Page 126 - DILMUN NO 20

‫ﺇﻃﻻﻟﺔ ﻋﻠﻰ ﻓﻦ ﺍﻟﻮﺍﺳﻄﻲ ﻣﻦ ﺧﻻﻝ ﻣﻘﺎﺳﺎﺕ ﺍﻟﺠﺮﻳﺮﻱ‬ ‫ﻱ‪،‬ﻓﻪ'‪.‬‬

‫‪,‬ﺭﺍ"ﻙ‬

‫ﺍﻟﻮﺍﺳﻄﻲ ‪ 2‬ﺭﺳﻢ ﺻﻮﺭﺓ ﻗﻮﻳﺔ ﺍﻟﺒﻨﺎﺀﻣﺘﻨﺎﻏﻤﺔ ﺍﻷﻟﻮﺍﻥﻭﺍﺤﺿﺔ ﺍﻟﺘﻌﺒﻴﺮ ‪ ،‬ﺫﺍﺕ ﻃﺎﺑﻊ ﻣﺘﻤﻴﺰ‬ ‫ﺭ‪١‬‬
‫ﺑﺎﻟﺠﺒﻬﻴﺔ ﻍ ﺗﺼﻮﻳﺮ ﺍﻟﺮﺍﻳﺎﺕ ﻭﺍﻟﻮﺟﻪ ‪ ،‬ﻭ‪ 2‬ﻏﻴﺎﺏ ﺍﻟﺒﻌﺪ ﺍﻟﺜﺎﻟﺚ ﻋﻨﺪ ﺗﺼﻮﻳﺮ ﻗﻮﺍﺋﻢ ﺍﻟﺨﻴﻞ ﻭﺍﻟﺒﻐﺎﻝ‪.‬‬
‫‪٠١‬‬
‫ﻭﻳﺒﺪﻭ ﻣﻔﻬﻮﻡ ﺍﻟﻤﻨﻈﻮﺭ ﺍﻟﺮﻭﺣﻲ (") ﺃﻛﺜﺮﻭﺿﻮﺣًﺎ ﻑ ﺍﻟﻘﺎﻣﺔ ﺍﺎﺜﻟﺜﻟﺔ ﻭﺍﻷﺭﻦﻴﻌﺑ (ﻟﻮﺣﺔ ‪٢١٨)٠‬‬
‫ﺍﻟﺘﻲ ﺗﻤﺜﻞ ﺍﻟﺤﺎﺭﺙ ﻭﺍﻟﺴﺮﻭﺟﻲ ﺴﻳﺄﻻﻥﻏﻻﻣًﺎ ﻭﺧﻠﻔﻬﻢ ﻣﺸﻬﺪ ﻗﺮﻳﺔ ﻳﻄﻞ ﻣﻦ ﺃﻮﺑﺍﺎﻬﺑ ﺃﻧﺎﺱ‬

‫ﺎﺴﺘﻳﺀﻥﻮﻟ‪.‬‬

‫ﻭﻗﺪ ﺃﻋﺘﻤﺪ ﺍﻟﻮﺍﺳﻄﻲ ‪ 2‬ﺗﺼﻮﻳﺮﻩ ﺃﻮﻠﺳﺏ »ﺍﺎﺒﻟﻮﻧﺭﺍﺎﻣﺀ ‪ 30‬ﺍﻟﺸﺎﻣﻠﺔ ‪ ،‬ﻛﻤﺎ ﻗﺪﻡ ﺃﺳﻠﻮﺑ ًﺎ ﻓﺘﻴ ًﺎ‬
‫ﺧﺎﺻ ًﺎ ﻳﺘﺠﻠﻰ ‪ 2‬ﺍﻟﺤﻠﻮﻝ ﺍﻟﺘﺸﻜﻴﻠﻴﺔ ﺍﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ ﺃﺎﺳﺱ ﺍﻹﺪﺑﻉﺍ ﻍ ﺇﺎﺠﻳﺩ ﺍﻟﻌﻻﻗﺎﺕ ﺍﻟﺸﻜﻠﻴﺔ‬
‫ﻭﺍﻟﻠﻮﻧﻴﺔ ﺍﻟﺘﻲ ﺗﺨﺪﻡ ﺗﻘﺪﻳﻢ ﺍﻟﻤﺸﻬﺪ ﺍﻟﻤﻄﻠﻮﺏ ﺑﺪﻗﺔ ‪ ،‬ﻭﻣﻊ ﺗﻘﺪﻳﻢ ﺇﺿﺎﻓﺎﺕ ﺗﻌﻄﻲ ﺍﻟﻤﻮﺿﻮﻉ ﻋﻤﻘﺎً‪ .‬ﻭﻗﺪ‬
‫ﺍﺧﺘﺎﺭ ﻟﻤﻨﻤﻨﻤﺘﻪ ﻟﺤﻈﺔ ﻭﺻﻮﻝ ﺃﺑﻲ ﺯﺪﻳ ﻭﺍﻟﺤﺎﺭﺙ ﺇﻰﻟ ﺍﻟﻘﺮﻳﺔ ‪ ،‬ﻭﻗﺴﻢ ﺍﻟﻤﺸﻬﺪ ﺇﻟﻰﺛﻻﺛﺔ ﻣﺴﺘﻮﻳﺎﺕ ‪،‬‬
‫ﺣﻴﺚ ﺭﺳﻢ ‪ 2‬ﺍﻟﻤﻘﺪﻡ ﺍﻟﺤﺎﺭﺙ ﻭﺃﺑﺎ ﺯﻳﺪ ﻳﺮﻛﺒﺎﻥ ﻧﺎﻗﺘﻴﻬﻤﺎ ﻭﻳﺘﺤﺪﺛﺎﻥ ﻣﻊﻏﻻﻡ ﻳﻘﻒ ﺃﻣﺎﻣﻬﻤﺎ ‪ .‬ﻭﻗﺪ‬
‫ﻧﺠﺢ & ﺗﺼﻮﻳﺮ ﻣﺸﺎﻋﺮ ﺍﻟﺪﻫﺸﺔ ﻋﻠﻰ ﻭﺟﻬﻴﻬﻤﺎ ﻭﻍ ﺇﺷﺎﺭﺓ ﺃﻳﺪﻳﻬﻤﺎ ‪ ،‬ﻛﻤﺎ ﺃﻇﻬﺮ ﺍﻟﻮﺿﻮﺡ ﻭﺍﻟﺜﺒﺎﺕ‬
‫‪ 2‬ﻧﻈﺮﺓ ﺭﺟﻞ ﻣﻠﺘﺢ ﻣﺴﺘﻌﻴﻀﺎ ﺑﺬﻟﻚ ﻋﻦ ﺭﺳﻢ ﺍﻟﻐﻻﻡ ﺍﻟﻮﺍﺭﺩ ﺑﺎﻟﻤﺘﻦ ‪ .‬ﻭﺃﺩﻋﻎ ﺗﺼﻮﻳﺮ ﺣﺮﻛﺔ ﻗﻮﺍﺋﻢ‬
‫ﺍﻟﺮﺍﺣﻠﺘﻴﻦ ﺣﻴﺚ ﺑﺪﺕ ﻃﺒﻴﻌﻴﺔ ﻣﺘﺠﺎﻧﺴﺔ ﻣﻦ ﺣﺮﻛﺔ ﻋﻨﻘﻴﻬﻤﺎ ﻭﺭﺃﺳﻴﻬﻤﺎ ‪ ،‬ﻭ‪ 2‬ﺍﺧﺘﻻﻑ ﻟﻮﻧﻬﻤﺎ ‪ ،‬ﻛﻤﺎ‬

‫ﻧﺮﻯ ﺇﺣﺪﻯ ﺍﻟﺮﺍﺣﻠﺘﻴﻦ ﺗﺮﻓﻊ ﺭﺟﻠﻬﺎ ﻋﻠﻰ ﺷﻜﻞ ﻳﺨﺘﻠﻒ ﻋﻦ ﺍﻷﺭﺟﻞ ﺍﻷﺧﺮﻯ‪.‬‬

‫ﻭﺍﺧﺘﺎﺭ ﺧﻠﻔﻴﺔ ﻣﺸﺮﻗﺔ ﺗﺴﻤﺢ ﺑﻈﻬﻮﺭ ﻛﺎﻓﺔ ﺍﻟﺘﻔﺎﺻﻴﻞ ‪ ،‬ﺛﻢ ﺃﺣﺎﻁ ﺃﺩﻧﻰ ﻫﺬﺍ ﺍﻟﻤﺴﺘﻮﻯ ﻣﻦ‬
‫ﺍﻟﺼﻮﺭﺓ ﺑﺈﻃﺎﺭ ﺯﺧﺮﺓ ﻣﻦ ﺍﻷﺯﻫﺎﺭ ﺗﺪﺍﺧﻠﺖ ﻣﻊ ﻗﻮﺍﺋﻢ ﺍﻟﺮﺍﺣﻠﺘﻴﻦ ﻍ ﻭﺩﺍﻋﺔ ﻫﺎﻣﺴﺔ‪ ،‬ﻭﺩﻟﻰ ﻣﻦ‬
‫ﺇﻃﺎﺭﻩ ﺍﻟﻌﻠﻮﻱ ﺯﻫﻮﺭ ًﺍ ﺣﻤﺮﺍﺀ ﻛﺄﻧﻬﺎ ﺛﺮﻳﺎﺕ ﻋﻠﻘﺖ ﻍ ﺍﻟﺴﻤﺎﺀ ﺗﺸﺎﺭﻙ ﺍﻷﺭﺽ ﺃﻓﺮﺍﺣﻬﺎ ‪ ،‬ﻷﻤ ًﻓ ﺑﺬﻟﻚ‬

‫ﻓﺮﺍﻍ ﺍﻟﻤﺴﺘﻮﻯ ﺍﻷﻭﻝ ﻣﻤﻬﺪﺍ ﻟﻠﻤﺴﺘﻮﻳﻴﻦ ﺍﻵﺧﺮﻳﻦ‪.‬‬

‫(‪ )I‬ﻫﻮﻣﻨﻈﻮﺭ ﻣﺘﻮﺍﺯﻱﺍﻷﺷﻌﺔ ﺍﻟﻀﻮﺋﻴﺔ ﻻ ﻳﺤﺘﺮﻡ ﺍﻟﻌﻤﻖ ﻭﺍﻟﺒﻌﺪ ﺍﻟﺜﺎﻟﺚ ﻭﻳﺨﺘﺺ ﺑﻪ ﺍﻟﻔﻦﺍﻹﺳﻻﻣﻲ‪.‬‬
‫(‪ )2‬ﻣﺸﻬﺪ ﻋﺎﻡ ( ﻟﻮﺣﺔ ﺩﺍﺋﺮﻳﺔ ﻓﻴﻬﺎ ﻣﺸﻬﺪ ﻭﺍﻗﻌﻲ ﺃﻭ ﻣﻮﻗﻌﻪ ‪ ٠‬ﻣﺜﻞ ﺑﺎﻧﻮﺭﺍﻣﺎ ﻣﻮﺳﻜﻮﻭﺑﺎﻧﻮﺭﺍﻣﺎ ﺗﺸﺮﻳﻦ ﺩﻣﺸﻖ‪.‬‬