 

  

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 
  
  
  
  
  


    
Email: akramaleshi@gmail.com

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  

 
 

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 

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 ‫‪ ‬‬

‫ﻳﺸـــﺘﻤﻞ ﻫـــﺬﺍ ﺍﻟﻜﺘـــﺎﺏ ﻋﻠـــﻰ ﺳـــﺒﻌﺔ ﺩﺭﺍﺳـــﺎﺕ ﺍﻟﻔـــﻦ‬

‫ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ،‬ﻳﺮﻯ ﺍﳌﺆﻟﻒ ﺍﳖﺎ ﺍﺻﻴﻠﺔ ﺑﺎﲠﺎ ﻭ ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺎﺕ‬
‫ﻫﻲ‪ :‬ﺭﺳﺎﻣﻮﺍ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ‪ ،‬ﺍﻟﺼﻮﺕ ﺍﻟﻠﻮﺣﺔ‪ ،‬ﳏﻄﺎﺕ ﻣﻦ‬
‫ﺭﺣﻠـــﺔ ﺍﳉﺴـــﺪ ﻋﻠـــﻰ ﺍﻟﻘﻤﺎﺷـــﺔ‪ ،‬ﻣـــﻦ ﺍﳌﻘـــﺪﺱ ﺍﱃ ﺍﻟﻔـــﺎﻧﻲ‪،‬‬
‫ﺍﻣـﻼﺀﺍﺕ ﻋﻠـﻰ ﺍﳉﺴـﺪ‪ ،‬ﺍﻟﺘﻜﻌﻴﺒﻴـﺔ ﻭﻫﻴﻤﻨـﺔ ﺍﳋـﻂ ﻋﻠـﻰ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻌﺮﺍﻗﻲ‪ ،‬ﻭﻭﻃـﻦ ﺍﳊﻜﺎﻳـﺔ‪ .‬ﳝﻜـﻦ ﺍﻥ ﺗﺸـﻜﻞ ﻣﻘـﺎﻻﺕ ﳏﻄـﺎﺕ‬
‫ﻣـﻦ ﺭﺣﻠـﺔ ﺍﳉﺴــﺪ ﻋﻠـﻰ ﺍﻟﻘﻤﺎﺷـﺔ‪ ،‬ﻣــﻦ ﺍﳌﻘـﺪﺱ ﺍﱃ ﺍﻟﻔــﺎﻧﻲ‪،‬‬
‫ﺍﻣـــﻼﺀﺍﺕ ﻋﻠـــﻰ ﺍﳉﺴـــﺪ ﳏـــﻮﺭﺍ ﺧﺎﺻـــﺎ ﺑﺎﳉﺴـــﺪ ﺍﻟﺮﺳـــﻢ‪.‬‬
‫ﻫﺬﻩ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻧﺸﺮﺕ ﺟﺮﻳﺪﺓ ﺍﻻﺩﻳﺐ ﺍﻟﺒﻐﺪﺍﺩﻳﺔ‪.‬‬
‫ﲢﺎﻭﻝ ﻫﺬﻩ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺴﻴﻤﻴﺎﺋﻲ‪ ،‬ﺑﺸﻜﻞ ﻋﺎﻡ‪ ،‬ﺍﻥ‬
‫ﺗﺮﺻﺪ ﺍﳌﺴﺎﺭﺍﺕ ﺍﻟﻔﻨﻴﺔ ﺿﻤﻦ ﺍﻻﺳﺎﻟﻴﺐ ﻭﺍﳌـﺪﺍﺭﺱ ﺍﳌﺨﺘﻠﻔـﺔ ﻋـﱪ‬
‫ﺍﻟﺰﻣﻦ ﻣﻦ ﺧﻼﻝ ﻣﺘﺎﺑﻌﺔ ﺍﻟﺜﻴﻤـﺎﺕ ﺍﻟـﱵ ﺗﺘﻨﺎﻭﳍـﺎ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ‬
‫ﻭﻛﻴﻔﻴﺔ ﺗﻐﲑ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻟﺜﻴﻤﺔ ﻣـﻊ ﺍﻟﻮﻗـﺖ ﻭﻫـﺬﻩ ﺍﻟﺜﻴﻤـﺎﺕ ﻫـﻲ‪:‬‬
‫ﺛﻴﻤﺔ ﺍﳉﺴﺪ‪ ،‬ﻭﺛﻴﻤﺔ ﺍﻟﺘﺤﺮﺭ ﻣﻦ ﺍﻻﻃﺮ ﺍﻟﻔﻨﻴﺔ ﻣـﻦ ﺧـﻼﻝ ﻋﻨﺼـﺮ‬

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 ‫ﺍﻟﺮﻣﺰ)ﺭﺳﺎﻣﻮﺍ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ( ﻭﺍﻟﺜﻴﻤﺔ ﺍﳋﻄﻴﺔ ﺍﻟﺘﻜﻌﻴﺒﻴﺔ ‪ -‬ﺍﳌﻜﺎﻧﻴـﺔ‬
‫ﻭﺍﺛﺮﻫــﺎ ﺍﻟﻔــﻦ ﺍﻟﻌﺮﺍﻗــﻲ )ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ ﻭﻫﻴﻤﻨــﺔ ﺍﳋــﻂ ﻋﻠــﻰ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻌﺮﺍﻗﻲ ﺍﳌﻌﺎﺻﺮ ﻭ ﻭﻃﻦ ﺍﳊﻜﺎﻳﺔ(‬
‫ﺗﺘﺤﺮﺭ ﻫﺬﻩ ﺍﻟﻘﺮﺍﺀﺍﺕ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﻣـﻦ ﻗﻴـﻮﺩ ﺍﻻﺳـﺎﻟﻴﺐ ﺍﻟﻨﻘﺪﻳـﺔ‬
‫ﺍﻟﱵ ﺗﻌﺎﻣﻠﺖ ﻣـﻊ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ ﻋـﱪ ﺍﳌـﺪﺍﺭﺱ ﺍﻟﻔﻨﻴـﺔ ﺍﳌﺘﻌـﺎﺭﻑ‬
‫ﻋﻠﻴﻬﺎ ﻭﲢﺎﻭﻝ ﺍﻥ ﺗﺴـﻠﻂ ﺍﻟﻀـﻮﺀ ﻋﻠـﻰ ﺯﻭﺍﻳـﺎ ﺍﺧـﺮﻯ‪ ،‬ﻭﻣﻨـﻬﺎ ﺯﺍﻭﻳـﺔ‬
‫ﺍﳌﻮﺿﻮﻉ ﺍﻟﻔﲏ ﺫﺍﺗﻪ‪ .‬ﻳﺮﻯ ﺍﻟﻜﺎﺗﺐ ﺍﻥ ﻗﺮﺍﺀﺓ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ ﻣﻦ ﻫﺬﺍ‬
‫ﺍﳌﻨﻄﻠــﻖ ﻻ ﺗﻘــﻞ ﺍﳘﻴــﺔ ﻋــﻦ ﺍﳌﻘﺎﺭﺑــﺎﺕ ﺍﻟﻨﻘﺪﻳــﺔ ﺍﳌﻌﺮﻭﻓــﺔ‪ .‬ﺑــﻞ ﺍﻥ‬
‫ﺍﻟﻜﺎﺗــﺐ ﻳﻌﺘﻘــﺪ ﺍﻥ ﺍﻻﺑــﺪﺍﻉ ﺍﻟﻔــﲏ ﳚــﺐ ﺍﻥ ﻳﻨﻈــﺮ ﻟــﻪ ﻣــﻦ ﺯﻭﺍﻳــﺎ‬
‫ﻣﺘﻌـﺪﺩﺓ ﻟﻜــﻲ ﻳﺴـﺘﻄﻴﻊ ﺍﳌﺘﻠﻘــﻲ ﺍﻥ ﻳـﺮﻯ ﺑﺸــﻜﻞ ﺍﻭﺿـﺢ ﺍﻟﺮﺳــﺎﺋﻞ‬
‫ﺍﻻﻧﺴﺎﻧﻴﺔ ﺍﻻﺑﺪﺍﻋﻴﺔ ﻓﻴﻪ‪.‬‬
‫ﻗﺪ ﻳﺒﺪﻭ ﺣﺠﻢ ﺍﻟﻜﺘﺎﺏ ﺻﻐﲑﺍ ﻭﻟﻜﻦ ﺍﳌﻘﺎﺭﺑـﺎﺕ ﺍﻟﻨﻘﺪﻳـﺔ ﺍﻟـﱵ‬
‫ﺍﺷــﺘﻤﻞ ﻋﻠﻴﻬــﺎ ﲤﺜــﻞ ﺣﺼــﻴﻠﺔ ‪ ٢٠‬ﻋﺎﻣــﺎ ﻣــﻦ ﺍﳌﺘﺎﺑﻌــﺔ ﻭﺍﻟﱰﲨــﺔ‬
‫ﻭﺍﻟﻜﺘﺎﺑﺔ ﳎﺎﻝ ﺍﻟﻨﻘﺪ ﺍﻟﺘﺸﻜﻴﻠﻲ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﻬﻲ ﲤﺜـﻞ ﺧﻼﺻـﺔ‬
‫ﻣﻜﺜﻔﺔ ‪‬ﻬﻮﺩ ﺍﻟﻜﺎﺗـﺐ ﻫـﺬﺍ ﺍ‪‬ـﺎﻝ‪ ،‬ﻭﻫـﻮ ﻻ ﻳـﺪﻋﻲ ﺑـﺎﻱ ﺣـﺎﻝ‬
‫ﻣــﻦ ﺍﻻﺣــﻮﺍﻝ ﺍﳖــﺎ ﺗﺸــﻜﻞ ﺍﻛﺘﺸــﺎﻓﺎﺕ ﻣﻌﺮﻓﻴــﺔ ﳎــﺎﻝ ﺍﻟﻨﻘــﺪ‬
‫ﺍﻟﺘﺸـــﻜﻴﻠﻲ‪ ،‬ﻭﺍﻥ ﻛـــﺎﻥ ﻳﻌﺘﻘـــﺪ‪ ،‬ﻭﲝﺴـــﺐ ﺍﻃﻼﻋـــﻪ‪ ،‬ﺑـــﺎﻥ ﻫـــﺬﻩ‬
‫ﺍﳌﻘﺎﺭﺑﺎﺕ ﱂ ﻳﺘﻢ ﺗﻨﺎﻭﳍﺎ ﺍﺩﺑﻴﺎﺕ ﺍﻟﻨﻘﺪ ﺍﻟﺘﺸﻜﻴﻠﻲ ﺍﻟﻌﺮﺑﻲ‪.‬‬
‫‪  ‬‬
‫‪      ‬‬

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 ‫‪‬‬
‫‪  ‬‬
‫‪  ‬‬

‫ﻋﻤﺪ ﺍﻟﻨﺎﻗﺪ ﺩﺑﻠﻴﻮ ﺍﺗﺶ ﺟﻮﻧﺴﻦ ﻣﻌﺮﺽ ﺗﻘﺪﳝـﻪ ﻟﻼﺳـﺎﻟﻴﺐ‬

‫ﺍﻟﻔﻨﻴﺔ ﺍﳊﺪﻳﺜﺔ* ﺍﱃ ﺍﻟﺮﺟﻮﻉ ﳉـﻮﻫﺮ ﺍﻟﻌﻤﻠﻴـﺔ ﺍﻻﺑﺪﺍﻋﻴـﺔ ‪ ،‬ﻓﻘﺴـﻢ‬
‫ﺍﻻﻋﻤــﺎﻝ ﺍﻟﻔﻨﻴــﺔ ﺍﱃ ﺛﻼﺛــﺔ ﺍﻗﺴــﺎﻡ‪ :‬ﺍﻻﻭﻝ ﺧﻄــﺎﺏ ﻣﻌــﲏ ﺑﺘﻨﻈــﻴﻢ‬
‫ﺍﻻﺩﺍﺀ ﺍﻟﻠﻮﻧﻲ ﻭﺍﳋﻄﻲ ﺍﻟﻠﻮﺣﺔ ﻭﻫﻮ ﺟﻮﻫﺮ‪ ،‬ﺧﻄﺎﺏ ﺍﻻﺳـﻠﻮﺏ‬
‫ﺍﻟﺘﺠﺮﻳﺪﻱ‪ ،‬ﻭﺍﻟﺜـﺎﻧﻲ ﻣﻌـﲏ ﺑـﺎﻟﺘﻌﺒﲑ ﻋـﻦ ﺍﳊﺎﻟـﺔ ﺍﻟﺸـﻌﻮﺭﻳﺔ ﻟﻠﻔﻨـﺎﻥ‬
‫ﻭﻫﻮ ﺟﻮﻫﺮ ﺍﻻﺳﻠﻮﺏ ﺍﻟﺘﻌﺒﲑﻱ ﻭﺍﻻﺧﲑ ﻳﻌﺘﻤﺪ ﺍﳋﻴـﺎﻝ ﺧﻄﺎﺑـﻪ‬
‫ﻭﻫﻮ ﺍﻻﺳﻠﻮﺏ ﺍﻟﺴﺮﻳﺎﱄ ﻭﻫﻮ ﺑﺬﻟﻚ ﻳﻀـﻊ ﺍﳌﺘﻠﻘـﻲ ﺍﻣـﺎﻡ ﺍﻟﺜﻮﺍﺑـﺖ‬
‫ﺍﻟــﱵ ﺍﻧﻄﻠــﻖ ﻣﻨــﻬﺎ ﻛــﻞ ﺍﺳــﻠﻮﺏ‪ ،‬ﻣﺒﺘﻌــﺪﺍ ﻋــﻦ ﺍﻟﺘﻨــﺎﻭﻝ ﺍﻟﺘــﺎﺭﳜﻲ‬
‫ﻭﺩﻭﺭﻩ ﺗﻄﻮﺭ ﻫﺬﻩ ﺍﻻﺳﺎﻟﻴﺐ ﻭﺭﻏﻢ ﺍﻥ ﺗﺼـﻨﻴﻒ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ‬
‫ﻋﻠﻰ ﺍﺳﺎﺱ ﻫﺬﻩ ﺍﻻﺳﺎﻳﺐ ﻭﺍﳌﺪﺍﺭﺱ ﻳﺴﺎﻋﺪ ﺗﺎﻃﲑ ﺍﻟﻌﺪﻳﺪ ﻣﻦ‬
‫ﺍﻻﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﺍﻟﱵ ﺳـﺎﺩﺕ ﺍﻟﻨﺼـﻒ ﺍﻷﻭﻝ ﺍﻟﻘـﺮﻥ ﺍﻟﻌﺸـﺮﻳﻦ‪،‬‬
‫ﻓﺎﻧﻪ ﺍﻟﻮﻗﺖ ﺫﺍﺗـﻪ ﻻ ﻳﻐﻄـﻲ ﲨﻴـﻊ ﺍﻷﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ ﺍﳌﻌﺎﺻـﺮﺓ‪،‬‬

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 ‫ﺑﺴﺒﺐ ﺍﻟﺘﺪﺍﺧﻞ ﺍﻟﺬﻱ ﻳﻮﻇﻔﻪ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺍﳌﻌﺎﺻـﺮﻭﻥ ﺑـﲔ ﺍﻻﺳـﺎﻟﻴﺐ‬
‫ﺍﻟﻔﻨﻴﺔ ﺍﳌﺨﺘﻠﻔﺔ‪ ،‬ﻣﻦ ﻫﻨﺎ ﳚـﺪ ﺍﻟﻨﻘـﺎﺩ ﺻـﻌﻮﺑﺔ ﺗﺼـﻨﻴﻒ ﺍﻋﻤـﺎﻝ‬
‫ﺍﻟﻔﻨﺎﻥ)ﻫﻨـﺮﻱ ﺭﻭﺳـﻮ ﺍﻭ ﺍﻧـﺪﺭﻭ ﻭﻳـﺚ ﺍﻭ ﺟـﻮﺍﺩ ﺳـﻠﻴﻢ ﻋﻠـﻰ ﺳـﺒﻴﻞ‬
‫ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ( ﲢﺖ ﻋﻨﺎﻭﻳﻦ ﺗﻠﻚ ﺍﻻﺳﺎﻟﺐ‪،‬‬

‫‪  ‬‬

‫ﻣــﻦ ﻫــﺬﺍ ﺍﳌﻨﻄﻠــﻖ ﻭﺑﺎﻻﻓــﺎﺩﺓ ﻣــﻦ ﻣﻘﺎﺭﺑــﺔ ﺍﻟﻨﺎﻗــﺪ ﺩﺑﻠﻴــﻮ ﺍﺗــﺶ‬

‫ﺟﻮﻧﺴﻦ ﳝﻜﻦ ﺗﺎﺳﻴﺲ ﻣﻘﺎﺭﺑﺔ ﺟﺪﻳﺪﺓ ﻟﻮﺻـﻒ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ ‪،‬‬
‫ﻻ ﺑﺎﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺗﻠﻚ ﺍﻻﺳﺎﻟﻴﺐ ﻭﺍﳕﺎ ﻣﻦ ﺧﻼﻝ ﺣﺼﺮ ﺍﻟﻌﻤﻠﻴﺔ‬
‫ﺍﻟﻔﻨﻴﺔ ﺑﺸﻜﻞ ﻋﺎﻡ ﺑﲔ ﻃﺮﻓﲔ )ﻃﺮﻳﻘﺘﲔ( ﻟﻼﺩﺍﺀ ﺍﻟﻔﲏ ﻛﻤـﺎ ﻳـﺮﻯ‬
‫ﺍﺩﻭﺍﺭ ﲰﻴﺚ** ﺍﻻﻭﻝ ﻳﻌﻨﻰ ﺑﺎﻻﺩﺍﺀ ﺍﻟﻔﲏ ﻟﺮﺳﺎﻣﻲ ﳝﺜﻞ ﺍﳋﻴﺎﻝ‬
‫ﻭﺗﺸـﻜﻼﺗﻪ ﺍﻟﻔﻨﻴـﺔ ﺟـﻮﻫﺮ ﺍﻟﻌﻤﻠﻴــﺔ ﺍﻻﺑﺪﺍﻋﻴـﺔ ﺍﺩﺍﺋﻬـﻢ ﻭﻧﺼــﻄﻠﺢ‬

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 ‫ﻋﻠﻰ ﺗﺴﻤﻴﺘﻬﻢ )ﻓﻨﺎﻧﻮ ﳐﻴﻠﺔ( ﺍﻣﺎ ﺍﻻﺛﲏ ﺑﻴﻌﻨﻰ ﺑﺎﻟﻔﻨـﺎﻧﲔ ﺍﻟـﺬﻳﻦ‬
‫ﲤﺜــﻞ ﺗﺸــﻜﻼﺕ ﺍﻟﺒﻴﺌــﺔ ﺍﶈﻴﻄــﺔ ﺍﳌــﺎﺩﺓ ﺍﻟﺮﺋﻴﺴــﺔ ﻟﻠﻌﻤﻠﻴــﺔ ﺍﻻﺑﺪﺍﻋﻴــﺔ‬
‫ﻟﺪﻳﻬﻢ ﻓﻬﻢ )ﻓﻨﺎﻧﻮ ﳏﺎﻛﺎﺓ(‬
‫ﻳﻘﻊ ﺍﻟﻔﻨﺎﻧﻮﻥ ﺩﻭﻥ ﺍﺳﺘﺜﻨﺎﺀ ﺿﻤﻦ ﺣـﺪﻭﺩ ﻫـﺬﺍ ﺍﻟﺘﺼـﻨﻴﻒ ﻭﺍﻥ‬
‫ﺍﺧﺘﻠﻔــﻮﺍ ﻣﺴــﺘﻮﻯ ﺍﻗﱰﺍﲠــﻢ ﻣــﻦ ﺍﺣــﺪ ﻃﺮﻓﻴــﻪ )ﻳﻨﻈــﺮ ﺍﻟﺸــﻜﻞ‬
‫ﺍﻟﺒﻴﺎﻧﻲ(‪ .‬ﲡﺪ ﺍﻻﺷﺎﺭﺓ ﻫﻨﺎ ﺍﱃ ﺍﻥ ﻫﺬﺍ ﺍﻟﺘـﺎﻃﲑ ﻻ ﻳﻌﻨـﻰ ﺑﺎﳌﻔﺎﺿـﻠﺔ‬
‫ﺍﻟﻘــﺪﺭﺓ ﺍﻻﺑﺪﺍﻋﻴــﺔ ﺑــﲔ ﺍﳊــﺎﻟﲔ ﻭﺍﻥ ﺍﻧﻄــﻼﻕ ﺗﺴــﻤﻴﺔ ﲣﻴــﻞ ﺍﻭ‬
‫ﳏﺎﻛــﺎﺓ ﻣــﺎ ﻫــﻲ ﺍﻻ ﻣﻘﺎﺭﺑــﺔ ﺗﺎﻃﲑﻳــﺔ ‪ .‬ﻓﺎﻟﻘــﺪﺭﺓ ﺍﻻﺑﺪﺍﻋﻴــﺔ ﻣﺮﻫﻮﻧــﺔ‬
‫ﺑﺎﻻﺩﺍﺀ ﺿﻤﻦ ﻣﻨﻄﻘﺔ ﺍﻻﺷﺘﻐﺎﻝ ﺍﳋﺎﺻﺔ ﺑﻜـﻞ ﻓﻨـﺎﻥ ﻣﺘﺨـﻴﻼ ﻛـﺎﻥ‬
‫ﺍﻭ ﳏﺎﻛﻴﺎ‪ .‬ﻭﻛﻠﻤﺎ ﺍﻗﱰﺏ ﺍﻟﻔﻨﺎﻥ ﻣﻦ ﻭﺳـﻂ ﺍﻟﺸـﻜﻞ ﺍﻟﺒﻴـﺎﻧﻲ ﻛـﺎﻥ‬
‫ﻣﻦ ﺍﻟﺼـﻌﺐ ﺗﻮﺻـﻴﻒ ﺍﻻﺳـﻠﻮﺏ ﺍﻭ ﺍﳌﺪﺭﺳـﺔ ﺍﻟـﱵ ﻳﺘﺒﻌﻬـﺎ‪ ،‬ﻫـﺬﻩ‬
‫ﺍﳌﻨﻄﻘﺔ ﺍﻃﻠﻘﺖ ﻋﻠﻴﻬﺎ ﺗﺴﻤﻴﺔ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ‬
‫ﻳﻨﻄﻠــﻖ ﻫــﺬﺍ ﺍﻟﺘﻮﺻــﻴﻒ ﻣــﻦ ﺧــﻼﻝ ﺍﻟﺘﻌﺎﻣــﻞ ﻣــﻊ ﺍﻟﻠﻮﺣــﺔ ﻋــﱪ‬
‫ﺛﻼﺛﺔ ﻋﻨﺎﺻﺮ ﻭﻫﻲ‬
‫‪ -١‬ﻋﻨﺼﺮ ﺍﻟﺘﺸـﺨﻴﺺ ‪ figurative element‬ﻭﻫـﻮ ﺍﻫـﻢ ﻋﺎﻣـﻞ‬
‫ﺍﶈﺎﻛﺎﺓ ﻭﻳﻌﲏ ﻛﻤﺎ ﻫﻮ ﻭﺍﺿﺢ ﺗﻀﻤﻦ ﺍﻟﻮﺣﺔ ﺍﺷﻜﺎﻻ ﻭﻫﻴﺌﺎﺕ‬
‫ﻭﺍﺿﺤﺔ ﺍﳌﻌﺎﱂ ﻟﻜﻴﺎﻥ ﻣﺎ )ﺭﺟﻞ‪ ،‬ﺷﺠﺮﺓ‪ ،‬ﺑﻴﺖ‪ ..‬ﺍﱁ(‬
‫‪ -٢‬ﻋﻨﺼـﺮ ﺍﻟﻌﻼﻗـﺎﺕ ‪ element of relationships‬ﺍﻟـﱵ ﲡﻤـﻊ‬
‫ﻓﻴﻬـــﺎ ﻣﻜﻮﻧـــﺎﺕ ﺍﻟﻠﻮﺣـــﺔ ﻓﻜﻠﻤـــﺎ ﻛﺎﻧـــﺖ ﺍﻟﻌﻼﻗـــﺖ ﻗﺮﺑﻴـــﺔ‬

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 ‫ﺍﻻﺣﺘﻤﺎﻝ ﻛﺎﻧﺖ ﺍﻟﻠﻮﺣـﺔ ﺍﻗـﺮﺏ ﺍﱃ ﺍﶈﺎﻛـﺎﺓ ﻭﻛﻠﻤـﺎ ﻛﺎﻧـﺖ‬
‫ﺍﻟﻌﻼﻗﺎﺕ ﺑﻌﻴﺪﺓ ﺍﻻﺣﺘﻤﺎﻝ ﻛﺎﻧﺖ ﺍﻟﻠﻮﺣﺔ ﺍﻗﺮﺏ ﺍﱃ ﺍﳌﻨﻄﻘﺔ‬
‫ﺍﳊــﺮﺓ ‪ .‬ﳝﻜــﻦ ﺍﻋﺘﺒــﺎﺭ ﻟﻮﺣــﺔ ﺍﳌﻮﻧــﺎﻟﻴﺰﺍ ﻣﺜــﺎﻻ ﻋﻠــﻰ ﺫﻟــﻚ‬
‫ﻓﺎﳋﻠﻔﻴﺔ ﻏﲑ ﺍﳌﺎﻟﻮﻓﺔ ﺍﻟﱵ ﺍﺧﺘﺎﺭﻫﺎ ﻟﻴﻮﻧـﺎﺭﺩﻭ ﺩﺍﻓﻨﺸـﻲ ﻟﻮﺟـﻪ‬
‫ﺍﳌﻮﻧﺎﻟﻴﺰﺍ ﳚﻌﻞ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﻟﻮﺣﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ‪.‬‬
‫‪-٣‬ﻋﻨﺼــﺮ ﺍﻟﱰﻣﻴــﺰ ‪ symbolism element‬ﻭﻫــﻮ ﺍﻫــﻢ ﻋﻨﺎﺻــﺮ‬
‫ﺍﳌﻨﻄﻘــﺔ ﺍﳊــﺮﺓ ﻭﻳﺘﻤﺜــﻞ ﺑﻘــﺪﺭﺓ ﺍﻟﻔﻨــﺎﻥ ﻋﻠــﻰ ﺍﺛــﺎﺭﺓ ﺍﻭﺳـــﻊ‬
‫ﺍﺳــﺘﺠﺎﺑﺔ ﻑ ﻭﻋــﻲ ﺍﳌﺘﻠﻘــﻲ ﻣــﻦ ﺧــﻼﻝ ﲢﻤﻴــﻞ ﻣﻜﻮﻧــﺎﺕ‬
‫ﻟﻮﺣﺘﻪ ﺑﻄﺎﻗﺎﺕ ﳎﺎﺯﻳـﺔ‪ .‬ﳝﻜـﻦ ﺍﻋﺘﺒـﺎﺭ ﻟﻮﺣـﺔ ﺍﳌﺴـﻴﺢ ﺍﳌﻴـﺖ‬
‫ﻟﻠﻔﻨﺎﻥ ﻫﺎﻧﺰ ﻫﻮﻟﺒﺎﻳﻦ ﺍﻻﺻﻐﺮ ﻣـﻦ ﺍﻻﻣﺜﻠـﺔ ﺍﳌﺘﻘﺪﻣـﺔ ﻫـﺬﺍ‬
‫ﺍ‪‬ﺎﻝ ﻛﺬﻟﻚ ﻟﻮﺣﺔ ﻣﺮﺛﻴـﺔ ﻟﻠﻔﻨـﺎﻥ ﻓـﺎﺋﻖ ﺣﺴـﻦ‪ ،‬ﺍﻟـﱵ ﺍﺭﻯ‬
‫ﺍﻥ ﻟـﻴﺲ ﻣــﻦ ﺍﻟﺪﻗــﺔ ﻭﺻــﻔﻬﺎ ﺑﺎﻟﻠﻮﺣــﺔ ﺍﻻﻧﻄﺒﺎﻋﻴــﺔ ﻭﺍﻥ ﻛــﺎﻥ‬
‫ﺍﺩﺍﺅﻫــﺎ ﻳﺼــﺐ ﻫــﺬﺍ ﺍﻻﺳــﻠﻮﺏ‪ ،‬ﻻﻥ ﺍﻟﻠﻮﺣــﺔ ﻣﺸــﺤﻮﻧﺔ‬
‫ﺑﻄﺎﻗﺔ ﺍﳛﺎﺋﻴﺔ ﻋﺎﻟﻴﺔ‪.‬‬
‫ﻳﻨﺒﻐــــﻲ ﺍﻻﺷــــﺎﺭﺓ ﺍﱃ ﺍﻥ ﻫــــﺬﻩ ﺍﻟﻌﻨﺎﺻــــﺮ ﻟﻴﺴــــﺖ ﻣﻨﻔﺼــــﻠﺔ‬
‫ﺑﺎﻟﻀﺮﻭﺭﺓ‪ ،‬ﺍﺫ ﻗﺪ ﳝﺘﻠﻚ ﺍﻟﺘﺸﺨﻴﺺ ﻟﻮﺣﺔ ﻣﺎ ﻗﺪﺭﺓ ﻋﺎﻟﻴﺔ ﻋﻠـﻰ‬
‫ﺍﻻﳛﺎﺀ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﻌﺎﻣﻞ ﻣـﻊ ﺍﻟﻠـﻮﻥ ﻭﺍﳍﻴﺌـﺔ ﻭﺍﻟﺘﻜـﻮﻳﻦ ﻛﻤـﺎ‬
‫ﺍﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻥ ﺍﳍﻮﻟﻨﺪﻱ ﻓﲑﻣﻴﲑ)‪(١٦٧٥-١٦٣٢‬‬

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   

 

  

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 ‫ﻛﻤـــﺎ ﺍﻥ ﺍﻟﻌﻼﻗـــﺎﺕ ﺍﻟﺒﻌﻴـــﺪﺓ ﺍﻻﺣﺘﻤـــﺎﻝ ﻻ ﺗﻌـــﲏ ﺑﺎﻟﻀـــﺮﻭﺭﺓ‬
‫ﺍﻗﱰﺍﺏ ﺍﻟﻠﻮﺣـﺔ ﻣـﻦ ﺍﳌﻨﻄﻘـﺔ ﺍﳊـﺮﺓ‪ ،‬ﻓﻬﻨـﺎﻙ ﺍﻟﻜـﺜﲑ ﻣـﻦ ﺍﻻﻋﻤـﺎﻝ‬
‫ﺍﻟﺪﻳﻨﻴـــﺔ ﺍﻟﻔـــﻦ ﺍﻟﻘـــﻮﻃﻲ ﺍﳌﺘـــﺎﺧﺮ ﺍﻭ ﻋﺼـــﺮ ﺍﻟﻨﻬﻀـــﺔ ﺍﻭ ﺍﻟﻔـــﻦ‬
‫ﺍﳌﺘﻜﻠــﻒ ‪ mannerism‬ﻣــﺜﻼ‪ ،‬ﺭﻏــﻢ ﺧﻠﻘﻬــﺎ ﻟﻌﻼﻗــﺎﺕ ﻣﻔﱰﺿــﺔ‬
‫ﺑﻌﻴﺪﺓ ﺍﻻﺣﺘﻤﺎﻝ ﻋﻠﻰ ﺍﺭﺽ ﺍﻟﻮﺍﻗﻊ ﻓﺎﻥ ﺍﳌﺒﺎﺷﺮﺓ ﺍﻟﻮﻋﻈﻴﺔ ﺍﺩﺍﺋﻬﺎ‬
‫ﺍﻓﻘﺪ ﻗﺪﺭﲥﺎ ﻋﻠﻰ ﺍﻻﳛﺎﺀ‬
‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻟﻔﻨـﺎﻥ ﻫﻨـﺮﻱ ﺭﻭﺳـﻮ)‪ (١٩١٠-١٨٤٤‬ﻣﺜـﺎﻻ ﺑـﺎﺭﺯﺍ ﻣـﻦ‬
‫ﺍﻣﺜﻠﺔ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ‪ ،‬ﺍﺫ ﲢﺘﺸـﺪ ﻟﻮﺣﺎﺗـﻪ ﻣﻔـﺮﺩﺍﺕ ﺍﻟﻄﺒﻴﻌـﺔ ﻣـﻊ‬
‫ﻗﺪﺭﺗﻪ ﻋﻠﻰ ﺧﻠﻖ ﻣﻨﺎﺧﺎﺕ ﺧﻴﺎﻟﻴﺔ ﺗﺒﻌـﺪﻩ ﻋـﻦ ﻛﻮﻧـﻪ ﻓﻨﺎﻧـﺎ ﳏﺎﻛﻴـﺎ‬
‫ﻓﺤﺴﺐ‪ ،‬ﺍﻥ ﺍﻟﺘﻀﺨﻴﻢ ﺍﻟﺬﻱ ﳝﻨﺤﻪ ﳌﻔﺮﺩﺍﺕ ﺍﻟﻄﺒﻴﻌـﺔ ﺑﻴﻌـﺪﻩ ﻋـﻦ‬
‫ﺍﻋﺘﺒﺎﺭﻩ ﺭﺳﺎﻡ ﻣﻨﺎﻇﺮ ﻃﺒﻴﻌﻴﺔ ‪ landscape painter‬ﻭﻣﻦ ﺛﻢ ﻓﻬﻨﺎﻙ‬
‫ﺗﺪﺍﺧﻞ ﻭﺛﻴﻖ ﺑﲔ ﻣﺎ ﻫﻮ ﲣﻴﻴﻠﻲ ﻭﳏﺎﻛﻲ ﺍﻋﻤﺎﻟﻪ‬
‫ﺍﻥ ﻫﺬﺍ ﺍﻟﺘﺎﻃﲑ ﻻ ﻳﺸﱰﻁ ﺍﺳﻘﺎﻃﻪ ﻋﻠﻰ ﲨﻴـﻊ ﺍﻋﻤـﺎﻝ ﺍﻟﻔﻨـﺎﻥ‬
‫ﺑﺎﻟﻀﺮﻭﺭﺓ ﻓﻘﺪ ﻳﻜﻮﻥ ﺍﻟﻔﻨﺎﻥ ﻭﲝﺴﺐ ﺗﻄﻮﺭ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺒﺪﺀ‬
‫ﳏﺎﻛﻴﺎ ﻭﻣﻊ ﺗﻄﻮﺭ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻻﺑﺪﺍﻋﻴـﺔ ﻳﺼـﺒﺢ ﺍﺩﺍﺅﻩ ﲣﻴﻴﻠﻴـﺎ ﻭﻳﺼـﺢ‬
‫ﺑﻴﻜﺎﺳﻮ)‪ (١٩٧٢-١٨٨١‬ﻣﺜﺎﻻ ﻋﻠـﻰ ﺫﻟـﻚ ﺍﺫﺍ ﺍﺧـﺬﻧﺎ ﺑﻨﻈـﺮ ﺍﻻﻋﺘﺒـﺎﺭ‬
‫ﺍﻥ ﺑﻴﻜﺎﺳﻮ ﻛﺎﻥ ﳝﻴﻞ ﺍﱃ ﺍﶈﺎﻛﺎﺓ)ﺍﳌﺮﺣﻠﺔ ﺍﻟﺰﺭﻗﺎﺀ( ﻭﺑﺘﻄﻮﺭ ﺍﻟﺘﺠﺮﺑﺔ‬
‫ﺍﲣﺬ ﺍﺳﻠﻮﺑﻪ ﺍﳋﺎﺹ ﻣﺴﺎﺭﺍ ﲣﻴﻴﻠﻴﺎ‪ .‬ﻭﻫﻲ ﻣﺴﲑﺓ ﳝﻜـﻦ ﺍﻥ ﳝـﺮ ﲠـﺎ‬
‫ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟﻔﻨــﺎﻧﲔ ﺣﻴــﺚ ﻳﻘﻄﻌــﻮﻭ ﻣﺴــﲑﺓ ﺍﳋــﻂ ﺍﻟﺒﻴــﺎﻧﻲ‬
‫ﺗﻮﺟﻬﻬﻢ ﻣﻦ ﺍﶈﺎﻛﺎﺓ ﺍﱃ ﺍﻟﺘﺨﻴﻴﻞ ﻣﺜﻞ ﺍﻟﻔﻨـﺎﻥ ﻓـﺎﺋﻖ ﺣﺴـﻦ ﺣـﲔ‬
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 ‫ﻧﻘﺎﺭﻥ ﺑﲔ ﺑﺪﺍﻳﺎﺗﻪ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﻭﺍﻭﺍﺧﺮ ﺍﻋﻤﺎﻟﻪ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ‬
‫ﻳﺼــﺢ ﺗﻄﺒﻴــﻖ ﻫــﺬﺍ ﺍﻻﻃــﺎﺭ ﻋﻠــﻰ ﺍﻻﻋﻤــﺎﻝ ﺍﻟﻔﻨﻴــﺔ ﺍﳊﺪﻳﺜــﺔ)ﻣــﻊ‬
‫ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸـﺮﻳﻦ( ﻋﻤﻮﻣـﺎ ﻭﺍﻥ ﻛـﺎﻥ ﻫﻨـﺎﻙ ﻣـﻦ ﺍﻟﻔﻨـﺎﻧﲔ ﻋـﱪ‬
‫ﺍﻟﻌﺼﻮﺭ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺴـﺎﺑﻘﺔ ﳑـﻦ ﲡـﺎﻭﺯﻭﺍ ﺍﶈﺎﻛـﺎﺓ ﺍﻟـﱵ ﻣﺜﻠـﺖ ﺍﻟﻐﺎﻟﺒﻴـﺔ‬
‫ﺍﻟﻌﻈﻤـﻰ ﻣـﻦ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ ﺯﻣـﺎﳖﻢ ‪ .‬ﻭﻳﺼـﺢ ﺍﻋﺘﺒـﺎﺭ ﺍﻟﻔﻨـﺎﻥ‬
‫ﺍﻟﻘﻮﻃﻲ ﺍﳌﺘﺎﺧﺮ ﺟﲑﻭﻡ ﺑﻮﺵ )‪ (١٥١٦-١٤٥٠‬ﻟﻮﺣﺔ)ﺣﺪﻳﻘﺔ ﺍﳌﺘـﻊ‬
‫ﺍﻻﺭﺿﻴﺔ( ﻣﻦ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺮﺍﺋﺪﺓ ﻫﺬﺍ ﺍﻟﺴﻴﺎﻕ‪.‬‬

‫‪  ‬‬

‫ﻛﻤــﺎ ﳝﻜــﻦ ﺍﻥ ﻧــﻮﺭﺩ ﻓﻨــﺎﻧﻲ ﺍﻻﺳــﻠﻮﺏ ﺍﳌﺘﻜﻠــﻒ ﺍﻣﺜﻠــﺔ ﻋﻠــﻰ‬

‫ﺍﻻﺯﺍﺣــﺔ ﺍﻟــﱵ ﺣــﺪﺛﺖ ﺣــﺎﻝ ﺍﶈﺎﻛــﺎﺓ ﺍﻟــﱵ ﺍﺩﻉ ﻓﻴﻬــﺎ ﻓﻨــﺎﻧﻮﻥ‬
‫ﺍﻟﻨﻬﻀــﺔ‪ ،‬ﺍﺫ ﻳــﺮﻯ ﺑﻌــﺾ ﺍﻟﻨﻘــﺎﺩ ﺍﻥ ﺍﻟﺘﺸــﻮﻳﻪ ﺍﻭ ﺍﻟﺘﻄﻮﻳــﻊ ﺍﻟــﺬﻱ‬
‫ﻣﺎﺭﺳﻪ ﻓﻨﺎﻧﻮ ﺍﻻﺳﻠﻮﺏ ﺍﳌﺘﻜﻒ ﻣﻦ ﺍﻣﺜﺎﻝ ﺑﺎﺭﻣﺎﺟﻴـﺎﻧﻴﻨﻮ ﻭ ﺗﻨﺘﻮﺭﻳﺘـﻮ‬

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 ‫ﻭﺍﻝ ﻛﺮﻳﻜﻮ‪ ،‬ﻳﻌﻜﺲ ﺭﺅﻳﺔ ﻣﺘﻮﺍﻓﻘﺔ ﻣـﻊ ﺷـﻜﻬﻢ ﺑﻘـﺪﺭﺍﺕ ﺍﻻﻧﺴـﺎﻥ‬
‫ﺍﻟـﺬﻱ ﺍﻣــﻦ ﺑـﻪ ﻓــﻦ ﻋﺼـﺮ ﺍﻟﻨﻬﻀــﺔ‪ .‬ﺍﻥ ﺍﺗﻔﺎﻗﻨـﺎ ﺍﻭ ﺍﺧﺘﻼﻓﻨــﺎ ﺣــﻮﻝ‬
‫ﺗﻔﺴﲑ ﺍﻟﻨﻘﺎﺩ ﻻﺩﺍﺀ ﺍﻻﺳﻠﻮﺏ ﺍﳌﺘﻜﻠﻒ ﻻ ﻳﻐﲑ ﻣﻦ ﺣﻘﻴﻘﺔ ﻛﻮﳖﻢ‬
‫ﻣﺜﻠﻮﺍ ﺣﺮﺍﻛﺎ ﺟﺎﺩﺍ ﺑﺎﲡﺎﻩ ﻣﻨﻄﻘﺔ ﺍﻟﺘﺨﻴﻴﻞ‪.‬‬

‫‪  ‬‬

‫ﻇﻞ ﺍﻻﺳﻠﻮﺏ ﺍﶈﺎﻛﻲ ﻋﻠﻰ ﻣﺮ ﺍﻟﻌﻘﻮﺩ ﻫﻮ ﺍﻟﻄﺎﺑﻊ ﺍﻟﻐﺎﻟﺐ ﻋﻠﻰ‬

‫ﺍﻻﺩﺍﺀ ﺍﻟﻔﲏ ﻣـﺮﻭﺭﺍ ﺑﺎﻟﺒـﺎﺭﻭﻙ ﻭﺍﻟﺮﻛﻮﻛـﻮ ﻛﻤـﺎ ﻫـﻮ ﻣﻌـﺮﻭﻑ‪ ،‬ﻭﺍﻥ‬
‫ﻣﺜﻠﺖ ﺍﻋﻤـﺎﻝ ﻓﲑﻣـﻴﲑ ﻭﺍﻻﻋﻤـﺎﻝ ﺍﳌﺘـﺎﺧﺮﺓ ﻟﻠﻔﻨـﺎﻥ ﻓﺮﺍﻧﺸﺴـﻜﻮ ﺩﻱ‬

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 ‫ﻏﻮﻳﺎ ﺧﺼﻮﺻﻴﺔ ﺭﺅﻳﻮﻳـﺔ ﺃﺩﺍﺋﻬـﺎ ﺍﻟﻔـﲏ)ﻟﻮﺣـﺔ ﺍﻟﺜـﺎﻣﻦ ﻣـﻦ ﺍﺏ(‬
‫ﻭﻻ ﻳﻌــﺪﻡ ﺍﻟﻔــﻦ ﺍﻟﺮﻭﻣﺎﻧﺴــﻲ ﻣﺜــﺎﻻ ﺻــﺎﺭﺧﺎ ﺍﻻﻧﺰﻳــﺎﺡ ﺍﻟﺮﺅﻳــﻮﻱ‬
‫ﺍﳌﺸﺎﺭ ﺍﻟﻴﻪ ﺃﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻥ ﺍﻻﻧﻜﻠﻴﺰﻱ ﺗﲑﻧـﺮ)‪ (١٨٦١-١٧٧٥‬ﺍﻟـﺬﻱ‬
‫ﲤﺜﻞ ﻣﻨﺎﻇﺮ ﺍﻟﺒﺤﺮ ﻟﺪﻳﻪ ﲤﺮﺩﺍ ﻭﺍﺿـﺤﺎ ﻋﻠـﻰ ﺍﻻﺩﺍﺀ ﺍﶈـﺎﻛﻲ ﻟﺼـﺎﱀ‬
‫ﺭﺅﻳﺔ ﺍﻟﻔﻨﺎﻥ ﲡﺎﻩ ﺍﻟﺴﻠﻮﻙ ﺍﳌﻨﺘﻔﺾ ﻟﻠﺒﺤﺮ ﻋﻠﻰ ﺍﻟﺪﻭﺍﻡ‪ .‬ﻫﺬﻩ ﺍﻟﺮﺅﻳـﺔ‬
‫ﺍﻟﱵ ﺗﺮﻛﺖ ﺍﺛﺮﺍ ﺑﻌﻴﺪﺍ ﺗﻄﻮﺭ ﺍﺳﻠﻮﺏ ﺍﻟﻔﻨـﺎﻥ ﺍﻟﻔﺮﻧﺴـﻲ ﻳـﻮﺟﲔ‬
‫ﺩﻳﻼﻛــﺮﻭﺍ)‪ (١٨٦٣-١٧٩٨‬ﻟــﺬﺍ ﳝﻜــﻦ ﺍﻋﺘﺒــﺎﺭ ﻟﻮﺣﺘــﻪ)ﺍﻟﺜــﻮﺭﺓ ﺗﻘــﻮﺩ‬
‫ﺍﻟﺸﻌﺐ( ﻣﻦ ﻟﻮﺣﺎﺕ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ ﺍﻟﱵ ﺗﻌﺘﱪ ﻗﻤﺔ ﺍﳛﺎﺋﻬـﺎ ﻭﻡ‬
‫ﺧﻼﻝ ﺍﺩﺍﺀ ﳏﺎﻙ‪.‬‬
‫ﻣﻦ ﺍﳌﻌﺮﻭﻑ ﺍﻥ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﻫﻲ ﺑﺪﺍﻳﺔ ﺍﻻﻧﺰﻳﺎﺡ ﺍﳊﻘﻴﻘـﻲ ﺑﺎﲡـﺎﻩ‬
‫ﺍﻟﺮﺅﻳﺔ ﺍﻟﻔﻨﻴـﺔ ﻣـﻦ ﺧـﻼﻝ ﺗﻮﻇﻴـﻒ ﺍﻟﻠـﻮﻥ ﺑﻮﺻـﻔﻪ ﻋﻨﺼـﺮ ﺭﺅﻳـﺔ ﻻ‬
‫ﻋﻨﺼــﺮ ﳏﺎﻛــﺎﺓ ﺍﻟﻌﻤــﻞ ﺍﻟﻔــﲏ ﻭﻣــﻦ ﺧــﻼﻝ ﺫﻟــﻚ ﺍﻟﺘﻮﻇﻴــﻒ‬
‫ﳒﺤـﺖ ﺍﻟﻠﻮﺣـﺎﺕ ﺍﻻﻧﻄﺒﺎﻋﻴـﺔ ﺍﻥ ﺗﻜـﻮﻥ ﺍﻧﻌﻜﺎﺳـﺎ ﳌﻨـﺎﺥ ﺍﻟﻔﻨـﺎﻥ‬
‫ﺃﻛﺜــﺮ ﻣــﻦ ﻛﻮﳖــﺎ ﺍﻧﻌﻜﺎﺳــﺎ ﻟﻠﻤﻔــﺮﺩﺍﺕ ﺍﻟــﱵ ﻛــﺎﻥ ﻳﺼــﻮﺭﻫﺎ‬
‫ﻟﻮﺣﺘﻪ‪ ،‬ﻫﺬﺍ ﺍﻻﻧﺰﻳﺎﺡ ﺍﻟﺮﺅﻳﻮﻱ ﺍﻟﺬﻱ ﺍﺧﺬ ﻳﺸـﻖ ﻃﺮﻳﻘـﻪ ﺑﺼـﺮﺍﺣﺔ‬
‫ﺍﻛﱪ ﺍﻋﻤﺎﻝ ﻏﻮﻏﺎﻥ ﻭﻓﺎﻥ ﻛﻮﺥ ﻭﺳﻴﺰﺍﻥ‪ .‬ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﺍﻻﺳﻠﻮﺏ‬
‫ﺍﻟﺮﻣﺰﻱ ﺍﻟﺬﻱ ﻇﻬﺮ ﺍﻋﻤﺎﻝ ﺟﻴﻤﺲ ﺍﺑﻮﺕ ﻭﺳﻠﺮ )‪(١٩٠٣-١٨٣٤‬‬
‫ﻭﺍﺩﻭﺍﺭﺩ ﺑــﲑﻥ ﺟــﻮﻧﺰ)‪(١٨٩٨-١٨٣٣‬ﻭﺁﺧــﺮﻭﻥ ﻭﺍﻟﺪﺍﺩﺍﺋﻴــﺔ ﻭﺍﻟﺴــﺮﻳﺎﻟﻴﺔ‬
‫ﺍﻟــﱵ ﻇﻬــﺮﺕ ﺑﻌــﺪ ﺍﳊــﺮﺏ ﺍﻟﻌﺎﳌﻴــﺔ ﺍﻻﻭﱃ ﻣــﻦ ﺍﻻﺳ ـﺎﻟﻴﺐ ﺍﻟﻜﺜــﺮ‬
‫ﺍﺷﺘﻐﺎﻻ ﻋﻠﻰ ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ ‪ .‬ﻭﺍﻥ ﻛﺎﻧﺖ ﺍﻟﺴـﺮﻳﺎﻟﻴﺔ ﺍﻟـﱵ ﲨﻌـﺖ‬
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 ‫ﻣﻔﺮﺩﺍﺕ ﺍﻟﻮﺍﻗﻊ ﻋﻠﻰ ﺍﺭﺽ ﺍﻟﻼﻭﻋﻲ ﺍﻭ ﺍﻟﻌﻘﻞ ﺍﻟﺒﺎﻃﻦ ﺍﻛﺜﺮ ﺗﻘﺪﻣﺎ‬
‫ﻫﺬﺍ ﺍﻻﲡﺎﻩ‪ .‬ﻻ ﺷﻚ ﺍﻥ ﺍﻟﻔﻦ ﺍﻟﺘﺠﺮﻳﺪﻱ ﻳﺜﻤﻞ ﺍﻻﺯﺍﺣﺔ ﺍﻻﻛﺜﺮ‬
‫ﺗﻄﺮﻓــﺎ ﺑﺎﲡــﺎﻩ ﺍﻟﺘﺨﻴﻴــﻞ ﻭﺍﻻﻛﺜــﺮ ﺍﺑﺘﻌــﺎﺩﺍ ﻋــﻦ ﺍﶈﺎﻛــﺎﺓ ﻣــﻦ ﺧــﻼﻝ‬
‫ﳏﺎﻭﻟﺔ ﺍﺑﻌﺎﺩ ﺍﻟﻠـﻮﻥ ﻭﺍﳋـﻂ ﻣـﻦ ﻭﻇﻴﻔﺘﻴﻬﻤـﺎ ﺍﻟﺘﻤﺜﻴﻠﻴـﺔ ﻭﺍﻟﺘﻌﺎﻣـﻞ‬
‫ﻣﻌﻬﻤﺎ ﺑﻮﺻﻔﻬﻤﺎ ﺑﺎﻋﺜﻲ ﺍﺷﺎﺭﺍﺕ ﺧﺎﺻﺔ ﺑﻜﻴﺎﳖﻤﺎ ﺍﳋﺎﺹ‪.‬‬
‫ﺍﻥ ﺍﻟﻘﺎﺀ ﻧﻈﺮﺓ ﻣﺘﺎﻣﻠﺔ ﻋﻠﻰ ﺍﻻﺩﺍﺀ ﺍﻟﻔﲏ ﺍﳌﻌﺎﺻـﺮ ﻳﻜﺸـﻒ ﻋـﻦ‬
‫ﺍﺑﺘﻌــﺎﺩ ﺍﻟﻌﺪﻳــﺪﻱ ﻣــﻦ ﺍﻟﻔﻨــﺎﻧﲔ ﻋﻠــﻰ ﺍﻥ ﻳﻜﻮﻧــﻮﺍ ﺃﻗﺼــﻰ ﻃــﺮ‬
‫ﺍﳋﻂ ﺍﻟﺒﻴﺎﻧﻲ‪ ،‬ﺭﻣﺎ ﻟﺮﻏﺒﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻟﺘﺼﺎﱀ ﻣـﻊ ﺍﶈـﻴﻂ ﺍﻭ ﻻﳝﺎﻧـﻪ‬
‫ﺑﻘﺪﺭﺗــﻪ ﻋﻠــﻰ ﺍﻥ ﻳﺼــﺪﻡ ﺍﳌﺘﻠﻘــﻲ ﺑــﺎﺩﻭﺍﺕ ﻭﻋﻴــﻪ ﺍﻟﺒﺼــﺮﻱ ﺫﺍﲥــﺎ‬
‫ﻓﺘﺠــﺎﻭﺯﺕ ﻫــﺬﻩ ﺍﺍﻋﻤــﺎﻝ ﻣﻨﻄﻘــﺔ ﺍﻟﺘﻌﺎﻣــﻞ ﻣــﻊ ﺍﳌــﺎﻟﻮﻑ ﺍﻟﺒﺼــﺮﻱ‬
‫ﺑﺎﻷﺳﻠﻮﺏ ﺫﺍﺗﻪ‪ ،‬ﺍﻭ ﺭﲟﺎ ﻳﻌﻮﺩ ﺫﻟﻚ ﺍﱃ ﺍﻟﻘﻨﺎﻋﺔ ﺍﻟﻘﺎﺋﻠﺔ ﺑﺎﻥ ﺍﻟﺘﺠـﺮﺩ‬
‫ﺍﺻﺒﺢ ﺑﻮﺻﻔﻬﺎ ﺍﺳﻠﻮﺑﺎ ﻓﻨﻴﺎ ﻗﺪ ﺍﺳﺘﻨﻔﺪ ﺍﻟﻘﺪﺭﺓ ﻋﻠـﻰ ﺗﻘـﺪﻳﻢ ﺍﳌﺰﻳـﺪ‬
‫ﻭﺭﻣﺎ ﻳـﱪﺭ ﺫﻟـﻚ ﺍﻟﺘﺨـﻮﻑ ﺍﻟـﺬﻱ ﺷـﻌﺮ ﺑـﻪ ﻛﺎﻧﺪﻧﺴـﻜﻲ ﻣـﻦ ﲢـﻮﻝ‬
‫ﺍﻟﻔﻦ ﺍﻟﺘﺠﺮﻳﺪﻱ ﺍﺧﺮ ﺍﻻﻣﺮ ﺍﱃ ﻥ ﺗﺰﻳﻴﲏ ﻻ ﺃﻛﺜﺮ‪ ،‬ﻭﻗﺪ ﻳﻌـﻮﺩ‬
‫ﺫﻟﻚ ﻻﳝﺎﻥ ﺍﻟﺒﻌﺾ ﺑﺎﻥ ﺍﻟﺮﺅﻳـﺔ ﺍﻟﻔﻨﻴـﺔ ﻻ ﳝﻜـﻦ ﺍﻥ ﺗﺼـﻞ ﺑﺸـﻜﻞ‬
‫ﻧﺎﺟﺢ ﻣﺎ ﱂ ﺗﻜﺘﺴﺐ ﺷـﺮﻋﻴﺔ ﻓﺠﻮﺩﻫـﺎ ﻣـﻦ ﻗـﺪﺭﲥﺎ ﻋﻠـﻰ ﳏـﺎﻭﺭﺓ‬
‫ﺍﻟﻮﺍﻗﻊ ﻟﺘﻜﻮﻥ ﺍﻛﺜﺮ ﻗﺪﺭﺓ ﺍﻟﺘﺎﺛﲑ‪.‬‬
‫ﻻ ﳝﺜﻞ ﺫﻟﻚ ﺑﺎﻟﻄﺒﻊ ﺍﳓﻴﺎﺯﺍ ﻟﻠﻤﻨﻄﻘﺔ ﺍﻟﻮﺳﻄﻰ ﻟﻠﺸﻜﻞ ﺍﻟﺒﻴﺎﻧﻲ‪.‬‬
‫ﻣﻦ ﺍﳌﻬﻢ ﺍﻻﺷﺎﺭﺓ ﻫﻨﺎ ﺍﱃ ﺍﻧﻪ ﺣﺘﻰ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺘﺠﺮﻳﺪﺓ ﻳﻬﻨـﺎﻙ‬
‫ﺗﻨــﻮﻉ ﺍﻟﻄﻴــﻒ ﺍﻻﺩﺍﺋــﻲ ﻣــﻦ ﺣــﺚ ﺍﻻﻗــﱰﺍﺏ ﺑﻌــﺾ ﻣﻨــﺎﻃﻖ‬
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 ‫ﺍﻻﺳــﻠﻮﺏ ﺍﻟﺘﺠﺮﻳــﺪﻱ ﺍﻟﺘﺸﺨﻴﺼــﻲ‬ ‫ﺍﻟﻠﻮﺣــﺔ ﻣــﻦ ﺍﶈﺎﻛــﺎﺓ ﻛﻤــﺎ‬
‫‪.figurative abstractism‬‬
‫ﺍﻥ ﺍﻋﻤــﺎﻝ ﺍﳌﻨﻄﻘــﺔ ﺍﳊــﺮﺓ ﻫــﻲ ﺍﻋﻤــﺎﻝ ﺫﺍﺕ ﺍﺩﺍﺀ ﺗﺸﺨﻴﺼــﻲ‬
‫ﻋﻤﻮﻣﺎ ﻭﻟﻜﻦ ﻋﻼﻗﺔ ﻣﻜﻮﻧﺎﺕ ﺍﻟﻠﻮﺣﺔ ﻭﻣﺎ ﲢﻤﻠـﻪ ﻣـﻦ ﻃﺎﻗـﺔ ﺍﳛـﺎﺀ‬
‫ﻋﺎﻟﻴــﺔ ﻳﺆﺷــﺮ ﺗــﺪﺧﻞ ﺍﻟﺮﺅﻳـــﺔ ﺍﳋﺎﺻــﺔ ﺑﺎﻟﻔﻨــﺎﻥ ﺻــﻠﺐ ﺍﺩﺍﺋﻬـــﺎ‬
‫ﺍﻟﺘﺸﺨﻴﺼﻲ‪ .‬ﻟﻘﺪ ﺷـﻜﻞ ﻓﻨـﺎﻧﻮ ﺍﳌﻨﻄﻘـﺔ ﺍﳊـﺮﺓ)ﺍﻟـﺬﻱ ﲨﻌـﻮﺍ ﺑـﲔ‬
‫ﺍﶈﺎﻛﺎﺓ ﻭﺍﻟﺘﺨﻴﻴﻞ ﺍﻋﻤﺎﳍﻢ(ﻣﻨﻄﻘﺔ ﺟﺬﺏ ﻟﻠﻌﺪﺩ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ‬
‫ﻭﺍﻟﺒﺤﻮﺙ ﺍﻟﻨﻘﺪﻳﺔ ﻭﻛﺎﻧﺖ ﺍﻋﻤﺎﳍﻢ ﻋﺼﻴﺔ ﻋﻠـﻰ ﺍﻟﺘﺒﻮﻳـﺐ ﺍﻟﻨﻘـﺪﻱ‬
‫ﺍﻻﻛﺎﺩﳝﻲ‪ ،‬ﻭﺍﻥ ﻛﺎﻧـﺖ ﺍﺳـﺎﻟﻴﺒﻬﻢ ﺗﻘـﱰﺏ ﻣـﻦ ﺍﺳـﻠﻮﺏ ﺩﻭﻥ ﻏـﲑﻩ‬
‫ﻣﻦ ﺍﻣﺜﺎﻝ ﺍﻟﻔﻨﺎﻥ ﻓﺮﻧﺎﻧﺪ ﻟﻴﺠﻴﻪ)‪ (١٩٥٥-١٨٨١‬ﺍﻟﺬﻱ ﺗﻘﱰﺏ ﺃﻋﻤﺎﻟـﻪ‬
‫ﻣــﻦ ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ‪ ..‬ﺍﻥ ﻣــﺎ ﻳﻼﺣــﻆ ﻋﻠــﻰ ﻓﻨــﺎﻧﻲ ﺍﳌﻨﻄﻘــﺔ ﺍﳊــﺮﺓ‪ ،‬ﺍﻥ‬
‫ﺃﺳﺎﻟﻴﺒﻬﻢ ﺗﺒﻘﻰ ﳏﺘﻔﻈﺔ ﲞﺼﻮﺻﻴﺘﻬﺎ ﺍﻟﻌﺼﻴﺔ ﻋﻠﻰ ﺍﶈﺎﻛﺎﺓ ﻭﺫﻟﻚ‬
‫ﻻ ﳖﺬﻩ ﺍﳌﻨﻄﻘﺔ‪ ،‬ﻣﻨﻄﻘﺔ ﺑﻜﺮ ﻟﻜﻞ ﻣﻦ ﻳﺪﺧﻠﻬﺎ‪ ،‬ﻭﻻ ﻳﺴـﺘﻄﻴﻊ ﺍﻥ‬
‫ﻳﺆﺳﺲ ﻟﻪ ﻛﻴﺎﻧﺎ ﻓﻴﻬﺎ ﻣﻦ ﱂ ﻳﻜﻦ ﻣﺘﺴـﻠﺤﺎ ﺑﺎﻟﻘـﺪﺭﺓ ﺍﻷﻛﺎﺩﳝﻴـﺔ ﻣـﻊ‬
‫ﺻﻔﺎﺀ ﺍﻟﺮﺅﻳﺔ‪ ،‬ﻭﻫﻮ ﺍﻣﺮ ﻗﺪ ﻳﺘﻌﺴﺮ ﻋﻠﻰ ﺍﻟﻜﺜﲑﻳﻦ‪ ،‬ﻣﺎ ﺍﻥ ﻳﺆﺳـﺲ‬
‫ﺍﻟﻔﻨــﺎﻥ ﻟﻮﺟــﻮﺩﻩ ﻫﻨــﺎﻙ ﺣﺘــﻰ ﻳﺒــﺪﻉ ﺍﻋﻤــﺎﻻ ﺻــﻌﺒﺔ ﺍﻟﺘﻘﻠﻴــﺪ ﻻﳖــﺎ‬
‫ﻣﻨﻄﻘﺔ ﺣﺮﺟﺔ ﻣﻦ ﺍﻟﺼـﻌﺐ ﺍﻻﺧـﺬ ﻣﻨـﻬﺎ ﻣـﻦ ﺩﻭﻥ ﺍﻥ ﺗﺴـﻘﻂ‬
‫ﻇﻠﻬﺎ‪.‬‬

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 ‫‪ ‬‬
‫‪ ‬‬

‫ﻻ ﻳـﺪﺧﻞ ﺍﻟﺼــﻮﺕ ﻫﻨــﺎ ﺑﺼــﻔﺘﻪ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴــﺔ)ﺣﻴــﺚ ﺗﺘﺴــﺒﺐ‬

‫ﺍﻻﻣﻮﺍﺝ ﺍﻟـﱵ ﲢـﺪﺛﻬﺎ ﺣﺮﻛـﺔ ﻣﻌﻴﻨـﺔ ﺍﻟﻮﺳـﻂ ﺍﻟﻨﺎﻗـﻞ ‪ -‬ﺍﳍـﻮﺍﺀ‬
‫ﻣﺜﻼ‪ -‬ﺍﱃ ﺍﻫﺘﺰﺍﺯﺍﺕ ﺳﺎﺋﻞ ﺍﻟﻘﻮﻗﻌﺔ ﺍﻟﺪﺍﺧﻠﻴﺔ ﺍﻻﺫﻥ ﺍﻟﺒﺸﺮﻳﺔ‬
‫ﻭﺍﻟﱵ ﲢﻔﺰ ﺑﺪﻭﺭﻫﺎ ﻣﺴﺘﺸـﻌﺮﺍﺕ ﺧﺎﺻـﺔ ﺗﱰﺟـﻢ ﻫـﺬﻩ ﺍﻻﻫﺘـﺰﺍﺯﺍﺕ‬
‫ﺇﱃ ﺍﻳﻌﺎﺯﺍﺕ ﻋﺼﺒﻴﺔ(ﺭﻏﻢ ﺍﻥ ﺍﻟﺼﻔﺔ ﺍﻻﳛﺎﺋﻴﺔ ﺍﻟـﱵ ﲤﻨﺤﻬـﺎ ﺍﳌﻘﺎﻟـﺔ‬
‫ﻟﻠﺼﻮﺕ ﺗﻠﺘﻘﻲ ﻣﻊ ﺍﻟﺼﻔﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ ﺍﻣﺮﻳﻦ ﻣﻬﻤﲔ ﺍﻭﳍﻤﺎ‪:‬‬
‫ﺍﻥ ﺍﻟﺼﻮﺕ ﻛﻼ ﺍﳊﺎﻟﲔ ﻧﺎﺗﺞ ﻣﻦ ﺍﳊﺮﻛﺔ‪ ،‬ﻓﻌـﻼ) ﺍﻟﻄﺒﻴﻌـﺔ(‬
‫ﺃﻭ ﺍﳛـﺎﺀﺍ) ﺍﻟﻠﻮﺣـﺔ(‪ ،‬ﻭﺍﻟﺜـﺎﻧﻲ ﺍﻥ ﺍﻟﻴـﺔ ﺍﺩﺭﺍﻙ ﺍﻟﺼـﻮﺕ ﻭﺗﻔﺴــﲑﻩ‬
‫ﻫﻲ ﺍﻟﻴﺔ ﻋﻘﻠﻴﺔ ﺍﻟﻨﻬﺎﻳﺔ‪.‬‬
‫ﻭﻫﻨﺎ ﻳﻈﻬﺮ ﺳﺆﺍﻝ ﻣﻬﻢ‪ ،‬ﻭﻫﻮ ﻣﺎ ﺳﺒﺐ ﻏﻴﺎﺏ ﺍﻟﻨﻘﺪ ﺍﻟﻔﲏ ﻋـﻦ‬
‫ﺗﻨﺎﻭﻝ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ؟ ﺭﲟﺎ ﻳﻌـﻮﺩ ﺫﻟـﻚ ﺍﱃ ﺍﻗﺘﺼـﺎﺭ ﺍﻟﻨﻘـﺪ ﺍﻟﻔـﲏ‬
‫ﺍﻟﻨﻈﺮ ﺍﱃ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺧﻼﻝ ﺗﺎﺛﲑﺍﲥﺎ ﺍﻟﺒﺼﺮﻳﺔ ﺍﳌﺒﺎﺷﺮﺓ‪ ،‬ﺭﻏـﻢ ﺍﻥ‬
‫ﺑﻌﺾ ﺍﻟﻔﻨـﺎﻧﲔ ﺣـﺎﻭﻟﻮﺍ ﺍﻥ ﻳﻌـﱪﻭﺍ ﻋـﻦ ﲡـﺎﺭﲠﻢ ﻫـﺬﺍ ﺍﳌﻴـﺪﺍﻥ‪،‬‬

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 ‫ﺍﻳﺼـﺎﻝ ﺻـﻮﺕ ﺍﻟﺼـﻨﺪﻝ ﻋﻠـﻰ‬ ‫ﺣﻴﺚ ﺍﻋﻠﻦ ﺳﻴﺰﺍﻥ ﻣﺮﺓ ﺭﻏﺒﺘـﻪ‬
‫ﻃﺮﻳﻖ ﻛﺎﻥ ﻳﺰﻣﻊ ﺭﲰﻪ‪.‬‬
‫ﺍﻥ ﺍﻟﺼـﻮﺕ ﺑﺎﻋﺘﺒــﺎﺭﻩ ﺣﺮﻛـﺔ)ﺫﺑــﺬﺑﺎﺕ( ﺍﻻﺳـﺎﺱ ﻳــﺘﻢ ﺍﻟﺘﻌــﺮﻑ‬
‫ﻋﻠﻴﻬﺎ)ﲰﺎﻋﻬﺎ( ﻣـﻦ ﺧـﻼﻝ ﺍﻫﺘـﺰﺍﺯ ﻃﺒﻠـﺔ ﺍﻻﺫﻥ ﻫـﻮ ﺣﻘﻴﻘـﺔ ﻣﻌﺮﻭﻓـﺔ‬
‫ﻓﻴﺰﻳﺎﺋﻴــﺎ‪ ،‬ﻭﻟﻜــﻦ ﻫــﻞ ﻫــﻞ ﺗﻮﺟــﺪ ﺣﺮﻛــﺔ ﺍﻟﻠﻮﺣــﺔ؟ ﻳــﺮﻯ ﺍﻟﻔﻨــﺎﻥ‬
‫ﻗﺴﻄﻨﻄﲔ ﺷﲑﻛﺎﺱ‪ ،‬ﺍﻥ ﻋﻨﺼﺮ ﺍﳊﺮﻛﺔ ﻳﺘﻢ ﺍﻟﻠﻮﺣﺔ ﻣـﻦ ﺧـﻼﻝ‪:‬‬
‫)ﺍﻟﺘﺎﺛﲑ ﺍﻟﻜﻠﻲ ﳌﻜﻮﻧﺎﺕ ﺍﻟﻌﻤـﻞ‪ :‬ﺷـﺪﺓ ﺍﻟﺘﺒـﺎﻳﻦ ﺑـﲔ ﺍﻟﻀـﻮﺀ ﻭﺍﻟﻈـﻞ‪،‬‬
‫ﺳﺮﻋﺔ ﺍﻻﻳﻘﺎﻉ‪ ،‬ﺍﲡﺎﻩ ﺗﺮﻛﻴﺒﺘﻪ ﺍﳋﻄﻴـﺔ‪ ،‬ﺣﺘـﻰ ﻗـﻮﺍﻡ ﺿـﺮﺑﺎﺕ ﺍﻟﻔﺮﺷـﺎﺓ‬
‫ﻭﺍﻟﺘﻔﺼــﻴﻼﺕ ﺍﻻﺧــﺮﻯ ﺍﺿــﺎﻓﺔ ﺍﱃ ﺍﻟﺘﻜــﻮﻳﻦ( ﺍﻱ ﺍﻥ ﻫــﺬﻩ ﺍﻟﻌﻨﺎﺻــﺮ‬
‫ﳎﺘﻤﻌــﺔ ﺳــﻮﻑ ﲡﻌــﻞ ﻋــﲔ ﺍﻟﻨــﺎﻇﺮ ﺍﱃ ﺍﻟﻠﻮﺣــﺔ ﺗﺘﺤــﺮﻙ ﺣﺴــﺐ‬
‫ﺳﻴﻄﺮﺓ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻭﺑﺎﻟﺸﻜﻞ ﺍﻟﺬﻱ ﻳﻌﻄﻲ ﺍﻻﳛﺎﺀ ﺍﳌﻄﻠﻮﺏ ﺑﻮﺟـﻮﺩ‬
‫ﺍﳊﺮﻛﺔ ﻓﻌﻼ‪ ،‬ﺍﻱ ﺍﻥ ﺍﻟﻮﺳﻴﻂ ﺍﻟﺬﻱ ﻳﱰﺟﻢ ﺣﺮﻛﺔ ﺍﻟﻠﻮﺣﺔ ﺍﻭ ﳝﻨﺤﻬﺎ‬
‫ﺍﳌﺼﺪﺍﻗﻴﺔ ﻫﻲ ﺣﺮﻛﺔ ﻋﲔ ﺍﳌﺘﻠﻘﻲ ﺍﻟﻮﺍﻗﻌﺔ ﲢﺖ ﺗﺎﺛﲑ ﺗﻈﺎﻓﺮ ﻣﻜﻮﻧـﺎﺕ‬
‫ﺍﻟﻮﺣـﺔ ﺍﻟﻔﻨﻴـﺔ ﻭﻫﻨـﺎ ﻳﻜﻤـﻦ ﺍﻻﺧـﺘﻼﻑ ﺑـﲔ ﺍﳊﺎﻟـﺔ ﺍﻟﻄﺒﻴﻌﻴـﺔ ﻭﺍﳊﺎﻟـﺔ‬
‫ﺍﻟﻔﻨﻴﺔ‪ .‬ﻭﻟﻜﻦ ﻫﻞ ﻳﻌﲏ ﻛـﻞ ﺍﳛـﺎﺀ ﺑﺎﳊﺮﻛـﺔ ﺍﻟﻠﻮﺣـﺔ ﻭﺟـﻮﺩ ﺍﳛـﺎﺀ‬
‫ﺑﺎﻟﺼﻮﺕ )ﺍﻗﱰﺍﻥ ﻛﻞ ﺻﻮﺕ ﲝﺮﻛﺔ(‪ .‬ﻭﻫﻨﺎ ﳒﺪ ﺗﺸﺎﲠﺎ ﻣﺜﲑﺍ ﻣـﺎ ﺑـﲔ‬
‫ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ‪ ،‬ﻓﻤﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ ﻓﺎﻥ ﲰﺎﻉ‬
‫ﺍﻟﺼﻮﺕ ﻳﺸﱰﻁ ﻭﺻﻮﻝ ﺍﻟﺬﺑﺬﺑﺎﺕ ﺍﱃ ﻣﺴﺘﻮﻯ ﻣﻌﲔ ﻟﺘﺘﻤﻜﻦ ﺍﻻﺫﻥ‬
‫ﻣﻦ ﺍﻻﺳﺘﺠﺎﺑﺔ‪ ،‬ﻛﺬﻟﻚ ﺍﻻﻣﺮ ﺍﻟﻠﻮﺣﺔ‪ ،‬ﺣﻴﺚ ﺑﺘﻄﻠﺐ ﺍﻷﻣﺮ ﻫﻨﺎ‪،‬‬
‫ﺩﺧﻮﻝ ﻋﻨﺼﺮ ﺃﺧﺮ ﻻﻳﺼﺎﻝ ﺍﻻﳛﺎﺀ ﺍﳌﻄﻠﻮﺏ ﻭﻫﻮ ﺍﳌﻮﺿـﻮﻉ ﻭﺑﺘﺤﺪﻳـﺪ‬
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 ‫ﺍﺩﻕ ﺭﻏﺒﺔ ﺍﻟﻔﻨﺎﻥ ﺇﻳﺼﺎﻝ ﻫﺬﺍ ﺍﻹﺣﺴﺎﺱ ﻟﻠﻤﺘﻠﻘﻲ‪.‬‬
‫ﻻﻳﻀــﺎﺡ ﻫــﺬﺍ ﺍﻻﻣــﺮ ﺳــﻨﺘﻨﺎﻭﻝ ﲬــﺲ ﻟﻮﺣــﺎﺕ ﻛﺄﻣﺜﻠــﺔ ﻋﻠــﻰ‬
‫ﻭﺟﻮﺩ ﺍﻟﺼﻮﺕ ﺑﻮﺻﻔﻪ ﺍﳛﺎﺀ ﺍﻟﻠﻮﺣﺔ‪ .‬ﺍﻟﻠﻮﺣﺔ ﺍﻻﻭﱃ ﻫﻲ ﻟﻮﺣﺔ‬
‫ﺍﻋﺪﺍﻣﺎﺕ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﺍﻳﺎﺭ ﻟﻠﻔﻨﺎﻥ ﺩﻱ ﻏﻮﻳﺎ‪،‬‬

‫‪  ‬‬
‫ﺍﻥ ﺃﻭﻝ ﻣﺎ ﻳﺼﻞ ﺍﱃ ﻭﻋـﻲ ﺍﳌﺘﻠﻘـﻲ ﻫـﺬﻩ ﺍﻟﻠﻮﺣـﺔ ﻫـﻮ ﺻـﻮﺕ‬
‫ﺍﻃﻼﻕ ﺍﻟﻨﺎﺭ ﻋﻠﻰ ﻋﻠﻰ ﺍﻟﻮﺍﻗﻔﲔ ﺍﻟﻴﺴﺎﺭ‪ ،‬ﻭﺍﻟﺴﺒﺐ ﺫﻟﻚ ﻳﻌﻮﺩ‬
‫ﺍﻷﺳﺎﺱ ﺇﱃ ﻋﺎﻣﻞ ﺍﻹﺿﺎﺀﺓ‪ ،‬ﻓﺎﻹﺿﺎﺀﺓ ﺍﻟﻨﺎﺭﻳﺔ ﻏـﲑ ﺍﳌﺘﻮﻗﻌـﺔ)ﻋـﺪﻡ‬
‫ﻭﺟـــﻮﺩ ﻣﺼـــﺪﺭ ﺿـــﻮﺋﻲ ﻣﻔـــﱰﺽ( ﻭﻛـــﺎﻥ ﺍﻹﺿـــﺎﺀﺓ ﻫـــﻲ ﺇﺿـــﺎﺀﺓ‬
‫ﺍﻻﻃﻼﻗﺎﺕ ﺍﻟﻨﺎﺭﻳﺔ ﻧﻔﺴﻬﺎ‪ -‬ﻫﺬﻩ ﺍﻹﺿﺎﺀﺓ ﺍﻟﱵ ﺟﻌﻠﻬﺎ ﺩﻱ ﻏﻮﻳﺎ ﻣﺮﻛﺰ‬
‫ﺍﻟﻠﻮﺣﺔ ﻭﺍﻟﱵ ﺗﻀﺎﻓﺮﺕ ﻣﻊ ﻋﻨﺎﺻـﺮ ﺍﻟﺘﻜـﻮﻳﻦ ﳑﺜﻠـﺔ ﺑﺎﳊﺮﻛـﺔ ﺍﻟﻘﻮﺳـﻴﺔ‬
‫ﺍﻟﱵ ﺗﺮﲰﻬﺎ ﺧﻮﺫ ﺍﳉﻨﻮﺩ ﺑﺎﲡـﺎﻩ ﺍﳌﺮﻛـﺰ ﻣـﻊ ﺣﺎﻟـﺔ ﺍﻟﺘﺎﻫـﺐ ﺍﻟﻘﺼـﻮﻯ‬
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 ‫ﻹﻃﻼﻕ ﺍﻟﻨﺎﺭ ﻭﺍﻷﻭﺿﺎﻉ ﺍﻟﱵ ﺍﲣـﺬﲥﺎ ﺍﺟﺴـﺎﺩ ﺍﳌﺰﻣـﻊ ﺍﻋـﺪﺍﻣﻬﻢ ﻭﻫـﻲ‬
‫ﺗــﻮﺣﻲ ﺑﺎﻟﻠﺤﻈــﺔ ﺍﳊﺎﲰــﺔ‪ ،‬ﺗﻘــﻮﺩ ﻭﻋــﻲ ﺍﳌﺘﻠﻘــﻲ ﺍﱃ ﲤﺜــﻞ ﺻــﻮﺕ‬
‫ﺍﻟﺮﺻﺎﺹ‪ ،‬ﻭﻫﻨﺎ ﻳـﺎﺗﻲ ﺩﻭﺭ ﺍﻻﻟﻴـﺔ ﺍﻟﺜﺎﻧﻴـﺔ‪ ،‬ﺍﻟـﱵ ﻳﻠﺘﻘـﻲ ﻓﻴﻬـﺎ ﻋﻨﺼـﺮ‬
‫ﺍﻟﺼــﻮﺕ ﺑﻮﺻــﻔﻪ ﺍﻟﻔﻴﺰﻳﻮﻟــﻮﺟﻲ ﻭﺩﻭﺭﻩ ﺍﻻﳛــﺎﺋﻲ ﻫــﻲ ﺍﻟﻴــﺔ ﺍﻻﺩﺭﺍﻙ‬
‫ﻭﺍﻟﺘﻔﺴﲑ‪ ،‬ﻻﻥ ﺍﻟﻔﻨﺎﻥ ﺍﺳﺘﻄﺎﻉ ﺍﻥ ﻳﺼﻌﺪ ﻣﻦ ﺍﺳﺘﺠﺎﺑﺔ ﻭﻋـﻲ ﺍﳌﺘﻠﻘـﻲ‬
‫ﺍﱃ ﻣﻨﻄﻘﺔ ﻳﺴﺘﻄﻴﻊ ﻣﻌﻬﺎ ﺍﻥ ﻳﺼﻞ ﺍﱃ ﻣﻨﻄﻘﺔ ﻳﺴﺘﺪﻋﻲ ﻣﻌﻬﺎ ﺻﻮﺕ‬
‫ﺍﻟﺮﺻﺎﺹ ﻣﻦ ﺍﻟﺬﺍﻛﺮﺓ‪ ،‬ﺍﻟﻔﺮﻕ ﺑﲔ ﺍﳊﺎﻟﺔ ﺍﻟﻔﻴﺰﻳﻮﻟﻮﺟﻴﺔ ﺍﻟﻄﺒﻴﻌﻴﺔ‪ ،‬ﺍﻥ‬
‫ﺍﻟﻴﺔ ﺍﻻﺩﺭﺍﻙ ﻭﺍﻟﺘﻔﺴﲑ ﻫﻲ ﺍﻟﻴﺔ ﻃﺒﻴﻌﻴـﺔ ‪ ،passive‬ﺑﻴﻨﻤـﺎ ﺣﺎﻟﺘﻨـﺎ‬
‫ﻫﻨــﺎ ﻓﻬــﻲ ﺣﺎﻟــﺔ ﻳﺴــﺎﻫﻢ ﻓﻴﻬــﺎ ﺍﳌﺘﻠﻘــﻲ ‪ active‬ﺳــﺎﻋﺪ ﻋﻠــﻰ ﲢﻘﻴﻘﻬــﺎ‬
‫ﺍﻟﺘﺼﻌﻴﺪ ﺍﻟﻔﲏ ﺍﻟﺬﻱ ﻣﺎﺭﺳﻪ ﺍﻟﻔﻨﺎﻥ‪.‬‬
‫ﻭﺻﻔﺖ ﻟﻮﺣﺔ ﻳﻮﻧﻜﺮ ﺭﺍﻣﺐ ﻭﺣﺒﻴﺒﺘـﻪ) ‪Yonker Ramp and his‬‬

‫‪ (sweetheart‬ﻟﻠﻔﻨــــﺎﻥ ﺍﳍﻮﻟﻨــــﺪﻱ ﻓﺮﺍﻧــــﺰ ﻫــــﺎﻟﺲ ‪Frans Hals‬‬

‫ﻭﺍﳌﺮﺳﻮﻣﺔ ﻋﺎﻡ‪ ،١٦٢٣‬ﺑﺎﳖﺎ )ﻭﻇﻔﺖ ﻋﻨﺼﺮ ﺍﻟﺘﻮﻗﻴﺖ ﺍﻟﺬﻱ ﺑﺸﺮﺕ ﺑـﻪ‬

‫ﻟﻮﺣـﺎﺕ ﻛﺎﺭﺍﻓـﺎﺟﻴﻮ ﺑﺎﻓﻀـﻞ ﺻـﻮﺭﺓ ﺣﻴــﺚ ﺗﺒـﺪﻭ ﺍﻟﻔﺮﺷـﺎﺓ ﺍﺳـﺮﻉ ﻣــﻦ‬
‫ﺍﻟﻌﲔ ﺍﺫ ﳛـﺎﻭﻝ ﺍﻟﻔﻨـﺎﻥ ﺍﻗﺘﻨـﺎﺹ ﺍﻟﻠﺤﻈـﺔ ﺍﻟﺴـﻌﻴﺪﺓ(‪ .‬ﺍﻥ ﺗﺴـﺎﺭﻉ ﺍﻳﻘـﺎﻉ‬
‫ﺿـــﺮﺑﺎﺕ ﺍﻟﻔﺮﺷـــﺎﺓ ﻋﻠـــﻰ ﻣﻼﻣـــﺢ ﺍﻟﺸـــﺎﺏ)ﻭﻛﺎﳖـــﺎ ﻟﻮﺣـــﺔ ﺍﻧﻄﺒﺎﻋﻴـــﺔ‬
‫ﻣﺒﻜﺮﺓ(‪ ،‬ﻣﻊ ﺗﻮﻇﻴـﻒ ﻋﻨﺼـﺮ ﺍﻻﺿـﺎﺀﺓ‪ ،‬ﻣﻀـﺎﻓﺎ ﺍﱃ ﺍﻟﺘﻜـﻮﻳﻦ ﺍﻟـﺬﻱ‬
‫ﻳﺘﺨﺬ ﺍﺩﺍﺀ ﺗﺼﺎﻋﺪﻳﺎ ﺑﺎﲡﺎﻩ ﺍﻟﻜﺎﺱ‪ .‬ﻭﳏﺎﻭﻟﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻗﺘﻨﺎﺹ ﺍﻟﻠﺤﻈﺔ‪،‬‬
‫ﻳﻮﺻــﻞ ﻭﻋــﻲ ﺍﳌﺘﻠﻘــﻲ ﻟﺴــﻤﺎﻉ ﺿــﺤﻜﺎﺗﻪ ﺍﻟﺸــﺎﺏ ﺍﻟﻌﺎﻟﻴــﺔ ﺍﻟــﱵ ﲤــﻼ‬
‫ﺍﳌﻜﺎﻥ‪،‬‬
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 ‫‪‬‬

‫ﻟﻮﺣـــﺔ ﺭﻣﱪﺍﻧـــﺖ ‪ Rembrandt‬ﺍﳌﺴـــﻴﺢ ﻋﺎﺻـــﻔﺔ ﲝـــﲑﺓ‬

‫ﺍﳉﻠﻴـﻞ)‪ (Christ in the storm on the lake of Galilee‬ﻭﺍﳌﺮﺳـﻮﻣﺔ‬
‫ﻋــﺎﻡ)‪ ،(١٦٣٣‬ﺗﻠﻌــﺐ ﺍﻹﺿــﺎﺀﺓ ﺍﻟـــﺪﻭﺭ ﺍﻻﺑــﺮﺯ ﺍﻇﻬــﺎﺭ ﺍﻟﺼـــﻮﺕ‪،‬‬
‫ﻓﺎﻟﺘﺒﺎﻳﻦ ﺍﻟﻠﻮﻧﻲ ﺑﲔ ﺍﻟﻨﻮﺭ ﺍﳌﺴﻠﻂ ﻋﻠـﻰ ﺍﳌـﻮﺝ ﺍﻟـﺬﻱ ﻳﻀـﺮﺏ ﺍﻟﻘـﺎﺭﺏ‬
‫ﻣﻊ ﻇﻠﻤﺔ ﺍﻟﻘﺎﺭﺏ ﺑﺮﻛﺎﺑﻪ ﺍﳌﺬﻋﻮﺭﻳﻦ‪ ،‬ﻣﻊ ﺭﻏﺒـﺔ ﺍﻟﻔﻨـﺎﻥ ﳉﻌـﻞ ﺍﻟﺘﺒـﺎﻳﻦ‬

‫‪‬‬

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 ‫ﺍﻟﻠﻮﻧﻲ ﺍﳊﺎﺩ ﺑـﺆﺭﺓ ﺍﻟﺘﻘـﺎﺀ ﺍﳌﻮﺟـﺔ ﺑﺎﻟﻘـﺎﺭﺏ ﻳﺰﻳـﺪ ﺍﺣﺴـﺎﺱ ﺍﳌﺘﻠﻘـﻲ‬
‫ﺑﻮﻃﺌــﺔ ﺍﻟﺼــﺪﻣﺔ ﺍﻟﺸــﺪﻳﺪﺓ‪ ،‬ﻓــﻼ ﻳﺒﻘــﻰ ﻫﻨــﺎﻙ ﺣﺎﺟــﺔ ﻟﻴﺒــﺬﻝ ﺍﳌﺘﻠﻘــﻲ‬
‫ﳎﻬﻮﺩﺍ‪ ،‬ﻟﻜﻲ ﻳﺴﺘﺪﻋﻲ ﺻﻮﺕ ﺍﻻﺭﺗﻄﺎﻡ ﻟﺘﻜﺘﻤﻞ ﻋﻨﺪﻩ ﺍﻟﺼﻮﺭﺓ‪.‬‬

‫‪‬‬

‫ﻣﻊ ﺍﻻﺳﻠﻮﺏ ﺍﻻﻧﻄﺒﺎﻋﻲ ﻭﺭﻏﺒﺔ ﺍﻟﻔﻨﺎﻧﲔ ﺍﻟﺸﺪﻳﺪﺓ ﺗﺴـﺠﻴﻞ‬

‫ﺍﻧﻄﺒﺎﻋﻬﻢ ﺍﳌﺒﺎﺷﺮ ﻟﻠﻤﺸﻬﺪ‪ ،‬ﺑﺮﺯ ﻋﺎﻣـﻞ ﺍﻟﺼـﻮﺕ ﺑﺸـﻜﻞ ﺍﻛـﱪ ﻣـﻊ‬
‫ﺍﻻﺷــــﺎﺭﺓ ﺍﱃ ﺗﻜــــﺮﻳﺲ ﺍﻛــــﱪ ﻟﻀــــﺮﺑﺎﺕ ﺍﻟﻔﺮﺷــــﺎﺓ ﺍﻟﻠﻮﺣــــﺔ‬
‫ﺍﻻﻧﻄﺒﺎﻋﻴــﺔ‪ ،‬ﺧﺼﻮﺻــﺎ ﻟﻮﺣــﺎﺕ ﻣﻮﻧﻴــﺔ ﺍﻟــﺬﻱ ﻛــﺎﻥ ﻣــﻦ ﺍﻛﺜــﺮ‬
‫ﺍﻟﻔﻨﺎﻧﲔ ﺣﺮﺻﺎ ﻋﻠﻰ ﻧﻘـﻞ ﺗـﺎﺛﲑ ﺍﻟﻠﺤﻈـﺔ ﺍﻋﻤﺎﻟـﻪ ﺍﻟﻔﻨﻴـﺔ ﻭﻛﻤـﺎ‬
‫ﻳﻘﻮﻝ ﺟﻮﺭﺝ ﻫﲑﺩ ﻫﺎﻣﻠﺘﻮﻥ ﻭﺻﻒ ﻟﻮﺣﺎﺕ ﻣﻮﻧﻴﻪ )ﻧﻮﻉ ﺟﺪﻳـﺪ‬

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 ‫ﻣــﻦ ﺍﻟﺮﺳــﻢ ﻳﻜﺸــﻒ ﻃﺒﻴﻌــﺔ ﺍﻻﺩﺭﺍﻙ ﺍﻛﺜــﺮ ﻣــﻦ ﻃﺒﻴﻌــﺔ ﺍﻟﺸــﻲﺀ‬
‫ﺍﳌﺪﺭﻙ( ﻭﻫﻨﺎ ﳝﻜـﻦ ﺍﻋﺘﺒـﺎﺭ ﻟﻮﺣـﺔ)ﻗـﻮﺍﺭﺏ ﺍﳌﺘﻌـﺔ( ﺍﳌﺮﺳـﻮﻣﺔ ‪١٨٧٣‬‬
‫ﻟﻜﻠﻮﺩ ﻣﻮﻧﻴﻪ ﻣﺜﺎﻻ ﺑﺎﺭﺯﺍ‪،‬‬

‫‪  ‬‬

‫ﺍﻥ ﺍﳌﺸــﺎﻫﺪ ﺍﻣــﺎﻡ ﺍﻟﱰﻛﻴــﺰ ﺍﻟﺸــﺪﻳﺪ ﻻﻳﻘــﺎﻉ ﺍﻟﺸــﺎﻃﺊ ﺍﻟﻌــﻢ‪،‬‬

‫ﻳــﺪﺭﻙ ﺻــﻮﺕ ﺍﻗــﱰﺍﺏ ﺍﳌﻮﳚــﺎﺕ ﻣــﻦ ﺍﻟﺸــﺎﻃﺊ‪ ،‬ﻟﻘــﺪ ﻣــﻨﺢ ﻣﻮﻧﻴــﺔ‬
‫ﻣﻨﻈﺮﻩ ﺍﳌﺎﺋﻲ ﺣﺴﺎ ﺣﻘﻴﻘﻴﺎ ﺑﺎﻻﻣﺘﻼﺀ‪ .‬ﻫﻨـﺎﻙ ﺍﻳﻀـﺎ ﻟﻮﺣـﺔ ﻏـﺪﺍﺀ‬
‫ﺳﻔﺮﺓ ﺍﻟـﺰﻭﺍﺭﻕ ﻟﻠﻔﻨـﺎﻥ ﺭﻳﻨـﻮﺍﺭ‪ ١٨٨١‬ﺣﻴـﺚ ﳚﺮﻧـﺎ ﺍﻟﺘﻜـﻮﻳﻦ ﺍﳊﻴـﻮﻱ‬
‫ﺍﳌﺘﻨــﻮﻉ ﻭ ﲤــﻮﺝ ﺍﻟﻀــﺮﺑﺎﺕ ﺍﻟﻔﺮﺷــﺎﺓ ﺧﺼﻮﺻــﺎ ﺍﳋﻠﻔﻴــﺔ‪ ،‬ﺇﱃ‬
‫ﲰﺎﻉ ﺍﺻﻮﺍﺕ ﺍﳌﺘﺤﺪﺛﲔ ﻭﻫﻲ ﺑﻌﺪ ﳏﺘﻔﻈﺔ ﺑﻄﺮﺍﻭﲥﺎ‪.‬‬

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 ‫‪‬‬

‫ﻟﻌﻞ ﻣﻦ ﺍﻻﺳﺒﺎﺏ ﺍﻟﱵ ﺟﻌﻠﺖ ﺍﻻﻋﻤﺎﻝ ﺍﻻﻧﻄﺒﺎﻋﻴـﺔ ﳏﺘﻔﻈـﺔ‬

‫ﺑﺘﻠــﻚ ﺍﳊﻴﻮﻳــﺔ ﻭﺍﻻﺩﻫــﺎﺵ ﻫــﻮ ﻣــﺎ ﻣﻨﺤﺘــﻪ ﻟﻠﻤﺘﻠﻘــﻲ ﻣــﻦ ﻋﻨﺎﺻــﺮ‬
‫ﺧــﺎﺭﺝ ﲨﺎﻟﻴــﺎﺕ ﺍﻟﺘﺠﺮﺑــﺔ ﺍﻟﺒﺼــﺮﻳﺔ ﺍ‪‬ــﺮﺩﺓ ﻭﺍﳌﺒﺎﺷــﺮﺓ ﻭﺭﲟــﺎ ﻛــﺎﻥ‬
‫ﳊﺮﺻﻬﻢ ﺍﻻﺻﻴﻞ ﻟﻨﻘﻞ ﺍﳊﺲ ﺑﺎﻟﻠﺤﻈﺔ ﺍﺛﺮﺍ ﺟﻌﻞ ﺗﻠﻚ ﺍﳌﻨﺎﻇﺮ‬
‫ﺍﻟﱵ ﺭﲰﻮﻫﺎ ﲢـﺘﻔﻆ ﺑﺎﺻـﻮﺍﲥﺎ ﻭﺭﻭﺍﺋﺤﻬـﺎ ﻭﻫـﻮ ﺍﻣـﺮ ﱂ ﻳﻮﻓـﻖ ﺃﻱ‬
‫ﺍﺳﻠﻮﺏ ﺍﺧﺮ ﺍﻳﺼﺎﻟﻪ ﺑﻨﻔﺲ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ‪.‬‬

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 ‫‪ ‬‬
‫‪‬‬

‫ﺍﻥ ﺍﻷﺧــﺬ ﺑـــﺎﻻﻓﱰﺍﺽ ﺍﻟﻘﺎﺋــﻞ‪ :‬ﺍﻥ ﺍﳉﺴـــﺪ ﻋﻠــﻰ ﺍﻟﻘﻤﺎﺷـــﺔ ﻫـــﻮ‬

‫ﺍﻧﻌﻜــﺎﺱ ﻟــﺪﻭﺭ ﺍﻹﻧﺴــﺎﻥ ﻋﻠــﻰ ﻭﺍﺟﻬــﺔ ﺍﳊﻴــﺎﺓ‪ ،‬ﻛﻤﻤــﺎ ﻳــﺮﺍﻩ ﺍﻟﻔﻨــﺎﻥ‪،‬‬
‫ﳝﻜﻨﻨﺎ ﻣﻦ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺭﺣﻠﺔ ﻫﺬﺍ ﺍﳉﺴﺪ ﻋﱪ ﺗﺎﺭﻳﺦ ﺍﻟﻠﻮﺣﺔ‪ ،‬ﺭﻏﻢ ﺍﻥ‬
‫ﺍﳉﺴﺪ ﱂ ﻳﺸﻜﻞ ﻣﻨﻄﻘﺔ ﺍﺷﺘﻐﺎﻝ ﺭﺅﻳﻮﻱ ﺣﻴﻮﻳﺔ ﻟﻠﻔﻨﺎﻥ ﻋﻠـﻰ ﺍﻟـﺪﻭﺍﻡ‪.‬‬
‫ﻛﻤﺎ ﺍﻥ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﻨﻘﺪﻳـﺔ ﺍﳌﺘﺎﺣـﺔ ﱂ ﺗﺮﻛـﺰ ﻋﻠـﻰ ﻫـﺬﻩ ﺍﻟﻈـﺎﻫﺮﺓ ﺍﻻ‬
‫ﻋـﱪ ﺍﺷــﺎﺭﺍﺕ ﻳﺴـﲑﺓ ﺗﻌﺎﻣــﻞ ﺑﻌﻀـﻬﺎ ﻣــﻊ ﻓـﻦ ﻫﺼــﺮ ﺍﻟﻨﻬﻀـﺔ ﺑﻮﺻــﻔﻪ‬
‫ﺍﻧﻌﻜﺎﺳــﺎ ﻟــﻼﺩﺍﺀ ﺍﳌﺘﻔــﺮﺩ ﻟﻠﻮﺟــﻮﺩ ﺍﻻﻧﺴــﺎﻧﻲ ﻋﻠــﻰ ﻗﻤﺎﺷــﺔ ﺍﳊﻴــﺎﺓ ﻭﲟــﺎ‬
‫ﺟﻌﻠــﻪ ﻣﻨﻄﻘــﺔ ﻓﺎﺻــﻠﺔ ﺗﻄــﻮﺭ ﺍﻟﻔــﻦ ﺍﻟﺘﺸــﻜﻴﻠﻲ ﻣــﻦ ﺧــﻼﻝ ﺍﻟﺪﻗــﺔ‬
‫ﺍﻟﻌﺎﻟﻴﺔ ﻭﺍﻟﻈﻬﺎﺭ ﺍﳌﺘـﺎﻓﲏ ﳉﻤﺎﻟﻴـﺔ ﻫـﺬﺍ ﺍﳉﺴـﺪ ﺣﺼـﻮﺭﺍ ﻭﺍﺩﺍﺀﺍ ﻭﻳﺸـﲑ‬
‫ﻣـــﺆﺭﺥ ﺍﻟﻨـــﻒ ﺩﺑﻠﻴـــﻮ ﺍﺗـــﺶ ﺟﻮﻧﺴـــﻮﻥ ﺇﱃ ﺍﻟﺘﺤـــﺪﻳﺎﺕ ﺍﻻﻗﺘﺼـــﺎﺩﻳﺔ‬
‫ﻭﺍﻟﺴﻴﺎﺳﻲ ﻟﻼﺳﺘﻜﺸﺎﻓﺎﺕ ﺍﳉﻐﺮﺍﻓﻴﺔ ﺍﻟﱵ ﻗﺎﻡ ﲠﺎ ﺍﳌـﺎﻣﺮﻭﻥ ﻣـﻦ ﲝـﺎﺭﺓ‬
‫ﺩﻭﻝ ﺣــﻮﺽ ﺍﳌﺘﻮﺳــﻂ ﻭﺍﻟــﱵ ﻋــﺎﺩﺕ ﻋﻠــﻰ ﻋــﺪﺩ ﻣــﻦ ﳑﺎﻟــﻚ ﺍﻭﺭﺑــﺎ‬
‫ﺑﺎﻟﺜﺮﻭﺍﺕ‪ ،‬ﻭﺍﻟﺘﺤﺪﻳﺎﺕ ﺍﻟﻔﻜﺮﻳﺔ ﺍﻟﺖ ﻧﺘﺠﺖ ﻋﻦ ﺍﻟﺼـﺮﺍﻋﺎﺕ ﺍﻟﺪﻳﻨﻴـﺔ‬
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 ‫ﺍﻟﱵ ﻋﻤﻠﺖ ﻋﻠﻰ ﻛﺴﺮ ﺍﳊﻮﺍﺟﺰ ﺍﻟﻘﺪﳝﺔ ﻭﺍﻟﺒﺤﺚ ﻋـﻦ ﺍﻓـﺎﻕ ﺟﺪﻳـﺪﺓ‬
‫ﻛﺎﻥ ﻟﻪ ﺩﻭﺭ ﺍﻟﺮﺅﻳﺔ ﺍﳌﺘﻔﻮﻗﺔ ﻟﻠﻜﻴـﺎﻥ ﺍﻻﻧﺴـﺎﻧﻲ ﻛﻤـﺎ ﻫـﻮ ﻭﺍﺿـﺢ‬
‫ﺍﻋﻤﺎﻝ ﻣﺎﻳﻜـﻞ ﺍﳒﻠـﻮ‪ ،‬ﻭﳝﻜـﻦ ﺍﻋﺘﺒـﺎﺭ ﺍﻋﻤﺎﻟـﻪ ﺍﻟﺒﺪﺍﻳـﺔ ﺍﳊﻘﻴﻘﻴـﺔ ﺍﻟـﱵ‬
‫ﺟﻌﻠﺖ ﻣﻦ ﺍﳉﺴﺪ ﻣﺮﻛﺰﺍ ﻟﻠﺮﺅﻳﺔ ﺍﻟﻔﻨﻴﺔ‪.‬‬
‫ﻭﺭﻏــﻢ ﺍﻥ ﺍﻟﻨﺎﻗــﺪ ﱂ ﳚــﺪ ﺗﻔﺴــﲑﺍ ﳍــﺬﻩ ﺍﻟﻨﻬﻀــﺔ ﺍﻻﺑﺪﺍﻋﻴــﺔ ﻟــﺪﻯ‬
‫ﻓﻨﺎﻧﻲ ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﺭﻏﻢ ﺍﻟﺼﺮﺍﻋﺎﺕ ﺍﻟﱵ ﺣﻔﻠﺖ ﲠﺎ ﺗﻠـﻚ ﺍﻟﻔـﱰﺓ‪،‬‬
‫ﻭﱂ ﻳﺄﺧﺬ ﺑﻨﻈﺮ ﺍﻻﻋﺘﺒﺎﺭ ﺍﻥ ﺍﻟﺘﻄﻮﺭ ﺍﻟﺬﻱ ﻣﺜﻠﺘـﺔ ﺍﻋﻤـﺎﻝ ﻓﻨـﺎﻧﻲ ﻋﺼـﺮ‬
‫ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﻛﺎﻧﺖ ﻧﺘﻴﺠﺔ ﻃﺒﻴﻌﻴﺔ ﻟﻠﺘﻄﻮﺭ ﺍﻟﺬﻱ ﻟﻌﺐ ﻓﻴـﻪ ﻓﻨـﺎﻧﻮ ﻣـﺎ‬
‫ﻗﺒـــﻞ ﺍﻟﻨﻬﻀـــﺔ ﺩﻭﺭﺍ ﻣﻬﻤـــﺎ‪ ،‬ﻓﺴـــﺢ ﺍ‪‬ـــﺎﻝ ﻟﺘﻼﻣﻴـــﺬﻫﻢ ﺍﻥ ﻳﺘﺠـــﺎﻭﺯﻭﺍ‬
‫ﺍﳌﺸﺎﻛﻞ ﺍﻟﱵ ﻭﺍﺟﻬﺖ ﻣﻦ ﺳﺒﻘﻬﻢ ﻭﺧﺼﻮﺻﺎ ﻣـﺎ ﻳﺘﻌﻠـﻖ ﺑـﺎﳌﻨﻈﻮﺭ‬
‫ﻭﺍﻟﺘﻜﻮﻳﻦ‪ .‬ﻭﺍﺑﺎﻟﺘﺎﱄ ﻓﺎﻥ ﻣﺎﺿﺎﻫﺎﺓ ﺍﳉﺴﺪ ﺍﻻﻧﺴﺎﻧﻲ ﻟﻠﻜﻤﺎﻝ ﻋﻨﺪ ﻓﻨﺎﻧﻲ‬
‫ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﻻ ﻳﻌﻜﺲ ﻓﻘﻂ ﺇﳝﺎﳖﻢ ﺑﻘﺪﺭﺓ ﺍﻹﻧﺴـﺎﻥ ﻭﺣﻀـﻮﺭﻩ ﻭﺇﳕـﺎ‬
‫ﻫﻮ ﺟﺰﺀ ﻣﻦ ﺻﲑﻭﺭﺓ ﺗﺎﺭﳜﻴﺔ ﻓﻨﻴﺔ‪.‬‬
‫ﺗــﱪﺭ ﺍﻋﻤــﺎﻝ ﻣﺎﻳﻜــﻞ ﺍﳒﻠــﻮ ﻻﻭﻝ ﻭﻫﻠــﺔ ﻣــﺎ ﺫﻫــﺐ ﺍﻟﻴــﻪ ﺍﻟﻨﺎﻗــﺪ‬
‫)ﻟﻮﺣــﺔ ﺧﻠــﻖ ﺍﺩﻡ( ﻭﻫــﻲ ﺟـــﺰﻱ ﻣــﻦ ﺟﺪﺍﺭﻳــﺔ ﻟﺴــﻘﻒ ﻛﻨﻴﺴـــﺔ‬
‫ﺳﺴــﺘﺎﻳﻦ ﺍﻟﻔﺎﺗﻴﻜــﺎﻥ‪ .‬ﺗﻌﺘــﱪ ﻫــﺬﻩ ﺍﻟﻠﻮﺣــﺔ ﻣﺜــﺎﻻ ﺑــﺎﺭﺯﺍ ﳉﻤــﺎﻝ‬
‫ﺍﳉﺴــﺪ ﻭﺗﻨــﺎﻏﻢ ﺗﻘﺎﺳــﻴﻤﻪ ﻣــﻊ ﺩﻗــﺔ ﺗﺸــﺮﳛﻴﺔ ﺑﺎﻟﻐــﺔ ﺟﻌﻠــﺖ ﻛﺘــﺐ‬
‫ﺍﻟﺘﺸﺮﻳﺢ ﺍﻟﻄﺒﻴﺔ ﺗﺰﻳﻦ ﺍﻏﻠﻔﺘﻬﺎ ﲠﺎ ﻭﻗﺪ ﻻ ﳜﺘﻠﻒ ﺍﺛﻨﺎﻥ ﺍﻥ ﻫـﺬﺍ‬
‫ﺍﻻﻇﻬــﺎﺭ ﺍﻟﺒــﺎﺭﻉ ﻟﻠﺤﻀــﻮﺭ ﺍﳉﺴــﺪﻱ ﻣــﻊ ﺍﻻﻗﺘﺼــﺎﺩ ﺍﻟــﺪﺍﻓﺊ ﻟﻺﳝــﺎﺀﺍﺕ‬
‫ﺃﺿﺎﻑ ﳍﻴﺒﺔ ﺍﻟﺸـﻜﻞ ﺍﻹﻧﺴـﺎﻧﻲ ﺍﻳﻘﺎﻋﻌـﺎ ﻓـﺎﻋﻼ‪ .‬ﲤﺘـﺎﺯ ﺍﺟﺴـﺎﺩ ﻣﺎﻳﻜـﻞ‬
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 ‫ﺍﳒﻠﻮ ﺑﺎﳖﺎ ﻣﻔﺘﻮﻟﺔ ﺍﻟﻌﻀﻼﺕ ﺑﺎﺭﺯﺓ ﺍﻟﺘﻘﺎﺳﻴﻢ ﺣﺘﻰ ﻭﻫﻮ ﻳﺮﺳﻢ ﺍﳉﺴﺪ‬
‫ﺍﻻﻧﺜــﻮﻱ ﻓﻬــﻮ ﻳﺴــﺒﻎ ﻋﻠﻴــﻪ ﻣﻈﻬ ـﺮﺍ ﺭﺟﻮﻟﻴــﺎ‪ .‬ﻭﻟﻜــﻦ ﺍﳌﻠﻔــﺖ ﻟﻠﻨﻈــﺮ ﺍﻥ‬
‫ﻣﺎﻳﻜﻞ ﺍﳒﻠﻮ ﺍﻻﻧﺴﺎﻥ ﻛﺎﻥ ﳓﻴﻞ ﺍﻟﺒﻨﻴﺔ ﻛﺌﻴﺐ ﺍﳌﻼﻣﺢ ﻗﻠﻴﻞ ﺍﻟﺜﻘﺔ ﲟﻦ‬
‫ﳛﻴﻄﻪ ﻭﺍﻥ ﺍﳌﺘﺄﻣﻞ ﻻﻋﻤﺎﻟﻪ ﻳﻠﻤﺲ ﺍﻟﻮﺟﻮﻡ ﺍﻟﺬﻱ ﻳﺸﱰﻙ ﻓﻴـﻪ ﺍﺑﻄﺎﻟـﻪ‬
‫_ﻭﻫﻢ ﺃﺑﻄﺎﻝ ﺍﻟﻜﺘـﺎﺏ ﺍﳌﻘـﺪﺱ_‪ .‬ﺍﻓـﻼ ﳝﻜـﻦ ﺍﻋﺘﺒـﺎﺭ ﺍﺟﺴـﺎﺩ ﻣﺎﻳﻜـﻞ‬
‫ﺍﳒﻠﻮ ﳏﺎﻭﻟﺔ ﺗﻌﻮﻳﻀﻴﺔ ﻟﻠﺘﻐﻠﺐ ﻋﻠﻰ ﻋﻠﺔ ﺟﺴﺪﻳﺔ ﻇﺎﻫﺮﺓ؟‬

‫‪‬‬
‫ﺗﻌﺎﻣــﻞ ﺍﻟﻔﻨــﺎﻧﻮﻥ ﺑﻌــﺪ ﻋــﺎﻡ ‪ ١٥٢٠‬ﻣــﻊ ﺍﻷﺟﺴــﺎﺩ ﺍﻟﺒﺸــﺮﻳﺔ ﻋﻠــﻰ‬
‫ﺍﻟﻘﻤﺎﺷﺔ ﻣﻦ ﺧـﻼﻝ ﺗﺸـﻮﻳﻪ ﻣﻘﺼـﻮﺩ ﻟﻠـﻬﻴﺌﺎﺕ ﻭﺍﻷﻭﺿـﺎﻉ ﺍﻟﺒﺸـﺮﻳﺔ‬
‫ﻭﻋﻨﺎﺻــﺮ ﺍﻹﺿــﺎﺀﺓ)‪ ،(١‬ﻓﻔــﻲ ﻟﻮﺣــﺔ ﻣﺎﺩﻭﻧــﺎ ﺑﺮﻗﺒــﺔ ﻃﻮﻳﻠــﺔ ﻟﻠﻔﻨــﺎﻥ‬
‫ﺑﺎﺭﳎﻴـﺎﻧﻴﻨﻮ ﻳﻠﻔـﺖ ﺍﻧﺘﺒﺎﻫﻨـﺎ ﺍﻣﺘﺸــﺎﻕ ﻗﺎﻣـﺔ ﺍﻟﻌـﺬﺭﺍﺀ ﻣـﻊ ﺍﳌﺒﺎﻟﻐــﺔ‬

‫‪(1)W.H. Johonson، Dova Jane Jhonson، picture history of‬‬

‫‪art from cave paintings to modern times.‬‬

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 ‫ﺣﺠـﻢ ﺍﳌﺴـﻴﺢ ﺍﻟﺼــﻐﲑ ﺑـﲔ ﻳــﺪﻳﻬﺎ ﻣـﻊ ﺍﻻﻳﻘــﺎﻉ ﺍﳊﺮﻛـﻲ ﺍﳌﺘﻜﻠــﻒ‬
‫ﻟﻠﻄﻔﻞ ﻭﺍﻧﺎ ﺍﻇﻦ ﺍﻥ ﺑﺎﺭﳎﻴـﺎﻧﻴﻨﻮ ﺍﺭﺍﺩ ﺍﻻﳛـﺎﺀ ﺑـﺎﻥ ﻣﺎﺩﻭﻧـﺎ ﻭﺍﻟﻄﻔـﻞ‬
‫ﳝﺎﺭﺳﺎﻥ ﻃﻘﺴﺎ ﺣﺮﻛﻴﺎ‪ ،‬ﻭﻛﺎﳖﻤﺎ ﳝﻬﺪﺍﻥ ﻟﺮﻗﺼﺔ ﻣﻘﺪﺳﺔ‪.‬‬

‫‪  ‬‬

‫ﻗﺪ ﻳﻜﻮﻥ ﺳﺒﺐ ﺍﻻﺩﺍﺀ ﺍﳌﺘﻜﻠﻒ ﻟﺮﺳـﺎﻣﻲ ﻣـﺎ ﺑﻌـﺪ ﺍﻟﻨﻬﻀـﺔ‪ ،‬ﺍﻥ‬
‫ﺍﻹﻧﺴﺎﻥ ﱂ ﻳﻌﺪ ﺻﺎﺣﺐ ﺍﻟﻔﻌﻞ ﻭﺍﻣﺎ ﺍﺻﺒﺢ ﻭﺍﻗﻌﺎ ﲢﺖ ﺗـﺎﺛﺮ ﻗـﻮﻯ ﻻ‬
‫ﻳﺴــﺘﻄﻴﻊ ﺍﻟﺴــﻴﻄﺮﺓ ﻋﻠﻴﻬــﺎ ﻭﻳﻌــﺰﻭ ﺑﻌــﺾ ﺍﳌــﺆﺭﺧﲔ ﻫــﺬﻩ ﺍﻟﻈــﺎﻫﺮﺓ ﺍﱃ‬
‫ﺣــﺮﻭﺏ ﺍﻻﺻــﻼﺡ ﺍﻟــﺪﻳﲏ ﺍﳌﻀــﺎﺩ ﺍﻟــﱵ ﺷــﻬﺪﲥﺎ ﺍﻭﺭﺑــﺎ‪ ،‬ﻭﻟﻜــﻦ‬
‫ﺍﻟﻮﻗﺖ ﻧﻔﺴﻪ ﱂ ﻳﺸﺮ ﻣﻦ ﺗﺒﻨﻰ ﻫﺬﺍ ﺍﻟﺘﻔﺴﲑ ﺍﱃ ﺍﻥ ﻓﻨﺎﻧﻲ ﺍﻻﺳﻠﻮﺏ‬
‫ﺍﳌﺘﻜﻠﻒ ‪ mannerism style‬ﺣﺎﻭﻟﻮﺍ ﺍﻥ ﻳﺆﺳﺴـﻮﺍ ﻟﺘﻮﺟـﻪ ﻣﻐـﺎﻳﺮ ﺑﻌـﺪ‬
‫ﺍﻥ ﺳﺘﻨﻔﺪ ﻓﻦ ﺍﻟﻨﻬﻀﺔ ﻛﻞ ﻋﻨﺎﺻﺮ ﺍﻟﻘﻮﺓ ﻭﺍﻻﻗﻨﺎﻉ ﻣﻦ ﺧﻼﻝ ﺗﻌﺎﻣﻠﻬﻢ‬

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 ‫ﻣــﻊ ﺍﳊــﺲ ﺍﻟﺒﻄــﻮﱄ ﻣــﻊ ﺷﺨﺼــﻴﺎﺕ ﺍﻟﻜﺘــﺎﺏ ﺍﳌﻘــﺪﺱ‪ ،‬ﻭﻟــﺬﺍ ﺭﲟــﺎ‬
‫ﺣﺎﻭﻟﻮﺍ ﺍﻥ ﻳﻌﻮﺩﻭﺍ ﺑﺎﺑﻄﺎﻝ ﺍﻟﻜﺘﺎﺏ ﺍﳌﻘﺪﺱ ﺍﱃ ﻛﻘﻴﻘﺘﻬﻢ ﺍﻟﺒﺸﺮﻳﺔ ﻭﻫﻮ‬
‫ﻣﺎ ﺷﻜﻞ ﺟﺬﺑﺎ ﻟﻠﺬﺍﺋﻘﺔ ﺍﻟﻔﻨﻴﺔ ﺗﻠﻚ ﺍﳌﺮﺣﻠﺔ‪ .‬ﺗﺸـﲑ ﺑﻌـﺾ ﻣﺼـﺎﺩﺭ‬
‫ﺗﺎﺭﻳﺦ ﺍﻟﻔﻦ ﺍﱃ ﺍﺳﺘﻴﺎﺀ ﺍﻟﻔﻨـﺎﻥ ﺗﻴﺘﻴـﺎﻥ ﻣـﻦ ﻗﻠـﺔ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ ﺍﻟـﱵ‬
‫ﺍﺻﺒﺢ ﻳﻜﻠﻒ ﲠﺎ ﺑﻌﺪ ﺗﺴﻴ‪‬ﺪ ﻓﻨﻪ ﻣﺪﻳﻨـﺔ ﺍﻟﺒﻨﺪﻗﻴـﺔ ﻟﺴـﻨﲔ‪ ،‬ﻣﻘﺎﺑـﻞ‬
‫ﺍﻟﻄﻠﺐ ﺍﳌﺘﺰﺍﻳﺪ ﻟﻠﻮﺣﺎﺕ ﺗﻠﻤﻴﺬﻩ ﺗﻨﺘﻮﺭﻳﺘﻮ‪ .‬ﻳﻮﺍﺻـﻞ ﺍﻟﻨﺎﻗـﺪ ﺩﺑﻠﻴـﻮ ﺍﺗـﺶ‬
‫ﺟﻮﻧﺴــﻦ ﻣﻘﺎﺭﺑﺘــﻪ ﺍﻟﺘﻌﺎﻣــﻞ ﻣــﻊ ﻓﻨــﺎﻥ ﺍﺧــﺮ ﻣــﻦ ﻓﻨــﺎﻧﻲ ﺍﻻﺳــﻠﻮﺏ‬
‫ﺍﳌﺘﻜﻠﻒ ﻭﻫﻮ ﺍﻝ ﻏﺮﻳﻜﻮ)ﲟﻌﻨﻰ ﺍﻟﻘﺎﺩﻡ ﻣﻦ ﺟﺰﻳﺮﺓ ﻛﺮﻳﺖ( ﺣﲔ ﻳﻌـﺰﻭ‬
‫ﺗﻌﺎﻣﻞ ﻫﺬﺍ ﺍﻟﻔﻨﺎﻥ ﻣﻊ ﺍﳉﺴﺪ ﺍﱃ ﻛﻮﻥ ﺣﺮﻛﺔ ﺍﻻﺻـﻼﺡ ﺍﻟـﺪﻳﲏ ﻗـﺪ‬
‫ﺑﻠﻐﺖ ﻗﻤﺔ ﺗﺎﺛﲑﻫﺎ ﺍﺳﺒﺎﻧﻴﺔ –ﻣﺴـﺘﻘﺮ ﺍﻟﻔﻨـﺎﻥ ﺍﻝ ﻛﺮﻳﻜـﻮ‪ (١)-‬ﺍﻟـﺬﻱ‬
‫ﻟﻮﺣﺎﺗﻪ ﺍﻟﻨﺤﺎﻓﺔ ﻭﺍﻟﻄـﻮﻝ ﺍﳌﺒـﺎﻟﻎ ﻟﻸﺟﺴـﺎﺩ‪ ،‬ﻭﻟﻜـﻦ‪ ،‬ﺍﻻ‬ ‫ﻳﺘﻜﺮﺭ‬
‫ﻳﻌــﻮﺩ ﺗﻌﺎﻣــﻞ ﺍﻝ ﻛﺮﻳﻜــﻮ ﻣــﻊ ﺍﳉﺴــﺪ ﲟﺜــﻞ ﻫــﺬﻩ ﺍﳌﻘﺎﺭﺑـﺔ ﻭﻛﻤــﺎ ﺍﺷــﺎﺭ‬
‫ﺍﻟﻜﺎﺗــﺐ ﺍﻱ ﺩﺑﻠﻴــﻮ ﻫﻮﻧــﺎﻛﺮ ﺍﱃ ﻛــﻮﻥ ﺍﻟﻔﻨــﺎﻥ ﺍﻝ ﻛﺮﻳﻜــﻮ ﻣﺼــﺎﺏ‬
‫ﺑﺎﻻﺳـــﺘﻜﻤﺎﺗﺰﻣﺎ ﺍﻟﻼﺑﺆﺭﻳـــﺔ)‪ ،(٢‬ﺍﺫ ﻟـــﻮﺣﻆ ﺑـــﺎﻥ ﺍﺟﺴـــﺎﺩ ﺍﻝ ﻛﺮﻳﻜـــﻮ‬
‫ﺗﺴﺘﻌﻴﺪ ﺍﺑﻌﺎﺩﻫﺎ ﺍﻟﻄﺒﻴﻌﻴﺔ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﺨﺪﺍﻡ ﻋﺪﺳـﺎﺕ ﻣﺼـﺤﺤﺔ‪،‬‬
‫ﻣﻊ ﺇﻧﻨـﺎ ﻻ ﻧﺴـﺘﻄﻴﻊ ﺍﻥ ﻧﺘﻐﺎﻓـﻞ ﺍﻟﻮﻗـﺖ ﺫﺍﺗـﻪ ﻋـﻦ ﻗﺘﺎﻣـﺔ ﺍﻟـﻮﺍﻥ ﺍﻝ‬
‫ﻛﺮﻳﻜﻮ ﻭﺍﺣﺴﺎﺱ ﺍﺑﻄﺎﻟﻪ ﺑﺎﻟﻮﺣﺸﺔ ﻭﻛﺄﻥ ﺍﺟﺴﺎﺩﻫﻢ ﺗﺘﻮﻕ ﻟﻠﺘﺤﺮﺭ ﻣـﻦ‬

‫‪  ‬‬
‫‪‬‬
‫‪  ‬‬

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 ‫ﺍﻟﺪﻧﻴﺎ ﻟﱰﺗﻔـﻊ ﺍﱃ ﺍﳋـﻼﺹ ﺍﻻﻋﻠـﻰ ﳑـﺎ ﻳـﱪﺭ ﻫـﺬﺍ ﺍﻟﻄـﻮﻝ ﺍﳌﺒـﺎﻟﻎ ﻓﻴـﻪ‬
‫ﳍﺬﻩ ﺍﻻﺟﺴﺎﺩ‬

‫‪  ‬‬

‫ﻳﺒــﺪﻭ ﺍﻥ ﺍﻟﻮﺟــﻮﺩ ﺍﻻﻧﺴــﺎﻧﻲ ﺍﺳــﺘﻌﺎﺩ ﺑﻌﻀــﺎ ﻣــﻦ ﺗﻮﺍﺯﻧــﻪ ﻓــﻦ‬

‫ﺍﻟﻘﺮﻥ ﺍﻟﺴﺎﺑﻊ ﻋﺸﺮ ﺍﻟﺬﻱ ﺍﺩﺧﻞ ﺍﻟﻨﻮﺭ ﺍﱃ ﺍﻟﻠﻮﺣﺔ ﻓـﺎﻋﻄﻰ ﺍﳉﺴـﺪ‬
‫ﺍﻻﻧﺴــﺎﻧﻲ ﺍﺷــﺮﺍﻗﺔ ﺍﻟﻘــﻮﺓ ﻭﺍﳊﻀــﻮﺭ ﻭﻟﻜﻨــﻪ ﺍﻟﻮﻗــﺖ ﺫﺍﺗــﻪ ﱂ‬
‫ﻳـــﺘﺨﻠﺺ ﻣـــﻦ ﺍﺭﺙ ﺍﳌﻌﺎﻧـــﺔ ﺍﻟـــﺬﻱ ﺗﺮﻛـــﻪ ﺍﻻﺳـــﻠﻮﺏ ﺍﳌﺘﻜﻠـــﻒ‬
‫‪ mannerism style‬ﻣﻦ ﺧﻼﻝ ﺍﺟﺴﺎﺩ ﺍﻋﺘﺎﺩﺕ ﺍﻟﺘﻘﻮﺱ ﻭﺍﻻﳓﻨﺎﺀ‬
‫ﻓﺎﺻﺒﺢ ﺍﻻﻧﺴﺎﻥ ﺍﻟﻜﺜﲑ ﻣـﻦ ﻟﻮﺣـﺎﺕ ﺭﻭﺑﻨـﺰ ﻭﺭﻣﱪﺍﻧـﺖ ﻭﺑﻌـﺾ‬
‫ﺍﻋﻤﺎﻝ ﻛﺎﺭﺍﻓﺎﺟﻴﻮ ﺍﳌﺘﺎﺧﺮﺓ ﻭﻛﺎﻧﻪ ﺣﺎﻟﺔ ﺻـﺮﺍﻉ ﺩﺍﺋـﻢ‪ ،‬ﻭﺍﻥ ﻛـﺎﻥ‬

‫‪‬‬

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 ‫ﺍﳊﺲ ﺍﻟﺒﻄﻮﱄ ﺣﺎﺿﺮﺍ ﺑﻘﻮﺓ‪ ،‬ﻭﺍﻹﳝﺎﻥ ﺑﺎﻹﻧﺴـﺎﻥ ﳝﻨﺤﻨـﺎ ﺍﻟﺜﻘـﺔ ﺑـﺎﻥ‬
‫ﺍﳌﻌﺮﻛــﺔ ﺳــﺘﻜﻮﻥ ﻟﺼــﺎﳊﺔ ﻭﻫــﺬﺍ ﻣــﺎ ﺗــﻮﺣﻲ ﺑــﻪ ﺍﻻﺟﺴــﺎﺩ ﺍﻟﻨﻀــﺮﺓ‬
‫ﺍﻟﻘﻮﻳﺔ ﻟﻮﺣﺔ)ﺍﻟﺼﻠﺐ ‪ ( crucifixion‬ﻟﻠﻔﻨﺎﻥ ﺭﻭﺑﻨﺰ ﻭﻫﻲ ﲢﻤﻞ‬
‫ﺍﺭﺙ ﻣﺎﻳﻜــﻞ ﺃﳒﻠــﻮ ﻭﻛــﺎﻥ ﺷﺨﻮﺻــﻬﺎ ﻳﺴــﺘﻌﻨﻮﻥ ﺑﺄﺟﺴــﺎﺩ ﻋﺼــﺮ‬
‫ﺍﻟﻨﻬﻀــﺔ ﺻــﺮﺍﻋﻢ‪ .‬ﺍﻥ ﶈــﺔ ﺑﺴــﻴﻄﺔ ﳉﺴــﺪ ﺍﳌﺴــﻴﺢ ﺍﳌﺼــﻠﻮﺏ ﻻ‬
‫ﻳــﱰﻙ ﻟــﺪﻳﻨﺎ ﺍﻱ ﺷــﻚ ﺑﺎﺣﺘﻔــﺎﻅ ﻫــﺬﺍ ﺍﳉﺴــﺪ ﺑــﺒﻌﺾ ﺍﻟﻘــﻮﺓ ﻭﻫــﻮ‬
‫ﻳﻮﺍﺟﻪ ﳊﻈﺎﺗﻪ ﺍﻻﺧﲑﺓ‪ .‬ﻭﻻ ﻳﱰﻙ ﺭﻭﺑﻨﺰ ﺍﻟﻠﻮﺣﺔ ﺩﻭﻥ ﺍﻥ ﻳﺴﺒﻎ ﻋﻠﻰ‬
‫ﺍﺟﺴﺎﺩ ﻣﺼﻠﻮﺑﻴﻪ ﺗﻘﻮﺳﺎﺕ ﺍﳌﻌﺎﻧﺎﺓ ﻭﺍﻟﺮﻓﺾ _ﻫﻨﺎ ﻳﺘﻠﺨﺺ ﻣـﲑﺍﺙ‬
‫ﺍﻻﺳﻠﻮﺏ ﺍﳌﺘﻜﻠﻒ_ ﻓﺎﻻﺟﺴﺎﺩ ﻟﻮﺣﺎﺕ ﺭﻭﺑﻨﺰ ﻟﻦ ﺗﻨﻌﻢ ﺑﺎﳍﺪﻭﺀ‬
‫ﻭﺍﻻﺳﱰﺧﺎﺀ ﺭﻏﻢ ﺻﻼﺑﺘﻬﺎ ﻭﺍﳝﺎﳖﺎ ﺑﺎﳊﻴﺎﺓ‪.‬‬

‫‪  ‬‬

‫‪‬‬

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 ‫ﺣــﲔ ﻧﻨﺘﻘــﻞ ﺍﱃ ﺍﳊﺮﻛــﺔ ﺍﻟﺮﻭﻣﺎﻧﺴــﻴﺔ ﻭﻫــﻲ ﺍﻻﺳــﻠﻮﺏ ﺍﻟﻔــﲏ‬
‫ﺍﻟﺬﻱ ﻇﻬﺮ ﺍﻭﺍﺋﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻣﻦ ﻋﺸﺮ ‪ ،‬ﻳﺘﺨـﺬ ﺍﻟﺼـﺮﺍﻉ ﺷـﻜﻼ‬
‫ﺍﻛﺜﺮ ﺷﺮﺍﺳﺔ ﻭﲤﺜﻞ ﺍﻋﻤـﺎﻝ ﺩﻳﻼﻛـﺮﻭﺍ ﺍﻓﻀـﻞ ﻣﺜـﺎﻝ ﻟـﺬﻟﻚ ﻓﺎﺑﻄـﺎﻝ‬
‫)‪(١‬‬
‫ﺩﻳﻼﻛﺮﻭﺍ ﻳﻮﺍﺟﻬﻮﻥ ﻋﺎﳌﺎ ﺷﺮﺳﺎ ﻛﻤﺎ ﻳﺼﻔﻪ ﺍﻟﺸﺎﻋﺮ ﺑﻮﺩﻟﲑ‪.‬‬
‫ﻟﻘﺪ ﺍﺭﺍﺩ ﺩﻳﻼﻛﺮﻭﺍ ﺍﻥ ﺗﻌﻄـﻲ ﺍﺟﺴـﺎﺩﻩ ﺍﳊـﺪﺙ ﺭﻭﺣـﺎ ﺻـﺎﺭﺧﺔ‬
‫ﻣﺒﺘﻌﺪﺓ ﻋﻦ ﺍﻻﺣﺘﺸﺎﻡ ﺍﳌﺘﻌﺴـﻒ ﻻﺳـﻠﻮﺏ ﺍﻟﻜﻼﺳـﻴﻜﻴﺔ ﺍﳉﺪﻳـﺪﺓ‪.‬‬
‫ﻭﻋﻠﻰ ﺍﻱ ﺣﺎﻝ ﻻ ﳝﻨﺤﻨﺎ ﺍﻟﺼﺮﺍﻉ ﻋﺎﱂ ﺩﻳﻼﻛﺮﻭﺍ ﻗﺪﺭﺓ ﺍﻟﺘﻔـﺎﺅﻝ‬
‫ﻓﺎﳌﻌﺮﻛﺔ ﺍﻟﱵ ﲣﻮﺿﻬﺎ ﺃﺟﺴﺎﺩﻩ ﻏﲑ ﳏﺴﻮﻣﺔ ﺍﻟﻨﺘﺎﺋﺞ‪ .‬ﺍﻥ ﺍﺟﺴـﺎﺩﻩ‬
‫ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﺒﺪﻭ ﻣﺴﺘﻠﺒﺔ ﻭﺍﲦﺔ ﻛﻤﺎ ﻟﻮﺣﺔ ﺟﺤـﻴﻢ ﺩﺍﻧـﱵ ﻭﻫـﻲ‬
‫ﺍﺣﺴـﻦ ﺍﺣﻮﺍﳍــﺎ ﺃﺟﺴــﺎﺩ ﻣﻨﺘﻬﻜــﺔ ﻭﻣﻨﺰﻭﻋــﺔ ﺍﻟــﱪﺍﺀﺓ‪ ،‬ﻳﺆﻛــﺪ ﺫﻟــﻚ‬
‫ﺇﻟﻘــﺎﺀ ﻧﻈــﺮﺓ ﻓﺎﺣﺼــﺔ ﻟﻠﻮﺣــﺔ)ﺍﳊﺮﻳــﺔ ﺗﻘــﻮﺩ ﺍﻟﺸــﻌﺐ( ﺣــﲔ ﺟﻌــﻞ‬
‫ﺟﺴــﺪ ﺍﻟﻔﺘــﺎﺓ ﺍﻟﺸــﺒﻪ ﻋــﺎﺭ ﻣﺮﻛــﺰ ﺍﻟﻠﻮﺣــﺔ ﻣﻘﺎﺭﺑــﺔ ﻻ ﲣﻠــﻮ ﻣــﻦ‬
‫ﺣﺴﻴﺔ ﻣﻘﺼـﻮﺩﺓ ﻣﻘﺎﺑـﻞ ﺍﺟﺴـﺎﺩ ﺍﻟﻀـﺤﺎﻳﺎ ﺍﳌﻠﻘـﺎﺓ ﲢـﺖ ﺍﻗـﺪﺍﺧﻬﺎ‪،‬‬
‫ﻟﻘﺪ ﻭﻇّﻒ ﺩﻳﻼﻛﺮﻭﺍ ﺟﺴﺪ ﺍﻟﻔﺘﺎﺓ ﺍﳌﺜﲑ ﻟﻴﻨﺘﻘﺪ ﻫﺬﻩ ﺍﳊﺮﻳﺔ ﺍﻟﱵ ﻻ‬
‫ﲢﻔﻞ ﺑﺎﻟﻀﺤﺎﻳﺎ‪ .‬ﺍﳖﺎ ﺍﳊﺮﻳﺔ ﺍﳌﻐﺮﻳﺔ ﺍﻟﱵ ﺗﺪﻭﺱ ﺣﻜﻤﺘﻨﺎ‪.‬‬

‫‪‬‬
‫‪  ‬‬

‫‪‬‬

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 ‫‪  ‬‬

‫ﻣﻊ ﻇﻬـﻮﺭ ﺍﻟﺘﻌﺒﲑﻳـﺔ ﻭﺍﻟﺘﻜﻌﻴﺒـﺔ ﺗﻌﺎﻣـﻞ ﺍﻟﻔﻨـﺎﻥ ﺍﻟﺘﺸـﻜﻴﻠﻲ ﻣـﻊ‬

‫ﺍﳍﻴﺌﺔ ﺍﻟﺒﺸﺮﻳﺔ ﺑﺸﻜﻞ ﺃﻛﺜـﺮ ﻓﺎﻋﻠﻴـﺔ ﻭﺟـﺮﺃﺓ‪ ،‬ﻭﺍﻥ ﺗﺮﻛـﺰﺕ ﻣﻘﺎﺭﺑـﺔ‬
‫ﺍﻻﺳﻠﻮﺏ ﺍﻟﺘﻌـﺒﲑﻱ ﻋﻠـﻰ ﺍﻟﻮﺟـﻪ ﺍﻟﺒﺸـﺮﻱ ﺑﻮﺻـﻔﻪ ﻣﺮﻛـﺰ ﺍﻟﺘﻌـﺒﲑ‬
‫ﺍﻻﻧﺴﺎﻧﻲ‪.‬‬
‫ﻋﺎﻡ‪ ١٩٢٢‬ﺭﺳﻢ ﺑﻴﻜﺎﺳﻮ ﻟﻮﺣﺔ)ﻟﻮﺣﺔ ﺍﻷﻡ ﻭﺍﻟﻄﻔﻞ( ﺍﻟﱵ ﺭﺃﻯ‬
‫ﻓﻴﻬــﺎ ﺍﻟﻨﺎﻗــﺪ ﺍﻻﻥ ﺑــﺎﻭﻧﻴﺲ)ﺑــﺎﻥ ﺗﻀــﺨﻴﻢ ﺍﻟﺸــﺨﻮﺹ ﻋﻤــﻞ ﻋﻠــﻰ‬
‫)‪(١‬‬
‫ﺗﺼﻌﻴﺪ ﻋﻮﺍﻃﻔﻪ ﺍﳋﺎﺻﺔ ﺍﱃ ﻣﺴﺘﻮﻯ ﺍﳊﺎﻟﺔ ﺍﻹﻧﺴﺎﻧﻴﺔ ﺍﻟﺸﺎﻣﻠﺔ(‬

‫‪‬‬
‫‪  ‬‬

‫‪‬‬

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 ‫‪  ‬‬
‫ﻭﻳﺬﻛﺮ ﻧﻔﺲ ﺍﻟﻨﺎﻗﺪ ﻛﻴﻒ ﺗﻌﺎﻣﻞ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻔﺮﻧﺴﻲ ﻓﺮﻧﺎﻧﺪ ﻟﻴﺠﻴﻪ‬
‫ﻣــﻊ ﺍﻻﺷــﻜﺎﻝ ﺍﻟﻀــﺨﻤﺔ ﻣﺴــﺘﺨﺪﻣﺎ ﻣﻘﺎﺭﺑــﺔ ﳐﺘﻠﻔــﺔ ﻋــﻦ ﻣﻘﺎﺭﺑــﺔ‬
‫ﺑﻴﻜﺎﺳﻮ ﺣﻴﺚ ﻳﻘﻮﻝ)ﳒـﺪ ﻧﺴـﺎﺀﺍ ﻣﻔﺨﻤـﺎﺕ ﻭﻣﺴـﱰﺧﻴﺎﺕ ﺑﺸـﺒﻬﻦ‬
‫ﺍﻻﺻــﻨﺎﻡ‪ ،‬ﺍﺻــﻨﺎﻣﺎ ﻻ ﺗــﱰﺍﺀﻯ ﻭﻓــﻖ ﻧﻈــﺎﻡ ﻣﻴﺘــﺎﻓﻴﺰﻳﻘﻲ ﺑــﻞ ﻭﻓــﻖ‬
‫ﺍﻟﻨﻈﺮﻳــﺔ ﺍﻟﺼــﻮﺭﺓ‪ .‬ﺍﻥ ﺷﺨﻮﺻــﻪ ﺗﻨﺘﻤــﻲ ﺍﱃ ﺟــﻨﺲ ﺍﻛﺜــﺮ ﻧﺸــﺎﻃﺎ‬
‫ﻭﺍﻛﺜــﺮ ﻋﺎﻓﻴــﺔ ﻣــﻦ ﺟﻨﺴــﻨﺎ ﺍﻟﺒﺸ ـﺮﻳﺔ‪ .‬ﺍﻥ ﺷــﺨﻮﺹ ﻓﺮﻧﺎﻧــﺪ ﻟﻴﺠﻴــﻪ‬
‫ﻳﻨﻀـﺤﻮﻥ ﺻــﺤﺔ ﻭﺣﻴﻮﻳــﺔ‪ .‬ﺍﻧـﻪ ﺍﻻﻧﺴــﺎﻥ ﺍﻟــﺬﻱ ﺑﺸـﺮﺕ ﺑــﻪ ﺭﻓﺎﻫﻴــﺔ‬
‫ﺍﻟﺘﻘﺪﻡ ﺍﻟﺼﻨﺎﻋﻲ)‪ .(١‬ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺍﻥ ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﻟﻠﺸﻜﻞ ﺍﻟﺒﺸـﺮﻱ‬

‫‪‬‬
‫‪  ‬‬

‫‪‬‬

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 ‫ﲥﺪﻑ ﻣﻦ ﺧﻼﻝ ﻋﻤﻠﻘﺔ ﺍﻟﺸﺨﻮﺹ ﺍﱃ ﻋﻤﻠﻘﺔ ﻣﻮﺿﻮﻉ ﺍﻟﻠﻮﺣﺔ‪.‬‬

‫‪  ‬‬

‫ﺍﺳـﺘﻔﺎﺩﺕ ﺍﻟﻮﺍﻗﻌﻴــﺔ ﺍﻻﺷــﱰﺍﻛﻴﺔ ﻣــﻦ ﻫـﺬﻩ ﺍﻟﺮﺅﻳــﺔ‪ ،‬ﻧـﺮﻯ ﺫﻟــﻚ‬

‫ﺑﻮﺿﻮﺡ ﺍﻋﻤﺎﻝ ﺍﻟﻔﻨـﺎﻥ ﺍﳌﻜﺴـﻴﻜﻲ ﺩﻳﻴﻐـﻮ ﺭﻳﻔـﻴﲑﺍ)‪ (١‬ﻧـﺎﻩ ﺣـﺎﻫﻊ‬
‫ﺷﺨﻮﺻﻪ ﻣﺸﺤﻮﻧﺔ ﺑﺎﳌﻌﺎﻧﺎﺓ ﻭﻫﺬﺍ ﻭﺍﺿﺢ ﻣﻦ ﺧﻼﻝ ﺍﻻﻭﺿﺎﻉ ﺍﻟﱵ‬
‫ﺗﺘﺨﺬﻫﺎ ﺍﺟﺴﺎﺩﻫﻢ‪ ،‬ﻭﻫﻌﻲ ﺍﻭﺿﺎﻉ ﻣﺮﻫﻘﺔ ﻭﻣﻨﻜﺴﺮﺓ ﺍﺣﻴﺎﻧﺎ ﻭﻳﻄﺮﺡ‬
‫ﻫﺬﺍ ﺍﻻﻣﺮ ﺗﺴﺎﺅﻻ‪ :‬ﻛﻴﻒ ﲢﺘﻔﻆ ﻫﺬﻩ ﺍﻻﺟﺴﺎﺩ ﲟﺜﻞ ﻫﺬﻩ ﺍﻟﻀﺨﺎﻣﺔ‬
‫ﺭﻏﻢ ﻫﺬﻩ ﺍﳌﻌﺎﻧﺎﺓ ﻭﺭﻏﻢ ﻛﻮﳖﺎ ﳏﺎﻃﺔ ﺑﻔﻀﺎﺀﺍﺕ ﻣﻨﺤﺴﺮﺓ؟ ﻳﻜﻤﻦ‬

‫‪‬‬
‫‪  ‬‬

‫‪‬‬

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 ‫ﺍﳉﻮﺍﺏ ﻋﺸﻖ ﺷﺨﻮﺻﻪ ﻟﻠﺤﻴﺎﺓ ﻓﻬـﻮ ﺍﻟـﺬﻱ ﺟﻌﻠـﻬﻢ ﻳﺘﻌﻤﻠﻘـﻮﻥ‬
‫ﺭﻏﻢ ﻣﻌﺎﻧﺎﲥﻢ ﻟﻴﺸﻜﻠﻮﺍ ﻫﺬﺍ ﺍﳊﻀﻮﺭ ﺍﻟﻘـﻮﻱ ﻓﻤﻌﺎﻧـﺎﲥﻢ ﱂ ﲤـﻨﻌﻬﻢ‬
‫ﻣــﻦ ﺍﻥ ﻳﺎﺧــﺬﻭﺍ ﺣﺠﻤﻬــﻢ ﺍﻟــﺬﻱ ﻳﺴــﺘﺤﻘﻮﻩ ﻋﻠــﻰ ﻟﻮﺣــﺔ ﺣﻴــﺎﲥﻢ‬
‫ﺍﻟﻘﺎﺳــﻴﺔ‪ .‬ﺍﻧــﻪ ﻣــﺆﻣﻦ ﺑﺎﻻﻧﺴــﺎﻥ ﺍﳌﻜﺴــﻴﻜﻲ ﻓﻀّــﺨﻤﻪ ﺑــﺎﺯﺍﺀ ﻓﻀــﺎﺀ‬
‫ﺍﻟﻘﻤﺎﺷﺔ ﻭﺍﺣﺒﻪ ﻓﻮﺿﺢ ﺣﺴﺎﺗﻪ ﺑﺄﻟﻮﺍﻥ ﻣﺸﺮﻗﺔ‪.‬‬

‫‪  ‬‬

‫‪‬‬

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 ‫ﻭﺍﺫﺍ ﺗﺒﻨـــﺖ ﺍﻋﻤـــﺎﻝ ﻟﻴﺠﻴـــﻪ ﻭﺩﻳﻴﻐـــﻮ ﻫـــﺬﻩ ﺍﳍﻴﺌـــﺔ ﻭﻣﻨﺤﺘـــﻬﺎ‬
‫ﺣﻀﻮﺭﻫﺎ ﺍﻟﺬﻱ ﺗﺴﺘﺤﻖ ﻋﻠﻰ ﺍﻟﻘﻤﺎﺷﺔ‪ ،‬ﻓﺎﻥ ﺍﻟﻔﻨﺎﻥ ﻓﺮﻧﺎﻧﺪﻭ ﺑﻮﺗﲑﻭ‬
‫)‪ (-١٩٣٠‬ﻭﻇﻔﻬــﺎ ﻹﺑــﺮﺍﺯ ﺭﺅﻳﺘــﻪ ﺍﻟﺴــﺎﺧﺮﺓ ﳓــﻮ ﺍﻻﻧﺴــﺎﻥ ﻣﻘﺎﺭﺑــﺔ‬
‫ﻃﻔﻮﻟﻴﺔ ﳏﺒﺒﺔ ﻭﻣﺪﺭﻭﺳﺔ‪ .‬ﺗﺸﺒﻪ ﺳﲑﺓ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻜﻮﻟـﻮﻣﱯ ﺍﱃ ﺣـﺪ‬
‫ﻛــﺒﲑ ﺳــﲑ ﺍﺳــﺎﺗﺬﺓ ﺍﻟﻔــﻦ ﺍﻟﻜﻼﺳــﻜﻴﲔ ﺍﻟــﺬﻳﻦ ﻋﻤﻠــﻮﺍ ﺑﺪﺍﻳــﺔ‬
‫ﻣﺴــﲑﲥﻢ ﺍﻟﻔﻨﻴــﺔ ﻋﻠــﻰ ﺯﻳــﺎﺭﺓ ﺍﻟــﺪﻭﻝ ﺍﻟــﱵ ﲢــﺘﻔﻆ ﺑﺮﻭﺍﺋــﻊ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻜﻼﺳــﻴﻜﻲ ﳏﺎﻭﻟــﺔ ﺍﺳــﺘﻠﻬﺎﻡ ﻣــﺎ ﻳﻌــﺰﺯ ﺭﺅﺍﻫــﻢ ﺍﻟﻔﻨﻴــﺔ‪ .‬ﻳــﺬﻛﺮ‬
‫ﺍﻟﻨﺎﻗـﺪ ﺳـﻠﻔﻴﻮ ﺍﻛـﺎﺗﻮﺱ ﺍﻥ ﻓﺮﻧﺎﻧــﺪﻭ ﺑـﻮﺗﲑﻭ ﺩﺭﺱ ﺍﻟﻔـﻦ ﺍﻳﻄﺎﻟﻴــﺎ‬
‫ﻭﺯﺍﺭ ﻟﻨــﺪﻥ ﻭﻣﺪﺭﻳــﺪﻭ ﺍﺑــﺪﻯ ﺗــﺎﺛﺮﻩ ﺑﺎﻟﻔﻨــﺎﻥ ﺍﻻﺳــﺒﺎﻧﻲ ﻓﻴﻼﺳــﻜﻮﻳﺬ‬
‫ﺍﺷﻬﺮ ﺭﺳﺎﻣﻲ ﺍﻟﺒﺎﺭﻭﻙ ﺍﻟﺒﺎﻁ ﺍﻻﺳـﺒﺎﻧﻲ ﺣﻴـﺚ ﺍﳒـﺰ ﺍﻋﻤـﺎﻻ ﻣـﺎ‬
‫ﻳﺰﺍﻝ ﺗﺎﺛﲑﻫﺎ ﺣﺎﺿﺮﺍ ﻋﻠﻰ ﻋﻤﺎﻟﻘﺔ ﺍﻟﻔﻦ ﺍﳊـﺪﻳﺚ)‪ .(١‬ﻣـﻦ ﺑـﲔ ﺍﺑـﺮﺯ‬
‫ﻣﻼﻣــﺢ ﻟﻮﺣــﺎﺕ ﻓﻴﻼﺳــﻜﻮﻳﺬ‪ ،‬ﺍﻟﱰﻛﻴــﺰ ﻋﻠــﻰ ﺍﻷﻗــﺰﺍﻡ ﺍﳌــﺮﺍﻓﻘﲔ‬
‫ﻟﻸﻣــﺮﺍﺀ‪ .‬ﻟﻘــﺪ ﻣﻨﺤﺘــﻬﻢ ﻣﻌﺎﻧــﺎﲥﻢ ﺍﳉﺴــﺪﻳﺔ ﺣﻀــﻮﺭﺍ ﻋﺎﻃﻔﻴــﺎ‬
‫ﺃﻋﻤﺎﻟﻪ ﻓﻔﻲ ﻟﻮﺣﺔ)ﺍﻷﻣﲑ( ﻭﺿﻊ ﺍﻟﻘﺰﻡ ﺑﻨﻈﺮﺗﻪ ﺍﻟﺴـﺎﳘﺔ ﻣﺮﻛـﺰ‬
‫ﺭﺅﻳﺔ ﺍﳌﺘﻠﻘﻲ ﻟﻴﺨﻠّـﻒ ﺍﻻﻣـﲑ ﻓﻴﻠﻴـﺐ ﺑﻌﻴـﺪﺍ ﻋـﻦ ﻣﺸـﺎﺭﻛﺔ ﺍﳌﺘﻠﻘـﻲ‬
‫ﺍﻻﻧﺴﺎﻧﻴﺔ‪.‬‬

‫‪(1) Silvio Acatos، Fernando Botero، artist and art‬‬

‫‪historian، artnexus .net .‬‬

‫‪‬‬

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 ‫‪  ‬‬

‫ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﺗﺮﻛﺖ ﺍﺛﺮﻫﺎ ﻋﻠﻰ ﺭﻭﻳـﺔ ﺑـﻮﺗﲑﻭ ﻭﻫـﻮ ﺍﻻﻣـﺮ ﺍﻟـﺬﻱ‬
‫ﻛﺎﻥ ﻟﻪ ﺍﺑﻠﻎ ﺍﻻﺛﺮ ﲡﺴﻴﻢ ﺣﺲ ﺍﻟﺴﺨﺮﻳﺔ ﺍﻋﻤﺎﻟﻪ ﺍﻟﱵ ﲡﻤﻊ‬
‫ﺑﲔ ﺍﻟﺮﺻﺎﻧﺔ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﻭﺍﻟﺮﺅﻳﺔ ﺍﳌﻌﺎﺻﺮﺓ‪ .‬ﺗﺸﻜﻞ ﺍﳍﻴﺌﺔ ﺍﻟﺒﺸﺮﻳﺔ‬
‫ﺍﻟﺒﺎﻟﻮﻧﻴـﺔ ﻭﺍﻟـﱵ ﺗﻘـﻒ ﻭﺭﺍﺀﻫـﺎ ﻧﺮﺟﺴـﺔ ﻃﻔﻮﻟﻴـﺔ ﳏﺒﺒـﺔ‪ ،‬ﺍﳌﻮﺿــﻮﻉ‬
‫ﺍﻷﺳﺎﺱ ﺍﻋﻤﺎﻝ ﻫـﺬﺍ ﺍﻟﻔﻨـﺎﻥ‪ .‬ﺍﻧـﻪ ﻳﻨﻈـﺮ ﺍﻟﻴﻨـﺎ ﻭﺍﱃ ﻧﻔﺴـﻪ ﻧﻈـﺮﺓ‬
‫ﻃﻔﻞ ﻣﺸﺎﻛﺲ ﻭﻇّﻒ ﺍﳍﻴﺌﺔ )ﺍﻟـﱵ ﺃﺭﻳـﺪ ﳍـﺎ ﻣـﻦ ﺧـﻼﻝ ﺍﻋﻤـﺎﻝ‬

‫‪‬‬

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 ‫ﳎﺪﺕ ﺍﻻﻧﺴـﺎﻥ( ﻟﺘﻜـﻮﻥ ﺷﺎﺧﺼـﺎ ﺑـﺎﺭﺯﺍ ﺑﺸـﻜﻞ ﻣﺒﺘﻜـﺮ ﻟﺘﻌﻤﻴـﻖ‬
‫ﺍﺣﺴﺎﺳﻨﺎ ﺑﺎﳌﺒﺎﻟﻐﺔ ﺍﻟﱵ ﻧﻘﻨﻊ ﺍﻧﻔﺴﻨﺎ ﲠﺎ‪ .‬ﺍﻥ ﺍﳌﺘﻠﻘﻲ ﺍﻣﺎﻡ ﺷﺨﻮﺹ‬
‫ﺑــﻮﺗﲑﻭ ﻭﻫــﻮ ﻳﻼﺣــﻆ ﺍﺷــﱰﺍﻛﻬﻢ ﺑــﻨﻔﺲ ﺍﳍﻴﺌــﺔ ﺍﳌﺘﺠﻴــﺪﺓ ﺑــﺎﻣﺘﻼﺀ‬
‫ﺍﻟﻮﺟﻮﻩ ﻣﻊ ﺿﻴﺎﻉ ﺍﳌﻼﻣﺢ ﻭﺻﻐﺮ ﺍﻟﻌﻴﻮﻥ ﺍﻟﺴﺎﳘﺔ ﻭﲣﻤﺔ ﺍﻻﺟﺴﺎﺩ‬
‫ﻳﺮﺛﻲ ﻟﻀﻴﺎﻉ ﻭﺟﻮﺩﻫﻢ ﺍﳊﻘﻴﻘﻲ ﻫﺬﺍ ﺍﻟﻮﺟﻮﺩ ﺍﳉﺴـﺪﻱ ﺍﳌـﺘﺨﻢ‪.‬‬
‫ﺍﻧﻪ ﻳﺘﻌﺎﻃﻒ ﻣﻌﻬﻢ ﳏﺎﻭﻟﺘﻬﻢ ﺍﻗﻨـﺎﻉ ﺍﻧﻔﺴـﻬﻢ ﲝﺠـﻢ ﺣﻀـﻮﺭﻫﻢ‬
‫ﺍﻟــﺬﻱ ﳛﺘــﻞ ﻗﻤﺎﺷــﺔ ﺍﻟﻔﻨــﺎﻥ ﻟﻜــﻦ ﻫــﺬﺍ ﺍﳊﻀــﻮﺭ ﻻ ﻳﺮﺳ‪‬ــﺦ ﺍﻻ‬
‫ﺍﻻﺣﺴﺎﺱ ﺑﺎﻟﻌﺐﺀ ﺍﻟﺬﻱ ﲢﻤﻠﻪ ﺍﺭﻭﺍﺣﻬﻢ ﺍﻟﻄﻴﺒﺔ‪.‬‬

‫‪  ‬‬

‫‪‬‬

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 ‫ﻳﺒـــﺪﻭ ﺍﻥ ﺍﻟﺼـــﺮﺍﻉ ﺍﻟﻘـــﺎﺱ ﺍﻟـــﺬﻱ ﺗﻈﻬـــﺮﻩ ﻟﻮﺣـــﺎﺕ ﺩﻳﻼﻛـــﺮﻭﺍ‬
‫ﻳﺘﻮﺍﺻﻞ ﻋﻠﻰ ﺑﻌـﺪ ﺍﻟﺸـﻘﺔ ﺍﻟﺰﻣﻨﻴـﺔ ﻣـﻊ ﻗﻤﺎﺷـﺔ ﺍﻟﻔﻨﺎﻧـﺔ ﺍﻻﻧﻜﻠﻴﺰﻳـﺔ‬
‫ﺳﻴﺴﻠﺔ ﺑﺮﺍﻭﻥ ﺍﻟﺘﻴﺎﻋﺘﻘﺪ ﺑﺎﻥ ﻗﻤﺎﺷﺘﻬﺎ ﲤﺜﻞ ﺍﻟﻮﺟﻪ ﺍﳌﻌﺎﺻﺮ ﻟﻘﻤﺎﺷﺔ‬
‫ﺩﻳﻼﻛـــﺮﻭﺍ ﺣﻴـــﺚ ﺍﻻﺟﺴـــﺎﺩ ﺍﳌﺴـــﺘﺒﺎﺣﺔ ﻭﺍﳌﻮﺍﺟﻬـــﺔ ﺍﳌـــﺪﻣﺮﺓ ﺑـــﲔ‬
‫ﺍﻻﻧﺴﺎﻥ ﻭﳏﻴﻄﻪ‪ .‬ﺍﻥ ﺍﻟﺼﺮﺍﻉ ﻟﻮﺣﺎﺕ ﺩﻳﻼﻛﺮﻭﺍ ﻳﻔﺮﺯ ﻋﻨﺎﺻﺮﻩ‪،‬‬
‫ﻳﺴــﺘﻄﻴﻊ ﻣﻌــﻪ ﺍﻹﻧﺴــﺎﻥ ﺍﻥ ﳝﻴــﺰ ﻋــﺪﻭﻩ‪ ،‬ﻟﻜــﻦ ﺍﻻﻧﺴــﺎﻥ ﻋــﺎﱂ‬
‫ﺳﻴﺴﻠﻲ ﻻ ﻳﻌﺮﻑ ﻣﺎﺫﺍ ﻳﺼﺎﺭﻉ‪ .‬ﺍﻥ ﻣﻘﺎﺭﻧـﺔ ﺍﻋﻤـﺎﻝ ﺳﻴﺴـﻠﻲ ﺑـﺮﺍﻭﻥ‬
‫ﺑﺎﻋﻤﺎﻝ ﺩﻳﻼﻛﺮﻭﺍ ﲤﺜﻞ ﺭﺣﻠﺔ ﺍﻟﻮﺟﻮﺩ ﺍﻻﻧﺴﺎﻧﻲ ﻋﻠﻰ ﻗﻤﺎﺷﺔ ﺍﳊﻴـﺎﺓ‬
‫ﻣــﻦ ﺟـــﺮﺍﺀﺓ ﺍﳌﻮﺍﺟﻬــﺔ ﺍﻟﻘﺎﺳـــﻴﺔ ﺍﱃ ﺗﺮﺍﺟــﻊ ﺍﻟـــﺮﻭﺡ ﺍﻟﺒﻄﻮﻟﻴـــﺔ‬
‫ﻣﻮﺍﺟﻬﺔ ﻏﲑ ﻣﺘﻜﺎﻓﺌﺔ‪ .‬ﻟﻘﺪ ﻭﺻﻞ ﺍﳉﺴﺪ ﻟﻮﺣﺔ ﺳﻴﺴﻠﻲ ﺑـﺮﺍﻭﻥ‬
‫ﺍﱃ ﻛﻴﺎﻥ ﻣﻔﺮﻍ ﻣﻦ ﻗﻮﺗﻪ‪.‬‬

‫‪  ‬‬

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 ‫ﻻ ﺗﺪﻋﻲ ﻫﺬﻩ ﺍﻟﻘﺮﺍﺀﺓ ﺭﺻﺪﻫﺎ ﻟﻠﺠﺴﺪ ﻛﻞ ﲤﻈﻬﺮﺍﺗـﻪ ﻋﻠـﻰ‬
‫ﺳﻄﺢ ﺍﻟﻘﻤﺎﺷـﺔ ﻋـﱪ ﻫـﺬﻩ ﺍﳌﺮﺍﺣـﻞ ﺍﻟﺰﻣﻨﻴـﺔ‪ ،‬ﻭﻟﻜﻨـﻬﺎ ﺷـﺮﺕ ﺍﺑـﺮﺯ‬
‫ﺍﶈﻄﺎﺕ ﺧﻼﻝ ﺍﻟﺴﺘﺔ ﻗﺮﻭﻥ ﺍﻻﺧﲑﺓ ﻭﺍﻟﱵ ﺗﻮﺻﻠﻨﺎ ﺍﱃ ﺣﺼﻴﻠﺔ ﻣﺎ‬
‫ﺍﻧﺘﻬﻰ ﺇﻟﻴﻪ ﺍﻟﻔﻦ ﺍﳌﻌﺎﺻﺮ‪ :‬ﺿﻴﺎﻉ ﺍﻹﻧﺴﺎﻥ ﻋﻠﻰ ﺍﻟﻘﻤﺎﺷﺔ ﺑﻴﻨﻤﺎ ﻛﺎﻥ‬
‫ﻳﺒﺤــﺚ ﻋــﻦ ﺣﻠــﺔ ﺟﺪﻳــﺪﺓ ﻟﻮﺟــﻮﺩﻩ ﻭﻛﺎﻧ ـﺖ ﺍﻟﺒﺪﺍﻳــﺔ‪ ،‬ﺍﻻﺣﺘﻔــﺎﺀ‬
‫ﺍﳌﻜــﺎﻧﻴﻜﻲ ﻹﻧﺴــﺎﻥ ﻟﻴﺠﻴــﻪ ﺍﳋــﺎﺭﻕ ﻭﺍﻧﺘــﻬﺎﺀﺍ ﺑﺎﻗﺼــﺎﺀ ﺍﳉﺴــﺪ ﻋﺎﺭﻳــﺎ‬
‫ﳏﺎﻃﺎ ﺑﺎ‪‬ﻬﻮﻝ‪ .‬ﻟﻮﺣﺔ ﺳﻠﺴﻠﻲ ﺑﺮﺍﻭﻥ ﻭﺑﲔ ﺳﺨﺮﻳﺘﻪ ﻣﻦ ﺿﺂﻟﺔ‬
‫ﻭﺟــﻮﺩﻩ ﻭﳏﺎﻭﻟﺘــﻪ ﻋﺒﺜــﺎ ﺍﻥ ﻳﺘﻌﻤﻠــﻖ ﺍﻧﺘﻔــﺎﺥ ﺳــﺎﺫﺝ ﻋﻠــﻰ‬
‫ﻗﻤﺎﺷﺔ ﺑﻮﺗﲑﻭ‪.‬‬
‫ﺍﻟﻔــﺮﻕ ﺑــﲔ ﳖــﺎﻳﱵ ﺑــﺮﺍﻭﻥ ﻭ ﺑــﻮﺗﲑﻭ ﻫــﻮ ﺍﻥ ﺍﺟﺴــﺎﺩ ﺳﻴﺴــﻠﻲ‬
‫ﺑﺮﺍﻭﻥ ﻻ ﺗﺸﻌﺮﻧﺎ ﺑﺎﻟﺘﻌﺎﻃﻒ ﻣﻊ ﻭﺟﻮﺩﻫـﺎ ﻋﻠـﻰ ﺍﻟﻘﻤﺎﺷـﺔ ﻭﻟﻌﻠـﻬﺎ ﻻ‬
‫ﺗﺘﻌﺎﻃﻒ ﻣﻊ ﻭﺟﻮﺩﻫﺎ ﻫﻲ ﺍﻳﻀﺎ ﻭﻫﻲ ﻭﻣﻦ ﺧـﻼﻝ ﺍﺳـﻠﻮﲠﺎ ﺍﻟـﺬﻱ‬
‫ﺍﺣﺘﻔﻆ ﺑﺒﻌﺾ ﺍﻟﺘﺸﺨﺨﻴﺺ ﻣﺎ ﺯﺍﻟﺖ ﺗﺬﻛﺮ ﺑﺎﻻﻧﺴﺎﻥ ﺍﻟﺬﻱ ﺿﺎﻉ‬
‫ﻭﺳﻂ ﻛﻢ ﻫﺎﺋﻞ ﻣﻦ ﺍﻻﻟﻮﺍﻥ ﻭﺍﻻﺳﺎﻟﻴﺐ ﺍﻟﻔﻨﻴـﺔ ﺍﻟـﱵ ﻇﻬـﺮﺕ ﻋـﱪ‬
‫ﻋﻘﻮﺩ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪.‬‬
‫ﻫﻞ ﻛﻒ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻐﺮﺑﻲ ﻋﻦ ﺍﻻﳝﺎﻥ ﺑﺎﳉﺴﺪ ﻭﺍﻧﺘﻬﻰ ﺑﻪ ﺍﳌﻄـﺎﻑ‬
‫ﺍﱃ ﺍﻟﻐـــﺎﺀ ﺍﳊﻀـــﻮﺭ ﻟﻴﺒﺤـــﺚ ﻋـــﻦ ﻓﻜـــﺮﺓ ﺍﺧـــﺮﻯ ﻋـــﻦ ﺍﻟﻮﺟـــﻮﺩ‬
‫ﺍﻻﻧﺴﺎﻧﻲ! ﻭﻟﻜﻦ ﻳﺒﻘﻰ ﻣـﺎ ﳚﻌﻠﻨـﺎ ﻧﺘﻘﺒـﻞ ﻫـﺬﺍ ﺍﻟﻮﺟـﻮﺩ ﺭﻏـﻢ ﺭﺅﻳـﺔ‬
‫ﻓﺮﻧﺎﻧﺪﻭ ﺑﻮﺗﲑﻭ ﺍﻟﻜﺎﺭﻳﻜﺎﺗﲑﻳﺔ ﻻﳖﺎ ﺗﺒـﺪﻱ ﺗﻌﺎﻃﻔـﺎ ﳓـﻦ ﲝﺎﺟـﺔ ﺍﻟﻴـﻪ‬
‫ﻟﻨﻮﺍﺳــﻲ ﺍﻧﻔﺴــﻨﺎ‪ ،‬ﻭﺭﲟــﺎ ﻻﻥ ﻫــﺬﻩ ﺍﻟﺮﺅﻳــﺔ ﲢــﺘﻔﻆ ﺑﻄﻔﻮﻟﺘﻨــﺎ ﺍﻟــﱵ‬
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 ‫ﻛﻞ ﻣـﺎ ﻧﻔﻌـﻞ ﺍﻥ ﻧﺴـﺘﻌﻴﺪﻫﺎ‬ ‫ﺍﺿﺎﻋﺘﻬﺎ ﺭﺣﻠﺔ ﺍﳊﻴﺎﺓ ﻭﳓﻦ ﳓﺎﻭﻝ‬
‫ﻭﻟﻮ ﻟﻠﺤﻈﺎﺕ‪.‬‬
‫ﻋﻠــﻰ ﺍﻟــﺮﻏﻢ ﻣــﻦ ﺣﻘﻴﻘــﺔ ﺍﻥ ﺍﳉﺴــﺪ ﻟﻌــﺐ ﺩﻭﺭﺍ ﳏﻮﺭﻳــﺎ‬
‫ﺍﻋﻤــﺎﻝ ﻋﺪﻳــﺪﺓ ﺷــﻜﻠﺖ ﺍﳒــﺎﺯﺍ ﻓﻨﻴــﺎ ﻣﻬﻤــﺎ‪ ،‬ﻓﺎﻟﺪﺭﺍﺳــﺎﺕ ﺍﻟﻨﻘﺪﻳــﺔ‬
‫ﺍﳌﺘﺎﺣﺔ ﱂ ﺗﺮﻛﺰ ﻋﻠـﻰ ﺗـﺎﺭﻳﺦ ﺍﳉﺴـﺪ ﺍﻟﻠﻮﺣـﺔ ﺑﻮﺻـﻔﻪ ﺍﻧﻌﻜﺎﺳـﺎ‬
‫ﻟﺮﺅﻳﺔ ﺗﺘﻐﲑ ﻣﻊ ﺗﻐﲑ ﺍﻟﻈﻮﺍﻫﺮ ﺍﶈﻴﻄﺔ ﻭﺍﻟﻌﻼﻗﺎﺕ ﺍﻟﻔﺎﻋﻠﺔ ﻭﺭﲟـﺎ ﲤﺜـﻞ‬
‫ﻫﺬﻩ ﺍﻟﻘﺮﺍﺀﺓ ﺍﻗﱰﺍﺣﺎ ﻟﺪﺭﺍﺳﺔ ﻣﻜﻮﻧﺎﺕ ﺍﺣﻴﺎﺓ ﺍﻟﻠﻮﺣﺔ ﻋﻠﻰ ﻏﺮﺍﺭ‬
‫ﺍﻟﺪﺭﺍﺳـﺎﺕ ﺍﻟـﱵ ﻛﺮﺳـﺖ ﻟﻠّـﻮﻥ ﻭﺍﳋـﻂ ﻭﺍﻟﺘﻜـﻮﻳﻦ ﻭﺍﻷﺳــﻠﻮﺏ‪ .‬ﺍﻥ‬
‫ﻟﻠﺠﺴﺪ ﻭﺍﳌﺪﻳﻨـﺔ ﻭﺍﻟﻄﺒﻴﻌـﺔ ﺗﺎﺭﺧﻬـﺎ ﺍﳊﺴـﻮﻱ ﻋﻠـﻰ ﺍﻟﻘﻤﺎﺷـﺔ ﺍﻳﻀـﺎ‬
‫ﻭﻗﺪ ﻣﺮﺕ ﲟﺎ ﻣـﺮﺕ ﺑﺒﻘﻴـﺔ ﺍﻟﻌﻨﺎﺻـﺮ ﺍﳉﻤﺎﻟﻴـﺔ ﻣـﻦ ﺗﻐـﲑ ﺣﺠـﻢ‬
‫ﺍﻟﺘﻌﺎﻣــﻞ ﻭﳕــﻂ ﺍﻟــﺘﻔﻜﲑ ﻭﺍﻧــﺎ ﺍﻓــﱰﺽ ﺍﻥ ﻣﺜــﻞ ﻫــﺬﻩ ﺍﳌﻘﺎﺭﺑــﺎﺕ‬
‫ﺩﺭﺍﺳﺔ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ ﲤﻨﺤﻨﺎ ﻓﻬﻤﺎ ﺍﻛﺜﺮ ﴰﻮﻟﻴـﺔ ﻟﺘـﺎﺭﻳﺦ ﺍﳌﻜﻮﻧـﺎﺕ‬
‫ﺍﻟﺒﺼﺮﻳﺔ ﻟﻘﻤﺎﺷﺔ ﺍﻟﺮﺳﻢ‪.‬‬

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 ‫‪‬‬
‫‪ ‬‬

‫)ﻳﺮﻭﻱ ﺟﺎﻥ ﻟﻮﻱ ﻣﺎﺭﻱ ﻛﺘﺎﺑﺔ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﺍﻟـﺬﻱ ﺗﺮﲨـﻪ ﺟـﱪﺍ‬

‫ﺇﺑﺮﺍﻫﻴﻢ ﺟﱪﺍ‪ ،‬ﺣﺎﺩﺛﺔ ﻟﻮﺣﺔ)ﺩﻋﻮﺓ ﺇﱃ ﻏﺪﺍﺀ(ﻟﻠﻔﻨﺎﻥ ﻣﺎﻧﻴﻪ‪ ،‬ﺣﻴـﺚ ﺍﻥ‬
‫ﺍﻻﻣﱪﺍﻃﻮﺭ ﻧﺎﺑﻠﻴﻮﻥ ﺍﻟﺜﺎﻟﺚ ﺍﺳﺘﻬﺠﻨﻬﺎ ﺑﺴﺒﺐ ﻭﻗﺎﺣﺘﻬﺎ‪ ،‬ﺭﻏﻢ ﺍﳖﺎ ﲤﺜﻞ‬
‫ﺍﻟﻨﺴﺨﺔ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﻟﻠﻮﺣﺔ ‪-‬ﺣﻔﻞ ﺭﻳﻔﻲ ﺃﻭ ﻛﻮﻧﺴﺮﺕ ﺭﻋﻮﻱ‪ -‬ﻟﻠﻔﻨﺎﻥ‬
‫ﺗﻴﺘﻴﺎﻥ(‪ .‬ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻫﺬﻩ ﺍﳊﺎﺩﺛﺔ ﻣﺜﺎﻻ ﺑﺎﺭﺯﺍ ﻟﻠﺜﻨﺎﺋﻴﺔ ﺍﻟﱵ ﺗﻌﺎﻣـﻞ ﻣـﻦ‬
‫ﺧﻼﳍﺎ ﺍﻟﺬﻭﻕ ﺍﻟﻔﲏ ﻣﻊ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ‪.‬‬

‫‪  ‬‬

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 ‫‪‬‬
‫‪  ‬‬

‫ﺍﺣﺘــﻞ ﺍﳉﺴــﺪ ﺍﻷﻧﺜــﻮﻱ ﺍﻟﻌــﺎﺭﻱ ﻣﻨﻄﻘــﺔ ﻭﺍﺳــﻌﺔ ﻋﻠــﻰ ﻗﻤﺎﺷــﺔ‬

‫ﺍﻟﻔﻦ‪ ،‬ﻭﻗـﺪ ﻣﺜﻠـﺖ ﺭﺣﻠـﺔ ﻫـﺬﺍ ﺍﳉﺴـﺪ ﻣﺴـﺎﺭﺍ ﻓﻨﻴـﺎ ﻣﻠﻔﺘـﺎ ﻟﻠﻨﻈـﺮ‪،‬‬
‫ﻭﻫﻮ ﺍﻻﻣﺮ ﺍﻟﺬﻱ ﺩﻓﻌﲏ ﺍﱃ ﺍﻥ ﺍﺗﺘﺒﻊ ﻫﺬﻩ ﺍﻟﺮﺣﻠﺔ ﻣﻦ ﺧﻼﻝ ﻫﺬﻩ‬
‫ﺍﳌﺘﺎﺑﻌــﺔ ﺍﻟﻨﻘﺪﻳــﺔ ﺍﻟﺘﺎﺭﳜﻴــﺔ ﻟﻜــﻲ ﺍﺅﺷــﺮ ﺍﺑــﺮﺯ ﻣﺮﺍﺣﻠــﻬﺎ ﻭﺭﲟــﺎ ﺍﺟــﺪ‬
‫ﺍﻻﺟﺎﺑــﺔ ﻋــﻦ ﺑﻌــﺾ ﺍﻟﺘﺴــﺎﺅﻻﺕ ﺍﻟــﱵ ﻗــﺪ ﺗﺜﲑﻫــﺎ ﻫــﺬﻩ ﺍﳌﺘﺎﺑﻌــﺔ‪.‬‬
‫ﺗﻨﻄﻠﻖ ﻫﺬﻩ ﺍﳌﺘﺎﺑﻌـﺔ ﻋـﱪ ﻣﺴـﺘﻮﻳﲔ‪ ،‬ﺍﳌﺴـﺘﻮﻯ ﺍﻷﻭﻝ ﻳﺘﻨـﺎﻭﻝ ﺛﻨﺎﺋﻴـﺔ‬
‫ﺍﳉﻤﺎﻝ\ﺍﻟﻐﺮﻳﺰﺓ ﺍﻟﺬﻭﻕ ﺍﻟﻔﲏ‪ ،‬ﺍﻣﺎ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺜﺎﻧﻲ ﻓﻴﺘﻤﺜﻞ‬
‫ﺍﳌﻌﺎﻳﲑ ﺍﳉﻤﺎﻟﻴﺔ ﺍﻟﱵ ﺣﻜﻤﺖ ﻫﺬﺍ ﺍﻟﺘﻌﺎﻣﻞ‪.‬‬

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 ‫‪ ‬‬
‫ﻣــﻦ ﺍﳌﻤﻜــﻦ ﺍﻟﻘــﻮﻝ ﺍﻥ ﺗﻌﺎﻣــﻞ ﺍﻟﻔــﻦ ﺑﺸــﻜﻞ ﻋــﺎﻡ ﻣــﻊ ﺍﳉﺴــﺪ‬
‫ﺍﻻﻧﺜﻮﻱ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﳌﻮﺿﻮﻉ ﱂ ﳜﺮﺝ ﻣﻦ ﺛﻨﺎﺋﻴـﺔ ﺍﳉﻤـﺎﻝ\ﺍﻟﻐﺮﻳـﺰﺓ‬
‫ﻋـﱪ ﻣﺮﺍﺣــﻞ ﻓﻨﻴــﺔ ﻣﺘﻌـﺪﺩﺓ‪ .‬ﺭﲟــﺎ ﻳﺒــﺪﻭ ﻣـﻦ ﺍﻟﺼــﻌﺐ ﺍﻥ ﻳﻨﻈــﺮ ﺍﱃ‬
‫ﺍﳉﺴـــﺪ ﺍﻻﻧﺜـــﻮﻱ ﲠـــﺬﺍ ﺍﻟﺸـــﻜﻞ ﺍﳌﺘﻌﺴـــﻒ ﺑﺎﻟﻨﺴـــﺒﺔ ﻟﻠـــﺒﻌﺾ‪،‬‬
‫ﻭﻹﻳﻀﺎﺡ ﻫﺬﻩ ﺍﻟﺜﻨﺎﺋﻴﺔ ﻧﺒﺪﺍ ﺍﻟﺮﺣﻠﺔ ﻣﻊ ﺍﻟﻔﻨﺎﻥ ﺑﻮﺗﺸﻴﻠﻲ‪ ،‬ﻟﻮﺣﺔ‬
‫ﻣــﻴﻼﺩ ﻓﻴﻨــﻮﺱ ﺍﳌﺮﺳــﻮﻣﺔ ﻋــﺎﻡ ‪ ١٤٨٦‬ﺍﻭ ﺍﻟﱪﺍﳝــﺎﻓﲑﺍ‪ .‬ﺍﻥ ﻃﺮﻳﻘــﺔ‬
‫ﺗﺼﻮﻳﺮ ﺑﻮﺗﺸﻴﻠﻲ ﻟﻼﳍﺔ ﻓﻴﻨﻮﺱ ﺗﻀﻌﻨﺎ ﺍﻣﺎﻡ ﺗﺼﻮﺭ ﺍﻧﻨﺎ ﺍﻣﺎﻡ ﺟﺴﺪ‬
‫ﻋﺬﺭﺍﺀ ﻧﻘﻴﺔ ﻭﺑﺎﻟﺘﺎﱄ ﻓﺎﻥ ﻣﻘﺎﺭﺑﺔ ﺳـﺎﻧﺪﺭﻭ ﺑﻮﺗﺸـﻴﻠﻲ ﺗﺼـﻮﺭ ﺍﳉﺴـﺪ‬
‫ﺍﻻﻧﺜﻮﻱ ﺑﻮﺟﻬﻪ ﺍﳉﻤﺎﱄ ﺍﻟﺒﻌﻴﺪ ﻋﻦ ﺍﻟﻐﺮﻳـﺰﺓ‪ .،‬ﻭﻫـﺬﻩ ﻫـﻲ ﺍﳌﻨﻄﻘـﺔ‬
‫ﺍﻟﱵ ﺍﺳﺘﻄﺎﻉ ﺍﻟﻔﻨﺎﻥ ﻣﻦ ﺧﻼﻝ ﺗﻮﺿﻴﻔﻬﺎ ﺍﻥ ﻳﺒﻌﺪ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ‬
‫ﻋــــﻦ ﻣﻨﻄﻘــــﺔ ﺍﻟﻐﺮﻳــــﺰﺓ ﺗﺼــــﻮﻳﺮﻩ ﻻﳍــــﺔ ﺍﻻﺳــــﺎﻃﲑ ﺍﻟﻴﻮﻧﺎﻧﻴــــﺔ‬
‫ﻭﺍﳊﻮﺭﻳﺎﺕ‪ ،‬ﻭﻫﺬﻩ ﺍﳌﻨﻄﻘﺔ ﻫﻲ ﻣﻨﻄﻘﺔ ﺍﻻﳛـﺎﺀ‪ .‬ﺍﻥ ﺟﺴـﺪ ﺍﳌـﺮﺍﺓ ﻻ‬
‫ﳝــﻨﺢ ﻣﻔــﺎﺗﻴﺢ ﺗﺎﻭﻳﻠــﻪ ﳎــﺮﺩﺍ‪ ،‬ﺑــﻞ ﺍﻥ ﺍﻻﳛــﺎﺀ ﺍﻟــﺬﻱ ﳝﺎﺭﺳــﻪ ﻭﺿــﻊ‬
‫ﺍﳉﺴﺪ ﻳﻠﻌﺐ ﺩﻭﺭﻩ ﺍﻻﺳﺎﺳﻲ ﻫﺬﺍ ﺍﻻﻣﺮ‪.‬‬
‫ﳝﻜــﻦ ﺍﻋﺘﺒــﺎﺭ ﺍﻹﳛــﺎﺀ ﺍﻟﺜﻴﻤــﺔ ﺍﻻﺑــﺮﺯ ﻃﺮﻳﻘــﺔ ﺗﻌﺎﻣــﻞ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻐﺮﺑﻲ ﻣﻊ ﺍﳉﺴﺪ ﺑﺸـﻜﻞ ﻋـﺎﻡ ﻭﺍﳉﺴـﺪ ﺍﻻﻧﺜـﻮﻱ ﺑﺸـﻜﻞ ﺧـﺎﺹ‪.‬‬
‫ﻭﻣــﻦ ﺧــﻼﻝ ﺍﺩﺭﺍﻛﻨــﺎ ﻟــﺬﻟﻚ ﻧﺴــﺘﻄﻴﻊ ﺍﻥ ﻧﻔﻬــﻢ ﻛﻴــﻒ ﻛــﺎﻥ ﻳﻨﻈــﺮ‬
‫ﺍﻟﻔﻨﺎﻥ ﺍﱃ ﺍﳌﺮﺍﺓ ﺍﳌﺮﺳﻮﻣﺔ‪ ،‬ﻭﻫﻨﺎ ﻧﺴﺘﻄﻴﻊ ﺍﻟﻌﻮﺩﺓ ﺇﱃ ﻟﻮﺣﺔ ﻣـﻴﻼﺩ‬
‫ﻓﻴﻨﻮﺱ‪ .‬ﺍﻥ ﻓﻴﻨﻮﺱ ﺍﳌﺮﺳﻮﻣﺔ ﺍﻟﻠﻮﺣـﺔ ﻛﻤـﺎ ﺻـﻮﺭﺕ ﺑﻌـﺾ‬
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 ‫ﺍﻟﻨﺼﻮﺹ ﺍﻟﻨﻘﺪﻳﺔ ﻗﺪ ﺗـﺜﲑ ﺍﻟﺒﺪﺍﻳـﺔ ﻟﻠﻤﺘﻠﻘـﻲ ﺍﳊـﺲ ﺍﻟﻐﺮﻳـﺰﻱ‬
‫ﻭﻟﻜﻨــﻬﺎ ﺍﻟﺘﺼــﻮﺭ ﺍﻟــﺬﻱ ﲤﻨﺤــﻪ ﺑﻮﺻــﻔﻬﺎ ﺍﻟﺼــﻮﺭﺓ ﺍﳌﺜﻠــﻰ ﻟﻠﺤــﺐ‬
‫ﺍﳌﻘﺪﺱ‪ ،‬ﺍﻭ ﺍﻟﺼﻮﺭﺓ ﺍﳌﺜﺎﻟﻴﺔ ﻟﻠﺤﺐ ﻫﻮ ﺍﻻﺑﻠﻎ‪ .‬ﺍﻥ ﺍﻟﻮﺿﻊ ﺍﳋﺠﻮﻝ‬
‫ﻟﻔﻴﻨــﻮﺱ‪ ،‬ﻛﻤــﺎ ﺍﻋﺘﻘــﺪ‪ ،‬ﻳﻠﻌــﺐ ﺩﻭﺭﺍ ﻣﻬﻤــﺎ‪ .‬ﺍﻧــﻪ ﻳﻠﺠــﻢ ﺗﺼــﻮﺭﺍﺗﻨﺎ‬
‫ﺍﻟﺒﻌﻴﺪﺓ ﻋﻦ ﺍﻟﻘﺪﺳﻴﺔ‪ ،‬ﻭﺭﻏـﻢ ﺍﻥ ﺟﺴـﺪ ﻓﻴﻨـﻮﺱ ﺍﻟﻠﻮﺣـﺔ ﳝﺜـﻞ‬
‫ﻣﺮﻛﺰ ﺛﻘﻠﻬﺎ‪ ،‬ﻟﻜﻦ ﺍﳓﻨﺎﺀﺓ ﺍﳋﺠﻞ ﺗﻜﺎﺩ ﲤﺜﻞ ﻣﺮﻛﺰ ﺛﻘﻞ ﻣﻮﺍﺯ ﻟﻌﲔ‬
‫ﺍﳌﺘﻠﻘﻲ‪ .‬ﻭﺍﻳﺎ ﻛﺎﻥ ﺗﺎﻭﻳﻞ ﺍﳌﺘﻠﻘﻲ ﲡﺎﻩ ﺟﺴﺪ ﻓﻴﻨـﻮﺱ ﻓـﺎﻥ ﻋﻴﻨـﻪ ﻟـﻦ‬
‫ﺗﻐﻔﻞ ﺗﻠﻚ ﺍﻻﳓﻨﺎﺀﺓ ﻭﺍﻟﻨﻈﺮﺓ ﺍﻟﺴﺎﳘﺔ ﳍﺎ‪ .‬ﺍﻥ ﺗﻌﺎﻣﻞ ﺑﻮﺗﺸﻴﻠﻲ ﻣﻊ‬
‫ﺟﺴــﺪ ﻓﻴﻨــﻮﺱ ﻫــﺬﻩ ﺍﻟﻠﻮﺣــﺔ ﳝﺜــﻞ ﻣﺼــﺪﺍﻗﺎ ﻟﻠﺘﺼــﻮﺭ ﺍﳉﻤــﺎﱄ‬
‫ﺍﻟﺬﻱ ﻳﺘﺒﻨﺎﻩ ﺍﻟﻔﻦ ﺗﻌﺎﻣﻠﻪ ﻣﻊ ﺟﺴﺪ ﺍﳌﺮﺍﺓ‪.‬‬

‫‪  ‬‬

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 ‫ﻫﻨﺎﻙ ﺃﻣـﺮ ﻣﻬـﻢ ﺃﺧـﺮ ﻳﻠﻌـﺐ ﺩﻭﺭﺍ ﻫـﺬﺍ ﺍﻟﺘﺼـﻮﺭ ﺍﻟـﺬﻱ ﺳـﺎﺭ‬
‫ﻋﻠﻴﻪ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﻨﺎﻧﲔ ﻣﻦ ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﻭﺣﺘـﻰ ﺍﻟﻜﻼﺳـﻴﻜﻴﺔ‬
‫ﺍﳉﺪﻳـــﺪﺓ‪ ،‬ﻭﻫـــﻮ ﺍﻥ ﺍﻟﻨﺴـــﺎﺀ ﻻ ﻳﺼـــﻮﺭﻥ ﻋﺎﺭﻳـــﺎﺕ ﺍﻻ ﺗﺼـــﻮﻳﺮ‬
‫ﺍﻻﳍــﺔ‪ ،‬ﻭﺍﳊﻮﺭﻳــﺎﺕ‪ ،‬ﻭﻟﻜــﻮﻥ ﺍﻥ ﻫــﺬﺍ ﺍﻟﻮﺟــﻮﺩ ﲟﺠﻤﻠــﻪ ﻋﻠــﻮﻱ‬
‫ﻭﻣﻘﺪﺱ ﻓﺎﻧﻪ ﺩﺍﺋﻤﺎ ﻣﺎ ﻳﺼـﻮﺭ ﺑﺸـﻜﻞ ﻳﺒﻌـﺪﻩ ﻋـﻦ ﻣﺘﻨـﺎﻭﻝ ﺍﻟﺘﺼـﻮﺭ‬
‫ﺍﻟﻐﺮﻳﺰﻱ ﻟﻠﻤﺘﻠﻘﻲ‪ ،‬ﻓﺎﻻﳍﺔ ﺍﻭ ﺍﳊﻮﺭﻳﺎﺕ ﻻ ﳝﺜﻠﻮﻥ ﻭﺟﻮﺩﺍ ﺑﺸﺮﻳﺎ ﺍﻭ‬
‫ﻓﺎﻧﻴﺎ ﻭﺑﺎﻟﺘﺎﱄ ﺗﺼﻮﺭ ﻭﻛﺎﳖﺎ ﺗﺴﺒﺢ ﻓﻀـﺎﺀ ﺍﻟﻘﻤﺎﺷـﺔ ﻭﻫـﻲ ﺑﻌﻴـﺪﺓ‬
‫ﻋﻨــﺎ ﻛــﻞ ﺍﻟﺒﻌــﺪ‪ ،‬ﻻ ﺗﻮﺟــﺪ ﻫﻨﺎﻟــﻚ ﺍﻳــﺔ ﺍﳛــﺎﺀﺍﺕ ﺗﻮﺻــﻠﻬﺎ ﻫــﺬﻩ‬
‫ﺍﻻﺟﺴـﺎﺩ ﻟﻌــﲔ ﺍﳌﺘﻠﻘـﻲ ﳝﻜــﻦ ﺍﻥ ﲣﻠـﻖ ﻋﻼﻗــﺔ ﻣـﺎ‪ ،‬ﺍﳖــﺎ ﺑﺒﺴــﺎﻃﺔ‬
‫ﻛﺎﺋﻨﺎﺕ ﺑﻌﻴﺪﺓ ﻋﻨﺎ‪ ،‬ﻏـﲑ ﻣﻌﻨﻴـﺔ ﺑﻨـﺎ‪ ،‬ﲤـﺎﺭﺱ ﻃﻘﻮﺳـﻬﺎ ﲝﺮﻳـﺔ ﻏـﲑ‬
‫ﻣﻌﻨﻴــﺔ ﺑﺘﺼــﻮﺭﺍﺗﻨﺎ ﻋﻨــﻬﺎ‪ .‬ﺣﺘــﻰ ﻟﻮﺣــﺔ ﺍﻟﻔﻨــﺎﻥ ﺍﻟﻔﺮﻧﺴــﻲ ﺑــﺎﻭﺟﺮ‬
‫ﻭﻫﻲ ﻣﻦ ﻟﻮﺣﺎﺕ ﻓﻦ ﺍﻟﺮﻛﻮﻛﻮ‪ ،‬ﻭﻫﻲ ﺗﺼﻮﺭ ﺟﺴﺪ ﺍﻣﺮﺍﺓ ﻋﺎﺩﻳـﺔ‪،‬‬
‫ﻓﺎﳖﺎ ﻧﺎﺋﻤﺔ ﻭﻟﻴﺴﺖ ﲤﺎﺭﺱ ﺍﻱ ﺍﳛﺎﺀ ﻭﺍﻉ ﺍﻥ ﺻﺢ ﺍﻟﺘﻌﺒﲑ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ‬
‫ﻓﺎﻟﺮﺳﺎﻟﺔ ﺍﻟﻐﺮﻳﺰﻳﺔ ﺍﻟﱵ ﳝﻜﻦ ﺍﻥ ﲤﻨﺤﻬﺎ ﺭﺳﺎﻟﺔ ﻏﲑ ﻛﺎﻣﻠـﺔ‪ ،‬ﲡﻌﻠﻨـﺎ‬
‫ﻧﺒﺤﺚ ﻋﻤﺎ ﻭﺭﺍﺀ ﻭﺿـﻊ ﺍﳉﺴـﺪ ﻭﻟـﻴﺲ ﺍﳉﺴـﺪ ﲝـﺪ ﺫﺍﺗـﻪ‪ ،‬ﲡﻌﻠﻨـﺎ‬
‫ﻧﺒﺤﺚ ﻭﺭﺍﺀ ﻗﺼﺔ ﻫﺬﻩ ﺍﻻﻧﺜﻰ‪ .‬ﻭﻧﺒﺘﻌﺪ ﺍﻥ ﺟﺴﺪﻫﺎ ﺍﻟﻌﺎﺭﻱ‪.‬‬
‫ﺑﺸــﻜﻞ ﻋــﺎﻡ ﻟﻘــﺪ ﲡﻨــﺐ ﺍﻟﻔﻨــﺎﻧﻮﻥ ﻭﻫــﻢ ﻳﺘﻌــﺎﻣﻠﻮﻥ ﻣــﻊ ﺍﳉﺴــﺪ‬
‫ﺍﻻﻧﺜــﻮﻱ ﻣــﻦ ﺧــﻼﻝ ﲡﻨــﺐ ﺍﻻﳛــﺎﺀﺍﺕ ﺍﻟﻐﺮﻳﺰﻳــﺔ ﺍﻟــﱵ ﳝﺎﺭﺳــﻬﺎ‬
‫ﺻــﺎﺣﺐ ﺍﳉﺴــﺪ‪ ،‬ﺍﻥ ﻳﻌــﺎﳉﻮﺍ ﺍﳉﺎﻧــﺐ ﺍﻟﻐﺮﻳــﺰﻱ ﻓﻴــﻪ‪ ،‬ﻭﳝﻜــﻦ ﺍﻥ‬
‫ﻧﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﻩ ﺍﳊﻘﻴﻘﺔ ﻛﻘﺎﻋﺪﺓ‪ ،‬ﻭﻟﻜﻦ ﻟﻜﻞ ﻗﺎﻋﺪﺓ ﺍﺳﺘﺜﻨﺎﺀ‪.‬‬
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 ‫ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻟﻮﺣﺔ ﻓﻴﻨﻮﺱ ﺇﻣﺎﻡ ﺍﳌﺮﺍﺓ ﻟﻠﻔﻨﺎﻥ ﺭﻭﺑﻨﺰ‪ ،‬ﻭﺍﺣﺪﺍ ﻣﻦ‬
‫ﻫــﺬﻩ ﺍﻻﺳــﺘﺜﻨﺎﺀﺍﺕ‪ .‬ﻻ ﳝﻜــﻦ ﺍﻥ ﻧﻨﻈــﺮ ﺍﱃ ﻫــﺬﻩ ﺍﻟﻠﻮﺣــﺔ ﺑﻮﺻــﻔﻬﺎ‬
‫ﺍﺳﺘﺜﻨﺎﺀﺍ ﺻﺎﺭﺧﺎ ﻭﻟﻜﻨﻬﺎ ﲤﺜﻞ ﺧﻄﻮﺓ ﺍﻣﺎﻡ ﳏﺎﻭﻟﺔ ﺍﳉﻤﻊ ﺑﲔ ﻣﺎﻫﻮ‬
‫ﲨــﺎﱄ ﻭﻏﺮﻳــﺰﻱ ﻟﻮﺣــﺔ ﻭﺍﺣــﺪﺓ‪ ،‬ﻭﻫﻨــﺎ ﻧﻌــﻮﺩ ﺍﱃ ﺍﻻﳛــﺎﺀ ﻣــﺮﺓ‬
‫ﺍﺧﺮﻯ‪ .‬ﺍﻥ ﻓﻴﻨﻮﺱ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺗﺘﺎﻣﻞ ﻧﻔﺴﻬﺎ ﺍﳌﺮﺍﺓ ﻭﺑﺎﻟﺘـﺎﱄ‬
‫ﻓﻬﻲ ﲤﺎﺭﺱ ﻃﻘﺴﺎ ﺑﺸﺮﻳﺎ‪ ،‬ﻃﻘﺴﺎ ﻓﺎﻧﻴﺎ‪ ،‬ﻭﻫـﺬﺍ ﻫـﻮ ﺍﻻﳛـﺎﺀ ﺍﻻﻭﻝ‪،‬‬
‫ﺍﻻﳛﺎﺀ ﺍﻟﺜﺎﻧﻲ ﻳﺘﻤﺜـﻞ ﺍﳖـﺎ ﺗﻨﻈـﺮ ﻟﻠﻤﺘﻠﻘـﻲ ﻣـﻦ ﺧـﻼﻝ ﺍﳌـﺮﺍﺓ‪،‬‬
‫ﻭﻫﻲ ﺑﺎﻟﺘﺎﱄ ﲣﻠﻖ ﻋﻼﻗﺔ ﻣﻊ ﺍﳌﺘﻠﻘـﻲ ﺍﻟﻔـﺎﻧﻲ‪ ،‬ﻭﻟﻜـﻦ ﻫـﺬﻩ ﺍﻟﻨﻈـﺮﺓ‬
‫ﺗﺒــﺪﻭ ﻭﻛﺎﳖــﺎ ﻟﻴﺴــﺖ ﻣﻘﺼــﻮﺩﺓ‪ ،‬ﻭﺍﻟﻠﻮﺣــﺔ ﻛﻜــﻞ ﻻ ﺗﻀــﻌﻨﺎ ﺍﻣــﺎﻡ‬
‫ﺗﺼﻮﺭ ﺍﻥ ﻓﻴﻨﻮﺱ ﻣﻌﻨﻴﺔ ﺑﻨﺎ ﻟﻠﺪﺭﺟﺔ ﺍﻟﱵ ﳝﻜـﻦ ﺍﻥ ﻳﻜﺘﻤـﻞ ﻣﻌﻬـﺎ‬
‫ﺍﻻﳛـﺎﺀ ﺍﻟﻐﺮﻳـﺰﻱ‪ .‬ﳓـﻦ ﺍﻣـﺎﻡ ﻧﻈـﺮﺓ ﻓﻴﻨـﻮﺱ ﳊﻈـﺔ ﻋـﺎﺑﺮﺓ ﻟــﻴﺲ ﺍﻻ‪.‬‬
‫ﻧﻈﺮﻧﺎ ﺍﱃ ﺛﻨﺎﺋﻴﺔ ﺍﳉﻤﺎﻝ ﻭﺍﻟﻐﺮﻳﺰﺓ ﻭﻛﺎﳖﻤﺎ ﻭﺟﻬﺎﻥ ﻟﻌﻤﻠﺔ ﻭﺍﺣـﺪﺓ‪،‬‬
‫ﻓﻤــﺎ ﻓﻌﻠــﻪ ﺭﻭﺑﻨــﺰ ﳝﻜــﻦ ﺍﻥ ﻧﺘﺼــﻮﺭﻩ ﳏﺎﻭﻟــﺔ ﻻﺳــﱰﺍﻕ ﺍﻟﻨﻈــﺮ ﳓــﻮ‬
‫ﺍﻟﻮﺟﻪ ﺍﻟﻐﺮﻳﺰﻱ ﻟﻠﺠﺴﺪ‪ ...‬ﻭﻟﻮ ﻟﻮﻫﻠﺔ‪.‬‬

‫‪‬‬

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 ‫‪  ‬‬

‫ﺍﻻﺳﺘﺜﻨﺎﺀ ﺍﻟﺜﺎﻧﻲ ﳝﻜﻦ ﺍﻥ ﻧـﺮﺍﻩ ﻟﻮﺣـﺔ ﺯﻭﺟـﺔ ﺍﻟﻔﻨـﺎﻥ ﻟـﻨﻔﺲ‬

‫ﺍﻟﺮﺳﺎﻡ‪ ،‬ﺗﺮﻭﻱ ﺍﳌﺼﺎﺩﺭ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻥ ﺭﻭﺑﻨﺰ ﺗﺰﻭﺝ ﻭﻫﻮ ﺍﳋﻤﺴـﲔ‬
‫ﻓﺘﺎﺓ ﻣﻘﺘﺒﻞ ﺍﻟﻌﻤـﺮ ﻭﻗـﺪ ﺭﲰﻬـﺎ ﺭﻭﺑﻨـﺰ ﻭﻛـﺎﻥ ﻋﻤﺮﻫـﺎ ‪ ٢٥‬ﻋﺎﻣـﺎ‪.‬‬
‫ﺭﻏــﻢ ﺍﻥ ﺍﻟﻔﻨــﺎﻥ ﻋﻤــﺪ ﺍﱃ ﺗﻐﻄﻴــﺔ ﺍﳌﻨــﺎﻃﻖ ﺍﳊﺴﺎﺳــﺔ ﻣــﻦ ﺟﺴــﺪ‬
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 ‫ﺯﻭﺟﺘﻪ ﻟﻜﻲ ﻳﻜﺮﺱ ﺍﳊﺲ ﺍﳉﻤﺎﱄ ﻓﻴﻬﺎ‪ ،‬ﻟﻜﻨﻪ ﺍﻳﻘﺎﻋﻬـﺎ ﺍﳊﺮﻛـﻲ‬
‫ﻭﻫﻲ ﺗﻨﻈﺮ ﻟﻪ\ﺍﳌﺘﻠﻘﻲ ﻭﺗﺎﺛﺮ ﺍﳊﺮﻛﺔ ﻋﻠﻰ ﻭﺿﻊ ﺍﻻﺛﺪﺍﺀ‪ ،‬ﻳﺴﺘﺪﻋﻲ‬
‫ﺍﻟﻮﺟـﻪ ﺍﻟﻐﺮﻳـﺰﻱ ﻟﻠﻮﺣـﺔ‪ ،‬ﻭﻛﺎﻧــﻪ ﺍﺭﺍﺩ ﺍﻥ ﳜﻠـﻖ ﺍﻟﺘـﻮﺍﺯﻥ ﺭﲰــﻪ‬
‫ﻫــﺬﺍ ﻟﻠﺠﻤــﺎﱄ ﺍﻟﺼــﺮﻑ ﻭﺍﳊﺴــﻲ‪ ،‬ﺑﺸــﻜﻞ ﻻ ﳚﻌــﻞ ﺍﻱ ﺗﺼــﻮﺭ‬
‫ﻳﻄﻐﻰ ﻋﻠﻰ ﺍﻻﺧﺮ‪.‬‬

‫‪      ‬‬

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 ‫ﳝﻜﻦ ﻣﻼﺣﻈﺔ ﺍﻥ ﻣﻌﻴﺎﺭ ﺍﳉﻤﺎﻝ ﻟﻠﺠﺴـﺪ ﺍﻻﻧﺜـﻮﻱ ﻟﻮﺣـﺎﺕ‬
‫ﺍﻟﻨﻬﻀﺔ ﻭﻣﺎ ﺑﻌﺪﻫﺎ‪ ،‬ﺍﻷﺳﻠﻮﺏ ﺍﳌﺘﻜﻠﻒ‪ ،‬ﺍﻟﺒﺎﺭﻭﻙ ﻭﺍﻟﺮﻛﻮﻛﻮ ﻳﺘﻤﺜﻞ‬
‫ﺍﳉﺴــﺪ ﺍﳌﻜﺘﻨــﺰ‪ ،‬ﻭﺭﻏــﻢ ﺍﻥ ﺍﻟﻜﻼﺳــﻴﻜﻴﺔ ﺍﶈﺪﺛــﺔ ﺳــﻌﺖ ﺍﱃ‬
‫ﺍﻟﻌـﻮﺩﺓ ﺍﱃ ﺍﻻﺻـﻮﻝ ﺍﻟﻜﻼﺳـﻴﻜﻴﺔ ﻭﺍﻟــﺘﺨﻠﺺ ﻣـﻦ ﺍﻟﱰﻫـﻞ ﺍﻟــﺬﻱ‬
‫ﺷﻬﺪﻩ ﻓﻦ ﺍﻟﺮﻛﻮﻛﻮ ﺍﻟـﺬﻱ ﻇـﻞ ﺍﻣﻴﻨـﺎ ﻟﻠﻤﻔﻬـﻮﻡ ﺍﳉﻤـﺎﱄ)ﺍﳌﻜﺘﻨـﺰ(‬
‫ﳉﺴﺪ ﺍﳌـﺮﺍﺓ‪ ،‬ﻟﻜـﻦ ﺍﻟﻔـﻦ ﺍﻟﻨﻴـﻮ ﻛﻼﺳـﻴﻜﻲ ﻭﻣـﻦ ﺧـﻼﻝ ﺍﻋﻤـﺎﻝ‬
‫ﺍﻧﻐﺮﺯ ﻋﻠـﻰ ﺳـﺒﻴﻞ ﺍﳌﺜـﺎﻝ ﺗـﱪﺯ ﺍﻻﻧﺰﻳـﺎﺡ ﺍﳊﺴـﻲ ﺍﻟﺘﻌﺎﻣـﻞ ﻣـﻊ‬
‫ﺍﳉﺴﺪ‪ .‬ﺗﺸﲑ ‪ (١)Wikipedia‬ﺍﱃ ﺍﻥ ﺍﻟﻔﻨﺎﻥ ﺍﻧﻐﺮﺯ ﻛﺎﻥ ﻣﻮﻟﻌﺎ ﺑﺎﻧﺎﻗﺔ‬
‫ﺑﺎﻧﺎﻗـــﺔ ﺃﻋﻤـــﺎﻝ ﺭﺍﻓﺎﻳﻴـــﻞ ﻭﺍﻧﺴـــﺎﺑﻴﺔ ﺍﺟﺴـــﺎﺩﻩ‪ ،‬ﳑـــﺎ ﺟﻌـــﻞ ﺍﻻﻛﺘﻨـــﺎﺯ‬
‫ﺍﳉﺴــﺪﻱ ﻳﺎﺧــﺬ ﻃﺎﺑﻌــﺎ ﺍﻛﺜــﺮ ﺍﻧﺴــﻴﺎﺑﻴﺔ‪ ،‬ﻭﺭﲟ ـﺎ ﻳﺸــﻜﻞ ﻫــﺬﺍ ﺍﺣــﺪ‬
‫ﺃﺳﺒﺎﺏ ﺍﻗﱰﺍﻥ ﺍﺟﺴﺎﺩ ﺍﻧﻐﺮﺯ ﲠﺬﻩ ﺍﳌﻮﺍﺻﻔﺎﺕ ﺍﳉﻤﺎﻟﻴﺔ‪.‬‬
‫ﻓﻬﻞ ﳛﻖ ﻟﻨﺎ ﺍﻥ ﻧﺆﺷﺮ ﺍﻟﻨﻴﻮﻛﻼﺳﻴﻜﻴﺔ ﻣﻦ ﺧﻼﻝ ﺑﻌﺾ ﺍﻋﻤﺎﻝ‬
‫ﺍﻧﻐﺮﺯ ﺑﻮﺻﻔﻬﺎ ﻣﻨﻄﻘﺔ ﺍﻟﺘﺤﻮﻝ ﺍﻻﺑﺮﺯ ﺍﻟﺬﻱ ﺷﻬﺪﻩ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳉﺴﺪ‬
‫ﺍﻻﻧﺜﻮﻱ ﻭﻫﻞ ﻛﺎﻥ ﻟﺰﻳﺎﺭﺓ ﺍﻧﻐﺮﺯ ﻟﻠﺸﺮﻕ ﺍﺛﺮ ﻫﺬﺍ ﺍﻟﺸﺎﻥ؟ ﺭﲟﺎ ﺍﺭﺗـﺒﻂ‬
‫ﺍﻟﺸﺮﻕ ﺑﻮﻋﻲ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻐﺮﺑـﻲ ﻋـﱪ ﺍﻟﻮﺟـﻮﺩ ﺍﻻﻧﺜـﻮﻱ ﺍﳌﻜـﺮﺱ ﻟﻠﻤﺘﻌـﺔ‬
‫ﻟﻴﺎﱄ ﺍﻟـﻒ ﻟﻴﻠـﺔ ﻭﻟﻴﻠـﺔ ﻭ ﻗﺼـﻮﺭ ﺍﳊـﺮﻳﻢ ﺑـﺬﻟﻚ ﺍﻻﳛـﺎﺀ ﺍﳊﺴـﻲ‬
‫ﺍﻟﺬﻱ ﻧﺮﻯ ﺍﺛﺮﻩ ﻟﻴﺲ ﻟﻮﺣﺎﺕ ﺍﻧﻐﺮﺯ ﻭﺣﺴـﺐ ﻭﻟﻜـﻦ ﻟﻮﺣـﺎﺕ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﺴﺘﺸﺮﻗﲔ‪ .‬ﳚﺐ ﺍﻻﺷﺎﺭﺓ ﻫﻨﺎ ﺍﻥ ﺍﻟﻔﻨـﺎﻥ ﺍﳌﺴﺘﺸـﺮﻕ ﻭﻫـﻮ‬

‫‪(1)Wikipedia.org.‬‬

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 ‫ﻳﺮﺳﻢ ﺍﻟﻨﺴﻮﻩ ﺍﻟﺸﺮﻗﻴﺎﺕ ﻗﺪ ﺍﺳﻘﻂ ﻣﻌﺎﻳﲑﻩ ﺍﳉﻤﺎﻟﻴﺔ ﻋﻠﻴﻬﻦ‪ .‬ﻭﻫﻨﺎ ﻳﱪﺯ‬
‫ﺳﺆﺍﻻﻥ‪ :‬ﻫﻞ ﺍﻥ ﺍﻷﺟﻮﺍﺀ ﺍﻟﺸﺮﻗﻴﺔ ﺍﺑﺮﺯﺕ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻐﺮﺑﻲ ﻣﺜﻞ ﻫـﺬﺍ‬
‫ﺍﻟﺘﻮﺟﻪ ﺍﳊﺴﻲ ﺗﺼﻮﻳﺮ ﺍﳌﺮﺍﺓ‪ ،‬ﻭﻫﻞ ﻳﺸﻜﻞ ﻫﺬﺍ ﺍﻻﻧﺰﻳـﺎﺡ ﺍﳊﺴـﻲ‬
‫ﺗﺼــﻮﻳﺮ ﺟﺴــﺪ ﺍﳌــﺮﺍﺓ ﺍﺣــﺪ ﺍﺳــﺒﺎﺏ ﺍﺷــﺎﺭﺓ ﺑﻌــﺾ ﺍﻟﻨﻘــﺎﺩ ﺍﱃ ﺍﻥ‬
‫ﺍﻧﻐﺮﺯ ﻧﻔﺴﻪ ﻛﺎﻥ ﳝﺜﻞ ﺍﺣﺪ ﺑﺬﻭﺭ ﺍﻟﻔـﻦ ﺍﻟﺮﻭﻣﺎﻧﺴـﻲ ﺍﻟـﺬﻱ ﻛـﺎﻥ ﻳﻘـﻒ‬
‫ﺑﺎﻟﻀﺪ ﻣﻨﻪ؟ﺭﲟﺎ‪ .‬ﻭﺑﺎﻻﺷﺎﺭﺓ ﺍﱃ ﺍﻟﻔﻦ ﺍﻟﺮﻭﻣﺎﻧﺴﻲ‪ ،‬ﻻ ﺑﺪ ﻣﻦ ﺍﻹﺷـﺎﺭﺓ‬
‫ﺇﱃ ﻟﻮﺣﺔ ﺩﻳﻼﻛﺮﻭﺍ‪ ،‬ﺍﳊﺮﻳﺔ ﺗﻘﻮﺩ ﺍﻟﺸﻌﺐ‪ ،‬ﻭﺍﻟـﱵ ﳝﺜـﻞ ﻓﻴﻬـﺎ ﺟﺴـﺪ‬
‫ﺍﳌﺮﺍﺓ ﺍﻟﻌﺎﺭﻳﺔ ﺍﻟﺼﺪﺭ ﻭﻫـﻲ ﺗﻘـﻮﺩ ﺍﳉﻤـﻮﻉ ﺭﻣـﺰﺍ ﻟﻠﺤﺮﻳـﺔ ﺍﻟـﱵ ﺗـﺪﻭﺱ‬
‫ﻛﻞ ﺷﻲﺀ‪ .‬ﲤﺜﻞ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﺍﳌﺜﺎﻝ ﺍﻻﺑـﺮﺯ ﺗﻌﺎﻣﻠـﻬﺎ ﻣـﻊ‬
‫ﺍﻟﻮﺟــﻪ ﺍﻟﻐﺮﻳــﺰﻱ ﻟﻠﺠﺴــﺪ ﺍﻷﻧﺜــﻮﻱ‪ ،‬ﻭﻣــﺎ ﳝﺜــﻞ ﺍﻻﻧﻘﻴــﺎﺩ ﺑﺎﲡــﺎﻩ ﻫــﺬﺍ‬
‫ﺍﻹﳛﺎﺀ)‪. (١‬‬

‫‪‬‬
‫‪‬‬

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   

  

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 ‫‪  ‬‬

‫ﻭﻟﻺﺟﺎﺑﺔ ﻋﻠﻰ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺜﺎﻧﻲ‪ :‬ﻳﺒﺪﻭ ﺍﻥ ﻧﻈﺮﺓ ﺍﻟﺸﺮﻕ ﺭﻛﺰﺕ‬

‫ﺗﻌﺎﻣﻠﻬﺎ ﻣﻊ ﺟﺴﺪ ﺍﳌﺮﺍﺓ ﻋﻠﻰ ﺍﻟﻮﺟـﻪ ﺍﻟﻐﺮﻳـﺰﻱ‪ ،‬ﻭﺍﻟـﺬﻱ ﺍﻗـﱰﻥ ﻣـﻊ‬
‫ﺫﻫﻨﻴﺔ ﺍﻟﺘﺤﺮﻳﻢ ﻓﻴﻪ ﻣﻊ ﺍﻟﻜﺒﺖ‪ ،‬ﺍﻻﻣﺮ ﺍﻟﺬﻱ ﺗﺼﻮﺭﻩ ﺑﻮﺿﻮﺡ ﺟﻠﻲ‬
‫ﺍﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻥ ﻣﺎﻫﻮﺩ ﺍﲪﺪ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ‪ ،‬ﺍﻟﺬﻱ‬
‫ﻛــﺮﺱ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻋﻤﺎﻟــﻪ ﳍــﺬﺍ ﺍﻟﺘﺼــﻮﺭ‪ ،‬ﻭﻟﻜﻨــﻪ ﺍﺣــﺎﻁ ﻫــﺬﺍ‬
‫ﺍﻟﻮﺟﻮﺩ ﺍﻻﻧﺜﻮﻱ ﺍﳌﻔﺮﻁ ﺣﺴﻴﺘﻪ ﲟﺎ ﻳﻌﺎﻧﻴﻪ ﻣﻦ ﻛﺒـﺖ ﻭﺗﻐﻴﻴـﺐ‪،‬‬
‫ﻓﺎﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﻟﻴﺲ ﻣﻠﻜﺎ ﻟﺼﺎﺣﺒﺘﻪ ﻟﻜـﻲ ﺗﻌـﻴﺶ ﺍﺣﺴﺎﺳـﻬﺎ ﺑـﻪ‬
‫ﻛﻤـﺎ ﺗﺮﻳـﺪ ﻭﻟﻜﻨـﻬﺎ ﳎــﱪﻩ ﻻﻥ ﺗﻜﺮﺳـﻪ ﻟﻄﻘـﻮﺱ ﺍ‪‬ﺘﻤـﻊ ﺍﻟﻘــﺎﻫﺮﺓ‪.‬‬
‫ﻧــﺮﻯ ﺍﻥ ﻣﻔﻬــﻮﻡ ﺍﻟﻘﻬــﺮ ﻳﺘﻜــﺮﺭ ﻟﻮﺣــﺎﺕ ﻟﻴﻠــﻰ ﺍﻟﻌﻄــﺎﺭ‪ ،‬ﻭﺍﻟــﱵ‬

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 ‫ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﺰﺭﻉ ﻧﺴﺎﺀﻫﺎ ﻣﻨﺎﺥ ﻣﻮﺡ ﺑﺎﻟﻘﺴﻮﻩ ﻭﺍﻟﻘﻬﺮ‪ ،‬ﺍﻥ ﺍﺟﺴﺎﺩﻫﺎ‬
‫ﺗﻘﻄﻊ ﺭﺣﻠﺔ ﳎﻬﻮﻟﺔ ﻭﻣﻈﻠﻤـﺔ ﺗـﻨﻌﻜﺲ ﻗﺴـﻮﲥﺎ ﻣﻌﺎﻧـﺎﺓ ﺍﳉﺴـﺪ‬
‫ﻭﻫﻮ ﻳﻘﻄﻊ ﻫﺬﻩ ﺍﻟﺮﺣﻠﺔ‪ .‬ﻭﻗـﺪ ﻳﺆﻛـﺪ ﺫﻟـﻚ ﻣﻌﺎﻧـﺎﺓ ﺍﳌـﺮﺍﺓ ﺍ‪‬ﺘﻤـﻊ‬
‫ﺍﻟﺸﺮﻗﻲ ﺣﻴﺚ ﺗﻜﻮﻥ ﺃﺳﲑﺓ ﺟﺴﺪﻫﺎ‪ ،‬ﻫﺬﺍ ﺍﻻﺭﺗﺒﺎﻁ ﺍﻟﺬﻱ ﳚﻌﻠـﻬﺎ‬
‫ﺗﻌـﻴﺶ ﻣﻌــﻪ ﺭﺣﻠـﺔ ﻗﺎﺳــﻴﺔ ﻭﻣﻈﻠﻤـﺔ‪ .‬ﺍﺭﺗــﺒﻂ ﺟﺴـﺪ ﺍﳌــﺮﺍﺓ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻌﺮﺍﻗﻲ‪ -‬ﻭﳝﻜﻦ ﻣﻼﺣﻈﺔ ﳕـﺎﺫﺝ ﺍﻟﻨﺤـﺖ ﺍﻟﺴـﻮﻣﺮﻱ ﻛﻤﺜـﺎﻝ ﻋﻠـﻰ‬
‫ﺫﻟﻚ‪ -‬ﺑﺎﳋﺼﺐ ﻭﻳﱪﺯ ﺫﻟﻚ ﺿﺨﺎﻣﺔ ﺗﺼﻮﻳﺮ ﺍﻻﺭﺩﺍﻑ ﻭﺍﻻﺛـﺪﺍﺀ‬
‫ﺑﻮﺻﻔﻬﺎ ﺍﻟﺪﻻﻟﺔ ﺍﳌﺒﺎﺷﺮﺓ ﳍﺬﺍ ﺍﻟﺘﺼﻮﺭ‪ ،‬ﻭﻗﺪ ﻭﻇﻒ ﻣـﺎﻫﻮﺩ ﺍﲪـﺪ‬
‫ﻫــﺬﺍ ﺍﻟﺘﺼــﻮﺭ ﻟﻮﺣﺎﺗــﻪ‪ ،‬ﻓﻜــﺎﻥ ﺍﻥ ﺑــﺎﻟﻎ ﺗﺼــﻮﻳﺮ ﺍﻻﺭﺩﺍﻑ‬
‫ﺍﺟﺴﺎﺩ ﻧﺴﺎﺋﻪ ﲟﺎ ﻳﻮﺣﻲ ﺑﻮﺻﻔﻪ ﺍﻣﺘﺪﺍﺩﺍ ﻟﻠﺘﺼﻮﺭ ﺍﻟﺴﻮﻣﺮﻱ‪.‬‬

‫‪  –‬‬

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   

  

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 ‫ﻭﻟﻜــﻦ ﻭﺑﻌﻴــﺪﺍ ﻋــﻦ ﺍﻟﻘﻬــﺮ ﺍﻟــﺬﻱ ﻳﻌﻴﺸــﻪ ﺍﳉﺴــﺪ ﺍﻻﻧﺜــﻮﻱ‬
‫ﺍﻟﺸﺮﻕ‪ ،‬ﻛﻴﻒ ﻧﻈﺮﺕ ﺍﳌﺮﺍﺓ ﺍﱃ ﺟﺴﺪﻫﺎ ﻋﱪ ﺍﻟﻘﻤﺎﺷﺔ؟‬
‫ﳝﻜﻦ ﺍﻥ ﺗﻌﻄﻴﻨﺎ ﺍﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻧـﺔ ﺍﻻﻧﻜﻠﻴﺰﻳـﺔ ﺳـﺘﻴﻔﺎﻧﻲ ﺭﻭﻭ ﺍﳉـﻮﺍﺏ‬
‫ﻋﻠﻰ ﺫﻟﻚ‪ :‬ﺗﺘﻤﺤﻮﺭ ﺍﻋﻤﺎﻝ ﺳﺘﻴﻔﺎﻧﻲ ﺭﻭﻭ ﺣﻮﻝ ﺟﺴﺪ ﺍﳌﺮﺍﺓ‪ ،‬ﺑـﻞ ﺍﻥ‬
‫ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﺑﻜﻞ ﲤﻈﻬﺮﺍﺗﻪ ﻫﻮ ﺍﳌﻮﺿﻮﻉ ﺍﻟﻮﺣﻴﺪ ﳍـﺬﻩ ﺍﻟﻔﻨﺎﻧـﺔ‪ .‬ﺍﻥ‬
‫ﺛﻴﻤﺘﻬﺎ ﺍﻻﺛﲑﺓ ﻫﻮ ﺫﻟﻚ ﺍﳊـﻮﺍﺭ ﺍﻻﺯﱄ ﺍﻟﺼـﺎﻣﺖ ﺑـﲔ ﺍﳌـﺮﺍﺓ ﻭﺟﺴـﺪﻫﺎ‬
‫ﻭﻟﻮﺣﺎﲥﺎ ﺑﻼ ﺍﺳﺘﺜﻨﺎﺀ ﺗﻈﻬﺮ ﻧﺴﺎﺀ ﻳﻌﺸـﻦ ﺣﺎﻟـﺔ ﻣـﻦ ﺍﻟﺘﻮﺣـﺪ ﺍﻟﺼـﻮ‬
‫ﻣﻊ ﺍﺟﺴﺎﺩﻫﻦ‪ .‬ﻣﻦ ﺧﻼﻝ ﻫﺬﺍ ﺍﻟﺘﺼﻮﻳﺮ ﲢﺎﻭﻝ ﺳﺘﻴﻔﺎﻧﻲ ﺭﻭﻭ ﺍﻥ ﺗﻨﻘﻞ‬
‫ﻗﺪﺳﻴﺔ ﺍﺟﺴﺎﺩ ﺍﻻﳍﺎﺕ ﻟﻮﺣﺎﺕ ﺍﻟﻔﻦ ﺍﻟﻜﻼﺳﻲ ﺍﱃ ﺍﺟﺴﺎﺩ ﻓﺎﻧﻴـﺔ‬
‫ﻣـﻦ ﺧـﻼﻝ ﺍﻗﺘﻨــﺎﺹ ﻧﺴـﺎﺀ ﻳﻌﺸــﻦ ﺣﺎﻟـﺔ ﺣــﻮﺍﺭ ﺩﺍ ﻣـﻊ ﻭﺟــﻮﺩﻫﻦ‬
‫ﺍﳌﺎﺩﻱ‪ .‬ﺍﻥ ﻟﻮﺣﺎﲥﺎ ﺗﺮﻳﺪ ﺍﻟﻘﻮﻝ ﺑﺎﻧﻪ ﻻ ﳝﻜﻦ ﺍﻥ ﻧﻨﻈـﺮ ﺍﱃ ﺭﻭﺡ ﺍﳌـﺮﺍﺓ‬
‫ﲟﻌﺰﻝ ﻋﻦ ﺟﺴﺪﻫﺎ ﻛﻤﺎ ﻻ ﳝﻜﻦ ﺍﻥ ﺗﻔﻬﻢ ﻟﻐﺔ ﺍﳉﺴﺪ ﺍﻻﻧﺜـﻮﻱ ﲟﻌـﺰﻝ‬
‫ﻋﻦ ﺭﻭﺡ ﺍﳌﺮﺍﺓ ﺍﻥ ﺳﺘﻴﻔﺎﻧﻲ ﺭﻭﻭ ﻣﺆﻣﻨـﺔ ﺑﻘـﺪﺭﺓ ﻫـﺬﺍ ﺍﳉﺴـﺪ ﺍﳌﻘﺘﺼـﺪ‬
‫ﺍﳝﺎﺀﺍﺗـﻪ ﻭﺍﳌـﺘﺤﻔﻆ ﻇﻬـﻮﺭﻩ ﻋﻠـﻰ ﺍﻥ ﻳﺆﻛـﺪ ﺗﻮﺣـﺪﻩ ﻣـﻊ ﺍﻣﺘـﺪﺍﺩﻩ‬
‫ﺍﻟﺮﻭﺣﻲ ﻭﺍﺫﺍ ﻛﺎﻧـﺖ ﺭﺳـﺎﻟﺔ ﺍﻟﻔﻨـﺎﻥ ﺍﻥ ﻳﻜﺸـﻒ ﻋـﻦ ﺭﻭﺡ ﺍﻻﺷـﻴﺎﺀ‬
‫ﻭﻛﻮﺍﻣﻦ ﻭﺟﻮﺩﻫﺎ ﻓﺎﻥ ﺍﻓﻀﻞ ﺍﻇﻬﺎﺭ ﻟﺮﻭﺡ ﺍﳌـﺮﺍﺓ ﻫـﻮ ﺍﳉﺴـﺪ ﻛﻤـﺎ ﻫـﻮ‪.‬‬
‫ﻛﻤﺎ ﺗﺮﻯ ﺳﺘﻴﻔﺎﻧﻲ ﺭﻭﻭ)‪. (١‬‬

‫‪ ‬‬
‫‪‬‬
‫‪http://www.faaiz.com/critics_16.htm‬‬

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 ‫ﻳﺒﻘﻰ ﺍﻟﺴﺆﺍﻝ‪ ،‬ﻫﻞ ﳛﻤـﻞ ﺍﳉﺴـﺪ ﺍﻻﻧﺜـﻮﻱ ﻣﻌﻨـﻰ ﺍﳊﺴـﻴﺔ‬
‫ﲨﺎﻟﻴﺘﻪ‪ ،‬ﻫﻞ ﳝﻜﻦ ﺍﻥ ﻧﻔﺼﻞ ﺑﲔ ﲨﺎﻝ ﺍﳉﺴـﺪ ﺍﻻﻧﺜـﻮﻱ ﻭﺑـﲔ‬
‫ﺍﻟﻐﺮﻳﺰﺓ ﺍﻟﱵ ﲡﻌﻠﻪ ﻣﺮﻏﻮﺑﺎ‪ ،‬ﻭﻫﻞ ﻫﺬﺍ ﺍﻟﺬﻱ ﺟﻌﻞ ﻭﺻﻒ ﺍﳉﺴﺪ‬
‫ﺍﳉﻤﻴﻞ ﺑﺎﻟﻠﻐﺔ ﺍﻻﻧﻜﻠﻴﺰﻳـﺔ ﺍﻟﺸـﺎﺋﻌﺔ ﺣﺎﻟﻴـﺎ ﺑﻌـﺪ ﺍﻥ ﻛـﺎﻥ ﻳﺸـﲑ ﺍﱃ‬
‫ﺍﳉﺎﺫﺑﻴـﺔ‪ ،‬ﻳﺸـﲑ ﺇﱃ ﺍﳉﻨﺴـﻴﺔ‪ (sexy (v) attractive) ،‬ﻫـﻞ ﻛـﺎﻥ‬
‫ﺍﻻﳝــﺎﻥ ﺑﺎﻣﻜﺎﻧﻴــﺔ ﺍﻟﻔﺼــﻞ ﺑــﲔ ﺍﳉﻤــﺎﻝ ﻭﺍﳊﺴــﻴﺔ ﻫــﻮ ﺍﻟــﺬﻱ ﺟﻌــﻞ‬
‫ﺍﻟﺬﻭﻕ ﺍﻟﻐﺮﺑﻲ ﺍﺑﺎﻥ ﻫﻴﻤﻨـﺔ ﺍﻟﻜﻨﻴﺴـﺔ ﻳﺘﻌﺎﻣـﻞ ﻳـﺆﻣﻦ ﲠـﺬﻩ ﺍﻟﺜﻨﺎﺋﻴـﺔ‬
‫ﲝﻴﺚ ﺍﺻﺒﺢ ﺟﺰﺀﺍ ﻣﻦ ﺍﻟﺬﻭﻕ ﺍﻟﻌﺎﻡ؟‬
‫ﺃﺗﺼﻮﺭ ﺍﻥ ﺍﻟﺜﻨﺎﺋﻴﺔ ﺍﻟﱵ ﺳﻴﻄﺮﺕ ﻋﻠﻰ ﺗﺎﺭﻳﺦ ﺍﻟﺘﻌﺎﻣﻞ ﺍﻟﻔﲏ ﻣﻊ‬
‫ﺍﳉﺴـﺪ‪ ،‬ﻫـﻲ ﺍﺑﺘﻜـﺎﺭ ﻓـﲏ ﺍﳌﻘـﺎﻡ ﺍﻻﻭﻝ‪ ،‬ﻭﻗـﺪ ﻳﻌـﻮﺩ ﺫﻟـﻚ ﺍﱃ‬
‫ﺗﻘﺎﻟﻴﺪ ﺛﻘﺎﻓﻴﺔ ﻭﺩﻳﻨﻴﺔ ﺍﳌﻘﺎﻡ ﺍﻻﻭﻝ‪ ،‬ﻫـﺬﻩ ﺍﻟﻘﻴـﻮﺩ ﺟﻌﻠـﺖ ﺍﻟﻔﻨـﺎﻥ‬
‫ﻳﺪﺧﻞ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﺍﻟﻌﺎﺭﻱ ﻋﻠﻰ ﻗﻤﺎﺷـﺘﻪ ﻣـﻦ ﺑـﺎﺏ ﺍﳌﻘـﺪﺱ‪،‬‬
‫ﺑﺎﺏ ﺍﻻﳍﺔ ﺍﻟﻴﻮﻧﺎﻧﻴﺔ ﻭﺍﳊﻮﺭﻳﺎﺕ‪ ،‬ﻫﺬﺍ ﺍﻟﻮﺟﻮﺩ ﺍﳋﻴﺎﱄ ﺍﻟﺬﻱ ﺣﺎﻭﻝ‬
‫ﺍﻟﻔﻨﺎﻥ ﺍﻥ ﻳﻮﻇﻔﻪ‪ ،‬ﻣﻌﻨﻰ‪ ،‬ﻭﻳﻮﻇﻒ ﻣﻌﻪ ﺍﳛﺎﺀﺍﺕ ﺍﳉﺴـﺪ ﺍﻻﻧﺜـﻮﻱ‬
‫ﺍﳌﻘﺘﺼــﺪ ﻭﺍﳌﺘﻌـــﺎﱄ‪ ،‬ﺷــﻜﻼ‪ ،‬ﻟﻜـــﻲ ﻳﺘﺠﻨــﺐ ﺧـــﺪﺵ ﺍﻟﺘﻘﺎﻟﻴـــﺪ‪.‬‬
‫ﺍﺳﺘﻤﺮﺕ ﻫﺬﻩ ﺍﶈﺎﻛﺎﺕ ﻋﱪ ﻋﺼـﻮﺭ ﻓـﻦ ﺍﻟﻨﻬﻀـﺔ ﻭﺍﻟﻔـﻦ ﺍﳌﺘﻜﻠـﻒ‬
‫)‪(Mannerism‬ﻭﺍﻟﺒــﺎﺭﻭﻙ ﻭﺍﻟﺮﻛﻮﻛــﻮ‪ ،‬ﻭﻣــﻦ ﺛــﻢ ﺟــﺎﺀﺕ ﻟﻮﺣــﺎﺕ‬
‫ﺍﳌﺴﺘﺸﺮﻗﲔ ﻟﺘﺪﺧﻞ ﺍﻟﻔﺎﻧﻲ ﻣﻦ ﺧﻼﻝ ﺗﺼﻮﻳﺮ ﺑﻴﺌﺔ ﺍﻟﺸـﺮﻕ‪ ،‬ﻭﺭﲟـﺎ‬
‫ﱂ ﻳﻨﺘﻘﺪ ﺍﺣـﺪ ﻫـﺬﺍ ﺍﻟﺘﻮﺟـﻪ ﺑﺸـﻜﻞ ﻭﺍﺿـﺢ ﻻﻧـﻪ ﻳﻌـﱪ ﻋـﻦ ﻭﺍﻗـﻊ‬
‫ﺍﺧﺮ‪ ،‬ﻭﺑﺎﻟﺘﺎﱄ ﻓﻬـﻮ ﻻ ﳜـﺪﺵ ﺍﻟﺘﺼـﻮﺭ ﺍﻟﺴـﺎﺋﺪ‪ ،‬ﻭﻟﻜﻨـﻪ ﳝﻜـﻦ ﺍﻥ‬
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 ‫ﻳﺆﺷــﺮ ﻧﻘﻄــﺔ ﲢــﻮﻝ ﺍﺳــﺘﻤﺮﺕ ﺑﺎﲡــﺎﻩ ﺍﻇﻬــﺎﺭ ﺍﻟﺼــﻮﺭﺓ ﺍﳊﺴــﻴﺔ ﻣــﻊ‬
‫ﳏﺎﻭﻟﺔ ﺍﳊﺮﻛﺔ ﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ ﻛﺴـﺮ ﺍﻟﺘﻘﺎﻟﻴـﺪ ﺍﻟﻔﻨﻴـﺔ‪ ،‬ﻭﻣـﻊ ﺍﺳـﺘﻤﺮﺍﺭ‬
‫ﺍﳊﺮﻛﺎﺕ ﺍﻟﻔﻨﻴـﺔ ﺍﻟـﱵ ﺗﻠـﺖ ﻛﺴـﺮ ﺍﳊـﻮﺍﺟﺰ‪ ،‬ﻭ ﺗﺎﺻـﻠﺖ ﻫـﺬﻩ‬
‫ﺍﳌﻤﺎﺭﺳﺔ ﻣﻊ ﺍﻻﻧﻄﺒﺎﻋﻴﺔ ﻟﻮﺣﺎﺕ ﺭﻳﻨﻮﺍﺭ ﺑﻮﺻﻔﻪ ﺍﳌﺜﺎﻝ ﺍﻻﺑﺮﺯ‪ .‬ﺍﻥ‬
‫ﺳﻴﺎﻕ ﺍﻟﺘﻐﻴﲑ ﺍﻟﺬﻱ ﺳﺎﺭ ﻋﻠﻴﻪ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻐﺮﺑـﻲ ﻣـﻊ ﺿـﻌﻒ ﻫﻴﻤﻨـﺔ‬
‫ﺍﻟﻔﻜﺮ ﺍﻟـﺪﻳﲏ‪ ،‬ﻣـﻊ ﺍﻟﺘﻮﺟـﻪ ﺍﻟﻌﻠﻤـﺎﻧﻲ ﺟﻌـﻞ ﺍﻟﻔـﻦ ﻳﺴـﺘﻐﲏ ﻋـﻦ‬
‫ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﻩ ﺍﻟﺜﻨﺎﺋﻴﺔ ﻣﻊ ﻏﻴﺎﺏ ﺍﳌﱪﺭ ﺍﻟﻘﻴﻤﻲ‪.‬‬

‫‪  ‬‬

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 ‫‪  ‬‬

‫‪  ‬‬
‫ﻳﺪﻭﺭ ﺍﳌﺴﺘﻮﻯ ﺍﻟﺜﺎﻧﻲ ﻓﻠﻚ ﺍﳌﻌﺎﻳﲑ ﺍﳉﻤﺎﻟﻴـﺔ ﺍﻟـﱵ ﻧﻈـﺮ ﻣـﻦ‬
‫ﺧﻼﳍﺎ ﺍﻟﻔﻨﺎﻥ ﺍﱃ ﻫﺬﺍ ﺍﳉﺴﺪ‪ ،‬ﻭﻫـﻞ ﺗﻐـﲑﺕ ﻣﻌـﺎﻳﲑ ﺍﳉﻤـﺎﻝ‬
‫ﺍﻟﻮﻗﺖ ﺍﳊﺎﺿﺮ‪ ،‬ﻓﻠﻢ ﻳﻌﺪ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﺍﳌﻜﺘﻨﺰ ﳝﺜﻞ ﻫﺬﻩ ﺍﻟﻨﻈﺮﺓ‬
‫ﻣــﻦ ﺧــﻼﻝ ﺍﻻﺣﺘﻔــﺎﺀ ﺍﻟﻮﺍﺿــﺢ ﺑﺎﳉﺴــﺪ ﺍﻟﺮﺷــﻴﻖ‪ ،‬ﺍﻭ ﺍﻻﺣــﺮﻯ‬
‫ﺍﻟﻨﺤﻴﻒ ﲟﻌﻨﻰ ﺍﺻـﺢ ﺍﻟﻮﻗـﺖ ﺍﳊﺎﺿـﺮ؟ ﺃﻧـﺎ ﺍﻋﺘﻘـﺪ ﺍﻥ ﺍﻟﺘﻮﺟـﻪ‬
‫ﺍﳌﻔﺮﻁ ﺍﺑﺮﺍﺯ ﺍﳉﺴﺪ ﺍﻟﻨﺤﻴﻞ ﺑﻮﺻﻔﻪ ﺍﳌﻌﻴـﺎﺭ ﺍﳌﻌﺎﺻـﺮ ﻟﻠﺠﻤـﺎﻝ‪،‬‬
‫ﻟــﻪ ﻃــﺎﺑﻊ ﺗﺴــﻮﻳﻘﻲ ﻣﺘﺠــﺎﻭﺏ ﻣــﻊ ﻣﺘﻄﻠﺒ ـﺎﺕ ﺍ‪‬ﺘﻤــﻊ ﺍﻟﻐﺮﺑــﻲ‪ .‬ﻣــﻦ‬
‫ﺍﳌﻌﻠﻮﻡ ﺍﻥ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻐﺮﺑﻴـﺔ ﺗﻌـﺎﻧﻲ ﻣـﻦ ﻧﺴـﺒﺔ ﻋﺎﻟﻴـﺔ ﺍﻟﺴـﻤﻨﺔ‬

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 ‫ﻟﺸﻴﻮﻉ ﺍﻻﻏﺬﻳﻪ ﺍﳉﺎﻫﺰﺓ‪ ،‬ﻭﻟﻜﻮﻥ ﻇﺎﻫﺮﺓ ﺍﻟﺴﻤﻨﺔ ﻇﺎﻫﺮﺓ ﻏﲑ ﺻﺤﻴﺔ‬
‫ﻭﺍﻻﻫــﻢ ﻣــﻦ ﻫــﺬﺍ ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻠﻤﺠﺘﻤــﻊ ﺍﻟﺮﺍﲰــﺎﱄ ﻣﻜﻠﻔــﺔ ﻣﺎﺩﻳــﺎ‬
‫ﻭﻣﻜﻠﻔــﺔ ﻋﻠــﻰ ﺻــﻌﻴﺪ ﺍﻟﻘــﻮﻯ ﺍﻟﻌﺎﻣﻠــﺔ‪ ،‬ﻓﻘــﺪ ﺍﻟﺘﻘــﺖ ﺗﻮﺟﻬــﺎﺕ‬
‫ﺍﺻــﺤﺎﺏ ﻣﺴﺘﺤﻀــﺮﺍﺕ ﺍﻟﺘﺠﻤﻴــﻞ ﻭﺍﻟﱰﺷــﻴﻖ ﻭﺧــﱪﺍﺀ ﺍﻟﺘﻐﺬﻳــﺔ‪،‬‬
‫ﻭﺁﺧﺮﻳﻦ ﺗﻮﺟـﻪ ﻣﻜﺜـﻒ ﻭﻳﺼـﻌﺐ ﻣﻘﺎﻭﻣﺘـﻪ ﺍﱃ ﺗﺴـﻮﻳﻖ ﺍﳉﺴـﺪ‬
‫ﺍﻟﻨﺤﻴﻒ ﺑﻮﺻﻔﻪ ﺍﳉﺴﺪ ﺍﳌﺜﺎﱄ ﺍﱃ ﺩﺭﺟﺔ ﺍﳖﻢ ﳒﺤﻮﺍ ﺍﻥ ﺗﻨﻈﺮ‬
‫ﺍﳌﺮﺍﺓ ﺍﳌﻜﺘﻨﺰﺓ ﺍﱃ ﻧﻔﺴﻬﺎ ﻧﻈﺮﺓ ﺍﺳﺘﻬﺠﺎﻥ ﻻﳖﻢ ﺍﺧﺮﺟﻮﻫﺎ ﺑﻮﺍﺳﻄﺔ‬
‫ﻣﺎﻛﻨﺔ ﺍﻋﻼﻣﻴﺔ ﺟﺒﺎﺭﺓ ﺧﺎﺭﺝ ﺩﺍﺋﺮﺓ ﺍﻟﻀﻮﺀ‪ ،‬ﺍﱃ ﺣﺪ ﺑـﺪﺍﺕ ﺗﻈﻬـﺮ‬
‫ﺣــﺎﻻﺕ ﻧﻔﺴــﻴﺔ ﻣﺮﺿــﻴﺔ ﻣﺜــﻞ ﻣــﺮﺽ ﻓﻘــﺪﺍﻥ ﺍﻟﺸــﻬﻴﺔ ﺍﻟﻌﺼــﺎﺑﻲ‬
‫)‪ ،(anorexia nervosa‬ﻭﺍﻟــﺬﻱ ﺳــﺒﺒﻪ ﻫــﻮﺱ ﺍﻟﺸــﺎﺑﺎﺕ ﺑﺎﻟﺮﺷــﺎﻗﺔ‬
‫ﺍﳌﺜﺎﻟﻴﺔ ﻭﺍﻟﺬﻱ ﺍﻭﺻﻞ ﺑﻌﺾ ﺍﻟﻔﺘﻴﺎﺕ ﺍﱃ ﺣﺎﻓﺔ ﻣﻮﺕ ﳏﻘﻖ!‬
‫ﻟﻘﺪ ﺗﻮﺳﻌﺖ ﺩﺍﺋﺮﺓ ﺍﻟﺘﺴﻮﻳﻖ ﺍﻻﻋﻼﻣـﻲ ﻭﺍﻟﻔـﲏ ﲠـﺬﺍ ﺍﻻﲡـﺎﻩ‪،‬‬
‫ﻓﻬﻨﺎﻙ ﺑﺮﺍﻣﺞ ﺗﺒﺜﻬﺎ ﺍﻟﻘﻨﻮﺍﺕ ﺍﻟﱪﻳﻄﺎﻧﻴﺔ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﻻ ﺍﳊﺼﺮ‬
‫ﺗﻨﺎﻗﺶ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ‪ ،‬ﻓﻠﻘﺪ ﺟﻌﻞ ﺍﻟﱰﻛﻴﺰ ﺍﻻﻋﻼﻣﻲ ﺑﺸﺎﻥ ﺍﻟﺮﺷﺎﻗﺔ‬
‫ﺑﻌﺾ ﺍﻟﻨﺴﺎﺀ ﳛﺴﻮﻥ ﺑﺎﳊﺮﺍﺟﺔ ﻟﻜـﻮﻥ ﺍﺟﺴـﺎﻣﻬﻢ ﻣﻜﺘﻨـﺰﺓ ﻭﺑﺎﻟﺘـﺎﱄ‬
‫ﳏﺮﺟﺔ‪ ،‬ﻓﻜﺎﻥ ﺍﻥ ﻇﻬﺮ ﺑﺮﻧـﺎﻣﺞ)ﻛﻴـﻒ ﺍﺑـﺪﻭ ﲨﻴﻠـﺔ ﻭﺍﻧـﺎ ﻋﺎﺭﻳـﺔ(‬
‫ﻭﻫﻮ ﳛﺎﻭﻝ ﺍﻥ ﻳﻮﺍﺳﻲ ﻫﺆﻻﺀ ﺍﻟﻨﺴﻮﺓ ﻭﻫﻦ ﲟﺮﺍﺣﻞ ﻋﻤﺮﻳﺔ ﳐﺘﻠﻔﺔ‬
‫ﻣﻦ ﺧﻼﻝ ﺍﺧﺘﻴﺎﺭ ﺍﻻﺯﻳﺎﺀ ﺍﻟﱵ ﺗﻘﻠـﻞ ﻗـﺪﺭ ﺍﻻﻣﻜـﺎﻥ ﺍﻻﳛـﺎﺀ ﲠـﺬﺍ‬
‫ﺍﻻﻛﺘﻨــﺎﺯ ﻣﻨــﺎﻃﻖ ﺍﻟﺼــﺪﺭ ﻭﺍﻻﺭﺩﺍﻑ‪ .‬ﻭﳛــﻴﻠﲏ ﻫــﺬﺍ ﺍﻻﻣــﺮ ﺍﱃ‬
‫ﻣﻼﺣﻈﺔ ﺍﺑﺪﺍﻫﺎ ﺍﻟﻨﺤﺎﺕ ﳏﻤﺪ ﻏﲏ ﺣﻜﻤﺖ ﺣﻮﻝ ﺟﺴﺪ ﺍﳌﺮﺍﺓ‬
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 ‫ﺑﺮﻧﺎﻣﺞ ﺑﺚ ﻣﻦ ﺗﻠﻔﺰﻳﻮﻥ ﺍﻟﻌﺮﺍﻕ ﻗﺒﻞ ﺳﻨﲔ ﻋـﺪﻩ‪ .‬ﺣـﲔ ﺍﺟـﺎﺏ‬
‫ﻋﻦ ﺭﺅﻳﺘﻪ ﳉﺴﺪ ﺍﳌﺮﺍﺓ ﻓﻘﺎﻝ ﺣﻴﻨﻬﺎ ﺍﻧﻪ ﻳﻌﺘﱪ ﺟﺴـﺪ ﺍﻟﺮﺟـﻞ ﺍﻛﺜـﺮ‬
‫ﲨﺎﻻ ﻭﺗﻨﺎﺳﻘﺎ ﻟﻐﻴﺎﺏ ﺍﻟﱪﻭﺯﺍﺕ ﺍﻟﻐﲑ ﲨﺎﻟﻴﺔ ﺟﺴﺪﻩ‪.‬‬
‫ﻗﺪ ﳚﻌﻠﻨﺎ ﺫﻟﻚ ﻧﻌﺘﻘﺪ ﺍﻥ ﺍﻟﺮﺷﺎﻗﺔ ﻟﻴﺴﺖ ﻣﻌﻴﺎﺭﺍ ﻓﻨﻴـﺎ ﺑﻘـﺪﺭ ﻣـﺎ‬
‫ﻫـﻮ ﻣﻌﻴـﺎﺭ ﺗﺴـﻮﻳﻘﻲ ﺗﻔﺮﺿـﻪ ﻃﺒﻴﻌـﺔ ﺍ‪‬ﺘﻤﻌـﺎﺕ ﺍﻟﻐﺮﺑﻴـﺔ‪ .‬ﻭﻟﻜــﻦ ﻻ‬
‫ﳚﺐ ﺍﻥ ﻧﻨﺴﻰ ﺣﺮﻛﺔ ﺍﳌﺴﺎﻭﺍﺓ ﺑﲔ ﺍﻟﺮﺟـﻞ ﻭﺍﳌـﺮﺍﺓ ﻭﺍﻟـﱵ ﺍﲣـﺬﺕ‬
‫ﻫﺬﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻃﺎﺑﻌﺎ ﺟﺪﻳـﺪﺍ ﻭﻫـﻮ ﻇـﺎﻫﺮﺓ ﺍﻟﻔﺘـﺎﺓ ﺍﻟﻮﻟـﺪ‪ ،‬ﻭﻫـﻮ‬
‫ﺗﻮﺟﻪ ﺗﺘﺒﻨﺎﻩ ﺑﻌﺾ ﻓﺘﻴﺎﺕ ﻫﺬﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ ﻟﻠﺘﺸـﺒﻪ ﺑﺎﻟﻔﺘﻴـﺎﻥ ﻣﻈﻬـﺮﺍ‬
‫ﻭﺳﻠﻮﻛﺎ‪ ،‬ﻭﻗﺪ ﻳﻜﻮﻥ ﳍﺬﺍ ﺩﻭﺭ ﻣﺴﺎﻫﻢ ﺗﻜﺮﻳﺲ ﺍﳌﻈﻬﺮ ﺍﻻﻧﺜـﻮﻱ‬
‫ﺍﻟﺮﺷﻴﻖ‪ .‬ﻣﻊ ﺫﻟﻚ ﻻﳝﻜﻦ ﺍﻥ ﻧﻨﻈـﺮ ﺍﱃ ﻣﻌﻴـﺎﺭ ﺍﻟﺮﺷـﺎﻗﺔ ﺍ‪‬ﺘﻤـﻊ‬
‫ﺍﻟﻐﺮﺑــﻲ ﺍﳌﻌﺎﺻــﺮﺓ ﻣــﻦ ﺧــﻼﻝ ﺍﳉﺴــﺪ ﺍﳌﻔﻀــﻞ ﻟــﺪﻯ ﻣﺼــﻤﻤﻲ‬
‫ﺍﻻﺯﻳﺎﺀ‪ ،‬ﻻﻥ ﻫﺬﺍ ﻻ ﻳﻌﻜﺲ ﻛﻞ ﺍﻟﺼﻮﺭﺓ‪ ،‬ﻻﻥ ﻣﻦ ﻏﲑ ﺍﳌﺴﺘﺒﻌﺪ‬
‫ﺍﻥ ﻳﻜﻮﻥ ﺍﻟﻘﺼﺪ ﻋﺮﻭﺽ ﺍﻻﺯﻳﺎﺀ ﺍﻥ ﻳﻜﻮﻥ ﺍﻟﱰﻛﻴﺰ ﻋﻠﻰ ﻧﻌﻮﻣﺔ‬
‫ﻭﺍﻧﺎﻗــﺔ ﺍﳌﻈﻬــﺮ ﺍﻻﻧﺜــﻮﻱ ﻣــﻊ ﺗﻘﻠﻴــﻞ ﺍﻻﳛــﺎﺀ ﺍﳊﺴــﻲ ﻗــﺪﺭ ﺍﻻﻣﻜــﺎﻥ‪.‬‬
‫ﻳﺘﻮﺍﺯﻯ ﺫﻟﻚ ﻣﻊ ﺗﻐﲑ ﻓﻠﺴﻔﺔ ﺗﺼـﻤﻴﻢ ﺍﻻﺯﻳـﺎﺀ ﻣـﻦ ﺍﻛﺴـﺎﺀ ﺍﳉﺴـﺪ‬
‫ﺍﻻﻧﺜﻮﻱ ﲟﺎ ﻳﻠﻴﻖ ﺍﱃ ﻛﺸﻒ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﲟﺎ ﻳﻠﻴﻖ‪.‬‬
‫ﻫﺬﺍ ﻣﻦ ﻧﺎﺣﻴـﺔ ﻭﻣـﻦ ﻧﺎﺣﻴـﺔ ﺍﺧـﺮﻯ ﻓـﺎﻥ ﻫﻨـﺎﻙ ﺗﻮﺟـﻪ ﻳﻜـﺎﺩ ﳝﺜـﻞ‬
‫ﺻﺮﻋﺔ ﻟﺪﻯ ﺑﻌﺾ ﺍﻟﻨﺴﺎﺀ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻐﺮﺑﻲ ﳊﻘـﻦ ﻣـﺎﺩﺓ ﺍﻟﺒﻮﺗـﻮﻛﺲ‬
‫ﻟﻐﺮﺽ ﺗﻜﺒﲑ ﺣﺠﻢ ﺍﻟﺜﺪﻱ ﺑﺎﻋﺘﺒﺎﺭﻩ ﻣﻦ ﺍﺑﺮﺯ ﻋﻨﺎﺻﺮ ﺍﳉﻤﺎﻝ ﺍﳊﺴـﻲ‬
‫ﻟﺪﻯ ﺍﳌﺮﺍﺓ‪ ،‬ﻛﻤـﺎ ﺍﻥ ﻫﻨـﺎﻙ ﺗﻮﺟﻬـﺎ ﺍﻗـﻞ ﳓـﻮ ﺣﻘـﻦ ﻣﻨﻄﻘـﺔ ﺍﻻﺭﺩﺍﻑ‬
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 ‫ﻟــﻨﻔﺲ ﺍﻟﻐــﺮﺽ‪ .‬ﻭﻫﻨــﺎﻙ ﺗﻮﺟــﻪ ﻣــﻮﺍﺯ ﳌﻮﺍﺟﻬــﺔ ﺗﻠــﻚ ﺍﻟﻨﻈــﺮﺓ ﺍﻟﺴــﻠﺒﻴﺔ‬
‫ﻟﻠﺠﺴــﺪ ﺍﳌﻤﺘﻠــﻲﺀ ﻣــﻦ ﺧــﻼﻝ ﲣﺼــﻴﺺ ﳏــﻼﺕ ﺧﺎﺻــﺔ ﻟﻼﺯﻳــﺎﺀ‬
‫ﺍﻟﻨﺴﺎﺋﻴﺔ ﻳﻜﺘﺐ ﻋﻠﻰ ﻻﻓﺘﺎﲥﺎ ﻣﺜﻼ ﻋﺒﺎﺭﺓ)ﻛﺒﲑﺓ ﻭﲨﻴﻠﻪ(‪.‬‬
‫ﻣــﻦ ﺧــﻼﻝ ﻫــﺬﺍ ﻛﻠــﻪ ﻻ ﳝﻜــﻦ ﺍﻥ ﻧﻨﻈــﺮ ﺍﱃ ﻓﻜــﺮﺓ ﺍﻟﺮﺷــﺎﻗﺔ‬
‫ﺍ‪‬ﺘﻤﻊ ﺍﻟﻐﺮﺑﻲ ﻧﻈﺮﺓ ﻣﻮﺍﺯﻳﺔ ﻟﻨﻈﺮﺓ ﺍﻻﻛﺘﻨﺎﺯ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﳊﻀﺎﺭﺍﺕ‬
‫ﻭﲡﻠﻴﺎﲥﺎ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻻﻥ ﺍﻟﻐﺮﺏ ﳎﺘﻤـﻊ ﻣـﺘﻐﲑ ﺑﻄﺒﻌـﻪ ﻭﻻ ﻧﺴـﺘﺒﻌﺪ ﺍﻥ‬
‫ﺗﺘﻐﲑ ﻣﻌﺎﻳﲑ ﺍﳉﻤـﺎﻝ ﺑـﺘﻐﲑ ﻣﺘﻄﻠﺒـﺎﺕ ﺍﳊﻴـﺎﺓ ﺍﳌﺘﺴـﺎﺭﻋﺔ ﺍﻟـﻮﺗﲑﺓ ﺍﻟـﱵ‬
‫ﺗﻌﻴﺸﻬﺎ ﻫﺬﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ‪ .‬ﻭﺍﻟﺘﺼﻮﺭ ﺍﳊﺎﱄ ﳓﻮ ﺍﳉﺴﺪ ﺍﳌﻜﺘﻨﺰ ﻳﱰﻛﺰ‬
‫ﻛﻮﻧـــﻪ ﻇـــﺎﻫﺮﺓ ﻏـــﲑ ﺍﻗﺘﺼـــﺎﺩﻳﺔ ﻭﻣﺮﺷـــﺤﺔ ﻻﻥ ﺗﻜـــﻮﻥ ﺫﺍﺕ ﻋﻮﺍﻗـــﺐ‬
‫ﺻﺤﻴﺔ‪ ،‬ﳍﺎ ﻋﻮﺍﻗﺒﻬﺎ ﺍﳌﺎﺩﻳﺔ ﻭﺍﻻﻧﺘﺎﺟﻴﺔ ﻟﺪﻯ ﻫﺬﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ‪.‬‬
‫ﻟﻘــﺪ ﺭﻛــﺰﺕ ﻣﺘــﺎﺑﻌﱵ ﺍﻟﻨﻘﺪﻳــﺔ ﻫــﺬﻩ ﻋﻠــﻰ ﺍﳌﺴــﺘﻮﻯ ﺍﻻﻭﻝ‬
‫ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳉﺴﺪ ﺍﻻﻧﺜﻮﻱ ﺍﻟﻘﻤﺎﺷﺔ ﻣﻦ ﻋﺼﺮ ﺍﻟﻨﻬﻀﺔ ﺣﺘـﻰ‬
‫ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ‪ ،‬ﻭﻻ ﳝﻜﻦ ﺍﻻﺩﻋﺎﺀ ﺑﺎﻥ ﻫﺬﻩ ﺍﳌﺘﺎﺑﻌﺔ ﻗﺼﺪﺕ‬
‫ﺍﻟﺘﻐﻄﻴﺔ ﻋﻠﻰ ﳎﻤﻞ ﻋﻨﺎﺻﺮ ﺍﳌﻮﺿـﻮﻉ ﻭﻟﻜﻨـﻬﺎ ﺣﺎﻭﻟـﺖ ﺍﻥ ﺗﺆﺷـﺮ‬
‫ﺍﺑﺮﺯ ﺍﳌﺮﺍﺣﻞ ﻛﻤﺎ ﺍﺭﻯ‪ ،‬ﻭﺣﺎﻭﻟﺖ ﺍﻟﺴﻌﻲ ﻭﺭﺍﺀ ﻣﻌﺮﻓﺔ ﺳﺮ ﺍﻟﺜﻨﺎﺋﻴﺔ‬
‫ﺍﻟــﱵ ﺑــﺮﺯﺕ ﺗﻌﺎﻣــﻞ ﺍﻟﻔــﻦ ﻣــﻊ ﺍﳉﺴــﺪ ﺍﻻﻧﺜــﻮﻱ‪ .‬ﺍﻣــﺎ ﺍﳌﺴــﺘﻮﻯ‬
‫ﺍﻟﺜﺎﻧﻲ ﻓﺎﻋﺘﻘﺪ ﺑﺎﻥ ﻫﻨﺎﻙ ﺟﻮﺍﻧﺐ ﻏﲑ ﻓﻨﻴﺔ ‪ ،‬ﻭﻫـﻲ ﺗﺴـﻮﻳﻘﻴﺔ ﻋﻠـﻰ‬
‫ﺍﻻﻏﻠﺐ ﲢﺎﻭﻝ ﺍﻥ ﺗﻮﻇـﻒ ﺍﻻﻋـﻼﻡ ﺑﺎﲡـﺎﻩ ﲨـﺎﱄ ﻣـﺮﺑﺢ ﺍﻥ ﺻـﺢ‬
‫ﺍﻟﻘﻮﻝ‪ ،‬ﻭﺍﻟﺬﻱ ﻗﺪ ﳝﺜﻞ ﺻـﺮﻋﺔ ﻻ ﺗﺴـﺘﻤﺮ ﻣـﻊ ﻣﻌﻄﻴـﺎﺕ ﺍﻟﺘﻐـﻴﲑ‬
‫ﺍﳌﺴﺘﻤﺮ ﺍﻟﺬﻱ ﺗﺸﻬﺪﻩ ﺍ‪‬ﺘﻤﻌﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ‪.‬‬
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 ‫‪‬‬
‫‪ ‬‬

‫ﻫﻴﻤﻦ ﺍﳉﺴﺪ ﺍﻻﻧﺴﺎﻧﻲ ﻋﻠﻰ ﻣﺴﺎﺣﺔ ﺍﻟﻘﻤﺎﺷﺔ ﺑﺸـﻜﻞ ﱂ ﻳـﺘﺢ‬

‫ﻟﺒﻘﻴــﺔ ﻣﻔــﺮﺩﺍﺕ ﻭﻣﻜﻮﻧــﺎﺕ ﺍﻟﻠﻮﺣــﺔ ﺍﻟﺘﺸــﻜﻴﻠﻴﺔ ﻭﻟﻜــﻦ ﺍﻟﻔــﻦ ﱂ‬
‫ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳉﺴﺪ ﺍﻻﻧﺴﺎﻧﻲ ﻣﻦ ﺯﺍﻭﻳﺔ ﻭﺍﺣﺪﺓ ﻭﻟﻜﻨـﻪ ﺗﻌﺎﻣـﻞ ﻣﻌـﻪ‬
‫ﻭﻣﻦ ﺧـﻼﻝ ﻛﻮﻧـﻪ ﺑﻨﻴـﺔ ﺣﺎﻛﻤـﺔ ﺑﻮﺻـﻔﻪ ﳝﺜـﻞ ﺍﻟﻮﺟـﻮﺩ ﺍﻻﻧﺴـﺎﻧﻲ‬
‫ﻛﻤﺎ ﻳﺮﺍﻩ ﻛﻞ ﻓﻨﺎﻥ ﻣﻦ ﺯﺍﻭﻳﺔ ﺧﺎﺻﺔ)‪.(١‬‬
‫ﻭﻟﻜﻦ ﺍﻟﺴﺆﺍﻝ ﺍﻟﺬﻱ ﺍﻇﻨﻪ ﱂ ﻳﻄﺮﺡ ﻟـﻼﻥ ﻫـﻮ ﻫـﻞ ﰎ ﺍﻟﺘﻌﺎﻣـﻞ‬
‫ﻣﻊ ﺍﳉﺴﺪ ﺑﻮﺻﻔﺔ ﺑﻨﻴﺔ ﺗﺎﺑﻌﺔ؟ ﺍﻱ ﺍﻧﻪ ﱂ ﻳﻜﻦ ﻣﺮﻛﺰ ﺍﻟﺮﺅﻳﺔ ﺍﻟﻔﻨﻴﺔ‬
‫ﺍﻟﻠﻮﺣﺔ‪ .‬ﺍﻱ ﻛﺎﻥ ﻭﺟﻮﺩﻩ ﺑﺪﻻﻟﺔ ﺍﻟﺮﺅﻳﺔ ﻭﻟﻴﺲ ﻣﻦ ﺧﻼﻝ ﻛﻮﻧـﻪ‬
‫ﺍﻟﺮﺅﻳﺔ ﺫﺍﲥﺎ‪ .‬ﻟﻐﺮﺽ ﺍﻻﺟﺎﺑـﺔ ﻋﻠـﻰ ﻫـﺬﺍ ﺍﻟﺴـﺆﺍﻝ ﳚـﺐ ﺍﻥ ﻧﻌـﺮﻑ‬
‫ﻛﻴــﻒ ﺗﻌﺎﻣــﻞ ﺍﻟﻔﻨــﺎﻥ ﻣــﻊ ﺍﳉﺴــﺪ ﺍﻻﻧﺴــﺎﻧﻲ ﻭﻫــﻮ ﻳﻘﺪﻣــﻪ ﺑﻮﺻــﻔﻪ‬

‫‪‬‬
‫‪‬‬

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 ‫ﻣﺮﻛﺰﺍ ﻟﺮﺅﻳﺘﻪ ﺍﻟﻔﻨﻴـﺔ‪ .‬ﻫﻨـﺎﻙ ﻣـﺎ ﳝﻜـﻦ ﺍﻋﺘﺒـﺎﺭﻩ ﺳـﻴﺎﻗﺎ ﻋﺎﻣـﺎ ﻫـﺬﺍ‬
‫ﺍﻟﺸﺎﻥ‪ .‬ﻳﺘﻤﺜﻞ ﻫﺬﺍ ﺍﻟﺴﻴﺎﻕ ﺑﺎﻥ ﺍﻟﻔﻨﺎﻥ ﻋﻨﺪﻣﺎ ﻳﻘﺪﻡ ﺍﳉﺴﺪ ﺑﻮﺻـﻔﺔ‬
‫ﺑﻨﻴﺔ ﺣﺎﻛﻤﺔ ﺍﻭ ﻣﺮﻛﺰﺍ ﻟﺮﺅﻳﺘﻪ ﺍﻟﻔﻨﻴﺔ‪ ،‬ﻓﺎﻧﻪ ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﻈﻬﺮﻩ ﻋﺎﺭﻳﺎ ﺍﻭ‬
‫ﺷﺒﻪ ﻋﺎﺭ‪ ،‬ﺍﻭ ﺍﻧﻪ ﻳﻈﻬﺮﻩ ﺑﺘﺸﻮﻫﺎﺕ ﻣﻘﺼﻮﺩﺓ ﻣﻈﻬﺮﻩ ﺍﻟﻌﺎﻡ ﺍﻭ‬
‫ﻣﻼﻣﺢ ﻭﺟﻬﻪ ﻟﻜـﻲ ﻳﺴـﺤﺐ ﺍﻧﺘﺒـﺎﻩ ﺍﳌﺘﻠﻘـﻲ ﺍﻟﻴـﻪ ﻭﳝﻨﺤـﻪ ﺍﻟﻔﺮﺻـﺔ‬
‫ﻟﻠﻨﻈﺮ ﺍﱃ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺧﻼﻝ ﻋﻼﻗﺔ ﻣﻔﺮﺩﺍﲥﺎ ﲠﺬﺍ ﺍﳉﺴﺪ ﻭﻛﻴﻒ‬
‫ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﳉﺴﺪ ﳏﻮﺭﺍ ﻟﻮﺟﻮﺩ ﺑﻘﻴﺔ ﺍﻟﻌﻨﺎﺻﺮ ﻭﻟﻴﺲ ﺍﻟﻌﻜﺲ‪.‬‬
‫ﻭﺑﺎﻟﺘﺎﱄ ﻓـﻴﻤﻜﻦ ﺍﻋﺘﺒـﺎﺭ ﺍﳉﺴـﺪ ﺍﳌﻐﻄـﻰ ﻭﺍﳋـﺎﱄ ﻣـﻦ ﺍﻟﻌﻴـﻮﺏ‬
‫ﺍﻟﺸﻜﻠﻴﺔ ﺍﻟﻈﺎﻫﺮﺓ ﺑﻮﺻﻔﻪ ﺑﻨﻴﺔ ﺗﺎﺑﻌﺔ ﺍﻏﻠﺐ ﺍﻻﺣﻴﺎﻥ‪ .‬ﻭﻫﻨﺎ ﻋﻠﻴﻨـﺎ‬
‫ﺍﻥ ﳓﺪﺩ ﻣﺎﻧﻌﻨﻴﻪ ﺑﺎﻟﺒﻨﻴﺔ ﺍﻟﺘﺎﺑﻌﺔ ﻟﻠﺠﺴﺪ‪ .‬ﻣﺎ ﺍﻗﺼﺪﻩ ﺑﺎﻟﺒﻨﻴﺔ ﺍﻟﺘﺎﺑﻌﺔ‪،‬‬
‫ﻫـﻮ ﺍﻟﻄﺮﻳﻘــﺔ ﺍﻟــﱵ ﻳﻜـﻮﻥ ﻓﻴﻬــﺎ ﺍﳉﺴــﺪ ﳎـﺮﺩ ﻫﻴﻜــﻞ ﺗﻌﻠــﻖ ﻋﻠﻴــﻪ‬
‫ﺍﳌﻼﺑﺲ ﻭﻟﻮﺍﺣﻘﻬﺎ‪ .‬ﺗﺮﻭﻱ ﺍﳌﺼﺎﺩﺭ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﻥ ﺍﻟﻔﻨﺎﻥ ﺟـﺎﻙ ﻟـﻮﻳﺲ‬
‫ﺩﻳﻔﻴﺪ ﻋﻨﺪﻣﺎ ﻗﺎﻡ ﺑﺮﺳﻢ ﻟﻮﺣـﺔ ﺍﻟﺘﻨﺼـﻴﺐ ﻟﻨـﺎﺑﻠﻴﻮﻥ)ﻭﻫـﻲ ﻣﻌﺮﻭﺿـﺔ‬
‫ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ(ﻛﺎﻥ ﻳﻘﻮﻡ ﺑﺘﺨﻄﻴﻂ ﺃﺟﺴﺎﺩ ﺍﻟﺸﺨﻮﺹ ﺍﻭﻻ ﻗﺒﻞ‬
‫ﺍﻥ ﻳﻜﻤــﻞ ﺍﻟﻌﻤــﻞ ﻣــﻦ ﺧــﻼﻝ ﺭﺳــﻢ ﺗﻔﺎﺻــﻴﻞ ﺍﳌﻼﺑــﺲ ﻭﺍﳊﻠــﻲ‬
‫ﻋﻠﻴﻬﺎ‪ .‬ﻭﻫﻨﺎﻙ ﲣﻄﻴﻄﺎﺕ ﻋﺪﻳﺪﻩ ﺭﲰﻬـﺎ ﺩﻳﻔﻴـﺪ ﻻﺟﺴـﺎﺩ ﺷـﺨﻮﺹ‬
‫ﺍﻟﻠﻮﺣﺔ ﻋﺎﺭﻳﺔ ﻭﺑﺎﻭﺿـﺎﻉ ﳐﺘﻠﻔـﺔ ﻟﻴﺨﺘـﺎﺭ ﻣﻨـﻬﺎ ﺍﻟﻮﺿـﻌﻴﺔ ﺍﻻﻧﺴـﺐ‬
‫ﻟﻠﺸﺨﺼﻴﺔ ﺍﳌـﺮﺍﺩ ﻭﺿـﻌﻬﺎ ﺩﺍﺧـﻞ ﺍﻃـﺎﺭ ﺍﻟﻠﻮﺣـﺔ‪ .‬ﺟـﺪﻳﺮ ﺑﺎﻟـﺬﻛﺮ ﺍﻥ‬
‫ﻟﻮﺣﺔ ﺗﻨﺼﻴﺐ ﻧﺎﺑﻠﻴﻮﻥ ﻫﻲ ﻟﻮﺣﺔ ﻣﺘﺨﻴﻠﺔ ﺍﻟﻜﺜﲑ ﻣﻦ ﺗﻔﺎﺻﻴﻠﻬﺎ‬
‫ﻭﺍﻥ ﺷﺨﻮﺻــــﺎ ﻣﺮﺳــــﻮﻣﺔ ﻫــــﺬﻩ ﺍﻟﻠﻮﺣــــﺔ ﱂ ﲢﻀــــﺮ ﺣﻔــــﻞ‬
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 ‫ﺍﻟﺘﻨﺼــﻴﺐ‪ ،‬ﻛﻤــﺎ ﺍﻥ ﻣﻼﻣــﺢ ﺟــﻮﺯﻳﻔﲔ ﺯﻭﺟــﺔ ﻧــﺎﺑﻠﻴﻮﻥ ﱂ ﺗﻜــﻦ‬
‫ﺣﻘﻴﻘﻴﺔ ﻓﻘﺪ ﺭﲰﻬﺎ ﺩﻳﻔﺪ ﺍﺻﻐﺮ ﺳﻨﺎ ﻭ ﳊﻈﺔ ﺳﻌﺎﺩﺓ ﻏﺎﻣﺮﺓ ﻭﻫﻮ‬
‫ﻏﲑ ﻣﺎ ﺗﺆﻛﺪ ﻣﺼﺎﺩﺭ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﺫﻟﻚ ﺍﳊﺪﺙ‪.‬‬

‫‪  ‬‬

‫ﺍﻥ ﺍﳉﺴــﺪ ﺍﻻﻧﺴــﺎﻧﻲ ﺑﻮﺻــﻔﻪ ﺑﻨﻴــﺔ ﺗﺎﺑﻌــﺔ ﻻ ﻳﻈﻬــﺮ ﺍﻟﻠﻮﺣــﺔ‬

‫ﻋﻨﺼﺮﺍ ﲨﺎﻟﻴﺎ ﺍﻭ ﻣـﺜﲑﺍ ﻟﻠﻐﺮﻳـﺰﺓ ﻭﻻ ﻳﻈﻬـﺮ ﺑﻮﺻـﻔﻪ ﻣﺆﺷـﺮﺍ ﻋﻠـﻰ‬
‫ﺣﺎﻟﺔ ﻣﻌﺎﻧـﺎﺓ ﺃﻭ ﺭﺅﻳـﺔ ﺇﻧﺴـﺎﻧﻴﺔ‪ ،‬ﻛﻤـﺎ ﻻ ﻳﻈﻬـﺮ ﻣـﻦ ﺧـﻼﻝ ﺗﺸـﻮﻳﻪ‬
‫ﻳﻘﺼــﺪ ﻣــﻦ ﺧﻼﻟــﻪ ﺍﻟﻔﻨــﺎﻥ ﺍﻟﺘــﺪﻟﻴﻞ ﻋﻠــﻰ ﺑﻨﻴــﺔ ﻭﺟﻮﺩﻳــﺔ ﺗﻌﻜــﺲ‬
‫ﻋﻼﻗﺔ ﺍﳉﺴﺪ ﺑﺒﻘﻴﺔ ﻣﻜﻮﻧـﺎﺕ ﺍﻟﺮﺅﻳـﺔ ﺍﻟﻔﻨﻴـﺔ‪ .‬ﺍﻥ ﺍﳉﺴـﺪ ﺍﻻﻧﺴـﺎﻧﻲ‬
‫ﺑﻨﻴﺘﻪ ﺍﻟﺘﺎﺑﻌﺔ ﳝﺜﻞ ﻭﺟـﻮﺩ ﳏﺎﻳـﺪﺍ ﻻ ﻳﻌﻄـﻲ ﺩﻻﻟـﺔ ﻓﻨﻴـﺔ ﺍﻱ ﺍﻥ‬
‫ﺍﻧﻌﻜﺎﺱ ﻭﺟﻮﺩﻩ ﻋﻠﻰ ﻭﻋﻲ ﺍﳌﺘﻠﻘﻲ ﻻ ﻳﺘﺠـﺎﻭﺯ ﺣﻘﻴﻘﺘـﻪ ﺍﻟﻔﻴﺰﻳﺎﺋﻴـﺔ‬

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 ‫ﺍ‪‬ﺮﺩﺓ ﻣﻦ ﺍﻱ ﺗﺎﻭﻳﻞ ﺍﻭ ﲢﺮﻳﻒ‪.‬‬
‫ﺍﻟﺴﺆﺍﻝ ﺍﻟﺜﺎﻧﻲ ﺍﻟﺬﻱ ﳝﻜﻦ ﺍﻥ ﻧﻄﺮﺣﻪ ﺍﻻﻥ ﻫﻮ‪ ،‬ﺍﻳﻦ ﳝﻜـﻦ ﺍﻥ‬
‫ﳒﺪ ﺍﳉﺴﺪ ﺍﻻﻧﺴـﺎﻧﻲ ﺑﺒﻨﻴﺘـﻪ ﺍﻟﺘﺎﺑﻌـﺔ ﺍﻟﻠﻮﺣـﺎﺕ ﺍﻟﻔﻨﻴـﺔ‪ .‬ﻫﻨﺎﻟـﻚ‬
‫ﻣﺜـــﺎﻻﻥ ﺑـــﺎﺭﺯﺍﻥ ﳝﻜـــﻦ ﺗﻨﺎﻭﳍﻤـــﺎ‪ .‬ﺍﳌﺜـــﺎﻝ ﺍﻻﻭﻝ ﻫـــﻲ ﺍﻟﻠﻮﺣـــﺎﺕ‬
‫ﺍﻟﺸﺨﺼــﻴﺔ ‪ portrait paintings‬ﻭﺍﻟــﱵ ﻛﺎﻧــﺖ ﺍﻟﻜــﺜﲑ ﻣــﻦ‬
‫ﺍﻻﺣﻴــﺎﻥ ﺫﺍﺕ ﻃــﺎﺑﻊ ﺗــﻮﺛﻴﻘﻲ ﳛــﺎﻭﻝ ﺍﻥ ﻳﺮﺻــﺪ ﻛــﻞ ﻣﺎﻟــﻪ ﻋﻼﻗــﺔ‬
‫ﺑﻮﺿـــﻌﻴﺔ ﻭﻣﻜﺎﻧـــﺔ ﺍﻟﺸﺨﺼـــﻴﺔ ﺍﳌﺮﺳـــﻮﻣﺔ ﻭﺍﻟـــﱵ ﲤﺜـــﻞ ﺍﳌﻘﺎﺑـــﻞ‬
‫ﻋﺼــﺮﻧﺎ ﺍﳊﺎﺿــﺮ‪ .‬ﺍﻣــﺎ ﺍﳌﺜــﺎﻝ‬ ‫ﺍﳌﻮﺿــﻮﻋﻲ ﻟﻠﺼــﻮﺭﺓ ﺍﻟﻔﻮﺗــﻮﻏﺮﺍ‬
‫ﺍﻟﺜﺎﻧﻲ ﻓﻬﻮ ﺍﻟﻔﻦ ﺍﻻﻧﻄﺒﺎﻋﻲ‪.‬‬

‫‪  ‬‬

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 ‫ﲢـ ـﺎﻭﻝ ﺍﻟﻠﻮﺣـــﺎﺕ ﺍﻟﺸﺨﺼـــﻴﺔ ﺍﻥ ﺗـــﱪﺯ ﺍﻟﺸﺨﺼـــﻴﺔ ﺍﳌﺮﺳـــﻮﻣﺔ‬
‫ﺑﻮﺻــﻔﻬﺎ ﺩﻻﻟــﺔ ﺍﺟﺘﻤﺎﻋﻴــﺔ ﻣــﻦ ﺧــﻼﻝ ﺍﺧﺘﻴــﺎﺭ ﻣــﺪﺭﻭﺱ ﻟﻠﺨﻠﻔﻴــﺔ‬
‫ﻭﺍﻟﺸﺨﻮﺹ ﺍﳌﺼﺎﺣﺒﺔ ﻭﺍﻻﺯﻳﺎﺀ ﺍﻟﱵ ﺗﻌﻜﺲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺰﻣﻨﻴﺔ ﺍﻟـﱵ‬
‫ﺭﲰﺖ ﻓﻴﻬﺎ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ‪ .‬ﻭﻟﻜﻦ ﻫﻨﺎﻙ ﺍﺳﺘﺜﻨﺎﺀﺍﺕ ﳚﺐ ﺍﻻﺷـﺎﺭﺓ‬
‫ﺍﻟﻴﻬﺎ ﳎﺎﻝ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺸﺨﺼﻴﺔ ﻫﺬﻩ ﺍﻻﺳﺘﺜﻨﺎﺀﺍﺕ ﺍﺳـﺘﻄﺎﻋﺖ‬
‫ﺍﻥ ﲤﻨﺢ ﺍﳉﺴﺪ ﻫﺎﻣﺸﺎ ﻟﻠﻈﻬﻮﺭ ﺑﻞ ﻭﻣﺮﻛﺰ ﺭﺅﻳﺔ ﻣﻮﺍﺯ ﻭﻟﻴﺲ ﳎـﺮﺩ‬
‫ﺑﻨﻴــﺔ ﺗﺎﺑﻌــﺔ‪ .‬ﻣــﻦ ﻫــﺬﻩ ﺍﻻﺳــﺘﺜﻨﺎﺀﺍﺕ ﻫــﻲ ﺍﻟﻠﻮﺣــﺎﺕ ﺍﻟﺸﺨﺼــﻴﺔ‬
‫ﻟﻠﻔﻨﺎﻧﲔ ﺍﻧﻔﺴﻬﻢ ﻭﺍﻟﱵ ﳛﺎﻭﻝ ﻓﻴﻬﺎ ﺍﻟﻔﻨﺎﻥ ﻣﻦ ﺍﻥ ﳚﻌﻞ ﻣﻦ ﺍﻟﻮﺟﻪ‬
‫)ﻭﺟﻪ ﺍﻟﻔﻨﺎﻥ( ﺻﻮﺭﺓ ﻣﻌﱪﺓ ﻋﻦ ﺭﺅﻳﺘﻪ ﺍﻟﻔﻨﻴـﺔ‪ ،‬ﺍﻱ ﺍﻧـﻪ ﳜـﺮﺝ ﻣـﻦ‬
‫ﺍﻃﺎﺭ ﺍﻟﺘﻮﺛﻴﻖ ﺍﱃ ﻓﻀﺎﺀ ﺍﻟﺮﺅﻳﺔ ﻣـﻦ ﺧـﻼﻝ ﺍﺧﺘﻴـﺎﺭ ﻣﻼﻣـﺢ ﻭﺟﻬـﻪ‬
‫ﻭﺍﳛﺎﺀﺍﺗﻪ ﻭﻃﺮﻳﻘﺔ ﻧﻈﺮﺗﻪ ﻟﻴﻜﻮﻥ ﺍﻟﻮﺟﻪ ﺍﳌﺮﺳﻮﻡ ﺧﻼﺻﺔ ﺭﺅﻳﺔ ﻓﻨﻴـﺔ‬
‫ﻛﺎﻣﻠﺔ‪ ،‬ﻛﻤـﺎ ﻟﻮﺣـﺔ ﺭﻣﱪﺍﻧـﺪﺕ ﻋﻠـﻰ ﺳـﺒﻴﻞ ﺍﳌﺜـﺎﻝ ﻻ ﺍﳊﺼـﺮ‪.‬‬
‫ﻛﻤﺎ ﺍﻥ ﻫﻨﺎﻟﻚ ﻟﻮﺣﺎﺕ ﺷﺨﺼﻴﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻔﻨﺎﻧﲔ ﺣﺎﻭﻟﻮﺍ ﻣﻦ‬
‫ﺧﻼﳍــﺎ ﺍﺳــﻘﺎﻁ ﺭﺅﻳﺘــﻬﻢ ﺍﻟﻔﻨﻴــﺔ ﻣــﻦ ﺧــﻼﻝ ﻣﻼﻣــﺢ ﺍﺷــﺨﺎﺹ‬
‫ﺭﲰﻮﻫـــﺎ ﻭﻣـــﻦ ﺍﻻﻣﺜﻠـــﻪ ﺍﻻﺑـــﺮﺯ ﻫـــﺬﺍ ﺍﻻﻣـــﺮ ﻟﻮﺣـــﺔ ﺍﳌﻮﻧـــﺎﻟﻴﺰﺍ‬
‫ﻟﺪﺍﻓﻨﺸﻲ ﻭﻟﻮﺣﺔ ﺍﻟﻔﺘﺎﺓ ﺫﺍﺕ ﺍﻟﻘﺮﻁ ﻟﻠﻔﻨﺎﻥ ﻓﲑﻣﻴﲑ‬

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   

  



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 ‫ﺍﳌﺜﺎﻝ ﺍﻟﺜﺎﻧﻲ ﻟﻠﺠﺴﺪ ﺑﻮﺻـﻔﺔ ﺑﻨﻴـﺔ ﺗﺎﺑﻌـﺔ ﺍﻟﻠﻮﺣـﺔ ﻫـﻮ ﺍﻟﻔـﻦ‬
‫ﺍﻻﻧﻄﺒﺎﻋﻲ‪ .‬ﺗﺘﻤﻴﺰ ﻟﻮﺣﺎﺕ ﺍﻟﻔﻦ ﺍﻻﻧﻄﺒﺎﻋﻲ ﺑﺎﳖﺎ ﺣﺎﻭﻟﺖ ﺍﻥ ﺗﺮﺳﻢ‬
‫ﺍﻟﻌﻼﻗﺎﺕ ﺍﶈﻴﻄﺔ ﺑﺎﻟﻮﺟﻮﺩ ﺍﻟﺒﺸﺮﻱ ﻭﺗﺎﺛﲑﻫﺎ ﻋﻠﻴﻪ‪ ،‬ﻭﱂ ﺗﻔﻌﻞ ﺫﻟﻚ‬
‫ﻓﻘﻂ ﻣﻦ ﺧﻼﻝ ﺩﺭﺍﺳﺔ ﺗﺎﺛﲑ ﻋﻨﺎﺻﺮ ﺍﻻﺿـﺎﺀﺓ ﻭﺍﻟﻌﻮﺍﻣـﻞ ﺍﻟﻄﺒﻴﻌﻴـﺔ‬
‫ﺍﻻﺧــﺮﻯ ﻣــﻦ ﺧــﻼﻝ ﲤــﺎﺱ ﻣﺒﺎﺷــﺮ ﺑــﲔ ﺍﻟﻔﻨــﺎﻥ ﻭﻫــﻮ ﻳﺮﺳــﻢ ﻋﻠــﻰ‬
‫ﺍﳍــﻮﺍﺀ ﺍﻟﻄﻠــﻖ ﻭﺑــﲔ ﺍﳌﺸــﺎﻫﺪ ﺍﻭ ﺗﻔﺎﺻــﻴﻞ ﺍﳌﺸــﺎﻫﺪ ﺍﻟــﱵ ﳜﺘﺎﺭﻫــﺎ‬
‫ﻟﻠﺮﺳﻢ‪ ،‬ﻭﺇﳕﺎ‪ ،‬ﺃﻳﻀﺎ‪ ،‬ﻣﻦ ﺧـﻼﻝ ﻧﻘـﻞ ﺍﻻﺣﺴـﺎﺱ ﺑﺎﳊﺮﻛـﺔ ﺍﻟـﱵ‬
‫ﺗﻌﻴﺸﻬﺎ ﺷﺨﻮﺹ ﻟﻮﺣﺎﺗﻪ ﻋﻠﻰ ﺍﻟﻮﺟﻮﺩ ﻭﺍﻟﺴﻠﻮﻙ ﺍﻻﻧﺴـﺎﻧﻲ‪ ،‬ﻭﻫﻨـﺎ‬
‫ﻓﺎﳉﺴــﺪ ﳝﺜــﻞ ﻭﺳــﻴﻄﺎ ﺣﺮﻛﻴــﺎ ﻧــﺎﻗﻼ ﻭﻣﻌــﱪﺍ ﻋــﻦ ﻓﻀــﺎﺀﺍﺕ ﻫــﺬﻩ‬
‫ﺍﻟﻌﻼﻗــﻪ‪ .‬ﻓﺤﺘــﻰ ﺍﻟﻠﻮﺣــﺎﺕ ﺍﻻﻧﻄﺒﺎﻋﻴــﺔ ﺍﳌﺰﺩﲪــﺔ ﺑﺎﻟﺸــﺨﻮﺹ ﱂ‬
‫ﺗﻜﻦ ﻣﻌﻨﻴﺔ ﺑﺎﻟﺸﺨﻮﺹ ﻭﺍﳕﺎ ﻣﻌﻨﻴﺔ ﺑﺎﳌﻨـﺎﺥ ﺍﻟـﺬﻱ ﳛﻴﻄﻬـﺎ ﻭﺑﻄﺮﻳﻘـﺔ‬
‫ﺍﺳــــﺘﺠﺎﺑﺘﻬﺎ ﳍــــﺬﺍ ﺍﶈــــﻴﻂ‪ .‬ﺍﻥ ﺍﻟﺒﻄــــﻞ ﺍﳊﻘﻴﻘــــﻲ ﺍﻟﻠﻮﺣــــﺎﺕ‬
‫ﺍﻻﻧﻄﺒﺎﻋﻴﺔ‪ ،‬ﺣﺘﻰ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻌﺎﺭﻳﺔ ﻣﻨﻬﺎ‪ ،‬ﻫﻮ ﺍﶈﻴﻂ ﺍﻟﺬﻱ ﻳﺮﺳـﻢ‬
‫ﺍﳉﺴﺪ ﻭﳛﺮﻛﻪ ﻓﻀﺎﺀ ﻫﺬﺍ ﺍﶈﻴﻂ‪.‬‬

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   

  



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 ‫‪ ‬‬
‫‪ ‬‬

‫)ﺍﻟﻠﻮﻥ‪ ،‬ﻣﺜﻞ ﺍﳌﻮﺳﻴﻘﻰ‪ ،‬ﻟَﻪ ﺍﻟﻘﻮ‪‬ﺓ ﻟﺘَﺠ‪‬ﺴﻴﺪ ﺑﻌـﺾ ﻣ‪‬ـﻦ ﺍﻋﻤـﻖ‬

‫ﻋﻮﺍﻃﻔﻨﺎ‪ .‬ﻋﻠﻰ ﺃﻳﺔ ﺣﺎﻝ‪ ،‬ﻫﻮ ﺃﻳﻀـﺎ _ﻭﻫـﻲ ﻣـﻦ ﺍﳌﻔﺎﺭﻗـﺎﺕ ‪-‬ﺃﻛﺜـﺮ‬
‫ﻋﺮﺿـــﺔ ﳌﺨـــﺎﻃﺮ ﺍﻟﺘﻌﺎﻣـــﻞ ﺍﳉـــﺎﻫﺰ‪ ،‬ﻭﺍﻟﺘـــﺄﺛﲑ ﺍﻟﺘـــﺰﻳﻴﲏ ﻭﺍﻟﺘﻜﻠّـــﻒ‬
‫ﺍﻟﺴﻄﺤﻲ( ﺳﺘﻴﻔﻦ ﻧﻴﻮﺗﻦ‬
‫ﺷﻜّﻞ ﺗﺒﲏ ﺍﻻﺳﺎﻟﻴﺐ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ ﺍﳊﺪﻳﺜﺔ ﻭﺍﳌﻌﺎﺻﺮﺓ ﺑﺸﻜﻞ‬
‫ﺍﻭ ﺑـﺎﺧﺮ ﻭﳏﺎﻭﻟـﺔ ﺍﻻﺳـﺘﻔﺎﺩﺓ ﻣﻨـﻬﺎ ﻇـﺎﻫﺮﺓ ﻋﺎﳌﻴـﺔ ﻓﻜـﺎﻥ ﺍﻥ ﺣـﺎﻭﻝ‬
‫ﺍﻟﻔﻨــﺎﻧﻮﻥ ﳐﺘﻠــﻒ ﺍﻟﺒﻴﺌــﺎﺕ ﺍﶈﻠﻴــﺔ ﺍﻻﻗﺘﺒــﺎﺱ ﻭﺍﻻﺳــﺘﻔﺎﺩﺓ ﻣــﻦ‬
‫ﺍﻻﺳـﺎﻟﻴﺐ ﺍﻟﻔﻨﻴــﺔ ﳌﺴــﺎﻳﺮﺓ ﺫﻭﻕ ﺍﻟﻌﺼــﺮ ﻣـﻊ ﺍﳊﻔــﺎﻅ ﻗــﺪﺭ ﺍﻻﻣﻜــﺎﻥ‬
‫ﻋﻠﻰ ﺍﻟﻄﺎﺑﻊ ﺍﶈﻠﻲ‪.‬‬
‫ﻭﻣﻦ ﻫﺬﻩ ﺍﻷﺳﺎﻟﻴﺐ ﺍﻟﻔﻨﻴﺔ ﺍﻷﺳﻠﻮﺏ ﺍﻟﺘﻜﻌﻴﱯ ﺍﻟـﺬﻱ ﻇﻬـﺮ‬
‫ﺍﻟﺒﺪﺀ ﺃﻋﻤﺎﻝ ﺑﻴﻜﺎﺳﻮ ﻭﺑـﺮﺍﻙ)‪ ،(١‬ﻭﻳﺒـﺪﻭ ﺍﻥ ﻫـﺬﺍ ﺍﻷﺳـﻠﻮﺏ ﻗـﺪ‬

‫‪‬‬
‫‪  ‬‬

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 ‫ﺗﺮﻙ ﺍﺛﺮﺍ ﻛﺒﲑﺍ ﻋﻠـﻰ ﺍﻟﻔﻨـﺎﻧﲔ ﺍﻟﻌـﺮﺍﻗﻴﲔ ﻋﻠـﻰ ﳐﺘﻠـﻒ ﺍﺟﻴـﺎﳍﻢ‬
‫ﺍﻟﻔﻨﻴﺔ‪ ،‬ﺍﺫ ﺍﺻﺒﺢ ﺍﻟﺸﻜﻞ ﺍﳍﻨﺪﺳﻲ ﲟﺨﺘﻠﻒ ﻭﺳﺎﺋﻞ ﺍﳌﻌﺎﳉﺔ ﺍﻟﱵ‬
‫ﺗﺒﻨﺎﻫﺎ ﺍﻟﻔﻨﺎﻧﻮﻥ ﻣﻜﻮﻧﺎ ﺑﺎﺭﺯﺍ ﺍﻟﻠﻮﺣﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ)‪ ،(١‬ﻭﺍﳊﻘﻴﻘﺔ‬
‫ﺍﻥ ﺷــﻴﻮﻉ ﺍﻟﺸــﻜﻞ ﺍﳍﻨﺪﺳــﻲ ﻣــﻊ ﻫﻴﻤﻨﺘــﻪ ﺍﳋﻄﻴــﺔ ﻋﻠــﻰ ﻗﻤﺎﺷــﺔ‬
‫ﺍﻟﺮﺳﺎﻡ ﺍﻟﻌﺮﺍﻗﻲ ﳛﻤﻞ ﺍﳌﺘﺎﺑﻊ ﻋﻠﻰ ﺍﻟﺘﺴﺎﺅﻝ ﺍﻥ ﻛﺎﻥ ﻫﻨﺎﻙ ﺍﺳﻠﻮﺏ‬
‫ﻓﲏ ﺣﺪﻳﺚ ﺍﺧﺮ ﺍﺳﺘﻄﺎﻉ ﺍﻥ ﻳﻔﺮﺽ ﻭﺟﻮﺩﻩ ﻋﻠﻰ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻌﺮﺍﻗـﻲ‬
‫ﺍﻛﺜــﺮ ﻣــﻦ ﺍﻻﺳــﻠﻮﺏ ﺍﻟﺘﻜﻌــﻴﱯ‪ .‬ﳚ ـﺐ ﺍﻹﺷــﺎﺭﺓ ﺍﱃ ﺍﻥ ﺍﻟﺘﻮﺟــﻪ‬
‫ﻟﻠﺘﻜﻌﻴﺒﻴﺔ ﺍﻗﱰﻥ ﺑﺎﻟﺘﺄﻛﻴـﺪ ﻋﻠـﻰ ﺍﳋـﻂ ﺑﻮﺻـﻔﻪ ﻣـﻦ ﻋﻮﺍﻣـﻞ ﺗﻘﻮﻳـﺔ‬
‫ﺍﻟﺸﻜﻞ‪ ،‬ﻳﻘـﻮﻝ ﻣﺆﻟـﻒ ﻛﺘـﺎﺏ ﻣﺎﺋـﺔ ﻋـﺎﻡ ﻣـﻦ ﺍﻟﺮﺳـﻢ ﺍﳊـﺪﻳﺚ‬
‫ﻣﻌﺮﺽ ﺣﺪﻳﺜﻪ ﻋﻦ ﺍﻟﻔﻨﺎﻥ ﺟﻮﺭﺝ ﺑﺮﺍﻙ ‪) Braque George‬ﺣﲔ‬
‫ﺷﺮﻉ ﺑﺮﺍﻙ ﻋﺎﻡ ‪ 1907‬ﻳﺪﻳﺮ ﻇﻬﺮﻩ ﻟﻠﻮﺣﻮﺷﻴﺔ ﻛﺎﻥ ﻫﺪﻓﻪ ﺗﻘﻠﻴـﻞ ﻗـﻮﺓ‬
‫ﺍﻟﻠﻮﻥ ﻣﻦ ﺍﺟﻞ ﺯﻳﺎﺩﺓ ﻗـﻮﺓ ﺍﻟﺸـﻜﻞ ﻻ ﻟﺘﺄﻛﻴـﺪ ﺍﳋـﻂ ﻭﺣﺴـﺐ ﺑـﻞ‬
‫ﺍﳊﺠــﻢ ﺃﻳﻀــﺎ)‪ .(٢‬ﻭﻟﻜــﻦ ﻛﻴــﻒ ﻛــﺎﻥ ﺗﻌﺎﻣــﻞ ﺍﻟﻔﻨــﺎﻥ ﺍﻟﻌﺮﺍﻗــﻲ ﻣــﻊ‬
‫ﺍﻷﺳﻠﻮﺏ ﺍﻟﺘﻜﻌﻴﱯ‪ ،‬ﻭﻫﻞ ﲤﺜﻠﻪ ﺑﺎﻟﻄﺮﻳﻘﺔ ﺍﻟـﱵ ﲤﺜﻠـﻪ ﲠـﺎ ﺑﻴﻜﺎﺳـﻮ‬
‫ﻭﺑــﺮﺍﻙ ‪-‬ﻭﻏﲑﻫــﻢ ﻣــﻦ ﺭﻭﺍﺩ ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ‪ -‬ﻭﻫــﻢ ﻳﺴــﻌﻮﻥ ﳋﻠــﻖ ﻟﻐــﺔ‬
‫ﺑﺼﺮﻳﺔ ﺟﺪﻳﺪﺓ ﺍﳌﺸﻬﺪ ﺍﻟﻔﲏ؟‬
‫ﻗﺒــﻞ ﺍﻹﺟﺎﺑــﺔ ﻋﻠــﻰ ﻫــﺬﺍ ﺍﻟﺴــﺆﺍﻝ‪ ،‬ﻻﺑــﺪ ﻣــﻦ ﺍﻟﻘــﻮﻝ ﺑﺎﻧــﻪ ﻣــﻦ‬

‫‪iraqiart.comiraqifineart.com‬‬
‫‪  ‬‬
‫‪   ‬‬

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 ‫ﺍﳌﻤﻜﻦ ﺍﺧﺘﺼﺎﺭ ﻣﻔﺮﺩﺍﺕ ﺍﻟﻠﻐﺔ ﺍﻟﺒﺼﺮﻳﺔ ﺍﻟﱵ ﺍﻓﺮﺯﲥﺎ ﺍﻋﻤﺎﻝ ﺭﻭﺍﺩ‬
‫ﺍﻻﺳﻠﻮﺏ ﺍﻟﺘﻜﻌﻴﱯ ﺍﱃ ﻣﻔﺮﺩﺗﲔ ﺍﺳﺎﺳﻴﺘﲔ ﻭﳘﺎ‪:‬‬
‫)ﺃ( ﺍﻟﺘﻘﺎﻃﻊ ﺍﳊﺎﺩﺓ ﺍﳌﻨﻈﻮﺭ ﻭﳏﺎﻭﻟﺔ ﺧﻠـﻖ ﻣﻨـﺎﻃﻖ ﻣﺘﺠـﺎﻭﺭﺓ‬
‫ﻋﻠﻰ ﺩﺭﺟﺔ ﻛﺒﲑﺓ ﻣﻦ ﺍﻟﺘﺒﺎﻳﻦ ﺍﻟﺸﻜﻠﻲ‬
‫)ﺏ( ﺍﻟﺘﺒﺎﻳﻦ ﺍﻟﻠﻮﻧﻲ ﺍﳊﺎﺩ ﺑﲔ ﺍﳌﺴﺎﺣﺎﺕ ﺍﻟﻠﻮﻧﻴﺔ ﺍﳌﺘﺠﺎﻭﺭﺓ‪ ،‬ﳋﻠﻖ‬
‫ﺍﺩﺭﺍﻙ ﺃﻛﺜﺮ ﺗﻌﻘﻴـﺪﺍ ﻋﻨـﺪ ﺍﳌﺘﻠﻘـﻲ‪ ،‬ﻭﺑﺎﻟﺘـﺎﱄ ﻧﻘـﻞ ﺇﻳﻘـﺎﻉ ﺍﳊﻴـﺎﺓ‬
‫ﺍﳌﻌﺎﺻــﺮﺓ‪ .‬ﺳــﺎﻋﺪ ﻛــﻞ ﺫﻟــﻚ ﻋﻠــﻰ ﺍﻧﺘــﺎﺝ ﻟﻮﺣــﺎﺕ ﺫﺍﺕ ﻟﻐــﺔ‬
‫ﺑﺼﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ‪ ،‬ﱂ ﺗﺘﺤﻬﺎ ﺍﻻﺳﺎﻟﻴﺐ ﺍﻟﻔﻨﻴﺔ ﺍﳌﺎﻟﻮﻓﺔ ﺍﻥ ﺫﺍﻙ‪.‬‬
‫ﺍﻥ ﺍﳌﺸﺎﻛﺴﺔ ﺍﻟﺒﺼﺮﻳﺔ ﺍﻟﱵ ﻧﺘﺠﺖ ﻋﻦ ﳏـﺎﻭﻻﺕ ﺍﻟﺘﻜﻌﻴﺒـﻴﲔ‬
‫ﳋﻠﻖ ﻟﻐﺔ ﺑﺼﺮﻳﺔ ﺟﺪﻳﺪﺓ ﻭﻣﺘﺤﺮﻛﺔ ﺃﺻﺒﺤﺖ ﺍﻟﻨﺎﺗﺞ ﺍﻷﻛﺜﺮ ﺇﺛـﺎﺭﺓ‪،‬‬
‫ﺍﻷﻣــﺮ ﺍﻟــﺬﻱ ﺟﻌــﻞ ﻫــﺬﻩ ﺍﻻﺛــﺎﺭﺓ ﺍﻟــﱵ ﺧﻠﻘﺘــﻬﺎ ﻫــﺬﻩ ﺍﳌﺸﺎﻛﺴــﺔ‬
‫ﺍﻟﺒﺼﺮﻳﺔ ﻫﻲ ﺍﳍﺪﻑ ﻋﻨﺪ ﺑﻌـﺾ ﻓﻨـﺎﻧﻲ ﺍﻟﺘﻜﻌﻴﺒﻴـﺔ‪ ،‬ﺣﺘـﻰ ﺑﻌﻴـﺪﺍ‬
‫ﻋﻦ ﺭﻏﺒﺔ ﺍﻟﻔﻨﺎﻧﲔ ﺍﻻﻭﺍﺋﻞ ﺧﻠﻖ ﻣﺸﻬﺪ ﻣﺘﺤﺮﻙ ﻣﺘﻌﺪﺩ ﺍﻟﺰﻭﺍﻳـﺎ‪.‬‬
‫ﻟﻌﺒـﺖ ﻫــﺬﻩ ﺍﳊﺎﻟــﺔ ﺩﻭﺭﺍ ﺗــﺒﲏ ﺍﻟﻌﺪﻳــﺪ ﻣــﻦ ﺍﻟﻔﻨــﺎﻧﲔ ﺍﺭﺟــﺎﺀ‬
‫ﺍﻟﻌﺎﱂ ﻟﻠﻔﻦ ﺍﻟﺘﻜﻌﻴﱯ‪ .‬ﺍﺫ ﺍﺻﺒﺢ ﻟﻠﻔﻨﺎﻧﲔ ﻟﻐﺔ ﺑﺼﺮﻳﺔ ﲤﺘـﺎﺯ ﲜـﺪﲥﺎ‬
‫ﺃﻭﻻ ﻭﲟﺴﺎﺣﺎﺕ ﻟﻮﻧﻴﺔ ﺫﺍﺕ ﺣﺪﻭﺩ ﻭ ﺗﺒﺎﻳﻨﺎﺕ ﻟﻮﻧﻴﺔ ﻗﻮﻳﺔ‪.‬‬
‫ﻳﺒــﺪﻭ ﺍﻥ ﺍﻻﺳــﻠﻮﺏ ﺍﻟﺘﻜﻌــﻴﱯ ﻗــﺪ ﺍﻟﺘﻘــﻰ ﻣــﻊ ﺍﻟــﺬﺍﻛﺮﺓ ﺍﻟﻔﻨﻴــﺔ‬
‫ﺍﻟﻌﺮﺍﻗﻴـــﺔ ﻣﻨﻄﻘـــﺔ ﺍﳋـــﻂ ﻭﺍﻟﺰﺧﺮﻓـــﺔ ﺍﻻﺳـــﻼﻣﻴﺔ ﺍﻟـــﱵ ﺗﺒﻨـــﺖ‬
‫ﺍﻟﺘﺸـــﻜﻴﻼﺕ ﺍﳍﻨﺪﺳـــﻴﺔ ﺫﺍﺕ ﺍﳊـــﺪﻭﺩ ﺍﻟﺒـــﺎﺭﺯﺓ‪ ،‬ﻓﺘﻌﺎﻣـــﻞ ﺑﻌـــﺾ‬
‫ﺍﻟﻔﻨــﺎﻧﲔ ﺍﻟﻌــﺮﺍﻗﻴﲔ ﻣــﻊ ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ ﺑــﻨﻔﺲ ﺯﺧــﺮ ﺍﻭ ﻓﺴﻴﻔﺴــﺎﺋﻲ‬
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 ‫ﳏﺎﻓﻈــﺎ ﻋﻠــﻰ ﺗــﺪﺭﺟﺎﺕ ﻟﻮﻧﻴــﺔ ﻣﺘﻘﺎﺭﺑــﺔ‪ ،‬ﻛﻤــﺎ ﺃﻋﻤــﺎﻝ ﺍﻟﻔﻨــﺎﻥ‬
‫ﺣـــﺎﻓﻆ ﺍﻟـــﺪﺭﻭﺑﻲ ﺍﻟـــﺬﻱ ﺧﻠـــﺖ ﻟﻮﺣﺎﺗـــﻪ ﺍﻟﺘﻜﻌﻴﺒﻴـــﺔ ﺍﻟﻄـــﺎﺑﻊ ﻣـــﻦ‬
‫ﺍﻟﺘﺒﺎﻳﻨـﺎﺕ ﺍﻟﻠﻮﻧﻴـﺔ ﺍﳊــﺎﺩﺓ‪ .‬ﻟﻘـﺪ ﻋـﺰﻑ ﺣــﺎﻓﻆ ﺍﻟـﺪﺭﻭﺑﻲ ﻋﻠـﻰ ﺍﻟﻔــﻦ‬
‫ﺍﻟﺘﻜﻌــﻴﱯ ﺑﺎﻳﻘــﺎﻉ ﻓﺴﻴﻔﺴــﺎﺋﻲ‪ ،‬ﻭﱂ ﻳﺸــﺄ ﺍﻥ ﻳﻜﺴــﺮ ﲝــﺪﺓ ﺍﻻﻳﻘــﺎﻉ‬
‫ﺍﻟﺒﺼﺮﻱ ﻟﻠﻨﺎﻇﺮ ﻃﺎﳌـﺎ ﺍﻧـﻪ ﺍﺳـﺘﻄﺎﻉ ﺍﻥ ﳝﻨﺤـﻪ ﻣـﻦ ﺧـﻼﻝ ﺗﻜﺴـﲑﻩ‬
‫ﻟﻠﻤﺴــﺎﺣﺎﺕ ﺍﻟﻮﺍﺳــﻌﺔ ﻣﺘﻌــﺔ ﺑﺼــﺮﻳﺔ ﺟﺪﻳــﺪﺓ ﻭ ﺫﺍﺕ ﺍﻟﻮﻗــﺖ ﻻ‬
‫ﻳﻔﻘﺪ ﺍﻟﺘﻮﺍﺻﻞ ﺍﻟﺒﺼﺮﻱ )ﺍﻟﺘﺸﺨﻴﺼﻲ ‪ (figurative‬ﻣﻌﻪ‪.‬‬

‫‪  ‬‬

‫ﺍﻥ ﻛﺎﻧﺖ ﺃﻋﻤـﺎﻝ ﺍﻟﻔﻨـﺎﻥ ﺣـﺎﻓﻆ ﺍﻟـﺪﺭﻭﺑﻲ ﳏﺎﻓﻈـﺔ ﺗﻌﺎﻣﻠـﻬﺎ‬

‫ﺍﻟﻠﻮﻧﻲ ﻓﺎﻥ ﻟﻮﺣﺎﺕ ﻓﺮﺝ ﻋﺒﻮ)ﲡﺮﻳﺪ ﺇﺳﻼﻣﻲ( ﻛﺎﻧﺖ ﺃﻛﺜﺮ ﺟـﺮﺍﺀﺓ‬
‫ﺍﻟﺘﻌﺎﻃﻲ ﺍﻟﻠﻮﻧﻲ ﻭﻗﺪ ﻫﻴﻤﻦ ﻓﻴﻬﺎ ﺍﻹﻳﻘـﺎﻉ ﺍﳍﻨﺪﺳـﻲ ﻣـﻊ ﻏﻴـﺎﺏ‬

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 ‫ﺍﻟﻌﻨﺼﺮ ﺍﻟﺘﺸﺨﻴﺼﻲ‪ .‬ﻻ ﻳﻔﻮﺗﻨﺎ ﺍﻹﺷﺎﺭﺓ ﻫﻨﺎ ﺇﱃ ﺍﻥ ﺍﻟﺘﺠﺮﻳـﺪ ﳝﺜـﻞ‬
‫ﺍﻟﻨﻬﺎﻳﺔ ﺍﻟﻘﺼﻮﻯ ﻟﻠﺘﻜﻌﻴﺒﻴﺔ ﺑﻞ ﺍﻥ ﺍﻟﺘﻜﻌﻴﺒﻴﺔ ﻫﻲ ﲡﺮﻳـﺪ ﻛﻤـﺎ ﻭﺭﺩ‬
‫ﺗﻌﺮﻳــﻒ ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ ﺍﻟـــ)ﺍﳌﻮﺳــﻮﻋﺔ ﺍﻟﺮﻗﻤﻴــﺔ ﺍﳊــﺮﺓ( ﺣﻴــﺚ‬
‫ﺃﻭﺭﺩﺕ‪ ) :‬ﺍﻟﻌﻤﻞ ﺍﻟﺘﻜﻌﻴﱯ ﻳﺘﻢ ﺗﻜﺴﲑ ﻭﺗﻔﻜﻴﻚ ﻭﺍﻋﺎﺩﺓ ﲡﻤﻴـﻊ‬
‫ﺍﻻﺷﻜﺎﻝ ﺑﺸﻜﻞ ﳎﺮﺩ(‬

‫‪  ‬‬

‫ﺍﻥ ﻫﻴﻤﻨــﺔ ﺍﳋــﻂ ﺍﻭ ﺍﻟﻮﺣــﺪﺓ ﺍﳍﻨﺪﺳــﻴﺔ ﻋﻠــﻰ ﻗﻤﺎﺷــﺔ ﺍﻟﻔﻨــﺎﻥ‬

‫ﺍﻟﻌﺮﺍﻗﻲ ﺣﺘﻰ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻗﻴﺎﺳﺎ ﺑﺎﻟﻠﻮﻥ ﺗﻌﻄﻲ ﺗﺼـﻮﺭﺍ‬
‫ﻳﻜﺎﺩ ﻳﻜﻮﻥ ﻋﺎﻣﺎ ﺑـﺎﻥ ﺍﳋـﻂ ﺍﻭ ﺍﳊـﺪ ﺍﳍﻨﺪﺳـﻲ ﻟﻠﻤﺴـﺎﺣﺔ ﺍﻟﻠﻮﻧﻴـﺔ‬
‫ﻫﻮ ﺍﳌﻜﻮﻥ ﺍﻻﺳﺎﺱ ﻟﻠﻮﺣﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ‪ .‬ﲡﺪﺭ ﺍﻻﺷـﺎﺭﺓ ﻫﻨـﺎ ﺍﱃ‬
‫ﺣﻘﻴﻘﺔ ﻣﻠﻔﺘﺔ ﻟﻠﻨﻈﺮ ﺍﻻ ﻭﻫـﻲ ﺍﻥ ﻣﻔـﺮﺩﺓ)ﺍﳋـﻂ( ﺍﻟﻠﻐـﺔ ﺍﻟﻌﺮﺑﻴـﺔ‬
‫ﻳﺸﱰﻙ ﻓﻴﻬﺎ ﺍﳋﻂ ﺃﻱ ﺍﻟـ ‪ line‬ﻭﻓﻦ ﻛﺘﺎﺑﺔ ﺍﳊﺮﻑ ﺍﻟﻌﺮﺑﻲ ﺣﲔ‬

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 ‫ﻻ ﻭﺟﻮﺩ ﳍﺬﺍ ﺍﻟﺘﻄﺎﺑﻖ ﺍﻟﻠﻐﺔ ﺍﻻﻧﻜﻠﻴﺰﻳﺔ ﻻﻥ ﻓﻦ ﺍﳋـﻂ ﻳﺴـﻤﻰ‬
‫‪ . calligraphy‬ﻭﻗﺪ ﺍﺻﺪﺭ ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﻧﻲ ﻣﺆﺧﺮﺍ ﻋﻠﻰ ﻫﺎﻣﺶ‬
‫ﻣﻌــﺮﺽ ﺃﻗــﻴﻢ ﻟﻔــﻦ ﺍﻟﺸــﺮﻕ ﺍﻷﻭﺳــﻂ ﺍﳌﻌﺎﺻــﺮ‪ ،‬ﺩﺭﺍﺳــﺔ ﺗﺸــﲑ ﺇﱃ‬
‫ﻣﺪﻯ ﺍﻻﺭﺗﺒﺎﻁ ﺍﻟﻮﺛﻴﻖ ﺑﲔ ﻓﻦ ﺍﻟﺸﺮﻕ ﺍﳌﻌﺎﺻﺮ ﺑﺎﳊﺮﻑ ﺍﻟﻌﺮﺑـﻲ ﳑـﺎ‬
‫ﺟﻌــﻞ)ﺍﳊﺮﻭﻓﻴــﻪ( ﻭﺍﺣــﺪﺓ ﻣــﻦ ﺍﺑــﺮﺯ ﻣﻌــﺎﱂ ﻓــﻦ ﺍﻟﺸــﺮﻕ ﺍﻷﻭﺳــﻂ‬
‫ﺍﳌﻌﺎﺻﺮ‪ ،‬ﻭﻗﺪ ﺃﺷﺎﺭﺕ ﺍﻟﺪﺭﺍﺳﺔ ﺇﱃ ﺍﻥ ﺍﻟﻔﻨﺎﻧﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ ﻣﺪﳛﻪ ﻋﻤـﺮ‪،‬‬
‫ﺭﲟــﺎ ﺗﻜــﻮﻥ ﺃﻭﻝ ﻓﻨــﺎﻥ ﺍﻟﺸــﺮﻕ ﺍﻷﻭﺳــﻂ ﺗﺒﻨــﻰ ﺍﳊــﺮﻑ ﺍﻟﻌﺮﺑــﻲ‬
‫ﺃﻋﻤﺎﳍــﺎ ﺍﻟﺘﺠﺮﻳﺪﻳــﺔ‪ ،‬ﻛﻤــﺎ ﺃﺷــﺎﺭ ﺇﱃ ﲡﺮﺑــﺔ ﺍﻟﻔﻨــﺎﻥ ﺷــﺎﻛﺮ ﺣﺴــﻦ‬
‫ﺍﻝ ﺳﻌﻴﺪ ﺭﻏﻢ ﺍﻧﻪ ﻧﻮﻩ ﺑﺘﺄﺛﲑ ﺍﻟﻔﻨﺎﻥ ﺍﻧﺘﻮﻧﻲ ﺗﺎﺑﻴﺲ ﻋﻠﻰ ﺍﻟﻔﻨﺎﻥ ﺷـﺎﻛﺮ‬
‫ﺣﺴﻦ ﺍﻝ ﺳـﻌﻴﺪ ﻫـﺬﺍ ﺍ‪‬ـﺎﻝ‪ ،‬ﻭﱂ ﺗﻐﻔـﻞ ﺍﻟﺪﺭﺍﺳـﺔ ﻋﻤـﻞ ﺍﻟﻔﻨـﺎﻥ‬
‫ﺟﻮﺍﺩ ﺳﻠﻴﻢ)ﻧﺼﺐ ﺍﳊﺮﻳﺔ(ﻭﻛﻴﻒ ﺍﻧﻪ ﺗﺒﻨـﻰ ﺗﺴﻠﺴـﻞ ﺍﻟﻜﺘﺎﺑـﺔ ﺍﻟﻌﺮﺑﻴـﺔ‬
‫)‪(١‬‬
‫ﻣﻦ ﺍﻟﻴﻤﲔ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﺗﺮﺗﻴﺐ ﺃﺷﻜﺎﻝ ﺍﻟﻌﻤﻞ(‬

‫‪(1) Wikipedia.org‬‬

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   

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   

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 ‫‪  ‬‬

‫ﻋﻨﺪﻣﺎ ﻧﻌﻮﺩ ﺍﱃ ﻫﻴﻤﻨﺔ ﺍﳋـﻂ ﺍﻟﻔـﻦ ﺍﻟﻌﺮﺍﻗـﻲ ﻧـﺮﻯ‪ ،‬ﺍﻧـﻪ ﻗﻠﻤـﺎ‬

‫ﻳﺴــﻤﺢ ﻟﻮﺣــﺔ ﺍﻟﻔﻨــﺎﻥ ﺍﻟﻌﺮﺍﻗــﻲ ﻟﻠــﻮﻥ ﺑــﺎﻻﻧﻔﻼﺕ ﻭﺍﻟﺘﺤــﺮﺭ ﺧــﺎﺭﺝ‬
‫ﻣﻨﻄﻘﺔ ﻣﻌﻴﻨﺔ‪ .‬ﺍﻥ ﻫﻨﺎﻙ ﺩﺍﺋﻤﺎ ﺍﺣﱰﺍﻣﺎ ﳊﺪﻭﺩ ﺍﳌﺴـﺎﺣﺔ ﺍﻟﻠﻮﻧـﺔ ﻭﻏﻴـﺎﺏ‬
‫ﺍﳌﻴﻮﻋﺔ ﻭﺍﻟﺘﺪﺍﺧﻞ‪ ،‬ﺣﺘﻰ ﺍﻷﻋﻤﺎﻝ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻭﻛﺄﻥ ﺍﻟﺘﺠﺮﻳـﺪ ﻗـﺎﺋﻢ‬
‫ﻋﻠﻰ ﺍﺳﺎﺱ ﻓﻬﻢ ﻫﻨﺪﺳﻲ ﻣﻘﻨﻦ ﺣﺘﻰ ﻷﺷﺪ ﺣﻘﺎﺋﻖ ﺍﳊﻴـﺎﺓ ﻓﻮﺿـﻮﻳﺔ‬
‫ﻭﺛﻮﺭﻳــﺔ‪ .‬ﺣﺘــﻰ ﺍﳌﺸﺎﻛﺴــﺎﺕ ﺍﻟﻠﻮﻧﻴــﺔ ﺍﻟــﱵ ﲢﻔــﻞ ﲠــﺎ ﻟﻮﺣــﺎﺕ ﺍﻟﻔﻨــﺎﻥ‬
‫ﳏﻤﺪ ﻣﻬﺮ ﺍﻟﺪﻳﻦ ﲤﻴﻞ ﺍﱃ ﺍﻥ ﺗﻜﻮﻥ ﻣﺸﺎﻛﺴﺎﺕ ﺧﻄﻴـﺔ ﺍﻛﺜـﺮ ﻣﻨـﻬﺎ‬
‫ﻣﺸﺎﻛﺴــﺔ ﻣﺴــﺎﺣﺎﺕ ﻟﻮﻧﻴــﺔ ﻭﻳﺒﻘــﻰ ﻛــﻞ ﺍﻻﺣــﻮﺍﻝ ﻳﻬــﻴﻤﻦ ﻋﻠــﻰ‬
‫ﻟﻮﺣﺘﻪ ﺫﺍﻙ ﺍﻻﺣﺴﺎﺱ ﺑﺎﳌﻌﻤﺎﺭ ﺍﳍﻨﺪﺳﻲ ﺍﻟﺼﺎﺭﻡ‪.‬‬

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 ‫ﻳﺒﺪﻭ ﻭﻛﺎﻥ ﻫﻨﺎﻙ ﻧﺰﺍﻋﺎ ﺑﲔ ﺍﳋﻂ ﻭﺍﻟﻠﻮﻥ ﺍﻟﻠﻮﺣﺔ ﻭﺍﳊﻘﻴﻘـﺔ‬
‫ﺍﻥ ﺍﻟﺼﺮﺍﻉ ﻋﻨﺪﻣﺎ ﺍﺷﺘﺪ ﺑﲔ ﺍﻟﻜﻼﺳﻴﺔ ﺍﳉﺪﻳﺪﺓ ﻭﺍﻟﺮﻭﻣﺎﻧﺴﻴﺔ‪ ،‬ﻛﺎﻥ‬
‫ﻫـﺬﺍ ﺍﻟﻨـﺰﺍﻉ ﻫــﻮ ﺇﺣـﺪﻯ ﲤﻈﻬﺮﺍﺗــﻪ‪ ،‬ﻓﺒﻴﻨﻤـﺎ ﻛــﺎﻥ ﺍﻟﱰﻛﻴـﺰ ﺍﻟﻔــﻦ‬
‫ﺍﻟﻜﻼﺳــﻲ ﺍﳊــﺪﻳﺚ ﻋﻠــﻰ ﺗﺴــﻴﺪ ﺍﳋــﻂ ﻋﻠــﻰ ﺍﻟﻠﻮﺣــﺔ ﻟــﺪﻭﺭﻩ‬
‫ﺇﻋﻄﺎﺋﻬﺎ ﺍﻟﺼﺮﺍﻣﺔ ﻭﺍﻟﻨﺒﻞ ﺍﳌﻄﻠﻮﺏ‪ ،‬ﻛﺎﻥ ﺍﻟﻠﻮﻥ ﺍﺣﺪ ﺃﺩﻭﺍﺕ ﺍﻟﺘﻤﺮﺩ‬
‫ﺍﻟﺮﻭﻣﺎﻧﺴﻲ)‪ ،(١‬ﺍﻷﻣـﺮ ﺍﻟـﺬﻱ ﺩﻋـﻰ ﺩﻳﻼﻛـﺮﻭﺍ ﺇﱃ ﺍﻟﻘـﻮﻝ)ﺇﻥ ﻋﻤـﻞ‬
‫ﺍﻟﺮﺳ‪‬ﺎﻡ ﺑﺪﻭﻥ ﺗﻠﻮﻳﻦ ﻫﻮ ﺇﻳﻀﺎﺡ ﻭﻟﻴﺲ ﺭﺳﻢ‪ .‬ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻘﺼﺪ ﻋﻤﻼ‬
‫ﻏﲑ ﺍﻟﻨﻘﺶ ﻓﺎﻟﻠﻮﻥ ﺑﺎﻟﺘﺤﺪﻳﺪ ﻫﻮ ﺍﻷﺳﺎﺱ ﺍﳉﻮﻫﺮﻱ ﻟﻠﺮﺳﻢ ﻓـﺎﻟﻠﻮﻥ‬
‫ﻳﻌﻄﻲ ﻣﻈﻬﺮ ﺍﳊﻴﺎﺓ( )‪.(٢‬‬

‫‪(1)The British museum collection of contemporary middle‬‬

‫‪eastern art‬‬
‫‪  ‬‬

‫‪‬‬

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 

  



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 ‫ﻭﻳﺒﺪﻭ ﺍﻥ ﻫﺬﺍ ﺍﻟﺼﺮﺍﻉ ﺍﺳﺘﻤﺮ ﺃﻋﻤﺎﻝ ﺍﻻﻧﻄﺒـﺎﻋﻴﲔ ﻓﻔـﻲ ﺣـﲔ‬
‫ﺷﻜﻠﺖ ﺃﻋﻤﺎﻝ ﻓﺎﻥ ﻛﻮﺥ ﻟﺒﻨﺔ ﻣﻦ ﻟﺒﻨﺎﺕ ﺍﻟﺘﺄﺳـﻴﺲ ﺍﻟﺘﻌـﺒﲑﻱ‪ ،‬ﻛـﺎﻥ‬
‫ﻷﻋﻤــﺎﻝ ﺍﻟﻔﻨــﺎﻥ ﺳــﻴﺰﺍﻥ ﺩﻭﺭﻫــﺎ ﻇﻬــﻮﺭ ﺍﻟﺘﻜﻌﻴﺒﻴــﺔ ﺍﻟــﱵ ﺃﺩﺕ ﺇﱃ‬
‫ﺍﻟﺘﺠﺮﻳﺪ ﺍﺣﺪ ﺍﲡﺎﻫﻴـﻪ ﻭﺍﻟـﺬﻱ ﳝﻜـﻦ ﺍﻥ ﻳـﺮﻯ ﺑﻮﺿـﻮﺡ ﺃﻋﻤـﺎﻝ‬
‫ﺍﻟﻔﻨﺎﻥ ﺑﻴﺖ ﻣﻮﺩﻳﺮﻳـﺎﻥ‪ ،‬ﺑﻴﻨﻤـﺎ ﺳـﺎﺭ ﺍﻻﲡـﺎﻩ ﺍﻷﺧـﺮ ﺍﳌﺘﻤﺜـﻞ ﺑﺎﻟﺘﻌﺒﲑﻳـﺔ‬
‫ﺍﻟﺘﺠﺮﻳﺪﻳــﺔ ﺍﻻﲡــﺎﻩ ﺍﳌﻘﺎﺑــﻞ ﺣﻴــﺚ ﻳﻔــﺮﺽ ﺍﻟﻠــﻮﻥ ﺇﻳﻘﺎﻋــﻪ ﻋﻠـــﻰ‬
‫ﺍﻟﻠﻮﺣﺔ)ﺃﻋﻤﺎﻝ ﺍﻟﻔﻨﺎﻥ ﻭﻟﻴﻢ ﺩﻱ ﻛﻮﻧﻴﻨﻎ ﺍﳌﺘـﺄﺧﺮﺓ()‪ .(١‬ﺍﻥ ﻫـﺬﺍ ﺍﻟﺼـﺮﺍﻉ‬
‫ﺟﻌﻞ ﺍﺣﺪ ﺍﻟﻔﻨﺎﻧﲔ ﺍﳌﻌﺎﺻﺮﻳﻦ ﻭﻫﻮ ﺳﺘﻴﻒ ﻧﻴﻮﺗﻦ ﻳﺘﻬﻢ ﺍﻟﻠـﻮﻥ ﺑﻠﻌـﺐ‬
‫ﺩﻭﺭ ﻏﲑ ﻣﻘﺼﻮﺩ ﺗﺮﺍﺟﻊ ﻓﻦ ﺍﻟﻘـﺮﻥ ﺍﻟﻌﺸـﺮﻳﻦ‪ ،‬ﺍﺫ ﻳﻘـﻮﻝ)ﳝﻜـﻦ ﺍﻥ‬
‫ﻧﻼﺣــﻆ ﺃﻥ ﺑــﺬﻭﺭ ﺍﳓﻄــﺎﻁ ﺍﻟﻠﻮﺣــﺔ ﺍﳊﺪﻳﺜــﺔ ﺇﱃ ﺍﻟﺘﺴــﻄﻴﺢ ﺍﻟﺸــﻜﻠﻲ‬
‫ﻇﻬــﺮ ﺃﻋﻤــﺎﻝ ﺍﻹﻧﻄﺒﺎﻋﻴــﺔ ﺍﳉﺪﻳــﺪﺓ‪ ،‬ﲝــﺪﻭﺩ ﺃﻭﺍﺧــﺮ ﺍﻟﻘــﺮﻥ ﺍﻟﺘﺎﺳــﻊ‬
‫ﻋﺸﺮ(ﺍﻧﻪ ﻳﻌﺰﻭ ﺇﳓﻄﺎﻁ ﺍﻟﻔَـﻦ ﺍﳊـﺪﻳﺚ ﺇﱃ)ﺍﻟﺸـﻜﻼﻧﻴﺔ ﺍﳌﻌﻨﻴـﺔ ﺑـﺎﻟﻠﻮﻥ‬
‫ﺍﻟﺴﻄﺤﻲ( ﳑﺎ ﺍﻓﻘﺪﻩ ﺟﻮﻫﺮﻩ ﺍﳌﺘﺴﺎﻣﻲ ﺍﻟﺬﻱ ﺳﻌﺖ ﺍﻟﻔﻦ ﺍﻟﻘـﺪﻳﻢ ﺇﱃ‬
‫ﺇﻇﻬﺎﺭﻩ)‪ .(٢‬ﻫﻞ ﻳﺪﻋﻢ ﻫﺬﺍ ﺍﻟﺘﺼﻮﺭ ﻣﺎﳝﻜﻦ ﻋـﺪﻩ ﳏﺎﻭﻟـﺔ ﻣـﻦ ﺍﻟﻔﻨـﺎﻧﲔ‬
‫ﺍﻟﻌﺮﺍﻗﻴﲔ ﻻﻇﻬﺎﺭ ﲢﻔﻆ ﺷﺮﻗﻲ ﳝﺜﻞ ﻓﻴﻪ ﺍﳋﻂ ﺍﻭ ﺍﳊـﺪ ﺣـﺎﺟﺰﺍ ﺿـﺪ‬
‫ﺍﻧﻔﻼﺕ ﺍﻟﻘﻴﻤﺔ ﺍﻟﻔﻨﻴﺔ؟‬

‫‪‬‬
‫‪  ‬‬
‫‪(2)William de kooning ،last‬‬ ‫‪paintings exhibition.‬‬
‫;‪Hermitage museum‬‬

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 ‫ﻗﺪ ﻳﺒﻌﺪ ﻫﺬﺍ ﺍﻟﺘﺼـﻮﺭ ﺟﻌـﻞ ﺍﻟـﱰﺍﺙ ﺍﻟﺰﺧـﺮ ﺑﻮﺻـﻔﻪ ﺍﻟـﺪﺍﻓﻊ‬
‫ﻭﺭﺍﺀ ﺗﻐﻠﺐ ﺍﳊﻀﻮﺭ ﺍﳍﻨﺪﺳـﻲ ﻋﻠـﻰ ﺍﳌﺴـﺎﺣﺎﺕ ﺍﻟﻠﻮﻧﻴـﺔ ﺍﳉﺮﻳﺌـﺔ‪،‬‬
‫ﻭﻟﻜﻦ ﺍﻳﺎ ﻛﺎﻧﺖ ﺍﻻﺟﺎﺑﺔ‪ ،‬ﻓﻤﺎ ﲢﺎﻭﻝ ﻫﺬﻩ ﺍﳌﻘﺎﺭﺑﺔ ﺍﻥ ﺗﺸﲑ ﺍﻟﻴﺔ ﻫﻮ‬
‫ﺍﻥ ﺍﻟﻔﻨـﺎﻥ ﺍﻟﻌﺮﺍﻗــﻲ ﺍﻛﺜــﺮ ﺍﻗﱰﺍﺑــﺎ ﻟــﺮﻭﺡ ﺍﻟﻔــﻦ ﺍﻟﺘﻜﻌــﻴﱯ ﺣﺘــﻰ‬
‫ﻟﻮﺣﺎﺗﻪ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻣﻦ ﺑﻘﻴـﺔ ﺍﻻﺳـﺎﻟﻴﺐ ﺍﻟﻔﻨﻴـﺔ ﻣـﺎ ﺑﻌـﺪ ﺍﻻﻧﻄﺒﺎﻋﻴـﺔ‬
‫ﺣﻴــﺚ ﻳﻈــﻞ ﺍﻟﺸــﻜﻞ ﺍﳍﻨﺪﺳــﻲ ﲝﻀــﻮﺭ ﺍﻭ ﻏﻴــﺎﺏ ﺍﳋــﻂ ﺍﻻﻛﺜــﺮ‬
‫ﺣﻀﻮﺭﺍ ﻋﻠﻰ ﻗﻤﺎﺷﺘﻪ‪.‬‬

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 ‫‪ ‬‬
‫‪ ‬‬
‫‪ ‬‬

‫ﱂ ﻳﻌﺪ ﻛﺎﻓﻴﺎ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻻﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ ﻣـﻦ ﺧـﻼﻝ‬

‫ﺍﳌﺪﺍﺭﺱ ﺍﻭ ﺍﻻﲡﺎﻫﺎﺕ ﺍﻟﺘﻘﻠﺪﻳﺔ ﺍﻟﱵ ﺗﺼﻨﻔﻬﺎ ﺍﱃ ﺍﻋﻤﺎﻝ ﺗﻜﻌﻴﺒﻴـﺔ‬
‫ﺍﻭ ﺍﻧﻄﺒﺎﻋﻴـﺔ ﺍﻭ ﲡﺮﻳﺪﻳـﺔ‪...‬ﺍﱁ‪ ،‬ﻭﻋﻠـﻰ ﺍﳊﺮﻛـﺔ ﺍﻟﻨﻘﺪﻳـﺔ ﺍﻥ ﺗﻮﺍﻛـﺐ‬
‫ﺍﻻﺑــﺪﺍﻉ ﺍﻟﻔــﲏ ﲟﺴــﺘﻮﻯ ﻳــﻮﺍﺯﻱ ﺣﺮﻛﻴﺘــﻪ ﻭﺳــﻌﻴﻪ ﺍﳌﺘﻮﺍﺻــﻞ ﳋﻠــﻖ‬
‫ﻣﻨــﺎﻃﻖ ﺧﺎﺻــﺔ ﻭﺟﺪﻳــﺪﻩ ﻟﻠﺘﻌــﺒﲑ ﻋــﻦ ﺭﺳــﺎﻟﺘﻪ ﺍﻻﻧﺴــﺎﻧﻴﺔ‪ .‬ﻭﻣــﻦ‬
‫ﺍﻟﻘــﺮﺍﺀﺍﺕ ﺍﻟــﱵ ﳝﻜــﻦ ﺍﻥ ﺍﻋﺘﻤﺎﺩﻫـــﺎ ﻫــﺬﺍ ﺍﻟﺴــﻴﺎﻕ‪ ،‬ﺍﻟﻘـــﺮﺍﺀﺓ‬
‫ﺍﳌﺴﺘﻨﺪﺓ ﺍﱃ ﺣﻘﻴﻘﺔ ﺍﻥ ﺍﻟﻠﻮﺣﺔ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺸﻬﺪ ﻳﺘﻜﻮﻥ ﻣـﻦ‬
‫ﻋﻨﺎﺻﺮ ﺍﳌﻜﺎﻥ ﻭﺍﻟﺰﻣﺎﻥ ﻭﺍﳊﺪﺙ‪ ،‬ﻭﻫﺬﻩ ﺍﻟﻘﺮﺍﺀﺓ ﺗﺪﺭﺱ ﺗﻔﺎﻋﻞ ﻫﺬﻩ‬
‫ﺍﻟﻌﻨﺎﺻﺮ ﳋﻠﻖ ﺍﻟﺜﻴﻤﺔ ﺍﻻﺳﺎﺳـﻴﺔ ﺍﻟﻠﻮﺣـﺔ‪ .‬ﻭﺍﻟﺜﻴﻤـﺔ ﺍﻟـﱵ ﳝﻜـﻦ‬
‫ﺭﺻﺪﻫﺎ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻻﻋﻤﺎﻝ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ ﺍﳌﻌﺎﺻـﺮﺓ ﻫـﻲ‬
‫ﺍﳍﻴﻤﻨﺔ ﺍﻟﱵ ﳝﺎﺭﺳﻬﺎ ﺍﳌﻜﺎﻥ ﻋﻠﻰ ﺑﻘﻴﺔ ﻋﻨﺎﺻـﺮ ﺍﳌﺸـﻬﺪ ﻗﻤﺎﺷـﺔ‬
‫ﺍﻟﻔﻨﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ‪.‬‬

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 ‫‪  ‬‬

‫ﻟﻘـﺪ ﻟﻌﺒــﺖ ﺍﻟﺘﺼــﻨﻴﻔﺎﺕ ﺍﻟﻔﻨﻴـﺔ ﺍﻟﻨﻘﺪﻳــﺔ ﺩﻭﺭﺍ ﻣﻬﻤــﺎ ﺗﻮﺟﻴــﻪ‬

‫ﻭﺗﻘﻴﻴــﺪ ﺍﻟﻴــﺔ ﺍﻟﺘﻠﻘــﻲ ﻭﺍﻟﻨﻘــﺪ ﺍﻟﻔــﲏ ﺍﻥ ﻭﺍﺣــﺪ‪ .‬ﺍﻥ ﺗﺼــﻨﻴﻒ‬
‫ﺍﻻﻋﻤــﺎﻝ ﺍﻟﻔﻨﻴــﺔ ﺍﱃ ﻣــﺪﺍﺭﺱ ﺗﻌﺒﲑﻳــﺔ‪ ،‬ﻭﲡﺮﻳﺪﻳــﺔ ﻭﺗﻜﻌﻴﺒﻴــﺔ‪ ،‬ﻭﺍﻥ‬
‫ﻛﺎﻥ ﻳﻘﺼﺪ ﻣﻨﻪ ﺭﺻﺪ ﺍﳌﻼﻣﺢ ﺍﻻﺳﺎﺳـﻴﺔ ﺍﳌﺸـﱰﻛﺔ ﺍﻟـﱵ ﺻـﺒﻐﺖ‬
‫ﺍﻻﺩﺍﺀ ﺍﻟﻔﲏ ﻟﻼﻋﻤﺎﻝ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‪ ،‬ﺍﻻ ﺍﻧﻪ ﻣﻦ ﺟﺎﻧﺐ ﺍﺧﺮ ﻳﻠﻌـﺐ‬
‫ﺩﻭﺭﺍ ﻣﻘﻴﺪﺍ ﳊﺮﻳﺔ ﺍﳌﺘﻠﻘﻲ ﻭﺍﻟﻨﺎﻗﺪ ﳑﺎ ﻗﺪ ﳚﻌﻠﻪ ﺍﺳـﲑ ﺁﻟﻴـﺎﺕ ﻗـﺪ ﻻ‬
‫ﻳﺼﻠﺢ ﻣﻌﻬﺎ ﺭﺻﺪ ﺯﻭﺍﻳﺎ ﻣﻬﻤـﺔ ﺍﻟﻌﻤـﻞ ﺍﻟﻔـﲏ ﺍﻟـﺬﻱ ﻳـﺰﺍﻭﺝ ﺍﻭ‬
‫ﻳﺘﺠﺎﻭﺯ ﻫﺬﻩ ﺍﶈﺪﺩﺍﺕ ﻭ ﻋﻠﻰ ﺍﻟﻨﺎﻗـﺪ ﺍﻭ ﺍﳌﺘـﺎﺑﻊ ﺍﻥ ﳜﺎﻃـﺐ ﻣﻨـﺎﻃﻖ‬
‫ﺍﻻﺑﺪﺍﻉ ﺍﻟﻔﲏ ﺑﻠﻐﺔ ﺗﻮﺍﻛـﺐ ﺍﻟـﺘﻐﲑﺍﺕ ﺍﻟـﱵ ﺗﻄـﺮﺍ ﻋﻠـﻰ ﺍﻟﻘﻤﺎﺷـﺔ‬
‫ﻭﳚﱰﺡ ﺍﻃﺮﺍ ﺟﺪﻳﺪﺓ ﺗﻜﻮﻥ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﻓﻬﻢ ﺭﺳﺎﻟﺘﻬﺎ ﺍﻟﻔﻨﻴﺔ‪.‬‬

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 ‫ﺗﺘﻌﺎﻣﻞ ﻫﺬﻩ ﺍﳌﻘﺎﻟـﺔ ﻣـﻊ ﺍﻻﺑـﺪﺍﻉ ﺍﻟﺘﺸـﻜﻴﻠﻲ ﺍﻟﻌﺮﺍﻗـﻲ ﻣـﻦ ﻫـﺬﺍ‬
‫ﺍﳌﻨﻄﻠﻖ‪ ،‬ﻭﻫﻲ ﲤﺜﻞ ﺍﺳﺘﻤﺮﺍﺭﺍ ﳌﻘﺎﺭﺑﺎﺕ ﻧﻘﺪﻳﺔ ﺳﺎﺑﻘﺔ ﺣﺎﻭﻟﺖ ﻣﻌﻬـﺎ‬
‫ﻗــﺮﺍﺀﺓ ﺍﳌﻨﺠــﺰ ﺍﻟﺘﺸــﻜﻴﻠﻲ ﺑﺎﺳــﻠﻮﺏ ﳛــﺎﻭﺭ ﺍﻟﻌﻤــﻞ ﺍﻟﻔــﲏ ﺑﺎﻟﻴــﺎﺕ‬
‫ﻣﻐﺎﻳﺮﺓ‪ ،‬ﻟﻐﺮﺽ ﺍﻟﻮﺻﻮﻝ ﺍﱃ ﺟﻮﻫﺮ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻻﺑﺪﺍﻋﻴﺔ‪ ،‬ﻣﺘﺤـﺮﺭﺍ‬
‫ﻣــﻦ ﺍﳌﻘﻴــﺪﺍﺕ ﺍﻟﻨﻘﺪﻳــﺔ ﺍﳌﻨﻬﺠﻴــﺔ‪ .‬ﺣﺎﻭﻟــﺖ ﺍﻥ ﺃﺗﻄــﺮﻕ ﳌﻨﻄﻘــﺔ‬
‫ﺍﻻﳒﺎﺯ ﺍﻟﻔﲏ ﺃﻃﻠﻘﺖ ﻋﻠﻴﻬﺎ ﻣﺼﻄﻠﺢ )ﺍﳌﻨﻄﻘﺔ ﺍﳊﺮﺓ( ﻟﻜﻲ ﺍﺭﺻـﺪ‬
‫ﻣﻼﻣــﺢ ﻣــﻦ ﺍﻻﳒــﺎﺯ ﺍﻟﻔــﲏ ﱂ ﺗﺘﻄــﺮﻕ ﺍﻟﻴﻬــﺎ ﺍﻻﺩﺑﻴــﺎﺕ ﺍﻟﻨﻘﺪﻳــﺔ‬
‫ﺍﳌﻨﻬﺠﻴﺔ‪ .‬ﻛﻤﺎ ﺍﺷﺮﺕ ﻣﻘﺎﻝ ﻛﺘﺒﺘﻪ ﻋﻦ ﺍﻋﻤﺎﻝ ﺍﻟﻔﻨـﺎﻥ ﺍﻟﻌﺮﺍﻗـﻲ‬
‫ﻧﻮﺭﻱ ﺍﻟﺮﺍﻭﻱ ﺍﱃ ﺍﻣﻜﺎﻧﻴﺔ ﺍﻥ ﻳﺼﻨﻒ ﺍﻻﺑﺪﺍﻉ ﺍﻟﻔﲏ ﻋﻠـﻰ ﺍﺳـﺎﺱ‬
‫ﺍﻟﺜﻴﻤــﺔ ﺍﻻﺛــﲑﺓ ﺍﻟــﱵ ﺗﺘﻜــﺮﺭ ﻫــﺬﺍ ﺍﻻﺑــﺪﺍﻉ‪ .‬ﻭﺗﻮﺍﺻــﻼ ﻣــﻊ ﻫــﺬﺍ‬
‫ﺍﻟﺘﻮﺟﻪ ﺍﻭﺩ ﺍﻥ ﺍﻧﺎﻗﺶ ﻇﺎﻫﺮﺓ ﻏﺎﻟﺒـﺎ ﻣـﺎ ﺗﻜـﺮﺭﺕ ﺍﻟﻔـﻦ ﺍﻟﻌﺮﺍﻗـﻲ‬
‫ﺍﳊــﺪﻳﺚ ﻭﺍﳌﻌﺎﺻــﺮ‪ ،‬ﻭﻫــﻲ ﺗﺘﻤﺤــﻮﺭ ﺣــﻮﻝ ﺍﻟﻌﻼﻗــﺔ ﺍﳋﺎﺻــﺔ ﺑــﲔ‬
‫ﺍﻻﻧﺴﺎﻥ ﻭﺍﳌﻜﺎﻥ ﻋﻠﻰ ﻗﻤﺎﺷﺔ ﻫﺬﺍ ﺍﻟﻔﻨﺎﻥ‪.‬‬
‫ﺍﻥ ﺍﻟﻠﻮﺣﺔ ﺍﻟﻔﻨﻴﺔ ﺭﺳﺎﻟﺔ ﺑﺼﺮﻳﺔ ﺗﻨﻘﻞ ﻟﻠﻤﺸﺎﻫﺪ ﻣﺸﻬﺪﺍ ﺍﻭ ﺭﺅﻳﺔ‬
‫ﻣﺎ ﻭﻟﻜﻲ ﻳﻜﺘﻤﻞ ﺍﳌﺸﻬﺪ ﻻﺑﺪ ﻣﻦ ﺗﻀﺎﻓﺮ ﻋﻨﺎﺻـﺮ ﺍﻟﺰﻣـﺎﻥ ﻭﺍﳌﻜـﺎﻥ‬
‫ﻭﺍﳊﺪﺙ)ﺍﻟﻔﻌﻞ(‪ .‬ﻭﻣﻊ ﺍﺧﺘﻼﻑ ﺍﻻﺳﺎﻟﻴﺐ ﻭﺍﻟﺮﺅﻯ ﻭﺍﻟﺘﺠـﺎﺭﺏ ﻗـﺪ‬
‫ﻳﻄﻐﻰ ﺍﺣﺪ ﻫﺬﻩ ﺍﻟﻌﻨﺎﺻﺮ ﻋﻠﻰ ﺍﻟﺒﻘﻴـﺔ ﻗﻤﺎﺷـﺔ ﺍﻟﺮﺳـﻢ‪ ،‬ﺍﻭ ﻗـﺪ‬
‫ﻳﺘﻤﺎﻫﻲ ﻣﻌﻬﺎ ﻣﻦ ﺍﺟﻞ ﺗﻮﺻﻴﻞ ﺍﻟﺮﺳﺎﻟﺔ ﺍﻟﱵ ﻳﺮﻳﺪ ﺍﻟﻔﻨﺎﻥ ﺍﻳﺼﺎﳍﺎ‪.‬‬
‫ﺍﻥ ﺗﺒﺎﺩﻝ ﺍﻻﺩﻭﺍﺭ ﺑﲔ ﻫـﺬﻩ ﺍﻟﻌﻨﺎﺻـﺮ ﺍﻣـﺮ ﻗـﺪ ﻻ ﲢـﺪﺩﻩ ﺍﻻﺳـﺎﻟﻴﺐ‬
‫ﺍﻟﻔﻨﻴﺔ ﻭﻫﻮ ﻏﲑ ﺧﺎﺿﻊ ﻟﺘﺼـﻨﻴﻔﺎﲥﺎ‪ ،‬ﻓـﻴﻤﻜﻦ ﺍﻥ ﺗﺸـﱰﻙ ﻟﻮﺣﺘـﺎﻥ‬
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 ‫ﺗﻨﺘﻤﻴﺎﺕ ﳌﻨﻬﺠﲔ ﳐﺘﻠﻔﲔ ﺍﺑﺮﺍﺯ ﻋﻨﺼﺮ ﺍﻟﻔﻌـﻞ ﻋﻠـﻰ ﻋﻨﺎﺻـﺮ‬
‫ﺍﳌﻜـــﺎﻥ ﻭﺍﻟﺰﻣـــﺎﻥ‪ ،‬ﻭﻗـــﺪ ﻧـــﺮﻯ ﻟـــﻮﺣﺘﲔ ﲡﺮﻳـــﺪﻳﺘﲔ ﺭﺳـــﺎﻟﺘﲔ‬
‫ﻣﺘﻘﺎﻃﻌﺘﲔ ﲤﺎﻣﺎ‪ ،‬ﻓﺎﺣﺪﺍﳘﺎ ﻗـﺪ ﺗـﱪﺯ ﻋﻨﺼـﺮ ﺍﳌﻜـﺎﻥ ﻭﺍﺧـﺮﻯ ﺗـﱪﺯ‬
‫ﻋﻨﺼﺮ ﺍﻟﻔﻌﻞ ﺍﻭ ﺍﳊﺮﻛﺔ‪ .‬ﻗﺪ ﳝﻨﺤﻨﺎ ﺍﻟﺘﻌﺎﻣﻞ ﻣـﻊ ﺍﻟﻠﻮﺣـﺔ ﻣـﻦ ﻫـﺬﺍ‬
‫ﺍﳌﻨﻈــﻮﺭ ﺯﺍﻭﻳــﺔ‪ ،‬ﺍﺭﺍﻫــﺎ ﻣﻬﻤــﺔ ﺭﺻــﺪ ﻣﻨــﺎﻃﻖ ﺣﻴﻮﻳــﺔ ﺍﳌﻨﺠــﺰ‬
‫ﺍﻟﻔﲏ‪.‬‬
‫ﺍﻟﺴﺆﺍﻝ ﺍﻟـﺬﻱ ﺍﺣـﺎﻭﻝ ﺍﺟﺎﺑﺘـﻪ ﻫﻨـﺎ ﻫـﻮ‪ :‬ﻛﻴـﻒ ﺗﺘﻔﺎﻋـﻞ ﻋﻨﺎﺻـﺮ‬
‫ﺍﻟﻠﻮﺣﺔ ﻟﻜﻲ ﺗﻨﻘﻞ ﺭﺳﺎﻟﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ ﺍﳌﻌﺎﺻﺮ؟‬
‫ﺍﻥ ﺍﻟﻠﻮﺣﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻌﻜـﺲ ﺣﺎﻟـﺔ ﻣـﻦ ﻫﻴﻤﻨـﺔ‬
‫ﺍﳌﻜــﺎﻥ ﻋﻠــﻰ ﺑﻘﻴــﺔ ﻣﻜﻮﻧــﺎﺕ ﺍﻟﻠﻮﺣــﺔ ﻭﻣﻨــﻬﺎ ﺍﻟﻮﺟــﻮﺩ ﺍﻻﻧﺴــﺎﻧﻲ‪،‬‬
‫ﻓﺎﳉﺴـــﺪ ﺍﻻﻧﺴـــﺎﻧﻲ ﻋﻠـــﻰ ﻗﻤﺎﺷـــﺔ ﺍﻟﻔﻨـــﺎﻥ ﺍﻟﻌﺮﺍﻗـــﻲ ﻗﻠﻤـــﺎ ﳛﻈـــﻰ‬
‫ﲞﺼﻮﺻــﻴﺘﻪ ﺍﻟﻠﻮﻧﻴــﺔ ﻭﺍﻟﺸــﻜﻠﻴﺔ ﺑﻌﻴــﺪﺍ ﻋــﻦ ﺧﻠﻔﻴﺘــﻪ ﺍﳌﻜﺎﻧﻴــﺔ‪ ،‬ﳑــﺎ‬
‫ﻳﻌﻜــﺲ ﺗﺒﻌﻴــﺔ ﺍﻻﻧﺴــﺎﻥ ﻟﺒﻴﺌﺘـــﻪ ﺍﳌﻜﺎﻧﻴــﺔ ﺍﱃ ﺩﺭﺟــﺔ ﻳﻔﻘــﺪ ﻓﻴﻬـــﺎ‬
‫ﺧﺼﻮﺻﻴﺘﻪ ﺍﻣﺎﻡ ﻃﻐﻴﺎﳖﺎ ﻭﻫﻴﻤﻨﺘﻬﺎ ﻋﻠﻰ ﺣﻴﺎﺗﻪ‪ .‬ﺍﻻﻧﺴﺎﻥ ﻟﻮﺣﺔ‬
‫ﺍﻟﻔﻨــﺎﻥ ﺍﻟﻌﺮﺍﻗــﻲ ﻻ ﻳﻔــﺮﺽ ﻭﺟــﻮﺩﻩ ﻭﺧﺼﻮﺻــﻴﺘﻪ ﻋﻠــﻰ ﺣﺴــﺎﺏ‬
‫ﺍﳌﻜــﺎﻥ ﻭﻫــﻮ ﺍﻓﻀــﻞ ﺍﺣﻮﺍﻟــﻪ ﻳــﺆﻗﻠﻢ ﺍﻟﻮﺍﻧــﻪ ﻭﺧﻄﻮﻃــﻪ ﻟﺘﻜــﻮﻥ‬
‫ﻣﻨﺴــﺠﻤﺔ ﻣــﻊ ﺍﶈــﻴﻂ‪ .‬ﺍﻥ ﺍﻻﻧﺴــﺎﻥ ﻭﺍﳌﻜــﺎﻥ ﻟﻮﺣــﺎﺕ ﺍﻟﻔﻨـــﺎﻥ‬
‫ﺍﻟﻌﺮﺍﻗﻲ ﺣﺎﻟﺔ ﲤﺎﻫﻲ ﻣﻠﻔﺘـﺔ ﻟﻠﻨﻈـﺮ‪ ..‬ﻭﺣﺎﻟـﺔ ﺍﻟﺘﻤـﺎﻫﻲ‪ -‬ﺍﳍﻴﻤﻨـﺔ‬
‫ﻫﺬﻩ ﻫﻲ ﺍﻟﱵ ﲤﺜﻞ ﺍﻟﻔﻌﻞ ﺍﻭ ﺍﳊﺪﺙ ﺍﻟﺮﺳـﺎﻟﺔ ﺍﻟـﱵ ﳛـﺎﻭﻝ ﺍﻥ‬
‫ﻳﻮﺻﻠﻬﺎ ﺍﻟﻔﻨﺎﻥ ﻋﱪ ﻟﻮﺣﺘﻪ ﺍﻟﻔﻨﻴﺔ ﻭﻛﺄﻥ ﻟﻮﺣﺔ ﺍﻟﻔﻨﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ ﺗﺮﻳﺪ‬
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 ‫ﺍﻥ ﺗﻘﻮﻝ ﺑﺎﻥ ﺍﻻﻧﺴﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ ﻳﻌﺎﻧﻲ ﻣﻦ ﺣﺎﻟﺔ ﲢﻜـﻢ ﺍﳌﻜـﺎﻥ ﻓﻴـﻪ‪.‬‬
‫ﺍﻥ ﺍﻻﻧﺴـﺎﻥ ﻋﻠـﻰ ﺍﻟﻘﻤﺎﺷـﺔ‪ ،‬ﺣﺘـﻰ ﻭﻫـﻮ ﳝـﺎﺭﺱ ﻃﻘﻮﺳـﻪ ﺍﳊﻴﺎﺗﻴـﺔ‬
‫ﻭﺍﺣﺘﻔﺎﻻﺗــﻪ‪ ،‬ﻻ ﻳــﱪﺯ ﻋﻠــﻰ ﺍﻟﻘﻤﺎﺷــﺔ ﺑﺎﻳﻘــﺎﻉ ﻣﻨﻔــﺮﺩ ﻭﻟﻜﻨــﻪ ﻳﻈﻬــﺮ‬
‫ﺑﺎﻳﻘﺎﻉ ﻣﻮﺍﺯ ﻭﻣﺴﺎﻳﺮ ﳋﻠﻔﻴﺔ ﺍﻟﻘﻤﺎﺷﺔ‪.‬‬
‫ﻳﺴﺘﻌﲔ ﺍﻟﺮﺳﺎﻡ ﺍﻟﻌﺮﺍﻗﻲ ﺍﺣﻴﺎﻥ ﻛﺜﲑﺓ ﺑﺎﻻﺳﻠﻮﺏ ﺍﻟﺘﻜﻌـﻴﱯ‬
‫ﺍﻭ ﺑﻀــﻔﺎﻓﻪ ﻭﻗــﺪ ﻳﻜــﻮﻥ ﻟــﺬﻟﻚ ﺩﻭﺭ ﺗﺮﺳــﻴﺦ ﻫــﺬﻩ ﺍﻟﺮﺅﻳــﺔ‪ .‬ﻟﻘــﺪ‬
‫ﺍﺷﺮﺕ ﺩﺭﺍﺳﺔ ﺳـﺎﺑﻘﺔ ﺍﱃ ﻫﻴﻤﻨـﺔ ﺍﳋـﻂ ﻭﺍﻻﺳـﻠﻮﺏ ﺍﻟﺘﻜﻌـﻴﱯ‬
‫ﻋﻠــﻰ ﺍﻟﻔــﻦ ﺍﻟﻌﺮﺍﻗــﻲ ﺍﳌﻌﺎﺻـــﺮ‪ ،‬ﻭﺍﻟﻔــﻦ ﺍﻟﺘﻜﻌــﻴﱯ ﻣــﻊ ﺍﻣﺘـــﺪﺍﺩﻩ‬
‫ﺍﻟﺘﺠﺮﻳﺪﻱ ﻳﺘﻤﻴﺰ ﲠﻴﻤﻨﺔ ﺍﳋﻂ ﻋﻠﻴﻪ ﻭﻋﺪﻡ ﻗﺪﺭﺓ ﺍﻟﻠﻮﻥ ﻋﻠﻰ ﻛﺴـﺮ‬
‫ﺍﻳﻘﺎﻉ ﺍﳋﻂ ﻓﻴﻪ‪ ،‬ﻋﻠـﻰ ﻋﻜـﺲ ﺍﻟﻔـﻦ ﺍﻟﺘﻌـﺒﲑﻱ ﺍﻟـﺬﻱ ﻳـﱪﺯ ﻣﻜﺎﻧـﺔ‬
‫ﺍﻟﻠﻮﻥ ﺍﻟﻠﻮﺣـﺔ‪ .‬ﻟﻘـﺪ ﺍﻗﱰﺣـﺖ ﺗﻌﻠﻴـﻞ ﺫﻟـﻚ ﺍﺭﺗﺒـﺎﻁ ﺍﻟـﺬﺍﻛﺮﺓ‬
‫ﺍﻟﻔﻨﻴﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ ﺑﺎﳋﻂ ﺍﻟﻌﺮﺑﻲ ﻭﺍﻟﺰﺧﺮﻓﺔ ﻭﻟﻜﻨﻪ ﻣﻦ ﺟﺎﻧﺐ ﺍﺧﺮ ﻗﺪ‬
‫ﻳﻜﻮﻥ ﻣﺘﺎﺛﺮﺍ ﺑﺎﳋﺎﺻﻴﺔ ﺍﳍﻨﺪﺳﻴﺔ ﻟﻠﻤﻜﺎﻥ ﺍﻭ ﺍﶈﻴﻂ‪.‬‬

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 ‫‪  ‬‬

‫ﻫﻞ ﻳﻌﲏ ﻫﺬﺍ ﺍﻥ ﺍﻟﻔﻦ ﺍﻟﺘﻜﻌﻴﱯ ﻫﻮ ﻓﻦ ﻳﻜﺮﺱ ﻫﻴﻤﻨﺔ ﺍﳌﻜﺎﻥ‬

‫ﻋﻠﻰ ﺍﳊﺪﺙ ﺍﻭ ﺍﻟﺰﻣﺎﻥ ﻋﻠﻰ ﻋﻜﺲ ﺍﻟﻔﻦ ﺍﻟﺘﻌـﺒﲑﻱ؟ ﻗـﺪ ﻻ ﻧﻌﺜـﺮ‬
‫ﺍﻻﺩﺑﻴﺎﺕ ﺍﻟﻨﻘﺪﻳﺔ ﻋﻠﻰ ﺍﺟﺎﺑﻪ ﳍﺬﺍ ﺍﻟﺴﺆﺍﻝ‪ ،‬ﻭﻟﻜﻦ ﻫﺬﺍ ﺍﻟـﺮﺍﻱ‬
‫ﻗـﺪ ﻳﻔﺴـﺮ ﻫـﺬﻩ ﺍﳋﺼﻮﺻــﻴﺔ ﺍﻟﻔـﻦ ﺍﻟﻌﺮﺍﻗـﻲ‪ .‬ﺍﻥ ﺍﻟﺜﻴﻤـﺔ ﺍﻟﻐﺎﻟﺒــﺔ‬
‫ﻋﻠــﻰ ﻗﻤﺎﺷــﺔ ﺍﻟﻔﻨــﺎﻥ ﻭﻫــﻮ ﻳﻨﻘــﻞ ﺭﺳــﺎﻟﺔ ﺍﻻﻧﺴــﺎﻥ ﺍﻟﻌﺮﺍﻗــﻲ ﻋﻠــﻰ‬
‫ﻗﻤﺎﺷــﺘﻪ ﺗﺆﻛــﺪ ﻓﻌــﻞ ﻫﻴﻤﻨــﺔ ﺍﳌﻜــﺎﻥ ﻋﻠــﻰ ﺑﻘﻴــﺔ ﻣﻔــﺮﺩﺍﺕ ﺍﻟﻠﻮﺣــﺔ‬

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 ‫ﻭﻟﻴﺲ ﺍﳉﺴﺪ ﺍﻹﻧﺴﺎﻧﻲ ﻓﻘﻂ‪ .‬ﻭﻫﻮ ﳑﺎ ﻗﺪ ﳚﻌﻞ ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﻌﺮﺍﻗـﻲ‬
‫ﻓﻨﺎ ﻣﻜﺎﻧﻴﺎ ﺑﺎﻣﺘﻴﺎﺯ ﺑﺴﺒﺐ ﻫﺬﻩ ﺍﳍﻴﻤﻨﺔ ﻋﻠﻰ ﻣﻔﺮﺩﺍﺕ ﺍﻷﺩﺍﺀ ﺍﻟﻠﻮﻧﻲ‬
‫ﺍﻟﺘﻌﺒﲑﻱ ﺍﳌﺮﺗﺒﻂ ﺑـ)ﺍﻟﺰﻣﺎﻥ ﺃﻭ ﺍﻟﻔﻌﻞ( ﻛﺜﲑ ﻣﻦ ﺍﻻﺣﻴﺎﻥ‪.‬‬
‫ﻭﻟﻜﻦ ﺍﳌﻼﺣﻆ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻌﺮﺍﻗﻴﺔ‪ ،‬ﺣﺘـﻰ ﺍﻻﻧﻄﺒﺎﻋﻴـﺔ ﺍﻭ‬
‫ﺍﻟﺘﻌﺒﲑﻳﺔ ﺍﻭﺍﻻﻋﻤـﺎﻝ ﺍﻟـﱵ ﺗﺒﺘﻌـﺪ ﻋـﻦ ﺍﳍﻴﻤﻨـﺔ ﺍﻟﺘﻜﻌﻴﺒﻴـﺔ ﻭﺍﻣﺘـﺪﺍﺩﻫﺎ‬
‫ﺍﻟﺘﺠﺮﻳﺪﻱ ﻋﻤﻮﻣﺎ‪ ،‬ﻫﻮ ﺍﻥ ﺍﻟﻔﻨﺎﻥ ﻫﺬﻩ ﺍﻻﻋﻤﺎﻝ ﻻ ﻳﻐﺎﺩﺭ ﳏﻠﻴﺘـﻪ‪.‬‬
‫ﺍﻥ ﺍﻻﻧﺴﺎﻥ ﻟﻮﺣـﺎﺕ ﺍﻟﻔﻨـﺎﻥ ﺍﻟﻌﺮﺍﻗـﻲ ﻫـﺬﻩ ﺍﻻﻋﻤـﺎﻝ ﻭﺍﻥ ﲡـﺎﻭﺯ‬
‫ﺍﻻﻃﺎﺭ ﺍﳋﻄﻲ ﻭﺍﻟﻠﻮﻧﻲ ﳋﻠﻔﻴﺘﻪ ﺍﳌﻜﺎﻧﻴﺔ‪ ،‬ﺍﻻ ﺍﻧﻪ ﻏﺎﻟﺒـﺎ ﻣـﺎ ﻳﻈﻬـﺮ ﻭﻫـﻮ‬
‫ﳝﺎﺭﺱ ﻃﻘﻮﺳﺎ ﳏﻠﻴﺔ ﻟﺘﻮﺛﻴﻖ ﺍﻻﺭﺗﺒﺎﻁ ﺑﺎﳌﻜﺎﻥ‪.‬‬

‫‪  ‬‬

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 ‫ﻫﻞ ﻳﻌﻜﺲ ﻫﺬﺍ ﺍﻟﺘﻤﺎﻫﻲ ﺣﺎﻟﺔ ﺣﺐ ﺍﻻﻧﺴﺎﻥ ﺍﻟﻌﺮﺍﻗﻲ ﻟﺒﻴﺌﺘﻪ؟‬
‫ﻗﺪ ﻳﻜﻮﻥ ﻫﺬﺍ ﺻﺤﻴﺤﺎ ﺍﱃ ﺣﺪ ﺑﻌﻴﺪ‪ ،‬ﻭﻟﻜﻦ ﻻ ﳝﻜﻦ ﺍﻥ ﻧﺼﻒ‬
‫ﻋﻼﻗﺔ ﺍﻟﻌﺮﺍﻗﻲ ﺑﺎﺭﺿﺔ ﺑﻜﻮﳖﺎ ﻋﻼﻗﺔ ﺣﺐ ﺑﺸـﻜﻠﻬﺎ ﺍﳌـﺎﻟﻮﻑ‪ ،‬ﻻﻥ‬
‫ﻋﻼﻗــﺔ ﺍﳊــﺐ ﲝﻜــﻢ ﻃﺒﻴﻌﺘــﻬﺎ ﲢﺘــﺎﺝ ﺍﱃ ﺍﺳــﺘﻘﺮﺍﺭ ﺯﻣــﲏ ﻟﺘﻨﻤــﻮ‬
‫ﻭﺗﺘﻜﺎﻣﻞ ﻋﻨﺎﺻﺮﻫﺎ‪ ،‬ﻭﺍﻟﻌﺮﺍﻕ ﺑﻄﺒﻴﻌﺘﻪ ﻭﻇﺮﻭﻓﻪ ﻻ ﻳﺴﻤﺢ ﲟﺜﻞ ﻫﺬﻩ‬
‫ﺍﻟﻌﻼﻗــﺔ ﺍﳌﺴــﺘﻘﺮﺓ ﻭﺑﺎﻟﺘــﺎﱄ ﻓــﺎﻥ ﻋﻼﻗــﺔ ﺍﻟﻌﺮﺍﻗــﻲ ﺑﺎﺭﺿــﻪ ﳝﻜــﻦ ﺍﻥ‬
‫ﺗﻮﺻــﻒ ﺑﺎﳖــﺎ ﻋﻼﻗــﺔ ﺣــﺐ ﻣﺮﺗﺒﻜــﺔ‪ .‬ﺍﻟﻌﺮﺍﻗــﻲ ﻋﻠــﻰ ﺍﺭﺿــﻪ ﻳﺸــﻌﺮ‬
‫ﺑﺎﻟﻐﺮﺑـﺔ ﺍﺣﻴـﺎﻥ ﻛــﺜﲑﺓ ﻭﻫــﺬﻩ ﺍﻟﻐﺮﺑـﺔ ﱂ ﺗﻜــﻦ ﻳﻮﻣــﺎ ﻣــﺎ ﻣﺮﺗﺒﻄــﺔ‬
‫ﺑﻈﺮﻑ ﺳﻲﺀ ﺍﻭ ﻗـﺎﻫﺮ ﺑﻘـﺪﺭ ﺍﺭﺗﺒﺎﻃﻬـﺎ ﺑﺎﺯﻣـﺔ ﺍﳌﻜـﺎﻥ ﻧﻔﺴـﻪ‪ .‬ﺍﻟﻌـﺮﺍﻕ‬
‫ﺑﻠــﺪ ﻣﺘﻄــﺮﻑ ﻣﻨﺎﺧــﻪ ﻣﺘﻄــﺮﻑ ﻇﺮﻭﻓــﺔ ﺍﻟﺴﻴﺎﺳــﻴﺔ ﻭﺍﻟﺘﺎﺭﳜﻴــﺔ‬
‫ﻭﺍﻟﻌﺮﺍﻗﻲ ﺑﺎﻟﺘﺎﱄ ﻫﻮ ﺍﺳﲑ ﻫﺬﺍ ﺍﻟﺘﻄﺮﻑ‪ ،‬ﲟﻌﻨﻰ ﺍﺧﺮ‪ ،‬ﺍﻥ ﺍﻟﺴﻠﻮﻙ‬
‫ﺍﻻﻧﺴﺎﻧﻲ ﺍﻟﻌﺮﺍﻗﻲ ﻣﺮﺗﺒﻂ ﺑﺸﻜﻞ ﻭﺛﻴﻖ ﻣﻊ ﺑﻴﺌﺘـﻪ ﺍﳌﺘﻄﺮﻓـﺔ ﻭﻫـﻮ ﻣـﺎ‬
‫ﻗﺪ ﻳﺴﺘﺒﻄﻦ ﺍﻧﻌﻜﺎﺳﺎ ﻟﻠﻌﻼﻗﺔ ﺍﳊﺎﻛﻤﺔ ﺍﻟﱵ ﻳﻔﺮﺿـﻬﺎ ﺍﳌﻜـﺎﻥ ﻋﻠـﻰ‬
‫ﻭﺍﻗﻊ ﻫﺬﺍ ﺍﻹﻧﺴﺎﻥ‪ .‬ﳑﺎ ﻳﱪﺭ ﻫﻴﻤﻨﺔ ﻫﺬﻩ ﺍﻟﺒﻴﺌﺔ ﻋﻠـﻰ ﻃﺒﻴﻌـﻪ ﻭﺟـﻮﺩﻩ‬
‫ﻋﻠﻰ ﺳﻄﺢ ﺍﻟﻘﻤﺎﺷﺔ‪.‬‬
‫ﳝﻜﻦ ﺍﻥ ﳔﻠﺺ ﳑﺎ ﺳﺒﻖ ﺍﱃ ﺍﻥ ﺍﻟﻌﻤﻞ ﺍﻟﻔﲏ ﺍﻟﻌﺮﺍﻗﻲ ﺑﺴﺒﺐ‬
‫ﻋﻼﻗﺔ ﺍﻟﺘﺤﺪﻱ ﺍﻟﻮﺟﻮﺩﻱ ﺍﻟﱵ ﻳﻔﺮﺿﻬﺎ ﺍﳌﻜـﺎﻥ ﱂ ﻳﻌـﺪ ﻳﺸـﲑ ﺍﱃ‬
‫ﺍﻟﻨﺪﻳﺔ ﺑـﲔ ﺍﻟﻮﺟـﻮﺩ ﺍﻟﺒﺸـﺮﻱ ﻭﺍﳌﻜـﺎﻧﻲ‪ .‬ﺍﻱ ﺍﻧـﻪ ﻻ ﻳﻈﻬـﺮ ﺍﻻﻧﺴـﺎﻥ‬
‫ﻭﺍﳌﻜﺎﻥ ﻭﻛﺎﳖﻤﺎ ﳚﺴﺪﺍﻥ ﺍﺩﻭﺍﺭﺍ ﻣﺘﻮﺍﺯﻳـﺔ ﻭﻟﻜـﻦ ﺍﳌﻜـﺎﻥ ﻫـﻮ ﺍﻟـﺬﻱ‬
‫ﻳﻘـﻮﺩ ﺍﻟﻔﻌــﻞ ﺍﻻﻧﺴــﺎﻧﻲ‪ ،‬ﺑﺎﺳــﻄﺎ ﺳـﻴﻄﺮﺗﻪ‪ ،‬ﻟــﻴﺲ ﻋﻠﻴــﻪ ﻓﻘــﻂ ﻭﺍﳕــﺎ‬
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 ‫ﻋﻠﻰ ﺑﻘﻴﺔ ﻋﻨﺎﺻﺮ ﺍﻟﻠﻮﺣـﺔ‪ ،‬ﻭﺍﻟﻘﻤﺎﺷـﺔ ﻏﺎﻟﺒﻴـﺔ ﺍﻻﻋﻤـﺎﻝ ﺍﻟﻔﻨﻴـﺔ‬
‫ﺍﻟﻌﺮﺍﻗﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ ﻏﺎﻟﺒﺎ ﻣﺎ ﺗﻘـﺰ‪‬ﻡ ﻋﻨﺼـﺮ ﺍﻟﺰﻣـﺎﻥ ﻣـﺎﱂ ﻳﻜـﻦ ﻭﺟـﻮﺩ‬
‫ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﻣﺮﺗﺒﻄـﺎ ﺑﻄﺒﻴﻌـﺔ ﻫـﺬﻩ ﺍﳍﻴﻤﻨـﺔ‪ .‬ﻭﻻﻥ ﺍﳊـﺪﺙ ﻭﺍﻟـﺬﻱ‬
‫ﻳﻔــﱰﺽ ﻭﺟــﻮﺩﻩ ﻋﻠــﻰ ﻣﺸــﻬﺪ ﺍﻟﻘﻤﺎﺷــﺔ ﻟﻜــﻲ ﺗﻜﺘﻤــﻞ ﻋﻨﺎﺻــﺮﻫﺎ‬
‫ﻳﺮﺗﺒﻂ ﺑﻌﻼﻗﺔ ﺍﻟﺘﺤﺪﻱ ﺍﻟﻮﺟـﻮﺩﻱ ﺍﻟـﱵ ﺗﻔﺮﺿـﻬﺎ ﺍﻟﺒﻴﺌـﺔ ﺍﳌﻜﺎﻧﻴـﺔ‪،‬‬
‫ﻓﺎﻟﺒﻴﺌــﺔ ﺍﳌﻜﺎﻧﻴــﺔ ﻫــﻲ ﺍﻟﻔﺎﻋــﻞ ﺍﳌــﺆﺛﺮ ﺍﻟﺰﻣــﺎﻥ ﻭﺍﳊــﺪﺙ)ﺍﻟﻔﻌــﻞ‬
‫ﺍﻹﻧﺴﺎﻧﻲ( ﻭﺑﺎﻟﺘﺎﱄ ﻓﺴﻴﻄﺮﺓ ﺍﳌﻜﺎﻥ ﲤﺜﻞ ﺟﻮﻫﺮ ﺍﳊﻴـﺎﺓ‪ .‬ﻻ ﻳﻌﻜـﺲ‬
‫ﻫــﺬﺍ ﺿــﻌﻒ ﺍﻻﻧﺴــﺎﻥ ﻋﻠــﻰ ﺍﻟﻘﻤﺎﺷــﺔ ﻭﻟﻜﻨــﻪ ﻗــﺪ ﻳﻌﻜــﺲ ﺍﻟﺘــﺎﺛﲑ‬
‫ﺍﻟﻘﻮﻱ ﻟﻄﺒﻴﻌـﺔ ﺍﳌﻜـﺎﻥ ﺍﳌﺘﻄﺮﻓـﺔ ﻭﺍﻟﺘﺤـﺪﻳﺎﺕ ﺍﳊﻀـﺎﺭﻳﺔ ﻭﺍﻟﻮﺟﻮﺩﻳـﺔ‬
‫ﻋﻠـــﻰ ﺍﻻﻧﺴـــﺎﻥ ﻟﺪﺭﺟـــﺔ ﱂ ﻳﻌـــﺪ ﻣﻌﻬـــﺎ ﻫـــﺬﺍ ﺍﻻﻧﺴـــﺎﻥ ﻳﺘﺼـــﻮﺭ‬
‫ﺧﺼﻮﺻﻴﺘﻪ ﺑﻌﻴﺪﺍ ﻋﻦ ﻫﺬﺍ ﺍﻟﺘﺤﺪﻱ‪.‬‬

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