‫ﻧﺸ‬

‫ﺮﻳﺔ ﺩﺍﺧﻠﻰ ﺗ‬

‫ﺳﻴﺪﻣ‬
‫ﺤﻤﺪﻋﻠﻰ ﺷ‬
‫ﻣﻠﻴﺤﻪ ﺑﻨ‬
‫ﺳ‬
‫ﺩﺑﻴﺮ ﺍﺟﺮﺍﻳ‬
‫ﺮﺩﺑﻴﺮ‪ :‬ﻣﺴﻌﻮ‬

‫ﻣﺪﻳﺮ‬
‫ﺨﺼﺼ‬

‫ﻣ‬
‫ﻧﺎﻇﺮ‬

‫ﺤﻤﺪ ﺣﺴﻴﻴ‬
‫ﻋﺒﺎﺱ ﻗﺎﺿ‬

‫ﺍﺣﻤﺪ ﻛ‬
‫ﻫﻨﺮﻯ ‪ :‬ﻛﻮﺭﻭ‬

‫ﻔﺸﻪ ‪ /‬ﻣﺮﻳ‬
‫ﺍﺳﻔﻨ‬

‫ﺠﺎ‬
‫ﻰ‪ :‬ﻋﺒﺎﺱ ﻗﺎ‬

‫ﭼﺎپ ‪ :‬ﺣﺴﻴ‬
‫ﻰ ﻛﺎﺭﺗﻮﻥ‬

‫ﻣﺘﺘﺮﺟﻢ ‪ :‬ﻧﻴﻠ‬

‫ﻋ‬
‫ﻫﻤﻜﺎﺭﺍ‬
‫ﺩ ﺷﺠﺎﻋﻰ‬

‫ﻰ‬
‫ﺪ ‪/1386‬‬

‫ﻌﺒﻰ ﻓﻼﺣﻴﻪ‬
‫ﻦ ﻧﻴﺮﻭﻣﻨﺪﺪ‪/‬‬
‫ﻃ‬
‫ﻰ ﺯﺍﻫﺪﻯ‪/‬‬

‫ﺒﺎ‬
‫ﻥ ﺍﻳﻦ ﺷﻤﺎﺭﻩ‪:‬‬
‫ﻢ ﻓﺨﺎﺭﻯ‪/‬‬

‫ﻃﺒﺎﻳﻰ‪/‬‬
‫ﺵ‬

‫ﻦ ﻣﺰﻟﻘﺎﻧﻰ‬
‫ﺑﻪ ﻧﺎﻡ ﺧﺪﺍ‬

‫ﻮﻓﺮ ﺍﺭﺑﺎﺑﻰ‬
‫ﺿ‬
‫ﻭ‬

‫ﻰ‬
‫ﻣﻠ‬
‫ﻃ‬
‫ﻛﺎ‬
‫ﺷﻤﺎﺭﻩ‪23‬‬

‫ﻚ‬
‫ﺒﺎ‬
‫ﺯﺍ‬
‫ﺭﻳ‬

‫ﻃﺒ‬
‫ﻫ‬
‫ﭘ‬
‫ﻜ‬

‫ﺪ‬
‫ﻮ‬
‫ﺎﻳ‬
‫ﺎﺗ‬

‫ﻯ‬
‫ﺭ‬
‫ﻰ‬
‫ﻮﺭ‬

‫‪4‬‬
‫ﺗ‬ ‫ﺭﺍ‬ ‫ﻡ‬‫ﺩ‬‫ﻮ‬ ‫ﺧ‬ ‫ﺭ‬‫ﺑﺎ ﻛﺎﺭﻳﻜﺎﺗﻮ‬
‫ﻮﺻ‬
‫ﻴﻒ ﻣﻰ ﻛﻨﻢ‬ ‫ﮔﻔﺘﺘﮕﻮ ﺑﺎ ﻓﻠﻮ‬

‫‪12‬‬
‫ﻛﺮﻳ‬ ‫ﺭﻳﻦ ﺩﻭﺭﻭ‬
‫ﻗﺎ‬ ‫ﻬﺎﻧﺎ ‪/‬ﻋﺒﺎﺱ‬
‫ﺿﻰ ﺯﺍﻫﺪﻯ‬
‫ﺷﺎﻭﺍﻝ‬
‫ﺳﻴﺪﻣﺤﻤ‬
‫ﺪﻋﻠﻰﺷﺠﺎﻋ‬
‫ﺳﻠﺴﻠﻪ ﻭﺍﻛﻨ‬
‫ﻰﻃﺒﺎﻃﺒﺎﻳﻰ‬

‫ﺠ‬ ‫ﻔ‬ ‫ﻧ‬‫ﺍ‬ ‫ﻯ‬ ‫ﺎ‬ ‫ﻬ‬ ‫ﺸ‬

‫ﺎﺭﻯ ﺍﻳﺪﻩ‬ ‫ﻣﻨﺘﺨﺒﻰ ﺍ‬
‫‪14‬‬
‫ﻣﺤﻤﺪ ﺣ‬
‫ﺶ‬ ‫ﺨ‬ ‫ﺑ‬ ‫ﺭ‬‫ﺎ‬ ‫ﺛ‬‫ﺁ‬ ‫ﺯ‬
‫ﻣﻨﺘﺨﺒﻰ ﺍﺯ ﺁﺛﺎﺭ ﺍﻭﻟ ﺁﺯﺍﺩ ‪8‬ﻣﻴﻦ ﺩ‬
‫ﺴﻴﻦ ﻧﻴﺮﻭﻣﻨﺪ‬

‫ﻴ‬ ‫ﺑ‬ ‫ﻪ‬ ‫ﻻﻧ‬ ‫ﺎ‬ ‫ﺳ‬ ‫ﻭ‬

‫ﻬ‬ ‫ﺗ‬ ‫ﺭ‬ ‫ﻮ‬ ‫ﺗ‬‫ﺎ‬ ‫ﻜ‬ ‫ﻳ‬‫ﻴﻦ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﻦ ﺍﻟﻤﻠﻠﻰ ﻛﺎﺭ‬
‫ﺮﺍﻥ‬ ‫ﻛﺪﺍﻣﻴﻚ‪ ،‬ﺩﻳﺮﻭﺯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻛ‬
‫‪40‬‬
‫ﻮ‬

‫‪24 36‬‬
‫ﺎﺑ‬ ‫ﻴ‬ ‫ﺧ‬ ‫ﻥ‬ ‫ﺎ‬ ‫ﻛ‬‫ﺩ‬
‫ﺎﻧﻰ‬ ‫ﻳﺎ ﺍﻣﺮﻭﺯ؟‬ ‫ﻜ‬ ‫ﻳ‬‫ﺭ‬ ‫ﺎ‬ ‫ﻛ‬ ‫ﻧﻘﺪﻯ ﺑﺮ‬
‫ﻋﺮ‬ ‫ﺭ‬ ‫ﻮ‬ ‫ﺗ‬‫ﺎ‬
‫ﺏ‪/‬ﺍﺣﻤﺪ ﻛ‬

‫‪42‬‬ ‫ﺍﺧ ﺎﻯ ﻣﻌﻤﻮﻟﻰ‬

‫ﺁﺩﻡ ﻫ‬
‫ﻌﺒﻰ ﻓﻼﺣﻴﻪ‬

‫ﺒﺎﺭ ﻧ‬
‫ﻤﺎﻳﺸﮕﺎﻩ ﻫﺎ‬

‫ﺮﺍ‬
‫ﺍﺧﺒﺎﺭ‬
‫ﻬ‬ ‫ﺑ‬ ‫ﺎ‬ ‫ﺑ‬ ‫ﺦ‬ ‫ﺳ‬ ‫‪44‬‬
‫ﭘﺮﺳﺶ ﻭ ﭘﺎ‬
‫ﻡ ﺍﺭﺟﻤﻨﺪﻧﻴﺎ‬
‫‪47‬‬
‫ﺧﺎﻧﺔ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﺳﺎﺯ‬
‫ﻣﺎﻥ ﻓﺮﻫﻨﮕ‬
‫ﻬﺮ‬ ‫ﻰ ﻫﻨﺮﻯ ﺷ‬
‫ﺩﺍﺭﻯ ﺗﻬﺮﺍﻥ‬ ‫‪008‬‬ ‫‪r. 2‬‬
‫ﻧﺸﺎﻧﻰ ‪:‬‬ ‫‪N‬‬ ‫‪/‬‬ ‫‪N‬‬ ‫‪o‬‬ ‫‪.23/Ma Tabatabaei‬‬
‫‪OO‬‬
‫‪ IRAN CART Massoud Sho‬ﺗﻬﺮﺍﻥ‪ ،‬ﺧﻴﺎ‬
‫‪jae‬‬ ‫‪i‬‬
‫ﻊ‬ ‫ﻃ‬ ‫ﻘﺎ‬ ‫ﺗ‬ ‫ﻰ‪،‬‬ ‫ﺑﺎﻥ ﺷﺮﻳﻌﺘ‬ ‫ﺯ‬ ‫ﺍ‬ ‫ﺪ‬ ‫ﻌ‬ ‫ﺑ‬ ‫‪h‬‬ ‫‪ie‬‬ ‫‪f:‬‬
‫ﺑﺰﺭ‬ ‫ﻣﻴ‬
‫‪ Editor‬ﺗﻠﻔﻦ ‪ :‬ﺪﺍﻥ ﻛﺘﺎﺑﻰ ‪،‬‬
‫‪C‬‬
‫ﮔﺮﺍﻩ ﻫﻤﺖ‪،‬‬
‫‪in‬‬
‫ﺮﺑ‬ ‫ﻏ‬ ‫ﻰ‬ ‫ﻧﺒ‬ ‫ﺧﻴﺎﺑﺎﻥ ﮔﻞ‬ ‫ﺷﻤﺎﺭﺓ ‪60‬‬ ‫‪2‬‬ ‫‪8‬‬ ‫‪6‬‬ ‫‪8‬‬ ‫‪6‬‬ ‫‪00‬‬
‫ﻰ‪،‬‬ ‫‪2‬‬
‫ﻧﻤﺎﺑﺮ ‪8 :‬‬
‫‪2284692‬‬ ‫ﻧﺸﺎﻧﻰ‬
‫‪a‬‬ ‫‪n‬‬ ‫‪c‬‬ ‫‪a‬‬ ‫‪r‬‬ ‫‪to‬‬ ‫ﺍﻳﻨﺘﺮﻧﺘﻰ ‪on.com :‬‬
‫‪www‬‬ ‫‪.i‬‬ ‫‪r‬‬ ‫‪.i‬‬ ‫‪r‬‬
‫‪ncartoon‬‬ ‫ﭘﺴﺖ ﺍﻟ‬
‫‪www.ira‬‬ ‫‪o‬‬ ‫‪m‬‬ ‫ﻜﺘﺮﻭﻧﻴﻜﻰ ‪:‬‬
‫‪c‬‬ ‫‪a‬‬ ‫‪r‬‬ ‫‪to‬‬ ‫‪o‬‬ ‫‪n‬‬ ‫‪.c‬‬
‫‪n‬‬
‫‪info@ira‬‬

‫‪3‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬ ‫ﺧﺎﻧﻪ‬

‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬

‫ﺍﻭﻟﻴﻦ ﻛﺎﺭﻯ ﻛﻪ ﺍﺯﺗﻮﻥ ﭼﺎپ ﺷﺪ؟‬
‫ﺳــﺎﻝ ‪ 1996‬ﺩﺭ ﻳﻚ ﻣﺠﻠﻪ ﻓﻜﺎﻫﻰ ﺩﺭ ﺑﺨﺎﺭﺳﺖ‬
‫ﺍﻭﻟﻴﻦ ﻛﺎﺭﻡ ﭼﺎپ ﺷــﺪ‪ .‬ﻳﻚ ﻧﻘﺎﺷﻰ ﺣﺠﻤﻰ ﺳﻴﺎﻩ‬
‫ﻭ ﺳﻔﻴﺪ ﺑﻮﺩ‪.‬‬
‫ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳـﻦ ﻛﺎﺭﺗﻮﻧﻴﺴـﺖ ﺑـﺮ‬
‫ﺁﺛﺎﺭﺗﻮﻥ؟‬
‫ﻳــﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖ ﺭﻭﻣﺎﻧﻴﺎﻳــﻰ ﺑﻪ ﻧــﺎﻡ ﭘﻴﻢ‬
‫)‪ (Pim‬ﺑﻮﺩ‪ .‬ﻭﻟﻰ ﺑــﻪ ﻣﺮﻭﺭ ﺯﻣﺎﻥ ﺭﻭﺵ ﻛﺎﺭﻡ ﺭﺍ‬
‫ﺑﻪ ﻛﻠﻰ ﺗﻐﻴﻴﺮ ﺩﺍﺩﻡ‪.‬‬
‫ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﺗﻮﻧﻴﺴﺖ ﺍﻳﺮﺍﻧﻰ ﻭ ﺧﺎﺭﺟﻰ؟‬
‫ﻛﺎﻣﺒﻴــﺰ ﺩﺭﻣﺒﺨــﺶ‪ ،‬ﺩﺭ ﺩﻧﻴﺎ ﻫــﻢ ﺑﻬﺘﺮﻳﻦ ﻭﺟﻮﺩ‬
‫ﻧﺪﺍﺭﻩ!‬
‫ﺑﻬﺘﺮﻳﻦ ﺟﺎﻳﺰﻩ ﺍﻯ ﻛﻪ ﺑﺮﺩﻳﺪ؟‬
‫ﺳﺎﻝ ‪ 2000‬ﻣﺴــﺎﺑﻘﻪ ﺍﻯ ﺩﺭ ﺁﻟﻤﺎﻥ ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﺑﺎ‬
‫ﻣﻮﺿﻮﻉ ﺍﻧــﺮژﻯ ﻛﻪ ﻣﻦ ﺑﺮﻧﺪﻩ ﺟﺎﻳــﺰﻩ ﺍﻭﻝ ﺍﻭﻥ‬
‫ﻣﺴﺎﺑﻘﻪ ﺷﺪﻡ‪.‬‬
‫ﺑﻬﺘﺮﻳﻦ ﺍﺛﺮﻯ ﻛﻪ ﻛﺸﻴﺪﻳﺪ؟‬
‫ﺑﻌﻀﻰ ﺍﺯ ﺁﺛﺎﺭﻡ ﻫﺴﺘﻨﺪ ﻛﻪ ﺧﻴﻠﻰ ﺩﻭﺳﺘﺸﻮﻥ ﺩﺍﺭﻡ‪.‬‬
‫ﻭﻟﻰ ﻧﻤﻰ ﺗﻮﻧﻢ ﻣﺜﺎﻝ ﺑﺰﻧﻢ!‬
‫ﺗﺎﺑﺤـﺎﻝ ﺷـﺪﻩ ﺳـﻮژﻩ ﺍﻯ ﺭﻭ ﺩﺭ ﺧﻮﺍﺏ‬
‫ﺑﺒﻴﻨﻴﺪ ﻭ ﺁﻧﺮﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﻴﺪ؟‬
‫ﺑﻠﻪ ﺍﺗﻔﺎﻕ ﺍﻓﺘﺎﺩﻩ‪ .‬ﺍﻧﮕﻮﺭ ‪!...‬‬
‫ﺍﮔﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻧﻤﻰ ﺷﺪﻳﺪ؟‬
‫‪ DJ‬ﻣﻰ ﺷﺪﻡ!‬
‫ﻛﺎﺭﺗﻮﻥ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﻳﺎ ﻣﻄﺒﻮﻋﺎﺗﻰ؟‬
‫ﻣﻦ ﺩﺭ ﻭﺭﻙ ﺷﺎپ ﻫﻢ ﮔﻔﺘﻢ ﻛﻪ ﺷﺪﻳﺪﺍ ﻋﻼﻗﻤﻨﺪ‬
‫ﺑﻪ ﻛﺎﺭﺗﻮﻥ ﻧﻤﺎﻳﺸــﮕﺎﻫﻰ ﻫﺴﺘﻢ‪ .‬ﺯﻳﺮﺍ ﻛﺎﺭﺗﻮﻥ ﺑﻪ‬
‫ﻭﺳــﻴﻠﻪ ﺍﻓﺮﺍﺩ ﺑﺎﻫﻮﺵ ﺑﺮﺍﻯ ﻣــﺮﺩﻡ ﺑﺎﻫﻮﺵ ﺧﻠﻖ‬
‫ﻣﻰ ﺷﻪ!‬
‫ﺗﺎﺑﺤـﺎﻝ ﺷـﺪﻩ ﺑﺨﺎﻃـﺮ ﻛﺸـﻴﺪﻥ ﺍﺛﺮﻯ‬
‫ﻣﻮﺍﺧﺬﻩ ﺑﺸﻴﺪ؟‬
‫ﻳﻚ ﺑﺎﺭ ﻛﺎﺭﺗﻮﻧﻰ ﻛﺸــﻴﺪﻡ ﺑﺎ ﻣﻮﺿﻮﻉ ﻣﻮﺍﺩ ﻣﺨﺪﺭ‬
‫ﻭ ﺩﺭ ﺍﻭﻥ ﺑﺎ ﭘﻠﻴﺲ ﺷــﻮﺧﻰ ﻛﺮﺩﻩ ﻭ ﻧﺸــﻮﻥ ﺩﺍﺩﻡ‬
‫ﻛﻪ ﭼﻄﻮﺭ ﻣﻰ ﺷــﻪ ﺳــﺮ ﭘﻠﻴﺴــﻬﺎ ﻛﻼﻩ ﮔﺬﺍﺷﺖ!‬
‫ﺍﻳــﻦ ﺍﺛﺮﻡ ﺧﻴﻠــﻰ ﺟﻨﺠﺎﻝ ﺑﻪ ﭘﺎ ﻛــﺮﺩ‪ .‬ﭘﻠﻴﺲ ﻫﺎ‬
‫ﻣﻰ ﮔﻔﺘﻨﺪ ﺷــﻤﺎ ﺑﻪ ﻣﺎ ﺗﻮﻫﻴﻦ ﻛﺮﺩﻩ ﻭ ﻣﺎ ﺭﻭ ﺍﻓﺮﺍﺩ‬
‫ﺍﺣﻤﻘﻰ ﻧﺸﻮﻥ ﺩﺍﺩﻳﺪ‪.‬‬
‫ﮔﻔﺘﮕﻮ ﺑﺎ ﻓﻠﻮﺭﻳﻦ ﺩﻭﺭﻭ ﻛﺮﻳﻬﺎﻧﺎ‬
‫ﻋﺒﺎﺱ ﻗﺎﺿﻰ ﺯﺍﻫﺪﻯ‬
‫ﺑﻌﺪ ﺍﺯ ﺍﺗﻤﺎﻡ ﺟﻠﺴﻪ ﻭﺭﻙ ﺷﺎپ ﻓﻠﻮﺭﻳﻦ ﻭ‬
‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺑﺮﺍﻯ ﺭﻓﺘﻦ ﺑﻪ ﻫﺘﻞ ﻭ ﺻﺮﻑ‬
‫ﻧﻬﺎﺭ ﻣﻨﺘﻈﺮ ﻣﺎﺷـﻴﻦ ﺑﻮﺩﻳﻢ ﭼﻨﺪ ﺳـﺌﻮﺍﻝ‬
‫ﻛﻮﺗﺎﻩ ﺍﺯ ﻭﻯ ﭘﺮﺳﻴﺪﻡ‪.‬‬
‫ﻧﻜﺘـﻪ ﺟﺎﻟﺐ ﺗﻮﺟﻪ ﺍﻳﻦ ﺑـﻮﺩ ﻛﻪ ﻭﻗﺘﻰ ﺑﻪ‬
‫ﺍﻭ ﮔﻔﺘـﻢ ﺑـﺮﺍﻯ ﺍﻧﺠﺎﻡ ﻣﺼﺎﺣﺒﻪ ﺧﺴـﺘﻪ‬
‫ﻧﻴﺴـﺘﻴﺪ‪ .‬ﮔﻔـﺖ‪» :‬ﻣـﻦ ﺑـﺮﺍﻯ ﺍﻧﺠـﺎﻡ‬
‫ﻫﻤﻴﻦ ﺍﻣـﻮﺭ ﺑﻪ ﺍﻳﺮﺍﻥ ﺁﻣـﺪﻩ ﺍﻡ ﻧﻪ ﺑﺮﺍﻯ‬
‫ﺍﺳﺘﺮﺍﺣﺖ!«‬
‫ﻓﻠﻮﺭﻳـﻦ ﺩﻭﺭﻭﻛﺮﻳﻬﺎﻧﺎ ﻣﺘﻮﻟـﺪ ‪ 1958‬ﺩﺭ‬
‫ﮔﺎﻻﺗﻰ ﺭﻭﻣﺎﻧﻰ ﻭ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷـﺘﻪ‬
‫ﻯ ﻃﺮﺍﺣﻰ ﻧﻴﺮﻭﻯ ﺩﺭﻳﺎﻳﻰ ﺍﺳﺖ‪.‬‬
‫ﻭﻯ ﺗﺎﻛﻨـﻮﻥ ﻧﻤﺎﻳﺸـﮕﺎﻩ ﻫـﺎﻯ ﺍﻧﻔﺮﺍﺩﻯ‬
‫ﻣﺘﻌـﺪﺩﻯ ﺩﺍﺷـﺘﻪ ﻛﻪ ﺍﺯ ﺟﻤﻠـﻪ ﻣﻰ ﺗﻮﺍﻥ‬
‫ﺑـﻪ ﺍﻳـﻦ ﻣـﻮﺍﺭﺩ ﺍﺷـﺎﺭﻩ ﻛـﺮﺩ‪ :‬ﺍﻧﺠﻤـﻦ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴـﺖ ﻫـﺎﻯ ﺑﺨﺎﺭﺳـﺖ‬
‫)ﺭﻭﻣﺎﻧـﻰ(‪ ،‬ﻣـﻮﺯﻩ ﻯ ﻫﻨﺮﻫـﺎﻯ ﻣﻌﺎﺻـﺮ‬
‫»ﻣﻮﻧﭽﻪ ﻫﺎﻭﺱ ﮔﻮﺳﻼﺭ« )ﺁﻟﻤﺎﻥ(‪ ،‬ﻣﻮﺯﻩ‬
‫ﻯ ﻛﺎﺭﻳﻜﺎﺗـﻮﺭ »ﻭﺍﺭﺳـﺎﻭ« )ﻟﻬﺴـﺘﺎﻥ(‪،‬‬
‫ﻣﺮﻛـﺰ ﺗﻤـﺪﻥ »ﻭﻳﺘـﻪ ﻣﺮﻳـﻞ ﻟﻴﻨـﺖ«‬
‫)ﺑﻠﮋﻳﻚ( ﻭ ﺧﺎﻧﻪ ﻯ ﻃﻨﺰ ﻭ ﻫﺠﻮ »ﮔﺎﺑﺮﻭﻭ«‬
‫)ﺑﻠﻐﺎﺭﺳﺘﺎﻥ(‪.‬‬
‫ﻛﺮﻳﻬﺎﻧﺎ ﺩﺭ ﺳـﺎﻝ ﻫـﺎﻯ ‪2003،2000‬ﻭ‬
‫‪ 2005‬ﺑـﻪ ﻋﻨـﻮﺍﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴـﺖ‬
‫ﺑﺮﮔﺰﻳﺪﻩ ﻯ ﺭﻭﻣﺎﻧﻰ ﺷـﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﺩﺭ‬
‫ﺳﺎﻝ ‪ 2000‬ﺳﻔﻴﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺭ ﺍﻧﺠﻤﻦ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻫﺎﻯ ﺗﺮﻛﻴﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺑﺮﺧﻰ ﺟﻮﺍﻳﺰ‪:‬‬
‫ﺑﺮﻧـﺪﻩ ﻯ ﺟﺎﻳﺰﻩ ﻯ ﺍﻭﻝ ﺟﺸـﻨﻮﺍﺭﻩ ﻫﺎﻯ‬
‫ﺑﻴـﻦ ﺍﻟﻤﻠﻠـﻰ ﭘـﺮﺍگ‪ ،‬ﺑﻠﮕـﺮﺍﺩ‪ ،‬ﮔﺎﺑـﺮﻭﻭ‪،‬‬
‫ﺳﺎﻧﺘﺎﻛﺮﻭﺯ‪ ،‬ﻫﺎﻧﻮﻭﺭ‪ ،‬ﺯﺍﮔﺮﺏ‪ ،‬ﻧﻮﻭﻯ ﺳﺎﺩ‪،‬‬
‫ﻟﮕﻨﻴﻜﺎ ﻭ ﺑﻮﭼﺎﻭﺕ‪.‬‬
‫ﭼﺮﺍ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ؟‬
‫ﺑﺎ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻣﻰ ﺗﻮﻧﻢ ﺧــﻮﺩﻡ ﺭﺍ ﺗﻮﺻﻴﻒ ﻛﻨﻢ ﻭ‬
‫ﺍﺣﺴﺎﺳﻢ ﺭﻭ ﺑﮕﻢ‪.‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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 ‫ﭼـﺮﺍ ﺑﻴﺸـﺘﺮ ﺁﺛﺎﺭﻯ ﻛـﻪ ﺧﻠﻖ ﻣـﻰ ﻛﻨﻴﺪ‬
‫ﺭﻧﮕﻰ ﻫﺴﺘﻨﺪ؟‬
‫ﺩﻧﻴﺎ ﭘﺮ ﺍﺯ ﺣﺠﻢ ﻭ ﺭﻧﮓ ﻣﻰ ﺑﺎﺷــﺪ‪ .‬ﻣﻦ ﻫﻢ ﺑﺮﺍﻯ‬
‫ﻧﺸﻮﻥ ﺩﺍﺩﻥ ﺍﻳﻦ ﺣﺠﻢ ﻭ ﺭﻧﮓ ﺑﻴﺸﺘﺮ ﻣﺘﻤﺎﻳﻞ ﺑﻪ‬
‫ﺍﺭﺍﺋﻪ ﺁﺛﺎﺭ ﺭﻧﮕﻰ ﻫﺴﺘﻢ‪ .‬ﺍﻟﺒﺘﻪ ﺑﻴﺸﺘﺮ ﺍﺯ ﺭﻧﮓ ﻫﺎﻯ‬
‫ﻣﻼﻳﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰ ﻛﻨﻢ ﻭ ﺑﺎ ﻳﻚ ﻛﻨﺘﺮﺍﺳﺖ ﺧﻮﺏ‬
‫ﺑﻪ ﻛﺎﺭﻡ ﻛﻴﻔﻴﺖ ﻣﻰ ﺩﻡ‪.‬‬
‫ﭼﺮﺍ ﺩﺭ ﺁﺛﺎﺭﺗﻮﻥ ﺍﺯ ﺭﻧﮓ ﺭﻭﻏﻦ ﺍﺳـﺘﻔﺎﺩﻩ‬
‫ﻣﻰ ﻛﻨﻴﺪ؟‬
‫ﻣﻦ ﻗﺒﻼ ﻧﻘﺎﺷــﻰ ﻫﻢ ﻛﺎﺭ ﻣﻰ ﻛﺮﺩﻡ‪ .‬ﺩﺭ ﺷﻬﺮ ﻣﻦ‬
‫ﻛﻠﻜﺴــﻴﻮﻧﺮﻫﺎﻳﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺍﺯ ﻣﻦ ﻣﻰ ﺧﻮﺍﺳــﺘﻨﺪ‬
‫ﺑﺮﺍﻯ ﺩﻳﺰﺍﻳﻦ ﻣﻨﺎﺯﻟﺸﺎﻥ ﺍﺯ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻣﻦ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﻛﻨﻨﺪ‪ .‬ﻳﻜﺒﺎﺭ ﺑﺎ ﺧﻮﺩ ﮔﻔﺘﻢ ﻛﻪ ﭼﺮﺍ ﺑﺮﺍﻯ ﻛﺸــﻴﺪﻥ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﺯ ﺭﻧﮓ ﺭﻭﻏﻦ ﺍﺳــﺘﻔﺎﺩﻩ ﻧﻜﻨﻢ؟ ﻭﻗﺘﻰ‬
‫ﺍﻳﻨﻜﺎﺭ ﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻡ ﺍﺯ ﻧﺘﻴﺠﻪ ﺁﻥ ﺧﻴﻠﻰ ﺧﻮﺷــﻢ‬
‫ﺁﻣﺪ ﻭ ﺳﻌﻰ ﻛﺮﺩﻡ ﻫﻤﺎﻥ ﺭﻭﺵ ﺭﺍ ﺣﻔﻆ ﻛﻨﻢ‪.‬‬
‫ﻧﻈﺮﺗﻮﻥ ﺭﺍﺟﻊ ﺑﻪ ﭘﺎﻙ ﻛﻦ؟‬
‫ﺍﺯ ﭘﺎﻙ ﻛﻦ ﺍﺳــﺘﻔﺎﺩﻩ ﻧﻤﻰ ﻛﻨﻢ‪ .‬ﺯﻳﺮﺍ ﺭﻧﮓ ﺭﻭﻏﻦ‬
‫ﺧﻮﺩﺵ ﺍﺷﺘﺒﺎﻫﺎﺕ ﺭﺍ ﻣﻰ ﭘﻮﺷﺎﻧﺪ!‬
‫ﻭﻳﮋﮔﻴﻬﺎﻯ ﻳﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺧﻮﺏ؟‬
‫ﺩﺍﺭﺍﻯ ﺗﻜﻨﻴﻚ ﻭ ﻣﻮﺿﻮﻉ ﺧﻮﺑﻰ ﺑﺎﺷــﻪ ﻭ ﺳــﺮﻳﻊ‬
‫ﺍﻻﻧﺘﻘﺎﻝ ﻫﻢ ﺑﺎﺷﺪ‪.‬‬
‫ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ؟‬
‫ﺧﻴﻠــﻰ ﺩﻭﺳــﺖ ﺩﺍﺭﻡ ﻫﻤﭽﻴــﻦ ﻣﺮﻛــﺰﻯ ﺭﻭ ﺩﺭ‬
‫ﺭﻭﻣﺎﻧﻰ ﺗﺎﺳﻴﺲ ﻛﻨﻢ‪ .‬ﻭﺍﻗﻌﺎ ﻭﺟﻮﺩ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﺑﺮﺍﻯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺷﻤﺎ ﻧﻌﻤﺘﻰ ﺍﺳﺖ ﻛﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﻛﺸﻮﺭ ﻣﻦ ﺍﺯ ﺁﻥ ﻣﺤﺮﻭﻡ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﻭﺏ ﺳﺎﻳﺖ ﺍﻳﺮﺍﻥ ﻛﺎﺭﺗﻮﻥ؟‬
‫ﺯﻣﺎﻧﻰ ﻛــﻪ ﺍﺣﺘﻴﺎﺝ ﺑــﻪ ﺍﻃﻼﻋــﺎﺕ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ‬
‫ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺩﺍﺭﻡ‪ ،‬ﭼﻨﺪ ﻭﺏ ﺳــﺎﻳﺖ ﺭﺍ ﺑﺎﺯ ﻣﻴﻜﻨﻢ‪.‬‬
‫ﻭﻟﻰ ﭼﻴــﺰﻯ ﺭﻭ ﻛﻪ ﺑــﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮ ﺑــﻪ ﻣﻌﻨﺎﻯ‬
‫ﻭﺍﻗﻌﻰ ﻛﻠﻤﻪ ﺩﻧﺒﺎﻟﺶ ﻫﺴــﺘﻢ ﺭﻭ ﺩﺭ ﺳــﺎﻳﺖ ﺷﻤﺎ‬
‫ﭘﻴﺪﺍ ﻣﻰ ﻛﻨﻢ‪.‬‬
‫ﻓﻠﻮﺭﻳﻦ ﺩﺭ ﻳﻚ ﺟﻤﻠﻪ؟‬
‫ﺟﺪﻯ!‬
‫ﭼﻄﻮﺭ ﻣﻰ ﺷﻪ ﻓﻠﻮﺭﻳﻦ ﺷﺪ؟‬
‫ﺑﺴﺘﮕﻰ ﺑﻪ ﺟﺪﻳﺖ ﻫﺮ ﺷــﺨﺺ ﺩﺍﺭﻩ‪ .‬ﭼﻴﺰﻯ ﻛﻪ‬

‫‪5‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺍﻫﻤﻴﺖ ﺩﺍﺭﻩ ﺍﻳﻨﻪ ﻛﻪ ﺷــﻮﺧﻰ ﻫﺎ ﺑﻴﺸﺘﺮ ﺗﻮﻯ ﺍﺛﺮ‬
‫ﺑﺎﺷــﻪ ﻭ ﺧﻮﺩ ﺍﻧﺴــﺎﻥ ﺩﺭ ﻛﺎﺭﺵ ﺟﺪﻯ ﻭ ﻣﺼﻤﻢ‬
‫ﺑﺎﺷﻪ!‬
‫ﺗﻔﺮﻳﺢ؟‬
‫ﻓﻴﻠﻢ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ!‬
‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﺁﺭﺯﻭ؟‬
‫ﻳﻜﻰ ﺍﺯ ﺩﻭﺳــﺘﺎﻧﻢ ﺩﺭ ﺁﻟﻤﺎﻥ ﻣﺸﻐﻮﻝ ﭼﺎپ ﻛﺘﺎﺑﻰ‬
‫ﺍﺳــﺖ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺯﺣﻤﺎﺗﻰ ﻛﻪ ﻣﻦ ﺩﺭ ‪ 23‬ﺳﺎﻝ‬
‫ﺍﺧﻴــﺮ ﻣﺘﺤﻤﻞ ﺷــﺪﻩ ﺍﻡ‪ .‬ﻫﻤﺮﺍﻩ ﺑــﺎ ﻣﻄﺎﻟﺒﻰ ﻛﻪ‬
‫ﻣﻮﺭﺧﻴﻦ ﻭ ﻛﻠﻜﺴــﻴﻮﻧﺮﻫﺎ ﺩﺭﺑﺎﺭﻩ ﻣﻦ ﻧﻮﺷﺘﻪ ﺍﻧﺪ‪.‬‬
‫ﺧﻴﻠــﻰ ﺩﻭﺳــﺖ ﺩﺍﺭﻡ ﻫﺮ ﭼﻪ ﺯﻭﺩﺗــﺮ ﺍﻳﻦ ﻛﺘﺎﺏ‬
‫ﭼﺎپ ﺑﺸﻪ‪.‬‬
‫ﺗﺎﺑﺤﺎﻝ ﺍﺯ ﺧﻮﺩﺗﻮﻥ ﻧﺎﺍﻣﻴﺪ ﺷﺪﻳﺪ؟‬
‫ﻫﻴﭽﻮﻗﺖ‪ .‬ﻣﻦ ﺩﺭ ﻣﻮﻗﻌﻴﺘﻰ ﺑﻮﺩﻡ ﻛﻪ ﭘﻮﻝ ﺗﻠﻔﻦ‪،‬‬
‫ﺍﻳﻨﺘﺮﻧــﺖ ﻭ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﺍ ﻧﻤﻰ ﺗﻮﻧﺴــﺘﻢ ﭘﺮﺩﺍﺧﺖ‬
‫ﻛﻨﻢ‪ .‬ﺭﻭﺯﻫــﺎ ﻭ ﺭﻭﺯﻫﺎ ﺑﻮﺩ ﻛــﻪ ﺗﻠﻮﻳﺰﻳﻮﻥ ﻧﺪﻳﺪﻩ‬
‫ﺑﻮﺩﻡ! ﻭﻟﻰ ﺑﺎ ﺗﺤﻤﻞ ﺳﺨﺘﻰ ﻫﺎ ﻭ ﮔﺬﺷﺖ ﺯﻣﺎﻥ‬
‫ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭ ﺑﻬﺘﺮﻳﻦ ﺣﺎﻟﺖ ﻗﺮﺍﺭ ﺩﺍﺭﻡ‪.‬‬
‫ﺩﻭﺳـﺖ ﺩﺍﺭﻳﺪ ﻣﻮﺿﻮﻉ ﺁﺧﺮﻳﻦ ﻛﺎﺭﺗﻮﻥ‬
‫ﭼﻰ ﺑﺎﺷﻪ؟‬
‫ﭘﻴﺎﻣﻰ ﺑﻪ ﺩﻧﻴﺎ‪!...‬‬
‫ﺳـﺌﻮﺍﻟﻰ ﻫﺴـﺖ ﻛﻪ ﺩﻭﺳـﺖ ﺩﺍﺷـﺘﻴﺪ‬
‫ﺍﺯﺗﻮﻥ ﻣﻰ ﭘﺮﺳﻴﺪﻡ ﻭ ﻧﭙﺮﺳﻴﺪﻡ؟‬
‫ﺧﻴﺮ‪ .‬ﻫﻤﻪ ﭼﻴﺰ ﻛﺎﻣﻞ ﺑﻮﺩ‪.‬‬
‫ﺣﺮﻑ ﺁﺧﺮ؟‬
‫ﺧﻴﻠﻰ ﺍﺯ ﺷﻤﺎ ﺗﺸﻜﺮ ﻣﻰ ﻛﻨﻢ‪.‬‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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‫‪7‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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‫‪9‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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‫‪11‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫»ﭼﻪ ‪) Suift‬ﺳﻮﻳﻒ( ﺑﺎﺷﺪ ﻭ ﭼﻪ ‪) Leantaud‬ﻟﻮﺗﻮ(«‪ ،‬ﻫﻤﻪ ﺁﺩﻡ‬
‫ﻫﺎﻯ ﻣﺮﺩﻡ ﮔﺮﻳﺰ ﺑﻪ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﺩﻭﺳــﺘﺎﻥ ﺣﻴﻮﺍﻧﺎﺕ ﻫﺴﺘﻨﺪ ﺷﻬﺮﺕ‬
‫ﻳﺎﻓﺘﻪ ﺍﻧﺪ‪ .‬ﮔﺮﺑﻪ ﻫﺎ‪ ،‬ﻗﻨﺎﺭﻯ ﻫﺎ‪ ،‬ﻣﺎﻫﻰ ﻫﺎﻯ ﻗﺮﻣﺰ‪ ،‬ﺟﺰء ﻋﻼﻳﻖ ﻭ ﺩﻝ‬
‫ﻣﺸــﻐﻮﻟﻰ ﻫﺎﻯ ﺁﺯﺍﺭ ﺩﻫﻨﺪﻩ ﺁﻧﻬﺎ ﻣﺤﺴﻮﺏ ﻣﻰ ﺷﻮﻧﺪ‪ .‬ﺷﺎﻭﺍﻝ ﻋﺎﺷﻖ‬
‫‪ ،caca‬ﺻﺪﺍﻳﺶ ﻣﻰ ﻛﺮﺩ‪ ،‬ﺳﮕﻰ ﻛﻪ‬ ‫ﺳــﮓ ﻣﺎﺩﻩ ﺍﻯ ﺑﻮﺩ ﻛﻪ »ﻛﺎﻛﺎ ‪caca‬‬
‫ﺯﺷــﺘﻰ ﻭﺻﻒ ﻧﺸﺪﻧﻰ ﺍﻯ ﺩﺍﺷــﺖ‪ ،‬ﻓﺮﺑﻪ ﻭ ﺍﺣﻤﻖ ﺑﻮﺩ ﻭ ﺭﻧﮕﺶ ﻫﻢ‬
‫ﻫﻤﺮﻧﮓ ﺳــﮓ ﻫﺎﻯ ﺩﻳﮕﺮ ﺣﻮﻣﻪ ﺷــﻬﺮ‪ ،‬ﺑﺎﻋﺚ ﺗﻬﻮﻉ ﻫﻤﮕﺎﻥ ﻣﻰ‬
‫ﺷــﺪ‪ ،‬ﺳــﮕﻰ ﻛﻪ ﺑﻪ ﺯﺣﻤﺖ ﺩﺭ ﺩﺍﺧﻞ ﺧﺎﻧﻪ‪ ،‬ﺗﻦ ﻟﺶ ﺍﺵ ﺭﺍ ﺍﺯ ﺍﻳﻦ‬
‫ﻛﺎﻧﺎﭘﻪ ﺑﻪ ﺍﻭﻥ ﻛﺎﻧﺎﭘﻪ ﻣﻰ ﻛﺸــﻴﺪ‪ .‬ﺷــﺎﻭﺍﻝ ﻭ ﻫﻤﺴﺮﺵ )‪Annie‬‬
‫ﺁﻧﻰ( ﻛﺎﻛﺎ ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﺪ ﻭ ﻋﺸﻖ ﺁﺗﺸﻴﻦ ﻭ ﻃﻌﻨﻪ ﺁﻣﻴﺰ ﻧﺜﺎﺭ ﺍﻭ ﻣﻰ‬
‫ﻛﺮﺩﻧﺪ‪ ،‬ﺁﻧﻬﺎ ﻃﻮﺭﻯ ﺑﻪ ﺍﻭ ﻋﺸــﻖ ﻣﻰ ﻭﺭﺯﻳﺪﻧﺪ ﻛﻪ ﻧﻈﻴﺮ ﺁﻥ ﻋﺸﻖ ﺭﺍ‬
‫ﻧﻤﻰ ﺗﻮﺍﻧﺴﺘﻨﺪ ﻧﺜﺎﺭ ﻣﺮﺩﻡ ﻫﻢ ﻋﺼﺮﺷﺎﻥ ﻛﻨﻨﺪ‪.‬‬
‫ﭼﻪ ﻛﺴﻰ ﻣﻰ ﺗﻮﺍﻧﺪ ﺑﻪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺣﻤﺎﻗﺖ ﺑﺎﺭ ﻣﺮﺩﻡ ﺟﺎﻣﻌﻪ ﺑﻴﺸﺘﺮﻳﻦ‬
‫ﺗﻠﺨﻰ ﻭ ﺳــﻮﺯﻧﺎﻛﻰ ﺭﺍ ﺑﺒﺨﺸــﺪ ﻭ ﺭﻭﺍﺑﻂ ﺍﺟﺘﻤﺎﻋﻰ ﺭﺍ ﻫﻤﭽﻮﻥ ﺑﺎﺯﻯ‬

‫ﺳﻴﺪ ﻣﺤﻤﺪ ﻋﻠﻰ ﺷﺠﺎﻋﻰ ﻃﺒﺎﻃﺒﺎﻳﻰ‬

‫ﺍﻯ ﻛﻮﺗﻪ ﺑﻴﻨﺎﻧﻪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺑﻜﺸــﺪ؟ ﺷﺎﻭﺍﻝ ﺑﺎ ﺩﻳﺪﻯ ﻋﻤﻴﻖ ﺑﻪ ﺍﻳﻦ‬
‫ﺍﻣﺮ ﻧﺎﻳﻞ ﺁﻣﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺁﺛﺎﺭ ﺷــﺎﻭﺍﻝ‪ ،‬ﺻﺨﺮﻩ ﻫﺎﻯ ﺑﺘﻮﻧﻰ‪ ،‬ﻣﻴﻤﻮﻥ ﺍﻧﺴﺎﻥ ﻧﻤﺎﻯ ﺑﻰ ﻣﻮﻳﻰ‬
‫ﺭﺍ ﻣﺤﺎﺻﺮﻩ ﻛﺮﺩﻩ ﺍﻧﺪ ﻛﻪ ﺩﺭ ﻛﺎﺭﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ ﺍﺵ ﻏﺮﻕ ﺷــﺪﻩ ﻭ ﺩﺭ‬
‫ﭘﺸﺖ ﻋﻴﻨﻚ ﮔﺮﺩﺵ ﺳﻨﮕﺮ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻣﺮﺩﻣﻰ ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﺷﺎﻭﺍﻝ‬
‫ﺩﻳﺪﻩ ﻣﻰ ﺷــﻮﺩ‪ ،‬ﺩﺭ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ‪ ،‬ﻛﻤﻰ ﺍﺯ ﺍﻧﺴﺎﻥ ﻫﺎﻯ ﺩﺭﻭﻥ‬
‫ﺟﺎﻣﻌﻪ ﭘﻴﺸــﻰ ﮔﺮﻓﺘﻪ ﺍﺳــﺖ ﻭ ﺗﻴﺮ ﺧﻼﺻﻰ ﻭ ﻧﺎﺑﻮﺩﻯ ﺭﺍ ﺑﻪ ﺑﺸﺮﻳﺖ‬
‫ﺷﻠﻴﻚ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﺎ ﺗﻴﺮ ﺧﻼﺻﻰ ﺭﺍ ﺑﻪ ﺍﺳﺐ ﺷﻞ ﻭ‬
‫ﺭﻧﺠﻮﺭ ﺷﻠﻴﻚ ﻣﻰ ﻛﻨﻴﻢ‪ .‬ﺷﺨﺼﻴﺖ ﻣﺮﺩ ﺩﺭ ﺁﺛﺎﺭ ﺷﺎﻭﺍﻝ ﻛﺴﻰ ﺍﺳﺖ‬
‫ﻛــﻪ ﺍﻓﻮﻝ ﺷــﺨﺼﻴﺘﻰ ﺩﺭ ﺍﻭ ﻣﻮﺝ ﻣﻰ ﺯﻧﺪ ﻭ ﻓــﻚ ﺑﻴﺮﻭﻥ ﺁﻣﺪﻩ ﺍﺵ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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 ‫ﻧﻤﺎﺩ ﺍﻳﻦ ﺍﻓﻮﻝ ﺍﺳﺖ‪.‬‬
‫ﺍﻣﺎ ﺑﺎ ﻧﮕﺎﻫﻰ ﺩﻗﻴﻖ ﺗﺮ ﺑﻪ ﺁﺛﺎﺭ ﺷــﺎﻭﺍﻝ ﻣﺘﻮﺟﻪ ﻣﻰ ﺷــﻮﻳﻢ ﻛﻪ ﺍﻭ ﺑﻪ‬
‫ﺷــﻜﻠﻰ ﺍﺑﺘﺪﺍﻳﻰ ﻓﺮﺍﺗــﺮ ﺍﺯ ﺍﻳﻦ ﻧﮕﺎﻩ ﺑﺪﺑﻴﻨﺎﻧﻪ ﻣــﻰ ﺭﻭﺩ‪ .‬ﺣﻴﻮﺍﻧﺎﺕ ﺩﺭ‬
‫ﺁﺛــﺎﺭ ﺍﻭ ﻳﺎﻓﺖ ﻣﻰ ﺷــﻮﻧﺪ ﻭ ﻗﻄﻌﺎ ﺣﻴﻮﺍﻧﺎﺕ ﺭﺍ ﻣﺎ ﺟﺰء ﮔﻮﻧﻪ ﺍﻧﺴــﺎﻧﻰ‬
‫ﻧﻤــﻰ ﺩﺍﻧﻴﻢ‪ .‬ﺍﻣﺎ ﭼﻴﺰﻯ ﻧﻤﺎﻧﺪﻩ ﻛﻪ ﺍﻧﺴــﺎﻥ ﻫــﺎ ﻭ ﺣﻴﻮﺍﻧﺎﺕ ﻣﺜﻞ ﻫﻢ‬
‫ﺑﺸﻮﻧﺪ‪ .‬ﻣﺜﻼ‪ ،‬ﺳﮓ ﻫﺎ‪ ،‬ﺑﻪ ﺩﻗﺖ ﺑﻪ ﺳﮓ ﻫﺎ ﻧﮕﺎﻩ ﻛﻨﻴﺪ‪ .‬ﮔﻮﺵ ﻫﺎﻯ‬
‫ﺁﻭﻳﺰﺍﻧﺸﺎﻥ ﻭ ﭘﻮﺯﻩ ﻫﺎﻯ ﺍﺣﻤﻘﺎﻧﻪ ﺷﺎﻥ ﺭﺍ ﺑﺒﻴﻨﻴﺪ‪ .‬ﺁﻧﻬﺎ »ﺍﻧﺴﺎﻥ ﺳﮓ‬
‫ﻧﻤﺎ« ﻫﺴــﺘﻨﺪ‪ .‬ﺑﺮﺍﻯ ﺍﺛﺒﺎﺕ ﺍﻳﻦ ﮔﻔﺘﻪ ﻣــﻰ ﺗﻮﺍﻧﻴﻢ ﺑﮕﻮﻳﻴﻢ ﺩﺭ ﻳﻮﻧﺎﻥ‬
‫ﻫﻢ ﻫﻤﭽﻨﻴﻦ ﻣﻮﺟﻮﺩﻯ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﺳﮓ ﺍﻧﺴﺎﻥ ﻧﻤﺎ ﻳﺎ ﺍﻧﺴﺎﻥ ﺳﮓ ﻧﻤﺎ ﻫﺮ ﺩﻭ ﺗﺎ ﻳﻜﻰ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻪ ﺟﺎﻳﺰﻩ‬
‫ﻧﻮﺑﻞ ﺍﺩﺑﻰ ﺩﺭ ﻛﺎﺭ ﺑﺎﺷــﺪ ﻭ ﭼﻪ ﻓﻴﻠﺴــﻮﻓﺎﻧﻰ ﺩﺭ ﺻﺪﺩ ﺁﻥ ﺑﺎﺷﻨﺪ ﻛﻪ‬
‫ﺭﻓﺘﺎﺭﻫﺎﻯ ﻧﺴــﻞ ﺑﺸﺮ ﺭﺍ ﺑﻬﺒﻮﺩ ﺑﺨﺸﻨﺪ‪ .‬ﺑﺎﺯ ﻫﻢ ﺍﻧﺴﺎﻥ ﺭﻓﺘﺎﺭ ﺍﺣﻤﻘﺎﻧﻪ‬
‫ﺍﺵ ﺭﺍ ﻧﺸــﺎﻥ ﻣﻰ ﺩﻫﺪ‪ .‬ﺷﺎﻭﺍﻝ ﻣﻰ ﺧﻮﺍﺳﺘﻪ ﺭﻓﺘﺎﺭﻫﺎﻯ ﺣﻴﻮﺍﻥ ﮔﻮﻧﻪ‬
‫ﺍﻯ ﻛﻪ ﺩﺭ ﺟﺎﻣﻌﻪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺭﺍ ﻧﺸــﺎﻥ ﺑﺪﻫﺪ‪ ،‬ﺍﻣﺎ ﺍﻭ ﺗﻨﻬﺎ ﻣﻮﻓﻖ ﻣﻰ‬
‫ﺷــﻮﺩ ﻛﻪ ﺧﺼﻮﺻﻴﺎﺕ ﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺯﻳﺮ ﺳﺌﻮﺍﻝ ﺑﺒﺮﺩ‪ .‬ﻭ ﺑﺎﻳﺪ ﮔﻔﺖ ﻭﺍﻯ‬
‫ﺑﻪ ﺣﺎﻝ ﻧﺴــﻞ ﺍﻧﺴﺎﻥ! ﺑﻪ ﺁﺛﺎﺭ ﺷــﺎﻭﺍﻝ ﺩﻗﺖ ﻛﻨﻴﺪ ﺍﻭ ﺩﺭ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ‬
‫»ﭘﺮﻧﺪﮔﺎﻥ ﺍﺣﻤﻖ ﻫﺴــﺘﻨﺪ« ﻳﺎ ﺩﺭ ﻓﻴﻠﻢ »ﺳــﮓ ﻫﺎﻯ ﺗﭙﻞ« ﺗﻼﺵ‬
‫ﻣﻰ ﻛﻨﺪ ﻛﻤــﻰ ﻣﻬﺮﺑﺎﻧﻰ ﻭ ﺭﻓﺘﺎﺭ ﺧﻮﺵ ﺑﻪ ﺳــﮓ ﻫﺎﻳﻰ ﻛﻪ ﺩﻧﺒﺎﻝ‬
‫ﺳﻮپ ﻣﻰ ﮔﺮﺩﻧﺪ‪ ،‬ﺑﺒﺨﺸﺪ‪ .‬ﺍﻣﺎ ﺍﻭ ﺩﺭ ﺑﺮﺍﺑﺮ ﻣﺪﻳﺮﺍﻥ ﺍﺟﺮﺍﻳﻰ ﻗﺮﺍﺭ ﮔﻔﺖ‬
‫ﻛﻪ ﺩﺭ ﺍﻓﺘﺨﺎﺭﺍﺗﺸــﺎﻥ ﻏﺮﻕ ﺷــﺪﻩ ﺑﻮﺩﻧﺪ ﻭ ﻳﺎ ﺑﺎ ﻣﺴﺌﻮﻟﻴﻨﻰ ﺭﻭﺑﺮﻭ ﺷﺪ‬
‫ﻛﻪ ﻫﻤﻮﺍﺭﻩ ﺍﺯ ﺍﻭ ﻣﺘﻨﻔﺮ ﺑﻮﺩﻧﺪ‪ .‬ﺷﺎﻭﺍﻝ‪ ،‬ﺑﺎ ﭼﺸﻤﺎﻥ ﮔﺮﺩﻯ ﻛﻪ ﺩﺭ ﺁﻧﻬﺎ‬
‫ﺷــﻌﻠﻪ ﻫﺎﻯ ﻣﺘﺒﺴﻤﻰ ﻣﻮﺝ ﻣﻰ ﺯﻧﺪ‪ .‬ﺑﺸــﺮﻳﺖ ﺭﺍ ﻧﺸﺎﻧﻪ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪،‬‬
‫ﺷــﻌﻠﻪ ﻫﺎﻯ ﻣﺘﺒﺴﻤﻰ ﻛﻪ ﺑﻴﺎﻧﮕﺮ ﺷــﺎﺩﻣﺎﻧﻰ ﻭ ﻧﺸﺎﻃﺶ ﺑﻮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ‬
‫ﭘﺸــﺖ ﺍﻳﻦ ﭼﻬﺮﻩ ﺩﻟﻘﻚ ﮔﻮﻧﻪ ﺍﺵ ﺗﻤﺎﻡ ﻏﻢ ﻋﺎﻟﻢ ﻣﺨﻔﻰ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬
‫ﻏﻢ ﻭ ﻏﺼﻪ ﺍﻯ ﻛﻪ ﺍﻭ ﺭﺍ ﻫﻼﻙ ﻛﺮﺩ ﻭ ﺍﺯ ﭘﺎﻯ ﺩﺭﺁﻭﺭﺩ‪.‬‬

‫‪13‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫‪Alireza Karimi Moghadam/Iran‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﻛﺮﻳﻤﻰ ﻣﻘﺪﻡ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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‫‪Maziar Bijani/Iran‬‬ ‫ﻣﺎﺯﻳﺎﺭ ﺑﻴﮋﻧﻰ‬ ‫‪Hamid Reza Mosayebi/Iran‬‬ ‫ﺣﻤﻴﺪﺭﺿﺎ ﻣﺴﻴﺒﻰ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪Yuriy Kosobukin/Ukraine‬‬ ‫ﻳﻮﺭﻯ ﻛﻮﺯﻭﺑﻮﻛﻴﻦ‪/‬ﺍﻛﺮﺍﻳﻦ‬

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‫‪Mauro Talarico/Italy‬‬ ‫ﻣﺎﺋﻮﺭﻭ ﺗﺎﻻﺭﻳﻜﻮ‪/‬ﺍﻳﺘﺎﻟﻴﺎ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪Andrezej Graniak/Poland‬‬ ‫ﺁﻧﺪﺭﺯﺝ ﮔﺮﺍﻧﻴﺎﻙ‪/‬ﻟﻬﺴﺘﺎﻥ‬ ‫‪Mahmoud Azadnia/Iran‬‬ ‫ﻣﺤﻤﻮﺩ ﺁﺯﺍﺩﻧﻴﺎ‬

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‫‪Hamed Hafeziye/Iran‬‬ ‫ﺣﺎﻣﺪ ﺣﺎﻓﻈﻴﻪ‬
‫‪Zeng Zhi Dong/China‬‬ ‫ﺯﻧﮓ ژﻯ ﺩﻭﻧﮓ‪/‬ﭼﻴﻦ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫‪Cemalettain Guzeloglu/Turkey‬‬ ‫ﻛﻤﺎﻝ ﺍﻟﺪﻳﻦ ﮔﻮﺯﻝ ﺍﻭﻏﻠﻮ‪/‬ﺗﺮﻛﻴﻪ‬

‫ﻣﺤﻤﺪ ﺍﻣﻴﻦ ﺁﻗﺎﻳﻰ‬

‫‪Mohammad Amin Aghaei/Iran‬‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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‫‪Young Sikoh/Korea‬‬ ‫ﻳﺎﻧﮓ ﺳﻴﻜﻮﺭ‪/‬ﻛﺮﻩ‬ ‫‪Masafami Kikuchi/Japan‬‬ ‫ﻣﺎﺳﺎﻓﺎﻣﻰ ﻛﻴﻜﻮﭼﻰ‪/‬ژﺍﭘﻦ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬


‫ﺁﻳﺎ ﺩﺍﺳــﺘﺎﻧﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﺘﻮﺍﻥ ﺑﺎ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻯ‬
‫ﺁﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪ؟‬
‫ﺁﻳــﺎ ﺍﻣﻜﺎﻥ ﺟﺎﺑﺠﺎﻳــﻰ ﻋﻨﺎﺻﺮ ﻣﺸــﺎﺑﻪ ﺑﺎ ﻋﻨﺎﺻﺮ‬
‫ﻓﻌﺎﻟــﻰ ﻫﻤﭽﻮﻥ »ﺩﻧﺪﺍﻧﭙﺰﺷــﻚ«‪» ،‬ﺑﻴﻤﺎﺭ« ﻭ ﻳﺎ‬
‫»ﺩﻧﺪﺍﻥ« ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬
‫ﭼــﻪ ﺑﺨﺶ ﻫﺎﻳــﻰ ﺍﺯ ﻣﺎﺟﺮﺍ ﺭﺍ ﻣﻰ ﺗــﻮﺍﻥ ﺍﻏﺮﺍﻕ‬
‫ﻛﺮﺩ؟‬
‫ﺁﻳﺎ ﺍﻳﻦ ﺍﻏﺮﺍﻕ ﻣﻰ ﺗﻮﺍﻧﺪ ﺗﻨﻬﺎ ﺩﺭ ﺷــﺨﺼﻴﺖ ﻫﺎﻯ‬
‫ﺍﺻﻠــﻰ ﻣﺎﺟﺮﺍ ﺑﺎﺷــﺪ ﻳﺎ ﻣﻰ ﺗﻮﺍﻥ ﺩﺍﺳــﺘﺎﻥ ﺭﺍ ﻧﻴﺰ‬
‫ﺍﻏﺮﺍﻕ ﻛﺮﺩ؟‬
‫ﭘﺎﺳــﺨﮕﻮﻳﻰ ﺑﻪ ﺍﻳﻨﮕﻮﻧﻪ ﺳﺌﻮﺍﻻﺕ ﻛﻪ ﺍﻟﺒﺘﻪ ﺗﻌﺪﺍﺩ‬
‫ﺁﻥ ﻫــﺎ ﻣﻰ ﺗﻮﺍﻧــﺪ ﻫﻤﭽﻨﺎﻥ ﺍﺩﺍﻣــﻪ ﻳﺎﺑﺪ‪ ،‬ﺣﺪﺍﻗﻞ‬
‫ﺍﻳــﻦ ﺍﻣﻜﺎﻥ ﺭﺍ ﺑﺮﺍﻯ ﻫﻨﺮﻣﻨﺪ ﺑــﻪ ﻭﺟﻮﺩ ﻣﻰ ﺁﻭﺭﺩ‬
‫ﺗﺎ ﺫﻫﻨﺶ ﺭﺍ ﺑﺎ ﺍﻧﺒﻮﻫﻰ ﺍﺯ ﭘﺮﺳــﺶ ﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ‬
‫ﺩﺭﮔﻴﺮ ﻛﻨﺪ‪ .‬ﭘﺎﺳﺦ ﮔﻮﻳﻰ ﺑﻪ ﻫﺮ ﭘﺮﺳﺸﻰ ﻣﻰ ﺗﻮﺍﻧﺪ‬
‫ﻣﻨﺠﺮ ﺑﻪ ﺧﻠﻖ ﺍﻳﺪﻩ ﺍﻯ ﺗﺎﺯﻩ ﮔﺮﺩﺩ‪ ،‬ﺍﻳﺪﻩ ﻫﺎﻳﻰ ﻛﻪ‬
‫ﺧﻮﺩ ﻣﻰ ﺗﻮﺍﻧﺪ ﺑﺎ ﺗﺮﻛﻴﺐ ﻭ ﺗﻌﺪﻳﻞ‪ ،‬ﺯﻣﻴﻨﻪ ﻻﺯﻡ ﺭﺍ‬
‫ﺑــﺮﺍﻯ ﺍﻳﺪﻩ ﻫﺎﻯ ﺑﻜﺮ ﻭ ﺧﻼﻗﻪ ﻓﺮﺍﻫﻢ ﺳــﺎﺯﺩ‪ ،‬ﺑﻪ‬
‫ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﺭﻭﺵ ﻫﻤﺎﻧﻨﺪ ﺳﻠﺴــﻠﻪ ﻭﺍﻛﻨﺶ‬
‫ﻫﺎﻯ ﻳﻚ ﺑﻤﺐ ﻫﺴــﺘﻪ ﺍﻯ ﺍﺳﺖ ﻛﻪ ﺍﻧﻔﺠﺎﺭ ﺍﻳﺪﻩ‬
‫ﺍﺯ ﻣﺮﻛﺰﻯ ﻭﺍﺣﺪ ﺩﺭ ﺁﻥ ﺁﻏﺎﺯ ﻣﻰ ﺷــﻮﺩ ﻭ ﺳــﭙﺲ‬
‫ﺷــﻜﺎﻑ ﻫﺮ ﺍﻳﺪﻩ ﻣﻰ ﺗﻮﺍﻧــﺪ ﻣﻨﺠﺮ ﺑﻪ ﭘﺪﻳﺪ ﺁﻣﺪﻥ‬
‫ﺍﻳﺪﻩ ﻫــﺎﻯ ﺗﺎﺯﻩ ﺍﻯ ﮔﺮﺩﺩ‪ .‬ﺍﻳﻦ ﺳﻠﺴــﻠﻪ ﻭﺍﻛﻨﺶ‬
‫ﻫﺎ ﺍﻣــﻜﺎﻥ ﮔﺰﻳﻨﺶ ﻭ ﺩﺳــﺖ ﻳﺎﺑﻰ ﺑــﻪ ﺑﻬﺘﺮﻳﻦ‬
‫ﻣﻮﺿﻮﻋﺎﺕ ﺭﺍ ﺑﺮﺍﻯ ﻫﻨﺮﻣﻨﺪ ﺍﻳﺠﺎﺩ ﻣﻰ ﻛﻨﺪ‪.‬‬
‫ﻭﻗﺘــﻰ ﺩﺭ ﺩﻧﻴﺎﻯ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻭﺍﺭﺩ ﺷــﺪﻳﺪ‪ ،‬ﺑﺎﻳﺪ‬
‫ﺩﺷــﻮﺍﺭﻯ ﮔﺎﻡ ﻧﻬــﺎﺩﻥ ﺩﺭ ﺟﻬﺖ ﺩﺳــﺖ ﻳﺎﺑﻰ ﺑﻪ‬
‫ﻣﻮﺿﻮﻋﺎﺕ ﺟﺪﻳﺪ ﺭﺍ ﺑﭙﺬﻳﺮﻳﺪ‪ .‬ﭼﺮﺍ ﻛﻪ ﺑﺴــﻴﺎﺭﻯ ﺍﺯ‬
‫ﺍﻳﺪﻩ ﻫﺎ ﻗﺒﻼ ﺗﻮﺳﻂ ﭘﻴﺸﻴﻨﻴﺎﻥ ﻣﺎ ﺧﻠﻖ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﻧﺒﻮﻩ ﻣﻮﺿﻮﻋﺎﺕ ﺧﻠﻖ ﺷــﺪﻩ ﺍﺯ ﺳﻮﻯ ﻫﻨﺮﻣﻨﺪﺍﻥ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﺍﻣﺮﻭﺯ ﻭ ﺩﻳﺮﻭﺯ ﺟﻬﺎﻥ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻯ‬
‫ﺁﻧﺎﻧــﻰ ﻛــﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺭﺍ ﺑﻪ ﮔﻮﻧــﻪ ﺍﻯ ﺣﺮﻓﻪ ﺍﻯ‬
‫ﺩﻧﺒﺎﻝ ﻣﻰ ﻛﻨﻨﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺩﺷﻮﺍﺭﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻳﺎﻓﺘــﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻧــﻮ‪ ،‬ﺍﮔﺮ ﻧﮕﻮﻳــﻢ ﻏﻴﺮﻣﻤﻜﻦ‬
‫ﻣــﻰ ﺑﺎﺷــﺪ ﻭﻟﻰ ﺑﺎﻳــﺪ ﺍﺫﻋــﺎﻥ ﻛﺮﺩ ﻛﻪ ﺑﺴــﻴﺎﺭ‬
‫ﺩﺷــﻮﺍﺭ ﺍﺳــﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﻳﻦ‪ ،‬ﻭﻗﺘﻰ ﺑﺎ ﺍﻋﻼﻡ ﻣﻮﺿﻮﻉ‬
‫ﺳــﺎﺩﻩ ﺍﻯ ﻫﻤﭽﻮﻥ »ﺩﻧﺪﺍﻧﭙﺰﺷــﻜﻰ« ﺑﺎ ﺍﻧﺒﻮﻫﻰ‬
‫ﺍﺯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎﻳــﻰ ﻛــﻪ ﺩﺍﺭﺍﻯ ﻣﻀﺎﻣﻴﻦ ﻭﺍﺣﺪﻯ‬
‫ﻫﺴــﺘﻨﺪ ﺭﻭﺑﺮﻭ ﻣﻰ ﺷﻮﻳﻢ‪ ،‬ﻧﺒﺎﻳﺪ ﺑﻪ ﺳﺎﺩﮔﻰ ﺗﺼﻮﺭ‬
‫ﻛﻨﻴﻢ ﻛﻪ ﻣﻮﺿﻮﻉ ﺍﺛــﺮ ﻣﺎ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺑﻮﺩﻩ ﻭ‬
‫ﻫﺮ ﻛﺴــﻰ ﻣﺸﺎﺑﻪ ﺁﻥ ﺭﺍ ﻛﺎﺭ ﻛﺮﺩﻩ‪ ،‬ﺍﺯ ﺭﻭﻯ ﺩﺳﺖ‬
‫ﻣﺎ ﺗﻘﻠﺐ ﻛﺮﺩﻩ ﺍﺳﺖ!‬
‫ﻣﺤﻤﺪﺣﺴﻴﻦﻧﻴﺮﻭﻣﻨﺪ‬
‫ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺍﺯ ﺷــﻤﺎ ﺧﻮﺍﺳﺘﻪ ﻣﻰ ﺷﻮﺩ ﺑﺎ ﻣﻮﺿﻮﻉ‬
‫»ﺩﻧﺪﺍﻧﭙﺰﺷــﻜﻰ« ﻛﺎﺭﻳﻜﺎﺗــﻮﺭﻯ ﺭﺍ ﻃﺮﺍﺣﻰ ﻛﻨﻴﺪ‪،‬‬
‫ﺑــﻰ ﺗﺮﺩﻳﺪ ﺳــﻪ ﻋﻨﺼــﺮ ﺍﺻﻠﻰ ﻓﻌــﺎﻝ ﻣﺮﺗﺒﻂ ﺑﺎ‬
‫ﺍﻳــﻦ ﻣﻮﺿﻮﻉ ﺩﺭ ﺫﻫﻨﺘﺎﻥ ﺣﻀــﻮﺭ ﻣﻰ ﻳﺎﺑﺪ‪ :‬ﺩﻛﺘﺮ‬
‫ﺩﻧﺪﺍﻧﭙﺰﺷــﻚ‪ ،‬ﺷــﺨﺼﻴﺖ ﺑﻴﻤــﺎﺭ ﻭ ﺩﻧﺪﺍﻧــﻰ ﻛﻪ‬
‫ﭘﺰﺷﻚ ﺑﺎﻳﺪ ﺁﻥ ﺭﺍ ﻣﺪﺍﻭﺍ ﻛﻨﺪ ﻳﺎ ﺍﺯ ﺑﻴﺦ ﺑﻜﻨﺪ! ﺍﻟﺒﺘﻪ‬
‫ﻣــﻮﺭﺩ ﺩﻭﻡ ﺩﺭ ﺍﻳﺠﺎﺩ ﻳــﻚ ﻣﻮﻗﻌﻴﺖ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ‬
‫ﺑﻴﺸــﺘﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﻣﻰ ﮔﻴﺮﺩ‪ .‬ﺑﻌﻼﻭﻩ‪ ،‬ﺍﺯ ﺍﻳﻦ‬
‫ﺍﻣــﺮ ﻧﻴﺰ ﻧﺒﺎﻳﺪ ﻏﺎﻓﻞ ﺷــﺪ ﻛﻪ ﻫــﺮ ﺣﺎﺩﺛﻪ ﺍﻯ ﺩﺭ‬
‫ﻳﻚ ﺑﺴــﺘﺮ ﻭ ﻣﻜﺎﻥ ﻣﺸــﺨﺼﻰ ﺍﻣﻜﺎﻥ ﺑﺮﻭﺯ ﻣﻰ‬
‫ﻳﺎﺑﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ‪ ،‬ﺑﺮﺍﻯ ﻣﻮﺿﻮﻉ ﻳﺎﺩﻩ ﺷﺪﻩ ﺍﻭﻟﻴﻦ‬
‫ﺍﻧﺘﺨﺎﺏ ﺳــﻬﻞ ﺍﻟﻮﺻﻮﻝ ﺗﺮﻳﻦ ﻣﻜﺎﻥ ﻳﻚ ﻣﻄﺐ‬
‫ﺩﻧﺪﺍﻧﭙﺰﺷﻜﻰ ﺍﺳﺖ‪.‬‬
‫ﺍﻣﺎ ﺁﻳﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻣﻮﺿﻮﻋﻰ ﻫﻤﺎﻧﻨﺪ ﺩﻧﺪﺍﻧﭙﺰﺷﻜﻰ‬
‫ﺗﻨﻬﺎ ﺑﺎ ﺣﻀﻮﺭ ﻋﻨﺎﺻﺮﻯ ﻣﺎﻧﻨﺪ ﺑﻴﻤﺎﺭ‪ ،‬ﺩﻧﺪﺍﻧﭙﺰﺷﻚ‪،‬‬
‫ﺩﻧــﺪﺍﻥ ﻭ ﻣﻜﺎﻧﻰ ﻫﻤﭽﻮﻥ ﻣﻄﻠﺐ ﺩﻧﺪﺍﻧﭙﺰﺷــﻜﻰ‬
‫ﻣﻴﺴﺮ ﺍﺳﺖ؟ ﻳﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﺗﺎﺯﻩ ﻛﺎﺭ ﻣﻤﻜﻦ‬
‫ﺍﺳﺖ ﺑﻪ ﭘﺮﺳــﺶ ﺑﺎﻻ ﺟﻮﺍﺏ ﻣﻨﻔﻰ ﺑﺪﻫﺪ‪ ،‬ﺍﻣﺎ ﺑﻰ‬
‫ﺷــﻚ ﺍﺛﺮﻯ ﺭﺍ ﻛﻪ ﺧﻠﻖ ﻣــﻰ ﻛﻨﺪ ﺗﻨﻬﺎ ﻣﺘﻜﻰ ﺑﻪ‬
‫ﻋﻨﺎﺻﺮ ﻳﺎﺩ ﺷﺪﻩ ﻭ ﻣﻜﺎﻥ ﻣﻄﺮﺡ ﺷﺪﻩ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬
‫ﻭﻗﺘﻰ ﺷــﻤﺎ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺭﺍ ﺑــﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﻨﺮ ﺑﺮ‬
‫ﻣــﻰ ﮔﺰﻳﻨﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﺑﺪﺍﻧﻴﺪ ﻛﻪ ﺑــﺮﺍﻯ ﻭﺭﻭﺩ ﺑﻪ ﺍﻳﻦ‬
‫ﻋﺮﺻﻪ ﻧﺨﺴــﺘﻴﻦ ﻣﺮﺣﻠﻪ‪ ،‬ﮔﺎﻡ ﻧﻬــﺎﺩﻥ ﺩﺭ ﺩﻧﻴﺎﻯ‬
‫ﻏﻴﺮﻣﻌﻤــﻮﻝ ﻭ ﻓــﺮﺍ ﻭﺍﻗﻌﻴﺖ ﻫﺎﺳــﺖ ﻭ ﭘﺬﻳﺮﺵ‬
‫ﺍﻳﻦ ﻭﺍﻗﻌﻴــﺖ ﺩﺭ ﺣﻘﻴﻘﺖ ﭘﺬﻳــﺮﺵ ﺗﻠﻮﻳﺤﻰ ﺍﻳﻦ‬
‫ﻣﻌﻨﺎﺳﺖ ﻛﻪ ﻫﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺘﻰ ﺑﺎﻳﺪ ﺑﻴﺎﻣﻮﺯﺩ ﻛﻪ‬
‫ﺑﻪ ﮔﻮﻧــﻪ ﺍﻯ ﻣﺘﻔﺎﻭﺕ ﺑﺎ ﭘﺪﻳﺪﻩ ﻫﺎﻯ ﺍﻃﺮﺍﻑ ﺧﻮﺩ‬
‫ﺭﻭﺑﺮﻭ ﺷﻮﺩ‪.‬‬
‫ﺍﻭ ﻣﻰ ﺁﻣﻮﺯﺩ ﻛﻪ ﻗﻮﺍﻋﺪ ﻣﻌﻤﻮﻝ ﻭ ﻣﺮﺳﻮﻡ ﺭﺍ ﺩﺭ ﻫﻢ‬
‫ﺑﺮﻳﺰﺩ ﻭ ﻧﻴﺰ ﺷــﻜﻞ ﺩﮔﺮ ﺩﻳﺪﻥ ﺭﺍ ﺩﺭ ﺧﻮﺩ ﺗﻘﻮﻳﺖ‬
‫ﻛﻨﺪ‪ .‬ﺍﺯ ﻫﻤﻴﻦ ﺭﻭﺳــﺖ ﻛﻪ ﻳﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ‬
‫ﺧﻼﻕ ﻧﻤﻰ ﺗﻮﺍﻧﺪ ﺑﻪ ﺳــﺎﺩﮔﻰ ﺑﭙﺬﻳﺮﺩ ﻛﻪ ﺗﻨﻬﺎ ﺭﺍﻩ‬
‫ﻭﺭﻭﺩ ﺑﻪ ﻣﻮﺿﻮﻋــﻰ ﻫﻤﭽﻮﻥ »ﺩﻧﺪﺍﻧﭙﺰﺷــﻜﻰ«‬
‫ﺻﺮﻓﺎ ﺍﺯ ﻣﺪﺧﻞ ﻫﺎﻯ ﻳﺎﺩ ﺷﺪﻩ ﺍﻣﻜﺎﻥ ﭘﺬﻳﺮ ﺍﺳﺖ‪.‬‬
‫ﻣﻌﻤﻮﻻ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺘﻰ ﻛﻪ ﻭﺿﻊ ﻣﻮﺟﻮﺩ ﺭﺍ ﺑﻪ‬
‫ﻫﻢ ﻣﻰ ﺭﻳﺰﺩ‪ ،‬ﺍﺯ ﺧﻮﺩ ﻣﻰ ﭘﺮﺳﺪ‪:‬‬
‫ﺁﻳﺎ ﻣﻰ ﺷــﻮﺩ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﻫﻴــﭻ ﻳﻚ ﺍﺯ ﻋﻨﺎﺻﺮ‬
‫ﭘﻴﺶ ﮔﻔﺘــﻪ ﻣﻮﺿﻮﻉ ﻣﻮﺭﺩﻧﻈــﺮ ﺭﺍ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺖ؟‬
‫ﺁﻳﺎ ﻣﻰ ﺷــﻮﺩ ﺑﺎ ﺣﺬﻑ ﺩﻧﺪﺍﻧﭙﺰﺷــﻚ ﻳﺎ ﺑﻴﻤﺎﺭ ﻭ ﻳﺎ‬
‫ﻣﻄﺐ ﺑﻪ ﺧﻠﻖ ﺍﺛﺮﻯ ﺑﺎ ﻣﻮﺿﻮﻉ »ﺩﻧﺪﺍﻧﭙﺰﺷــﻜﻰ«‬
‫ﻣﺒﺎﺩﺭﺕ ﻭﺭﺯﻳﺪ؟‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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‫‪23‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﺑﺮﮔﺰﺍﺭ ﻛﻨﻨﺪﻩ‪ :‬ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﻣﻌﺎﻭﻧﺖ ﻫﻨﺮﻯ ﺳﺎﺯﻣﺎﻥ ﻓﺮﻫﻨﮕﻰ ﻫﻨﺮﻯ ﺷﻬﺮﺩﺍﺭﻯ ﺗﻬﺮﺍﻥ‬

‫ﺷﻬﺮﺍﻡ ﺭﺿﺎﻳﻰ‪/‬ﺍﻳﺮﺍﻥ‬
‫‪Shahram Rezai/Iran‬‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

‫‪24‬‬
‫‪25‬‬
‫‪blanco/cuba‬‬ ‫ﺑﻼﻧﻜﻮ‪/‬ﻛﻮﺑﺎ‬

‫‪Alireza Karimi Moghadam/Iran‬‬ ‫ﻋﻠﻴﺮﺿﺎ ﻛﺮﻳﻤﻰ ﻣﻘﺪﻡ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫‪billing/china‬‬ ‫ﺑﻴﻠﻴﻨﮓ‪/‬ﭼﻴﻦ‬

‫‪Ajim Sulaj/Italy‬‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

‫ﺁﺟﻴﻢ ﺳﻮﻻﺝ‪/‬ﺍﻳﺘﺎﻟﻴﺎ‬
‫‪Pawel Kuczynski/Poland‬‬ ‫ﭘﺎﻭﻝ ﻛﻮژﻳﻨﺴﻜﻰ‪/‬ﻟﻬﺴﺘﺎﻥ‬

‫‪26‬‬
 ‫ﻋﻠﻰ ﺷﻮﺭ‪/‬ﺗﺮﻛﻴﻪ‬
‫‪Ali Sur/Turkey‬‬

‫‪27‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪Yuriy Kosobukin/Ukraine‬‬ ‫ﻳﻮﺭﻯ ﻛﻮﺯﻭﺑﻮﻛﻴﻦ‪/‬ﺍﻛﺮﺍﻳﻦ‬
‫‪Nik Mohammad Wafdi /Malayasia‬‬ ‫ﻧﻴﻚ ﻣﺤﻤﺪ ﻭﺍﻓﺪﻯ‪/‬ﻣﺎﻟﺰﻯ‬

‫‪28‬‬
‫‪29‬‬
‫‪mohammad ali khalaji/Iran‬‬ ‫ﻣﺤﻤﺪ ﻋﻠﻰ ﺧﻠﺠﻰ‪/‬ﺍﻳﺮﺍﻥ‬ ‫‪Morhaf Yossef/Syria‬‬ ‫ﻣﻮﺭﻫﺎﻑ ﻳﻮﺳﻒ‪/‬ﺳﻮﺭﻳﻪ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪Marcio Leite/Brazil‬‬ ‫ﻣﺎﺭﺳﻴﻮ ﻟﻴﺘﻪ‪/‬ﺑﺮﺯﻳﻞ‬

‫‪30‬‬
 ‫‪Lex/Brazil‬‬ ‫ﻟﻜﺲ‪/‬ﺑﺮﺯﻳﻞ‬
‫ﺲ‬
‫ﻟﻜﺲ‬
‫ﻛﺎ ﻮ‬
‫ﺳﻮ‪/‬ﺑﺮﺯﻳﻞ‬
‫ﺳﻮ‬
‫‪Casso/Brazil‬‬

‫‪31‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪Waldez/ Brazil‬‬ ‫ﻭﺍﻟﺪﺯ‪/‬ﺑﺮﺯﻳﻞ‬ ‫‪vivek thakkar/Indonesia‬‬ ‫ﻭﻳﻮﻙ ﺗﺎﻛﺎﺭ‪/‬ﺍﻧﺪﻭﻧﺰﻯ‬

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‫‪33‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪hicabi Demirci//Turkey‬‬ ‫ﻫﻴﻜﺎﺑﻰ ﺩﻣﻴﺮﭼﻰ‪/‬ﺗﺮﻛﻴﻪ‬
 ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫‪eyran caferli/Azerbaijan‬‬ ‫ﺳﻴﺮﺍﻥ ﺟﻔﺮﻟﻰ‪/‬ﺁﺫﺭﺑﺎﻳﺠﺎﻥ‬

‫‪34‬‬
‫‪35‬‬
‫‪saeideh asgary /Iran‬‬ ‫ﺳﻌﻴﺪﻩ ﻋﺴﮕﺮﻯ‪/‬ﺍﻳﺮﺍﻥ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

‫"ﺁﺭﻧﻬﺎﻳﻢ" ﻳﻜﻰ ﺍﺯ ﺑﺮﺟﺴــﺘﻪ ﺗﺮﻳﻦ ﻣﻨﺘﻘﺪﺍﻥ ﺳﻴﻨﻤﺎﺳــﺖ‪ .‬ﺳــﺎﻝ ﻫﺎ‬
‫ﭘﻴﺶ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﺗﻜﻨﻮﻟﻮژﻯ ﺳﻴﻨﻤﺎ ﺗﻮﺍﻧﺴﺖ ﻋﻨﺼﺮ ﺭﻧﮓ ﺭﺍ ﺑﻪ ﺣﻠﻘﻪ‬
‫ﻫﺎﻯ ﻓﻴﻠﻢ ﻭﺍﺭﺩ ﻛﻨﺪ‪ ،‬ﺍﻭ ﮔﻔﺖ‪» :‬ﺭﻧﮓ ﺩﺭ ﺳــﻴﻨﻤﺎ‪ ،‬ﺳﻴﻨﻤﺎ ﺭﺍ ﺍﺯ ﺍﺭﺯﺵ‬
‫ﻫﺎﻯ ﻫﻨﺮﻯ ﺍﺵ ﺩﻭﺭ ﺳﺎﺧﺖ‪ «.‬ﺍﻳﻦ ﺩﺍﻭﺭﻯ ﺩﺭﺑﺎﺭﻩ ﻫﻨﺮ ﺳﻴﻨﻤﺎ ﺷﺎﻳﺪ‬
‫ﻛﻤــﻰ ﻣﺒﺎﻟﻐﻪ ﺁﻣﻴﺰ ﺑﻪ ﻧﻈﺮ ﺑﻴﺎﻳﺪ‪ ،‬ﺍﻣﺎ ﻫﻤﻴﻦ ﻣﻌﻨﺎ ﺷــﺎﻳﺪ ﺑﻪ ﮔﻮﻧﻪ ﺍﻯ‬
‫ﺩﺭ ﻋﺮﺻــﻪ ﻫﻨﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ – ﺍﻟﺒﺘﻪ ﺑﺎ ﻛﻤﻰ ﺍﺻﻼﺡ – ﻣﻨﻄﻘﻰ ﺟﻠﻮﻩ‬
‫ﻛﻨﺪ‪.‬‬
‫ﺑﻪ ﻧﻈﺮ ﻣﻰ ﺭﺳﺪ ﺩﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻣﻌﺎﺻﺮ ﺑﻪ ﻭﻳﮋﻩ ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﺁﺛﺎﺭﻯ ﻛﻪ‬
‫ﺑﻪ ﺁﻥ ﻫﺎ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎﻯ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﺍﻃﻼﻕ ﻣﻰ ﺷﻮﺩ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻯ‬
‫ﻋﻨﺼﺮ ﺭﻧﮓ ﺑﺴــﻴﺎﺭ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻳﻨﻜﻪ‬
‫ﺁﻳﺎ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﻓﺮﺍﻁ ﺁﻣﻴﺰ ﺍﺯ ﺭﻧــﮓ ﺩﺭ ﺁﺛﺎﺭ ﺑﻪ ﭼﻪ ﻣﻴﺰﺍﻥ ﺑﺎ‬
‫ﺫﺍﺕ ﻫﻨﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻳﺎ ﺩﺭﻭﻥ ﻣﺎﻳﻪ ﺁﺛﺎﺭ ﺍﺭﺍﺋﻪ ﺷــﺪﻩ ﻫﻤﺎﻫﻨﮓ ﺍﺳﺖ‪،‬‬
‫ﻣﻄﻠﺒﻰ ﺍﺳــﺖ ﻛﻪ ﺑﺎﻳﺪ ﺑﻪ ﺻﻮﺭﺕ ﻣﻔﺼﻞ ﻭ ﺍﻟﺒﺘﻪ ﻛﺎﺭﺷﻨﺎﺳﺎﻧﻪ ﻣﻮﺭﺩ‬
‫ﻧﻘﺪ ﻭ ﺑﺮﺭﺳــﻰ ﻗﺮﺍﺭ ﮔﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﻋﻨــﻮﺍﻥ ﻣﺪﺧﻠﻰ ﺑﺮﺍﻯ ﺑﺤﺚ ﻫﺎﻯ‬
‫ﺁﻳﻨﺪﻩ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎﻯ ﺳــﺎﺋﻮﻝ ﺍﺳﺘﺎﻳﻦ ﺑﺮگ ﻭ ﺩﻛﻠﻮﺯﻭ ﺭﺍ‬
‫ﭘﻴﺶ ﺭﻭﻯ ﺷــﻤﺎ ﻗﺮﺍﺭ ﻣﻰ ﺩﻫﻴﻢ ﺗﺎ ﺑﺎ ﻣﻘﺎﻳﺴﻪ ﺍﻳﻦ ﺁﺛﺎﺭ ﻛﻪ ﻣﺘﻌﻠﻖ ﺑﻪ‬
‫ﺩﻫﻪ ﻫﺎﻯ ‪ 60‬ﻭ ‪ 70‬ﺍﺳــﺖ‪ ،‬ﺑﺎ ﺁﺛﺎﺭﻯ ﻛﻪ ﺍﻣﺮﻭﺯﻩ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎ ﺑﻪ‬
‫ﻧﻤﺎﻳﺶ ﺩﺭ ﻣﻰ ﺁﻳﺪ‪ ،‬ﺧﻮﺩ ﺑﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﺍﺳﺎﺳﻰ ﭘﺎﺳﺦ ﮔﻮﺋﻴﺪ ﻛﻪ ﺁﻳﺎ‬
‫ﺭﻧﮓ ﻫﻤﺎﻧﻨﺪ ﺁﻧﭽﻪ ﻛﻪ ﺍﻣﺮﻭﺯ ﺭﺍﻳﺞ ﺍﺳﺖ ﻣﻰ ﺗﻮﺍﻧﺪ ﺍﺭﺯﺵ ﻫﺎﻯ ﻳﻚ‬
‫ﺍﺛﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ ﺭﺍ ﺍﺭﺗﻘﺎ ﺑﺨﺸﺪ؟!‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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‫‪37‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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‫‪39‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

‫ﺩﺳﺖ ﺁﻣﺪﻩ ﺍﺯ ﻳﻚ ﻣﻮﻗﻌﻴﺖ ﺳﻴﺎﺳﻰ‪ ،‬ﻣﻰ ﺗﻮﺍﻧﺪ ﻣﺎ‬
‫ﺭﺍ ﺑﻪ ﻳﻚ ﻓﻀﺎﻯ ﻧﺴــﺒﻰ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻛﻨﺪ‪ .‬ﻣﻄﺎﻟﻌﻪ‬
‫ﺍﻳﻦ ﻓﻀﺎ ﻣﻰ ﺗﻮﺍﻧﺪ ﻣﺎ ﺭﺍ ﺑﻪ ﻳﻚ ﺷــﻨﺎﺧﺖ ﻧﺴﺒﻰ‬
‫ﻓﻀـﺎﻯ ﺳﻴﺎﺳـﻰ ﻛﺸـﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﺍﺷـﺎﺭﻩ‬
‫ﻫﻢ ﻧﺰﺩﻳﻚ ﺳﺎﺯﺩ‪.‬‬
‫ﺩﺍﺭﺩ ﻭ ﺍﻳﻦ ﻛﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺭ ﭼﻨﻴﻦ ﺷـﺮﺍﻳﻄﻰ‬
‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﺎﻫﻤﮕﻮﻥ ﺑﻮﺩﻥ ﺑﺎﻓﺖ ﭼﮕﻮﻧﻪ‬
‫ﻣﻰ ﺗﻮﺍﻥ ﺑﻪ ﻳﻚ ﻧﻈﺮ ﻛﻠﻰ ﻧﺰﺩﻳﻚ ﺷﺪ‪.‬‬
‫ﺍﻟﺒﺘــﻪ ﺑﺮﺍﻯ ﺳــﻬﻮﻟﺖ ﻣﻄﺎﻟﻌﻪ ﺷــﻤﺎ ﻣــﻰ ﺗﻮﺍﻧﻴﺪ‬
‫ﺣــﻮﺯﻩ ﺍﻯ ﻫــﻢ ﻋﻤﻞ ﻛﻨﻴــﺪ‪ ،‬ﻣﺜﻼ ﻛﺸــﻮﺭﻫﺎﻯ‬
‫ﺣﻮﺯﻩ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﺗﻘﺮﻳﺒﺎ ﺑﺎﻓﺖ ﻣﺸــﺎﺑﻬﻰ ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺣﻮﺯﻩ ﻛﺸــﻮﺭﻫﺎﻯ ﺷــﻤﺎﻝ ﺁﻓﺮﻳﻘﺎ‪ ،‬ﺑﺎﺯ ﻳﻚ ﺣﻮﺯﻩ‬
‫ﻣﺴﺘﻘﻞ ﺩﻳﮕﺮ ﺍﺳﺖ‪ .‬ﻳﺎ ﺣﺘﻰ ﺣﻮﺯﻩ ﺳﻮﻡ ﻛﻪ ﺣﻮﺯﻩ‬
‫ﻛﺸــﻮﺭﻫﺎﻯ ﻫﻤﺠﻮﺍﺭ ﺑﺎ ﺭژﻳﻢ ﺻﻬﻴﻮﻧﻴﺴﺘﻰ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﻭﺍﻗﻌﺎ ﺣﻮﺯﻩ ﻣﺴﺘﻘﻠﻰ ﺭﺍ ﺑﺮﺍﻯ ﺧﻮﺩ ﺑﻪ‬
‫ﻭﺟﻮﺩ ﺁﻭﺭﺩﻩ ﺍﻧﺪ‪.‬‬
‫ﺍﮔﺮ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺣﻮﺯﻩ ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﻭ ﺣﻮﺯﻩ‬
‫ﻛﺸﻮﺭﻫﺎﻯ ﻫﻤﺠﻮﺍﺭ ﺑﺎ ﺭژﻳﻢ ﺻﻬﻴﻮﻧﻴﺴﺘﻰ‬
‫ﺭﺍ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﺪ‪ ،‬ﺑﻪ ﺗﻔﺎﻭﺕ ﻫﺎﻯ ﻓﺎﺣﺸﻰ‬
‫ﺩﺭ ﺷـﻜﻞ ﻭ ﻣﻔﻬـﻮﻡ ﻣﻰ ﺭﺳـﻴﺪ‪ ،‬ﺟﺎﻣﻌﻪ‬
‫ﺁﺳـﻮﺩﻩ ﻭ ﺭﻓـﺎﻩ ﺯﺩﻩ ﺧﻠﻴﺞ ﻓـﺎﺭﺱ ﻛﺠﺎ‬
‫ﻭ ﺟﺎﻣﻌـﻪ ﺗﺤﺖ ﺍﺷـﻐﺎﻝ ﻭ ﻓﺸـﺎﺭ ﺣﻮﺯﻩ‬
‫ﻫﻤﺠﻮﺍﺭ ﺑﺎ ﺭژﻳﻢ ﺻﻬﻴﻮﻧﻴﺴﺘﻰ ﻛﺠﺎ؟‬
‫ﺑﺮ ﻫﻤﻴﻦ ﻣﻘﻴﺎﺱ‪ ،‬ﻣﻰ ﺗﻮﺍﻥ ﺣﻮﺯﻩ ﺩﻳﮕﺮﻯ‬
‫ﺭﺍ ﻧﻴﺰ ﺑﺮ ﺍﻳﻦ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻯ ﺍﻓﺰﻭﺩ؟‬
‫ﺷﺎﻳﺪ ﺑﺸــﻮﺩ‪ .‬ﻣﺜﻼ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖ ﻫﺎﻯ ﻋﺮﺏ‬
‫ﻣﻬﺎﺟــﺮ ﻛﻪ ﻋﻤﺪﺗــﺎ ﺩﺭ ﺍﺭﻭﭘﺎ ﺯﻧﺪﮔــﻰ ﻣﻰ ﻛﻨﻨﺪ‪،‬‬
‫ﻣﻰ ﺗﻮﺍﻧﻨﺪ ﺑﺮﺍﻯ ﺧﻮﺩ ﻳﻚ ﺣﻮﺯﻩ ﻣﺴــﺘﻘﻞ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷــﻨﺪ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭﺳﺖ ﻫﺎﻯ ﻣﻬﺎﺟﺮ ﻋﺮﺏ ﺩﺍﺭﺍﻯ‬
‫ﻭﻳﮋﮔﻰ ﻫﺎﻳﻰ ﺍﻧﺪ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﺍﻳﺠﺎﺩ ﺗﻔﺎﻭﺕ ﻫﺎﻯ‬
‫ﺧﺎﺻﻰ ﻫﻢ ﺩﺭ ﺳــﺒﻚ ﻭ ﻫﻢ ﺩﺭ ﻣﻔﺎﻫﻴﻢ ﺁﺛﺎﺭﺷﺎﻥ‬
‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﺷﺎﺭﻩ‪:‬‬
‫ﻣﻄﻠـﺐ ﺣﺎﺿﺮ ﺗﺮﺟﻤـﻪ ﻣﺼﺎﺣﺒـﻪ ﻣﻄﺒﻮﻋﺎﺗﻰ‬
‫ﺳﻌﻴﺪ ﻏﺎﻧﻢ ﺍﺳـﺖ ﻛﻪ ﺩﺭ ﺳﻪ ﻗﺴﻤﺖ ﺗﻘﺪﻳﻢ‬
‫ﺧﻮﺍﻧﻨـﺪﮔﺎﻥ ﻣـﻰ ﺷـﻮﺩ‪ .‬ﺑﺨﺶ ﻧﺨﺴـﺖ ﺑﻪ‬
‫ﭼﮕﻮﻧﻪ ﺗﻮﺍﻧﺴﺘﻪ ﺍﺳـﺖ ﺑﻪ ﺭﺷﺪ ﺧﻮﺩ ﻛﻤﺎﻛﺎﻥ‬
‫ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﺑﺨﺶ ﺩﻭﻡ ﺑﻪ ﺭﺍﻩ ﻛﺎﺭﻫﺎﻯ ﺗﻮﺳﻌﻪ‬
‫ﻛﺎﺭﻳﻜﺎﺗـﻮﺭ ﺩﺭ ﺟﻬـﺎﻥ ﻋـﺮﺏ ﺑﺮ ﻣـﻰ ﮔﺮﺩﺩ ﻭ‬
‫ﺑﺨـﺶ ﭘﺎﻳﺎﻧـﻰ ﺁﻥ ﻣﻄﺎﻟﻌﻪ ﻧﺎﻫﻨﺠـﺎﺭﻯ ﻫﺎﻯ‬
‫ﻣﻮﺟﻮﺩ ﺩﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻋﺮﺑﻰ ﺍﺳﺖ‪.‬‬
‫ﺩﺭ ﺍﻳـﻦ ﺷـﻤﺎﺭﻩ ﻧﺨﺴـﺘﻴﻦ ﺑﺨـﺶ ﺍﻳـﻦ‬
‫ﻣﺼﺎﺣﺒﻪ ﺭﺍ ﻛﻪ »ﻣﺴـﺎﺋﻞ ﺳﻴﺎﺳﻰ« ﻣﻬﻢ ﺗﺮﻳﻦ‬
‫ﻣﻮﺿﻮﻋﺎﺕ ﺁﻥ ﺍﺳﺖ‪ ،‬ﻣﻰ ﺧﻮﺍﻧﻴﻢ‪.‬‬
‫ﺩﺭ ﻣـﻮﺭﺩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻋﺮﺑﻰ‪ ،‬ﻣـﻰ ﺗﻮﺍﻧﻴﻢ‬
‫ﻳﻚ ﺗﺼﻮﺭ ﻛﻠﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ؟‬
‫ﻧﻪ‪ ،‬ﻧﻤﻰ ﺗﻮﺍﻥ! ﻛﺸــﻮﺭﻫﺎﻯ ﻋﺮﺑــﻰ ﺩﺍﺭﺍﻯ ﺑﺎﻓﺘﻰ‬
‫ﻧﺎﻫﻤﮕﻮﻥ ﺍﻧﺪ‪ .‬ﺣﺘﻰ ﻓﻀﺎﻯ ﺳﻴﺎﺳــﻰ ﺁﻥ ﻫﺎ ﻧﻴﺰ ﺑﺎ‬
‫ﻳﻜﺪﻳﮕﺮ ﺗﻔﺎﻭﺕ ﻫﺎﻯ ﺟﺪﻯ ﺩﺍﺭﺩ‪ .‬ﺍﻟﺒﺘﻪ ﺍﺯ ﻳﻚ ﻧﻈﺮ‬
‫ﺗﻤﺎﻣﻰ ﺁﻥ ﻫﺎ ﺩﺭ »ﺟﻬﺎﻥ ﺳﻮﻣﻰ ﺑﻮﺩﻥ« ﻣﺸﺘﺮﻙ‬
‫ﺍﻧﺪ ﻭ ﺷــﺎﻳﺪ ﺍﺯ ﺍﻳﻦ ﻧﮕﺎﻩ ﺑﺘــﻮﺍﻥ ﻳﻚ ﺻﻔﺖ ﻛﻠﻰ‬
‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺸﻮﺭﻫﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪.‬‬
‫ﻣﻨﻈﻮﺭ ﺍﺯ ﺑﺎﻓﺖ ﻧﺎﻫﻤﮕﻮﻥ ﭼﻴﺴﺖ؟‬
‫ﻧﺰﺩﻳﻚ ﺑﻪ ‪ 30‬ﻛﺸــﻮﺭ ﻋﺮﺑﻰ‪ ،‬ﺑﺨــﺶ ﺑﺰﺭﮔﻰ ﺍﺯ‬
‫ﺧﺎﻭﺭﻣﻴﺎﻧــﻪ ﺭﺍ ﭘﻮﺷــﺶ ﺩﺍﺩﻩ ﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻛﺸــﻮﺭﻫﺎ‬
‫ﺻﺮﻑ ﻧﻈــﺮ ﺍﺯ ﺟﻤﻌﻴﺖ ﺍﻧﺪﻙ ﺧﻮﺩ‪ ،‬ﻣﺤﺪﻭﺩﻩ ﺍﻯ‬
‫ﻓﺮﺍﺗــﺮ ﺍﺯ ‪ 1/4‬ﻛــﺮﻩ ﺯﻣﻴﻦ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴــﺎﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ‬
‫ﺗﻮﺟﻪ ﺑﻪ ﺍﺧﺘﻼﻓﺎﺕ ﻓﺎﺣﺶ ﺍﻳﻦ ﻛﺸــﻮﺭﻫﺎ ﺍﺯ ﻧﻈﺮ‬
‫ﺭژﻳﻢ ﺳﻴﺎﺳﻰ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭﺁﻣﺪ ﺳﺮﺍﻧﻪ‪ ،‬ﻣﻰ ﺗﻮﺍﻥ‬
‫ﺑﺮﺍﻯ ﻫﺮ ﻳــﻚ ﺍﺯ ﺁﻥ ﻫﺎ ﺑﺎﻓﺖ ﺧﺎﺻﻰ ﺭﺍ ﺩﺭ ﻧﻈﺮ‬
‫ﮔﺮﻓﺖ‪ .‬ﻣﺠﻤﻮﻋــﻪ ﺭﻓﺎﻩ ﺍﻗﺘﺼﺎﺩﻯ ﻭ ﺷــﺮﺍﻳﻂ ﺑﻪ‬
‫ﺣﻴﻪ‬
‫ﻓﻼ‬
‫ﻌﺒﻰ‬
‫ﺪﻛ‬
‫ﺍﺣﻤ‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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 ‫ﺍﺳــﺖ‪ .‬ﺟﺎﻟﺐ ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﺍﻳﻦ ﺗﺎﺛﻴﺮ ﻳﻚ ﺟﺎﻧﺒﻪ‬
‫ﻫﻢ ﻧﺒﻮﺩﻩ ﺍﺳﺖ‪ .‬ﻓﺮﻫﻨﮓ ﻋﺮﺑﻰ ﻛﺸﻮﺭﻫﺎﻯ ﺷﻤﺎﻝ‬
‫ﺁﻓﺮﻳﻘﺎ ﻧﻴﺰ ﺑﺮ ﺍﺭﻭﭘﺎ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺭﺩﻩ ﺍﺳــﺖ‪ .‬ﺍﺳــﭙﺎﻧﻴﺎ‬
‫ﺭﺍ ﻣﻼﺣﻈﻪ ﻛﻨﻴﺪ‪ ،‬ﻧﺼــﻒ ﻭﺍژﻩ ﻫﺎ ﻭ ﺍﺻﻄﻼﺣﺎﺕ‬
‫ﺯﺑﺎﻧﺸﺎﻥ ﻋﺮﺑﻰ ﺍﺳﺖ‪.‬‬
‫ﻭﺿﻌﻴـﺖ ﻛﺎﺭﻳﻜﺎﺗـﻮﺭ ﺩﺭ ﺣـﻮﺯﻩ ﺷـﻤﺎﻝ‬
‫ﺁﻓﺮﻳﻘﺎ ﭼﮕﻮﻧﻪ ﺍﺳﺖ؟‬
‫ﺍﺯ ﻳﻚ ﻧﻈﺮ ﺟﻬﺎﻥ ﺳــﻮﻣﻰ ﺍﺳﺖ‪ ،‬ﻭ ﺍﺯ ﻧﻈﺮ ﺩﻳﮕﺮ‬
‫ﺑﻬــﺮﻩ ﮔﺮﻓﺘﻪ ﺍﺯ ﺗﻔﻜــﺮ ﺍﺭﻭﭘﺎﻳﻰ‪ .‬ﺍﻳــﻦ ﺩﻭ ﻋﺎﻣﻞ‬
‫ﻣﻤﻜــﻦ ﺍﺳــﺖ ﻣﺘﻀﺎﺩ ﺑــﻪ ﻧﻈﺮ ﺑﺮﺳــﺪ‪ ،‬ﻭﻟﻰ ﺩﺭ‬
‫ﻣﺠﻤﻮﻉ ﻣﻌﺠﻮﻧﻰ ﺭﺍ ﺳــﺎﺧﺘﻪ ﺍﻧﺪ ﻛــﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﺍﻳﻦ ﺣــﻮﺯﻩ ﺭﺍ ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺣﻮﺯﻩ ﻫﺎﻯ ﺩﻳﮕﺮ‬
‫ﻣﻰ ﺳﺎﺯﺩ‪.‬‬
‫ﻣـﻰ ﺗﻮﺍﻥ ﺑـﺎ ﻣﺜـﺎﻝ ﻫﺎﻳﻰ ﺍﻳـﻦ ﺟﻨﺒﻪ ﺍﺯ‬
‫ﻗﻀﻴﻪ ﺭﺍ ﻫﻢ ﺭﻭﺷﻦ ﻛﻨﻴﺪ؟‬
‫ﺷــﺎﻳﺪ ﻣﺜﺎﻝ ﻫﺎﻯ ﻣﻄﺮﺡ ﺷﺪﻩ ﻧﺘﻮﺍﻧﺪ ﺁﻥ ﻃﻮﺭ ﻛﻪ‬
‫ﺩﺭ ﻧﻈﺮ ﺩﺍﺭﻡ ﺑﻪ ﺭﻭﺷﻨﮕﺮﻯ ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﻛﻤﻚ ﻛﻨﺪ‪.‬‬
‫ﭼﻮﻥ ﻣﺜﺎﻝ ﻫﺎ‪ ،‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﺧﻮﺩﺗﺎﻥ ﻣﻰ ﺩﺍﻧﻴﺪ‪،‬‬
‫ﮔﻮﺷــﻪ ﺍﻯ ﺍﺯ ﻳﻚ ﭘﺪﻳﺪﻩ ﺍﻧﺪ ﻛﻪ ﻫﻴﭽﮕﺎﻩ ﻛﻠﻴﺖ‬
‫ﺁﻥ ﺭﺍ ﺁﺷﻜﺎﺭ ﻧﻤﻰ ﺳــﺎﺯﻧﺪ ﺑﺎ ﺍﻳﻦ ﺣﺎﻝ‪ ،‬ﻣﻰ ﺗﻮﺍﻥ‬
‫ﺍﺯ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﻫﺎﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺮﭘﺎ ﺷــﺪﻩ ﺩﺭ ﺍﻳﻦ‬
‫ﻛﺸــﻮﺭﻫﺎ ﻣﺜــﺎﻝ ﻫﺎﻳﻰ ﺁﻭﺭﺩ‪ .‬ﺑــﺮﺍﻯ ﺩﺭﻙ ﭼﻨﻴﻦ‬
‫ﺟﻠﻮﻩ ﻫﺎﻳﻰ ﺑﺎﻳﺪ ﺍﻳﻦ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﻫﺎ ﺭﺍ ﺍﺯ ﻧﺰﺩﻳﻚ‬
‫ﺩﻳﺪ ﻭ ﺑــﻪ ﻧﻘﺪ ﻭ ﺍﺭﺯﻳﺎﺑﻰ ﺁﻥ ﻫﺎ ﻧﺸﺴــﺖ‪ .‬ﮔﺎﻫﻰ‬
‫ﻳﻚ ﺭژﻳﻢ ﺳﻴﺎﺳﻰ ﺧﺎﺹ ﻣﻤﻜﻦ ﺍﺳﺖ ﻫﻤﻪ ﭼﻴﺰ‬
‫ﺭﺍ ﻋــﻮﺽ ﻛﻨﺪ ﻭ ﺑﻪ ﻫﻢ ﺑﺮﻳــﺰﺩ‪ ،‬ﻭﻟﻰ ﺑﺎﺯ ﻋﻮﺍﻣﻞ‬
‫ﭘﻴﺸــﺮﻓﺖ ﺩﻫﻨــﺪﻩ ﺍﻯ ﻭﺟﻮﺩ ﺩﺍﺭﻧــﺪ ﻛﻪ ﺗﻨﺪﻳﺲ‬
‫ﻫﻨــﺮ ﺭﺍ ﻫﻤﭽﻨﺎﻥ ﭘﺎﺑﺮﺟﺎ ﻧﮕﺎﻩ ﺩﺍﺭﻧــﺪ‪ .‬ﻧﮕﺎﻫﻰ ﺑﻪ‬
‫ﺁﺛــﺎﺭ ﻣﺤﻤﺪ ﺍﻟﺰﻭﺍﻭﻯ ﺍﺯ ﻟﻴﺒﻰ ﻓﻜﺮ ﻣﻰ ﻛﻨﻢ ﺗﺎ ﺣﺪ‬
‫ﺯﻳﺎﺩﻯ ﺭﻭﺷﻨﮕﺮ ﺍﻳﻦ ﮔﻮﻧﻪ ﺍﺯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﺳﺖ‪.‬‬
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‫ﻋﺮﺑﻰ ﺍﺷﺎﺭﻩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪.‬‬
‫ﺩﺭ ﻣـﻮﺭﺩ ﻛﺸـﻮﺭﻫﺎﻯ ﺍﻳـﻦ ﺣـﻮﺯﻩ ﭼـﻪ‬
‫ﭼﻴﺰﻫﺎﻯ ﺩﻳﮕﺮﻯ ﻗﺎﺑﻞ ﮔﻔﺘﻦ ﺍﺳﺖ؟‬
‫ﺩﺭ ﭼﻨﻴﻦ ﺷﺮﺍﻳﻄﻰ‪ ،‬ﻣﺴﺎﺋﻞ ﭘﻴﺶ ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﺍﺯ ﺫﻫﻦ‬
‫ﻭ ﺯﺑﺎﻥ ﻣﻰ ﺍﻓﺘﺪ ﻭ ﻣﻔﺎﻫﻴﻢ ﻣﺘﻌﺎﻟﻰ ﻭ ﺷﻜﻮﻫﻤﻨﺪﻯ‬
‫ﭼﻮﻥ ﺍﻳﺜﺎﺭ ﻭ ﺷــﻬﺎﺩﺕ ﺭﺍﻳﺞ ﻣﻰ ﺷﻮﺩ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺑﻪ ﺷــﻌﺮ ﺗﺒﺪﻳﻞ ﻣﻰ ﺷــﻮﺩ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻧﺎﺟﻰ ﺍﻟﻌﻠﻰ ﻧﻤﻮﻧﻪ ﺧﻮﺑﻰ ﺑﺮﺍﻯ ﺍﻳﻦ ﺍﺩﻋﺎ ﺍﺳﺖ‪ .‬ﺩﺭ‬
‫ﻃﺮﺡ ﻫﺎﻯ ﻧﺎﺟﻰ ﺍﻟﻌﻠﻰ‪ ،‬ﺑﻴﺮﻭﺕ ﺗﺒﺪﻳﻞ ﺑﻪ ﻳﻚ ﺯﻥ‬
‫ﻭ ﻳﻚ ﺍﻟﻬﻪ ﻣﻰ ﺷــﻮﺩ ﻛﻪ ﻣﺮﺩﻡ ﻫﺮ ﺭﻭﺯ ﺻﺒﺢ ﻣﻰ‬
‫ﺁﻳﻨﺪ ﻭ ﺷﺎﺧﻪ ﺍﻯ ﮔﻞ ﺭﺍ ﺑﻪ ﺍﻭ ﺗﻘﺪﻳﻢ ﻣﻰ ﻛﻨﻨﺪ‪.‬‬
‫ﺁﻳﺎ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﻪ ﺷﻜﻞ ﻭ ﺷﻤﺎﻳﻞ ﻃﺒﻴﻌﻰ‬
‫ﺧﻮﺩ ﻧﺰﺩﻳﻚ ﺷﺪﻩ ﺍﺳﺖ؟‬
‫ﺑﺒﻴﻨﻴــﺪ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻋﺮﺑﻰ ﺍﺯ ﻳﻚ ﻧﻈﺮ ﻣﺸــﺘﺮﻙ‬
‫ﺍﺳﺖ ﻭ ﺁﻥ ﺟﻬﺎﻥ ﺳــﻮﻣﻰ ﺑﻮﺩﻥ ﺁﻥ ﺍﺳﺖ‪ .‬ﺷﺎﻳﺪ‬
‫ﺩﺭ ﺍﻳﻨﺠﺎ ﺍﺭﺍﺋﻪ ﺗﻌﺮﻳــﻒ ﻛﻮﺗﺎﻫﻰ ﺍﺯ ﻣﻔﻬﻮﻡ ﺟﻬﺎﻥ‬
‫ﺳــﻮﻡ ﺿﺮﻭﺭﻯ ﺑــﻪ ﻧﻈﺮ ﺁﻳﺪ‪ .‬ﺟﻬﺎﻥ ﺳــﻮﻡ ﻳﻌﻨﻰ‬
‫ﻛﺸﻮﺭﻫﺎﻯ ﺗﻮﺳــﻌﻪ ﻧﻴﺎﻓﺘﻪ‪ ،‬ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﻋﻠﻞ ﻭ‬
‫ﺩﻻﻳﻞ ﺁﻥ!‬
‫ﺍﺟﺎﺯﻩ ﺑﺪﻫﻴﺪ ﻧﮕﺎﻫﻰ ﻫﻢ ﺑﻪ ﺣﻮﺯﻩ ﺷـﻤﺎﻝ‬
‫ﺁﻓﺮﻳﻘﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪.‬‬
‫ﺑﻠﻪ‪ ،‬ﻛﺸــﻮﺭﻫﺎﻯ ﺣﻮﺯﻩ ﺷــﻤﺎﻝ ﺁﻓﺮﻳﻘــﺎ ﺑﻪ ﻋﻠﺖ‬
‫ﻫﻤﺠﻮﺍﺭﻯ ﺑﺎ ﺍﺭﻭﭘــﺎ ﺩﺍﺭﺍﻯ ﺑﺎﻓﺘﻰ ﻛﺎﻣﻼ ﻣﺘﻔﺎﻭﺕ‬
‫ﺑﺎ ﺩﻭ ﺣﻮﺯﻩ ﺩﻳﮕﺮﻧــﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﻣﻰ ﺩﺍﻧﻴﺪ ﻧﻮﺍﺭ‬
‫ﺷــﻤﺎﻝ ﺁﻓﺮﻳﻘﺎ ﻋﻤﺪﺗﺎ ﺷﺎﻣﻞ ﻛﺸــﻮﺭﻫﺎﻯ ﻣﺼﺮ‪،‬‬
‫ﻟﻴﺒﻰ‪ ،‬ﺍﻟﺠﺰﺍﻳﺮ‪ ،‬ﺗﻮﻧﺲ‪ ،‬ﻣﻐﺮﺏ ﻭ ﻣﺮﺍﻛﺶ ﺍﺳﺖ ﻛﻪ‬
‫ﺩﻗﻴﻘﺎ ﺭﻭﺑﺮﻭﻯ ﻛﺸــﻮﺭﻫﺎﻳﻰ ﭼﻮﻥ ﺍﻳﺘﺎﻟﻴﺎ‪ ،‬ﺍﺳــﭙﺎﻧﻴﺎ‬
‫ﻭ ﭘﺮﺗﻐﺎﻝ ﻗﺮﺍﺭ ﺩﺍﺭﻧﺪ‪ .‬ﺭﻭﺍﺝ ﻛﺸــﺘﻴﺮﺍﻧﻰ‪ ،‬ﺍﺳــﺘﻌﻤﺎﺭ‬
‫ﺩﺭﺍﺯﻣﺪﺕ ﻭ ﺩﺍﺩ ﻭ ﺳــﺘﺪ ﺑﺎ ﻛﺸــﻮﺭﻫﺎﻯ ﻳﺎﺩ ﺷﺪﻩ‬
‫ﺑﺮ ﻛﺸــﻮﺭﻫﺎﻯ ﻋﺮﺑﻰ ﺍﻳﻦ ﻣﻨﻄﻘﻪ ﺗﺎﺛﻴﺮ ﮔﺬﺍﺷــﺘﻪ‬
‫ﺍﻇﻬــﺎﺭﺍﺕ ﺑﻨــﺪﻩ ﺭﺍ ﻧﻘــﺾ ﻧﻤﻰ ﻛﻨــﺪ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ‬ ‫ﺑــﻪ ﻃﻮﺭ ﻣﺜﺎﻝ‪ ،‬ﺳــﺒﻚ ﺍﻳﻦ ﻫﻨﺮﻣﻨــﺪﺍﻥ ﻣﺘﺎﺛﺮ ﺍﺯ‬
‫ﺭﺍﺳــﺘﺎﻯ ﺗﺎﻳﻴﺪ ﺁﻥ ﺍﺳــﺖ‪ .‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﺍﺳﺖ ﻛﻪ‬ ‫ﺳﺒﻚ ﻫﺎﻯ ﺭﺍﻳﺞ ﺩﺭ ﻏﺮﺏ ﺍﺳﺖ‪ .‬ﺍﻟﺒﺘﻪ ﺍﻳﻦ ﺭﺍ ﻧﻴﺰ‬
‫ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖ ﻫﺎﻯ ﻋﺮﺍﻕ ﻫﻢ ﺍﻛﻨﻮﻥ‬ ‫ﺑﻴﻔﺰﺍﻳــﻢ ﻛﻪ ﺍﻳﻦ ﺗﺎﺛﻴﺮﭘﺬﻳــﺮﻯ ﻃﺒﻴﻌﻰ ﻭ ﺍﺟﺘﻨﺎﺏ‬
‫ﺩﺭ ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﻦ ﻛﺸﻮﺭ ﻭ ﺩﺭ ﻭﺿﻌﻴﺖ ﭘﻨﺎﻫﻨﺪﮔﻰ ﺑﻪ‬ ‫ﻧﺎﭘﺬﻳﺮ ﺍﺳــﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﻧﻮﻉ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎ‪ ،‬ﻣﻰ ﺗﻮﺍﻥ‬
‫ﺳــﺮ ﻣﻰ ﺑﺮﻧﺪ‪ .‬ﺣﺎﻝ‪ ،‬ﺍﻳﻦ ﻭﺿﻌﻴﺖ ﺭﺍ ﻣﺜﻼ ﺑﺎ ﻟﻴﺒﻰ‬ ‫ﺑﻪ ﻧﻮﻉ ﺧﺎﺻﻰ ﺍﺯ ﻧﻮﺳــﺘﺎﻟﻮژﻯ ﻫﻢ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ‬
‫ﻣﻘﺎﻳﺴــﻪ ﻛﻨﻴﺪ‪ .‬ﻟﻴﺒﻰ ﺩﺍﺭﺍﻯ ﻳﻚ ﻭﺿﻌﻴﺖ ﻧﺴــﺒﺘﺎ‬ ‫ﺍﻏﻠﺐ ﻧﺎﺧﻮﺩﺁﮔﺎﻩ ﺍﺳــﺖ‪ ،‬ﻭﻟــﻰ ﺍﺯ ﺩﻳﺪ ﻳﻚ ﻣﻨﺘﻘﺪ‬
‫ﻣﺘﻌﺎﺩﻝ ﺍﺳﺖ ﻭ ﺑﻬﺘﺮﻳﻦ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻫﺎﻯ ﺁﻥ‬ ‫ﻛﺎﻣﻼ ﻣﺤﺴﻮﺱ ﻣﻰ ﺑﺎﺷﺪ‪.‬‬
‫ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺭ ﺧﻮﺩ ﻟﻴﺒﻰ ﺳــﺮﮔﺮﻡ ﻓﻌﺎﻟﻴﺖ ﺍﻧﺪ‪.‬‬ ‫ﺍﺟـﺎﺯﻩ ﺑﺪﻫﻴﺪ ﺑـﻪ ﻫﻤﺎﻥ ﺗﻘﺴـﻴﻢ ﺑﻨﺪﻯ‬
‫)ﻫﻤﭽﻮﻥ ﻣﺤﻤﺪ ﺍﻟﺰﻭﺍﻭﻯ(‬ ‫ﺍﻭﻟﻴﻪ ﺑﺮﮔﺮﺩﻳﻢ‪ ،‬ﻳﻌﻨﻰ ﺣﻮﺯﻩ ﻛﺸـﻮﺭﻫﺎﻯ‬
‫ﺑﻠﻪ‪ ،‬ﻛﺎﻣﻼ ﺭﻭﺷﻦ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ ﺧﺼﻮﺹ‬ ‫ﺧﻠﻴـﺞ ﻓـﺎﺭﺱ ﻭ ﺣـﻮﺯﻩ ﺷـﻤﺎﻝ ﺁﻓﺮﻳﻘـﺎ‬
‫ﺑﺠﺎﺳـﺖ ﺗﻮﺿﻴﺤﻰ ﻫﻢ ﺩﺭ ﻣـﻮﺭﺩ ﺣﻮﺯﻩ‬ ‫ﻭ ﺣـﻮﺯﻩ ﻛﺸـﻮﺭﻫﺎﻯ ﻫﻤﺠـﻮﺍﺭ ﺑـﺎ ﺭژﻳﻢ‬
‫ﺩﻭﻡ ﻳﻌﻨﻰ ﺣﻮﺯﻩ ﻛﺸـﻮﺭﻫﺎﻯ ﻫﻤﺠﻮﺍﺭ ﺑﺎ‬ ‫ﺻﻬﻴﻮﻧﻴﺴﺘﻰ‪ ،‬ﺍﺯ ﺣﻮﺯﻩ ﻛﺸﻮﺭﻫﺎﻯ ﺧﻠﻴﺞ‬
‫ﺭژﻳﻢ ﺻﻬﻴﻮﻧﻴﺴﺘﻰ ﺑﺪﻫﻴﺪ‪.‬‬ ‫ﻓﺎﺭﺱ ﺷـﺮﻭﻉ ﻣﻰ ﻛﻨﻴﻢ‪ .‬ﺗﺎ ﺁﻧﺠﺎ ﻛﻪ ﻣﻰ‬
‫ﺣﻮﺯﻩ ﻳﺎﺩ ﺷﺪﻩ‪ ،‬ﺣﻮﺯﻩ ﺍﻯ ﺑﺴﻴﺎﺭ ﭘﺮﺗﻨﺶ ﻭ ﺳﺮﺷﺎﺭ‬ ‫ﺩﺍﻧﻢ ﺷـﻤﺎ ﻋﺮﺍﻕ ﺭﺍ ﺍﺯ ﺣﻮﺯﻩ ﻛﺸﻮﺭﻫﺎﻯ‬
‫ﺍﺯ ﺩﺭﮔﻴﺮﻯ ﺍﺳــﺖ‪ .‬ﻫﺮﺍﺱ ﺍﺯ ﻫﻀﻢ ﺷﺪﻥ ﺗﻮﺳﻂ‬ ‫ﺧﻠﻴﺞ ﻓﺎﺭﺱ ﺟﺪﺍ ﻛﺮﺩﻳﺪ؟‬
‫ﻳﻚ ﻧﻴﺮﻭﻯ ﻭﺣﺸــﻰ ﻣﺜﻞ ﺍﺳــﺮﺍﺋﻴﻞ ﻣﻮﺟﺐ ﺷﺪﻩ‬ ‫ﻋﺮﺍﻕ ﺍﺯ ﺳــﻪ ﻧﻈــﺮ ﻗﺎﺑﻠﻴﺖ ﺟﺪﺍﺳــﺎﺯﻯ ﺩﺍﺭﺩ‪(1 :‬‬
‫ﺍﺳﺖ ﺗﺎ ﺑﻴﺶ ﺗﺮ ﻣﻮﺿﻮﻋﺎﺕ ﭘﻴﺮﺍﻣﻮﻥ ﺍﻳﻦ ﻣﺴﺌﻠﻪ‬ ‫ﻓﻘﺪﺍﻥ ﺭﻓﺎﻩ ﺍﻗﺘﺼﺎﺩﻯ ﻛﻪ ﻧﺴــﺒﺖ ﺑﻪ ﻛﺸﻮﺭﻫﺎﻯ‬
‫ﺩﻭﺭ ﺑﺰﻧﺪ‪ .‬ﺍﮔﺮ ﻣﺠﻼﺕ ﻛﺸــﻮﺭﻫﺎﻯ ﺍﻳﻦ ﺣﻮﺯﻩ ﺭﺍ‬ ‫ﻫﻤﺠﻮﺍﺭﺵ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﻧﻴﺴﺖ‪ (2 .‬ﺍﺯ ﻧﻈﺮ ﺭژﻳﻢ‬
‫ﻭﺭﻕ ﺑﺰﻧﻴﺪ‪ ،‬ﻛﺸــﻮﺭﻫﺎﻳﻰ ﻣﺜﻞ ﺳــﻮﺭﻳﻪ‪ ،‬ﻟﺒﻨﺎﻥ ﻭ‬ ‫ﺳﻴﺎﺳــﻰ‪ (3 .‬ﺍﺯ ﺩﻳــﺪﮔﺎﻩ ﺁﮔﺎﻫﻰ ﺳﻴﺎﺳــﻰ ﻛﻪ ﺩﺭ‬
‫ﻓﻠﺴﻄﻴﻦ ﺷﻮﺍﻫﺪ ﺑﺴــﻴﺎﺭﻯ ﺑﺮ ﺍﻳﻦ ﻣﺪﻋﺎ ﺧﻮﺍﻫﻴﺪ‬ ‫ﺍﻳﻨﺠﺎ ﻣﻌﻜﻮﺱ ﺍﺳﺖ‪ .‬ﻳﻌﻨﻰ ﺁﮔﺎﻫﻰ ﺳﻴﺎﺳﻰ ﻣﺮﺩﻡ‬
‫ﻳﺎﻓﺖ‪.‬‬ ‫ﻋﺮﺍﻕ ﺑــﻪ ﻣﺮﺍﺗﺐ ﺑﺎﻻﺗﺮ ﺍﺯ ﻣﺮﺩﻣﺎﻥ ﻛﺸــﻮﺭﻫﺎﻯ‬
‫ﺧﻨﺜﻰ ﺳــﺎﺯﻯ ﺗﺒﻠﻴﻐﺎﺕ ﺩﺷــﻤﻦ )ﻳﻌﻨﻰ ﺍﺳﺮﺍﺋﻴﻞ(‬ ‫ﻋﺮﺑــﻰ ﺣﻮﺯﻩ ﺧﻠﻴــﺞ ﻓﺎﺭﺱ ﺍﺳــﺖ‪ .‬ﻋﺮﺍﻗﻰ ﻫﺎ ﺍﺯ‬
‫ﻳﻜﻰ ﺍﺯ ﻭﻇﺎﻳﻒ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﻦ ﺩﻳﺎﺭ ﺷــﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﻴﻠﻰ ﭘﻴﺶ ﺁﺩﻡ ﻫﺎﻯ ﺍﻫﻞ ﻣﻄﺎﻟﻌﻪ ﺍﻯ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﻭﻇﻴﻔﻪ ﺩﻭﻡ ﻧﺸــﺎﻥ ﺩﺍﺩﻥ ﭼﻬﺮﻩ ﻏﺎﺻﺒﺎﻧﻪ ﺍﺳﺮﺍﺋﻴﻞ‬ ‫ﮔﺬﺷــﺘﻪ ﺍﺯ ﺍﻳــﻦ ﺗﺎﺭﻳﺦ ﺳﻴﺎﺳــﻰ ﻋــﺮﺍﻕ ﺩﺍﺭﺍﻯ‬
‫ﺍﺳــﺖ‪ .‬ﺩﺭ ﺍﻳﻨﺠﺎ‪ ،‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﻪ ﻳﻚ ﺩﻳﺪ ﺗﺎﺭﻳﺨﻰ‬ ‫ﺗﺤﻮﻻﺕ ﺳﻴﺎﺳﻰ ﻓﺮﺍﻭﺍﻧﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﻫﻢ ﻣﺠﻬﺰ ﻣﻰ ﺷــﻮﺩ‪ .‬ﺍﻟﺒﺘــﻪ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﮔﻔﺘﻢ‬ ‫ﻭﻟﻰ ﻭﺿﻌﻴﺖ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺭ ﻋﺮﺍﻕ ﺑﺴــﻴﺎﺭ ﺍﺳــﻒ‬
‫ﺣﺴﻦ ﻳﺎ ﻋﻴﺐ ﺑﻪ ﺷــﻤﺎﺭ ﻧﻤﻰ ﺁﻳﺪ‪ .‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺭ‬ ‫ﺑﺎﺭ ﺍﺳﺖ‪.‬‬
‫ﭼﻨﻴﻦ ﺷــﺮﺍﻳﻄﻰ ﺑﺎﻳﺪ ﭼﻨﻴﻦ ﻭﻇﺎﻳﻔﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﻋــﺮﺽ ﻛﺮﺩﻡ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺷــﻤﺎ ﺑﺎ ﻳﻚ ﺭژﻳﻢ‬
‫ﺍﻳﻦ ﺍﻣﺮ ﺍﺟﺘﻨﺎﺏ ﻧﺎﭘﺬﻳﺮ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﻣﻦ ﻣﻰ ﺧﻮﺍﺳﺘﻢ‬ ‫ﺳﻴﺎﺳﻰ ﺯﻳﺮ ﻳﻮﻕ ﺍﺷﻐﺎﻝ ﺭﻭﺑﺮﻭﻳﻴﺪ‪.‬‬
‫ﺻﺮﻓﺎ ﺑﻪ ﺑﺎﻓﺖ ﻫــﺎﻯ ﻏﻴﺮﻣﺘﻨﺎﺟﺲ ﺩﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬ ‫ﺍﺳــﻒ ﺑﺎﺭ ﺑــﻮﺩﻥ ﻭﺿﻌﻴﺖ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺩﺭ ﻋﺮﺍﻕ‬
‫ﺁﻧــﺪﺭﻩ ﻓﺮﺍﻧﺴــﻮﺍ ﺩﺭ ﺭﻭﻣﺎﻧﻰ ﻣﺘﻮﻟﺪ ﺷــﺪﻩ ﺍﺳــﺖ )‪ (1915‬ﺍﻭ ﺑﻪ ﻟﻄﻒ ﻛﻴﻔﻴﺖ ﻧﻘﺎﺷــﻰ ﺍﺵ‬
‫ﺟﺎﻳﮕﺎﻫﻰ ﺍﺳﺘﺜﻨﺎﻳﻰ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺁﻥ ﭼﻨﺎﻥ ﻛﻪ ﺩﺭ ﻣﻮﺭﺩ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﻭﻯ‬
‫ﺩﺭ ﺭﺩﻩ ﻫﺰﻝ ﻧﮕﺎﺭﺍﻥ ﺗﺮﺩﻳﺪ ﺑﺴــﻴﺎﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺯﻳﺮﺍ ﺍﻭ ﻳﻚ ﻧﻘﺎﺵ ﻧﻴﺰ ﻫﺴــﺖ ﻭ ﺗﺎﺑﻠﻮﻫﺎﻯ‬
‫ﺭﻧﮕﻰ ﺍﺵ ﻧﺸــﺎﻥ ﻣﻰ ﺩﻫﻨﺪ ﻛﻪ ﻭﻯ ﺗﻨﻬﺎ ﻳﻚ ﻫﺰﻝ ﺍﻧﮕﺎﺭ ﮔﺮﺍﻓﻴﻜﻰ ﺍﺳــﺖ ﻛﻪ ﺭﻧﮓ ﺭﺍ ﻧﻴﺰ‬
‫ﺑﻪ ﺧﻮﺑﻰ ﺑﻪ ﻛﺎﺭ ﻣﻰ ﮔﻴﺮﺩ‪.‬‬
‫ﻓﺮﺍﻧﺴــﻮﺍ ﺑﺎ ﻭﺟﻮﺩ ﺍﺭﺍﺋﻪ ﻃﺮﺍﺣﻬﺎﻳﻰ ﺑﺴﻴﺎﺭ ﺍﻧﻔﺠﺎﺭﻯ‪ ،‬ﺗﻨﻬﺎ ﻳﻚ ﺑﺎﺭ ﺑﺎ »ﭘﺎﺭﻯ ﻣﺎچ« ﻫﻤﻜﺎﺭﻯ‬
‫ﺩﺍﺷــﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺑﻪ ﺩﻟﻴﻞ ﭘﻮﺳــﺘﺮﻫﺎ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﻭ ﺗﺎﺑﻠﻮﻫﺎﻳﺶ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﺑﻪ ﻋﻨﻮﺍﻥ‬
‫ﻳﻚ ﻧﻘﺎﺵ ﺑﻬﺘﺮ ﺷــﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳــﺖ‪ .‬ﺗﺎ ﻳﻚ ﻫﺰﻝ ﻧﮕﺎﺭ‪ ،‬ﺟﻨﺒﻪ ﻫﺎﻯ ﺧﻨﺪﻩ ﺁﻭﺭ ﻧﻘﺎﺷﻴﻬﺎﻯ‬
‫‪ (Grose‬ﻧﺰﺩﻳﻜﻰ ﺧﺎﺻﻰ ﺩﺍﺭﺩ‪ .‬ﻫﻢ‬
‫ﻭﻯ ﺑــﺎ ﺁﺛﺎﺭ ﺍﺷــﺘﺎﻳﻨﺒﺮگ‪ ،‬ﻛﻠﻰ )‪ (Klee‬ﻭ ﮔــﺮﻭﺱ )‪Grose‬‬
‫ﭼﻨﻴﻦ ﻣﻰ ﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺷــﻴﻮﻩ ﻛﺎﺭ ﻭﻯ ﺑﻪ ﺳــﺒﻚ ﺭﻭﺋﻮ‪ ،‬ﺷﺎﮔﺎﻝ ))‪ (Chagall‬ﻭ ﺩﻭﺑﻮﻓﻪ‬
‫)‪ (Dubuffe‬ﺑﺴﻴﺎﺭ ﻧﺰﺩﻳﻚ ﺍﺳﺖ‪.‬‬
‫ﺷــﺨﺼﻴﺘﻬﺎﻯ ﻓﺮﺍﻧﺴﻮﺍ ﺑﺎ ﺩﻫﺎﻧﻰ ﺑﺴﻴﺎﺭ ﮔﺸــﺎﺩ‪ ،‬ﭼﻬﺮﻩ ﺍﻯ ﮔﻮﺷﺘﺎﻟﻮ‪ ،‬ﺑﺸﺎﺵ ﻭ ﺧﻮﺵ ﺁﺏ ﻭ‬
‫ﺭﻧﮓ ﺗﺮﻛﻴﺒﻰ ﺍﺯ »ﭘﻮﻟﻴﺸﻴﻨﻞ« ﻭ »ﻟﺮﺩ ﺍﻧﮕﻠﻴﺴﻰ« ﺭﺍ ﺗﺪﺍﻋﻰ ﻣﻰ ﻛﻨﻨﺪ‪ .‬ﺩﺭ ﭘﻨﺪﺍﺭ ﺍﻭ‪ ،‬ﻫﺪﻑ ﺑﻪ‬
‫ﺗﺼﻮﻳﺮ ﺩﺭﺁﻭﺭﺩﻥ ﻣﺮﺩﻯ ﻣﻌﻤﻮﻟﻰ )ﺁﺛﺎﺭ »ﻫﺮﻛﺲ«( ﺍﺳــﺖ‪ .‬ﺍﻣﺎ‪ ،‬ﺍﻳﻦ ﻣﺮﺩ ﺑﻪ ﻃﺮﺯ ﻋﺠﻴﺒﻰ ﺑﻪ‬
‫»ﺍﻭﺑﻮ« ﺷــﺒﺎﻫﺖ ﺩﺍﺭﺩ‪ .‬ﻣﻮﺿﻮﻋﺎﺕ ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺁﻧﺪﺭﻩ ﻓﺮﺍﻧﺴﻮﺍ ﺭﺍ ﺑﺎﺑﺎﻧﻮﺋﻞ )ﻛﻪ ﺣﺘﻰ ﺑﺮ ﺭﻭﻯ‬
‫ﺟﻌﺒﻪ ﻫﺎﻯ ﺳــﻴﮕﺎﺭﻯ ﻛﻪ ﺑﺮﺍﻯ ﻳﻚ ﻣﺎﺭﻙ ﻫﻠﻨﺪﻯ ﻃﺮﺍﺣﻰ ﻛﺮﺩﻩ ﺍﺳــﺖ ﻧﻴﺰ ﻣﺸﺎﻫﺪﻩ ﻣﻰ‬
‫ﺷــﻮﺩ( ﻛﺸﻴﺸﺎﻥ‪ ،‬ﺩﻟﻘﻜﻬﺎ‪ ،‬ﺷﻮﺍﻟﻴﻪ ﻫﺎ‪ ،‬ﺧﺎﻟﻜﻮﺑﻰ ﺷــﺪﮔﺎﻥ‪ ،‬ﻛﺎﻧﺎﭘﻪ ﻫﺎ‪ ،‬ﻧﻴﻤﻜﺘﻬﺎ‪ ،‬ﺗﺨﺘﺨﻮﺍﺑﻬﺎ‪،‬‬
‫ﻗﺎﻟﻴﭽﻪ ﻫﺎ )ﺍﺯ ﭘﻮﺳﺖ ﻓﻴﻞ‪ ،‬ﻛﺎﻧﮕﻮﺭﻭ ﻭ ﻣﻮﺵ ﺻﺤﺮﺍﻳﻰ( ﻛﻮﺩﻛﺎﻥ )ﺩﺭ ﭘﺎﺭﻛﻬﺎﻯ ﭼﻮﺑﻰ ﻧﺮﺩﻩ‬
‫ﺍﻯ ﺷــﺎﻥ(‪ ،‬ﻧﻤﺎﻯ ﺳﺎﺧﺘﻤﺎﻧﻬﺎ )ﺑﺎ ﭘﻨﺠﺮﻩ ﻫﺎﻳﻰ ﻣﺸﺮﻑ ﺑﻪ ﺣﻴﺎﻁ( ﺷﻴﺸﻪ ﻫﺎﻯ ﭘﻨﺠﺮﻩ ﻛﺎﺭﮔﺎﻩ‬
‫ﻫﺎﻯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻫﻤﺴﺎﻳﮕﺎﻥ ﻓﻀﻮﻝ ﺁﻧﻬﺎ ﺗﺸﻜﻴﻞ ﻣﻰ ﺩﻫﺪ‪.‬‬
‫ﺁﻧﺪﺭﻩ ﻓﺮﺍﻧﺴــﻮﺍ ﺩﺭ ﺧﺎﻧﻪ ﺍﻯ ﺩﺭ ﮔﺮﻳﺰﻯ – ﻟﻪ – ﭘﻼﺗﺮ ﺩﺭ ﻧﺰﺩﻳﻜﻰ ﭘﻮﻧﺘﻮﺍﺯ ﺯﻧﺪﮔﻰ ﻣﻰ ﻛﺮﺩﻩ‬
‫ﻛﻪ ﺩﻛﻮﺭﺍﺳــﻴﻮﻥ ﺁﻥ ﺗﻤﺎﻣﺎ ﻣﺼﻨﻮﻋﻰ ﺑﻮﺩﻩ ﺍﺳﺖ‪) .‬ﭘﻨﺠﺮﻩ ﻫﺎﻯ ﺩﺭﻭﻏﻴﻦ‪ ،‬ﭘﻠﻪ ﻫﺎﻯ ﺩﺭﻭﻏﻴﻦ‪،‬‬
‫ﻛﺘﺎﺑﺨﺎﻧﻪ ﺩﺭﻭﻏﻴﻦ( ﺫﻛﺮ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﺯ ﺁﻧﺠﺎ ﺍﻫﻤﻴﺖ ﺩﺍﺭﺩ ﻛﻪ ﺩﻛﻮﺭﺍﺳــﻴﻮﻥ ﻣﻨﺰﻟﺶ ﺑﻪ ﺗﻨﻬﺎﻳﻰ‬
‫ﻳﻚ ﺗﺎﺑﻠﻮﻯ ﻧﻘﺎﺷﻰ ﮔﺮﺍﻓﻴﻚ ﺑﻪ ﺍﻣﻀﺎﻯ ﺁﻧﺪﺭﻩ ﻓﺮﺍﻧﺴﻮﺍ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰ ﺁﻳﺪ‪.‬‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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‫‪43‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
 ‫‪3‬ﻣﻴﻦ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ‬
‫ﻛﺎﺭﺗﻮﻥ ﺁﻧﺎﺩﻭﻟﻮ‬
‫ﺟﺸﻨﻮﺍﺭﻩ ﻯ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻲ‬ ‫ﻣﻮﺿﻮﻉ‪:‬‬
‫ﺟﺸﻦ‬
‫ﻛﺎﺭﺗﻮﻥ "ﻗﺎﻳﻖ ﺑﺰﺭگ‬ ‫ﺷﺮﺍﻳﻂ‪:‬‬
‫ﻓﺮﺍﺧــﻮﺍﻥ ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺸــﮕﺎﻩ‬ ‫ﻃﻨﺰ"‬
‫‪ -‬ﺗﻌﺪﺍﺩ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﻧﺎﻣﺤﺪﻭﺩ ﺍﺳﺖ‪.‬‬
‫‪ -‬ﭘﺮ ﻛﺮﺩﻥ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺍﻟﺰﺍﻣﻰ ﺍﺳﺖ‪.‬‬
‫ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺑــﺎ ﻣﻮﺿــﻮﻉ‬ ‫ﻣﻮﺿﻮﻉ‪:‬‬ ‫‪ -‬ﺁﺛﺎﺭ ﺑﺮﮔﺰﻳﺪﻩ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﺁﻧﺎﺩﻭﻟﻮ‪ ،‬ﻛﺸﻮﺭ ﺗﺮﻛﻴﻪ ﻭ‬
‫ﻗﺎﻳﻖ ﻭ ﻣﺎﻫﻴﮕﻴﺮﻱ‬ ‫ﻛﺸﻮﺭﻫﺎﻯ ﺩﻳﮕﺮ ﺩﺭ ﻣﻌﺮﺽ ﺩﻳﺪ ﻋﻤﻮﻡ ﻗﺮﺍﺭ ﺧﻮﺍﻫﺪ ﮔﺮﻓﺖ‪.‬‬
‫ﻛﺎﺭﺁﻓﺮﻳﻨﻰﻓﺮﻫﻨﮕﻰ‬ ‫ﺷﺮﺍﻳﻂ‪:‬‬ ‫‪ -‬ﺑﺮﺍﻯ ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﻛﻪ ﺁﺛﺎﺭﺷﺎﻥ ﺑﻪ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺭﺍﻩ ﻳﺎﺑﺪ‬
‫‪ -‬ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎﻳﺪ ﺍﺻﻞ ﺑﺎﺷﺪ‪.‬‬ ‫ﻛﺎﺗﺎﻟﻮگ ﺭﺍﻳﮕﺎﻥ ﺍﺭﺳﺎﻝ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬
‫ﻭﺯﺍﺭﺕ ﻓﺮﻫﻨﮓ ﻭ ﺍﺭﺷــﺎﺩ ﺍﺳــﻼﻣﻰ ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﻭﺯﺍﺭﺕ‬ ‫‪ -‬ﺍﻧﺪﺍﺯﻩ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﻧﺒﺎﻳﺪ ﺑﻴﺸﺘﺮ ﺍﺯ ‪ A3‬ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬
‫ﻛﺎﺭ ﻭ ﺍﻣــﻮﺭ ﺍﺟﺘﻤﺎﻋﻰ ﻧﺨﺴــﺘﻴﻦ ﺟﺸــﻨﻮﺍﺭﻩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬ ‫‪ -‬ﻫﺮ ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﺣﺪﺍﻛﺜﺮ ‪ 5‬ﺍﺛﺮ ﻣﻰ ﺗﻮﺍﻧﺪ ﺍﺭﺳﺎﻝ‬ ‫‪ 22‬ﻓﺮﻭﺭﺩﻳﻦ ‪1387‬‬
‫ﺭﺍ ﺑﺎ ﻣﻮﺿــﻮﻉ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ ﺑﺮﮔــﺰﺍﺭ ﻣﻰ ﻧﻤﺎﻳﺪ‪.‬‬ ‫ﻧﻤﺎﻳﺪ‪.‬‬ ‫ﻧﺸﺎﻧﻰ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬
‫ﻫﺪﻑ ﺍﺯ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻳﻦ ﻣﺴــﺎﺑﻘﻪ ﻣﺸــﺎﺭﻛﺖ ﻫﻨﺮﻣﻨﺪﺍﻥ‬ ‫‪ -‬ﭘﺸﺖ ﻫﺮ ﺍﺛﺮ ﺑﺎﻳﺪ ﻧﺎﻡ ﻭ ﻋﻨﻮﺍﻥ ﺍﺛﺮ ﺫﻛﺮ ﮔﺮﺩﺩ‪.‬‬ ‫‪Anadolu Universitesi‬‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖ ﺑﻪ ﺻــﻮﺭﺕ ﺣﺮﻓــﻪ ﺍﻯ ﺩﺭ ﺑﺎﺯﺁﻓﺮﻳﻨﻰ‬ ‫‪ -‬ﺍﺭﺳﺎﻝ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺍﻟﺰﺍﻣﻰ ﺍﺳﺖ‪.‬‬ ‫‪Egitim Karikaturleri Muzesi‬‬
‫ﻫﻨﺮﻯ ﻣﻔﺎﻫﻴﻢ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ ﻭ ﺗﻮﺳــﻌﻪ ﻣﻔﺎﻫﻴﻢ‬ ‫‪ -‬ﺑﻪ ﻫﻤﺮﺍﻩ ﺁﺛﺎﺭ ﺑﺎﻳﺪ ﻧﺴﺨﻪ ﺩﻳﺠﻴﺘﺎﻟﻰ ﺁﻥ ﺑﺮ ﺭﻭﻯ‬ ‫‪Akcami Mh. Malhatun Sok. No:6‬‬
‫ﺍﺭﺯﺵ ﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻛﻠﻴﺪ ﮔﺴــﺘﺮﺵ ﻫﻤﻪ‬ ‫‪ CD‬ﺑﺎ ﻓﺮﻣﺖ ‪ TIFF‬ﻭ ﺭﺯﻭﻟﻮﺷﻦ ‪ DPI 300‬ﺑﺮﺍﻱ‬ ‫‪Odunpazari‬‬
‫ﺟﺎﻧﺒﻪ ﻧﮕﺮﺵ ﻫﺎﻯ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﺩﺭ ﺣﻮﺯﻩ ﻓﺮﻫﻨﮓ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﻛﺎﺗﺎﻟﻮگ ﺍﺭﺳﺎﻝ ﮔﺮﺩﺩ‪.‬‬ ‫‪Eskisehir / TURKIYE‬‬
‫ﺩﺭ ﻧﮕﺎﻩ ﺑﺮﮔﺰﺍﺭ ﻛﻨﻨﺪﮔﺎﻥ ﻣﻔﻬــﻮﻡ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ‬
‫ﻓﺮﺁﻳﻨﺪﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﻳﻚ ﺍﻳﺪﻩ ﻓﺮﻫﻨﮕﻰ ﺁﻏﺎﺯ ﻭ ﺑﻪ ﻳﻚ‬
‫‪ -‬ﭘﺸﺖ ﭘﺎﻛﺖ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎﻳﺪ ﻋﻨﻮﺍﻥ "‪Big Boat‬‬
‫‪ "of Humour 2008‬ﺩﺭﺝ ﮔﺮﺩﺩ‪.‬‬
‫‪7‬ﻣﻴﻦ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ‬ ‫ﺑﺮﺍﻯ ﻛﺴﺐ ﺍﻃﻼﻋﺎﺕ ﺑﻴﺸﺘﺮ ﺑﻪ ﺁﺩﺭﺱ‬
‫‪FreeCartoonsWeb‬‬ ‫‪http://www.krk.anadolu.edu.tr/‬‬
‫ﻛﺴﺐ ﻭ ﻛﺎﺭ ﻓﺮﻫﻨﮕﻰ ﻣﻨﺘﻬﻰ ﻣﻰ ﺷﻮﺩ‪.‬‬ ‫ﺟﻮﺍﻳﺰ‪:‬‬ ‫_‪karw/muze/3.%20ULuslararası/1‬‬
‫ﺁﺛــﺎﺭ ﺑﺮﮔﺰﻳﺪﻩ ﺩﺭ ﻧﻤﺎﻳﺸــﮕﺎﻫﻰ ﻫﻤﺰﻣﺎﻥ ﺑــﺎ ﺭﻭﺯ ﻣﻠﻰ‬ ‫ﺟﺎﻳﺰﻩ ﺑﺰﺭگ‪ :‬ﺣﺪﻭﺩ ‪ 4‬ﻣﻴﻠﻴﻮﻥ ﺗﻮﻣﺎﻥ‬ ‫‪ 3.htm‬ﻣﺮﺍﺟﻌﻪ ﻧﻤﺎﺋﻴﺪ‪.‬‬
‫ﻛﺎﺭﺁﻓﺮﻳﻨﻰ )ﺳــﻮﻡ ﺍﺭﺩﻳﺒﺸــﻬﺖ ﻣــﺎﻩ ‪ 1387‬ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺑﻪ ﻫﻤﺮﺍﻩ ﺟﻮﺍﻳﺰ ﻭﻳﮋﻩ‬ ‫ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﺁﺩﺭﺱ‬
‫ﮔﺬﺍﺷــﺘﻪ ﺷــﺪﻩ ﻭ ﺍﺯ ﺑﺮﮔﺰﻳــﺪﮔﺎﻥ ﺩﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﻣﻠــﻰ‬ ‫ﻣﻮﺿﻮﻉ‪:‬‬
‫ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬ ‫‪http://www.krk.anadolu.edu.tr/‬‬
‫ﻛﺎﺭﺁﻓﺮﻳﻨﺎﻥ ﺑﺮﺗﺮ ﺗﻘﺪﻳﺮ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺍﻟﻒ‪ /‬ﺑﺨﺶ ﻛﺎﺭﺗﻮﻥ‬
‫‪ 11‬ﻓﺮﻭﺭﺩﻳﻦ ‪1387‬‬ ‫‪ -‬ﻛﺎﺭﺗﻮﻥ ﻃﻨﺰ ﺑﺎ ﻣﻮﺿﻮﻉ ﺍﻟﻤﭙﻴﻚ ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺗﻤﺎﻡ ﺭﺷﺘﻪ‬ ‫_‪karw/muze/3.%20ULuslararası/1‬‬
‫ﻧﺸﺎﻧﻰ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬ ‫ﻫﺎﻯ ﻭﺭﺯﺷﻰ‬ ‫‪ 2.htm‬ﻣﺮﺍﺟﻌﻪ ﻧﻤﺎﺋﻴﺪ‪.‬‬
‫ﻣﺤﻮﺭﻫﺎﻯ ﻣﻮﺭﺩ ﻧﻈﺮ ﺩﺭ ﺧﻠﻖ ﺁﺛﺎﺭ‬ ‫‪Lodzki Dom Kultury (Lodz Cultural‬‬ ‫‪ -‬ﺁﺯﺍﺩ‬
‫·ﺟﻮﺍﻧﺎﻥ – ﺍﺑﺘﻜﺎﺭ – ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ‬ ‫‪(Centre‬‬ ‫ﺏ‪ /‬ﺑﺨﺶ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ‬
‫·ﺯﻧﺎﻥ‪ ،‬ﻧﻬﺎﺩ ﺧﺎﻧﻮﺍﺩﻩ ﻭ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ‬ ‫‪113 Lodz,-ul. Traugutta 18, 90‬‬ ‫‪ -‬ﺳﺘﺎﺭﻩ ﻫﺎﻯ ﻭﺭﺯﺷﻰ‬
‫·ﻓﺮﻫﻨﮓ‪ ،‬ﻫﻨﺮ ﻭ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ‬ ‫‪Poland‬‬ ‫ﺷﺮﺍﻳﻂ‪:‬‬
‫·ﺍﺷﺘﻐﺎﻝ ﻭ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ ﻓﺮﻫﻨﮕﻰ‬ ‫‪ -‬ﺍﻧﺪﺍﺯﻩ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎﻳﺪ ﺣﺪﺍﻗﻞ ‪ A4‬ﻭ ﺣﺪﺍﻛﺜﺮ ‪ A3‬ﺑﺎﺷﺪ‪.‬‬
‫ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﺁﺩﺭﺱ‬
‫‪ -‬ﺗﻌﺪﺍﺩ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﻧﺎﻣﺤﺪﻭﺩ ﺍﺳﺖ‪.‬‬
‫‪http://irancartoon.ir/news/‬‬ ‫‪ -‬ﺁﺛﺎﺭ ﺑﻪ ﻫﺮ ﺷﻜﻠﻰ )ﺍﻭﺭژﻳﻨﺎﻝ‪ ،‬ﻛﭙﻰ‪ ،‬ﭘﺮﻳﻨﺖ‪ CD ،‬ﻭ ‪(...‬‬
‫ﮔﺎﻩ ﺷﻤﺎﺭ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫‪ archives/BigBoat_Entry.pdf‬ﻣﺮﺍﺟﻌﻪ‬ ‫ﭘﺬﻳﺮﻓﺘﻪ ﻣﻰ ﺷﻮﺩ‪.‬‬
‫ﺁﺧﺮﻳــﻦ ﻣﻬﻠﺖ ﺍﺭﺳــﺎﻝ ﺁﺛﺎﺭ ﺑﻪ ﺩﺑﻴﺮﺧﺎﻧﻪ ﻣﺴــﺎﺑﻘﻪ‪20 :‬‬ ‫ﻧﻤﺎﺋﻴﺪ‪.‬‬ ‫‪ -‬ﺩﺭ ﭘﺸﺖ ﻫﺮ ﺍﺛﺮ )ﮔﻮﺷﻪ ﻯ ﺑﺎﻻ‪ ،‬ﺳﻤﺖ ﭼﭗ( ﺑﺎﻳﺪ ﺍﺳﻢ‪،‬‬
‫ﻓﺮﻭﺭﺩﻳﻦ ‪1387‬‬
‫ﺯﻣﺎﻥ ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸــﮕﺎﻩ‪ :‬ﺳــﻮﻡ ﻭ ﭼﻬﺎﺭﻡ ﺍﺭﺩﻳﺒﺸﻬﺖ‬
‫ﻣﺴﺎﺑﻘﻪﺑﻴﻦﺍﻟﻤﻠﻠﻰﻃﻨﺰ‬ ‫ﺁﺩﺭﺱ‪ ،‬ﺗﻠﻔﻦ‪ ،‬ﺍﻳﻤﻴﻞ‪ ،‬ﻋﻨﻮﺍﻥ ﻭ ﻣﻮﺿﻮﻉ ﻭ ﺑﺨﺶ ﺍﺛﺮ ﺩﺭﺝ‬
‫ﮔﺮﺩﺩ‪.‬‬
‫ﻣﺎﻩ ‪1386‬‬ ‫ﮔﺮﺍﻓﻴﻜﻰ"ﺧﻨﺪﻳﺪﻥﺳﻼﻣﺘﻰ‬ ‫‪ -‬ﺍﺭﺳﺎﻝ ﺑﻴﻮﮔﺮﺍﻓﻰ‪ ،‬ﻧﻤﻮﻧﻪ ﺍﻣﻀﺎ ﻭ ﻋﻜﺲ ﺍﻟﺰﺍﻣﻰ ﺍﺳﺖ‪.‬‬
‫‪ -‬ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﻪ ﺷﻜﻞ ﺩﻳﺠﻴﺘﺎﻝ ﺑﺎﻳﺪ ﺑﺎ ﻓﺮﻣﺖ ‪JPEG‬‬
‫ﺍﻫــﺪﺍﻯ ﺟﻮﺍﻳﺰ ﺑﺮﮔﺰﻳﺪﮔﺎﻥ‪ :‬ﺳــﻮﻡ ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪1386‬‬
‫ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺭﻭﺯ ﻣﻠﻰ ﻛﺎﺭﺁﻓﺮﻳﻨﻰ‬ ‫ﺍﺳﺖ"‬ ‫ﻭ ﺭﺯﻭﻟﻮﺷﻦ ﺑﻴﻦ ‪ 200dpi‬ﺗﺎ ‪ 300dpi‬ﻭ ﺣﺪﺍﻛﺜﺮ ﺳﺎﻳﺰ ‪2‬‬
‫ﻣﮕﺎ ﺑﺎﻳﺖ ﺑﺎﺷﺪ‪.‬‬ ‫‪19‬ﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﻃﻨﺰ‬
‫ﺟﻮﺍﻳﺰ ﺩﺭ ﻫﺮ ﮔﺮﻭﻩ‬ ‫ﻣﻮﺿﻮﻉ‪:‬‬
‫‪ -‬ﺑﺎ ﻫﺮ ﺍﺛﺮ ﺑﺎﻳﺪ ﻳﻚ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﻧﻴﺰ ﺍﺭﺳﺎﻝ ﮔﺮﺩﺩ‪.‬‬
‫ﺟﻮﺍﻳﺰ‪:‬‬ ‫ﺗﺮﻧﺘﻮ‬
‫ﻧﻔــﺮ ﺍﻭﻝ‪ :‬ﺗﻨﺪﻳﺲ ﻫﻤﺎﻳﺶ‪ ،‬ﺩﻳﭙﻠﻢ ﺍﻓﺘﺨﺎﺭ ﻭ ﭘﻨﺞ ﺳــﻜﻪ‬ ‫ﻓﻌﺎﻟﻴﺖ ﻫﺎﻯ ﺑﺪﻧﻰ ﺑﺮﺍﻯ ﺳﻼﻣﺘﻰ ﻻﺯﻡ ﺍﺳﺖ‪.‬‬ ‫ﺑﺨﺶ ﻛﺎﺭﺗﻮﻥ‪:‬‬
‫ﺑﻬﺎﺭ ﺁﺯﺍﺩﻯ‬ ‫ﺷﺮﺍﻳﻂ‪:‬‬ ‫ﺟﺎﻳﺰﻩ ﺑﺰﺭگ )‪ 1‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‪ +‬ﺟﻮﺍﻳﺰ ﺍﻟﻤﭙﻴﻚ‬ ‫ﺩﺭ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺨﺎﻟﻔﺘﺸﺎﻥ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﻭﺣﺸﻰ‬
‫‪ -‬ﻫﺮ ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﺣﺪﺍﻛﺜﺮ ﺩﻭ ﺍﺛﺮ ﻣﻰ ﺗﻮﺍﻧﺪ ﺍﺭﺳﺎﻝ ﻧﻤﺎﻳﺪ‪.‬‬ ‫ﮔﺮﻯ ﻭ ﺧﺸﻮﻧﺖ ﻫﻤﺮﺍﻩ ﺑﺎ ﻧﮕﺎﻫﻰ ﻭﺍﻗﻊ ﺑﻴﻨﺎﻧﻪ ﻣﻨﺘﻘﺪﺍﻧﻪ ﺑﻪ‬
‫ﻧﻔﺮ ﺩﻭﻡ‪ :‬ﺗﻨﺪﻳﺲ ﻫﻤﺎﻳﺶ‪ ،‬ﺩﻳﭙﻠﻢ ﺍﻓﺘﺨﺎﺭ ﻭ ﺳــﻪ ﺳــﻜﻪ‬ ‫ﺟﺎﻳﺰﻩ ﻃﻼ )‪ 2‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‪ +‬ﺟﻮﺍﻳﺰ ﺍﻟﻤﭙﻴﻚ‬
‫‪ -‬ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﻧﺒﺎﻳﺪ ﻗﺒﻼ ﺩﺭ ﺟﺎﻳﻰ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﻳﺎ ﺑﺮﻧﺪﻩ ﻯ‬ ‫ﺟﺎﻳﺰﻩ ﻧﻘﺮﻩ )‪ 4‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‬ ‫ﺟﻬﺎﻥ ﺍﻋﻼﻡ ﻣﻰ ﻧﻤﺎﻳﻨﺪ‪ .‬ﻣﻨﺘﻈﺮ ﺍﺭﺍﺋﻪ ﻋﻘﺎﻳﺪ ﻭ ﺭﻭﻳﺎﻫﺎﻳﺘﺎﻥ ﺑﻪ‬
‫ﺑﻬﺎﺭ ﺁﺯﺍﺩﻯ‬ ‫ﺟﺎﻳﺰﻩ ﺍﻯ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﺟﺎﻳﺰﻩ ﺑﺮﻧﺰ )‪ 8‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‬ ‫ﻫﺮ ﺷﻜﻠﻰ ﻛﻪ ﻣﺎﻳﻠﻴﺪ ﺩﺭ ﻗﺎﻟﺐ ﺍﺭﺳﺎﻝ ﺍﺛﺮ ﻫﺴﺘﻴﻢ‪.‬‬
‫ﻧﻔﺮ ﺳــﻮﻡ‪ :‬ﺗﻨﺪﻳﺲ ﻫﻤﺎﻳﺶ‪ ،‬ﺩﻳﭙﻠﻢ ﺍﻓﺘﺨﺎﺭ ﻭ ﺩﻭ ﺳــﻜﻪ‬ ‫‪ -‬ﺣﺪﺍﻛﺜﺮ ﺍﻧﺪﺍﺯﻩ ﺁﺛﺎﺭ ‪ A4‬ﺑﺎﺷﺪ‪.‬‬ ‫ﻣﻮﺿﻮﻉ‪:‬‬
‫ﺑﺨﺶ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ‪:‬‬
‫ﺑﻬﺎﺭ ﺁﺯﺍﺩﻯ‬ ‫‪ -‬ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺭﺍ ﻣﻰ ﺗﻮﺍﻥ ﺑﻪ ﺻﻮﺭﺕ ﺩﻳﺠﻴﺘﺎﻟﻰ )ﺍﻳﻤﻴﻞ(‬ ‫ﺟﺎﻳﺰﻩ ﺑﺰﺭگ )‪ 1‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‪ +‬ﺟﻮﺍﻳﺰ ﺍﻟﻤﭙﻴﻚ‬ ‫ﻣﺎ ﻣﺎﻩ ﺭﺍ ﻣﻲ ﺧﻮﺍﻫﻴﻢ‬
‫ﺍﺭﺳﺎﻝ ﻧﻤﻮﺩ‪.‬‬ ‫ﺟﺎﻳﺰﻩ ﻃﻼ )‪ 2‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‪ +‬ﺟﻮﺍﻳﺰ ﺍﻟﻤﭙﻴﻚ‬ ‫ﺷﺮﺍﻳﻂ‪:‬‬
‫ﻣﻘﺮﺭﺍﺕ‬ ‫‪ -‬ﺁﺛﺎﺭ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ ﺑﺎﻳﺪ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺻﻮﺭﺕ ﺍﻭﺭژﻳﻨﺎﻝ ﺍﺭﺳﺎﻝ‬ ‫ﺟﺎﻳﺰﻩ ﻧﻘﺮﻩ )‪ 4‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‬ ‫‪ -‬ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎﻳﺪ ﺍﺻﻞ ﺑﺎﺷﺪ‪.‬‬
‫‪ – 1‬ﻫﺮ ﺷــﺮﻛﺖ ﻛﻨﻨــﺪﻩ ﻣﻰ ﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺷــﺮﻛﺖ ﺩﺭ‬ ‫ﮔﺮﺩﺩ‪.‬‬ ‫ﺟﺎﻳﺰﻩ ﺑﺮﻧﺰ )‪ 8‬ﻧﻔﺮ(‪ :‬ﻟﻮﺡ ﺗﻘﺪﻳﺮ‪ +‬ﻛﺎﺗﺎﻟﻮگ‬ ‫‪ -‬ﺗﻌﺪﺍﺩ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ ﻧﺎﻣﺤﺪﻭﺩ ﺍﺳﺖ‪.‬‬
‫‪ -‬ﺩﺭ ﭘﺸﺖ ﻫﺮ ﺍﺛﺮ ﺑﺎﻳﺪ ﻧﺎﻡ‪ ،‬ﻧﺎﻡ ﺧﺎﻧﻮﺍﺩﮔﻰ‪ ،‬ﻧﺸﺎﻧﻰ‪ ،‬ﺗﻠﻔﻦ‬ ‫‪ -‬ﺣﺪﺍﻛﺜﺮ ﺍﻧﺪﺍﺯﻩ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎﻳﺪ ‪ A3‬ﺑﺎﺷﺪ‪.‬‬
‫ﻣﺴﺎﺑﻘﻪ ﺣﺪﺍﻛﺜﺮ ﺳﻪ ﺍﺛﺮ ﺍﺭﺳﺎﻝ ﻧﻤﺎﻳﺪ‪.‬‬ ‫ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬
‫ﺗﻤﺎﺱ ﻭ ﺍﻳﻤﻴﻞ ﻧﻮﺷﺘﻪ ﺷﻮﺩ‪.‬‬ ‫‪ 12‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1387‬‬ ‫ﺟﻮﺍﻳﺰ‪:‬‬
‫‪ – 2‬ﺁﺛﺎﺭ ﺑﺎﻳﺴــﺘﻰ ﺩﺍﺭﺍﻯ ﻋﺮﺽ ﺣﺪﺍﻗﻞ ‪ 20‬ﻭ ﺣﺪﺍﻛﺜﺮ‬ ‫ﺟﻮﺍﻳﺰ‪:‬‬ ‫ﻧﺸﺎﻧﻰ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬ ‫ﻧﻔﺮ ﺍﻭﻝ‪ 1000 :‬ﻳﻮﺭﻭ‬
‫‪ 50‬ﺳــﺎﻧﺘﻰ ﻣﺘﺮ ﻭ ﻃــﻮﻝ ﺣﺪﺍﻗﻞ ‪ 45‬ﻭ ﺣﺪﺍﻛﺜﺮ ‪ 70‬ﻣﻰ‬ ‫ﻧﻔﺮ ﺍﻭﻝ‪ 1000 :‬ﺩﻻﺭ‬ ‫ﻧﻔﺮ ﺩﻭﻡ‪ 700 :‬ﻳﻮﺭﻭ‬
‫‪Jiang Lidong‬‬
‫ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪ -‬ﻧﻔﺮ ﺩﻭﻡ‪ 500 :‬ﺩﻻﺭ‬ ‫‪FCW2008 Cartoonet Festival‬‬ ‫ﻧﻔﺮ ﺳﻮﻡ‪ 500 :‬ﻳﻮﺭﻭ‬
‫‪ – 3‬ﺑﺮﮔﺰﺍﺭ ﻛﻨﻨﺪﻩ ﺣﻖ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺑﺎ ﺩﺭﺝ‬ ‫ﺑﻪ ﻫﻤﺮﺍﻩ ﺩﻭ ﻟﻮﺡ ﺗﻘﺪﻳﺮ‬ ‫‪Room 602,No.28‬‬ ‫ﺟﺎﻳﺰﻩ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻥ‪ 300 :‬ﻳﻮﺭﻭ‬
‫ﻧﺎﻡ ﭘﺪﻳﺪﺁﻭﺭﻧﺪﻩ ﺭﺍ ﺟﻬﺖ ﺍﻧﺘﺸﺎﺭ ﻛﺘﺎﺏ ﻣﺴﺎﺑﻘﻪ ﺑﺮﺍﻯ ﺧﻮﺩ‬ ‫ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬ ‫‪Hong Kong Garden‬‬ ‫ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬
‫ﻣﺤﻔﻮﻅ ﻣﻰ ﺩﺍﻧﺪ‪.‬‬ ‫‪ 16‬ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1387‬‬ ‫‪Lane 188, South Jidi Road‬‬ ‫‪ 12‬ﻓﺮﻭﺭﺩﻳﻦ ‪1387‬‬
‫ﻧﺸﺎﻧﻰ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬ ‫ﻧﺸﺎﻧﻰ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ‪:‬‬
‫‪ – 4‬ﺁﺛﺎﺭ ﺣﻖ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺛﺎﺭ ﺍﺭﺳﺎﻟﻰ ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻯ‬ ‫‪Shanghai 201107‬‬
‫‪Avda. San Juan 499, Capital Federal,‬‬
‫ﻣﺮﺍﻛﺰ ﺍﺳﺘﺎﻧﻬﺎ ﺭﺍ ﺑﻪ ﻣﺪﺕ ﻳﻚ ﺳﺎﻝ ﺑﺮﺍﻯ ﺧﻮﺩ ﻣﺤﻔﻮﻅ‬ ‫‪P.R.CHINA‬‬ ‫‪Studio d'Arte Andromeda via Malpaga‬‬
‫ﻣﻰ ﺩﺍﻧﺪ‪.‬‬
‫‪(CP1147), Buenos Aires. Argentina‬‬ ‫ﻧﺸﺎﻧﻰ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻭ ﭘﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ‪:‬‬ ‫‪17, 38100 Trento - Italy‬‬
‫ﻧﺸﺎﻧﻰ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻭ ﭘﺴﺖ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ‪:‬‬ ‫‪http://www.fcwfcw.com‬‬ ‫ﺑﺮﺍﻯ ﻛﺴﺐ ﺍﻃﻼﻋﺎﺕ ﺑﻴﺸﺘﺮ ﻭ ﺩﺭﻳﺎﻓﺖ ﻓﺮﻡ‬
‫‪ – 5‬ﺁﺛﺎﺭ ﺑﺎﻳﺪ ﻓﺎﻗﺪ ﻗﺎﺏ ﻳﺎ ﭘﺎﺳﭙﺎﺭﺗﻮ ﺑﺎﺷﺪ‪.‬‬ ‫‪www.larisaessalud.com‬‬ ‫‪http://www.fcw.cn‬‬ ‫ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﺁﺩﺭﺱ ‪http://www.‬‬
‫‪info@larisaessalud.com‬‬ ‫‪freecartoons@126.com‬‬ ‫‪studioandromeda.net/documenti/‬‬
‫ﻧﺸﺎﻧﻰ ﺩﺑﻴﺮﺧﺎﻧﻪ‪:‬‬ ‫‪ablotta@xyzeditora.com.ar‬‬ ‫ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﺁﺩﺭﺱ ‪http://‬‬ ‫‪ bando-luna.pdf‬ﻣﺮﺍﺟﻌﻪ ﻧﻤﺎﺋﻴﺪ‪.‬‬
‫ﺗﻬــﺮﺍﻥ – ﺧﻴﺎﺑــﺎﻥ ﻛﺮﻳﻢ ﺧــﺎﻥ – ﺧﻴﺎﺑﺎﻥ ﺍﻳﺮﺍﻧﺸــﻬﺮ‬ ‫‪feature.fcw.cn/main‬‬
‫– ﭘﺎﻳﻴــﻦ ﺗــﺮ ﺍﺯ ﺍﺭﺍﻙ – ﻛﻮﭼﻪ ﺩﻫﻘــﺎﻥ – ﭘﻼﻙ ‪16‬‬ ‫‪phpsLAN=en.‬‬
‫ﺗﻠﻔﻦ‪88838081-2 :‬‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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 ‫ﻛﻞ ﺩﻧﻴﺎ ﺩﺭ ﺭﺷﺘﻪ ﻃﺮﺍﺣﻰ‬ ‫ﻣﺘﻮﻟــﺪ ‪ 1362‬ﻗﻢ‪ ،‬ﺟﺎﻳــﺰﻩ ﺑﺰﺭگ ﻣﺴــﺎﺑﻘﻪ ﺑﻴﻦ‬
‫ﻓﺮﻳﺪ ﺍﻟﺪﻳﻦ ﻣﻮﻻﻳــﻰ‪ :‬ﻃﺮﺍﺡ ﮔﺮﺍﻓﻴﻚ‪ ،‬ﺗﺼﻮﻳﺮﮔﺮ‪،‬‬ ‫ﺍﻟﻤﻠﻠﻰ ﻫﻨﺪ ‪ ،2004‬ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﺑﺨﺶ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻧﻘﺎﺵ‪ ،‬ﻣﺘﻮﻟﺪ ‪ 1362‬ﻗﻢ‪ ،‬ﻛﺎﺭﺩﺍﻧﻰ ﮔﺮﺍﻓﻴﻚ‪ ،‬ﺟﺎﻳﺰﻩ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺳﺮﺍﺳﺮﻯ ﻣﻘﺎﻭﻣﺖ ‪1385‬‬
‫ﻭﻳﮋﻩ ﺟﺸــﻨﻮﺍﺭﻩ ﻫﻨﺮﻫﺎﻯ ﺗﺠﺴــﻤﻰ ﻓﺎﺑﺮﻛﺎﺳﺘﻞ‬ ‫ﺳﻴﺪﺣﺴﻦ ﻣﻮﺳﻮﻯ‪ :‬ﺗﺼﻮﻳﺮﮔﺮ‪ ،‬ﻣﺘﻮﻟﺪ ‪ 1362‬ﻗﻢ‪،‬‬
‫‪ ،1385‬ﺑﺮﮔﺰﻳﺪﻩ ﻧﺨﺴﺘﻴﻦ ﺳﺎﻻﻧﻪ ﻃﺮﺍﺣﺎﻥ ﻣﻌﺎﺻﺮ‬ ‫ﻛﺎﺭﺩﺍﻧﻰ ﮔﺮﺍﻓﻴــﻚ‪ ،‬ﺑﺮﮔﺰﻳﺪﻩ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﺟﻤﻌﻰ‬
‫ﺍﻳﺮﺍﻥ )ﺩﻛﺘﺮ ﺳﻨﺪﻭﺯﻯ( ‪1386‬‬ ‫ﺗﺼﻮﻳﺮﮔﺮﺍﻥ ﻗﻢ ‪ 1385‬ﻭ ‪1386‬‬
‫ﮔﻔﺘﻨﻰ ﺍﺳﺖ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﺯ ‪ 22‬ﺑﻬﻤﻦ ﺍﻟﻰ ‪1 2‬‬ ‫ﻣﺤﻤــﺪ ﭘﻴﺮﻳﺎﻳﻰ‪ :‬ﺗﺼﻮﻳﺮﮔﺮ‪ ،‬ﻛﺎﺭﺗﻮﻧﻴﺴــﺖ‪ ،‬ﻣﺘﻮﻟﺪ‬
‫ﺍﺳﻔﻨﺪ ‪ 1386‬ﺩﺭ ﻣﺤﻞ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺮﭘﺎ ﺑﻮﺩ‪.‬‬ ‫‪ 1363‬ﻗﻢ‪ ،‬ﻛﺎﺭﺷﻨﺎﺳــﻰ ﺻﻨﺎﻳﻊ ﺩﺳﺘﻰ‪ ،‬ﺑﺮﮔﺰﻳﺪﻩ‬
‫ﻣﺴــﺎﺑﻘﻪ ﺑﻴــﻦ ﺍﻟﻤﻠﻠــﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻫﻨــﺪ ‪،2004‬‬
‫ﺑﺮﮔﺰﻳﺪﻩ ﻧﻔﺮ ﺍﻭﻝ ﺟﺎﻳﺰﻩ ﻣﻤﺘﺎﺯ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ‬ ‫ﻫﺎﺩﻯ ﻃﺒﺴــﻰ‪ :‬ﺍﻧﻴﻤﺎﺗﻮﺭ‪ ،‬ﺗﺼﻮﻳﺮﮔﺮ‪ ،‬ﻛﺎﺭﺗﻮﻧﻴﺴﺖ‪،‬‬
‫ﺑﺮﺍﻯ ﺁﺷﻨﺎﻳﻰ ﺑﻴﺸــﺘﺮ ﺑﺎ ﻫﻨﺮﻣﻨﺪﺍﻥ ﮔﺮﻭﻩ ﻭﻳﻜﺲ‬
‫ﺑﻴﻮﮔﺮﺍﻓــﻰ ﻛﻮﺗﺎﻫــﻰ ﺍﺯ ﺍﻳﻦ ﻋﺰﻳــﺰﺍﻥ ﺍﺯ ﻧﻈﺮﺗﺎﻥ‬
‫"ﺗﺼﻮﻳﺮ ﺑﺎﺯﻯ" ﺩﺭ ﺧﺎﻧﻪ‬
‫ﺧﻮﺍﻫﺪ ﮔﺬﺷﺖ‪.‬‬ ‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻣﺤﻤﻮﺩ ﻣﺨﺘﺎﺭﻯ‪ :‬ﺗﺼﻮﻳﺮﮔﺮ‪ ،‬ﻛﺎﺭﺗﻮﻧﻴﺴــﺖ‪ ،‬ﻣﺘﻮﻟﺪ‬
‫‪ 1362‬ﺗﻬﺮﺍﻥ‪ ،‬ﺩﺍﻧﺸــﺠﻮﻯ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴــﻰ‪ ،‬ﻧﻔﺮ‬ ‫ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﺮﺍﻥ ﺷﺎﻫﺪ ﺑﺮﭘﺎﻳﻰ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ‬
‫ﺳــﻮﻡ ﻣﺴــﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠــﻰ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺗﺮﻭﺭ ﻭ‬ ‫ﺍﺯ ﺁﺛﺎﺭ ﮔﺮﻭﻩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ "ﻭﻳﻜﺲ" ﺑﺎ ﻋﻨﻮﺍﻥ‬
‫ﺗﺮﻭﺭﻳﺴــﻢ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﺮﺍﻥ ‪ ،2004‬ﻧﻔﺮ ﺍﻭﻝ‬ ‫"ﺗﺼﻮﻳﺮ ﺑﺎﺯﻯ" ﺑﻮﺩ‪.‬‬
‫ﺑﺨــﺶ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺟﺸــﻨﻮﺍﺭﻩ ﺳﺮﺍﺳــﺮﻯ ﻣﻘﺎﻭﺕ‬ ‫ﮔﺮﻭﻩ ﻭﻳﻜﺲ ﻣﺘﺸﻜﻞ ﺍﺯ ﺁﻗﺎﻳﺎﻥ ﻓﺮﻳﺪﺍﻟﺪﻳﻦ‬
‫‪1385‬‬ ‫ﻣﻼﻳﻰ‪ ،‬ﻫﺎﺩﻯ ﻃﺒﺴﻰ‪ ،‬ﻣﺤﻤﻮﺩ ﻣﺨﺘﺎﺭﻯ‪ ،‬ﻣﺤﻤﺪ‬
‫ﭘﻴﺮﻳﺎﻳﻰ ﻭ ﺳﻴﺪﺣﺴﻦ ﻣﻮﺳﻮﻯ ﺍﺳﺖ‪.‬‬

‫ﺍﻟﻜﺴــﺎﻧﺪﺭ ﺁﻟــﻮﺱ ﻓﺮﺍﻧﻜــﻮ – ﺑﺮﺯﻳــﻞ‪ /‬ﺁﻧﺪﺭﺯﺝ‬

‫ﮔﺮﺍﻧﻴﺎﻙ – ﻟﻬﺴــﺘﺎﻥ‪ /‬ﺁﻧﺘﻮﻧﻴﻮ ﻛﺎﺭﻟﻮﺱ ﺟﻮﺁﻧﻴﺎﻭ‪-‬‬ ‫ﺍﻋﻼﻡ ﻧﺘﺎﻳﺞ ﺍﻭﻟﻴﻦ ﻣﺴﺎﺑﻘﻪ‬ ‫ﺩﺭﺩ ﺳﺮﻫﺎﻯ ﻏﻼﻣﺮﺿﺎ ﻭ‬
‫ﺑﺮﺯﻳﻞ‪ /‬ﺁﺳــﻜﻴﻦ ﺁﻳﺮﺍﻧﺴﻴﻮﻗﻠﻮ – ﺗﺮﻛﻴﻪ‪ /‬ﺑﺎ ﺑﻴﻠﻴﮓ‬ ‫ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﻛﻮﺩﻛﺎﻥ ﺧﻴﺎﺑﺎﻧﻰ‬ ‫ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ!!!‬
‫– ﭼﻴــﻦ‪ /‬ﺑﺮﻧﺎﺭﺩ ﺑﻮﺗــﻮﻥ – ﻓﺮﺍﻧﺴــﻪ‪ /‬ﻛﺎﺭﻟﻮﺱ‬
‫ﺟﻮﺭﺝ – ﺑﺮﺯﻳﻞ‪ /‬ﻛﺎﺳﻮ – ﺑﺮﺯﻳﻞ‪ /‬ﺍﺭﻭﻗﻠﻮ ﻳﺎﻟﺴﻴﻦ‬ ‫ﻧﺘﺎﻳــﺞ ﺍﻭﻟﻴﻦ ﻣﺴــﺎﺑﻘﻪ ﺑﻴــﻦ ﺍﻟﻤﻠﻠــﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫– ﺗﺮﻛﻴــﻪ‪ /‬ﺍﻑ ﺑﻼﻧﻜــﻮ – ﻛﻮﺑــﺎ‪ /‬ﻫﺎﺋــﻮ ﮔﻮﻧﮓ‬ ‫ﻛــﻮﺩﻛﺎﻥ ﻛﺎﺭ ﻭ ﺧﻴﺎﺑﺎﻧــﻰ ﺍﻋــﻼﻡ ﺷــﺪ‪.‬‬ ‫ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ ﻫﻨﺮﻣﻨﺪ ﺧﻮﺏ ﻛﺸﻮﺭﻣﺎﻥ ﺩﺭ‬
‫– ﭼﻴــﻦ‪ /‬ﻫﻜﺘﻮﺭ ﺳــﺎﻻﺱ – ﺑﺮﺯﻳــﻞ‪ /‬ﻫﻴﻜﺎﺑﻰ‬ ‫ﻃﺒﻖ ﺍﻋﻼﻡ ﻫﻴﺌﺖ ﻣﺤﺘﺮﻡ ﺩﺍﻭﺭﺍﻥ ﺍﻳﻦ ﺟﺸــﻨﻮﺍﺭﻩ‬ ‫ﺳﺎﻝ ‪ 2005‬ﻣﻴﻼﺩﻯ ﺩﺭ ‪13‬ﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦ‬
‫ﺩﻣﻴﺮﭼﻰ – ﺗﺮﻛﻴﻪ‪ /‬ﻫﻮﺁﻧﮓ ﻭﻳﻜﻴﻦ – ﭼﻴﻦ‪ /‬ﺟﻰ‬ ‫ﻣﺘﺸــﻜﻞ ﺍﺯ ﺁﻗﺎﻳﺎﻥ‪ :‬ﺍﺑﻮﺍﻟﻔﻀﻞ ﻣﺤﺘﺮﻣﻰ ‪ ،‬ﻣﺴﻌﻮﺩ‬ ‫ﺍﻟﻤﻠﻠﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺻﺮﺑﺴﺘﺎﻥ ﺑﺎ ﻣﻮﺿﻮﻉ ﺿﺪ‬
‫ﺑﻮﺳــﻜﻮ – ﺑﺮﺯﻳﻞ‪ /‬ﺟﺎﺭﺑﺲ ﺩﻭﻣﻴﻨﮕﻮﺯ – ﺑﺮﺯﻳﻞ‪/‬‬ ‫ﺿﻴﺎﻳــﻰ ﺯﺭﺩ ﺧﺸــﻮﻳﻰ ﻭ ﻣﺤﻤﺪﺍﻣﻴــﻦ ﺁﻗﺎﻳــﻰ‬ ‫ﺟﻨﮓ ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﻧﻘﺪﻯ ‪ 500‬ﻳﻮﺭﻭﻳﻰ ﺷﺪ‬
‫ﺟــﺎﻥ ﭘﻴﺮ ﺩﻭ ﺍﻭﻟﻴﻮﺭﺍ‪ -‬ﺑﺮﺯﻳﻞ‪ /‬ﺟﻴﺘﺖ ﻛﻮﺋﺴــﺘﺎﻧﺎ‪-‬‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺫﻳﻞ ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺮﮔﺰﻳﺪﮔﺎﻥ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ‬ ‫ﻭ ﺗﺎ ﺍﻭﺍﻳﻞ ﺳﺎﻝ ‪ 2008‬ﻣﻴﻼﺩﻯ ﺟﺎﻳﺰﻩ ﺧﻮﺩ ﺭﺍ‬
‫ﺍﻧﺪﻭﻧــﺰﻯ‪ /‬ﺟﻮﻟﻴﻮ ﭘﺮﻳﺮﺍ – ﺑﺮﺯﻳﻞ‪ /‬ﺍﻳﮕﻮﺭ ﻭﺍﺭﭼﻨﻜﻮ‬ ‫ﺷﻨﺎﺧﺘﻴﻢ ﻧﻪ ﻏﻼﻣﺮﺿﺎ ﻋﻈﻴﻤﻰ ﺭﺍ!‬ ‫ﺩﺭﻳﺎﻓﺖ ﻧﻜﺮﺩﻩ ﺑﻮﺩ ﻛﻪ ﻣﺎﺟﺮﺍﻳﻰ ﺟﺎﻟﺐ ﺩﺍﺭﺩ‪.‬‬
‫ﻣﻌﺮﻓﻰ ﺷﺪﻧﺪ‪.‬‬
‫– ﻣﺼﺮ‪ /‬ﻟﻮﺋﻴﺠﻰ ﺭﻭﻛﻮ – ﺑﺮﺯﻳﻞ‪ /‬ﻣﺴﻴﺞ ﻓﺮﺯﭘﺎﻟﻜﺎ‬ ‫ﺗﺎ ﺍﻳﻨﻜﻪ ﺍﺯ ﻃﺮﻳﻖ ﺳﺎﻳﺖ ﺍﻳﺴﻨﺎ ﻭ ﺗﻮﺳﻂ ﺧﺒﺮ‬ ‫ﺍﻳﻦ ﻣﺎﺟﺮﺍ ﺭﺍ ﺍﺯ ﺯﺑﺎﻥ ﺧﻮﺩ ﺍﻭ ﺑﺸﻨﻮﻳﺪ‪:‬‬
‫ﮔﻔﺘﻨﻰ ﺍﺳــﺖ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﺗﻮﺳﻂ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫– ﻟﻬﺴﺘﺎﻥ‪ /‬ﻣﺎﺭﺳﻴﻦ ﺑﻮﻧﺪﺍﺭﻭﻭﻳﻜﺲ – ﻟﻬﺴﺘﺎﻥ‪/‬‬ ‫ﻧﮕﺎﺭ ﻣﺤﺘﺮﻣﻰ ﺑﻪ ﻧﺎﻡ ﺧﺎﻧﻢ ﻣﻌﺰﻯ ﻣﺘﻮﺟﻪ ﺷﺪﻳﻢ‬ ‫»ﺳﺎﻝ ‪ 2005‬ﺩﺭ ‪13‬ﻣﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ‬
‫ﻭ ﺑﺎ ﻫﻤﻜﺎﺭﻯ ﻣﻌﺎﻭﻧﺖ ﻫﻨﺮﻯ ﺳــﺎﺯﻣﺎﻥ ﻓﺮﻫﻨﮕﻰ‬
‫ﻣﺎﺭﺳــﻴﻮ ﻟﻴﺘﻪ – ﺑﺮﺯﻳﻞ‪ /‬ﻣﺎﺭﺗﻮﻧﻮ‪ -‬ﺍﻧﺪﻭﻧﺰﻯ‪ /‬ﻣﻠﻮ‬ ‫ﻛﻪ ﻏﻼﻣﺮﺿﺎ ﻋﻈﻴﻤﻰ ﻫﻤﺎﻥ ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ‬ ‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺻﺮﺑﺴﺘﺎﻥ ﺑﺎ ﻣﻮﺿﻮﻉ ﺿﺪ ﺟﻨﮓ‬
‫ﻫﻨﺮﻯ ﺷﻬﺮﺩﺍﺭﻯ ﺗﻬﺮﺍﻥ ﺑﺮﮔﺰﺍﺭ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬
‫– ﺑﺮﺯﻳﻞ‪ /‬ﻣﻴﻠﻨﻚ ﻛﺎﺳــﺎﻧﻮﻭﻳﻚ – ﺻﺮﺑﺴــﺘﺎﻥ‪/‬‬ ‫ﺍﺳﺖ‪«.‬‬ ‫ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﻭﻳﮋﻩ ﺑﻪ ﺍﺭﺯﺵ ‪ 500‬ﻳﻮﺭﻭ ﺷﺪﻡ‪.‬‬
‫ﺑﺮﮔﺰﻳﺪﮔﺎﻥ ﺍﻳﺮﺍﻧﻰ‪:‬‬
‫ﻣﻮﺭﻫﺎﻑ ﻳﻮﺳﻒ‪-‬ﺳﻮﺭﻳﻪ‪ /‬ﻣﻮﺳﻰ ﮔﻮﻣﺰ – ﺗﺮﻛﻴﻪ‪/‬‬ ‫ﻧﺤﻮﻩ ﻯ ﺗﺤﻮﻳﻞ ﺟﺎﻳﺰﻩ ﻫﻢ ﺍﺯ ﺯﺑﺎﻥ ﺑﻬﺮﺍﻡ‬ ‫ﻭﻟﻰ ﻫﺮ ﭼﻘﺪﺭ ﺍﺯ ﻃﺮﻳﻖ ﺳﻔﺎﺭﺕ ﺻﺮﺑﺴﺘﺎﻥ ﺩﺭ‬
‫ﻋﻠﻴﺮﺿــﺎ ﻛﺮﻳﻤﻰ ﻣﻘــﺪﻡ‪ /‬ﺍﻣﻴﺮﻋﺒــﺎﺱ ﺗﺒﺮﻳﺰﻯ‪/‬‬
‫ﻧﺎﺟــﻰ ﺑﻨﺎﺟﻰ – ﻣﺮﺍﻛﺶ‪ /‬ﻧﺎﻡ ﻣﻴﻨﮕﻼﺋﻰ – ﻛﺮﻩ‪/‬‬ ‫ﻋﻈﻴﻤﻰ ﺷﻨﻴﺪﻧﻰ ﺍﺳﺖ‪.‬‬ ‫ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﺟﺎﻳﺰﻩ ﭘﻰ ﮔﻴﺮﻯ ﻛﺮﺩﻡ‬
‫ﺑﺎﺑﻚ ﺍﺳﻤﺎﻋﻴﻠﻰ‪ /‬ﺑﻬﻨﻮﺵ ﺯﻣﺎﻧﻰ‪ /‬ﺩﺧﺸﻴﺪ ﻗﺪﺭﺗﻰ‬
‫ﻧﻴﻚ ﻣﺤﻤﺪ ﻭﻓﺪﻯ ﺑﻴﻦ‪-‬ﻣﺎﻟﺰﻯ‪ /‬ﺍﻭﻛﻮﺯ ﮔﻮﺭﻝ –‬ ‫»ﭼﻮﻥ ﻣﺒﻠﻎ ﺟﺎﻳﺰﻩ ﻯ ﻣﻦ ﻫﻨﻮﺯ ﺩﺭ ﺻﺮﺑﺴﺘﺎﻥ‬ ‫ﻣﻮﻓﻖ ﻧﺸﺪﻡ‪ .‬ﺗﺼﻤﻴﻢ ﮔﺮﻓﺘﻢ ﺑﺮﺍﻯ ﭼﻨﺪ ﺳﺎﻳﺖ‬
‫ﭘــﻮﺭ‪ /‬ﻓﻀﻞ ﺍﷲ ﺗﺎﺭﻯ‪ /‬ﻫﺎﺩﻯ ﺩﺍﻧﺶ‪ /‬ﻣﺤﻤﺪﻋﻠﻰ‬
‫ﺗﺮﻛﻴﻪ‪ /‬ﭘﺎﻧﺘﺎﻧﻦ ﻫﻴﻨﻮ – ﻓﻨﻼﻧﺪ‪ /‬ﭘﺎﻭﻝ ﻛﻮژﻳﻨﺴﻜﻰ‬ ‫ﺑﻮﺩ ﻭ ﺩﺭﻳﺎﻓﺖ ﺁﻥ ﺷﺎﻣﻞ ﻣﺮﻭﺭ ﺯﻣﺎﻥ ﻭ‬ ‫ﻣﻄﺮﺡ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﻧﺎﻣﻪ ﺍﻯ ﺑﻨﻮﻳﺴﻢ ﻭ ﺩﺭﺧﻮﺍﺳﺖ‬
‫ﺧﻠﺠﻰ‪ /‬ﺳــﻌﻴﺪ ﺻﺎﺩﻗﻰ‪ /‬ﺳﺠﺎﺩ ﻋﺒﺎﺩﻯ ﻓﺮﻛﻮﺵ‪/‬‬
‫– ﻟﻬﺴــﺘﺎﻥ‪ /‬ﺭﺍﺋــﺪ ﺧﻠﻴــﻞ – ﺳــﻮﺭﻳﻪ‪ /‬ﺭﻧــﺪﺭﺍ‬ ‫ﺑﻮﺭﻭﻛﺮﺍﺳﻰ ﺍﺩﺍﺭﻯ ﻣﻰ ﺷﺪ‪ .‬ﺑﺎ ﺯﺣﻤﺎﺕ ﻭ‬ ‫ﻛﻨﻢ ﺗﺎ ﺑﻪ ﺩﻟﻴﻞ ﺍﻳﻨﻜﻪ ﻣﺴﺌﻮﻟﻴﻦ ﺑﺮﮔﺰﺍﺭﻯ ﺍﻳﻦ‬
‫ﺍﻣﻴــﺮ ﺍﻣﻴﻨﻰ‪ /‬ﺳــﻌﻴﺪ ﺍﺻﻐﺮﻯ‪ /‬ﻋﺒــﺎﺱ ﻧﺎﺻﺮﻯ‪/‬‬
‫ﻛﻮﺭﻧﻴﺎﻭﺍﻥ ‪ -‬ﺍﻧﺪﻭﻧﺰﻯ‪ /‬ﺭﻳﻜﺎﺭﺩﻭ ﺁﮔﻮﺳﺘﻮ ﺁﻟﻮﻧﺴﻮ‬ ‫ﭘﻴﮕﻴﺮﻯ ﻫﺎﻯ ﺁﻗﺎﻯ ﺁﮔﺎﻫﻰ ﺗﻮﺍﻧﺴﺘﻢ ﺟﺎﻳﺰﻩ‬ ‫ﻣﺴﺎﺑﻘﻪ ﺟﻮﺍﻳﺰ ﻧﻘﺪﻯ ﺭﺍ ﭘﺮﺩﺍﺧﺖ ﻧﻤﻰ ﻛﻨﻨﺪ ﺩﻳﮕﺮ‬
‫ﺑﻬﺰﺍﺩ ﻏﻔــﺎﺭﻯ ﺯﺍﺩﻩ‪ /‬ﻓﺮﺝ ﻣﺤﻤﺪﻯ‪ /‬ﻣﺤﻤﺪﺻﺎﻟﺢ‬
‫– ﺑﺮﺯﻳــﻞ‪ /‬ﺭﻭﻣﻦ ﺩﺭﺍﮔﻮﺳــﺘﻴﻒ – ﺑﻠﻐﺎﺭﺳــﺘﺎﻥ‪/‬‬ ‫ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻳﻚ ﻧﻮﻳﺴﻨﺪﻩ ﻯ ﺻﺮﺑﺴﺘﺎﻧﻰ ﺑﻪ ﻧﺎﻡ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﻫﻢ ﺩﺭ ﺍﻳﻦ ﻣﺴﺎﺑﻘﺎﺕ ﺷﺮﻛﺖ ﻧﻜﻨﻨﺪ‪.‬‬
‫ﺭﺯﻡ ﺣﺴــﻴﻨﻰ‪ /‬ﻧﻴﻤــﺎ ﻓﺎﺋﺾ‪ /‬ﻣﺤﻤــﺪ ﺧﺪﺍﺩﺍﺩﻯ‪/‬‬
‫ﺳــﻮﻛﺖ ﻳــﺎﻻﺯ – ﺗﺮﻛﻴــﻪ‪ /‬ﺳــﻴﺮﺍﻥ ﻛﺎﻓﺮﻟــﻰ‬ ‫ﺩﺭﮔﺎﭼﻮﻭﻳﭻ ﻛﻪ ﺍﻳﺸﺎﻥ ﻫﻢ ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ ﺟﺎﻳﺰﻩ‬ ‫ﻭﻟﻰ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﻧﻜﺮﺩﻡ‪.‬‬
‫ﻣﻬﺪﻯ ﻣﺮﺍﺩﺧﺎﻧﻰ‪ /‬ﺣﺎﻣﺪ ﻣﺤﺒﻰ‪ /‬ﺷﻬﺮﺍﻡ ﺭﺿﺎﻳﻰ‪/‬‬
‫– ﺁﺫﺭﺑﺎﻳﺠــﺎﻥ‪ /‬ﺍﺳــﻼﻭﻣﻴﺮ‪ -‬ﺟﻤﻬــﻮﺭﻯ ﭼﻚ‪/‬‬ ‫ﻧﻘﺪﻯ ﺧﻮﺩ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﻛﺘﺎﺏ ﺳﺎﻝ ﺑﻪ ﺍﻳﺮﺍﻥ‬ ‫ﺷﺐ ﮔﺬﺷﺘﻪ ﺁﻗﺎﻯ ﺁﮔﺎﻫﻰ ﺭﺍﻳﺰﻥ ﻣﺤﺘﺮﻡ ﻭ‬
‫ﺑﻬﺰﺍﺩ ﺭﻳﺎﺿــﻰ‪ /‬ﺟﺒﺎﺭ ﻋﺒﺪﻟــﻰ‪ /‬ﻣﺤﻤﻮﺩ ﻧﻈﺮﻯ‪/‬‬
‫ﺳــﻮﺗﻠﻴﻦ ﺍﺳــﺘﻔﺎﻧﻮﻑ‪ -‬ﺑﻠﻐﺎﺭﺳﺘﺎﻥ‪ /‬ﺗﺴــﻮﭼﻮ ﭘﻴﻮ‬ ‫ﺳﻔﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﺩﺭ ﻫﺘﻞ ﻻﻟﻪ ﺑﮕﻴﺮﻡ‪.‬‬ ‫ﺩﻟﺴﻮﺯ ﻓﺮﻫﻨﮕﻰ ﺍﻳﺮﺍﻥ ﺩﺭ ﺻﺮﺑﺴﺘﺎﻥ ﺑﺎ ﻣﻦ‬
‫ﻣﻬﻨﺎﺯ ﻳﺰﺩﺍﻧﻰ‪ /‬ﻭﺣﻴﺪ ﺧﺪﺍﻳﺎﺭ‪ /‬ﺭﺍﻣﻴﻦ ﺗﻮﺳﻠﻰ‪ /‬ﻗﺒﺎﺩ‬
‫– ﺑﻠﻐﺎﺭﺳﺘﺎﻥ‪ /‬ﺗﻮﺭﮔﻮﺕ ﻳﻴﻠﻤﺎﺯ – ﺗﺮﻛﻴﻪ‪ /‬ﺗﻮﺭﮔﻮﻯ‬ ‫ﺩﺭ ﻭﺍﻗﻊ ﺍﻳﺸﺎﻥ ﺟﺎﻳﺰﻩ ﺩﺭﻳﺎﻓﺘﻰ ﺧﻮﺩ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺗﻤﺎﺱ ﮔﺮﻓﺖ ﻭ ﭘﺮﺳﻴﺪ ﺷﻤﺎ ﻏﻼﻣﺮﺿﺎ ﻋﻈﻴﻤﻰ‬
‫ﺍﻣﺎﻣﻰ ﻓــﺮﺩ‪ /‬ﻣﺮﺟﺎﻥ ﻣﻠﻚ ﻣﺤﻤﻮﺩﻯ‪ /‬ﻣﻬﺸــﻴﺪ‬
‫ﺗﻮﻳﺴﻮﺯ‪ -‬ﺗﺮﻛﻴﻪ‪ /‬ﻭﺍﻟﻨﺘﻴﻦ ﺟﻮﺭﺟﻴﻮ – ﺑﻠﻐﺎﺭﺳﺘﺎﻥ‪/‬‬ ‫ﺭﺍ ﺑﻪ ﻣﻦ ﺩﺍﺩ ﺗﺎ ﭘﺲ ﺍﺯ ﻣﺮﺍﺟﻌﺖ ﺑﻪ ﻛﺸﻮﺭﺵ‬ ‫ﻫﺴﺘﻴﺪ؟ ﻭ ﻭﻗﺘﻰ ﺑﺎ ﺟﻮﺍﺏ ﻣﺜﺒﺖ ﻣﻦ ﻣﻮﺍﺟﻪ ﺷﺪ‬
‫ﻫﺎﺷﻤﻰ‪ /‬ﻣﺮﻳﻢ ﺫﻭﺍﻟﻔﻘﺎﺭﺯﺍﺩﻩ‬
‫ﻭﻡ‪ -‬ﻛﻠﻤﺒﻴــﺎ‪ /‬ﻭﻳــﻮﻙ ﺗﺎﻛﺎﺭ‪-‬ﻫﻨــﺪ‪ /‬ﻭﻻﺩﻳﻤﻴــﺮ‬ ‫ﺟﺎﻳﺰﻩ ﻣﻦ ﺭﺍ ﺍﺯ ﺳﻔﺎﺭﺕ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺧﻮﺩ‬ ‫ﮔﻔﺖ‪ :‬ﺷﻤﺎ ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺍﻯ ﺩﺭ ﺳﺎﻝ ‪ 2005‬ﺑﺮﻧﺪﻩ‬
‫ﺑﺮﮔﺰﻳﺪﮔﺎﻥ ﺧﺎﺭﺟﻰ‪:‬‬
‫ﻛﺎﺯﺍﻧﻔﺴــﻜﻰ – ﺍﻛﺮﺍﻳﻦ‪ /‬ﻭﺍﻟﺪﺯ – ﺑﺮﺯﻳﻞ‪ /‬ﻳﻮﺭﻯ‬ ‫ﺑﮕﻴﺮﺩ!!!«‬ ‫ﻯ ﺟﺎﻳﺰﻩ ﺍﻯ ﺷﺪﻩ ﺍﻳﺪ ﻛﻪ ﺍﻳﻦ ﺟﺎﻳﺰﻩ ﺩﺭ ﻫﻤﺎﻥ‬
‫ﺁﭼﻤــﺪ ﭼﻮﻟﻴﺪ‪ -‬ﺗﺮﻛﻴﻪ‪ /‬ﺁﺟﻴﻢ ﺳــﻮﻻﺝ – ﺍﻳﺘﺎﻟﻴﺎ‪/‬‬
‫ﻭ ﺍﻳﻦ ﭼﻨﻴﻦ ﺑﻮﺩ ﻛﻪ ﭘﺲ ﺍﺯ ﺩﻭ ﺳﺎﻝ ﻭ ﺍﻧﺪﻯ‬ ‫ﺳﺎﻝ ﺗﺤﻮﻳﻞ ﺳﻔﺎﺭﺕ ﺍﻳﺮﺍﻥ ﺩﺭ ﺻﺮﺑﺴﺘﺎﻥ ﺷﺪ‪.‬‬
‫‪ 500‬ﻳﻮﺭﻭ ﺑﻪ ﺩﺳﺖ ﺻﺎﺣﺐ ﺍﺻﻠﻰ ﺍﺵ ﺭﺳﻴﺪ‪.‬‬ ‫ﻭﻟﻰ ﻣﺎ ﻓﻘﻂ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ ﺭﺍ ﻣﻰ‬

‫‪45‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬


‫‪ -‬ﺻﺪﺍ ﺩﺭ ﺍﻧﻴﻤﻴﺸﻦ‬
‫‪ -‬ﻓﺴﺘﻴﻮﺍﻝ ﺍﻧﻴﻤﻴﺸﻦ ﺗﻬﺮﺍﻥ‬
‫‪ -‬ﺩﺭﺁﻣﺪﻯ ﺑﺮ ﻫﻨﺮ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﺍﻳﺮﺍﻥ‬
‫‪ -‬ﺟﻬﺎﻥ ﭘﺮﻳﺎﻥ ﮔﻢ ﺷﺪﻩ‬
‫‪ -‬ﻣﺨﺎﻃﺐ ﺗﺼﻮﻳﺮﮔﺮﻯ ﻛﺘﺎﺏ ﻛﻮﺩﻙ ﻛﻴﺴﺖ؟‬
‫‪ -‬ﭘﺎپ ﺁپ‬
‫ﺩﺭ ﺍﻳﻦ ﻓﺼﻠﻨﺎﻣﻪ ﺻﺎﺣﺐ ﺍﻣﺘﻴﺎﺯ ﻭ ﻣﺪﻳﺮ ﻣﺴﺌﻮﻝ‪:‬‬
‫‪ -‬ﺩﻭ ﻣﺼﻮﺭ ﺍﺭﻭﭘﺎﻳﻰ‬
‫‪ -‬ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺍﺑﺮﺍﺯ ﻛﻨﻴﺪ ﭘﻴﺶ ﺍﺯﺁﻧﻜﻪ ﺩﻳﺮ ﺷﻮﺩ‬
‫‪ -‬ﺍﻣﺮﻭﺯ ﻭﺿﻌﻴﺖ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﺮﺍﻥ ﭼﻨﺪﺍﻥ‬
‫ﺧﻮﺷﺎﻳﻨﺪ ﻧﻴﺴﺖ‬
‫‪ -‬ﺯﺑﺎﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫‪ -‬ﻛﺎﺭﺗﻮﻥ ﻣﻄﺒﻮﻋﺎﺗﻰ‪ ،‬ﻛﺎﺭﺗﻮﻥ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ‪،‬‬
‫ﻫﺎﺷﻤﻰ ﺷﻬﺮﻛﻰ ﻭ ﻛﻤﺎﻝ ﻃﺒﺎﻃﺒﺎﻳﻰ‪ ،‬ﺷﻮﺭﺍﻯ‬
‫ﺍﺷﺘﺮﺍﻛﻬﺎ ﻭ ﺗﻔﺎﻭﺗﻬﺎ‬
‫‪ -‬ﺍﻭﻟﻴﻦ ﻧﺸﺮﻳﺎﺕ ﻃﻨﺰ ﻓﺮﺍﻧﺴﻪ‬
‫ﻟﻄﻴﻔﻰ‪ ،‬ﺟﻮﺍﺩ ﻋﻠﻴﺰﺍﺩﻩ‪ ،‬ﻣﺤﻤﺪﺭﻓﻴﻊ ﺿﻴﺎﻯ ﻭ‬
‫‪ -‬ﺗﺎﺭﻳﺦ ﺷﻔﺎﻫﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫‪ -‬ﺭﻧﮓ ﺩﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫‪ -‬ﻧﻘﺎﺵ ﺭﻭﻳﺎﻫﺎﻯ ﺑﻴﺪﺍﺭﻯ‬
‫‪ -‬ﺳﻤﭙﻪ ﺩﺍﺳﺘﺎﻧﮕﻮﻯ ﺗﺼﻮﻳﺮﻯ‬
‫ﺩﺭ ﺍﻭﻟﻴﻦ ﺷﻤﺎﺭﻩ ﺍﻳﻦ ﻓﺼﻠﻨﺎﻣﻪ ﻣﻰ ﺧﻮﺍﻧﻴﺪ ﻭ‬
‫‪ -‬ﺷﻴﺮﻳﻦ ﺗﺮﻳﻦ ﻃﻨﺰ ﺗﻠﺦ‬
‫‪ -‬ﻋﻠﺖ ﻳﺎ ﻣﻌﻠﻮﻝ‬
‫‪ -‬ﻳﻜﻰ ﺍﺯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻫﺎﻳﻰ ﻛﻪ ﺩﻭﺳﺖ ﺩﺍﺭﻡ‬
‫‪ -‬ﺗﺼﺎﻭﻳﺮ ﻣﺎﻧﺪﮔﺎﺭ ﻣﻦ‬
‫‪ -‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺳﻪ ﺑﻌﺪﻯ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﺩﺭ ﻧﮕﺎﺭﺧﺎﻧﻪ ﺩﺍﺋﻤﻰ‬
‫ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻧﮕﺎﺭﺧﺎﻧــﻪ ﺩﺍﺋﻤﻰ ﺧﺎﻧــﻪ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻣﻴﺰﺑﺎﻥ ﺁﺛﺎﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺷــﻬﺎﺏ ﺟﻌﻔــﺮ ﻧﮋﺍﺩ ﺑﻮﺩ‪.‬‬
‫ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸــﮕﺎﻩ ‪ 42‬ﺍﺛﺮ ﺩﺭ ﺍﺑﻌﺎﺩ ﻣﺨﺘﻠﻒ ﺑﺎ ﺗﻜﻨﻴﻚ ﺁﺑﺮﻧﮓ ﻭ ﻓﺘﻮﺷﺎپ ﺍﺯ ﭼﻬﺮﻩ ﻫﺎﻯ‬
‫ﺑﺮﺗﺮ ﻭﺭﺯﺵ‪ ،‬ﺳــﻴﻨﻤﺎ ﻭ ﻣﻮﺳــﻴﻘﻰ ﺍﻳــﺮﺍﻥ ﻭ ﺟﻬﺎﻥ ﺩﺭ ﻣﻌﺮﺽ ﺩﻳﺪ ﻋﻤــﻮﻡ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬‬
‫ﺷﻬﺎﺏ ﺟﻌﻔﺮﻧﮋﺍﺩ ﻣﺘﻮﻟﺪ ﺳﺎﻝ ‪ 1362‬ﺗﻬﺮﺍﻥ ﻭ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﻣﻬﻨﺪﺳﻰ ﺷﻴﻼﺕ ﻣﻰ ﺑﺎﺷﺪ‪.‬‬
‫ﻭﻯ ﺩﻟﻴــﻞ ﻋﻼﻗﻤﻨــﺪﻯ ﺧــﻮﺩ ﺑــﻪ ﻫﻨــﺮ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺭﺍ ﻣﺪﻳــﻮﻥ ﻣﺠﻠــﻪ ﻃﻨــﺰﻭ‬
‫ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻭ ﺟــﻮﺍﺩ ﻋﻠﻴــﺰﺍﺩﻩ ﺩﺍﻧﺴــﺘﻪ ﻭ ﻫﻤﭽﻨﻴــﻦ ﺣﻀــﻮﺭ ﺧــﻮﺩ ﺩﺭ ﺩﻭﺭﻩ ﻫــﺎﻯ‬
‫ﺁﻣﻮﺯﺷــﻰ ﺧﺎﻧــﻪ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻭ ﺍﺳــﺘﻔﺎﺩﻩ ﺍﺯ ﺗﺠﺮﺑﻴــﺎﺕ ﺍﺳــﺘﺎﺩ ﺣﺴــﻴﻦ ﺻﺎﻓــﻰ ﺭﺍ‬
‫ﺩﺭ ﺷــﻜﻞ ﮔﻴــﺮﻯ ﻃﺮﺍﺣــﻰ ﻭ ﻗــﻮﺕ ﺧﻄــﻮﻁ ﺧــﻮﺩ ﺑﺴــﻴﺎﺭ ﺗﺎﺛﻴﺮ ﮔــﺬﺍﺭ ﻣــﻰ ﺩﺍﻧﺪ‪.‬‬
‫ﺟﻌﻔﺮﻧــﮋﺍﺩ ﻓﻌﺎﻟﻴــﺖ ﺣﺮﻓــﻪ ﺍﻯ ﺧــﻮﺩ ﺭﺍ ﺍﺯ ﺳــﺎﻝ ‪ 77‬ﺑــﺎ ﻣﺠﻠــﻪ ﺩﻧﻴــﺎﻯ ﺗﺼﻮﻳــﺮ‬
‫ﺁﻏــﺎﺯ ﻧﻤــﻮﺩﻩ ﻭ ﺩﺭ ﺣــﺎﻝ ﺣﺎﺿــﺮ ﺑــﺎ ﻣﻮﺳﺴــﻪ ﮔﻞ ﺁﻗــﺎ ﻫﻤــﻜﺎﺭﻯ ﺩﺍﺭﺩ‪.‬‬
‫ﺍﻳﻦ ﻧﻤﺎﻳﺸــﮕﺎﻩ ﺍﺯ ‪ 25‬ﺑﻬﻤﻦ ﺍﻟﻰ ‪ 5‬ﺍﺳــﻔﻨﺪ ﻣﺎﻩ ‪ 1386‬ﺩﺭ ﻣﺤﻞ ﻧﮕﺎﺭﺧﺎﻧﻪ ﺩﺍﺋﻤﻰ ﺧﺎﻧﻪ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺮﭘﺎ ﺑﻮﺩ‪.‬‬
‫ﻓﺼﻠﻨﺎﻣﻪ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ‪،‬‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻭ ﺍﻧﻴﻤﻴﺸﻦ‬
‫"ﺧﻂ ﺧﻄﻰ"‬
‫ﺑﺮﮔﺰﺍﺭﻯ ﻛﻨﻔﺮﺍﻧﺲ ﻣﻄﺒﻮﻋﺎﺗﻰ ﻣﺴﺎﺑﻘﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻏﺰﻩ‬
‫ﻛﻴﺎﺭﺵ ﺯﻧﺪﻯ‪ ،‬ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﻫﻤﺎﻫﻨﮕﻰ‪ :‬ﻋﻠﻰ‬ ‫ﺑﺮﺍﻯ ﻛﻤﻚ ﺑﻪ ﻓﻠﺴﻄﻴﻦ ﻣﻈﻠﻮﻡ‬
‫ﻫﺎﺷﻤﻰ ﺷﻬﺮﻛﻰ‪ ،‬ﺩﺑﻴﺮ ﺩﺍﺧﻠﻰ‪ :‬ﻧﺎﺯﻧﻴﻦ ﻋﺒﺎﺳﻰ‪،‬‬
‫ﺷﻮﺭﺍﻯ ﺑﺨﺶ ﺍﻧﻴﻤﻴﺸﻦ‪ :‬ﻓﺮﺥ ﻳﻜﺪﺍﻧﻪ‪ ،‬ﺑﺎﺑﻚ‬
‫ﻧﻜﻮﻳﻰ ﻭ ﺣﺴﻴﻦ ﺻﺎﻓﻰ‪ ،‬ﺷﻮﺭﺍﻯ ﺑﺨﺶ‬ ‫ﺭﺋﻴــﺲ ﺧﺎﻧــﻪ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺍﻳــﺮﺍﻥ ﺑﺎ ﺑﻴــﺎﻥ ﺍﻳﻨﻜــﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖﻫﺎﻯ ﻣﺴــﻠﻤﺎﻥ ﻧﮕﺎﻫﻰ ﻭﻳــﮋﻩ ﺑﻪ‬
‫ﺍﻳــﺮﺍﻥ ﺩﺍﺭﻧــﺪ‪ ،‬ﺍﺯ ﺑﺮﮔــﺰﺍﺭﻯ ﻣﺴــﺎﺑﻘﻪ ﺑﻴﻦﺍﻟﻤﻠﻠــﻰ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﻏــﺰﻩ ﺩﺭ ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪ 87‬ﺧﺒــﺮ ﺩﺍﺩ‪.‬‬
‫ﺗﺼﻮﻳﺮﺳﺎﺯﻯ‪ :‬ﺍﺑﻮﺍﻟﻔﻀﻞ ﻫﻤﺘﻰ ﺁﻫﻮﻳﻰ‪ ،‬ﻋﻠﻰ‬
‫ﻣﺴــﻌﻮﺩ ﺷــﺠﺎﻋﻰ ﻃﺒﺎﻃﺒﺎﻳﻰ ﺻﺒﺢ ﺭﻭﺯ ﻳﻜﺸﻨﺒﻪ ‪ 14‬ﺑﻬﻤﻦ ﺩﺭ ﻧﺸﺴﺖ ﺧﺒﺮﻯ ﻣﺴــﺎﺑﻘﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻏﺰﻩ‬
‫ﺩﺭ ﺳــﺎﻟﻦ ﻛﻨﻔﺮﺍﻧﺲ ﺳــﺎﺯﻣﺎﻥ ﻓﺮﻫﻨﮕﻰ ﻫﻨﺮﻯ ﺷــﻬﺮﺩﺍﺭﻯ ﺗﻬﺮﺍﻥ ﮔﻔﺖ‪" :‬ﻧﻜﺘﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺍﻳﻦ ﺍﺳــﺖ‬
‫ﺑﺨﺶ ﻛﺎﺭﺗﻮﻥ ﻭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‪ :‬ﺩﻛﺘﺮ ﻏﻼﻣﻌﻠﻰ‬
‫ﻛﻪ ﺑﻌﺪ ﺍﺯ ﻣﺴــﺎﺑﻘﺎﺕ ﻣﺘﻌﺪﺩ ﻛﻪ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩﻩ‪ ،‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴــﺖ ﻫﺎﻯ ﺑﺮﺟﺴــﺘﻪ ﺩﻧﻴﺎ ﺩﺭ‬
‫ﺗﻤﺎﺱﻫﺎﻳﻰ ﺩﺭﺧﻮﺍﺳــﺖ ﻓﻌﺎﻟﻴﺖ ﺑﻴﺸــﺘﺮ ﺍﻳــﻦ ﻣﺮﻛﺰ ﺭﺍ ﺩﺍﺭﻧﺪ‪ .‬ﺟﺎﻳــﮕﺎﻩ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺭ ﺳــﻄﺢ ﺑﻴﻦ‬
‫ﺑﻬﻤﻦ ﻋﺒﺪﻯ ﻭ ﺷﻮﺭﺍﻯ ﺑﺨﺶ ﻫﻨﺮﻯ‪ :‬ﺩﻛﺘﺮ‬
‫ﻛﻮﺭﻭﺵ ﭘﺎﺭﺳﺎﻧﮋﺍﺩ‪ ،‬ﻓﺮﺯﺍﺩ ﺍﺩﻳﺒﻰ ﻭ ﻣﺤﺴﻦ‬ ‫ﺍﻟﻤﻠﻠﻰ ﺩﺭ ﺣﺪﻯ ﺍﺳــﺖ ﻛﻪ ﺳــﺎﻳﺖ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻣﺎ ﺳــﺎﻝ ‪ 86‬ﺑﻴﺶ ﺍﺯ ‪ 66‬ﻣﻴﻠﻴﻮﻥ ﺑﺎﺯﺩﻳﺪ ﺩﺍﺷــﺘﻪ ﺍﺳــﺖ‪".‬‬
‫ﻭﻯ ﺑﺎ ﺗﺎﻛﻴﺪ ﺑﺮ ﺍﻳﻨﻜﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻫﺎﻯ ﻣﺴﻠﻤﺎﻥ ﻧﮕﺎﻩ ﻭﻳﮋﻩ ﺑﻪ ﺍﻳﺮﺍﻥ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﻯ ﻣﻰﺧﻮﺍﻫﻨﺪ‬
‫ﺳﻠﻴﻤﺎﻧﻰ ﻣﻰ ﺑﺎﺷﻨﺪ‪.‬‬
‫ﻛﺸﻮﺭ ﻣﺎ ﺍﺯ ﺁﻧﻬﺎ ﺣﻤﺎﻳﺖ ﻛﻨﺪ‪ ،‬ﺑﻪ ﻣﺴﺎﺑﻘﺎﺕ "ﻓﻠﺴﻄﻴﻨﻰ ﺧﺎﻧﻪ ﻧﺪﺍﺭﺩ" ﻭ "ﻫﻮﻟﻮﻛﺎﺳﺖ" ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﺩﺭﺑﺎﺭﻩ‬
‫ﺑﺮﮔﺰﺍﺭﻯ ﻣﺴﺎﺑﻘﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻏﺰﻩ ﮔﻔﺖ‪"" :‬ﺍﺯ ﻟﺤﻈﻪﺍﻯ ﻛﻪ ﻗﺘﻞ ﻋﺎﻡ ﻣﺮﺩﻡ ﻓﻠﺴﻄﻴﻦ ﺁﻏﺎﺯ ﺷﺪ‪ ،‬ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﻣﻰ ﺑﻴﻨﻴﺪ‪:‬‬
‫‪ -‬ﻫﻨﺮ ﺍﻧﻴﻤﻴﺸﻦ ﺑﺎﻳﺪ ﻛﺎﺭﺑﺮﺩﻯ ﺷﻮﺩ‬ ‫ﺩﺭ ﭘﻰ ﺣﺮﻛﺘﻰ ﺑﺮﺍﻯ ﺩﻓﺎﻉ ﺍﺯ ﻣﺮﺩﻡ ﻣﻈﻠﻮﻡ ﻭ ﺑﻰﺩﻓﺎﻉ ﻓﻠﺴﻄﻴﻦ ﺑﻮﺩ ﺗﺎ ﺍﻳﻦ ﺣﺮﻛﺖ ﻏﻴﺮﺍﻧﺴﺎﻧﻰ ﺭﺍ ﺩﺭ ﺳﻄﺢ‬
‫ﺑﻴﻦﺍﻟﻤﻠﻞ ﻣﺤﻜﻮﻡ ﻛﻨﺪ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﺧﺎﻃﺮ ﺗﺼﻤﻴﻢ ﺑﻪ ﺑﺮﮔﺰﺍﺭﻯ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻏﺰﻩ ﮔﺮﻓﺘﻴﻢ‪".‬‬
‫‪ -‬ﭘﺪﺭﺍﻥ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺎﻻﺕ ﻣﺘﺤﺪﻩ‬
‫‪ -‬ﻣﻴﻜﻰ ﻣﺎﺱ ﺭﺍ ﭼﻪ ﻛﺴﻰ ﺁﻓﺮﻳﺪ؟‬ ‫ﺷــﺠﺎﻋﻰ ﻃﺒﺎﻃﺒﺎﻳــﻰ ﺍﻓﺰﻭﺩ‪" :‬ﺑﺎ ﻫﻤﺖ ﺧﺎﻧــﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﺮﺍﻥ ﻭ ﺑﺎ ﺻﺤﺒﺖﻫﺎﻳﻰ ﻛــﻪ ﺑﺎ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ‬
‫ﻣﻌﺎﺻﺮ ﻓﻠﺴــﻄﻴﻦ ﻭ ﻣﺸﺎﺭﻛﺖ ﺳﺎﻳﺖ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺳﻮﺭﻳﻪ‪ww.syriacartoo.com‬ﺍﻧﺠﺎﻡ ﺷﺪ ﺍﻗﺪﺍﻡ ﺑﻪ‬
‫‪ -‬ﻓﻀﺎﺳﺎﺯﻯ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ‬
‫ﺑﺮﮔﺰﺍﺭﻯ ﻣﺴــﺎﺑﻘﻪ ﺍﻳﻨﺘﺮﻧﺘﻰ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻏﺰﻩ ﺑﺎ ﻣﻮﺿﻮﻉ "ﻣﺮگ ﺩﺭ ﻏﺰﻩ‪ ،‬ﻣﺮﺩﻡ ﻓﻠﺴــﻄﻴﻦ ﻛﺸﺘﻪ ﻣﻰﺷﻮﻧﺪ‪،‬‬
‫ﻛﻤــﻚ ﻛﻨﻴﺪ" ﻛﺮﺩﻳﻢ‪ .‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺘﻘﺎﺿﻰ ﺷــﺮﻛﺖ ﺍﺯ ﺳﺮﺍﺳــﺮ ﺩﻧﻴﺎ ﺍﻋﻢ ﺍﺯ ﺁﻣﺎﺗــﻮﺭ ﻭ ﺣﺮﻓﻪﺍﻯ ﺑﺎﻳﺪ ﺁﺛﺎﺭ‬
‫ﺧــﻮﺩ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺍﻳﻨﺘﺮﻧﺘﻰ ﺑﺮﺍﻯ ﻣﺎ ﺍﺭﺳــﺎﻝ ﻛﻨﻨﺪ ﻭ ﻣﻬﻠﺖ ﺍﺭﺳــﺎﻝ ﺁﺛﺎﺭ ‪ 11‬ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪ 87‬ﺍﺳــﺖ‪".‬‬
‫ﺭﺋﻴــﺲ ﺧﺎﻧــﻪ ﻛﺎﺭﻳﻜﺎﺗــﻮﺭ ﺩﺭ ﭘﺎﻳــﺎﻥ ﺑــﺎ ﺍﺑــﺮﺍﺯ ﺍﻣﻴــﺪﻭﺍﺭﻯ ﺍﺯ ﺍﻳﻨﻜــﻪ ﺑﺮﮔــﺰﺍﺭﻯ ﻣﺴــﺎﺑﻘﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ‬
‫ﻛﺎﺭﻛﺎﺗــﻮﺭ ﻏــﺰﻩ ﺑﺎﻋــﺚ ﺷــﻮﺩ ﺍﻳﻦ ﻓﺎﺟﻌــﻪ ﺍﻧﺴــﺎﻧﻰ ﺑــﻪ ﺯﻭﺩﻯ ﭘﺎﻳﺎﻥ ﻳﺎﺑــﺪ‪ ،‬ﺩﺭﺑــﺎﺭﻩ ﺟﻮﺍﻳﺰ ﻣﺴــﺎﺑﻘﻪ‬
‫ﮔﻔــﺖ‪" :‬ﻧﻤﺎﻳﺸــﮕﺎﻫﻰ ﺍﺯ ﺍﻳﻦ ﺁﺛــﺎﺭ ‪ 22‬ﺍﺭﺩﻳﺒﻬﺸــﺖ ‪ 87‬ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫــﺎﻯ ﻣﻌﺎﺻﺮ ﻓﻠﺴــﻄﻴﻦ ﺑﺮﮔﺰﺍﺭ‬
‫ﺧﻮﺍﻫﺪ ﺷــﺪ‪ .‬ﻫﻤﭽﻨﻴﻦ ﺑﺮﺍﻯ ﺍﻳﻦ ﻣﺴــﺎﺑﻘﻪ ﺳــﻪ ﺟﺎﻳــﺰﻩ ﺑﻪ ﻣﺒﺎﻟﻎ ﻫﺰﺍﺭ‪ ،‬ﺩﻭ ﻫﺰﺍﺭ ﻭ ﺳــﻪ ﻫــﺰﺍﺭ ﻳﻮﺭﻭ ﺩﺭ‬
‫ﻧﻈــﺮ ﮔﺮﻓﺘــﻪ ﺷــﺪﻩ ﻭ ﺑــﻪ ‪ 10‬ﻧﻔــﺮ ﺩﻳﮕــﺮ ﺍﺯ ﻛﺎﺭﻫــﺎﻯ ﺑﺮﮔﺰﻳﺪﻩ ﻟــﻮﺡ ﺗﻘﺪﻳﺮ ﺍﻋﻄــﺎ ﺧﻮﺍﻫﻴــﻢ ﻛﺮﺩ‪".‬‬
‫ﺷــﺠﺎﻋﻲ ﺩﺭﺑــﺎﺭﻩ ﺗﺮﻛﻴــﺐ ﻫﻴﺌــﺖ ﺩﺍﻭﺭﺍﻥ ﺍﻳــﻦ ﻣﺴــﺎﺑﻘﻪ ﻧﻴــﺰ ﮔﻔــﺖ‪ :‬ﻫﻴﺌــﺖ ﺩﺍﻭﺭﺍﻥ ﺗﺮﻛﻴﺒــﻲ ﺍﺯ‬
‫ﻫﻨﺮﻣﻨــﺪﺍﻥ ﺩﺍﺧﻠــﻲ ﻭ ﺧﺎﺭﺟــﻲ ﺧﻮﺍﻫــﺪ ﺑــﻮﺩ ﻭﻟــﻲ ﻫﻨــﻮﺯ ﺑــﺮﺍﻱ ﺗﺮﻛﻴــﺐ ﻧﻬﺎﻳــﻲ ﺁﻥ ﺑــﻪ ﻧﺘﻴﺠــﻪ‬
‫ﻧﺮﺳــﻴﺪﻩﺍﻳﻢ ﻭ ﺗﺎﻛﻨــﻮﻥ ﺗﻨﻬــﺎ »ﺭﺍﺋﺪ ﺧﻠﻴﻞ« ﻣﺴــﺌﻮﻝ ﺳــﺎﻳﺖ »ﺳــﻴﺮﻳﺎ ﻛﺎﺭﺗــﻮﻥ« ﺑﺮﺍﻱ ﺍﻳــﻦ ﻣﻨﻈﻮﺭ‬
‫ﺍﻧﺘﺨﺎﺏ ﺷــﺪﻩ ﺍﺳــﺖ ﻛــﻪ ﻣﺘﻌﺎﻗﺒ ًﺎ ﺍﺳــﺎﻣﻲ ﺩﻳﮕــﺮ ﺩﺍﻭﺭﺍﻥ ﺍﻳﻦ ﻣﺴــﺎﺑﻘﻪ ﺭﺍ ﻧﻴــﺰ ﺍﻋــﻼﻡ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ‪.‬‬
‫ﺷــﺠﺎﻋﻲ ﺍﺑﺮﺍﺯ ﺍﻣﻴﺪﻭﺍﺭﻱ ﻛﺮﺩ ﻛﻪ ﺑﺮﮔﺰﺍﺭﻱ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﺩﺭ ﺳﻄﺢ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﺑﻪ ﺣﻞ ﻭ ﻓﺼﻞ ﻣﺸﻜﻼﺗﻲ‬
‫ﻛﻪ ﺩﺭ ﻏﺰﻩ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺍﺳﺖ ﻛﻤﻚ ﻛﻨﺪ‪.‬‬
‫ﺗﺴﻠﻴﺖ‬
‫ﺟﻨﺎﺏ ﺁﻗﺎﻯ ﺳﻴﺪﻣﺴــﻌﻮﺩ ﺷﺠﺎﻋﻰ ﻃﺒﺎﻃﺒﺎﻳﻰ ﺩﺭﮔﺬﺷﺖ ﭘﺪﺭ ﻣﺤﺘﺮﻡ ﻫﻤﺴﺮ ﮔﺮﺍﻣﻴﺘﺎﻥ ﺭﺍ ﺑﻪ ﺷﻤﺎ‬
‫ﻭ ﺧﺎﻧﻮﺍﺩﻩ ﻣﺤﺘﺮﻡ ﺗﺴﻠﻴﺖ ﻋﺮﺽ ﻧﻤﻮﺩﻩ ﻏﻔﺮﺍﻥ ﺍﻟﻬﻰ ﺑﺮﺍﻯ ﺁﻥ ﻣﺮﺣﻮﻡ ﻭ ﺳﻼﻣﺘﻰ ﻭ ﺻﺒﺮ ﺑﺮﺍﻯ‬
‫ﺑﺎﺯﻣﺎﻧﺪﮔﺎﻥ ﺁﺭﺯﻭﻣﻨﺪﻳﻢ‪.‬‬
‫ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﺮﺍﻥ‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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 ‫ﺭﺍﭘﻴﺪ ﺍﺻﻮﻻ ﺑﺮﺍﻯ ﻃﺮﺍﺣﻰ ﺳﺮﻳﻊ ﻭ ﺍﺳﻜﭻ ﻭ ﺍﺯ ﺍﻳﻦ ﻗﺒﻴﻞ ﻛﺎﺭﻫﺎ‬
‫ﺳﺎﺧﺘﻪ ﻧﺸﺪﻩ‪ ،‬ﺍﻳﻦ ﻭﺳﻴﻠﻪ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﺮﺍﻯ ﺍﻳﺠﺎﺩ ﺧﻄﻮﻁ ﻣﻨﻈﻢ‬
‫ﻭ ﻳﻜﺪﺳﺖ ﻭ ﻣﺮﺗﺐ ﻭ ﻫﻨﺪﺳﻰ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ ﻛﺎﺭﺑﺮﺩ ﺍﺻﻠﻰ ﺁﻥ ﺩﺭ‬
‫ﺭﺷﺘﻪ ﻫﺎﻯ ﻣﻌﻤﺎﺭﻯ ﻭ ﻃﺮﺍﺣﻰ ﺻﻨﻌﺘﻰ ﺑﻴﺸﺘﺮ ﻣﻰ ﺑﺎﺷﺪ‪ .‬ﺍﮔﺮ ﻣﻰ‬
‫ﺧﻮﺍﻫﻴﺪ ﺧﻄﻮﻁ ﺍﺟﺮﺍﻳﻰ ﺗﺎﻥ ﺑﺎ ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﻓﺎﺻﻠﻪ ﻛﻤﺘﺮﻯ ﺩﺍﺷﺘﻪ‬
‫ﺑﺎﺷﺪ ﻣﻦ ﻗﻠﻢ ﻓﻠﺰﻯ ﻭ ﺧﻮﺩﻛﺎﺭ ‪ 1/4‬ﻭ ﺑﻌﻀﻰ ﻭﻗﺘﻬﺎ ﻫﻢ ﺭﻭﺍﻥ‬
‫ﻧﻮﻳﺲ ﺭﺍ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰ ﻛﻨﻢ‪.‬‬
‫ﺁﺭﻳﺎ‬
‫ﻳﺎﺩﻡ ﻣﻴﺎﺩ ﭼﻨﺪ ﺳﺎﻝ ﭘﻴﺶ ﺩﺭ ﻳﻜﻲ ﺍﺯ ﻣﺠﻼﺕ ﻛﺎﺭ ﺷﻤﺎ ﺭﺍ ﺩﺭ ﻛﻨﺎﺭ‬
‫ﻛﺎﺭ ﻳﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﺧﺎﺭﺟﻲ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩﻧﺪ ﻭ ﺍﻳﻦ ﺩﻭ ﻛﺎﺭ‬
‫ﻛﺎﻣﻼ ﻣﺜﻞ ﻫﻢ ﺑﻮﺩﻧﺪ ﻳﺎ ﺷﺎﻳﺪ ﺷﺒﺎﻫﺖ ﺍﺗﻔﺎﻗﻲ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﻌﺪﺍ‬
‫ﺭﻭﻱ ﻓﻌﺎﻟﻴﺖ ﺣﺮﻓﻪ ﺍﻱ ﺷﻤﺎ ﺗﺎﺛﻴﺮﻱ ﻧﮕﺬﺍﺷﺖ؟‬
‫ﺁﺭﻳﺎﻯ ﻋﺰﻳﺰ ﻓﻜﺮ ﻛﻨﻢ ﺣﺪﻭﺩ ‪ 11‬ﻳﺎ ‪ 12‬ﺳﺎﻝ ﻗﺒﻞ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ‬
‫ﻭ ﺩﻭﺭﻩ ﺍﺯ ﻛﺎﺭﻡ ﻭ ﺩﺭ ﺟﻬﺖ ﭘﻴﺸﺮﻓﺖ‪ ،‬ﻫﺮ ﻛﺎﺭﻯ ﻛﻪ ﺑﻪ ﻓﻜﺮﻡ ﻣﻰ‬
‫ﺭﺳﻴﺪ ﺍﻧﺠﺎﻡ ﻣﻰ ﺩﺍﺩﻡ‪ .‬ﻳﺎﺩﻡ ﻣﻰ ﻳﺎﺩ ﻭﻗﺘﻰ ﺑﻪ ﺧﺎﻃﺮ ﻛﭙﻰ ﺁﻥ‬
‫ﻛﺎﺭﺗﻮﻥ ﺑﻪ ﺩﻓﺘﺮ ﻛﻴﻬﺎﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻓﺮﺍﺧﻮﺍﻧﺪﻩ ﺷﺪﻡ ﺑﻪ ﺩﻭﺳﺘﺎﻥ‬
‫ﻋﺰﻳﺰ ﻭ ﺟﻨﺎﺏ ﺁﻗﺎﻯ ﻧﻴﺮﻭﻣﻨﺪ ﮔﻔﺘﻢ »ﻧﻪ!! ﻣﻦ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ ﺧﻮﺩﻡ‬
‫ﻛﺸﻴﺪﻡ ﻭ ﺍﺻﻼ ﻫﻢ ﻛﭙﻰ ﻧﻴﺴﺖ«‪ .‬ﮔﺮﭼﻪ ﺁﻧﻬﺎ ﻣﻰ ﺩﺍﻧﺴﺘﻨﺪ ﻛﻪ ﻛﺎﺭ‬
‫ﻛﭙﻰ ﺷﺪﻩ ﻭ ﺧﻼﺻﻪ ﺑﻌﺪ ﺍﺯ ﭼﺎپ ﺧﺒﺮ ﻛﺎﺭﺗﻮﻧﻢ ﺩﺭ ﺷﻤﺎﺭﻩ ﺑﻌﺪ ﻛﻤﻰ‬
‫ﺧﺠﺎﻟﺖ ﻛﺸﻴﺪﻡ‪.‬‬
‫‪47‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﻳﻚ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺭﺍ ﻧﮕﺎﻩ ﻣﻰ ﻛﻨﻢ ﻣﻤﻜﻨﻪ ﭼﻨﺪﻳﻦ ﺑﺮﺩﺍﺷﺖ ﺍﺯﺵ‬
‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺷﺎﻳﺪﻡ ﺩﺭ ﻧﻬﺎﻳﺖ ﻧﺘﻮﻧﻢ ﺧﻮﺏ ﺩﺭﻛﺶ ﻛﻨﻢ‪ .‬ﻣﻴﺸﻪ ﺩﺭ‬
‫ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺭﺍﻫﻨﻤﺎﻳﻴﻢ ﻛﻨﻴﺪ؟‬
‫ﻣﺘﺸﻜﺮﻡ‬
‫ﺩﻭﺳﺖ ﺧﻮﺑﻢ‬
‫ﺩﺭ ﻧﻘﺪ ﻭ ﺑﺮﺭﺳﻰ ﻭ ﺗﻔﻬﻴﻢ ﻛﺎﺭﺗﻮﻥ ﻣﻰ ﺑﺎﻳﺴﺖ ﺍﻃﻼﻋﺎﺕ ﻋﻤﻮﻣﻰ‬
‫ﺯﻳﺎﺩﻯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﺪ‪ .‬ﺑﺮﺍﻯ ﻣﺜﺎﻝ ﺑﺎﻳﺪ ﻧﻤﺎﺩﻫﺎ – ﺳﻤﺒﻠﻬﺎ –‬
‫ﺧﺼﻮﺻﻴﺎﺕ ﻓﺮﻫﻨﮕﻬﺎﻯ ﻣﺨﺘﻠﻒ – ﺍﻃﻼﻋﺎﺕ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ‬
‫ﻭ ﺧﻼﺻﻪ ﻛﻠﻰ ﭼﻴﺰ ﺩﻳﮕﺮ ﺑﺪﺍﻧﻴﺪ ﻭ ﻳﻚ ﻧﻜﺘﻪ ﻗﺎﺑﻞ ﺫﻛﺮ ﺍﺳﺖ ﻛﻪ‬
‫ﻋﻤﻮﻣﺎ ﻛﺎﺭﺗﻮﻧﻴﺴﺘﻬﺎﻯ ﻣﻮﻓﻖ ﻛﺎﺭﺷﺎﻥ ﺭﺍ ﻃﻮﺭﻯ ﺳﺎﺩﻩ ﻭ ﮔﻮﻳﺎ ﻣﻰ‬
‫ﻛﺸﻨﺪ ﻛﻪ ﺍﻛﺜﺮ ﻣﺮﺩﻡ ﺣﺘﻰ ﺑﺎ ﺍﻃﻼﻋﺎﺕ ﻋﺎﺩﻯ ﻫﻢ ﻗﺎﺩﺭ ﺑﻪ ﺩﺭﻙ‬
‫ﺁﻧﻬﺎ ﻫﺴﺘﻨﺪ‪.‬‬
‫ﻣﺮﺿﻴﻪ‬
‫ﺑﺎ ﺳﻼﻡ‬
‫ﺑﺮﺍﻯ ﻛﺸﻴﺪﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﺳﺖ ﻣﻦ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺑﻪ ﻣﺪﺍﺩ ﻋﺎﺩﺕ‬
‫ﻛﺮﺩﻩ‪ .‬ﺍﺗﻔﺎﻗﺎ ﻛﺎﺭﺍﻡ ﻫﻢ ﺧﻮﺏ ﺍﺯ ﺁﺏ ﺩﺭ ﻣﻴﺎﺩ ﺍﻣﺎ ﺑﻪ ﻣﺤﺾ ﺩﺳﻦ‬
‫ﮔﻴﺮﻯ ﺑﺎ ﺭﺍﭘﻴﺪ ﺧﻄﻮﻃﻢ ﺷﻜﺴﺘﻪ ﻭ ﺿﻌﻴﻒ ﻣﻰ ﺷﻪ ﻭ ﺧﻴﻠﻰ ﺍﺯ‬
‫ﺯﻳﺒﺎﻳﻰ ﻫﺎﻯ ﭘﻴﺶ ﺍﺯ ﺭﺍﭘﻴﺪ ﮔﺮﻓﺘﻨﻢ ﺍﺯ ﺑﻴﻦ ﻣﻴﺮﻩ‪ .‬ﺷﻤﺎ ﺗﻮﺻﻴﻪ ﺍﻯ‬ ‫ﭘﺮﺳﺶﻭﭘﺎﺳﺦﺑﺎ ﺑﻬﺮﺍﻡﺍﺭﺟﻤﻨﺪﻧﻴﺎ‬
‫ﺑﺮﺍﻯ ﺣﻞ ﻣﺸﻜﻞ ﻣﻦ ﺩﺍﺭﻳﺪ؟‬
‫ﻣﺤﻤﺪﻯ‬
‫ﻣﺮﺿﻴﻪ ﻋﺰﻳﺰ‬
‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﮔﺮﺍﻣﻴﻢ ﺁﻗﺎﻯ ﺍﺭﺟﻤﻨﺪ ﻧﻴﺎ‬
‫ﺍﻓﺘﺨﺎﺭ ﺍﻳﻦ ﺭﺍ ﺩﺍﺷﺘﻪ ﺍﻡ ﻛﻪ ﺷﺎﮔﺮﺩ ﺷﻤﺎ ﺑﺎﺷﻢ‬
‫‪ - 1‬ﺑﺮﺍﻯ ﺭﺳﻴﺪﻥ ﺑﻪ ﻳﻚ ﺷﺨﺼﻴﺖ ﺩﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻜﺎﺭ ﺑﺎﻳﺪ‬
‫ﻛﺮﺩ‪ ،‬ﭼﻮﻥ ﻫﺮ ﭼﻪ ﺗﻼﺵ ﻣﻰ ﻛﻨﻢ ﻣﻰ ﺑﻴﻨﻢ ﻛﺎﺭﻫﺎﻳﻢ ﻣﺘﺎﺛﺮ ﺍﺯ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻳﮕﺮ ﺍﺳﺖ؟‬
‫‪ - 2‬ﺷﻤﺎ ﺍﺯ ﭼﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺘﻰ ﺑﻴﺸﺘﺮ ﺗﺎﺛﻴﺮ ﮔﺮﻓﺘﻪ ﺍﻳﺪ؟‬
‫‪ - 1‬ﻣﺤﻤﺪﻯ ﻋﺰﻳﺰ ﺍﺯ ﺍﻳﻨﻜﻪ ﻛﺎﺭ ﺩﻳﮕﺮﺍﻥ ﺷﻤﺎ ﺭﺍ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ‬
‫ﻣﻰ ﺩﻫﺪ ﻧﮕﺮﺍﻥ ﻧﺒﺎﺷﻴﺪ ﻭ ﺍﺩﺍﻣﻪ ﺩﻫﻴﺪ‪ .‬ﺍﺻﻮﻻ ﺩﺭﺻﺪ ﺯﻳﺎﺩﻯ ﺍﺯ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻧﻴﺎ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻛﺎﺭ ﻳﻜﺪﻳﮕﺮ ﻗﺮﺍﺭ ﻣﻰ ﮔﻴﺮﻧﺪ ﻭ ﺑﻌﻀﻰ ﺍﺯ‬
‫ﭘﻴﺸﺘﺎﺯﺍﻥ ﺁﻧﻬﺎ ﺣﺘﻰ ﺍﻟﮕﻮﻯ ﺩﻳﮕﺮﺍﻥ ﻣﻰ ﺷﻮﻧﺪ ﻭ ﺍﻳﻦ ﻃﺒﻴﻌﻰ ﺍﺳﺖ‪.‬‬
‫ﻭﻟﻰ ﺑﺎ ﺳﻌﻰ ﻭ ﺗﻼﺵ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ ﺧﻮﺩﺗﺎﻥ ﺑﻪ ﺧﻼﻗﻴﺖ‪ ،‬ﻧﻮﺁﻭﺭﻯ‬
‫ﻭ ﺍﺳﺘﻘﻼﻝ ﺧﻮﺍﻫﻴﺪ ﺭﺳﻴﺪ‪.‬‬
‫‪ – 2‬ﻃﻰ ﺍﻳﻦ ﭼﻨﺪ ﺳﺎﻝ ﻓﻌﺎﻟﻴﺖ ﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﺨﺘﻠﻔﻰ ﺗﺎﺛﻴﺮ ﮔﺮﻓﺘﻪ‬
‫ﺍﻡ ﻣﺜﻼ ﻫﺎﺩﻯ ﻓﺮﺍﻫﺎﻧﻰ‪ ،‬ﻣﺤﻤﺪ ﻓﻴﺾ ﺁﺑﺎﺩﻯ‪ ،‬ﺣﻤﻴﺪ ﺑﻬﺮﺍﻣﻰ‪ ،‬ﺑﺮﺍﺩ‬
‫ﻫﺎﻟﻨﺪ ﻭ ‪ ...‬ﻭﻟﻰ ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﺧﺪﻣﺘﺘﺎﻥ ﻋﺮﺽ ﻛﺮﺩﻡ ﺑﻌﺪ ﺍﺯ ﻣﺪﺗﻰ‬
‫ﺑﻪ ﻳﻚ ﭼﻬﺎﺭﭼﻮﺏ ﺗﻌﺮﻳﻒ ﺷﺪﻩ ﺩﺭ ﻛﺎﺭﻡ ﺭﺳﻴﺪﻡ ﻭ ﺑﺨﺶ ﻋﻤﺪﻩ‬
‫ﺍﻳﻦ ﺭﺍ ﻣﺪﻳﻮﻥ ‪ 10‬ﺳﺎﻝ ﻓﻌﺎﻟﻴﺖ ﻭ ﻛﺎﺭﻡ ﺑﺎ ﻣﻄﺒﻮﻋﺎﺕ ﻣﻰ ﺩﺍﻧﻢ‪.‬‬
‫ﺳﻼﻡ ﺍﺳﺘﺎﺩ‪.‬ﻣﻦ ﻧﻤﻴﺪﻭﻧﻢ ﭼﻪ ﺟﻮﺭﻯ ﺑﺎﻳﺪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﺑﻜﺸﻢ‬
‫ﻣﻴﺸﻪ ﺭﺍﻫﻨﻤﺎﻳﻴﻢ ﻛﻨﻴﺪ؟‬
‫ﺑﺮﺍﻯ ﻛﺸﻴﺪﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﺍﺑﺘﺪﺍ ﺑﺎﻳﺪ ﻃﺮﺍﺣﻰ ﻛﻼﺳﻴﻜﺘﺎﻥ ﺭﺍ‬
‫ﻗﻮﻯ ﻛﻨﻴﺪ ﻭ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ ﭼﻬﺮﻩ ﻭ ﻧﻮﺁﻭﺭﻯ ﺭﺍ ﻓﺮﺍ ﺑﮕﻴﺮﻳﺪ ﻭ ﺩﺭ‬
‫ﻣﻮﺍﺯﺍﺕ ﺍﻳﻦ ﺗﻤﺮﻳﻦ ﺣﺘﻤﺎ ﻣﻰ ﺑﺎﻳﺴﺖ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻴﺪ ﻭ ﺑﺎ ﺗﻬﻴﻪ ﻣﻨﺎﺑﻊ‬
‫ﺁﻣﻮﺯﺵ ﻣﻨﺎﺳﺐ ﻭ ﺧﻮﺏ ﺍﻃﻼﻋﺎﺗﺘﺎﻥ ﺭﺍ ﻛﺎﻣﻞ ﻛﻨﻴﺪ ﻭ ﺑﺎ ﺩﻓﺮﻣﻪ‬
‫ﻛﺮﺩﻥ ﻭ ﺍﻏﺮﺍﻕ ﺩﺭ ﺍﺻﻮﻝ ﺍﺻﻠﻰ ﺷﺮﻭﻉ ﺑﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﻧﻤﺎﺋﻴﺪ‪.‬‬
‫ﻛﻼﺳﻬﺎﻯ ﺗﺨﺼﺼﻰ ﻃﺮﺍﺣﻰ ﭼﻬﺮﻩ ﺧﺎﻧﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺭﺍ ﺑﻪ ﺷﻤﺎ‬
‫ﻋﺰﻳﺰ ﺗﻮﺻﻴﻪ ﻣﻰ ﻛﻨﻢ‪.‬‬
‫ﻣﺤﻤﺪ‪.‬ﺝ‪.‬ﺡ‬
‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﻋﺰﻳﺰ ﻭ ﺻﺒﻮﺭ‬
‫‪ - 1‬ﺩﺭ ﻃﺮﺍﺣﻰ ﺁﻳﺎ ﺍﺯ ﺁﻧﺎﺗﻮﻣﻰ ﺷﺮﻭﻉ ﺷﻮﺩ ﺑﻬﺘﺮ ﺍﺳﺖ ﻳﺎ ﻃﺒﻴﻌﺖ‬
‫ﺑﻰ ﺟﺎﻥ؟‬
‫‪ - 2‬ﻧﺤﻮﻩ ﻛﺎﺭ ﺑﺎ ﻗﻠﻢ ﻧﻮﺭﻯ ﭼﮕﻮﻧﻪ ﺍﺳﺖ ﻭ ﭼﻪ ﺗﻔﺎﻭﺗﻰ ﺑﺎ ﺭﻧﮓ‬
‫ﺁﻣﻴﺰﻯ ﺳﻨﺘﻰ ﺩﺍﺭﺩ؟‬
‫‪ - 1‬ﺩﻭﺳﺖ ﻋﺰﻳﺰ ﺩﺭ ﻃﺮﺍﺣﻰ ﺑﻬﺘﺮ ﺍﺳﺖ ﺍﺯ ﻃﺒﻴﻌﺖ ﺑﻴﺠﺎﻥ ﺷﺮﻭﻉ‬
‫ﻛﻨﻴﺪ ﻭ ﺳﭙﺲ ﺁﻧﺎﺗﻮﻣﻰ ﻳﺎﺩ ﺑﮕﻴﺮﻳﺪ‪.‬‬
‫‪ – 2‬ﻧﺤﻮﻩ ﻛﺎﺭ ﺑﺎ ﻗﻠﻢ ﻧﻮﺭﻯ ﺑﻌﺪ ﺍﺯ ﻣﺮﺣﻠﻪ ﺗﻤﺮﻳﻨﺎﺕ ﻭ ﺗﺴﺘﻬﺎﻯ‬
‫ﺍﻭﻟﻴﻪ ﻭ ﻋﺎﺩﺕ ﻛﺮﺩﻥ ﺑﻪ ﻃﺮﺯ ﻛﺎﺭ ﺁﻥ ﺑﺴﻴﺎﺭ ﻟﺬﺕ ﺑﺨﺶ ﺍﺳﺖ ﻭ‬
‫ﺍﻣﻜﺎﻧﺎﺕ ﺍﻳﻦ ﻭﺳﻴﻠﻪ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺍﺑﺰﺍﺭ ﺳﻨﺘﻰ ﻧﻴﺴﺖ‪.‬‬
‫ﻭﻟﻰ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻴﻢ ﺑﻌﺪ ﺍﺯﺍ ﺟﺮﺍ ﻧﺘﻴﺠﻪ ﻛﺎﺭ ﺳﻨﺘﻰ ﻭ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺭﺍ ﺑﺎ‬
‫ﻫﻢ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﻢ ﻫﻨﻮﺯ ﻛﺎﺭ ﺳﻨﺘﻰ ﺣﺲ ﻭ ﺣﺎﻝ ﺑﻬﺘﺮﻯ ﺩﺍﺭﺩ ﻭ‬
‫ﻣﻄﻤﺌﻨﻢ ﻛﻪ ﺑﺎ ﭘﻴﺸﺮﻓﺖ ﺩﺭ ﺻﻨﻌﺖ ﭼﺎپ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺑﻪ ﺯﻭﺩﻯ ﺍﻳﻦ‬
‫ﻣﺴﺌﻠﻪ ﻫﻢ ﺣﻞ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬
‫‪Shiva‬‬
‫ﺳﻼﻡ ﺍﺳﺘﺎﺩ‬
‫ﻣﻦ ﺩﺭ ﻓﻬﻤﻴﺪﻥ ﻣﻨﻈﻮﺭ ﻳﻚ ﻛﺎﺭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻯ ﻣﺸﻜﻞ ﺩﺍﺭﻡ‪.‬ﻭﻗﺘﻰ‬

‫ﻣﺸﻜﻠﻰ ﻧﺪﺍﺷﺘﻢ‪ .‬ﻭﻟﻰ ﻭﺭﺯﺷﻬﺎﻳﻰ ﻣﺜﻞ ﻭﺯﻧﻪ ﺑﺮﺩﺍﺭﻯ – ﺑﺪﻧﺴﺎﺯﻯ ﻭ‬
‫ﺭﺯﻣﻰ ﻭ ﺑﻮﻛﺲ ﻣﻄﻤﺌﻨﺎ ﺯﻳﺎﻥ ﺑﺎﺭ ﺍﺳﺖ‪.‬‬
‫ﺍﺑﻮﺫﺭ‬
‫ﺑﺮﺍﻯ ﻗﻮﻯ ﻛﺮﺩﻥ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﭼﻜﺎﺭ ﺑﺎﻳﺪ ﻛﺮﺩ؟‬
‫ﺑﺎ ﺗﺸﻜﺮ ﺍﺯ ﺍﺳﺘﺎﺩ ﻋﺰﻳﺰﻡ‬
‫ﺩﻭﺳﺖ ﻋﺰﻳﺰ ﺑﺎﻳﺪ ﺑﺎ ﺍﺻﻮﻝ ﻭ ﻗﻮﺍﻋﺪ ﺁﻥ ﻛﺎﻣﻼ ﺁﺷﻨﺎ ﺑﺎﺷﻴﺪ ﻭ ﺗﻤﺮﻳﻦ‬
‫ﺯﻳﺎﺩ ﺍﻧﺠﺎﻡ ﺩﻫﻴﺪ ﻭ ﻛﺎﺭ ﻭ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻳﮕﺮ ﺭﺍ ﺑﺒﻴﻨﻴﺪ ﻭ ﻣﻮﺭﺩ‬
‫ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ ﻗﺮﺍﺭ ﺑﺪﻫﻴﺪ‪ ،‬ﺑﻪ ﻫﺮ ﺣﺎﻝ ﻣﺪﺗﻰ ﻃﻮﻝ ﻣﻰ ﻛﺸﺪ ﺗﺎ‬
‫ﺩﺍﺭﺍﻯ ﺗﺠﺮﺑﻪ ﻛﺎﻓﻰ ﺑﺸﻮﻳﺪ‪.‬‬
‫ﺩﺍﻧﻴﺎﻝ‬
‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﺍﺭﺟﻤﻨﺪ ﻧﻴﺎ‬
‫ﻣﻦ ﻳﻚ ﺳﻮﺍﻟﻰ ﺩﺍﺷﺘﻢ ﻛﻪ ﺧﻴﻠﻰ ﻭﻗﺘﻪ ﺫﻫﻨﻤﻮ ﻣﺸﻐﻮﻝ ﻛﺮﺩﻩ ﻭ‬
‫ﺍﻟﺒﺘﻪ ﺧﻴﻠﻰ ﻫﻢ ﺳﺎﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺗﻔﺎﻭﺕ ﻛﺎﺭﺗﻮﻥ ﻭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻴﻪ؟‬
‫ﺑﺎ ﺗﺸﻜﺮ ﺍﺯ ﺷﻤﺎ‬
‫ﺩﺍﻧﻴﺎﻝ ﺟﺎﻥ ﺳﺌﻮﺍﻝ ﺧﻮﺑﻰ ﭘﺮﺳﻴﺪﻳﺪ‬
‫ﻭﻟﻰ ﺧﺪﺍ ﺭﺍ ﺷﻜﺮ ﻛﻪ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﺍﮔﺮ ﺍﺯ ﻛﺎﺭﻯ ﻛﭙﻰ ﻣﻰ ﻛﻨﻢ ﻭ‬
‫ﺍﻗﺘﺒﺎﺱ ﻣﻰ ﮔﻴﺮﻡ ﺩﻳﮕﺮ ﺁﻥ ﺭﺍ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻭ ﻧﺸﺮﻳﻪ ﻭ ﻣﺠﻠﻪ‬
‫ﺍﻯ ﻧﻔﺮﺳﺘﻢ‪.‬‬
‫‪Viva‬‬
‫ﺑﺎ ﺳﻼﻡ‬
‫ﺍﺳﺘﺎﺩ ﻣﻦ ﻣﺪﺕ ﻳﻚ ﺳﺎﻝ ﺍﺳﺖ ﺑﻪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻋﻼﻗﻪ ﻣﻨﺪ ﺷﺪﻡ ﻭ‬
‫ﻧﺎﮔﻔﺘﻪ ﻧﻤﺎﻧﺪ ﻛﻪ ﻗﺒﻼ ﺗﻔﻨﻨﻲ ﻃﺮﺍﺣﻲ ﭼﻬﺮﻩ ﻣﻴﻜﺮﺩﻡ ﻭ ﻛﺎﺭﻡ ﺑﻪ‬
‫ﻗﻮﻝ ﺩﻭﺳﺘﺎﻥ ﺑﺪ ﻧﻴﺴﺖ‪ .‬ﻓﻜﺮ ﻫﺎﻱ ﺯﻳﺒﺎﻳﻲ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺨﺘﻠﻒ ﻭ‬
‫ﺗﻘﺮﻳﺒﺎ ﺑﻜﺮ ﺑﻪ ﺫﻫﻨﻢ ﻣﻴﺮﺳﺪ ﻭﻟﻲ ﻣﺸﻜﻞ ﺑﺰﺭگ ﻣﻦ ﺗﻜﻨﻴﻚ ﻭ‬
‫ﺭﻧﮓ ﺁﻣﻴﺰﻱ ﺍﺳﺖ؟ ﭼﻪ ﻛﺎﺭ ﺑﺎﻳﺪ ﻛﺮﺩ؟ ﭼﻮﻥ ﻣﺎ ﺗﺤﺼﻴﻼﺕ‬
‫ﺁﻛﺎﺩﻣﻴﻚ ﮔﺮﺍﻓﻴﻜﻲ ﻧﺪﺍﺭﻳﻢ؟ ﺗﻜﻨﻴﻚ ﻫﺎﻱ ﺗﺮﻛﻴﺒﻲ ﻛﻪ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻫﺎ ﻣﻌﻤﻮ ًﻻ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻴﻜﻨﻨﺪ ﭼﻴﺴﺖ؟ ﺧﻮﺩﺗﺎﻥ‬
‫ﺑﻴﺸﺘﺮ ﺍﺯﭼﻪ ﺗﻜﻨﻴﻜﻲ ﻛﺎﺭ ﻣﻴﻜﻨﻴﺪ؟‬
‫ﺍﺳﺘﺎﺩ ﻋﺒﺪﻱ ﻣﻲ ﮔﻔﺖ ﺍﺯ ﺭﻧﮓ ﺍﻛﻠﻴﻦ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ ﻭﻟﻲ ﻧﻤﻰ‬
‫ﺩﺍﻧﻢ ﺍﻳﻦ ﺭﻧﮓ ﭼﻴﺴﺖ ) ﮔﻮﺍﺵ ؟ ﺭﻧﮓ ﺭﻭﻏﻦ ؟ ﻭ ‪ (...‬ﻭ ﺍﺯ ﻛﺠﺎ‬
‫ﻣﻲ ﺷﻪ ﺗﻬﻴﻪ ﻛﺮﺩ؟ ﺑﺒﺨﺸﻴﺪ ﻛﻪ ﺳﺌﻮﺍﻝ ﺯﻳﺎﺩ ﻛﺮﺩﻡ‪ .‬ﭼﻮﻥ ﻣﻦ ﺩﺭ‬
‫ﺷﻬﺮﺳﺘﺎﻥ ﻫﺴﺘﻢ ﻭ ﺍﻃﻼﻋﺎﺕ ﻛﻤﻲ ﺍﺯ ﺗﻜﻨﻴﻚ ﻫﺎﻱ ﺭﻧﮓ ﺁﻣﻴﺰﻱ‬
‫ﺩﺍﺭﻡ‪ .‬ﺑﺎﺗﺸﻜﺮ ﻓﺮﺍﻭﺍﻥ‬
‫‪ Viva‬ﻋﺰﻳﺰ ﺩﺭ ﻫﺮ ﺩﻭ ﺯﻣﻴﻨﻪ ﻳﻌﻨﻰ ﻫﻢ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﻭ ﻫﻢ‬
‫ﻛﺎﺭﺗﻮﻥ ﻣﻰ ﺑﺎﻳﺴﺖ ﺍﺑﺘﺪﺍ ﻃﺮﺍﺣﻰ ﻛﻼﺳﻴﻚ ﺭﺍ ﺑﻪ ﺧﻮﺑﻰ ﻓﺮﺍ‬
‫ﺑﮕﻴﺮﻯ ﺗﺎ ﺫﻫﻨﺖ ﺑﺎ ﺍﻳﺪﻩ ﻫﺎﻳﺖ ﺑﻪ ﻳﻚ ﺳﻄﺢ ﺑﺮﺳﻨﺪ‪.‬‬
‫ﺗﻜﻨﻴﻜﻬﺎﻯ ﺗﺮﻛﻴﺒﻰ ﻧﻴﺎﺯ ﺑﻪ ﺷﻨﺎﺧﺖ ﺍﺑﺰﺍﺭ ﺩﺍﺭﻧﺪ‪ ،‬ﺷﻤﺎ ﺑﺎﻳﺪ ﺑﺎ ﺍﺑﺰﺍﺭ‬
‫ﮔﻮﻧﺎﮔﻮﻥ ﻛﺎﺭ ﻭ ﺁﻧﻬﺎ ﺭﺍ ﺗﺠﺮﺑﻪ ﻛﻨﻴﺪ ﺗﺎ ﺑﻬﺘﺮﻳﻦ ﻭ ﻣﻨﺎﺳﺐ ﺗﺮﻳﻦ ﺁﻧﻬﺎ‬
‫ﺭﺍ ﻛﻪ ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﺯﻧﺠﻴﺮﻩ ﺧﻮﺑﻰ ﺗﺸﻜﻴﻞ ﻣﻰ ﺩﻫﻨﺪ ﺭﺍ ﺑﺮﺍﻯ‬
‫ﺧﻮﺩﺕ ﺍﻧﺘﺨﺎﺏ ﻧﻤﺎﻳﻰ‪.‬‬
‫ﻣﺜﻼ ﻣﻦ ﺍﺯ ﺗﺮﻛﻴﺐ ﻃﺮﺍﺣﻰ ﺑﺎ ﻣﺪﺍﺩ ﻭ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﺑﺎ ﺍﻛﻮﻟﻴﻦ ﻭ‬
‫ﺩﻭﺭﮔﻴﺮﻱ ﻭ ﺩﺳﻦ ﺑﺎ ﺧﻮﺩﻛﺎﺭ ﺑﻪ ﻧﺘﺎﻳﺞ ﺧﻮﺑﻰ ﺭﺳﻴﺪﻩ ﺍﻡ ﻭ ﻳﺎ ﻛﺎﺭ ﺑﺎ‬
‫ﻣﺪﺍﺩﺭﻧﮕﻰ ﺭﺍ ﺭﻭﻯ ﺯﻣﻴﻨﻪ ﺁﺑﺮﻧﮓ ﻳﺎ ﺍﻛﻮﻟﻴﻦ ﺧﻴﻠﻰ ﺩﻭﺳﺖ ﺩﺍﺭﻡ ﻭ‬
‫ﻫﻤﭽﻨﻴﻦ ﭘﺎﺳﺘﻞ ﮔﭽﻰ ﺭﻭﻯ ﻣﻘﻮﺍﻯ ﺯﻣﻴﻨﻪ ﺭﻧﮕﻰ ﻓﺎﺑﺮﻳﺎﻧﻮﻯ ‪220‬‬
‫ﮔﺮﻣﻰ )‪ (Eler‬ﺭﺍ ﺩﻭﺳﺖ ﺩﺍﺭﻡ‪.‬‬
‫ﺑﺮﺍﻯ ﭘﻴﺪﺍ ﻛﺮﺩﻥ ﺍﻳﻦ ﻟﻮﺍﺯﻡ ﺑﺎﻳﺪ ﺍﺯ ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎﻯ ﻣﺨﺼﻮﺹ ﻟﻮﺍﺯﻡ‬
‫ﻃﺮﺍﺣﻰ ﻭ ﻧﻘﺎﺷﻰ ﻭ ﻟﻮﺍﺯﻡ ﺍﻟﺘﺤﺮﻳﺮﻫﺎﻯ ﻣﻌﺘﺒﺮ ﺧﺮﻳﺪ ﻛﻨﻰ ﻛﻪ ﺧﺪﺍﻯ‬
‫ﻧﻜﺮﺩﻩ ﺟﻨﺲ ﭼﻴﻨﻰ ﻫﻢ ﺟﺎﻯ ﺍﺻﻞ ﺗﺤﻮﻳﻠﺘﺎﻥ ﻧﺪﻫﻨﺪ‪.‬‬
‫ﮔﻮﺍﺵ ﺭﻧﮕﻰ ﭘﻮﺷﺸﻰ ﻭ ﻣﺎﺕ ﺍﺳﺖ ﻭ ﺑﺮﺍﻯ ﺍﺟﺮﺍﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻭ‬
‫ﻛﺎﺭﺗﻮﻥ ﻣﻨﺎﺳﺐ ﻣﻰ ﺑﺎﺷﺪ‪ .‬ﺭﻧﮓ ﺭﻭﻏﻦ ﺑﻴﺸﺘﺮ ﻣﺨﺼﻮﺹ ﻧﻘﺎﺷﻰ‬
‫ﺭﻭﻯ ﺑﻮﻡ ﻭ ﭘﺎﺭﭼﻪ ﺍﺳﺖ ﻭﻟﻰ ﻣﻰ ﺗﻮﺍﻥ ﺣﺘﻰ ﺑﺎ ﺁﻥ ﻫﻢ ﻛﺎﺭﺗﻮﻥ ﻭ‬
‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻛﺸﻴﺪ‪ ،‬ﻓﻘﻂ ﺑﻪ ﺧﺎﻃﺮ ﺗﺮﻛﻴﺐ ﺭﻭﻏﻨﻰ ﺍﻳﻦ ﻧﻮﻉ ﺭﻧﮓ ﻛﻪ‬
‫ﺰﺭگ ﻫﻢ ﻣﺨﻠﻮﻁ ﻣﻰ ﺷﻮﺩ ﻣﻰ ﺑﺎﻳﺴﺖ ﺍﺑﺘﺪﺍ‬ ‫ﻣﻌﻤﻮﻻ ﺑﺎ ﺭﻭﻏﻦ ﺑَ َ‬
‫ﻣﻘﻮﺍﻯ ﺧﻮﺩ ﺭﺍ ﺯﻳﺮﺳﺎﺯﻯ ﻛﻨﻴﺪ‪ ،‬ﺩﺭﺳﺖ ﻣﺜﻞ ﺑﻮﻡ ﻧﻘﺎﺷﻰ ﻭ ﺳﺎﺩﻩ‬
‫ﺗﺮﻳﻦ ﺭﺍﻩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﻣﻘﻮﺍ ﺭﺍ ﻳﻚ ﺑﺎﺭ ﺑﺎ ﭼﺴﺐ ﭼﻮﺏ ﻭ ﺳﭙﺲ ﺑﺎ‬
‫ﺭﻧﮓ ﭘﻼﺳﺘﻴﻚ ﻭ ﻳﺎ ﺭﻭﻏﻨﻰ ﻣﺎﺕ ﺑﭙﻮﺷﺎﻧﻴﺪ‪ ،‬ﺑﻌﺪ ﻣﻰ ﺗﻮﺍﻧﻴﺪ ﺑﺎ ﺭﻧﮓ‬
‫ﺭﻭﻏﻦ ﻭ ﺑﺎ ﺧﻴﺎﻝ ﺭﺍﺣﺖ ﻛﺎﺭ ﻛﻨﻴﺪ‪.‬‬
‫‪Nima‬‬
‫ﺑﺎ ﺳﻼﻡ ﺑﻪ ﺍﺳﺘﺎﺩ ﺍﺭﺟﻤﻨﺪﻧﻴﺎ‬
‫ﺗﻜﻨﻴﻚ ﺭﻧﮓ ﺁﻣﻴﺰﻱ ﺑﺎ ﻓﻮﺗﻮﺷﺎپ ﺭﻭ ﻣﻲ ﺷﻮﺩ ﻣﺨﺘﺼﺮﻱ ﺗﻮﺿﻴﺢ‬
‫ﺑﺪﻫﻴﺪ؟‬
‫ﺑﺎ ﺗﺸﻜﺮ‬
‫ﺟﺪﺍ ﻧﻤﻮﺩﻥ ﺣﺪ ﻭ ﻣﺮﺯ ﺑﻴﻦ ﺭﻧﮕﻬﺎ ﻭ ﺳﺎﻳﻪ ﻭ ﭘﻼﻧﻬﺎﻯ ﻛﺎﺭ‬ ‫ﻧﻴﻤﺎ ﺟﺎﻥ ﺑﺮﺍﻯ ﻓﺮﺍﮔﺮﻓﺘﻦ ﺗﻜﻨﻴﻜﻬﺎﻯ ﻣﺨﺘﻠﻒ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﺑﺎ‬
‫‪ – 2‬ﻛﻨﺘﺮﺍﺳﺖ ﻳﻌﻨﻰ ﺑﻴﻦ ﻧﻮﺭ ﻭ ﺳﺎﻳﻪ ﺧﺎﻛﺴﺘﺮﻯ ﻫﺎﻯ ﺯﻳﺎﺩﻯ‬ ‫ﻓﺘﻮﺷﺎپ ﻭ ﻛﺮﻝ ﭘﻴﻨﺘﺮ ‪ CD‬ﻫﺎﻯ ﺷﺮﻛﺖ ‪Digital Art‬‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﺁﻧﺎﻟﻴﺰ ﺷﺪﻩ ﺷﺎﻣﻞ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﻣﻰ ﺑﺎﺷﻨﺪ ‪1‬‬ ‫‪ Tutorials‬ﺭﺍ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰ ﻛﻨﻢ ﭼﻮﻥ ﻋﺎﻟﻴﻪ‪ ،‬ﺍﻟﺒﺘﻪ ﺷﺮﻛﺘﻬﺎﻯ‬
‫– ﺗﺎﺭﻳﻜﻰ ‪ – 2‬ﺳﺎﻳﻪ ‪ – 3‬ﻧﻴﻢ ﺳﺎﻳﻪ ‪ – 4‬ﺭﻭﺷﻨﺎﻳﻰ ‪ -5‬ﻧﻮﺭ‬ ‫ﺩﻳﮕﺮﻯ ﻫﻢ ﻫﺴﺘﻨﺪ ﻛﻪ ﺁﻣﻮﺯﺵ ﻣﻰ ﺩﻫﻨﺪ ﻣﺜﻞ ‪Gnomon‬‬
‫ﺣﺎﻻ ﺑﻪ ﻃﻮﺭ ﻭﺍﻗﻌﻰ ﺗﻌﺪﺍﺩ ﺍﻳﻦ ﺧﺎﻛﺴﺘﺮﻯ ﻫﺎ ﺑﻪ ﺣﺪﺍﻗﻞ ‪ 32‬ﻭ ‪64‬‬ ‫ﻭ‪ !...‬ﺑﺮﺍﻯ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﺑﺎ ‪ Photoshop‬ﻧﻴﺎﺯ ﺑﻪ ﻳﻚ ﻗﻠﻢ ﻧﻮﺭﻯ‬
‫ﻣﻴﻠﻴﻮﻥ ﺧﺎﻛﺴﺘﺮﻯ ﻣﻰ ﺭﺳﺪ ﻫﺮ ﭼﻪ ﺗﻌﺪﺍﺩ ﺁﻧﻬﺎ ﺭﺍ ﻛﻤﺘﺮ ﻛﻨﻴﻢ ﻭ‬ ‫ﺧﻮﺏ ﺩﺍﺭﻳﺪ ﻭ ﻣﻦ ﺧﻮﺩﻡ ﺍﺯ ‪ WacomIntuos‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰ‬
‫ﺷﺪﺕ ﺭﺳﻴﺪﻥ ﺁﻧﻬﺎ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﻫﻢ ﺧﻼﺻﻪ ﺗﺮ ﺩﺭ ﻧﻈﺮ ﺑﮕﻴﺮﻳﻢ‬ ‫ﻛﻨﻢ ﻭ ﺭﺿﺎﻳﺖ ﺩﺍﺭﻡ‪ .‬ﺍﻳﻦ ﻗﻠﻢ ﺑﺎ ﺣﺴﺎﺳﻴﺘﻬﺎﻯ ﻣﺨﺘﻠﻒ ﺩﺭ ﺑﺎﺯﺍﺭ‬
‫ﻛﻨﺘﺮﺍﺳﺖ ﺑﻴﺸﺘﺮ ﻭ ﻫﺮ ﭼﻪ ﺑﻪ ﺗﻌﺪﺍﺩ ﺁﻧﻬﺎ ﺑﻴﺎﻓﺰﺍﻳﻴﻢ ﻭ ﻫﺎﺭﻣﻮﻧﻰ‬ ‫ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪ .‬ﻣﺜﻼ ﺩﺭ ﻣﺪﻝ ‪ 5080dpi‬ﺷﻤﺎ ﻛﺎﻣﻼ ﻣﺜﻞ ﺍﺑﺰﺍﺭ‬
‫ﺑﻴﺸﺘﺮﻯ ﺍﻳﺠﺎﺩ ﻛﻨﻴﻢ ﻛﻨﺘﺮﺍﺳﺖ ﻛﻤﺘﺮ ﻣﻰ ﺷﻮﺩ‪.‬‬ ‫ﻭﺍﻗﻌﻰ ﻃﺮﺍﺣﻰ ﻭ ﻧﻘﺎﺷﻰ ﻭ ﮔﺮﺍﻓﻴﻚ ﻭ ‪ ...‬ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﺪ‬
‫‪Sona‬‬ ‫ﺣﺴﺎﺳﻴﺖ ‪ dpi -2000‬ﻫﻢ ﺑﺪ ﻧﻴﺴﺖ ﻭ ﻗﻴﻤﺖ ﻣﻨﺎﺳﺒﻰ ﺩﺍﺭﺩ‪.‬‬
‫ﺳﻼﻡ ﻭ ﺗﺸﻜﺮ ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﮔﺬﺍﺷﺘﻴﺪ‬ ‫ﻣﻬﻨﺎﺯ‬
‫ﻣﻰ ﺧﻮﺍﺳﺘﻢ ﺑﭙﺮﺳﻢ ﻭﺭﺯﺷﻰ ﻣﺜﻞ ﺑﺪﻣﻴﻨﺘﻮﻥ ﺑﺮﺍﻯ ﻃﺮﺍﺣﻰ ﻣﺸﻜﻠﻰ‬ ‫ﺳﻼﻡ‬
‫ﺍﻳﺠﺎﺩ ﻧﻤﻰ ﻛﻨﺪ؟! ﻭ ﻳﺎ ﺿﺮﺭﻯ ﻧﺪﺍﺭﺩ؟‬ ‫ﻣﻦ ﺑﻌﻀﻲ ﺍﺯ ﺍﺻﻄﻼﺣﺎﺕ ﺭﺍ ﻧﻤﻴﺪﺍﻧﻢ ﻳﻌﻨﻲ ﭼﻪ‬
‫‪ Sona‬ﻋﺰﻳﺰ ﻭﺭﺯﺷﻬﺎﻯ ﺣﺮﻓﻪ ﺍﻯ ﻭ ﺳﻨﮕﻴﻦ ﻣﻰ ﺗﻮﺍﻧﺪ ﺑﻪ ﻃﺮﺍﺣﻰ‬ ‫‪ - 1‬ﺩﺳﻦ؟‬
‫ﻭ ﺣﺘﻰ ﺍﻓﺮﺍﺩﻯ ﻛﻪ ﻛﺎﺭ ﻣﻮﺳﻴﻘﻰ ﻣﻰ ﻛﻨﻨﺪ ﺯﻳﺎﻥ ﻭﺍﺭﺩ ﻛﻨﺪ‪ .‬ﺭﺍﺟﻊ ﺑﻪ‬ ‫‪ - 2‬ﻛﻨﺘﺮﺍﺳﺖ ؟‬
‫ﺑﺪﻣﻴﻨﺘﻮﻥ ﺷﻚ ﺩﺍﺭﻡ‪ .‬ﻣﻦ ﺧﻮﺩﻡ ﺗﻨﻴﺲ ﺑﺎﺯﻯ ﻣﻰ ﻛﻨﻢ ﺗﺎ ﺣﺎﻻ‬ ‫‪ – 1‬ﺩﺳﻦ ﻳﻌﻨﻰ ﺩﻭﺭﮔﻴﺮﻯ ﺑﺎ ﺧﻄﻮﻁ ﭘﺮﺭﻧﮓ ﻣﺜﻞ ﻣﺸﻜﻰ ﺑﺮﺍﻯ‬
‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
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 ‫ﺍﺑﺰﺍﺭ ﻣﻨﺎﺳﺐ ﺷﺎﻣﻞ‪ :‬ﻣﺪﺍﺩ ﻃﺮﺍﺣﻰ ﻭ ﻣﺪﺍﺩ ﺍﺗﻮﺩ‪ ،‬ﻣﺪﺍﺩﺭﻧﮕﻰ ﺧﺸﻚ‬
‫ﻭ ﻧﺮﻡ‪ ،‬ﺁﺑﺮﻧﮓ‪ ،‬ﺍﻛﻮﻟﻴﻦ‪ ،‬ﮔﻮﺍﺵ‪ ،‬ﻛﺎﻏﺬﻫﺎﻯ ‪ A4‬ﻣﻌﻤﻮﻟﻰ ﺑﺮﺍﻯ‬
‫ﻃﺮﺡ ﻫﺎﻯ ﺍﻭﻟﻴﻪ ﻛﺎﻏﺬﻫﺎﻯ ﻛﺎﻧﺴﻦ – ﻭﺍﺕ ﻣﻦ – ﻓﺎﺑﺮﻳﺎﻧﻮ ﻭ ﺍﺷﺘﻦ‬
‫ﺑﺎﺥ ﺑﺮﺍﻯ ﺍﺟﺮﺍﻫﺎﻯ ﻧﻬﺎﻳﻰ ﻭ ﺧﻮﺩﻛﺎﺭ – ﻗﻠﻢ ﻓﻠﺰﻯ – ﺭﺍﭘﻴﺪ ﻭ ‪...‬‬
‫ﺑﺮﺍﻯ ﺩﺳﻦ ﻭ ﺩﻭﺭﮔﻴﺮﻯ‬
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‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ‬
‫ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﻴﻦ ﺳﺌﻮﺍﻝ ﻣﻴﺨﻮﺍﺳﺘﻢ ﺑﭙﺮﺳﻢ ﺍﮔﺮ ﻳﻚ ﻃﺮﺡ ﺍﻭﻟﻴﻪ ﺭﺍ‬
‫ﺍﺳﻜﻦ ﻛﻨﻴﻢ ﻭ ﺑﻮﺳﻴﻠﻪ ﻓﺘﻮ ﺷﺎپ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﻭ ﺑﻌﺪ ﭘﺮﻳﻨﺖ ﮔﺮﻓﺘﻪ‬
‫ﻭ ﺍﻣﻀﺎء ﻛﻨﻴﻢ ﺁﻳﺎ ﺑﺮﺍﻯ ﻣﺴﺎﺑﻘﺎﺕ ﻣﻌﺘﺒﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺛﺮ ﺍﺻﻞ ﻗﺎﺑﻞ‬
‫ﻗﺒﻮﻝ ﺍﺳﺖ؟ ﺁﻳﺎ ﻣﻴﺘﻮﺍﻥ ﺑﺮﺍﻯ ﺭﻧﮓ ﺁﻣﻴﺰﻯ‪ ،‬ﻫﻢ ﺍﺯ ﺑﺮﻧﺎﻣﻪ ﻓﺘﻮ‬
‫ﺷﺎپ ﻭﻫﻢ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﺳﻨﺘﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ؟ ﻣﺜﻼ ﻗﺴﻤﺘﻬﺎﻳﻲ ﺭﺍ ﺑﺎ‬
‫ﺑﺮﻧﺎﻣﻪ ﻓﺘﻮ ﺷﺎپ ﺭﻧﮓ ﻛﻨﻴﻢ‪ .‬ﺑﻌﺪ ﺭﻭﻯ ﻛﺎﻏﺬ ﻣﺜﻼ ﻓﺎﺑﺮﻳﺎﻧﻮ ﭼﺎپ‬
‫ﻛﺮﺩﻩ ﻭ ﺑﻮﺳﻴﻠﻪ ﺭﻧﮓ ﮔﻮﺍﺵ ﻃﺮﺣﻤﺎﻥ ﺭﺍ ﺗﻜﻤﻴﻞ ﻛﻨﻴﻢ؟ ﻭ ﺁﺧﺮ‬
‫ﺍﻳﻨﻜﻪ ﺑﺮﺍﻯ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﻧﻴﺰ ﻣﻴﺘﻮﺍﻥ ﺍﺯ ﺑﺮﻧﺎﻣﻪ‬
‫ﻓﺘﻮﺷﺎپ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ؟ ﺑﻌﺪ ﺍﺯ ﺭﻧﮓ ﺁﻣﻴﺰﻯ ﺑﻬﺘﺮﻳﻦ ﻛﺎﻏﺬ ﺑﺮﺍﻯ‬
‫ﭼﺎپ ﭼﻪ ﻧﻮﻉ ﻛﺎﻏﺬﻯ ﺍﺳﺖ؟ ﺑﺎ ﺗﺸﻜﺮ‬
‫ﺑﻠﻪ ﺍﻛﺜﺮ ﻣﺴﺎﺑﻘﺎﺕ ﺑﺎ ﺭﻭﻳﻜﺮﺩﻯ ﺟﺪﻳﺪ ﺑﻪ ﺍﺟﺮﺍﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﻭ‬
‫ﺗﺮﻛﻴﺒﻰ ﺁﺛﺎﺭ ﺍﻳﻨﭽﻨﻴﻨﻰ ﺭﺍ ﻣﻰ ﭘﺬﻳﺮﻧﺪ‪ .‬ﺑﻪ ﺷﺮﻁ ﺍﻳﻨﻜﻪ ﺍﺟﺮﺍ ﻛﻨﻨﺪﻩ‬
‫ﺣﺘﻤﺎ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺍﺑﺰﺍﺭ ﻓﻴﺰﻳﻜﻰ ﺍﻣﻀﺎء ﻭ ﻣﻮﺭﺩ ﺗﺎﻳﻴﺪ ﻗﺮﺍﺭ ﺩﻫﺪ‪.‬‬
‫‪Spring‬‬
‫ﺳﻼﻡ ﺍﺳﺘﺎﺩ‬
‫ﻟﻄﻔﺎ ﺩﺭ ﻣﻮﺭﺩ ﭼﮕﻮﻧﮕﻰ ﻣﺮﺑﻮﻁ ﻛﺮﺩﻥ ﺍﻟﻤﺎﻥ ﻫﺎ ﻭ ﻋﻨﺎﺻﺮ ﺑﻰ ﺭﺑﻂ‬
‫ﺑﻪ ﻫﻢ ﺗﻮﺿﻴﺢ ﺑﺪﻳﻦ؟‬
‫ﻣﻤﻨﻮﻥ‬
‫ﺍﺻﻮﻻ ﻫﻨﺮ ﻛﺎﺭﺗﻮﻧﻴﺴﺖ ﻛﺸﻒ ﺍﺭﺗﺒﺎﻁ ﺑﻴﻦ ﺁﻧﻬﺎﺳﺖ ‪ +‬ﭼﺎﺷﻨﻰ‬
‫ﺧﻨﺪﻩ ﻭ ﻃﻨﺰ‬
‫ﻣﺜﻞ ﻣﺠﺴﻤﻪ ﺳﺎﺯﻯ ﺩﺭ ﺍﺩﺑﻴﺎﺕ ﻭﺷﻌﺮ ﻣﻰ ﻣﺎﻧﺪ‪ .‬ﻫﺮ ﻛﻠﻤﻪ ﺑﻪ‬
‫ﺗﻨﻬﺎﻳﻰ ﻣﻌﻨﻰ ﺧﺎﺻﻰ ﻣﻰ ﺩﻫﺪ ﻭﻟﻰ ﻭﻗﺘﻰ ﺍﺩﻳﺐ ﻭ ﺷﺎﻋﺮ ﻛﻠﻤﺎﺕ ﺭﺍ‬
‫ﺑﻪ ﻫﻢ ﺍﺗﺼﺎﻝ ﻣﻰ ﺩﻫﺪ ﺍﺭﺗﺒﺎﻁ ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﺍﻧﺪﻳﺸﻪ ﻭ ﻓﻜﺮ ﻛﺸﻒ ﻣﻰ‬
‫ﻛﻨﺪ ﺷﻌﺮﻯ ﻣﻰ ﺳﺮﺍﻳﺪ ﻛﻪ ﻓﻀﺎ ﻭ ﺩﻧﻴﺎﻯ ﺍﻓﻜﺎﺭﺵ ﺭﺍ ﺑﻪ ﺩﻳﮕﺮﺍﻥ‬
‫ﺍﻧﺘﻘﺎﻝ ﻣﻰ ﺩﻫﺪ ﻭ ﻫﻤﻪ ﺭﺍ ﺑﻬﺮﻩ ﻣﻨﺪ ﻣﻰ ﺳﺎﺯﺩ‪.‬‬
‫‪49‬‬ ‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬
‫ﺗﻮﺻﻴﻪ ﻣﻴﻜﻨﻴﺪ؟‬
‫ﻫﺮ ﭼﻨﺪ ﺍﺯ ﺍﻳﻦ ﺩﺳﺘﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺷﺎﻫﺪﻳﻢ ﻛﻪ ﺩﺭ ﺧﻴﻠﻰ ﺍﺯ ﻣﺴﺎﺑﻘﺎﺕ‬
‫ﻣﻘﺎﻡ ﻫﺎﻯ ﺧﻮﺑﻰ ﻫﻢ ﻣﻴﺎﻭﺭﻧﺪ ﻛﻪ ﻗﺎﺑﻞ ﺳﺘﺎﻳﺶ ﺍﻧﺪ‪ .‬ﻣﺎ ﭼﻪ ﻛﻨﻴﻢ؟‬
‫ﺑﺎ ﺗﺸﻜﺮ ﺍﺯ ﻟﻄﻔﺘﻮﻥ‬
‫ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺕ ﺑﻌﺪ ﺍﺯ ﮔﺬﺭﺍﻧﺪﻥ ﻣﺮﺍﺣﻞ ﺍﺑﺘﺪﺍﻳﻰ ﻃﺮﺍﺣﻰ ﺑﺮﺍﻯ‬
‫ﻛﺴﺐ ﺗﺠﺮﺑﻪ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﺍﺳﺖ ﺑﺎ ﺷﺮﻛﺖ ﺩﺭ ﻫﺮ ﻧﻤﺎﻳﺸﮕﺎﻩ‬
‫ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﻣﻘﻄﻊ ﺑﻪ ﻣﻘﻄﻊ ﻣﺤﻚ ﻣﻰ ﺯﻧﻴﺪ‪ .‬ﻣﻮﻓﻖ ﺑﺎﺷﻴﺪ‪.‬‬
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‫ﺑﺎ ﺳﻼﻡ ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ ﺩﺍﺷﺘﻦ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﻣﻨﻮﺁﻝ ﺑﺮﺍﻯ ﻳﻚ ﻧﻘﺎﺵ‬
‫ﻻﺯﻡ ﺍﺳﺖ؟‬
‫ﺩﺍﺷﺘﻦ ﻳﻚ ﺩﻭﺭﺑﻴﻦ ﺑﺮﺍﻯ ﻫﺮ ﻫﻨﺮﻣﻨﺪﻯ ﻣﺜﻞ ﻃﺮﺍﺡ‪ ،‬ﻧﻘﺎﺵ‪،‬‬
‫ﮔﺮﺍﻓﻴﺴﺖ‪ ،‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺖ ﻭ ‪ ...‬ﻻﺯﻡ ﻭ ﻣﻔﻴﺪ ﺍﺳﺖ ﻭﻟﻰ ﺩﺭ ﺣﺎﻝ‬
‫ﺣﺎﺿﺮ ﺩﻭﺭﺑﻴﻦ ‪ Digital‬ﺭﺍ ﭘﻴﺸﻨﻬﺎﺩ ﻣﻰ ﻛﻨﻢ‪.‬‬
‫ﻋﻈﻴﻤﻲ ﺑﻬﺮﺍﻡ‬
‫ﺍﺳﺘﺎﺩ ﺳﻼﻡ‪ .‬ﺧﻴﻠﻲ ﭼﺎﻛﺮﻳﻢ‪ .‬ﺑﻪ ﭼﻪ ﻋﻠﺖ ﺷﻤﺎ ﺁﻧﻘﺪﺭ ﺧﻮﺏ ﻭ‬
‫ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻲ ﻫﺴﺘﻴﺪ؟‬
‫ﺍﺳﺘﺎﺩ ﻋﺰﻳﺰﻡ ﺟﻨﺎﺏ ﺁﻗﺎﻯ ﻋﻈﻴﻤﻰ ﺧﻮﺏ ﻭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ‬
‫ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﺧﻴﻠﻰ ﭼﺎﻛﺮﻳﻢ‪ .‬ﻓﻘﻂ ﺍﻳﻨﻮ ﻣﻰ ﺗﻮﻧﻢ ﺑﮕﻢ‬
‫ﻛﻪ ﺧﻴﻠﻰ ﻫﺎ ﻣﺪﻳﻮﻥ ﺷﻤﺎ ﻫﺴﺘﻨﺪ‪ .‬ﭼﻪ ﺩﺭ ﺯﻣﻴﻨﻪ ﺍﻧﻴﻤﻴﺸﻦ ﻭ ﭼﻪ‬
‫ﻛﺎﺭﺗﻮﻥ ﻭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﻭ ﺧﻼﺻﻪ ﺍﻳﻨﻜﻪ ﺣﺎﻝ ﻣﻰ ﻛﻨﻰ ﺑﺎ ﻣﺎ ﺭﻓﻴﻘﻰ‬ ‫‪ – 1‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﻪ ﺗﺼﻮﻳﺮ ﻭ ﻃﺮﺍﺣﻰ ﭼﻬﺮﻩ ﺍﻓﺮﺍﺩ ﮔﻔﺘﻪ ﻣﻰ ﺷﻮﺩ‬
‫ﻫﺎ!!!‬ ‫ﻛﻪ ﺍﻏﺮﺍﻕ ﺷﺪﻩ ﺑﺎﺷﺪ ﻭ ﺩﺭ ﺁﻥ ﻫﻮﻳﺖ ﻓﺮﺩ ﻣﻮﺭﺩﻧﻈﺮ ﻃﺮﺍﺡ ﺗﺸﺪﻳﺪ‬
‫ﻋﻠﻰ ﻓﻼﺡ‬ ‫ﺷﻮﺩ‪.‬‬
‫ﺳﻼﻡ ﺍﺳﺘﺎﺩ ﺍﺭﺟﻤﻨﺪﻧﻴﺎﻯ ﮔﻞ ﮔﻼﺏ‬ ‫‪ – 2‬ﻛﺎﺭﺗﻮﻥ ﺑﻪ ﻃﺮﺡ ﻃﻨﺰﺁﻣﻴﺰﻯ ﮔﻔﺘﻪ ﻣﻰ ﺷﻮﺩ ﻛﻪ ﻳﻚ ﻣﻮﺿﻮﻉ‬
‫ﻣﻦ ﻫﺮ ﻛﺎﺭﻯ ﻣﻰ ﻛﻨﻢ ﺩﺳﺘﻢ ﻗﻮﻯ ﻧﻤﻲ ﺷﻪ ﭼﻴﻜﺎﺭ ﺑﺎﻳﺪ ﺑﻜﻨﻢ؟‬ ‫ﻭ ﺗﻢ ﻭ ﺳﻮژﻩ ﺧﺎﺻﻰ ﺭﺍ ﺩﻧﺒﺎﻝ ﻛﻨﺪ ﻭ ﺩﺭ ﻇﺎﻫﺮ ﺧﻨﺪﻩ ﺩﺍﺭ ﻭ ﺩﺭ ﭘﺲ‬
‫ﺍﮔﺮ ﺭﺍﻫﻨﻤﺎﻳﻴﻢ ﻛﻨﻴﻦ ﻣﻤﻨﻮﻥ ﻣﻰ ﺷﻢ‪ .‬ﺧﺪﺍﺣﺎﻓﻆ‬ ‫ﺯﻣﻴﻨﻪ ﺍﻧﺘﻘﺎﺩ ﻭ ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ ﺩﺭ ﭘﻰ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺑﻴﻴﻨﺪﻩ ﺭﺍ ﺑﻪ‬
‫ﺑﺎﻳﺪ ﺗﻤﺮﻳﻦ ﻛﻨﻴﺪ ﺍﻣﺎ ﻛﺎﻣﻼ ﺍﺻﻮﻟﻰ ﻭ ﻣﻔﻴﺪ‪ .‬ﺍﺯ ﻣﻄﺎﻟﻌﻪ ﺩﺳﺖ ﺑﺮ‬ ‫ﻓﻜﺮ ﻭﺍ ﺩﺍﺭﺩ ﻭ ﻧﻜﺎﺕ ﺟﺪﻯ ﺭﺍ ﮔﻮﺷﺰﺩ ﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻧﻮﺍﻉ ﺁﻥ ﻣﻰ ﺗﻮﺍﻧﻢ‬
‫ﻧﺪﺍﺭﻳﺪ ﻭ ﻣﻨﺎﺑﻊ ﺁﻣﻮﺯﺷﻰ ﻫﻢ ﺑﺮﺍﻯ ﺧﻮﺩﺗﺎﻥ ﺗﻬﻴﻪ ﻛﻨﻴﺪ ﺗﺎ ﺩﺭ‬ ‫ﺑﻪ ﻃﻨﺰ – ﻫﺰﻝ ﻭ ﻫﺠﻮ ﺍﺷﺎﺭﻩ ﻛﻨﻢ ﻛﻪ ﺧﻮﺩ ﺁﻧﻬﺎ ﺷﺎﺧﻪ ﻫﺎﻳﻰ ﻫﻢ‬
‫ﺻﻮﺭﺕ ﻟﺰﻭﻡ ﺑﻪ ﺁﻧﻬﺎ ﺭﺟﻮﻉ ﻛﻨﻴﺪ‪ .‬ﺑﺮﺍﻯ ﺣﺮﻓﻪ ﺍﻯ ﺷﺪﻥ ﺑﺎﻳﺪ ﺯﻣﺎﻥ‬ ‫ﺩﺍﺭﻧﺪ‪.‬‬
‫ﺯﻳﺎﺩﻯ ﺻﺮﻑ ﺷﻮﺩ ﻭ ﺁﺳﺎﻥ ﻧﻴﺴﺖ‪.‬‬ ‫‪Satiyar‬‬
‫‪...*("_")*...‬‬ ‫ﺍﺳﺘﺎﺩ ﻣﻦ ﺍﻳﺪﻩ ﻫﺎﻯ ﺧﻮﺑﻰ ﺩﺍﺭﻡ ﻭﻟﻰ ﺗﻮﻯ ﺍﺟﺮﺍ ﻫﺎﻡ ﺧﻴﻠﻰ ﺿﻌﻴﻒ‬
‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﮔﺮﺍﻣﻰ‪.‬‬ ‫ﻫﺴﺘﻢ‪ .‬ﻭ ﻗﺎﺑﻞ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺧﻴﻠﻰ ﺍﺯ ﺑﺰﺭﮔﺎﻥ ﻧﻴﺴﺘﻢ‪.‬‬
‫ﺩﺭ ﻣﻮﺭﺩ ﺍﺑﺰﺍﺭ ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺳﻮﺍﻝ ﺩﺍﺷﺘﻢ‪.‬‬ ‫ﺣﺎﻝ ﺷﺮﻛﺖ ﺩﺭ ﻣﺴﺎﺑﻘﺎﺕ ﻭ ﺟﺸﻨﻮﺍﺭﻩ ﻫﺎ ﺭﻭ ﭼﻘﺪﺭ ﺑﻪ ﺍﻣﺜﺎﻝ ﺑﻨﺪﻩ‬
 ‫ﻛﺸﻮﺭ ﺑﻮﺩﻳﺪ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺩﻭ ﻛﺸﻮﺭ ﺭﺍ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻫﻢ ﭼﻄﻮﺭ‬
‫ﻣﻴﺒﻴﻨﻴﺪ؟‬
‫ﺑﻬﺰﺍﺩ ﻋﺰﻳﺰ ﻭ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﻰ‬
‫ﻫﻤﻜﺎﺭ ﺧﻮﺑﻢ ﺗﺮﻛﻴﻪ ﻛﺸﻮﺭ ﺑﺰﺭﮔﻰ ﺍﺳﺖ ﻭ ﺩﺭﺻﺪ ﻋﻤﺪﻩ ﺍﻯ ﺍﺯ‬
‫ﺍﻗﺘﺼﺎﺩ ﺁﻥ ﺑﺮ ﭘﺎﻳﻪ ﺗﻮﺭﻳﺴﺖ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ﻭ ﺩﺭ ﺍﻳﻦ ﻛﺸﻮﺭ ﻧﺸﺮﻳﺎﺕ‬
‫ﺯﻳﺎﺩﻯ ﺑﺎ ﺳﻠﻴﻘﻪ ﻫﺎﻯ ﻣﺘﻔﺎﻭﺕ ﻭ ﺩﻳﺪﮔﺎﻩ ﻫﺎﻯ ﺍﺣﺰﺍﺏ ﻣﺨﺘﻠﻒ‬
‫ﻭﺟﻮﺩ ﺩﺍﺭﻧﺪ‪ ،‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭﻳﺴﺘﻬﺎ ﻭ ﻛﺎﺭﺗﻮﻧﻴﺴﺘﻬﺎﻯ ﺑﺴﻴﺎﺭﻯ ﺩﺍﺭﺩ ﻛﻪ‬
‫ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﻧﻬﺎ ﺭﺍ ﻣﻰ ﺷﻨﺎﺳﻴﻢ ﻭ ﺍﺯ ﻧﻮﻉ ﻛﺎﺭﺷﺎﻥ ﺧﺒﺮ ﺩﺍﺭﻳﻢ‪.‬‬
‫ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺳﺎﺩﻩ ﮔﻔﺘﻪ ﺑﺎﺷﻢ ﺯﻣﻴﻨﻪ ﻛﺎﺭ ﺑﺮﺍﻯ ﺧﻮﺩﺷﺎﻥ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ‬
‫ﺍﺳﺖ ﻭ ﺟﺎﻳﮕﺎﻩ ﻣﻨﺎﺳﺒﻰ ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﺁﺛﺎﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ‪ +‬ﻣﻜﺎﻧﻬﺎﻯ‬
‫ﻣﻨﺎﺳﺐ ﺑﺮﺍﻯ ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎ ﻭ ﻣﺴﺎﺑﻘﺎﺕ ﻭ ﻣﺤﻞ ﺍﺭﺍﺋﻪ ﺁﺛﺎﺭ‬
‫ﺑﺮﺍﻯ ﻓﺮﻭﺵ ﻭ ﺧﺼﻮﺻﺎ ﺗﻮﺭﻳﺴﺘﻬﺎ‪ .‬ﻧﻪ ﺗﻨﻬﺎ ﻛﺎﺭﺗﻮﻥ ﻭ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ‬
‫ﺑﻠﻜﻪ ﻧﻘﺎﺷﻰ ﻭ ﻏﻴﺮﻩ‪ .‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺗﻌﺪﺍﺩ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻧﻘﺎﺷﻰ ﺭﺍ ﻛﻪ‬
‫ﺁﻧﺠﺎ ﻛﺎﺭ ﻛﺮﺩﻩ ﻭ ﻓﺮﻭﺧﺘﻪ ﺍﻡ ﺭﺍ ﺑﮕﻮﻳﻢ ﺷﺎﻳﺪ ﺗﻌﺠﺐ ﻛﻨﻰ‪ .‬ﻣﻦ‬
‫ﺭﻭﺯﻯ ‪ 2‬ﺗﺎ ‪ 3‬ﺗﺎﺑﻠﻮ ﺩﺭ ﺍﺑﻌﺎﺩ ‪ 50*70‬ﺑﺎ ﺭﻧﮓ ﺭﻭﻏﻦ ﻛﺎﺭ ﻣﻰ ﻛﺮﺩﻡ‬
‫ﻭ ﺁﺧﺮ ﻫﻔﺘﻪ ﻫﻢ ﺭﺍﺣﺖ ﻓﺮﻭﺧﺘﻪ ﻣﻰ ﺷﺪ ﻭ ﮔﺎﻟﺮﻯ ﺩﺍﺭﻫﺎ ﻫﻢ ﺳﻮﺩ‬
‫ﺯﻳﺎﺩﻯ ﻣﻰ ﻛﺮﺩﻧﺪ ﻭ ﺍﻛﺜﺮﺍ ﻫﻢ ﺧﻮﺵ ﺣﺴﺎﺏ ﺑﻮﺩﻧﺪ‪.‬‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺑﺮﭘﺎ ﻣﻰ ﺷﺪ ﻭ ﺗﻤﺎﻡ ﻣﺨﺎﺭﺝ ﺭﺍ ﺍﻧﺠﻤﻦ ﺑﻪ‬ ‫ﺍﻛﻮﻟﻴﻦ ﻣﺮﻛﺐ ﻫﺎﻯ ﺭﻧﮕﻰ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﻧﻈﺮ ﺣﺮﺍﺭﺕ ﺭﻧﮕﻰ ﻧﺴﺒﺖ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺳﺎﺩﻩ ﻧﻴﺴﺖ‪ ،‬ﺍﺣﺘﻴﺎﺝ ﺑﻪ ﺟﻬﺎﻧﺒﻴﻨﻰ ﺩﺍﺭﺩ ﻭ ﺗﺠﺮﺑﻪ‬
‫ﻋﻬﺪﻩ ﻣﻰ ﮔﺮﻓﺖ ﺍﺯ ﺟﻤﻠﻪ ﺩﻋﻮﺕ ﻧﺎﻣﻪ ﻭ ﭘﺬﻳﺮﺍﻳﻰ ﻭ ﺳﺎﻟﻦ ﻭ ﻏﻴﺮﻩ‬ ‫ﺑﻪ ﺁﺑﺮﻧﮓ ﻗﻮﻯ ﺗﺮ ﻭ ﺷﻔﺎﻓﺘﺮ ﺍﺳﺖ ﻭ ﺗﺎﺛﻴﺮ ﺁﻥ ﺭﻭﻯ ﻣﻘﻮﺍ ﺳﺮﻳﻌﺘﺮ‬ ‫ﻭ ﺍﻃﻼﻋﺎﺕ ﻓﺮﺍﻭﺍﻥ‬
‫ﻭ ‪ ...‬ﻣﻰ ﺗﻮﺍﻧﺴﺘﻢ ﻛﺎﺭﺗﻮﻧﻬﺎﻳﻢ ﺭﺍ ﺑﻔﺮﻭﺷﻢ ﻭ ﺧﻼﺻﻪ ﻋﺎﻟﻰ ﺑﻮﺩ‪.‬‬ ‫ﺍﺳﺖ‪ .‬ﺭﻭﺵ ﺍﺟﺮﺍﻯ ﺁﻥ ﺑﺎ ﻫﻤﺎﻥ ﻟﻮﺍﺯﻡ ﺁﺑﺮﻧﮓ ﺍﺳﺖ ﻭ ﻣﻦ ﺑﺮﺍﻯ‬ ‫ﻳﻚ ﻓﺮﺩ ﻣﺒﺘﺪﻱ!‬
‫ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻨﺠﺎ ﻭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﺗﺮﻛﻴﻪ ﺑﻴﺸﺘﺮ ﺗﻮﺿﻴﺢ ﻧﺪﻫﻢ ﺑﻬﺘﺮ ﺍﺳﺖ‪.‬‬ ‫ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﺧﻴﻠﻰ ﭘﻴﺸﻨﻬﺎﺩ ﻧﻤﻰ ﻛﻨﻢ ﺧﺼﻮﺻﺎ ﺍﮔﺮ ﺳﺎﺧﺖ ﻭ‬ ‫ﺑﺎ ﺳﻼﻡ ﺧﺪﻣﺖ ﺍﺳﺘﺎﺩ ﺍﺭﺟﻤﻨﺪﻧﻴﺎﻱ ﻋﺰﻳﺰ!‬
‫ﺧﻮﺩﺗﺎﻥ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﺪ ﻋﺰﻳﺰﻡ‪.‬‬ ‫ﺳﺎﺯ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻰ‪ .‬ﺑﺮﺍﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﭼﻬﺮﻩ ﻣﺪﺍﺭﻧﮕﻰ – ﭘﺎﺳﺘﻞ –‬ ‫‪ - 1‬ﻣﻦ ﻫﻴﭽﮕﻮﻧﻪ ﺁﺷﻨﺎﻳﻲ ﺑﺎ ﺭﻧﮓ ﺍﻛﻮﻟﻴﻦ ﻧﺪﺍﺭﻡ‪ ،‬ﻣﻴﺨﻮﺍﺳﺘﻢ‬
‫ﺩﺭ ﭘﺎﻳﺎﻥ ﺿﻤﻦ ﺗﺸﻜﺮ ﺍﺯ ﻫﻤﻪ ﺷﻤﺎ ﺩﻭﺳﺘﺎﻥ ﻧﻜﺘﻪ ﺍﻯ ﺭﺍ ﺍﺷﺎﺭﻩ‬ ‫ﮔﻮﺍﺵ ﻭ ﺁﺑﺮﻧﮓ ﺭﺍ ﺗﻮﺻﻴﻪ ﻣﻰ ﻛﻨﻢ‪.‬‬ ‫ﻛﻤﻲ ﺩﺭﻣﻮﺭﺩﺵ ﺗﻮﺿﻴﺢ ﺑﺪﻳﺪ‪ .‬ﺁﻳﺎ ﺍﻳﻦ ﻧﻮﻉ ﺭﻧﮓ ﺑﺮﺍﻱ ﻛﺎﺭ ﭼﻬﺮﻩ‬
‫ﻣﻰ ﻛﻨﻢ‪ .‬ﺍﻃﻼﻋﺎﺕ ﻣﻦ ﺑﺴﻴﺎﺭ ﻧﺎﻗﺺ ﻭ ﺍﻧﺪﻙ ﻣﻰ ﺑﺎﺷﺪ ﻭ ﻣﻄﻤﺌﻨﺎ‬ ‫ﺑﻬﺰﺍﺩ ﺭﻳﺎﺿﻰ‬ ‫ﻣﻨﺎﺳﺒﻪ ﻭ ﺍﻳﻨﻜﻪ ﺑﺎﻳﺪ ﺭﻭﻱ ﻛﺎﻏﺬ ﺧﺎﺻﻲ ﻛﺎﺭ ﺑﺸﻪ؟‬
‫ﺧﻮﺩﺗﺎﻥ ﺑﺎ ﭘﺸﺘﻜﺎﺭ ﻭ ﺟﺪﻳﺖ ﻓﺮﺍﻭﺍﻥ ﺑﻪ ﻧﺘﺎﻳﺞ ﺑﻬﺘﺮﻯ ﺧﻮﺍﻫﻴﺪ‬ ‫ﺑﺎ ﺳﻼﻡ ﺧﺪﺕ ﺟﻨﺎﺏ ﺍﺭﺟﻤﻨﺪ ﻧﻴﺎ‬ ‫‪ - 2‬ﺍﺯ ﻧﻈﺮ ﺷﻤﺎ ﭼﻪ ﺗﻜﻨﻴﻜﻲ ﺑﺮﺍﻱ ﺭﻧﮓ ﻛﺮﺩﻥ ﻛﺎﺭﻫﺎﻱ ﭼﻬﺮﻩ‬
‫ﺭﺳﻴﺪ‪.‬‬ ‫ﺳﺎﻟﻬﺎﻯ ﺯﻧﺪﮔﻰ ﺩﺭ ﺗﺮﻛﻴﻪ ﭼﻪ ﺗﺎﺛﻴﺮﻯ ﺑﺮ ﻫﻨﺮ ﺷﻤﺎ ﺩﺍﺷﺖ ﻭ ﺑﺎ‬ ‫ﻣﻨﺎﺳﺐ ﺗﺮﻩ؟‬
‫ﺁﺭﺯﻭﻯ ﻣﻮﻓﻘﻴﺖ ﺭﻭﺯﺍﻓﺰﻭﻥ ﺑﺮﺍﻳﺘﺎﻥ ﺩﺍﺭﻡ‬ ‫ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻛﻪ ﺍﺯ ﻧﺰﺩﻳﻚ ﺩﺭ ﺟﺮﻳﺎﻥ ﻓﻀﺎﻯ ﻛﺎﺭﻳﻜﺎﺗﻮﺭ ﺍﻳﻦ‬ ‫ﺑﺎ ﺗﺸﻜﺮﻭ ﺁﺭﺯﻭﻱ ﻣﻮﻓﻘﻴﺖ‬

‫ﺷﻤﺎﺭﻩ ﺑﻴﺴﺖ ﻭﺳﻮﻡ‪ /‬ﺍﺳﻔﻨﺪ ‪13866‬‬

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