موضوعات التصوير الجدارى مختصر

1. ‫اﻟﻘدﯾم‬ ‫ي‬‫اﻟﻣﺻر‬ ‫اﻟﺗﺻوﯾر‬ ‫ات‬‫ز‬‫ﻣﻣﯾ‬
،‫اﻟزﺧرﻓﯾﺔ‬ ‫اﻟوﺣدات‬ ‫إﻟﻰ‬ ‫اﻟﻣﺳﺗﻘﯾم‬ ‫اﻟﺧط‬ ‫إﻟﻰ‬ ‫ﺑﺎﻟﻧﻘطﺔ‬ ‫ﻣن‬ ‫ﺑدأت‬ ،‫اﻟﺗطﺑﯾﻘﯾﺔ‬ ‫اﻟﻔﻧون‬ ‫ﻋﻠﻰ‬ ‫اﻟزﺧرﻓﺔ‬ ‫ﺗﻧوﻋت‬
‫اﻟﺟﻣـﺎل‬ ‫ﻣـن‬ ‫درﺟـﺔ‬ ‫ﻋﻠـﻰ‬ ‫ﺑﺳـﯾطﺔ‬ ‫زﺧرﻓﯾـﻪ‬ ‫وﺣـدات‬ ‫إﻟـﻰ‬ ‫اﻟﻣﺗﺷـﺎﺑﻛﺔ‬‫و‬ ‫اﻟﻣﻌﻘـدة‬ ‫اﻟوﺣدات‬ ‫ﻣن‬ ‫وﺳﻬوﻟﺔ‬ ‫ﺑطﻼﻗﺔ‬ ‫اﻟﺗدرج‬
‫اﻟد‬‫و‬ ‫اﻟﺑﺳﺎطﺔ‬ ‫ﻛﺎﻧت‬ ‫،وﻟذا‬ ‫اﻟﻐﺎﻟﺑﺔ‬ ‫ﻫﻲ‬ ‫اﻟرﻣزﯾﺔ‬ ‫اﻟﺳﻣﺔ‬ ، ‫اﻻﻧﺳﺟﺎم‬‫و‬‫اﻷﻟـ‬ ‫ان‬‫ز‬‫اﺗـ‬‫و‬ ‫اﻟﺗرﻛﯾـب‬ ‫اﻋـﺔ‬‫ر‬‫وﺑ‬ ‫ﻗـﺔ‬‫وﺗﻧﺎﺳـﻘﻬﺎ‬ ‫ان‬‫و‬
‫ة‬‫اﻟﻣﻣﯾز‬ ‫اﻟﺻﻔﺎت‬ ‫ﻣن‬١
‫ﻣـن‬ ‫ﻣﺷـﺗﻘﺔ‬ ‫ﺗﻛوﯾﻧـﺎت‬ ‫ﻓـﻲ‬ ‫زﺧرﻓﯾـﻪ‬ ‫وﺣـدات‬ ‫إﻟـﻰ‬ ‫وﺗﺑﺳـﯾطﻬﺎ‬ ‫ﻫـﺎ‬‫ﺗﺣوﯾر‬ ‫ﺑﻌـد‬ ‫اﻟﻌﻧﺎﺻر‬ ‫ﻣن‬ ‫اﻟﻛﺛﯾر‬ ‫اﺳﺗﺧدام‬
.‫اﻟﻬﻧدﺳﯾﺔ‬ ‫اﻟﻌﻧﺎﺻر‬ ‫وﻛذﻟك‬ ‫ﻫﺎ‬‫وﻏﯾر‬ ‫اﻟﺣﯾﺔ‬ ‫اﻟﻛﺎﺋﻧﺎت‬‫و‬ ‫اﻟﻧﺑﺎﺗﺎت‬٢
‫اﻟﻘدﯾم‬ ‫ي‬‫اﻟﻣﺻر‬ ‫از‬‫ر‬‫اﻟط‬ ‫ﺗﻣﯾز‬ ‫اﻟﺗﻲ‬ ‫اﻟوﺣدات‬
‫اﻟزﺧﺎرف‬. ‫ﻫم‬‫وﻏﯾر‬ ‫اﻟﺟد‬ ‫وﻋﻣود‬ ‫ان‬‫ر‬‫اﻟﺟﻌ‬ ، ‫ﺟﻧﺎﺣﯾﻪ‬ ‫ﻧﺎﺷر‬ ‫اﻟﺷﻣس‬ ‫ﻗرص‬ ‫ﻣﻧﻬﺎ‬ ‫اﻟرﻣزﯾﺔ‬
‫ﻓـﻲ‬ ‫ﻓﻧﯾﺔ‬ ‫ات‬‫ر‬‫اﺑﺗﻛﺎ‬ ‫ﻓﻲ‬ ‫اﻟﺣﻠزوﻧﻲ‬ ‫اﻟﻣﺗﻣوج‬ ‫اﻟﻣﻧﻛﺳر‬ ‫اﻟﻣﺳﺗﻘﯾم‬ ‫اﻋﻪ‬‫و‬‫ﺑﺄﻧ‬ ‫اﻟﺧط‬‫و‬ ‫اﻟﻧﻘطﺔ‬ ‫أﺳﺗﺧدم‬ ‫اﻟﻬﻧدﺳﯾﺔ‬ ‫اﻟوﺣدات‬
‫اﺋر‬‫و‬‫ود‬ ‫وﻣﺻﻠﯾﺎت‬ ‫وﻣﻌﯾﻧﺎت‬ ‫وﻣرﺑﻌﺎت‬ ‫ﻫﻧدﺳﯾﺔ‬ ‫أﺷﻛﺎل‬ ‫ﺗﻛوﯾن‬
‫اﻟﻧﺑﺎﺗﯾﺔ‬ ‫اﻟوﺣدات‬–‫اﻟﻠوﺗس‬ ‫ة‬‫ﻫر‬‫ز‬–‫ا‬‫ﻟﺑ‬‫ردي‬–‫اﻟﻧﺧﯾل‬–‫اﻟﻌﻧب‬ ‫اﻟﻔﺎﻛﻬﺔ‬-. ‫ات‬‫ر‬‫ﻫﯾ‬‫اﻟز‬
‫اﻟطﯾر‬‫و‬ ‫اﻧﯾﺔ‬‫و‬‫اﻟﺣﯾ‬‫و‬ ‫اﻟﺑﺷرﯾﺔ‬ ‫اﻟرﺳوم‬--. ‫اﻟﺣﻠزون‬٣
‫ان‬‫و‬‫اﻷﻟ‬
‫از‬‫و‬‫اﻟﺗرﻛ‬ ‫اﻷزرق‬‫و‬، ‫اﻟﻣﺧﺿر‬ ‫اﻷزرق‬‫و‬ ‫اﻷﺳود‬ ‫اﻟﻠون‬ ‫اﺳﺗﺧدم‬( ‫ى‬‫اﻟﻔﯾروز‬ )‫ﺑﺗﻌدد‬ ‫اﻷﺻﻔر‬‫و‬ ،‫اﻟﺳﻣﺎوي‬‫و‬ ،
‫اﻟذﻫب‬ ‫اﺳﺗﺧدام‬‫و‬ . ‫اﻟﺑﻧﻔﺳﺞ‬ ‫اﻟزﯾﺗوﻧﻲ،و‬‫و‬، ‫ي‬‫اﻟﻔﯾروز‬ ‫اﻷﺑﯾض‬‫و‬، ‫اﻧﻪ‬‫و‬‫أﻟ‬. ‫اﻟذﻫب‬ ‫أوﻟون‬٤
.‫اﻟﺣﻛﺎم‬ ‫ﻋﻠﯾﻪ‬ ‫وﯾﻧﻔق‬ ‫اﻟدوﻟﺔ‬ ‫ﻋﺎﻩ‬‫ﺗر‬ ‫ﻓن‬ ‫وﻫو‬ ‫اﻟﺣﻛﺎم‬‫و‬ ‫اﻟدوﻟﺔ‬ ‫ﺑﻘوة‬ ‫ﻗوى‬ ‫ﻓن‬ ‫ي‬‫اﻟﻣﺻر‬ ‫اﻟﻔن‬
‫ﻣظـﺎﻫر‬ ‫ﺗﻌﻛـس‬ ‫أﺛﺎر،اﻏﻠﺑﻬـﺎ‬ ‫ﻣـن‬ ‫ﺗﺑﻘـﻰ‬ ‫ﻓﯾﻣـﺎ‬ ‫اﻟدﻧﯾوﯾـﺔ‬ ‫اﻷﻋﻣـﺎل‬ ‫ﻣـن‬ ‫أﻛﺛـر‬ ‫ﺑﺎﻷﺧرﯾﺎت‬ ‫اﻫﺗم‬ ‫ي‬‫ﺟﻧﺎﺋز‬ ‫دﯾﻧﻲ‬ ‫ﻓن‬ ‫وﻫو‬
‫اﻷﺧروﯾﺔ‬ ‫اﻟﺣﯾﺎة‬٥
‫ا‬ ‫ﺗﺧﺗﻠف‬ ‫ﻣﺣﺎﻓظ‬ ‫ﺗﻘﻠﯾدي‬ ‫ﻓن‬‫ﻷ‬‫طﺑﻘﺎﺗ‬ ‫ﺑﯾن‬ ‫اﻟﻔﻧﯾﺔ‬ ‫ﻋﻣﺎل‬.‫اﺣد‬‫و‬ ‫ﻋﻘﺎﺋدي‬ ‫ﻣﻔﻬوم‬ ‫ﻓﻲ‬ ‫ﺗﺷﺗرك‬ ‫ﻟﻛﻧﻬﺎ‬ ‫ﻪ‬
،‫اﻟرﻣزﯾﺔ‬ ‫ﻓﻲ‬ ‫ي‬‫اﻟﻣﺻر‬ ‫اﻟﻔن‬ ‫ﻣﻊ‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﯾﺗﻔق‬‫أﺣد‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫وﯾﻌﺗﺑر‬ ،‫اﻟدﯾن‬ ‫ﻟﺧدﻣﺔ‬ ‫ﻛرﺳﺎ‬ ‫أﻧﻬﻣﺎ‬‫و‬
.‫اﻟﻌرض‬ ‫أﺳﻠوب‬ ‫اﺧﺗﻼف‬ ‫ﻣﻊ‬ ‫اﻟﻣوﺿوﻋﺎت‬ ‫ﺗﻧﺎول‬ ‫ﻓﻲ‬ ‫اﻟﻘدﯾم‬ ‫ي‬‫اﻟﻣﺻر‬ ‫اﻟﻔن‬ ‫أﺣﻔﺎد‬٦
Bill Manley ,Historical Atlas of Ancient Egypt, (1996) pg83-١
٣٢ ‫ص‬ ، ‫اءات‬‫ر‬‫ﻗ‬ ، ‫ﺟودﻩ‬ ‫ﯾز‬‫ز‬‫اﻟﻌ‬ ‫وﻋﺑد‬ ‫ﺷﺣﺎﺗﻪ‬ ‫أﺣﻣد‬
Georges Perrot A History of Art in Ancient Egypt
Gay Robins, Egyptian Painting and Relief
Cyril Aldred, Egyptian Art: In the Days of the Pharaohs 3100-320 BC (World of Art)
Georges Perrot, A History of Art in Ancient Egypt-٢
Gay Robins, Egyptian Painting and Relief
Cyril Aldred, Egyptian Art: In the Days of the Pharaohs 3100-320 BC
Smith, W. S. Art and Architecture of Ancient Egypt. 1965p.45-٣
Badawy, A. Architecture in Ancient Egypt and the Near East (1966) A History of Egyptian Architecture (Vol. I-III,
1954-68).;-٤
, Yale University Press, 1998. (pages 44, 45, 105, 120)The Art and Architecture of Ancient EgyptW. Stevenson Smith-٥
Richard Patrick , All colour book of Egyptian mythology, 1972
Badawy, A. Architecture in Ancient Egypt and the Near East (1966); A History of Egyptian Architecture-٦
Vol. I-III, 1954-68

2. ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ات‬‫ز‬‫ﻣﻣﯾ‬
‫أو‬‫ﺷﻌﺑﻲ‬ ‫ﻓن‬ : ‫ﻻ‬
‫اﻟﻣﻠﻛﯾﺔ‬ ‫اﻟﻔﻧون‬ ‫ﺻﻧﺎﻋﺔ‬ ‫اﻧﺗﻘﻠت‬‫إ‬‫وﺻﺎ‬ ،‫ة‬‫ﻣﻬﺎر‬ ‫اﻷﻗل‬ ‫اﻟﻔﻧﺎﻧون‬ ‫ﻟﻰ‬‫ر‬‫وﺑﺎﻟﺗدرﯾ‬ ،‫ﯾﻘﻠدﻫﺎ‬ ‫اﻟﺷﻌب‬‫ﺞ‬‫اﻟﻔن‬ ‫ﺻﺎر‬
.‫ﺷﻌﺑﯾﺎ‬٧
‫اﻟرﻣزﯾﺔ‬ ‫إﻟﻰ‬ ‫ﯾﻣﯾل‬ ‫ﻓن‬ :‫ﺛﺎﻧﯾﺎ‬٨
،‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫اﻟرﻣوز‬ ‫اﺳﺗﺧدام‬ ‫ﻓﻲ‬ ‫اﻟﻘدﻣﺎء‬ ‫اﻟﻣﺻرﯾﯾن‬ ‫أﺟدادﻫم‬ ‫اﻷﻗﺑﺎط‬ ‫ﻗﻠد‬:‫اﻟرﻣوز‬ ‫ﻫذﻩ‬ ‫وﻣن‬
١-. ‫اﻟﻌروة‬ ‫ذي‬ ‫ﺑﺎﻟﺻﻠﯾب‬ ‫ﺗﻌرف‬ ‫أﺻﺑﺣت‬‫و‬ ،‫اﻟﻘدﯾﻣﺔ‬ ‫اﻟﻣﺻرﯾﺔ‬ ‫ﻋﻧﺦ‬ ‫ﻋﻼﻣﺔ‬٩
٢-‫اﻟﻣ‬ ‫ﻏﯾر‬ ‫اﻟﺣﺑل‬‫ﻧﺗﻬﻰ‬. ‫اﻷﺑدﯾﺔ‬ ‫اﻟﺣﯾﺎة‬ ‫ﯾﻌﻧﻰ‬١٠
٣-‫اﻹﻟ‬ ‫ﻣﺛل‬ ‫اﻻﺑن‬ ‫اﻹﻟﻪ‬ ‫ﺗﻣﺛﺎل‬ ‫ﻓﻲ‬ ‫اﻟﺷﻌر‬ ‫ة‬‫ﺿﻔﯾر‬ .‫اﻟﺷرﻗﯾﺔ‬ ‫ﻣﻧﻬﺎ‬ ‫ﺗطور‬ ‫اﻟذي‬ ‫اﻟﻘوﻗﻌﺔ‬‫ﻪ‬Hr
Hrd3P( ‫ﻏرد‬ ‫ﺑﺎ‬ ‫ﺣور‬ ).‫اﻟﺻﻠﺑﺎن‬ ‫ﺑﻌض‬ ‫ﻓﻲ‬ ‫ظﻬرت‬١١
٤-‫ا‬ ‫ﻣﺻــر‬ ‫ﻓــﻲ‬ ‫اﻟرﻣزﯾــﺔ‬ ‫وﻣﻌﺎﻧﯾﻬــﺎ‬ ‫اﻷﺳــود‬‫اﻟﻔــن‬ ‫ﻓــﻲ‬ ‫اﻟﻣﻌﻧــﻰ‬ ‫ﺑــﻧﻔس‬ ‫ﻫــﺎ‬‫وظﻬور‬ ،‫ﻟﻘدﯾﻣــﺔ‬
‫اﻟﻘﺑطﻲ‬١٢
‫ى‬‫أﺧر‬ ‫ورﻣوز‬.‫ة‬‫ﻛﺛﯾر‬
.‫اﻟﻬﻧدﺳﯾﺔ‬ ‫اﻷﺷﻛﺎل‬‫و‬ ‫اﻟﺧطوط‬ ‫إﻟﻰ‬ ‫ﯾﻣﯾل‬ ‫ﻓن‬ :‫ﺛﺎﻟﺛﺎ‬
‫اﻟﺗﻰ‬ ‫اﻟﺟدارﯾﺔ‬ ‫اﻟرﺳوم‬ ‫ﻓﻲ‬ ‫اﻟﻣﯾﻼدي‬ ‫اﻟﺧﺎﻣس‬ ‫اﻟﻘرن‬ ‫ﻣﻧذ‬ ‫اﻟﻬﻧدﺳﯾﺔ‬ ‫اﻷﺷﻛﺎل‬‫و‬ ‫اﻟﺧطوط‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫ظﻬر‬
.‫ة‬‫وﺳﻘﺎر‬ ‫وﻛﻠﯾﺎ‬ ‫ﺑﺎوﯾط‬ ‫ﻣﻧطﻘﺔ‬ ‫ﻓﻲ‬ ‫ﻋﻠﯾﻬﺎ‬ ‫ﻋﺛر‬١٣
‫اﻟﺣﻛﺎم‬ ‫ﺑﺛﻘﺎﻓﺔ‬ ‫ﻣﺗﺄﺛر‬ ‫ﻓن‬ : ‫اﺑﻌﺎ‬‫ر‬
‫اﻷﻛﺎﻧﺗس‬ ‫ورﻗﺔ‬ ‫ﻣن‬ ‫اﻟﻧﺻر‬ ‫اس‬‫و‬‫أﻗ‬ ‫ﯾﺻﻧﻌون‬ ‫ا‬‫و‬‫ﻛﺎﻧ‬ ‫اﻟذﯾن‬ ‫اﻟروﻣﺎن‬‫و‬ ‫اﻟﯾوﻧﺎﻧﯾﯾن‬ ‫ﺑﺎﻟﺣﻛﺎم‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﺗﺄﺛر‬
.‫ﻧﻘوﺷﻬم‬ ‫ﻣﻌظم‬ ‫ﻓﻲ‬ ‫اﻷﻗﺑﺎط‬ ‫ﻓﺎﺳﺗﺧدﻣﻬﺎ‬ ،‫ﻟﻠﻧﺻر‬ ‫ﺗرﻣز‬ ‫أﺻﺑﺣت‬ ‫اﻟﺗﻲ‬‫و‬١٤
٧
-‫اﺟﻊ‬‫ر‬ ‫اﻗوي‬ ‫ادﻟﺔ‬ ‫اﻋطﺎء‬ ‫دون‬ ‫وﻟﻛن‬ ‫ﺑروﻧﻪ‬ ‫اﻟﻌﺎﻟم‬ ‫أي‬‫ر‬‫اﻟ‬ ‫ﻫذا‬ ‫ﻋﺎرض‬ ‫وﻗد‬
K.-H. Brune, “Die Koptische Kunst eine Volkskunst? Bemerkungen zum fragwurdigen Gebrauch eines
Schalgwortes” BSAC 35 (1996) 15-27.
٨
-،‫ﻣﺳﯾﺣﺔ‬ ‫ﺣﺷﻣت‬‫اﻟﻘﺑطﯾﺔ‬ ‫اﻻﺛﺎر‬ ‫اﻟﻰ‬ ‫ﻣدﺧل‬‫ـ‬‫ﺻ‬ ‫،اﻟﻣوﺳوﻋﺔ‬١٧.
٩
-،‫ﻣﺳﯾﺣﺔ‬ ‫ﺣﺷﻣت‬‫اﻟﻘﺑطﯾﺔ‬ ‫اﻻﺛﺎر‬ ‫اﻟﻰ‬ ‫ﻣدﺧل‬‫ـ‬‫ﺻ‬ ‫،اﻟﻣوﺳوﻋﺔ‬١٨.. ‫ة‬‫ر‬‫ﻣﻧﺷو‬ ‫ﻏﯾر‬ ‫ات‬‫ر‬‫ﻣﺣﺎﺿ‬ ‫ﺣﻧدوﺳﻪ‬ ‫ﺗﺣﻔﻪ‬ ،
‫ﯾد‬‫ز‬‫ﻟﻠﻣ‬‫إﻟﻰ‬ ‫ع‬‫اﻟرﺟو‬ ‫ﯾﻣﻛن‬
Ishaq ,E,M, ‘Ankh’ Coptic Encyclopedia, vols.1 , pp134-135
Cramer , M, Das Ältägyptische Lebenszeichen . Ägypten , wiesbaden , 1955
١٠
-‫ﻧﻔس‬،‫اﻟﻣرﺟﻊ‬.‫ص‬١٨
١١
--‫ﻧﻔس‬،‫اﻟﻣرﺟﻊ‬.‫ص‬١٨
:‫ودﯾﻊ‬ ‫اﻣز‬‫ر‬“‫اﻟﻘوﻗﻌﺔ‬‫اﻟﯾوﻧﺎﻧﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬”،‫أﺳﺑو‬‫ع‬‫ج‬‫اﻟﻔر‬ ‫روض‬ ‫اء‬‫ر‬‫اﻟﻌذ‬ ‫ﻛﻧﯾﺳﺔ‬ ،‫اﻟﺛﺎﻧﻲ‬ ‫اﻟﻘﺑطﯾﺎت‬،١٩٩٢‫ص‬٢٥-٣٢
١٢
-‫اﻟ‬ ‫ﻧﻔس‬‫ﻣرﺟﻊ‬.‫،ص‬١٨
١٣
-‫ﻧﻔس‬،‫اﻟﻣرﺟﻊ‬.‫ص‬١٨
Clédat, Jean Le monastère et la nécropole de Baouît, MIFAO XII, t. I, fasc1904,
Clédat, Jean, Le monastère et la nécropole de Baouît, MIFAO XXXIX, t. II, fasc. 1. 1916
Rassart-Debergh M: Les Peintures , les kellia ermitages coptes en Basse Egypte Musee d,art et
d,histoire Geneve 12Oktobre 1989pp57-78

3. ‫ودﻧﯾوي‬ ‫دﯾﻧﻲ‬ ‫ﻓن‬ : ‫ﺧﺎﻣﺳﺎ‬
‫اﺳﺔ‬‫ر‬‫اﻟد‬ ‫وﻟﻛن‬ ‫ﻓﻘط‬ ‫دﯾﻧﻲ‬ ‫ﻓن‬ ‫اﻟﻘﺑطﻲ‬ :‫ﺳﺎدﺳﺎ‬‫أ‬‫ﺛﺑﺗت‬‫ي‬‫اﻟﺑﺣر‬ ‫اﻟﺻﯾد‬ ‫ﻣﻧﺎظر‬ ‫ﺗوﺟد‬ ‫،ﺣﯾث‬ ‫ذﻟك‬ ‫ﻋﻛس‬
،‫ى‬‫اﻟﺑر‬‫و‬١٥
،‫اﻟﺷﻌﺑﯾﺔ‬ ‫اﻷﻟﻌﺎب‬ ‫وﺑﻌض‬١٦
،‫اﻟﺛﻣﺎر‬ ‫ﺟﻧﻲ‬ ‫وﻣﻧﺎظر‬١٧
،‫ﻣوﺳﯾﻘﯾﺔ‬ ‫ﺣﻔﻼت‬ ‫وﻣﻧﺎظر‬‫اﻟﺗﻰ‬ ‫اﻟﻘطﻊ‬ ‫وﺑﻌض‬
.‫ة‬‫ر‬‫ﺳﻘﺎ‬ ‫ﻋﻣود‬ ‫ﺗﺎج‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ‫اء‬‫و‬‫اﻟﻬ‬ ‫ﺗداﻋﺑﻬﺎ‬ ‫اﻟﺗﻰ‬ ‫اﻷﻏﺻﺎن‬ ‫ﻋن‬ ‫ﺗﻌﺑر‬١٨
‫ﻟﺟﻣﺎﻋﺔ‬ ‫ﻧﺗﺎج‬ : ‫ﺳﺎدﺳﺎ‬
. ‫اﻟﻔرد‬ ‫ﺷﺧﺻﯾﺔ‬ ‫ﻻ‬ ‫اﻟﺟﻣﺎﻋﺔ‬ ‫ﺷﺧﺻﯾﺔ‬ ‫ﻋن‬ ‫ﯾﻌﺑر‬ ‫ﻣﺗﺄﻟﻘﺔ‬ ‫ﻟﺟﻣﺎﻋﺔ‬ ‫ﻧﺗﺎج‬
‫اﻟﺑﯾﺋﺔ‬ ‫ﻣن‬ ‫أﺻﺎﻟﺗﻪ‬ ‫ﯾﺳﺗﻣد‬ ‫اﻟﻔﻧﺎن‬ ‫أي‬ ‫اﻟﺟﻣﺎﻋﺔ‬ ‫ﻓﻲ‬ ‫اﻟﻔرد‬ ‫ذوﺑﺎن‬ ‫ﺻﻔﺎﺗﻪ‬ ‫وﻣن‬ ،‫اﺳﻊ‬‫و‬‫اﻟ‬ ‫ﺑﻣﻔﻬوﻣﻬﺎ‬ ‫اﻟﺑﯾﺋﺔ‬ ‫ﻧﺗﺎج‬
‫ﺑﺳﺎطﺔ‬ ‫ﻣﻊ‬ ‫ﺗﻧﻣو‬ ‫ﺛم‬ ‫وﺗﺗﻔﺎﻋل‬ ‫ﺗﺗﻼﻗﻰ‬ ‫وﻋﻘﺎﺋد‬ ‫ﻗﯾم‬ ‫ﻋن‬ ‫اﻟﻧﺎﺗﺞ‬ ‫ي‬‫اﻟﻔﻛر‬ ‫اث‬‫ر‬‫اﻟﺗ‬ ‫اﻛم‬‫ر‬‫ﺗ‬ ‫وﻣن‬ ،‫ي‬‫اﻟﻔﻛر‬ ‫اﺛﻬﺎ‬‫ر‬‫وﺗ‬
‫اﻹﻧﺳﺎ‬‫ن‬.١٩
‫اﻻﻣﺗﺻﺎص‬ ‫ﻋﻠﻰ‬ ‫ﻗدرﺗﻪ‬ : ‫ﺳﺎﺑﻌﺎ‬
.‫اﻓدة‬‫و‬‫اﻟ‬ ‫ات‬‫ر‬‫اﻟﻣؤﺛ‬‫و‬ ‫اﻟﻔﻧﯾﺔ‬ ‫اﻟطرز‬ ‫ﺟﻣﯾﻊ‬ ‫ﻣن‬ ‫اﻣﺗﺻﺎص‬ ‫ﻋﻠﻰ‬ ‫ة‬‫اﻟﻛﺑﯾر‬ ‫ﻗدرﺗﻪ‬٢٠
‫ﺗطﺑﯾﻘﻲ‬ ‫ﻓن‬ : ‫ﺛﺎﻣﻧﺎ‬
‫وﺗﺟﻣﯾل‬ ‫ﺣﺎﺟﺎﺗﻪ‬ ‫ﺳد‬ ‫ﻓﻲ‬ ‫ﻏﺑﺗﻪ‬‫ﺑر‬ ‫ﻣرﺗﺑط‬ ‫اﻟﺗﺟدﯾد‬‫و‬ ، ‫اﻟﺣﺎﺟﺔ‬ ‫وﻟﯾد‬ ‫ﺗطﺑﯾﻘﻲ‬ ‫ﻓن‬‫ﺑﻘﺿﺎﯾﺎ‬ ‫اﻻرﺗﺑﺎط‬ ‫دون‬ ‫ﺣﯾﺎﺗﻪ‬
‫ﻓﻛرﯾﺔ‬.٢١
‫أﺣﯾﺎن‬ ‫ﻓﻲ‬ ‫ﺗﺟرﯾدي‬ ‫ﻓن‬ : ‫ﺗﺎﺳﻌﺎ‬‫ة‬‫ﻛﺛﯾر‬
‫إﺑداﻋﻪ‬ ‫ﻋﻠﻰ‬ ‫ﺗﺄﺛﯾر‬ ‫ﻟﻬﺎ‬ ‫اﻟﺧﺎم‬ ‫اﻟﻣﺎدة‬ ‫ﺗﻛون‬ ‫ﻫذا‬ ‫وﻓﻰ‬ ‫اﻟﺗﺟرﯾد‬ ‫إﻟﻰ‬ ‫اﻟﻣﯾل‬.٢٢
‫ﻣﺤﺎﻓﻈﻮن‬ ‫واﻟﻔﻨﺎﻧﻮن‬ ‫ﻣﺤﺎﻓﻆ‬ ‫ﻓﻦ‬ ‫ھﻮ‬ ‫اﻟﻤﺤﺎﻓﻈﺔ‬ ‫إﻟﻰ‬ ‫اﻟﻨﺰوع‬.٢٣
١٤
-‫اﻟﻣرﺟﻊ‬ ‫ﻧﻔس‬.‫،ص‬١٨‫اﻟﻘدﯾﺳﺔ‬ ‫ﺑﺎب‬ ‫ﺑﯾﻧﻬﺎ‬ ‫ﻣن‬ ‫اﻟﻣﻧﺗﺟﺎت‬ ‫ﺑﻌض‬ ‫ﻋﻠﻰ‬ ‫ذﻟك‬ ‫ووﺟد‬ ‫ﻗص‬‫ر‬‫اﻟ‬‫و‬ ‫اﻟطرب‬ ‫ﻣﻧﺎظر‬ ‫ﻓﻲ‬ ‫اﻟﻔﺎطﻣﯾون‬ ‫ﺑﺛﻘﺎﻓﺔ‬ ‫ﺗﺄﺛر‬
‫ة‬‫ر‬‫ﺑﺎ‬‫ر‬‫ﺑ‬‫ﺳﺎﻣﯾﺔ‬‫اﻟﺑﻠﺗﺎﺟﻲ‬،‫اﺳﺔ‬‫ر‬‫د‬‫ﻟﻣﺟﻣوﻋﻪ‬ ‫ﻓﻧﯾﻪ‬‫اﻷﺧﺷﺎب‬‫اﻟﻛﻧﺎﺋس‬ ‫ﻓﻲ‬‫ا‬‫و‬‫ﻷ‬‫ة‬‫ر‬‫دﯾ‬‫ﯾﺔ‬‫ر‬‫اﻟﻣﺻ‬‫ال‬ ‫اﻟﻘرن‬ ‫ﻣن‬٥‫اﻟﻘرن‬ ‫ﺣﺗﻲ‬ ‫م‬‫أل‬١٢‫ال‬ ‫و‬ ‫م‬٦،‫ـ‬‫ﻫ‬
‫ﻣﻨﺸﻮرة‬ ‫ﻏﯿﺮ‬ ‫دﻛﺘﻮراة‬ ‫رﺳﺎﻟﺔ‬،‫.ﺗﺄﺛر‬‫ﺑﺛﻘﺎﻓﺔ‬‫ﺟدﯾد‬ ‫ﺑﻘﺎﻟب‬ ‫ﺻﺎﻏﻬﺎ‬ ‫ﻟﻛﻧﻪ‬ ‫اﻟﻣﺧطوطﺎت‬ ‫زﺧﺎرف‬ ‫ﻋﻠﻰ‬ ‫ذﻟك‬ ‫اﻧﻌﻛس‬‫و‬ ‫اﻟﻌﺛﻣﺎﻧﻲ‬‫و‬ ‫اﻟﻣﻣﻠوﻛﻲ‬ ‫اﻟﻌﺻر‬
.‫اﻟﺣﻛﺎم‬ ‫ﻓن‬ ‫ﯾﺳﺎﯾر‬ ‫اﻧﻪ‬ ‫ﻏم‬‫ر‬ ‫ﺷﺧﺻﯾﺗﻪ‬ ‫ﯾؤﻛد‬
15
-H. Zaloscer, Die Kunst in christlichen Agypten, Vienna –Munich 1974, p. 122-123 illustration 47.
J. Maspero, „A propos d’un bas relief copte du musée du Caire“ Recueil des travaux 38 (1915) 97- 110.
16
- M. H. ٌ◌Rutschowscaya, Catalogue des bois de l’Égypte Copte, Paris 1986, p85-89.
17
-R. Habib, The Coptic Museum, A general Guide, p39 number 7
18
-G. Gabra, M. Eaton-Kraus, The Illustrated Guide to the Coptic Museum, The American University
Press, Cairo- New York 2007, p.83.
١٩
-‫اﻟﻔن‬ ‫ﻋﻠﻰ‬ ‫اﻧﻌﻛﺎﺳﻬﺎ‬‫و‬ ‫اﻟﻣﺳﯾﺣﯾﺔ‬ ‫اﻟﻌﻘﺎﺋد‬ ‫اﻫﻣﯾﺔ‬ ‫ﻓﻲ‬ ‫ﻧﺎﻩ‬‫ز‬‫اﺑر‬ ‫ﻣﺎ‬ ‫وﻫو‬
‫اﻻ‬ ‫داﺧل‬ ‫ﺗﻧﺳﺦ‬ ‫اﻟﻣﺧطوطﺎت‬ ‫ﻛﺎﻧت‬ ‫ﺣﯾث‬ ، ‫اﻟﺟﻣﺎﻋﻰ‬ ‫اﻟﻌﻣل‬ ‫ﻋن‬ ‫ة‬‫ر‬‫ﻓﻛ‬ ‫اﻟﻘﺑطﯾﺔ‬ ‫اﻟﻣﺧطوطﺎت‬ ‫وﺗﻘدم‬، ‫ة‬‫ر‬‫دﯾ‬‫ﺑﺗﺟﻬﯾز‬ ‫ﯾﻘوم‬ ‫ﻫﺑﺎن‬‫اﻟر‬ ‫ﺑﻌض‬‫ﻗوق‬‫ر‬‫اﻟ‬
‫ﻻﯾذﻛر‬ ‫اﺧﯾر‬‫و‬ ‫ﯾن‬‫ز‬‫ﺑﺎﻟﺗ‬ ‫ﺗﻘوم‬ ‫ى‬‫اﺧر‬ ‫وﻣﺟﻣوﻋﺔ‬ ‫اﻟﻣﺧطوط‬ ‫ﺑﻧﺳﺦ‬ ‫ﺗﻘوم‬ ‫ى‬‫اﺧر‬ ‫وﻣﺟﻣوﻋﺔ‬ ‫ﻟﻠﻛﺗﺎﺑﺔ‬ ‫اق‬‫ر‬‫اﻻو‬ ‫ﺗﻌد‬ ‫ى‬‫اﺧر‬ ‫ﻣﺟﻣوﻋﺔ‬ ‫ﺛم‬ ، ‫اق‬‫ر‬‫اﻻو‬ ‫او‬
‫اﺣد‬‫و‬ ‫ﻋﻣل‬ ‫ﻓﻰ‬ ‫ا‬‫و‬‫ﯾﺗﺣد‬ ‫اﻟﺟﻣﯾﻊ‬ ‫ﻫذا‬ ‫وﻓﻰ‬ ‫ﯾن‬‫ز‬‫اﻟﺗ‬‫و‬ ‫ﺑﺎﻟرﺳم‬ ‫ﻗﺎم‬ ‫اﻟذى‬‫و‬ ‫اﻟﻧﺎﺳﺦ‬ ‫ﻓﯾﻬﺎ‬ ‫ﯾﻛﺗب‬ ‫ﻛﺎن‬ ‫ﺣﺎﻻت‬ ‫وﻫﻧﺎك‬ ‫اﺳﻣﻪ‬ ‫ﻣﻧﻬم‬ ‫اﺣد‬
٢٠
-‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫اﻟﻣﺳﺗﻌﻣﻠﺔ‬ ‫اﻟﯾوﻧﺎﻧﯾﺔ‬ ‫اﻻﺳﺎطﯾر‬ ‫ﻓﻲ‬ ‫ﻧﺎﻩ‬‫ر‬‫ذﻛ‬ ‫ﻣﺎ‬ ‫وﻫو‬
٢١-‫ا‬
‫ﺑﻬﺎ‬ ‫وﺷﯾد‬ ‫اﻟﻔﺧﺎر‬ ‫ﻛﺳر‬ ‫ﻣﻊ‬ ‫اﻟرﻣﺎل‬ ‫اﻟﻣﺣﻠﯾﺔ‬ ‫اﻟﺧﺎﻣﺎت‬ ‫ﻓﯾﻬﺎ‬ ‫اﺳﺗﺧدم‬ ‫اﻟﺗﻰ‬ ‫ﻛﻠﯾﺎ‬ ‫ﻣﻧطﻘﺔ‬ ‫وﺧﺎﺻﺔ‬ ‫اﻋﻣﺎﻟﻪ‬ ‫ﻋﻠﻰ‬ ‫اﺿﺢ‬‫و‬ ‫ﺑﺷﻛل‬ ‫ﻧﻌﻛﺳت‬
. ‫ﻛﻠﯾﺎ‬ ‫ة‬‫ر‬‫ﻋﻣﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺳﻠﺑﻰ‬ ‫ﺗﺄﺛﯾر‬ ‫ﻟﻪ‬ ‫ﻛﺎن‬ ‫وﻫذا‬ ‫اﻟﻘﻼﻟﻰ‬
٢٢
-‫وﻗد‬‫ﻣن‬ ‫اﻟﻌدﯾد‬ ‫اﻟﻔﻧﺎن‬ ‫اﺳﺗﻌﻣل‬‫اﻻﺣﺟﺎر‬‫و‬ ‫اﻟﻣﻌﺎدن‬‫و‬ ‫اﻟﺧﺷب‬ ‫ﻣﻧﻬﺎ‬ ‫اد‬‫و‬‫اﻟﻣ‬

4. ‫ﺗﻠﻘﺎﺋﻲ‬ ‫رﺳﺎم‬ ‫ا‬‫ر‬‫ﻋﺷ‬
.‫ﻣﺣﺳوب‬ ‫رﯾﺎﺿﻲ‬ ‫ﺑﺗرﺗﯾب‬ ‫ﯾﻠﺗزم‬ ‫ﻻ‬ ‫وﺣﯾوﯾﺔ‬ ‫ﺑﺗﻠﻘﺎﺋﯾﺔ‬ ‫إﻧﻣﺎ‬ ‫ﺗﺧطﯾط‬ ‫دون‬ ‫ة‬‫ﻣﺑﺎﺷر‬ ‫اﻟﺳطﺢ‬ ‫ﻣﻊ‬ ‫ﯾﺗﻌﺎﻣل‬
‫أﻣﺎﻣﻪ‬ ‫ﻧﻣﺎذج‬ ‫ﻣﻊ‬ ‫ﯾﺗﻌﺎﻣل‬ ‫ﻻ‬.‫اﻟﺳﺎﺑﻘﺔ‬ ‫وﺧﺑرﺗﻪ‬ ‫ذاﻛرﺗﻪ‬ ‫ﻣن‬ ‫ﯾﺳﺗﻣد‬ ‫ﻟﻛﻧﻪ‬٢٤
‫ﻻ‬.‫ﺑﺎﻟﻣﻧظور‬ ‫ﯾﻬﺗم‬٢٥
.‫ﻣﻧﻪ‬ ‫أﻋﻠﻰ‬ ‫أو‬ ،‫اﻟﻧظر‬ ‫ﻣﺳﺗوى‬ ‫ﻓﻲ‬ ‫وﯾﻛون‬ ،‫اﻟﺛﺎﻟث‬ ‫اﻟﺑﻌد‬‫و‬ ‫اﻟﻌﻣق‬ ‫ﻣن‬ ‫ﺧﺎﻟﯾﺔ‬ ‫ﻣﺑﺳطﺔ‬ ‫ﺳطوﺣﻪ‬ ‫رﺳوم‬٢٦
،‫ا‬‫ر‬‫ﻧﺎد‬ ‫إﻻ‬ ‫ﻋﻣﻠﻪ‬ ‫ﻋﻠﻰ‬ ‫ﯾوﻗﻊ‬ ‫ﻻ‬‫اﻟﺣﻠﯾﺔ‬ ‫ﯾﺷﺑﻪ‬ ‫ﻗد‬ ‫ﺑﺗﺧطﯾط‬ ‫ﯾﻛﺗﻔﻲ‬ ‫ورﺑﻣﺎ‬.٢٧
‫اﻟﺳﺎذج‬ ‫ي‬‫اﻟﺗﻌﺑﯾر‬ ‫اﻷﺳﻠوب‬ ‫ﻻﺳﺗﺧدام‬ ‫ﯾﻣﯾل‬ ‫ﻓﻧﺎن‬ :‫ﻋﺷر‬ ‫اﻟﺣﺎدي‬
‫اﻟﺗﻠﻘﺎﺋﯾﺔ‬‫و‬ ‫ع‬‫اﻟﻣوﺿو‬ ‫ﺗﺑﺳﯾط‬ ‫ﻣﻊ‬ ‫ﻋﺎﻟﯾﺔ‬ ‫ﺑﺗﻘﻧﯾﺔ‬ ‫ﻟﻛن‬ ‫اﻷطﻔﺎل‬ ‫رﺳوم‬ ‫ﺑطرﯾﻘﺔ‬ ‫اﻟﻣوﺿوﻋﺎت‬ ‫ﺗﻧﺎول‬.
‫ﺳرﯾﺎﻟﻲ‬ ‫ﻓﻧﺎن‬ :‫ﻋﺷر‬ ‫ﺛﺎﻧﻲ‬
‫ﻋن‬ ‫اﻟﺗﻌﺑﯾر‬ ‫ﻓﻲ‬ ‫اﻓﯾﺔ‬‫ر‬‫اﻟﺧ‬ ‫اﻧﺎﺗﻪ‬‫و‬‫وﺣﯾ‬ ‫أﺣﻼﻣﻪ‬‫و‬ ‫ﺧﯾﺎﻟﻪ‬ ‫أﺳﺗﺧدم‬‫و‬، ‫اﻷﺣﻼم‬‫و‬ ‫اﻟرؤى‬ ‫ﺑطرﯾﻘﺔ‬ ‫ﻣوﺿوﻋﺎت‬ ‫ﻗدﻣت‬
‫ﻣوﺿوﻋﺎﺗﻪ‬.٢٨
.‫اﻟﺣدﯾﺛﺔ‬ ‫اﻟﺳرﯾﺎﻟﯾﺔ‬ ‫اﻟﻣدرﺳﺔ‬ ‫ات‬‫ز‬‫ﻣﻣﯾ‬ ‫أﻫم‬ ‫ﻣن‬ ‫ﺗﻌد‬ ‫اﻟطرﯾﻘﺔ‬ ‫وﻫذﻩ‬
٢٣
-‫ﻋﻠﻰ‬ ‫أﯾﺿﺎ‬ ‫ﯾدﻟل‬ ‫وﻟم‬ ، ‫ﯾﺔ‬‫ر‬‫اﻟﻣﺻ‬ ‫اﻻﺛﺎر‬ ‫ﻓﻰ‬ ‫ﻋﻠﯾﻪ‬ ‫ﻣﺎﻋﺛر‬ ‫ﻣﺛل‬ ( ‫اﺳﻛﺗش‬ ) ‫ﻟﻠرﺳم‬ ‫ح‬‫اﻟﺳطو‬ ‫ﻻﻋداد‬ ‫ﻧﻣﺎذج‬ ‫اﻟﻘﺑطﯾﺔ‬ ‫اﻻﺛﺎر‬ ‫ﺗﻘدم‬ ‫ﻟم‬
‫وﺿﻊ‬ ‫اﻟذى‬ ‫اﻟﯾوﻧﺎﻧﻰ‬ ‫اﻟﻔن‬ ‫وﻛذﻟك‬ ،‫ﺛﺎﺑﺗﺔ‬ ‫اﻋد‬‫و‬‫ﻗ‬ ‫ﺗﺣﻛﻣﻪ‬ ‫ﻛﺎﻧت‬ ‫اﻟذى‬ ‫اﻟﻘدﯾم‬ ‫ى‬‫اﻟﻣﺻر‬ ‫اﻟﻔن‬ ‫ﻋﻛس‬ ‫وﻫذا‬ ،‫اﻟﻘﺑطﻰ‬ ‫اﻟﻔﻧﺎن‬ ‫ﯾﺗﺑﻌﻬﺎ‬ ‫اﻋد‬‫و‬‫ﻗ‬ ‫وﺟود‬
‫اﻟﺟﻣﺎﻟﯾﺔ‬ ‫ﻟﻠﻣﻘﺎﯾس‬ ‫ﻣﻌﺎﯾﯾر‬‫ﺗﺣﻛﻣﻪ‬ ‫ى‬‫اﺧر‬ ‫ﺟﻣﺎﻟﯾﺔ‬ ‫اﻋد‬‫و‬‫ﻗ‬ ‫ﻟﻪ‬ ‫ﻛﺎﻧت‬ ‫ﺑل‬ ‫اﻟﺑﺳﯾطﺔ‬ ‫ﯾﻘﺔ‬‫ر‬‫اﻟط‬ ‫ﺑﻬذﻩ‬ ‫اﻻﺳﻼﻣﻰ‬ ‫اﻟﻔن‬ ‫ﯾﺗﺄﺛر‬ ‫وﻟم‬ ،
٢٤
-‫اﻟﻌﻧب‬ ‫او‬ ‫اﻟﻘوﻗﻌﺔ‬ ‫ﻣﺛل‬ ‫اﻟﯾوﻧﺎﻧﯾﺔ‬ ‫اﻟرﻣوز‬ ‫اﺳﺗﺧداﻣﻪ‬ ‫ﻓﻲ‬ ‫ار‬‫ر‬‫اﺳﺗﻣ‬ ‫ﺧﻼل‬ ‫ﻣن‬ ‫ﯾظﻬر‬ ‫ﻣﺎ‬ ‫وﻫو‬
٢٥
-‫ﺟدا‬ ‫ﺻﻐﯾر‬ ‫ﺣﺟم‬ ‫ﻓﻲ‬ ‫اﻻﺳدان‬ ‫ﯾظﻬر‬ ‫ﺣﯾث‬ ‫ﻻ‬‫ﺑو‬ ‫اﻟﻘدﯾس‬‫و‬ ‫اﻧطوﻧﯾوس‬ ‫اﻟﻘدﯾس‬ ‫اﯾﻘوﻧﺔ‬ ‫ﻣن‬ ‫ﯾظﻬر‬ ‫ﻣﺎ‬ ‫وﻫو‬
٢٦
-‫اﻟﻐﺎﺋر‬ ‫اﻟﺣﻔر‬ ‫ﻫو‬ ‫وﺟدﻧﺎﻩ‬ ‫ﻣﺎ‬ ‫اﻗﺻﻰ‬‫و‬ ‫ﺗﻣﺎﺛﯾل‬ ‫ﯾوﺟد‬ ‫ﻻ‬
٢٧
-‫ا‬‫و‬‫ﻗﺎﻣ‬ ‫اﻟذﯾن‬ (‫)وﻓﻊ‬ ‫وﻛذﻟك‬ ‫اﻻرﻣﻧﻲ‬ ‫وﯾوﺣﻧﺎ‬ ‫اﻟﻧﺎﺳﺦ‬ ‫اﻫﯾم‬‫ر‬‫اﺑ‬ ‫ﻣﺛل‬ ‫رﺳوﻣﻬم‬ ‫ﯾن‬‫ر‬‫اﻟﻣﺗﺎﺧ‬ ‫اﻻﯾﻘوﻧﺎت‬ ‫ورﺳﺎﻣﻲ‬ ‫(اﻟﻔﻧﺎﻧﯾن‬ ‫)وﻗﻊ‬ ‫ﻓﻘد‬ ‫ذﻟك‬ ‫وﻣﻊ‬
.‫ﻣﻘﺎر‬ ‫اﻧﺑﺎ‬‫و‬ ‫اﻧطوﻧﯾوس‬ ‫اﻻﻧﺑﺎ‬ ‫ة‬‫ر‬‫ادﯾ‬ ‫ﻓﻲ‬ ‫ﯾﺔ‬‫ر‬‫اﻟﺟدا‬ ‫اﻟرﺳوم‬ ‫ﺑﻌﻣل‬
Van Loon, Gertrud J. M., The Iconography of Jephthah. A Wall-painting in the Sanctuary of the Old Church of St.
Anthony’s Monastery near the Red Sea, in: M. Rassart-Debergh and J. Ries (eds.), Actes du IVe Congrès Copte,
Louvain-la-Neuve, 5-10 septembre 1988. 2 vols, Publications de l’Institut Orientaliste de Louvain 41, Louvain-la-
Neuve: Institut Orientaliste 1992, vol. 1, 115-123.
٢٨
-، ‫ﻫرﻣﯾﻧﺎ‬ ‫ﺟﻣﺎل‬‫اﻟﻘﺑطﻰ‬ ‫اﻟﻔن‬ ‫ﻓﻰ‬ ‫اﻟﺗﻘﻠﯾدﯾﺔ‬ ‫ﻏﯾر‬ ‫اﻻﺷﻛﺎل‬‫ﻟﻠﺛﻘﺎﻓﺔ‬ ‫اﻻﻋﻠﻰ‬ ‫اﻟﻣﺟﻠس‬ ‫اﻟﻘﺑطﯾﺔ‬ ‫اﻻﺛﺎر‬ ‫ﻧدوة‬ ،١١-١٢‫ﻣﺎﯾو‬٢٠٠٤.‫ص‬ ،
٩٨
‫إﻟﻰ‬ ‫ع‬‫اﻟرﺟو‬ ‫ﯾدﯾﻣﻛن‬‫ز‬‫ﻟﻠﻣ‬
Nadeau, Maurice. History of Surrealism Cambridge, Massachusetts: Belknap, 1989, p.63.

5. ‫ى‬‫اﻟﺟدار‬ ‫اﻟﺗﺻوﯾر‬ ‫ﻣوﺿوﻋﺎت‬
: ‫اﻟﺗﺎﻟﻲ‬ ‫اﻟﻧﺣو‬ ‫ﻋﻠﻰ‬ ‫ﻣﺣددة‬ ‫ﺑﻣوﺿوﻋﺎت‬ ‫اﻟﻘﺑطﻲ‬ ‫ى‬‫اﻟﺟدار‬ ‫اﻟﺗﺻوﯾر‬ ‫اﻟﺗزم‬
:‫اﻷول‬
،‫اﻟﻣﺳﯾﺣﯾﺔ‬ ‫ﻟﻠدﯾﺎﻧﺔ‬ ‫اﻟﻣﺣورﯾﺔ‬ ‫اﻟﺷﺧﺻﯾﺔ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬:‫اﻵﺗﯾﺔ‬ ‫اﻷوﺿﺎع‬ ‫ﻓﻲ‬ ‫ﻩ‬‫ﻓﺄظﻬر‬
‫أ‬-‫اﻟﻛل‬ ‫ﺿﺎﺑط‬ ‫:أي‬ ‫اﺗور‬‫ر‬‫اﻟﺑﻧدﻛ‬ ‫اﻟﻣﺳﯾﺢ‬.
‫ب‬-.‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬ ‫ﺣﺟر‬ ‫ﻋﻠﻰ‬ ‫ﻣﯾداﻟﯾﺔ‬ ‫داﺧل‬ ‫اﻗف‬‫و‬ ‫طﻔل‬ ‫أو‬ ‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬ ‫ﺗﺣﻣﻠﻪ‬ ‫طﻔل‬
‫ج‬-‫ــز‬‫ـ‬‫اﻹﻧ‬ ‫و‬ ‫ــﺎد‬‫ـ‬‫اﻟﻌﻣ‬ ،‫ــﺎ‬‫ـ‬‫ﻣﻧﻬ‬ ‫ــﻪ‬‫ـ‬‫ﺑﺣﯾﺎﺗ‬ ‫ــﺔ‬‫ـ‬‫اﻟﻣﺗﻌﻠﻘ‬ ‫ــوﻋﺎت‬‫ـ‬‫اﻟﻣوﺿ‬ ‫ــن‬‫ـ‬‫ﻣ‬ ‫ــض‬‫ـ‬‫ﺑﻌ‬،‫ــر‬‫ـ‬‫اﻷﺧﯾ‬ ‫ــﺎء‬‫ـ‬‫اﻟﻌﺷ‬‫و‬ ،‫ــﻠﯾب‬‫ـ‬‫اﻟﺻ‬ ‫ــﻰ‬‫ـ‬‫ﻋﻠ‬ ‫ــن‬‫ـ‬‫ﻣ‬ ‫ال‬
.‫أورﺷﻠﯾم‬ ‫ودﺧول‬ ،‫ات‬‫ز‬‫اﻟﻣﻌﺟ‬ ‫وﻣوﺿوﻋﺎت‬٢٩
:‫اﻟﺛﺎﻧﻲ‬
: ‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬‫وﻓﺎﻗت‬ ،‫ﺑﻬﺎ‬ ‫اﻟﻣﺗﻌﻠﻘﺔ‬ ‫اﻟرﺳوم‬ ‫ﻛﺛرت‬ ‫ﻟذا‬ ،‫اﻷﻫﻣﯾﺔ‬ ‫ﺣﯾث‬ ‫ﻣن‬ ‫اﻟﻣﺳﯾﺢ‬ ‫ﻟﻠﺳﯾد‬ ‫اﻟﺗﺎﻟﯾﺔ‬ ‫اﻟﺷﺧﺻﯾﺔ‬ ‫وﻫﻰ‬
: ‫ﯾﻠﻲ‬ ‫ﻛﻣﺎ‬ ، ‫ى‬‫اﻷﺧر‬ ‫اﻟﻣوﺿوﻋﺎت‬ ‫ﻛل‬ ‫ﻣوﺿوﻋﺎﺗﻬﺎ‬
‫أ‬-‫اﻟطﻔل‬ ‫ﺗﺣﻣل‬ ‫وﻫﻰ‬ ‫ﺻورت‬.
‫ب‬-‫وﻫﻰ‬‫وﺗرﺿﻌﻪ‬ ‫اﻟطﻔل‬ ‫ﺗﺣﻣل‬.٣٠
‫ج‬-‫أو‬ ‫ﺟﺎﻟﺳﺔ‬ ‫ﺑﻣﻔردﻫﺎ‬ ‫ﺻورت‬.‫اﻗﻔﺔ‬‫و‬
‫د‬-‫ﺟﺳدﻫﺎ‬ ‫ﺻﻌود‬ ‫ﺣﺗﻰ‬ ‫ﻣﯾﻼدﻫﺎ‬ ‫ﻣن‬ ‫ﺣﯾﺎﺗﻬﺎ‬ ‫ﻗﺻﺔ‬ ‫ﺻورت‬ ‫ﻗﻠﯾﻠﺔ‬ ‫ﺣﺎﻻت‬ ‫ﻓﻲ‬)‫رﻗم‬ ‫ﻛﻧﯾﺳﺔ‬٥١‫ﺑﺎوﯾط‬(.٣١
:‫اﻟﺛﺎﻟث‬
‫ﻓﻲ‬ ‫ﻧﺟدﻫﺎ‬ ‫داود‬ ‫ﺣﯾﺎة‬ ‫ﻣن‬ ‫اﻧب‬‫و‬‫ﺟ‬ ‫اﻟﻔﻧﺎن‬ ‫ﺗﻧﺎول‬ ‫ﺣﯾث‬ ،‫ﻋﻠﯾﻬم‬ ‫اﻟﻧﺑﻲ‬ ‫داود‬ ‫وﺗﺄﻟق‬ ‫اﻟﻘدﯾم‬ ‫اﻟﻌﻬد‬ ‫أﻧﺑﯾﺎء‬ ‫ﻏﺎﻟﺑﯾﺔ‬
) ‫ﻛﻧﯾﺳﺔ‬٣٠‫ب‬‫،وﺣزﻗﯾﺎل‬ ‫ﺻﺎدق‬ ‫وﻣﻠﻛﻲ‬ ( ‫اوﯾط‬٣٢
‫،وﻣـن‬ ‫اﻟﻌﻔﯾﻔـﺔ‬ ‫وﺳوﺳـﻧﻪ‬ ‫ﻓﺗﯾـﺔ‬ ‫اﻟﺛﻼﺛﺔ‬ ‫ﻗﺻﺔ‬ ‫ﻣﺛل‬ ‫اﻷﻧﺑﯾﺎء‬ ‫ﻏﯾر‬ ‫أو‬ ‫ﺑﺎﻷﻧﺑﯾﺎء‬ ‫أﺣداﺛﻬﺎ‬ ‫اﻟﻣرﺗﺑطﺔ‬ ‫اﻟﻘدﯾم‬ ‫اﻟﻌﻬد‬ ‫ﻗﺻص‬
‫ذﺑﯾﺣﺔ‬ ‫إﺳﺣق‬ ‫ﺗﻘدﯾم‬ ‫ﻫم‬‫أﻛﺛر‬.٣٣
29
- Ihm, C. , Die Programme der christlichen Apsismalerei vom 4. bis zur Mitte des 8. Jhs. ,
Wiesbaden: Steiner 1960. Die progamme der christlichen apsismalerei 1950 p. 42
OsieczkowskaC. : „La mosaique la porte“ Byzantion 9 (1934)41-57
‫اﻟﻰ‬ ‫ع‬‫اﻟرﺟو‬ ‫ﯾﻣﻛن‬ ‫ﯾد‬‫ز‬‫ﻟﻠﻣ‬
H. Messiha, „Jesus Crhist un Coptic Antiquities, His life and symbols“ Actes du IV Congrés Copte,
M. Rassard-Debergh, et J. Ries (eds), Publications de l’Institut Orientaliste Louvain 1992, p. 127-134.
Znutz, D. , “The two styles of Coptic painting” JEA 21 (1935) 63
Labib,P. , “The virgin and the child Jesus” in BSAC 14, (1956) 191-192.
Maria Vasilakē ,Images of the Mother of God: perceptions of the Theotokos in Byzantium ,p13-
٣٠
31
- Leroy, J. La peintural murale chez les Coptes, Ouadi Natrun, Le Caire 1976, p. 40-60.
‫اﻟﺑﺣث‬ ‫ﻫذا‬ ‫ﻣن‬ ‫اﻟﺛﺎﻟث‬ ‫اﻟﺑﺎب‬ ‫ﻓﻰ‬ ‫ﺗﻧﺎوﻟﻪ‬ ‫ﺗم‬ ‫اﻟذى‬‫و‬ ‫اﻟﻘﺑطﻰ‬ ‫اﻟﻣﺗﺣف‬ ‫ﯾﺦ‬‫ر‬‫ﻗم٧٧٤ﺗﺎ‬‫ر‬ ‫ﻣﺧطوط‬ ‫اﺟﻊ‬‫ر‬ ‫ﯾد‬‫ز‬‫ﻟﻠﻣ‬
32
-Clédat, Jean, Ibid Pp31-33
C.C Walters, Ibid, p371-373

6. :‫اﺑﻊ‬‫ر‬‫اﻟ‬
‫اﻟﻘدﯾﺳﯾن‬ ‫أﺳﻣﺎء‬ ‫ﯾﺣدد‬ ‫ﻋﺎم‬ ‫ﻗﺎﻧون‬ ‫ﻫﻧﺎك‬ ‫وﻟﻛن‬ ،‫ى‬‫ﻷﺧر‬ ‫ﻛﻧﯾﺳﺔ‬ ‫ﻣن‬ ‫اﺧﺗﻠﻔت‬‫و‬ ، ‫اﻟﻘدﯾﺳﯾن‬‫و‬ ‫اﻟرﺳل‬ ‫ﻣوﺿوﻋﺎت‬
‫ـﺎ‬ ً‫اﻫﺗﻣﺎﻣ‬ ‫ﻧﺟـد‬ ‫ﻟـذا‬ ‫أﻧﺷـﺋت‬ ‫اﻟﻘدﯾﺳـﯾن‬ ‫ﻣـن‬ ‫اﺳـم‬ ‫وﻋﻠـﻰ‬ ،‫اﻟﻛﻧﯾﺳـﺔ‬ ‫اﻫﺗﻣﺎﻣـﺎت‬ ‫ﺣﺳـب‬ ‫ى‬‫أﺧـر‬ ‫إﺿـﺎﻓﺎت‬ ‫ﻣـﻊ‬ ‫ﻛﻧﯾﺳـﺔ‬ ‫ﻛل‬ ‫ﻓﻲ‬
‫آﺧر‬ ‫ﻋن‬ ‫ﺑﻘدﯾس‬٣٤
:‫ﺧﺎﻣﺳﺎ‬
‫ﻣر‬ ‫ﻫﻧدﺳﯾﺔ‬ ‫أو‬ ،‫ﻧﺑﺎﺗﯾﺔ‬ ‫أو‬ ،‫اﻧﯾﺔ‬‫و‬‫ﺣﯾ‬ ‫ﻋﺎﻣﺔ‬ ‫زﺧﺎرف‬.‫ﻟﻠﺷﻌب‬ ‫ﺧﺎﺻﺔ‬ ‫دﻻﻻت‬ ‫ﻟﻪ‬ ‫رﻣز‬ ‫أو‬ ‫ﻛﺗﺎﺑﯾﺔ‬ ‫اء‬‫و‬‫ﺳ‬ ‫دﯾﻧﯾﺔ‬ ‫ﺑرﻣوز‬ ‫ﺗﺑطﺔ‬
:‫ﺳﺎدﺳﺎ‬
‫ﻛﻣوﻗـﻊ‬ ‫رﺳـوﻣﺎﺗﻬﺎ‬ ‫ﻋﻠـﻰ‬ ‫اﻷول‬ ‫ي‬‫اﻟﻣﺣـور‬ ‫ع‬‫اﻟﻣوﺿـو‬ ‫،وﺟﻌﻠﺗـﻪ‬ ‫اﻟﺻـﻠﯾب‬ ‫زﺧرﻓـﺔ‬ ‫ﻓﺿﻠت‬ ‫ة‬‫اﻷدﯾر‬ ‫اﻗﻊ‬‫و‬‫ﻣ‬ ‫ﺑﻌض‬
‫ﻓﺎﻧﺎ‬ ‫أﺑو‬‫و‬ ‫ﻛﻠﯾﺎ‬.٣٥
‫اﻟﺟـ‬‫و‬، ‫اﻟﻣﺳـطﺣﺔ‬ ‫ان‬‫ر‬‫اﻟﺟـد‬ ‫ﺑـﯾن‬ ‫ﻫﺎ‬‫ﻓﺣﺻـر‬ ،‫أﻋﻣﺎﻟـﻪ‬ ‫ﻋﻠﯾﻬـﺎ‬ ‫ﻗـدم‬ ‫اﻟﺗﻲ‬ ‫اﻷﺳطﺢ‬ ‫ﺗﻧوﻋت‬‫اﻟﺗـﻲ‬‫و‬ ‫اﻟﻣﺟوﻓـﺔ‬ ‫ان‬‫ر‬‫دا‬
‫اﻟﺷرﻗﯾﺎت‬ ‫أو‬ ‫ﺑﺎﻟﻣﺣﺎرﯾب‬ ‫ﺳﻣﯾت‬.٣٦
‫أو‬ ‫ا‬ ً‫اﺣـد‬‫و‬ ‫ﻣوﺿوﻋﺎ‬ ‫ﺗﺣﻣل‬ ‫ﻣﺎ‬ ‫ﻣﻧﻬﺎ‬ ‫ﻣﺗﻌددة‬ ‫اﻟﻣﺳطﺣﺔ‬ ‫ان‬‫ر‬‫اﻟﺟد‬ ‫ﻋﻠﻰ‬ ‫اﻟرﺳوم‬،‫أﻛﺛـر‬ ‫أو‬ ‫ﻣوﺿـوﻋﯾن‬‫وﺣﺳـب‬
‫اﻟﻣﺳﺎﺣﺎت‬٣٧
33
- G. Gabra, M. Eaton-Kraus, The Illustrated Guide to the Coptic Museum, The American University
Press, Cairo- New York 2007, 126-142.
34
-Walters; op.cit p270, p ٢١٢
‫أﯾﺿﺎ‬ ‫اﺟﻊ‬‫ر‬
Znutz, D. , The two styles of Coptic painting in JEA 21 1935 pp63
‫اﺣدة‬‫و‬ ‫ﻗطﻌﺔ‬ ‫وﻫﻰ‬ ‫أورﺷﻠﯾم‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫دﺧول‬ ‫ﻗطﻌﺔ‬ ‫ﻗﺳم‬ ‫ﺣﯾﻧﻣﺎ‬ ‫اﻟﻛﺳﺑﺎﻧﻰ‬ ‫اﻟدﻛﺗور‬ ‫ﻗول‬ ‫إﻟﻰ‬ ‫ﻧﺷﯾر‬‫ﻓﻲ‬ ‫ا‬‫و‬‫اﺧﺗﻠﻔ‬‫و‬، ‫ذﻟك‬ ‫ﻋﻠﻰ‬ ‫اﻟﺟﻣﯾﻊ‬ ‫اﺗﻔق‬
‫ء‬‫اﻟﺟز‬‫و‬ ‫اﺑﻊ‬‫ر‬‫اﻟ‬ ‫ﻣن‬ ‫ﻣﻧﻬﺎ‬ ‫ء‬‫ﺟز‬ ‫ﻗﺎل‬ ‫ﻓﻘد‬ ‫ﻫو‬ ‫،أﻣﺎ‬ ‫اﻟﺗﺎﺳﻊ‬ ‫إﻟﻰ‬ ‫اﻷﺧر‬ ‫وﺑﻌﺿﻬم‬ ‫اﺑﻊ‬‫ر‬‫اﻟ‬ ‫اﻟﻘرن‬ ‫إﻟﻰ‬ ‫ﻧﺳﺑﻬﺎ‬ ‫ﺑﻌﺿﻬم‬ ،‫ﻓﯾﻪ‬ ‫ﻧﻘﺷت‬ ‫اﻟذي‬ ‫اﻟزﻣن‬ ‫ﺗﺣدﯾد‬
‫اﻟﺗﺎﺳﻊ‬ ‫ﻣن‬ ‫اﻟﺛﺎﻧﻲ‬
Roger S. Bagnall, Hellenistic and Roman Egypt: sources and approaches-
٣٥
Walters; op.cit p270, p 216
Meinardus, Otto F. A,Ibid,p. 76.
Ihm, C.Ibid,p.54-٣٦
Ihm, C.Ibid,p.54-٣٧

7. ‫ى‬‫اﻟﺟدار‬ ‫اﻟﺗﺻوﯾر‬ ‫ﻓﻲ‬ ‫اﻟﻔﻧﺎن‬ ‫اﺗﺑﻌﻬﺎ‬ ‫اﻟﺗﻰ‬ ‫اﻋد‬‫و‬‫اﻟﻘ‬
١-‫اغ‬‫ر‬‫اﻟﻔ‬
‫دون‬ ‫ﻣوﺿوﻋﺎﺗﻪ‬ ‫ﻓﺻل‬ ‫إﻟﻰ‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔﻧﺎن‬ ‫ﻣﺎل‬‫ﻧﻣﺎ‬ ٕ‫ا‬‫و‬ ‫اﻟذﻫﺑﻲ‬ ‫اﻟﻣﻘﯾﺎس‬ ‫أو‬ ،‫اﻟﻣﻧظور‬ ‫اﻋد‬‫و‬‫ﻟﻘ‬ ‫اﻋﺎة‬‫ر‬‫ﻣ‬
‫ﺗﺟﺳﯾد‬ ‫ﺗﺣﻛم‬ ‫ﻓﻧﯾﺔ‬ ‫اﻟب‬‫و‬‫وﻗ‬ ‫اﻋد‬‫و‬‫ﺑﻘ‬ ‫اﻟﺗﻘﯾد‬ ‫دون‬ ‫أﺣداﺛﻪ‬ ‫ﻋرض‬ ‫ﺑﻬدف‬ ،‫ﺑﻌﺿﻬﺎ‬ ‫ار‬‫و‬‫ﺑﺟ‬ ‫اﺻﺔ‬‫ر‬‫ﻣﺗ‬ ‫ﻣوﺿوﻋﺎﺗﻪ‬ ‫وﺿﻊ‬
‫ﻩ‬‫ﻛﺛﺑر‬ ‫اﻏﺎت‬‫ر‬‫ﻓ‬ ‫أﻧﺗﺞ‬ ‫وﺑذﻟك‬ ،‫اﻟﺣدث‬.٣٨
‫ﺑﻣوﺿوﻋﺎﺗﻪ‬ ‫إﻻ‬ ‫اﻟﻘدﯾم‬ ‫ي‬‫اﻟﻣﺻر‬ ‫ﯾﻬﺗم‬ ‫ﻓﻠم‬ ،‫اﻷﺳﻠوب‬ ‫ﻓﻲ‬ ‫اﻟﻘدﯾﻣﺔ‬ ‫اﻟﻣﺻرﯾﺔ‬ ‫اﻟﻣدرﺳﺔ‬ ‫ﯾﺳﺎﯾر‬ ‫وﻛﺎن‬‫دون‬
‫اﻟﻔﻧﯾﺔ‬ ‫اﻟب‬‫و‬‫ﺑﺎﻟﻘ‬ ‫اﻟﺗﻘﯾد‬.٣٩
٢-‫اﻷﺷﺧﺎص‬ ‫رﺳم‬
١-‫أﻣﺎﻣﻲ‬ ‫وﺿﻊ‬ ‫ﻓﻲ‬ ‫اﻟرﺳم‬Frontal،‫ﺗﺄﺛﯾر‬ ‫ﺑﺄﻧﻪ‬ ‫ذﻟك‬ ‫وﻟﺗرز‬ ‫وﻋﻠل‬ ‫ى‬‫أﺧر‬‫و‬ ‫ﺷﺧﺻﯾﺔ‬ ‫ﻛل‬ ‫ﺑﯾن‬ ‫ﺣﺎد‬ ‫ﻓﺻل‬ ‫ﻣﻊ‬
‫ﻓﺎرﺳﻲ‬.٤٠
٢-)‫رﻗم‬ ‫ﻛﻧﺳﯾﺔ‬١٧)‫رﻗم‬ ‫ة‬‫اﻟﺣﺟر‬‫و‬ ‫ﺑﺎوﯾط‬ (٦‫اﻟﻣﺗﺟﺎورﯾن‬ ‫ﻟﻸﺷﺧﺎص‬ ‫اﻟﺳﯾﻘﺎن‬‫و‬ ‫ﻣﺗداﺧﻠﺔ‬ ‫اﻷﺷﺧﺎص‬ ‫(ﺳﯾﻘﺎن‬
‫ﻣﺗﻘﺎطﻌﺔ‬.
٣-‫ﻫو‬ ‫ﻛﻣﺎ‬ ‫اﻟﻣﺳﺎﺣﺔ‬ ‫ﻣﺣدد‬ ‫ﻟﻠﻔﻧﺎن‬ ‫اﻟﻣﺗﺎح‬ ‫اغ‬‫ر‬‫اﻟﻔ‬ ‫ﻛﺎن‬ ‫إذا‬ ‫اﻟداﺧل‬ ‫ﻧﺣو‬ ‫ﺑﺎﻻﺗﺟﺎﻩ‬ ‫ﻣﺎ‬ ‫ﺣد‬ ‫إﻟﻰ‬ ‫اﻷﻣﺎﻣﻲ‬ ‫اﻟوﺿﻊ‬ ‫ﯾرﺗﺑط‬
‫ﻣن‬ ‫أﻓﺿل‬ ‫وﻣﺗﻧﺎﺳق‬ ‫ﺣﺎد‬ ‫ﺑﺷﻛل‬ ‫ﻧﻔذوﻩ‬ ‫اﻟﻣﺻرﯾﯾن‬ ‫اﻟﻔﻧﺎﻧﯾن‬ ‫،وﻟﻛن‬ ‫ة‬‫وﺳﻘﺎر‬ ‫ﺑﺎوﯾط‬ ‫ﻓﻲ‬ ‫ى‬‫اﻟﺻﻐر‬ ‫اﻟﺣﻧﯾﺎت‬ ‫ﻓﻲ‬ ‫اﻟﺣﺎل‬
‫وﺑﯾزﻧطﺔ‬ ‫ا‬‫ر‬‫وﺑﺎﻟﻣﯾ‬ ‫اﻟﻔﺎرﺳﯾﺔ‬ ‫ى‬‫اﻷﺧر‬ ‫اﻟﺷرﻗﯾﺔ‬ ‫اﻟﻣدارس‬.٤١
‫اﻟ‬ ‫رﺳم‬‫اﻟﻣﺳﯾﺢ‬ ‫ﺳﯾد‬
١-‫ا‬‫ﻟوﺟﻪ‬
‫أ‬-‫اﻟﻠﺣﯾﺔ‬
‫ﻣﻠﺗﺣﯾ‬ ‫ة‬‫ﻣر‬ ‫ﯾﺄﺗﻲ‬‫ﺎ‬‫اﻹﻟﻪ‬ ‫ﺧﺻص‬ ‫ﺣﯾث‬ ‫ﻗدﯾم‬ ‫ي‬‫ﻣﺻر‬ ‫ﺗﺄﺛﯾر‬ ‫أﻧﻪ‬ ‫ى‬‫أر‬‫و‬ ،‫ﺷرﻗﻲ‬ ‫ﺗﺄﺛﯾر‬ ‫وﻫو‬ ‫ﻣﻠﺗﺢ‬ ‫ﻏﯾر‬ ‫ة‬‫وﻣر‬
‫ي‬‫اﻟﻣﺻر‬ ‫ﻟﻛن‬ ،‫اﻷﺷﺧﺎص‬ ‫ﺑﯾن‬ ‫ﺷﺎﺋﻌﺔ‬ ‫اﻟﻠﺣﯾﺔ‬ ‫ﻛﺎﻧت‬ ‫اﻟﺗﻲ‬ ‫اﻟﻧﻬرﯾن‬ ‫ﺑﻼد‬ ‫ات‬‫ر‬‫ﺣﺿﺎ‬ ‫ﻋﻛس‬ ‫ﺧﺎﺻﺔ‬ ‫ﺑﻠﺣﯾﺔ‬ ‫اﻟﺑﺷر‬ ‫دون‬
‫اﻟﺗﻧﻔ‬ ‫وﻟﻛن‬ ،‫ﻣﺷطوﻓﺔ‬ ‫أو‬ ‫ﻣﻌﻘوﻓﺔ‬ ‫أﻣﺎ‬ ‫اﻟﻠﺣﯾﺔ‬ ‫ﻧﻬﺎﯾﺔ‬ ‫ﻓﻲ‬ ‫اﺧﺗﻼف‬ ‫ﻣﻊ‬ ‫ﻓﻘط‬ ‫اﻟﻣﻠك‬‫و‬ ‫ﻟﻺﻟﻪ‬ ‫اﻟﻠﺣﯾﺔ‬ ‫ﺧﺻص‬ ‫اﻟﻘدﯾم‬‫ﯾذ‬
٣٨
-‫أ‬‫ﺟودﻩ‬ ‫ﯾز‬‫ز‬‫اﻟﻌ‬ ‫وﻋﺑد‬ ‫ﺷﺣﺎﺗﻪ‬ ‫ﺣﻣد‬‫اءات‬‫ر‬‫ﻗ‬
‫اﺟﻊ‬‫ر‬ ‫ﯾد‬‫ز‬‫ﻟﻠﻣ‬
Walters, C. C. , op. cit. , p480
‫ﻣﺳﯾﺣﻪ‬ ‫ﺣﺷﻣت‬‫ﻣدﺧل‬ :.‫ص‬ ،27-35
Badawi, A. L’Art Copte influencesÉgyptiennes, Le Caire 1949, p. 25-30-٣٩
40
-Walters, C. C , op. cit. , p.٤٧٦
41
-Walters, C. C. , op. cit. , p.٤٧٥

8. ‫وﻗد‬ ،‫اﻟﻔﺎرﺳﯾﺔ‬ ‫اﻟﻠﺣﯾﺔ‬ ‫إﻟﻰ‬ ‫ﺷﻛﻠﻬﺎ‬ ‫ﻓﻲ‬ ‫اﻗرب‬ ‫ﻫﻧﺎ‬ ‫ﻟﻛﻧﻬﺎ‬ ،‫اﻟﻘدﯾم‬ ‫ي‬‫اﻟﻣﺻر‬ ‫ﻋﻧد‬ ‫ة‬‫ﻣﺳﺗﻌﺎر‬ ‫اﻟﻠﺣﯾﺔ‬ ‫ﻛﺎﻧت‬ ‫ﺣﯾث‬ ‫ﻣﺧﺗﻠف‬
‫وﻣﺣددة‬ ‫ة‬‫ﻗﺻﯾر‬ ‫أو‬ ‫وﻛﺛﯾﻔﺔ‬ ‫طوﯾﻠﺔ‬ ‫إﻣﺎ‬ ‫ﺑطرﯾﻘﺗﯾن‬ ‫اﻟﻔﻧﺎن‬ ‫ﻋرﺿﻬﺎ‬.٤٢
‫ب‬-‫اﻟﺷﻌر‬
‫طوﯾﻠﺔ‬ ‫ﺟداﺋل‬ ‫ﺷﻛل‬ ‫ﻓﻲ‬ ‫ﻣﻧﺳدﻻ‬ ‫أو‬ ‫اﻵذﻧﯾن‬ ‫ﻓوق‬ ‫ﻛﺛﯾﻔﺗﯾن‬ ‫ﺣزﻣﺗﯾن‬ ‫ﺷﻛل‬ ‫ﻋﻠﻰ‬ ‫ا‬ ً‫ﻣﺻور‬ ‫ﻣﻧﺳﻘﺎ‬ ‫ﯾﺄﺗﻲ‬ ‫ﻗد‬
‫اﻟﻛﺗﻔﯾن‬ ‫ﻓوق‬٤٣
‫ج‬-‫اﻟﺑرﻛﺔ‬ ‫ﻋﻼﻣﺔ‬
: ‫طرﯾﻘﺗﯾن‬ ‫ﺑﺈﺣدى‬ ‫ﻧﻔذت‬
١-.‫اﻷﺻﺎﺑﻊ‬ ‫ﺑﻘﯾﺔ‬ ‫ﺑﺳط‬ ‫ﻣﻊ‬ ‫اﻟﺑﻧﺻر‬ ‫اﻹﺻﺑﻊ‬ ‫ﻗﻣﺔ‬ ‫اﻹﺑﻬﺎم‬ ‫ﻓﯾﻬﺎ‬ ‫ﯾﻠﻣس‬ ‫اﻟﯾوﻧﺎﻧﻲ‬ ‫اﻟﺷﻛل‬٤٤
٢-‫ﻓﻲ‬ ‫اﻟطرﯾﻘﺗﯾن‬‫و‬ ‫اﻷﺻﺎﺑﻊ‬ ‫ﺑﻘﯾﺔ‬ ‫ﺑﺳط‬ ‫ﻣﻊ‬ ‫اﻹﺑﻬﺎم‬ ‫ﻣﻘﺎﺑل‬ ‫اﻟﺳﺑﺎﺑﺔ‬‫و‬ ‫اﻟوﺳطﻰ‬ ‫اﻹﺻﺑﻌﯾن‬ ‫وﺿﻊ‬ ‫اﻟﻼﺗﯾﻧﻲ‬ ‫اﻟﺷﻛل‬
‫اﻟﯾوﻧﺎﻧﻲ‬ ‫اﻟﺷﻛل‬ ‫ﻓﯾﻐﻠب‬ ‫ة‬‫ﺳﻘﺎر‬ ‫أﻣﺎ‬ ، ‫اﻟﻼﺗﯾﻧﻲ‬ ‫اﻟﺷﻛل‬ ‫ع‬‫ﺷﯾو‬ ‫ﻣﻊ‬ ‫ﺑﺎوﯾط‬.٤٥
‫د‬-‫اﻟﻧور‬ ‫ﻫﺎﻟﺔ‬
‫ﻣن‬ ‫ا‬‫ر‬‫أﻋﺗﺑﺎ‬ ‫اﻟﻘدﯾﺳﯾن‬ ‫ﻛل‬ ‫ﻣﻊ‬ ‫اﺳﺗﺧدﻣﻬﺎ‬ ‫وﺷﺎع‬ ،‫ة‬‫وﺳﻘﺎر‬ ‫ﺑﺎوﯾط‬ ‫ﻟوﺣﺎت‬ ‫ﻓﻲ‬ ‫ﺛﺎﺑت‬ ‫ﺑﺷﻛل‬ ‫اﺳﺗﺧدﻣت‬‫اﻟﻘرن‬
‫اﻟﺗﺎرﯾﺦ‬ ‫ﻫذا‬ ‫ﻗﺑل‬ ‫ﻟﻠﻬﺎﻟﺔ‬ ‫ﺑداﯾﺎت‬ ‫ﻫﻧﺎك‬ ‫،ﻟﻛن‬ ‫اﻟﺳﺎدس‬.٤٦
٤٢-‫أ‬‫ﺟودﻩ‬ ‫ﯾز‬‫ز‬‫اﻟﻌ‬ ‫وﻋﺑد‬ ‫ﺷﺣﺎﺗﻪ‬ ‫ﺣﻣد‬‫اءات‬‫ر‬‫ﻗ‬،٤٥
‫اﺟﻊ‬‫ر‬ ‫ﯾد‬‫ز‬‫ﻟﻠﻣ‬
Walters, C. C. , op. cit. , p. 469
Walters, C. C. , op. cit. , p.468-٤٣
Walters, C. C. , op. cit. , p.467-٤٤
Walters, C. C. , op. cit. , p.463-٤٥
Walters, C. C. , op. cit. , p.463-٤٦

9. ‫اﻟﻣﺳﯾ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫ﺢ‬‫ﺧﺎﻣس‬ ‫ﻗرن‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻣﺗﺣف‬ ‫ﺑردى‬ ‫ورﻗﺔ‬ ‫ﻋﻠﻰ‬‫اﻟﻣﺗﺣف‬ ‫اﻟﺧﺎﻣس‬ ‫اﻟﻘرن‬ ‫ﻋﺎج‬ ‫ﻗطﻌﺔ‬ ‫ﻋﻠﻰ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬
‫اﻟﻘﺑطﻲ‬
‫رﺳوﻣﺎت‬ ‫ﻓﻲ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫ي‬‫ﺟدار‬‫ﻗرن‬ ‫ﺑﺎوﯾط‬٥/٦‫م‬
‫ﻗرن‬ ‫ﺑﺎوﯾط‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬٥/٦‫م‬‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫ﺧﺷب‬ ‫ﻋﻠﻰ‬ ‫رﺳم‬‫ﻗرن‬ ‫ﺑﺎوﯾط‬٥/٦‫اﻟﻠوﻓر‬ ‫ﻣﺗﺣف‬ ‫م‬

10. ‫رﺳوﻣﺎت‬ ‫ﻓﻲ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫ة‬‫ﺳﻘﺎر‬‫ﻗرن‬٥/٦‫م‬
‫اﻟﻣﺗﺣف‬ ‫رق‬ ‫ﻋﻠﻰ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫اﻟﻣﺻدر‬ ‫ﻣﺟﻬوﻟﺔ‬ ‫اﻟﻘﺑطﻲ‬
‫ﻗرن‬٦/٧‫م‬
‫ﻗرن‬ ‫ﺣﺎﻣوﻟﻰ‬ ‫ﻣﺧطوطﺎت‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬٩‫م‬
‫اﻧطوﻧﯾوس‬ ‫اﻷﻧﺑﺎ‬ ‫دﯾر‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬

11. ‫دﯾر‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫أﺑو‬‫ﺳﯾﻔﯾ‬‫ن‬
‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫ﻛﻠﯾﺎ‬
‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫وﺟﻪ‬‫اﻹﺳﻼﻣﻰ‬ ‫اﻟﻣﺗﺣف‬ ‫اﻟﻔﺎطﻣﻲ‬ ‫اﻟﻌﺻر‬ ‫ﺧزف‬

14. ‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬ ‫رﺳم‬
‫اﻟﺷـﻛل‬‫و‬ ،‫ﺗﺣدﯾد‬ ‫ﺑدون‬ ‫أو‬ ‫ﻣﺳﺗدﯾر‬ ‫ﻧﻘش‬ ‫داﺧل‬ ‫إﻣﺎ‬ ‫رﻛﺑﺗﯾﻬﺎ‬ ‫ﻋﻠﻰ‬ ‫طﻔﻠﻬﺎ‬ ‫ﺗﺣﻣل‬ ‫ال‬‫و‬‫اﻷﺣ‬ ‫ﻣﻌظم‬ ‫ﻓﻲ‬ ‫ﺗﺻور‬
‫ﻣﺻـر‬ ‫إﻟـﻰ‬ ‫ﻋـدﻧﺎ‬ ‫ذا‬ ٕ‫ا‬‫و‬، ‫اﻟﻘداﺳـﺔ‬ ‫أﺻـﺣﺎب‬ ‫اﻷﺷـﺧﺎص‬ ‫ﺗﻣﯾز‬ ‫اﻟﺗﻲ‬ ‫اﻟﻬﺎﻟﺔ‬ ‫وﺿﻊ‬ ‫اﺧﺗﻼف‬ ‫ﻣﻊ‬ ‫اﻟﻘدﯾم‬ ‫ي‬‫ﺑﺎﻟﻣﺻر‬ ‫ﻣﺗﺄﺛر‬
‫و‬ ‫اﻟﻣﻠـوك‬ ‫أو‬ ‫اﻟرﻓﯾﻌـﺔ‬ ‫اﻟﻣﻘﺎﻣـﺎت‬ ‫أﺻـﺣﺎب‬ ‫ﻟﻸﺷـﺧﺎص‬ ‫اﻟﺗﻣﯾـز‬ ‫ﻋﻼﻣـﺎت‬ ‫ﻣـن‬ ‫ة‬‫ﻛﺛـر‬ ‫ﻧﺟد‬ ‫اﻟﻘدﯾﻣﺔ‬‫ﻣـن‬ ‫ﻻﺑـد‬ ‫ﻛـﺎن‬ ‫اﻹﻟـﻪ‬
‫اﻟﻘﺑطـﻲ‬ ‫ﻓـﻲ‬ ‫أﻣـﺎ‬ ،‫اﻟﻣﻠﻛـﻲ‬ ‫اﻟﺗـﺎج‬ ‫اﻟﻧﻣس‬‫و‬ ‫اﻟﺟﺑﻬﺔ‬ ‫أﻋﻠﻰ‬ ‫ي‬‫اﻟﻛوﺑر‬ ‫ﻣﻧﻬﺎ‬ ‫ة‬‫ﻛﺛﯾر‬ ‫ﺑﻌﻼﻣﺎت‬ ‫اﻟﻔﻧﻲ‬ ‫اﻟﻌﻣل‬ ‫داﺧل‬ ‫ﻫم‬‫ﺗﻣﯾز‬
‫ي‬‫اﻟﻛـوﺑر‬ ‫ﻣﺛـل‬ ‫اﻟﻣﺳـﯾﺢ‬ ‫ﻟﻠﺳـﯾد‬ ‫اﻟﺻـﻠﯾب‬ ‫ذات‬ ‫اﻟﻬﺎﻟـﺔ‬‫و‬ ‫اﻟﻘداﺳـﺔ‬ ‫أﺻـﺣﺎب‬ ‫اﻷﺷـﺧﺎص‬ ‫ﻟﻛـل‬ ‫اﻟﻬﺎﻟﺔ‬ ‫ﻋﻠﻰ‬ ‫اﻗﺗﺻرت‬ ‫ﻓﻘد‬
‫ﻋون‬‫ﻟﻠﻔر‬ ‫إﻻ‬ ‫ﻟﯾﺳت‬ ‫اﻟﻧﻣس‬‫و‬.٤٧
Davidson, Gustav. A Dictionary of Angels: Including the Fallen Angels. Free Press. s. v-٤٧
Graham, Billy,. Angels: God's Secret Agents. W Pub Group; Minibook edition1994.
Guiley, Rosemary, Encyclopedia of Angels 1996, s. v
Kreeft, Peter J. . Angels and Demons: What Do We Really Know About Them? Ignatius Press 1995p.
39
Lewis, James R. (1995). Angels A to Z. Visible Ink Press
Melville, Francis, 2001. The Book of Angels: Turn to Your Angels for Guidance, Comfort, and
Inspiration. Barron's Educational Series; 1st edition , p.65
Bonani, Gian Paolo and Serena Baldassarre Bonani, Maria Lactans, Roma: Marianum 1995

15. ‫ﺑﺎو‬ ‫اء‬‫ر‬‫اﻟﻌذ‬‫ﯾط‬
‫ﺣﺎﻣوﻟﻰ‬ ‫اء‬‫ر‬‫اﻟﻌذ‬
‫ة‬‫ﺳﻘﺎر‬ ‫اء‬‫ر‬‫اﻟﻌذ‬
‫اﻧطوﻧﯾوس‬ ‫اﻷﻧﺑﺎ‬ ‫اء‬‫ر‬‫اﻟﻌذ‬

17. ‫اﻟﻣﻼﺋﻛﺔ‬ ‫رﺳم‬
‫ﻫﯾﺋﺎﺗﻬم‬ ‫اﻟﺑﺷر‬ ‫ﻣﻊ‬ ‫ﯾﺗﻘﺎﺳﻣون‬ ‫أﻧﻬم‬ ‫أو‬ ‫ان‬‫ر‬‫طﯾ‬ ‫ﺣﺎﻟﺔ‬ ‫ﻓﻲ‬ ‫اﻷوﺿﺎع‬ ‫ﺣﯾث‬ ‫ﻣن‬ ‫اﻟﻣﻼﺋﻛﺔ‬ ‫رﺳوم‬ ‫اﺧﺗﻠﻔت‬
‫أو‬ ‫ﯾﺻورون‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ‫اﻟﻣﻼﺑس‬ ‫أو‬ ‫اﻟوﺟوﻩ‬ ‫ﻣﻼﻣﺢ‬ ‫ﻓﻲ‬ ‫ﯾﺧﺗﻠﻔون‬ ‫ﻓﻼ‬ ‫وﻣﻼﺑﺳﻬم‬‫و‬‫ﯾﺣﻣﻠون‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫ﻓﻘط‬ ‫ﺟوﻫﻬم‬
‫اﻟﺷورﯾﺎ‬‫و‬ ‫اﻟﺳﯾف‬‫و‬ ‫ان‬‫ز‬‫اﻟﻣﯾ‬ ‫ﻣﺛل‬ ‫أﯾدﯾﻬم‬ ‫ﻓﻲ‬ ‫أﺷﯾﺎء‬.٤٨
، ‫أﺟﻧﺣﺔ‬ ‫ﺳﺗﺔ‬ ‫ذات‬ ‫وﺟوﻩ‬ ‫ﺑﺄﺷﻛﺎل‬ ‫اﻟﻣﻼﺋﻛﺔ‬ ‫ظﻬرت‬ ‫ﻓﻘد‬ ‫اﻟﺗﺎﻟﯾﺔ‬ ‫ات‬‫ر‬‫اﻟﻔﺗ‬ ‫ﻓﻲ‬ ‫أﻣﺎ‬‫أ‬‫و‬‫ﯾﺻورون‬ ‫ﺣﯾﺎﻧﺎ‬
‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬ ‫أو‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫ﻣﺛل‬ ‫اﻟﻣﻬﻣﺔ‬ ‫ﺑﺎﻟﺷﺧﺻﯾﺎت‬ ‫ﻣﺣﯾطﯾن‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ، ‫اﻟﻠوﺣﺔ‬ ‫ﻓﻲ‬ ‫ﻣﺗﻔردﯾن‬
‫،وﯾ‬‫اﻟ‬ ‫ﺻﺎﺣﺑون‬‫ﻟوﺿﻊ‬ ‫ﻘدﯾﺳﯾن‬‫وﻫذا‬ ،‫اﻟﺑﺷر‬ ‫ﻟﺣﻣﺎﯾﺔ‬ ‫اﻟﺷﯾﺎطﯾن‬ ‫ﻣﻊ‬ ‫ﺑﺎﻟﺣروب‬ ‫اﻟﻘﯾﺎم‬ ‫اﻟﻣﻼﺋﻛﺔ‬ ‫ﻣﻧﺎظر‬ ‫وﻣن‬ ، ‫أﻛﺎﻟﯾل‬
‫ﺑﺎﻟﻣﯾﻼد‬ ‫ﻫﺎ‬‫ﯾﺑﺷر‬ ‫اء‬‫ر‬‫اﻟﻌذ‬ ‫اﻟﺳﯾدة‬ ‫ﻣﻊ‬ ‫ﻧﺟدﻩ‬ ‫ﻓداﺋﻣﺎ‬ ‫ﻏﺑ﷼‬ ‫اﻟﻣﻼك‬ ‫أﻣﺎ‬ ‫اﻟرؤﯾﺎ‬ ‫ﺳﻔر‬ ‫ﺗﻔﺳﯾر‬ ‫ﻣﺧطوط‬ ‫ﻓﻲ‬ ‫وﺟد‬٤٩
48
-Compagnano, A. Orlandi, T. Quattro omelie Copte, Test e Documenti per lo Studio dell’Antichità
LX, Milano 1977, p. 124-126.
٤٩
-‫ة‬‫ر‬‫ﺳﻘﺎ‬ ‫و‬ ‫ﺑﺎوﻳﻂ‬ ‫ﻗﺎﻋﺔ‬ ‫اﻟﻘﺒﻄﻲ‬ ‫اﳌﺘﺤﻒ‬ ‫اﺟﻊ‬‫ر‬

18. ‫ﺣﺎﻣوﻟﻰ‬ ‫ﻣﻼك‬
‫ﺳﻘﺎرة‬ ‫ﻣﻼك‬
‫ﺑﺎوﯾط‬ ‫ﻣﻼك‬

20. ‫اﻷﺷﺧﺎص‬ ‫رﺳم‬
١-‫أس‬‫ر‬‫اﻟ‬
‫اﻷﺷﻛﺎل‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ‫اﻟﻣﺳﺗطﯾﻠﺔ‬ ،‫ى‬‫اﻟﻛﻣﺛر‬ ‫ة‬‫ﺛﻣر‬ ‫ﻫﯾﺋﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺗﻛون‬ ‫ال‬‫و‬‫أﻷﺣ‬ ‫أﻏﻠب‬ ‫ﻓﻲ‬
‫أﺣﯾﺎﻧﺎ‬‫و‬ ‫اﻟﺷﻛل‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ،‫ﻣﺳﺗﻘﯾﻣﺗﯾن‬ ‫أس‬‫ر‬‫اﻟ‬‫و‬ ‫اﻟوﺟﻪ‬ ‫ﺟﺎﻧﺑﺎ‬ ‫ﯾﻛون‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ‫اﻷﺷﻛﺎل‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ‫ﺑﯾﺿﺎوﯾﺔ‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬
‫داﺋرﯾﺎ‬ ‫اﻟوﺟﻪ‬ ‫ﯾﻛون‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬، ‫اوﯾﺔ‬‫ز‬‫اﻟ‬ ‫ﺣﺎد‬ ‫وﯾﻛون‬ ‫ﻷﺳﻔل‬ ‫اﻟﻣﺛﻠث‬ ‫أس‬‫ر‬‫و‬ ‫ﻣﺛﻠﺛﺔ‬ ‫ﺗﻛون‬٥٠
٢-:‫اﻟﻌﯾن‬
‫اﻟظﻼ‬ ‫طرﯾق‬ ‫ﻋن‬ ‫اﻟﻌﻣق‬ ‫ﯾﻌطﯾﻬﺎ‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬، ‫ﺑﯾﺿﺎوﯾﺔ‬ ‫اﺳﻌﺔ‬‫و‬ ‫اﺟب:ن‬‫و‬‫اﻟﺣ‬‫ة‬‫ﻣﺳﺗدﯾر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ، ‫اﻟﻌﯾن‬ ‫ﺗﺣت‬ ‫ل‬
‫اﺳﻌﺔ‬‫و‬‫اﻟ‬ ‫اﻟﻠوزﯾﺔ‬ ‫اﻟﻌﯾون‬ ،‫اﻟﻘدﯾﻣﺔ‬ ‫اﻟﻣﺻرﯾﺔ‬ ‫اﻟﻌﯾن‬ ‫ﺷﻛل‬ ‫ﺗﺄﺧذ‬ ‫اﻟﻐﺎﻟب‬ ‫وﻓﻰ‬ ، ‫اﻟﺿﯾق‬ ‫ﺷدﯾدة‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬.٥١
: ‫اﺟب‬‫و‬‫اﻟﺣ‬
‫أو‬ ‫اﻟوﺟﻪ‬ ‫ﺑﻌرض‬ ‫ﻣﺳﺗﻘﯾم‬ ‫ﺑﺧط‬ ‫ﺗرﺳم‬‫أ‬ ،‫ﻗوس‬ ‫ﺷﻛل‬ ‫ﻋﻠﻰ‬‫و‬‫ﻣزدوج‬ ‫ﺧط‬ ‫ﻓﻲ‬ ‫ﻣﻣﺛﻠﺔ‬ ،‫ﻛﻠﻪ‬ ‫اﻟوﺟﻪ‬ ‫ﺑﻌرض‬
.‫اﻟﻌﯾﻧﯾن‬ ‫ﻓوق‬٥٢
:‫اﻷﻧف‬
‫ﻓﻲ‬ ‫اﻟطرق‬ ‫ﺗﻌددت‬‫ﺷﻛل‬ ‫ﻋﻠﻰ‬ ‫ﺑداﺋﯾﺔ‬ ‫ﺑطرﯾﻘﺔ‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫ﻓﻘط‬ ‫اﻷﻧف‬ ‫ﻓﺗﺣﺗﺎ‬ ‫ﺗرﺳم‬ ‫أﺣﯾﺎﻧﺎ‬ ،‫اﻷﻧف‬ ‫رﺳم‬
‫اﻷﻧف‬ ‫ﺟﺎﻧﺑﻲ‬ ‫ﺑﯾن‬ ‫اﻟﺟﻣﻊ‬ ‫أو‬ ‫أﺳﻔﻠﻪ‬ ‫اﻟﻔﺗﺣﺗﯾن‬ ‫ﺗوﺻﯾل‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ، ‫اﺣد‬‫و‬ ‫ﺧط‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫ة‬‫ﺻﻐﯾر‬ ‫ة‬‫داﺋر‬ ‫ﻧﺻف‬
، ‫اﻟﻔﺗﺣﺗﯾن‬‫و‬‫و‬ ‫اﻟﺣﻘﯾﻘﯾﺔ‬ ‫اﻷﻧف‬ ‫ﺗرﺳم‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ، ‫ظﻼل‬ ‫ﻣﺟرد‬ ‫،أو‬ ‫ﺧطﯾن‬ ‫ﺷﻛل‬ ‫ﻓﻲ‬ ‫اﻷﻧف‬ ‫ﺟﺎﻧب‬ ‫ﺗرﺳم‬ ‫وﻗد‬‫ﻧﺎدر‬ ‫ﻫذا‬.
٥٣
:‫اﻟﻔم‬
‫أﺣﯾﺎﻧ‬‫و‬ ،‫طﺑﯾﻌﻲ‬ ‫ﺑﺷﻛل‬ ‫ا‬‫ر‬‫ﺻﻐﯾ‬ ‫ﯾرﺳم‬ ‫أو‬ ،‫ﺑﺳﯾط‬ ‫ﻣﺳﺗﻘﯾم‬ ‫ﺧط‬ ‫ﺑﺷﻛل‬ :‫طرق‬ ‫ﺑﻌدة‬ ‫اﻟﻔم‬ ‫رﺳم‬‫ﺎ‬‫ة‬‫ﺑﺎﺳﺗدار‬ ‫ﯾﻛون‬
‫إﻟ‬ ‫ﺧﻔﯾﻔﺔ‬‫ﻰ‬.‫ﺑﺎﻻﺑﺗﺳﺎﻣﺔ‬ ‫ﺗوﺣﻲ‬ ‫ﺑﺳﯾطﺔ‬ ‫إﯾﻣﺎءﻩ‬ ‫ﻣﻊ‬ ‫أﻋﻠﻰ‬٥٤
:‫اﻷذﻧﺎن‬
‫ﻧﻘطﺗﯾن‬ ‫ﻣﺟرد‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ، ‫اﺿﺣﺔ‬‫و‬ ‫اوﯾﺔ‬‫ز‬‫ﺑ‬ ‫وﺑﺎرزﺗﺎن‬ ‫ﻣدﺑﺑﺗﺎن‬ ‫ﻛﺑﯾرﺗﺎن‬ ‫أﺣﯾﺎﻧﺎ‬ ،‫ﻣﺧﺗﻠﻔﺔ‬ ‫ﺑﺄﺷﻛﺎل‬ ‫رﺳﻣت‬
‫أس‬‫ر‬‫اﻟ‬ ‫ﺟﺎﻧﺑﻲ‬ ‫ﻋﻠﻰ‬ ‫ﻛﺑﯾرﺗﺎن‬ ‫ﻣﻛﻌﺑﺗﺎن‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫ﻣﻧﺧﻔﺿﺗﺎن‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫أس‬‫ر‬‫اﻟ‬ ‫أﻋﻠﻰ‬ ‫ﺻﻐﯾرﺗﯾن‬.٥٥
: ‫ﻫﺑﺎن‬‫اﻟر‬‫و‬ ‫ﻟﻠﻘدﯾﺳﯾن‬ ‫اﻟﻠﺣﯾﺔ‬‫و‬ ‫اﻟذﻗن‬
‫ﻓ‬ ‫،وﺧﺎﺻﺔ‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫اﻟﻠﺣﯾﺔ‬ ‫اﻟﺷﺎرب:وﻣﺎت‬،‫اﻟﺟدارﯾﺔ‬ ‫اﻟرﺳوم‬ ‫ﻲ‬‫ﺗﺳﺗﺧدم‬ ‫ة‬‫ﻛﺛﯾر‬ ‫أﺣﯾﺎن‬ ‫وﻓﻰ‬
‫أﺣﯾﺎﻧﺎ‬ ،‫اﻟﻐﺎﺋرﯾن‬ ‫اﻟﺧدﯾن‬‫و‬ ‫أس‬‫ر‬‫اﻟ‬ ‫أﻋﻠﻰ‬ ‫ﻣﻊ‬ ‫ﻋرﺿﻬﺎ‬ ‫ﯾﺗﺳﺎوى‬ ‫ﻣرﺑﻌﺔ‬ ‫ﻣﻧﻬﺎ‬ ، ‫وآﺧر‬ ‫ﻗدﯾس‬ ‫ﺑﯾن‬ ‫ﻟﻠﺗﻣﯾﯾز‬ ‫اﻟذﻗون‬
Walters, C. C. , op. cit. , p.217-٥٠
51
- Walters, C. C. , op. cit. , p218
‫ﻣﺴﯿﺤﺔ‬ ‫ﺣﺸﻤﺖ‬‫ﻣﺪﺧ‬‫ﻞ‬،‫ص‬.١٣
Walters, C. C. , op. cit. , p.218-٥٢
Walters, C. C. , op. cit. , p.219-٥٣
Walters, C. C. , op. cit. , p.219-٥٤
Walters, C. C. , op. cit. , p.220-٥٥

21. ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ‫اﻟدوﺟﻼس‬ ‫اﻟذﻗن‬ ‫ﯾﺳﺗﻌﻣل‬ ‫ﻟم‬ ، ‫اﻟوﺟﻪ‬ ‫ﻋﻠﻰ‬ ‫ظﻼل‬ ‫ﻋن‬ ‫ة‬‫ﻋﺑﺎر‬ ‫ة‬‫ﻗﺻﯾر‬ ‫ى‬‫أﺧر‬ ‫أﺣﯾﺎﻧﺎ‬‫و‬ ،‫ﻣﻔﺗوﻟﺔ‬ ‫طوﯾﻠﺔ‬
‫ﻏﯾر‬ ‫ﻗﻠﯾﻠون‬ ‫اﻟﻐرﺑﯾﺔ،و‬ ‫اﻟﻛﻧﺎﺋس‬‫اﻟﻣﻠﺗﺣﯾن‬.٥٦
: ‫اﻟﺷﺎرب‬
‫أﻏﻠب‬ ‫ﻓﻲ‬ ‫وﯾﻛون‬ ،‫اﻟذﻗن‬ ‫ﻣﻊ‬ ‫ﻣﺗﻼﺣم‬ ‫ﺷﺎرب‬ ‫ﻟﻬم‬ ‫اﻟﻣﻠﺗﺣون‬ ‫اﻷﺷﺧﺎص‬ ‫ﯾﻛون‬ ‫اﻷﺣﯾﺎن‬ ‫أﻏﻠب‬ ‫ﻓﻲ‬
‫وﯾﻌﻛ‬ ،‫وﻛﺛﯾف‬ ‫اﻟذﻗن‬ ‫ار‬‫و‬‫ﺑﺟ‬ ‫ﻣﺗﻬدﻻ‬ ‫ال‬‫و‬‫اﻷﺣ‬‫س‬‫اﻟطﺑﯾﻌ‬.‫اﻟﻣﺗﺻوﻓﯾن‬ ‫ﻫﺑﺎن‬‫ﻟﻠر‬ ‫ﺑﺎﻟﻧﺳﺑﺔ‬ ‫ﺔ‬‫ذﻟك‬ ‫ﻋﻛس‬ ‫ﻧص‬ ‫وﺟد‬ ‫أذا‬ ‫إﻻ‬
‫ﻟﺣﯾﺔ‬ ‫ﺑدون‬ ‫اﻷﺧﯾر‬ ‫ﯾظﻬر‬ ‫ﺣﯾث‬ ‫ودوﻣﺎدﯾوس‬ ‫ﻣﻛﺳﯾﻣوس‬ ‫ة‬‫ﺳﯾر‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬‫ﺳﻧﻪ‬ ‫ﻟﺻﻐر‬ ‫ﺷﺎرب‬ ‫أو‬.٥٧
: ‫اﻟﺷﻌر‬
‫اﻟذﻗن‬‫و‬ ‫اﻟﺷﻌر‬‫و‬ ‫اﻟﻛﺗﻔﯾن‬ ‫ﻋﻠﻰ‬ ‫أﺣﯾﺎﻧﺎ‬ ‫ﯾﺗﻬدل‬ ‫وﻛﺛﯾف‬ ‫طوﯾل‬ ‫ﻟﻠﻘدﯾﺳﯾن‬ ‫ﺑﺎﻟﻧﺳﺑﺔ‬ ‫اﻟﺷﻌر‬ ‫ﻛﺎن‬ ‫اﻟﺑداﯾﺎت‬ ‫وﻓﻰ‬
.‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫اﻟﺷﺧﺻﯾﺎت‬ ‫ﺗﻣﯾز‬ ‫ة‬‫ﻛﺛﯾر‬ ‫ﺣﺎﻻت‬ ‫ﻓﻲ‬٥٨
‫اﻟﺗﻘﻠﯾ‬ ‫اﻟﻌﯾون:وﺣﺳب‬‫د‬‫ﻫﺑﺎن‬‫اﻟر‬ ‫ﺷﻌر‬ ‫ﻷن‬ ،‫رﺳوم‬ ‫ﺑﺄﯾﺔ‬ ‫ﻋﻧﻪ‬ ‫ﻻﯾﻌﺑر‬ ‫ﻫﺑﺎﻧﯾﺔ‬‫اﻟر‬ ‫ﻟﻠﺷﺧﺻﯾﺎت‬ ‫ﺑﺎﻟﻧﺳﺑﺔ‬ ‫اﻟﺷﻌر‬ ‫اﻟﻘﺑطﻲ‬
‫رﺳﺎﻣﺗ‬ ‫ﻓور‬ ‫اﻫب‬‫ر‬‫اﻟ‬ ‫ﯾرﺗدﯾﻬﺎ‬ ‫اﻟﺗﻰ‬ ‫اﻟﻘﻠﻧﺳوة‬ ‫ﺗﺣت‬ ‫وﯾﺧﺗﻔﻲ‬ ‫طوﯾﻼ‬ ‫ﯾﺗرك‬ ‫ﻫﺑﺎﻧﯾﺔ‬‫اﻟر‬ ‫اﻧﯾن‬‫و‬‫اﻟﻘ‬ ‫ﺣﺳب‬‫ﻪ‬‫ﯾﻧذر‬ ‫،ﻷﻧﻪ‬ ‫اﻫﺑﺎ‬‫ر‬
،‫أس‬‫ر‬‫اﻟ‬ ‫ﺗﻐطﻰ‬ ‫ة‬‫ﺻﻐﯾر‬ ‫طﺎﻗﯾﺔ‬ ‫اﻫب‬‫ر‬‫اﻟ‬ ‫وﯾرﺗدى‬ ، ‫ﺷﻌر‬ ‫ﯾﺣﻠق‬ ‫ﻗﻠﯾﻠﺔ‬ ‫ﺣﺎﻻت‬ ‫وﻓﻰ‬ ،‫ﻛﻠﻪ‬ ‫ﺟﺳدﻩ‬‫أﺑو‬ ‫دﯾر‬ ‫ﻓﻲ‬ ‫ﻧﺟدة‬ ‫وﻫذا‬
‫رؤوﺳﻬ‬ ‫ﯾﻐطون‬ ‫ﻫﺑﺎن‬‫اﻟر‬ ‫ﻛل‬ ‫ﻟﻛن‬ ،‫ﻣﻘﺎر‬‫م‬‫ﯾظﻬ‬ ‫وﻻ‬ ‫ﺑﺎﻟﻘﻠﻧﺳوة‬‫ر‬‫أس‬‫ر‬‫اﻟ‬ ‫ﺷﻌر‬.٥٩
: ‫اﻟﻌﯾون‬
.‫ﻧظر‬ ‫ﺣﺎدة‬ ‫ﻋﻣﯾﻘﺔ‬ ‫داﺋﻣﺎ‬ ‫ﺗﺻور‬٦٠
:‫اﻟﻔم‬
‫اﻟﻣﺗدﻟﻲ‬ ‫أو‬ ‫اﺛق‬‫و‬‫اﻟ‬٦١
:‫اﻟوﺟﻪ‬
.‫اﻟﻘﺑطﻲ‬ ‫اﻟرﺳم‬ ‫ات‬‫ز‬‫ﻣﻣﯾ‬ ‫أﻫم‬ ‫ﻣن‬ ‫وﻫو‬ ‫اﻟﻧﺣﯾل‬٦٢
‫ﺑﺎوﯾط‬ ‫ﻗدﯾﺳﯾن‬ ‫وﺟوﻩ‬
56
- Walters, C. C. , op. cit. , p.218
‫أ‬‫ﺟودﻩ‬ ‫ﯾز‬‫ز‬‫اﻟﻌ‬ ‫وﻋﺑد‬ ‫ﺷﺣﺎﺗﻪ‬ ‫ﺣﻣد‬،‫اءات‬‫ر‬‫ﻗ‬،٤٥
Walters, C. C. , op. cit. , p.217-٣١٤
Walters, C. C. , op. cit. , p.216-٣١٥
Walters, C. C. , op. cit. , p.217-٣١٦
Walters, C. C. , op. cit. , p217.-٣١٧
Walters, C. C. , op. cit. , p.218-٣١٨
Walters, C. C. , op. cit. , p.218-٣١٩

22. ‫ﺑﺎوﯾﻂ‬ ‫ﻗﺪﯾﺴﯿﻦ‬ ‫وﺟﻮه‬
‫ة‬‫ر‬‫ﺳﻘﺎ‬ ‫ﻗدﯾﺳﯾن‬ ‫وﺟوﻩ‬
‫ة‬‫ر‬‫ﺳﻘﺎ‬ ‫ﻗدﯾﺳﯾن‬ ‫وﺟوﻩ‬
‫ة‬‫ر‬‫ﺳﻘﺎ‬ ‫ﻗدﯾﺳﯾن‬ ‫وﺟوﻩ‬
‫ﺧﺷب‬ ‫ﻋﻠﻰ‬ ‫ﻗدﯾﺳﯾن‬ ‫وﺟوﻩ‬

23. ‫اﻟﻘﺑطﯾﺔ‬ ‫اﻟﻔﻧﯾﺔ‬ ‫اﻷﻋﻣﺎل‬ ‫ﻋﻠﻰ‬ ‫اردة‬‫و‬‫اﻟ‬ ‫اﻟزﺧرﻓﯾﺔ‬ ‫اﻷﺷﻛﺎل‬
١-‫اﻧﯾﺔ‬‫و‬‫ﺣﯾ‬ ‫ﺑﺄﺷﻛﺎل‬ ‫رﺳوﻣﺎت‬
‫أ‬-‫اﻷﺳﻣﺎك‬
،‫ال‬‫ز‬‫اﻟﻐ‬‫و‬،‫ة‬‫اﻟﻌﺻﻔور‬‫و‬ ،‫اﻟﺳﻣﻛﺔ‬ ‫ﻣﻧﻬﺎ‬ ‫زﺧرﻓﺗﻬﺎ‬ ‫ﻓﻲ‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔﻧﺎن‬ ‫ﺑرع‬ ‫اﻟﺗﻰ‬ ‫اﻧﯾﺔ‬‫و‬‫اﻟﺣﯾ‬ ‫اﻷﺷﻛﺎل‬ ‫ﺗﻌددت‬
‫اﻓﯾﺔ‬‫ر‬‫اﻟﺧ‬ ‫اﻷﺷﻛﺎل‬ ‫وﺑﻌض‬ ‫اﻟﺛﻌﺎﺑﯾن‬ ‫ﺑﻌض‬ ‫ﺟﺎﻧب‬ ‫إﻟﻰ‬ ،‫اﻟطﺎووس‬‫و‬ ،‫اﻟﻧﺳر‬‫و‬ ،‫اﻟﺣﻣﺎم‬‫و‬ ،‫اﻷرﻧب‬‫و‬ ،‫اﻷﺳد‬‫و‬٦٣
‫ﺟﺳ‬ ‫ﺣﯾث‬ ‫اﻷﺧﺷﺎب‬‫و‬ ‫اﻟﻘﻣﺎش‬ ‫وﻋﻠﻰ‬ ‫اﻣﯾك‬‫ر‬‫اﻟﺳﯾ‬ ‫ﻋﻠﻰ‬ ‫ا‬‫ر‬‫ﻛﺛﯾ‬ ‫اﻷﺳﻣﺎك‬ ‫زﺧﺎرف‬ ‫ﯾﺳﺗﺧدم‬ ‫ﻛﺎن‬‫وﻋﻠﻰ‬ ‫ﻧﯾﻠﯾﺔ‬ ‫ﻣﺷﺎﻫد‬ ‫د‬
‫إﻟﻲ‬ ‫ﺗرﺟﻊ‬ ‫ﺑﺎﻷﺳﻣﺎك‬ ‫ﻣزﯾﻧﺔ‬ ‫اﻟﻘﻣﺎش‬ ‫ﻣن‬ ‫ﻟوﺣﺔ‬ ) ‫اﻟروﻣﺎﻧﯾﺔ‬ ‫اﻟﺣﻘﺑﺔ‬ ‫إﻟﻰ‬ ‫ﺗرﺟﻊ‬ ‫اﻟﺗﻲ‬ ‫اﻟرﺳوﻣﺎت‬ ‫ﻓﻲ‬ ‫أو‬ ‫اﻟﻔﺳﯾﻔﺳﺎء‬
‫ﻟﻠﺣﻘﺑﺔ‬ ‫ﺑﺎﻟﻧﺳﺑﺔ‬ ‫ﻣﻌﻧﻰ‬ ‫ﻟﻬذا‬ ‫ﻓﻬل‬ (‫ﻟﯾون‬ ‫ﺑﻣدﯾﻧﺔ‬ ‫ﻟﻸﻗﻣﺷﺔ‬ ‫اﻟﺗﺎرﯾﺧﻲ‬ ‫اﻟﻣﺗﺣف‬ ‫وﻓﻰ‬ ‫اﻟﻠوﻓر‬ ‫ﻣﺗﺣف‬ ‫ﻓﻲ‬ ‫اﻟﺛﺎﻟث‬ ‫اﻟﻘرن‬
‫اﻟﻣﺳﯾﺣﯾﺔ؟‬٦٤
‫ﺑﺄﺳﻧﺎ‬ ‫اﻟﺷﻬداء‬ ‫دﯾر‬ ‫ﻛﻧﯾﺳﺔ‬ ‫ﻓﻲ‬ ‫وﺟد‬‫ﻗدﻣﯾﻪ‬ ‫،وﺗﺣت‬ ‫اﻟﻌرش‬ ‫ﻋﻠﻰ‬ ‫ﺟﺎﻟﺳﺎ‬ ‫اﻟﻣﺳﯾﺢ‬ ‫(اﻟﺳﯾد‬ ‫اﻟﺷﻣﺎل‬ ‫)ﻛﻧﯾﺳﺔ‬
‫ﻣن‬ ‫ﺑﺣر‬ ‫إﻟﻲ‬ ‫أﺷﺎر‬ ‫ﺣﯾث‬ ‫اﻟرؤﯾﺎ‬ ‫ﺳﻔر‬ ‫ﻓﻲ‬ ‫اﻟﺳﻣﺎء‬ ‫وﺻف‬ ‫ﻓﻲ‬ ‫ﺟﺎء‬ ‫ﺑﻣﺎ‬ ‫ﯾذﻛرﻧﺎ‬ ‫وﻫذا‬ ‫اﻷﺳﻣﺎك‬ ‫ﺗﺣﺗﻬﺎ‬ ‫ﯾﺳﺑﺢ‬ ‫ﻣﺧدة‬
‫اﻷرض‬ ‫ﻋﺎﻟم‬ ‫اﻧﻔﺻﺎل‬‫و‬ ‫اﷲ‬ ‫ﯾطﯾﻌون‬ ‫اﻟذﯾن‬ ‫ﻋطش‬ ‫ﻟﯾﺳد‬ ‫اﻟزﺟﺎج‬ ‫ﻣن‬ ‫اﻟﺑﺣر‬ ‫ﻫذا‬ ‫اﻟﺷرق‬ ‫ﻓﻲ‬ ‫ﻛﻣﺎ‬ ‫اﻟﻐرب‬ ‫ﻓﻲ‬ ‫اﻟزﺟﺎج‬
‫ﻣ‬ ‫اﻟﺳﻣﺎء‬ ‫ﻋن‬‫ﻟﺷﻛل‬ ‫ﺣﻠﻘﺎت‬ ‫ﺑداﺧل‬ ‫اﻟﻣوﺟودة‬ ‫اﻷﺳﻣﺎك‬ ‫إﻓرﯾز‬ ‫ﺗﻔﺳر‬ ‫اﻟﺗﻲ‬ ‫ﻫﻲ‬ ‫ة‬‫اﻟﻔﻛر‬ ‫ﻫذﻩ‬ ‫ﺗﻛون‬ ‫أن‬ ‫اﻟﻣﺣﺗﻣل‬ ‫ن‬
‫ﻟﻠﻛﻧﯾﺳﺔ‬ ‫اﻟﺷرﻗﻲ‬ ‫اﻟﺣﺻن‬ ‫أروﻗﺔ‬ ‫إﺣدى‬ ‫ﻋﻠﻰ‬ ‫اﻟﻧﺑﺎﺗﺎت‬ ‫ﻣن‬ ‫ﻣﺗﺷﺎﺑك‬٨‫ﺑﺎوﯾط‬ ‫ﻓﻲ‬.٦٥
‫اﻣﯾك‬‫ر‬‫اﻟﺳﯾ‬ ‫ﻗطﻊ‬ ‫ﻣن‬ ‫وﻛﺛﯾر‬ ،‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫أﻟﻘﺎب‬ ‫ﻋﻠﯾﻬﺎ‬ ‫ﺳﻣﻛﺔ‬ ‫زﺧﺎرﻓﻬﺎ‬ ‫ام‬‫و‬‫ﻗ‬ ‫ﻗطﻌﺔ‬ ‫ﻛﻠﯾﺎ‬ ‫زﺧﺎرف‬ ‫ﻓﻲ‬ ‫أﯾﺿﺎ‬ ‫وﺟد‬
‫اﻟﻣﺣﻔ‬.‫اﻟﻘﺑطﻲ‬ ‫ﺑﺎﻟﻣﺗﺣف‬ ‫وظﺔ‬٦٦
‫ب‬-‫اﻟﻌﺻﺎﻓﯾر‬
‫أو‬ ‫ﺧﺷب‬ ‫ﻋﻠﻰ‬ ‫ا‬‫ر‬‫ﻣﺣﻔو‬ ‫أو‬ ‫ﺣﺟر‬ ‫ﻋﻠﻰ‬ ‫ﻣﻧﺣوﺗﺎ‬ ‫ﻋﻣﻼ‬ ‫ﻛﺎن‬ ‫اء‬‫و‬‫ﺳ‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻓﻲ‬ ‫ﻣﻛﺎﻧﺔ‬ ‫ﻟﻬﺎ‬ ‫ﻛﺎن‬
‫ﻣرﺗﺑط‬ ‫وﻫﻰ‬ ‫أﺣﯾﺎﻧﺎ‬ ‫اﻟرﺳم‬ ‫أوﻓﻰ‬ ‫اﻟﻧﺳﯾﺞ‬ ‫ﻋﻠﻰ‬ ‫ﺑﺎﻟﺗطرﯾز‬ ‫أو‬ ‫اﻟﻣﺧطوطﺎت‬ ‫ﺑداﺧل‬ ‫أو‬ ‫ان‬‫ر‬‫ﺟد‬ ‫ﻋﻠﻰ‬ ‫ﻣرﺳوﻣﺎ‬
‫اﷲ‬ ‫ﻋﻧﺎﯾﺔ‬ ‫ع‬‫ﺑﻣوﺿو‬٦٧
‫ج‬-‫اﻟطﺎووس‬
‫ﻓ‬ ‫ة‬‫ﻣﺗﻣﯾز‬ ‫ﻣﻛﺎﻧﺔ‬ ‫اﺣﺗل‬‫اﻟﺗﻲ‬ ‫اﻟﻣوﺿوﻋﺎت‬ ‫ﺑﻌض‬ ‫ﻟﻛن‬ ‫ﻟﻠﻘﯾﺎﻣﺔ‬ ‫ﯾرﻣز‬ ‫ﺣﯾث‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫رﺳوﻣﺎت‬ ‫ﻲ‬
‫ﺣﯾث‬ ‫اﻟﻌرﺑﻲ‬ ‫اﻟﻐزو‬ ‫ﺑﻌد‬ ‫اﻷﻗﺻﻰ‬ ‫اﻟﺷرق‬ ‫ﻛل‬ ‫ﻓﻲ‬ ‫اﻧﺗﺷرت‬ ‫اﻟذي‬ ‫اﻟﺳﺎﺳﺎﻧﻰ‬ ‫اﻟﺗﺄﺛﯾر‬ ‫ﺗﺣﻣل‬ ‫ﻛﺎﻧت‬ ‫ﺑﺎﻟطﺎووس‬ ‫زﺧرﻓت‬
‫ﻣزﯾن‬ ‫وﺟﺳدﻩ‬ ‫ﺑﺎﻟﻠؤﻟؤ‬ ‫ﻣرﺻﻊ‬ ‫ﻓرع‬ ‫ﻩ‬‫ﺑﻣﻧﻘﺎر‬ ‫ﯾﺣﻣل‬ ‫طﺎووس‬ ‫ﻋﻠﯾﻪ‬ ‫ﻣرﺳوم‬ ‫ﺗﺎﺑوت‬ ‫ﻏطﺎء‬ ‫ﻋﻠﻰ‬ ‫اﻟوﺳطﻰ‬ ‫ﺑﻣﺻر‬ ‫ﻋﺛر‬
‫اﺋ‬‫ر‬‫ﺷ‬ ‫ﺑﺛﻼث‬‫اﻷﺣﺟﺎر‬‫و‬ ‫اﻷﺧﺷﺎب‬‫و‬ ‫اﻟﺟدارﯾﺔ‬ ‫اﻟرﺳوﻣﺎت‬ ‫ﻓﻲ‬ ‫اﻟﻘﺑطﯾﺔ‬ ‫اﻟﻣﺷﻐوﻻت‬ ‫ﻛﺎﻓﺔ‬ ‫ﻋﻠﻰ‬ ‫وﺟد‬ ‫،وﻗد‬ ‫اﺑﯾض‬ ‫ﻟؤﻟؤ‬ ‫ط‬
‫ﻣﺧﺗﻠﻔﺔ‬ ‫ﺑﺄﺷﻛﺎل‬ ‫ووﺟدت‬ ‫اﻟﻣﺧطوطﺎت‬‫و‬٦٨
Rutschowscaya M.H. ; op. cit, p.97-٦٣
Hassett, Maurice M., Symbolism of the Fish, Catholic Encyclopedia (1909), vol. 6.
Rutschowscaya M.H. ; op. cit, p.97-٦٤
Rutschowscaya M.H. ; op. cit, p.97-٦٥
Rutschowscaya M.H. ; op. cit, p.97-٦٦
-Rutschowscaya M.H. ; op. cit, p.97٣٣٦
-Léonide Ouspensky, Vladimir Lossky, The meaning of icons, U.S.A. 1982 p 117٦٨

24. ‫د‬-‫ال‬‫ز‬‫اﻟﻐ‬
‫اﻏﻠب‬ ‫وﻓﻰ‬ ‫اﻟﻔﺧﺎر‬‫و‬ ‫اﻟﻣﺧطوطﺎت‬‫و‬ ‫اﻷﺧﺷﺎب‬ ‫وﻋﻠﻰ‬ ‫اﻟﺟدارﯾﺔ‬ ‫اﻟرﺳوم‬ ‫ﻋﻠﻰ‬ ‫ة‬‫ﺑﻛﺛر‬ ‫ﻓظﻬر‬ ‫ال‬‫ز‬‫اﻟﻐ‬ ‫أﻣﺎ‬
‫ع‬‫ﻓر‬ ‫أو‬ ‫ة‬‫ﺷﺟر‬ ‫ﻣن‬ ‫ﺑﺎﻟﻘرب‬ ‫اﻗف‬‫و‬ ‫ﻣﺎ‬ ٕ‫ا‬‫و‬ ‫اﻟﺷر‬ ‫ﻋﻠﻰ‬ ‫اﻟﻘﺿﺎء‬ ‫ة‬‫ﻓﻛر‬ ‫ﻟﺗﺟﺳﯾد‬ ‫اﻷﺳد‬ ‫ﻣن‬ ‫ﻣطﺎردا‬ ‫ﯾظﻬر‬ ‫إﻣﺎ‬ ‫اﻟرﺳوﻣﺎت‬
‫ﻣ‬ ‫اب‬‫ر‬‫اﻻﻗﺗ‬‫و‬ ‫اﻟﺗوﺑﺔ‬ ‫ﯾﺣﺎوﻟون‬ ‫ار‬‫ر‬‫اﻷﺷ‬ ‫أن‬ ‫ة‬‫ﻟﻔﻛر‬ ‫ﺗﺟﺳﯾد‬ ‫وﻫو‬ ‫ﻣﻧﻪ‬ ‫ﯾﺄﻛل‬ ‫أن‬ ‫ﯾﺣﺎول‬ ‫ﻧﺑﺎﺗﻲ‬‫ﻧرﻣز‬ ‫اﻟﺗﻲ‬ ‫اﻟﺣﯾﺎة‬ ‫ة‬‫ﺷﺟر‬ ‫ن‬
‫ﯾﺎﻣﻼﻋﯾن‬ ‫ﻋﻧﻰ‬ ‫ا‬‫و‬‫"اذﻫﺑ‬ ‫اﻟﻘﺎﺋﻠﺔ‬ ‫اﻵﯾﺔ‬ ‫ﺟﺳد‬ ‫وﺑﻬذا‬ ‫ﯾﺄﻛل‬ ‫أن‬ ‫ﻻﯾﺳﺗطﯾﻊ‬ ‫وﻗد‬ ،‫اﻟﻣﺳﯾﺢ‬ ‫ﻟﻠﺳﯾد‬‫أ‬‫ﻷ‬ ‫ﻧﻧﻲ‬‫ﻋ‬" ‫رﻓﻛم‬٦٩
‫ه‬-‫اﻷرﻧب‬
‫ﯾﺣﺎول‬ ‫داﺋﻣﺎ‬ ‫ﯾﺻور‬ ‫ﺑل‬ ، ‫اﻷﺳود‬ ‫ﻣن‬ ‫ﻣطﺎرد‬ ‫ﻻﯾﺻور‬ ‫،ﻟﻛﻧﺔ‬ ‫ال‬‫ز‬‫ﻟﻠﻐ‬ ‫ﻣﺷﺎﺑﻪ‬ ‫ة‬‫ﺻور‬ ‫ﻓﻲ‬ ‫ظﻬر‬ ‫اﻷرﻧب‬
‫ﻧﺑﺎﺗﻲ‬ ‫ﻓرع‬ ‫أو‬ ،‫اﻟﺣﯾﺎة‬ ‫ة‬‫ﺷﺟر‬ ‫ﻣن‬ ‫اب‬‫ر‬‫اﻻﻗﺗ‬‫أ‬‫و‬‫ﺑ‬ ‫رﻣز‬ ‫اﻷرﻧب‬‫و‬ ، ‫ﻏﺻن‬‫ﻪ‬‫اﻟﺷﻬ‬ ‫إﻟﻰ‬‫و‬‫ﻋﺔ‬‫ﺑﺳر‬ ‫ﻫﺎ‬‫ﻻﻧﺗﺷﺎر‬ ‫اﻟﺧطﯾﺔ‬‫و‬ ‫ة‬
‫اﻟﻣﺧطو‬ ‫ﻋﻠﻰ‬ ‫رﺳوﻣﻪ‬ ‫،ووﺟدت‬ ‫ﻋﺔ‬‫ﺑﺳر‬ ‫ﺗﺗﻧﺎﺳل‬ ‫اﻧب‬‫ر‬‫اﻷ‬ ‫ان‬ ‫ﻛﻣﺎ‬‫ﺣﺎﻣوﻟﻰ‬ ‫ﻣﺧطوطﺎت‬ ‫وﺧﺎﺻﺔ‬ ‫ة‬‫ﺑﻛﺛر‬ ‫طﺎت‬، ‫اﻟﻧﺳﯾﺞ‬‫و‬
‫اﻟﺟدارﯾﺎت‬ ‫ﻋﻠﻰ‬ ‫رﺳﻣﻪ‬ ‫ﻧدر‬ ‫وﻗد‬٧٠
.
‫و‬-‫اﻟﻧﺳر‬
‫اﻟذي‬ ، ‫اﻟﺷرﻗﯾﺎت‬ ‫داﺧل‬ ‫اﺑت‬‫و‬‫اﻟﺛ‬ ‫ﻣن‬ ‫رﺳﻣﻪ‬ ‫ﯾﻌد‬ ‫ﺣﯾث‬ ‫اﻟﻧﺳر‬ ‫رﺳوم‬ ‫اﻧﺗﺷرت‬‫ﻏﯾر‬ ‫اﻟﻛﺎﺋﻧﺎت‬ ‫أﺣد‬ ‫ﯾﺟﺳد‬
‫اﻟ‬‫ﻋﻠ‬ ‫،ووﺟد‬ ‫اﻟﻣﺳﯾﺢ‬ ‫اﻟﺳﯾد‬ ‫ﻟﻼﻫوت‬ ‫رﻣز‬ ‫اﻻﻧﺟﯾﻠﻰ‬ ‫ﻟﯾوﺣﻧﺎ‬ ‫ﻣﻼزم‬ ،‫أ‬ ، ‫ﺟﺳداﻧﯾﺔ‬‫ﻰ‬‫ورﺳوم‬ ‫ﻣﺧطوطﺎت‬ ‫ة‬‫ﻛﺛﯾر‬ ‫أﻋﻣﺎل‬
‫وﻣﻌﺎدن‬ ‫أﺧﺷﺎب‬‫و‬ ‫أﺣﺟﺎر‬‫و‬ ‫ﺟدارﯾﺔ‬.٧١
‫ب‬-‫إﻧﺳﺎﻧﯾﺔ‬ ‫ﺑﺄﺷﻛﺎل‬ ‫رﺳوﻣﺎت‬
١-‫ﻣﺷﻬد‬‫اﻟﻘدﯾس‬‫اﻟﻔﺎرس‬
‫رﺑﻣﺎ‬ ، ‫إﯾﻣﺎﻧﻬم‬ ‫ﻋن‬ ‫ودﻓﺎﻋﻬم‬ ‫ﻗدﯾﺳﻪ‬ ‫ﺷﺟﺎﻋﺔ‬ ‫اظﻬر‬ ‫ﺣﯾث‬ ‫اﻟﻘﺑطﻲ‬ ‫ﻟﻠﻔﻧﺎن‬ ‫اﻟﻣﺣﺑﺑﺔ‬ ‫اﻟﻣوﺿوﻋﺎت‬ ‫ﻣن‬
‫ع‬‫اﻟﻣوﺿو‬ ‫ﻟﻬذا‬ ‫اﻷوﻟﻰ‬ ‫اﻟﺑداﯾﺎت‬ ‫ﻛﺎﻧت‬‫اﻟﺷﻬﺎدة‬ ‫إﻛﻠﯾل‬ ‫ا‬‫و‬‫وﻧﺎﻟ‬ ‫اﻟﻣﺳﯾﺣﯾﺔ‬ ‫ا‬‫و‬‫اﻋﺗﻧﻘ‬ ‫اﻟذﯾن‬ ‫اﻟروﻣﺎن‬ ‫اﻟﺟﻧود‬ ‫ﺗﺻوﯾر‬ ‫،ﻓﻲ‬
‫اﻧﺗﺻﺎر‬ ‫ﻫو‬ ‫ي‬‫رﻣز‬ ‫ﻣﻌﻧﻰ‬ ‫ﺗﺣﻣل‬ ‫أﺻﺑﺣت‬‫و‬ ‫ة‬‫اﻟﻔﻛر‬ ‫اﻧﺗﺷرت‬‫و‬ ، ‫ﺟرﺟس‬ ‫اﻟﻘدﯾس‬ ‫أﺳﻬم‬‫ر‬ ‫وﻋﻠﻰ‬‫ﻋﻠﻰ‬ ‫اﻟﻔﺎرس‬ ‫اﻟﻘدﯾس‬
‫اﻟروﻣﺎﻧﻲ‬ ‫اﻟﻌﺻر‬ ‫ﻓﻲ‬ ‫اﻧﺗﺷرت‬ ‫ﻟﻛﻧﻬﺎ‬ ، ‫ﻗدﯾﻣﺔ‬ ‫ﻣﺻرﯾﺔ‬ ‫ﺟذور‬ ‫ﻟﻬﺎ‬ ‫ة‬‫اﻟﻔﻛر‬ ‫،ﻫذﻩ‬ ‫ﺷﻬوﺗﻪ‬.٧٢
‫ﺗﺑﺎﯾﻧ‬‫ت‬،‫اﻟﻔﺎرس‬ ‫اﻟﻘدﯾس‬ ‫ع‬‫ﻣوﺿو‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔﻧﺎن‬ ‫ﻓﯾﻬﺎ‬ ‫ﻋﺎﻟﺞ‬ ‫اﻟﺗﻲ‬ ‫اﻟﻠوﺣﺎت‬٧٣
Raouf Habib,Ibid,p.7
Rutschowscaya M.H. ; op. cit, p.95-٦٩
Rutschowscaya M.H. ; op. cit, p.95-٧٠
Rutschowscaya M.H. ; op. cit, p.96-٧١
345- Rutschowscaya M.H. ; op. cit, p.97
Rutschowscaya M.H. ; op. cit, p.97-٧٣

33. ‫ج‬ ‫ھرﻣﯾﻧﺎ‬ ‫ﺟﻣﺎل‬ .‫أ.د‬ ‫اﻟﻘﺑطﻲ‬ ‫اﻟﻔن‬ ‫ﻣوﺳوﻋﺔ‬ ‫ﻋن‬ ‫ﻧﻘﻼ‬١