This document discusses the study of gender and visual culture in the Islamic world. It notes that while this area has received some attention, there remains a lack of focused research on the intersections between gender and areas like art, architecture, and history writing. This is partly due to limited available sources that discuss these issues directly or shed light on them visually or textually. Moving forward, more productive avenues of study include searching for primary sources, developing organized pictures of the available sources and their diversity, and rereading existing sources with a critical gender lens.

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‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬
‫ﻤﺠﺎﻻﺕ‬ ‫ﻤﻥ‬ ‫ﺒﻪ‬ ‫ﻤﻌﺘﺭﻓﺎ‬ ‫ﻤﺠﺎﻻ‬ ‫ﻟﺘﺸﻜل‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺘﻁﻭﺭﺕ‬ ‫ﺍﻟﻤﺎﻀﻴﺔ‬ ‫ﺴﻨﺔ‬ ‫ﺍﻟﺜﻼﺜﻴﻥ‬ ‫ﻓﻲ‬
‫ﺘﺄﺜﻴﺭﻫﺎ‬ ‫ﻟﻬﺎ‬ ‫ﻜﺎﻥ‬ ‫ﺇﺴﻬﺎﻤﺎﺕ‬ ‫ﻭﻗﺩﻡ‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻜﺘﺎﺒﺔ‬ ‫ﻓﻲ‬ ‫ﺒﻪ‬ ‫ﺨﺎﺼﺎ‬ ‫ﺘﺭﺍﺜﺎ‬ ‫ﻜﻭﻥ‬ ‫ﺃﻨﻪ‬ ‫ﺇﻻ‬ ‫ﻤﺤﺩﻭﺩﺍ‬ ‫ﻤﺠﺎﻻ‬ ‫ﻴﺯﺍل‬ ‫ﻻ‬ ‫ﺃﻨﻪ‬ ‫ﻭﺭﻏﻡ‬ ،‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﺩﺭﺍﺴﺎﺕ‬
‫ﺍﻟﻜﺒﻴ‬‫ﺭ‬.‫ﺍﻹﺴﻼﻤﻰ‬ ‫ﻟﻠﻌﺎﻟﻡ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﻓﻲ‬ ‫ﻤﻁﺭﻭﻗﺔ‬ ‫ﻏﻴﺭ‬ ‫ﻤﺴﺎﺤﺔ‬ ‫ﻭﺍﻟﺠﻨﺩﺭ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺘﻅل‬ ‫ﻭﻟﻜﻥ‬.‫ﺍﻟﺨﻁﻭﻁ‬ ‫ﺍﻟﻤﻘﺎﻟﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻭﺘﻘﺩﻡ‬
‫ﻜﻤﺎ‬ ،‫ﺍﻟﻤﺠﺎل‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﺨﺼﺼﺔ‬ ‫ﺍﻷﺒﺤﺎﺙ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ‫ﻟﻠﻤﻨﺎﻫﺞ‬ ‫ﻋﺎﻤﺎ‬ ‫ﻭﻋﺭﻀﺎ‬ ،‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻫﺫﺍ‬ ‫ﻟﻤﺜل‬ ‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﻟﻠﻤﺼﺎﺩﺭ‬ ‫ﺍﻟﻌﺎﻤﺔ‬
‫ﻟﻠﺒﺤﻭﺙ‬ ‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﺍﻟﻁﺭﻕ‬ ‫ﺇﻟﻰ‬ ‫ﺘﺸﻴﺭ‬‫ﺍﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬)‫ﺃﻨﻅﺭﻱ‬/‫ﻫﺫﻩ‬ ‫ﻤﻥ‬ ‫ﻟﻬﺎ‬ ‫ﺍﻟﻤﺨﺼﺹ‬ ‫ﺍﻟﻘﺴﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻭﻀﻴﺤﻴﺔ‬ ‫ﻭﺍﻟﺭﺴﻭﻡ‬ ‫ﺍﻟﺼﻭﺭ‬ ‫ﺃﻴﻀﺎ‬ ‫ﺃﻨﻅﺭ‬
‫ﺍﻟﻤﻭﺴﻭﻋﺔ‬.(
‫ﺍﻟﻤﺼﺎﺩﺭ‬
‫ﻴﺘﻡ‬ ‫ﻤﺎ‬ ‫ﻋﺎﺩﺓ‬ ،‫ﺒﺎﻟﺒﺤﺙ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻌﺎﻟﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺍﻻﻟﺘﻘﺎﺀ‬ ‫ﻨﻘﺎﻁ‬ ‫ﺘﻨﺎﻭل‬ ‫ﻀﻌﻑ‬ ‫ﺴﺒﺏ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺘﺴﺎﺅل‬ ‫ﺇﻥ‬
‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻗﻠﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺇﺭﺠﺎﻋﻪ‬-‫ﻭﺍﻟﻨﺼﻴﺔ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬-‫ﺒﺎﻟﻀﻭﺀ‬ ‫ﻋﻠﻴﻬﺎ‬ ‫ﺘﻠﻘﻲ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻘﻀﺎﻴﺎ‬ ‫ﺘﻠﻙ‬ ‫ﺘﺘﻨﺎﻭل‬ ‫ﺍﻟﺘﻲ‬.‫ﻓﻲ‬ ‫ﺍﻟﻀﻌﻑ‬ ‫ﻫﺫﺍ‬ ‫ﻨﺠﺩ‬ ‫ﻭﻟﻜﻨﻨﺎ‬
‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻟﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﺤﺼﺭ‬ ‫ﻴﺘﻡ‬ ‫ﻟﻡ‬ ‫ﺇﻨﻪ‬ ‫ﻭﺤﻴﺙ‬ ،‫ﺘﻘﺭﻴﺒﺎ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﻜل‬ ‫ﻓﻲ‬ ‫ﺍﻷﻭﻟﻴﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﺍﺴﺘﻜﺸﺎﻑ‬
‫ﻭﺠﻭﺩﻫﺎ‬ ‫ﺒﻌﺩﻡ‬ ‫ﺍﻟﺤﺎﺴﻡ‬ ‫ﺍﻟﺘﺄﻜﻴﺩ‬ ‫ﺍﻟﺼﻌﺏ‬ ‫ﻓﻤﻥ‬ ،‫ﻤﻨﻅﻡ‬ ‫ﺒﺸﻜل‬.‫ﺼﻭﺭﺓ‬ ‫ﻟﺭﺴﻡ‬ ‫ﺍﻟﻭﺤﻴﺩ‬ ‫ﻭﺍﻟﻁﺭﻴﻕ‬‫ﺘﻨﻭﻋﻬﺎ‬ ‫ﻭﻤﺩﻯ‬ ‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻋﻥ‬ ‫ﺃﺩﻕ‬
‫ﺍﻟﻌﻠﻤﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺯﻴﺩ‬ ‫ﻫﻭ‬ ‫ﻤﺜﻤﺭﺓ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻟﺩﺭﺍﺴﺘﻬﺎ‬ ‫ﺍﻟﻤﺜﻠﻰ‬ ‫ﺍﻟﻁﺭﻕ‬ ‫ﻭﻜﺫﻟﻙ‬.‫ﺃﻭﻟﻴﺔ‬ ‫ﻤﻭﺍﺩ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻌﺜﻭﺭ‬ ‫ﻤﺤﺎﻭﻟﺔ‬ ‫ﺠﺎﻨﺏ‬ ‫ﻭﺇﻟﻰ‬"‫ﺠﺩﻴﺩﺓ‬"،
‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻤﻨﻅﻭﺭ‬ ‫ﻤﻥ‬ ‫ﻭﻗﺭﺍﺀﺘﻬﺎ‬ ،‫ﻨﻘﺩﻴﺔ‬ ‫ﻗﺭﺍﺀﺓ‬ ‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻗﺭﺍﺀﺓ‬ ‫ﻤﻥ‬ ‫ﻜﺜﻴﺭﺍ‬ ‫ﺍﻻﺴﺘﻔﺎﺩﺓ‬ ‫ﻴﻤﻜﻥ‬.‫ﺘﺒ‬ ،‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬‫ﺃﻓﺴﺎﻨﺔ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻴﻥ‬
‫ﺍﻟﻐﻴﺭﻴﺔ‬ ‫ﺍﻟﺠﻨﺴﻴﺔ‬ ‫ﻤﻨﻁﻠﻕ‬ ‫ﻤﻥ‬ ‫ﺘﻤﺕ‬ ‫ﻭﺍﻟﺘﻲ‬ ،‫ﺍﻟﻘﺩﻴﻡ‬ ‫ﺍﻟﺼﻭﻓﻲ‬ ‫ﻟﻠﺸﻌﺭ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻘﺭﺍﺀﺍﺕ‬ ‫ﺃﻥ‬ ‫ﻨﺠﻤﺒﺎﺩﻱ‬)heterosexist(‫ﺩﺃﺒﺕ‬ ‫ﻗﺭﺍﺀﺍﺕ‬ ‫ﻫﻲ‬ ،
‫ﺍﻟﻨﺼﻭﺹ‬ ‫ﻫﺫﻩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﻀﻤﻥ‬ ‫ﺍﻟﻤﺜﻠﻲ‬ ‫ﺍﻟﻌﺸﻕ‬ ‫ﻭﺇﻏﻔﺎل‬ ‫ﺇﺨﻔﺎﺀ‬ ‫ﻋﻠﻰ‬)Najmabadi forthcoming.(
‫ﺍﻟﻤ‬ ‫ﺍﻟﺘﺤﺩﻴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﻴﻁﺭﺡ‬ ‫ﻤﺠﺎل‬ ‫ﺃﻨﻪ‬ ‫ﺍﻟﻭﺍﻀﺢ‬ ‫ﻭﻤﻥ‬‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺒﻘﻀﺎﻴﺎ‬ ‫ﺍﻟﻤﻬﺘﻡ‬ ‫ﻭﺍﻟﺩﺍﺭﺱ‬ ‫ﺍﻟﺩﺍﺭﺴﺔ‬ ‫ﺃﻤﺎﻡ‬ ‫ﺨﺘﻠﻔﺔ‬.‫ﺍﻟﻤﻔﻴﺩ‬ ‫ﻤﻥ‬ ‫ﻭﻟﻌﻠﻪ‬
‫ﺍﻟﻤﺘﺎﺤﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻷﻨﻭﺍﻉ‬ ‫ﻗﺼﻴﺭ‬ ‫ﻋﺭﺽ‬ ‫ﺘﻘﺩﻴﻡ‬.‫ﺒﺎﺨﺘﻼﻑ‬ ‫ﺘﺤﻘﻴﻘﻬﺎ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻭﻥ‬ ‫ﺒﻪ‬ ‫ﻗﺎﻡ‬ ‫ﻤﺎ‬ ‫ﻴﺨﺘﻠﻑ‬ ‫ﻜﻤﺎ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻁﺒﻴﻌﺔ‬ ‫ﺘﺨﺘﻠﻑ‬
‫ﺍﻟﺠﻐﺭﺍﻓﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬.‫ﺍﻟ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺩﺭﺍﺴﺎﺕ‬ ‫ﻨﺠﺩ‬ ‫ﺤﻴﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬‫ﺍﻟﺘﻭﺭﻜﻴﺔ‬ ‫ﺍﻟﻤﺠﻤﻭﻋﺎﺕ‬ ‫ﺘﺴﻭﺩﻫﺎ‬ ‫ﺘﻲ‬•
‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻓﺈﻥ‬
‫ﺍﻷﺩﺒﻴﺎﺕ‬ ‫ﻫﺫﻩ‬ ‫ﻓﻲ‬ ‫ﻭﺠﻭﺩ‬ ‫ﻟﻬﻥ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻴﻜﺎﺩ‬ ‫ﻻ‬ ‫ﺍﻟﺼﺤﺭﺍﺀ‬ ‫ﺠﻨﻭﺏ‬ ‫ﺃﻓﺭﻴﻘﻴﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﻠﻤﺎﺕ‬.‫ﺍﻟﻨﻤﻭﺫﺠﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻅﻬﺭﺕ‬ ‫ﻭﻤﺅﺨﺭﺍ‬
‫ﺍﻷﻓﺭﻴﻘﻴﺔ‬ ‫ﺍﻟﺼﺤﺭﺍﺀ‬ ‫ﺠﻨﻭﺏ‬ ‫ﺍﻟﻭﺍﻗﻌﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻭﺫﻟﻙ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺃﺴﺎﺱ‬ ‫ﻋﻠﻰ‬ ‫ﻴﻘﻭﻡ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﻭﺍﻻﺴﺘﻬﻼﻙ‬ ‫ﻟﻺﻨﺘﺎﺝ‬)Prussin 1995,
Perani and Smith 1998(‫ﺸﻤﺎل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺠﻨﻭﺏ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻭﺍﻗﻌﺔ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﻟﻠﻤﺠﻤﻭﻋﺎﺕ‬ ‫ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﻭﻟﻜﻥ‬ ،
‫ﺍﻟﻤﻨﺎﻁﻕ‬ ‫ﺃﺴﺎﺱ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺠﺎﻻﺕ‬ ‫ﺇﻟﻰ‬ ‫ﺤﺎﻟﻴﺎ‬ ‫ﺍﻟﻐﺭﺏ‬ ‫ﻓﻲ‬ ‫ﺍﻷﻜﺎﺩﻴﻤﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺘﻘﺴﻴﻡ‬ ‫ﺃﻭﺠﺩﻫﺎ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﺠﻭﺍﺕ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﺘﻤﺎﻤﺎ‬ ‫ﻏﺎﺒﺕ‬ ‫ﻗﺩ‬ ‫ﺃﻓﺭﻴﻘﻴﺎ‬
‫ﺍﻟﺠﻐﺭﺍﻓﻴﺔ‬.
‫ﺘﺨ‬ ‫ﻜﻤﺎ‬‫ﺍﻟﺘﺎﺭﻴﺨﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻨﺘﻴﺠﺔ‬ ‫ﻜﺫﻟﻙ‬ ‫ﻜﺒﻴﺭﺍ‬ ‫ﺍﺨﺘﻼﻓﺎ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺘﻠﻑ‬.‫ﺍﻟﻤﻌﺎﺼﺭﺓ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻁﺒﻴﻌﺔ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﻜﺒﻴﺭ‬ ‫ﻓﺎﻟﻔﺭﻕ‬
‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻭﺒﺩﺍﻴﺔ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﻭﺍﻟﻔﺘﺭﺓ‬.‫ﺒﻅﻬﻭﺭ‬ ‫ﻴﺴﻤﺢ‬ ‫ﻤﻤﺎ‬ ‫ﻤﺅﺴﺴﺎﺕ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﻭﺍﻟﻌﻤل‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻹﻨﺘﺎﺝ‬ ‫ﻴﺘﻡ‬ ‫ﻓﺎﻟﻴﻭﻡ‬
‫ﻜﺒﻴﺭﺍﺕ‬ ‫ﻓﻨﺎﻨﺎﺕ‬)،‫ﻨﺸﺄﺕ‬ ‫ﺸﻴﺭﻴﻥ‬‫ﺤﺘﻭﻡ‬ ‫ﻤﻨﻰ‬(‫ﺴﻴﻨﻤﺎ‬ ‫ﻭﻤﺨﺭﺠﺎﺕ‬)‫ﺠﺒﺎﺭ‬ ‫ﺁﺴﻴﺎ‬(‫ﻭﻤﻨﻅﺭﺍﺕ‬ ‫ﻭﻤﻌﻤﺎﺭﻴﺎﺕ‬)‫ﺤﺩﻴﺩ‬ ‫ﺯﻫﺎ‬(‫ﻭﻨﺎﺸﻁﺎﺕ‬ ‫ﻭﻤﻤﺜﻼﺕ‬
‫ﺴﻴﺎﺴﻴﺎﺕ‬)‫ﻋﺯﻤﻲ‬ ‫ﺸﺒﺎﻨﺔ‬) (Nashashibi 1994, 1998.(‫ﺒﺒﺤﻭﺙ‬ ‫ﺍﻟﻘﻴﺎﻡ‬ ‫ﺃﻴﻀﺎ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﻤﺘﻤﻴﺯﺓ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺇﻟﻰ‬ ‫ﻭﺒﺎﻹﻀﺎﻓﺔ‬
‫ﻴﺴﻤ‬ ‫ﻓﻴﻤﺎ‬ ‫ﺍﻟﻔﻘﻴﺭﺍﺕ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻭﻋﻤل‬ ‫ﺤﻴﺎﺓ‬ ‫ﻟﺘﻭﺜﻴﻕ‬ ‫ﺸﻔﺎﻫﻴﺔ‬ ‫ﺸﻬﺎﺩﺍﺕ‬ ‫ﻭﺠﻤﻊ‬ ‫ﻤﻴﺩﺍﻨﻴﺔ‬‫ﺍﻟﺒﺩﻭﻴﺔ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻨﺴﻴﺞ‬ ‫ﻜﺼﻨﺎﻋﺔ‬ ‫ﺍﻟﺘﻘﻠﻴﺩﻴﺔ‬ ‫ﺒﺎﻟﺤﺭﻑ‬ ‫ﻰ‬
)Prussin 1995, Stillman and Micklewright 1992, Stillman 2000.(‫ﻓﻬﻤﺎ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻷﺨﻴﺭ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻫﺫﺍ‬ ‫ﻗﺩﻡ‬ ‫ﻭﻗﺩ‬
‫ﺍﻷ‬ ‫ﻭﺘﺤﻭﻴل‬ ،‫ﻭﻗﻴﻤﺘﻪ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻤﻌﻨﻰ‬ ‫ﻭﻓﻲ‬ ،‫ﻭﺍﻟﻌﻤل‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻓﻲ‬ ‫ﻟﻠﺘﻔﻜﻴﺭ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﻁﺭﻗﺎ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻟﻬﺫﻩ‬ ‫ﺃﻋﻤﻕ‬‫ﺸﻴﺎﺀ‬"‫ﺍﻟﺘﻘﻠﻴﺩﻴﺔ‬"‫ﺇﻟﻰ‬
‫ﺴﻠﻊ‬.‫ﻟﻠﻔﻀﺎﺀ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻬﻡ‬ ‫ﻜﻴﻔﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻠﺘﻌﺭﻑ‬ ‫ﺒﺎﻟﻤﻌﺎﻴﺸﺔ‬ ‫ﻭﻤﻼﺤﻅﺘﻬﻡ‬ ‫ﻭﺭﺠﺎل‬ ‫ﻨﺴﺎﺀ‬ ‫ﻤﻊ‬ ‫ﻤﻘﺎﺒﻼﺕ‬ ‫ﺇﺠﺭﺍﺀ‬ ‫ﺍﻟﻴﻭﻡ‬ ‫ﻜﺫﻟﻙ‬ ‫ﺍﻟﻤﻤﻜﻥ‬ ‫ﻭﻤﻥ‬.‫ﻭﻗﺩ‬
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‫ﻭﺍﻟﺘﺭﻜﻤﺎﻨﻴﺔ‬ ‫ﻭﺍﻷﺫﺭﺒﻴﺠﺎﻨﻴﺔ‬ ‫ﺍﻟﺘﺭﻜﻴﺔ‬ ‫ﺘﺸﻤل‬ ‫ﺍﻟﻠﻐﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺃﺴﺭﺓ‬‫ﻭﻏﻴﺭﻫﺎ‬ ‫ﻭﺍﻟﻘﻴﺭﻏﻴﺯﻴﺔ‬.)‫ﺍﻟﻤﺘﺭﺠﻤﺔ‬(

2. ٤٣٥
‫ﻭﺍﻋﺘﻤﺩﺕ‬ ،‫ﺍﻟﺠﺯﺍﺌﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﺘﺴﻌﻴﻨﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﺎﻡ‬ ‫ﻭﺍﻟﺤﻴﺯ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻋﻠﻰ‬ ‫ﺴﻠﻴﻭﻤﻭﻓﻴﻜﺘﺵ‬ ‫ﺴﻭﺯﺍﻥ‬ ‫ﺍﻷﻨﺜﺭﻭﺒﻭﻟﻭﺠﻴﺎ‬ ‫ﺒﺎﺤﺜﺔ‬ ‫ﻋﻤﻠﺕ‬
‫ﺍﻟﻤﻘ‬ ‫ﻋﻠﻰ‬‫ﺍﻟﻌﺎﻡ‬ ‫ﺍﻟﺤﻴﺯ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺭﺠﺎل‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺴﻠﻭﻙ‬ ‫ﻟﺘﺤﺩﻴﺩ‬ ‫ﺍﻟﻤﻜﺘﻭﺒﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻹﻀﺎﻓﺔ‬ ‫ﺒﺎﻟﻤﻌﺎﻴﺸﺔ‬ ‫ﻭﺍﻟﻤﻼﺤﻅﺔ‬ ‫ﺎﺒﻼﺕ‬
)Slyomovics 1995.(
‫ﺴﺎﺒﻘﺔ‬ ‫ﺒﻔﺘﺭﺍﺕ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻟﻤﺠﻤﻭﻋﺔ‬ ‫ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻷﻤﺭ‬ ‫ﻭﻴﺨﺘﻠﻑ‬.‫ﺃﺸﺨﺎﺼﺎ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻨﺠﺩ‬ ‫ﻻ‬ ‫ﺤﻴﻥ‬ ‫ﻓﻔﻲ‬
‫ﻟﻠﺩﺭﺍﺴﺔ‬ ‫ﺍﻟﻤﻌﻠﻭﻤﺎﺕ‬ ‫ﻴﻘﺩﻤﻭﻥ‬‫ﺍﻟﻤﻜﺘﻭﺒﺔ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻤﻥ‬ ‫ﺜﺭﻭﺓ‬ ‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﻭﺒﺩﺍﻴﺔ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺘﺎﺴﻊ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﻨﺠﺩ‬ ‫ﻓﺈﻨﻨﺎ‬ ،‫ﺍﻟﻌﻠﻤﻴﺔ‬.‫ﻤﺠﻲﺀ‬ ‫ﻭﻴﻤﺜل‬
‫ﻟﻠﺒﺤﺙ‬ ‫ﻫﺎﻤﺔ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻨﻘﻁﺔ‬ ‫ﺍﻟﺫﺍﺕ‬ ‫ﻋﻥ‬ ‫ﻟﻠﻜﺘﺎﺒﺔ‬ ‫ﺍﻟﺤﺩﻴﺙ‬ ‫ﺍﻷﺸﻜﺎل‬ ‫ﻭﻅﻬﻭﺭ‬ ‫ﺍﻟﻁﺒﺎﻋﺔ‬.،‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﺨﺎﺭﺝ‬ ،‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻋﻠﻰ‬ ‫ﻓﻨﺠﺩ‬
‫ﻜﺘﺎﺒﺎﺕ‬ ‫ﻓﺭﻴﺭﺴﻭﻥ‬ ‫ﻭﺇﻟﻴﺯﺍﺒﺙ‬ ‫ﺒﺩﺭﺍﻥ‬ ‫ﻤﺎﺭﻏﻭ‬ ‫ﺍﺴﺘﺨﺩﻤﺕ‬ ‫ﻜﻴﻑ‬،‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﺒﺩﺍﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺼﺭﻴﺔ‬ ‫ﺍﻟﻨﺴﺎﺌﻴﺔ‬ ‫ﻟﻠﺤﺭﻜﺔ‬ ‫ﺍﻟﻤﻨﺘﻤﻴﺎﺕ‬ ‫ﺍﻟﻨﺴﺎﺀ‬
‫ﺍﺠﺘﻤﺎﻋﻴﺎ‬ ‫ﺍﻟﻔﺎﻋﻠﺔ‬ ‫ﺍﻟﻨﺴﺎﺌﻴﺔ‬ ‫ﺍﻟﻌﻨﺎﺼﺭ‬ ‫ﻋﻥ‬ ‫ﻤﺭﻜﺒﺔ‬ ‫ﺼﻭﺭ‬ ‫ﺘﻜﻭﻴﻥ‬ ‫ﺴﺒﻴل‬ ‫ﻓﻲ‬ ،‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻤﻭﺠﻬﺔ‬ ‫ﺍﻟﺘﺭﻜﻴﺔ‬ ‫ﺒﺎﻟﻠﻐﺔ‬ ‫ﺍﻟﺼﺎﺩﺭﺓ‬ ‫ﻭﺍﻟﻤﺠﻼﺕ‬
)Badran 1995, Frierson 2000.(‫ﺍﻟﺯ‬ ‫ﻋﺒﺭ‬ ‫ﺍﻟﺒﻘﺎﺀ‬ ‫ﻋﻠﻰ‬ ‫ﺒﻘﺩﺭﺘﻬﺎ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬‫ﻤﺘﻨﻭﻋﺎ‬ ‫ﻤﺠﺎﻻ‬ ‫ﺘﺸﻜل‬ ‫ﻏﻴﺭﻫﺎ‬ ‫ﻤﻥ‬ ‫ﺃﻜﺜﺭ‬ ‫ﻤﻥ‬
‫ﺍﻟﺩﻻﺌل‬ ‫ﻤﻥ‬ ‫ﻭﺜﺭﻴﺎ‬.‫ﻁﻬﺭﺍﻥ‬ ‫ﻓﻲ‬ ‫ﺒﺎﻟﺩﻋﺎﺭﺓ‬ ‫ﺍﻟﻌﺎﻤﻼﺕ‬ ‫ﻟﻠﻨﺴﺎﺀ‬ ‫ﺍﻟﻔﻭﺘﻭﻏﺭﺍﻓﻴﺔ‬ ‫ﺍﻟﺼﻭﺭ‬ ‫ﺒﺩﺭﺍﺴﺔ‬ ‫ﻨﺠﻤﺒﺎﺩﻱ‬ ‫ﺃﻓﺴﺎﻨﻪ‬ ‫ﻗﺎﻤﺕ‬ ،‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬
)Najmabadi 1998(‫ﺍﻻﺴﺘﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺤﻜﻡ‬ ‫ﺘﺤﺕ‬ ‫ﺍﻟﺠﺯﺍﺌﺭ‬ ‫ﻟﻤﺩﻴﻨﺔ‬ ‫ﺍﻟﺤﻀﺭﻱ‬ ‫ﺍﻟﺘﺠﺩﻴﺩ‬ ‫ﻤﺸﺭﻭﻋﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺭﻜﺯﺕ‬ ‫ﻓﻘﺩ‬ ‫ﺘﺸﻠﻴﻙ‬ ‫ﺯﻴﻨﺏ‬ ‫ﺃﻤﺎ‬ ،
‫ﺍﻟﺘﻔﺎﻋل‬ ‫ﺘﻨﺎﻭﻟﺕ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﻤﺴﺘﻌﻤﺭﺓ‬ ‫ﺤﻭل‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺨﻁﺎﺏ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻤﻌﺎﻴﻴﺭ‬ ‫ﺍﻋﺘﺒﺎﺭﻫﺎ‬ ‫ﻓﻲ‬ ‫ﺘﺄﺨﺫ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺼﻁﻠﺤﺎﺕ‬ ‫ﻓﺘﻨﺎﻭﻟﺕ‬ ،‫ﺍﻟﻔﺭﻨﺴﻲ‬
‫ﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﺭﻨﺴﻴﺔ‬ ‫ﻭﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺍﻟﺤﻀﺭﻱ‬ ‫ﺍﻟﺘﺤﻭل‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬"‫ﺍﻷﺼﻠﻴﻴﻥ‬ ‫ﺍﻟﺴﻜﺎﻥ‬"‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻷﺩﻭﺍﺭ‬ ‫ﺤﻭل‬ ‫ﻭﺍﻟﺘﺼﻭﺭﺍﺕ‬ ،‫ﺃﻓﺭﻴﻘﻴﺎ‬ ‫ﺸﻤﺎل‬ ‫ﻓﻲ‬
‫ﺍﻟﺠﺯﺍﺌﺭﻴﺎﺕ‬ ‫ﻟﻠﻨﺴﺎﺀ‬)Çelik 1992, 1996, 1997.(‫ﻭﺍﻟﺼﻭﺭ‬ ‫ﺍﻟﻤﻼﺒﺱ‬ ‫ﻗﻁﻊ‬ ‫ﻤﻥ‬ ‫ﻭﺼﻠﻨﺎ‬ ‫ﻤﺎ‬ ‫ﺍﺴﺘﺨﺩﻤﺕ‬ ‫ﻓﻘﺩ‬ ‫ﻤﻴﻜﻠﺭﺍﻴﺕ‬ ‫ﻨﺎﻨﺴﻲ‬ ‫ﺃﻤﺎ‬
‫ﻓﻲ‬ ‫ﻤﻼﺒﺴﻬﻥ‬ ‫ﺘﻔﺼﻴل‬ ‫ﻟﺘﺼﻤﻴﻤﺎﺕ‬ ‫ﺍﻟﻌﺜﻤﺎﻨﻲ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺍﺨﺘﻴﺎﺭ‬ ‫ﻋﻠﻰ‬ ‫ﻁﺭﺃﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻟﻠﺘﻐﻴﺭﺍﺕ‬ ‫ﺩﺭﺍﺴﺘﻬﺎ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﻴﻭﻤﻴﺎﺕ‬ ‫ﺍﻟﻔﻭﺘﻭﻏﺭﺍﻓﻴﺔ‬
‫ﺍﻟﺘﺤﺩﻴﺙ‬ ‫ﻁﻭﺭ‬ ‫ﻓﻲ‬ ‫ﻤﺠﺘﻤﻊ‬)Micklewright 2000.(
‫ﺫﻟ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻘﻴﺽ‬ ‫ﻭﻋﻠﻰ‬‫ﻴﻜﻤﻥ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻤﻭﻀﻭﻉ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻴﻭﺍﺠﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺘﺤﺩﻱ‬ ‫ﻓﺈﻥ‬ ‫ﻙ‬
‫ﻭﻁﺒﻴﻌﺘﻬﺎ‬ ‫ﺇﻟﻴﻨﺎ‬ ‫ﻭﺼﻠﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻷﻋﻤﺎل‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﺤﺠﻡ‬ ‫ﻀﺂﻟﺔ‬ ‫ﺘﻔﺭﻀﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻘﺼﻭﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﻐﻠﺏ‬ ‫ﻓﻲ‬ ‫ﺒﺎﻟﻘﻁﻊ‬.‫ﺍﻟﺒﺼﺭﻱ‬ ‫ﻓﺎﻹﻨﺘﺎﺝ‬
‫ﺍﻟﻌ‬ ‫ﻋﺒﺭ‬ ‫ﺸﻲﺀ‬ ‫ﻤﻨﻪ‬ ‫ﻴﺒﻘﻰ‬ ‫ﻗﻠﻤﺎ‬ ‫ﺍﻟﺴﻠﻁﺔ‬ ‫ﻴﻤﻠﻜﻭﻥ‬ ‫ﻻ‬ ‫ﻭﻤﻥ‬ ‫ﻟﻠﻔﻘﺭﺍﺀ‬‫ﻤﻥ‬ ‫ﺍﺴﺘﺒﻌﺎﺩﻩ‬ ‫ﻴﺘﻡ‬ ‫ﻤﺎ‬ ‫ﻋﺎﺩﺓ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻘﺴﻡ‬ ‫ﻫﺫﺍ‬ ‫ﺃﻥ‬ ‫ﻴﻌﻨﻲ‬ ‫ﻤﺎ‬ ‫ﻭﻫﻭ‬ ،‫ﺼﻭﺭ‬
‫ﺍﻟﻨﻘﺎﺵ‬.‫ﻟﻠﻤﺼﺎﺩﺭ‬ ‫ﻤﻨﻬﺠﻴﺔ‬ ‫ﺒﻤﺴﺎﺀﻟﺔ‬ ‫ﺘﺒﺩﺃ‬ ‫ﺃﻥ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺴﻴﺔ‬ ‫ﻭﺍﻟﺤﻴﺎﺓ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺍﻟﺘﺩﺍﺨل‬ ‫ﺘﺘﻨﺎﻭل‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺃﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﻭﻴﺘﻌﻴﻥ‬
‫ﺍﻟﺠﻨ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﻘﻭﻯ‬ ‫ﻋﻼﻗﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻤﻤﺜﻠﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﻋﻥ‬ ‫ﺒﺤﺜﺎ‬ ‫ﺘﻘﻠﻴﺩﻴﺎ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬‫ﻟﻠﺠﻨﺱ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﻲ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﻭﺍﻟﺘﺸﻜل‬ ‫ﺴﻴﻥ‬.‫ﺍﻟﻨﻭﻉ‬ ‫ﻭﻫﺫﺍ‬
‫ﻭﺍﻟﻤﻨﺎﻫﺞ‬ ‫ﺍﻷﻋﺭﺍﻑ‬ ‫ﻤﻥ‬ ‫ﻜﺜﻴﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻔﻜﻴﺭ‬ ‫ﺒﺈﻋﺎﺩﺓ‬ ‫ﻭﺍﻻﻟﺘﺯﺍﻡ‬ ،‫ﺍﻟﻨﻅﺭﻴﺔ‬ ‫ﻭﺍﻟﻤﻨﺎﻫﺞ‬ ‫ﺍﻷﺩﻭﺍﺕ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻭﺍﻟﺒﺎﺤﺙ‬ ‫ﺍﻟﺒﺎﺤﺜﺔ‬ ‫ﻤﻥ‬ ‫ﻴﺘﻁﻠﺏ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻤﻥ‬
‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻓﻲ‬ ‫ﻭﺘﺤﺩﻴﺩﺍ‬ ،‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻓﻲ‬ ‫ﺒﻬﺎ‬ ‫ﺍﻟﻤﺴﻠﻡ‬.‫ﺍﻟﻤﻨﻬﺠ‬ ‫ﺍﻟﻤﺸﻜﻼﺕ‬ ‫ﻟﺒﻌﺽ‬ ‫ﻜﺎﻥ‬ ‫ﻭﻗﺩ‬‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﻴﺔ‬
‫ﻭﺍﻟﺠﻨﺩﺭ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺨﺎﺼﺔ‬ ‫ﺃﺜﺭﻫﺎ‬.‫ﺃﻋﻤﺎل‬ ‫ﻻ‬ ‫ﺒﺎﻷﺴﺎﺱ‬ ‫ﻭﺼﻔﻴﺔ‬ ‫ﺃﻋﻤﺎل‬ ‫ﺇﻨﺘﺎﺝ‬ ‫ﻨﺤﻭ‬ ‫ﺍﻟﻭﺍﻀﺢ‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﺫﻟﻙ‬ ‫ﺍﻟﻤﺸﻜﻼﺕ‬ ‫ﻫﺫﻩ‬ ‫ﻭﻤﻥ‬
‫ﺇﻟﻰ‬ ‫ﺒﺤﺎﺠﺔ‬ ‫ﺯﺍل‬ ‫ﻤﺎ‬ ‫ﻭﻤﺴﻭﺡ‬ ‫ﻭﺘﻨﻘﻴﺏ‬ ‫ﻭﺘﺼﻨﻴﻑ‬ ‫ﺠﺭﺩ‬ ‫ﻤﻥ‬ ‫ﺍﻷﺴﺎﺴﻲ‬ ‫ﺍﻟﺠﻬﺩ‬ ‫ﻤﻥ‬ ‫ﻜﺜﻴﺭﺍ‬ ‫ﺃﻥ‬ ‫ﺇﻟﻰ‬ ،‫ﻜﻠﻴﺎ‬ ‫ﻭﻟﻴﺱ‬ ،‫ﺠﺯﺌﻴﺎ‬ ‫ﻴﺭﺠﻊ‬ ‫ﻤﺎ‬ ‫ﻭﻫﻭ‬ ،‫ﺘﺤﻠﻴﻠﻴﺔ‬
‫ﺘﻘﺭﻴﺒﺎ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺠﻭﺍﻨﺏ‬ ‫ﻜل‬ ‫ﻓﻲ‬ ،‫ﺒﻪ‬ ‫ﻴﻘﻭﻡ‬ ‫ﻤﻥ‬.‫ﺍﻟﻔﻥ‬ ‫ﺘﻌﺘﺒﺭ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﺤﻠﻴﻠﻴﺔ‬ ‫ﺍﻟﻤﻘﺎﺭﺒﺎﺕ‬ ‫ﺘﻠﻙ‬ ‫ﻓﻲ‬ ‫ﺘﻜﻤﻥ‬ ‫ﺍﻷﺨﺭﻯ‬ ‫ﻭﺍﻟﻤﺸﻜﻠﺔ‬
،‫ﻭﺍﻟﺘﺎﺭﻴﺨﻲ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺴﻴﺎﻗﻪ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﻀﻊ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻤﻨﻬﺠﻴﺎﺕ‬ ‫ﺇﻟﻴﻪ‬ ‫ﻭﺼﻠﺕ‬ ‫ﻤﺎ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﺭﺠﻭﻉ‬ ‫ﺩﻭﻥ‬ ‫ﻤﻥ‬ ،‫ﻟﻠﻭﺍﻗﻊ‬ ‫ﺸﻔﺎﻓﺎ‬ ‫ﺘﺼﻭﻴﺭﺍ‬
‫ﻓ‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻭﺘﻀﻊ‬‫ﺒﻜﺜﻴﺭ‬ ‫ﻴﺘﺠﺎﻭﺯ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺒﺼﺭﻱ‬ ‫ﺍﻟﺘﺤﻠﻴل‬ ‫ﻭﺃﺴﺎﻟﻴﺏ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻟﻤﻭﺍﺩ‬ ‫ﻤﻥ‬ ‫ﻤﺠﺎل‬ ‫ﺩﺍﺨل‬ ‫ﻴﻌﻤل‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺘﻤﺜﻴل‬ ‫ﺇﻁﺎﺭ‬ ‫ﻲ‬
‫ﺍﻷﺴﻠﻭﺒﻲ‬ ‫ﻭﺍﻟﺘﻌﺒﻴﺭ‬ ‫ﻭﺍﻟﺘﺄﻟﻴﻑ‬ ‫ﺍﻟﻤﺼﺩﺭ‬ ‫ﻭﻗﻀﺎﻴﺎ‬ ‫ﺍﻟﺸﻜﻠﻴﺔ‬ ‫ﺍﻟﺨﺼﺎﺌﺹ‬ ‫ﺍﻋﺘﺒﺎﺭﺍﺕ‬.‫ﺍﻷﻫﻡ‬ ‫ﺍﻟﻤﺼﺩﺭ‬ ‫ﺍﻷﻭﻗﺎﻑ‬ ‫ﻭﺜﺎﺌﻕ‬ ‫ﺘﺸﻜل‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬
‫ﻟﻜﺘﺎﺒﺔ‬ ‫ﺩﺍﺌﻤﺎ‬ ‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻭﻥ‬ ‫ﺇﻟﻴﻪ‬ ‫ﻴﺭﺠﻊ‬ ‫ﺍﻟﺫﻱ‬‫ﺒﺎﻟﻭﺜﺎﺌﻕ‬ ‫ﻤﺯﻭﺩﺍ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻟﻠﻌﻤﺎﺭﺓ‬ ‫ﺘﺎﺭﻴﺦ‬.‫ﺍﻟﻤﻌﻠﻭﻤﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺜﺭﺍﺀ‬ ‫ﻤﻥ‬ ‫ﺒﻬﺎ‬ ‫ﻤﺎ‬ ‫ﻭﺭﻏﻡ‬
‫ﺴﻠﻔﺎ‬ ‫ﻭﻤﻌﺩﺓ‬ ‫ﺜﺎﺒﺘﺔ‬ ‫ﺒﺼﻴﻐﺔ‬ ‫ﺘﻜﺘﺏ‬ ‫ﺇﺫ‬ ،‫ﺃﻴﻀﺎ‬ ‫ﻤﺤﺩﻭﺩﺓ‬ ‫ﺍﻷﻭﻗﺎﻑ‬ ‫ﻋﻘﻭﺩ‬ ‫ﻓﺈﻥ‬ ‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬.‫ﻤﻌﺭﻓﺘﻬﺎ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺒﻴﺭﺱ‬ ‫ﻟﻴﺯﻟﻰ‬ ‫ﺍﺴﺘﻁﺎﻋﺕ‬ ‫ﻭﻗﺩ‬
‫ﺍﻷ‬ ‫ﻋﻘﻭﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺩﺍﻟﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﻌﺘﺎﺩﺓ‬ ‫ﻏﻴﺭ‬ ‫ﺍﻟﺠﻭﺍﻨﺏ‬ ‫ﻋﻥ‬ ‫ﺍﻟﻜﺸﻑ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﺒﻁﺒﻴﻌﺔ‬ ‫ﺍﻟﻌﻤﻴﻘﺔ‬‫ﺍﻟﻭﻗﻑ‬ ‫ﻭﺍﻫﺏ‬ ‫ﻜﻭﻥ‬ ‫ﺒﻤﺩﻯ‬ ‫ﺭﺒﻁﺘﻬﺎ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻭﻗﺎﻑ‬
‫ﺍﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺘﻭﻗﻌﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺫﻟﻙ‬ ‫ﻴﺘﺒﻊ‬ ‫ﻭﻤﺎ‬ ،‫ﺍﻤﺭﺃﺓ‬ ‫ﺃﻡ‬ ‫ﺭﺠﻼ‬)Peirce 2000.(
‫ﺍﻟﺘﺎﻟﻴﺔ‬ ‫ﺍﻷﺴﺌﻠﺔ‬ ‫ﻨﻁﺭﺡ‬ ‫ﺃﻥ‬ ‫ﻭﻋﻠﻴﻨﺎ‬:‫ﻭﺍﻟﺠﻨﺩﺭ؟‬ ‫ﺍﻟﺠﻨﺱ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺘﻁﺭﺡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺨﻁﺎﺒﺎﺕ‬ ‫ﻫﻰ‬ ‫ﻤﺎ‬
‫ﻫﺫ‬ ‫ﻤﻥ‬ ‫ﺠﻤﻌﻬﺎ‬ ‫ﺘﻡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻟﻠﻤﻌﻠﻭﻤﺎﺕ‬ ‫ﻴﻤﻜﻥ‬ ‫ﻭﻜﻴﻑ‬‫ﺍﻷﺩﺒﻴﺎﺕ‬ ‫ﺇﻥ‬ ‫ﻭﺍﺴﺘﺨﺩﺍﻤﺎﺘﻬﺎ؟‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻟﻠﺜﻘﺎﻓﺔ‬ ‫ﺍﻹﺒﺩﺍﻋﻴﺔ‬ ‫ﺍﻟﻤﻤﺎﺭﺴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺩل‬ ‫ﺃﻥ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﻩ‬
‫ﻭﺍﻟﺸﻌﺭ‬ ‫ﺍﻟﻘﺎﻨﻭﻨﻴﺔ‬ ‫ﻭﺍﻟﻤﺫﻜﺭﺍﺕ‬ ‫ﺍﻟﻁﺒﻴﺔ‬ ‫ﻭﺍﻟﻭﺼﻔﺎﺕ‬ ‫ﺍﻟﻤﻨﻘﻭﺸﺔ‬ ‫ﺍﻟﻜﺘﺎﺒﺎﺕ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻤﺤﻔﻭﻅﺔ‬ ‫ﺍﻟﻭﺜﺎﺌﻕ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺘﺘﺭﺍﻭﺡ‬ ‫ﺇﻟﻴﻬﺎ‬ ‫ﺍﻟﺭﺠﻭﻉ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﺘﻲ‬

3. ٤٣٦
‫ﺍﻟﺘﺎﺭﻴﺨﻴﺔ‬ ‫ﻭﺍﻟﻤﻼﺤﻡ‬ ‫ﺍﻟﺼﻭﻓﻲ‬.‫ﻟ‬ ‫ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﺍﻟﻘﺎﺌﻡ‬ ‫ﻓﺎﻟﺘﺤﺩﻱ‬ ‫ﺇﺫﻥ‬،‫ﺘﺘﻨﺎﻭل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺨﻁﺎﺒﺎﺕ‬ ‫ﺃﻨﻭﺍﻉ‬ ‫ﺘﺤﺩﻴﺩ‬ ‫ﻫﻭ‬ ‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﻠﻔﺘﺭﺓ‬
‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺒﺩﺭﺍﺴﺔ‬ ‫ﻋﻼﻗﺘﻬﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻗﻀﺎﻴﺎ‬ ،‫ﻋﺭﻀﺎ‬ ‫ﻭﻟﻭ‬.
‫ﻭﺍﻟﻤﻨﺎﻫﺞ‬ ‫ﻟﻠﺒﺤﻭﺙ‬ ‫ﻋﺎﻡ‬ ‫ﻋﺭﺽ‬
‫ﺘﺘﻌﻠﻕ‬ ‫ﻤﺴﺎﺌل‬ ‫ﻴﻭﺍﺠﻬﻭﺍ‬ ‫ﺃﻥ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺤﻭل‬ ‫ﺃﺴﺌﻠﺔ‬ ‫ﻁﺭﺤﻭﺍ‬ ‫ﺍﻟﺫﻴﻥ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻤﺅﺭﺨﻲ‬ ‫ﻋﻠﻰ‬ ‫ﻜﺎﻥ‬ ‫ﻟﻘﺩ‬
‫ﺒﺎﻟﻤﻨﻬﺞ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺍﻟﻤﺸﻜﻼﺕ‬ ‫ﻤﻊ‬ ‫ﺍﻟﺘﻌﺎﻤل‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻹﻀﺎﻓﺔ‬ ،‫ﺴﺎﺒﻘﺎ‬ ‫ﺃﺸﺭﻨﺎ‬ ‫ﻜﻤﺎ‬ ،‫ﻤﻨﻬﺎ‬ ‫ﻭﺍﻟﺘﺤﻘﻕ‬ ‫ﺍﻟﻤﺼﺎﺩﺭ‬ ‫ﺒﺘﺤﺩﻴﺩ‬.‫ﺤﻭل‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺨﻁﺕ‬ ‫ﻟﻘﺩ‬
‫ﻭﺍﻟﺘﻲ‬ ‫ﻤﻘﺎﻟﺘﻬﺎ‬ ‫ﻨﻭﻜﻠﻴﻥ‬ ‫ﻟﻴﻨﺩﺍ‬ ‫ﻜﺘﺒﺕ‬ ‫ﺃﻥ‬ ‫ﻤﻨﺫ‬ ‫ﺍﻷﻤﺎﻡ‬ ‫ﺇﻟﻰ‬ ‫ﻫﺎﺌﻠﺔ‬ ‫ﺨﻁﻭﺍﺕ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻟﺘﺎﺭﻴﺦ‬ ‫ﺍﻷﻭﺴﻊ‬ ‫ﺍﻟﻤﻌﺭﻓﻲ‬ ‫ﺍﻟﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺠﻨﺩﺭ‬ ‫ﺍﻟﻨﺴﺎﺀ‬
‫ﻫﺎﻤﺔ‬ ‫ﻋﻼﻤﺔ‬ ‫ﺃﺼﺒﺤﺕ‬‫ﺘﺴﺎﺅل‬ ‫ﻤﻥ‬ ‫ﻁﺭﺤﺘﻪ‬ ‫ﻟﻤﺎ‬:‫ﻋﻅﻴﻤﺎﺕ؟‬ ‫ﻓﻨﺎﻨﺎﺕ‬ ‫ﺘﻭﺠﺩ‬ ‫ﻟﻡ‬ ‫ﻟﻤﺎﺫﺍ‬)Linda Nochlin, Why have there been no
great women artists? 1971.(‫ﺘﻠﻙ‬ ،‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻤﻥ‬ ‫ﻓﻨﺎﻨﺎﺕ‬ ‫ﻭﺠﻭﺩ‬ ‫ﺩﻻﺌل‬ ‫ﺍﺴﺘﻌﺎﺩﺓ‬ ‫ﻋﻠﻰ‬ ‫ﻴﺭﻜﺯ‬ ‫ﺍﻟﻨﺴﻭﻱ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻜﺎﻥ‬ ‫ﺍﻟﺒﺩﺍﻴﺔ‬ ‫ﻭﻓﻲ‬
‫ﺍﻟ‬ ‫ﻜﺘﺎﺒﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺴﺎﺌﺩﺓ‬ ‫ﺍﻻﺘﺠﺎﻫﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺘﺠﺎﻫﻠﻬﺎ‬ ‫ﺘﻡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺩﻻﺌل‬‫ﺘﺎﺭﻴﺦ‬.‫ﻭﻓﻲ‬ ،‫ﺍﻟﻤﺘﻤﻴﺯﺓ‬ ‫ﺍﻟﺸﺨﺼﻴﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﻴﺭﻜﺯ‬ ‫ﺍﻷﺒﺤﺎﺙ‬ ‫ﻤﻥ‬ ‫ﻜﺒﻴﺭ‬ ‫ﻗﺩﺭ‬ ‫ﻭﻜﺎﻥ‬
‫ﺍﺴﺘﺜﻨﺎﺌﻴﺔ‬ ‫ﺤﺎﻻﺕ‬ ‫ﺒﺎﻋﺘﺒﺎﺭﻫﻥ‬ ‫ﺍﻟﻤﺘﻤﻴﺯﺍﺕ‬ ‫ﺍﻟﻔﻨﺎﻨﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻷﻏﻠﺏ‬.،‫ﺍﻟﻨﻘﺩﻴﺔ‬ ‫ﺍﻟﻨﻅﺭﻴﺔ‬ ‫ﺘﺒﻨﻲ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻟﻨﺴﻭﻱ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﺘﺭﻜﻴﺯ‬ ‫ﺘﺤﻭل‬ ‫ﻭﻤﺅﺨﺭﺍ‬
‫ﺘ‬ ‫ﻓﻲ‬ ‫ﻭﺍﺴﺘﺨﺩﺍﻤﻬﺎ‬ ،‫ﻭﺍﻷﺩﺏ‬ ‫ﺍﻟﺴﻴﻨﻤﺎ‬ ‫ﺩﺭﺍﺴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺨﺭﺝ‬ ‫ﻤﺎ‬ ‫ﻭﺨﺎﺼﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻨﻅﺭﻴﺔ‬ ‫ﻭﺨﺎﺼﺔ‬‫ﺍﻟﺘﺎﺭﻴﺨﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﺘﻤﺜﻴل‬ ‫ﻔﺴﻴﺭ‬.‫ﻭﻗﺩ‬
‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻹﻨﺘﺎﺝ‬ ‫ﺍﻟﻤﺅﺴﺴﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺜﻤﺭ‬ ‫ﺒﺸﻜل‬ ‫ﺍﻟﺘﺭﻜﻴﺯ‬ ‫ﺇﻟﻰ‬ ‫ﺒﺎﻟﺒﺎﺤﺜﻴﻥ‬ ‫ﺍﻟﻤﻨﻬﺠﻲ‬ ‫ﺍﻟﻤﺴﺘﻭﻯ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻜﺒﻴﺭﺓ‬ ‫ﺍﻹﻨﺠﺎﺯﺍﺕ‬ ‫ﺃﺩﺕ‬
‫ﻭﺍﺴﺘﻬﻼﻜﻬﺎ‬)Pollock 1988(‫ﺍﻟﻌﺎﺭﻱ‬ ‫ﺍﻷﻨﺜﻭﻯ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺨﺎﺼﺔ‬ ،‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺘﻤﺜﻴل‬ ‫ﺴﻴﺎﺴﺎﺕ‬ ‫ﻭﻋﻠﻰ‬ ،)Nead 1992(،
‫ﺍﻟﻤﻜﺎﻥ‬ ‫ﻓﻲ‬ ‫ﻭﺘﻁﺒﻴﻘﺎﺘﻪ‬ ‫ﺍﻟﻤﻌﻤﺎﺭ‬ ‫ﻁﺒﻴﻌﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺠﻨﺴﻴﻥ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻻﺨﺘﻼﻑ‬ ‫ﺃﺜﺭ‬ ‫ﺍﺴﺘﻜﺸﺎﻑ‬ ‫ﻭﻋﻠﻰ‬)‫ﻤﺜﻼ‬:McLeod 1996, Agrest 1991.(
‫ﻓﻘﻁ‬ ‫ﺍﻟﻐﺭﺒﻴﺎﺕ‬ ‫ﻏﻴﺭ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺒﺎﻟﺩﺭﺍﺴﺔ‬ ‫ﻭﺘﻨﺎﻭﻟﺕ‬ ،‫ﺍﻟﻐﺭﺒﻴﺔ‬ ‫ﻭﺍﻟﺴﻴﺎﻗﺎﺕ‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻋﻠﻰ‬ ‫ﺭﻜﺯﺕ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻫﺫﻩ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﻅﻤﻰ‬ ‫ﺍﻟﻐﺎﻟﺒﻴﺔ‬ ‫ﻭﻟﻜﻥ‬
‫ﺘﻤﺜ‬ ‫ﻜﻴﻔﻴﺔ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻲ‬ ‫ﻴﻠﻬﻥ‬)‫ﺍﻻﺴﺘﺸﺭﺍﻗﻴﺔ‬ ‫ﺍﻟﺼﻭﺭ‬ ‫ﺤﻭل‬ ‫ﺍﻟﻬﺎﻤﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻋﻠﻰ‬:Alloula 1981, Nochlin
1983, Porterfield 1994.(‫ﻭﺍﻟﻐﻴﺭ‬ ‫ﺍﻟﺘﻤﺜﻴل‬ ‫ﺒﺸﺄﻥ‬ ‫ﻗﻴﻤﺔ‬ ‫ﻤﺘﻌﻤﻘﺔ‬ ‫ﺭﺅﻯ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻫﺫﻩ‬ ‫ﻭﺘﻘﺩﻡ‬)Lewis 1996(‫ﺘﻠﻙ‬ ‫ﺃﺩﺨﻠﺕ‬ ‫ﻜﻤﺎ‬ ،
‫ﻫﺫﻩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻜﺎﻨﻲ‬ ‫ﻭﺍﻟﺤﻴﺯ‬ ‫ﺍﻟﺠﻨﺴﻴﺔ‬ ‫ﺍﻟﺤﻴﺎﺓ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬‫ﺍﻟﻤﻨﺎﻗﺸﺎﺕ‬)Schick 1999.(‫ﻤﺎ‬ ‫ﺍﻟﺘﺩﺍﺨل‬ ‫ﺘﻨﺎﻭﻟﺕ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻘﻠﻴل‬ ‫ﻭﻟﻜﻥ‬
‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻭﺘﺤﺩﻴﺩﺍ‬ ،‫ﺍﻟﻐﺭﺒﻴﺔ‬ ‫ﻏﻴﺭ‬ ‫ﺍﻟﺴﻴﺎﻗﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻭﺨﺎﺼﺔ‬ ‫ﺍﻟﻤﺒﻨﻴﺔ‬ ‫ﺍﻟﺒﻴﺌﺔ‬ ‫ﻭﺒﻴﻥ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺒﻴﻥ‬.‫ﻭﻀﻊ‬ ‫ﻭﻫﻭ‬
‫ﻤﺴﺒﻭﻗﺔ‬ ‫ﻏﻴﺭ‬ ‫ﻓﺭﺼﺎ‬ ‫ﻜﺫﻟﻙ‬ ‫ﻴﻘﺩﻡ‬ ‫ﺃﻨﻪ‬ ‫ﺇﻻ‬ ‫ﻋﺩﻴﺩﺓ‬ ‫ﺘﺤﺩﻴﺎﺕ‬ ‫ﻴﻤﺜل‬ ‫ﻜﺎﻥ‬ ‫ﻭﺇﻥ‬.
‫ﺍﺴﺘﺠ‬ ‫ﻭﻗﺩ‬‫ﺍﺘﺨﺫﺘﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻨﻘﺩﻱ‬ ‫ﺍﻻﺘﺠﺎﻩ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻌﺎﻟﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺤﻭل‬ ‫ﺍﻟﺤﺎﻟﻴﺔ‬ ‫ﺍﻟﺒﺤﻭﺙ‬ ‫ﺎﺒﺕ‬
‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﺩﺭﺍﺴﺎﺕ‬.‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺘﺎﺭﻴﺨﻴﺔ‬ ‫ﺍﻟﻤﻌﻠﻭﻤﺎﺕ‬ ‫ﺍﺴﺘﻌﺎﺩﺓ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺭﻏﺒﺔ‬ ‫ﺃﻱ‬ ،‫ﺍﻻﺴﺘﻌﺎﺩﺓ‬ ‫ﻤﺸﺭﻭﻉ‬ ‫ﺇﻁﺎﺭ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﻓﺘﻘﻊ‬
‫ﺍﻟﺴﺎﺌﺩﺓ‬ ‫ﺍﻻﺘﺠﺎﻫﺎﺕ‬ ‫ﺩﺃﺒﺕ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﻔﻥ‬‫ﺃﻫﻤﻴﺘﻬﺎ‬ ‫ﻋﺩﻡ‬ ‫ﺃﺴﺎﺱ‬ ‫ﻋﻠﻰ‬ ‫ﻭﺍﺴﺘﺒﻌﺎﺩﻫﺎ‬ ‫ﺘﺠﺎﻫﻠﻬﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺄﺭﻴﺦ‬ ‫ﻓﻲ‬.‫ﻓﻀل‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻌﺎﻟﻡ‬ ‫ﺩﺍﺨل‬ ‫ﻭﻓﻲ‬
‫ﻟﻠﻔﻨﻭﻥ‬ ‫ﻜﺭﺍﻋﻴﺎﺕ‬ ‫ﺩﻭﺭﻫﻥ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻲ‬ ‫ﻟﻠﻨﺴﺎﺀ‬ ‫ﺍﻷﺴﺎﺴﻲ‬ ‫ﺍﻹﺴﻬﺎﻡ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻭﻥ‬.‫ﻅل‬ ‫ﻓﻲ‬ ‫ﻤﻨﺎﺴﺒﺎ‬ ‫ﺒﺩﺍ‬ ‫ﻤﺎ‬ ‫ﻭﻫﻭ‬
‫ﻭﺍﻟﻌﻤﺎﺭ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻷﻋﻤﺎل‬ ‫ﻟﻠﻨﺴﺎﺀ‬ ‫ﻤﻤﺎﺭﺴﺔ‬ ‫ﻟﻭﺠﻭﺩ‬ ‫ﺃﺜﺭ‬ ‫ﺃﻱ‬ ‫ﻏﻴﺎﺏ‬‫ﺍﻟﺤﺩﻴﺜﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺓ‬.‫ﻤﺠﻠﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺨﺎﺹ‬ ‫ﺍﻟﻌﺩﺩ‬ ‫ﻜﺎﻥ‬ ‫ﻭﻗﺩ‬
‫ﺍﻟﻔﻥ‬‫ﺍﻵﺴﻴﻭﻱ‬)Asian Art 1993(‫ﻟﻤﻭﻀﻭﻉ‬ ‫ﻤﺨﺼﺼﺎ‬ ‫ﻭﻜﺎﻥ‬ ،‫ﺍﻟﻤﺠﺎل‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﺭﺍﺌﺩﺍ‬ ‫ﻋﻤﻼ‬"‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﻟﻠﻔﻨﻭﻥ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺭﻋﺎﻴﺔ‬."‫ﻭﻗﺩ‬
‫ﻋﻥ‬ ‫ﺍﻟﻤﻘﺎﻻﺕ‬ ‫ﻤﻥ‬ ‫ﻤﺠﻤﻭﻋﺔ‬ ‫ﻴﻀﻡ‬ ‫ﻜﺘﺎﺏ‬ ‫ﻤﺅﺨﺭﺍ‬ ‫ﺼﺩﺭ‬‫ﻓﻲ‬ ‫ﺍﻟﺫﺍﺕ‬ ‫ﻭﺘﻤﺜﻴل‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻭﺭﻋﺎﻴﺔ‬ ‫ﺍﻟﻨﺴﺎﺀ‬‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬‫ﺍﻟﻤﺸﺎﺭﻜﻭﻥ‬ ‫ﻗﺩﻡ‬ ،
‫ﺠﻐﺭﺍﻓﻴﺔ‬ ‫ﺴﻴﺎﻗﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺭﻋﺎﻴﺔ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﻠﻴﺎ‬ ‫ﺍﻟﻁﺒﻘﺎﺕ‬ ‫ﻨﺴﺎﺀ‬ ‫ﻗﺩﻤﺘﻪ‬ ‫ﻤﺎ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺭﻜﻴﺯ‬ ‫ﻤﻊ‬ ،‫ﺍﻻﺴﺘﻌﺎﺩﺓ‬ ‫ﻤﺸﺭﻭﻉ‬ ‫ﺇﻁﺎﺭ‬ ‫ﻓﻲ‬ ‫ﺃﻋﻤﺎﻟﻬﻡ‬ ‫ﻓﻴﻪ‬ ‫ﻭﺍﻟﻤﺸﺎﺭﻜﺎﺕ‬
‫ﻤﺘﻨﻭﻋﺔ‬ ‫ﻭﺘﺎﺭﻴﺨﻴﺔ‬)Ruggles, ed., Women, Patronage, and Self-Representation in Islamic Societies 2000.(
‫ﻭﺍﻟﺘﻌﻘﻴﺩ‬ ‫ﺒﺎﻟﺘﻔﺼﻴل‬ ‫ﺘﺘﻤﻴﺯ‬ ‫ﺩﺭﺍﺴﺎﺕ‬ ‫ﻅﻬﻭﺭ‬ ‫ﺇﻟﻰ‬ ‫ﺃﺨﺭﻯ‬ ‫ﺒﻌﺩ‬ ‫ﻁﺒﻘﺔ‬ ‫ﺍﻟﻌﻠﻤﻴﺔ‬ ‫ﺍﻷﺒﺤﺎﺙ‬ ‫ﺨﻠﻘﺘﻪ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﺘﺭﺍﻜﻡ‬ ‫ﺃﺩﻯ‬ ‫ﺍﻟﻤﺠﺎﻻﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻭﻓﻲ‬.‫ﺇﻥ‬
‫ﺒﻴﺘﺱ‬ ‫ﺃﻭﻟﻜﻭ‬ ‫ﺃﻋﻤﺎل‬ ‫ﻤﻼﺤﻅﺎﺕ‬)Ülkü Bates 1978, 1993(‫ﺃﺭﺘﺎﻥ‬ ‫ﺘﻭﻻﻱ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺘﺒﻌﺘﻬﺎ‬ ‫ﻟﻠﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻌﺜﻤﺎﻨﻴﺎﺕ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺭﻋﺎﻴﺔ‬ ‫ﺤﻭل‬
)Tülay Artan(‫ﻭﺍﻟﺘ‬ ‫ﺘﺤﺩﻴﺩﺍ‬ ‫ﺍﻷﻜﺜﺭ‬‫ﻭﺍﻟﺴﻠﻁﺔ‬ ‫ﻭﺍﻟﺜﺭﻭﺓ‬ ‫ﺍﻟﻤﺎﺩﻴﺔ‬ ‫ﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺍﻟﺘﺩﺍﺨل‬ ‫ﻟﺒﺤﺙ‬ ‫ﺍﻟﻭﺜﺎﺌﻕ‬ ‫ﻤﺭﺍﺠﻌﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺒﻜﺜﺎﻓﺔ‬ ‫ﺍﻋﺘﻤﺩﺕ‬ ‫ﻲ‬
‫ﺇﺴﻁﻨﺒﻭل‬ ‫ﻤﺩﻴﻨﺔ‬ ‫ﻓﻲ‬ ‫ﻋﺸﺭ‬ ‫ﺍﻟﺜﺎﻤﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﺜﻤﺎﻨﻴﺎﺕ‬ ‫ﺍﻷﻤﻴﺭﺍﺕ‬ ‫ﻋﻨﺩ‬)Artan 1993.(‫ﺠﻬﺎﻥ‬ ‫ﻨﻭﺭ‬ ‫ﺤﻴﺎﺓ‬ ‫ﻋﻥ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻭﻓﻲ‬)١٥٧٧-
١٦٤٥‫ﻡ‬(‫ﺍﻟﻤﻐﻭﻟﻲ‬ ‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭ‬ ‫ﺯﻭﺠﺔ‬ ‫ﻭﻫﻲ‬ ،‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﺭﻋﺎﻴﺔ‬ ‫ﻓﻲ‬ ‫ﻭﺃﻋﻤﺎﻟﻬﺎ‬‫ﺇﻟﻴﺴﻭﻥ‬ ‫ﻭﺠﺩﺕ‬ ،‫ﺠﻬﺎﻥ‬ ‫ﺸﺎﻩ‬ ‫ﺍﻹﻤﺒﺭﺍﻁﻭﺭ‬ ‫ﻭﻭﺍﻟﺩﺓ‬ ‫ﺠﺎﻫﺎﻨﻐﻴﺭ‬
‫ﺒﺎﻹﻀﺎﻓﺔ‬ ،‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﻁﺒﻘﺘﻬﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺘﺒﻌﺔ‬ ‫ﺍﻟﺘﻘﺎﻟﻴﺩ‬ ‫ﺒﺤﺴﺏ‬ ‫ﻭﺍﻟﻭﻜﺎﻻﺕ‬ ‫ﻭﺍﻟﻤﺴﺎﺠﺩ‬ ‫ﺍﻷﻀﺭﺤﺔ‬ ‫ﺒﺒﻨﺎﺀ‬ ‫ﻗﺎﻤﺕ‬ ‫ﻗﺩ‬ ‫ﺠﻬﺎﻥ‬ ‫ﻨﻭﺭ‬ ‫ﺃﻥ‬ ‫ﻓﻴﻨﺩﻟﻲ‬ ‫ﺒﺎﻨﻜﺱ‬
‫ﻓﻲ‬ ‫ﻭﺘﻁﻭﺭ‬ ‫ﻨﺸﺄ‬ ‫ﺍﻟﺫﻱ‬ ‫ﺍﻟﻬﻨﺩﻭﺴﻲ‬ ‫ﻭﺍﻟﺘﺭﺍﺙ‬ ‫ﺍﻟﻔﺎﺭﺴﻲ‬ ‫ﻟﻠﺘﺭﺍﺙ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﻭﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﺍﻷﺸﻜﺎل‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﻤﺯﺝ‬ ‫ﺇﻟﻰ‬‫ﺍﻟﻬﻨﺩﻴﺔ‬ ‫ﺍﻟﻘﺎﺭﺓ‬ ‫ﺸﺒﻪ‬)Findly

4. ٤٣٧
1993a, 1993b, 1996, 2000.(‫ﻓﻨﺠﺩ‬ ،‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﻭﺍﻟﻨﻭﻉ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﻭﻀﻊ‬ ‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺍﻟﺘﻘﺎﻁﻊ‬ ‫ﻓﻴﻬﺎ‬ ‫ﻴﺘﻀﺢ‬ ‫ﻋﻤﻠﻴﺔ‬ ‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻭﺭﻋﺎﻴﺔ‬
‫ﺍﻟﻔﻨﻭﻥ‬ ‫ﻟﺭﻋﺎﻴﺔ‬ ‫ﺃﻋﻤﺎل‬ ‫ﻤﻥ‬ ‫ﻭﺍﻟﺴﻠﻁﺔ‬ ‫ﺍﻟﺜﺭﻭﺓ‬ ‫ﺫﻭﺍﺕ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺒﻬﺎ‬ ‫ﻗﺎﻤﺕ‬ ‫ﻤﺎ‬ ‫ﺤﻭل‬ ‫ﺘﺩﻭﺭ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺃﻏﻠﺏ‬.‫ﺘﻜﺸﻑ‬ ‫ﺩﺭﺍﺴﺎﺕ‬ ‫ﻓﻬﻲ‬ ‫ﻭﺒﺎﻟﺘﺎﻟﻲ‬
‫ﺒﻤﻌﻨﻰ‬‫ﻤﻌﻴﻥ‬ ‫ﻤﺠﺘﻤﻊ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺴﻴﺔ‬ ‫ﺍﻟﺤﻴﺎﺓ‬ ‫ﻋﻥ‬ ‫ﺃﻭ‬ ‫ﺍﻟﺠﻨﺴﻴﻥ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻻﺨﺘﻼﻑ‬ ‫ﻋﻥ‬ ‫ﺘﻜﺸﻑ‬ ‫ﻤﻤﺎ‬ ‫ﺃﻜﺜﺭ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﻭﻀﻊ‬ ‫ﻋﻥ‬ ‫ﻤﺎ‬.‫ﺍﻟﻤﻭﺍﺩ‬ ‫ﺇﻥ‬
‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺭﻜﻴﺯ‬ ‫ﻤﻊ‬ ‫ﺍﻹﺴﻼﻡ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﺍﻟﻤﻭﺍﺩ‬ ‫ﻫﺫﻩ‬ ‫ﻗﺭﺍﺀﺓ‬ ‫ﻭﻟﻜﻥ‬ ،‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺁﺜﺎﺭ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻓﻲ‬ ‫ﺍﺴﺘﺨﺩﺍﻤﻬﺎ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬
‫ﺍﻟﺤﺫﺭ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻜﺜﻴﺭ‬ ‫ﻴﺘﻁﻠﺏ‬ ‫ﺃﻤﺭ‬ ‫ﻫﻭ‬.‫ﻭﺍﻟ‬‫ﺍﻟﺘﻁﺒﻴﻕ‬ ‫ﺇﻁﺎﺭ‬ ‫ﻓﻲ‬ ‫ﺼﻴﺎﻏﺘﻪ‬ ‫ﺘﻤﺕ‬ ‫ﺘﻤﺜﻴل‬ ‫ﻫﻲ‬ ،‫ﺍﻟﺒﺼﺭﻱ‬ ‫ﺍﻹﻨﺘﺎﺝ‬ ‫ﺃﻨﻭﺍﻉ‬ ‫ﻤﻥ‬ ‫ﻜﻐﻴﺭﻫﺎ‬ ،‫ﻌﻤﺎﺭﺓ‬.‫ﺃﻥ‬ ‫ﻜﻤﺎ‬
‫ﺍﻟﺘﺼﻨﻴﻑ‬ ‫ﻀﻤﻥ‬ ‫ﺘﺭﺩ‬ ‫ﺃﻥ‬ ‫ﻴﺴﺘﺒﻌﺩ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﺒﻨﺎﺀ‬ ‫ﺒﺎﻟﻔﻥ‬ ‫ﺍﻟﺨﺎﺼﺔ‬ ‫ﺍﻟﻤﻤﺎﺭﺴﺎﺕ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻬﺩ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻘﻠﻴل‬ ‫ﻗﺩﻡ‬ ‫ﺍﻻﺴﺘﻌﺎﺩﺓ‬ ‫ﻤﺸﺭﻭﻉ‬
‫ﺍﻟ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺃﻭ‬ ‫ﺍﻟﺩﺍﺭﺠﺔ‬ ‫ﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﻤﺜل‬ ،‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻓﻲ‬ ‫ﺃﻭ‬ ‫ﻟﻠﻔﻥ‬ ‫ﺍﻟﺘﻘﻠﻴﺩﻱ‬‫ﺍﻟﺘﻜﻠﻔﺔ‬ ‫ﺭﺨﻴﺼﺔ‬ ‫ﻔﻨﻴﺔ‬.‫ﻫﺫﻩ‬ ‫ﺘﺘﻨﺎﻭل‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻘﻠﻴﻠﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﺇﻥ‬
‫ﻋﻤﻠﻬﺎ‬ ‫ﻤﻘﺩﻤﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻗﻀﻴﺔ‬ ‫ﺘﻀﻊ‬ ‫ﻻ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻭﻀﻭﻋﺎﺕ‬.
‫ﺍﻟﻤﺠﺎل‬ ‫ﻫﺫﺍ‬ ‫ﺘﻁﻭﻴﺭ‬ ‫ﻓﻲ‬ ‫ﻗﻴﻤﺎ‬ ‫ﺩﻭﺭﺍ‬ ‫ﺍﻟﻨﺴﻭﻱ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﻓﻲ‬ ‫ﺍﻻﺴﺘﻌﺎﺩﺓ‬ ‫ﻤﺸﺭﻭﻉ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﻨﻔﺴﻬﺎ‬ ‫ﺘﻀﻊ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻭﺘﻠﻌﺏ‬.‫ﻓﻬﻲ‬
‫ﻤﺼﺎﺩﺭ‬ ‫ﻤﻥ‬ ‫ﺘﺠﺎﻫﻠﻪ‬ ‫ﺘﻡ‬ ‫ﻤﺎ‬ ‫ﺇﻟﻰ‬ ‫ﺘﺸﻴﺭ‬‫ﺠﺩﻴﺩﺓ‬ ‫ﻤﺎﺩﺓ‬ ‫ﺘﻘﺩﻡ‬ ‫ﻜﻤﺎ‬ ،‫ﻭﻓﺎﻋﻼﺕ‬ ‫ﻓﺎﻋﻠﻴﻥ‬ ‫ﻭﻤﻥ‬.‫ﺇﻟﻰ‬ ‫ﻴﻬﺩﻑ‬ ‫ﻻ‬ ‫ﺍﻟﻌﺎﻡ‬ ‫ﺒﺎﻟﻤﻌﻨﻰ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻫﺫﺍ‬ ‫ﻓﺈﻥ‬ ‫ﺫﻟﻙ‬ ‫ﻭﻤﻊ‬
‫ﻤﻨﻬﺠﻴﺔ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺃﻴﺔ‬ ‫ﻁﺭﺡ‬ ‫ﺇﻟﻰ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻭﺠﻭﺩﺓ‬ ‫ﺍﻻﻓﺘﺭﺍﻀﺎﺕ‬ ‫ﻤﺴﺎﺀﻟﺔ‬.‫ﺍﺘﺠﺎﻫﺎ‬ ‫ﺍﻟﻤﻌﺭﻓﻲ‬ ‫ﺍﻟﻔﺭﻉ‬ ‫ﻫﺫﺍ‬ ‫ﻀﻤﻥ‬ ‫ﻨﺠﺩ‬ ‫ﻭﻟﻜﻨﻨﺎ‬
‫ﺘﺎ‬ ‫ﻟﻁﺒﻴﻌﺔ‬ ‫ﻨﻘﺩﺍ‬ ‫ﻴﻘﺩﻡ‬ ‫ﺍﻟﺭﺍﺩﻴﻜﺎﻟﻴﺔ‬ ‫ﺍﻟﻨﺴﻭﻴﺔ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻓﻲ‬‫ﺍﻟﺠﻨﺴﻴﻥ‬ ‫ﺒﻴﻥ‬ ‫ﺒﺎﻻﺨﺘﻼﻑ‬ ‫ﻭﺍﻟﻤﺘﺄﺜﺭ‬ ‫ﻨﻔﺴﻪ‬ ‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺭﻴﺦ‬.‫ﻫﺫﻩ‬ ‫ﻜﺸﻔﺕ‬ ‫ﻓﻘﺩ‬
‫ﺍﻟﻔﻥ‬ ‫ﺨﻁﺎﺏ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺭﺠﺎل‬ ‫ﺇﻟﻰ‬ ‫ﺍﻻﻨﺤﻴﺎﺯ‬ ‫ﻁﺒﻴﻌﺔ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬/‫ﺍﻋﺘﺒﺎﺭﻩ‬ ‫ﻋﻠﻰ‬ ‫ﺍﺼﻁﻠﺢ‬ ‫ﻤﺎ‬ ‫ﻋﺎﺭﻀﺕ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﻌﻤﺎﺭﺓ‬"‫ﻓﻨﺎ‬"‫ﺃﻭ‬"‫ﻋﻤﺎﺭﺓ‬"
‫ﺍﻟﻤﺅﺴﺴﺎﺕ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺒﻬﺎ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﺇﻨﺘﺎﺝ‬ ‫ﺘﻡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻭﺍﻟﻁﺭﻴﻘﺔ‬.‫ﺍﻟﻜﺘ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻫﺫﺍ‬ ‫ﺍﻋﺘﻤﺩ‬ ‫ﻭﻗﺩ‬‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻭﻨﻅﺭﻴﺔ‬ ‫ﺍﻟﻨﻘﺩﻴﺔ‬ ‫ﺍﻟﻨﻅﺭﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺎﺒﺔ‬.
‫ﻨﻘﺩﻴﺔ‬ ‫ﺃﺴﺌﻠﺔ‬ ‫ﺒﻁﺭﺡ‬ ‫ﺍﻟﺭﻋﺎﻴﺔ‬ ‫ﻗﻀﻴﺔ‬ ‫ﺒﺸﺄﻥ‬ ‫ﺍﻟﺩﺍﺌﺭ‬ ‫ﺍﻟﻨﻘﺎﺵ‬ ‫ﻋﻤﻘﺕ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻤﻥ‬ ‫ﻭﻜﺜﻴﺭ‬.‫ﻟﻭﺴﻴﻴﻥ‬ ‫ﻓﻘﺎﻤﺕ‬
‫ﺍﻟ‬ ‫ﻓﻲ‬ ‫ﺇﺴﻁﻨﺒﻭل‬ ‫ﻓﻲ‬ ‫ﺒﻬﺎ‬ ‫ﺒﺎﻟﺘﻜﻠﻴﻑ‬ ‫ﺍﻟﻤﺎﻟﻜﺔ‬ ‫ﺍﻟﻌﺎﺌﻼﺕ‬ ‫ﻨﺴﺎﺀ‬ ‫ﻗﺎﻤﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﻨﺸﺂﺕ‬ ‫ﻤﺠﻤﻌﺎﺕ‬ ‫ﻤﻭﺍﺼﻔﺎﺕ‬ ‫ﺒﺘﺤﻠﻴل‬ ‫ﺴﻴﻨﻭﻜﺎﻙ‬ ‫ﺜﻴﺱ‬‫ﺍﻟﺴﺎﺒﻊ‬ ‫ﻘﺭﻥ‬
‫ﺍﻟﻤﺠﻤﻌﺎﺕ‬ ‫ﻟﻬﺫﻩ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻴﺨﺹ‬ ‫ﻓﻴﻤﺎ‬ ‫ﻭﺫﻟﻙ‬ ‫ﻋﺸﺭ‬.‫ﺇﻤﻜﺎﻨﻴﺔ‬ ‫ﻭﻋﻠﻰ‬ ‫ﺍﻟﻌﻠﻴﺎ‬ ‫ﺍﻟﻁﺒﻘﺎﺕ‬ ‫ﻨﺴﺎﺀ‬ ‫ﺤﺭﻜﺔ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻘﻴﻭﺩ‬ ‫ﺃﻥ‬ ‫ﻜﻴﻑ‬ ‫ﺒﺩﺭﺍﺴﺔ‬ ‫ﻭﻗﺎﻤﺕ‬
‫ﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺘﺭﻜﻴﺏ‬ ‫ﻟﻤﺸﻜﻼﺕ‬ ‫ﻤﺤﺩﺩﺓ‬ ‫ﺤﻠﻭﻻ‬ ‫ﺍﺴﺘﺩﻋﺕ‬ ‫ﻗﺩ‬ ‫ﻟﻬﻥ‬ ‫ﺍﻵﺨﺭﻴﻥ‬ ‫ﺭﺅﻴﺔ‬.‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﺍﻋﻴﺎﺕ‬ ‫ﺍﺸﺘﺭﻁﺕ‬ ‫ﻗﺩ‬ ‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬
‫ﻟﻠﺭﺅﻴ‬ ‫ﺃﻤﺎﻜﻥ‬ ‫ﺇﻗﺎﻤﺔ‬‫ﺍﻟﻌﺎﻤﺔ‬ ‫ﻴﺭﺍﻫﻥ‬ ‫ﺃﻥ‬ ‫ﺩﻭﻥ‬ ‫ﺒﻌﻴﻨﻬﺎ‬ ‫ﺃﻤﺎﻜﻥ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻅﺭ‬ ‫ﻤﻥ‬ ‫ﺘﻤﻜﻨﻬﻥ‬ ‫ﺔ‬.‫ﺍﻟﻘﻭﻯ‬ ‫ﻋﻼﻗﺎﺕ‬ ‫ﻋﻥ‬ ‫ﺍﻟﺭﺅﻴﺔ‬ ‫ﺘﻌﺒﺭ‬ ‫ﻜﻴﻑ‬ ‫ﺃﻭﻀﺤﺕ‬ ‫ﻭﺒﺫﻟﻙ‬
)Thys-Senocak 2000.(‫ﻭﺍﻟﻌﻤﺎﺭﺓ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻴﻜﻥ‬ ‫ﻟﻡ‬ ‫ﻭﺒﺎﺤﺜﺎﺕ‬ ‫ﺒﺎﺤﺜﻴﻥ‬ ‫ﻤﻥ‬ ‫ﺠﺎﺀﺕ‬ ‫ﺍﻟﻤﻨﻭﺍل‬ ‫ﻫﺫﺍ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﻬﺎﻤﺔ‬ ‫ﺍﻟﻤﺩﺍﺨﻼﺕ‬ ‫ﻤﻥ‬ ‫ﻭﻜﺜﻴﺭ‬
‫ﺍﻷﺴﺎﺴﻲ‬ ‫ﺒﺤﺜﻬﻡ‬ ‫ﻤﺠﺎل‬ ‫ﻫﻭ‬.‫ﻟﻤﺠﻤ‬ ‫ﻤﻨﻬﺠﻴﺔ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻭﻓﻲ‬‫ﺍﻟﻌﺎﺌﻠﺔ‬ ‫ﻨﺴﺎﺀ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺭﻓﻴﻊ‬ ‫ﺍﻟﻤﻘﺎﻡ‬ ‫ﺼﺎﺤﺒﺎﺕ‬ ‫ﻗﺎﻤﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺤﻀﺭﻴﺔ‬ ‫ﺍﻟﻤﻨﺸﺂﺕ‬ ‫ﻌﺎﺕ‬
‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﺒﻨﻴﺔ‬ ‫ﻨﻭﻉ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﻐﻴﺭﺍﺕ‬ ‫ﺭﺼﺩﺕ‬ ‫ﺤﻴﺙ‬ ،‫ﺒﺎﻟﺭﻋﺎﻴﺔ‬ ‫ﺍﻟﻘﺎﺌﻤﺎﺕ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺘﻭﻗﻌﺎﺕ‬ ‫ﺒﻴﺭﺱ‬ ‫ﻟﻴﺯﻟﻲ‬ ‫ﺍﻟﻤﺅﺭﺨﺔ‬ ‫ﺤﺩﺩﺕ‬ ،‫ﺒﻨﺎﺀﻫﺎ‬ ‫ﺒﺭﻋﺎﻴﺔ‬ ‫ﺍﻟﻤﺎﻟﻜﺔ‬
‫ﺒ‬ ‫ﺘﻤﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻫﺫﻩ‬ ‫ﻤﺜل‬ ‫ﺘﺠﺎﻩ‬ ‫ﺍﻟﻔﻌل‬ ‫ﺭﺩﻭﺩ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻤﻊ‬ ،‫ﺇﻗﺎﻤﺘﻬﺎ‬ ‫ﺒﺘﻜﻠﻴﻑ‬ ‫ﻗﻤﻥ‬‫ﻤﻨﻬﻥ‬ ‫ﺘﻜﻠﻴﻑ‬)Peirce 2000.(‫ﺃﻓﺴﺎﻨﻪ‬ ‫ﻭﻗﺩﻤﺕ‬
‫ﺍﻟﺠﺴﺩ‬ ‫ﻤﻔﻬﻭﻡ‬ ‫ﻭﺘﻤﺜﻴل‬ ‫ﺇﺩﺭﺍﻙ‬ ‫ﻋﻠﻰ‬ ‫ﻁﺭﺃﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﺤﻭﻻﺕ‬ ‫ﻟﺭﺼﺩ‬ ،‫ﺒﺼﺭﻴﺔ‬ ‫ﻨﺼﻭﺼﺎ‬ ‫ﺒﺎﻋﺘﺒﺎﺭﻫﺎ‬ ‫ﺍﻟﻘﺎﺠﺎﺭﻴﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻟﻠﻭﺤﺎﺕ‬ ‫ﻗﺭﺍﺀﺓ‬ ‫ﻨﺠﻤﺒﺎﺩﻱ‬
‫ﻭﺍﻷﻜ‬ ‫ﺍﻟﺸﻜﻠﻴﺔ‬ ‫ﺍﻟﺘﺤﻠﻴﻼﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﻘﻴﺽ‬ ‫ﻋﻠﻰ‬ ‫ﻭﻫﻲ‬ ،‫ﻤﺜﻴﺭﺓ‬ ‫ﻭﻨﺘﺎﺌﺞ‬ ‫ﺠﺩﻴﺩﺓ‬ ‫ﺃﻓﻜﺎﺭﺍ‬ ‫ﻗﺩﻤﺕ‬ ‫ﻭﻗﺩ‬ ،‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻤﻨﻅﻭﺭ‬ ‫ﻤﻥ‬ ‫ﺍﻹﻨﺴﺎﻨﻲ‬‫ﻟﻺﻨﺘﺎﺝ‬ ‫ﺘﻘﻠﻴﺩﻴﺔ‬ ‫ﺜﺭ‬
‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺼﺭﻱ‬)Najmabadi 1998.(
‫ﺍﻟﻤﺴﺘﻘﺒﻠﻲ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺁﻓﺎﻕ‬
‫ﻋﻨﺩ‬ ‫ﺍﻟﻤﻨﻬﺠﻲ‬ ‫ﻟﻺﺒﺩﺍﻉ‬ ‫ﻤﺘﻭﻗﻌﺔ‬ ‫ﻏﻴﺭ‬ ‫ﻓﺭﺼﺎ‬ ‫ﺘﻘﺩﻡ‬ ‫ﺃﻥ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺒﺼﺭﻴﺔ‬ ‫ﻭﺍﻟﺜﻘﺎﻓﺔ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻟﻌل‬
‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻴﻥ‬.‫ﺍﻵﻥ‬ ‫ﺇﻟﻰ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﺒﺼﺭﻱ‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻓﺠﻭﺍﻨﺏ‬‫ﺍﻟﻤﻨﺎﻫﺞ‬ ‫ﺒﺎﺴﺘﺨﺩﺍﻡ‬ ‫ﻭﺍﻟﺘﺄﻭﻴل‬ ‫ﺍﻟﺘﺒﻭﻴﺏ‬ ‫ﻋﻠﻰ‬ ‫ﻤﺴﺘﻌﺼﻴﺔ‬
‫ﺍﻻﻓﺘﺭﺍﻀﺎﺕ‬ ‫ﻋﻥ‬ ‫ﺘﺒﺘﻌﺩ‬ ‫ﻤﺒﺩﻋﺔ‬ ‫ﺒﻁﺭﻕ‬ ‫ﺘﻨﺎﻭﻟﻬﺎ‬ ‫ﺘﻡ‬ ‫ﻤﺎ‬ ‫ﺇﺫﺍ‬ ‫ﺍﻟﻨﻅﺭﻱ‬ ‫ﻭﺍﻟﺘﻘﺩﻡ‬ ‫ﺍﻟﻤﻨﻬﺠﻲ‬ ‫ﻟﻠﺘﺠﺩﻴﺩ‬ ‫ﻓﺭﺼﺎ‬ ‫ﺘﻜﻭﻥ‬ ‫ﺃﻥ‬ ‫ﻴﻤﻜﻥ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻟﺘﺎﺭﻴﺦ‬ ‫ﺍﻟﺘﻘﻠﻴﺩﻴﺔ‬
‫ﺍﻟﻔﻥ‬ ‫ﻟﺘﺎﺭﻴﺦ‬ ‫ﺍﻟﺼﺎﺭﻤﺔ‬.‫ﻭﺨﺎ‬ ،‫ﻭﺍﻟﻔﻨﺎﻨﺎﺕ‬ ‫ﻟﻠﻔﻨﺎﻨﻴﻥ‬ ‫ﺍﻟﻤﻌﺭﻭﻓﺔ‬ ‫ﺍﻷﺴﻤﺎﺀ‬ ‫ﻨﺩﺭﺓ‬ ‫ﻜﺎﻨﺕ‬ ،‫ﺍﻟﻤﺜﺎل‬ ‫ﺴﺒﻴل‬ ‫ﻓﻌﻠﻰ‬‫ﺍﻟﻘﺭﻥ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺴﺎﺒﻘﺔ‬ ‫ﺍﻟﻔﺘﺭﺓ‬ ‫ﻓﻲ‬ ‫ﺼﺔ‬
‫ﻜﺘﺎﺒﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﺭﻭﻑ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻋﺒﺭ‬ ‫ﻤﺎ‬ ‫ﻓﻨﺎﻥ‬ ‫ﻤﺴﻴﺭﺓ‬ ‫ﺼﻴﺎﻏﺔ‬ ‫ﺘﻌﻴﺩ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺩﺭﺍﺴﺎﺕ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻴﻥ‬ ‫ﻤﻥ‬ ‫ﻜﺜﻴﺭ‬ ‫ﻟﺘﺄﺴﻲ‬ ‫ﺴﺒﺒﺎ‬ ،‫ﻋﺸﺭ‬ ‫ﺍﻟﺘﺎﺴﻊ‬
‫ﺒـ‬ ‫ﺍﻟﻔﻨﻲ‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‬"‫ﺍﻷﻋﻤﺎل‬ ‫ﺴﻴﺭﺓ‬) "catalogue raisonné(‫ﺒﻴﻥ‬ ‫ﺍﻟﺸﺭﻁﻲ‬ ‫ﻭﺍﻻﺭﺘﺒﺎﻁ‬ ‫ﺍﻻﺴﺘﻤﺭﺍﺭﻴﺔ‬ ‫ﻤﻥ‬ ‫ﺩﺭﺠﺔ‬ ‫ﻴﻔﺘﺭﺽ‬ ‫ﻭﺍﻟﺫﻱ‬ ،‫ﺍﻷﻋﻤﺎل‬
‫ﻭﺍﻟﺘﺄﺜﺭ‬ ‫ﻭﻟﻠﺘﺄﺜﻴﺭ‬ ‫ﺍﻷﺴﻠﻭﺒﻲ‬ ‫ﻟﻠﺘﻁﻭﺭ‬ ‫ﺍﻟﺸﻜﻠﻴﺔ‬ ‫ﺍﻟﻘﻀﺎﻴﺎ‬ ‫ﻋﻠﻰ‬ ‫ﻴﺭﻜﺯ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﺴﻨﻭﺍﺕ‬ ‫ﻤﻥ‬ ‫ﻋﺩﺩ‬ ‫ﻤﺩﻯ‬ ‫ﻋﻠﻰ‬ ‫ﻓﺭﺩ‬ ‫ﺃﻨﺘﺠﻬﺎ‬ ‫ﺍﻟﺘﻲ‬.‫ﻜﺎﻨﺕ‬ ‫ﺇﺫﺍ‬ ‫ﻭﻟﻜﻥ‬
‫ﺍﻟﺘﺤﻭل‬ ‫ﻤﺜل‬ ‫ﺒﺩﻴﻠﺔ‬ ‫ﻤﻘﺎﺭﺒﺎﺕ‬ ‫ﺍﺘﺠﺎﻩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺩﻓﻊ‬ ‫ﻓﺒﺎﻹﻤﻜﺎﻥ‬ ،‫ﺍﻟﺭﺍﺴﺨﺔ‬ ‫ﺍﻟﻤﻨﺎﻫﺞ‬ ‫ﻤﻥ‬ ‫ﺒﻤﻨﻬﺞ‬ ‫ﺍﻻﺴﺘﻌﺎﻨﺔ‬ ‫ﻟﻠﻤﺭﺀ‬ ‫ﺘﺴﻤﺢ‬ ‫ﻻ‬ ‫ﺃﻴﺩﻴﻨﺎ‬ ‫ﺒﻴﻥ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﺩﻻﺌل‬
‫ﻋ‬ ‫ﺒﻌﻴﺩﺍ‬‫ﺍﻟﻔﺭﺩ‬ ‫ﺍﻟﺼﺎﻨﻊ‬ ‫ﻥ‬)‫ﺭﺠﻼ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻤﺎ‬ ‫ﻋﺎﺩﺓ‬ ‫ﻭﺍﻟﺫﻱ‬(‫ﺍﻟﻬﻤﻭﻡ‬ ‫ﻋﻥ‬ ‫ﺍﻻﺒﺘﻌﺎﺩ‬ ‫ﺃﻱ‬ ،‫ﺍﻟﻤﻬﻨﻴﺔ‬ ‫ﺃﻭ‬ ‫ﺍﻟﻤﺅﺴﺴﺎﺘﻴﺔ‬ ‫ﺍﻟﻤﻤﺎﺭﺴﺎﺕ‬ ‫ﻋﻠﻰ‬ ‫ﺍﻟﺘﺭﻜﻴﺯ‬ ‫ﺇﻟﻰ‬

5. ٤٣٨
‫ﻭﺍﻟﺩﻴﻨﻲ‬ ‫ﻭﺍﻟﺴﻴﺎﺴﻲ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﻨﺸﺎﻁ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻭﻤﺸﺎﺭﻜﺔ‬ ‫ﺍﻟﻭﻅﻴﻔﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻤﺜل‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺇﻟﻰ‬ ‫ﻭﺘﺄﺼﻴل‬ ‫ﺃﺴﻠﻭﺏ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺸﻜﻠﻴﺔ‬
‫ﻭﻏﻴﺭﻫﺎ‬.
‫ﺍﻟﻤﺎﺩﺓ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻜﺜﻴﺭ‬ ‫ﻫﻨﺎﻙ‬‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺘﻨﺘﻅﺭ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﻨﺴﻭﻱ‬ ‫ﻟﻠﺘﺤﻠﻴل‬ ‫ﺒﺎﻟﻨﺴﺒﺔ‬ ‫ﻨﺘﺎﺌﺠﻬﺎ‬ ‫ﺤﻴﺙ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻭﺍﻋﺩﺓ‬.‫ﺍﻟﺭﺴﻭﻡ‬ ‫ﺤﺎﻟﺔ‬ ‫ﻭﻟﻨﺄﺨﺫ‬
‫ﺫﻟﻙ‬ ‫ﻋﻠﻰ‬ ‫ﺠﻴﺩﺍ‬ ‫ﻤﺜﺎﻻ‬ ‫ﺘﻘﺩﻡ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﺤﺩﻴﺙ‬ ‫ﺍﻟﻌﺼﺭ‬ ‫ﻗﺒل‬ ‫ﻓﻴﻤﺎ‬ ‫ﺍﻟﻔﺎﺭﺴﻴﺔ‬.‫ﻋﺎﻡ‬ ‫ﺍﻟﺼﺎﺩﺭ‬ ‫ﺍﻟﻌﺩﺩ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻨﺸﻭﺭﺓ‬ ‫ﺍﻟﻤﻘﺎﻻﺕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻌﺩﻴﺩ‬ ‫ﻓﻨﺠﺩ‬١٩٩٣
‫ﻤﺠﻠﺔ‬ ‫ﻤﻥ‬‫ﺍﻟﻔﻥ‬‫ﺍﻵﺴﻴﻭﻱ‬)Asian Art 1993(‫ﺍﻟﺒ‬ ‫ﻋﻠﻰ‬ ‫ﺘﺭﻜﺯ‬‫ﺘﺎﺭﻴﺨﻴﺔ‬ ‫ﻨﺴﺎﺌﻴﺔ‬ ‫ﺸﺨﺼﻴﺎﺕ‬ ‫ﺘﺼﻭﺭ‬ ‫ﺍﻟﺘﻲ‬ ‫ﻭﺭﺘﺭﻴﻬﺎﺕ‬.‫ﺘﻁﻭﻴﺭ‬ ‫ﻭﻴﻤﻜﻨﻨﺎ‬
‫ﺍﻟﻤﺼﻭﺭ‬ ‫ﻜﺎﻟﻜﺘﺎﺏ‬ ‫ﺸﻜل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺠﺎﻨﺏ‬ ‫ﺨﻼﻟﻬﺎ‬ ‫ﻤﻥ‬ ‫ﻴﺘﻀﺢ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻷﺴﺎﻟﻴﺏ‬ ‫ﻓﻲ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻷﺩﻟﺔ‬ ‫ﻫﺫﻩ‬ ‫ﻤﺜل‬ ‫ﺍﺴﺘﻌﺎﺩﺓ‬ ‫ﻤﺸﺭﻭﻉ‬.‫ﻟﻔﺘﺕ‬ ‫ﻓﻘﺩ‬
‫ﺍﻟﻠﻭﺤﺎ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺼﻭﺭ‬ ‫ﺍﻹﻨﺴﺎﻨﻲ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺠﻨﺱ‬ ‫ﺘﺤﺩﻴﺩ‬ ‫ﺼﻌﻭﺒﺔ‬ ‫ﻤﺴﺄﻟﺔ‬ ‫ﻤﺭﺍﺭﺍ‬ ‫ﻭﺍﻟﺒﺎﺤﺜﺎﺕ‬ ‫ﺍﻟﺒﺎﺤﺜﻴﻥ‬ ‫ﺍﻨﺘﺒﺎﻩ‬‫ﻴﻁﻠﻕ‬ ‫ﻤﺎ‬ ‫ﺃﺤﻴﺎﻨﺎ‬ ‫ﻭﺍﻟﺘﻲ‬ ‫ﺍﻟﺘﻴﻤﻭﺭﻴﺔ‬ ‫ﺕ‬
‫ﻋﻠﻴﻬﺎ‬"‫ﺍﻟﺠﻨﺱ‬ ‫ﻋﺩﻴﻤﺔ‬) "Grabar 2000, 57.(‫ﺃﻥ‬ ‫ﺒﻤﻌﻨﻰ‬ ،‫ﻤﺘﻁﺎﺒﻘﺔ‬ ‫ﺍﻟﻤﺼﻭﺭﺓ‬ ‫ﺍﻷﺠﺴﺎﺩ‬ ‫ﺃﻥ‬ ‫ﺤﻴﻥ‬ ‫ﻓﻲ‬ ‫ﺃﻨﻪ‬ ‫ﻴﻜﺸﻑ‬ ‫ﺍﻟﺘﺄﻤل‬ ‫ﻤﻥ‬ ‫ﺍﻟﻤﺯﻴﺩ‬ ‫ﻭﻟﻜﻥ‬
‫ﻤﺜل‬ ‫ﺃﺨﺭﻯ‬ ‫ﻭﺴﺎﺌل‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺒﺎﻟﻔﻌل‬ ‫ﻤﻤﺜﻼ‬ ‫ﻴﻜﻭﻥ‬ ‫ﺍﻟﺠﻨﺱ‬ ‫ﺃﻥ‬ ‫ﺇﻻ‬ ،‫ﺘﺸﺭﻴﺤﻴﺔ‬ ‫ﻤﻤﻴﺯﺍﺕ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﻨﻔﺴﻪ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻤﺜﻼ‬ ‫ﻟﻴﺱ‬ ‫ﺍﻟﺠﻨﺱ‬
‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﻬﻭﻴﺔ‬ ‫ﻋﻠﻰ‬ ‫ﻋﻼﻤﺎﺕ‬ ‫ﻭﻜﻠﻬﺎ‬ ،‫ﺍﻟﻭﺠﻪ‬ ‫ﻟﺘﺸﻜﻴل‬ ‫ﺍﻟﺘﻘﻠﻴﺩﻴﺔ‬ ‫ﻭﺍﻟﺘﻔﺎﺼﻴل‬ ‫ﻭﺍﻟﻤﻼﺒﺱ‬ ‫ﺍﻟﺭﺃﺱ‬ ‫ﻏﻁﺎﺀ‬.‫ﺠﻨﺱ‬ ‫ﺘﺼﻭﻴﺭ‬ ‫ﺤﻭل‬ ‫ﺍﻟﻨﻘﺎﺵ‬ ‫ﻭﻟﻌل‬
‫ﻴﻜﻭﻥ‬ ،‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺤﺎل‬ ‫ﻫﻭ‬ ‫ﻜﻤﺎ‬ ،‫ﺍﻟﺠﺴﺩ‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺠﻨﺱ‬ ‫ﺘﺤﺩﻴﺩ‬ ‫ﻋﺏﺀ‬ ‫ﻤﻥ‬ ‫ﺍﻟﺘﺤﺭﺭ‬ ‫ﻤﻊ‬ ،‫ﺍﻟﻔﺎﺭﺴﻲ‬ ‫ﺍﻟﺘﺼﻭﻴﺭ‬ ‫ﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻔﺭﺩ‬
‫ﻟﺠ‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﺩﻭﺭ‬ ‫ﻟﻤﻨﺎﻗﺸﺔ‬ ‫ﻓﺭﺼﺔ‬‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﻭﻀﻊ‬ ‫ﻤﺜل‬ ‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﺘﺼﻨﻴﻔﺎﺕ‬ ‫ﻤﻥ‬ ‫ﺒﻐﻴﺭﻩ‬ ‫ﻭﻋﻼﻗﺘﻪ‬ ،‫ﺍﻟﺴﻠﻁﺔ‬ ‫ﻤﻊ‬ ‫ﻭﺘﺩﺍﺨﻠﻪ‬ ‫ﺍﻟﻔﺭﺩ‬ ‫ﻨﺱ‬
‫ﺍﻟﻤﻬﻨﻲ‬ ‫ﻭﺍﻻﻨﺘﻤﺎﺀ‬ ‫ﺍﻟﻌﺎﺌﻠﻲ‬ ‫ﻭﺍﻷﺼل‬.‫ﺍﻟﺘﻘﻠﻴﺩﻱ‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺴﺎﺴﻴﺔ‬ ‫ﺍﻻﻓﺘﺭﺍﻀﺎﺕ‬ ‫ﺒﻌﺽ‬ ‫ﻫﺸﺎﺸﺔ‬ ‫ﻤﺩﻯ‬ ‫ﻋﻥ‬ ‫ﻴﻜﺸﻑ‬ ‫ﺫﻟﻙ‬ ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬
‫ﺒﺼﺭﻴﺎ‬ ‫ﻭﺘﻤﺜﻴﻠﻪ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺤﻭل‬.‫ﺍﻟﺭﺴ‬ ‫ﻨﻤﻭﺫﺝ‬ ‫ﻓﺈﻥ‬ ‫ﺍﻟﻭﻗﺕ‬ ‫ﻨﻔﺱ‬ ‫ﻭﻓﻲ‬‫ﺍﻟﺘﻤﺜﻴل‬ ‫ﺘﺄﻭﻴل‬ ‫ﺘﻌﻘﺩ‬ ‫ﻤﺩﻯ‬ ‫ﺒﻤﺴﺄﻟﺔ‬ ‫ﺍﻟﻤﻘﺩﻤﺔ‬ ‫ﺇﻟﻰ‬ ‫ﻴﺩﻓﻊ‬ ‫ﺍﻟﻔﺎﺭﺴﻴﺔ‬ ‫ﻭﻡ‬
‫ﻴﺭﺘﺒﻁ‬ ‫ﺒﺎﻟﻘﻁﻊ‬ ‫ﻴﻜﻥ‬ ‫ﻟﻡ‬ ‫ﻤﺘﻁﺎﺒﻘﺔ‬ ‫ﺒﻁﺭﻴﻘﺔ‬ ‫ﻭﺍﻟﺫﻜﺭﻱ‬ ‫ﺍﻷﻨﺜﻭﻱ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺘﺼﻭﻴﺭ‬ ‫ﺒﺄﻥ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﻨﻔﺴﻬﺎ‬ ‫ﺘﻁﺭﺡ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﻟﻤﺴﺄﻟﺔ‬ ‫ﻭﻫﻲ‬ ،‫ﺍﻟﺒﺼﺭﻱ‬
‫ﺍﻟﻤﺠﺭ‬ ‫ﺍﻟﺠﻤﺎل‬ ‫ﻤﻔﺎﻫﻴﻡ‬ ‫ﻴﻌﻜﺱ‬ ‫ﺍﻟﺘﺼﻭﻴﺭ‬ ‫ﻫﺫﺍ‬ ‫ﻜﺎﻥ‬ ‫ﻭﺇﻨﻤﺎ‬ ،‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‬ ‫ﺍﻟﻤﺴﺎﻭﺍﺓ‬ ‫ﻤﻥ‬ ‫ﺩﺭﺠﺔ‬ ‫ﺒﺄﻴﺔ‬‫ﺩ‬)Najmabadi forthcoming.(
‫ﻭﺘﺴﺘﺩﻋﻲ‬ ‫ﻤﻌﻘﺩﺓ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﻫﻲ‬ ‫ﺍﻟﺼﻭﺭ‬ ‫ﺘﻠﻙ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻭﺴﻴﺎﻕ‬ ‫ﺘﺼﻭﺭﻴﻬﻥ‬ ‫ﻜﻴﻔﻴﺔ‬ ‫ﻭﻗﻀﻴﺔ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﺘﺼﻭﻴﺭ‬ ‫ﺘﻜﺭﺍﺭ‬ ‫ﻤﺩﻯ‬ ‫ﻗﻀﻴﺔ‬ ‫ﺇﻥ‬
‫ﻤﺘﻤﻌﻨﺔ‬ ‫ﺩﺭﺍﺴﺔ‬.‫ﺍﻟﻤﺭﺌﻲ‬ ‫ﻏﻴﺭ‬ ‫ﻭﺍﻟﺨﻔﻲ‬ ‫ﺍﻟﻤﺭﺌﻲ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺤﻭل‬ ‫ﻨﻅﺭﻴﺎﺕ‬ ‫ﻟﺘﻘﺩﻴﻡ‬ ‫ﻓﺭﺹ‬ ‫ﺘﻭﺠﺩ‬ ‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻔﻲ‬.‫ﺍﺨﺘﻔﺎﺀ‬ ‫ﺇﺭﺠﺎﻉ‬ ‫ﻴﺘﻡ‬ ‫ﻤﺎ‬ ‫ﻓﻌﺎﺩﺓ‬
‫ﺍﻟﺤ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻨﺴﺎﺀ‬‫ﺍﻟﺒﺴﺎﻁﺔ‬ ‫ﺒﻬﺫﻩ‬ ‫ﺍﻹﻁﻼﻕ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻴﺱ‬ ‫ﺍﻻﺭﺘﺒﺎﻁ‬ ‫ﻫﺫﺍ‬ ‫ﻭﻟﻜﻥ‬ ،‫ﺒﺎﻟﺴﻠﻁﺔ‬ ‫ﺘﻤﺘﻌﻬﻥ‬ ‫ﺍﻨﻌﺩﺍﻡ‬ ‫ﺇﻟﻰ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻌﺎﻤﺔ‬ ‫ﻴﺎﺓ‬
‫ﺍﻟﺤﺴﻡ‬ ‫ﺒﻬﺫﺍ‬ ‫ﻭﻻ‬.‫ﺘﻨﻁﺒﻕ‬ ‫ﻭﻻ‬ ،‫ﺍﻟﺴﻠﻁﺔ‬ ‫ﻭﺫﻭﻱ‬ ‫ﺒﺎﻷﻏﻨﻴﺎﺀ‬ ‫ﻤﺭﺘﺒﻁﺔ‬ ‫ﻤﺜﺎﻟﻴﺔ‬ ‫ﻤﻤﺎﺭﺴﺎﺕ‬ ‫ﻜﺎﻨﺕ‬ ‫ﺍﻟﺨﺼﻭﺼﻴﺔ‬ ‫ﻭﻤﻔﺎﻫﻴﻡ‬ ‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻋﺯل‬ ‫ﺃﻥ‬ ‫ﻓﺎﻟﺤﻘﻴﻘﺔ‬
‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﻤﺠﺘﻤﻊ‬ ‫ﺃﻋﻀﺎﺀ‬ ‫ﻜل‬ ‫ﻋﻠﻰ‬.‫ﻭ‬‫ﻓﻲ‬ ‫ﺍﻟﻤﻌﺎﺼﺭﺍﺕ‬ ‫ﺍﻟﻨﺴﻭﻴﺎﺕ‬ ‫ﺍﻟﻔﻨﺎﻨﺎﺕ‬ ‫ﻤﻭﻗﻑ‬ ‫ﺘﺄﻤل‬ ‫ﻫﻭ‬ ‫ﺃﻜﺜﺭ‬ ‫ﻭﺍﻟﺴﻠﻁﺔ‬ ‫ﺍﻻﺨﺘﻔﺎﺀ‬ ‫ﻗﻀﻴﺔ‬ ‫ﻴﻌﻘﺩ‬ ‫ﻤﻤﺎ‬
‫ﻜﻴﻠﻲ‬ ‫ﻤﺎﺭﻱ‬ ،‫ﺃﺸﻬﺭﻫﻥ‬ ‫ﺃﻥ‬ ‫ﺤﻴﺙ‬ ،‫ﺍﻟﻐﺭﺏ‬)Mary Kelly(‫ﺍﻷﻨﺜﻭﻱ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻋﻠﻰ‬ ‫ﻟﻼﺤﺘﺠﺎﺝ‬ ‫ﺍﻷﻨﺜﻭﻱ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺘﺼﻭﻴﺭ‬ ‫ﻋﺎﺭﻀﺕ‬ ،
‫ﺍﻷﻨﺜﻭﻱ‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺍﺴﺘﺨﺩﺍﻡ‬ ‫ﻭﺭﻓﻀﻬﺎ‬ ،‫ﻓﺎﺭﻍ‬ ‫ﻜﻤﺩﻟﻭل‬ ‫ﺍﻟﻐﺭﺒﻲ‬ ‫ﺍﻟﻔﻥ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻋﺒﺭ‬‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻟﺘﻤﻜﻴﻥ‬ ‫ﻜﺎﺴﺘﺭﺍﺘﻴﺠﻴﺔ‬.
‫ﺍﻟﻤﺒﻨﻴﺔ‬ ‫ﺍﻟﺒﻴﺌﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﺴﺘﺨﺩﻤﺔ‬ ‫ﺍﻟﻔﺌﺎﺕ‬ ‫ﻴﺘﻨﺎﻭل‬ ‫ﺃﻥ‬ ‫ﻴﺠﺏ‬ ‫ﺍﻟﻤﺠﺎل‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻨﺴﻭﻱ‬ ‫ﻟﻠﺒﺤﺙ‬ ‫ﻤﺜﻤﺭ‬ ‫ﺁﺨﺭ‬ ‫ﺍﺘﺠﺎﻩ‬ ‫ﻭﻫﻨﺎﻙ‬.‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻓﻔﻲ‬
‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﻟﻠﻤﺠﺘﻤﻌﺎﺕ‬ ‫ﻭﺍﻟﻤﻌﻤﺎﺭﻱ‬ ‫ﺍﻟﺤﻀﺭﻱ‬)‫ﻋﻤﻭﻤﺎ‬ ‫ﺍﻟﺤﻀﺭﻱ‬ ‫ﺍﻟﺘﺎﺭﻴﺦ‬ ‫ﻭﻓﻲ‬ ‫ﺒل‬(‫ﺍﻟﺤﻴﺯ‬ ‫ﺘﻭﺼﻴﻑ‬ ‫ﻴﺘﻡ‬ ‫ﺤﻴﺙ‬ ،‫ﻤﺘﻀﺎﺩﺓ‬ ‫ﺜﻨﺎﺌﻴﺔ‬ ‫ﺴﻴﺎﺩﺓ‬ ‫ﻨﺠﺩ‬
‫ﺍﻟﻌﺎﻡ‬‫ﺃﻨﺜﻭﻴﺎ‬ ‫ﺒﺎﻋﺘﺒﺎﺭﻩ‬ ‫ﻴﻭﺼﻑ‬ ‫ﻭﺍﻟﻤﻨﺯﻟﻲ‬ ‫ﺍﻟﺨﺎﺹ‬ ‫ﺍﻟﺤﻴﺯ‬ ‫ﺒﻴﻨﻤﺎ‬ ،‫ﺫﻜﻭﺭﻴﺎ‬ ‫ﺒﺎﻋﺘﺒﺎﺭﻩ‬.‫ﺒﻴﻥ‬ ‫ﻤﺎ‬ ‫ﺍﻟﻌﻼﻗﺔ‬ ‫ﺘﺘﻨﺎﻭل‬ ‫ﺯﺍﻨﺎﺩ‬ ‫ﺘﺭﺍﻜﻲ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺃﻥ‬ ‫ﻭﻨﺠﺩ‬
‫ﺍﻹﺴﻼﻤﻲ‬ ‫ﺍﻟﺴﻴﺎﻕ‬ ‫ﻓﻲ‬ ‫ﻭﺍﻟﺠﺴﺩ‬ ‫ﺍﻟﻤﻜﺎﻨﻲ‬ ‫ﺍﻟﺤﻴﺯ‬)Zannad 1984.(‫ﺩﺭﺍﺴﺔ‬ ‫ﺒﻭﻀﻭﺡ‬ ‫ﻴﺘﻀﻤﻥ‬ ‫ﻤﺎ‬ ‫ﻤﻌﻤﺎﺭﻱ‬ ‫ﺃﻭ‬ ‫ﻓﻨﻲ‬ ‫ﻋﻤل‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﺃﻥ‬ ‫ﻜﻤﺎ‬
‫ﺍﻟﻌﻤل‬ ‫ﻫﺫﺍ‬ ‫ﺇﻨﺘﺎﺝ‬ ‫ﺴﻴﺎﻕ‬)‫ﺍﻟﻔﻨﺎﻥ‬/‫ﺍﻟﻔﻨﺎﻨ‬‫ﻭﺍﻟﻤﻌﻤﺎﺭﻱ‬ ،‫ﺔ‬/‫ﻭﺍﻟﺭﺍﻋﻲ‬ ،‫ﺍﻟﻤﻌﻤﺎﺭﻴﺔ‬/‫ﺍﻟﺒﻨﺎﺀ‬ ‫ﺃﻭ‬ ‫ﺍﻟﺼﻨﻊ‬ ‫ﻭﻋﻤﻠﻴﺔ‬ ،‫ﺍﻟﺭﺍﻋﻴﺔ‬(‫ﺴﻴﺎﻕ‬ ‫ﺃﻴﻀﺎ‬ ‫ﻴﺘﻀﻤﻥ‬ ‫ﻭﻟﻜﻨﻪ‬
‫ﻭﺍﺴﺘﻬﻼﻜﻪ‬ ‫ﺍﻟﻌﻤل‬ ‫ﻫﺫﺍ‬ ‫ﺍﺴﺘﻘﺒﺎل‬.‫ﻓﻲ‬ ‫ﺒﺎﻟﻨﺴﺎﺀ‬ ‫ﺍﻟﺨﺎﺹ‬ ‫ﺍﻟﻘﺴﻡ‬ ‫ﻤﺜل‬ ،‫ﺍﻟﻌﺎﻤﺔ‬ ‫ﻟﻸﻤﺎﻜﻥ‬ ‫ﻭﺍﻟﻤﺴﺘﺨﺩﻤﻴﻥ‬ ‫ﻭﺍﻟﻤﺸﺎﻫﺩﻴﻥ‬ ‫ﺍﻟﺠﻤﻬﻭﺭ‬ ‫ﺩﻭﺭ‬ ‫ﻫﻭ‬ ‫ﻓﻤﺎ‬
‫ﻭﺍﻟﻤﻌﻤﺎ‬ ‫ﺍﻟﻔﻨﻴﺔ‬ ‫ﺍﻷﻋﻤﺎل‬ ‫ﻴﺴﺘﺨﺩﻤﻭﻥ‬ ‫ﺍﻟﺫﻴﻥ‬ ‫ﺃﻭﻟﺌﻙ‬ ‫ﺇﻥ‬ ‫ﺍﻟﺠﻭﺍﻤﻊ؟‬‫ﻤﻌﻨﺎﻫﺎ‬ ‫ﺨﻠﻕ‬ ‫ﻓﻲ‬ ‫ﺠﻤﻴﻌﺎ‬ ‫ﻴﺸﺎﺭﻜﻭﻥ‬ ‫ﺒﺘﺄﻭﻴﻠﻬﺎ‬ ‫ﻴﻘﻭﻤﻭﻥ‬ ‫ﺍﻟﺫﻴﻥ‬ ‫ﺃﻭﻟﺌﻙ‬ ‫ﻭﻜﺫﻟﻙ‬ ‫ﺭﻴﺔ‬
‫ﻟﻠﺘﻔﺎﻭﺽ‬ ‫ﻗﺎﺒﻼ‬ ‫ﻴﻜﻭﻥ‬ ‫ﻤﺎ‬ ‫ﺩﺍﺌﻤﺎ‬ ‫ﻭﺍﻟﺫﻱ‬.،‫ﻤﺴﺘﺨﺩﻤﻴﻪ‬ ‫ﻨﺘﺎﺝ‬ ‫ﻫﻭ‬ ‫ﺍﻟﻤﻨﺯﻟﻲ‬ ‫ﺍﻟﻤﻌﻤﺎﺭ‬ ‫ﻤﻌﻨﻰ‬ ‫ﺃﻥ‬ ‫ﻜﻴﻑ‬ ،‫ﺒﻴﺭﺘﺭﺍﻡ‬ ‫ﻜﺎﺭﻴل‬ ،‫ﺍﻟﻔﻥ‬ ‫ﻤﺅﺭﺨﺔ‬ ‫ﺩﺭﺴﺕ‬ ‫ﻭﻗﺩ‬
‫ﺍﻟﻨﺴﺎﺀ‬ ‫ﻋﻨﺩ‬ ‫ﺍﻟﺫﺍﺕ‬ ‫ﺒﻨﺎﺀ‬ ‫ﻓﻲ‬ ‫ﺍﻟﻤﻨﺯل‬ ‫ﺼﻭﺭﺓ‬ ‫ﺘﺤﻠﻴل‬ ‫ﺨﻼل‬ ‫ﻤﻥ‬ ‫ﺍﻟﺩﺭﺍﺴﺔ‬ ‫ﺒﺘﻠﻙ‬ ‫ﻗﺎﻤﺕ‬ ‫ﻭﻗﺩ‬‫ﺍﻟﻌﺸﺭﻴﻥ‬ ‫ﺍﻟﻘﺭﻥ‬ ‫ﻤﻨﺘﺼﻑ‬ ‫ﻓﻲ‬ ‫ﺘﺭﻜﻴﺎ‬ ‫ﻓﻲ‬)Bertram
1998.(
‫ﺍﻟﻨﻭﻉ‬ ‫ﻷﺩﺍﺀ‬ ‫ﻤﺤﻭﺭﻱ‬ ‫ﻜﻤﻭﻗﻊ‬ ‫ﺍﻟﻤﻜﺎﻨﻲ‬ ‫ﺍﻟﺤﻴﺯ‬ ‫ﻤﺴﺄﻟﺔ‬ ‫ﻟﺩﺭﺍﺴﺔ‬ ‫ﻤﺜﻤﺭ‬ ‫ﺒﺸﻜل‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻨﻅﺭﻴﺔ‬ ‫ﻓﻲ‬ ‫ﺍﻷﺩﺍﺀ‬ ‫ﻤﻔﺎﻫﻴﻡ‬ ‫ﺇﺩﺭﺍﺝ‬ ‫ﻴﻤﻜﻥ‬ ‫ﻭﺃﺨﻴﺭﺍ‬
‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬.‫ﺍﻻﺠﺘﻤﺎﻋﻲ‬ ‫ﺍﻟﻨﻭﻉ‬ ‫ﻷﺩﺍﺀ‬ ‫ﺃﺴﺎﺴﻲ‬ ‫ﻜﻤﻭﻗﻊ‬ ‫ﺘﻤﺜﻴﻠﻪ‬ ‫ﻭﺃﺸﻜﺎل‬ ‫ﺍﻟﺠﺴﺩ‬ ‫ﺭﺅﻴﺔ‬ ‫ﺃﻴﻀﺎ‬ ‫ﻴﻤﻜﻥ‬ ‫ﻜﻤﺎ‬.

6. ٤٣٩
‫ﺍﻷ‬ ‫ﻓﺘﺤﺕ‬ ‫ﻟﻘﺩ‬‫ﻓﺭﺼﺎ‬ ‫ﻭﻗﺩﻤﺕ‬ ،‫ﻤﺘﻁﻭﺭﺓ‬ ‫ﻤﻨﺎﻗﺸﺎﺕ‬ ‫ﻗﻴﺎﻡ‬ ‫ﺃﻤﺎﻡ‬ ‫ﺍﻟﻁﺭﻴﻕ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﻗﻀﺎﻴﺎ‬ ‫ﺤﻭل‬ ‫ﺍﻟﺭﺍﺌﺩﺓ‬ ‫ﻋﻤﺎل‬
‫ﻭﻹﺜﺭﺍﺌﻪ‬ ‫ﺍﻟﺤﻘل‬ ‫ﻫﺫﺍ‬ ‫ﻓﻲ‬ ‫ﺍﻟﺴﺎﺌﺩ‬ ‫ﻟﻤﻌﺎﺭﻀﺔ‬.‫ﻓﻲ‬ ‫ﺍﻟﺠﻨﺩﺭ‬ ‫ﺤﻭل‬ ‫ﺍﻟﻤﺒﺩﻉ‬ ‫ﺍﻟﺒﺤﺙ‬ ‫ﺃﻤﺎﻡ‬ ‫ﻤﺼﺭﺍﻋﻴﻬﺎ‬ ‫ﻋﻠﻰ‬ ‫ﻤﻔﺘﻭﺤﺔ‬ ‫ﺍﻟﻁﺭﻕ‬ ‫ﻤﻥ‬ ‫ﺍﻟﻜﺜﻴﺭ‬ ‫ﺘﺯﺍل‬ ‫ﻭﻻ‬
‫ﻭﺍﻟ‬ ‫ﺍﻟﻔﻥ‬ ‫ﺘﺎﺭﻴﺦ‬ ‫ﺩﺭﺍﺴﺔ‬ ‫ﻤﺠﺎل‬ ‫ﻓﻲ‬ ‫ﺍﻹﺴﻼﻤﻴﺔ‬ ‫ﺍﻟﻤﺠﺘﻤﻌﺎﺕ‬‫ﻤﻌﻤﺎﺭ‬.
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‫ﻭﺍﺘﻴﻨﺒﻭ‬ ‫ﺯﻴﺘﻠﻴﺎﻥ‬ ‫ﻫﻴﻐﻨﺎﺭ‬)Heghnar Zeitlian Watenpaugh(
‫ﺘﺭﺠﻤﺔ‬:‫ﺍﻟﻨﻘﺎﺵ‬ ‫ﻟﻤﻴﺱ‬