺓ‪ ‬ﻣﻦ‪ ‬ﻣﺘﺤﻒ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﺯﺍﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻧﻴﻮﻳ‪ ‬ﻮﺭﻙ‪ ‬ﻭﺭﺃﻯ‪ ‬ﻧﺎﻃﺤ‪ ‬ـﺎﺕ‪ ‬ﺍﻟﺴ‪ ‬ـﺤﺎﺏ‪ ‬ﻷﻭﻝ‬ ‫‪ ‬ﻣﺮﺓ‪ ‬ﺭﺃﻱ‪ ‬ﺍﻟﻌﻴﻦ‪ ، ‬ﻟﻜﻨﻪ‪ ‬ﺭﺃﻯ‪ ‬ﺍﻟﺠﻬﻞ‪ ‬ﺑﺄﺻﻮﻝ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻛﺎﻥ‪ ‬ﺑـﺎﺩﻳﺎ‪ ‬ﻓﻲ‪ ‬ﺩﺭﺍﺳ‪ ‬ـﺔ‪ ‬ﻛﺘ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺃﺯﻋﺠ‪ ‬ﻪ‬ ‫‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‪ ‬ﺻ‪ ‬ﻠﺔ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﺗﺨﻄ‪ ‬ﻴﻂ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ، ‬ﻭﻟ‪ ‬ﺪﻯ‪ ‬ﻭﺻ‪ ‬ﻮﻟﻪ‪ ‬ﺃﺧﺒ‪ ‬ﺮ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻔﻴﻴﻦ‪ ‬ﺃﻥ‪ ‬ﻧﺎﻃﺤ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺴ‪ ‬ﺤﺎﺏ‪ ‬ﻟ‪ ‬ﺪﻳﻬﻢ‬ ‫‪ ‬ﺻﻐﻴﺮﺓ‪ ‬ﺟﺪﺍ‪ ، ‬ﻭﻛﺎ‪ ‬ﻥ‪ ‬ﻳﻘﺼﺪ‪ ‬ﺃﻫﻤﻴﺔ‪ ‬ﻛﻮﻧﻬﺎ‪ ‬ﺃﻛﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﻟﺘﻮﻓﺮ‪ ‬ﻣﺴﺎﺣﺎﺕ‪ ‬ﺧﻀﺮﺍء‪ ‬ﺃﻭﺳﻊ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺭﺽ‪ ، ‬ﻭﻗﺪ‪ ‬ﺃﻋﺠ‪ ‬ﺐ‬ ‫‪ ‬ﺑﻔ‪ ‬ﺮﻭﻉ‪ ‬ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴ‪ ‬ﺎ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﻣﺜ‪ ‬ـﻞ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺎﻋﺪ‪ ‬ﺍﻟﺴ‪ ‬ﺮﻳﻌﺔ‪ ‬ﻭﺟ‪ ‬ﻮﺩﺓ‪ ‬ﺗﻜﻴﻴ‪ ‬ﻒ‪ ‬ﺍﻟﻬ‪ ‬ﻮﺍء‪ ، ‬ﺛ‪ ‬ﻢ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻟﺒ‪ ‬ﺚ‪ ‬ﺃﻥ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺟﺰﻳﺮﺓ‪ ‬ﻣﺎﻧﻬﺎﺗﻦ‪ ‬ﺃﻧﻬﺎ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﻣﻌﺎﺩﻳﺔ‪ ‬ﻻﺣﺘﻴﺎﺟﺎﺕ‪ ‬ﻗﻠﺐ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ، ‬ﻓ‪ ‬ﺎﻟﻔﻜﺮﺓ‪ ‬ﺍﻟﻌﺎﻣ‪ ‬ﺔ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﻬ‪ ‬ﺮﺏ‪ ‬ﻭﺍﻟﺨ‪ ‬ﺮﻭﺝ‪ ‬ﻟﺘﺠﻨ‪ ‬ﺐ‬ ‫‪ ‬ﺗﻀﻴﻴﻊ‪ ‬ﺍﻟﺤـﻴﺎﺓ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺠﻮ‪ ‬ﺍﻟﺼﺎﺧﺐ‪ ‬ﺇﻟﻰ‪ ‬ﺣﻴﺚ‪ ‬ﻳﻤﻜﻨ‪ ‬ﻚ‪ ‬ﺭﺅﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺴ‪ ‬ﻤﺎء‪ ‬ﻭﺍﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﺑﺠ‪ ‬ﻮﺍﺭ‪ ‬ﺍﻟﺸ‪ ‬ﺠﺮ‪ ‬ﻭﺍﻟ‪ ‬ﺰﺭﻭﻉ‪ ، ‬ﺣﻠ‪ ‬ﻢ‬ ‫‪ ‬ﻛﻞ‪ ‬ﺇﻧﺴﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺮﻳﺔ‪ ‬ﻭﻓﻲ‪ ‬ﻛﻮﻧﻪ‪ ‬ﺳﻴﺪ‪ ‬ﻗﺮﺍﺭﻩ‪ ، ‬ﻓﻤﻊ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻀﻮﺍﺣﻲ‪ ‬ﺍﻟﻤﺘﺸﻌﺒﺔ‪ ‬ﻳﺠﺒﺮ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻀ‪ ‬ﺎء‪ ‬ﺍﻟﺴ‪ ‬ﺎﻋﺎﺕ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻟﻤﻮﺍﺻ‪ ‬ﻼﺕ‪ ‬ﺑ‪ ‬ﺪﻻ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻤﻀ‪ ‬ﻴﺘﻬﺎ‪ ‬ﺍﺟﺘﻤﺎﻋﻴ‪ ‬ﺎ‪ ، ‬ﻭﺗﺠ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺍﻷ‪ ‬ﺑ‪ ‬ﻮﺍﺏ‪ ‬ﻣﺘﻘﺎﺑﻠ‪ ‬ﺔ‪ ‬ﻭﺗﻘ‪ ‬ﻊ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣﺎﻓ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺸﺎﺭﻉ‪ ، ‬ﻭﺍﻟﻨﻮﺍﻓﺬ‪ ‬ﺗﻜﺸﻒ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﻭﺍﻷﺳ‪ ‬ﻘﻒ‪ ‬ﺗﻐﻠ‪ ‬ﻖ‪ ‬ﺍﻟﺴ‪ ‬ﻤﺎء ‪ ، ۱ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺃﺛﻨ‪ ‬ﺎء‪ ‬ﺳ‪ ‬ﻔﺮﻩ‪ ‬ﺑﺎﻟﻄ‪ ‬ﺎﺋﺮﺓ‪ ‬ﺗﺤ‪ ‬ﺪﺙ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﻣﻌ‪ ‬ﻪ‬ ‫‪ ‬ﻋﻦ‪ ‬ﺃﻥ‪ ‬ﻣﺸﻜﻼﺕ‪ ‬ﺍﻟﻄﺎﺋﺮﺍﺕ‪ ‬ﻣﺜﻼ‪ ‬ﺗﺠﺪ‪ ‬ﺣﻠﻮﻻ‪ ‬ﻟﻜﻮﻧﻬﺎ‪ ‬ﻣﻄﺮﻭﺣﺔ‪ ‬ﺩﻭﻣﺎ‪ ، ‬ﺑﻴﻨﻤﺎ‪ ‬ﻣﺸﻜﻼﺕ‪ ‬ﺍﻟﻤﻨﺰﻝ‪ ‬ﻟﻴﺴﺖ‪ ‬ﻣﻄﺮﻭﺣﺔ‪ ‬ﺇﻟﻰ‬ ‫‪ ‬ﺍﻵﻥ‪. ‬‬ ‫‪ ‬ﻭﺑﻌﺪ‪ ‬ﻧﺸﺮﻩ‪ ‬ﻛﺘﺎﺏ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺸ‪ ‬ﻌﺔ‪ " ‬ﺍﻟﻤﺸ‪ ‬ﺮﻗﺔ‪ Radiant City " ‬ﺃﻫ‪ ‬ﺪﺍﻩ‪ ‬ﻟﻠﺴ‪ ‬ﻠﻄﺔ‪ ، ‬ﻭ‪ ‬ﺑﻌﺜ‪ ‬ﻪ‪ ‬ﻓﻴﻤ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺷﺨﺼ‪ ‬ﻴﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺳﺘﺎﻟﻴﻦ‪ ‬ﻭﻣﻮﺳﻮﻟﻴﻨﻲ‪ ‬ﻭﺑﺘﻴﻦ‪ Pétain ‬ﻭﻧﻬﺮﻭ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻣﻞ‪ ‬ﺃﻥ‪ ‬ﻳﺨﺘﺎﺭﻭﻩ‪ ‬ﻓﻲ‪ ‬ﺗﺸﻴﻴﺪ‪ ‬ﺇﺣﺪﻯ‪ ‬ﺍﻟﻤﺪﻥ‪. ‬‬ ‫‪1 ‬‬

‫‪LC, ' Oeuvre Complète: 1934­1938 ' pp.66­67‬‬

‫‪­ ۸٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰٥ ‬‬

‫‪ " ‬ﻗﺘﻞ‪ ‬ﺍﻟﻤﺎﻝ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺸﺮﻁ‪ ‬ﺍﻟﻤﺴﺒﻖ‪ ‬ﻹﻋﺎﺩﺓ‪ ‬ﺗﻤﺜﻴﻞ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﺤﺎﺿﺮ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹۳٦ ‬ﺳ‪ ‬ﺎﻓﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺒﺮﺍﺯﻳ‪ ‬ﻞ‪ ‬ﻟﻴﻜ‪ ‬ﻮﻥ‪ ‬ﻣﺴﺘﺸ‪ ‬ﺎﺭ‪ ‬ﻓﺮ‪ ‬ﻳ‪ ‬ﻖ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑﻴ‪ ‬ﻨﻬﻢ‪ ‬ﺃﻭﺳ‪ ‬ﻜﺎﺭ‪ ‬ﻧﻴﻤ‪ ‬ﺎﻳﺮ ‪Oscar Niemeyer ‬‬

‫‪ ‬ﻭﻟﻮﺗﺸﻴﻮ‪ ‬ﻛﻮﺳﺘﺎ ‪ Lucio Costa ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺒﻨﻰ‪ ‬ﻭﺯﺍﺭﺓ‪ ‬ﺍﻟﺘﻌﻠﻴﻢ‪ ‬ﻓﻲ‪ ‬ﺭﻳﻮ‪ ، ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻛﺘﻠﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺷﻜﻞ‪ ‬ﻳﺸ‪ ‬ﺒﻪ‪ ‬ﻗ‪ ‬ﺮﺹ‪ ‬ﺷ‪ ‬ﻤﻊ‪ ‬ﺍﻟﻌﺴ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺣﺎﺟﺒ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‪ ، Sun Breakers ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻋﻄ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‬ ‫‪ ‬ﻣﺜﺎﻻ‪ ‬ﻟﺒﻘﻴﺔ‪ ‬ﻣﺪﻥ‪ ‬ﺃﻣﺮﻳﻜﺎ‪ ‬ﺍﻟﻼﺗﻴﻨ‪ ‬ﻴﺔ‪ ‬ﻟﻠﻤﻈﻬﺮ‪ ‬ﺍﻟﺠﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﺍﻟﻤﻔﻌﻤﺔ‪ ‬ﺑﺎﻟﻠﻮﻥ‪ ، ‬ﻭﻷﻭﻝ‪ ‬ﻣﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﺃﺣ‪ ‬ﺲ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﺮﺿﺎ‪ ‬ﻹﻣﻜﺎﻧﻴﺔ‪ ‬ﺍﺳﺘﻴﻌﺎﺏ‪ ‬ﻧﻈﺮﺗﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺤﺪﺍﺛ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻭﺍﺳ‪ ‬ﻊ‪ ‬ﻭﺷ‪ ‬ﺎﻣﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺳ‪ ‬ﻠﻮﺏ‪ ‬ﻣﻌﺎﻟﺠﺘ‪ ‬ﻪ‪ ‬ﻟﻠﻤﻨ‪ ‬ﺎﺥ‬ ‫‪ ‬ﻭﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ‬ﻭﻷﺳﻠﻮﺏ‪ ‬ﺣﻴﺎﺓ‪ ‬ﺍﻟﻨﺎﺱ‪. ‬‬

‫‪ " ‬ﻗﻴﻞ‪ ‬ﻟﻲ‪ ‬ﺃﻥ‪ ‬ﺳﺮ‪ ‬ﺍﻟﺤﻜﻤﺔ‪ ‬ﻫﻮ‪ ‬ﻣﻌﺮﻓﺔ‪ ‬ﻛﻴﻒ‪ ‬ﺗﺸﻐﻞ‪ ‬ﻓﺮﺍﻍ‪ ‬ﺃﺣﺪ‪ ‬ﻣﺎ‪ ،‬ﺃﻧﺎ‪ ‬ﺍﻵﻥ‪ ‬ﻓﻲ‪ ‬ﻣﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺩﺍﺋﻤ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛ‪ ‬ﻮﻧﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﺮﺍﻍ‪،‬‬ ‫‪ ‬ﺍﻟﻌﺠ‪ ‬ﺎﺋﺰ‪ ‬ﻭﺍﻷﻃﻔ‪ ‬ﺎﻝ‪ ‬ﻳﻠﻘ‪ ‬ﻮﻥ‪ ‬ﺑﺄﻧﻔﺴ‪ ‬ﻬﻢ‪ ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻌ‪ ‬ﺐ‪ ‬ﻭﺍﻻﻧﺸ‪ ‬ﻐﺎﻝ‪ ‬ﺑﺄﺷ‪ ‬ﻴﺎء‪ ‬ﻃ‪ ‬ﻮﺍﻝ‪ ‬ﺳ‪ ‬ﺎﻋﺎﺕ‪ ‬ﻳ‪ ‬ﻮﻣﻬﻢ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺃﻧ‪ ‬ﺎ‪ ،‬ﻓﻘ‪ ‬ﺪ‬ ‫‪ ‬ﺭﺳ‪ ‬ﻤﺖ‪ ‬ﺑﻘ‪ ‬ﺪﺭ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺃﺳ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺃﻥ‪ ‬ﺃﺗ‪ ‬ﺬﻛﺮ‪ .. ‬ﻣﻨ‪ ‬ﺎﻇﺮ‪ ‬ﻃﺒﻴﻌﻴ‪ ‬ﺔ‪ ،‬ﻣﺒ‪ ‬ﺎﻥ‪ ،‬ﺯﺟﺎﺟ‪ ‬ﺎﺕ‪ ،‬ﻗﻮﺍﻗ‪ ‬ﻊ‪ ،‬ﺃﺣﺠ‪ ‬ﺎﺭ‪ ،‬ﻋﻈ‪ ‬ﺎﻡ‪ ،‬ﻓﺘﻴ‪ ‬ﺎﺕ‪،‬‬ ‫‪ ‬ﺣﻴﻮﺍﻧﺎﺕ‪ ... ،‬ﻫﺬﻩ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﺮﺍﺣﻞ‪ .. ‬ﻫﺬﻩ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﻔﺎﺗﻴﺢ‪" ‬‬

‫‪۲ ‬‬

‫‪Frampton Kenneth, ' Le Corbusier ' pp. 138 1 ‬‬ ‫‪2 ‬‬ ‫‪Le Corbusier, ' Dessiner ' 1965‬‬

‫‪­ ۸٦ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰٦ ‬‬

‫‪ ۱۹۳۷ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺗﺨﻄﻴﻄ‪ ‬ﺎ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺍ‪ ‬ﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻃ‪ ‬ﻮﺭ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﺗﺨﻄﻴﻄﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ،‬ﻭ‪ ‬ﻣﻨﺤ‪ ‬ﺘ‪ ‬ﻪ‪ ‬ﻓﺮﻧﺴ‪ ‬ﺎ‪ ‬ﻭﺳ‪ ‬ﺎﻡ‪ ‬ﺟﻮﻗ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺸﺮﻑ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻣﻮﻫﺒﺘﻪ‪ ‬ﻏﻴﺮ‪ ‬ﻣﺤﺪﻭﺩﺓ‪ ، ‬ﻓﻘﺪ‪ ‬ﻛﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻋﺘﻪ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺍﺳ‪ ‬ﻜﺘﺶ‬ ‫‪ ‬ﺳﺮﻳﻊ‪ ‬ﻓﻲ‪ ‬ﺣﺠﻢ‪ ‬ﺃﻛﺒﺮ‪ ‬ﻗﻠﻴﻼ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻃ‪ ‬ﺎﺑﻊ‪ ‬ﺍﻟﺒﺮﻳ‪ ‬ﺪ‪ ‬ﻭﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻣﻄﺎﺑﻘ‪ ‬ﺎ‪ ‬ﻟﻠﻤﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺢ‪ ،‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻗﻠﻴ‪ ‬ﻞ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻷﺻﺪﻗﺎء‪ ‬ﻟﺬﻟﻚ‪ ‬ﻓﻬﻮ‪ ‬ﻳﻔﻀﻞ‪ ‬ﺃﻥ‪ ‬ﻳﺤﻴﻄﻪ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﻟﻠﺤﺪﻳﺚ‪ ‬ﻣﻌﻬﻢ‪ ،‬ﻭﻫﻮ‪ ‬ﻳﺼﻨﻒ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‪ ‬ﻛﺈﺑ‪ ‬ﺪﺍﻉ‪ ‬ﻓ‪ ‬ﺮﺩﻱ‪ ،‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﻳﻘ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺃﻥ‪ ‬ﺍﻷﻓﻜﺎﺭ‪ ‬ﺗﺘﻄﻮﺭ‪ ‬ﻋﻨﺪﻣﺎ‪ ‬ﺗﺠﺪ‪ ‬ﺍﻟﺤﻀﻮﺭ‪ ‬ﻭﺃﻭﻟﺌﻚ‪ ‬ﻟﻴﺲ‪ ‬ﻋﻠﻴﻚ‪ ‬ﺍﻹﺻﻐﺎء‪ ‬ﻟﺘﻌﻠﻴﻘـﺎﺗﻬﻢ‪ ،‬ﺃﻣﺎ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻟﻠﻤﺎﺩﻳ‪ ‬ﺎﺕ‪ ‬ﻓﻬ‪ ‬ﻮ‪ ‬ﻣﺜ‪ ‬ﻞ‬ ‫‪ ‬ﺃﺻﺤﺎﺏ‪ ‬ﺍﻟﻤﺘﺎﺟﺮ‪ ‬ﺍﻟﺼﻐﻴﺮﺓ‪ ‬ﻭﺻﺮﺍﺣﺘﻪ‪ ‬ﻣﻦ‪ ‬ﺻﺮﺍﺣﺔ‪ ‬ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻳﻌﺮﻑ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻌﺎ‪ ‬ﻟﻢ‪ ‬ﺃﺟﻤﻊ‪ ‬ﻳﺴﺘﻌﺪ‪ ‬ﻟﺴﺮﻗﺘﻪ‪ ‬ﻭﻻ‪ ‬ﻳﺒﺎﻟﻲ‬ ‫‪ ۱۹۳۸ ‬ﻧﺸﺮ‪ ‬ﻛﺘﻴﺒﺎ‪ ‬ﻓﻲ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﻋﻨﻮﺍﻧ‪ ‬ﻪ‪ " ‬ﻣ‪ ‬ﺪﺍﻓﻊ‪ ، ‬ﺫﺧ‪ ‬ﺎﺋﺮ‪ ‬؟‪ ­ ‬ﺷ‪ ‬ﻜﺮﺍ‪ ! ‬ﻣﺴ‪ ‬ﺎﻛﻦ‪ ‬ﻟ‪ ‬ﻮ‪ ‬ﺳ‪ ‬ﻤﺤﺘﻢ‪ " ! ‬ﻭﺻ‪ ‬ﻤﻢ‪ ‬ﻏﻼﻓ‪ ‬ﻪ‬ ‫‪ ‬ﺑﻨﻔﺴﻪ‪ ‬ﻣﺜﻞ‪ ‬ﺃﻏﻠﻔﺔ‪ ‬ﺟﻤﻴﻊ‪ ‬ﻛﺘﺒﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻭﺍﻟﺸﻌﺮﻳﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۷ ‬‬

‫‪1 ‬‬

‫‪Frampton Kenneth, ' Le Corbusier ' pp. 120‬‬

‫‪­ ۸۷ ­ ‬‬

‫‪ ‬ﻛﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺻ‪ ‬ﺤﺎﺏ‪ ‬ﺍ‪ ‬ﻟﺴ‪ ‬ﺒﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻣﺒ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺣ‪ ‬ﺪﺍﺕ‪ ‬ﺳ‪ ‬ﺎﺑﻘﺔ‪ ‬ﺍﻟﺘﺠﻬﻴ‪ ‬ﺰ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﻌﺘﻤ‪ ‬ﺪﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻷﺳﺎﺳﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺼﺒﺎﺕ‪ ‬ﺍﻹﺳﻤﻨﺘﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﻤﺪﺭﺳﺔ‪ ‬ﺍﻟﻄﺎﺋﺮﺓ ‪ E'cole Volanté ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۳۹ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻘ‪ ‬ﻮﻡ‪ ‬ﻫﻴﻜﻠﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﺒﻴﻜﺔ‪ ‬ﺍﻟﺼﻠﺐ‪ ‬ﺍﻟﺨﻔﻴﻔﺔ‪ ، ‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﻘﻨﻴﺔ‪ ‬ﻣﺮﺓ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺒﻨ‪ ‬ﻰ ‪ maison montée a sec' ‬ﻭﻛ‪ ‬ﺬﻟﻚ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻣﺘﺤﻒ‪ ‬ﻟﻮ‪ ‬ﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺯﻳﻮﺭﻳﺦ‪. ‬‬

‫‪ ۱۹٤۰ ‬ﻗﺮﺭ‪ ‬ﻏﻠﻖ‪ ‬ﻣﻜﺘﺒﻪ‪ ‬ﺑﺴﺒﺐ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﻗﺮﺍﺑﺔ‪ ۱۰ ‬ﺳﻨﻮﺍﺕ‪ ‬ﻭﺗﻮﻗﻔﺖ‪ ‬ﻛﻞ‪ ‬ﻣﺸﺎﺭﻳﻌﻪ‪ ‬ﻭﺳﺎﻓﺮ‪ ‬ﻣﻊ‪ ‬ﺯﻭﺟﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻗﺮﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺻﻐﻴﺮﺓ‪ ‬ﺗﺴﻤﻰ‪ ‬ﺃﻭﺯﻭﻥ ‪ Ozon ‬ﺑﺎﺷﺮ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻛﺘﺎﺑﺎﺗﻪ‪ ‬ﻭﻟﻢ‪ ‬ﻳﺸﺘﺮﻙ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﻷﻥ‪ ‬ﺳﻮﻳﺴﺮﺍ‪ ‬ﻛﺎﻧﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟ‪ ‬ﺤﻴﺎﺩ‪ ،‬ﻭﻋﻨ‪ ‬ﺪ‬ ‫‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﺍﻟﺠﻤﻌﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻴﺔ‪ ‬ﻟﻠﺘﻄﺒﻴ‪ ‬ﻊ‪ " ‬ﺃﻓﻨ‪ ‬ﻮﺭ‪ AFNOR Association Française de NORmalisation " ‬ﻟ‪ ‬ﻢ‬ ‫‪ ‬ﻳﺪﻉ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﻟﻴﻬﺎ‪ ‬ﻟﻘﻠﺔ‪ ‬ﻧﺸﺎﻃﻪ‪ ‬ﻓﻲ‪ ‬ﺗﻠﻚ‪ ‬ﺍﻟﻔﺘ‪ ‬ﺮﺓ‪ ،‬ﻭ‪ ‬ﺍﺗﺠ‪ ‬ﻪ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻟ‪ ‬ﻴﻘ‪ ‬ﺪﻡ‪ ‬ﻧﻤﺎﺫ‪ ‬ﺟ‪ ‬ﺎ‪ ‬ﻣﻌﻘ‪ ‬ﺪﺓ‪ ‬ﻭﻣﺪﺭﻭﺳ‪ ‬ﺔ‬ ‫‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺎﺕ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺃﻭﺯﻭﻥ‪ , ‬ﻭﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺃﻭﺑ‪ ‬ﻮﺱ‪ ، Ubus ‬ﻭﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻮﻟﺰ‬ ‫‪ ، Bulls ‬ﺣﻴﺚ‪ ‬ﺃﺻﺒﺤﺖ‪ ‬ﺃﻟﻮﺍﻧﻪ‪ ‬ﺃﺷﺪ‪ ‬ﺑﺮﻳﻘﺎ‪ ‬ﻭﺃ‪ ‬ﺷﺨﺎﺻﻪ‪ ‬ﻣﺤﺮﻓﻴﻦ‪ ‬ﻭﺗﺨﻴﻼﺗﻪ‪ ‬ﺗﻌﻜﺲ‪ ‬ﺍﻟﻮﺍﻗﻊ‪ ‬ﺑﺤﺲ‪ ‬ﺳﺮﻳﺎﻟﻲ‪ ‬ﺷﺪﻳﺪ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۸ ‬‬

‫‪ ۱۹٤۱ ‬ﻧﺸﺮ‪ ‬ﻛﺘﺎﺏ‪ ‬ﺑﻌﻨﻮﺍﻥ‪ " ‬ﺍﻟﻄﺮﻗﺎﺕ‪ ‬ﺍﻷﺭﺑﻌ‪ ‬ﺔ‪ The Four Routes " ‬ﻋ‪ ‬ﺮﺽ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﺃﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺃﻧ‪ ‬ﻮﺍﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻕ‬ ‫‪ ‬ﻣﺘﺄﺛﺮﺍ‪ ‬ﺑﻌﻨﺎﺻﺮ‪ ‬ﺃﺭﺳﻄﻮ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ , ‬ﻭﻫﻲ‪ : ‬ﺍﻟﻄﺮﻕ‪ ‬ﺍﻟﺴﺮﻳﻌﺔ‪ ‬ﻭﺗﻤﺜﻞ‪ ‬ﺍﻷﺭﺽ‪ , ‬ﺍﻟﺴﻜﻚ‪ ‬ﺍﻟﺤﺪﻳﺪﻳﺔ‪ ‬ﻭﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺭ‪ , ‬ﺍﻟﻄ‪ ‬ﺮﻕ‬ ‫‪ ‬ﺍﻟﺒﺤ‪ ‬ﺮﻳﺔ‪ ‬ﻭﺗﻤﺜﻞ‪ ‬ﺍﻟﻤﺎء‪ , ‬ﺍﻟﻄﺮﻕ‪ ‬ﺍﻟﺠﻮﻳﺔ‪ ‬ﻭﺗﻤﺜﻞ‪ ‬ﺍﻟﻬﻮﺍء‪ , ‬ﻋﻠﻰ‪ ‬ﺃﻥ‪ ‬ﺗﻜﻮﻥ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻕ‪ ‬ﺍﻷﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺍﻷﺳ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﺘ‪ ‬ﻮﺍﺯﻥ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﺃﻱ‪ ‬ﻣﺪﻳﻨﺔ‪. ‬‬

‫‪ " ‬ﺣﻴﻮﻳﺔ‪ ‬ﺍﻟﺒﻬﺠﺔ‪ ‬ﻭﺍﻟﻤﺴﺎﺣﺎﺕ‪ ‬ﺍﻟﺨﻀ‪ ‬ﺮﺍء‪ ‬ﻧﺎﺗﺠ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ , ‬ﻭﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺃﻥ‪ ‬ﺗﺨﻀ‪ ‬ﻊ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺱ‪ ‬ﻟﻘﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪, ‬‬ ‫‪ ‬ﻭﺗﻀﻌﻬﻢ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺗﺤﺖ‪ ‬ﻓﻮﺍﺋﺪﻫﺎ "‬

‫‪­ ۸۸ ­ ‬‬

‫‪ ۱۹٤۲ ‬ﺃﺳﺲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺑﺎﺭﻳﺲ ‪ ‬ﻣﺎ‪ ‬ﺃﺳﻤﺎﻩ ‪ " ‬ﺗﺠﻤﻊ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﻦ‪ ‬ﻣﻦ‪ ‬ﺃﺟﻞ‪ ‬ﺗﺠﺪﻳﺪ ‪ ‬ﻓﻦ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ ‪ " ‬ﺃ‪ ‬ﺳﻜﻮﺭﺍﻝ‬ ‫‪ , ASCORAL ASsembly of COnstructors for ArchitectuRAL ‬ﻭﺃﺻﺒﺢ ‪ ‬ﻣﻦ ‪ ‬ﺿﻤﻦ ‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺎﺕ‬ ‫‪۱ ‬‬

‫‪ ‬ﺍﻹﻗﻠﻴﻤﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘﺒﻊ ‪ ، C.I.A.M. ‬ﻭﺃﻧﺘﺞ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻟﻪ‪ ‬ﻋﺪﺓ‪ ‬ﻛﺘﺐ‪ ‬ﻣﻨﻬﺎ ‪Thinking in Terms of Town Planning ‬‬ ‫‪– The Three Establishments of Man – The Modulor – The Art of Habitation – Town ‬‬ ‫‪ Planning & Medicine ‬ﻓﻲ‪ ‬ﻭﻗﺖ‪ ‬ﺗﺰﺍﻣﻦ‪ ‬ﻣﻊ‪ ‬ﻧﺸﺮﻩ‪ ‬ﻫﻮ‪ ‬ﻟﻜﺘﺐ‪ ‬ﻣﺜﻞ ‪Desting of Paris – The Charter of ‬‬ ‫‪Athens – Talks with Architectural Students ‬‬

‫‪ ۱۹٤۳ ‬ﻧﺸﺮ‪ ‬ﻋﺪﺓ‪ ‬ﻛﺘﺐ‪ ‬ﺣﻮﻝ‪ ‬ﻓﻦ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻭﻃﺮﻳﻘﺔ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻨﻈﻴﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻳﻨﻲ‪ , ‬ﻭﺑ‪ ‬ﺪﺃ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‬ ‫‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺎﺭﺳ‪ ‬ﻴﻠﻴﺎ‪ ، ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺎﻓﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻮﻻﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ‪ ‬ﺑﺮﻓﻘ‪ ‬ﺔ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟ‪ ‬ﺰﻣﻼء‪ ‬ﻟﺪﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻷﻣﺮﻳﻜﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۰۹ ‬‬

‫‪ ۱۹٤٤ ‬ﺑﻌﺪ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﺃﺻﺒﺢ‪ ‬ﻋﻀﻮﺍ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺆﺳﺴﺔ‪ ‬ﺍﻟﻤﺘﺨﺼﺼ‪ ‬ﺔ‪ ‬ﻟﻠﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ ‪Architects' Professional ‬‬

‫‪ Association ‬ﻫﻮ‪ ‬ﻭﺃﻭﺟﺴﺖ‪ ‬ﺑﻴﺮﻳﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﻋﺪﻡ‪ ‬ﺣﺼ‪ ‬ﻮﻟﻬﻤﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻬﺎﺩﺍﺕ‪ ‬ﺃﻛﺎﺩﻳﻤﻴ‪ ‬ﺔ‪ ،‬ﻭﻭﺻ‪ ‬ﻠﺖ‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻛﺬﻟﻚ‪ ،‬ﻓﻘﺪ‪ ‬ﺃﺗﻢ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺘﻨﻮﻳﻌﺎﺕ‪ ‬ﻋﻠﻰ‪ ‬ﻣﻮﺿﻮﻋﺎﺕ‪ ‬ﺍﺟﺘﻤﺎﻋﻴﺔ‪ ‬ﻧﻔﺬﺕ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﺼ‪ ‬ﺎﻣﺘﺔ‬ ‫‪ ‬ﻭﺍﻟﺼﻮﺭ‪ ‬ﺍﻟﻈﻠﻴﺔ ‪ silhouettes ‬ﻭﺃﺳﻤﺎﻫﺎ‪ ‬ﺻ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺜﻴ‪ ‬ﺮﺍﻥ‪ ، Bull­pictures ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﺍﺷ‪ ‬ﺘﻤﻠﺖ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺻﻮﺭ‪ ‬ﻟﻮﺟﻪ‪ ‬ﺯﻭﺟﺘﻪ‪ ‬ﺇﻳﻔﻮﻥ‪ ‬ﻣﻊ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻷﻳﺪﻱ‪ ‬ﺍﻟﻤﺘﺸﺎﺑﻜﺔ‪ ‬ﺃﺳﻤﺎﻫﺎ‪ ‬ﺍﻷﻳﻘﻮﻧﺎﺕ‪. Icons ‬‬

‫‪Osborne Harold ' The Oxford Companion to Art ' pp. 649 1 ‬‬ ‫‪2 ‬‬ ‫‪Basel Beyeler, ' Le Corbusier Peintre ' pp. 8‬‬

‫‪­ ۸۹ ­ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۰ ‬‬

‫‪ " ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺫﺍﺗﻬ‪ ‬ﺎ‪ ،‬ﻳﺼ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻹﺣﻜ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻟﺪﻗ‪ ‬ﺔ‪ ،‬ﻓﺎﻟﻮﻗ‪ ‬ﺎﺋﻊ‪ ‬ﺣﻘﻴﻘﻴ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﻜﻠﻤ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺻﺎﺋﺒﺔ‪ ‬ﻣﻀﺒﻮﻃﺔ‪ ،‬ﻓﻼ‪ ‬ﺗﻮﺟـﺪ‪ ‬ﺿﺮﺑﺔ‪ ‬ﻓﺮﺷﺎﺓ‪ ‬ﻏﻴﺮ‪ ‬ﻣﺆﻛﺪﺓ‪ ،‬ﻭﺍﻟﻠـﻮﺣﺔ‪ ‬ﺗﻐﻄﻴﻬﺎ‪ ‬ﺍﻟﺤـﻘﻴ‪ ‬ﻘﺔ‪ ‬ﻣـﻦ‪ ‬ﺃﺷﻜﺎﻝ‪ ‬ﻭﺃﻟﻮﺍﻥ‪ ‬ﻭﻗﻴﻢ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹٤٥ ‬ﻋ‪ ‬ﺮّﻑ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ " ‬ﺍﻹﻧﺠ‪ ‬ﺎﺯﺍﺕ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮﻳﺔ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪The Three Human " ‬‬

‫‪ Establishments ‬ﻫﺬﻩ‪ ‬ﺍﻹﻧﺠﺎﺯﺍﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻧﻬﺎ‪: ‬‬ ‫‪ ­ ۱ ‬ﻭﺣﺪﺓ‪ ‬ﺍﺳﺘﺜﻤﺎﺭ‪ ‬ﺍﻟﻤﻮﺍﺭﺩ‪ ‬ﺍﻟﺰﺭﺍﻋﻴﺔ‬ ‫‪ ­ ۲ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺼﻨﺎﻋﺔ‪ ‬ﺍﻟﺨﻄﻴﺔ‪ ‬ﺍﻟﻤﺘﺼﻠﺔ‬ ‫‪ ­ ۳ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺘﺒﺎﺩﻝ‪ ‬ﺍﻟﺘﺠﺎﺭﻱ‪ ‬ﺍﻟﻤﺸﻊ‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﻧﺸﺮ‪ ‬ﻋﺎﻡ‪ ۱۹٤٦ ‬ﻓﻲ‪ ‬ﺇﺿﺎﻓﺔ‪ ‬ﻟﻬ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻮﺿ‪ ‬ﻮﻉ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺰﺭﻋ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺸ‪ ‬ﻌﺔ‪ ‬ﻣﻬ‪ ‬ﺪﺍﻩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﺔ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ، ‬ﻭﺍﻟﻤﺼ‪ ‬ﻨﻊ‬ ‫‪ ‬ﺍﻷﺧﻀ‪ ‬ﺮ‪ ‬ﻣﻬ‪ ‬ﺪﻯ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﺔ‪ ‬ﺍﻟﺜﺎﻧﻮﻳ‪ ‬ﺔ‪ ، ‬ﻭﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺘﺒ‪ ‬ﺎﺩﻝ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰﻱ‪ ‬ﺍﻟﻤﺸ‪ ‬ﻊ‪ ‬ﻣﻜﺮﺳ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‬ ‫‪ ‬ﺍﻟﻤﻌﺮﻭﻑ‪ ‬ﻟﺪﻯ‪ ‬ﺭﺟﺎﻝ‪ ‬ﺍﻻﻗﺘﺼﺎﺩ‪ ‬ﺑﺎﻟﺼﻨﺎﻋﺔ‪ ‬ﺍﻟﺜﺎﻟﺜﻴﺔ‬

‫‪۲ ‬‬

‫‪ ۱۹٤٦ ‬ﺑﻌﺚ‪ ‬ﺍﻟﻨﺤﺎﺕ‪ ‬ﺟﻮﺯﻳ‪ ‬ﻒ‪ ‬ﺳﺎﻓﻴﻨﺎ ‪ Joseph Savina ‬ﺇﻟﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺘﻤﺜ‪ ‬ﺎﻝ‪ ‬ﺻ‪ ‬ﻐﻴﺮ‪ ‬ﺍﻗﺘﺒﺴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‬ ‫‪ ‬ﺍﺳﻜﺘﺸﺎﺗﻪ‪ ، ‬ﻓﺄﻋﺠﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻬﺬﻩ‪ ‬ﺍﻟﻔﻜﺮﺓ‪ ‬ﻭﺑﺪﺃ‪ ‬ﺍﻹﺛﻨﺎﻥ‪ ‬ﻋﻤﻠﻬﻤﺎ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺩﻱ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻳﺮﺳ‪ ‬ﻢ‬ ‫‪ ‬ﺍﺳﻜﺘﺸﺎﺗﻪ‪ ‬ﻣﻊ‪ ‬ﺷ‪ ‬ـﺮﺡ‪ ‬ﺗﻔﺎﺻ‪ ‬ﻴﻠﻬﺎ‪ ‬ﻭﺃﺑﻌﺎﺩﻫ‪ ‬ﺎ‪ ، ‬ﻭﻳﺘﺮﺟ‪ ‬ـﻢ‪ ‬ﺳ‪ ‬ﺎﻓﻴﻨﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﻨﺤﻮﺗ‪ ‬ﺎﺕ‪ ‬ﺧﺸ‪ ‬ﺒﻴﺔ‪ ‬ﻓﻴﻘ‪ ‬ﻮﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺘﻠﻮﻳﻨ‪ ‬ﻬ‪ ‬ﺎ‪، ‬‬ ‫‪ ‬ﻭﻧﻔﺬﺕ‪ ‬ﺑﺎﻟﻔﻌﻞ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺿﻤﺖ‪ ٤٤ ‬ﻋﻤﻼ‪ ‬ﻧﺤﺘﻴﺎ‪ ‬ﻣﺸﺘﺮﻛﺎ‪ ‬ﻛﺘﺐ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺍﺳﻤﺎ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ ‪JS ­ LC ‬‬

‫‪1 ‬‬

‫‪Le Corbusier, ' De la Peinture ' 1938 ‬‬ ‫‪Frampton Kenneth, ' Le Corbusier ' pp. 147 2 ‬‬ ‫‪3 ‬‬ ‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp. 91­92‬‬

‫‪­ ۹۰ ­ ‬‬

‫‪۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۱ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻟﻘ‪ ‬ﻰ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻣﺤﺎﺿ‪ ‬ﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺘﺤ‪ ‬ﻒ‪ ‬ﺍﻟﻤﺘﺮﻭﺑﻮﻟﻴﺘ‪ ‬ﺎﻥ‪ ‬ﺑ‪ ‬ﺪﻋﻮﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﻤﻌﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻤﻤﻴﻦ‪ ‬ﺍﻷﻣﺮﻳﻜﻴ‪ ‬ﺔ ‪The ‬‬

‫‪ American Designers Association ‬ﻋﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ،‬ﻭﺍﻧﺘﺨﺐ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻠﻴﻠﺔ‪ ‬ﻟﻴﺼﺒﺢ‪ ‬ﻋﻀﻮﺍ‪ ‬ﻓﻴﻬﺎ‬

‫‪ " ‬ﺃﻋﺘﻘﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ ‬ﻫﻮ‪ ‬ﻟﺤﻈ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻼﻧﻬﺎﺋﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺄﺗﻲ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﻧﺴ‪ ‬ﺠﺎﻡ‪ ‬ﺳ‪ ‬ﻌﻴﺪ‪ ‬ﻣﺴ‪ ‬ﺘﺜﻨﻰ‪ ‬ﻟﻠﻮﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‬ ‫‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻣﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹٤۷ ‬ﺩﻋﻲ‪ ‬ﻟﻠﻤﺸﺎﺭﻛﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﺠﻨﺔ‪ ‬ﺍﻟﺪﻭﻟﻴﺔ‪ ‬ﻟﻠﻤﺼﻤﻤﻴﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﻟﺘﺼﻤﻴﻢ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻷﻣﻢ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ـﺪﺓ‪ ‬ﻣﻤ‪ ‬ﺜﻼ‪ ‬ﻟﻔﺮﻧﺴ‪ ‬ﺎ‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ۲۱ ‬ﻃﺎﺑﻘ‪ ‬ﺎ‪ ‬ﻟﻤﺒﻨ‪ ‬ﻰ ‪ ، RKO ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻧﻜ‪ ‬ﺐ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺑﻨﺸ‪ ‬ﺎﻃﻪ‪ ‬ﺍﻟﻤﻌﻬ‪ ‬ﻮﺩ‪ ،‬ﻭﺧ‪ ‬ﺮﺝ‪ ‬ﺑﻨﻤ‪ ‬ﻮﺫﺝ‪ ‬ﻟﻔﻜﺮﺗ‪ ‬ﻪ‬ ‫‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﺗﻌ‪ ‬ﻮﺩﻩ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﺮﻳ‪ ‬ﻖ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﻤﻜﻨ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ، ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺍﻧﺘﺨ‪ ‬ﺎﺏ‬ ‫‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﻷﻣﺮﻳﻜﻲ‪ ‬ﻭﺍﻻﺱ‪ ‬ﻫﺎﺭﻳﺴﻮﻥ ‪ Wallace Harrison ‬ﻟﺮﺋﺎﺳﺔ‪ ‬ﻟﺠﻨﺔ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺿ‪ ‬ﻤﺖ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻟﻮﺷ‪ ‬ﻴﻮ‬ ‫‪ ‬ﻛﻮﺳ‪ ‬ﺘﺎ‪ ،‬ﻭﻭﺍﻟﺘ‪ ‬ﺮ‪ ‬ﺟﺮﻭﺑﻴ‪ ‬ﻮﺱ‪ ،‬ﻭﺭﻭﺟ‪ ‬ﺮﺯ‪ ،‬ﻭﻣ‪ ‬ﺎﺭﻛﻴﻠﻴﻮﺱ‪ ،‬ﻭﺍﺳ‪ ‬ﺘﻘﺮ‪ ‬ﺍﻷﻣ‪ ‬ﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻨﻔﻴ‪ ‬ﺬ‪ ‬ﻧﻤ‪ ‬ﻮﺫﺝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺃﺟﻤﻌ‪ ‬ﺖ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ‬ﺍﻵﺭﺍء‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻳﻐﻄ‪ ‬ﻲ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‪ ۱٥۰ x ٤۰۰ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻭﺑﺎﺭﺗﻔ‪ ‬ﺎﻉ‪ ۲۰۰ ‬ﻡ‪ ، ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‬ ‫‪ ‬ﻭﻋﻠﻰ‪ ‬ﺃﺛﺮ‪ ‬ﺳﺮﻗﺔ‪ ‬ﺩﻓﺘﺮﺍﺳﻜﺘﺸﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻇﻬ‪ ‬ﻮﺭﻩ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﺎﻣﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﻋ‪ ‬ﺪﺍﺩ‪ ‬ﺍﻟﺮﺳ‪ ‬ﻮﻡ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﺘ‪ ‬ﺮﻙ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻨﻘﺎﺩﻩ‪ ‬ﺃﻭ‪ ‬ﻣﻌﺠﺒﻴﻪ‪ ‬ﺃﻱ‪ ‬ﺗﻘﺪﻳﺮ‪ ‬ﻟﻠﺒﺎﻗﺘﻪ‪ ،‬ﻓﻘﺪ‪ ‬ﻫﺎﺟﻢ‪ ‬ﻫﺎﺭﻳﺴ‪ ‬ﻮﻥ‪ ‬ﺑﺼ‪ ‬ﻮﺭﺓ‪ ‬ﻋﻠﻨﻴ‪ ‬ﺔ‪ ،‬ﻭﻋﻠ‪ ‬ﻰ‪ ‬ﺇﺛ‪ ‬ﺮ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺟ‪ ‬ﺮﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﺎﻓ‪ ‬ﺔ‪ ‬ﺣﻘﻮﻗ‪ ‬ﻪ‬ ‫‪ ‬ﻭﻟﻢ‪ ‬ﻳﻔﻜﺮﺃﺣﺪ‪ ‬ﺣﺘﻰ‪ ‬ﻓﻲ‪ ‬ﺗﺴﻤﻴﺔ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ " ‬ﻣﺒﻨﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ " ‬ﺑﻌﺪ‪ ‬ﺍﻧﺘﻬﺎﺋﻪ‪ ‬ﻋﺎﻡ‪۱۹٥۲ ‬‬

‫‪1 ‬‬

‫‪LC, ‘ Modulor 2 ’, p.26‬‬

‫‪­ ۹۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۲ ‬‬

‫‪ ۱۹٤۸ ‬ﺃﻧﻬﻰ‪ ‬ﺩﺭﺍﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺃﻗﺎﻡ‪ ‬ﻛﺬﻟﻚ‪ ‬ﻣﻌﺮﺿﺎ‪ ‬ﻓﺮﺩﻳﺎ‪ ‬ﻛﺒﻴﺮﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻌﻬﺪ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ ‬ﺑﺒﻮﺳﻄﻦ‬

‫‪ ۱۹٤۹ ‬ﺃﺻﺒﺢ‪ ‬ﺃﻭﻝ‪ ‬ﻧﺎﺋﺐ‪ ‬ﺭﺋﻴﺲ‪ ‬ﻟﺠﻤﻌﻴﺔ‪ ‬ﺗﺂﻟﻒ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ ‪Association Pour La Synthèse ‬‬

‫‪ ، des Arts Plastiques ‬ﻭﻛﺎﻥ‪ ‬ﺭﺋﻴﺴﻬﺎ‪ ‬ﻫﻨﺮﻱ‪ ‬ﻣﺎﺗﻴﺲ‪ ،‬ﻭﺑﻴﻜﺎﺳﻮ‪ ‬ﺃﺣﺪ‪ ‬ﺃﻋﻀﺎﺋﻬﺎ‪. ‬‬

‫‪ " ‬ﻟﻴﺲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻀﺮﻭﺭﻱ‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺮﺳﻢ‪ ،‬ﻟﻜﻦ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻻ‪ ‬ﻳﺨﺮﺝ‪ ‬ﺇﻟﻰ‪ ‬ﺣﻴﺰ‪ ‬ﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﺑﺪﻭﻥ‪ ‬ﺍﻟﺮﺳﻢ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹٥۰ ‬ﻫﺠﺮ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺷ‪ ‬ﻲء‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻗ‪ ‬ﻮﺓ‪ ‬ﻭﻧﺸ‪ ‬ﺎﻃﺎ‪ ،‬ﻭﻧﺸ‪ ‬ﺮ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺃﺟ‪ ‬ﺮﻯ‪ ‬ﺍﻟﺪﺭﺍﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻟﻜﻨﻴﺴﺔ‪ ‬ﺭﻭﻧﺸﺎ‪ ‬ﻥ‪. ‬‬ ‫‪ ۱۹٥۱ ‬ﺭﺣﻠﺘﻪ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻬﻨﺪ‪ ‬ﺑﻜﻮﻧﻪ‪ ‬ﻣﺴﺘﺸﺎﺭﺍ‪ ‬ﻣﻌﻤﺎﺭﻳﺎ‪ ‬ﻟﺤﻜﻮﻣﺘﻬ‪ ‬ﺎ‪ ‬ﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺷ‪ ‬ﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺃﻟﻘ‪ ‬ﻰ‬ ‫‪ ‬ﻣﺤﺎﺿﺮﺓ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻓﻲ‪ ‬ﻣﺆﺗﻤﺮ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﻤﻘﺪﺳﺔ‪ ‬ﺑﻤﻨﺎﺳﺒﺔ‪ ‬ﺗﺮﻳﻨﺎﻟﻲ‪ ‬ﻣﻴﻼﻥ‪. ‬‬ ‫‪ " ‬ﻛﻨﺖ‪ ‬ﻣﺤﻈﻮﻇﺎ‪ ‬ﻓﻲ‪ ‬ﺃﻣﺮ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻭﻫﻮ‪ ‬ﺃﻧﻲ‪ ‬ﻟﻢ‪ ‬ﺃﺗﻌﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﺗﺎﺟﺮ‪ ‬ﻟﻮﺣﺎﺕ‪ ،‬ﻓﻘﺪ‪ ‬ﻋﻤﻠﺖ‪ ‬ﻟﻨﻔﺴﻲ‪ ‬ﻛﻠﻴ‪ ‬ﺔ‪ ،‬ﻭﻛﻨ‪ ‬ﺖ‪ ‬ﺃﻧ‪ ‬ﺎ‪ ‬ﺍﻟﺤﻜ‪ ‬ﻢ‬ ‫‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻤﺘﺴﺎﻫﻞ‪" ‬‬

‫‪۲ ‬‬

‫‪ ۱۹٥۲ ‬ﺭﺣﻠﺘﻪ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻟﻤﺪﻳﻨﺔ‪ ‬ﺍﻟﺠﻴـﺰﺓ‪ ‬ﺑﻤﺼ‪ ‬ﺮ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺫﻛ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑﺎﺗ‪ ‬ـﻪ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ـﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺤﻀ‪ ‬ﺎﺭﺍﺕ‪ ‬ﺍﻟﺴ‪ ‬ـﺎﺑﻘﺔ‪ ‬ﺃﻥ‪" ‬‬ ‫‪ ‬ﺍﻟﻔﻬﻢ‪ ‬ﻭﺍﻟﻌﺎﻃﻔﺔ‪ ‬ﺃﺳﺎﺱ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ،‬ﻓ‪ ‬ﻼ‪ ‬ﻳﻮﺟ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺑﻐﻴ‪ ‬ﺮ‪ ‬ﻋﺎﻃﻔ‪ ‬ﺔ‪ ‬ﻭﻻ‪ ‬ﺗﻮﺟ‪ ‬ﺪ‪ ‬ﻋﺎﻃﻔ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﺇﺣﺴ‪ ‬ﺎﺱ‪ ،‬ﻓﺎﻷﺣﺠ‪ ‬ﺎﺭ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺫﺍﺗﻬﺎ‪ ‬ﺃﺷﻴﺎء‪ ‬ﻣﻴﺘﺔ‪ ‬ﺗﺮﻗﺪ‪ ‬ﻓﻲ‪ ‬ﻣﺤﺎﺟﺮﻫﺎ‪ ،‬ﺃﻣﺎ‪ ‬ﻣﺒﺎﻧﻲ‪ ‬ﺍﻷﻫﺮﺍﻡ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺑﻨﻴ‪ ‬ﺖ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺣﺠ‪ ‬ﺎﺭ‪ ‬ﻓﻬ‪ ‬ﻲ‪ ‬ﺗﻌﺒ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪Le Corbusier, ' Dessiner ' 1965 1 ‬‬ ‫‪2 ‬‬ ‫‪Ibid, 1965‬‬

‫‪­ ۹۲ ­ ‬‬

‫‪ ‬ﻣﺴ‪ ‬ﺮﺣﻴﺔ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ .. ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺮﺣﻴﺔ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﺑﺎﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻌ‪ ‬ﻴﺶ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻜ‪ ‬ﻮﻥ‪ ،‬ﻭﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﻣﺜﻠ‪ ‬ﻪ‪ ‬ﻣﺜ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻟﻤﺴ‪ ‬ﺮﺣﻴﺔ‪ ‬ﻭﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ،‬ﻓ‪ ‬ﻼ‪ ‬ﺩﺍﻋ‪ ‬ﻲ‪ ‬ﺃﻥ‪ ‬ﻧﺆﻛ‪ ‬ﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻫﻴﺮ‪ ‬ﺗﺨﻠ‪ ‬ﻖ‪ ‬ﺭﺟﺎﻟﻬ‪ ‬ﺎ‪ ‬ﻷﻥ‪ ‬ﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﺍﻟﺨ‪ ‬ﻼﻕ‪ ‬ﻇ‪ ‬ﺎﻫﺮﺓ‪ ‬ﺷ‪ ‬ﺎﺫﺓ‬ ‫‪ ‬ﺗﺤﺪﺙ‪ ‬ﻓﻲ‪ ‬ﻓﺘﺮﺍﺕ‪ ‬ﻣﺘﺒﺎﻋﺪﺓ‪ ،‬ﻭﺭﺑﻤﺎ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺍﻟﺼﺪﻓﺔ‪ ،‬ﻓﻤﺎﻳﻜﻞ‪ ‬ﺁﻧﺠﻠﻮ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺭﺟ‪ ‬ﻞ‪ ‬ﺍﻷﻟ‪ ‬ﻒ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺍﻷﺧﻴ‪ ‬ﺮﺓ‪ .. ‬ﻭﻛ‪ ‬ﺬﻟﻚ‬ ‫‪ ‬ﻛﺎﻥ‪ ‬ﻓﻴﺪﻳﺎﺱ‪ ‬ﺭﺟﻞ‪ ‬ﺍﻷﻟﻒ‪ ‬ﻋﺎﻡ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻗﺒﻠﻬﺎ‪ ‬ﻛﻤﺎ‪ ‬ﻛﺎﻥ‪ ‬ﺇﻳ‪ ‬ﻤﺤﺘ‪ ‬ﺐ‪ ‬ﺭﺟ‪ ‬ﻞ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﺁﻻﻑ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﺒﻘﺖ‪ ‬ﻣ‪ ‬ﻴﻼﺩ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻴﺢ‪. ‬‬ ‫‪ ‬ﻓﺈﻧﺘ‪ ‬ﺎﺝ‪ ‬ﻣﺎﻳﻜ‪ ‬ﻞ‪ ‬ﺁﻧﺠﻠ‪ ‬ﻮ‪ ‬ﺧﻠ‪ ‬ﻖ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﻧﻬﻀ‪ ‬ﺔ‪ .. ‬ﻫ‪ ‬ﻮ‪ ‬ﻋﺎﻃﻔ‪ ‬ﺔ‪ ‬ﻭﻓﻬ‪ ‬ﻢ‪ ‬ﻓ‪ ‬ﻮﻕ‪ ‬ﻣﺴ‪ ‬ﺘﻮﻯ‪ ‬ﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺩﻱ‪ ،‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﺠ‪ ‬ﻮﺍﺏ‬ ‫‪ ‬ﺍﻷﺑﺪﻱ‪ ،‬ﺃﻣﺎ‪ ‬ﻓﻴﺪﻳﺎﺱ‪ ‬ﻓﻬﻮ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﻌﻈﻴﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﻗﺎﻡ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻟﻢ‪ ‬ﻳﻘ‪ ‬ﻢ‪ ‬ﻣﺜﻠ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻱ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻌﺼ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‬ ‫‪ ‬ﺗﻠﺘﻪ‪ ‬ﻭﻻ‪ ‬ﻓﻲ‪ ‬ﺃﻱ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ،‬ﻓﺄﻭﻟﺌﻚ‪ ‬ﺍﻟﺬﻳﻦ‪ ‬ﺷﺎﻫﺪﻭﺍ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻟﻤﺴﻮﺍ‪ ‬ﺃﻧﻪ‪ ‬ﻣﺮﺣﻠﺔ‪ ‬ﺣﺎﺳﻤﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺇﻳﻤﺤﺘ‪ ‬ﺐ‬ ‫‪ ‬ﻓﻬ‪ ‬ﻮ‪ ‬ﺍﻟﻤﻬﻨ‪ ‬ﺪﺱ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺑﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‪ ‬ﺍﻟﻤ‪ ‬ﺪﺭﺝ‪ ‬ﻭﻧﻘ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺑ‪ ‬ﺎﻟﻄﻴﻦ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‬ ‫‪ ‬ﺍﻟﺤﺠﺮﻳﺔ‪ .. ‬ﻭﻗﺪ‪ ‬ﻗﺪﺳﻪ‪ ‬ﺍﻟﻤﺼﺮﻳﻮﻥ‪ ‬ﻭﺍﻋﺘﺒﺮﻭﻩ‪ ‬ﺇﻟﻪ‪ ‬ﺍﻟﻌﻠﻢ‪ ‬ﻭﺍﻟﻄﺐ‪ ‬ﻭﺍﻟﺤﻜﻤﺔ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹٥۳ ‬ﺍﻧﺘﻬﻰ‪ ‬ﻣﻦ‪ ‬ﺇﻧﺸﺎء‪ ‬ﺩﻳﺮ‪ ‬ﺍﻟﺪﻭﻣﻴﻨﻴﻜﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻻﺗﻮﺭﻳﺖ‪ ‬ﺑﻔﺮﻧﺴﺎ ‪ ، sainte marie de la tourette ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﺳ‪ ‬ﻤﻰ‬ ‫‪ ‬ﻭﺍﺟﻬﺎﺗﻬﺎ‪ ‬ﺑﺎﻟﻤﻮﺳﻴﻘﻴﺔ‪ ‬ﻷﻧﻬﺎ‪ ‬ﺫﺍﺕ‪ ‬ﺣﻞ‪ ‬ﻋﻘﻼﻧﻲ‪ ‬ﻣﺤﻜﻮﻡ‪ ،‬ﻭﺇﻳﺎﻧﺲ‪ ‬ﺯﻳﻨﺎﻛﺲ ‪ ۲ ‬ﻫﻮ‪ ‬ﺻﺎﺣﺐ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﻘﺴﻴﻤﺎﺕ‪ ‬ﺑﺎﺳ‪ ‬ﺘﺨﺪﺍﻣﻪ‬ ‫‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻤﻬﺎ‬

‫‪۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۳ ‬‬

‫‪1 ‬‬

‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪۲۲۰ ­ ۲۱۹ ‬‬ ‫‪ 2 ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬ ‫‪3 ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.321‬‬

‫‪­ ۹۳ ­ ‬‬

‫‪ ‬ﻛﻤﺎ‪ ‬ﺃﻗﺎﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻌﺮﺿﺎ‪ ‬ﻟﻠﺮﺳﻢ‪ ‬ﻭﺍﻟﻨﺤﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﻒ‪ ‬ﺍﻟ‪ ‬ﻮﻃﻨﻲ‪ ‬ﻟﻠﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ ،‬ﻭﺟ‪ ‬ﺎﻟﻴﺮﻱ‪ ‬ﺩﻳﻨ‪ ‬ﻴﺲ‪ ‬ﺭﻳﻨﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺑﺎﺭﻳﺲ‪ ،‬ﻭﻣﻌﺮﺿﺎ‪ ‬ﻓﻲ‪ ‬ﻟﻨﺪﻥ‪ ،‬ﻭﻧﺸﺮ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﺸﻌﺮﻱ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ " ‬ﻗﺼﻴﺪﺓ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪Le Poéme de L'Angle " ‬‬

‫‪ ، Droit ‬ﻭﻫﻲ‪ ‬ﻋﻠﻰ‪ ‬ﻧﺴﻖ‪ ‬ﺍﻟﺤ‪ ‬ﺎﺟﺰ‪ ‬ﺍﻷﻳﻘ‪ ‬ﻮﻧﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺍﻟﺸ‪ ‬ﺮﻗﻴﺔ‪ ‬ﺍﻷﺭﺛﻮﺫﻛﺴ‪ ‬ﻴﺔ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻔﺼ‪ ‬ﻞ‪ ‬ﺍﻟﻤ‪ ‬ﺬﺑﺢ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺠ‪ ‬ﺰء‬ ‫‪ ‬ﺍﻟﺮﺋﻴﺴﻲ‪ ‬ﻓﻴﻜـﻮﻥ‪ ‬ﺑﻤﺜﺎﺑﺔ‪ ‬ﺍﻟﺤﺠ‪ ‬ﺎﺏ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻠﻴﻦ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺎﺋﻤﻴﻦ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻘﺮﺑ‪ ‬ـﺎﻥ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺪﺱ ‪ ، ۱ ‬ﻭﻳﺤﺘ‪ ‬ﻮﻱ‪ ‬ﺍﻟ‪ ‬ﺪﻳﻮﺍﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ۱۹ ‬ﻟﻮﺣﺔ‪ ‬ﺣﻔﺮ‪ ‬ﻣﻠﻮﻧﺔ‪ ‬ﺗﺘﺨﻠﻠﻬ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻻﺳﻜﺘﺸ‪ ‬ﺎﺕ‪ ‬ﻣﻨﻘﺴ‪ ‬ﻤﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ۷ ‬ﺃﻗﺴ‪ ‬ﺎﻡ‪ ‬ﻛﺘﺒ‪ ‬ﺖ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ۷ ‬ﺳ‪ ‬ﻨﻮﺍﺕ‪ ‬ﻟﻜ‪ ‬ﻞ‪ ‬ﻗﺴ‪ ‬ﻢ‪ ‬ﻟﻮﻧ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻟﺨﺎﺹ‪ ‬ﻭﻫﻲ‪: ‬‬

‫‪ : A ‬ﺍﻟﺒﻴﺌﺔ‪ ) ‬ﺃﺧﻀﺮ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﺩﻭﺭﺓ‪ ‬ﺍﻟﺸﻤﺲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺼﻴﻒ‪ ‬ﻭﺍﻟﺸﺘﺎء‪ ‬ﻣﻊ‪ ‬ﺟﻮ‪ ‬ﺍﻷ‪ ‬ﺭﺽ‪ ‬ﻭﺇﻧﺴﺎﻥ‪ ‬ﺍﻷﺭﺽ‪ ‬ﺍﻟﻤﺘﻤﺜ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺭﺟﻞ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺍﻟﻤﺘﻘﺎﺑﻼﺕ‪ ‬ﻣﻦ‪ ‬ﺣﻮﻟﻪ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻴﻤﻴﻦ‪ ‬ﻭﺍﻟﺸﻤﺎﻝ‪ ،‬ﺍﻟﺬﻛﺮ‪ ‬ﻭﺍﻷﻧﺜﻰ‪ ،‬ﺍﻟﺸﻤﺲ‪ ‬ﻭﺍﻟﻘﻤﺮ‪ ،‬ﺍﻟﻨﻬﺎﺭ‪ ‬ﻭﺍﻟﻠﻴﻞ‪. ‬‬ ‫‪ : B ‬ﺍﻟﺮﻭﺡ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻌﻘﻞ‪ ) ‬ﺃﺯﺭﻕ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﻗﻮﺍﻋﺪﻩ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻭﺃﻫﻤﻬﺎ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻭﻧﻘﺎﻃ‪ ‬ﻪ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‬ ‫‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪. ‬‬

‫‪ : C ‬ﺍﻟﺠﻨﺲ‪ ‬ﺍﻟﺒﺸﺮﻱ‪ ) ‬ﺑﻨﻔﺴﺠﻲ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﺴﺪ‪ ،‬ﻭﺍﻟﻨﻮﻡ‪ ‬ﻭﺍﻟﻤﻮﺕ‪ ،‬ﻭﻣﺎ‪ ‬ﻓﻌﻠﺘﻪ‪ ‬ﺍﻟﺤﺮﻭﺏ‪ ‬ﺑﺎﻟﺤﺮﻳﺔ‪. ‬‬

‫‪ : D ‬ﺍﻻﻧﺼﻬﺎﺭ‪ ) ‬ﺃﺣﻤﺮ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺘﺪﺍﺧـﻞ‪ ‬ﺍﻟﻜﻴﻤﻴﺎﺋﻲ‪ ‬ﺑﻴـﻦ‪ ‬ﺍﻟـﺬﻛﺮﻭﺍﻷﻧﺜـﻰ‪ ‬ﻭﻣـﺎ‪ ‬ﻳﻔﻌﻠـﻪ‪ ‬ﺍﻟﻔـﻦ‪ ‬ﺑﺎﻟﻤﺠﺘﻤـﻊ‬

‫‪۲ ‬‬

‫‪ : E ‬ﺍﻟﺼﻔﺎء‪ ) ‬ﻋﺪﻳﻢ‪ ‬ﺍﻟﻠﻮﻥ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻭﺯﻭﺟﺘﻪ‪ ‬ﻭﻓﺮﻳﻖ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻟ‪ ‬ﺪﻳﻪ‪. ‬‬ ‫‪ : F ‬ﺍﻟﻌﺮﺽ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻘﺮﺑﺎﻥ‪ ) ‬ﺃﺻﻔﺮ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﻧﺼﺐ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺍﻟﺘﺬﻛﺎﺭﻱ‪ " ‬ﻣﺜﻠﻤﺎ‪ ‬ﺗﻌﻄﻲ‪ ‬ﻣﺜﻠﻤﺎ‪ ‬ﺗﺄﺧﺬ‪" ‬‬ ‫‪ : G ‬ﺍﻻﺳﺘﻌﺎﻧﺔ‪ ‬ﺍﻟﻨﻔﻌﻴﺔ‪ ‬ﺑﺎﻵﻟﺔ‪ ) ‬ﺃﺭﺟﻮﺍﻧﻲ‪ ( ‬ﻭﻳﺘﺤﺪﺙ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﻦ‪ ‬ﻛﻴﻔﻴﺔ‪ ‬ﺗﻌﺎﻣﻞ‪ ‬ﻳﺪﻩ‪ ‬ﻣﻊ‪ ‬ﺍﻷﺷﻴﺎء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﻮﻟﻬ‪ ‬ﺎ‪ ‬ﻭﻗﻴﺎﻣﻬ‪ ‬ﺎ‪ ‬ﺑﺎﻟﺴ‪ ‬ﺒﻖ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻛﺘﺎﺑﺔ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺪﻳﻮﺍﻥ‪ ‬ﺫﺍﺗﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﺼﺎﺋﺪ‪ ‬ﻋﺒﺮ‪ ‬ﺍﺑﺘﻜﺎﺭ‪ ‬ﻭﺳﻴﻠﺔ‪ ‬ﻋ‪ ‬ﻘﻠﻴﺔ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﺗﺴﻤﺢ‪ ‬ﺑﺘﻌﺎﻳﺸﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻧﺴﺠﺎﻡ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ‬ﺍﻟﻤﺤﻴﻂ‪،‬‬ ‫‪ ‬ﻭﻛﺄﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺪﻳﻮﺍﻥ‪ ‬ﻳﻠﺨﺺ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﻞ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﻭﻧﻈﺮﻳﺎﺗﻪ‪ ‬ﻭﺃﻓﻜﺎﺭﻩ‪ ‬ﻭﻋﻼﻗﺘـﻪ‪ ‬ﺑﺎﻟﻤﺎﺿﻲ‪ ‬ﻭﺍﻟﺤﺎﺿﺮ‪ ‬ﻭﺍﻟﻤﺴﺘﻘﺒﻞ‪ ،‬ﻭﻳﻮﺿﺢ‬ ‫‪ ‬ﻟﻠﻌﺎﻟﻢ‪ ‬ﺳﺒﺐ‪ ‬ﺇﺻﺮﺍﺭﻩ‪ ‬ﺍﻟﺪﺍﺋﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻥ‪ ‬ﺳﺮ‪ ‬ﻋﻤﺎﺭﺗﻪ‪ ‬ﻳﻜﻤﻦ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺎﺗﻪ‪. ‬‬

‫‪see Moore, ' Alchemical & Mythical Themes ' pp. 135 1 ‬‬ ‫‪2 ‬‬ ‫‪see Becket, ' Le Poéme de L'Angle Droit ' pp. 44­ 45‬‬

‫‪­ ۹٤ ­ ‬‬

‫‪ ‬ﻳﻘﻮﻝ‪ ‬ﻓﻲ‪ ‬ﺇﺣﺪﻯ‪ ‬ﻟﻮﺣﺎﺗﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻜﻮﻥ‪ ‬ﻓﻲ‪ ‬ﻋﻴﻮﻧﻨﺎ‪ ‬ﻳﺴﺘﺮﻳﺢ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﻬﻞ‪ ‬ﻳﺤﻴﻂ‪ ‬ﺑﻪ‪ ‬ﺍﻷﻓﻖ‬ ‫‪ ‬ﻭﺍﻟﻮﺟﻪ‪ ‬ﻣﺪﺍﺭ‪ ‬ﺗﺠﺎﻩ‪ ‬ﺍﻟﺴﻤﺎء‬ ‫‪ ‬ﻭﺍﻟﻔﻀﺎء‪ ‬ﺍﻟﻤﺴﺘﺤﻴﻞ‬ ‫‪ ‬ﻳﺮﺗﺎﺡ‪ ... ‬ﻓﻴﺘﻤﺪﺩ‬ ‫‪ ‬ﻳﻨﺎﻡ‪ ... ‬ﻓﻴﻤﻮﺕ‬ ‫‪ ‬ﻇﻬﺮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻟﻜﻨﻨﻲ‪ ‬ﻗﺎﺋﻢ‬ ‫‪ ‬ﻣﺴـﺘﻘﻴﻢ‬ ‫‪ ‬ﻣﻊ‪ ‬ﺳﻬﻞ‪ ‬ﺍﻷﺭﺽ‬ ‫‪ ‬ﻣﺘﻌﺎﻗﺪ‪ ‬ﻣﻌﻬﺎ‬ ‫‪ ‬ﻣﺘﻜﺎﻓﻞ‬ ‫‪ ‬ﺇﻧﻬﺎ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻋﻨﺪﻣﺎ‬ ‫‪ ‬ﺗﻘﻒ‪ ‬ﺃﻣﺎﻡ‪ ‬ﺍﻟﺒﺤﺮ‪ ‬ﺍﻟﺮﺃﺳﻲ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻗﺪﻣﻴﻚ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱٤ ‬‬

‫‪1 ‬‬

‫‪see Le Corbusier, ' Le Poéme de L'Angle Droit ' A3 ‬‬

‫‪­ ۹٥ ­ ‬‬

‫ﺗﺮﺟﻤﺔ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﺑﺘﺼﺮﻑ‬

‫‪ ۱۹٥٤ ‬ﻣﻌﺮﺽ‪ ‬ﻓﻲ‪ ‬ﻗﺎﻋﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻓﻲ‪ ‬ﺑﻴﺮﻥ‪ ،‬ﻭﻓﻲ‪ ‬ﻛﻮﻡ ‪. Come ‬‬

‫‪ ۱۹٥٥ ‬ﺣﺎﺯﻋﻠﻰ‪ ‬ﺍﻟﺪﻛﺘﻮﺭﺍﺓ‪ ‬ﺍﻟﻔﺨﺮﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﺒﻮﻟﻴﺘﻜﻨﻴﻚ‪ ‬ﻓﻲ‪ ‬ﺯﻳﻮﺭﻳﺦ‪. ‬‬

‫‪ ۱۹٥٦ ‬ﻣﻌﻬﺪ‪ ‬ﻓﺮﻧﺴﺎ‪ ‬ﻳﻤﻨﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﺮﺳﻴﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠ‪ ‬ﺔ‪ ‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﻳﺮﻓﻀ‪ ‬ﻪ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‬ ‫‪ ‬ﻣﻨﻄﻘﺔ‪ ‬ﺍﻷﻟﻌﺎﺏ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﺑﺒﻐﺪﺍﺩ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﺍﻟﻤﺮﻛﺰ‪ ‬ﺍﻟﺜﻘﺎﻓﻲ‪ ‬ﻓﻲ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻓﻴﺮﻣﻴﻨﻲ‬

‫‪ ‬ﺷﻜﻞ‪۱۱٥ ‬‬

‫‪ ۱۹٥۷ ‬ﻳﻬﺐ‪ ‬ﻓﺮﻧﺴﺎ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻮﺛﺎﺋﻖ‪ ‬ﺍﻟﻔﻮﺗﻮﺟﺮﺍﻓﻴﺔ‪ ‬ﻭﺍﻟﺘﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺿﻤﻬﺎ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻜﺒﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺘﻨﻘ‪ ‬ﻞ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺃﺭﺑﻊ‪ ‬ﺳﻨﻮﺍﺕ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻛﺎﻧﺴﺘﻮﺱ‪ ‬ﻓﻲ‪ ‬ﺯﻳﻮﺭﻳﺦ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱٦ ‬‬

‫‪ ۱۹٥۸ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺑﻨﺎء‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺒﺼﺮﻳﺔ‪ ‬ﺍﻟﺘﺎﺑﻊ‪ ‬ﻟﻤﺆﺳﺴﺔ‪ ‬ﻛﺎﺭﺑﻨﺘﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻮﻻﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻮﺣﻴ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳ‪ ‬ﺤﻤ‪ ‬ﻞ‪ ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺭﺳ‪ ‬ﻤﻴﺎ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺇﺗﻤ‪ ‬ﺎﻡ‪ ‬ﺟﻨ‪ ‬ﺎﺡ‪ ‬ﻓﻴﻠﻴ‪ ‬ﺒﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻤﻲ‪ ‬ﺑﺒﺮﻭﻛﺴ‪ ‬ﻞ‬ ‫ﺑﻤﺴﺎﻋﺪﺓ‪ ‬ﺇﻳﺎﻧﺲ‪ ‬ﺯﻳﻨﺎﻛﺲ‬

‫‪­ ۹٦ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۷ ‬‬

‫‪ ۱۹٥۹ ‬ﻣﻨﺤﺘﻪ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﻛﺎﻣﺒﺮﺩﺝ‪ ‬ﻓﻲ‪ ‬ﺑﺮﻳﻄﺎﻧﻴﺎ‪ ‬ﻣﻴﺪﺍﻟﻴﺔ‪ ‬ﺍﻟﺸﺮﻑ‪ ‬ﻣﻦ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻤﻠﻜ‪ ‬ﺔ‪ ‬ﺇﻟﻴﺰﺍﺑﻴ‪ ‬ﺚ‪ ،‬ﻭﺍﻟﻤﻴﺪﺍﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺆﺳﺴﺔ‪ ‬ﺍﻟﻤﻠﻜﻴﺔ‪ ‬ﻟﻠﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺍﻟﺒﺮﻳﻄﺎﻧﻴﺔ‪ ‬ﻣﻊ‪ ‬ﻫﻨﺮﻱ‪ ‬ﻣﻮﺭ‪. ‬‬

‫‪ " ‬ﻋﻨﺪﻣﺎ‪ ‬ﺗﺴﺎﻓﺮ‪ ‬ﻭﺗﺘﻌﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﺃﺷ‪ ‬ﻴﺎء‪ ‬ﺑﺼ‪ ‬ﺮﻳﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺃﻭﺍﻟﻨﺤ‪ ‬ﺖ‪ ،‬ﺗﺴ‪ ‬ﺘﻌﻤﻞ‪ ‬ﻋﻴﻨﻴ‪ ‬ﻚ‪ ‬ﻭﺗﺮﺳ‪ ‬ﻢ‪ ‬ﻟﺘﺨ‪ ‬ﺰﻥ‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺨﺒﺮﺍﺕ‪ ‬ﺑﺪﺍﺧﻠﻚ‪ ،‬ﻭﺣﺎﻟﻤﺎ‪ ‬ﻳﺴﺠﻞ‪ ‬ﺍﻻﻧﻄﺒﺎﻉ‪ ‬ﺑﺎﻟﻘﻠﻢ‪ ‬ﺍﻟﺮﺻﺎﺹ‪ ‬ﻳﺒﻘﻰ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺪﺍﺧﻞ‪ ‬ﻛﺎﻟﻨﻘﺶ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺍﻟﻜ‪ ‬ﺎﻣﻴﺮﺍ‪ ‬ﻓﻬ‪ ‬ﻲ‪ ‬ﺃﺩﺍﺓ‬ ‫‪ ‬ﻟﻤ‪ ‬ﻦ‪ ‬ﻳﻀ‪ ‬ﻴﻊ‪ ‬ﻭﻗﺘ‪ ‬ﻪ‪ ‬ﻭﻳﻄﻠ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻵ‪ ‬ﻟ‪ ‬ﺔ‪ ‬ﻣﻤﺎﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺪﻻ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ،‬ﻭﺣﺘ‪ ‬ﻰ‪ ‬ﺗﺮﺳ‪ ‬ﻢ‪ ‬ﺑﻨﻔﺴ‪ ‬ﻚ‪ ‬ﻭﺗﺘﺘﺒ‪ ‬ﻊ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﻭﺗﻌ‪ ‬ﺎﻟﺞ‬ ‫‪ ‬ﺍﻟﺤﺠﻮﻡ‪ ‬ﻭﺗﻨﻈﻢ‪ ‬ﺍﻷﺳﻄﺢ‪ ‬ﻋﻠﻴﻚ‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﻓﺎﻟﻤﻼﺣﻈ‪ ‬ﺔ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﺍﻻﻛﺘﺸ‪ ‬ﺎﻑ‪ ‬ﻭﺭﺑﻤ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻹﻟﻬ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻜﻠﻴﺔ‪ ‬ﻭﺗﺤﻮﻳﻠﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﻧﺸﺎﻁ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻣﺎ‪ ‬ﻳﺤﺘﺴﺐ‪ ‬ﻟﻚ‪" ‬‬

‫‪۱ ‬‬

‫‪ ۱۹٦۳ ‬ﻳﺤﺼﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻣﺘﻴﺎﺯ‪ ‬ﺗﻤﻨﺤﻪ‪ ‬ﻓﺮ‪ ‬ﻧﺴﺎ‪ ‬ﻭﻫﻮ‪ ‬ﻭﺳﺎﻡ‪ ‬ﺍﻟﺸﺮﻑ‪ ‬ﺑﺮﺗﺒﺔ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺿﺎﺑﻂ‬

‫‪ ۱۹٦٥ ‬ﻭﺃﺛﻨﺎء‪ ‬ﺇﻣﻀﺎﺋﻪ‪ ‬ﻋﻄﻠﺘﻪ‪ ‬ﺍﻟﺼﻴﻔﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻜﺎﺏ‪ ‬ﻣﺎﺭﺗﻦ‪ ،‬ﻳﺘﻮﻓﻰ‪ ‬ﻳﻮﻡ‪ ۲۷ ‬ﺃﻏﺴﻄﺲ‪ ‬ﻋﻠﻰ‪ ‬ﺇﺛ‪ ‬ﺮ‪ ‬ﻧﻮﺑ‪ ‬ﺔ‪ ‬ﻗﻠﺒﻴ‪ ‬ﺔ‪ ‬ﻭﻫ‪ ‬ﻮ‬ ‫‪ ‬ﻳﺴﺒﺢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﺤﺮ‪ ‬ﻋﻦ‪ ۷۸ ‬ﻋﺎﻣﺎ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﻣﺎ‪ ‬ﺃﻗﻴﻤﺖ‪ ‬ﻟﻪ‪ ‬ﺟﻨﺎﺯﺓ‪ ‬ﺭﺳﻤﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ‬ﻭﺍﺣﺘﺸ‪ ‬ﺪ‪ ‬ﺍﻵﻻﻑ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‪ ‬ﻗﺎﻋ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻣﺘﺤ‪ ‬ﻒ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻓﺮ‪ ‬ﻳﺸ‪ ‬ﻴﻌﻮﻧﻪ‪ – ‬ﺩﻓ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺪﻓﻨ‪ ‬ﻪ‪ ‬ﺍ‪ ‬ﻟ‪ ‬ﺬﻱ‪ ‬ﺻ‪ ‬ﻤﻤﻪ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻭﻟﺰﻭﺟﺘ‪ ‬ﻪ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻗﺎﻋ‪ ‬ﺪﺓ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺔ‬ ‫‪ ‬ﻣﻨﺨﻔﻀﺔ‪ ،‬ﻓﻮﻗﻬﺎ‪ ‬ﻣﻜﻌﺐ‪ ‬ﻣﺸﻄﻮﻑ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺍﺳﻤﻪ‪ ‬ﻭﺍﺳﻢ‪ ‬ﺯﻭﺟﺘﻪ‪ ،‬ﺑﺠﻮﺍﺭﻩ‪ ‬ﺍﺳﻄﻮﺍﻧﺔ‪ ‬ﻗﺎﺋﻤﺔ‪ ‬ﺑﻬﺎ‪ ‬ﻧﺒﺎﺗﺎﺕ‪ ‬ﻳﺮﻣ‪ ‬ﺰﻭﻥ‪ ‬ﺣﺴ‪ ‬ﺐ‬ ‫‪ ‬ﺗﺮﺗﻴﺒﻬﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻔﺮﺍﻍ ‪ ، Space ‬ﺍﻟﺪﻗﺔ ‪ ، Precision ‬ﺍﻟﻬﻨﺪﺳﺔ ‪Geometry ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۸ ‬‬ ‫‪1 ‬‬

‫‪Prager Frederick A., ' Le Corbusier Creation is a Patient Search ' pp. 37‬‬

‫‪­ ۹۷ ­ ‬‬

‫‪ ‬ﻭﻗﺒ‪ ‬ﻞ‪ ‬ﺷ‪ ‬ﻬﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﻓﺎﺗ‪ ‬ﻪ‪ ‬ﺗﻘﺮﻳﺒ‪ ‬ﺎ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻗ‪ ‬ﺎﺋﻼ‪ " : ‬ﻣ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻳﺸ‪ ‬ﻐﻠﻨﻲ‪ ‬ﻟﺤﻤﺎﻳ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﺎﺋﻠﺘﻲ‪ ،‬ﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻨﺰﻟ‪ ‬ﻲ‪ ،‬ﺃﻥ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﺳﻨﺘﻴﻤﺘﺮ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻣﻨﻪ‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﻭﺯﻧﻪ‪ ‬ﺫﻫﺒﺎ‪ ... ‬ﻗﺪﻣﺖ‪ ‬ﻛﺜﻴﺮﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﻌﺎﺩﺓ‪ ،‬ﻭﺑﻬﺬﺍ‪ ‬ﺍﻟﺘﻘﺪﻳﺮ‪ ‬ﻟﻸﺑﻌﺎﺩ‪ ‬ﻭﺍﻟﻘﺪﺭ‪ – ‬ﻳﻨﺎﺳﺐ‪ ‬ﻫﺬﺍ‬ ‫‪ ‬ﺍﻟﻤﻌﺒ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﺎﺋﻠﺘﻲ‪ ،‬ﻭﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺃﻧ‪ ‬ﺖ‪ ‬ﺑﻨ‪ ‬ﺎءﻩ‪ ‬ﻷﻥ‪ ‬ﻗﻠﺒ‪ ‬ﻚ‪ ‬ﺳ‪ ‬ﻴﻜﻮﻥ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ، ( ... ) ‬ﻭﻻﺑ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻛﺘﺸ‪ ‬ﺎﻑ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻢ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﻳﺼﻞ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻷﺣﻴ‪ ‬ﺎء‪ ‬ﻭﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻜ‪ ‬ﻮﻥ‪ ‬ﻛﻠ‪ ‬ﻪ‪ ،‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺸ‪ ‬ﺎﻏﻞ‪ ‬ﻳﺘﺸ‪ ‬ﻜﻞ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻴﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻘﻠ‪ ‬ﻲ‬ ‫‪ ‬ﺧﻼﻝ‪ ‬ﺣﻴﺎﺓ‪ ‬ﻋﺸﺘﻬﺎ‪ ‬ﺑﺴﺮﻋﺔ‪ ‬ﺍﻟﺨﻄﺮ‪ ‬ﺳﺘﻮﺻﻠﻨﻲ‪ ‬ﻟﻨﻬﺎﻳﺘﻬﺎ‪ ‬ﺩﻭﻥ‪ ‬ﻣﻼﺣﻈﺔ‪ ‬ﻣﻨﻲ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۱۹ ‬‬

‫‪ ۱۹٦۷ ‬ﻧﻔﺬ‪ ‬ﺁﺧﺮ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﺻﺤﺤﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﻭﻓﺎﺗ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﻫﺎﻳ‪ ‬ﺪﻱ‪ ‬ﻭﻳﺒ‪ ‬ﺮ ‪ Heidi Weber ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‬ ‫‪ ‬ﻣﻜﺮﺱ‪ ‬ﻟﻜ‪ ‬ﻞ‪ ‬ﺃﻧ‪ ‬ﻮﺍﻉ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺳ‪ ‬ﻤﻲ‪ ‬ﺑﺒﻴ‪ ‬ﺖ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ Maison d'Homme ‬ﻣﺒﻨ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﻣﻜﻌﺒ‪ ‬ﺔ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻌﻬﺎ‬ ‫‪ ۲ , ۲٦ ‬ﻓﻲ‪ ‬ﻣﻜﻌﺒﻴﻦ‪ ‬ﻣﺘﺠﺎﻭﺭﻳﻦ‪ ‬ﺳﻘﻔﻬﻤﺎ‪ ‬ﻣﻨﻔﺼ‪ ‬ﻞ‪ ‬ﻋﻨﻬﻤ‪ ‬ﺎ‪ ‬ﻣﺮﻓ‪ ‬ﻮﻉ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﺴ‪ ‬ﻌﺔ‪ ‬ﺃﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻓﻮﻻﺫﻳ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﻄﺎﺑﻘ‪ ‬ﺎﻥ‪ ‬ﻳﺠﻤﻌﻬﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻣﻊ‪ ‬ﺗﻔﺎﺻﻴﻠﻬﻤﺎ‪ ‬ﻫﻴﺎﻛﻞ‪ ‬ﻓﻮﻻﺫﻳﺔ‪ ‬ﻣﺜﺒﺘﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺃﺳﻤﻨﺘﻴﺔ‪ ،‬ﻭﺍﻟﺠﺪﺭﺍﻥ‪ ‬ﻣﻄﻠﻴﺔ‪ ‬ﺑﺎﻟﻤﻴﻨﺎ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲۰ ‬‬

‫‪see Le Corbusier, ' Mise au Point ' July 1965 1 ‬‬ ‫‪2 ‬‬ ‫‪ ‬ﻟﻴﻠﻲ‪ ‬ﻓﻮﻟﺪﺯ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ : ‬ﻣﻌﻤﺎ‪ ‬ﺭﻱ‪ ‬ﺍﻟﻘﺮﻥ‪ " ۲۱ ‬ﻣﺠﻠﺔ‪ ‬ﺍﻟﻤﺨﺘﺎﺭ‪ ‬ﺃﻏﺴﻄﺲ‪ ۱۹۸۹ ‬ﺹ ‪۹۲‬‬

‫‪­ ۹۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲۱ ‬‬

‫‪ ‬ﺃﻧﺘﺞ‪ ‬ﻣﻜﺘﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺣﻮﺍﻟﻲ‪ ۳۲ ‬ﺃﻟﻒ‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻧُﻔ‪ ‬ﺬ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧﻼﻟﻬ‪ ‬ﺎ‪ ‬ﻓﻌﻠﻴ‪ ‬ﺎ‪ ۱۰۰ ‬ﺑﻨ‪ ‬ﺎء‪ ،‬ﻭﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪٦٥ ‬‬ ‫‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﻣﺪﻳﻨﻲ‪ ،‬ﺟﻤﻌﺖ‪ ‬ﻓﻲ‪ ٥۰ ‬ﻛﺘﺎﺏ‪ ‬ﻭﻧﺸ‪ ‬ﺮﺓ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺍﻟﺘﺨﻄ‪ ‬ﻴﻂ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻳﻨﻲ‪ ،‬ﺑﺨ‪ ‬ﻼﻑ‪ ‬ﻋ‪ ‬ﺪﺩ‬ ‫‪ ‬ﻫﺎﺋ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺎﻻﺕ‪ ‬ﻭﺍﻟﺮﺳ‪ ‬ﺎﺋﻞ‪ ،‬ﻭ‪ ۷ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻓﻨﻴ‪ ‬ﺔ‪ ‬ﻭﺷ‪ ‬ﻌﺮﻳﺔ‪ ،‬ﻭﺣ‪ ‬ﻮﺍﻟﻲ‪ ٦٥۰۰ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺿ‪ ‬ﻤﻨﻪ‪ ٤۰۰ ‬ﻟﻮﺣ‪ ‬ﺔ‬ ‫‪ ‬ﺯﻳﺘﻴ‪ ‬ﺔ‪ ،‬ﻭ‪ ۷ ‬ﺟ‪ ‬ﺪﺍﺭﻳﺎﺕ‪ ،‬ﻭ‪ ۲۰۰ ‬ﻣﻄﺒﻮﻋ‪ ‬ﺔ‪ ‬ﺣﺠﺮﻳ‪ ‬ﺔ‪ ) ‬ﻟﻴﺜ‪ ‬ﻮﺟﺮﺍﻑ‪ ، ( ‬ﻭ‪ ٤۰ ‬ﻧﺴ‪ ‬ﺠﻴﺔ‪ ،‬ﻭ‪ ٥۰ ‬ﻣﻨﺤﻮﺗ‪ ‬ﺔ‪ ) ‬ﺑﺎﻟﺘﻌ‪ ‬ﺎﻭﻥ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺳﺎﻓﻴﻨﺎ‪ ، ( ‬ﻭ‪ ۲۰ ‬ﻃﺮﺍﺯ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻔﺮﻭﺷﺎﺕ‪ ) ‬ﺑﺎﻟﺘﻌﺎﻭﻥ‪ ‬ﻣﻊ‪ ‬ﺑﻴﻴﺮ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ‪ ‬ﻭﺷﺎﺭﻟﻮﺕ‪ ‬ﺑﻴﺮﻳﺎﻥ‪( ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱۲۲‬‬

‫‪­ ۹۹ ­ ‬‬

‫‪ ‬ﻛﻤﺎ‪ ‬ﺻﻤﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻮﻧﻂ‪ ‬ﺍﻟﻜﺘﺎﺑ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻌﺮﻭﻑ‪ ‬ﺑﺎﺳﻤﻪ‪ ‬ﻭﺍﻟﺬﻱ‪ ‬ﺍﺳﺘﺨﺪﻣﻪ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺒﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۲۳ ‬‬

‫‪ ۱۹٦۸ ‬ﺑﺪﺃ‪ ‬ﺍﻟﻨﺸﺎﻁ‪ ‬ﺍﻟﺮﺳﻤﻲ‪ ‬ﻟﻤﺆﺳﺴﺔ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﺳﺴﻬﺎ‪ ‬ﺑﻨﻔﺴﻪ‪ ،‬ﻭﻫﻲ‪ ‬ﻣﺆﺳﺴﺔ‪ ‬ﺧﻴﺮﻳﺔ‪ ،‬ﺗﺤ‪ ‬ﺘﻔﻆ‪ ‬ﺑﺎﻟﻐﺎﻟﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻌﻈﻤ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺭﺷ‪ ‬ﻴﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻭﻣﻜﺘﺒﺘ‪ ‬ﻪ‪ ‬ﺍﻟﻀ‪ ‬ﺨﻤﺔ‪ ،‬ﻭﺗ‪ ‬ﻨﻈﻢ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺎﺭﺽ‪ ‬ﻭﺍﻟﻤ‪ ‬ﺆﺗﻤﺮﺍﺕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳ‪ ‬ﺘﻢ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺗﻨ‪ ‬ﺎﻭﻝ‬ ‫‪ ‬ﺍﻟﻤﻮﺍﺿﻴﻊ‪ ‬ﺍ‪ ‬ﻟﻤﺘﻌﻠﻘﺔ‪ ‬ﺑﻪ‪ ،‬ﻭﻫﻲ‪ ‬ﺗﻮﺻﻲ‪ ‬ﻣﻼﻙ‪ ‬ﻣﺒﺎﻧﻲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺩﺍﺭﺍﺕ‪ ‬ﺍﻟﺤﻜﻮﻣﻴﺔ‪ ‬ﺍﻟﻤﺴﺌﻮﻟ‪ ‬ـ‪ ‬ﺔ‪ ‬ﺑﺄﻓﻀﻞ‪ ‬ﻭﺳﻴﻠﺔ‬ ‫‪ ‬ﻟﺘﺠﺪﻳﺪﻫﺎ‪ ‬ﻭﺻﻴﺎﻧﺘﻬﺎ‪ ،‬ﻳﻘ‪ ‬ـ‪ ‬ﻊ‪ ‬ﻣﻘﺮﻫ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ‪ ، ‬ﻭ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﻻﺭﻭﺵ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺎﺭﻳﺲ‪ ،‬ﺃﻋﻀ‪ ‬ﺎﺅﻫﺎ‪ ۱٦ ‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﻣﻨ‪ ‬ﺪﻭﺑﻮﻥ‬ ‫‪ ‬ﻋﻦ‪ ‬ﻭﺯﺍﺭﺓ‪ ‬ﺍﻟﺜﻘﺎﻓﺔ‪ ‬ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ‬ﻭﺁﺧﺮﻭﻥ‪ ‬ﻳﻌﻴﻨﻮﻥ‪ ‬ﺑﺎﻻﻧﺘﺨﺎﺏ‪ ‬ﻣﻦ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻤﺆﺳﺴﺎﺕ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺻ‪ ‬ﺔ‪ ،‬ﻭﻣ‪ ‬ﺎﺯﺍﻝ‪ ‬ﻧﺸ‪ ‬ﺎﻃﻬﺎ‬ ‫‪ ‬ﺳﺎﺭﻳﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻵﻥ‪ ‬ﻭﻳﺼﻞ‪ ‬ﺯﻭﺍﺭﻫﺎ‪ ‬ﺇﻟﻰ‪ ۱٥۰۰ ‬ﺯﺍﺋﺮ‪ ‬ﺳﻨﻮﻳﺎ‬

‫‪1 ‬‬

‫‪۱ ‬‬

‫‪Jenger Jean, ' Le Corbusier Architect of a New Age ' pp. 152‬‬

‫‪­ ۱۰۰ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘــﺎﺋﻴــﺔ ‪Purism ‬‬ ‫‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﻫﻲ‪ ‬ﻣﺴﻤﻰ‪ ‬ﺑﻠﻴﻎ‪ ‬ﻭﻣﻮﺟﺰ‪ ‬ﻟﻌﺪﺩ‪ ‬ﻛﺒﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻘﺎﻻﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻛﺘﺒﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺣ‪ ‬ﺮﻛﺘﻬﻢ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‬

‫‪ ‬ﺍﻟﺘﻘﻰ‪ ‬ﺍﻟﻔﻨﺎﻧﺎﻥ‪ ‬ﻷﻭﻝ‪ ‬ﻣﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺍ‪ ‬ﻟﻌﺎﻡ‪ ۱۹۱۷ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﺴﻨﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻛﺘﺐ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﻧﻘﺪﻩ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻴﻌﺎﺩﻱ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺛﻢ‪ ‬ﺑﺪﺃ‪ ‬ﺗﻌﺎﻭﻧﻬﻤﺎ‪ ‬ﺍﻟﻮﺛﻴﻖ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺛﻤﺮﻋﻦ‪ ‬ﻛﺘﺎﺏ‪ " ‬ﻣ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ Apre's le Cubisme " ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۱۸ ‬ﻭ‪ ‬ﺑ‪ ‬ﺪﺃﺕ‬ ‫‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻛﺤﺮﻛﺔ‪ ‬ﻓﻨﻴﺔ‪ ‬ﻣﻊ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻌﺮﺽ‪ ‬ﻟﻬﻤﺎ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻭﺍﻟﺬﻱ‪ ‬ﺍﺧﺘ‪ ‬ﺎﺭﻭﺍ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺎ‪ ‬ﺩﺭ‪ ‬ﺍﻟﻐﺮﺑﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﺒﺪﺍﺋﻴ‪ ‬ﺔ‪ ‬ﻛﺄﺳ‪ ‬ﺎﺱ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻨﺤ‪ ‬ﺖ‪ ‬ﺍﻹ‪ ‬ﻓﺮﻳﻘ‪ ‬ﻲ‪ ‬ﻭﺍﻟﻤﻄﺒﻮﻋ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻴﺎﺑﺎﻧﻴ‪ ‬ﺔ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﺗﺒﻌ‪ ‬ﻮﺍ‪ ‬ﻧﻬ‪ ‬ﺞ‪ ‬ﺑ‪ ‬ﺮﺍﻙ‪ ‬ﻭﺑﻴﻜﺎﺳ‪ ‬ﻮ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﺎﺗﻬﻢ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﻫﺘﻤ‪ ‬ﺖ‪ ‬ﺑﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺨﺎﺭﺟ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻹﻧﺘ‪ ‬ﺎﺝ‪ ‬ﺍﻟﻜﻤ‪ ‬ﻲ‪ ‬ﺇﻻ‪ ‬ﺃﻧﻬﻤ‪ ‬ﺎ‪ ‬ﺣﺮﺻ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‬ ‫‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﺍﻻﻋﺘﻴﺎﺩﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺒﺴ‪ ‬ﻴﻄﺔ‪ ‬ﻟﻴﻜﻮﻧ‪ ‬ﻮﺍ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻗﺮﺑ‪ ‬ﺎ‪ ‬ﻭﺗﻨﺎﺳ‪ ‬ﺒﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻵﻟ‪ ‬ﺔ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺍﺑﺘﻌ‪ ‬ﺪ‪ ‬ﺍﻟﻔﻨﺎﻧ‪ ‬ﺎﻥ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺤ‪ ‬ﺎﻻﺕ‬ ‫‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﻟﻠﻔﻦ‪ ‬ﺍﻟﻔﺮﺩﻱ‪ ،‬ﻭﺗﺒﻨﻴﺎ‪ ‬ﻓﻜﺮﺓ‪ ‬ﺭﻓﺾ‪ ‬ﺍﻟﺰﺧﺎﺭﻑ‪ ‬ﻛﻌﻨﺼﺮ‪ ‬ﺗﻘﻠﻴﺪﻱ‪ ‬ﻧﻤﻮﺫﺟﻲ‪ ،‬ﻭﻓﻀ‪ ‬ﻼ‪ ‬ﺑ‪ ‬ﺪﻻ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻤ‪ ‬ﺒﻬﺞ‬ ‫‪ ‬ﺍﻟﺒﺴﻴﻂ‪. ‬‬

‫‪ ‬ﻭﻣﻦ‪ ‬ﺍﻟﻌﺎﻡ‪ ۱۹۲۰ ‬ﻭﺣﺘﻰ‪ ۱۹۲٥ ‬ﺃﺻﺒﺤﺖ‪ ‬ﻣﺠﻠﺘﻬﻢ ‪ L'ESPRIT NOUVEAU ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﺪﻭﺭﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌ‪ ‬ﺮﺽ‬ ‫‪ ‬ﻟﻠﻤﺬﻫﺐ‪ ‬ﺍﻟﻌﻘﻠﻲ‪ ‬ﻭﻟﻤﺮﺣﻠﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﺗﻀﻊ‪ ‬ﻣﻦ‪ ‬ﻧﻔﺴﻬﺎ‪ ‬ﻣﻘﺎﺑﻼ‪ ‬ﻟﻠﺪﺍﺩﺍﺋﻴﺔ‪ ‬ﻭﺍﻟﺴﺮﻳﺎﻟﻴﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻛﺘﺎﺑﻬﻤ‪ ‬ﺎ ‪La ‬‬

‫‪ Peinture Moderne ‬ﻭﺍﻟﻤﻨﺸﻮﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ۱۹۲٥ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ﺰﺍﻣﻨﻬﻢ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻧﻄﻠ‪ ‬ﻖ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺪﻫﺎ‪ ‬ﻟﻴﺤﻘ‪ ‬ﻖ‪ ‬ﺷ‪ ‬ﻬﺮﺓ‬ ‫ﻋﺎﻟﻤﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻣﺴﺘﻤﺮﺍ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﺰﻳﺘﻲ‪ ‬ﺟﻨﺒﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺟﻨ‪ ‬ﺐ‪ ‬ﻣﻌﻬ‪ ‬ﺎ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻧﺸ‪ ‬ﺮ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻋﺎﻡ‪ ۱۹۲۸ ‬ﻛﺘﺎﺑﻪ ‪ Foundations of Modern Art ‬ﺍﻟﺬﻱ‪ ‬ﺣﻘﻖ‪ ‬ﺷﻬﺮﺓ‪ ‬ﻛﺒﻴﺮﺓ‪. ‬‬

‫‪ ‬ﻇﻬﺮﺕ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﻛﺎﺗﺠﺎﻩ‪ ‬ﺧﺎﺹ‪ ‬ﻣﺤﺪﺩ‪ ‬ﻣﻨﻔﺼﻞ‪ ‬ﻋﻤﺎ‪ ‬ﺣﻮﻟﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺠﻠ‪ ‬ﺔ‪ ، ۱۹۲۰ ‬ﻭﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺻﻌﻮﺑﺔ‪ ‬ﺍﻻﺧﺘﻴﺎﺭ‪ ‬ﻣﻦ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻘﺎﻻﺕ‪ ‬ﺍﻟﻜﺜﻴﺮﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻋﺮﺽ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺍﻟﻔﻨﺎﻧﺎﻥ‪ ‬ﻟﻔﻜﺮﺗﻬﻤ‪ ‬ﺎ‪ ،‬ﺇﻻ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻉ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩ‬ ‫‪ ‬ﺗﻢ‪ ‬ﺍﺣﺘﻮﺍ‪ ‬ء‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻛﻤ‪ ‬ﻞ‪ ‬ﻭﺟ‪ ‬ﻪ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﻤ‪ ‬ﺖ‪ ‬ﻣﻘﺎﺭﻧ‪ ‬ﺔ‪ ‬ﻣﺜﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﻮﺍﻫﺎ‪ ،‬ﻭﺑﻌ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺮﺍءﺓ‪ ‬ﻣﺘﺄﻧﻴ‪ ‬ﺔ‪ ‬ﻟﻜﺘﺎﺑ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﻭﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﺮﺩﻳﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﻭﺍﻟﻼﺣﻘﺔ‪ ‬ﻧﺠﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﻌﺐ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻘﺎﻝ‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺇﺳ‪ ‬ﻬﺎﻡ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬﻤ‪ ‬ﺎ‬ ‫‪۱ ‬‬

‫‪ ‬ﺗﺒﺪﺃ‪ ‬ﻣﻘﺪﻣﺔ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻘﺎﻝ‪ ‬ﺑﺎﻟﺤﺪﻳﺚ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻤﻨﻄﻖ‪ ‬ﻭﺃﻧﻪ‪ ‬ﻳﻮﻟﺪ‪ ‬ﻣﻊ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭ‪ ‬ﻳﻌﺘ‪ ‬ﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺛﻮﺍﺑﺘﻪ‪ ،‬ﻭﺑﺪﻭﻧ‪ ‬ﻪ‪ ‬ﻻ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺇﻧﺴ‪ ‬ﺎﻧﺎ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﺩﺍﺓ‪ ‬ﻟﻠ‪ ‬ﺘﺤﻜﻢ‪ ‬ﻭﺩﻟﻴ‪ ‬ﻞ‪ ‬ﻟﻼﻛﺘﺸ‪ ‬ﺎﻑ‪ ،‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻣﺒ‪ ‬ﺪﻋﺎ‪ ‬ﺧﻼﻗ‪ ‬ﺎ‪ ‬ﺑﻔﻀ‪ ‬ﻠﻪ‪ ،‬ﻳ‪ ‬ﺘﺤﻜﻢ‪ ‬ﻭﻳﺼ‪ ‬ﺤّ‪ ‬ﺢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺘ‪ ‬ﺎﺑﻊ‬ ‫‪1 ‬‬

‫‪Herbert Robert L., ' Modern Artist on Art ' pp. 52‬‬

‫‪­ ۱۰۱ ­ ‬‬

‫‪ ‬ﻧﺰﻭﺍﺕ‪ ‬ﺍﻟﺤﺪﺱ‪ ،‬ﻭﻳﺠﻴﺰ‪ ‬ﺍﻟﺘﻘﺪﻡ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺜﻘﺔ‪ ،‬ﻭﺃ‪ ‬ﻧﻪ‪ ‬ﺍﻟﺪﻟﻴﻞ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺴﺒﻖ‪ ‬ﺍﻟﻤﺴﺘﻜﺸﻒ‪ ‬ﺃﺣﻴﺎﻧ‪ ‬ﺎ‪ ‬ﻭﻳﺘﺒﻌ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﺮﺍﺕ‪ ‬ﺃﺧ‪ ‬ﺮ‪ ،‬ﻭﺑﺪﻭﻧ‪ ‬ﻪ‬ ‫‪ ‬ﻳﻜﻮﻥ‪ ‬ﻋﻘﻴﻤﺎ‪ ‬ﻓﻬﻮ‪ ‬ﻣﺤﺘﺎﺝ‪ ‬ﺇﻟﻴﻪ‪ ‬ﻟ‪ ‬ﻴﻐﺬﻳﻪ‪ ،‬ﻭﻳﻮﺻﻠﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺳﻤﻰ‪ ‬ﺍﻷﻫﺪﺍﻑ‪. ‬‬ ‫‪ ‬ﻭﻻ‪ ‬ﺷ‪ ‬ﻲء‪ ‬ﺟ‪ ‬ﺪﻳﺮ‪ ‬ﺑﺎﻻﻫﺘﻤ‪ ‬ﺎﻡ‪ ‬ﻻ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻋﺎﻣ‪ ‬ﺎ‪ ‬ﺃﻭ‪ ‬ﻗ‪ ‬ﺎﺑﻼ‪ ‬ﻟﻠﻨﻘ‪ ‬ﻞ‪ ‬ﻭﺍﻟﺘﺤﻮﻳ‪ ‬ﻞ‪ ،‬ﻭ‪ ‬ﺑ‪ ‬ﺬﻟﻚ‪ ‬ﻳﺒ‪ ‬ﺮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻭﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻣﺤﺎﻭﻟﺘﻬﻤﺎ‪ ‬ﻟ‪ ‬ﺘﺤﻘﻴﻖ‪ ‬ﺷﻜﻞ‪ ‬ﺟﻤﺎﻟﻲ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻋﻘﻼﻧﻴﺎ‪ ‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻧﻴﺎ‪ ،‬ﻓﻤ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﺤﻴﻞ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‪ ‬ﺗﻌﻄ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺸﻲء‪ ‬ﺷﻜﻼ‪ ‬ﺛﺎﺑﺘﺎ‪. ‬‬ ‫‪ ‬ﻭﺑﺪﺃ‪ ‬ﺍﻟﻤﻘﺎﻝ‪ ‬ﻳ‪ ‬ﺘﻔﺮﻉ‪ ‬ﺑﻨﻈﺎﻡ‪ ‬ﻭﺗﻨﺴﻴﻖ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻧﻘﺎﻁ‪ ‬ﻳﺘﻢ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺪﺓ‪ ،‬ﻭﻫﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ ‪: The Work of Art ‬‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺠﺴﻢ‪ ‬ﺻ‪ ‬ﻨﺎﻋﻲ‪ ‬ﻳﺘ‪ ‬ﻴﺢ‪ ‬ﻟﺼ‪ ‬ﺎﺣﺒﻪ‪ ‬ﺃﻥ‪ ‬ﻳﻀ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﻫﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﺮﻳ‪ ‬ﺪﻫﺎ‪ ،‬ﻭﻟﺪﻳ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻮﺳ‪ ‬ﺎﺋﻞ‬ ‫‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺘﺒﻌﻬﺎ‪ ‬ﻟﻠﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺘﻴﺠﺔ‪. ‬‬ ‫‪ ‬ﻻ‪ ‬ﻳﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻹﺣﺴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻟﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﻣﺮﺗﺒ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻴﻤ‪ ‬ﺔ‪ ،‬ﻓﻠﻜ‪ ‬ﻞ‪ ‬ﺭﺗﺒﺘ‪ ‬ﻪ‪ ،‬ﻭﺃﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺮﺗ‪ ‬ﺐ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺇﺩﺭﺍﻛﻬﺎ‪ ‬ﺑﺎﻟﻔﻄﺮﺓ‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺗﻌﺒ‪ ‬ﺮ‪ ‬ﻋﻦ‪ ‬ﻗ‪ ‬ﺎﻧﻮﻥ‪ ‬ﺭﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﺳ‪ ‬ﻤﻮﻫﺎ‪ ‬ﺑﺎﻟﻐﻨﺎﺋﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﻠ‪ ‬ﻮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺘﻌ‪ ‬ﺔ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‪ ‬ﺍﻟﺒﻬﻴﻤﻴ‪ ‬ﺔ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﻣﺮﺗﺒ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺴ‪ ‬ﻌﺎﺩﺓ‪ ‬ﺍﻟﺒﺎﻟﻐ‪ ‬ﺔ‪ ، ‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﺍﻟﻬ‪ ‬ﺪﻑ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺘﻌﺔ‪ ‬ﺍﻟﺒﺴﻴﻄﺔ‪ ‬ﺑﻘﺪﺭ‪ ‬ﻣﺎ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻤﺸﺎﺭﻛﺔ‪ ‬ﻓﻲ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺍﻟﺴﻌﺎﺩﺓ‪. ‬‬ ‫‪ ‬ﻳﺠﺐ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﺃﻥ‪ ‬ﻳﺼﻞ‪ ‬ﻣﺒﺎﺷﺮﺓ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺤﻮﺍﺱ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺃﺳﺮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺮﻣﻮﺯ‪ ‬ﻳﻜﺘﻔﻲ‪ ‬ﺍﻟﻌﻘﻞ‪ ‬ﺑﺮﺑﻄﻬﺎ‪ ‬ﺑﺜﻮﺍﺑﺖ‪ ‬ﺍﻷﻧﻈﻤﺔ‪ ‬ﺍﻟﺮﺋﻴﺴﻴﺔ‪ ،‬ﻓﻔﻴﻪ‪ ‬ﺗﺘﺤﺮﻙ‪ ‬ﺍﻟﺤﻮﺍﺱ‪ ‬ﻟﺘﺘﺠﻪ‪ ‬ﺑﺎﻟﻌﻘﻞ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﻡ‪ ‬ﺑ‪ ‬ﺮﺩ‪ ‬ﻓﻌ‪ ‬ﻞ‬ ‫‪ ‬ﺣﺮ‪ ‬ﻭﻣﻮﺿﻮ‪ ‬ﻋﻲ‪ ‬ﺗﺠﺎﻩ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ،‬ﻭﻣﺎ‪ ‬ﻣﻦ‪ ‬ﻓﻦ‪ ‬ﻻ‪ ‬ﻳﻤـﻠﻚ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻹﺛ‪ ‬ـﺎﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺭﺩ‪ ‬ﺍﻟﻔﻌ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺩﻭﻥ‪ ‬ﺍﻟﺘ‪ ‬ﺪﺭﺝ‪ ‬ﺍﻟﻌﻘﻼﻧ‪ ‬ﻲ‬ ‫‪ ‬ﻭﺳﺒﻴﻠﻪ‪ ‬ﺍﻟﻮﺣﻴﺪ‪ ‬ﺇﻟﻰ‪ ‬ﺫﻟﻚ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪. ‬‬ ‫‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺤﺎﻓﻆ‪ ‬ﺣﺘﻰ‪ ‬ﺍﻵﻥ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺒﺎﺏ‪ ‬ﺍﻟﺘﺪﺭﺝ‪ ‬ﺍﻟﻌﻘﻼﻧﻲ‪ ‬ﻭﺍﻟﺴﺒﺐ‪ ‬ﺃﻥ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ ‬ﻓﻴﻬﺎ‪ ‬ﻳﻘﻮﻡ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﻭﺍﻻﻗﺘﺼﺎﺩ‪ ،‬ﻓﺘﻌﺘﺒﺮ‪ ‬ﻣﻌﺎﻧﻲ‪ ‬ﺗ‪ ‬ﻨﻔﻴﺬ‪ ‬ﺃﻋﻤﺎﻟﻬﺎ‪ ‬ﻟﻐﺔ‪ ‬ﻋﺎﻟﻤﻴﺔ‪ ‬ﻣﻮﺣﺪﺓ‪. ‬‬

‫‪ ‬ﻳﻈﻬﺮ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﻟﻺﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‪ ‬ﺃﻓﻀ‪ ‬ﻠﻴﺔ‪ ‬ﻭﻛﺄﻧﻤ‪ ‬ﺎ‪ ‬ﻳﻄﻴ‪ ‬ﻊ‪ ‬ﻗﻮﺍﻧﻴﻨ‪ ‬ﻪ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻓﺮﺿ‪ ‬ﻬﺎ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺍﻵﻥ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺪﻉ‬ ‫‪ ‬ﻭﺍﻟﻤﺒﺘﻜﺮ‪ ،‬ﻓﺄﺻﺒﺢ‪ ‬ﺍﻟﻘﺎﻧﻮﻥ‪ ‬ﺑﻤﺜﺎﺑﺔ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ،‬ﻭﻭﺟﺐ‪ ‬ﺃﻥ‪ ‬ﻳﺴﺘﻤﻴﻞ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﻮﺍﺱ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﺑﻜﺎﻓ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻮﺳﺎﺋﻞ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ ‪.‬‬

‫‪­ ۱۰۲ ­ ‬‬

‫‪ ‬ﻃﺮﻳﻘﺔ‪ ‬ﺍﻟﻨﻈﺎﻡ ‪: System ‬‬ ‫‪ ‬ﻻ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻨﺘ‪ ‬ﺎﺋﺞ‪ ‬ﺍﻟﻤﺮﺟ‪ ‬ﻮﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﺑﺎﻟﺘﺠﺮﻳ‪ ‬ﺐ‪ ‬ﺃﻭ‪ ‬ﺑ‪ ‬ﺎﻟﻄﺮﻕ‪ ‬ﺍﻟﻤﻌﺘ‪ ‬ﺎﺩﺓ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ، ‬ﻓ‪ ‬ﺎﻟﻔﻦ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‬ ‫‪ ‬ﻭﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻨﺤ‪ ‬ﺖ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻟﻐ‪ ‬ﺔ‪ ‬ﻣﺮﺗﺒﻜ‪ ‬ﺔ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﺤ‪ ‬ﺪﺩﺓ‪ ‬ﺃﻭ‪ ‬ﻣﺤﺴ‪ ‬ﻮﻣﺔ‪ ،‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻠﻐ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺰﻳﺞ‪ ‬ﻣﺘﻐ‪ ‬ﺎﻳﺮ‬ ‫‪ ‬ﺍﻟﺨ‪ ‬ﻮﺍﺹ‪ ‬ﻵﺭﺍء‪ ‬ﻣ‪ ‬ﺪﺍﺭﺱ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺠﻤﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺗﻜ‪ ‬ﺎﺩ‪ ‬ﺗﺠﻴ‪ ‬ﺰ‪ ‬ﺍﻧﻄ‪ ‬ﻼﻕ‪ ‬ﺍﻻﻧﻔﻌ‪ ‬ﺎﻝ‪ ‬ﺑ‪ ‬ﺄﻱ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻟ‪ ‬ﻴﻼﺋﻢ‪ ‬ﺍﻟﺸ‪ ‬ﻌﻮﺭ‬ ‫‪ ‬ﺍﻟﻮﻗﺘﻲ‪ ‬ﻟﺼﺎﺣﺐ‪ ‬ﺍﻟﻌﻤﻞ‪ ،‬ﻣﻤﺎ‪ ‬ﻻ‪ ‬ﻳﻨﺎﺳﺐ‪ ‬ﺇﺑﺪﺍﻉ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻧﺮﻳﺪ‪. ‬‬ ‫‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺸ‪ ‬ﻌﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺣﺴ‪ ‬ﺎﺱ‪ ‬ﻳﻨﻘﺴ‪ ‬ﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧ‪ ‬ﻮﻋﻴﻦ‪ ،‬ﺇﺣﺴ‪ ‬ﺎﺱ‪ ‬ﺃﻭﻟ‪ ‬ﻲ ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣﺘﺤﻘ‪ ‬ﻖ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ـﻞ‪ ‬ﺍﻟﻨ‪ ‬ـﺎﺱ‪ ‬ﺑﻮﺍﺳ‪ ‬ـﻄﺔ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮ‬ ‫‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻭﺍﻟﻠﻮﻥ‪ ،‬ﻓﻌﻠﻰ‪ ‬ﺳﺒﻴﻞ‪ ‬ﺍﻟﻤﺜﺎﻝ‪ ‬ﻟﻮ‪ ‬ﺍﺳﺘﻌﺮﺿ‪ ‬ﺖ‪ ‬ﺃﻣ‪ ‬ﺎﻡ‪ ‬ﺃﻱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮ‪ ‬ﻛ‪ ‬ﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺠ‪ ‬ﻢ‪ ‬ﻛ‪ ‬ﺮﺓ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‪ ‬ﻷﺛ‪ ‬ﺮﺕ‪ ‬ﺷ‪ ‬ﻌﻮﺭﺍ‬ ‫‪ ‬ﻣﺘﻄﺎﺑﻘﺎ‪ ‬ﻋﻨﺪ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻢ‪ ‬ﻓﻲ‪ ‬ﺃﻭﻝ‪ ‬ﺍﻷﻣﺮ‪ ،‬ﺛﻢ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﻳﺮﺗﺒﻂ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺸ‪ ‬ﻌﻮﺭ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﺍﻟﺸ‪ ‬ﺨﺺ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﺑﻠﻌﺒ‪ ‬ﺔ‬ ‫‪ ‬ﻛﺮﺓ‪ ‬ﺍﻟﻘﺪﻡ‪ ،‬ﻭﻳﺮﺗﺒﻂ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﺒﻮﺫﻱ‪ ‬ﺑﻔﻜﺮﺓ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻣﺜﻞ‪ ‬ﻓﻜﺮﺓ‪ ‬ﺍﻷﻟـﻮﻫﻴﺔ‪ ،‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﺴﻤﻰ‪ ‬ﺑﺎ‪ ‬ﻹﺣﺴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻮﻱ‬ ‫‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺄﺗﻲ‪ ‬ﻻﺣﻘﺎ‪ ،‬ﻭﻳﺨﺘﻠﻒ‪ ‬ﺑﺎﺧﺘﻼﻑ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﻤﻮﺟﻪ‪ ‬ﺇﻟﻴﻪ‪ ‬ﺗﺒﻌﺎ‪ ‬ﻟﺒﻴﺌﺘﻪ‪ ‬ﻭﻣﻮﺭﻭﺛﻪ‪ ‬ﺍﻟﺜﻘﺎﻓﻲ‪ ،‬ﻭﺑﺬﻟﻚ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻟ‪ ‬ﺪﻳﻨﺎ‪ ‬ﻋ‪ ‬ﺪﺩ‬ ‫‪ ‬ﻻ‪ ‬ﺣﺼﺮ‪ ‬ﻟﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ،‬ﺃﻣﺎ‪ ‬ﺍﻹﺣﺴﺎﺱ‪ ‬ﺍﻷﻭﻟﻲ‪ ‬ﻓﻼ‪ ‬ﻳﺨﺘﻠﻒ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺷ‪ ‬ﺨﺺ‪ ‬ﻵﺧ‪ ‬ﺮ‪ ‬ﺇﻻ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺍﻟﻜﻤﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻷﻧﻪ‪ ‬ﺛﺎﺑﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻜﻴﻔﻴﺔ‪. ‬‬

‫‪ ‬ﻭﻳﺼﺢ‪ ‬ﺍﻟﻤﺜﺎﻝ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺠﺴﻤﺎﺕ‪ ‬ﻭﺍﻷﻟﻮﺍﻥ‪ ‬ﻭﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ،‬ﻭﻣﺎ‪ ‬ﻳﻜﻮﻧﻬﻢ‪ ‬ﻣﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺃﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﻭﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻭﺍﻟ‪ ‬ﺪﺍﺋﺮﺓ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻢ‪ ‬ﻭﺍﻟﻤﺎﺋ‪ ‬ﻞ‪ ‬ﻭﺍﻟﻤﻨﺤﻨ‪ ‬ﻲ‪ ،‬ﻭﺍﻟﺰﻭﺍﻳ‪ ‬ﺎ‪ ‬ﺍﻟﺤ‪ ‬ﺎﺩﺓ‪ ‬ﻭﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﻨﻔﺮﺟ‪ ‬ﺔ‪... ‬‬ ‫‪ ‬ﺇﻟﺦ‪ ،‬ﻛﻞ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﺗﻄﻠﻖ‪ ‬ﺭﺩ‪ ‬ﻓﻌﻞ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‪ ‬ﻣﺤﺴ‪ ‬ﻮﺏ‪ ‬ﻭﻣﺘﻄ‪ ‬ﺎﺑﻖ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻷﻓ‪ ‬ﺮﺍﺩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺗﻔﻌﻠ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺗﻠﺤﻢ‪ ‬ﻧﻔﺴﻬﺎ‪ ‬ﺑﺎﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﻭﺗﺘﺪﺧﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤ‪ ‬ﻮﺭﻭﺙ‪ ‬ﺍﻟﺜﻘ‪ ‬ﺎﻓﻲ‪ ،‬ﻭﻟ‪ ‬ﻮ‪ ‬ﺍﻋﺘﺒﺮﻧ‪ ‬ﺎ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‬ ‫‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺟﻮﻫﺮ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻌﺎﻟﻤﻲ‪ ‬ﻧﻘﺮ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﺘﺼﺪﺭﺓ‪ ‬ﻛﻔﺮﺩﻳﺎﺕ‪ ‬ﻟﻬﺬﺍ‪ ‬ﺍﻟﻨﻈﺎﻡ‪. ‬‬

‫‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻟﻠﻐﺔ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ،‬ﻓﻬﻲ‪ ‬ﺍﻟﻜﻠﻤﺎﺕ‪ ‬ﺍﻟﻤﺼﺤﱢﺤﺔ‪ ‬ﻟﻬﺎ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺤ‪ ‬ﺮﻭﻑ‪ ‬ﺍﻟﺮﺳ‪ ‬ﻤﻴﺔ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻮﺍﺿ‪ ‬ﺤﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻀ‪ ‬ﻤﻦ‪ ‬ﺭﺩﻭﺩ‪ ‬ﺍﻷﻓﻌ‪ ‬ﺎﻝ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﻲ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﺘ‪ ‬ﻴﺢ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻴﻴﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺒ‪ ‬ﺎﺩﺉ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺱ‬ ‫‪ ‬ﺍﻟﻤﻠﻲء‪ ‬ﺑﺎﻹﻧﻔﻌﺎﻻﺕ‪ ،‬ﺃﻣﺎ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ‬ﻓ‪ ‬ﻬﻲ‪ ‬ﻟﻴﺴﺖ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﻮﻧﻬ‪ ‬ﺎ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‪ ‬ﻓﺮﺩﻳ‪ ‬ﺎﺕ‪ ، ‬ﺑ‪ ‬ﻞ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺷ‪ ‬ﺠﺐ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻘﺎﺋﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻔﺮﺩﻳﺎﺕ‪ ‬ﻟﻤﺼﻠﺤﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻌﺎﻟﻤﻲ‪ ،‬ﻭﻋﻨ‪ ‬ﺪﻫﺎ‪ ‬ﻳﺘﻀ‪ ‬ﺢ‪ ‬ﺍﻟﻘﺼ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻬ‪ ‬ﺪﻑ‪ ‬ﻭﻣ‪ ‬ﺪﻯ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻋﻴﺘﻪ‪ ‬ﻹﻗﺎﻣ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺑﺠﺪﻳﺔ‪ ‬ﺗﺸﻜﻴﻠﻴﺔ‪ ‬ﻭﺍﻟﻌﻤﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺗﻨﻘﻴﺘﻬﺎ‪ ‬ﻻﺑﺘﻜﺎﺭ‪ ‬ﻟﻐﺔ‪ ‬ﻗﺎﺑﻠﺔ‪ ‬ﻟﻠﻔﻬﻢ‪ ‬ﻭﺍﻻﻧﺘﻘﺎﻝ‪. ‬‬ ‫‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺎﺋﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮﺍﻷﻭﻟﻴﺔ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻨ‪ ‬ﺎ‪ ‬ﺃﻭﻟﻴ‪ ‬ﺎ‪ ‬ﻏﻨﻴ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺘﻪ‪ ‬ﺑ‪ ‬ﻼ‬ ‫‪ ‬ﺗﺄﻛﻴ‪ ‬ﺪ‪ ‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﻓﺎﻗ‪ ‬ﺪ‪ ‬ﻟﺼ‪ ‬ﺪﻯ‪ ‬ﺍﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻴﺔ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭﻩ‪ ‬ﻓﻨ‪ ‬ﺎ‪ ‬ﺯﺧﺮﻓﻴ‪ ‬ﺎ‪ ،‬ﻭﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺎﺋﻢ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‬ ‫‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ) ‬ﻭﻫﻮ‪ ‬ﻓﻦ‪ ‬ﺍﻹﺷﺎﺭﺍﺕ‪ ‬ﺍﻟﻀﻤﻨﻴﺔ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻤﺒﺎﺷ‪ ‬ﺮﺓ‪ ( ‬ﻳﻌﺘﺒ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﺗﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﺇﻻ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻌﻘﻮﻝ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺠﺪ‪ ‬ﺻﺪﻯ‪ ‬ﺣﻘﻴﻘﻴﺎ‪ ‬ﻵﺭﺍء‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺴﻬﺎ‪ ‬ﻓﺘﺮﺿﻰ‪ ‬ﺑﺄﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ ‪.‬‬

‫‪­ ۱۰۳ ­ ‬‬

‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻻﺑ‪ ‬ﺪ‪ ‬ﺃﻥ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻟﻠﻔﻨ‪ ‬ﺎﻥ‪ ‬ﻣﻌﺮﻓ‪ ‬ﺔ‪ ‬ﺑﻤﻔﺘ‪ ‬ﺎﺡ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻭﻓ‪ ‬ﻦ‪ ‬ﺍﻟﺮﻣ‪ ‬ﻮﺯ‪ ،‬ﻭﻫﻮﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺘﺨﻄﻴﻂ‪ ‬ﺍﻷﻭﻟﻲ‪ ‬ﻟﻬﺎ‪ ‬ﺑﻤﺎ‪ ‬ﻳﺤ‪ ‬ﺚ‪ ‬ﺑ‪ ‬ﺪﻭﺭﻩ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺇﺑ‪ ‬ﺪﺍﻉ‪ ‬ﺭﺍﻕ‪ ‬ﻣﺘ‪ ‬ﺄﺩﺏ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﺍﺭﺱ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺮﺟ‪ ‬ﻊ‪ ‬ﺇﻟﻴ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻟﻨﻘﺎﺩ‪ ‬ﺍﻟﻤﺘﺨﺼﺼﻮﻥ‪ ‬ﻓﻲ‪ ‬ﻧﻘﺪﻫﻢ‪ ‬ﻟﻤﻌﻈﻢ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺎﺩﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻬﺪﻑ‪ ‬ﺑﺪﻭﺭﻫﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻔﺴ‪ ‬ﻴﺮ‪ ‬ﻭﺇﻋﻄ‪ ‬ﺎء‬ ‫‪ ‬ﺍﻟﻤﻔﺘﺎﺡ‪ ‬ﻭﺍﻟﻜﺸﻒ‪ ‬ﻋﻦ‪ ‬ﺃﺳ‪ ‬ﺮﺍﺭ‪ ‬ﺍﻟﻠ‪ ‬ﻐ‪ ‬ﺔ‪ ‬ﻭﺇﺗﺎﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻌﺮﻓ‪ ‬ﺔ‪ ، ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺑﻨﻴ‪ ‬ﺖ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﺍﻟﻌﻈﻴﻤ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮﺃﻭﻟﻴﺔ‬ ‫‪ ‬ﺗﻈﻞ‪ ‬ﻣﺮﺟﻌﻬﺎ‪ ‬ﺍﻟﻮﺣﻴﺪ‪ ‬ﻟﺜﺒﺎﺗﻬﺎ‪ ‬ﻭﺑﻘﺎﺋﻬﺎ‪ ‬ﻭﻗﻮﺗﻬﺎ‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﺗﻮﺟﺪ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻮﺍﺗﻴ‪ ‬ﺔ‪ ‬ﻟﻠﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻷﺻ‪ ‬ﺪﺍء‪ ‬ﺍﻟﺜﺎﻧﻮﻳ‪ ‬ﺔ‪ ،‬ﻭﻟﺘﺸ‪ ‬ﻴﻴﺪ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻭﺗﻨﻈ‪ ‬ﻴﻢ‪ ‬ﻟﺸ‪ ‬ﻜﻞ‪ ‬ﻭﻟ‪ ‬ﻮ‪ ‬ﻥ‪ ‬ﻳﺤﻤ‪ ‬ﻞ‪ ‬ﺧﺼ‪ ‬ﺎﺋﺺ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮﺍﻟﻐﻨﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺤﺮﻛﺎﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﻤﻮﺿﻮﻋﻴﺔ‪ ‬ﺳﻴﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﻴﺪ‪ ‬ﺍﺧﺘﻴﺎﺭﺃﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺭﺋﻴﺴ‪ ‬ﻴﺔ‪ ‬ﺗﺤﻤ‪ ‬ﻞ‪ ‬ﺃﺣﺎﺳﻴﺴ‪ ‬ﺎ‪ ‬ﺛﺎﻧﻮﻳ‪ ‬ﺔ‪ ‬ﻋﺎﻟﻤﻴ‪ ‬ﺔ‪ ،‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺭﺃﺳﻬﺎ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻣﺎ‪ ‬ﻳﺠﺘﻤﻊ‪ ‬ﻣﻌﻪ‪ ‬ﻣﻦ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﻣﻦ‪ ‬ﺻ‪ ‬ﻨﻌﻪ‪ ،‬ﺧﺎﺻ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ـﻠﻚ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍ‪ ‬ﻋﺘﺒﺮﻫ‪ ‬ﺎ‪ ‬ﺍﻟﻜﺎﺗ‪ ‬ﺐ‪ ‬ﻣﻠﺤﻘ‪ ‬ﺔ‪ ‬ﺃﻭ‪ ‬ﻣﺘﻤﻤ‪ ‬ﺔ‬ ‫‪ ‬ﻷﻋﻀﺎﺋﻪ‪ ،‬ﻭﻫﺬﻩ‪ ‬ﺟﻤﻴﻌﻬﺎ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﻋﺘﺒﺎﺭ‪ ‬ﻫﺎ‪ ‬ﻣﻨﺘﺠﺎﺕ‪ ‬ﻣﻦ‪ ‬ﻋﻤﻠﻴﺔ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ،‬ﻭﻓﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺗﻄ‪ ‬ﻮﺭ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﺗﺘﺠ‪ ‬ﻪ‪ ‬ﻧﺤ‪ ‬ﻮ‬ ‫‪ ‬ﺍﻻﻧﺘﻘﺎء‪ ‬ﻭﺍﻟﻨﻘﺎء‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﻣﺴﻴﺮﺓ‪ ‬ﻛﻞ‪ ‬ﺍﻟﺘﺤﻮﻻﺕ‪ ‬ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﻭﺿ‪ ‬ﻌﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺩﺍﻟ‪ ‬ﺔ‪ ‬ﻧﻘ‪ ‬ﺎء‪ ،‬ﻭﻻﺑ‪ ‬ﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‬ ‫‪ ‬ﻫﻮ‪ ‬ﻗﻤﺔ‪ ‬ﺍﻻﺻﻄﻔﺎء‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪. ‬‬

‫‪ ‬ﻋﻨﺪ‪ ‬ﺍﺧﺘﻴﺎﺭﻧﺎ‪ ‬ﻟﻬﺬﻩ‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺍﻟﻤﻨﺘﺨﺒﺔ‪ ‬ﻧﺠﺪ‪ ‬ﻣﻴﻼ‪ ‬ﻧﺤﻮ‪ ‬ﺍﺗﺠﺎﻫﺎﺕ‪ ‬ﻣﺘﻄﺎﺑﻘ‪ ‬ﺔ‪ ‬ﻣﻤﺎ‪ ‬ﺛﻠ‪ ‬ﺔ‪ ‬ﻟﻠ‪ ‬ﺪﻭﺍﻝ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‪ ‬ﺍﻟﺜﺎﺑﺘ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺩﺍﻟ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻜﻔﺎءﺓ‪ ‬ﺍﻟﻘﺼﻮﻯ‪ ،‬ﻭﺍﻟﻘﻮﺓ‪ ‬ﺍﻟﻘﺼﻮﻯ‪ ،‬ﻭﺍﻟﺴﻌﺔ‪ ‬ﺍﻟﻘﺼﻮﻯ‪ ... ‬ﺇﻟﺦ‪ ،‬ﺣﺘﻰ‪ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺩﺍﻟ‪ ‬ﺔ‪ ‬ﺍﻗﺘﺼ‪ ‬ﺎﺩ‪ ‬ﺍﻟﺘ‪ ‬ﺪﺑﻴﺮ‪ ‬ﺍﻟﻤﺤﻜ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﺘﺎﻡ ﻭﻫﻮ‪ ‬ﻗﺎﻧﻮﻥ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‬

‫*‬

‫‪ ‬ﻭﻣﻦ‪ ‬ﺍﻟﺴﻬﻞ‪ ‬ﺣﺴﺎﺏ‪ ‬ﻣﺎ‪ ‬ﺇﺫﺍ‪ ‬ﻛﺎﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻘ‪ ‬ﺎﻧﻮﻥ‪ ‬ﻳﺤﻜ‪ ‬ﻢ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺴ‪ ‬ﻤﻰ‪ ‬ﺑﺎﻹﻧﺘﺨ‪ ‬ﺎﺏ‪ ‬ﺍﻟﻤﻴﻜ‪ ‬ﺎﻧﻴﻜﻲ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﺗﻄ‪ ‬ﻮﻳﺮ‬ ‫‪ ‬ﺍﻵﻻﺕ‪ ‬ﻭﺍﻷﺩﻭﺍﺕ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺦ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺮ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺃﺩﻭﺍﺗ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺣﺘﻴﺎﺟ‪ ‬ﻪ‪ ‬ﻟﻀ‪ ‬ﺮﻭﺭﺍﺕ‬ ‫‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﺍﻟﻤﻠﺤّﺔ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻷﺩﻭﺍﺕ‪ ‬ﺍﺭﺗﺒﻄﺖ‪ ‬ﺑﺄﻋﻀﺎﺋﻪ‪ ‬ﻭﺳﺎﻋﺪﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺇﺗﻤﺎﻡ‪ ‬ﻭﻇﻴﻔﺘﻬﺎ‪ ،‬ﻭﻋﻠﻰ‪ ‬ﺳ‪ ‬ﺒﻴﻞ‪ ‬ﺍﻟﻤﺜ‪ ‬ﺎﻝ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺣﺎﻭﻳﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﻛﺎﻟﺰﻫﺮﻳﺎﺕ‪ ‬ﻭﺍﻷﻛﻮﺍﺏ‪ ‬ﻭﺍﻟﺰﺟﺎﺟﺎ‪ ‬ﺕ‪ ‬ﻭﺍﻷﻃﺒﺎﻕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺻﻨﻌﻬﺎ‪ ‬ﻟﺘﻨﺎﺳ‪ ‬ﺐ‪ ‬ﺍﺣﺘﻴﺎﺟﺎﺗ‪ ‬ﻪ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﻌﺔ‪ ‬ﺍﻟﻘﺼﻮﻯ‪ ‬ﻭﺍﻟﻘﻮﺓ‪ ‬ﺍﻟﻘﺼﻮﻯ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺤﻔﺎﻅ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻻﻗﺘﺼﺎﺩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺨﺎﻣﺎﺕ‪ ‬ﻭﺍﻟﺠﻬﺪ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺻ‪ ‬ﻨﻊ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻣﺨﺘﻠ‪ ‬ﻒ‪ ‬ﺍﻟﻌﺼ‪ ‬ﻮﺭ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻣﺎ‪ ‬ﻟﻼﻧﺘﻘ‪ ‬ﺎﻝ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﺭﺏ‪ ‬ﻭﺍﻟﺴ‪ ‬ﻴﺎﺭﺍﺕ‪ ،‬ﻭﺃﺩﻭﺍﺕ‪ ‬ﻟﻠ‪ ‬ﺪﻓﺎﻉ‪ ‬ﻛﺎﻷﺳ‪ ‬ﻠﺤﺔ‪ ،‬ﻭﺃﺩﻭﺍﺕ‪ ‬ﻟﻠﻤﺘﻌ‪ ‬ﺔ‬ ‫‪ ‬ﻛﺎﻵﻻﺕ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‪ ... ‬ﺇﻟﺦ‪ ،‬ﻭﺍﻟﺘﻲ‪ ‬ﺧ‪ ‬ﻀﻌﺖ‪ ‬ﺟﻤﻴﻌﻬﺎ‪ ‬ﺩﻭﻣﺎ‪ ‬ﻟﻘﺎﻧﻮﻥ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻭﻫﻮ‪ ‬ﺍﻻﻗﺘﺼﺎﺩ ‪.‬‬

‫*‬

‫ﻳﺘﻀﺢ‪ ‬ﺗﺄﺛﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﺘﻄﻮﺭ‪ ‬ﻟﺪﺍﺭﻭﻳﻦ‪ ‬ﻓﻲ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ،‬ﻟﻴﺲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻟﻜﻦ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺩﻭﺍﺗﻪ‬

‫‪­ ۱۰٤ ­ ‬‬

‫‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﺻ‪ ‬ﻠﺔ‪ ‬ﻭﺛﻴﻘ‪ ‬ﺔ‪ ‬ﺑﺘﻮﺳ‪ ‬ﻴﻊ‪ ‬ﻣ‪ ‬ﺪﻯ‪ ‬ﺍﻷﻃ‪ ‬ﺮﺍﻑ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻴﺔ‪ ،‬ﻭﻟﻬ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺴ‪ ‬ﺒﺐ‪ ‬ﺗﺄﺧ‪ ‬ﺬ‪ ‬ﻧﺴ‪ ‬ﺒﺘﻬﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻭﺗﻨﺴﺠﻢ‪ ‬ﻣﻌﻪ‪ ‬ﻭﻣﻊ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﺍﻟﺒﻌﺾ‬

‫*‬

‫‪ ‬ﻭﻟﻤﺎ‪ ‬ﺑﺪﺃ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻵ‪ ‬ﻟﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﺍﺳﺘﻮﻗﻔﺖ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻣﺴﺄﻟﺔ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺑ‪ ‬ﺸﻜﻞ‪ ‬ﻣﺤﻴ‪ ‬ﺮ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻱ‪ ‬ﻭﻗ‪ ‬ﺖ‬ ‫‪ ‬ﻣﻀﻰ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻨﺎﻓﺲ‪ ‬ﺍﻟﺘﺠﺎﺭﻱ‪ ،‬ﻭﺣﺴﺎﺏ‪ ‬ﺍﻷﺛﻤﺎﻥ‪ ... ‬ﺇﻟﺦ‪ ،‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻵﻟ‪ ‬ﺔ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﻗﺎﺩﺗﻨ‪ ‬ﺎ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻻﺣﺘ‪ ‬ﺮﺍﻡ‪ ‬ﺍﻟﺼ‪ ‬ﺎﺭﻡ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﺳﺘﻌﻤﺎﻝ‪ ‬ﻭﺗﻄﺒﻴﻖ‪ ‬ﻗﻮﺍﻧﻴﻦ‪ ‬ﺍﻻﻗﺘﺼﺎﺩ‪. ‬‬

‫‪ ‬ﻟﻦ‪ ‬ﺗﺒﻌﺪﻧﺎ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻻﻋﺘﺒﺎﺭﺍﺕ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﺰﻳﺘﻲ‪ ،‬ﻭﻟﻜﻦ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻜﺲ‪ ‬ﻋﺒﺮ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻈﺎﻫﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻤﻴﻜ‪ ‬ﺎﻧﻴﻜﻲ‬ ‫‪ ‬ﺳﻮﻑ‪ ‬ﺗﺼﻞ‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺇﻟﻰ‪ ‬ﺗﺤﻘﻴﻖ‪ ‬ﻋﻨﺼﺮ‪ ‬ﺍﻟﺪﻭﺍﻡ‪ ‬ﻭﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ‪ ‬ﻓﻲ‪ ‬ﻋﻼﻗ‪ ‬ﺔ‪ ‬ﻣﺘﺒﺎﺩﻟ‪ ‬ﺔ‪ ‬ﻭﻣﺘﺰﺍﻣﻠ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪،‬‬ ‫‪ ‬ﻣﺤﺘﻮﻳﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻣﻨﺤﻨﻴﺎﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ،‬ﻭﻣﻨﺤﻨﻴ‪ ‬ﺎﺕ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺴ‪ ‬ﻌﺔ‪ ‬ﺍﻟﻘﺼ‪ ‬ﻮﻯ‪ ‬ﻭﺍﻟﻘ‪ ‬ﻮﺓ‪ ‬ﺍﻟﻌﻈﻴﻤ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﺮﻭﻧ‪ ‬ﺔ‪ ‬ﺍﻟﻔﺎﺋﻘ‪ ‬ﺔ‬ ‫‪ ... ‬ﺇﻟ‪ ‬ﺦ‪ ،‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﻨﺤﻨﻴ‪ ‬ﺎﺕ‪ ‬ﺗﺨ‪ ‬ﺪﻡ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﻜ‪ ‬ﻢ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻷﻣﺮﻭﺗﻘﻮﺩﻧ‪ ‬ﺎ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻃﺒ‪ ‬ﻴﻌ‪ ‬ﻲ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﺮﺿ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‬ ‫‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪. ‬‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺒﻖ‪ ‬ﻧﺼ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻨﺘﺎﺝ‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻲ‪ : ‬ﺃﻥ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺣﺘ‪ ‬ﺮﺍﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﻔﻴﺰﻳﺎﺋﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺃﻧﺘﺞ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻣﺎ‪ ‬ﺫﺍﺕ‪ ‬ﻣﻮﺍﺻ‪ ‬ﻔﺎﺕ‪ ‬ﻋﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻴﻤ‪ ‬ﺔ‪ ‬ﻻﺣﺘﻮﺍﺋﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻨﺤﻨﻴ‪ ‬ﺎﺕ‪ ‬ﺭﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻣﺘﺸﺎﺑﻬﺔ‪ ‬ﻓﻲ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﻋﻤﻴﻘﺔ‪ ،‬ﻭﻫﺬﻩ‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺗﺨﻀﻊ‪ ‬ﻟﻨﻔﺲ‪ ‬ﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﻷﻧﻬﺎ‪ ‬ﻧﺘﺎﺝ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ،‬ﻭﻫﻜﺬﺍ‪ ‬ﻳﺴﻮﺩ‬ ‫‪ ‬ﺍﻧﺴﺠﺎﻡ‪ ‬ﺗﺎﻡ‪ ‬ﻣﻔﺴﺤﺎ‪ ‬ﺍﻟﻄﺮﻳﻖ‪ ‬ﺃﻣﺎﻡ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﺎ‪ ‬ﻳﺜﻴ‪ ‬ﺮ‪ ‬ﺍﻫﺘﻤ‪ ‬ﺎﻡ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ : ‬ﻧﻔﺴ‪ ‬ﻪ‪ ‬ﻭﻣ‪ ‬ﺎ‪ ‬ﻳﺼ‪ ‬ﻨﻌﻪ‪ ، ‬ﻓﻜ‪ ‬ﻼ‪ ‬ﺍﻻﻧﺘﺨ‪ ‬ﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﻲ‬ ‫‪ ‬ﻭﺍﻟﻤﻴﻜﺎﻧﻴﻜﻲ‪ ‬ﻣﻈﻬﺮﺍﻥ‪ ‬ﺗﺘﺠﻠﻰ‪ ‬ﻓﻴﻬﻤﺎ‪ ‬ﺍﻟﺘﻨﻘﻴﺔ‪. ‬‬

‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﻧﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺎﺝ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﺳ‪ ‬ﻮﻑ‪ ‬ﻳﺠ‪ ‬ﺪ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﺎ‪ ‬ﻣﺨﺘ‪ ‬ﺎﺭﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎ‪ ‬ﻡ‪ ‬ﺍﻟﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻻﻧﺘﺨ‪ ‬ﺎﺏ‬ ‫‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ‬ﻭﺍﻟﻤﻴﻜﺎﻧﻴﻜﻲ‪ ‬ﻛﻤﺎ‪ ‬ﺣﺪﺛﺖ‪ ،‬ﻣﺜﻠﻤﺎ‪ ‬ﺃﻥ‪ ‬ﻫﻨﺎﻟﻚ‪ ‬ﻓﻨﺎﻧﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺯﻣﻨﻨﺎ‪ ‬ﻭﺟﺪﻭﺍ‪ ‬ﻣﺘﻌ‪ ‬ﺘﻬﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺰﺧﺮﻓ‪ ‬ﻲ‪ ‬ﻭﺍﺧﺘ‪ ‬ﺎﺭﻭﺍ‬ ‫‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺍﻟﻤﺰﺧﺮﻓﺔ ‪.‬‬

‫*‬

‫‪ ‬ﻳﻼﺣﻆ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺍﻻﻫﺘﻤﺎﻡ‪ ‬ﺑﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻜﺎﺗﺐ‪ ‬ﻗﺒﻞ‪ ‬ﻇﻬﻮﺭ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑـ‪ ۲٥ ‬ﺳﻨﺔ‬

‫‪­ ۱۰٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲٤ ‬‬

‫‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﻫﻮ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺗﺤ‪ ‬ﺎﺩ‪ ‬ﺗ‪ ‬ﺎﻡ‪ .. ‬ﺳ‪ ‬ﻴﻤﻔﻮﻧﻴﺔ‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﻧﺴ‪ ‬ـﺠﺎﻡ‪ ‬ﻭﺍﻟﺘﻨ‪ ‬ﺎﻏﻢ‪ ‬ﺳ‪ ‬ﻮ‪ ‬ﺍء‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻨﺤﺖ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﺰﻳﺘﻲ‪ ،‬ﻭ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﻋﻨﺎﺻﺮ‪ ‬ﻏﺮﻳﺒ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺨﺘ‪ ‬ﺎﺭﺓ‪ ،‬ﻛﻌﻨﺎﺻ‪ ‬ﺮ‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺠﻤﻴ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺤ‪ ‬ﺎﻝ‪ ‬ﻛﻌ‪ ‬ﺰﻑ‪ ‬ﺳ‪ ‬ﻴﻤﻔﻮﻧﻴﺔ‪ ‬ﻓﺮﻋﻴ‪ ‬ﺔ‪ ‬ﺩﺍﺧ‪ ‬ﻞ‪ ‬ﺳ‪ ‬ﻴﻤﻔﻮﻧﻴﺔ‪ ‬ﺃﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻓﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻓﺎﺋﻀ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺤﺎﺟ‪ ‬ﺔ‪ ،‬ﻣﻔﺮﻃ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﻨﻐ‪ ‬ﻴﻢ‪ ،‬ﺗﺤ‪ ‬ﻂ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﻴﻤ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻄﻌ‪ ‬ﺔ‪ ‬ﻭﺗﺤ‪ ‬ﺪّ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﻃﺎﻗﺘﻬ‪ ‬ﺎ‪ ‬ﺍﻻﻧﻔ‪ ‬ﻌﺎﻟﻴ‪ ‬ـﺔ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﻤ‪ ‬ﺪﺍﺭﺱ‬ ‫‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪ ‬ﺍﺳﺘﻄﺎﻋﺖ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‪ ‬ﻭﺣﺪﻫﺎ‪ ‬ﺃﻥ‪ ‬ﺗﺪﺭﻙ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺍﻟﻤﻨﺘﺨﺒﺔ‪ ‬ﻭﻣﺜﻴﻼﺗﻬﺎ‪ ‬ﺍﻟﻤﺘﺸﺎﺑﻬﺔ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﻋﺒ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻔﺎﺭﻗﺔ‪ ‬ﻣﺎ‪ ‬ﻭﺑﺎﻻﻋﺘﻤﺎﺩ‪ ‬ﻋﻠﻰ‪ ‬ﻓﻜﺮﺓ‪ ‬ﺧﺎﻃﺌﺔ‪ ،‬ﻓ‪ ‬ﺒﺪﻻ‪ ‬ﻣﻦ‪ ‬ﺍﺳﺘﺨﻼﺹ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﻌﺎﻣ‪ ‬ﺔ‪ ‬ﻟﻬ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺃﻇﻬ‪ ‬ﺮﺕ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺑﻌﺎﺩﻫﺎ‪ ‬ﺍﻟﻌﺮﺿﻴﺔ‪ ‬ﻟﻠﻤﺪﻯ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﻋﺎ‪ ‬ﺩﺕ‪ ‬ﻓﻴﻪ‪ ‬ﺗﺸﻜﻴﻠﻬﺎ‪ ‬ﻷﺟﺴﺎﻡ‪ ‬ﺭﺍﺋﻌﺔ‪ ،‬ﻓﺮﺳﻤﺖ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‪ ‬ﺃﻧﺎﺑﻴﺐ‪ ‬ﻣﻀﻠﻌﺔ‪ ‬ﻟﺘﺮﺑﻂ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻭﺑﻴﻦ‪ ‬ﻋﻠﺐ‪ ‬ﺍﻟﻜﺒﺮﻳﺖ‪ ،‬ﻭﺁﻧﻴﺔ‪ ‬ﻫﺮﻣﻴﺔ‪ ‬ﻟﺘﺮﺑﻂ‪ ‬ﺑﻴﻨﻬﺎ‪ ‬ﻭﺑﻴﻦ‪ ‬ﺍﻷﻛﻮﺍﺏ‪ ‬ﺍﻟﻤﺨﺮﻭﻃﻴﺔ‪. ‬‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻨﻄﻠ‪ ‬ﻖ‪ ‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺤﻠ‪ ‬ﻴﻼﺕ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﻭﺻ‪ ‬ﻞ‪ ‬ﺍﻟﻜﺎﺗ‪ ‬ﺐ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺣﺘﻤﻴ‪ ‬ﺔ‪ ‬ﺇﻋ‪ ‬ﺎﺩﺓ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻞ‪ ،‬ﻭﺿ‪ ‬ﺮﻭﺭﺓ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭ‬ ‫‪ ‬ﺍﻟﻤﻮﺿﻮﻉ‪ ،‬ﻭﺍﻟﻤﻨﻄﻖ‪ ‬ﺍﻟﺴﻠﻴﻢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜ‪ ‬ﻴﻞ‪ ‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻮﻳﻪ‪ ،‬ﻓ‪ ‬ﺈﺫﺍ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﻮﻥ‪ ‬ﻣﺨﻄﺌ‪ ‬ﻴﻦ‪ ‬ﻓ‪ ‬ﺬﻟﻚ‪ ‬ﻷﻧﻬ‪ ‬ﻢ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﺒﺤﺜ‪ ‬ﻮﺍ‬ ‫‪ ‬ﺧﺎﺭﺝ‪ ‬ﺗﻜﻮﻳﻨﺎﺗﻬﻢ‪ ‬ﺍﻟﺜﺎﺑﺘﺔ‪ ‬ﺣﻴﺚ‪ ‬ﻛﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﻳﺼﻠﻮﺍ‪ ‬ﺇﻟﻰ‪ ‬ﻟﻐﺔ‪ ‬ﺍﻧﺘﻘﺎﻟﻴﺔ‪ ‬ﻋﺎﻟﻤﻴﺔ‪. ‬‬

‫‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻉ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﺓ‪ ‬ﻭﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺗﺴ‪ ‬ﺘﻤﺪ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻣﺨﻴﻠ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﻳﺤ‪ ‬ﺪﺙ‪ ‬ﻣﺨ‪ ‬ﺎﺽ‪ ‬ﺍﻻﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‪،‬‬ ‫‪ ‬ﻭﻣﻔﻬﻮﻡ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺍﻟﻤﺮﺳﻮﻡ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻌﺮﻓﺔ‪ ‬ﺍﻟﻜﻠﻴﺔ‪ ‬ﺑﻪ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺮﻓﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺘﻄﻠ‪ ‬ﺐ‪ ‬ﺍﻟﺨﺒ‪ ‬ﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤ‪ ‬ﻮﺍﺱ‪ ،‬ﻭﺍﻟﻤﻌﺮﻓ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺪﻗﻴﻘ‪ ‬ﺔ‪ ‬ﻟﻠﺨﺎﻣ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺤﺠ‪ ‬ﻢ‪ ‬ﻭﺍﻟﻤﻈﻬ‪ ‬ﺮ‪ ‬ﻭﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻭﺍﻟﻤﻨﻈﻮﺭﺍﻟﻤﻌﺘ‪ ‬ﺎﺩ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻤﺜﻠ‪ ‬ﻪ‪ ‬ﺳ‪ ‬ﻠﻮﻛﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﺫﻫ‪ ‬ﺎﻥ‪ ،‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﻤﻨﻈﻮﺭﺍﻟﺼﺎﺭﻡ‪ ‬ﺍﻟﻤﻌﻬﻮﺩ‪ ‬ﻳﻌﻄﻲ‪ ‬ﺭﺅﻳﺔ‪ ‬ﻃﺎﺭﺋﺔ‪ ‬ﻟﻠﺠﺴﻢ‪ ‬ﻓﺘﺮﺍﻩ‪ ‬ﺍﻟﻌﻴﻮﻥ‪ ‬ﻷﻭﻝ‪ ‬ﻣﺮﺓ‪ ‬ﻣﻮﺿﻮﻋﺎ‪ ‬ﻓﻲ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺭﺅﻳ‪ ‬ﺔ‪ ‬ﻣﺤ‪ ‬ﺪﺩﺓ‬ ‫‪ ‬ﻏ‪ ‬ﻴﺮ‪ ‬ﻣﻜﺘﻤﻠﺔ‪ ،‬ﻭﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻤﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻣﻨﻈﻮﺭ‪ ‬ﻣﺤﺪﺩ‪ ‬ﺗﺒﺪﻭ‪ ‬ﻗﺎﺻﺮﺓ‪ ‬ﻋﻠﻰ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳ‪ ‬ﺔ‪ ‬ﻭﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺗﺒﻌ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﺬﻟﻚ‬ ‫‪ ‬ﻣﺤﺮﻭﻣﺔ‪ ‬ﻣﻤﺎ‪ ‬ﻗﺪ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻋﺎﻟﻤﻴﺎ‪ ‬ﻭﻣﺘﻴﻨﺎ‪ ،‬ﻭﺑﺬﻟﻚ‪ ‬ﻳﻮﺟﺪ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺟﻴﺪ‪ ‬ﻟﻌﻤﻞ‪ ‬ﺍﻟﻠﻮﺣﺎﺕ‪ ،‬ﻭﺗﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻷﺷ‪ ‬ﻜﺎﻝ‪ ‬ﻭﺍﻷﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‬ ‫ﺗﺤﻤﻞ‪ ‬ﺧﻮﺍﺹ‪ ‬ﺃﺟﺴﺎﻣﻬﺎ‪ ‬ﺍﻟﺜﺎﺑﺘﺔ‪ ‬ﻭﺍﻷﺳﺎﺳﻴﺔ‬

‫‪­ ۱۰٦ ­ ‬‬

‫‪ ‬ﺇﻧﻪ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻤﻬﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺗﺤﻘ‪ ‬ﻴﻖ‪ ‬ﺍﻟﺘﻮﺍﻓ‪ ‬ﻖ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺜﺎﺑﺘ‪ ‬ﺔ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻴﻊ‬ ‫‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﺘﺨﻠﺺ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻮﻳﺔ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻳﻀﻤﻦ‪ ‬ﻟﻪ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ ‬ﺑﺄﻧﻘﻰ‪ ‬ﺃﺳﻠﻮﺏ‪ ‬ﻟﺘﺤﻘﻴﻘﻬﺎ‪. ‬‬

‫‪ ‬ﺍﻟﻌﻨﺼﺮﺍﻷﺷ‪ ‬ﺪ‪ ‬ﻧﻘ‪ ‬ﺎء‪ ‬ﻛﺎﻟﻜﻠﻤ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﺍﻟﻤﺘﻜﻮﻧ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻛﻤ‪ ‬ﻞ‪ ‬ﻭﺟ‪ ‬ﻪ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺗ‪ ‬ﺄﺗﻲ‪ ‬ﺑ‪ ‬ﺮﺩﻭﺩ‪ ‬ﻓﻌ‪ ‬ﻞ‪ ‬ﻋﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻳﺔ‪،‬‬ ‫‪ ‬ﻭﺑﺎﻟﻄﺒﻊ‪ ‬ﻻ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺍﻋﺘﺒﺎﺭﻩ‪ ‬ﻛﺎﻟﻤﻄﺒﻮﻋﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺴﺦ‪ ‬ﺑﺠﺎﻧﺐ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ) ‬ﺑﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺍﻻﺳﺘﻨﺴ‪ ‬ﻞ‬ ‫‪ ، ( ‬ﺃﻱ‪ ‬ﺃﻧﻪ‪ ‬ﻳﺘﻌﻴﻦ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺰﺟﺎﺟﺔ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﺃﻥ‪ ‬ﺗﺠﺴ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﺼ‪ ‬ﻔﺎﺕ‪ ‬ﺍﻟﻤﻤﻴ‪ ‬ﺰﺓ‪ ‬ﻭﺍﻟﺜﺎﺑﺘ‪ ‬ﺔ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺘﻄﻠﺒ‪ ‬ﻪ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺗﻌﺪﻳﻼﺕ‪ ‬ﻭﻻ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﺗﺤﻮﺭﻫﺎ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻣﺜﻠﺜ‪ ‬ﻲ‪ ‬ﻷﻧﻬ‪ ‬ﺎ‪ ‬ﻭﺇﻥ‪ ‬ﻭﺟ‪ ‬ﺪﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺸ‪ ‬ﻜ‪ ‬ﻞ‪ ‬ﺗﻌﺘﺒﺮﺣﺎﻟ‪ ‬ﺔ‪ ‬ﺧﺎﺻ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺭﺍﺩ‪ ‬ﺻﺎﻧﻌﻬﺎ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺗﺤﻘﻴﻖ‪ ‬ﻓﻜﺮﺓ‪ ‬ﺧﻴﺎﻟﻴﺔ‪ ‬ﺧﺎﺻﺔ‪ ‬ﻻ‪ ‬ﺗﺼﻠﺢ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻌﻘﻮﻝ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲٥ ‬‬

‫‪ ‬ﺍﻟﺘﺼﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺩﺭﺍﻙ ‪: Conception ‬‬ ‫‪ ‬ﺑﻤﺎ‪ ‬ﺃﻥ‪ ‬ﻫﺪﻑ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻫﻮ‪ ‬ﻭﺿﻊ‪ ‬ﺍﻟﻤﺘﻠﻘﻲ‪ ‬ﻓﻲ‪ ‬ﺩﺭﺟﺔ‪ ‬ﻣﻦ‪ ‬ﺩﺭﺟﺎﺕ‪ ‬ﻗﻴﻢ‪ ‬ﺍﻟﺘﻠﻘﻲ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ،‬ﻭﻫﻲ‪ ‬ﻣﺮﺗﺒﺔ‪ ‬ﻣﻦ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﻣﺮﺗﻔ‪ ‬ﻊ‪،‬‬ ‫‪ ‬ﻓﻤﻦ‪ ‬ﺍﻟﻀﺮﻭﺭﻱ‪ ‬ﺃﻭﻻ‪ ‬ﻣﻌﺮﻓﺔ‪ ‬ﺍﻟﻮﺟﻬﺔ‪ ‬ﻭﺍﻟﻬﺪﻑ‪ ‬ﺍ‪ ‬ﻟﻤﻘﺼﻮﺩ‪ ،‬ﻫﻞ‪ ‬ﻫ‪ ‬ـﻮ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‪ ‬ﺇﺭﺿ‪ ‬ﺎء‪ ‬ﺍﻟﺤ‪ ‬ﻮﺍﺱ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ،‬ﺃﻡ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺇﺭﺿ‪ ‬ﺎء‬ ‫‪ ‬ﺍﻟﺤﻮﺍﺱ‪ ‬ﻭﺇﻣﺘﺎﻉ‪ ‬ﺍﻟﻌﻘﻞ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗﺖ‪. ‬‬ ‫‪ ‬ﻫﻨﺎﻙ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻘﺼ‪ ‬ﺪ‪ ‬ﺇﺭﺿ‪ ‬ﺎء‪ ‬ﺍﻟﺤ‪ ‬ﻮﺍﺱ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ،‬ﻭﻫ‪ ‬ﺬﻩ‪ ‬ﻧﺴ‪ ‬ﻤﻴﻬﺎ‪ ‬ﻓﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﻤﺘﻌ‪ ‬ﺔ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺭﺑﻤ‪ ‬ﺎ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﻗﺎﺳﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺻﺎﺭﻣﺔ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺸ‪ ‬ﻲء‪ ‬ﺇﻻ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‪ ‬ﺗﺮﻓ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗ‪ ‬ﺪﺭﺍﺕ‪ ‬ﺍﻟﻌﻘ‪ ‬ﻞ‪ ،‬ﻭﻟ‪ ‬ﺬﻟﻚ‪ ‬ﻻﺑ‪ ‬ﺪ‪ ‬ﻟﻠﻔﻨ‪ ‬ـﺎﻥ‪ ‬ﺃ‪ ‬ﻥ‪ ‬ﻳﻀ‪ ‬ﻊ‪ ‬ﻧﻔﺴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‬ ‫‪ ‬ﻋﻘﻠﻴﺔ‪ ‬ﻗﺒﻞ‪ ‬ﺗﻨﺎﻭﻟﻪ‪ ‬ﻟﻔﺮﺷﺎﺗﻪ‬ ‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﺼﻮﺭ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﻋﻘﻠﻴ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ﺆﺫﻥ‪ ‬ﺑﻨﻈ‪ ‬ﺮﺓ‪ ‬ﺷ‪ ‬ﺎﻣﻠﺔ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻭﺑ‪ ‬ﺎﻟﺘﻠﻬﻒ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻃﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﻋﻨﺎﺻﺮﻫﺎ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻜﻠﻤﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻟﻐﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ،‬ﻳﺨﺘ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺳ‪ ‬ﻴﻤﻔﻮﻧﻴﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﻧﻔﻌ‪ ‬ﺎﻻﺕ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﺃﺛﺮﻫ‪ ‬ﺎ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺘﻠﻘﻲ‪ ‬ﻣﺰﻳﺠﺎ‪ ‬ﻣﺤﺪﺩﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺘﻌﺔ‪ ‬ﻭﺍﻟﻘﻴﻤﺔ‪ ‬ﻓﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣﺪ ‪.‬‬

‫‪­ ۱۰۷ ­ ‬‬

‫‪ ‬ﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺤ‪ ‬ﺪﺙ‪ ‬ﻟ‪ ‬ﺒﺲ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺩﺭﺍﻙ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ،‬ﻭﻫﻤ‪ ‬ﺎ‪ ‬ﺷ‪ ‬ﻴﺌﺎﻥ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺎﻥ‪ ‬ﺗﻤﺎﻣ‪ ‬ﺎ‪ ‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻣﺮﺗﺒﺔ‪ ‬ﻋﻘﻠﻴﺔ‪ ،‬ﻭﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﻭﺳ‪ ‬ﻴﻠﺔ‪ ‬ﻓﻨﻴ‪ ‬ﺔ‪ ‬ﻣﻤﻴ‪ ‬ﺰﺓ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﺭ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭ‪ ‬ﻗ‪ ‬ﺮﺍﺭ‪ ‬ﺗﻮﺻ‪ ‬ﻴﻞ‪ ‬ﺍﻟﻌﺎﻃﻔ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻫ‪ ‬ﻮ‬ ‫‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺍﻟﻮﺳﺎﺋﻞ‪ ‬ﺍﻟﻘﺎﺩﺭﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺇﻳﺼﺎﻝ‪ ‬ﻫﺬ‪ ‬ﻩ‪ ‬ﺍﻟﻌﺎﻃﻔﺔ‪. ‬‬

‫‪ ‬ﺍﻟﺘﻜﻮﻳﻦ ‪: Composition ‬‬ ‫‪ ‬ﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺨﺰﻭﻧﻨﺎ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ،‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺸ‪ ‬ﻤﻞ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺤﺼ‪ ‬ﺮﻱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺴ‪ ‬ﻄﺢ‪ ‬ﻭﺗﻘﺴ‪ ‬ﻴﻤﺎﺗﻪ‪ ‬ﻭﺗﻌ‪ ‬ﺪﻳﻼﺕ‪ ‬ﻧﺴ‪ ‬ﺒﻪ‪،‬‬ ‫ﻭﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻜﺜﺎﻓ‪ ‬ﺔ‪ ،‬ﻭﻣﺴ‪ ‬ﺄﻟﺔ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ،‬ﻓﺎﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﺗﺤ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﺮﺍﺑﻄ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ *‪ ، ‬ﻭﻫ‪ ‬ﻲ‬ ‫‪ ‬ﻟﻴﺴﺖ‪ ‬ﺟﺰءﺍ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ،‬ﺑﻞ‪ ‬ﻫﻲ‪ ‬ﻛﻞ‪ ‬ﻣﺘﻜﺎﻣ‪ ‬ﻞ‪ ‬ﻗﺎﺑـﻞ‪ ‬ﻟﻠﺤﻴﺎﺓ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻌﻨﺼﺮﺍﻟﺤﻲ‪ ،‬ﻭﻛﻤﺎ‪ ‬ﻳﻜﻮﻥ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ‬ﻋﻨﺼ‪ ‬ﺮﺍ‪ ‬ﻣﻬﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺘﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻭﻫﻲ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﺛﻼﺛﻴﺔ‪ ،‬ﻳﻜﻮﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻞ‪ ‬ﻓﻲ‪ ‬ﻓﺮﺍﻍ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻭﻟﻴﺲ‪ ‬ﻋﻠﻰ‪ ‬ﺳﻄﺤﻬﺎ‪ ‬ﻓﻘﻂ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲٦ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺄﻟﻮﻑ‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺍﻟﺘﺸﻜﻴﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺎﺕ‪ ‬ﺑﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺍﻋﺘﺒﺎﻃﻴ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﺎ‪ ،‬ﻓﻜﺜﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﻳﺨﺘ‪ ‬ﺎ‪ ‬ﺭﻭﻥ‪ ‬ﺃﺳ‪ ‬ﻄﺤﺎ‬ ‫‪ ‬ﺷﺪﻳﺪﺓ‪ ‬ﺍﻻﺳﺘﻄﺎﻟﺔ‪ ،‬ﺃﻭ‪ ‬ﻏﻴﺮ‪ ‬ﻣﺤﺪﺩﺓ‪ ‬ﺍﻷﻃﺮ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺬﻫﺐ‪ ‬ﺑﺎﻟﻌﻴﻦ‪ ‬ﺇﻟﻰ‪ ‬ﺧﺎﺭﺝ‪ ‬ﺣﻘﻞ‪ ‬ﺍﻟﺮﺅﻳﺔ‪ ‬ﺍﻟﻤﻨﺎﺳﺐ‪ ‬ﻟﻬﺎ‪ ،‬ﺃﻣﺎ‪ ‬ﺍﻵﻥ‪ ‬ﻓﻬﻨ‪ ‬ﺎﻙ‬ ‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﺘﺒﺎﺩﻟﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻣﺨﺮﻭﻁ‪ ‬ﺍﻟﺮﺅﻳﺔ‪ ‬ﻭﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻐﻄﻴﻬﺎ‪. ‬‬ ‫‪ ‬ﻳﺠﺐ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺃﻥ‪ ‬ﺗﻜﻮﻥ‪ ‬ﻣﻘﺎﺑﻠﺔ‪ ‬ﻟﻠﻤﺴﺎﺣﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﻄﻴﻬﺎ‪ ‬ﺍﻧﻄﺒﺎﻋﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻜﻞ‪ ،‬ﻓﺎﻟﻤﻨﻈﺮ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ‬ﺍﻟﻤﺸﺎ‪ ‬ﻫﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‬ ‫‪ ‬ﺷﺒﺎﻙ‪ ‬ﻋﺎﻝ‪ ‬ﺃﻭ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﻨﻈﻮﺭ‪ ‬ﻋﻴﻦ‪ ‬ﺍﻟﺜﻮﺭ‪ ‬ﺃﻭ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺷ‪ ‬ﺒﺎﻙ‪ ‬ﻣﺮﺑ‪ ‬ﻊ‪ ‬ﻳﻌﻄ‪ ‬ﻲ‪ ‬ﺍﻧﻄﺒﺎﻋ‪ ‬ﺎ‪ ‬ﻣﺆﻟﻤ‪ ‬ﺎ‪ ‬ﻷﻧ‪ ‬ﻪ‪ ‬ﻣﺸ‪ ‬ﺘﺖ‪ ،‬ﺃﻣ‪ ‬ﺎ‬ ‫‪ ‬ﺷﺒﺎﻙ‪ ‬ﻋﺮﺑ‪ ‬ﺔ‪ ‬ﺍﻟﻨ‪ ‬ﻮﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﺭ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﻓﻴﻌ‪ ‬ﺮﺽ‪ ‬ﻣﻨﻈ‪ ‬ﺮﺍ‪ ‬ﻣﺮْﺿ‪ ‬ﻴﺎ‪ ‬ﻣﺸ‪ ‬ﺎﺑﻬﺎ‪ ‬ﻟﻠﺮﺅﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺴ‪ ‬ﻠﻴﻤﺔ‪ ،‬ﻓﻌﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﺒﻴﻞ‪ ‬ﺍﻟﻤﺜ‪ ‬ﺎﻝ‪ ‬ﻋﻨ‪ ‬ﺪ‬ ‫‪ ‬ﺃﻧﺠﺮﺯ ‪ ، Ingres ‬ﻭ‪ ‬ﻭﺍﺗﻤﺎﻥ ‪ Whatman ‬ﻳﺘﻜﺮﺭ‪ ‬ﻧﻔﺲ‪ ‬ﻣﻘﺎﺱ‪ ‬ﺗﻮﺍﻝ‪ ‬ﺍﻟﺮﺳﻢ‪ ٤۰ x ۳۲ ‬ﺳﻢ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻟﺴﻨﻮﺍﺕ‪ ‬ﻃﻮﻳﻠﺔ‪،‬‬ ‫‪ ‬ﻭﻳﺮﺟ‪ ‬ﻊ‪ ‬ﺍﻟﺴ‪ ‬ﺒﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻥ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺗﺘﻤﺎﺷ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﺣﺘﻴﺎﺟﺎﺗ‪ ‬ـﻬﻢ‪ ‬ﺍﻟﻔﺴ‪ ‬ﻴﻮﻟﻮﺟﻴﺔ‪ ،‬ﻭﺗﻤﺎﺛ‪ ‬ﻞ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻣﺨ‪ ‬ﺮﻭﻁ‬ ‫ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳ‪ ‬ﺪﺭﻙ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻯ‪ ‬ﺍﻟﻮﺍﺳ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻈ‪ ‬ﺮﺓ‪ ‬ﻋﺎﺟﻠ‪ ‬ﺔ‪ ،‬ﻭﻷﻥ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻄﺎﻟﺔ‪ ‬ﺍﻟﻌﺮﺿ‪ ‬ﻴﺔ‪ ‬ﺍﻟﺒﺴ‪ ‬ﻴﻄﺔ‪ ‬ﺗﺘﻤﺎﺷ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻊ‬

‫*‬

‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺻﻔﺔ‪ ) ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ( ‬ﻟﻠﺪﻻﻟﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻛﻮﻧﻬﺎ‪ ‬ﻣﺤﺴﻮﺑﺔ‪ ‬ﺭﻳﺎﺿﻴﺎ‪ ‬ﻭﺑﺬﻟﻚ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺭﺍﻗﻴﺔ‪ ‬ﻭﻋﺎﻟﻴﺔ‪ ‬ﺍﻟﻘﻴﻤﺔ‬

‫‪­ ۱۰۸ ­ ‬‬

‫‪ ‬ﻣﺨ‪ ‬ﺮﻭﻁ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﺫﻱ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻤﺘﻮﺳ‪ ‬ﻂ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺒﻴﻀ‪ ‬ﺎﻭﻱ‪ ‬ﻭ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺋﺮﻱ‪ ،‬ﻓ‪ ‬ﺈﻥ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺮﺃﺳ‪ ‬ﻴﺔ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺃﻗ‪ ‬ﻞ‪ ‬ﺇﺭﺿ‪ ‬ﺎء‬ ‫‪ ‬ﻟﻠﻌﻴﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻓﻘﻴﺔ‪. ‬‬ ‫‪ ‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻓﻬ‪ ‬ﻮ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻨ‪ ‬ﺘﺞ‪ ‬ﻋﻨﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﺮﺍﻍ‪ ‬ﻣﻘﺘﻀ‪ ‬ﺐ‪ ‬ﻳﺤ‪ ‬ﺮﻡ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺣﺘﻴﺎﺟﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‬ ‫‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻹﻳﻘﺎﻉ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺗﺤﺪ‪ ‬ﻣﻦ‪ ‬ﺗﻮﺍﺟﺪﻩ‪ ‬ﺍﻷﺿﻼﻉ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﺍﻟﻤﺘﺴﺎﻭﻳﺔ‪. ‬‬

‫‪ ‬ﻻ‪ ‬ﻧﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﺘﻄ‪ ‬ﻮﻳﺮ‪ ‬ﻫﻨ‪ ‬ﺎ‪ ‬ﻷﺳ‪ ‬ﺒﺎﺏ‪ ‬ﻓﺴ‪ ‬ﻴﻮﻟﻮﺟﻴﺔ‪ ،‬ﻟﻜ‪ ‬ﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺎﺏ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﺮﺃﺳ‪ ‬ﻲ‪ ‬ﻟ‪ ‬ﻪ‬ ‫‪ ‬ﺧﻮﺍﺹ‪ ‬ﻓﻌﺎﻟﺔ‪ ‬ﻭﻧﺸﻄﺔ‪ ‬ﺑﻌﻜﺲ‪ ‬ﺍﻟﺨﻮﺍﺹ‪ ‬ﺍﻟﺴﺎﻛﻨﺔ‪ ‬ﻟﻠﺨﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﺘﻌ‪ ‬ﺐ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺴ‪ ‬ﻠﻖ‪ ‬ﺍﻟﺮﺃﺳ‪ ‬ﻴﺎﺕ‪ ‬ﻭﺗﺮﺿ‪ ‬ﻰ‬ ‫‪ ‬ﻋﻦ‪ ‬ﺇﺣﺴﺎﺱ‪ ‬ﺍﻟﺜﺒﺎﺕ‪ ‬ﻭﺍﻟﻬﺪﻭء‪ ‬ﻓﻲ‪ ‬ﺍﻷﻓﻘﻴﺎﺕ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﻳﻘﺘﻀ‪ ‬ﻲ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻟﺮﺃﺳ‪ ‬ﻲ‪ ‬ﻣﻌﺎﻟﺠ‪ ‬ﺎﺕ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻷ‪ ‬ﻓﻘ‪ ‬ﻲ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻻ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﺃﻥ‪ ‬ﻳﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻫﺘﻤﺎﻣ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﻄﺢ‪ ‬ﻣﻌﻴﻨ‪ ‬ﺔ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺧﻼﻟﻬ‪ ‬ﺎ‪ ‬ﻧﻘ‪ ‬ﻞ‪ ‬ﺍﻧﻔﻌﺎﻻﺗ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺘﻠﻘ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ‬ﺃﻥ‪ ‬ﻳﻨﺴ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﺪﻭﺩ‪ ‬ﻟﻮﺣﺘ‪ ‬ﻪ‪ ‬ﻓﻴﺠﻌﻠﻬ‪ ‬ﺎ‪ ‬ﻣﻌﺘﺪﻟ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﺇﻓ‪ ‬ﺮﺍﻁ‪ ‬ﻭﻻ‬ ‫‪ ‬ﺗﻔ‪ ‬ﺮﻳﻂ‪ ،‬ﻭﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺇﻟﻴﻨ‪ ‬ﺎ‪ ‬ﻧﺤ‪ ‬ﻦ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺍﺧﺘﺮﻧ‪ ‬ﺎ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﻤﺘﻘﺎﺭﺑ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻘ‪ ‬ﺎﺱ‪ ٤۰ x ۳۲ ‬ﺳ‪ ‬ﻢ‪ ‬ﻟﻠﺘ‪ ‬ﻮﺍﻝ‪ ‬ﺣ‪ ‬ﻴ‪ ‬ﺚ‪ ‬ﻳﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﺴﻄﺢ‪ ‬ﻋﻠﻰ‪ ‬ﻧﺴﺐ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻫﺎﻣ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣﻨﻈﻤ‪ ‬ﺔ‪ ‬ﻣﺘﻌ‪ ‬ﺪﺩﺓ‪ ‬ﺗﺤ‪ ‬ﺪﺩ‪ ‬ﺍﻟﻤﻮﺍﻗ‪ ‬ﻊ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻷﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴﻤ‪ ‬ﺔ‬ ‫‪ ‬ﺗﺸﻜﻴﻠﻴﺔ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ‬ﻫﻲ‪ ‬ﺃﺿﻼﻉ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﻤﺘﺴﺎﻭﻱ‪ ‬ﺍﻷﺿﻼﻉ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺘﻨﺎﺳﺐ‪ ‬ﺑﺎﻟﻜ‪ ‬ﺎﺩ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﺘ‪ ‬ﻮﺍﻝ‪ ‬ﻭﻳﺤ‪ ‬ﺪﺩ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻣﺤﺎﻭﺭﻩ‪ ‬ﺯﺍﻭﻳﺘﻴﻦ‪ ‬ﺷﺒﻪ‪ ‬ﻗﺎﺋﻤﺘﻴﻦ‪ ‬ﺗﺤﻘﻘﺎﻥ‪ ‬ﺃﻋﻠﻰ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺑﻨﺎﺋﻴﺔ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻗﺴ‪ ‬ﻤﺖ‪ ‬ﻷﺟ‪ ‬ﺰﺍء‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺍﻟﺰﻭﺍﻳ‪ ‬ﺎ‬ ‫‪ ‬ﻭﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻘﻮﺩ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻷﻛﺜﺮ‪ ‬ﺍﻟﻨﻘﺎﻁ‪ ‬ﺣﺴﺎﺳﻴﺔ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﻘﺎﻁ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺆﺳﺲ‪ ‬ﻣﺮﺍﻛﺰ‪ ‬ﺍﺳﺘﺮﺍﺗﻴﺠﻴﺔ‪ ‬ﻟﻠﺘﻜﻮﻳﻦ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲۷ ‬‬

‫‪ ‬ﺑﻨﻴﺖ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺍﻟﻌﻈﻴﻤﺔ‪ ‬ﻭﺍﻟﻠﻮﺣﺎﺕ‪ ‬ﺍﻟﺨﺎﻟﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﻌﺼ‪ ‬ﻮﺭ‪ ‬ﺑﻤﺴ‪ ‬ﺎﻋﺪﺓ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﻭﻣﺤ‪ ‬ﺎﻭﺭ‪ ‬ﺗﻨﻈﻴﻤﻴ‪ ‬ﺔ‪ ،‬ﺃﻱ‬ ‫‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﻜﻮﻳﻨ‪ ‬ﺎﺕ‪ ‬ﺑ‪ ‬ﺪﻻ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻘﻠﺒﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺨﻴ‪ ‬ﺎﻝ‪ ‬ﺍﻻﻧﻔﻌ‪ ‬ﺎﻟﻲ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺃﻥ‪ ‬ﺗﺨﻀ‪ ‬ﻊ‪ ‬ﻟﺘﻮﺟﻴﻬ‪ ‬ﺎﺕ‪ ‬ﻭﺍﺳ‪ ‬ﻌﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻤﺎﺕ‬ ‫‪ ‬ﺃﺳﺎﺳﻴﺔ‪ ‬ﺗﺤﺪﺩ‪ ‬ﺍﻧﺴﺠﺎﻡ‪ ‬ﺍﻷﺟﺰﺍء‪ ‬ﻭﺗﻌﻠﻲ‪ ‬ﺻﺪﺍﻫﺎ‪ ،‬ﻭﺗﻨﻈﻢ‪ ‬ﻣﺠﻤﻮﻋﺎﺕ‪ ‬ﺍﻟﻜﺘﻞ‪ ،‬ﻭﺗﺤﺪﺩ‪ ‬ﺍﻟﺒﺆﺭ‪ ‬ﺍﻟﺮﺋﻴﺴﻴﺔ‪. ‬‬ ‫‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺍﻟﺴﻄﺢ‪ ‬ﺍﻟﻤﻨﺎﺳﺐ‪ ‬ﻭﺣﺴﻢ‪ ‬ﻋﻼﻗﺎﺗﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﻃﺎﻟﻤﺎ‪ ‬ﺍﺳﺘﻐﺮﻕ‪ ‬ﺍﻷﺫﻫﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻋﺼﺮ‪ ،‬ﻭﺃﺷﻬﺮ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻫﻮ‬ ‫‪ ‬ﺍﻟﻘﻄﺎﻉ ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻛﺜ‪ ‬ﺮ‪ ‬ﺗ‪ ‬ﺮﺩﺍﺩﻩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺤﺘﺮﻓ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻗﻄ‪ ‬ﺎﻉ‪ ‬ﺭﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻳﺘ‪ ‬ﻴﺢ‪ ‬ﻗﺴ‪ ‬ﻤﺔ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‬

‫‪­ ۱۰۹ ­ ‬‬

‫‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪ ‬ﺑﺤﻴﺚ‪ ‬ﺗﻨﺸﺄ‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﺘﺠﺎﻧﺴﺔ‪ ‬ﺗﺤﻜﻢ‪ ‬ﺍﻟﺠﺰﺃﻳﻦ‪ ‬ﺍﻟﻨﺎﺗﺠﻴﻦ‪ ‬ﻋﻦ‪ ‬ﺍﻻﻧﻘﺴ‪ ‬ﺎﻡ‪ ‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺧﺎﺭﺟﻴ‪ ‬ﺔ‪ ‬ﻟﻠﻮﺣ‪ ‬ﺔ‪ ،‬ﻭﻫﻨ‪ ‬ﺎﻙ‬ ‫‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺴ‪ ‬ﻤﻰ‪ ‬ﺑﺎﻟﻤﺜﻠ‪ ‬ﺚ‪ ‬ﺫﻱ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‪ ‬ﺑﻨ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻘﺎﻋ‪ ‬ﺪﺓ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻧﺘﺸ‪ ‬ﺮ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺤﺘﺮﻓ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻭﺍﺳﺘﺨﺪﻡ‪ ‬ﻓﻲ‪ ‬ﺗﻮﺣﻴﺪ‪ ‬ﺍﻟﺰﻭﺍﻳﺎ‪ ،‬ﻭﻟﻪ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻔﻮﺍﺋﺪ‪ ،‬ﻟﻜﻦ‪ ‬ﺩﻓﻌﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﺗﻮﺟﻴ‪ ‬ﻪ‪ ‬ﺳ‪ ‬ﻠﻴﻢ‪ ‬ﻣﻨﻄﻘ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺑﻨﻴﺔ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻻ‪ ‬ﻳﺤﻘ‪ ‬ﻖ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺘﻄﻠ‪ ‬ﺐ‪ ‬ﺍﻧﺒﺜ‪ ‬ﺎﻕ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﻮﺍﺹ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻟﺴﻄﺢ‪ ‬ﺍﻟﻠﻮﺣﺔ‪. ‬‬

‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺍﻷﺳﺎﺗﺬﺓ‪ ‬ﺍﻷﻭﺍﺋﻞ‪ ‬ﻭﻏﻴﺮﻫﻢ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻛﻘﻄﺎﻉ‪ ‬ﺗﻨﺎﻏﻤﻲ‪ ‬ﻳﻌﺪّﻝ‪ ‬ﻭﻳﺠﻮّﺩ‪ ‬ﻣﻦ‪ ‬ﺃﻋﻤﺎﻟﻬﻢ‪ ،‬ﻭﺍﺳﺘﺨﺪﻣﻮﻩ‪ ‬ﻛﻤﻘﺴّ‪ ‬ﻢ‬ ‫‪ ‬ﻟﻠﺨﻄﻮﻁ‪ ‬ﻭﻟﻴﺲ‪ ‬ﻟﻠﺴﻄﺢ‪ ‬ﺍﻟﻜﻠﻲ‪ ،‬ﻓﻌﻨﺪﻣﺎ‪ ‬ﻳﺒﻨﻰ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﻋﻠﻰ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻗﻮﻳﺔ‪ ‬ﻳ‪ ‬ﺘﻢ‪ ‬ﺇﻳﺠ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﻭﻋﻨﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‬ ‫‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﺷﻴﺎء‪ ،‬ﻭﻋﻨﺪﻫﺎ‪ ‬ﻳﺄﺗﻲ‪ ‬ﺩﻭﺭ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻝ‪. ‬‬

‫‪ ‬ﺍﻟﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻴ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺴ‪ ‬ﻴﺔ‪ ‬ﺍﻟﻮﺣﻴ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺑﺎﺳ‪ ‬ﺘﻄﺎﻋﺘﻬﺎ‪ ‬ﺍﻟﺘﻨﻈ‪ ‬ﻴﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺳ‪ ‬ﻤﺎﺣﻬﺎ‪ ‬ﻟﻠﻌﻨﺎﺻ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﺼﻐﻴﺮﺓ‪ ‬ﺑﺘﻨﺴﻴﺐ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ‪ ،‬ﺃﻱ‪ ‬ﺇﺿﻔﺎء‪ ‬ﺍﻟﺘﺼﺤﻴﺤﺎﺕ‪ ‬ﺍﻟﻀﺮﻭﺭﻳﺔ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻧﺴ‪ ‬ﺒﻬﺎ‪ ‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﺗﻌﻤ‪ ‬ﻴﻢ‬ ‫‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﺘ‪ ‬ﻴﺢ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺘﻌ‪ ‬ﺪﻳﻼﺕ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺘﺮﻛﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻇﻬ‪ ‬ﻮﺭ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺗﺴ‪ ‬ﻤﻴﺘﻪ‪ ‬ﺑ‪ ‬ﺎﻟﺘﻨﻈﻴﻢ‬ ‫‪ ‬ﺍﻟﺸﺎﻣﻞ‪ ،‬ﻭﺑﺪﻭﻧﻪ‪ ‬ﻻ‪ ‬ﻳﻮﺟﺪ‪ ‬ﻓﻦ‪ ‬ﺗ‪ ‬ﺸﻜﻴﻠﻲ‪ ،‬ﺑﻞ‪ ‬ﻣﺠﺮﺩ‪ ‬ﻛﻮﻣﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺤﺠﺎﺭﺓ‪ ‬ﺃﻭ‪ ‬ﻫﺎﻻﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻟﻮﺍﻥ‪. ‬‬ ‫‪ ‬ﺍﻟﻘـﻴﻢ ‪: Values ‬‬ ‫‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺗﻤ‪ ‬ﺎﻡ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺑﻔﻀ‪ ‬ﻞ‪ ‬ﺍﻟﺘﻮﺟﻴﻬ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﻔﺮﻭﺿ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ـﻼﻝ‪ ‬ﺑُﻨﻴ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ـﻄﺢ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﻡ‪ ‬ﺑﺎﻟﺘﻌﺪﻳ‪ ‬ـﻼﺕ‬ ‫‪ ‬ﺍﻟﻤﺸﺘﺮﻛﺔ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺗﺪﺧﻞ‪ ‬ﺍﻟﻌﺎﻣﻞ‪ ‬ﺍﻟﻤﻮﺣﱢﺪ‪ ،‬ﻳﺠﺐ‪ ‬ﺍﻟﺘﺄﻛﻴﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺪﻭﺭﺍﻟﻘﻴﻢ‪ ‬ﻟﻌﻨﺼﺮﻱ‪ ‬ﺍﻟﻈ‪ ‬ﻞ‪ ‬ﻭﺍﻟﻨ‪ ‬ﻮﺭ‪ ،‬ﻓﻬﻤ‪ ‬ﺎ‪ ‬ﻳﺨﻠﻘ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺇﻳﻘﺎﻋﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﻠﻴﻬﺎ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺍﻹﺛـﺎﺭﺓ‪ ،‬ﻭﺗﺒﻴﻦ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﻮﺯﻳﻌ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺜﺎﺑﺘ‪ ‬ﺔ‪ ‬ﻟﻜﺜﺎﻓ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻈﻞ‪ ‬ﻭﺍﻟﻨﻮﺭ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﺜﻮﺍﺑﺖ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻧﻌﺘﻤﺪﻫﺎ‪ ‬ﺑﻄﺮﻳﻘﺔ‪ ‬ﺍﻟﺘﺮﺟﻴﺢ‪ ) ‬ﻭﻫﻲ‪ ‬ﻣﺴﺘﺨﺪﻣﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﻔﻠﻚ‪ ‬ﻗﺒﻞ‪ ‬ﺗﻄﺒﻴﻘﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪( ‬‬

‫‪ ‬ﺍﻟﺤﺴﺎﺳﻴﺔ ‪: Sensitivity ‬‬ ‫‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻋﻦ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺻﻨﻊ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﻳﺼﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍ‪ ‬ﻟﻤﻮﺍﻫﺐ‪ ‬ﺍﻟﻔﺮﺩﻳﺔ‪ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺑﺮﺃﻳ‪ ‬ﻪ‪ ‬ﻧﻌﻤ‪ ‬ﺔ‪ ‬ﺇﻟﻬﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﻟﻴﺴﺖ‪ ‬ﺟﻤﺎﻟﻴﺔ‪ ،‬ﻭﺍﻟﻔﻦ‪ ‬ﺍﻟﻤﺠﺮﺩ‪ ‬ﻣﻦ‪ ‬ﺍﻹﺣﺴﺎﺱ‪ ‬ﻟﻴﺲ‪ ‬ﻟﻪ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‪ ،‬ﻭﻳ‪ ‬ﻘ‪ ‬ﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑ‪ ‬ﺄﻥ‪ ‬ﺍﻟﻌﻘ‪ ‬ﻞ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﺣﻘ‪ ‬ﻮﻕ‪ ‬ﺇﻟﺰﺍﻣﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻓﻴﻤﺎ‪ ‬ﻳ‪ ‬ﺴﻤﻴﻪ‪ ‬ﺑﺎﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ،‬ﻓﻬﻮ‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﻣﺎ‪ ‬ﻳﺘﺠﻠﻰ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻟﻌﻘﻞ‪ ‬ﺍﻟﺒﺸﺮﻱ ‪.‬‬

‫‪­ ۱۱۰ ­ ‬‬

‫‪ ‬ﺑﺎﻹﻗﺮﺍﺭ‪ ‬ﺑﻬ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺴﻠﻤﺎﺕ‪ ‬ﺗﺘﺠﻠﻰ‪ ‬ﺃﻫﻤﻴﺔ‪ ‬ﺍﻟﻠﻮﺣﺎﺕ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﺇﻧﺸ‪ ‬ﺎﺋﻴﺔ‪ ، ‬ﻧﺼ‪ ‬ﻞ‪ ‬ﺇﻟﻴﻬ‪ ‬ﺎ‪ ‬ﺑﺎﻟﺘﻤ‪ ‬ﺎﺱ‪ ‬ﺇﺯﺍﺣ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﻋﻮﺍﻣﻞ‪ ‬ﺍﻟﻌﺒﺜﻴﺔ‪ ‬ﻭﺍﻟﺘﻔﻜﻴﻚ‪ ،‬ﻭﺗﺠﻤﻴﻊ‪ ‬ﻛﺎﻓﺔ‪ ‬ﺍﻟﻮﺳﺎﺋﻞ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﺔ‪ ،‬ﻭ‪ ‬ﺍﻻﺣﺘﻔ‪ ‬ﺎﻅ‪ ‬ﺑﺎﻟﻤﺴ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻟﻔﻴﺰﻳﺎﺋﻴ‪ ‬ﺔ‪ ،‬ﻭ‪ ‬ﻣﺤﺎﻭﻟ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﻠﻚ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‬ ‫‪ ‬ﻧﻤﺪ‪ ‬ﻓﻴﻪ‪ ‬ﺟﺴﻮﺭﻧﺎ‪ ‬ﺗﺠﺎﻩ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪. ‬‬

‫‪ ‬ﻧﻘــﺎﺋﻴــﺔ ‪: Purism ‬‬ ‫‪ ‬ﺍﻹﺩﺭﺍﻙ‪ ‬ﺍﻟﺤﺴ‪ ‬ﻲ‪ ‬ﻟﻠﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻋﻠ‪ ‬ﻰ‪ ‬ﺑﻬﺠ‪ ‬ﺔ‪ ‬ﻟﻠﻌﻘ‪ ‬ﻞ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮﻱ‪ ،‬ﻭﺍﻟﺸ‪ ‬ﻌﻮﺭ‪ ‬ﺑﺎﻟﻤﺸ‪ ‬ﺎﺭﻛﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺘﻌ‪ ‬ﺎﻭﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻫ‪ ‬ﻮ‬ ‫‪ ‬ﺃﻋﻈ‪ ‬ﻢ‪ ‬ﺭﺿ‪ ‬ﻰ‪ ‬ﻟﻺﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻭﻳﻨﺒﻐ‪ ‬ﻲ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻔﺎﺩﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻮﺳ‪ ‬ﺎﺋﻞ‪ ‬ﻻﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﻣﺤ‪ ‬ﺪﺩ‪ ‬ﺍﻟﻨﺘ‪ ‬ﺎﺋﺞ‪ ،‬ﻭﺗﺒ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﻛﻴﻔﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺤﺎﻭﻟﺔ‪ ‬ﻻﺑﺘﻜﺎﺭ‪ ‬ﻟﻐﺔ‪ ‬ﺑﺎﺳﺘﺤﻮﺍﺫ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻮﺳﺎﺋﻞ‪. ‬‬

‫‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﻭﺍﻷﻟﻮﺍﻥ‪ ‬ﻟﻬﺎ‪ ‬ﺻ‪ ‬ﻔﺎﺕ‪ ‬ﻋﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﻣﺤ‪ ‬ﺪﺩﺓ‪ ‬ﺗﺘ‪ ‬ﻴﺢ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﻟﻐ‪ ‬ﺔ‪ ‬ﺗﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﻗﺎﺑﻠ‪ ‬ﺔ‪ ‬ﻟﻼﺗﺼ‪ ‬ﺎﻝ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻔﺎﺩﺓ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻻ‪ ‬ﺗﻔ‪ ‬ﻲ‪ ‬ﺑﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺘﻠﻘ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟﺘﻤ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ،‬ﻟ‪ ‬ﺬﻟﻚ‪ ‬ﻭﺟ‪ ‬ﺐ‪ ‬ﺣﺸ‪ ‬ﺪ‪ ‬ﺍﻟﻄﺎﻗ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻟﺘﺠﻤﻴﻊ‪ ‬ﻭﺍﺗﺤﺎﺩ‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺼﻨﺎﻋﻴﺔ‪ ،‬ﻭﻋﻤﻞ‪ ‬ﻣﻌﻴﺎﺭ‪ ‬ﻣﻦ‪ ‬ﺍﺧﺘﻴﺎﺭﺍﺗﻬﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺣ‪ ‬ﺪﻭﺩ‪ ‬ﺩﺭﺟ‪ ‬ﺎﺕ‪ ‬ﺍﻧﺘ‪ ‬ﺨﺎﺑﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻛﻌﻨﺼﺮ‪ ‬ﻣﺤﺪﺩ‪ ) ‬ﻣﺜﻞ‪ ‬ﺍﻻﻧﺘﺨﺎﺏ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ‬ﻭﺍﻟﻤﻴﻜ‪ ‬ﺎﻧﻴﻜﻲ‪ ، ( ‬ﻭﺍﻟﻌﻨﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺗﺞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻨﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻷﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻻ‪ ‬ﻳﻌﺘﺒ‪ ‬ﺮ‬ ‫‪ ‬ﻧﺴ‪ ‬ﺨﺔ‪ ،‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﺍﺑﺘﻜ‪ ‬ﺎﺭ‪ ‬ﻳﻨﺘﻬ‪ ‬ﻲ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﺗﺠﺴ‪ ‬ﻴﺪ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﻭﺗﺤﻮﻳﻠ‪ ‬ﻪ‪ ‬ﻟﺤﻘﻴﻘ‪ ‬ﺔ‪ ‬ﺛﺎﺑﺘ‪ ‬ﺔ‪ ‬ﻭﺍﻗﻌ‪ ‬ﺔ‪ ،‬ﻭﻳﻤﻜ‪ ‬ﻦ‪ ‬ﻣﻘﺎﺭﻧ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺑﺎﻷﻟﻔ‪ ‬ﺎﻅ‪ ‬ﺍﻟﻤﻨﺘﻘ‪ ‬ﺎﺓ‪ ‬ﺑﻌﻨﺎﻳ‪ ‬ﺔ‪ ‬ﺑﺤﺴ‪ ‬ﺐ‪ ‬ﻣﻌﻨﺎﻫ‪ ‬ﺎ‪ ،‬ﻓﺎﻟﺘﺮﻛﻴﺒ‪ ‬ﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﻟﻺﻧﺸ‪ ‬ﺎﺋﻴﺔ‪ ‬ﻭﺍﻟﻮﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻴ‪ ‬ﺔ‪ ،‬ﻭﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻟﻠﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘﺤﻜﻢ‪ ‬ﺑﻤﺴﺎﺣﺔ‪ ‬ﺍﻟﻠﻮﺣﺔ‪. ‬‬

‫‪ ‬ﻭﻳﺨﺘ‪ ‬ﺘﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣﻘﺎﻟ‪ ‬ﻪ‪ ‬ﺑﻌﺒ‪ ‬ﺎﺭﺓ‪ " : ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻭﺣ‪ ‬ـﺪﺓ‪ ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﺃﻭ‪ ‬ﺻ‪ ‬ﻴﻐﺔ‪ ‬ﺻ‪ ‬ﻨﺎﻋﻴﺔ‪ ‬ﺗﻘﻮﺩﻧ‪ ‬ﺎ‪ ‬ﻋﺒ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﻮﺳــﺎﺋﻞ‪ ‬ﺍﻟﻤﻨﺎﺳـﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺗﺠﺴـﻴﻢ ‪ ‬ﻛﻠﻤـﺔ‪ ) ‬ﺍﻟﻌﺎﻟﻢ‪ ، ( ‬ﻓ‪ ‬ﺒﺎﺳﺘﻄﺎﻋﺔ‪ ‬ﺃﺣﺪﻫﻢ‪ ‬ﺻﻨﺎﻋﺔ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﺪﺍﻉ‪ ،‬ﺃﻭ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻮﺿ‪ ‬ﺔ‬ ‫‪ ‬ﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻔﺎﺟﺄﺓ‪ ‬ﻭﻋﻠﻰ‪ ‬ﺩﻋﻮﺓ‪ ‬ﻟﻼﺗﻔﺎﻕ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺒﺎﺩﺉ‪ ،‬ﻟﻜﻦ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺗﻜﺎﻓﺢ‪ ‬ﻭﺗﻨﺎﺿﻞ‪ ‬ﻣﻦ‪ ‬ﺃﺟﻞ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﻣﺘﺤ‪ ‬ﺮﺭ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻷﻋ‪ ‬ﺮﺍﻑ‪ ‬ﺍﻟﻤﺘﺒﻌ‪ ‬ﺔ‪ ،‬ﻳﻐﻨ‪ ‬ﻲ‪ ‬ﺍﻟﺜﻮﺍﺑ‪ ‬ﺖ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﻭﻳﻀ‪ ‬ﻊ‪ ‬ﻧﻔﺴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻮﻕ‪ ‬ﺍﻟﺠﻤﻴ‪ ‬ﻊ‪ ‬ﻟﺨﻮﺍﺻ‪ ‬ﻪ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‬ ‫‪ ‬ﻭﺍﻟﺤﺴﺎﺑﺎ‪ ‬ﺕ‪ ‬ﺍﻟﺬﻫﻨﻴﺔ "‬

‫‪­ ۱۱۱ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﺍﻟﻠﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮﻛﻮﺭ‪ ‬ﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺑﺤﺪﻳﺜﻨﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻠﻮﺣﺎﺕ‪ ‬ﻓﺈﻧﻨﺎ‪ ‬ﻧﺘﺤﺪﺙ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﺣﺘﻤ‪ ‬ﻲ‪ ،‬ﻓﻬ‪ ‬ﻮ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺤﻤ‪ ‬ﻞ‪ ‬ﺻ‪ ‬ﻔﺔ‪ ‬ﺍﻟﺼ‪ ‬ﺪﻣﺔ‪ ‬ﺍﻟﺤﺴ‪ ‬ﻴﺔ‪ ‬ﺑﻤﻮﺍﺟﻬﺘ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻠﻌﻴﻦ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﺸﻜﻞ‪ ،‬ﻭﻣﻊ‪ ‬ﺍﻋﺘﺒﺎﺭ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﻣﺴـﺄﻟﺔ‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﺗﻬﺘﻢ‪ ‬ﺑﺎﻟﺤﺠﻢ‪ ،‬ﻻ‪ ‬ﻳﻨﺒﻐﻲ‪ ‬ﺇﺑﺨﺎﺱ‪ ‬ﻋﺎﻣﻞ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺣﻘ‪ ‬ﻪ‪ ،‬ﻓﻬ‪ ‬ﻮ‬ ‫‪ ‬ﻋﺎﻣﻞ‪ ‬ﻣﻬﻢ‪ ، ‬ﻏﺎﻟﺒﺎ‪ ‬ﻣﺎ‪ ‬ﻳﻘﻀﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺤﺠﻢ‪ ‬ﺃﻭ‪ ‬ﻳﻔﺴﺪ‪ ‬ﻧﻈﺎﻣﻪ‪ ‬ﻟﻤﺎ‪ ‬ﻟﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻮﺍﺹ‪ ‬ﺣﻘﻴﻘﻴ‪ ‬ﺔ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﺗﻤﺎﻣ‪ ‬ﺎ‪ ،‬ﻓﺒﻌﻀ‪ ‬ﻪ‪ ‬ﻣﺸ‪ ‬ﻊ‬ ‫‪ ‬ﺃﻭ‪ ‬ﻣﺘﻮﻫﺞ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺪﻓﻊ‪ ‬ﻣﺴﺎﺣﺘﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻷﻣﺎﻡ‪ ،‬ﻭﺑﻌﻀﻪ‪ ‬ﻳﺴﻴﻄﺮﻋﻠﻰ‪ ‬ﻣﺴﻄﺢ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻓﻼ‪ ‬ﺗﺮﻯ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺳﻮﺍﻩ‪ ... ،‬ﺇﻟﺦ‬

‫‪ ‬ﻭﺍﻟﻠﻮﻥ‪ ‬ﻣﻦ‪ ‬ﻭﺟﻬﺔ‪ ‬ﻧﻈﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﺜﻞ‪ ‬ﺃﻣﻮﺍﺝ‪ ‬ﺍﻟﺴﻮﻧﺎﺭ‪ ‬ﻻ‪ ‬ﻳﺆﺛﺮ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺑﻘﻮﺓ‪ ‬ﻣﺎﺩﻳﺔ‪ ‬ﻟﻜﻨﻪ‪ ‬ﻳﻘﻴﻢ‪ ‬ﺭﻭﺍﺑﻂ‪ ‬ﻗﻮﻳﺔ‬ ‫‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻘﻨ‪ ‬ﻮﺍﺕ‪ ‬ﺍﻟﻤﻌﻘ‪ ‬ﺪﺓ‪ ‬ﻟﻠﺘﻤﺜﻴ‪ ‬ﻞ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻃﻔﻲ‪ ‬ﺗﻌ‪ ‬ﻮﺩ‪ ‬ﺑﺎﻟﻤﺸ‪ ‬ﺎﻫﺪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺨﺰﻭﻧ‪ ‬ﻪ‪ ‬ﺍﻟﺒﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺣﺼ‪ ‬ﻞ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻼﻗﺘ‪ ‬ﻪ‬ ‫‪ ‬ﺑﺎﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ،‬ﻭﺗﻮﺻ‪ ‬ﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻃﺮﻳﻘ‪ ‬ﺔ‪ ‬ﻳ‪ ‬ﺘﺤﻜﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧﻼﻟﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﺣﺸ‪ ‬ﻴﺔ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺩﻭﻥ‪ ‬ﺃﻥ‪ ‬ﻳﺘﺠﺎﻫ‪ ‬ﻞ‪ ‬ﺟ‪ ‬ﺬﻭﺭﻩ‬ ‫‪ ‬ﺍﻟﻐﺮﻳﺰﻳﺔ‪ ‬ﻭﺍﻟﻮﺟﺪﺍﻧﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺃﻥ‪ ‬ﻳﻀﻊ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻓﻲ‪ ‬ﻣﻠﺠﺄ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﻭﺩﺭﺟﺎﺗﻪ ‪monochrome ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺗﺄﺛﺮ‪ ‬ﻟﻮﻛﻮﺭ‪ ‬ﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺂﺭﺍء‪ ‬ﺍﻟﻔﻴﻠﺴﻮﻑ‪ ‬ﺍﻟﻔﺮﻧﺴﻲ‪ ‬ﺍﻻﻧﺘﻘﺎﺋﻲ‪ ‬ﻓﻴﻜﺘ‪ ‬ﻮﺭ‪ ‬ﻛ‪ ‬ﻮﺯﻳﻦ ‪ Victor Cousin ‬ﺻ‪ ‬ﺎﺣﺐ‪ ‬ﺷ‪ ‬ﻌﺎﺭ‪" ‬‬ ‫‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻨﻮﻉ‪ unity in the variety " ‬ﺣﻴﺚ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻻ‪ ‬ﺗﺤ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻨﻮﻳﻌﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺠﻤﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﺇﻧﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺗﺼﻞ‪ ‬ﺑﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻌﻀﻮﻳﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﻭﺗﺘﻔﺎﻋﻞ‪ ‬ﺍﻷﻟﻮﺍﻥ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺨﺘﻠﻒ‪ ‬ﻟﺪﺭﺟﺔ‪ ‬ﺃﻧﻪ‪ ‬ﻳﻤـﻜﻦ‪ ‬ﺗﺼﻨﻴﻒ‪ ‬ﻛـﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺣﺴﺐ‪ ‬ﻋﺎﺋﻠﺘﻪ‪ ‬ﺍﻟﻠ‪ ‬ـﻮﻧﻴﺔ‪ ‬ﻭﺣﻜﻤﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻟﻲ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻭﺟﻬﺔ‪ ‬ﻧﻈﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻭﺿﻊ‪ ‬ﻋﺪﺓ‪ ‬ﻧﻄﺎﻗﺎﺕ‪ ‬ﻟﻮﻧﻴﺔ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪: ‬‬

‫‪ ‬ﺍﻟﻨﻄﺎﻕ‪ ‬ﺍﻟﺮﺋﻴﺴﻲ‪ : ‬ﻭﻫﻮ‪ ‬ﻧﻄﺎﻕ‪ ‬ﻗ‪ ‬ﻮﻱ‪ ‬ﻻ‪ ‬ﻳﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺍﻟﻤﻨﺸ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺰﺟ‪ ‬ﺎﺟﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺤﻠ‪ ‬ﻞ‪ ‬ﺍﻟﻀ‪ ‬ﻮء‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮﻩ‬ ‫‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ،‬ﺑﻞ‪ ‬ﻣﻦ‪ ‬ﺩﺭﺟﺎﺕ‪ ‬ﺍﻷﻟﻮﺍﻥ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻌﻜﺲ‪ ‬ﺍﻟﺨﺒﺮﺓ‪ ‬ﺍﻟﺒﺼﺮﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺗﺤﺎﻓﻆ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﻭﺍﻟﺜﺒ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻟﻤﺴ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‪ ‬ﻧﻈ‪ ‬ﺮﺍ‪ ‬ﻟﻤﺤﺎﻓﻈﺘﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺗ‪ ‬ﺰﺍﻥ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺃﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺍﻷﺭﺽ‪ ‬ﺍﻟﻄﺒﻴﻌﻴ‪ ‬ﺔ‪، earths ‬‬ ‫‪ ‬ﻭﺍﻟﻤﺤﺘﺮﻗﺔ ‪ ، burns ‬ﻭﺃﺧﻀﺮﺍﺕ‪ ‬ﺍﻟﻨﺒﺎﺗﺎﺕ‪ ،‬ﻭﺃﺯﺭﻗﺎﺕ‪ ‬ﺍﻟﺒﺤﺮ‪ ‬ﻭﺍﻟﺴﻤﺎء‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻷﻟﺘﺮﺍﻣ‪ ‬ﺎﺭﻳﻦ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﻳﺘﺨﻠﻠﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻷﺣﻤﺮ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺗﺤﻮﻳ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺑ‪ ‬ﻴﺾ‪ ‬ﻭﺍﻷﺳ‪ ‬ﻮﺩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻨﻄ‪ ‬ﺎﻕ‪ ‬ﺑﻤ‪ ‬ﺎ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺻ‪ ‬ﻼﺑﺔ‪ ‬ﻭﻛﺜﺎﻓ‪ ‬ﺔ؛‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﺍﻹﺩﺭﺍﻙ‬ ‫‪ ‬ﺍﻟﺤﺴ‪ ‬ﻲ‪ ‬ﺍﻟ‪ ‬ﺪﻗﻴﻖ‪ ‬ﻟﻠﻤﺸ‪ ‬ﺎﻫﺪ‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻳﻐﻤ‪ ‬ﺮ‪ ‬ﺍﻟﻀ‪ ‬ﻮء‪ ‬ﺍﻟﺸ‪ ‬ﺪﻳﺪ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻈ‪ ‬ﻮﺍﻫﺮ‪ ‬ﺍﻟﻠﻮﻧﻴ‪ ‬ﺔ‪ ‬ﻣﻌ‪ ‬ﺎ‪ ‬ﻭﻳﺠﻌﻠﻬ‪ ‬ﺎ‪ ‬ﺣﻘﻴﻘﻴ‪ ‬ﺔ‪ ،‬ﻭﺗﺘﺄﻛ‪ ‬ﺪ‬

‫‪Cohen Jean – Louis & Reichlin Bruno, ' Le Corbusier une encyclopédie p. 104 1 ‬‬ ‫‪2 ‬‬ ‫‪Ibid, p. 106‬‬

‫‪­ ۱۱۲ ­ ‬‬

‫‪ ‬ﺣﻤﺎﺳﺔ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﻬﺬﺍ‪ ‬ﺍﻟﻨﻄﺎﻕ‪ ‬ﺑﺄﻥ‪ ‬ﺃﻟﻮﺍﻧﻪ‪ ‬ﻭﺩﺭﺟﺎﺗﻪ‪ ‬ﺗﺘﻔﻖ‪ ‬ﻣﻊ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻟﻪ‪ ‬ﻭﺗﺄﺛﻴﺮﺍﺗﻬ‪ ‬ﺎ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻭﻟ‪ ‬ﻮ‪ ‬ﺃﻇﻬ‪ ‬ﺮﺕ‪ ‬ﻃﻬﺎﺭﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺃﺑﻌﺎﺩﻫﺎ ‪ ‬ﻭﻛﺜﺎﻓﺎﺗﻬﺎ‪ ‬ﻭﺗﺮﻛﻴﺰﻫﺎ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲۸ ‬‬

‫‪ ‬ﻫﻨﺎﻙ‪ ‬ﺗﺴﻠﺴﻞ‪ ‬ﺛﺎﻧﻮﻱ‪ ‬ﺃﺳﻤﺎ‪ ‬ﻩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺘﺴﻠﺴﻞ‪ ‬ﺍﻟ‪ ‬ﺪﻳﻨﺎﻣﻴﻜﻲ‪ ‬ﻭﻳﺸﻤﻞ‪ ‬ﺍﻷﺻﻔﺮ‪ ‬ﺍﻟﺴﺘﺮﻭﻳﻦ‪ ) ‬ﻟﻮﻥ‪ ‬ﻧﺒ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻜﺒ‪ ‬ﺎﺩ‪، ( ‬‬ ‫‪ ‬ﻭﺍﻟﺒﺮﺗﻘﺎﻟﻴﺎﺕ‪ ) ‬ﻣﻦ‪ ‬ﺍﻟﻜﺮﻭﻡ‪ ‬ﻭﺍﻟﻜﺎﺩﻣﻴﻮﻡ‪ ، ( ‬ﻭﺍﻟﻔﻴﺮﻣﻴﻠﻴﻮﻥ‪ ،‬ﻭﺍﻷﺧﻀﺮ‪ ‬ﺍﻟﻔﻴﺮﻭﻧﻴﺰ‪ ،‬ﻭﺃﺯﺭﻗﺎﺕ‪ ‬ﺍﻟﻜﻮﺑﺎﻟﺖ‪ ‬ﺍﻟﻔﺎﺗﺤ‪ ‬ﺔ‪ ،‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﺘﺴﻠﺴ‪ ‬ﻞ‪ ‬ﻳﺜﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﻋ‪ ‬ﺮ‪ ‬ﻓﻴﺤ‪ ‬ﺮﻙ‪ ‬ﺍﻻﻧﻔﻌ‪ ‬ﺎﻻﺕ‪ ‬ﻭﻳُﺒﻘ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺤﻴﻮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻤﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺔ‬ ‫‪ ‬ﻓﺘﺨﺎﻟﻬﺎ‪ ‬ﺃﻣﺎﻡ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻣﺮﺓ‪ ‬ﻭﺧﻠﻔ‪ ‬ﻪ‪ ‬ﻣﺮﺓ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﻤﻘﻠﻘﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۲۹ ‬‬

‫‪ ‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺍﻟﺘﺴﻠﺴ‪ ‬ﻞ‪ ‬ﺍﻷ‪ ‬ﺧ‪ ‬ﻴ‪ ‬ﺮ‪ ‬ﻓﺄﺳ‪ ‬ﻤﺎﻩ‪ ‬ﺑ‪ ‬ﺎ‪ ‬ﻟﺘﺴﻠﺴ‪ ‬ﻞ‪ ‬ﺍﻻﻧﺘﻘ‪ ‬ﺎﻟﻲ‪ ، ‬ﻭﻳﺸ‪ ‬ﻤﻞ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺍﻷﺣﻤ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺘ‪ ‬ﺮﺍﻭﺡ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﻌﺘ‪ ‬ﺪﻝ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺎﻧﻲ‬ ‫‪ ، Madder ‬ﺍﻷﺧﻀﺮ‪ ‬ﺍﻹﻳﻤﻴﺮﺍﻟﺪ ‪ ، Emerald ‬ﻣﻊ‪ ‬ﻛﺎﻓﺔ‪ ‬ﺍﻟﺪﺭﺟﺎﺕ‪ ‬ﺍﻟﺨﻔﻴﻔﺔ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﺔ‪. ‬‬ ‫‪1 ‬‬

‫‪2 ‬‬

‫‪Ibid, p. 106 ‬‬ ‫‪Herbert Robert L., ' Modern Artist on Art ' pp. 58‬‬

‫‪­ ۱۱۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳۰ ‬‬

‫‪ ‬ﻭﺗﺒﺪﻭ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﺴﻠﺴﻼﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﺿﻴﻘﺔ‪ ‬ﺍﻟﺴﻌﺔ‪ ‬ﻓﻲ‪ ‬ﻧﻈﺮﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻠﻮﻥ‪ ،‬ﺇﻻ‪ ‬ﺃﻧﻪ‪ ‬ﻋﺒﺮ‪ ‬ﺑﻘﻴﺔ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﻏﻴّ‪ ‬ﺮ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺼﺮﺍﻣﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻭﺃﺑﺪﻟﻬﺎ‪ ‬ﺑﺼﺮﺍﻣﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻛﻤﺎ‪ ‬ﺳﻮﻑ‪ ‬ﻳﺄﺗﻲ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍ‪ ‬ﻟﺤ‪ ‬ﺪﻳﺚ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪،‬‬ ‫‪ ‬ﺛﻢ‪ ‬ﻋﺎﺩ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻟﻴﺼﻤﻢ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻟﻮﻧﻴﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﻗﺮﺏ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺣﻴﺎﺗﻪ‬

‫‪ ‬ﻳﻠﻘﻰ‪ ‬ﻛﻞ‪ ‬ﺗﺴﻠﺴﻞ‪ ‬ﻣﻤﺎ‪ ‬ﺳﺒﻖ‪ ‬ﺍﺳﺘﺤﺴﺎﻧﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﺑﺤﺴﺐ‪ ‬ﻫﺪﻓﻪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺴﻌﻰ‪ ‬ﺇﻟﻴﻪ‪ ،‬ﻭﺑﺤﺴﺐ‪ ‬ﻣﻴﻮﻟﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻭﻫﻨ‪ ‬ﺎﻙ‬ ‫‪ ‬ﻧﻮﻋﺎﻥ‪ ‬ﻣﺨﺘﻠﻔﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﺍﻟﺘﺼﻮﻳﺮﻱ‪ ،‬ﺇﻣﺎ‪ ‬ﺃﻧﻪ‪ ‬ﻳﻌﺘﻤﺪ‪ ‬ﺣﺼﺮﻳﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻀﻮء‪ ‬ﻭﺍﻟﻈﻞ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻮﺣﺪ‪ ‬ﺍ‪ ‬ﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺣﺴ‪ ‬ﺐ‬ ‫‪ ‬ﻛﺜﺎﻓﺔ‪ ‬ﺍﻹﺿ‪ ‬ﺎءﺓ‪ ،‬ﺃﻭ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻳﺘﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺑﺤﺴ‪ ‬ﺐ‪ ‬ﺩﺭﺟ‪ ‬ﺎﺕ‪ ‬ﺃﻟﻮﺍﻧﻬ‪ ‬ﺎ‪ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻣﺤﻴﻄﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻧﻲ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺹ‪ ،‬ﺇﻻ‪ ‬ﺃﻧﻨ‪ ‬ﺎ‪ ‬ﻻ‬ ‫‪ ‬ﻧﺴﺘﻄﻴﻊ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺩﻭﻥ‪ ‬ﺃﻟ‪ ‬ـ‪ ‬ﻮﺍﻥ‪ ،‬ﻓﺤﺘﻰ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺑﻴﻜﺎﺳ‪ ‬ﻮ‪ ‬ﻟ‪ ‬ﻠﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻷﺑ‪ ‬ﻴﺾ‪ ‬ﻭﺍﻷﺳ‪ ‬ﻮﺩ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﺗﺴ‪ ‬ﺘﻐﻦ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻠﻮﻥ‪ ،‬ﻭﻻ‪ ‬ﺳﻘﻒ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﺳﻴﺴﺘﻴﻦ‪ ‬ﻟﻤﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ‪ ‬ﺃﺗﻢّ‪ ‬ﺑﻐﻴﺮﻩ‪ ،‬ﻭﻗﺪ‪ ‬ﺣ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻮﻥ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻮﺿ‪ ‬ﻮﻉ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻧﻲ‪ ‬ﺍﻟﺤﺘﻤ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻫﺎﺗﻴﻦ‪ ‬ﺍﻟﺤﺎﻟﺘﻴﻦ‪ ‬ﺑﺠﻌﻠﻪ‪ ‬ﻣﺘﺠﺎﻧﺴﺎ‪ ‬ﻭﻣﺘﻮﺍﻓﻘﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺃﻭﻝ‪ ‬ﺍﺣﺘﻴ‪ ‬ﺎﺝ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺃﻭﺟ‪ ‬ﺪ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺃﻣﺜ‪ ‬ﺎﻝ‪ ‬ﻣﺎﻳﻜ‪ ‬ﻞ‪ ‬ﺃﻧﺠﻠ‪ ‬ﻮ‪ ، ‬ﺭﻳﻤﺒﺮﺍﻧ‪ ‬ﺖ‪ ، ‬ﺇﻟﺠﺮﻳﻜ‪ ‬ﻮ‪ ، ‬ﻭﺩﻳﻼﻛ‪ ‬ﺮﻭﺍ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘﺠ‪ ‬ﺎﻧﺲ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﺗﻨﻈ‪ ‬ﻴﻢ‪ ‬ﺗﻮﺯﻳ‪ ‬ﻊ‪ ‬ﻣﻨ‪ ‬ﺎﻃﻖ‪ ‬ﺍﻟﻀ‪ ‬ﻮء‬ ‫‪ ‬ﺍﻟﺨﻔﻴ‪ ‬ﻒ‪ ‬ﺑﺤﻜﻤ‪ ‬ﺔ‪ ‬ﻣﻤﻴ‪ ‬ﺰﺓ‪ ،‬ﻭﺁﺧ‪ ‬ﺮﻭﻥ‪ ‬ﺃﻣﺜ‪ ‬ﺎﻝ‪ ‬ﺭﺍﻓﺎﻳﻴ‪ ‬ﻞ‪ ، ‬ﺃﻧﺠ‪ ‬ﺮﺯ‪ ، ‬ﻭﻓﻮﻛﻴ‪ ‬ﻪ‪ ‬ﺗﻘﺒﻠ‪ ‬ﻮﺍ‪ ‬ﻣ‪ ‬ﺆﻫﻼﺕ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﻭﺣ‪ ‬ﺎﻭﻟﻮﺍ‪ ‬ﺗﺤﻘﻴ‪ ‬ﻖ‬ ‫‪ ‬ﺍﻟﺘﻌﺒﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻤﻨﺎﺳ‪ ‬ﺐ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺤﺠ‪ ‬ﻢ‪ ‬ﺑ‪ ‬ﺎﻟﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻀ‪ ‬ﺎﺭﺏ‪ ‬ﻗ‪ ‬ﻮﻯ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ،‬ﻭﻫﻜ‪ ‬ﺬﺍ‪ ‬ﻧﺠ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻟﻮﺣ‪ ‬ﺎﺕ‪ ‬ﺇﻟﺠﺮﻳﻜ‪ ‬ﻮ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻷﺻﻔﺮ‪ ‬ﻳﻀﻲء‪ ‬ﻃﺮﻑ‪ ‬ﺟﻨﺎﺡ‪ ‬ﺍﻟﻤﻼﻙ‪ ‬ﻭﺭﻛﺒﺔ‪ ‬ﺍﻟﺸ‪ ‬ﺨﺺ‪ ،‬ﻭﺧﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﻮﺟ‪ ‬ﻪ‪ ،‬ﻭﺗﺤ‪ ‬ﺪﺏ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻟﻐﻴ‪ ‬ﻮﻡ‪ ،‬ﻭﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻷﺣﻤ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﻘﺎﻧﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺜﻴ‪ ‬ﺎﺏ‪ ‬ﻭﺍﻷﺭﺿ‪ ‬ﻴﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺑﻌ‪ ‬ﺎﺩﻫﻢ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ،‬ﻭﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﺸ‪ ‬ﻲء‪ ‬ﻧﺠ‪ ‬ﺪﻩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻟﻮﺣ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺭﻳﻨﻮﺍﺭ‪. ‬‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﻣﻊ‪ ‬ﺃﻧﺠﺮﺯ‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﺭﺍﻓﺎﻳﻴﻞ‪ ‬ﻧﺠﺪ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﻓﻲ‪ ‬ﺩﺭﺟﺔ‪ ‬ﻟﻮﻥ‪ ‬ﺑﺸﺮﺗﻪ‪ ،‬ﻭﺛﻴﺎﺑﻪ‪ ‬ﺯﺭﻗﺎء‪ ‬ﺃﻭ‪ ‬ﺣﻤﺮﺍء‪ ،‬ﻣﻊ‪ ‬ﺭﺻﻴﻒ‪ ‬ﺃﺳﻮﺩ‬ ‫‪ ‬ﺃﻭ‪ ‬ﺑﻨﻲ‪ ‬ﺃﻭ‪ ‬ﺃﺑﻴﺾ‪ ،‬ﻭﺳﻤﺎء‪ ‬ﺯﺭﻗﺎء‪ ‬ﺃﻭ‪ ‬ﺭﻣﺎﺩﻳﺔ ‪.‬‬

‫‪­ ۱۱٤ ­ ‬‬

‫‪ ‬ﻭﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﺴﻴﺰﺍﻥ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺗﻤﺮﻥ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺒ‪ ‬ﺤﺚ‪ ‬ﺍﻟﻌﻨﻴﺪ‪ ‬ﻭﺍﻟﻘﺎﺳﻲ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺤﺠﻢ‪ ‬ﺑﻜﻞ‪ ‬ﺗﺸﻮﻳﺸﻪ‪ ‬ﻭﻣﺸﺎﻛﻠﻪ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺣ‪ ‬ﺮّﻙ‪ ‬ﻛﻴﺎﻧ‪ ‬ﻪ‪،‬‬ ‫‪ ‬ﻧﺠﺪ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﻗﺪ‪ ‬ﺃﺻﺒﺤﺖ‪ ‬ﺃﺣﺎﺩﻳﺔ‪ ‬ﺍﻟﻠﻮﻥ ‪ monochromatic ‬ﻓﻲ‪ ‬ﻧﺘﻴﺠﺔ‪ ‬ﻣﺘﻨﺎﻗﻀﺔ‪ ‬ﻣﻊ‪ ‬ﺃﻫﺪﺍﻓﻪ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺃﺻ‪ ‬ﺒﺢ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﻤﺠﺎﻝ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺧﻀﺮ‪ ‬ﺍﻟﺰﺍﻫﻲ‪ ‬ﻭﺍﻟﻔﻴﺮﻣﻴﻠﻴﻮﻥ‪ ‬ﺍﻟﺮﺍﺋﻊ‪ ،‬ﻭﺍﻷﺻﻔﺮ‪ ‬ﺍﻟﻜﺮﻭﻡ‪ ،‬ﻭﺍﻷﺯﺭﻕ‪ ‬ﺍﻟﻼﺯﻭﺭﺩﻱ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﻬﺎﻳ‪ ‬ﺔ‪ ‬ﻣﻨﻜﺴ‪ ‬ﺮﺍ‬ ‫‪ ‬ﻟﺪﺭﺟ‪ ‬ﺔ‪ ‬ﺃﻥ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﻫﻲ‪ ‬ﺍﻷﻛﺜﺮ‪ ‬ﺃﺣﺎﺩﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻟﻮﺣ‪ ‬ﺎﺕ‪ ‬ﺃﻱ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺦ‪ ،‬ﻣﺜﻠ‪ ‬ﻪ‪ ‬ﻛﻤﺜ‪ ‬ﻞ‪ ‬ﻗﺎﺋ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻷﻭﺭﻛﺴ‪ ‬ﺘﺮﺍ‪ ‬ﻳﺤ‪ ‬ﺎﻭﻝ‪ ‬ﺑﻨﺸ‪ ‬ﺎﻃﻪ‪ ‬ﺍﻟﻤﺘﻨ‪ ‬ﺎﻗﺾ‪ ‬ﺗﺠ‪ ‬ﺎﻩ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺯﻓﻴﻦ‪ ‬ﺃﻥ‪ ‬ﻳﻌ‪ ‬ﺰﻑ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﺍﻟﻜﻤ‪ ‬ﺎﻥ‪ ‬ﺑ‪ ‬ﺎﻟﺒﻮﻕ‪ ‬ﺍ‪ ‬ﻹﻧﺠﻠﻴ‪ ‬ﺰﻱ‬ ‫‪ ‬ﻭﺃﺻﻮﺍﺕ‪ ‬ﺍﻟﻔﻠﻮﺕ‪ ‬ﺑﺎﻟﻜﻤﺎﻥ‬

‫‪۱ ‬‬

‫‪ ‬ﺑﻴﻨﻤ‪ ‬ﺎ‪ ‬ﻭﺻ‪ ‬ﻞ‪ ‬ﻣﻮﻧ‪ ‬ﺪﺭﻳﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺗﻘﻠﻴﺼ‪ ‬ﻪ‪ ‬ﺍﻟﺸ‪ ‬ﺪﻳﺪ‪ ‬ﻟﺒﺎﻟﻴﺘ‪ ‬ﺔ‪ ‬ﺃﻟ‪ ‬ﻮﺍﻧ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﺤﺎﻳ‪ ‬ﺪ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻟﺼ‪ ‬ﻼﺕ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﻭﻇﺎﺋﻔﻪ‪ ‬ﺍﻟﻨﻔﺴﻴﺔ‪ ،‬ﻓﻘﺪ‪ ‬ﺍﺳﺘﺄﺻﻞ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺣﻘﻞ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﻭﻛﺎﻥ‪ ‬ﺭﺃﻱ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻥ‪ ‬ﻫﻨﺎﻟ‪ ‬ﻚ‪ ‬ﻓﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﻣﻌﺎﺻ‪ ‬ﺮﻳ‪ ‬ﻦ‪ ‬ﻣﺰﺟ‪ ‬ﻮﺍ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻫ‪ ‬ﺬﻳﻦ‪ ‬ﺍﻷﺳ‪ ‬ﻠﻮﺑﻴﻦ‪ ،‬ﻫ‪ ‬ﻢ‪ ‬ﻟﻴﺴ‪ ‬ﻮﺍ‪ ‬ﻣﺼ‪ ‬ﺮﻳﻦ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺎﺕ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ،‬ﺑ‪ ‬ﻞ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻣﻮﻥ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺋﻼﺕ‪ ‬ﺍﻟﻠﻮﻧﻴ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﺨﺘﻠ‪ ‬ﻒ‪ ،‬ﻭﺭﺃﻯ‪ ‬ﺃﻧﻬ‪ ‬ﻢ‪ ‬ﻳﺴ‪ ‬ﻌﺪﻭﻥ‬ ‫‪ ‬ﺑﺈﻧﺘﺎﺝ‪ ‬ﻧﻔﺤﺎﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﻬﺠﺔ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻬﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﺃﻧﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺪﻯ‪ ‬ﺍﻟﻄﻮﻳﻞ‪ ‬ﺗﺮﺟ‪ ‬ﻊ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺟﻤﺎﻟ‪ ‬ﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻘﻤ‪ ‬ﺎﺵ‬ ‫‪ ‬ﺍﻟﻤﻄﺒﻮﻉ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺼﺒﻮﻍ‪ ،‬ﻭﻭﺻﻔﻬﻢ‪ ‬ﺑﺼﺎﺑﻐﻲ‪ ‬ﺍﻷﻗﻤﺸ‪ ‬ﺔ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﻳﺴ‪ ‬ﻌﺪﻭﻥ‪ ‬ﻻﺳ‪ ‬ﺘﺨﺪﺍﻣﻬﻢ‪ ‬ﺃﻧﺎﺑﻴ‪ ‬ﺐ‪ ‬ﺍﻷﻟ‪ ‬ﻮﺍﻥ‪ ،‬ﻭﺃﻥ‪ ‬ﻣﺤ‪ ‬ﺎﻛﻴﻦ‬ ‫‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﺳﻴﺰﺍﻥ‪ ‬ﻛﺎﻧﻮﺍ‪ ‬ﻋﻠﻰ‪ ‬ﺣﻖ‪ ‬ﻋﻨﺪ‪ ‬ﻣﺎ‪ ‬ﺭﺃﻭﺍ‪ ‬ﺃﺧﻄﺎء‪ ‬ﺃﺳﺘﺎﺫﻫﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻗﺒﻞ‪ ‬ﺇﻏﺮﺍء‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﺗﻘ‪ ‬ﺪﻳﺮ‪ ‬ﻣﺴ‪ ‬ﺒﻖ‪ ،‬ﻓ‪ ‬ﻲ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‬ ‫‪ ‬ﻛﺎﻧﺖ‪ ‬ﻣﻮﻟﻌﺔ‪ ‬ﺑﻜﻴﻤﻴﺎء‪ ‬ﺍﻟﻠﻮﻥ‪ ،‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﻠﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻟﻢ‪ ‬ﻳﺆﺛﺮ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﻓﻲ‪ ‬ﺣﻴﻨﻪ‪. ‬‬ ‫‪ ‬ﻭ‪ ‬ﺟ‪ ‬ﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﺴﻠﺴ‪ ‬ﻞ‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻲ‪ ‬ﻳﻜﻔ‪ ‬ﻲ‪ ‬ﻟﻮﺣ‪ ‬ﺪﻩ‪ ‬ﻛ‪ ‬ﻲ‪ ‬ﻳﻤ‪ ‬ﺪ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﺑﻐﻨ‪ ‬ﻰ‪ ‬ﻻ‪ ‬ﻧﻬ‪ ‬ﺎﺋﻲ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻻ‪ ‬ﻳﻌﻄ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻔﻴﺮﻣﻴﻠﻴﻮﻥ‪ ‬ﺍﻧﻄﺒﺎﻋ‪ ‬ﺎ‪ ‬ﻭﺍﻓﻴ‪ ‬ﺎ‪ ‬ﻓﺤﺴ‪ ‬ﺐ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻗ‪ ‬ﻮﺓ‪ ‬ﺑﺎﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻷ‪ ‬ﻭﻛ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺪﺍﻛﻦ‪ ،‬ﻭﺑﺘﻘﺒﻠ‪ ‬ﻪ‪ ‬ﻟﻬ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻀ‪ ‬ﻮﺍﺑﻂ‪ ‬ﺃﺻ‪ ‬ﺒﺢ‪ ‬ﻟﺪﻳ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻟﻴﻘ‪ ‬ﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻜﺎﻧ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺘﺴﻠﺴ‪ ‬ﻞ‪ ‬ﺍﻟﻬﺮﻣ‪ ‬ﻲ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺹ‪ ،‬ﻭﺣﺘ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺧﺘﻴ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺤ‪ ‬ﺬﺭ‪ ‬ﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺗﻠ‪ ‬ﺰﻡ‬ ‫‪ ‬ﺍﻟﺒﺼﻴﺮﺓ‪ ‬ﻭﺍﻟﺘﻤﻴﻴﺰ‪ ‬ﻟﻠﺘﻌﺎﻣﻞ‪ ‬ﻣﻌﻪ‪. ‬‬ ‫‪ ‬ﺃﻱ‪ ‬ﺃﻧﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﺍﻟﺤﻘﻴﻘﻲ‪ ‬ﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺮﺗﺒ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﻳﻠﻴ‪ ‬ﻪ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺷ‪ ‬ﻲء‪ ‬ﺁﺧ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺮﺗﺒ‪ ‬ﺔ‬ ‫‪ ‬ﺛﺎﻧﻮﻳﺔ‪ ‬ﺑﺤﻴﺚ‪ ‬ﻳﺠﺐ‪ ‬ﺃﻥ‪ ‬ﻳﺆﺩﻱ‪ ‬ﻛﻞ‪ ‬ﺷﻲء‪ ‬ﻟﺘﺤﻘﻴﻖ‪ ‬ﺍﻹﻧﺠﺎﺯ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‬

‫‪ ‬ﻭﺃﻭﺻ‪ ‬ﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻮﺟ‪ ‬ﻮﺏ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺑﺤ‪ ‬ﺚ‪ ‬ﻋﻘﻼﻧ‪ ‬ﻲ‪ ‬ﻧﻘ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺸ‪ ‬ﻜﻠﺔ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ، ‬ﻟﻴﺰﻳ‪ ‬ﺪ‪ ‬ﺍﻟﺘﺄﻛﻴ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﻇﺎﺋﻔﻨ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﺒﺼﺮﻳﺔ‪ ،‬ﻭﺧﺒﺮﺍﺗﻨﺎ‪ ‬ﻭﻋﺎﺩﺍﺗﻨﺎ‪ ‬ﺑﺤﻴﺚ‪ ‬ﺗﺴﺘﺠﻴﺐ‪ ‬ﻋﻘﻮﻟﻨﺎ‪ ‬ﻟﻸﻟﻮﺍﻥ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ،‬ﻓﻬﻨﺎﻙ‪ ‬ﺃﻟ‪ ‬ﻮﺍﻥ‪ ‬ﻭﺣﺸ‪ ‬ﻴﺔ‪ ‬ﻭﺃﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺭﻗﻴﻘ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻳﺘﻨﺎﺳﺐ‪ ‬ﻣﻊ‪ ‬ﻣﺎ‪ ‬ﺗﺮﺳﻤﻪ‪ ،‬ﻭﺑﺎﻟﻨﻈﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻧﺠﺪﻫﺎ‪ ‬ﺗﻤﻨﺤﻨﺎ‪ ‬ﻋﺎﺩﺍﺕ‪ ‬ﻣﻨﻄﻘﻴﺔ‪ ‬ﻭﻋﻀﻮﻳﺔ‪ ‬ﺣﺴﺐ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺟﺴ‪ ‬ﻢ‬ ‫‪Ibid, pp. 62­63 1 ‬‬ ‫‪2 ‬‬ ‫‪Cohen Jean – Louis & Reichlin Bruno, ' Le Corbusier une encyclopédie p. 106‬‬

‫‪­ ۱۱٥ ­ ‬‬

‫‪ ‬ﻭﻟﻮﻧﻪ‪ ‬ﺍﻟﺒﻨﺎﺋﻲ‪ ،‬ﻓﺎﻷﺯﺭﻕ‪ ‬ﻻ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‪ ‬ﻓﻴﻤﺎ‪ ‬ﻫﻮ‪ ‬ﻗﺮﻳﺐ‪ ‬ﻷﻥ‪ ‬ﺃﻋﻴﻨﻨﺎ‪ ‬ﻣﻌﺘﺎﺩﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺭﺅﻳﺘﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﻖ‪ ‬ﺣﻴﺚ‪ ‬ﺍﻟﺒﺤ‪ ‬ﺮ‬ ‫‪ ‬ﻭﺍﻟﺴﻤﺎء‪ ،‬ﻭﻓﻲ‪ ‬ﺍﻟﺨﻠﻔﻴﺎﺕ‪ ‬ﺍﻷﻓﻘﻴﺔ‪ ‬ﺍﻟﺒﻌﻴﺪﺓ‪ ،‬ﻭﻻ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﻹﻓﻼﺕ‪ ‬ﻣﻦ‪ ‬ﺇﻧﻌﻜ‪ ‬ﺎﺱ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻈﺮﻭﻑ‪ ،‬ﻭﻣﻦ‪ ‬ﺛﻢ‪ ‬ﻻ‪ ‬ﻳﻤﻜﻦ‪ ‬ﻟﻠﺴ‪ ‬ﻄﺢ‬ ‫‪ ‬ﺍﻟﻘﺮﻳﺐ‪ ‬ﺃﻥ‪ ‬ﻳﻜﻮﻥ‪ ‬ﺃﺯﺭﻗﺎ‪ ،‬ﺑﻞ‪ ‬ﺃﺧﻀﺮﺍ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﺤﺸﺎﺋﺶ‪ ‬ﺃﻭ‪ ‬ﺑﻨﻴﺎ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻷﺭﺽ‪ ، ‬ﻭﻓﻲ‪ ‬ﺍﻟﻨﻬﺎﻳﺔ‪ ‬ﻳﻨﺒﻐﻲ‪ ‬ﻟﻸﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺃﻥ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﻣﻨﻀﺒﻄﺔ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺘﻴﻦ‪ ‬ﻻ‪ ‬ﺗﻘﺒﻼﻥ‪ ‬ﺍﻟﺠﺪﻝ‪: ‬‬

‫‪ ‬ﺃﻭﻻ‪ : ‬ﺣ‪ ‬ﺎﻻﺕ‪ ‬ﺍﻹﺣﺴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﻌﻴﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻹ‪ ‬ﺛ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻔﻮﺭﻳ‪ ‬ﺔ‪ ‬ﻟﻠﺤ‪ ‬ﻮﺍﺱ‪ ،‬ﻛﺎﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻷﺣﻤ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺜﻮﺭﺓ‪ ،‬ﻭﺍﻷﺳﻮﺩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺰﻥ‪ ‬ﻣﺜﻼ‪. ‬‬ ‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﺣﺎﻻﺕ‪ ‬ﺍﺳ‪ ‬ﺘﺮﺟﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﺍﻛﺮﺓ‪ ‬ﺍﻟﺜﺎﻧﻮﻳ‪ ‬ﺔ‪ ‬ﻟﻠﺨﺒ‪ ‬ﺮﺍﺕ‪ ‬ﺍﻟﺒﺼ‪ ‬ﺮﻳﺔ‪ ‬ﻭﺗﻮﺍﻓﻘﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﻮﻟﻨ‪ ‬ﺎ‪ ،‬ﻓ‪ ‬ﺎﻟﺘﺮﺍﺏ‬ ‫‪ ‬ﻟﻴﺲ‪ ‬ﺃﺯﺭﻗﺎ‪ ‬ﻭﺍﻟﺴﻤﺎء‪ ‬ﻟﻴﺴﺖ‪ ‬ﺑﻨﻴﺔ‪ ‬ﻭﺇﺫﺍ‪ ‬ﺗﺼﺎﺩﻑ‪ ‬ﻭﻛﺎﻧﺖ‪ ‬ﻛﺬﻟﻚ‪ ‬ﻓﻬﻲ‪ ‬ﻣﺠﺮﺩ‪ ‬ﺣﺎﺩﺛ‪ ‬ﺔ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺗﺠﺎﻫﻠﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‬ ‫‪ ‬ﻓﻦ‪ ‬ﺛﺎﺑﺖ‪. ‬‬

‫‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻋﺎﻡ‪ ۱۹۲٤ ‬ﻧﺠﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﺧﺒﺮﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺒﺎﻧﻴ‪ ‬ﻪ‪ ، ‬ﻭﺍﺳ‪ ‬ﺘﻄﺎﻉ‪ ‬ﺗﻐﻴﻴ‪ ‬ﺮ‪ ‬ﺍﻟﺘ‪ ‬ﺄﺛﻴﺮ‬ ‫‪ ‬ﺍﻟﻤﻜﺎﻧﻲ‪ ‬ﻟﻠﻤﻨﺎﺯﻝ‪ ‬ﺍﻟﺒﻴﻀﺎء‪ ‬ﻓﻲ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺍﻟﺤﺪﺍﺛﺔ‪ ‬ﻋﺎﻣﻲ‪ ، ۱۹۳۱ – ۳۰ ‬ﻭﺍﺳ‪ ‬ﺘﻐﻞ‪ ‬ﻓﺮﺻ‪ ‬ﺔ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻤﻪ‪ ‬ﻟﻤﺠﻤﻮﻋﺘ‪ ‬ﻪ‪ ‬ﺍﻟﻠﻮﻧﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﺳ‪ ‬ﻤﺎﻫﺎ‪ " ‬ﻟﻮﺣ‪ ‬ﺔ‪ ‬ﻣﻔ‪ ‬ﺎﺗﻴﺢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﻟ‪ ‬ﻮﺍﻥ‪ Claviers de Couleurs " ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﺷ‪ ‬ﺮﻛﺔ‪ " ‬ﺳ‪ ‬ﺎﻟﻮﺑﺮﺍ‪Salubra " ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺑﺤﻜﻢ‪ ‬ﻛﻮﻧﻪ‪ ‬ﻣﻌﻤﺎﺭﻳﺎ‪ ‬ﻭﻣﺼﻮﺭﺍ‪ ‬ﻓﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣﺪ‪ ،‬ﻭﻗﺪﻡ‪ ٤۳ ‬ﺩﺭﺟﺔ‪ ‬ﻟﻮﻧﻴﺔ‪ ‬ﻓﻲ‪ ۱۲ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺗﺤﺘﻮﻱ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻣﻦ‪– ۳ ‬‬ ‫‪ ٥ ‬ﺃﻟﻮﺍﻥ‪ ،‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻳﻌﺒﺮ‪ ‬ﻋﻦ‪ ‬ﺣﺎﻟﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺃﻭ‪ ‬ﻳﻌﻄ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮﺍ‪ ‬ﺧﺎﺻ‪ ‬ﺎ‪ ‬ﻟﻠﻤﻜ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﻄﺒﻘ‪ ‬ﺔ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻟﻴﺤﻤ‪ ‬ﻞ‪ ‬ﻣﺒ‪ ‬ﺎﺩﺉ‬ ‫‪ ‬ﺍﻟﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭﻩ‪ ‬ﻋﻤ‪ ‬ﻼ‪ ‬ﻓﻨﻴ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﺪ‪ ‬ﺫﺍﺗ‪ ‬ﻪ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺣﻤﻠ‪ ‬ﺖ‪ ‬ﺍﻟ‪ ‬ﺪﺭﺟﺎﺕ‪ ‬ﺍﻟﻠﻮ‪ ‬ﻧﻴ‪ ‬ﺔ‪ ‬ﺃﺳ‪ ‬ﻤﺎء‪ ‬ﻣﺜ‪ ‬ﻞ‪" ‬‬ ‫‪ ‬ﺍﻟﺴﻤﺎء ‪ ­ ‬ﺍﻟﻔﺮﺍﻏﺎﺕ ‪ ­ ‬ﺍﻟﺮﻣﻞ ‪ ­ ‬ﺍﻟﻤﻨﻈﺮ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﻲ ‪ ­ ‬ﺍﻟﻤﺨﻤ‪ ‬ﻞ‪ ) ‬ﺍﻟﻘﻄﻴﻔ‪ ‬ﺔ‪ ­ ( ‬ﺍﻟﺤ‪ ‬ﺎﺋﻂ ‪ ... ­ ‬ﺇﻟ‪ ‬ﺦ‪ " ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﻟﻜﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺻﻔﺎﺗﻪ‪ ‬ﺍﻟﻠﻮﻧﻴﺔ‪ ‬ﺍﻟﻤﻨﺎﺳﺒﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻷﺯﺭﻕ‪ ‬ﻟﻠﺴﻤﺎء‪ ‬ﻭﺍﻷﺧﻀﺮ‪ ‬ﻟﻠﻤﻨﻈﺮ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ... ‬ﺇﻟﺦ‪. ‬‬ ‫‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻋﺎﻣﻲ‪ ۱۹٥۹ – ٥۷ ‬ﺻﻤﻢ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻟﻮﻧﻴ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ * ‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ۲۰ ‬ﺩﺭﺟ‪ ‬ﺔ‪ ‬ﻟﻮﻧﻴ‪ ‬ﺔ‪ ‬ﺗﺒﻌ‪ ‬ﺎ‬ ‫‪ ‬ﻟﺘﻄ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﺓ‪ ‬ﻭﺗﻌ‪ ‬ﺪﻳﻞ‪ ‬ﺭﺅﻳ‪ ‬ﺔ‪ ‬ﺍﻷﻟ‪ ‬ﻮﺍﻥ‪ ،‬ﻭﺃﺧﻴ‪ ‬ﺮﺍ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۹۷ ‬ﻧﺸ‪ ‬ﺮﺕ‪ ‬ﺩﺍﺭ‪ ‬ﺑﻴﺮﻛﻬ‪ ‬ﺎﻭﺯﺭ ‪ Birkhauser ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‬ ‫‪ ‬ﺃﻟﻮﺍﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻜﺎﻣﻠﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺘﻴﻦ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺘﻴﻦ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺿ‪ ‬ﻤﺖ‪ ٦۳ ‬ﺩﺭﺟ‪ ‬ﺔ‪ ‬ﻟﻮﻧﻴ‪ ‬ﺔ‪ ‬ﺗﻤﺜ‪ ‬ﻞ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﻣﻨﻬﺎ‪ ‬ﻟﻮﻧﺎ‪ ‬ﺣﻘﻴﻘﻴﺎ‪ ‬ﺧﺎﺻﺎ‪. ‬‬

‫‪ 1 ‬ﺷﺮﻛﺔ‪ ‬ﻋﺎﻟﻤﻴﺔ‪ ‬ﻟﻮﺭﻕ‪ ‬ﺍﻟﺤﺎﺋﻂ‪ ‬ﺍﺳﺘﻌﺎﻧﺖ‪ ‬ﺑﻔﻨﺎﻧﻴﻦ‪ ‬ﻋﺎﻟﻤﻴﻴﻦ‪ ‬ﻹﻧﺘﺎﺝ‪ ‬ﻣﺠﻤﻮﻋﺎﺕ ﺧﺎﺻﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻟﻮﺍﻥ‪ ‬ﻟﻼﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻌﻤﻠﻲ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﻭﺭﻕ‪ ‬ﺍﻟﺤﺎﺋﻂ‬ ‫*‬ ‫ﺑﻌﺪ‪ ‬ﺍﺧﺘﺮﺍﻉ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬

‫‪­ ۱۱٦ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳۱ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻤﻬﻨ‪ ‬ﺪﺱ‪ ‬ﺍﻟﺴﻮﻳﺴ‪ ‬ﺮﻱ‪ ‬ﺃﻟﻔ‪ ‬ﺮﺩ‪ ‬ﺭﻭﺙ ‪ Alfred Roth ‬ﻋ‪ ‬ﻦ‪ ‬ﺁﺭﺍء‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‪ ‬ﻣﺮﺗﺒﻄ‪ ‬ﺔ‬ ‫‪ ‬ﺑﺂﺭﺍﺋ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻮﺯﻳ‪ ‬ﻊ‪ ‬ﺍﻟﻔﻀ‪ ‬ﺎء‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻋﻨ‪ ‬ﺪﻩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻜﻌﺒ‪ ‬ﺎﺕ‪ ‬ﻣﻔﺮﻏ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﺠ‪ ‬ﺎﻡ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻣﺘﻨ‪ ‬ﺎﻇﺮﺓ‪ ‬ﻛﺎﻟﺴ‪ ‬ﻼﻟﻢ‬ ‫‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻴﺔ‪ ‬ﻭﺍﻟﻤﺪﺍﺧﻦ‪ ‬ﺍﻻﺳﻄﻮﺍﻧﻴﺔ‪ ‬ﻭﻏﻴﺮﻫ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺰﺧﺮﻓﻴ‪ ‬ﺔ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺗﺸ‪ ‬ﻜﻴﻠﻴﺔ‪ ‬ﻗﻮﻳ‪ ‬ﺔ‪ ‬ﻭﺟﻤﻴﻠ‪ ‬ﺔ‬ ‫‪ ‬ﻧﺠﺪﻫﺎ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﺎﺯﻝ‪ ‬ﺍﻻﺳﺘﻮﻛﻮ‪ ‬ﺑﺎﻟﺠﺰﺭ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺟﺰﻳﺮﺓ‪ ‬ﻣﻴﻜﻮﻧﻮﺱ ‪Mykonos ‬‬

‫‪1 ‬‬

‫‪ ‬ﺍﻧﻈﺮ‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ ‘ ،‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ ‘ ‬ﺹ ‪۹۸‬‬

‫‪­ ۱۱۷ ­ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ : ‬ﻋﺮﺽ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻣﺮﺍﺣﻞ‪ ‬ﺗﻄﻮ‪ ‬ﺭ‪ ‬ﻩ‪: ‬‬ ‫‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﺘﻨﺴﻴﺐ‪ ‬ﻫﻮ‪ ‬ﺍﺧﺘﺮﺍﻉ‪ ‬ﻗﺪﻳﻢ‪ ‬ﻣﺎ‪ ‬ﻳﺰﺍﻝ‪ ‬ﺷﺎﺋﻌﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻋﻠﻰ‪ ‬ﻭﺟﻪ‪ ‬ﺍﻟﺨﺼﻮﺹ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﺮ‪ ‬ﺑﻌ‪ ‬ﺪﺓ‪ ‬ﻃ‪ ‬ﺮﻕ‬ ‫‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟﻤﻌﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻮﺩ‪ ،‬ﺣﺘ‪ ‬ﻰ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻤﺤﺎﻭﻻﺕ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ‬ﺍﻟﻤﺒﻨﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺇﺩﺭﺍﻙ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺗﻴﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺍﻹﻧ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺷ‪ ‬ﺘﻘﺖ‪ ‬ﻗﻮﺍﻋ‪ ‬ﺪﻫﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻋﺪﺓ‪ ‬ﻣﺼﺎﺩﺭ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺍﻋﺘﻤﺪﺕ‪ ‬ﺟﻤﻴﻌﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻷﻋ‪ ‬ﺪﺍﺩ‪ ‬ﻭﺟﻤﺎﻟﻴﺎﺗ‪ ‬ﻪ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻋﻠﻤ‪ ‬ﻲ‪ ،‬ﻭﺃﺑ‪ ‬ﺮﺯ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﻟﻠﺘﻨﺴ‪ ‬ﻴﺐ‬ ‫‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺼﺮ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺑ‪ ‬ﻼ‪ ‬ﺷ‪ ‬ﻚ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻭﺣّ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﻭﺍﻟﻨﺴ‪ ‬ﺐ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﺃﺳﺎ‪ ‬ﻟﻴﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﻟﻢ‪ ‬ﺗﻜﻦ‪ ‬ﺻﺎﺭﻣﺔ‪ ‬ﻷﻧﻬﺎ‪ ‬ﻟﻢ‪ ‬ﺗﻨﺘﺞ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺟﺒﺮﻱ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻲ‪ ،‬ﻭﻳﺆﻛ‪ ‬ﺪ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺍء‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻳ‪ ‬ﺔ‪ ‬ﻣﻌ‪ ‬ـﺎﺩﻻﺕ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﻨﺎﺳ‪ ‬ﺒﺔ‪ ،‬ﻭﺭﻏ‪ ‬ـﻢ‪ ‬ﻣﻌﺎﺭﺿ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﺤﺮﻳﺔ‪ ‬ﻛﺜﻴﺮ‪ ‬ﻣـﻦ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﻭﺍﺷﺘﻤﺎﻟ‪ ‬ـﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺻ‪ ‬ﻴﻎ‪ ‬ﺗﻨﺎﺳ‪ ‬ﺒﻴﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﻘﻠ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺷ‪ ‬ﺄﻥ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻋﺘﺒﺎﺭﻩ‪ ‬ﻓﻨﺎﻧﺎ‪ ‬ﻣﺒﺪﻋﺎ‪ ‬ﺃﻭ‪ ‬ﻣﻦ‪ ‬ﻗﻴﻢ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻌﺎﻟﻴﺔ‪. ‬‬ ‫‪ " ‬ﺳﻮﻑ‪ ‬ﺃﺣﺎﺭﺏ‪ ‬ﺿﺪ‪ ‬ﺃﻱ‪ ‬ﺻﻴﻐﺔ‪ ‬ﺃﻭ‪ ‬ﻭﺳ‪ ‬ﻴﻠﺔ‪ ‬ﺗ‪ ‬ﺬﻫﺐ‪ ‬ﺑﺄﺻ‪ ‬ﻐﺮ‪ ‬ﺫﺭﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﺮﻳﺘ‪ ‬ﻲ‪ ،‬ﻭﺃﺭﻳ‪ ‬ﺪ‪ ‬ﺍﻟﺤﻔ‪ ‬ﺎﻅ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺤﺮﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺳﻠﻴﻤﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻟﻮ‪ ‬ﻗﺎﺩﺗﻨﻲ‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻭﺍﻟﺮﺳﻮﻡ‪ ‬ﺍﻟﺒﻴﺎﻧﻴﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻏﻴﺮ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ،‬ﻓﻴﻜ‪ ‬ﻮﻥ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺎﺟﻲ‪ ‬ﺃﻧﻨ‪ ‬ﻲ‪ ‬ﻻ‪ ‬ﺃﺣ‪ ‬ﺐ‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪۱ ‬‬

‫‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺑﻬﺬﺍ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻣﻦ‪ ‬ﺩﻭﻥ‪ ‬ﺃﻥ‪ ‬ﺃﺷﻌﺮ‪ ‬ﺑﻪ‪ ‬ﺑﺬﻭﻗﻲ‪ ‬ﻭﻣﻴﻮﻟﻲ‪ ،‬ﻭﻣﻦ‪ ‬ﺩﻭﻥ‪ ‬ﺃﻥ‪ ‬ﻳﻨﺒﺌﻨﻲ‪ ‬ﺣﺪﺳﻲ‪ ‬ﺑﺬﻟﻚ‪ ­ ‬ﻓﻼ‪ ‬ﺃﺭﻳﺪﻩ‪" ‬‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﺨﺒﺮﻧﺎ‪ ‬ﺑﺄﻥ‪ ‬ﺗﻌﺮﻳﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻳﺸﻤﻞ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺘﻨﺎﺳ‪ ‬ﺒﻲ‪ ،‬ﻓﻬ‪ ‬ﻮ‬ ‫‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺇﻟﻴ‪ ‬ﻪ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‪ ‬ﻓ‪ ‬ﺮﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﺮﻭﻉ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ،‬ﻭﻻ‪ ‬ﻳﺤ‪ ‬ﺘﻢ‪ ‬ﺑ‪ ‬ﺄﻥ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻷﺷ‪ ‬ﻴﺎء‪ ‬ﺍﻟ‪ ‬ﺨﺎﺿ‪ ‬ﻌﺔ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺟﻤﻴﻠ‪ ‬ﺔ‬ ‫‪ ‬ﺑﺎﻟﻀ‪ ‬ﺮﻭﺭﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺩﻭﻥ‪ ‬ﺫﻭﻕ‪ ‬ﻭﻣﻴ‪ ‬ﻮﻝ‪ ‬ﺻ‪ ‬ﺎﻧﻌﻬﺎ‪ ،‬ﻭﻛﺄﻧ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳ‪ ‬ﺮﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻈﺎﻣ‪ ‬ﻪ‪ ‬ﺃﻥ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻣﺘﺤﻜﻤ‪ ‬ﺎ‪ ‬ﺃﻭ‪ ‬ﻣﺠ‪ ‬ﺮﺩﺍ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻷﺣﺎﺳﻴﺲ‪ ،‬ﻟﻜﻦ‪ ‬ﻭﺿﻊ‪ ‬ﺻﻴﻐﺔ‪ ‬ﻟﻺﺣﺴﺎﺱ‪ ‬ﻫﻮ‪ ‬ﺃﻣﺮ‪ ‬ﻣﺴﺘﺤﻴﻞ‪. ‬‬

‫‪ ‬ﻛﻴﻒ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺃﻥ‪ ‬ﻳﺘﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺕ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﻃﺒﻘ‪ ‬ﺎ‪ ‬ﻟﻘ‪ ‬ﺎﻧﻮﻥ‪ ‬ﻣﺘﻘﺒ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺠﻤﻴ‪ ‬ﻊ‪ ،‬ﻭﻓ‪ ‬ﻮﻕ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻌ‪ ‬ﺎﻻ‬ ‫‪ ‬ﻭﻣﺮﻧﺎ‪ ‬ﻭﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺍﺳﺘﻌﻤﺎﻟﻪ‪ ‬ﻣﻦ‪ ‬ﻗﺒﻞ‪ ‬ﺃﻱ‪ ‬ﺷﺨﺺ‪ ،‬ﻳﻈﻞ‪ ‬ﺛﺮﻳﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﺑﺴﺎﻃﺘﻪ‪ ،‬ﻣﻔﻬﻮﻣﺎ‪ ‬ﻭﺳﻬﻞ‪ ‬ﺍﻻﺳﺘﻌﻤﺎﻝ‪ ‬؟؟‬ ‫‪ ‬ﻫﻜﺬﺍ‪ ‬ﻓﺴﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺤﺎﺟ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺩﻓﻌﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺴ‪ ‬ﻴﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺍﺳﺘﻜﺸ‪ ‬ﺎﻑ‪ ‬ﻧﻈﺎﻣ‪ ‬ﻪ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‪ ،‬ﻭﺃﻛﻤ‪ ‬ﻞ‪ ‬ﻗ‪ ‬ﺎﺋﻼ‪ ‬ﺃﻥ‬ ‫‪ ‬ﻓﻴﺜﺎﻏﻮﺭﺙ‪ ‬ﻫﻮ‪ ‬ﻣﻦ‪ ‬ﺍﺳﺘﻄﺎﻉ‪ ‬ﺣ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺸ‪ ‬ﻜﻠﺔ‪ ‬ﺑﺎﺗﺨ‪ ‬ﺎﺫﻩ‪ ‬ﻧﻘﻄﺘ‪ ‬ﻴﻦ‪ ‬ﺛ‪ ‬ﺎﺑﺘﺘﻴﻦ‪ ‬ﻫﻤ‪ ‬ﺎ‪ ‬ﻧﻐﻤ‪ ‬ﺔ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺕ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻤﻮ‪ ‬ﻉ‪ ‬ﻭﺍﻷﺭﻗ‪ ‬ﺎﻡ‪،‬‬ ‫‪ ‬ﻭﻫﻜ‪ ‬ﺬﺍ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺃﻭﻝ‪ ‬ﻧ‪ ‬ﺺ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻲ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺮﺍﻋ‪ ‬ﺎﺓ‪ ‬ﺍﻟ‪ ‬ﺰﻣﻦ‪ ‬ﻭﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ،‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﻻ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﻧﻘ‪ ‬ﻞ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺕ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﻟﻜﺘﺎﺑ‪ ‬ﺔ‪ ‬ﺩﻭﻥ‬ ‫‪ ‬ﻗﺴﻤﺘﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ) ‬ﻗﻄﺎﻋ‪ ‬ﺎﺕ‪ ( ‬ﻭﻗﻴﺎﺳ‪ ‬ﻪ‪ ،‬ﻭﺗﻄ‪ ‬ـﻮﺭ‪ ‬ﺍﻷﻣ‪ ‬ـﺮ‪ ‬ﻓ‪ ‬ـﻲ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺴﺎﺑ‪ ‬ـﻊ‪ ‬ﻋﺸ‪ ‬ـﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ـﺪ‪ ‬ﺳﻴﺒﺎﺳ‪ ‬ﺘﻴﺎﻥ‪ ‬ﺑ‪ ‬ﺎﺥ‬

‫‪1 ‬‬

‫‪Salingaros Nikos A., ' A Scientific Basis For Creating Architectural Forms ' pp. 285‬‬

‫‪­ ۱۱۸ ­ ‬‬

‫‪ ‬ﺍﻟـﺬﻱ‪ ‬ﺍﺧﺘﺮﻉ‪ ‬ﻧﻈﺎﻣ‪ ‬ـﺎ‪ ‬ﺗ‪ ‬ﺪﻭﻳﻨﻴﺎ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺍ‪ ‬ﻟﻠﻤﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻤﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﻌﺘ‪ ‬ﺪﻝ ‪ tempered scale ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﺃﺩﺍﺓ‪ ‬ﻣﺜﻠ‪ ‬ﻰ‪،‬‬ ‫‪ ‬ﻭﺍﻣﺘﺪ‪ ‬ﺍﺳﺘﻌﻤﺎﻟﻪ‪ ‬ﺣﺘﻰ‪ ‬ﻭﻗﺘﻨﺎ‪ ‬ﺍﻟﺤﺎﺿﺮ‪ ،‬ﻓﺄﺑﻌﺎﺩ‪ ‬ﺍﻟﺴﻠﻢ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ‬ﺗﺮﺗﺒﻂ‪ ‬ﺑﻘﻴﻢ‪ ‬ﺟﻤﺎﻟﻴ‪ ‬ﺔ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻳﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻨﻐﻤ‪ ‬ﺎﺕ‪ ،‬ﻓ‪ ‬ﺎﻟﺒﻌﺾ‬ ‫‪ ‬ﻣﻨﻬﺎ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗ‪ ‬ﺪﺭ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﻮﺍﻓ‪ ‬ﻖ‪ ،‬ﻭﺍﻟ‪ ‬ﺒﻌﺾ‪ ‬ﺍﻵﺧ‪ ‬ﺮ‪ ‬ﺗﻘ‪ ‬ﻞ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ،‬ﻭﻳﺨﻀ‪ ‬ﻊ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‬ ‫‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻣﺔ‪ ‬ﻓﻲ‪ ‬ﺇﺧﺮﺍﺝ‪ ‬ﺍﻷﺻﻮﺍﺕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻛﻠﻤﺎ‪ ‬ﻛﺎﻧﺖ‪ ‬ﺑﺴﻴﻄﺔ‪ ‬ﻛﻠﻤﺎ‪ ‬ﻛﺎﻥ‪ ‬ﺍﻟﺼﻮﺗﺎﻥ‪ ‬ﺃﻛﺜﺮ‪ ‬ﺗﻮﺍﻓﻘﺎ‬

‫‪۱ ‬‬

‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﻛﻮﻥ‪ ‬ﻋﺎﺋﻠﺔ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﺇﻻ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻊ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻗ‪ ‬ﺮﺍءﺓ‪ ‬ﺍﻟﻨﻮﺗ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ،‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﻛ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻳﻤﻠﻚ‪ ‬ﺍﻟﺤﻜﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﻭﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ ‬ﻋﻨﻬ‪ ‬ﺎ‪ ‬ﻷﻧ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﺮﻑ‪ ‬ﻛﻴ‪ ‬ﻒ‪ ‬ﺻ‪ ‬ﻨﻌﺖ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﻛﺎﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ .. ‬ﺯﻣ‪ ‬ﻦ‪ ‬ﻭﻓ‪ ‬ﺮﺍﻍ‪ ،‬ﻭﻫﻤ‪ ‬ﺎ‬ ‫‪ ‬ﺳﺒﺒﺎﻥ‪ ‬ﻟﻠﻘﻴﺎﺱ‪ ،‬ﻭﻻ‪ ‬ﻳﺪﺭ‪ ‬ﻙ‪ ‬ﺍﻟﻤﺸﺘﻐﻞ‪ ‬ﺑﺎﻟﻤﻮﺳﻴﻘﻰ‪ ‬ﺃﻧﻪ‪ ‬ﻳﺘﻼﻋﺐ‪ ‬ﺑﺎﻷﺭﻗﺎﻡ‪ ،‬ﻭﻳﺘﻌﺎﻣﻞ‪ ‬ﺑﺎﻟﻠﻮﻏﺎﺭﻳﺘﻤﺎﺕ‪ ،‬ﻓﻤ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻨ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﺎﻟﻤﺠ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﺣﻴﺚ‪ ‬ﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﺣﻀﺎﺭﺗﻨﺎ‪ ‬ﻟﻢ‪ ‬ﺗﺼﻞ‪ ‬ﻓﻲ‪ ‬ﻗﻴﺎﺳﺎﺗﻬﺎ‪ ‬ﻭﺣﺴﺎﺑﺎﺗﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺎ‪ ‬ﻭﺻﻞ‪ ‬ﺇﻟﻴﻪ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻲ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻨ‪ ‬ﺎ‬ ‫‪ ‬ﻟﻢ‪ ‬ﻧﺘﻤﻜﻦ‪ ‬ﻓﻴﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻤﺘﺎﻉ‪ ‬ﺑﻤﻴ‪ ‬ﺰﺓ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻤﻠ‪ ‬ﻚ‪ ‬ﺃﺣﺎﺳﻴﺴ‪ ‬ﻨﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﺑﻜﻮ‪ ‬ﻧﻬ‪ ‬ﺎ‪ ‬ﺃﺩﺍﺓ‪ ‬ﻓﻌﺎﻟ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺧﺪﻣ‪ ‬ﺔ‬ ‫‪ ‬ﺫﻟﻚ‪ ‬ﺍﻟﻔﻜﺮ‪. ‬‬

‫‪ ‬ﻻ‪ ‬ﻳﻌﻨ‪ ‬ﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻟﻴﺴ‪ ‬ﺖ‪ ‬ﻣﻮﺟ‪ ‬ﻮﺩﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﻓﺒ‪ ‬ﺎﻟﻨﻈﺮﺇﻟﻰ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻭﺍﻟﻤﻌﺎﺑ‪ ‬ﺪ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‬ ‫‪ ‬ﻭﺍﻟﻜﺎﺗﺪﺭﺍﺋﻴﺎﺕ‪ ‬ﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺣﻘﻖ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻹﻧﺠﺎﺯﺍﺕ‪ ‬ﺍﻟﻘﻴﻤ‪ ‬ﺔ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺣﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﻭﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻣﺘﻘﻨ‪ ‬ﺔ‪ ،‬ﻭﻟ‪ ‬ﻮ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺗﻨﺴ‪ ‬ﻴﻖ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﺗﺘﺸ‪ ‬ﺎﺑﻪ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻨﻮﺗ‪ ‬ﺔ‪ ‬ﺍ‪ ‬ﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﻭﺗﺼ‪ ‬ﺒﺢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺘﻨ‪ ‬ﺎﻭﻝ‪ ‬ﺃﻳ‪ ‬ﺪﻳﻨﺎ‪ ‬ﻟﺴ‪ ‬ﺎﻋﺪﺗﻨﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻭﺍﻟﺘﺸ‪ ‬ﻴﻴﺪ‪،‬‬ ‫‪ ‬ﻓﺄﻭﻟﻰ‪ ‬ﺑﻔﻦ‪ ‬ﻣﺮﺋﻲ‪ ‬ﻭﻣﻠﻤﻮﺱ‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﺣﺴﺎﺑﺎﺕ‪ ‬ﻓﻲ‪ ‬ﺇﺑﺪﺍﻋﻪ‪ ‬ﻣﻦ‪ ‬ﻓﻦ‪ ‬ﻣﺴﻤﻮﻉ‪ ‬ﻣﺠﺮﺩ‪. ‬‬

‫‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺸ‪ ‬ﻬﻴﺮﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺫﻛ‪ ‬ﺮﺕ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺴ‪ ‬ﺎﺑﺎﺗﻬﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻣﺤ‪ ‬ﺪﺩﺓ‪ ‬ﻣﺮﺗﺒﻄ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻔﺮﺓ‪ ‬ﺧﺎﺻ‪ ‬ﺔ‪ ‬ﺗﺮﺟ‪ ‬ﻊ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﻣﻌﺘﻘ‪ ‬ﺪﺍﺕ‪ ‬ﺷ‪ ‬ﻌﻮﺑﻬﺎ‪ ،‬ﻭﺗﺘﺸ‪ ‬ﺎﺑﻪ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﻴ‪ ‬ﺎﺗﻬﻢ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﻴﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻣﺎء‪ ‬ﺃﻭ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ـﺎﻥ‪،‬‬ ‫‪ ‬ﻭﺗﺄﺧ‪ ‬ﺬ‪ ‬ﺣﺴ‪ ‬ﺎﺑﺎﺗﻬﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ ‪cubit‬‬

‫*‬

‫‪ ‬ﻭﻳﺘﺤ‪ ‬ﺪﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺮﻓ‪ ‬ﻖ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻃ‪ ‬ﺮﻑ‪ ‬ﺍﻹﺑﻬ‪ ‬ﺎﻡ‪ ،‬ﺍﻹﺻ‪ ‬ﺒﻊ ‪fingerbreadth ‬‬

‫‪ ) ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﻣ‪ ‬ﻦ‪ ، ( ۹ ­ ۱ ‬ﺭﺍﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻴ‪ ‬ﺪ ‪ ، palm ‬ﻗﺒﻀ‪ ‬ﺔ‪ ‬ﺍﻟﻴ‪ ‬ﺪ ‪ ، fist ‬ﺍﻟﻘ‪ ‬ﺪﻡ ‪ ، foot ‬ﺍﻟﺨﻄ‪ ‬ﻮﺓ ‪ ، pace ‬ﺍﻹﺑﻬ‪ ‬ﺎﻡ ‪، thumb ‬‬ ‫‪ ‬ﺍﻟﺸﺒﺮ ‪، span of the hand ‬ﺍﻟﻴﺪ ‪ ، yard ‬ﺍﻟﺒ‪ ‬ﺎﻉ‪ ) ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻃﺮﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻜﻔ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﻤ‪ ‬ﺪﻭﺩﺗﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﺃﻓﻘ‪ ‬ﻲ‪ ‬ﻭﻫ‪ ‬ﻮ‬ ‫‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﻗﺎﻣﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ... span of the outstretched arms ( ‬ﺇﻟﺦ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻬﻢ‪ ‬ﻛﻮّﻧﻮﺍ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺻ‪ ‬ﺤﻴﺤﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻭﺍﻓﻘ‪ ‬ﺖ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺗﻬﻢ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻭﺍﻓﻘ‪ ‬ﻮﺍ‪ ‬ﻫ‪ ‬ﻢ‪ ‬ﺃﻧﻔﺴ‪ ‬ﻬﻢ‪ ‬ﻟﻤﻨ‪ ‬ﺎﺯﻟﻬﻢ‪ ‬ﻭﻣﻌﺎﺑ‪ ‬ﺪﻫﻢ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺑﻨﻮﻫ‪ ‬ﺎ‪ ،‬ﻭ‪ ‬ﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‬ ‫‪ ‬ﺃﺩﻭﺍﺕ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﻭﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻓﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣﺪ‪ ‬؛‬

‫‪ 1 ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮ‪ ‬ﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ ‪۱۹۲‬‬ ‫*‬ ‫‪ ۱۸ ‬ﺇﻟﻰ‪ ۲۰ ‬ﺑﻮﺻﺔ‪ ‬ﺗﻘﺮﻳﺒﺎ‬

‫‪­ ۱۱۹ ­ ‬‬

‫‪ ‬ﻭﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﺃﻥ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺟﻤﻴﻠﺔ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻷﻧﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺄﺧﻮﺫﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﺘﻨﺎﺳ‪ ‬ﻖ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﺮ‪ ‬ﺍﻟﻤﻬ‪ ‬ﺬﺏ‪ ‬ﺍﻷﻧﻴ‪ ‬ﻖ‬ ‫‪ ‬ﺍﻟﻤﺘﻨﺎﻏﻢ‪ ،‬ﻳﻘـ‪ ‬ﻮﻝ‪ ‬ﺍﷲ‪ ‬ﺗﻌﺎﻟﻰ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺑـﻪ‪ ‬ﺍﻟﻌﺰﻳﺰ‪ ‬ﻓﻲ‪ ‬ﺍﻵﻳﺔ‪ ‬ﺍﻟﺮﺍﺑﻌﺔ‪ ‬ﻣﻦ‪ ‬ﺳﻮﺭﺓ‪ ‬ﺍﻟﺘﻴﻦ‪ ) : ‬ﻟﻘﺪ‪ ‬ﺧﻠﻘﻨ‪ ‬ﺎ‪ ‬ﺍﻹ‪ ‬ﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﺴ‪ ‬ﻦ‬ ‫‪ ‬ﺗﻘﻮﻳﻢ‪ ، ( ‬ﻭﻭﺟﺪ‪ ‬ﺃﻗﺪﻡ‪ ‬ﻗﺎﻧﻮﻥ‪ ‬ﻋﻦ‪ ‬ﻋﻼﻗﺎﺕ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻣﻘﺒﺮﺓ‪ ‬ﻓﻲ‪ ‬ﻣﻨﻄﻘﺔ‪ ‬ﺍﻷﻫﺮﺍﻣﺎﺕ‪ ‬ﺑﺠﻮﺍﺭ‪ ‬ﻣﻨ‪ ‬ﻒ‪ ‬ﻳﺮﺟ‪ ‬ﻊ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺣﻮﺍﻟﻲ‪ ۳۰۰۰ ‬ﺳﻨﺔ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻤﻴﻼﺩ‬

‫‪۱ ‬‬

‫‪ ‬ﻳﻨﻘﺴﻢ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻧ‪ ‬ﻮﻋﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﻤ‪ ‬ﻘ‪ ‬ﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺃﻭﻟﻬﻤ‪ ‬ﺎ‪ ‬ﻣﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺒﻮﺻ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺪﻡ‪ ، ‬ﺻ‪ ‬ﺤﻴﺢ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻣﺒﻨ‪ ‬ﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻟﻜﻨﻪ‪ ‬ﺻﻌﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻌﺎﻣﻞ‪ ‬ﻣﻌﻪ‪ ،‬ﺑ‪ ‬ﺎﻹﺿﺎﻓﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺍﺧﺘﻼﻑ‪ ‬ﻣﻘﺎﺳﻪ‪ ‬ﻓﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺑﻠ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﻭﺍﻟﺮﻭﻣ‪ ‬ﺎﻥ‪ ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﺼﺮ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻛﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻭ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟ‪ ‬ﺘﺎﻟﻴﻴﻦ‪: ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳۲ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﻭﺍﻟﺮﻭﻣﺎﻥ‬ ‫‪Roman foot: 296 mm ‬‬

‫‪Attic foot: 295.7 mm ‬‬

‫‪pes Drussianus: 333 mm ‬‬

‫‪Olympic foot: 320.5 mm ‬‬

‫‪Aeginetan foot: 330 mm ‬‬

‫‪Stalian foot: 275 mm ‬‬

‫‪Italian at Carrara: 243.6 mm ‬‬

‫‪Italian at Genoa: 244.7 mm ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺼﺮ‪ ‬ﺍﻟﺤﺪﻳﺚ‬ ‫‪Amsterdam: 283.1 mm ‬‬

‫‪South African: 313.8 mm ‬‬

‫‪2 ‬‬

‫‪British: 304.8 mm ‬‬

‫‪Canadian: 325.1 ‬‬

‫‪ 1 ‬ﻋﻠﻴﺔ‪ ‬ﻣﺤﻤﻮﺩ‪ " ‬ﺣﺮﻛﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﻟﻠﻤﺴﻜﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ " ‬ﺩﻛﺘﻮﺭﺍﺓ‪ ‬ﺹ‪٥٤ ‬‬ ‫‪2 ‬‬ ‫ﻫﻲ‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﺳﺘﺨﺪﻣﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪­ ۱۲۰ ­ ‬‬

‫‪ ‬ﻭﻳﻘﺘﺮﺏ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻣﻦ‪ ٤ ‬ﺭﺍﺣﺎﺕ‪ ‬ﻳﺪ‪ ،‬ﻭﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺑﺪﻭﺭﻫﺎ‪ ‬ﻣﻦ‪ ٤ ‬ﺃﺻﺎ‪ ‬ﺑﻊ‪ ،‬ﻭﺭﺍﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻴ‪ ‬ﺪ‪ ‬ﺍﻟﺼ‪ ‬ﻐﺮﻯ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻳﺴ‪ ‬ﻤﻴﻬﺎ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺗﻘﺘﺮﺏ‪ ‬ﻋﻨﺪﻫﻢ‪ ‬ﻣﻦ‪ ٤ \ ۱ ‬ﺍﻟﻘﺪﻡ‪ ‬ﺑﻤﺎ‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﺣﻮﺍﻟﻲ‪ ۷٫٤ ‬ﺳ‪ ‬ﻢ‪ ، ‬ﻭﺭﺍﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻜﺒ‪ ‬ﺮﻯ‪ ‬ﻋﻨ‪ ‬ﺪﻫﻢ‪ ‬ﺗﺴ‪ ‬ﺎﻭﻱ‪ ٤ \ ۳ ‬ﺍﻟﻘ‪ ‬ﺪﻡ ‪، ۱ ‬‬ ‫‪ ‬ﻭﺍﻟﺬﺭﺍﻉ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻐﺎﻟﺐ‪ ‬ﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﻗ‪ ‬ﺪﻡ‪ ‬ﻭﺭﺍﺣﺘ‪ ‬ﻲ‪ ‬ﻳ‪ ‬ﺪ‪ ،‬ﻭ‪ ‬ﺗﺘﻔ‪ ‬ﺎﻭﺕ‪ ‬ﺃﻃ‪ ‬ﻮﺍﻝ‪ ‬ﺍﻷﺫﺭﻉ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺠ‪ ‬ﺪﻭﻝ‬ ‫‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤٥٫٥ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺘﻮﻧﺴﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤۷٫۳ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﻤﻠﻜﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٥۲٫٤ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻐﺮﺑﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٥۳٫۳ – ٥۱٫۷ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤٦٫۳ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻬﻨﺪﻱ‪ ‬ﻓﻲ‪ ‬ﻛﻠﻜﺘﺎ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤٤٫۷ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤٤٫٤ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺴﻴﻼﻧﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٤۷ ‬ﺳﻢ‬

‫‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻔﻴﻨﻴﺴﻲ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٥۲٫۲ ‬ﺳﻢ‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﻌﺮﺏ‪ ‬ﻓﻠﺪﻳﻬﻢ‪ ‬ﺍﻟﻤﻘﻴﺎﺱ‪ ‬ﺍﻟﻌﻤﺮ‪ ‬ﻱ‪ ­ ‬ﻧﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻋﻤﺮ‪ ‬ﺑﻦ‪ ‬ﺍﻟﺨﻄﺎﺏ‪ ­ ‬ﻭﺍﻟﺬﻱ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ٦٤ ‬ﺳﻢ‬

‫‪۲ ‬‬

‫‪ ‬ﻭﺛﺎﻧﻴﻬﻤﺎ‪ ‬ﺍﻟﻤﻘﻴﺎﺱ‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ، ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺟ‪ ‬ﺎءﺕ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﺍﻟﺜ‪ ‬ﻮﺭﺓ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻴﺔ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﺭﺳ‪ ‬ﻤﻴﺎ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۸٤۰ ‬ﻭﺗ‪ ‬ﻢ‬ ‫‪ ‬ﺗﺼ‪ ‬ﺪﻳﺮﻩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧ‪ ‬ﻮﺍﺣﻲ‪ ‬ﺍﻷﺭﺽ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﺃ‪ ‬ﺛﻨ‪ ‬ﺎء‪ ‬ﻋﻤﻠﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘﺒ‪ ‬ﺎﺩﻝ‪ ‬ﺍﻟﺘﺠ‪ ‬ﺎﺭﻱ‪ ،‬ﻭﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻛﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻟﻤﻲ‬ ‫‪ Système Internationale des Unités ‬ﺃﻭ‪ ، ( SI ) ‬ﻭﻗﺪ‪ ‬ﺃﺧﺬ‪ ‬ﺍﻟﻤﻘﻴﺎﺱ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻧﻔﺴﻬﺎ‪ ‬ﻭﺑﺎﻟﺘﺤﺪﻳ‪ ‬ﺪ‪۰۰۰ \ ۱ ‬‬ ‫‪ ۱۰ ۰۰۰ ‬ﻣﻦ‪ ‬ﺧﻂ‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺃﻭ‪ ٤۰ ۰۰۰ ۰۰۰ \ ۱ ‬ﻣﻦ‪ ‬ﻣﺤﻴﻂ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﺧﻂ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻷﺭﺽ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻤ‪ ‬ﺮ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺩﻧﻜ‪ ‬ﺮﺕ‬ ‫‪ Dunkirt ‬ﻭﺑﺮﺷﻠﻮﻧﺔ ‪ ، ۳ Barcelona ‬ﻭﻫﻮ‪ ‬ﺳ‪ ‬ﻬﻞ‪ ‬ﺍﻟﺘﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺪﻡ‪ ‬ﺍﺭﺗﺒﺎﻃ‪ ‬ﻪ‪ ‬ﺑﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎ‪ ‬ﻥ‪ ‬ﻟﻜﻮﻧ‪ ‬ﻪ‬ ‫‪ ‬ﻣﺒﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻌﺸﺮﻱ‬

‫‪ ‬ﺃﻗﺪﻡ‪ ‬ﻣﻘﻴﺎﺱ‪ ‬ﻟﻠﻄﻮﻝ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺫﺭﺍﻋﻴﻦ‪ ‬ﻟﺠﻮﺩﻳﺎ ‪ Gudea ‬ﻣﻠﻚ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺑﻠﻴﻴﻦ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۲۲ ‬ﻕ‪ . ‬ﻡ‪ . ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪، ۹۹۰ ‬‬ ‫‪ ۹۹٦ ‬ﻣﻢ‪ ‬ﻣﻤﺎ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﺟﺪﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺘﺮ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﻌﻤﻠﺖ‪ ‬ﻭﺣﺪﺍﺕ‪ ‬ﻣﻮﺩﻳﻮﻟﻴﺔ‪ ‬ﻗﺮﻳﺒ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺘ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻬ‪ ‬ﺪ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻳﻢ‪،‬‬ ‫‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺍﻗﺘﺮﺑ‪ ‬ﺖ‪ ‬ﺃﻗﻄ‪ ‬ﺎﺭ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺘ‪ ‬ﺮ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﺛﻴﺰﻳ‪ ‬ﻮﻥ ‪ Theseion ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺛﻴﻨ‪ ‬ﺎ‬ ‫‪ ۱٫۰۰٤ ‬ﻡ‪ ،‬ﻭﻣﻌﺒﺪ‪ ‬ﺃﺟﻴﻨ‪ ‬ﺎ ‪ ۱٫۰۱ Aegina ‬ﻡ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻭﺟ‪ ‬ﺪ‪ ‬ﺗﺸ‪ ‬ﺎﺑﻬﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻭﻧﻈ‪ ‬ﺎﻡ )‪Em­Phi (MF‬‬

‫‪LC, ‘ Modulor 2 ’, p.51 1 ‬‬ ‫‪2 ‬‬ ‫‪Ibid, p.52 ‬‬ ‫‪ 3 ‬ﻭﺻﻒ‪ ‬ﺍﻟﻤﺘﺮ‪ ‬ﻋﻠﻤﻴﺎ‪ ‬ﻋﺎﻡ‪ ۱۹٦۰ ‬ﺑﺄﻧﻪ‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﻤﻮﺟﻲ‪ ‬ﻟﺨﻂ‪ ‬ﺍﻧﺒﻌﺎﺙ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﺍﻟﺒﺮﺗﻘﺎﻟﻲ‪ ‬ﺍﻟﻤﺤﻤﺮ‪ ‬ﻓﻲ‪ ‬ﻃﻴﻒ‪ ‬ﺍﻟﻜﺮﻳﺒﺘﻮﻥ‪ krypton ­86 ‬ﻓﻲ‪ ‬ﺍﻟﻔﺮﺍﻍ‪، ‬‬ ‫‪ ‬ﻭﺗﻢ‪ ‬ﺍﺳﺘﺒﺪﺍﻝ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﻌﺮﻳﻒ‪ ‬ﻋﺎﻡ‪ ۱۹۸۳ ‬ﺑﺎﻟﻤﺴﺎﻓﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻘﻄﻌﻬﺎ‪ ‬ﺍﻟﻀﻮء‪ ‬ﺧﻼﻝ‪ ۲۹۹۷۹۲٤٥۸ \ ۱ ‬ﻣﻦ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‬

‫‪­ ۱۲۱ ­ ‬‬

‫‪ system ‬ﻓﻲ‪ ‬ﻗﻴﻢ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻤﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺣﺪ‪ ‬ﻛﺒﻴﺮ‪ ،‬ﻭﻫﻮ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺃﻣﺮﻳ‪ ‬ﻜﻲ‪ ‬ﺃﻭﺟﺪ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﻣﻮﺩﻳﻮﻟﻴ‪ ‬ﺔ‪ ‬ﺗﺒﻠ‪ ‬ﻎ‪ ۱۰۱٫٦ ‬ﻣ‪ ‬ﻢ‪ ‬ﺑﻀ‪ ‬ﺮﺑﻬﺎ‬ ‫‪ ‬ﻓﻲ‪ ۱٫٦۱۸۰۳٤ ‬ﻧﺤﺼﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻟﻨﻈﺎﻡ‬

‫‪۱ ‬‬

‫‪ ‬ﺗﺤﺪﺙ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﻮﻥ‪ ‬ﺧﻼﻝ‪ ‬ﻓﺘﺮﺗﻬﻢ‪ ‬ﺍﻟﻮﺍﻋﺪﺓ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺣﻮﻝ‪ ‬ﻋﺎﻡ‪ ۱۹۱۰ ‬ﻋﻦ‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ ،‬ﻭﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻟﺤﻈﺔ‪ ‬ﺍﻟﺤﺮﻳﺔ‪ ‬ﺍﻟﻼﻧﻬﺎﺋﻴﺔ‪ ‬ﺍﻟﺤﺎﺿﺮﺓ‪ ‬ﺑﻮﺍﺳﻄﺔ‪ ‬ﺍﻧﺴﺠﺎﻡ‪ ‬ﺳﻌﻴﺪ‪ ‬ﻣﺴﺘﺜﻨﻰ‪ ‬ﻟﻠﻮﺳﺎﺋﻂ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ‬ﺍﻟﻤﻮﻇ‪ ‬ﻔﺔ‪ ‬ﻟﻠﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ،‬ﻭﻫ‪ ‬ﻮ‬ ‫‪ ‬ﻻ‪ ‬ﻳﻨ‪ ‬ﺘﺞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮ‪ ‬ﺍﻟﻤﻮﺿ‪ ‬ﻮﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺨﺘ‪ ‬ﺎﺭﻩ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﺑ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻷﺷ‪ ‬ﻴﺎء‪ ‬ﻭﻧﺴ‪ ‬ﺒﻬﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪،‬‬ ‫‪ ‬ﻭﺧﺼﺎﺋﺺ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﻭﺃﻫﻢ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﻭﻓﺎء‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﻷﻫﺪﺍﻓﻪ‪ ‬ﻭﻣﻔﺎﻫﻴﻤﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻌﺘﻨﻘﻬ‪ ‬ﺎ‪ ‬ﺑﺤﺪﺳ‪ ‬ﻪ‪ ‬ﻭﺑﺪﻳﻬﻴﺘ‪ ‬ﻪ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺒﻮﺡ‪ ‬ﺑﺄﺳﺮﺍﺭﻫﺎ‪ ‬ﻷﻭﻟﺌﻚ‪ ‬ﺍﻟﺬﻳﻦ‪ ‬ﻳﺴﺘﺤﻘﻮﻧﻬﺎ‪ ‬ﻓﻘﻂ‪. ‬‬

‫‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻷﻋ‪ ‬ﻮﺍﻡ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ۱۹۲۱ – ۱۹۱۸ ‬ﻗ‪ ‬ﺮﺃ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ ‬ﻷﻭﺟﺴ‪ ‬ﺖ‪ ‬ﺷﻮﻳﺴ‪ ‬ﻲ ‪Auguste Choisy ‬‬

‫‪ ‬ﻋﺪﺓ‪ ‬ﺻﻔﺤﺎﺕ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﻤ‪ ‬ﺔ‪ ‬ﻟﻠﺸ‪ ‬ﻜﻞ‪ ،‬ﻭﻻﺣ‪ ‬ﻆ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺆﻛ‪ ‬ﺪ‪ ‬ﺇﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺗﺤﻜ‪ ‬ﻢ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﺑﻤ‪ ‬ﺎ‬ ‫‪ ‬ﺣﻮﻟﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺧﻄﻮﻁ‪ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺑﺎﻟﺘﻜﻮﻳﻦ‪ ‬ﻛﻠﻪ‪ ،‬ﻭﺑﺪﺃ‪ ‬ﺗﻨﻔﻴ‪ ‬ﺬ‪ ‬ﺃﻭﻟ‪ ‬ﻰ‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﺍﻟﻤﻌﺘﻤ‪ ‬ﺪﺓ‬ ‫ﻋ‪ ‬ـﻠﻰ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﻗ‪ ‬ـﺪ‪ ‬ﺍﻫﺘﻤ‪ ‬ﺖ‪ ‬ﻭﺍﺟﻬ‪ ‬ﺎﺕ‪ ‬ﻣﺒ‪ ‬ـﺎﻧﻴﻪ * ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔﺘ‪ ‬ﺮﺓ‪ ‬ﺍﻟﺘﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺎﻟﺨﻄﻮﻁ‬ ‫‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﻻﺣﻆ‪ ‬ﻓﻲ‪ ‬ﺃﺳﻔﺎﺭﻩ‪ ‬ﺍﻟﻼﺣﻘ‪ ‬ﺔ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﺗﻌﺮﻓ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺒﺪﺍﺋﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﺘﻘﺪﻣ‪ ‬ﺔ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﺴ‪ ‬ﻘﻒ‬ ‫‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻟﺒﻠ‪ ‬ﺪﺍﻥ‪ ‬ﻳﻘ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ۲۲۰ – ۲۱۰ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺘﻘ‪ ‬ﺎﺭﺏ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺃﺻ‪ ‬ﺎﺑﻊ‪ ‬ﻳ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪. ‬‬

‫‪ ‬ﻛﺘﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﺎﻡ‪ ۱۹۲۰ ‬ﻓﻲ‪ ‬ﻣﺠﻠﺔ‪ ‬ﺍﻟ‪ ‬ﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ : ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺃﻥ‪ ‬ﻧﺴ‪ ‬ﻌﻰ‪ ‬ﻟﺘﺤﻘﻴ‪ ‬ﻖ‪ ‬ﺍﻟﻤﻌﻴ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ ‪standard ‬‬

‫‪ ‬ﻟﻤﻮﺍﺟﻬﺔ‪ ‬ﻋﻘﺒﺎﺕ‪ ‬ﺍﻟﻜﻤﺎﻝ‪ ،‬ﻓﺎﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻧﺎﺗﺞ‪ ‬ﻋﻦ‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﻣﻄﺒﻖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻌﻴ‪ ‬ﺎﺭ‪ ‬ﻷﻥ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﻣﻌﺘﻤ‪ ‬ﺪﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﻣﻌﻴﺎﺭ‪ ‬ﻧﺎﺗﺞ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻤﻨﻄﻖ‪ ‬ﻭﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﻭﺍﻟﺪﺭﺍﺳﺔ‪ ‬ﺍﻟﺠﺎﺩﺓ‪ ‬ﻭﺍﻟﻌﺮﺽ‪ ‬ﺍﻟﺪﻗﻴﻖ‪ ‬ﻟﻠﻤﺸﻜﻼﺕ‪ ،‬ﻭﻳﺘﺤﻘﻖ‪ ‬ﺑﺎﻟﺘﺠﺮﻳﺐ‪. ‬‬

‫‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻧﺸ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﺎﺗﻴﻼ‪ ‬ﺟﻴﻜ‪ ‬ﺎ ‪ Matila Ghyka ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻝ‪ " ‬ﺟﻤﺎﻟﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻔﻨ‪ ‬ﻮﻥ‪The " ‬‬

‫‪ Esthetics of Proportion in Nature & Arts ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۲۷ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﻜ‪ ‬ﻦ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﺘﺘﺒﻌ‪ ‬ﺎ‪ ‬ﻟﻠﺠ‪ ‬ﺪﻝ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﻲ‬ ‫‪ ‬ﺍﻟﻘﺎﺋﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻌﺎﺩﻻﺕ‪ ‬ﺍﻟﺠﺒﺮﻳﺔ‪ ،‬ﻟﻜﻨﻪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﻘ‪ ‬ﺒﺾ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻌ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻌﺘﺒ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻃﺒﻴﻌﺘﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﺮﺋﻴﺴﻲ‪ ‬ﺻﺎﺣﺐ‪ ‬ﺍﻟﻘﻴﻤﺔ‬

‫‪۲ ‬‬

‫‪LC, ‘ Modulor 2 ’, p. 1 ‬‬ ‫* ‪ ‬ﻭﺍﺟﻬﺎﺕ‪ ‬ﻣﺒﺎﻧﻴﻪ‪ ‬ﻓﻘﻂ‪ ‬ﻣﻦ‪ ‬ﺩﻭﻥ‪ ‬ﺑﻘﻴﺔ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‬ ‫‪2 ‬‬ ‫‪see L C, ' The Modulor ' pp.29 ­ 30‬‬

‫‪­ ۱۲۲ ­ ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﺃﻧﺪﺭﻳﺎﺱ‪ ‬ﺳﺒﻴﺰﺭ ‪ Andreas Speiser ‬ﺍﻟﺒﺮﻭﻓﻴﺴﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺯﻳ‪ ‬ﻮﺭﻳﺦ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻧﺘ‪ ‬ﺎﺋﺞ‪ ‬ﺑﺤﺜ‪ ‬ﻪ‬ ‫‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺠﻤﻮﻋ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﺰﺧ‪ ‬ﺎﺭﻑ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ،‬ﻭﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻨﻮﺗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﻟﺒ‪ ‬ﺎﺥ‬ ‫‪ ‬ﻭﺑﻴﺘﻬﻮﻓﻦ‪ ،‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﻌﺘﻤﺪ‪ ‬ﺟﻤﻴﻌﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺠﺒﺮ‪ ‬ﺍﻟﺤﺴﺎﺑﻲ‪ ،‬ﻭﻭﺍﻓﻖ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻨﺘ‪ ‬ﺎﺋﺞ‪ ‬ﺑﻘﻮﻟ‪ ‬ﻪ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‬ ‫‪ ‬ﻣﺤﻜﻮﻣﺔ‪ ‬ﺑﺎﻟﺮﻳﺎﺿﻴﺎﺕ‪ ،‬ﻭﺭﻭﺍﺋﻊ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻣﺘﻮﺍﻓﻘ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺗﺒ‪ ‬ﻴﻦ‪ ‬ﻗﻮﺍﻧﻴﻨﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻨﻮﻋﺔ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ،‬ﻭﺍﻟﻔﻨ‪ ‬ﺎﻥ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻮﺳ‪ ‬ﻴﻂ‬ ‫‪ ‬ﻟﻠﻤﻄﻠ‪ ‬ﻖ‪ ‬ﺍﻟﻼﻣﺘﻨ‪ ‬ﺎﻫﻲ‪ ،‬ﺑﺤﺴﺎﺳ‪ ‬ﻴﺘﻪ‪ ‬ﺍﻟﻼﻣﺤ‪ ‬ﺪﻭﺩﺓ‪ ‬ﻳﺸ‪ ‬ﻌﺮ‪ ‬ﺑﺎﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻭﻳﺘﺮﺟﻤﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ،‬ﻓﻬ‪ ‬ﻮ‪ ‬ﺍﻟﻀ‪ ‬ﺤﻴﺔ‪ ‬ﻭﺍﻟﻤ‪ ‬ﺆﻭﻝ‬ ‫‪ ‬ﻟﻤﺼﻴﺮﻩ‪ ‬ﻓﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣﺪ‪ ،‬ﻳﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﻄﺒﻴﻌـﺔ‪ ‬ﻣﺜﻠﻤﺎ‪ ‬ﺗﺤﺘﻮﻱ‪ ‬ﻫﻲ‪ ‬ﻋﻠﻴﻬﺎ‪. ‬‬

‫‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺃﻋﻮﺍﻡ‪ ۱۹۳۳ – ۱۹۲٥ ‬ﺃﺣﺲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺤﺎﺟﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﻣﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﺩﻓﻌ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺭﺳ‪ ‬ﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺎﺋﻂ‪ ‬ﻣﺮﺳﻤﻪ‪ ‬ﻣﻘﻴﺎﺱ‪ ‬ﻣﺘﺮﻱ‪ ‬ﺑﺎﺭﺗﻔﺎﻉ‪ ‬ﺃﺭﺑﻌﺔ‪ ‬ﺃﻣﺘﺎﺭ‪ ‬ﻳﻤﻜﻨﻪ‪ ‬ﻣﻦ‪ ‬ﻣﻮﺍﺟﻬﺔ‪ ‬ﻧﻔﺴﻪ‪ ‬ﺃﻣﺎﻡ‪ ‬ﻣﺎ‪ ‬ﻳﺴﺘﻄﻴﻊ‪ ‬ﻗﻴﺎﺳﻪ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻣﻨﺤﻮﺗﺎﺗﻪ‪ ‬ﻭﻟﻮﺣﺎﺗﻪ‪ ،‬ﻭﻫﻮ‪ ‬ﻳﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺣﻘﻴﻘﻴﺔ‪ ‬ﻷﻭﺿﺎﻉ‪ ‬ﺇﻧﺴﺎﻧﻴﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﺑﻴﻨﺖ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﺠﺮﺑﺔ‪ ‬ﺃﻧﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﺮﻏﻢ‪ ‬ﻣﻦ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ‬ﻫﻮ‪ ‬ﻧﻈﺎﻡ‪ ‬ﻋﺪﺩﻱ‪ ‬ﺳﻬﻞ‪ ‬ﺍﻟﺤﺴﺎﺏ‪ ‬ﺇﻻ‪ ‬ﺃﻧﻪ‪ ‬ﻏﻴﺮ‪ ‬ﻗﺎﺩ‪ ‬ﺭ‪ ) ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ( ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻜﺎﻓ‪ ‬ﺄﺓ‬ ‫‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﺑﺮﻗﻢ‪ ‬ﺻﺤﻴﺢ‪ ،‬ﻭﻳﺸﻜﻞ‪ ‬ﻣﻨﻔﺮﺩﺍ‪ ‬ﺃﺩﺍﺓ‪ ‬ﺧﻄﻴﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺍﻻﻋﺘﻤﺎﺩ‪ ‬ﻋﻠﻰ‪ ‬ﻛﺴﻮﺭﻩ‪ ‬ﺍﻟﺼﺮﻳﺤﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ۲ \ ۱ ‬ﻣﺘ‪ ‬ﺮ‪٤ \ ۱ ،‬‬ ‫‪ ‬ﻣﺘﺮ‪ ... ،‬ﺇﻟﺦ‪ ، ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺑﺪﺃ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻴﺎ‪ ‬ﺑﺘﻄ‪ ‬ﻮﻳﺮ‪ ‬ﻧﻈﺎﻣ‪ ‬ﻪ‪ ‬ﻟﻠﺘﻄﺒﻴ‪ ‬ﻊ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ ‪normalization AFNOR ‬‬

‫‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﻧﺘﻬﻰ‪ ‬ﺑﻪ‪ ‬ﺍﻟﻤﻄﺎﻑ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺼﻮﺭﺓ‪ ‬ﺍﻟﺤﺎﻟﻴﺔ‪ ‬ﺍﻟﻨﻬﺎﺋﻴﺔ‪. ‬‬

‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٤٥ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺗﻌﻠﻴ‪ ‬ﻖ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺑﺤ‪ ‬ﺚ‪ ‬ﺍﻟ‪ ‬ﺪﻛﺘﻮﺭ‪ ‬ﻫﻮﻧ‪ ‬ﻮﺭﻳﺲ‪ Honoris ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﻠﺴ‪ ‬ﻔﺔ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‬ ‫‪ ‬ﻭﺍﻟﻔﺮﺍﻍ‪ forms & space ‬ﻗﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ " ‬ﺇﻥ‪ ‬ﺍﻻﻫﺘﻤﺎﻡ‪ ‬ﺑﺎﻟﻔﺮﺍﻍ‪ ‬ﻫﻮ‪ ‬ﺃﻭﻝ‪ ‬ﺇﻳﻤﺎءﺍﺕ‪ ‬ﺍﻟﺤﻴﺎﺓ‪ ‬ﺳ‪ ‬ﻮﺍء‪ ‬ﻟﻺﻧﺴ‪ ‬ـﺎﻥ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻟﺤﻴﻮﺍﻥ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺣﺘﻰ‪ ‬ﺍﻟﺴ‪ ‬ـﺤﺎﺏ‪ ،‬ﻭﺍﺣ‪ ‬ـﺘﻼﻝ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻭﻝ‪ ‬ﺩﻟ‪ ‬ـﻴﻞ‪ ‬ﻋﻠ‪ ‬ـﻰ‪ ‬ﺍﻟﻮﺟ‪ ‬ـﻮﺩ‪ ( ... ) ‬ﻭﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‬ ‫‪ ‬ﻭﺍﻟﻨﺤﺖ‪ ‬ﻭﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺗﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ، ‬ﻣﺮﺗﺒﻄﺔ‪ ‬ﺑﺎﺣﺘﻴﺎﺟﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻻﺗﻔﺎﻕ‪ ‬ﻣﻌﻪ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻠﻪ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺃﺭﻳ‪ ‬ﺪ‬ ‫‪ ‬ﺗﺤﻘﻴﻘﻪ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻋﺘﺒﺎﺭ‪ ‬ﺃﻥ‪ ‬ﻣﻔﺘﺎﺡ‪ ‬ﺍﻟﻌﺎﻃﻔﺔ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻫﻮ‪ ‬ﻭﻇﻴﻔﺔ‪ ‬ﻟﻠﻔﺮﺍﻍ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻗﺴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻄﺮﻕ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻋﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻻﺗ‪ ‬ﺰﺍﻥ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ،‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ،‬ﺍﻟﻠﻮﻟﺐ‪ ) ‬ﺍﻟﺤﻠﺰﻭﻥ‪ ( ‬ﺍﻟﻠﻮﻏ‪ ‬ﺎﺭﻳﺘﻤﻲ‪ ،‬ﺍﻟﺨﻤﺎﺳ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ، ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺠﻤﻮﻋ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‬ ‫‪ ‬ﺑﺨﻼﻑ‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ‬ﻟﻠﺸﻜﻞ‪ ‬ﻓﻬﻲ‪ ‬ﻟﻴﺴﺖ‪ ‬ﻣﺨﻄﻂ‪ ‬ﺗﺼﻤﻴﻤﻲ‪ ‬ﻣﺴﺒﻖ‪ ‬ﺑﻞ‪ ‬ﺗﻨﺸ‪ ‬ﺄ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺣﺘﻴﺎﺟ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻟﻤﻮﺟ‪ ‬ﻮﺩ‬ ‫‪ ‬ﺑﺎﻟﻔﻌ‪ ‬ﻞ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺗﺴ‪ ‬ﺘﺤﺚ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻟﺼ‪ ‬ﻔﺎء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺘﻮﻯ‪ ‬ﺍﻻﺗ‪ ‬ﺰﺍﻥ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻟﺘﺤﻘ‪ ‬ﻖ‪ ‬ﻧﻘ‪ ‬ﺎء‪ ‬ﺣﻘﻴﻘﻴ‪ ‬ﺎ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻬ‪ ‬ﺎ‪ ‬ﻻ‪ ‬ﺗ‪ ‬ﺄﺗﻲ‬ ‫‪ ‬ﺑﺄﻓﻜﺎﺭ‪ ‬ﺃﻭ‪ ‬ﻣﻔﺮﺩﺍﺕ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﺃﻭ‪ ‬ﺗﻜﺴﺐ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﺇﻟﻬﺎﻣﺎ‪ ‬ﺧﺎﺻﺎ‪ ‬ﺑﻘﺪﺭ‪ ‬ﻣﺎ‪ ‬ﺗﻀﻔﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﺍﺗﺰﺍﻧﺎ‪ ‬ﺗﺸﻜﻴﻠﻴﺎ‬

‫‪1 ‬‬

‫‪Ibid, pp. 30 – 31‬‬

‫‪­ ۱۲۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳٤ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳٥ ‬‬

‫‪ ‬ﺃﺗﻴﺢ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻘﻴﺎﻡ‪ ‬ﺑﺒﺤﺚ‪ ‬ﻧﻈ‪ ‬ﺮﻱ‪ ‬ﻣﻜﺜ‪ ‬ﻒ‪ ‬ﻃ‪ ‬ﻮﺍﻝ‪ ‬ﺳ‪ ‬ﻨﻴﻦ‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﺿ‪ ‬ﻄﺮ‪ ‬ﻟﻐ‪ ‬ـﻠﻖ‪ ‬ﻣﻜﺘﺒ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪\ ٦ \ ۱۱ ‬‬ ‫‪ ۱۹٤۰ ‬ﻭﻃﻮﺍﻝ‪ ‬ﺃﺭﺑﻊ‪ ‬ﺳﻨﻮﺍﺕ‪ ‬ﺑﺪﺃ‪ ‬ﺣﻠﻤﻪ‪ ‬ﻳﺘﺤﺪﺩ‪ ‬ﻭﻳﺘﺸﻜﻞ‪ ‬ﺑﺎﻟﺘ‪ ‬ﺪﺭﻳﺞ‪ ‬ﺇﺫ‪ ‬ﺃﺭﺍﺩ‪ ‬ﺃﻥ‪ ‬ﻳﺠﻬ‪ ‬ﺰ‪ ‬ﺷ‪ ‬ﺒﻜﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺗﺨ‪ ‬ﺪﻡ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‬ ‫‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﻣﺎ‪ ‬ﺑﺎﻟﻜﺎﻣﻞ‪ ،‬ﻭﺗﻌﻄﻲ‪ ‬ﻟﻪ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻻ‪ ‬ﻣﻨﺘﻬﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻨﻮﻳﻌﺎﺕ‪ ،‬ﻭﻳﻌﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻭﺍﻟﻨﺠ‪ ‬ﺎﺭ‪ ‬ﻭﺍﻟﻤ‪ ‬ﻨ‪ ‬ﻈﻢ‪ ‬ﻟﻜ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ،‬ﻭﺍﺧﺘ‪ ‬ﺎﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺸ‪ ‬ﺒﻜﺔ‪ ‬ﺭﺟ‪ ‬ﻼ‪ ‬ﺭﺍﻓﻌ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺪﻩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻋﻠ‪ ‬ﻰ‪ ‬ﺑﺎﺭﺗﻔ‪ ‬ﺎﻉ‪ ۲۲۰ ‬ﺳ‪ ‬ﻢ‪ ‬ﻭﺍﺿ‪ ‬ﻌﺎ‪ ‬ﺇﻳ‪ ‬ﺎﻩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﺮﺑﻌﻴﻦ‬ ‫‪ ‬ﻣﺘﻼﺻﻘﻴﻦ‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻤﺎ‪ ۱۱۰ ‬ﺳﻢ‪ ،‬ﺛﻢ‪ ‬ﺃﺿﺎﻑ‪ ‬ﻣﺮﺑﻌﺎ‪ ‬ﻣﺘﺴﺎﻭﻳﺎ‪ ‬ﻓﻲ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻣﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ ‪.‬‬

‫‪­ ۱۲٤ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳٦ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱۳۷‬‬

‫‪­ ۱۲٥ ­ ‬‬

‫‪ ‬ﺑﻌﺪ‪ ‬ﺗﻨﺼﻴﻒ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻜﻠﻲ‪ ،‬ﻭﺇﺿﺎﻓﺔ‪ ‬ﺧﻂ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺪ‪ ‬ﻣﻤﺎﺛﻞ‪ ‬ﻟ‪ ‬ﻤ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﻭﺧ‪ ‬ﻂ‪ ‬ﺍﻟﺘﻨﺼﻴﻒ‪،‬ﻧﺤﺼ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﺘﺎﺋﺞ‪ ‬ﺍﻟﻬﺎﻣﺔ‪ ،‬ﻭﻫﻲ‪: ‬‬

‫‪ . ۱ ‬ﻗﺴﻢ‪ ‬ﺧﻂ‪ ‬ﺍﻟﺘﻨﺼﻴﻒ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺴﺎﻓﺘﻴﻦ‪ ‬ﻣﺘﺴﺎﻭﻳﺘﻴﻦ‪. ‬‬ ‫‪ . ۲ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺧ‪ ‬ﻂ‪ ‬ﺍﻟﺘﻨﺼ‪ ‬ﻴﻒ‪ ‬ﻭﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﺍﻷﺻ‪ ‬ﻠﻲ‪ ‬ﺍﻟﺴ‪ ‬ﻔﻠﻰ‪ = ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﻀ‪ ‬ﺎﻑ‪ ‬ﻭﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﺍﻟﻌﻠﻴﺎ‪ = ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﺍﻟﻌﻠﻴﺎ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻋﻠﻰ‪. ‬‬ ‫‪ . ۳ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺧ‪ ‬ﻂ‪ ‬ﺍﻟﺘﻨﺼ‪ ‬ﻴﻒ‪ ‬ﻭﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﺍﻟﻌﻠﻴ‪ ‬ﺎ‪ = ‬ﻳﺴ‪ ‬ﺎﻭﻱ‪ ‬ﺍﻧﻌﻜ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺧ‪ ‬ﻂ‪ ‬ﺗﻨﺼ‪ ‬ﻴﻒ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﻀﺎﻑ‪ = ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﺍﻟﺴﻔﻠﻰ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻣﻦ‪ ‬ﺃﺳﻔﻞ‪. ‬‬ ‫‪ . ٤ ‬ﺍﻟﻤﺴﺎﻓﺘﺎﻥ‪ ‬ﺍﻟﻼﺗﻲ‪ ‬ﻻ‪ ‬ﺗﺘﻜﺮﺭﺍﻥ‪ ‬ﻫﻤﺎ‪ : ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺧﻂ‪ ‬ﺍﻟﺘﻨﺼﻴﻒ‪ ‬ﻭﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﻀ‪ ‬ﺎﻑ‪ ،‬ﻭﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﺍﻟﻌﻠﻴﺎ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﻔﻞ ‪. ‬‬ ‫‪ . ٥ ‬ﻫﻨﺎﻙ‪ ‬ﻣﺴﺘﻄﻴﻼﻥ‪ ‬ﻣﺘﺸﺎﺑﻬﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻧﺴﺒﺘﻬﻤﺎ‪ ‬ﻛﻤﺎ‪ ‬ﻫﻮ‪ ‬ﻣﻮﺿﺢ‪ ‬ﺑﺎﻟﺸﻜﻞ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻓﻴﻬﻤ‪ ‬ﺎ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟ‪ ‬ﻮﺗﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻃ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺍﻟﻀﻠﻊ‪ ‬ﺍﻷﺻﻐﺮ‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ " ‪" F‬‬

‫‪ ‬ﻭﻟﻮ‪ ‬ﻃﺒﻘﺖ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻫﺬﻩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻭﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﻟﺤﺼﻠ‪ ‬ﻨﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﺠ‪ ‬ﺎﻧﺲ‪ ‬ﻭﺗﻮﺍﻓ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻷﺑﻌﺎﺩ‪ ،‬ﻭﻗﺪ‪ ‬ﻃﺒﻘﺖ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺤﺴﺎﺑﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪۱۹۳۷ L'llot Insalubre No.6 ، ۱۹۲٥ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻓﺒﺮﺍﻳﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﺎﻡ‪ ۱۹٤٥ ‬ﻋ‪ ‬ﺮﺽ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻧﻈﺮﻳﺘ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻡ‪ . ‬ﻣﻮﻧﺘ‪ ‬ﻞ ‪ M.Montel ‬ﻋﻤﻴ‪ ‬ﺪ‪ ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻮﻡ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺍﻟﺴﻮﺭﺑﻮﻥ‪ ‬ﻓﺄﺟﺎﺏ‪ ‬ﻗﺎﺋﻼ‪ : ‬ﻋﻨﺪﻣﺎ‪ ‬ﺗﻨﺠﺢ‪ ‬ﻓﻲ‪ ‬ﻭﺿﻊ‪ ‬ﺯﺍﻭﻳﺔ‪ ‬ﻗﺎﺋﻤﺔ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻣﺮﺑﻌﻴﻦ‪ ‬ﻓﺈﻧﻚ‪ ‬ﺗﻘﺪﻡ‪ ‬ﺍﻟﻮﻇﻴﻔ‪ ‬ﺔ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻟﺠﺬﺭ‪ ، ٥ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺗﻨﺘﺞ‪ ‬ﻗﻄﺎﻋﺎ‪ ‬ﺫﻫﺒﻴﺎ‪ ‬ﻣﺘﻄﻮﺭﺍ‬

‫‪۱ ‬‬

‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﺎﺭﺱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺃﺷ‪ ‬ﺮﻙ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣﻌ‪ ‬ﻪ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﻭﺟﻨﺴ‪ ‬ﻜﻲ ‪ ، Wogensky ‬ﻫ‪ ‬ﺎﻧﻨﺞ ‪، Hanning ‬‬ ‫‪ ‬ﺃﻭﺟﺎﻡ ‪ ، Aujame ‬ﺩﻭﻟﻮﺯ ‪ de Looze ‬ﻟﻠﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻨﺘﻬﻰ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ،‬ﻭﺍﺳ‪ ‬ﺘﻘﺮﻭﺍ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺷﺨﺺ‪ ‬ﻃﻮﻟﻪ‪ ۱۷٥ ‬ﺳﻢ‬

‫‪ ‬ﺑ‪ ‬ﺮﺯ‪ ‬ﺗﻮﺍﻓ‪ ‬ﻖ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ، ( ۲۸۳٫۲ – ۱۷٥ – ۱۰۸٫۲ – ٦٦٫۸ – ٤۱٫٤٥ – ۲٥٫٤ ) ‬ﻭﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‪ ،‬ﺣﻴﺚ‪ ‬ﺃﻥ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻤ‪ ‬ﻴﻦ‪ ‬ﻣﺘﺘ‪ ‬ﺎﻟﻴﻴﻦ‪ ‬ﻳﻜ‪ ‬ﻮّﻥ‪ ‬ﺍﻟ‪ ‬ﺮﻗﻢ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻟﻬﻤ‪ ‬ﺎ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﻌﻰ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﺘﺴﺠﻴﻞ‪ ‬ﺷﺒﻜﺘﻪ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻛ‪ ‬ﺎﺧﺘﺮﺍﻉ‪ ‬ﺑﺎﺳ‪ ‬ﻤﻪ‪ ، ‬ﻭﺑﺎﻟﻔﻌ‪ ‬ﻞ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻉ‪ ‬ﺇﻗﻨ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻤﻬﻨ‪ ‬ﺪﺱ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺌﻮﻝ‪ ‬ﺑﺄﻫﻤﻴ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪1 ‬‬

‫‪Ibid, pp. 43‬‬

‫‪­ ۱۲٦ ­ ‬‬

‫‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺑﻌﺪ‪ ‬ﻋﺪﺓ‪ ‬ﻣﺮﺍﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﺮﺡ‪ ‬ﻭﺍﻟﺘﻔﺴﻴﺮ‪ ،‬ﻭﺗﻢ‪ ‬ﺃﺧﺬ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻻﺧﺘـﺮﺍﻉ‪ ‬ﺑﻌﻴﻦ‪ ‬ﺍﻻﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻗﺘﺼ‪ ‬ﺎﺩﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗ‪ ‬ﺪﺭ‬ ‫‪ ‬ﻛﺒﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻫﻤﻴﺔ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۳۸ ‬‬

‫‪ ‬ﺑﻌﺪ‪ ‬ﺣﻮﺍﻟﻲ‪ ‬ﺳﻨﺔ‪ ،‬ﻭﺧﻼﻝ‪ ‬ﺍﻹﻋﺪﺍﺩ‪ ‬ﻟﻄﺮﺡ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻷﺳﻮﺍﻕ‪ ‬ﻛﻤﻌﺎﻭﻥ‪ ‬ﻟﻔﺘ‪ ‬ﺮﺓ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺤ‪ ‬ﺮ‪ ‬ﺏ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻋ‪ ‬ﺎﺩﺓ‪ ‬ﺑﻨ‪ ‬ﺎء‬ ‫‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻛﻦ‪ ‬ﺍﻟﺠ‪ ‬ﺎﻫﺰﺓ‪ ،‬ﻭﻣ‪ ‬ﻊ‪ ‬ﺍﺗﻀ‪ ‬ﺎﺡ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺭﺓ‪ ‬ﺗ‪ ‬ﺪﺭﻳﺠﻴﺎ‪ ،‬ﺷ‪ ‬ﻌﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺇﺫﺍ‪ ‬ﺩﻋ‪ ‬ﺖ‪ ‬ﺍﻟﺤﺎﺟ‪ ‬ﺔ‪ ‬ﻻﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﻋﺎﻟﻤﻴﺎ‪ ‬ﻓﻴﺠﺐ‪ ‬ﺃﻥ‪ ‬ﺗﺨﺪﻡ‪ ‬ﻧﻈﺎﻣﻲ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﻣﻌﺎ‪ : ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‪ ،‬ﻭﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ،‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗ‪ ‬ﺖ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺑﺪﺃ‪ ‬ﺭﺟﺎﻝ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﻳﻨﺼﺤﻮﻧﻪ‪ ‬ﺑﺎﻻﺳﺘﻔﺎﺩﺓ‪ ‬ﻣﻦ‪ ‬ﺑﺮﺍءﺓ‪ ‬ﺍﻻﺧﺘ‪ ‬ﺮﺍﻉ‪ ‬ﻭﺃﺧـﺬ‪ ‬ﻧﺴـﺒﺔ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ‬ﻋﻤﻠﻴﺔ‪ ‬ﺇﻧﺸﺎء‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﺗﺴ‪ ‬ﺘﺨﺪﻡ‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﻧﺸﺮ‪ ‬ﻭﻛﺎﻻﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺑﻠ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﻟﻤﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﺍﻻﺟ‪ ‬ﺮﺍءﺍﺕ‪ ‬ﻭﺍﻹﺷ‪ ‬ﺮﺍﻑ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ،‬ﻭﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺛﺎﻟﺜ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻣﻠﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺎﻝ‪ ‬ﻳﺼ‪ ‬ﻔﻮﻥ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺸ‪ ‬ﺒﻜﺔ‪ ‬ﺑﺎﻟﺼ‪ ‬ﺮﺍﻣﺔ‪ ‬ﻭﺍﻟﻘﺴ‪ ‬ﻮﺓ‪ ‬ﻭﻳﻄ‪ ‬ﺎﻟﺒﻮﻥ‪ ‬ﺑ‪ ‬ﺒﻌﺾ‬ ‫‪ ‬ﺍﻟﺘﻌﺪﻳﻼﺕ‪ ‬ﻭﻟﻮ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ % ٥ ‬ﻓﻘﻂ‬

‫‪ ‬ﺣﺴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻣﺮﺍ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻭﺫﻫﺐ‪ ‬ﺇﻟﻰ‪ ‬ﻭﻛﺎﻟﺔ‪ ‬ﺑﺮﺍءﺍﺕ‪ ‬ﺍﻻﺧﺘﺮﺍﻉ‪ ‬ﻭﺃﺑﻠﻐﻬﻢ‪ ‬ﺭﺳﻤﻴﺎ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻻ‪ ‬ﻳﻨ‪ ‬ﻮﻱ‪ ‬ﺻ‪ ‬ﻨﻊ‪ ‬ﺛ‪ ‬ﺮﻭﺓ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﺧﺘﺮﺍﻋﻪ‪ ،‬ﻓﻬﻲ‪ ‬ﻟﻴﺴﺖ‪ ‬ﻣﺴﺄﻟﺔ‪ ‬ﺃﻣﻮﺍﻝ‪ ‬ﺑﻘﺪﺭ‪ ‬ﻣﺎ‪ ‬ﻫﻲ‪ ‬ﻣﺴﺄﻟﺔ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﻋﻤﻠ‪ ‬ﻲ‪ ‬ﻻﻛﺘﺸ‪ ‬ﺎﻑ‪ ‬ﻓﻀ‪ ‬ﺎﺋﻞ‪ ‬ﻭﺃﺧﻄ‪ ‬ﺎء‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺨﺘﻠ‪ ‬ﻒ‪ ‬ﺍﻟﻈ‪ ‬ﺮﻭﻑ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﺗﺤﺴ‪ ‬ﻴﻨﻪ‪ ‬ﻭﺗﻄ‪ ‬ﻮﻳﺮﻩ‪ ،‬ﻭﺃﻧ‪ ‬ﻪ‪ ‬ﻻ‪ ‬ﻳﺮﻳ‪ ‬ﺪ‪ ‬ﻣﺆﺳﺴ‪ ‬ﺎﺕ‪ ‬ﺗﺠﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺃﻭ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻞ‬ ‫‪ ‬ﺩﻋﺎﺋﻴﺔ‪ ،‬ﻓﻠ‪ ‬ﻮ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻻﺧﺘ‪ ‬ﺮﺍﻉ‪ ‬ﺟﻴ‪ ‬ﺪﺍ‪ ‬ﺑﻬ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻘ‪ ‬ﺪﺭ‪ ‬ﻷﺭﺍﺩ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻳﻮ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻣﻪ‪ ،‬ﻭﻟﻜ‪ ‬ﺮﺱ‪ ‬ﺍﻟﻌﺪﻳ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﻭﻗﺘ‪ ‬ﻪ‬ ‫‪ ‬ﻟﺪﺭﺍﺳﺘﻪ‪ ‬ﻭﺗﻌﻤﻴﻤﻪ‪ ،‬ﺑﺪﻻ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﻌﻠ‪ ‬ﻪ‪ ‬ﻳﺠﻠ‪ ‬ﺐ‪ ‬ﺍﻟﺸ‪ ‬ﺮ‪ ‬ﻭﺍﻟﻌﻨ‪ ‬ﻒ‪ ‬ﻭﺍﻟﻬﻤﺠﻴ‪ ‬ﺔ‪ ‬ﻭﻣﺰﻳ‪ ‬ﺪﺍ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﻣ‪ ‬ﻮﺍﻝ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺮﺩﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﺩﺉ‪،‬‬ ‫‪ ‬ﻭﺭﺑﻤﺎ‪ ‬ﻳﺆﺧﺬ‪ ‬ﻓﻲ‪ ‬ﺍﻻﻋﺘﺒﺎﺭ‪ ‬ﻣﻦ‪ ‬ﻗﺒﻞ‪ ‬ﻣﺠﻠﺲ‪ ‬ﺍﻷ‪ ‬ﻣﻢ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ‬ﻟﻼﻗﺘﺼﺎﺩ‪ ‬ﻭﺍﻻﺟﺘﻤ‪ ‬ﺎﻉ‪ ‬ﻭﻳ‪ ‬ﺘﻢ‪ ‬ﺗﻌﻤﻴﻤ‪ ‬ﻪ‪ ،‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻳﺤ‪ ‬ﻞ‪ ‬ﻣﺤ‪ ‬ﻞ‬ ‫‪ ‬ﻧﻈﺎﻣﻲ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﻴﻦ‪ ‬ﺍﻟﻠﺬﻳﻦ‪ ‬ﻻﺑﺪ‪ ‬ﻟﻬﻤﺎ‪ ‬ﻣﻦ‪ ‬ﻧﻬﺎﻳﺔ‪ ،‬ﻭﻫﻨ‪ ‬ﺎﻙ‪ ‬ﺗﻜﻤ‪ ‬ﻦ‪ ‬ﺍﻟﺴ‪ ‬ﻌﺎﺩﺓ‪ ‬ﻭﺍﻟﻨﺠ‪ ‬ﺎﺡ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺟﻬ‪ ‬ﺪ‪ ‬ﺟﻬﻴ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‬ ‫‪ ‬ﺍﻟﻌﻄﺎء‪ ‬ﻭﺍﻟﺘﻠﻘﻲ‪. ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱۳۹‬‬

‫‪­ ۱۲۷ ­ ‬‬

‫‪ ‬ﺍﺗﺠﻬﺖ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ‬ﻧﺤﻮ‪ ‬ﻓﻜﺮﺓ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﻄﺎﻋﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺗﺘﺠﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺼﻔ‪ ‬ﺮ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﻭﺇﻟﻰ‪ ‬ﺍﻟﻼﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻨﺎﺣﻴﺔ‪ ‬ﺍﻷﺧﺮﻯ‪ ،‬ﻭﺗﻢ‪ ‬ﻋﻤﻞ‪ ‬ﺷﺮﻳﻂ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﺍﻟﻤﻘﻮﻯ‪ ‬ﺍﻟﻼﻣﻊ‪ ‬ﻳﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻣﺘﺪﺭﺟ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺼ‪ ‬ﻔﺮ‪ ‬ﻭﺣﺘ‪ ‬ﻰ‬ ‫‪ ۲٫۱٦٤ ‬ﻣﺘﺮﺍ‪ ‬ﻣﻌﺘﻤﺪﺓ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺭﺟﻞ‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﻪ‪ ۱٫۷٥ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ،‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻳﺤ‪ ‬ﺘﻔﻆ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﻴﺒ‪ ‬ﻪ‪ ‬ﻣﻠﻔﻮﻓ‪ ‬ﺎ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻋﻠﺒﺔ‪ ‬ﻓﻴﻠﻢ‪ ‬ﻗﺪﻳﻢ‪ ‬ﻟﻴﺴﺘﺨﺪﻣﻪ‪ ‬ﻓﻲ‪ ‬ﺃﻱ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻳﺮﻳﺪ‪ ‬ﻣﻘ‪ ‬ﺎﺭﻧﺔ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻓﻴﻪ‪. ‬‬ ‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺸﺮﻳﻂ‪ ‬ﺍﻟﻤﺘﺪﺭﺝ‪ ‬ﺍﺣﺘﻮﻯ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻣﺮﺍﻛﺰ‪ ‬ﺭﻳﺎﺿﻴﺔ‪ ‬ﻫﺎﻣﺔ‪ ،‬ﻭﻫﻲ‪: ‬‬ ‫‪۱۰۸ ‬‬

‫‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺃﻭ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺭﺍﻓﻌﺎ‪ ‬ﻳﺪﻩ‪ ،‬ﻭﻫﻮ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺴﺮﺓ‬

‫‪۲۱٦ ‬‬

‫‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺃﻭ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﻳﺪ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‬

‫‪۱۷٥ ‬‬

‫‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ، ( ۱۰۸ + ٦۷ ) ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﻗﺎﻣﺔ‪ ‬ﺍﻟﺸﺨﺺ‬

‫‪۸۳ ‬‬

‫‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﻣﻦ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ، ( ۱۳۳ – ۲۱٦ ) ‬ﻭﻫﻮ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‬

‫‪ ‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟ‪ ‬ﻨﻘﻂ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﻧﻘ‪ ‬ﻂ‪ ‬ﺣﻴﻮﻳ‪ ‬ﺔ‪ ‬ﻟﻤ‪ ‬ﺎ‪ ‬ﻳﺤﺘﻠ‪ ‬ﻪ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻮﺍﺿ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ،‬ﻭﻟﻬ‪ ‬ﺎ‪ ‬ﺍﺭﺗﺒ‪ ‬ﺎﻁ‪ ‬ﺭﻳﺎﺿ‪ ‬ﻲ‬ ‫‪ ‬ﺑﺎﻟﻘﺎﻋﺪﺓ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱٤۰ ‬‬

‫‪ ‬ﺛﻢ‪ ‬ﻧﺸﺄﺕ‪ ‬ﺳﻠﺴﻠﺘﺎﻥ‪ ‬ﺫﻫﺒﻴﺘﺎﻥ‪ ‬ﻣ‪ ‬ﻌﺘ‪ ‬ﻤﺪﺗﺎﻥ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺒﺪﺃ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺃﺳﺎﺳﻬﺎ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ۱۰۸ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺴﻠﺴ‪ ‬ﻠﺔ‬ ‫‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ،‬ﻭﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﺃﺳﺎﺳﻬﺎ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ۲۱٦ ‬ﻭﻫﻲ‪ ‬ﺍﻟﺴﻠﺴ‪ ‬ﻠﺔ‪ ‬ﺍﻟﺰﺭﻗ‪ ‬ﺎء‪ ،‬ﻭﺑﻮﺿ‪ ‬ﻌﻬﻤﺎ‪ ‬ﻣﺘﺠ‪ ‬ـﺎﻭﺭﺗﻴﻦ‪ ‬ﻧﺸ‪ ‬ﺄﺕ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‬ ‫‪ ‬ﺫﻫﺒﻴﺔ‪ ‬ﻣﺮﻛﺒﺔ‪ ‬ﺗﺘﺠﻪ‪ ‬ﻧﺤﻮ‪ ‬ﺍﻟﺼﻔﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺳﻔﻞ‪ ‬ﻭﻧﺤﻮ‪ ‬ﺍﻟﻼﻧﻬﺎﻳﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ ‪.‬‬

‫‪­ ۱۲۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۱ ‬‬

‫‪ ‬ﺑﻌﺪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺮﺣﻠﺔ‪ ‬ﺃﻃﻠﻖ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﻧﻈﺎﻣﻪ‪ ‬ﺍﺳﻢ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ Modulor ‬ﻭﻫﻮ‪ ‬ﻣﺰﻳﺞ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻛﻠﻤﺘ‪ ‬ﻲ‪ ‬ﻣﻮﺩﻳ‪ ‬ﻮﻝ‬ ‫‪ Module ‬ﻭﻗﻄ‪ ‬ﺎﻉ‪ ‬ﺫﻫﺒ‪ ‬ﻲ ‪ Sectiond'or ‬ﺃﻭ ‪ l’Or ‬ﺑ‪ ‬ﻤ‪ ‬ﻌﻨ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺐ‪ ‬ﺑﺎﻟﻔﺮﻧﺴ‪ ‬ﻴﺔ‪ ،‬ﻭﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺍﻟﺘﺴ‪ ‬ﻤﻴﺔ‪ ‬ﺿ‪ ‬ﺮﻭﺭﻳﺔ‪ ‬ﻫ‪ ‬ﻲ‬ ‫‪ ‬ﻭﺍﻟﺮﺳﻢ‪ ‬ﺍﻟﺘﻮﺿ‪ ‬ﻴﺤﻲ‪ ‬ﻟﻠﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻼﻣ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺠﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻭﺗﺴ‪ ‬ﺠﻴﻞ‪ ‬ﺻ‪ ‬ﻮﺭﺗﻪ‪ ‬ﺍﻟﻨﻬﺎﺋﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﺗﻮﺿ‪ ‬ﻴﺤﻲ‪ ‬ﻣﻨﺎﺳ‪ ‬ﺐ‪،‬‬ ‫‪ ‬ﻭﻭﺿﻊ‪ ‬ﺗ‪ ‬ﻌﺮﻳﻔﺎ‪ ‬ﻟﻪ‪ ‬ﻛﺄﺩﺍﺓ‪ ‬ﻗﻴﺎﺳﻴﺔ‪ ‬ﻣﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪. ‬‬

‫‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺍﻟﻮﺳ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺤ‪ ‬ﻴﻂ‪ ‬ﻳﺘﺠ‪ ‬ﺎﻭﺏ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻭﻳﻮﺟ‪ ‬ﻪ‪ ‬ﻧﻘ‪ ‬ﺪﻩ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ،‬ﻭﺃﺷ‪ ‬ﺪّ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻻﻧﺘﻘ‪ ‬ﺎﺩﺍﺕ‪ ‬ﺃﻥ‪ ‬ﻗ‪ ‬ﻴﻢ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﺎﺯﺍﻟﺖ‪ ‬ﻣﻘﺎﺳﺔ‪ ‬ﺑﺎﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ‬ﻓﻘﻂ‪ ،‬ﻭﺃﻥ‪ ‬ﺍﻟﺤﺎﺟﺔ‪ ‬ﺗﺪﻋﻮ‪ ‬ﺇﻟﻰ‪ ‬ﻭﺿﻊ‪ ‬ﻗﻴﻢ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﺒﻮﺻ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺪﻡ‬ ‫‪ ‬ﺗﻜﻮﻥ‪ ‬ﺃﺑﺴﻂ‪ ‬ﻭﺃﻭﺿﺢ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻘﺎﺑﻼﺕ‪ ‬ﺍﻟﻜﺴﺮﻳﺔ‪ ‬ﺍﻟﻤﻌﻘﺪﺓ‪ ‬ﻟﻬﺬﻩ‪ ‬ﺍﻟﻘﻴﻢ‪ ‬ﺍﻟﻤﺘﺮﻳﺔ‪. ‬‬ ‫‪ ‬ﻓﻲ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‪ ‬ﺟﻠﺴ‪ ‬ﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﺑ‪ ‬ﺎﻱ ‪ Pie ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﻣﻌﺎﻭﻧﻴ‪ ‬ﻪ‪ " : ‬ﺇﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ۱۷٥ ‬ﺳ‪ ‬ﻢ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻗ‪ ‬ﺮﺏ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺘﻮﺳ‪ ‬ﻂ‬ ‫‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻘﺎﻣ‪ ‬ﺔ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻲ‪ ،‬ﻭﺃﻧ‪ ‬ﻪ‪ ‬ﺇﺫﺍ‪ ‬ﻧﻈﺮﻧ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺮﻭﺍﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺒﻮﻟﻴﺴ‪ ‬ﻴﺔ‪ ‬ﺍﻹﻧﺠﻠﻴﺰﻳ‪ ‬ﺔ‪ ‬ﻟﻮﺟ‪ ‬ﺪﻧﺎ‪ ‬ﺗﻜ‪ ‬ﺮﺍﺭ‪ ‬ﺃﻥ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟﺒﻄ‪ ‬ﻞ‪٦ ‬‬ ‫‪ ‬ﺃﻗﺪﺍﻡ‪ ،‬ﻭﻛﺄﻧﻪ‪ ‬ﺭﺑﻂ‪ ‬ﺍﻟﺸﺠﺎﻋﺔ‪ ‬ﺑﺎﻟﻄﻮﻝ‪ ‬ﺍﻟﻤﺜﺎﻟﻲ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻮﺭﻩ‪ ،‬ﺇﺿﺎﻓﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺃﺳ‪ ‬ﻬﻞ‪ ‬ﺑﻜﺜﻴ‪ ‬ﺮ‬

‫‪­ ۱۲۹ ­ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﻷﻗﺪﺍﻡ‪ ‬ﺍﻟﺴﺘﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻧﻈ‪ ‬ﺮﺍ‪ ‬ﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺒﻮﺻ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺪﻡ‪ ۱ " ‬ﻭﺑﺎﻟﻔﻌ‪ ‬ﻞ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺗﺤﻮﻳ‪ ‬ﻞ‪ ‬ﺍﻟ‪ ‬ﺮﻗﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‬ ‫‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ‬ﻓﺄﺻﺒﺢ‪ ۱۸۲٫۸۸ ‬ﺳﻢ‪ ،‬ﻭﺗﻢ‪ ‬ﻋﻤﻞ‪ ‬ﺷﺮﻳﻂ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﺍﻟﻤﻘﻮﻯ‪ ‬ﺍﻟﻼﻣﻊ‪ ‬ﺑﺎ‪ ‬ﻟﻘﻴﻢ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪. ‬‬

‫‪ ‬ﻭﺇﻥ‪ ‬ﻛﺎﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﻌﺪﻳﻞ‪ ‬ﻗﺪ‪ ‬ﺟﺎء‪ ‬ﻣﺘﺄﺧﺮﺍ‪ ،‬ﻓﻘﺪ‪ ‬ﻭﺭﺩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻳﻢ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﺃﻥ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﻗﺎﻣ‪ ‬ﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ٦ ‬ﺃﻗ‪ ‬ﺪﺍﻡ‪ ،‬ﺃﻭ‬ ‫‪ ٤ ‬ﺃﺫﺭﻉ‪ ،‬ﺃﻭ‪ ۱۸ ‬ﺷﺒﺮﺍ‪ ،‬ﺃﻭ‪ ۲٤ ‬ﻗﻴﺮﺍﻃﺎ‪ ،‬ﺛﻢ‪ ‬ﺃﻗﺮ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻫﻮ‪ ‬ﺳﺪﺱ‪ ‬ﻃﻮﻝ‪ ‬ﻗﺎﻣﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻭﻟﻴﺲ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺗﺨ‪ ‬ﺎﺫﻫﻢ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﺱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﻴﻦ ‪ ، ۲ ‬ﻭﻣﻤ‪ ‬ﺎ‪ ‬ﻳﺆﺧ‪ ‬ﺬ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻧﻪ‪ ‬ﻟﻢ‪ ‬ﻳﻠﺠﺄ‪ ‬ﺇﻟﻰ‪ ‬ﺗﺤﺪﻳﺪ‪ ‬ﻣﺘﻮﺳﻂ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻔﻌﻠﻲ‪ ‬ﻟﺘﻔﺎﻭﺕ‪ ‬ﺍﻟﺒﺸﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄ‪ ‬ﻮﻝ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺠ‪ ‬ﻨﺲ‬ ‫‪ ‬ﻭﺍﻟﻤﻜ‪ ‬ﺎﻥ‪ ‬ﻭﺍﻟﺘﻐﺬﻳ‪ ‬ﺔ‪ ،‬ﻭﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻓﺘ‪ ‬ﺮﺍﺽ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺎء‪ ‬ﻭﺍﻷﻃﻔ‪ ‬ﺎﻝ‪ ‬ﺳ‪ ‬ﻮﻑ‪ ‬ﻳﺴ‪ ‬ﺘﺨﺪﻣﻮﻥ‪ ‬ﺍﻷﻣ‪ ‬ﺎﻛﻦ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻤﻤﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻓ‪ ‬ﺈﻥ‪ ‬ﻧﺴ‪ ‬ﺒﻬﻢ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﺗ‪ ‬ﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻣﻄﻠﻘ‪ ‬ﺎ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺍﺳ‪ ‬ﺘﺜﻨﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻀ‪ ‬ﻌﻴﻒ‪ ‬ﻭﺍﻟﻌ‪ ‬ﺎﺟﺰ‪،‬‬ ‫‪ ‬ﻭﺍﻟﺼﻐﻴﺮ‪ ‬ﻭﺍﻟﻜﺒﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺣﺴﺎﺑﺎﺕ‪ ‬ﺍﻷﻗﺪﺍﻡ‪ ‬ﺍﻟﺴﺘﺔ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﻧﺠ‪ ‬ﺎﺡ‪ ‬ﺍﻟﻤﻘﻴ‪ ‬ﺎﺱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺤﺪﻳ‪ ‬ﺪ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺑ‪ ‬ﺎﺏ‪ ‬ﻣ‪ ‬ﺜﻼ‪ ‬ﻻ‪ ‬ﻳﺘﻜ‪ ‬ﺮﺭ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻛﺮﺳ‪ ‬ﻲ‪ ‬ﻷﻥ‪ ‬ﺍﻟﻐﺎﻟﺒﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻈﻤ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺱ‪ ‬ﻟ‪ ‬ﻦ‪ ‬ﺗﻌﺘﺒ‪ ‬ﺮﻩ‪ ‬ﻣﺮﻳﺤ‪ ‬ﺎ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﺆﻛ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻛﻮﻧ‪ ‬ﻪ‪ ‬ﻧﻈﺎﻣ‪ ‬ﺎ‪ ‬ﺑﺼ‪ ‬ﺮﻳﺎ‬ ‫‪ ‬ﺑﺎﻟ‪ ‬ﺪﺭﺟﺔ‪ ‬ﺍﻷﻭﻟﻰ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۲ ‬‬

‫‪ ‬ﻣﻤﺎ‪ ‬ﻻ‪ ‬ﻳﻤﻨﻊ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺼﺎﻫﺮﺓ‪ ‬ﺍﻟﻨﺎﺟﺤﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻃﺮﻳﻘﺔ‪ ‬ﺍﻟﺤﺴﺎﺏ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟ‪ ‬ﻤﺘﺮﻱ‪ ‬ﺍﻟﻌﺸﺮﻱ‪ ‬ﻭﻧﻈﺎﻡ‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‪ ‬ﺗﻤ‪ ‬ﺖ‬ ‫‪ ‬ﺃﺧﻴﺮﺍ‪ ‬ﺑﻤﺎ‪ ‬ﻳﺨﺪﻡ‪ ‬ﺍﻟﻤﻴﻜﺎﻧﻴﻜﺎ‪ ‬ﻛﻤﺎ‪ ‬ﻳﺨﺪﻡ‪ ‬ﺍﻟﻌﻤﺎﺭ‪ ‬ﺓ‪ ‬ﻭﻣﻌﻈﻢ‪ ‬ﻣﺠ‪ ‬ﺎﻻﺕ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻈ‪ ‬ﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻌﻤﻼﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻓﻲ‪ ‬ﺳﻮﻕ‪ ‬ﺍﻟﺼﺮﻑ‪ ،‬ﻭﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻫﻮ‪ ‬ﺃﺩﺍﺓ‪ ‬ﺍﻟﺘﻨﻈﻴﻢ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻟ‪ ‬ﻴﺲ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻋﻼﻗ‪ ‬ﺔ‪ ‬ﺑﺎﻹﺑ‪ ‬ﺪﺍﻉ‪ ‬ﺇﻧﻤ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻮ‬ ‫‪ ‬ﻟﻤﺠﺮﺩ‪ ‬ﺍﻟﺘﻴﺴﻴﺮ‪ ‬ﻭﺍﻟﺘﺴﺮﻳﻊ‪ ‬ﻣﻨﻪ‪ ‬ﺑﻤﺎ‪ ‬ﻳﻜﻔﻞ‪ ‬ﺍﻻﻗﺘﺮﺍﺏ‪ ‬ﺍﻟﺸﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﻤﺎﻝ‪. ‬‬

‫‪Ibid, pp. 56 1 ‬‬ ‫‪2 ‬‬ ‫‪ ‬ﺍﻧﻈﺮ‪ ‬ﻋﻠﻴﺔ‪ ‬ﻣﺤﻤﻮﺩ‪ " ‬ﺣﺮﻛﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﻟﻠﻤﺴﻜﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ " ‬ﺩﻛﺘﻮﺭﺍﺓ‪ ‬ﺹ ‪٥٦‬‬

‫‪­ ۱۳۰ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۳ ‬‬

‫‪ ‬ﺑﻌﺪ‪ ‬ﺣﻮﺍﺭ‪ ‬ﻣﻊ‪ ‬ﺃﻟﺒﺮﺕ‪ ‬ﺃﻳﻨﺸﺘﻴﻦ‪ Albert Einstein ‬ﺑﻌﺚ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺨﻄﺎﺏ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻓﻴ‪ ‬ﻪ‪ " : ‬ﺃﻥ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻳﺠﻌ‪ ‬ﻞ‬ ‫‪ ‬ﺍﻟﺴﻴﺊ‪ ‬ﺻﻌﺒﺎ‪ ،‬ﻭﺍﻟﺠﻴﺪ‪ ‬ﺳﻬﻼ‪ ،‬ﻭﺃﻧﺎ‪ ‬ﺃﻋﺘﺒﺮ‪ ‬ﻭﺻﻔﻲ‪ ‬ﻫﺬﺍ‪ ‬ﻋﻠﻤﻴﺎ‪ ،‬ﻓﻨﺤﻦ‪ ‬ﺟﻨﻮﺩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻴﺪﺍﻥ‪ ،‬ﻭﻫﺬﺍ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﻌﻈ‪ ‬ﻴﻢ‪ ‬ﻗ‪ ‬ﺪﻡ‪ ‬ﻟﻨ‪ ‬ﺎ‬ ‫‪ ‬ﺇﻳﻤﺎءﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﺪﺍﻗﺔ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺳﻼﺡ‪ ‬ﻳﻄﻠﻖ‪ ‬ﺍﻟﻨﺎﺭ‪ ‬ﻓﻲ‪ ‬ﺧﻂ‪ ‬ﻣﺴﺘﻘﻴﻢ‪ ‬ﻟﻴﺠﻌﻠﻨﺎ‪ ‬ﻣﺘﺄﻛﺪﻳﻦ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻣﻬﺎﻣﻨﺎ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷ‪ ‬ﺮﺡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻤﺆﺳ‪ ‬ﺲ‪ ‬ﻣﻨﻈﻤ‪ ‬ﺔ‪ ‬ﻟﺠﻨ‪ ‬ﺔ‪ ‬ﺍﻻﻗﺘﺼ‪ ‬ﺎﺩ ‪C.O.E. Committee of Economic ‬‬

‫‪ Organization ‬ﺍﻟﻤﻬﺘﻤ‪ ‬ﺔ‪ ‬ﺑﺘﻨﻈ‪ ‬ﻴﻢ‪ ‬ﺇﻧﺘ‪ ‬ﺎﺝ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺎﻧﻊ‪ ‬ﺍﻷﻣﺮﻳﻜﻴ‪ ‬ﺔ‪ ،‬ﻭﺑﻌ‪ ‬ﺪ‪ ‬ﺇﻣﻀ‪ ‬ﺎﺋﻪ‪ ‬ﻳﻮﻣ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﺎﻣﻼ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻗﺎﻝ‪ ‬ﻣﻮﺟﻮﺕ ‪ Mougeot ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻧﻪ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺻ‪ ‬ﻐﺮ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤ‪ ‬ﺄﺧﻮﺫﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻻﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﻳﻮﻣﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻭﻫ‪ ‬ﻲ‪ ۱٥ ۰۰۰ \ ۱ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻠﻴﻤﺘ‪ ‬ﺮ‪ ‬ﻭﺑ‪ ‬ﻴﻦ‪ ‬ﻣﺤ‪ ‬ﻴﻂ‪ ‬ﺍﻷﺭﺽ‪ ،‬ﻳَﻌ‪ ‬ﺪ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ۲۷۰ ‬ﺭﻗﻤ‪ ‬ﺎ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ، ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻋﺠ‪ ‬ﺐ‪ ‬ﺑﻬ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﻭﺃﺷﺎﺭ‪ ‬ﻟﻀﺮﻭﺭﺓ‪ ‬ﺗﻄﺒﻴﻘﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻴﻜﺎﻧﻴﻜﺎ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻄﺒﻖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ،‬ﻓﻬﻲ‪ ‬ﺗ‪ ‬ﺪﺍﺭ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻭﺗﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻗﺒﻠﻪ‪ ‬ﻭﻻ‪ ‬ﺑﺪ‪ ‬ﺃﻥ‪ ‬ﺗﺨﻀﻊ‪ ‬ﻟﻘﻴﺎﺳﺎﺗﻪ‪. ‬‬

‫‪1 ‬‬

‫‪Ibid, pp. 58‬‬

‫‪­ ۱۳۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤٤ ‬‬

‫‪ ‬ﻭﻳﻘﺪﺭ‪ ‬ﻣﺪﻯ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪: ‬‬

‫‪ ‬ﻭﻳﺘﻀﺢ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺘﻴﻦ‪ ‬ﺍﻵﺗﻴﺘﻴﻦ‪ ‬ﻛﻴﻔﻴﺔ‪ ‬ﺍﻟﺤﺼﻮﻝ‪ ‬ﻋﻠﻰ ﻗﻴﻢ‪ ‬ﻛﻞ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‬

‫‪­ ۱۳۲ ­ ‬‬

‫‪ ‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻧﺤﺼ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺠ‪ ‬ﺪﻭﻝ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺤ‪ ‬ﺪﺩ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺪﻗﻴﻘ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻌﻤﻠﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﺍﻟﺴﻠﺴ‪ ‬ﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤ‪ ‬ﺮﺍء‬ ‫‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻤﺘﺮﻱ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‪: ‬‬

‫‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻌﻤﻠﻴﺔ‬

‫‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻔﻌﻠﻴﺔ‬ ‫‪ ‬ﺑﺎ‪ ‬ﻟﺒﻮﺻﺔ‬

‫‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻌﻤﻠﻴﺔ‬

‫‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻔﻌﻠﻴﺔ‬ ‫‪ ‬ﺑﺎﻟﺴﻨﺘﻴﻤﺘﺮ‬

‫‪… ‬‬

‫‪… ‬‬

‫‪… ‬‬

‫‪… ‬‬

‫‪377” ‬‬

‫‪376.985” ‬‬

‫‪957 ‬‬

‫‪957.351 ‬‬

‫‪305" ‬‬

‫‪304.987” ‬‬

‫‪775 ‬‬

‫‪774.513 ‬‬

‫‪233" ‬‬

‫‪232.989” ‬‬

‫‪592 ‬‬

‫‪591.676 ‬‬

‫‪188.5" ‬‬

‫‪188.492” ‬‬

‫‪479 ‬‬

‫‪478.675 ‬‬

‫‪144" ‬‬

‫‪143.995” ‬‬

‫‪366 ‬‬

‫‪365.676 ‬‬

‫‪116.5" ‬‬

‫‪116.495” ‬‬

‫‪296 ‬‬

‫‪295.838 ‬‬

‫‪89" ‬‬

‫‪88.994” ‬‬

‫‪226 ‬‬

‫‪226 ‬‬

‫‪72" ‬‬

‫‪71.998” ‬‬

‫‪183 ‬‬

‫‪182.838 ‬‬

‫‪55" ‬‬

‫‪55.003” ‬‬

‫‪140 ‬‬

‫‪139.676 ‬‬

‫‪44.5" ‬‬

‫‪44.497” ‬‬

‫‪113 ‬‬

‫‪113 ‬‬

‫‪34" ‬‬

‫‪33.993” ‬‬

‫‪86 ‬‬

‫‪86.324 ‬‬

‫‪27.5" ‬‬

‫‪27.501” ‬‬

‫‪70 ‬‬

‫‪69.839 ‬‬

‫‪21" ‬‬

‫‪21.009” ‬‬

‫‪53 ‬‬

‫‪53.351 ‬‬

‫‪17" ‬‬

‫‪16.996” ‬‬

‫‪43 ‬‬

‫‪43.162 ‬‬

‫‪13" ‬‬

‫‪12.984” ‬‬

‫‪33 ‬‬

‫‪32.973 ‬‬

‫‪10.5" ‬‬

‫‪10.504” ‬‬

‫‪27 ‬‬

‫‪26.676 ‬‬

‫‪8" ‬‬

‫‪8.025” ‬‬

‫‪20 ‬‬

‫‪20.378 ‬‬

‫‪6.5” ‬‬

‫‪6.492” ‬‬

‫‪16 ‬‬

‫‪16.486 ‬‬

‫‪5” ‬‬

‫‪4.959” ‬‬

‫‪13 ‬‬

‫‪12.595 ‬‬

‫‪4” ‬‬

‫‪4.012” ‬‬

‫‪10 ‬‬

‫‪10.189 ‬‬

‫‪3” ‬‬

‫‪3.065” ‬‬

‫‪8 ‬‬

‫‪7.784 ‬‬

‫”‪2.5‬‬

‫‪2.48” ‬‬

‫‪6 ‬‬

‫‪6.297 ‬‬

‫‪­ ۱۳۳ ­ ‬‬

‫‪2” ‬‬

‫‪1.894” ‬‬

‫‪5 ‬‬

‫‪4.811 ‬‬

‫‪1.5” ‬‬

‫‪1.533” ‬‬

‫‪4 ‬‬

‫‪3.892 ‬‬

‫‪1” ‬‬

‫‪1.171” ‬‬

‫‪3 ‬‬

‫‪2.973 ‬‬

‫‪1” ‬‬

‫‪0.947” ‬‬

‫‪2 ‬‬

‫‪2.405 ‬‬

‫‪0.7” ‬‬

‫‪0.724” ‬‬

‫‪2 ‬‬

‫‪1.838 ‬‬

‫‪0.6” ‬‬

‫‪0.585” ‬‬

‫‪1.5 ‬‬

‫‪1.487 ‬‬

‫‪0.4” ‬‬

‫‪0.447” ‬‬

‫‪1 ‬‬

‫‪1.136 ‬‬

‫‪0.4” ‬‬

‫‪0.362” ‬‬

‫‪1 ‬‬

‫‪0.919 ‬‬

‫‪0.3” ‬‬

‫‪0.276” ‬‬

‫‪0.7 ‬‬

‫‪0.702 ‬‬

‫‪0.2” ‬‬

‫‪0.224” ‬‬

‫‪0.6 ‬‬

‫‪0.568 ‬‬

‫‪0.2” ‬‬

‫‪0.171” ‬‬

‫‪0.4 ‬‬

‫‪0.434 ‬‬

‫‪0.1” ‬‬

‫‪0.138” ‬‬

‫‪0.4 ‬‬

‫‪0.351 ‬‬

‫‪0.1” ‬‬

‫‪0.106” ‬‬

‫‪0.3 ‬‬

‫‪0.268 ‬‬

‫‪0.1” ‬‬

‫‪0.085” ‬‬

‫‪0.2 ‬‬

‫‪0.217 ‬‬

‫‪… ‬‬

‫‪… ‬‬

‫‪… ‬‬

‫‪… ‬‬

‫‪ ‬ﻭﺑﻔﺼﻞ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻋﻦ‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ‬ﻭﺇﺯﺍﻟﺔ‪ ‬ﺍﻟﻜﺴﻮﺭ‪ ‬ﺍﻟﻌﺸﺮﻳﺔ‪ ‬ﻧﺤﺼﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺟﺪﻭﻝ‪ ‬ﺃﺑﺴ‪ ‬ﻂ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻖ‪ ،‬ﻭﻳﺘﻀ‪ ‬ﺢ‬ ‫‪ ‬ﻓﻴﻪ‪ ‬ﺗﺮﺍﻛﺐ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪:‬‬

‫‪­ ۱۳٤ ­ ‬‬

‫‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻋﺘﻨﺎ‪ ‬ﺃﻥ‪ ‬ﻧﻄﺒ‪ ‬ﻖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧ‪ ‬ﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺃﻳ‪ ‬ﺔ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‬ ‫‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻣﺔ‪ ‬ﻓﻴﻪ‪ ‬ﻫﻲ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﺣﻘﺎﺋﻖ‪ ‬ﻓﻌﺎﻟﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﺪ‪ ‬ﺫﺍﺗﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺑﻴﻦ‪ ‬ﻗﻴﻢ‪ ‬ﻻﻧﻬﺎﺋﻴﺔ‪ ،‬ﻭﺑﺎﻹﺿﺎﻓﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺫﻟﻚ‪ ‬ﺃﻥ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﺤﻘﻴﻘﻴ‪ ‬ﺔ‪ ‬ﺗﻤﺘﻠ‪ ‬ﻚ‪ ‬ﺧﺼ‪ ‬ﺎﺋﺺ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪، ‬‬ ‫‪ ‬ﻭﻧﺘﻴﺠ‪ ‬ﺔ‪ ‬ﻟ‪ ‬ﺬﻟﻚ‪ ‬ﻳﺘﺤﻘ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻌﺘﻤ‪ ‬ﺪﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺍﺅﻫ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻣﺘﺪﺍﺩﻫﺎ‪ ‬ﻣﻨﻪ‪. ‬‬ ‫‪ ‬ﻳﻬﺪﻑ‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺇﻟﻰ‪: ‬‬ ‫‪ ­ ‬ﺍﻟﺤﺼﻮﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺗﺰﺍﻥ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‬ ‫‪ ­ ‬ﺗﻜﻴﻒ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﻣﻊ‪ ‬ﻣﺎ‪ ‬ﺣﻮﻟﻪ‬ ‫‪ ­ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻤﻌﻴﺎﺭ‪ ‬ﺍﻟﻘﻴﺎﺳﻲ‪ ‬ﺍﻟﻤﻮﺣﺪ‬ ‫‪­ ‬‬

‫ﺍﻟﺘﻨﺎﻏﻢ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ ‬ﻭﺍﻟﺘﻌﺎﻳﺶ‪ ‬ﺍﻟﻌﻘﻼﻧﻲ‪ ‬ﻣﻊ‪ ‬ﻣﻔﺎﻫﻴﻢ‪ ‬ﺍﻟﻌﺼﺮ‪ ‬ﺍﻟﻌﻠﻤﻴﺔ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‬

‫‪­ ۱۳٥ ­ ‬‬

‫‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺗﻄﺒﻴﻘ‪ ‬ﻪ‪ ‬ﺍﻟﻌﻤﻠ‪ ‬ﻲ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ – ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎﺋﻴﻦ‪ ‬ﻭﺍﻟﻤﺼ‪ ‬ﻤﻤﻴﻦ‪ – ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺭﺟﻮﻋ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻮﻻﻳﺎﺕ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ‬ﻓﻲ‪ ‬ﻳﻮﻟﻴﻮ‪ ‬ﻋﺎﻡ‪ ، ۱۹٤۷ ‬ﻭﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺭﺳﻴﻠﻴﺎ‪ ،‬ﻭﻣﺸﺮﻭﻉ‪ ‬ﺳ‪ ‬ﺎﻧﺖ‪ ‬ﺩﻱ‬ ‫‪ ، Saint­Dié ‬ﻭﻣﺸﺮﻭﻉ‪ ‬ﺑﺎﻟﻠﻲ ‪ ... ، Bally ‬ﺇﻟﺦ‪ ،‬ﻣﻤﺎ‪ ‬ﺃﺗ‪ ‬ﺎﺡ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻔﺮﺻ‪ ‬ﺔ‪ ‬ﻟﻤﺮﺍﻗﺒ‪ ‬ﺔ‪ ‬ﻧﻈﺎﻣ‪ ‬ﻪ‪ ‬ﻭﺍﻹﺷ‪ ‬ﺮﺍﻑ‪ ‬ﻋﻠﻴ‪ ‬ﻪ‪ ‬ﻭﺗﻘ‪ ‬ﺪﻳﺮ‬ ‫‪ ‬ﺃﻫﻤﻴﺘﻪ‪ ‬ﺍﻟﻜﺒﺮﻯ‪ ، ‬ﻭﻣﻤﺎ‪ ‬ﻗﺪﺭ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻻﻧﺘﺸﺎﺭ‪ ‬ﺍﻟﻌﺎﻟﻤﻲ‪ ‬ﺍﻋﺘﻤﺎﺩﻩ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ٦ ‬ﺃﻗﺪﺍﻡ‪ ‬ﻟﻠﺸﺨﺺ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻃ‪ ‬ﻮﻝ‬ ‫‪ ‬ﻣﻨﺎﺳ‪ ‬ﺐ‪ ‬ﻻ‪ ‬ﻳﺘﺨﻄ‪ ‬ﺎﻩ‪ ‬ﻣﺘﻮﺳ‪ ‬ﻂ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﻘﺎﻣ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻱ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ،‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻷﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻣﻨﺎﺳ‪ ‬ﺒﺔ‬ ‫‪ ‬ﻓﺘﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﺑﺪﻻ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺻﻐﺮ‪ ‬ﻓﺘﻨﺎﺳﺐ‪ ‬ﺍﻟﺠﻤﻴﻊ‪. ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻋﻮﺩﺓ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻣﺮﺑﻌﻴﻦ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻳﻴﻦ‪ ‬ﻣﺘﻼﺻ‪ ‬ﻘﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ،‬ﻭﺟﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻥ‪ ‬ﺃﺣﺪ‪ ‬ﺍﻟﻤﺮﺑﻌﻴﻦ‪ ‬ﻳﻜﺒﺮ‪ ‬ﻋﻦ‪ ‬ﺍﻵﺧ‪ ‬ﺮ‪ ‬ﺑﻤﻘ‪ ‬ﺪﺍﺭ‪ ‬ﺳ‪ ‬ﺘﺔ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﻟ‪ ‬ﻒ‪ ،‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﻌ‪ ‬ﺮﻩ‬ ‫‪ ‬ﺃﻫﻤﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘﻴ‪ ‬ﺎﺱ‪ ‬ﻟﻜﻮﻧﻬ‪ ‬ﺎ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﺪﺭﻛ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺎﻟﻌﻴﻦ‪ ،‬ﻭﻫﻨ‪ ‬ﺎ‪ ‬ﺃﺿ‪ ‬ﺎﻑ‪ ‬ﺃﻫﻤﻴ‪ ‬ﺔ‪ ‬ﻓﻠﺴ‪ ‬ﻔﻴﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﺗ‪ ‬ﺮﻯ‪ ‬ﺃﻥ‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍ‪ ‬ﻻﺧﺘﻼﻑ‪ ‬ﺍﻟﻄﻔﻴﻒ‪ ‬ﻳﺤﻔﻆ‪ ‬ﺣﻴﺎﺓ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻦ‪ ‬ﺟﺮّﺍء‪ ‬ﺍﻟﺘﺴﺎﻭﻱ‪ ‬ﺍﻟﻤﺘﻜﺮﺭ‪ ‬ﺍﻟﻤﺤﺘﻮﻡ ‪ ، ۱ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﺘﺢ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺎﻝ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‬ ‫‪ ‬ﺍﻷﻭﻝ ‪ The Modulor ‬ﻧﺤﻮ‪ ‬ﺍﻟﻤﻨﺎﻗﺸﺎﺕ‪ ‬ﻭﺍﻵﺭﺍء‪ ‬ﺍﻷﺧﺮﻯ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺭﺑﻤﺎ‪ ‬ﺗﺤﻤﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺘﻌﺪﻳﻼﺕ‪ ‬ﻭﺍﻟﺘﺼﻮﻳﺒﺎﺕ‪. ‬‬

‫‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻗ‪ ‬ﺮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﺘﻮﺻ‪ ‬ﻴﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻧﻘﻄﺘ‪ ‬ﻲ‪ ‬ﺗﻘ‪ ‬ﺎﻃﻊ‪ ‬ﺿ‪ ‬ﻠﻌﻲ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎ‪ ‬ﺋﻤ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨﺘﺼ‪ ‬ﻒ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺿ‪ ‬ﻠﻌﻴﻪ‪ ‬ﺍﻷﺳ‪ ‬ﻔﻞ‪ ‬ﻭﺍﻷﻋﻠ‪ ‬ﻰ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﻣ‪ ‬ﺪ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻢ‪ ‬ﺍﻟﻤﺎﺋ‪ ‬ﻞ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻳﻼﻗ‪ ‬ﻲ‪ ‬ﺍﻣﺘ‪ ‬ﺪﺍﺩ‪ ‬ﺍﻟﻀ‪ ‬ﻠﻊ‪ ‬ﺍ‪ ‬ﻟﻤﻘﺎﺑ‪ ‬ﻞ‬ ‫‪ ‬ﻟﻠﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻓﻲ‪ ‬ﻧﻘﻄﺔ‪ ،‬ﻭﻋﻨﺪ‪ ‬ﺗﻜ‪ ‬ﺮﺍﺭ‪ ‬ﺍﻟﺰﻭﺍﻳ‪ ‬ﺎ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‪ ‬ﺗﺘﻜ‪ ‬ﺮﺭ‪ ‬ﺍﻟﻤﺜﻠﺜ‪ ‬ﺎﺕ‪ ‬ﺑ‪ ‬ﻨﻔﺲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ،‬ﻭﻟﻴﻜ‪ ‬ﻮﻥ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‪ ‬ﺟﺪﻳ‪ ‬ﺪ‬ ‫‪ ٥ \ ٤ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺴﺒﻘﻪ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤٥ ‬‬

‫‪ ‬ﻭﻋﻨﺪ ‪ ‬ﻋﻤﻞ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻧﺼﻒ‪ ‬ﻗﻄﺮﻫﺎ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪ ‬ﺍﻟﻤﺎﺋﻞ‪ ،‬ﻭﻣﺮﻛﺰﻫﺎ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻀﻠﻊ‬ ‫‪ ‬ﺍﻟﻤﻘﺎﺑﻞ ‪ ‬ﻟﻠﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ،‬ﻧﺠﺪ ‪ ‬ﺃﻥ ‪ ‬ﺍﻟﻤﻤﺎﺱ ‪ ‬ﻋﻨﺪ ‪ ‬ﻣﻮﺿﻊ ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻳﻜﻮﻥ ‪ ‬ﺧﻄﺎ ‪ ‬ﻣﺴﺘﻘﻴﻤﺎ ‪ ‬ﻣﺎﺋﻼ‪ ‬ﻳﻼﻗﻲ ‪ ‬ﺍﻣﺘﺪﺍﺩ‬ ‫‪ ‬ﺍﻟﻀﻠﻊ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‪ ‬ﻟﻠﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻓﻲ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺃﺧﺮﻯ‪ ،‬ﻭﻳﻮﺍﺯﻱ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪ ‬ﺍﻷﻭﻝ‪ ،‬ﻭﺑﺎﻟﺘﺤﺮﻱ ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻷﻣﺮ‪ ‬ﻭﺟﺪ‬ ‫‪1 ‬‬

‫‪LC, ‘ The Modulor ’, p.235‬‬

‫‪­ ۱۳٦ ­ ‬‬

‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﺎ‪ ‬ﻳﺆﻛﺪ‪ ‬ﻧﻈﺮﻳﺘﻪ‪ ،‬ﻭﻭﺿﻊ‪ ‬ﺑﻘﻴﺔ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﺍﻷﺻﻠﻴﺔ ‪٤۳ ۲۷ ۱٦ ۱۰ ٦ ٤ ) ‬‬ ‫‪ ... ۲۹٦ ۱۸۳ ۱۱۳ ۷۰ ‬ﺇﻟﺦ‪ ، ( ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ‬ﺍﻟﺜـﺎﻧﻮﻳﺔ‪ ‬ﺍﻟﻤﺘﻀﺎﻋﻔﺔ‪۱٤۰ ۸٦ ٥۳ ۳۳ ۲۰ ۱۳ ۷ ) ‬‬ ‫‪ ... ۳٦٦ ۲۲٦ ‬ﺇﻟﺦ ‪ ، ( ‬ﻭﺍﻟﻠﺘﻴﻦ‪ ‬ﺗﺤﺘﻮﻳﺎﻥ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺑﻌﺾ‪ ‬ﺍ‪ ‬ﻟﻤﻮﺍﺿﻊ‪ ‬ﺍﻟﺤﻘﻴﻘﻴﺔ‪ ‬ﺍﻟﺪﻗﻴﻘﺔ‪ ‬ﻓﻲ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ ‪. ‬‬ ‫‪≈ ‬‬

‫‪ ‬ﺃﺛﻨﺎء‪ ‬ﺗﺠﻮﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻘﺮﺏ‪ ‬ﻣﻦ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﺑ‪ ‬ﺪﺍﺧﻞ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺃﺑ‪ ‬ﺎﻱ‪ ‬ﺩ‪ ‬ﻭ‪ ‬ﺷ‪ ‬ﺎﻟﻲ‪ Abbaye de Chaalis ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‬ ‫‪ ‬ﺍﻟﺜﺎﻟﺚ‪ ‬ﻋﺸﺮ ‪ – ‬ﻗﺎﻡ‪ ‬ﺑﻌﺪﺓ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﻓﻮﺟﺪ‪ ‬ﺍﺭﺗﻔﺎﻋﺎﺕ‪ ‬ﺍﻷﺑﻮﺍﺏ‪ ‬ﺗﺴﺎﻭﻱ‪ ۲۲٦ ‬ﺳﻢ‪ ،‬ﻭﺑﻌﻀﻬﺎ‪ ‬ﺍﻵﺧﺮ‪ ۳٦٦ ‬ﺳﻢ‪۲۲٦ ) ‬‬ ‫‪ ، ( ۱٤۰ + ‬ﻭﻋﺮﺿﻬﺎ‪ ‬ﻳﺴﺎﻭﻱ‪ ۱۱۳ ‬ﺳﻢ‬ ‫‪ ‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻡ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻣﺒﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻴﻢ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺃﻥ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻳﺴ‪ ‬ﺎﻭﻱ‪ ۱۸۲ ‬ﺳ‪ ‬ﻢ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺳﺘﺔ‪ ‬ﺃﻗﺪﺍﻡ‬

‫‪ ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻭﺟ‪ ‬ﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﻮﺍﻓﻘ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻗﺼ‪ ‬ﺮ‪ ‬ﺍﻹﻣﺒﺮﺍﻃ‪ ‬ﻮﺭ‪ ‬ﺟﺎﺳ‪ ‬ﺘﻴﻨﻴﺎﻥ‬ ‫‪ Justinian ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﻄﻨﺒﻮﻝ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﺎﻫﺮﻱ‪ ‬ﺍﻟﺒﻴﺰﻧﻄﻴ‪ ‬ﺔ ‪ church of kahrie ‬ﺗﺆﻛ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﺒﺎﻟﻎ‪ ‬ﺳﺘﺔ‪ ‬ﺃﻗﺪﺍﻡ‪ ،‬ﻭﺃﻳﻀﺎ‪ ‬ﻓﻲ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺳﻮﻓﻴﺎ ‪Saint Sophia ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪: ‬‬ ‫‪ ‬ﺃﻭﻻ‪ : ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻛﻤﺼ‪ ‬ﺤﺢ‪ ‬ﻟﻠﻨﺴ‪ ‬ﺐ‪ ‬ﻓﺈﻧ‪ ‬ﻪ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﺗﻄﺒﻴﻘ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻱ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻟﺤﻈﺔ‪ ‬ﺇﺩﺭﺍﻙ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻮﺍﺟﻬﺔ‪ ‬ﻣﻦ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﻭﺍﻟﻌﺮﺽ‪ ‬ﻭﺍﻟﺰﺍﻭﻳﺔ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺔ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﻴﺔ‪ ‬ﻫﺎﺩﻓ‪ ‬ﺔ‬ ‫‪ ‬ﻣﺘﻜﺎﻣﻠﺔ‪ ‬ﺷﺪﻳﺪﺓ‪ ‬ﺍﻟﺪﻗﺔ‬ ‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﻓﻲ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﺗﻄﺒﻴﻘ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺎﻓﺎﺕ‪ ‬ﺷﺎﺳ‪ ‬ﻌﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻳﻀ‪ ‬ﻢ‪ ‬ﻋ‪ ‬ﺪﺩﺍ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ،‬ﻻ‪ ‬ﻳﻈﻬ‪ ‬ﺮ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻟﻠﻮﻫﻠ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ،‬ﻷﻥ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﻻ‪ ‬ﺗ‪ ‬ﺮﻯ‪ ‬ﺍﻟﺸ‪ ‬ﻲء‪ ‬ﻣﻮﺍﺟﻬ‪ ‬ﺔ‪ ،‬ﻓﺎﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﻳﺤﺠ‪ ‬ﺐ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺑﻌﻀ‪ ‬ﺎ‪ ‬ﻭﺍﻷﺭﺽ‪ ‬ﺗﻨﺴ‪ ‬ﺤﺐ‪ ‬ﻧﺤ‪ ‬ﻮ‬ ‫‪ ‬ﺍﻷ‪ ‬ﻓﻖ‪ ،‬ﻭﻣﻦ‪ ‬ﺛﻢ‪ ‬ﻳﻈﻬﺮ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﺑﺈﺣﺴﺎﺳﻪ‪ ‬ﺍﻟﺬﺍﺗﻲ‪ ‬ﺣﺴﺐ‪ ‬ﻓﻜﺮ‪ ‬ﺗﻄﺒﻴﻘﻪ‪ ‬ﻭﻋﻘﻼﻧﻴﺘﻪ‬ ‫‪ ‬ﺛﺎﻟﺜﺎ‪ : ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﺍﻟﺪﺍﺧﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻓﺈﻧ‪ ‬ﻪ‪ ‬ﻳﺮﺗﻜ‪ ‬ﺰ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻨﻈ‪ ‬ﻴﻢ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺔ‪ ‬ﺍﻟﻘﺎﺋﻤ‪ ‬ﺔ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻣﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺮﺃﺳ‪ ‬ﻴﺎﺕ‪ ‬ﻭﺍﻷﻓﻘﻴ‪ ‬ﺎﺕ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻟﺴ‪ ‬ﻘﻒ‪ ‬ﺍﻟﻤﻀ‪ ‬ﻲء‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻮﺿ‪ ‬ﻊ‪ ،‬ﻣ‪ ‬ﻤ‪ ‬ﺎ‪ ‬ﻳﺒﻌ‪ ‬ﺚ‬ ‫‪ ‬ﺷﻌﻮﺭﺍ‪ ‬ﺑﻮﺟﻮﺩ‪ ‬ﻭﺣﺪﺓ‪ ‬ﻋﻀﻮﻳﺔ‪. ‬‬

‫‪1 ‬‬

‫‪LC, ‘ The Modulor ’, p. 192­205‬‬

‫‪­ ۱۳۷ ­ ‬‬

‫‪ ‬ﺭﺍﺑﻌﺎ‪ : ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺃﻥ‪ ‬ﻳﻘﺘ‪ ‬ﺮﺏ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺩﻕ‪ ‬ﺗﻔﺎﺻ‪ ‬ﻴﻞ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻓﻴﺠﻌ‪ ‬ﻞ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻣﻨﻈﻮﻣ‪ ‬ﺔ‪ ‬ﻣﺘﻤﺎﺳ‪ ‬ﻜﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺴﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻛﻞ‪ ‬ﺃﺟﺰﺍﺋﻪ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻓﻴﻘﺮﺑﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻨﻤ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺝ‪ ‬ﻣﺘﻮﺣ‪ ‬ﺪﺓ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺃﺑﻌﺎﺩﻫﺎ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻓﻲ‪ ‬ﺗﻮﺍﻓﻖ‪ ‬ﻣﺘ‪ ‬ﻜﺎﻣﻞ ‪. ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤٦ ‬‬

‫‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻗﻴﻤ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺗﺸ‪ ‬ﻜﻞ‪ ‬ﺩﺭﺟ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻘﻴﺎﺳ‪ ‬ﻪ‪ ،‬ﻭﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟ‪ ‬ﺪﺭﺟﺎﺕ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﻨﻘ‪ ‬ﺎﻁ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺯﺓ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻤ‪ ‬ﺪﻧﺎ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ،‬ﻭﺃﻱ‪ ‬ﻓ‪ ‬ﺮﻕ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺩﺭﺟﺘ‪ ‬ﻴﻦ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻤﻪ‪ ‬ﺑ‪ ‬ﻨﻔﺲ‪ ‬ﻃﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺍﻟﻜ‪ ‬ﻞ‪ ،‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﻤﺠﻤﻮﻋ‪ ‬ﺎﺕ‪ ‬ﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﻣﺤﺪﻭﺩﺓ‪ ،‬ﻭﺗﺸﻜﻞ‪ ‬ﻧﺴﻴﺠﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺠﺎﻧﺲ‪ ‬ﺍﻟﻤﺘﻜﺎﻣﻞ‪. ‬‬

‫‪ ‬ﺍﻟﻘﻴﻢ‪ ‬ﺍ‪ ‬ﻟﺨﻄﻴﺔ‪ ‬ﻟﻠﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء ‪ RO ‬ﻭﺍﻟﺰﺭﻗﺎء ‪ BL ‬ﻳﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﺗﻮﻟﺪ‪ ‬ﺗﻨﻮﻋﺎﺕ‪ ‬ﻟﻸﺳ‪ ‬ﻄﺢ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ،‬ﺑﺪﺍﻳ‪ ‬ﺔ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻭﻋﺒﺮ‪ ‬ﻣﺴﺘﻄﻴﻼﺕ‪ ‬ﻳﺰﺩﺍﺩ‪ ‬ﻓﻴﻪ‪ ‬ﻃﻮﻟﻬﺎ‪ ‬ﺗﺪﺭﻳﺠﻴﺎ‪ ‬ﺣﺘﻰ‪ ‬ﺗﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۷ ‬‬

‫‪1 ‬‬

‫‪ ‬ﺍﺳﻜﺘﺶ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻛﻌﻼﻣﺔ‪ ‬ﻣﻤﻴﺰﺓ‪ ‬ﻟﻪ‪ ‬ﺗﻮﺻﻞ‪ ‬ﺇﻟﻴﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺎﻥ‪ ، Justin Serralta ‬ﻭ‪ Maisonnier ‬ﻣﻦ‪ ‬ﻣﻜﺘﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪­ ۱۳۸ ­ ‬‬

‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻷﺷﻜﺎﻝ‪ ‬ﺗﺘﻌﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﺍﻷﻃﻮﺍﻝ‪ ،‬ﺍﻷﺳﻄﺢ‪ ،‬ﻭﺍﻷﺣﺠﺎﻡ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺃﻥ‪ ‬ﺗﺘﻮﺍﻟ‪ ‬ﺪ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﻗ‪ ‬ﻴﻢ‪ ‬ﻣﻨﺒﻌﺜ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻧﻲ‬

‫‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﺗﻤﺮ‪ ‬ﺑﺎﻟﺮﻗﻢ‪ ۱٫۸۲۸ ‬ﻡ‬ ‫‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ‬ﺗﻤﺮ‪ ‬ﺑﺎﻟﺮﻗﻢ‪ ۲٫۲٦ ‬ﻡ‬

‫‪ ‬ﻭﻻ‪ ‬ﺗﺼﻞ‪ ‬ﺃﻱ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺼﻔﺮ‪ ،‬ﻓﺎﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺠﻤﻊ‪ ‬ﺑﻴﻨﻬﻤﺎ‪ ‬ﻣﺜﻞ‪ ‬ﺁﻟﺔ‪ ‬ﺍﻟﺒﻴ‪ ‬ﺎﻧﻮ‪ ،‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﻌ‪ ‬ﺰﻑ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﻱ‪ ‬ﺟﺰء‪ ‬ﻓﻴﻬﺎ‪ ،‬ﻭﻳﺮﺟﻊ‪ ‬ﺇﻟﻴﻚ‪ ‬ﻓﻘﻂ‪ ‬ﺍﺳﺘﻌﻤﺎﻟﻬﺎ‪ ‬ﺍﻟﺼﺤﻴﺢ‪ ،‬ﻓﻬﻲ‪ ‬ﺗﻘﺪﻡ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﺳ‪ ‬ﻬ‪ ‬ﻮﻟﺔ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻨﻐﻤ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺤﺔ‬ ‫‪ ‬ﺑﻮﺿﻌﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻷﻣﺎﻛﻦ‪ ‬ﺍﻟﺼﺤﻴﺤﺔ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۸ ‬‬

‫‪ ‬ﻭﻋﻨﺪ‪ ‬ﺩﻣﺞ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ‬ﻧﺤﺼﻞ‪ ‬ﻋﻠﻰ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﻤﺮﻛﺒﺔ‪ ،‬ﻓﻬﻤﺎ‪ ‬ﻳﺒﻠﻐﺎﻥ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺮﺑ‪ ‬ﻊ‪ ‬ﻃ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺿ‪ ‬ﻠﻌﻪ‪ ۲٫۲٦ ‬ﻡ‪ ، ‬ﻭﻳﻤﻜ‪ ‬ﻦ‪ ‬ﻣﺮﺍﻋﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻛﻤﻜﻌ‪ ‬ﺐ‪ ‬ﺑ‪ ‬ﻨﻔﺲ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺿ‪ ‬ﻠﻌﻪ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﻳﺤﺘﻮﻳ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﺰﺍ‪ ‬ء‪ ‬ﻳﻤﻜ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻋﺘﺒﺎﺭﻫﺎ‪ ‬ﺷﺒﻜﺎﺕ‪ ‬ﺩﺍﺧﻠﻴﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻟﻬﺎ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﺘﻘﺴﻴﻤﺎﺕ ‪.‬‬

‫‪­ ۱۳۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٤۹ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥۰ ‬‬

‫‪ ‬ﻭﻧﺴﺘﻄﻴﻊ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺗﺄﻟﻴﻒ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺣﺴﺐ‪ ‬ﺣﺪﻭﺩ‪ ‬ﺇﻃﺎﺭﺍﺕ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﺍﻟﺤﺼﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻏﻨ‪ ‬ﻰ‪ ‬ﻓ‪ ‬ﻲ‬ ‫ﺍﻟﺘﻜﻮﻳﻨ‪ ‬ﺎﺕ‪ ‬ﻻﺣﺘﻮﺍﺋﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﻣﺘﺠﺎﻧﺴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ‬ﻭﺗﻨﻮﻳﻌ‪ ‬ﺎﺕ‪ ‬ﻻ‪ ‬ﺣﺼ‪ ‬ﺮ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻤﺎﺕ‬

‫‪­ ۱٤۰ ­ ‬‬

‫‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ،‬ﻓﺮﻏﻢ‪ ‬ﺗﺪﺧﻞ‪ ‬ﺍﻷﺫﻭﺍﻕ‪ ‬ﻭﺍﻷﻣﺰﺟﺔ‪ ‬ﻭﻓﻘﺎ‪ ‬ﻟﻜﻞ‪ ‬ﺍﺣﺘﻴﺎﺝ‪ ‬ﺃﻭ‪ ‬ﺭﻏﺒ‪ ‬ﺔ‪ ‬ﻋﻘﻼﻧﻴ‪ ‬ﺔ‪ ‬ﻧﻘﻴ‪ ‬ﺔ‪ ‬ﻣﺴ‪ ‬ﺒﺒﺔ‪ ‬ﻧﺤﺼ‪ ‬ﻞ‪ ‬ﺩﻭﻣ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺗﻜﻮﻳﻨﺎﺕ‪ ‬ﻣﺘﻨﺎﺳﻘﺔ‪ ‬ﺗﺤﻔﻆ‪ ‬ﻧﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﺗﺨﻀﻊ‪ ‬ﻟﻠﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﺍﺗﺠﺎﻩ‪. ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﻌﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺣﺴﺎﺑﺎﺗﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺧﺎﺭﺟﻴﺔ‪ ‬ﻭﺩﺍﺧﻠﻴﺔ‪ ،‬ﻭﻓﻲ‪ ‬ﺗﺠﻬﻴﺰﺍﺗ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻤﻌﺎﺭﺿﻪ‪ ‬ﺍﻟﺮﺣﺎﻟﺔ‪ ،‬ﻭﻓﻲ‪ ‬ﻃﺒﺎﻋﺔ‪ ‬ﻛﺘﺒﻪ‪ ،‬ﻭﺑﺎﻟﻄﺒﻊ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺍﻟﺰﻳﺘﻴﺔ‪ ‬ﻭﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻋﺎﻡ‪. ‬‬ ‫‪ ‬ﺗﺠﻬﻴﺰﺍﺕ‪ ‬ﻣﻌﺮﺽ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺮﺣﺎﻝ‪: ‬‬ ‫‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣﻌ‪ ‬ﺮﺽ‪ ‬ﺃﻗﺎﻣ‪ ‬ﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ۸ ‬ﺭﻋ‪ ‬ﺎﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﺒ‪ ‬ﺮﻯ‪ ‬ﺍﻟﻤﺘ‪ ‬ﺎﺣﻒ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻮﻻﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ‪ ‬ﺍﻷﻣﺮﻳﻜﻴ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﺍﺷﺘﻤﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺻﻮﺭ‪ ‬ﺿﻮﺋﻴﺔ‪ ‬ﻷﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻭ‪ ‬ﺍﻟﺘﺨﻄﻴﻄﻴﺔ‪ ‬ﺗﻢ‪ ‬ﻃﺒﻌﻬﺎ‪ ‬ﺑﻘﻴﺎﺳﺎﺕ‪ ‬ﺇﻳﻄﺎﻟﻴ‪ ‬ﺔ ‪ ۱ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﻣﻘﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭﺑﻌﺾ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﺗﻢ‪ ‬ﻋﺮﺽ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺣ‪ ‬ﺎﺟﺰ‪ ‬ﻣﻔﺼ‪ ‬ﻠﻲ ‪ partition ‬ﻣﻌ‪ ‬ﺪ‪ ‬ﻣﺴ‪ ‬ﺒﻘﺎ‪ ‬ﻟﻴ‪ ‬ﺘﻢ‪ ‬ﻧﺼ‪ ‬ﺒﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻭﺍﺣﺪ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻋﻤﻠﻲ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬

‫‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﺍﻟﻤﻄﺒﻮﻉ‪ ‬ﻭﺍﻟﺨﺎﻣﺎﺕ‪ ‬ﺍﻟﺼﻐﻴﺮﺓ‬

‫‪ ۲٦٫٥ ‬ﺳﻢ‬

‫‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺨﺎﻣﺎﺕ‪ ‬ﺍﻟﻤﺘﻮﺳﻄﺔ‬

‫‪ ۸٦ ‬ﺳﻢ‬

‫‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻤﺤﻮﺭ‪ ‬ﺍﻟﻔﺎﺻﻞ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺨﺎﻣﺎﺕ‪ ‬ﺍﻟﻤﻄﺒﻮﻋﺔ ‪ ۱۱۳ ‬ﺳﻢ‬ ‫‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺨﺎﻣﺎﺕ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ‬

‫‪ ۱٤۰ ‬ﺳﻢ‬

‫‪ ‬ﻭﻭﺻﻞ‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﻨﻬﺎﺋﻲ‪ ‬ﻟﻸﺟﺰﺍء‪ ‬ﻣﺠﺘﻤﻌﺔ‪ ‬ﺇﻟﻰ ‪ ۳٦٦ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﻋﺮﺿ‪ ‬ﺖ‪ ‬ﺑﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺣ‪ ‬ﻮﺍﺟﺰ‬ ‫‪ ‬ﻣﻔﺼﻠﻴﺔ‪ ‬ﻣﺘﺤﺮﻛﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻳﺴﺎﻭﻱ‪ ۲۰٦ ‬ﺳﻢ‪ ،‬ﻭﺑﻌﺮﺿﻴﻦ‪ ‬ﺛﺎﺑﺘﻴﻦ‪ ‬ﻫﻤﺎ‪ ۱٤۰ ، ۲۲٦ ‬ﺳﻢ‬

‫‪1 ‬‬

‫‪ ‬ﺑﻨﺴﺒﺔ‪ ۰٫۸ ‬ﺗﻘﺮﻳﺒﺎ‪ ‬ﻣﺜﻞ‪۲۹ \ ۲۳ ‬‬

‫‪­ ۱٤۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥۱ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱٥۲‬‬

‫‪­ ۱٤۲ ­ ‬‬

‫‪ ‬ﺣﺴﺎﺑﺎﺕ‪ ‬ﺍﻟﻤﻄﺒﻮﻋﺎﺕ‪: ‬‬

‫‪ ‬ﺍﺳﺘﻌﻤﻞ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻛﺬﻟﻚ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻄﺒﺎﻋﺔ‪ ،‬ﻭﻣﺜﺎﻝ ‪ ‬ﺫﻟﻚ ‪ ‬ﺗﻘﺴﻴﻤﺎﺗﻪ ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ ‪ ‬ﻟﻠﻜﺘﺎﺑﺎﺕ ‪ ‬ﻭﺍﻟﻠﻮﺣﺎﺕ ‪ ‬ﻓﻲ‬ ‫‪ ‬ﻃﺒﻌﺔ‪ ‬ﻋﺎﻡ‪ ۱۹٤۸ ‬ﻟﻜﺘﺎﺑﻪ‪ " ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﻴﻮﻡ‪ " ‬ﻭﺍﻟﺘﻲ‪ ‬ﺑﻠﻐﺖ‪ ۲۰۰ ‬ﻟﻮﺣﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺻﻔﺤﺎﺕ‪ ‬ﻣﻨﻔﺼﻠﺔ‪ ،‬ﻭﻣﻘﺎﺳﺎﺕ‪ ‬ﺍﻟﻜﺘﺎﺏ‬ ‫‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻫﻲ‪ ۳۱۰ x ۲٤۰ ‬ﻣﻢ‪ ،‬ﻭﻫﻲ‪ ‬ﻟﻴﺴﺖ‪ ‬ﻣﻦ‪ ‬ﻗﻴﻢ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬

‫‪ ‬ﻓﻀﻞ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺘﻮﻓﻴﻖ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻗﻴﺎﺳﻴﻦ‪ ‬ﻣﻦ ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻻﻋﺘﻤﺎﺩ‪ ‬ﻗﻴﺎﺱ‪ ‬ﺛﺎﻧﻮﻱ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻳﻌﻬﺪ‪ ‬ﺑﻪ‪ ‬ﺇﻟﻰ‬ ‫‪ ‬ﻗﻴﻤﺔ‪ ‬ﺃﻗﻄﺎﺭ‪ ‬ﺛﺎﺑﺘﺔ‪ ‬ﻟﻠﻮﺣﺎﺕ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ،‬ﻭﺍﺗﺨﺬ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻗﻄﺮ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ۳۰۰ ‬ﻣﻢ‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﺍﻟﻔﺎﺭﻕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‬

‫‪۳۲۹٫۸ ، ۲۹٫۸ ‬‬

‫‪ ۲٤۲٫۷ ‬ﻣﻢ‬

‫‪ ‬ﻭﻫﻮ‪ ‬ﺍﻟﻔﺎﺭﻕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‬

‫‪۲٦٦٫۷ ، ۲٤ ‬‬

‫‪ ۲۰۳ ‬ﻣﻢ‬ ‫‪ ۱٦٤ ‬ﻣﻢ‬ ‫‪ ۱۳٥ ‬ﻣﻢ‬

‫‪ ‬ﻭﻫﻤﺎ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻟﻠﺤﺎﺷﻴﺘﻴﻦ‪ ‬ﺍﻟﻴﺴﺮﻯ‪ ‬ﻭﺍﻟﻴﻤﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﺍﻟﻔﺎﺭﻕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‬

‫‪۱٦٤٫۸ ، ۲۹٫۸ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱٥۳‬‬

‫‪­ ۱٤۳ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﻧﻌﻜﺎﺱ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻮﺍﺣﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ‪: ‬‬ ‫‪ ‬ﺑﻌﺪ ‪ ‬ﻃﺮﺡ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻟﻜﺘﺎﺑﻪ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﺷﻜﻠﺖ ‪ ‬ﺍﻟﺴﻨﻮﺍﺕ ‪ ‬ﺍﻟﺴﺘﺔ ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ ‪ ‬ﻣﻦ ‪ ‬ﺗﻄﺒﻴﻘﻪ ‪ ‬ﻓﻲ ‪ ‬ﺃﻧﺤﺎء ‪ ‬ﺍﻟﻌﺎﻟﻢ ‪ ‬ﺣﻘﺒﺔ‬ ‫‪ ‬ﺟﺪﻳﺪﺓ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﺘﺠﺮﻳﺐ‪ ،‬ﻭﺑﺎﻟﻨﺴﺒﺔ ‪ ‬ﺇﻟﻴﻪ ‪ ‬ﻓﻘﺪ ‪ ‬ﺗﺄﻛﺪﺕ ‪ ‬ﺿﺮﻭﺭﺓ ‪ ‬ﻭﺃﻫﻤﻴﺔ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻄﺮﻳﻘﺔ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻤﻬﺎﻡ ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ ‪ ‬ﻭﺍﻟﺼﻐﻴﺮﺓ‬ ‫ﻭﺃﻛﺪﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺻﺤﺘﻬﺎ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺗﻀﺢ‪ ‬ﺗﺸﺎﺑﻪ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻣﻤﺎ‪ ‬ﺑﻠﻎ‪ ‬ﺑﻪ‪ ‬ﺍﻟﺬﺭﻭﺓ‬

‫*‬

‫‪ ‬ﻳﻘﻮﻝ‪ ‬ﺭﻭﺩﻭﻟﻒ‪ ‬ﻭﻳﺘﻜﻮﺍﺭ ‪ Rudolf Wittkower ‬ﻓﻲ‪ ‬ﺩﺭﺍﺳﺘﻪ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﻫﻮ‪ ‬ﺻﺪﻯ‪ ‬ﺍﻟﺤﻀﺎﺭﺓ‬ ‫‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻌﻴﺶ‪ ‬ﻓﻴﻬﺎ‪ ،‬ﺣﺘﻰ‪ ‬ﻋﻨﺪﻣﺎ‪ ‬ﻳﺜﻮﺭ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻓﻬﻮ‪ ‬ﻳﺴﺘﻌﻤﻞ‪ ‬ﺗﻌﺒﻴﺮﺍﺗﻬﺎ‪ ‬ﺍﻟﻨﻈﺎﻣﻴﺔ‪ ،‬ﻭﻛﻠﻨﺎ‪ ‬ﻳﻌﺮﻑ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﻼﺇﻗﻠﻴﺪﻳﺔ‬ ‫‪ non­Euclidian geometry ‬ﻭﺍﻟﺘﻲ ‪ ‬ﺣﻠﺖ ‪ ‬ﻣﺤﻞ ‪ ‬ﺳﺎﺑﻘﺘﻬﺎ ‪ ‬ﻣﻨﺬ ‪ ‬ﻧﻬﺎﻳﺎﺕ ‪ ‬ﺍﻟﻘﺮﻥ ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﻗﺪ ‪ ‬ﺃﺻﺒﺤﺖ ‪ ‬ﺃ‪ ‬ﺳﺎﺱ‬ ‫‪ ‬ﺍﻟﺮﺅﻳﺔ ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ ‪ ‬ﻟﻠﻜﻮﻥ‪ ،‬ﻭﺃﺣﺪﺛﺖ ‪ ‬ﺍﻧﻘﻼﺑﺎ ‪ ‬ﺃﻛﺒﺮ ‪ ‬ﻣﻦ ‪ ‬ﻣﺜﻴﻠﻪ ‪ ‬ﺍﻟﺬﻱ ‪ ‬ﺣﺪﺙ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻌﺼﻮﺭ ‪ ‬ﺍﻟﻮﺳﻄﻰ ‪ ‬ﻋﻨﺪ ‪ ‬ﺍﺳﺘﺤﺪﺍﺙ‬ ‫‪ ‬ﻧﻈﺮﻳﺎﺕ ‪ ‬ﻛﻮﺑﺮﻧﻴﻜﺲ ‪ ‬ﻭﻧﻴﻮﺗﻦ‪ ،‬ﻓﻘﺪ ‪ ‬ﺣﻠﺖ ‪ ‬ﻣﺤﻠﻬﺎ ‪ ‬ﺍﻵﻥ ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ ‪ ‬ﺍﻟﺪﻳﻨﺎﻣﻴﻜﻴﺔ ‪ ‬ﻟﻠﺰﻣﻦ ‪ ‬ﻭﺍﻟﻔﺮﺍﻍ ‪ ‬ﻭﺍﻟﺘﻲ ‪ ‬ﺃﺟﺎﺏ ‪ ‬ﻋﻨﻬﺎ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻣﺒﺪﺋﻴﺎ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ،‬ﻓﻬﻮ‪ ‬ﻳﺒﺪﻭ ‪ ‬ﻟﻠﻮﻫﻠﺔ ‪ ‬ﺍﻷﻭﻟﻰ ‪ ‬ﻣﺤﺎﻭﻟﺔ ‪ ‬ﻟﻠﺮﺑﻂ ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ ‪ ‬ﻭﻋﺎﻟﻤﻨﺎ‬ ‫‪ ‬ﺍﻟﺤﺪﻳﺚ ‪ ‬ﺑﺎﺗﺨﺎﺫﻩ ‪ ‬ﺍﻹﻧﺴﺎﻥ ‪ ‬ﻛﻨﻘﻄﺔ ‪ ‬ﺑﺪء ‪ ‬ﻟﻠﻮﺻﻮﻝ ‪ ‬ﺇﻟﻰ ‪ ‬ﺍﻟﻜﻮﻥ ‪ ‬ﻓﻲ ‪ ‬ﺗﻌﺎﻣﻞ ‪ ‬ﻣﻊ ‪ ‬ﺍﻟﻨﺴﺒﻲ‪ ‬ﺑﺪﻻ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﺤﻘﻴﻘﻲ‪ ،‬ﻭﻗﺪ ‪ ‬ﺟﻤﻊ‬ ‫‪ ‬ﻧﻈﺎﻣﻪ ‪ ‬ﺍﻟﺠﺪﻳﺪ ‪ ‬ﺗﻄﻮﻳﺮ ‪ ‬ﺍﻟﻤﻔﻬﻮﻡ ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ ‪ ‬ﻣﻊ ‪ ‬ﺍﻟﺮﻗﻤﻲ ‪ ‬ﺭﻏﻢ ‪ ‬ﺑﺴﺎﻃﺔ ‪ ‬ﻣﻔﺮﺩﺍﺗﻪ ‪ ‬ﻣﺜﻞ ‪ ‬ﺍﻟﻤﺮﺑﻊ ‪ ‬ﻭﺿﻌﻒ ‪ ‬ﺍﻟﻤﺮﺑﻊ‬ ‫‪ ‬ﻭﺍﻟﺘﻘﺴﻴﻤﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ،‬ﻭﺃﻧﺘﺞ‪ ‬ﺗﻤﺎﺛﻼ‪ ‬ﺑﻴﻦ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺘﻴﻪ‪ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﺍﻋﺘﺒﺮﻩ‪ ‬ﻭﻳﺘﻜﻮﺍﺭ‪ ‬ﺃﻭﻝ‪ ‬ﺗﺄﻟﻴﻒ‪ ‬ﻣﺘﻤﺎﺳﻚ‪ ‬ﻣﺴﺘﻘﻴﻢ‪ ‬ﻣﺆﺛﺮ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﺣﻀﺎﺭﺗﻨﺎ‪ ‬ﺍﻟﻤﻌﺎﺻﺮﺓ‪ ‬ﻣﻨﺬ‪ ‬ﺍﻧﻬﻴﺎﺭ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﻘﺪﻳﻢ‪ ،‬ﻭﻳﻈﻞ‪ ‬ﻣﻌﺘﻤﺪﺍ‪ ‬ﻓﻲ‪ ‬ﺃﺻﻮﻟﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‪ ‬ﺍﻟﻔﻴﺜﺎﻏﻮﺭﻱ‪ ‬ﺍﻷﻓﻼﻃﻮﻧﻲ‬ ‫‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﺧﺘﺺ‪ ‬ﺑﻪ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻐﺮﺑﻲ‬

‫‪۱‬‬

‫* ‪ ‬ﺍﻧﻈﺮ‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‬ ‫‪1 ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.191­193‬‬

‫‪­ ۱٤٤ ­ ‬‬

‫‪ ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻹﻧﻌﻜﺎﺳﺎﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺤﻴﺎﺓ‪ ‬ﺍﻟﻌﻤﻠﻴﺔ‪ ‬ﻧﺘﻴﺠﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪­ : ‬‬

‫‪ ‬ﺗﻮﺻﻞ ‪ ‬ﻫﺎﻧﺰﺟﻮﺭﺝ ‪ ‬ﻣﺎﻳﺮ ‪ Herr Hansjorg Meyer ‬ﻣﻦ‪ ‬ﻣﻴﻮﻧﺦ‪ ‬ﺇﻟﻰ‪ ‬ﺭﺳﻢ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻳﻌﺎﻟﺞ‪ ‬ﻓﻴﻪ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺁﺧﺮ‬ ‫‪ ‬ﻟﻠﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﺑﻤﺎ‪ ‬ﻓﻴﻪ‪ ‬ﺇﺿﺎﻓﺔ‪ ‬ﻏﻨﻴﺔ‪ ‬ﻟﻠﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ،‬ﻟﻜﻦ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺻﻔﻬﺎ‪ ‬ﺑﺎﻟﺼﺤﺔ‪ ‬ﻭﻟﻜﻦ‬ ‫‪ ‬ﺑﻌﺪﻡ‪ ‬ﺍﻟﺠﻤﺎﻝ‬

‫‪۱ ‬‬

‫‪ ‬ﺃﺭﺳﻠﺖ‪ ‬ﺟﻴﻦ‪ ‬ﺩﺍﻳﺮ ‪ Jean Dayre ‬ﻭﻫﻲ‪ ‬ﻣﻦ‪ ‬ﺳﻜﺮﺗﺎﺭﻳﺔ‪ ‬ﺍﻷﺳﻜﻮﺭﺍﻝ‪ ‬ﻟﻠ‪ ‬ﺸﺌﻮﻥ‪ ‬ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺳﺎﻟﺔ‬ ‫‪ ‬ﺃﺿﺎﻓﺖ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻈﺎﻡ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻠﻮﻏﺎﺭﻳﺘﻤﻴﺔ‪ ‬ﻣﺒﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ،‬ﻭﻣﺜﻞ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻨﻈﺎﻡ‬ ‫‪ ‬ﻳﺴﺘﻄﻴﻊ ‪ ‬ﺗﺒﺴﻴﻂ ‪ ‬ﺍﻟﺘﻌﺒﻴﺮﺍﺕ ‪ ‬ﺍﻟﺮﻗﻤﻴﺔ ‪ ‬ﻟﻸﺑﻌﺎﺩ ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ ‪ ‬ﻭﺍﻟﺼﻐﻴﺮﺓ ‪ ‬ﻣﺜﻞ ‪ ‬ﺃﺑﻌﺎﺩ ‪ ‬ﺍﻷﺟﺮﺍﻡ ‪ ‬ﺍﻟﻔﻀﺎﺋﻴﺔ ‪ ‬ﻭﺃﻃﻮﺍﻝ ‪ ‬ﻣﻮﺟﺎﺕ‬ ‫‪ ‬ﺍﻷﺷﻌﺔ ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﺣﻴﺚ ‪ ‬ﻳﻀﻢ ‪ ‬ﻣﺎ ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻟﻄﻮﻝ ‪ ‬ﺍﻟﻤﻮﺟﻲ ‪ ‬ﻟﺸﻌﺎﻉ ‪ ‬ﺍﻟﻀﻮء ‪ ‬ﻭﺣﺘﻰ ‪ ‬ﻗﻄﺮ ‪ ‬ﻣﺠﺮﺓ ‪ ‬ﺩﺭﺏ ‪ ‬ﺍﻟﺘﺒﺎﻧﺔ ‪۱۳۱ ‬‬ ‫‪ ‬ﺗﺪﺭﺟﺎ ‪ ‬ﻓﻘﻂ ‪ ، ۲ ‬ﻭﻳﺴﺘﻄﺎﻉ ‪ ‬ﻛﺬﻟﻚ ‪ ‬ﺍﻻﺳﺘﻔﺎﺩﺓ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻠﻮﻏﺎﺭﻳﺘﻤﺎﺕ ‪ ‬ﻓﻲ ‪ ‬ﺣﺴﺎﺑﺎﺕ ‪ ‬ﺍﻷﺳﻄﺢ ‪ ‬ﻭﺍﻷﺣﺠﺎﻡ‪ ،‬ﻭﻓﻲ ‪ ‬ﺭﺩ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻭﺟﺪ‪ ‬ﺻﻌﻮﺑﺔ‪ ‬ﻓﻲ‪ ‬ﺍﺳﺘﻤﺮﺍﺭ‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻠﻮﻏﺎﺭﻳﺘﻤﺎﺕ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﻗﺖ‪ ‬ﺍﻟﺤﺎﻟﻲ‪ ،‬ﺧﺼﻮﺻﺎ‪ ‬ﻭﻗﺪ‪ ‬ﺣﻞ‬ ‫‪ ‬ﻣﺤﻠﻬﺎ ‪ ‬ﺍﻟﺤﻮﺍﺳﺐ ‪ ‬ﺍﻟﻌ‪ ‬ﻤﻼﻗﺔ ‪ ‬ﺍﻟﺘﻲ ‪ ‬ﺗﻨﺠﺰ ‪ ‬ﺍﻟﻌﻤﻞ ‪ ‬ﻓﻲ ‪ ‬ﺳﺮﻋﺎﺕ ‪ ‬ﻓﺎﺋﻘﺔ‪ ،‬ﺃﻣﺎ ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ ‪ ‬ﻟﻠﻘﻴﺎﺳﺎﺕ ‪ ‬ﺍﻟﻔﻀﺎﺋﻴﺔ ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻷﺟﺮﺍﻡ‬ ‫‪ ‬ﺍﻟﺴﻤﺎﻭﻳﺔ‪ ‬ﻓﻘﺪ‪ ‬ﺷﻜﻚ‪ ‬ﻓﻲ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺣﻠﻬﺎ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﺑﻜﻮﻧﻬﺎ‪ ‬ﻻﺗﺰﺍﻝ‪ ‬ﻣﺜﺎﺭ‪ ‬ﺟﺪﻝ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺘﺨﺼﺼﻴﻦ‪. ‬‬ ‫‪ ‬ﺑﻌﺪ‪ ‬ﻋﻮﺩﺓ‪ ‬ﺟﺎﺳﺘﻴﻦ‪ ‬ﺳﻴﺮﺍﻟﺘﺎ‪ Justin Serralta ‬ﺇﻟﻰ‪ ‬ﺑﻠﺪﺗﻪ‪ ،‬ﻭﻫﻮ‪ ‬ﺃﺣﺪ‪ ‬ﺃﻋﻀﺎء‪ ‬ﻓﺮﻳﻖ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯ‪ ‬ﻳﻴﻪ؛‪ ‬ﺷﻐﻞ‪ ‬ﻣﻨﺼﺐ‬ ‫‪ ‬ﺍﻷﺳﺘﺎﺫ‪ ‬ﺍﻟﻤﺴﺎﻋﺪ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺩﺓ‪ ‬ﺍﻟﻤﺸﺮﻭﻋﺎﺕ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻛﺎﻥ‪ ‬ﺃﺳﺎﺳﻬﺎ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﺠﻤﺎﻋﻲ‪ ،‬ﻭﺃﻟﺰﻡ‪ ‬ﻃﻠﺒﺘﻪ‪ ‬ﺑﺎﺗﺒﺎﻉ‪ ‬ﻗﻮﺍﻋﺪ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪. ‬‬ ‫‪ ‬ﻓﻲ‪ ‬ﺭﺩ ‪ ‬ﺭﻳﺎﺿﻲ‪ ‬ﺗﻔﺼﻴﻠﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﻌﺚ‪ ‬ﺍﻟﻤﻬﻨﺪﺱ ‪ ‬ﻛﺮﻭﺳﺎﺭﺩ ‪ Crussard ‬ﻭﻫﻮ‪ ‬ﻣﻬﻨﺪﺱ‪ ‬ﺗﻌﺪﻳﻦ‪ ‬ﻣﺘﻘﺎﻋﺪ‬ ‫‪ ‬ﻣﺘﺨﺮﺝ ‪ ‬ﻣﻦ ‪ ‬ﻛﻠﻴﺔ ‪ ‬ﺍﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ‪ Ecole Polytechnique ‬ﺑﺨﻄﺎﺏ ‪ ‬ﻳﺸﺮﺡ ‪ ‬ﻓﻴﻪ ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ ‪ ‬ﻭﺿﻊ ‪ ‬ﺳﻠﺴﻠﺘﻴﻦ ‪ ‬ﺫﻫﺒﻴﺘﻴﻦ‬ ‫‪ ‬ﻣﺘﺪﺍﺧﻠﺘﻴﻦ‪ ‬ﺗﺸﺎﺑﻬﺎﻥ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﺸﻲء‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻔﺼﻴﻞ‪ ‬ﺍﻟﺪﻗﻴﻖ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪: ‬‬

‫‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ) ‬ﺍﻟﺤﻤﺮﺍء‪ ( ‬ﺗﻘﺘﺮﺏ‪ ‬ﻛﺜﻴﺮﺍ‪ ‬ﻣﻦ‪ ‬ﻛﻮﻧﻬﺎ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﺃﺳﺎﺳﻬﺎ ‪F‬‬ ‫‪1, F, F², F³, …, ∞ ‬‬ ‫‪1, 1.618034, 2.618034, 4.236068, …, ∞ ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.46 1 ‬‬ ‫‪2 ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.71­74‬‬

‫‪­ ۱٤٥ ­ ‬‬

‫‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ) ‬ﺍﻟﺰﺭﻗﺎء‪ ( ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻻﻭﻟﻰ‬ ‫‪2, 2F, 2F², 2F³, …, ∞ ‬‬ ‫‪2, 3.236068, 5.236068, 8.472136, …, ∞ ‬‬

‫‪ ‬ﻭﺑﺎﻟﻄﺒﻊ‪ ‬ﻛﻼ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺘﻴﻦ‪ ‬ﺗﻨﺘﺞ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺠﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﺍﻟﺮﻗﻤﻴﻦ‪ ‬ﺍﻟﺴﺎﺑﻘﻴﻦ‪ ‬ﻟﻪ‪ ‬ﻛﺄﻱ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﺫﻫﺒﻴﺔ‪ ،‬ﻭﻫﻤﺎ‪ ‬ﻳﺘﺪﺍﺧﻼﻥ‬ ‫‪ ‬ﻣﻌ‪ ‬ﺎ‪ ‬ﻟﻴﺸﻜﻼ‪ ‬ﻧﺴﻴﺠﺎ‪ ‬ﻭﺍﺣﺪﺍ‪ ‬ﻣﺘﻤﺎﺳﻜﺎ‬ ‫‪ ‬ﻭﻳﺘﻀﺢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻜﻠﻴﻦ‪ ‬ﺃﻥ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻳﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﺎﻟﻀﺒﻂ‪ ‬ﺑﻴﻦ‪ ‬ﺭﻗﻤﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‬ ‫‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ،‬ﻭﺃﻥ ‪ ‬ﻣﻌﺪﻝ ‪ ‬ﺍﻟﺰﻳﺎﺩﺓ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ ‪ ‬ﺍﻟﺤﻤﺮﺍء ‪ ‬ﻋﺒﺎﺭﺓ ‪ ‬ﻋﻦ ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ ‪ ‬ﺫﻫﺒﻴﺔ ‪ ‬ﺣﻤﺮﺍء‪ ،‬ﻭﻛﺬﻟﻚ ‪ ‬ﻣﻌﺪﻝ ‪ ‬ﺍﻟﻨﻘﺼﺎﻥ‬ ‫ﺃﻳﻀﺎ‬

‫‪­ ۱٤٦ ­ ‬‬

‫‪ ‬ﻭﺑﻌﻤﻞ‪ ‬ﺷﻜﻞ‪ ‬ﻣﺠﻤﻊ‪ ‬ﻟﻤﻌﺪﻝ‪ ‬ﺍﻟﺰﻳﺎﺩﺓ‪ ‬ﻭ‪ ‬ﺍﻟﻨﻘﺼﺎﻥ‪ ‬ﻧﺤﻮ‪ ‬ﺍﻟﻼﻧﻬﺎﻳﺔ‪ ،‬ﻗﺪﻡ ‪ ‬ﻛﺮﻭﺳﺎﺭﺩ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﺸﻜﻞ‪ ‬ﺣﺴﺎﺑﻲ‬ ‫‪ ‬ﺧﺎﻟﺺ‪ ‬ﻭﻟﻴﺲ‪ ‬ﻫﻨﺪﺳﻴﺎ‪ ‬ﻛﻤﺎ‪ ‬ﺗﻮﺻﻞ‪ ‬ﺇﻟﻴﻬﺎ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﻭﺃﺿﺎﻑ‪ ‬ﺃﻧﻪ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﺳﺘﺨﺮﺍﺝ‪ ‬ﻗﻴﻢ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ ‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ‬ﻣﻦ‬ ‫‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﺑﺤﺴﺎﺏ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﻗﻴﻤﺘﻴﻦ‪ ‬ﻏﻴﺮ‪ ‬ﻣﺘﻌﺎﻗﺒﺘﻴﻦ‪ ‬ﻣﺜﻞ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﺍﻟﻘﻴﻤﺘﻴﻦ‪ 0.382 ، 1.618 ‬ﻭﻳﺴﺎﻭﻱ‪2 ‬‬ ‫‪ ‬ﻭﻫﻮ ‪ ‬ﻣﻦ ‪ ‬ﻗﻴﻢ ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ ‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ،‬ﺃﻭ ‪ ‬ﻣﺠﻤﻮﻉ ‪ ‬ﺍﻟﻘﻴﻤﺘﻴﻦ ‪ 0.236 ، 1 ‬ﻭﻳﺴﺎﻭﻱ ‪ 1.236 ‬ﻭﻫﻮ ‪ ‬ﻣﻦ ‪ ‬ﻗﻴﻢ ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‬ ‫‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ... ،‬ﺇﻟﺦ‬

‫‪ ‬ﺃﻣﺎ ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ ‪ ‬ﺇﻟﻰ ‪ ‬ﻣﻮﺿﻊ ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ ‪ ‬ﻓﻲ ‪ ‬ﻣﺮﺑﻌﻴﻦ ‪ ‬ﻣﺘﺴﺎﻭﻳﻴﻦ‬ ‫‪ ‬ﻣﺘﻼﺻﻘﻴﻦ‪ ‬ﻓﻘﺪ‪ ‬ﺃﻭﺟﺪ‪ ‬ﻛﺮﻭﺳﺎﺭﺩ‪ ‬ﺣﻼ‪ ‬ﻧﻤﻮﺫﺟﻴﺎ‪ ‬ﻳﺒﻴﻨﻪ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‪ ‬ﺣﻴﺚ‬ ‫‪ ‬ﻳﻌﺘﺒﺮ ‪ ‬ﻃﻮﻝ ‪ ‬ﺿﻠﻊ ‪ ‬ﺍﻟﻤﺮﺑﻊ ‪ ‬ﺍﻟﺼﻐﻴﺮ ‪ ‬ﻣﻀﺎﻓﺎ ‪ ‬ﺇﻟﻴﻪ ‪ ‬ﻃ‪ ‬ﻮﻝ ‪ ‬ﺿﻠﻊ ‪ ‬ﺍﻟﻤﺮﺑﻊ‬ ‫‪ ‬ﺍﻟﻜﺒﻴﺮ‪ ‬ﻣﺴﺎﻭﻳﺎ‪ ‬ﻟﻀﻌﻒ‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﺍﻷﻭﺳﻂ‪ ،‬ﻭﺑﺨﻀﻮﻉ‪ ‬ﺍﻟﺠﻤﻴﻊ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻳﺘﻀﺢ‪ ‬ﻟﻨﺎ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻢ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥٤ ‬‬

‫‪ ‬ﻭﻗﺪ ‪ ‬ﻭﺍﻓﻖ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺗﻤﺎﻣﺎ ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﻌﺎﺩﻻﺕ ‪ ‬ﻛﺮﻭﺳﺎﺭﺩ ‪ ‬ﻭﺷﺮﻭﺡ‬ ‫‪ ‬ﺍﻟﺠﺒﺮﻳﺔ‪ ،‬ﻟﻜﻨﻪ ‪ ‬ﻭﺻﻒ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﺑﻌﺪ ‪ ‬ﺫﻟﻚ ‪ ‬ﺑﺄﻧﻪ ‪ ‬ﺃﺩﺍﺓ ‪ ‬ﻟﻠﻔﻨﺎﻧﻴﻦ‬ ‫‪ ‬ﻭﺍﻟﻤﻌﻤﺎﺭ‪ ‬ﻳﻴﻦ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻣﻨﻬﺎ ‪ ‬ﻟﻠﺮﻳﺎﺿﻴﻴﻦ‪ ،‬ﺃﻣﺎ ‪ ‬ﺍﻟﻌﻤﺎﻝ ‪ ‬ﻓﻴﺠﺐ ‪ ‬ﺃﻥ ‪ ‬ﺗﻌﻄﻰ ‪ ‬ﻟﻬﻢ‬ ‫‪ ‬ﺍﻟﺮﺳﻮﻡ ‪ ‬ﺍﻟﻨﻬﺎﺋﻴﺔ ‪ ‬ﻓﻲ ‪ ‬ﺇﺣﺪﻯ ‪ ‬ﻧﻮﻋﻴﻦ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ،‬ﺇﻣﺎ ‪ ‬ﺍﻟﻤﺘﺮ ‪ ‬ﻭﺇﻣﺎ‬ ‫‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‬

‫‪1 ‬‬

‫‪LC, ‘ Modulor 2 ’, p.66‬‬

‫‪­ ۱٤۷ ­ ‬‬

‫‪ ‬ﺭﺩ ‪ ‬ﺃﻧﺪﺭﻳﺎ‪ ‬ﺳﺒﻴﺰﺭ ‪ Andreas Speiser ‬ﻭﻫﻮ‪ ‬ﺭﻳﺎﺿﻲ‪ ‬ﻣﻦ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺑ‪ ‬ﻴ‪ ‬ﻞ ‪ Bale ‬ﻋﻠﻰ‪ ‬ﻃﻠﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺈﺑﺪﺍﺋﻪ‬ ‫‪ ‬ﺭﺃﻳﻪ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﺈﺷﺎﺭﺗﻪ ‪ ‬ﺇﻟﻰ ‪ ‬ﻛﺘﺎﺏ ‪ ‬ﻟﻮﻛﺎ ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ ‪ ‬ﻋﻦ ‪ ‬ﺍﻟﻨﺴﺐ ‪ ‬ﺍﻟﻤﻘﺪﺳﺔ‪ ،‬ﺣﻴﺚ ‪ ‬ﺃﻋﻄﻰ ‪ ۱۳ ‬ﺗﺄﺛﻴﺮﺍ ‪ ‬ﻣﻌﺠﺰﺍ‬ ‫‪ ‬ﻟﻠﻘﻄﺎﻉ ‪ ‬ﺍﻟﺬﻫﺒﻲ ‪ ‬ﺟﺎء ‪ ‬ﺑﻪ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﺤﻮﺍﺭﻳﻴﻦ ‪ ‬ﺍﻹﺛﻨﻲ‪ ‬ﻋﺸﺮ ‪ ‬ﻭﻋﻴﺴﻰ ‪ ‬ﻋﻠﻴﻪ ‪ ‬ﺍﻟﺴﻼﻡ‪ ،‬ﻭﺃﺧﺒﺮﻧﺎ ‪ ‬ﻋﻦ ‪ ‬ﺳﻌﺎﺩﺓ ‪ ‬ﺩﺍﻓﻨﺸﻲ ‪ ‬ﺍﻟﺘﻲ‬ ‫‪ ‬ﺃﺑﺪﺍﻫﺎ‪ ‬ﻓﻴﻬﻢ‪ ،‬ﻭﻗﺎﻝ‪ ‬ﻋﻦ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺃﻧﻪ‪ ‬ﺍﻛﺘﺸﻒ‪ ‬ﺍﻟﺘﺄﺛﻴﺮ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ ‬ﻋﺸﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﻭﺻﻒ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪ ‬ﺑﺄﻧﻪ‪ ‬ﻋﻨﺪ‪ ‬ﺍﺧﺘﻴﺎﺭﻧ‪ ‬ﺎ‪ ‬ﻷﺭﺑﻊ‪ ‬ﻗﻴﻢ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻣﻨﻪ‪ ‬ﻭﻟﺘﻜﻦ ‪ ، ۲۱ ۱۳ ۸ ٥ ‬ﻓﻴﻜﻮﻥ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻭﺍﻷﺧﻴﺮ ‪ ۲٦ ‬ﻭﻫﻮ‬ ‫‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ ،‬ﻭﻳﻜﻮﻥ‪ ‬ﺍﻟﻔﺮﻕ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻭﺍﻷﺧﻴﺮ‪ ۱٦ ‬ﻭﻫﻮ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺜﺎﻧﻲ‪. ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺍﻗﺘﺮﺡ‪ ‬ﺍﻟﻤﻬﻨﺪﺱ ‪ ‬ﻛﺎﺭﺩﻭﺕ ‪ Cardot ‬ﻣﻦ‪ ‬ﺑﺎﺭﻳﺲ‪ ‬ﺃﻧﻪ‪ ‬ﺑﻤﺎ‪ ‬ﺃﻧﻪ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ۲۷۰ ‬ﻗﻴﺎﺳﺎ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪ ۱٥۰۰۰ \ ۱ ‬ﻭﻣﺤﻴﻂ‬ ‫‪ ‬ﺍﻷﺭﺽ‪ ،‬ﻓﺈﻧ‪ ‬ﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺍﺧﺘﺼﺎﺭ‪ ‬ﺻﻴﻐﺔ‪ ‬ﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺑﺘﺮﺗﻴﺐ‪ ‬ﻣﻮﻗﻊ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ۱٥۰۰۰ \ ۱ ‬ﻣﻢ‬

‫‪Mod1 ‬‬

‫‪ ٤۰ ۰۰۰ ‬ﻛﻢ‬

‫‪Mod270 ‬‬

‫‪ ‬ﻭﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﺗﺤﺘﻞ‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻨﻬﺎﺋﻴﺔ‪ ‬ﻟﻠﻘﻴﺎﺱ‪ ‬ﻣﺴﺘﻘﺒﻼ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺮﻣﺰ‪ ،‬ﻛﻤﺎ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺃﻥ‪ ‬ﻳﺄﺗﻲ‪ ‬ﻣﻔﺼﻼ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‬ ‫‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻭﺍﻟﻘﻤﺮ‪ ،‬ﺣﻴﺚ‪ ‬ﻳﺘﻢ‪ ‬ﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﻋﻨﻬﺎ‪ ‬ﺑﺎﻟﺸﻜﻞ‬ ‫‪ ‬ﺣﻴﺚ‪ ‬ﻳﻜﻮﻥ‬

‫‪Mod258.41.9 ‬‬

‫‪ Mod258 ‬ﻫﻮ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺍﻷﺳﺎﺳﻲ‪ ‬ﺍﻟﻐﺎﻟﺐ‬ ‫‪ Mod41 ‬ﺍﻟﻔﺮﻭﻕ‪ ‬ﺍﻟﻤﺘﺮﻳﺔ‬ ‫‪ Mod9 ‬ﺍﻟﻔﺮﻭﻕ‪ ‬ﺍﻟﻤﻴﻜﺮﻭﺳﻜﻮﺑﻴﺔ‪ ‬ﺍﻟﺪﻗﻴﻘﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﻟﻜﻦ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﻓﺾ‪ ‬ﺗﺤﺪﻳﺪ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ،‬ﻭﺁﺛﺮ‪ ‬ﺍﺳﺘﻤﺮﺍﺭﻩ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻼﻧﻬﺎﻳﺔ‪ ‬ﺗﺠﺎﻩ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪،‬‬ ‫‪ ‬ﻭﺍﻷﺻﻐﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺎﺣﻴﺔ‪ ‬ﺍﻷﺧﺮﻯ‪. ‬‬

‫‪LC, ‘ Modulor 2 ’, p.77 1 ‬‬ ‫‪2 ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.100­101‬‬

‫‪­ ۱٤۸ ­ ‬‬

‫‪ ‬ﺩﻋﺎ‪ ‬ﺍ‪ ‬ﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﻟﻔﺮﻧﺴﻲ ‪ ‬ﺃﻧﺪﺭﻱ‪ ‬ﺳﻴﻔﺎ ‪ Andre’ Siva ‬ﺇﻟﻰ‪ ‬ﺍﻟﺘﻄﺒﻴﻖ‪ ‬ﺍﻟﻤﻠﺰﻡ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺪﺍﺭﺱ‪ ‬ﺣﺘﻰ‪ ‬ﻳﻨﺸﺄ‬ ‫‪ ‬ﺍﻷﻃﻔﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺲ‪ ‬ﺟﻤﺎﻟﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺠﺎﻧﺲ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ،‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺗﻌﻮﺩ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﻌﺒﻴﺮﺍ‪ ‬ﻓﻌﻠﻴﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺤﻀﺎﺭﺓ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥٥ ‬‬

‫‪ ‬ﺍﺳﺘﻌﺎﻥ ‪ ‬ﻛﺎﻧﺪﻳﻠﻴﺲ ‪ Candilis ‬ﻭﻭﻭﺩﺯ ‪ Woods ‬ﻣﻦ ‪ ‬ﻛﺎﺯﺍﺑﻼﻧﻜﺎ ‪ ‬ﺑﺎﻟﻤﻮﺩﻳﻮﻟﻮ‪ ‬ﺭ ‪ ‬ﻓﻲ ‪ ‬ﺑﻨﺎء ‪ ‬ﻭﺣﺪﺗﻬﻤﺎ ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﺍﻟﻤﺘﻨﺎﺳﺒﺔ ‪ ‬ﻣﻊ ‪ ‬ﻣﻨﺎﺥ ‪ ‬ﺍﻟﻤﻐﺮﺏ‪ ،‬ﻭﺃﻛﺪﺍ ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﻘﻮﻟﺔ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻓﻲ ‪ ‬ﺃﻥ ‪ ‬ﺍﻟﻤﺘﻌﺎﻣﻞ ‪ ‬ﻣﻊ ‪ ‬ﻭﺣﺪﺍﺕ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻻ‬ ‫‪ ‬ﻳﺴﺘﻄﻴﻊ ‪ ‬ﺍﺳﺘﺒﺪﺍﻟﻬﺎ‪ ‬ﺃﻭ‪ ‬ﺍﻻﺳﺘﻐﻨﺎء‪ ‬ﻋﻨﻬﺎ‪ ‬ﺑﻤﺎ‪ ‬ﺳﻮﺍﻫﺎ‪ ،‬ﻛﻤﺎ‪ ‬ﻗﺎﻡ‪ ‬ﻛﻞ‪ ‬ﻣﻦ ‪ ‬ﻭﻳﻨﺮ ‪ ، Wiener ‬ﻭﻣﻴﺴﺮﺯ‪ ‬ﺳﺮﺕ ‪Messrs ‬‬

‫‪ Sert ‬ﺑﻌﻤﻞ‪ ‬ﺗﺨﻄﻴﻄﺎﺕ ‪ ‬ﻟﻤﺪﻳﻨﺘﻴﻦ ‪ ‬ﻓﻲ ‪ ‬ﺑﻴﺮﻭ ‪ ‬ﻭﻛﻮﻟﻮﻣﺒﻴﺎ ‪ ‬ﻣﺴﺘﺨﺪﻣﻴﻦ ‪ ‬ﻓﻴﻬﺎ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻋﻠﻰ ‪ ‬ﻛﺎﻓﺔ ‪ ‬ﺍﻟﻤﺴﺘﻮﻳﺎﺕ ‪ ‬ﺑﻤﺎ‬ ‫‪ ‬ﻓﻴﻬﺎ‪ ‬ﺃﻧﻈﻤﺔ‪ ‬ﺍﻟﺒﻨﺎء‪. ‬‬ ‫‪ ‬ﺃﻣﺎﻧﻴﻜﻮ‪ ‬ﻭﻳﻠﻴﺎﻣﺰ‪ Amanico Williams ‬ﻣﻦ‪ ‬ﺑﻮﺍﻧﺲ‪ ‬ﺃﻳﺮﺱ‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺴﺘﺸﻔﻴﻴﻦ‬

‫‪ ‬ﺷﻜﻞ ‪۱٥٦‬‬

‫‪­ ۱٤۹ ­ ‬‬

‫‪ ‬ﻃﺒﻖ ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ ‪ ‬ﺃﻧﺪﺭﻱ ‪ ‬ﻭﻭﺟﻨﺴﻜﻲ ‪ Andre’ wogensky ‬ﻣﻌﺎﻭﻥ ‪ ‬ﻟ‪ ‬ﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﻨﺰﻟﻪ‬ ‫‪ ‬ﺍﻟﺨﺎﺹ‪ ،‬ﻭﻋﻠﻰ‪ ‬ﺗﻔﺼﻴﻼﺗﻪ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺳﻤﺎﻛﺎﺕ‪ ‬ﺍﻟﻤﻮﺍﺩ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻛﺎﻟﺴﻼﻟﻢ‪ ‬ﻭﺇﻥ‪ ‬ﻟﻢ‪ ‬ﺗﻜﻦ‪ ‬ﻣﻠﺤﻮﻇﺔ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﺍﻷﺛﺎﺙ‪ ‬ﻭﺍﻟﻤﻌﺪﺍﺕ‪ ‬ﻭﺑﻌﺾ‪ ‬ﺍﻷﺟﻬﺰﺓ‪ ‬ﺍﻟﻜﻬﺮﺑﺎﺋﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺻﻤﻤﺖ‪ ‬ﺧﺼﻴﺼﺎ‪ ‬ﻣﻦ‪ ‬ﺃﺟﻞ‪ ‬ﺍﻟﻤﻨﺰﻝ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥۷ ‬‬

‫‪ISO 216 ‬‬

‫‪ ‬ﻣﻌﺎﻳﻴﺮ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻮﺭﻕ‬

‫‪ ‬ﻗﻴﺎﺳﺎﺕ ‪ ‬ﺍﻟﻮﺭﻕ ‪ ‬ﺍﻟﻌﺎﻟ‪ ‬ﻤﻴﺔ ‪ ‬ﺣﺴﺐ ‪ ‬ﺍﻟﻤﻌﺎﻳﻴﺮ ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ISO International Organization for Standardization ‬‬

‫‪ ‬ﻭﺗﺤﺪﻳﺪﺍ‪ ‬ﺍﻟﻤﻌﺎﻳﻴﺮ‪ ‬ﺍﻟﻘﻴﺎﺳﻴﺔ‪ ‬ﺍﻷﻟﻤﺎﻧﻴﺔ ‪ DIN ‬ﺗﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ ‪ √ 2 ‬ﻛﻨﺴﺒﺔ‪ ‬ﺛﺎﺑﺘﺔ‪ ‬ﻓﻴﻬﺎ ‪ ، √ 2 : 1 ‬ﻭﻫﺬﻩ‪ ‬ﺍﻟﻔﻜﺮﺓ‪ ‬ﺑﺪﺃﺕ‪ ‬ﺑﺘﺼﻮﺭ‬ ‫‪ George Lichtenberg ‬ﻓﻲ ‪ ‬ﺍﻟﻘﺮﻥ ‪ ‬ﺍﻟﺜﺎﻣﻦ ‪ ‬ﻋﺸﺮ‪ ،‬ﺛﻢ ‪ ‬ﺃﺻﺒﺢ ‪ ‬ﻗﺎﻧﻮﻧﺎ ‪ ‬ﻓﻲ ‪ ‬ﺃﻟﻤﺎﻧﻴﺎ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻌﺸﺮﻳﻨﻴ‪ ‬ﺎﺕ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻘﺮﻥ‬ ‫‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ‬ﻭﺍﻛﺘﺴﺐ‪ ‬ﺃﻫﻤﻴﺘﻪ‪ ‬ﺍﻟﺤﺎﻟﻴﺔ‪ ‬ﻣﻨﺬ‪ ‬ﺍﻟﺴﺘﻴﻨﻴﺎﺕ‪ ‬ﻋﻨﺪ‪ ‬ﺗﻌﻤﻴﻢ‪ ‬ﺍﺧﺘﺮﺍﻉ‪ ‬ﻧﺎﺳﺨﺎﺕ‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﺣﻴﺚ‪ ‬ﺃﺻﺒﺢ‪ ‬ﺍﻟﻮﺭﻕ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﻧﺴﺒﺔ‪ ‬ﺛﺎﺑﺘﺔ‪ ‬ﺃﺧﻴﺮﺍ‪ ‬ﺗﻼﺋﻢ‪ ‬ﺗﻨﺎﺳﺐ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺒﻴﻨﻪ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪E ‬‬

‫‪400 × 560 ‬‬ ‫‪280 × 400 ‬‬ ‫‪200 × 280 ‬‬ ‫‪140 × 200 ‬‬

‫‪D ‬‬ ‫‪545x771 ‬‬ ‫‪385 × 545 ‬‬ ‫‪272 × 385 ‬‬ ‫‪192 × 272 ‬‬ ‫‪136 × 192 ‬‬ ‫‪96 × 136 ‬‬ ‫‪68 × 96 ‬‬

‫‪C ‬‬ ‫‪917x1297 ‬‬ ‫‪648 × 917 ‬‬ ‫‪458 × 648 ‬‬ ‫‪324 × 458 ‬‬ ‫‪229 × 324 ‬‬ ‫‪162 × 229 ‬‬ ‫‪114 × 162 ‬‬ ‫‪81 × 114 ‬‬ ‫‪57 × 81 ‬‬ ‫‪40 × 57 ‬‬ ‫‪28 × 40 ‬‬

‫‪B ‬‬ ‫‪1000x1414 ‬‬ ‫‪707 × 1000 ‬‬ ‫‪500 × 707 ‬‬ ‫‪353 × 500 ‬‬ ‫‪250 × 353 ‬‬ ‫‪176 × 250 ‬‬ ‫‪125 × 176 ‬‬ ‫‪88 × 125 ‬‬ ‫‪62 × 88 ‬‬ ‫‪44 × 62 ‬‬ ‫‪31 × 44 ‬‬

‫‪A ‬‬ ‫‪841x1189 ‬‬ ‫‪594 × 841 ‬‬ ‫‪420 × 594 ‬‬ ‫‪297 × 420 ‬‬ ‫‪210 × 297 ‬‬ ‫‪148 × 210 ‬‬ ‫‪105 × 148 ‬‬ ‫‪74 × 105 ‬‬ ‫‪52 × 74 ‬‬ ‫‪37 × 52 ‬‬ ‫‪26 × 37 ‬‬

‫‪0 ‬‬ ‫‪1 ‬‬ ‫‪2 ‬‬ ‫‪3 ‬‬ ‫‪4 ‬‬ ‫‪5 ‬‬ ‫‪6 ‬‬ ‫‪7 ‬‬ ‫‪8 ‬‬ ‫‪9 ‬‬ ‫‪10 ‬‬

‫‪ ‬ﻣﺘﺴﻠﺴﻼﺕ ‪ A ‬ﺗﺒﺪﺃ‪ ‬ﺑـ ‪ A0 ‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻣﺴﺎﺣﺘﻪ‪ ‬ﻣﺘﺮﺍ‪ ‬ﻣﺮﺑﻌﺎ‪ ‬ﻭﺍﺣﺪﺍ‪ ،‬ﺛﻢ‪ ‬ﺗﺘﻮﺍﻟﻰ‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ‬ﺗﺒﺎﻋﺎ ‪ ‬ﻋﺒﺮ ‪ ‬ﺗﻨﺼﻴﻒ‬ ‫ﺍﻣﺴﺎﺣﺎﺕ‪ ‬ﺗﻤﺎﻣﺎ‪ ‬ﻟﻠﺤﻔﺎﻅ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﺴﺒﺔ‬

‫‪­ ۱٥۰ ­ ‬‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﻣﺘﺴﻠﺴﻼﺕ‪ B ‬ﻓﻬﻲ‪ ‬ﻣﺘﻨﺎﺳﺒﺔ‪ ‬ﻣﻊ‪ ‬ﻣﺘﺴﻠﺴﻼﺕ‪ ، A ‬ﺣﻴﺚ‪ ‬ﺗﻘﻊ‪ B1 ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪A1 ، A0 ‬‬ ‫‪ ‬ﻭﻣﺘﺴﻠﺴﻼﺕ ‪ C ‬ﺗﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ ‪ ، B ، A ‬ﺃﻱ‪ ‬ﺃﻥ ‪ C0 ‬ﺗﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪، A0 ‬‬ ‫‪ ، B0 ‬ﻭﺑﺬﻟﻚ‪ ‬ﺗﻜﻮﻥ‪ C0 ‬ﺃﻛﺒﺮ‪ ‬ﻗﻠﻴﻼ‪ ‬ﻣﻦ‪ ، A0 ‬ﻭﺗﻜﻮﻥ‪ B0 ‬ﺃﻛﺒﺮ‪ ‬ﻗﻠﻴﻼ‪ ‬ﻣﻦ‪C0 ‬‬

‫‪ ‬ﻭﻗﺼﺪ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﺗﻤﻜﻴﻦ‪ ‬ﺃﺣﺪ ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻣﻦ‪ ‬ﻣﻼءﻣﺔ‪ ‬ﻣﻐﻠﻒ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺍﻵﺧﺮ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ ‪ A4 ‬ﻳﻼﺋﻢ‪ ‬ﻣﻐﻠﻒ ‪ ، C4 ‬ﻭﻫﺬﺍ‬ ‫‪ ‬ﺍﻟﻤﻐﻠﻒ‪ ‬ﺑﺪﻭﺭﻩ‪ ‬ﻳﻼﺋﻢ‪ ‬ﻣﻐﻠﻒ‪ ، B4 ‬ﻭﺑﺬﻟﻚ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﻌﻤﻴﻢ‪ ‬ﻗﺪ‪ ‬ﻗﻠﻞ‪ ‬ﻣﻦ‪ ‬ﻓﺎﺋﺾ‪ ‬ﺍﻟﻄﺒﺎﻋﺔ‪ ‬ﺍﻟﻤﻬﺪﻭﺭ‪ ‬ﺍﻟﺸﻲء‪ ‬ﺍﻟﻜﺜﻴﺮ‬

‫‪ ‬ﺷﻜﻞ ‪۱٥۸‬‬

‫‪­ ۱٥۱ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺩﺱ‪ : ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻤﺎﺫﺝ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪: ‬‬

‫‪ " ‬ﺗﻨﺘﺞ‪ ‬ﺭﻭﺡ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺃ‪ ‬ﺷﻜﺎﻻ‪ ‬ﺣﻘﻴﻘﻴ‪ ‬ﺔ‪ ‬ﻣﻠﻤﻮﺳ‪ ‬ﺔ‪ ،‬ﻭﺗﻌﺒﻴ‪ ‬ﺮﺍﺕ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺣﻘ‪ ‬ﺎﺋﻖ‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ؛‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣ‪ ‬ﻮﺍﺋﻂ‪ ‬ﻣﻨﺘﺼ‪ ‬ﺒﺔ‪ ،‬ﻭﺃﺳ‪ ‬ﻄﺢ‬ ‫‪ ‬ﻣﺪﺭﻛ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺟ‪ ‬ﺪﺭﺍﻥ‪ ،‬ﻭﺯﻭﺍﻳ‪ ‬ﺎ‪ ‬ﻗﺎﺋﻤ‪ ‬ﺔ‪ ،‬ﻭﺩﻓﻌ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘ‪ ‬ﻮﺍﺯﻥ‪ ‬ﻭﺍﻟﺜﺒ‪ ‬ﺎﺕ‪ ،‬ﻭﺃﻧ‪ ‬ﺎ‪ ‬ﺃﺳ‪ ‬ﻤﻴﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺮﻭﺡ‪ ‬ﺗﺤ‪ ‬ﺖ‪ ‬ﻣﺜﻠ‪ ‬ﺚ‬ ‫‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ،‬ﻭﺗﻮﺻﻴﻔﻲ‪ ‬ﻫﺬﺍ‪ ‬ﻣﻌﺘﻤ‪ ‬ﺪ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﺍﻻﺳ‪ ‬ﻢ‪ ‬ﺍﻟﺘﻘﻠﻴ‪ ‬ﺪﻱ‪ ‬ﻟﻠﻔ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺍﻟﺒﺤ‪ ‬ﺮ‪ ‬ﻣﺘﻮﺳ‪ ‬ﻄﻲ‪ " ‬ﺃ‪ ‬ﺗ‪ ‬ﻼﻧﺘ‪ ‬ﻴﻜ‪ ‬ﺎ‪" ‬‬ ‫‪ ، atlantica ‬ﻓﻬﻮ‪ ‬ﻳﻌﻨﻲ‪ ‬ﺍﻷﺛﺮ‪ ‬ﺍﻟﻌﺘﻴﻖ‪ ‬ﺍﻟﻤﺒﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺜﻠﺚ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‪ ‬ﻓﻲ‪ ‬ﺑﻮﺍﺳﻲ ‪ ( ۱۹۳۱ – ۱۹۲۸ ) ‬ﻣﻊ‪ ‬ﺑﻴﻴﺮ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ‬ ‫‪Villa Savoye de Poissy ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٥۹ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻋﺎﻡ‪ ۱۹۲۹ ‬ﻭﺻﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‪ ‬ﺑﻘﻮﻟﻪ‪ " : ‬ﻫـﻮ‪ ‬ﺻﻨﺪﻭﻕ‪ ‬ﻣﻌﻠﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬ‪ ‬ﻮﺍء‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺑﺴ‪ ‬ﺘﺎﻥ‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﻘﻮﻝ‪" ‬‬ ‫‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‪ ‬ﻭﻣﺎ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻧﺘﻴﺠﺔ‪ ‬ﻟﻠﻤﻔﺮﺩﺍﺕ‪ ‬ﻭﺍﻷﻓﻜﺎﺭ‪ ‬ﻭﺍﻷﻧﻈﻤﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻃﻮﺭﻫ‪ ‬ﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻣﺪﻯ‪ ‬ﺍﻟﺴﻨﻮﺍﺕ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭﻫﻲ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺤﺎﻣﻠﺔ‪ ‬ﺍﻟﻀﺎﺑﻄﺔ‪ ‬ﻟﻼﺗﺰﺍﻥ‪ ،‬ﺍﻟﺸﺒﺎﺑﻴﻚ‪ ‬ﺍﻟﺨﻄﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻓﻘﻴ‪ ‬ﺔ‪ ،‬ﺣﺪﻳﻘ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺴﻄﺢ‪ ،‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﺍﻟﻤﻔﺘﻮﺣﺔ‪ ،‬ﻭﺍﻟﻤﻌﺎﻟﺠ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺮﻧ‪ ‬ﺔ‪ ‬ﻟﻠ‪ ‬ﻮﺍﺟﻬ‪ ‬ﺎﺕ‪ ‬ﺟﻤﻴﻌﻬ‪ ‬ﺎ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺷ‪ ‬ﺮﺣﻬﺎ‪ ‬ﻭﺗﺸ‪ ‬ﻜﻴﻠﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻛﺘﺎﺏ‪ ‬ﺍﻟﻨﻘﺎﻁ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻋﺎﻡ‪۱۹۲٦ ‬‬

‫‪1 ‬‬

‫‪LC, ‘ The Modulor ’, p.223‬‬

‫‪­ ۱٥۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٦۰ ‬‬

‫‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺍﺷ‪ ‬ﺘﻘﺎﻕ‪ ‬ﻣﻌ‪ ‬ﺎﻳﻴﺮ‪ ‬ﺍﻻﺣﺘﻴﺎﺟ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻮﻇﻴﻔﻴ‪ ‬ﺔ‪ ،‬ﻭﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺪﺓ‪ ‬ﺻ‪ ‬ﻨﺎﻋﻴﺎ‪ ‬ﻃﺒﻘ‪ ‬ﺎ‪ ‬ﻟﻤﻔﻬ‪ ‬ﻮﻡ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺨﺎﺹ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻜﻦ‪ ‬ﺑﻮﺻ‪ ‬ﻔﻪ‪ ‬ﺁﻟ‪ ‬ﺔ‪ ‬ﻟﻠﻌ‪ ‬ﻴﺶ ‪ ، a machine for living ‬ﻟ‪ ‬ﺬﻟﻚ‪ ‬ﻓﺎﻟﺠﻤﺎﻟﻴ‪ ‬ﺎﺕ‪ ‬ﻣﺴ‪ ‬ﺘﻮﺣﺎﺓ‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﺎﻟ‪ ‬ـﻢ‪ ‬ﺍﻟﻤﺎﻛﻴﻨ‪ ‬ﺎﺕ‪ ،‬ﻭﻛﻤ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ـﻮ‪ ‬ﻣﻌ‪ ‬ﺮﻭﻑ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﺮﻧﺴ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﻮﻗ‪ ‬ﺖ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺎﻛﻴﻨ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﻴﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺧ‪ ‬ﺘﻼﻑ‬ ‫‪ ‬ﺃﻧﻮﺍﻋﻬ‪ ‬ﺎ‪ ‬ﻭﺍﺳ‪ ‬ﺘﺨﺪﺍﻣﺎﺗﻬﺎ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻫ‪ ‬ﺪﻓﻬﺎ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣﺮﺍﻋ‪ ‬ﺎﺓ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺠﻤﺎﻟﻴ‪ ‬ﺔ‪ ‬ﻭﻟ‪ ‬ﻮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣﺴ‪ ‬ﺎﺏ‪ ‬ﻛﻔﺎءﺗﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻮﻇﻴﻔﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺑﻌﻜﺲ‪ ‬ﺍﻟﻤﻴﻜﻨﺔ‪ ‬ﺍﻷﻟﻤﺎﻧﻴﺔ‪ ‬ﻣﺜﻼ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺠﻮﺩﺓ‪ ‬ﺍﻟﻌﺎﻟﻴﺔ‪ ‬ﻭﺍﻟﻔﻘﺮ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ ‪ ، ۱ ‬ﻭﻣﺎ‪ ‬ﺃﺭﺍﺩﻩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻮﻇﻴﻔﻲ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٦۱ ‬‬

‫‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺧﺮﺳﺎﻧﺔ‪ ‬ﻣﺴﻠﺤﺔ‪ ‬ﺗﺤﻤﻞ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ‬ﺟﺎﻧﺐ‪ ‬ﻋﻠﻰ‪ ٥ ‬ﺃﻋﻤ‪ ‬ﺪﺓ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺑﻴﻨﻬ‪ ‬ﺎ‪ ٤۷٥ ‬ﺳ‪ ‬ﻢ‪،‬‬ ‫‪ ‬ﻭﻟ‪ ‬ﻮّﻥ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻲ‪ ‬ﺑ‪ ‬ﺎﻟﻠﻮﻥ‪ ‬ﺍﻷﺻ‪ ‬ﻔﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺝ‪ ‬ﻟﻴﻈﻬ‪ ‬ﺮ‪ ‬ﻭﺳ‪ ‬ﻂ‪ ‬ﻣ‪ ‬ﺰﺍﺭ‪ ‬ﻉ‪ ‬ﺍﻟﺘﺒ‪ ‬ﻎ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭ‪ ‬ﺍﻷﺭﺿ‪ ‬ﻲ‪ ‬ﻓﺒ‪ ‬ﺎﻟﻠﻮﻥ‬

‫‪1 ‬‬

‫‪compare Sabine Thiel­Siling, 'Icon of Architecture' pp.59‬‬

‫‪­ ۱٥۳ ­ ‬‬

‫‪ ‬ﺍﻷﺧﻀﺮ‪ ‬ﺍﻟﻐﺎﻣﻖ‪ ‬ﺣﺘﻰ‪ ‬ﺗﻈﻬﺮ‪ ‬ﺍﻟﻔﻴﻼ‪ ‬ﻭﻛﺄﻧﻬﺎ‪ ‬ﻣﺤﻤﻮﻟﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺭﺽ‪ ،‬ﻭﻛﺴﻴﺖ‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﺑﻠﻮﻥ‪ ‬ﺧﻔﻴ‪ ‬ﻒ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺯﺭﻕ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻟ‪ ‬ﻮﺭﺩﻱ‪ ،‬ﻭﻟ‪ ‬ﻢ‪ ‬ﻳﻜ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻈﻬ‪ ‬ﺮ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻣﺘﻀ‪ ‬ﻤﻨﺎ‪ ‬ﻷﻱ‪ ‬ﺧﻠ‪ ‬ﻂ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﻘﺼ‪ ‬ﻮﺩ‪ ‬ﺃﻥ‪ ‬ﺗﻈﻬ‪ ‬ﺮ‬ ‫‪ ‬ﻛﺸﻲء‪ ‬ﻣﻦ‪ ‬ﺻ‪ ‬ﻨﻊ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﺭﻣ‪ ‬ﺰ‪ ‬ﺧ‪ ‬ﺎﺭﺝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭ‪ ‬ﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻧﺘﺼ‪ ‬ﺎﺭ‪ ‬ﺳ‪ ‬ﻜﺎﻥ‪ ‬ﺑ‪ ‬ﻼﺩ‪ ‬ﺍﻟﺒﺤ‪ ‬ﺮ‪ ‬ﺍﻷﺑ‪ ‬ﻴﺾ‪ ‬ﺍﻟﻤﺘﻮﺳ‪ ‬ﻂ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﻫﻮ‪ ‬ﺗﻌﺒﻴﺮ‪ ‬ﻋﻦ‪ ‬ﺇﺭﺍﺩﺓ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﻦ‪ ‬ﺍﻟﻤﺘﺤﺮﺭﻳﻦ‪ ‬ﻟﺘﺸﻜﻴﻞ‪ ‬ﻣﺴﺎﻛﻨﻬﻢ‪ ‬ﻭﻓﻘﺎ‪ ‬ﻷﻫﻮﺍﺋﻬﻢ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱٦۲‬‬

‫‪ ‬ﺗﻀﺮﺭﺕ‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‪ ‬ﺃﺛﻨﺎء‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﻫ‪ ‬ﺪﺩﻫﺎ‪ ‬ﺍﻟ‪ ‬ﺪﻣﺎﺭ‪ ‬ﻣ‪ ‬ﺮﺓ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٦٤ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‬ ‫‪ ‬ﻧﻔﺬﺕ‪ ‬ﻣﻮﺍﺭﺩ‪ ‬ﻣﺎﻟﻜﺘﻬﺎ‪ ‬ﻭﻟﻢ‪ ‬ﻳ‪ ‬ﻜﻦ‪ ‬ﺇﻟﻴﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺳ‪ ‬ﺒﻴﻞ‪ ‬ﺳ‪ ‬ﻮﻯ‪ ‬ﺑﻴﻌﻬ‪ ‬ﺎ‪ ‬ﻟﺘﺒﻨ‪ ‬ﻰ‪ ‬ﻣﻜﺎﻧﻬ‪ ‬ﺎ‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ،‬ﻭﻟﻤ‪ ‬ﺎ‪ ‬ﺫﺍﻉ‪ ‬ﺍﻟﺨﺒ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﺪﺃﺕ‬ ‫‪ ‬ﺟﻤﻮﻉ‪ ‬ﻣﻦ‪ ‬ﻣﻌﻤﺎﺭﻳﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺑﺒﻌ‪ ‬ﺚ‪ ‬ﺧﻄﺎﺑ‪ ‬ﺎﺕ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺤﻜﻮﻣ‪ ‬ﺔ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻴﺔ‪ ‬ﻳﺸ‪ ‬ﺮﺣﻮﻥ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺃﻫﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻔ‪ ‬ﻴﻼ‪ ‬ﺑﻮﺻ‪ ‬ﻔﻬﺎ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‬ ‫‪ ‬ﺗﺤ‪ ‬ﻮﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ،‬ﻓﻤ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺯﺍﺭﺓ‪ ‬ﺍﻟﺜﻘﺎﻓ‪ ‬ﺔ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺃﺩﺭﺟﺘﻬ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﺄﺛﺮ‪ ‬ﺗ‪ ‬ﺎﺭﻳﺨﻲ‪ ،‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﻭﻓ‪ ‬ﺎ‪ ‬ﺓ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺳﺒﻖ‪ ‬ﻭﺃﻥ‪ ‬ﻗﺎﻝ‪ ‬ﻋﻨﻬﺎ‪ " : ‬ﺳﻴﺒﺪﻭ‪ ‬ﻟﻤﻦ‪ ‬ﺳﻮﻑ‪ ‬ﻳﻌﻴﺶ‪ ‬ﻫﻨﺎ‪ ‬ﻭﻛﺄﻧﻤﺎ‪ ‬ﺳﺘﺸﻜﻞ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﻣﻘﻄﻌ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‬ ‫‪ ‬ﻗﺼﺎﺋﺪ‪ ‬ﻓﻴﺮﺟﻴﻞ‪" ‬‬

‫‪۲ ‬‬

‫‪ 1 ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪۹٦ ­ ۹٥ ‬‬ ‫‪2 ‬‬ ‫‪Jean Jenger, ' Le Corbusier Architect of a New Age ' pp.53‬‬

‫‪­ ۱٥٤ ­ ‬‬

‫‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺭﺳﻴﻠﻴﺎ ‪( ۱۹٥۲ ­ ۱۹٤۷ ) ‬‬ ‫‪Unité d'Habitation de Marseille ‬‬

‫‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٤٥ ‬ﺧﻄ‪ ‬ﺖ‪ ‬ﺍﻟﺤﻜﻮﻣ‪ ‬ﺔ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻴﺔ‪ ‬ﺧﻄ‪ ‬ﻮﺓ‪ ‬ﻧﺤ‪ ‬ﻮ‬ ‫‪ ‬ﺇﻧﻬ‪ ‬ﺎء‪ ‬ﻣﺸ‪ ‬ﻜﻠﺔ‪ ‬ﻧﻘ‪ ‬ﺺ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﺑ‪ ‬ﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﻭﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﺑﺮﻧ‪ ‬ﺎﻣﺞ‪ ‬ﺍﻹﺳ‪ ‬ﻜﺎﻥ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ،‬ﻭﺗ‪ ‬ﻢ‪ ‬ﺗﻜﻠﻴ‪ ‬ﻒ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺒﻨ‪ ‬ﺎء‪ ‬ﻣﺠﻤ‪ ‬ﻊ‪ ‬ﺳ‪ ‬ﻜﻨﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺎﺭﺳ‪ ‬ﻴﻠﻴﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﺠﻨ‪ ‬ﻮﺏ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺳ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ، ‬ﻭﺑ‪ ‬ﺎﻟﻄﺒﻊ‪ ‬ﺭﺣ‪ ‬ﺐ‪ ‬ﺑ‪ ‬ﺎﻟﻔﻜﺮﺓ‬ ‫‪ ‬ﻟﺘﻨﻔﻴﺬ‪ ‬ﻧﻈﺮﻳﺎﺗﻪ‪ ‬ﺑﻌﺪ‪ ۲٥ ‬ﻋﺎﻣﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻻﻧﺘﻈﺎﺭ‪ ‬ﻋﻦ‪ ‬ﻣﻔﻬ‪ ‬ﻮﻡ‬ ‫‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻛﻦ‪ ‬ﺍﻟﻤﺠﻤﻌ‪ ‬ﺔ‪ ،‬ﻭﺗﻘﻨﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ،‬ﻭﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺑﺤﺜ‪ ‬ﻪ‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺨﻠﻔﻴ‪ ‬ﺔ‪ ‬ﺍﻻﺟﺘﻤﺎﻋﻴ‪ ‬ﺔ‪ ،‬ﻭﻋﻼﻗ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺑ‪ ‬ﺎﻟﺘﺨﻄﻴﻂ‬ ‫‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻟﻠﻤﺪﻳﻨ‪ ‬ﺔ‪ ،‬ﻭﺑﻨ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺟﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺃﻱ‪ ‬ﺑﺎﻻﺳ‪ ‬ﺘﻨﺎﺩ‪ ‬ﻋ‪ ‬ﻠ‪ ‬ﻰ‪ ‬ﺃﺑﻌ‪ ‬ﺎﺩﻩ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ،‬ﺇﺫ‪ ‬ﺗﻄﻠ‪ ‬ﺐ‪ ‬ﺍﻟﻬﻴﻜ‪ ‬ﻞ‪ ‬ﺍﻹﻧﺸ‪ ‬ﺎﺋﻲ‪ ۱٥ ‬ﻗﻴﺎﺳ‪ ‬ﺎ‬ ‫‪ ‬ﻣﺨﺘﻠﻔﺎ‪ ‬ﻓﻘﻂ‪. ‬‬ ‫‪ ‬ﺷﻜﻞ‪۱٦۳ ‬‬

‫‪ ‬ﺻ‪ ‬ﻤﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﻞ‪ ۱٦۰۰ ‬ﻧﺴ‪ ‬ﻤﺔ‬ ‫‪ ‬ﺗﻮﺯﻋ‪ ‬ﻮﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ۳۳۷ ‬ﺷ‪ ‬ﻘﺔ‪ ‬ﻣﻌﺰﻭﻟ‪ ‬ﺔ‪ ‬ﺻ‪ ‬ﻮﺗﻴﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ‬ﺑﺼ‪ ‬ﻨﺎﺩﻳﻖ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺮﺻ‪ ‬ﺎﺹ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺻ‪ ‬ﻔﻴﻦ‪ ‬ﺑﻄ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ،‬ﺳـﺎﻋﺪ‪ ‬ﻋﻠﻰ‪ ‬ﻧﺠﺎﺣﻪ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴﻠﺢ‪ ‬ﻳﺸـﻜﻞ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺍﻟﺒﻨﻴﺔ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻟﻠﻤﺒﻨﻰ‪. ‬‬

‫‪ ‬ﻣﺪﺍﺧﻞ‪ ‬ﺍﻟﺸﻘﻖ‪ ‬ﺍﻟﻤﻜﻮﻧﺔ‪ ‬ﻣﻦ‪ ‬ﻃﺎﺑﻘﻴﻦ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺃﺣﻴﺎﻧﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻮﻱ‪ ‬ﻭﺃﺣﻴﺎﻧ‪ ‬ﺎ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭ‪ ‬ﺍﻟﺴ‪ ‬ﻔﻠﻲ‪،‬‬ ‫‪ ‬ﻭﺃﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻐ‪ ‬ﺮﻑ‪ ‬ﻫ‪ ‬ﻲ‪ ۳ , ٦٦ ‬ﻡ‪ ‬ﻃ‪ ‬ﻮﻻ‪ ‬ﺑﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻨﺎﻓ‪ ‬ﺬﺓ‪ ،‬ﻭ‪ ۲ , ۲٦ ‬ﻡ‪ ‬ﺃﻭ ‪ ٤ , ۸٤ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﺎ‪ ،‬ﺃﻱ‪ ‬ﺍﻟﻀ‪ ‬ﻌﻒ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻨ‪ ‬ﺎﻃﻖ‬ ‫‪ ‬ﻏﺮﻑ‪ ‬ﺍﻟﻤﻌﻴﺸﺔ‪ ،‬ﻭﻳﻨﻘﺴﻢ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻻﺭﺗﻔﺎﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﺎﺭﺝ‪ ‬ﺇﻟﻰ‪ ۱۱۳ ) ‬ﺳﻢ‪ ٤۳ ، ‬ﺳﻢ‪ ۷۰ ، ‬ﺳﻢ‪ ( ‬ﺗﺒﻌﺎ‪ ‬ﻟﺘﻘﺴﻴﻤﺎﺕ‪ ‬ﺣ‪ ‬ﻮﺍﺟﺰ‬ ‫‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻘ‪ ‬ﺎﺱ‪ ۱٦٫٥ ‬ﺳ‪ ‬ﻢ‪ ‬ﺍﻟﻄ‪ ‬ﻮﻟﻲ‪ ،‬ﻭﺗﻌﺘﻤ‪ ‬ـﺪ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺑ‪ ‬ﺎﻟﻄﺒﻊ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺎﺱ‬ ‫‪ ‬ﺍﻷﺳﺎﺳﻲ‪ ‬ﺍﻟﻤﺘﻜﺮﺭ‪ ‬ﺍﻟﻤ‪ ‬ﻌﺘﻤﺪ‪ ‬ﻋﻠﻴﻪ‪ ‬ﻓﻴﻤﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺨﺮﺳﺎﻧﻴﺔ‪ ‬ﻫﻮ‪ ٤ , ۱۹ ‬ﻣﺘﺮﺍ‪ ‬ﻣﺮﺑﻌﺎ‪ – ‬ﻭﻫﻮ‪ ‬ﺿﻠﻊ‪ ‬ﺍﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﻃﻮﻝ‪ ‬ﻭﺗ‪ ‬ﺮﻩ‪ ٥ , ۹۲ ‬ﻣ‪ ‬ﺘ‪ ‬ﺮﺍ‪ ،‬ﺃﻭ‪ ‬ﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﺍﻟﻤﻘﺎﺳ‪ ‬ﻴﻦ‪ ٥۳ ، ۳٦٦ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻘﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ، – ‬ﻭﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺸ‪ ‬ـﻘﻖ‪ ‬ﺗﺤ‪ ‬ﻮﻱ‬ ‫‪ ۲۳ ‬ﻣﻮﺍﺻﻔﺔ‪ ‬ﻣﺨﺘﻠﻔـﺔ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻓﺮﺍﺩ‪ ،‬ﻭﺍﻟﺜﻨﺎﺋﻴﺎﺕ‪ ،‬ﻭﺍﻧﺘﻬﺎء‪ ‬ﺑﺎﻟﻌﺎﺋﻼﺕ‪ ‬ﻣﻦ‪ ۳ ‬ﺇﻟﻰ‪ ۸ ‬ﺃﻃﻔﺎﻝ ‪.‬‬

‫‪­ ۱٥٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٦٤ ‬‬

‫‪ ‬ﺗﺠﻬﻴ‪ ‬ﺰﺍﺕ‪ ‬ﺍﻟﻤﻄﺒ‪ ‬ـﺦ‪ ‬ﻣﺜﺒﺘ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻣﺎﻛﻨﻬ‪ ‬ﺎ‪ ‬ﺗﺒﻌ‪ ‬ﺎ‪ ‬ﻟﻠﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻻﻋﺘﺒﺎﺭﻭﺗﺸ‪ ‬ﻤﻞ‪ ‬ﻣﻮﻗ‪ ‬ﺪﺍ‬ ‫‪ ‬ﻛﻬﺮﺑﺎﺋﻴ‪ ‬ﺎ‪ ،‬ﻭﻓﺮﻧ‪ ‬ﺎ‪ ،‬ﻭﺣﻮﺿ‪ ‬ﻴﻦ‪ ‬ﻣ‪ ‬ﺰﻭﺩﻳﻦ‪ ‬ﺑﻤﺎﻛﻴﻨ‪ ‬ﺔ‪ ‬ﺍﻟ‪ ‬ﺘﺨﻠﺺ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺎﺫﻭﺭﺍﺕ‪ ،‬ﻭﺛﻼﺟ‪ ‬ﺔ‪ ،‬ﻭﻃﺎﻭﻟ‪ ‬ﺔ‪ ‬ﻛﺒﻴ‪ ‬ﺮﺓ‪ ،‬ﻭﺑﻌ‪ ‬ﺾ‬ ‫‪ ‬ﺍﻷﺭﻓ‪ ‬ﻒ‪ ،‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺨ‪ ‬ﺮﺝ‪ ‬ﻣ‪ ‬ﺰﻭﺩ‪ ‬ﺑﻐ‪ ‬ﻄ‪ ‬ﺎء‪ ‬ﻣﺘﺼ‪ ‬ﻞ‪ ‬ﺑﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘﻬﻮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰﻱ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻭﺻ‪ ‬ﻠﺖ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﺎﺕ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‬ ‫‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺴﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺑﻌﺪ‪ ‬ﻣﺪﻯ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻄﺒﻴﻖ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺩﻕ‪ ‬ﻣﺴﺘﻠﺰﻣﺎﺕ‪ ‬ﺍﻟﺤﻴﺎﺓ‪ ‬ﺍﻟﻴﻮﻣﻴﺔ‪. ‬‬

‫‪ ‬ﻳﺴ‪ ‬ﻤﺢ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺑ‪ ‬ﺪﺧﻮﻝ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ‬ﻭﻳﻤﻨ‪ ‬ﻊ‪ ‬ﺭﻳ‪ ‬ﺎﺡ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺎﻝ‪ ‬ﺍﻟﻌﻨﻴﻔ‪ ‬ﺔ‪ ‬ﺍﻟﺠﺎﻓ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺒ‪ ‬ﺎﺭﺩﺓ‪ ،‬ﻭﺃﻋﻤ‪ ‬ﺪﺓ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‬ ‫‪ ‬ﺭﻓﻌﺘﻪ‪ ۸ ‬ﺃﻣﺘﺎﺭ‪ ‬ﻋﻦ‪ ‬ﺳﻄﺢ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻓﻲ‪ ‬ﺷﻜﻞ‪ ‬ﺷﺒﻴﻪ‪ ‬ﺑﺎﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺣﻴﺚ‪ ‬ﺍﻟﻤﻠﻤ‪ ‬ﺲ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺟﻲ‪ ‬ﺫﻱ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‬ ‫‪ ‬ﺍﻟﻄﻮ‪ ‬ﻟﻴﺔ‪ ‬ﺍﻟﺒﺎﺭﺯﺓ‪ ،‬ﻭﺗﺤﺘﻮﻱ‪ ‬ﺍﻟﻤﺴﺎﺣﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻓﻮﻗﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺟﻬﺰﺓ‪ ‬ﺍﻟﺘﻜﻴﻴﻒ‪ ‬ﻭﺍﻟﻤﺼﺎﻋﺪ‪ ‬ﻭﺍﻟﻤﻮﻟﺪﺍﺕ‪ ‬ﻭﺫﻟﻚ‪ ‬ﻓﻮﻕ‪ ‬ﻣﻨﻄﻘ‪ ‬ﺔ‬ ‫‪ ‬ﻣﺼﺎﻑ‪ ‬ﺍﻟﺴﻴﺎﺭﺍﺕ‪ ‬ﻭﻣﻤﺮﺍﺕ‪ ‬ﺍﻟﺪﺭﺍﺟﺎﺕ‪. ‬‬

‫‪ ‬ﺷﻜﻞ ‪۱٦٥‬‬

‫‪­ ۱٥٦ ­ ‬‬

‫‪ ‬ﻳﺤﺘﻮﻱ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﺳﺒﻌﺔ‪ ‬ﺷﻮﺍﺭﻉ‪ ‬ﺩﺍﺧﻠﻴﺔ‪ ‬ﺗﻤﺘﺪ‪ ‬ﺑﻄﻮﻝ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ،‬ﻣﻨﻬﺎ‪ ‬ﺍﺛﻨﺎﻥ‪ ‬ﻣﺘﺘﺎﺑﻌﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﻳﻦ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻊ‬ ‫‪ ‬ﻭﺍﻟﺜﺎﻣ‪ ‬ﻦ‪ ‬ﻳﺤﺘﻮﻳﺎﻥ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻤﺤﺎﻝ‪ ‬ﺍﻟﺘﺠﺎﺭﻳﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻷﺳﻤﺎﻙ‪ ‬ﻭﺍﻟﻠﺤﻮﻡ‪ ‬ﻭﺍﻟﺒﻘﺎﻟ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﺸ‪ ‬ﺮﻭﺑﺎﺕ‪ ‬ﻭﺍﻟﻔﺎﻛﻬ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺨﻀ‪ ‬ﺎﺭ‬ ‫‪ ‬ﻭﻣﺨﺒ‪ ‬ﺰ‪ ‬ﻭﻣﻄ‪ ‬ﺎﻋﻢ‪ ‬ﺗﻮﺻ‪ ‬ﻞ‪ ‬ﺍﻟﻄﻠﺒ‪ ‬ﺎﺕ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺑﻘﻴ‪ ‬ـﺔ‪ ‬ﺍﻟﺸ‪ ‬ـﻮﺍﺭﻉ‪ ‬ﺍﻟﺪﺍﺧﻠﻴ‪ ‬ﺔ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻣﻐﺴ‪ ‬ﻠﺔ‪ ‬ﻭﻏﺮﻓ‪ ‬ﺔ‪ ‬ﻟﻠﻜ‪ ‬ﻲ‬ ‫‪ ‬ﻭﺍﻟﺘﻨﻈﻴﻒ‪ ‬ﺍﻟﺠﺎﻑ‪ ‬ﻭﺻﻴﺪﻟﻴﺔ‪ ‬ﻭﻛﻮﺍﻓﻴﺮ‪ ‬ﻭﻣﻜﺘﺐ‪ ‬ﺑﺮﻳﺪ‪ ‬ﻭﻭﻛﻴـﻞ‪ ‬ﺇﺧﺒﺎﺭﻱ‪ ‬ﻭﻣﻜﺘﺒﺔ‪ ،‬ﻭﻓﻨﺪﻗﺎ‪ ‬ﻓﻲ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻤﻤﺮ‪. ‬‬

‫‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ۱٤۰ ‬ﻡ‪ ، ‬ﻭﻋﺮﺿﻪ‪ ۲٤ ‬ﻡ‪ ، ‬ﻭﺍﺭﺗﻔﺎﻋ‪ ‬ﻪ‪ ٥٦ ‬ﻡ‪ ) ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﺎﺕ‪ ‬ﻣﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺴ‪ ‬ﻄﺢ‪ ، ( ‬ﺳ‪ ‬ﻤﻚ‬ ‫‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ۲۰٫٥ ‬ﺳﻢ‪ ، ‬ﻭﺍﻷﺭﺿﻴﺎﺕ‪ ۳۳ ‬ﺳﻢ‪ ، ‬ﻭﺳﻤﻜﻬﺎ‪ ‬ﺑﺎﻟﺤﺎﺟﺰ‪ ‬ﺍﻟﺤﺮﺍﺭﻱ‪ ٥۳ ‬ﺳﻢ‪ ،‬ﻭﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻘﻂ‪ ‬ﺍﻷﻓﻘ‪ ‬ﻲ‪ ‬ﻟﻌﻠﺒ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺴﻼﻟﻢ‪ ۱۹٦ ‬ﺳﻢ‪ ‬ﻭﻋﺮﺿ‪ ‬ﻬﺎ‪ ۸٦ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟ‪ ‬ﺪﺭﺍﺑﺰﻳﻦ‪ ۱۸۳ ‬ﺳ‪ ‬ﻢ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺮﺍﻋ‪ ‬ﺎﺓ‪ ‬ﺗﻔﺎﺻ‪ ‬ﻴﻠﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻘﺎﺳ‪ ‬ﻲ‪ ٤۳ ‬ﺳ‪ ‬ﻢ‪، ‬‬ ‫‪ ٥۳ ‬ﺳﻢ‪ ،‬ﺃﻣﺎ‪ ‬ﺑﺎﻧﻮﻧﻬﺎﺕ‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﻓﻜﺎﻧﺖ‪ ‬ﻓﻲ‪ ‬ﻣﻘﺎﺱ‪ ۸٦ x ۱۱۳ ‬ﺳﻢ‪ ،‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﻔﺎﺻ‪ ‬ﻴﻞ‪ ‬ﺧﺰﺍﻧ‪ ‬ﺎﺕ‪ ‬ﻏ‪ ‬ﺮﻑ‬ ‫‪ ‬ﺍﻟﻨﻮﻡ‪ ‬ﻭﺍﻟﻤﻄﺒﺦ‬

‫‪ ‬ﺷﻜﻞ‪۱٦٦ ‬‬

‫‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ۱۷ ‬ﻃﺎﺑﻘ‪ ‬ﺎ‪ ‬ﺗﻮﺟ‪ ‬ﺪ‪ ‬ﺣﻀ‪ ‬ﺎﻧﺔ‪ ‬ﻟﻸ‪ ‬ﻃﻔ‪ ‬ﺎﻝ‪ ‬ﺍﺭﺗﻔﺎﻋﻬ‪ ‬ﺎ‪ ۲۲٦ ‬ﺳ‪ ‬ﻢ‪ ‬ﻭﺗﺮﺗﻔ‪ ‬ﻊ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻷﺭﺽ‬ ‫‪ ‬ﻣﺴﺎﻓﺔ‪ ۱۱۳ ‬ﺳﻢ‪ ،‬ﺗﻨﻀﻢ‪ ‬ﻟﻬﺎ‪ ‬ﺣﺪﻳﻘﺔ‪ ‬ﻭﺣﻮﺽ‪ ‬ﻟﻠﺴﺒﺎﺣﺔ‪ ‬ﻃ‪ ‬ﻮﻟﻪ‪ ۷۷٥ ‬ﺳ‪ ‬ﻢ‪ ‬ﻭﻋﺮﺿ‪ ‬ﻪ‪ ۳٦٦ ‬ﺳ‪ ‬ﻢ‪ ، ‬ﻭﻫﻨ‪ ‬ﺎﻙ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﺣﺠ‪ ‬ﺮﺓ‬ ‫‪ ‬ﻟﻸﻟﻌ‪ ‬ﺎﺏ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‪ ‬ﻭﺣﺠ‪ ‬ﺮﺓ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﺷﻤﺴ‪ ‬ﻴﺔ ‪ solarium ‬ﺍﺭﺗﻔﺎﻋﻬ‪ ‬ﺎ‪ ٤۷۹ ‬ﺳ‪ ‬ﻢ‪ ‬ﻭﻋ‪ ‬ﺮﺽ‪ ‬ﻣ‪ ‬ﺪﺧﻠﻬﺎ‪ ۱٥٤۹ ‬ﺳ‪ ‬ﻢ‪،‬‬ ‫‪ ‬ﻭﻣﺆﺧﺮﺗﻬﺎ‪ ۱۲٥۳ ‬ﺳ‪ ‬ﻢ‪ ،‬ﺇﻻ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺗﻤﻠﻴﻜﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻴ‪ ‬ﻮﻡ‪ ‬ﻷﺣ‪ ‬ﺪ‪ ‬ﺍﻷﻓ‪ ‬ﺮﺍﺩ‪ ،‬ﻭﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻣﻔﺘ‪ ‬ﻮﺡ‪ ‬ﻟﻠﺘ‪ ‬ﺮﻳﺾ‪ ‬ﻭﻣﻤ‪ ‬ﺮ‪ ‬ﻟﻠﺠ‪ ‬ﺮﻱ‪ ‬ﺑﻄ‪ ‬ﻮﻝ‬ ‫‪ ۳۲۰ ‬ﻡ‪ ‬ﻭﻣﻘﺼ‪ ‬ﻒ‪ ‬ﺻ‪ ‬ﻐﻴﺮ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻣﺴ‪ ‬ﺮﺡ‪ ‬ﻭﺷﺎﺷ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﺮﺽ‪ ،‬ﺑﺎ‪ ‬ﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺑ‪ ‬ﺮﺝ‪ ‬ﺍﻟﺨﺰﺍﻧ‪ ‬ﺎﺕ‪ ‬ﻭﻣﺎﻛﻴﻨ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻌﺪ‬ ‫‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺒﻠ‪ ‬ﻎ‪ ‬ﺍﺭﺗﻔﺎﻋ‪ ‬ﻪ‪ ۱۷۷٥ ‬ﺳ‪ ‬ﻢ‪ ، ( ۲۲٦ + ۱٥٤۹ ) ‬ﻭﻋﺮﺿ‪ ‬ﻪ‪ ۸۲۸ ‬ﺳ‪ ‬ﻢ‪ ، ( ٥۳ + ۷۷٥ ) ‬ﻭﻋﻤﻘ‪ ‬ﻪ‪ ٦٤٥ ‬ﺳ‪ ‬ﻢ‪) ‬‬ ‫‪ ، ( ٥۳ + ٥۹۲ ‬ﻭﻳﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺑﺎﺭ‪ ‬ﻟﻠﻤﺸﺮﻭﺑﺎﺕ‪ ‬ﻋﺮﺿﻪ‪ ۲۹٦ ‬ﺳﻢ‪ ،‬ﺃﻣﺎ‪ ‬ﻓﺘﺤﺎﺕ‪ ‬ﺍﻟﺘﻬﻮﻳ‪ ‬ـﺔ‪ ‬ﻓﺎﺗﺨ‪ ‬ﺬﺕ‪ ‬ﺷ‪ ‬ـﻜﻞ‪ ‬ﻋﻤ‪ ‬ﻮﺩﻳﻦ‬ ‫‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺃﺣ‪ ‬ﺪﻫﻤﺎ‪ ۸۲۸ ‬ﺳ‪ ‬ـﻢ‪ ، ( ٥۳ + ۷۷٥ ) ‬ﻭﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍ‪ ‬ﻵﺧ‪ ‬ﺮ‪ ۳۳۹ ‬ﺳ‪ ‬ـﻢ‪ ، ( ۱۱۳ + ۲۲٦ ) ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺟﻤﻴﻌ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﻗ‪ ‬ﻮﺍﺱ‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺴ‪ ‬ﺔ‪ ‬ﻭﺗﺠﻨ‪ ‬ﺐ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻤﺔ‪ ،‬ﻭﻟ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺃﺳﻤﻨﺖ‪ ‬ﺍﻷﺭﺿﻴﺔ‪ ،‬ﻛﻞ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻭﺿ‪ ‬ـﻊ‪ ‬ﻣﻨﺴ‪ ‬ـﺠﻢ‪ ‬ﻳ‪ ‬ﺮﻳﺢ‪ ‬ﺍﻟﻌ‪ ‬ﻴﻦ‪ ‬ﻭﻳﻨﻘﻠﻬ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ ﺍﻟﻤﻨﻈ‪ ‬ﺮ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺤ‪ ‬ﻴﻂ‪ ‬ﺑﺎﻟﻤﻜ‪ ‬ﺎﻥ‪ ‬ﺑﻤ‪ ‬ﺎ‬

‫‪­ ۱٥۷ ­ ‬‬

‫‪ ‬ﻳﺠﻌﻠﻬﺎ‪ ‬ﺟﺰء‪ ‬ﻣﺮﺗﺒﻂ‪ ‬ﺑﻤﻨﻈﺮ‪ ‬ﺍﻷﻓﻖ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺭﺳﻴﻠﻴﺎ‬ ‫‪ ‬ﺷﻜﻞ‪۱٦۷ ‬‬

‫‪ ‬ﻋﻮﺍﺭﺽ‪ ‬ﺍﻟﺸﻤﺲ‪ ‬ﻭﺿﻌﺖ‪ ‬ﺑﻨﻈﺎﻡ‪ ‬ﻳﻤﻨﻊ‪ ‬ﺩﺧﻮﻝ‪ ‬ﺍﻷﺷﻌﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﺎﻟﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺼ‪ ‬ﻴﻒ‪ ،‬ﻭﻳﻤﻨ‪ ‬ﻊ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‬ ‫‪ ‬ﻧ‪ ‬ﻮﺭ‪ ‬ﺍﻟﺸ‪ ‬ﺘﺎء‪ ‬ﺫﻱ‪ ‬ﺍﻟﺰﺍﻭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻨﺨﻔﻀ‪ ‬ﺔ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻭﺿ‪ ‬ﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻘﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺘﺒﻌ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‬ ‫‪ ‬ﻭﻫﻲ‪: ‬‬ ‫‪ ‬ﺃﻭﻻ‪ : ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺑﻜﺜﺎﻓﺎﺕ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺤﺎﻣﻠﺔ‪ ‬ﻭﻓﻲ‪ ‬ﻋﻮﺍﺭﺽ‪ ‬ﺍﻟﺸﻤﺲ‬ ‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺣﻜﻢ‪ ‬ﺟﻤﻴﻊ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻭﺍﻟﻔﺮﻋﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺒﻨﻰ‬ ‫‪ ‬ﺛﺎﻟﺜﺎ‪ : ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‪ ‬ﺍﻟﻤﻨﻈﻮﻣﺔ‪ ‬ﺑﺄﻟﻮﺍﻥ‪ ‬ﻣﺘﻌﺪﺩﺓ‪ ‬ﻟﻠﺘﻔﺮﻳﻖ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺸﻘﻖ‪ ‬ﺍﻟﻤﺘﻘﺎﺭﺑﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺝ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﺼ‪ ‬ﻨﻊ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮﺍ‬ ‫‪۱ ‬‬

‫‪ ‬ﺑﺼﺮﻳﺎ‪ ‬ﻣﺘﺠﺪﺩﺍ‪ ‬ﻟﻠﻤﺒﻨﻰ‪ ‬ﺑﺎﺳﺘﻤﺮﺍﺭ‬

‫‪ ‬ﺷﻜﻞ‪۱٦۸ ‬‬

‫‪ ‬ﺗﻢ‪ ‬ﻋﻤﻞ‪ ‬ﺛﻼﺙ‪ ‬ﻧﺴﺦ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ،‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﺎﻧ‪ ‬ﺖ‪ ‬ﺭﻳﺰﻳ‪ ‬ﻪ ‪، ( ۱۹٥٥ – ٥۳ ) Nantes­Rezé ‬‬ ‫‪ ‬ﻭﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﺮﻳ‪ ‬ﻲ‪ ‬ﺃﻭﻥ‪ ‬ﻓﻮﺭﻳ‪ ‬ﻪ ‪ ، ( ۱۹٥۸ – ٥٥ ) Briey en Forêt, near Metz ‬ﻭﺍﻟﺜﺎﻟﺜ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﻴﺮﻣﻴﻨ‪ ‬ﻲ‬ ‫‪ ، ( ۱۹٦۷ – ٦٥ ) Firminy ‬ﻫﺬﺍ‪ ‬ﻭﻗﺪ‪ ‬ﺻﻤﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﺒﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻨﺴﻖ‪ ‬ﻓﻲ‪ ‬ﺑﺮﻟﻴﻦ‪ ‬ﻭﺗﻢ‪ ‬ﺑﻨ‪ ‬ﺎﺅﻩ‪ ‬ﻋﻠﻰ‪ ‬ﻳ‪ ‬ﺪ‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﺁﺧﺮﻳﻦ ‪ ، ۲ ‬ﻛﻤﺎ‪ ‬ﺍﻧﺘﻘﻠﺖ‪ ‬ﺍﻟﻔﻜﺮﺓ‪ ‬ﺇﻟﻰ‪ ‬ﻟﻨﺪﻥ‪ ‬ﻓﻲ‪ ‬ﻣﺴﺎﻛﻦ‪ ‬ﺭﻭﻫﺎﻣﺒﺘﻮﻥ ‪. Roehampton ‬‬ ‫‪Le Corbusier, ' Towards a New Architecture ' pp.288­89 1 ‬‬ ‫‪2 ‬‬ ‫‪Jean Jenger, ' Le Corbusier Architect of a New Age ' pp.‬‬

‫‪­ ۱٥۸ ­ ‬‬

‫‪ ‬ﺃﻗﺎﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺟﺪﺍﺭﻳﺎﺕ‪ ‬ﻧﺤﺖ‪ ‬ﻏﺎﺋﺮ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺟﺪﺍﺭ‪ ‬ﺃﻗ‪ ‬ﻴﻢ‪ ‬ﺧﺼﻴﺼ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟﻠﻬ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﻳﻤ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤ‪ ‬ﺪﺧﻞ‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻲ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺦ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺒﺎﻧﻴ‪ ‬ﻪ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺗﺒ‪ ‬ﻴﻦ‪ ‬ﺍﻋﺘﻤ‪ ‬ﺎﺩﻩ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻭﺗﻮﺿﺢ‪ ‬ﻛﻴﻔﻴﺔ‪ ‬ﺍﺭﺗﺒﺎﻃﻪ‪ ‬ﺑﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻪ‪ ‬ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ‬ﺑﺎﻟﻤﺒﻨﻰ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱٦۹ ‬‬

‫‪ ‬ﻭﻗﺪ ‪ ‬ﻇﻬﺮﺕ ‪ ‬ﻓﻜﺮﺓ ‪ ‬ﺗﻜﺮﺍﺭ ‪ ‬ﺍﻷﺷﺨﺎﺹ ‪ ‬ﺭﺃﺳﻴﺎ ‪ ‬ﻣﻨﺬ ‪ ‬ﻋﻬﺪ‬ ‫‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ،‬ﺇﺫ ‪ ‬ﻳﺒﻴﻦ ‪ ‬ﺍﻟﺸﻜﻞ ‪ ‬ﻧﻘﺶ ‪ ‬ﻹﻣﺤﺘﺐ ‪ ‬ﻳﻌﻠﻮ‬ ‫‪ ‬ﺃﻣﺤﺘﺐ ‪ ‬ﺍﺑﻦ ‪ ‬ﺣﺎﺑﻮ ‪ ‬ﻋﻠﻰ ‪ ‬ﺟﺪﺭﺍﻥ ‪ ‬ﻣﻌﺒﺪ ‪ ‬ﺁﻣﻮﻥ ‪ ‬ﺭﻉ ‪ ‬ﺑﺎﻟﻜﺮﻧﻚ‪،‬‬ ‫‪ ‬ﻭﻳﻈﻬﺮ‪ ‬ﺍﻟﺘﺸﺎﺑﻪ‪ ‬ﺍﻟﺸﺪﻳﺪ‪ ‬ﺑﻴ‪ ‬ﻦ‪ ‬ﺍﻟﺸﻜﻠﻴﻦ‪ ‬ﺍﻟﻤﺘﻘﺎﺑﻠﻴﻦ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺪﻝ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﺗﻘﺎﺭﺏ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺑﻴﻨﻬﻤﺎ‬

‫‪ ‬ﺷﻜﻞ ‪۱۷۰‬‬

‫‪­ ۱٥۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷۱ ‬‬

‫‪ ‬ﻭﻫﺬﻩ‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻧﺎﻧﺖ‪ ‬ﺭﻳﺰﻱ‬

‫‪ ‬ﺷﻜﻞ ‪۱۷۲‬‬

‫‪­ ۱٦۰ ­ ‬‬

‫‪ ‬ﻭﻫﺬﻩ‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺑﺮﻟﻴﻦ‬

‫‪ ‬ﺷﻜﻞ ‪۱۷۳‬‬

‫‪­ ۱٦۱ ­ ‬‬

‫‪ ‬ﻛﻨﻴﺴـﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﺩﻭﻫﻮ‪ ‬ﻓﻲ‪ ‬ﺭﻭﻧﺸﺎﻡ ‪( ۱۹٥٥ – ۱۹٥۰ ) ‬‬ ‫‪Chapelle Notre Dame du Haut de Ronchamp ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷٤ ‬‬

‫‪ ‬ﺇﺣﺪﻯ‪ ‬ﺭﻭﺍﺋﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘ‪ ‬ﻮّﺝ‪ ‬ﻣﻨﻄﻘ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ﻼﻝ‪ ‬ﺟﺒ‪ ‬ﺎﻝ‪ ‬ﻓ‪ ‬ﻮﺯﺟﺰ‪ Vosges ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻳﻠ‪ ‬ﻮﺡ‪ ‬ﻟﻠﻨ‪ ‬ﺎﻇﺮ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻷﻓﻖ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻷﻓﻖ‪ ،‬ﻭﻫﻲ‪ ‬ﻣـﻦ‪ ‬ﺃﺷﻬﺮ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﺑﻨﻴﺖ‪ ‬ﻟﺼ‪ ‬ﺎﻟﺢ‪ ‬ﺍﻟﺮﻭﻣ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻜﺎﺛﻮﻟﻴ‪ ‬ﻚ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻗﺒﻞ‪ ‬ﻣﻌﻤﺎ‪ ‬ﺭﻱ‪ ‬ﻧﺸﺄ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻌﺎﻟﻴﻢ‪ ‬ﺍﻟﺒﺮﻭﺗﺴﺘﺎﻧﺘﻴﺔ‪ ‬ﻭﻛﺎﻧﺖ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻧﺰﻋ‪ ‬ﺔ‪ ‬ﻟﻠﻤ‪ ‬ﺬﻫﺐ‪ ‬ﺍﻟﺒ‪ ‬ﺎﻧﺜﻲ ‪ ، ۱ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺫﻛ‪ ‬ﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﻣﻨﺎﺳ‪ ‬ﺒﺎﺕ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻳﻨﺘﻤ‪ ‬ﻲ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺃﻱ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻹﻳﻤ‪ ‬ﺎﻥ‪ ‬ﺍﻟ‪ ‬ﺪﻳﻨﻲ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﺳ‪ ‬ﺘﺜﻨﻰ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺍﻟ‪ ‬ﺪﻳﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺎﺋﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﻋﺮﺍﻑ‪ ‬ﺍﻟﻤﺆﺳﺴﺎﺕ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﻣﻦ‪ ‬ﺭﺅﻳﺘﻪ‪ ‬ﻟﻠﻤﺠﺘﻤﻊ‪ ،‬ﻭﺭﻏﻢ‪ ‬ﺇﻧﻜﺎﺭﻩ‪ ‬ﻷﻱ‪ ‬ﻧﻮﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﻧﺘﺴ‪ ‬ﺎﺏ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺹ‪ ‬ﻗ‪ ‬ﺎﻝ‪ " : ‬ﺇﻥ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﺇﻧﺴﺎﻥ‪ ‬ﻳﺤﻤﻞ‪ ‬ﺷ‪ ‬ﻌﻮﺭﺍ‪ ‬ﺩﻳﻨﻴ‪ ‬ﺎ‪ ‬ﺑﺎﻻﻧﺘﺴ‪ ‬ﺎﺏ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺟ‪ ‬ﻨﺲ‪ ‬ﺑﺸ‪ ‬ﺮﻱ‪ ‬ﺃﻋﻈ‪ ‬ﻢ‪ ‬ﺑﺪﺭﺟ‪ ‬ﺔ‪ ‬ﺃﻛﺒ‪ ‬ﺮ‪ ‬ﺃﻭ‪ ‬ﺃﺻ‪ ‬ﻐﺮ‪ ،‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺟ‪ ‬ﺰء‬ ‫‪ ‬ﻣﻨﻪ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﻄﻌﺖ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻋﻤﻠﻲ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﺳﺘﺤﻀﺎﺭ‪ ‬ﺩﻓﻘ‪ ‬ﺎﺕ‪ ‬ﻛﺒﻴ‪ ‬ﺮﺓ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﺍﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﺍﻟﻌﺎﻃﻔﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺤﻤﻴﻤﻴ‪ ‬ﺔ‪ ‬ﻟﺪﺭﺟ‪ ‬ـﺔ‬ ‫‪ ‬ﺃﺻﺒﺤﺖ‪ ‬ﻣﻌﻬﺎ‪ ‬ﺷﻴﺌـﺎ‪ ‬ﺩﻳﻨﻴﺎ‪ ‬ﺗﻘﺮﻳﺒﺎ‪" ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷٥ ‬‬ ‫‪1 ‬‬

‫‪ ‬ﺍﻟﻤﺬﻫﺐ‪ ‬ﺍﻟﺒﺎﻧﺜﻲ‪ Panthism ‬ﻫﻮ‪ ‬ﺍﻻﻋﺘﻘﺎﺩ‪ ‬ﺑﻮﺣﺪﺓ‪ ‬ﺍﻟﻮﺟﻮﺩ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﷲ‪ ‬ﻭﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺷﻲء‪ ‬ﻭﺍﺣﺪ‪ ‬ﻭﺃﻥ‪ ‬ﺍﻟﻜﻮﻥ‪ ‬ﺍﻟﻤﺎﺩﻱ‪ ‬ﻭﺍﻹﻧﺴﺎﻥ‪ ‬ﻟﻴﺴﺎ‪ ‬ﺇﻻ‪ ‬ﻣﻈﺎﻫﺮ‪ ‬ﻟﻠﺬﺍﺕ‬ ‫‪ ‬ﺍﻹﻟﻬﻴﺔ‪ ،‬ﻭﺃﺻﻞ‪ ‬ﺍﻟﻜﻠﻤﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﺎﻧﺜﻴﻮﻥ‪ Pantheon ‬ﻭﻫﻮ‪ ‬ﺍﻟﻬﻴﻜﻞ‪ ‬ﺍﻟﻤﻜﺮﺱ‪ ‬ﻟﺠﻤﻴﻊ‪ ‬ﺍﻵﻟﻬﺔ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻭﻣﺎﻥ‪ ‬ﻭﻣﺪﻓﻦ‪ ‬ﻋﻈﻤﺎء‪ ‬ﺍﻷﻣﺔ‬ ‫‪2 ‬‬ ‫‪Petit, ' Le Corbusier ' pp. 183‬‬

‫‪­ ۱٦۲ ­ ‬‬

‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﺗ‪ ‬ﺎﺭﻳﺨﻲ‪ ‬ﺍﺣﺘ‪ ‬ﻮﻯ‪ ‬ﻓﻴﻤ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺒﻖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﻭﺛﻨ‪ ‬ﻲ‪ ‬ﻟﻠﺸ‪ ‬ﻤﺲ‪ ،‬ﻭﻗﻠﻌ‪ ‬ﺔ‪ ‬ﺭﻭﻣﺎﻧﻴ‪ ‬ﺔ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺣ‪ ‬ﺮﻡ‪ ‬ﻣﺴ‪ ‬ﻴﺤﻲ‬ ‫‪ ‬ﻣﻘ‪ ‬ﺪﺱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺮﺍﺑ‪ ‬ﻊ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﻣﻘﺼ‪ ‬ﺪ‪ ‬ﻟﻠﺤﺠ‪ ‬ﺎﺝ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻴﻴﻦ‪ ‬ﻭﺍﻷﻟﻤ‪ ‬ﺎﻥ‪ ‬ﺃﻗ‪ ‬ﻴﻢ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۸۷۳ ‬ﻛﺸ‪ ‬ﻜﺮ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺣ‪ ‬ﺮﺏ‬ ‫‪ ‬ﺍﻟﻔﺮﺍﻧﻜﻮﺑﺮﻭﺳ‪ ‬ﻴﺎﻥ ‪ Franco­Prussian War ‬ﻭﺻ‪ ‬ﻮﻻ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻄ‪ ‬ﺮﺍﺯ‪ ‬ﺍﻟﻘ‪ ‬ﻮﻃﻲ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ ‪neo­gothic ‬‬

‫‪ ‬ﺑﻨﻴﺖ‪ ‬ﻋﺎﻡ‪ ۱۹۲٤ ‬ﺣﺘﻰ‪ ‬ﺩﻣﺎﺭﻫﺎ‪ ‬ﻣﻊ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ ‪ – ۱ ‬ﻛﻠ‪ ‬ﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺒﻨ‪ ‬ﺎء‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻜﺎﻥ‪ ‬ﻭﺃﻋﻄﻲ‪ ‬ﺍﻟﺤﺮﻳﺔ‪ ‬ﺍﻟﻜﺎﻣﻠﺔ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻤﻪ‪ ‬ﻟﻬﺎ‪ ،‬ﻭﻓﻮﺭ‪ ‬ﻭﺻﻮﻟﻪ‪ ‬ﺍﻟﻤﻜ‪ ‬ﺎﻥ‪ ‬ﺭﺳ‪ ‬ﻢ‪ ‬ﺍﺳﻜﺘﺸ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﺮﻳﻌﺎ‪ ‬ﻟﻜﻨﻴﺴ‪ ‬ﺘﻪ‪ ‬ﺣﻤ‪ ‬ﻞ‬ ‫‪ ‬ﺭﻭﺡ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺣﺘﻰ‪ ‬ﻣﺮﺣﻠﺘﻪ‪ ‬ﺍﻟﻨﻬﺎﺋﻴﺔ‪ ،‬ﻭﻓﻲ‪ ‬ﺗﺼﺮﻳﺤﺎﺗﻪ‪ ‬ﺍﻟﻼﺣﻘﺔ‪ ‬ﻟﻤﺮﺣﻠﺔ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎ‪ ‬ء‪ ‬ﻗ‪ ‬ﺎﻝ‪ " : ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺑﻨﻴ‪ ‬ﺖ‪ ‬ﻫ‪ ‬ـﺬﻩ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺭﺩﺕ‪ ‬ﺧﻠ‪ ‬ﻖ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻟﻠﺼ‪ ‬ﻤﺖ‪ ‬ﻭﺍﻟﺼ‪ ‬ﻼﺓ‪ ‬ﻭﺍﻟﺴ‪ ‬ﻼﻡ‪ ‬ﻭﺍﻟﺒﻬﺠ‪ ‬ﺔ‪ ‬ﺍﻟﺪﺍﺧﻠﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺸ‪ ‬ﻌﻮﺭ‪ ‬ﺑﺎﻟﺒﺮﻛ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺴ‪ ‬ـﻌﺎﺩﺓ‪ ‬ﺍﻟﺮﻭﺣﻴ‪ ‬ﺔ‪ ،‬ﻓﻬﻨ‪ ‬ﺎﻙ‬ ‫‪ ‬ﺃﺷﻴﺎء‪ ‬ﺗُﺸﻌﺮ‪ ‬ﺑﺎﻟﺴـﻌﺎﺩﺓ‪ ‬ﻭﺃﺧﺮﻯ‪ ‬ﻻ‪ ‬ﺗﺸﻌﺮ‪ ‬ﺑﻬﺎ‪ ‬ﺳـﻮﺍء‪ ‬ﻛﺎﻧﺖ‪ ‬ﺫﺍﺕ‪ ‬ﻃﺒﻴـﻌﺔ‪ ‬ﺩﻳﻨﻴـﺔ‪ ‬ﺃﻡ‪ ‬ﻻ‪" ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷٦ ‬‬

‫‪ ‬ﺍﻟﻨﻘﻄﺔ‪ ‬ﺍﻟﻤﺮﺟﻌﻴﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻛﺎﻧﺖ‪ ‬ﺍﻟﻤﻮﻗﻊ‪ ‬ﺍﻟﻔﺴﻴﺢ‪ ‬ﻛﺜﻴ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺘﻼﻝ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻧﻌﻜ‪ ‬ﺲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻮﻗ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﺪﻳﻨﺎﻣﻴﻜﻴ‪ ‬ﺔ‪ ‬ﻟﻠﻮﺍﺟﻬ‪ ‬ﺎﺕ‪ ،‬ﻭﺍﻟﻤﻨﻈ‪ ‬ﺮ‪ ‬ﺍﻟﺘﻌﺒﻴ‪ ‬ﺮﻱ‪ ‬ﻟﻠﻜﻨﻴﺴ‪ ‬ﺔ‪ ،‬ﻭﻳ‪ ‬ﺄﺗﻲ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟﺴ‪ ‬ﻘﻒ‪ ‬ﺍﻟﻔﺴ‪ ‬ﻴﺢ‪ ‬ﺍﻟﻤﺮﻓ‪ ‬ﻮﻉ‪ ‬ﻓ‪ ‬ﻮﻕ‬ ‫‪ ‬ﺍﻟﺠ‪ ‬ﺪﺭﺍﻥ‪ ‬ﺍﻟﺨﺎﺭﺟﻴ‪ ‬ﺔ‪ ‬ﺑﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺻ‪ ‬ﻐﻴﺮﺓ‪ ‬ﺗﺴ‪ ‬ﻤﺢ‪ ‬ﺑﻤﺮﻭﺭﺍﻟﻀ‪ ‬ﻮء‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺗﺸ‪ ‬ﻜﻴﻞ‪ ‬ﺃﺳ‪ ‬ﻤﻨﺘﻲ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‬ ‫‪ ‬ﺩﻋﺎﻣﺎﺕ‪ ‬ﻣﻦ‪ ‬ﺃ‪ ‬ﻧﺎﺑﻴﺐ‪ ‬ﻣﻌﺪﻧﻴﺔ‪ ‬ﺧﻔﻴﻔﺔ‪ ‬ﺍﻟﻮﺯﻥ‪ ‬ﺭﺑﻄﺖ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺍﻟﻮﺣﺪﺍﺕ‪ ‬ﺍﻟﺒﻨﺎﺋﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺣﻮﺍﺋﻂ‪ ‬ﻭﺳ‪ ‬ﻘﻒ‪ ‬ﻭﺃﻋﻤ‪ ‬ﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺷﺒﻜﺔ‪ ‬ﻣﻮﺛﻘﺔ‪ ،‬ﻭﻫﻮ‪ ‬ﻻ‪ ‬ﻳﻈﻬﺮ‪ ‬ﺇﻻ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﻬﺔ‪ ‬ﺍﻟﺸﺮﻗﻴﺔ‪ ‬ﻭﺍﻟﺠﻨﻮﺑﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ـﻜﻞ‪ ‬ﺷ‪ ‬ـﺮﺍﻉ‪ ‬ﺗﻤﻠ‪ ‬ﺆﻩ‪ ‬ﺍﻟﺮﻳ‪ ‬ﺎﺡ‪ ‬ﺃﻭ‪ ‬ﻣﻮﺟ‪ ‬ﺔ‪ ‬ﺑﺤﺮﻳ‪ ‬ﺔ‬ ‫‪ 1 ‬ﺍﺳﺘﻌﻴﻦ‪ ‬ﺑﺒﻌﺾ‪ ‬ﺣﺠﺎﺭﺗﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﺳﺘﻜﻤﺎﻝ‪ ‬ﺍﻟﺤﺎﺋﻂ‪ ‬ﺍﻟﺠﻨﻮﺑﻲ‪ ‬ﺍﻟﻤﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺷﺒﺎﺑﻴﻚ‪ ‬ﺫ‪ ‬ﺍﺕ‪ ‬ﺃﻟﻮﺍﺡ‪ ‬ﺯﺟﺎﺟﻴﺔ‪ ‬ﻣﻠﻮﻧﺔ‪ ‬ﺍﺳﺘﻤﺪﺕ‪ ‬ﻓﻜﺮﺗﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﺍﻟﻜﻨﺴﻴﺔ‬ ‫‪2 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.82‬‬

‫‪­ ۱٦۳ ­ ‬‬

‫‪ ‬ﻋﻈﻴﻤﺔ‪ ،‬ﺃﺳﻤﺎﻩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺧﻤﺎﺭ‪ ‬ﺍﻟﺸﻤﺲ‪ ‬ﻭﺍﺳ‪ ‬ﺘﻠﻬﻢ‪ ‬ﺷ‪ ‬ﻜﻠﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺻ‪ ‬ﺪﻓﺔ‪ ‬ﻋﺜ‪ ‬ﺮ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﺎﻃﺊ‪ ‬ﻟ‪ ‬ﻮ‪ ‬ﻧﺞ‪ ‬ﺃﻳﻼﻧ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻧﻴﻮﻳﻮﺭﻙ‪ ‬ﻋﺎﻡ‪. ۱۹٤٦ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷۷ ‬‬

‫‪ ‬ﻳﻜﺘﺴﺐ‪ ‬ﺍﻟﺒﺮﺟﺎﻥ‪ ‬ﺍﻟﺘﻮﺃﻣﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻤﺎﻝ‪ ‬ﻟﻮﻧﻬﻤﺎ‪ ‬ﺍﻟﻤﺘﺪﺭﺝ‪ ‬ﻣﻦ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮ‪ ‬ﺷ‪ ‬ﺮﻭﻕ‪ ‬ﻭﻏ‪ ‬ﺮﻭﺏ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﺣﺴ‪ ‬ﺐ‬ ‫‪ ‬ﺍﺗﺠﺎﻫ‪ ‬ﻪ‪ ،‬ﺑﻌﻜ‪ ‬ﺲ‪ ‬ﺍﻟﺒ‪ ‬ﺮﺝ‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻲ‪ ‬ﺍﻟﺠﻨ‪ ‬ﻮﺑﻲ‪ ‬ﺍﻟﻤﻮﺍﺟ‪ ‬ﻪ‪ ‬ﻟﻠﺸ‪ ‬ﻤﺎﻝ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺟﻤﻴﻌ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺰﻭﺩﺓ‪ ‬ﺑﻤﻌﺎﻟﺠ‪ ‬ﺎﺕ‪ ‬ﻷﺷ‪ ‬ـﻌﺔ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‬ ‫‪ ‬ﺃﺳ‪ ‬ﻤﺎﻫﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ ‪ brise­lumière ‬ﻭﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻷﺑ‪ ‬ﺮﺍﺝ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﺍﻷﺏ‪ ‬ﻭﺍﻻﺑ‪ ‬ﻦ‪ ‬ﻭﺭﻭﺡ‪ ‬ﺍﻟﻘ‪ ‬ـﺪﺱ‪ ‬ﻭﺑﻴﻨﻬﻤ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ـﻦ‬ ‫‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟـﺪﺍﺧﻠﻴﺔ‪ ‬ﻭﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻣﺎ‪ ‬ﻳـﺆﻛﺪ‪ ‬ﺗﺒﻌﻴﺔ‪ ‬ﺻﻠﺘﻬﻤﺎ‪ ‬ﺑﺒﻌﺾ‪. ‬‬

‫‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﺍﻟﻤﻨﺤﻨﻴﺔ‪ ‬ﺍﻟﻤﺎﺋﻠﺔ‪ ،‬ﻭﺍﻷﺭﺽ‪ ‬ﺍﻟﻤﻨﺤﺪﺭﺓ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﻤ‪ ‬ﺬﺑﺢ‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻲ‪ ،‬ﻭﺍﻟﺴ‪ ‬ﻘﻒ‪ ‬ﺍﻟﻤﻌﻠ‪ ‬ﻖ‪ ‬ﺗﺆﻟ‪ ‬ﻒ‪ ‬ﺟﻤﻴﻌﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺷﻜﻼ‪ ‬ﻋﻀﻮﻳﺎ‪ ‬ﻣﻄﻮﻗ‪ ‬ﺎ‪ ،‬ﻭﻳﺰﻳ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﻤﻴﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻜ‪ ‬ﺎﻥ‪ ‬ﻓﺘﺤ‪ ‬ﺎﺕ‪ ‬ﺍ‪ ‬ﻟﺸ‪ ‬ﺒﺎﺑﻴﻚ‪ ‬ﺍﻟﻤﺘﺒﺎﻳﻨ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻟﻮّﻧﻬ‪ ‬ﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻨﻔﺴ‪ ‬ﻪ‬ ‫‪ ‬ﺑﺄﻟﻮﺍﻥ‪ ‬ﺻﺎﻓﻴﺔ‪ ‬ﺗﻐﻤﺮ‪ ‬ﺍﻟﻤﻜﺎﻥ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷۸ ‬‬

‫‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‪ ‬ﻗﺎﻋ‪ ‬ﺔ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‪ ۲٥ x ۱۳ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻳﻤﻜﻨﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺳ‪ ‬ﺘﻴﻌﺎﺏ‪ ۲۰۰ ‬ﺷ‪ ‬ﺨﺺ‪ ‬ﻣﻘﺴ‪ ‬ﻤﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺛﻼﺛ‪ ‬ﺔ‬ ‫‪ ‬ﻛﻨﺎﺋﺲ‪ ‬ﺻﻐﻴﺮﺓ‪ ‬ﺑﺈﻣﻜﺎﻧﻴﺔ‪ ‬ﻋﻤﻞ‪ ‬ﺛﻼﺛﺔ‪ ‬ﻗﺪﺍﺩﻳﺲ‪ ‬ﻓﻲ‪ ‬ﻭﻗﺖ‪ ‬ﻭﺍﺣﺪ‪ ،‬ﻛﻤﺎ‪ ‬ﻳﻤﻜﻦ‪ ‬ﻋﻤﻞ‪ ‬ﻗﺪﺍﺱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬ‪ ‬ﻮﺍء‪ ‬ﺍﻟﻄﻠ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻳﺴ‪ ‬ﻊ‪ ‬ﻣ‪ ‬ـﻦ‪ ۱۲۰۰۰ ‬ﺇﻟ‪ ‬ﻰ‪ ۳۰ ۰۰۰ ‬ﺷ‪ ‬ﺨﺺ‪ ،‬ﻭﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ـﺔ‪ ‬ﺍﻟﺘﺒﺎﺩﻟﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤ‪ ‬ﺬﺑﺤﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‪ ‬ﻭﺍﻟﺨ‪ ‬ﺎﺭﺟﻲ‪ ‬ﺑﺮﻣ‪ ‬ﺰ‬

‫‪­ ۱٦٤ ­ ‬‬

‫‪ ‬ﻋﺬﺭﻱ‪ ‬ﻓﻲ‪ ‬ﺻﻮﺭﺓ‪ ‬ﺷﺒﺎﻙ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻭﺣﻴﺪ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺭﺅﻳﺘﻪ‪ ‬ﻣﻦ‪ ‬ﻛﻼ‪ ‬ﻧ‪ ‬ﺎﺣﻴﺘﻲ‪ ‬ﺍﻟﺤ‪ ‬ﺎﺋﻂ‪ ‬ﺍﻟﺸ‪ ‬ﺮﻗﻲ ‪ ۱ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺑﻨ‪ ‬ﻲ‪ ‬ﺑﺠﺎﻧ‪ ‬ﺐ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‬ ‫‪ ‬ﻣﻨﺰﻝ‪ ‬ﻟﻨﺎﻇﺮ‪ ‬ﺍﻟﻤﻜﺎﻥ‪ ‬ﻭﻧ‪ ‬ﺰﻝ‪ ‬ﻟﺰﻭﺍﺭﻫ‪ ‬ﺎ‪ ‬ﻭﻟﻠﻜﻬﻨ‪ ‬ﺔ‪ ،‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﻫﺮ‪ ‬ﻣ‪ ‬ﻲ‪ ‬ﺻ‪ ‬ﻐﻴﺮ‪ ‬ﻛﻨﺼ‪ ‬ﺐ‪ ‬ﺗ‪ ‬ﺬﻛﺎﺭﻱ‪ ‬ﻟﻤ‪ ‬ﻦ‪ ‬ﻓﻘ‪ ‬ﺪﻭﺍ‬ ‫‪ ‬ﺃﺭﻭﺍﺣﻬﻢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪. ‬‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﺃﻛﺴﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻣﻔﻬﻮﻣﺎ‪ ‬ﻛﻠﻴﺎ‪ ‬ﻳﺸﻤﻞ‪ ‬ﺍﻟﻤﻔﻬﻮﻡ‪ ‬ﺍﻟﻤﺮﺋﻲ‪ ‬ﻭﺍﻟﻤﺴﻤﻮﻉ‪ ‬ﻣـﻦ‪ ‬ﺧـﻼﻝ‪ ‬ﺇﺩﺧ‪ ‬ـﺎﻝ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻰ‬ ‫‪ ‬ﺇﻟﻜﺘﺮﻭﻧﻴﺔ‪ ‬ﻭﺇﻟﺤﺎﻕ‪ ‬ﺗﺠﻬﻴﺰﺍﺗﻬﺎ‪ ‬ﺑﻤﻠﺤ‪ ‬ﻖ‪ ‬ﺧﻠ‪ ‬ـﻔﻲ‪ ‬ﻟﻠﻜﻨﻴﺴ‪ ‬ﺔ ‪ ۲ ‬ﻟﻤ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗ‪ ‬ـﺄﺛﻴﺮ‪ ‬ﻳﻐﻨ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺒﺼ‪ ‬ﺮﻱ‪ ،‬ﻭﺧﺼﻮﺻ‪ ‬ﺎ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ‬ﻣﺒﻨﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﻗﺪ‪ ‬ﻛﻠﻒ‪ ‬ﺑﻪ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ‬ﺃﻭﻟﻴﻔﻴﻴﺮ‪ ‬ﻣﻴﺴﻴﺎﻥ ‪. Olivier Messiaen ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۷۹ ‬‬

‫‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺭﺩﻭﺩ‪ ‬ﺍﻷﻓﻌ‪ ‬ﺎﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﻣﺼ‪ ‬ﺤﻮﺑﺔ‪ ‬ﺑﻐﻀ‪ ‬ﺐ‪ ‬ﻭﺗﻬ‪ ‬ﻴﺞ‪ ،‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺻ‪ ‬ﻒ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻜﻨﻴﺴ‪ ‬ﺔ‬ ‫‪ ‬ﺑﺎﻟﻼﻋﻘﻼﻧﻴﺔ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ،‬ﻭﻣﻨﻬﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺻ‪ ‬ﻔﻪ‪ ‬ﺑﺎﻟﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﺍﻟ‪ ‬ﻮﻫﻤﻲ‪ ‬ﺍﻟﻼﻣﻮﺿ‪ ‬ﻮﻋﻲ‪ ،‬ﻭﺑ‪ ‬ﻌ‪ ‬ﺪ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﺍﺧﺘﺒ‪ ‬ﺎﺭ‪ ‬ﻗﺼ‪ ‬ﻴﺮﺓ‪ ‬ﺍﺗﻀ‪ ‬ﺢ‬ ‫‪ ‬ﺃﻧﻪ‪ ‬ﻳﻤﻜﻦ‪ ‬ﻓﻬﻢ‪ ‬ﺍﻟﻜﻨﻴﺴﺔ‪ ‬ﻛﻨﺘﻴﺠﺔ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻷﻭﻟﻰ‪ ،‬ﺛﻢ‪ ‬ﺗﻐﻴﺮﺕ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺘﺤ‪ ‬ﺬﻳﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻜ‪ ‬ﺮﺍﺭ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺘﺠﺮﺑﺔ‪ ‬ﺍﻟﻔﺮﻳﺪﺓ‪ ‬ﺑﺪﻭﻥ‪ ‬ﻭﻋﻲ‪ ‬ﺣﻴﺚ‪ ‬ﺃﺻﺒﺤﺖ‪ ‬ﺇﻟﻬﺎﻣﺎ‪ ‬ﻛﺒﻴﺮﺍ‪ ‬ﻓﻲ‪ ‬ﻣﻮﺟﺔ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻛﻨﺎﺋﺲ‪ ‬ﺍﻟﺨﻤﺴﻴﻨﻴﺎﺕ‪ ‬ﻭﺍﻟﺴﺘﻴﻨﻴﺎﺕ‪ ‬ﻧﻈ‪ ‬ﺮﺍ‬ ‫‪ ‬ﻟﺜﺮﺍﺋﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻻﺳﺘﻌﺎﺭﺍﺕ‪ ‬ﺍﻟﺒﺼﺮﻳﺔ‪ ‬ﻣﻤﺎ‪ ‬ﺟ‪ ‬ﻌﻠﻬﺎ‪ ‬ﻻﺣﻘﺎ‪ ‬ﻣﺜﺎﻻ‪ ‬ﻣﻨﺎﺳﺒﺎ‪ ‬ﻟﻤﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺤﺪﺍﺛ‪ ‬ﺔ‪ ‬ﻭﺃﺷ‪ ‬ـﻬﺮ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻌﺒﻲ‪ ‬ﻻ‪ ‬ﻳﻨﺎﻓﺴ‪ ‬ﻪ‬ ‫‪ ‬ﺇﻻ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻷﻭﺑﺮﺍ‪ ‬ﻓﻲ‪ ‬ﺳﻴﺪﻧﻲ‪ ‬ﻟﻠﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﻳ‪ ‬ﻮﺭﻥ‪ ‬ﺃﻭﺗ‪ ‬ﺰﻭﻥ‪ ، ۳ ( ۰۰۰۰ – ۱۹۱۸ ) ‬ﻭﻫﻜ‪ ‬ﺬﺍ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻉ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﺗﺤﻮﻳﻞ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺗﺤﻮﻳ‪ ‬ﻞ‪ ‬ﻋﻤﺎﺭﺗ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧﺤ‪ ‬ﺖ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻭﺻ‪ ‬ﻞ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻌﺒﻴ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍ‪ ‬ﻟﺜﻼﺛﺔ‪ ‬ﻣﺠﺘﻤﻌﺔ‪. ‬‬ ‫‪Kenneth Frampton, ' Le Corbusier ' pp. 171 1 ‬‬ ‫‪2 ‬‬ ‫‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺳﻤﺎﻋﺎﺕ‪ ‬ﺿﺨﻤﺔ‪ ‬ﻣﺘﺼﻠﺔ‪ ‬ﺑﻤﺠﻤﻮﻋﺔ‪ ‬ﺃﺟﺮﺍﺱ‪ ‬ﺗﻌﻤﻞ‪ ‬ﺃﻭﺗﻮﻣﺎﺗﻴﻜﻴﺎ‪ ‬ﺣﻮﻝ‪ ‬ﺍﻟﻤﺴﺎﺣﺎﺕ‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ‬ﺑﺎﻟﻜﻨﻴﺴﺔ‪ ‬ﻛﻨﻮﻉ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺪﺍء‪ ‬ﻟﻠﺼﻼﺓ‪ ،‬ﻟﻜﻨﻪ‬ ‫‪ ‬ﺗﺮﺍﺟﻊ‪ ‬ﻫﻮ‪ ‬ﻭﺍﻟﻌﻤﻴﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﺤﻈﺔ‪ ‬ﺍﻷﺧﻴﺮﺓ‬ ‫‪3 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.82‬‬

‫‪­ ۱٦٥ ­ ‬‬

‫‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ ‪( ۱۹٦۸ – ۱۹٥۰ ) ‬‬

‫‪Chandigarh ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۸۰ ‬‬

‫‪ ‬ﻋﻠﻰ‪ ‬ﻣﻮﺟﺔ‪ ‬ﺍﻟﺘﻔﺎﺅﻝ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻟﺤﻘﺖ‪ ‬ﺑﺘﻘﺴﻴﻢ‪ ‬ﺍﻟﻬﻨ‪ ‬ﺪ‪ ‬ﻭﺑﺎﻛﺴ‪ ‬ﺘﺎﻥ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٤۷ ‬ﻛﻠ‪ ‬ﻒ‪ ‬ﻧﻬ‪ ‬ﺮﻭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺭﺳ‪ ‬ﻤﻴﺎ‬ ‫‪ ‬ﺑﻨﺎء‪ ‬ﻋﺎﺻﻤﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻹﻗﻠ‪ ‬ﻴﻢ‪ ‬ﺍﻟﺒﻮﻧﺠ‪ ‬ﺎﺏ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٥۰ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺷ‪ ‬ﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺘﺮﻛﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻬﻨ‪ ‬ﺪﻭﺱ‪ ‬ﻭ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻠﻤﻴﻦ‪،‬‬ ‫‪ ‬ﻭﺃﺭﺍﺩﻫﺎ‪ ‬ﻟﺘﻌﺒﺮﻋﻦ‪ ‬ﺍﻟﺤﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﻨﺪ‪ ‬ﻭﻻ‪ ‬ﺗﺘﺄﺛﺮ‪ ‬ﺑﺎﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﺑﻞ‪ ‬ﺗﻌﺒﺮ‪ ‬ﻋﻦ‪ ‬ﺇﻳﻤﺎﻥ‪ ‬ﺍﻷﻣﺔ‪ ‬ﺑﺎﻟﻤﺴﺘﻘﺒﻞ‪. ‬‬

‫‪ ‬ﺳ‪ ‬ﻴﻖ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘﻜﻠﻴ‪ ‬ﻒ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻭﻓ‪ ‬ﺎﺓ‪ ‬ﻗﺎﺋ‪ ‬ﺪ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺨﻄ‪ ‬ﻴﻂ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﻣ‪ ‬ﺎﺛﻴﻮ‪ ‬ﻛﻮﻣﻨﺴ‪ ‬ﻜﻲ ‪Mathieu ‬‬

‫‪ Kominski ‬ﻓﻲ‪ ‬ﺣﺎﺩﺙ‪ ‬ﻃﺎﺋﺮﺓ‪ ،‬ﻭﻗﺪ‪ ‬ﺃﺳﻤﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺧﻄﺘﻪ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﺑ‪ ‬ﺎﻟﻤﺆﺍﻣﺮ‪ ‬ﺓ‪ ‬ﺍﻷﻭﻛﺴ‪ ‬ﻔﻮﺭﺩﻳﺔ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‬ ‫‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺗﻨﻔﻴﺬ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺣﺪﺍﺋﻘﻴﺔ‪ ‬ﻛﻨﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺨﻄﻴﻂ‪ ‬ﺍﻟﻤﻼﺋﻢ‪ ‬ﻟﺪﻭﻟﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﺜﺎﻟ‪ ‬ﺚ‪ – ‬ﻟ‪ ‬ﻢ‪ ‬ﺗﻜ‪ ‬ﻦ‪ ‬ﻣﻘﻨﻌ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺟﻬ‪ ‬ﺔ‬ ‫‪ ‬ﻧﻈﺮ‪ ‬ﺍﻟﻤﺘﺨﺼﺼﻴﻦ‬

‫‪۱ ‬‬

‫‪ ‬ﺑﻌﺪ‪ ‬ﺃﺳﺒﻮﻉ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻜﻠﻴﻒ‪ – ‬ﻭﻟ‪ ‬ﻢ‪ ‬ﻳﻜ‪ ‬ﻦ‪ ‬ﻣﺸ‪ ‬ﺮﻭ‪ ‬ﻋﺎ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‪ ‬ﻭﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺭﻭﻧﺸ‪ ‬ﺎﻡ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺍﻛ‪ ‬ﺘﻤﻼ‪ ‬ﺑﻌ‪ ‬ﺪ‪ – ‬ﺫﻫ‪ ‬ﺐ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻤ‪ ‬ﻮﻗﻊ‪ ‬ﻭﺻﻤﻢ‪ ‬ﺧﻄﺔ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺳ‪ ‬ﺎﻋﺘﻴﻦ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺻ‪ ‬ﻮﻟﻪ‪ ،‬ﺇﺫ‪ ‬ﻗﺴ‪ ‬ﻢ‪ ‬ﺍﻟﻤﻨﻄﻘ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ٤۷ ‬ﻗﻄﺎﻋ‪ ‬ﺎ‬ ‫‪ ‬ﻣﺴ‪ ‬ﺎﺣﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ۸۰۰ x ۱۲۰۰ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ،‬ﻟﻜ‪ ‬ﻞ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﺃﺭﺑﻌ‪ ‬ﺔ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﻓﺮﻋﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻤﺤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺘﺠﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻭﻣﻨ‪ ‬ﺎﻃﻖ‬ ‫‪ ‬ﺍﻟﺮﺍﺣﺔ‪ ‬ﻭﺍﻻﺳﺘﺠﻤﺎﻡ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺮﻛﺰ ‪ ، ۲ ‬ﻭﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺼ‪ ‬ﻴﺐ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻋﺎﺋﻠ‪ ‬ﺔ‪ ۱۱۰ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﺧﺎﺻ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻷﻣﺎﻡ‪ ‬ﻭﺍﻟﺨﻠﻒ‪ ،‬ﻭﺑﺪﺃ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺑﺴـﺘﺔ‪ ‬ﻋﻤﺎﻝ‪ ‬ﻭﺭﺍﻓﻌﺔ‪ ‬ﻭﺍﺣﺪﺓ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﺷـﻬﺮﻳﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﻌﺎﻭﻧﻴ‪ ‬ﻪ‪ " : ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﻠﺤﻈﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺤﻮﻝ‪ ‬ﺍﻟﻤﺪﻳﻨﻲ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﺗﻘﺪﻡ‪ ‬ﺍﻟﻬﻨﺪ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺭﻭﺣﻴﺔ‪ ‬ﺟﺬﺍﺑﺔ‪ ‬ﻧﻮﻋﺎ‪ ‬ﻣﺎ‪ ،‬ﻭﻣﻬﻤﺘﻨﺎ‪ ‬ﻫﻲ‪ ‬ﺍﻛﺘﺸ‪ ‬ﺎﻑ‪ ‬ﻫ‪ ‬ـﺬﻩ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‬

‫‪Kenneth Frampton, ' Le Corbusier ' pp. 185 1 ‬‬ ‫‪2 ‬‬ ‫‪Alice Rawsthorn, ' Chandigarh Body Politic ' Wallpaper Magazine pp. 28‬‬

‫‪­ ۱٦٦ ­ ‬‬

‫‪ ‬ﺍﻟﻤﻐﻤ‪ ‬ﻮﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ـﺬﻩ‪ ‬ﺍﻟﺤﻀ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻘﻮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻤﻴﻘ‪ ‬ﺔ‪ ،‬ﻭﻭﻗ‪ ‬ﻒ‪ ‬ﺃﺩﻭﺍﺗﻨ‪ ‬ﺎ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻔ‪ ‬ﻀ‪ ‬ﻠﺔ‪ ‬ﻹﻳﺠ‪ ‬ﺎﺩ‪ ‬ﻣﻜ‪ ‬ﺎﻥ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟ‪ ‬ﺰﻣﻦ‬ ‫‪ ‬ﺍﻟﺤﺎﺿﺮ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۸۱ ‬‬

‫‪ ‬ﺻﻤﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺤﻜﻮﻣﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟ‪ ‬ﺮﺃﺱ‪ ،‬ﻭﻣﻨﻄﻘ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺘﺴﻮّﻕ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻌﺪﺓ‪ ،‬ﻭﺍﻟﻄ‪ ‬ﺮﻕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫﻴﺌ‪ ‬ﺔ‪ ‬ﺍﻟﺸ‪ ‬ﺮﺍﻳﻴﻦ‪ ،‬ﻭﺍﻟﺤ‪ ‬ﺪﺍﺋﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟ‪ ‬ﺮﺋﺘﻴﻦ‪ ،‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺑﺤﻴ‪ ‬ﺮﺓ‪ ‬ﺻ‪ ‬ﻨﺎﻋﻴﺔ‬ ‫‪ ‬ﻋﻤﻼﻗﺔ‪ ‬ﻳﺠﺐ‪ ‬ﺗﻨﻔﻴﺬ‪ ‬ﻫﺎ‪ ،‬ﻭ‪ ۲۲ ‬ﻗﺮﻳﺔ‪ ‬ﻣﺤﻴﻄﺔ‪ ‬ﺑﺎﻟﻤﺪﻳﻨﺔ‪ ‬ﺗُﺴﺘﺰﺭﻉ‪ ‬ﺑﻬﺎ‪ ‬ﺍﻷﻃﻌﻤﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﺪ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﺑﺎﺣﺘﻴﺎﺟﺎﺗﻬﻢ‬

‫‪۲ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺃﻭْﻟﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻋﺘﺒﺎﺭﺍﺗﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻨ‪ ‬ﺎﻃﻖ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﻭﺍﻟﺴ‪ ‬ﻜﻦ‪ ‬ﻭﺍﻻﺳ‪ ‬ﺘﺠﻤﺎﻡ‪،‬‬ ‫‪ ‬ﻭﺃﻋ‪ ‬ﺎﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻮﺍﺻ‪ ‬ﻼﺕ‪ ‬ﻛﻮﻛﻴ‪ ‬ﻞ‪ ‬ﺭﻭﺣ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟ‪ ‬ﻮﻋﻲ‪ ‬ﺍﻟﻜﺎﻣ‪ ‬ﻞ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺧﻄﻮﻁ‪ ‬ﻣﺘﻌﺎﻣﺪﺓ‪ ‬ﻛﻤﺎ‪ ‬ﺷﺮﺣﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺳﺎﺑﻘﺎ‪ ‬ﺑﻬﺬﻩ‪ ‬ﺍﻟﻤﻘﻮﻣﺎﺕ‪ ‬ﺍﻟﺴﺒﻌﺔ‪: ‬‬ ‫‪V1 ‬‬

‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻃ‪ ‬ﺮﻕ‪ ‬ﺇﻗﻠﻴﻤﻴ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ﺪﺧﻞ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺎﻃﻖ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺋﻴ‪ ‬ﺔ‪ ،‬ﻭﺗﻤﺎﺛ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻐ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻕ‪ ‬ﺍﻟﺴ‪ ‬ـﺮﻳﻌﺔ‬ ‫‪ ‬ﺍﻟﻄﻮﻳﻠﺔ‪ ‬ﻣﺤﺪﻭﺩﺓ‪ ‬ﺍﻟﻤﻨﺎﻓﺬ‪. ‬‬

‫‪V2 ‬‬

‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻣﺤﺎﻭﺭ‪ ‬ﻣﺘﻘﺎﻃﻌﺔ‪ ‬ﺗﺸـﻜﻞ‪ ‬ﻟﻤﻨﺎﻃﻖ‪ ‬ﺍﻟﻤﺪﻳﻨـ‪ ‬ﺔ‪ ،‬ﻭﺗﻘﺎﺑـﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻐﺮﺏ‪ ‬ﺍﻟﻄﺮﻕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺼ‪ ‬ـﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄ‪ ‬ـﺮﻕ‬ ‫‪ ‬ﺍﻟﺴﺮﻳﻌﺔ‪. ‬‬

‫‪V3 ‬‬

‫‪ ‬ﺍﻋﺘﻤ‪ ‬ﺎﺩ‪ ‬ﺷ‪ ‬ﺒﻜﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻄ‪ ‬ﺮﻕ‪ ‬ﺍﻟﻤﻮﺯﻋ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺪﺍﺧﻞ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‪ ‬ﻣﻨ‪ ‬ﺎﻃﻖ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﻨﺘﺸ‪ ‬ﺮ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻞ‬ ‫‪ ‬ﺍﻟﻤﻮﺍﺻﻼﺕ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﺤﻄﺎﺕ‪ ‬ﻟﻜﻞ‪ ۲۰۰ ‬ﻡ‪ ‬ﻛﻤﺎ‪ ‬ﻓﻲ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﻤﻮﺍﺻﻼﺕ‪ ‬ﺑﺒﺎﺭﻳﺲ‪. ‬‬

‫‪V4 ‬‬

‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻃﺮﻕ‪ ‬ﺗﻘﻠﻴﺪﻳﺔ‪ ‬ﺗﺨﺪﻡ‪ ‬ﺣﻴﺎ‪ ‬ﻣﻌﻴﻨﺎ‪ ‬ﺗﺼﻞ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻨﺎﺯﻝ‪ ‬ﻭﻃﺮﻗﺎﺕ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪. ‬‬

‫‪V5 ‬‬

‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻃﺮﻕ‪ ‬ﺩﺍﺧﻠﻴﺔ‪ ‬ﻛﻤﻤﺮﺍﺕ‪ ‬ﺭﺋﻴﺴﻴﺔ‪ ‬ﺑﺪﺍﺧﻞ‪ ‬ﺍﻟﻤﺒﺎﻧﻲ‪ ) ‬ﻛﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ ‪ ‬ﺑﻤﺎﺭﺳﻴﻠﻴﺎ‪( ‬‬

‫‪V6 ‬‬

‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻣﻤﺮﺍﺕ‪ ‬ﺩﺍﺧﻠﻴﺔ‪ ‬ﺗﺨﺪﻡ‪ ‬ﺍﻟﻤﺪﺍﺭﺱ‪ ‬ﻭﺍﻟﻨﻮﺍﺩﻱ‪ ‬ﻭﺍﻟﻤﻼﻋﺐ‪. ‬‬

‫‪V7 ‬‬

‫‪ ‬ﺍﻋﺘﺒﺎﺭ‪ ‬ﺃﻥ‪ ‬ﻛﺎﻓﺔ‪ ‬ﺍﻟﻄﺮﻕ‪ ‬ﺍﻟﺮﺋﻴﺴﻴﺔ‪ ‬ﻭﺍﻟﻔﺮﻋﻴﺔ‪ ‬ﺗﻨﺒﺜﻖ‪ ‬ﻣﻦ‪ ‬ﻋﻀﻮﻳﺔ‪ ‬ﺍﻟﻤﻜﺎﻥ‪ ‬ﺍﻟﻤﻔﺘﻮﺡ ‪ ‬ﻭﺗﺘ‪ ‬ﺪﻓﻖ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻤﻜ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﺪﺍﺧﻞ‪ ‬ﻭﺍﻟﺨﺎﺭﺝ‬

‫‪۱ ‬‬

‫‪Prasad, ' Le Corbusier in India ' pp. 279 1 ‬‬ ‫‪2 ‬‬ ‫‪Alice Rawsthorn, ' Chandigarh Body Politic ' Wallpaper Magazine pp. 28‬‬

‫‪­ ۱٦۷ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۸۲ ‬‬

‫‪ ‬ﺍﻟﻤﺒﺎﻧﻲ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﻣﺜﻞ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺒﺮﻟﻤﺎﻥ‪ ،‬ﻭﺍﻟﺴ‪ ‬ﻜﺮﺗﺎﺭﻳﺔ‪ ) ‬ﻭﻳ‪ ‬ﺮﻯ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺍﺗﺠ‪ ‬ﺎﻩ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺃﻋﺪ‪ ‬ﻟﻴﻜﻮﻥ‪ ‬ﺳﻜ‪ ‬ﺮﺗﺎﺭﻳﺔ‪ ‬ﺍﻷﻣﻢ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ، ( ‬ﻭﺍﻟﻤﺤﺎﻛﻢ‪ ‬ﺍﻟﻤﺤﻠﻴﺔ‪ ،‬ﻭﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ ‪ ، High Court ‬ﻭﺻ‪ ‬ﺎﻟﺔ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ،‬ﻭﻧ‪ ‬ﺎﺩﻱ‬ ‫‪ ‬ﺍﻟﻴﺨﻮﺕ‪ ،‬ﻭﺍﻟﻜﻠﻴ‪ ‬ﺎﺕ ‪ – ‬ﻛﻠﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺭﻏ‪ ‬ﻢ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‪ ‬ﻣﺴ‪ ‬ﺎﻋﺪﻳﻪ‪ ‬ﺍﻟﺒﺮﻳ‪ ‬ﻄ‪ ‬ﺎﻧﻴﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺰﻭﺟﻴﻦ‪ ‬ﺟ‪ ‬ﺎﻥ‪ ‬ﺩﺭﻭ‬ ‫‪ ، Jane Drew ‬ﻭﻣﺎﻛﺴ‪ ‬ﻮﻳﻞ‪ ‬ﻓ‪ ‬ﺮﺍﻱ ‪ ، ۲ Maxwell Fry ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺑﻴﻴ‪ ‬ﺮ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ‪ ‬ﻣﺴ‪ ‬ﺎﻋﺪﻩ‪ ‬ﺍﻷﻭﻝ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺃﺳ‪ ‬ﻨﺪ‪ ‬ﺇﻟ‪ ‬ﻴﻬﻢ‬ ‫‪ ‬ﻣﻬﻤ‪ ‬ﺔ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻛﻦ‪ ، ‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻹﺣﺴﺎﺳ‪ ‬ﻪ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‪ ‬ﺑ‪ ‬ﺼ‪ ‬ﻌﻮﺑﺔ‪ ‬ﺇﺣ‪ ‬ﺮﺍﺯ‪ ‬ﺻ‪ ‬ﻬﺮ‪ ‬ﻧ‪ ‬ﺎﺟﺢ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻭﺍﻟﺜﺎﻟ‪ ‬ﺚ‬ ‫‪ ‬ﺧﺼﻮﺻﺎ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺴﺘﻮﻯ‪ ‬ﺍﻟﻤﺴﺎﻛﻦ‪ ‬ﺍﻻﻗﺘﺼﺎﺩﻳﺔ‪ ،‬ﻛﻞ‪ ‬ﺫﻟﻚ‪ ‬ﻣﻘﺎﺑﻞ‪ ٤۰۰۰ ‬ﺭﻭﺑﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟ‪ ‬ﺸﻬﺮ‪ ‬ﺃﻭ‪ ۸٤۰ ‬ﺩﻭﻻﺭﺍ‪ ‬ﻓﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‬ ‫‪ ‬ﺍﻟﻮﻗﺖ‬

‫‪ ‬ﺷﻜﻞ‪۱۸۳ ‬‬

‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻫ‪ ‬ﻢ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﻤﻴ‪ ‬ﺰ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺤﻜﻮﻣﻴ‪ ‬ﺔ‪ : ‬ﺍﻟﻤﻈﻠ‪ ‬ﺔ‪ ‬ﺍﻟﻮﺍﻗﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ،‬ﻭﺍﻟﺴ‪ ‬ﻘﻒ‪ ‬ﺍﻟﻤ‪ ‬ﺰﺩﻭﺝ‪ ،‬ﻭﺍﻟﻤﺨ‪ ‬ﺮﻭﻁ‬ ‫‪ ‬ﺍﻟﻨﺎﻗﺺ‪ ) ‬ﻣﻘﻄﻮﻉ‪ ‬ﺍﻟﺮﺃﺱ‪ ( ‬ﺍﻟﺬﻱ‪ ‬ﺳُﻤﻲ‪ ‬ﺑﺎﻟﻨﺤﺖ‪ ‬ﺍﻟﺼﻮﺗﻲ‪ ‬ﺍﻟﻤﺘﻔ‪ ‬ﺎﻭﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﺠﺎﻣ‪ ‬ﻪ‪ ‬ﻭﻳﺴ‪ ‬ﻤﺢ‪ ‬ﺑﻨﻘ‪ ‬ﻞ‪ ‬ﻭﺍﺳ‪ ‬ﺘﻼﻡ‪ ‬ﺍﻟﺮﺳ‪ ‬ﺎﺋﻞ‬ ‫‪1 ‬‬

‫‪Corbusier ' pp. 163, 186 Kenneth Frampton, ' Le ‬‬ ‫‪ 2 ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻭﻣﺨﻄﻂ‪ ‬ﻣﺪﻥ‪ ‬ﺍﻧﺠﻠﻴﺰﻱ‪ ‬ﻣﻨﻀﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺟﻤﺎﻋﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻄﺎﺑﻊ‪ ‬ﺍﻟﻌﺎﻟﻤﻲ ‪ ، C.I.A.M ‬ﻋﻤﻞ‪ ‬ﻣﻊ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ‪ ‬ﻣﻦ‪ ۱۹۳٤ ‬ﺇﻟﻰ‬ ‫‪۱۹۳۸‬‬

‫‪­ ۱٦۸ ­ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺑﻌﻀﻪ‪ ‬ﺍﻟﺒﻌﺾ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻮﺍﻗﻊ‪ ‬ﺍﻟﻤﻔﺘﻮﺣﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘﺨﻠﻞ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﻭﺗﺮﺑﻂ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﺟﺰﺍﺋﻬ‪ ‬ﺎ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺍﻟﻤﺒ‪ ‬ﺎﻧﻲ‬ ‫‪ ‬ﺫﺍﺗﻬ‪ ‬ﺎ‪ ،‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻘ‪ ‬ﺪ‪ ‬ﺫﻱ‪ ‬ﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﺋ‪ ‬ﺪ ‪ ، hyperbola ‬ﻭﺣﺎﺟﺒ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ‬ﺍﻟﻤﺘﻌ‪ ‬ﺎﺭﻑ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ،‬ﻭﺍﻷﺳ‪ ‬ﻤﻨﺖ‬ ‫‪ ‬ﺍﻟﻤﺨﺸّﻦ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﻟﻴﻘﺎﺑ‪ ‬ﻞ‪ ‬ﺍﻟﻨﺒﺎﺗ‪ ‬ﺎﺕ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻮﺍﺋﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺪﻳﻘ‪ ‬ﺔ‪ – ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻧ‪ ‬ﺘﺞ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﺧﺘﺒ‪ ‬ﺎﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻄﺮﻕ‪ ‬ﺍﻟﺒﻨـﺎء‪ ‬ﺍﻟﻤﻨﺎﺳـﺒﺔ‪ ‬ﻟﻤﻨﺎﺥ‪ ‬ﺍﻟﻬﻨﺪ‪ ‬ﺍﻟﺤﺎﺭﺍﻟﺮﻃـﺐ‪ ‬ﺃﺛﻨﺎء‪ ‬ﺑﻨﺎﺋـﻪ‪ ‬ﻟﻔﻴ‪ ‬ـﻠﺘﻴﻦ‪ ‬ﻭﻣﺘﺤ‪ ‬ﻒ‪ ‬ﻭﻣﺮﻛ‪ ‬ﺰ‪ ‬ﻟﻤﺆﺳﺴ‪ ‬ﺔ‪ ‬ﻏ‪ ‬ﺰﻝ‪ ‬ﺍﻟﺼ‪ ‬ﻮﻑ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺃﺣﻤﺪ‪ ‬ﺃﺑﺎﺩ‪ ‬ﻓﻲ‪ ‬ﻓﺘﺮﺓ‪ ‬ﺍﻟﺘﺨﻄﻴﻄﺎﺕ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻟﺸـﺎﻧﺪﻳﺠﺎﺭ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۸٤ ‬‬

‫‪ ‬ﺗﻄ‪ ‬ﻮﺭ‪ ‬ﻣﻔﻬ‪ ‬ﻮﻡ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺑﺎﻷﺧ‪ ‬ﺬ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺒﺎﻥ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻘﻄﻌﻬ‪ ‬ﺎ‪ ‬ﺳ‪ ‬ﻜﺎﻥ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‬ ‫‪ ‬ﺧﻼﻝ‪ ‬ﻓﺘﺮﺓ‪ ‬ﻣﺤﺪﺩﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺰﻣﻦ‪ ‬ﻛﻤﺎ‪ ‬ﺫﻛﺮ‪ " : ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺍﻟﻤﺸﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﻗﺪﺍﻡ‪ ،‬ﺍﻟﻨﺎﺱ‪ ‬ﻳﻤﺸ‪ ‬ـﻮﻥ‪ ‬ﻧﺼ‪ ‬ﻒ‪ ‬ﺳ‪ ‬ﺎﻋﺔ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺃﻛﺜﺮ‪ ‬ﺭﺟﺎﻻ‪ ‬ﻭﻧﺴﺎء‪ ‬ﻓﻲ‪ ‬ﺧﻂ‪ ‬ﻣﺴﺘﻘﻴﻢ‪ ،‬ﻓﻲ‪ ‬ﺑﻬﺠﺔ‪ ‬ﻭﺑﻼ‪ ‬ﺗﻌﺐ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﺴ‪ ‬ﺎﺑﻖ‪ ‬ﺍﻟﻬﻨ‪ ‬ﻮﺩ‪ ‬ﻟﻠﻌ‪ ‬ﻴﺶ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻻﺧﺘﻼﻓﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ‬ﺍﻷﺧ‪ ‬ﺮﻯ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﻣﻠﻴﺌ‪ ‬ﺔ‪ ‬ﺑﺎﻟﻤﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﺍﻟﺨﻀ‪ ‬ﺮﺍء‪ ‬ﻭﺍﻟﻄ‪ ‬ﺮﻗ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻮﺍﺳ‪ ‬ﻌﺔ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺻ‪ ‬ﻤﻤﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ـ‪ ۳٥۰ ۰۰۰ ‬ﻧﺴ‪ ‬ﻤﺔ‪ ‬ﻭﻳﺴ‪ ‬ﻜﻨﻬﺎ‪ ‬ﺍﻵﻥ‪۸٥۰ ۰۰۰ ‬‬ ‫‪ ‬ﻧﺴﻤﺔ‪ ،‬ﺃﻱ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺧﻄﻄﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳـﺎﺳﻪ‪ ،‬ﻓﻀُـﻤّﺖ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻤﺒـﺎﻧﻲ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﺍﻵﻥ‪ ‬ﺇﻟﻰ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‬ ‫‪ ‬ﻟﻴﺴﺘﻄﺎﻉ‪ ‬ﺍﻟﻌﻴﺶ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺠﻴﺮﺍﻥ‪ ،‬ﻭﻃﺮﻗﺎﺗﻬﺎ‪ ‬ﺍﻟﻮﺍﺳﻌﺔ‪ ‬ﺃﺻﺒﺤﺖ‪ ‬ﺍﻵﻥ‪ ‬ﻣﻼﺋﻤﺔ‪ ‬ﻟﺴﻴﺎ‪ ‬ﺭﺍﺗﻬﺎ‪ ‬ﺍﻟﻨﺼﻒ‪ ‬ﻣﻠﻴﻮﻥ‪ ،‬ﻭﺍﻟﺤﻘﻴﻘ‪ ‬ﺔ‬ ‫‪ ‬ﻫﻲ‪ ‬ﺃﻧﻪ‪ ‬ﻟﻢ‪ ‬ﻳﻜﻦ‪ ‬ﺑﻮﺳﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻓﺮﻳﻘﻪ‪ ‬ﺍﻟﺘﻨﺒﺆ‪ ‬ﺑﺘ‪ ‬ﺄﺛﻴﺮ‪ ‬ﺍﻟﺤ‪ ‬ـﺪﺍﺛﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻫ‪ ‬ﺎﻟﻲ‪ ‬ﻫ‪ ‬ـﺬﻩ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ،‬ﻭﻛﻴ‪ ‬ﻒ‪ ‬ﺳ‪ ‬ﻴﺘﺤﻮﻟﻮﻥ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﻣﺠﺘﻤﻊ‪ ‬ﺍﺳﺘﻬﻼﻛﻲ‪ ‬ﻣـﻦ‪ ‬ﺃﺻﻞ‪ ‬ﻣﺠﺘﻤـﻊ‪ ‬ﺗﻘـﻠﻴﺪﻱ‬

‫‪۲ ‬‬

‫‪Le Corbusier, ' Sketchbook II English Translation ' pp. 30­31 1 ‬‬ ‫‪2 ‬‬ ‫‪Kenneth Frampton, ' Le Corbusier ' pp. 199‬‬

‫‪­ ۱٦۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۸٥ ‬‬

‫‪ ‬ﺃﻗﻴﻢ‪ ‬ﺍﻟﻨﺼـﺐ‪ ‬ﺍﻟﺘﺬﻛﺎﺭﻱ‪ ‬ﻟﻠﻴـﺪ‪ ‬ﺍﻟﻤﻔﺘﻮﺣﺔ‪ ) ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ( ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۸٦ ‬ﻣﺜﻠ‪ ‬ﻤ‪ ‬ﺎ‪ ‬ﺻ‪ ‬ﻤﻤ‪ ‬ﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻗﺒ‪ ‬ﻞ‬ ‫ﻭﻓﺎﺗﻪ‪ ‬ﻭﺍﺗﺨﺬ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﺒﺆﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺃﺭﺽ‪ ‬ﻣﻨﺒﺴﻄﺔ‪ ‬ﻭﺳﻂ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ،‬ﻭﻫﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺷ‪ ‬ﺮﻳﺤﺔ‪ ‬ﻣﻌﺪﻧﻴ‪ ‬ﺔ‪ ‬ﻭﺍﺣ‪ ‬ﺪﺓ‪ ‬ﺍﺭﺗﻔﺎﻋﻬ‪ ‬ﺎ‬ ‫‪ ۲٦ ‬ﻡ‪ ‬ﻳﻤﻜﻨﻬﺎ‪ ‬ﺍﻟﺪﻭﺭﺍﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺮﻳﺎﺡ‪ ‬ﻭﺗﺤﻤﻞ‪ ‬ﺭﺳﺎﻟﺔ‪ " : ‬ﺍﻓﺘﺢ‪ ‬ﻟﻠﻌﻄ‪ ‬ﺎء‪ .. ‬ﺍﻓ‪ ‬ﺘﺢ‪ ‬ﻟﻼﺳ‪ ‬ﺘﻘﺒﺎﻝ‪Open to Give, Open " ‬‬

‫‪ to Receive ‬ﻭﺗﻤﺜﻞ‪ ‬ﺍﺳﺘﻘﻼﻝ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻭﺍﻧﺪﻣﺎﺟﻬﺎ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺴ‪ ‬ﻤﺎ‪ ‬ء‪ ،‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺗﻔﻜﻴ‪ ‬ﺮﻩ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۳۷ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ " ‬ﻋﻨ‪ ‬ﺪﻣﺎ‬ ‫‪ ‬ﻛﺎﻧﺖ‪ ‬ﺍﻟﻜﺎﺗﺪﺭﺍﺋﻴﺎﺕ‪ ‬ﺑﻴﻀﺎء‪ " ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻗ‪ ‬ﺎﻝ‪ " : ‬ﺇﻥ‪ ‬ﺍﻟﺸ‪ ‬ﺠﺮﺓ‪ ‬ﺻ‪ ‬ﺪﻳﻘﺔ‪ ‬ﻟﻺﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺒ‪ ‬ﺪﺃ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﻤ‪ ‬ﻮ‪ ‬ﻛﺒ‪ ‬ﺮﻋﻢ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺭﺑﻴ‪ ‬ﻊ‬ ‫‪ ‬ﻟﻴﺼﺒﺢ‪ ‬ﻳﺪﺍ‪ ‬ﻣﻔﺘﻮﺣﺔ‪ ‬ﺟﺪﻳﺪﺓ‪" ‬‬

‫‪ " ‬ﺍﻟﻨﺤﺖ‪ ‬ﺍﻟﺼﻮﺗﻲ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺴﻤﻌﻲ‪ ‬ﻳﻤﺘﺺ‪ ‬ﺿﻐﻂ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﺍﻟﻤﺤﻴﻂ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺑﻨﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﻭﺍﻗﺎ‪ ‬ﻟﻠﺪﻛﺎﻛﻴﻦ‪ ‬ﺑﻄﻮﻝ‪ ۲ ‬ﻛﻢ‪ ،‬ﺍﺭﺗﻔﺎﻋﻪ‪ ۷٫۷٥ ‬ﻡ‪ ‬ﺇﻣ‪ ‬ﺎ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻣﻘﺴ‪ ‬ﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺛﻼﺛ‪ ‬ﺔ‪ ‬ﺃﻗﺴ‪ ‬ﺎﻡ‪ ‬ﻛ‪ ‬ﻞ‬ ‫‪ ‬ﻣﻨﻬﺎ‪ ۲٫۲٦ ‬ﻡ‪ ، ‬ﺃﻭ‪ ‬ﺇﻟﻰ‪ ‬ﻗﺴﻤﻴﻦ‪ ‬ﻓﻘﻂ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣﻨﻬﻤ‪ ‬ﺎ‪ ۳٫٦٦ ‬ﻡ‪ ‬ﺃﻭ‪ ٤٫۷۸ ‬ﻡ‪ ۲٫۹٥ + ‬ﻡ‪ ، ‬ﻭﺇﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻢ‪ ،‬ﻭﺍﻟﻤﺴ‪ ‬ﺎﻓﺔ‬ ‫‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺪﻋﺎﻣﺎﺕ‪ ‬ﻣﺘﻐﻴ‪ ‬ﺮﺓ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ۷٫۷٥ : ‬ﻡ‪ ٤٫۷۸ ­ ‬ﻡ‪ ۲٫۹٥ ­ ‬ﻡ‪ ۳٫٦٦ ­ ‬ﻡ‪ ٥٫۹۲ ­ ‬ﻡ‪ ... ­ ‬ﻭﻫﻜ‪ ‬ﺬﺍ‪ ،‬ﻛ‪ ‬ﻞ‬ ‫‪1 ‬‬

‫‪Le Corbusier, ' Catalogue de la rétrospective ' 1962‬‬

‫‪­ ۱۷۰ ­ ‬‬

‫‪ ‬ﺑﺤﺴﺐ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳ‪ ‬ﻮﻟﻮﺭ ‪ ، ۱ ‬ﻭﻗﺪ‪ ‬ﺗﺤﻮﻟ‪ ‬ﺖ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻣﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺷ‪ ‬ﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﺑﺎﻟﻜﺎﻣ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺣ‪ ‬ﺪﺍﺕ‪ ‬ﺍﻟﻤﺘ‪ ‬ﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻭﺣ‪ ‬ﺪﺍﺕ‬ ‫‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‪ ‬ﻟﺘﻼﺋﻢ‪ ‬ﻧﻈﺎﻡ‪ ‬ﻣﻜﺎﺗﺐ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﻨﺪ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﺑﺎﻟﻄﺒﻊ‪ ‬ﻗﺒﻞ‪ ‬ﻣﺮﺣﻠﺔ‪ ‬ﺍﻟﺘﻨﻔﻴﺬ‬

‫‪ ‬ﺷﻜﻞ‪۱۸٦ ‬‬

‫‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﻘﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‪ ‬ﻛﺎﻥ‪ ‬ﺑﺴﻴﻄﺎ‪ ‬ﻓﻲ‪ ‬ﺗﻨﺎﺳﺒﺎﺗﻪ‪ ،‬ﻓﻬﻮ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺧﻤﺴﺔ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎﺕ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻳﺔ‬ ‫‪ ‬ﻣﺘﻼﺻ‪ ‬ﻘﺔ‪ ‬ﺑﺠﺎﻧ‪ ‬ﺐ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺗﻤ‪ ‬ﺖ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻤﺎﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﺩﺍﺧ‪ ‬ﻞ‪ ‬ﺍﻟﺘﻘﺴ‪ ‬ﻴﻤﺎﺕ‬ ‫‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ‬ﻟﻠﻤﺒﻨ‪ ‬ﻰ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤ‪ ‬ﺪﺧﻞ‪ ‬ﺻ‪ ‬ﻤﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻟﻮﺣ‪ ‬ﺔ‪ ‬ﺿ‪ ‬ﺨﻤﺔ‪ ‬ﺃﺑﻌﺎﺩﻫ‪ ‬ﺎ‪ ۳٫٦٦ x ۳٫٦٦ ‬ﻣﺘ‪ ‬ﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‬ ‫‪ ‬ﻭﻭﺿﻌﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﻤﺘﺤﺮﻙ‬

‫‪ ‬ﺷﻜﻞ‪۱۸۷ ‬‬

‫‪1 ‬‬

‫‪LC, ‘ Modulor 2 ’, p.179‬‬

‫‪­ ۱۷۱ ­ ‬‬

‫‪ ‬ﻋﻤﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﺎ‪ ‬ﻳﻘﺮﺏ‪ ‬ﻣﻦ‪ ۳۰ ‬ﻧﻤ‪ ‬ﻮﺫﺟ‪ ‬ﺎ‪ ‬ﻧﺴ‪ ‬ﺠﻴﺎ‪ ‬ﺑﻤﺴ‪ ‬ﺎﻋﺪﺓ‪ ‬ﺑﻴﻴ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﻮﺩﻭﻳﻦ ‪، ۱ Pierre Baudouin ‬‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﺃﻃﻠﻖ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺠﻴﺎﺕ‪ ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﺍﻟﺠ‪ ‬ﺪﺍﺭﻳﺎﺕ‪ ‬ﺍﻟﺒﺪﻭﻳ‪ ‬ﺔ‪ nomadic murals ‬ﻷﻧﻬ‪ ‬ﺎ‪ ‬ﺗﺸ‪ ‬ﺒﻪ‪ ‬ﺣﺎﺋﻄ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺼ‪ ‬ﻮﻑ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻧﺘﻘﺎﻟﻪ‪ ‬ﻣﻦ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻵﺧﺮ‪ ‬ﺣﺴﺐ‪ ‬ﺭﻏﺒﺔ‪ ‬ﺻﺎﺣﺒﻪ‬

‫‪ ‬ﻭﻧﺴﺠﻴﺎﺕ‪ ‬ﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‪ ‬ﺍﻟﺜﻤﺎﻧﻴﺔ‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ٦٤ ‬ﻣﺘﺮﺍ‪ ‬ﻣﺮﺑﻌﺎ‪ ، ‬ﻭﺃﺧﺮﻯ‪ ‬ﺑﻤﺴﺎﺣﺔ‪ ۱٤٤ ‬ﻣﺘﺮﺍ‪ ‬ﻣﺮﺑﻌ‪ ‬ﺎ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻣﻬﻢ‬ ‫‪ ‬ﻟﻠﺘﻘﻠﻴﻞ‪ ‬ﻣﻦ‪ ‬ﻗﺴﺎﻭﺓ‪ ‬ﺍﻟﺤﻮﺍﺋﻂ‪ ‬ﺍﻹﺳﻤﻨﺘﻴﺔ‪ ‬ﻭﺯﻳﺎﺩﺓ‪ ‬ﻛﻔﺎءﺓ‪ ‬ﺍﻟﻨﻈﺎﻡ‪ ‬ﺍﻟﺼﻮﺗﻲ‪ ‬ﻓﻲ‪ ‬ﻗﺎﻋﺎﺕ‪ ‬ﺍﻟﻤﺠﻠﺲ ‪ ، ۲ ‬ﻭﺟﻤﻴﻌﻬﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻛﺒﻴ‪ ‬ﺮﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺠﻴﺎﺕ‪ ‬ﺍﻟﺼ‪ ‬ﻐﻴﺮﺓ‪ ‬ﺍﻟﻤﺘﺼ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﺧﻄﺎﻓ‪ ‬ﺎﺕ‪ Hooks ‬ﺗﺼ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﻌ‪ ‬ﺾ‬ ‫‪ ‬ﺍﻟﻨﺴﺠﻴﺎﺕ‪ ‬ﺇﻟﻰ‪ ۳٤ ‬ﺟﺰءﺍ ‪ ، ۳ ‬ﻭﻳﺒﻴﻦ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﺘﺎﻟﻲ‪ ‬ﺍﻟﻨﺴﺠﻴﺔ‪ ‬ﺍﻟﻜﺒﺮﻯ‪ ‬ﻭﺗﻘﺴﻴﻤﺎﺗﻬﺎ‬

‫‪ ‬ﺷﻜﻞ‪۱۸۸ ‬‬

‫‪ ‬ﻭ‪ ‬ﻓﻴﻤﺎ‪ ‬ﻳﻠﻲ‪ ۱٦ ‬ﺗﻘﺴﻴﻤﺎ‪ ‬ﻷﺣﺪ‪ ‬ﻯ‪ ‬ﺍﻟﻨﺴﺠﻴﺎﺕ‪ ‬ﺍﻷﺻﻐﺮ‪ ،‬ﻭﻫﻨﺎ‪ ‬ﻟ‪ ‬ﻚ‪ ‬ﻧﺴ‪ ‬ﺠﻴﺎﺕ‪ ‬ﻣﺘﻌ‪ ‬ﺪﺩﺓ‪ ‬ﺍﻟﻤﻘﺎﺳ‪ ‬ﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﺒﺮﻟﻤ‪ ‬ﺎﻥ‪ ،‬ﻛﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻳﻮﺟﺪ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﺴﺠﻴﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻃﻮﻛﻴﻮ‬

‫‪ ‬ﺷﻜﻞ‪۱۸۹ ‬‬ ‫‪1 ‬‬

‫‪ ‬ﺃﺳﺘﺎﺫ‪ ‬ﻓﻲ‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﻓﻲ‪ ‬ﺃﻭﺑﻮﺳﻮﻥ‬ ‫‪Jean Jenger, ' Le Corbusier Architect of a New Age ' pp. 92 2 ‬‬ ‫‪3 ‬‬ ‫‪LC, ‘ Modulor 2 ’, p.270‬‬

‫‪­ ۱۷۲ ­ ‬‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺘﺤﻒ‪ ‬ﺃﺣﻤﺪ‪ ‬ﺃﺑﺎﺩ‪ ‬ﻓﻬﻮ‪ ‬ﻣﺘﺤﻒ‪ ‬ﻭﻃﻨﻲ‪ ‬ﻭﺿﻊ‪ ‬ﻟﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻤﺎ‪ ‬ﻳﺸ‪ ‬ﺒﻪ‪ ‬ﻓﻜﺮ‪ ‬ﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺘﺤﻒ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﻨﻴ‪ ‬ﻒ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۳۱ ‬ﻡ‪ ‬ﻭﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺃﺳ‪ ‬ﻤﺎﻩ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﻒ‪ ‬ﺫﺍ‪ ‬ﺍﻟﻨﻤ‪ ‬ﻮ‪ ‬ﺍﻟﻼﻣﺘﻨ‪ ‬ﺎﻫﻲ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﻘ‪ ‬ﻊ‬ ‫‪ ‬ﻣﺪﺧﻠﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ،‬ﻭﺑﺎﻹﻣﻜﺎﻥ‪ ‬ﺇﺿﺎﻓﺔ‪ ‬ﺣﺠﺮﺍﺕ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻟﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﻃﺮﺍﻑ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺴﺘﻤﺮ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۹۰ ‬‬

‫‪ ‬ﻣﻊ‪ ‬ﻣﺮﻭﺭ‪ ‬ﺍﻟﺰﻣﻦ‪ ‬ﺳﻮﻑ‪ ‬ﺗﺘﻀـﺢ‪ ‬ﺍﻟﻌﻼﻗـﺎﺕ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺒﺎﻧﻲ‪ ‬ﻭﺗﺘﻘ‪ ‬ﺎﺭﺏ‪ ،‬ﻟﻜﻨﻬ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻦ‪ ‬ﺗﺼ‪ ‬ﺒﺢ‪ ‬ﻫﻨ‪ ‬ﺪﻳ‪ ‬ﺔ‪ ‬ﻟﻌ‪ ‬ﺪﻡ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‬ ‫‪ ‬ﺍﻟﻨﻴﺔ‪ ‬ﻟﺘﺪﺧﻞ‪ ‬ﺍﻟﻔﻮﻟﻜﻠﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺗﺎﺭﻳﺦ‪ ‬ﺍﻟﻔﻦ‪ ،‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﻋﺎﻟﻤﻴﺔ‪ .. ‬ﻗﺪﻳﻤﺔ‪ ‬ﻭﺣﺪﻳﺜﺔ‪ ،‬ﻣﺒﺎﻧﻴﻬﺎ‪ ‬ﻣﻮﺯﻋﺔ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﺃﻭﺭﻛﺴ‪ ‬ﺘﺮﺍﻟﻲ‬ ‫‪ .. ‬ﻃﺮﻗﻬ‪ ‬ﺎ‪ ‬ﻭﺃﻗﻮﺍﺳ‪ ‬ﻬﺎ‪ ‬ﻭﻭﺍﺟﻬﺎﺗﻬ‪ ‬ﺎ‪ ‬ﺗﺤﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻨﺒ‪ ‬ﻞ‪ ‬ﻭﺍﻟﺒﺴ‪ ‬ﺎﻃﺔ‪ .. ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﻭﺍﻟﻮﺣﺸ‪ ‬ﻴﺔ‪ ،‬ﻫ‪ ‬ﻲ‪ ‬ﺭﺍﺋﻌ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺒﻌ‪ ‬ﺪ‪ .. ‬ﻣﻠﺌ‪ ‬ﻰ‬ ‫‪ ‬ﺑﺎﻟﺘﻔﺎﺻﻴﻞ‪ ‬ﻋﻦ‪ ‬ﻗﺮﺏ ‪.‬‬ ‫‪­ ۱۷۳ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺑﻊ‪ : ‬ﺗﺤﻠﻴﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺃ‪ ‬ﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‪: ‬‬ ‫‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻭﺍﻟﻨﺤﺖ‪ ‬ﻭﺍﻟﺘﺼﻮﻳﺮﺗﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﻭﺗﺮﺗﺒﻂ‪ ‬ﺑﺄﻫﻤﻴﺔ‪ ‬ﺍﻟﺘﻮﺍﻓﻖ‪ ‬ﻣﻌﻪ‪ ،‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺣﺴﺐ‪ ‬ﻭﺳﺎﺋﻠﻪ‪،‬‬ ‫‪ ‬ﻭﺍﻟﻨﻘﻄﺔ‪ ‬ﺍﻟﺤﻴﻮﻳﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﺭﺟﻮ‪ ‬ﺗﺤﻘﻴﻘﻬﺎ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻔﺘﺎﺡ‪ ‬ﺍﻟﻌﺎﻃﻔﺔ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﻣﻦ‪ ‬ﻭﻇﺎﺋﻒ‪ ‬ﺍﻟﻔﺮﺍﻍ‬

‫‪۱ ‬‬

‫‪ ‬ﺗﻮﻟﺪ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﺑﺪﺍﻳﺔ ‪ ‬ﺑﺪﻭﻥ ‪ ‬ﺃﻳﺔ ‪ ‬ﺻﻌﻮﺑﺎﺕ ‪ ‬ﻭﻻ ‪ ‬ﺧﻄ‪ ‬ﻮﻁ ‪ ‬ﻣﻨﻈﻤﺔ ‪ ‬ﺃﻭ ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ ‪ ­ ‬ﻣﺸﺤﻮﻧﺔ ‪ ‬ﺑﻤﻔﺮﺩﺍﺗﻬﺎ‬ ‫‪ ‬ﻭﻣﻔﻌﻤﺔ‪ ‬ﺑﺸﺎﻋﺮﻳﺘﻬﺎ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻣﻨﺬ‪ ‬ﻟﺤﻈﺔ‪ ‬ﺍﻟﺘﺼﻮﺭ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺩﺭﺍﻙ‪ ،‬ﺛﻢ‪ ‬ﺗﺄﺗﻲ‪ ‬ﻣﺮﺣﻠﺔ‪ ‬ﺍﻹﻧﺘﺎﺝ ‪ ‬ﻋﻨﺪ‪ ‬ﻣﺰﺝ‪ ‬ﺍﻟﻠﻮﻥ‬ ‫‪ ‬ﻭﻣﻌﺎﻟﺠﺘﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺳﻄﺢ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ،‬ﻭﻋﻨﺪﻫﺎ‪ ‬ﻳﻌﺒﺮ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﻋﻦ‪ ‬ﺃﻓﻜﺎﺭﻩ‪ ‬ﻭﻳﺴﺘﻄﻴﻊ‪ ‬ﺍﻛﺘﺸﺎﻑ‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﻨﺢ‬ ‫‪ ‬ﺍﻟﻮﺿﻮﺡ‪ ‬ﻟﻠﺘﻜﻮﻳﻦ‪ ‬ﻭﺗﺠﻠﺐ‪ ‬ﺍﻻﻧﺴﺠ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺤﻘﻴﻘﻲ‪، ‬‬ ‫‪ ‬ﻭﺑﺈﻣﻜﺎﻥ‪ ‬ﺍﻟﻔﻨﺎﻥ‪ ‬ﺃﻥ‪ ‬ﻳﺘﺨﺬ‪ ‬ﻣﻦ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺃﺳﺎﺳﺎ‪ ‬ﻟﻠﻨﺴﺐ‪ ‬ﺍﻷﻭﻟﻴﺔ‪ ‬ﻟﻠﻮﺣﺎﺕ‪ ‬ﺍﻟﻜﺒﻴﺮﺓ‪ ،‬ﻭﺑﻬﺬﺍ‪ ‬ﻳﺴﺘﻄﻴﻊ‪ ‬ﺗﺤﺼﻴﻦ‬ ‫‪ ‬ﻧﻔﺴﻪ‪ ‬ﺗﻤﺎﻣﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻌﺮﻛﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺨﻮﺿﻬﺎ‪ ‬ﻟﻠﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﻴﻤﺔ‬

‫‪ ‬ﻭﻟﻤﺎ‪ ‬ﺍﺳﺘﻌﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻷﻋﻮﺍﻡ ‪ ، ۱۹٥٤ ­ ۱۹٥۳ ­ ۱۹٥۲ ‬ﺗﺴﺎءﻝ‪ ‬ﺑﻌﺪﻫ‪ ‬ﺎ‬ ‫‪ ‬ﺇﺫﺍ‪ ‬ﻣﺎ‪ ‬ﻛﺎﻥ‪ ‬ﻗﺪ‪ ‬ﺣﺮﻡ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻣﻦ‪ ‬ﺑﻬﺠﺔ‪ ‬ﺍﻟﺨﺮﻭﺝ‪ ‬ﻣﻦ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﺍﻟﺠﺴﺪ‪ ‬ﻟﻴﺪﺧﻞ‪ ‬ﻓﻲ‪ ‬ﻋﺎﻟﻢ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺑﻼ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﻭﺑﺪﻭﻥ‪ ‬ﺣﺪﻭﺩ‪ ،‬ﻓﻘﺪ‬ ‫‪ ‬ﺃﺑﻘﺎﻩ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﺪﺍﺧﻞ‪ ‬ﻋﺎﻟﻤﻪ‪ ‬ﺍﻟﺨﺎﺹ‪ ،‬ﺃﻣﺎ‪ ‬ﺍﻟﺘﻨﺎﻏﻢ‪ ‬ﺧﺎﺭﺝ‪ ‬ﺣﺪﻭﺩ‪ ‬ﺍﻟﺠﺴﺪ‪ ‬ﻓﻬﻮ‪ ‬ﻧﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺴﺤﺮ‪ ،‬ﺃﻭ‪ ‬ﺇﺑﺤﺎﺭ‪ ‬ﻧﺤﻮ‬ ‫‪ ‬ﺍﻟﺒﺤﺎﺭ‪ ‬ﺍﻟﻤﻔﺘﻮﺣﺔ‬

‫‪۲ ‬‬

‫‪LC, ‘ Modulor 2 ’, p.25 1 ‬‬ ‫‪2 ‬‬ ‫‪Ibid, p.194‬‬

‫‪­ ۱۷٤ ­ ‬‬

‫‪ ‬ﺃﻭﻻ‪ : ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻷﺛﺎﺙ‪­ : ‬‬

‫‪ ‬ﺑﺎﻟﺮﻏﻢ ‪ ‬ﻣﻦ ‪ ‬ﻗﻠﺔ ‪ ‬ﺇﺳﻬﺎﻡ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻓﻲ ‪ ‬ﻫﺬﺍ ‪ ‬ﺍﻟﻤﺠﺎﻝ ‪ ‬ﺇﻻ ‪ ‬ﺃﻧﻪ ‪ ‬ﺃﻧﺘﺞ‪ ‬ﻋﺪﺓ‪ ‬ﻧﻤﺎﺫﺝ ‪ ‬ﻫﺎﻣﺔ ‪ ‬ﺃﺛﻨﺎء ‪ ‬ﺗﻌﺎﻭﻧﻪ ‪ ‬ﻣﻊ‪ ‬ﺷﺎﺭﻟﻮﺕ‬ ‫‪ ‬ﺑﻴﺮﻳﺎﻥ ‪ ‬ﻭﺑﻴﻴﺮ ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ ‪ ‬ﺗﺤﺘﻞ ‪ ‬ﺍﻟﻘﻤﺔ ‪ ‬ﺣﺘﻰ ‪ ‬ﻳﻮﻣﻨﺎ ‪ ‬ﻫﺬﺍ‪ ،‬ﻭﻟﻢ ‪ ‬ﻳﻜﻦ ‪ ‬ﺁﻧﺬﺍﻙ ‪ ‬ﻗﺪ ‪ ‬ﺗﻮﺻﻞ ‪ ‬ﺑﻌﺪ ‪ ‬ﺇﻟﻰ ‪ ‬ﺻﻴﻐﺔ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‬

‫‪ ‬ﺍﻋﺘﻤﺪ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﻘﻄﺎﻉ ‪ ‬ﺍﻟﺬﻫﺒﻲ ‪ ‬ﻭﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ ‬ﻓﻲ ‪ ‬ﺗﺼﻤﻴﻤﻪ ‪ ‬ﻟﻘ‪ ‬ﻄﻊ ‪ ‬ﺍﻷﺛﺎﺙ ‪ ‬ﻛﻤﺎ ‪ ‬ﻳﺒﻴﻦ ‪ ‬ﺫﻟﻚ ‪ ‬ﺍﻟﺘﺤﻠﻴﻞ‬ ‫‪ ‬ﺍﻟﺘﺎﻟﻲ‪ ،‬ﻓﻨﺮﻯ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻤﺴﻘﻂ ‪ ‬ﺍﻟﺠﺎﻧﺒﻲ ‪ ‬ﻟﻠﻜﺮﺳﻲ ‪ ‬ﺍﻟﻄﻮﻳﻞ ‪ ۱۹۲۹ chaise longue ‬ﻡ ‪ ، ‬ﺃﻧﻪ ‪ ‬ﻗﺎﺋﻢ ‪ ‬ﻋﻠﻰ ‪ ‬ﻗﻮﺱ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﺩﺍﺋﺮﺓ‪ ،‬ﻳﺼﻞ ‪ ‬ﺍﻣﺘﺪﺍﺩ ‪ ‬ﻣﻴﻞ ‪ ‬ﻣﻮﺿﻊ ‪ ‬ﺍﻟﻘﺪﻣﻴﻦ ‪ ‬ﺑﻴﻦ ‪ ‬ﻧﻬﺎﻳﺘﻲ ‪ ‬ﺿﻠﻌﻲ ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ ‬ﺍﻟﻤﺮﻛﺰﻳﺔ ‪ ‬ﻟﻠﺪﺍﺋﺮﺓ ‪ ‬ﻭﺍﻟﺘﻲ ‪ ‬ﺗﺒﻠﻎ‬ ‫‪ ۱۳۷٫٥۱ ‬ﺩﺭﺟﺔ ‪ ، ۱ ‬ﻛﻤﺎ‪ ‬ﺗﻨﺘﺸﺮ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫ‪ ‬ﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﺣﺘﻮﺍﺋﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻷﺟﺰﺍء‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﺳﻮﺍء‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺍﻟﺮﺋﻴﺴﻲ‬ ‫‪ ‬ﺃﻭ‪ ‬ﺍﻟﻘﺎﻋﺪﺓ‬

‫‪ ‬ﺷﻜﻞ‪۱۹۱ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﻳﻜﺔ‪ ‬ﺍﻟﺜﻨﺎﺋﻴﺔ‪ ‬ﻧﻼﺣﻆ‪ ‬ﺗﻜﺮﺍﺭ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۹۲ ‬‬

‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﻳﻜﺔ‪ ‬ﺍﻟﺜﻼﺛﻴﺔ‪ ‬ﺗﺘﻜﺮﺭ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬ ‫‪1 ‬‬

‫ﺍﻧﻈﺮ‪ ‬ﺍﻟﻔﻴﻠﻮﺗﺎﻛﺴﺲ‬

‫‪­ ۱۷٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۹۳ ‬‬

‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﻳﻜﺔ‪ ‬ﺍﻟﻔﺮﺩﻳﺔ‪ ‬ﺗﺘﻜﺮﺭ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۹٤ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪­: ‬‬ ‫‪­ ۱۷٦ ­ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻧﺸﺎﻁ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﻭﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺑﺤﺜﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﻣﻨﺬ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻋﺸﺮﻳﻨﻴﺎﺕ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻤﺎﺿﻲ‬ ‫‪ ‬ﺁﺛﺮ‪ ‬ﺍﻟﺘﻌﺎﻣﻞ ‪ ‬ﻣﻊ‪ ‬ﺻﻴﻎ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﺩﻗﻴﻘﺔ‪ ،‬ﻭﻫﻜﺬﺍ‪ ‬ﺑﺪﺃ‪ ‬ﻓﻲ‪ ‬ﺍﺗﺒﺎﻉ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺛﺎﺑﺘﺔ‪ ‬ﻓﻲ‪ ‬ﺃﻃﺮ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺗﺠﻌﻞ‪ ‬ﺍﺭﺗﻔﺎﻋﻬﺎ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪ ‬ﺃﺭﺑﻌﺔ‪ ‬ﺃﺧﻤﺎﺱ‪ ‬ﻃﻮﻟﻬﺎ‪ ،‬ﺃﻱ‪ ‬ﺑﻨﺴﺒﺔ ‪ ، ۱٫۸ ‬ﻭﺑﺬﻟﻚ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻣﻮﺿﻊ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺮﺑﻊ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ‬ﺟﺎﻧﺐ‬ ‫‪ ‬ﺳﻮﺍء‪ ‬ﺟﻌﻠﻪ‪ ‬ﻣﺤﻮﺭ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺃﻭ‪ ‬ﻟﻢ‪ ‬ﻳﺠﻌﻠﻪ‪ ،‬ﻭﺗﻌﺘﺒﺮ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻷﻛﺜﺮ‪ ‬ﺗﻜﺮﺍﺭﺍ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﻟ‪ ‬ﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻃﻮﺍﻝ‬ ‫‪ ‬ﻋﻬﺪﻩ‪ ‬ﺑﺎﻟﺘﺼﻮﻳﺮ‪ ،‬ﻭﻛﺎﻥ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻮﻗﺖ‪ ‬ﺍﻟﻤﺒﻜﺮ‪ ‬ﻳﺆﺛﺮ‪ ‬ﺭﺳﻢ‪ ‬ﺗﻜﻮﻳﻨﺎﺗﻪ‪ ‬ﻋﺮﺿﻴﺔ‪ ‬ﻟﻤﺎ‪ ‬ﻟﻪ‪ ‬ﺍﻷﺛﺮ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﺻﻮﻝ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺭﺍﺣﺔ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻭﺍﺳﺘﻘﺮﺍﺭ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‬

‫‪ ‬ﺷﻜﻞ‪۱۹٥ ‬‬

‫ﻭﻓّﺮ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻘﺎﺱ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺳﻬﻮﻟﺔ‪ ‬ﺇﻳﺠﺎﺩ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﻔﺮﺩﺍﺗﻪ‪ ‬ﻭﺣﺪﻭﺩ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻋﺒﺮ‬ ‫‪ ‬ﺍﻟﺨ‪ ‬ﻄﻮﻁ‪ ‬ﺍﻟﻤﻨﻈّﻤﺔ‪ ‬ﻟﻠﺸﻜﻞ‪ ‬ﻣﻊ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺰﻭﺍﻳﺎ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ،‬ﻭﺗﻜﺮﺍﺭ‪ ‬ﻋﺪﺩ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺑﻴﻦ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪ ‬ﻭﺣﻤﻠﻪ ‪ ‬ﺛﺒﺎﺕ ‪ ‬ﻣﻘﺎﺱ ‪ ‬ﺍﻟﺘﻮﺍﻝ ‪ ‬ﻣﻦ ‪ ‬ﺟﻬﺔ ‪ ‬ﻭﺇﺻﺮﺍﺭﻩ ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﺒﺎﺩﺉ ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ ‪ ‬ﺍﻟﺼﺎﺭﻣﺔ ‪ ‬ﻣﻦ ‪ ‬ﺟﻬﺔ ‪ ‬ﺃﺧﺮﻯ ‪ ‬ﻋﻠﻰ ‪ ‬ﻣﺤﺎﻭﻟﺔ‬ ‫‪ ‬ﺇﺛﺒﺎﺕ ‪ ‬ﺻﺤﺔ ‪ ‬ﻧﻈﺮﻳﺎﺗﻪ ‪ ‬ﻋﺒﺮ ‪ ‬ﻗﻴﺎﻣﻪ ‪ ‬ﺑﺘﻜﺮﺍﺭ ‪ ‬ﺍﻟﻜﺜﻴﺮ ‪ ‬ﻣﻦ ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻋﺎﺗﻪ ‪ ‬ﺑﺪﺍﻳﺔ ‪ ‬ﻣﻦ ‪ ‬ﻣﺮﺣﻠﺔ ‪ ‬ﺍﻻﺳﻜﺘﺸﺎﺕ ‪ ‬ﻭﺍﻟﺮﺳﻮﻡ‬ ‫‪ ‬ﺍﻟﺘﺤﻀﻴﺮﻳﺔ‪ ‬ﻭﺣﺘﻰ‪ ‬ﺍﻟﻘﻴﺎﻡ‪ ‬ﺑﻌﺪﺓ‪ ‬ﻣﺤﺎﻭﻻﺕ‪ ‬ﻟﻮﻧﻴﺔ‪ ‬ﺗﻌﻄﻲ‪ ‬ﺍﻧﻄﺒﺎﻋﺎﺕ‪ ‬ﻣﺨﺘﻠﻔﺔ‬

‫‪ ‬ﻭﺍﺳﺘﻤﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﻌﻮّﺩ‪ ‬ﺣﺘﻰ‪ ‬ﺑﻌﺪ‪ ‬ﻫﺠﺮﻩ‪ ‬ﻟﻠﻨﻘﺎﺋﻴﺔ‪ ‬ﻭﺍﺳﺘﺤﺪﺍﺛﻪ‪ ‬ﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ،‬ﻭﺑﺬﻟﻚ‪ ‬ﺃﺛﺒﺖ‬ ‫‪ ‬ﺟﺪﺍﺭﺓ ‪ ‬ﻟﻌﻠﻮ‪ ‬ﻓﻜﺮﻩ ‪ ‬ﻭﺻﺤﺔ‪ ‬ﻧﻈﺮﻳﺎﺗﻪ‪ ،‬ﻭﺍﺳﺘﺤﻖ ‪ ‬ﺃﻥ ‪ ‬ﻳﻜﻮﻥ ‪ ‬ﻣﻦ ‪ ‬ﺃﺳﺎﺗﺬﺓ ‪ ‬ﺍ‪ ‬ﻟﻔﻦ ‪ ‬ﻭﻣﻦ ‪ ‬ﻛﻼﺳﻴﻜﻴﻲ ‪ ‬ﺍﻟﺤﺪﺍﺛﺔ ‪ ‬ﻛﻤﺎ‪ ‬ﻳﺼﻨﻒ‬ ‫ﺣﺎﻟﻴﺎ‬

‫‪­ ۱۷۷ ­ ‬‬

‫‪ ‬ﺣﺎﻭﻝ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﺒﺪﺍﻳﺔ ‪ ‬ﺗﺄﻛﻴﺪ ‪ ‬ﺳﻴﻄﺮﺗﻪ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﺤﺴﺎﺑﺎﺕ ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ‪ ‬ﺭﻏﻢ ‪ ‬ﺍﺧﺘﻼﻑ ‪ ‬ﻣﻮﺿﻮﻋﺎﺗﻪ ‪ ‬ﻭﺛﺒﺎﺕ‬ ‫‪ ‬ﻧﺴﺒﺔ‪ ‬ﺗﻮﺍﻟﻪ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻓﻘﺎﻡ‪ ‬ﺑﻌﻤﻞ‪ ‬ﺗﻨﻮﻳﻌﺎﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺗﺨﻄﻴﻄﺎﺕ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﻭﻋﺮﺿﻬﺎ‪ ‬ﻣﺠﺘﻤﻌﺔ‪ ‬ﻓﻲ‪ ‬ﻣﻌﺎﺭﺿﻪ‪ ‬ﺍﻟﺨﺎﺻﺔ‬

‫‪ ‬ﺷﻜﻞ‪۱۹٦ ‬‬

‫‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻫﻨﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣ‪ ‬ﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺔ‪ ‬ﺍﻟﻤﺎﺋﻠﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺷﻜﻞ‪ ‬ﺣﺮﻑ ‪ W ‬ﺑﺎﻻﻧﺠﻠﻴﺰﻳﺔ‪ ،‬ﻣﻊ‪ ‬ﺗﻘﺴﻴﻢ‬ ‫‪ ‬ﺳﻄﺢ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻋﺮﺿﻴﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺳﺘﺔ‪ ‬ﻣﺴﺎﺣﺎﺕ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ،‬ﻭﻟﻢ‪ ‬ﻳﺨﻞ‪ ‬ﻣﻦ‪ ‬ﻣﻮﺿﻊ‪ ‬ﻟﻠﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ،‬ﻭﻧﻼﺣﻆ‪ ‬ﺍﻟﺪﻗﺔ‪ ‬ﺍﻟﺸﺪﻳﺪﺓ‬ ‫ﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﻋﺪﻡ‪ ‬ﺍﻻﻧﺤﺮﺍﻑ‪ ‬ﺑﺘﺎﺗﺎ‪ ‬ﻋﻦ‪ ‬ﺧﻄﻮﻃﻪ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‬

‫‪­ ۱۷۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۹۷ ‬‬

‫‪ ‬ﻳﻼﺣﻆ ‪ ‬ﻫﻨﺎ ‪ ‬ﺑﺎﻹﺿﺎﻓﺔ ‪ ‬ﺇﻟﻰ ‪ ‬ﺍﺳﺘﺨﺪﺍﻡ ‪ ‬ﻗﻮﺍﻋﺪ ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ ‪ ‬ﺍﻟﻤﻔﻀﻠﺔ ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ ‪ ‬ﺇﻟﻰ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺣﺮﺻﻪ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﺧﺘﻴﺎﺭ‬ ‫‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﺑﺴﻴﻄﺔ‪ ‬ﻷﺷﻜﺎﻟﻪ ‪ ‬ﺍﻟﻤﺨﺘﺎﺭﺓ ‪ ‬ﻭﺗﺤﻮﻳﻞ ‪ ‬ﻣﻨﺤﻨﻴﺎﺗﻬﺎ ‪ ‬ﺇﻟﻰ ‪ ‬ﺩﻭﺍﺋﺮ ‪ ‬ﺃﻭ ‪ ‬ﺃﻗﻮﺍﺱ ‪ ‬ﻣﻦ ‪ ‬ﺩﻭﺍﺋﺮ‪ ،‬ﻭﺗﺤﺮﻳﻒ ‪ ‬ﻛﻞ ‪ ‬ﺍﻟﺨﻄﻮﻁ‬ ‫‪ ‬ﺗﻘﺮﻳﺒﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺮﺃﺳﻲ‪ ‬ﺃﻭ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺎﺋﻞ‪ ‬ﺑﺪﺭﺟﺔ‪ ٤٥ ‬ﻭﻛﺄﻧﻬﺎ‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﺃﻳﺰﻭﻣﺘﺮﻳﺔ‬

‫‪­ ۱۷۹ ­ ‬‬

‫‪ ‬ﺃﻋﺎﺩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺳﻢ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﺍﺕ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺪﺍﺭ‪ ‬ﺃﻋﻮﺍﻡ‪ ‬ﻋﺪﻳﺪﺓ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻋﺎﻡ ‪ ۱۹۲٤ ‬ﻭﺣﺘﻰ‬ ‫‪ ‬ﻋﺎﻡ ‪ ، ۱۹٤۷ ‬ﻭﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﺮﺓ‪ ‬ﻛﺎﻥ‪ ‬ﻳﺴﺘﺨﺪﻡ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻟﻮﻧﻴﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻭﻫﻲ‪ ‬ﻣﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺨﻄﻂ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺫﻱ‪ ‬ﺍﻟﻨﺴﺒﺔ‬ ‫‪۱٫۸ ‬‬

‫‪ ‬ﺷﻜﻞ‪۱۹۸ ‬‬

‫‪ ‬ﻭﻧﻼﺣﻆ‪ ‬ﺗﻜﺮﺍﺭ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒ‪ ‬ﻴﺔ‪ ‬ﻭﺍﻟﻤﺮﺑﻌﺎﺕ‪ ،‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺴﺘﻄﻴﻠﻴﻦ‪ ‬ﺫﻫﺒﻴﻴﻦ‬ ‫‪ ‬ﻣﺘﻌﺎﻣﺪﻳﻦ‪ ‬ﺑﺠﺎﻧﺐ‪ ‬ﻣﺮﺑﻌﻴﻦ‪ ‬ﻣﺘﻌﺎﻣﺪﻳﻦ‪ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﺰﻳﺪ‪ ‬ﺍﻟﻔﺮﺻﺔ‪ ‬ﻹﺿﺎﻓﺔ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﺍﻷﺧﺮﻯ‬ ‫ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺟﻌﻞ‪ ‬ﺍﻟﻤﺴﺎﺣﺔ‪ ‬ﺍﻟﻜﻠﻴﺔ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﺫﻫﺒﻲ‬ ‫‪­ ۱۸۰ ­ ‬‬

‫‪ ‬ﻳﻜﺮﺭ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻓﻲ ‪ ‬ﻫﺬﺍ ‪ ‬ﺍﻟﻌﻤﻞ ‪ ‬ﻧﺴﺒﺔ ‪ ، ۱٫۸ ‬ﻭﻧﻼﺣﻆ ‪ ‬ﺑﺤﺜﻪ ‪ ‬ﻋﻦ ‪ ‬ﺍﻟﺘﻤﺎﺛﻞ ‪ ‬ﻋﺒﺮ ‪ ‬ﻣﺤﻮﺭ ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ ‪ ‬ﺍﻟﻄﻮﻟﻲ‬ ‫‪ ‬ﻭﺍﻟﻌﺮﺿﻲ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺑﻘﻴﺔ‪ ‬ﻟﻮﺣﺎﺗﻪ‬

‫‪ ‬ﺷﻜﻞ ‪۱۹۹‬‬

‫‪­ ۱۸۱ ­ ‬‬

‫‪ ‬ﻭﻣﻊ ‪ ‬ﺗﺸﺎﺑﻪ ‪ ‬ﺍﻟﻤﻮﺿﻮﻋﺎﺕ ‪ ‬ﻧﺠﺪ ‪ ‬ﺍﻫﺘﻤﺎﻡ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻳﻨﺼﺐ ‪ ‬ﺩﻭﻣﺎ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ ‪ ‬ﻭﻗﻮﺍﻋﺪ ‪ ‬ﺍﻟﺘﺨﻄﻴﻂ ‪ ‬ﻭﻣﻮﺍﺿﻊ‬ ‫‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﻓﻲ‪ ‬ﻓﻀﺎء‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻭﺣﺮﻛﺔ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻓﻴﻬﺎ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰۰‬‬

‫‪­ ۱۸۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۰۱ ‬‬

‫‪ ‬ﻟﻢ‪ ‬ﻳﺘﺄﺧﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺘﻘﺪﻳﻢ‪ ‬ﺍﻟﻠﻮﺣﺎﺕ‪ ‬ﺍﻟﺮﺃﺳﻴﺔ‪ ،‬ﻟﻜﻨﻪ‪ ‬ﺟﻌﻠﻬﺎ‪ ‬ﺃﻛﺜﺮ‪ ‬ﺑﺴﺎﻃﺔ‪ ‬ﻣﻦ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺍﻷﻓﻘﻴﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻟﻴﺴﻬﻞ‪ ‬ﻋﻠﻰ‬ ‫‪ ‬ﺍﻟﻤﺘﻔﺮﺝ ‪ ‬ﺍﻛﺘﺸﺎﻑ ‪ ‬ﺃﺳﺎﺱ ‪ ‬ﺗﺼﻤﻴﻤﻬﺎ ‪ ‬ﺍﻟﻤﻌﺘﺎﺩ‪ ، ‬ﻭﺳﻌﻰ ‪ ‬ﻧﺤﻮ ‪ ‬ﺇﻳﺠﺎﺩ ‪ ‬ﺃﻣﺎﻛﻦ ‪ ‬ﻣﻤﻴﺰﺓ ‪ ‬ﻟﻠﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ ‪ ‬ﻓﻴﻬﺎ ‪ ‬ﺇﺿﺎﻓﺔ ‪ ‬ﺇﻟﻰ‬ ‫ﺃﺳﺎﺳﻬﺎ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻲ‪ ‬ﺍﻟﺜﺎﺑﺖ‬

‫‪­ ۱۸۳ ­ ‬‬

‫‪ ‬ﻭﻳﺴﻬﻞ ‪ ‬ﺍﻛﺘﺸﺎﻑ ‪ ‬ﺍﻟﻨﺴﺒﺔ ‪ ‬ﺍﻟﻤﻤﻴﺰ‪ ‬ﺓ ‪ ‬ﻓﻲ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﺍﻟﺘﻲ ‪ ‬ﺃﻋﺎﺩﻫﺎ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻣﻦ ‪ ‬ﻣﺮﺓ‪ ،‬ﻭﺍﺳﺘﺨﺪﻡ ‪ ‬ﻓﻴﻬﺎ‬ ‫‪ ‬ﻋﻨﺎﺻﺮ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﺜﻼﺛﻴﻨﻲ‪ ‬ﺍﻟﺴﺘﻴﻨﻲ‪ ‬ﻭﺍﻟﻤﺜﻠﺚ‪ ‬ﺍﻟﻘﺎﺋﻢ‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻟﺴﺎﻗﻴﻦ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰۲‬‬

‫‪­ ۱۸٤ ­ ‬‬

‫‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﺃﻋﺎﺩﻫﺎ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻛﺬﻟﻚ ‪ ‬ﻣﺮﺍﺕ ‪ ‬ﻋﺪﻳﺪﺓ ‪ ‬ﻣﻨﺬ ‪ ‬ﻋﺎﻡ ‪ ۱۹۲۸ ‬ﻭﺣﺘﻰ ‪ ‬ﻋﺎﻡ ‪ ۱۹٦۲ ‬ﻋﻨﺪﻣﺎ ‪ ‬ﻧﻔﺬﻫﺎ‬ ‫‪ ‬ﺑﺎﻟﻜﻮﻻﺝ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺗﺤﺘﻮﻱ ‪ ‬ﻋﻠﻰ ‪ ‬ﻧﻔﺲ ‪ ‬ﻋﻨﺎﺻﺮﻩ ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ،‬ﻭﻳﺘﻀﺢ ‪ ‬ﻓﻴﻬﺎ ‪ ‬ﻛﻴﻔﻴﺔ ‪ ‬ﺗﻜﺮﺍﺭﻩ ‪ ‬ﺍﻟﻤﻮﺯﻭﻥ ‪ ‬ﻟﻤﺴﺘﻄﻴﻞ ‪ ‬ﺍﻟﻘﻄﺎﻉ‬ ‫‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺘﻮﺍﺯ‪ ‬ﻭﻣﺪﺭﻭﺱ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰۳‬‬

‫‪­ ۱۸٥ ­ ‬‬

‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺤﺎﻝ‪ ‬ﻣﻊ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻀﻢ‪ ‬ﻣﺠﻤﻮﻋﺔ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟ‪ ‬ﻌﻨﺎﺻﺮ‪ ‬ﻓﻲ‪ ‬ﻣﺤﻴﻂ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﺫﻫﺒﻲ‪ ‬ﻳﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻮﺿﻊ‬ ‫‪ ‬ﺫﻫﺒﻲ‪ ‬ﻣﻦ‪ ‬ﺇﻃﺎﺭ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻛﻜﻞ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰٤‬‬

‫‪­ ۱۸٦ ­ ‬‬

‫‪ ‬ﻭﻣﺎ‪ ‬ﻳﻐﻴّﺮﻩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻦ‪ ‬ﻟﻮﺣﺔ‪ ‬ﻷﺧﺮﻯ‪ ‬ﻣﻌﺎﺩﺓ‪ ‬ﻫﻮ‪ ‬ﺇﺑﺮﺍﺯ‪ ‬ﺃﺣﺪ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻵﺧﺮ‪ ‬ﻭﺗﻤﻴﻴﺰ‪ ‬ﺇﺣﺪﻯ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻋﻦ‬ ‫‪ ‬ﻏﻴﺮﻫﺎ‪ ‬ﻭﺗﻘﺮﻳﺐ‪ ‬ﻋﻨﺼﺮ‪ ‬ﻣﺎ‪ ‬ﺃﻭ‪ ‬ﺇﺑﻌﺎﺩﻩ‪ ‬ﻋﻤﺎ‪ ‬ﺑﺠﻮﺍﺭﻩ‪ ‬ﻟﻤﺎ‪ ‬ﻳﺮﺍﻩ‪ ‬ﻣﻦ‪ ‬ﺇﺣﻜﺎﻡ‪ ‬ﻟ‪ ‬ﻠﺘﻜﻮﻳﻦ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰٥‬‬

‫‪­ ۱۸۷ ­ ‬‬

‫‪ ‬ﻭﻳﺒﺘﻜﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺩﻭﻣﺎ ‪ ‬ﺗﻜﻮﻳﻨﺎﺕ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻣﻦ‪ ‬ﺗﺮﺍﻛﺒﺎﺕ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻛﺒﻴﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﻳﻮﻇﻔﻬﺎ‪ ‬ﻟﺨﺪﻣﺔ‪ ‬ﻧﻈﺮﻳﺎﺗﻪ‬ ‫‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ،‬ﻭﻳﺮﺍﻋﻰ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺻﺮﺍﺣﺔ ‪ ‬ﻭﻭﺿﻮﺡ‪ ‬ﺧﻄﻮﻃﻬﺎ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺤﺪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺴﻬﻞ‪ ‬ﻣﻌﻪ‪ ‬ﺗﺤﺮﻳﻔﻬﺎ‪ ‬ﺇﻟﻰ ‪ ‬ﺷﻜﻞ‬ ‫‪ ‬ﺟﺪﻳﺪ‪ ‬ﻣﻠﻲء‪ ‬ﺑﺎﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻤﺔ‪ ‬ﺍﻟﻤﺘﻌﺎﻣﺪﺓ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺎﺋﻠﺔ‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻠﺘﻘﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺤﺪﻭﺩ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻟﻠﻮﺣﺔ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰٦‬‬

‫‪­ ۱۸۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۰۷ ‬‬

‫‪ ‬ﺧﺎﺽ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗﺠﺎﺭﺏ‪ ‬ﻋﺪﻳﺪﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺣﺪﻭﺩ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻨﺴﺒﺔ ‪ ۱٫۸ ‬ﻭﺧﺮﺝ‪ ‬ﺑﻨﺘﺎﺋﺞ‪ ‬ﻣﺘﻨﻮﻋﺔ‪،‬‬ ‫‪ ‬ﻭﻧﻌﺮﺽ‪ ‬ﻫﻨﺎ‪ ‬ﻋﺪﺓ‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﻣﻦ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﺠﺎﺭﺏ‬

‫‪ ‬ﺷﻜﻞ ‪۲۰۸‬‬

‫‪­ ۱۸۹ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۰۹ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۱۰ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۱۱‬‬

‫‪­ ۱۹۰ ­ ‬‬

‫‪ ‬ﺑﺎﻗﺘﺮﺍﺏ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗﺪﺭﻳﺠﻴﺎ‪ ‬ﻣﻦ‪ ‬ﻣﺮﺣﻠﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﺃﺻﺒﺢ‪ ‬ﺍﻫﺘﻤﺎﻣﻪ‪ ‬ﻳﻨﺼﺐ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺘﺎﺑﻊ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‬ ‫‪ ‬ﺍﻟﺤﺴﺎﺑﻲ‪ ،‬ﻭﻳﺘﺒﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺤﻠﻴﻠﻴﻦ‪ ‬ﺍﻟﺘﺎﻟﻴﻴﻦ‪ ‬ﻣﺪﻯ‪ ‬ﺍﻻﺧﺘﻼﻑ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻤﺎﺕ‪ ‬ﻓﺘﺮﺓ‪ ‬ﻣﺎ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﻣﺎ‪ ‬ﺑﻌﺪﻩ‬

‫‪ ‬ﺷﻜﻞ‪۲۱۲ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۱۳‬‬

‫‪­ ۱۹۱ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۱٤ ‬‬

‫‪ ‬ﺗﺘﻀﺢ‪ ‬ﻫﻨﺎ‪ ‬ﺷﺒﻜﺔ‪ ‬ﺣﺴﺎﺑﻴﺔ‪ ‬ﺗﻨﻘﺴﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺳﻬﺎ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍ‪ ‬ﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺗﻤﻬﻴﺪ‪ ‬ﻟﻠﺸﺒﻜﺔ‬ ‫ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻟﻼﺣﻘﺔ‪ ‬ﺍﻟﻤﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪­ ۱۹۲ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۱٥ ‬‬

‫‪ ‬ﻳﺘﻀﺢ‪ ‬ﺃﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺳﻌﻰ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺇﻟﻰ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﺇﻟﻰ ‪ ‬ﺷﺒﻜﺔ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻟﻤﺴﺎﺣﺎﺕ‪ ‬ﻣﺘﺪﺭﺟﺔ‬ ‫ﻓﻲ‪ ‬ﺍﻟﻜﺒﺮ‪ ‬ﺭﺃﺳﻴﺎ‪ ‬ﻭﺃﻓﻘﻴﺎ‪ ‬ﺣﺪﺩ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻘﻬﺎ‪ ‬ﻣﻮﺍﺿﻊ‪ ‬ﻣﻔﺮﺩﺍﺗﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪­ ۱۹۳ ­ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۱٦‬‬

‫‪­ ۱۹٤ ­ ‬‬

‫‪ ‬ﻳﺘﻀﺢ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﺗﺮﺍﻛﺐ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﺗﺒﻌﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﺘﺨﻄﻴﻂ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ،‬ﻓﻘﺪ‪ ‬ﺑﺤﺚ‪ ‬ﻋﻦ‬ ‫‪ ‬ﺃﻣﺎﻛﻦ ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ ‪ ‬ﻭﻭﺿﻌﻬﺎ ‪ ‬ﻋﻠﻰ ‪ ‬ﺃﺑﻌﺎﺩ ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ ‪ ‬ﻣﻦ ‪ ‬ﺧﻼﻝ ‪ ‬ﺧﻄﻮﻁ ‪ ‬ﻣﺘﻮﺍﺯﻳﺔ ‪ ‬ﻓﻲ ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻣﻦ ‪ ‬ﺍﺗﺠﺎﻩ‪ ،‬ﻭﻛﺬﻟﻚ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺷﺒﻜﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺘﻴﺢ ‪ ‬ﺇﻳﺠﺎﺩ‪ ‬ﻣﺴﺎﻓ‪ ‬ﺎﺕ‪ ‬ﺫﻫﺒﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻋﻨﺎﺻﺮ‪ ‬ﺍﻟﻠﻮﺣﺔ‪ ‬ﻓﻲ‪ ‬ﻛﻼ‪ ‬ﺍﻻﺗﺠﺎﻫﻴﻦ‬ ‫‪ ‬ﺍﻟﺮﺃﺳﻲ ‪ ‬ﻭﺍﻷﻓﻘﻲ‪ ،‬ﻭﺗﻈﻬﺮ ‪ ‬ﺍﻟﺸﺒﻜﺔ ‪ ‬ﻋﺪﻡ ‪ ‬ﺿﺮﻭﺭﺓ ‪ ‬ﺗﺘﺎﺑﻊ ‪ ‬ﺍﻟﻤﺴﺎﻓﺎﺕ ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ ‬ﻓﻲ ‪ ‬ﺍﻻﺗﺠﺎﻩ ‪ ‬ﺍﻟﻮﺍﺣﺪ ‪ ‬ﻭﺗﻮﺯﻳﻌﻬﺎ ‪ ‬ﺣﺴﺐ‬ ‫‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻓﺘﺮﺿﻬﺎ‪ ‬ﺍﻟﺒﺎﺣﺚ‬

‫ﻭﻳﻔﺘﺮﺽ ‪ ‬ﺍﻟﺒﺎﺣﺚ ‪ ‬ﺻﻼﺣﻴﺔ ‪ ‬ﺭﺅﻳﺔ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻠﻮﺣﺔ ‪ ‬ﻭﺑﻌﺾ ‪ ‬ﺃﻋﻤﺎﻝ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺍﻷﺧﺮﻯ ‪ ‬ﻣﻦ ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﺯﺍﻭﻳﺔ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻟﺘﺄﺛﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺷﻜﻞ‪ ‬ﻣﺴﺎﻗﻂ‪ ‬ﺃﻓﻘﻴﺔ‬

‫‪ ‬ﺷﻜﻞ ‪۲۱۷‬‬

‫‪­ ۱۹٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۱۸ ‬‬

‫‪ ‬ﺗﻨﺎﻭﻝ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺍﻟﺸﺒﻜﺔ ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ ‪ ‬ﻫﻨﺎ ‪ ‬ﺑﻄﺮﻳﻘﺔ ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ،‬ﺣﻴﺚ ‪ ‬ﺍﺳﺘﻌﺎﻥ ‪ ‬ﺑﺎﻟﻤﺴﺎﻓﺎﺕ ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ ‬ﻓﻲ‬ ‫‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺍﻟﻄﻮﻟﻲ‪ ،‬ﻭﺍﺳﺘﻌﺎﻥ‪ ‬ﺑﻨﺴﺒﺔ ‪ ۱٫۸ ‬ﻓﻲ ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ ‪ ‬ﺍﻷﻓﻘﻲ‪ ،‬ﻭﻫﻲ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟ‪ ‬ﺨﺎﺻﺔ‪ ‬ﺑﺎﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﻨﺘﺞ‪ ‬ﻣﻦ‬ ‫‪ ‬ﺗﺪﺍﺧﻞ‪ ‬ﺳﻠﺴﻠﺘﻴﻦ‪ ‬ﺫﻫﺒﻴﺘﻴﻦ‪ ‬ﻓﺘﻜﻮﻥ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﻨﺎﺗﺠﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺭﻗﺎﻣﻬﻤﺎ‬

‫‪ ‬ﻓﻜﻤﺎ‪ ‬ﺍﺳﺘﻌﺎﻥ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻬﺬﻩ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻓﻲ‪ ‬ﻋﻬﺪﻩ‪ ‬ﺑﺎﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﻋﺎﺩ‪ ‬ﻟﻼﺳﺘﻌﺎﻧﺔ‪ ‬ﺑﻬﺎ‪ ‬ﺑﻌﺪ‪ ‬ﺇﺗﻤﺎﻣﻪ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪ ‬ﻭﻇﻠﺖ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﻤﻤﻴﺰﺓ‪ ‬ﻷﻋﻤﺎﻟﻪ‪ ‬ﺩﻭﻣﺎ‬

‫‪ ‬ﻭﺿﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﻣﺰﺍ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺑ‪ ‬ﻌﺾ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻀﻤﻨﺖ‪ ‬ﻋﻠﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻮﺍﻡ‪ ۱۹٥۲ ­ ۱۹٥۱ ‬ﻭﺫﻟﻚ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﺒﻴﻞ‪ ‬ﺍﻟﺘﻮﺛﻴﻖ‬

‫‪ ‬ﺷﻜﻞ‪۲۱۹ ‬‬ ‫‪ ) ‬ﻋﻼﻣﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺃﻋﻠﻰ‪ ‬ﻳﻤﻴﻦ‪ ‬ﺍﻟﻠﻮﺣﺔ (‬

‫‪­ ۱۹٦ ­ ‬‬

‫‪ ‬ﺃﻋﺎﺩ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺳﻢ‪ ‬ﻛﺜﻴﺮ‪ ‬ﻣﻦ‪ ‬ﻣﻮﺿﻮﻋﺎﺗﻪ‪ ‬ﺧﻼﻝ‪ ‬ﻣﻌﻈﻢ‪ ‬ﻓﺘﺮﺍﺕ‪ ‬ﺣﻴﺎﺗﻪ‪ ،‬ﻭﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺻﻮﺭﺓ‬ ‫‪ ‬ﻣﺠﻤﻮﻋﺎﺕ‪ ،‬ﻭﺃﺟﺮﻯ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻛﺜﻴﺮﺍ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﺘﻨﻮﻳﻌﺎﺕ‪ ،‬ﻭﺑﺪﻝ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻣﻦ ‪ ‬ﺃﻟﻮﺍﻧﻪ‪ ‬ﺍﻟﻤﻤﻴﺰﺓ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺤﻔﺎﻅ‪ ‬ﻋﻠﻰ‪ ‬ﻧﺴﺒﻬﺎ‪ . ‬ﻭﻫﺬﺍ‬ ‫‪ ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﻟﺒﻌﺾ‪ ‬ﻣﻨﻬﺎ‪: ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۰ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲٤ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲٥ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۲٦‬‬

‫‪­ ۱۹۷ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۸ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۷ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۲۹ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۰ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۲ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲۳۳‬‬

‫‪­ ۱۹۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳٥ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳٤ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳٦ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۸ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۷ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲۳۹ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٤۰‬‬

‫‪­ ۱۹۹ ­ ‬‬

­ ۲۰۰ ­

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﺃﻧﻈﻤﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺭﺑﻄﺖ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬

‫‪۲۰۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑ‪ ‬ﺎﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‬

‫‪۲۰۷‬‬

‫‪­ ۲۰۱ ­ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﺃﻧﻈﻤﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺭﺑﻄﺖ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ‪ ‬ﺑﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪: ‬‬ ‫‪ ‬ﺫﻛﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺗﻔﻮﻕ‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﻫﻨﺪﺳﻴﺎ‪ ‬ﻭﺗﻮﺻ‪ ‬ﻠﻬﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭﻩ‪ ‬ﻷﺣ‪ ‬ﺪ‬ ‫‪ ‬ﻧﻤ‪ ‬ﺎﺫﺝ‪ ‬ﺍﻟﻨﺤ‪ ‬ﺖ‪ ‬ﺍﻟﻐ‪ ‬ﺎﺋﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻌﺒ‪ ‬ﺪ‪ ‬ﺳ‪ ‬ﻴﺘﻲ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺑﻴ‪ ‬ﺪﻭﺱ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﻈﻬ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺑ‪ ‬ﻴﻦ‪c ، b ، a ‬‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﻳﺆﻛﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺫﻟﻚ‪ ‬ﺗﻼﻗﻲ‪ ‬ﺍﻟﻤﺤﺎﻭﺭ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﺘﺼﻒ‪ ‬ﻋﻨﺪ‪ ‬ﺭﻣﺰ‪ ‬ﻫﻴﺮﻭﻏﻠﻴﻔﻲ‪ ‬ﻣﻤﻴﺰ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤۱ ‬‬

‫‪ ‬ﻭﻣﺮﺓ‪ ‬ﺃﺧﺮﻯ‪ ‬ﺭﻳﺎﺿﻴﺎ‪ ‬ﺣﻴﺚ‪ ‬ﺗﺒﻴﻦ‪ ‬ﺍﻟﻘﻴﻢ‪ ‬ﺍﻟﻤﻠﻠﻴﻤﺘﺮﻳﺔ‪ ‬ﺍﻟﺼﺤﻴﺤﺔ‪ ‬ﻟﻠﻤﺴﺎﻓﺎﺕ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺷﻜﻞ‪ ‬ﺭﻣﺴﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﺍﺣﺘﻮﺍءﻩ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻋﺪﺩ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺮﺑﻌﺎﺕ‪ ‬ﻭﺍﻟﻤﺴﺘﻄﻴﻼﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪ ‬ﺷﻜﻞ‪۲٤۲ ‬‬

‫‪1 ‬‬

‫‪Gustave Lebon, ‘ The First Civilizations ’, p.425‬‬

‫‪­ ۲۰۲ ­ ‬‬

‫‪ ‬ﻟﻜﻦ‪ ‬ﺍﻟﺘﻘﺴﻴﻤﺎﺕ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻟﻨﺴﺐ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻣﺘﻐﻴﺮﺓ‪ ،‬ﻓﻬ‪ ‬ﻲ‪– ۲۱ – ۱۹ – ۱۸ ­ ۱٦ – ۱٥ : ‬‬ ‫‪ ، ۲۳ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﻌﻨﻲ‪ ‬ﺃﻥ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻬ‪ ‬ﺪﻑ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﺤﺪﻳ‪ ‬ﺪ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻗﺒ‪ ‬ﻞ‬ ‫‪ ‬ﻭﺻﻮﻝ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻗﺎﻧﻮﻧﻬﻢ‪ ‬ﺑﺄﻟﻒ‪ ‬ﻋﺎﻡ‬

‫‪۱ ‬‬

‫‪ ‬ﻭﺃﺷﻬﺮ‪ ‬ﻧﺴﺒﺘﻴﻦ‪ ‬ﻟﻠﺘﻘﺴﻴﻢ‪ ‬ﻫﻤﺎ‪ ‬ﺑ‪ ‬ﺎﻟﻄﺒﻊ‪ ، ۲۱ ، ۱۸ ‬ﻭﻣ‪ ‬ـﻦ‪ ‬ﺍﻟﺪﺭﺍﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘﺤﻠﻴﻠﻴ‪ ‬ﺔ‪ ‬ﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮﻱ‪ ‬ﺍﻟ‪ ‬ﺬﻛﺮ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔـﻦ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﻘﺪﻳﻢ‪ ‬ﻣﺎ‪ ‬ﻳﺆﻛﺪ‪ ‬ﺗﻤﺎﻣﺎ‪ ‬ﺃﻥ‪ " ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫ‪ ‬ﺒﻲ‪ " ‬ﻫﻮ‪ ‬ﻛﺸﻒ‪ ‬ﻣﺼﺮﻱ‪ ‬ﻗﺪﻳﻢ‪ ،‬ﻭﻳﺴ‪ ‬ﺘﺪﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﺗﻜﻮﻳﻦ‪ ‬ﺍﻟﺮﺳﻮﻡ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﺳﻮﺍء‪ ‬ﺗﻠﻚ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻤﺖ‪ ‬ﻗﺒﻴﻞ‪ ‬ﺍﻷﺳﺮﺓ‪ ‬ﺍﻟﺴﺎﺩﺳﺔ‪ ‬ﻭﺍﻟﻌﺸﺮﻳﻦ‪ ) ‬ﻋﻨﺪ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ۱۸ ‬ﻗﺴﻤﺎ‪ ، ( ‬ﺃﻭ‪ ‬ﺗﻤﺖ‪ ‬ﺑﻌﺪﺋﺬ‪ ) ‬ﻋﻨﺪ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺇﻟﻰ‪ ۲۱ ‬ﻗﺴﻤﺎ‪. ( ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤۳ ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ) ‬ﻋﻨﺪ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺇﻟﻰ‪ ۱۸ ‬ﻗﺴﻤﺎ‪ ( ‬ﻧﺠﺪ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﻜﻠﻲ‪ ‬ﻟﻠﺠﺴﻢ‪ \ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺳﻔﻞ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻭﺳﺮﺓ‪ ‬ﺍﻟﺒﻄﻦ‪۱٫٦۳٦۳٦٤ = ۱۱ \ ۱۸ = ‬‬ ‫‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻤﺔ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‪ \ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻹﺑﻂ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‪۱٫٦۳٦۳٦٤ = ٥٫٥ \ ۹ = ‬‬

‫‪ ‬ﻭﻓﻲ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ) ‬ﻋﻨﺪ‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺇﻟﻰ‪ ۲۱ ‬ﻗﺴﻤﺎ‪ ( ‬ﻧﺠﺪ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﻜﻠﻲ‪ ‬ﻟﻠﺠﺴﻢ‪ \ ‬ﺍ‪ ‬ﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺃﺳﻔﻞ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﻭﺳﺮﺓ‪ ‬ﺍﻟﺒﻄﻦ‪۱٫٦۱٥۳۸٥ = ۱۳ \ ۲۱ = ‬‬ ‫‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻤﺔ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‪ \ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻹﺑﻂ‪ ‬ﻭﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‪۱٫٦۱٥۳۸٥ = ٦٫٥ \ ۱۰٫٥ = ‬‬ ‫ﻭﻛﺄﻥ‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﻓﻲ‪ ‬ﻋﻬﺪ‪ ‬ﺍﻷﺳﺮﺓ‪ ‬ﺍﻟﺴﺎﺩﺳﺔ‪ ‬ﻭﺍﻟﻌﺸﺮﻳﻦ‪ ‬ﻭﻣﺎ‪ ‬ﺑﻌﺪﻫﺎ‪ ‬ﻗﺪ‪ ‬ﺍﻗﺘﺮﺑﻮﺍ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ ‪ ) F‬ﻣﺘﻮﺳ‪ ‬ﻂ‬ ‫‪ ‬ﻣﻌﺎﻣﻞ‪ ‬ﺍﻟﻤﺘﺘﺎ‪ ‬ﺑﻌﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ( ‬ﻭﺍﻟﺬﻱ‪ ‬ﻳﺴﺎﻭﻱ‪۱٫٦۱۸۰۳۳ ‬‬ ‫‪ ‬ﺇﺫ‪ ‬ﻥ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺍﺳﺘﺨﻼﺹ‪ ‬ﺍﻟﻨﺘﺎﺋﺞ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪: ‬‬

‫‪1 ‬‬

‫‪ ‬ﻣﺤﻲ‪ ‬ﺍﻟﺪﻳﻦ‪ ‬ﺳﻴﺪ‪ ‬ﺃﺣﻤﺪ‪ " ،‬ﺍﻹﻣﻜﺎﻧﺎﺕ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ‬ﻻﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﺤﺪﻳﺚ "‬

‫‪­ ۲۰۳ ­ ‬‬

‫‪ ‬ﺃﻭﻻ‪ : ‬ﻓﻲ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻭﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﺗﻘﻊ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺇﻟﺘﺤﺎﻡ‪ ‬ﺍﻟﺮﺟﻠﻴﻦ‪ ‬ﺗﻘﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺗﻤﺎﻣﺎ‪. ‬‬

‫‪ ‬ﺛﺎﻧﻴ‪ ‬ﺎ‪ : ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺤﺎﻟ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺗﺘﻀ‪ ‬ﺢ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺒﻨﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺘﺴﻠﺴ‪ ‬ﻠﺔ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧﺎ‪ ‬ﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪: ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﺇﻟﻰ‪ ‬ﺟﻔﻦ‪ ‬ﺍﻟﻌﻴﻦ‬

‫‪= ‬‬

‫‪ ۱ ‬ﻭﺣﺪﺓ‬

‫‪ ‬ﻣﻦ‪ ‬ﺟﻔﻦ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻜﺘﻒ‬

‫‪= ‬‬

‫‪ ۲ ‬ﻭﺣﺪﺓ‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻜﺘﻒ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺼﺪﺭ‬

‫‪= ‬‬

‫‪ ۳ ‬ﻭﺣﺪﺍﺕ‬

‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﺪﺭ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻴﺪ‬

‫‪= ‬‬

‫‪ ٥ ‬ﻭﺣﺪﺍﺕ‬

‫‪ ‬ﻣﻦ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻴﺪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺪﻡ‬

‫‪= ‬‬

‫‪ ۸ ‬ﻭﺣﺪﺍﺕ‬

‫‪ ‬ﺛﺎﻟﺜﺎ‪ : ‬ﻓﻲ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﻓﻘﻂ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺍﻟﻤﺴﺎﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻤﺔ‪ ‬ﻭﺍﻹﺑﻂ‪ ‬ﻣﺴﺎﻭﻳﺔ‪ ‬ﻟﻤﻨﺘﺼﻒ‪ ‬ﺍﻟﻤﺴﺎ‪ ‬ﻓﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻤﺔ‪ ‬ﻭﺍﻟﺴﺮﺓ‪. ‬‬

‫‪ ‬ﺭﺍﺑﻌﺎ‪ : ‬ﻭﻓﻲ‪ ‬ﺍﻟﺤﺎﻟﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﺃﻳﻀﺎ‪ ،‬ﺗﺘﻀﺢ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﻳﺔ‪ ‬ﺍﻟﻤﺒﻨﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺘﺴﻠﺴﻠﺔ‪ ‬ﻓ‪ ‬ﻴ‪ ‬ﺒﻮﻧ‪ ‬ﺎﺭ‪ ‬ﺗﺸ‪ ‬ﻲ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺑﺤﻴﺚ‪: ‬‬ ‫‪ ‬ﺍﺳﺘﺪﺍﺭﺓ‪ ‬ﺍﻟﻜﺘﻒ‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻗﻢ‬

‫‪۳ ‬‬

‫‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﻜﻮﻉ‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻗﻢ‬

‫‪٥ ‬‬

‫‪ ‬ﺳﺮﺓ‪ ‬ﺍﻟﺒﻄﻦ‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻗﻢ‬

‫‪۸ ‬‬

‫‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺃﺻﺎﺑﻊ‪ ‬ﺍﻟﻴﺪ‪ ‬ﻭﺍﻟﻤﺌﺰﺭ‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻗﻢ‬

‫‪۱۳ ‬‬

‫‪ ‬ﺃﺳﻔﻞ‪ ‬ﺍﻟﻘﺪﻡ‬

‫‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺮﻗﻢ‬

‫‪۲۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺩﻟﺖ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻷﺑﺤﺎﺙ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺗﻮﺍﻓﺮ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﻣﺼﺮﻳﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺗﻞ‪ ‬ﺍﻟﻌﻤﺎﺭﻧﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺃﺗﺎﺣﺖ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺃﻥ‪ ‬ﻳﺸﺘﺮﻙ‪ ‬ﻣﻌﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺣﺪ‪ ‬ﻛﺒﻴﺮ‪ ‬ﻓﻲ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ " ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‬ ‫‪ ، " ‬ﻓﺄﺻﺒﺢ‪ ‬ﺑﺎﻹﻣﻜﺎﻥ‪ ‬ﺍﺗﺤﺎﺩ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻊ‪ ‬ﺍﻷﺻﺎﺑﻊ‪ ،‬ﻭﺭﺍﺣﺔ‪ ‬ﺍﻟﻴﺪ‪ ،‬ﻭﺍﻟﻘﺪﻡ‪ ‬؛‬ ‫‪ ‬ﻓﻔﻲ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﻘﺎﺋﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ ‪ ۱۸۳ ‬ﺳ‪ ‬ﻢ‪ ‬ﻟﻠﺸ‪ ‬ﺨﺺ‪ ،‬ﻧﺠ‪ ‬ﺪ‪ ‬ﺃ‪ ‬ﻧ‪ ‬ﻪ‪ ‬ﻳﻘﺴّ‪ ‬ﻢ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ٤ ‬ﺃﺫﺭﻉ‪ ‬ﺑﻄ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪ‬ ‫‪ ٤٥٫۷٥ ‬ﺳﻢ‪ ­ ‬ﻣﻤﺎ‪ ‬ﻳﻘﺘﺮﺏ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﺼﻐﻴﺮ‪ ٤٤٫۹۲ ‬ﺳﻢ‪ ، ­ ‬ﻭﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﺘﺔ‪ ‬ﺃﻗ‪ ‬ﺪﺍﻡ‪ ‬ﺑﻄ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪ‬ ‫‪ ۳۰٫٥ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﻛ‪ ‬ﻞ‪ ‬ﻗ‪ ‬ﺪﻡ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ٤ ‬ﺭﺍﺣ‪ ‬ﺎﺕ‪ ‬ﻳ‪ ‬ﺪ‪ ‬ﺑﻄ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻮﺍﺣ‪ ‬ﺪﺓ‪ ۷٫٦۲٥ ‬ﺳ‪ ‬ﻢ‪ ­ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﻘﺘ‪ ‬ﺮﺏ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺭﺍﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‬ ‫‪ ۷٫٤۹ ‬ﺳﻢ‪­ ‬‬

‫‪Alexander Badawi, ' Ancient Egyptian Architectural Design ' A Study of Harmonic System, pp. 64, 1 ‬‬ ‫‪55‬‬

‫‪­ ۲۰٤ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤٤ ‬‬

‫‪ ‬ﺃﻱ‪ ‬ﺑﻔﺮﺽ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ۱۸۳ ‬ﺳ‪ ‬ﻢ‪ ، ‬ﻭ‪ ‬ﺑﻤﻘﺎﺭﻧ‪ ‬ﺘ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺎﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ۱۸۳ ‬ﺳ‪ ‬ﻢ‪ ‬ﻭﺍﺭﺗﻔ‪ ‬ﺎﻉ‬ ‫‪ ‬ﻳﺪﻩ‪ ۲۲٦ ‬ﺳﻢ‪ ،‬ﻓﺈﻥ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺑﻴﺪﻩ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﻳﺼ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ۲۲۸٫۷٥ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻭﺑ‪ ‬ﺬﻟﻚ‪ ‬ﺗﺘﺤﻘ‪ ‬ﻖ‬ ‫‪ ‬ﺍﻟﻘﺮﺍﺑﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻨﻈﺎﻣﻴﻦ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻭﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﻛﻮﻥ‪ ‬ﺍﻟﻔﺮﻕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻃﻮﻝ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻤﺎ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻓﻘ‪ ‬ﻂ‪۰٫۷٥ ‬‬ ‫‪ ‬ﺳﻢ‪ ، ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﻘﻮﻟﻪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺑﻪ‪ " ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪" ۲ ‬‬

‫‪ ‬ﻟﻜﻦ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﻳﺮﻯ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺑﺎﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﺍﻟ‪ ‬ﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺼ‪ ‬ﻐﻴﺮ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ٤٤٫۹۲ ‬ﺳ‪ ‬ﻢ‪ ،‬ﻧﺠ‪ ‬ﺪ‪ ‬ﺃﻥ‪ ‬ﺍﺭﺗﻔ‪ ‬ﺎﻉ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺑﻴﺪﻩ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﻳﺼﻞ‪ ‬ﺇﻟﻰ‪ ۲۲٤٫٦ ‬ﺳ‪ ‬ﻢ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﻳﺠﻌ‪ ‬ﻞ‪ ‬ﺍﻟﻔ‪ ‬ﺎﺭﻕ‪ ‬ﺑﻴﻨﻬﻤ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻜﻠ‪ ‬ﻲ‬ ‫‪ ۱٫٤ ‬ﺳﻢ‪ ‬ﻓﻘﻂ‬

‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺑﺎﻟﻴﺪ‪ ‬ﺍﻟﻤﺮﻓﻮﻋﺔ‬

‫‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﺍﻟﻜﻠﻲ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪۱۸۳ ‬‬

‫‪۲۲٦ ‬‬

‫‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ) ‬ﻓﺮﺿﺎ‪( ‬‬

‫‪۱۸۳ ‬‬

‫‪ ) ۲۲۸٫۷٥ ‬ﺍﻟﺬﺭﺍﻉ‪( ٤٥٫۷٥ = ‬‬ ‫‪ ) ۲۲٤٫٦ ‬ﺍﻟﺬﺭﺍﻉ‪( ٤٤٫۹۲ = ‬‬

‫‪ ‬ﻭﻫﺬﺍ‪ ‬ﺍﻟﻔﺎﺭﻕ‪ ‬ﺍﻟﺒﺴﻴﻂ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻈ‪ ‬ﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍ‪ ‬ﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺃﻥ‪ ‬ﻳﺴ‪ ‬ﺘﻮﻋﺐ‪ ‬ﻋﻤﻠﻴ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟ‪ ‬ﺮﻭﺍﺑﻂ‬ ‫‪ ‬ﺑﻴﻦ‪ ‬ﻣﻮﺍﺩ‪ ‬ﺍﻟﺒﻨﺎء‬

‫‪۱ ‬‬

‫‪ ٤ ‬ﺃﺫﺭﻉ ‪ ٦ = ‬ﺃﻗﺪﺍﻡ ‪ ۱۲ = ‬ﺭﺍﺣﺔ‪ ‬ﻳﺪ ‪ ٤۸ = ‬ﺃﺻﺒﻊ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻠﻤﺼﺮﻱ‪ ‬ﺍﻟﻘﺪﻳﻢ‪. ‬‬

‫‪1 ‬‬

‫‪LC, ‘ Modulor 2 ’, p.56‬‬

‫‪­ ۲۰٥ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤٥ ‬‬

‫‪ ‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﻴﻦ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻣﺎء‪ ‬ﻫ‪ ‬ﻢ‪ ‬ﺃﻭﻝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻃﺒ‪ ‬ﻖ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﻧﻘﻠﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻨﻬﻢ‬ ‫‪ ‬ﻗﺪﺍﻣﻰ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ‪ ‬ﺍﺗﺼﺎﻟﻬﻢ‪ ‬ﺑﺎﻷﺳﻜﻨﺪﺭﻳﺔ‪ ،‬ﻭﺍﺳﺘﻤﺮ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻘﻮﺍﻋ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻹﻏﺮﻳﻘ‪ ‬ﻲ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺃﺣﻴﺎﻫ‪ ‬ﺎ‬ ‫‪ ‬ﻓﻨﺎﻧﻮ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ،‬ﻭﻟﻢ‪ ‬ﻳﻈﻬﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻵﻥ‪ ‬ﻣﻦ‪ ‬ﺳﺒﻖ‪ ‬ﻗﺪﻣﺎء‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﻓﻲ‪ ‬ﻭﺿﻊ‪ ‬ﺍﻷﺳﺲ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻧﻌﺮﻓﻬﺎ‪ ‬ﺍﻟﻴ‪ ‬ﻮﻡ‪ ‬ﺑﺎﺳ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﻓﻲ‪ ‬ﺫﻟﻚ‪ ‬ﺭﺩ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻻﻋﺘﻘﺎﺩ‪ ‬ﺍﻟﺨﺎﻃﺊ‪ ‬ﺍﻟﺴﺎﺋﺪ‪ ‬ﻟﺪﻱ‪ ‬ﺍﻟﻜﺜﻴﺮﻳﻦ‪ ‬ﺑﺄﻥ‪ ‬ﻧﺴﺐ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻛﺘﺸ‪ ‬ﺎ‪ ‬ﻑ‬ ‫‪ ‬ﻳﻮﻧﺎﻧﻲ‪ ،‬ﺃﻭ‪ ‬ﺃﻧﻪ‪ ‬ﻳﺮﺟﻊ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﻮﺍﻋﺪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻭﺿﻌﻬﺎ‪ ‬ﻓﻨﺎﻧﻮ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ ‪.‬‬

‫‪­ ۲۰٦ ­ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑ‪ ‬ﺎﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ ‪The Metaeder ‬‬

‫‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻣﺮﻛ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺃﻓﻼﻃ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺤﻘﻴﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ، ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﻣﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺑﺴ‪ ‬ﻴﻄﺔ‪ ‬ﺃﺿ‪ ‬ﻼﻋﻬﺎ‪ ‬ﻣﺘﺴ‪ ‬ﺎﻭﻳﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄ‪ ‬ﻮ‪ ‬ﻝ‪ ‬ﻭﺃﺳ‪ ‬ﻄﺤﻬﺎ‪ ‬ﺫﺍﺕ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻝ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺃﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻣﺘﻤﺎﺛﻠ‪ ‬ﺔ‪ ‬ﻭﻣﺘﺴ‪ ‬ﺎﻭﻳﺔ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻤﺴﺎﺣﺔ‪ ‬ﻣﻊ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﺍﻟﺒﻌﺾ ‪ ، ۱ ‬ﻭﺗﺪﺍﺧﻞ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺑﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﻣﻌﻴﻨ‪ ‬ﺔ‪ ‬ﻳﻨ‪ ‬ﺘﺞ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﻌﺘﺒ‪ ‬ﺮ‪ ‬ﻋﻨﺼ‪ ‬ﺮﺍ‬ ‫‪ ‬ﻫﻨﺪﺳﻴﺎ‪ ‬ﺃﺳﺎﺳ‪ ‬ﻴ‪ ‬ﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻲ‪ ‬ﻭﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺨﺼﻮﺹ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤٦ ‬‬

‫‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﻣﺘﻌﺪﺩﺍﺕ‪ ‬ﺍﻟﺴﻄﻮﺡ ‪ polyhedrons ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻣﺎ‪ ‬ﺻ‪ ‬ﻠﺒﺔ‪ ‬ﺗﻨﺤﺼ‪ ‬ﺮ‪ ‬ﺃﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺃﻭﺟﻬﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺪﺍﺋﺮﻳ‪ ‬ﺔ‪ ‬ﺑﺨﻄ‪ ‬ﻮﻁ‬ ‫‪ ‬ﻣﺴﺘﻘﻴﻤﺔ‪ ،‬ﻭﺗﺼﻨـﻊ‪ ‬ﻣـﻊ‪ ‬ﻣﻘﺎﻃﻌﻬﺎ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﺷﺒﻜﺎﺕ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ،‬ﺣﻴﺚ‪ ‬ﻳﺘﻢ‪ ‬ﺍﻻﺳﺘﻌﺎﻧﺔ‪ ‬ﺑﻬﺎ‪ ‬ﻓﻲ‪ ‬ﻋﻤﻠﻴﺎﺕ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪. ‬‬

‫‪ 1 ‬ﺗﻤﺖ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﻤﺠﺴﻤﺎﺕ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺑﺴﺒﺐ‪ ‬ﻣﺤﺎﻭﻻﺗﻪ‪ ‬ﻧﺴﺒﺘﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻮﺟﻮﺩ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﻓﺘﺮﺽ‪ ‬ﻗﻴﺎﻣﻪ‪ ‬ﻋﻠﻴﻬﺎ‪ ،‬ﻭﻗﺪ‪ ‬ﻧﺎﻗﺶ‪ ‬ﺃ‪ ‬ﻓﻼﻃﻮﻥ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺴﺄﻟﺔ‪ ‬ﻓﻲ‬ ‫ﻛﺜﻴﺮ‪ ‬ﻣﻦ‪ ‬ﻣﺤﺎﻭﺭﺍﺗﻪ‬

‫‪­ ۲۰۷ ­ ‬‬

‫‪ ‬ﻟﻄﺎﻟﻤﺎ‪ ‬ﺍﻫﺘﻢ‪ ‬ﺍﻟﻌﻠﻤﺎء‪ ‬ﺑﺎﻟﺒﺤﺚ‪ ‬ﻋـﻦ‪ ‬ﻣﺤﺪﺩﺍﺕ‪ ‬ﺃﺻﻠﻴﺔ‪ ‬ﻟﺘﺼﻨﻴﻒ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻣﺜﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺫﻟﻚ‪: ‬‬ ‫‪ o ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃ‪ ‬ﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‬

‫‪five Platonic solids ‬‬

‫‪ o ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﺭﺷﻤﻴﺪﺱ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻋﺸﺮ‬

‫‪thirteen Archimedean solids ‬‬

‫‪ o ‬ﺗﺮﺻﻴﻌﺎﺕ‪ ‬ﻛﺒﻠﺮ‪ ‬ﺍﻟﺴﻄﺤﻴﺔ‪ ‬ﺍﻟﺴﺒﻌﺔ‪ ‬ﻋﺸﺮ‬

‫‪seventeen surface tilings ‬‬

‫‪ o ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺪﻭﺭﻱ‪ ‬ﻟﻠﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﻜﻴﻤﻴﺎﺋﻴﺔ‬

‫‪periodic system of the elements ‬‬

‫‪ o ‬ﻃﺒﻘﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺭﺗﺐ‪ ‬ﺍﻟﺒﻠﻮﺭﺍﺕ‪ ‬ﺍﻹﺛﻨﺎﻥ‪ ‬ﻭﺍﻟﺜﻼﺛ‪ ‬ﻴﻦ‬

‫‪32 classes of crystals ‬‬

‫‪ o ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺍﻟﻤﺤﺎﻭﻻﺕ‪ ‬ﻹﻳﺠﺎﺩ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﺍﻟﻜﺎﻣﻠﺔ‪ ‬ﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﺍﻟﻌﻮﺍﻣﻞ‪ ‬ﺍﻟﻮﺭﺍﺛﻴﺔ‪ ... ، ‬ﺇﻟﺦ‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﺛﺒﺘ‪ ‬ﺖ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺒﺤ‪ ‬ﻮﺙ‪ ‬ﺍﻟﺒﻨﺎﺋﻴ‪ ‬ﺔ‪ ‬ﺃﻫﻤﻴﺘﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺎﺭﻳﺦ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻢ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﺳ‪ ‬ﺘﻄﺎﻉ‪ ‬ﻛﺒﻠ‪ ‬ﺮ‪ ‬ﺇﻳﺠ‪ ‬ﺎﺩ‪ ‬ﻗﺎﻧﻮﻧ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﺃﺳﺎﺳﻴﺎﺕ‪ ، Tycho Brahe's ‬ﻭﻃﻮﺭ‪ ‬ﺑ‪ ‬ﺎ‪ ‬ﻛﻤﻨﺴﺘﺮ‪ ‬ﻓﻮﻟ‪ ‬ﺮ ‪ * Buckminster Fuller‬ﻣ‪ ‬ﻦ‪ ‬ﺧﻼﻟﻬ‪ ‬ﺎ‪ ‬ﻧﻈﺮﻳﺘ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‬ ‫‪ ‬ﺍﻟﺠﻴﻮﺩﻳﺴ‪ ‬ﻲ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﻗﺼ‪ ‬ﺮ‪ ‬ﺧ‪ ‬ﻂ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻧﻘﻄﺘ‪ ‬ﻴﻦ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﻣ‪ ‬ﻨﺤﻦ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺮﺕ‪ ‬ﻛ‪ ‬ـﺮﺓ‪ ‬ﺑ‪ ‬ﻮﻛﻲ‪ ‬ﻓ‪ ‬ﻮﻻﺭ‪ ‬ﺍﻟﻌﻨﺼ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﻟﻠﻤﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺤﻨﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻜﺮﻭﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﺍﺳ‪ ‬ﻌﺔ‪ ‬ﺍﻟﻨﻄ‪ ‬ﺎﻕ‪ ،‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﻭﺻ‪ ‬ﻠﺖ‪ ‬ﺍﻟﻔﻜ‪ ‬ﺮﺓ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﻋﻤﺎﺭﺓ‪ ‬ﺍﻟﻨﺎﻧﻮ‪ ‬ﻣﻤﺎ‪ ‬ﻓﺘﺢ‪ ‬ﺍﻟﻤﺠﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﻓﺮﻉ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻜﻴﻤﻴﺎء‪ ‬ﺍﻟﻜ‪ ‬ﺮﺑﻮﻧﻴﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٤۷‬‬ ‫* ‪ ‬ﺃﻧﻈﺮ‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬ ‫‪1 ‬‬ ‫‪www.metaeder.de‬‬

‫‪­ ۲۰۸ ­ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٤۸ ‬‬

‫‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺑﺠﺰﺃﻳﻪ‪ ‬ﺍﻟﺪﺍﺧﻞ‪ ‬ﻓﻲ‪ ‬ﺣﺪﻭﺩ‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ،‬ﻭﺍﻟﺨﺎﺭﺝ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺣ‪ ‬ﺪﻭﺩ‪ ‬ﺍﻟﻤﻜﻌ‪ ‬ﺐ‪ – ‬ﻣﺤﺎﻭﻟ‪ ‬ﺔ‪ ‬ﻹﻧﺘ‪ ‬ﺎﺝ‬ ‫‪ ‬ﻗﺎﺋﻤﺔ‪ ‬ﻻ‪ ‬ﻣﻨﺘﻬﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻛﻞ‪ ‬ﺍﻟﺤﺴﺎﺑﺎﺕ‪ ‬ﺍﻟﻤﺤﺘﻤﻠ‪ ‬ﺔ‪ ‬ﻟﻠﺘﺮﻛﻴﺒﺎﺕ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻋﺎﻡ‪ ،‬ﻓ‪ ‬ﺎﻟﻌﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺒﻠﻮﺭﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺘﻌ‪ ‬ﺪﺩﺍﺕ‬ ‫‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺘﺪﺍﺧﻠﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇ‪ ‬ﻳ‪ ‬ﺪﺭ‪ ‬ﺗﻜ‪ ‬ﻮّﻥ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺎﺕ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺔ‪ ،‬ﻭﺑ‪ ‬ﺎﻷﺧﺺ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺎﺕ‪ ‬ﺫﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‬ ‫‪ ‬ﺗﻮﺟﺪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺃﻧﺴﺠﺔ‪ ‬ﺍﻷﻋﻀﺎء‪ ‬ﺍﻟﺤﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻨﺒﺎﺗ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻟﺤﻴﻮﺍﻧ‪ ‬ﺎﺕ‪ ، ‬ﻭ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﻤﻴ‪ ‬ﺰ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻏﻴ‪ ‬ﺮﻩ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺸﺒﻜﺎﺕ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ‬ﺗﻨﻮﻉ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺎﺕ‪ ‬ﻓﻲ‪ ‬ﻣﺴﺎﻗﻄﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪. ‬‬

‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪­ : ‬‬ ‫‪ ‬ﻳﺤﺘﻮﻱ‪ ‬ﺍﻟ‪ ‬ﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻋﻠﻰ‪ ‬ﺧﻤﺴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺘﻌ‪ ‬ﺪﺩﺍﺕ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻤ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺘﻜ‪ ‬ﻮﻥ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‪ ‬ﺍﻟﻤﻀ‪ ‬ﻠﻌﺎﺕ‬ ‫‪ ‬ﺍﻟﻤﻨﺘﻈﻤﺔ‪ ‬ﺍﻟﻤﺘﺠﻤﻌﺔ‪ ‬ﻣﻌﺎ‪ ،‬ﻭﺗﻌﺘﺒﺮ‪ ‬ﻣﺘﻌﺪﺩﺍﺕ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﻫﺬﻩ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺤﻘﻴﻘﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺃﻥ‬ ‫‪ ‬ﺗﺤﺘﻮﻳﻬﺎ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﺗﻤﺲ‪ ‬ﺃﻃﺮﺍﻓﻬﺎ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ،‬ﻭﻫﻲ‪­: ‬‬

‫‪­ ۲۰۹ ­ ‬‬

‫· ‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ ‪ : Tetrahedron ‬ﻭﻳﺘﻜﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺭﺑﻌﺔ‪ ‬ﻣﺜﻠﺜﺎﺕ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﺍﻷﺿﻼﻉ‬

‫‪۱ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٤۹‬‬

‫· ‪ ‬ﺳﺪﺍﺳﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ) ‬ﺍﻟﻤﻜﻌﺐ‪ : (Cube) Hexahedron ( ‬ﻭﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺳﺘﺔ‪ ‬ﻣﺮﺑﻌﺎﺕ‬

‫‪ ‬ﺷﻜﻞ ‪۲٥۰‬‬

‫· ‪ ‬ﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ ‪ : Octahedron ‬ﻭﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺛﻤﺎﻧﻴﺔ‪ ‬ﻣﺜﻠﺜﺎﺕ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﺍﻷﺿﻼﻉ‬

‫‪ ‬ﺷﻜﻞ ‪۲٥۱‬‬

‫· ‪ ‬ﺇﺛﻨﺎﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ ‪ : Dodecahedron ‬ﻭﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮ‪ ‬ﺧﻤﺎﺳﻲ‪ ‬ﻣﺘﺴﺎﻭ‪ ‬ﺍﻷﺿﻼﻉ‬

‫‪۲ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٥۲ ‬‬

‫‪1 ‬‬

‫‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻳﺮﻣﺰ‪ ‬ﻟﻠﺸﻤﺲ‪ ‬ﻭﺍﻟﻘﻤﺮ‪ ‬ﻭﻛﻴﻒ‪ ‬ﻳﺘﻨﺎﺳﺒﺎﻥ‪ ‬ﻣﻊ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ،‬ﺃﻱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻳﺸﻴﺮ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺣﻴﺚ‪ ‬ﺍﻟﺴﻤﺎء‬ ‫‪ ‬ﻣﻮﻃﻦ‪ ‬ﺍﻟﺸﻤﺲ‪ ‬ﻭﻣﺼﺪﺭ‪ ‬ﺍﻟﺤﻴﺎﺓ‪ ،‬ﻭﻳﺸﻴﺮ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﺇﻟﻰ‪ ‬ﺃﺳﻔﻞ‪ ‬ﺣﻴﺚ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻭﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺤﻴﺎﺓ‬ ‫‪2 ‬‬ ‫ﻳﺸﻴﺮ‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻷﺑﺮﺍﺝ‪ ‬ﺍﻟﺴﻤﺎﻭﻳﺔ‪ ‬ﺍﻹﺛﻨﺎ‪ ‬ﻋﺸﺮ‪ ،‬ﻭﺑﺬﻟﻚ‪ ‬ﺍﻋﺘﺒﺮ‪ ‬ﺭﻣﺰﺍ‪ ‬ﻟﻠﻜﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﻔﻴﺜﺎﻏﻮﺭﻳﻮﻥ‬

‫‪­ ۲۱۰ ­ ‬‬

‫· ‪ ‬ﻋﺸﺮﻭﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ ‪ : Icosahedron ‬ﻭﻳﺘﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﻋﺸﺮﻳﻦ‪ ‬ﻣﺜﻠﺚ‪ ‬ﻣﺘﺴﺎﻭ‪ ‬ﺍﻷﺿﻼﻉ‬

‫‪ ‬ﺷﻜﻞ‪۲٥۳ ‬‬

‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﻧﺮﺍﻫﺎ‪ ‬ﻣﺠﺘﻤﻌﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺑ‪ ‬ﺸﻜﻞ‪ ‬ﺗﻜﻤﻞ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﺑﻌﻀﺎ‪ ،‬ﻭﻣﻦ‪ ‬ﺍﻟﻤﻤﻜﻦ‪ ‬ﺍﻟﺘﻔﺮﻳ‪ ‬ﻖ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺷ‪ ‬ﻘﻲ‬ ‫‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪: ‬‬ ‫‪ ­ ‬ﺍﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ : ‬ﻭﺗﻤﺜﻞ‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ‬ﻭﺑﺪﺍﺧﻠﻪ‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ،‬ﻭﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬

‫‪ ­ ‬ﺍﻟﻤﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺍﻟﺜﺎﻧﻴ‪ ‬ﺔ‪ : ‬ﻭﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻤﻜﻌ‪ ‬ﺐ‪ ‬ﻭﺧﺎﺭﺟ‪ ‬ﻪ‪ ‬ﺇﺛﻨ‪ ‬ﺎ‪ ‬ﻋﺸ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﻭﻋﺸ‪ ‬ﺮﻭﻧﻲ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‬ ‫‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬

‫‪ ‬ﺷﻜﻞ ‪۲٥٤‬‬

‫‪­ ۲۱۱ ­ ‬‬

‫‪ ‬ﻭﻳﻤﻜﻦ ‪ ‬ﺗﻔﺴﻴﺮ ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ ‪ ‬ﺍﻟﻮﺛﻴﻘﺔ ‪ ‬ﺑﻴﻦ ‪ ‬ﻣﺘﻌﺪﺩﺍﺕ ‪ ‬ﺍﻟﺴﻄﻮﺡ ‪ ‬ﻭﺍﻟﺘﻲ‬ ‫‪ ‬ﺗﺘﻼﻣﺲ ‪ ‬ﺃﻃﺮﺍﻓﻬﺎ ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ ‪ ‬ﺑﻌﻀﻬﺎ ‪ ‬ﻣﻊ ‪ ‬ﺑﻌﺾ ‪ ‬ﺑﺘﺮﺗﻴﺐ ‪ ‬ﺃﻃﻮﺍﻝ‬ ‫‪ ‬ﺃﺿﻼﻋﻬﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪­ : ‬‬

‫‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻳﺴﺎﻭﻱ‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﺍﻟﺼﺤﻴﺢ‬ ‫‪1 ‬‬

‫‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍ‪ ‬ﻟﻤﻨﺘﻈﻢ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪1.414214 = √ 2 ‬‬

‫‪ ‬ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪0.707107 = √ 2 / 2 ‬‬

‫‪ ‬ﻃﻮﻝ‪ ‬ﻗﻄﺮ‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪1.732051 = √ 3 ‬‬

‫ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﺇﺛﻨﺎﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪0.618034 = 1 / F‬‬

‫ﻃﻮﻝ‪ ‬ﺿﻠﻊ‪ ‬ﻋﺸﺮﻳﻨﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﻳﺴﺎﻭﻱ‬ ‫‪1.618034 = F‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٥٥‬‬

‫‪۲۱۲ ‬‬

‫‪ ‬ﻧﻼ‪ ‬ﺣﻆ‪ ‬ﺃﻧﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪√2/2 : 1 : √2 : 2 : 2√2 : 4 : 4√2 : 8 : … etc ‬‬ ‫‪ ‬ﺣﻴﺚ‪ ‬ﻳﻜﻮﻥ‪ √ 2 ‬ﻫﻮ‪ ‬ﺍﻟﻌﺎﻣﻞ‪ ‬ﺍﻟﺜﺎﺑﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ،‬ﻭﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻟﻤﻘﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﻲ‪ ‬ﺍﻷﻟﻤ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﻤﻌﺘﻤ‪ ‬ﺪ ‪* DIN ‬‬ ‫‪ ‬ﻭﺍﻟﻤﺴﺘﺨﺪﻡ‪ ‬ﻓﻲ‪ ‬ﻣﻘﺎﺳﺎﺕ‪ ‬ﺍﻟﻮﺭﻕ‬

‫‪ ‬ﺃﻣﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﺍﻟﺜﺎﻧ‪ ‬ﻴﺔ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺍﻟﺴﻠﺴﻠﺔ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪1/F : 1 : F : F² : F³ : … etc ‬‬ ‫ﺣﻴﺚ ‪ F‬ﻫﻮ‪ ‬ﺍﻟﻌﺎﻣﻞ‪ ‬ﺍﻟﺜﺎﺑﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ،‬ﻭﻧﻼﺣﻆ‪ ‬ﺍ‪ ‬ﺷﺘﺮﺍﻙ‪ ‬ﺍﻟﺮﻗﻢ‪ ۱ ‬ﻓﻲ‪ ‬ﻛﻼ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‬

‫‪ ‬ﻭﻟﻨﺎ‪ ‬ﻋﺪﺓ‪ ‬ﻣﻼﺣﻈﺎﺕ‪ ‬ﻣﺒﺪﺋﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﺠﺴﻤﺎﺕ‪ ‬ﺍﻷﻓﻼﻃﻮﻧﻴﺔ‪:‬‬ ‫· ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺍﻟﻔﻴﺮﻭﺳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻛﺘﺸﻔﺖ‪ ‬ﺣﺪﻳﺜﺎ‪ ‬ﺗﺤﻤﻞ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ‬ﺃﻭ‪ ‬ﻋﺸﺮﻳﻨﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‬ ‫· ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﻭﺿﻊ‪ ‬ﻋﺸﺮﻳﻨﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﺩﺍﺧ‪ ‬ﻞ‪ ‬ﺛﻤ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﺗﻘﺴ‪ ‬ﻢ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻷ‪ ‬ﻭﻝ‬ ‫ﺿﻠﻌﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﺑﻨﺴﺒﺔ‪ ‬ﺫﻫﺒﻴﺔ‬ ‫· ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺑﻨﺎء‪ ‬ﺛﻼﺛﺔ‪ ‬ﻣﺴﺘﻄﻴﻼﺕ‪ ‬ﺫﻫﺒﻴﺔ‪ ‬ﺑﺪﺍﺧﻞ‪ ‬ﺇﺛﻨ‪ ‬ﻲ‪ ‬ﻋﺸ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺴ‪ ‬ﻄﻮﺡ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻛﻞ‪ ‬ﻣﺴﺘﻄﻴﻞ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺇﺣﺪﻯ‪ ‬ﺍﻟﻤﺨﻤﺴﺎﺕ‪ ‬ﺍﻹﺛﻨﻲ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ،‬ﻭﺑﺎﻟﺘ‪ ‬ﺎﻟ‪ ‬ﻲ‪ ‬ﺗﺘﻨﺎﺳ‪ ‬ﺐ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻄﻴﻼﺕ‪ ‬ﺑ‪ ‬ﺪ‪ ‬ﺍﺧﻞ‬ ‫ﻋﺸﺮﻳﻨﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﺃﻳﻀﺎ‬ ‫· ‪ ‬ﺃﻱ‪ ‬ﺷﻜﻞ‪ ‬ﻛﺮﻭﻱ‪ ‬ﻫﻨﺪﺳﻲ‪ ) ‬ﻣﺜﻞ‪ ‬ﻛﺮﺓ‪ ‬ﺍﻟﻘﺪﻡ‪ ( ‬ﻳﺤﻤﻞ‪ ۱۲ ‬ﻣﺨﻤﺴﺎ‪ ‬ﻣﻨﺘﻈﻤﺎ‪ ‬ﺃﺳﺎﺳﻴﺎ‪ ، ‬ﺛﻢ‪ ‬ﺗ‪ ‬ﺄﺗﻲ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺑﻘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺴﺪﺳﺎﺕ‪ ‬ﺍﻟﻤﻨﺘﻈﻤﺔ‪ ‬ﺣﺴﺐ‪ ‬ﺍ‪ ‬ﻟﺤﺠﻢ‬

‫‪ ‬ﻳﺤﺘ‪ ‬ﻮﻱ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺃﺭﺷ‪ ‬ﻤﻴﺪﺱ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻋﺸ‪ ‬ﺮ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻣﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺷ‪ ‬ﺒﻪ‪ ‬ﻣﻨﺘﻈﻤ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺘﻌﺪﺩﺍﺕ‪ ‬ﺳﻄﻮﺡ‪ ‬ﻻ‪ ‬ﺗﺤﻤﻞ‪ ‬ﺍﻟﺘﻨﺎﻇﺮ‪ ‬ﺍﻟﻜﺎﻣﻞ‪ ،‬ﻭﺑ‪ ‬ﺎﻟﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺍء‪ ‬ﺃﺳ‪ ‬ﻄﺤﻬﺎ‪ ‬ﺍﻟﺨﺎﺭﺟﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﻣﻀﻠﻊ‪ ‬ﻣﻨﺘﻈﻢ‪ ‬ﻭﺍﺣﺪ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺟﻤﻴﻊ‪ ‬ﺣﻮﺍﻓﻬﺎ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﻮﻝ‪ ‬ﻣﻊ‪ ‬ﺑﻌﻀﻬﺎ‪ ) ‬ﺍﻟﻨﺎﺗﺠ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﻘﻄﻮﻋ‪ ‬ﺔ‪ ، ( ‬ﻭﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﻣﻊ‪ ‬ﻧﻘﺎﻃﻬﺎ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪. ‬‬

‫‪ ‬ﻭﻗﺎﻡ‪ ‬ﺟﻮﻫﺎﻧﺲ‪ ‬ﻛﺒﻠﺮ‪ ‬ﺑﻮﺿﻊ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺠﺴﻤﺎﺕ‪ ‬ﻓﻲ‪ ‬ﺭﺳﺎﻟﺘﻪ‪ " ‬ﺧﻤﺴﺔ‪ ‬ﻛﺘﺐ‪ ‬ﻋﻦ‪ ‬ﺗﺠﺎﻧﺲ‪ ‬ﺍﻟﻌﺎﻟﻢ‪five books of the " ‬‬

‫‪ harmony of the world ‬ﻋ‪ ‬ﺎﻡ‪ ۱٦۱۹ ‬ﻡ‪ ، ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺑﺮﺳ‪ ‬ﻢ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻭﻳﻠﻬﻠ‪ ‬ﻢ‪ ‬ﺷ‪ ‬ﻴﻜﺎﺭﺩ‪( ۱٦۳٥ – ۱٥۹۲ ) ‬‬ ‫‪ ، Wilhelm Schickard ‬ﻭﺗﺤﻤﻞ‪ ‬ﺍﻷﺳﻤﺎء‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪:‬‬

‫‪۲۱۳ ‬‬

۲٥٦ ‫ﺷﻜﻞ‬

( 6 ) rhombitruncated cuboctahedron

‫ﺍﻟﻤﺒﺘﻮﺭ‬ ‫ﺍﻟﻤﻜﻌﺐ‬ ( ۱ )

( 7 ) rhombitruncated icosidodecahedron

TRUNCATED HEXAHEDRON ‫ﺍﻟﻤﺒﺘﻮﺭ‬ ‫ﺍﻟﺴﻄﻮﺡ‬ ‫ﺭﺑﺎﻋﻲ‬ ( ۲ )

( 8 )cuboctahedron

TRUNCATED TETRAHEDRON

( 9 ) icosidodecahedron

‫ﺍﻟﻤﺒﺘﻮﺭ‬ ‫ﺍﻟﺴﻄﻮﺡ‬ ‫ﻋﺸﺮﻱ‬ ‫ﺇﺛﻨﺎ‬ ( ۳ )

( 10 )rhomb cuboctahedron

TRUNCATED DODECAHEDRON ‫ﺍﻟﻤﺒﺘﻮﺭ‬ ‫ﺍﻟﺴﻄﻮﺡ‬ ‫ﻋﺸﺮﻭﻧﻲ‬ ( ٤ )

( 11 ) rhomb icosidodecahedron

TRUNCATED ICOSAHEDRON

( 12 ) snub hexahedron

‫ﺍﻟﻤﺒﺘﻮﺭ‬ ‫ﺍﻟﺴﻄﻮﺡ‬ ‫ﺛﻤﺎﻧﻲ‬ ( ٥ )

( 13 ) snub dodecahedron

TRUNCATED OCTAHEDRON

،‫ﺪﺍﺧﻞ‬ ‫ﺍﻟ‬ ‫ﻮ‬ ‫ﻧﺤ‬ ‫ﺔ‬ ‫ﺍﻟﺨﻤﺴ‬ ‫ﻮﻥ‬ ‫ﺃﻓﻼﻃ‬ ‫ﺎﻡ‬ ‫ﺃﺟﺴ‬ ‫ﺮﺍﻑ‬ ‫ﺃﻃ‬ ‫ﺮ‬ ‫ﺑﺘ‬ ‫ﻦ‬ ‫ﻣ‬ ‫ﺘﺞ‬ ‫ﻭﻳﻨ‬ ‫ﻴﻂ‬ ‫ﺑﺴ‬ ‫ﻮ‬ ‫ﻫ‬ ‫ﻣﺎ‬ ‫ﻋﺸﺮ‬ ‫ﺍﻟﺜﻼﺛﺔ‬ ‫ﺍﻟﻤﺠﺴﻤﺎﺕ‬ ‫ﻫﺬﻩ‬ ‫ﻣﻦ‬ :‫ﻳﻠﻲ‬ ‫ﻛﻤﺎ‬ ‫ﻧﻤﺎﺫﺝ‬ ‫ﺧﻤﺴﺔ‬ ‫ﻭﻫﻲ‬

۲۱۳

‫‪ ‬ﺃﻭﻻ‪ : ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍ‪ ‬ﻟﻤﺒﺘﻮﺭ ‪TRUNCATED TETRAHEDRON ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٥۷ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﺍﻟﻤﻜﻌﺐ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‪TRUNCATED HEXAHEDRON ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٥۸‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺛﺎﻟﺜﺎ‪ : ‬ﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ ‪TRUNCATED OCTAHEDRON ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٥۹ ‬‬

‫‪ ‬ﺭﺍﺑﻌﺎ‪ : ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‪TRUNCATED DODECAHEDRON ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٦۰‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺧﺎﻣﺴﺎ‪ : ‬ﻋﺸﺮﻭﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ ‪TRUNCATED ICOSAHEDRON ‬‬

‫‪ ‬ﺷﻜﻞ‪۲٦۱ ‬‬

‫‪ ‬ﻭﺑﻘﻴ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺠﺴ‪ ‬ﻤﺎﺕ‪ ‬ﺗ‪ ‬ﻨ‪ ‬ﺘﺞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﻄ‪ ‬ﻊ‪ ‬ﺃﻃ‪ ‬ﺮﺍﻑ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺃﻓﻼﻃ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﺘﻄ‪ ‬ﻮﺭ‪ ‬ﻳﻨ‪ ‬ﺘﺞ‪ ‬ﺃﺟﺴ‪ ‬ﺎﻣﺎ‪ ‬ﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﻣﺘﻨﺎﻇﺮﺓ‪ ،‬ﻭ‪ ‬ﺗﺘﺮﻛﺰ‪ ‬ﻓﻲ‪ ‬ﺗﻨﻮﻳﻌﺎﺕ‪ ‬ﻗﻄﻊ‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ،‬ﻭﻋﺸﺮﻳﻨﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ،‬ﻭﻫﻲ‪ ‬ﺛﻤﺎﻧﻴﺔ‪ ‬ﻧﻤﺎﺫﺝ‪: ‬‬ ‫‪rhomb cuboctahedron ‬‬

‫‪۲۱۳ ‬‬

‫‪cuboctahedron‬‬

rhom bitruncated

snub hexahedron

cuboctahedron

icosidodecahedron

rhomb icosidodecahedron

rhombitruncated

snub dodecahedron

icosidodecahedron

۲۱۳

‫‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﻭﻏﻴﺮﻫ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺮﺍﻛﺒ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻻﻧﺸ‪ ‬ﻄﺎﺭﺍﺕ‪ ‬ﺗ‪ ‬ﺪﺧﻞ‪ ‬ﺟﻤﻴﻌﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣ‪ ‬ﺪﻭﺩ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﻭﻳﻤﻜ‪ ‬ﻦ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻣﻬﺎ‬ ‫‪ ‬ﻛﺸﺒﻜﺎﺕ‪ ‬ﻷﻏﺮﺍﺽ‪ ‬ﺗﺼﻤﻴﻤﻴﺔ‪ ‬ﻣﺨ‪ ‬ﺘﻠﻔﺔ‪ ، ‬ﻣﻊ‪ ‬ﺍﻟﻌﻠﻢ‪ ‬ﺑﺈﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺇﺩﻣ‪ ‬ﺎﺝ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﻄ‪ ‬ﺎﻉ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‪ ‬ﻟﻠﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﺮﺍﻛﺒ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺩﻗﻴﻘﺔ‬

‫‪ ‬ﻭﻳﻌﺘﺒ‪ ‬ﺮ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﺫﺍ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻓﺮﺍﻏ‪ ‬ﻲ‪ ‬ﺩﻭﺭﻱ‪ ‬ﻳﻨ‪ ‬ﺎﻇﺮ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻟﺒﻠ‪ ‬ﻮﺭﺍﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﺑﻤ‪ ‬ﺎ‪ ‬ﺗﺤﺘﻮﻳ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺫﺭﺍﺕ‬ ‫‪ ‬ﻭﺟﺰﻳﺌ‪ ‬ﺎﺕ‪ ‬ﻭﺃﻳﻮﻧ‪ ‬ﺎﺕ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺘﺸ‪ ‬ﺎﺑﻪ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺃﻱ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻬﻴﺎﻛ‪ ‬ﻞ‪ ‬ﺍﻹﻧﺸ‪ ‬ﺎﺋﻴﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺤ‪ ‬ﺎﻭﺭ‪ ‬ﻣﺘﻤﺎﺛﻠ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﺍﻥ‪ ‬ﺍﻟﻤﺤﻮﺭﻱ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻄﺮ‪ ‬ﻭﺍﺣﺪ‪ ‬ﺃﻭ‪ ‬ﺛﻼﺛﺔ‪ ‬ﺃﻗﻄﺎﺭ‪ ‬ﺃﻭ‪ ‬ﺳ‪ ‬ﺘﺔ‪ ‬ﺃﻗﻄ‪ ‬ﺎﺭ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻴﺘ‪ ‬ﺎ‪ ‬ﺇﻳ‪ ‬ﺪﺭ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻻﺣﺘﻤ‪ ‬ﺎﻻﺕ‪ ‬ﺍﻟﺴ‪ ‬ﺒﻌﺔ‬ ‫‪ ‬ﺍﻟﻤﻤﻜﻨﺔ‪ ‬ﻟﻠﺒﻠﻮﺭﺍﺕ‬

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‫‪ ‬ﻳﺤﺘﻮﻱ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺑﺎﻟﻄﺒﻊ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻓﻲ‪ ‬ﺗﻨﻮﻳﻌﺎﺕ‪ ‬ﻛﺜﻴﺮﺓ‬

‫‪ ‬ﺷﻜﻞ‪۲٦۲ ‬‬

‫‪1 ‬‬

‫‪www.metaeder.de‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻓﻲ‪ ‬ﻛﺜﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﻌﺎﺭﺍﺕ‪ ‬ﺍﻟﻌﺎﻟ‪ ‬ﻤﻴﺔ‪ ‬ﻣﺜﻞ‪: ‬‬

‫‪ ‬ﺣﻠﻒ‪ ‬ﺍﻟﻨﺎﺗﻮ‬ ‫‪ ‬ﺷﻜﻞ‪۲٦۳ ‬‬

‫‪ ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﺴﻼﻡ‬ ‫‪ ‬ﺷﻜﻞ‪۲٦٤ ‬‬

‫‪ ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﻤﺎﻟﺘﻴﺴﺮ‪ ) ‬ﺇﺣﺪﻯ‪ ‬ﻣﻨﻈﻤﺎﺕ‪ ‬ﺍﻹﻏﺎﺛﺔ‪ ‬ﺍﻟﺪﻭﻟﻴﺔ‪( ‬‬ ‫‪ ‬ﺷﻜﻞ ‪۲٦٥‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻭﻳﺘﺸﺎﺑﻪ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻲ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺴ‪ ‬ﺔ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﺘﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺠﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺗﺞ‪ ‬ﺿﺮﺏ‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺪﺩ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﻣﺜﺎﻝ‪ ‬ﺫﻟﻚ‪: ‬‬

‫‪... 1/F³ : 1/F² : 1/F : 1 : F : F² : F³ ... ‬‬ ‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻳُﻨﺘﺞ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﻛﻞ‪ ‬ﻗﻴﻤﺘﻴﻦ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺠﺪﻳﺪ‪ ،‬ﻭﻫﻲ‪ ‬ﺧﺼﺎﺋﺺ‪ ‬ﺣﺴﺎﺑﻴﺔ‪ ‬ﻭﻫﻨﺪﺳﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣﺪ‪. ‬‬ ‫‪ ‬ﻭﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻣﺒﻨ‪ ‬ﻲ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻟﺒﺸ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺒ‪ ‬ﺎﻟﻎ‪ ‬ﻃﻮﻟ‪ ‬ﻪ‪ ۱۸۳ ‬ﺳ‪ ‬ﻢ‪ ‬ﺃﻭ‪ ٦ ‬ﺃﻗ‪ ‬ﺪﺍﻡ‪ ،‬ﻭﻳﺤ‪ ‬ﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺳﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺫﻫﺒﻴﺔ‪ ،‬ﻭﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﺿﻌﻒ‪ ‬ﺫﻫﺒﻴﺔ‬ ‫‪ ‬ﻭﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻳﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺴﻼﺳﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﺿﻊ‪ ‬ﺃﻟﻔﺎ‬

‫‪ ‬ﺷﻜﻞ ‪۲٦٦‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺷﻜﻞ ‪۲٦۷‬‬

‫‪۲۱۳ ‬‬

‫ﺍﻟﻨﺘﺎﺋﺞ‪ ‬ﻭﺍﻟﺘﻮﺻﻴﺎﺕ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻧﺘﺎﺋﺞ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﺗﺘﻠﺨﺺ‪ ‬ﻧﺘﺎﺋﺞ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﻓﻲ‪ ‬ﻋﺪﺓ‪ ‬ﻣﺤﺎﻭﺭ‪ ‬ﻛﻤﺎ‪ ‬ﻳ‪ ‬ﻠﻲ‪­ : ‬‬

‫‪ ‬ﺍﻟﻤﺤﻮﺭ‪ ‬ﺍﻷﻭﻝ‪: ‬‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﻭﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﺪﺭﺍﺳﺔ‪ ‬ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻓﻨﻴﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﻳﺸﻬﺪ‪ ‬ﻟﻬﺎ‪ ‬ﺑﺎﻟﺘﻤﻴﺰ‪ ‬ﻭﺍﻻﺳﺘﻤﺮﺍﺭﻳﺔ‬ ‫‪ ‬ﺷﻜﻞ‪ ‬ﻣﻮﺿﻮﻉ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﺍﻟﻔﻘﺮﻱ‪ ‬ﻓﻲ‪ ‬ﺑﻨﺎء‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻭﺧﻄﻮﺍﺕ‪ ‬ﺗﻨﻔﻴﺬﻩ‪ ،‬ﻭﻗﺪ‪ ‬ﺗﻮﺻﻠﺖ‪ ‬ﺍﻟﺪﺭﺍﺳﺔ‪ ‬ﺇﻟﻰ‬ ‫‪ ‬ﺗﺄﻛﻴﺪ ‪ ‬ﻭﺣﺪﺓ ‪ ‬ﺍﻟﻔﻜﺮ ‪ ‬ﻟﺪﻯ ‪ ‬ﺍﻟﺠﻤﻴﻊ ‪ ‬ﻓﻲ ‪ ‬ﻣﻮﺿﻮﻉ ‪ ‬ﺍﻟﻨﺴﺐ ‪ ‬ﻛ‪ ‬ﺄﺳﺎﺱ ‪ ‬ﻳﻘﻮﻡ ‪ ‬ﻋﻠﻴﻪ ‪ ‬ﺍﻟﻌﻤﻞ ‪ ‬ﺍﻟﻔﻨﻲ ‪ ‬ﻣﻦ ‪ ‬ﻗﺒﻞ ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ ‪ ‬ﺭﻏﻢ‬ ‫‪ ‬ﺍﺧﺘﻼﻑ ‪ ‬ﺣﺴﺎﺑﺎﺗﻬﻢ‪ ‬ﻭﻣﺪﺍﺭﺳﻬﻢ‪ ،‬ﻭﻳﺘﻀﺢ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺴﻠﺴﻞ‪ ‬ﺍﻟﺰﻣﻨﻲ‪ ‬ﻟﻠﺪﺭﺍﺳﺔ‪ ‬ﺗﺄﺛﺮ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﺑﺎﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﺍﻟﺘﻲ‬ ‫‪ ‬ﺗﺘﺒﻊ‪ ‬ﺯﻣﻦ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ،‬ﻓﻜﻠﻤﺎ‪ ‬ﻧﺸﺄﺕ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﻣﺜﻼ‪ ‬ﻣﺸﻰ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻓﻨﺎﻧﻮ‪ ‬ﻋﺼﺮﻫﺎ‪ ‬ﻭﺣﺎﻭﻟﻮﺍ‪ ‬ﺍﻻﺳﺘﻔﺎﺩﺓ‪ ‬ﻣﻦ‬ ‫‪ ‬ﻋﻼﻗﺎﺗﻬﺎ‪ ‬ﻭﻧﻈﺮﺗﻬ‪ ‬ﺎ ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ،‬ﻭﺍﻋﺘﺒﺮﻭﺍ‪ ‬ﺍﻻﺳﺘﻐﻨﺎء‪ ‬ﻋﻨﻬﺎ‪ ‬ﻧﻘﺼﺎ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻬﻢ‪ ‬ﻭﺗﻘﺼﻴﺮﺍ‪ ‬ﻓﻲ‪ ‬ﻣﻮﺍﻛﺒﺔ‪ ‬ﺭﻭﺡ‪ ‬ﺍﻟﻌﺼﺮ‪،‬‬ ‫‪ ‬ﻭﻳﻈﻬﺮ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺗﺄﺛﺮ‪ ‬ﺭﺍﻓﺎﻳﻴﻞ‪ ‬ﺑﺒﻴﻠﻴﺮﻳﻦ‪ ،‬ﻭﺗﻴﺘﻴﺎﻥ‪ ‬ﺑﻔﻴﺠﻨﻮﻻ‪ ،‬ﻭﻛﻞ‪ ‬ﻣﻦ‪ ‬ﻓﻴﻼﺳﻜﺎﺯ‪ ‬ﻭﺭﻳﻤﺒﺮﺍﻧﺖ‪ ‬ﺑﺪﻳﺴﺎﺭﺟﻮﺱ‪. ‬‬ ‫‪ ‬ﺍﻟﻤﺤﻮﺭ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﺪﺭﺍﺳﺔ‪ ‬ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺗﻄﻮﺭﻫﺎ‪ ‬ﺍﻟﺰﻣﻨﻲ ‪ ‬ﻳﺜﺒﺖ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺿﻮﺡ‪ ‬ﻫﺪﻓﻪ‬ ‫‪ ‬ﻣﻨﺬ ‪ ‬ﺍﻟﺒﺪﺍﻳﺔ ‪ ‬ﻭﻫﻮ ‪ ‬ﺍﻟﺤﺼﻮﻝ ‪ ‬ﻋﻠﻰ ‪ ‬ﺃﻋﻤﺎﻝ ‪ ‬ﻋﺎﻟﻴﺔ ‪ ‬ﺍﻟﻘﻴﻤﺔ ‪ ‬ﻓﻨﻴﺎ ‪ ‬ﻣﻦ ‪ ‬ﺧﻼﻝ ‪ ‬ﺗﻄﺒﻴﻘﻪ ‪ ‬ﻟﻨﺴﺐ ‪ ‬ﺟﻤﺎﻟﻴﺔ ‪ ‬ﺑﻴﻦ ‪ ‬ﺃﺟﺰﺍء ‪ ‬ﺍﻟﻌﻤﻞ‬ ‫‪ ‬ﺗﺨﻀﻊ ‪ ‬ﻟﻌﻼﻗﺎﺕ ‪ ‬ﺫﻫﺒﻴﺔ ‪ ‬ﺑﺎﺳﺘﻤﺮﺍﺭ ‪ ‬ﺳﻮﺍء ‪ ‬ﻓﻲ ‪ ‬ﻓﺘﺮﺓ ‪ ‬ﻣﺎ ‪ ‬ﻗﺒﻞ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﺃﻭ ‪ ‬ﻣﺎ ‪ ‬ﺑﻌﺪﻩ‪ ،‬ﻭﺑﺬﻟﻚ ‪ ‬ﻳﺆﻛﺪ ‪ ‬ﺃﻥ ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‬ ‫‪ ‬ﺍﻟﻤﻨﻄﻘﻲ‪ ‬ﻓﻲ‪ ‬ﻋﻼﻗﺎﺕ‪ ‬ﺟﻤﺎﻟﻴﺔ‪ ‬ﻣﺪﺭﻭﺳﺔ‪ ‬ﻋﺒﺮ‪ ‬ﻣﺮﺍﺣﻞ ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻟﻪ‪ ‬ﺃﻛﺒﺮ ‪ ‬ﺍﻷﺛﺮ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻄﻮﺭ‪ ‬ﺍﻟﺘﺪﺭﻳﺠﻲ‬ ‫‪ ‬ﻟﻘﻴﻤﺘﻪ ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭﻳﺘﻢ ‪ ‬ﺫﻟﻚ ‪ ‬ﻣﻦ ‪ ‬ﺧﻼﻝ ‪ ‬ﺭﺑﻂ ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ ‪ ‬ﻣﻌﺎ ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ ‪ ‬ﺍﻟﻤﺘﺪﺍﺧﻞ‪ ،‬ﻭﺍﻟﺸﺒﻜﺔ ‪ ‬ﺍﻟﻤﺘﺪﺍﻭﻟﺔ‪ ،‬ﻭﺍﻷﺷﻜﺎﻝ‬ ‫‪ ‬ﺍﻟﻤﻜﻤﻠﺔ‪ ،‬ﻭﺍﻷﻟﻮﺍﻥ ‪ ‬ﺍﻟﻤﺘﻮﺍﻓﻘﺔ‪ ،‬ﻭﻓﺼﻞ ‪ ‬ﻛﻞ ‪ ‬ﻗﻴﺎﺱ ‪ ‬ﻋﻤﺎ ‪ ‬ﻳﻠﻴﻪ ‪ ‬ﻣﻦ ‪ ‬ﻭﺣﺪﺍﺕ ‪ ‬ﺑﺤﻴﺚ ‪ ‬ﺗﻘﺘﺮﻥ ‪ ‬ﺟﻤﻴﻌﻬﺎ ‪ ‬ﺑﺸﻜﻞ ‪ ‬ﻫﻨﺪﺳﻲ‬ ‫‪ ‬ﻣﺘﺴﻠﺴﻞ‬ ‫‪ ‬ﻭﺫﻟﻚ‪ ‬ﻳﺤﺴﻢ‪ ‬ﺍ‪ ‬ﻟﺸﻖ‪ ‬ﺍﻟﻌﻘﻼﻧﻲ‪ ‬ﻓﻲ‪ ‬ﻣﻨﻈﻮﻣﺔ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻬﺪﻑ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺠﻤﺎﻝ‪. ‬‬ ‫‪ ‬ﺍﻟﻤﺤﻮﺭ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬ ‫‪ ‬ﺍﺳﺘﻄﺎﻉ ‪ ‬ﺍﻟﺒﺎﺣﺚ ‪ ‬ﺍﻟﺤﺼﻮﻝ ‪ ‬ﻋﻠﻰ ‪ ‬ﺑﻀﻊ ‪ ‬ﻧﺘﺎﺋﺞ‪ ‬ﺗﺆﻛﺪ ‪ ‬ﺍﻧﻌﻜﺎﺱ ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ ‪ ‬ﻋﺎﻟﻢ ‪ ‬ﺍﻟﻔﻦ ‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫‪ ‬ﺑﺸﻜﻞ ‪ ‬ﺧﺎﺹ ‪ ‬ﻋﺒﺮ ‪ ‬ﺁﺭﺍء ‪ ‬ﻣﻦ ‪ ‬ﻋﺎﺻﺮ ‪ ‬ﻓﺘﺮﺓ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﻭﻣﺎ ‪ ‬ﺷﻜﻠﻪ ‪ ‬ﺍﺧﺘﺮﺍﻋﻪ ‪ ‬ﻣﻦ ‪ ‬ﻓﺎﺭﻕ ‪ ‬ﻛﺒﻴﺮ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﺘﻌﺎﻣﻞ ‪ ‬ﻣﻊ‬ ‫‪ ‬ﻧﺴﺐ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﻭﺇﺧﻀﺎﻋﻬﺎ‪ ‬ﻟﻮﻇﻴﻔﺘﻪ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗﺖ‪ ،‬ﻭﻛﻠﻤﺎ‪ ‬ﺗﻘﺪﻣﻨﺎ‪ ‬ﺯﻣﻨﻴﺎ‪ ‬ﻟﻠﺒﺤﺚ‪ ‬ﻋﻦ‪ ‬ﺗﺄﺛﻴﺮ‪ ‬ﻣﺆﻛﺪ‪ ‬ﻟﻠﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫ﻋﻠﻰ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻗﻠﻤﺎ‪ ‬ﻭﺟﺪﻧﺎ‪ ‬ﺍﻟﺘﺼﺮﻳﺢ‪ ‬ﺑﻌﻠﻮ‪ ‬ﻗﻴﻤﺘﻪ‪ ‬ﺃﻭ‪ ‬ﺍﻹﺷﺎﺩﺓ‪ ‬ﺑﺄﻫﻤﻴﺘﻪ‪ ،‬ﻭﻳﺮﺟﻊ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‬

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‫‪ ‬ﺗﻔﺴﻴﺮ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﺇﻟﻰ‪ ‬ﻛﻮﻧﻪ‪ ‬ﺗﻐﻠﻐﻞ‪ ‬ﻓﻲ‪ ‬ﻧﺴﻴﺞ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﺿ‪ ‬ﻤﻦ‪ ‬ﺍﻟﻤﺼﺎﺩﺭ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻨﻬﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺍﻟﻔﻨﺎﻧﻮﻥ‬ ‫‪ ‬ﺻﻴﻐﻬﻢ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﺛﻢ‪ ‬ﻳﻀﻴﻔﻮﻥ‪ ‬ﺇﻟﻴﻬﺎ‪ ‬ﺇﺑﺪﺍﻋﺎﺗﻬﻢ‪ ‬ﺍﻟﻔﺮﺩﻳﺔ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ،‬ﻓﻼ‪ ‬ﻳﺘﺒﻘﻰ‪ ‬ﻣﺠﺎﻝ‪ ‬ﻟﻠﺤﺪﻳﺚ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺨﻄﻮﺍﺕ‪ ‬ﺍﻷﻭﻟﻴﺔ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺑﻨﺎء‪ ‬ﺍﻟﻌﻤﻞ‪ ،‬ﻣﺜﻠﻤﺎ‪ ‬ﻻ‪ ‬ﻳﺘﺤﺪﺙ‪ ‬ﺃﻱ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﻋﻦ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻣﺜﻼ‪. ‬‬

‫‪ ‬ﺍﻟﻤﺤﻮﺭ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﻘﺎﺭﻧﺔ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮ‪ ‬ﺭ‪ ‬ﺑﻐﻴﺮﻩ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻧﻈﻤﺔ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ‬ﺍﻟﺒﺎﺣﺜﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻳﺘﻀﺢ‪ ‬ﺍﻟﺘﻘﺎﺭﺏ‪ ‬ﺍﻟﺸﺪﻳﺪ‬ ‫‪ ‬ﺑﻴﻨﻪ ‪ ‬ﻭﺑﻴﻦ ‪ ‬ﺷﺒﻜﺔ ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ ‪ ‬ﻋﻦ ‪ ‬ﻃﺮﻳﻖ ‪ ‬ﺍﻟﺬﺭﺍﻉ ‪ ‬ﺍﻟﻤﻠﻜﻲ ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ،‬ﻭﺫﻟﻚ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻨﺘﺎﺋﺞ ‪ ‬ﺍﻟﻨﻬﺎﺋﻴﺔ ‪ ‬ﻟﻜﻼ‬ ‫‪ ‬ﺍﻟﻨﻈﺎﻣﻴﻦ‪ ‬ﺑﺮﻏﻢ‪ ‬ﻗﻴﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻋﻠﻰ‪ ‬ﺻﻴﻐﺔ‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻭﻗﻴﺎﻡ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺻﻴﻐﺔ‪ ‬ﺭﻳﺎﺿﻴﺔ‬ ‫‪ ‬ﻛﺬﻟﻚ‪ ‬ﻳﺘﻀﺢ‪ ‬ﺗﻘﺎﺭﺏ ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﻘﻴﺎﺳﻴﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﺮ‪ ‬ﻭﻧﻈﺎﻡ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻓﻲ‪ ‬ﻣﺴﻘﻄﻪ ‪ ) ‬ﺃﻟﻔﺎ ‪ ( ‬ﺑﻤﺎ‪ ‬ﻳُﻈﻬﺮ‪ ‬ﺍﻋﺘﻤﺎﺩ‬ ‫‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻤﻔﺎﻫﻴﻢ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‪ ‬ﻟﻠﺠﻤﺎﻝ‪ ‬ﺇﺿﺎﻓﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺗﻘﺎﺭﺑﻪ‪ ‬ﺍﻟﺸﺪﻳﺪ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺼﻴﻐﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‬ ‫‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻭﺑﺬﻟﻚ‪ ‬ﻳﺘﺄﻛﺪ‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﻮﺛﻴﻖ‪ ‬ﺑﺄﻧﻈﻤﺔ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺒﺎﺣﺜﺔ‪ ‬ﻋﻦ‪ ‬ﺍ‪ ‬ﻟﺠﻤﺎﻝ‪ ‬ﻗﺪﻳﻤﺎ‪ ‬ﻭﺣﺪﻳﺜﺎ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻭﺣﺪﺓ‪ ‬ﺍﻟﻔﻜﺮ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻧﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﺗﺨﺬ‪ ‬ﻣﻦ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻗﻴﺎﺳﺎﺗﻪ‪ ‬ﻭﺟﻤﺎﻟﻴﺎﺗﻪ‪ ‬ﻋﺒﺮ‪ ‬ﻣﺨﺘﻠﻒ‪ ‬ﺍﻟﻌﺼﻮﺭ‪.‬‬

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‫‪ ‬ﺗﻮﺻﻴﺎﺕ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ ‬ﺑﻌﺪ‪ ‬ﺗﻘﺪﻳﻢ‪ ‬ﺍﻟﻨﺘﺎﺋﺞ‪ ‬ﺍﻟﺴﺎﺑﻘﺔ‪ ‬ﺧﻠﺺ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﺇﻟﻰ‪ ‬ﻋﺪﺓ‪ ‬ﺗﻮﺻﻴﺎﺕ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻠﻲ‪­ : ‬‬ ‫‪ ­ ۱ ‬ﺿﺮﻭﺭﺓ ‪ ‬ﺗﻐﻴﻴﺮ ‪ ‬ﺃﻭ ‪ ‬ﺗﻌﺪﻳﻞ ‪ ‬ﺍﻟﻤﻨﺎﻫﺞ ‪ ‬ﺍﻟﺪﺭﺍﺳﻴﺔ ‪ ‬ﻓﻲ ‪ ‬ﺗﺪﺭﻳﺲ ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ ‪ ‬ﺑﺤ‪ ‬ﻴﺚ ‪ ‬ﺗﻜﻮﻥ ‪ ‬ﺍﻟﺠﺮﻋﺔ ‪ ‬ﺍﻷﻛﺒﺮ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﻧﺼﻴﺐ ‪ ‬ﺍﻟﻤﻔﺎﻫﻴﻢ ‪ ‬ﺍﻟﻤﻨﻄﻘﻴﺔ ‪ ‬ﻭﺍﻟﻌﻘﻼﻧﻴﺔ ‪ ‬ﺇﺿﺎﻓﺔ ‪ ‬ﺇﻟﻰ ‪ ‬ﺍﻟﻤﻬﺎﺭﺍﺕ ‪ ‬ﻭﺍﻟﺘﺪﺭﻳﺒﺎﺕ ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ ‪ ‬ﺑﺤﻴﺚ ‪ ‬ﻳﺘﻢ ‪ ‬ﺗﻌﻮﻳﺪ‬ ‫‪ ‬ﺍﻟﻄﺎﻟﺐ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‪ ‬ﻭﺍﻟﻤﺮﺍﺟﻌﺔ‪ ‬ﺍﻟﺬﻫﻨﻴﺔ‪ ‬ﻭﺍﺳﺘﺤﻀﺎﺭ‪ ‬ﺍﻟﻬﺪﻑ‪ ‬ﺩﻭﻣﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻤﻄﻠﻮﺏ‬ ‫‪ ­ ۲ ‬ﺃﻫﻤﻴﺔ ‪ ‬ﺇﻓﺴﺎﺡ ‪ ‬ﺍﻟﻤﺠﺎﻝ ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻟﻤﻔﺎﻫﻴﻢ ‪ ‬ﺍﻟﺠﻤﺎﻝ ‪ ‬ﺍﻟﻌﻘﻠﻴﺔ ‪ ‬ﻣﻦ ‪ ‬ﻗﺒﻞ ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ ‪ ‬ﻭﺍﻟﻤﺒﺪ‪ ‬ﻋﻴﻦ ‪ ‬ﻟﺰﻳﺎﺩﺓ ‪ ‬ﺭﻗﻌﺔ ‪ ‬ﺍﻟﺘﺄﺛﻴﺮ‬ ‫‪ ‬ﺑﻠﻐﺘﻬﻢ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭﺣﺠﺰ‪ ‬ﻣﻜﺎﻥ ‪ ‬ﺃﻭﺳﻊ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ،‬ﻓﺈﻥ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺗﻐﻴﺮ‪ ‬ﻣﻌﺎﻳﻴﺮﺍﻟﺠﻤﺎﻝ ‪ ‬ﺍﻟﻌﻘﻠﻴﺔ ‪ ‬ﺃﻗﻞ‪ ‬ﺑﻜﺜﻴﺮ‪ ‬ﻣﻦ‬ ‫‪ ‬ﻧﺴﺒﺔ‪ ‬ﺗﻐﻴﺮ‪ ‬ﺍﻟﻤﻌﺎﻳﻴﺮ‪ ‬ﺍﻟﻔﻨﻴﺔ‬ ‫‪ ­ ۳ ‬ﺍﻻﺳﺘﻔﺎﺩﺓ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻓﻲ ‪ ‬ﺟﻤﻴﻊ ‪ ‬ﺍﻟﺤﻘﻮﻝ ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ ‪ ‬ﻭﺍﻟﺘﺼﻤﻴﻤﻴﺔ ‪ ‬ﺳﻮﺍء ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻔﻦ ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ ‪ ‬ﺃﻭ ‪ ‬ﻓﻴﻤﺎ‬ ‫‪ ‬ﺳﻮﺍﻩ‬ ‫‪ ­ ٤ ‬ﺍﺳﺘﻜﻤﺎﻝ ‪ ‬ﻣﺴﺎﺭ ‪ ‬ﻫﺬﺍ ‪ ‬ﺍﻟﺒﺤﺚ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﺘﺄﻛﻴﺪ ‪ ‬ﻋﻠﻰ ‪ ‬ﺃﻫﻤﻴﺔ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻭﻣﻘﺎﺭﻧﺘﻪ ‪ ‬ﺑﺄﻧﻈﻤﺔ ‪ ‬ﺗﺼﻤﻴﻤﻴﺔ ‪ ‬ﻣﺨﺘﻠﻔﺔ‪،‬‬ ‫‪ ‬ﻓﺮﺩﻳﺔ‪ ‬ﺃﻭ‪ ‬ﺟﻤﺎﻋﻴﺔ‬ ‫‪ ­ ٥ ‬ﻋﻤﻞ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻣﻘﺎﺭﻧﺔ‪ ‬ﺗﺤﻠﻴﻠﻴﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﻣﺎ‪ ‬ﺃﺩﻯ‪ ‬ﺇﻟﻴﻪ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ،‬ﻭﺑﻴﻦ‪ ‬ﺍﻟﻨﻈﻢ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻹﺳﻼﻣﻴﺔ‬ ‫ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﺃﺧﺮﻯ‬

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‫ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‬

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‫‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋــﻼﻡ‪­ : ‬‬

‫‪ ‬ﺃﻣﻴﺪﻳﻪ‪ ‬ﺃﻭﺯﻧﻔﺎﻥ ‪( ۱۹٦٦ – ۱۸۸٦ ) Amédée Ozenfant ‬‬ ‫‪ ‬ﻣﺼ‪ ‬ﻮﺭ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻲ‪ ‬ﺃﻗ‪ ‬ﺎﻡ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻌ‪ ‬ﺮﺽ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۰۸ ‬ﻭﺃﺳ‪ ‬ﺲ‪ ‬ﻣﺠﻠ‪ ‬ﺔ ‪ L'elan ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۱٥ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﺘﻤﺮﺕ‪ ‬ﺣﺘ‪ ‬ﻰ‬ ‫‪ ۱۹۱۷ ‬ﺍﻟ‪ ‬ﻌﺎﻡ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﻟﺘﻘﻰ‪ ‬ﻓﻴﻪ‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭ‪ ‬ﻛﺘﺐ‪ ‬ﻣﻌﻪ‪ ‬ﺍﻟ‪ ‬ﻤﻘﺎﻟﺔ‪ ‬ﺍﻟﺸﻬﻴﺮﺓ‪ " ‬ﻣﺎ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‪ " ‬ﺍﻟﺘﻲ‪ ‬ﻓﺘﺤ‪ ‬ﺖ‪ ‬ﺍﻟﻤﺠ‪ ‬ﺎﻝ‬ ‫‪ ‬ﻟﻤﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺍﻟ‪ ‬ﺠﺪﻳﺪﺓ‪ ،‬ﻭﻫﻮ‪ ‬ﺻﺎﺣﺐ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﺘﺴﻤﻴﺔ‪ ،‬ﻭﺍﺷﺘﺮﻙ‪ ‬ﺍﻹﺛﻨﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺇﺻﺪﺍﺭ‪ ‬ﻣﺠﻠﺔ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺎﻡ‬ ‫‪ ۱۹۲۰ ‬ﻭﺣﺘ‪ ‬ﻰ‪ ۱۹۲٥ ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﺰﻋ‪ ‬ﺎﺕ‪ ‬ﻓﻨﻴ‪ ‬ﺔ‪ ‬ﻣﻌﺎﺻ‪ ‬ﺮﺓ‪ ،‬ﻭﺧ‪ ‬ﻼﻝ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻮﻗ‪ ‬ﺖ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﺑﻌﻤ‪ ‬ﻞ‪ ‬ﻟﻮﺣ‪ ‬ﺔ‪ ‬ﺯﻳﺘﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻛﺒﻴ‪ ‬ﺮﺓ‪ ‬ﺃﺳ‪ ‬ﻤﺎﻫﺎ‪ Les Quatre Races ‬ﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ۱۰۰ ‬ﺷ‪ ‬ﺨﺺ‪ ‬ﺍﺳ‪ ‬ﺘﻐﺮﻗﺘﻪ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺳ‪ ‬ﺒﻊ‪ ‬ﺳ‪ ‬ﻨﻮﺍﺕ‬ ‫‪ ‬ﻹﺗﻤﺎﻣ‪ ‬ـﻬﺎ‪ ،‬ﻭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۲٤ ‬ﺍﻓﺘ‪ ‬ﺘﺢ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻭﻓﻴﺮﻧﺎﻧ‪ ‬ﺪ‪ ‬ﻟﻴﺠﻴ‪ ‬ﻪ‪ ‬ﺃﺗﻴﻠﻴ‪ ‬ﻪ‪ ‬ﺣ‪ ‬ﺮ‪ ‬ﻟﺘﻌﻠ‪ ‬ﻴﻢ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻧﻘﻄﻌ‪ ‬ﺖ‪ ‬ﺻ‪ ‬ـﻠﺘﻪ‬ ‫‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻌﺪ‪ ‬ﻋﺎﻡ‪ ۱۹۲٥ ‬ﺑﻌﺪ‪ ‬ﻛﺘﺎﺑﻬﻤﺎ‪ ‬ﺍﻟﻤﺸﺘﺮﻙ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ ‪ ، La Peinture moderne ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ـﺎﻡ‬ ‫‪ ۱۹۳۱ ‬ﻧﺸ‪ ‬ـﺮ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ " ‬ﺗﺄﺳﻴﺴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ The Foundations of Modern Art " ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻻﻗ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻧﺘﺸﺎﺭﺍ‪ ‬ﻣﻠﺤﻮﻇﺎ‪ ،‬ﺃﻗﺎﻡ‪ ‬ﺑﻌﺪﻩ‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﻓﻲ‪ ‬ﻟﻨﺪﻥ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪ ۱۹۳۸ ‬ﺣﻴﺚ‪ ‬ﺳﺎﻓﺮ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻴﻮﻳﻮﺭﻙ‪ ‬ﻭﺃﻧﺸ‪ ‬ﺄ‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻟﻠﻔﻨﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ،‬ﻭﺍﺳﺘﻤﺮﺕ‪ ‬ﻣﺤﺎﺿﺮﺍﺗﻪ‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﻫﻨﺎﻙ‪ ‬ﻓﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻣﻌﻬﺪ‪ ‬ﻭﻣﺆﺳﺴﺔ‪ ‬ﻓﻨﻴﺔ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪۱۹٥٥ ‬‬

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‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 800‬‬

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‫‪۱ ‬‬

‫‪ ‬ﻓﻴﺮﻧﺎﻧﺪ‪ ‬ﻟﻴﺠﻴﻪ ‪( ۱۹٥٥ – ۱۸۸۱ ) Fernand Léger ‬‬ ‫‪ ‬ﻣﺼ‪ ‬ﻮﺭ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻲ‪ ‬ﺩﺭﺱ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﻣﺎﺭﺳ‪ ‬ﻬﺎ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۱۰ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﺍﻧﻀ‪ ‬ﻢ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﻴﻦ‪ ‬ﺃﻣﺜ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺟﻠﻴﺰﻳﺰ ‪ Gleizes ‬ﻭﺩﻳﻠ‪ ‬ﻮﻧﻲ ‪ Delaunay ‬ﻭﻣﻴﺘﺰﻳﻨﺠ‪ ‬ﺮ ‪ ، Metzinger ‬ﻭﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﺤ‪ ‬ﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴ‪ ‬ﺔ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺍﻫ‪ ‬ﺘﻢ‪ ‬ﺑﻌ‪ ‬ﺎﻟﻢ‬ ‫‪ ‬ﺍﻟﻤﺎﻛﻴﻨﺎﺕ‪ ‬ﻭﺿﻤﻨﻬﺎ‪ ‬ﻟﻮﺣﺎﺗﻪ‪ ،‬ﻭﻓﻲ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﻣﻦ‪ ۱۹٤۰ ‬ﺇﻟﻰ‪ ۱۹٤٥ ‬ﺷﻐﻞ‪ ‬ﻣﻨﺼﺐ‪ ‬ﺃﺳﺘﺎﺫ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻓﻲ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﻳ‪ ‬ﺎﻝ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻮﻻﻳﺎﺕ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‬

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‫‪ ‬ﺃﻟﺒﺮﺕ‪ ‬ﺟﻠﻴﺰﻳﺰ ‪( ۱۹٥۳ – ۱۸۸۱ ) Albert Gleizes ‬‬ ‫‪ ‬ﻣﺼﻮﺭ‪ ‬ﻭﻛﺎﺗﺐ‪ ‬ﻓﺮﻧﺴﻲ‪ ،‬ﺑﻌﺪ‪ ‬ﺑﺪﺍﻳﺘﻪ‪ ‬ﻛﺎﻧﻄﺒﺎﻋﻲ‪ ‬ﻓﻲ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮﻳﻦ‪ ‬ﺍﺗﺠ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۰۹ ‬ﻭﺑﻌ‪ ‬ﺪ‬ ‫‪ ‬ﺛ‪ ‬ﻼﺙ‪ ‬ﺳ‪ ‬ﻨﻮﺍﺕ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻴﺘﺰﻳﻨﺠ‪ ‬ﺮ‪ ‬ﻛﺘ‪ ‬ﺎﺏ‪ De Cubisme ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺮ‪ ‬ﻛ‪ ‬ﺄﻫﻢ‪ ‬ﻧ‪ ‬ﺺ‪ ‬ﻧﻈ‪ ‬ﺮﻱ‪ ‬ﻟﻤﺒ‪ ‬ﺎﺩﺉ‪ ‬ﺍﻟﺠﻤﺎﻟﻴ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﺘﻜ‪ ‬ﻌﻴﺒﻴﺔ‪. ‬‬ ‫‪ ‬ﻛﺎﻥ‪ ‬ﻣﻦ‪ ‬ﻣﺆﺳﺴﻲ‪ ‬ﺍﻟﺤﺮﻛﺔ‪ ‬ﺍﻷﻭﺭﻓﻴﺔ‪ ،‬ﻛﺘﺐ‪ ‬ﻋﺪﺓ‪ ‬ﻛﺘﺐ‪ ‬ﻋﻦ‪ ‬ﺍﻟ‪ ‬ﻨﻈﻢ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻼﻗ‪ ‬ﺔ‪ ‬ﺍﻟﺤﻘ‪ ‬ﺎﺋﻖ‪ ‬ﺍﻟﻜﺎﺛﻮﻟﻴﻜﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺎﻟﺨﺒﺮﺍﺕ‬ ‫‪ ‬ﺍﻟﺪﻳﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﻮﺳﻄﻰ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﻻﻳﺎﺕ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‬

‫‪۲ ‬‬

‫‪ ‬ﺟﻴﻦ‪ ‬ﻣﻴﺘﺰﻳﻨﺠﺮ ‪( ۱۹٥٦ – ۱۸۸۳ ) Jean Metzinger ‬‬ ‫‪ ‬ﻣﺼ‪ ‬ﻮﺭ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻲ‪ ‬ﺃﻋﺠ‪ ‬ﺐ‪ ‬ﺑﺎﻟﻮﺣﺸ‪ ‬ﻴﺔ‪ ‬ﻭﺍﻻﻧﻄﺒﺎﻋﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ،‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﺿ‪ ‬ﻤﻦ‪ ‬ﺍﻟﻤﺆﺳﺴ‪ ‬ﻴﻦ‪ ‬ﻟﻠﺤﺮﻛ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻷﻭﺭﻓﻴﺔ‪ ،‬ﻟﻢ‪ ‬ﺗﺼﻞ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺣ‪ ‬ﺪ‪ ‬ﺍﻟﻨﻘ‪ ‬ﺎء‪ ‬ﺍﻟﺘﺠﺮﻳ‪ ‬ﺪﻱ‪ ‬ﺍﻟﺨ‪ ‬ﺎﻟﺺ‪ ‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﺍﺳ‪ ‬ﺘﻔﺎﺩ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻜﻨﻴﻜ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻮﻝ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﺗﺴﻄﻴﺢ‪ ‬ﺍﻟﻤﻼﻣﺢ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‬

‫‪۳ ‬‬

‫‪ ‬ﺍﻟﺤﺮﻛﺔ‪ ‬ﺍﻷﻭﺭﻓﻴﺔ ‪Orphism ‬‬ ‫‪ ‬ﻭﻫﻲ‪ ‬ﺟﻤﺎﻋﺔ‪ ‬ﻗﺎﻣﺖ‪ ‬ﻓﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹۰۸ ‬ﻭﺃﻃﻠﻘ‪ ‬ﺖ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﻔﺴ‪ ‬ﻬﺎ‪ ‬ﺍﺳ‪ ‬ﻢ‪ ‬ﺟ‪ ‬ﻤﺎﻋ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ ‪Section d'Or group ‬‬

‫‪ ‬ﺳﺎﻋﺪ‪ ‬ﻓﻲ‪ ‬ﺗﺄﺳﻴﺴﻬﺎ‪ ‬ﺟﻴﻠﻮﻡ‪ ‬ﺃﺑﻮﻟﻴﻨﻴﺮ ‪ ، ٤ ( ۱۹٤۱ – ۱۸۸۰ ) Guillaume Apollinaire ‬ﻭﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻷﺏ‪ ‬ﺍﻟﺮﻭﺣ‪ ‬ﻲ‪ ‬ﻟﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺟ‪ ‬ﺎﻙ‪ ‬ﻓﻴﻠ‪ ‬ﻮﻥ ‪ ( ۱۹٦۳ – ۱۸۷٥ ) Jacques Villon ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﻫ‪ ‬ﺘﻢ‪ ‬ﺑﺎﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻟﻠﻨﺴ‪ ‬ﺐ‪ ،‬ﻭﻗ‪ ‬ﺎﺩ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﻫ‪ ‬ﺬﻩ‬ ‫‪ ‬ﺍﻟﺠﻤﺎﻋ‪ ‬ﺔ ‪ ( ۱۹٤۱ – ۱۸۸٥ ) Robert Delaunay ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺗﺠ‪ ‬ﺎﺭﺏ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﺍﻟﻨﻘ‪ ‬ﻲ‪ ‬ﻭﻋﻼﻗﺘ‪ ‬ﻪ‪ ‬ﺑﺎﻟﺤﺮﻛ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺤﺎﻭﻟ‪ ‬ﺔ‪ ‬ﻟﺘﻄﺒﻴ‪ ‬ﻖ‪ ‬ﻗﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ،‬ﻭﺃﻧ‪ ‬ﺘﺞ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﺃﺳ‪ ‬ﻤﺎﻫﺎ‪، Circular Rhythms ‬‬ ‫‪ ‬ﻭﺃﺧﺮﻯ‪ ‬ﺃﺳﻤﺎﻫﺎ‪ ، Simultaneous Discs ‬ﻣﻜﻮﻧ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺗﺠﺮﻳﺪﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗ‪ ‬ﺪﺍﺧﻼﺕ‪ ‬ﺃﻟ‪ ‬ﻮﺍﻥ‪ ‬ﺑ‪ ‬ﺪﻭﻥ‪ ‬ﻣﻀ‪ ‬ﺎﻣﻴﻦ‪،‬‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﻃﻮﺭﺕ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻤﺪﺭﺳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺳ‪ ‬ﺎﻟﻴﺐ‪ ‬ﺑﻴﻜﺎﺳ‪ ‬ﻮ‪ ‬ﻭﺑ‪ ‬ﺮﺍﻙ‪ ‬ﻭﺟ‪ ‬ﺮﻳﺲ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴ‪ ‬ﺔ‪ ‬ﻭﺩﻓﻌ‪ ‬ﺖ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺻ‪ ‬ﻴﻐﺔ‬ ‫‪see Ibid, pp. 650 1 ‬‬ ‫‪2 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 484 ‬‬ ‫‪see Ibid, pp. 714 3 ‬‬ ‫‪4 ‬‬ ‫ﺷﺎﻋﺮ‪ ‬ﻭﻧﺎﻗﺪ‪ ‬ﻓﺮﻧﺴﻲ‪ ،‬ﻭﻫﻮ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻦ‪ ‬ﻫﺘﻒ‪ ‬ﻟﺒﻴﻜﺎﺳﻮ‪ ‬ﻭﺃﺛﻨﻰ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺎﺗﻴﺲ‪ ‬ﻭﺑﺮﺍﻙ‪ ‬ﻭﺁﺧﺮﻳﻦ‪ ،‬ﻭﻫﻮ‪ ‬ﺻﺎﺣﺐ‪ ‬ﺗﺴﻤﻴﺔ‪ ‬ﺍﻟﺴﺮﻳﺎﻟﻴﺔ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺠﺮﻳﺪ ‪ ، ۱ ‬ﻭﻗﺪ‪ ‬ﺃﺛﺮﺕ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻛﺒﻴﺮ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻹﺗﻴﺎﻥ‪ ‬ﺑﺎﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﻛﻤﻠﺖ‪ ‬ﺍﻟﺼﻮﺭﺓ‪ ‬ﺍﻟﻌﺎﻣﺔ‪ ‬ﻟﻼﺗﺠ‪ ‬ﺎﻩ‪ ‬ﻭﺣﺪﺩﺗ‪ ‬ﻪ‬ ‫‪ ‬ﺑﺎﻟﻀﻮﺍﺑﻂ‪ ‬ﻭﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺼﺤﻴﺤﺔ‪. ‬‬ ‫‪ ‬ﺇﺗﺤﺎﺩ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻷﻟﻤﺎﻧﻲ ‪Deutscher Werkbund ‬‬ ‫‪ ‬ﻣﻨﻈﻤ‪ ‬ﺔ‪ ‬ﺗﻜﻮﻧ‪ ‬ﺖ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺻ‪ ‬ﺤﺎﺏ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺎ‪ ‬ﻧﻊ‪ ‬ﻭﺍﻟﻤﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻭﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﻭﺍﻟﻤﺼ‪ ‬ﻤﻤﻴﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺟ‪ ‬ﻞ‪ ‬ﺗﺤﺴ‪ ‬ﻴﻦ‪ ‬ﻭﺿ‪ ‬ﻊ‬ ‫‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﺍﻟﻤﻨﺘﺠﺎﺕ‪ ‬ﺍﻵﻟﻴﺔ‪ ،‬ﺗﺄﺳﺴﺖ‪ ‬ﻓﻲ‪ ‬ﺃﻛﺘﻮﺑﺮ‪ ‬ﻋﺎﻡ‪ ۱۹۰۷ ‬ﺑﻤﺪﻳﻨﺔ‪ ‬ﻣﻴﻮﻧﺦ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳﻖ ‪Hermann Muthesius ‬‬

‫‪ ، ( ۱۸٦۱ – ۱۹۲۷ ) ‬ﻭﻣﻦ‪ ‬ﺑﻴﻦ‪ ‬ﺃﻋﻀ‪ ‬ﺎﺋﻬﺎ‪ ‬ﺑﻴﺘ‪ ‬ﺮ‪ ‬ﺑ‪ ‬ﻴ‪ ‬ﺮﻧ‪ ‬ﺰ‪ ،‬ﻫﻨ‪ ‬ﺮﻱ‪ ‬ﻓ‪ ‬ﺎﻥ‪ ‬ﺩﻱ‪ ‬ﻓﻴﻠ‪ ‬ﺪ ‪ ، Henry van de Velde ‬ﻫ‪ ‬ﺎﻧﺰ‬ ‫‪ ‬ﺑ‪ ‬ﻮﻟﺰﺝ ‪ ، Hans Poelzig ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺩﻋ‪ ‬ﺖ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻮﻇﻴﻔﻴ‪ ‬ﺔ‪ ‬ﻭﻧﺒ‪ ‬ﺬ‪ ‬ﺍﻟﺰﺧ‪ ‬ﺎﺭﻑ‪ ‬ﻭﺍﻻﺗﺠ‪ ‬ﺎﻩ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﻤﻌﻴ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ‪ ‬ﺍﻟﺼ‪ ‬ﺤﻴﺢ‪،‬‬ ‫‪ ‬ﻭﺍﻹﻧﺘﺎﺝ‪ ‬ﺍﻟﻜﻤﻲ‪ ،‬ﺍﺳﺘﻤﺮ‪ ‬ﻋﻤﻞ‪ ‬ﺍﻟﻤﻨﻈﻤﺔ‪ ‬ﺣﺘﻰ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ ‬ﺍﻟﺜﺎﻧﻴ‪ ‬ـ‪ ‬ﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﺍﻟﺒﺎﻭﻫﺎﻭﺱ ‪Bauhaus ‬‬ ‫‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻭﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪ ‬ﺃﺿﺤﺖ‪ ‬ﻣﺮﻛﺰﺍ‪ ‬ﻟﻠﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻟﻤﺎﻧﻴ‪ ‬ﺎ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺣﻘﻘ‪ ‬ﺖ‪ ‬ﺍﻟﺼ‪ ‬ﻠﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭ‪ ‬ﺍﻟﺼﻨﺎﻋﺔ‪ ،‬ﺃﺳﺴﺖ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۱۹ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﺎﻟﺘﺮ‪ ‬ﺟﺮﻭﺑﻴ‪ ‬ﻮﺱ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗ‪ ‬ﻢ‪ ‬ﺇﻏ‪ ‬ﻼﻕ‪ ‬ﺍﻟﻤﺪﺭﺳ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺪ‪ ‬ﺍﻟﻨ‪ ‬ﺎﺯﻱ‪ ‬ﻋ‪ ‬ﺎﻡ‬ ‫‪ ، ۱۳۳۳ ‬ﻭﺍﻧﺘﺸﺮﺕ‪ ‬ﺃﻓﻜﺎﺭ‪ ‬ﺍﻟﺒﺎﻭﻫﺎﻭﺱ‪ ‬ﻓﻲ‪ ‬ﻛﺜﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺒﻠ‪ ‬ﺪﺍﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﺪﻯ‪ ‬ﺍﻟﺜﻼﺛﻴﻨﻴ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻷﺭﺑﻌﻴﻨﻴ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻟﺨﻤﺴ‪ ‬ﻴﻨﻴﺎﺕ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻤﺎﺿﻲ‪ ،‬ﺧﺎﺻﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺗﻌﻠﻴﻢ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬

‫‪۳ ‬‬

‫‪ ‬ﺇﺧﻮﺍﻥ‪ ‬ﺍﻟﺼﻔﺎ‬ ‫‪ ‬ﺟﻤﺎﻋﺔ‪ ‬ﺭﺑﻄﺖ‪ ‬ﺑﻴﻨﻬﻢ‪ ‬ﺍﻟﺼﺪﺍﻗﺔ‪ ،‬ﺗﺄﻟﻔﺖ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﺼﺮﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺎﺷ‪ ‬ﺮ‪ ‬ﺍﻟﻤ‪ ‬ﻴﻼﺩﻱ‪ ،‬ﻭﻭﺿ‪ ‬ﻌﺖ‪ ‬ﻟﻨﻔﺴ‪ ‬ﻬﺎ‪ ‬ﻣ‪ ‬ﺬﻫﺒﺎ‪ ‬ﺃﺭﺍﺩﺕ‬ ‫‪ ‬ﺑﻪ‪ ‬ﺃﻥ‪ ‬ﺗﻄﻬﺮ‪ ‬ﺍﻟﺸﺮﻳﻌﺔ‪ ‬ﺑﻮﺍﺳﻄﺔ‪ ‬ﺍﻟﻔﻠﺴ‪ ‬ﻔﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺠﻬ‪ ‬ﺎﻻﺕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻋﻠﻘ‪ ‬ﺖ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ،‬ﺍﻋﺘﻘ‪ ‬ﺪﺕ‪ ‬ﺑ‪ ‬ﺄﻥ‪ ‬ﺍﻟﻜﻤ‪ ‬ﺎﻝ‪ ‬ﻳﺘ‪ ‬ﺄﻟﻒ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻣﺘ‪ ‬ﺰﺍﺝ‬ ‫‪ ‬ﺍﻟﻔﻠﺴﻔﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﺑﺎﻟﺸﺮﻳﻌﺔ‪ ‬ﺍﻹﺳ‪ ‬ﻼﻣﻴﺔ‪ ،‬ﻭﺗﺘ‪ ‬ﺄﻟﻒ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﺠﻤﺎﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺭﺑ‪ ‬ﻊ‪ ‬ﻃﺒﻘ‪ ‬ﺎﺕ‪ ،‬ﻭﻟﻬ‪ ‬ﺆﻻء‪ ‬ﺍﻹﺧ‪ ‬ﻮ‪ ‬ﺍﻥ‪ ‬ﺭﺳ‪ ‬ﺎﺋﻞ‪ ‬ﻫ‪ ‬ﻲ‬ ‫‪ ‬ﺃﺷﺒﻪ‪ ‬ﺑ‪ ‬ﺄﻭﻝ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻣﻌﺎﺭﻑ‪ ‬ﻣﻜﺘﻮﺑﺔ‪ ‬ﺗﺸﺘﻤﻞ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻠﻮﻡ‪ ‬ﻋﺼﺮﻫﻢ‪ ،‬ﻭﻫﻲ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺇﺣ‪ ‬ﺪﻯ‪ ‬ﻭﺧﻤﺴ‪ ‬ﻴﻦ‪ ‬ﺭﺳ‪ ‬ﺎﻟﺔ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﻮﺿﻮﻋﺎﺕ‪ ‬ﻭﺍﻟﻤﺼﺎﺩﺭ‬

‫‪٤ ‬‬

‫‪ ‬ﻭﻓﻲ‪ ‬ﺑﻴﺎﻧﻬﻢ‪ ‬ﻟﻨﺴﺐ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﻭﺑﻨﻴ‪ ‬ﺔ‪ ‬ﻫﻴﻜﻠ‪ ‬ﻪ‪ " : ‬ﻣﺜ‪ ‬ﺎﻝ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺉ‪ ‬ﺟ‪ ‬ﻞ‪ ‬ﺟﻼﻟ‪ ‬ﻪ‪ ‬ﺟﻌ‪ ‬ﻞ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﻗﺎﻣ‪ ‬ﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‬ ‫‪ ‬ﻣﻨﺎﺳﺒﺎ‪ ‬ﻟﻌﺮﺽ‪ ‬ﺟﺜﺘﻪ‪ ،‬ﻭﻃﻮﻝ‪ ‬ﺫﺭﺍﻋﻴﻪ‪ ‬ﻣﻨﺎﺳﺒﺎ‪ ‬ﻟ‪ ‬ﻄﻮﻝ‪ ‬ﺳ‪ ‬ﺎﻗﻴﻪ‪ ،‬ﻭﻃ‪ ‬ﻮﻝ‪ ‬ﺭﻗﺒﺘ‪ ‬ﻪ‪ ‬ﻣﻨﺎﺳ‪ ‬ﺒﺎ‪ ‬ﻟﻄ‪ ‬ﻮﻝ‪ ‬ﻋﻤ‪ ‬ﻮﺩ‪ ‬ﻇﻬ‪ ‬ﺮﻩ‪ ... ‬ﺇﻟ‪ ‬ﺦ‪. ‬‬ ‫‪ ‬ﻓﺈﺫﺍ‪ ‬ﺗﺄﻣﻠﺖ‪ ‬ﻭﺍﻋﺘﺒﺮﺕ‪ ‬ﻛﻞ‪ ‬ﻋﻀﻮ‪ ‬ﻣﻦ‪ ‬ﺃﻋﻀﺎء‪ ‬ﺑﺪﻥ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻭﺟﺪﺗ‪ ‬ﻪ‪ ‬ﻣﻨﺎﺳ‪ ‬ﺒﺎ‪ ‬ﻟﺠﻤﻠ‪ ‬ﺔ‪ ‬ﺟﺴ‪ ‬ﺪﻩ‪ ‬ﺑﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ،‬ﻭﻣﻨﺎﺳ‪ ‬ﺒﺎ‪ ‬ﻟﻜ‪ ‬ﻞ‬ ‫‪1 ‬‬

‫‪Herbert Read, ' A Concise History of Modern Painting ' pp. 214 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 313 2 ‬‬ ‫‪3 ‬‬ ‫‪see Ibid, ' pp. 119 ‬‬ ‫‪ 4 ‬ﺛﻨﺎء‪ ‬ﻣﺤﻤﺪ‪ ‬ﻳﻮﺳﻒ‪ " ،‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻋﻨﺼﺮﺍ‪ ‬ﺗﺸﻜﻴﻠﻴﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻭﺍﻻﺳﺘﻔﺎﺩﺓ‪ ‬ﻣﻨﻪ‪ ‬ﻓﻲ‪ ‬ﻋﻤﻞ‪ ‬ﺗﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﻤﻌﻠﻘﺎﺕ‪ ‬ﺍﻟﻨﺴﺠﻴﺔ‪ ‬ﺍﻟﻤﻄﺒﻮﻋﺔ‪ ‬ﻟﻠﻤﻨﺰﻝ‪ ‬ﺍﻟﻤﺼﺮﻱ‬ ‫‪ ‬ﺍﻟﺤﺪﻳﺚ "‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻋﻀﻮ‪ ‬ﻣﻦ‪ ‬ﺃﻋﻀﺎء‪ ‬ﺍﻟﺠﺴﺪ‪ ‬ﺑﻨﺴﺒﺔ‪ ‬ﺃﺧﺮﻯ‪ ‬ﻻ‪ ‬ﻳﻌﻠﻢ‪ ‬ﻛﻨ‪ ‬ﻪ‪ ‬ﻣﻌﺮﻓﺘﻬ‪ ‬ﺎ‪ ‬ﺇﻻ‪ ‬ﺍﷲ‪ ‬ﺟ‪ ‬ﻞ‪ ‬ﺛﻨ‪ ‬ﺎﺅﻩ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺧﻠﻘﻬ‪ ‬ﺎ‪ ‬ﻭﺻ‪ ‬ﻮﺭﻫﺎ‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺷ‪ ‬ﺎء‬ ‫‪ ‬ﻛﻴﻒ‪ ‬ﻳﺸﺎء‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺩﺭﺳ‪ ‬ﻮﺍ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺎﻳﻴﺲ‪ ‬ﺍﻹﻟﻬﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﻜ‪ ‬ﻢ‪ ‬ﻣﻘﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻟﻄﻔ‪ ‬ﻞ‪ ‬ﺍﻟﺮﺿ‪ ‬ﻴﻊ‪ ‬ﻭﺃﻃﺮﺍﻓ‪ ‬ﻪ‪ " : ‬ﺇﺫﺍ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺧ‪ ‬ﺮﺝ‪ ‬ﺍﻟﻄﻔ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺮﺣﻢ‪ ‬ﺻ‪ ‬ﺤﻴﺢ‪ ‬ﺍﻟﺒﻨﻴ‪ ‬ﺔ‪ ‬ﺗ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺼ‪ ‬ﻮﺭﺓ‪ ‬ﻓﻜ‪ ‬ﺎﻥ‪ ‬ﻃ‪ ‬ﻮﻝ‪ ‬ﻗﺎﻣﺘ‪ ‬ﻪ‪ ‬ﺛﻤﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺃﺷ‪ ‬ﺒﺎﺭ‪ ‬ﺑﺸ‪ ‬ﺒﺮﻩ‪ ‬ﺳ‪ ‬ﻮﺍء‪ .. ‬ﻭﺇﺫﺍ‪ ‬ﻓ‪ ‬ﺘﺢ‪ ‬ﻳﺪﻳ‪ ‬ﻪ‪ ‬ﻭﻣ‪ ‬ﺪﻫﺎ‪ ‬ﻳﻤﻨ‪ ‬ﺔ‬ ‫‪ ‬ﻭﻳﺴﺮﺓ‪ ‬ﻛﻤﺎ‪ ‬ﻳﻔ‪ ‬ﺘﺢ‪ ‬ﺍﻟﻄ‪ ‬ﺎﺋﺮ‪ ‬ﺟﻨﺎﺣﻴ‪ ‬ﻪ‪ ،‬ﻭﺟ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺭﺃﺱ‪ ‬ﺃﺻ‪ ‬ﺎﺑﻊ‪ ‬ﻳ‪ ‬ﺪﻩ‪ ‬ﺍﻟﻴﻤﻨ‪ ‬ﻰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺭﺃﺱ‪ ‬ﺃﺻ‪ ‬ﺎﺑﻊ‪ ‬ﻳ‪ ‬ﺪﻩ‪ ‬ﺍﻟﻴﺴ‪ ‬ﺮﻯ‪ ‬ﺛﻤﺎﻧﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺃﺷﺒﺎﺭ‪ ،‬ﺍﻟﻨﺼﻒ‪ ‬ﻣﻦ‪ ‬ﺫﻟﻚ‪ ‬ﻋﻨﺪ‪ ‬ﺗﺮﻗﻮﺗﻪ‪ ‬ﻭﺍﻟﺮﺑﻊ‪ ‬ﻋﻨﺪ‪ ‬ﻣﺮﻓﻘﻴ‪ ‬ﻪ‪ ،‬ﻭﺇﺫﺍ‪ ‬ﻣ‪ ‬ﺪ‪ ‬ﻳﺪﻳ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻓ‪ ‬ﻮﻕ‪ ‬ﺭﺃﺳ‪ ‬ﻪ‪ ‬ﻭﻭﺿ‪ ‬ﻊ‪ ‬ﺭﺃﺱ‪ ‬ﺍﻟﺒﺮﻛ‪ ‬ﺎﺭ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﺮﺗﻪ‪ ‬ﻭﻓﺘﺢ‪ ‬ﺇﻟﻰ‪ ‬ﺭﺅﺅﺱ‪ ‬ﺃﺻﺎﺑﻊ‪ ‬ﻳﺪﻳﻪ‪ ‬ﺛﻢ‪ ‬ﺃﺩﻳ‪ ‬ﺮ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺭﺅﺅﺱ‪ ‬ﺃﺻ‪ ‬ﺎﺑﻊ‪ ‬ﺭﺟﻠﻴ‪ ‬ﻪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﺒﻌ‪ ‬ﺪ‪ ‬ﺑﻴﻨﻬﻤ‪ ‬ﺎ‪ ‬ﻣﺴ‪ ‬ﺎﻭﻳﺎ‪ ‬ﻋﺸ‪ ‬ﺮﺓ‬ ‫‪ ‬ﺃﺷﺒﺎﺭ‪ ‬ﺑﺰﻳﺎﺩﺓ‪ ‬ﺭﺑﻊ‪ ‬ﻃﻮﻝ‪ ‬ﻗﺎﻣﺘﻪ‪" ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺇﻳﻤﺤُﺘِﺐ‪ ) ‬ﺍﻟﺬﻱ‪ ‬ﻳﺄﺗﻲ‪ ‬ﺑﺴﻼﻡ‪Imhotep ( ‬‬ ‫‪ ‬ﺃﻭﻝ‪ ‬ﻣﻦ‪ ‬ﻋُﺮﻑ‪ ‬ﺍﺳﻤﻪ‪ ‬ﻟﻠﺘ‪ ‬ﺎﺭﻳﺦ‪ ‬ﺍﻟﻤﻜﺘ‪ ‬ﻮﺏ‪ ،‬ﻫ‪ ‬ﻮ‪ ‬ﻛ‪ ‬ﺎﻫﻦ‪ ‬ﻭﻃﺒﻴ‪ ‬ﺐ‪ ‬ﻭﻣﻬﻨ‪ ‬ﺪﺱ‪ ‬ﻭﻓﻠﻜ‪ ‬ﻲ‪ ‬ﻭﻛﺎﺗ‪ ‬ﺐ‪ ‬ﻭﺷ‪ ‬ﺎﻋﺮ‪ ‬ﻭﻓﻴﻠﺴ‪ ‬ﻮﻑ‪ ‬ﻇﻬ‪ ‬ﺮ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻣﺴﺮﺡ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻛﻮﺯﻳﺮ‪ ‬ﻟﻠﻤﻠﻚ‪ ‬ﺯﻭﺳﺮ‪ ‬ﻣﺆﺳﺲ‪ ‬ﺍﻷﺳﺮﺓ‪ ‬ﺍﻟﺜﺎﻟﺜﺔ‪ ،‬ﺍﻟﺬﻱ‪ ‬ﻋﺎﺵ‪ ‬ﻓﻲ‪ ‬ﻣﻄﻠﻊ‪ ‬ﺍﻷﻟ‪ ‬ـﻒ‪ ‬ﺍﻟﺜﺎﻟﺜ‪ ‬ﺔ‬ ‫‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻤﻴﻼﺩ‪ ) ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪ ۲۹۸۰ ‬ﻕ‪ . ‬ﻡ‪ ، ( . ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋﻬ‪ ‬ﺪ‪ ‬ﺍﻷﺳ‪ ‬ﺮﺓ‪ ‬ﺍﻟﺮﺍﺑ‪ ‬ﻌ‪ ‬ﺔ‪ ‬ﻧﻈ‪ ‬ﺮ‪ ‬ﺇﻟﻴ‪ ‬ﻪ‪ ‬ﻛﻨﺼ‪ ‬ﻒ‪ ‬ﺇﻟ‪ ‬ﻪ‪ ) ‬ﻣ‪ ‬ﻦ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪۲۸٥۰ ‬‬ ‫‪ ‬ﻕ‪ . ‬ﻡ‪ . ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪ ٥۲٥ ‬ﻕ‪ . ‬ﻡ‪ ، ( . ‬ﻭﺃﺧﻴ‪ ‬ﺮﺍ‪ ‬ﻛﺈﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻄ‪ ‬ﺐ‪ ‬ﺍﻟﻜﺎﻣ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺠﻤ‪ ‬ﻊ‪ ‬ﺍﻵﻟﻬ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ) ‬ﻣ‪ ‬ﻦ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪٥۲٥ ‬‬ ‫‪ ‬ﻕ‪ . ‬ﻡ‪ . ‬ﺇﻟﻰ‪ ‬ﺣﻮﺍﻟﻲ‪ ٥٥۰ ‬ﻡ‪ ( . ‬ﻓﻲ‪ ‬ﻋﻬﺪ‪ ‬ﺍﻹﻣﺒﺮﺍﻃﻮﺭ‪ ‬ﺟﺴ‪ ‬ﺘﻨﻴﺎﻥ ‪ ، Justinian ‬ﻭﺗ‪ ‬ﺪﻝ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻨﻘ‪ ‬ﻮﺵ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺩﻣﺠ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﺒﺎﺩﺓ‪ ‬ﻣﻊ‪ ‬ﺃﺷﻤﻮﻥ‪ ‬ﺇﻟﻪ‪ ‬ﺍﻟﺸ‪ ‬ﻔﺎء‪ ‬ﺍﻟﻔﻴﻨﻴﻘ‪ ‬ﻲ‪ ،‬ﻭ‪ ‬ﺍﺳ‪ ‬ﻜﻠﻴﺒﻴﻮﺱ‪ Asklepios ‬ﺇﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻄ‪ ‬ﺐ‪ ‬ﺍﻟﺮﻭﻣ‪ ‬ﺎﻧﻲ‪ ،‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﻋ‪ ‬ﺮﻑ‪ ‬ﻣ‪ ‬ـﻦ‬ ‫‪ ‬ﺧﻼﻟﻬﺎ‪ ‬ﻟﺪﻯ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﺑﺎﺳﻢ‪ ‬ﺇﻳﻤﻮﺛﺲ‪ Emouthes ‬ﻣﻊ‪ ‬ﺍﺳﺘﻤﺮﺍﺭ‪ ‬ﺷﻬﺮﺗﻪ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﺫﻛﺮ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻋﺸ‪ ‬ﺘﺎﺭ ‪ Astarte ‬ﺭﺑ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺸﻔﺎء‪ ‬ﺍﻟﺴﻮﺭﻳﺔ‪. ‬‬

‫‪۳ ‬‬

‫‪1 ‬‬

‫‪ ‬ﺭﺳﺎﺋﻞ‪ ‬ﺇﺧﻮﺍﻥ‪ ‬ﺍﻟﺼﻔﺎ‪ : ‬ﺍﻟﺮﺳﺎﻟﺔ‪ ‬ﺍﻟﺨﺎﻣﺴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﺰء‪ ‬ﺍﻷﻭﻝ‪ ،‬ﺹ‪۱٦٦ ‬‬ ‫‪ 2 ‬ﺍﻟﻤﺮﺟﻊ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ‪۱٦۷ ‬‬ ‫‪3 ‬‬ ‫‪ ‬ﺟﺎﻣﻴﺴﻮﻥ‪ ‬ﻫﺎﺭﻱ‪ " ،‬ﺇﻳﻤﺤﺘﺐ‪ ‬ﺇﻟﻪ‪ ‬ﺍﻟﻄﺐ‪ ‬ﻭﺍﻟﻬﻨﺪﺳﺔ‪ " ‬ﺹ ‪۹٤‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺷ‪ ‬ﻐﻞ‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﻣﻨﺎﺻ‪ ‬ﺐ‪ ‬ﻫﺎﻣ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺪﻭﻟ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺭﺋ‪ ‬ﻴﺲ‪ ‬ﺍﻟ‪ ‬ﻮﺯﺭﺍء‪ ،‬ﻭﻃﺒﻴ‪ ‬ﺐ‪ ‬ﺍﻟ‪ ‬ﺒﻼﻁ‪ ،‬ﻭﺍﻟﻤﺸ‪ ‬ﺮﻑ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺘﺤﻨ‪ ‬ﻴﻂ‪ ،‬ﻭﻛﺒﻴ‪ ‬ﺮ‬ ‫‪ ‬ﺍﻟﻘﻀﺎﺓ‪ ،‬ﻭﺍﻟﻤﺸﺮﻑ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺎ‪ ‬ﺗﺄﺗﻲ‪ ‬ﺑﻪ‪ ‬ﺍﻟﺴﻤﺎء‪ ‬ﻭﻣﺎ‪ ‬ﻳﺨﺮﺝ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﺽ‪ ‬ﻭﻣﺎ‪ ‬ﻳﺠﻠﺒﻪ‪ ‬ﺍﻟﻨﻴﻞ ‪ ، ۱ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﻳﻨﺴ‪ ‬ﺐ‪ ‬ﺇﻟﻴ‪ ‬ﻪ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺔ‬ ‫‪ ‬ﺃﻭﻝ‪ ‬ﻫﺮﻡ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻭﻫﻮ‪ ‬ﻫﺮﻡ‪ ‬ﺯﻭﺳﺮ‪ ‬ﺍﻟﻤﺪﺭﺝ‪ ‬ﻓﻲ‪ ‬ﺳﻘﺎﺭﺓ‪ ‬ﻭﺍﻹﺷﺮﺍﻑ‪ ‬ﻋﻠﻰ‪ ‬ﺗﻨﻔﻴﺬﻩ‪،‬‬ ‫‪ ‬ﻭﻳﻨﺴﺐ‪ ‬ﺇﻟﻴﻪ‪ ‬ﻛﺬﻟﻚ‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﺷﺒﻜﺔ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻟﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﻭﺍﻟﻨﺤ‪ ‬ﺖ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‬ ‫‪ ‬ﺳﺎﺭ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺛﺮﻫﺎ‪ ‬ﺍﻟﻔـﻦ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﺘﺎﻟﻴﺔ‪ ، ‬ﻭﺍﻟﺘﻲ‪ ‬ﺍﺣﺘﻮﺕ‪ ‬ﻋﻠﻰ‪ ۱۸ ‬ﻣﺮﺑﻊ‪ ‬ﻟﻼﺭﺗﻔﺎﻉ‪ ‬ﻣﻦ‪ ‬ﺃﺳ‪ ‬ﻔﻞ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻡ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﻣﻨﺒﺖ‪ ‬ﺍﻟﺸﻌﺮ‪ ‬ﺃﻋﻠﻰ‪ ‬ﺍﻟﺠﺒﻬﺔ‪ ‬ﻣﺤﺪﺩﺓ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﺮﺃﺱ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺑـ‪۷٫٥ : ۱ ‬‬

‫‪ ‬ﺇﻗﻠﻴﺪﺱ ‪Euclid ‬‬ ‫‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺣ‪ ‬ﻮﺍﻟﻲ‪ ٤۰۰ ‬ﻕ‪ . ‬ﻡ‪ . ‬ﻭﻧﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺇﻗﻠﻴ‪ ‬ﺪﺱ‪ ‬ﺗﺤﺘ‪ ‬ﻞ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺣﺔ‪ ‬ﺑﻤﻔﺮﺩﻫ‪ ‬ﺎ‪ ،‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟ‪ ‬ﺮﻏﻢ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﻮﻧﻬ‪ ‬ﺎ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‪ ‬ﻓﺮﺩﻳ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺻﻔﻴﺔ‪ ،‬ﻭﻗﻠﻤﺎ‪ ‬ﺗﺼﺢ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﻮﺻﻔﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‬ ‫‪ ‬ﺍﻋﺘﺒ‪ ‬ﺮ‪ ‬ﺇﻗﻠﻴ‪ ‬ﺪﺱ‪ ‬ﺃﺷ‪ ‬ﻌﺔ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫﻴﺌ‪ ‬ﺔ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﻣﺴ‪ ‬ﺘﻘﻴﻤﺔ‪ ،‬ﻭﺃﻥ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻤﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺷ‪ ‬ﻌﺔ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﻣﺨﺮﻭﻁ‪ ‬ﻣﺮﻛﺰﻩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻴﻦ‪ ‬ﻭﻗﺎﻋﺪﺗﻪ‪ ‬ﻫﻲ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﺨﺎﺭﺟﻲ‪ ‬ﻟﻠﺸﻜﻞ‪. ‬‬ ‫‪ ‬ﺃﺑﻮﻟﻠﻮﻧﻴﻮﺱ ‪Apollonius ‬‬ ‫‪ ‬ﺑﺪﺃﺕ‪ ‬ﻫﻨﺪﺳﺔ‪ ‬ﺃﺑﻮﻟﻠﻮﻧﻴﻮﺱ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻈﻬﻮﺭ‪ ‬ﻣﻨﺬ‪ ‬ﺣﻮﺍﻟﻲ‪ ۲۰۰ ‬ﻕ‪ . ‬ﻡ‪ ، . ‬ﻭﺍﻣﺘﺪ‪ ‬ﺗﺄﺛﻴﺮﻫﺎ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪ ۱٥٦٦ ‬ﻡ‬

‫‪1 ‬‬

‫‪ ‬ﺍﻟﻤﺮﺟﻊ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ،‬ﺹ ‪۲۲‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺑﻮﻟﻴﻜﻠﻴﺘﺲ ‪ ) Polyclitus of Argos or Sikyon ‬ﻧﺸﻂ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ٤۲۰ – ٤٥۰ ‬ﻕ‪ . ‬ﻡ‪(. ‬‬ ‫‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﻧﺤ‪ ‬ﺎﺗﻲ‪ ‬ﺍﻹﻏﺮﻳ‪ ‬ﻖ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻓﻴ‪ ‬ﺪﻳﺎﺱ‪ ، Phidias ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻗﺎﻧﻮﻧ‪ ‬ﺎ‪ ‬ﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﺍﻟﻤﺜ‪ ‬ﺎﻟﻲ‪ ‬ﻭﺿ‪ ‬ﻌﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﻟﻠﻨﺴ‪ ‬ﺐ‬ ‫‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ،‬ﻭﻃﺒﻘﻪ‪ ‬ﻓﻲ‪ ‬ﺗﻤﺜﺎﻟﻪ‪ Doryphorus ‬ﺃﻭ‪ ‬ﺣﺎﻣﻞ‪ ‬ﺍﻟﺮﻣﺢ‪ ،‬ﻭﻫﻮ‪ ‬ﺃﺣﺪ‪ ‬ﺃﻣﺜﻠﺔ‪ ‬ﺍﻟﻤﻨﺤﻮﺗﺎﺕ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﺍﻟﺸﻬﻴﺮﺓ‪. ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﻗﻮﺍﻟﻪ‪ " : ‬ﺇﻥ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻳﺄﺗﻲ‪ ‬ﺷﻴﺌﺎ‪ ‬ﻓﺸﻴﺌﺎ‪ ‬ﻋﺒﺮ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﻋﺪﻳﺪﺓ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺑﺎﺑﻮﺱ ‪Pappus ‬‬ ‫‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻭﻝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺻ‪ ‬ﻴﻐﺔ‪ ‬ﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﻄ‪ ‬ﻮﻝ‪ ‬ﺍﻟﺒ‪ ‬ﺆﺭﻱ‪ ‬ﺍﻟ‪ ‬ﺪﻟﻴﻞ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﻟﻠﻤﺨ‪ ‬ﺎﺭﻳﻂ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻴﺔ‪ ،‬ﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﻨ‪ ‬ﺎﻗﺺ‬ ‫‪ ، ellipse ‬ﻭﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﺰﺍﺋﺪ ‪ ، hyperbola ‬ﻭﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ ‪ ، parabola ‬ﻭﺍﻗﺘﺮﺏ‪ ‬ﺟﺪﺍ‪ ‬ﻣﻦ‪ ‬ﻓﻜ‪ ‬ﺮﺓ‪ ‬ﺍﻹﺳ‪ ‬ﻘﺎﻁ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰﻱ‬ ‫‪ central projection ‬ﻟﻜﻨﻪ‪ ‬ﻟﻢ‪ ‬ﻳﺼﻞ‪ ‬ﺇﻟﻴﻬﺎ‪ ،‬ﻋﺎﺵ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺁﺧ‪ ‬ﺮ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺜﺎﻟ‪ ‬ﺚ‪ ‬ﻭﺃﻭﺍﺋ‪ ‬ﻞ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﺮﺍﺑ‪ ‬ﻊ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻟﻤ‪ ‬ﻴﻼﺩ‪ ‬ﺑﻌ‪ ‬ﺪ‬ ‫‪ ‬ﺣﻮﺍﻟﻲ‪ ٦ ‬ﻗﺮﻭﻥ‪ ‬ﻣـﻦ‪ ‬ﺇﻗﻠﻴﺪﺱ‬ ‫‪ ‬ﺗﻢ‪ ‬ﻧﺸﺮ‪ ‬ﻣﺠﻤﻮﻋﺘﻪ‪ ‬ﺑﺎﻟﻼﺗﻴﻨﻴﺔ‪ ‬ﻋﺎﻡ‪۱٥۸۹ ‬‬ ‫‪ ‬ﻟﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺑﻴﺴﺎﻧﻮ‪ ‬ﻓﻴﺒﻮﻧﺎﺭ‪ ‬ﺗﺸﻲ ‪( ۱۲٥۰ – ۱۱۷٥ ) Leonardo Pisano Fibonacci ‬‬ ‫‪ ‬ﻭﻛﻠﻤﺔ‪ ‬ﻓﻴ‪ ‬ﺒﻮﻧﺎﺭﺗﺸﻲ‪ ‬ﻫﻲ‪ ‬ﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣﺎ‪ ‬ﺃﻃﻠﻘﻪ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺍﻟﻜﺘﺎﺏ‪ ‬ﺍﻟﻤﻌﺎﺻﺮﻳﻦ‪ ‬ﻟﻪ‪ ‬ﻭﻫﻲ‪ ‬ﺗﺤﺮﻳﻒ‪ ‬ﻣﻦ‪ ‬ﺍﺑﻦ‪ ‬ﺑﻮﻧﺎﺭﺗﺸﻲ‪ ‬ﺑﺎﻟﻼ‪ ‬ﺗﻴﻨﻴﺔ‬ ‫‪ ‬ﻭﻟﻢ‪ ‬ﻳﺬﻛﺮﻫﺎ‪ ‬ﻓﻴﺒﻮﻧﺎﺭﺗﺸﻲ‪ ‬ﻣﻄﻠﻘﺎ‪ ‬ﻋﻦ‪ ‬ﻧﻔﺴﻪ ‪ ، ۲ ‬ﻫﻮ‪ ‬ﻣﻦ‪ ‬ﻋﺮّﻑ‪ ‬ﺍﻷﻋﺪﺍﺩ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪ ‬ﻭﺍﻟﻬﻨﺪﻳﺔ‪ ‬ﻷﻭﺭﺑﺎ‪ ‬ﻓﻲ‪ ‬ﻭﻗﺖ‪ ‬ﻛﺎﻥ‪ ‬ﻓﻴﻪ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻷﻋﺪﺍ‪ ‬ﺩ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪ ‬ﻣﺎﺯﺍﻝ‪ ‬ﺳﺎﺋﺪﺍ‪ ، ( I = 1 V = 5 X = 10 L = 50 C = 100 D = 500 M = 1000 ) ‬ﻭﻛﺘﺎﺑﻪ‬ ‫‪ ‬ﻋﻦ‪ ‬ﺍﻟﺤﺴﺎﺑﺎﺕ‪ ‬ﺑﻬﺬﻩ‪ ‬ﺍﻟﻄﺮﻳﻘﺔ ‪ Liber abbaci ‬ﺍﻟﺬﻱ‪ ‬ﺃﺗﻤﻪ‪ ‬ﻋﺎﻡ ‪ ۱۲۰۲ ‬ﻭﺻﺤﺤﻪ‪ ‬ﻋﺎﻡ ‪ ۱۲۲۸ ‬ﺷﺮﺡ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻟﻨﻈﺎﻡ‬ ‫‪ ‬ﺍﻟﻌﺸﺮﻱ‪ ‬ﻭﻋﻤﻠﻴﺎﺗﻪ‪ ‬ﺍﻟﺤﺴﺎﺑﻴﺔ‪ ،‬ﻭﺍﺳﺘﺨﺪﻡ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪ ‬ﻣﻊ‪ ‬ﺭﻣﺰ‪ ‬ﺍﻟﺼﻔﺮ ‪ ، ۳ ‬ﻭﺷﺮﺡ‪ ‬ﻓﻴﻪ‪ ‬ﻃﺮﻕ‪ ‬ﺍﻟﺤﺴﺎﺏ‪ ‬ﻛﻤﺎ‬ ‫‪ ‬ﻳﺘﻢ‪ ‬ﺗﻌﻠﻤﻬﺎ‪ ‬ﺍﻟﻴﻮﻡ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺮﺣﻠﺔ‪ ‬ﺍﻻﺑﺘﺪﺍﺋﻴﺔ‪ ،‬ﻭﺣﻞّ‪ ‬ﻓﻴﻪ‪ ‬ﻣﺸـﻜﻠﺔ‪ ‬ﺃﺛﺎﺭﻫﺎ‪ ‬ﻫﻮ‪ ‬ﺑﻨﻔﺴﻪ‪ ‬ﻭﻫﻲ‪ : ‬ﻣﺎ‪ ‬ﻛﻴﻔﻴﺔ‪ ‬ﺣﺴﺎﺏ‪ ‬ﻣﺠﻤﻮﻉ‬ ‫‪ ‬ﺃﺯﻭﺍﺝ‪ ‬ﺍﻷﺭﺍﻧﺐ‪ ‬ﻓﻲ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺍﻟﺸﻬﺮ‪ ۱۲ ‬ﻣﻦ‪ ‬ﺍﻟﺴﻨﺔ‪ ‬ﺇﺫﺍ‪ ‬ﻛﺎﻥ‪ ‬ﺗﻨﺎﺳﻞ‪ ‬ﺯﻭﺝ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻳﻌﻄﻲ‪ ‬ﺯﻭﺟﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺭﺍﻧﺐ‪ ‬ﻛﻞ‪ ‬ﺷﻬﺮ‬ ‫‪ ) ‬ﺫﻛﺮ‪ ‬ﻭﺃﻧﺜﻰ‪ ( ‬ﻳﺒﺪﺁﻥ‪ ‬ﺍﻟﺘﻨﺎﺳﻞ‪ ‬ﺑﺪﻭﺭﻫﻤﺎ‪ ‬ﺑﻌﺪ‪ ‬ﺷﻬﺮﻳﻦ‪ ) ‬ﻣﺜﻞ‪ ‬ﺍﻟﺰﻭﺝ‪ ‬ﺍﻷ‪ ‬ﻭﻝ‪ ، ( ‬ﻋﻠﻰ‪ ‬ﻓﺮﺽ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺭﺍﻧﺐ‪ ‬ﻟﻦ‪ ‬ﺗﻤﻮﺕ‪ ‬؟‬

‫‪Harold Osborne, ' The Oxford Companion to Art ' pp. 888 1 ‬‬ ‫‪2 ‬‬ ‫‪www . mcs . surrey . ac . uk / Personal / R . Knott / Fibonacci / ‬‬ ‫‪ 3 ‬ﻛﻤﺎ‪ ‬ﺃﺧﺬﻩ‪ ‬ﻋﻦ‪ " ‬ﻛﺘﺎﺏ‪ ‬ﺍﻟﺠﺒﺮ‪ ‬ﻭﺍﻟﻤﻘﺎﺑﻠﺔ‪ " ‬ﻷﺑﻲ‪ ‬ﻋﺒﺪ‪ ‬ﺍ‪ ‬ﷲ‪ ‬ﻣﺤﻤﺪ‪ ‬ﺑﻦ‪ ‬ﻣﻮﺳﻰ‪ ‬ﺍﻟﺨﻮﺍﺭﺯﻣﻲ‪ ‬ﻣﻦ‪ ‬ﺑﻼﺩ‪ ‬ﻓﺎﺭﺱ‪ ‬ﻓﻠﻜﻲ‪ ‬ﺍﻟﺨﻠﻴﻔﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺪﻭﻟﺔ‪ ‬ﺍﻟﻌﺒﺎﺳﻴﺔ‪ ‬ﺑﺒﻐﺪﺍﺩ‪ ‬ﺍﻟﺬﻱ‬ ‫‪ ‬ﻛﺘﺒﻪ‪ ‬ﺣﻮﺍﻟﻲ‪ ‬ﻋﺎﻡ‪ ۸۲٥ ‬ﻡ‪ ، ‬ﻛﻤﺎ‪ ‬ﺃﻧﻪ‪ ‬ﻣﻜﺘﺸﻒ‪ ‬ﺻﻴﻐﺔ‪ (5√ + 1) / 2 ‬ﻋﺎﻡ‪ ۸۰۰ ‬ﻡ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻭﺍﻟﺤﻞ‪ ‬ﻛﺎﻥ‪ ‬ﺑﺈﺿﺎﻓﺔ‪ ‬ﻋﺪﺩ‪ ‬ﺍﻷﺭﺍﻧﺐ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺸﻬﺮ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻋﺪﺩ‪ ‬ﺍﻷﺭﺍﻧﺐ‪ ‬ﺍﻟﺼﻐﻴﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺸﻬﺮ‪ ‬ﺍﻟﺤﺎﻟﻲ‪ ،‬ﻭﻫﻮ‪ ‬ﻣﺎ‬ ‫‪ ‬ﺃﻋﻄﻰ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺃﻃﻠﻖ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﺍﻟﻔﺮﻧﺴ‪ ‬ﻲ ‪ Edouard Lucas ‬ﺍﺳﻢ‪ ‬ﻣﺘﺘﺎﺑﻌﺔ‪ ‬ﻓﻴﺒﻮﻧﺎﺭﺗﺸﻲ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﻜﻮﻥ‬ ‫‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺠﻤﻮﻉ‪ ‬ﺍﻟﺮﻗﻤﻴﻦ‪ ‬ﺍﻟﺴﺎﺑﻘﻴﻦ‪ ‬ﻟﻪ‪. ‬‬ ‫‪1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1597 … etc ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺃﻋ‪ ‬ﻄﻰ‪ ‬ﻣﺴﺘﻮﻯ‪ ‬ﻧﻤﻮ‪ ‬ﺍﻷﺭﻗﺎﻡ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻣﻌﻴﻨﺔ‪ ‬ﺗﺤﺴﺐ‪ ‬ﻋﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ، x = (1+√5)/2 ‬ﻭﻣﻌ‪ ‬ﺪﻝ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺭﻗ‪ ‬ﻢ‪ ‬ﻟﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻗﺒﻠﻪ‪ ‬ﻫﻮ‪ 1.618034 ‬ﻭﺳﻤّﻲ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻹﻟﻬﻴﺔ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﻘﺪﺳﺔ‪ ،‬ﻭﺍﺳﺘﺨﺮﺝ‪ ‬ﻣﻨﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻭﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺑﺼﻔﺔ‪ ‬ﻋﺎﻣﺔ‪ ‬ﻣﺎ‪ ‬ﻳﺴﻤﻰ‪ ‬ﺑﺎﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪. ‬‬ ‫‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﻋﺎﻡ‪ ۱۲۲۰ ‬ﻛﺎﻥ‪ ‬ﺑﻌﻨﻮﺍﻥ ‪ Practica geometriae ‬ﻭﻫﻮ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ،‬ﻭﺍﻟﺜﺎﻟﺚ‪ ‬ﺑﻌﻨﻮﺍﻥ ‪ Flos ‬ﻋﺎﻡ‬ ‫‪ ، ۱۲۲٥ ‬ﺃﻣﺎ‪ ‬ﺃﺿﺨﻢ‪ ‬ﻛﺘﺒﻪ ‪ Liber quadratorum ‬ﻓﻘﺪ‪ ‬ﺗﺤﺪﺙ‪ ‬ﻓﻴﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻤﺮﺑﻌﺎﺕ ‪ ‬ﻭ‪ ‬ﻛﺘﺒﻪ‪ ‬ﺃﻳﻀﺎ‪ ‬ﻋﺎﻡ ‪ ۱۲۲٥ ‬ﺛﻢ‬ ‫‪ ‬ﺗﺮﺟﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺍ‪ ‬ﻹﻧﺠﻠﻴﺰﻳﺔ‪ ‬ﻋﺎﻡ‪ ۱۹۸۷ ‬ﺑﻌﻨﻮﺍﻥ ‪The Book of Squares ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺇﺩﻭﺍﺭﺩ‪ ‬ﻟﻮﻛﺎﺱ ‪( ۱۸۹۱ – ۱۸٤۲ ) Edouard Lucas ‬‬ ‫‪ ‬ﺭﻳﺎﺿﻲ‪ ‬ﻓﺮﻧﺴﻲ‪ ‬ﺃﻃﻠﻖ‪ ‬ﺍﺳﻢ‪ ‬ﻓﺎﺑﻮﻧﺎﺭﺗﺸﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺳﻢ‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﺃﺿ‪ ‬ﺎﻑ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ‬ﺑﺎﺳ‪ ‬ﻤﻪ‪ ‬ﻣﺒﻨﻴ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻤﺘﺘﺎﺑﻌﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺃﻃﻠﻖ‪ ‬ﻋﻠﻴﻬﺎ‪ " ‬ﺃﻋﺪﺍﺩ‪ ‬ﻟﻮﻛﺎﺱ‪ ، " ‬ﻭﻫﻲ‪: ‬‬ ‫‪2 1 3 4 7 11 18 29 47 76 123 … etc ‬‬

‫‪ ‬ﻭﻫﻲ‪ ‬ﺗﺒﺪﺃ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﺪﺩ‪ ۱ ‬ﻭﺗﻌﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻤﺒﺪﺃ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻘﻮﻝ‪ ‬ﺃﻥ‪ ‬ﻣﺠﻤ‪ ‬ﻮﻉ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻋ‪ ‬ﺪﺩﻳﻦ‪ ‬ﻣﺘﺘ‪ ‬ﺎﻟﻴﻴﻦ‪ ‬ﻳﻌﻄ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺪﺩ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻟﻲ‬ ‫‪ ‬ﻟﻬﻤﺎ‬ ‫‪1 ‬‬

‫‪www. mcs . surrey . ac . uk / Personal / R . Knott / Fibonacci / ‬‬

‫‪۲۱۳ ‬‬

‫‪n: 0 1 2 3 4 5 6 7 8 9 10 ... ‬‬ ‫‪Fn: 0 1 1 2 3 5 8 13 21 34 55 ... ‬‬ ‫‪Ln: 2 1 3 4 7 11 18 29 47 76 123 ... ‬‬

‫‪ ‬ﻭ‪ ‬ﻣﻌﺪﻝ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻟﻤ‪ ‬ﺎ‪ ‬ﻗﺒﻠ‪ ‬ﻪ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ، 1.618034 ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻧﺴ‪ ‬ﺒﺔ‪ ‬ﺛﺎﺑﺘ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻱ‪ ‬ﻣﺘﺘﺎﺑﻌ‪ ‬ﺔ‪ ‬ﺗﺘﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﺿ‪ ‬ﺎﻓﺔ‬ ‫‪ ‬ﺍﻟﻌﺪﺩﻳﻦ‪ ‬ﺍﻷﺧﻴﺮﻳﻦ‪ ‬ﻹﻋﻄﺎء‪ ‬ﺍﻟﺘﺎﻟﻲ‪ ‬ﻟﻬﻤﺎ‪. ‬‬ ‫‪ ‬ﻭﺃﻋﺪﺍﺩ‪ ‬ﻟﻮﻛﺎﺱ‪ ‬ﺗﺘﻜﻮﻥ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺣﺴﺐ‪ ‬ﺍﻟﺠﺪﻭﻝ‪ ‬ﺍﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪9 ‬‬

‫‪7 ‬‬

‫‪8 ‬‬

‫‪5 ‬‬

‫‪6 ‬‬

‫‪3 ‬‬

‫‪4 ‬‬

‫‪1 ‬‬

‫‪2 ‬‬

‫‪0 ‬‬ ‫‪0 1 ‬‬

‫‪1x1/1=1 1x2/1=2 ‬‬ ‫‪1x2/2=1 2x3/2=3 1x4/2=2 ‬‬

‫‪2 ‬‬

‫‪1x3/3=1 3x4/3=4 3x5/3=5 1x6/3=2 ‬‬ ‫‪1x8/4= 2 ‬‬

‫‪1 ‬‬

‫‪3 ‬‬ ‫‪4 ‬‬

‫‪1x4/4=1 4x5/4=5 6x6/4=9 4x7/4= 7 ‬‬

‫‪1x5/5=1 5x6/5=6 10x7/5=14 10x8/5=16 ... ‬‬

‫‪5 ‬‬

‫‪1x6/6=1 6x7/6= 7 15x8/6=20 ... ‬‬

‫‪6 ‬‬

‫‪7x8/7= 8 ... ‬‬

‫‪7 ‬‬

‫‪1x7/7= 1 ‬‬

‫‪1x8/8= 1 ... ‬‬

‫‪47 ... ‬‬

‫‪8 ‬‬

‫‪29 ‬‬

‫‪18 ‬‬

‫‪11 ‬‬

‫‪7 ‬‬

‫‪4 ‬‬

‫‪3 ‬‬

‫‪1 ‬‬

‫‪ ‬ﺑﻴﻠﻴﺮﻳﻦ ‪Pelerin ‬‬ ‫‪ ‬ﺭﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻓﺮﻧﺴ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﺵ‪ ‬ﻓ‪ ‬ـﻲ‪ ‬ﻓﺮﻧﺴ‪ ‬ﺎ‪ ،‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٥۰٥ ‬ﻛﺘﺎﺑ‪ ‬ﺎ‪ ‬ﺍﺷ‪ ‬ﺘﻤﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﻈﺮﻳﺎﺗ‪ ‬ـﻪ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﺑﻬﺔ‪ ‬ﻟﻨﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺃﻟﺒﺮﺗ‪ ‬ﻲ‬ ‫‪ ‬ﻟﻜﻨﻪ‪ ‬ﺍﺑﺘﻜﺮ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺣﻠﻮﻻ‪ ‬ﺃﺑﺴﻂ‪ ‬ﻣﻨﻪ‬ ‫‪ ‬ﺟﻮﻥ‪ ‬ﺑﻴﻞ ‪( ۱٦۸٥ – ۱٦۱۰ ) John Pell ‬‬ ‫‪ ‬ﺭﻳﺎﺿ‪ ‬ﻲ‪ ‬ﺍﻧﺠﻠﻴ‪ ‬ﺰﻱ‪ ‬ﺩﺭﺱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻟﻮﺙ‪ ‬ﺑﻜ‪ ‬ﺎﻣﺒﺮﺩﺝ‪ ،‬ﺑ‪ ‬ﺮﻉ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻠﻐ‪ ‬ﺎﺕ‪ ‬ﻭﻛ‪ ‬ﺮﺱ‪ ‬ﻭﻗﺘ‪ ‬ﻪ‪ ‬ﻟﻌﻠ‪ ‬ﻮﻡ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ‬ﺭﻏ‪ ‬ﻢ‬ ‫ﺗﻌﺎﺭﺽ‪ ‬ﺫﻟﻚ‪ ‬ﻣﻊ‪ ‬ﻭﻗﺘﻪ‪ ‬ﺍﻟﻤﻜﺮﺱ‪ ‬ﻟﻠﻜﻨﻴﺴﺔ‪ ‬ﻧﻈﺮﺍ‪ ‬ﻟﻤﻨﺼﺒﻪ‪ ‬ﺍﻟﻤﺮﻣﻮﻕ‪ ‬ﻓﻴﻬﺎ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﺇﻧﺠﺎﺯﺍﺗﻪ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ ‪ax² + 1 = y²‬‬ ‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺪﻣﻬﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺑﻴﻴ‪ ‬ﺮ‪ ‬ﻓﻴﺮﻣ‪ ‬ﺎﺕ ‪ ، ( ۱٦٦٥ ­ ۱٦۰۱ ) Pierre de Fermat ‬ﻭﻧ‪ ‬ﺘﺞ‪ ‬ﻋﻨﻬ‪ ‬ﺎ‪ ‬ﺃﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺑﻴ‪ ‬ﻞ‪ ‬ﺃﻭ‬ ‫‪ ‬ﻣﺘﻮﺍﻟﻴﺎﺕ‪ ‬ﺑﻴﻞ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪169 408 … etc ‬‬

‫‪1 2 5 12 29 70 ‬‬

‫‪239 577 … etc ‬‬

‫‪1 3 7 17 41 99 ‬‬

‫‪1 4 9 22 53 128 309 746 … etc ‬‬ ‫‪1 5 11 27 65 157 379 915 … etc ‬‬ ‫‪… ‬‬

‫‪ ‬ﺣﻴﺚ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻛﻞ‪ ‬ﺭﻗﻢ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻟﺮﻗﻢ‪ ‬ﺍﻟﺴﺎﺑﻖ‪ ‬ﻣﻀﺎﻓﺎ‪ ‬ﺇﻟﻴﻪ‪ ‬ﻣﺎ‪ ‬ﻗﺒﻠﻪ‬ ‫‪ ‬ﺃﻣﺎ‪ ‬ﺃﺭﻗﺎﻡ‪ ) ‬ﺑﻴﻞ‪ ­ ‬ﻟﻮﻛﺎﺱ‪ Pell­Lucas numbers ( ‬ﻓﻠﻬﺎ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻘﺎﻋﺪﺓ ‪ ‬ﻭﻫﻲ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪2 2 6 14 34 82 198 478 1154 … etc ‬‬

‫‪ ‬ﺑﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ ‪( ۱٤۹۲ – ۱٤۱۲ ) Piero Della Francesca ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﻣﺼﻮﺭﻱ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ ‬ﻋﺸﺮ‪ ، ‬ﻗﺪﻡ‪ ‬ﺍﻟﻌﺪﻳ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺪﻳﻨﻴ‪ ‬ﺔ‪ ،‬ﻭﻋ‪ ‬ﺮﻑ‪ ‬ﺑﺈﺳ‪ ‬ﻬﺎﻣﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﻘ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻭﺑﻤﻬﺎﺭﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻛﺘﺎﺑﺘﻪ‪ ‬ﻟﻠﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺮﺳﺎﺋﻞ‪ ‬ﺃﻫﻤﻬﺎ‪ : ‬ﺭﺳﺎﻟﺔ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺪﺍﺩ‬ ‫‪ ، Abacus treatise ‬ﻭﺍﻟﻜﺘﺎﺏ‪ ‬ﺍﻟﻤﺨﺘﺼﺮ‪ ‬ﻋﻦ‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﺍﻟﻨﻈﺎﻣﻴﺔ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ ‪short book on the five regular ‬‬

‫‪ ، solids ‬ﻭﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﻟﻠﺘﺼ‪ ‬ﻮﻳﺮ ‪ ، ۱ on perspective for painting ‬ﻭ‪ ‬ﻳﺘﻀ‪ ‬ﺢ‪ ‬ﺗ‪ ‬ﺄﺛﺮ‪ ‬ﻩ‪ ‬ﺑ‪ ‬ﺄﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺩﻭﻧ‪ ‬ﺎﺗﻴﻠﻠﻮ‬ ‫‪۲ ‬‬

‫‪ ‬ﻭﺑﺮﻭﻧﺎﻟﻴﺸﻲ‪ ‬ﻭﻣﺎﺳﺎﺷﻴﻮ‬

‫‪ ‬ﺑﻴﺘﺮﻭ‪ ‬ﺑﻴﺮﻭﺟﻴﻨﻮ ‪( ۱٥۲۳ – ۱٤٤۸ ) Pietro Perugino ‬‬ ‫‪ ‬ﻧﺴﺒﺔ‪ ‬ﺇﻟﻰ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺑﻴﺮﻭﺟﻴﺎ‪ ،‬ﻭﺍﺳﻤﻪ‪ ‬ﺍﻟﺤﻘﻴﻘﻲ‪ ‬ﺑﻴﺘﺮﻭ‪ ‬ﻓﺎﻧﻮﺷﻲ‪ ‬ﻭﻫﻮ‪ ‬ﻣﺼﻮﺭ‪ ‬ﺇﻳﻄﺎﻟﻲ‪ ‬ﺗﺄﺛﺮ‪ ‬ﺑﺄﺳﺘﺎﺫﻩ‪ ‬ﻓﻴ‪ ‬ﺮﻭﺷﻴﻮ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺗﺘﻠﻤ‪ ‬ﺬ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻳﺪﻳﻪ‪ ‬ﻣﻊ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‪ ،‬ﻛﻤﺎ‪ ‬ﺗﺄﺛﺮ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺑﺒﻴﻴ‪ ‬ﺮﻭ‪ ‬ﺩﻳ‪ ‬ﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴ‪ ‬ﻜﺎ‪ ،‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺭﻭﻣ‪ ‬ﺎ‪ ‬ﻭﻓﻴﻨﺴ‪ ‬ﻴﺎ‪ ‬ﻭﻣ‪ ‬ﺎﻧﺘﻮﺍ‪ ‬ﻭﻏﻴﺮﻫ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻤﺪﻥ‪ ‬ﺍﻹﻳﻄﺎﻟﻴﺔ‪ ،‬ﻭﻓﻲ‪ ‬ﻧﻬﺎﻳﺔ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﻋﻤﻞ‪ ‬ﻣﻌﻪ‪ ‬ﺗﻠﻤﻴﺬﻩ‪ ‬ﺭﺍﻓﺎﻳﻴﻞ‪ ‬ﻓﻲ‪ ‬ﺑﺪﺍﻳﺎﺗﻪ‪ ‬ﺍﻷﻭﻟ‪ ‬ﻰ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺍﺳ‪ ‬ﺘﻠﻬﻢ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻣﺜﺎﻟﻴ‪ ‬ﺔ‪ ‬ﻧﻤﺎﺫﺟ‪ ‬ﻪ‬ ‫‪ ‬ﻭﻧﻘﺎء‪ ‬ﻓﺮﺍﻏﺎﺗﻪ‬ ‫‪ ‬ﺗﺮﻙ‪ ‬ﺍﻟﻤﻨﺎﺥ‪ ‬ﺍﻟﺘﻨﺎﻓﺴﻲ‪ ‬ﻓﻲ‪ ‬ﻓﻠﻮ‪ ‬ﺭﻧﺴﺎ‪ ‬ﻋﺎﻡ‪ ۱٥۰٥ ‬ﻭﻋﺎﺩ‪ ‬ﺇﻟﻰ‪ ‬ﺑﻠﺪﺗﻪ‪ ‬ﺑﻴﺮﻭﺟﻴﺎ‪ ‬ﻭﻇﻞ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻭﻓﺎﺗ‪ ‬ﻪ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﺎﺩ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮﻩ‬ ‫‪ ‬ﻻﺣﻘﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﻮﺟﺔ‪ ‬ﻣﺎ‪ ‬ﻗﺒﻞ‪ ‬ﺭﺍﻓﺎﻳﻴﻞ ‪Pre­Raphaelites ‬‬

‫‪Field Judith Veronica, ‘ The Invention of Infinity ’, p.62 1 ‬‬ ‫‪2 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 870‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻟﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ ‪( ۱٥۱۹ – ۱٤٥۲ ) Leonardo Da Vinci ‬‬ ‫‪ ‬ﺃﺷﻬﺮ‪ ‬ﻓﻨﺎﻧﻲ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻹﻳﻄﺎﻟﻲ‪ ،‬ﻓﻬﻮ‪ ‬ﻣﺼﻮﺭ‪ ‬ﻭﺭﻳﺎﺿﻲ‪ ‬ﻭﻣﻌﻤﺎﺭﻱ‪ ‬ﻭﻧﺤ‪ ‬ﺎﺕ‪ ‬ﻭ‪ ‬ﻣﺨﺘ‪ ‬ﺮﻉ‪ ‬ﻭﻣﻮﺳ‪ ‬ﻴﻘﻲ‪ ‬ﻭﻣﺴ‪ ‬ﺮﺣﻲ‬ ‫‪ ‬ﻭﺻ‪ ‬ﺎﻧﻊ‪ ‬ﺧ‪ ‬ﺮﺍﺋﻂ‪ ‬ﻭﺧﺒﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺸ‪ ‬ﺮﻳﺢ‪ ،‬ﻣﻜ‪ ‬ﺚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﺭﺷ‪ ‬ﺔ‪ ‬ﻓﻴﺮﻭﻛﻴ‪ ‬ﻮ‪ ۱۲ ‬ﻋﺎﻣ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺰﺝ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺑﺼ‪ ‬ﻌﻮﺑﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺩﺭﺍﺳ‪ ‬ـﺎﺗﻪ‬ ‫‪ ‬ﺍﻟﻌﻤﻠﻴ‪ ‬ﺔ‪ ‬ﻭﻗﺮﺍءﺍﺗ‪ ‬ﻪ‪ ‬ﺍﻟﻔﻠﺴ‪ ‬ﻔﻴﺔ‪ ‬ﺍﻟﻤﺘﻌ‪ ‬ﺪﺩﺓ‪ ،‬ﺍﻋﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺨﻄﻴﻄﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻟﻮﺣﺎﺗ‪ ‬ﻪ‪ ،‬ﻭﺗﻨ‪ ‬ﺎﻭﻝ‬ ‫‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﻬﺮﻣﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣـﻦ‪ ‬ﻣﺮﺓ‪ ،‬ﻭﺗﻌﺎﻣﻞ‪ ‬ﻣـﻊ‪ ‬ﺍﻟﻤﻨ‪ ‬ﻈﻮﺭ‪ ‬ﺑﺒﺮﺍﻋﺔ‪ ‬ﺷﺪﻳﺪﺓ‪ ‬ﻭﺍﺳﺘﺨﺪﻣﻪ‪ ‬ﺑﺄﻛﺜﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻃﺮﻳﻘ‪ ‬ﺔ‪ ،‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻣﻨﻈ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻋﻴﻦ‪ ‬ﺍﻟﻄﺎﺋﺮ‪ ‬ﻓﻲ‪ ‬ﻣﺸﻬﺪ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺃﺭﻧﻮ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻋﻠﻰ‪ ،‬ﻭﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻤﺮﻛﺰﻱ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺸﺎء‪ ‬ﺍﻷﺧﻴﺮ‪ ،‬ﻛﻤﺎ‪ ‬ﻛﺘﺐ‪ ‬ﻣﺴﻮﺩﺍﺕ‪ ‬ﻋ‪ ‬ﻦ‬ ‫‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﺘﺸﺮﻳﺢ‪ ‬ﺇﺛﺮ‪ ‬ﺗﺸﺮﻳﺤﻪ‪ ‬ﻟﻨﺤﻮ‪ ۳۰ ‬ﺟﺜﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺴﺘﺸﻔﻰ‪ ‬ﻓﻴﻼ‪ ‬ﺭﻳﺘﻲ‪ ‬ﺑﻤﻴﻼﻧﻮ‪ ‬ﻋﺎﻡ‪۱٥۱۰ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﻋﺎﻡ‪ ۱٤۸۱ ‬ﺃﺧﺬ‪ ‬ﻳﺘﻮﺳﻊ‪ ‬ﻓﻲ‪ ‬ﻣﻌﺎﺭ‪ ‬ﻓﻪ‪ ‬ﺍﻟﻌﻠﻤﻴﺔ‪ ‬ﻭﻳﻜﺘﺐ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻋﻼﻗ‪ ‬ﺔ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺑ‪ ‬ﺎﻟﻌﻠﻢ‪ ‬ﻭﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ‬ﺑﺎﻟﺒﺼ‪ ‬ﺮﻳﺎﺕ‪،‬‬ ‫‪ ‬ﻭﻳﺘﻮﺳﻊ‪ ‬ﻓـﻲ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﺍﻟﺘﺸﺮﻳﺢ‪ ‬ﻭﻋﻠﻢ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻟﻔﻠﻚ‪ ‬ﻭﺍﻟﻤﺎء‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﻻﺣﻘ‪ ‬ﺔ‪ ‬ﺩﺭﺱ‪ ‬ﺍﻟﻤﻴﻜﺎﻧﻴﻜ‪ ‬ﺎ‪ ‬ﻭﻛﺘ‪ ‬ﺐ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻘ‪ ‬ﻮﻯ‬ ‫‪ ‬ﺍﻟﻤﺤﺮﻛﺔ‪ ‬ﻟﻠﻜﻮﻥ‪ ‬ﻭﻫﻲ‪ ‬ﺍﻟﻮﺯﻥ‪ ‬ﻭﺍﻟﻘﻮﺓ‪ ‬ﻭﺍﻟﺤﺮﻛﺔ‪ ‬ﻭﺍﻟﻀﻐﻂ‪ ،‬ﻭﻓﻲ‪ ‬ﻣﻴﻼﻧﻮ‪ ‬ﻳﻘ‪ ‬ﻮﻡ‪ ‬ﺑﺪﺭﺍﺳ‪ ‬ﺎﺕ‪ ‬ﻭﺍﺳ‪ ‬ﻌﺔ‪ ‬ﺣ‪ ‬ـﻮﻝ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﺟﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺍﻟ‪ ‬ﻤﺜﺎﻟﻴ‪ ‬ﺔ‪ ،‬ﻭﻳﻘ‪ ‬ـﻮﻡ‪ ‬ﺑﻜﺘﺎﺑ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺪﺭﺍﺳ‪ ‬ﺎﺕ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﻭﺍﻟﻈ‪ ‬ﻞ‪ ‬ﻭﺍﻟﻀ‪ ‬ﻮء‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻋ‪ ‬ﺎﻡ‪۱٤۸۸ ‬‬ ‫‪ ‬ﺗﻤﻬﻴﺪﺍ‪ ‬ﻟﻜﺘﺎﺑﻪ‪ " ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ، " ‬ﻭﻗﺒﻞ‪ ‬ﻭﻓﺎﺗﻪ‪ ‬ﺑﺜﻼﺙ‪ ‬ﺳﻨﻮﺍﺕ‪ ‬ﺷﺮﻉ‪ ‬ﻓﻲ‪ ‬ﺇﻋﺎﺩﺓ‪ ‬ﺗﻨﻈ‪ ‬ﻴﻢ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺃﺑﺤﺎﺛ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﺣﺪﺓ‪ ‬ﺗﻀﻢ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﻭﺍﻟﻮﺳﻴﻄﺔ‪ ‬ﻭﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻟﻜﻨﻪ‪ ‬ﻟﻢ‪ ‬ﻳﻌﺶ‪ ‬ﻟﻴﻜﻤﻠﻬﺎ‪. ‬‬

‫‪ ‬ﻣﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ‪ ‬ﺑﻮﻧﺎﺭﻭﺗﻲ ‪( ۱٥٦٤ – ۱٤۷٥ ) Michelangelo Buonarroti ‬‬ ‫‪ ‬ﻧﺤ‪ ‬ﺎﺕ‪ ‬ﻭﻣﺼ‪ ‬ﻮﺭ‪ ‬ﻭﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺇﻳﻄ‪ ‬ﺎﻟﻲ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﺃﺑ‪ ‬ﺮﺯ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻬﻀ‪ ‬ﺔ‪ ،‬ﺩﺭﺍﺳ‪ ‬ﺎﺗﻪ‪ ‬ﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺟﻴﻮﺗ‪ ‬ﻮ ‪Giotto ‬‬

‫‪ ‬ﻭﻣﺎﺳﺎﺷﻴﻮ ‪ ، Masaccio ‬ﻭﺗﺮﻛﻴﺰﻩ‪ ‬ﺑﺼﻔﺔ‪ ‬ﺃﺳﺎﺳﻴﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺃﺛ‪ ‬ﺮﺕ‪ ‬ﻣﻠﻜﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ،‬ﻓﺄﺷﺨﺎﺻ‪ ‬ﻪ‪ ‬ﻳﻌﻴﺸ‪ ‬ﻮﻥ‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻟﻤﻬﻢ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺹ‪ ‬ﻭﻻ‪ ‬ﻳﺮﺗﺒﻄ‪ ‬ﻮﻥ‪ ‬ﺑ‪ ‬ﺎﻟﻮﺍﻗﻊ‪ ،‬ﻳﺘ‪ ‬ﻮﻟﻰ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﺍﻟﺘﻜﺎﻣ‪ ‬ﻞ‪ ‬ﺍﻟﺘﺸ‪ ‬ﻜﻴﻠﻲ‪ ‬ﻭﺍﻟﻮﺿ‪ ‬ﻮﺡ‪ ‬ﺍﻟﺘﻌﺒﻴ‪ ‬ﺮﻱ‪ ‬ﺑﺼ‪ ‬ﺮﻑ‬ ‫‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﻋﻦ‪ ‬ﺍﺭﺗﺒﺎﻃﻪ‪ ‬ﺑﺎﻷﺷﺨﺎﺹ‪ ‬ﺍﻟﻤﺠﺎﻭﺭﻳﻦ‪ ‬ﻟ‪ ‬ﻪ‪ ،‬ﺃﻧﻬ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻘﻒ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺳﻴﺴ‪ ‬ﺘﻴﻦ ‪ Sistine Chapel ‬ﺑﻌ‪ ‬ﺪ‪ ۷ ‬ﺳ‪ ‬ﻨﻮﺍﺕ‬ ‫‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﻭﻫﻮ‪ ‬ﻓﻲ‪ ‬ﺳﻦ‪ ۳۷ ‬ﻭﻓﻲ‪ ‬ﺃﻭﺝ‪ ‬ﺷﻬﺮﺗﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺭﻓﻌﺖ‪ ‬ﻣﻦ‪ ‬ﻣﻜﺎﻧﺔ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻓﻲ‪ ‬ﻣﻔﻬﻮﻡ‪ ‬ﺍﻟﺒﺸﺮ‬ ‫‪ ‬ﻣﺸ‪ ‬ﻜﻠﺔ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺃﺟ‪ ‬ﺰﺍء‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻟﻠﻨﺼ‪ ‬ﺐ‪ ‬ﺍﻟﺘ‪ ‬ﺬﻛﺎﺭﻱ‪ ‬ﻟﺠﻮﻟﻴ‪ ‬ﻮﺱ ‪ Julius Monument ‬ﻗ‪ ‬ﺎﺩﺕ‪ ‬ﻣﺎﻳﻜ‪ ‬ﻞ‪ ‬ﺃﻧﺠﻠ‪ ‬ﻮ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭﺍﺕ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ،‬ﻟﻜﻨ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﻢ‪ ‬ﻳﻜﻤ‪ ‬ﻞ‪ ‬ﺃﻳ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺎﺭﻳﻊ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻛﻠ‪ ‬ﻒ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ‬ﻧﻈ‪ ‬ﺮﺍ‪ ‬ﻟﻠﻈ‪ ‬ﺮﻭﻑ‪ ‬ﺍﻟﺴﻴﺎﺳ‪ ‬ﻴﺔ‬ ‫‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ،‬ﻭﻣﻦ‪ ‬ﺃﺷﻬﺮ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻗﺒﺔ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﺎﻧﺖ‪ ‬ﺑﻴﺘ‪ ‬ﺮ‪ St. Peter's ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﺪﺃ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﻦ‪۷۱ ‬‬ ‫‪ ‬ﻭﺣﺘﻰ‪ ‬ﻭﻓﺎﺗﻪ‬

‫‪۲ ‬‬

‫‪ 1 ‬ﻓﺎﻃﻤﺔ‪ ‬ﻋﻠﻲ‪ " ،‬ﻟﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸﻲ‪ ، " ‬ﺹ‪٥ – ۲ ‬‬ ‫‪2 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 717­720‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺳﺎﻧﺪﺭﻭ‪ ‬ﺑﻮﺗﻴﺸﻴﻠﻠﻲ ‪( ۱٥۱۰ ­ ۱٤٤٥ ) Sandro Botticelli ‬‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻫ‪ ‬ﻢ‪ ‬ﺭﺳ‪ ‬ﺎﻣﻲ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻬﻀ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻠﻮﺭﻧﺴ‪ ‬ﻲ‪ ، ‬ﺩﺭﺱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺪﻱ‪ ‬ﻓﻴﻠﻴﺒ‪ ‬ﻮ‪ ‬ﻟﻴﺒ‪ ‬ﻲ ‪ ، Filippo Lippi ‬ﻭﺃﻟﻬ‪ ‬ﻢ‪ ‬ﺑﻔﻴﺮﻭﺷ‪ ‬ﻴﻮ‬ ‫‪ ، Verrocchio ‬ﻗﻀﻰ‪ ‬ﻣﻌﻈﻢ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺧﺪﻣ‪ ‬ﺔ‪ ‬ﺍﻟﻌ‪ ‬ﺎﺋﻼﺕ‪ ‬ﺍﻟﻔﻠﻮﺭﻧﺴ‪ ‬ﻴﺔ‪ ،‬ﻭﺍﺷ‪ ‬ﺘﻬﺮ‪ ‬ﺑﻤﻮﺿ‪ ‬ﻮﻋﺎﺗﻪ‪ ‬ﺍﻟﺪﻳﻨﻴ‪ ‬ﺔ‪ ،‬ﺍﺧﺘﻴ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﺎﻡ‬ ‫‪ ۱٤۸۱ ‬ﻡ‪ ‬ﻣﻊ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﻟﺘﺠﻤﻴﻞ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﺳﻴﺴﺘﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﺎﺗﻴﻜﺎﻥ‬

‫‪ ‬ﻓﺮﺍ‪ ‬ﻟﻮﻛﺎ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ ‪( ۱٥۱٤ – ۱٤٤٥ ) Fra Luca Pacioli ‬‬ ‫‪ ‬ﻋﺎﻟﻢ‪ ‬ﺭﻳﺎﺿﻴﺎﺕ‪ ،‬ﻗﺎﻝ‪ ‬ﻋﻦ‪ ‬ﺩﺍﻓﻨﺸﻲ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣ‪ ‬ﺔ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺎء‪ ‬ﺍﻷﺧﻴ‪ ‬ﺮ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻃﺒ‪ ‬ﻖ‪ ‬ﺍﻷﻓﻜ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻭﺻ‪ ‬ﻔﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ " ‬ﻧﻈﺮﻳ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ، " ‬ﻭ‪ ‬ﻛﺘﺐ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻛﺘﺎﺑﺎ‪ ‬ﺃﺳﻤﺎﻩ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﻤ‪ ‬ﻘﺪﺳﺔ‪ ) ‬ﺍﻹﻟﻬﻴﺔ‪ De Divina Proportione ( ‬ﻋﺎﻡ‬ ‫‪ ۱٥۰۹ ‬ﺑﺴّﻂ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ،‬ﻭﻳﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺭﺳ‪ ‬ﻮﻣﺎﺕ‪ ‬ﻟﻴﻮﻧ‪ ‬ﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸ‪ ‬ﻲ‪ ‬ﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﺃﻓﻼﻃ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ، ‬ﻭﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻭﺻﻔﻪ‪ ‬ﻟﻠﻨﺴﺒﺔ‪ ‬ﺍﻟﻤﻘﺪﺳﺔ‪ ‬ﺗﺤﺪﺙ‪ ‬ﻋﻦ‪ ‬ﺧﻤﺴﺔ‪ ‬ﻣﻌﺎﻳﻴﺮ‪ ‬ﺃﺳﺎﺳﻴﺔ‪ ‬ﻟﻬﺎ‪ ‬ﻭﻫﻲ‪ : ‬ﺍﻟﻮﺣﺪﺓ‪ ،‬ﺍﻟﺘﻔﺮﺩ‪ ،‬ﺍﻟﺜﺒﺎﺕ‪ ،‬ﺍﻻﺭﺗﺒ‪ ‬ﺎﻁ‪ ‬ﺑﺎﻟﻤﺜﺎﻟﻴ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻷﻓﻼﻃﻮﻧﻴﺔ‪ ،‬ﻭﺍﻻﺭﺗﺒﺎ‪ ‬ﻁ‪ ‬ﺑﺎﻟﺜﺎﻟﻮﺙ‪ ‬ﺍﻟﻤﻘﺪﺱ‪. ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﻗﻮﺍﻟﻪ‪ " : ‬ﻛﻞ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻭﺃﺳﻤﺎﺅﻫﺎ‪ ) ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ( ‬ﻣ‪ ‬ﺄﺧﻮﺫﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺗﺘﻼﻗ‪ ‬ﻰ‪ ‬ﺟﻤﻴ‪ ‬ﻊ‪ ‬ﺃﻧ‪ ‬ﻮﺍﻉ‬ ‫‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻣﻊ‪ ‬ﺗﻨﻮﻳﻌﺎﺗﻬﺎ‪ ‬ﻣﺮﺓ‪ ‬ﺃﺧﺮﻯ‪ ،‬ﻓﻬﻲ‪ ‬ﻣﺨﻠﻮﻗﺔ‪ ‬ﺑﺈﺷ‪ ‬ﺎﺭﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻲ‪ ،‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻭﺳ‪ ‬ﺎﺋﻞ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﻐﺎﻣﻀ‪ ‬ﺔ‪" ‬‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﻳﺘﺸﺎﺑﻪ‪ ‬ﻣﻊ‪ ‬ﺃﻓﻜﺎﺭ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﻓﻲ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻬﻴﺎﻛﻞ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﺔ‪ ‬ﻻ‪ ‬ﺑﺪ‪ ‬ﻣﻦ‪ ‬ﺗﻨﻈﻴﻤﻬﺎ‪ ‬ﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‬

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‫‪sunsite.dk/cgfa/francesc/p­frances1.htm‬‬

‫‪۲۱۳ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺃﻟﺒﺮﻳﺨﺖ‪ ‬ﺩﻭﺭﺭ ‪( ۱٥۲۸ – ۱٤۷۱ ) Albrecht Durer ‬‬ ‫‪ ‬ﻣﺼ‪ ‬ﻮﺭ‪ ‬ﻭﺣﻔ‪ ‬ﺎﺭ‪ ‬ﻭﺭﻳﺎﺿ‪ ‬ﻲ‪ ‬ﺃﻟﻤ‪ ‬ﺎﻧﻲ‪ ،‬ﺑ‪ ‬ﺪﺃﺕ‪ ‬ﺗﺸ‪ ‬ﻐﻠﻪ‪ ‬ﻣﺸ‪ ‬ﺎﻛﻞ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻬﻀ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺒﺤ‪ ‬ﺚ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ،‬ﻭﺍﻟﺠﻤ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺍﻟﺤﻘﻴﻘﻲ‪ ،‬ﻭﺍﻟﻨﺴﺐ‪ ‬ﻭﺍﻟﺘﺠ‪ ‬ﺎﻧﺲ‪ ‬ﻓﻘ‪ ‬ﺮﺃ‪ ‬ﻟﻔﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺫﻫ‪ ‬ﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺭﺣﻠ‪ ‬ﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻓﻴﻨﻴﺴ‪ ‬ﻴﺎ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻋ‪ ‬ﺎﻣﻲ‪۱٥۰٦ ، ۱٥۰٥ ‬‬ ‫‪ ‬ﻋﺎﺩ‪ ‬ﺑﻌﺪﻫﺎ‪ ‬ﻣﻊ‪ ‬ﻧﻈﺎﻡ‪ ‬ﻟﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻼﻗ‪ ‬ﺖ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻧﺴ‪ ‬ﺐ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ،‬ﻭﻟﻴﻮﻧ‪ ‬ﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸ‪ ‬ﻲ‪ ،‬ﻭﻏﻴﺮﻫﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻣﻦ‪ ‬ﻓﻨﺎﻧﻲ‪ ‬ﻋﺼﺮ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻹﻳﻄﺎﻟﻲ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﻓﻲ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺍﺋﺮ‪ ‬ﻭﺍﻟﻤﺜﻠﺜ‪ ‬ﺎﺕ‪ ‬ﻭﺍﻟﺘﻨﺴ‪ ‬ﻴﺐ‪ ‬ﻭﻋﻠ‪ ‬ﻢ‪ ‬ﻗﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﺠﺴ‪ ‬ﻤﺎﺕ‬ ‫‪ ، stereometry ‬ﻛﻞ‪ ‬ﺫﻟﻚ‪ ‬ﺗﺤ‪ ‬ﺖ‪ ‬ﺗ‪ ‬ﺄﺛﻴﺮ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻹﺳ‪ ‬ﻘﺎﻁ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭﻱ‪ ، perspective projection ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻧﺸ‪ ‬ﺮ‬ ‫‪ ‬ﻓﻲ‪ ‬ﻋﺎﻡ‪ ۱٥۲٥ ‬ﺭﺳﺎﻟﺔ‪ ‬ﻋﻦ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ،‬ﻭﻓﻲ‪ ‬ﻋﺎﻡ‪ ۱۹۲۸ ‬ﻛﺘﺐ‪ ‬ﺃﺭﺑﻌﺔ‪ ‬ﻛﺘﺐ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻹﻧﺴﺎﻧﻴﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﺟﻮﻫﺎﻧﺲ‪ ‬ﻛﺒﻠﺮ ‪( ۱٦۳۰ – ۱٥۷۱ ) Johannes kepler ‬‬ ‫‪ ‬ﻭ‪ ‬ﻫﻮ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﻭﺍﻟﻔﻠﻜﻲ‪ ‬ﺍﻟﻤﻌﺮﻭﻑ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺗﻮﺻﻞ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻥ‪ ‬ﺃﻓﻼﻙ‪ ‬ﺍﻟﻜﻮﺍﻛﺐ‪ ‬ﺫﺍﺕ‪ ‬ﺷﻜﻞ‪ ‬ﺑﻴﻀﺎﻭﻱ‪ ،‬ﻭﺍﺳﺘﻄﺎﻉ‪ ‬ﺍﻟﺘﻮﺻ‪ ‬ﻞ‬ ‫‪ ‬ﻛﺬ‪ ‬ﻟﻚ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻄﺮﻳﻘﺔ‪ ‬ﺍﻟﺼﺤﻴﺤﺔ‪ ‬ﻟﺮﺳﻢ‪ ‬ﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﻤﻜ‪ ‬ﺎﻓﺊ ‪ ، parabola ‬ﻭﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﺋ‪ ‬ﺪ‪ ، hyperbola ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻃﻠ‪ ‬ﻖ‬ ‫‪ ‬ﺍﺳﻢ‪ ‬ﺍﻟﺪﺭﺓ‪ ‬ﺍﻟﺜﻤﻴﻨﺔ ‪ Precious Jewel ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪. ‬‬

‫‪1 ‬‬

‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 337­340‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺑﻠﻴﺰ‪ ‬ﺑﺎﺳﻜﺎﻝ ‪( ۱٦٦۲ – ۱٦۲۳ ) Blaise Pascal ‬‬ ‫‪ ‬ﺭﻳﺎﺿﻲ‪ ‬ﻭﻓﻴﺰﻳﺎﺋﻲ‪ ‬ﻭﻓﻴﻠﺴﻮﻑ‪ ‬ﻭﻣﻨﺎﻇﺮ‪ ‬ﺩﻳﻨﻲ‪ ‬ﻓﺮﻧﺴﻲ‪ ،‬ﻓﻲ‪ ‬ﻋﻤﺮ‪ ‬ﺍﻟﺴﺎﺩﺳﺔ‪ ‬ﻋﺸ‪ ‬ﺮﺓ‪ ،‬ﻭ‪ ‬ﺑﺎﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻃ‪ ‬ﺮﻕ‪ ‬ﺩﻳﺴ‪ ‬ﺎﺭﺟﻮﺱ‪،‬‬ ‫‪ ‬ﻛﺘﺐ‪ ‬ﺑﺤﺜﺎ‪ ‬ﻋﻦ‪ ‬ﻗﻄﺎﻋﺎﺕ‪ ‬ﺍﻟﻤﺨﺎﺭﻳﻂ‪ ‬ﻣﻤﺎ‪ ‬ﺃﻭﺻﻠﻪ‪ ‬ﺫﻟﻚ‪ ‬ﺇﻟﻰ‪ ‬ﻧﻈﺮﻳﺘﻪ‪ ‬ﺍﻟﺸﻬﻴﺮﺓ‪ ،‬ﻭﻓﻲ‪ ‬ﻋﻤﺮ‪ ‬ﺍﻟﺜﺎﻣﻨ‪ ‬ﺔ‪ ‬ﻋﺸ‪ ‬ﺮﺓ‪ ‬ﺃﻧﺸ‪ ‬ﺄ‪ ‬ﺣﺎﺳ‪ ‬ﺒﺔ‬ ‫‪ ‬ﻣﻴﻜﺎﻧﻴﻜﻴ‪ ‬ﺔ‪ ‬ﺑﺎﺳ‪ ‬ﺘﻄﺎﻋﺘﻬﺎ‪ ‬ﺍﻟﺠﻤ‪ ‬ﻊ‪ ‬ﻭﺍﻟﻄ‪ ‬ﺮﺡ‪ ،‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٦٥۳ ‬ﺗﻮﺻ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺜﻠﺜ‪ ‬ﻪ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﻲ‪ ،‬ﺩﺭﺱ‪ ‬ﺍ‪ ‬ﻟﺴ‪ ‬ﻮﺍﺋﻞ‬ ‫‪ ‬ﺍﻟﻬﻴﺪﺭﻭﻟﻴﻜﻴﺔ‪ ‬ﻭﺧﺼﺎﺋﺺ‪ ‬ﺍﻟﻄﻔﻮ‪ ‬ﻭ‪ ‬ﺍﺳﺘﻄﺎﻉ‪ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻔﻬﻮﻡ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻟ‪ ‬ﻠﻀﻐﻂ‪ ‬ﺍﻟﺠﻮﻱ‪ ‬ﻳﻘﺘ‪ ‬ﺮﺏ‪ ‬ﻛﺜﻴ‪ ‬ﺮﺍ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻔﻬﻮﻣ‪ ‬ﻪ‬ ‫ﺍﻟﺤﺎﻟﻲ *‪ ، ‬ﻳﺮﺟﻊ‪ ‬ﺍﻫﺘﻤﺎﻣﻪ‪ ‬ﺑﺎﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﺇﻟﻰ‪ ‬ﺣﻘﺒﺔ‪ ‬ﻣﺒﻜﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﺇﺫ‪ ‬ﺃﻧﻪ‪ ‬ﻗﺮﺭ‪ ‬ﻻﺣﻘﺎ‪ ‬ﺃﻥ‪ ‬ﻋﺸﻘﻪ‪ ‬ﻟﻠﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻳﺒﻌ‪ ‬ﺪﻩ‬ ‫‪۱ ‬‬

‫‪ ‬ﻋﻦ‪ ‬ﺣﺒﻪ‪ ‬ﷲ‪ ‬ﻓﺂﺛﺮ‪ ‬ﺃﻥ‪ ‬ﻳﺘﺨﻠﻰ‪ ‬ﻋﻨﻬ‪ ‬ﺎ ‪ ، ‬ﻭﻓﻴﻤ‪ ‬ﺎ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٦٥٤ ‬ﻭﺑﺎﻟﺘﻌ‪ ‬ﺎﻭﻥ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻲ‪ ‬ﻓﻴﺮﻣ‪ ‬ﺎﺕ ‪Fermat ‬‬

‫‪ ‬ﺗﻮﺻ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻻﺣﺘﻤ‪ ‬ﺎﻻﺕ‪ theory of probabilities ‬ﻭﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓﺮﺿ‪ ‬ﻴﺎﺗﻬﺎ‪ ‬ﻻﺣﻘ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺄﻛﻴ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﷲ‪ ، ‬ﻭﺗﺒﺮﻳﺮ‪ ‬ﺍﻟﺤﻴﺎﺓ‪ ‬ﺍﻟﻄﺎﻫﺮﺓ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻤﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﺃﺩﻭﻟﻒ‪ ‬ﺯﺍﻳﺴﻨﺞ ‪( ۱۸۷٦ – ۱۸۱۰ ) Adolph Zeising ‬‬ ‫‪ ‬ﻋﺎﻟﻢ‪ ‬ﺃﻟﻤﺎﻧﻲ‪ ‬ﻭﺿﻊ‪ ‬ﻛﺘﺎﺑﺎ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻋﺎﻡ‪ ۱۸٥٤ ‬ﻣﺎﺯﺍﻝ‪ ‬ﻳﺆﺧﺬ‪ ‬ﺑﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻵﻥ‪ ،‬ﻭﻗﺪ‪ ‬ﺃﻭﺭﺩ‪ ‬ﻓﻴﻪ‪ ‬ﻗﺎﻧﻮﻥ‪ ‬ﺍﻟﺘﻨﺎﺳ‪ ‬ﺐ‪ ‬ﺍﻟ‪ ‬ﺬ‪ ‬ﻫﺒﻲ‬ ‫‪ ‬ﻣﺤ‪ ‬ﺎﻭﻻ‪ ‬ﺇﺛﺒﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﻌﻀ‪ ‬ﻮﻱ‪ ‬ﻭﻏﻴ‪ ‬ﺮ‪ ‬ﺍﻟﻌﻀ‪ ‬ﻮﻱ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ،‬ﻓﺄﻭﺟ‪ ‬ﺪﻩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻣﻜﻮﻧ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻤﻌﺎﺩﻥ‪ ،‬ﻭﻓﻲ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ،‬ﻭﻓﻲ‪ ‬ﺍﻟﺘﻨﺎﻏﻤﺎﺕ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‪ ،‬ﻭﻓﻲ‪ ‬ﺍﻵﺛﺎﺭ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ،‬ﻭﺑﺎﻟﻄﺒﻊ‪ ‬ﻓﻲ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻭﺟ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﺗﻘﻊ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻟﺴﺮﺓ‪ ،‬ﻭﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﺮﻗﺒﺔ ‪ ، ۳ ‬ﻭﻗﺪ‪ ‬ﺣﻠ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﺟﺰﺍﺋ‪ ‬ﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‬ ‫‪ ‬ﺑﻤﻘﺎﻳﻴﺲ‪ ‬ﻣﺤﺪﺩﺓ‪ ‬ﻭﻣﻘﺎﺭﻧﺎﺕ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﻋﺘﻤﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻄﺒﻴ‪ ‬ﻖ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺩﻭﺭﺭ ‪ ، ٤ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺇﺳ‪ ‬ﻬﺎﻣﻪ‬ ‫‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ‬ﺍﺳﺘﻄﺎﻉ‪ ‬ﺍﻟﺮﺑﻂ‪ ‬ﺇﻟﻰ‪ ‬ﺣﺪ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻧﺴﺐ‪ ‬ﺗﻨﺎﻏﻤﺎﺕ‪ ‬ﺍﻷﺣﺎﺳ‪ ‬ﻴﺲ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‪ ‬ﻭﻧﺴ‪ ‬ﺐ‪ ‬ﻋﻼﻗ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺠ‪ ‬ﺰء‬ ‫‪ ‬ﺍﻷﻋﻠﻰ‪ ‬ﺃﻭ‪ ‬ﺍﻷﺳﻔﻞ‪ ‬ﻣﻦ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻟﺮﺟﻞ‪ ‬ﻭﺍﻟﻤﺮﺃﺓ‪ ، ‬ﻭﻗﺪ‪ ‬ﺍﺳ‪ ‬ﺘﻤﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﺸ‪ ‬ﺮ‪ ‬ﺃﺑﺤﺎﺛ‪ ‬ﻪ‪ ‬ﻭﻣﻘﺎﻻﺗ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻋﺎﻣﻲ‪ ۱۸٥٥ ‬ﻭ‪۱۸٥۸ ‬‬ ‫‪ ‬ﺍﻋﺘﺒﺮ‪ ‬ﺯﺍﻳﺴﻨﺞ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻠﻔﻨﻮﻥ‪ ‬ﻓﻲ‪ ‬ﺇﻟﻬﺎﻣﻬﺎ‪ ‬ﻛﺎﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﻌﻀﻮﻱ‪ ‬ﻧﺴﺒﺔ‪ ‬ﻟﻤﺎ‪ ‬ﺳﻮﺍﻩ‪ ،‬ﺣﻴﺚ‪ ‬ﻳﻜﻮﻥ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻭﺍﻟﺘﻨ‪ ‬ﺎﻇﺮ‬ ‫‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﺻﻔﺎﺕ‪ ‬ﻻ‪ ‬ﻳﺴﺘﻐﻨﻰ‪ ‬ﻋﻨﻬﺎ ‪.‬‬

‫* ‪ ‬ﻫﻨﺎﻙ‪ ‬ﻭﺣﺪﺓ‪ ‬ﻟﻘﻴﺎﺱ‪ ‬ﺍﻟﻀﻐﻂ‪ ‬ﺗﺤﻤﻞ‪ ‬ﺍﺳﻢ‪ ‬ﺑﺎﺳﻜﺎﻝ‬ ‫‪Field Judith Veronica, ‘ The Invention of Infinity ’, p. 226 1 ‬‬ ‫‪en.wikipedia.org 2 ‬‬ ‫‪www . goldenmuseum . c om / 0503 proportionality _engl . html 3 ‬‬ ‫‪4 ‬‬

‫‪ ‬ﻋﻠﻴﺔ‪ ‬ﻣﺤﻤﻮﺩ‪ " ،‬ﺣﺮﻛﺔ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬ﻟﻠﻤﺴﻜﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ ، " ‬ﺹ ‪٥٦‬‬

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‫‪ ‬ﺇﻳﺮﻧﺴﺖ‪ ‬ﻧﻴﻮﻓﺮﺕ ‪( ۰۰۰۰ – ۰۰۰۰ ) Ernest Neufert ‬‬ ‫‪ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﻭﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ ‪ Bauentwurfslehre ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۳٦ ‬ﺫﻱ‪ ‬ﺍﻹﺻ‪ ‬ﺪﺍﺭﺍﺕ‪ ‬ﻭﺍﻟﺘﺮﺟﻤ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﻌﺪﻳﺪﺓ‪ ،‬ﻭﺍﻟﺬﻱ‪ ‬ﺭﻛﺰ‪ ‬ﻓﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ‬؛‪ ‬ﺃﻗ‪ ‬ﺮ‪ ‬ﺃﻥ‪ ‬ﺃﻭﻝ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺮﻑ‪ ‬ﺗﺤﺪﻳ‪ ‬ﺪ‪ ‬ﺃﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﺑﺘﻘﺎﺳ‪ ‬ﻴﻢ‬ ‫‪ ‬ﻫﻨﺪﺳﻴﺔ‪ ‬ﻫﻢ‪ ‬ﺍﻟﻤﺼﺮﻳﻴﻦ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ،‬ﻭﺃﻥ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻻﺗﺠﺎﻩ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﻗﺪ‪ ‬ﻧﻘ‪ ‬ﻞ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﻭﺍﻟﺮﻭﻣﺎﻥ‪ ‬ﻣﻨﺬ‪ ‬ﻋﻬﺪ‪ ‬ﺍﻟﺒﻄﺎﻟﺴﺔ‬

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‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ ‪٤٥‬‬

‫‪۲۱۳ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﻣﺎﺗﻴﻼ‪ ‬ﺟﻴﻜﺎ ‪( ۱۹٦٥ – ۱۸۸۱ ) Matila Ghyka ‬‬ ‫‪ ‬ﻫﻮ‪ ‬ﺍﻟﻤﻬﻨﺪﺱ‪ ‬ﻭﺍﻟﺪﻳﺒﻠﻮﻣﺎﺳﻲ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻛﺮﺱ‪ ‬ﺟﺰءﺍ‪ ‬ﻛﺒﻴﺮﺍ‪ ‬ﻣﻦ‪ ‬ﺣﻴﺎﺗ‪ ‬ﻪ‪ ‬ﻟﻠﺒﺤ‪ ‬ﺚ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻮﺿ‪ ‬ﻮﻉ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪،‬‬ ‫‪ ‬ﻓﻘﺪ‪ ‬ﺷﺮﺣﻪ‪ ‬ﻭﺭﺻﺪﻩ‪ ‬ﻭﺗﺘﺒﻌﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ‬ﻭﺣﻠﻞ‪ ‬ﺃﻋﻤﺎﻻ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺗﺆﻛ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺟ‪ ‬ﻮﺩﻩ‪ ‬ﻭﺃﻛ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻫﻤﻴﺘ‪ ‬ﻪ‪،‬‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﺍﻋﺘﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻠﻢ‪ ‬ﻓﻲ‪ ‬ﺇﺛﺒﺎﺕ‪ ‬ﻧﻈﺮﻳﺘﻪ‪ ‬ﻭﻧﺠﺢ‪ ‬ﻓﻲ‪ ‬ﺫﻟﻚ‪ ‬ﻣﺴﺘﺨﺪﻣﺎ‪ ‬ﻧﻈﺮﻳﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﻭﺇﻗﻠﻴﺪﺱ‪ ‬ﻟﻴﺆﻛ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺟ‪ ‬ﻮﺩ‬ ‫‪ ‬ﺟﻤﺎﻟﻴ‪ ‬ﺎﺕ‪ ‬ﻋﻠﻤﻴ‪ ‬ﺔ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺫﻛ‪ ‬ﺮ‪ ‬ﺭﺃﻱ‪ ‬ﺃﻓﻼﻃ‪ ‬ـﻮﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ـﺮﻥ‪ ‬ﺍﻟﺮﺍﺑ‪ ‬ﻊ‪ ‬ﻗﺒ‪ ‬ـﻞ‪ ‬ﺍﻟﻤ‪ ‬ﻴﻼﺩ‪ " : ‬ﺇﻥ‪ ‬ﺍﻷﺟﻤ‪ ‬ﻞ‪ ‬ﻳ‪ ‬ﺄﺗﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺷ‪ ‬ﻜﺎﻝ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ،‬ﻭﺇﻥ‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﻻ‪ ‬ﻳﺮﻣﺰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺷ‪ ‬ﻲء‪ ‬ﺃﻗ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻜ‪ ‬ﻮﻥ‪ ، " ‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺭﺃﻱ‪ ‬ﺇﻗﻠﻴ‪ ‬ﺪﺱ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‬ ‫‪ ‬ﺣﺴﺐ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﺎﻷﺷﻜﺎﻝ‪ ‬ﺍﻟﺒﺴﻴﻄﺔ‪ ‬ﻭﻋﻠﻰ‪ ‬ﻭﺟﻪ‪ ‬ﺍﻟﺨﺼﻮﺹ‪ ‬ﺍﻟﺨﻤﺎﺳﻲ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺘﻈﻢ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺗﻌﺘﺒ‪ ‬ﺮ‪ ‬ﺃﻗﻄ‪ ‬ﺎﺭﻩ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻤﺎ‬ ‫‪ ‬ﻣﺘﻨﺎﺳﺒﺎ‪ ،‬ﻭﻳﻤﻜﻦ‪ ‬ﺑﻨﺎء‪ ‬ﻣﺮﻛﺐ‪ ‬ﻣﻨﻪ‪ ‬ﻣﺜﻞ‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺪ‪ ‬ﻗﻮﻟﻪ‬

‫‪۱ ‬‬

‫‪ ‬ﺻﺪﺭ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻋﺎﻡ‪ ۱۹۲۷ ‬ﺑﺎﺳﻢ‪ " ‬ﺟﻤﺎﻟﻴﺎﺕ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺍﻟﻔﻨﻮﻥ‪ ، " ‬ﻭﺗﻼﻩ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪۱۹۳۱ ‬‬ ‫‪ ‬ﻻﺳﺘﻜﻤﺎﻝ‪ ‬ﻧﻈﺮﻳﺘﻪ‪ ،‬ﺛﻢ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻋﺎﻡ‪ ۱۹٤٦ ‬ﺻﺪﺭ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﺜﺎﻟ‪ ‬ﺚ‪ " ‬ﻫﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻭﺍﻟﺤﻴ‪ ‬ﺎﺓ‪The Geometry " ‬‬

‫‪ of Art & Life ‬ﺍﻟﺬﻱ‪ ‬ﺍﺳﺘﻜﺸﻒ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻟﺤﺪﻭﺩ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻟﻌﻠﻢ‪ ‬ﺍﻟﻔﺮﺍﻍ‪ ‬ﺍﻟﻤﺠﺮﺩ‪ ،‬ﻭﺗﻀﻤﻦ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﻭﺍﺧﺘﺒ‪ ‬ﺎﺭﺍ‬ ‫‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺷﻜﻞ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻟﻤﺘﻌﺪﺩﺍﺕ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻤ‪ ‬ﺔ‪ ‬ﻭﺷ‪ ‬ﺒﻪ‪ ‬ﺍﻟﻤﻨﺘﻈﻤ‪ ‬ﺔ‪ ‬ﻭﻋﻼﻗﺎﺗﻬ‪ ‬ﺎ‪ ‬ﺍﻟﺪﺍﺧﻠﻴ‪ ‬ﺔ‪ ‬ﻭﺗﻘﺎﻃﻌﺎﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻌﻀ‪ ‬ﻬﺎ‪ ‬ﺍﻟ‪ ‬ﺒﻌﺾ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺗﺘﺒ‪ ‬ﻊ‪ ‬ﺍﻧﺘﻘ‪ ‬ﺎﻝ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻢ‪ ‬ﺍﻟﻔﺮﺍﻏ‪ ‬ﻲ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﺘﻄﺒﻴ‪ ‬ﻖ‪ ‬ﺍﻟﻔﻴﺜ‪ ‬ﺎﻏﻮﺭﻱ‪ ‬ﻭﺍﻟﻔﻴﺜ‪ ‬ﺎﻏﻮﺭﻱ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪ‬ ‫‪ ‬ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﻭﺍﻟﻘﻮﻃﻴﺔ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﺎﻟﻨﺴﺐ‪ ،‬ﻭﺑﻌﺾ‪ ‬ﺍﻟﺮﻣﻮﺯ‪ ‬ﻭﺍﻟﺘﻄﺒﻴﻘﺎﺕ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎ‪ ‬ﺭﺓ‪ ‬ﻭﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﻭﻓ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‪ ،‬ﻭﺧﺺّ‪ ‬ﻧﻴﻜﻮﻻﺱ‪ ‬ﺑﻮﺍﺳﺎ‪ ،‬ﻭﺟﻮﺭﺝ‪ ‬ﺳﻮﺭﺍ‪ ،‬ﻭﺑﻮﻝ‪ ‬ﺳﻴﺰﺍﻥ‪ ،‬ﻭﻫﻨﺮﻱ‪ ‬ﻣﺎﺗﻴﺲ‪ ،‬ﻭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﺄﺷ‪ ‬ﻬﺮ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻓﻲ‪ ‬ﻟﻮﺣﺎﺗﻬﻢ‪ ،‬ﻭﻭﺻﻒ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺄﻧﻪ‪ ‬ﺍﻟﻤﺪﺧﻞ‪ ‬ﺍﻟﻮﺣﻴﺪ‪ ‬ﻟﻤﻌﺠﺰﺓ‪ ‬ﺍﻷﺭﻗﺎﻡ‬

‫‪www.camping­aitatta.com 1 ‬‬ ‫‪2 ‬‬ ‫‪LC, ‘ The Modulor ’, p.62‬‬

‫‪۲۱۳ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻗﻮﺍﻟ‪ ‬ﻪ‪ " : ‬ﻭﺟﻬ‪ ‬ﺔ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺮ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺗﻤﺜ‪ ‬ﻞ‪ ‬ﺍﻟﺘﻄ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻌﻘﻠ‪ ‬ﻲ‪ ‬ﻟﺠ‪ ‬ﻤﻴ‪ ‬ﻊ‪ ‬ﺍﻟﺤﻀ‪ ‬ﺎﺭﺍﺕ‪ ‬ﺍﻟﻐﺮﺑﻴ‪ ‬ﺔ‪ ،‬ﻓﺎﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﺗﺠﺎﻫﻬﺎ‪ ‬ﺃﻋﻄﺖ‪ ‬ﻟﻠﺠﻨﺲ‪ ‬ﺍﻷﺑﻴﺾ‪ ‬ﺍﻟﺴﻴﺎﺳﺔ‪ ‬ﻭﺍﻟﺴﻴﺎﺩﺓ‪ ‬ﺍﻟﺘﻘﻨﻴﺔ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺟﻮﺭﺝ‪ ‬ﺑﻴﺮﻛﻬﻮﻑ ‪( ۱۹٤٤ – ۱۸۸٤ ) G. Birkhoff ‬‬ ‫‪ ‬ﻛﺘﺐ‪ ‬ﻋﺎﻡ‪ ۱۹۳۳ ‬ﺗﺤﺖ‪ ‬ﻋﻨﻮﺍﻥ‪ " ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ Aesthetic Measure " ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‪: ‬‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺱ‪ = ‬ﺍﻟﻨﻈﺎﻡ‪ \ ‬ﺍﻟﺘﻌﻘﻴﺪ‬

‫‪Measure M = Order O / Complexity C ‬‬

‫‪ ‬ﻓﺮﺍﻧﺴﻴﺲ‪ ‬ﺟﺎﻟﺘﻮﻥ ‪( ۱۹۱۱ – ۱۸۲۲ ) Sir Francis Galton ‬‬ ‫‪ ‬ﻋﺎﻟﻢ‪ ‬ﻭﻣﻜﺘﺸﻒ‪ ‬ﺍﻧﺠﻠﻴﺰﻱ‪ ‬ﻭﺧﺒﻴﺮ‪ ‬ﻓﻲ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻘﻴﺎﺳﻲ ‪ ، anthropometric ‬ﺭﺃﻯ‪ ‬ﺃﻧﻪ‪ ‬ﺇﺫﺍ‪ ‬ﻭﺯﻋﺖ‪ ‬ﻣﺠﻤﻮﻋﺔ‬ ‫‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ ‪ ) ‬ﻣﺜﻞ ‪ ‬ﺍﻷﻃﻮﺍﻝ ‪ ( ‬ﻋﻠﻰ ‪ ‬ﻣﺠﻤﻮﻋﺔ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻨﺎﺱ ‪ ‬ﺑﻤﻌﺪﻟﻬﺎ ‪ ‬ﺍﻟﻄﺒﻴﻌﻲ‪ ،‬ﻭﻭﺯﻋﺖ ‪ ‬ﻣﺠﻤﻮﻋﺔ ‪ ‬ﺃﺧﺮﻯ ‪ ‬ﻣﻨﻬﺎ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻓﺮﻋﻴﺔ‪ ‬ﻟﻠﻤﺠﻤﻮﻋﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ) ‬ﻣﺜﻞ‪ ‬ﺃﺟﺰﺍء‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ، ( ‬ﻓﺴﻮﻑ‪ ‬ﺗﻈﻬﺮ‪ ‬ﻋﻼﻗﺎﺕ‪ ‬ﻣﺘﺒﺎﺩﻟﺔ‬ ‫‪ ‬ﻭﺍﺭﺗﺒﺎﻁ‪ ‬ﺑﻴﻦ‪ ‬ﻣﺠ‪ ‬ﻤ‪ ‬ﻮﻋﺘﻲ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﺴﺎﺑﻘﺘﻴﻦ‪ ‬ﻳﻤﻜﻦ‪ ‬ﺑﻴﺎﻧﻬﺎ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﻌﺎﺩﻟﺔ‪ ‬ﺫﺍﺕ‪ ‬ﻣﺘﻐﻴﺮﻳﻦ‪ ،‬ﻭﻣﺜﺎﻝ‪ ‬ﺫﻟﻚ‪: ‬‬ ‫‪ ‬ﺑﺎﻟﻨﺴﺒﺔ ‪ ‬ﻟﺬﻛﻮﺭ ‪ ‬ﺍﻟﻮﻻﻳﺎﺕ ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ ‪ ‬ﺍﻟﺘﻲ ‪ ‬ﺗﻨﺤﺼﺮ ‪ ‬ﺃﻋﻤﺎﺭﻫﻢ ‪ ‬ﻣﺎ ‪ ‬ﺑﻴﻦ ‪ ۱۸ ‬ﻭ ‪ ۳۰ ‬ﺳﻨﺔ ‪ ‬ﺗﻜﻮﻥ ‪ ‬ﺍﻟﻌﻼﻗﺔ ‪ ‬ﺑﻴﻦ ‪ ‬ﺃﻃﻮﺍﻟﻬﻢ‬ ‫‪ ‬ﻭﻃﻮﻝ‪ ‬ﻋﻈﻤﺔ‪ ‬ﺍﻟﻌﻀﺪ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﻢ‪ ‬ﻛﻤﺎ‪ ‬ﺗﺒﻴﻦ‪ ‬ﺍﻟﻤﻌﺎﺩﻟﺔ‪: ‬‬ ‫‪y = 3.08x + 70.45 ‬‬ ‫‪ ‬ﺣﻴﺚ‪ y ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺠﺴﻢ‪ x ،‬ﻃﻮﻝ‪ ‬ﻋﻈﻤﺔ‪ ‬ﺍﻟﻌﻀﺪ‪ ‬ﺑﺎﻟﺴﻨﺘﻴﻤﺘﺮ‬

‫‪ ‬ﻭﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻺﻧﺎﺙ‪ ‬ﺗﻜﻮﻥ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﻛﺎﻟﺘﺎﻟﻲ‪: ‬‬ ‫‪y = 3.36x + 57.97 ‬‬ ‫‪ ‬ﻭﻣﻌﻴﺎﺭ‪ ‬ﻭﺟﻮﺩ‪ ‬ﺍﻟﺨﻄﺄ‪ ‬ﺍﻟﻤﺘﻮﻗﻊ‪ ‬ﻳﻜﻮﻥ‪ ‬ﻓﻲ‪ ‬ﺣﺪﻭﺩ‪ ± 4.05 ‬ﻓﻲ‪ ‬ﺍﻟﺬﻛﻮﺭ‪ ،‬ﻭ‪ ± 4.45 ‬ﻓﻲ‪ ‬ﺍﻹﻧﺎﺙ‪. ‬‬ ‫‪1 ‬‬

‫‪ ‬ﻣﺎﺗﻴﻼ‪ ‬ﺟﻴﻜﺎ ‪۱۹۲۹‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻭﻣﺜﻞ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺗﻜﻮﻥ ‪ ‬ﻣﻬﻤﺔ ‪ ‬ﻓﻲ ‪ ‬ﻋﻠﻢ ‪ ‬ﺍﻷﻣﺮﺍﺽ ‪ ‬ﺍﻟﺸﺮﻋﻲ ‪ ، Pathology ‬ﻭﻋﻠﻢ ‪ ‬ﺍﻹﻧﺴﺎﻥ ‪Anthropology ‬‬

‫‪ ‬ﻛﻮﺳﺎﺋﻞ ‪ ‬ﻟﻠﺘﻨﺒﺆ ‪ ‬ﺑﺨﺼﺎﺋﺺ ‪ ‬ﺍﻟﺠﺴﻢ ‪ ‬ﻣﻦ ‪ ‬ﺧﻼﻝ ‪ ‬ﻗﻴﺎﺳﺎﺕ ‪ ‬ﺍﻟﻌﻈﺎﻡ‪ ،‬ﻭﻋﻠﻰ ‪ ‬ﺍﻟﻤﺪﻯ ‪ ‬ﺍﻟﺒﻌﻴﺪ ‪ ‬ﺗﺸﻜﻞ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﺒﻴﺎﻧﺎﺕ ‪ ‬ﻛﺬﻟﻚ‬ ‫‪ ‬ﻋﺎﻣﻼ ‪ ‬ﺣﺎﺳﻤﺎ ‪ ‬ﻓﻲ ‪ ‬ﻋﻠﻢ ‪ ‬ﺍﻟﺒﻴﺌﺔ ‪ Ergonomics ‬ﻋﻨﺪﻣﺎ ‪ ‬ﺗﺪﺧﻞ ‪ ‬ﻫﺬﻩ ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺎﺕ ‪ ‬ﺷﻜﻼ ‪ ‬ﻭﺣﺠﻤﺎ ‪ ‬ﻓﻲ ‪ ‬ﺗﺼﻤﻴﻢ ‪ ‬ﺷﻜﻞ ‪ ‬ﺑﻴﺌﺔ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﻣﻌﺪﺍﺗﻪ‪. ‬‬

‫‪ ‬ﺃﺩﻭﻟﻒ‪ ‬ﻛﻮﻳﺘﻴﻠﻴﻪ ‪( ۱۸۷٤ – ۱۷۹٦ ) Adolphe Quételet ‬‬ ‫‪ ‬ﻋﺎﻟﻢ‪ ‬ﻓﻠﻜﻲ‪ ‬ﻭﺭﻳﺎﺿﻲ‪ ‬ﻭﺇﺣﺼﺎﺋﻲ‪ ‬ﺑﻠﺠﻴﻜﻲ‪ ،‬ﻋﺮّﻑ‪ ‬ﺍﻻﻧﺤﺮﺍﻑ‪ ‬ﺍﻟﻤﻌﻴﺎﺭﻱ‪ ‬ﻟﻄﻮﻝ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﺭﺳﻤﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺷﻜﻞ‪ ‬ﻣﻨﺤﻨﻰ‬ ‫‪ ‬ﻗﻴﺎﺳﻲ‪ ‬ﻳﺸﻜﻞ‪ ‬ﺍﻟﻤﺜﺎﻝ‪ ‬ﻟﻠﺠﻨﺲ‪ ‬ﺍﻟﺒﺸﺮﻱ‪ ،‬ﻭﺃﻱ‪ ‬ﺧﻄﺄ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻨﺤﻨﻰ‪ ‬ﻳﺮﺟﻊ‪ ‬ﺇﻟﻰ‪ ‬ﺧﻄ‪ ‬ﺄ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ،‬ﺃﻱ‪ ‬ﺃﻧﻨﺎ‪ ‬ﻟﻮ‪ ‬ﺃﻧﻨﺎ‬ ‫‪ ‬ﻗﺴﻨﺎ‪ ‬ﺃﻃﻮﺍﻝ‪ ۱۰۰ ‬ﺷﺨﺺ‪ ‬ﺑﺎﻟﺴﻨﺘﻴﻤﺘﺮ‪ ‬ﺳﻮﻑ‪ ‬ﺗﻮﺯﻉ‪ ‬ﻧﺴﺐ‪ ‬ﺃﻃﻮﺍﻟﻬﻢ‪ ‬ﺗﻘﺮﻳﺒﻴﺎ‪ ‬ﻃﺒﻘﺎ‪ ‬ﻟﻠﺸﻜﻞ‪ ‬ﺍﻟﺒﻴﺎﻧﻲ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‬

‫‪۲۱۳ ‬‬

‫ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪­ : ‬‬

‫‪ ‬ﺑﻴﻴﺮ‪ ‬ﺟﺎﻧﻮﺭﻳﻪ ‪( ۱۹٦۷ – ۱۸۹٦ ) Pierre Jeanneret ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻓﺮﻧﺴﻲ‪ ‬ﻭﺍﺑﻦ‪ ‬ﻋﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﺍﺷﺘﺮﻙ‪ ‬ﻣﻌﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺸﺮﻭﻋﺎﺕ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻭﺑﻌﺾ‪ ‬ﺗﺼﻤﻴﻤﺎﺕ‬ ‫‪ ‬ﺍﻷﺛﺎﺙ‪ ،‬ﺁﺧﺮ‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﺍﺷﺘﺮﻙ‪ ‬ﻓﻴﻪ‪ ‬ﻣﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﺎﻥ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﺣﻴﺚ‪ ‬ﺃﻋﻄﻲ ‪ ‬ﺍﻟﻘﻴﺎﺩﺓ‪ ‬ﺍﻟﻜﺎﻣﻠﺔ‪ ‬ﻫﻨﺎﻙ‪ ‬ﻃﻮﺍﻝ ‪۱٥ ‬‬ ‫‪ ‬ﺳﻨﺔ‪ ، ‬ﻭﻋﻨﺪ‪ ‬ﻣﻐﺎﺩﺭﺗﻪ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﻗﺎﻝ‪ ‬ﺃﻧﻪ‪ ‬ﻳﺘﺮﻙ‪ ‬ﻭﻃﻨﻪ‪ ‬ﻟﺒﻠﺪ‪ ‬ﺃﺟﻨﺒﻲ‪ ،‬ﻭﻗﺒﻴﻞ‪ ‬ﻭﻓﺎﺗﻪ‪ ‬ﻃﻠﺐ‪ ‬ﺃﻥ‪ ‬ﺗﻨﺜﺮ ‪ ‬ﺭﻓﺎﺗ‪ ‬ﻪ‪ ‬ﻓﻮﻕ ‪ ‬ﺍﻟ‪ ‬ﺒﺤﻴﺮﺓ‬ ‫‪ ‬ﺍﻟﻤﺴﻤﺎﺓ‪ " ‬ﺳﺨﻨﺔ‪ Sokhna " ‬ﻓﻲ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪. ‬‬ ‫‪ ‬ﻓ‪ ‬ﺎﻟﺘﺮ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ ‪( ۱۹٦۹ – ۱۸۸۳ ) Walter Gropius ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺃﻟﻤﺎﻧﻲ‪ ‬ﺟﻤﻊ‪ ‬ﻣﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻭﺍﻟﺘﻨﻔﻴ‪ ‬ﺬ‪ ‬ﺍﻟﺘﻜﻨﻮﻟ‪ ‬ﻮﺟﻲ‪ ‬ﻭﺍﻟﺘ‪ ‬ﺪﺭﻳﺲ‪ ‬ﺍﻷﻛ‪ ‬ﺎﺩﻳﻤﻲ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﺍﻟﻤﺆﺳﺴ‪ ‬ﻴﻦ‬ ‫‪ ‬ﻻﺗﺤ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﺍﻷﻟﻤ‪ ‬ﺎﻧﻲ ‪ ، Deutscher Werkbund ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺭﺋﻴﺴ‪ ‬ﺎ‪ ‬ﻟﻤﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺒﺎﻭﻫ‪ ‬ﺎﻭﺱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻣﻨ‪ ‬ﺬ‪ ‬ﻋ‪ ‬ﺎﻡ‬ ‫‪ ۱۹۱۹ ‬ﺇﻟ‪ ‬ﻰ‪ ، ۱۹۲۸ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻟﺘﻘ‪ ‬ﻰ‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﺘﻮﺩﻳﻮ‪ ‬ﺑﻴﺘ‪ ‬ﺮ‪ ‬ﺑﻬﺮﻧ‪ ‬ﺰ‪ ‬ﺑﺄﻟﻤﺎﻧﻴ‪ ‬ﺎ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺃﻗ‪ ‬ﺎﻡ‪ ‬ﻣﺼ‪ ‬ﻨﻌﻪ‪ ‬ﻟﻼﺳ‪ ‬ﺘﻴﻞ‬ ‫‪ ‬ﻭﺍﻟﺰﺟﺎﺝ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﻭﺍﻧﻄﻠﻖ‪ ‬ﺇﻟﻰ‪ ‬ﻋﺎﻟﻢ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺣ‪ ‬ﻴﻦ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺷ‪ ‬ﺎﻏﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﺰﻳﺘ‪ ‬ﻲ‪ ،‬ﻭﻟﻤ‪ ‬ﺎ‬ ‫‪ ‬ﻭﺻﻞ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ ‬ﺑﻌﺪﻫﺎ‪ ‬ﺑﺴﻨﻮﺍﺕ‪ ‬ﻗﺎﻝ‪ ‬ﻋﻨﻪ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ‪ " : ‬ﻟﻘﺪ‪ ‬ﺃﻣﺪﻧﺎ‪ ‬ﺑﻤﺎ‪ ‬ﻳﻜﻔﻲ‪ ‬ﻟﺠﻴﻞ‪ ‬ﻛﺎﻣﻞ‪ ‬ﻟﻠﻌﻴﺶ‪ ‬ﻋﻠﻴﻪ‪" ‬‬ ‫‪ ‬ﺷﻐﻞ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ‪ ‬ﻣﻨﺼﺐ‪ ‬ﺭﺋﻴﺲ‪ ‬ﻗﺴﻢ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺑﺠﺎﻣﻌﺔ‪ ‬ﻫﺎﺭﻓﺎﺭﺩ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪ ، ۱۹٥۲ ‬ﻭﺷﻐﻞ‪ ‬ﻛﺬﻟﻚ‪ ‬ﺭﺋﺎﺳ‪ ‬ﺔ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‬ ‫‪ ، C.I.A.M. ‬ﻭﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺗﻮﺟﻬﺎﺗ‪ ‬ﻪ‪ ‬ﻣﺘﻘﺎﺭﺑ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﻌﻴﻪ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﻤﻌﻴ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻘﻼﻧ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻟﻢ‬ ‫‪ ‬ﻣﻌﺎﺻ‪ ‬ﺮ‪ ‬ﻣﺘﻄ‪ ‬ﻮﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻔﺎﻫﻴﻤ‪ ‬ﻪ‪ ‬ﺍ‪ ‬ﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻻﺟﺘﻤﺎﻋﻴ‪ ‬ﺔ ‪ ، ۱ ‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻮﺍﻗ‪ ‬ﻒ‪ ‬ﺍﻟﺸ‪ ‬ﻬﻴﺮﺓ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﺍﻻﻧﺘﻬ‪ ‬ﺎء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻨﻔﻴ‪ ‬ﺬ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‬ ‫‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺭﺳﻴﻠﻴﺎ‪ ‬ﻭﺍﻟﺘﻲ‪ ‬ﺗﺮﻙ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺑﺼﻤﺎﺕ‪ ‬ﺍﻷﻟﻮﺍﺡ‪ ‬ﺍﻟﺨﺸﺒﻴﺔ‪ ‬ﺍﻟﻤﺴﺘﺨﺪﻣﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺼ‪ ‬ﺐ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻛﺘﻠ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﻭﻟﻢ‪ ‬ﻳﺼﻘﻠﻬﺎ‪ ،‬ﺭﺩﺕ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺟﻤﻌﻴﺔ‪ ‬ﺍﻟﺤﻔﺎﻅ‪ ‬ﻋﻠﻰ‪ ‬ﺟﻤﺎﻟﻴﺎﺕ‪ ‬ﻓﺮﻧﺴﺎ ‪The Society for the Preservation ‬‬

‫‪ of the Beauties of France ‬ﺑﺄﻧﻬ‪ ‬ﺎ‪ ‬ﻗﻄﻌ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨ‪ ‬ﺮﺩﻭﺍﺕ‪ ‬ﺍﻟﺜﻘﻴﻠ‪ ‬ﺔ‪ – ‬ﻓﻜ‪ ‬ﺎﻥ‪ ‬ﺭﺩ‪ ‬ﺟﺮﻭﺑﻴ‪ ‬ﻮﺱ‪ ‬ﺣﻴﻨﻬ‪ ‬ﺎ‪ ‬ﺃﻥ‪ ‬ﺃﻱ‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻻ‪ ‬ﻳﺠﺪ‪ ‬ﺟﻤﺎﻻ‪ ‬ﻓﻲ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﻓﻤﻦ‪ ‬ﺍﻷﻓﻀﻞ‪ ‬ﻟﻪ‪ ‬ﺃﻥ‪ ‬ﻳﻀﻊ‪ ‬ﻗﻠﻤﻪ‪. ‬‬

‫‪1 ‬‬

‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 515‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺑﻴﺘﺮ‪ ‬ﺑ‪ ‬ﻴ‪ ‬ﺮﻧﺰ ‪( ۱۹٤۰ – ۱۸٦۸ ) Peter Behrens ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺃﻟﻤﺎﻧﻲ‪ ‬ﻧﺎﺩﻯ‪ ‬ﺑﺎﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻣﺎﺭﺱ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﻓﻲ ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﺣﻴﺎﺗﻪ‪ ‬ﺛﻢ‪ ‬ﻣﺎ‪ ‬ﻟﺒﺚ‪ ‬ﺃﻥ‪ ‬ﻣﺎﺭﺱ‪ ‬ﻣﻌﻪ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬ ‫‪ ‬ﺍﻟﺼﻨﺎﻋﻲ‪ ‬ﻭﺍﻟﺘﻐﻠﻴﻒ‪ ‬ﻭﺗﺼﻤﻴﻢ‪ ‬ﻗﺎﻋﺎﺕ‪ ‬ﺍﻟﻌﺮﺽ‪ ‬ﻭﺍﻹﻋﻼﻧﺎﺕ‪ ،‬ﺇﺫ‪ ‬ﻛﺎﻥ‪ ‬ﻫﺪﻓﻪ‪ ‬ﺗﻮﺣﻴﺪ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ،‬ﻭﻛﺎﻥ‪ ‬ﺿﻤﻦ‬ ‫‪ ‬ﺍﻟﻤﺆﺳﺴﻴﻦ‪ ‬ﻻﺗﺤﺎﺩ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻷﻟﻤﺎﻧﻲ‪. ‬‬ ‫‪ ‬ﺃﻧﺸﺄ‪ ‬ﺃﻭﻝ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺃﻟﻤﺎﻧﻲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺼﻠﺐ‪ ‬ﻭﺍﻟﺰﺟﺎﺝ‪ ‬ﻋﺎﻡ ‪ ۱۹۰۹ ‬ﻭﻫﻮ‪ ‬ﻣﺼﻨﻊ‪ ‬ﺍﻟﺘﻮﺭﺑﻴﻨﺎﺕ‪ ‬ﻓﻲ‪ ‬ﺑﺮﻟﻴﻦ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﺃﻭﻝ‪ ‬ﻣ‪ ‬ﺒﻨﻰ‬ ‫‪ ‬ﺫﺍ‪ ‬ﻃﺎﺑﻊ‪ ‬ﺣﺪﻳﺚ‪ ‬ﻓﻲ‪ ‬ﺍﻧﺠﻠﺘﺮﺍ‪ ‬ﻋﺎﻡ ‪ ۱۹۲٦ ‬ﻭﻫﻮ‪ ‬ﻣﻨﺰﻟﻪ‪ ‬ﻓﻲ‪ ‬ﻧﻮﺭﺙ‪ ‬ﻫﺎﻣﺒﺘﻮﻥ‪ ،‬ﻭﻗﺪ‪ ‬ﻛﺎﻥ‪ ‬ﻣﻜﺘﺒﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺸﺮﻳﻨﻴﺎﺕ‪ ‬ﻧﻘﻄﺔ‬ ‫‪ ‬ﺟﺬﺏ‪ ‬ﻟﻠﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﻣﺜﻞ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ‪ ،‬ﻭﻣﻴﺲ‪ ‬ﻓﺎﻥ‪ ‬ﺩﺭ‪ ‬ﺭﻭﻩ‪ ،‬ﻭﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪۱ ‬‬

‫‪ ‬ﻟﻮﻳﺲ‪ ‬ﺳﻮﻟﻴﻔﺎﻥ ‪( ۱۹۲٤ – ۱۸٥٦ ) Louis Sullivan ‬‬ ‫‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻳﻲ‪ ‬ﺍﻟﻮﻻﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺘﺤ‪ ‬ﺪﺓ‪ ‬ﻛﺮﺍﺋ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺭﻭﺍﺩ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻃ‪ ‬ﻮﺭ‪ ‬ﻧﻈﺮﻳﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺨﺎﺻ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‬ ‫‪ ‬ﺍﻟﻌﻀﻮﻳﺔ‪ ،‬ﻭﺗﺨﻠﻰ‪ ‬ﻋﻦ‪ ‬ﺍﺳﺘﺪﻋﺎء‪ ‬ﻋﻤﺎﺭﺓ‪ ‬ﺍﻟﻘ‪ ‬ﺪﻣﺎء‪ ،‬ﻭﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻣ‪ ‬ﻮﺍﺩ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﺍﻟﺼ‪ ‬ﻠﺐ‪ ‬ﻭﺍﻟﺰﺟ‪ ‬ﺎﺝ‪ ،‬ﻭﺍﻋﺘﻤ‪ ‬ﺪ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺄﺛﻴﺮ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ ‬ﻟﻠﻨﺴﺐ‪ ‬ﺍﻟﺼﺤﻴﺤﺔ‪ ‬ﻭﺍﻟﺨﻄﻮﻁ‪ ‬ﺍﻟﻘﻮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬

‫‪۲ ‬‬

‫‪ ‬ﻧﺎﺩﻯ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﻳﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ ‬ﺑﺠﻤﻠﺘ‪ ‬ﻪ‪ ‬ﺍﻟﺸ‪ ‬ﻬﻴﺮﺓ ‪ form follows function ‬ﻭﻭﺍﻓﻘ‪ ‬ﻪ‪ ‬ﻛﺜﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ،‬ﻣ‪ ‬ﻨﻬﻢ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺰﻝ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣﺎﻛﻴﻨ‪ ‬ﺔ‪ ‬ﻟﻠﻌ‪ ‬ﻴﺶ‪ ‬ﻓﻴ‪ ‬ﻪ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﻌﺎﻟ‪ ‬ﺖ‪ ‬ﺻ‪ ‬ﻴﺤﺎﺕ‪ ‬ﺍﻟﻮﻇﻴﻔﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﺸ‪ ‬ﺮﻳﻨﻴﺎﺕ‬ ‫‪ ‬ﻭﺛﻼﺛﻴﻨﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻤﺎﺿ‪ ‬ﻲ‪ ،‬ﻭﻗ‪ ‬ﺎﻝ‪ ‬ﻫﻴﺮﺑ‪ ‬ﺮﺕ‪ ‬ﺭﻳ‪ ‬ﺪ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻘﻀ‪ ‬ﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻭﺍﻟﺼ‪ ‬ﻨﺎﻋﺔ‪ " : ‬ﺭﺑﻤ‪ ‬ﺎ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‬ ‫‪ ‬ﺍﻟﻜﻔﺎءﺓ‪ ‬ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ‬ﻭﺍﻟﺠﻤﺎﻝ‪ ‬ﻣﺘﺰﺍﻣ‪ ‬ﻨﺎﻥ‪ ،‬ﻟﻜﻦ‪ ‬ﺍﻟﺨﻄﺄ‪ ‬ﻫﻮ‪ ‬ﺍﻓﺘﺮﺍﺽ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻜﻔﺎءﺓ‪ ‬ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﺴﺒﺒﺔ‪ ‬ﻟﻠﺠﻤﺎﻝ‪" ‬‬

‫‪۳ ‬‬

‫‪ ‬ﺃﺩﻭﻟﻒ‪ ‬ﻟﻮﻭﺱ ‪( ۱۹۳۳ – ۱۸۷۰ ) Adolf Loos ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻧﻤﺴﺎﻭﻱ‪ ‬ﻋﻤﻞ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻮﻻﻳﺎﺕ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ‬ﺣﻴﺚ‪ ‬ﺗﺸﺮﺏ‪ ‬ﻣﺒﺎﺩﺉ‪ ‬ﺳ‪ ‬ﻮﻟﻴﻔﺎﻥ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۱۰ ‬ﺃﻧﺠ‪ ‬ﺰ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‬ ‫‪ ‬ﻟﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﻓﻲ‪ ‬ﻓﻴﻴﻨﺎ ‪ Steiner House ‬ﻓﻲ‪ ‬ﺳ‪ ‬ﺒﻖ‪ ‬ﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮ‪ ‬ﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻘ‪ ‬ﺎء‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻭﺗ‪ ‬ﺮﺍﺑﻂ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‬ ‫‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‬

‫‪٤ ‬‬

‫‪ ‬ﻣﻴﺲ‪ ‬ﻓﺎﻥ‪ ‬ﺩﺭ‪ ‬ﺭﻭﻩ ‪( ۱۹٦۹ – ۱۸۸٦ ) Mies van der Rohe ‬‬ ‫‪ ‬ﻫﻮ‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺃﻟﻤﺎﻧﻲ‪ ‬ﺍﻟﻤﻮﻟﺪ‪ ‬ﻣﻦ‪ ‬ﺃﻋﻼﻡ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮ‪ ‬ﻳﻦ‪ ،‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺳ‪ ‬ﺘﻮﺩﻳﻮ‪ ‬ﺑﻴﺘ‪ ‬ﺮ‪ ‬ﺑﻬﺮﻧ‪ ‬ﺰ‪– ۱۹۰۸ ) ‬‬ ‫‪ ( ۱۹۱۱ ‬ﻣﻊ‪ ‬ﻭﺍﻟﺘﺮ‪ ‬ﺟﺮﻭﺑﻴﻮﺱ‪ ‬ﻭﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﺍﺷﺘﻬﺮ‪ ‬ﺑﻌﻤﺎﺭﺗﻪ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻭﺃﻓﻜﺎﺭ‪ ‬ﻩ‪ ‬ﺍﻟﻤﺘﻄ‪ ‬ﻮﺭﺓ‪ ،‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪۱۹۲۸ ‬‬ ‫‪ ‬ﺑﺎﻟﺒ‪ ‬ﺪء‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺗﻮﺟﻨ‪ ‬ﺪﻫﺎﺕ ‪ Tugendhat ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺸﻴﻜﻮﺳ‪ ‬ﻠﻮﻓﺎﻛﻴﺎ‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻓﻴ‪ ‬ﻪ‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 123 1 ‬‬ ‫‪2 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.1114 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 449 3 ‬‬ ‫‪4 ‬‬ ‫‪see Ibid, pp. 670‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﺒ‪ ‬ﺪء‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺳ‪ ‬ﺎﻓﻮﺍ‪ ،‬ﻭﻫﻨ‪ ‬ﺎﻙ‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‪ ‬ﺗﺸﺎﺑ‪ ‬ـﻬﺖ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻔﻴﻠﺘ‪ ‬ﻴﻦ‪ ‬ﺃﻫﻤﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻘﻂ‪ ‬ﺍﻷﻓﻘ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻤﻔﺘ‪ ‬ﻮﺡ‪ ‬ﺃﻱ‪ ‬ﺍﻟﺘﺤ‪ ‬ﺮﻙ‪ ‬ﻓ‪ ‬ـﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺩﻭﻥ‪ ‬ﺍﻟﺘﻘﻴ‪ ‬ﺪ‪ ‬ﺑ‪ ‬ﺎﻟﺤﻮ‪ ‬ﺍﺋﻂ‪ ‬ﺍﻟﺤﺎﻣﻠ‪ ‬ﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻫﻴﻜ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺼﻠﺐ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺗﻮﺟﻨﺪﻫﺎﺕ‪ ،‬ﻭﻋﻠﻰ‪ ‬ﺃﻋﻤﺪﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴﻠﺢ‪ ‬ﻛﻤﺎ‪ ‬ﻓﻲ‪ ‬ﺣﺎﻟﺔ‪ ‬ﺳﺎﻓﻮﺍ‪ ،‬ﻫﺬﺍ‪ ‬ﺑﺎﻹﺿﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻬﻮﻟﺔ‬ ‫‪ ‬ﺩﻭﺭﺓ‪ ‬ﺍﻟﺤﺮﻛﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻴﻠﺘﻴﻦ‪ ،‬ﻭﺍﻋﺘﻤﺎﺩﻫﻤﺎ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﺍﻟﺨﺎﺭﺟﻲ‪ ‬ﺍﻷﺑﻴﺾ‬

‫‪۱ ‬‬

‫‪ ‬ﺃﻭﺟﺴﺖ‪ ‬ﺑﻴﺮﻳﻪ ‪( ۱۹٥٤ ­ ۱۸۷٤ ) Auguste Perret ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻓﺮﻧﺴﻲ‪ ‬ﻣﻦ‪ ‬ﻋﻼﻣﺎﺕ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﻓﻲ‪ ‬ﻓﺮﻧﺴﺎ‪ ،‬ﻧﺠﺢ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻛﻔﺎءﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﺍﻷﺳ‪ ‬ﻤﻨﺖ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻠﺢ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺟﻌﻠﻪ‪ ‬ﻣﺘﻤﺎﺷﻴﺎ‪ ‬ﺟﻤﺎﻟﻴﺎ‪ ‬ﻛﺨﺎﻣﺔ‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﺟﺪﻳﺪﺓ‪ ‬ﻭﺍﻟﻮﺻﻮﻝ‪ ‬ﺑﻪ‪ ‬ﺇﻟﻰ‪ ‬ﻣﻔﻬ‪ ‬ﻮﻡ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺧ‪ ‬ﺎﺹ‪ ،‬ﻭﺳ‪ ‬ﺎﻋﺪﻩ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺫﻟ‪ ‬ﻚ‬ ‫‪ ‬ﺩﺭﺍﺳﺘﻪ‪ ‬ﻓﻲ‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ‬ﺑﺒﺎﺭﻳﺲ‪. ‬‬ ‫‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜﺘﺒ‪ ‬ﻪ‪ ‬ﻓﺘ‪ ‬ﺮﺓ‪ ‬ﻣﻜﻨﺘ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺇﺗﻘ‪ ‬ﺎﻥ‪ ‬ﺗﻜﻨﻮﻟ‪ ‬ﻮﺟﻲ‪ ‬ﻻﺳ‪ ‬ﺘﺨﺪﺍﻣﺎﺕ‪ ‬ﺍﻷﺳ‪ ‬ﻤﻨﺖ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﻋﺘ‪ ‬ﺮﻑ‪ ‬ﺑﻔﻀ‪ ‬ﻞ‬ ‫‪ ‬ﺑﻴﺮﻳﻪ‪ ‬ﻋﻠﻴﻪ‪ ‬ﻟﺒﻘﻴﺔ‪ ‬ﺣﻴﺎﺗﻪ‬ ‫‪ ‬ﻛﺘﺐ‪ ‬ﻓﻲ‪ ‬ﻋﺎﻡ‪ ۱۹۲۳ ‬ﻛﺘﺎﺏ ‪ L'Architecture Vivante ‬ﻭﻳﻌﺘﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻤﺮﺍﺟﻊ‪ ‬ﻟﺤﺮﻛﺔ‪ ‬ﺍﻟﺤﺪﺍﺛﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.56 1 ‬‬ ‫‪2 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 828­829‬‬

‫‪۲۱۳ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﻓﺮﺍﻧﻚ‪ ‬ﻟﻮﻳﺪ‪ ‬ﺭﺍﻳﺖ ‪( ۱۹٥۹ – ۱۸٦۹ ) Frank Lloyd Wright ‬‬ ‫‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻳﻲ‪ ‬ﺃﻣﺮﻳﻜ‪ ‬ﺎ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺎﻟﻴﺔ‪ ، ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﺣﻴﺎﺗ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﻣﺆﺳﺴ‪ ‬ﺔ‪ ‬ﺳ‪ ‬ﻮﻟﻴﻔﺎﻥ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۰٦ ‬ﺍﻧﺘﻬ‪ ‬ﻰ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺇﻧﺸﺎء‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﻓﻲ ‪ Oak Park ‬ﺍﻟﺘﻲ‪ ‬ﺃﻟﻬﻤﺖ‪ ‬ﺗﺠﺎﺭﺏ‪ ‬ﺍﻟﻌﺪﻳﺪﻳﻦ‪ ‬ﻣﻦ‪ ‬ﺃﻧﺼﺎﺭ‪ ‬ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‪ ‬ﺍﻟﻮﻇﻴﻔﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪،‬‬ ‫‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﺣﺮﻛﺔ‪ ‬ﺩﻱ‪ ‬ﺷﺘﻴﻞ‪ ‬ﺍﻷﻟﻤﺎﻧﻴﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﻫﺎﻧﺰ‪ ‬ﺑﺮﻳﺸﺒﻮﻟﺮ ‪( ۱۹۸۹ – ۱۹۰۷ ) Hans Brechbuhler ‬‬ ‫‪ ‬ﺃﺣﺪ‪ ‬ﻣﺴﺎﻋﺪﻱ‪ ‬ﻟﻮﻛ‪ ‬ﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻓﺘﺮﺓ‪ ‬ﺍﻟﺤﺮﺏ‪ ‬ﻭﻗﺪ‪ ‬ﺗﺘﻠﻤﺬﺕ‪ ‬ﻋﻠﻰ‪ ‬ﻳﺪﻳ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﻗ‪ ‬ﺖ‪ ‬ﻻﺣ‪ ‬ﻖ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‬ ‫‪ ‬ﺃﻃﻠﻘﻮﺍ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻧﻔﺴﻬﻢ‪ ‬ﺍﺳﻢ‪ " ‬ﺟﻤﺎﻋﺔ‪ ‬ﻋﻤﺎﺭﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ، New Corbusian Architects " ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻗﺎﻣ‪ ‬ﺖ‬ ‫‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﻋﺎﻡ‪ ۱۹٦۰ ‬ﺑﺘﻨﻔﻴﺬ‪ ‬ﺃﻭﻝ‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﻟﻬﺎ‪ ‬ﻭﻫﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﻨ‪ ‬ﺎﺯﻝ‪ ‬ﻭﻓﻨ‪ ‬ﺎﺩﻕ‪ ‬ﺳ‪ ‬ﻴﺪﻻﻧﺞ‪ ‬ﻫ‪ ‬ﺎﻟﻦ ‪Siedlung ‬‬

‫‪ Halen ‬ﺑ‪ ‬ﺎﻟﻘﺮﺏ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﺮﻥ‪ ‬ﺑﺴﻮﻳﺴ‪ ‬ﺮﺍ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺗﻄﺒ‪ ‬ﻖ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻹﺳ‪ ‬ﻜﺎﻥ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻋﻲ‪ ‬ﺍﻟﻤﻘﺘﺼ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﺑﻴ‪ ‬ﻮﺕ‬ ‫‪ ‬ﺑﻴﻀ‪ ‬ﺎء‪ ‬ﻣﺘﻼﺻ‪ ‬ﻘﺔ‪ ‬ﻭﺳ‪ ‬ﻂ‪ ‬ﻣﺴ‪ ‬ﺎﺣﺎﺕ‪ ‬ﺷﺎﺳ‪ ‬ﻌﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨﻀ‪ ‬ﺮﺓ‪ ‬ﺑﺤﻴ‪ ‬ﺚ‪ ‬ﺃﻧ‪ ‬ﻚ‪ ‬ﻻ‪ ‬ﺗﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺍﻟﺘﻤﻴﻴ‪ ‬ﺰ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻨﻤ‪ ‬ﻮﺫﺝ‬ ‫‪ ‬ﺍﻟﺼﻨﺎﻋﻲ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﺍﻟﻤﺘﺒﻊ‪ ‬ﻭﻃﺮﻕ‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﺍﻟﺘﻘﻠﻴﺪﻳﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﺨﺪﻣﻮﺍ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺣﺴ‪ ‬ﺎﺑ‪ ‬ﺎﺗﻬﻢ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻤﻴﺔ‪ ‬ﺛ‪ ‬ﻢ‪ ‬ﻧﺴ‪ ‬ﺒﻮﻩ‬ ‫‪ ‬ﺇﻟﻰ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻧﻔﺴﻪ‬

‫‪۲ ‬‬

‫‪ ‬ﻟﻮﻳﺲ‪ ‬ﻛﺎﻥ ‪( ۱۹۷٤ – ۱۹۰۱ ) Louis Kahn ‬‬ ‫‪ ‬ﻭﻳﻌﺘﺒﺮ‪ ‬ﻫﻮ‪ ‬ﻭﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻮﺣﻴﺪﺍﻥ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﺍﻟﺬﻳﻦ‪ ‬ﺍﺯﺩﺍﺩﺕ‪ ‬ﺳ‪ ‬ﻌﺘﻬﻤﺎ‪ ‬ﺍﻻﺑﺘﻜﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﺣﻴﺎﺗﻬﻤ‪ ‬ﺎ‪ ،‬ﻭﻗ‪ ‬ﺪ‬ ‫‪ ‬ﻗﺎﻝ‪ ‬ﻋﻨﻪ‪ " : ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﺎﻥ‪ ‬ﻣﺼﺪﺭ‪ ‬ﺇﻟﻬﺎﻡ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻟﻲ‪ ،‬ﺟﻌﻠﻨﻲ‪ ‬ﺃﺩﺭﻙ‪ ‬ﺃﻥ‪ ‬ﻫﻨ‪ ‬ﺎﻙ‪ ‬ﺭ‪ ‬ﺟ‪ ‬ﻼ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴ‪ ‬ﺪ‪ ‬ﺍﻟﺤﻴ‪ ‬ﺎﺓ‪ ‬ﻳﺴ‪ ‬ﺘﻄﻴﻊ‬ ‫‪ ‬ﺃﻥ‪ ‬ﻳﻜ‪ ‬ﻮﻥ‪ ‬ﻣﻌﻠﻤ‪ ‬ﺎ‪ ‬ﻣﻠﻬﻤ‪ ‬ﺎ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻤﻜ‪ ‬ﻦ‪ ‬ﺃﻥ‪ ‬ﺗﻌﻠﻤ‪ ‬ﻚ‪ ،‬ﻭﻻ‪ ‬ﻳﺼ‪ ‬ﺢ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺩﻭﻣ‪ ‬ﺎ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻟﻸﻋﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﻘﺪﻳﻤ‪ ‬ﺔ‬ ‫‪ ‬ﻻﻧﺘﻤﺎﺋﻬﺎ‪ ‬ﻟﺤﻘﺒﺔ‪ ‬ﺯﻣﻨﻴ‪ ‬ﺔ‪ ‬ﻻ‪ ‬ﺗﺸ‪ ‬ﻌﺮﻙ‪ ‬ﺑ‪ ‬ﺎﻟﻘﺮﺍﺭ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺃﺗ‪ ‬ﻰ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ،‬ﺻ‪ ‬ﺤﻴﺢ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺷ‪ ‬ﻲء‪ ‬ﻣ‪ ‬ﺪﻫﺶ‪ ،‬ﻭﻟﻜ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺪﻡ‬ ‫‪ ‬ﻭﺟﻮﺩ‪ ‬ﺗﺎﺭﻳﺦ‪ ‬ﺑﻬﺬﺍ‪ ‬ﺍﻟﻘﺪﺭ‪ ‬ﺗﺠﺪ‪ ‬ﺭﺟﻼ‪ ‬ﻳﻨﺘﺞ‪ ‬ﻣﺎ‪ ‬ﻻ‪ ‬ﻳﻨﺘﺠﻪ‪ ‬ﻏﻴﺮﻩ‪ ،‬ﻫﺬﺍ‪ ‬ﺍﻟﻮﻋﻲ‪ ‬ﺑﻘﻴﻤﺔ‪ ‬ﻧﻬﻀﺔ‪ ‬ﺍﻹﻟﻬﺎﻡ‪ ‬ﻟﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻘﻮﺓ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻟ‪ ‬ﻴﺲ‬ ‫‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻘﺪﻣﺎء‪ ، ۳ " ‬ﻟ‪ ‬ﻪ‪ ‬ﺃﻋﻤ‪ ‬ـﺎﻝ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﻤ‪ ‬ﺪ‪ ‬ﺃﺑ‪ ‬ﺎﺩ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨ‪ ‬ﺪ‪ ،‬ﻭﻣ‪ ‬ـﻦ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﻣﺒ‪ ‬ﺎﻧﻲ‪ ‬ﺍﻟﺒﺮﻟﻤ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑ‪ ‬ﻨﺠﻼﺩﻳﺶ‬ ‫‪۱۹۷٤ – ۱۹٦۳ ‬‬

‫‪1 ‬‬

‫‪see Ibid, pp. 1223 ‬‬ ‫‪Kenneth Frampton, ' Le Corbusier ' pp. 166 2 ‬‬ ‫‪3 ‬‬ ‫‪Louis Kahn, 'What Will be Has Always Been' pp.230‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺃﻭﺳﻜﺎﺭ‪ ‬ﻧﻴﻤﺎﻳﺮ ‪( ۰۰۰۰ – ۱۹۰۷ ) Oscar Niemeyer Soares Filho ‬‬ ‫‪ ‬ﺭﺍﺋﺪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﺍﻟﺒ‪ ‬ﺮﺍﺯﻳﻠﻴﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻋﻤﻞ‪ ‬ﻣﻊ‪ ‬ﻟﻮﺷﻴﻮ‪ ‬ﻛﻮﺳ‪ ‬ﺘﺎ‪ ،‬ﻭﻋﻤ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻷﻭﻝ‪ ‬ﻣ‪ ‬ﺮﺓ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺇﻧﺸﺎء‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺘﻌﻠﻴﻢ‪ ‬ﺑﺎﻟﺒﺮﺍﺯﻳﻞ‪ ‬ﻋﺎﻡ‪ ، ۱۹٤۳ ‬ﻭﻓﻲ‪ ‬ﺇﻧﺸﺎء‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﺒﺮﺍﺯﻳﻠ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﺍﻟﺪﻭﻟﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻴﻮﻳ‪ ‬ﻮﺭﻙ‬ ‫‪ ‬ﻋﺎﻡ‪ ، ۱۹۳۸ ‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﺍﻷﻣﻢ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ‬ﻋﺎﻡ‪ ۱۹٤۷ ‬ﻛﻌﻀﻮ‪ ‬ﻓﻲ‪ ‬ﻓﺮﻳ‪ ‬ﻖ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟ‪ ‬ﺪﻭﻟﻲ‪ ،‬ﻭ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﺃﺷ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻟﻤﺘ‪ ‬ﺄﺛﺮﻳﻦ‪ ‬ﺑﺄﻋﻤ‪ ‬ـﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﻋﻨ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻭﻓﺎﺗ‪ ‬ﻪ‪ " : ‬ﺇﻥ‪ ‬ﺣﻴ‪ ‬ﺎﺓ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﺮﺟ‪ ‬ﻞ‪ ‬ﺍﻟﻌﻈ‪ ‬ﻴﻢ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﻣﻌﺠ‪ ‬ﺰﺓ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻜﻔﺎﺡ‪ ‬ﺍﻟﻔﻨﻲ‪ ... ‬ﺃﻋﻄﺖ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﻛﻠﻪ‪ ‬ﺩﺭﺳﺎ‪ ‬ﻻ‪ ‬ﻳﻨﺴﻰ‪ ۱ " ‬ﻭﻗﺪ‪ ‬ﻗﺎﻝ‪ ‬ﻋﻨﻪ‪ ‬ﺍﻷﺧﻴﺮ‪ " : ‬ﺇﻧﻪ‪ ‬ﻳﻌﻤ‪ ‬ﻞ‪ ‬ﺑﻘﻠﺒ‪ ‬ﻪ‪ ‬ﻭﺗﻔﺎﺅﻟ‪ ‬ﻪ‪ ،‬ﻟﻘ‪ ‬ﺪ‪ ‬ﺃﺩﻯ‬ ‫‪ ‬ﻣﻬﻤﺘﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺧﻴﺮ‪ ‬ﻭﺟﻪ‪ ،‬ﺗﺮﺍﻩ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺼﻒ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻣﺜﻞ‪ ‬ﻟﻮﺷ‪ ‬ﻴﻮ‪ ‬ﻛﻮﺳ‪ ‬ﺘﺎ‪ ،‬ﺇﻧ‪ ‬ﻪ‪ ‬ﻣﻘﺎﺗ‪ ‬ﻞ‪ ‬ﺷ‪ ‬ﺠﺎﻉ‪ ،‬ﻭﺻ‪ ‬ﺪﻳﻖ‪ ‬ﻭﻓ‪ ‬ﻲ‪ ، ۲ " ‬ﻭﻗ‪ ‬ﺪ‬ ‫‪ ‬ﺍﺗﺴﻤﺖ‪ ‬ﻋﻤﺎﺭﺗﻪ‪ ‬ﺑﺎﻟﺤﺮﻛﺔ‪ ‬ﻭﺍﻟﺪﻳﻨﺎﻣﻴﻜﻴﺔ‪ ‬ﻭﺍﻗﺘﺮﺑﺖ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﺤﺖ‪ ‬ﻛﺜﻴﺮﺍ‪. ‬‬

‫‪ ‬ﻟﻮﺷﻴﻮ‪ ‬ﻛﻮﺳﺘﺎ ‪( ۱۹٦۳ – ۱۹۰۲ ) Lucio Costa ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺑﺮﺍﺯﻳﻠﻲ‪ ‬ﻭﺍﻋﺪ‪ ‬ﻭﺧﻄﻂ‪ ‬ﻣﺪﻥ‪ ‬ﻭﻣ‪ ‬ﺆﺭﺥ‪ ‬ﻓﻨ‪ ‬ﻲ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ،‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺍﻟﻤﻬﻨ‪ ‬ﺪﺱ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺌﻮﻝ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻭﺯﺍﺭﺓ‪ ‬ﺍﻟﺘﻌﻠ‪ ‬ﻴﻢ‬ ‫‪ ‬ﺑﺎﻟﺒﺮﺍﺯﻳﻞ‪ ، ( ۱۹٤۳ – ۱۹۳۷ ) ‬ﻭﺍﺧﺘ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺘﻨﺤ‪ ‬ﻲ‪ ‬ﻋﻨ‪ ‬ﻪ‪ ‬ﻟﻼﺳﺘﺸ‪ ‬ﺎﺭﻱ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻧﻈ‪ ‬ﺮﺍ‪ ‬ﻟﻌﻈ‪ ‬ﻢ‪ ‬ﺷ‪ ‬ﺄﻧﻪ‬ ‫ﻭﺗﺴﻠﻂ‪ ‬ﺭﺃﻳﻪ‪ ،‬ﻭﻗﺪ‪ ‬ﻧﺸﺄﺕ‪ ‬ﺑﻴﻨﻬﻤﺎ‪ ‬ﻋﻼﻗﺔ‪ ‬ﺻﺪﺍﻗﺔ‪ ‬ﻣﻦ‪ ‬ﺣﻴﻨﻬﺎ‪ ،‬ﻭﻗﺪ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻣﻌ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﺍﻟﺠﺎﻣﻌﻴ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‬

‫‪ 1 ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ‪۲۲۰ ‬‬ ‫‪2 ‬‬ ‫‪see, Petit, 'Le Corbusier Parle' pp.48‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺭﻳ‪ ‬ﻮ‪ ‬ﺩﻱ‪ ‬ﺟ‪ ‬ﺎﻧﻴﺮﻭ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹٥۹ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺷ‪ ‬ﻬﺮ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﺗﺨﻄﻴﻄ‪ ‬ﻪ‪ ‬ﻟﻠﻌﺎﺻ‪ ‬ﻤﺔ‪ ‬ﺍﻟﺒﺮﺍﺯﻳﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺮ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻄﺔ‬ ‫‪ ‬ﻟﺠﻨﺔ‪ ‬ﻋﺎﻟﻤﻴﺔ‪ ‬ﻋﺎﻡ‪ ، ۱۹٥٦ ‬ﻭﻧﻔﺬ‪ ‬ﺟﺰءﺍ‪ ‬ﻛﺒﻴﺮﺍ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻧﻴﻤﺎﻳﺮ‬

‫‪۱ ‬‬

‫‪ ‬ﺭﻳﺘﺸﺎﺭﺩ‪ ‬ﻣﺎﻳﺮ ‪( ۰۰۰۰ – ۱۹۳٤ ) Richard Meier ‬‬ ‫‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺻ‪ ‬ﺎﺣﺐ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‪ ‬ﺳ‪ ‬ﻤﻴﺚ ‪ ۱۹٦۷ – ٦٥ Smith House ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋﺒ‪ ‬ﺎﺭﺓ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺑﻴﻀ‪ ‬ﺎء‪ ‬ﺍﻟﻠ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﺨﺎﺭﺝ‪ ‬ﻭﺳﻂ‪ ‬ﺍﻟﺨﻀﺮﺓ‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ،‬ﻭﻫﻮ‪ ‬ﻳﺸ‪ ‬ﺒﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﺪ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺷ‪ ‬ﺘﺎﻳﻦ ‪ Stein ‬ﻟﻠﻮﻛﻮﺭﺑ‪ ‬ﻮﺯﻳﻴ‪ ‬ﻪ‪ ،‬ﻭﺭﻏ‪ ‬ﻢ‪ ‬ﻭﺻ‪ ‬ﻒ‬ ‫‪ ‬ﻣﺠﻠ‪ ‬ﺔ‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﺍﻧﺠﻠﻴﺰﻳ‪ ‬ﺔ‪ ‬ﻟﻬ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻨ‪ ‬ﺰﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻣﻮﺿ‪ ‬ﺔ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺍﻟﻌﺎﺋ‪ ‬ﺪﺓ‪ ‬ﺣﻴﻨﻬ‪ ‬ﺎ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﻣ‪ ‬ﺎﻳﺮ‪ ‬ﺃﺛﺒ‪ ‬ﺖ‪ ‬ﻏﻨ‪ ‬ﺎﻩ‬ ‫‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﺍﻟﺪﺍﺧﻠﻲ‪ ،‬ﻭﺗﻢ‪ ‬ﻭﺿﻊ‪ ‬ﺍﻟﻤﻨﺰﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺧﺮﻳﻄﺔ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﺍﻟﻤﺘﺨﺼﺼﻴﻦ‪. ‬‬ ‫‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﻣﺎﻳﺮ‪ ‬ﻣﻦ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻤﺘﺄﺛﺮﻳﻦ‪ ‬ﺑﻨﻘﺎﻁ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺨﻤﺴ‪ ‬ﺔ‪ ‬ﻟﻠﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ،‬ﻭﻛ‪ ‬ﺬ‪ ‬ﻟﻚ‪ ‬ﻧﻈﺮﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺤﺴ‪ ‬ﺎﺑﻴﺔ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻤﺎﺗﻪ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ،‬ﻭﺑﻔﻀ‪ ‬ﻞ‪ ‬ﻣﻨ‪ ‬ﺰﻝ‪ ‬ﺳ‪ ‬ﻤﻴﺚ‪ ‬ﻛﻠ‪ ‬ﻒ‪ ‬ﻣ‪ ‬ﺎﻳﺮ‪ ‬ﺑﻤﺸ‪ ‬ﺮﻭﻋﺎﺕ‪ ‬ﻋﻤﻼﻗ‪ ‬ﺔ‪ ‬ﻭﺿ‪ ‬ﻌﺖ‪ ‬ﺍﺳ‪ ‬ﻤﻪ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻣﺸ‪ ‬ﺎﻫﻴﺮ‬ ‫‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺣﺘﻰ‪ ‬ﻭﻗﺘﻨﺎ‪ ‬ﺍﻟﺤﺎﺿﺮ‬

‫‪۲ ‬‬

‫‪ ‬ﻛﻴﻨﺰﻭ‪ ‬ﺗﺎﻧﺞ ‪( ۲۰۰٥ – ۱۹۱۳ ) Kenzo Tange ‬‬ ‫‪ ‬ﻓﺎﺯ‪ ‬ﻓﻲ‪ ‬ﻣﺴﺎﺑﻘﺔ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺮﻛﺰ‪ ‬ﻫﻴﺮﻭﺷﻴﻤﺎ‪ ‬ﻟﻠﺴﻼﻡ ‪ peace center ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٤۹ ‬ﻭﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺑﻨ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻔ‪ ‬ﺲ‪ ‬ﻣﻮﻗ‪ ‬ﻊ‪ ‬ﺇﻟﻘ‪ ‬ﺎء‬ ‫‪ ‬ﺍﻟﻘﻨﺒﻠﺔ‪ ‬ﺍﻟﺬﺭﻳﺔ‪ ‬ﻋﻠﻴﻬﺎ‪ ،‬ﻭﻧﺠﺪ‪ ‬ﻣﻼﻣﺢ‪ ‬ﻭﺍﺿﺤﺔ‪ ‬ﻣﻦ‪ ‬ﻋﻤﺎﺭﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﺘﻠﻤ‪ ‬ﺬ‪ ‬ﺗ‪ ‬ﺎﻧﺞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻳ‪ ‬ﺪ‬ ‫‪ ‬ﻛﻮﻧﻴﻮ‪ ‬ﻣﺎﻳﻜﺎﻭﺍ ‪ Kunio Maekawa ‬ﺍﻟﺬﻱ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻭﺍﺋ‪ ‬ﻞ‪ ‬ﺍﻟﻴﺎﺑ‪ ‬ﺎﻧﻴﻴﻦ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﺗﻤﺮﺳ‪ ‬ﻮﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻜﺘ‪ ‬ﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺑﺎﺭﻳﺲ‬

‫‪۳ ‬‬

‫‪1 ‬‬

‫‪compare Harold Osborne, ' The Oxford Companion to Art ' pp. 285 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.108­109 2 ‬‬ ‫‪3 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.80­81‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﻦ‪ ‬ﺃﺷﻬﺮ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻻﺳﺘﺎﺩ‪ ‬ﺍﻷ‪ ‬ﻭﻟﻤﺒﻲ‪ ‬ﻓﻲ‪ ‬ﻃﻮﻛﻴﻮ‪۱۹٦٤ – ٦۰ ‬‬

‫‪ ‬ﺇﻳﺎﻧﺲ‪ ‬ﺯﻳﻨﺎﻛﺲ ‪( ۲۰۰۱ – ۱۹۲۲ ) Iannis Xenakis ‬‬ ‫‪ ‬ﻣﻮﺳﻴﻘﻲ‪ ‬ﻭﻣﻌﻤﺎﺭﻱ‪ ‬ﺭﻭﻣﺎﻧﻲ‪ ‬ﻣﻦ‪ ‬ﻋﺎﺋﻠﺔ‪ ‬ﻓﻨﻴﺔ‪ ‬ﺃﺣﺐ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻭﺩﺭﺱ‪ ‬ﺍﻟﻜﻤﺒﻴﻮﺗﺮ‪ ‬ﻟﻤﺴﺎﻋﺪﺗﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘ‪ ‬ﺄﻟﻴﻒ‪ ‬ﻭﺍﻟﺘﻮﺯﻳ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ‪ ،‬ﻗﺪﻡ‪ ‬ﺃﻃﺮﻭﺣﺘﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻷﺳﻤﻨﺖ‪ ‬ﺍﻟﻤﺴﻠﺢ‪ ‬ﻋﺎﻡ‪ ۱۹٤۷ ‬ﻭﺑﺪﺃ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﺪﻯ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻬﺎﻳ‪ ‬ﺔ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟ‪ ‬ﻌ‪ ‬ﺎﻡ‬ ‫‪ ‬ﻭﺣﺘﻰ‪ ۱۹٥۹ ‬ﺣﻴﺚ‪ ‬ﻟﻌﺐ‪ ‬ﺩﻭﺭﺍ‪ ‬ﺑﺎﺭﺯﺍ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻔﻬﻮﻡ‪ ‬ﺍﻷﻭﻟﻲ‪ ‬ﻟﻠﻤﺒﻨﻰ‪ ‬ﻭﺣﺘﻰ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭﻋﻠﻰ‪ ‬ﻛ‪ ‬ـﻞ‬ ‫‪ ‬ﻧﺴﺒﺔ‪ ‬ﺻﻐﻴﺮﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻌﻤﻞ‪. ‬‬ ‫‪ ‬ﻧﻈ‪ ‬ﻢ‪ ‬ﺯﻳﻨ‪ ‬ﺎﻛﺲ‪ ‬ﺣﻔﻠ‪ ‬ﺔ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‪ ‬ﺑﻤﺎﺭﺳ‪ ‬ﻴﻠﻴﺎ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٥۳ ‬ﺗ‪ ‬ﻢ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﺰﻑ‪ ‬ﺛﻼﺛ‪ ‬ﺔ‪ ‬ﺃﻧ‪ ‬ﻮﺍﻉ‬ ‫‪ ‬ﻣﻮﺳﻴﻘﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺛﻼﺛﺔ‪ ‬ﺃﻣﺎﻛﻦ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ،‬ﻭﻫﻲ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻰ‪ ‬ﺍﻟ‪ ‬ﻮﺍﻗﻌﻴﺔ‪ ،‬ﻭﺍﻟﺘﻘﻠﻴﺪﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻬﻨ‪ ‬ﺪ‪ ‬ﻭﺍﻟﻴﺎﺑ‪ ‬ﺎﻥ‪ ،‬ﻭﺍﻟﺠ‪ ‬ﺎﺯ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻧﺼ‪ ‬ﺒﻪ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻌ‪ ‬ﺪﻫﺎ‪ ‬ﻣ‪ ‬ﺪﻳﺮﺍ‪ ‬ﻟﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﺩﻳﺮﻻﺗﻮﺭﻳ‪ ‬ﺖ‪ ‬ﻭﺗ‪ ‬ﺮﻙ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻟﺼ‪ ‬ﻼﺣﻴﺎﺕ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ۱۹٥۷ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻭﺻ‪ ‬ﻒ‬ ‫‪ ‬ﺯﻳﻨ‪ ‬ﺎﻛﺲ‪ ‬ﻟﻠﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻗ‪ ‬ﺎﻝ‪ " : ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ،‬ﺑﻴﻨﻤ‪ ‬ﺎ‪ ‬ﺗﻄ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﺒﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺪﺍﺧﻠﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺼ‪ ‬ﻴﺒﻲ‪ ‬ﻋﺒ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻨﺎﻗﺸﺎﺕ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺮﻫﺒﺎﻥ‪" ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺍﺷ‪ ‬ﺘﺮﻙ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﻣﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻟﺜﻘﺎﻓ‪ ‬ﺔ‪ ‬ﻭﺍﻟﺸ‪ ‬ﺒﺎﺏ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓﻴﺮﻣﻴﻨ‪ ‬ﻲ‪ ،‬ﻭﺑ‪ ‬ﺪﺃ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻣﺨﻄﻄ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻤﻜﻠ‪ ‬ﻒ‪ ‬ﺑ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺒ‪ ‬ﻞ‪ ‬ﺷ‪ ‬ﺮﻛﺔ‪ ‬ﻓﻴﻠﻴ‪ ‬ﺒﺲ‪ ‬ﻹﻧﺸ‪ ‬ﺎﺋﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﻌ‪ ‬ﺮﺽ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻤﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﺮﻭﻛﺴ‪ ‬ﻞ‪ ‬ﻋ‪ ‬ﺎﻡ‪Philips ، ۱۹٥۸ ‬‬

‫‪ Pavilion, Brussels Word Exhibition ‬ﻭﺍﻟﻤﻜﻮﻥ‪ ‬ﻣﻦ‪ ‬ﺑﻨﺎء‪ ‬ﻣﺠﻮﻑ‪ ‬ﺫﻱ‪ ‬ﺗﺼ‪ ‬ﻮﺭﺟﺪﻳﺪ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﺇﻟﻜﺘﺮ‪ ‬ﻭﻧﻴ‪ ‬ﺔ‬ ‫‪1 ‬‬

‫‪Balint Andras Varga, ' Conversation with Xenakis ' pp. 23‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﺘﻌ‪ ‬ﺪﺩﺓ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻮﻳﺎﺕ ‪ multi­track ‬ﻛﻠ‪ ‬ﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﻬ‪ ‬ﺎ‪ ‬ﺇﺩﺟ‪ ‬ﺎﺭ‪ ‬ﻓ‪ ‬ﺎﺭﻳﺲ ‪ Edgar Varèse ‬ﻟﺘﺮﺍﻓ‪ ‬ﻖ‪ ‬ﺯﻣ‪ ‬ﻦ‪ ‬ﺍﻝ‬ ‫‪ ٤۸۰ ‬ﺛﺎﻧﻴﺔ‪ ‬ﻋﺒﺮ‪ ‬ﺍﻟﻌﺮﺽ‪ ‬ﺍﻟﺤﺮﻛﻲ‪ ‬ﺍﻟﻀﻮﺋﻲ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﺟﻬ‪ ‬ﺎﺯ‪ ‬ﺍﻟﻌ‪ ‬ﺮﺽ‪ ‬ﻟﻤﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ـﻦ‪ ‬ﺍﻟﻨﻤ‪ ‬ﺎﺫﺝ‪ ‬ﺍﻟﻤﻠﻮﻧ‪ ‬ـﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺍﺧﺘﺎﺭﻫ‪ ‬ﺎ‬ ‫‪ ‬ﺑﻨﻔﺴﻪ‪ ‬ﻗﺒﺎﻟﺔ‪ ‬ﺍﻷﺳﻄﺢ‪ ‬ﺍﻟﻤﻨﺤﻨﻴﺔ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﻤﺒﻨﻰ‪ ‬ﻓﻴﻠﻴﺒﺲ‪ ‬ﻓﻲ‪ ‬ﺍﻻﻓﺘﺘﺎﺡ‪ ،‬ﻭﻗﺪ‪ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﺯ‪ ‬ﻳﻨ‪ ‬ﺎﻛﺲ‪ ‬ﺍﺳ‪ ‬ﻤﻪ‪ ‬ﺟﻨﺒ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺟﻨ‪ ‬ﺐ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺍﺳﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﺑﻌﺪ‪ ‬ﺧﻼﻑ‪ ‬ﺑﻴﻨﻬﻤ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻗ‪ ‬ﺎﻝ‪ ‬ﺯﻳﻨ‪ ‬ﺎﻛﺲ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺘﻮﺯﻳ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻷﻭﺭﻛﺴﺘﺮﺍﻟﻲ‪ ‬ﻟﻤﻘﻄﻮﻋﺘﻪ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‪ ‬ﻣﻴﺘﺎﺳ‪ ‬ﺘﺎﺯﻳﺲ ‪ Metastasis ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹٥٤ ‬ﻭﺟ‪ ‬ﺪ‪ ‬ﻧﻈﺎﻣ‪ ‬ﺎ‪ ‬ﺗﻨﺎﺳ‪ ‬ﺒﻴﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺎﺱ‬ ‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻛﺎﻥ‪ ‬ﻣﺼﺪﺭﺍ‪ ‬ﺃﺗﺎﺡ‪ ‬ﻟﻪ‪ ‬ﺗﻨﻈﻴﻢ‪ ‬ﺍﻷﻭﺗﺎ‪ ‬ﺭ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺪﻭﺩﺓ‪ ‬ﻭﺍﻟﻤﺸ‪ ‬ﻜﻠﺔ‪ ‬ﻷﺳ‪ ‬ﻄﺢ‪ ‬ﺍﻟﻤﺒﻨ‪ ‬ﻰ‪ ،‬ﻭﻣ‪ ‬ﻦ‪ ‬ﺟﻬ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﻓ‪ ‬ﺘﺢ‬ ‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﻷﻭﻝ‪ ‬ﻣﺮﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪ ‬ﻻﺳﺘﻤﺮﺍﺭﻳﺔ‪ ‬ﺍﻟﺘﺤﻮﻝ‪ ‬ﺍﻟﺼﻮﺗﻲ‪ ‬ﺍﻹﻟﻜﺘﺮﻭﻧﻲ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺍﻵﻻﺕ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﺔ‬

‫‪۱ ‬‬

‫‪ ‬ﻭﺍﻫﺘﻤﺎﻡ‪ ‬ﺯﻳﻨﺎﻛﺲ‪ ‬ﺑﻬﻨﺪﺳﺔ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻨﺎﻗﺺ‪ ‬ﺃﻋﻄﺖ‪ ‬ﺣﺪﺓ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻌﺘﺎﺩﺓ‪ ‬ﻓﻲ‪ ‬ﻋﻼﻗﺘﻪ‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‬ ‫‪ ‬ﻭﻟﻊ‪ ‬ﺍﻷﺧﻴﺮ‪ ‬ﺑﺎﻟﻨﺴﺐ‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺴﺔ‪ ‬ﻭﻛﺬﻟﻚ‪ ‬ﺑﺎﻟﻬﻨﺪﺳﺔ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻟﻤﺘﻌﺎﻣﺪﺓ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻌﻮﺩ‪ ‬ﺇﻟﻰ‪ ‬ﺗﻘ‪ ‬ﺪﻳﺮﻩ‪ ‬ﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﻳ‪ ‬ﻮﺟﻴﻦ‪ ‬ﻓﺮﻳﺴ‪ ‬ﻴﻨﻴﻪ‬ ‫‪ Eugène Freyssinet ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﺸ‪ ‬ﺮﻳﻨﻴﺎﺕ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﻟﺴ‪ ‬ﻘﻒ‪ ‬ﺍﻟﻤﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻷﺑﺮﺷ‪ ‬ﻴﺔ‪ ‬ﺍﻟﻤﻠﺤﻘ‪ ‬ﺔ‪ ‬ﺑﻜﻨﻴﺴ‪ ‬ﺔ‪ ‬ﺍﻟﻌﺎﺋﻠ‪ ‬ـﺔ‬ ‫‪ ‬ﺍﻟﻤﻘﺪﺳﺔ‪ ‬ﻓﻲ‪ ‬ﺑﺮﺷﻠﻮﻧﺔ‪ ‬ﻷﻧﺘﻮﻧﻲ‪ ‬ﺟﺎﻭﺩﻱ‪ ‬ﻋﺎﻡ‪۱۹۰۹ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﺩﺭّﺱ‪ ‬ﺯﻳﻨﺎﻛﺲ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻰ‪ ‬ﻣﻦ‪ ‬ﻋﺎﻡ‪ ، ۱۹٦۳ ‬ﻭﻓﻲ‪ ‬ﻋﺎ‪ ‬ﻡ‪ ۱۹٦۷ ‬ﻧﺸﺮ‪ ‬ﻛﺘﺎﺏ‪ " ‬ﻧﺤﻮ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻰ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪Towards a " ‬‬ ‫‪ ، Metamusic ‬ﻭﻛﺘ‪ ‬ﺎﺏ‪ " ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﻓﻠﺴ‪ ‬ﻔﺔ‪ ‬ﻣﻮﺳ‪ ‬ﻴﻘﻴﺔ‪ " ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹٦۸ ‬ﻭﻛﺘ‪ ‬ﺎﺏ‪ " ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻤﻮﺳ‪ ‬ﻴﻘﻴﺔ‪Musique " ‬‬

‫‪ Architecture ‬ﻋﺎﻡ‪۱۹۷٦ ‬‬

‫‪ ‬ﺭﺍﻓﺎﻳﻴﻞ‪ ‬ﻣﻮﻧﻴﻮ ‪( ۱۹۹٤ – ۱۹۳۷ ) Rafael Moneo ‬‬ ‫‪ ‬ﻭﺭﺑﻤﺎ‪ ‬ﺗﺮﺟﻊ‪ ‬ﺷﻬﺮﺗﻪ‪ ‬ﺇﻟﻰ‪ ‬ﻭﺿﻮﺡ‪ ‬ﻣﺒﺎﺩﺉ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻃﺒﻘﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺘﺤﻒ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻲ‪ ‬ﻓﻲ‪ ‬ﻣﺪﺭﻳ‪ ‬ﺪ‪ ‬ﺑﺄﺳ‪ ‬ﺒﺎﻧﻴﺎ‬ ‫‪ ، ۱۹۸٥ – ۸۰ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺃﻫ‪ ‬ﺪﻯ‪ ‬ﺗﺤﻔﺘ‪ ‬ﻪ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﻘﻮﺍﻋ‪ ‬ﺪ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ،‬ﻭﻭﺻ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﻨﺼ‪ ‬ﺐ‬ ‫‪ ‬ﺭﺋﻴﺲ‪ ‬ﻣﺠﻠﺲ‪ ‬ﻗﺴﻢ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﻫﺎﺭﻓﺎﺭﺩ‪ ‬ﺣﺘﻰ‪ ‬ﻋﺎﻡ‪۱۹۹۰ ‬‬

‫‪1 ‬‬

‫‪see Xenakis, ' La Tourette ' pp. 147 ‬‬ ‫‪Kenneth Frampton, ' Le Corbusier ' pp. 181 2 ‬‬ ‫‪3 ‬‬ ‫‪see Sabine Thiel­Siling, 'Icon of Architecture' pp.146‬‬

‫‪۲۱۳ ‬‬

‫‪۳ ‬‬

‫‪ ‬ﺇﻳﻮ‪ ‬ﻣﻴﻨﺞ‪ ‬ﺑ‪ ‬ﺎ‪ ‬ﻱ ‪( ۰۰۰۰ – ۱۹۱۷ ) I. M. Pei : Ieoh Ming Pei ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺃﻣﺮﻳﻜﻲ‪ ‬ﻣﻦ‪ ‬ﺃﺻﻞ‪ ‬ﺻﻴﻨﻲ‪ ،‬ﺍﺗﺴﻤﺖ‪ ‬ﻋﻤﺎﺭﺗﻪ‪ ‬ﺑﺎﻟﺘﺠﺮﻳﺪ‪ ،‬ﻭﻗﺪ‪ ‬ﺫﻛ‪ ‬ﺮ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺳ‪ ‬ﻨﻮﺍﺕ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺘﻪ‪ ‬ﺍﻷﻛﺎﺩﻳﻤﻴ‪ ‬ﺔ‪ ‬ﻟ‪ ‬ﻢ‬ ‫‪ ‬ﻳﻜﻦ‪ ‬ﻫﻨﺎﻙ‪ ‬ﺃﺳﺎﺗﺬﺓ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ،‬ﻓﺘﺤﻮﻝ‪ ‬ﻫﻮ‪ ‬ﻭﺯﻣﻼﺅﻩ‪ ‬ﺇﻟﻰ‪ ‬ﻛﺘﺐ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻛﺎﻧ‪ ‬ﺖ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﻟﻬ‪ ‬ﻢ‪ ‬ﺑﻤﺜﺎﺑ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻨﺼﻒ‪ ‬ﺍﻵﺧﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﻌﻠﻴﻢ‪. ‬‬ ‫‪ ‬ﻣﻦ‪ ‬ﺃﺷﻬﺮ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻟﺰﺟﺎﺟﻲ‪ ‬ﻓﻲ‪ ‬ﻣﺘﺤﻒ‪ ‬ﺍﻟﻠﻮﻓﺮ‪ ‬ﺑﺒﺎﺭﻳﺲ‪۱۹۹۳ – ۸۳ ‬‬

‫‪ ‬ﺟﻮﺯﻳﻪ‪ ‬ﻟﻮﻳﺲ‪ ‬ﺳﺮﺕ ‪( ۱۹۸۳ – ۱۹۰۲ ) José Luis Sert ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺇﺳﺒﺎﻧﻲ‪ ‬ﻣﻦ‪ ‬ﺇﻗﻠﻴﻢ‪ ‬ﻛﺘﺎﻟﻮﻧﻴﺎ‪ ‬ﺷﻐﻞ‪ ‬ﻣﻨﺼﺐ‪ ‬ﺃﺳ‪ ‬ﺘﺎﺫ‪ ‬ﺯﺍﺋ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟﺎﻣﻌ‪ ‬ﺔ‪ ‬ﻳ‪ ‬ﺎﻝ‪ ‬ﺍﻷﻣﺮﻳﻜﻴ‪ ‬ﺔ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹٥۲ ‬ﺛ‪ ‬ﻢ‪ ‬ﻋﻤﻴ‪ ‬ﺪ‬ ‫‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺧﺮﻳﺠﻲ‪ ‬ﻫﺎﺭﻓﺎﺭﺩ‪ ‬ﻟﻠﺘﺼﻤﻴﻢ‪ ‬ﻣﻨﺬ‪ ‬ﻋﺎﻡ‪ ۱۹٥۳ ‬ﻭﺣﺘﻰ‪ ، ۱۹٦۹ ‬ﻛﻤﺎ‪ ‬ﺷﻐﻞ‪ ‬ﻣﻨﺼ‪ ‬ﺐ‪ ‬ﺭﺋ‪ ‬ﻴﺲ‪ ‬ﺟﻤﻌﻴ‪ ‬ﺔ ‪C.I.A.M ‬‬

‫‪ ، ‬ﺗ‪ ‬ﺄﺛﺮ‪ ‬ﺑﻤﺒ‪ ‬ﺎﺩﺉ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯ‪ ‬ﻳﻴ‪ ‬ﻪ‪ ‬ﺧﺼﻮﺻ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺒﻨ‪ ‬ﻰ‪ ‬ﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‪ ‬ﺑﻤﺎﺭﺳ‪ ‬ﻴﻠﻴﺎ‪ ،‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻃﺒ‪ ‬ﻖ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻣﺴ‪ ‬ﺎﻛﻦ‬ ‫‪ ‬ﺍﻟﺨﺮﻳﺠﻴﻦ‪ ‬ﻓﻲ‪ ‬ﻫﺎﺭﻓﺎﺭﺩ‪ ۱۹٦۳ – ۱۹٦۱ ‬ﺍﻟﻨﻘﺎﻁ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻭﺃﺿﺎﻑ‪ ‬ﺇﻟﻴﻬﺎ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺘﻘﺎﻟﻴ‪ ‬ﺪ‪ ‬ﺍﻟﻤﻌﺮﻭﻓ‪ ‬ﺔ‬ ‫‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻣﻦ‪ ‬ﺑﺎﺣﺔ‪ ‬ﺧﻠﻔﻴﺔ‪ ‬ﻣﻊ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻷﻟﻮﺍﻥ‪ ‬ﻭﺍﻟﻤﻼﻣﺲ‪ ‬ﺍﻟﻤﻼﺋﻤﺔ‪ ،‬ﻭﻫﺬﺍ‪ ‬ﺍﻟﻤﺸ‪ ‬ﺮﻭﻉ‪ ‬ﻳﻤﺜ‪ ‬ﻞ‪ ‬ﺇﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺇﺩﻣ‪ ‬ﺎﺝ‪ ‬ﻣﺒ ﺎﺩﺉ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺃﺳﺎﻟﻴﺐ‪ ‬ﻣﻌﻤﺎﺭﻳﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺩﻭﻥ‪ ‬ﺍﻟﺘﻘﻠﻴ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺷ‪ ‬ﺄﻥ‪ ‬ﻧﻈﺮﻳﺎﺗ‪ ‬ﻪ‪ ‬ﺃﻭ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺎﺣﻴ‪ ‬ﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪ ‬ﺍﺳﺘﻨﺴ‪ ‬ﺎﺧﻬﺎ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺩﻭﻥ‪ ‬ﻓﻬﻢ‬

‫‪۱ ‬‬

‫‪ ‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺨﻄﻴﻄ‪ ‬ﻪ‪ ‬ﻟﻤﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻟﻴﻤ‪ ‬ﺎ ‪ Lima ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺒﻴ‪ ‬ﺮﻭ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱۹٤۸ ‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻣﺸ‪ ‬ﺮﻭﻉ‪ ‬ﺇﻳﺴ‪ ‬ﺘﻮﻭﺩ‬ ‫‪ eastwood project ‬ﻋﻠﻰ‪ ‬ﺟﺰﻳﺮﺓ‪ ‬ﺭﻭﺯﻓﻠﺖ‪ ‬ﻓﻲ‪ ‬ﻧﻴﻮﻳﻮﺭﻙ‬

‫‪۲ ‬‬

‫‪ ‬ﺇﻳﺮﻭ‪ ‬ﺳﺎﺭﻳﻨ‪ ‬ﻴﻦ ‪( ۱۹٦۱ – ۱۹۱۰ ) Eero Saarinen ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺃﻣﺮﻳﻜﻲ‪ ‬ﻣﻦ‪ ‬ﺃﺻﻞ‪ ‬ﻓﻨﻠﻨ‪ ‬ﺪﻱ‪ ‬ﺍﺑ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺇﻟﻴ‪ ‬ﻞ‪ ‬ﺳ‪ ‬ﺎﺭﻳﻨﻴﻦ ‪ ، Eliel Saarinen ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻤﻌﺘ‪ ‬ﺮﻓﻴﻦ‬ ‫‪ ‬ﺑﻔﻀﻞ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺇﺫ‪ ‬ﻛﺎﻥ‪ ‬ﻳﻌﺘﺒﺮﻩ‪ ‬ﺃﻛﺒﺮ‪ ‬ﺍﻟﻤﻬﻨﺪﺳﻴﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﺳﺎﺭﻳﻨﻴﻦ‪ ‬ﻓﻜ‪ ‬ﺮﺓ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ " ‬ﺍﻟﻘﺒﺔ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ‪ " ‬ﻓﻲ‪ ‬ﻣﺸﺮﻭﻉ‪ ‬ﻧﺼﺐ‪ ‬ﺗﺬﻛﺎﺭﻱ‪ ‬ﻟﺠﻴﻔﺮﺳﻮﻥ‪ ‬ﻓﻲ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺳ‪ ‬ﺎﻧﺖ‪ ‬ﻟ‪ ‬ﻮﻳﺰ‪ ‬ﻭﻓ‪ ‬ﺎﺯ‬ ‫‪ ‬ﺑﺎﻟﺠﺎﺋﺰﺓ‪ ‬ﺍﻟﻤﺮﺻﻮﺩﺓ‪ ‬ﻟﻬﺬﻩ‪ ‬ﺍﻟﻤﺴﺎﺑﻘﺔ ‪ ، ۳ ‬ﻭﻗﺪ‪ ‬ﺍﺷﺘﺮﻙ‪ ‬ﻣﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪. ‬‬ ‫‪ ‬ﺷﺎﺭﻟﻮﺕ‪ ‬ﺑﻴﺮﻳﺎﻥ ‪( ۱۹۹۹ – ۱۹۰۳ ) Charlotte Perriand ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻳ‪ ‬ﺔ‪ ‬ﻭﻣﺼ‪ ‬ﻤﻤﺔ‪ ‬ﺃﺛ‪ ‬ﺎﺙ‪ ، ،‬ﺍﺷ‪ ‬ﺘﺮﻛﺖ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻭﺑ‪ ‬ﻴﻴ‪ ‬ﺮ‪ ‬ﺟﺎﻧﻮﺭﻳ‪ ‬ﻪ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹۲۹ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻜﺮﺳ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻄﻮﻳ‪ ‬ﻞ ‪ ، chaise longue ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻋﻤﻠ‪ ‬ﺖ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻛﺒﻴ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻴﻦ‪ ‬ﻣ‪ ‬ﻨﻬﻢ‪ ‬ﺟ‪ ‬ﻴﻦ‪ ‬ﺑﺮﻭﻓﻴ‪ ‬ﻪ ‪، Jean Prouve ‬‬ ‫‪ ‬ﻭﺑﻮﻝ‪ ‬ﻧﻴﻠﺴﻮﻥ ‪Paul Nelson ‬‬

‫‪1 ‬‬

‫‪Curtis, ' Le Corbusier: Ideas & Forms ' pp. 173 ‬‬ ‫‪Architectural Record, issue of August 1976 2 ‬‬ ‫‪3 ‬‬ ‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ ‪۱۱٦‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻫﺎﻳﺪﻱ‪ ‬ﻭﻳﺒﺮ‪( ۰۰۰۰ – ۱۹٤۱ ) Heidi Weber ‬‬ ‫‪ ‬ﻫﻲ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﺻﺎﺣﺒﺔ‪ ‬ﻣﺘﺤﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺯﻳﻮﺭﻳﺦ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﻓﺘ‪ ‬ﺘﺢ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱۹٦۷ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻭﻓ‪ ‬ﺎﺓ‪ ‬ﺻ‪ ‬ﺎﺣﺒﻪ‪ ‬ﻭﺻ‪ ‬ﺎﺣﺐ‬ ‫‪ ‬ﺗﺼﻤﻴﻤﻪ‪ ‬ﺑﻌﺎﻣﻴﻦ‪ ،‬ﻭﻗﺪ‪ ‬ﺃﺳﻤﺎﻩ‪ ‬ﺑﻴﺖ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﺑﺪﺃﺕ‪ ‬ﻣﻌﺮﻓﺘﻬﺎ‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻨﺬ‪ ‬ﻋﺎﻡ‪ ۱۹٥۸ ‬ﻭﻋﺒﺮ‪ ‬ﺍﻫﺘﻤﺎﻣﻬﺎ‪ ‬ﻭﻣﺘﺎﺑﻌﺘﻬﺎ‪ ‬ﺑﺄﻋﻤﺎﻟﻪ‪ ‬ﺍﺳﺘﻄﺎﻋﺖ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺣ‪ ‬ﻖ‪ ‬ﻋ‪ ‬ﺮﺽ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ‬ﺣﺼ‪ ‬ﺮﻳﺎ‪ ‬ﻃ‪ ‬ﻮﺍﻝ‪ ۳۰ ‬ﻋﺎﻣ‪ ‬ﺎ‪ ،‬ﻛﻤ‪ ‬ﺎ‪ ‬ﺃﻧﺘﺠ‪ ‬ﺖ‪ ‬ﺛﻼﺛ‪ ‬ﺔ‪ ‬ﻛﺮﺍﺳ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻤﻪ‪ ‬ﺑﺎﻹﺿ‪ ‬ﺎﻓﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﻜﺮﺳ‪ ‬ﻲ‪ ‬ﺍﻟﻄﻮﻳ‪ ‬ﻞ ‪ ، chaise longue ‬ﻭﻧﺸ‪ ‬ﺮﺕ‪ ‬ﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺳﻠﺴ‪ ‬ﻠﺔ‪ ‬ﺃﻋﻤﺎﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻜﺎﻣﻠ‪ ‬ﺔ‪ ،‬ﻭﺑﻌ‪ ‬ﺪ‪ ‬ﻭﻓﺎﺗ‪ ‬ﻪ‪ ‬ﺍﺳ‪ ‬ﺘﻤﺮﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻳﺼ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺃﻓﻜﺎﺭﻩ‪ ‬ﺣﻮﻝ‪ ‬ﺍﻟﻌﺎﻟﻢ‪. ‬‬

‫‪ ‬ﻣﺎﺭﻛﻮﺱ‪ ‬ﺑﻮﻟﻴﻮ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ ‪ ۳۱ ) Marcus Pollio Vitruvius ‬ﻕ‪ . ‬ﻡ‪ ۱٤ – . ‬ﻡ‪( ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻭﻣﻬﻨﺪﺱ‪ ‬ﻭﻛﺎﺗﺐ‪ ‬ﺭﻭﻣﺎﻧﻲ‪ ،‬ﻛﺘﺐ‪ ‬ﻗﺒﻞ‪ ‬ﺍﻟﻤﻴﻼﺩ‪ ‬ﺭﺳﺎﻟﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻣﻦ‪ ‬ﻋﺸ‪ ‬ﺮﺓ‪ ‬ﺃﺟ‪ ‬ﺰﺍء ‪De Architectura ‬‬

‫‪ Libri Decem ‬ﺗﻌﺘﺒﺮ‪ ‬ﺃﻗﺪﻡ‪ ‬ﻛﺘﺎﺏ‪ ‬ﺗﻜﻨﻮﻟﻮﺟﻲ‪ ‬ﻣﺘﺨﺼ‪ ‬ﺺ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻤﻮﺿ‪ ‬ﻮﻉ‪ ،‬ﺗﻀ‪ ‬ﻤﻦ‪ ‬ﺇﻧﺸ‪ ‬ﺎء‪ ‬ﺍﻟﻤﻌﺎﺑ‪ ‬ﺪ‪ ‬ﻭﺍﻟﻤﺴ‪ ‬ﺎﺭﺡ‬ ‫‪ ‬ﻭﺍﻟﻤﻨﺎﺯﻝ‪ ‬ﺍﻟﻤﺠﻤّﻌﺔ‪ ‬ﻭﺍﻟﻔﻴﻼﺕ‪ ،‬ﻭﻣﻮﺍﺩ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ،‬ﻭﺗﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟﻤ‪ ‬ﺪﻥ‪ ،‬ﻭﺍﻟﺘﺠﻤﻴ‪ ‬ﻞ‪ ،‬ﻭﺍﻟﻤ‪ ‬ﻮﺍﺭﺩ‪ ‬ﺍﻟﻤﺎﺋﻴ‪ ‬ﺔ‪ ،‬ﻭﺍﻟﻤﺎﻛﻴﻨ‪ ‬ﺎﺕ‪ ‬ﺷﺎﻣﻠ‪ ‬ـﺔ‬ ‫‪ ‬ﺍﻟﺴﺎﻋﺎﺕ‪ ‬ﺍﻟﺮﻣﻠﻴﺔ‪ ‬ﻭﺍﻟﻤﺎﺋﻴﺔ‪ ،‬ﻭﺍﺷﺘﻤﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﺍﻟﻨﻈﺮﻳﺔ‪ ‬ﻭﺍﻟﻌﻤﻠﻴﺔ‪ ،‬ﻭﻗﺪ‪ ‬ﺗﺒﻨﻰ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻟﻢ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻴﺤﻲ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺎﺕ‬ ‫‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻜﺘﺎﺏ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻟﻤﻴﻼﺩ‪ ‬ﻭﺗﻢ‪ ‬ﻧﺴﺨﻪ‪ ‬ﻭﺗﺮﺟﻤﺘﻪ‪ ‬ﺇﻟﻰ‪ ‬ﻛﻞ‪ ‬ﺍﻟﻠﻐﺎﺕ‪ ‬ﺍﻷﻭﺭﺑﻴﺔ‪ ‬ﺗﺒﺎﻋﺎ‪ ،‬ﻭﺗﻨﺎﻭﻟﻪ‪ ‬ﺑﺎﻟﺒﺤ‪ ‬ﺚ‪ ‬ﻭﺍﻟﺪﺭﺍﺳ‪ ‬ﺔ‪ ‬ﻣﺸ‪ ‬ﺎﻫﻴﺮ‬ ‫‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪ ‬ﻭﺻﻮﻻ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ ‪ ۱ ‬ﺇﻻ‪ ‬ﺃﻧﻪ‪ ‬ﻟﻢ‪ ‬ﻳﺴﺘﻄﻊ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺎﺏ‪ ‬ﺗﻔﺴ‪ ‬ﻴﺮ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺃﺻﻮﻟﻬﺎ‪ ‬ﺍﻟﺴﺎﺑ‪ ‬ﻘﺔ‪ ،‬ﺃﻭ‪ ‬ﻣﻄﺎﺑﻘﺔ‪ ‬ﻧﺴﺒﻬﺎ‪ ‬ﺑﻨﻈﺮﻳﺎﺕ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﺍﻟﻼﺣﻘﺔ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬؛‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﻭﺻﻒ‪ ‬ﺑﺎﻻﺩﻳﻮ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺴﺎﺩﺱ‪ ‬ﻋﺸﺮ‪ ‬ﺑﺄﺳﺘﺎﺫﻩ‪ ‬ﻭﻣﺮﺷﺪﻩ‪. ‬‬

‫‪1 ‬‬

‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 733‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻟﻴﻮﻥ‪ ‬ﺑﺎﺑﺘﻴﺴﺘﺎ‪ ‬ﺃﻟﺒﺮﺗﻲ ‪( ۱٤۷۲ – ۱٤۰٤ ) Leon Baptista Alberti ‬‬ ‫‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺭﺳ‪ ‬ﺎﻡ‪ ‬ﻭﻟﻐ‪ ‬ﻮﻱ‪ ‬ﻭﺷ‪ ‬ﺎﻋﺮ‪ ‬ﻭﻣﺒﺘﻜ‪ ‬ﺮ‪ ‬ﺷ‪ ‬ﻔﺮﺍﺕ‪ ‬ﻭﻓﻴﻠﺴ‪ ‬ﻮﻑ‪ ‬ﻭﻣﻮﺳ‪ ‬ﻴﻘﻲ‪ ‬ﻛﻌ‪ ‬ﺎﺯﻑ‪ ‬ﻭﻣﻐﻨ‪ ‬ﻲ‪ ‬ﻭﺑ‪ ‬ﺎﻟﻄﺒﻊ‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺇﻳﻄ‪ ‬ﺎﻟﻲ‪،‬‬ ‫‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻦ‪ ‬ﻛﺘﺐ‪ ‬ﻓﻲ‪ ‬ﻣﻮﺿﻮﻉ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺑﺎﻟﻼﺗﻴﻨﻴﺔ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ، ۱٤۳٥ ‬ﺛ‪ ‬ﻢ‪ ‬ﺃﻋ‪ ‬ﺎﺩ‪ ‬ﺍﻟﻜﺘﺎﺑ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﺎﻡ‪ ‬ﺍﻟﺘ‪ ‬ﺎﻟﻲ‪ ‬ﺑﺎﻹﻳﻄﺎﻟﻴ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭﺃﻫ‪ ‬ﺪﻯ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻫ‪ ‬ﺬﺍ ‪ Della Pittura ( On painting ) ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻔﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﺍﻟﻤﻌﺎﺻ‪ ‬ﺮﻳﻦ‪ ‬ﺃﻣﺜ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺩﻭﻧ‪ ‬ﺎﺗﻴﻠﻮ ‪ ، Donatello ‬ﺟﻴﺒﻴﺮﺗ‪ ‬ﻲ ‪ ، Ghiberti ‬ﻓﻴﻠﻴﺒ‪ ‬ﻮ‪ ‬ﺑﺮﻭﻧﻴﻠﻴﺸ‪ ‬ﻲ ‪ ، Filippo Brunelleschi ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﺩﻋ‪ ‬ﺎ‪ ‬ﺇﻟ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻻﺗﺠﺎﻩ‪ ‬ﺑﺎﻟﺘﺼﻮﻳﺮ‪ ‬ﻧﺤﻮ‪ ‬ﺍﻟﺤﺪﺍﺛ‪ ‬ﺔ‪ ،‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﺑﺎﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻔﻲ‪ ‬ﺍﻟﺤ‪ ‬ﻲ‪ ‬ﻟﻠﺠﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﺮﻛﺎﺗ‪ ‬ﻪ‪ ‬ﻭﺇﻳﻤﺎءﺍﺗ‪ ‬ﻪ‪ ‬ﻃﺒﻘ‪ ‬ﺎ‬ ‫‪ ‬ﻟﺤﺎﻟﺘ‪ ‬ﻪ‪ ‬ﺍﻟﻨﻔﺴ‪ ‬ﻴﺔ‪ ‬ﻭﺍﻟﻌﺎﻃﻔﻴ‪ ‬ﺔ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺍﺣﺘ‪ ‬ﻮﻯ‪ ‬ﻛﺘﺎﺑ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﻭﻝ‪ ‬ﻭﺻ‪ ‬ﻒ‪ ‬ﻋﻠﻤ‪ ‬ﻲ‪ ‬ﻟﺒﻨﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺑﻜﻮﻧ‪ ‬ﻪ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺗﺮﺻ‪ ‬ﺪ‬ ‫‪ ‬ﺍﻷﺟﺴ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻔ‪ ‬ﺮﺍﻍ‪ ،‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺮ‪ ‬ﺟﺪﻳ‪ ‬ﺪ‪ ‬ﺍ‪ ‬ﻋ‪ ‬ـﻠﻰ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ،‬ﻭﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻟﻌﻠ‪ ‬ﻢ‪ ‬ﺍﻹﺳ‪ ‬ﻘﺎﻁ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺰﻱ‪ ،‬ﻭﺃﻭﻝ‪ ‬ﺇﺟ‪ ‬ﺮﺍء‪ ‬ﻣ‪ ‬ـﻦ‬ ‫‪ ‬ﺇﺟﺮﺍءﺍﺕ‪ ‬ﻗﻮﺍﻋﺪ‪ ‬ﺍﻟﺘﻔﻜﻴﺮ‪ ‬ﺍﻟﻤﻨﻄﻘﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ ‪ ، ۱ ‬ﻭﻗﺪ‪ ‬ﺗﻤﻜ‪ ‬ﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺤﺪﻳ‪ ‬ﺪ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ‬ﻭﻗﻴ‪ ‬ﺎﺱ‪ ‬ﻣﻨﻈ‪ ‬ﻮﺭﻱ‪ ‬ﻟﻤﺮﺑ‪ ‬ﻊ‪ ‬ﻣﻌﻠ‪ ‬ﻮﻡ‬ ‫‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺪ‪ ‬ﺭﺅﻳﺔ‪ ‬ﻣﻌﻠﻮﻡ‪ ،‬ﻭﺗﻮﺻﻞ‪ ‬ﺇﻟﻰ‪ ‬ﺷﺒﻜﺔ‪ ‬ﻣﻨﻈﻮﺭﻳﺔ‪ ‬ﺃﺭﺿﻴﺔ‪ ‬ﻳﺴﺘﻄﻴﻊ‪ ‬ﺭﺳﻢ‪ ‬ﺃﻱ‪ ‬ﺷﻜﻞ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﻭﺗﺤﺪﻳ‪ ‬ﺪ‪ ‬ﺑﻌ‪ ‬ﺪﻩ‬ ‫‪ ‬ﺍﻟﻤﻨﻈﻮﺭﻱ‪ ‬ﻣﻤﺎ‪ ‬ﺣﻮﻟﻪ‪ ،‬ﻓﺘﻢ‪ ‬ﺍﻧﻌﻜﺎﺱ‪ ‬ﻧﻈﺮﻳﺎﺗﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﺨﺘﻠ‪ ‬ﻒ‪ ‬ﺗﻤﺎﻣ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻧﻌﻜ‪ ‬ﺎﺱ‪ ‬ﺍﻟﻤﻘ‪ ‬ﺎﻃﻊ‪ ‬ﺍﻟﻤﺨﺮﻭﻃﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ‪ ‬ﻋﻠﻴﻪ‪. ‬‬ ‫‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤﻠ‪ ‬ﻪ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻲ ‪ De re Aedificatoria ‬ﻣ‪ ‬ﺎ‪ ‬ﻳﻀ‪ ‬ﺎﻫﻲ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ،‬ﻓﺒﻌ‪ ‬ﺪ‪ ‬ﺃﻥ‪ ‬ﺃﻟﻬﻤﺘ‪ ‬ﻪ‪ ‬ﺭﺳ‪ ‬ﺎﻟﺔ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ،‬ﺗﻌﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻭﺍﻟﺘﺨﻄﻴﻂ‪ ‬ﺍﻟﻤﺪﻳﻨﻲ‪ ‬ﻛﻔﻦ‪ ‬ﻣﺪﻧﻲ‪ ‬ﻭ‪ ‬ﻧﺸﺎﻁ‪ ‬ﺇﻧﺴ‪ ‬ﺎﻧﻲ‪ ،‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﺑﻜﻮﻧ‪ ‬ﻪ‪ ‬ﺫﺍ‪ ‬ﻭﻇﻴﻔ‪ ‬ﺔ‪ ‬ﺩﻳﻨﻴ‪ ‬ﺔ‪ ،‬ﻭﻗ‪ ‬ﺪ‬ ‫‪ ‬ﺗﺮﺟﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻋﺪﺓ‪ ‬ﻟﻐﺎﺕ‪ ‬ﺑﺤﻠﻮﻝ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺜﺎﻣﻦ‪ ‬ﻋﺸﺮ‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺃﻟﺒﺮﺗ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﺑ‪ ‬ﺮﺯ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺘﻐﻴﻴ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﺼ‪ ‬ﺮ‪ ‬ﺍﻟﻨﻬﻀ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻧﻘﻠ‪ ‬ﺖ‪ ‬ﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺴ‪ ‬ﺎﻟﻚ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻭﻥ‬ ‫‪ ‬ﺍﻟﻮﺳ‪ ‬ﻄﻰ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﺘﻌﺒﻴ‪ ‬ﺮ‪ ‬ﺍﻟﺮﻣ‪ ‬ﺰﻱ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﺤﻘ‪ ‬ﺎﺋﻖ‪ ‬ﺍﻟﻼﻫﻮﺗﻴ‪ ‬ﺔ‪ ‬ﻟﻺﻧﺴ‪ ‬ﺎﻧﻴﺔ‪ ،‬ﻭﺍﻷﻓﻜ‪ ‬ﺎﺭ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻟﻠﻤ‪ ‬ﺬﻫﺐ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻠ‪ ‬ﻤ‪ ‬ﻲ‬ ‫‪1 ‬‬

‫‪William M. Ivins, Jr., ' Art & Geometry ' p. 68‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺍﻟﺬﻱ‪ ‬ﻣ‪ ‬ﻸ‪ ‬ﻛﺘﺎﺑﺎﺗ‪ ‬ﻪ‪ ‬ﻣﻤ‪ ‬ﺎ‪ ‬ﺃﻫﻠ‪ ‬ﻪ‪ ‬ﻟﻴﻜ‪ ‬ﻮﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺃﻭﺍﺋ‪ ‬ﻞ‪ ‬ﺍﻟﻔﻼﺳ‪ ‬ﻔﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻧﻴﻴﻦ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺷ‪ ‬ﻤﻠﺖ‪ ‬ﻣﻌﺎﺭﻓ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻮﻡ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺦ‪ ‬ﻭﺍﻟﺸ‪ ‬ﻌﺮ‬ ‫‪ ‬ﻭﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ،‬ﻭﻗﺎﻝ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺃﻧﻪ‪ ‬ﻻ‪ ‬ﻳﺘﺤﻘﻖ‪ ‬ﺑﺒﺴﺎﻃﺔ‪ ‬ﺍﻟﻨﻘﻞ‪ ‬ﺍﻟﺪﻗﻴﻖ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﻟﻜﻦ‪ ‬ﻋﺒ‪ ‬ﺮ‪ ‬ﺍﺧﺘﻴ‪ ‬ﺎﺭﺍﺕ‪ ‬ﻭﺗﺠ‪ ‬ﺎﺭﺏ‪،‬‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﻣﺎ‪ ‬ﺗُﺠﻤﻊ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺍﻟﻌﻴﻮﻥ‪ ‬ﺭﻏﻢ‪ ‬ﺃﻫﻮﺍﺋﻬﺎ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﻭﺻﻔﻪ‪ ‬ﺑﺎﻟﺘﻤ‪ ‬ﺎﺛﻞ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﺍﻟﺘﺎﻡ‪ ‬ﺍﻟﻤﺘﻨﺎﺳﺐ‪ ‬ﻓﻲ‪ ‬ﺃﺟﺰﺍﺋﻪ‬

‫‪۱ ‬‬

‫‪ ‬ﺻﻤﻢ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺃﻧﺪﺭﻳﺎ‪ ‬ﻓﻲ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﻣﺎﻧﺘﻮﺍ‪ ،‬ﻭﻛﻨﻴﺴﺔ‪ ‬ﺳﺎﻧﺖ‪ ‬ﻓﺮﺍﻧﺴﻴﺴﻜﻮ‪ ‬ﻓﻲ‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺭﻳﻤﻴﻨﻲ‪ ،‬ﻭﻣﻦ‪ ‬ﺃﻋﻈﻢ‪ ‬ﺍﻛﺘﺸﺎﻓﺎﺗﻪ‬ ‫‪ ‬ﻗﻮﻟﻪ‪ ‬ﺑﺄﻥ‪ ‬ﺍﻟﺼﻮﺭﺓ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﻘﻄﻊ‪ ‬ﻋﻤﻮﺩﻱ‪ ‬ﻣﻦ‪ ‬ﻣﺨﺮﻭﻁ‪ ‬ﺍﻟﺮﺅﻳﺔ‪. ‬‬ ‫‪ ‬ﺃﻧﺪﺭﻳﺎ‪ ‬ﺑﺎﻻﺩﻳﻮ ‪( ۱٥۸۰ – ۱٥۰۸ ) Andrea Palladio ‬‬ ‫‪ ‬ﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﺇﻳﻄ‪ ‬ﺎﻟﻲ‪ ‬ﺻ‪ ‬ﺎﺣﺐ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﺠ‪ ‬ﺎﻧﺲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻭﺍﻋﺘﻤﺎﺩﻫ‪ ‬ﺎ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ،‬ﻧﺸ‪ ‬ﺮ‪ ‬ﺩﻟ‪ ‬ﻴﻼ‬ ‫‪ ‬ﻟﻠﻌﻤﺎﺋﺮ‪ ‬ﺍﻟﺮﻭﻣﺎﻧﻴﺔ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ‪ ‬ﻋﺎﻡ‪ ۱٥٥٦ ‬ﺯﻭﺩﻩ‪ ‬ﺑﺎﻟﺮﺳﻮﻣﺎﺕ‪ ‬ﺍﻟﺘﻮﺿﻴﺤﻴﺔ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٥۷۰ ‬ﻛﺘ‪ ‬ﺐ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻧﻈﺮﻳﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺒﻨﺎء‪ ‬ﻣﺮﻓﻘﺎ‪ ‬ﺑﻬﺎ‪ ‬ﺭﺳ‪ ‬ﻮﻣﺎﺕ‪ ‬ﻟﺘﺼ‪ ‬ﻤﻴﻤﺎﺕ‪ ‬ﻣﺒﺎﻧﻴ‪ ‬ﻪ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﺛ‪ ‬ﺮ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺎﺏ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻹﻧ‪ ‬ﺠﻠﻴﺰﻳ‪ ‬ﺔ‪ ‬ﻟﻔﺘ‪ ‬ﺮﺓ‪ ‬ﻃﻮﻳﻠ‪ ‬ﺔ ‪، ۲ ‬‬ ‫‪ ‬ﻭﺑﺎﻟﻤﻘﺎﺭﻧﺔ‪ ‬ﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﺑﺎﻻﺩﻳﻮ‪ ‬ﻳﻬﺘﻢ‪ ‬ﺑﺎﻟﺮﺃﺳﻴﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺮﺍﺳﻲ‪ ‬ﺍﻟﺤ‪ ‬ﺮ‪ ،‬ﻭﻳﻬ‪ ‬ﺘﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺑﺎﻷﻓﻘﻴ‪ ‬ﺎﺕ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﺴ‪ ‬ﻘﻂ‬ ‫‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﺍﻟﺤﺮ‬

‫‪ ‬ﺟﻴﺎﻛﻮﻣﻮ‪ ‬ﺑﺎﺭﻭﺯﻱ‪ ‬ﺩﺍ‪ ‬ﻓﻴﺠﻨﻮﻻ‪( ۱٥۷۳ – ۱٥۰۷ ) Giacomo Barozzi Da Vignola ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺇﻳﻄﺎﻟﻲ‪ ‬ﻣﻌﺎﺻﺮ‪ ‬ﻟﺒﺎﻻﺩﻳﻮ‪ ‬ﻳﻌﺘﺒﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﺎﺗﺬ‪ ‬ﺓ‪ ‬ﺍﻟﻤﻨﻈّﺮﻳﻦ‪ ‬ﻓﻲ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ،‬ﺟﻤ‪ ‬ﻊ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘ‪ ‬ﺪﺭﻳﺲ‬ ‫‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺃﻟﺒﺮﺗﻲ‪ ‬ﻭﻧﻈﺮﻳﺔ‪ ‬ﺑﻴﻠﻴﺮﻳﻦ‪ ‬ﻭﺍﻧﺘﻬﻰ‪ ‬ﺑﻬﻢ‪ ‬ﺇﻟﻰ‪ ‬ﻧﺘﻴﺠﺔ‪ ‬ﻭﺍﺣﺪﺓ‪ ‬ﺗﻤﺖ‪ ‬ﻃﺒﺎﻋﺘﻬﺎ‪ ‬ﻓﻲ‪ ‬ﻛﺘﺎﺏ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ) ۱٥۸۳ ‬ﻋ‪ ‬ﺎﻡ‬ ‫‪ ‬ﻧﺸﺮ‪ ‬ﺍﻟﻜﻮﻣﻴ‪ ‬ﺪﻳﺎ‪ ‬ﺍﻹﻟﻬﻴ‪ ‬ﺔ‪ ‬ﻟ‪ ‬ﺪﺍﻧﺘﻲ ‪ ، ( Danti ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺻ‪ ‬ﺎﺣﺐ‪ ‬ﺃﻭﻝ‪ ‬ﻗﺒ‪ ‬ﺔ‪ ‬ﺑﻴﻀ‪ ‬ﺎﻭﻳﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗ‪ ‬ﺎﺭﻳﺦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﻨﻴﺴ‪ ‬ﺔ‬ ‫‪ ‬ﺳﺎﻧﺖ‪ ‬ﺃﻧﺪﺭﻳﺎ‪ ‬ﻓﻲ‪ ‬ﻓﻴﺎ‪ ‬ﻓﻼﻣﻴﻨﻴﺎ‪ ‬ﻋﺎﻡ‪ ، ۱٥٥٤ ‬ﻛﺘﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻄﺮﺯ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﺔ‪ ‬ﻋﺎﻡ‪۱٥٦۳ – ۱٥٦۲ ‬‬

‫‪1 ‬‬

‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 23 ‬‬ ‫‪see Ibid, pp. 807­808 2 ‬‬ ‫‪3 ‬‬ ‫‪see Harold Osborne, ' The Oxford Companion to Art ' pp. 1190‬‬

‫‪۲۱۳ ‬‬

‫‪۳ ‬‬

‫‪ ‬ﺟﻴﺮﺍﺭﺩ‪ ‬ﺩﻳﺴﺎﺭﺟﻮﺱ ‪( ۱٦٦۱ – ۱٥۹۱ ) Girard Desargues ‬‬ ‫‪ ‬ﻣﻬﻨ‪ ‬ﺪﺱ‪ ‬ﻭﻣﻌﻤ‪ ‬ﺎﺭﻱ‪ ‬ﻋﻠ‪ ‬ﻢ‪ ‬ﻧﻔﺴ‪ ‬ﻪ‪ ‬ﺑﻨﻔﺴ‪ ‬ﻪ‪ ،‬ﻭﺑﺴ‪ ‬ﻂ‪ ‬ﻣﻔ‪ ‬ﺮﺩﺍﺕ‪ ‬ﻋﻠ‪ ‬ـﻢ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭ‪ ‬ﺑﻬ‪ ‬ﺪﻑ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻧﺘﺸ‪ ‬ﺎﺭﻩ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﻭﺳ‪ ‬ﺎﻁ‬ ‫‪ ‬ﺍﻟﻌﺎﻣﻠﻴﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺠﺎﻻﺕ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻭﻣﺎ‪ ‬ﺃﺿﺎﻓﻪ‪ ‬ﻭﺍﻓﺘﺮﺿﻪ‪ ‬ﺩﻳﺴﺎ‪ ‬ﺭﺟﻮﺱ‪ ‬ﺑﻌﺪ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﻛﺒﻠﺮ‪ ‬ﻛﺎﻥ‪ ‬ﻟﻪ‪ ‬ﻛﺒﻴﺮ‪ ‬ﺍﻷﺛﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻧﺘﻘ‪ ‬ﺎﻝ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻣـﻦ‪ ‬ﺍﻟﻤﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻴﺎﺳ‪ ‬ﻴﺔ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺮﺣﻠ‪ ‬ﺔ‪ ‬ﺍﻟﻜﻴﻔﻴ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻤﻜﺎﻧﻴ‪ ‬ﺔ‪ ،‬ﻓﻘ‪ ‬ﺪ‪ ‬ﺭﺑ‪ ‬ﻂ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﻌﺎﻣ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﺴ‪ ‬ﺄﻟﺔ‬ ‫‪ ‬ﻫﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﺑﻌﻜ‪ ‬ﺲ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ،‬ﻭﻋ‪ ‬ﺮّﻑ‪ ‬ﺍﻟﺘ‪ ‬ﻮﺍﺯﻱ‪ ‬ﺗﻌﺮﻳﻔ‪ ‬ﺎ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺍ‪ ‬ﻻ‪ ‬ﻳﻘ‪ ‬ﻮﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻗﻴ‪ ‬ﺎﺱ‪ ‬ﺍﻟﺰﻭﺍﻳ‪ ‬ﺎ‪ ‬ﻭﻻ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺎﻓﺎﺕ‪ ‬ﺑ‪ ‬ﻴﻦ‬ ‫‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺎﺕ‪ ‬ﻭﻟ‪ ‬ﻜﻦ‪ ‬ﻋﻠﻰ‪ ‬ﻣﻜﺎﻥ‪ ‬ﻧﻘﻄﺔ‪ ‬ﺍﻟﺘﻘﺎﻃﻊ‪ ‬ﻓﻮﺿ‪ ‬ﻌﻬﺎ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻼﻧﻬﺎﻳ‪ ‬ﺔ‪ .. ‬ﻫ‪ ‬ﺬﻩ‪ ‬ﺍﻟﻘﻴﻤ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﺩﺧﻠﻬ‪ ‬ﺎ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻓﻌ‪ ‬ﺎﻝ‪ ‬ﻓ‪ ‬ـﻲ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻓﻠﻢ‪ ‬ﻳﻌﺪ‪ ‬ﻫﻨﺎﻙ‪ ‬ﻓﺮﻕ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺨﻂ‪ ‬ﺍﻟﻤﺴﺘﻘﻴﻢ‪ ‬ﻭﺍﻟﺪﺍﺋﺮﺓ‪ ‬ﺫﺍﺕ‪ ‬ﻧﺼﻒ‪ ‬ﺍﻟﻘﻄﺮ‪ ‬ﺍﻟﻼﻧﻬﺎﺋﻲ‬

‫‪۱ ‬‬

‫‪ ‬ﺃﻟﻒ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻋﺎﻡ‪ ۱٦۳٦ ‬ﻭﺃﺳﻤﺎﻩ‪ " ‬ﺍﻟﻤﻨﻈﻮﺭﺍﻟﺴﻠّﻤﻲ‪ perspective ladder " ‬ﺣﻴﺚ‪ ‬ﻭﺿّﺢ‪ ‬ﻟﻠﻔﻨ‪ ‬ﺎﻧﻴﻦ‪ ‬ﺇ‪ ‬ﻣﻜﺎﻧﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﻣﻨﻈﻮﺭ‪ ‬ﺻﺤﻴﺢ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻬﻢ‪ ‬ﺩﻭﻥ‪ ‬ﺍﻻﺳﺘﻌﺎﻧﺔ‪ ‬ﺑﻨﻘﻄﺔ‪ ‬ﺧﺎﺭﺝ‪ ‬ﺣﺪﻭﺩ‪ ‬ﻟﻮﺣﺎﺗﻬﻢ‬ ‫‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٦۳۷ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﺑﻌﻨ‪ ‬ﻮﺍﻥ ‪ ، Coordinate Geometry ‬ﻭﺍﻟﻜﺘ‪ ‬ﺎﺏ‪ ‬ﺍﻷﻫ‪ ‬ﻢ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺣﻴ‪ ‬ﺎﺓ‪ ‬ﺩﻳﺴ‪ ‬ﺎﺭﺟﻮﺱ‪ ‬ﻧﺸ‪ ‬ﺮ‬ ‫‪ ‬ﻋ‪ ‬ﺎﻡ‪ ۱٦۳۹ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺨﺮﻭﻃﻴ‪ ‬ﺔ‪ ‬ﻭﺍﺷ‪ ‬ﺘﻤﻞ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻌﺮﻳﻔﺎﺗ‪ ‬ﻪ‪ ‬ﺍﻟﺠﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻟﻠﺘ‪ ‬ﻮﺍﺯﻱ‪ ‬ﻭﻋﻼﻗﺘ‪ ‬ﻪ‪ ‬ﺑﺎﻟﻼﻧﻬﺎﻳ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭ‪ ‬ﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﺁﺧ‪ ‬ﺮ‪ ‬ﻓﻘ‪ ‬ﺮﺍﺕ‪ ‬ﺍﻟﻜﺘ‪ ‬ﺎﺏ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﺤﻠ‪ ‬ﻴﻼﺕ‪ ‬ﻟﺘﻘﺎﻃﻌ‪ ‬ﺎﺕ‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﻣﺴ‪ ‬ﺎﻗﻂ‪ ‬ﺃﻓﻘﻴ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺧﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﺘﻜ‪ ‬ﻮﻳﻦ‪ ‬ﺍﻟﻤﻨﻈ‪ ‬ﻮﺭﻱ‪،‬‬ ‫‪ ‬ﻭﺃﻭﺿﺢ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﺃﻥ‪ ‬ﺍﻟﺘﻘﺎﺭﺏ‪ ‬ﺍﻟﺒﺼﺮﻱ‪ ‬ﻟﻠﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺔ‪ ‬ﻫﻮ‪ ‬ﺍﻟﻨﺘﻴﺠ‪ ‬ﺔ‪ ‬ﺍﻟﻤﻨﻄﻘﻴ‪ ‬ﺔ‪ ‬ﻟﻠﺘﻌﺮﻳﻔ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻟﻠﻨﻘﻄ‪ ‬ﺔ‬ ‫‪ ‬ﻭﺍﻟﺨﻂ‪ ‬ﻭﺍﻟﻤﺴﺎﺣﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺗﺮﺗﻴﺐ‪ ‬ﻛﻞ‪ ‬ﻣﻨﻬﺎ‪ ‬ﺑﻐﺾ‪ ‬ﺍﻟﻨﻈﺮ‪ ‬ﻋﻦ‪ ‬ﺍﻻﻓﺘﺮﺍﺿﺎﺕ‪ ‬ﺍﻟﻘﻴﺎﺳﻴﺔ‪ ،‬ﻭﻫﺬﺍ‪ ‬ﺍﻟﺘﻘﺎﺭﺏ‪ ‬ﻟﻢ‪ ‬ﻳﻜﻦ‪ ‬ﻭﻫﻤﻴ‪ ‬ﺎ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺑﺴﻴﻄﺎ‪ ‬ﺑﻞ‪ ‬ﻫﻮ‪ ‬ﺑﺎﻟﻔﻌﻞ‪ ‬ﺃﺳﺎﺱ‪ ‬ﻫﻨﺪﺳﻲ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﺃﻱ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﻗﺎﻣﺖ‪ ‬ﻋﻠﻰ‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﺍﻟﺴﺒﺒﻲ‪ ،‬ﻭﻫﺬﺍ‪ ‬ﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻣ‪ ‬ﺎ‬ ‫‪ ‬ﺧﺮﻕ‪ ‬ﺍﻟﻔﻜﺮ‪ ‬ﺍﻟﻴﻮﻧﺎﻧ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺘﺄﺻﻞ‪ ‬ﻭﺍﻟﻤﺘﻤﺎﺳﻚ‪ ‬ﻟﻔﺘﺮﺓ‪ ‬ﻃﻮﻳﻠﺔ‪. ‬‬ ‫‪ ‬ﻟﻢ‪ ‬ﺗﻜﺘﺸﻒ‪ ‬ﻛﺘﺎﺑﺎﺕ‪ ‬ﺩﻳﺴﺎﺭﺟﻮﺱ‪ ‬ﺣﺘﻰ‪ ‬ﻣﻨﺘﺼﻒ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪. ‬‬

‫‪ ‬ﻓﺮﺍﻧﺴﻮﺍ‪ ‬ﺑﻠﻮﻧﺪﻝ‬

‫‪François Blondel ‬‬

‫‪ ‬ﻋﺎﺻﺮ‪ ‬ﻓﺘﺮﺓ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻟﻜﻼﺳﻴﻜﻴﺔ‪ ‬ﺍﻟﻔﺮﻧﺴﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﻧﺘﺸﺮﺕ‪ ‬ﻓﻴﻬﺎ‪ ‬ﺗﻌ‪ ‬ﺎﻟﻴﻢ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ،‬ﻭﺍﺗﺒ‪ ‬ﻊ‪ ‬ﻣﺒ‪ ‬ﺪﺃ‪ ‬ﺍﻟﺘﺨﻄ‪ ‬ﻴﻂ‪ ‬ﺍﻟﺘ‪ ‬ﻮﺍﻓﻘﻲ‬ ‫‪ Trame Harmonique ‬ﻟﻠﺤﺼﻮﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻻﺗﺰﺍﻥ‬

‫‪ ‬ﻳﻮﺟﻴﻦ‪ ‬ﻓﻴﻮﻟﻴﻪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ‪( ۱۸۷۹ – ۱۸۱٤ ) Eugène Violet le Duc ‬‬ ‫‪ ‬ﻭﻫﻮ‪ ‬ﺃﻭﻝ‪ ‬ﻣﻦ‪ ‬ﺃﻋﺠﺐ‪ ‬ﺑﺎﻟﺨﺎﻣﺎﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﻭﻛﻴﻔﻴﺔ‪ ‬ﺍﻻﺳ‪ ‬ﺘﻔﺎ‪ ‬ﺩﺓ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻛ‪ ‬ﻞ‪ ‬ﺣﺴ‪ ‬ﺐ‪ ‬ﺧﺼﺎﺋﺼ‪ ‬ﻬﺎ‪ ، ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺳ‪ ‬ﺒﻴﻞ‬ ‫‪ ‬ﺍﻟﻤﺜ‪ ‬ﺎﻝ‪ ‬ﺧﺎﻣ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺪﻳ‪ ‬ﺪ‪ ‬ﻻﺑ‪ ‬ﺪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﻮﻇﻴﻔﻬ‪ ‬ﺎ‪ ‬ﺗﺒﻌ‪ ‬ﺎ‪ ‬ﻟﺨﺼﺎﺋﺼ‪ ‬ﻬﺎ‪ ‬ﻭﻟ‪ ‬ﻴﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺤﺎﻛ‪ ‬ﺎﺓ‪ ‬ﻟﻐﻴﺮﻫ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺨﺎﻣ‪ ‬ﺎﺕ‪ ،‬ﻭﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‬ ‫‪ ‬ﺍﺣﺘ‪ ‬ﻮﺕ‪ ‬ﻣﺒﺎﻧﻴ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﺮﻛﻴﺒ‪ ‬ﺎﺕ‪ ‬ﻣﺆﻟﻔ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋ‪ ‬ﺪﺓ‪ ‬ﺧﺎﻣ‪ ‬ﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺗﺤ‪ ‬ﺎﻛﻲ‪ ‬ﻋﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻭﻥ‪ ‬ﺍﻟﻮﺳ‪ ‬ﻄﻰ‪ ،‬ﻭﺃﻛ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﻛﺘﺎﺑﺎﺗ‪ ‬ﻪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺿ‪ ‬ﺮﻭﺭﺓ‪ ‬ﻣﻌﺮﻓ‪ ‬ﺔ‪ ‬ﻣﺎﻫﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺨﺎﻣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﺨﺪﻣﺔ‪ ،‬ﺛ‪ ‬ﻢ‪ ‬ﺇﻋﻄﺎﺋﻬ‪ ‬ﺎ‪ ‬ﻭﻇﻴﻔﺘﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻤﻄﻠﻮﺑ‪ ‬ﺔ‪ ‬ﻣﻨﻬ‪ ‬ﺎ‪ ‬ﻟﺘﺨ‪ ‬ﺮﺝ‪ ‬ﻗﻮﺗﻬ‪ ‬ﺎ‬ ‫‪1 ‬‬

‫‪William M. Ivins, Jr., ' Art & Geometry ' p. 90‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻭﺍﻟﺸﻜﻞ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﻌﺒﺮ‪ ‬ﻋﻦ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ ،‬ﺛﻢ‪ ‬ﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﺍﺗﺨﺎﺫ‪ ‬ﻣﺒﺪﺃ‪ ‬ﻓﻲ‪ ‬ﻋﻤﻞ‪ ‬ﺍﻟﺮﺑﻂ‪ ‬ﺍﻟﻤﺘﺠﺎﻧﺲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺗﻨﺎﺳ‪ ‬ﺒﻲ‬ ‫‪ ‬ﻳﺮﺑﻂ‪ ‬ﺑﻴﻦ‪ ‬ﻛﻞ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ،‬ﻭﻳ‪ ‬ﺮﻯ‪ ‬ﻟ‪ ‬ﻮ‪ ‬ﺩﻙ‪ ‬ﺑﻮﺟ‪ ‬ﻮﺏ‪ ‬ﻧﻘ‪ ‬ﺎﻁ‪ ‬ﺍﻟﺮﺅﻳ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻻﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﻭﺫﻟ‪ ‬ﻚ‪ ‬ﻟﻌ‪ ‬ﻼﺝ‪ ‬ﺍﻟﺘﻨ‪ ‬ﺎﻗﺺ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﻳﺤ‪ ‬ﺪﺙ‬ ‫‪ ‬ﺑﺎﻻﺭﺗﻔ‪ ‬ﺎﻉ‪ ‬ﺃﻭ‪ ‬ﺍﻻ‪ ‬ﺭﺗ‪ ‬ﺪﺍﺩ‪ ‬ﺃﻭ‪ ‬ﺍﻟﺒ‪ ‬ﺮﻭﺯ‪ ،‬ﻭﻳﺆﻳ‪ ‬ﺪ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﻤﻌﺎﻟﺠ‪ ‬ﺎﺕ‪ ‬ﻟﺘﺼ‪ ‬ﺤﻴﺢ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻗ‪ ‬ﺪ‪ ‬ﺗﺘﻐﻴ‪ ‬ﺮ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺃﻣﺎﻛﻨﻬﺎ‪ ‬ﻭﺃﻭﺿﺎﻋﻬﺎ‪ ،‬ﻟﻜﻨﻪ‪ ‬ﻟﻢ‪ ‬ﻳﻀﻊ‪ ‬ﻗﻮﺍﻧﻴﻨﺎ‪ ‬ﺃﻭ‪ ‬ﻣﻌﺎﺩﻻﺕ‪ ‬ﺗﺤﻜﻢ‪ ‬ﻫﺬﻩ‪ ‬ﺍﻟﻤﻌﺎﻟﺠﺎﺕ‪. ‬‬ ‫‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻭﺟﻬ‪ ‬ﺔ‪ ‬ﻧﻈ‪ ‬ﺮ‪ ‬ﻟ‪ ‬ﻮ‪ ‬ﺩﻙ‪ ‬ﺗﻌﺒﻴ‪ ‬ﺮ‪ ‬ﻣﺨﻠ‪ ‬ﺺ‪ ‬ﻟﻤﻴ‪ ‬ﻮﻝ‪ ‬ﺍﻟﻌﺼ‪ ‬ﺮ‪ ‬ﻭﺭﻭﺣ‪ ‬ﻪ‪ ،‬ﻭﻻ‪ ‬ﻳﺠ‪ ‬ﺐ‪ ‬ﺃﻥ‪ ‬ﻳﻔ‪ ‬ﺮﺽ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺃﺳﻠﻮﺏ‪ ‬ﺃﻭ‪ ‬ﻃﺮﺍﺯ‪ ‬ﻣﻌﻴﻦ‪ ‬ﻷﻥ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺍﻟﻄﺮﺍﺯ‪ ‬ﺗﻜﻤﻦ‪ ‬ﻓﻲ‪ ‬ﺗﻜﺎﻣﻠﻪ‪ ‬ﻓﻴﻤﺎ‪ ‬ﻳﺮﺿﻲ‪ ‬ﺍﻟﻌﻘﻞ‪ ‬ﻭﺍﻷﺣﺎﺳﻴﺲ‪ ‬ﻷﻫﻞ‪ ‬ﻋﺼﺮﻩ‪. ‬‬ ‫‪ ‬ﺃﻭﺟﺴﺖ‪ ‬ﺛﻴﺮﺵ‬

‫‪( ۰۰۰۰ – ۱۸۸۹ ) August Thiersch ‬‬

‫‪ ‬ﻭﻫ‪ ‬ﻮ‪ ‬ﺃﺣ‪ ‬ﺪ‪ ‬ﻋﻠﻤ‪ ‬ﺎء‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺯﻳﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟ‪ ‬ﺬﻳﻦ‪ ‬ﺭﺑﻄ‪ ‬ﻮﺍ‪ ‬ﺍﻟﺠﻤ‪ ‬ﺎﻝ‪ ‬ﺃﻳﻀ‪ ‬ﺎ‪ ‬ﺑﺎﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ،‬ﻭﻧﻈﺮﻳﺘ‪ ‬ﻪ‪ ‬ﻫ‪ ‬ﻲ‪" ‬‬ ‫‪ ‬ﺃﺳﺎﺱ‪ ‬ﺍﻟﺘﺸﺎﺑﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﺍﻟﻌﺎﻡ‪ ‬ﻟﻸﺳﻄﺢ‪" ‬‬ ‫‪ ‬ﺑﺎﻛﻤﻨﺴﺘﺮ‪ ‬ﻓﻮﻟ‪ ‬ﺮ‪( ۱۹۸۳ – ۱۸۹٥ ) Buckminster Fuller ‬‬ ‫‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﻭﻣﺼﻤﻢ‪ ‬ﻭﻣﻄﻮﺭ‪ ‬ﻭﻛﺎﺗﺐ ‪ ‬ﺍﻛﺘﺴﺐ‪ ‬ﺷﻬﺮﺗﻪ‪ ‬ﻣﻦ‪ ‬ﺍﺑﺘﻜﺎﺭ‪ ‬ﺍﻟﻘﺒﺎﺏ‪ ‬ﺍﻟﺠﻴﻮﺩﻳﺴﻴﺔ ‪ geodesic domes ‬ﻛﺒﻴﺮﺓ‬ ‫‪ ‬ﺍﻟﺤﺠﻢ‪ ،‬ﺧﻔﻴﻔﺔ‪ ‬ﺍﻟﻮﺯﻥ‪ ‬ﻭﺍﻟﺜﺎﺑﺘﺔ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗﺖ‪ ، ‬ﻭﻫﻲ‪ ‬ﻋﺒﺎﺭﺓ‪ ‬ﻋﻦ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺿﺨﻤﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻷﻭﺟ‪ ‬ﻪ ‪ ‬ﺍﻟﻤﺜﻠﺜﺔ‪ ‬ﺍﻟﻤﻨﺘﺸﺮﺓ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﻄﺢ‪ ‬ﻛﺮﺓ‪ ‬ﻋﻤﻼﻗﺔ‪ ،‬ﻭ‪ ‬ﻗﺪ ‪ ‬ﺣﺼﻞ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻭﻝ‪ ‬ﺑﺮﺍء‪ ‬ﺓ‪ ‬ﺍﺧﺘﺮﺍﻉ‪ ‬ﻟﻬﺎ‪ ‬ﻋﺎﻡ ‪ ، ۱۹٥٤ ‬ﻛﺬﻟﻚ‪ ‬ﺻﻤﻢ ‪ ‬ﻣﻨﺎﺯﻝ‪ ‬ﺩﻳﻨﺎﻣﻴﻜﻴﺔ‬ ‫‪ ‬ﺫﺍﺕ‪ ‬ﺷﺪﺓ‪ ‬ﺗﻮﺗﺮ‪ ‬ﻋﺎﻟﻴﺔ ‪DYMAXION (DYnamic MAXimum tentION) ‬‬

‫‪ ‬ﻋﻴّﻦ‪ ‬ﻓﻮﻟ‪ ‬ﺮ‪ ‬ﺃﺳﺘﺎﺫﺍ‪ ‬ﻟﻠﻔﻦ‪ ‬ﻭﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻓﻲ‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺟﻨﻮﺏ‪ ‬ﺇﻟﻴﻨﻮﻱ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﺘﺮﺓ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ ‪ ۱۹٥۹ ‬ﺇﻟﻰ ‪ ۱۹۷۰ ‬ﺣﻴﺚ‪ ‬ﺣﺼﻞ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺟﺎﺋﺰﺓ‪ ‬ﺍﻟﻤﻴﺪﺍﻟﻴﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﻤﻌﻴﺔ‪ ‬ﺍﻷﻣﺮﻳﻜﻴﺔ‪ ‬ﻟﻠﻤﻌﻤﺎﺭﻳ‪ ‬ﻴﻦ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﺭﻏﻢ‪ ‬ﻋﺪﻡ‪ ‬ﺇﺗﻤﺎﻣﻪ‪ ‬ﻟﺪﺭﺍﺳﺘﻪ‪ ‬ﻓﻲ ‪ ‬ﺟﺎﻣﻌﺔ‬ ‫‪ ‬ﻫﺎﺭﻓﺎﺭﺩ‪ ،‬ﻭﺑﻌﺪ‪ ‬ﺫﻟﻚ‪ ‬ﺍﺳﺘﻤﺮ‪ ‬ﻓﻲ‪ ‬ﻣﺤﺎﺿﺮﺍﺗﻪ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻭﺍﻟﺒﺤﺚ‪ ‬ﻋﻦ‪ ‬ﻣﺼﺎﺩﺭ‪ ‬ﺍﻟﻄﺎﻗﺎﺕ‪ ‬ﺍﻟﻤﺘﺠﺪﺩﺓ‪ ‬ﺣﻮﻝ‪ ‬ﺍﻟﻌﺎﻟﻢ‬

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‫‪en.wikipedia.org‬‬

‫‪۲۱۳ ‬‬

‫‪۱ ‬‬

‫‪ ‬ﺃﻃﻠﻖ‪ ‬ﺍﺳﻤﻪ‪ ‬ﻋﻠﻰ‪ ‬ﻧﻮﻉ‪ ‬ﺟﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺑﻠﻮﺭﺍﺕ‪ ‬ﺍﻟﻜﺮﺑﻮﻥ ‪ ‬ﺍﻟﻤﻌﺪﻟﺔ‪ ‬ﺍﻟﺘﻲ ‪ ‬ﺍﻛﺘﺸﻔ‪ ‬ﺖ‪ ‬ﺣﺪﻳﺜﺎ‪ ‬ﻋﺎﻡ ‪ ، ۱۹۸٥ ‬ﺣﻴﺚ‪ ‬ﺗﺸﺎﺑﻬ‪ ‬ﺖ‪ ‬ﻣﻊ‬ ‫‪ ‬ﺇﺣﺪﻯ‪ ‬ﺧﺮﺍﺋﻄﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﻨﻮﻳﻌﺎﺕ‪ ‬ﺛﻼﺛ‪ ‬ﻴﺔ‪ ‬ﺍﻷﺑﻌﺎﺩ‪ ‬ﻟﻤﻨﺸﺂﺗﻪ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ، ‬ﻭﺗﺤﺘﻮﻱ‪ ‬ﻋﻠﻰ‪ ۱۲ ‬ﺫﺭﺓ‪ ‬ﻛﺮﺑﻮﻥ‪ ‬ﻓﻘﻂ‪ ‬ﻓﻲ‪ ‬ﺗﻜﻮﻳﻦ‬ ‫‪ ‬ﻳﺸﺎﺑﻪ‪ ‬ﺇﺛﻨﻲ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬

‫‪ ‬ﺳﻴﺪ‪ ‬ﻛﺮﻳﻢ ‪( ۰۰۰۰ – ۰۰۰۰ ) ‬‬ ‫‪ ‬ﻭﻫﻮ ‪ ‬ﻣﻌﻤﺎﺭﻱ ‪ ‬ﻣﺼﺮﻱ‪ ‬ﺗﺘﻠﻤﺬ ‪ ‬ﻋﻠﻰ ‪ ‬ﻳﺪ ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ ‪ ‬ﺳﺎﻟﻔﺴﺒﺮﺝ ‪ ‬ﻓﻲ ‪ ‬ﺟﺎﻣﻌﺔ ‪ ‬ﺯﻳﻮﺭﻳﺦ ‪ ‬ﺑﺴﻮﻳﺴﺮﺍ ‪ ، ‬ﻭﻗﺪ ‪ ‬ﻛﺎﻥ ‪ ‬ﻣﺘﺄﺛﺮﺍ‬ ‫‪ ‬ﺑﺎﺗﺠﺎﻩ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ،‬ﻭﻗﺎﻝ‪ ‬ﻋﻨﻪ ‪ ‬ﺍﻷﺧﻴﺮ‪ ‬ﻓﻲ‪ ‬ﻟ‪ ‬ﻘﺎء‪ ‬ﺑﻴﻨﻬﻤﺎ‪ " : ‬ﺇﻧﻚ‪ ‬ﺗﺠﻤﻊ‪ ‬ﺑﻴﻦ‪ ‬ﻭﺍﻗﻌﻴﺔ‪ ‬ﺃﺳﺘﺎﺫﻙ‪ ‬ﻭﺍﻻﺗﺠﺎﻩ‪ ‬ﺍﻟﺘﺤﺮﺭﻱ‬ ‫‪ ‬ﺍﻟﺨﻴﺎﻟﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺣﺎﻭﻝ‪ ‬ﺃﻥ‪ ‬ﺃﺳﻴﺮ‪ ‬ﻓﻴﻪ‪" ‬‬

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‫‪۱ ‬‬

‫‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﻤﺎﺩ‪ " ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺭﺍﺋﺪ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺗﺘﺒﻊ‪ ‬ﺍﻟﻮﻇﻴﻔﺔ‪ " ‬ﺹ ‪۱۱‬‬

‫‪۲۱۳ ‬‬

‫ﻣﻠﺨﺺ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺑﺎﻟﻠﻐﺔ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﻠﺨﺺ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺑﺎﻟﻠﻐﺔ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪­ : ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺍﻟﻔﻨﻮﻥ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷ‪ ‬ﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺎﻭﻟﺖ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‬

‫‪ ‬ﻭﻳﻌﺮﺽ‪ ‬ﻷﻫﻢ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺮﻭﺭﺍ‪ ‬ﺑﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪،‬‬ ‫‪ ‬ﻭﻓﺮﺍﻧﺴﻮﺍ‪ ‬ﺑﻠﻮﻧﺪﻝ‪ ،‬ﻭﻓﻴﻮﻟﻴﻪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ‪ ،‬ﻭﺃﻭﺟﺴ‪ ‬ﺖ‪ ‬ﺛﻴ‪ ‬ﺮﺵ‪ ،‬ﻭﻣﻮﺳ‪ ‬ﻴﻞ‪ ،‬ﻭﺩﻭﺭﺭ‪ ،‬ﻭﺣﺘ‪ ‬ﻰ‪ ‬ﺇﻳﺮﻧﺴ‪ ‬ﺖ‪ ‬ﻧﻴ‪ ‬ﻮﻓﺮﺕ‪ ،‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻴ‪ ‬ﺎﻥ‪ ‬ﺗﺤﻠﻴﻼﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﺍﻧﺘﻈﺎﻡ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺨﻀﻊ‪ ‬ﻟﻬﺎ‪ ) ‬ﺍﻟﻔﻴﻠﻮﺗﺎﻛﺴﺲ‪( ‬‬

‫‪ ‬ﻭﻳﺘﻌ‪ ‬ﺮﺽ‪ ‬ﻟﻨﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻧﺘﻈ‪ ‬ﺎﻡ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ‬ﻭﺛﻤ‪ ‬ﺎﺭﻩ‪ ‬ﻭﻣ‪ ‬ﺎ‪ ‬ﺗﺨﻀ‪ ‬ﻊ‪ ‬ﻟ‪ ‬ﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗ‪ ‬ﻮﺍﻧﻴﻦ‪ ،‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻴ‪ ‬ﺎﻥ‪ ‬ﺗﻘﺴ‪ ‬ﻴﻤﺎﺗﻬﺎ‪ ‬ﻭﺗﺤﻠﻴﻼﺗﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﻣﻘﺪﻣﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳ‪ ‬ﻦ‬

‫‪ ‬ﻭﻳﺘﺤ‪ ‬ﺪﺙ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺗ‪ ‬ﻮﺍﺯﻱ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻔ‪ ‬ﻦ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺗﻄﻮﺭﻫﻤ‪ ‬ﺎ‪ ‬ﺍﻟﺘ‪ ‬ﺎﺭﻳﺨﻲ‪ ‬ﺑ‪ ‬ﺪءﺍ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﻭﺣﺘ‪ ‬ﻰ‪ ‬ﺍﻟﻘ‪ ‬ﺮﻥ‬ ‫‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻓﻲ‪ ‬ﺇﺷﺎﺭﺓ‪ ‬ﺇﻟﻰ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‬

‫‪ ‬ﻭﻳﺴﺘﻌﺮﺽ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﻣﻌﺎﺩﻟﺘﻪ‪ ‬ﻭﻣﺘﺘﺎﻟﻴﺘ‪ ‬ﻪ‪ ‬ﻭﺭﺳ‪ ‬ﻢ‪ ‬ﺗﺤﻠﻴﻠ‪ ‬ﻲ‪ ‬ﻟ‪ ‬ﻪ‪ ،‬ﻭﺍﻟﻘﻄ‪ ‬ﺎﻉ‪ ‬ﺍﻟ‪ ‬ﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛ‪ ‬ﺐ‪ ‬ﻭﻣﻌﺎﺩﻟﺘ‪ ‬ﻪ‪ ‬ﻭﺭﺳ‪ ‬ﻤﻪ‬ ‫‪ ‬ﺍﻟﺘﺤﻠﻴﻠﻲ‪ ،‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‪ ‬ﻭﻣﻌﺎﺩﻟﺘﻪ‪ ‬ﻭﻣﺘﺘﺎﻟﻴﺘﻪ‪ ‬ﻭﺭﺳﻢ‪ ‬ﺗﺤﻠﻴﻠﻲ‪ ‬ﻟﻪ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﺭﺗﺒﻄﺖ‪ ‬ﺑﺎﻟﻨﺴﺐ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﻭﺍﻟﺬﻫﺒﻴﺔ‬ ‫‪ ‬ﺃﻭﻻ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪ ‬ﻭﻳﺘﻨ‪ ‬ﺎﻭﻝ‪ ‬ﺑﺎﻟﺸ‪ ‬ﺮﺡ‪ ‬ﻭﺍﻟﺘﺤﻠﻴ‪ ‬ﻞ‪ ‬ﺍﻷﻫﺮﺍﻣ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﺔ‪ ‬ﻛ‪ ‬ﻼ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣ‪ ‬ﺪﺓ‪ ‬ﻭﺍﻟﻤﺸ‪ ‬ﻬﺪ‪ ‬ﺍﻟﺠ‪ ‬ﺎﻣﻊ‪ ‬ﻟﻬ‪ ‬ﻢ‪ ‬ﻭﻋﻼﻗ‪ ‬ﺘﻬﻢ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﻭﻧﺴﺒﺔ‪ ، √ 3 ، √ 2 ‬ﻭﻣﺒﻨﻰ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‪ ‬ﻭﻋﻼﻗﺘﻪ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻣﻊ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺗﺤﻠﻴ‪ ‬ﻞ‪ ‬ﻟ‪ ‬ﻪ‪ ،‬ﻭﻛﺎﺗﺪﺭﺍﺋﻴ‪ ‬ﺔ‪ ‬ﻧ‪ ‬ﻮﺗﺮﺩﺍﻡ‪ ‬ﻓ‪ ‬ﻲ‬ ‫ﺃﻣﻴﻨﺰ‪ ‬ﻭﺍﺭﺗﺒﺎﻃﻬﺎ‪ ‬ﺑﺎﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻨﺤﺖ‬

‫‪ ‬ﻭﻳﺘﻨﺎﻭﻝ‪ ‬ﺑﺎﻟﺸﺮﺡ‪ ‬ﻭﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﺗﻤﺜﺎﻝ‪ ‬ﺩﺍﻭﻭﺩ‪ ‬ﻟﻤﺎﻳﻜﻞ‪ ‬ﺃﻧﺠﻠﻮ‪ ‬ﻭﻗﻴﺎﻣﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺨﺘﻠﻒ‪ ‬ﺗﻔﺎﺻﻴﻠﻪ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‬ ‫‪ ‬ﺛﺎﻟﺜﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‬

‫‪ ‬ﻭﻳﺘﻨ‪ ‬ﺎﻭﻝ‪ ‬ﺑﺎﻟﺸ‪ ‬ﺮﺡ‪ ‬ﻭﺍﻟﺘﺤﻠﻴ‪ ‬ﻞ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻠﻮﺣ‪ ‬ﺎﺕ‪ ‬ﻭﺍﺭﺗﺒﺎﻃﻬ‪ ‬ﺎ‪ ‬ﺍﻟﻮﺛﻴ‪ ‬ﻖ‪ ‬ﺑﺈﺣ‪ ‬ﺪﻯ‪ ‬ﺍﻟﻨﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺒﺔ‬ ‫‪ ‬ﻭﺍﻟﺘﻨﺎﺳ‪ ‬ﺐ‪ ‬ﺑﺪﺍﻳ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺟﻴﻮﺗ‪ ‬ﻮ‪ ،‬ﻭﺑﻴﺘ‪ ‬ﺮﻭ‪ ‬ﺑﻴﺮﻭﺟﻴﻨ‪ ‬ﻮ‪ ،‬ﻭﻟﻴﻮﻧ‪ ‬ﺎﺭﺩﻭ‪ ‬ﺩﺍﻓﻨﺸ‪ ‬ﻲ‪ ،‬ﻭﺭﺍﻓﺎﻳﻴ‪ ‬ﻞ‪ ،‬ﻭﺑﻮﺗﻴﺸ‪ ‬ﻴﻠﻲ‪ ،‬ﻭﺑﻴﻴ‪ ‬ﺮﻭ‪ ‬ﺩﻳ‪ ‬ﻼ‬ ‫‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ‪ ،‬ﻭﺟﻴﺮﺍﺭﺩﻱ‪ ‬ﺑﺎﺭﺑﺎﺭﻱ‪ ،‬ﻭﺣﺘﻰ‪ ‬ﺟﻮﺟﺎﻥ‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﺩﺭﺍﺳﺔ‪ ‬ﻓﻜﺮ‪ ‬ﻭﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻭﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺣﻴﺎﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬

‫‪ ‬ﻭﻳﺘﻨﺎﻭﻝ‪ ‬ﺑﺎﻟﺘﻔﺼﻴﻞ‪ ‬ﺗﺮﺟﻤﺔ‪ ‬ﺣﻴﺎﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻊ‪ ‬ﻣﺎ‪ ‬ﺗﺤﻤﻠﻪ‪ ‬ﻛﻞ‪ ‬ﺳﻨﺔ‪ ‬ﻣﻦ‪ ‬ﺃﺣﺪﺍﺙ‪ ‬ﺳﻮﺍء‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻨﺤﺖ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ،‬ﻣﻊ‪ ‬ﺧﻼ‪ ‬ﻝ‪ ‬ﺍﻟﻌﺪﻳﺪ‪ ‬ﻣﻦ‪ ‬ﺁﺭﺍﺋﻪ‪ ‬ﻭﻓﻜﺮﻩ‪ ‬ﻭﻧﻈﺮﻳﺎﺗﻪ‪ ،‬ﻳﺘﺨﻠﻠﻬﺎ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﺘﺤﻠﻴﻼﺕ‪ ‬ﻭﺍﻟﺼﻮﺭ‪ ‬ﺍﻟﺘﻮﺿﻴﺤﻴﺔ‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬

‫‪ ‬ﻭﻳﻘ‪ ‬ﺪﻡ‪ ‬ﺷ‪ ‬ﺮﺣﺎ‪ ‬ﺗﻔﺼ‪ ‬ﻴﻠﻴﺎ‪ ‬ﻟﻤﺒ‪ ‬ﺎﺩﺉ‪ ‬ﻣﺪﺭﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﻧﺸ‪ ‬ﺄﻫﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻭﺃﻭﺯﻧﻔ‪ ‬ﺎﻥ‪ ‬ﻭﺃﻫ‪ ‬ﺪﺍﻓﻬﺎ‪ ‬ﻭﺗﻌﺎﻣﻠﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻊ‬ ‫‪ ‬ﺍﻷﺟﺴﺎﻡ‪ ‬ﻭﺍﻟﻤﻮﺿﻮﻋﺎﺕ‪ ‬ﻭﺍﻟﻨﺴﺐ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻟﻤﺜﺎﻟﻴﺔ‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪ ‬ﻭﻳﻌﺮﺽ‪ ‬ﻟﻤﻔﻬﻮﻡ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺗﻄﻮﺭﻩ‪ ‬ﻋﺒﺮ‪ ‬ﺍﻟﺴﻨﻴﻦ‪ ‬ﺑﺪﺍﻳﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‪ ‬ﺣﺘﻰ‪ ‬ﺁﺧﺮ‪ ‬ﺣﻴﺎﺗﻪ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﻣﻮ‪ ‬ﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻣﺮﺍﺣﻞ‪ ‬ﺗﻄﻮﺭﻩ‬

‫‪ ‬ﻭﻳﺴﺘﻌﺮﺽ ‪ ‬ﺗﻄﻮﺭ ‪ ‬ﻓﻜﺮﺓ ‪ ‬ﻧﺸﻮء ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻫﻨﺪﺳﻴﺎ ‪ ‬ﻭﺍﻋﺘﻤﺎﺩﻩ ‪ ‬ﻋﻠﻰ ‪ ‬ﻋﺪﺓ ‪ ‬ﻧﻈﺮﻳﺎﺕ ‪ ‬ﺳﺒﻘﺘﻪ ‪ ‬ﻭﻋﺒﻮﺭﻩ ‪ ‬ﻣﺮﺣﻠﺔ‬ ‫‪ ‬ﺍﻟﺘﺠﺮﻳﺐ‪ ‬ﺣﺘ‪ ‬ﻰ‪ ‬ﻭﺻﻮﻟﻪ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﺘﻜﺎﻣﻞ‪ ‬ﻣﻊ‪ ‬ﻧﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ،‬ﻣﻊ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﻭﻧﻤﺎﺫﺝ‪ ‬ﺗﻮﺿﻴﺤﻴﺔ‪ ‬ﻟﻠﻌﻼﻗﺎﺕ‬ ‫‪ ‬ﻭﺍﻟﻤﻌﺎﺩﻻﺕ‪ ‬ﻭﺍﻷﺭﻗﺎﻡ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺍﻟﻤﺒﻨﻲ‪ ‬ﻋﻠﻴﻬﺎ‪ ،‬ﺛﻢ‪ ‬ﺑﻴﺎﻥ‪ ‬ﺑﻌﺾ‪ ‬ﺣﺎﻻﺕ‪ ‬ﺍﺳﺘﺨﺪﺍﻣﻪ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﻧﻌﻜﺎﺱ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻮﺍﺣﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭﺍﻟﻌﻤﺎﺭ‪ ‬ﺓ‬ ‫‪ ‬ﻭﻳﺒﻴﻦ ‪ ‬ﻣﺪﻯ ‪ ‬ﺍﻧﻌﻜﺎﺱ ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟ‪ ‬ﻔﻜﺮ ‪ ‬ﺍﻟﻔﻨﻲ ‪ ‬ﻭﺍﻟﻤﻌﻤﺎﺭﻱ ‪ ‬ﻣﻦ ‪ ‬ﺧﻼﻝ ‪ ‬ﻋﺪﺓ ‪ ‬ﺁﺭﺍء ‪ ‬ﻟﻔﻨﺎﻧﻴﻦ ‪ ‬ﻭﻣﻌﻤﺎﺭﻳﻴﻦ‬ ‫ﻭﺭﻳﺎﺿﻴﻴﻦ‪ ‬ﺣﻮﻟﻪ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺩﺱ‪ : ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻤﺎﺫﺝ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬ ‫‪ ‬ﻭﻳﺘﻨ‪ ‬ﺎﻭﻝ‪ ‬ﻓ‪ ‬ﻴﻼ‪ ‬ﺳ‪ ‬ﺎﻓﻮﺍ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺑﻮﺍﺳ‪ ‬ﻲ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺗﺤﻠ‪ ‬ﻴﻼﺕ‪ ‬ﻟﻤﺴ‪ ‬ﺎﻗﻄﻬﺎ‪ ،‬ﻭﺍﻟﻮﺣ‪ ‬ﺪﺓ‪ ‬ﺍﻟﺴ‪ ‬ﻜﻨﻴﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﺎﺭﺳ‪ ‬ﻴﻠﻴﺎ‪ ‬ﻣ‪ ‬ﻊ‪ ‬ﺑﻴ‪ ‬ﺎﻥ‪ ‬ﻓﻠﺴ‪ ‬ﻔﺘﻬﺎ‬ ‫‪ ‬ﻭﺗﺤﻠﻴﻼﺕ‪ ‬ﻟﻤﺴﺎﻗﻄﻬﺎ‪ ،‬ﻭﻛﻨﻴﺴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﺩﻭﻫﻮ‪ ‬ﻓﻲ‪ ‬ﺭﻭﻧﺸﺎﻡ‪ ‬ﻣﻊ‪ ‬ﺑﻴﺎﻥ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻟﻬ‪ ‬ﺎ‪ ،‬ﻭﺃﺧﻴ‪ ‬ﺮﺍ‪ ‬ﺗﺨﻄ‪ ‬ﻴﻂ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻟﻤﺪﻳﻨﺔ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﻨﺪ‪ ‬ﻣﻊ‪ ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻣﺒﻨﻰ‪ ‬ﻓﻴﻬﺎ‪ ‬ﻳﺒﻴﻦ‪ ‬ﻓﻜﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ ‬ﺍﻟﺤﺪﻳﺚ‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺑﻊ‪: ‬‬

‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‬

‫‪ ‬ﻭﻳﺘﻨﺎﻭﻝ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻋﺪﻳﺪﺓ‪ ‬ﻟﻤﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺗﻄﻮﺭ‪ ‬ﺯﻣﻨﻲ‪ ‬ﺗﺪﺭﻳﺠﻲ‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﺃﻧﻈﻤﺔ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﺭﺑ‪ ‬ﻄﺖ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺑﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬

‫‪ ‬ﻭﻳﺆﻛﺪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺍﻟﻮﺛﻴﻘﺔ‪ ‬ﺑﻴﻦ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻭﺍﻟﻤﻮﺩﻳﻮﻝ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺍﻟﺤﺴﺎﺑﻲ‬ ‫‪ ‬ﺍﻟﻔﺼ‪ ‬ﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑ‪ ‬ﺎﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‬

‫‪ ‬ﻭﻳﺒﻴﻦ ﻭﺟﻮﺩ‪ ‬ﻋﻼﻗﺔ‪ ‬ﻗﻮﻳﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺍﻟﻤﺮﺍﺟﻊ‬ ‫‪ ‬ﺍﻻﺳﺘﺮﺷﺎﺩ‪ ‬ﺑﻌﻠﻢ‪ ‬ﺍﻟﻴﻘﻴﻦ‪ : ‬ﺍﻟﻘﺮﺁﻥ‪ ‬ﺍﻟﻜﺮﻳﻢ‬ ‫‪ ‬ﺃﻭﻻ‪ : ‬ﺍﻟﻤﺮﺍﺟﻊ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪­ : ‬‬ ‫‪ ‬ﺃ ‪ ­ ‬ﺍﻟﻤﻌﺎﺟﻢ‪ ‬ﻭﺍﻟﻘﻮﺍﻣﻴﺲ‪: ‬‬ ‫‪ . ۱ ‬ﺛﺮﻭﺕ‪ ‬ﻋﻜﺎﺷﺔ‪ ،‬ﺍﻟﻤﻌﺠﻢ‪ ‬ﺍﻟﻤﻮﺳﻮﻋﻲ‪ ‬ﻟﻠﻤﺼﻄﻠ‪ ‬ﺤﺎﺕ‪ ‬ﺍﻟﺜﻘﺎﻓﻴﺔ‪ ) ‬ﺍﻧﺠﻠﻴﺰﻱ ‪ – ‬ﻓﺮﻧﺴﻲ ‪ – ‬ﻋﺮﺑﻲ‪ ، ( ‬ﺍﻟﺸﺮﻛﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‬ ‫‪ ‬ﻟﻠﻨﺸﺮ ‪ – ‬ﻟﻮﻧﺠﻤﺎﻥ‬ ‫‪ . ۲ ‬ﺩ‪ . ‬ﻣﺤﻤ‪ ‬ﺪ‪ ‬ﻏﻴﻄ‪ ‬ﺎﺱ‪ ،‬ﻗ‪ ‬ﺎﻣﻮﺱ‪ ‬ﺍﻟﻤﺼ‪ ‬ﻄﻠﺤﺎﺕ‪ ‬ﺍﻷﺛﺮﻳ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻔﻨﻴ‪ ‬ﺔ‪ ) ‬ﺍﻧﺠﻠﻴ‪ ‬ﺰﻱ ‪ – ‬ﻓﺮﻧﺴ‪ ‬ﻲ ‪ – ‬ﻋﺮﺑ‪ ‬ﻲ‪ ، ( ‬ﺣﻠﻤ‪ ‬ﻲ‪ ‬ﻋﺰﻳ‪ ‬ﺰ‪ ،‬ﺍﻟﺸ‪ ‬ﺮﻛﺔ‬ ‫‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻌﺎﻟﻤﻴﺔ‪ ‬ﻟﻠﻨﺸﺮ ‪ – ‬ﻟﻮﻧﺠﻤﺎﻥ‬ ‫‪ . ۳ ‬ﻣﻨﻴﺮ‪ ‬ﺍﻟﺒﻌﻠﺒﻜﻲ‪ ،‬ﺍﻟﻤﻮﺭﺩ‪ ، ‬ﺩﺍﺭ‪ ‬ﺍﻟﻌﻠﻢ‪ ‬ﻟﻠﻤﻼﻳﻴﻦ‪ ،‬ﺑﻴﺮ‪ ‬ﻭﺕ‪۱۹۹۸ ،‬‬ ‫‪ ‬ﺏ ‪ ­ ‬ﺍﻟﻜﺘﺐ‪: ‬‬ ‫‪ . ۱ ‬ﺃﻟﻔﺖ‪ ‬ﻳﺤﻴﻰ‪ ‬ﺣﻤﻮﺩﺓ‪ " ،‬ﻧﻈﺮﻳﺎﺕ‪ ‬ﻭﻗﻴﻢ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۸۱ ،‬‬ ‫‪ . ۲ ‬ﺍﻳﺮﻧﺴﺖ‪ ‬ﻧﻴﻮﻓﺮﺕ‪ " ،‬ﻋﻨﺎﺻﺮ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‪ ‬ﻭﺍﻹﻧﺸﺎء‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ، " ‬ﺗﺮﺟﻤﺔ‪ ‬ﻭﺇﻋﺪﺍﺩ‪ ‬ﻡ‪ . ‬ﺭﺑﻴﻊ‪ ‬ﻣﺤﻤ‪ ‬ﺪ‪ ‬ﻧ‪ ‬ﺬﻳﺮ‪ ‬ﺍﻟﺤﺮﺳ‪ ‬ﺘﺎﻧﻲ‪ ،‬ﻣﻄﺒﻌ‪ ‬ﺔ‬ ‫‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﺐ‪ ، ‬ﺩ‪ / ‬ﺕ‬ ‫‪ . ۳ ‬ﺟﺎﻣﻴﺴ‪ ‬ﻮﻥ‪ ‬ﻫ‪ ‬ﺎﺭﻱ‪ " ،‬ﺇﻳﻤﺤﺘ‪ ‬ﺐ‪ ‬ﺇﻟ‪ ‬ﻪ‪ ‬ﺍﻟﻄ‪ ‬ﺐ‪ ‬ﻭﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ، " ‬ﺗﺮﺟﻤ‪ ‬ﺔ‪ ‬ﻣﺤﻤ‪ ‬ﺪ‪ ‬ﺍﻟﻌ‪ ‬ﺰﺏ‪ ‬ﻣﻮﺳ‪ ‬ﻰ‪ ،‬ﻣﻄﺒﻌ‪ ‬ﺔ‪ ‬ﻫﻴﺌ‪ ‬ﺔ‪ ‬ﺍﻵﺛ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪،‬‬ ‫‪ ‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۸۸ ،‬‬ ‫‪ . ٤ ‬ﺩ‪ . ‬ﺣﺴﺎﻥ‪ ‬ﻗﺒﻴﺴﻲ‪ ،‬ﺩ‪ . ‬ﻡ‪ . ‬ﻭﻓﺎء‪ ‬ﺷﺮﻑ‪ ‬ﺍﻟﺪﻳﻦ‪ " ،‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ، " ‬ﺩﺍﺭ‪ ‬ﻗﺎﺑﺲ‪ ‬ﻟﻠﻄﺒﺎﻋﺔ‪ ‬ﻭﺍﻟﻨﺸﺮ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۸۸ ،‬‬ ‫‪ . ٥ ‬ﺩ‪ . ‬ﻋﺮﻓﺎﻥ‪ ‬ﺳﺎﻣﻲ‪ " ،‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹٦۷ ،‬‬ ‫‪ . ٦ ‬ﺩ‪ . ‬ﻋﺮﻓﺎﻥ‪ ‬ﺳﺎﻣﻲ‪ " ،‬ﻧﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹٦۷ ،‬‬ ‫‪ . ۷ ‬ﺷﺎﻛﺮ‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﺤﻤﻴﺪ‪ " ،‬ﺍﻟﺘﻔﻀﻴﻞ‪ ‬ﺍﻟﺠﻤﺎﻟﻲ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﻓﻲ‪ ‬ﺳﻴﻜﻮﻟﻮﺟﻴﺔ‪ ‬ﺍﻟﺘﺬﻭﻕ‪ ‬ﺍﻟﻔﻨﻲ‪ ، " ‬ﻣﻄﺎﺑﻊ‪ ‬ﺍﻟﻮﻃﻦ‪ ،‬ﺍﻟﻜﻮﻳﺖ‪۲۰۰۱ ، ‬‬ ‫‪ . ۸ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻌﺰﻳﺰ‪ ‬ﺣﻤﻮﺩﺓ‪ " ،‬ﻋﻠﻢ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻭﺍﻟﻨﻘﺪ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ، " ‬ﺍﻟﻬﻴﺌﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻌﺎﻣﺔ‪ ‬ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۹۹ ،‬‬ ‫‪ . ۹ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻔﺘﺎﺡ‪ ‬ﺭﻳﺎﺽ‪ " ،‬ﺍﻟﺘﻜﻮﻳﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟ‪ ‬ﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻨﻬﻀﺔ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪ ، ‬ﺩ‪ / ‬ﺕ‬ ‫‪ . ۱۰ ‬ﺩ‪ . ‬ﻡ‪ . ‬ﻣﺤﻤ‪ ‬ﺪ‪ ‬ﺣﻤ‪ ‬ﺎﺩ‪ " ،‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﺭﺍﺋ‪ ‬ﺪ‪ ‬ﻧﻈﺮﻳ‪ ‬ﺔ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺗﺘﺒ‪ ‬ﻊ‪ ‬ﺍﻟﻮﻇﻴﻔ‪ ‬ﺔ‪ ، " ‬ﺍﻟ‪ ‬ﺪﺍﺭ‪ ‬ﺍﻟﻘﻮﻣﻴ‪ ‬ﺔ‪ ‬ﻟﻠﻄﺒﺎﻋ‪ ‬ﺔ‪ ‬ﻭﺍﻟﻨﺸ‪ ‬ﺮ‪ ،‬ﺍﻟﻘ‪ ‬ﺎﻫﺮﺓ‪،‬‬ ‫‪ ‬ﺍﻟﻄﺒﻌﺔ‪ ‬ﺍﻷﻭﻟﻰ‪۱۹٦٦ ،‬‬ ‫‪ . ۱۱ ‬ﻣﺤﻤﻮﺩ‪ ‬ﺑﺴﻴﻮﻧﻲ‪ " ،‬ﺍﻟﻔﻦ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۸۳ ،‬‬ ‫‪ . ۱۲ ‬ﻧﻌﻤﺖ‪ ‬ﺇ‪ ‬ﺳﻤﺎﻋﻴﻞ‪ " ،‬ﻓﻨﻮﻥ‪ ‬ﺍﻟﻐﺮﺏ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ، " ‬ﺩﺍﺭ‪ ‬ﺍﻟﻤﻌﺎﺭﻑ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۷۸ ،‬‬ ‫‪ . ۱۳ ‬ﻫﺮﺑﺮﺕ‪ ‬ﺭﻳﺪ‪ " ،‬ﻣﻌﻨﻰ‪ ‬ﺍﻟﻔﻦ‪ ، " ‬ﺗﺮﺟﻤﺔ‪ ‬ﺳﺎﻣﻲ‪ ‬ﺧﺸﺒﺔ‪ ،‬ﺍﻟﻬﻴﺌﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻌﺎﻣﺔ‪ ‬ﻟﻠﻜﺘﺎﺏ‪ ،‬ﺍﻟﻘﺎﻫﺮﺓ‪۱۹۹۸ ،‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺟـ ‪ ­ ‬ﺍﻟﺮﺳﺎﺋﻞ‪ ‬ﺍﻟﻌﻠﻤﻴﺔ‪: ‬‬ ‫‪ . ۱ ‬ﺍﺑﺘﺴﺎﻡ‪ ‬ﺭﺟﺐ‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﺠﻮﺍﺩ‪ " ،‬ﺗﻜﻮﻳﻦ‪ ‬ﺍﻟﺼﻮﺭﺓ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﻤﻌﺎﺻﺮ‪ ، " ‬ﺭﺳﺎﻟﺔ‪ ‬ﻣﺎﺟﺴﺘﻴ‪ ‬ﺮ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﺸ‪ ‬ﻮﺭﺓ‪ ، ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘﺮﺑﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻨﻴ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‪ ،‬ﻗﺴﻢ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪۱۹۹٤ ،‬‬ ‫‪ . ۲ ‬ﺛﻨﺎء‪ ‬ﻣﺤﻤﺪ‪ ‬ﻳﻮﺳﻒ‪ " ،‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻋﻨﺼﺮ‪ ‬ﺗﺸﻜﻴﻠﻲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻭﺍﻻﺳﺘﻔﺎﺩﺓ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﻤﻌﻠﻘ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺠﻴﺔ‬ ‫‪ ‬ﺍﻟﻤﻄﺒﻮﻋﺔ‪ ‬ﻟﻠﻤﻨ‪ ‬ﺰﻝ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻱ‪ ‬ﺍﻟﺤ‪ ‬ﺪﻳﺚ‪ ، " ‬ﺭﺳ‪ ‬ﺎﻟﺔ‪ ‬ﻣﺎﺟﺴ‪ ‬ﺘﻴﺮ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﻣﻨﺸ‪ ‬ﻮﺭﺓ‪ ، ‬ﻛﻠﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴ‪ ‬ﺔ‪ ،‬ﺟﺎﻣﻌ‪ ‬ﺔ‪ ‬ﺣﻠ‪ ‬ﻮﺍﻥ‪ ،‬ﻗﺴ‪ ‬ﻢ‬ ‫‪ ‬ﺍﻟﻨﺴﻴﺞ‪۱۹۸۷ ،‬‬ ‫‪ . ۳ ‬ﺣﺴﻦ‪ ‬ﻋﺒﺪ‪ ‬ﺍﷲ‪ " ،‬ﻫﻨﺪﺳﺔ‪ ‬ﺍﻟﺘﻜﻮﻳﻦ‪ ، " ‬ﺭﺳﺎﻟﺔ‪ ‬ﻣﺎﺟﺴﺘﻴﺮ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﺸﻮﺭﺓ‪ ، ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ،‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‬ ‫‪ . ٤ ‬ﻋﻠﻴﺔ‪ ‬ﻣﺤﻤﻮﺩ‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻬﺎﺩﻱ‪ " ،‬ﺣﺮﻛ‪ ‬ﺔ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ‪ ‬ﺑﺎﻟﺘﺼ‪ ‬ﻤﻴﻢ‪ ‬ﺍﻟ‪ ‬ﺪﺍﺧﻠﻲ‪ ‬ﻟﻠﻤﺴ‪ ‬ﻜﻦ‪ ‬ﺍﻟﻤﻌﺎﺻ‪ ‬ﺮ‪ ، " ‬ﺭﺳ‪ ‬ﺎﻟﺔ‪ ‬ﺩﻛﺘ‪ ‬ﻮﺭﺍﺓ‪ ‬ﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻨﺸﻮﺭﺓ‪ ، ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ، ‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‬ ‫‪ . ٥ ‬ﻗﺎﺳﻢ‪ ‬ﻣﺤﻤﺪ‪ ‬ﻋﻠﻰ‪ ‬ﻋﻴﺴﻰ‪ " ،‬ﺍﺳﺘﺨﻼﺹ‪ ‬ﺍﻟﻨﻈﻢ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺨﺘﺎﺭﺍﺕ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﺎﺕ‪ ‬ﺍﻟﻤﺴﻄﺤﺔ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺼ‪ ‬ﻒ‪ ‬ﺍﻟﺜ‪ ‬ﺎﻧﻲ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳﻦ‪ ، " ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﺘﺮﺑﻴﺔ‪ ‬ﺍﻟﻔﻨﻴﺔ‪۱۹۸۳ ،‬‬ ‫‪ . ٦ ‬ﻣﺠﺪﻱ‪ ‬ﻣﺤﻤﺪ‪ ‬ﺣﺎﻣﺪ‪ " ،‬ﺗﻄﻮﺭ‪ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﺍﻟﻨﻈﻢ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻹﺳﻼﻣﻴﺔ‪ ‬ﻭﻛﻴﻔﻴﺔ‪ ‬ﺍﻻﺳﺘﻔﺎﺩﺓ‪ ‬ﻣﻨﻬﺎ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻻﺕ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬ ‫‪ ، " ‬ﺭﺳﺎﻟﺔ‪ ‬ﻣﺎﺟﺴﺘﻴﺮ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﺸﻮﺭﺓ‪ ، ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺘﻄﺒﻴﻘﻴﺔ‪ ،‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‪ ،‬ﻗﺴﻢ‪ ‬ﺍﻟﺰﺧﺮﻓﺔ‪۲۰۰۰ ،‬‬ ‫‪ . ۷ ‬ﻣﺤﻤﺪ‪ ‬ﺣﺴﻴﻦ‪ ‬ﻋﺒﺪ‪ ‬ﺍﻟﻘﺎﺩﺭ‪ " ،‬ﺍﻟﺠﻤﺎﻟﻴﺎﺕ‪ ‬ﺍﻟﻌﻤﺮﺍﻧﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻔﺎﻫﻴﻢ‪ ‬ﻭﺍﻟﺘﻄﺒﻴﻘﺎﺕ‪ ، " ‬ﺭﺳﺎﻟﺔ‪ ‬ﻣﺎﺟﺴﺘﻴﺮ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﺸﻮﺭﺓ‪ ، ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‬ ‫‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ،‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‬ ‫‪ . ۸ ‬ﻣﺤﻤ‪ ‬ﺪ‪ ‬ﺳ‪ ‬ﻤﻴﺮ‪ ‬ﺃﺣﻤ‪ ‬ﺪ‪ ‬ﺍﻟﺼ‪ ‬ﺎﻭﻱ‪ " ،‬ﻫﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﻭﺍﻟﺘﺸ‪ ‬ﻜﻴﻞ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌ‪ ‬ﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤ‪ ‬ﺔ‪ ، " ‬ﺭﺳ‪ ‬ﺎﻟﺔ‪ ‬ﻣﺎﺟﺴ‪ ‬ﺘﻴﺮ‪ ‬ﻏﻴ‪ ‬ﺮ‬ ‫‪ ‬ﻣﻨﺸﻮﺭﺓ‪ ، ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺠﻤﻴﻠﺔ‪ ،‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‬ ‫‪ . ۹ ‬ﻣﺤﻲ‪ ‬ﺍﻟﺪﻳﻦ‪ ‬ﺳﻴﺪ‪ ‬ﺃﺣﻤﺪ‪ " ،‬ﺍﻹﻣﻜﺎﻧﺎﺕ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ‬ﻻﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﺮﺑﻊ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ، " ‬ﺭﺳﺎﻟﺔ‪ ‬ﺩﻛﺘﻮﺭﺍﺓ‪ ‬ﻏﻴﺮ‪ ‬ﻣﻨﺸﻮﺭﺓ‪، ‬‬ ‫‪ ‬ﻛﻠﻴﺔ‪ ‬ﺍﻟﺘﺮﺑﻴﺔ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ،‬ﺟﺎﻣﻌﺔ‪ ‬ﺣﻠﻮﺍﻥ‪ ،‬ﻗﺴﻢ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪۱۹۸۱ ،‬‬ ‫‪ ‬ﺩ ‪ ­ ‬ﺍﻟﺪﻭﺭﻳﺎﺕ‪: ‬‬ ‫‪ . ۱ ‬ﻟﻴﻠﻲ‪ ‬ﻓﻮﻟﺪﺯ‪ ،‬ﻣﺠﻠﺔ‪ ‬ﺍﻟﻤﺨﺘﺎﺭ‪ " ،‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻣﻌﻤﺎﺭﻱ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻮﺍﺣﺪ‪ ‬ﻭﺍﻟﻌﺸﺮﻳﻦ‪ ، " ‬ﺃﻏﺴﻄﺲ‪۱۹۸۹ ‬‬ ‫‪ ‬ﺛﺎﻧﻴﺎ‪ : ‬ﺍﻟﻤﺮﺍﺟﻊ‪ ‬ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‪: ‬‬ ‫‪A ­ Dictionaries: ‬‬ ‫‪Lucie­Smith Edward, ' Dictionary of Art Terms ' , Thames & Hudson, ‬‬

‫‪1. ‬‬

‫‪Osborne Harold, ' The Oxford Companion to Art ' , Oxford University Press, London, 1970 ‬‬

‫‪2. ‬‬

‫‪B ­ References: ‬‬ ‫‪First: By Le Corbusier: ‬‬ ‫‪Le Corbusier, ' Towards a New Architecture ' ‬‬

‫‪1. ‬‬

‫‪Le Corbusier, ' The Modulor ' , translated by: Peter De Francia, Anna Bostock, Faber & Faber, London, ‬‬

‫‪2. ‬‬

‫‪1954 ‬‬ ‫‪Le Corbusier, ' Modulor 2 ' , translated by: Peter De Francia, Anna Bostock, Faber & Faber, London, ‬‬ ‫‪1958‬‬

‫‪۲۱۳ ‬‬

‫‪3. ‬‬

4.

Le Corbusier, ' Oeuvre Complète ( 1929 – 1934 ) ' , Ellipsis, 1986

5.

Le Corbusier, ' The Decorative Art of Today ' , 1987

6.

Le Corbusier, ' Creation is a Patient Search ' , Frederick A. Praeger, New York, 1960

Second: By others: 7.

Alexander Christopher, ' The Nature of Order ' , Oxford University Press, New York, 1996

8.

Baines John, ' Principles of Egyptian Art ' , Clarendon Press. Oxford, London, 1974

9.

Baker Geoffrey H., ' Le Corbusier.. An Analysis of Form ' , Van Nostrand Reinhold, London, 1989

10. Boesiger Willy, ' Le Corbusier Last Works ' 11. Curtis William Jr., ' Le Corbusier: Ideas & Forms ' , Phaidon, 1986 12. d'Avennes E. Prisse, ' Atlas of Egyptian Art ' , The American University in Cairo Press, 1997 13. Field Judith Veronica, ' The Invention of Infinity ( Mathematics & Art in The Renaissance ) ' 14. Frampton Kenneth, ' Le Corbusier ' , Thames & Hudson, 2001 15. Herbert Robert L., ' Modern Artist on Art ' , 2000 16. Ivins Jr. William M., ' Art & Geometry A Study In Space Intuitions', Dover Publications Inc., New York, 1964 17. Jenger Jean, ' Le Corbusier Architect of a New Age ' , Thames & Hudson, 1996 18. Kahn Louis I., ' What Will Be Has Always Been ' , Access Press Ltd & Rizzoli International Publication, New York, 1986 19. Papadaki Stamo, ' Le Corbusier Architect – Painter – Writer ' , The Macmillan Company, New York, 1948 20. Pearce Martin & Toy Maggie, ' Educating Architecture ' , AD Academy Edition, 1995 21. Read Herbert, ' A Concise History of Modern Painting ' , Thames & Hudson, 1995 22. Salingaros Nikos A., ' A Scientific Basis For Creating Architectural Forms ' Journal of Architectural and Planning Research, volume 15, Locke Science Publishing Company, 1998 23. Stangos Nikos, ' Concepts of Modern Art ( from Fauvism to Postmodernism ) ' 24. Summerson John, ' The Classical Language of Architecture ' , Thames & Hudson, 1980 th

25. Thiel­Siling Sabine, ' Icons of Architecture, The 20 Century ' , Prestel, 1998 26. Walters Nigel V. & Bromham John, ' Principles of Perspective ' , The Architectural Press, London, 1975

C ­ Magazines: 1.

Rawsthorn Alice, ' Chandigarh ' , Wallpaper, special edition 1998

2.

Rybczynski Witold, ' The Architect: Le Corbusier ' , Time, June, 1998

­ : ‫ﺍﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﺍﻟﻤﺮﺍﺟﻊ‬ : ‫ﺛﺎﻟﺜﺎ‬ A ­ References: 1.

Le Corbusier, ' Le Poème de L'angle Droit ' , GA Gallery Publication, Tokyo, 1984

2.

Cauville Sylvie, ' Edfou ' , Bibliothèque Générale, T.V., 1984

۲۱۳

3.

Cohen Jean – Louis & Reichlin Bruno, ' Le Corbusier une encyclopédie ' , Centre Pompidou / CCI, Paris, 1987

4.

Lausanne Payot, ' Le Corbusier A' Genève ( 1922 – 1932 ) ' , 1987

5.

Lyon Dominique, ' Le Corbusier Vivant ' , Telleri, 1999

6.

Petit Jean, ' Le Corbusier Lui ­ Même ' , Rousseau Genève, 1970

7.

Viatte Germain, ' Le Corbusier Et La Méditerranée ' , Parenthèses Musées De Marseille, 1987

B ­ Magazines: 1.

AD Architectural Digest, ' Le Corbusier avant Le Corbusier ' , Gutman Laura, ferrier, 2001

­ : ‫ﺍﻹﻧﺘﺮﻧﺖ‬ ‫ﺷﺒﻜﺔ‬ : ‫ﺭﺍﺑﻌﺎ‬ The Internet: en.wikipedia.org steiner­math.nthu.edu.tw/ne01/tjy www.ac­poitiers.fr www.aod.auc.dk www.arch.columbia.edu/Students/Fall97/Lee.Dennis/ www.archimedes­lab.org www.archimedix.com www.archnet.org www.artlex.com www.atomandoctave.co.uk www.birkhauser.ch www.but.auc.dk/sg/sg31 www.camosun.bc.ca www.camping­aitatta.com www.cit.gu.edu.au/~anthony/graphics/polyhedra www.cssh.qc.ca/projets/carnetsma/mathematiques_renaissance/ www.frontiernet.net www.geocities.com/Athens/Aegean www.goldenmuseum.com/0503proportionality_engl.html www.halexandria.org www.history.mcs.st­andrews.ac.uk/history/ www.indoorooss.qld.edu.au/05studgl/fibonacci/ www.ionone.com www.iwillcock.fsnet.co.uk/iwill_works_catalogue/Modulor.html www.kees.cc/gldsec.html www.maths.adelaide.edu.au/people/pscott/history/ www.math.smith.edu/~phyllo/ www.mcs.surrey.ac.uk/Personal/R.Knott/Fibonacci/ www.mi.sanu.ac.yu www.michael­robinett.com/isis/ www.ms.uky.edu www.nexusjournal.com www.r2othcentury.com www.schulze­fielitz.com www.sover.net/~rc/deep_secrets www.sphere.math.utsa.edu www.spiritualjourneys.com/assets www.sunsite.dk/cgfa/francesc/p­francesl.htm www.td­grafik.de/artic www.tin.it www.tu­harburg.de/b/kuehn

۲۱۳

‫‪ ‬ﻫﻴﻜﻞ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﺇﻫﺪﺍء‬ ‫‪ ‬ﺷﻜﺮ‪ ‬ﻭﺗﻘﺪﻳﺮ‬

‫‪ ‬ﺍﻟﻤﻘﺪﻣﺔ‬ ‫ﺃﻫﻤﻴﺔ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﻣﺸ‪ ‬ﻜﻠﺔ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﺃﻫﺪﺍﻑ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﻓﺮﻭﺽ‪ ‬ﺍﻟﺒﺤﺚ‬ ‫‪ ‬ﻣﻨﻬﺠﻴﺔ‪ ‬ﺍﻟﺒﺤﺚ‬

‫‪ ‬ﻫـ‬

‫‪ ‬ﻣﺼﻄﻠﺤﺎﺕ‪ ‬ﺍﻟﺒﺤﺚ‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻭﻋﻼﻗﺘﻬﺎ‪ ‬ﺑﺎﻟﻄﺒﻴﻌﺔ‪ ‬ﻭﺍﻟﻔﻨﻮﻥ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺑﻌﺾ‪ ‬ﺃﻫﻢ‪ ‬ﺍﻟﻨﻈﺮﻳﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻨﺎﻭﻟﺖ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻔﻦ‬

‫‪۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﺍﻧﺘﻈﺎﻡ‪ ‬ﺃﻭﺭﺍﻕ‪ ‬ﺍﻟﻨﺒﺎﺕ‪ ‬ﻭﺍﻟﻘﻮﺍﻧﻴﻦ‪ ‬ﺍﻟﺘﻲ‪ ‬ﻳﺨﻀﻊ‪ ‬ﻟﻬﺎ‪ ) ‬ﺍﻟﻔﻴﻠﻮﺗﺎﻛﺴﺲ‪( ‬‬

‫‪۱۹ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﻣﻘﺪﻣﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻭﺍﻟﻔﻦ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻴﻮﻧﺎﻥ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﻌﺸﺮﻳ‪ ‬ﻦ‬

‫‪۲٥ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻭﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‬

‫‪۲۹ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﺳﺘﻌﺮﺍﺽ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻤﺎﺫﺝ‪ ‬ﺍﻷﻋﻤﺎﻝ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺍﺭﺗﺒﻄﺖ‪ ‬ﺑﺎﻟﻨﺴﺐ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺔ‪ ‬ﻭﺍﻟ‪ ‬ﺬﻫﺒﻴﺔ‬ ‫‪ ‬ﺃﻭﻻ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۳۲ ‬‬

‫‪ ‬ﺛﺎﻧﻴﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻨﺤﺖ‬

‫‪٤٥ ‬‬

‫‪ ‬ﺛﺎﻟﺜﺎ‪: ‬‬

‫‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻔﻦ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‬

‫‪٤۷‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ : ‬ﺩﺭﺍﺳﺔ‪ ‬ﻓﻜﺮ‪ ‬ﻭﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻱ‪ ‬ﻭﺍﻟﻔﻨﺎﻥ‪ ‬ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﺣﻴﺎﺓ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪٦٦ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬

‫‪۱۰۱ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻟﺚ‪: ‬‬

‫‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﻋﻨﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬

‫‪۱۱۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺮﺍﺑﻊ‪: ‬‬

‫‪ ‬ﻋﺮﺽ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻣﺮﺍﺣﻞ‪ ‬ﺗﻄﻮ‪ ‬ﺭ‪ ‬ﻩ‬

‫‪۱۱۸ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺨﺎﻣﺲ‪ : ‬ﺍﻧﻌﻜﺎﺱ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺑﻌﺾ‪ ‬ﻧﻮﺍﺣﻲ‪ ‬ﺍﻟﻔﻦ‪ ‬ﻭﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۱٤٤ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺩﺱ‪ : ‬ﺑﻌﺾ‪ ‬ﺍﻟﻨﻤﺎﺫﺝ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۱٥۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺴﺎﺑﻊ‪: ‬‬

‫‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮ‪ ‬ﺍ‪ ‬ﻓﻲ‪ ‬ﺑﻮﺍﺳﻲ‬

‫‪۱٥۲ ‬‬

‫‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻣﺎﺭﺳﻴﻠﻴﺎ‬

‫‪۱٥٥ ‬‬

‫‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﺩﻭﻫﻮ‪ ‬ﻓﻲ‪ ‬ﺭﻭﻧﺸﺎﻡ‬

‫‪۱٦۲ ‬‬

‫‪ ‬ﻣﺪﻳﻨﺔ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﻨﺪ‬

‫‪۱٦٦ ‬‬

‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﺑﻌﺾ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‬

‫‪۱۷٤ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ : ‬ﺃﻧﻈﻤﺔ ‪ ‬ﻣﺨﺘﻠﻔﺔ ‪ ‬ﺭﺑ‪ ‬ﻄﺖ ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ ‪ ‬ﻭﺍﻟﻔﻦ ‪ ‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ ‪ ‬ﺑﻤﻮﺩﻳ‪ ‬ﻮﻟﻮﺭ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪: ‬‬ ‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻷﻭﻝ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﺎﻟﻨﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻤﻴﻢ‬

‫‪۲۰۲ ‬‬

‫‪ ‬ﺍﻟﻔﺼﻞ‪ ‬ﺍﻟﺜﺎﻧﻲ‪: ‬‬

‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﻣﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑ‪ ‬ﺎﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‬

‫‪۲۰۷ ‬‬

‫‪ ‬ﺍﻟﻨﺘﺎﺋﺞ‪ ‬ﻭ‪ ‬ﺍﻟﺘﻮﺻﻴﺎﺕ‪: ‬‬

‫‪۲۲۳ ‬‬

‫‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻷﻋﻼﻡ‪: ‬‬

‫‪۲۲۷ ‬‬

‫‪ ‬ﻣﻠﺤﻖ‪ ‬ﺍﻟﻤﻌﻤﺎﺭﻳﻴﻦ‪: ‬‬

‫‪۲٤٥ ‬‬

‫‪ ‬ﻣﻠﺨﺺ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺑﺎﻟﻠﻐ‪ ‬ﺔ‪ ‬ﺍﻟﻌﺮﺑﻴﺔ‪: ‬‬

‫‪۲٦۲ ‬‬

‫‪ ‬ﺍﻟﻤﺮﺍﺟﻊ‪: ‬‬

‫‪۲٦٦ ‬‬

‫‪ ‬ﻣﻠﺨﺺ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺑﺎﻟﻠﻐﺔ‪ ‬ﺍﻹﻧﺠﻠﻴﺰﻳﺔ‪:‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺟﺪﻭﻝ‪ ‬ﺍﻷﺷﻜﺎﻝ‬ ‫‪ ‬ﻣﺴﻠﺴﻞ‬ ‫‪۱ ‬‬ ‫‪۲ ‬‬ ‫‪۳ ‬‬ ‫‪٤ ‬‬ ‫‪٥ ‬‬

‫‪ ‬ﺗﻮﺻﻴﻒ‬ ‫‪ ‬ﺃﻧﻮﺍﻉ‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﺜﻼﺛﺔ‬ ‫‪ ‬ﻋﻤﻞ‪ ‬ﻧﺤﺘﻲ‪ ‬ﻟﻤﺎﺛﻴﻮ‪ ‬ﻫﺎﺭﺩﻧﺞ‪ ‬ﺑﻌﻨﻮﺍﻥ‪ ‬ﻓﻴﻠﻮﺗﺎﻛﺴﺲ‪ ‬ﻟﻌﺎﻡ‪۲۰۰۳ ‬‬ ‫‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻨﺎﻗﺺ‬ ‫‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﺰﺍﺋﺪ‬ ‫‪ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ‬

‫‪ ‬ﺻﻔﺤﺔ‬ ‫‪ ‬ﺯ‬ ‫‪ ‬ﺡ‬ ‫‪ ‬ﺡ‬ ‫‪ ‬ﻁ‬ ‫‪ ‬ﻁ‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻷﻭﻝ‬ ‫‪٦ ‬‬ ‫‪۷ ‬‬ ‫‪۸ ‬‬ ‫‪۹ ‬‬ ‫‪۱۰ ‬‬ ‫‪۱۱ ‬‬ ‫‪۱۲ ‬‬ ‫‪۱۳ ‬‬ ‫‪۱٤ ‬‬ ‫‪۱٥ ‬‬ ‫‪۱٦ ‬‬ ‫‪۱۷ ‬‬ ‫‪۱۸ ‬‬ ‫‪۱۹ ‬‬ ‫‪۲۰ ‬‬ ‫‪۲۱ ‬‬ ‫‪۲۲ ‬‬ ‫‪۲۳ ‬‬ ‫‪۲٤ ‬‬ ‫‪۲٥ ‬‬ ‫‪۲٦ ‬‬ ‫‪۲۷ ‬‬ ‫‪۲۸ ‬‬ ‫‪۲۹ ‬‬ ‫‪۳۰ ‬‬ ‫‪۳۱ ‬‬ ‫‪۳۲ ‬‬ ‫‪۳۳ ‬‬ ‫‪۳٤ ‬‬ ‫‪۳٥ ‬‬

‫‪ ‬ﻗﻀﻴﺐ‪ ‬ﺧﺸﺒﻲ‪ ‬ﻋﻠﻴﻪ‪ ‬ﺑﻌﺾ‪ ‬ﺭﻣﻮﺯ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﻭﺗﻔﺼﻴﻠﺔ‪ ‬ﻣﻜﺒﺮﺓ‪ ‬ﻣﻨﻪ‬ ‫‪ ‬ﻭﺣﺪﺍﺕ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺼﻐﻴﺮ‪ ‬ﻭﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬ ‫‪ ‬ﺍﻟﻌﻼﻗﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﺼﻐﻴﺮ‪ ‬ﻭﺍﻟﻤﻠﻜﻲ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺨﻤﺲ‬ ‫‪ ‬ﺭﺳﻢ‪ ‬ﻣﺼﺮﻱ‪ ‬ﻋﻠﻰ‪ ‬ﻗﻄﻌﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﺸﺐ‪ ،‬ﺍﻟﻤﺘﺤﻒ‪ ‬ﺍﻟﺒﺮﻳﻄﺎﻧﻲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﺸﺨﺺ‪ ‬ﺍﻟﺠﺎﻟﺲ‪ ‬ﻓﻲ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻭﻣﺮ‪ ‬ﺑﻊ‪ ‬ﻭﻣﺜﻠﺚ‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻷﺿﻼﻉ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﺘﻘﺴﻴﻢ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺑـ‪ ۱۸ ‬ﻣﺮﺑﻌﺎ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﺘﻘﺴﻴﻢ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺍﻟﺸﺨﺺ‪ ‬ﺍﻟﻤﺼﺮﻱ‪ ‬ﺑـ‪ ۲۱ ‬ﻣﺮﺑﻌﺎ‬ ‫‪ ‬ﺭﺳﻢ‪ ‬ﺩﺍﻓﻨﺸﻲ‪ ‬ﻹﻧﺴﺎﻥ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ،‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺨﻤﺲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﺮﺳﻢ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻣﺮﺑﻊ‪ ‬ﻣﺎﺋﻞ‪ ،‬ﻭﺩﺍﺧﻞ‪ ‬ﺷﺒﻜﺔ‪ ‬ﻣﺮﺑﻌﺎﺕ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟ‪ ‬ﺮﺳﻢ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺩﺍﺋﺮﺓ‪ ‬ﻭﻣﺜﻠﺚ‪ ‬ﻣﺘﺴﺎﻭﻱ‪ ‬ﺍﻷﺿﻼﻉ‪ ‬ﻭﻣﺮﺑﻌﺎﺕ‬ ‫‪ ‬ﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﺍﻟﺤﺴﺎﺑﻲ‪ ‬ﻟﺒﻮﺍﺑﺔ‪ ‬ﺳﺎﻥ‪ ‬ﺩﻳﻨﻴﺲ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻓﺮﺍﻧﺴﻮﺍ‪ ‬ﺑﻠﻮﻧﺪﻝ‬ ‫‪ ‬ﺍﻟﺘﺤﻠﻴﻞ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻟﻘﻮﺱ‪ ‬ﺗﻴﺘﻮﺱ‪ ‬ﻭﻛﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﺳﺎﻥ‪ ‬ﺇﻳﺘﻴﻦ‪ ‬ﻟـﻠﻮ‪ ‬ﺩﻙ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻤﺒﻨﻰ‪ ‬ﺍﻟﺒﺎﻧﺜﻴﻮﻥ‪ ‬ﻷﻭﺟﺴﺖ‪ ‬ﺛﻴﺮﺵ‬ ‫‪ ‬ﻗﻴﺎﺱ‪ ‬ﻧﺴﺒﺔ‪ ‬ﺍﻟﻌﻤﻮﺩ‪ ‬ﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﻧﻈﺮ‪ ‬ﻳﺔ‪ ‬ﻣﻮﺳﻴﻞ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻮﺍﺟﻬﺔ‪ ‬ﻛﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﻭﻭﺍﺟﻬﺔ‪ ‬ﻣﻌﺒﺪ‪ ‬ﺇﻳﺰﻳﺲ‪ ‬ﻣﻦ‪ ‬ﻣﻮﺳﻴﻞ‬ ‫‪ ‬ﺑﻌﺾ‪ ‬ﻣﻦ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﺩﻭﺭﺭ‪ ‬ﻟﺮﺃﺱ‪ ‬ﻭﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﺟﺰء‪ ‬ﻣﻦ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻧﻴﻮﻓﺮﺕ‪ ‬ﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﺨﺎﺭﺟﻴﺔ‬ ‫‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻧﻴﻮﻓﺮﺕ‬ ‫‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﻤﺰﺩﻭﺝ‪ ‬ﻣﻊ‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺪﻭﺍﺭ‪ ‬ﻣﻊ‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪ ‬ﻣﻊ‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺍﺗﺠﺎﻫﺎﺕ‪ ‬ﺗﺘﺎﺑﻊ‪ ‬ﺍﻟﻨﻤﻮ‪ ‬ﻓﻲ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‬ ‫‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪ ‬ﻣﻊ‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺍﺗﺠﺎﻫﺎﺕ‪ ‬ﺗﺘﺎﺑﻊ‪ ‬ﺍﻟﻨﻤﻮ‪ ‬ﻓﻲ‪ ‬ﺍﻻﻧﺘﻈﺎﻡ‪ ‬ﺍﻟﺤﻠﺰﻭﻧﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‬ ‫‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬ ‫‪ ‬ﺍﺗﺠﺎﻩ‪ ‬ﺗﺘﺎﺑﻊ‪ ‬ﺍﻟﻨﻤﻮ‪ ‬ﻭﻋﻼﻗﺘﻪ‪ ‬ﺑﺎﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻻﺗﺠﺎﻫﺎﺕ‪ ‬ﺍﻟﻨﻤﻮ‪ ‬ﻓﻲ‪ ‬ﺑﻌﺾ‪ ‬ﺃﻧﻮﺍﻉ‪ ‬ﺍﻟﺰﻫﻮﺭ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻻﺗﺠﺎﻩ‪ ‬ﺍﻟﻨﻤﻮ‪ ‬ﻓﻲ‪ ‬ﺛﻤﺮﺓ‪ ‬ﺍﻟﺼﻨﻮﺑﺮ‪ ‬ﻭﻣﻄﺎﺑﻘﺘﺔ‪ ‬ﻷﻋﺪﺍﺩ‪ ‬ﻓﻴﺒﻮﻧﺎﺭﺗﺸﻲ‬ ‫‪ ‬ﺍﻟﺘﻤﺜﻴﻞ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‬ ‫‪ ‬ﺍﻟﺘﻤﺜﻴﻞ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪( ۱ ) ‬‬

‫‪۲۱۳ ‬‬

‫‪۲ ‬‬ ‫‪۳ ‬‬ ‫‪۳ ‬‬ ‫‪٤ ‬‬ ‫‪٤ ‬‬ ‫‪٥ ‬‬ ‫‪٦ ‬‬ ‫‪۹ ‬‬ ‫‪۱۱ ‬‬ ‫‪۱۲ ‬‬ ‫‪۱۲ ‬‬ ‫‪۱۳ ‬‬ ‫‪۱۳ ‬‬ ‫‪۱٤ ‬‬ ‫‪۱٤ ‬‬ ‫‪۱٥ ‬‬ ‫‪۱٦ ‬‬ ‫‪۱۷ ‬‬ ‫‪۲۰ ‬‬ ‫‪۲۰ ‬‬ ‫‪۲۱ ‬‬ ‫‪۲۱ ‬‬ ‫‪۲۲ ‬‬ ‫‪۲۲ ‬‬ ‫‪۲۲ ‬‬ ‫‪۲۳ ‬‬ ‫‪۲٤ ‬‬ ‫‪۲٤ ‬‬ ‫‪۲۹ ‬‬ ‫‪۳۰‬‬

‫‪۳٦ ‬‬ ‫‪۳۷ ‬‬ ‫‪۳۸ ‬‬ ‫‪۳۹ ‬‬ ‫‪٤۰ ‬‬ ‫‪٤۱ ‬‬ ‫‪٤۲ ‬‬ ‫‪٤۳ ‬‬ ‫‪٤٤ ‬‬ ‫‪٤٥ ‬‬ ‫‪٤٦ ‬‬ ‫‪٤۷ ‬‬ ‫‪٤۸ ‬‬ ‫‪٤۹ ‬‬ ‫‪٥۰ ‬‬ ‫‪٥۱ ‬‬ ‫‪٥۲ ‬‬ ‫‪٥۳ ‬‬ ‫‪٥٤ ‬‬ ‫‪٥٥ ‬‬ ‫‪٥٦ ‬‬ ‫‪٥۷ ‬‬ ‫‪٥۸ ‬‬ ‫‪٥۹ ‬‬ ‫‪٦۰ ‬‬ ‫‪٦۱ ‬‬ ‫‪٦۲ ‬‬ ‫‪٦۳ ‬‬ ‫‪٦٤ ‬‬ ‫‪٦٥ ‬‬ ‫‪٦٦ ‬‬ ‫‪٦۷ ‬‬ ‫‪٦۸ ‬‬ ‫‪٦۹ ‬‬ ‫‪۷۰ ‬‬ ‫‪۷۱ ‬‬ ‫‪۷۲ ‬‬ ‫‪۷۳ ‬‬ ‫‪۷٤ ‬‬ ‫‪۷٥ ‬‬ ‫‪۷٦ ‬‬

‫‪ ‬ﺍ‪ ‬ﻟﺘﻤﺜﻴﻞ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟﻤﺮﻛﺐ‪( ۲ ) ‬‬ ‫‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﻔﻀﻲ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤﺜﻤﻦ‬ ‫‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﻛﺒﺮ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬ ‫‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻻﻭﺳﻂ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬ ‫‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺍﻷﺻﻐﺮ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬ‪ ‬ﺮﻡ‬ ‫‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻬﺮﻡ‪ ‬ﺑﺤﺴﺎﺏ‪ ‬ﺍﻷﻃﻮﺍﻝ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﺍﻟﻤﻠﻜﻲ‬ ‫‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻟﻸﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻟﻸﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﻟﻮﻛﺎﺱ‪ ‬ﻭﺑﻴﻞ‬ ‫‪ ‬ﻗﻄﺎﻉ‪ ‬ﺭﺃﺳﻲ‪ ) ‬ﺷﻤﺎﻟﻲ‪ ‬ﺟﻨﻮﺑﻲ‪ ( ‬ﻟﻸﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻘﻄﺎﻉ‪ ‬ﺍﻟﺮﺃ‪ ‬ﺳﻲ‪ ‬ﻟﻸﻫﺮﺍﻣﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻮﺍﺟﻬﺔ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻜﺘﻠﺔ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻷﻋﻤﺪﺓ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻘﻄﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ‪ ‬ﻓﻲ‪ ‬ﺗﺎﺝ‪ ‬ﻋﻤﻮﺩ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻓﻴﻮﻟﻴﻪ‪ ‬ﻟﻮ‪ ‬ﺩﻙ‪ ‬ﻟﻮﺍﺟﻬﺔ‪ ‬ﺍﻟﺒﺎﺭﺛﻴﻨﻮﻥ‬ ‫‪ ‬ﻛﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺍﺧﻞ‬ ‫‪ ‬ﺍﻟﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻟﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻓﻘﻲ‪ ‬ﻟﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‬ ‫‪ ‬ﻣﻨﻈﺮ‪ ‬ﻋﺎﻡ‪ ‬ﻟﻜﺎﺗﺪﺭﺍﺋﻴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﺘﻤﺜﺎﻝ‪ ‬ﺩﺍﻭﻭﺩ‬ ‫‪ ‬ﺗﻤﺜﺎﻝ‪ ‬ﺩﺍﻭﻭﺩ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻴﻪ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﺤﺎﻛﻤﺔ‪ ‬ﻗﺮﺏ‪ ‬ﺍﻟﻨﺎﺭ‪ ‬ﻟ‪ ‬ﺠﻴﻮﺗﻮ‪ ‬ﻭﺗﺤﻠﻴﻠﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻳﺴﻠﻢ‪ ‬ﺍﻟﻤﻔﺎﺗﻴﺢ‪ ‬ﺇﻟﻰ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺑﻴﺘﺮ‪ ‬ﻟﺒﻴﺘﺮﻭ‪ ‬ﺑﻴﺮﻭﺟﻴﻨﻮ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻳﺴﻠﻢ‪ ‬ﺍﻟﻤﻔﺎﺗﻴﺢ‪ ‬ﺇﻟﻰ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺑﻴﺘﺮ‪ ‬ﻟﺒﻴﺮﻭﺟﻴﻨﻮ‬ ‫‪ ‬ﺗﺤﻠﻴﻼﻥ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻳﺴﻠﻢ‪ ‬ﺍﻟﻤﻔﺎﺗﻴﺢ‪ ‬ﺇﻟﻰ‪ ‬ﺳﺎﻧﺖ‪ ‬ﺑﻴﺘﺮ‪ ‬ﻟﺒﻴﺮﻭﺟﻴﻨﻮ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻌﺸﺎء‪ ‬ﺍﻷﺧﻴﺮ‪ ‬ﻟﻠﻴﻮﻧﺎﺭﺩﻭ‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻌﺸﺎء‪ ‬ﺍﻷﺧﻴﺮ‪ ‬ﻟﺪﺍ‪ ‬ﻓﻨﺸﻲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻌﺸﺎء‪ ‬ﺍﻷﺧﻴﺮ‪ ‬ﻟﺪﺍ‪ ‬ﻓﻨﺸﻲ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻋﺬﺭﺍء‪ ‬ﺳﻴﺪﺍ‪ ‬ﻟﺮﺍﻓﺎﻳﻴﻞ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﻋﺬﺭﺍء‪ ‬ﺳﻴﺪﺍ‪ ‬ﻟﺮﺍﻓﺎﻳﻴﻞ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﻋﺬﺭﺍء‪ ‬ﺃﻟﺒﺎ‪ ‬ﻟﺮﺍﻓﺎﻳﻴﻞ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﺮﺑﻴﻊ‪ ‬ﻟﺒﻮﺗﺸﻴﻠﻲ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺮﺑﻴﻊ‪ ‬ﻟﺒﻮﺗﺸﻴﻠﻲ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﻴﻼﺩ‪ ‬ﻓﻴﻨﻮﺱ‪ ‬ﻟﺒﻮﺗﺸﻴﻠﻲ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺗﻌﻤﻴﺪ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻟﺒﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ‪ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﺼﻮﺭﺓ‪ ‬ﺍﻟﻤﺴﻴﺢ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺗﻌﻤﻴﺪ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻟﺒﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴﺴﻜﺎ‬ ‫‪ ‬ﺗﺤﻠﻴﻼﺕ‪ ‬ﻟﻨﺴﺐ‪ ‬ﺻﻮﺭﺓ‪ ‬ﺍﻟﻤﺴﻴﺢ‪ ‬ﻭﺗﻘﺎﺭﺑﻬﺎ‪ ‬ﻣﻊ‪ ‬ﻧﺴﺐ‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﻓﻠﻮﺭﻧﺴﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻀﺮﺏ‪ ‬ﺑﺎﻟﺴﻮﻁ‪ ‬ﻟﺒﻴﻴﺮﻭ‪ ‬ﺩﻳﻼ‪ ‬ﻓﺮﺍﻧﺸﻴ‪ ‬ﺴﻜﺎ‬ ‫‪ ‬ﺗﺤﻠﻴﻼﻥ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﻀﺮﺏ‪ ‬ﺑﺎﻟﺴﻮﻁ‪ ‬ﻟﻔﺮﺍﻧﺸﻴﺴﻜﺎ‬ ‫‪۲۱۳ ‬‬

‫‪۳۰ ‬‬ ‫‪۳۱ ‬‬ ‫‪۳۲ ‬‬ ‫‪۳۳ ‬‬ ‫‪۳٤ ‬‬ ‫‪۳٤ ‬‬ ‫‪۳٥ ‬‬ ‫‪۳٥ ‬‬ ‫‪۳٦ ‬‬ ‫‪۳٦ ‬‬ ‫‪۳۷ ‬‬ ‫‪۳۸ ‬‬ ‫‪۳۹ ‬‬ ‫‪۳۹ ‬‬ ‫‪٤۰ ‬‬ ‫‪٤۱ ‬‬ ‫‪٤۲ ‬‬ ‫‪٤۳ ‬‬ ‫‪٤۳ ‬‬ ‫‪٤٤ ‬‬ ‫‪٤٤ ‬‬ ‫‪٤٥ ‬‬ ‫‪٤٥ ‬‬ ‫‪٤۷ ‬‬ ‫‪٤۸ ‬‬ ‫‪٤۸ ‬‬ ‫‪٤۹ ‬‬ ‫‪٥۰ ‬‬ ‫‪٥۰ ‬‬ ‫‪٥۱ ‬‬ ‫‪٥۲ ‬‬ ‫‪٥۲ ‬‬ ‫‪٥۳ ‬‬ ‫‪٥٤ ‬‬ ‫‪٥٥ ‬‬ ‫‪٥٥ ‬‬ ‫‪٥٦ ‬‬ ‫‪٥۷ ‬‬ ‫‪٥۸ ‬‬ ‫‪٥۹ ‬‬ ‫‪٦۰‬‬

‫‪۷۷ ‬‬ ‫‪۷۸ ‬‬ ‫‪۷۹ ‬‬ ‫‪۸۰ ‬‬ ‫‪۸۱ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻓﺮﺍ‪ ‬ﻟﻮﻛﺎ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‪ ‬ﻟﺠﻴﺮﺍﺭﺩﻱ‪ ‬ﺑﺎﺭﺑﺎﺭﻱ‬ ‫‪ ‬ﺗﻔﺼﻴﻠﺔ‪ ‬ﻣﻦ‪ ‬ﻟﻮﺣﺔ‪ ‬ﻓﺮﺍ‪ ‬ﻟﻮﻛﺎ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‪ ‬ﻟﺒﺎﺭﺑﺎﺭﻱ‬ ‫‪ ‬ﻏﻼﻑ‪ ‬ﺃﻃﺮﻭﺣﺔ‪ ‬ﺑﺎﺷﻴﻮﻟﻲ‪ ‬ﻭﺩﺍ‪ ‬ﻓﻨﺸﻲ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻣﻦ‪ ‬ﺃﻳﻦ‪ ‬ﺃﺗﻴﻨﺎ؟‪ ‬ﻭﻣﺎ‪ ‬ﻧﺤﻦ؟‪ ‬ﻭﺃﻳﻦ‪ ‬ﺳﻨﺬﻫﺐ؟‪ ‬ﻟﺠﻮﺟﺎﻥ‬ ‫‪ ‬ﺗﺤﻠﻴﻼﻥ‪ ‬ﻟﻠﻮﺣﺔ‪ ‬ﻣﻦ‪ ‬ﺃﻳﻦ‪ ‬ﺃﺗﻴﻨﺎ؟‪ ‬ﻟﺠﻮﺟﺎﻥ‬

‫‪٦۱ ‬‬ ‫‪٦۲ ‬‬ ‫‪٦۲ ‬‬ ‫‪٦۳ ‬‬ ‫‪٦۳ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻧﻲ‬ ‫‪۸۲ ‬‬ ‫‪۸۳ ‬‬ ‫‪۸٤ ‬‬ ‫‪۸٥ ‬‬ ‫‪۸٦ ‬‬ ‫‪۸۷ ‬‬ ‫‪۸۸ ‬‬ ‫‪۸۹ ‬‬ ‫‪۹۰ ‬‬ ‫‪۹۱ ‬‬ ‫‪۹۲ ‬‬ ‫‪۹۳ ‬‬ ‫‪۹٤ ‬‬ ‫‪۹٥ ‬‬ ‫‪۹٦ ‬‬ ‫‪۹۷ ‬‬ ‫‪۹۸ ‬‬ ‫‪۹۹ ‬‬ ‫‪۱۰۰ ‬‬ ‫‪۱۰۱ ‬‬ ‫‪۱۰۲ ‬‬ ‫‪۱۰۳ ‬‬ ‫‪۱۰٤ ‬‬ ‫‪۱۰٥ ‬‬ ‫‪۱۰٦ ‬‬ ‫‪۱۰۷ ‬‬ ‫‪۱۰۸ ‬‬ ‫‪۱۰۹ ‬‬ ‫‪۱۱۰ ‬‬ ‫‪۱۱۱ ‬‬ ‫‪۱۱۲ ‬‬ ‫‪۱۱۳ ‬‬

‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﻓﻴﻼ‪ ‬ﻓﺎﻟﻴﻪ‬ ‫‪ ‬ﻧﻤﻮﺫﺝ‪ ‬ﺑﻴﺖ‪ ‬ﺍﻟﺪﻭﻣﻴﻨﻮ‬ ‫‪ ‬ﻓﻴﻼ‪ ‬ﺷﻮﻭﺏ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ la cheminée ‬ﻋﺎﻡ‪۱۹۱۸ ‬‬ ‫‪ ‬ﺍﻟﻐﻼﻑ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻭﺍﻟﺜﺎﻧﻲ‪ ‬ﻟﻤﺠﻠﺔ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‬ ‫‪ ‬ﻣﺎﻛﻴﺖ ‪ ‬ﻟﺘﺼﻤﻴﻢ ‪ ‬ﻣﺪﻳﻨﺔ ‪ ‬ﺫﺍﺕ ‪ ۳ ‬ﻣﻼﻳﻴﻦ ‪ ‬ﻧﺴﻤﺔ ‪ ‬ﻭﺭﺳﻮﻣﺎﺕ ‪ ‬ﻟﻠﻤﺪﻳﻨﺔ‬ ‫‪ ‬ﺍﻟ‪ ‬ﻤﻌﺎﺻﺮﺓ‪ ‬ﻋﺎﻡ‪۱۹۲۲ ‬‬ ‫‪ ‬ﻣﺎﻛﻴﺖ‪ ‬ﻭﻣﺴﺎﻗﻂ‪ ‬ﻧﻤﻮﺫﺝ‪ ‬ﺍﻟﺴﻴﺎﺭﺓ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺻﻤﻤﻬﺎ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪۱۹۲۸ ‬‬ ‫‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺮﻭﺡ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ‪ ‬ﻋﺎﻡ‪۱۹۲٥ ‬‬ ‫‪ ‬ﻣﻨﺰﻝ‪ ‬ﺃﻭﺯﻧﻔﺎﻥ‪ ‬ﻋﺎﻡ‪۱۹۲٦ ‬‬ ‫‪ ‬ﻃﺒﻘﺎﺕ‪ ‬ﻣﻨﺰﻝ‪ ‬ﺃﻭﺯﻧﻔﺎﻥ‬ ‫‪ ‬ﻟﻮﺣﺘﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ‪ ‬ﺍﻟﺼﺎﻣﺘﺔ‪ ‬ﻋﺎﻡ‪ ۱۹۲٦ ، ۱۹۲۹ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻮﺍﺟﻬﺔ‪ ‬ﻣﻨﺰﻝ‪ ‬ﺷﺘ‪ ‬ﻮﺗﺠﺎﺭﺕ‪ ‬ﻋﺎﻡ‪۱۹۲۷ ‬‬ ‫‪ ‬ﻣﺎﻛﻴﺖ‪ ‬ﻭﻣﺴﺎﻗﻂ‪ ‬ﻟﻘﺼﺮ‪ ‬ﺍﻟﺴﻨﺘﺮﻭﺳﻴﻮﺱ‪ ‬ﻋﺎﻡ‪۱۹۲۹ ‬‬ ‫‪ ‬ﻣﺎﻛﻴﺖ‪ ‬ﻟﻮﺍﺟﻬﺔ‪ ‬ﻓﻴﻼ‪ ‬ﺷﺘﺎﻳﻦ‬ ‫‪ ‬ﻣﻘﺎﺭﻧﺔ ‪ ‬ﻣﺎ ‪ ‬ﺑﻴﻦ ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ ‪ ‬ﺍﻷﻳﺰﻭﻣﺘﺮﻱ ‪ ‬ﻟﻔﻴﻼ ‪ ‬ﺷﺘﺎﻳﻦ ‪ ‬ﻭﺇﺣﺪﻯ ‪ ‬ﻟﻮﺣﺎﺕ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﻠﻄﺒﻴﻌﺔ‪ ‬ﺍﻟﺼﺎﻣﺘﺔ‪ ‬ﺍﻟﻤﺘﻀﻤﻨﺔ‪ ‬ﻟﺠﻴﺘﺎﺭ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻣﺮﺃﺗﺎﻥ‪ ‬ﺟﺎﻟﺴﺘﺎﻥ‪ ‬ﻣﻊ‪ ‬ﻋﻘﺪ‪ ‬ﻭﺍﺳﻜﺘﺸﺎﺗﻬﺎ‪ ‬ﻋﺎﻡ‪۱۹۲۹ ‬‬ ‫‪ ‬ﻗﻄﻌﺘﺎﻥ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺛﺎﺙ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﺑﻌﺾ‪ ‬ﻗﻄﻊ‪ ‬ﺍﻷﺛﺎﺙ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﻟﻠﻤﺪﻳﻨﺔ‪ ‬ﺍﻟﻤﺸﻌﺔ‬ ‫‪ ‬ﻣﺎﻛﻴﺖ‪ ‬ﻟﻔﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‬ ‫‪ ‬ﺍﻟﻤﺒﻨﻰ‪ ‬ﺍﻟﺴﻮﻳﺴﺮﻱ‪ ‬ﻟﻠﻄﻠﺒﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺍﻟﺠﺎﻣﻌﻴﺔ‪ ‬ﺑﺒﺎﺭﻳﺲ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺍﺧﻞ‬ ‫‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﻟﻠﺠﺪﺍﺭﻳﺔ‪ ‬ﺍﻟﻔﻮﺗﻮﺟﺮﺍﻓﻴﺔ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻤ‪ ‬ﺒﻨﻰ‪ ‬ﺍﻟﺴﻮﻳﺴﺮﻱ‬ ‫‪ ‬ﻏﻼﻑ‪ ‬ﻛﺘﺎﺏ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﺍﻟﻤﺸﻌﺔ‬ ‫‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﺨﻄﻄﺎﺕ‪ ‬ﻟﺒﺎﺭﻳﺲ‪ ‬ﺧﻼﻝ‪ ‬ﻋﺪﺓ‪ ‬ﺃﻋﻮﺍﻡ‬ ‫‪ ‬ﻏﻼﻑ‪ ‬ﺍﻟﻜﺘﻴﺐ‪ ‬ﻣﺪﺍﻓﻊ‪ ،‬ﺫﺧﺎﺋﺮ؟‪ ‬ﺷﻜﺮﺍ‪ ! ‬ﻣﺴﺎﻛﻦ‪ ‬ﻟﻮ‪ ‬ﺳﻤﺤﺘﻢ‪! ‬‬ ‫‪ ‬ﺛﻼﺛﺔ‪ ‬ﻟﻮﺣﺎﺕ‪ ‬ﻣﻦ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺃﻭﺑﻮ‪۱۹٤٦ ­ ۱۹٤۰ ‬‬ ‫‪ ‬ﻗﻄﺎﻉ‪ ‬ﻋﺮﺿﻲ‪ ‬ﻓﻲ‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﺑﻤﺎﺭﺳﻴﻠﻴﺎ‬ ‫‪ ‬ﻟ‪ ‬ﻮﺣﺘﺎﻥ‪ ‬ﻣﻦ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺃﻳﻜﻮﻥ‪۱۹٥٦ ‬‬ ‫‪ ‬ﻣﻨﺤﻮﺗﺘﺎﻥ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺟﻮﺯﻳﻒ‪ ‬ﺳﺎﻓﻴﻨﺎ‬ ‫‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻷﻣﻢ‪ ‬ﺍﻟﻤﺘﺤﺪﺓ‪ ‬ﻭﺍﺳﻜﺘﺶ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻷﺻﻠﻲ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺩﻳﺮ‪ ‬ﻻﺗﻮﺭﻳﺖ‬

‫‪۲۱۳ ‬‬

‫‪٦٦ ‬‬ ‫‪٦۷ ‬‬ ‫‪۷۰ ‬‬ ‫‪۷۱ ‬‬ ‫‪۷۱ ‬‬ ‫‪۷۳ ‬‬ ‫‪۷٤ ‬‬ ‫‪۷٥ ‬‬ ‫‪۷٦ ‬‬ ‫‪۷۷ ‬‬ ‫‪۷۸ ‬‬ ‫‪۷۸ ‬‬ ‫‪۷۹ ‬‬ ‫‪۸۰ ‬‬ ‫‪۸۰ ‬‬ ‫‪۸۱ ‬‬ ‫‪۸۱ ‬‬ ‫‪۸۲ ‬‬ ‫‪۸۲ ‬‬ ‫‪۸۳ ‬‬ ‫‪۸٤ ‬‬ ‫‪۸٤ ‬‬ ‫‪۸٥ ‬‬ ‫‪۸٦ ‬‬ ‫‪۸۷ ‬‬ ‫‪۸۷ ‬‬ ‫‪۸۸ ‬‬ ‫‪۸۹ ‬‬ ‫‪۹۰ ‬‬ ‫‪۹۱ ‬‬ ‫‪۹۲ ‬‬ ‫‪۹۳‬‬

‫‪۱۱٤ ‬‬ ‫‪۱۱٥ ‬‬ ‫‪۱۱٦ ‬‬ ‫‪۱۱۷ ‬‬ ‫‪۱۱۸ ‬‬ ‫‪۱۱۹ ‬‬ ‫‪۱۲۰ ‬‬ ‫‪۱۲۱ ‬‬ ‫‪۱۲۲ ‬‬ ‫‪۱۲۳ ‬‬ ‫‪۱۲٤ ‬‬ ‫‪۱۲٥ ‬‬ ‫‪۱۲٦ ‬‬ ‫‪۱۲۷ ‬‬ ‫‪۱۲۸ ‬‬ ‫‪۱۲۹ ‬‬ ‫‪۱۳۰ ‬‬ ‫‪۱۳۱ ‬‬ ‫‪۱۳۲ ‬‬ ‫‪۱۳۳ ‬‬ ‫‪۱۳٤ ‬‬ ‫‪۱۳٥ ‬‬ ‫‪۱۳٦ ‬‬ ‫‪۱۳۷ ‬‬ ‫‪۱۳۸ ‬‬ ‫‪۱۳۹ ‬‬ ‫‪۱٤۰ ‬‬ ‫‪۱٤۱ ‬‬ ‫‪۱٤۲ ‬‬ ‫‪۱٤۳ ‬‬ ‫‪۱٤٤ ‬‬ ‫‪۱٤٥ ‬‬ ‫‪۱٤٦ ‬‬ ‫‪۱٤۷ ‬‬ ‫‪۱٤۸ ‬‬ ‫‪۱٤۹ ‬‬ ‫‪۱٥۰ ‬‬ ‫‪۱٥۱ ‬‬ ‫‪۱٥۲ ‬‬

‫‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺩﻳﻮﺍﻥ‪ ‬ﻗﺼﻴﺪﺓ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻭﺍﻟﻠﻮﺣﺔ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪A3 ‬‬ ‫‪ ‬ﺍﻟﻤﺮﻛﺰ‪ ‬ﺍﻟﺜﻘﺎﻓﻲ‪ ‬ﻓﻲ‪ ‬ﻓﻴﺮﻣﻴﻨﻲ‪ ‬ﻭﺭﻳﻠﻴﻒ‪ ‬ﺃﺳﻤﻨﺘﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺇﺣﺪﻯ‪ ‬ﻭﺍﺟﻬﺎﺗﻪ‬ ‫‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻣﺮﻛﺰ‪ ‬ﺍﻟﻔﻨﻮﻥ‪ ‬ﺍﻟﺒﺼﺮﻳﺔ‪ ‬ﺍﻟﺘﺎﺑﻊ‪ ‬ﻟﻤﺆﺳﺴﺔ‪ ‬ﻛﺎﺭﺑﻨﺘﺮ‪ ‬ﻓﻲ‪ ‬ﺃﻣﺮﻳﻜﺎ‬ ‫‪ ‬ﺟﻨﺎﺡ‪ ‬ﻓﻴﻠﻴﺒﺲ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻌﺮﺽ‪ ‬ﺍﻟﻌﺎﻟﻤﻲ‪ ‬ﺑﺒﺮﻭﻛﺴﻞ‬ ‫‪ ‬ﺷﺎﻫﺪ‪ ‬ﻗﺒﺮ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺯﻭﺟﺘﻪ‬ ‫‪ ‬ﻟﻮﺣﺘﺎﻥ ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻄﺒﻴﻌﺔ ‪ ‬ﺍﻟﺼﺎﻣﺘﺔ ‪ ‬ﻭﺍﻟﻜﻮﻻﺝ ‪ ‬ﻋﺎﻡ ‪، ۱۹٦۳ ‬‬ ‫‪ ۱۹٦۰ ‬ﻋﻠﻰ‪ ‬ﺍﻟﺘﺮﺗﻴﺐ‬ ‫‪ ‬ﺑﻴﺖ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺃﻭ‪ ‬ﻣﺘﺤﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﺯﻳﻮﺭﻳﺦ‬ ‫‪ ‬ﻗﻄﺎﻉ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺑﻴﺖ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﻟﻮﺣﺘﺎﻥ‪ ‬ﺣﻔﺮ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﺧﻂ‪ ‬ﻛﺘﺎﺑﺔ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﻣﻌﺮﻭﻑ‪ ‬ﺑﺎﺳﻤﻪ‪ ‬ﺣﺎﻟﻴﺎ‬ ‫‪ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ " ، ۱۹۲۲ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲٦ " ‬‬ ‫‪ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻣﻊ‪ ‬ﺳﻴﻔﻮﻥ‪۱۹۲۱ " ‬‬ ‫‪ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ " ، ۱۹۲۸ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲۲ " ‬‬ ‫‪ ‬ﺍﻟﺼﻴﻐﺔ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﻟﻤﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬ ‫‪ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ " ، ۱۹۲٦ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲۰ " ‬‬ ‫‪ " ‬ﺍﻟﺰﺟﺎﺟﺎﺕ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ " ، ۱۹۲٦ " ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻣﻊ‪ ‬ﻭﺭﺩﺓ‪۱۹۲٦ " ‬‬ ‫‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ۸۱ x ٦٥ ۱۹۲۲ ‬ﺳﻢ‬ ‫‪ ‬ﻣﻌﺮﺽ‪ ‬ﺍﻟﻠﻮﻥ‪ ‬ﺍﻟﺤﺪﻳﺜﺔ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﺍﺧﺘﻼﻑ‪ ‬ﺍﻟﺒﻮﺻﺔ‪ ‬ﻣﻦ‪ ‬ﺑﻠﺪ‪ ‬ﻵﺧﺮ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻓﻲ‪ ‬ﻣﻨﺰﻝ‪ ‬ﻻﺭﻭﺵ‬ ‫‪ ‬ﻣﺜﺎﻝ‪ ‬ﻋﻠﻰ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻗﺎﻋﺪﺓ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻋﻠﻰ‪ ‬ﻓﻴﻼ‪ ‬ﺷﻮﻭﺏ‪۱۹۱٦ ‬‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‪ ‬ﻓﻲ‪ ‬ﻭﺍﺟﻬﺎﺕ‪ ‬ﻓﻴﻼ‪ ‬ﺷﺘﺎﻳﻦ ‪۱۹۲۷ ‬‬ ‫‪ ‬ﺍ‪ ‬ﻟﻄﺮﻳﻘﺔ‪ ‬ﺍﻷﻭﻟﻰ‪ ‬ﻟﻌﻤﻞ‪ ‬ﺯﺍﻭﻳﺔ‪ ‬ﻗﺎﺋﻤﺔ‬ ‫‪ ‬ﺍﻟﻄﺮﻳﻘﺔ‪ ‬ﺍﻟﺜﺎﻧﻴﺔ‪ ‬ﻟﻌﻤﻞ‪ ‬ﺯﺍﻭﻳﺔ‪ ‬ﻗﺎﺋﻤﺔ‬ ‫‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺣﺴﺎﺑﺎﺕ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‬ ‫‪ ‬ﻣﺘﺘﺎﺑﻌﺘﺎﻥ‪ ‬ﺫﻫﺒﻴﺘﺎﻥ‪ ‬ﺇﺣﺪﺍﻫﻤﺎ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻷﺧﺮﻯ‬ ‫‪ ‬ﻧﺴﺒﺘﺎﻥ‪ ‬ﺫﻫﺒﻴﺘﺎﻥ‪ ‬ﺩﺍﺧﻞ‪ ‬ﻣﺮﺑﻊ‪ ‬ﺇﺣﺪﺍﻫﻤﺎ‪ ‬ﺿﻌﻒ‪ ‬ﺍﻷﺧﺮﻯ‬ ‫‪ ‬ﻋﻼﻗﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻟﻔﺮﻧﺴﻲ‪ ‬ﻭﺍﺭﺗﻔﺎﻋﻪ‪ ۱۷٥ ‬ﺳﻢ‬ ‫‪ ‬ﺍﻻﺭﺗﺒﺎﻁ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﺍﻟﻤﺪﻳﻮﻟﻮﺭ‪ ‬ﻭﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‬ ‫‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻊ‪ ‬ﻧﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﺍﻟﺘﻌﺒﻴﺮ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‪ ‬ﻋﻦ‪ ‬ﻧﻈﺮﻳﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺴﻠﺴﻠﺘﻴﻦ‪ ‬ﺍﻟﺬﻫﺒﻴﺘﻴﻦ‬ ‫‪ ‬ﺍﻣﺘﺪﺍﺩ ‪ ‬ﺍﻟﺨﻂ ‪ ‬ﺍﻟﻮﺍﺻﻞ ‪ ‬ﺑﻴﻦ ‪ ‬ﺗﻘﺎﻃﻊ ‪ ‬ﺿﻠﻌﻲ ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ ‪ ‬ﻣﻊ ‪ ‬ﺍﻟﻤﺮﺑﻊ‬ ‫‪ ‬ﺍﻷﺳﺎﺳﻲ‬ ‫‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻊ‪ ‬ﻧﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‬ ‫‪ ‬ﺇﻧﺴﺎﻥ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻣﻊ‪ ‬ﺍﻧﻔﺼﺎﻝ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‪ ‬ﻋﻨﻪ‬ ‫‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﻭﺍﻟﺰﺭﻗﺎء‬ ‫‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﺤﻤﺮﺍء‪ ‬ﺍﻟﺼﻐﺮﻯ‪ ‬ﻣﻨﺪﻣﺠﺔ‪ ‬ﻣﻊ‪ ‬ﺍﻟﺰﺭﻗﺎء‪ ‬ﺍﻟﻜﺒﺮﻯ‬ ‫‪ ‬ﺗ‪ ‬ﻮﺍﻓﻖ‪ ‬ﺃﺭﻗﺎﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻓﻲ‪ ‬ﺗﻜﻮﻳﻦ‪ ‬ﺇﻃﺎﺭﺍﺕ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ‬ﻟﻠﺘﺼﻤﻴﻢ‬ ‫‪ ‬ﺍﺳﻜﺘﺶ‪ ‬ﻻﺭﺗﻔﺎﻋﺎﺕ‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﻌﺮﺽ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺮﺣﺎﻝ‬ ‫‪ ‬ﻣﻌﺮﺽ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﺮﺣﺎﻝ‬ ‫‪۲۱۳ ‬‬

‫‪۹٥ ‬‬ ‫‪۹٦ ‬‬ ‫‪۹٦ ‬‬ ‫‪۹۷ ‬‬ ‫‪۹۷ ‬‬ ‫‪۹۸ ‬‬ ‫‪۹۸ ‬‬ ‫‪۹۹ ‬‬ ‫‪۹۹ ‬‬ ‫‪۱۰۰ ‬‬ ‫‪۱۰٦ ‬‬ ‫‪۱۰۷ ‬‬ ‫‪۱۰۸ ‬‬ ‫‪۱۰۹ ‬‬ ‫‪۱۱۳ ‬‬ ‫‪۱۱۳ ‬‬ ‫‪۱۱٤ ‬‬ ‫‪۱۱۷ ‬‬ ‫‪۱۲۰ ‬‬ ‫‪۱۲٤ ‬‬ ‫‪۱۲٤ ‬‬ ‫‪۱۲٤ ‬‬ ‫‪۱۲٥ ‬‬ ‫‪۱۲٥ ‬‬ ‫‪۱۲۷ ‬‬ ‫‪۱۲۷ ‬‬ ‫‪۱۲۸ ‬‬ ‫‪۱۲۹ ‬‬ ‫‪۱۳۰ ‬‬ ‫‪۱۳۱ ‬‬ ‫‪۱۳۲ ‬‬ ‫‪۱۳٦ ‬‬ ‫‪۱۳۸ ‬‬ ‫‪۱۳۸ ‬‬ ‫‪۱۳۹ ‬‬ ‫‪۱٤۰ ‬‬ ‫‪۱٤۰ ‬‬ ‫‪۱٤۲ ‬‬ ‫‪۱٤۲‬‬

‫‪۱٥۳ ‬‬ ‫‪۱٥٤ ‬‬ ‫‪۱٥٥ ‬‬ ‫‪۱٥٦ ‬‬ ‫‪۱٥۷ ‬‬ ‫‪۱٥۸ ‬‬ ‫‪۱٥۹ ‬‬ ‫‪۱٦۰ ‬‬ ‫‪۱٦۱ ‬‬ ‫‪۱٦۲ ‬‬ ‫‪۱٦۳ ‬‬ ‫‪۱٦٤ ‬‬ ‫‪۱٦٥ ‬‬ ‫‪۱٦٦ ‬‬ ‫‪۱٦۷ ‬‬ ‫‪۱٦۸ ‬‬ ‫‪۱٦۹ ‬‬ ‫‪۱۷۰ ‬‬ ‫‪۱۷۱ ‬‬ ‫‪۱۷۲ ‬‬ ‫‪۱۷۳ ‬‬ ‫‪۱۷٤ ‬‬ ‫‪۱۷٥ ‬‬ ‫‪۱۷٦ ‬‬ ‫‪۱۷۷ ‬‬ ‫‪۱۷۸ ‬‬ ‫‪۱۷۹ ‬‬ ‫‪۱۸۰ ‬‬ ‫‪۱۸۱ ‬‬ ‫‪۱۸۲ ‬‬ ‫‪۱۸۳ ‬‬ ‫‪۱۸٤ ‬‬ ‫‪۱۸٥ ‬‬ ‫‪۱۸٦ ‬‬ ‫‪۱۸۷ ‬‬ ‫‪۱۸۸ ‬‬ ‫‪۱۸۹ ‬‬ ‫‪۱۹۰ ‬‬ ‫‪۱۹۱ ‬‬

‫‪ ‬ﺗﺨﻄﻴﻂ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻟﺤﺴﺎﺑﺎﺕ‪ ‬ﻣﻄﺒﻮﻋﺔ‪ " ‬ﺍﻟﻌﻤﺎﺭﺓ‪ ‬ﺍﻟﻴﻮﻡ‪" ‬‬ ‫‪ ‬ﺗﻮﺿﻴﺢ‪ ‬ﻛﺮﻭﺳﺎﺭﺩ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﻟﻤﻮﺿﻊ‪ ‬ﺍﻟﺰﺍﻭﻳﺔ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ‬ ‫‪ ‬ﻣﺴﻘﻂ‪ ‬ﺃﻓﻘﻲ‪ ‬ﻭﻗﻄﺎﻋﺎﺕ‪ ‬ﻟﻤﺪﺭﺳﺔ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻤﻴﻢ‪ ‬ﺃﻧﺪﺭﻱ‪ ‬ﺳﻴﻔﺎ‬ ‫‪ ‬ﻗﻄﺎﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﺴﺘﺸﻔﻰ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺻﻤﻤﻪ‪ ‬ﺃﻣﺎﻧﻴﻜﻮ‪ ‬ﻭﻳﻠﻴﺎﻣﺰ‪ ‬ﺑﺎﺳﺘﺨﺪﺍﻡ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪ ‬ﺍﻟﻤﻨﺰﻝ‪ ‬ﺍﻟﺨﺎﺹ‪ ‬ﺑﺄﻧﺪﺭﻳﻪ‪ ‬ﻭﻭﺟﻨﺴﻜﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺍﺳﺘﺨﺪﻡ‪ ‬ﻓﻴﻪ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‬ ‫‪ ‬ﺍﻟﺘﻘﺴﻴﻢ‪ ‬ﺍﻟﻤﻌﻴﺎﺭﻱ‪ ‬ﻟﻠﻮﺭﻕ‬ ‫‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‬ ‫‪ ‬ﻓﻴﻼ‪ ‬ﺳ‪ ‬ﺎﻓﻮﺍ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺪﺍﺧﻞ‬ ‫‪ ‬ﺍﻟﻤﻤﺮﺍﺕ‪ ‬ﺍﻟﺪﺍﺧﻠﻴﺔ‪ ‬ﻭﺍﻟﺨﺎﺭﺟﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‬ ‫‪ ‬ﺃﻳﺰﻭﻣﺘﺮﻱ‪ ‬ﻷﺩﻭﺍﺭ‪ ‬ﻓﻴﻼ‪ ‬ﺳﺎﻓﻮﺍ‬ ‫‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﺩﺍﺧﻠﻴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﺘﻔﺮﻗﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﻣﺪﺧﻨﺔ‪ ‬ﺳﻄﺢ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﻣﺴﻘﻂ‪ ‬ﺃﻓﻘ‪ ‬ﻲ‪ ‬ﻟﺴﻄﺢ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻭﺃﺟﺰﺍﺋﻪ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﻦ‪ ‬ﺳﻄﺢ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻷﺳﻤﻨﺘﻴﺔ‪ ‬ﻭﻗﻴﺎﺳﺎﺗﻬﺎ‬ ‫‪ ‬ﺍﻟﻌﻼﻗﺔ ‪ ‬ﻣﺎ ‪ ‬ﺑﻴﻦ ‪ ‬ﺟﺪﺍﺭﻳﺔ ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪ ‬ﺍﻷﺳﻤﻨﺘﻴﺔ ‪ ‬ﻭﺟﺪﺍﺭﻳﺔ ‪ ‬ﻣﻌﺒﺪ ‪ ‬ﺁﻣﻮﻥ‬ ‫‪ ‬ﺭﻉ‪ ‬ﺑﺎﻟﻜﺮﻧﻚ‬ ‫‪ ‬ﺑﻌﺾ‪ ‬ﻗﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‬ ‫‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍ‪ ‬ﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﻧﺎﻧﺖ‪ ‬ﺭﻳﺰﻱ‬ ‫‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﺍﻟﻮﺣﺪﺓ‪ ‬ﺍﻟﺴﻜﻨﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺑﺮﻟﻴﻦ‬ ‫‪ ‬ﻛﻨﻴﺴﺔ‪ ‬ﻧﻮﺗﺮﺩﺍﻡ‪ ‬ﺩﻭﻫﻮ‬ ‫‪ ‬ﻣﺴﻘﻂ‪ ‬ﺃﻓﻘﻲ‪ ‬ﻭﺃﻳﺰﻭﻣﺘﺮﻱ‪ ‬ﻟﻠﻜﻨﻴﺴﺔ‬ ‫‪ ‬ﻓﺘﺤﺎﺕ‪ ‬ﺍﻟﺠﺪﺍﺭ‪ ‬ﺍﻟﺨﺎﺻﺔ‪ ‬ﺑﺎﻹﺿﺎءﺓ‪ ‬ﻣﻦ‪ ‬ﺩﺍﺧﻞ‪ ‬ﺍﻟﻜﻨﻴﺴﺔ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﺧﺎﺭﺟﻴﺔ‪ ‬ﻟﻠﻜﻨﻴﺴﺔ‬ ‫‪ ‬ﻣﺎﻛﻴﺖ‪ ‬ﻟﻠﻜﻨﻴﺴﺔ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺑﻮﺍﺑﺔ‪ ‬ﺍﻟﻜﻨ‪ ‬ﻴﺴﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺨﺎﺭﺝ‬ ‫‪ ‬ﻣﺸﻬﺪ‪ ‬ﻏﺎﻧﺪﻱ‪ ،‬ﻭﺣﺪﻳﻘﺔ‪ ‬ﻧﺤﺘﻴﺔ‪ ،‬ﻭﻗﺎﻋﺔ‪ ‬ﺍﺟﺘﻤﺎﻋﺎﺕ‪ ‬ﺍﻟﻤﺠﻠﺲ‪ ‬ﺍﻟﺘﺸﺮﻳﻌﻲ‪ ‬ﻓﻲ‬ ‫‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‬ ‫‪ ‬ﻣﺒﻨﻰ‪ ‬ﺍﻟﺒﺮﻟﻤﺎﻥ‪ ‬ﻭﺧﺮﻳﻄﺔ‪ ‬ﻟﻤﺪﻳﻨﺔ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‬ ‫‪ ‬ﻗﺎﻋﺔ‪ ‬ﺍﺟﺘﻤﺎﻋﺎﺕ‪ ‬ﺍﻟﻤﺠﻠﺲ‪ ‬ﺍﻟﺘﺸﺮﻳﻌﻲ‪ ‬ﻭﻣﺴﻘﻄﺎﻥ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﺃﺟﺰﺍء‪ ‬ﻣﻦ‪ ‬ﻣﺤﻜﻤﺔ‪ ‬ﺍﻟﻌﺪﻝ‪ ‬ﻓﻲ‪ ‬ﺷﺎﻧﺪﻳﺠﺎﺭ‬ ‫‪ ‬ﻭﺍﺟﻬﺔ‪ ‬ﻗﺎﻋﺔ‪ ‬ﺍﺟﺘﻤﺎ‪ ‬ﻋﺎﺕ‪ ‬ﺍﻟﻤﺠﻠﺲ‪ ‬ﺍﻟﺘﺸﺮﻳﻌﻲ‬ ‫‪ ‬ﺍﻟﻨﺼﺐ‪ ‬ﺍﻟﺘﺬﻛﺎﺭﻱ‪ ‬ﻟﻠﻴﺪ‪ ‬ﺍﻟﻤﻔﺘﻮﺣﺔ‪ ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﻤﺪﻳﻨﺔ‪ ‬ﻭﻗﻴﺎﺳﺎﺗﻪ‬ ‫‪ ‬ﺟﺪﺍﺭﻳﺔ‪ ‬ﺑﻮﺍﺑﺔ‪ ‬ﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‬ ‫‪ ‬ﻭﺍﺟﻬﺔ‪ ‬ﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‪ ‬ﻭﺗﺤﻠﻴﻠﻬﺎ‪ ‬ﺍﻟﻬﻨﺪﺳﻲ‬ ‫‪ ‬ﺍﻟﻨﺴﺠﻴﺔ‪ ‬ﺍﻟﻜﺒﺮﻯ‪ ‬ﻓﻲ‪ ‬ﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‪ ‬ﻭﺗﻘﺴﻴﻤﺎﺗﻬﺎ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‬ ‫‪ ‬ﺇﺣﺪﻯ‪ ‬ﺍﻟﻨﺴﺠﻴﺎﺕ‪ ‬ﺍﻷﺻﻐﺮ‪ ‬ﻓﻲ‪ ‬ﻗﺼﺮ‪ ‬ﺍﻟﻌﺪﻝ‬ ‫‪ ‬ﻗﻄﺎﻉ‪ ‬ﻭﻣﺴﻘﻂ‪ ‬ﻟﻤﺘﺤﻒ‪ ‬ﺃﺣﻤﺪ‪ ‬ﺃﺑﺎﺩ‪ ‬ﻣﻊ‪ ‬ﻗﻴﺎﺳﺎﺗﻪ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻟﺠﺎﻧﺒﻲ‪ ‬ﻟﻠﻜﺮﺳﻲ‪ ‬ﺍﻟﻄﻮﻳﻞ‬ ‫‪۲۱۳ ‬‬

‫‪۱٤۳ ‬‬ ‫‪۱٤۷ ‬‬ ‫‪۱٤۹ ‬‬ ‫‪۱٤۹ ‬‬ ‫‪۱٥۰ ‬‬ ‫‪۱٥۱ ‬‬ ‫‪۱٥۲ ‬‬ ‫‪۱٥۳ ‬‬ ‫‪۱٥۳ ‬‬ ‫‪۱٥٤ ‬‬ ‫‪۱٥٥ ‬‬ ‫‪۱٥٦ ‬‬ ‫‪۱٥٦ ‬‬ ‫‪۱٥۷ ‬‬ ‫‪۱٥۸ ‬‬ ‫‪۱٥۸ ‬‬ ‫‪۱٥۹ ‬‬ ‫‪۱٥۹ ‬‬ ‫‪۱٦۰ ‬‬ ‫‪۱٦۰ ‬‬ ‫‪۱٦۱ ‬‬ ‫‪۱٦۲ ‬‬ ‫‪۱٦۲ ‬‬ ‫‪۱٦۳ ‬‬ ‫‪۱٦٤ ‬‬ ‫‪۱٦٤ ‬‬ ‫‪۱٦٥ ‬‬ ‫‪۱٦٦ ‬‬ ‫‪۱٦۷ ‬‬ ‫‪۱٦۸ ‬‬ ‫‪۱٦۸ ‬‬ ‫‪۱٦۹ ‬‬ ‫‪۱۷۰ ‬‬ ‫‪۱۷۱ ‬‬ ‫‪۱۷۱ ‬‬ ‫‪۱۷۲ ‬‬ ‫‪۱۷۲ ‬‬ ‫‪۱۷۳ ‬‬ ‫‪۱۷٥‬‬

‫‪۱۹۲ ‬‬ ‫‪۱۹۳ ‬‬ ‫‪۱۹٤ ‬‬ ‫‪۱۹٥ ‬‬ ‫‪۱۹٦ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۲۰۰ ‬‬ ‫‪۲۰۱ ‬‬ ‫‪۲۰۲ ‬‬ ‫‪۲۰۳ ‬‬ ‫‪۲۰٤ ‬‬ ‫‪۲۰٥ ‬‬ ‫‪۲۰٦ ‬‬ ‫‪۲۰۷ ‬‬ ‫‪۲۰۸ ‬‬ ‫‪۲۰۹ ‬‬ ‫‪۲۱۰ ‬‬ ‫‪۲۱۱ ‬‬ ‫‪۲۱۲ ‬‬ ‫‪۲۱۳ ‬‬ ‫‪۲۱٤ ‬‬ ‫‪۲۱٥ ‬‬ ‫‪۲۱٦ ‬‬ ‫‪۲۱۷ ‬‬ ‫‪۲۱۸ ‬‬ ‫‪۲۱۹ ‬‬ ‫‪۲۲۰ ‬‬ ‫‪۲۲۱ ‬‬ ‫‪۲۲۲ ‬‬ ‫‪۲۲۳ ‬‬ ‫‪۲۲٤ ‬‬ ‫‪۲۲٥ ‬‬ ‫‪۲۲٦ ‬‬ ‫‪۲۲۷ ‬‬ ‫‪۲۲۸ ‬‬ ‫‪۲۲۹ ‬‬ ‫‪۲۳۰ ‬‬ ‫‪۲۳۱ ‬‬

‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻟﻸﺭﻳﻜﺔ‪ ‬ﺍﻟﺜﻨﺎﺋﻴﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻟﻸﺭﻳﻜﺔ‪ ‬ﺍﻟﺜﻼﺛﻴﺔ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻠﻤﺴﻘﻂ‪ ‬ﺍﻷﻣﺎﻣﻲ‪ ‬ﻟﻸﺭﻳﻜﺔ‪ ‬ﺍﻟﻔﺮﺩﻳﺔ‬ ‫‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺸﻬﻴﺮﺓ‪ ‬ﻟﻠﻮ‪ ‬ﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻓﻲ‪ ‬ﻓﺘﺮﺓ‪ ‬ﻣﺪﺭﺳﺔ‪ ‬ﺍﻟﻨﻘﺎﺋﻴﺔ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۲ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ ‪ ‬ﻃﺒﻴﻌﺔ ‪ ‬ﺻﺎﻣﺘﺔ ‪ ‬ﻟﻠﺮﻭﺡ ‪ ‬ﺍﻟﺠﺪﻳﺪﺓ ‪ ‬ﺧﻼﻝ ‪ ‬ﺃﻋﻮﺍﻡ ‪ ۱۹٤۷ – ۲٤ ‬ﻣﻊ‬ ‫‪ ‬ﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻣﻊ‪ ‬ﺟﻴﺘﺎﺭ‪ ‬ﺧﻼﻝ‪ ‬ﺃﻋﻮﺍﻡ‪ ۱۹۲۲ – ۲۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬ‪ ‬ﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻜﻤﺎﻥ‪ ‬ﻣﻊ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺟﻴﺘﺎﺭ‪ ‬ﺭﺃﺳﻲ‪ ۱۹۲۱ – ۲۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۱۹ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻣﻊ‪ ‬ﻛﻤﺎﻥ‪ ۱۹٦۲ – ۲۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۲ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴ‪ ‬ﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۳۹ – ۲۸ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲٦ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۲ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺛﻼﺛﺔ‪ ‬ﻗﺎﺭﻭﺭﺍﺕ‪ ۱۹۲۹ – ۲٦ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻗﺎﺭﻭﺭﺗﺎﻥ‪ ۱۹۲۸ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺗﻜﻮﻳﻦ‪ ‬ﺣﻠﺰﻭﻧﻲ‪ ‬ﻟﻮﻏﺎﺭﻳﺘﻤﻲ‪ ۱۹۲۹ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻓﺘﻴﺎﺕ‪ ۱۹۳۱ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹۲۹ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ‬ﻣﻊ‪ ‬ﻋﻨﺎﺻﺮ‪ ‬ﻣﺨﺘﻠﻔﺔ‪ ۱۹۲۳ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪ ۱۹٤۸ – ۲۹ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺳﻴﺪﺓ‪ ‬ﻋﻠﻰ‪ ‬ﺧﻠﻔﻴﺔ‪ ‬ﺣﻤﺮﺍء‪ ۱۹٦٥ – ٦۰ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﺨﻠ‪ ‬ﻮﺩ‪ ۱۹۳۸ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﺨﻠﻮﺩ‪۱۹۳۸ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻧﻌﻜﺎﺱ‪ ۱۹٤۸ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻬﺎ‬ ‫‪ ‬ﻟﻮﺣﺔ‪۱۹٥۲ ARCOLE SIMLA ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻭﺟﻪ‪۱۹٤۰ – ۳۹ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺃﻛﻮﺭﺱ‪۱۹٤٦ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻴﻴﻦ‪ ‬ﺍﻻﺛﻨﻴﻦ‪ ،‬ﻭﺍﻟﺜﻼﺛﺔ‪۱۹۳۷ – ۳٦ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪۱۹۳۸ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪۱۹٤۷ ­ ۳۸ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺑﺮﺷﻠﻮﻧﺔ‪۱۹۳۹ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺳﻴﺪﺗﺎﻥ‪ ، ۱۹٥٤ ‬ﺻﺒﺎﺡ‪ ‬ﺍﻟﺨﻴﺮ‪ ‬ﻳﺎ‪ ‬ﻛﺎﻟﺪﺭ‪ ، ۱۹٥۸ – ٥۷ ‬ﺳﻴﺪﺓ‪۱۹٥۲ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺳﻴﺪﺗﺎﻥ‪۱۹٦۲ – ٤۷ – ۳۲ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹٤٥ – ٤٤ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺳﻴﺪﺗﺎﻥ‪۱۹٤۰ – ۳٦ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺷﺨﺼﺎﻥ‪۱۹۳٦ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺷﺨﺺ‪ ‬ﻣﻊ‪ ‬ﺃﻛﻮﺭﺩﻳﻮﻥ‪۱۹۳۲ – ۲٦ ‬‬ ‫‪۲۱۳ ‬‬

‫‪۱۷٥ ‬‬ ‫‪۱۷٦ ‬‬ ‫‪۱۷٦ ‬‬ ‫‪۱۷۷ ‬‬ ‫‪۱۷۸ ‬‬ ‫‪۱۷۹ ‬‬ ‫‪۱۸۰ ‬‬ ‫‪۱۸۱ ‬‬ ‫‪۱۸۲ ‬‬ ‫‪۱۸۳ ‬‬ ‫‪۱۸٤ ‬‬ ‫‪۱۸٥ ‬‬ ‫‪۱۸٦ ‬‬ ‫‪۱۸۷ ‬‬ ‫‪۱۸۸ ‬‬ ‫‪۱۸۹ ‬‬ ‫‪۱۸۹ ‬‬ ‫‪۱۹۰ ‬‬ ‫‪۱۹۰ ‬‬ ‫‪۱۹۰ ‬‬ ‫‪۱۹۱ ‬‬ ‫‪۱۹۱ ‬‬ ‫‪۱۹۲ ‬‬ ‫‪۱۹۳ ‬‬ ‫‪۱۹٤ ‬‬ ‫‪۱۹٥ ‬‬ ‫‪۱۹٦ ‬‬ ‫‪۱۹٦ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۷ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۸‬‬

‫‪۲۳۲ ‬‬ ‫‪۲۳۳ ‬‬ ‫‪۲۳٤ ‬‬ ‫‪۲۳٥ ‬‬ ‫‪۲۳٦ ‬‬ ‫‪۲۳۷ ‬‬ ‫‪۲۳۸ ‬‬ ‫‪۲۳۹ ‬‬ ‫‪۲٤۰ ‬‬

‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺳﻴﺪﺍﺕ‪۱۹٥۸ ­ ۳٦ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲٦ – ۲۲ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺷﺨﺼﺎﻥ‪۱۹۲۸ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﺷﺨﺼﺎﻥ‪۱۹۳۳ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲۸ – ۲۲ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲۱ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎﻣﺘﺔ‪۱۹۲۹ ‬‬ ‫‪ ‬ﻟﻮﺣﺔ‪ ‬ﻃﺒﻴﻌﺔ‪ ‬ﺻﺎ‪ ‬ﻣﺘﺔ‪۱۹٤۰ – ۳٤ – ۳۱ ‬‬ ‫‪ ‬ﺟﺰء‪ ‬ﻣﻦ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﺗﻮﺭﻭ‪ ) ‬ﺍﻟﺜﻮﺭ‪۱۹٥٥ – ٥۲ ( ‬‬

‫‪۱۹۸ ‬‬ ‫‪۱۹۸ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬ ‫‪۱۹۹ ‬‬

‫‪ ‬ﺍﻟﺒﺎﺏ‪ ‬ﺍﻟﺜﺎﻟﺚ‬ ‫‪۲٤۱ ‬‬ ‫‪۲٤۲ ‬‬ ‫‪۲٤۳ ‬‬ ‫‪۲٤٤ ‬‬ ‫‪۲٤٥ ‬‬ ‫‪۲٤٦ ‬‬ ‫‪۲٤۷ ‬‬ ‫‪۲٤۸ ‬‬ ‫‪۲٤۹ ‬‬ ‫‪۲٥۰ ‬‬ ‫‪۲٥۱ ‬‬ ‫‪۲٥۲ ‬‬ ‫‪۲٥۳ ‬‬ ‫‪۲٥٤ ‬‬ ‫‪۲٥٥ ‬‬ ‫‪۲٥٦ ‬‬ ‫‪۲٥۷ ‬‬ ‫‪۲٥۸ ‬‬ ‫‪۲٥۹ ‬‬ ‫‪۲٦۰ ‬‬ ‫‪۲٦۱ ‬‬ ‫‪۲٦۲ ‬‬ ‫‪۲٦۳ ‬‬ ‫‪۲٦٤ ‬‬ ‫‪۲٦٥ ‬‬ ‫‪۲٦٦ ‬‬ ‫‪۲٦۷ ‬‬

‫‪ ‬ﻧﺤﺖ‪ ‬ﻏﺎﺋﺮ‪ ‬ﻓﻲ‪ ‬ﻣﻌﺒﺪ‪ ‬ﺳﻴﺘﻲ‪ ‬ﺍﻷﻭﻝ‪ ‬ﻓﻲ‪ ‬ﺃﺑﻴﺪﻭﺱ‪ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺷﻜﻞ‪ ‬ﺭﻣﺴﻴﺲ‪ ‬ﺍﻟﺜﺎﻧﻲ‪ ‬ﻭﺗﺤﻠﻴﻞ‪ ‬ﻟﻪ‬ ‫‪ ‬ﺷﺒﻜﺔ‪ ‬ﺍﻟﻤﺮﺑﻌﺎﺕ‪ ‬ﺍﻟﺘﺼﻤﻴﻤﻴﺔ‪ ۱۸ ) ‬ﻣﺮﺑﻊ‪( ‬‬ ‫‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﺭﺗﻔﺎﻉ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺑﺎﻷ‪ ‬ﺫﺭﻉ‪ ‬ﻭﺍﻷﻗﺪﺍﻡ‪ ‬ﻭﺭﺍﺣﺎﺕ‪ ‬ﺍﻟﻴﺪ‬ ‫‪ ‬ﺷﺒﻜﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺑﺠﻮﺍﺭ‪ ‬ﺍﻟﺸﺒﻜﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‬ ‫‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‬ ‫‪ ‬ﻣﺴﺎﻗﻂ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺍﻷﺭﺑﻌﺔ‪ ‬ﺃﻟﻔﺎ‪ ،‬ﺑﻴﺘﺎ‪ ،‬ﺟﺎﻣﺎ‪ ،‬ﺳﻴﺠﻤﺎ‬ ‫‪ ‬ﻣﺴﺎﻗﻂ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺍﻷﺭﺑﻌﺔ‬ ‫‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ‬ﺳﺪﺍﺳﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ‬ﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ‬ﻋﺸﺮﻭﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﻨﺘﻈﻢ‬ ‫‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‬ ‫‪ ‬ﺗﺮﻛﻴﺐ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻣﻦ‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﻓﻼﻃﻮﻥ‪ ‬ﺍﻟﺨﻤﺴﺔ‬ ‫‪ ‬ﻣﺠﺴﻤﺎﺕ‪ ‬ﺃﺭﺷﻤﻴﺪﺱ‪ ‬ﺍﻟﺜﻼﺛﺔ‪ ‬ﻋﺸﺮ‪ ‬ﺑﺮﺳﻢ‪ ‬ﺍﻟﺮﻳﺎﺿﻲ‪ ‬ﻭﻳﻠﻬﻠﻢ‪ ‬ﺷﻴﻜﺎﺭﺩ‬ ‫‪ ‬ﺭﺑﺎﻋﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‬ ‫‪ ‬ﺍﻟﻤﻜﻌﺐ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‬ ‫‪ ‬ﺛﻤﺎﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‬ ‫‪ ‬ﺇﺛﻨﺎ‪ ‬ﻋﺸﺮﻱ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‬ ‫‪ ‬ﻋﺸﺮﻭﻧﻲ‪ ‬ﺍﻟﺴﻄﻮﺡ‪ ‬ﺍﻟﻤﺒﺘﻮﺭ‬ ‫‪ ‬ﺍﺣﺘﻮﺍء‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‬ ‫‪ ‬ﺷﻌﺎﺭ‪ ‬ﺣﻠﻒ‪ ‬ﺍﻟﻨﺎﺗﻮ‬ ‫‪ ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﺴﻼﻡ‬ ‫‪ ‬ﺷﻌﺎﺭ‪ ‬ﺍﻟﻤﺎﻟﺘﻴﺴﺮ‬ ‫‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﻣﺴﻘﻂ‪ ‬ﺃﻟﻔﺎ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﺑﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‬ ‫‪ ‬ﺟﺰء‪ ‬ﻣﻦ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﺍﻟﻤﻴﺘﺎ‪ ‬ﺇﻳﺪﺭ‪ ‬ﻓﻲ‪ ‬ﻣﺠﺎﻝ‪ ‬ﺍﻟﻌﻤﺎﺭﺓ‬

‫‪۲۱۳ ‬‬

‫‪۲۰۲ ‬‬ ‫‪۲۰۲ ‬‬ ‫‪۲۰۳ ‬‬ ‫‪۲۰٥ ‬‬ ‫‪۲۰٦ ‬‬ ‫‪۲۰۷ ‬‬ ‫‪۲۰۸ ‬‬ ‫‪۲۰۹ ‬‬ ‫‪۲۱۰ ‬‬ ‫‪۲۱۰ ‬‬ ‫‪۲۱۰ ‬‬ ‫‪۲۱۰ ‬‬ ‫‪۲۱۱ ‬‬ ‫‪۲۱۱ ‬‬ ‫‪۲۱۲ ‬‬ ‫‪۲۱٤ ‬‬ ‫‪۲۱٥ ‬‬ ‫‪۲۱٥ ‬‬ ‫‪۲۱٦ ‬‬ ‫‪۲۱٦ ‬‬ ‫‪۲۱۷ ‬‬ ‫‪۲۱۹ ‬‬ ‫‪۲۲۰ ‬‬ ‫‪۲۲۰ ‬‬ ‫‪۲۲۰ ‬‬ ‫‪۲۲۱ ‬‬ ‫‪۲۲۲‬‬

‫‪ ‬ﻣﻘﺪﻣﺔ‪: ‬‬

‫‪ ‬ﺍﻟﺤﻤﺪ‪ ‬ﷲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻋﻠﻢ‪ ‬ﺃﻥ‪ ‬ﻟﻦ‪ ‬ﻧﺤﺼﻴﻪ‪ ‬ﻓﺘﺎﺏ‪ ‬ﻋﻠﻴﻨﺎ‪ ‬ﻭﺑﻌﺚ‪ ‬ﻓﻴﻨﺎ‪ ‬ﺑﺎﻟﻨﺒﻲ‪ ‬ﺍﻷﻣﻲ‪ ‬ﻟﻴﻜﻮﻥ‪ ‬ﻟﻠﻌﺎﻟﻤﻴﻦ‪ ‬ﻧﺬﻳﺮﺍ‪. ‬‬

‫‪ ‬ﺑﺎﻟﺤﺪﻳﺚ‪ ‬ﻋﻦ‪ ‬ﺍﻟﻤﻔﻬﻮﻡ‪ ‬ﺍﻷﻭﺭﺑﻲ‪ ‬ﻟﻠﻨﺴﺒﺔ‪ ‬ﻭﺍﻟﺘﻨﺎﺳﺐ‪ ‬ﻧ‪ ‬ﺠﺪﻩ ‪ ­ ‬ﺑﻌﺪ‪ ‬ﺗﻮﺍﺗﺮﻩ‪ ‬ﻣﻦ‪ ‬ﺍﻷﺳﺲ‪ ‬ﺍﻟﺘﻨﻈﻴﻤﻴﺔ‪ ‬ﺍﻟﻤﺼﺮﻳﺔ‪ ‬ﺍﻟﻘﺪﻳﻤﺔ ‪­ ‬‬ ‫‪ ‬ﻣﺒﻨﻴﺎ ‪ ‬ﺇﻟﻰ ‪ ‬ﻳﻮﻣﻨﺎ ‪ ‬ﻫﺬﺍ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﺘﻘﺎﻟﻴﺪ ‪ ‬ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ‪ ‬ﺍﻟﻤﻮﺭﻭﺛﺔ‪ ،‬ﻭﻫﻮ ‪ ‬ﻣﻔﻬﻮﻡ ‪ ‬ﻟﻪ ‪ ‬ﺃﻛﺜﺮ ‪ ‬ﻣﻦ ‪ ‬ﺍﺗﺠﺎﻩ؛ ‪ ‬ﺍﻷﻭﻝ‪ : ‬ﻭﻳﺘﻜﻮﻥ ‪ ‬ﻣﻦ‬ ‫‪ ‬ﻋﻼﻗﺎﺕ ‪ ‬ﺭﻗﻤﻴﺔ‪ ‬ﺗﺨﺮﺝ ‪ ‬ﻣﻦ ‪ ‬ﺍﻟﻤﻘﻴﺎﺱ ‪ ‬ﺍﻟﻤﻮﺳﻴﻘﻲ ‪ ‬ﻟﻔﻴﺜﺎﻏﻮﺭﺱ‪ ،‬ﻭﺍﻟﺜﺎﻧﻲ‪ : ‬ﻭﻳﺨﺮﺝ ‪ ‬ﻣﻦ ‪ ‬ﺃﺷﻜﺎﻝ ‪ ‬ﻫﻨﺪﺳﻴﺔ ‪ ‬ﻣﺜﺎﻟﻴﺔ ‪ ‬ﺗﻌﺒﺮ‬ ‫‪ ‬ﻋﻨﻬﺎ ‪ ‬ﺃﺟﺴﺎ‪ ‬ﻡ ‪ ‬ﺃﻓﻼﻃﻮﻥ ‪ ‬ﺍﻟﺨﻤﺴﺔ‪ . ‬ﻭﺗﻈﻬﺮ ‪ ‬ﺍﻟﻨﺴﺒﺔ ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ ‪ ‬ﺑﻮﺿﻮﺡ ‪ ‬ﻓﻲ ‪ ‬ﻫﺬﻳﻦ ‪ ‬ﺍﻻﺗﺠﺎﻫﻴﻦ‪ ،‬ﻭﺭﻏﻢ ‪ ‬ﺣﻠﻮﻝ ‪ ‬ﻋﺼﺮ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻣﺎ‪ ‬ﺑﻌﺪ‪ ‬ﺍﻹﻗﻠﻴﺪﻳﺔ‪ ‬ﻣﻨﺬ‪ ‬ﺃﻭﺍﺧﺮ‪ ‬ﺍﻟﻘﺮﻥ‪ ‬ﺍﻟﺘﺎﺳﻊ‪ ‬ﻋﺸﺮ‪ ‬ﻭﺳﺒﺮ‪ ‬ﺃﻏﻮﺍﺭ‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺍﻟﺮﺍﺑﻊ‪ ‬ﺇﻻ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻘﻄﺎﻉ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﻳﺘﻤﻜﻦ‬ ‫‪ ‬ﺩﻭﻣﺎ‪ ‬ﻣﻦ‪ ‬ﺗﻌﺪﻳﻞ‪ ‬ﻧﻔﺴﻪ‪ ‬ﻟﻴﻼﺋﻢ‪ ‬ﺍﻟﺤﻘﺒﺔ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﺍﻟﻤﺘﻮﺍﺟﺪ‪ ‬ﻓﻴﻬﺎ‬ ‫‪ ‬ﻳﻘﻮﻝ‪ ‬ﺍﷲ‪ ‬ﺗﻌﺎﻟﻰ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻛﺘﺎﺑﻪ‪ ‬ﺍﻟﻌﺰﻳﺰ‪ " ‬ﻟﻘﺪ‪ ‬ﺧﻠﻘﻨﺎ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﺴ‪ ‬ﻦ‪ ‬ﺗﻘ‪ ‬ﻮﻳﻢ‪ " ‬ﺃﻱ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺣﺴ‪ ‬ﻦ‪ ‬ﺷ‪ ‬ﻜﻞ‪ ،‬ﻭﺃﺑ‪ ‬ﺪﻉ‪ ‬ﺧَﻠ‪ ‬ﻖ‪،‬‬ ‫‪ ‬ﻭﻛﻤﺎ‪ ‬ﺍﻫﺘﻢ‪ ‬ﻛﺜﻴﺮ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﺎﻧﻴﻦ‪ ‬ﻋﻠﻰ‪ ‬ﻣﺪﺍﺭ‪ ‬ﺍﻟﻌﺼﻮﺭ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﺑﺪﺭﺍﺳﺔ‪ ‬ﻧﺴﺐ‪ ‬ﺟﺴ‪ ‬ﻢ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻣﺜ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻗ‪ ‬ﺎﻡ‪ ‬ﺑ‪ ‬ﻪ‪ ‬ﻟﻴﻮﻧ‪ ‬ﺎﺭﺩﻭ‬ ‫‪ ‬ﺩﺍ‪ ‬ﻓﻨﺸﻲ‪ ‬ﻋﻠﻰ‪ ‬ﺗﻄﻮﻳﺮ‪ ‬ﺃﻓﻜ‪ ‬ﺎﺭ‪ ‬ﻓﻴﺘﺮﻭﻓﻴ‪ ‬ﻮﺱ‪ ،‬ﺃﻭﺿ‪ ‬ﺢ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻣﺠﻤﻮﻋ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺘﻮﺍﻟﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﺃﻋﻀ‪ ‬ﺎء‬ ‫‪ ‬ﺍﻟ‪ ‬ﺠﺴﻢ‪ ‬ﺍﻟﺒﺸﺮﻱ‪ ، ‬ﺣﻴﺚ‪ ‬ﻃﺒﻖ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﻣﻮﺩﻳﻮﻟﻪ‪ ‬ﺍﻟﺬﻫﺒﻲ‪ ‬ﺍﻟ‪ ‬ﺬﻱ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺠﻪ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺣﻠ‪ ‬ﻪ‪ ‬ﻹﺷ‪ ‬ﻜﺎﻟﻴﺔ‪ ‬ﻭﺿ‪ ‬ﻊ‪ ‬ﺯﺍﻭﻳ‪ ‬ﺔ‪ ‬ﻗﺎﺋﻤ‪ ‬ﺔ‪ ‬ﺩﺍﺧ‪ ‬ﻞ‬ ‫‪ ‬ﺣﺪﻭﺩ‪ ‬ﻣﺮﺑﻌﻴﻦ‪ ‬ﻣﺘﻼﺻﻘﻴﻦ‪ ،‬ﻭﻣﻦ‪ ‬ﺛﻢ‪ ‬ﺍﺳﺘﺨﺪﻣﻪ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺍﻟﻔﻨﻴﺔ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ‬ﻣﻦ‪ ‬ﺗﺼﻮﻳﺮ‪ ‬ﻭﻧﺤﺖ‪ ‬ﻭﻋﻤﺎﺭﺓ‪ ،‬ﻓﻀﻤﻦ‪ ‬ﻟﻬ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻟﻜﻮﻧﻬﺎ‪ ‬ﻧﺎﺑﻌﺔ‪ ‬ﻣﻦ‪ ‬ﺗﺮﺗﻴﺐ‪ ‬ﺫﻫﺒﻲ‪ ،‬ﻭ‪ ‬ﺍﻟﻨﺠﺎﺡ‪ ‬ﺍﻟﻮﻇﻴ‪ ‬ﻔﻲ‪ ‬ﻻﺭﺗﺒﺎﻃﻬﺎ‪ ‬ﺑﻌﻼﻗﺎﺕ‪ ‬ﻧﺴﺐ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ، ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗ‪ ‬ﺮﺟﻢ‬ ‫‪ ‬ﺍﺧﺘﺮﺍﻋﻪ‪ ‬ﺍﻟﺬﻱ‪ ‬ﺃﺳﻤﺎﻩ‪ " ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ " ‬ﺇﻟﻰ‪ ‬ﻣﻌﻈﻢ‪ ‬ﻟﻐﺎﺕ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ،‬ﻭﻃﺒﻖ‪ ‬ﻓﻲ‪ ‬ﺷﺘﻰ‪ ‬ﺍﻟﻤﺠﺎﻻﺕ‪ ‬ﺍﻟﻘﻴﺎﺳﻴﺔ‪. ‬‬

‫‪ ‬ﻳﺼﻨﻒ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻵﻥ‪ ‬ﻛﺄﺣﺪ‪ ‬ﺍﻟﻜﻼﺳﻴﻜﻴﻴﻦ‪ ‬ﺍﻟﺤﺪﺍﺛﻴﻴﻦ‪ ‬ﻟﻌﻠﻮ‪ ‬ﻗﻴﻤﺔ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺗﺎﺭﻳﺨﻴﺎ‪ ‬ﻣﻦ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﻋﻠﻰ‪ ‬ﺣﺎﺩﺛﺔ‬ ‫‪ ‬ﻋﺎﺑﺮﺓ ‪ ‬ﺃﻭ ‪ ‬ﻣﺪﺭﺳﺔ ‪ ‬ﻓﻨﻴﺔ ‪ ‬ﻣﺆﻗﺘﺔ‪ ،‬ﻓﻘﺪ ‪ ‬ﺳﻌﻰ ‪ ‬ﻣﻨﺬ ‪ ‬ﺍﻟﺒﺪﺍﻳﺔ ‪ ‬ﻧﺤﻮ ‪ ‬ﺍﻟﺘﻄﻮﻳﺮ ‪ ‬ﺍﻷﻛﺎﺩﻳﻤﻲ ‪ ‬ﻓﻲ ‪ ‬ﺍﻟﻔﻦ ‪ ‬ﺑﻤﺤﺎﻓﻈﺘﻪ ‪ ‬ﻋﻠﻰ ‪ ‬ﺗﻘﺎﻟﻴﺪ‬ ‫‪ ‬ﺟﻤﺎﻟﻴﺎﺗﻪ‪ ‬ﺍﻟﻌﻘﻠﻴﺔ‪ ‬ﻭﺍﻟﻤﻘﻨﻌﺔ‪ ،‬ﻓﺎﻣﺘﺎﺯﺕ‪ ‬ﺃﻋﻤﺎﻟﻪ‪ ‬ﺑﺎﻟﺪﻳﻨﺎﻣﻴﻜﻴﺔ‪ ‬ﺍﻟﻤﺘﻔﺎﻋﻠﺔ‪ ‬ﻟﻘﻴﺎﻣﻬﺎ‪ ‬ﻋﻠﻰ‪ ‬ﺻﻴﻐﺔ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺍﻟﺘﻲ‬ ‫‪ ‬ﺗﻄﺒﻖ‪ ‬ﺍﻟﻨﺴﺒﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻻﺗﺠﺎﻫﻴﻦ‪ ‬ﺍﻟﺮﺃﺳﻲ‪ ‬ﻭﺍﻷﻓﻘﻲ‪ ،‬ﻭﻛﺬﻟﻚ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺒﻌﺪ‪ ‬ﺍﻟﺜﺎﻟﺚ‪ ،‬ﻓﻲ‪ ‬ﺍﺧﺘ‪ ‬ﻼﻑ‪ ‬ﻋﻤﺎ‪ ‬ﻗﺒﻠﻪ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﻮﻥ‬ ‫‪ ‬ﺍﻟﺴﺎﻛﻨﺔ ‪ ‬ﺍﻟﻘﺎﺋﻤﺔ ‪ ‬ﻋﻠﻰ ‪ ‬ﺍﻟﺘﻤﺎﺛﻞ ‪ ‬ﻭﺍﻟﺘﻨﺎﻇﺮ ‪ ‬ﺑﺪءﺍ ‪ ‬ﻣﻦ ‪ ‬ﺃﻋﻤﺎﻝ ‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ ‪ ‬ﻭﺣﺘﻰ ‪ ‬ﻧﻬﺎﻳﺎﺕ ‪ ‬ﺍﻟﻘﺮﻥ ‪ ‬ﺍﻟﺜﺎﻣﻦ ‪ ‬ﻋﺸﺮ‪ ،‬ﺭﻏﻢ‬ ‫‪ ‬ﺍﻋﺘﻤﺎﺩ‪ ‬ﺍﻟﺠﻤﻴﻊ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻟﻘﻴﺎﺳﺎﺕ‪ ‬ﺍﻟﺒﺸﺮﻳﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﺬﺭﺍﻉ‪ ‬ﻭﺍﻟﻘﺪﻡ‪ ‬ﻭﺗﻌﺮﺿﻬﻢ‪ ‬ﻟﺨﻄﺮ‪ ‬ﺍﻟﺘﻔﺎﻭﺕ‪ ‬ﻋﺒﺮ‪ ‬ﺍﻟﺘﺎﺭﻳﺦ‪. ‬‬

‫‪ ‬ﻓﻬﻞ‪ ‬ﺗﻌﺘﺒﺮ‪ ‬ﺍﻟﻨﺴﺐ‪ ‬ﺿﺮﻭﺭﻳﺔ‪ ‬ﻟﻌﻤﻞ‪ ‬ﺍﻟﺸﻜﻞ‪ ‬ﺃﻭ‪ ‬ﻟﺘﻄﻮﻳﺮﻩ؟‪ ‬ﺃﻭ ﻫﻲ‪ ‬ﺇﺣﺪﻯ‪ ‬ﺃﻫﺪﺍﻑ‪ ‬ﺑﻨﺎﺋﻪ؟‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﺘﻰ‪ ‬ﻳﺄﺗﻲ ‪ ‬ﺩﻭﺭﻫﺎ ‪ ‬ﻭﻣﺎ ‪ ‬ﺃﻫﻤﻴﺘﻪ؟ ‪ ‬ﻭ‪ ‬ﻣﺎ ‪ ‬ﻫﻲ ‪ ‬ﺍﻟﻌﻮﺍﻣﻞ ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﺤﻜﻢ ‪ ‬ﻋﻼﻗﺘﻬﺎ ‪ ‬ﻣﻊ ‪ ‬ﻋﻨﺎﺻﺮ ‪ ‬ﺍﻟﺸﻜﻞ ‪ ‬ﻭﺟﻤﺎﻟﻴﺎﺗﻪ ‪ ‬ﻓﻲ ‪ ‬ﺇﻃﺎﺭ‬ ‫‪ ‬ﺍﺳﺘﺨﺪﺍﻡ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬؟‪ ‬ﻭ‪ ‬ﻣﺎ‪ ‬ﻣﺪﻯ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻝ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬؟‬

‫‪ ‬ﻫﺬﺍ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺤﺎﻭﻝ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺍﻹﺟﺎﺑﺔ‪ ‬ﻋﻠﻴﻪ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﺩﺭﺍﺳﺔ‪ ‬ﺗﺤﻠﻴﻠﻴﺔ‪ ‬ﻟﻤﺮﺍﺣﻞ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺎﺝ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟﻮﺭ‪ ‬ﻭﺗﻄﺒﻴﻘﻪ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻝ‬ ‫ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‪ ،‬ﻭﺍﺭﺗﺒﺎﻃﻪ‪ ‬ﺑﺄﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻧﻈﺎﻡ‪ ‬ﺗﺼﻤﻴﻤﻲ‪ ‬ﻫﻨﺪﺳﻲ‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺃﻫﻤﻴﺔ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ ‬ﺗﻨﺒﻊ‪ ‬ﺃﻫﻤﻴﺔ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﻣﻦ‪ ‬ﻗﻮﺓ‪ ‬ﺍﺭﺗﺒﺎﻁ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻨﺴﺐ‪ ‬ﺟﺴﻢ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﺑﺠﻤﺎﻟﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻄﺒﻴﻌ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻷﺳﺎﺳﻴﺔ‪ ‬ﺍﻟﻤﺠﺮﺩﺓ‪ ‬ﺻﻨﻊ‪ ‬ﺍﻟﺨ‪ ‬ﺎﻟﻖ‪ ‬ﻋ‪ ‬ﺰ‪ ‬ﻭﺟ‪ ‬ﻞ‪ ،‬ﻭﻳ‪ ‬ﺮﻯ‪ ‬ﺍﻟﺒﺎﺣ‪ ‬ﺚ‪ ‬ﺃﻥ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻳﻘ‪ ‬ﺪﻡ‪ ‬ﻧﻤﻮﺫﺟ‪ ‬ﺎً‬ ‫‪ ‬ﺟﻴﺪﺍً‪ ‬ﻹﺛﺮﺍء‪ ‬ﺍﻟﻤﻨﻬﺞ‪ ‬ﺍﻟﻌﻘﻼﻧﻲ‪ ‬ﻓﻲ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪. ‬‬

‫‪ ‬ﻣﺸﻜﻠﺔ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ ‬ﻳﺤﺎﻭﻝ‪ ‬ﺍﻟﺒﺤﺚ‪ ‬ﺍﻹﺟﺎﺑﺔ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺘﺴﺎﺅﻝ‪ ‬ﺍﻟﻤﺤﻮﺭﻱ‪ ‬ﺍﻵﺗﻲ‪ ‬ﻭﻫﻮ‪: ‬‬ ‫‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻮﺍﻣ‪ ‬ﻞ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺤﻜ‪ ‬ﻢ‪ ‬ﺍﻟﻌﻼﻗ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴﻦ‪ ‬ﻋﻨﺎﺻ‪ ‬ﺮ‪ ‬ﺍﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺍﻟﻔﻨ‪ ‬ﻲ‪ ‬ﻭﺟﻤﺎﻟﻴﺎﺗ‪ ‬ﻪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺇﻃ‪ ‬ﺎ‪ ‬ﺭ‪ ‬ﺍﺳ‪ ‬ﺘﺨﺪﺍﻡ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‬ ‫‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺑﺎﻟﺘﺎﻟﻲ‪ ‬ﻣﺪﻯ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺗﻄﺒﻴﻖ‪ ‬ﻫﺬﺍ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻝ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ ‪.‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺃﻫﺪﺍﻑ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ . ۱ ‬ﺍﻟﻘﻴﺎﻡ‪ ‬ﺑﺪﺭﺍﺳﺔ‪ ‬ﺗﻔﺼﻴﻠﻴﺔ‪ ‬ﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺃﺻﻮﻟﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪. ‬‬ ‫‪ . ۲ ‬ﺍﻟﻜﺸﻒ‪ ‬ﻋﻦ‪ ‬ﺍﻷﺳﺲ‪ ‬ﺍﻟﺘﻨﻈﻴﻤﻴﺔ‪ ‬ﻷﻋﻤﺎﻝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﻭﺃﻫﻤﻬﺎ‪ ‬ﺍﻟﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ ‪. ‬‬ ‫‪ . ۳ ‬ﺍﻟﻮﺻﻮﻝ‪ ‬ﺇﻟﻰ‪ ‬ﺻﻴﻐﺔ‪ ‬ﺟﺪﻳ‪ ‬ﺪﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻧﺘ‪ ‬ﺎﺝ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﺍﻟﺒﺎﺣ‪ ‬ﺚ‪ ‬ﺗﺘﺨ‪ ‬ﺬ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﻭﺃﺻﻮﻟﻪ‪ ‬ﺍﻟﻬﻨﺪﺳﻴﺔ‪ ‬ﺃﺳﺎﺳﺎ‪ ‬ﻟﻬﺎ‪. ‬‬

‫‪ ‬ﻓﺮﻭﺽ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ . ۱ ‬ﺇﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻮﺻ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﻓﻬ‪ ‬ﻢ‪ ‬ﻣﺒﺴ‪ ‬ﻂ‪ ‬ﻟﻜﻴ‪ ‬ﻔﻴ‪ ‬ﺔ‪ ‬ﺍﺳ‪ ‬ﺘﻨﺘﺎﺝ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‪ ‬ﻟ‪ ‬ﻠ‪ ‬ﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺍﻟﻤﻘﺎﺭﻧ‪ ‬ﺎﺕ‬ ‫‪ ‬ﺍﻟﺠﻤﺎﻟﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﻭﺍﺧﺘﻼﻑ‪ ‬ﺍﻟﻤﺒﺮﺭﺍﺕ‪ ‬ﺍﻟﻨﺴﺒﻴﺔ‪ ‬ﺍﻟﺘﺎﺭﻳﺨﻴﺔ‪ ‬ﻣﻦ‪ ‬ﻧﺎﺣﻴﺔ‪ ‬ﺃﺧ‪ ‬ﺮﻯ‪. ‬‬ ‫‪ . ۲ ‬ﺇﻣﻜﺎﻧﻴ‪ ‬ﺔ‪ ‬ﺍﻟﺘﻮﺻ‪ ‬ﻞ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﺤﻠﻴ‪ ‬ﻞ‪ ‬ﻫﻨﺪﺳ‪ ‬ﻲ‪ ‬ﻣﺒﺴ‪ ‬ﻂ‪ ‬ﻷﻋﻤ‪ ‬ﺎﻝ‪ ‬ﻣﺼ‪ ‬ﻮﺭﻳﻦ‪ ‬ﺗﺠﺮﻳ‪ ‬ﺪﻳﻴﻦ‪ ‬ﻣﻌﺎﺻ‪ ‬ﺮﻳﻦ‪ ‬ﻟﻠﻮﻛﻮﺭﺑﻮﺯﻳﻴ‪ ‬ﻪ‬ ‫‪ ‬ﺑﻐﺮﺽ‪ ‬ﺍﻟﻤﻘﺎﺭﻧﺔ‪. ‬‬ ‫‪ . ۳ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺍﺑﺘﻜﺎﺭ‪ ‬ﺃﻋﻤﺎﻝ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺘﺼﻮﻳﺮ‪ ‬ﻣﻦ‪ ‬ﻋﻤﻞ‪ ‬ﺍﻟﺒﺎﺣﺚ‪ ‬ﺫﺍﺕ‪ ‬ﺻﻠﺔ‪ ‬ﻭﺛﻴﻘﺔ‪ ‬ﺑﻤﻮﺩﻳﻮﻟ‪ ‬ﻮﺭ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ ‪.‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻣﺼﻄﻠﺤﺎﺕ‪ ‬ﺍﻟﺒﺤﺚ‪: ‬‬ ‫‪ ‬ﻣﻮﺩﻳﻮﻝ ‪Module ‬‬ ‫‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﻗﻴ‪ ‬ﺎﺱ‪ ‬ﻹﺣ‪ ‬ﺪﻯ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ‬ﺍﻟﻤﺘ‪ ‬ﻜ‪ ‬ﺮﺭﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﻛﺜ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺑﻌ‪ ‬ﺪ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‪ ‬ﻟﻠﻌﻤ‪ ‬ﻞ‪ ‬ﺳ‪ ‬ﻮﺍء‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻨﺤ‪ ‬ﺖ‪ ‬ﺃﻭ‬ ‫‪ ‬ﺍﻟﺘﺼ‪ ‬ﻮﻳﺮ‪ ،‬ﻭﺗﺘﺨ‪ ‬ﺬ‪ ‬ﻟﺘﻨﻈ‪ ‬ﻴﻢ‪ ‬ﺍﻷﺑﻌ‪ ‬ﺎﺩ‪ ‬ﺑﻤ‪ ‬ﺎ‪ ‬ﻳﻜﻔ‪ ‬ﻞ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻧﺘﻴﺠ‪ ‬ﺔ‪ ‬ﺟﻤﻴﻠ‪ ‬ﺔ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺧ‪ ‬ﻼﻝ‪ ‬ﺗﺮﺍﻛ‪ ‬ﺐ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﺮﺋﻴﺴ‪ ‬ﻴﺔ‬ ‫‪ ‬ﻭﺍﻟﻔﺮﻋﻴﺔ‪ ‬ﻓﻲ‪ ‬ﺍﻟﻌﻤﻞ‪ ‬ﺍﻟﻔﻨﻲ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳﺎﺳ‪ ‬ﻬﺎ‪ ،‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺗﻌﺘﻤ‪ ‬ﺪ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪ ،‬ﻭﺗﺨﺘﻠ‪ ‬ﻒ‪ ‬ﻗﻴﻤﺘﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻋﻤ‪ ‬ﻞ‪ ‬ﻵﺧ‪ ‬ﺮ‪ ،‬ﻭﻻ‬ ‫‪ ‬ﺗﻌﺘﻤﺪ‪ ‬ﻓﻲ‪ ‬ﻣﻌﻈ‪ ‬ﻢ‪ ‬ﺍﻷﺣﻴﺎﻥ‪ ‬ﻋﻠﻰ‪ ‬ﻭﺣﺪﺍﺕ‪ ‬ﺛﺎﺑﺘﺔ‪ ‬ﻣﺜﻞ‪ ‬ﺍﻟﻤﺘﺮ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻘﺪﻡ‪ ‬ﺃﻭ‪ ‬ﻏﻴﺮﻫﺎ‪. ‬‬

‫‪ ‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺃﻃﻠ‪ ‬ﻖ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻧﻴﻮﻥ‪ ‬ﺍﻟﻜﻠﻤ‪ ‬ﺔ‪ ‬ﺍﻟﻼﺗﻴﻨﻴ‪ ‬ﺔ‪ Modulus ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻭﺣ‪ ‬ﺪﺍﺕ‪ ‬ﺍﻟﺒﻨ‪ ‬ﺎء‪ ) ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻌﻤ‪ ‬ﺎﺭﺓ‪ ( ‬ﻣ‪ ‬ﺄﺧﻮﺫﺓ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺗﻔﺼ‪ ‬ﻴﻠﺔ‪ ‬ﺻ‪ ‬ﻐﻴﺮﺓ‪ ‬ﻣﻮﺟ‪ ‬ﻮﺩﺓ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺟ‪ ‬ﺰء‪ ‬ﺭﺋﻴﺴ‪ ‬ﻲ‪ ‬ﻣﻨ‪ ‬ﻪ‪ ،‬ﻭﻏﺎﻟﺒ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺗﻜ‪ ‬ﻮﻥ‪ ‬ﻗﻄ‪ ‬ﺮ‪ ‬ﺍﻟﻌﻤ‪ ‬ﻮﺩ‪ ‬ﻋﻨ‪ ‬ﺪ‪ ‬ﻗﺎﻋﺪﺗ‪ ‬ﻪ‪ ،‬ﻭﻗ‪ ‬ﺪ‪ ‬ﺗﻌﺎﻣ‪ ‬ﻞ‬ ‫‪ ‬ﻓﻴﺘﺮﻭﻓﻴﻮﺱ‪ ‬ﻣﻊ‪ ‬ﻣﻮﺩﻳﻮ‪ ‬ﻝ‪ ‬ﻭﺍﺣﺪ‪ ) ‬ﻗﻄﺮ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‪ ( ‬ﺃﻭ‪ ‬ﻣﻮﺩﻳ‪ ‬ﻮﻟﻴﻦ‪ ) ‬ﻗﻄ‪ ‬ﺮﺍﻥ‪ ‬ﻣﺨﺘﻠﻔ‪ ‬ﺎﻥ‪ ، ( ‬ﻭﻗﺴ‪ ‬ﻢ‪ ‬ﺑ‪ ‬ﺎﻻﺩﻳﻮ‪ ‬ﻫ‪ ‬ﺬﺍ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺮ‪ ‬ﻣ‪ ‬ﻦ‬ ‫‪ ‬ﺑﻌﺪﻩ‪ ‬ﺇﻟﻰ‪ ۳۰ ‬ﺟﺰءﺍ‪ ۳۰ ) ‬ﺩﻗﻴﻘﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺍﻋﺘﺒ‪ ‬ﺎﺭ‪ ‬ﺃﻧ‪ ‬ﻪ‪ ‬ﺩﺍﺋ‪ ‬ﺮﻱ‪ ، ( ‬ﺃﻣ‪ ‬ﺎ‪ ‬ﻓﻴﺠﻨ‪ ‬ﻮﻻ‪ ‬ﻓﻘ‪ ‬ﺪ‪ ‬ﻗﺴ‪ ‬ﻢ‪ ‬ﺍﻟﻘﻄ‪ ‬ﺮ‪ ‬ﺍﻟ‪ ‬ﺪﻭﺭﻱ‪ ‬ﻭﺍﻟﺘﻮﺳ‪ ‬ﻜﺎﻧﻲ‬ ‫‪ ‬ﺇﻟﻰ‪ ۱۲ ‬ﺩﻗﻴﻘﺔ‪ ،‬ﻭﺑﻘﻴﺔ‪ ‬ﺍﻷﻧﻈﻤﺔ‪ ‬ﺇﻟﻰ‪ ۱۸ ‬ﺩﻗﻴﻘﺔ ‪ ، ۱ ‬ﻣﻊ‪ ‬ﺇﻣﻜﺎﻧﻴﺔ‪ ‬ﺗﻘﺴﻴﻢ‪ ‬ﺍﻟﻘﻄﺮ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺃﻧﺼﺎﻑ‪ ‬ﻭﺃﺭﺑﺎﻉ‪ ... ‬ﺇﻟﺦ‪. ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﺣﻤﻞ‪ ‬ﻫﺆﻻء‪ ‬ﺍﻟﻤﻌﻤ‪ ‬ﺎﺭﻳﻮﻥ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﻋ‪ ‬ﺎﺗﻘﻬﻢ‪ ‬ﺗﻨﻔﻴ‪ ‬ﺬ‪ ‬ﺗﺼ‪ ‬ﻤﻴﻤﺎﺗﻬﻢ‪ ‬ﺑﺎﻟﻘﻴﺎﺳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﺴ‪ ‬ﺎﺑﻘﺔ‪ ‬ﺇﺛ‪ ‬ﺮ‪ ‬ﺗﺒﻨ‪ ‬ﻴﻬﻢ‪ ‬ﻟﻠﻨﻈﺮﻳ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻤﺨﺘﻠﻔ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﺘﻲ‪ ‬ﺭﺑﻄﺖ‪ ‬ﺍﻟﺠﻤـﺎﻝ‪ ‬ﺑﺎﻟﻨﺴ‪ ‬ﺐ‪ ‬ﻭﺍﻟﻤﺤ‪ ‬ﺪﺩﺍﺕ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺔ‪ ،‬ﻣﺜ‪ ‬ـﻞ‪ ‬ﺍﻟﻌﻤﻠﻴ‪ ‬ﺎﺕ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﻴﺔ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺪﺍﺋ‪ ‬ـﺮﺓ‪ ،‬ﻭﺍﻟﺘﻘﺴ‪ ‬ﻴﻢ‪ ‬ﺍﻟﺜﻼﺛ‪ ‬ﻲ‬ ‫‪ ‬ﻟﻠﺰﺍﻭﻳـﺔ‪ ،‬ﻭﺍﻟﻘﻴﻤﺔ‪ ‬ﺍﻟﻌﺪﺩﻳـﺔ‪ " ‬ﻁ‪ ، " ‬ﻭﺍﻟﻨﺴ‪ ‬ﺒـﺔ‪ ‬ﺍﻟﺬﻫﺒﻴﺔ " ‪. " F‬‬ ‫‪ ‬ﺃﻛﺮﻭﺑﻮﻟﻴﺲ ‪Acropolis ‬‬ ‫‪ ‬ﻭﺗﻌﻨﻲ‪ ‬ﺍﻟﺤﺼﻦ‪ ‬ﺍﻟﻤﻨﻴﻊ‪ ‬ﺍﻟﻤﻮﺟﻮﺩ‪ ‬ﻓﻲ‪ ‬ﻛﻞ‪ ‬ﻣﺪﻳﻨ‪ ‬ﺔ‪ ‬ﻳﻮﻧﺎﻧﻴ‪ ‬ﺔ‪ ،‬ﻭﺍﺷ‪ ‬ﺘﻬﺮ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻦ‪ ‬ﺃﻭ‪ ‬ﺍﻟﻤﻌﺒ‪ ‬ﺪ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺃﺛﻴﻨ‪ ‬ﺎ‪ ‬ﺑﺎﺳ‪ ‬ﻢ‪ ‬ﺃﻛﺮﻭﺑ‪ ‬ﻮﻟﻴﺲ‪،‬‬ ‫‪ ‬ﻭﺍﻟﺼ‪ ‬ﺮﻭﺡ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﻣﺎﺯﺍﻟ‪ ‬ﺖ‪ ‬ﻣﻮﺟ‪ ‬ﻮﺩﺓ‪ ‬ﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺍﻟﺒ‪ ‬ﺎﺭﺛﻴﻨﻮﻥ‪ ،‬ﺇﺭﻳﺸ‪ ‬ﺜﻴﻮﻡ ‪ ، Erechtheum ‬ﺑﺮﻭﺑ‪ ‬ﺎﻳﻼ ‪، Propylaea ‬‬ ‫‪ ‬ﻧﺎﻳﻚ ‪ ، Nike ‬ﻭﻫﻮﻣﻌﺒﺪ‪ ‬ﺇﻟﻬﺔ‪ ‬ﺍﻟﻨ‪ ‬ﺼﺮ‪ ‬ﻋﻨﺪ‪ ‬ﺍﻹﻏﺮﻳﻖ‪ ‬ﻭﺗﺮﻣﺰ‪ ‬ﺍﻟﻜﻠﻤﺔ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻣﺮﺃﺓ‪ ‬ﻣﺠﻨﺤﺔ‬

‫‪see Osborne Harold, ' The Oxford Companion to Art ' P. 733 1 ‬‬ ‫‪2 ‬‬ ‫‪see Ibid, P. 7‬‬

‫‪۲۱۳ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﻋﻤﺎﺭﺓ ‪Architecture ‬‬ ‫‪ ‬ﻗﺼﺪ‪ ‬ﻟﻮﻛﻮﺭﺑﻮﺯﻳﻴﻪ‪ ‬ﺑﻠﻔﻈﺔ‪ ‬ﻋﻤﺎﺭﺓ‪ ‬ﻓ‪ ‬ﻦ‪ ‬ﺑﻨ‪ ‬ﺎء‪ ‬ﺍﻟﻤﻨ‪ ‬ﺎﺯﻝ‪ ‬ﻭﺍﻟﻘﺼ‪ ‬ﻮﺭ‪ ‬ﻭﺍﻟﻤﻌﺎﺑ‪ ‬ﺪ‪ ،‬ﻭﻛ‪ ‬ﺬﻟﻚ‪ ‬ﺍﻟﺴ‪ ‬ﻔﻦ‪ ‬ﻭﺍﻟﺴ‪ ‬ﻴﺎﺭﺍﺕ‪ ‬ﻭﺍﻟﻘ‪ ‬ﺎﻃﺮﺍﺕ‬ ‫‪ ‬ﻭﺍﻟﻄﻴﺎﺭﺍﺕ‪ ،‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﺠﻤﻮﻋﺔ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻌﺪﺍﺕ‪ ‬ﺍﻟﺒﺴﻴﻄﺔ‪ ‬ﻭﺃﺧﺮﻯ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﻴﺔ‪ ،‬ﻭﻣ‪ ‬ﺎ‪ ‬ﻳﺘﺒﻌﻬ‪ ‬ﺎ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻣﻌ‪ ‬ﺪﺍﺕ‪ ‬ﺗﺠﺎﺭﻳ‪ ‬ﺔ ‪، ۱ ‬‬ ‫‪ ‬ﻭﺍﺳﺘﺨﺪﻡ‪ ‬ﺃﻳﻀﺎ‪ ‬ﺍﻟﻔﻌﻞ‪ to architect ‬ﻟﻴﻌﺒﺮ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺘﻌﻤﻴﺮ‪ ‬ﻭﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺁﻥ‪ ‬ﻭﺍﺣ‪ ‬ﺪ‪ ،‬ﺃﻭ‪ ‬ﺃﻥ‪ ‬ﻳﻌﺒ‪ ‬ﺮ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﺍﻟﻨﻈ‪ ‬ﺎﻡ‪ ‬ﺍﻟﻤﻤﺎﺛ‪ ‬ﻞ‬ ‫‪ ‬ﻟﻤﺎ‪ ‬ﻟﻠﻌﻤﺎﺭﺓ‪ ‬ﻣﻦ‪ ‬ﻧﻈﺎﻡ‪ ‬ﻭﺗﻨﻈﻴﻢ‪ ‬ﻣﺪﺭﻭﺱ‪ ‬ﺃﻛﺜﺮ‪ ‬ﻣﻦ‪ ‬ﻏﻴﺮﻫﺎ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻔﻨﻮﻥ‪. ‬‬ ‫‪ ‬ﺃﻳﺰﻭﻣﺘﺮﻱ ‪Isometric ‬‬ ‫‪ ‬ﺭﻳﺎﺿﻴﺎ‪ : ‬ﺗﺴﺎﻭﻱ‪ ‬ﺍﻟﻘﻴﺎﺱ‪ ‬ﻣﺴﺎﺣﺔ‪ ‬ﻭﺣﺠﻤﺎ‬ ‫‪ ‬ﻫﻨﺪﺳﻴﺎ‪ : ‬ﻧﻮﻉ‪ ‬ﻣﻦ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﻳﺤﺎﻓﻆ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺗﻮﺍﺯﻱ‪ ‬ﺍﻟﺨﻄﻮ‪ ‬ﻁ‪ ‬ﻣﺘﺴﺎﻭﻳﺔ‪ ‬ﺍﻷﺑﻌﺎﺩ‬ ‫‪ ‬ﻭﻗﺪ‪ ‬ﺑﺪﺃ‪ ‬ﻋﻠﻢ‪ ‬ﺍﻟﻤﻨﻈﻮﺭ‪ ‬ﺍﻟﻌﺎﻟﻢ‪ ‬ﺍﻟﻤﺴﻠﻢ‪ ‬ﺍﻟﺤﺴﻦ‪ ‬ﺑﻦ‪ ‬ﺍﻟﻬﻴﺜﻢ‪ ‬ﻣﻦ‪ ‬ﺧﻼﻝ‪ ‬ﻣﺨﺮﻭﻁ‪ ‬ﺍﻷﺷﻌﺔ‪ ‬ﺍﻟﺼﺎﺩﺭ‪ ‬ﻣﻦ‪ ‬ﺍﻟﺠﺴﻢ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻌﻴﻦ‬ ‫‪ ‬ﻣﻴﻜﺎﻧﻴﻜﺎ ‪Mechanics ‬‬ ‫‪ ‬ﻧﻈﺎﻡ‪ ‬ﺗﺸﻴﻴﺪ‪ ‬ﺍﻟﻤﺎﻛﻴﻨﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺻﻨﻌﻬﺎ‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﺑﻴﺪﻩ‪ ‬ﻣﻊ‪ ‬ﺍﻋﺘﺒﺎﺭ‪ ‬ﺍﻟﻤﺴﺎﺣﺔ‪ ‬ﺍﻟﻤﺤﻴﻄﺔ‪ ‬ﺑﻪ‪ ‬ﻋﺒﺮ‪ ‬ﺩﺍﻓﻊ‪ ‬ﻣﺤﺪﺩ‪ ‬ﻣﺤﺴﻮﺏ‬ ‫‪ ) ‬ﻟﻴﺲ‪ ‬ﺍﻋﺘﺒﺎﻃﻴﺎ‪ ‬ﻭﻻ‪ ‬ﺗﻘﺮﻳﺒﻴﺎ‪ ( ‬ﺣﻤﻠﻪ‪ ‬ﻋﻠﻰ‪ ‬ﺍﺧﺘﻴﺎﺭ‪ ‬ﺃﺑﻌﺎﺩ‪ ‬ﻣﻌﻴﻨﺔ‪ ‬ﻷﺟﺰﺍﺋﻬﺎ‪ ‬ﺍﻟﻤﺨﺘﻠﻔﺔ‬

‫‪۲ ‬‬

‫‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ ‪Mathematics ‬‬ ‫‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﺗﻜ‪ ‬ﻮﻳﻦ‪ ‬ﻣﻬﻴ‪ ‬ﺐ‪ ‬ﺗﺼَ‪ ‬ﻮﱠ‪ ‬ﺭﻩ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‪ ‬ﻟﻴﺨﻮﻟ‪ ‬ﻪ‪ ‬ﺣ‪ ‬ﻖ‪ ‬ﻣﻌﺮﻓ‪ ‬ﺔ‪ ‬ﺍﻟﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺸ‪ ‬ﺎﻣﻠﺔ‪ ،‬ﻓﻬ‪ ‬ﻲ‪ ‬ﺗﺤﺘ‪ ‬ﻮﻱ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻷﺳﺎﺳ‪ ‬ﻲ‪ ‬ﺍﻟﺜﺎﺑ‪ ‬ﺖ‬ ‫‪ ‬ﻭﺍﻟﻼﻧﻬ‪ ‬ﺎﺋﻲ‪ ،‬ﺍﻟﻤﻔﻬ‪ ‬ﻮﻡ‪ ‬ﻭﺍﻟﻤ‪ ‬ﺮﺍﻭﻍ‪ ‬ﺍﻟﻤﺤﻴ‪ ‬ﺮ‪ ،‬ﺟ‪ ‬ﺪﺭﺍﻧﻬﺎ‪ ‬ﺻ‪ ‬ﻌﺒﺔ‪ ‬ﺍﻻﺧﺘ‪ ‬ﺮﺍﻕ‪ ،‬ﻭﺃﺑﻮﺍﺑﻬ‪ ‬ﺎ‪ ‬ﺗﻔ‪ ‬ﺘﺢ‪ ‬ﻟﻠﻤﻌﺠ‪ ‬ﺰﺍﺕ‪ ،‬ﺣﺎﻟﻤ‪ ‬ﺎ‪ ‬ﻳ‪ ‬ﺪﺧﻠﻬﺎ‬ ‫‪ ‬ﺍﻹﻧﺴﺎﻥ‪ ‬ﻳﺒﺪﺃ‪ ‬ﺍﺗﺼﺎﻟﻪ‪ ‬ﺑﺎﻟﻜﻮﻥ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻃﺮﻳ‪ ‬ﻖ‪ ‬ﺣ‪ ‬ﺰﻡ‪ ‬ﻣﺠﻤﻌ‪ ‬ﺔ‪ ‬ﻭﻣﻨﺘﺸ‪ ‬ﺮﺓ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻷﺭﻗ‪ ‬ﺎﻡ‪ ‬ﺑ‪ ‬ﻼ‪ ‬ﻧﻬﺎﺋﻴ‪ ‬ﺔ‪ .. ‬ﻓﻤﻬﻤ‪ ‬ﺎ‪ ‬ﻳﻜ‪ ‬ﻦ‪ ‬ﺍﻹﻧﺴ‪ ‬ﺎﻥ‬ ‫‪ ‬ﺑﺴﻴﻄﺎ‪ ‬ﺃﻭ‪ ‬ﻣﺘﻌﺎﻟﻴﺎ‪ ‬ﻓﺈﻧﻪ‪ ‬ﻳﺪﺧﻞ‪ ‬ﺑﻨﻔﺲ‪ ‬ﺍﻟﻄﺮﻳﻘﺔ‪ ‬ﻭﻳﻨﺒﻬﺮ‪ ‬ﻣﻦ‪ ‬ﺫﺍﺕ‪ ‬ﺍﻟﻀﻴﺎء‬

‫‪۳ ‬‬

‫‪ ‬ﺃﻱ‪ ‬ﺃﻧﻬﺎ‪ ‬ﻟﻐﺔ‪ ‬ﻭﺿﻌﻬﺎ‪ ‬ﺍﻟﻌﻘﻞ‪ ‬ﺍﻟﺒﺸﺮﻱ‪ ‬ﻟﻠﺘﻌﺒﻴﺮ‪ ‬ﻋﻦ‪ ‬ﺃﻧﻮﺍﻉ‪ ‬ﺍﻟﻌﻼﻗﺎﺕ‪ ‬ﺍﻟﺘﻲ‪ ‬ﺗﻘ‪ ‬ﻮﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺃﺳ‪ ‬ﺲ‪ ‬ﺛﺎﺑﺘ‪ ‬ﺔ‪ ،‬ﻓﺎﺳ‪ ‬ﺘﻄﺎﻋﺖ‪ ‬ﺍﻟ‪ ‬ﺮﺑﻂ‬ ‫‪ ‬ﺑﻴﻦ‪ ‬ﺃﻣﻮﺭ‪ ‬ﻛﻨﺎ‪ ‬ﻧﻌﺘﻤﺪ‪ ‬ﻓﻲ‪ ‬ﺍﻟﺤﻜﻢ‪ ‬ﻋﻠﻴﻬﺎ‪ ‬ﺑﻨﺎء‪ ‬ﻋﻠﻰ‪ ‬ﻣﺠ‪ ‬ﺮﺩ‪ ‬ﺃﺣﺎﺳ‪ ‬ﻴﺲ‪ ،‬ﻭﻣﺜ‪ ‬ﺎﻝ‪ ‬ﺫﻟ‪ ‬ﻚ‪ ‬ﺃﻥ‪ ‬ﺍﻷﺷ‪ ‬ﻜﺎﻝ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺃﺟﻤﻌ‪ ‬ﺖ‪ ‬ﺍﻟﻐﺎﻟﺒﻴ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻌﻈﻤﻰ‪ ‬ﻣـﻦ‪ ‬ﺍﻟﻨﺎﺱ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻧﻬﺎ‪ ‬ﺗﺘﻤﻴﺰ‪ ‬ﺑﻨﺴﺐ‪ ‬ﻋﺎﻟﻴﺔ‪ ‬ﺍﻟﻘﺒﻮﻝ‪ ‬ﺟﻤﺎﻟﻴﺎ‪ ،‬ﻗـﺪ‪ ‬ﻇﻬﺮ‪ ‬ﺑﻌﺪ‪ ‬ﺩﺭﺍﺳ‪ ‬ﺘﻬﺎ‪ – ‬ﺑﻔﻀ‪ ‬ﻞ‪ ‬ﺍﻟﺮﻳﺎﺿ‪ ‬ﻴﺎﺕ‪– ‬‬ ‫‪ ‬ﺃﻥ‪ ‬ﺍﻟﺴﺒﺐ‪ ‬ﻓﻲ‪ ‬ﻗﺒﻮﻟﻬﺎ‪ ‬ﺟﻤﺎﻟﻴﺎ‪ ‬ﻫﻮ‪ ‬ﺃﻥ‪ ‬ﻧﺴﺐ‪ ‬ﺃﺟﺰﺍ‪ ‬ﺋﻬﺎ‪ ‬ﺇﻟﻰ‪ ‬ﺑﻌﻀﻬﺎ‪ ‬ﺗ‪ ‬ﺴﺎﻭﻱ‪ " ‬ﻛﺬﺍ‪ ‬ﺇﻟﻰ‪ ‬ﻛﺬﺍ‪" ‬‬

‫‪1 ‬‬

‫‪LC, ' The Modulor ' , p. 9 ‬‬ ‫‪Ibid, p. 9 2 ‬‬ ‫‪3 ‬‬ ‫‪Ibid, p. 71­72‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﻭﻗﺪ‪ ‬ﻛﺎﻧﺖ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﻣﻨﺬ‪ ‬ﺯﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻴﻮﻧ‪ ‬ﺎﻥ‪ ‬ﻋﻠﻤ‪ ‬ﺎ‪ ‬ﻟﻠﻜ‪ ‬ﻮﻥ‪ ‬ﺍﻟﺴ‪ ‬ﺎﻛﻦ‪ ،‬ﻭﺃﻱ‪ ‬ﺗﺤ‪ ‬ﻮﻝ‪ ‬ﻛ‪ ‬ﺎﻥ‪ ‬ﻳﻔﻬ‪ ‬ﻢ‪ ‬ﻛﺘﺤ‪ ‬ﻮﻝ‪ ‬ﻟﺸ‪ ‬ﻜﻞ‪ ‬ﺳ‪ ‬ﺎﻛﻦ‪ ،‬ﺛ‪ ‬ﻢ‬ ‫‪ ‬ﺃﺻﺒﺤﻨﺎ‪ ‬ﺍﻟﻴﻮﻡ‪ ‬ﻧﺘﺼﻮﺭ‪ ‬ﺷﻜﻞ‪ ‬ﺍﻟﺘﺤﻮﻝ‪ ‬ﺇﺫ‪ ‬ﺃﻥ‪ ‬ﺍﻟﻤﻔﻬﻮﻡ‪ ‬ﺍﻟﺤﺪﻳﺚ‪ ‬ﻟﻠﺴﻼﺳﻞ‪ ‬ﺍﻟﻼﻧﻬﺎﺋﻴﺔ‪ ‬ﻫﻮ‪ ‬ﻣﻔﻬﻮﻡ‪ ‬ﻟﺸﻜﻞ‪ ‬ﺍﻟﺘﺤﻮﻝ‬ ‫‪ ‬ﻭﻳﺠﺐ‪ ‬ﺗﺼﻨﻴﻒ‪ ‬ﺍﻟﺮﻳﺎﺿﻴﺎﺕ‪ ‬ﺍﻟﺤﻘﻴﻘﻴﺔ‪ ‬ﻋﻠﻰ‪ ‬ﺃﻧﻬﺎ‪ ‬ﻓﻦ‪ ،‬ﻭﺫﻟﻚ‪ ‬ﺇﺫ‪ ‬ﺍ‪ ‬ﻛﺎﻥ‪ ‬ﻓﻲ‪ ‬ﺍﻹﻣﻜﺎﻥ‪ ‬ﺗﺼﻨﻴﻔﻬﺎ‪ ‬ﺣﻘﺎ‬

‫‪۱ ‬‬

‫‪۲ ‬‬

‫‪ ‬ﻣﻨﺤﻨﻰ‪ ‬ﺍﻟﺠﻤﺎﻝ‪ ‬ﻟﻬﻮﺟﺎﺭﺙ‬ ‫‪ ‬ﻫ‪ ‬ﻮ‪ ‬ﺧ‪ ‬ﻂ‪ ‬ﺣﻠﺰﻭﻧ‪ ‬ﻲ‪ ‬ﻟﻮﻏ‪ ‬ﺎﺭﻳﺘﻤﻲ‪ ‬ﻣﺮﺳ‪ ‬ﻮﻡ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺍﻟﺴ‪ ‬ﻄﺢ‪ ‬ﺍﻟﺨ‪ ‬ﺎﺭﺟﻲ‪ ‬ﻟﻤﺨ‪ ‬ﺮﻭﻁ‪ ،‬ﻛﻠﻤ‪ ‬ﺎ‪ ‬ﺗﺤ‪ ‬ﺮﻙ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﺗﺠ‪ ‬ﺎﻩ‪ ‬ﻗﻤ‪ ‬ﺔ‬ ‫‪ ‬ﺍﻟﻤﺨﺮﻭﻁ‪ ‬ﻧﺠﺪ‪ ‬ﺃﻥ‪ ‬ﻛﻞ‪ ‬ﺟﺰء‪ ‬ﻓﻴﻪ‪ ‬ﻳﺨﺘﻠﻒ‪ ‬ﻋﻦ‪ ‬ﺍﻟﺠﺰء‪ ‬ﺍﻟﺬﻱ‪ ‬ﻗﺒﻠﻪ‪ ،‬ﻭﻟﻜﻨﻪ‪ ‬ﻓﻲ‪ ‬ﻧﻔﺲ‪ ‬ﺍﻟﻮﻗﺖ‪ ‬ﻓﻲ‪ ‬ﻭﺣ‪ ‬ﺪﺓ‪ ‬ﺗﺎﻣ‪ ‬ﺔ‪ ‬ﻣﻌ‪ ‬ﻪ‪ ،‬ﻭﻫ‪ ‬ﺬﺍ‬ ‫‪ ‬ﺍﻟﺨﻂ‪ ‬ﺇﻧﻤﺎ‪ ‬ﺍﺳﺘﺨﻠﺼﻪ‪ ‬ﻫﻮﺟﺎﺭﺙ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﺤﻠﺰﻭﻥ‪ ‬ﺍﻟﻠﻮﻏﺎﺭﻳﺘﻤﻲ‪ ‬ﺍﻟﺬﻱ‪ ‬ﻳﺸﺎﻫﺪ‪ ‬ﻓﻲ‪ ‬ﺑﻌﺾ‪ ‬ﺍﻟﻌﻨﺎﺻﺮ‪ ‬ﺍﻟﻄﺒﻴﻌﻴﺔ‪. ‬‬

‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﻏﻴﺮ‪ ‬ﺍﻹﻗﻠﻴﺪﻳﺔ‬

‫‪Non­Euclidian Geometry ‬‬

‫‪ ‬ﻭﻫ‪ ‬ﻲ‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﺤﺪﻳﺜ‪ ‬ﺔ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺨﺘﻠ‪ ‬ﻒ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻣﻔﻬﻮﻣﻬ‪ ‬ﺎ‪ ‬ﻋ‪ ‬ﻦ‪ ‬ﻣﻔﻬ‪ ‬ﻮﻡ‪ ‬ﺇﻗﻠﻴ‪ ‬ﺪﺱ‪ ‬ﻭﻳﺘﺮﻛ‪ ‬ﺰ‪ ‬ﺍﻻﺧ‪ ‬ﺘﻼﻑ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻃﺒﻴﻌ‪ ‬ﺔ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‬ ‫‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺔ‪ ،‬ﻓﻌﻨﺪ‪ ‬ﺇﻗﻠﻴﺪﺱ‪ ‬ﻧﺴﺘﻄﻴﻊ‪ ‬ﺭﺳﻢ‪ ‬ﻣﺴﺘﻘﻴﻢ‪ ‬ﻭﺍﺣﺪ‪ ‬ﻓﻘ‪ ‬ﻂ‪ ‬ﻳﻤ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﻘﻄ‪ ‬ﺔ‪ ‬ﻣﻌﻴﻨ‪ ‬ﺔ‪ ‬ﻭﻳ‪ ‬ﻮﺍﺯﻱ‪ ‬ﺧﻄ‪ ‬ﺎ‪ ‬ﻣﺴ‪ ‬ﺘﻘﻴﻤﺎ‪ ،‬ﺃﻣ‪ ‬ﺎ‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳ‪ ‬ﺔ‪ ‬ﻏﻴ‪ ‬ﺮ‪ ‬ﺍﻹﻗﻠﻴﺪﻳ‪ ‬ﺔ‪ ‬ﻓﻬﻨ‪ ‬ﺎﻙ‪ ‬ﻧﻮﻋ‪ ‬ﺎﻥ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻻﺧ‪ ‬ﺘﻼﻑ‪ ‬ﺃﻭﻻﻫﻤ‪ ‬ﺎ‪ ‬ﻫﻨﺪﺳ‪ ‬ﺔ‪ ‬ﺍﻟﻘﻄ‪ ‬ﻊ‪ ‬ﺍﻟﺰﺍﺋ‪ ‬ﺪ ‪hyperbolic geometry ‬‬

‫‪ ‬ﻭﻓﻴﻬ‪ ‬ﺎ‪ ‬ﻧﺴ‪ ‬ﺘﻄﻴﻊ‪ ‬ﺭﺳ‪ ‬ﻢ‪ ‬ﻋ‪ ‬ﺪﺩ‪ ‬ﻻﻧﻬ‪ ‬ﺎﺋﻲ‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻤﺎﺕ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﻤ‪ ‬ﺮ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﻘﻄ‪ ‬ﺔ‪ ‬ﻭﺗ‪ ‬ﻮﺍﺯﻱ‪ ‬ﺍﻟﺨ‪ ‬ﻂ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻘﻴﻢ‪ ،‬ﻭﺛﺎﻧﻴﻬﻤ‪ ‬ﺎ‬ ‫‪ ‬ﺍﻟﻬﻨﺪﺳﺔ‪ ‬ﺍﻟﺒﻴﻀﺎﻭﻳﺔ ‪ elliptic geometry ‬ﻭﻓﻴﻬﺎ‪ ‬ﻻ‪ ‬ﻭﺟﻮﺩ‪ ‬ﻟﻠﺨﻄﻮﻁ‪ ‬ﺍﻟﻤﺘﻮﺍﺯﻳﺔ‪. ‬‬

‫‪ ‬ﺷﻜﻞ‪۱ ‬‬

‫‪ ‬ﻓﻴﻠﻮﺗﺎﻛﺴﺲ ‪phyllotaxis or phyllotaxy ‬‬ ‫‪ ‬ﺩﺭﺍﺳ‪ ‬ﺔ‪ ‬ﺗﺮﺗﻴ‪ ‬ﺐ‪ ‬ﺃﻭ‪ ‬ﻧﻈ‪ ‬ﺎﻡ‪ ‬ﺗﻜ‪ ‬ﺮﺍﺭ‪ ‬ﺍﻷﺟ‪ ‬ﺰﺍء‪ ‬ﺍﻟﻨﺒﺎﺗﻴ‪ ‬ﺔ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺳ‪ ‬ﺎﻕ‪ ‬ﺍﻟﻨﺒ‪ ‬ﺎﺕ‪ ،‬ﺍﻟﻘﺸ‪ ‬ﻮﺭ‪ ‬ﺣ‪ ‬ﻮﻝ‪ ‬ﺛﻤ‪ ‬ﺮﺓ‪ ‬ﺍﻟﺼ‪ ‬ﺒﺎﺭ‪ ‬ﻭﺍﻷﻧﺎﻧ‪ ‬ﺎﺱ‪،‬‬ ‫‪ ‬ﺑ‪ ‬ﺘﻼﺕ‪ ‬ﺑﻌ‪ ‬ﺾ‪ ‬ﺍﻟﺰﻫ‪ ‬ﻮﺭ‪ ،‬ﺃﻭ‪ ‬ﺍﻟﺒ‪ ‬ﺬﻭﺭ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﻧﺒ‪ ‬ﺎﺕ‪ ‬ﻋﺒ‪ ‬ـﺎﺩ‪ ‬ﺍﻟﺸ‪ ‬ﻤﺲ‪ ... ،‬ﺇﻟ‪ ‬ﺦ‪ ،‬ﻭﻋﻼﻗﺘﻬ‪ ‬ﺎ‪ ‬ﺑﺄﺭﻗ‪ ‬ﺎﻡ‪ ‬ﻓﺎﺑﻮﻧﺎ‪ ‬ﺭﺗﺸ‪ ‬ﻲ‪ ‬ﺍﻟﺬﻫﺒﻴ‪ ‬ﺔ‪،‬‬ ‫‪ ‬ﻭﺍﻟﻜﻠﻤﺔ‪ ‬ﻳﻮﻧﺎﻧﻴﺔ‪ ‬ﺍﻷﺻﻞ‪ ‬ﻣﻜﻮﻧﺔ‪ ‬ﻣﻦ‪ ‬ﺟﺰﺃﻳﻦ ‪ Phyllo ‬ﺑﻤﻌﻨﻰ‪ ‬ﻭﺭﻗﺔ‪ ‬ﻧﺒﺎﺕ‪ ،‬ﻭ‪ Taxis ‬ﺑﻤﻌﻨﻰ‪ ‬ﺗﺮﺗﻴﺐ‪ ‬ﺃﻭ‪ ‬ﻧﻈﺎﻡ‪. ‬‬

‫‪Ivins, Jr. William M., ' Art & Geometry ' p. 101 1 ‬‬ ‫‪2 ‬‬ ‫‪Hardy G.H., A Mathematician's Apology‬‬

‫‪۲۱۳ ‬‬

‫‪ ‬ﺷﻜﻞ‪۲ ‬‬

‫‪ ‬ﺍﻟﻤﻌﻴﺮﺓ‪ ‬ﺍﻟﻘﻴﺎﺳﻴﺔ ‪Standardization ‬‬ ‫‪ ‬ﻫ‪ ‬ﻲ‪ ‬ﻃﻠ‪ ‬ﺐ‪ ‬ﺍﻟﺤﺼ‪ ‬ﻮﻝ‪ ‬ﻋﻠ‪ ‬ﻰ‪ ‬ﺣﺎﻟ‪ ‬ﺔ‪ ‬ﺗﺠﻤ‪ ‬ﻊ‪ ‬ﻋﻠﻴﻬ‪ ‬ﺎ‪ ‬ﺍﻵﺭﺍء‪ ‬ﻣ‪ ‬ﻦ‪ ‬ﻗﺎﻋ‪ ‬ﺪﺓ‪ ‬ﻣ‪ ‬ﺎ‪ ،‬ﺃﻭ‪ ‬ﺇﻇﻬ‪ ‬ﺎﺭ‪ ‬ﺍﻟﻄﺮﻳﻘ‪ ‬ﺔ‪ ‬ﺍﻟﻤﺜﺎﻟﻴ‪ ‬ﺔ‪ ‬ﺍﻟﻘ‪ ‬ﺎﺩﺭﺓ‪ ‬ﻋﻠ‪ ‬ﻰ‬ ‫‪ ‬ﺍﻟﺨﺪﻣﺔ‪ ‬ﻛﻘﺎﻋﺪﺓ‪ ،‬ﻭﻳﻬ‪ ‬ﺪﻑ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﺠﻨ‪ ‬ﺐ‪ ‬ﺍﻷﺧﻄ‪ ‬ﺎء‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺼ‪ ‬ﻨﺎﻋﺔ‪ ،‬ﻭﺍﻟﻮﺻ‪ ‬ﻮﻝ‪ ‬ﺇﻟ‪ ‬ﻰ‪ ‬ﺗﺠ‪ ‬ﺎﻧﺲ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻨﺴ‪ ‬ﺐ‪ ،‬ﻭﺇﺯﺍﻟ‪ ‬ﺔ‪ ‬ﻋﻘﺒ‪ ‬ﺔ‬ ‫‪ ‬ﺻﻌﻮﺑﺔ‪ ‬ﺍﻟﺘﻮﻓﻴﻖ‪ ‬ﻣﺎ‪ ‬ﺑﻴﻦ‪ ‬ﻧﻈﺎﻣﻲ‪ ‬ﺍﻟﻤﺘﺮ‪ ،‬ﻭﺍﻟﺒﻮﺻﺔ‪ ‬ﻭﺍﻟﻘﺪﻡ‬

‫‪ ‬ﺃﻧﻮﺍﻉ‪ ‬ﺍﻟﻤﺨﺎﺭﻳﻂ‪ ‬ﺍﻟﺜﻼﺛﺔ‬

‫‪The Three Conics ‬‬

‫‪ ­ ۱ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻨﺎﻗﺺ‪ ) ‬ﺍﻟﺒﻴﻀﺎﻭﻱ‪( ‬‬

‫‪Ellipse ‬‬

‫‪ ‬ﻭﻳﺘﺤﻘ‪ ‬ﻖ‪ ‬ﻋﻨ‪ ‬ﺪﻣﺎ‪ ‬ﻳﻘﻄ‪ ‬ﻊ‪ ‬ﻣﺴ‪ ‬ﻄﺢ‪ ‬ﻣﺴ‪ ‬ﺘﻮ‪ ‬ﺳ‪ ‬ﻄﺢ‪ ‬ﻣﺨ‪ ‬ﺮﻭﻁ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣﺎﺋ‪ ‬ﻞ‪ ‬ﻣ‪ ‬ﺎ‪ ‬ﺑ‪ ‬ﻴ‪ ‬ﻦ‪ ‬ﺍﻟﻤﺴ‪ ‬ﺘﻮﻯ‪ ‬ﺍﻷﻓﻘ‪ ‬ﻲ‪ ‬ﻭﺍﻟﺮﺃﺳ‪ ‬ﻲ‬ ‫‪ ‬ﺑﺤﻴﺚ‪ ‬ﻻ‪ ‬ﻳﺘﺠﺎﻭﺯﻩ‪ ‬ﺇﻟﻰ‪ ‬ﺍﻟﻤﺨﺮﻭﻁ‪ ‬ﺍﻟﻤﻘﺎﺑﻞ‬

‫‪ ‬ﺷﻜﻞ ‪۳‬‬

‫‪۲۱۳ ‬‬

‫‪ ­ ۲ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﺰﺍﺋﺪ‬

‫‪Hyperbola ‬‬

‫‪ ‬ﻭﻳﺘﺤﻘﻖ‪ ‬ﻋﻨﺪﻣﺎ‪ ‬ﻳﻘﻄﻊ‪ ‬ﻣﺴﻄﺢ‪ ‬ﻣﺴﺘﻮ‪ ‬ﺳﻄﺢ‪ ‬ﺍﻟﻤﺨﺮﻭﻁ‪ ‬ﺑﺸﻜﻞ‪ ‬ﻣﺎﺋﻞ‪ ‬ﻳﺘﻘﺎﻃﻊ‪ ‬ﻓﻴﻪ‪ ‬ﻣﻊ‪ ‬ﺍﻟﻤﺨﺮﻭﻃﻴﻦ‪ ‬ﺍﻟﻤﺘﻘﺎﺑﻠﻴﻦ‬

‫‪ ‬ﺷﻜﻞ ‪٤ ‬‬

‫‪ ­ ۳ ‬ﺍﻟﻘﻄﻊ‪ ‬ﺍﻟﻤﻜﺎﻓﺊ‬

‫‪Parabola ‬‬

‫‪ ‬ﻭﻳﺘﺤﻘﻖ‪ ‬ﻋﻨﺪﻣﺎ‪ ‬ﻳﻘﻄﻊ‪ ‬ﻣﺴﻄﺢ‪ ‬ﻣﺴﺘﻮ‪ ‬ﺳﻄﺢ‪ ‬ﻣﺨﺮﻭﻁ‪ ‬ﺑﺸ‪ ‬ﻜﻞ‪ ‬ﻣ‪ ‬ﻮﺍﺯ‪ ‬ﻷﺣ‪ ‬ﺪ‪ ‬ﺍﻟﺨﻄ‪ ‬ﻮﻁ‪ ‬ﺍﻟﺘ‪ ‬ﻲ‪ ‬ﺗﺘﺠ‪ ‬ﻪ‪ ‬ﻧﺤ‪ ‬ﻮ‪ ‬ﺍﻟﻘﻤ‪ ‬ﺔ‬ ‫‪ ‬ﻋﻠﻰ‪ ‬ﺳﻄﺤﻪ‬ ‫‪ ‬ﻭﻣﻌﺎﺩﻟﺘﻪ ‪a ≠ 0 ، Y = ax² + bx + c ‬‬ ‫‪ ‬ﻭﻳﺴ‪ ‬ﺘﺨﺪﻡ‪ ‬ﻓ‪ ‬ﻲ‪ ‬ﺍﻟﺠﺴ‪ ‬ﻮﺭ‪ ‬ﺍﻟﻤﻌﻠﻘ‪ ‬ﺔ‪ ،‬ﻭﻓ‪ ‬ﻲ‪ ‬ﺍﻟﻤﺼ‪ ‬ﺎﺑﻴﺢ‪ ‬ﺍﻷﻣﺎﻣﻴ‪ ‬ﺔ‪ ‬ﻟﻠﺴ‪ ‬ﻴﺎﺭﺍﺕ‪ ‬ﺣﻴ‪ ‬ﺚ‪ ‬ﻳﻘ‪ ‬ﻊ‪ ‬ﻣﺼ‪ ‬ﺪﺭ‪ ‬ﺍﻟﻀ‪ ‬ﻮء‪ ‬ﻓ‪ ‬ﻲ‬ ‫‪ ‬ﺍﻟﺒﺆﺭﺓ‪ ‬ﻣﻤﺎ‪ ‬ﻳﺠﻌﻞ‪ ‬ﺍﻷﺷﻌﺔ‪ ‬ﺗﺴﻴﺮ‪ ‬ﻓﻲ‪ ‬ﺧﻂ‪ ‬ﻣﺴﺘﻘﻴﻢ‪. ‬‬

‫‪ ‬ﺷﻜﻞ ‪٥‬‬

‫‪۲۱۳ ‬‬

Helwan University Faculty of Applied Arts Decoration Department

M.S.c. Degree in Applied Arts Under subscription

The Reflection of Le Corbusier's Modulor on Contemporary Art By

Osama Samir Nofal

Instructor in 6th of October University

Supervisors Prof. Dr. Nazeq Hamdi

Prof. Dr. Mostafa Abd El­Fattah

2005

۲۱۳

Osama Samir Nofal

§ B Sc in Applied Arts, Helwan University, Cairo, Egypt.1999 § Instructor at 6 th of October University, Egypt § Acquired work with the Museum of Modern Egyptian Art § Member of the Plastics Artists Union § Member of the Applied Designers Union Email: E-mail:o_s_nofal@yahoo.com o_s_nofal@hotmail.com

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summary

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Chapter 1:

Some of the aesthetic theories & its relation with nature & art

Part 1:­ Some theories of proportions in art: Emphasizes some very important theories of proportion beginning with the Egyptian theory, then theory of Vitruvius, François Blondel, Viollet le Duc, August Thiersch, Mossel, DÜrer & Ernest Neufert with its analyses Part 2:­ Organization of plants’ leaves & its arrangements (phyllotaxis): Presents the theory of organizing plants’ leaves & fruits, & its arranging rules, with its partitions & analyses Part 3:­ Introduction of the relation between art & geometry from ancient Greece up to twentieth century: Describes the parallel relationship between art & geometry in their historical developing starting from ancient Greece up to twentieth century Part 4:­ Golden section, compound golden section & silver section: Displays the difference between the golden section & the compound golden section with their equations & analyses, & the silver section with its equation, numbers & analyses Part 5:­ Some of the masterpieces which correlates with mathematical & golden proportions: a­ In the field of architecture: The three Pyramids each apart & their proportions, the Parthenon & the Notre Dame Cathedral of Amiens with several analyses b­ In the field of sculpture: The statue David with its proportions in some details

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c­ In the field of plastic arts: A group of paintings & its relationship with one of the theories of proportions starting with Giotto, then Pietro Perugino, Leonardo Da Vinci, Rafael, Botticelli, Piero della Francesca, Gerardy Barbary & Gauguin

Chapter 2:

Studying ideology & works of the architect & artist Le Corbusier

Part 1:­ Le Corbusier’s Biography: Presents Le Corbusier’s life in detail with his major events in architecture, sculpture & painting, through lots of his statements & theories, showing some analyses Part 2:­ The Purism: Presents a description of Purism’s principles & goals, & its treatments of objects, subjects & ideal geometrical proportions Part 3:­ Color in Le Corbusier’s: Describes Le Corbusier’s concept of color & its development starting with purism though his life Part 4:­ Presents Le Corbusier’s Modulor & its development: Displays development of the idea of geometrically creating the Modulor bassed on several theories until achieving harmony with human body, with several analyses for different relations, equations & golden numbers, then displaying some of its uses Part 5:­ Reflection of Le Corbusier’s Modulor on some sides of art & architecture: Emphasizing the extensiveness of the Modulor reflect on artistic & architecture thought through several opinions from artists, architects & mathematicians

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Part 6:­ Some examples of Le Corbusier work in architecture: Presents villa Savoye in Poissy with analyses for its projections, Unité d'Habitation in Marseille with its philosophy, Chapelle Notre Dame du Haut in Ronchamp with some photos & the city of chandigarh in India showing more than one building from Le Corbusier’s perspective Part 7:­ Analyses for some of Le Corbusier’s work: Presents several analyses for a group of Le Corbusier’s paintings in a temporal consequence

Chapter 3:

Different methods connecting art with mathematics & their relationship with Le Corbusier’s Modulor

Part 1:­ The relationship between Le Corbusier Modulor & Egyptian theory of design: Emphasizing the strong relationship between the geometrical Modulor & the mathematical Egyptian module Part 2:­ The relationship between Le Corbusier Modulor & the Metaeder: Emphasizing the strong relationship between the Modulor & the Metaeder

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