Lecture 1: Criticism and Judgement in Architecture (Fall 2024-2025) PDF

‫ﺟﺎﻣﻌﺔ ﺍﻟﻘﻠﻣﻭﻥ ﺍﻟﺧﺎﺻﺔ‬ ‫ﻛﻠﻳﺔ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﺩﻧﻳﺔ ﻭﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬ ‫ﻗﺳﻡ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬ ‫ﺍﻟﻧﻘﺩ ﻭﺍﻟﺣﻛﻡ ﻓﻲ ﺍﻟﻌﻣﺎﺭﺓ‬ ‫‪Criticism and Judgement in Architecture‬‬ ‫ﻣﻘﺭﺭ ﺗﺧﺻﺹ ﺍﺧﺗﻳﺎﺭﻱ ﻟﻁﻼﺏ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬...

‫ﺟﺎﻣﻌﺔ ﺍﻟﻘﻠﻣﻭﻥ ﺍﻟﺧﺎﺻﺔ‬ ‫ﻛﻠﻳﺔ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﺩﻧﻳﺔ ﻭﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬ ‫ﻗﺳﻡ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬ ‫ﺍﻟﻧﻘﺩ ﻭﺍﻟﺣﻛﻡ ﻓﻲ ﺍﻟﻌﻣﺎﺭﺓ‬ ‫‪Criticism and Judgement in Architecture‬‬ ‫ﻣﻘﺭﺭ ﺗﺧﺻﺹ ﺍﺧﺗﻳﺎﺭﻱ ﻟﻁﻼﺏ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‬ ‫ﺍﻟﺳﻧﺔ ﺍﻟﺭﺍﺑﻌﺔ‬ ‫‪Fall 2024-2025‬‬ ‫‪1‬‬  ‫ﻣـﻘـــﺩﻣـــﺔ‬ ‫ﻳﻛﻣﻝ ﻣﻘﺭﺭ "ﺍﻟﻧﻘﺩ ﻭﺍﻟﺣﻛﻡ ﻓﻲ ﺍﻟﻌﻣﺎﺭﺓ" ﻛﻣﻘﺭﺭ ﺗﺧﺻﺹ ﺍﺧﺗﻳﺎﺭﻱ ﺳﻠﺳﻠﺔ ﻧﻅﺭﻳﺎﺕ ﺍﻟﻌﻣﺎﺭﺓ ﻭﺗﺣﺩﻳﺩﺍً ﺗﻠﻙ ﺍﻟﻣﻌﻧﻳﺔ ﺑﺎﻟﻣﺩﺍﺭﺱ‬ ‫ﺍﻟﻣﻌﻣﺎﺭﻳﺔ‪.‬ﻓﻬﻭ ﻳﻘﺩﻡ ﺃﺣﺩ ﻣﺣﺎﻭﺭ ﺍﻟﻔﻛﺭ ﺍﻟﻣﻌﻣﺎﺭﻱ ﺍﻟﺫﻱ ﺗﻁﻭﺭ ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ﺍﻟﺗﺎﺳﻊ ﻋﺷﺭ ﺃﻱ ﻣﺑﺎﺷﺭﺓ ﺑﻌﺩ ﺍﻹﻧﻔﺻﺎﻝ ﺍﻟﺫﻱ‬ ‫ﺣﺻﻝ ﺑﻳﻥ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﺩﻧﻳﺔ ﻭﺍﻟﻌﻣﺎﺭﺓ ﺑﺎﻋﺗﺑﺎﺭﻫﺎ ﻛﺄﺣﺩ ﺍﻟﻔﻧﻭﻥ‪.‬‬ ‫ﻳﺳﻌﻰ ﺍﻟﻣﻘﺭﺭ ﻓﻲ ﺷﻘﻪ ﺍﻟﻧﻅﺭﻱ ﺇﻟﻰ ﺗﻌﺭﻳﻑ ﺍﻟﻁﺎﻟﺏ ﺑﺄﻫﻣﻳﺔ ﺍﻟﻧﻘﺩ ﻓﻲ ﺑﻧﺎء ﺍﻷﺣﻛﺎﻡ ﻋﻠﻰ ﺍﻟﻣﺷﺎﺭﻳﻊ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ﺍﻟﺗﻲ ﺳﻳﻘﺩﻣﻬﺎ‬ ‫ﺍﻟﻁﺎﻟﺏ ﺣﺗﻰ ﻧﻬﺎﻳﺔ ﺩﺭﺍﺳﺗﻪ ﻭﺗﻠﻙ ﺍﻟﺗﻲ ﺳﻳﻘﺩﻣﻬﺎ ﺑﻌﺩ ﺩﺧﻭﻟﻪ ﺇﻟﻰ ﺳﻭﻕ ﺍﻟﻌﻣﻝ‪.‬ﺑﻔﻬﻡ ﻋﻣﻠﻳﺔ ﺗﻘﻭﻳﻡ ﺍﻟﻣﺷﺎﺭﻳﻊ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ ﺗﺗﺷﻛﻝ‬ ‫ﻟﺩﻯ ﺍﻟﻁﺎﻟﺏ ﺍﻟﻘﺩﺭﺓ ﻋﻠﻰ ﻗﻭﻟﺑﺔ ﺗﺻﺎﻣﻳﻣﻪ ﻟﺗﻛﻭﻥ ﻣﻁﺎﺑﻘﺔ ﻟﻣﻌﺎﻳﻳﺭ ﺍﻟﺗﺣﻛﻳﻡ‪ ،‬ﺇﻟﻰ ﺟﺎﻧﺏ ﺗﻠﺑﻳﺗﻬﺎ ﻷﻫﺩﺍﻑ ﻭﻣﺗﻁﻠﺑﺎﺕ ﺍﻟﻣﺷﺭﻭﻉ‪.‬‬ ‫ﺃﻣﺎ ﻓﻲ ﺍﻟﺷﻖ ﺍﻟﻌﻣﻠﻲ ﻳﻬﺩﻑ ﺍﻟﻣﻘﺭﺭ ﺇﻟﻰ ﺗﺣﻔﻳﺯ ﺍﻟﻁﺎﻟﺏ ﻋﻠﻰ ﺍﻟﻘﻳﺎﻡ ﺑﺎﻟﺑﺣﺙ ﺍﻟﻌﻠﻣﻲ ﻭﺭﺑﻁ ﺍﻟﻘﺎﻋﺩﺓ ﺍﻟﻧﻅﺭﻳﺔ ﺑﺎﻟﺗﻁﺑﻳﻖ ﻣﻥ‬ ‫ﺧﻼﻝ ﺗﻣﺎﺭﻳﻥ ﺻﻔﻳﺔ ﻭﻭﺍﺟﺑﺎﺕ ﻣﻧﺯﻟﻳﺔ ﺗﺗﻧﺎﻭﻝ ﺩﺭﺍﺳﺎﺕ ﺗﺣﻠﻳﻠﻳﺔ ﻷﻋﻣﺎﻝ ﻓﻧﻳﺔ ﻭﻣﻌﻣﺎﺭﻳﺔ ﺑﺗﻁﺑﻳﻖ ﺍﻟﻘﻭﺍﻋﺩ ﻭﺍﻟﻣﻌﺎﻳﻳﺭ ﺍﻟﻣﻛﺗﺳﺑﺔ‬ ‫ﻣﻥ ﺍﻟﺷﻖ ﺍﻟﻧﻅﺭﻱ‪.‬‬ ‫ﻳﺗﻭﻗﻊ ﺃﻥ ﺗﻅﻬﺭ ﻣﺧﺭﺟﺎﺕ ﻫﺫﺍ ﺍﻟﻣﻘﺭﺭ ﻓﻲ ﺍﻟﺳﻧﺔ ﺍﻟﻼﺣﻘﺔ ﻟﺩﺭﺍﺳﺔ ﻫﺫﺍ ﺍﻟﻣﻘﺭﺭ ﻓﻲ ﻣﻘﺭﺭ ﺍﺳﺗﻭﺩﻳﻭ ﺍﻟﺗﺻﻣﻳﻡ ﺍﻟﺷﺎﻣﻝ ‪ 8‬ﻭﻓﻲ‬ ‫ﻣﺷﺭﻭﻉ ﺍﻟﺗﺧﺭﺝ‪ ،‬ﻭﺫﻟﻙ ﺇﺫﺍ ﺃﺧﺫ ﺍﻟﻁﺎﻟﺏ ﻓﻲ ﺍﻋﺗﺑﺎﺭﻩ ﺃﻥ ﻛﻝ ﻣﺷﺭﻭﻉ ﻳﻘﺩﻣﻪ ﻳﻌﺎﺩﻝ ﻣﺷﺭﻭﻋﺎ ً ﻣﻘﺩﻣﺎ ً ﺇﻟﻰ ﻣﺳﺎﺑﻘﺔ ﻣﻌﻣﺎﺭﻳﺔ‪،‬‬ ‫ﺭﺍﻋﻰ ﻓﻳﻬﺎ ﺍﻟﺷﺭﻭﻁ ﻭﺍﻻﻧﻅﻣﺔ ﻭﺍﻟﺿﻭﺍﺑﻁ ﺁﺧﺫﺍً ﺑﺎﻟﺣﺳﺑﺎﻥ ﺁﻟﻳﺔ ﺍﻟﺗﺣﻛﻳﻡ ﻭﺍﻟﻣﻌﺎﻳﻳﺭ ﺍﻟﻣﺗﺑﻌﺔ ﻓﻲ ﺗﻘﻭﻳﻡ ﺍﻟﻣﺷﺎﺭﻳﻊ‪.‬‬ ‫‪2‬‬  ‫ﺍﻟﻧﻘﺩ ﻭﺍﻟﺣﻛﻡ ﻓﻲ ﺍﻟﻌﻣﺎﺭﺓ – ﺩ‪.‬ﻡ ﺭﻧـــﺩﺍ ﺇﺳﻣﺎﻋﻳﻝ‬ ‫ﺟﺎﻣﻌﺔ ﺍﻟﻘﻠﻣﻭﻥ ﺍﻟﺧﺎﺻﺔ‬ ‫ﺍﻟﻔﺻﻝ ﺍﻷﻭﻝ ‪2025 -2024‬‬ ‫ﻛﻠﻳﺔ ﺍﻟﻬﻧﺩﺳﺔ ﺍﻟﻣﺩﻧﻳﺔ ﻭ ﺍﻟﻣﻌﻣﺎﺭﻳﺔ – ﻗﺳﻡ ﺍﻟﻌﻣﺎﺭﺓ‬ ‫ﺍﻟﻣﺣﺎﺿﺭﺓ ﺍﻷﻭﻟﻰ‬ ‫ﺍﻟﻧﻘﺩ ﻭﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ‬ ‫‪Criticism and Art Criticism‬‬ ‫ﻣﺩﺧﻝ ﺇﻟﻰ ﻋﻠﻡ ﺍﻟﻧﻘﺩ )‪(Introduction to Criticism‬‬ ‫ﺍﻟﻧﻘﺩ ﻧﻅﺭﻳﺎ ً ﻫﻭ ﻧﺷﺎﻁ ﺩﻳﻣﻘﺭﺍﻁﻲ ﻳﺗﻼءﻡ ﻣﻊ ﺍﻟﻣﺗﻁﻠﺑﺎﺕ ﺍﻟﺭﺋﻳﺳﻳﺔ ﻟﻠﺗﺟﻣﻌﺎﺕ ﺍﻹﻧﺳﺎﻧﻳﺔ‪ ،‬ﻳﻠﻌﺏ ﺩﻭﺭﺍً ﺟﻭﻫﺭﻳﺎ ً ﻓﻲ ﺗﻔﺳﻳﺭ‬ ‫ﺇﺑﺩﺍﻋﺎﺕ ﺧﺭﺟﺕ ﻟﻠﺣﻳﺎﺓ ﻭﺍﻟﺗﺣﻣﺕ ﻣﻊ ﺍﻟﻧﺎﺱ ﺇﻟﻰ ﺩﺭﺟﺔ ﻳﺻﻌﺏ ﺣﺟﺑﻬﺎ‪.‬ﺍﻟﻧﻘﺩ ﺗﻘﻧﻳﺎ ً ﻫﻭ ﻣﺟﻣﻭﻉ ﺍﻟﻌﻣﻠﻳﺎﺕ ﺍﻟﻔﻛﺭﻳﺔ ﺍﻟﺗﺣﻠﻳﻠﻳﺔ‬ ‫ﺍﻟﻣﺭﺗﺑﻁﺔ ﺑﺈﻅﻬﺎﺭ ﺍﻟﺳﻠﺑﻳﺎﺕ ﻭﺍﻹﻳﺟﺎﺑﻳﺎﺕ‪ ،‬ﻭﺗﻘﻭﻳﻡ ﺍﻟﻣﻧﺗﺟﺎﺕ ﺍﻟﻔﻛﺭﻳﺔ )ﻓﻲ ﺍﻟﻠﻐﺔ‪ ،‬ﻭﺍﻟﺗﺎﺭﻳﺦ ﻭﺍﻟﺳﻳﺎﺳﺔ( ﻭﺍﻹﺑﺩﺍﻋﻳﺔ )ﻓﻲ‬ ‫ﺍﻵﺩﺍﺏ ﻭﺍﻟﻔﻧﻭﻥ ﻭﺍﻟﻌﻣﺎﺭﺓ(‪ ،‬ﻭﺫﻛﺭ ﻣﻛﺎﻣﻥ ﺍﻟﻘﻭﺓ ﻭﺍﻟﺿﻌﻑ ﻓﻳﻬﺎ‪ ،‬ﻻﺳﺗﺷﺭﺍﻑ ﺣﻠﻭﻝ ﻭﺗﻭﺟﻬﺎﺕ ﻭﺭﺅﻯ ﺟﺩﻳﺩﺓ ﻓﻲ ﺍﻟﻣﺟﺎﻝ‬ ‫ﺍﻟﻣﺭﺗﺑﻁ‪.‬‬ ‫ﺃﺻﻝ ﺍﻟﻧﻘﺩ ﻭﺗﻁﻭﺭﻩ ﻋﺑﺭ ﺍﻟﺗﺎﺭﻳﺦ‬ ‫ﺃﺻﻝ ﻛﻠﻣﺔ ﺍﻟﻧﻘﺩ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺭﺑﻳﺔ ﻫﻭ ﺗﻣﻳﻳﺯ ﺍﻟﺩﺭﺍﻫﻡ ﻭﺇﺧﺭﺍﺝ ﺍﻟﺯﻳﻑ ﻣﻧﻬﺎ‪ ،‬ﻭﻧﻘﺩ ﺇﻳﺎﻫﺎ ﻧﻘﺩﺍً ﺃﻱ ﺃﻋﻁﺎﻩ ﻓﺎﻧﺗﻘﺩﻫﺎ ﺃﻱ ﻗﺑﺿﻬﺎ‪،‬‬ ‫ﻭﻧﻘﺩ ﺍﻟﺭﺟﻝ ﺍﻟﺷﻲء ﻧﻘﺩﺍ ً ﺃﻱ ﻧﻅﺭ ﺇﻟﻳﻪ ﻭﻓﺣﺻﻪ‪ ،‬ﻭﺗﻛﻭﻥ ﺑﻣﻌﻧﻰ ﺇﻅﻬﺎﺭ ﺍﻟﻌﻳﻭﺏ‪.‬ﺃﻣﺎ ﻓﻲ ﺍﻟﻠﻐﺔ ﺍﻟﻼﺗﻳﻧﻳﺔ ﻓﻛﻠﻣﺔ ﺍﻟﻧﻘﺩ‬ ‫)‪ (criticism‬ﻣﺷﺗﻘﺔ ﻣﻥ ﺍﻟﻠﻔﻅ ﺍﻟﻳﻭﻧﺎﻧﻲ )‪ (kritikos‬ﺍﻟﺫﻱ ﺻﻳﻎ ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ﺍﻟﺭﺍﺑﻊ ﻕ‪.‬ﻡ‪ ،.‬ﺣﻳﺙ ﺃﺧﺫ ﺍﻟﻠﻔﻅ ﺩﻻﻟﺗﻪ‬ ‫ﻛﻣﺻﻁﻠﺢ ﻣﻊ ﺗﻁﻭﺭ ﺍﻟﻔﻠﺳﻔﺔ ﻭﺍﻟﺣﺿﺎﺭﺓ ﺍﻟﻳﻭﻧﺎﻧﻳﺔ‪ ،‬ﻟﻳﻌﺑﺭ ﻋﻥ ﺍﻟﺩﺭﺍﺳﺎﺕ ﺍﻟﺗﻲ ﺗﻬﺗﻡ ﺑﺗﻘﻭﻳﻡ ﺍﻷﻋﻣﺎﻝ ﺍﻟﺷﻌﺭﻳﺔ ﻭﺍﻷﺩﺑﻳﺔ‪.‬‬ ‫ﻓﻲ ﻋﻠﻡ ﺍﻟﺗﺎﺭﻳﺦ ﻳﻌﺭﻑ ﺍﻟﻧﻘﺩ ﺑﺄﻧﻪ ﺍﻟﺩﺭﺍﺳﺔ ﺍﻟﻔﻘﻬﻳﺔ ﻟﻠﻣﺻﺎﺩﺭ ﻭﺍﻟﻭﺛﺎﺋﻖ‪ ،‬ﻭﻓﻲ ﻋﻠﻭﻡ ﺍﻟﻠﻐﺔ ﻳﻌﺭﻑ ﺍﻟﻧﻘﺩ ﺃﻧﻪ ﺍﻟﺩﺭﺍﺳﺔ ﺍﻟﻔﻘﻬﻳﺔ‬ ‫ﻟﻠﻧﺹ‪ ،‬ﺃﻱ ﺗﻔﺳﻳﺭ ﺍﻟﻧﺻﻭﺹ ﻭﻻ ﺳﻳﻣﺎ ﻓﻲ ﺍﻟﻛﺗﺎﺏ ﺍﻟﻣﻘﺩﺱ‪.‬ﻓﻲ ﺍﻷﺩﺏ ﻳﻌﺭﻑ ﺍﻟﻧﻘﺩ ﺑﺄﻧﻪ ﺗﺣﻠﻳﻝ ﺍﻟﻘﻁﻊ ﺍﻷﺩﺑﻳﺔ‪ ،‬ﺗﻔﺳﻳﺭ‬ ‫ﻣﻌﺎﻧﻳﻬﺎ‪ ،‬ﻭﺗﻘﺩﻳﺭ ﻣﺎ ﻟﻬﺎ ﻣﻥ ﻗﻳﻣﺔ ﻓﻧﻳﺔ‪.‬ﻭﻟﻡ ﺗﺄﺧﺫ ﺍﻟﻛﻠﻣﺔ ﻫﺫﺍ ﺍﻟﻣﻌﻧﻰ ﺍﻹﺻﻁﻼﺣﻲ ﺇﻻ ﻓﻲ ﺍﻟﻌﺻﺭ ﺍﻟﻌﺑﺎﺳﻲ‪ ،‬ﺃﻣﺎ ﻗﺑﻝ ﺫﻟﻙ‬ ‫ﻓﻛﺎﻧﺕ ﺗﺳﺗﺧﺩﻡ ﺑﻣﻌﻧﻰ ﺍﻟﺫﻡ ﻭﺍﻻﺳﺗﻬﺟﺎﻥ‪.‬ﻛﻼﻫﻣﺎ ﺍﻟﻧﻘﺩ ﺍﻟﺗﺎﺭﻳﺧﻲ ﻭﺍﻷﺩﺑﻲ ﻳﻌﺗﺑﺭﺍﻥ ﻣﻥ ﺍﻟﻁﺭﻕ ﺍﻟﻣﺗﺑﻌﺔ ﻓﻲ ﺩﺭﺍﺳﺔ ﺍﻟﻧﺻﻭﺹ‬ ‫ﺃﻭ ﺍﻟﻣﺳﺗﻧﺩﺍﺕ ﻷﺟﻝ ﺗﺄﺭﻳﺧﻬﺎ‪ ،‬ﺃﻭ ﺇﻋﺎﺩﺓ ﺇﻧﺷﺎﺋﻬﺎ‪ ،‬ﺗﻘﻭﻳﻡ ﺃﺻﺎﻟﺗﻬﺎ‪ ،‬ﺃﻭ ﺗﺣﻠﻳﻝ ﻣﻛﻭﻧﺎﺗﻬﺎ ﺃﻭ ﻁﺭﺍﺯﻫﺎ‪.‬‬ ‫‪3‬‬ ‫ﺃﻣﺎ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻠﺳﻔﻲ‪ ،‬ﻣﻥ ﻭﺟﻬﺔ ﻧﻅﺭ ﺍﻟﻔﻳﻠﺳﻭﻑ ﺍﻷﻟﻣﺎﻧﻲ "ﻛﺎﻧﺕ"‪ ،(Immanuel Kant) 1‬ﻓﻳﻬﺩﻑ ﺇﻟﻰ ﺍﻟﺗﺣﺭﻱ ﻋﻥ ﻁﺑﻳﻌﺔ‬ ‫ﻭﺣﺩﻭﺩ ﺍﻟﻌﻘﻝ ﻭﺍﻟﻣﻌﻠﻭﻣﺎﺕ ﺍﻟﻣﺗﺗﺑﻌﺔ ﺑﻌﻳﺩﺍً ﻋﻥ ﺍﻟﺗﻌﺻﺏ ﻭﺍﻟﺷﻙ ‪.‬ﻓﻧﻘﺩ ﻣﻧﺗﺞ ﺑﺎﻟﻧﺳﺑﺔ ﻟـ "ﻛﺎﻧﺕ" ﻻ ﻳﺗﻭﻗﻑ ﻋﻠﻰ ﺍﻹﺷﺎﺭﺓ ﺇﻟﻰ‬ ‫ﻣﻛﺎﻣﻥ ﺍﻟﺧﻁﺄ‪ ،‬ﻟﻛﻧﻪ ﻳﻛﺗﺷﻑ ﻭﻳﻔﺣﺹ ﺍﻟﻌﻧﺎﺻﺭ ﻓﻲ ﺍﻟﻣﻌﻠﻭﻣﺎﺕ ﻭﻳﺣﺩﺩ ﺍﻟﻅﺭﻭﻑ ﺍﻟﺿﺭﻭﺭﻳﺔ ﺍﻟﺗﻲ ﺃﻧﺗﺟﺕ ﻫﺫﺍ ﺍﻟﺧﻁﺄ‪.‬ﺗﺳﻣﻰ‬ ‫ﻓﻠﺳﻔﺔ "ﻛﺎﻧﺕ" ﻓﻲ ﺍﻟﻧﻘﺩ ﺑﺎﻟﻔﻠﺳﻔﺔ ﺍﻟﺗﻛﺎﻣﻠﻳﺔ )‪ ،(Kantianism-Transcendental Philosophy‬ﻭﺍﻟﺗﻲ ﺗﻌﺗﺑﺭ ﺃﻥ‬ ‫ﺍﻟﻔﻛﺭﺓ ﻭﺍﻟﻣﺑﺎﺩﺉ ﻫﻲ ﺷﺭﻭﻁ ﻻﺣﺗﻣﺎﻟﻳﺔ ﻭﺟﻭﺩ ﺃﺷﻳﺎء ﺧﺎﺻﺔ ﻓﻲ ﺍﻟﻣﻌﻠﻭﻣﺎﺕ ﺍﻟﻣﺗﻭﻓﺭﺓ‪.‬ﻭﻳﺭﻯ "ﻛﺎﻧﺕ" ﺃﻥ ﺍﻟﻁﺭﻳﻘﺔ ﺍﻟﺗﻛﺎﻣﻠﻳﺔ‬ ‫ﻓﻲ ﺍﻟﺟﺩﺍﻝ ﺗﺗﻌﺎﺭﺽ ﻣﻊ ﺍﻟﻁﺭﻳﻘﺔ ﺍﻟﻛﻼﺳﻳﻛﻳﺔ ﺍﻟﺗﻲ ﻧﻅﺭﺕ ﺇﻟﻰ ﺍﻟﻔﻠﺳﻔﺎﺕ ﺍﻟﺗﻲ ﺗﺭﺑﻁ ﺍﻟﻔﻛﺭﺓ ﻭﺍﻟﻣﺑﺎﺩﺉ ﺑﻭﺟﻭﺩ ﺍﻷﺷﻳﺎء ﻛﺄﻧﻬﺎ‬ ‫ﻣﻳﺗﺎﻓﻳﺯﻳﻘﻳﺎ )ﻣﺎ ﻭﺭﺍء ﺍﻟﻁﺑﻳﻌﺔ(‪.‬ﺃﻣﺎ ﺍﻟﺗﻔﻛﻳﺭ ﺍﻟﻧﻘﺩﻱ ﺑﺎﻟﻧﺳﺑﺔ ﻟـ "ﻛﺎﻧﺕ" ﻓﻬﻭ ﻋﻣﻠﻳﺔ ﺗﺣﻠﻳﻝ ﺗﻛﺎﻣﻠﻲ ﺗﺳﻌﻰ ﺇﻟﻰ ﻓﺣﺹ ﺍﻟﻌﻧﺎﺻﺭ‬ ‫ﻭﺍﻟﻘﻭﺍﻧﻳﻥ ﺍﻟﺗﻲ ﺗﺳﺎﻫﻡ ﻓﻲ ﺗﺷﻛﻳﻝ ﺣﻛﻡ ﺣﻘﻳﻘﻲ‪ ،‬ﺣﻳﺙ ﺃﻧﻪ ﻳﺣﺎﻭﻝ ﺗﺣﺩﻳﺩ ﺍﻟﻌﻧﺎﺻﺭ ﺍﻟﻣﺅﺳﺳﺔ ﻟﻠﺣﻛﻡ ﻣﻥ ﺧﻼﻝ ﻓﺣﺹ ﺷﺭﻭﻁ‬ ‫ﻓﻌﺎﻟﻳﺗﻬﺎ‪ ،‬ﻣﺗﺑﻭﻋﺔ ﺑﻌﻣﻠﻳﺔ ﺗﺣﻠﻳﻝ ﻋﻘﻼﻧﻲ‪.‬‬ ‫ﻓﻲ ﺍﻟﻘﺭﻥ ‪ 19‬ﻗﺎﻝ ﺍﻟﺷﺎﻋﺭ ﻭﺍﻟﻧﺎﻗﺩ ﺍﻟﻔﺭﻧﺳﻲ ﺑﻭﺩﻟﻳﺭ )‪ :(Charles Baudelaire‬ﻳﺟﺏ ﺃﻥ ﻳﻛﻭﻥ ﺍﻟﻧﻘﺩ ﻣﻛﺗﻭﺑﺎ ً ﻣﻥ ﻭﺟﻬﺔ‬ ‫ﻧﻅﺭ ﻣﺣﺩﺩﺓ‪ ،‬ﻟﻛﻧﻬﺎ ﺗﻔﺗﺢ ﻣﻊ ﺫﻟﻙ ﺁﻓﺎﻗﺎ ً ﺃﻭﺳﻊ‪ ،‬ﻭﺑﻬﺫﺍ ﻳﻘﺩﻡ ﺍﻟﻧﻘﺩ ﺍﻧﻁﺑﺎﻋﺎ ً ﺫﺍﺗﻳﺎ ً ﻭﻓﻲ ﺍﻟﻭﻗﺕ ﻧﻔﺳﻪ ﺗﺣﻠﻳﻼً ﻣﻭﺿﻭﻋﻳﺎً‪.‬ﺃﻣﺎ ﻓﻲ‬ ‫ﺍﻟﻘﺭﻥ ﺍﻟﻌﺷﺭﻳﻥ‪ ،‬ﻓﻘﺩ ﻋﺭﻑ ﺍﻟﻣﺻﺭﻱ ﻁﻪ ﺣﺳﻳﻥ ﺍﻟﻧﻘﺩ ﺑﺄﻧﻪ ﺩﺭﺍﺳﺔ ﺑﺣﺛﻳﺔ ﻟﻠﻧﺹ‪ ،‬ﻭﻫﻭ ﻣﻧﻬﺞ ﻓﻠﺳﻔﻲ ﻣﺟﺭﺩ‪ ،‬ﺃﻱ ﺃﻥ ﺍﻟﻧﺎﻗﺩ‬ ‫ﻻ ﺑﺩ ﺃﻥ ﻳﺗﺟﺭﺩ ﻣﻥ ﻛﻝ ﺷﻲء ﻭﺃﻥ ﻳﺳﺗﻘﺑﻝ ﺍﻟﻧﺹ ﺍﻟﻣﻁﻠﻭﺏ ﻧﻘﺩﻩ ﻭﻫﻭ ﺧﺎﻟﻲ ﺍﻟﺫﻫﻥ ﻣﻣﺎ ﺳﻣﻌﻪ ﻋﻥ ﻫﺫﺍ ﺍﻟﻧﺹ ﻣﻥ ﻗﺑﻝ ﻭﺃﻥ‬ ‫ﻳﺧﻠﻲ ﻧﻔﺳﻪ ﻣﻥ ﺍﻟﻘﻭﻣﻳﺔ ﻭﻣﻥ ﺍﻟﺩﻳﺎﻧﺔ ﻭﻣﻥ ﺍﻧﺣﻳﺎﺯﻩ ﺇﻟﻰ ﻟﻐﺔ ﻣﻌﻳﻧﺔ ﺃﻭ ﻁﺎﺋﻔﺔ ﻣﻌﻳﻧﺔ‪.‬ﻓﻲ ﺣﻳﻥ ﺭﺑﻁ ﺍﻟﻠﺑﻧﺎﻧﻲ ﺟﻭﺭﺟﻲ ﺯﻳﺩﺍﻥ‬ ‫ﺍﻟﻧﻘﺩ ﺑﺈﺑﺭﺍﺯ ﺟﻭﺍﻧﺏ ﺍﻻﺳﺗﺣﺳﺎﻥ ﻭﺍﻟﻧﻘﺹ ﻋﻠﻰ ﺍﻟﺳﻭﺍء ﻭﺃﻥ ﻛﻠﻣﺔ ﺍﻧﺗﻘﺎﺩ ﻻ ﺗﻌﻧﻲ ﺍﺣﺻﺎء ﺍﻟﻌﻳﻭﺏ ﻭﺣﺩﻫﺎ‪.‬‬ ‫ﻧﻣﻳﺯ ﻓﻲ ﺍﻟﻧﻘﺩ ﺍﻷﺩﺑﻲ ‪ :‬ﺍﻟﻣﺫﻫﺏ ﺍﻟﻔﻧﻲ ﺍﻟﺫﻱ ﻳﺗﻧﺎﻭﻝ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ ﺻﻳﺎﻏﺔ ﻭﺃﺳﻠﻭﺑﺎ ً ﻭﻟﻐﺔ‪ ،‬ﺍﻟﻣﺫﻫﺏ ﺍﻟﺗﺎﺭﻳﺧﻲ ﺍﻟﺫﻱ ﻳﺭﻛﺯ‬ ‫ﻋﻠﻰ ﺍﻟﻣﺣﻳﻁ ﺍﻟﺗﺎﺭﻳﺧﻲ ﺍﻟﺫﻱ ﺃﻧﺗﺞ ﻓﻳﻪ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ‪ ،‬ﺍﻟﻣﺫﻫﺏ ﺍﻟﻧﻔﺳﻲ ﻭﻳﺭﻛﺯ ﻋﻠﻰ ﺷﺧﺻﻳﺔ ﺍﻟﻣﺅﻟﻑ ﻭﺣﺎﻟﺗﻪ ﺃﺛﻧﺎء ﻭﺿﻊ‬ ‫ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ‪ ،‬ﻭﺍﻟﻣﺫﻫﺏ ﺍﻟﺗﻛﺎﻣﻠﻲ ﻭﻳﺟﻣﻊ ﺑﻳﻥ ﺍﻟﻣﺫﺍﻫﺏ ﺍﻟﺳﺎﺑﻘﺔ ﻓﻳﻧﻅﺭ ﺇﻟﻰ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ ﻧﻅﺭﺓ ﺷﻣﻭﻟﻳﺔ ﺩﻭﻥ ﺗﻐﻠﻳﺏ ﻣﺫﻫﺏ‬ ‫ﻋﻠﻰ ﺍﻵﺧﺭ‪.‬ﻳﻣﺗﺎﺯ ﺍﻟﻣﺫﻫﺏ ﺍﻟﺗﻛﺎﻣﻠﻲ ﺑﺎﻟﻣﻭﺍﺯﻧﺔ ﺑﻳﻥ ﺍﻟﻣﺣﺗﻭﻯ ﻭﺍﻟﺷﻛﻝ‪ ،‬ﻭﻳﺣﻛﻡ ﻋﻠﻰ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ ﺑﻣﻘﺩﺍﺭ ﻣﺎ ﻓﻲ ﻣﺿﻣﻭﻧﻪ‬ ‫ﻣﻥ ﻓﻥ‪.‬ﻓﻲ ﻫﺫﺍ ﺍﻟﻣﺫﻫﺏ ﻳﺗﻡ ﺗﻔﺳﻳﺭ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ ﻓﻲ ﺿﻭء ﻋﺻﺭﻩ ﻭﻅﺭﻭﻓﻪ ﺍﻟﺣﺿﺎﺭﻳﺔ ﻭ ﺍﻟﺗﺎﺭﻳﺧﻳﺔ ﻭﺍﻻﺟﺗﻣﺎﻋﻳﺔ ﻭﻓﻲ‬ ‫ﺿﻭء ﻅﺭﻭﻑ ﺻﺎﺣﺏ ﺍﻟﻌﻣﻝ ﺍﻷﺩﺑﻲ‪.‬‬ ‫‪ - 1‬ﻧﺎﻗﺩ ﺛﻭﺭﻱ ﻓﻲ ﻋﺎﻟﻡ ﺍﻟﻔﻠﺳﻔﺔ‪ ،‬ﻣﻥ ﺍﻟﻣﻔﻛﺭﻳﻥ ﺍﻷﻭﺍﺋﻝ ﻓﻲ ﻋﺻﺭ ﺍﻟﺗﻧﻭﻳﺭ‪ ،‬ﺫﺍﻉ ﺻﻳﺗﻪ ﻓﻲ ﺍﻟﺭﺑﻊ ﺍﻷﺧﻳﺭ ﻣﻥ ﺍﻟﻘﺭﻥ ‪.18‬‬ ‫‪4‬‬  ‫ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ )‪(Art Criticism‬‬ ‫ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﻋﻣﻠﻳﺔ ﺗﺣﻠﻳﻝ ﻟﻔﻬﻡ ﻋﻣﻝ ﻓﻧﻲ ﺧﺎﺹ ﻣﻥ ﻭﺟﻬﺔ ﻧﻅﺭ ﻣﻌﻳﻧﺔ‪ ،‬ﻭﺗﻘﻭﻳﻡ ﻟﻬﺫﺍ ﺍﻟﻣﻧﺗﺞ ﺑﺎﻹﻋﺗﻣﺎﺩ ﻋﻠﻰ ﺍﻟﻣﺑﺎﺩﺉ ﺍﻟﻌﺎﻣﺔ‬ ‫ﻟﻌﻠﻡ ﺍﻟﺟﻣﺎﻝ ﻭﻓﻠﺳﻔﺗﻪ ﻟﺑﻳﺎﻥ ﻣﻭﺍﻁﻥ ﺍﻟﺟﻣﺎﻝ ﻭﺍﻟﻧﻘﺹ ﻓﻲ ﻫﺫﺍ ﺍﻟﻌﻣﻝ‪.‬ﻭﻳﺄﺗﻲ ﻛﻣﺭﺣﻠﺔ ﺛﺎﻧﻳﺔ ﺑﻌﺩ ﻋﻣﻠﻳﺔ ﺍﻟﺗﺫﻭﻕ ﺑﺎﻟﺣﻭﺍﺱ‬ ‫ﺳﻭﺍء ﺍﻟﻌﻳﻥ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻌﻣﻝ ﺍﻟﻔﻧﻲ ﺗﺻﻭﻳﺭﺍً ﺃﻭ ﻧﺣﺗﺎ ً‪ ،‬ﺃﻭ ﺑﺎﻷﺫﻥ ﺇﺫﺍ ﻛﺎﻥ ﻧﻐﻣﺔ‪.‬ﺣﻳﺙ ﻳﻘﻭﻡ ﺍﻟﻧﻘﺩ ﺑﺎﻟﺗﻌﻠﻳﻖ ﻋﻠﻰ ﻫﺫﺍ ﺍﻟﻌﻣﻝ‬ ‫ﺑﻌﺩﺓ ﻋﻣﻠﻳﺎﺕ ﻣﺗﺗﺎﺑﻌﺔ ﺗﺑﺩﺃ ﺑﺎﻹﺩﺭﺍﻙ ﺛﻡ ﺍﻟﺗﺣﻠﻳﻝ ﻓﺈﺻﺩﺍﺭ ﺍﻟﺣﻛﻡ‪.‬ﺃﻫﻡ ﺃﻫﺩﺍﻑ ﺍﻟﻧﻘﺩ ﺗﻌﻳﻳﻥ ﺃﺑﻌﺎﺩ ﺍﻟﻌﻣﻝ ﺍﻟﻔﻧﻲ ﻭﺣﺩﻭﺩﻩ ﻭﺃﻫﺩﺍﻓﻪ‪،‬‬ ‫ﺗﻭﺛﻳﻖ ﻭﺗﺩﻗﻳﻖ ﻭﺗﻘﻭﻳﻡ ﺍﻟﻣﻧﺗﺞ ﺍﻹﺑﺩﺍﻋﻲ‪.‬ﺇﻥ ﺇﻳﻣﺎﻥ ﺍﻟﻧﺎﻗﺩ ﺑﺎﻷﻫﻣﻳﺔ ﺍﻟﻌﻣﻠﻳﺔ ﻭﺍﻟﻔﻛﺭﻳﺔ ﻟﻠﻌﻣﻝ ﺍﻟﻔﻧﻲ‪ ،‬ﻭﺇﻳﻣﺎﻥ ﺍﻟﻔﻧﺎﻥ ﺑﺩﻭﺭ ﺍﻟﻧﻘﺩ‬ ‫ﻓﻲ ﺇﺛﺭﺍء ﺇﻧﺗﺎﺟﻪ ﺍﻟﻔﻧﻲ ﻫﻭ ﺃﺳﺎﺱ ﺍﻟﺣﺭﺍﻙ ﺍﻟﻔﻧﻲ ﻭﺗﻁﻭﺭﻩ‪.‬‬ ‫ﻟﻛﻥ ﻗﺑﻝ ﺃﻥ ﻧﺑﺩﺃ ﺑﺎﻟﺗﻌﺭﻑ ﻋﻠﻰ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﻻ ﺑﺩ ﻣﻥ ﺃﻥ ﻧﻔﻬﻡ ﻣﻌﻧﻰ ﺍﻟﻔﻥ ﺍﻟﺫﻱ ﻳﻘﻭﻡ ﻋﻠﻰ ﺛﻼﺙ ﻧﻘﺎﻁ ﺃﺳﺎﺳﻳﺔ ﻫﻲ ‪:‬‬ ‫‪ -1‬ﻫﻧﺎﻙ ﻓﺭﻕ ﺑﻳﻥ ﺍﻟﻔﻥ ﻭﺑﻳﻥ ﺍﻟﺣﺭﻑ ﻭﺍﻟﻌﻠﻭﻡ‪.‬‬ ‫‪ -2‬ﻫﻧﺎﻙ ﻣﻧﻅﻭﻣﺔ ﺗﺟﻣﻊ ﻛﻝ ﺃﻧﻭﺍﻉ ﺍﻟﻔﻧﻭﻥ‪.‬‬ ‫‪ -3‬ﻳﺗﻣﻳﺯ ﺍﻟﻔﻥ ﺑﺄﻧﻪ ﻳﺑﺣﺙ ﻋﻥ ﺍﻟﺟﻣﺎﻝ ﻭﻳﺣﺎﻭﻝ ﺃﻥ ﻳﺻﻝ ﺇﻟﻳﻪ‪.‬‬ ‫ﻭﻳﻌﺭﻑ ﺍﻟﻔﻥ ﺑﺄﻧﻪ ‪:‬‬ ‫‪ -1‬ﻣﺣﺎﻛﺎﺓ ﻟﻠﻁﺑﻳﻌﺔ ﺣﺳﺏ ﻣﻔﺎﻫﻳﻡ ﻛﻝ ﻣﻥ ﺃﺭﺳﻁﻭ ﻭﻓﻧﺎﻧﻲ ﻋﺻﺭ ﺍﻟﻧﻬﺿﺔ‪.‬‬ ‫‪ -2‬ﺗﻌﺑﻳﺭ ﻋﻥ ﺍﻧﻔﻌﺎﻻﺕ ﺍﻟﻔﻧﺎﻥ ﺣﺳﺏ ﻣﻔﺎﻫﻳﻡ ﺍﻟﻣﺩﺭﺳﺔ ﺍﻟﺭﻭﻣﺎﻧﺳﻳﺔ ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ‪.19‬‬ ‫‪ -3‬ﺧﻠﻖ ﻟﻠﺟﻣﺎﻝ ﻓﻲ ﺫﺍﺗﻪ ﺣﺳﺏ ﻣﻔﺎﻫﻳﻡ ﺍﻟﻣﺅﻟﻑ ﺍﻟﻣﺳﺭﺣﻲ ﺍﻹﻧﻛﻠﻳﺯﻱ ﺃﻭﺳﻛﺎﺭ ﻭﺍﻳﻠﺩ )‪ (Oscar Wilde‬ﺻﺎﺣﺏ‬ ‫ﻣﻘﻭﻟﺔ ﺍﻟﻔﻥ ﺇﻧﻔﻌﺎﻝ ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ‪.19‬‬ ‫ﻭﻳﺷﻣﻝ ﺍﻟﻔﻥ ﺍﻟﻣﺟﺎﻻﺕ ﺍﻹﺑﺩﺍﻋﻳﺔ ﻣﺛﻝ ‪ :‬ﺍﻟﺷﻌﺭ ﻭﺍﻟﺗﻣﺛﻳﻝ‪ ،‬ﺍﻟﻣﻭﺳﻳﻘﻰ ﻭﺍﻟﻐﻧﺎء ﻭﺍﻟﺭﻗﺹ ‪ ،‬ﺍﻟﻔﻧﻭﻥ ﺍﻟﺑﺻﺭﻳﺔ‪ ،‬ﺣﻳﺙ ﺗﻘﺳﻡ ﻫﺫﻩ‬ ‫ﺍﻷﺧﻳﺭﺓ ﺇﻟﻰ ﺛﻼﺙ ﻓﺋﺎﺕ ﺭﺋﻳﺳﻳﺔ ﻫﻲ‪ :‬ﺍﻟﺗﺻﻭﻳﺭ ﻭﺍﻟﻧﺣﺕ ﻭﺍﻟﻌﻣﺎﺭﺓ‪.‬‬ ‫‪5‬‬  ‫ﺃﺻﻝ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﻭﺗﻁﻭﺭﻩ ﻋﺑﺭ ﺍﻟﺗﺎﺭﻳﺦ‬ ‫ﻣﻧﺫ ﺍﻟﻘﺩﻡ ﻭﺿﻊ ﺍﻟﻔﻼﺳﻔﺔ ﻧﻅﺭﻳﺎﺗﻬﻡ ﺣﻭﻝ ﺍﻟﻔﻥ ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻧﻘﺩﻩ‪.‬ﺇﺫ ﻧﻅﺭ ﺍﻟﻔﻳﻠﺳﻭﻑ ﺍﻹﻏﺭﻳﻘﻲ ﺃﻓﻼﻁﻭﻥ )‪ 2(Plato‬ﺇﻟﻰ‬ ‫ﺍﻟﻔﻥ ﺑﺄﻧﻪ ﺗﻘﻠﻳﺩ ﻟﻠﻁﺑﻳﻌﺔ ﻣﻣﺎ ﻳﺟﻌﻠﻪ ﺷﻛﻼً ﺃﺩﻧﻰ ﻣﻥ ﺍﻟﻣﻌﺭﻓﺔ‪ ،‬ﻭﺑﺎﻟﺗﺎﻟﻲ ﺗﺣﺩﺩ ﻣﺟﺎﻻﺕ ﺍﻟﻣﻌﺭﻓﺔ ﻋﻧﺩ ﺃﻓﻼﻁﻭﻥ ﻓﻲ ﻛﺗﺎﺑﻪ‬ ‫"ﺍﻟﺟﻣﻬﻭﺭﻳﺔ" )‪ (Republic‬ﺑـ ‪:‬‬ ‫‪ -1‬ﻋﺎﻟﻡ ﺍﻵﺭﺍء ﻭﻫﻭ ﺍﻟﺣﻘﻳﻘﺔ ﺍﻟﺗﻲ ﺗﻛﻣﻥ ﻓﻲ ﺍﻟﻌﺎﻟﻡ ﺍﻟﻣﺛﺎﻟﻲ )ﺍﻷﻓﻛﺎﺭ ﻭﺍﻷﺷﻛﺎﻝ ﻭﺍﻟﺟﻭﻫﺭ(‪.‬‬ ‫‪ -2‬ﺍﻟﻣﺎﺩﺓ ﻭﻫﻲ ﺗﻘﻠﻳﺩ ﺍﻟﺣﻘﻳﻘﺔ ﻭ ﺑﻬﺫﺍ ﻳﻘﻑ ﻋﺎﻟﻡ ﺍﻟﻣﺎﺩﺓ ﻋﻠﻰ ﺑﻌﺩ ﺧﻁﻭﺓ ﻣﻥ ﺍﻟﺣﻘﻳﻘﺔ‪.‬‬ ‫‪ -3‬ﺍﻟﻔﻥ ﻭﻫﻭ ﺗﻘﻠﻳﺩ ﺍﻟﻣﺎﺩﺓ ﺍﻟﺗﻲ ﻫﻲ ﺗﻘﻠﻳﺩ ﻟﻠﺣﻘﻳﻘﺔ‪ ،‬ﺃﻱ ﺗﻘﻠﻳﺩ ﺍﻟﺗﻘﻠﻳﺩ ﻭﺑﺎﻟﺗﺎﻟﻲ ﻳﻘﻊ ﺍﻟﻔﻥ ﻋﻠﻰ ﺑﻌﺩ ﺧﻁﻭﺗﻳﻥ ﻣﻥ ﺍﻟﺣﻘﻳﻘﺔ‪.‬‬ ‫ﺃﻣﺎ ﺗﻠﻣﻳﺫﻩ ﺍﻟﻔﻳﻠﺳﻭﻑ ﺍﻹﻏﺭﻳﻘﻲ ﺃﺭﺳﻁﻭ )‪ 3(Aristotle‬ﻭﺍﻟﻣﻠﻘﺏ ﺑﺎﻟﻣﻌﻠﻡ ﺍﻷﻭﻝ‪ ،‬ﻓﻘﺩ ﻗﺎﻡ ﺑﺗﻭﺿﻳﺢ ﺍﻟﺗﺟﺭﺑﺔ ﺍﻟﻔﻧﻳﺔ ﻣﻥ ﺧﻼﻝ‬ ‫ﻣﻧﺎﻗﺷﺔ ﺍﻟﺷﻌﺭ ﻭﺍﻟﻣﻭﺳﻳﻘﻰ ﻟﻠﺗﻌﺭﻑ ﻋﻠﻰ ﺟﻭﺍﻧﺏ ﺍﻟﻧﺷﺎﻁ ﺍﻟﻔﻧﻲ‪ ،‬ﻭﺣﺫﺭ ﻣﻥ ﻭﺿﻊ ﻣﻘﺎﻳﻳﺱ ﻣﻘﻳﺩﺓ ﻭﻣﺣﺩﺩﺓ ﺑﺎﻋﺗﺑﺎﺭ ﺃﻥ‬ ‫ﺍﻟﺗﺟﺭﺑﺔ ﺍﻟﺟﻣﺎﻟﻳﺔ ﻣﺻﻁﻠﺢ ﺇﻧﺳﺎﻧﻲ ﺷﺎﻣﻝ‪.‬ﻓﻲ ﻛﺗﺎﺑﻪ " ﻓﻥ ﺍﻟﺷﻌﺭ" )‪ (Poetics‬ﻳﺗﺣﺩﺙ ﻓﻳﻬﺎ ﺍﻟﻔﻳﻠﺳﻭﻑ ﻋﻥ ﻁﺑﻳﻌﺔ ﻭﺑﻧﺎء‬ ‫ﻭﻭﻅﻳﻔﺔ ﺍﻟﻔﻥ ﺑﺷﻛﻝ ﻋﺎﻡ ﻭﺍﻟﺗﻣﺛﻳﻝ ﺑﺷﻛﻝ ﺧﺎﺹ‪ ،‬ﻭﺍﻟﺧﺻﺎﺋﺹ ﺍﻟﺟﻣﺎﻟﻳﺔ ﻟﻠﻔﻥ‪ ،‬ﻭﻳﻧﺎﻗﺵ ﻓﻳﻪ ﺛﻼﺙ ﻗﺿﺎﻳﺎ ﺟﻭﻫﺭﻳﺔ ﻫﻲ ‪:‬‬ ‫‪ -1‬ﺃﺩﺍﺓ ﺍﻟﺗﻘﻠﻳﺩ ‪ :‬ﻭﻫﻲ ﺍﻟﺷﻛﻝ ﻭﺍﻟﻠﻭﻥ ﻭﺍﻟﺻﻭﺕ ﻭﺍﻟﻠﻐﺔ‪.‬‬ ‫‪ -2‬ﻫﺩﻑ ﺍﻟﺗﻘﻠﻳﺩ ‪ :‬ﻭﻫﻭ ﺍﻹﻧﺳﺎﻥ ﻣﻭﺿﻭﻉ ﺍﻟﺣﺩﺙ ﺍﻟﻔﻧﻲ‪.‬‬ ‫‪ -3‬ﺃﺳﻠﻭﺏ ﺍﻟﺗﻘﻠﻳﺩ ‪ :‬ﻭﻫﻭ ﺍﻟﺳﺭﺩ ﻛﻣﺎ ﻓﻲ ﺍﻟﺷﻌﺭ ﺍﻟﻐﻧﺎﺋﻲ‪.‬‬ ‫ﻓﻲ ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ‪ ،19‬ﺭﺃﻯ ﻁﺑﻳﺏ ﺍﻷﻋﺻﺎﺏ ﺍﻟﻧﻣﺳﺎﻭﻱ ﻓﺭﻭﻳﺩ )‪ 4(Sigmund Freud‬ﺃﻥ ﺍﻟﻔﻧﺎﻥ‪ ،‬ﻳﺳﻌﻰ ﻷﻥ ّ‬ ‫ﻳﻭﻟﺩ ﻟﺩﻯ‬ ‫ﺍﻟﻣﺗﻠﻘﻲ ﺍﻟﺣﺎﻟﺔ ﺍﻟﻌﻘﻠﻳﺔ ﺫﺍﺗﻬﺎ ﺍﻟﺗﻲ ﻛﺎﻧﺕ ﻣﻭﺟﻭﺩﺓ ﻟﺩﻳﻪ ﻋﻧﺩﻣﺎ ﻭﻟﺩﺕ ﻓﻛﺭﺓ ﺍﻟﻌﻣﻝ ﺍﻟﻔﻧﻲ‪.‬ﻭﺍﻟﻔﻧﺎﻥ ﺑﺎﻟﻧﺳﺑﺔ ﻟﻔﺭﻭﻳﺩ ﻫﻭ ﺇﻧﺳﺎﻥ‬ ‫ﻳﺑﺗﻌﺩ ﻋﻥ ﺍﻟﻭﺍﻗﻊ‪ ،‬ﻟﻳﺷﺑﻊ ﺭﻏﺑﺎﺗﻪ ﻓﻲ ﻋﺎﻟﻡ ﺍﻟﺧﻳﺎﻝ‪.‬ﻭﻟﻳﻌﻭﺩ ﺇﻟﻰ ﺍﻟﻭﺍﻗﻊ ﻣﻥ ﺟﺩﻳﺩ ﻋﺎﺋﺩﺍً ﻣﻥ ﻋﺎﻟﻡ ﺍﻟﺧﻳﺎﻝ‪ ،‬ﻳﺳﺗﺛﻣﺭ ﻣﻭﺍﻫﺑﻪ‬ ‫ﺍﻟﺧﺎﺻﺔ ﻓﻲ ﺗﺣﻭﻳﻝ ﺗﺧﻳﻼﺗﻪ ﺇﻟﻰ ﺣﻘﺎﺋﻖ ﻣﻥ ﻧﻭﻉ ﺟﺩﻳﺩ‪ ،‬ﻳﻘﻭﻣﻬﺎ ﺍﻵﺧﺭﻭﻥ ﻋﻠﻰ ﺃﻧﻬﺎ ﺍﻧﻌﻛﺎﺳﺎﺕ ﺛﺭﻳﺔ ﻟﻠﻭﺍﻗﻊ‪.‬‬ ‫‪ - 2‬ﻋﺎﺵ ﺑﻳﻥ ‪ 348-428‬ﻕ‪.‬ﻡ‪.‬‬ ‫‪ - 3‬ﻋﺎﺵ ﺑﻳﻥ ‪ 322-384‬ﻕ‪.‬ﻡ‪.‬‬ ‫‪ - 4‬ﺃﺳﺱ ﻋﻠﻡ ﺍﻟﺗﺣﻠﻳﻝ ﺍﻟﻧﻔﺳﻲ )‪ (Psychoanalysis‬ﻧﻬﺎﻳﺔ ﺍﻟﻘﺭﻥ ‪.19‬‬ ‫‪6‬‬ ‫ﻋﺭﻑ ﺑﺄﻧﻪ ﺗﺣﻠﻳﻝ ﻣﻔﺻﻝ ﻭﺗﻘﻭﻳﻡ ﻳﻌﻁﻰ ﻋﻥ‬ ‫ﻗﺎﺋﻡ ﺑﺣﺩ ﺫﺍﺗﻪ ﻓﻲ ﻋﺻﺭ ﺍﻟﻧﻬﺿﺔ ﻓﻲ ﺍﻟﻘﺭﻥ ‪ ،15‬ﻭ ّ‬ ‫ﻛﻣﺟﺎﻝ ٍ‬ ‫ٍ‬ ‫ﻅﻬﺭ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ‬ ‫ﺍﻟﻔﻧﺎﻧﻳﻥ ‪.‬ﻟﻛﻥ ﻟﻡ ﺗﻭﺿﻊ ﻧﻅﺭﻳﺔ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﺍﻟﻛﻼﺳﻳﻛﻲ ﻗﺑﻝ ﻣﻧﺗﺻﻑ ﺍﻟﻘﺭﻥ ‪ ،17‬ﺍﺫ ﺻﻧﻔﺕ ﺍﻟﻔﻥ ﻓﻲ ﻧﻭﻋﻳﻥ‪ :‬ﻓﻥ ﺃﻛﺛﺭ‬ ‫ﻋﻘﻼﻧﻳﺔ ﻣﻥ ﻛﻭﻧﻪ ﺣﺳﻳﺎ ً ﻭ ﻓﻥ ﺃﻛﺛﺭ ﺇﻣﺗﺎﻋﺎ ﻟﻠﺣﻭﺍﺱ ﻣﻥ ﺍﻟﻌﻘﻝ‪.‬‬ ‫ﻓﻲ ﻣﻧﺗﺻﻑ ﺍﻟﻘﺭﻥ ‪ ،18‬ﻅﻬﺭ ﻣﺻﻁﻠﺢ "ﻋﻠﻡ ﺍﻟﺟﻣﺎﻝ"‪ ،‬ﻭﺑﺎﻟﺗﻭﺍﺯﻱ ﺃﺻﺑﺢ ﺗﺎﺭﻳﺦ ﺍﻟﻔﻥ ﻋﻠﻣﺎ ً ﻗﺎﺋﻣﺎ ً ﺑﺣﺩ ﺫﺍﺗﻪ ﻣﺗﺟﺳﺩﺍ ً‬ ‫ﺑﺷﺧﺻﻳﺔ ﻳﻭﻫﺎﻥ ﻓﻳﻧﻛﻠﻳﻣﺎﻥ )‪ (Johann Winckelmann‬ﺃﻭﻝ ﻣﺅﺭﺥ ﻭﻧﺎﻗﺩ ﻟﻠﻔﻥ‪ ،‬ﻭﺍﻟﺫﻱ ﺍﺳﺗﻔﺎﺩ ﻣﻥ ﻣﻌﺎﻳﻳﺭ ﻋﻠﻡ‬ ‫ﺍﻟﺟﻣﺎﻝ ﻣﻌﺗﻣﺩﺍً ﻋﻠﻰ ﻣﻌﻠﻭﻣﺎﺗﻪ ﺍﻟﻌﻣﻳﻘﺔ ﻓﻲ ﺍﻟﺗﺎﺭﻳﺦ ﺍﻟﻘﺩﻳﻡ ﻭﻋﻠﻡ ﺍﻵﺛﺎﺭ‪.‬ﻟﻘﺩ ﺗﺑﻧﻰ ﻓﻳﻧﻛﻠﻳﻣﺎﻥ ﻓﻛﺭﺓ ﻁﺭﺍﺯ ﺍﻟﻌﺻﺭ‪ ،‬ﻭﺍﻟﺗﻲ‬ ‫ﻭﺻﻑ ﻣﻥ ﺧﻼﻟﻬﺎ ﺍﻟﻁﺭﺍﺯ ﺑﺄﻧﻪ ﻓﻛﺭﺓ ﺑﺻﺭﻳﺔ ﺗﺗﻛﺷﻑ ﺑﺑﻁء ﻓﻲ ﺗﺳﻠﺳﻝ ﻋﺿﻭﻱ ﺃﻛﻳﺩ ﻣﻥ ﺍﻷﺣﺩﺍﺙ ﺍﻟﻔﻧﻳﺔ‪ ،‬ﺗﻧﻣﻭ ﻣﻥ ﺍﻟﺑﺫﺭﺓ‬ ‫ﺍﻟﺑﺩﺍﺋﻳﺔ ﺇﻟﻰ ﻧﺑﺎﺕ ﻧﺎﺿﺞ ﻭﺍﻟﺗﻲ ﺗﺯﻫﺭ ﺛﻡ ﺗﺫﺑﻝ ‪.‬‬ ‫ﻓﻲ ﺍﻟﻧﺻﻑ ﺍﻟﺛﺎﻧﻲ ﻣﻥ ﺍﻟﻘﺭﻥ ‪ 18‬ﺍﺭﺗﺑﻁ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﺑﻌﺻﺭ ﺍﻟﺗﻧﻭﻳﺭ )‪ ،(Age of Enlightenment‬ﺣﻳﺙ ﻁﻭﺭ ﺍﻟﺭﺳﺎﻡ‬ ‫ﺍﻻﻧﻛﻠﻳﺯﻱ ﺭﻳﺗﺷﺎﺭﺩﺳﻭﻥ )‪ (Jonathan Richardson‬ﻧﻅﺎﻣﺎ ً ﻓﻲ ﺍﻟﻧﻘﺩ ﺍﻟﻔﻧﻲ ﻗﺎﺋﻣﺎ ً ﻋﻠﻰ ﻋﻣﻠﻳﺔ ﺣﺳﺎﺑﻳﺔ‪.‬ﺃﻣﺎ ﻓﻲ ﻧﻬﺎﻳﺔ‬ ‫ﺍﻟﻘﺭﻥ ﺫﺍﺗﻪ‪ ،‬ﻓﻘﺩ ﻗﺩﻡ ﺍﻟﻔﻳﻠﺳﻭﻑ "ﻛﺎﻧﺕ" ﺍﻟﻣﺫﻛﻭﺭ ﺳﺎﺑﻘﺎ ً ﻓﻲ ﻛﺗﺎﺑﻪ "ﻧﻘﺩ ﺍﻟﺣﻛﻡ" ﺃﻓﻛﺎﺭﺍً ﻋﻥ ﺻﻳﺎﻏﺔ ﺍﻟﺣﻛﻡ ﺑﻐﺽ ﺍﻟﻧﻅﺭ ﻋﻥ‬ ‫ﺍﻟﺗﺫﻭﻕ‪ ،‬ﻋﻥ ﺃﻫﺩﺍﻑ ﺍﻟﺷﻛﻝ ﺍﻟﻔﻧﻲ ﻭﺍﻻﺧﺗﻼﻑ ﺑﻳﻥ ﺍﻟﺟﻣﻳﻝ ﻭﺍﻟﻣﻠﻬﻡ‪ ،‬ﻻ ﺳﻳﻣﺎ ﻓﻲ ﺍﻟﻧﻘﺩ ﺍﻟﺷﻛﻠﻲ ﺍﻟﺫﻱ ﺳﻭﻑ ﻳﺻﺑﺢ ﻣﺳﻳﻁﺭﺍً‬ ‫ﻓﻲ ﻣﻧﺗﺻﻑ ﺍﻟﻘﺭﻥ ﺍﻟﻌﺷﺭﻳﻥ‪.‬‬ ‫*‬ ‫*‬ ‫*‬ ‫ﺍﻟﺗﻣﺭﻳﻥ ﺍﻷﻭﻝ ‪ :‬ﺍﺧﺗﺭ ﻣﻭﺿﻭﻋﺎ ً ﻋﺎﻣﺎ ً ﻭﻧﺎﻗﺷﻪ ﺑﻧﺎء ﻋﻠﻰ ﺗﻌﺭﻳﻑ ﺍﻟﻧﻘﺩ ﻧﻅﺭﻳﺎ ً‬ ‫‪7‬‬