2/17/2019 The symbolism of the number seven and the division of the Arabs

‫اﻟﻌﺮﺑﻴﺔ‬

e symbolism of the number seven and the division of the

Arabs

25.04.2016 Inas Khansa

article e 22 .d 3

Researchers do not yet know the rst assets of the ancient people of the number
seven, and related gures: 70, 71, 72, 73 and 77. What we know is that it has
become sacred before the written history that we have come to date. It was a clear
choice in the Babylonian and Greek cultures (before the days of Socrates, with the
followers of the philosopher Pythagoras in particular), and they used the number
seven in the context of their concept of astrological knowledge, to understand the
.laws governing the universe

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2/17/2019 The symbolism
With the beginnings of heavenly of the number
religions, and seven
theand the division of the Arabs
subjugation of the universe to the
concept of one God, the primary organizer of the universe, the sancti cation of
number seven has not receded; it has taken on new forms and has become one of
the most important symbols of religious stories. In Christianity and Judaism, the
gure seven suggests a ood of maximization, exaggeration and intimidation. When
God threatens Jehovah to in ict a sevenfold punishment on those who challenge Him,
the symbolic meaning is that punishment will be total destruction. In the stories of
the Old Testament, the numbers take a dramatic dimension: 700 years passed
between Creation and Flood, and 7 days between Noah's warning of the Flood and
his attainment. Noah brought seven pairs to his orbit, and the sun rose a er the
ood on the seventh day. Interestingly, the 7 precisely gives a hint of great good, and
.at the same time terrifying

Ready words
seven especially was of importance to the Arabs from the Jahiliyyah until today,
and was associated with holiness

In the Psalms of the Bible, from the references of Judah, the light of "pure
sevenfold", comes out of the earth and here we understand the expression that it
means very pure. is symbolic use of the seven continued in the book of the New
Testament, in which the universe was created in seven days, and there are complex
dimensions to the use of numbers in the religious context that transcend their
.numeracy to further connotations

e centrality of the seven was re ected in the general religious culture, expressed in
.the sacred rites, and in the architecture as well

With the spread of the seven uses in the ancient East, it is not surprising that the
importance of the 7 and 70 continued with the Arabs, to give the meaning of
multiplication and weakening, and examples are many. We have received the seven
pendants, and he praised the safe as the seventh caliph of the Abbasids. In Arabic,
the phrase "God is good to you!" Means "God gave you many good things." e use of
numbers in the sense of multiplication, says Lawrence Conrad, is one of the

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2/17/2019 characteristics of spokenThecultures
symbolism of
inthe general.
number sevenPerhaps
and the division of the
the Arabs famous example of
most
this is the use of " ousand and One Nights" meaning that they are many stories and
.their nights are long, not that the number is 1001

e seven, especially, were of importance to the Arabs from the Jahiliyyah until
today, and were associated with holiness. Ibn Khaldun mentioned in his introduction,
and he considers that the numbers can not be understood literally, since some of
them express "abundance", which is precisely the number 70, which says that when
the Arabs mean "many." In the Holy Quran and in the Prophet's Hadith, its
importance appears in several stories: the seven heavens and the earth. e universe
was created in six days and settled on the throne on the seventh day, and its
prophet honored the Seven Mothani, also the Fatiha with its seven verses and the
seven seas ), And in Surat Yusuf, seven cows (seven suman and seven lean), and the
seven ears (seven ears of vegetables and other land), and the seven-layer paradise, as
.well

is gure is also repeated in Islamic religious rituals. In the rituals of Hajj, for
.example, circling the Kaaba seven times, and throwing stones seven times

،‫ ﻓﺎﻟﻤﺴﻌﻮدي ﻓﻲ ﻛﺘﺎﺑﻪ ﻣﺮوج اﻟﺬﻫﺐ‬.‫ وﻛﺘﺐ ﻋﻨﻬﺎ ﻣﺆرﺧﻮ اﻟﻌﺼﻮر اﻟﻮﺳﻄﻰ‬،‫وﻗﺪ ﺗﻨﺒﻪ ﻟﻬﺬه اﻟﻈﺎﻫﺮة‬
‫ واﻷﻗﺎﻟﻴﻢ اﻟﺴﺒﻌﺔ‬،‫ ﻓﻬﻨﺎك ﺳﺒﻌﺔ ﻛﻮاﻛﺐ‬،7 ‫ﻛﺘﺐ أن ﻛﻞ ﺷﻲء ﻓﻲ اﻟﻌﺎﻟﻢ ﻳﻤﻜﻦ ﻓﻬﻤﻪ ﻋﻦ ﻃﺮﻳﻖ اﻟﺮﻗﻢ‬
‫ إﻻ أن اﻟﻜﺜﻴﺮ ﻣﻨﻬﻢ‬.‫ وﺳﺒﻊ ﻣﺮاﺣﻞ ﻟﺤﻴﺎة اﻹﻧﺴﺎن‬،‫ وﺳﺒﻌﺔ أﻳﺎم ﻓﻲ اﻷﺳﺒﻮع‬،(‫)ﻣﺘﺄﺛﺮاً ﺑﺎﻟﻴﻮﻧﺎن واﻟﺮوﻣﺎن‬
‫ أﻟﻒ‬700 ‫ ﻓﻨﺤﻦ اﻟﻴﻮم ﺣﻴﻦ ﻧﻘﺮأ أن ﺟﻴﺸﺎً ﺿﻢ‬.‫اﺳﺘﺨﺪﻣﻬﺎ أﻳﻀﺎً ﺑﺮﻣﺰﻳﺘﻬﺎ ﻓﻲ ﺗﻮﺛﻴﻖ أﺣﺪاث ﻋﺼﺮﻫﻢ‬
،‫ ﻋﺎﻣﺎً )ﻟﻌﻞ ﻫﺬا ﺗﺄﺛﻴﺮ ﻣﻦ ﻣﺰاﻣﻴﺮ داود‬70 ‫ أو أن ﺷﺨﺼﺎً ﻋﺎش‬،‫ آﻻف ﺟﺎﻣﻊ‬7 ‫ أو أن ﻣﺪﻳﻨﺔ ﻓﻴﻬﺎ‬،‫ﺟﻨﺪي‬
.ً‫ ﻓﺈن ﻋﻠﻴﻨﺎ أن ﻧﻔﻬﻤﻬﺎ رﻣﺰﻳﺎً وﻟﻴﺲ ﺣﺮﻓﻴﺎ‬،(‫ ﻛﻌﻤﺮ داود ﻋﻠﻴﻪ اﻟﺴﻼم‬،ً‫ ﻋﺎﻣﺎ‬70‫اﻟﺘﻲ ﺗﺤﺪد ﻋﻤﺮ اﻹﻧﺴﺎن ﺑـ‬

In Gabrielle Garcia Marquez's short story " e Sleeping Belle", which takes place at an
airport, the airline employee asks him to choose between two seats: No. 7 and No.
13, and is surprised when he chooses number 13! And tell him that it is the rst
time ever where No. 7 is the rst option. Perhaps today, we are not committed to
the sacred meanings of numbers, and we do not care about their symbolism, but we
use them in our simple everyday choices, and give us an inexplicable satisfaction or
real value, perhaps because we see the resonance of the oldest sacraments in the
.history of our region

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2/17/2019 The symbolism of the number seven and the division of the Arabs
Inas Khansa
Inas Khansa is a Syrian researcher specialized in the Arab world. She worked
as an academic and diplomat in Washington, DC. She holds a PhD from
Georgetown University and a Mellon Fellowship from Harvard University. Inas
.continuously writes for Pier 22

Keywords

Culture Arab World

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?How do we become nicer

23.04.2016 Ammar Al Ma'moun

‫ﻣﻘﺎﻟﺔ‬ ‫اﻟﻌﺎﻟﻢ‬ .‫ د‬4

.‫ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻌﺎﻳﻴﺮ اﻟﺘﻲ ﺗﻤﻴﺰ أﺟﺴﺎد أﻓﺮاده‬،‫ﻳﻔﺮض ﻛﻞ ﻋﺼﺮ ﺑﺤﻜﻢ ﻣﺆﺳﺴﺎﺗﻪ واﻟﻌﻼﻗﺎت اﻟﺘﻲ ﺗﺤﻜﻤﻪ‬
‫ﻣﺼﺒﺎت ﻫﺬا‬
ّ ‫ﻌﺪ اﻟﺠﺴﺪ أﺣﺪ أﻫﻢ‬ ّ ‫وﻳ‬
ُ ،‫ﺗﻌﺘﺒﺮ ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﻗﻮى ﺗﻤﺎرس "ﻋﻨﻔﻬﺎ" ﻋﻠﻰ اﻟﻜﺎﺋﻦ اﻹﻧﺴﺎﻧﻲ‬
،‫ ﺧﺼﻮﺻﺎً أن ﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ ﺗﺮﺗﺒﻂ ﺑﺘﻜﻮﻳﻦ اﻟﺠﺴﺪ وﺻﻮرﺗﻪ وﺗﻘﺒﻠﻪ ﻣﻦ اﻵﺧﺮﻳﻦ‬،‫ ﻟﻨﺮى ﺷﻜﻠﻪ ﻳﺨﺘﻠﻒ‬،‫اﻟﻌﻨﻒ‬
‫ ﺑﻞ ﺑﻤﻘﺪار ﻣﺎ ﻳﺤﺎول اﻟﺠﺴﺪ أن ﻳﺸﺎﺑﻪ ﺗﻠﻚ‬،‫ ﻟﻴﺴﺖ ﻋﻠﻰ أﺳﺎس ﻓﺮداﻧﻲ‬،"‫ ﻗﺒﻴﺢ‬- ‫ﻟﺘﻜﻮن ﺻﻔﺎت "ﺟﻤﻴﻞ‬
.‫اﻟﻔﻜﺮﻳﺔ ﻓﻲ ﻛﻞ ﻣﺮﺣﻠﺔ‬
ّ ‫ واﻟﻤﺮﺗﺒﻄﺔ ﺑﺎﻟﺘﻐﻴﺮات‬،‫اﻟﺼﻮرة اﻟﻤﻔﺘﺮﺿﺔ ﻋﻨﻪ‬
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‫‪2/17/2019‬‬ ‫اﻟﺠﺴﺪ(‪The symbolism،‬‬
‫واﺧﺘﻼﻓﻬﺎ ﺑﻴﻦ اﻟﻌﺎﻟﻢ اﻟﻐﺮﺑﻲ واﻟﻌﺎﻟﻢ‬ ‫‪of the number‬‬ ‫‪seven and the‬‬
‫)ﺟﻤﺎﻟﻴﺎت‬ ‫‪division of the‬‬
‫اﻟﺠﻨﺴﺎﻧﻴﺔ‬ ‫‪Arabs‬‬
‫اﻟﺜﻘﺎﻓﻴﺔ‬ ‫ﻣﺎ ﻳﻤﻴﺰ ﻫﺬه اﻟﻈﺎﻫﺮة‬
‫اﻟﻌﺮﺑﻲ‪ ،‬ﻫﻮ أﻧﻬﺎ ﻓﻲ اﻟﻐﺮب ﺗﺤﻤﻞ ﻣﻨﻬﺠﺎً ﻣﺘﻜﺎﻣﻼً وواﺿﺤﺎً ﻟﺪراﺳﺔ اﻟﺠﻤﺎﻟﻴﺎت اﻟﺠﺴﺪﻳﺔ ﻟﻜﻞ ﻣﺮﺣﻠﺔ‪،‬‬
‫وﺗﻜﻮن ﺻﻮرة ﻣﺘﻤﺎﺳﻜﺔ ﻋﻨﻬﺎ‪ .‬ﻓﻲ ﺣﻴﻦ أن اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﺗﻘﻞ ﻓﻴﻬﺎ ﻫﺬه اﻟﺪراﺳﺎت‪ ،‬ﻣﻦ ﻣﻨﻄﻠﻖ ﺣﺮﻣﺔ‬
‫اﻟﺠﺴﺪ‪ ،‬وﺣﺮﻣﺔ ﺗﺼﻮﻳﺮه‪ ،‬ﻟﻴﻜﻮن اﻻﻧﺘﺼﺎر ﻟﻠﻤﺨﻴﻠﺔ ﻻ ﻟﻠﻤﺤﺎﻛﺎة اﻟﺠﺴﺪﻳﺔ‪.‬‬

‫‪ ‬‬

‫اﻟﺮﺑﺎﻧﻲ‬
‫اﻟﺠﻤﺎل ّ‬

‫اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬وﺑﻤﻔﻬﻮم "اﻟﺠﻤﺎل اﻹﻟﻬﻲ"‪،‬‬

‫ّ‬ ‫ﻣﻔﺎﻫﻴﻢ "اﻟﺠﻤﻴﻞ" ﻓﻲ اﻟﻘﺮن اﻟﺴﺎدس ﻋﺸﺮ ارﺗﺒﻄﺖ ﺑﺎﻟﻤﻜﺎﻧﺔ‬
‫اﻟﻴﻮﻣﻴﺔ‪،‬‬
‫ّ‬ ‫ﺧﺼﻮﺻﺎً ﺑﺮوز اﻟﻮﺟﻪ واﻟﻌﻴﻨﻴﻦ‪ ،‬واﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ ﻫﺬا اﻟﺠﺴﺪ اﻟﻤﻨﺰاح ﻋﻦ اﻟﻤﻘﺪس وﻋﻼﻗﺘﻪ ﺑﺎﻟﻤﺒﺎﻫﺞ‬
‫واﻻﻫﺘﻤﺎم ﺑﺎﻟﻘﺴﻢ اﻷﻋﻠﻰ ﻣﻨﻪ ﺑﻮﺻﻔﻪ ﻣﻮﻗﻊ اﻟﺒﺬخ‪ .‬ﻓﻲ ﺣﻴﻦ أن اﻷﺳﻔﻞ ُﻳﻐﻄﻰ ﺑﺎﻟﻔﺴﺎﺗﻴﻦ اﻟﻬﺎﺋﻠﺔ واﻟﻘﻀﺒﺎن‬
‫اﻟﺘﻲ ﺗﻨﻔﺦ اﻷﺳﻔﻞ‪ ،‬وﻫﺬا ﻣﺮﺗﺒﻂ ﺑﺎﻟﻌﻼﻗﺔ ﻣﻊ اﻟﻌﻠﻮي واﻟﺘﻘﺴﻴﻢ اﻟﻬﻨﺪﺳﻲ ﻟﻠﻌﻼﻗﺔ ﻣﻊ اﻟﻐﻴﺐ واﻟﻨﺰوع‬

‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%a‬‬ ‫‪5/11‬‬
‫ً‬ ‫أ‬ ‫أ‬
‫‪2/17/2019‬‬ ‫ﻣﻨﻔﺘﺤﺎً‪The‬ﻣﻦ اﻷﻋﻠﻰ وﻳﻀﻴﻖ ﻛﻠﻤﺎ اﻧﺤﺪر‪.‬‬
‫‪symbolism‬‬ ‫‪of the number‬‬
‫اﻟﺠﺴﺪ‬ ‫ﻟﻴﻜﻮن‬‫‪seven‬‬ ‫‪and the division‬‬
‫أﻫﻤﻴﺔ‪،‬‬ ‫‪of the Arabs‬‬
‫واﻷﺳﻔﻞ أﻗﻞ‬ ‫ﻟﻸﻋﻠﻰ‪ .‬ﻓﺎﻟﻨﻮر ﻓﻲ اﻷﻋﻠﻰ‬
‫وﻫﺬا ﻣﺮﺗﺒﻂ ﺑﺎﻟﻄﺒﻘﺎت اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﺎﻷﻋﻠﻰ ﻣﻨﻬﺎ ﻫﻮ اﻷﺟﻤﻞ‪ ،‬وﻳﺘﻀﺢ ذﻟﻚ ﻓﻲ ‪ ‬ﻟﻮﺣﺔ" ‪"jeanne d'aragon ‬‬
‫‪.‬‬

‫‪ ‬‬

‫"أﻧﺎ ﺟﻤﻴﻞ‪ ،‬إذاً أﻧﺎ ﻣﻮﺟﻮد"‬

‫اﻟﻤﺪﻧﻴﺔ وﻇﻬﻮر اﻵﻟﺔ‪ ،‬وﺑﺪأ اﻟﺠﺴﺪ ﻳﺘﺤﻮل إﻟﻰ‬

‫ّ‬ ‫اﻧﺘﺼﺮ ﻓﻲ اﻟﻘﺮن اﻟﺴﺎﺑﻊ ﻋﺸﺮ ﻣﻔﻬﻮم‬
‫وﺿﻌﻴﺔ ‪ ‬ﻟﻼﺳﺘﻌﺮاض ‪ ‬واﻟﻤﺴﺮﺣﺔ ﻓﻲ اﻷﻣﺎﻛﻦ اﻟﻌﺎﻣﺔ‪ .‬وأﺻﺒﺢ ﻫﺪﻓﻪ إﺛﺎرة إﻋﺠﺎب اﻵﺧﺮ ﺑﺴﺒﺐ اﻧﻘﻄﺎع‬
‫اﻟﻌﻼﻗﺔ ﻣﻊ اﻹﻟﻪ‪ ،‬واﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﺬات واﻵﺧﺮ اﻟﺒﺸﺮي واﻟﺘﻜﻮﻳﻨﺎت اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﺧﺼﻮﺻﺎً ﻣﻊ ﺑﺮوز اﻟﻌﻘﻞ‬
‫ورﻳﻨﻴﻪ دﻳﻜﺎرت اﻟﺬي أﺳﺲ ﻟﻠﻘﻄﻴﻌﺔ ﻣﻊ "اﻷﻋﻠﻰ"‪ .‬ﺑﺪأت اﻟﻘﺎﻣﺔ ﺑﺎﻟﻈﻬﻮر ﺑﺄﻛﻤﻠﻬﺎ واﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻧﺤﻨﺎءاﺗﻬﺎ‬
‫ودواﺋﺮﻫﺎ‪ ،‬ﺑﺄﺷﻜﺎﻟﻬﺎ اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ ﻧﺤﻴﻞ وﺑﺪﻳﻦ‪ ،‬ﻣﻤﺸﻮق وﻣﺘﺮﻫﻞ‪ ،‬وأﺻﺒﺢ اﻟﺠﻤﻴﻞ ﻣﺸﺘﻘﺎً ﻣﻦ اﻟﻄﺒﻴﻌﺔ‬
‫واﻟﺤﻀﻮر اﻟﺒﺸﺮي ﻻ "اﻹﻟﻬﻲ"‪ .‬ﻟﺘﺒﺮز اﻟﺤﻴﻮﻳﺔ اﻟﻤﺮﺗﺒﻄﺔ ﺑﻬﺬا اﻟﺤﻀﻮر‪ ،‬إﻟﻰ ﺟﺎﻧﺐ ﻫﻮر اﻟﺒﻨﻄﻠﻮن ﻟﺪى اﻷﻧﺜﻰ‬
‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%a‬‬ ‫‪6/11‬‬
‫أ‬ ‫ً‬
‫‪2/17/2019‬‬
‫‪ The‬ﺿﺒﻂ اﻟﺠﺴﺪ اﻟﻤﺮﺗﺒﻄﺔ ﺑﺎﻟﻬﻨﺪﺳﺔ‬ ‫‪symbolism‬‬
‫أﺟﻬﺰة‬ ‫ﺟﺎﻧﺐ‬ ‫‪of the‬‬ ‫‪number‬‬
‫إﻟﻰ‬ ‫‪seven and‬‬
‫دﻳﻼرﺗﻲ‪،‬‬ ‫‪the division of‬‬
‫ﻟﻠﻜﻮﻣﻴﺪﻳﺎ‬ ‫ﺑﻮﺻﻔﻪ آﺗﻴ ﺎً ﻣﻦ اﻟﺘﺮاث ‪the Arabs‬‬
‫اﻟﻤﺴﺮﺣﻲ‬
‫اﻟﻌﻠﻤﻴﺔ‪  ،‬ﻛﺎﻵﻟﺔ ‪ ‬اﻟﺘﻲ اﺧﺘﺮﻋﻬﺎ ‪"  ‬ﻗﺎرﻳﺘﺰو" ﻟﻠﻌﻼج اﻟﻄﺒﻲ ﺛﻢ ﺗﺤﻮﻟﺖ إﻟﻰ وﺳﻴﻠﺔ ﻟﻠﺘﺠﻤﻴﻞ‪ .‬إﻟﻰ ﺟﺎﻧﺐ‬ ‫ّ‬
‫اﻻﻧﻔﻌﺎﻻت ‪ ‬ﻛﻠﻮﺣﺔ ‪ ‬اﻟﻔﺘﺎة ذات اﻟﻘﺒﻌﺔ اﻟﺤﻤﺮاء ﻟﻔﻴﺮﻣﻴﺮ‪ ،‬وارﺗﺒﺎط ذﻟﻚ ﺑﺎﻟﻄﺒﻘﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻟﻨﺮى‬
‫ﻓﻲ ‪ ‬ﻟﻮﺣﺔ ‪ ‬اﻟﻮﺻﻴﻔﺎت ﻣﺜﻼً اﻟﻨﻮر واﻟﺤﻴﻮﻳﺔ ﻓﻲ وﺟﻪ اﻟﻮﺻﻴﻔﺎت‪ ،‬واﻟﺨﺠﻞ وﺷﺒﻪ اﻟﻐﻴﺎب ﻓﻲ وﺟﻪ اﻟﺮاﻫﺒﺔ‪.‬‬

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‫اﻻﻧﻌﺘﺎق اﻟﺴﻔﻠﻲ‬

‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%a‬‬ ‫‪7/11‬‬
‫‪2/17/2019‬‬ ‫‪The symbolism of the number seven and the division of the Arabs‬‬

‫اﻧﺘﺼﺮ اﻟﺤﺴﻲ ﻋﻠﻰ اﻹﻟﻬﻲ ﻓﻲ اﻟﻘﺮن اﻟﺜﺎﻣﻦ ﻋﺸﺮ‪ ،‬وﺑﺪأ اﻟﺠﻤﺎل ﻛﻤﻔﻬﻮم ﻳﺘﺤﻮل إﻟﻰ ﺻﻴﻐﺔ وﻇﻴﻔﻴﺔ‬
‫وﻋﺎﻃﻔﻴﺔ ﻣﺘﻔﺮداً ﻓﻲ ﻛﻞ ﺷﺨﺺ‪ ،‬ﻟﺘﺒﺪأ اﻟﺤﺴﻴﺔ واﻟﺸﺒﻘﻴﺔ ﺑﺎﻟﻈﻬﻮر ﻛﻤﺎ ﻧﺮى ﻓﻲ ‪ ‬ﻟﻮﺣﺔ ‪ ‬اﻟﻔﻨﺎن ﻓﺮﻏﻮﻧﺎرد‬
‫ّ‬
‫اﻟﺒﺸﺮﻳﺔ‪ .‬ﻓﻈﻬﺮ اﻟﺰﻣﻦ‬
‫ّ‬ ‫ﺑﺎﻟﻄﺒﺎع‬ ‫ً‬ ‫ﺎ‬ ‫وﻣﺮﺗﺒﻄ‬ ‫ﺔ‬ ‫ﺣﺴﻴ‬
‫ّ‬ ‫أﻛﺜﺮ‬ ‫وﻳﺼﺒﺢ‬ ‫وﻳﺘﻜﺸﻒ‪،‬‬ ‫اﻟﺠﺴﺪ‬ ‫ى‬ ‫ﻳﺘﺒﺪ‬
‫ّ‬ ‫إذ‬ ‫"اﻷرﺟﻮﺣﺔ"‪،‬‬
‫واﻹﺣﺴﺎس ﺑﺎﻟﺤﺮﻛﺔ‪ ،‬ودﻓﻖ اﻟﻌﻮاﻃﻒ‪ ،‬وأﺻﺒﺢ ﻟﻜﻞ اﻣﺮأة ﺧﻮاﺻﻬﺎ اﻟﻤﺘﻔﺮدة اﻟﺘﻲ ﺗﻤﻴﺰ ﺟﻤﺎﻟﻬﺎ‪ ،‬وﺑﺎﻧﺖ ﺣﺮارة‬
‫اﻟﺠﺴﺪ‪ ،‬وﺑﺎﺗﺖ اﻟﻘﺎﻣﺔ أﻛﺜﺮ ﺗﺤﺮراً‪ ،‬ﺣﺘﻰ أن اﻟﺴﺎﻗﻴﻦ ﺑﺮزﺗﺎ ﻛﻤﺎ ﻓﻲ اﻷرﺟﻮﺣﺔ‪.‬‬

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‫اﻟﺠﺴﺪ اﻟﺮوﻣﺎﻧﺴﻲ‬
‫ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ ﻇﻬﺮت اﻟﺮوﻣﺎﻧﺴﻴﺔ ﺑﻘﻮة‪ ،‬وأﺻﺒﺢ اﻟﺠﺴﺪ اﻛﺜﺮ اﻧﻔﻼﺗﺎً‪ ،‬وﻧﺎل اﻟﻘﺴﻢ اﻟﺴﻔﻠﻲ ﺣﻀﻮره‪،‬‬
‫واﻟﻌﻴﻮب أﺻﺒﺤﺖ ﺟﺰءاً ﻣﻨﻪ‪ ،‬ﻓﻀﻼً ﻋﻦ اﻟﺪﻓﻖ اﻟﻌﺎﻃﻔﻲ‪ ،‬إذ ﺑﺪأت اﻟﻌﻴﻮن اﻟﺴﺎرﺣﺔ ﺑﺎﻟﻄﻐﻴﺎن إﻟﻰ ﺟﺎﻧﺐ‬
‫اﻟﻌﺎﻃﻔﻴﺔ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﻣﻨﺎﺳﺒﺔ اﻟﺜﻴﺎب ﻟﻠﺠﺴﺪ‪ ،‬ﻛﻤﺎ ﻓﻲ ‪ ‬ﻟﻮﺣﺎت ‪ ‬ﻳﻮﺟﻴﻦ دوﻻﻛﺮوا‪ ،‬وﺑﺮوز ﻣﻌﺎﻟﻤﻪ‬
‫ّ‬ ‫اﻟﺘﺄﻣﻼت‬
‫ﻣﻦ ﺗﺤﺖ اﻟﺜﻴﺎب‪ .‬ﻓﺄﺻﺒﺢ اﻟﺨﺼﺮ واﻟﻤﺸﺪات ﻣﻨﺘﺸﺮة ﺑﻜﺜﺮة ﻓﻲ ﺳﺒﻴﻞ ﺗﻀﻴﻴﻖ اﻟﺨﺼﺮ ﻛﻌﺎﻣﻞ أﺳﺎﺳﻲ‬
‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%a‬‬ ‫‪8/11‬‬
‫‪2/17/2019‬‬ ‫‪The symbolism of the number seven and the division of the Arabs‬‬

‫ﻟﺘﺤﺪﻳﺪ ﺟﻤﺎل اﻟﻤﺮأة‪ ،‬ﻣﻊ اﻧﺘﺸﺎر أﺳﻮاق اﻟﺘﺠﻤﻴﻞ وﻣﺴﺘﺤﻀﺮاﺗﻪ‪.‬‬

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‫اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‬
‫اﻟﺠﻤﺎل اﻟﻔﺎﺋﻖ‬
‫‪ ‬ﺗﺸﻜﻞ ﻣﻌﻴﺎر‬
‫ﻓﻲ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ ﺗﻄﻮرت ﻣﻔﺎﻫﻴﻢ اﻟﺠﻨﺴﺎﻧﻴﺔ‪ ،‬وﻇﻬﺮت ﻧﻤﺎذج ﻟﻨﺴﺎء ﺟﻤﻴﻼت‪  ،‬ﻧﻤﺎذج ّ‬
‫ﺗﺒﺎدﻟﻴﺔ‪ ،‬وﻫﺬه اﻟﻤﻌﺎﻳﻴﺮ أﺻﺒﺤﺖ‬
‫ّ‬ ‫اﻟﺠﻤﺎل واﻟﺮﻏﺒﺔ اﻟﺠﻨﺴﻴﺔ‪ .‬أﺻﺒﺢ اﻟﺠﻤﺎل ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﻣﻌﺎﻳﻴﺮ ﻣﺆﺳﺴﺎﺗﻴﺔ‬
‫وﺳﻴﻠﺔ ﻹداﻧﺔ ﻣﻦ ﻻ ﻳﺘﺒﻌﻬﺎ‪ ،‬ﺑﻮﺻﻔﻪ ‪ ،o mode‬أو اﻋﺘﻤﺎد اﻟﺠﺴﺪ اﻟﻤﺼﻄﻨﻊ وﺗﺠﻨﻴﺲ أﺟﺰاﺋﻪ‪ ،‬ﺑﻞ ﺣﺘﻰ‬
‫أﺣﻴﺎﻧﺎً ﻣﺎ ﻻ ﻳﻨﺘﻤﻲ ﻟﻪ‪ ،‬وﻫﺬا ﻣﺎ ﻳﻌﺮف ﺑﺎﻟﺠﻤﺎل اﻟﻔﺎﺋﻖ‪ ،‬ﺟﻤﺎل اﻟﻌﺎرﺿﺎت اﻟﻠﻮاﺗﻲ ﻳﻔﺮﺿﻦ ﻛﻨﻤﺎذج‪.‬‬

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‫اﻟﺠﺴﺪ اﻟﻤﺨ ّﻨﺚ‬

‫ﻓﻲ اﻟﺴﺘﻴﻨﺎت‪ ،‬ﺧﺼﻮﺻﺎً ﻣﻊ اﻟﺜﻮرات ﺿﺪ اﻟﺠﻤﺎﻟﻴﺎت اﻟﺴﻠﻄﻮﻳﺔ واﻟﻤﺆﺳﺴﺎﺗﻴﺔ‪ ،‬ﺑﺪأت أﺻﻮات اﻟﻬﻮاﻣﺶ‬
‫ﺑﺎﻟﺨﺮوج ﻟﻠﻌﻠﻦ‪ ،‬وﺑﺪأت اﻟﺤﺮﻛﺎت اﻟﺠﻨﺴﺎﻧﻴﺔ اﻟﺨﺎﺻﺔ ﺑﺤﻘﻮق اﻟﻤﺜﻠﻴﻴﻦ‪ ،‬ﻟﻴﻈﻬﺮ ﻣﻌﻬﺎ ﻣﻔﻬﻮم اﻟﺘﺨﻨﻴﺚ‬
‫و‪ ،Unisex‬ﻓﺘﺘﺪاﺧﻞ اﻟﻔﺮوق ﺑﻴﻦ اﻟﺠﻨﺴﻴﻦ‪ ،‬ﺧﺼﻮﺻﺎً اﻟﺠﻨﺴﻴﺔ ﻣﻨﻬﺎ‪ ،‬وﻫﺬا ﻣﺎ ‪ ‬اﻓﺘﺮض ‪ ‬أﺷﻜﺎﻻ ً وﻣﻌﺎﻳﻴﺮ‬
‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%a‬‬ ‫‪9/11‬‬
‫‪2/17/2019‬‬ ‫‪The symbolism of the number seven and the division of the Arabs‬‬

‫ﺟﺪﻳﺪة‪ ،‬ﺧﺼﻮﺻﺎً أن اﻟﻤﺠﺘﻤﻊ اﻟﺠﺪﻳﺪ ﻗﺎﺋﻢ ﻋﻠﻰ ﺟﻤﺎﻋﺎت ﺑﺸﺮﻳﺔ ﻻ ﺗﺤﻜﻤﻬﺎ اﻟﺠﻐﺮاﻓﻴﺎ‪ ،‬وﺗﺘﺒﻨﻰ أﻓﻜﺎراً‬
‫ﺗﻨﻌﻜﺲ ﻓﻲ ﺛﻴﺎﺑﻬﺎ وأﺷﻜﺎﻟﻬﺎ‪ ،‬ﻧﺘﻴﺠﺔ وﺳﺎﺋﻞ اﻻﺗﺼﺎل واﻻﻧﻔﺘﺎح اﻟﻬﺎﺋﻞ‪ .‬ﻓﺎﻟﻨﻤﻮذج ﻟﻢ ﻳﻌﺪ ﻣﺮﺗﺒﻄﺎً ﺑﺠﻐﺮاﻓﻴﺔ ‪-‬‬
‫ﻣﻜﺎن ﺑﻞ ﺑﻔﻜﺮة وﻣﻘﺪار اﻧﺘﺸﺎرﻫﺎ‪.‬‬

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‫اﻟﺠﺴﺪ اﻟﻨﺴﻮي‬

‫…‪https://raseef22.com/culture/2016/04/25/%d8%b1%d9%85%d8%b2%d9%8a%d8%a9-%d8%a7%d9%84%d8%b9%d8%af%d8%af-%d8%b3%d8%‬‬ ‫‪10/11‬‬
‫أ‬
‫‪2/17/2019‬‬
‫اﻟﻘﻴﻮد‪The‬اﻟﺴﺎﺑﻘﺔ‪ ،‬أي ﻣﺴﺘﺤﻀﺮات اﻟﺘﺠﻤﻴﻞ‬
‫‪symbolism‬‬
‫اﻻﻧﻔﻼت ‪of‬ﻣﻦ‬
‫‪the number seven‬‬
‫اﻟﺠﺴﺪ‬‫‪and the‬‬
‫‪division‬ﻣﻊ‬
‫ﻋﻼﻗﺘﻬﺎ‬ ‫ﻓﻲ‪of the‬‬
‫اﻟﺤﺮﻛﺎت اﻟﻨﺴﻮﻳ ﺔ ﺣﺎوﻟﺖ‪Arabs‬‬
‫ّ‬
‫ذﻛﻮرﻳﺔ‪ ،‬ﺗﻬﺪف إﻟﻰ ﺗﺤﻮﻳﻞ اﻟﺠﺴﺪ إﻟﻰ ﻣﺼﺪر ﻟﺬة ﻟﻠﺮﺟﻞ‪ ،‬ﻛﻨﻮع ﻣﻦ أﻋﻤﺎل‬ ‫ّ‬ ‫وأدوات "ﺗﻐﻴﻴﺮه" ﺑﻮﺻﻔﻬﺎ‬
‫اﻟﻌﻨﻒ‪  ،‬ﻟﻨﺸﻬﺪ ‪ ‬اﻧﻔﻼﺗﺎً ﻟﻠﺠﺴﺪ ﻋﻠﻰ راﺣﺘﻪ‪ ،‬ﺑﻜﻞ ﺑﺪاءﺗﻪ أﺣﻴﺎﻧﺎً أو اﻻﻧﺘﺼﺎر ﻟﺨﻮاﺻﻪ اﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ ﺗﻤﻴﺰه‬
‫ﻋﻦ ﺟﺴﺪ اﻟﺬﻛﻮرة‪.‬‬

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‫اﻟﺠﻤﺎل اﻟﻤﻀﺎد‬
‫ﺣﺎﻟﻴﺎً‪ ،‬وﻓﻲ ﻣﺤﺎوﻟﺔ ﻟﻠﻮﻗﻮف ﺑﻮﺟﻪ اﻟﺘﺴﻠﻴﻊ وﻧﻤﻮذج اﻟﺠﺴﺪ اﻟﻔﺎﺋﻖ اﻟﺬي ﻧﺮاه ﺑﻬﺰاﻟﻪ ودﻗﺔ ﺗﻔﺎﺻﻴﻠﻪ أي‬
‫ﺧﺼﺎﺋﺼﻪ اﻟﻤﻌﻠّﺒﺔ‪ ،‬ﺗﻘﺎم اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﺤﻤﻼت اﻟﻤﻀﺎدة‪ ،‬واﻟﺘﻲ أﻳﻀﺎً ﺧﻀﻌﺖ ﻟﻠﻤﺆﺳﺴﺎت اﻟﺘﻲ ﺗﺒﻨﺘﻬﺎ‪،‬‬
‫ﻟﻨﺮى ‪ ‬ﻋﺎرﺿﻲ ‪ ‬أزﻳﺎء ﺑﺪﻧﺎء‪ ،‬أو ﻣﺼﺎﺑﻴﻦ ﺑﺘﺸﻮه ﻣﺎ‪ ،‬ﻓﻲ ﻣﺤﺎوﻟﺔ ﻟﻼﻧﻌﺘﺎق ﻣﻦ اﻟﺼﻮرة واﻟﺴﻠﻄﺔ اﻟﺠﻤﺎﻟﻴﺔ‬
‫اﻟﻜﻞ ﺟﻤﻴﻞ" وﻟﻜﻞ ﺷﺨﺺ‬‫ّ‬ ‫وﻟﻴﻄﺮح ﻣﻔﻬﻮم"‬
‫اﻟﻘﺎﺋﻤﺔ‪ ،‬ﻟﻴﻨﺘﺼﺮ اﻟﺠﺴﺪ اﻟﻄﺒﻴﻌﻲ اﻟﻤﻨﻔﻠﺖ ﻣﻦ ﺳﻠﻄﺔ اﻟﺼﻮر‪ُ .‬‬
‫ﺧﺼﺎﺋﺼﻪ اﻟﻤﻤﻴﺰة اﻟﻤﺮﺗﺒﻄﺔ ﺑﻪ‪ ،‬ﺑﻌﻴﺪاً ﻋﻦ أﺣﻜﺎم اﻟﺠﻤﺎل اﻟﺴﺎﺋﺪة‪.‬‬

‫‪ ‬‬

‫ﻋﻤﺎر اﻟﻤﺄﻣﻮن‬
‫ّ‬
‫اﻹﻋﻼم وﻟﻴﺴﺎﻧﺲ ﻓﻲ‬ ‫ﻋﻤﺎر اﻟﻤﺄﻣﻮن‪ -‬ﺻﺤﻔﻲ ﻣﻬﺘﻢ ﺑﺎﻟﺸﺄن اﻟﺜﻘﺎﻓﻲ‪ ،‬ﺣﺎﺻﻞ ﻋﻠﻰ ﻣﺎﺟﺴﺘﻴﺮ ﻓﻲ‬ ‫ّ‬
‫ﻣﻦ ﺟﺎﻣﻌﺔ اﻟﺴﻮرﺑﻮن‪.‬‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‬
‫ّ‬ ‫اﻟﺪراﺳﺎت‬ ‫ﻓﻲ‬ ‫وﻣﺎﺟﺴﺘﻴﺮ‬ ‫دﻣﺸﻖ‪،‬‬ ‫ﺟﺎﻣﻌﺔ‬ ‫ﻣﻦ‬ ‫اﻟﻤﺴﺮﺣﻴﺔ‬ ‫اﻟﺪراﺳﺎت‬
‫واﻟﺪوﻟﻴﺔ‪.‬‬
‫ّ‬ ‫اﻟﻌﺮﺑﻴﺔ‬
‫ّ‬ ‫اﻟﺜﻘﺎﻓﻴﺔ‪ ،‬ﻳﻌﻤﻞ ﻓﻲ ﻋﺪد ﻣﻦ اﻟﺼﺤﻒ‬
‫ّ‬ ‫ﻣﺨﺘﺺ ﻓﻲ ﻧﻈﺮﻳﺎت اﻷداء واﻟﺼﻨﺎﻋﺔ‬

‫ﻛﻠﻤﺎت ﻣﻔﺘﺎﺣﻴﺔ‬

‫ﺛﻘﺎﻓﺔ‬ ‫اﻟﻌﺎﻟﻢ‬

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