‫ﻡ‪.‬ﻡ‪ /.

‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ‬

‫ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﺒﺤـﺙ ﻤﻘﺩﻡ ﻤﻥ ﺍﻝﺒﺎﺤﺜﺔ‬

‫ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬
‫ﺍﻝﻤﺩﺭﺱ ﺍﻝﻤﺴﺎﻋﺩ ﺒﻘﺴﻡ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ‬
‫ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻨﻭﻋﻴﺔ ‪ -‬ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬

‫ﺇﺸﺭﺍﻑ‬
‫ﺃ‪.‬ﺩ‪/.‬ﻤﻬﺎ ﺯﻜﺭﻴﺎ ﻋﺒﺩﺍﻝﺭﺤﻤﻥ‬ ‫ﺃ‪.‬ﺩ‪/.‬ﻤﻴﺭﻓﺕ ﺯﻜﻲ ﺸﺭﺒﺎﺵ‬
‫ﺃﺴﺘﺎﺫ ﺍﻝﻨﻘﺩ ﻭﺍﻝﺘﺫﻭﻕ ﺍﻝﻔﻨﻲ‬ ‫ﺃﺴﺘﺎﺫ ﺍﻝﺭﺴﻡ ﻭﺍﻝﺘﺼﻭﻴﺭ‬
‫ﻭﻋﻤﻴﺩ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻨﻭﻋﻴﺔ‬ ‫ﻭﻋﻤﻴﺩ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻷﺴﺒﻕ‬
‫ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ‬

‫ﺃ‪.‬ﻡ‪.‬ﺩ‪ /.‬ﺭﺤﺎﺏ ﺃﺤﻤﺩ ﺃﺒﻭ ﺯﻴﺩ‬

‫ﺃﺴﺘﺎﺫ ﻤﺴﺎﻋﺩ ﺍﻷﺸﻐﺎل ﺍﻝﻔﻨﻴﺔ ﻭﺭﺌﻴﺱ ﻗﺴﻡ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ‬
‫ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻨﻭﻋﻴﺔ ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬

‫‪-٢٠١٣-‬‬

‫‪٤٩٩‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﺍﻝﻤﻠﺨﺹ‬
‫ﺘﺘﻨﺎﻭل ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﺒﺎﻝﺒﺤﺙ ﻭﺍﻝﻭﺼﻑ ﻭﺍﻝﺘﺤﻠﻴل ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ‬
‫ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻭﺫﻝﻙ ﻝﻼﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﻓﻲ ﻤﺠﺎل ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ﻭﻗﺩ ﺘﺤﺩﺩﺕ ﻤﺸﻜﻠﺔ ﺍﻝﺒﺤﺙ ﻓﻲ‬
‫ﺍﻝﺘﺴﺎﺅل ﺍﻵﺘﻲ ‪:‬‬
‫ﻤﺎ ﻫﻲ ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺘﻤﻴﺯ ﺒﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ؟‬
‫ﻭﻗﺩ ﻜﺎﻥ ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻝﺒﺤﺙ ﻫﻭ ﺩﺭﺍﺴﺔ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ‬
‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﻘﻴﻡ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻬﺎ ‪.‬‬
‫ﻭﺘﻨﺎﻭل ﺍﻝﺒﺤﺙ ﺩﺭﺍﺴﺔ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺍﻫﻡ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﺘﻲ ﻗﺎﻤﺕ ﻋﻠﻴﻬﺎ ﻭﻤﻨﻬﺎ‬
‫ﺍﻝﻤﺜﻠﺙ ﻭﺍﻝﺩﺍﺌﺭﺓ ﻭﺍﻝﻨﺠﻭﻡ ﺒﺄﺸﻜﺎﻝﻬﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ‪.‬‬
‫ﻜﻤﺎ ﺘﻨﺎﻭل ﺍﻝﺒﺤﺙ ﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻭﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﻤﻜﻭﻨﺔ ﻝﻬﺎ ﻜﻤﺎ ﺘﻨﺎﻭل ﺍﻝﺒﺤﺙ ﺒﻌﺽ ﻁﺭﻕ‬
‫ﺭﺴﻡ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ‪.‬‬

‫‪Abstract‬‬
‫‪This research deals with research, description and analysis engineering‬‬
‫‪ornaments elements in Islamic art in the Fatimid period so as to take‬‬
‫‪advantage of them in the field of art education research has identified a‬‬
‫‪problem in the following question:‬‬
‫‪•-What are the technical features that are characterized by geometric in‬‬
‫?‪the Fatimid period‬‬
‫‪The goal of the research is to study the geometric in the Fatimid period‬‬
‫‪and take advantage of the technical features and aesthetic values.‬‬
‫‪The research study the geometric and the most important geometric‬‬
‫‪shapes upon which such triangle, circle and stars in various forms.‬‬
‫‪Also dealt with the ornaments of stars and its constituent elements also‬‬
‫‪dealt with some ways to draw it.‬‬

‫‪٥٠٠‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ا)('&‪$%‬‬
‫" ﻋﺭﻓﺕ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻤﻨﺫ ﻋﺼﻭﺭ ﻤﺎ ﻗﺒل ﺍﻝﺘﺎﺭﻴﺦ ‪ ،‬ﻭﻝﻜﻥ ﻝﻡ ﻴﻜﻥ ﻝﻬﺎ ﺍﻝﺸﺄﻥ ﺍﻝﻌﻅﻴﻡ ﺍﻝﺫﻱ‬
‫ﺃﺼﺒﺢ ﻝﻬﺎ ﻋﻠﻰ ﻴﺩ ﺍﻝﻤﺴﻠﻤﻴﻥ ‪ ،‬ﻓﻘﺩ ﺃﺼﺒﺤﺕ ﺘﺴﺘﺨﺩﻡ ﻝﺫﺍﺘﻬﺎ ‪ ،‬ﻭﺘﻜﻭﻥ ﻋﻨﺼﺭﹰﺍ ﺃﺴﺎﺴﻴ ﹰﺎ ﻤﻥ ﻋﻨﺎﺼﺭ‬
‫ﺍﻝﺯﺨﺭﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ "‬
‫ﺇﻥ ﺒﺭﺍﻋﺔ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻤﺴﻠﻡ ﻓﻲ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻜﺎﻥ ﻴﻘﻭﻡ ﻋﻠﻰ ﻋﻠﻡ ﻭﺍﻓﺭ ﺒﺎﻝﻬﻨﺩﺴﺔ ﺍﻝﻌﻠﻤﻴﺔ‬
‫ﻭﺍﻝﻤﺩﺭﻭﺴﺔ ‪ ،‬ﻭﻜﺎﻨﺕ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺴﺭﹰﺍ ﻤﻥ ﺃﺴﺭﺍﺭ ﺍﻝﺼﻨﺎﻋﺔ ﻴﺘﻠﻘﺎﻫﺎ ﺍﻝﻔﻨﺎﻨﻭﻥ ﻋﺒﺭ ﺃﺴﺎﺘﺫﺘﻬﻡ ﻭ‬
‫ﻴﺘﻌﻠﻤﻭﻨﻬﺎ ﺒﺎﻝﻤﺭﺍﻥ ﻭﻜﺎﻨﺕ ﺘﺼﻨﻊ ﻝﻬﺎ ﺍﻝﻘﻭﺍﻝﺏ ﻭ ﺍﻝﻨﻤﺎﺫﺝ ﺍﻝﻤﺨﺘﻠﻔﺔ ﺍﻝﺘﻲ ﻴﺴﺘﻌﻤﻠﻬﺎ ﺍﻝﺼﻨﺎﻉ ﻭ ﺍﻝﻔﻨﺎﻨﻭﻥ ﻓﻲ‬
‫ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ‪.‬‬
‫" ﻭﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻜﺎﻨﺕ ﺃﻜﺜﺭ ﺍﻨﺘﺸﺎﺭﹰﺍ ﻓﻲ ﺍﻝﻁﺭﺯ ﺍﻝﺘﻲ ﺍﺸﺘﻬﺭﺕ ﻓﻲ ﻤﺼﺭ ﻭ ﺍﻝﺸﺎﻡ ﻋﻨﻬﺎ ﻓﻲ‬
‫ﺴﺎﺌﺭ ﺍﻝﻁﺭﺯ ﺍﻹﺴﻼﻤﻴﺔ ﺤﺘﻰ ﻗﻴل ﺃﻥ ﺃﺴﺎﺴﻬﺎ ﻗﺩ ﻴﻌﻭﺩ ﻝﻠﻔﻨﻭﻥ ﺍﻝﻘﺩﻴﻤﺔ "‬
‫ﻭﺃﺨﺫﺕ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻭ ﺸﺨﺼﻴﺔ ﻓﺭﻴﺩﺓ ﻓﻲ ﻅل ﺍﻝﺤﻀﺎﺭﺓ ﺍﻹﺴﻼﻤﻴﺔ ﻓﺄﺼﺒﺤﺕ‬
‫ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺍﻷﺤﻴﺎﻥ ﺍﻝﻌﻨﺼﺭ ﺍﻝﺭﺌﻴﺴﻲ ﺍﻝﺫﻱ ﻴﻐﻁﻲ ﻤﺴﺎﺤﺎﺕ ﻜﺒﻴﺭﺓ ﻋﻠﻰ ﻜﺎﻓﺔ ﺍﻝﻔﻨﻭﻥ ﺍﻹﺴﻼﻤﻴﺔ ﻤﻥ‬
‫ﻋﻤﺎﺭﺓ ﻭ ﺨﺸﺏ ﻭ ﺨﺯﻑ ﻭ ﻏﻴﺭﻫﺎ ﻤﻥ ﻤﺨﺘﻠﻑ ﺍﻝﻔﻨﻭﻥ ﺍﻝﻔﺭﻋﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ‪.‬‬
‫ﻭﻗﺩ ﻝﻌﺏ ﺍﻝﺨﻁ ﺍﻝﻬﻨﺩﺴﻲ ﺩﻭﺭﹰﺍ ﻓﻲ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻜﺎﻝﺩﻭﺭ ﺍﻝﺫﻱ ﻝﻌﺒﻪ ﺍﻝﺨﻁ ﺍﻝﻤﻨﺤﻨﻲ ﻓﻲ‬
‫ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻨﺒﺎﺘﻴﺔ ﻭﻜﺎﻥ ﻫﻡ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻤﺴﻠﻡ ﻭ ﺸﻐﻠﻪ ﺍﻝﺸﺎﻏل ‪ ،‬ﺃﻥ ﻴﺒﺤﺙ ﻋﻥ ﺘﻜﻭﻴﻥ ﺠﺩﻴﺩ ﻤﺒﺘﻜﺭ ﻴﺘﻭﻝﺩ‬
‫ﻤﻥ ﺍﺸﺘﺒﺎﻜﺎﺕ ﻗﻭﺍﻁﻊ ﺍﻝﺯﻭﺍﻴﺎ ﺃﻭ ﻤﺯﺍﻭﺠﺔ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ‪ ،‬ﻝﺘﺤﻘﻴﻕ ﻤﺯﻴﺩ ﻤﻥ ﺍﻝﺠﻤﺎل ﻭ ﺍﻹﺒﺩﺍﻉ ‪.‬‬
‫ﻭﻋﻠﻰ ﺍﻝﺭﻏﻡ ﻤﻤﺎ ﻴﺒﺩﻭ ﻓﻲ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻤﻥ ﺘﻌﻘﻴﺩ ﺇﻻ ﺇﻨﻬﺎ ﺘﺘﻜﻭﻥ ﻤﻥ ﺃﺸﻜﺎل‬
‫ﺒﺴﻴﻁﺔ ﺘﻌﺘﻤﺩ ﻋﻠﻰ ﺃﺼﻭل ﻭ ﻗﻭﺍﻋﺩ ﻫﻨﺩﺴﻴﺔ ﺜﻡ ﺘﺘﻜﺭﺭ ﺘﻠﻙ ﺍﻷﺸﻜﺎل ﻭ ﺘﺘﺸﺎﺒﻙ ﺤﺘﻰ ﺘﺼﺒﺢ ﻨﺴﻴﺞ ﻭﺍﺤﺩ‬
‫ﺘﺘﺭﺍﺒﻁ ﺃﺠﺯﺍﺅﻩ ﻜﺄﻨﻬﺎ ﻭﺤﺩﺓ ﻭﺍﺤﺩﺓ ﻻ ﻴﻤﻜﻥ ﻓﺼل ﺃﺠﺯﺍﺌﻬﺎ ‪.‬‬
‫‪ $./0%‬ا)‪: +,-‬‬
‫ﺘﺘﺤﺩﺩ ﻤﺸﻜﻠﺔ ﺍﻝﺒﺤﺙ ﻓﻲ ﺍﻝﺘﺴﺎﺅل ﺍﻵﺘﻲ ‪:‬‬
‫ﻤﺎ ﻫﻲ ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺘﻤﻴﺯ ﺒﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ؟‬
‫‪34‬وض ا)‪: +,-‬‬
‫ﻴﻔﺘﺭﺽ ﺍﻝﺒﺤﺙ ﺍﻵﺘﻲ‪:‬‬
‫‪ -١‬ﻴﻤﻜﻥ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻭﻗﻴﻤﻬﺎ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻓﻲ ﺍﻷﻋﻤﺎل ﺍﻝﻔﻨﻴﺔ‬
‫‪ -٢‬ﻴﻤﻜﻥ ﺇﺒﺭﺍﺯ ﻗﻴﻡ ﻭ ﺇﻤﻜﺎﻨﺎﺕ ﺘﺸﻜﻴﻠﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‪.‬‬
‫أه(‪ $5‬ا)‪: +,-‬‬
‫‪ .١‬ﺇﻝﻘﺎﺀ ﺍﻝﻀﻭﺀ ﻋﻠﻲ ﺍﻝﺘﺭﺍﺙ ‪ ،‬ﻭﺍﻝﺫﻱ ﻴﻌﺩ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ﺃﺤﺩ ﻤﺼﺎﺩﺭ ﺍﺴﺘﻠﻬﺎﻤﻪ ﺤﻴﺙ ﻴﻤﻜﻥ‬
‫ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻨﻪ ﻓﻲ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﻌﻠﻴﻤﻴﺔ ‪.‬‬
‫‪ .٢‬ﻴﺴﺎﻋﺩ ﻋﻠﻰ ﻓﺘﺢ ﻤﺠﺎﻻﺕ ﻤﺘﻌﺩﺩﺓ ﻝﻠﺭﺅﻴﺔ ﻭﺫﻝﻙ ﻤﻥ ﺨﻼل ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﺍﻝﺘﻲ‬
‫ﺘﺘﻤﻴﺯ ﺒﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ‪.‬‬

‫‪٥٠١‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫‪&9‬ود ا)‪: +,-‬‬

‫ﺘﻘﺘﺼﺭ ﺤﺩﻭﺩ ﺍﻝﺒﺤﺙ ﻓﻴﻤﺎ ﻴﻠﻲ ‪:‬‬
‫ﺩﺭﺍﺴﺔ ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‪.‬‬
‫‪ $5:;<%‬ا)‪: +,-‬‬
‫ﻴﺘﺒﻊ ﺍﻝﺒﺤﺙ ﺍﻝﻤﻨﻬﺞ ﺍﻝﻭﺼﻔﻲ ﺍﻝﺘﺤﻠﻴﻠﻲ ‪.‬‬
‫@?>ات ا)‪: +,-‬‬
‫ﺃﻭﻻ ‪ :‬ﺩﺭﺍﺴﺔ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ‪.‬‬
‫ﺜﺎﻨﻴﺎ ‪:‬ﺩﺭﺍﺴﺔ ﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ‪.‬‬
‫ا)‪C@J‬رف ا);<&‪ A4 $5G‬ا)‪ 3EF‬ا)‪A(BCD‬‬
‫ﺒﺭﻉ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺍﻻﺒﺘﻜﺎﺭ ﻭﺍﻝﺘﺠﺩﻴﺩ ﻓﻴﻬﺎ ﻭﺫﻝﻙ ﻋﻠﻰ ﺃﺴﺱ ﻭﻗﻭﺍﻋﺩ ﻭﻤﻌﺭﻓﺔ‬
‫ﺒﻌﻠﻡ ﺍﻝﻬﻨﺩﺴﺔ ‪،‬ﻓﻨﺠﺩﻩ ﻤﻥ ﺸﻜل ﻭﺍﺤﺩ ﻴﺒﺘﻜﺭ ﺃﺸﻜﺎﻻ ﺯﺨﺭﻓﻴﻪ ﻻ ﺤﺼﺭ ﻝﻬﺎ ‪.‬‬
‫ﻭﺒﺎﻝﻨﻅﺭ ﺇﻝﻰ ﻋﻨﺎﺼﺭ ﺘﻠﻙ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﻭﺤﺩﺘﻬﺎ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻨﺠﺩ ﺃﻥ ﻤﻥ ﺃﻫﻡ‬
‫ﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﺸﻜﻠﻴﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻫﻲ ﺍﻝﻤﺭﺒﻊ ‪ ،‬ﻭﺍﻝﻤﺜﻠﺙ ﺍﻝﻤﺘﺴﺎﻭﻱ ﺍﻷﻀﻼﻉ ‪ ،‬ﻭ ﺍﻝﻤﺨﻤﺱ‬
‫ﻭﺍﻝﺴﺩﺍﺴﻲ ﺍﻝﻤﻨﺘﻅﻡ ‪ ،‬ﻭ ﺃﻨﺼﺎﻑ ﺩﻭﺍﺌﺭ ‪ ،‬ﻭﺃﻥ ﻫﺫﻩ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺠﻤﻴﻌﻬﺎ ﻤﻔﺭﺩﺍﺕ ﻫﻨﺩﺴﻴﺔ ﺒﺴﻴﻁﺔ ‪ ،‬ﻭﺭﻏﻡ‬
‫ﺒﺴﺎﻁﺔ ﺸﻜل ﻫﺫﻩ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺇﻻ "ﺃﻥ ﺍﻝﻔﻨﺎﻥ ﺍﺴﺘﻁﺎﻉ ﺃﻥ ﻴﺒﺩﻉ ﻤﻥ ﺨﻼﻝﻬﺎ ﻓﺎﺴﺘﻁﺎﻉ ﺃﻥ ﻴﻁﻠﻕ ﺨﻴﺎﻝﻪ ﻓﻲ‬
‫ﻭﻀﻊ ﺘﺸﻜﻴﻼﺕ ﻗﺎﺌﻤﺔ ﻋﻠﻴﻬﺎ ﻭ ﻋﻠﻰ ﺍﻝﺨﻁﻭﻁ ﺍﻝﻤﻨﺤﻨﻴﺔ ﻭ ﺍﻝﻤﺎﺌﻠﺔ ﺍﻝﻤﺠﺩﻭﻝﺔ ﻭﺍﻝﻤﻨﻜﺴﺭﺓ ‪ ،‬ﻭﺍﻝﻤﺴﺘﻘﻴﻤﺔ‬
‫ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﻬﺎ ﻜﺈﻁﺎﺭ ﻴﺤﺼﺭ ﺘﻠﻙ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﻤﺘﻨﻭﻋﺔ ‪ ،‬ﻜﻌﺎﻤل ﻤﺴﺎﻋﺩ ﻓﻲ ﺇﺤﻜﺎﻡ ﺍﻝﻌﻼﻗﺎﺕ ‪،‬‬
‫ﻭﻨﻤﻭ ﺍﻷﺠﺯﺍﺀ ﻭ ﺘﻭﺤﻴﺩﻫﺎ ﻭﺘﻭﺍﻝﺩ ﻭﺤﺩﺍﺕ ﻤﺘﻨﻭﻋﺔ ﻭﺠﺩﻴﺩﺓ ‪ ،‬ﺘﻌﻤل ﻋﻠﻰ ﺍﻝﺭﺒﻁ ﺸﻜل ﺍﻝﻭﺤﺩﺓ ﻭ ﺍﻷﺭﻀﻴﺔ‪.‬‬
‫ﻭﻗﺩ ﺍﺴﺘﺨﺩﻡ ﺍﻝﻔﻨﺎﻥ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺒﻁﺭﻴﻘﺔ ﻤﻨﻭﻋﺔ ﻓﻲ ﻋﻤل ﺘﺸﻜﻴﻼﺘﻪ ﺍﻝﺯﺨﺭﻓﻴﺔ ﻭﻤﻥ ﺃﻫﻡ‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻡ ﻓﻴﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﺍﻝﺸﺭﺍﺌﻁ ﺍﻝﺯﺨﺭﻓﻴﺔ ﻭ ﺍﻹﻁﺎﺭﺍﺕ ﻭ‬
‫ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﻬﺎ ﻋﻠﻰ ﺍﻷﻁﺒﺎﻕ ﻭ ﺍﻷﻭﺍﻨﻲ ﺍﻝﺨﺯﻓﻴﺔ ﻜﻤﺎ ﺍﺴﺘﺨﺩﻤﻬﺎ ﻋﻠﻰ ﺍﻝﻤﻨﺴﻭﺠﺎﺕ ﻭ ﺍﻝﺴﺠﺎﺩ ﻭ ﺍﻝﺘﺤﻑ‬
‫ﺍﻝﺨﺸﺒﻴﺔ ﻭﻋﻠﻰ ﺃﻭﺠﻪ ﺍﻝﻤﺒﺎﻨﻲ ﻭﺍﻝﻌﻤﺎﺌﺭ ‪.‬‬
‫ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ‬
‫ﻭﻜﺎﻥ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﺒﺎﺴﺘﺨﺩﺍﻡ ﻋﻨﺼﺭ ﻫﻨﺩﺴﻲ ﺒﺴﻴﻁ ﻜﺎﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﻴﺼﻨﻊ ﺘﺸﻜﻴﻼﺕ ﻜﺜﻴﺭﺓ‬
‫ﺤﻴﺙ ﻴﺴﺘﺨﺩﻤﻪ ﺘﺎﺭﺓ ﻤﻨﺘﻅﻤ ﹰﺎ ‪ ،‬ﻭﺘﺎﺭﺓ ﻏﻴﺭ ﻤﺘﺴﺎﻭﻱ ﻓﻲ ﺃﻁﻭﺍل ﺃﻀﻼﻋﻪ ﻭﺃﺤﻴﺎﻨﹰﺎ ﻴﺴﺘﺨﺩﻤﻪ ﻤﻨﻔﺭﺩﹰﺍ ‪،‬‬
‫ﻭﺃﺨﺭﻯ ﻴﺴﺘﺨﺩﻡ ﻤﻌﻪ ﻤﻔﺭﺩﺍﺕ ﺘﻤﺯﺝ ﺒﻴﻨﻪ ﻭﺒﻴﻨﻬﺎ ﻓﻲ ﺸﻜل ﺠﻤﺎﻝﻲ ) ﺸﻜل‪(١-‬‬

‫‪٥٠٢‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(١-‬‬
‫ﻤﻔﺭﺩﺍﺕ ﻫﻨﺩﺴﻴﺔ ﺩﺍﺨل ﺸﺭﺍﺌﻁ ﻓﺎﻁﻤﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ‪Islamic Ornamental_Desigen.London :‬‬
‫‪.Boston R54,66,95,122‬‬
‫ﻓﻘﺩ ﻨﻅﻡ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺩﺍﺨل ﺍﻝﺸﺭﻴﻁ ﺍﻝﻔﺎﻁﻤﻲ ﺒﺸﻜل ﺘﻜﺭﺍﺭﻱ ﻤﻨﺘﻅﻡ ﻤﻥ ﺤﻴﺙ ﺍﻝﻤﺴﺎﺤﺔ ﻭﺍﻝﺒﻌﺩ‬
‫ﻼ ﺴﺩﺍﺴﻴ ﹰﺎ ﺒﻬﻴﺌﺔ ﻤﺨﺘﻠﻔﺔ ﻋﻥ ﺍﻝﺸﻜل‬
‫ﺒﺤﻴﺙ ﻜﺎﻨﺕ ﺍﻝﻤﺴﺎﻓﺔ ﺒﻴﻥ ﻜل ﺸﻜل ﺴﺩﺍﺴﻲ ﻭﺁﺨﺭ ﻓﺭﺍﻏ ﹰﺎ ﻴﺄﺨﺫ ﺸﻜ ﹰ‬
‫ﺍﻝﺴﺩﺍﺴﻲ ﺍﻷﺼﻠﻲ ‪ ،‬ﻭﻓﻲ ﺩﺍﺨل ﺴﻁﺢ ﻫﺫﺍ ﺍﻝﻔﺭﺍﻍ ﻗﺎﻡ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﺒﻭﻀﻊ ﺸﻜل ﻨﺠﻤﻲ ﺒﻌﺽ ﺃﻀﻼﻋﻪ‬
‫ﻫﻲ ﺠﺯﺀ ﻤﻥ ﺃﻀﻼﻉ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺍﻷﺼﻠﻲ ﻭﻝﻌل ﺍﻝﺨﻁﻭﻁ ﺍﻷﻓﻘﻴﺔ ﺍﻝﻤﻤﺘﺩﺓ ﻤﺎ ﺒﻴﻥ ﺍﻝﺸﻜل ﺍﻝﻨﺠﻤﻲ‬
‫ﻭﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﻗﺩ ﻝﻌﺒﺕ ﺩﻭﺭﹰﺍ ﻭﺍﻀﺤ ﹰﺎ ﻓﻲ ﺘﺤﻘﻴﻕ ﺍﻝﻭﺤﺩﺓ ﻭ ﺍﻝﺘﺭﺍﺒﻁ ﺒﻴﻥ ﺘﻠﻙ ﺍﻝﻤﻔﺭﺩﺍﺕ ‪ ،‬ﻝﺘﻅﻬﺭ ﻝﻨﺎ‬
‫ﻜﺒﻨﺎﺀ ﺘﺸﻜﻴﻠﻲ ﺯﺨﺭﻓﻲ ﻤﺘﻜﺎﻤل ‪.‬‬
‫ﻜﻤﺎ ﻨﺠﺩﻩ ﻗﺩ ﺍﺴﺘﺨﺩﻡ ﺇﻁﺎﺭ ﻤﻥ ﺍﻷﺸﻜﺎل ﺍﻝﺴﺩﺍﺴﻴﺔ ﻋﻠﻰ ﻤﺤﺭﺍﺏ ﺨﺸﺒﻲ ﺼﻐﻴﺭ )ﺸﻜل‪ (٢-‬ﻭﻫﺫﺍ‬
‫ﺍﻹﻁﺎﺭ ﻴﻁﻠﻕ ﻋﻠﻴﻪ ) ﺍﻝﻤﻘﺹ ( " ﻭﻫﻲ ﺯﺨﺭﻓﺔ ﻋﺒﺎﺭﺓ ﻋﻥ ﺤﺸﻭﺘﻴﻥ ﺴﺩﺍﺴﻴﺘﻴﻥ ﻤﻨﺘﻅﻤﺔ ﺍﻷﻀﻼﻉ‬
‫ﻴﺘﻭﺴﻁﻬﺎ ﺤﺸﻭﺓ ﺴﺩﺍﺴﻴﺔ ﻁﻭﻝﻴﺔ ‪ .‬ﺃﻭ ﺤﺸﻭﺘﻴﻥ ﺴﺩﺍﺴﻴﺘﻴﻥ ﻁﻭﻝﻴﺘﻴﻥ ﺘﺘﻭﺴﻁﻬﻤﺎ ﺤﺸﻭﺓ ﺴﺩﺍﺴﻴﺔ ﻤﻨﺘﻅﻤﺔ‬
‫ﺍﻷﻀﻼﻉ ﻭﻴﻁﻠﻕ ﻋﻠﻴﻬﺎ ) ﺭﺒﺎﻁ ﻤﺴﺩﺱ ( ) ﺸﻜل‪ (٣-‬ﻭﻨﺘﺠﺕ ﺘﻠﻙ ﺍﻷﺸﻜﺎل ﺍﻝﺴﺩﺍﺴﻴﺔ ﻤﻥ ﺨﻁﻴﻥ‬
‫ﻤﺘﻭﺍﺯﻴﻴﻥ ﻓﻲ ﺍﺘﺠﺎﻩ ﻭﺍﺤﺩ ﺜﻡ ﻴﺘﻘﺎﻁﻊ ﺍﻝﺨﻁﻴﻥ ﻤﻜﻭﻨﺎﻥ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺜﻡ ﻴﺴﻴﺭﺍﻥ ﻤﺭﺓ ﺃﺨﺭﻯ ﻤﺘﻭﺍﺯﻴﻴﻥ‬
‫ﺜﻡ ﻴﺘﻘﺎﻁﻌﻭﻥ ﻝﺘﻜﻭﻴﻥ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺍﻷﺨﺭ ﻭﻫﻜﺫﺍ ‪.‬‬

‫)ﺸﻜل‪(٢-‬‬
‫ﺇﻁﺎﺭ ﻤﻥ ﺍﻷﺸﻜﺎل ﺍﻝﺴﺩﺍﺴﻴﺔ ﻋﻠﻰ ﻤﺤﺭﺍﺏ ﺨﺸﺒﻲ‬

‫‪٥٠٣‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(٣-‬‬
‫ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﻓﻲ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪ ،‬ﺍﻝﺠﺯﺀ ﺍﻝﺜﺎﻝﺙ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪ ،‬ﺹ ‪. ٣٣‬‬
‫ﺍﻝﻤﺜﻠﺙ‬
‫ﻭﻝﻡ ﻴﻜﺘﻑ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﺍﺴﺘﺨﺩﺍﻤﻪ ﻝﻠﻤﻔﺭﺩﺍﺕ ﺍﻝﺸﻜﻠﻴﺔ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺒل ﻨﻭﻉ ﻓﻲ‬
‫ﺍﺴﺘﺨﺩﺍﻤﻪ ﻝﻠﻤﺜﻠﺙ ﺍﻝﻤﺘﺴﺎﻭﻱ ﺍﻷﻀﻼﻉ ﺃﻭ ﺍﻝﺴﺎﻗﻴﻥ ﺃﻭ ﺍﻝﻘﺎﺌﻡ ‪ ،‬ﻜﻤﺎ ﺭﺒﻁ ﺒﻴﻥ ﺍﻝﻤﺜﻠﺙ ﻭﻤﻔﺭﺩﺍﺕ ﺃﺨﺭﻱ ﻤﺜل‬
‫ﻓﻘﺩ ﻭﻀﻊ ﺍﻝﻤﺜﻠﺙ ﺍﻝﻘﺎﺌﻡ ﺍﻝﺯﺍﻭﻴﺔ ﻓﻲ ﺼﻭﺭﺓ‬ ‫ﺍﻝﻤﺭﺒﻊ ﺒﻁﺭﻴﻘﺔ ﺠﻤﺎﻝﻴﺔ ﻤﺘﻨﺎﻏﻤﺔ ﻤﺜﺎل ﺫﻝﻙ )ﺸﻜل ‪(٤-‬‬
‫ﻤﺘﻘﺎﺒﻠﺔ ﺃﻭ ﻤﺘﺩﺍﺒﺭﺓ ‪ ،‬ﻭﺠﻌل ﺒﻴﻨﻬﻡ ﻤﺜﻠﺜﹰﺎ ﻗﺎﻋﺩﺘﻪ ﺇﻝﻰ ﺃﻋﻠﻰ ﻭﺭﺃﺴﻪ ﺇﻝﻰ ﺃﺴﻔل ‪ ،‬ﻭﻤﺯﺝ ﺒﻴﻨﻪ ﺒﻤﺜﻠﺙ ﻤﻔﺭﻍ‬
‫ﻤﺘﺒﺎﻴﻥ ﻤﻌﻪ ﻓﻲ ﺍﻝﻠﻭﻥ ‪ ،‬ﻭﺭﺒﻁ ﺒﻴﻥ ﻜل ﺠﺎﻨﺏ ﻭﺫﻝﻙ ﺒﺘﻜﺭﺍﺭﻩ ﻝﻭﺤﺩﺍﺕ ﺍﻝﻤﺭﺒﻊ ﺍﻝﻤﻨﺘﻅﻡ ﺒﺸﻜل ﺭﺃﺴﻲ ‪" ،‬‬
‫ﻓﻘﺩ ﻻﻤﺱ ﻁﺭﻑ ﺍﻝﻤﺭﺒﻊ ﺒﺄﺨﺭ ﻤﻜﻭﻨ ﹰﺎ ﺸﺭﻴﻁ ﹰﺎ ﺘﻜﺭﺍﺭﻴ ﹰﺎ ﻁﻭﻝﻴ ﹰﺎ ﺃﺭﻀﻴﺘﻪ ﻤﺤﺩﺩﺓ ﺒﺎﻝﻤﺜﻠﺜﻴﻥ ﺍﻝﻘﺎﺌﻤﻲ ﺍﻝﺯﻭﺍﻴﺎ ‪،‬‬
‫ﻓﻴﺘﺒﻴﻥ ﻝﻨﺎ ﺃﻥ ﺃﺭﻀﻴﺔ ﺍﻝﺸﺭﻴﻁ ﻭﻜﺄﻨﻬﺎ ﻤﺜﻠﺜﺎﺕ ﺼﻐﻴﺭﺓ‪ ،‬ﻓﻲ ﺤﺎﻝﺔ ﻤﺘﻘﺎﺒﻠﺔ ﻤﻌ ﹰﺎ ﻭﻴﺭﺩ ﻋﻠﻰ ﺍﻝﺸﺭﻴﻁ ﺍﻝﻌﺭﻀﻲ‬
‫ﺍﻝﻤﻜﻭﻥ ﻤﻨﻪ ﺍﻝﻤﺜﻠﺜﺎﺕ ‪".‬‬

‫)ﺸﻜل ‪( ٤ -‬‬
‫ﻨﻘﻼ ﻋﻥ‪Islamic Ornamental_Desigen.London :‬‬
‫‪.Boston R54‬‬
‫ﻭﺭﻏﻡ ﺃﻨﻪ ﻝﻡ ﻴﺴﺘﺨﺩﻡ ﻏﻴﺭ ﻤﺭﺒﻊ ﻤﻨﺘﻅﻡ ﻭﻤﺜﻠﺙ ﺇﻻ ﺃﻨﻪ ﺒﺘﻐﻴﺭ ﺃﻭﻀﺎﻉ ﻜل ﻤﻨﻬﻤﺎ ﻜﻭﻥ ﺸﺭﻴﻁ ﹰﺎ‬
‫ﻫﻨﺩﺴﻴ ﹰﺎ ﻤﻤﻴﺯﹰﺍ ﻤﻥ ﻤﺯﺝ ﻭﺤﺩﺘﻴﻥ ﻫﻨﺩﺴﻴﺘﻴﻥ ﺒﺴﻴﻁﺘﻴﻥ ﻭﻫﺫﺍ ﻤﺎ ﺒﺭﻉ ﻓﻴﻪ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﻓﻬﻭ ﻴﺴﺘﺨﺩﻡ‬
‫ﺃﺒﺴﻁ ﺍﻝﻤﻔﺭﺩﺍﺕ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻻﺒﺘﻜﺎﺭ ﺃﺸﻜﺎل ﻻ ﺤﺼﺭ ﻝﻬﺎ ﺒﺎﺴﺘﺨﺩﺍﻤﻬﺎ ﺒﺼﻭﺭﺓ ﺒﺴﻴﻁﺔ ﻭﻤﻨﻔﺭﺩﺓ ﻤﺭﺓ ﻭﻤﺭﺓ‬
‫ﺃﺨﺭﻱ ﺒﺼﻭﺭﺓ ﻤﺸﺘﺭﻜﺔ ﻤﻊ ﻋﻨﺼﺭﹰﺍ ﺁﺨﺭ ﻝﺘﻜﻭﻴﻥ ﻤﻔﺭﺩﺓ ﻫﻨﺩﺴﻴﺔ ﺠﺩﻴﺩﺓ ‪.‬‬

‫‪٥٠٤‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﺍﻝﺩﺍﺌﺭﺓ‬
‫ﺍﺴﺘﺨﺩﻡ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﻤﻔﺭﺩﻩ ﻫﻨﺩﺴﻴﺔ ﺃﺨﺭﻯ ﻝﺘﻜﻭﻴﻨﺎﺘﻪ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻫﻲ ﺍﻝﺩﺍﺌﺭﺓ ‪،‬‬
‫ﺍﻝﻤﻌﻴﻥ‪ ،‬ﺍﻝﻨﺠﻭﻡ ﺍﻝﺨﻤﺎﺴﻴﺔ ﻭ ﺍﻝﺴﺩﺍﺴﻴﺔ ‪ .‬ﻭﺍﻝﺩﺍﺌﺭﺓ ﻋﻨﺩ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻤﺴﻠﻡ " ﺘﺸﻜل ﻨﻘﻁﺔ ﺍﻨﻁﻼﻕ ﻓﻲ ﺒﻨﺎﺀ‬
‫ﺃﻨﻅﻤﺔ ﻭﻤﻔﺭﺩﺍﺕ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ﻓﻤﻥ ﺨﻼل ﺘﺤﺩﻴﺩ ﻤﺭﻜﺯﻫﺎ ﻭ ﺘﻘﺴﻴﻡ ﺇﻁﺎﺭﻫﺎ ﺍﻝﻤﺤﻴﻁﻲ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻔﻨﺎﻥ‬
‫ﺍﻝﻤﺴﻠﻡ ﺇﻨﺸﺎﺀ ﻜل ﺍﻷﺸﻜﺎل ﻜﺜﻴﺭﺓ ﺍﻷﻀﻼﻉ "‬
‫ﻭﺘﻌﺘﺒﺭ ﺍﻝﺩﺍﺌﺭﺓ ﺸﻜل ﺃﻭﻝﻲ ﻴﻀﻌﻪ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﻋﻼﻗﺎﺕ ﺘﻜﺎﻤﻠﻴﺔ ﻤﻊ ﻨﻔﺴﻬﺎ ﺃﺤﻴﺎﻨﹰﺎ ) ﺸﻜل‪ ( ٥-‬ﺃﻭ ﻤﻊ‬
‫ﻏﻴﺭﻫﺎ ﻤﻥ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﻜﺎﻝﻤﺜﻠﺙ ﻭ ﺍﻝﻤﺭﺒﻊ ) ﺸﻜل‪ (٦-‬ﻭﻓﻕ ﻗﻭﺍﻨﻴﻥ ﻭﺃﺴﺱ ﺭﻴﺎﻀﻴﺔ ﻤﺤﻜﻤﺔ ﻭﻤﻥ‬
‫ﺨﻼل ﺘﻠﻙ ﺍﻝﻌﻼﻗﺎﺕ ﻝﻡ ﺘﻌﺩ ﺍﻝﺩﺍﺌﺭﺓ ﺸﻜل ﻤﺴﺘﻘل ﺒل ﺃﺨﺫﺕ ﻓﻲ ﺍﻝﺘﺸﺎﺒﻙ ﻭ ﺍﻝﺘﻌﻘﻴﺩ ﻓﻲ ﻤﺴﺎﺤﺎﺕ ﻤﺘﻨﻭﻋﺔ‬
‫ﻤﻥ ﺨﻼل ﻤﺎ ﺃﺩﺨﻠﻪ ﻋﻠﻴﻬﺎ ﺍﻝﻔﻨﺎﻥ ﻤﻥ ﺘﺭﺍﻜﺏ ﻭﺘﺩﺍﺨل ﻗﺎﺌﻡ ﻋﻠﻰ ﺃﺴﺱ ﻭ ﻗﻭﺍﻋﺩ ﻫﻨﺩﺴﻴﺔ ) ﺸﻜل‪. ( ٧-‬‬

‫)ﺸﻜل‪(٥-‬‬
‫ﻋﻼﻗﺔ ﺘﻜﺎﻤﻠﻴﺔ ﻝﻠﺩﺍﺌﺭﺓ ﻤﻊ ﻨﻔﺴﻬﺎ‬
‫ﻨﻘﻼ ﻋﻥ‪ :‬ﻋﺒﺩ ﺍﻝﺴﺘﺎﺭ ﺤﺴﻴﻥ ﺃﺒﻭ ﻫﺎﺸﻡ ‪ :‬ﻫﻨﺩﺴﺔ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻁﻼﺌﻊ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٩ ،‬ﻡ ‪ ،‬ﺹ‪. ٩٢‬‬

‫)ﺸﻜل‪(٦-‬‬
‫ﻋﻼﻗﺔ ﺍﻝﺩﺍﺌﺭﺓ ﻤﻊ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻷﺨﺭﻯ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﻓﻨﻴﺔ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪ ،‬ﺹ ‪. ٢٩‬‬

‫‪٥٠٥‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(٧-‬‬
‫ﺯﺨﺎﺭﻑ ﻫﻨﺩﺴﻴﺔ ﺘﻭﻀﺢ ﺩﻭﺍﺌﺭ ﻤﺭﻜﺒﺔ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪ ،‬ﺍﻝﺠﺯﺀ ﺍﻝﺜﺎﻝﺙ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪ ،‬ﺹ ‪.١٥٢‬‬
‫" ﻭﺃﺼﺒﺤﺕ ﺍﻝﺩﺍﺌﺭﺓ ﻻ ﺘﺸﻜل ﻓﻘﻁ ﺃﺴﺎﺱ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﺘﻲ ﻴﺒﻨﻲ ﻋﻠﻴﻬﺎ ﺍﻝﺘﺼﻤﻴﻡ ﻭﻴﻘﺎﻡ ﺒل‬
‫ﺸﻜﻠﺕ ﺍﻷﺴﺎﺱ ﺍﻝﺫﻱ ﻋﻠﻴﻪ ﺘﻭﺯﻉ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺘﺼﺎﻍ "‬
‫ﻭﻤﻥ ﺍﻷﺴﺱ ﺍﻝﺘﻲ ﺘﻘﺎﻡ ﻋﻠﻴﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺘﻘﺴﻴﻡ ﻤﺤﻴﻁ ﺍﻝﺸﻜل ﺍﻝﺩﺍﺭﻱ ﻭﺘﻌﻴﻴﻥ ﻨﻘﺎﻁ ﻋﻠﻰ‬
‫ﻤﺤﻴﻁﻬﺎ ﻭ ﻨﻘﺎﻁ ﺃﺨﺭﻯ ﻋﻠﻰ ﺃﻗﻁﺎﺭﻫﺎ ﻭﺘﻭﺼﻴﻠﻬﺎ ﺒﻌﻀﻬﺎ ﺒﻌﺽ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺃﺸﻜﺎل ﻫﻨﺩﺴﻴﺔ ﻤﺨﺘﻠﻔﺔ ‪.‬‬
‫ﺍﻝﻤﻌﻴﻥ‬
‫ﻜﻤﺎ ﻅﻬﺭ ﺸﻜل ﻫﻨﺩﺴﻲ ﺁﺨﺭ ﺍﺴﺘﺨﺩﻤﻪ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﻫﻭ ﺸﻜل ﺍﻝﻤﻌﻴﻥ ﻭﻝﻘﺩ ﺘﻭﺴﻊ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ‬
‫ﻓﻲ ﺍﺴﺘﻌﻤﺎﻝﻪ ﻓﺎﺴﺘﺨﺩﻡ ﺍﻝﻤﻌﻴﻥ ﺒﻤﻔﺭﺩﻩ ﺃﻭ ﻓﻲ ﺘﻜﻭﻴﻥ ﺸﺒﻜﻲ " ﻭﻗﺩ ﻜﺜﺭ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻤﻌﻴﻥ ﻓﻲ ﺍﻝﻌﺼﺭ‬
‫ﺍﻝﻔﺎﻁﻤﻲ ﻝﺴﺒﺒﻴﻥ ‪:‬‬
‫ﺍﻷﻭل ‪ :‬ﺃﻥ ﻫﺫﺍ ﺍﻝﺸﻜل ﻜﺎﻥ ﺸﺎﺌﻊ ﺍﻹﺴﺘﻌﻤﺎل ﻓﻲ ﻤﺼﺭ ﻗﺒل ﺩﺨﻭل ﺍﻝﻔﺎﻁﻤﻴﻴﻥ ‪.‬‬
‫ﺍﻝﺜﺎﻨﻲ ‪ :‬ﺃﻥ ﺃﺸﻜﺎل ﺍﻝﻤﻌﻴﻨﺎﺕ ﻜﺎﻨﺕ ﻓﻲ ﺍﻷﺼل ﻤﻭﺠﻭﺩﺓ ﻓﻲ ﺒﻼﺩ ﺍﻝﻤﻐﺭﺏ ﻭﺍﻝﺘﻲ ﺍﺴﺘﻘﺭ ﺒﻬﺎ ﺍﻝﻔﺎﻁﻤﻴﻭﻥ‬
‫ﻗﺒل ﻗﺩﻭﻤﻬﻡ ﺇﻝﻰ ﻤﺼﺭ " ﻭﻤﻭﺠﻭﺩ ﺒﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ﻁﺒﻕ ﻤﻥ ﺍﻝﺨﺯﻑ ﺒﻪ ﻗﺎﺭﺏ ﻤﺯﺨﺭﻑ ﺒﺄﺸﻜﺎل‬
‫ﻤﻌﻴﻨﺎﺕ ) ﺸﻜل‪ (٨-‬ﻜﻤﺎ ﻴﻭﺠﺩ ﻗﺩﺭ ﻤﻥ ﺍﻝﺨﺯﻑ ﺫﻭ ﺍﻝﺒﺭﻴﻕ ﺍﻝﻤﻌﺩﻨﻲ ﻋﻠﻴﻪ ﺯﺨﺭﻓﺔ ﻝﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻤﻌﻴﻨﺎﺕ‬
‫) ﺸﻜل‪ (٩-‬ﻜﻤﺎ ﻨﺠﺩﻩ ﻗﺩ ﺍﺴﺘﺨﺩﻡ ﺘﻠﻙ ﺍﻝﺸﺒﻜﺔ ﻜﺄﺭﻀﻴﺔ ﻝﻌﻨﺎﺼﺭﻩ ﻓﻲ ﺸﺒﺎﺒﻴﻙ ﺍﻝﻘﻠل ) ﺸﻜل‪. ( ١٠-‬‬

‫‪٥٠٦‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(٨-‬‬
‫ﻁﺒﻕ ﻤﻥ ﺍﻝﺨﺯﻑ ﺫﻭ ﺍﻝﺒﺭﻴﻕ ﺍﻝﻤﻌﺩﻨﻲ ﻋﻠﻴﻪ ﺯﺨﺭﻓﺔ ﻝﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻤﻌﻴﻨﺎﺕ‬
‫ﻨﻘﻼ ﻋﻥ‪ :‬ﺼﺒﺤﻲ ﺍﻝﺸﺎﺭﻭﻨﻲ‪ :‬ﺭﻭﺍﺌﻊ ﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ‬
‫ﺒﺎﻝﻘﺎﻫﺭﺓ ‪،‬ﺍﻝﺩﺍﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ‪،‬ﺍﻝﻘﺎﻫﺭﺓ ‪ ،٢٠٠٨ ،‬ﺹ ‪.٩٩‬‬

‫)ﺸﻜل‪(٩-‬‬
‫ﻗﺩﺭ ﻤﻥ ﺍﻝﺨﺯﻑ ﺫﻭ ﺍﻝﺒﺭﻴﻕ ﺍﻝﻤﻌﺩﻨﻲ ﻋﻠﻴﻪ ﺯﺨﺭﻓﺔ ﻝﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻤﻌﻴﻨﺎﺕ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻋﺒﺩ ﺍﻝﻨﺎﺼﺭ ﻴﺎﺴﻴﻥ ‪ :‬ﺍﻝﻔﻨﻭﻥ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ‬
‫ﻤﺼﺭ ﻤﻨﺫ ﺍﻝﻔﺘﺢ ﺍﻹﺴﻼﻤﻲ ﺤﺘﻰ ﻨﻬﺎﻴﺔ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ‪ ،‬ﺍﻝﺠﺯﺀ‬
‫ﺍﻝﺜﺎﻨﻲ‪ ،‬ﺩﺍﺭ ﺍﻝﻭﻓﺎﺀ ‪ ،‬ﺍﻹﺴﻜﻨﺩﺭﻴﺔ ‪٢٠٠٢ ،‬ﻡ ‪ ،‬ﺹ ‪. ١٤٣‬‬

‫‪٥٠٧‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(١٠-‬‬
‫ﻗﻁﻌﺔ ﻤﻥ ﺸﺒﺎﺒﻴﻙ ﺍﻝﻘﻠل ﻋﻠﻴﻬﺎ ﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻤﻌﻴﻨﺎﺕ‬
‫ﻨﻘﻼ ﻋﻥ‪ :‬ﺼﺒﺤﻲ ﺍﻝﺸﺎﺭﻭﻨﻲ‪ :‬ﺭﻭﺍﺌﻊ ﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ‬
‫ﺒﺎﻝﻘﺎﻫﺭﺓ ‪،‬ﺍﻝﺩﺍﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ‪،‬ﺍﻝﻘﺎﻫﺭﺓ ‪ ،٢٠٠٨ ،‬ﺹ ‪.١٠٣‬‬
‫ﻭ ﺍﻝﻤﻌﻴﻥ ﺸﻜل ﺭﺒﺎﻋﻲ ﻤﺘﺴﺎﻭﻱ ﺍﻷﻀﻼﻉ ﺯﻭﺍﻴﺎﻩ ﺍﺜﻨﺎﻥ ﺤﺎﺩﺘﺎﻥ ﻭ ﺍﺜﻨﺎﻥ ﻤﻨﻔﺭﺠﺘﺎﻥ ﻭ ﻜل ﺯﺍﻭﻴﺘﻴﻥ‬
‫ﻤﺘﻘﺎﺒﻠﺘﻴﻥ ﻤﺘﺴﺎﻭﻴﺘﻴﻥ ﻭ ﺃﻗﻁﺎﺭ ﺍﻝﻤﻌﻴﻥ ﺘﻘﺴﻤﻪ ﺇﻝﻰ ﺃﺭﺒﻊ ﻤﺜﻠﺜﺎﺕ ﻗﺎﺌﻤﺔ ﻤﺘﻁﺎﺒﻘﺔ ‪.‬‬
‫ﻁﺭﻴﻘﺔ ﺭﺴﻡ ﺍﻝﻤﻌﻴﻥ ﺇﺫﺍ ﻋﻠﻡ ﻁﻭل ﻗﻁﺭﻩ ﻭ ﺃﺤﺩ ﺃﻀﻼﻋﻪ " ﻝﻴﻜﻥ ﻗﻁﺭ ﺍﻝﻤﻌﻴﻥ ﺃﺏ ‪ ،‬ﻭ ﺃﺤﺩ ﺃﻀﺭﻋﻪ‬
‫ﺃﺠـ ‪ ،‬ﻨﻀﻊ ﺍﻝﻔﺭﺠﺎﺭ ﻓﻲ ﻜل ﻤﻥ ﺍﻝﻨﻘﻁﺘﻴﻥ ﺃ ‪ ،‬ﺏ ﻭﺒﻔﺘﺤﻪ ﺘﺴﺎﻭﻱ ﺃﺠـ ﻨﺭﺴﻡ ﻗﻭﺴﻴﻥ ﻴﺘﻘﺎﻁﻌﺎﻥ ﻓﻲ‬
‫ﺍﻝﻨﻘﻁﺘﻴﻥ ﺠـ ‪ ،‬ﺩ ﻨﺼل ﺒﻴﻥ ﻫﺫﻩ ﺍﻝﻨﻘﺎﻁ ﺒﻤﺴﺘﻘﻴﻤﺎﺕ ﻓﻨﺤﺼل ﻋﻠﻰ ﺍﻝﻤﻌﻴﻥ ﺍﻝﻤﻁﻠﻭﺏ" ) ﺸﻜل‪(١١-‬‬

‫)ﺸﻜل‪(١١-‬‬
‫ﻁﺭﻴﻘﺔ ﺭﺴﻡ ﺍﻝﻤﻌﻴﻥ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻤﺤﻲ ﺍﻝﺩﻴﻥ ﻁﺎﻝﻭ ‪ :‬ﺍﻝﻔﻨﻭﻥ ﺍﻝﺯﺨﺭﻓﻴﺔ ‪ ،‬ﺝ‪، ٢‬‬
‫ﺩﺍﺭ ﺩﻤﺸﻕ ‪ ،‬ﺩﻤﺸﻕ ‪٢٠٠٠ ،‬ﻡ ‪ ،‬ﺹ ‪٢٩‬‬

‫‪٥٠٨‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﻁﺭﻴﻘﺔ ﺭﺴﻡ ﻤﻌﻴﻥ ﻤﻌﻠﻭﻡ ﻁﻭل ﻀﻠﻌﻪ ﻭ ﺍﺤﺩﻱ ﺯﻭﺍﻴﺎﻩ‬

‫" ﻨﺭﺴﻡ ﻤﻥ ﺏ ﺯﺍﻭﻴﺔ ﺠـ ﺜﻡ ﻨﺄﺨﺫ ﺏ ﻫـ ﻴﺴﺎﻭﻱ ﺃ ﺏ ﺜﻡ ﻨﺭﺘﻜﺯ ﻓﻲ ﻜل ﻤﻥ ﺃ ‪ ،‬ﻫـ ﻭ ﺒﻔﺘﺤﺔ‬
‫ﺸﻜل‪-‬‬ ‫ﺘﺴﺎﻭﻱ ﺃ ﺏ ﻨﺭﺴﻡ ﻗﻭﺴﻴﻥ ﻤﺘﻘﺎﻁﻌﻴﻥ ﻓﻲ ﺩ ﻨﺼل ﺩ ﻫـ ‪ ،‬ﺩ ﺃ ﻨﺤﺼل ﻋﻠﻰ ﺍﻝﻤﻌﻴﻥ ( )‬
‫‪. (١٢‬‬

‫)ﺸﻜل‪(١٢-‬‬
‫ﻁﺭﻴﻘﺔ ﺭﺴﻡ ﻤﻌﻴﻥ ﻤﻌﻠﻭﻡ ﻁﻭل ﻀﻠﻌﻪ ﻭ ﺍﺤﺩﻱ ﺯﻭﺍﻴﺎﻩ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻋﺒﺩ ﺍﻝﺴﺘﺎﺭ ﺤﺴﻴﻥ ﺃﺒﻭ ﻫﺎﺸﻡ ‪ :‬ﻫﻨﺩﺴﺔ ﺍﻝﻔﻥ‬
‫ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﺩﺍﺭ ﺍﻝﻁﻼﺌﻊ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٩ ،‬ﻡ ‪ ،‬ﺹ‪. ٢٩‬‬
‫ﺍﻝﻨﺠﻤﺔ ﺍﻝﺨﻤﺎﺴﻴﺔ ﻭﺍﻝﺴﺩﺍﺴﻴﺔ‬
‫ﻭﻤﻥ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﻬﺎ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﺃﺸﻜﺎل ﺍﻝﻨﺠﻭﻡ‬
‫ﺍﻝﺨﻤﺎﺴﻴﺔ ﻭ ﺍﻝﺴﺩﺍﺴﻴﺔ ‪.‬‬
‫ﻭ ﺍﻝﻨﺠﻤﺔ ﺍﻝﺨﻤﺎﺴﻴﺔ ﺘﺘﻜﻭﻥ ﺩﺍﺨل ﺍﻝﺸﻜل ﺍﻝﺨﻤﺎﺴﻲ ) ﺸﻜل‪ (١٣-‬ﺃﻤﺎ ﺍﻝﻨﺠﻤﺔ ﺍﻝﺴﺩﺍﺴﻴﺔ ﺘﺘﻜﻭﻥ ﺩﺍﺨل‬
‫ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ ﺃﻭ ﻤﻥ ﺘﻘﺎﻁﻊ ﻤﺜﻠﺜﻴﻥ ﺭﺃﺱ ﺃﺤﺩﻫﻡ ﻝﻸﻋﻠﻰ ﻭﺭﺃﺱ ﺍﻷﺨﺭ ﻝﻸﺴﻔل ) ﺸﻜل‪. ( ١٤-‬‬
‫ﻭﺍﺴﺘﺨﺩﻡ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﺍﻝﻨﺠﻭﻡ ﻋﻠﻰ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺘﺤﻑ ﺍﻝﺨﺸﺒﻴﺔ ﻭ ﺍﻝﺨﺯﻓﻴﺔ ﻭ ﻋﻠﻰ ﺍﻝﻌﻤﺎﺌﺭ‬
‫) ﺸﻜل‪.( ١٥-‬‬

‫)ﺸﻜل‪(١٣-‬‬
‫ﺍﻝﻨﺠﻤﺔ ﺍﻝﺨﻤﺎﺴﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ ‪ :‬ﻤﺤﻲ ﺍﻝﺩﻴﻥ ﻁﺎﻝﻭ‪ :‬ﺍﻝﻤﺭﺸﺩ ﺍﻝﻔﻨﻲ ﺇﻝﻰ ﺃﺼﻭل ﺇﻨﺸﺎﺀ ﻭﺘﻜﻭﻴﻥ‬
‫ﺍﻝﺯﺨﺭﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ ‪،‬ﺩﺍﺭ ﺩﻤﺸﻕ ﻝﻠﻁﺒﺎﻋﺔ ﻭﺍﻝﻨﺸﺭ ‪،‬ﺩﻤﺸﻕ‪،٢٠٠٠،‬ﺹ‪.٥٥‬‬

‫‪٥٠٩‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(١٤-‬‬
‫ﺍﻝﻨﺠﻤﺔ ﺍﻝﺴﺩﺍﺴﻴﺔ ﺩﺍﺨل ﺍﻝﺸﻜل ﺍﻝﺴﺩﺍﺴﻲ‬
‫ﻨﻘﻼ ﻋﻥ ‪ :‬ﻤﺤﻲ ﺍﻝﺩﻴﻥ ﻁﺎﻝﻭ‪ :‬ﺍﻝﻤﺭﺸﺩ ﺍﻝﻔﻨﻲ ﺇﻝﻰ ﺃﺼﻭل ﺇﻨﺸﺎﺀ ﻭﺘﻜﻭﻴﻥ‬
‫ﺍﻝﺯﺨﺭﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ ‪،‬ﺩﺍﺭ ﺩﻤﺸﻕ ﻝﻠﻁﺒﺎﻋﺔ ﻭﺍﻝﻨﺸﺭ ‪،‬ﺩﻤﺸﻕ‪،٢٠٠٠،‬ﺹ‪.٥٤‬‬

‫)ﺸﻜل‪(١٥-‬‬
‫ﻨﺠﻤﺔ ﺴﺩﺍﺴﻴﺔ ﺩﺍﺨل ﺇﻁﺎﺭ ﺩﺍﺌﺭﻱ ﻋﻠﻰ ﻤﺤﺭﺍﺏ ﺨﺸﺒﻲ‬
‫ﺘﺼﻭﻴﺭ ﺍﻝﺒﺎﺤﺙ‬
‫ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ‬
‫ﻜﻤﺎ ﻅﻬﺭﺕ ﺒﺠﺎﻨﺏ ﺘﻠﻙ ﺍﻷﺸﻜﺎل ﺍﻝﻬﻨﺩﺴﻴﺔ ﺯﺨﺎﺭﻑ ﺃﺨﺭﻯ ﻜﺎﻨﺕ ﻤﻥ ﺃﻫﻡ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﺘﻲ‬
‫ﺍﺒﺩﻉ ﻓﻴﻬﺎ ﺍﻝﻔﻨﺎﻥ ﺍﻝﻔﺎﻁﻤﻲ ﻓﻅﻬﺭﺕ ﻓﻲ ﺃﻭﺍﺨﺭ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ‪.‬‬
‫"ﻭﻴﺭﺠﻊ ﺒﻌﺽ ﺍﻝﺒﺎﺤﺜﻴﻥ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺇﻝﻰ ﺍﻝﻘﺒﺎﺌل ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻘﻁﻥ ﺃﻭﺍﺴﻁ‬
‫ﺁﺴﻴﺎ ﻭﻗﺩ ﻨﻘﻠﺕ ﻫﺫﻩ ﺍﻝﻘﺒﺎﺌل ﺇﻝﻰ ﺸﺭﻕ ﺍﻝﻌﺎﻝﻡ ﺍﻹﺴﻼﻤﻲ ﺃﻗﻤﺸﺔ ﻋﻠﻴﻬﺎ ﺯﺨﺎﺭﻑ ﻫﻨﺩﺴﻴﺔ ﺒﻴﻨﻬﺎ ﺍﻷﺸﻜﺎل‬
‫ﺍﻝﻤﺘﻌﺩﺩﺓ ﺍﻷﻀﻼﻉ ‪ ،‬ﺫﺍﺕ ﺍﻝﺸﺒﻪ ﺍﻝﻜﺒﻴﺭ ﺒﺎﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ" ‪.‬‬
‫ﻼ ﻭ‬
‫ﻭﻗﺩ ﺃﻗﺒل ﺍﻝﻔﻨﺎﻥ ﺍﻝﻤﺴﻠﻡ ﻋﻠﻰ ﻋﻤل ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺇﻗﺒﺎ ﹰﻻ ﻫﺎﺌ ﹰ‬
‫ﺃﺨﺭﺝ ﻤﻨﻬﺎ ﺃﺸﻜﺎ ﹰﻻ ﻋﺩﺓ ﻋﻠﻰ ﺍﻝﺩﻗﺔ ﻓﻲ ﺍﺴﺘﻌﻤﺎل ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﺭﻴﺎﻀﻴﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪.‬‬

‫‪٥١٠‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫"ﻭﺘﺭﺠﻊ ﺒﺩﺍﻴﺎﺕ ﻅﻬﻭﺭ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﻓﻲ ﺍﻝﺯﺨﺭﻓﺔ ﺇﻝﻰ ﺒﺩﺍﻴﺎﺕ ﺍﻝﻘﺭﻥ ) ‪٦‬ﻫـ ‪١٢ /‬ﻡ ( ﻓﻲ ﻤﺼﺭ‬
‫ﻨﺘﻴﺠﺔ ﻤﺭﺍﺤل ﻤﻥ ﺍﻝﺘﻁﻭﺭ" ﻭﺍﻝﺘﻲ ﻤﺭﺭﺕ ﺒﻬﺎ ﺍﻝﺯﺨﺎﺭﻑ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻨﺘﻴﺠﺔ ﺍﻻﺯﺩﻫﺎﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ‬
‫ﻭ ﺍﻝﻔﻨﻲ ﻭ ﺍﻝﺫﻱ ﺠﻌل ﺍﻝﻔﻨﻭﻥ ﺍﻹﺴﻼﻤﻴﺔ ﺘﺼل ﺇﻝﻰ ﻗﻤﺔ ﺍﻝﺘﻁﻭﺭ ﻭ ﺍﻹﺒﺩﺍﻉ ‪.‬‬
‫ﻭﻗﺩ ﺍﻨﺘﺸﺭﺕ ﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﺒﻤﺼﺭ ﻭﺍﻝﺸﺎﻡ ﺤﻴﺙ ﺘﻌﺩﺩ ﺘﻭﻅﻴﻔﻬﺎ ﻜﻭﺤﺩﺓ ﺯﺨﺭﻓﻴﻪ‬
‫) ﺸﻜل‪. (١٧ ،١٦‬‬

‫)ﺸﻜل‪(١٦-‬‬
‫ﺠﺯﺀ ﻤﻥ ﻤﺤﺭﺍﺏ ﺍﻝﺴﻴﺩﺓ ﺭﻗﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ‪www.eternalegypt.org:‬‬
‫‪/images/elements30080‬‬

‫)ﺸﻜل‪(١٧-‬‬
‫ﺘﺼﻤﻴﻡ ﻫﻨﺩﺴﻲ ﻤﻥ ﻤﺤﺭﺍﺏ ﺍﻝﺴﻴﺩﺓ ﺭﻗﻴﺔ‬
‫" ﻭﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﻫﻭ ﻭﺤﺩﺓ ﻫﻨﺩﺴﻴﺔ ﺘﺯﺨﺭﻑ ﺒﻬﺎ ﺍﻝﻤﻨﺎﺒﺭ ﻭ ﺍﻷﺒﻭﺍﺏ ﻭ ﺍﻝﺴﻘﻭﻑ ﻭﻴﺘﻜﻭﻥ ﻤﻥ ﺜﻼﺜﺔ‬
‫ﻋﻨﺎﺼﺭ ﺃﺴﺎﺴﻴﺔ ﻫﻲ ﺍﻝﻜﻨﺩﺓ ﻭﺍﻝﻠﻭﺯﺓ ﻭ ﺍﻝﺘﺭﺱ ) ﺸﻜل‪ (١٨-‬ﻭﻴﺘﻜﻭﻥ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﻤﻥ ﺜﻤﺎﻥ ﻜﻨﺩﺍﺕ ﺃﻭ‬
‫ﺇﺜﻨﻰ ﻋﺸﺭ ﻜﻨﺩﺓ ﺃﻭ ﺃﺭﺒﻌﺔ ﻋﺸﺭ ﺃﻭ ﺴﺘﺔ ﻋﺸﺭ ‪ ،‬ﻭﻴﺘﺤﺩﺩ ﻨﻭﻉ ﺍﻝﻁﺒﻕ ﺒﻌﺩﺩ ﺃﻀﻼﻋﻪ ﺃﻭ ﻋﺩﺩ ﺭﺅﻭﺱ‬
‫ﺍﻝﺘﺭﺱ‪.‬‬

‫‪٥١١‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(١٨-‬‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﻤﻜﻭﻨﺔ ﻝﻠﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ‬
‫ﻨﻘﻼ ﻋﻥ‪ :‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪ ،‬ﺹ ‪. ٩٧‬‬
‫ﻭﻴﺤﻴﻁ ﺒﺎﻝﻁﺒﻕ ﻭﺤﺩﺍﺕ ﻝﻬﺎ ﺃﺴﻤﺎﺀ ﻜﺜﻴﺭﺓ )ﺸﻜل‪ (١٩-‬ﻤﻨﻬﺎ ‪ ) :‬ﺘﺎﺴﻭﻤﺔ ـ ﺨﻨﺠﺭ ـ ﺯﻗﺎﻕ ـ‬
‫ﻨﺭﺠﺴﺔ ـ ﻏﺭﺍﺏ ـ ﺴﻘﻁ ـ ﻏﻁﺎﺀ ﺍﻝﺴﻘﻁ ـ ﻨﺠﻭﻡ ﺨﻤﺎﺴﻴﺔ ﺃﻭ ﺴﺩﺍﺴﻴﺔ ﺃﻭ ﺃﻜﺜﺭ "‬

‫ﻨﺭﺠﺴﻪ‬ ‫ﻨﺠﻤﺔ ﺨﻤﺎﺴﻴﺔ‬ ‫ﻨﺠﻤﺔ ﺴﺩﺍﺴﻴﺔ‬

‫ﺒﻴﺕ ﻏﺭﺍﺏ‬ ‫ﺨﻨﺠﺭ‬ ‫ﺘﺎﺴﻭﻤﺔ‬
‫ﺸﻌﻴﺭﺓ‬ ‫ﺯﻗﺎﻕ ﺁﺨﺭ‬ ‫ﺯﻗﺎﻕ‬
‫)ﺸﻜل‪(١٩-‬‬
‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﻤﺤﻴﻁﺔ ﺒﺎﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ‬
‫ﻨﻘﻼ ﻋﻥ‪ :‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪ ،‬ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪،‬‬
‫ﺹ ‪. ٩٧‬‬

‫‪٥١٢‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﻭﻤﻥ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﻬﺎ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺍﻝﺴﺩﺍﺴﻲ ﻭﺍﻝﺫﻱ‬
‫ﻅﻬﺭ ﻋﻠﻰ ﺒﻌﺽ ﺍﻝﻤﺸﻐﻭﻻﺕ ﺍﻝﻔﻨﻴﺔ ﻤﺜل ﻤﺤﺭﺍﺏ ﺍﻝﺴﻴﺩﺓ ﺭﻗﻴﺔ ) ﺸﻜل‪ (٢٠-‬ﻭﺍﻝﺫﻱ ﻴﻅﻬﺭ ﻓﻴﻪ ﺍﻷﻁﺒﺎﻕ‬
‫ﺍﻝﻨﺠﻤﻴﺔ ﺍﻝﺴﺩﺍﺴﻴﺔ ﺍﻝﻤﺘﺩﺍﺨﻠﺔ ﻭﻓﻲ ﻭﺴﻁﻬﺎ ﻨﺠﻤﺔ ﺴﺩﺍﺴﻴﺔ ‪ ،‬ﻜﻤﺎ ﻅﻬﺭ ﻨﻭﻉ ﺁﺨﺭ ﻤﻥ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ‬
‫ﻭﻫﻭ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺍﻝﺜﻤﺎﻨﻲ ﻭﺍﻝﺫﻱ ﻭﺠﺩ ﻋﻠﻰ ﺒﺎﺏ ﻤﺴﺠﺩ ﺍﻝﺼﺎﻝﺢ ﻁﻼﺌﻊ ) ﺸﻜل‪ (٢١-‬ﻭﻫﻲ ﺃﻁﺒﺎﻕ‬
‫ﺜﻤﺎﻨﻴﺔ ﺤﻭﻝﻬﺎ ﻨﺠﻭﻡ ﺨﻤﺎﺴﻴﺔ ﻭﺒﻴﻨﻬﺎ ﺤﺸﻭﺍﺕ ﺜﻤﺎﻨﻴﺔ ‪.‬‬

‫)ﺸﻜل‪(٢٠-‬‬
‫ﺠﺯﺀ ﻤﻥ ﻤﺤﺭﺍﺏ ﺍﻝﺴﻴﺩﺓ ﺭﻗﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ‪www.eternalegypt.org:‬‬
‫‪/images/elements30080‬‬

‫)ﺸﻜل‪(٢١-‬‬
‫ﺃﻁﺒﺎﻕ ﺜﻤﺎﻨﻴﺔ ﺤﻭﻝﻬﺎ ﻨﺠﻭﻡ ﺨﻤﺎﺴﻴﺔ ﻭﺒﻴﻨﻬﺎ ﺤﺸﻭﺍﺕ ﺜﻤﺎﻨﻴﺔ‬
‫ﻋﻠﻰ ﺒﺎﺏ ﻤﺴﺠﺩ ﺍﻝﺼﺎﻝﺢ ﻁﻼﺌﻊ‬
‫ﻨﻘﻼ ﻋﻥ‪www.eternalegypt.org:‬‬
‫‪/images/elements30080‬‬
‫ﺭﺴﻡ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ‬
‫ﻫﻨﺎﻙ ﻁﺭﻕ ﻋﺩﻴﺩﺓ ﻝﺭﺴﻡ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻭﺘﺩﺍﺨﻼﺘﻬﺎ ﻤﻊ ﺒﻌﻀﻬﺎ ﻭﺴﻴﺘﻨﺎﻭل ﺍﻝﺒﺤﺙ ﺃﺒﺴﻁ ﺘﻠﻙ‬
‫ﺍﻝﻁﺭﻕ ﻝﺘﻭﻀﻴﺢ ﺍﻷﺴﺎﺱ ﻓﻲ ﺭﺴﻡ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ‪.‬‬

‫‪٥١٣‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﻨﺭﺴﻡ ﺩﺍﺌﺭﺓ‬

‫ﻨﺭﺴﻡ ﻗﻁﺭﻴﻥ ﻤﺘﻌﺎﻤﺩ‬

‫ﻨﺼل ﺍﻷﺭﺒﻊ ﻨﻘﺎﻁ ﺍﻝﻭﺍﻗﻌﺔ‬

‫ﻋﻠﻰ ﻤﺤﻴﻁ ﺍﻝﺩﺍﺌﺭﺓ ﻝﻌﻤل ﺸﻜل ﻤﺭﺒﻊ‬

‫ﻴﻨﺼﻑ ﺃﻀﻼﻉ ﺍﻝﻤﺭﺒﻊ‬

‫ﻭﻨﺼل ﺒﻴﻥ ﺘﻠﻙ ﺍﻝﻨﻘﺎﻁ ﻭﻤﺭﻜﺯ‬
‫ﺍﻝﺩﺍﺌﺭﺓ ﻋﻠﻰ ﺃﻥ ﺘﻤﺘﺩ‬
‫ﺇﻝﻰ ﻤﺤﻴﻁ ﺍﻝﺩﺍﺌﺭﺓ‬

‫ﻨﺼل ﺍﻝﻨﻘﺎﻁ ﺍﻷﺭﺒﻌﺔ‬

‫ﺍﻝﻭﺍﻗﻌﺔ ﻋﻠﻰ ﻤﺤﻴﻁ ﺍﻝﺩﺍﺌﺭﺓ ﻝﻌﻤل‬
‫ﻤﺭﺒﻊ ﺃﺨﺭ ﻓﻴﺘﻜﻭﻥ ﻤﺎ ﻴﺴﻤﻰ‬
‫ﻓﻲ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺒﺎﻝﺘﺭﺱ‬

‫‪٥١٤‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﻨﺼل ﺍﻤﺘﺩﺍﺩﺍﺕ ﺃﻀﻼﻉ‬

‫ﺍﻝﻤﺭﺒﻌﻴﻥ ﺤﺘﻰ ﺘﺘﻘﺎﺒل ﻓﺘﺘﻜﻭﻥ‬
‫) ﺍﻝﻠﻭﺯﺓ (‬

‫ﻨﺭﺴﻡ ﺩﺍﺌﺭﺓ ﺘﺤﻴﻁ ﺒﺎﻝﻨﺠﻤﺔ‬

‫ﺍﻝﺜﻤﺎﻨﻴﺔ ﺍﻝﻤﺘﻜﻭﻨﺔ ﻋﻠﻰ ﺃﻥ ﺘﻜﻭﻥ‬
‫ﺭﺅﻭﺱ ﺍﻝﻨﺠﻤﺔ ﻻ ﺘﺘﻘﺎﻁﻊ ﻤﻊ‬
‫ﻤﺤﻴﻁ ﺍﻝﺩﺍﺌﺭﺓ ﺒل ﻴﻜﻭﻥ ﺒﻴﻨﻬﻤﺎ‬
‫ﻤﺴﺎﻓﺔ ﻤﻨﺎﺴﺒﺔ‬

‫ﻨﻘﻭﻡ ﺒﺭﺴﻡ ﺨﻁ ﻤﺴﺘﻘﻴﻡ‬

‫ﻴﻤﺭ ﺒﺎﻝﻨﻘﻁﺘﻴﻥ ﺃ ‪ ،‬ﺏ ﻭﻨﻘﻭﻡ‬
‫ﺒﺘﻜﺭﺍﺭ ﺫﻝﻙ ﻤﻊ ﺍﻝﻨﻘﺎﻁ ﺍﻝﻤﺘﺸﺎﺒﻬﺔ‬
‫ﻋﻠﻰ ﻤﺤﻴﻁ ﺍﻝﺩﺍﺌﺭﺓ‪ ،‬ﻭﺒﺫﻝﻙ ﺘﺘﻜﻭﻥ‬
‫ﺍﻝﻜﻨﺩﺓ ﻭﻴﺘﻜﻭﻥ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ‬

‫ﻭﺒﺭﺴﻡ ﺍﻤﺘﺩﺍﺩﺍﺕ ﺍﻝﺨﻁﻭﻁ‬

‫ﻭﺘﻜﺭﺍﺭ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺒﺤﻴﺙ‬
‫ﻴﻅﻬﺭ ﻭﻜﺄﻥ ﻴﺨﺭﺝ ﻤﻥ ﻜل ﻜﻨﺩﺓ‬
‫ﻁﺒﻕ ﻨﺠﻤﻲ ﻭﻜﺄﻥ ﻜل ﻁﺒﻕ ﻨﺠﻤﻲ‬
‫ﻴﺅﺩﻱ ﻝﻶﺨﺭ ﺩﻭﻥ ﺃﻥ ﻨﻌﺭﻑ ﺃﻴﻥ‬
‫ﻨﻘﻁﺔ ﺍﻝﺒﺩﺍﻴﺔ ﺃﻭ ﻨﻘﻁﺔ ﺍﻝﻨﻬﺎﻴﺔ‬

‫‪٥١٥‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﻭﻷﻥ ﺍﻝﻔﻨﺎﻥ ﺍﻹﺴﻼﻤﻲ ﻴﺘﺠﻪ ﺩﺍﺌﻤ ﹰﺎ ﻝﻠﺘﻐﻴﻴﺭ ﻭ ﺍﻝﺘﻁﻭﻴﺭ ﻭﻷﻥ ﻨﻭﻉ ﺍﻝﺯﺨﺭﻓﺔ ﻨﻔﺴﻪ ﻴﻌﺘﺒﺭ ﻤﺠﺎ ﹰﻻ ﺨﺼﺒ ﹰﺎ‬
‫ﻹﻨﺘﺎﺝ ﺃﻨﻭﺍﻉ ﻜﺜﻴﺭﺓ ﻭﺃﺸﻜﺎل ﻜﺜﻴﺭﺓ ﻤﻥ ﺍﻝﻁﺒﻕ ﺍﻝﻭﺍﺤﺩ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﺩﻤﺞ ﺒﻴﻥ ﺍﻝﺨﻁﻭﻁ ﺃﻭ ﺍﻝﻔﺼل ﺒﻴﻨﻬﺎ‬
‫ﻜﺫﻝﻙ ﺍﻝﻔﺼل ﺒﻴﻥ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﺍﻝﻭﺍﺤﺩ ﻜﻤﺎ ﻨﺭﻯ ﻓﻲ )ﺸﻜل‪( ٢٢ -‬‬

‫)ﺸﻜل‪(٢٢-‬‬
‫ﺃﺸﻜﺎل ﻤﺘﻌﺩﺩﺓ ﻝﻠﻨﺠﻤﺔ ﺍﻝﺜﻤﺎﻨﻴﺔ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﺃﻴﻤﻥ ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ ﺤﺴﻥ ‪ :‬ﺍﻝﺼﻴﺎﻏﺎﺕ ﺍﻝﺯﺨﺭﻓﻴﺔ ﻭﻋﻼﻗﺘﻬﺎ‬
‫ﺒﺎﻝﺨﺎﻤﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ ‪،‬‬
‫ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪ ،‬ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ ‪٢٠٠٣ ،‬ﻡ ‪ ،‬ﺹ ‪١٣١‬‬

‫" ﻜﻤﺎ ﺩﻤﺞ ﺍﻝﻔﻨﺎﻥ ﺒﻴﻥ ﺃﻜﺜﺭ ﻤﻥ ﺸﻜل ﻝﻠﻁﺒﻕ ﺍﻝﻨﺠﻤﻲ ﻓﻲ ﺍﻝﺘﺼﻤﻴﻤﺎﺕ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﻤﺴﻁﺤﺔ ﺤﻴﺙ‬
‫ﻴﺤﺩﺙ ﺍﻝﺘﻐﻴﺭ ﻤﻥ ﺸﻜل ﻨﺠﻤﻲ ﻵﺨﺭ ﺒﻔﻌل ﺍﻝﻨﻅﺎﻡ ﺍﻝﻬﻨﺩﺴﻲ ﺍﻝﺫﻱ ﻴﺅﺩﻱ ﺇﻝﻰ ﺍﻻﻨﺘﻘﺎل ﺍﻝﺘﺩﺭﻴﺠﻲ ﻤﻥ ﻤﺭﻜﺯ‬
‫ﺍﻝﺸﻜل ﺍﻝﻨﺠﻤﻲ ﺇﻝﻰ ﺸﻜل ﻨﺠﻤﻲ ﺁﺨﺭ " ) ﺸﻜل‪(٢٣-‬‬

‫‪٥١٦‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫)ﺸﻜل‪(٢٣-‬‬
‫ﻨﺠﻭﻡ ﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺘﺼﻤﻴﻡ ﻫﻨﺩﺴﻲ ﻭﺍﺤﺩ‬
‫ﻨﻘﻼ ﻋﻥ ‪:‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ ‪،‬‬
‫ﺩﺍﺭ ﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٧ ،‬ﻡ ‪ ،‬ﺹ ‪. ٩٧‬‬
‫ﺍﻝﻨﺘﺎﺌﺞ ﻭﺍﻝﺘﻭﺼﻴﺎﺕ‬
‫ﺃﻭ ﹰﻻ ‪ :‬ﺍﻝﻨﺘﺎﺌﺞ‪:‬‬
‫‪ .١‬ﺘﻌﺩ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ﻤﻥ ﺃﻏﻨﻰ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ‪ ،‬ﻭﻤﺼﺩﺭﺍ‬
‫ﻫﺎﻤﺎ ﻤﻥ ﻤﺼﺎﺩﺭ ﺍﻝﺭﺅﻴﺎ ﻝﻤﺎ ﺘﺤﻭﻴﻪ ﻤﻥ ﺜﺭﺍﺀ ﻓﻨﻲ ﻭﺘﻨﻭﻉ ﻓﻲ ﺃﺸﻜﺎﻝﻬﺎ ﻭﺘﻘﻨﻴﺎﺘﻬﺎ ‪.‬‬
‫‪ .٢‬ﻨﺠﺢ ﺍﻝﻔﻨﺎﻥ ﻓﻲ ﺍﻝﻌﺼﻭﺭ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﺘﻁﻭﻴﻊ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺩﺍﺨل ﺍﻝﻤﺴﺎﺤﺔ ﺍﻝﻤﺭﺍﺩ‬
‫ﺯﺨﺭﻓﺘﻬﺎ ‪ ،‬ﻭﺭﺒﻁﻪ ﺒﺨﺎﻤﺔ ﻭﻭﻅﻴﻔﺔ ﺍﻝﺸﻜل ﺍﻝﻤﺭﺍﺩ ﺯﺨﺭﻓﺘﻪ ‪.‬‬
‫‪ .٣‬ﻫﻨﺎﻙ ﻋﻭﺍﻤل ﻤﺘﻌﺩﺩﺓ ﺃﺜﺭﺕ ﻋﻠﻰ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻝﻔﺎﻁﻤﻴﺔ ﻭﻤﻥ ﺃﺒﺭﺯﻫﺎ ﺍﻝﻌﻭﺍﻤل ﺍﻝﺩﻴﻨﻴﺔ‬
‫ﻭﺍﻝﻌﻘﺎﺌﺩﻴﺔ ‪ ،‬ﺍﻝﺘﻲ ﺃﺩﺕ ﺇﻝﻰ ﺘﻁﻭﻴﺭ ﺸﻜﻠﻬﺎ ﻭﺘﻘﻨﻴﺎﺕ ﺘﻨﻔﻴﺫﻫﺎ ‪.‬‬
‫‪ .٤‬ﺘﻌﺘﺒﺭ ﺩﺭﺍﺴﺔ ﺍﻝﺘﺭﺍﺙ ﺍﻝﻔﻨﻲ ﻤﻥ ﺍﻝﻤﺼﺎﺩﺭ ﺍﻝﻬﺎﻤﺔ ﻹﺜﺭﺍﺀ ﺍﻝﺨﺒﺭﺍﺕ ﺍﻝﺘﺼﻤﻴﻤﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪.‬‬
‫ﺜﺎﻨﻴ ﹰﺎ ‪ :‬ﺍﻝﺘﻭﺼﻴﺎﺕ‪:‬‬
‫‪ .١‬ﺘﻭﺼﻲ ﺍﻝﺒﺎﺤﺜﺔ ﺒﺄﻫﻤﻴﺔ ﺍﻝﺯﻴﺎﺭﺍﺕ ﺍﻝﻤﻴﺩﺍﻨﻴﺔ ﻝﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﻭﻋﺭﺽ ﺒﻌﺽ ﺍﻝﻨﻤﺎﺫﺝ‬
‫ﺍﻝﻤﻤﺜﻠﺔ ﻝﻠﻌﻨﺎﺼﺭ ﺍﻝﺯﺨﺭﻓﻴﺔ ﻭﺫﻝﻙ ﻝﻼﺴﺘﻔﺎﺩﺓ ﻤﻨﻬﺎ ﻓﻲ ﺘﻨﻤﻴﺔ ﺍﻝﺭﺅﻴﺔ ﺍﻝﻔﻨﻴﺔ‬
‫‪ .٢‬ﺘﻭﺼﻲ ﺍﻝﺒﺎﺤﺜﺔ ﺒﺎﻻﻫﺘﻤﺎﻡ ﺒﺈﻤﻜﺎﻨﻴﺔ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺘﺼﻤﻴﻤﺎﺕ ﺍﻝﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ‬
‫ﻭﺃﺴﻠﻭﺒﻬﺎ ﺍﻝﺘﻘﻨﻲ ‪ ،‬ﻭﻤﻼﺀﻤﺘﻬﺎ ﻝﻠﺸﻜل ﻭﺍﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﻭﻅﻴﻔﻲ ‪ ،‬ﻹﻨﺘﺎﺝ ﻤﺸﻐﻭﻻﺕ ﺨﺸﺒﻴﺔ ﻤﻌﺎﺼﺭﺓ‬
‫ﻤﺘﺄﺜﺭﺓ ﺒﺎﻝﺘﺭﺍﺙ ﺍﻝﻔﻨﻲ ﺍﻹﺴﻼﻤﻲ ﺒﻤﺎ ﻴﺘﻔﻕ ﻤﻊ ﺍﻝﻌﺼﺭ ‪.‬‬

‫‪٥١٧‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬
 ‫ﻡ‪.‬ﻡ‪ /.‬ﻋﺒﻴﺭ ﻤﺤﻤﺩ ﺼﺎﻝﺢ‬ ‫ﺍﻝﺴﻤﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺯﺨﺎﺭﻑ ﺍﻝﻬﻨﺩﺴﻴﺔ ﻭﺯﺨﺎﺭﻑ ﺍﻷﻁﺒﺎﻕ ﺍﻝﻨﺠﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ‬

‫ﺍﻝﻤﺭﺍﺠﻊ‬
‫ﺃﻭﻻ ‪ :‬ﺍﻝﻜﺘﺏ‬
‫‪ .١‬ﺤﺴﻥ ﺍﻝﺒﺎﺸﺎ ‪ :‬ﻤﻭﺴﻭﻋﺔ ﺍﻝﻌﻤﺎﺭﺓ ﻭ ﺍﻵﺜﺎﺭ ﻭ ﺍﻝﻔﻨﻭﻥ ‪ ،‬ﺃﻭﺭﺍﻕ ﺸﺭﻗﻴﺔ ﻝﻠﻁﺒﺎﻋﺔ ﻭ ﺍﻝﻨﺸﺭ ‪،‬ﺒﻴﺭﻭﺕ ‪،‬‬
‫ﻝﺒﻨﺎﻥ‪١٩٩٩ ،‬ﻡ ‪.‬‬
‫" ﻓﻨﻭﻥ ﺍﻹﺴﻼﻡ " ‪،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٤٨ ،‬ﻡ ‪.‬‬ ‫‪ .٢‬ﺯﻜﻲ ﻤﺤﻤﺩ ﺤﺴﻥ ‪:‬‬
‫‪ .٣‬ﻋﺎﺩل ﺍﻷﻝـﻭﺴـﻲ ‪ :‬ﺭﻭﺍﺌﻊ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﻋﺎﻝﻡ ﺍﻝﻜﺘﺏ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪٢٠٠٢ ،‬ﻡ‪.‬‬
‫‪ .٤‬ﻋﺒﺩ ﺍﻝﻨﺎﺼﺭ ﻴﺎﺴﻴﻥ ‪ :‬ﺍﻝﻔﻨﻭﻥ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﻤﺼﺭ ﻤﻨﺫ ﺍﻝﻔﺘﺢ ﺍﻹﺴﻼﻤﻲ ﺤﺘﻰ ﻨﻬﺎﻴﺔ‬
‫ﺍﻝﻌﺼﺭ ﺍﻝﻔﺎﻁﻤﻲ ‪ ،‬ﺍﻝﺠﺯﺀ ﺍﻷﻭل ‪ ،‬ﺩﺍﺭ ﺍﻝﻭﻓﺎﺀ ‪،‬ﺍﻹﺴﻜﻨﺩﺭﻴﺔ ‪ ٢٠٠٢،‬ﻡ‪.‬‬
‫‪ .٥‬ﻋﺒﺩ ﺍﻝﺴﺘﺎﺭ ﺤﺴﻴﻥ ﺃﺒﻭ ﻫﺎﺸﻡ ‪ :‬ﻫﻨﺩﺴﺔ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﺩﺍﺭ ﺍﻝﻁﻼﺌﻊ ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٩ ،‬‬
‫‪ .٦‬ﻓﻭﺯﻱ ﺴﺎﻝﻡ ﻋﻔﻴﻔﻲ ‪ :‬ﺃﻨﻭﺍﻉ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻝﻬﻨﺩﺴﻴﺔ‪،‬ﺍﻝﺠﺯﺀ ﺍﻝﺜﺎﻝﺙ‪،‬ﺩﺍﺭﺍﻝﻜﺘﺎﺏ ﺍﻝﻌﺭﺒﻲ ‪،‬ﺍﻝﻘﺎﻫﺭﺓ ‪١٩٩٩ ،‬ﻡ‪.‬‬
‫‪ .٧‬ﻤﺤﻲ ﺍﻝﺩﻴﻥ ﻁﺎﻝﻭ ‪ :‬ﺍﻝﻔﻨﻭﻥ ﺍﻝﺯﺨﺭﻓﻴﺔ ‪ ،‬ﺝ‪ ، ٢‬ﺩﺍﺭ ﺩﻤﺸﻕ ‪ ،‬ﺩﻤﺸﻕ ‪٢٠٠٠ ،‬ﻡ‪.‬‬
‫‪ .٨‬ــــــــ‪ :‬ﺍﻝﻤﺭﺸﺩ ﺍﻝﻔﻨﻲ ﺇﻝﻰ ﺃﺼﻭل ﺇﻨﺸﺎﺀ ﻭﺘﻜﻭﻴﻥ ﺍﻝﺯﺨﺭﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﺩﺍﺭ ﺩﻤﺸﻕ ﻝﻠﻁﺒﺎﻋﺔ‬
‫ﻭﺍﻝﻨﺸﺭ ‪ ،‬ﺩﻤﺸﻕ ‪.٢٠٠٠،‬‬
‫‪ .٩‬ﺼﺒﺤﻲ ﺍﻝﺸﺎﺭﻭﻨﻲ‪ :‬ﺭﻭﺍﺌﻊ ﻤﺘﺤﻑ ﺍﻝﻔﻥ ﺍﻹﺴﻼﻤﻲ ﺒﺎﻝﻘﺎﻫﺭﺓ ‪،‬ﺍﻝﺩﺍﺭ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻠﺒﻨﺎﻨﻴﺔ‪،‬ﺍﻝﻘﺎﻫﺭﺓ ‪.٢٠٠٨ ،‬‬

‫ﺜﺎﻨﻴﺎ ‪:‬ﺍﻝﺭﺴﺎﺌل ﺍﻝﻌﻠﻤﻴﺔ‬

‫‪ .١٠‬ﺃﺤﻤﺩ ﻋﺒﺩ ﺍﻝﻜﺭﻴﻡ ‪ :‬ﺇﻨﺘﺎﺝ ﺘﺼﻤﻴﻤﺎﺕ ﺯﺨﺭﻓﻴﻪ ﻗﺎﺌﻤﺔ ﻋﻠﻰ ﺘﺤﻠﻴل ﺍﻝﻨﻅﻡ ﺍﻹﻴﻘﺎﻋﻴﺔ ﻝﻤﺨﺘﺎﺭﺍﺕ ﻤﻥ ﺍﻝﻔﻥ‬
‫ﻤﺎﺠﺴﺘﻴﺭ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪ ،‬ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ ‪،‬‬ ‫ﺍﻹﺴﻼﻤﻲ ﺍﻝﻬﻨﺩﺴﻲ ‪ ،‬ﺭﺴﺎﻝﺔ‬
‫‪١٩٨٥‬ﻡ‪.‬‬
‫‪ .١١‬ﺇﻴﻬﺎﺏ ﺒﺴﻤﺎﺭﻙ ‪ :‬ﺘﻭﻅﻴﻑ ﺍﻝﻁﺎﻗﺔ ﺍﻝﻜﺎﻤﻨﺔ ﻓﻲ ﺍﻝﻌﻨﺎﺼﺭ ﺍﻝﺸﻜﻠﻴﺔ ﻝﺘﺤﻘﻴﻕ ﺍﻝﺒﻌﺩ ﺍﻝﺠﻤﺎﻝﻲ ﻓﻲ ﺇﻨﺸﺎﺌﻴﺔ‬
‫ﺍﻝﺘﺼﻤﻴﻡ ‪ ،‬ﺭﺴﺎﻝﺔ ﺩﻜﺘﻭﺭﺍﻩ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪ ،‬ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ ‪١٩٩١ ،‬ﻡ‪.‬‬
‫‪ .١٢‬ﺃﻴﻤﻥ ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ ﺤﺴﻥ ‪ :‬ﺍﻝﺼﻴﺎﻏﺎﺕ ﺍﻝﺯﺨﺭﻓﻴﺔ ﻭﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﺨﺎﻤﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻓﻲ ﺍﻝﻔﻥ‬
‫ﺍﻹﺴﻼﻤﻲ ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪ ،‬ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ ‪٢٠٠٣ ،‬ﻡ ‪.‬‬
‫‪ .١٣‬ﻋﺒﻴﺭ ﺠﺎﺒﺭ ﻤﺼﻁﻔﻰ ﻤﺤﻤﺩ ‪ :‬ﺘﻭﻅﻴﻑ ﺍﻝﺸﺭﺍﺌﻁ ﺍﻝﺯﺨﺭﻓﻴﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻜﻤﻔﺭﺩﺍﺕ ﺘﺸﻜﻴﻠﻴﺔ ﻝﺒﻨﺎﺀ ﻤﺸﻐﻭﻝﺔ‬
‫ﻤﻌﺩﻨﻴﺔ ﻤﺴﺘﺤﺩﺜﺔ ‪ ،‬ﺭﺴﺎﻝﺔ ﻤﺎﺠﺴﺘﻴﺭ ﻏﻴﺭ ﻤﻨﺸﻭﺭﺓ ‪ ،‬ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﻔﻨﻴﺔ ‪ ،‬ﺠﺎﻤﻌﺔ ﺤﻠﻭﺍﻥ ‪٢٠٠٥ ،‬ﻡ‪.‬‬
‫ﺍﻝﻤﺭﺍﺠﻊ ﺍﻷﺠﻨﺒﻴﺔ‬
‫‪Islamic Ornamental_Desigen.London.Boston R54,66,95,122‬‬
‫ﻤﻭﺍﻗﻊ ﺍﻻﻨﺘﺭﻨﺕ‬
‫‪www.eternalegypt.org/images/elements30080‬‬

‫‪٥١٨‬‬ ‫ﻤﺠﻠﺔ ﻜﻠﻴﺔ ﺍﻝﺘﺭﺒﻴﺔ – ﺠﺎﻤﻌﺔ ﺒﻭﺭﺴﻌﻴﺩ‬ ‫ﺍﻝﻌﺩﺩ ﺍﻝﺭﺍﺒﻊ ﻋﺸﺭ – ﻴﻭﻨﻴﻭ‪٢٠١٣‬ﻡ‬