‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  ‫ﺍﻟﻔﻨﺎﻨﻴﻥ‬ ‫ﻭﻓﻠﺴﻔﺔ‬ ‫ﻭﻓﻜﺭ‬ ‫ﺍﻟﺘﻜﻨﻭﻟﻭﺠﻲ،‬ ‫ﻟﻠﺘﻁﻭﺭ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﹰ‬ ‫ﻤﻠﺤﻭﻅﺎ‬ ‫ﹰ‬ ‫ﺘﻁﻭﺭﺍ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻥ‬ ‫ﺸﻬﺩ‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻭﺃﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ،‬ ‫ﻭﺍﻟﻭﺴﺎﺌﻁ‬ ‫ﺍﻟﺼﻴﺎﻏﺎﺕ،‬ ‫ﺤﻴﺙ‬ ‫ﻤﻥ‬ ‫ﻭﺫﻟﻙ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﻴﻥ‬ . 


		‫ﺍﳌﻌﺎﺻﺮ‬					
									‫ﺍﻟﺒﺤﺙ‬ ‫ﻔﻴﺔ‬ :	‫ﺨﻠ‬
	‫ﺍﻟﻘ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻁﻭﺭﺍﺕ‬ ‫ﻟﺘﻙ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻴﻡ‬
	‫ﻓﻨﺎﻨﻭﺍ‬ ‫ﺍﺴﺘﻔﺎﺩ‬ ‫ﻭﻗﺩ‬	‫ﺍﻟﻨﺴﺠﻲ،‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﻤﻀﻤﻭﻥ‬ ‫ﺸﻜل‬ ‫ﻓﻲ‬ ‫ﺃﺜﺭﺕ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻭﻏﻴﺭﻫﺎ،‬ ‫ﻭﺍﻟﻔﺭﺍﻍ‬ ‫ﻜﺎﻟﺸﻔﺎﻓﻴﺔ،‬
	‫ﻓﻲ‬ ‫ﻭﺍﺴﺘﺨﺩﻤﻭﻫﺎ‬ ‫ﻭﺍﻟﻌﻠﻤﻴﺔ،‬ ‫ﺍﻟﺘﻜﻨﻭﻟﻭﺠﻴﺔ‬ ‫ﺍﻹﻤﻜﺎﻨﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺍﺘﺠﺎﻩ‬ ‫ﻭﻤﻨﻬﺎ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ،‬ ‫ﺍﻻﺘﺠﺎﻫﺎﺕ‬
	‫ﻭﻋﻼﻗﺘ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﻨﺎﻭﻟﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺭﺅﻯ‬ ‫ﺘﻌﺩﺩ‬ ‫ﺇﻟﻰ‬ ‫ﺃﺩﻯ‬ ‫ﻤﻤﺎ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ؛‬ ‫ﻭﻤﻨﺎﻫﺞ‬ ‫ﺒﻜﻴﻔﻴﺎﺕ‬ ‫ﻭﺘﺤﻘﻴﻘﻬﺎ‬ ‫ﺒﺎﻟﻔﺭﺍﻍ،‬ ‫ﻬﺎ‬
	‫ﻤﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻭﺍﻟﺤﻠﻭل‬ ‫ﺍﻟﻔﻠﺴﻔﻴﺔ‬ ‫ﺍﻟﺘﺼﻭﺭﺍﺕ‬ ‫ﻤﻥ‬ ‫ﻟﻠﻌﺩﻴﺩ‬ ‫ﹰ‬ ‫ﻤﺤﻭﺭﺍ‬ ‫ﻜﺎﻨﺘﺎ‬ ‫ﻭﺍﻟﻔﺭﺍﻍ‬ ‫ﻓﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﺘﻌﺩﺩﺓ،‬
									‫ﻤﺘﻨﻭﻋﺔ‬ ‫ﻗﻭﺍﻟﺏ‬ ‫ﻓﻲ‬ ‫ﺠﺎﺀﺕ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﺼﻭﺭ‬ .
	‫ﻤﻥ‬ ‫ﺒﻪ‬ ‫ﺘﺘﻤﻴﺯ‬ ‫ﻟﻤﺎ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﺘﻔﺎﺼﻴل،‬ ‫ﻤﻥ‬ ‫ﺨﻠﻔﻬﺎ‬ ‫ﻤﺎ‬ ‫ﻭﺭﺅﻴﺔ‬ ‫ﺍﻟﻀﻭﺀ‬ ‫ﻨﻔﺎﺫ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﻗﺩﺭﺓ‬ ‫ﻫﻲ‬ ‫ﻭﺍﻟﺸﻔﺎﻓﻴﺔ‬	"
	( ‫ﺇﺩﺭﺍﻙ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﺃﺤﺩ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻴﻌﺩ‬ ‫ﺒﻴﻨﻤﺎ‬ ،	‫ﺃﺒﻭﺯﻴﺩ،‬ ٢٠٠١ ‫ﻡ،‬ ٧١	‫ﻨﻘﺎﺀ‬ ) ."
	" ‫ﻻ‬ ‫ﺍﻤﺘﺩﺍﺩ‬ ‫ﺃﻱ‬ ‫ﻤﺎﺩﺓ،‬ ‫ﺒﻼ‬ ‫ﺤﻴﺯ‬	‫ﻭﻫﻭ‬	(	: ١٧	‫ﺇﺒﺭﺍﻫﻴﻡ،‬ ٢٠٠٢ ‫ﻡ‬	) .	‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻟﻸﻋﻤﺎل‬ ‫ﻭﺍﻟﺨﺎﺭﺠﻴﺔ‬ ‫ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺍﻷﺠﺯﺍﺀ‬
									‫ﺸﺎﻏل‬ ‫ﻴﺸﻐﻠﻪ‬ ) ." ‫ﻏﺭﺒﺎل،‬ ١٩٦٥ ‫ﻡ،‬ ١٢٧٩ (
	‫ﻭﻫﻲ‬ ‫ﺨﻼﻟﻬﺎ،‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻭﺘﺤﻘﻴﻕ‬ ‫ﺍﻟﺘﺼﻤﻴﻡ،‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬	‫ﺘﺩﺨل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻤﻥ‬ ‫ﺃﺴﺎﺴﻲ‬ ‫ﻋﻨﺼﺭ‬ ‫ﻓﺎﻟﻔﺭﺍﻍ‬
			.(	‫ﻡ،‬ ١٣٩	‫ﺍﻟﺼﻴﻔﻲ،‬ ١٩٩٢	‫ﺒﻬﺎ‬ ‫ﻭﺘﺘﺄﺜﺭ‬ ‫ﺍﻷﺨﺭﻯ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻓﺎﻋﻠﻴﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺅﺜﺭﺓ‬ ) .
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ٩	-

‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  
								‫ﺍﻟﻤﻌﺎﺼﺭﺓ،‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻟﻤﺸﻐﻭﻟﺔ‬ ‫ﺩﺍﺨل‬ ‫ﻴﻨﻔﺫ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻓﺄﺼﺒﺢ‬
								) ‫ﻋﺒﺩ‬	‫ﺍﻻﺘﺠﺎﻫﺎﺕ‬ ‫ﻜل‬ ‫ﻤﻥ‬ ‫ﺒﻬﺎ‬ ‫ﻭﻴﺤﻴﻁ‬ ‫ﻭﻴﺘﺨﻠﻠﻬﺎ‬
									.(	‫ﻡ،‬ ١٨	‫ﺍﻟﻌﺯﻴﺯ،‬ ٢٠٠١
								‫ﺍﻟﻨﺴﺠﻴ‬ ‫ﺍﻻﻋﻤﺎل‬ ‫ﻭﺒﺩﺭﺍﺴﺔ‬ ‫ﺘﺠﺩ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺔ‬
					) ١ (	‫رﻗﻢ‬ ‫ﺷﻜﻞ‬		
		‫اﻟﻨﺴﺠﻲ‬ ‫اﻟﻌﻤﻞ‬ ‫ﻓﻲ‬ ‫واﻟﻔﺮاغ‬ ‫اﻟﺸﻔﺎﻓﻴﺔ‬		
			‫ﻟﻠﻔﻨﺎن‬ ‫اﻟﻤﻌﺎﺻﺮ‬ ‫اﻟﺒﻨﺎﺋﻲ‬		
		Peter Collingwood			.(	) ١	‫ﺍﻟﺸﻜل‬	‫ﻓﻲ‬ ‫ﻜﻤﺎ‬ ‫ﻭﻏﻴﺭﻫﺎ،‬
	‫ﻷﻋﻤﺎﻟﻬﻡ‬ ‫ﻤﺒﺘﻜﺭﺓ‬ ‫ﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺼﻴﺎﻏﺎﺕ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﺍﺴﺘﺤﺩﺙ‬ ‫ﻜﻴﻑ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻭﺴﺘﺘﻨﺎﻭل‬
	‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻭﺍﻹﻤﻜﺎﻨﺎﺕ‬ ‫ﺍﻷﺨﺭﻯ‬ ‫ﻭﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻭﺫﻟﻙ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ،‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬
	‫ﺍﻟﻨ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺤﻘﻕ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻨﺎﺴﺒﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻭﺴﺎﺌﻁ‬ ‫ﻟﺒﻌﺽ‬ ‫ﺍﻟﻤﻨﺎﺴﺏ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺴﺠﻲ‬
	‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺭﻭﺍﺩ‬ ‫ﺃﻋﻤﺎل‬ ‫ﻭﺘﺤﻠﻴل‬ ‫ﺒﺘﻭﺼﻴﻑ‬ ‫ﻭﺫﻟﻙ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻥ‬ ‫ﻤﺠﺎل‬ ‫ﻹﺜﺭﺍﺀ‬ ‫ﻭﺍﻟﺘﺼﻤﻴﻡ؛‬
									‫ﺍﻟﺒﻨﺎﺌﻲ‬ .
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٠	-

‫ﻓﻲ‬ ‫ﺘﺅﺜﺭﺍﻥ‬ ‫ﻭﻓﻠﺴﻔﺔ‬ ‫ﻓﻜﺭ‬ ‫ﻭﺍﻟﻔﺭﺍﻍ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻥ‬ ‫ﻟﻜل‬ ‫ﺃﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﻭﻥ‬ ‫ﺍﻟﻔﻨﺎﻨﻭﻥ‬ ‫ﻭﺃﺜﺒﺕ‬ ‫ﺍﻷﻋﻤﺎل،‬ ‫ﺘﻠﻙ‬ ‫ﻭﺘﺸﻜﻴل‬ ‫ﺒﻨﺎﺀ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﻓﻲ‬ ‫ﹰ‬ ‫ﻫﺎﻤﺎ‬ ‫ﹰ‬ ‫ﺩﻭﺭﺍ‬ ‫ﻟﻠﻔﺭﺍﻍ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﺨﻼل‬ ‫ﻭﺍﻟﺤﺭﻜﺔ‬ ‫ﻭﺍﻻﺘﺯﺍﻥ‬ ‫ﻭﺍﻹﻴﻘﺎﻉ‬ ‫ﻭﺍﻟﺘﺭﺍﺒﻁ‬ ‫ﺍﻟﻭﺤﺩﺓ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ 
‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  
							‫ﺍﻟﺘﺎﻟﻴﺔ‬ ‫ﺍﻟﺘﺴﺎﺅﻻﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﺸﻜﻠﺔ‬ ‫ﻭﺘﺘﻠﺨﺹ‬ :	:	‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﺸﻜﻠﺔ‬
	‫ﻭﻋﻼﻗﺘﻬﺎ‬	‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺼﻴﺎﻏﺎﺕ‬ ‫ﺍﺴﺘﺤﺩﺍﺙ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﺘﻤﻜﻥ‬ ‫ﻜﻴﻑ‬
									‫ﺒﺎﻟﻔﺭﺍﻍ؟‬
								‫ﺃﻥ‬ ‫ﺍﻟﺤﺎﻟﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻴﻔﺘﺭﺽ‬ :	‫ﺍﻟﺒﺤﺙ‬ ‫ﻓﺭﻭﺽ‬ :
	‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﻤﻥ‬  ‫ﺘﻤﻜﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻻﺘﺠﺎﻩ‬ ‫ﻭﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻟﺠﻭﺍﻨﺏ‬
									‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ .
								‫ﺇﻟﻰ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻴﻬﺩﻑ‬ :	‫ﺍﻟﺒﺤﺙ‬ ‫ﺃﻫﺩﺍﻑ‬ :
	-‫ﺍ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﻟﺒﻌﺽ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﺘﻨﺎﻭﻟﻭﺍ‬ ‫ﺍﻟﺫﻴﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ،‬ ‫ﻻﺘﺠﺎﻩ‬	١
									‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ .
	-‫ﻭﻓﻠﺴﻔﺔ‬ ‫ﺘﺤﻠﻴل‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﺸﻜﻴﻠﻴﺔ،‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺠﻭﺍﻨﺒﻬﺎ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ،‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﻭﻓﻠﺴﻔﺔ‬ ‫ﻓﻜﺭ‬ ‫ﻤﻥ‬ ‫ﺍﻻﺴﺘﻔﺎﺩﺓ‬	٢
			‫ﻤﻌﺎﺼﺭ‬ ‫ﺒﺄﺴﻠﻭﺏ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻨﻅﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺎﺌﻤﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ .
								‫ﻓﻲ‬ ‫ﻟﺒﺤﺙ‬ :	‫ﺍ‬ ‫ﺃﻫﻤﻴﺔ‬ ‫ﺘﻅﻬﺭ‬	‫ﺍﻟﺒﺤﺙ‬ ‫ﺃﻫﻤﻴﺔ‬ :
	‫ﺘﻨﺎﻭﻟﺕ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻟﻔﻥ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻻﻤﻜﺎﻨﺎﺕ‬ ‫ﺍﻟﻔﻠﺴﻔﻲ،‬ ‫ﺍﻟﻔﻜﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﻌﺭﻑ‬	-	١
								‫ﺒﺎﻟﻔﺭﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻔﻬﻭﻡ‬ .
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١١	-

‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  
		‫ﺍﳌﻌﺎﺻﺮ‬			
	‫ﻭﺍﻟﻔﻠﺴﻔﻴﺔ‬ ‫ﺍﻟﺠﻤﺎﻟﻴﺔ‬ ‫ﺍﻷﺒﻌﺎﺩ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻀﻭﺀ‬ ‫ﺇﻟﻘﺎﺀ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ،‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻥ‬ ‫ﻤﺠﺎل‬ ‫ﺇﺜﺭﺍﺀ‬	-	٢
									‫ﺒﺎﻟﻔﺭﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ .
	‫ﻴ‬ ‫ﻤﺘﻌﺩﺩﺓ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ،‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺒﻌﺽ‬ ‫ﻭﺘﺤﻠﻴل‬ ‫ﺘﻭﺼﻴﻑ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻘﺘﺼﺭ‬	‫ﺍﻟﺒﺤﺙ‬ ‫ﺤﺩﻭﺩ‬ :
	‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﺒﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻨﻅﻡ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﻟﻘﺎﺌﻤﺔ‬ ‫ﺍﻵﻥ،‬ ‫ﺤﺘﻰ‬ ‫ﻡ‬	١٩٦٠	‫ﻋﺎﻡ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺯﻤﻨﻴﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺒﻌﺎﺩ‬
									‫ﺒﺎﻟﻔﺭﺍﻍ‬ .
	‫ﻭﺘﺤﻠﻴل‬ ‫ﻭﺘﻭﺼﻴﻑ،‬ ‫ﺒﺘﺼﻨﻴﻑ،‬ ‫ﻭﺫﻟﻙ‬	‫ﺍﻟﺘﺤﻠﻴﻠﻲ،‬ ‫ﺍﻟﻭﺼﻔﻲ‬ ‫ﺍﻟﻤﻨﻬﺞ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻫﺫﺍ‬ ‫ﻴﺘﺒﻊ‬	‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻨﻬﺞ‬ :
					‫ﺍﻻﻋﻤ‬ ‫ﺒﺎﻟﻔﺭﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﺒﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻨﻅﻡ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺎﺌﻤﺔ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺎل‬ .
									:	‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﺼﻁﻠﺤﺎﺕ‬
	" : ‫ﻭﺭﺍﺀﻩ‬ ‫ﻤﺎ‬ ‫ﻓﻅﻬﺭ‬ ‫ﺭﻕ،‬ ."	‫ﺒﻤﻌﻨﻰ‬ ‫ﺍﻟﻤﻌﺠﻡ‬ ‫ﻓﻲ‬ ‫ﺸﻔﺎﻓﻴﺔ‬ ‫ﻜﻠﻤﺔ‬ ‫ﻭﺭﺩﺕ‬	Transparence :	‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬
	‫ﺘﻔﺎﺼﻴل؛‬ ‫ﻤﻥ‬ ‫ﺨﻠﻔﻬﺎ‬ ‫ﻤﺎ‬ ‫ﻭﺭﺅﻴﺔ‬ ‫ﺍﻟﻀﻭﺀ،‬ ‫ﻨﻔﺎﺫ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﻗﺩﺭﺓ‬ ‫ﺒﻬﺎ‬ ‫ﻭﻴﻘﺼﺩ‬	،	(	: ٣٩٤	) ‫ﻤﻌﻠﻭﻑ،‬ ١٩٨٦ ‫ﻡ‬
									‫ﻡ،‬ ٧١ .(	‫ﺃﺒﻭﺯﻴﺩ،‬ ٢٠٠١	)	‫ﻨﻘﺎﺀ‬ ‫ﻤﻥ‬ ‫ﺒﻪ‬ ‫ﺘﺘﻤﻴﺯ‬ ‫ﻟﻤﺎ‬ ‫ﻨﺘﻴﺠﺔ‬
		‫ﺍﻷﺴﻁﺢ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﺘﺘﺤﻘﻕ‬ ‫ﻭﺨﺎﻤﺎﺕ‬ ‫ﺃﺩﺍﺀ‬ ‫ﺒﻁﺭﻴﻘﺔ‬ ‫ﺍﻟﻤﻨﺴﻭﺝ،‬ ‫ﺍﻟﺴﻁﺢ‬	:	‫ﺒﺄﻨﻬﺎ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫‪‬ﺭﻑ‬ ‫ﻭﺘﻌ‬
	‫ﺍﻟﻤﻭﺍﺭﻴﺔ‬ ‫ﻟﻸﺸﻴﺎﺀ‬ ‫ﺍﻟﻨﻘﻲ‬ ‫ﺍﻟﻁﺒﻴﻌﻲ‬ ‫ﺍﻟﻤﻌﺩل‬ ‫ﻋﻥ‬ ‫ﻴﻘل‬ ‫ﺒﻤﻌﺩل‬ ‫ﺍﻟﺭﺅﻴﺔ،‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﻴﻨﻔﺫ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺸﻔﺎﻓﺔ،‬ ‫ﺍﻟﻨﺼﻑ‬
	‫ﺇﺒﺭﺍﻫﻴﻡ،‬	) .	‫ﻟﻸﺸﻴﺎﺀ‬ ‫ﺍﻟﺭﺅﻴﺔ‬ ‫ﻨﻔﺎﺫ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﺩﺭﺓ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﺘﺘﻔﺎﻭﺕ‬	‫ﺩﺭﺠﺎﺕ‬ ‫ﻭﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻷﺴﻁﺢ،‬ ‫ﺨﻠﻑ‬
									.(	: ١٥	‫ﻡ‬	٢٠٠٤
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٢	-

‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  
	.	‫ﺸﺎﻏل‬ ‫ﻴﺸﻐﻠﻪ‬ ‫ﻻ‬ ‫ﺍﻤﺘﺩﺍﺩ‬ ‫ﺃﻱ‬	" : ‫ﻤﺎﺩﺓ‬ ‫ﺒﻼ‬ ‫ﺤﻴﺯ‬ "	‫ﺒﺄﻨﻪ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫‪‬ﻌﺭﻑ‬ ‫ﻴ‬	:	Space	‫ﺍﻟﻔﺭﺍﻍ‬
									.	(	، ١٢٧٩	‫ﻡ‬	، ١٩٦٥	) ‫ﻏﺭﺒﺎل‬
	" ‫ﺃﻱ‬ ‫ﺍﻟﺜﻼﺜﺔ‬ ‫ﺒﺄﺒﻌﺎﺩﻩ‬ ‫ﺘﺸﻜﻴﻠﻲ‬ ‫ﻓﻨﻲ‬ ‫ﺍﺘﺠﺎﻩ‬ ‫ﻋﻠﻰ‬ ‫ُﻁﻠﻕ‬ ‫ﺃ‬ ‫ﺍﺼﻁﻼﺡ‬	Constructivism :	‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬
	‫ﻤﺠﺴﻤ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺃﻥ‬ ‫ﻟﺘﺴﺎﻋﺩ‬ ‫ﺃﺨﺭﻯ‬ ‫ﺨﺎﻤﺎﺕ‬ ‫ﺒﺈﻀﺎﻓﺔ‬ ‫ﻴﺘﻡ‬ ‫ﺃﻥ‬ ‫ﻭﻴﻤﻜﻥ‬ ‫ﻫﻴﺌﺘﻪ،‬ ‫ﻓﻲ‬ ‫ﹰ‬ ‫ﺎ‬
									.(	: ٦٢	‫ﻡ‬	‫ﺍﻟﺸﺎل،‬ ١٩٨٤	)".	‫ﺍﻟﺘﺼﻤﻴﻡ‬
									‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻔﻬﻭﻡ‬ :
	) ‫ﻤﻜﺎﻭﻱ،‬	‫ﻭﺘﺫﻜﺭ‬		،	(	: ١١٤	‫ﻡ‬	٢٠٠٦	) ‫ﻏﻭﻟﻲ،‬
									" (	: ٨٢	‫ﻡ‬	٢٠١١
				(	) ٢	‫رﻗﻢ‬ ‫ﺷﻜﻞ‬
	‫ﻧﺴﺠﻲ‬ ‫ﻋﻤﻞ‬ ‫ﻓﻲ‬ ‫واﻟﺘﺮاﻛﺐ‬ ‫اﻟﻔﺮاغ‬ ‫ﺧﻼل‬ ‫ﻣﻦ‬ ‫اﻟﺸﻔﺎﻓﻴﺔ‬
			‫إﺑﺮاﻫﻴﻢ‬ ‫ﻣﻴﺮﻓﺖ‬ ‫ﻟﻠﻔﻨﺎﻧﺔ‬ ‫ﺑﻨﺎﺋﻲ‬
			‫م،‬ ١٧٨ (	٢٠٠٢	‫إﺑﺮاﻫﻴﻢ،‬	)
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٣	-

‫ﻓﻲ‬ ‫ﺍﻟﻤﻔﻬﻭﻡ‬ ‫ﻫﺫﺍ‬ ‫ﺍﺭﺘﺒﻁ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﻌﺸﺭﻴﻥ،‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺒﺭﺯﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻬﻤﺔ‬ ‫ﺍﻟﻤﻔﺎﻫﻴﻡ‬ ‫ﺃﺤﺩ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫‪‬ﻌﺩ‬ ‫ﻴ‬ ‫ﻭﺍﻟﺴﻴﺎﺴﻴﺔ،‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ،‬ ‫ﻭﻤﻔﺎﻫﻴﻤﻬﺎ‬ ‫ﻟﻠﺤﻀﺎﺭﺍﺕ،‬ ‫ﺍﻟﻔﻜﺭﻱ‬ ‫ﺒﺎﻟﺘﻁﻭﺭ‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻟﻠﺘﻁﻭﺭ‬ ‫ﺇﻀﺎﻓﺔ‬ ‫ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ،‬ ‫ﻟﺘﺤﻘﻴﻘﻪ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﺁﻟﻴﺎﺕ‬ ‫ﺍﻜﺘﺸﺎﻑ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺘﻘﻨﻲ‬ ‫ﺍﻟﻤﺎﺩﻱ،‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﺍﻟﻘﻴﻡ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺘﺤﺩﺙ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻔﺭﺍﻍ،‬ ‫‪‬ﺤﺩﺜﻬﺎ‬ ‫ﻴ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻤﺎ‬ ‫ﹸﻬﻭﺭ‬ ‫ﻭﻅ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﺭﻗﺔ‬ ‫ﺘﻌﻨﻲ‬ ‫ﻭﻫﻲ‬ ‫ﺍﻟﻨ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﺯﻥ‬ ‫ﺒﺨﻔﺔ‬ ‫ﹰ‬ ‫ﺇﺤﺴﺎﺴﺎ‬ ‫ﹸﻌﻁﻲ‬ ‫ﺘ‬ ‫ﻓﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺨﻠﻔﻪ،‬ ‫ﺴﺠﻲ‬ ‫ﹰ‬ ‫ﺃﺤﻴﺎﻨﺎ‬ ‫ﺤﺠﻤﻪ‬ ‫ﻀﺨﺎﻤﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﻏﻡ‬ ‫ﻋﻠﻰ‬ ." ‫ﺍﻟﺠﺴﻡ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﺨﻭﺍﺹ‬ ‫ﺇﺤﺩﻯ‬ ‫ﻓﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻟﻠﻀﻭﺀ‬ ‫ﹰﺍ‬ ‫ﹸﻔﺫ‬ ‫ﻤﻨ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ، ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬ " ‫ﺤﺎﻻﺕ‬ ‫ﻤﻥ‬ ‫ﺤﺎﻟﺔ‬ ‫ﻭﺇﻨﻤﺎ‬ ‫ﹰ،‬ ‫ﺘﻤﺎﻤﺎ‬ ‫ﺍﻟﺨﻠﻔﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻓﻴﻬﺎ‬ ‫ﺘﺨﺘﻔﻲ‬ ‫ﻻ‬ ‫ﺍﻟﺘﺭﺍﻜﺏ‬ 
‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  ‫ﻟﺘﻁ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﺃﻨﻭﺍﻋﻬﺎ؛‬ ‫ﺒﻤﺨﺘﻠﻑ‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﺘﻁﻭﺭﺕ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻥ‬ ‫ﺘﺄﺜﺭ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﺠﻤﺎﻟﻴﺔ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ،‬ ‫ﺍﻷﺒﺤﺎﺙ‬ ‫ﻭﺭ‬ ‫ﻨﺴﺠﻴﺔ‬ ‫ﹰ‬ ‫ﺃﻋﻤﺎﻻ‬ ‫ﻴﻘﺩﻤﻭﺍ‬ ‫ﺃﻥ‬ ‫ﻭﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﺤﺩﻴﺙ،‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﺃﺴﺘﻁﺎﻉ‬ ‫ﺤﻴﺙ‬ ‫ﻤﻠﺤﻭﻅ‬ ‫ﺒﺸﻜل‬ ‫ﻭﺘﻁﻭﺭ‬ ‫ﺒﻬﺎ‬ ‫ﺍﻟﺠﺩﻴﺩ‬ ‫ﻭﺍﻗﻌﻬﺎ‬ ‫ﺨﻼل‬ ‫ﺍﻟﻤﺸﺎﻫﺩ‬ ‫ﺍﻨﺘﺒﺎﻩ‬ ‫ﻋﻠﻰ‬ ‫ﺍﺴﺘﺤﻭﺫﺕ‬ ‫ُﻁﺭ‬ ‫ﺃ‬ ‫ﻓﻲ‬ ‫ﺼﻴﻐﺕ‬ ) . 


		‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬
										‫ﺃﻀﻌﻑ‬ ‫ﺒﺼﻭﺭﺓ‬ ‫ﺘﻅﻬﺭ‬ . ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﺤﺩﻴﺙ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻤﻨﺴﻭﺠﺎﺕ‬ :
	‫ﻓﺎﻟﻤ‬ ‫ﺍﻟﺘﻨﻭﻉ،‬ ‫ﺇﻀﺎﻓﺔ‬ ‫ﻋﻭﺍﻤل‬ ‫ﻤﻥ‬ ‫ﻋﺎﻤل‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﹸﻌﺩ‬ ‫ﻭﺘ‬ ‫ﺼﻔﺎﺕ‬ ‫ﺒﻴﻥ‬ ‫ﺠﻤﻌﺕ‬ ‫ﻭﻗﺩ‬ ‫ﺘﻅﻬﺭ‬ ‫ﺍﻟﻤﺘﺭﺍﻜﺒﺔ‬ ‫ﻨﺎﻁﻕ‬
	‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺍﻟﺫﻱ‬	) ٢ (	‫ﺭﻗﻡ‬ ‫ﺍﻟﺸﻜل‬ ‫ﻓﻲ‬ ‫ﻜﻤﺎ‬	٥٧ (	‫ﻡ‬ :	٢٠١٤	‫ﻭﺍﻟﻤﻠﻤﺴﻴﺔ‬ ‫ﺍﻟﻠﻭﻨﻴﺔ‬ ‫ﺍﻟﻌﻨﺼﺭﻴﻥ‬ ) " ‫ﻋﺎﺭﻑ،‬
	‫ﺍﻟﺘﺭﺍﻜﺏ‬ ‫ﻭﺤﺎﻟﺔ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ . ‫ﻭﺤﺴﻴﺔ،‬ ‫ﻓﻜﺭﻴﺔ،‬ ‫ﺍ‬ ‫ﺃﺒﻌﺎﺩ‬ ‫ﺍﻜﺘﺴﺒﺕ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺃﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻭﺘﺭﻯ‬ ‫ﺇﺒﺭﺍﻫﻴﻡ،‬ ٢٠٠٤ ‫ﻡ‬ : ٤٧ .(
	‫ﻭﺠﻤﺎﻟﻴﺔ‬ ‫ﺤ‬ ‫ﺃﺒﻌﺎﺩ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻜﺘﺴﺒﺕ‬ ‫ﺍﻟﺘﻁﻭﺭ‬ ‫ﻫﺫﺍ‬ ‫ﻭﻤﻊ‬ ‫ﻓﺄﻀﺤﺕ‬ ‫ﺍﻟﻔﻨﺎﻨﻴﻥ؛‬ ‫ﺘﻨﺎﻭﻟﻬﺎ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻭﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﺘﻘﻨﻴﺎﺕ،‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻓﻲ‬ ‫ﻟﻠﺘﻨﻭﻉ‬ ‫ﺠﺩﻴﺩﺓ؛‬ ‫ﺴﻴﺔ،‬
										‫ﺍﻟﻤﺤﻴﻁ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻤﻊ‬ ‫ﹰ‬ ‫ﺘﻨﺎﻏﻤﺎ‬ ‫ﺃﻜﺜﺭ‬ ‫ﺍﻟﺸﻔﺎﻓﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ‫ﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﻭﺴﺎﺌﻁﻬﺎ‬ ‫ﺒﺘﻌﺩﺩ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻭﺠﻤﺎﻟﻴﺔ‬ .
	‫ﺃﻨﻬﺎ‬ ‫ﺤﻴﺙ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ،‬ ‫ﺍﻟﻤﺎﺩﻴﺔ‬ ‫ﻭﺃﻨﻭﺍﻋﻬﺎ‬ ‫ﺃﺸﻜﺎﻟﻬﺎ،‬ ‫ﺒﻤﺨﺘﻠﻑ‬ ‫ﺍﻟﻔﻀﺎﺀﺍﺕ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺘﻭﺍﺼل‬ ‫ﺃﺩﺍﺓ‬ ‫ﻓﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺩﻭﻤﺔ،‬ ‫ﺃﺒﻭ‬ ) ٢٠١١ ‫ﻡ‬ : ٥٧ ( " ‫ﻓﻲ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﺍﺴﺘﻐﻨﻰ‬ ‫ﺤﻴﺙ‬
	‫ﻓﻲ‬ ‫ﻭﺍﻟﻀﻭﺀ‬ ‫ﺍﻟﺤﻴﺎﺓ‬ ‫ﺘﺒﻌﺙ‬ ‫ﻭﺍﻟﻭﺍﻗﻌﻲ‬ ‫ﺍﻟﺘﻌﺒﻴﺭﻱ،‬ ‫ﺍﻷﺴﻠﻭﺏ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﺘﻌﻤل‬ ‫ﺃﻱ‬ ،‫ﺎ‬ ‫ﻤﻌ‬ ‫ﻭﺨﺎﺭﺠﻬﺎ‬ ‫ﺒﺩﺍﺨﻠﻬﺎ‬ ‫ﻤﺎ‬ ‫ﺘﻭﺍﺼل‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﻐﻠﻘﺔ،‬ ‫ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺍﻟﺒﻴﺌﺔ‬
	) ‫ﻏﻭﻟﻲ،‬	‫ﺫﻟﻙ‬ ‫ﻭﻴﺅﻜﺩ‬ ،	(	: ٥	‫ﻡ‬	‫ﺍﻟﺒﻐﺩﺍﺩﻱ،‬ ٢٠٠٤	‫ﻭﺒﺎﻟﻌﻜﺱ‬ ‫ﺍﻟﺩﺍﺨل‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺨﺎﺭﺝ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺸﺎﻫﺩ‬ ‫ﻨﻘل‬ ‫ﻋﻠﻰ‬ ) ‫ﻓﻲ‬ ‫ﺍﻟﻅﺎﻫﺭﻴﺔ‬ ‫ﺍﻷﺸﻜﺎل‬ ‫ﺘﺤﻁﻴﻡ‬ ‫ﺇﻟﻰ‬ ‫ﻭﺴﻌﻰ‬ ‫ﻟﻠﻨﺴﻴﺞ‬
	٢٠٠٦ ‫ﺍﻟﻤﻌﻨﻰ‬ ‫ﺇﻟﻰ‬ ‫ﻟﻴﺼل‬ ‫ﻡ‬ : ١١٦ ( ‫ﺤﻴﺙ‬ ‫ﺍﻟﺸﻜﻠﻲ‬ ‫ﺍﻟﺠﻭﻫﺭ‬ ‫ﻋﻥ‬ ‫ﻴﻜﺸﻑ‬ ‫ﺃﻥ‬ ‫ﺃﺠل‬ ‫ﻤﻥ‬ ‫ﺍﻷﻋﻤﺎل‬ " ‫ﺍﻵﺨﺭ؛‬ ‫ﺒﻌﺩ‬ ‫ﺍﻟﻭﺍﺤﺩ‬ ‫ﺍﻟﻤﺸﺎﻫﺩ‬ ‫ﻴﺩﺭﻜﻬﺎ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻌﺎﻨﻲ،‬ ‫ﺘﻌﺩﺩﻴﺔ‬ ‫ﺘﻭﻓﺭ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻤﺎﺩﻴﺔ،‬ ‫ﺍﻟﻔﻀﺎﺀﺍﺕ‬ ‫ﺒﻴﻥ‬ ‫ﻭﻤﺎ‬ ‫ﻭﺍﻟﺨﺎﺭﺝ‬ ‫ﺍﻟﺩﺍﺨل،‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﻭﺍﻟﺘﻭﺍﺼل‬ ‫ﺍﻟﻜﺎﻤل،‬ ‫رﻗﻢ‬ ‫ﺷﻜﻞ‬ ) ٣ ( ‫ﺑﻨﺎﺋﻲ‬ ‫ﻧﺴﺠﻲ‬ ‫ﻋﻤﻞ‬ ‫ﻟﻠﻔﻨﺎﻧﺔ‬ " ‫ﺠﺎﻗﻴﻭ‬ ‫ﺍﻟﺴﻲ‬ ) ‫ﻋﻁﻴﺔ،‬ ٢٠٠٠ ‫ﻡ‬ : ١٢ ( ، ‫ﺍﻟﻨﺴ‬ ‫ﻓﻥ‬ ‫ﺘﺄﺜﺭ‬ ‫ﻓﻘﺩ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﻴﺞ‬
	‫ﻭﺍﻟﺘﻌﺒﻴﺭﻴﺔ‬ ." ‫ﺘﺸﻜﻴﻠﻬﺎ،‬ ‫ﻓﻲ‬ ‫ﺘﺨﻀﻊ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﹰﺎ،‬ ‫ﺤﺩﻴﺜ‬ ‫ﻅﻬﺭﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺨﺎﻤﺎﺕ‬ ‫ﻭ‬ ‫ﻭﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﺘﻘﻨﻴﺎﺕ،‬ ‫ﺒﻤﺨﺘﻠﻑ‬
	‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺒﺘﺤﻘﻴﻕ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ،‬ ‫‪‬ﺼﻭﺭ‬ ‫ﺍﻟﻌ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﺃﻫﺘﻡ‬ ‫ﻓﻘﺩ‬ ‫ﺍﻟﻌﺼﻭﺭ،‬ ‫ﺃﻗﺩﻡ‬ ‫ﻤﻨﺫ‬ ‫ﺒﻭﻀﻭﺡ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻭﻗﺩ‬ ‫ﻤﻀﺎﻤﻴﻥ،‬ ‫ﺘﺤﻭﻱ‬ ‫ﺒﺤﻴﺙ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ،‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﻭﻓﻠﺴﻔﺔ‬ ‫ﻓﻜﺭ،‬ ‫ﺇﻟﻰ‬ ‫ﻭﺘﺼﻤﻴﻤﻬﺎ‬ ‫ﺘﻌﺎﻟﺞ‬ ‫ﻓﻜﺭﻴﺔ،‬ ‫ﻭﻓﻠﺴﻔﺎﺕ‬
	‫ﺍﻟﻁﺒﻴ‬ ‫ﻤﺜﻠﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺒﺎﻟﻤﻌﺎﻨﻲ‬ ‫‪‬ﺤﻤل‬ ‫ﻤ‬ ‫ﺒﻔﻜﺭ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﺍﺴﺘﻁﺎﻉ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ،‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻤﺠﺎﻻﺕ‬ ‫ﻤﻌﻅﻡ‬ ‫ﻌﺔ‬ ‫ﺤﻴﺙ‬ ‫ﻤﺠﺘﻤﻌﻴﺔ،‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺃﻭ‬ ‫ﻓﻜﺭﺓ،‬ ‫ﺨﺎﺼﺔ‬ ‫ﻭﻓﻨﻴﺔ،‬ ‫ﺘﻌﺒﻴﺭﻴﺔ‬ ‫ﺃﺒﻌﺎﺩ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﺇﻟﻰ‬ ‫‪‬ﻌﺎﺼﺭ‬ ‫ﺍﻟﻤ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﻴﺴﻌﻰ‬
	‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﻨﻴﺔ،‬ ‫ﺍﻟﺘﻌﺒﻴﺭﺍﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﺼﻴﺎﻏﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻅﺎﻫﺭﺓ‬ ‫ﺘﻠﻙ‬ ‫ﻤﻥ‬ ‫ﻴﺴﺘﻔﻴﺩ‬ ‫ﺃﻥ‬ ‫ﻜﺎﻟﺸﻔﺎﻓﻴﺔ،‬ ‫ﺍﻟﻤﺘﻌﺩﺩﺓ‬ ‫ﺒﻅﻭﺍﻫﺭﻫﺎ‬ ‫ﻤ‬ ‫‪‬ﺩﻋﻡ‬ ‫ﻴ‬ ‫ﺸﻔﺎﻑ،‬ ‫ﺒﺄﺴﻠﻭﺏ‬ ‫ﺍﻹﻨﺴﺎﻨﻴﺔ‬ ‫ﺍﻟﻤﻭﻀﻭﻋﺎﺕ‬ ‫ﺘﺼﻭﻴﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺘﻘﻭﻡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺨﻼل‬ ‫ﻥ‬
	‫ﺍﻟﻌﺼﻭﺭ‬ ‫ﻤﺭ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺤﻀﺎﺭﺍﺕ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﻲ،‬ ‫ﺍﻟﻔﻠﺴﻔﻲ،‬ ‫ﺍﻟﻤﻀﻤﻭﻥ‬ ‫ﺘﻌﻜﺱ‬ ‫ﻗﻴﻡ‬ ‫ﺘﻌﻜﺴﻬﺎ‬ ‫ﺍﺨﺭﻯ‬ ‫ﻭﺘﻌﺒﻴﺭﺍﺕ‬ ‫ﻭﻏﻤﻭﺽ‬ ‫ﺇﻴﺤﺎﺀﺍﺕ،‬ ‫ﺘﺤﻤل‬ ‫ﻭﺭﻤﺯﻴﺔ‬ ‫ﻤﺠﺎﺯﻴﺔ‬ ‫ﺒﺼﻭﺭ‬ ‫ﺍﻹﺤﺴﺎﺱ‬ ) . ‫ﻋﻴﺴﻰ،‬ ٢٠٠٦ ‫ﻡ‬ : ٢ (
	‫ﻡ‬ ‫ﻡ‬	٢٠١٨ ٢٠١٨	‫ﻳﻮﻟﻴﻮ‬ ‫ﻳﻮﻟﻴﻮ‬	--	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	--	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٤ ‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٥	--	‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  
	‫ﻗﺎﺌﻡ‬ ‫ﺒﻨﺎﺌﻲ‬ ‫ﻤﻌﺎﺼﺭ‬ ‫ﻨﺴﺠﻲ‬ ‫ﻋﻤل‬ ‫ﻴﻭﻀﺢ‬	) ٣ (	‫ﺭﻗﻡ‬ ‫ﺍﻟﺸﻜل‬	‫ﻭ‬	،	(	: ٤	‫ﻡ‬	) . ‫ﻴﻭﺴﻑ،‬ ٢٠١١	‫ﻭﺍﻟﻔﺭﺍﻍ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬
					.	Elsi Giaugue		‫ﺠﺎﻗﻴﻭ‬ ‫ﺍﻟﺴﻲ‬	‫ﻟﻠﻔﻨﺎﻨﺔ‬	‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬	‫ﻤﻥ‬ ‫ﺒﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻨﻅﻡ‬ ‫ﻋﻠﻰ‬
		‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺤﺼﻭل‬ ‫ﻨﻅﻡ‬ :
	‫ﻤﻨﻬﺎ‬ ‫ﻭﺴﺎﺌل،‬ ‫ﻋﺩﺓ‬ ‫ﻁﺭﻴﻕ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺩﺍﺨل‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻭﺘﺤﻘﻴﻕ‬ ‫ﺘﺄﺜﻴﺭ‬ ‫ﺇﺤﺩﺍﺙ‬ ‫ﻴﻤﻜﻥ‬
	‫ﻤﻥ‬ ‫ﺘﺤﻘﻴﻘﻪ‬ ‫‪‬ﻤﻜﻥ‬ ‫ﻴ‬	‫ﻤﺎ‬ ‫ﻭﻤﻨﻬﺎ‬ ‫ﻭﺍﻟﻀﻭﺀ،‬ ‫ﻜﺎﻟﻠﻭﻥ‬ ‫ﺍﻟﺘﺼﻤﻴﻡ‬ ‫ﻋﻨﺎﺼﺭ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺘﺤﻘﻴﻘﻬﺎ‬ ‫‪‬ﻤﻜﻥ‬ ‫ﻴ‬ ‫ﺍﻟﺘﻲ‬
	‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﻟﻠﺴﻁﺢ‬ ‫ﺍﻟﺭﺅﻴﺔ‬ ‫ﻭﺍﺯﺩﻭﺍﺠﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻲ،‬ ‫ﺍﻟﺴﻁﺢ‬ ‫ﻤﺴﺘﻭﻴﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﺭﺍﻜﺏ‬ ‫ﺨﻼل‬
	‫ﻜﺎﻟﺨﺎﻤﺎﺕ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻭﺴﺎﺌﻁ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺒﻭﺍﺴﻁﺔ‬ ‫ﺘﺤﻘﻴﻘﻪ‬ ‫‪‬ﻤﻜﻥ‬ ‫ﻴ‬ ‫ﻤﺎ‬ ‫ﻭﻤﻨﻬﺎ‬ ‫ﺍﻟﻤﺸﺎﻫﺩ،‬ ‫ﺤﺭﻜﺔ‬
	‫ﺗﺮاﻛﺐ‬ ‫ﻣﻦ‬ ‫اﻟﻨﺎﺗﺠﺔ‬ ‫اﻟﺸﻔﺎﻓﻴﺔ‬	) ٤ (	‫ﺭﻗﻡ‬ ‫ﺸﻜل‬	
		‫ﻧﺴﺠﻲ‬ ‫ﺳﻄﺢ‬ ‫ﻣﻦ‬ ‫أﻛﺜﺮ‬			
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٦	-

‫ﺍﻟﺸﻔﺎﻓﻴ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺠﺎﻨﺏ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ،‬ ‫ﻭﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﺔ‬ ‫ﺍﻟﻨﺴﺠﻲ،‬ ‫ﺍﻟﺴﻁﺢ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺭﺍﻜﺏ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺤﺼﻭل‬ ‫ﻨﻅﻡ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﺘﺘﻨﺎﻭل‬ ‫ﻭﺴﻭﻑ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻨﺎﻨﻲ‬ ‫ﺃﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﻗﺼﻭﻯ‬ ‫ﺃﻫﻤﻴﺔ‬ ‫ﻤﻥ‬ ‫ﻟﺫﻟﻙ‬ ‫ﻟﻤﺎ‬ ‫ﻭﺍﻟﻔﺭﺍﻍ؛‬ .١ - 
‫ﺍﻟﺘﺭﺍﻜﺏ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺤﻘﻴﻕ‬ :

  
			‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﺍﳌﻌﺎﺻﺮ‬
	‫ﺍﻷﺠﺯﺍﺀ‬ ‫ﺘﻠﻙ‬ ‫ﺸﻭﻫﺩﺕ‬ ‫ﺇﺫﺍ‬ ‫ﻋﻤﺎ‬ ‫ﹰﺎ‬ ‫ﻤﺨﺘﻠﻔ‬ ‫ﺍ‬ ‫ﻤﻤﻴﺯ‬ ‫ﹰﺎ‬ ‫ﻜﻴﺎﻨ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺘﻜﺴﺏ‬ ‫ﻗﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺒﻭﺍﺴﻁﺔ‬
	( ‫ﺘﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺘﻌﺘﻤﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﺭﺅﻴﺔ‬ ، ‫ﺍﻜﺏ‬	) ٤	‫ﺭﻗﻡ‬ ‫ﺍﻟﺸﻜل‬ ‫ﻓﻲ‬ ‫ﻜﻤﺎ‬ ‫ﻤﺴﺘﻘﻠﺔ،‬ ‫ﺒﺼﻭﺭﺓ‬
	‫ﻭﻀﻭﺡ‬ ‫ﺇﻟﻰ‬ ‫ﻴﺅﺩﻱ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻟﻤﺴﺘﻭﻴﺎﺕ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺒﻌﺩ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻘﺭﺏ‬ ‫ﻤﻥ‬ ‫ﺒﻴﻨﻬﻤﺎ‬ ‫ﻭﻤﺎ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ،‬ ‫ﺍﺴﻁﺤﻬﺎ‬
	.	‫ﺍﻟﻭﺍﺤﺩ‬ ‫ﻟﻠﻭﻥ‬ ‫ﺩﺭﺠﺎﺕ‬ ‫ﻋﺩﺓ‬ ‫ﻴﻌﻁﻲ‬ ‫ﺃﺨﺭﻯ‬ ‫ﹰ‬ ‫ﻭﺃﺤﻴﺎﻨﺎ‬ ‫ﺍﻟﺒﻌﺽ‬ ‫ﺒﻌﻀﻬﺎ‬ ‫ﻤﻊ‬ ‫ﻭﺍﻤﺘﺯﺍﺠﻬﺎ‬ ‫ﺍﻷﻟﻭﺍﻥ،‬
										(	: ٨٣	‫ﻡ‬	‫ﻤﻜﺎﻭﻱ،‬ ٢٠١١	)
	‫ﻭﺃﺴﺎﻟﻴﺏ‬ ‫ﻕ‬	‫ﻁﺭ‬ ‫ﺘﻨﻭﻋﺕ‬ ‫ﻭﻗﺩ‬ ‫ﺸﻔﺎﻓﺔ،‬ ‫ﻨﺼﻑ‬ ‫ﺃﻭ‬ ‫ﺸﻔﺎﻓﺔ‬ ‫ﺨﺎﻤﺔ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻴﺘﻡ‬ ‫ﺍﻟﺸﻔﺎﻑ‬ ‫ﻓﺎﻟﺘﺭﺍﻜﺏ‬
	‫ﻋﻠﻰ‬ ‫ﻭﻗﺩﺭﺘﻪ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ،‬ ‫ﻟﻘﻴﻤﺔ‬ ‫ﺼﻴﺎﻏﺘﻪ‬ ‫ﻓﻲ‬ ‫ﺒﻤﻬﺎﺭﺍﺘﻪ‬ ‫ﺘﺄﺜﺭﺕ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﻔﻨﺎﻨﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻜﺜﻴﺭ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬
	‫ﻭﺘﻨﻭﻉ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ،‬ ‫ﺃﺸﻜﺎل‬ ‫ﻓﻲ‬ ‫ﺘﻨﻭﻉ‬ ‫ﺇﻟﻰ‬ ‫ﺃﺩﻯ‬ ‫ﻤﻤﺎ‬ ‫ﺍﻟﻔﻜﺭﻴﺔ؛‬ ‫ﻻﺘﺠﺎﻫﺎﺘﻬﻡ‬ ‫ﹰﺎ‬ ‫ﻭﻓﻘ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﺘﻭﻅﻴﻔﻬﺎ‬
	‫ﺘﻨﺘﺞ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﺃﺴﻁﺢ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬	‫ﺃﻥ‬ ‫ﺤﻴﺙ‬	،	(	: ١٠٦	٢٠١٤ ‫ﻡ‬	) ‫ﻋﺎﺭﻑ،‬	‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻋﻥ‬ ‫ﻟﻠﺘﻌﺒﻴﺭ‬ ‫ﻤﺨﺘﻠﻔﺔ‬ ‫ﻭﺴﺎﺌﻁ‬
	‫ﺍﻟﺨﺎﻤﺔ‬ ‫ﺍﻟﺴﻁﺤﻴﺔ‬ ‫ﺨﺼﺎﺌﺹ‬ ‫ﻋﻠﻰ‬ ‫ﺘﻌﺘﻤﺩ‬ ‫ﻟﻬﺎ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﻭﺍﻟﺘﺩﺍﺨﻼﺕ‬ ‫ﺍﻟﻠﻭﻨﻴﺔ‬ ‫ﺍﻟﻤﺴﺎﺤﺎﺕ‬ ‫ﺘﺭﺍﻜﺏ‬ ‫ﻁﺭﻴﻕ‬ ‫ﻋﻥ‬
						: ٨٧ (	‫ﻡ‬	). ‫ﻤﺤﻤﺩ،‬ ٢٠١٣	‫ﺍﻟﺭﺍﺌﻲ‬ ‫ﻭﻤﺩﺭﻜﺎﺕ‬ ‫ﻟﻤﺸﺎﻋﺭ‬ ‫ﺴﻁﺤﻬﺎ‬ ‫ﺇﺜﺎﺭﺓ‬ ‫ﻭﻤﺩﻯ‬ ‫ﻭﺸﻔﺎﻓﻴﺘﻬﺎ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ،‬
										:	‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺤﻘﻴﻕ‬	-	٢
	‫ﺍ‬ ‫ﺃﺤﺩ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻴﻌﺩ‬ ‫ﺍﻟﺩﺍﺨﻠﻴﺔ‬ ‫ﺍﻷﺠﺯﺍﺀ‬ ‫ﺇﺩﺭﺍﻙ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻟﻌﻨﺎﺼﺭ‬
	‫ﺍﻟﻤﺴﺘﻭﻴﺎﺕ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺘﺤﻘﻕ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻟﻸﻋﻤﺎل‬ ‫ﻭﺍﻟﺨﺎﺭﺠﻴﺔ‬ ) ‫ﺍﺒﺭﺍﻫﻴﻡ،‬ ٢٠٠٢ ‫ﻡ‬ : ١٧ ( " ‫ﺠﺯﺀ‬ ‫ﺃﻨﻪ‬ ‫ﺒﻤﻌﻨﻰ‬ ‫ﺫﺍﺘﻪ،‬ ‫ﻓﻲ‬ ‫ﻤﺎﺩﺓ‬ ‫ﻓﺎﻟﻔﺭﺍﻍ‬
	‫ﺍﻟﻤﺘﺭﺍﻜﺒﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﻗﻭﺓ‬ ‫ﻜﺎﻥ‬ ‫ﻟﻭ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﺒﻌﺽ،‬ ‫ﺒﺒﻌﻀﻬﺎ‬ ‫ﺍﻟﺤﺠﻭﻡ‬ ‫ﻭﺼل‬ ‫ﻋﻠﻰ‬ ‫ﻗﺩﺭﺓ‬ ‫ﻟﻪ‬ ‫ﻋﻨﺼﺭ‬ ‫ﻭﻫﻭ‬ ‫ﻟﻠﺸﻜل،‬ ‫ﺘﺭﻜﻴﺒﻲ‬ ) ‫ﻋﺎﺭﻑ،‬ ٢٠١٤ ‫ﻡ‬ : ١٠٧ ( ‫ﺤﻴﺙ‬ ،
	‫ﻡ‬	١٩٨٦	،	‫ﺴﻁﺢ‬ ‫ﻤﻥ‬ ‫ﺃﻜﺜﺭ‬ ‫ﺘﺭﺍﻜﺏ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺘﺘﺤﻘﻕ‬ ‫ﺇﻴﺠﺎﺒﻲ‬ ‫ﻓﺎﻋل‬ ‫ﻋﻨﺼﺭ‬ ‫ﻓﻬﻭ‬ ‫ﻭﺼل،‬ ‫ﺤﻠﻘﺔ‬ ‫ﺃﻭ‬ ‫ﺭﺍﺒﻁﺔ‬ ‫ﺍﻟﺨﺼﻭﺹ‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ) ." Branham
										‫ﺍﻟﻤﺘﻭﺍﺭﻴﺔ‬ ‫ﺍﻟﺘﻔﺎﺼﻴل‬ ‫ﻜﺸﻑ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺒﺤﻴﺙ‬	‫ﻨﺴﺠﻲ،‬ : ١٤٠ (
	‫ﻡ‬	٢٠١٨	‫ﻳﻮﻟﻴﻮ‬	-	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٧	-	‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

  ‫ﺍﻷ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﺎ‬ ‫ﻫﺎﻤ‬ ‫ﹰ‬ ‫ﺩﻭﺭﺍ‬ ‫ﻴﻠﻌﺏ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺃﻥ‬ ‫ﻓﻘـﺩ‬ ‫ﺍﻟﻤﻌﺎﺼـﺭﺓ،‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﻋﻤﺎل‬ ‫ﻴﻘﺘﺼﺭ‬ ‫ﻻ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﺃﻥ‬ ‫ﺤﻴﺙ‬ ‫ﺒﻬﺎ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﺤﻠﻭل‬ ‫ﻤﻥ‬ ‫ﻟﻠﻌﺩﻴﺩ‬ ‫ﺍ‬ ‫ﻤﺤﻭﺭ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺇﻤﻜﺎﻨـﺎﺕ‬ ‫ﺨﻼﻟـﻪ‬ ‫ﻤﻥ‬ ‫ﻴﺘﺤﻘﻕ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ،‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻤﻥ‬ ‫ﻫﺎﻡ‬ ‫ﻋﻨﺼﺭ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺃﻥ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻭﺘﺭﻯ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﹰ‬ ‫ﻫﺎﻤﺎ‬ ‫ﹰ‬ ‫ﺩﻭﺭﺍ‬ ‫ﻟﻌﺏ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺃﻥ‬ ‫ﻨﺠﺩ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﺒﺩﺭﺍﺴﺔ‬ ، ‫ﻜﺎﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻋﺩﻴﺩﺓ‬ ‫ﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻋﻠ‬ ‫ﺍﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﺍﻟﻔﺭﺍﻏﺎﺕ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻤﻥ‬ ‫ﻨﻭﻉ‬ ‫ﻭﺘﺤﻘﻴﻕ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺘﻠﻙ‬ ‫ﻭﺘﺸﻜﻴل‬ ‫ﺍﻟﻨﺴـﺠﻲ‬ ‫ﺍﻟﺴـﻁﺢ‬ ‫ﻰ‬ ‫ﺃﺴﺎﺴﻲ‬ ‫ﻜﻌﻨﺼﺭ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻟﺘﺸﻜﻴل‬ ‫ﺍﺘﺠﺎﻫﺎﺕ‬ ‫ﻅﻬﺭﺕ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻵﺩﺍﺀ،‬ ‫ﻭﺃﺴﻠﻭﺏ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﻭﺍﻟﻨﺎﺘﺠﺔ‬ ‫ﹰ‬ ‫ﺩﻭﺭﺍ‬ ‫ﻟﻠﻔـﺭﺍﻍ‬ ‫ﺃﻥ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻔﻨﺎﻨﻭﻥ‬ ‫ﺃﻭﻀﺢ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ،‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺒﻨﺎﺀ‬ ‫ﻋﻤﻠﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟ‬ ‫ﻭﺍﻻﺘﺯﺍﻥ‬ ‫ﻭﺍﻹﻴﻘﺎﻉ‬ ‫ﻭﺍﻟﺘﺭﺍﺒﻁ‬ ‫ﻭﺍﻟﻭﺤﺩﺓ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ،‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﻓﻲ‬ ‫ﹰ‬ ‫ﻫﺎﻤﺎ‬ ‫ﺤﺭﻜﺔ‬ . ‫ﻤﺠ‬ ‫ﻓﻲ‬ ‫ﺎ‬ ‫ﺘﺎﻤ‬ ‫ﺎ‬ ‫ﺭﻓﻀ‬ ‫ﻟﻠﻭﺍﻗﻌﻴﺔ‬ ‫ﺭﻓﻀﻬﺎ‬ ‫ﻭﻫﻭ‬ ‫ﺍﻷﺴﺎﺱ‬ ‫ﻓﻲ‬ ‫ﺘﺘﻔﻕ‬ ‫ﺃﻨﻬﺎ‬ ‫ﺇﻻ‬ ‫ﺍﻟﺘﺴﻤﻴﺔ‬ ‫ﺤﻴﺙ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﻔﻥ،‬ ‫ﺎل‬ ‫ﺍﻟﺨﺎﻟﺹ‬ ‫ﺍﻟﺘﺸﻜﻴل‬ ‫ﻓﻥ‬ ‫ﺩﻋﺎﺌﻡ‬ ‫ﻹﺭﺴﺎﺀ‬ ‫ﻤﺤﺎﻭﻟﺔ‬ ‫ﻨﺤﻭ‬ ‫ﺎ‬ ‫ﻤﺘﺠﻬ‬ ‫ﺍﻟﻭﻗﺕ‬ ‫ﺫﻟﻙ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻜﺎﻥ‬ Pure Art ‫؛‬ ‫ﻴﺭﺘﺒﻁ‬ ‫ﻋﻤﺎ‬ ‫ﺍ‬ ‫ﻤﺒﺘﻌﺩ‬ ‫ﺍﻟﺘﺠﺭﻴﺩ‬ ‫ﻨﺤﻭ‬ ‫ﻭﻴﺘﺠﻪ‬ ‫ﺒﺎﻟﺩﻭﺍﻡ،‬ ‫ﻴﺘﺼﻑ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻤﻥ‬ ‫ﻨﻭﻉ‬ ‫ﺇﺒﺩﺍﻉ‬ ‫ﻓﻲ‬ ‫ﺭﻏﺒﺔ‬ ‫ﻭﺃﺴﺱ‬ ،‫ﺎ‬ ‫ﻨﻅﻤ‬ ‫ﺃﻭﺠﺩﺕ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻭﻤﻌﺎﻟﺠﺎﺕ‬ ‫ﻜﺼﻴﻎ‬ ‫ﻭﺍﻟﺘﺭﻜﻴﺏ‬ ‫ﺍﻟﺒﻨﺎﺀ،‬ ‫ﻋﻤﻠﻴﺎﺕ‬ ‫ﺃﻥ‬ ‫ﺇﻨ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﻭﻫﻴﺌﺘﻬﺎ‬ ‫ﺸﻜﻠﻬﺎ،‬ ‫ﻟﻬﺎ‬ ‫ﻭﻁﺒﻴﻌﺔ‬ ‫ﻨﻅﺎﻡ،‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻤﻥ‬ ‫ﺠﻌﻠﺕ‬ ‫ﺸﺎﺌﻴﺔ‬ . ‫ﻓﺎﻋﻠﻴﺔ،‬ ‫ﺍﻟﻌﻤل‬ ‫ﺃﻜﺴﺏ‬ ‫ﺎ‬ ‫ﺤﻘﻴﻘﻴ‬ ‫ﺍ‬ ‫‪‬ﻌﺩ‬ ‫ﺒ‬ ‫ﺒﻤﺜﺎﺒﺔ‬ ‫ﻜﺎﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﻋﻨﺼﺭ‬ ‫ﺃﻥ‬ ‫ﻴﺤﺘﻼ‬ ‫ﺃﻥ‬ ‫ﻴﺠﺏ‬ ‫ﻭﺍﻟﻌﻤﻕ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﻭﺃﻥ‬ ‫ﹰﺎ،‬ ‫ﻭﻤﻜﺎﻨ‬ ‫ﹰﺎ،‬ ‫ﺯﻤﻨ‬ ‫ﻴﺤﺘل‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﺃﺼﺒﺢ‬ ‫ﻭﺩﻴﻨﺎﻤﻴﺔ،‬ 


		‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬ ‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻓﻦ‬ ‫ﰲ‬ ‫ﺑﺎﻟﻔﺮﺍﻍ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻠﺸﻔﺎﻓﻴﺔ‬ ‫ﻣﻌﺎﺻﺮﺓ‬ ‫ﺭﺅﻳﺔ‬
	‫ﺍﻹﻤﻜﺎﻨـﺎﺕ‬ ‫ﻤـﻥ‬ ‫ﺍﻟﻤﻌﺎﺼـﺭﻴﻥ‬ ‫ﺍﻟﻔﻨـﺎﻨﻴﻥ‬ ‫ﺍﺴﺘﻔﺎﺩ‬ ‫ﻭﻗﺩ‬ ‫ﻤﻭﻀﻭﻋﺎ‬ ‫ﻴﺤﻭﻱ‬ ‫ﻻ‬ ‫ﻤﺎ‬ ‫ﻜل‬ ‫ﻟﻴﺼﻑ‬ ‫ﻴﺴﺘﺨﺩﻤﻪ‬ ‫ﺍﻟﻼﻤﻭﻀﻭﻋﻲ‬ ‫ﻭﻤﺼﻁﻠﺢ‬ ‫ﺍﻟﻭﻗﺕ‬ ‫ﺫﻟﻙ‬ ." ) ‫ﻴﺎﺴﻴﻥ،‬ ٢٠١٣ ‫ﻡ‬ : ٣٠ ( ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﻤﻥ‬ ‫ﺍﻻﺴﺘﻔﺎﺩﺓ‬ ‫ﺍﻟﻰ‬ ‫ﺒﺎﻹﻀﺎﻓﺔ‬ ‫ﻤﺒﺩﺃ‬ ‫ﻟﺘﺤﻘﻴﻕ‬ ‫ﻴﺴﻌﻰ‬ ‫ﺍﻟﺫﻱ‬ ٢ -‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺘﻬﺘﻡ‬ ‫ﺍﻟﺘﺤﻭل‬ ‫ﺒﻔﻜﺭﺓ‬ Transformation ‫ﻨﻤﻁ‬ ‫ﺃﻭ‬ ‫ﺼﻴﻐﺔ،‬ ‫ﺃﻱ‬ ‫ﺘﻐﻴﺭ‬ ‫ﺃﻥ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﺘﻲ‬
	‫ﺇﻟﻰ‬ ‫ﺃﺩﻯ‬ ‫ﻤﻤﺎ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ؛‬ ‫ﻓﻲ‬ ‫ﻭﺍﺴﺘﺨﺩﻤﻭﻫﺎ‬ ‫ﻭﺍﻟﻌﻠﻤﻴﺔ‬ ‫ﺍﻟﺘﻜﻨﻭﻟﻭﺠﻴﺔ،‬ ) Runes,1946:450 ( ‫ﻋﻠﻴﻪ‬ ‫ﻴﺅﺜﺭ‬ ‫ﺒﺤﻴﺙ‬ ‫ﺍﻟﻤﺸﺎﻫﺩ‬ ‫ﻤﻌﻪ‬ ‫ﻭﻴﺘﻔﺎﻋل‬ ‫ﹰ‬ ‫ﻓﻠﺴﻔﻴﺎ‬ ‫ﹰ‬ ‫ﺍﺘﺠﺎﻫﺎ‬ ‫ﺘﺤﻤل‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻓﻨﻴﺔ‬ ‫ﺒﺄﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﺘﺠﺴﻴﻡ‬ ‫ﺃﺨﺭﻯ‬ ‫ﺼﻴﻐﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺒﻨﺎﺌﻲ‬ ) ‫ﻴﺎﺴﻴﻥ،‬ ٢٠١٣ ‫ﻡ‬ : ٣٠ (
	‫ﻤﺘﻌـﺩﺩﺓ،‬ ‫ﻭﻤﻨـﺎﻫﺞ‬ ‫ﺒﻜﻴﻔﻴﺎﺕ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺘﻨﺎﻭﻟﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺭﺅﻯ‬ ‫ﺘﻌﺩﺩ‬ ‫ﺭﻴﺩ‬ ‫ﻫﺭﺒﺭﺕ‬ ‫ﻭﻴﺫﻜﺭ‬ Reed erbertH " ‫ﺃ‬ ‫ﻋﺩﺓ‬ ‫ﻤﻀﻤﻭﻨﻬﺎ‬ ‫ﻓﻲ‬ ‫ﺍﺤﺘﻭﺕ‬ ‫ﻓﻨﻴﺔ‬ ‫ﺤﺭﻜﺔ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﻥ‬ ‫ﻭﺍ‬ ‫ﺍﻟﻔﻌﻠﻴﺔ،‬ ‫ﻭﺒﺎﻟﺤﺭﻜﺔ‬ ‫ﺒﺎﻟﺤﻴﻭﻴﺔ‬ ‫ﻴﻭﺤﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻗﻌﻲ‬ ‫ﺤﻴﺯ‬ ‫ﻟﺘﻤﺜﻴل‬ ‫ﹰ؛‬ ‫ﺇﻴﺠﺎﺒﻴﺎ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻟﺸﻔﺎﻓﻴﺔ‬ ٣ -‫ﺃﻥ‬ ‫ﺤﻴﺙ‬ ‫ﺍﻟﻔﻨﻲ،‬ ‫ﻭﺍﻟﺘﺸﻜﻴل‬ ‫ﻭﺍﻟﺼﻴﺎﻏﺔ،‬ ‫ﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﻤﻨﻁﻠﻘﺎﺕ‬ ‫ﺃﺤﺩ‬ ‫ﺍﻷﻭﻟﻴﺔ‬ ‫ﺍﻟﻬﻨﺩﺴﻴﺔ‬ ‫ﺍﻷﺸﻜﺎل‬
	‫ﺭﻗﻢ‬ ‫ﺷﻜﻞ‬ ‫ﺍﻟﺸﻔ‬ ‫ﺗﺎﻭﱐ‬ ‫ﻟﻴﻨﻮﺭ‬ ‫ﻟﻠﻔﻨﺎﻥ‬ ‫ﺍﻟﻔﺮﺍﻍ‬ ‫ﺧﻼﻝ‬ ‫ﻣﻦ‬ ‫ﺎﻓﻴﺔ‬ ) ٥ ( ‫‪‬ﻈﻬﺮ‬ ‫ﻳ‬ ‫‪‬ﻌﺎﺻﺮ‬ ‫ﻣ‬ ‫ﻧﺴﺠﻲ‬ ‫ﻋﻤﻞ‬ . ‫ﻭﺍﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬ ، ‫ﻭﺍﻟﺤﻠﻭل‬ ‫ﺍﻟﻔﻠﺴﻔﻴﺔ‬ ‫ﺍﻟﺘﺼﻭﺭﺍﺕ‬ ‫ﻤﻥ‬ ‫ﻟﻠﻌﺩﻴﺩ‬ ‫ﹰ‬ ‫ﻤﺤﻭﺭﺍ‬ ‫ﻜﺎﻥ‬ ‫ﻓﺎﻟﻔﺭﺍﻍ‬ ‫ﺍﻟ‬ " ‫ﺍﻟﺘﻜﻌﻴﺒﻴﺔ‬ ‫ﻭﺴﻤﻴﺕ‬ ‫ﻓﻨﻴﺔ‬ ‫ﺍﺘﺠﺎﻫﺎﺕ‬ Cubism Futurism ‫ﻭﺍﻟﺴﻭﺒﺭﻤﺎﺘﻴﺔ‬ ، ‫ﺍﻟﻤﺤﻴﻁ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ) . ‫ﺍﺴﺤﻕ،‬ ١٩٩٦ ‫ﻡ‬ : ٥٧ ( ‫ﻫﻨﺩﺴﻴﺔ‬ ‫ﻷﺸﻜﺎل‬ ‫ﻭﺘﺭﻜﻴﺒﺎﺕ‬ ‫ﻭﺒﻨﺎﺌﻴﺎﺕ،‬ ‫ﻋﻼﻗﺎﺕ،‬ ‫ﻤﻥ‬ ‫ﺍﻟﻬﻨﺩﺴﻲ‬ ‫ﺒﺎﻟﻁﺎﺒﻊ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﺍﺘﺴﻤﺕ‬ ‫ﻟـﺘﻌﻜﺱ‬ ‫ﹰ‬ ‫ﺃﺤﻴﺎﻨﺎ‬ ‫ﺼﻴﺎﻏﺘﻬﺎ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺍﻟﻌﺼﻭﺭ،‬ ‫ﻤﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺸﻜﻴﻠﻴﺔ‬ Supermatism ‫ﻤﻥ‬ ‫ﻅﺎﻫﺭﻫﺎ‬ ‫ﻓﻲ‬ ‫ﺍﺨﺘﻠﻔﺕ‬ ‫ﻭﺇﻥ‬ ‫ﻓﻨﻴﺔ‬ ‫ﻭﻤﺩﺍﺭﺱ‬ ‫ﻭﺤﺭﻜﺎﺕ،‬ ‫ﺍﺘﺠﺎﻫﺎﺕ،‬ ‫ﻭﻫﻲ‬ ، ‫ﻤﺨﺘﻠﻔﺔ‬ . ) ‫ﺍﻟﺤﺴﻥ،‬ ‫ﺃﺒﻭ‬ ٢٠٠٠ ‫ﻡ‬ : ١٢٢ ( ‫ﺤﻠـﻭل‬ ‫ﺠـﺎﺀﺕ‬ ‫ﺃﺨﺭﻯ‬ ‫ﹰﺎ‬ ‫ﻭﺃﺤﻴﺎﻨ‬ ‫ﻤﺎ،‬ ‫ﺭﺅﻴﺔ‬ ‫ﻭﻓﻕ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﻤﻌـﻴﻥ‬ ‫ﺘﻨﻅﻴﻤﻲ‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﺃﻭ‬ ‫ﻤﻌﻴﻥ‬ ‫ﻜﻴﻔﻲ‬ ‫ﻻﺘﺒﺎﻉ‬ ‫ﻜﻨﺘﻴﺠﺔ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻟﺼﻴﺎﻏﺔ‬ )" ‫ﺃﺒﻭﺍﻟﻌﻴﻨﻴﻥ‬ ، ٢٠٠٠ ‫ﻡ‬ ، ٣٢٨ ( ‫ﻭﻴﺭﻯ‬ ، ) ‫ﻋﺒـﺩ‬ ‫ﺍﻟﻌﺯﻴﺯ‬ ، ٢٠٠١ ‫ﻡ‬ ، ١٨ ( ‫ﺍﻟﺠﻬﺎﺕ‬ ‫ﺠﻤﻴﻊ‬ ‫ﻤﻥ‬ ‫ﺒﻬﺎ‬ ‫ﻭﻴﺤﻴﻁ‬ ‫ﻭﻴﺘﺨﻠﻠﻬﺎ،‬ ‫ﺇﻟﻴﻬﺎ‬ ‫ﻴﻨﻔﺫ‬ ‫ﺃﺼﺒﺢ‬ ‫ﺒل‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻴﺤﻴﻁ‬ ‫ﺒﻜﻭﻨﻪ‬ ، " ‫ﺃﺩﺭﻙ‬ ‫ﻓﻘـﺩ‬ ‫ﻓﻲ‬ ‫ﻭﺍﺴﺘﺨﺩﺍﻤﻪ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺃﻫﻤﻴﺔ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﺃﻭ‬ ‫ﺒﺎﻟﺸﻜل،‬ ‫ﺘﺤﻴﻁ‬ ‫ﻤﺴﻁﺤﺔ‬ ‫ﻜﺄﺭﻀﻴﺔ‬ ‫ﺇﻤﺎ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ،‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺨﻴـﻭﻁ‬ ‫ﺘﺠﻤـﻊ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺎﺘﺞ‬ ‫ﺍﻟﺒﺼﺭﻱ‬ ‫ﺍﻟﺨﺩﺍﻉ‬ ‫ﻤﻥ‬ ‫ﹰ‬ ‫ﻨﻭﻋﺎ‬ ‫ﻴﺤﺩﺙ‬ ‫ﻟﻜﻲ‬ ‫ﺃﻭ‬ ‫ﺍﻟﺘﻨﻔﻴﺱ،‬ ‫ﻟﺘﺤﻘﻴﻕ‬ ‫ﺒﻴﻨﻴﺔ‬ ‫ﻜﻔﺭﺍﻏﺎﺕ‬ ‫ﻤﻨﺘﻅﻡ‬ ‫ﻏﻴﺭ‬ ‫ﺒﺸﻜل‬ ‫ﺍﻟﻠﺤﻤﺔ‬ ‫ﻤﻊ‬ ‫ﻭﺘﻘﺎﻁﻌﻬﺎ‬ ‫ﺍﻟﺴﺩﺍﺀ‬ )" ‫ﺤﺴﻨﻴﻥ،‬ ١٩٩٩ ‫ﻡ‬ : ٤٤٦ ( ، ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬ " ‫ﺒﺎﻟﺸـﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺘﻌﺒﻴـﺭ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺩﺍﺨل‬ ‫ﺍ‬ ‫ﺍﻟﻔ‬ ‫ﻭﺠﻭﺩ‬ ‫ﻴﻠﻐﻲ‬ ‫ﻻ‬ ‫ﻟﻔﻨﻲ‬ ‫ﺍﻟﺒﻌﺩ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺤﺭﻜﺔ‬ ‫ﺭﺍﻍ،‬ ‫ﺒـل‬ ‫ﻭﺍﻟﺯﻤـﺎﻨﻲ،‬ ‫ﺍﻟﻤﻜـﺎﻨﻲ،‬ ‫ﺍﻟﺤﺩﻴﺙ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻟﻐﺔ‬ ‫ﻭﻁﺒﻴﻌﺔ‬ ‫ﺍﻟﺘﻌﺒﻴﺭ،‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻨﻭﻉ‬ ‫ﻤﻥ‬ ‫ﹰ‬ ‫ﻤﺯﻴﺩﺍ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺇﻟﻰ‬ ‫ﻴﻀﻴﻑ‬ ) ." ‫ﺇﺴﺤﺎﻕ،‬ ١٩٩٩ ‫ﻡ‬ : ٦٨ ( ، ‫ﺭﻗﻡ‬ ‫ﻭﺍﻟﺸﻜل‬ ) ٥ ( ‫ﻟﻴﻨـﻭﺭ‬ ‫ﻟﻠﻔﻨﺎﻥ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺨﻼﻟﻪ‬ ‫ﻤﻥ‬ ‫ﺘﺘﺤﻘﻕ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺤﻘﻴﻘﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻴﻭﻀﺢ‬ ‫ﺘﺎﻭﻨﻲ‬ Lenore Tawney . ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺍﻟﺤﺭﻜﺔ‬ ‫ﺭﻭﺍﺩ‬ Constructivism ٤ -: ‫ﻓﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺒﺘﺤﻘﻴﻕ‬ ‫ﺍﻫﺘﻤﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻻﺘﺠﺎﻫﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻭﻗﺩ‬ ‫ﺍﻟﻤﻌﺎﺼﺭ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻭﻤﻨﻬﺎ‬ Structural Art . ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻥ‬ Structural Art : ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﺍﺘﺴﻊ‬ Constructivism ‫ﻋﻤل‬ ‫ﺃﻱ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺩﻻﻟﺔ‬ ‫ﻴﺴﺘﺨﺩﻡ‬ ‫ﻓﺄﺼﺒﺢ‬ ‫ﻤﻀﻤﻭﻨﻪ‬ ‫ﻓﻨﻲ‬ ‫ﺴﺘﻴل‬ ‫ﺩﻱ‬ ‫ﻟﺠﻤﺎﻋﺔ‬ ‫ﺍﻟﺘﺼﻭﻴﺭ‬ ‫ﺃﻋﻤﺎل‬ ‫ﻋﻠﻰ‬ ‫ﺤﺘﻰ‬ ‫ﺍﻟﺘﺴﻤﻴﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻓﺄﻁﻠﻘﺕ‬ ‫ﺘﺭﻜﻴﺒﻲ،‬ ‫ﺒﻨﺎﺀ‬ Stijl ‫ﺒﺎﻟﻁﺒﻴﻌﺔ‬ ." ) (Read,1952 :226 ‫ﻭﺍﻻﺒ‬ ‫ﺍﻟﺘﻐﻴﻴﺭ‬ ‫ﻤﺠﻤﻭﻋﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﻫﺫﺍ‬ ‫ﻁﺎﺒﻊ‬ ‫ﻓﺄﺼﺒﺢ‬ ‫ﺍﻟﻔﻭﺍﺼل‬ ‫ﻭﺘﺤﻁﻴﻡ‬ ‫ﺘﻜﺎﺭ،‬ ‫ﻭﺘﺭﻜﻴﺯ‬ ‫ﺒﻨﺎﺀ،‬ ‫ﻋﻤﻠﻴﺔ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺃﻥ‬ ‫ﻭﺍﻜﺘﺸﺎﻓﻬﻡ‬ ‫ﺠﺩﻴﺩﺓ،‬ ‫ﺨﺎﻤﺎﺕ‬ ‫ﻭﺍﺒﺘﻜﺎﺭ‬ ‫ﺍﻟﻔﻥ،‬ ‫ﻓﺭﻭﻉ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺘﻘﻠﻴﺩﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﻤﻬﺎﺭﺓ‬ ‫ﺍﻟﺘﻘﻨﻴﺔ،‬ ‫ﻤﻥ‬ ‫ﺍ‬ ‫ﺠﺩﻴﺩ‬ ‫ﺎ‬ ‫ﻨﻭﻋ‬ ‫ﻓﻨﺎﻨﻴﻬﻡ‬ ‫ﻓﺎﻜﺘﺴﺏ‬ ‫ﺍﻟﺼﻭﺭﺓ،‬ ‫ﺒﻨﺎﺌﻴﺔ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻓﻲ‬ ‫ﺍﻫﺘﻤﺎﻤﻬﻡ‬ ‫ﻟﻠﻤﻌﺎﻨﻲ‬ ‫ﺤﺎﻤﻠﺔ‬ ‫ﺒﻨﺎﺌﻴﺔ‬ ‫ﺼﻴﻐﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺘﻭﺤﻴﺩﻫﺎ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ،‬ ‫ﺘﺭﻜﻴﺏ‬ ‫رﻗﻢ‬ ‫ﺷﻜﻞ‬ ) ٦ ( ‫ﻓﻨﻲ‬ ‫ﻋﻤﻞ‬ ‫ﺟﺎﺑﻮ‬ ‫ﻧﺎﻋﻮم‬ ‫ﻟﻠﻔﻨﺎن‬ ‫ﺑﻨﺎﺋﻲ‬ http://pictify.saatch ‫ﻓﻲ‬ ‫ﺃﺜﺭﻭﺍ‬ ‫ﺍﻟﺫﻴﻥ‬ ‫ﻭﻤﺅﺴﺴﻴﻬﺎ‬ ‫ﻭﻤﻔﻜﺭﻴﻬﺎ،‬ ‫ﺭﻭﺍﺩﻫﺎ‬ ‫ﻟﻠﺒﻨﺎﺌﻴﺔ‬ ‫ﻜﺎﻥ‬ ‫ﻭﻤﻨﻬﻡ‬ ‫ﻭﻓﻠﺴﻔﺘﻬﻡ،‬ ‫ﻭﻓﻜﺭﻫﻡ‬ ‫ﺒﺸﺨﺼﻴﺎﺘﻬﻡ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻜﺭ‬ : ٥ -" ‫ﻤﻊ‬ ‫ﻭﻋﻼﻗﺘﻬﺎ‬ ‫ﻟﻪ،‬ ‫ﺍﻟﻤﻜﻭﻨﺔ‬ ‫ﻭﻋﻨﺎﺼﺭﻩ‬ ‫ﻟﻠﻌﻤل،‬ ‫ﺍﻟﺨﺎﺭﺠﻲ‬ ‫ﻭﺍﻟﻤﻅﻬﺭ‬ ‫ﺍﻟﺸﻜﻠﻴﺔ،‬ ‫ﺒﺎﻟﺒﻨﻴﺔ‬ ‫ﺍﻻﻫﺘﻤﺎﻡ‬ ‫ﻜﺎﺯﻤﻴﺭ‬ ‫ﻤﺎﻟﻴﻔﺘﺵ‬ Kasimir Malevich ، ‫ﺠﺎﺒﻭ‬ ‫ﻨﺎﻋﻭﻡ‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﻋﻨﺎﺼﺭ‬ ‫ﻟﻤﻔﺭﺩﺍﺕ‬ ‫ﺍﻟﺸﻜﻠﻲ‬ ‫ﺍﻟﺠﻤﺎل‬ ‫ﺇﻅﻬﺎﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﻌﺽ‬ ‫ﺒﻌﻀﻬﺎ‬ " ). Naum Gabo ‫ﻭﻏﻴﺭﻫﻡ‬ ) (Giedion,1960:344 ‫ﺭﻗﻡ‬ ‫ﺍﻟﺸﻜل‬ ‫ﻭﻓﻲ‬ ، ) ٦ ( ‫ﺇﺒﺭﺍﻫﻴﻡ،‬ ١٩٦٨ ‫ﻡ‬ : ٣٣ ( ‫ﺠﺎﺒﻭ‬ ‫ﻨﺎﻋﻭﻡ‬ ‫ﻟﻠﻔﻨﺎﻥ‬ ‫ﺒﻨﺎﺌﻲ‬ ‫ﻓﻨﻲ‬ ‫ﻋﻤل‬ Naum Gabo ‫ﺒﻭﻀﻭﺡ‬ ‫ﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫‪‬ﻅﻬﺭ‬ ‫ﻴ‬ ٦ -‫ﺍ‬ ‫ﺠﺩﻴﺩ‬ ‫ﺎ‬ ‫ﻤﻔﻬﻭﻤ‬ ‫ﺇﻴﺠﺎﺩ‬ ‫ﺍﻟﻌﻤل‬ ‫ﺩﺍﺨل‬ ‫ﺍﻟﻜﺘﻠﺔ‬ ‫ﻤﻊ‬ ‫ﻋﻼﻗﺘﻪ‬ ‫ﻓﻲ‬ ‫ﺃﻫﻤﻴﺔ‬ ‫ﻟﻠﻔﺭﺍﻍ‬ ‫ﺃﻭﻟﻭ‬ ‫ﺤﻴﺙ‬ ‫ﻟﻠﻔﺭﺍﻍ،‬ . ‫ﻟﻠﺒﻨﺎﺌﻴﻴﻥ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﻤﺒﺎﺩﺉ‬ Constructivism ‫ﺍﺴﺘﺤﺩﺜﻭﻫﺎ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻟﻠﺨﺎﻤﺎﺕ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﻭﺍﻟﻤﻌﺎﻟﺠﺎﺕ‬ ‫ﺍﻟﺼﻴﺎﻏﺎﺕ،‬ ‫ﺒﻔﻌل‬ ‫ﺍﻟﻜﺘﻠﺔ‬ ‫ﻓﺘﺤﻁﻤﺕ‬ ‫ﺍﻟﻔﻨﻲ،‬ . : ٧ -‫ﺍﻟﻔﺭﺍﻍ،‬ ‫ﻫﻤﺎ‬ ‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻠﺴﻔﻲ‬ ‫ﻟﻠﻔﻜﺭ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﻴﻥ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﻀﻭﺀ‬ ‫ﻓﻲ‬ ‫ﻟﻠﻔﻥ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻟﻘﻭﺍﻋﺩ‬ ‫ﺃﻥ‬ De ‫ﺍﻟﻤﺘﻌﺎﻤﺩﺓ،‬ ‫ﺍﻟﺨﻁﻭﻁ‬ ‫ﺫﺍﺕ‬ ‫ﻤﻭﻨﺩﺭﻴﺎﻥ‬ ‫ﻜﺎﻥ‬ ‫ﻭﺍﻟﺘﻲ‬ Mondrian ‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬ . ) ‫ﺍﻟﺒﺴﻴﻭﻨﻲ،‬ ١٩٧٨ ‫ﻡ‬ : ١٧٧ ( ‫ﻴﻠﻲ‬ ‫ﻤﺎ‬ ‫ﻭﻤﻨﻬﺎ‬ ‫ﺍﻟﻔﻨﺎﻨﻴﻥ‬ ‫ﺃﻋﻤﺎل‬ ‫ﺘﻤﻴﺯ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﺨﺼﺎﺌﺹ‬ ‫ﻭﺍﻟﺴﻤﺎﺕ،‬ ‫ﺍﻟﻤﺒﺎﺩﺉ،‬ ‫ﺒﻌﺽ‬ ‫ﻫﻨﺎﻙ‬ : ‫ﻭﻨﻜﺭﻭﺍ‬ ‫ﻭﺍﻟﺯﻤﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﻜﻠﻤﺔ‬ ‫ﻭﺃﺼﺒﺤﺕ‬ ‫ﻟﻬﺎ،‬ ‫ﺭﺍﺌﺩ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ؛‬ ‫ﻭﺍﻟﺘﻘﻨﻴﺎﺕ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ،‬ ‫ﺍﻟﺘﺭﺍﻜﻴﺏ‬ ‫ﺒﺎﺴﺘﺨﺩﺍﻡ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﺭﺅﻴﺔ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﻋﺒﺭﺕ‬ ‫ﻭﻗﺩ‬ ١ -‫ﺍﻟﺒﻨﺎﺌﻲ‬ ‫ﺍﻟﻔﻜﺭ‬ ‫ﺃﻥ‬ Constructivism ‫ﻻ‬ ‫ﺤﻘﺎﺌﻕ‬ ‫ﻭﻟﻜﻨﻬﺎ‬ ‫ﻤﺤﺩﺩﺓ‬ ‫ﺃﻭ‬ ‫ﺃﺒﺩﻴﺔ،‬ ‫ﺤﻘﺎﺌﻕ‬ ‫ﻴﺤﻭﻱ‬ ‫ﻜﺘﻌﺒﻴﺭ‬ ‫ﺍﻟﺤﺠﻡ‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻋﻥ‬ . (Read, 1952:112) ‫ﻭﻫﻭ‬ ‫ﺍﻟﻤﺤﺩﺩ،‬ ‫ﺍﻟﺘﻤﺜﻴل‬ ‫ﻭﻋﺩﻡ‬ ‫ﺍﻟﺘﺠﺭﻴﺩ،‬ ‫ﺒﻤﻌﻨﻰ‬ ‫ﺍﻟﻼﻤﻭﻀﻭﻋﻴﺔ‬ ‫ﻜﻠﻤﺔ‬ ‫ﻤﻊ‬ ‫ﻤﻔﻬﻭﻤﻬﺎ‬ ‫ﻓﻲ‬ ‫ﺘﺘﺤﻘﻕ‬ ‫ﻗﺩﻤ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻤﺼﻁﻠﺢ‬ ‫ﺃﻟﺴﻜﻨﺩﺭ‬ ‫ﺍﻟﺭﻭﺴﻲ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﻟﻨﺎ‬ ‫ﻪ‬ Alexander ‫ﻭﺭﻭﺩﺸﻨﻜﻭ‬ ، Rodchenko ‫ﻜﺎﺯﻤﻴﺭ‬ ‫ﺍﻟﻔﻨﺎﻥ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﻟﻴﻔﺘﺵ‬ ‫ﻤﺎ‬ Malevich Kazimir ‫؛‬ ‫ﻭﻤﻨﺫ‬ ‫ﺍﻟﺘﺴﻁﻴﺤﻴﺔ،‬ ‫ﻟﻭﺤﺎﺘﻪ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻴﻁﻠﻘﻪ‬ ‫ﹰ‬ ‫ﺜﺎﻟﺜﺎ‬ ‫ﹰ‬ ‫ﺒﻌﺩﺍ‬ ‫ﻭﺘﻜﻭﻴﻥ‬ 3D ‫ﻟﻠﻌﻤل‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫؛‬ ‫ﻻﻜﺘﺴﺎﺒﻪ‬ ‫ﺒﺎﻷﺴﺎﻟ‬ ‫ﺍﻟﺒﻨﺎﺌﻴﺔ‬ ‫ﺼﻔﺔ‬ ‫ﺍﻟﻤﺨﺘﻠﻔﺔ‬ ‫ﺍﻟﻨﺴﺠﻴﺔ‬ ‫ﻴﺏ‬ ‫ﺍﻟﺤﻘﻴﻘﻴﺔ‬ ‫ﺍﻟﺤﻴﺎﺓ‬ . ، ‫ﻭﺍﻟﺸﻔﺎﻓﻴﺔ‬ ‫ﺍﻟﺤﻘﻴﻘﻲ،‬ ‫ﺍﻟﻔﺭﺍﻍ‬ ‫ﻭﺍﻅﻬﺎﺭ‬ ‫ﺍﻟﻨﺴﺠﻲ‬ ‫ﺍﻟﺒﻨﺎﺀ‬ ‫ﻓﻜﺭﺓ‬ ‫ﻭﺘﺄﻜﻴﺩ‬ ‫ﺍﺜﺭﺍﺀ،‬ ‫ﻋﻠﻰ‬ ‫ﺫﻟﻙ‬ ‫ﺴﺎﻋﺩ‬ ‫ﻤﻤﺎ‬ ‫ﺩﻴﻨﺎﻤﻴﺔ‬ ) ‫ﺯﻤﻜﺎﻨﻴﺔ‬ ( ‫ﺯﻤﺎﻨﻲ‬ ‫ﻫﻭ‬ ‫ﻤﺎ‬ ‫ﺘﺤﻘﻴﻕ‬ ‫ﺇﻟﻰ‬ ‫ﻴﺭﻤﻲ‬ ‫ﺤﻴﺙ‬ -‫ﻤﻜﺎﻨﻲ‬ Spase -Time ‫ﻟﺘﻤﺜﻴل‬ ‫؛‬ ٨ -
	‫ﻡ‬ ‫ﻡ‬ ‫ﻡ‬ ‫ﻡ‬ ‫ﻡ‬	٢٠١٨ ٢٠١٨ ٢٠١٨ ٢٠١٨ ٢٠١٨	‫ﻳﻮﻟﻴﻮ‬ ‫ﻳﻮﻟﻴﻮ‬ ‫ﻳﻮﻟﻴﻮ‬ ‫ﻳﻮﻟﻴﻮ‬ ‫ﻳﻮﻟﻴﻮ‬	-----	‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬ ‫ﺍﻟﺜﺎﻧﻰ‬ ‫ﺍﻟﻌﺪﺩ‬	-----	‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٨ ‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ١٩ ‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ٢٠ ‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ٢١ ‫ﺍﻟﺜﺎﻧﻲ‬ ‫ﺍ‪‬ﻠﺪ‬ ٢٢	-----	‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬ ‫ﳎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻟﱰﺑﻴﺔ‬ ‫ﺍﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻮﻥ‬ ‫ﻠﺔ‬

Abstract:

This research investigates contemporary plastic formulations of some structuralists works by using weaving and artistic techniques as well as methods that achieves transparency in a weaving work through appropriate space and structural design. 
The research aims to study contemporary weaving works as well as to benefit from the intellect and philosophy of structuralism via its artistic and plastic aspects in describing and analyzing weaving works that based on the methodical formation of transparency through space in a contemporary style. 
Noting that, this research follows a descriptive analytical approach. 

‫ﺍﳌﻌﺎﺻﺮ‬ ‫ﺍﻟﺒﻨﺎﺋﻲ‬ ‫ﺍﻟﻨﺴﻴﺞ‬


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The researcher concluded that the main finding of this work is the recognition of transparency and space as values that possess artistic and plastic capabilities, which helped structuralists in the invention of their contemporary weaving designs through the use of their philosophical and artistic methods.