‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬

‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬

‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬

‫ﮔﺮﻩ ﺩﻩ »ﮐﻨﺪ ﺩﻭ ﭘﻨﺞ« ﻭ ﮔﺮﻩ ﺩﻩ »ﺗﻨﺪ‬

‫ﺩﻭ ﭘﻨﺞ« ﻣﺴﺠﺪ ﺟﺎﻣﻊ ﺍﺻﻔﻬﺎﻥ‪ ،‬ﺻﻔﻪ‬
‫ﺍﺳﺘﺎﺩ ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬

‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬

‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ )ﺯﺍﻳﻨﺪﮔﻲ(‬
‫**‬ ‫*‬
‫ﺍﺳﺪﺍﷲ ﺷﻔﻴﻊﺯﺍﺩﻩ ﺳﻌﻴﺪﻩ ﺳﻠﻄﺎﻥﻣﺤﻤﺪﻟﻮ‬
‫ﺗﺎﺭﻳﺦ ﺩﺭﻳﺎﻓﺖ ﻣﻘﺎﻟﻪ ‪٩٨/٣/٤ :‬‬
‫ﺗﺎﺭﻳﺦ ﭘﺬﻳﺮﺵ ﻣﻘﺎﻟﻪ ‪٩٨/٩/٢٤ :‬‬
‫ﺻﻔﺤﻪ ‪ ٧٧‬ﺗﺎ ‪٩٣‬‬

‫ﭼﻜﻴﺪﻩ‬
‫ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﻋﻼﻭﻩ ﺑﺮ ﻣﻌﺮﻓﻲ ﺭﻭﺵﻫﺎﻱ ﻣﺘﺪﺍﻭﻝ ﺗﺮﺳــﻴﻢ ﮔﺮﻩ‪ ،‬ﺭﺳــﻢ ﮔﺮﻩ ﻣﻄﺎﺑﻖ ﺑﺎ ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮔﺮﺩﻥ‬
‫)ﺯﺍﻳﻨﺪﮔﻲ( ﻣﻮﺭﺩ ﺗﺤﻠﻴﻞ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺯﺍﻳﻨﺪﮔﻲ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﺳــﻨﺘﻲ ﻋﺒﺎﺭﺕ ﺍﺳــﺖ ﺍﺯ »ﺗﻨﺪ« ﻭ »ﮐﻨﺪ« ﮐﺮﺩﻥ‬
‫ﺁﻟﺘﻬﺎﻱ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﻪ ﻃﻮﺭ ﻣﺴﺘﻤﺮ ﻭ ﭘﻲ ﺩﺭ ﭘﻲ ﺗﺎ ﺣﺼﻮﻝ ﺑﻪ ﺗﻤﺎﻣﻲ )ﻳﺎ ﺣﺪﺍﮐﺜﺮ( ﺁﻻﺗﻲ ﮐﻪ ﮔﺮﻩ ﺯﺍﻳﻴﺪﻩﺷﺪﻩ‬
‫ﺑﺪﺍﻥ ﺗﻌﺮﻳﻒ ﺷــﺪﻩ ﺍﺳــﺖ‪ .‬ﺍﻫﻤﻴﺖ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﺮ ﺍﺳﺎﺱ ﻗﺎﻋﺪﻩ ﻣﺬﮐﻮﺭ ﺍﺯ ﺁﻥ ﺭﻭ ﻣﻮﺭﺩ ﺗﺄﮐﻴﺪ ﺍﺳﺖ‬
‫ﮐﻪ ﺍﻣﺮﻭﺯﻩ‪ ،‬ﺑﺎ ﻭﺟﻮﺩ ﺍﺳــﻨﺎﺩ ﻣﮑﺘﻮﺏ ﻭ ﺁﺛﺎﺭ ﺑﺠﺎﻣﺎﻧﺪﻩ ﺍﺯ ﺳﻨﺖ ﻣﻌﻤﺎﺭﻱ ﺍﺳﻼﻣﻲ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﻣﻐﻔﻮﻝ ﻣﺎﻧﺪﻥ‬
‫ﺭﻭﺵﻫﺎﻱ ﺍﺻﻴﻞ ﻭ ﺳــﻨﺘﻲ‪ ،‬ﺗﻼﺵﻫﺎﻳﻲ ﻧﻴﺰ ﺑﺮﺍﻱ ﺑﺎﺯ ﺗﻮﻟﻴﺪ ﺭﻭﺵﻫﺎﻱ ﺍﺑﺪﺍﻋﻲ ﺭﺳﻢ ﮔﺮﻩ ﺍﺯ ﺳﻮﻱ ﺑﺮﺧﻲ‬
‫ﭘﮋﻭﻫﺸﮕﺮﺍﻥ ﻏﺮﺑﻲ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﭼﻨﺎﻧﭽﻪ ﻧﻈﺮ ﺑﺮﺧﻲ ﻣﺤﻘﻘﻴﻦ ﺩﺭ ﺧﺼﻮﺹ ﺍﻳﺮﺍﻧﻲ ﺑﻮﺩﻥ ﺧﺎﺳﺘﮕﺎﻩ‬
‫ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﻣﻮﺭﺩ ﺗﺄﻳﻴﺪ ﺑﻮﺩﻩ ﻭ ﻫﻤﭽﻨﻴﻦ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﺻﻮﻝ ﺣﮑﻤﻲ ﻭ ﻋﺮﻓﺎﻧﻲ ﺩﺭ ﻣﺒﺎﻧﻲ ﮔﺮﻩﺳﺎﺯﻱ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ‪ ،‬ﻣﻬﻢﺗﺮﻳﻦ ﺭﻭﺵ ﺩﺭ ﺗﺮﺳﻴﻢ ﻭ ﺗﻮﻟﻴﺪ ﮔﺮﻩ‪ ،‬ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ )ﺯﺍﻳﻨﺪﮔﻲ( ﺩﺭ ﺳﻨﺖ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ‬
‫ﺍﺳــﺖ‪ .‬ﻫﺪﻑ ﺍﺯ ﺍﻳﻦ ﭘﮋﻭﻫﺶ‪ ،‬ﺍﺭﺍﺋﻪ ﻣﺪﻝﻫﺎﻱ ﮔﺎﻡﺑﻪﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﻣﺒﺘﻨﻲ ﺑﺮ ﻣﻬﻤﺘﺮﻳﻦ ﻗﺎﻋﺪﻩ ﺭﺳﻢ‬
‫ﮔﺮﻩ )ﺯﺍﻳﻨﺪﮔﻲ( ﺩﺭ ﺳــﻨﺖ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ ﺍﺳﻼﻣﻲ ﺍﺳﺖ‪ .‬ﺳﺆﺍﻟﻬﺎﻱ ﭘﮋﻭﻫﺶ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ‪-١ :‬ﻗﻮﺍﻋﺪ ﻭ‬
‫ﺯﺑﺎﻥ ﻫﻨﺪﺳــﻲ ﺯﺍﻳﺶ ﺩﺭ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﺪﺍﻡﺍﻧﺪ؟ ‪ -٢‬ﻧﺤﻮﻩ ﺣﺼﻮﻝ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺩﺭ ﺭﻭﺵ ﺧﺮﺩ‬
‫ﮐﺮﺩﻥ ﮔﺮﻩ ﻭ ﺍﻳﺠﺎﺩ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺯﺍﻳﻴﺪﻩﺷــﺪﻩ ﭼﮕﻮﻧﻪ ﺍﻧﺠﺎﻡ ﻣﻲﺷــﻮﺩ؟ ‪ -٣‬ﻣﺴﺌﻠﻪ ﺍﺳﺘﻤﺮﺍﺭ ﻭ ﭘﻴﻮﺳﺘﮕﻲ‬
‫ﮔﺮﻩﻫــﺎ ﺩﺭ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﭼﮕﻮﻧﻪ ﺍﻧﺠﺎﻡ ﻣﻲﭘﺬﻳﺮﺩ؟ ﺭﻭﺵ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺑﻪ ﺭﻭﺵ ﺗﻮﺻﻴﻔﻲ‪ ،‬ﺗﺤﻠﻴﻠﻲ‬
‫ﻭ ﺗﻄﺒﻴﻘﻲ ﻭ ﺷــﻴﻮﻩ ﮔﺮﺩﺁﻭﺭﻱ ﺍﻃﻼﻋﺎﺕ ﺑﺼﻮﺭﺕ ﮐﺘﺎﺑﺨﺎﻧﻪﺍﻱ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﻭ ﺩﺭ ﺟﻬﺖ ﭘﺎﺳﺦ ﺑﻪ‬
‫ﺳﻮﺍﻻﺕ ﻓﻮﻕ‪ ،‬ﺗﺮﺳﻴﻢ ﻣﺮﺣﻠﻪ ﺑﻪ ﻣﺮﺣﻠﻪ ﺯﺍﻳﺶﻫﺎﻱ ﮔﺮﻩ ﺍﻧﺠﺎﻡ ﻳﺎﻓﺘﻪ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺟﻬﺖ ﺩﺳﺘﻴﺎﺑﻲ ﺑﻪ ﻧﺘﺎﻳﺞ‬
‫ﺑﻬﺘﺮ ﻳﮑﻲ ﮐﺎﻣﻞﺗﺮﻳﻦ ﮔﺮﻩﻫﺎﻱ ﺯﻣﻴﻨﻪ ﻣﺴﺘﻄﻴ ِﻞ »ﮔﺮﻩ ﺩﻩ« ﺑﻪﻧﺎﻡ ﮔﺮﻩ ﮐﻨﺪ »ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ« ﺟﻬﺖ‬
‫ﺍﻧﺠﺎﻡ ﺁﺯﻣﻮﻥ ﺍﻧﺘﺨﺎﺏ ﮔﺮﺩﻳﺪ ﻭ ﺯﺍﻳﺶﻫﺎﻱ ﮔﺮﻩ ﺑﺼﻮﺭﺕ ﺟﺰﺀﺑﻪﺟﺰﺀ ﻭ ﺩﺭ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﺍﻧﺠﺎﻡ ﮔﺮﺩﻳﺪ‪ .‬ﻧﺘﺎﻳﺞ‬
‫ﺣﺎﮐﻲ ﺍﺯ ﺍﺛﺒﺎﺕ ﻭ ﻇﻬﻮﺭ ﺗﻤﺎﻣﻲ ﺁﻻﺕ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺩﺭ ﺯﺍﻳﺶﻫﺎﻱ ﺟﺰﺀﺑﻪﺟﺰﺀ ﮔﺮﻩ ﻭ ﻋﺪﻡ ﻧﺪﺍﺷﺘﻦ ﺁﻻﺕ ﺧﺎﺭﺝ‪،‬‬
‫ﺍﺯ ﺁﻧﭽﻪ ﮐﻪ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﺪﺍﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﻲﺑﺎﺷﺪ‪.‬‬

‫ﻭﺍﮊﮔﺎﻥ ﻛﻠﻴﺪﻱ‬
‫ﮔﺮﻩﺳﺎﺯﻱ‪ ،‬ﺯﺍﻳﻨﺪﮔﻲ‪ ،‬ﻫﻨﺮﻫﺎﻱ ﺳﻨﺘﻲ‪ ،‬ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ‪ ،‬ﻫﻨﺪﺳﻪ ﺍﺳﻼﻣﻲ‬
‫ﺍﺳﺘﺎﺩﻳﺎﺭ ﮔﺮﻭﻩ ﻣﻌﻤﺎﺭﯼ‪ ،‬ﻭﺍﺣﺪ ﺍﻫﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺁﺯﺍﺩ ﺍﺳﻼﻣﯽ‪ ،‬ﺷﻬﺮ ﺍﻫﺮ‪ ،‬ﺍﺳﺘﺎﻥ ﺁﺫﺭﺑﺎﻳﺠﺎﻥ ﺷﺮﻗﻲ )ﻣﺴﺌﻮﻝ ﻣﮑﺎﺗﺒﺎﺕ(‬
‫‪Email:Shafizade.a@gmail.com‬‬
‫ﺩﺍﻧﺸﺠﻮﻱ ﺩﮐﺘﺮﻱ ﺗﺨﺼﺼﻲ‪ ،‬ﺩﺍﻧﺸﮑﺪﻩ ﻣﻬﻨﺪﺳﻲ ﻣﻌﻤﺎﺭﻱ ﻭ ﺳﺎﺧﺘﻤﺎﻥ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﭘﻠﻲ ﺗﮑﻨﻴﮏ ﻣﻴﻼﻥ ‪ ،‬ﺷﻬﺮ ﻣﻴﻼﻥ‪ ،‬ﺍﻳﺘﺎﻟﻴﺎ‪.‬‬
‫‪Email:Saeideh.soltanmohammadlou@mail.polimi.it‬‬
‫‪۷۷‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬

‫ﮐﻪ ﺩﺭ ﺳﺪﻩﻫﺎﻱ ﺍﺧﻴﺮ ﺑﺎ ﻭﺭﻭﺩ ﺍﺻﻮﻝ ﻭ ﻣﻌﻴﺎﺭﻫﺎﻱ‬
‫ﻣﻌﻤﺎﺭﻱ ﻣﺪﺭﻥ ﻭ ﻗﻄﻊ ﺳﻴﺮ ﺗﮑﺎﻣﻠﻲ ﺍﺻﻮﻝ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻱ‬
‫ﺩﻭﺭﺍﻥ ﺳﻨﺘﻲ ﺩﺭ ﺳﺮﺯﻣﻴﻦﻫﺎﻱ ﺍﺳﻼﻣﻲ‪ ،‬ﺭﻭﺵﻫﺎﻱ‬
‫ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﻧﻴﺰ ﺩﭼﺎﺭ ﺍﺧﺘﻼﻝ ﻭ ﮔﺎﻩ ﻓﺮﺍﻣﻮﺷﻲ ﮔﺮﺩﻳﺪﻩ‬
‫ﺍﺳﺖ‪ .‬ﻋﺪﻡ ﺁﺷﻨﺎﺋﻲ ﺑﺎ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ ﺗﺮﺳﻴﻢ ﺳﻨﺘﻲ‬
‫ﮔﺮﻩﻫﺎ ﺑﺎﻻﺧﺺ ﺩﺭ ﺑﻴﻦ ﻣﺤﻘﻘﻴﻖ ﻭ ﺷﺮﻕ ﭘﮋﻭﻫﺎﻥ ﻏﺮﺑﻲ‬
‫ﺗﺎ ﺣﺪﻱ ﺍﺳﺖ ﮐﻪ ﻣﻮﺟﺐ ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺑﺮﺍﻱ‬
‫ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎ ﺑﻪ ﺭﻭﺵﻫﺎﻱ ﺍﻟﮕﻮﺭﻳﺘﻤﻴﮏ ﻭ ﭘﺎﺭﺍﻣﺘﺮﻳﮏ ﺑﻪ‬
‫ﻣﻨﻈﻮﺭ ﺑﺎﺯﺷﻨﺎﺳﻲ ﻣﻨﻄﻖ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎﻱ ﺍﺳﻼﻣﻲ ﮔﺮﺩﻳﺪﻩ‬
‫ﺍﺳﺖ‪ .۳‬ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻫﺎﻱ ﺟﺪﻳﺪ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺩﺭ ﺳﺪﻩ ﺍﺧﻴﺮ‪،‬‬
‫ﮔﺮﭼﻪ ﺗﻼﺵ ﻫﺎﺋﻲ ﺑﺮﺍﻱ ﺑﺎﺯﺗﻮﻟﻴﺪ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎﻱ‬
‫ﺍﺳﻼﻣﻲ ﺍﺳﺖ‪ ،‬ﻟﮑﻦ ﻣﻮﺟﺒﺎﺕ ﻋﺪﻡ ﭘﺎﺳﺨﮕﻮﺋﻲ ﺑﻪ ﺍﻟﮕﻮﻫﺎﻱ‬
‫ﺣﮑﻤﻲ‪-‬ﻋﺮﻓﺎﻧﻲ ﻭ ﻣﻌﻴﺎﺭﻫﺎﻱ ﺗﺮﺳﻴﻢ ﺳﻨﺘﻲ ﻣﺒﺘﻨﻲ ﺑﺮ ﺁﻻﺕ‬
‫ﮔﺮﻩ ﮐﻪ ﺍﺯ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ ﺍﺻﻠﻲ ﮔﺮﻩﺳﺎﺯﻱ ﺩﺭ ﺍﺩﺑﻴﺎﺕ‬
‫ﺳﻨﺘﻲ ﺍﺳﺖ‪ ،‬ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﻄﻮﺭ ﻫﻤﺎﻫﻨﮓ‪ ،‬ﻣﮑﻤﻞ ﻭ ﺑﺎ ﻗﻮﺍﻋﺪﻱ ﺑﺎ ﺗﺄﮐﻴﺪ ﺑﺮ ﺁﻻﺕ ﮔﺮﻩ‬
‫ﺭﻭﺵ ﺗﺤﻘﻴﻖ‬
‫ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺑﻪ ﺭﻭﺵ ﺗﻮﺻﻴﻔﻲ‪ ،‬ﺗﺤﻠﻴﻠﻲ ﻭ ﺗﻄﺒﻴﻘﻲ ﺍﻧﺠﺎﻡ‬
‫ﻫﻨﺪﺳﻲ ﮔﺮﻩ ﺭﺍ ﺍﺯ ﺳﺎﻳﺮ ﻧﻘﺶﻫﺎ ﻭ ﺍﺳﻠﻮﺏﻫﺎﻱ ﻫﻨﺪﺳﻲ‪،‬‬
‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻧﺤﻮﻩ ﺍﻧﺠﺎﻡ ﺁﻥ ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﻣﻲﺑﺎﺷﺪ ﮐﻪ ﺩﺭ‬
‫ﺍﺑﺘﺪﺍ ﺑﺎ ﻣﺮﻭﺭ ﺍﺩﺑﻴﺎﺕ ﮐﺘﺎﺑﺨﺎﻧﻪﺍﻱ ﺿﻤﻦ ﻣﻌﺮﻓﻲ ﺭﻭﺵﻫﺎﻱ‬
‫ﻣﺮﺳﻮﻡ ﻭ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪ ،‬ﺑﻪ ﺗﻮﺻﻴﻒ‬
‫ﺧﺼﻮﺻﻴﺎﺕ ﺭﻭﺵ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﭘﺮﺩﺍﺧﺘﻪ‬
‫ﻭ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﻪ ﺭﻭﺵ ﺯﺍﻳﺶ‪ ،‬ﻣﻮﺭﺩ‬
‫ﺗﺤﻠﻴﻞ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ .‬ﺍﻧﺠﺎﻡ ﺗﺤﻠﻴﻞ ﺭﻭﺵ ﻣﺬﮐﻮﺭ ﺑﻪ ﺭﻭﺵ‬
‫ﺗﺮﺳﻴﻢﻫﺎﻱ ﺟﺰﺀ ﺑﻪ ﺟﺰﺀ ﻭ ﮔﺎﻡﺑﻪﮔﺎﻡ ﺍﻧﺠﺎﻡ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ‬
‫ﺍﺩﺍﻣﻪ ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﺍﺯ ﺗﺤﻠﻴﻞﻫﺎﻱ ﻓﻮﻕ ﺑﺎ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ‬
‫ﺯﺍﻳﺶ ﮔﺮﻩ ﻣﻮﺭﺩ ﺗﻄﺒﻴﻖ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺟﻬﺖ ﺍﻧﺠﺎﻡ‬
‫ﺁﺯﻣﻮﻥ ﻓﺮﺿﻴﻪ ﻭ ﺗﺤﻠﻴﻞ ﻭ ﺗﻄﺒﻴﻖ ﻗﻮﺍﻋﺪ ﺯﺍﻳﺶ ﮔﺮﻩ ﺑﺎ ﻧﺘﺎﻳﺞ‬
‫ﺣﺎﺻﻠﻪ ﺍﺯ ﺗﺤﻠﻴﻞﻫﺎﻱ ﻣﺮﺣﻠﻪ ﺍﻱ‪ ،‬ﺍﺯ ﮔﺮﻩﻫﺎﻱ ﺷﻤﺴﻪ ﺩﺍﺭ‬
‫ﮐﻪ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺛﺎﻧﻮﻱ ﺑﺮ ﻟﺒﻪ ﮔﺮﻩ ﺍﺻﻠﻲ ﻫﻤﺪﻳﮕﺮ ﺭﺍ ﮐﺎﻣﻞ‬
‫"ﺯﻣﻴﻨﻪ ﻣﺴﺘﻄﻴﻞ" ﺑﻪ ﻟﺤﺎﻅ ﻫﻨﺪﺳﻪ ﻧﻘﻮﺵ ﮐﺎﻣﻞ ﻭ ﭘﻴﭽﻴﺪﻩ‬
‫ﻧﺴﺒﺖ ﺑﻪ ﺩﻳﮕﺮ ﺯﻣﻴﻨﻪﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﮔﺮﻩ ﻣﺒﻨﺎﻱ‬
‫ﺯﻣﻴﻨﻪ ﻣﺴﺘﻄﻴﻞ‪ ،‬ﺟﻬﺖ ﺍﻧﺠﺎﻡ ﺗﺤﻠﻴﻞ ﻭ ﺗﻄﺒﻴﻖ ﻗﻮﺍﻋﺪ ﺯﺍﻳﺶ‪،‬‬
‫"ﮔﺮﻩ ﺩﻩ"‪ ۴‬ﺍﻧﺘﺨﺎﺏ ﮔﺮﺩﻳﺪ ﮐﻪ ﻳﮑﻲ ﺍﺯ ﻣﻌﺮﻭﻓﺘﺮﻳﻦ ﮔﺮﻩﻫﺎ ﺑﻪ‬
‫ﻟﺤﺎﻅ ﭘﻴﭽﻴﺪﮔﻲ ﻣﻄﻠﻮﺏ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺯﻳﺎﺩ ﻭ ﭘﺮﮐﺎﺭﺑﺮﺩ ﺁﻥ‬
‫ﺩﺭ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ ﺍﺳﺖ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﮑﻪ ﺍﻭﻟﻴﻦ‬
‫ﻇﻬﻮﺭ ﮔﺮﻩ ﺩﻩ‪ ،‬ﮔﺮﻩ "ﮐﻨﺪ ﺩﻭ ﭘﻨﺞ" ﻣﻲﺑﺎﺷﺪ‪ ،۵‬ﺍﻣﺎ ﺩﺭ ﺗﺤﻘﻴﻖ‬
‫ﺣﺎﺿﺮ ﮔﺮﻩ ﻣﺎﺩﺭ "ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ" ﺑﻪ ﺩﻟﻴﻞ ﮐﺎﻣﻞ‬
‫ﺑﻮﺩﻥ ﺁﻻﺕ ﮔﺮﻩ ﮐﻨﺪ ﺟﻬﺖ ﺣﺼﻮﻝ ﻧﺘﻴﺠﻪ ﻣﻄﻠﻮﺏ ﺍﻧﺘﺨﺎﺏ‬
‫ﮔﺮﺩﻳﺪ‪ .‬ﺩﻟﻴﻞ ﺍﻧﺘﺨﺎﺏ ﻓﻮﻕ ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺻﻮﺭﺕ ﮔﺮﻓﺖ ﮐﻪ‬
‫ﻗﻮﺍﻋﺪ ﺧﺮﺩ ﮐﺮﺩﻥ )ﺯﺍﻳﺶ( ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﺁﻟﺖﻫﺎﻱ ﮐﺎﻣﻞ‬
‫ﻗﻮﺍﻋﺪ‪ ۲‬ﻭ ﺧﺼﻮﺻﻴﺎﺕ ﻭ ﺯﺑﺎﻥ ﻫﻨﺪﺳﻲ ﺯﺍﻳﺶ ﺩﺭ ﺭﻭﺵ‬
‫ﮔﺮﻩ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﻳﻦ ﻣﺒﻨﺎ‪ ،‬ﺟﻬﺖ ﺗﺮﺳﻴﻢ ﺍﻭﻟﻴﻪ ﮔﺮﻩ‬
‫"ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ" ﺍﺯ ﺭﻭﺵ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ‬
‫ﺷﻌﺎﻋﻲ ﻭ ﺳﭙﺲ ﻣﺮﺍﺣﻞ ﺑﻌﺪﻱ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﻪ ﻃﺮﻳﻖ ﻗﺎﻋﺪﻩ‬
‫ﺯﺍﻳﺶ ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﮔﺮﻩ "ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ"‬
‫ﻭ ﻃﻲ ﭼﻬﺎﺭ ﻣﺮﺣﻠﻪ ﮐﻪ ﻫﺮ ﻣﺮﺣﻠﻪ ﺩﺍﺭﺍﻱ ﻣﺮﺍﺣﻞ ﺟﺪﺍﮔﺎﻧﻪ‬
‫ﺍﺳﺖ ﺍﻧﺠﺎﻡ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬
‫ﻣﻘﺪﻣﻪ‬
‫ﮔﺮﻩﭼﻴﻨﻲ ﻳﮑﻲ ﺍﺯ ﺍﺳﻠﻮﺏﻫﺎﻱ ﻣﺘﻌﺪﺩ ﻃﺮﺍﺣﻲ ﻧﻘﻮﺵ‬
‫ﻫﻨﺪﺳﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﺛﺎﺭ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻱ ﺍﺳﻼﻣﻲ ﺑﮑﺎﺭ‬
‫ﺭﻓﺘﻪ ﺍﺳﺖ‪ ۱‬ﻭ ﻳﮑﻲ ﺍﺯ ﺳﻪ ﻧﻘﺶ ﮐﺎﺭﺑﺮﺩﻱ ﺩﺭ ﺣﻮﺯﻩ ﻫﻨﺮ‬
‫ﺍﺳﻼﻣﻲ ﺑﺨﺼﻮﺹ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺗﺰﺋﻴﻨﺎﺕ‬
‫ﻭ ﻓﻀﺎﺳﺎﺯﻱ ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺁﺛﺎﺭ ﻫﻨﺮﻱ ﺍﺳﻼﻣﻲ ﺑﺨﺼﻮﺹ‬
‫ﻣﻌﻤﺎﺭﻱ ﺍﺳﻼﻣﻲ ﮐﺎﺭﺑﺮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ .‬ﮔﺮﻩﭼﻴﻨﻲ ﺑﻪ ﺁﻧﺪﺳﺘﻪ‬
‫ﺍﺯ ﻓﻀﺎﺳﺎﺯﻱ ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ ﮐﻪ ﺑﺎ ﺍﺳﻠﻮﺑﻲ ﺑﺴﻴﺎﺭ ﻣﻨﻈﻢ‬
‫‪ .١‬ﺑﻪ ﺧﺎﻃﺮ ﻫﻤﻴﻦ ﻗﻮﺍﻋﺪ ﻭ ﺯﺑﺎﻥ‬
‫ﺍﺯ ﻧﻘﺶﻫﺎﻱ ﻫﻨﺪﺳﻲ ﻭ ﺑﺎ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺧﺎﺹ ﺍﺯ ﻋﻨﺎﺻﺮ‬ ‫ﺧﺎﺹ ﺭﻳﺎﺿﻲ ﻭ ﻫﻨﺪﺳﻲ ﺍﺳﺖ ﮐﻪ‬
‫ﺭﻳﺎﺿﻲ ﻗﺎﺑﻞ ﺗﻌﺮﻳﻒ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺩﺍﺋﺮﻩ ﺍﻟﻤﻌﺎﺭﻑ ﻫﻨﺮ‪ ،‬ﮔﺮﻩ‬ ‫ﻃﻴﻒ ﻭﺳﻴﻌﻲ ﺍﺯ ﻃﺮﺡﻫﺎﻱ ﻣﺸﺎﺑﻪ‬
‫ﻧﻮﻋﻲ ﺭﻭﺵ ﺳﺎﺯﻣﺎﻧﺪﻫﻲ ﻧﻘﺶﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺍﺳﺖ ﺑﻄﻮﺭﻳﮑﻪ‬ ‫ﻫﻨﺪﺳﻲ ﺑﻪﻣﺜﺎﺑﻪ ﺁﻧﭽﻪ ﮐﻪ ﺑﻌﻨﻮﺍﻥ‬
‫ﮔﺮﻩﭼﻴﻨﻲ ﺩﺭ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻱ ﺍﻃﻼﻕ‬
‫ﺍﺯ ﻧﺘﺎﻳﺞ ﺁﻥ‪ ،‬ﻃﺮﺣﻲ ﺑﺎﻓﺘﻪ ﻭ ﻣﻮﺯﻭﻥ ﺣﺎﺻﻞ ﺁﻳﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ‬
‫ﻣﻲﺷﻮﺩ ﺑﻪ ﺷﻤﺎﺭ ﻧﻴﺎﻳﺪ )ﻧﺠﻴﺐ ﺍﻭﻏﻠﻮ‪،‬‬
‫ﺩﺭ ﺗﻌﺎﺭﻳﻒ ﺍﺳﺎﺗﻴﺪ ﺣﻮﺯﻩ ﻫﻨﺮﻫﺎﻱ ﺳﻨﺘﻲ‪ ،‬ﻫﻤﭽﻮﻥ ﺍﺳﺘﺎﺩ‬ ‫‪.(١٣٠ ،١٣٧٩‬‬
‫ﻟﺮﺯﺍﺩﻩ ﻭ ﺷﻌﺮﺑﺎﻑ‪ ،‬ﮔﺮﻩ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ ﺗﺮﮐﻴﺒﻲ ﻳﮑﭙﺎﺭﭼﻪ‬ ‫‪ .٢‬ﺍﻳﻦ ﻧﺤﻮﻩ ﺍﺭﺍﺋﻪ ﻭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪،‬‬
‫ﺍﺯ ﻧﻘﺶﻫﺎﻱ ﻫﻨﺪﺳﻲ ﻣﺘﻨﻮﻉ ﮐﻪ ﺩﺭ ﻳﮏ ﭼﻬﺎﺭﭼﻮﺏ ﻣﺸﺨﺺ‬ ‫ﮐﻪ ﻣﺘﺄﺳﻔﺎﻧﻪ ﺩﺭ ﺗﺤﻘﻴﻘﺎﺕ ﻣﻌﺎﺻﺮ‬
‫ﺑﺨﺼﻮﺹ ﻣﺤﻘﻘﻴﻖ ﺧﺎﺭﺟﻲ ﻣﻐﻔﻮﻝ‬
‫ﻭﺍﻗﻊ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﻳﮑﻲ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ‬
‫ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﻓﻠﺬﺍ ﺩﺭ ﮔﺮﻩﺳﺎﺯﻱ‪ ،‬ﺗﺄﮐﻴﺪ ﺑﺮ ﻗﻮﺍﻋﺪ ﻭ‬ ‫ﺭﻭﺷﻬﺎﻱ ﺗﺮﺳﻴﻢ ﻭ ﮔﺴﺘﺮﺵ ﮔﺮﻩ‬
‫ﺍﺻﻮﻟﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻳﮏ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻭ ﻧﻘﺶ‬ ‫ﺍﺳﺖ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﺩﻳﺪﮔﺎﻩ ﺑﺴﻴﺎﺭﻱ‬
‫ﺍﺯ ﻣﺤﻘﻘﻴﻦ ﺳﻨﺖ ﮔﺮﺍﻱ ﻣﻌﺎﺻﺮ‪،‬‬
‫ﺧﺎﺳﺘﮕﺎﻩ ﻭ ﻣﻨﺸﺎﺀ ﻇﻬﻮﺭ ﮔﺮﻩ ﺗﺄﮐﻴﺪ‬
‫ﻣﺘﻤﺎﻳﺰ ﻣﻲﮐﻨﺪ‪ .‬ﺍﻳﻦ ﻗﻮﺍﻋﺪ ﺗﺮﮐﻴﺒﻲ ﺍﺯ ﻭﺍﺣﺪﻫﺎﻱ ﻫﻨﺪﺳﻲ‬ ‫ﺑﺮ ﺍﺻﻞ ﻓﻮﻕ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺟﻪ ﺑﺼﺮﻱ‬
‫ﭘﺎﻳﻪ ﻫﺴﺘﻨﺪ ﮐﻪ ﺑﻪ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﻣﻌﺮﻭﻑ ﺑﻮﺩﻩ ﻭ ﻣﺒﺘﻨﻲ ﺑﺮ‬ ‫ﻣﺒﺎﻧﻲ ﺣﮑﻤﻲ ﻓﻠﺴﻔﻲ ﺣﺎﮐﻢ ﺑﺮ ﻗﺮﻭﻥ‬
‫ﻃﺮﺍﺣﻲ ﻫﻨﺪﺳﻲ ﺧﺎﺹ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺍﺳﺘﻮﺍﺭ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺑﺮ‬ ‫ﭼﻬﺎﺭﻡ ﻭ ﭘﻨﺠﻢ ﻫﺠﺮﻱ ﻗﻤﺮﻱ ﺑﻮﺩﻩ‬
‫ﺍﺳﺖ‪ .‬ﻓﻠﺬﺍ ﺍﺯ ﺁﻥ ﺑﻪﻋﻨﻮﺍﻥ ﻣﻬﻢﺗﺮﻳﻦ‬
‫ﺍﺳﺎﺱ ﺁﻣﻮﺯﻩﻫﺎﻱ ﺍﺳﺘﺎﺩﺍﻥ ﺍﻳﺮﺍﻧﻲ ﻗﻮﺍﻋﺪ ﻭ ﺧﺼﻮﺻﻴﺎﺕ‬
‫ﻭ ﺍﺻﻠﻲﺗﺮﻳﻦ ﺭﮐﻦ ﮔﺮﻩ ﺳﺎﺯﻱ ﻳﺎ ﺑﻪ‬
‫ﮔﺮﻩﭼﻴﻨﻲ ﭼﻨﻴﻦ ﺍﺳﺖ‪ :‬ﻧﺨﺴﺖ ﺁﻧﮑﻪ ﻗﺎﺑﻠﻴﺖ ﺗﮑﺮﺍﺭ‪ ،‬ﺣﺮﮐﺖ‬ ‫ﻋﺒﺎﺭﺗﻲ ﺑﻬﺘﺮ ﻣﻬﻢﺗﺮﻳﻦ ﻗﺎﻋﺪﻩ ﮔﺮﻩ‬
‫ﻭ ﺧﻠﻖ ﻣﺪﺍﻭﻡ ﺩﺭ ﮐﻨﺎﺭﻩﻫﺎﻱ ﺧﻮﺩ ﺭﺍ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﻪ‬ ‫ﺍﻃﻼﻕ ﻣﻲﮐﻨﻨﺪ‪ ،‬ﺑﺪﻳﻦ ﻣﻌﻨﺎ ﮐﻪ ﭼﻨﺎﻧﭽﻪ‬
‫ﻧﺤﻮﻱ ﮐﻪ ﻫﺮﮔﺎﻩ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﺩﺭ ﻫﺮ ﻳﮏ ﺍﺯ ﺟﻮﺍﻧﺒﺶ ﺗﮑﺮﺍﺭ‬ ‫ﻧﻘﺸﻲ ﻫﻨﺪﺳﻲ ﻓﺎﻗﺪ ﺍﺻﻞ ﻓﻮﻕ ﺑﺎﺷﺪ‬
‫ﻣﻌﻨﺎﻱ ﮔﺮﻩ ﺍﻃﻼﻕ ﻧﺨﻮﺍﻫﺪ ﺷﺪ‪.‬‬
‫ﺷﻮﺩ‪ ،‬ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﻣﺘﮑﺎﻣﻞ ﺗﺮ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺩﻭﻡ ﺁﻧﮑﻪ ﮔﺮﻩ‬ ‫ﻫﻤﭽﻨﻴﻦ ﺍﺻﻞ ﺯﺍﻳﺶ ﮔﺮﻩ ﺍﻣﺮﻭﺯﻩ‬
‫ﻗﺎﺑﻠﻴﺖ ﺯﺍﻳﺶ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻳﻌﻨﻲ ﺩﺭ ﺩﺭﻭﻥ ﺧﻮﺩ ﺍﻣﮑﺎﻥ‬ ‫ﻣﺒﻨﺎﻱ ﺗﺎﻭﻳﻞ ﻭ ﺗﻄﺒﻴﻖ ﻧﻘﺶ ﻫﻨﺪﺳﻲ‬
‫ﺧﺮﺩ ﺷﺪﻥ ﺑﻮﺳﻴﻠﻪ ﮔﺮﻩﺍﻱ ﺛﺎﻧﻮﻱ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺑﻪ ﻧﺤﻮﻱ‬ ‫ﮔﺮﻩ ﺑﺎ ﻣﺒﺎﻧﻲ ﺣﮑﻤﻲ ﻋﺮﻓﺎﻧﻲ ﻫﻤﭽﻮﻥ‬
‫»ﻭﺣﺪﺕ ﻭﺟﻮﺩ«‪» ،‬ﻗﺎﻋﺪﻩ ﺗﺠﺪﺩ‬
‫ﺍﻣﺜﺎﻝ«‪» ،‬ﺣﺮﮐﺖ ﺟﻮﻫﺮﻱ« ﻭ ‪ ...‬ﺑﻮﺩﻩ‬
‫ﮐﻨﺪ‪ .‬ﻭ ﻧﻬﺎﻳﺘﺎ ﺍﻳﻨﮑﻪ ﺁﻟﺖ ﺧﺎﺭﺝ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺑﺪﻳﻦ ﻣﻨﻈﻮﺭ‬ ‫ﮐﻪ ﺑﺮ ﻣﺒﻨﺎﻱ ﺷﻨﺎﺧﺖ ﮐﺎﻣﻞ ﺍﺯ ﺍﺻﻞ‬
‫ﮐﻪ ﮔﺮﻩ ﺩﺭ ﺗﻤﺎﻡ ﺻﻮﺭ ﻭ ﺍﻃﻮﺍ ِﺭ ﺧﻮﻳﺶ‪ ،‬ﺻﻮﺭﺗﻲ ﺟﺰ ﺁﻧﮑﻪ‬ ‫ﺧﺮﺩ ﺷﺪﻥ ﮔﺮﻩ ﻭ ﺍﺻﻞ ﺯﺍﻳﻨﺪﮔﻲ‬
‫ﺑﺪﺍﻥ ﺷﻨﺎﺧﺘﻪ ﻭ ﺗﻌﺮﻳﻒ ﻣﻲﮔﺮﺩﺩ‪ ،‬ﻧﭙﺬﻳﺮﺩ‪.‬‬ ‫ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﻓﻠﺬﺍ ﺑﺪﻭﻥ ﺷﻨﺎﺧﺖ ﺳﺎﺯ‬
‫ﻭ ﮐﺎﺭ ﻭ ﺭﻣﻮﺯ ﺍﺻﻞ ﺯﺍﻳﻨﺪﮔﻲ ﺗﺤﻠﻴﻞ‪،‬‬
‫ﻫﺪﻑ ﺍﺯ ﻧﻮﺷﺘﺎﺭ ﺣﺎﺿﺮ‪ ،‬ﺍﺭﺍﺋﻪ ﻣﺪﻝﻫﺎﻱ ﮔﺎﻡﺑﻪﮔﺎﻡ ﺭﻭﺵ‬
‫ﺗﻄﺒﻴﻖ ﻭ ﺗﺎﻭﻳﻞ ﺣﮑﻤﻲ ﻋﺮﻓﺎﻧﻲ ﺍﺯ ﮔﺮﻩ‬
‫ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﻣﺒﺘﻨﻲ ﺑﺮ ﻣﻬﻤﺘﺮﻳﻦ ﻗﺎﻋﺪﻩ ﺭﺳﻢ ﮔﺮﻩ )ﺯﺍﻳﻨﺪﮔﻲ(‬ ‫ﻭ ﺷﻨﺎﺧﺖ ﺳﺎﻳﺮ ﻗﺎﺑﻠﻴﺖﻫﺎﻱ ﺁﻥ ﺍﻣﮑﺎﻥ‬
‫ﺑﺮ ﺍﺳﺎﺱ ﺁﻣﻮﺯﻩﻫﺎﻱ ﺳﻨﺖ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ ﺍﺳﻼﻣﻲ ﺍﺳﺖ‪.‬‬ ‫ﭘﺬﻳﺮ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺩﺭ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺳﻌﻲ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﺗﺎ‬ ‫‪ .٣‬ﻣﻨﻄﻖ ﺍﺻﻠﻲ ﺩﺭ ﺍﻟﮕﻮﻫﺎﻱ ﮔﺮﻩ‬
‫ﺳﺎﺯﻱ ﻣﺤﻘﻘﻴﻖ ﻏﺮﺑﻲ‪ ،‬ﺑﺮ ﺧﻼﻑ‬
‫ﺿﻤﻦ ﻣﻌﺮﻓﻲ ﻭ ﺭﺳﻢ ﮔﺮﻩ ﺑﻪ ﻃﺮﻳﻖ ﺁﻟﺖﻫﺎﻱ ﺁﻥ‪ ،‬ﻧﺤﻮﻩ‬ ‫ﺍﻟﮕﻮﻱ ﮔﺮﻩﺳﺎﺯﻱ ﺳﻨﺘﻲ‪ ،‬ﻋﺪﻡ ﺗﻮﺟﻪ‬
‫ﺯﺍﻳﺶﻫﺎﻱ ﻣﺴﺘﻤﺮ ﻭ ﻣﺪﺍﻭﻡ ﮔﺮﻩﻫﺎ ﺍﺯ ﺩﺭﻭﻥ ﮔﺮﻩﻫﺎﻱ‬ ‫ﺑﻪ ﺯﻣﻴﻨﻪ ﻭ ﮔﺮﻩﺳﺎﺯﻱ ﺩﺭ ﻓﻀﺎﻱ‬
‫ﺯﻣﻴﻨﻪ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﻮﺩ‪ .‬ﺳﻮﺍﻻﺕ ﭘﮋﻭﻫﺶ ﻋﺒﺎﺭﺗﻨﺪ ﺍﺯ‪-۱ :‬‬ ‫ﺑﻴﮑﺮﺍﻥ ﺍﺳﺖ )ﮐﺴﺮﺍﺋﻲ‪.(٣٦ ،١٣٩٢ ،‬‬
‫‪ .٤‬ﻏﻴﺮ ﺍﺯ ﮔﺮﻩ ﺩﻩ‪ ،‬ﮔﺮﻩﻫﺎﻱ ﺗﮏ‬
‫ﺯﻣﻴﻨﻪﺍﻱ ﺩﻳﮕﺮ ﻫﻤﭽﻮﻥ ﮔﺮﻩ ‪ ٨‬ﻭ ﮔﺮﻩ‬
‫ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﺪﺍﻣﻨﺪ؟ ‪ -۲‬ﻧﺤﻮﻩ ﺣﺼﻮﻝ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ‬ ‫‪ ١٢‬ﻧﻴﺰ ﻣﻲﺗﻮﺍﻥ ﺭﺳﻢ ﮐﺮﺩ‪.‬‬
‫ﺩﺭ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ ﻭ ﺍﻳﺠﺎﺩ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺯﺍﻳﻴﺪﻩﺷﺪﻩ‬ ‫‪ .٥‬ﮔﺮﻩ ﺩﻩ ﺑﻪ ﮔﺮﻩﺍﻱ ﮔﻔﺘﻪ ﻣﻲﺷﻮﺩ ﮐﻪ‬
‫ﭼﮕﻮﻧﻪ ﺍﻧﺠﺎﻡ ﻣﻲﺷﻮﺩ؟ ‪ -۳‬ﻣﺴﺌﻠﻪ ﺍﺳﺘﻤﺮﺍﺭ ﻭ ﭘﻴﻮﺳﺘﮕﻲ‬ ‫ﺩﺍﺭﺍﻱ ﺷﻤﺴﻪ ﺩﻩ ﭘﺮ ﺑﻮﺩﻩ ﻭ ﺩﻩ ﺗﺮﻧﺞ‬
‫ﮔﺮﺩﺍﮔﺮﺩ ﺷﻤﺴﻪ ﺭﺍ ﻓﺮﺍ ﮔﺮﻓﺘﻪ ﺑﺎﺷﺪ‬
‫ﮔﺮﻩﻫﺎ ﺩﺭ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﭼﮕﻮﻧﻪ ﺍﻧﺠﺎﻡ ﻣﻲﭘﺬﻳﺮﺩ؟‬
‫)ﻋﻨﺒﺮﻱ ﻳﺰﺩﻱ‪٦٢ ،٦٢ ،١٣٩٤ ،‬؛ ﺭﺋﻴﺲ‬
‫ﺍﻫﻤﻴﺖ ﻭ ﺿﺮﻭﺭﺕ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺑﺪﺍﻥ ﺟﻬﺖ ﻣﻲﺑﺎﺷﺪ‬ ‫ﺯﺍﺩﻩ‪.(١٤٤ ،١٣٩٣ ،‬‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬
‫ﻣﺒﻨﺎﻱ ﻣﻄﺎﻟﻌﺎﺕ ﻣﺤﻘﻘﻴﻦ ﺧﺎﺭﺟﻲ ﻫﻤﭽﻮﻥ ﮔﺮﺍﻧﺒﺎﻭﻡ‪۱‬ﻭ‬
‫ﺷﭙﺮﺩ‪ (۱۹۹۲) ۲‬ﺑﻮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺁﻥ ﺑﺮ ﭘﺎﻳﻪ ﻭﻳﮋﮔﻲﻫﺎﻱ‬
‫ﻣﺸﺘﺮﮎ ﺩﺭ ﺍﻟﮕﻮﻱ ﮔﺮﻩﻫﺎ ﺑﻪ ﺩﺳﺘﻪ ﺑﻨﺪﻱ ﻭ ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻱ‬
‫ﺯﻳﺮﺑﻨﺎﺋﻲ ﻫﺮ ﮐﺪﺍﻡ ﺍﺯ ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺗﻼﺷﻲ ﺩﻳﮕﺮ‪ ،‬ﻋﺒﺎﺱ‪۳‬ﻭ ﺳﻠﻤﺎﻥ‪ (۱۹۹۲) ۴‬ﻣﻄﺎﺑﻖ ﺑﺎ‬
‫ﺭﻭﻳﮑﺮﺩ ﮔﺮﺍﻧﺒﺎﻭﻡ ﻭ ﺷﭙﺮﺩ‪ ،‬ﺑﻪ ﮐﺸﻒ ﻭ ﮔﺴﺘﺮﺵ ﺩﺍﻣﻨﻪ‬
‫ﺍﻟﮕﻮﻱ ﮔﺮﻩﻫﺎﻱ ﻫﻨﺪﺳﻲ ﭘﺮﺩﺍﺧﺘﻨﺪ‪ .‬ﺩﺭ ﻳﮑﻲ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ‬
‫ﺗﺤﻘﻴﻘﺎﺕ‪ ،‬ﻫﺎﻧﮑﻴﻦ‪ ۵‬ﺩﺭ "ﺗﺮﺳﻴﻢ ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺩﺭ‬
‫ﻫﻨﺮ ﺍﺳﻼﻣﻲ" )‪ ،(۱۹۲۵‬ﻣﺜﺎﻝﻫﺎﻳﻲ ﺍﺯ "ﺭﻭﺵﻫﺎﻱ ﺗﺮﺳﻴﻢ‬
‫ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺍﺳﻼﻣﻲ" )‪ (۱۹۳۴‬ﻭ "ﺑﻌﻀﻲ ﻃﺮﺡﻫﺎﻱ‬
‫ﭘﻴﭽﻴﺪﻩ ﺍﺳﻼﻣﻲ" )‪ (۱۹۳۶‬ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ ﮐﻪ ﻣﺒﻨﺎﻱ ﺑﺴﻴﺎﺭﻱ‬
‫ﺍﺯ ﺗﺤﻘﻴﻘﺎﺕ ﺩﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻲﮔﻴﺮﺩ‪ ،‬ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﻄﺎﻟﻌﺎﺕ ﻫﺎﻧﮑﻴﻦ‬
‫ﻭ ﺑﺮ ﺍﺳﺎﺱ ﻳﺎﻓﺘﻪﻫﺎﻱ ﻭﻱ‪ ،‬ﻣﺤﻘﻘﻴﻨﻲ ﻫﻤﭽﻮﻥ ﺟﻲ ﺑﻮﻧﺮ‪۶‬‬
‫ﺩﺭ "ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺍﺳﻼﻣﻲ" )‪ (۲۰۱۲‬ﻭ "ﺳﻪ ﺍﺻﻞ ﺧﻮﺩ‬
‫ﻣﺘﺸﺎﺑﻬﻲ ﺩﺭ ﺗﺰﺋﻴﻨﺎﺕ ﻫﻨﺪﺳﻲ ﺍﺳﻼﻣﻲ ﻗﺮﻭﻥ ‪۱۴‬ﻭ‪"۱۵‬‬
‫)‪ ،(۲۰۰۳‬ﻟﻴﻦ ﺑﻮﺩﻧﺮ‪ ۷‬ﺩﺭ ﺭﻭﺵ ﺍﺑﺪﺍﻋﻲ ﺧﻮﺩ ﺑﺮ ﻣﺒﻨﺎﻱ‬
‫ﺗﺤﻠﻴﻞ ﺭﻭﺵﻫﺎﻱ ﻫﺎﻧﮑﻴﻦ )‪ (۲۰۱۱‬ﻭ ﺑﻮﺭﮊﻭﺍﻥ )‪،(۲۰۱۰‬‬
‫ﻣﺪﻝ ﻫﺎﺋﻲ ﺑﺮ ﺍﺳﺎﺱ ﭼﻨﺪﺿﻠﻌﻲ ‪ n‬ﻭﺟﻬﻲ ﻣﺤﺎﻁ ﺩﺭ‬
‫ﺩﺍﻳﺮﻩ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ‪ .‬ﺍﻣﺎ ﻣﻬﻤﺘﺮﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ‬
‫ﭘﮋﻭﻫﺶﻫﺎﻱ ﺁﻗﺎﻱ ﮔﺮﻳﮏ ﮐﺎﭘﻼﻥ‪ ۸‬ﺩﺭ ﺭﺳﺎﻟﻪ ﺩﮐﺘﺮﻱ ﺧﻮﺩ‬
‫ﺩﺭ ﺧﺼﻮﺹ ﮔﺮﻩﭼﻴﻨﻲ ﻭ ﺗﺰﺋﻴﻨﺎﺕ ﺍﺳﻼﻣﻲ ﺍﺳﺖ ﮐﻪ ﺑﺎ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻱ ﮐﺎﻣﭙﻴﻮﺗﺮﻱ ﻫﻤﭽﻮﻥ ﺗﺎﭘﺮﻳﺘﺲ‪ ۹‬ﺑﻪ‬
‫ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻫﺎﻱ ﺟﺪﻳﺪ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﻴﻦ‬
‫ﺳﺎﻳﺮ ﻣﻄﺎﻟﻌﺎﺕ ﻭﻱ ﺑﻪ ﻫﻤﺮﺍﻩ ﺳﺎﻟﺴﻴﻦ‪ ۱۰‬ﺩﺭ »ﺍﻟﮕﻮﻫﺎﻱ‬
‫ﺳﺘﺎﺭﻩﺍﻱ ﺍﺳﻼﻣﻲ ﺩﺭ ﻫﻨﺪﺳﻪ ﺯﻣﻴﻨﻪ«) ‪ ۲۰۰۴‬ﻭ ‪(۲۰۰۵‬‬
‫ﺑﻪ ﻫﻤﺮﺍﻩ ﭼﻨﺪﻳﻦ ﺗﺤﻘﻴﻖ ﺩﻳﮕﺮ ﻣﺒﻨﺎﻱ ﻣﻄﺎﻟﻌﺎﺕ ﺑﺴﻴﺎﺭﻱ‬
‫ﺍﺯ ﭘﮋﻭﻫﺸﮕﺮﺍﻥ ﻣﻌﺎﺻﺮ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬ﺍﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ‪ ،‬ﻣﻨﺠﺮ‬
‫ﺑﻪ ﺑﺎﺯﺷﻨﺎﺳﻲ ﻣﻨﻄﻖ ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ ﻭ ﺍﺑﺪﺍﻉ ﺭﻭﺵﻫﺎﻱ‬
‫ﺍﻟﮕﻮﺭﻳﺘﻤﻴﮏ ﻭ ﭘﺎﺭﺍﻣﺘﺮﻳﮏ ﺟﻬﺖ ﺁﻧﺎﻟﻴﺰ ﻭ ﺗﺮﺳﻴﻤﺎﺕ‬
‫ﮔﺮﻩ ﮔﺮﺩﻳﺪﻩ ﻭﺑﺮ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲﻫﺎﻱ ﺩﺭ ﺗﻤﺎﺱ )ﺷﺒﮑﻪﻫﺎﻱ‬
‫ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ( ﺗﺄﮐﻴﺪ ﺩﺍﺭﺩ‪.‬ﺭﻭﺵﻫﺎﻱ ﻣﺬﮐﻮﺭ‪ ،‬ﺑﺮ‬
‫ﺍﺳﺎﺱ ﻭﻳﮋﮔﻲﻫﺎﻱ ﺍﻟﮕﻮﻫﺎﻱ ﺳﻨﺘﻲ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﻭ ﺗﻮﻟﻴﺪ‬
‫ﺁﻻﺕ ﺁﻥ ﻧﻤﻲ ﺑﺎﺷﺪ‪.‬‬
‫ﺍﻟﮕﻮﻫﺎﻱ ﺳﻨﺘﻲ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﻫﺎ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﻣﻌﺮﻓﻲ‬
‫ﺍﻧﻮﺍﻉ ﺭﻭﺵﻫﺎﻱ ﺳﻨﺘﻲ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‬
‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻗﺎﺑﻠﻴﺖﻫﺎﻱ ﻧﻬﻔﺘﻪ ﻭ ﭘﻴﭽﻴﺪﮔﻲﻫﺎﻳﻲ ﮐﻪ ﺩﺭﮔﺮﻩﻫﺎ‬
‫‪1.BrankoGrunbaum‬‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺭﻭﺵﻫﺎﻱ ﻣﺘﻌﺪﺩﻱ ﺑﺮﺍﻱ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎ‬
‫‪2.G.C. Shepard‬‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻳﮑﻲ ﺍﺯ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩﺗﺮﻳﻦ ﻭ ﻏﺎﻟﺐﺗﺮﻳﻦ‬
‫‪3.Syed jan Abas‬‬ ‫ﺭﻭﺵ ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ ﮐﻪ ﻫﻢ ﺩﺭ ﺍﺳﻨﺎﺩ ﻭ ﻣﺪﺍﺭﮎ ﺗﺎﺭﻳﺨﻲ‬
‫‪4. Amer Shaker Salman‬‬
‫‪5.E. Hanbury Hankin‬‬ ‫ﻭ ﻫﻢ ﺭﻭﺵﻫﺎﻱ ﻣﻌﺮﻓﻲ ﺷﺪﻩ ﺍﻣﺮﻭﺯﻱ ﻭ ﺍﺑﺪﺍﻋﻲ ﺗﻮﺳﻂ‬
‫‪6.Jay Bonner‬‬ ‫ﻣﺤﻘﻘﻴﻦ ﻣﻌﺎﺻﺮ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ‬
‫‪7.B. Lynn Bodner‬‬ ‫ﺯﻳﺮﺳﺎﺧﺘﻲ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﮔﺮﺩﺩ )ﺩﺭ‬
‫‪8.Craig S. Kaplan‬‬
‫ﺍﻳﻦ ﺧﺼﻮﺹ ﺭﺟﻮﻉ ﺷﻮﺩ ﺑﻪ ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪۱۳۹۳ ،‬؛ ﺷﻌﺮ‬
‫‪9.Taprats‬‬
‫‪10.Craig S. Kaplan and‬‬ ‫ﺑﺎﻑ‪ .(۱۳۸۵،‬ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﺷﺒﮑﻪﻫﺎﻱ ﺯﻳﺮﺳﺎﺧﺘﻲ ﮐﻪ ﺩﺭ‬
‫‪David H. Salesin‬‬ ‫ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ ﺍﺯ ﻋﻤﻮﻣﻴﺖ ﺑﻴﺸﺘﺮﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ ،‬ﺩﻭ‬
‫‪۷۹‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
‫ﭘﻴﺸﻴﻨﻪ ﺗﺤﻘﻴﻖ‬
‫ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﮐﺘﺐ ﺩﺳﺖ ﺍﻭﻝ ﺗﺎﺭﻳﺨﻲ ﺩﺭ ﺧﺼﻮﺹ‬
‫ﮔﺮﻩﺳﺎﺯﻱ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﺭﺳﺎﻟﻪﻫﺎﻱ ﻫﻨﺪﺳﻲ ﻋﻤﻠﻲ ﻫﻤﭽﻮﻥ‬
‫ﺭﺳﺎﻟﻪﺍﻱ ﻣﻨﻈﻢ ﺑﻪ ﺗﺮﺟﻤﻪ ﮐﺘﺎﺏ ﺍﺑﻮﺍﻟﻮﻓﺎﺀ ﺑﻮﺯﺟﺎﻧﻲ ﻣﺮﺑﻮﻁ‬
‫ﺑﻪ ﻗﺮﻥ ﭼﻬﺎﺭﻡ ﻫﺠﺮﻱ ﺗﺤﺖ ﻋﻨﻮﺍﻥ "ﻓﻲ ﺗﺪﺍﺧﻞ ﺍﻻﺷﮑﺎﻝ‬
‫ﺍﻟﻤﺸﺎﺑﻬﻪ ﻭ ﺍﻟﻤﺘﺮﺍﺩﻓﻪ" ﻧﺎﻡ ﺑﺮﺩ )ﻧﺠﻴﺐ ﺍﻭﻏﻠﻮ‪:۱۳۷۹ ،‬‬
‫‪۱۸۲‬؛ ﺻﺎﺣﺐ ﻣﺤﻤﺪﻳﺎﻥ ‪ (۷۱ :۱۳۹۱‬ﮐﻪ ﻗﺪﻳﻤﻲ ﺗﺮﻳﻦ ﻣﺘﻦ‬
‫ﮐﺎﺭﺑﺮﺩﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﺧﺼﻮﺹ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎﻱ‬
‫ﺩﻭﺑﻌﺪﻱ ﺍﺳﺖ )ﺟﺪﻱ‪ (۹۱ :۱۳۸۳ ،‬ﻭ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﻭ‬
‫ﺍﺭﺍﻧﻪ ﮔﺮﻩ ﺩﺭ ﺁﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‬
‫ﺍﻧﺠﺎﻡ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻲ ﺩﻳﮕﺮﻱ ﮐﻪ ﻋﻤﺪﺗﺎ ﻣﺮﺑﻮﻁ‬
‫ﺑﻪ ﻃﻮﻣﺎﺭﻫﺎﻱ ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺍﺯ ﻗﺮﻭﻥ ﻫﺸﺘﻢ ﺗﺎ ﺩﻫﻢ ﻫﺠﺮﻱ‬
‫ﻫﻤﭽﻮﻥ ﻃﻮﻣﺎﺭ ﺗﺎﺷﮑﻨﺪ ﻣﺮﺑﻮﻁ ﺑﻪ ﻗﺮﻥ ‪ ۱۰‬ﻫﺠﺮﻱ ﻭ‬
‫ﻃﻮﻣﺎﺭ ﺗﻮﭘﻘﺎﭘﻲ ﻗﺮﻥ ﻫﺸﺘﻢ ﻫﺠﺮﻱ ﺍﺳﺖ‪ ،‬ﻣﺒﻨﺎﻱ ﺗﺮﺳﻴﻤﺎﺕ‬
‫ﮔﺮﻩ ﺑﻴﺸﺘﺮ ﺩﺭ ﺭﺍﺳﺘﺎﻱ ﮐﺘﺎﺏ ﻓﻲ ﺗﺪﺍﺧﻞ ﺍﻻﺷﮑﺎﻝ ﻣﻨﺴﺐ‬
‫ﺑﻪ ﺑﻮﺯﺟﺎﻧﻲ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ ﺯﻳﺮﺳﺎﺧﺘﻲ ﺍﻧﺠﺎﻡ‬
‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺳﺪﻩ ﺍﺧﻴﺮ ﻣﺠﻤﻮﻋﻪﺍﻱ ﺍﺭﺯﺷﻤﻨﺪ ﺍﺯ ﻧﺤﻮﻩ‬
‫ﻃﺮﺍﺣﻲ ﻭ ﺍﺟﺮﺍﻱ ﮔﺮﻩﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺑﺮ ﻣﺒﻨﺎﻱ ﺁﻣﻮﺯﻩﻫﺎﻱ‬
‫ﻣﻌﻤﺎﺭﺍﻥ ﺳﻨﺘﻲ ﮐﻪ ﻣﻴﺮﺍﺙ ﺩﺍﺭ ﺁﻣﻮﺯﺵ ﻫﺎﺱ ﺳﻴﻨﻪ‬
‫ﺑﻪ ﺳﻴﻨﻪ ﻫﺴﺘﻨﺪ‪ ،‬ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺤﻘﻘﺎﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﮐﻪ ﺍﺯ‬
‫ﻣﻬﻤﺘﺮﻳﻦ ﺁﻧﻬﺎ ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﺁﻣﻮﺯﻩﻫﺎﻱ ﺍﺳﺘﺎﺩ ﻟﺮﺯﺍﺩﻩ )ﺭﺋﻴﺲ‬
‫ﺯﺍﺩﻩ ﻭ ﻣﻔﻴﺪ‪ (۱۳۹۳ ،‬ﻭ ﺩﺳﺖ ﻧﮕﺎﺭﻩﻫﺎﻳﻲ ﺍﺯ ﺍﺳﺘﺎﺩ ﺍﺻﻐﺮ‬
‫ﺷﻌﺮﺑﺎﻑ )ﺷﻌﺮﺑﺎﻑ‪ (۱۳۸۵ ،‬ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺳﺘﺎﺩ ﻣﺤﻤﻮﺩ‬
‫ﻣﺎﻫﺮ ﺍﻟﻨﻘﺶ )ﻣﺎﻫﺮ ﺍﻟﻨﻘﺶ‪ (۱۳۶۳ ،‬ﻧﺎﻡ ﺑﺮﺩ ﮐﻪ ﻣﻨﺠﺮ ﺑﻪ‬
‫ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻱ ﮔﺮﻩﻫﺎﻱ ﻣﺨﺘﻠﻒ ﻭ ﻃﺮﺍﺣﻲ ﮔﺮﻩﻫﺎ ﺑﺮ ﻣﺒﻨﺎﻱ‬
‫ﻣﺪﻝﻫﺎﻱ ﺍﺻﻴﻞ ﺍﻳﺮﺍﻧﻲ ﻭ ﺳﻨﺘﻲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﮐﺘﺎﺏ ﺍﺣﻴﺎﺀ‬
‫ﺳﻨﺖﻫﺎﻱ ﺍﺯ ﺩﺳﺖ ﺭﻓﺘﻪ ﺍﺳﺘﺎﺩ ﻟﺮﺯﺍﺩﻩ‪ ،‬ﺩﺭ ﺑﺨﺶ ﮔﺮﻩﭼﻴﻨﻲ‬
‫ﺿﻤﻦ ﻣﻌﺮﻓﻲ ﺍﺻﻞ ﺯﺍﻳﺶ ﮔﺮﻩ ﺑﻌﻨﻮﺍﻥ ﻣﺒﻨﺎﻱ ﮔﺮﻩﺳﺎﺯﻱ‪،‬‬
‫ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮐﺮﺩﻥ )ﺯﺍﻳﻨﺪﮔﻲ( ﮔﺮﻩ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﺻﻮﻝ ﻭ‬
‫ﻗﻮﺍﻋﺪ ﺁﻥ ﻣﻌﺮﻓﻲ ﮔﺮﺩﻳﺪﻩ ﻟﮑﻦ‪ ،‬ﺍﺯ ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻫﺎﻱ ﻋﻤﻠﻲ ﻭ‬
‫ﺗﺮﺳﻴﻤﺎﺕ ﺟﺰﺀ ﺑﻪ ﺟﺰﺀ ﺯﺍﻳﺶ ﮔﺮﻩﻫﺎ ﺍﺯ ﮔﺮﻩﻫﺎﻱ ﺯﻣﻴﻨﻪ‬
‫ﺟﻬﺖ ﺍﺭﺍﺋﻪ ﺍﻟﮕﻮﻱ ﻋﻤﻠﻲ ﻗﺎﻋﺪﻩ ﻣﺬﮐﻮﺭ ﺍﻃﻼﻋﺎﺗﻲ ﺍﺭﺍﺋﻪ‬
‫ﻧﺸﺪﻩ ﺍﺳﺖ )ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪ .(۱۵۵-۱۵۸ :۱۳۹۳ ،‬ﺩﺭ ﮐﺘﺎﺏ‬
‫"ﮔﺮﻩ ﻭ ﮐﺎﺭﺑﻨﺪﻱ" ﺁﻗﺎﻱ ﺍﺻﻐﺮ ﺷﻌﺮﺑﺎﻑ‪ ،‬ﺿﻤﻦ ﻣﻌﺮﻓﻲ‬
‫ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﺑﺮ ﺍﺳﺎﺱ ﺯﻣﻴﻨﻪ ﻭ ﺧﻂ ﺭﻣﺰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‪ ،‬ﺑﻪ ﻣﻌﺮﻓﻲ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫)ﺯﺍﻳﺶ( ﮔﺮﻩ ﻧﻴﺰ ﭘﺮﺩﺍﺧﺘﻪ ﻭ ﭼﻨﺪ ﻧﻤﻮﻧﻪ ﺍﺯ ﮔﺮﻩ ﺗﺮﺳﻴﻢ ﺷﺪﻩ‬
‫ﻣﻄﺎﺑﻖ ﺑﺎ ﻗﺎﻋﺪﻩ ﺯﺍﻳﺶ ﺍﺭﺍﺋﻪ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺍﻃﻼﻋﺎﺕ‬
‫ﻣﺮﺣﻠﻪﺍﻱ ﻭ ﮔﺎﻡﺑﻪﮔﺎﻡ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ‬
‫ﺁﻻﺕ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﻣﻌﺮﻓﻲ ﻧﮕﺮﺩﻳﺪﻩ ﺍﺳﺖ )ﺷﻌﺮﺑﺎﻑ‪:۱۳۸۵ ،‬‬
‫‪۱۳-۴۴‬؛ ﻫﻤﭽﻨﻴﻦ ﺭﺟﻮﻉ ﺷﻮﺩ‪ :‬ﭘﻮﺭﻧﺎﺩﺭﻱ‪-۸۶ ،۱۳۷۹ ،‬‬
‫‪ .(۸۳‬ﻫﻤﭽﻨﻴﻦ ﺩﺭ ﮐﺘﺎﺏ ﮔﺮﻩﭼﻴﻨﻲ ﺁﻗﺎﻱ ﺣﺴﻴﻦ ﺯﻣﺮﺷﻴﺪﻱ‬
‫ﻧﻴﺰ ﺑﺮ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ ﺟﻬﺖ ﺭﺳﻢ ﮔﺮﻩ ﺗﺄﮐﻴﺪ‬
‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﻣﻄﺎﻟﻌﻪ ﺑﺮ ﺭﻭﻱ ﮔﺮﻩ ﻭ ﺷﻨﺎﺧﺖ ﺳﺎﺯ ﻭ ﮐﺎﺭ ﻭ ﺭﻣﻮﺯ ﺁﻥ‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺟﺪﻭﻝ ‪.۱‬ﻧﺤﻮﻩ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﮐﻨﺪ ﺩﻭ ﭘﻨﺞ ﺑﻪ ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ )ﻣﻨﺒﻊ ﺗﺼﺎﻭﻳﺮ‪ :‬ﻋﻨﺒﺮﻱ ﻳﺰﺩﻱ‪،(۶۴-۱۳۹۴:۶۲ ،‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬
‫ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ‬ ‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‬ ‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ‬ ‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ‬ ‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ‬
‫)ﺯﻣﻴﻨﻪ(‬ ‫)ﻭﺍﮔﻴﺮﻩ(‬

‫ﭘﺲ ﺍﺯ ﺍﻧﺠﺎﻡ ﻣﺮﺍﺣﻞ‬ ‫ﻧﻘﺎﻁ ‪ A۱‬ﺑﻪ ‪ F، A۲‬ﺑﻪ ‪A۳‬‬ ‫ﺑﻪ ﻣﺮﮐﺰ ‪ A‬ﻭ ﺷﻌﺎﻉ ‪AF‬‬ ‫ﻧﻘﻄﻪ ‪ E‬ﺭﺍ ﺑﺪﺳﺖ ﻣﻲﺁﻭﺭﻳﻢ‬ ‫ﻋﺮﺽ ﺯﻣﻴﻨﻪ ﻣﺴﺘﻄﻴﻞ ﺭﺍ‬
‫ﺍﻭﻝ ﺗﺎ ﭼﻬﺎﺭﻡ‪ ،‬ﺧﻄﻮﻁ‬ ‫ﺭﺍ ﺩﺭ ﺍﻣﺘﺪﺍﺩ ﻫﻢ ﻣﺘﺼﻞ‬ ‫ﮐﻤﺎﻥ ﻣﻲﺯﻧﻴﻢ‪ .‬ﺍﻳﻦ ﮐﻤﺎﻥ‬ ‫ﻭ ﻋﻤﻮﺩﻱ ﺧﺎﺭﺝ ﻣﻲﮐﻨﻴﻢ‬ ‫ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺩﻟﺨﻮﺍﻩ ﺩﺭ ﻧﻈﺮ‬
‫ﺍﺻﻠﻲ ﻭﺍﮔﻴﺮﻩ ﮔﺮﻩ »ﮐﻨﺪ‬ ‫ﻣﻲﮐﻨﻴﻢ‪ .‬ﻫﻤﭽﻨﻴﻦ ﻧﻘﻄﻪ ‪A۴‬‬ ‫ﺧﻂ ﺳﻮﻡ ﻗﺎﻋﺪﻩ ﻭ ﺧﻂ‬ ‫ﺗﺎ ﻧﻘﺎﻁ ‪ F‬ﻭ ‪ G‬ﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﻣﻲﮔﻴﺮﻳﻢ‪ ،‬ﺳﭙﺲ ﺍﺯ ﺩﻭ ﺳﺮ‬
‫ﺩﻭ ﭘﻨﺞ« ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺑﻪ ‪ B۳‬ﻭﺻﻞ ﻣﻲﮐﻨﻴﻢ‪A۲ .‬‬ ‫‪ AD‬ﺭﺍ ﺑﻪ ﺗﺮﺗﻴﺐ ﺩﺭ ﻧﻘﺎﻁ‬ ‫ﺩﻳﮕﺮ ﻧﻘﺎﻁ ﻃﺒﻖ ﺷﮑﻞ‬ ‫ﺁﻥ ﺩﻭ ﺧﻂ ﻋﻤﻮﺩ ﺍﺧﺮﺍﺝ‬
‫ﺑﺎ ﺭﺳﻢ ﺳﻪ ﭼﻬﺎﺭﻡ ﺩﻳﮕﺮ‬ ‫ﺭﺍ ﺑﻪ ‪ B۱‬ﻭﺻﻞ ﻣﻲﮐﻨﻴﻢ‬ ‫‪ A۲‬ﻭ ‪ A۴‬ﻗﻄﻊ ﻣﻲﮐﻨﺪ‪ .‬ﺑﻪ‬ ‫ﺑﺪﺳﺖ ﺁﻳﺪ‪ .‬ﺧﻂ ‪GF‬‬ ‫ﻣﻲﮐﻨﻴﻢ‪ .‬ﺯﻭﺍﻳﺎﻱ ‪A‬ﻭ ‪C‬‬
‫ﺑﻪ ﺭﻭﺵ ﺍﻧﺘﻘﺎﻝ ﺗﻘﺎﺭﻧﻲ‪،‬‬ ‫ﮐﻪ ﺍﺯ ﻧﻘﻄﻪ ‪ F‬ﮔﺬﺷﺘﻪ ﻭ ‪B۴‬‬ ‫ﻫﻤﻴﻦ ﺗﺮﺗﻴﺐ ﺳﺎﻳﺮ ﮐﻤﺎﻥﻫﺎ‬ ‫ﺑﻪﻋﻨﻮﺍﻥ ﺧﻂ ﺭﻣﺰ ﮔﺮﻩ‬ ‫ﺭﺍ ﺑﻪ ﭘﻨﺞ ﻗﺴﻤﺖ ﻣﺴﺎﻭﻱ‬
‫ﻳﮏ ﺯﻣﻴﻨﻪ ﮐﺎﻣﻞ ﮔﺮﻩ‬ ‫ﺑﺪﺳﺖ ﺁﻳﺪ ﺳﭙﺲ ﻧﻘﻄﻪ ‪A۱‬‬ ‫ﻧﻴﺰ ﺯﺩﻩ ﻣﻲﺷﻮﺩ ﺗﺎ ﻧﻘﺎﻁ‬ ‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺗﻘﺴﻴﻢ ﻧﻤﻮﺩﻩ ﻭ ﺧﻄﻮﻁ‬
‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ ﻭ ﭘﺲ‬ ‫ﺭﺍ ﺑﻪ ‪ B۲‬ﻭﺹ ﻭﻱ ﮐﻨﻴﻢ‪.‬‬ ‫‪ B۱‬ﻭ ‪ A۳‬ﻧﻴﺰ ﺑﺪﺳﺖ ﺁﻳﺪ‪.‬‬ ‫ﻗﺎﻋﺪﻩ ﺭﺍ ﺭﺳﻢ ﻣﻲﻧﻤﺎﺋﻴﻢ‪.‬‬
‫ﺍﺯ ﮔﺴﺘﺮﺵ ﻣﻲﺗﻮﺍﻥ‬ ‫ﻫﻤﻴﻦ ﺍﻋﻤﺎﻝ ﺑﺮ ﺭﻭﻱ ﺯﺍﻭﻳﻪ‬ ‫ﻫﻤﻴﻦ ﺍﻋﻤﺎﻝ ﺑﺮ ﺭﻭﻱ ﺯﺍﻭﻳﻪ‬
‫ﮔﺮﻩ ﺭﺍ ﺩﺭ ﺳﻄﺢ ﻭﺳﻴﻊ‬ ‫‪ C‬ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﻣﻲﮔﻴﺮﺩ‪.‬‬ ‫‪ C‬ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﻣﻲﮔﻴﺮﺩ‪.‬‬
‫ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ‬
‫ﺩﺍﺩ‪.‬‬

‫ﮔﺮﭼﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ ﺟﻨﺒﻪ‬
‫ﺗﺎﺭﻳﺨﻲ ﺩﺍﺷﺘﻪ ﻭ ﺩﺭ ﻧﻘﺸﻪﻫﺎﻱ ﻃﻮﻣﺎﺭ ﺗﻮﭘﻘﺎﭘﻲ ﻋﻼﻭﻩ‬
‫ﺑﺮ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﻪ ﺭﻭﺵ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‪ ،‬ﺍﺯ‬
‫ﺷﺒﮑﻪﻫﺎﻱ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ ﻧﻴﺰ ﺍﺳﺘﻔﺎﺩﻩ ﮔﺮﺩﻳﺪﻩ‬
‫ﺍﺳﺖ )ﻧﺠﻴﺐ ﺍﻭﻏﻠﻮ‪ (۱۳۷۹ ،‬ﻟﮑﻨﺎﻭﻟﻴﻦ ﺗﻼﺵ ﺑﺮﺍﻱ ﺍﺭﺍﺋﻪ‬
‫ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ ﻣﺮﺑﻮﻁ ﺑﻪ‬
‫ﻫﺎﻧﮑﻴﻦ ﺍﺳﺖ ﮐﻪ ﺿﻤﻦ ﻣﻌﺮﻓﻲ ﺍﺳﺘﻔﺎﺩﻩ ﺗﺎﺭﻳﺨﻲ ﺍﺯ ﺭﻭﺵ‬
‫ﻓﻮﻗﺪﺭ ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭ ﺣﻤﺎﻡ ﺩﺭ ﻣﺠﻤﻮﻋﻪ‬
‫ﮐﺎﺥ ﻣﺘﻌﻠﻖ ﺑﻪ ﻗﺮﻥ ﺩﻫﻢ ﺩﺭ ﻓﺎﺗﺢ ﭘﻮﺭ ﺳﻴﮑﺮﻱ )ﺭﺟﻮﻉ‬
‫ﺷﻮﺩ‪ ،(Hankin, 1925a ،‬ﻣﺪﻝ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎﻱ ﺷﻤﺴﻪ‬
‫ﺩﺍﺭ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ ﺍﺭﺍﺋﻪ‬
‫ﮐﺮﺩﻩ ﺍﺳﺖ )‪ .(Kaplan, 2002‬ﺩﺭ ﺍﺩﺍﻣﻪ ﻣﺤﻘﻘﻴﻨﻲ ﺩﻳﮕﺮﻱ‬
‫ﻫﺮ ﮐﺪﺍﻡ ﺑﺎ ﺭﻭﻳﮑﺮﺩﻱ ﺧﺎﺹ ﺑﻪ ﺗﺤﻠﻴﻞ ﻭ ﺑﺮﺭﺳﻲ ﻭ ﺍﺭﺍﺋﻪ‬
‫ﺭﻭﺵﻫﺎﻱ ﺗﺮﺳﻴﻢ ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﮔﺮﻩﻫﺎ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ ﭘﺮﺩﺍﺧﺘﻪ ﮐﻪ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﺍﻳﻦ‬
‫ﺗﻼﺵ ﻫﺎ‪ ،‬ﻣﻲﺗﻮﺍﻥ ﺑﻪ ﭘﮋﻭﻫﺶﻫﺎﻱ ﮐﺎﭘﻼﻥ ﺑﺮﺍﻱ ﻋﻤﻮﻣﻲ‬
‫ﺳﺎﺯﻱ ﺭﻭﺵ ﻫﺎﻧﮑﻴﻦ ﺩﺭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪ ،‬ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﭼﻨﺪ ﻣﺮﺣﻠﻪﺍﻱ ﮔﺮﻩ ﺗﻮﺳﻂ ﺑﻮﻧﺮ ﻭ ﻫﻤﭽﻨﻴﻦ ﺭﻭﺵ ﺍﺑﺪﺍﻋﻲ‬
‫ﺑﻮﺩﻧﺮ ﺑﺮﺍﻱ ﺗﺮﺳﻴﻢ ﺗﻌﺪﺍﺩ ﻣﺤﺪﻭﺩﻱ ﺍﺯ ﮔﺮﻩﻫﺎ ﺍﺷﺎﺭﻩ ﮐﺮﺩ‬
‫)‪Bodner, 2010‬؛ ﺟﺪﻭﻝ ‪.(۲‬‬
‫ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ‪ ،‬ﮔﺮﻩ ﻣﻮﺭﺩ ﻧﻈﺮ ﺑﺮ ﺭﻭﻱ ﺷﺒﮑﻪﺍﻱ ﺍﺯ‬
‫‪-۲‬ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﻪ ﻃﺮﻳﻖ ﻗﺎﻋﺪﻩ ﺯﺍﻳﻨﺪﮔﻲ‬
‫ﻣﺒﻨﺎﻱ ﺍﺻﻠﻲ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺍﺭﺍﺋﻪ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﺮ‬
‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺘﻲ ﺷﻌﺎﻋﻲ ﻭ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ‬
‫ﺍﺳﺖ‪.‬‬
‫‪-۱-۱‬ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ ﺩﺭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪،‬‬
‫ﻋﻼﻭﻩ ﺑﺮ ﺍﻋﺘﺒﺎﺭ ﺗﺎﺭﻳﺨﻲ ﺩﺭ ﺭﻭﺵﻫﺎﻱ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺟﻬﺖ‬
‫ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺗﻮﺳﻂ ﻣﻌﻤﺎﺭﺍﻥ ﺳﻨﺘﻲ ﻣﻌﺎﺻﺮ ﻧﻴﺰ ﺍﺯ ﺍﺻﺎﻟﺖ‬
‫ﻭ ﺟﺎﻣﻌﻴﺖ ﺑﻴﺸﺘﺮﻱ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺍﺳﺖ‪ .‬ﻣﺒﻨﺎﻱ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ‪ ،‬ﺑﺮ ﻣﺒﻨﺎﻱ ﺷﻌﺎﻉﻫﺎﻱ ﺧﺎﺭﺝ ﺷﺪﻩ ﺍﺯ‬
‫ﻧﻘﺎﻁ ﻣﺸﺨﺼﻲ ﺍﺯ ﺯﻣﻴﻨﻪ ﻭ ﺧﻄﻲ ﺭﺍﻫﻨﻤﺎ ﺑﻪﻋﻨﻮﺍﻥ ﺧﻂ‬
‫ﺭﻣﺰ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺑﻬﺘﺮ‪ ،‬ﺩﺭ ﺭﻭﺵ ﺯﻳﺮﺳﺎﺧﺖ‬
‫ﺷﻌﺎﻋﻲ‪ ،‬ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺩﻭﺍﻳﺮ ﻣﺘﺤﺪ ﺍﻟﻤﺮﮐﺰﻱ‬
‫ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ ﮐﻪ ﺩﺭ ﻭﺍﮔﻴﺮﻩ ﮔﺮﻩ )ﺭﺑﻊ ﺯﻣﻴﻨﻪ ﮐﺎﻣﻞ ﮔﺮﻩ‬
‫ﻭﺍﮔﻴﺮﻩ ﻣﻲﮔﻮﻳﻨﺪ( ﺭﺳﻢ ﻣﻲﺷﻮﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ ﺭﺳﻢ‪،‬‬
‫ﺷﺮﻭﻉ ﺭﺳﻢ ﺍﺯ ﺯﻭﺍﻳﺎﻱ ﻗﺎﺋﻤﻪﺍﻱ ﺻﻮﺭﺕ ﻣﻲﮔﻴﺮﺩ ﮐﻪ‬
‫ﻣﺮﺍﮐﺰ ﺷﻤﺴﻪﻫﺎ ﺍﺳﺖ ﻭ ﭘﺲ ﺍﺯ ﮐﺎﻣﻞ ﮐﺮﺩﻥ ﻭﺍﮔﻴﺮﻩ ﺑﺎ‬
‫ﺭﺳﻢ ﺳﻪ ﭼﻬﺎﺭﻡ ﺩﻳﮕﺮ ﺑﻪ ﺭﻭﺵ ﺍﻧﺘﻘﺎﻝ ﺗﻘﺎﺭﻧﻲ‪ ،‬ﻳﮏ ﺯﻣﻴﻨﻪ‬
‫ﮐﺎﻣﻞ ﮔﺮﻩ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ )ﺟﺪﻭﻝ‪.(۱‬‬
‫‪-۱-۱‬ﺭﻭﺵ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ‬
‫ﭼﻨﺪﺿﻠﻌﻲﻫﺎﻱ ﻣﻨﺘﻈﻢ ﺑﺎ ﺭﻭﺷﻬﺎﺋﻲ ﮐﻪ ﺑﺨﺼﻮﺹ ﻣﺤﻘﻘﻴﻦ‬
‫ﻏﺮﺑﻲ ﺍﺑﺪﺍﻋﺎﺗﻲ ﻧﻴﺰ ﺑﺮ ﺭﻭﻱ ﺁﻥ ﺩﺍﺷﺘﻪ ﺍﻧﺪ ﺍﻧﺠﺎﻡ ﻣﻲﭘﺬﻳﺮﺩ‪.‬‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬

‫ﺟﺪﻭﻝ‪ .۲‬ﺍﻟﮕﻮﻱ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺘﭽﻨﺪﺿﻠﻌﻲ‪ ،‬ﺭﻭﺵﻫﺎﻱ ﺍﺑﺪﺍﻋﻲ ﺗﻮﺳﻂ ﺷﺮﻕ ﭘﮋﻭﻫﺎﻥ ﻏﺮﺑﻲ ﺟﻬﺖ ﺗﻮﻟﻴﺪ ﻭ ﺗﺮﺳﻴﻢ ﮔﺮﻩﻫﺎﻱ ﺩﻭﺑﻌﺪﻱ‪،‬‬
‫ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‬

‫ﻣﺪﻝ ﻫﺎﻧﮑﻴﻦ ﺑﺮ ﻣﺒﻨﺎﻱ ﺯﺍﻭﻳﻪ ﺑﺮﺧﻮﺭﺩ‪ :‬ﺯﺍﻭﻳﻪ ﻟﺒﻪﻫﺎﻱ ﺑﺮﺁﻣﺪﻩ ﺑﺎ ﻟﺒﻪ ﭼﻨﺪﺿﻠﻌﻲ ﻫﺎ‪ ،‬ﺯﺍﻭﻳﻪ‬ ‫ﺁﺭﺍﻳﺸﻲ‪ X‬ﺷﮑﻞ ﺍﺯ‬ ‫ﭼﻨﺎﻧﭽﻪ ﺷﮑﻞ ﺯﻣﻴﻨﻪ‬
‫ﺑﺮﺧﻮﺭﺩ ﻧﺎﻡ ﺩﺍﺭﺩﻣﺎ ﺣﺼﻞ ﺧﻄﻮﻃﻲ ﺑﻪ ﺷﮑﻞ ‪ x‬ﺩﺭ ﻣﻴﺎﻧﻪ ﺍﺿﻼﻉ ﭼﻨﺪﺿﻠﻌﻲ ﺑﺎ ﺯﺍﻭﻳﻪ‬ ‫ﺧﻄﻮﻃﻲ ﮐﻪ ﺑﻮﺍﺳﻄﻪ‬ ‫ﺣﺬﻑ ﺷﻮﺩ‪ ،‬ﮔﺮﻩ ﻧﻬﺎﻳﻲ‬
‫ﻣﻌﻴﻦ ﻧﺴﺒﺖ ﺑﻪ ﺍﺿﻼﻉ ﺁﻥ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ)ﻣﻨﺒﻊ ﺗﺼﻮﻳﺮ‪ :‬ﻫﻤﺎﻥ(‪.‬‬ ‫ﺭﻭﺵ ﻫﺎﻧﮑﻴﻦ ﺍﻳﺠﺎﺩ‬ ‫ﺑﺮ ﻣﺒﻨﺎﻱ ﺍﻟﮕﻮﻱ ﻫﺎﻧﮑﻴﻦ‬
‫ﻣﻲﺷﻮﺩ )ﻣﻨﺒﻊ‬ ‫ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪) .‬ﻣﻨﺒﻊ‬
‫ﺗﺼﻮﻳﺮ‪ :‬ﻫﻤﺎﻥ(‪.‬‬ ‫ﺗﺼﻮﻳﺮ‪,Kaplan :‬‬
‫‪.(۱۷۸ :۲۰۰۵‬‬

‫ﭼﻨﺪﺿﻠﻌﻲﻫﺎﻱ ﺩﺭ ﺗﻤﺎﺱ ﺑﺎ ﻫﻢ‬ ‫‪θ=22.5‬‬ ‫‪θ=45‬‬ ‫‪θ=67.5‬‬

‫ﮔﺴﺘﺮﺵ ﺍﻟﮕﻮﻱ ﻫﺎﻧﮑﻴﻦ ﺗﻮﺳﻂ ﮐﺎﭘﻼﻥ‪ :‬ﮐﺎﭘﻼﻥ ﺩﺭ ﭘﮋﻭﻫﺸﻲ ﺑﻪ ﺗﻮﺳﻌﻪ ﻭ ﺻﻮﺭﺕﺑﻨﺪﻱ ﺭﻭﺵ ﺩﻳﮕﺮﻱ ﺑﺮﺍﻱ ﺍﺳﺘﺨﺮﺍﺝ ﻫﻨﺪﺳﻪﻱ ﮔﺮﻩﻫﺎﻱ‬
‫ﺍﺳﻼﻣﻲ‪ ،‬ﻣﻲﭘﺮﺩﺍﺯﺩ ﮐﻪ ﺑﺮﭘﺎﻳﻪ ﺭﻭﺵ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪﺿﻠﻌﻲ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ ﺁﻥ ﭼﻪ ﭘﻴﺸﺘﺮ ﺑﻮﺭﮔﻮﻥ )‪،(Bourgoin, 1973‬ﮔﺮﺍﻧﺒﺎﻭﻡ‪ ،‬ﺷﭙﺮﺩ ﻭ‬
‫ﻫﺎﻧﮑﻴﻦ ﺩﺭ ﺁﺛﺎﺭﺷﺎﻥ ﺍﺭﺍﺋﻪ ﮐﺮﺩﻩﺍﻧﺪ‪ ،‬ﺑﻨﺎﺷﺪﻩ ﺍﺳﺖ )‪ .(Kaplan, 2005‬ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ ﺍﺑﺘﺪﺍ ﺑﺮﺍﻱ ﺗﻘﺴﻴﻢ ﺳﻄﺢ‪ ،‬ﻳﮑﻲ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ ﭼﻨﺪﺿﻠﻌﻲﻫﺎﻱ‬
‫ﺩﺭ ﺗﻤﺎﺱ ﺍﻧﺘﺨﺎﺏ ﻣﻲﺷﻮﺩ ﻭ ﺳﭙﺲ ﺍﺯ ﻧﻘﻄﻪ ﻣﻴﺎﻧﻲ ﻫﺮﮐﺪﺍﻡ ﺍﺯ ﺍﺿﻼﻉ ﭼﻨﺪﺿﻠﻌﻲﻫﺎﻱ ﻣﻨﺘﻈﻢ ﻭ ﻏﻴﺮﻣﻨﺘﻈﻢ‪ ،‬ﺩﻭ ﺷﻌﺎﻉ ﺑﺎ ﺯﺍﻭﻳﻪ ‪ θ‬ﺯﺍﻭﻳﻪ ﺗﻤﺎﺳﻨﺴﺒﺖ‬
‫ﺑﻪ ﺿﻠﻊ ﻣﻔﺮﻭﺽ ﺍﺧﺮﺍﺝ ﻣﻲﺷﻮﺩ‪ .‬ﺷﻌﺎﻉﻫﺎﻱ ﺧﺎﺭﺝﺷﺪﻩ ﺍﺯ ﺍﺿﻼﻉ ﻣﺠﺎﻭﺭ ﺗﺎ ﺑﺮﺧﻮﺭﺩ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺍﻣﺘﺪﺍﺩ ﻣﻲﻳﺎﺑﻨﺪ‪ .‬ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﺑﺎ ﺣﺬﻑ ﺷﺒﮑﻪ‬
‫ﺯﻳﺮﻳﻦ‪ ،‬ﺍﻟﮕﻮﻱ ﻫﻨﺪﺳﻲ ﭘﻴﭽﻴﺪﻩﺍﻱ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ ﮐﻪ ﺑﺎ ﺗﻐﻴﻴﺮ ﺩﺭ ﻣﻘﺪﺍﺭ ﺯﺍﻭﻳﻪﻱ ‪ θ‬ﮔﺴﺘﺮﻩ ﻣﺘﻨﻮﻋﻲ ﺍﺯ ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺭﺍ ﺗﻮﻟﻴﺪ ﻣﻲﻧﻤﺎﻳﺪ‪ .‬ﺩﺭ‬
‫ﮔﺎﻡ ﺑﻌﺪ ﺑﺎ ﺧﺎﺭﺝ ﺷﺪﻥ ﺩﻭ ﺷﻌﺎﻉ ﺍﺳﺘﺨﺮﺍﺝ ﺷﺪﻩ ﺑﺎ ﻓﺎﺻﻠﻪﻱ ﺩﻟﺨﻮﺍﻩ ﺍﺯ ﻳﮑﺪﻳﮕﺮ ﺑﻪ ﺟﺎﻱ ﻧﻘﻄﻪ ﻣﻴﺎﻧﻲ‪ ،‬ﺍﻟﮕﻮﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺑﺎ ﺁﺯﺍﺩﻱ ﺑﻴﺸﺘﺮ ﻣﻲﺗﻮﺍﻧﺪ‬
‫ﺍﻟﮕﻮﻱ ﮔﺮﻩﻫﺎﻱ ﺍﺳﻼﻣﻲ ﭘﻴﭽﻴﺪﻩ ﺍﻣﺎ ﻣﺴﺘﻘﻞ ﺍﺯ ﻫﻨﺪﺳﻪ ﺑﺴﺘﺮ ﻃﺮﺡ ﺭﺍ ﺍﻳﺠﺎﺩ ﻧﻤﺎﻳﺪ )ﻣﻨﺒﻊ ﺗﺼﺎﻭﻳﺮ ﻓﻮﻕ‪.(Kaplan, 2005: 179:‬‬

‫ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﺍﻟﮕﻮﺋﻲ ﺍﺯ ﮔﺮﻩﻫﺎﻱ ﺍﺳﻼﻣﻲ‬

‫ﺗﻮﺳﻂ ﮐﺎﭘﻼﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ﮔﺮﺍﻓﻴﮑﻲ‬

‫ﮐﺮﻳﮓ‪ .‬ﺍﺱ‪ .‬ﮐﺎﭘﻼﻥ ﺍﻟﮕﻮﻫﺎﻱ ﺗﺰﻳﻴﻨﺎﺕ ﺍﺳﻼﻣﻲ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ‬

‫ﺍﺯ ﻧﺮﻣﺎﻓﺰﺍﺭﻫﺎﻱ ﮔﺮﺍﻓﻴﮑﻲ ﺗﺮﺳﻴﻢ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬ﺗﺼﻮﻳﺮ‬
‫ﺭﻭﺑﺮﻭ‪ ،‬ﻧﺤﻮﻩ ﺗﺮﺳﻴﻢ ﺍﻟﮕﻮﻳﻲ ﺍﺯ ﮔﺮﻩﻫﺎﻱ ﺍﺳﻼﻣﻲ ﺍﺳﺖ‬
‫ﮐﻪ ﺩﺭ ﻳﮏ ‪ -n‬ﺿﻠﻌﻲ ﺑﺎ ﺗﻘﺎﺭﻥ ﺩﻭﺭﺍﻧﻲ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺷﺪﻩ‬
‫ﺍﺳﺖ‪.‬ﻭﻱ ﺩﺭ ﺑﺮﺭﺳﻲﻫﺎﻱ ﺧﻮﺩ‪ ،‬ﺗﻘﺎﺭﻥ‪ ،‬ﺩﻭﺭﺍﻥ ﻭ ﺗﮑﺮﺍﺭ ﺍﻳﻦ‬
‫ﺍﻟﮕﻮﻫﺎ ﺭﺍ ﺩﺭ ﺗﺰﻳﻴﻨﺎﺕ ﺍﺳﻼﻣﻲ ﺑﺮﺭﺳﻲ ﮐﺮﺩﻩ ﺍﺳﺖ )ﺑﻠﻴﻼﻥ‪،‬‬
‫‪).(۸۹ :۱۳۹۰‬ﻣﻨﺒﻊ ﺗﺼﻮﻳﺮ‪.(Kaplan 2002: 60-61:‬‬

‫ﻧﻤﻮﻧﻪﺍﻱ ﺍﺯ ﺭﻭﺵ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺗﻮﺳﻂ ﺑﻮﺩﻧﺮ‪ ،‬ﺑﺮ ﻣﺒﻨﺎﻱ‬

‫ﺍﺗﺼﺎﻝ ﺷﻤﺴﻪﻫﺎﻱ ﻣﺴﺘﻘﻞ‬

‫ﺑﻮﺩﻧﺮ ﺍﺑﺘﺪﺍ ﺭﻭﺷﻲ ﺑﺮﺍﻱ ﺗﺮﺳﻴﻢ ﺷﻤﺴﻪ ‪ n‬ﭘﺮ ﺑﺮ ﺍﺳﺎﺱ‬

‫ﭼﻨﺪﺿﻠﻌﻲ ‪ n‬ﻭﺟﻬﻲ ﻣﺤﺎﻁ ﺩﺭ ﺩﺍﻳﺮﻩ ﺍﺭﺍﺋﻪ ﻣﻲﺩﻫﺪ ﻭ ﺳﭙﺲ‬
‫ﺑﻪ ﭘﺮﮐﺮﺩﻥ ﻳﮏ ﺳﻄﺢ ﺑﻪ ﻭﺳﻴﻠﻪﻱ ﭼﻴﺪﻣﺎﻥﻫﺎﻱ ﻣﺨﺘﻠﻒ‬
‫ﺍﺯ ﺩﻭﺍﻳﺮ ﺩﺭ ﮐﻨﺎﺭ ﻳﮏﺩﻳﮕﺮ ﺑﺎ ﻓﻮﺍﺻﻞ ﻣﺘﻔﺎﻭﺕ ﻣﻲﭘﺮﺩﺍﺯﺩ‪.‬‬
‫ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻗﺮﺍﺭﮔﻴﺮﻱ ﺷﻤﺴﻪﻫﺎ ﺩﺭ ﮐﻨﺎﺭ ﻳﮏﺩﻳﮕﺮ ﻭ ﺩﺭ‬
‫ﻧﺘﻴﺠﻪ ﭘﺮﮐﺮﺩﻥ ﻓﻀﺎﻫﺎﻱ ﻣﺎ ﺑﻴﻦ ﺩﻭﺍﻳﺮ ﺑﻪ ﻭﺳﻴﻠﻪ ﺍﻣﺘﺪﺍﺩ‬
‫ﺧﻄﻮﻁ ﺷﻤﺴﻪ‪ ،‬ﺍﻟﮕﻮﻱ ﮔﺮﻩ ﻧﻬﺎﻳﻲ ﺭﺍ ﺍﻳﺠﺎﺩ ﻣﻲ ﮐﻨﺪ )ﻣﻨﺒﻊ‬
‫ﺗﺼﻮﻳﺮ‪.(Bodner,2010: 137 :‬‬

‫‪۸۱‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺟﺪﻭﻝ ‪ .۳‬ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ »ﮐﻨﺪ« ﻭ »ﺗﻨﺪ« ﻭ »ﺷﻞ«‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬

‫ﺁﻟﺖ ﭘﻨﺞ ﺷﻞ‬ ‫ﺁﻟﺖ ﭘﻨﺞ ﺗﻨﺪ‬ ‫ﺁﻟﺖ ﭘﻨﺞ ﮐﻨﺪ‬

‫ﺩﺭ ﮔﺮﻩ ﺷﻞ ﺍﺯ ﺭﺍﺱ ﻫﺮ ﭘﻨﺞ ﺿﻠﻌﻲ ﺑﺎ ﺯﺍﻭﻳﻪ‬
‫‪ ۱۸‬ﺩﺭﺟﻪ ﻧﺴﺒﺖ ﺑﻪ ﺿﻠﻊ ﭘﻨﺞ ﺿﻠﻌﻲ ﺭﺳﻢ‬
‫ﻣﻲﮐﻨﻴﻢ‪ .‬ﺳﺘﺎﺭﻩﺍﻱ ﭘﻨﺞ ﭘﺮ ﺑﺎﺯ ﺗﺮ ﺍﺯ ﺗﻨﺪ‬
‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ ﮐﻪ ﺁﻟﺖ »ﮔﺮﻩ ﺷﻞ« ﻧﺎﻡ ﺩﺍﺭﺩ‬
‫)ﻫﻤﺎﻥ‪.(۱۴۱ :‬‬
‫ﮔﺮﻩ ﮐﻨﺪ ﺩﺍﺭﺍﻱ ﺁﻟﺘﻲ ﭼﻨﺎﻧﭽﻪ ﺍﺯ ﺭﺍﺱ ﻫﺮ ﭘﻨﺞ ﺿﻠﻌﻲ‬
‫ﺑﻪ ﺷﮑﻞ ﭘﻨﺞ ﺿﻠﻌﻲ ﺑﻪ ﺭﺋﻮﺱ ﻣﻘﺎﺑﻞ ﻭﺻﻞ ﮐﺮﺩﻩ‪،‬‬
‫ﻣﻨﺘﻈﻢ ﺍﺳﺖ )ﺭﺋﻴﺲ ﺳﺘﺎﺭﻩﺍﻱ ﭘﻨﺞ ﭘﺮ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‬
‫ﮐﻪ ﺁﻟﺖ »ﮔﺮﻩ ﺗﻨﺪ« ﻧﺎﻡ ﺩﺍﺭﺩ )ﻫﻤﺎﻥ‪:‬‬ ‫ﺯﺍﺩﻩ‪.(۱۴۱ :۱۳۹۳ ،‬‬
‫‪.(۱۴۱‬‬

‫ﺟﺪﻭﻝ ‪ .۴‬ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﮐﻨﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬

‫ﮔﺮﻩ ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ )ﻣﻨﺒﻊ ﺗﺼﻮﻳﺮ ﮔﺮﻩ‪ ،‬ﻋﻨﺒﺮﻱ ﻳﺰﺩﻱ‪ (۵۴ ،۱۳۹۴ ،‬ﻭ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﮐﻨﺪ‬

‫ﻃﺒﻞ ﮐﻨﺪ‬ ‫ﺷﻤﺴﻪ ﺩﻩ ﮐﻨﺪ‬

‫ﺗﺮﻧﺠﻲ ﮐﻨﺪ‬ ‫ﭘﻨﺞ ﮐﻨﺪ‬

‫ﺳﺮﻣﻪ ﺩﺍﻥ‬

‫ﮔﺮﻩ ﺗﺸﮑﻴﻞ ﻣﻲﺩﻫﺪ ﮐﻪ ﺑﻪ ﺳﻪ ﺩﺳﺘﻪ ﺁﻻﺕ "ﮐﻨﺪ"‪" ،‬ﺗﻨﺪ" ﻭ‬ ‫ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﻩ ﺯﺍﻳﻨﺪﮔﻲ ﻭ ﺯﺍﻳﺶ ﮔﺮﻩ ﺍﺯ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﻣﻲﺑﺎﺷﺪ‪.‬‬
‫"ﺷﻞ" ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮﺩ )ﺟﺪﻭﻝ ‪ .(۳‬ﻣﺠﻤﻮﻋﻪ ﺁﻻﺕ "ﮐﻨﺪ" ﺩﺭ‬ ‫ﺍﻳﻦ ﺭﻭﺵ ﮐﻪ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﺧﺼﻮﺻﻴﺎﺕ ﺗﺮﺳﻴﻢ ﻭ ﺗﻮﻟﻴﺪ‬
‫ﮔﺮﻩ ﮐﻨﺪ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ "ﺷﻤﺴﻪ"‪" ،‬ﺗﺮﻧﺞ"‪" ،‬ﭘﻨﺞ"‪" ،‬ﻃﺒﻞ"‬ ‫ﮔﺮﻩ ﺩﺭ ﻫﻨﺮ ﺳﻨﺘﻲ ﺍﺳﺖ‪ ،‬ﻗﺎﻋﺪﻩ ﻭ ﻣﺒﺎﻧﻲ ﺁﻥ ﺑﺪﻳﻦ ﺑﺪﻳﻦ‬
‫ﻭ "ﺳﺮﻣﻪ ﺩﺍﻥ" )ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪) (۱۴۲ :۱۳۹۳ ،‬ﺟﺪﻭﻝ ‪.(۴‬‬ ‫ﺗﺮﺗﻴﺐ ﺍﺳﺖ ﮐﻪ ﺍﮔﺮ ﺩﺭ ﻳﮏ ﺯﻣﻴﻨﻪ‪ ،‬ﻳﮑﻲ ﺍﺯ ﮔﺮﻩﻫﺎﻱ "ﮐﻨﺪ"‬
‫ﻫﻤﭽﻨﻴﻦ ﻣﺠﻤﻮﻋﻪ ﺁﻻﺕ "ﺗﻨﺪ" ﺩﺭ ﮔﺮﻩ ﺗﻨﺪ ﻋﺒﺎﺭﺕ ﺍﺳﺖ ﺍﺯ‬ ‫ﺑﻪﻃﺮﻳﻖ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻳﮑﻲ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‬
‫"ﺷﻤﺴﻪ"‪" ،‬ﺗﺮﻗﻪ"‪" ،‬ﭘﺎﺑﺰﻱ"‪" ،‬ﭘﻨﺞ ﺗﻨﺪ"‪" ،‬ﺗﺮﻧﺞ ﺗﻨﺪ"‪" ،‬ﺷﺶ‬ ‫ﻳﺎ ﭼﻨﺪﺿﻠﻌﻲ ﺗﺮﺳﻴﻢ ﺷﻮﺩ ﻭ ﺳﭙﺲ ﺁﻻﺕ ﮔﺮﻩ ﺗﺮﺳﻴﻢ ﺷﺪﻩ‬
‫ﺑﻨﺪ"‪" ،‬ﺷﺶ ﻣﻨﺘﻈﻢ"‪" ،‬ﺩﺍﻧﻪ ﺑﻠﻮﻁ"‪" ،‬ﭘﺎ ﺑﺰﻱ"‪" ،‬ﻣﺎﮐﻮ"‪" ،‬ﺷﺶ‬ ‫ﺁﻧﻘﺪﺭ "ﺗﻨﺪ" ﻭ ﺳﭙﺲ "ﮐﻨﺪ" ﻭ ﺩﻭﺑﺎﺭﻩ "ﺗﻨﺪ" ﺷﻮﺩ ﮐﻪ ﺑﻪ‬
‫ﻃﺒﻞ"‪" ،‬ﺑﺮﮒ ﭼﻨﺎﺭ"‪" ،‬ﻃﺒﻞ ﺗﻨﺪ" ﻭ "ﺷﻤﺴﻪ ﺗﻪ ﺑﺮﻳﺪﻩ" )ﻫﻤﺎﻥ‪:‬‬ ‫ﻳﮏ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﺑﺎ ﺗﻤﺎﻡ ﺁﻟﺖﻫﺎﻱ ﺁﻥ ﺭﺳﻴﺪﻩ ﺷﻮﺩ‪" ،‬ﮔﺮﻩ‬
‫‪)(۱۴۳‬ﺟﺪﻭﻝ ‪.(۵‬ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ ﻓﺮﺍﺧﻮﺭ ﺁﻧﭽﻪ ﮐﻪ ﮔﺮﻩ ﺍﺯ‬ ‫ﺩﺭ ﮔﺮﻩ" )ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪ (۱۵۵ :۱۳۹۳ ،‬ﻳﺎ ﻫﻤﺎﻥ ﺭﻭﺵ ﺯﺍﻳﺶ‬
‫ﻳﮑﻲ ﺍﺯ ﻣﺠﻤﻮﻋﻪﻫﺎﻱ ﺁﻻﺕ "ﮐﻨﺪ"‪" ،‬ﺗﻨﺪ" ﻭ ﻳﺎ "ﺷﻞ" ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﮔﺮﻩ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺭﻭﺵ ﺍﺯ ﺩﺭﻭﻥ ﻫﺮ ﮔﺮﻩ‬
‫ﮐﻨﺪ‪ ،‬ﺑﻪ ﮔﺮﻩ ﮐﻨﺪ‪ ،‬ﮔﺮﻩ ﺗﻨﺪ ﻭ ﮔﺮﻩ ﺷﻞ ﺗﻘﺴﻴﻢ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻣﻲﺗﻮﺍﻥ ﮔﺮﻩ ﺩﻳﮕﺮﻱ ﺭﺳﻢ ﻭ ﺍﺳﺘﺨﺮﺍﺝ ﻧﻤﻮﺩ )ﻫﻤﺎﻥ‪.(۱۵۵ :‬‬
‫ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ‪ ،‬ﻧﺤﻮﻩ ﺷﮑﻞ ﮔﻴﺮﻱ ﮔﺮﻩ ﺑﻨﺎﺋﻲ ﺑﻪ ﻃﺮﻳﻖ‬ ‫ﻓﻠﺬﺍﺍﺻﻞ ﺍﺳﺎﺳﻲ ﺩﺭ ﮔﺮﻩﺳﺎﺯﻳﺒﻪ ﺭﻭﺵ ﺯﺍﻳﻨﺪﮔﻲ‪،‬ﻣﺒﺘﻨﻲ ﺑﺮ‬
‫ﺯﺍﻳﺶ ﺑﺪﻳﻦ ﻃﺮﻳﻖ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﺍﺳﺎﺱ ﺗﻐﻴﻴﺮ ﻭ ﺗﺒﺪﻳﻞ ﻭ‬ ‫ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪﻱ ﺍﺳﺖ ﮐﻪ ﺑﺎﺯﻳﮕﺮ ﺍﺻﻠﻲ ﺁﻥ ﺭﺍ ﺁﻟﺖﻫﺎﻱ‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬
‫ﺟﺪﻭﻝ ‪ .۵‬ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺗﻨﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬

‫ﮔﺮﻩ ﺗﻨﺪ ﺩﻩ )ﻣﻨﺒﻊ ﺗﺼﻮﻳﺮ ﮔﺮﻩ‪ :‬ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪ (۱۴۳ ،۱۳۹۳ ،‬ﻭ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺗﻨﺪ‬

‫ﺩﺍﻧﻪ‬ ‫ﺗﺮﻗﻪ‬ ‫ﺗﺮﻧﺠﻲ‬ ‫ﭘﻨﺞ‬

‫ﺑﻠﻮﻁ‬ ‫ﺗﻨﺪ‬ ‫ﺗﻨﺪ‬

‫ﻣﺎﮐﻮ‬ ‫ﺷﺶ‬ ‫ﭘﺎ ﺑﺰﻱ‬ ‫ﺷﻤﺴﻪ‬

‫ﻣﻨﺘﻈﻢ‬

‫ﭼﻬﺎﺭ‬ ‫ﺷﻤﺴﻪ‬ ‫ﻃﺒﻞ ﺗﻨﺪ‬ ‫ﺑﺮﮒ‬

‫ﻟﻨﮕﻪ‬ ‫ﺗﻪ‬ ‫ﭼﻨﺎﺭ‬
‫ﺑﺮﻳﺪﻩ‬

‫ﺷﺶ‬ ‫ﺷﺶ‬
‫ﻃﺒﻞ‬ ‫ﺑﻨﺪ‬

‫ﺟﺪﻭﻝ ‪ .۶‬ﻣﺮﺍﺣﻞ ﺧﺮﺩ ﮐﺮﺩﻥ ﮔﺮﻩ ﺯﻣﻴﻨﻪ »ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ«‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﺗﺼﺎﻭﻳﺮ‬ ‫ﺁﻻﺕ‬ ‫ﺭﻭﺵ ﺭﺳﻢ ﮔﺮﻩ‬ ‫ﻧﺎﻡ ﮔﺮﻩ ﺗﻮﻟﻴﺪ ﺷﺪﻩ‬ ‫ﻧﻮﻉ‬ ‫ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪ ﮔﺮﻩ‬
‫ﮔﺮﻩ‬ ‫ﮔﺮﻩ‬ ‫ﮔﺮﻩ‬

‫ﺟﺪﻭﻝ ‪۷‬‬ ‫ﮐﻨﺪ‬ ‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ‬ ‫ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ‬ ‫ﮐﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ‪ ،‬ﺭﺳﻢ ﮔﺮﻩ ﺑﻪ ﺭﻭﺵ‬
‫ﻭ‪۸‬‬ ‫ﺷﻌﺎﻋﻲ‬ ‫ﺷﻤﺴﻪ‬ ‫ﺷﺒﮑﻪ ﺯﺭﻱ ﺳﺎﺧﺖ‬

‫ﺟﺪﻭﻝ ‪۹‬‬ ‫ﺗﻨﺪ‬ ‫ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮐﺮﺩﻥ‬ ‫ﻃﺒﻞ ﭘﺎ ﺑﺰﻱ‬ ‫ﺗﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ‪ ،‬ﺗﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﻨﺪ‬
‫)ﺯﺍﻳﻨﺪﮔﻲ(‬ ‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ‬

‫ﺟﺪﻭﻝ‬ ‫ﮐﻨﺪ‬ ‫ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮐﺮﺩﻥ‬ ‫ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ‬ ‫ﮐﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ‪ ،‬ﮐﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﺗﻨﺪ‬
‫‪۱۰‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‬ ‫ﺑﺰﺭﮒ‬ ‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ‬

‫ﺟﺪﻭﻝ‬ ‫ﺗﻨﺪ‬ ‫ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮐﺮﺩﻥ‬ ‫ﺗﻨﺪ ﺩﻩ ﭘﺎﺑﺰﻱ‬ ‫ﺗﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‪ ،‬ﺗﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﻨﺪ‬
‫‪۱۱‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‬ ‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ‬
‫ﺟﺪﻭﻝ‬ ‫ﮐﻨﺪ‬ ‫ﻗﺎﻋﺪﻩ ﺧﺮﺩ ﮐﺮﺩﻥ‬ ‫ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ‬ ‫ﮐﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ‪ ،‬ﮐﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﺗﻨﺪ‬
‫‪۱۲‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‬ ‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‬

‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻧﺒﺎﺷﺪ‪ ،‬ﻧﻘﺶ ﻫﻨﺪﺳﻲ ﺑﻮﺟﻮﺩ ﺁﻣﺪﻩ‬
‫ﻣﻌﻨﺎﻱ ﮔﺮﻩ ﺭﺍ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﻓﻠﺬﺍ ﺍﺻﻞ ﻣﻬﻢ ﺩﺭ ﺧﺮﺩ‬
‫ﮐﺮﺩﻥ ﻭ ﺯﺍﻳﺶ ﮔﺮﻩ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﻳﻦ ﻗﺎﻋﺪﻩ ﺍﺳﺎﺳﻲ ﺍﺳﺖ ﮐﻪ‬
‫ﺩﺭ ﻃﺮﺍﺣﻲ ﮔﺮﻩﻫﺎ ﺑﺮ ﻣﺒﻨﺎﻱ ﺯﺍﻳﺶ ﮔﺮﻩ‪ ،‬ﺁﻟﺖﻫﺎ ﻣﻨﺤﺼﺮ‬
‫ﺑﻪ ﺁﻻﺕ ﮔﺮﻩ "ﮐﻨﺪ"‪" ،‬ﺗﻨﺪ" ﻭ ‪..‬ﺑﺎﺷﻨﺪ) ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪:۱۳۹۳ ،‬‬
‫‪.(۱۴۱‬‬
‫ﮐﻪ ﺷﺎﻣﻞ ﺗﻤﺎﻣﻲ ﺁﻻﺕ ﮔﺮﻩ ﮐﻨﺪ ﺑﺎﺷﺪ ﻭ ﻫﻤﭽﻨﻴﻦ ﮔﺮﻩﻫﺎﻱ‬
‫ﻣﻮﺍﺩ ﻭ ﺭﻭﺵﻫﺎ‬
‫ﮔﺮﻩﻫﺎﻱ ﺑﺪﺳﺖﺁﻣﺪﻩ ﺍﺯ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﺍﺻﻄﻼﺣﴼ ﺩﺭ‬
‫ﮔﺮﻩﺳﺎﺯﻱ ﻋﻤﻞ ﺯﺍﻳﺶ ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ‪ .‬ﺑﺪﻳﻦ ﺗﺮﺗﻴﺐ ﮐﻪ‬
‫‪۸۳‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
‫ﺗﺤﻮﻝ ﺳﻪ ﻧﻮﻉ ﺁﻟﺖ "ﮐﻨﺪ" ﻭ "ﺗﻨﺪ" ﻭ "ﺷﻞ" ﮐﻪ ﻃﻲ ﻣﺮﺍﺣﻠﻲ‬ ‫ّ‬
‫ﺗﺤﻮﻝ ﻣﻲﻳﺎﺑﻨﺪ‪ ،‬ﮔﺮﻩ ﺷﮑﻞ‬
‫ّ‬ ‫ﻭ‬ ‫ﻝ‬ ‫ﺪ‬
‫ّ‬ ‫ﻣﺒ‬ ‫ﻳﮑﺪﻳﮕﺮ‬ ‫ﺑﻪ‬ ‫ﺗﻤﻬﻴﺪﺍﺗﻲ‬ ‫ﻭ ﺑﺎ‬
‫ﻣﻲﮔﻴﺮﺩ‪ .‬ﻓﻠﺬﺍ ﺑﺮ ﺍﺳﺎﺱ ﻇﻬﻮﺭﺍﺕ ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﺁﻻﺕ ﮔﺮﻩ‬
‫"ﮐﻨﺪ" ﻳﺎ "ﺗﻨﺪ" ﻭ ﺩﻳﮕﺮ ﺁﻻﺕ ﻫﻤﭽﻮﻥ ﺁﻟﺖ "ﺷﻞ"‪" ،‬ﮔﺮﻩﻫﺎﻱ‬
‫ﮐﻨﺪ"‪" ،‬ﮔﺮﻫﺎﻱ ﺗﻨﺪ" ﻭ ﺩﻳﮕﺮ ﮔﺮﻩﻫﺎ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ‬
‫ﺩﻳﮕﺮ‪ ،‬ﮔﺮﻩﻫﺎﻱ ﮐﻨﺪ ﺑﻪ ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﮔﺮﻩﻫﺎ ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ‬
‫ﺗﻨﺪ ﺑﻪ ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﮔﺮﻩﻫﺎ ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ ﮐﻪ ﺷﺎﻣﻞ ﺗﻤﺎﻣﻲ‬
‫ﺁﻻﺕ ﮔﺮﻩ ﺗﻨﺪ ﮔﺮﺩﺩ ﻭ ﭼﻨﺎﻧﭽﻪ ﻫﺮ ﻳﮏ ﺍﺯ ﮔﺮﻩﻫﺎﻱ ﮐﻨﺪ ﻳﺎ‬
‫ﺗﻨﺪ ﺷﺎﻣﻞ ﻳﮏ ﻳﺎ ﭼﻨﺪ ﺁﻟﺖ ﺧﺎﺭﺝ ﻳﻌﻨﻲ ﺁﻟﺘﻲ ﮐﻪ ﮔﺮﻩ ﺑﺪﺍﻥ‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺟﺪﻭﻝ ‪.۷‬ﻣﺮﺍﺣﻞ ﺭﺳﻢ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ ﺑﻪ ﺭﻭﺵ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬

‫ﺯﻣﻴﻨﻪ ﮔﺮﻩ‬ ‫ﻭﺍﺣﺪ ﮔﺮﻩ‬

‫ﻣﺮﺣﻠﻪ ‪۵‬‬ ‫ﻣﺮﺣﻠﻪ ‪۲‬‬ ‫ﻣﺮﺣﻠﻪ ‪۱‬‬

‫ﻣﺮﺣﻠﻪ ‪۴‬‬ ‫ﻣﺮﺣﻠﻪ ‪۳‬‬

‫ﺍﮔﺮ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﻱ ﺳﻪ ﺑﺮﺍﺑﺮ‬ ‫ﺍﺯ ﻣﺮﮐﺰ‪ A‬ﺑﻪ ﻧﻘﺎﻁ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻱ ﮐﻤﺎﻥﻫﺎﻳﻲ ﺭﺳﻢ ﻣﻲﺷﻮﺩ‪.‬‬
‫‪ C‬ﺧﻄﻮﻃﻲ ﺭﺳﻢ ﺷﻮﺩ ﻃﻮﻝ‬ ‫ﺍﺯ ﻣﺤﻞ ﺗﻼﻗﻲ ﮐﻤﺎﻥ ﻭﺷﻌﺎﻉ ﺩﻭﻡ ﺧﻄﻲ ﺑﻪ ﻣﻮﺍﺯﺍﺕ ‪AB‬ﺭﺳﻢ ﻣﻴﺸﻮﺩ ﺗﺎ‬
‫ﺯﻣﻴﻨﻪ ﻱ ﮔﺮﻩ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺧﻄﻲ ﻓﺮﺿﻲ ‪ C‬ﺣﺎﺻﻞ ﺷﻮﺩ‪.‬‬
‫ﺍﺯ ﻣﺤﻞ ﺍﺗﺼﺎﻝ ﺧﻂ ‪C‬ﺑﺎ ﺷﻌﺎﻉﻫﺎﻱ ﺧﺎﺭﺝ ﺷﺪﻩ ﺍﺯ‪ A‬ﺩﻭ ﻧﻘﻄﻪ‪ M‬ﻭ ‪N‬‬
‫ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺑﻪ ﻣﺮﮐﺰ ‪ A‬ﻭ ﺑﻪ ﺷﻌﺎﻉﻫﺎﻱ ‪ AM‬ﻭ ‪ AN‬ﮐﻤﺎﻧﻬﺎﻳﻲ ﺭﺳﻢ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺟﺪﻭﻝ‪.۸‬ﻧﺤﻮﻩ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﺁﻟﺖﻫﺎﻱ ﮐﺎﻣﻞ ﮔﺮﻩ ﮐﻨﺪ ﺩﺭ ﮔﺮﻩ »ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ«‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﮔﺮﻩ ﮐﻨﺪ »ﺳﺮﻣﻪ‬ ‫ﺁﻟﺖ »ﻃﺒﻞ«‬ ‫ﺁﻟﺖ »ﺳﺮﻣﻪ ﺩﺍﻥ«‬ ‫ﺁﻟﺖ »ﭘﻨﺞ«‬ ‫ﺁﻟﺖ »ﺗﺮﻧﺞ«‬ ‫ﺁﻟﺖ »ﺷﻤﺴﻪ«‬
‫ﺩﺍﻥ ﭼﻬﺎﺭ‬
‫ﺷﻤﺴﻪ«‬

‫ﺑﺎ ﺍﺗﻤﺎﻡ ﻳﮏ ﺭﺑﻊ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺧﻄﻮﻁ‬ ‫ﻣﺮﺍﺣﻞ ﻳﮏ ﻭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺧﻄﻮﻁ‬ ‫ﺍﺯ ﻣﺤﻞ ﺍﺗﺼﺎﻝ‬
‫ﮔﺮﻩ ﻭ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﭘﻨﺞ ﮐﻨﺪ ﻭ‬ ‫ﺩﻭ ﻭ ﺳﻪ ﺩﺭ ﻫﺮ‬ ‫ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ‪،‬‬ ‫ﺷﻤﺴﺔ ﮐﻨﺪ‪،‬‬ ‫ﮐﻤﺎﻥﻫﺎﻱ ﺑﺰﺭﮒ ﻭ‬
‫ﺍﺯ ﻗﺮﻳﻨﻪ ﮐﺮﺩﻥ‬ ‫ﻗﻄﻊ ﺍﻣﺘﺪﺍﺩ ﻫﻢ‬ ‫ﺳﻪ ﮔﻮﺷﻪ ﻱ‬ ‫ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ‬ ‫ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ‬ ‫ﮐﻮﭼﮏ ﺷﻤﺴﺔ ﮐﻨﺪ‬
‫ﻣﻴﺘﻮﺍﻥ ﺳﻪ ﺭﺑﻊ‬ ‫ﺷﻤﺴﻪﻫﺎﻱ ﮐﻨﺪ‬ ‫ﺑﺎﻗﻴﻤﺎﻧﺪﻩ ﺗﮑﺮﺍﺭ‬ ‫ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺩﻳﮕﺮ ﺭﺍ ﺗﺮﺳﻴﻢ‬ ‫ﻭﻃﺒﻞﻫﺎﻱ ﮐﻨﺪ‬ ‫ﻣﻴﺸﻮﺩ ﺗﺎ ﺩﺭ‬
‫ﻧﻤﻮﺩ ﺗﺎ ﻳﮏ ﮔﺮﻩ‬ ‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻗﺴﻤﺖ ﻭﺳﻂ‬
‫ﮐﺎﻣﻞ ﺣﺎﺻﻞ‬ ‫ﺳﺮﻣﻪ ﺩﺍﻥ ﺑﺪﺳﺖ‬
‫ﺷﻮﺩ‪.‬‬ ‫ﺑﻴﺎﻳﺪ‪.‬‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬

‫ﺟﺪﻭﻝ ‪ .۹‬ﻣﺮﺣﻠﻪ ﺩﻭﻡ‪ ،‬ﺯﺍﻳﺶ ﺍﻭﻝ‪ ،‬ﺗﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﮔﺮﻩ ﺗﻨﺪ »ﻃﺒﻞ ﭘﺎﺑﺰﻱ« ﺣﺼﻮﻝ ﺗﻤﺎﻣﻲ‬
‫ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺗﻨﺪ ﮐﻪ ﺷﺮﻁ ﻻﺯﻡ ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩ ﺍﺳﺖ ﺩﺭ ﺟﺪﻭﻝ ﺫﻳﻞ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺧﻄﻮﻁ ﻗﺮﻣﺰ‪ ،‬ﮔﺮﻩ ﺯﻣﻴﻨﻪ »ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ‬
‫» ﺑﻮﺩﻩ ﻭ ﺧﻄﻮﻁ ﺁﺑﻲ ﺯﺍﻳﺶ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﻃﻲ ﻋﻤﻞ »ﺗﻨﺪ« ﮐﺮﺩﻥ ﺁﻻﺕ »ﮐﻨﺪ« ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﮔﺎﻡ ‪٤‬‬ ‫ﮔﺎﻡ ‪٣‬‬ ‫ﮔﺎﻡ ‪٢‬‬ ‫ﮔﺎﻡ ‪١‬‬

‫ﺁﻟﺖ »ﺗﺮﻧﺞ«‬ ‫ﺗﮑﻤﻴﻞ »ﺗﺮﻗﻪ«‬ ‫ﺁﻟﺖ«ﺷﺶ ﺑﻨﺪ«‬ ‫ﺁﻟﺖ ﺗﺮﻗﻪ‬

‫ﺍﺿﻼﻉ ﻫﺮﺩﻭ ﺷﺶ ﺑﻨﺪ ﺑﻪ ﺳﻤﺖ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺗﺮﻗﻪ ﺑﻪ ﺳﻤﺖ ﺩﺭ ﺭﺳﻢ ﺷﺶ ﺑﻨﺪ ﺳﻮﻡ ﭼﻮﻥ‬ ‫ﺑﺎ »ﺗﻨﺪ« ﮐﺮﺩﻥ »ﮔﺮﻩ ﮐﻨﺪ‬
‫ﻣﺮﮐﺰ ﺑﺎ ﻫﻢ ﻗﻄﻊ ﺩﺍﺩﻩ ﺷﻮﻧﺪ ﺗﺎ‬ ‫ﺷﻤﺴﻪ ﺍﺻﻠﻲ ‪ ،‬ﺷﺶ ﺑﻨﺪﻫﺎﻱ ﮔﺮﻩ ﺍﻣﺘﺪﺍﺩ ﺿﻠﻊ ﺗﺮﻗﻪ ﻣﻮﺟﻮﺩ ﻧﻴﺴﺖ‬ ‫ﺳﻤﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ« ﺍﺯ‬
‫ﺗﺮﻧﺞﻫﺎﻱ ﺗﻨﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﻳﮏ‬ ‫‪ ،‬ﺍﺯ ﻗﺮﻳﻨﻪ ﻱ ﻧﻴﻤﻪ ﻱ ﺷﺶ ﺑﻨﺪ‬ ‫»ﺗﻨﺪ« ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﺩﺭﻭﻥ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﭘﺸﺖ‬
‫ﺭﺑﻊ ﺷﻤﺴﻪ ﺗﻨﺪ ﺑﻮﺟﻮﺩ ﺁﻳﺪ‪.‬‬ ‫ﻇﺎﻫﺮ ﺷﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻲﺷﻮﺩ ﺗﺎ‬ ‫ﺗﺮﻧﺞ ﺍﺻﻠﻲ‪ ،‬ﺗﺮﻗﻪﻫﺎ ﺭﺳﻢ‬
‫ﻳﮏ ﺷﺸﺒﻨﺪ ﮐﺎﻣﻞ ﺑﺪﺳﺖ ﺁﻳﺪ‪ .‬ﭘﺲ‬ ‫ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﺍﺯ ﺭﺳﻢ ﺷﺶ ﺑﻨﺪ ﺑﺎ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺩﻥ‬
‫ﺍﺿﻼﻉ ﺁﻥ ﺗﺎ ﻗﻄﻊ ﮐﺎﺩﺭ ‪ ،‬ﻳﮏ ﻧﻴﻤﻪ‬
‫ﺗﺮﻗﻪ ﺑﻮﺟﻮﺩ ﺁﻳﺪ‪.‬‬

‫ﮔﺎﻡ ‪۸‬‬ ‫ﮔﺎﻡ ‪٧‬‬ ‫ﮔﺎﻡ ‪٦‬‬ ‫ﮔﺎﻡ ‪٥‬‬

‫ﭘﺎ ﺑﺰﻱ‬ ‫ﺷﺶ ﻃﺒﻞ‬ ‫ﺁﻟﺖ ﺗﺮﻗﻪ‬ ‫ﭘﺎ ﺑﺰﻱ‬

‫ﺑﺮ ﺭﻭﻱ ﺿﻠﻊ ﺷﺶ ﻃﺒﻞ‬ ‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ ﻭ ﺩﺭ ﻣﺤﻞ ﺑﺮ ﺭﻭﻱ ﺿﻠﻊ ﺯﻳﺮﻳﻦ ﭘﺎﺑﺰﻱﻫﺎﻱ ﺗﻨﺪ‬ ‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻋﺘﺮﻗﻪﻫﺎ ﻳﮏ‬
‫ﮐﺎﻣﻞ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺩﺭ ﻣﺮﺣﻠﻪ‬ ‫ﺍﺗﺼﺎﻝ ﺩﻭ ﭘﺎﺑﺰﻱ ﻣﻴﺘﻮﺍﻥ ﺗﺮﻗﻪﻫﺎﻳﻲ ﺧﻄﻮﻁ ﺷﺶ ﻃﺒﻞ ﻇﺎﻫﺮ ﻣﻴﺸﻮﺩ‪ ،‬ﺍﺯ‬ ‫ﻧﻴﻤﻪ ﭘﺎﺑﺰﻱ ﺗﻨﺪ ﺍﻳﺠﺎﺩ ﺷﺪﻩ‬
‫ﻱ ‪ ٧‬ﻣﻴﺘﻮﺍﻥ ﻳﮏ ﭘﺎﺑﺰﻱ ﺑﺪﺳﺖ‬ ‫ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ ﻳﮏ ﻧﻴﻤﻪ ﺷﺶ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺧﻄﻮﻁ ﺑﺪﺳﺖ ﺁﻭﺭﺩ‪.‬‬ ‫ﺍﺳﺖ‪ .‬ﺑﺎﻳﺠﺎﺩ ﻳﮏ ﻣﺤﻮﺭ‬
‫ﺁﻭﺭﺩ‪.‬‬ ‫ﻃﺒﻞ ﻇﺎﻫﺮ ﻣﻴﮕﺮﺩﺩ ﮐﻪ ﺑﺎ ﻗﺮﻳﻨﻪ‬ ‫ﺗﻘﺎﺭﻧﺒﺮ ﺭﻭﻱ ﻧﻮﮎ ﺁﻥ ﻣﻴﺘﻮﺍﻥ‬
‫ﮐﺮﺩﻥ ﻳﮑﻲ ﺍﺯ ﺁﻥﻫﺎ ﻳﮏ ﺷﺶ ﻃﺒﻞ‬ ‫ﺑﻪ ﺩﻭ ﭘﺎﺑﺰﻱ ﮐﺎﻣﻞ ﺭﺳﻴﺪ‪.‬‬
‫ﮐﺎﻣﻞ ﻭ ﻳﮏ ﻧﻴﻤﻪ ﺷﺶ ﻃﺒﻞ ﮐﺎﻣﻞ‬
‫ﺑﺮ ﺭﻭﻱ ﮐﺎﺭ ﻇﺎﻫﺮ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﮔﺎﻡ ‪١٢‬‬ ‫ﮔﺎﻡ ‪١١‬‬ ‫ﮔﺎﻡ ‪١٠‬‬ ‫ﮔﺎﻡ ‪٩‬‬

‫ﺁﻟﺖ ﺗﺮﻧﺞ ﺗﻨﺪ‬ ‫ﺁﻟﺖ ﺷﺶ ﺑﻨﺪ‬ ‫ﺁﻟﺖ ﺷﺶ ﺑﻨﺪ‬ ‫ﺁﻟﺖ ﻃﺒﻞ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪﻫﺎﻱ ﻣﺮﺣﻠﻪ ﻱ ﺷﺶ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻄﻮﻁ ﺷﺸﺒﻨﺪ ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺷﺸﺒﻨﺪﻫﺎﻱ ﻣﺮﺣﻠﻪ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺷﺶ ﻃﺒﻞ‬
‫ﻣﻴﺘﻮﺍﻥ ﺷﺶ ﺑﻨﺪﻫﺎﻱ ﺟﺪﻳﺪﻳﺮﺳﻢ ﻇﺎﻫﺮﺷﺪﻩ ﺩﺭ ﻣﺮﺣﻠﻪ ﻱ ﺩﻩ ﻭ ﺭﺳﻢ ‪ ، ١١‬ﺗﺮﻧﺞﻫﺎﻱ ﺗﻨﺪ ﺟﺪﻳﺪﻳﺘﺮﺳﻴﻢ‬ ‫ﮐﺎﻣﻞ ﻣﺮﺣﻠﻪ ﻱ ‪ ٧‬ﻭ ﺗﺮﻗﻪ ﻱ‬
‫ﺧﻄﻮﻁ ﺭﺍﻫﻨﻤﺎ ﺑﻌﻨﻮﺍﻥ ﺧﻂ ﻗﺮﻳﻨﻪ‪ ،‬ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬ ‫ﮐﺮﺩ‪.‬‬ ‫ﺑﺪﺳﺖ ﺁﻣﺪﻩ ﺩﺭ ﻣﺮﺍﺣﻞ ﻳﮏ ﻭ‬
‫ﺑﻘﻴﻪ ﺷﺶ ﺑﻨﺪﻫﺎ ﺣﺎﺻﻞ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﺷﺶ ﺩﻭ ﻧﻴﻤﻪ ﻃﺒﻞ ﺗﻨﺪ ﺑﺪﺳﺖ‬
‫ﻣﻲﺁﻳﺪ‪.‬‬

‫ﮔﺎﻡ ‪١٦‬‬ ‫ﮔﺎﻡ ‪١٥‬‬ ‫ﮔﺎﻡ ‪١٤‬‬ ‫ﮔﺎﻡ ‪١٣‬‬

‫ﮔﺮﻩ ﮐﺎﻣﻞ‬ ‫‪---‬‬ ‫ﺭﺑﻊ ﮔﺮﻩ‬ ‫ﺗﺮﻧﺞ ﺗﻨﺪ‬

‫ﺗﻨﺪ »ﻃﺒﻞ ﻭ‬
‫ﭘﺎﺑﺰﻱ«‬

‫ﺑﺎ ﺭﺳﻢ ﺧﻂ ﻗﺮﻳﻨﻪ ﻣﻴﺘﻮﺍﻥ ﺑﺎ ﺭﺳﻢ ﻣﺤﻮﺭ ﻗﺮﻳﻨﻪ ﺩﺭ ﺩﺍﺧﻞ ﺷﻤﺴﻪ ﺑﺎ ﺭﺳﻢ ﺭﺑﻊﻫﺎﻱ ﺑﻌﺪﻱ ﻣﻴﺘﻮﺍﻥ‬
‫ﻗﺮﻳﻨﻪ ﻱ ﺗﺮﻧﺞﻫﺎ ﺭﺍ ﺭﺳﻢ ﺗﻨﺪ‪ ،‬ﺍﻳﻦ ﻧﮑﺘﻪ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ ﮐﻪ ﺑﻌﺪ ﺍﺯ ﻳﮏ ﺳﺮﻣﻪ ﺩﺍﻥ ﺧﺮﺩ ﺷﺪﻩ ﻱ ﮐﺎﻣﻞ‬
‫ﺍﻳﻦ ﻣﺮﺣﻠﻪ‪ ،‬ﻭﺍﺣﺪ ﮔﺮﻩ ﺗﮑﺮﺍﺭ ﻣﻴﺸﻮﺩ‪ .‬ﺣﺎﺻﻞ ﮐﺮﺩ‪.‬‬ ‫ﮐﺮﺩ‪.‬‬

‫‪۸۵‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬

‫ﻋﻤﻞ ﺯﺍﻳﻨﺪﮔﻲ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻫﻮ ﺩﺭ ﺍﺻﻄﻼﺡ ﮔﺮﻩ ﺩﺭ ﮔﺮﻩ‬
‫ﺍﻃﻼﻕ ﻣﻲﺷﻮﺩ )ﺭﺋﻴﺲ ﺯﺍﺩﻩ‪ .(١٥٥ :١٣٩٣ ،‬ﻋﻤﻠﻴﺎﺕ ﺯﺍﻳﺶ‬
‫ﮔﺮﻩ ﻭ »ﺗﻨﺪ« ﮐﺮﺩﻥ ﻭ »ﮐﻨﺪ« ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ ﺁﻥ ﺩﺍﺭﺍﻱ‬
‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺍﮔﺮ ﺩﺭ ﻳﮏ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﮐﻨﺪ ﺭﺳﻢ ﺷﻮﺩ‪ ١‬ﻭ ﺳﭙﺲ ﺁﻟﺖﻫﺎﻱ‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬
‫ﮔﺮﻩ ﮐﻨﺪ ﺭﺳﻢ ﺷﺪﻩ ﺁﻧﻘﺪﺭ ﺗﻨﺪ ﻭ ﺳﭙﺲ ﮐﻨﺪ ﻭ ﺩﻭﺑﺎﺭﻩ ﺗﻨﺪ‬
‫ﺷﻮﺩ ﮐﻪ ﺑﻪ ﻳﮏ ﺯﻣﻴﻨﻪ ﮔﺮﻩ ﺑﺎ ﺗﻤﺎﻡ ﺁﻟﺖﻫﺎﻱ ﺁﻥ ﺑﺮﺳﺪ‪،‬‬

‫ﺟﺪﻭﻝ ‪ .۱۰‬ﻣﺮﺣﻠﻪ ﺳﻮﻡ‪ ،‬ﺯﺍﻳﺶ ﺩﻭﻡ‪ ،‬ﮐﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﺗﻨﺪ » ﻃﺒﻞ ﭘﺎﺑﺰﻱ« ﺑﺪﺳﺖ ﺁﻣﺪﻩ ﺍﺯ ﻣﺮﺣﻠﻪ ﺍﻭﻝ ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﮔﺮﻩ ﮐﻨﺪ »ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﻗﻨﺎﺱ ﺑﺰﺭﮒ« ﺭﺍ ﻧﺸﺎﻥ ﻣﻲﺩﻫﺪ‪ .‬ﺣﺼﻮﻝ ﺗﻤﺎﻣﻲ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ »ﮐﻨﺪ« ﺷﺎﻣﻞ ﺁﻟﺖ ﻫﺎﻱ« ﺷﻤﺴﻪ«‪» ،‬ﭘﻨﺞ ﮐﻨﺪ«‪» ،‬ﺗﺮﻧﺞ«‪» ،‬ﻃﺒﻞ« ﻭ »ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﮐﻨﺪ« ﺩﺭ ﮔﺮﻩ ﮐﻨﺪ »ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ ﺑﺰﺭﮒ« ﮐﻪ ﺷﺮﻁ ﻻﺯﻡ ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩ ﮐﻨﺪ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺟﺪﻭﻝ ﺫﻳﻞ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺭﻧﮓ ﺁﺑﻲ ﮔﺮﻩ ﺗﻨﺪ »ﻃﺒﻞ‬
‫ﭘﺎﺑﺰﻱ« ﺍﺳﺖ ﮐﻪ ﺑﻌﻨﻮﺍﻥ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﻮﺩﻩ ﻭ ﺭﻧﮓ ﻗﺮﻣﺰ ﻣﺎﺣﺼﻞ »ﮐﻨﺪ« ﮐﺮﺩﻥ ﺁﻻﺕ »ﺗﻨﺪ« ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺍﻳﺠﺎﺩ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﮔﺎﻡ ‪٤‬‬ ‫ﮔﺎﻡ ‪٣‬‬ ‫ﮔﺎﻡ ‪٢‬‬ ‫ﮔﺎﻡ ‪١‬‬

‫ﻃﺒﻞ‬ ‫ﺗﺮﻧﺞ‬ ‫ﭘﻨﺞ‬

‫ﮐﻨﺪ‬ ‫ﮐﻨﺪ‬

‫ﺩﺭ ﺑﻴﻦ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﻣﺮﺣﻠﻪ ﻱ ﭼﻬﺎﺭﻡ‪،‬‬ ‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ‪ ،‬ﺍﻣﺘﺪﺍﺩ‬
‫ﻃﺒﻞﻫﺎﻱ ﮐﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬ ‫ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥ ﻇﺎﻫﺮ ﻣﻴﺸﻮﺩ‪،‬‬
‫ﺑﺎ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺩﻥ ﺍﻳﻦ ﺧﻄﻮﻁ‪ ،‬ﺳﺮﻣﻪ‬
‫ﺩﺍﻥﻫﺎﻱ ﮐﺎﻣﻞ ﺗﺮﺳﻴﻢ ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬
‫ﮔﺎﻡ ‪۸‬‬ ‫ﮔﺎﻡ ‪٧‬‬
‫ﺍﺯ ﺩﻭ ﺳﻤﺖ ﺑﺎ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺩﻥ ﺍﺿﻼﻉ‬ ‫ﺩﺍﺧﻞ ﺗﺮﻧﺞﻫﺎﻱ ﺗﻨﺪ ﭘﺸﺖ ﺷﻤﺴﻪ‬
‫ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ‪ ،‬ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﺑﺪﺳﺖ‬ ‫ﺗﺒﺪﻳﻞ ﺑﻪ ﭘﻨﺞ ﮐﻨﺪ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﻣﻲﺁﻳﻨﺪ‪.‬‬
‫ﮔﺎﻡ ‪٦‬‬ ‫ﮔﺎﻡ ‪٥‬‬

‫ﺭﺑﻊ‬ ‫ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﺗﺮﻧﺞ‬

‫ﺳﺮﻣﻪ‬
‫ﺩﺍﻥ‬

‫ﺑﺮ ﺭﻭﻱ ﻣﺤﻮﺭ ﻋﻤﻮﺩﻱ ﻳﮏ ﺭﺑﻊ ﺳﺮﻣﻪ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﻭ ﻗﻄﻊ ﺍﺿﻼﻉ ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺩﺍﺩﻥ ﺍﺿﻼﻉ ﻃﺒﻞ ﻭ ﻗﻄﻊ‬
‫ﺩﺍﻥ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻣﺮﺣﻠﻪ ﻗﺒﻞ ﻭ ﻃﺒﻞﻫﺎﻱ ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‪،‬‬ ‫ﺩﺍﺩﻧﺸﺎﻥ‪ ،‬ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﺣﺎﺻﻞ‬
‫ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺟﺪﻳﺪ ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﻣﻲﺷﻮﺩ‪.‬‬

‫ﮔﺎﻡ ‪١٢‬‬ ‫ﮔﺎﻡ ‪١١‬‬ ‫ﮔﺎﻡ ‪١٠‬‬

‫ﺗﺮﻧﺞ‬ ‫ﭘﻨﺞ‬ ‫ﭘﻨﺞ‬

‫ﮐﻨﺪ‬ ‫ﮐﻨﺪ‬

‫ﺍﺯ ﻣﺤﻞ ﺗﻘﺎﻃﻊ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ‪ ،‬ﺗﺮﻧﺞﻫﺎﻱ‬ ‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥ ﻣﺎﻳﻞ ﻭ ﺍﺯ‬
‫ﮐﻨﺪ ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﻗﻄﻊ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ ﻧﻬﻢ‪ ،‬ﺑﺎﺯ ﻫﻢ‬
‫ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺟﺪﻳﺪ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﮔﺎﻡ ‪١٦‬‬ ‫ﮔﺎﻡ ‪١٥‬‬
‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ ﻱ‬
‫ﻧﻬﻢ ﻭ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﻣﺮﺣﻠﻪ ﺳﻮﻡ‪،‬‬
‫ﺳﺮﻣﻪ ﺩﺍﺩﻥﻫﺎﻳﻲ ﺑﺼﻮﺭﺕ ﻣﺎﻳﻞ‬
‫ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﮔﺎﻡ ‪١٤‬‬
‫ﺩﺭ ﮐﻨﺎﺭﻩﻫﺎﻱ ﮐﺎﺩﺭ ﺭﺑﻊ ﮔﺮﻩ ﺍﺯ‬
‫ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥ‪ ،‬ﻧﻴﻤﻪ‬
‫ﻃﺒﻞﻫﺎﻳﻲ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬
‫ﮔﺎﻡ ‪٩‬‬

‫ﺳﺮﻣﻪ‬ ‫ﭘﻨﺞ‬
‫ﺩﺍﻥ‬ ‫ﮐﻨﺪ‬

‫ﻳﮏ ﺳﺮﻣﻪﺩﺍﻥ ﻣﺎﻳﻞ ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﭘﻨﺞﻫﺎﻱ‬
‫ﮐﻨﺪ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﻣﺮﺣﻠﻪ‬
‫ﻗﺒﻞ ﻣﺤﺪﺩﺍ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺟﺪﻳﺪ ﻇﺎﻫﺮ‬
‫ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬
‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﻃﺒﻞﻫﺎﻱ ﮐﻨﺪ ﻭ‬
‫ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮ ﺣﻠﻪ ﻱ ﻧﻬﻢ ﻣﺠﺪﺩﺍ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺗﺮﺳﻴﻢ‬
‫ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ‬ ‫‪ .١‬ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﮐﻨﺪ ﺑﻪ ﻳﮑﻲ ﺍﺯ ﺩﻭ‬
‫‪ ،١٢‬ﻃﺒﻞﻫﺎﻱ ﮐﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ‬
‫ﺷﻌﺎﻋﻲ ﻳﺎ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﭼﻨﺪ‬
‫ﺿﻠﻌﻲ ﺭﺳﻢ ﻣﻲﺷﻮﺩ‪.‬‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬

‫ﺍﺩﺍﻣﻪ ﺟﺪﻭﻝ ‪.۱۰‬‬

‫ﮔﺎﻡ ‪٢٠‬‬ ‫ﮔﺎﻡ ‪١٩‬‬ ‫ﮔﺎﻡ ‪١٨‬‬ ‫ﮔﺎﻡ ‪١٧‬‬

‫ﺗﺮﻧﺞ‬ ‫ﺗﺮﻧﺞ‬
‫ﭘﻨﺞ‬
‫ﮐﻨﺪ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﻃﺒﻠﻤﺮﺣﻠﻪ ‪ ١٩‬ﻭ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ ‪ ١٧‬ﻭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪﻣﺮﺣﻠﻪ ‪١٧‬‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﻧﻴﻤﻪ ﻃﺒﻞ ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ ﺗﺮﻧﺠﻲﻫﺎﻱ‬ ‫ﺗﺮﻧﺠﻲﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ ‪ ١٨‬ﺳﺮﻣﻪ‬ ‫ﻣﺠﺪﺩﺍ ﺗﺮﻧﺠﻲﻫﺎﻱ ﮐﻨﺪ ﺣﺎﺻﻞ‬ ‫ﻣﺠﺪﺩﺍ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺟﺪﻳﺪ ﺑﺪﺳﺖ‬
‫ﮐﻨﺪ ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﺩﺍﻥﻫﺎﻳﻲ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ ﻭ ﻳﮏ‬ ‫ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻲﺁﻳﻨﺪ‪.‬‬
‫ﻃﺒﻞ ﺣﺎﺻﻞ ﻣﻲﮔﺮﺩﺩ‪.‬‬

‫ﮔﺎﻡ ‪٢٤‬‬ ‫ﮔﺎﻡ ‪٢٣‬‬ ‫ﮔﺎﻡ ‪٢٢‬‬ ‫ﮔﺎﻡ ‪٢١‬‬

‫ﺗﺮﻧﺞ ﻭ‬ ‫ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﺗﺮﻧﺞ‬ ‫ﻃﺒﻞ‬

‫ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﻭ ﭘﻨﺞ‬
‫ﮐﻨﺪ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻭ ﻃﺒﻞ ﻣﺮﺣﻠﻪ‬ ‫ﺍﺯ ﺗﻘﺎﻃﻊ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥ ﻭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﻃﺒﻞ ﻭ ﭘﻨﺞﻫﺎﻱ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺗﺮﻧﺠﻲ ﻣﺮﺣﻠﻪ‬
‫ﻗﺒﻞ ﺑﻪ ﻳﮏ ﺗﺮﻧﺞ ﮐﻨﺪ ﻭ ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ‪ ،‬ﺍﺿﻼﻉ ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﮐﻨﺪ ﺗﺮﻧﺞﻫﺎ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻱ ﺑﻴﺴﺘﻢ ﻳﮏ ﻃﺒﻞ ﺟﺪﻳﺪ ﻭ ﻳﮏ‬
‫ﻣﻲﺗﻮﺍﻧﺮﺳﻴﺪ‪.‬‬ ‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬ ‫ﭘﻨﺞ ﮐﻨﺪ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬

‫»ﺗﻨﺪ« ﮐﺮﺩﻥ ﮔﺮﻩ ﻭ ﺩﻭ ﻣﺮﺣﻠﻪ ﻋﻤﻠﻴﺎﺕ »ﮐﻨﺪ« ﮐﺮﺩﻥ ﺍﻧﺠﺎﻡ‬
‫ﮔﺮﺩﻳﺪ‪) .‬ﻃﺒﻖ ﻧﻈﺮ ﻟﺮﺯﺍﺩﻩ ﺯﺍﻳﺶ ﻣﻲﺗﻮﺍﻧﺪ ﺗﺎ ﻫﻔﺘﺎﺩ ﺩﻭ ﻣﺮﺗﺒﻪ‬
‫ﺍﻧﺠﺎﻡ ﭘﺬﻳﺮﺩ(‪ .‬ﺑﺎﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﮑﻪ ﺟﻬﺖ ﺍﻧﺠﺎﻡ ﺗﺮﺳﻴﻤﺎﺕ ﮔﺮﻩ‬
‫ﺑﻪ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﺑﺎﻳﺴﺘﻲ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ‪ ،‬ﺑﺮ ﺍﻳﻦ ﺍﺳﺎﺱ ﺩﺭ ﻣﺮﺣﻠﻪ ﺍﻭﻝ ﺗﻮﻟﻴﺪ ﻭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪،‬‬
‫ﮔﺮﻩ ﺯﻣﻴﻨﻪ »ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ« ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ ﺗﺮﺳﻴﻢ ﮔﺮﺩﻳﺪ‪.‬‬
‫ﺩﺭ ﺟﻬﺖ ﺁﺯﻣﻮﻥ ﻓﺮﺿﻴﺎﺕ ﻭ ﻗﻮﺍﻋﺪ ﻓﻮﻕ‪ ،‬ﻳﮑﻲ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ‬
‫ﻳﺎﻓﺘﻪﻫﺎﻱ ﺗﺤﻘﻴﻖ‬
‫ﻣﺮﺍﺣﻞ ﺍﻧﺠﺎﻡ ﮐﺎﺭ ﺩﺭ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﺑﻪ ﺷﺮﺡ ﺫﻳﻞ ﺍﻧﺠﺎﻡ‬
‫ﻣﻲﭘﺬﻳﺮﺩ )ﺟﺪﻭﻝ ‪.(۶‬‬
‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ‪ :‬ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﮐﻨﺪ "ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ" ﺑﺎ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪ ﺯﻳﺮﺳﺎﺧﺖ ﺷﻌﺎﻋﻲ )ﺟﺪﻭﻝ ‪۷‬ﻭ‪.(۸‬‬
‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ‪:‬ﺩﺭ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﺗﺮﺳﻴﻢ ﮔﺮﻩ ﺍﺳﺖ ﮐﻪ ﺑﺎ ﺗﻮﺟﻪ‬
‫ﺑﻪ ﺁﻧﮑﻪ ﮔﺮﻩ ﺯﻣﻴﻨﻪ "ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ" ﺩﺭ‬
‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ ﺗﻮﻟﻴﺪ ﺷﺪ‪ ،‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺭﻭﺵ ﺯﺍﻳﺶ ﮔﺮﻩ‬
‫ﺁﻻﺕ "ﮐﻨﺪ" ﮔﺮﻩِ "ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ِ‬ ‫ﺑﻪ ﻃﺮﻳﻖ "ﺗﻨﺪ" ﮐﺮﺩﻥ‬
‫ﭼﻬﺎﺭ ﺷﻤﺴﻪ" ﮔﺮﻩ ﺗﻨﺪ "ﻃﺒﻞ ﻭ ﭘﺎﺑﺰﻱ" ﻃﻲ ﻣﺮﺍﺣﻠﻲ ﮐﻪ ﺩﺭ‬
‫ﺗﺼﺎﻭﻳﺮ ﺟﺪﻭﻝ ‪ ۱۵‬ﺑﺼﻮﺭﺕ ﺟﺰﺀ ﺑﻪ ﺟﺰﺀ ﻭ ﺩﺭ ‪ ۱۶‬ﮔﺎﻡ‬
‫ﺍﻧﺠﺎﻡ ﮔﺮﺩﻳﺪﻩ‪ ،‬ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪.‬ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﺍﺯ ﺯﺍﻳﺶ ﮔﺮﻩ‬
‫‪۸۷‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
‫ﻓﺮﺿﻴﺎﺕ ﻭ ﻗﻮﺍﻋﺪﻱ ﺍﺳﺖ‪ .‬ﺍﻭﻝ ﺁﻧﮑﻪ ﺩﺭ ﻧﻘﺶ ﻫﻨﺪﺳﻲ ﮔﺮﻩ‪،‬‬
‫ﺁﻟﺖ ﺧﺎﺭﺝ ﺍﺯ ﺁﻧﭽﻪ ﮔﺮﻩ ﺑﺪﺍﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻭﺟﻮﺩ‬
‫ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻳﻌﻨﻲ ﺩﺭ ﻃﺮﺍﺣﻲ ﻭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪ ،‬ﺁﻟﺖﻫﺎ‬
‫ﻣﻨﺤﺼﺮ ﺑﻪ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﺎﺷﺪ‪ .‬ﺩﻭﻡ ﺩﺭ ﺻﻮﺭﺕ‬
‫ﺗﮑﺮﺍﺭ ﻭﺍﺣﺪﻫﺎﻱ ﮔﺮﻩ ﺩﺭ ﮐﻨﺎﺭ ﻫﻢ‪ ،‬ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﻳﮑﺪﻳﮑﺮ‬
‫ﺭﺍ ﮐﺎﻣﻞ ﮐﺮﺩﻩ ﻭ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﺯﻣﻴﻨﻪ ﺑﺰﺭﮒ ﺗﺮ ﻭ ﺍﻟﮕﻮﻫﺎﻱ‬
‫ﻭﺳﻴﻊ ﺗﺮ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﻭ ﭘﺮﮐﺎﺭﺑﺮﺩﺗﺮﻳﻦ ﮔﺮﻩﻫﺎﻱ ﺯﻣﻴﻨﻪ ﻣﺴﺘﻄﻴﻞ ﺑﻨﺎﻡ »ﮔﺮﻩ ﺩﻩ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ« ﺍﻧﺘﺨﺎﺏ ﮔﺮﺩﻳﺪ‪» .‬ﮔﺮﻩ ﺩﻩ«‪،‬ﺩﺭ‬
‫ﺍﻭﻟّﻴﻦ ﻣﺮﺗﺒﻪ ﺍﺯ ﺗﺠﻠّﻲ ﻭ ﻇﻬﻮﺭ ﺧﻮﺩ ﮔﺮﻩ ﮐﻨﺪِ »ﮐﻨﺪ ﺩﻭ ﭘﻨﺞ«‬
‫ﻧﺎﻡ ﺩﺍﺷﺘﻪ ﻭ ﻗﺎﻟﺐ ﻭ ﭘﻴﮑﺮﻩ ﺍﺵ ﺑﺎ ﭼﻬﺎﺭ ﺁﻟﺖ »ﺷﻤﺴﻪ« ﻭ‬
‫»ﺗﺮﻧﺞ« ﻭ »ﭘﻨﺞ« ﻭ »ﻃﺒﻞ« ﺳﺎﻣﺎﻥ ﻣﻲﻳﺎﺑﺪ‪،‬ﻟﮑﻦ ﺁﻟﺖ ﭘﻨﺠﻤﻴﻦ‬
‫ﮔﺮﻩ ﮐﻨﺪ ﺩﻩ ﮐﻪ ﺁﻟﺖ »ﺳﺮﻣﻪ ﺩﺍﻥ«ﺍﺳﺖ ﺩﺭ ﻇﻬﻮﺭﺍﺕ ﺩﻳﮕﺮ‬
‫ﻫﻤﻴﻦ ﮔﺮﻩ ﺑﺎ ﻗﺎﻟﺐ ﮐﻨﺪ‪ ،‬ﻳﻌﻨﻲ »ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ«‬
‫ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﺩ )ﺟﺪﻭﻝ ‪ .(۸‬ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ ﮔﺮﻩ ﮐﻨﺪ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ ﺑﻪ ﺩﻟﻴﻞ ﺩﺍﺭﺍ ﺑﻮﺩﻥ ﺗﻤﺎﻣﻲ ﺁﻻﺕ‬
‫ﮔﺮﻩ »ﮐﻨﺪ«ﺑﻪﻋﻨﻮﺍﻥ ﻣﺒﻨﺎﻱ ﻣﻄﺎﻟﻌﻪ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺍﻧﺘﺨﺎﺏ‬
‫ﮔﺮﺩﻳﺪ‪ .‬ﺗﻌﺪﺍﺩ ﻣﺮﺍﺣﻞ ﺯﺍﻳﺶ ﻧﻴﺰ ﺟﻬﺖ ﺣﺼﻮﻝ ﺑﻪ ﻧﺘﺎﻳﺞ‬
‫ﻣﻄﻠﻮﺏ‪ ،‬ﺗﻌﺪﺍﺩ ﭼﻬﺎﺭ ﻣﺮﺣﻠﻪ ﺷﺎﻣﻞ ﺩﻭ ﻣﺮﺣﻠﻪ ﻋﻤﻠﻴﺎﺕ‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺟﺪﻭﻝ ‪.۱۱‬ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‪ ،‬ﺯﺍﻳﺶ ﺳﻮﻡ‪ ،‬ﺗﻨﺪ ﮐﺮﺩﻥ ﮔﺮﻩ ﮐﻨﺪ »ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ ﺑﺰﺭﮒ« ﺑﺪﺳﺖ ﺁﻣﺪﻩ ﺍﺯ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﮔﺮﻩ‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬
‫ﺗﻨﺪ »ﺩﻩ ﭘﺎ ﺑﺰﻱ« ﺣﺼﻮﻝ ﺗﻤﺎﻣﻲ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ »ﺗﻨﺪ« ﺷﺎﻣﻞ ﺁﻟﺖ ﻫﺎﻱ« ﺷﻤﺴﻪ«‪» ،‬ﭘﻨﺞ ﺗﻨﺪ«‪» ،‬ﺗﺮﻧﺠﻲ ﺗﻨﺪ«‪» ،‬ﻃﺒﻞ ﺗﻨﺪ« ﻭ »ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﺗﻨﺪ«‪» ،‬ﺗﺮﻗﻪ‪» ،‬ﭘﺎ ﺑﺰﻱ«‪» ،‬ﺷﺶ ﺑﻨﺪ« ﻭ »ﺷﺶ ﻃﺒﻞ«ﮐﻪ ﺷﺮﻁ ﻻﺯﻡ ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩ »ﺗﻨﺪ« ﺍﺳﺖ‪ ،‬ﺩﺭ ﺟﺪﻭﻝ ﺫﻳﻞ ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﮔﺮﻩ ﺯﻣﻴﻨﻪ‬
‫ﺑﻪ ﺭﻧﮓ ﻗﺮﻣﺰ ﻭ ﮔﺮﻩ ﺯﺍﻳﻴﺪﻩﺷﺪﻩ ﺑﻪ ﺭﻧﮓ ﺳﺒﺰ ﻣﻲﺑﺎﺷﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﮔﺎﻡ ‪٤‬‬ ‫ﮔﺎﻡ ‪٣‬‬ ‫ﮔﺎﻡ ‪٢‬‬ ‫ﮔﺎﻡ ‪١‬‬

‫ﻃﺒﻞ ﺗﻨﺪ‬ ‫ﺷﺶ ﻃﺒﻞ ﮐﺎﻣﻞ‬ ‫ﭘﺎ ﺑﺰﻱ‬ ‫ﺗﺮﻗﻪ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺷﺶ ﻃﺒﻞ ﮐﺎﻣﻞ ﻳﮏ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ ﻭ ﺗﺮﺳﻴﻢ ﻗﺮﻳﻨﻪ‬ ‫ﺩﺭ ﭘﺸﺖ ﺗﺮﻗﻪ ﻫﺎ‪ ،‬ﭘﺎﺑﺰﻱﻫﺎﻱ ﺗﻨﺪ ﺗﺮﺳﻴﻢ‬ ‫ﺩﺭ ﺩﺍﺧﻞ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺑﻪ ﺳﻤﺖ ﺭﺑﻊ‬
‫ﻧﻴﻤﻪ ﻃﺒﻞ ﺗﻨﺪ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻫﺎﻳﺸﺎﻥ ﻳﮏ ﺷﺶ ﻃﺒﻞ ﮐﺎﻣﻞ ﻭ ﻧﻴﻤﻪ ﺷﺶ‬ ‫ﻣﻴﮕﺮﺩﻧﺪ‪.‬‬ ‫ﺷﻤﺴﻪ ﻱ ﺍﺻﻠﻲ ﮐﻨﺪ‪ ،‬ﺗﺮﻗﻪﻫﺎﻳﻲ ﺭﺳﻢ‬
‫ﻃﺒﻞ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻣﻴﺸﻮﺩ‪.‬‬

‫ﮔﺎﻡ ‪۸‬‬ ‫ﮔﺎﻡ ‪٧‬‬ ‫ﮔﺎﻡ ‪٦‬‬ ‫ﮔﺎﻡ ‪٥‬‬

‫ﺷﺶ‬ ‫ﺗﺮﻗﻪ‬ ‫ﺗﺮﻗﻪ‬ ‫ﺷﺶ ﺑﻨﺪ‬

‫ﺑﻨﺪ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪﻫﺎﻱ ﻣﺮﺍﺣﻞ ﺷﺶ ﻭ‬ ‫ﺑﺮ ﺭﻭﻱ ﺿﻠﻊ ﭘﺎﺑﺰﻱ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﻭ ﺷﺶ‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ‪ ،‬ﺗﺮﻗﻪﺍﻱ ﺗﺮﺳﻴﻢ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺗﺮﻗﻪ ﻱ ﻣﺮﺣﻠﻪ ﻱ ﻳﮏ‬
‫ﻫﻔﺖ ﻣﺠﺪﺩﺍ ﺷﺸﺒﻨﺪﻫﺎﻱ ﺟﺪﻳﺪ ﺣﺎﺻﻞ‬ ‫ﻃﺒﻞ ﮐﺎﻣﻞ ﻣﺮﺣﻠﻪ ﺳﻮﻡ ﻫﻢ ﺗﺮﻗﻪﺍﻱ ﺣﺎﺻﻞ‬ ‫ﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫ﺑﻪ ﺳﻤﺖ ﻣﺮﮐﺰ‪ ،‬ﺷﺸﺒﻨﺪﻫﺎﻳﻲ ﺣﺎﺻﻞ‬
‫ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﻣﻲﺷﻮﺩ‪.‬‬

‫ﮔﺎﻡ ‪١٢‬‬ ‫ﮔﺎﻡ ‪١١‬‬ ‫ﮔﺎﻡ ‪١٠‬‬ ‫ﮔﺎﻡ ‪٩‬‬

‫ﺷﺶ‬ ‫ﻧﻴﻤﻪ ﻃﺒﻞ‬ ‫ﻧﻴﻤﻪ ﺷﺶ‬ ‫ﭘﺎ ﺑﺰﻱ ﻭ‬

‫ﻃﺒﻞ‬ ‫ﺑﻨﺪ‬ ‫ﺗﺮﻗﻪ‬

‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ ﻭ ﺗﺮﻗﻪ ﻣﻴﺘﻮﺍﻥ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﻧﻴﻤﻪ ﺷﺶ ﻃﺒﻞ ﻣﺮﺣﻠﻪ ﻱ ﺳﻮﻡ ﻭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪ ﻱ ﻣﺮﺣﻠﻪ ﻧﻬﻢ‪ ،‬ﻳﮏ ﻧﻴﻤﻪ ﺷﺶ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪ ﻱ ﻣﺮﺣﻠﻪ ﻫﺸﺖ ﻭ ﺷﺶ ﻃﺒﻞ‬
‫ﺑﻪ ﻳﮏ ﺷﺶ ﻃﺒﻞ ﺟﺪﻳﺪ ﺭﺳﻴﺪ‪.‬‬ ‫ﺗﺮﻗﻪ ﻱ ﻣﺮﺣﻠﻪ ﻧﻬﻢ ﻳﮏ ﻧﻴﻤﻪ ﻃﺒﻞ ﺗﻨﺪ ﺗﺮﺳﻴﻢ‬ ‫ﺑﻨﺪ ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪.‬‬ ‫ﮐﺎﻣﻞ ﻳﮏ ﭘﺎﺑﺰﻱ ﺣﺎﺻﻞ ﻣﻴﺸﻮﺩ‪ .‬ﺑﺮ ﺭﻭﻱ‬
‫ﻣﻲﮔﺮﺩﺩ‪.‬‬ ‫ﺿﻠﻊ ﺍﻳﻦ ﭘﺎﺑﺰﻱ ﻭﭘﺎﺑﺰﻱ ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﻣﺠﺪﺩﺍ‬
‫ﺗﺮﻗﻪﻫﺎﻳﻲ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﮔﺎﻡ ‪١٦‬‬ ‫ﮔﺎﻡ ‪١٥‬‬ ‫ﮔﺎﻡ ‪١٤‬‬ ‫ﮔﺎﻡ ‪١٣‬‬

‫ﺷﻤﺴﻪ‬ ‫ﭘﺎﺑﺰﻱ ﻭ‬ ‫ﺷﺸﺒﻨﺪ‬ ‫ﺗﺮﻗﻪ‬

‫ﺗﻨﺪ‬ ‫ﺗﺮﻗﻪ‬

‫ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺸﺒﻨﺪﻫﺎﻱ ﺭﺳﻢ ﺷﺪﻩ‬
‫ﻣﺮﺣﻠﻪ ﻱ ﻗﺒﻠﻲ ﻭ ﻗﺮﻳﻨﻪ ﮐﺮﺩﻧﺸﺎﻥ ﻳﮏ‬
‫ﺯﻣﻴﻨﻪ ﺷﻤﺴﻪ ﺗﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻲﮔﺮﺩﺩ‪ .‬ﺩﺭ‬
‫ﭘﺸﺖ ﺷﺶ ﺑﻨﺪﻫﺎﻱ ﺟﺪﻳﺪ ﺗﺮﻗﻪﻫﺎﻳﻲ‬
‫ﺭﺳﻢ ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺩﺭ ﻣﻴﺎﻥ ﺗﺮﻗﻪﻫﺎﻱ ﻣﺮﺣﻠﻪ ‪ ١٣‬ﻳﮏ ﭘﺎﺑﺰﻱ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺗﺮﻗﻪﻫﺎﻱ ﻣﺮﺣﻠﻪ ﻱ ﻗﺒﻠﻲ‪،‬‬ ‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﭘﺎﺑﺰﻱ‪ ،‬ﺗﺮﻗﻪﻫﺎﻱ ﺟﺪﻳﺪ‬
‫ﺣﺎﺻﻞ ﻣﻴﺸﻮﺩ‪ ،‬ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺍﻳﻦ ﭘﺎﺑﺰﻱ‬ ‫ﺷﺶ ﺑﻨﺪﻫﺎﻳﻲ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺗﺮﺳﻴﻤﻤﻲﺷﻮﻧﺪ‪.‬‬
‫ﺩﻭ ﺗﺮﻗﻪ ﻱ ﺟﺪﻳﺪ ﺗﺮﺳﻴﻢ ﻣﻲﮔﺮﺩﺩ‪.‬‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬
‫ﺍﺩﺍﻣﻪ ﺟﺪﻭﻝ ‪.۱۱‬‬
‫ﮔﺎﻡ ‪٢٠‬‬ ‫ﮔﺎﻡ ‪١٩‬‬ ‫ﮔﺎﻡ ‪١٨‬‬ ‫ﮔﺎﻡ ‪١٧‬‬

‫‪---‬‬ ‫ﻃﺒﻞ ﺗﻨﺪ‬ ‫ﭘﺎ ﺑﺰﻱ‬ ‫ﺗﺮﻗﻪ‬

‫ﺑﺎ ﺭﺳﻢ ﺍﻣﺘﺪﺍﺩ ﺷﺸﺒﻨﺪﻫﺎ ﻭ ﺗﺮﻗﻪﻫﺎﻱ‬ ‫ﺑﺎ ﺭﺳﻢ ﻳﮏ ﻣﺤﻮﺭ ﺗﻘﺎﺭﻥ‪ ،‬ﻳﮏ ﻃﺒﻞ ﺗﻨﺪ‪ ،‬ﺷﺶ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪﻫﺎﻱ ﻣﺮﺍﺣﻞ ﻫﻔﺪﻩ ﻭ ﺷﺎﻧﺰﺩﻩ‪،‬‬ ‫ﻗﺮﻳﻨﻪ ﻱ ﺗﺮﻗﻪﻫﺎﻱ ﺳﻤﺖ ﭼﭗ ﺭﺳﻢ‬
‫ﺭﻭﻱ ﺍﺿﻼﻉ ﺁﻥ ﻭ ﭘﺎﺑﺰﻱﻫﺎﻱ ﺭﻭﻱ‬ ‫ﻃﺒﻞ ‪ ،‬ﺗﺮﻗﻪ ﻭ ﺷﺸﺒﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﭘﺎﺑﺰﻱﻫﺎﻳﻲ ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﻣﻲﺷﻮﺩ‪.‬‬
‫ﺍﺿﻼﻉ ﺗﺮﻗﻪ‪ ،‬ﺭﻭﻧﺪ ﺗﺮﺳﻴﻢ ﻧﺸﺎﻥ ﻣﻴﺪﻫﺪ‬
‫ﮐﻪ ﺷﮑﻞ ﺑﺼﻮﺭﺕ ﻣﺘﻘﺎﺭﻥ ﺩﺭ ﺳﻤﺖ‬
‫ﺭﺍﺳﺖ ﺭﺑﻊ ﮔﺮﻩ ﻭ ﻗﺴﻤﺖﻫﺎﻱ ﺑﺎﻻﻳﻲ‬
‫ﺁﻥ ﺗﮑﺮﺍﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﮔﺎﻡ ‪٢٤‬‬ ‫ﮔﺎﻡ ‪٢٣‬‬ ‫ﮔﺎﻡ ‪٢٢‬‬ ‫ﮔﺎﻡ ‪٢١‬‬

‫ﺗﺮﻗﻪ‬ ‫ﻃﺒﻞ ﺗﻨﺪ‬ ‫ﺷﺶ ﺑﻨﺪ‬ ‫‪---‬‬

‫ﺩﺭ ﻗﺴﻤﺖ ﻭﺳﻂ ﺍﺯ ﺗﻘﺎﻃﻊ ﺍﺿﻼﻉ‬ ‫ﺍﺯ ﺗﻘﺎﻃﻊ ﺩﻭ ﻃﺒﻞ ﺷﺶ‪ ،‬ﻃﺒﻞﻫﺎﻱ ﺗﻨﺪ ﺗﺮﺳﻴﻢ‬ ‫ﻧﻴﻤﻪ ﺷﻤﺴﻪﻫﺎﻱ ﺩﻭﻃﺮﻑ ﺑﺎ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪﻫﺎ‬ ‫ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺩﻭ ﻣﺤﻮﺭ ﺗﻘﺎﺭﻥ ﻋﻤﻮﺩ‬
‫ﭘﺎﺑﺰﻱ‪ ،‬ﻃﺒﻞ ﺷﺶ ﻫﺎﻭ ﺗﺮﻗﻪﻫﺎ ﻣﻴﺘﻮﺍﻥ‬ ‫ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬ ‫ﻭ ﺗﮑﻤﻴﻞ ﺷﺸﺒﻨﺪﻫﺎ ﮐﺎﻣﻞ ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬ ‫ﺑﺮﻫﻢ ﮐﻪ ﺍﺯ ﻭﺳﻂ ﻃﺒﻞﻫﺎﻱ ﺗﻨﺪ ﻋﻤﻮﺩﻱ‬
‫ﺗﺮﻗﻪ ﻱ ﺟﺪﻳﺪﻱ ﺗﺮﺳﻴﻢ ﮐﺮﺩ‪.‬‬ ‫ﻭ ﺍﻓﻘﻲ ﻣﻴﮕﺬﺭﻧﺪ ﺷﮑﻞﻫﺎﻱ ﻣﺮﺍﺣﻞ ﻳﮏ ﺗﺎ‬
‫ﺑﻴﺴﺖ ﺗﮑﺮﺍﺭﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﮔﺎﻡ ‪٢٨‬‬ ‫ﮔﺎﻡ ‪٢٧‬‬ ‫ﮔﺎﻡ ‪٢٦‬‬ ‫ﮔﺎﻡ ‪٢٥‬‬

‫ﮔﺮﻩ‬ ‫ﮔﺮﻩ‬ ‫ﺗﺮﻧﺞ ﺗﻨﺪ‬ ‫ﺷﺶ ﺑﻨﺪ‬

‫ﮔﺮﻩ ﮐﺎﻣﻞ ﺗﻨﺪ »ﺩﻩ ﭘﺎﺑﺰﻱ«‬ ‫ﺑﺎ ﻗﺮﻳﻨﻪ ﮐﺮﺩﻥ ﺭﺑﻊ ﮔﺮﻩ ﺧﻮﺭﺩ ﺷﺪﻩ ﻣﻴﺘﻮﺍﻥ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺷﺶ ﺑﻨﺪ‪ ،‬ﺗﺮﻧﺠﻲﻫﺎﻱ ﺗﻨﺪ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺗﺮﻗﻪ ﻱ ﻣﺮﺣﻠﻪ ﻱ ﻗﺒﻠﻲ‪ ،‬ﺷﺶ‬
‫ﺑﻪ ﻳﮏ ﮔﺮﻩ ﮐﺎﻣﻞ ﺩﺳﺖ ﻳﺎﻓﺖ‪.‬‬ ‫ﺗﺮﺳﻴﻢ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺷﻤﺴﻪ ﻱ ﺗﻨﺪ ﺩﺭ ﻣﺮﮐﺰ‬ ‫ﺑﻨﺪﻫﺎﻱ ﺟﺪﻳﺪﻱ ﺑﺪﺳﺖ ﻣﻲﺁﻳﻨﺪ‪.‬‬
‫ﺑﺪﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬

‫"ﺗﻨﺪ" ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﻮﺩﻩ ﮐﻪ ﻃﻲ ‪ ۲۴‬ﮔﺎﻡ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺟﺰﺀ‬
‫ﺑﻪ ﺟﺰﺀ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺗﻤﺎﻣﻲ ﺁﻟﺖﻫﺎﻱ ﻣﺮﺑﻮﻁ ﺑﻪ ﮔﺮﻩ‬
‫"ﮐﻨﺪ" ﺍﻳﺠﺎﺩ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﻧﺘﻴﺠﻪ ﺁﺯﻣﻮﻥ ﺣﺎﮐﻲ ﺍﺯ ﺍﺛﺒﺎﺕ‬
‫ﻓﺮﺿﻴﻪ ﻋﺪﻡ ﺩﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩ ﻣﻲﺑﺎﺷﺪ‬
‫)ﺟﺪﻭﻝ ‪.(۱۰‬‬
‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‪:‬ﺩﺭ ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ ﻭ ﺩﺭ ﺯﺍﻳﺶ ﺳﻮﻡ‪ ،‬ﺑﺮ‬
‫ﺍﺳﺎﺱ "ﺗﻨﺪ" ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ "ﮐﻨﺪ" ﮔﺮﻩِ ﮐﻨﺪ "ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﻗﻨﺎﺱ ﺑﺰﺭﮒ" ﺑﻌﻨﻮﺍﻥ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺍﻧﺠﺎﻡ ﮔﺮﻓﺘﻪ ﻭ ﮔﺮﻩ ﮔﺮﻩ‬
‫‪۸۹‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
‫ﺗﻨﺪ "ﻃﺒﻞ ﭘﺎ ﺑﺰﻱ" ﺣﺎﮐﻲ ﺍﺯ ﻇﻬﻮﺭ ﺁﻻﺕ ﮔﺮﻩ ﺗﻨﺪ ﺑﻮﺩﻩ ﻭ‬
‫ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ‪ ،‬ﻓﺮﺿﻴﻪ ﻋﺪﻡ ﺩﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ ﺩﺭ ﺯﺍﻳﺶ‬
‫ﮔﺮﻩ‪ ،‬ﺍﺯ ﺁﻧﭽﻪ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﺪﺍﻥ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﻣﻮﺭﺩ‬
‫ﺁﺯﻣﻮﻥ ﻭ ﺍﺛﺒﺎﺕ ﻗﺮﺍﺭ ﮔﺮﻓﺖ )ﺟﺪﻭﻝ ‪.(۹‬‬
‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ‪:‬ﺩﺭ ﺍﻳﻦ ﻣﺮﺣﻠﻪ ﮔﺮﻩ ﺗﻨﺪ "ﻃﺒﻞ ﭘﺎ ﺑﺰﻱ" ﺑﻌﻨﻮﺍﻥ‬
‫ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺟﻬﺖ ﺍﻧﺠﺎﻡ ﺯﺍﻳﺶ ﻭ ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﮐﻨﺪ "ﺳﺮﻣﻪ ﺩﺍﻥ‬
‫ﻗﻨﺎﺱ ﺑﺰﺭﮒ" ﺍﻳﻔﺎﻱ ﻧﻘﺶ ﻣﻲﮐﻨﺪ‪ .‬ﻣﺒﻨﺎﻱ ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﻫﺪﻑ‪،‬‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻗﺎﻋﺪﻩ ﺯﺍﻳﻨﺪﮔﻲ‪ ،‬ﻳﻌﻨﻲ "ﮐﻨﺪ" ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺟﺪﻭﻝ ‪ .۱۲‬ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ‪ ،‬ﺯﺍﻳﺶ ﭼﻬﺎﺭﻡ‪» .‬ﮐﻨﺪ« ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ »ﺗﻨﺪ« ﮔﺮﻩ ﺗﻨﺪ »ﺩﻩ ﭘﺎ ﺑﺰﻱ« ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﮔﺮﻩ »ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ«‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬
‫ﺣﺼﻮﻝ ﺗﻤﺎﻣﻲ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ »ﮐﻨﺪ« ﺷﺎﻣﻞ ﺁﻟﺖ ﻫﺎﻱ« ﺷﻤﺴﻪ«‪» ،‬ﭘﻨﺞ ﮐﻨﺪ«‪» ،‬ﺗﺮﻧﺞ«‪» ،‬ﻃﺒﻞ« ﻭ »ﺳﺮﻣﻪ ﺩﺍﻥ ﮐﻨﺪ« ﺩﺭ ﮔﺮﻩ »ﮐﻨﺪ ﺳﺮﻣﻪ‬
‫ﺩﺍﻥ« ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﺭﻧﮓ ﺳﺒﺰ ﮔﺮﻩ ﺗﻨﺪ ﺯﻣﻴﻨﻪ »ﺩﻩ ﭘﺎﺑﺰﻱ« ﻭ ﺭﻧﮓ ﻗﺮﻣﺰ ﻧﺘﻴﺠﻪ »ﮐﻨﺪ« ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ »ﺗﻨﺪ« ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﻣﻲﺑﺎﺷﺪ‪ .‬ﺭﻧﮓ‬
‫ﺳﺒﺰ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺑﻮﺩﻩ ﻭ ﺭﻧﮓ ﻗﺮﻣﺰ ﮔﺮﻩ ﺩﺭ ﺣﺎﻝ ﺯﺍﻳﺶ ﺍﺳﺖ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﮔﺎﻡ ‪٤‬‬ ‫ﮔﺎﻡ ‪٣‬‬ ‫ﮔﺎﻡ ‪٢‬‬ ‫ﮔﺎﻡ ‪١‬‬
‫ﻃﺒﻞ ﮐﻨﺪ‬ ‫ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﺗﺮﻧﺞ‬ ‫ﭘﻨﺞ‬
‫ﮐﻨﺪ‬

‫ﺑﺮ ﺭﻭﻱ ﺍﺿﻼﻉ ﺗﺮﻧﺠﻲﻫﺎﻱ ﮐﻨﺪ‬
‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ ﻣﻴﺘﻮﺍﻥ ﻃﺒﻞﻫﺎﻱ ﮐﻨﺪ‬
‫ﺗﺮﺳﻴﻢ ﮐﺮﺩ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﮑﻪ ﺍﺿﻼﻉ‬
‫ﺗﺮﻧﺞ ﻭ ﻃﺒﻞﻫﺎ ﺑﺮﺍﺑﺮﻧﺪ ﻭ ﺷﮑﻞ ﻃﺒﻞ‬
‫ﻣﺘﻘﺎﺭﻥ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺩﺍﺧﻠﺘﻤﺎﻣﻲ ﺗﺮﻗﻪ ﻫﺎ‪ ،‬ﭘﻨﺞﻫﺎﻱ‬ ‫ﺍﺯ ﺩﻭ ﻃﺮﻑ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺍﻣﺘﺪﺍﺩ‬ ‫ﺍﺯ ﺩﺭﻭﻥ ﺗﺮﻧﺞﻫﺎﻱ ﺗﻨﺪ ﭘﺸﺖ‬
‫ﮐﻨﺪ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬ ‫ﻣﻲﻳﺎﺑﻨﺪ ﺗﺎ ﺗﺒﺪﻳﻞ ﺑﻪ ﺗﺮﻧﺞ ﮐﻨﺪ‬ ‫ﺷﻤﺴﻪ‪ ،‬ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﺩﻧﺪ‪.‬‬ ‫ﻣﻲﺷﻮﻧﺪ‪.‬‬

‫ﮔﺎﻡ ‪۸‬‬ ‫ﮔﺎﻡ ‪٧‬‬ ‫ﮔﺎﻡ ‪٦‬‬ ‫ﮔﺎﻡ ‪٥‬‬

‫ﺳﺮﻣﻪ ﺩﺍﻥ‬ ‫ﺗﺮﻧﺞ‬ ‫ﺗﺮﻧﺞ‬ ‫ﺳﺮﻣﻪ‬

‫ﮐﻨﺪ‬ ‫ﺩﺍﻥ‬

‫ﺑﺮﺭﻭﻱ ﺍﺿﻼﻉ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻣﺮﺣﻠﻪ‬
‫ﻱ ﻫﻔﺘﻢ‪ ،‬ﻧﻴﻤﻪ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﻣﺎﻳﻠﻲ‬
‫ﺩﻳﺪﻩ ﻣﻴﺸﻮﺩ ﮐﻪ ﺑﺎ ﻗﺮﻳﻨﻪ ﮐﺮﺩﻥ‬
‫ﺍﺿﻼﻉ ﺁﻥ ﻣﻴﺘﻮﺍﻥ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ‬
‫ﻣﺎﻳﻞ ﮐﺎﻣﻞ ﺩﺍﺷﺖ‪.‬‬
‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺗﺮﻧﺞ ﻣﺮﺣﻠﻪ‬
‫ﻱ ﻗﺒﻞ ﻭ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ ﺑﺪﺳﺖ‬
‫ﺁﻣﺪﻩ ﺩﺭ ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ ‪ ،‬ﭘﻨﺞﻫﺎﻱ‬
‫ﮐﻨﺪ ﺟﺪﻳﺪ ﺗﺮﺳﻴﻢ ﻣﻲﺷﻮﻧﺪ‪.‬‬
‫ﺍﺯ ﺗﻘﺎﻃﻊ ﺍﺿﻼﻉ ﻃﺒﻞ ﻣﺮﺣﻠﻪ ﻱ‬
‫ﭼﻬﺎﺭﻡ‪ ،‬ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﺟﺪﻳﺪ ﺑﻪ‬
‫ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬
‫ﺩﺭ ﺑﻴﻦ ﻃﺒﻞﻫﺎﻱ ﺗﺮﺳﻴﻢ ﺷﺪﻩ‪،‬‬
‫ﺍﺿﻼﻉ ﻧﻴﻤﻪ ﺳﺮﻣﻪ ﺩﺍﻥ ﻇﺎﻫﺮ‬
‫ﻣﻴﺸﻮﺩ ﮐﻪ ﺑﺎ ﺗﺮﺳﻴﻢ ﻳﮏ ﺧﻂ‬
‫ﺗﻘﺎﺭﻥ ﻓﺮﺿﻲ‪ ،‬ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ‬
‫ﮐﺎﻣﻞ ﻇﺎﻫﺮ ﻣﻲﮔﺮﺩﻧﺪ‪.‬‬

‫ﮔﺎﻡ ‪١٢‬‬ ‫ﮔﺎﻡ ‪١١‬‬ ‫ﮔﺎﻡ ‪١٠‬‬ ‫ﮔﺎﻡ ‪٩‬‬

‫ﮔﺮﻩ ﮐﺎﻣﻞ‬ ‫ﺷﻤﺴﻪ‬ ‫ﺗﺮﻧﺞ ﻭ‬ ‫ﭘﻨﺞ‬

‫ﮐﻨﺪ‬
‫ﻃﺒﻞ‬ ‫ﮐﻨﺪ‬
‫ﮐﻨﺪ ﺳﺮﻣﻪ‬
‫ﺩﺍﻥ‬

‫ﺑﺎ ﺗﮑﻤﻴﻞ ﺧﺮﺩ ﺷﺪﻥ ﺭﺑﻊ ﮔﺮﻩ ﻭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﺩﺭ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ ﻫﻤﺰﻣﺎﻥ‬ ‫ﺍﺯ ﺍﻣﺘﺪﺍﺩ ﺍﺿﻼﻉ ﺳﺮﻣﻪ ﺩﺍﻥﻫﺎﻱ‬
‫ﺗﺮﺳﻴﻢ ﺭﺑﻊﻫﺎﻱ ﺩﻳﮕﺮ ﺑﺎ ﻗﺮﻳﻨﻪ ﮐﺮﺩﻥ‪،‬‬ ‫ﻣﺤﻞ ﻗﺮﺍﺭﮔﻴﺮﻱ ﺷﺶ ﻃﺒﻞ ﺗﻨﺪ‪،‬‬ ‫ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﻭ ﻃﺒﻞ ﮐﻨﺪ ﺑﻪ‬ ‫ﻣﺎﻳﻞ ﻣﺮﺣﻠﻪ ﻱ ﻗﺒﻞ‪ ،‬ﭘﻨﺞﻫﺎﻱ ﮐﻨﺪ‬
‫ﻳﮏ ﮔﺮﻩ ﮐﺎﻣﻞ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺗﺮﻧﺞﻫﺎﻱ ﮐﻨﺪ ﻭ ﺩﺭ ﻧﺘﻴﺠﻪ ﺯﻣﻴﻨﻪ‬ ‫ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬ ‫ﺟﺪﻳﺪ ﺑﻪ ﺩﺳﺖ ﻣﻲﺁﻳﺪ‪.‬‬
‫ﻳﮏ ﺷﻤﺴﻪ ﮐﻨﺪ ﺍﻳﺠﺎﺩ ﻣﻲﺷﻮﺩ‪.‬‬

‫ﺗﻤﺎﻣﻲ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ "ﮐﻨﺪ" ﺷﺎﻣﻞ ﺁﻟﺖ ﻫﺎﻱ" ﺷﻤﺴﻪ"‪" ،‬ﭘﻨﺞ‬
‫ﮐﻨﺪ"‪" ،‬ﺗﺮﻧﺞ"‪" ،‬ﻃﺒﻞ" ﻭ "ﺳﺮﻣﻪ ﺩﺍﻥ ﮐﻨﺪ" ﺩﺭ ﮔﺮﻩ ﮐﻨﺪ "ﮐﻨﺪ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥ" ﺩﻳﺪﻩ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺮﺍﺣﻞ ﮐﺎﺭ ﺩﺭ ‪ ۱۲‬ﮔﺎﻡ ﺍﻧﺠﺎﻡ‬
‫ﻳﺎﻓﺘﻪ ﻭ ﻧﺘﺎﻳﺞ ﻣﺠﺪﺩﺍ ﺍﺯ ﻋﺪﻡ ﺩﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ ﻭ ﺣﻔﻆ‬
‫ﻗﻮﺍﻋﺪ ﻣﺮﺑﻮﻁ ﺑﻪ ﺯﺍﻳﺶ ﮔﺮﻩ ﻣﻲﺑﺎﺷﺪ )ﺟﺪﻭﻝ ‪.(۱۲‬‬
‫ﺗﻨﺪ "ﺩﻩ ﭘﺎﺑﺰﻱ" ﺣﺎﺻﻞ ﻣﻲﺷﻮﺩ‪ .‬ﻣﺮﺍﺣﻞ ﺍﻧﺠﺎﻡ ﮐﺎﺭ ﺩﺭ ‪۲۷‬‬
‫ﮔﺎﻡ ﺻﻮﺭﺕ ﮔﺮﻓﺘﻪ ﻭ ﻧﺘﺎﻳﺞ ﺁﺯﻣﻮﻥ ﻧﺸﺎﻥ ﺍﺯ ﻋﺪﻡ ﺩﺍﺷﺘﻦ‬
‫ﺁﻟﺖ ﺧﺎﺭﺝ ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩ ﻣﻲﺑﺎﺷﺪ )ﺟﺪﻭﻝ ‪.(۱۱‬‬
‫ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ‪ :‬ﺷﺎﻣﻞ "ﮐﻨﺪ" ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ "ﺗﻨﺪ" ﮔﺮﻩ ﺗﻨﺪ "ﺩﻩ‬
‫ﭘﺎ ﺑﺰﻱ" ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﮔﺮﻩ ﮐﻨﺪ "ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ"‪ .‬ﺣﺼﻮﻝ‬
 ‫ﻓﺼﻠﻨﺎﻣﺔ ﻋﻠﻤﻲ ﻧﮕﺮﻩ‬

‫ﺟﺪﻭﻝ ‪ .۱۳‬ﻗﻮﺍﻋﺪ ﻭ ﺍﻟﮕﻮﻱ ﺷﮑﻞ ﮔﻴﺮﻱ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺧﺮﺩ ﺷﺪﻩ ﻭ ﺑﺪﺳﺖ ﺁﻣﺪﻥ ﺁﻟﺖﻫﺎﻱ ﺟﺪﻳﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬
‫ﻣﺴﺎﻭﻱ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﭘﺎﺑﺰﻱ ﺑﺎ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺗﺮﻗﻪ‪ ،‬ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺷﺸﺒﻨﺪ‪ ،‬ﺍﺿﻼﻉ‬ ‫ﺯﺍﻳﺶ ﮔﺮﻩ »ﺗﻨﺪ‬
‫ﺑﺰﺭﮒ ﺗﺮﻧﺞ ﺗﻨﺪ‪ ،‬ﺍﺿﻼﻉ ﻃﺒﻞ ﺗﻨﺪ‪ ،‬ﺿﻠﻊ ﺑﺰﺭﮒ ﺷﺶ ﻃﺒﻞ‪.‬‬ ‫ﻃﺒﻞ ﭘﺎ ﺑﺰﻱ ﺍﺯ‬ ‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ‬
‫‪-٢‬ﺑﺮﺍﺑﺮ ﺑﻮﺩﻥ ﺿﻠﻊ ﮐﻮﭼﮏ ﭘﺎﺑﺰﻱ ﺑﺎ ﺿﻠﻊ ﮐﻮﭼﮏ ﺷﺶ ﻃﺒﻞ ﻭ ﻫﻤﭽﻨﻴﻦ ﺑﺮﺍﺑﺮ ﺑﻮﺩﻥ‬ ‫»ﮔﺮﻩ ﮐﻨﺪ ﺳﺮﻣﻪ‬ ‫ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺗﺮﻗﻪ ﺑﺎ ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺷﺸﺒﻨﺪ‪.‬‬ ‫ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ«‬

‫‪-١‬ﻣﺴﺎﻭﻱ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺗﺮﻧﺞ ﺑﺎ ﺍﺿﻼﻉ ﭘﻨﺞ ﮐﻨﺪ‪ ،‬ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﻃﺒﻞ ﻭ ﺍﺿﻼﻉ‬ ‫ﺯﺍﻳﺶ ﮔﺮﻩ ﮐﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥ‪.‬‬ ‫»ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ‬ ‫ﺩﻭﻣﺨﺮﺩ‬
‫‪-٢‬ﺑﺮﺍﺑﺮ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﻃﺒﻞ ﺑﺎ ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺗﺮﻧﺞ‪.‬‬ ‫ﺑﺰﺭﮒ«‬ ‫ﮐﺮﺩﻥ‬

‫‪-١‬ﺑﺮﺍﺑﺮ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﭘﺎﺑﺰﻱ ﺑﺎ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺗﺮﻗﻪ ﻭ ﺍﺿﻼﻉ ﺑﺰﺭﮒ‪.‬‬ ‫ﺯﺍﻳﺶ ﮔﺮﻩ ﺗﻨﺪ »ﺩﻩ‬
‫‪-٢‬ﺷﺸﺒﻨﺪ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺗﺮﻧﺞ ﺗﻨﺪ= ﺍﺿﻼﻉ ﻃﺒﻞ ﺗﻨﺪ= ﺿﻠﻊ ﺑﺰﺭﮒ ﺷﺶ ﻃﺒﻞ‪.‬‬ ‫ﭘﺎ ﺑﺰﻱ« ﺍﺯ ﮔﺮﻩ‬ ‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ‬
‫‪-٣‬ﺿﻠﻊ ﮐﻮﭼﮏ ﭘﺎﺑﺰﻱ= ﺿﻠﻊ ﮐﻮﭼﮏ ﺷﺶ‪.‬‬ ‫»ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ‬ ‫ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫‪-٤‬ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺗﺮﻗﻪ= ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺷﺸﺒﻨﺪ‪.‬‬ ‫ﺑﺰﺭﮒ«‬

‫‪-١‬ﻣﺴﺎﻭﻱ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﺗﺮﻧﺞ ﺑﺎ ﺍﺿﻼﻉ ﭘﻨﺞ ﮐﻨﺪ‪ ،‬ﺍﺿﻼﻉ ﺑﺰﺭﮒ ﻃﺒﻞ ﻭ ﺍﺿﻼﻉ‬ ‫ﺯﺍﻳﺶ ﮔﺮﻩ »ﮐﻨﺪ‬ ‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭ‬
‫ﺳﺮﻣﻪ ﺩﺍﻥ‪.‬‬ ‫ﺳﺮﻣﻪ ﺩﺍﻥ ﺍﺯ ﮔﺮﻩ‬ ‫ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫‪-٢‬ﺑﺮﺍﺑﺮ ﺑﻮﺩﻥ ﺍﺿﻼﻉ ﮐﻮﭼﮏ ﻃﺒﻞ ﺑﺎﺍﺿﻼﻉ ﮐﻮﭼﮏ ﺗﺮﻧﺞ‪.‬‬ ‫ﺗﻨﺪ »ﺩﻩ ﭘﺎﺑﺰﻱ«‬

‫ﺟﺪﻭﻝ ‪.۱۴‬ﺟﺪﻭﻝ ﺁﺯﻣﻮﻥ ﻓﺮﺿﻴﻪ‪ ،‬ﻧﺪﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ )ﺁﻟﺖﻫﺎﻱ ﮐﻨﺪ( ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩﻫﺎﻱ ﮐﻨﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬

‫ﺁﻻﺕ ﮔﺮﻩ ﮐﻨﺪ‬ ‫ﮔﺮﻩﻫﺎﻱ »ﮐﻨﺪ«‬

‫ﺳﺮﻣﻪ ﺩﺍﻥ‬ ‫ﻃﺒﻞ‬ ‫ﺗﺮﻧﺞ‬ ‫ﭘﻨﺞ ﮐﻨﺪ‬ ‫ﺷﻤﺴﻪ‬

‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫ﻣﺮﺣﻠﻪ ﺍﻭﻝ )ﺳﺮﻣﻪ ﺩﺍﻥ ﭼﻬﺎﺭ ﺷﻤﺴﻪ(‬

‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫ﻣﺮﺣﻠﻪ ﺳﻮﻡ )ﺳﺮﻣﻪ ﺩﺍﻥ ﻗﻨﺎﺱ ﺑﺰﺭﮒ(‬

‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫ﻣﺮﺣﻠﻪ ﭘﻨﺠﻢ )ﮐﻨﺪ ﺳﺮﻣﻪ ﺩﺍﻥ(‬

‫ﺟﺪﻭﻝ ‪ .۱۵‬ﺟﺪﻭﻝ ﺁﺯﻣﻮﻥ ﻓﺮﺿﻴﻪ‪ ،‬ﻧﺪﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ )ﺁﻟﺖﻫﺎﻱ ﺗﻨﺪ( ﺩﺭ ﺯﺍﻳﺶ ﮔﺮﻩﻫﺎﻱ ﺗﻨﺪ‪ ،‬ﻣﺄﺧﺬ‪ :‬ﻧﮕﺎﺭﻧﺪﮔﺎﻥ‪.‬‬

‫ﺁﻻﺕ ﮔﺮﻩ ﺗﻨﺪ‬

‫ﻣﺎﮐﻮ‬ ‫ﺷﻤﺴﻪ‬ ‫ﺷﺶ‬ ‫ﺩﺍﻧﻪ‬ ‫ﺷﺶ‬ ‫ﺗﺮﻗﻪ‬ ‫ﭘﺎ‬ ‫ﺑﺮﮒ‬ ‫ﻃﺒﻞ‬ ‫ﭼﻬﺎﺭ‬ ‫ﺗﺮﻧﺞ‬ ‫ﭘﻨﺞ‬ ‫ﺷﻤﺴﻪ‬
‫ﮔﺮﻩﻫﺎﻱ ”ﺗﻨﺪ“‬
‫ﺗﻪ‬ ‫ﺑﻨﺪ‬ ‫ﺑﻠﻮﻁ‬ ‫ﻃﺒﻞ‬ ‫ﺑﺰﻱ‬ ‫ﭼﻨﺎﺭ‬ ‫ﻟﻨﮕﻪ‬ ‫ﺗﻨﺪ‬
‫ﺑﺮﻳﺪﻩ‬

‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫ﻣﺮﺣﻠﻪ ﺩﻭﻡ‬
‫)ﻃﺒﻞ ﭘﺎﺑﺰﻱ(‬

‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫*‬ ‫ﻣﺮﺣﻠﻪ ﭼﻬﺎﺭﻡ‬
‫)ﺩﻩ ﭘﺎ ﺑﺰﻱ(‬

‫‪۹۱‬‬
‫ﺷﻤﺎﺭﻩ ‪ ۵۴‬ﺗﺎﺑﺴﺘﺎﻥ‪۹۹‬‬
 ‫ﺍﺭﺍﺋﻪ ﻣﺪﻝ ﮔﺎﻡ ﺑﻪ ﮔﺎﻡ ﺭﻭﺵ ﺗﺮﺳﻴﻢ‬
‫ﮔﺮﻩ ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﺓ ﺧﺮﺩ ﮐﺮﺩﻥ‬
‫ﻧﺘﻴﺠﻪ‬ ‫)ﺯﺍﻳﻨﺪﮔﻲ(‪٩٣-٧٧/‬‬

‫ﺩﺭ ﺍﻳﻦ ﭘﮋﻭﻫﺶ‪ ،‬ﺿﻤﻦ ﻣﻌﺮﻓﻲ ﺭﻭﺵﻫﺎﻱ ﻣﺮﺳﻮﻡ ﺗﻮﻟﻴﺪ ﻭ ﺗﺮﺳﻴﻢ ﮔﺮﻩ‪ ،‬ﺧﺼﻮﺻﻴﺎﺕ ﻭ ﻣﺨﺘﺼﺎﺕ ﺭﺳﻢ ﮔﺮﻩ‬
‫ﺑﺮ ﻣﺒﻨﺎﻱ ﻗﺎﻋﺪﻩ ﺯﺍﻳﻨﺪﮔﻲ ﻣﻮﺭﺩ ﺗﺄﮐﻴﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺑﻪ ﻏﻴﺮ ﺍﺯ ﺍﺑﺪﺍﻋﺎﺗﻲ ﮐﻪ ﺩﺭ ﺳﺪﻩ ﺍﺧﻴﺮ ﺩﺭ ﺧﺼﻮﺹ ﺭﻭﺵﻫﺎﻱ‬
‫ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﺑﺎﻻﺧﺺ ﺍﺯ ﺳﻮﻱ ﻣﺤﻘﺎﻥ ﻏﺮﺑﻲ ﺍﺭﺍﺋﻪ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ ﺍﺳﻨﺎﺩ ﺗﺎﺭﻳﺨﻲ ﻭ ﺁﻣﻮﺯﻩﻫﺎﻱ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺳﻨﺘﻲ‪ ،‬ﺩﻭ ﺭﻭﺵ ﻋﻤﺪﻩ ﺟﻬﺖ ﮔﺮﻩﺳﺎﺯﻱ ﻣﻌﺮﻓﻲ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ‪ .‬ﺭﻭﺵ ﺍﻭﻝ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ‬
‫ﺯﻳﺮﺳﺎﺧﺖ ﻭ ﺭﻭﺵ ﺩﻭﻡ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻋﻤﻞ ﺧﺮﺩ ﮐﺮﺩﻥ ﻭ ﺯﺍﻳﻨﺪﮔﻲ‪ .‬ﺩﺭ ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺷﺒﮑﻪﻫﺎﻱ ﺯﻳﺮﺳﺎﺧﺖ‪،‬‬
‫ﺭﺳﻢ ﮔﺮﻩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻄﻮﻁ ﺭﺍﻫﻨﻤﺎ ﻭ ﺧﻄﻮﻁ ﺭﻣﺰ ﺍﻧﺠﺎﻡ ﭘﺬﻳﺮﻓﺘﻪ ﻭ ﺩﺭ ﻋﻤﻞ ﺯﺍﻳﻨﺪﮔﻲ‪ ،‬ﺭﺳﻢ ﻭ ﺗﻮﻟﻴﺪ ﮔﺮﻩ‬
‫ﻣﺒﺘﻨﻲ ﺑﺮ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺑﻮﺩﻩ ﻭ ﺑﺮ ﺍﺳﺎﺱ ﻋﻤﻞ ﺗﻨﺪ ﮐﺮﺩﻥ ﻭ ﮐﻨﺪ ﮐﺮﺩﻥ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺯﻣﻴﻨﻪ ﺍﻧﺠﺎﻡ ﻣﻲﮔﻴﺮﺩ‪.‬‬
‫ﮔﺮﻩﺳﺎﺯﻳﺒﻪ ﻃﺮﻳﻖ ﺯﺍﻳﻨﺪﮔﻲ ﮐﻪ ﺍﻣﺮﻭﺯﻩ ﺍﺯ ﺳﻮﻱ ﻣﺤﻘﻘﻴﻦ ﻣﻐﻔﻮﻝ ﻭﺍﻗﻊ ﮔﺮﺩﻳﺪﻩ ﺍﺳﺖ ﺿﻤﻦ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﻫﻤﻴﺖ‬
‫ﺍﺳﺘﻤﺮﺍﺭ ﻭ ﺗﻮﺍﻟﻲ ﭘﻲ ﺩﺭ ﭘﻲ ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﻧﺴﺒﺖ ﺑﻪ ﮔﺮﻩﻫﺎﻱ ﺯﻣﻴﻨﻪ )ﺳﺎﻳﺮ ﺭﻭﺵﻫﺎﻱ ﺗﻮﻟﻴﺪ ﻭ ﺭﺳﻢ ﮔﺮﻩ ﻓﺎﻗﺪ ﺍﻳﻦ‬
‫ﺧﺼﻮﺻﻴﺖ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﻣﻲﺑﺎﺷﻨﺪ(‪ ،‬ﺩﺍﺭﺍﻱ ﻓﺮﺿﻴﺎﺕ ﻭ ﻗﻮﺍﻋﺪﻱ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﭘﮋﻭﻫﺶ ﺣﺎﺿﺮ ﺑﺎ ﻣﻌﺮﻓﻲ ﺁﻧﻬﺎ‬
‫ﻣﻮﺭﺩ ﺁﺯﻣﻮﻥ ﻭ ﺍﺛﺒﺎﺕ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺟﻬﺖ ﺁﺯﻣﻮﻥ ﻓﺮﺿﻴﺎﺕ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﺗﺮﺳﻴﻢ ﮔﺎﻡﺑﻪﮔﺎﻡ ﻭ ﺟﺰﺀ ﺑﻪ ﺟﺰﺀ‬
‫ﺍﻧﺠﺎﻡ ﮔﺮﻓﺖ ﮐﻪ ﺩﺭ ﭼﻬﺎﺭ ﻣﺮﺣﻠﻪ ﺍﺯ ﺁﻥ‪ ،‬ﻋﻤﻞ ﺗﻮﻟﻴﺪ ﮔﺮﻩ ﺑﻄﺮﻳﻖ ﺧﺮﺩ ﮐﺮﺩﻥ ﻭ ﺯﺍﻳﺶ ﺑﻮﺩﻩ ﻭ ﺩﺭ ﻃﻲ ﺗﻤﺎﻣﻲ‬
‫ﻣﺮﺍﺣﻞ‪ ،‬ﻓﺮﺿﻴﺎﺕ ﻗﺎﻋﺪﻩ ﺯﺍﻳﻨﺪﮔﻲ ﺷﺎﻣﻞ ﻧﺪﺍﺷﺘﻦ ﺁﻟﺖ ﺧﺎﺭﺝ ﻭ ﺗﮑﺎﻣﻞ ﺁﻟﺖﻫﺎﻱ ﮔﺮﻩ ﺩﺭ ﺻﻮﺭﺕ ﺗﮑﺮﺍﺭ ﻭﺍﺣﺪﻫﺎﻱ‬
‫ﮔﺮﻩ ﻣﻮﺭﺩ ﺍﺛﺒﺎﺕ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬ﻫﻤﭽﻨﻴﻦ ﺍﺭﺗﺒﺎﻁ ﻣﺴﺘﻤﺮ ﻭ ﺭﻋﺎﻳﺖ ﮐﺮﺩﻥ ﺍﺭﺗﺒﺎﻁ ﭘﻴﻮﺳﺘﻪ ﻭ ﻣﺪﺍﻭﻡ ﮔﺮﻩﻫﺎ ﻧﺴﺒﺖ‬
‫ﺑﻪ ﮔﺮﻩ ﻣﺎﻗﺒﻞ ﻭ ﻣﺎ ﺑﻌﺪ ﺧﻮﺩ ﻭ ﺍﻃﻤﻴﻨﺎﻥ ﺍﺯ ﺍﻳﻨﮑﻪ ﺗﻤﺎﻣﻲ ﻧﻘﺶﻫﺎﻱ ﻫﻨﺪﺳﻲ ﺣﺎﺻﻞ ﺷﺪﻩ ﺍﺯ ﻗﻮﺍﻋﺪ ﮔﺮﻩ ﺗﺒﻌﻴﺖ‬
‫ﮐﺮﺩﻩ ﻭ ﭘﺮﻫﻴﺰ ﺍﺯﺍﺷﮑﺎﻝ ﻫﻨﺪﺳﻲ ﮐﻪ ﻣﻌﻨﺎﻱ ﮔﺮﻩ ﺩﺭ ﺁﻥ ﻣﺴﺘﺘﺮ ﻧﻴﺴﺖ ﺍﺯ ﺩﻳﮕﺮ ﻣﺰﺍﻳﺎﻱ ﺗﺮﺳﻴﻢ ﻭ ﮔﺴﺘﺮﺵ ﮔﺮﻩ‬
‫ﺑﻪ ﺭﻭﺵ ﺧﺮﺩ ﮐﺮﺩﻥ ﻭ ﺗﺄﮐﻴﺪ ﺑﺮ ﺍﺻﻞ ﺯﺍﻳﻨﺪﮔﻲ ﺍﺳﺖ‪.‬‬

‫ﻣﻨﺎﺑﻊ ﻭ ﻣﺂﺧﺬ‬
‫ﺭﺋﻴﺲﺯﺍﺩﻩ‪ ،‬ﻣﻬﻨﺎﺯ‪ ،‬ﺣﺴﻴﻦ ﻣﻔﻴﺪ‪ ،١٣٩٣ ،‬ﺍﺣﻴﺎﻱ ﻫﻨﺮﻫﺎﻱ ﺍﺯ ﻳﺎﺩ ﺭﻓﺘﻪ )ﻣﺒﺎﻧﻲ ﺳﻨﺘﻲ ﻣﻌﻤﺎﺭﻱ ﺍﻳﺮﺍﻧﻲ(‪ ،‬ﺗﻬﺮﺍﻥ‪:‬‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﻣﻮﻟﻲ‪.‬‬
‫ﺑﻠﻴﻼﻥ‪ ،‬ﻟﻴﺪﺍ‪ ،١٣٩٠ ،‬ﺑﺮﺭﺳﻲ ﻭﻳﮋﮔﻲﻫﺎﻱ ﻫﻨﺪﺳﻲ ﮔﺮﻩﻫﺎ ﺩﺭ ﺗﺰﺋﻴﻦﻫﺎﻱ ﺍﺳﻼﻣﻲ ﺍﺯ ﺩﻳﺪﮔﺎﻩ ﻫﻨﺪﺳﻪ ﻓﺮﮐﺘﺎﻝ‪،‬‬
‫ﻓﺼﻠﻨﺎﻣﻪ ﻣﻄﺎﻟﻌﺎﺕ ﺷﻬﺮ ﺍﻳﺮﺍﻧﻲ ﺍﺳﻼﻣﻲ‪ ،‬ﺷﻤﺎﺭﻩ ﺷﺸﻢ‪ ،‬ﺯﻣﺴﺘﺎﻥ‪ ،‬ﺹ‪.٩٥-٨٣‬‬
‫ﺑﻮﺯﺟﺎﻧﻲ‪ ،‬ﺍﺑﻮﺍﻟﻮﻓﺎﺀ‪ ،١٣٨٩ ،‬ﻫﻨﺪﺳﻪ ﺍﻳﺮﺍﻧﻲ؛ﮐﺎﺭﺑﺮﺩ ﻫﻨﺪﺳﻪ ﺩﺭ ﻋﻤﻞ‪ ،‬ﭼﺎﭖ ﭼﻬﺎﺭﻡ‪ ،‬ﺗﺮﺟﻤﻪ ﻋﻠﻲ ﺭﺿﺎ ﺟﺬﺑﻲ‪،‬‬
‫ﺗﻬﺮﺍﻥ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﺮﻭﺵ‪.‬‬
‫ﭘﻮﺭ ﻧﺎﺩﺭﻱ‪ ،‬ﺣﺴﻴﻦ‪ ،١٣٧٩ ،‬ﺷﻌﺮﺑﺎﻑ ﻭ ﺁﺛﺎﺭﺵ‪ ،‬ﺟﻠﺪ ﺩﻭﻡ‪ :‬ﮔﺮﻩ ﻭ ﮐﺎﺭﺑﻨﺪﻱ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺷﺎﺯﻣﺎﻥ ﻣﻴﺮﺍﺙ ﻓﺮﻫﻨﮕﻲ‬
‫ﻧﺠﻴﺐ ﺍﻭﻏﻠﻮ‪ ،‬ﮔﻞ ﺭﻭ‪ ،١٣٧٩ ،‬ﻫﻨﺪﺳﻪ ﻭ ﺗﺰﺋﻴﻦ ﺩﺭ ﻣﻌﻤﺎﺭﻱ ﺍﺳﻼﻣﻲ‪ ،‬ﺗﺮﺟﻤﺔ ﻣﻬﺮﺩﺍﺩ ﻗﻴﻮﻣﻲ ﺑﻴﺪﻫﻨﺪﻱ‪،‬ﺗﻬﺮﺍﻥ‪:‬‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺭﻭﺯﻧﻪ‪.‬‬
‫ﺻﺎﺣﺐ ﻣﺤﻤﺪﻳﺎﻥ‪ ،‬ﻣﻨﺼﻮﺭ‪ ،‬ﺳﻴﻨﺎ ﻓﺮﺍﻣﺮﺯﻱ‪» ،١٣٩١ ،‬ﻣﻘﺎﻳﺴﻪ ﻧﻈﻢ ﺷﺒﻪ ﺗﻨﺎﻭﺑﻲ ﺷﺎﻩ ﮔﺮﻩ ﺑﺎ ﺳﺎﺧﺘﺎﺭ ﺷﺒﻪ‬
‫ﺑﻠﻮﺭﻱ ﺳﻴﻠﻴﮑﻮﻥ«‪ ،‬ﻧﺸﺮﻳﻪ ﻫﻨﺮﻫﺎﻱ ﺯﻳﺒﺎ‪ -‬ﻫﻨﺮﻫﺎﻱ ﺗﺠﺴﻤﻲ‪ ،‬ﺷﻤﺎﺭﻩ ‪ ،٥٠‬ﺗﺎﺑﺴﺘﺎﻥ‪ ،‬ﺹ‪.٨٠-٦٩‬‬
‫ﻋﻨﺒﺮﻱ ﻳﺰﺩﻱ‪ ،‬ﻓﺎﺋﺰﻩ‪ ،١٣٩٤ ،‬ﻫﻨﺪﺳﻪ ﻧﻘﻮﺵ ‪ ،١‬ﭼﺎﭖ ﭘﻨﺠﻢ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺷﺮﮐﺖ ﭼﺎﭖ ﻭ ﻧﺸﺮ ﮐﺘﺎﺏﻫﺎﻱ ﺩﺭﺳﻲ‬
‫ﺷﻌﺮﺑﺎﻑ‪ ,‬ﺍﺻﻐﺮ ‪ ،١٣٨٥‬ﮔﺮﻩ ﻭ ﮐﺎﺭﺑﻨﺪﻱ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﺳﺎﺯﻣﺎﻥ ﻣﻴﺮﺍﺙ ﻓﺮﻫﻨﮕﻲ ﮐﺸﻮﺭ ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﺒﺤﺎﻥ ﻧﻮﺭ‪.‬‬
‫ﻣﺎﻫﺮﺍﻟﻨﻘﺶ‪ ,‬ﻣﺤﻤﻮﺩ ‪ ،١٣٦٣‬ﻃﺮﺡ ﻭ ﺍﺟﺮﺍﻱ ﻧﻘﻮﺵ ﺩﺭ ﮐﺎﺷﻲ ﮐﺎﺭﻱ‪ ،‬ﺗﻬﺮﺍﻥ‪ :‬ﻣﻮﺯﻩ ﺭﺿﺎ ﻋﺒﺎﺳﻲ‬

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۹۳
۹۹‫ ﺗﺎﺑﺴﺘﺎﻥ‬۵۴ ‫ﺷﻤﺎﺭﻩ‬
 Scientific Quarterly Journal faculty of art Shahed university

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Abstract 16 /156
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regarding knot grinding? How have knot states been achieved using grinding method and how
have generative knot tools been created? How have knots’ permanence and connectivity been
practiced in using grinding method? Accordingly, and to respond the questions above, step by
step knot generations have been carried out. This study is based on the main hypothesis that
there are not any external constituents in generating the knots. Therefore, to test the hypothesis,
first the step by step design of knot generation has been represented, and then the principles
and foundations of knot crushing have been utilized to prove that there are not any external
constituents for the knots in the present research. Thus, to achieve better results, one of the most
complicated, complete, and functional methods of knot designing and rectangular knots, called
the slow knot of ‘Sormeh dan-e-Chahar-Shamseh’ was utilized to do the tests within ‘knot
generating’ due to the fact that it entails all ‘slow’ knot constituents and it has been carried out
using step by step generations in 5 stages. The results approved the research hypothesis as well
as the emergence of all knot constituents in step by step generations of the knots, and that there
are not any other external constituents considering what is known as the background knot.
To test the hypotheses above, 5 step by step and gradual designing stages were carried out, through
which 4 stages are related to knot generation through grinding and generation. During all stages,
the generative principle hypotheses including lack of external tools and the completion of knot
tools in the presence of the repeated knot units were approved. Also, some other advantages
of designing and developing knots using grinding and emphasizing on generation principles
are the continuous relations and observation of a permanent relationship between the knots
compared to the previous knots and the forthcoming knots as well as assuring the fact that
all resulting geometrical roles follow knot regulations, and geometrical figures which do not
encompass knots are avoided.
Keywords: Knot Creating, Generative, Traditional Arts, Iranian Architecture, Islamic Geometry.
Reference: Abas, Syed Jan, and Amer Shaker Salman, 1992, «Geometric and group theoretic
methods for computer graphics studies of Islamic symmetric patterns», Computer Graphics
Forum, no. 11: 43–53.
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Abstract15/157
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Presentation of the Step by step Model of Knot Drawing Method based on the Principle
of Grinding (Generative)
Asadolah Shafizade (Corresponding Author), Assistant Professor, Department of Art and Architecture, Ahar branch, Islamic
Azad University, Ahar, Iran.
Saiede Soltan Mohammadlo, PhD Student, Department of Building and Architecture Engineering, Politecnic di Milan, Milan,
Italy.
Recieved: 2019/05/25 Accepted: 2019/12/15

The goal of the present research is to propose step by step models of knot design based on
the most important principle of knot design (generative) within the realm of Islamic Iranian
architectural tradition. In the present study, in addition to introducing the common methods
to design knots, the knot designing based on grinding (generative) has been analyzed. Our
emphasis is on the importance of knot designing method based on the principle introduced,
and thus it is emphasized that unlike the existence of written documents and works remaining
from traditional Islamic architecture, some efforts have been carried out by a group of western
researchers to recreate the initiative knot designing methods. As it has been proposed by some
researchers regarding the Iranian origin of the knot generation, and also the emphasis on logical
and mystic principles in knot designing fundamentals, the most important method in designing
and generating knots refers to knot crushing in Iranian architectural tradition which has been
documented by many scholars and contemporary traditionalists as the basis for knot designing.
The basic point in the present study is to propose a knot designing method based on generation
principles and the generation of knot regarding the background knots. This method, known as
the most important characteristic of drawing and designing knots in traditional arts, is based
on the fact that if one of the ‘slow’ (acute) knots is drawn using one of radius construction
infrastructure networks or polygons, and then the constituents of the designed knot are first
made ‘fast’ (obtuse), then made ‘slow’ and subsequently made ‘fast’ again to the extent that it
can reach a knot background with all possible states called “knot in knot”, the knot generation
method is achieved through this trend. In this method the main hypothesis is that: if a knot is
generated based on a crushing (generative) principle, it is not out of the constituents known
as the models mentioned above. In other words, the present study is based on general knot
designing principles, presupposing the lack of the existence of constituents other than the ones
mentioned above in drawing knots, using crushing or generative method which is described
above. Accordingly, in the present research we try to first introduce and design the knots through
its constituents and show frequent and consecutive generation methods of the knots through
the background knots. Thus, the present research has been carried out using a descriptive,
analytic, and comparative methods as well as library research method. This study was based
on the question that what are the rules, characteristics and geometrical language of generation Abstract 14 /158
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