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ﺷﻜﺮ ﻭ ﺗﻘﺪﻳﺮ
ﺣﻜﻴﻢ ﻭ ﻛﻞ ﻣﻦ ﻣ ّﺪ ﱄ ﻳﺪ ﺍﻟﻌﻮﻥ.
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ﺍﳌﺨﺘﺼﺮﺍﺕ
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ﺍﳌﻘﺪﻣﺔ
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ﺍﳌﻘﺪﻣﺔ:
ﻳﺘﻀّﺢ ﺟﻠﹼﻴﺎ ﻣﻦ ﺧﻼﻝ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻷﺛﺮﻳﺔ ﻭ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺃﻥ ﺇﻧﺘﺎﺝ ﺍﳊﺒﻮﺏ ﻭ ﺍﻟﺰﻳﺖ ﻛﺎﻥ ﳍﻤﺎ ﻣﻜﺎﻧﺔ ﺭﺋﻴﺴﻴﺔ ﺿﻤﻦ
ﺍﳌﻨﺘﻮﺟﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ،ﻭ ﻣﻦ ﻫﻨﺎ ﻃﺮﺃ ﻋﻠﻰ ﺩﻫﻨﻨﺎ ﺍﻟﺘﺴﺎﺅﻝ ﺍﻷﰐ:
ﻓﺎﺩﺍ ﻧﻈﺮﻧﺎ ﰲ ﻣﻨﺎﺥ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﳒﺪﻩ ﻣﻼﺋﻤﺎ ﻟﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻣﻨﺪ ﺍﻟﻘﺪﻡ ﻭ ﻛﺪﺍ ﺍﻷﻣﺮ ﰲ ﻣﺎ ﻳﺘﻌﻠﹼﻖ
ﺑﺎﻷﺭﺽ ،ﺑﻞ ﻭ ﺣﱴ ﻛﻠﻤﺔ"ﺇﻓﺮﻳﻘﻴﺎ" ﲝﻴﺚ ﻳﺮﻯ ﺑﻌﺾ ﺍﳌﺆﺭﺧﲔ ﺃﻥ ﺃﺻﻞ ﻫﺪﻩ ﺍﻟﺘﺴﻤﻴﺔ ﻣﺸﺘﻖ ﻣﻦ ﻋﺒﺎﺭﺓ
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ﺍﻟﱵ ﺗﻌﲏ "ﺑﻼﺩ ﺍﻟﻔﻮﺍﻛﻪ" .ﺃﻻ ﺗﻌﺒّﺮ ﻫﺎﺗﻪ ﺍﻟﺘﺴﻤﻴﺔ ﻋﻦ ﺍﻟﻄﺒﻴﻌﺔ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻷﺭﺍﺿﻲ ﴰﺎﻝ frigi/ pharikia
ﺇﻓﺮﻳﻘﻴﺎ ﺍﻟﱵ ﺍﺷﺘﻬﺮﺕ ﺑﻮﻓﺮﺓ ﻭ ﺗﻨﻮﻉ ﺍﻟﻐﻼﻝ ﻣﻨﺪ ﺍﻟﻔﺘﺮﺍﺕ ﺍﻷﻭﱃ ،ﻭ ﻣﻦ ﺑﲔ ﺍﻟﻔﻮﺍﻛﻪ ﺍﻟﱵ ﻭﺭﺩﺕ ﰲ
ﻋﻨﺪﻣﺎ ﻧﻐﻮﺹ ﰲ ﺗﺎﺭﻳﺦ ﺍﳉﺰﺍﺋﺮ ﻣﻨﻄﻠﻘﲔ ﻣﻦ ﺍﻷﺣﺪﺙ ﺇﱃ ﺍﻷﻗﺪﻡ ﻧﻼﺣﻆ ﺍﺯﺩﻫﺎﺭ ﺷﺠﺮﺓ ﺍﻟﻜﺮﻣﺔ
ﻭ ﺗﻜﺜﹼﻒ ﺇﻧﺘﺎﺝ ﺍﳋﻤﺮ ﺧﺎﺻﺔ ﻣﻨﺪ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﻊ ﻋﺸﺮ ﺇﺑﺎﻥ ﺍﻻﺣﺘﻼﻝ ﺍﻟﻔﺮﻧﺴﻲ ،ﺗﻠﻴﻬﺎ ﻓﺘﺮﺓ ﻏﻤﻮﺽ
ﺧﻼﻝ ﺍﻟﻌﺼﻮﺭ ﺍﻟﻮﺳﻄﻰ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺑﻌﺾ ﺍﻻﻟﺘﻔﺎﺗﺎﺕ ﺍﻟﻄﻔﻴﻔﺔ ﻟﻠﺠﻐﺮﺍﻓﻴﲔ ﻭ ﺍﻟﺮﺣﺎﻟﺔ ﺍﻟﻌﺮﺏ ﺣﻮﻝ ﺃﻭﺻﺎﻑ
4 3 2
ﳊﻘﻮﻝ ﺍﻟﻜﺮﻭﻡ ﺍﻟﺸﺎﺳﻌﺔ ﰲ ﺍﻓﺮﻳﻘﻴﺔ ﺃﻣﺜﺎﻝ ﺍﳌﻘﺪﺳﻲ ﻭ ﺍﻟﺒﻜﺮﻱ ﻭ ﺍﺑﻦ ﺧﻠﺪﻭﻥ ﻭ ﺍﺑﻦ ﺣﻮﻗﻞ ﻭ
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ﺍﻹﺩﺭﻳﺴﻲ ...
ﻭ ﺃﺧﲑﺍ ﻧﺼﻞ ﺇﱃ ﻓﺘﺮﺓ ﺍﻟﺘﻮﺍﺟﺪ ﺍﻟﺮﻭﻣﺎﱐ ﺍﻟﱵ ﺳﺒﻘﺘﻬﺎ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ ﻭ ﻋﻬﺪ ﺍﳌﻤﺎﻟﻴﻚ ﺍﻟﻨﻮﻣﻴﺪﻳﺔ ،ﻛﻞ ﻫﺪﻩ
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« Afrique » in La grande encyclopédie. 30 vol. ed H.Lamirault et Cie. Paris (s.d). TI. P 714.
2
AL.Muqadassi, Description de l’Occident musulman au IV-Xe siècle. ed 1950. p 3
3
El Bekri, Description de l’Afrique septentrionale. ed 1965. p 65.
4
Ibn Hawqal, Configuration de la terre. Paris 1664. p 64.
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Al Idrissi, Desription de l’Afrique et de l’Espagne. 1866.
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-ﻣﺎ ﺫﺍ ﺍﺩﻥ ﻋﻦ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺇﻧﺘﺎﺝ ﺍﳋﻤﺮ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﺎﻣﺔ ﻭ ﰲ ﺍﳉﺰﺍﺋﺮ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺧﻼﻝ
ﺍﻟﻔﺘﺮﺓ ﺍﻟﻘﺪﳝﺔ؟
ﻣﻦ ﺃﻭﻝ ﻭﻫﻠﺔ ﻳﺒﺪﻭ ﻟﻨﺎ ﺟﻠﹼﻴﺎ ﻋﻠﻰ ﺿﻮﺀ ﺍﻻﻛﺘﺸﺎﻓﺎﺕ ﺍﻷﺛﺮﻳﺔ ﻭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺃﻥ ﺍﻟﻜﺮﻭﻡ ﱂ ﺗﺄﺧﺬ
ﺍﳌﻜﺎﻧﺔ ﺍﻟﱵ ﺃﺧﺬﻬﺗﺎ ﺯﺭﺍﻋﺔ ﺍﻟﻘﻤﺢ ﻭ ﺍﻟﺰﻳﺘﻮﻥ ﺑﺎﳌﻘﺎﻃﻌﺎﺕ ﺍﻷﻓﺮﻳﻘﻴﺔ ،ﻭ ﻫﺪﺍ ﻻ ﻳﻌﲏ ﺃﻬﻧﺎ ﱂ ﺗﻜﻦ ﲤﺎﺭﺱ
ﺑﻨﺸﺎﻁ ﻛﺒﲑ ﻣﻨﺪ ﺍﻟﻔﺘﺮﺓ ﺍﻷﻭﱃ ﺃﻭ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﻣﻨﺪ ﻋﺼﻮﺭ ﻣﺎ ﻗﺒﻞ ﺍﻟﺘﺎﺭﻳﺦ ،ﺍﺩ ﺍﻛﺘﺸﻔﺖ ﺣﺒﺎﺕ ﻋﻨﺐ
ﰲ ﻃﺒﻘﺎﺕ ﺟﻴﻮﻟﻮﺟﻴﺔ ﺗﻮﺍﻓﻖ ﺍﻟﻌﺼﺮ ﺍﳉﻠﻴﺪﻱ ﺍﻟﺮﺍﺑﻊ ﺑﺎﳉﺰﺍﺋﺮ.ﻭ ﺇﻥ ﻛﺎﻥ ﻳﺪّﻝ ﺩﻟﻚ ﻋﻠﻰ ﺷﻲﺀ ﻓﻬﻮ ﻳﺪّﻝ
ﻋﻠﻰ ﺃﻗﺪﻣﻴﻪ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳉﺰﺍﺋﺮ ﻭ ﺃﺻﻠﻬﺎ ﺍﶈﻠﹼﻲ ﻭ ﻫﺪﺍ ﻣﺎ ﻳﻔﻨّﺪ ﺃﺭﺍﺀ ﺑﻌﺾ ﺍﳌﺆﺭّﺧﲔ ﺍﻟﻠﺬﻳﻦ ﻳﺮﺟﻌﻮﻥ ﺍﻟﻔﻀﻞ
ﺇﱃ ﺍﻟﻔﻴﻨﻴﻘﻴﲔ ﻭﺣﺪﻫﻢ ﰲ ﺍﺳﺘﻘﺪﺍﻡ ﺍﻟﻜﺮﻭﻡ ﻣﻦ ﻓﻴﻨﻴﻘﻴﺎ ﺇﱃ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺗﻠﻘﲔ ﻃﺮﻕ ﺯﺭﺍﻋﺘﻬﺎ ﺇﱃ
ﺃﻫﺎﻟﻴﻬﺎ...
ﺃﻣﺎ ﺍﳌﺼﺎﺩﺭ ﺍﻟﻘﺪﳝﺔ ،ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻻﺗﻴﻨﻴﺔ ﺃﻡ ﺇﻏﺮﻳﻘﻴﺔ ،ﻓﻘﺪ ﺗﻄﺮّﻗﺖ ﺗﻘﺮﻳﺒﺎ ﻛﻠﹼﻬﺎ ﻭ ﻟﻮ ﺑﺼﻔﺔ ﻋﺎﺑﺮﺓ ﺇﱃ
ﺃﻗﺪﻣﻴﻪ ﳑﺎﺭﺳﺔ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﲟﻨﻄﻘﺔ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻗﺒﻴﻞ ﺍﻟﺘﻮﺍﺟﺪ ﺍﻟﺮﻭﻣﺎﱐ ﻬﺑﺎ ،ﰒ ﺍﺯﺩﻫﺎﺭﻫﺎ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ
ﺍﻟﺮﻭﻣﺎﻧﻴﺔ.
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ﺃﺳﺒﺎﺏ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﺿﻮﻉ ﻭ ﺍﻹﺷﻜﺎﻟﻴﺔ ﺍﳌﻄﺮﻭﺣﺔ:
ﺗﺮﺩّﺩﺕ ﰲ ﺑﺪﺍﻳﺔ ﺍﻷﻣﺮ ﻋﻨﺪ ﺍﺧﺘﻴﺎﺭ ﻣﻮﺿﻮﻉ ﺭﺳﺎﻟﺔ ﺍﳌﺎﺟﺴﺘﲑ ﺑﲔ ﻣﻮﺿﻮﻋﺎﻥ ،ﻛﻼﳘﺎ ﻳﺘﻌﻠﹼﻖ ﺑﺎﳉﻮﺍﻧﺐ
ﻭﻛﺎﻥ ﻣﻴﻠﻲ ﺇﱃ ﻣﺜﻞ ﻫﺪﻩ ﺍﳌﻮﺍﺿﻴﻊ ﻟﻴﺲ ﺻﺪﻓﺔ ﺑﻞ ﻓﺮﺽ ﻧﻔﺴﻪ ﺑﺴﺒﺐ ﺣﺪﺍﺛﺔ ﺍﳌﻮﺿﻮﻉ ﻣﻘﺎﺭﻧﺔ
ﲟﻮﺍﺿﻴﻊ ﺃﺧﺮﻯ ﻓﺄﻏﻠﺒﻴﺔ ﺍﻟﻄﻠﺒﺔ ﻳﺘﺠّﻬﻮﻥ ﳓﻮ ﺃﲝﺎﺙ ﰲ ﺍﻟﻔﻨﻮﻥ ﻭ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﺘﻨﻤﻴﻄﻴﺔ ﺃﻭ ﺍﻟﺒﺒﻠﻮﻏﺮﺍﻓﻴﺔ ﺃﻭ ﰲ
ﺍﻟﻌﻤﺮﺍﻥ ﻭ ﺍﺠﻤﻟﺎﻻﺕ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ،ﺑﻴﻨﻤﺎ ﺑﻘﻲ ﺟﺎﻧﺐ ﺍﻷﺭﺽ ﻭ ﺍﺳﺘﻐﻼﳍﺎ ﱂ ﻳﺄﺧﺬ ﻗﺴﻄﻪ ﻣﻦ
ﺍﻻﻫﺘﻤﺎﻡ...
ﻭ ﻗﺪ ﻭﻗﻊ ﺍﺧﺘﻴﺎﺭﻱ ﺃﺧﲑﺍ ﻋﻠﻰ ﺩﺭﺍﺳﺔ ﻣﻨﺘﻮﺝ ﺯﺭﺍﻋﻲ ،ﺭﲟﺎ ﻏﲑ ﻣﺄﻟﻮﻑ ،ﻭ ﻫﻮ ﺍﻟﻌﻨﺐ ﺑﺪﻻ ﻣﻦ ﺍﻟﺰﻳﺘﻮﻥ
ﺃﻣﻼ ﻣﲏ ﰲ ﺍﳌﺴﺎﳘﺔ ﻭ ﻟﻮ ﺑﺎﻟﻘﻠﻴﻞ ﰲ ﺍﻟﻌﺪﻝ ﺑﲔ ﺍﳌﻮﺿﻮﻋﲔ .ﻓﺎﻟﺰﻳﺘﻮﻥ ﺍﻷﻓﺮﻳﻘﻲ )ﻋﻜﺲ ﺍﻟﻜﺮﻭﻡ( ﻗﺪ
ﺣﻈﻲ ﺑﻘﺴﻂ ﻣﻦ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻭ ﺍﻷﲝﺎﺙ ﻭ ﺇﻥ ﻛﺎﻧﺖ ﺭﲟﺎ ﻧﺎﻗﺼﺔ ﺑﻴﻨﻤﺎ ﺑﻘﻴﺖ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻳﻜﺘﻨﻔﻬﺎ
ﺍﻟﻐﻤﻮﺽ ،ﺳﻮﺍﺀ ﲞﺼﻮﺹ ﺃﺻﻞ ﺍﻟﻌﻨﺐ ﺃﻭ ﻣﻨﺎﻃﻖ ﺯﺭﺍﻋﺘﻪ ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ ﻭ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﳌﺴﺘﻌﻤﻠﺔ ﺃﻭ ﺣﻮﻝ
ﺻﻨﺎﻋﺔ ﺍﳋﻤﻮﺭ ﻭ ﺗﺴﻮﻳﻘﻪ،ﺍ ﻭ ﺃﺧﲑﺍ ﺣﻮﻝ ﺇﻣﻜﺎﻧﻴﺔ ﻭﺟﻮﺩ ﺍﻗﺘﺼﺎﺩ ﺇﻓﺮﻳﻘﻲ ﻳﻘﻮﻡ ﻋﻠﻰ ﲡﺎﺭﺓ ﺍﳋﻤﻮﺭ ﺿﻤﻦ
ﻭ ﻻ ﺃﺧﻔﻲ ﲣﻮّﰲ ﻣﻦ ﻫﺪﺍ ﺍﳌﻮﺿﻮﻉ ﻋﻨﺪﻣﺎ ﻭﻗﻊ ﺍﺧﺘﻴﺎﺭﻱ ﻋﻠﻴﻪ ،ﻓﻜﻞ ﻣﻮﺿﻮﻉ ﻏﲑ ﻣﺄﻟﻮﻑ ﻭ ﺷﺎﺳﻊ
ﺍﺠﻤﻟﺎﻝ ﻛﻬﺬﺍ ،ﻳﻌﺘﱪ ﺳﲑﺍ ﳓﻮ ﺍﺠﻤﻟﻬﻮﻝ ﻭ ﺍﳌﺒﻬﻢ .ﻏﲑ ﺃﻧﻪ ،ﻋﻨﺪ ﺷﺮﻭﻋﻲ ﰲ ﺍﻟﺒﺤﺚ ﺍﻟﺒﺒﻠﻮﻏﺮﺍﰲ ﻭ ﺍﻃﻼﹼﻋﻲ
ﻋﻠﻰ ﺑﻌﺾ ﺍﻟﺪﺭﺍﺳﺎﺕ ﺍﻟﱵ ﺍﻫﺘﻤﺖ ﲟﺴﺄﻟﺔ ﺍﻟﻜﺮﻭﻡ ﰲ ﻣﻨﺎﻃﻖ ﺃﺧﺮﻯ ﻣﻦ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻛﺸﺒﻪ
9 8 7 6
ﺍﳉﺰﻳﺮﺓ ﺍﻻﻳﻄﺎﻟﻴﺔ ﻭ ﺑﻼﺩ ﺃﻟﻐﺎﻝ ﻭ ﺃﻳﺒﲑﻳﺎ ﻭ ﺍﳌﻐﺮﺏ ﻭ ﻗﺮﻃﺎﺟﺔ ﺩﻭﻥ ﺍﳉﺰﺍﺋﺮ ﲢﹼﻔﺰﺕ ﺃﻛﺜﺮ ﻭ ﻋﺰﻣﺖ ﻋﻠﻰ
ﺑﺪﻝ ﺍﺠﻤﻟﻬﻮﺩ ﺍﻟﻼﺯﻡ ﻹﺯﺍﻟﺔ ﺑﻌﺾ ﺍﻟﻐﻤﻮﺽ ﻋﻦ ﻣﻮﺿﻮﻉ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ.
6
A.Tchernia, Le vin de l’Italie Romaine. Essai d’histoire économique d’après les amphores. Rome 1986.
7
J.André, La vigne et le vin dans l’antiquité. Mélanges Bénevent. 1954.
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ﻭ ﺍﺩﺍ ﺃﺭﺩﺕ ﺗﻮﺿﻴﺢ ﺍﻷﺳﺒﺎﺏ ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﺩﻓﻌﱵ ﳓﻮ ﻣﻮﺿﻮﻉ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﳒﺪﻫﺎ ﺗﺪﻭﺭ ﻛﻠﹼﻬﺎ ﰲ
ﺣﻠﻘﺔ ﻣﻦ ﻧﻘﺎﻁ ﺍﺳﺘﻔﻬﺎﻡ ﻧﺮﻣﻲ ﺇﱃ ﺍﶈﺎﻭﻟﺔ ﻋﻠﻰ ﺍﻹﺟﺎﺑﺔ ﻋﻨﻬﺎ ﻭ ﻟﻮ ﺟﺰﺋﻴﺎ ﰲ ﺭﺳﺎﻟﱵ ﻫﺪﻩ ﻭ ﻫﻲ:
-ﺍﻷﳘﻴﺔ ﺍﻟﱵ ﲤﺘﻌﺖ ﻬﺑﺎ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﰲ ﺍﳉﺰﺍﺋﺮ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﳌﻨﺘﻮﺟﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺍﻷﺧﺮﻯ؟
-ﻫﻞ ﺍﺳﺘﻌﻤﻠﺖ ﻛﻞ ﺍﳌﻌﺎﺻﺮ ﺍﳌﻜﺘﺸﻔﺔ ﺑﺎﳉﺰﺍﺋﺮ ﻭ ﺍﳌﺆﺭّﺧﺔ ﺑﺎﻟﻌﻬﺪ ﺍﻟﺮﻭﻣﺎﱐ ﻟﻌﺼﺮ ﺍﻟﺰﻳﺘﻮﻥ ﻓﻘﻂ ﺃﻡ ﺃﻧﻪ ﻭﻗﻊ
-ﻣﺎﻫﻲ ﺍﻟﻄﺮﻕ ﻭ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﳌﺘﺒّﻌﺔ ﲟﻘﺎﻃﻌﺎﺕ ﻧﻮﻣﻴﺪﻳﺎ ﻭ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﻭ ﺍﻟﱪ ﻭﻗﻨﺼﻠﻴﺔ ؟ ﻭ ﻫﻞ ﺗﻄﺎﺑﻖ ﺗﻠﻚ
-ﻫﻞ ﺗﻮﺟﺪ ﻋﻼﻗﺔ ﺑﲔ ﻧﻄﺎﻕ ﺗﻮﺯّﻉ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺑﲔ ﺍﻷﻣﺎﻛﻦ ﺍﻟﱵ ﻋﺮﻓﺖ ﳑﺎﺭﺳﺔ ﺍﻟﻄﻘﻮﺱ ﺍﳌﺘﻌﻠﹼﻘﺔ
-ﻫﻞ ﺍﺳﺘﻤﺮّﺕ ﳑﺎﺭﺳﺔ ﻓﻼﺣﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻟﻌﺒﺎﺩﺍﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ -ﺍﻟﺒﺎﺧﻴﺔ ﺑﺎﳉﺰﺍﺋﺮ ﺑﻌﺪ ﺩﺧﻮﻝ ﺍﳌﺴﻴﺤﻴﺔ؟
-ﻫﻞ ﻭﺟﺪﺕ ﻋﻼﻗﺔ ﺑﲔ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﻣﺜﻞ ﻫﺪﻩ ﺍﻟﻌﺒﺎﺩﺍﺕ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻭ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳉﺰﺍﺋﺮ؟
ﻫﺪﺍ ﻋﻦ ﺍﳉﺎﻧﺐ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻭ ﺍﻟﺰﺭﺍﻋﻲ ﳌﻮﺿﻮﻉ ﺍﻟﻜﺮﻭﻡ ﰲ ﺍﳉﺰﺍﺋﺮ ،ﻭ ﻻ ﻳﺰﺍﻝ ﺟﺎﻧﺐ ﺃﺧﺮ ﻻ ﻳﻘﹼﻞ
ﺃﳘﻴﺔ ﻋﻦ ﺍﻷﻭﻝ ﻭ ﻻ ﳝﻜﻦ ﻓﺼﻠﻪ ﻋﻨﻪ ﺃﻻ ﻭﻫﻮ ﺍﳉﺎﻧﺐ ﺍﻟﺪﻳﲏ ﺍﻟﺬﻱ ﻳﺮﺗﺒﻂ ﺑﺪﻭﺭﻩ ﺑﺎﳉﺎﻧﺐ ﺍﻟﻔﻨّﻲ.
7
R.Rebuffat, Grabard, La vigne et le vin au Maroc. Archéologie de la vigne et du vin. Actes du colloque sur l’archéologie de la vigne.28-29 mai
1988. (Paris 1990). pp 219-231.
7
M.Fantar, La vigne et le vin à l’époque carthaginoise. REPPAL. X. INP 1997.pp 41-52.
8
R.Rebuffat, Grabard, La vigne et le vin au Maroc. Archéologie de la vigne et du vin. Actes du colloque sur l’archéologie de la vigne.28-29 mai
1988. (Paris 1990). pp 219-231.
9
M.Fantar, La vigne et le vin à l’époque carthaginoise. REPPAL. X. INP 1997.pp 41-52.
8
ﺍﻧﻪ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﰲ ﻛﻞ ﺩﺭﺍﺳﺔ ﻣﺘﻌﻠﹼﻘﺔ ﺑﺎﻟﺸﻌﻮﺏ ﺍﻟﻘﺪﳝﺔ ﺭﺑﻂ ﺍﳊﻴﺎﺓ ﺍﻟﺪﻳﻨﻴﺔ ﻭ ﺍﻟﻄﻘﻮﺳﻴﺎﺕ
ﲟﺠﺎﻻﺕ ﺃﺧﺮﻯ ﻣﻦ ﺍﳊﻴﺎﺓ ﻧﻈﺮﺍ ﻟﺘﻔﺴﲑ ﺍﻹﻧﺴﺎﻥ ﰲ ﺍﻟﻘﺪﱘ ﻛﻞ ﺍﻟﻈﻮﺍﻫﺮ ﻭ ﺍﻷﻋﻤﺎﻝ ﺗﻔﺴﲑﺍ ﺭﻭﺣﻴﺎ
ﻋﻘﺎﺋﺪﻳﺎ .ﻭ ﳍﺪﺍ ﻛﺎﻥ ﻳﻀﻊ ﻣﺜﻼ ﺍﻟﺰﺭﺍﻋﺔ ﻭ ﻛﻞ ﻣﺎ ﻳﺘﻌﻠﻖ ﻬﺑﺎ ﲢﺖ ﲪﺎﻳﺔ ﺍﻷﳍﺔ ،ﻭ ﺍﻟﻜﺮﻭﻡ ﻛﺎﻧﺖ ﳍﺎ ﺃﳍﺘﻬﺎ
ﺍﳋﺎﺻﺔ ﻬﺑﺎ ﺗﺘﻐﲑ ﺃﲰﺎﺀﻫﺎ ﻭ ﺑﻌﺾ ﺻﻔﺎﻬﺗﺎ ﺣﺴﺐ ﺍﳌﻨﻄﻘﺔ ﺍﳉﻐﺮﺍﻓﻴﺔ ﻭ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺰﻣﻨﻴﺔ.
ﻓﻬﻲ ﺍﻹﻟﻪ "ﺩﻳﻮﻧﻴﺰﻭﺱ "ﻋﻨﺪ ﺍﻹﻏﺮﻳﻖ ﻭ ﺍﻟﻼﺗﻴﻨﻴﲔ ،ﺍﻹﻟﻪ "ﺑﺎﺧﻮﺱ" ﻋﻨﺪ ﺍﻟﺮﻭﻣﺎﻥ ﻭ ﺍﻹﻟﻪ"ﺷﺪﺭﻭﻓﺔ" ﻋﻨﺪ
ﻭ ﻗﺪ ﻭﺟﺪﺕ ﺑﺎﳉﺰﺍﺋﺮ ﺷﻮﺍﻫﺪ ﻣﺘﻌﺪﺩﺓ ﻋﻦ ﳑﺎﺭﺳﺔ ﻭ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﺍﻟﻪ ﺍﻟﻌﻨﺐ ﻭ ﺍﳋﻤﺮ ﲟﺨﺘﻠﻒ ﺃﲰﺎﺋﻪ ﻭ
ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺑﺎﺳﻢ "ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﻷﻓﺮﻳﻘﻲ" ﻓﻴﻈﻬﺮ ﺩﻟﻚ ﺳﻮﺍﺀ ﻋﱪ ﺍﳌﻨﺤﻮﺗﺎﺕ ﺃﻭ ﺍﳌﺬﺍﺑﺢ ﻭ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻨﺬﺭﻳﺔ
ﺍﳌﻬﺪﺍﺓ ﺇﻟﻴﻪ ﺃﻭ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﻭ ﺍﻟﻨﻘﺎﺋﺶ ﺍﻟﱵ ﺗﺸﻬﺪ ﻋﻠﻰ ﺗﻜﺮﻳﺲ ﻣﻌﺎﺑﺪ ﻟﻪ ﺃﻭ ﺣﱴ ﺃﻧﺼﺎﺏ ﺟﻨﺎﺋﺰﻳﺔ
9
ﺍﳌﻨﻬﺠﻴﺔ ﺍﳌﺘﺒﻌﺔ :
ﺍﺠﻤﻟﻬﻮﻝ ﰲ ﻣﻮﺿﻮﻉ ﺭﺳﺎﻟﺘﻨﺎ ﻗﺪ ﺗﻄﺮﻗﻨﺎ ﺇﻟﻴﻪ ﰲ ﻃﺮﺡ ﺍﻹﺷﻜﺎﻟﻴﺔ ،ﺃﻣﺎ ﺍﳌﻌﺮﻭﻑ ﻓﻴﺒﺪﻭ ﻓﻘﲑﺍ ﻟﻠﻐﺎﻳﺔ ﻭ ﻫﻮ ﻣﺎ
ﺻﻌّﺐ ﺷﻴﺌﺎ ﻣﺎ ﺗﻘﺪّﻣﻨﺎ ﰲ ﻋﻤﻠﻨﺎ ،ﻭ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ،ﻛﺎﻥ ﻋﺎﻣﻞ ﲢﻔﻴﺰ ﺩﻓﻌﻨﺎ ﺇﱃ ﺍﻟﺒﺤﺚ ﻭ ﺍﻟﺴﲑ ﻣﻦ ﺍﺟﻞ
ﲢﺴﲔ ﻭﺿﻌﻴﺔ ﺍﳌﻌﺎﺭﻑ ﺍﳋﺎﺻﺔ ﺑﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳌﻌﺒﻮﺩﺍﺕ ﺍﳋﻤﺮﻳﺔ ﰲ ﺍﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ.
ﻟﻘﺪ ﻻﺣﻈﻨﺎ ﻣﻦ ﺃﻭﻝ ﻭﻫﻠﺔ ﺍﻧﻌﺪﺍﻡ ﺩﺭﺍﺳﺔ ﺧﺼّﺖ ﻣﻮﺿﻮﻉ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺇﻧﺘﺎﺝ ﺍﳋﻤﺮ ﺑﺎﳉﺰﺍﺋﺮ ﰲ
ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺳﻮﺍﺀ ﻛﺎﻥ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ )ﺯﺭﺍﻋﺘﻬﺎ ﻭ ﺻﻨﺎﻋﺘﻬﺎ ﻭ ﲡﺎﺭﻬﺗﺎ( ﺃﻭ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺪﻳﻨﻴﺔ ﻭ
ﺍﻻﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ )ﺩﺭﺍﺳﺔ ﺍﻟﺘﺼﻮﻳﺮﺍﺕ ﺍﳌﺘﻌﻠﹼﻘﺔ ﺑﺎﻟﻜﺮﻭﻡ ﻭ ﺑﻌﺒﺎﺩﺓ ﺁﳍﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﻮﺭ ﰲ ﻓﻨﻮﻥ ﺍﻟﻨﺤﺖ،
ﺇﻥ ﺍﻷﻋﻤﺎﻝ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﺗﻄﺮّﻗﺖ ﺇﱃ ﻣﻮﺿﻮﻉ ﺍﻟﻜﺮﻭﻡ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺧﻼﻝ ﺃﻟﻔﺘﺮﰐ ﺍﻟﺒﻮﻧﻴﺔ ﻭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ
11 10
ﲣﹼﺺ ﻣﻨﻄﻘﱵ ﻗﺮﻃﺎﺟﺔ ﻭ ﺍﳌﻐﺮﺏ ﺍﻷﻗﺼﻰ )ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﻄﻨﺠﻴﺔ( ﺑﻴﻨﻤﺎ ﺑﻘﺖ ﻧﻮﻣﻴﺪﻳﺎ ﻭ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺑﻌﻴﺪﺓ
ﻭ ﺭﺃﻳﻨﺎ ﺃﻥ ﺍﳌﻘﺎﻻﺕ ﻭ ﺍﻷﲝﺎﺙ ﺍﻟﱵ ﻣﺴّﺖ ﻣﻦ ﺑﻌﻴﺪ ﻣﻮﺿﻮﻋﻨﺎ ﻫﺪﺍ ﻋﺒﺎﺭﺓ ﻋﻦ ﺇﺷﺎﺭﺍﺕ ﻣﻮﺟﺰﺓ ﺍﻗﺘﺼﺮﺕ
ﻋﻠﻰ ﲢﺪﻳﺪ ﻣﻮﺍﻗﻊ ﺍﻵﺛﺎﺭ ﺍﻻﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﻭ ﺍﻷﺛﺮﻳﺔ ﺍﳌﺘﻌﻠﹼﻘﺔ ﺑﺎﻟﻜﺮﻭﻡ ﰲ ﺍﳉﺰﺍﺋﺮ ﻣﻦ ﺍﳉﺎﻧﱯ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺃﻭ
ﺍﻟﺰﺭﺍﻋﻲ ،ﺃﻡ ﻣﻦ ﺍﳉﺎﻧﺐ ﺍﻻﻳﻜﻨﻮﻏﺮﺍﰲ ﻭ ﻫﻲ ﻣﻨﺠﺰﺍﺕ ﻓﻨﻴﺔ ﻭ ﻟﻘﻲ ﺃﺛﺮﻳﺔ ﺗﺸﻬﺪ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﺍﻟﻪ
10
M.Fantar, op cit.
11
R.Rebuffat et Gabard, op cit.
12 s.Gsell? I L A. Paris 1922.
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ﻭ ﳍﺪﺍ ﻛﺎﻥ ﻣﻦ ﺍﻟﻀﺮﻭﺭﻱ ﺃﻭﻻ ﺃﻥ ﻧﻘﻮﻡ ﲜﻤﻊ ﻛﻞ ﻫﺪﻩ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭ ﺍﻟﺸﻮﺍﻫﺪ ﺍﳌﺎﺩﻳﺔ ﺍﳌﺒﻌﺜﺮﺓ ﻫﻨﺎ ﻭ ﻫﻨﺎﻙ
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ﺳﻮﺍﺀ ﰲ ﻣﺪﻭﻧﺔ ﺍﻟﻨﻘﻮﺵ ﺍﻟﻼﺗﻴﻨﻴﺔ ﻭ ﳎﻤﻮﻋﺔ ﺳﺘﻔﺎﻥ ﻏﺰﻳﻞ ﰲ ﻣﺎ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻨﻘﻴﺸﺎﺕ،ﺃﻭ ﺍﻟﺒﺤﻮﺙ ﺍﳌﻴﺪﺍﻧﻴﺔ
ﻭ ﺗﻘﺎﺭﻳﺮ ﺍﳊﻔﺮﻳﺎﺕ ﺍﳌﻨﺸﻮﺭﺓ ﻭ ﺍﻟﻐﲑ ﻣﻨﺸﻮﺭﺓ ﻭ ﻣﺼﻨّﻔﺎﺕ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ ﺍﳌﺘﺤﻔﻴﺔ ﰲ ﻣﺎ ﳜﹼﺺ ﺍﻷﺩّﻟﺔ ﺍﻟﺜﺮﻳﺔ
ﺍﻷﺧﺮﻯ( ﺍﳌﻨﺤﻮﺗﺎﺕ ،ﺍﻷﻧﺼﺎﺏ ،ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ،ﺍﳌﺴﻜﻮﻛﺎﺕ ،ﺍﳌﺼﺎﺑﻴﺢ ﺍﻟﺰﻳﺘﻴﺔ ،ﺍﳌﺒﺎﱐ ،ﺍﻟﻨﺼﻮﺹ ﺍﻟﺘﺸﺮﻳﻌﻴﺔ.
ﺑﻌﺪ ﺍﻻﻧﺘﻬﺎﺀ ﻣﻦ ﻋﻤﻠﻴﺔ ﺍﳉﺮﺩ ﺍﻟﺪﻗﻴﻖ ﺗﻄﻠﹼﺐ ﺍﻷﻣﺮ ﺩﺭﺍﺳﺔ ﻭ ﲢﻠﻴﻞ ﻛﻞ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻟﱵ ﲢﺼﻠﻨﺎ ﻋﻠﻴﻬﺎ ﻟﺮﺑﻄﻬﺎ
ﻣﻊ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ﻭ ﳏﺎﻭﻟﺔ ﺇﳚﺎﺩ ﻋﻼﻗﺔ ﺑﲔ ﺍﳉﺎﻧﺐ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻭ ﺍﳉﺎﻧﺐ ﺍﻟﺪﻳﲏ ﳌﻮﺿﻮﻉ ﺍﻟﻜﺮﻭﻡ ﰲ
12
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ﳏﺎﻭﺭ ﺍﻟﺒﺤﺚ:
ﻧﻈﺮﺍ ﻟﻄﺒﻴﻌﺘﻪ ﺍﳌﺰﺩﻭﺟﺔ ﺗﻨﺎﻭﻟﺖ ﻣﻮﺿﻮﻉ "ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ ﰲ ﺍﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ" ﻣﻦ ﺧﻼﻝ ﳏﻮﺭﻳﻦ
ﺭﺋﻴﺴﻴﲔ:
ﺍﶈﻮﺭ ﺍﻷﻭﻝ :ﻗﻤﺖ ﻓﻴﻪ ﲜﺮﺩ ﺩﻗﻴﻖ ﻭ ﺷﺎﻣﻞ ﻟﻜﻞ ﺍﻟﺸﻮﺍﻫﺪ ﺍﳌﺎﺩﻳﺔ ﺍﻟﱵ ﺗﺸﻬﺪ ﻋﻠﻰ ﻭﺟﻮﺩ ﺯﺭﺍﻋﺔ ﺍﻟﻌﻨﺐ ﻭ
ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ،ﻋﺮﺿﺖ ﺍﻷﺩّﻟﺔ ﺍﻷﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﱵ ﺗﺘﻄﺮﻕ ﺇﱃ ﻣﻌﺒﻮﺩﺍﺕ ﺍﻟﻌﻨﺐ ﻭ ﺍﳋﻤﺮ ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ
ﻭ ﻣﺎ ﻳﺘﻌﻠﹼﻖ ﻬﺑﺎ.
ﺟﻌﻠﺖ ﻫﺪﺍ ﺍﶈﻮﺭ ﻋﻠﻰ ﺷﻜﻞ ﺷﺒﻪ ﺑﻄﺎﻗﺎﺕ ﺟﺮﺩ ﻣﺘﻨﻮﻋﺔ ﺗﺸﻤﻞ ﻛﻞ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺍﻟﱵ ﲤﻜﻨﺖ ﻣﻦ ﲢﺼﻴﻠﻬﺎ
ﻣﻦ ﺧﻼﻝ ﻓﺮﺯ ﻛﻞ ﺍﳌﺼﻨّﻔﺎﺕ ﻭ ﺍﻟﻜﺘﺎﻟﻮﺟﺎﺕ ﺍﳌﺘﺤﻔﻴﺔ ،ﻣﺪﻭﻧّﺎﺕ ﺍﻟﻨﻘﺎﺋﺶ ﺍﻟﻼﺗﻴﻨﻴﺔ ،ﺗﻘﺎﺭﻳﺮ ﺍﻷﲝﺎﺙ
ﺍﳌﻴﺪﺍﻧﻴﺔ ﻭ ﺍﳊﻔﺮﻳﺎﺕ ،ﺍﳌﻠﺘﻘﻴﺎﺕ ﺍﳌﻨﺸﻮﺭﺓ ،ﺍﳌﺼﺎﺩﺭ ﺍﻷﺩﺑﻴﺔ ﻭ ﺍﻷﺛﺮﻳﺔ ،ﺍﻟﺪﻭﺭﻳﺎﺕ ﻭ ﺍﺠﻤﻟﻼﹼﺕ ﺍﳌﺘﺨﺼﺼﺔ...
ﻭ ﺣﺎﻭﻟﺖ )ﻋﻨﺪﻣﺎ ﺃﻣﻜﻦ ﺍﻷﻣﺮ( ﺗﻄﻌﻴﻢ ﺑﻄﺎﻗﺎﺕ ﺍﳉﺮﺩ ﺑﻮﺻﻒ ﻭ ﲢﻠﻴﻞ ﻣﻮﺟﺰ ﻟﺘﻨﺴﻴﻖ ﺍﻷﺛﺮ ﺍﳌﺪﺭﻭﺱ
ﲟﻮﺿﻮﻉ ﺍﻟﻌﺒﺎﺩﺓ ﻭ ﺍﻟﺰﺭﺍﻋﺔ ،ﻭ ﺃﺧﺬﺕ ﺑﻨﻔﺲ ﺍﳌﺒﺪﺃ ﻣﻊ ﻛﻞ ﳎﻤﻮﻋﺎﺕ ﺃﺛﺎﺭ ﺁﳍﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻟﻌﻨﺐ ﻣﻦ
ﺍﻟﻨﻘﻴﺸﺎﺕ ﺍﻟﻼﺗﻴﻨﻴﺔ ﻭ ﺑﻘﺎﻳﺎ ﺍﳌﻌﺎﺑﺪ ﺍﻟﱵ ﺗﻨﺎﻭﻟﻨﺎﻫﺎ ﰲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ﻣﻦ ﺍﳌﺬﻛﺮﺓ ,ﺑﻌﺪ ﻣﺪﺧﻞ ﻳﻌﺮّﻓﻨﺎ ﻋﻠﻰ
ﻣﻌﺒﻮﺩﺍﺕ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ ﻋﻨﺪ ﺍﻹﻏﺮﻳﻖ ﻭ ﺍﻟﺮﻭﻣﺎﻥ ﻋﺎﻣﺔ ،ﻭ ﻋﻨﺪ ﺳﻜﺎﻥ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺧﻼﻝ
ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ.
ﺃﻣﺎ ﺑﻄﺎﻗﺎﺕ ﺟﺮﺩ ﺷﻮﺍﻫﺪ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺻﻨﺎﻋﺔ ﺍﳋﻤﺮ ﻓﻘﺪ ﺟﻌﻠﺖ ﳍﺎ ﻓﺼﻼ ﺧﺎﺻﺎ ﻬﺑﺎ )ﻫﻮ ﺍﻟﻔﺼﻞ
ﺍﻟﺜﺎﱐ( ﻛﻮﻬﻧﺎ ﺗﻌﺘﱪ ﺍﻟﻌﻨﺼﺮ ﺍﻟﺮﺋﻴﺴﻲ ﳌﻮﺿﻮﻉ ﺍﻟﺒﺤﺚ ﻣﻦ ﺍﳉﺎﻧﺐ ﺍﻻﻗﺘﺼﺎﺩﻱ ﻭ ﺍﻟﺰﺭﺍﻋﻲ ،ﺑﻴﻨﻤﺎ ﺗﻌّﺪ
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ﻭ ﻳﺘﻌﻠﻖ ﺍﳉﺮﺩ ﺍﳌﺘﻀﻤﻦ ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﱐ ﺑﺎﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺍﳌﻜﺘﺸﻔﺔ ﲟﻮﺍﻗﻊ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﻘﻴﺼﺮﻳﺔ
ﻭ ﻧﻮﻣﻴﺪﻳﺎ ،ﺇﱃ ﺟﺎﻧﺐ ﻃﺎﻭﻻﺕ ﻭﺯﻥ ﺍﳋﻤﺮ ﻭ ﺍﻟﺰﻳﺖ ،ﺃﺛﺎﺭ ﳐﺎﺯﻥ ﻭ ﻣﻌﺎﺻﺮ ﺍﻟﻌﻨﺐ ،ﻭ ﺃﺧﲑﺍ ،ﺍﻟﻜﺘﺎﺑﺎﺕ ﻭ
ﺍﶈﻮﺭ ﺍﻟﺜﺎﱐ :ﻋﻨﻴﺖ ﻓﻴﻪ ﺑﺎﻟﺪﺭﺍﺳﺔ ﺍﻟﺘﺤﻠﻴﻠﻴﺔ ﻟﻜﻞ ﺍﳌﻌﻄﻴﺎﺕ ﻭ ﺍﻟﺸﻮﺍﻫﺪ ﺍﻷﺛﺮﻳﺔ ﻭ ﺍﻷﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ،ﺑﻌﺪ
ﺍﺳﺘﻘﺮﺍﺀ ﻭ ﻣﻘﺎﺭﻧﺔ ﻭﺿﻌﻴﺔ ﺍﳌﻌﺎﺭﻑ ﺑﺎﳉﺰﺍﺋﺮ ﺑﻮﺿﻌﻴﺔ ﺍﳌﻌﺎﺭﻑ ﺑﺒﺎﻗﻲ ﻣﻨﺎﻃﻖ ﺍﳊﻮﺽ ﺍﳌﺘﻮﺳﻄﻲ )ﺗﻮﻧﺲ،
ﺍﳌﻐﺮﺏ ،ﺍﻳﻄﺎﻟﻴﺎ.(...
ﺟﻌﻠﺖ ﻫﺪﺍ ﺍﶈﻮﺭ ﰲ ﺍﻟﻔﺼﻞ ﺍﻟﺜﺎﻟﺚ ﻭ ﺍﻷﺧﲑ ﻟﻠﻤﺬﻛﺮﺓ ﻛﺨﻼﺻﺔ ﻗﺪﻣﺖ ﻓﻴﻬﺎ ﺍﻻﺳﺘﻨﺘﺎﺟﺎﺕ ﺍﻟﱵ
ﺍﺳﺘﻨﺒﻄﺘﻬﺎ ﻣﻦ ﺧﻼﻝ ﺗﻔﺤﺼﻲ ﺍﻟﺪﻗﻴﻖ ﻟﻜﻞ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻷﺛﺮﻳﺔ ﻭ ﺍﻷﺩﺑﻴﺔ ،ﻭ ﺣﺎﻭﻟﺖ ﺭﺑﻄﻬﺎ ﺑﺸﻮﺍﻫﺪ ﺯﺭﺍﻋﺔ
ﺑﻌﺪ ﺩﻟﻚ ﻗﻤﺖ ﺑﻌﺮﺽ ﻧﺘﺎﺋﺞ ﺍﻟﺒﺤﺚ ﻭ ﳏﺎﻭﻻﺕ ﺍﻷﺟﻮﺑﺔ ﻋﻦ ﺍﻟﺘﺴﺎﺅﻻﺕ ﺍﻟﱵ ﻃﺮﺣﺘﻬﺎ ﰲ ﺍﻟﺒﺪﺍﻳﺔ ،ﰲ
ﺧﻼﺻﺎﺕ ﺧﺎﺻﺔ ﺑﺎﳌﻨﺤﻮﺗﺎﺕ ﻭ ﺍﻷﻧﺼﺎﺏ ﻭ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ،ﻭ ﺍﳌﺴﻜﻮﻛﺎﺕ ﻭ ﺍﳌﺼﺎﺑﻴﺢ ﺍﻟﺰﻳﺘﻴﺔ ،ﻭ ﺍﻟﻨﻘﺎﺋﺶ
ﺍﻟﻼﺗﻴﻨﻴﺔ .ﻭ ﺟﻌﻠﺖ ﻟﻜﻞ ﺧﻼﺻﺔ ﺟﺪﺍﻭﻝ ﺗﺴﻬّﻞ ﺩﺭﺍﺳﺔ ﺍﻹﺣﺼﺎﺋﻴﺎﺕ ﻭ ﺍﳌﻘﺎﺭﻧﺔ ﺑﲔ ﺍﳌﻮﺍﻗﻊ ﻭ ﺍﳌﺨﻠﹼﻔﺎﺕ
ﻭ ﺃﺧﲑﺍ ﻭﺿﻌﺖ ﺭﺳﻮﻡ ﺑﻴﺎﻧﻴﺔ ﳍﺪﻩ ﺍﳉﺪﺍﻭﻝ ﺗﻮﺿّﺢ ﺃﻛﺜﺮ ﺩﺭﺍﺳﺔ ﺍﳌﻘﺎﺭﻧﺔ ﺑﲔ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ،ﰲ ﻣﺎ
ﳜﹼﺺ ﻛﺜﺎﻓﺔ ﺗﻮﺍﺟﺪ ﺷﻮﺍﻫﺪ ﳑﺎﺭﺳﺔ ﺍﻟﻌﺒﺎﺩﺍﺕ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ ،ﻭ ﺧﺮﻳﻄﺔ ﺗﻮﺯﻉ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ
ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ.
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ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ
ﺑﺎﳌﻌﺒﻮ ﺍﺕ ﺍﳋﻤﺮﻳﺔ"
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ﻣﺪﺧﻞ ﺇﱃ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ
-1.1ﻳﻮﻧﻴﺰﻭﺱ:
"ﺩﻳﻮﻧﻴﺰﻭﺱ" ﻫﻲ ﺃﻗﺪﻡ ﺗﺴﻤﻴﺔ ﻫﻠﻠﻴﻨﻴﺔ ﻛﺎﻥ ﻳﻄﻠﻘﻬﺎ ﺍﻹﻏﺮﻳﻖ ﻋﻠﻰ ﺍﻟﻪ ﺍﻟﻨﺒﺎﺗﺎﺕ ﻭ ﺍﻟﻌﻨﺐ ﻭ ﻣﺎﻧﺢ ﻧﺸﻮﺓ
ﺍﳍﺬﻳﺎﻥ ﻭ ﺍﻹﻟﻪ ﺍﳌﺮﺗﺒﻂ ﺑﺎﻟﻌﺎﱂ ﺍﻷﺧﺮﻭﻱ ﻭ ﲝﻴﻮﻳﺔ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ،ﺑﺼﻔﺔ ﺧﺎﺻﺔ ،ﺑﺎﻟﻜﺮﻭﻡ.
ﰲ ﺑﺪﺍﻳﺔ ﺍﻷﻣﺮ ،ﻛﺎﻥ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﺍﻹﻏﺮﻳﻘﻴﺔ ،ﻧﺼﻒ ﺍﻟﻪ ﻳﺪﻋﻰ "ﺍﳌﻮﻟﻮﺩ ﻣﺮﺗّﺎﻥ" ﻣﺮﺓ ﻣﻦ ﺃﻣﻪ
ﲰﻴﻠﻲ ﻭ ﻣﺮﺓ ﺃﺧﺮﻯ ﻣﻦ ﻓﺨﺪ ﺃﺑﻴﻪ ﺍﻹﻟﻪ ﺯﻭﺱ ﺣﻴﺚ ﺍﻛﺘﻤﻞ ﺗﻜﻮﻳﻨﻪ ﺑﻌﺪ ﺇﺧﺮﺍﺟﻪ ﻣﻦ ﺑﻄﻦ ﺃﻣﻪ ﺍﳌﺼﻌﻮﻗﺔ
ﺑﺴﺒﺐ ﻏﲑﺓ ﺍﻹﳍﺔ ﻫﲑﺍ .ﺑﻌﺪ ﺫﻟﻚ ﻛﹼﻠﻒ ﺍﻹﻟﻪ ﺯﻭﺱ ﺍﳊﺎﺿﻨﺎﺕ ﻭ ﺳﻴﻼﻥ ﺍﻟﺸﻴﺦ ﺑﺘﺮﺑﻴﺔ ﺍﺑﻨﻪ ﺍﻟﺬﻱ ﺍﻛﺘﺸﻒ
ﺃﻧﺪﺍﻙ ﺍﳋﻤﺮ.
ﻛﺜﲑﺍ ﻣﺎ ﳝﺜﹼﻞ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻹﻟﻪ ﰲ ﺍﻟﻔﻦ ﺍﻟﻘﺪﱘ ﺑﺘﻨﺎﻗﺾ ﺟﻨﺴﻲ ﺑﲔ ﺍﻟﺮﺟﻞ ﻭ ﺍﳌﺮﺍﺀﺍﺓ "ﺍﳋﻨﺜﻮﻱ"
1
ﻛﺘﻌﺎﺭﺽ ﺍﳋﻤﺮ ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﺩﺍﺀ ﻭ ﺩﻭﺍﺀ ﰲ ﻧﻔﺲ ﺍﻵﻭﻧﺔ.
ﰲ ﻣﺮﺣﻠﺔ ﺷﺒﺎﺑﻪ ﻗﺎﻡ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﻐﺮﺱ ﺍﻟﻜﺮﻭﻡ ﻭ ﻋﺼﺮﻫﺎ ﻭ ﻟﺪﻟﻚ ﳝﺜﹼﻞ ﲟﺰﺭﺍﻗﻪ ﺍﻟﺬﻱ ﻳﻀﺮﺏ ﺑﻪ
ﻣﻦ ﺍﻟﻈﺎﻫﺮ ﺍﺫﻥ ﺃﻥ ﺍﻟﺼﻔﺎﺕ ﺍﻟﺮﺋﻴﺴﻴﺔ ﻟﺪﻳﻮﻧﻴﺰﻭﺱ ﺗﺘﻌﹼﻠﻖ ﻛﻠﻬﺎ ﺑﻌﺼﲑ ﺍﻟﻌﻨﺐ ﻭ ﳍﺪﺍ ﻳﻈﻬﺮ ﺃﻭﻻ ﺑﺘﺴﻤﻴﺔ
1
R.Martin, Dictionnaire culturel de la mythologie gréco-romaine. ed Nathan 1992. p 88.
.
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"ﺍﻟﺬﻱ ﳝﻨﺢ ﺍﳋﻤﺮ ﺍﻟﺼﺎﰲ"" ،ﻣﻜﺘﺸﻒ ﺍﳋﻤﺮ" ،ﻏﺎﺭﺱ ﺍﻟﻜﺮﻭﻡ" ،ﺍﻟﻪ ﺍﻟﻌﻨﺎﻗﻴﺪ ،ﺍﳌﺸﺮﻑ ﻋﻠﻰ ﻣﻌﺎﺻﺮ
-1ﺃﻗﺪﻣﻬﻢ "ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳌﻠﺘﺤﻲ" ﻭﻟﺪ ﺑﺎﳍﻨﺪ ﻭ ﻫﻮ ﻣﻜﺘﺸﻒ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻷﺷﺠﺎﺭ ﺍﳌﺜﻤﺮﺓ.
-2ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﺑﻦ ﺍﻹﻟﻪ ﺯﻭﺱ ﻭ ﺍﻹﳍﺔ ﺩﳝﻴﺘﺮ ﺃﻭ ﻛﻮﺭﻱ ﳝﺜﹼﻞ ﺑﻘﺮﻭﻥ ﺍﻟﺜﻮﺭ ﻭ ﻫﻮ ﻣﻜﺘﺸﻒ ﺍﻟﺰﺭﺍﻋﺔ.
-3ﺃﺣﺪﺛﻬﻢ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳌﻮﻟﻮﺩ ﰲ ﻃﻴﺒﺔ ﻣﻦ ﺍﻹﻟﻪ ﺯﻭﺱ ﻭ ﲰﻴﻠﻲ ﻭ ﻫﻮ ﻣﺆﺳّﺲ ﺗﻌﻠﻴﻢ ﺃﺳﺮﺍﺭ ﻋﺒﺎﺩﺗﻪ ﻭ ﻧﺮﺍﻩ
ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﻳﺄﰐ ﺍﻟﺜﻮﺭ ﺭﻣﺰ ﺍﻟﻘﻮﺓ ﻭ ﻋﻨﺼﺮ ﺍﻟﺮﻃﻮﺑﺔ ﰲ ﺍﻹﻟﻪ ﰒ ﳒﺪ ﺣﻴﻮﺍﻧﺎﺕ ﺃﺧﺮﻯ ﺗﺮﺍﻓﻖ ﺍﻹﻟﻪ ﺃﻭ
ﺗﺮﻣﺰ ﺇﻟﻴﻪ ﻛﺎﻟﺘﻴﺲ ،ﺍﳌﺎﻋﺰ ،ﺍﻟﺮﺷﺎ ،ﺍﻟﻈﺒﻴﺔ ،ﺍﳊﻤﺎﺭ ،ﺍﳊﺼﺎﻥ ،ﺍﻟﻘﺮﺍﻉ ﺍﻟﺒّﺮﻱ ،ﺍﻟﺪﻟﻔﲔ ،ﺍﻷﺳﺪ ،ﺍﻟﻔﻬﺪ ،ﺍﻟﻨﻤﺮ،
ﺍﳌﺰﺭﺍﻕ ،ﺍﻟﺒﺎﻃﻴﺔ ،ﺃﻟﻜﺎﺱ ،ﺍﻟﻄﺒﻠﺔ ،ﺍﻟﺴّﻠﺔ ﺍﻟﱵ ﳜﺮﺝ ﻣﻨﻬﺎ ﺍﻟﺜﻌﺒﺎﻥ ،ﺍﳌﻨﺴﻒ...
2
Fougaaut. M. Paul, Le culte de Dionysos attique. 1901.
3
Daremberg et Saglio, op cit. p 622.
16
--1.2ﺍﻟﻌﺒﺎ ﺓ ﺍﻟﺪﻭﻧﻴﺰﻳﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ:
ﺗﻌﺘﱪ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺍﳌﻨﻄﻘﺔ ﺍﻟﱵ ﲤﺜﻞ ﻋﻠﻰ ﺃﺣﺴﻦ ﻭﺟﻪ ﻣﺪﻯ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﻪ ﺍﻟﻜﺮﻭﻡ
4
ﻭ ﺍﳋﻤﺮ ﻭ ﻫﺪﺍ ﺃﻣﺮ ﻣﺘﻔﹼﻖ ﻋﻠﻴﻪ ﰲ ﺃﻏﻠﺒﻴﺔ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻭ ﺍﻷﲝﺎﺙ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻣﻮﺿﻮﻉ ﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﻟﻘﺪﳝﺔ.
ﺗﺸﻬﺪ ﺍﻷﺩّﻟﺔ ﺍﻷﺛﺮﻳﺔ ﺍﳌﺘﻌﺪﺩﺓ ﻣﻦ ﻧﺎﻗﺸﺎﺕ ﻭ ﺍﻫﺪﺍﺀﺍﺕ ﻋﻠﻰ ﻭﺟﻮﺩ ﻧﻮﻋﺎﻥ ﻣﻦ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﺍﳉﺰﺍﺋﺮ
-1ﺃﻭﳍﺎ ﻭ ﺃﻛﺜﺮﻫﺎ ﺍﻧﺘﺸﺎﺭﺍ ﻛﻤﺎ ﻧﺴﺘﻨﺘﺞ ﻣﻦ ﺧﻼﻝ ﻭﺿﻌﻴﺔ ﺍﳌﻌﺎﺭﻑ ﺍﳊﺎﻟﻴﺔ ﻫﻲ ﺍﳉﻤﻌﻴﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﺍﻟﺮﲰﻴﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﻭ ﺗﺮﺳﻴﻢ ﺃﻋﻀﺎﺀ ﺍﻟﺒﻠﺪﻳﺔ ﻭ ﺍﻟﻄﺒﻘﺔ ﺍﻷﺭﺳﺘﻘﺮﺍﻃﻴﺔ ﰲ ﺃﻋﻠﻰ ﻣﻨﺎﺻﺐ
ﺍﻟﻜﻬﻨﻮﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
-2ﺍﻟﻨﻮﻉ ﺍﻟﺜﺎﱐ ﻳﻈﻬﺮ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﻌﺎﺋﻠﻴﺔ ﺍﳌﻤﺎﺭﺳﺔ ﺎﻋﻴﺎ ﰲ ﹼﻞ ﻋﺎﺋﻼﺕ ﻧﻮﻣﻴﺪﻳﺔ ﻭ ﻣﻮﺭﻳﺔ.
ﻭ ﰲ 186ﻕ.ﻡ ﻗﺎﻡ ﳎﻠﺲ ﺍﻟﺸﻴﻮﺥ ﺍﻟﺮﻭﻣﺎﱐ ﺑ ﻟﻐﺎﺀ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﺮﲰﻴﺔ ﰲ
ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﻣﻊ ﺍﻻﺣﺘﻔﺎ ﺑﺎﻟﻌﺒﺎﺩﺓ ﺍﻟﺸﻌﺒﻴﺔ ،ﻭ ﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ ﺗﻐﲑﺕ ﺍﻷﻭﺿﺎﻉ ﻣﻊ ﺍﻹﻣﱪﺍﻃﻮﺭ ﻗﻴﺼﺮ
5
ﺍﻟﺬﻱ ﺃﺩﺧﻞ ﺇﱃ ﺭﻭﻣﺎ ﺣﻔﻼﺕ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ ﻋﻠﻰ ﺷﺮﻑ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻭ ﻟﻴﱪ ﺑﺼﻮﺭﺓ ﺭﲰﻴﺔ ﺣﱴ ﺃﺻﺒﺢ
ﺍﻷﺑﺎﻃﺮﺓ ﻴّﻮﻥ ﺑﻠﻘﺐ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ)ﻫﺪﺭﻳﺎﻥ ،ﺃﻧﻄﻮﻧﻴﻨﻮﺱ( ﻭ ﻗﺮﻧﺖ ﺃﲰﺎﺀﻫﻢ ﰲ ﺍﻻﻫﺪﺍﺀﺍﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
6
ﻛﺎﻹﻣﱪﺍﻃﻮﺭ ﻛﻤﻮﺩﻭﺱ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ.
ﻋﺮﻓﺖ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﻣﻘﺎﻃﻌﺎﻬﺗﺎ )ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ( ﻣﻊ ﺍﻷﻧﻄﻮﻧﻴﲔ ﺻﺤﻮﺓ ﺍﳊﺮﻛﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﺑﺘﺪﻋﻴﻢ ﺑﻌﺾ ﺍﻷﺑﺎﻃﺮﺓ ،ﻣﺜﻞ ﺍﻧﻄﻮﻧﻴﻨﻮﺱ ﺍﻟﺘﻘﹼﻲ ﻭ ﻫﺪﺭﻳﺎﻧﻮﺱ ،ﺍﻟﺘﻌﺒﲑ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﰲ ﳐﺘﻠﻒ ﺍﻟﻔﻨﻮﻥ ﻭ ﺑﺼﻔﺔ
4
L’association dionysiaque dans les sociétés anciennes. Actes de la table ronde organisée par l’école Française de Rome. Rome
2-25 Mars 1984. (E.F.R 1986). A.Bruhl, Liber pater, origine et expansion du culte dionysiaque à Rome et dans
le monde. Ed de Brocard. Paris 1953.
5
Daremberg et Saglio, op cit. p 638.
6
Picard , op cit. p 201.
17
-3ﺑﺎﺧﻮﺱ:
ﻛﻤﺎ ﻳﺘﻄﺎﺑﻖ ﺑﺎﺧﻮﺱ ﻣﻊ ﻋﺪﺓ ﺁﳍﺔ ﻣﻦ ﻣﻨﺎﻃﻖ ﺃﺧﺮﻯ ﻻﺷﺘﺮﺍﻛﻬﻢ ﰲ ﺭﻣﻮﺯﻫﻢ ﺃﻭ ﰲ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ ﺃﻭ
" -ﺑﻌﻞ ﲪّﻮﻥ" ﺍﻟﻠﻴﱯ ﺍﻟﻪ ﺍﻟﺜﺮﻭﺍﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻭ ﻋﻠﻰ ﺭﺃﺳﻬﺎ ﺍﻟﻘﻤﺢ ﻭ ﺍﻟﻜﺮﻭﻡ.
ﻋﻨﺪ ﺩﺧﻮﻟﻪ ﺇﱃ ﺑﻼﺩ ﺍﳍﻨﺪ ﻳﺘﺨﺬ ﺑﺎﺧﻮﺱ ﺍﺳﻢ "ﺑﺎﺧﻮﺱ ﺍﳍﻨﺪﻱ" ﻧﺴﺒﺔ ﺇﱃ ﻓﺘﻮﺣﺎﺕ ﻻﺳﻜﻨﺪﺭ ﺍﳌﻘﺪﻭﱐ
8
ﺍﻷﻋﻈﻢ ،ﻓﻴﻌﺘﱪ ﻛﻤﻌﻠﹼﻢ ﺍﻟﺒﺸﺮﻳﺔ ﺍﳊﻀﺎﺭﺓ ﻭ ﻛﻴﻔﻴﺔ ﺻﻨﺎﻋﺔ ﺍﳋﻤﺮ.
7
Ciceron, De nat deor. II, 23.
8
Daremberg et Saglio, op cit. p 613.
18
ﻛﺎﻧﺖ ﺗﻘﺎﻡ ﺣﻔﻼﺕ ﺧﺎﺻﺔ ﺑﺎﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﻋﻠﻰ ﺷﺮﻑ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﻛﻞ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ
ﺛﻼﺛﺔ ﻣﺮّﺍﺕ ﰲ ﺍﻟﺴﻨﺔ ﰒ ﻣﻨﻌﺖ ﺭﲰﻴﺎ ﺍﺛﺮ ﺩﻋﻮﻯ ﳎﻠﺲ ﺍﻟﺸﻴﻮﺥ ﺍﻟﺮﻭﻣﺎﱐ ﺳﻨﺔ 186ﻕ.ﻡ ﻣﻦ ﺃﺟﻞ ﻃﺎﺑﻌﻬﺎ
ﻫﺪﺍ ﱂ ﳝﻨﻊ ﻣﺘﻌﺒﺪﻳﻦ ﺍﻹﻟﻪ ﻋﻦ ﳑﺎﺭﺳﺔ ﻃﻘﻮﺳﻬﻢ ﺑﺸﻜﻞ ﻭﺍﺳﻊ ﺑﺎﻷﺭﺍﺿﻲ ﺍﻟﻨﻮﻣﻴﺪﻳﺔ ﻭ ﺍﳌﻮﺭﻳﻄﺎﻧﻴﺔ ﺣﱴ ﰲ
9
ﻋﻬﺪ ﺍﻟﻘﺪّﻳﺲ ﺍﳌﺴﻴﺤﻲ ﺃﻏﺴﻄﺲ )ﲟﺪﻳﻨﺔ ﻣﺪﺍﻭﺭﺵ(.
ﻭ ﺗﻮﺍﺻﻞ ﺗﺄﺛﲑ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﺑﻌﺪ ﺍﺳﺘﺒﺪﺍﻝ "ﺍﳋﻤﺮ ﺍﻹﳍﻲ ﺍﳌﻘﺪّﺱ
ﻟﺒﺎﺧﻮﺱ" ﺏ " ﺮ ﺍﳌﻨﺎﻭﻟﺔ" ﻟﺪﻯ ﺍﻟﻜﻨﻴﺴﺔ ﺍﻟﱵ ﻭ ﻔﹼﺖ ﻣﻌﻈﻢ ﺭﻣﻮﺯ ﺍﻷﺑﺪﻳﺔ ﺍﻟﱵ ﻧﺸﺮﻬﺗﺎ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺒﺎﺧﻴﺔ ﰲ
ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ )ﻣﺸﺎﻫﺪ ﻣﻮﺳﻢ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﺪﺍﻟﻴﺔ ،ﺍﻟﺮﺍﻋﻲ ﺍﻟﺼﺎ ،ﺍﳉﻨّﻲ ﺑﺎﳌﺰﺭﺍﻕ ،ﻛﺄﺱ
10
ﺍﻟﺸﺮﺍﺏ...
-4ﻟﻴ ﺑﺎﺗﺮ:
ﻳﻨﺘﻤﻲ ﺍﻹﻟﻪ "ﻟﻴﱪ ﺍﻟﻼﺗﻴﲏ " ﺇﱃ ﳎﻤّﻊ ﺍﻵﳍﺔ ﺍﻷﻳﻄﺎﻟﻴﺎﻧﻴﺔ ﺍﻟﻘﺪﳝﺔ ﻭ ﻛﺎﻥ ﳝﺜﻞ "ﺍﻟﻪ ﺍﳋﺼﻮﺑﺔ" ﻣﻊ ﺯﻭﺟﺘﻪ
"ﻟﻴﱪﺍ" ﻭ ﺳﺮﻋﺎﻥ ﻣﺎﺃﺻﺒﺢ ﳝﺎﺛﻞ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳍﻠﻴﲏ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ ﻕ.ﻡ ،ﰒ ﻋﺮﻑ ﺑﺘﺴﻤﻴﺔ "ﻟﻴﱪ
ﺑﺎﺗﺮ " ﺃﻱ ﺍﻹﻟﻪ ﺍﻷﺏ ﻓﺄﺻﺒﺢ ﳝﺜﹼﻞ ﺑﺼﻮﺭﺓ "ﺑﺎﺧﻮﺱ ﺍﳌﻠﺘﺤﻲ" .ﻭ ﻛﻠﻤﺔ ﻟﻴﱪ ﻣﺸﺘﻘﹼﺔ ﻣﻦ ﺍﻟﻔﻌﻞ "ﻟﻴﺒﺎﺭﻱ"
ﻋﺮﻓﺖ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺍﻧﺘﺸﺎﺭﺍ ﻭﺍﺳﻌﺎ ﻟﻌﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﻳﻔﺴّﺮ ﺍﻟﻜﺜﲑ ﻣﻦ ﺍﻟﺒﺎﺣﺜﲔ ﻫﺪﻩ ﺍﻟﻈﺎﻫﺮﺓ ﲝﺪﻭﺙ
11
ﻧﻮﻉ ﻣﻦ ﺍﻻﻧﺼﻬﺎﺭ ﺑﲔ ﺍﻟﻄﻘﻮﺱ ﺍﶈﻠﻴّﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﺍﻹﻟﻪ ﺍﻟ ﺗﲏ.
9
F.Cumont, Les religions orientales dans le paganisme romain. Paris 1929. p 201.
10
op cit. p 202.
11
A.Bruhl, op cit. p 224.
19
ﻳﻼﺣﻆ ﺭﻭﺍﺝ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺑﺼﻔﺔ ﻣﻠﻔﺘﺔ ﺍﻻﻧﺘﺒﺎﻩ ﰲ ﺇﻗﻠﻴﻢ ﻧﻮﻣﻴﺪﻳﺎ ،ﻋﻠﻰ ﻭﺟﻪ ﺍﳋﺼﻮﺹ
ﺣﱴ ﻭﻗﺖ ﻣﺘﺄﺧﺮ ﺑﻌﺪ ﻬﻮﺭ ﺍﻟﺪﻳﺎﻧﺔ ﺍﳌﺴﻴﺤﻴﺔ ﻬﺑﺎ ﺣﻴﺚ ﺍﺳﺘﻤّﺮ ﺳﻜﺎﻥ ﻣﺪﻳﻨﱵ ﻣﺪﺍﻭﺭﺵ ﻭ ﻴﺴﺔ ،ﻣﺜﻼ
12
ﰲ ﳑﺎﺭﺳﺔ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ ﺑﺎﻟﺴﺎﺣﺎﺕ ﺍﻟﻌﺎﻣﺔ ﻭﻓﻖ ﺷﻬﺎﺩﺍﺕ ﺍﻟﻘﺪّﻳﺲ ﺃﻏﺴﻄﺲ.
ﻛﻤﺎ ﳒﺪ ﺭﺟﺎﻝ ﺍﻟﺒﻠﺪﻳﺔ ﻳﺘﻘﻠﹼﺪﻭﻥ ﺑﻜﻞ ﻓﺨﺮ ﺃﻋﻠﻰ ﺍﻟﻮ ﺎﺋﻒ ﺍﻟﻜﻬﻨﻮﺗﻴﺔ ﰲ ﻣﻌﺒﺪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﺳﻨﺮﻯ ﺑﺎﻟﺘﻔﺼﻴﻞ
ﰲ ﺍﻟﻔﺼﻞ ﺍﻷﻭﻝ ﺷﻮﺍﻫﺪ ﺃﺛﺮﻳﺔ ﻣﻦ ﺧﻼﻝ ﺍﻟﻨﺎﻗﺸﺎﺕ ﻭ ﺍﻻﻫﺪﺍﺀﺍﺕ ﺍﻟﱵ ﲢﻔﻆ ﺃﲰﺎﺀ ﻫﺆﻻﺀ ﺍﳌﺘﻌﺒّﺪﻳﻦ.
ﺃﻭﻝ ﻣﺎ ﺩﺧﻠﺖ ﺩﻳﺎﻧﺔ ﻟﻴﱪ ﺑﺎﺗﺮ ﺇﱃ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻛﺎﻥ ﺩﺍﻙ ﻋﱪ ﺍﳌﺪﻥ ﺍﻟﺴﺎﺣﻠﻴﺔ ﻭ ﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ
ﺍﻧﺘﺸﺮﺕ ﰲ ﺍﻷﺭﺍﺿﻲ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻭ ﺑﺼﻔﺔ ﻣﻠﺤﻮ ﺔ ﰲ ﺍﻟﺸﺮﻕ ﺍﳉﺰﺍﺋﺮﻱ ﺣﱴ ﰲ ﺍﳌﻨﺎﻃﻖ ﺍﻟﱵ ﱂ ﺗﻌﺮﻑ ﺯﺭﺍﻋﺔ
ﺍﻟﻜﺮﻭﻡ ﻛﻤﺪﺍﻭﺭﺵ ﻭ ﻴﺴﺔ .ﻭ ﻫﻨﺎﻙ ﻣﻦ ﻳﺮﺟﻊ ﻫﺪﺍ ﺍﻷﻣﺮ ﺇﱃ ﻣﻴﻞ ﺍﻟﺴﻜﺎﻥ ﺍﶈﻠﻴّﲔ ﺇﱃ ﺍﻟﺘﺼّﻮﻑ ﻭ
ﺍﻟﻄﻘﻮﺱ ﺍﻟﻘﺼﻔﻴﺔ ﺍﻟﱵ ﻛﺎﻧﻮﺍ ﳝﺎﺭﺳﻮﻬﻧﺎ ﻣﻦ ﻗﺒﻞ ﰲ ﺇﻃﺎﺭ ﻋﺒﺎﺩﺍﻬﺗﻢ ﺍﶈﻠﻴّﺔ ﻭﻭﺟﺪﻭﻫﺎ ﻓﻴﻤﺎ ﺑﻌﺪ ﰲ ﻋﺒﺎﺩﺓ ﻟﻴﱪ
ﺑﺎﺗﺮ ﺍﻟﱵ ﺍﺗﺴﻤّﺖ ﺑﻄﺎﺑﻊ ﺍﻟﺘﻮﻓﻴﻘﻴﺔ ) ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ( ﺑﻔﻀﻞ ﻣﺴﺎﳘﺔ ﻛﻞ ﻣﻦ ﺍﻟﺴﺎﻣﻴﲔ ﻭ
13
ﺍﻟﱪﺑﺮ ﻭ ﺍﻟ ﺗﻨﻴﲔ ﻭ ﺍﻹﻏﺮﻳﻖ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ.
14
ﺑﻞ ﻳﺬﻫﺐ ﺍﻟﺒﺎﺣﺚ ﻛﻮﻣﻮﻥ ﺑﻌﻴﺪﺍ ﰲ ﺍﻓﺘﺮﺍﺿﻪ ﺍﻟﻪ ﺑﻮﱐ ﳌﻮﺳﻢ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ ﻣﻦ ﻗﺒﻞ ،ﺩﻟﻚ ﻣﺎ ﺳﺎﻋﺪ ﻋﻠﻰ
ﻳﺘﻤﻴّﺰ ﺍﻹﻟﻪ" ﻟﻴﱪ ﺍﻷﻓﺮﻳﻘﻲ" ﻋﻦ ﺍﻹﻟﻪ" ﻟﻴﱪ ﺍﻟ ﺗﲏ" ﺑﺎﺣﺘﻔﺎ ﻪ ﺑﺎﻟﻮ ﻴﻔﺔ ﺍﻷﺳﺎﺳﻴﺔ ﻷﻟﻪ ﺩﻭ ﺃﺻﻞ ﻛﻨﻌﺎﱐ
ﻛﺎﻥ ﻳﻌﺒﺪ ﰲ ﻗﺮﻃﺎﺟﺔ ﰒ ﰲ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻷﺧﺮﻯ ﲢﺖ ﺍﺳﻢ "ﺷﺪ ﺍﻟﻄﺒﻴﺐ ﺍﻟﺪﺟّﺎﻝ" ﺃﻭ "ﺷﺪﺭﻓﺔ" ﺍﻹﻟﻪ
15
ﺍﻟﻄﻔﻞ )ﺣﺎﻣﻲ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﺍﻟﻌﻘﺎﺭﺏ ﻭ ﺍﻷﻓﺎﻋﻲ( ﻓﺤ ﹼﻞ ﳏﻠﹼﻪ ﺑﺴﻬﻮﻟﺔ ﻭ ﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ ﺃﺻﺒﺢ ﺷﺪﺭﻓﺔ ﺇﳍﺎ
12
St Augustin, Epist. 17 ,4.
13
A.Bruhl, op cit. p 234.
14
F.Cumont, op cit. p 200.
15
Picard, op cit. p 95.
20
ﻟﻠﺨﺼﻮﺑﺔ ﻭ ﻳﺒﺪﻭ ﺃﻥ ﺍﻻﻧﺼﻬﺎﺭ ﺑﲔ ﺍﻹﳍﺎﻥ ﻳﻌﻮﺩ ﺇﱃ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ ﻣﻊ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﳍﻠﻠﻴﻨﻴﺔ ﻋﻠﻰ ﺍﳌﺪﻥ
16
ﺍﻟﺒﻮﻧﻴﺔ ﺍﻟﺴﺎﺣﻠﻴﺔ ﰒ ﺍﳌﺪﻥ ﺍﻟﺪﺍﺧﻠﻴﺔ ﲟﻮﺭﻳﻄﺎﻧﻴﺎ ﻭ ﻧﻮﻣﻴﺪﻳﺎ.
ﻛﺎﻧﺖ ﺗﻘﺎﻡ ﺣﻔﻼﺕ "ﺍﻟﻠﻴﱪﺍﻟﻴﺔ" ﻋﻠﻰ ﺷﺮﻑ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻛﻞ 17ﻣﺎﺭﺱ ﺯﻳﺎﺩﺓ ﻋﻦ ﺣﻔﻠﺔ ﺃﺧﺮﻯ
17
ﻳﺬﻛﺮﻫﺎ ﺍﻟﻘﺪﻳﺲ ﺃﻏﺴﻄﺲ ﲟﺪﻳﻨﱵ ﻣﺪﺍﻭﺭﺵ ﻭ ﻴﺴﺔ .ﻛﻤﺎ ﺍﻥ ﳜﺼّﺺ ﻟﻪ ﺷﻬﺮ ﺃﻛﺘﻮﺑﺮ ﻣﻮﺳﻢ ﻗﻄﺎﻑ
ﺍﻟﻌﻨﺐ ﺗﻘﹼﺪﻡ ﻓﻴﻪ ﻋﺼﺎﺭﺓ ﺍﻟﻌﻨﺐ ﺍﻷﻭﱃ ﻗﺮﺑﺎﻧﺎ ﻟﻪ .ﻭ ﺫﻟﻚ ﻣﺎ ﺗﺸﻬﺪ ﻋﻠﻴﻪ ﺍﳌﺼﺎﺩﺭ ﺍﻟﻘﺪﳝﺔ ﺍﻟﱵ ﺗﺬﻛﺮ ﻟﻴﱪ ﺑﺎﺗﺮ
ﺑﻠﻘﺐ "ﺍﻟﻪ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ" ﻭ ﺗﻨّﺺ ﻋﻠﻰ ﺿﺮﻭﺭﺓ ﺗﻘﺪﱘ ﺍﻟﻀﺤﻴﺔ ﺇﱃ ﻟﻴﱪ ﻭ ﻟﻴﱪﺍ ﺃﺛﻨﺎﺀ ﻣﻮﺳﻢ ﺍﻟﻘﻄﺎﻑ ﻭ ﺑﻌﺪ
18
ﺗﻨﻈﻴﻒ ﺍﻟﻜﺮّﺍﻡ ﺃﺩﻭﺍﺗﻪ.
16
M.Benabou, La résistance Africaine à la romanisation. ed La découverte. Paris 2005
17
Lavedan, Dictionnaire illustré mythologique et antique gréco-romain. p 404.
18
Columelle, III.2,1,3. St Augustin, De civ Dei ,IV.11 et 12
21
ﺎﺭ ﻪ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ ﺟﺮ
"ﺍﻟﺒﻄﺎ ﺎﺕ ﺍﻟﻔﻨﻴﺔ"
22
ﺍﳌﻨﺤﻮﺗﺎﺕ
1
- M.R.De la Blanchére, op cit.1893, p 37
2
- J. Demaeght, op cit 1896, n°35
23
– : Cartennae ﺗﻨ
-1ﺭﺃﺱ ﻛﺎﻫﻨﺔ ﺑﺎﺧﻮﺱ:
.420 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 20ﺍﻟﻠﻮﺣﺔ .8
ﺍﳌﺮﺍﺟ :
G.Doublet, Musée d’Alger. Pl X-1 -
Fiche d’inventaire n° I.S.91 -
ﺍﳌﺼﺪﺭ :ﺗﻨﺲ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﻉ = 0.15ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﻣﻨﺤﺮﻓﺎ ﻧﻮﻋﺎ ﻣﺎ ﳓﻮ ﺍﻟﻴﺴﺎﺭ ﻭ ﻳﺘﺤﻠﻰ ﺑﻌﺼﺎﺑﺔ ﻓﻮﻕ ﺍﳉﺒﻬﺔ ﺗﺘﻮﺯﻉ ﻋﻠﻴﻬﺎ ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﺍﳌﻘﺴﻮﻡ
ﲟﻔﺮﻕ ﺇﱃ ﺛﻼﺛﺔ ﻗﺘﻴﻼﺕ ﻣﺮﻧﺔ ﻭ ﺗﺘﺪﻟﻰ ﺧﺼﻼﺕ ﺃﺧﺮﻯ ﺻﻐﲑﺓ ﻣﻦ ﲢﺖ ﺍﻟﻌﺼﺎﺑﺔ ﻓﺘﻐﻄﻲ ﺍﻟﺼﺪﻏﲔ
ﻣﺮﻭﺭﺍ ﲢﺖ ﺍﻷﺩﻧﲔ ﻟﺘﺸﻜﻞ ﻛﻌﺮﻳﻜﺔ ﲰﻴﻜﺔ ﰲ ﺍﳋﻠﻒ ﻛﻤﺎ ﻧﻼﺣﻆ ﺧﺼﻼﺕ ﺗﺘﺪﻟﻰ ﻋﻠﻰ ﺍﻟﺼﺪﺭ .ﺗﻈﻬﺮ
ﺍﻟﻜﺎﻫﻨﺔ ﻣﻜﻠﻠﺔ ﺑﺘﺎﺝ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ﻭ ﺍﻟﻌﺪﻕ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺘﺴﻢ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺑﻨﻮﻉ ﻣﻦ ﺍﳋﺸﻮﻧﺔ ﻣﻦ ﺧﻼﻝ ﻏﻼ ﺔ ﺍﳌﻼﻣﺢ ﺧﺎﺻﺔ ﺍﻷﻧﻒ ﻭ ﺍﻟﺸﻔﺘﲔ.
ﺍﻟﺘ ﺭﻳ :؟
ﺗﻴﺒﺎﺯﺓ:Tipasa -
-1ﻳﺪ ﺳﺒﺎﺯﻳﻮﺱ:
ﺍﳌﺮﺍﺟ :
- S.Gsell, BCTHS. 1906, p CCXXXII
- P. Wuilleumier, Musée d’Alger. Supplément.p 68
- M.Leglay, Les religions orientales d’après les collections du musée S.
Gsell. Alger 1956, fig 3 p 13.
-.N°Inv.IMI.002.
- S.Gsell, , « Les dieux de l’Afrique romaine ». Archeologia. 1971,
n°40-P 64.
- Dussaud, R. Arch. 1905, I-161.
- F. Cumont, Religions orientales dans le paganisme romain. Paris 1929,
fig 3 p 61.
24
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﳌﻴﻨﺎﺀ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﳌﻘﺎﺳﺎﺕ :ﻉ = 17ﺳﻢ .ﻕ = 4.5ﺳﻢ
ﺍﻟﻮﺻﻒ:
"ﻳﺪ ﺳﺒﺎﺯﻳﻮﺱ ﺍﳌﺒﺎﺭﻛﺔ" ﺻﻨﻌﺖ ﺑﺘﻘﻨﻴﺔ ﺍﻟﺴﺒﻚ ﻭ ﺗﻈﻬﺮ ﻣﻮﺟﻬﺔ ﳓﻮ ﺍﻷﻋﻠﻰ ﻭ ﺗﺘﺤﻠﻰ ﺑﻌﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﻪ
ﺭﻣﺰﻳﺔ ﰲ ﺍﻷﺻﺎﺑﻊ:
-ﻳﻠﺘﻒ ﺛﻌﺒﺎﻥ ﺩﻭ ﻗ ﻋﺔ ﺣﻮﻝ ﺍﳌﻌﺼﻢ ﻭ ﳝﺮ ﰲ ﺑﺎﻃﻦ ﺍﻷﺭﺽ
-ﳓﺖ ﻋﻠﻰ ﺍﻟﺒﻨﺼﺮ ﺍﳌﻄﻮﻱ ﲤﺜﺎﻝ ﻧﺼﻔﻲ ﻟ ﻟﻪ "ﻣﺮﻛﻮﺭ"ﻭ ﺻﻨﻮﺑﺮﺓ
-ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻷﺻﺒﻊ ﺍﻷﻭﺳﻂ ﻭ ﺍﻟﺴﺒﺎﺑﺔ ﺷﻲﺀ ﻣﺘﻄﺎﻭﻝ ﺑﻘﺖ ﻣﻦ ﻗﺎﺋﻤﺘﺎﻥ ﻟﻨﺴﺮ؟
-ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﳋﻨﺼﺮ ﺭﺃﺱ ﺗﻴﺲ ﻭ ﻋﻠﻰ ﻗﺎﻋﺪﺓ ﺍﻹﻬﺑﺎﻡ ﺿﻔﺪﻋﺔ ﻋﻠﻰ ﺍﻟﻈﻬﺮ ﻭ ﺃﻣﺎﻣﻬﺎ ﺳﻠﺤﻔﺎﺓ
-ﲢﺖ ﺍﻟﺴﺒﺎﺑﺔ ﻧﻼﺣﻆ ﻋﻈﺎﻳﺔ ﺃﺧﺮﻯ ﻭ ﺃﺧﲑﺍ ﲢﺖ ﺍﻟﺒﻨﺼﺮ ﳓﺖ ﻋﺮﻑ ﺩﻭ ﺛﻼﺛﺔ ﻓﺮﻭﻉ ﻛﻤﺎ ﺗﻈﻬﺮ
ﻋﻨﺎﺻﺮ ﺃﺧﺮﻯ ﻣﺜﻞ ﺍﻟﻜﻼﻣﻴﺪ ﻭ ﻗﺒﻌﺔ "ﻣﲑﻛﻮﺭ".
ﺍﻟﺘﺤﻠﻴﻞ:
"ﺳﺒﺎﺯﻳﻮﺱ" SABAZIUSﺇﺑﻦ ﻭ ﺭﻓﻴﻖ ﺃﻡ ﺍﻵﳍﺔ ﰲ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﻔﲑﺟﻴﺔ ﺑ ﺳﻴﺎ ﺍﻟﺼﻐﺮﻯ ﲤﻴﺰﺕ ﻋﺒﺎﺩﺗﻪ
ﺑﻄﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ ﺍﳌﺄﻟﻮﻓﺔ ﰲ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﻟﺬﺍ ﺃﻋﺘﱪ ﻣﺜﻴﻞ ﺍﻹﻟﻪ "ﺩﻳﻮﻧﻴﺰﻭﺱ" ﰲ ﻫﺬﻩ ﺍﳌﻨﻄﻘﺔ .ﻛﻤﺎ
ﻗﻴﻞ ﺃﻳﻀﺎ ﺃﻥ ﺍﻟﻴﻬﻮﺩ ﻛﺎﻥ ﻳﻌﺒﺪﻭﻥ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻦ ﺧﻼﻝ ﻣﻄﺎﺑﻘﺔ ﺇﺳﻢ ﺇﳍﻬﻢ Jehovah Sabaothﻣﻊ ﺇﺳﻢ
ﺍﻹﻟﻪ ﺳﺒﺎﺯﻳﻮﺱ ﻭ ﻣﻦ ﺃﺟﻞ ﺍﻟﺪﺍﻟﻴﺔ ﺍﳌﺬﻫﺒﺔ ﲟﻌﺒﺪ ﺃﻭﺭﺷﻠﻴﻢ.3
ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﻳﺪﻝ ﻭﺟﻮﺩ ﺍﻹﻟﻪ ﺳﺒﺎﺯﻳﻮﺱ ﰲ ﻣﺪﻳﻨﺔ ﻣﻦ ﺇﻗﻠﻴﻢ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﻘﻴﺼﺮﻳﺔ ﻋﻠﻰ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﻟﻨﺎ ﺔ
ﻋﻦ ﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﻟﺸﺮﻗﻴﺔ ﺍﻟﱵ ﻗﺪ ﺗﻜﻮﻥ ﻭﺻﻠﺖ ﺇﱃ ﻣﻴﻨﺎﺀ ﺗﻴﺒﺎﺯﺓ ﻋﻦ ﻃﺮﻳﻖ ﺍﻟﺘﺠﺎﺭﺓ؟
ﻳﻮﺟﺪ ﺃﺭﺑﻌﻮﻥ ﻮﺫﺝ ﳍﺪﻩ ﺍﻟﻴﺪ ﻋﱪ ﻣﺘﺎﺣﻒ ﺍﻟﻌﺎﱂ ﻭ ﻛﺎﻧﺖ ﺗﻌﺪ ﻣﻦ ﺍﻟﻘﺮﺍﺑﲔ ﺍﳌﻌﺮﻭﻓﺔ ﰲ ﻃﻘﻮﺱ ﺍﻟﻌﺒﺎﺩﺓ
ﺍﻟﺴﺎﻣﻴﺔ ﻭ ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﻫﺪﻩ ﺍﻟﻴﺪ ﰲ ﺍﻟﺮﻣﻮﺯ ﺍﳌﺨﺘﻠﻔﺔ ﺍﻟﱵ ﺗﺮﺍﻓﻘﻬﺎ ﻭ ﺍﳌﻌﱪﺓ ﻋﻦ ﺍﻟﻘﻮﺓ ﺍﻟﺘﻠﻔﻴﻘﻴﺔ ﻟ ﻟﻪ
ﺍﻟﺘﺮﺍﺳﻲ –ﺍﻟﻔﺮﺟﻲ ﺍﳌﻮﺍﻓﻖ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺬﻱ ﺍﻣﺘﺺ ﻛﻞ ﻃﺎﻗﺎﺕ ﺍﻵﳍﺔ ﺍﻷﺧﺮﻯ ﻭ ﰲ ﺍﻟﺒﺪﺍﻳﺔ ﻛﺎﻧﺖ
ﲤﺜﻞ ﺍﻟﻴﺪ ﺍﳌﺒﺎﺭﻛﺔ ﻟ ﻟﻪ ﻋﻨﺪ ﺍﻟﺴﺒﺎﺯﻳﲔ ﰒ ﺍﺯﺩﺍﺩﺕ ﻓﻌﺎﻟﻴﺘﻬﺎ ﻋﻨﺪ ﺍﻛﺘﺴﺎﻬﺑﺎ ﺍﻟﺮﻣﻮﺯ ﺍﳌﺬﻛﻮﺭﺓ 4ﺍﻟﱵ ﺗﻔﺴﺮ
ﻛﺎﻟﺘﺎ :
-ﺍﻟﺼﻨﻮﺑﺮﺓ ﺗﺮﻣﺰ ﺇﱃ ﺍﳋﺼﻮﺑﺔ ﰲ ﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﻟﻮﺛﻨﻴﺔ ﺍﻟﺸﺮﻗﻴﺔ ﻭ "ﺳﺒﺎﺯﻳﻮﺱ" ﻫﻮ ﻗﺒﻞ ﻛﻞ ﺷﻲﺀ ﺇﻟﻪ
ﺍﻟﻨﺒﺎﺗﺎﺕ
3
- M.M.Gh.Daremberg. E.D.M.Saglio, Dictionnaire des antiquités Gréques et Romaines. Paris Hachette 1877. T I,
P 598.
4
- M.Leglay, op cit.1956, p 14
25
ﺭﻣﺰ ﺍﻟﻄﺎﻗﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻟ ﻟﻪ -ﺍﻟﺘﻴ
-ﺍﻟﺴﻠﺤﻔﺎﺓ ﺭﻣﺰ ﺍﳋﺼﻮﺑﺔ ﻭ ﺍﻟﺴﻤﺎﺀ
5
-ﺍﻟﻀﻔﺪﻋﺔ ﻧﺎﺩﺭﺍ ﻣﺎ ﺗﻈﻬﺮ ﰲ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺎ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻧﺬﻛﺮﻫﺎ ﻣﺜﻼ ﺑﻔﺴﻴﻔﺴﺎﺀ ﺍﳉﻢ ﺑﺘﻮﻧﺲ
-ﺍﻟﻌ ﺎﻳﺔ ﻫﻲ ﺍﻷﺧﺮﻯ ﻟﻴﺴﺖ ﺷﺎﺋﻌﺔ ﰲ ﺍﻟﺘﺼﻮﻳﺮﺍﺕ ﺍﻟﻔﻨﻴﺔ ﻭ ﺗﻈﻬﺮ ﺑﻨﻔﺲ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﳌﺬﻛﻮﺭﺓ ﺃﻋﻼﻩ ﻭ
ﺍﻟﻘﺪﻣﺎﺀ ﻛﺎﻧﻮﺍ ﻳﻌﺘﻘﺪﻭﻥ ﺑﻘﺪﺭﺓ ﺳﺤﺮﻳﺔ ﳍﺪﺍ ﺍﳊﻴﻮﺍﻥ ﻭ ﳍﺪﺍ ﻛﺎﻧﻮﺍ ﳜﺸﻮﻧﻪ ﻭ ﳝﺜﻞ ﻋﺎﺩﺓ ﺩﻳﻮﻧﻴﺰﻭﺱ
ﻛﻤﺮﻭﺽ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﳋﻄﲑﺓ ﻭ ﺣﺎﻣﻲ ﺍﻟﺒﺸﺮﻳﺔ ﻣﻨﻬﺎ ﻭ ﻗﺪ ﺍﺳﺘﻤﺪ ﻫﺪﻩ ﺍﻟﻘﺪﺭﺓ ﻣﻦ ﺍﻹﻟﻪ ﺍﻟﺒﻮﱐ "ﺷﺪﺭﻓﺔ"
ﻭ ﺍﻟﻨﺴﺮ ﺣﻴﻮﺍﻧﺎﺕ ﺗﺮﺍﻓﻖ ﻋﺎﺩﺓ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ-ﺳﺒﺎﺯﻳﻮﺱ ﻭ ﺍﻟﻨﺴﺮ ﻳﻠﻌﺐ ﺩﻭﺭ -ﺍﻟ ﻌﺒﺎﻥ ،ﺍﻟﺘﻴ
ﺧﺎﺹ ﻣﻊ ﺍﻹﻟﻪ "ﻣﺮﻛﻮﺭ" ﰲ ﻫﺪﻩ ﺍﻟﻴﺪ ﻷﻧﻪ ﻳﻌﺒﺮ ﻋﻦ ﲰﻮ "ﺳﺒﺎﺯﻳﻮﺱ" ﺍﻟﺬﻱ ﻳﺆﻣﻦ ﺍﻟﺴﻌﺎﺩﺓ ﰲ ﺍﳊﻴﺎﺓ
ﺍﻵﺧﺮﺓ ﻟﻌﺒﺎﺩﻩ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.
5
- Blanchard-Lemée, Les sols de l’Afrique romaine. Paris 1995, p 114
26
ﻣﺸﻬﺪ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﻣﺄﻟﻮﻑ ﰲ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺎ ﺍﻟﻮﺛﻨﻴﺔ ﻭ ﺍﳌﺴﻴﺤﻴﺔ ﻓﻴﻤﺎ ﺑﻌﺪ ﺳﻮﺍﺀ ﰲ ﻓﻦ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ )
ﺃﻧﻈﺮ ﻓﺴﻴﻔﺴﺎﺀ ﻻﻣﺒﻴﺰ ﺭﻗﻢ ( 3ﺃﻭ ﰲ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﻟﻮﺛﻨﻴﺔ ﻣﺜﻞ ﺗﺎﺑﻮﺕ ﺑﻘﺮﻃﺎﺟﺔ 6ﻳﺸﺒﻪ ﻛﺜﲑﺍ ﺗﺎﺑﻮﺗﻨﺎ ﻫﺪﺍ ﻏﲑ
ﺃﻥ ﺍﻟﻔﺼﻮﻝ ﻋﺮﺍﺓ ﺑ ﺳﺘﺜﻨﺎﺀ ﺍﻟﺸﺘﺎﺀ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﺑﺮﺩﺍﺀ "ﺍﻟﺮﺍﻋﻲ ﺍﻟﻄﻴﺐ".
ﻳﻌﺒﺮ ﺍﳌﺸﻬﺪ ﺍﳌﺴﻴﺤﻲ ﺍﻟﻈﺎﻫﺮ ﰲ ﺗﺎﺑﻮﺕ ﺗﻴﺒﺎﺯﺓ ﻋﻦ ﺇﺳﺘﺌﻨﺎﻑ ﺑﻌﺾ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﻮﺛﻨﻴﺔ ﻣﻨﻬﺎ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ
ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻓﺎﺣﺘﻔﻈﺖ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺑﺮﻣﻮﺯﻫﺎ ﺍﳌﻌﺘﺎﺩﺓ ﻭ ﻋﻮﺽ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺬﻱ ﻳﺘﻮﺳﻄﻬﺎ
ﺑﺎﻟﻨﺒﻲ ﻋﻴﺴﻰ ﻋﻠﻴﻪ ﺍﻟﺴﻼﻡ .ﻓﺎﳌﻌﺮﻭﻑ ﻋﻦ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺃﻬﻧﺎ ﺗﻘﻴﻢ ﻋﻼﻗﺔ ﻭﻃﻴﺪﺓ ﺑﲔ ﻣﺼﲑ ﺍﻹﻧﺴﺎﻥ
ﻭ ﺳﲑ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﺧﺎﺻﺔ ﺗﻮﺍﺗﺮ ﺍﻟﻔﺼﻮﻝ ﻭ ﻣﻦ ﺃﺟﻞ ﻫﺪﺍ ﺃﺳﺘﻌﻤﻞ ﻣﺸﻬﺪ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﻟﺰﺧﺮﻓﺔ ﺍﳌﺒﺎﱐ
ﺍﳉﻨﺎﺋﺰﻳﺔ ﺍﻹﻓﺮﻳﻘﻴﺔ ﻭ ﻛﺎﻥ ﻓﺼﻞ ﺍﳋﺮﻳﻒ ﺑﺮﻣﺰ ﺍﻟﻌﻨﺐ ﻳﻮﺣﻲ ﺇﱃ ﺍﳊﻤﺎﻳﺔ ﺍﻟﱵ ﻳﺴﺪﳍﺎ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ
ﻋﻠﻰ ﻋﺎﱂ ﺍﻷﻣﻮﺍﺕ ﻭ ﻋﺎﱂ ﺍﻷﺣﻴﺎﺀ ﺃﻳﻀﺎ.7
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ
ﺍ ﺎﺟ -ﻣﻮﺯﺍﻳﺔ:
-1ﺎﻝ ﺑﺎﺧﻮﺱ:
414 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 2ﺍﻟﻠﻮﺣﺔ .1
ﺍﳌﺮﺍﺟ :
Doublet, op cit. pp36-37. -
S.Gsell, BCTH. 1899, p CLIII -
R.Af. I. 1856-57, p 52 -
Fiche d’inventaire MNA n° I.S.34 -
Wierzejski. Mrye, op cit. p 3. n°2. -
ﳌﺼﺪﺭ :ﺍﳊﺎﺟﺐ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 1.28ﻡ .ﺇﺭ ﺍﻟﻘﺎﻋﺪﺓ = 0.10ﻡ
ﺍﻟﻮﺻﻒ:
ﳓﺖ ﺍﻹﻟﻪ ﻋﺎﺭﻱ ﻭﺍﻗﻒ ﻳﻨﺤﺮﻑ ﻗﻠﻴﻼ ﳓﻮ ﺍﻟﻴﻤﲔ ﻭ ﻳﺘﻤﻴﺰ ﺑﺘﺴﺮ ﺔ ﻣﺮﻛﺒﺔ ﺗﺘﺪﻟﻰ ﻣﻨﻬﺎ ﺧﺼﻼﺕ ﻋﻠﻰ
ﺍﻟﻜﺘﻔﲔ ﻭ ﺗﻨﺘﻬﻲ ﺑﻜﻌﻜﻴﺔ ﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ ﰲ ﺍﳋﻠﻒ ﻭ ﺗﺘﻮﺝ ﺑﺄﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
6
M.P.Gauckler, Catalogue du musée Allaoui.Suppl. Ed Ernest Leroux-Paris 1910, Pl XLVI-P 66
7
Ch.Picard, Les religions de l’Afrique antique….p 200
27
ﻳﻈﻬﺮ ﺑﺎﺧﻮﺱ ﺑﺮﻣﻮﺯﻩ ﺍﳌﺄﻟﻮﻓﺔ ﻓﻬﻮ ﳝﺴﻚ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﺍﻟﻜﺄﺱ ﺩﻭ ﻋﺮﻭﺗﲔ canthareﻳﻘﻠﺒﻪ ﻋﻠﻰ ﺭﺃﺱ
ﺍﻟﻔﻬﺪ ﺍﻟﺬﻱ ﻳﺮﻓﻊ ﺭﺃﺳﻪ ﳓﻮ ﺳﻴﺪﻩ ،ﻭ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻤﻞ ﻣﺰﺭﺍﻗﻪ ﺍﳌﻜﺴﻮﺭ ﰲ ﺍﻷﻋﻠﻰ .ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺔ
ﺍﳋﻠﻔﻴﺔ ﻟﻠﺘﻤﺜﺎﻝ ﻓﻠﻢ ﺗﺼﻘﻞ ﻛﻤﺎ ﺍﻛﺘﻔﻰ ﺍﻟﻔﻨﺎﻥ ﺑﺘﺨﻄﻴﻂ ﺍﻟﻔﻬﺪ ﻭ ﱂ ﻳﻨﺤﺘﻪ ﺑﺪﻗﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺍﻟﺼﻮﺭﺓ ﺍﻟﻜﻼﺳﻜﻴﺔ ﻷﻟﻪ ﺍﳋﻤﺮ ﻭ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ
ﺍ ﺰﺍﺋﺮ – ﺍﻳﻜﻮﺯﻳﻮﻡ:
-1ﺭﺃﺱ ﻟﻴ ﺍ:
ﺍﳌﺮﺍﺟ :
- J.Wierzejski, G.Marye, Catalogue du Musée National des Antiquités.
Ed S.Leon-Alger 1899. n°21, p5.
ﳌﺼﺪﺭ:ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﱂ ﻧﻌﺮ ﻋﻠﻰ ﻭﺻﻒ ﳍﺎ ﺇﺫ ﻳﻜﺘﻔﻲ ﻓﺮﺟﺰﻛﻲ ﺑﺬﻛﺮ ﺭﺃﺱ ﻟ ﳍﺔ ﻟﻴﱪﺍ ﰲ ﻛﺘﺎﻟﻮﺟﻪ.
28
ﺍﻟﺘﺤﻠﻴﻞ :ﺃﻧﻈﺮ ﺍﻟﺘﺄﻭﻳﻞ ﺍﳋﺎﺹ ﺑﺮﻣﺰﻳﺔ ﺍﻟﻜﺄﺱ ﻭ ﺍﻟﻌﻨﺐ ﺃﻋﻠﻰ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ؟
ﺍﻟﻮﺻﻒ :ﻤﻞ ﺳﻄﺢ ﺍﻟﻄﺎﻭﻟﺔ ﻧﻘﻮﺵ ﲤﺜﻞ ﺻﺤﻦ ﺑﻪ ﲰﻜﺘﺎﻥ ﻭ ﻋﻠﻰ ﺍﳉﻬﺘﲔ ﻣﻠﻌﻘﺘﺎﻥ ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺔ
ﺍﻷﻣﺎﻣﻴﺔ ﺍﻟﱵ ﲣﺼﻨﺎ ﻓﻬﻲ ﻣﺰﺧﺮﻓﺔ ﺑﻐﺼﻴﻨﺎﻥ ﳏﻮﺭﺍﻥ ﻭ ﻣﺘﻌﺎﻧﻘﺎﻥ ﰲ ﺍﳌﺮﻛﺰ ﰒ ﻳﺘﻔﺮﻋﺎﻥ ﺩﺍﺧﻞ ﻛﻞ ﺍﻟﺘﻮﺍﺀ ﰲ
ﺷﻜﻞ ﺳﻮﻳﻘﺔ ﺛﺎﻧﻮﻳﺔ ﲢﻤﻞ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ،ﻭ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻐﺼﲔ ﺗﻨﻤﻮ ﺯﺭﺟﻮﻧﺎﺕ ﺻﻐﲑﺓ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺭﺃﻳﻨﺎ ﺳﺎﺑﻘﺎ ﺍﳌﻌ ﺍﻟﺮﻣﺰﻱ ﺍﻟﺬﻱ ﻳﺆﺩﻳﻪ ﺍﻟﻌﻨﻘﻮﺩ..
ﺍﻟﺘ ﺭﻳ :
29
ﺍﻟﻮﺻﻒ :ﻧﻔﺲ ﺍﻟﺪﻳﻜﻮﺭ ﻋﲑ ﺃﻥ ﻋﺪﺩ ﺍﻟﻌﻨﺎﻗﻴﺪ ﺛﻼﺛﺔ.
:؟ ﺍﻟﺘ ﺭﻳ
-4ﺻﻨﺪﻭ ﺟﻨﺎﺋﺰﻱ:
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit .1989.Pl LI-1, n°17 p 98
- CIL, VIII-9151
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳊﺪﻳﻘﺔ ﺍﳉﺪﻳﺪﺓ ﺑﺎﳌﺪﻳﻨﺔ؟
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ =0.63ﻡ .ﻁ= 1.39ﻡ .ﻉ= 0.59ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﻧﺼﻒ ﺍﺳﻄﻮﺍﱐ ﺑﻨﺼﺐ ﻣﺴﺘﻄﻴﻞ ﰲ ﺍﻟﻮﺍﺟﻬﺔ ﺑﻴﻨﻤﺎ ﳓﺘﺖ ﺍﻟﻮﺍﺟﻬﺘﲔ ﺍﻟﻴﺴﺮﻯ ﻭ
ﺍﻟﻴﻤ ﺑﺎﻟﻜﺮﻡ ﺍﳌﻌﺘﺮﺵ ﺍﻟﺬﻱ ﺗﺘﺪﻟﻰ ﻣﻨﻪ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ
:؟ ﺍﻟﺘ ﺭﻳ
-5ﺻﻨﺪﻭ ﺟﻨﺎﺋﺰﻱ:
30
ﺍﳌﺮﺍﺟ :
- M.K.Orfali, op cit.1989.Pl LXIII, 2-3 n°53 p 119
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.47ﻡ .ﻁ= 1.03ﻡ .ﻉ= 0.52ﻡ
ﺍﻟﻮﺻﻒ :ﻧﻘﺶ ﻓﻮﻕ ﺍﻟﻄﺎﻭﻟﺔ ﺻﺤﻦ ﺑﻌﺮﻭﺍﺕ ﻮﻱ ﲰﻜﺎ ،ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﻓﺘﻈﻬﺮ ﻓﻴﻬﺎ ﻣﺰﻫﺮﻳﺔ
ﺫﺍﺕ ﻋﺮﻭﺗﲔ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻠﺘﺎﻥ ﺗﺘﻔﺮﻉ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺇﱃ ﺳﻮﻳﻘﺘﺎﻥ ﺛﺎﻧﻮﻳﺘﲔ ﲢﻤﻞ ﻛﻞ ﻭﺍﺣﺪﺓ ﻋﻨﻘﻮﺩ
ﻋﻨﺐ ﻭ ﺗﺸﻜﻞ ﺣﻠﺰﻭﻧﻴﺔ ﻭ ﺗﻌﻠﻮ ﻛﻞ ﺣﺒﻠﺔ ﻭﺭﻗﺔ ﻟﺒﻼﺏ .ﻋﺪﺩ ﺍﻟﻌﻨﺎﻗﻴﺪ ﺃﺭﺑﻌﺔ.
:؟ ﻟﺘ ﺭﻳ
31
ﻣﺸﺪﻭﺩ ﺑﻌﺼﺎﺑﺔ ﻋﻠﻰ ﺍﳉﺒﻬﺔ ﻭ ﻳﻨﺘﻬﻲ ﺑﻜﻌﻴﻜﺔ ﲰﻴﻜﺔ ﻭ ﻧﻼﺣﻆ ﺍﳋﺼﻠﺘﺎﻥ ﺍﳌﻤﻴﺰﺗﺎﻥ ﺗﺘﻤﻮﺝ ﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ
ﰲ ﺍﻷﻣﺎﻡ .ﺗﺘﻤﻴﺰ ﺗﻘﺎﺳﻴﻢ ﺍﻟﻮﺟﻪ ﺑﺎﺑﺘﺴﺎﻣﺔ ﻟﻄﻴﻔﺔ ﻭ ﺗﻌﺒﲑ ﺷﺒﺎ .
ﺣﺎﻟﺔ ﺍ ﻔ :ﻳﻨﻘﺺ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺬﺭﺍﻋﺎﻥ ،ﺭﺃﺱ ﻭ ﺍﻟﻘﺎﺋﻤﺔ ﺍﻟﻴﻤ ﻟﻠﻨﻤﺮ ﻛﻤﺎ ﺗﺒﺪﻭ ﺃﺛﺎﺭ ﻛﺴﻮﺭ ﻋﻠﻰ ﺍﻟﻮﺟﻪ
ﻭ ﺍﻷﻧﻒ ﻭ ﺑﻌﺾ ﺣﻠﻘﺎﺕ ﺍﻟﺸﻌﺮ ﻭ ﻃﺮﻗﺖ ﺍﻷﻋﻀﺎﺀ ﺍﳉﻨﺴﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﺮﻯ ﻗﻮﻛﻠﺮ8ﺃﻥ ﲤﺜﺎﻝ ﺑﺎﺧﻮﺱ ﻫﺬﺍ ﻳﺘﻤﻴﺰ ﻋﻦ ﺑﺎﻗﻲ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﻟﺒﺎﺧﻴﺔ ﺍﻷﺧﺮﻯ ﺍﳌﻜﺘﺸﻔﺔ ﰲ ﴰﺎﻝ
ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﻳﺴﺘﺜﲏ ﺑﺎﺧﻮﺱ ﻗﺮﻃﺎﺟﺔ ﺍﳌﻌﺮﻭﺽ ﲟﺘﺤﻒ ﻓﻴﺒﻨﺎ ﺍﻟﺬﻱ ﻳﻘﺘﺮﺏ ﻣﻦ ﲤﺜﺎﻝ ﺷﺮﺷﺎﻝ ﻣﻦ ﺣﻴﺚ ﺩﻗﺔ
ﺍﻹﳒﺎﺯ ﻛﻤﺎ ﻳﺮﺑﻂ ﲤﺜﺎﻟﻨﺎ ﻫﺬﺍ ﺑﻨﻤﻮﺫﺝ ﺃﺻﻠﻲ ﻣﻦ ﺍﻟﱪﻭﻧﺰ ﻭ ﻳﺪﻋﻢ ﻗﻮﻟﻪ ﺑﺎﻻﻋﺘﺪﺍﻝ ﺍﻟﻈﺎﻫﺮ ﰲ ﺍﻟﺘﺤﺖ ﻭ ﰲ
ﺑﻌﺾ ﺍﳌﻘﺎﻃﻊ ﺍﻟﺒﺎﺭﺯﺓ ﻭ ﺍﳊﺎﺩﺓ ﻛﻤﻘﺎﻃﻊ ﺍﳌﻌﺪﻥ ﻭ ﻳﻀﻴﻒ ﺇﱃ ﻫﺬﺍ ﺍﳋﻔﺔ ﰲ ﺣﻠﻘﺎﺕ ﺍﻟﺸﻌﺮ ﺍﳌﺨﺮﻣﺔ
ﺍﳌﺘﺴﺎﻗﻄﺔ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﻣﺎ ﻳﺪﻝ ﻋﻠﻰ ﺃﻥ ﺍﻟﻔﻨﺎﻥ ﺍﻟﺬﻱ ﺃﳒﺰ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻷﺻﻠﻲ ﱂ ﻳﺸﺘﻐﻞ ﻬﺑﺸﺎﺷﺔ ﺍﳌﺎﺩﺓ ﺍﻟﱵ
ﳓﺘﻬﺎ .ﻳﺸﲑ ﻗﻮﻛﻠﺮ ﺃﻳﻀﺎ ﺇﱃ ﺍﻟﺘﺸﺎﺑﻪ ﺍﳌﻮﺟﻮﺩ ﺑﲔ ﺑﺎﺧﻮﺱ ﺷﺮﺷﺎﻝ ﻭ ﺍﻟﺪﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﱪﻭﻧﺰﻱ ﺠﻤﻟﻤﻮﻋﺔ
ﺳﺎﻣﺒﻮﻥ ﺍﶈﻔﻮ ﲟﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ ،ﻓﺎﳍﻴﺌﺔ ﻣﻄﺎﺑﻘﺔ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻷﺭﺟﻞ ﺍﳌﻌﻜﻮﺳﺔ ﻭ ﻻ ﻳﺴﺘﺒﻌﺪ ﺃﻥ ﻳﻜﻮﻥ
ﺑﺎﺧﻮﺱ ﺷﺮﺷﺎﻝ ﻧﺴﺨﺔ ﳍﺬﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺬﻱ ﻫﻮ ﻧﻔﺴﻪ ﻧﺴﺨﺔ ﻟﺘﻤﺜﺎﻝ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺬﻱ ﲢﺘﻪ ﺑﺮﺍﻛﺴﻴﺘﻞ ﻭ
ﰲ ﻫﺬﺍ ﻳﺸﺎﺭﻛﻪ ﺍﻟﺒﺎﺣﺚ ﻛﺎﻧﻴﺎ ﺍﻟﺬﻱ ﻳﻨﺴﺐ ﺑﺎﺧﻮﺱ ﺷﺮﺷﺎﻝ ﺇﱃ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻹﻏﺮﻳﻘﻲ ﺍﻷﺻﻠﻲ ﻟﱪﺍﻛﺴﻴﺘﻞ
ﺍﻟﺬﻱ ﺃﳒﺰ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ ﻭ ﻳﻮﺍﻓﻘﻮﳘﺎ ﺍﻟﺒﺎﺣﺚ9ﺩﻭﺭﻱ ﺍﻟﺬﻱ ﺪﺩ ﺳﻨﺔ 360ﻕ.ﻡ ﻛﺘﺎﺭﻳﺦ ﺇﳒﺎﺯ
ﺍﻟﺘﻤﺜﺎﻝ ﺍﻷﺻﻠﻲ ﺍﻟﱪﻭﻧﺰﻱ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.
ﺍﳌﺮﺍﺟ :
Et.Boucher-Colozier, « Recherches sur la statuaire de Cherchell » in.
MEFRA.LXVI.1954. P 405. Pl VII.Fig 1. n°141.
M.Durry, Musée de Cherchell. Supp. Ed Leroux. Paris 1924. p 29.
8
P.GAUCKLER, Musée de Cherchel. Collection musées et collections archéologiques de l’Algéreie et de la
Tunisie. Alger 1895. p 119
9
M.DURRY, Musée de cherchel. Supplement. 1924.p29
32
ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﺟﺪﻉ ﺫﻛﺮ ﻳﺮﻯ ﻓﻴﻪ ﺍﻟﺒﻌﺾ ﺻﻮﺭﺓ ﻟ ﻟﻪ ﺃﺑﻮﻟﻮﻥ ﺃﻭ ﺑﺎﺧﻮﺱ 10ﻭ ﻳﺘﺄﻛﹼﺪ ﺍﻟﺒﻌﺾ
ﺍﻷﺧﺮ ﻣﻦ ﻫﻮﻳّﺔ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻓﻴﻪ.11
ﺗﺒﻘﹼﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺍﳉﺪﻉ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻟﺮﻗﺒﺔ ﺇﱃ ﺍﻟﺮﻛﺒﺘﲔ ﻭ ﻛﺴﺮ ﺍﻟﺬﺭﺍﻋﺎﻥ ﲢﺖ ﻣﺴﺘﻮﻯ ﺍﻟﻜﻮﻉ ،ﺃﻣﺎ
ﺍﻟﻔﺨﺬﻳﻦ ﺗﻈﻬﺮ ﻓﻴﻬﻤﺎ ﺃﺛﺎﺭ ﻟﺴﺎﻥ ﰲ ﺍﻷﳝﻦ ﻭ ﺃﺛﺎﺭ ﻧﺰﻉ ﰲ ﺍﻷﻳﺴﺮ.
ﻧﻼﺣﻆ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﺍﻷﻃﺮﺍﻑ ﺍﳌﻨﻘﻮﺷﺔ ﻟﻌﺼﺒﺔ ﻭ ﺧﺼﻠﺘﺎﻥ ﻣﻠﺘﻮﻳﺘﺎﻥ ﺗﺘﺴﺎﻗﻄﺎﻥ ﻋﻠﻰ ﺍﻟﺼﺪﺭ ﻭ ﻳﺴﺘﻨﺪ
ﺍﳉﺬﻉ ﺍﳌﺘﻮﺍﺭﻙ ﻧﻮﻋﺎ ﻣﺎ ﻋﻠﻰ ﺍﻟﺮﺟﻞ ﺍﻟﻴﻤ ﺑﻴﻨﻤﺎ ﺗﺘﻘﺪﻡ ﺍﻟﻴﺴﺮﻯ ﳓﻮ ﺍﻷﻣﺎﻡ ،ﻭ ﻛﺎﻥ ﻳﺘﺪّﱃ ﻣﻦ ﺍﻟﻜﺘﻒ ﺍ
ﻷﻳﺴﺮ ﺟﻠﺪ ﻣﺎﻋﺰ ﺗﻈﻬﺮ ﺃﺛﺎﺭ ﺍﻟﻠﺴﺎﻥ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺸﺪﻩ ﰲ ﺍﻷﺳﻔﻞ ﻋﻠﻰ ﺍﻟﻮﺭﻙ ،ﻭﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻔﺨﺬ ﺍﻟﻴﻤﻦ
ﺗﺒﺪﻭ ﺃﺛﺎﺭ ﺳﻨﺪ.
ﳓﺘﺖ ﺍﻟﻌﻀﻼﺕ ﺑﻄﺮﻳﻘﺔ ﻣﻮﺟﺰﺓ ﺗﺬﻛﺮﻧﺎ ﻓﻴﻬﺎ ﺍﳋﻄﻮﻁ ﺍﳌﺘﻌﺮﺟﺔ ﺑﺪﻭﻕ ﺑﺮﺍﻛﺴﻴﺘﻞ ،ﻭ ﻳﺒﺪﻭ ﺃﻥ ﺍﻟﻨﺤّﺎﺕ
ﺍﺳﺘﻮﺣﻰ ﻋﻤﻠﻪ ﻣﻦ ﻮﺫﺝ ﺭﻳﺎﺿﻲ ﺻﻮّﺭ ﻣﻨﻪ ﺍﳌﺨﻄﻂ ﻓﻘﻂ ﻓﺠﺎﺀ ﻋﻤﻠﻪ ﻧﻈﺮﻳﺎ ﻭ ﻣﺮﻛﺒّﺎ.
ﺃﻣﺎ ﺍﻟﻨﺴﺐ ﺍﳌﺘﻄﺎﻭﻟﺔ ﻭ ﳓﺎﻟﺔ ﺍﻷﺭﺟﻞ ﻭ ﻫﻴﺌﺔ ﺍﻟﺘﻤﺜﺎﻝ ﻓﺘﺬﻛﺮﻧﺎ ﺑﺄﻋﻤﺎﻝ ﺍﻟﻨﺤّﺎﺕ ﻟﻴﺰﻳﺐ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻮﺟﺪ ﺟﺪﻉ ﻛﺜﲑ ﺍﻟﺸﺒﻪ ﺑﻮﺭﺷﺎﺕ ﻓﻠﻮﺭﻧﺴﺎ ﺑﺎﻳﻄﺎﻟﻴﺎ ﺃﻛﻤﻠﻪ ﺍﻟﻔﻨﺎﻥ ﻣﻴﻜﺎﺋﻴﻞ ﺃﳒﻠﻮ ﰲ ﺻﻮﺭﺓ ﺍﻷﻟﻪ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻊ ﻃﻔﻞ ﺑﻌﺪﻣﺎ ﻛﺎﻥ ﻳﺼّﻮﺭ ﰲ ﺍﻷﺻﻞ ﻧﺴﺨﺔ ﻟﻠﺒﺎﺧﻮﺱ ﺍﻟﱪﻭﻧﺰﻱ ﳌﺘﺤﻒ ﻧﺎﺑﻮ ﺍﻟﺬﻱ ﺃﳒﺰﻩ
ﺃﺣﺪ ﺗﻼﻣﻴﺬ ﺑﺮﺍﻛﺴﻴﺘﻞ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ .ﻋﻠﻰ ﻫﺪﺍ ﺍﻷﺳﺎﺱ ﻧﺘﺄﻛﹼﺪ ﻣﻦ ﺃﻧﻪ ﲤﺜﺎﻝ ﻟﺒﺎﺧﻮﺱ.
ﺍﻟﺘ ﺭﻳ :
ﻳﺆﺭّﺥ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﲝﺪﻭﺩ ﺍﻟﻘﺮﱐ ﺍﻷﻭﻝ ﺃﻭ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ ،ﻋﻠﻰ ﺃﺳﺎﺱ ﺩﻗﹼﺔ ﺍﻟﻌﻤﻞ ﻭ ﺍﻧﻌﺪﺍﻡ ﺍﻷﺧﻄﺎﺀ
12
ﺍﻟﺘﺸﺮ ﻴﺔ ﻓﻴﻪ ﻭ ﻧﻮﻉ ﻣﻦ ﺍﻷﻧﺎﻗﺔ.
-3ﺟﺬﻉ ﺑﺎﺧﻮﺱ:
415 اﻟﺼﻮﺭﺓ ﺭ ﻢ 9ﺍﻟﻠﻮﺣﺔ .3
ﺍﳌﺮﺍﺟ :
M..Durry, Musée de Cherchell. Supp. Ed Leroux. Paris 1924. p 29.Pl X.1
Gauckler.P, Musée de Cherchell.. ed Leroux Paris 1895. p 57.
Waille, De caesarea monumentis. P 85. fig 44.
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﻣﺮﻛﺎﺩﺍﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ ﻟﺒﺎﺭﻭﺱ
10
Boucher-Colozier, op cit. fig 1. n° 141.
11
Durry , op cit. p 29.
12
Boucher-Colozier, op cit.
33
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.41ﻡ.
ﺍﻟﻮﺻﻒ:
ﳓﺖ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺓ ﻣﺮﺍﻫﻖ ﻏﺎﻣﺾ ﻭ ﻣﻐﺮﻱ ،ﻗﻄﻊ ﺭﺃﺳﻪ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳉﻤﺠﻤﺔ .ﺗﻈﻬﺮ ﺍﳉﺒﻬﺔ ﻭ
ﺍﻷﻧﻒ ﻣﺴﺘﻘﻴﻤﺎﻥ ﻭ ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ ﻧﺴﻮﻳﺔ ﻛﻤﺎ ﺗﺒﻴّﻨﻪ ﺍﻟﻜﻌﻴﻜﺔ ﻋﻠﻰ ﺍﻟﻘﻔﻦ ﻭ ﺗﺰﺩﺍﻥ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﺫﻧﲔ
ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﰒ ﺗﺘﺪّﱃ ﻋﻠﻰ ﺍﻟﺼﺪﺭ ﲞﺼﻼﺕ ﻛﺒﲑﺓ ﺷﺒﻴﻬﺔ ﲞﺼﻼﺕ ﺃﻳﻮﻟﻮﻥ .ﻛﺎﻥ ﻋﺎﺭﻳﺎ ﻣﺎﻋﺪﺍ ﻣﻌﻄﻔﺎ
ﻳﻐﻄﹼﻲ ﺍﻟﻜﺘﻒ ﺍﻷﻳﺴﺮ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻘﺘﺮﺏ ﻫﺎﺗﻪ ﺍﳌﻨﺤﻮﺗﺔ ﻣﻦ ﺳﻠﺴﻠﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻭﺱ ﺍﳌﺨﻨّﺚ ﺍﻟﱵ ﺷﺮﻉ ﰲ ﺇﳒﺎﺯﻫﺎ ﺑﺮﺍﻛﺴﻴﺘﻞ ،ﻭ ﰲ ﻧﻔﺲ
ﺍﻵﻭﻧﺔ ﻳﺘﻤﻴﺰ ﻋﻨﻬﺎ ﺑﻨﻮﻉ ﻣﻦ ﺍﻟﻘﺴﺎﻭﺓ ﰲ ﺍﳋﻄﻮﻁ ﻛﻤﺎ ﻳﻨﻔﺮﺩ ﻋﻦ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﳌﺸﺎﻬﺑﺔ ﻟﻪ ﺍﳌﻨﺤﻮﺗﺔ ﰲ ﺍﻟﻘﺮﻥ
ﺍﻟﺜﺎﱐ ﺑﺒﻌﺾ ﺍﳋﺼﺎﺋﺺ:
ﻛﺎﻟﻠﻴﻮﻧﺔ ،ﺍﻷﺗﺴّﺎﻉ ﻭ ﻣﻼﻣﺢ ﺃﻗﹼﻞ ﺩﻗﹼﺔ .ﻳﺮﻯ ﻓﻴﻪ ﺍﻟﺒﺎﺣﺚ ﻗﻮﻛﻠﺮ ﺗﺄﺛﲑ ﻟﻠﻔﻨﺎﻥ ﺑﺮﺍﻛﺴﻴﺘﻞ ﻣﺘﺤﻮﺭّﺍ ﺑﺎﳊﺴﻴﺔ
ﺍﻷﺳﻜﻨﺪﺭﻳﺔ ﻭ ﻳﻮﺍﻓﻘﻪ ﰲ ﺭﺃﻳﻪ ﺩﻭﺭﻱ ﺍﻟﺬﻱ ﻳﺼﻔﻪ ﺑﻨﺴﺨﺔ ﻟﺘﻤﺜﺎﻝ ﻣﻦ ﺍﻟﱪﻭﻧﺰ ﺃﳒﺰ ﰲ ﺣﺪﻭﺩ 360ﻕ.ﻡ.
ﺲ ﺑﺎﳌﻠﻞ ﻭ ﺍﻻﺯﺩﺭﺍﺀ ﻭ
ﻳﺘﻤﻴﺰ ﺗﻌﺒﲑ ﺍﻹﻟﻪ ﻫﻨﺎ ﺑﻀﻼﻻﺕ ﺧﺎﺻﺔ ﺗﻈﻬﺮﻩ ﻛﻤﻦ ﺫﺍﻕ ﻛﻞ ﻣﻠﺬﺍﺕ ﺍﳊﻴﺎﺓ ﻓﺄﺣ ّ
ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻫﻮ ﻭﺍﻋﻲ ﲜﻤﺎﻟﻪ ﻭ ﻳﻔﻜﹼﺮ ﻓﻴﻪ ﲟﻠﺬﺓ.
ﻳﺬﻛﺮﻧﺎ ﻫﺪﺍ ﺍﳉﺪﻉ ﺑﺒﺎﺧﻮﺱ ﻟﻴﻮﻧﺎﺭﺩﻭ ﺩﺍﻓﻨﺸﱵ ﺍﻹﻳﻄﺎ ﻭﻭﺟﻬﻪ ﺍﳌﺨﻨّﺚ ﻧﻮﻋﺎ ﻣﺎ ﻳﻮﺣﻲ ﺇﱃ ﻋﺒﺎﺭﺓ
ﺍﻟﺸﺎﻋﺮ ﰲ ﺩﻳﻮﻧﻴﺰﻭﺱ "ﺭﺃﺱ ﺍﻟﻌﺬﺭﺍﺀ" virginem caput
ﺍﻟﺘ ﺭﻳ :ﰲ ﺍﻗﺮﺏ ﺍﻟﻈﻦ ﺃﻥ ﻳﻌﻮﺩ ﻫﺪﺍ ﺍﳉﺪﻉ ﺇﱃ ﺣﺪﻭﺩ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ ﺍﻋﺘﻤﺎﺩﺍ ﻋﻠﻰ ﺍﻟﺘﻤﺜﺎﻝ
13
ﺍﻷﺻﻠﻲ ﺍﳌﻨﺠﺰ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ
-4ﺭﺃﺱ ﺑﺎﺧﻮﺱ-ﺃﻣﻮﻥ:
417 112ﺍﻟﻠﻮﺣﺔ .5 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ
ﺍﳌﺮﺍﺟ :
M..Durry, Musée de Cherchel. Supp. Ed Leroux. Paris 1924. p 94.Pl X. 2.
13
Durry, op cit. p 92.
34
ﺍﻟﻮﺻﻒ:
ﳓﺖ ﻫﺬﺍ ﺍﻟﺮﺃﺱ ﺑﺎﳊﹼﺪ ﺍﳌﺎﺋﻞ ﺷﻮّﻩ ﺍﻷﻧﻒ ﻭ ﺍﻟﻔﻢ ﻭ ﺍﻧﻜﺴﺮ ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﺍﻷﳝﻦ ﻭ ﺭﻏﻢ ﻫﺬﺍ ﱂ ﺗﻔﻘﺪ
ﺍﳌﻨﺤﻮﺗﺔ ﻗﻴﻤﺘﻬﺎ.
ﻳﻈﻬﺮ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺓ ﺷﺎﺏ ﻳﻘﺘﺮﺏ ﻣﻦ ﺍﻟﻄﻔﻮﻟﺔ ﻳﺴﻘﻂ ﺷﻌﺮﻩ ﺍﻟﻄﻮﻳﻞ ﺇﱃ ﺍﻟﻮﺭﺍﺀ ﻭ ﻳﻨﺘﻬﻲ ﻋﻠﻰ ﺍﳉﺒﻬﺔ
ﲞﺼﻼﺕ ﺻﻐﲑﺓ.
ﻧﻼﺣﻆ ﻗﺮﻥ ﺟﺪﻱ ﻳﺬﻫﺐ ﻣﻦ ﺍﻟﺼﺪ ﺍﻷﳝﻦ ﰒ ﻳﺪﻭﺭ ﰲ ﺷﻜﻞ ﺣﻠﺰﻭﱐ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳋ ّﺪ ﻭ ﰲ ﺗﻠﻚ
ﺍﻟﺪﺍﺋﺮﺓ ﺍﳌﺸﻜﹼﻠﺔ ﺗﻈﻬﺮ ﺟﺪﻱ ﺻﻐﲑﺓ .ﻳﺒﺪﻭ ﺃﻥ ﺍﻟﺮﺃﺱ ﻛﺎﻥ ﻣﺘﻮّﺟﺎ ﻛﻤﺎ ﺗﺸﲑ ﺇﱃ ﺫﻟﻚ ﻭﺭﻗﺔ ﺍﻟﻠﺒﻼﺏ
ﺍﳌﻮﺟﻮﺩﺓ ﰲ ﺍﻟﺸﻌﺮ ﻭ ﺍﻟﻘﺮﻥ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﺴّﻢ ﻫﺪﺍ ﺍﻟﻌﻤﻞ ﺑﺎﻷﻧﺎﻗﺔ ﻭ ﻳﻈﻬﺮ ﻓﻴﻪ ﺗﺄﺛﲑ ﺍﳌﺸﺮﻕ ﺍﳍﻠﻴﲏ .ﻭ ﲡﺪﺭ ﺑﻨﺎ ﺍﻟﺸﺎﺭﺓ ﺇﱃ ﺃﻥ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻗﺪ
ﺻﻮّﺭ ﻣﺮّﺍﺕ ﻋﺪﻳﺪﺓ ﻋﻠﻰ ﻫﻴﺌﺔ ﺍﻹﻟﻪ ﺁﻣﻮﻥ Hammonﺃﻭ ﰲ ﻫﻴﺌﺔ "ﺑﺎﺧﻮﺱ ﺍﻟﻠﻴﱯ" ﻋﻠﻰ ﺍﳌﺴﻜﻮﻛﺎﺕ
14
ﺍﻹﻓﺮﻳﻘﻴﺔ ﺣﻴﺚ ﻳﻈﻬﺮ ﺃﻣﺮﺩ ،ﻣﺘﻮّﺝ ﻭ ﻣﻘﺮّﻥ.
ﻣﻦ ﺍﶈﺘﻤﻞ ﺃﻥ ﻳﻜﻮﻥ ﻗﺪ ﺃﺳﺘﻌﻤﻞ ﻫﺬﺍ ﺍﻟﺮﺃﺱ ﻟﺰﺧﺮﻓﺔ ﺭﻛﻦ ﻣﻦ ﺃﺭﻛﺎﻥ ﺍﳌﺴﺮﺡ ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﻌﻠﻖ
15
ﺃﻛﺎﻟﻴﻞ ﺍﻷﺯﻫﺎﺭ ﻋﻠﻰ ﻗﺮﻧﻴﻪ.
ﻣﻼﺣ ﺔ :ﻳﻌﺮﺽ ﻫﺬﺍ ﺍﻟﺮﺃﺱ ﺧﻄﺄ ﺑﺎﺳﻢ "ﺳﺎﺗﲑ" ﲟﺘﺤﻒ ﺷﺮﺷﺎﻝ .
35
ﺍﳉﻬﺔ ﺍﳋﻠﻔﻴﺔ ﳍﺪﺍ ﺍﻟﺮﺃﺱ ﱂ ﺗﻨﺤﺖ ﻭ ﻳﺒﺪﻭ ﺍﻷﻧﻒ ﻣﻜﺴﻮﺭﺍ .ﻳﻈﻬﺮ ﺍﻷﻟﻪ ﻣﻠﺘﺤﻲ ﺑﻠﺤﻴﺔ ﻣﻈﻔﻮﺭﺓ ﻭ ﺑﺸﻨﺐ
ﻃﻮﻳﻞ ﺃﻣﺎ ﺍﻟﺸﻌﺮ ﻓﻬﻮ ﻣﺴﺮّﺡ ﲞﺼﻼﺕ ﻣﻨﻤﻨﻤﺔ ﺗﺸﻜﹼﻞ ﻧﻮﻉ ﻣﻦ ﺍﻟﻌﺼﺎﺑﺔ ﺃﻭ ﺍﻟﻌﻤﺎﻣﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﲤﺜﻞ ﻫﺎﺗﻪ ﺍﳌﻨﺤﻮﺗﺔ ﺗﻘﻠﻴﺪ ﻟﻄﺮﺍﺯ ﺑﺪﺍﺋﻲ ﺑﺘﺄﺛﲑﺍﺕ ﺍﻓﺮﻳﻘﻴﺔ ﳏﻠﹼﻴﺔ ﻭ ﻧﻮﻋﻴﺔ ﺍﻟﻌﻤﻞ ﺭﺩﻳﺌﺔ.
ﻟﻘﺪ ﺍﺧﺘﻠﻔﺖ ﺍﻷﺭﺍﺀ ﺣﻮﻝ ﻫﻮﻳّﺔ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﻓﻬﻨﺎﻙ ﻣﻦ ﻳﻨﺴﺒﻪ ﺇﱃ ﺍﻹﻟﻪ ﻫﺮﺍﻗﻞ 16ﻭ ﻫﻨﺎﻙ ﻣﻦ ﻳﺮﻯ ﻓﻴﻪ
ﺻﻮﺭﺓ ﻟﻠﻤﻠﻚ ﻳﻮﺑﺎ ﺍﻷﻭﻝ ،17ﻏﲑ ﺃﻧﻪ ﺍﺫﺍ ﻗﺎﺭﻧّﻨﺎ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺑﻨﻘﺶ ﺑﺎﺭﺯ ﲟﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ 18ﻭ ﲟﻨﺤﻮﺗﺔ
ﺃﺧﺮﻯ ﺑﻨﺎﺑﻮ 19ﻭ ﲟﺼﺒﺎﺡ ﻭﺟﺪ ﺑﻘﺴﻨﻄﻴﻨﺔ )ﺃﻧﻈﺮ ﺭﻗﻢ 1ﺹ (259ﻧﺸﺎﻃﺮ ﺃﺭﺍﺀ ﺍﻟﺒﺎﺣﺜﲔ ﺍﻵﺧﺮﻳﻦ
ﺍﻟﺬﻳﻦ ﻳﺘﻌﺮﻓﻮﻥ ﻓﻴﻪ ﻋﻠﻰ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺍﳍﻨﺪﻱ.
ﺍﻟﺘ ﺭﻳ :؟
-6ﺑﺎﺧﻮس؟
ﺍﳌﺮﺍﺟ :
R.Cagnat, Catalogue du musée de Cherchell. Alger 1902. p 14. n°3.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.50ﻡ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﻳﻨﻘﺼﻪ ﺍﻟﺮﺃﺱ ،ﺍﻟﺬﺭﺍﻋﺎﻥ ،ﺍﻟﺮﺟﻞ ﺍﻟﻴﻤ ﺍﳌﻜﺴﻮﺭﺓ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻜﻌﺐ ﻭ ﺍﻟﺮﺟﻞ ﺍﻟﻴﺴﺮﻯ ﰲ
ﻭﺳﻂ ﺍﻟﻔﺨﺬ.
ﻳﻈﻬﺮ ﺍﳉﺴﻢ ﻋﺎﺭﻱ ﻭ ﻧﺮﻯ ﺧﺼﻠﺔ ﺷﻌﺮ ﻋﻠﻰ ﺍﻟﻜﺘﻒ ﺍﻷﻳﺴﺮ ﻭ ﺿﺎﻉ ﺍﻟﺘﺠﺴﻴﻢ ﻋﻨﺪ ﺗﺪﻫﻮﺭ ﺳﻄﺢ
ﺍﻟﺮﺧﺎﻡ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﱂ ﲢﺪّﺩ ﻫﻮﻳّﺔ ﻫﺬﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺼﻮﺭﺓ ﻗﻄﻌﻴﺔ ﺑﻴﺪ ﺃﻧﻪ ﻭﺿﻊ ﲢﺖ ﺍﺳﻢ ﺑﺎﺧﻮﺱ ﺃﻭ ﺃﺑﻮﻟﻮﻥ؟ ﻟﺘﺸﺎﺑﻪ ﺍﻹﳍﺎﻥ ﰲ
ﺍﳉﺴﻢ ﻭ ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﻭ ﻻﻧﻌﺪﺍﻡ ﺍﳌﻠﺤﻘﺎﺕ ﺍﻟﱵ ﺿﺎﻋﺖ.
-7ﺑﺎﺧﻮس؟
ﺍﳌﺮﺍﺟ :
16
Ch.Landwehr, op cit. p 51.
17
Durry, op cit p 36.
18
S.Reinach, op cit.
19
Ruesch, guida di Napoli. N°272.
36
R.Cagnat, catalogue du musée de cherchel. Alger 1902. p 14. n°4.
MEFRA. 1954. n°74..
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.35ﻡ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺻﻐﲑ ﱂ ﻳﺘﺒﻘﹼﻰ ﻣﻨﻪ ﺳﻮﻯ ﺍﳉﺰﺀ ﺍﻷﳝﻦ ﻣﻦ ﺍﳉﺬﻉ ﺍﻟﻌﺎﺭﻱ ﻭ ﺧﺼﻠﺔ ﻛﺒﲑﺓ ﻣﻦ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺍﻟﻜﺘﻒ
ﺍﻷﳝﻦ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﱂ ﲢﺪّﺩ ﻫﻮﻳّﺔ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺎﻟﻀﺒﻂ ﻟﺘﺸﺎﻬﺑﻪ ﻣﻊ ﺑﺎﺧﻮﺱ ﻭ ﺍﺑﻮﻟﻮﻥ ﰲ ﻧﻔﺲ ﺍﻵﻭﻧﺔ.
-8ﺑﺎﺧﻮﺱ
413 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 3ﺍﻟﻠﻮﺣﺔ .1
ﺍﳌﺮﺍﺟ :
R.Cagnat, catalogue du musée de cherchel. Alger 1902. p 14. n°5.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.19ﻡ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﻛﺒﲑ ﻳﻨﻘﺼﻪ ﺍﻟﺮﺃﺱ ،ﺍﻟﺬﺭﺍﻋﺎﻥ ﻭ ﺍﻷﺭﺟﻞ ﺍﳌﻜﺴﻮﺭﺓ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻔﺨﺬﻳﻦ ﻭ ﺗﻈﻬﺮ ﺧﺼﻠﺔ ﺷﻌﺮ
ﻋﻠﻰ ﻛﻼ ﺍﻟﻜﺘﻔﲔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﱂ ﲢﺪّﺩ ﻫﻮﻳّﺔ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺎﻟﻀﺒﻂ ﻟﺘﺸﺎﻬﺑﻪ ﻣﻊ ﺑﺎﺧﻮﺱ ﻭ ﺍﺑﻮﻟﻮﻥ ﰲ ﻧﻔﺲ ﺍﻵﻭﻧﺔ.
37
ﺍﳌﺮﺍﺟ :
R.Cagnat, catalogue du musée de cherchel. Alger 1902. p 14. n°8.
Gauckler.P, Musée de Cherchell.. ed Leroux Paris 1895. p 57. note 1.
MEFRA. 1954. n°116.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.84ﻡ.
ﺍﻟﻮﺻﻒ:
ﺑﻘﻲ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺟﺰﺀ ﻣﻦ ﺟﺪﻉ ﺷﺠﺮﺓ ﺗﻠﺘﻒ ﺣﻮﻟﻪ ﺃﻏﺼﺎﻥ ﻭ ﻋﻨﺎﻗﻴﺪ ﻋﻨﺐ ﻭ ﺗﻠﺘﺼﻖ ﺑﻪ ﺍﻟﺮﺟﻞ ﺍﻟﻴﺴﺮﻯ
ﻟﺒﺎﺧﻮﺱ ﻭ ﻻ ﺗﺰﺍﻝ ﺃﺛﺎﺭ ﺍﻟﻘﺪﻣﲔ ﺃﻣﺎﻡ ﺍﳉﺪﻉ .ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﳉﺰﺀ ﺍﻷﺳﻔﻞ ﻣﻦ ﺟﺴﻢ ﺍﻟﻨﻤﺮ ﻭ ﻋﻠﻰ
ﺍﻟﻴﺴﺎﺭ ﺃﺛﺎﺭ ﺭﺟﻞ ﺻﻐﲑﺓ ﻟﺴﺎ ﺗﲑ ﻃﻔﻞ ﻛﻤﺎ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ ﺃﻥ ﻳﺮﺍﻓﻖ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ.20
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺒﺪﻭ ﺍﻟﻨﺎﻗﺔ ﻭ ﺍﻟﺮﻗﹼﺔ ﰲ ﺍﳒﺎﺯ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﳌﺮﻛﹼﺐ ﻣﻦ ﺍﻷﻟﻪ ﻭ ﺃﺣﺪ ﺭﻓﻘﺎﺋﻪ ،ﺃﻻ ﻭﻫﻮ ،ﺳﺎﺗﲑ ﰲ ﻣﺮﺣﻠﺔ
ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﻟﻌّﻠﻪ ﻳﻌﺘﱪ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﻮﺣﻴﺪ ﺍﳌﻌﺮﻭﻑ ﺑﺎﳉﺰﺍﺋﺮ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺪﺍ.
ﻟﺒﺎﺧﻮﺱ: -10ﺟﺬﻋﺎﻥ
ﺍﳌﺮﺍﺟ :
Gauckler.P, Musée de Cherchell.. ed Leroux Paris 1895. p 57.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻻ ﻳﻮﺟﺪ ﺃﻱ ﻭﺻﻒ ﺃ ,ﺃﺛﺮ ﳍﺎﺫﺍﻥ ﺍﳉﺬﻋﺎﻥ.
20
Cagnat, op cit. n°5.
38
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻳﺬﻛﺮﻫﺎ ﻗﻮﻛﻠﺮ ﻣﻊ ﻋﺪﺩ ﻛﺒﲑ ﻣﻦ ﺃﺟﺰﺍﺀ ﲤﺎﺛﻴﻞ ﺗﻮﺣﻲ ﺃﻬﻧﺎ ﻛﺎﻧﺖ ﺗﺼّﻮﺭ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺃﻭ
ﺭﻓﻴﻘﻪ ﺍﻟﻪ ﺍﻷﺭﻳﺎﻑ ﻓﻮﻧﻮﺱ.
21
Ch.Picard, Dictionnaire de la mythologie grecque et romaine. Presses universitaires de France. 1951. p 31.
39
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ:
ﻭﺟﺪ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻣﺘﻨﺎ ﺮﺍ ﻣﻊ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺴﺎﺑﻖ ﺑﻨﻔﺲ ﺍﳌﺒ ﻭ ﱂ ﻳﺒﻘﻰ ﻣﻨﻪ ﺳﻮﻯ ﺍﻟﻘﺎﻋﺪﺓ ﻭ ﺃﺟﺰﺍﺀ ﺻﻐﲑﺓ
ﺗﻈﻬﺮ ﻧﻔﺲ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺬﻛﻮﺭﺓ ﰲ ﺍﺠﻤﻟﻤﻮﻋﺔ ﺍﻟﺴﺎﺑﻘﺔ ﺇﺿﺎﻓﺔ ﺇﱃ ﺷﺨﺼﻴﺔ ﺟﺪﻳﺪﺓ ﻣﻦ ﺍﺠﻤﻟﻤّﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ
"ﺃﺭﻭﺍﺡ ﺃﻭ ﺟﻨّﻲ ﺍﳊﻘﻮﻝ" ﻳﺸﺒﻬﻮﻥ ﻛﺜﲑﺍ ﺳﺎﺗﲑ ﻭ ﻳﻘﺎﻝ ﺃﻬﻧﻢ ﺃﺧﻮﻯ ﳌﺮﺿﻌﺎﺕ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ nymphes.
22
ﺼ ﺍﻟﺸﺮﺍﺏ:
-14ﺳﺎﺗﲑ ﻳ ّ
423 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 26ﺍﻟﻠﻮﺣﺔ .11
ﺍﳌﺮﺍﺟ :
40
: ﻭ ﺑﺎﻥ ﺪﻭ -15ﺳﺎﺗﲑ ﺟﺎﻟ
419 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 18ﺍﻟﻠﻮﺣﺔ .7
ﺍﳌﺮﺍﺟ :
Gauckler.P, Musée de Cherchell.. ed Leroux Paris 1895. p 57. PL XI. 1et 2.
Durry, Musée de Cherchell. Supp. Ed Leroux. Paris 1924. Pp 30.
S.Gsell, in. R.Af. 1893. note 1. p 57. et R. Archéologique. 1901. I. Fig 3.p 76.
Waille, These latine. Fig 51.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ:
23
ﺍﻟﻮﺻﻒ :ﻳﻈﻬﺮ ﺣﺎﻟﻴﺎ ﺍﻟﺘﻤﺜﺎﻻﻥ ﻣﻨﻔﺼﻼﻥ ﺇﻻ ﺃﻬﻧﻤﺎ ﻳﻨﺘﻤﻴﺎﻥ ﺇﱃ ﳎﻤﻮﻋﺔ ﻭﺍﺣﺪﺓ ﺣﺴﺐ ﺩﻭﺭﻱ
ﻛﺎﻧﺖ ﺗﺰﺧﺮﻑ ﻧﺎﻓﻮﺭﺓ ﺃﻡ ﻣﺴﺒﺢ ﺑﺎﳊﻤﺎﻣﺎﺕ ﻭﻟﺪﺍ ﺯﻭّﺩ ﲤﺜﺎﻝ ﺑﺎﻥ ﺑﺜﻘﺐ ﳌﺮﻭﺭ ﺍﳌﺎﺀ.
ﻳﻨﻘﺺ ﺳﺎﺗﲑ ﺍﻟﺮﺃﺱ ،ﺍﻟﺬﺭﺍﻋﺎﻥ ﻭ ﺍﻷﺭﺟﻞ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﻘﺪﻡ ﺍﻷﻳﺴﺮ ﻭ ﺟﺰﺀ ﻣﻦ ﺍﻟﻘﺎﻋﺪﺓ ،ﺑﻴﻨﻤﺎ ﺃﺗﻠﻒ
ﺍﳉﺪﻉ.
ﻳﻈﻬﺮ ﺑﺎﻥ ithyphalliqueﺍﺷﻌﺮ ﺍﻟﻔﺨﺬﺍﻥ ﻭ ﺍﻟﺮﺟﻼﻥ ،ﺑﺬﻳﻞ ﺗﻴﺲ ﻭ ﺑﻄﻦ ﺭﺧﻮ ﻭ ﻣﻨﺘﻔﺦ ﻭﻫﻮ ﻧﺼﻒ
ﳑﺪﻭﺩ ﻋﻠﻰ ﺻﺨﺮﺓ ﻳﺴﺘﻨﺪ ﻋﻠﻴﻬﺎ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻣﻨﺪﻓﻌﺎ ﳓﻮ ﺍﻟﻮﺭﺍﺀ ﻭ ﻳﺒﺪﻭ ﺍﻧﻪ ﻛﺎﻥ ﻳﻔﺮﻗﻊ ﺑﺄﺻﺎﺑﻊ ﻳﺪﻩ
ﺍﻟﻴﻤ ﺍﳌﺮﻓﻮﻋﺔ ﺇﱃ ﺍﻷﻋﻠﻰ ﻣﺜﻞ ﺍﻟﺴﺎﺗﲑ ﺍﻟﱪﻭﻧﺰﻱ ﳌﺘﺤﻒ ﻧﺎﺑﻮ .24ﺃﻣﺎ ﺃﻋﻠﻰ ﺍﳉﺴﻢ ﻓﻘﺪ ﺃﺗﻠﻒ ﻣﻦ
ﺍﻟﺴﺮّﺓ ﻭ ﺍﻟﻘﺪﻣﲔ ﺍﳌﻜﺴﻮﺭﻳﻦ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻤﻴﺰ ﲤﺜﺎﻝ ﺳﺎﺗﲑ ﺑﻈﻬﻮﺭ ﺭﺷﺎﺷﺔ ﺻﻐﲑﺓ ﻣﻦ ﺍﻟﻮﺑﺮ ﺃﺳﻔﻞ ﺻﻠﺒﻪ ﻭ ﺍﻟﻨﺎﻱ ﻭ ﻋﺼﺎ ﺍﻟﺮﺍﻋﻲ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ،ﻭ
ﻳﺒﺪﻭ ﺟﺎﻟﺴﺎ ﺭﺟﻠﻴﻪ ﻣﺘﻼﻗﻴﺔ ﻭ ﺭﲟﺎ ﻛﺎﻥ ﻳﻌﺰﻑ ﻋﻠﻰ ﻧﺎﻳﻪ ﻣﺜﻠﻤﺎ ﺷﺎﻋﺖ ﺻﻮﺭﺓ ﺍﻟﺴﺎﺗﲑ ﺍﻟﻌﺰﻑ ﺑﺮﺟﻠﻴﻪ
25
ﺍﳌﺘﻼﻗﻴﺘﲔ ﰲ ﺍﻟﻔﻦ ﻣﻨﺪ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.
ﻳﺬﻛﺮﻧﺎ ﺍﳌﻮﺿﻮﻉ ﺍﳌﺨﺘﺎﺭ ﻫﻨﺎ ﻭ ﻃﺮﻳﻘﺔ ﺍﻟﻨﺤﺖ ﺑﺎﳒﺎﺯﺍﺕ ﺍﻟﻔﺘﺮﺓ ﺍﳍﻠﻨﺴﺘﻴﺔ ﺍﺫ ﻳﻌﺘﱪ ﻫﺬﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻧﺴﺨﺔ ﻣﻦ
ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺃﳒﺰﺕ ﺑﻨﻮﻉ ﻣﻦ ﺍﳊﺮﻳّﺔ ﻧﺘﻴﺠﺔ ﺍﳋﻴﺎﻝ ﺍﳌﺒﺪﻉ ﻟﻠﻔﻨﺎﻥ ﺍﻟﺬﻱ ﻣﻴّﺰ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﺍﻟﻔﻦ ﺍﻟﺮﺍﻗﻲ
26
ﻟﻔﺘﺮﺓ ﺍﻷﻧﻄﻮﻧﻴﲔ.
23
Durry, op cit
24
Gauckler, op cit.
25
Daremberg et Saglio, op cit p 1294.
26
Gauckler, op cit. p 57.
41
ﻤﻮﻋﺔ ﺑﺎﻥ ﻭ ﺳﺎﺗﲑ: -16
ﺍﳌﺮﺍﺟ :
-17ﻨﺎﻉ ﺳﺎﺗﲑ:
425 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 33ﺍﻟﻠﻮﺣﺔ .13
27
Daremberg et Saglio, op cit. p 1094.
42
ﺍﳌﺮﺍﺟ :
-18ﻨﺎﻉ ﺳﺎﺗﲑ:
28
Waille , op cit. p 5.
29
Daremberg et Saglio, op cit. p 1100.
30
Waille, op cit. p 5
31
Daremberg et Saglio, op cit. p 1094.
43
425 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 32ﺍﻟﻠﻮﺣﺔ .13
ﺍﳌﺮﺍﺟ :
Waille, « Rapport sur les fouilles exécutées à cherchel » in R.Af. 1902. p5.
ﺍﳌﺼﺪﺭ:ﺍﳌﺴﺮﺡ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺍﻟﺮﺧﺎﻡ ﺍﻷﺑﻴﺾ
ﺍﻟﻮﺻﻒ:
ﻣﻄﺎﺑﻖ ﻟﻠﻘﻨﺎﻉ ﺍﻟﺴﺎﺑﻖ ﻳﻈﻬﺮ ﻓﻴﻪ ﺳﺎﺗﲑ ﺑﺄﺩﻧﻴﻴﻪ ﺍﳊﺎﺩﺗﻴّﻦ ﻭﻟﻜﻨﻪ ﺃﺻﻐﺮ ﻣﻦ ﺍﻷﻭﻝ.
-19ﺳﺎﺗﻴﺮ:
ﺍﳌﺮﺍﺟ :
-20ﺳﺎﺗﲑ:
ﺍﳌﺮﺍﺟ :
Wierzejetski, Catalogue du musée de Cherchell. Alger 1902. n°17 b. p 14..
32
Daremberg et Saglio, op cit. P 1090.
44
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺍﻟﺮﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ= 0.44ﻡ
ﺍﻟﻮﺻﻒ:
ﱂ ﻳﺒﻘﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺳﻮﻯ ﺍﳉﺪﻉ ﻧﻼﺣﻆ ﻓﻴﻪ ﺟﻠﺪ ﺍﻟﺸﺎﺓ ﻣﺮﺑﻮﻃﺔ ﻋﻠﻰ ﺍﻟﻜﺘﻒ ﺍﻷﻳﺴﺮ ﻛﻮﺷﺎﺡ ﻳﺘﺪﻟﹼﻰ
ﺣﱴ ﺍﻟﻮﺭﻙ ﺍﻷﳝﻦ.
-21ﺳﺎﺗﲑ ﺃﻭ ﺑﺎﻥ
423 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 27ﺍﻟﻠﻮﺣﺔ .11
ﺍﳌﺮﺍﺟ :
Doublet, Musée d’Alger. P 76. pl IX.1
Wierzejetski, Catalogue du musée de Cherchell. Alger 1902. n°17 c 14..
ﺍﳌﺼﺪﺭ:ﳑﻠﻜﺔ ﻗﺮﻗﻮﺭﻱ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺍﻟﺮﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ= 1.18ﻡ
ﺍﻟﻮﺻﻒ:
ﳝﺜﹼﻞ ﺍﻟﺘﻤﺜﺎﻝ ﻣﺮﺍﻫﻖ ﻳﺮﺗﺪﻱ ﺟﻠﺪ ﺍﻟﻨﻤﺮ ﻭ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﺟﺪﻉ ﺷﺠﺮﺓ ﻋﻠﹼﻖ ﻋﻠﻴﻪ ﻧﺎﻱ ﺑﺎﻥ ﻭ ﻋﺼﻰ ﺍﻟﺮﺍﻋﻲ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻌﺘﱪ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻧﺴﺨﺔ ﰲ ﻏﺎﻳﺔ ﺍﻟﺪﻗﹼﺔ ﻟﺘﻤﺜﺎﻝ ﺷﻬﲑ ﻟﻠﻔﻨﺎﻥ ﺑﺮﺍﻛﺴﻴﺘﻞ ﻭ ﻓﻀﻠﹼﻨﺎ ﺍﻗﺘﺮﺍﺡ ﻫﻮﻳﺘّﺎﻥ ﻟﻪ ﳘﺎ
"ﺍﻷﻟﻪ ﺑﺎﻥ" ﺃﻭ "ﺳﺎﺗﲑ" ﻋﻮﺿﺎ ﻋﻦ ﺍﻟﻌﻨﻮﺍﻥ ﺃﳌﺪﻛﻮﺭ ﺑﻪ ﰲ ﻛﺘﺎﻟﻮﺝ ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺃﻻ ﻭﻫﻮ "ﺍﻟﺮﺍﻋﻲ"
33
ﻋﻠﻤﺎ ﺑﺎﻥ ﺍﻟﺒﺎﺣﺚ ﺭﺍﻳﻨﺎﻙ ﻳﺴﻤﻴّﻪ "ﺳﺎﺗﲑ".
ﻣﻦ ﺍﻟﻈﺎﻫﺮ ﺃﻥ ﲤﺜﺎﻟﻨﺎ ﻫﺪﺍ ﳚﺴّﺪ ﺷﺨﺼﻴﺔ ﻣﻦ ﺍﺠﻤﻟﻤّﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭ ﺍﻟﺪﻟﻴﻞ ﻬﻮﺭ ﺍﻟﺮﻣﻮﺯ ﺍﳌﻌﺮﻭﻓﺔ ﻛﺠﻠﺪ
ﺍﻟﻔﻬﺪ ،ﺍﻟﻨﺎﻱ ﻭ ﺍﻟﻌﺼﺎ ،ﻓﻼ ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺘﻤﺜﺎﻝ ﺭﺍﻋﻲ ﺑﺴﻴﻂ ،ﺑﻞ ﻳﺒﻘﻰ ﺍﻟﻔﺼﻞ ﺑﲔ ﺑﺎﻥ ﺃﻭ ﺳﺎﺗﲑ ﺍﻟﻠﺬﺍﻥ
ﳝﺜﻼﹼﻥ ﻛﻼﳘﺎ ﰲ ﺻﻮﺭﺓ ﻣﺮﺍﻫﻖ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﺟﺬﻉ ﺷﺠﺮﺓ ﺍﻟﺪﺍﻟﻴﺔ ﰲ ﺣﺎﻟﺔ ﺍﻟﺮﺍﺣﺔ ﺃﺛﻨﺎﺀ ﺍﻟﻔﺘﺮﺓ
34
ﺍﳍﻠﻨﺴﺘﻴﺔ...
33
Reinach , op cit. ii. P 137. n°3.
34
Daremberg et Saglio, op cit. p 1093.
45
-22ﺳﺎﺗﲑ :
ﺍﳌﺮﺍﺟ :
Wierzejetski, Catalogue du musée de Cherchell. Alger 1902. n°17 p 18..
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺍﻟﺮﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ= 0.40ﻡ
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺿﺎﻉ ﻣﻨﻪ ﺍﻟﺮﺃﺱ ﻭ ﺍﻟﺬﺭﺍﻋﲔ ﻭ ﺍﻷﺭﺟﻞ ﻭ ﳓﺖ ﺍﳉﺴﻢ ﻣﻐﻄﹼﻰ ﲜﻠﺪ ﺣﻴﻮﺍﻥ ﺗﺎﺭﻛﺎ ﺍﻟﻜﺘﻒ ﺍﻟﻴﻤﻦ
ﻋﺎﺭﻳﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺿﻴﺎﻉ ﺭﺃﺱ ﺍﻟﺘﻤﺜﺎﻝ ﻭ ﺍﳌﻠﺤﻘﺎﺕ ﺍﻟﻌﺪﻳﺔ ﻷﺗﺒﺎﻉ ﺑﺎﺧﻮﺱ ﲡﻌﻠﻨﺎ ﻧﻌﺠﺰ ﻋﻦ ﺍﻻﺧﺘﻴﺎﺭ ﺑﲔ ﺳﺎ ﺗﲑ ﺃﻭ ﺑﺎﻥ؟
-24ﺳﺎﺗﲑ:
423 اﻟﺼﻮﺭﺓ ﺭ ﻢ 28ﺍﻟﻠﻮﺣﺔ .11
46
ﺍﳌﺮﺍﺟ :
-25ﺳﺎﺗﲑ ﺃﻭ ﺭﺍﻋﻲ
ﺍﳌﺮﺍﺟ :
Wierzejetski, Catalogue du musée de Cherchell. Alger 1902. n°30 p 14..
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺍﻟﺮﺧﺎﻡ
ﺍﻟﻮﺻﻒ:
ﻟﻘﺪ ﺑﻘﻲ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺟﺰﺀ ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﻷﺭﺟﻞ ﻣﺘﻘﺎﻃﻌﺔ ﻋﻠﻰ ﳝﲔ ﺍﳉﺪﻉ ﺍﳌﺴﺘﻌﻤﻞ ﻛﺴﻨﺪ ﻭ
ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺗﺒﺪﻭ ﺑﻘﺎﻳﺎ ﺣﻴﻮﺍﻥ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ..
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺬﻛﺮ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﰲ ﻛﺘﺎﻟﻮﺝ ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﲢﺖ ﺍﺳﻢ "ﺳﺎﺗﲑ ﺃﻭ ﺍﻟﺮﺍﻋﻲ" ﻏﲑ ﺍﻧﻪ ﻣﻦ ﺍﻟﻈﺎﻫﺮ ﰲ ﺭﺃﻳﻨﺎ
ﺃﻧﻨﺎ ﺃﻣﺎﻡ ﲤﺜﺎﻝ "ﺳﺎﺗﲑ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ" ﻫﺪﺍ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺬﻱ ﺍﺷﺘﻬﺮ ﰲ ﺍﻟﻔﻦ ﺍﳍﻠﻨﺴﱵ .ﻓﺎﻟﺘﻤﺜﺎﻝ ﻫﺪﺍ
35
Daremberg et Saglio , op cit. p 1098.
47
ﻳﺘﻤﻴﺰ ﻋﻦ ﺻﻮﺭﺓ ﺍﻟﺮﺍﻋﻲ ﺍﻟﺒﺴﻴﻂ ﺑﻮﺿﻌﻴﺔ ﺍﻟﺮﺟﻞ ،ﺍﻟﺴﻨﺪ ﻭ ﺍﳊﻴﻮﺍﻥ ﺍﳌﺮﺍﻓﻖ ﻟﻪ )ﺭﲟﺎ ﺍﻟﻨﻤﺮ( ﺍﻟﱵ ﺗﻌﺘﱪ
ﺭﻣﻮﺯ ﻟﺸﺨﺼﻴﺔ ﺳﺎﺗﲑ.
48
ﺗﻈﻬﺮ ﻷﻭﻝ ﻣﺮﺓ ﺷﺨﺼﻴﺔ ﺟﺪﻳﺪﺓ ﻣﻦ ﺃﺗﺒﺎﻉ ﺍﻷﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ ﺷﺨﺼﻴﺔ ﺍﳋﻨﺜﻮﻱ ﺍﳌﻌﺮﻭﻑ ﻬﺑﺪﻧﺎ ﺍﻟﻠﻘﺐ
ﻣﻨﺪ ﺍﻟﻔﺘﺮﺓ ﺍﳍﻠﻨﺴﺘﻴﺔ .ﻭ ﰲ ﺍﳊﻘﻴﻘﺔ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻧﻔﺴﻪ ﳐﻨﺜﹼﺎ ﻧﻮﻋﺎ ﻣﺎ ﻳﺘﻤﻴﺰ ﲜﻨﺲ ﻏﺎﻣﺾ ،ﻧﺼﻔﻪ ﺭﺟﻞ ﻭ
ﻧﺼﻔﻪ ﺍﻷﺧﺮ ﺍﻣﺮﺍﺀﺓ ،ﻭ ﺃﺣﻴﺎﻧﺎ ﳝﺜﹼﻞ ﺍﺑﻨﻪ "ﺑﺮﻳﺎﺑﻮﺱ" priapusﰲ ﺷﻜﻞ ﺍﻷﻟﻪ ﺍﳋﻨﺜﻮﻱ ﻭ ﻫﺪﺍ ﺍﳋﲑ ﺍﻋﺘﱪ
36
ﺍﻟﻪ ﺍﳋﺼﻮﺑﺔ ﺣﻴﻨﻤﺎ ﻳﻜﻮﻥ ﻣﺮﻓﻮﻗﺎ ﺑﺸﺨﺼﻴﺎﺕ ﻣﻦ ﺍﻟﺪﻭﺭﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻣﺜﻞ ﺑﺎﻥ ﺃﻭ ﺳﺎﺗﲑ.
ﻋﻠﻰ ﺿﻮﺀ ﻫﺎﺗﻪ ﺍﳌﻌﻠﻮﻣﺎﺕ ﻭ ﻋﻠﻤﺎ ﺑﺎﻥ ﺍﳊﻔﺚ ﺍﻟﻈﺎﻫﺮ ﺃﺳﻔﻞ ﺍﻟﺼﺨﺮﺓ ﻋﺎﺩﺓ ﻣﺎ ﻳﺮﻣﺰ ﺇﱃ ﺍﻟﻌﻘﻢ ﻻ ﳝﻜﻦ
ﺃﻥ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﺑﻦ ﺩﻳﻮﻧﻴﺰﻭﻱ "ﺑﺮﻳﺎﺑﻮﺱ" ﺭﻣﺰ ﺍﳋﺼﻮﺑﺔ ﺑﻞ ﻳﻜﻮﻥ ﺍﳋﻨﺜﺎﻭﻱ ﻓﻘﻂ.
ﻭ ﻳﺮﻯ ﻗﻮﻛﻠﺮ ﺃﻥ ﻳﻜﻮﻥ ﻫﺪﺍ ﺍﳋﻨﺜﻮﻱ ﻣﺮﻓﻮﻗﺎ ﺑﺸﺨﺼﻴﺔ "ﺟﻨّﻲ ﺍﳊﻘﻮﻝ ﺍﻟﻄﻔﻞ" ﻋﻮﺿﺎ ﻣﻦ ﺳﺎﺗﲑ ﻋﻠﻰ
ﺃﺳﺎﺱ ﺗﺸﺎﻬﺑﻪ ﻣﻊ ﲤﺜﺎﻻﻥ ﺁﺧﺮﺍﻥ ﺍﺣﺪﻫﻢ ﲟﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﻭ ﻳﻘﺘﺮﺡ ﲤﺜﺎﻝ ﺭﺍﺑﻊ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻣﺒﺪﺃ
37
ﺍﻟﺘﻨﺎ ﺮ ﺍﳌﺘﺒّﻊ ﰲ ﺯﺧﺮﻓﺔ ﺍﻟﻘﺎﻋﺔ ﺍﻟﺒﺎﺭﺩﺓ ﺑﺎﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ ﺣﻴﺚ ﻭﺟﺪﺕ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ ﺍﻟﻨﺤﺘﻴﺔ؟
49
-29ﺍﳋﻨ ﻮﻱ ﻭ ﺟﻨّﻲ ﺍ ﻘﻮﻝ ﺍﻟﺼﻐﲑ:
ﺍﳌﺮﺍﺟ :
Benouniche.F, le musée national des antiquités d’Alger. Alger 1974. p 43.
Doublet, op cit. Pl IX. 2 p 77.
Gauckler, op cit. p 57.
Reinach, op cit. T II. P 63 n°4.
Waille, op cit. fig 8.
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﺎﻋﺔ ﺍﻟﺒﺎﺭﺩﺓ ﺑﺎﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻛﺮﺍﺭ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.87ﻡ .ﻋﺮﺽ= 0.74ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﺸﺒﻪ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺴﺎﺑﻖ ﻣﺎﻋﺪﺍ ﺍﺧﺘﻼﻑ ﰲ ﺍﳊﻴﻮﺍﻥ ﺍﻟﻈﺎﻫﺮ ﺃﺳﻔﻞ ﺍﻟﺼﺨﺮﺓ ﺁﺩ ﳜﺘﻔﻲ ﻫﻨﺎ ﺍﻟﻨﺴﺮ ﻭ ﻳﻌﻮّﺽ
ﺑﺜﻌﺒﺎﻥ ﻳﺰﺣﻒ ﻋﻠﻰ ﺍﻟﺼﺨﺮﺓ .ﻛﻤﺎ ﻧﻼﺣﻆ ﺃﻥ ﻃﺮﻳﻘﺔ ﺍﳒﺎﺯ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺃﻛﺜﺮ ﺃﻧﺎﻗﺔ ﻣﻦ ﺍﻷﻭﻝ.
ﻛﺎﻥ ﺍﻟﺘﻤﺜﺎﻝ ﻣﻜﺴﻮﺭﺍ ﺇﱃ ﺎﻧﻴﺔ ﺃﺟﺰﺍﺀ ﺿﺎﻉ ﻓﻴﻬﺎ ﺭﺃﺱ ﺍﻟﺸﺨﺼﻴﺘﺎﻥ ﻛﻤﺎ ﻳﻨﻘﺺ ﺍﳉﻨّﻲ ﺍﻟﺼﻐﲑ ﺗﻘﺮﻳﺒﺎ
ﻛﻞ ﺍﳉﺴﻢ ﻭ ﺍﻟﺮﺟﻠﲔ .
ﻳﻈﻬﺮ ﺍﳋﻨﺜﻮﻱ ﰲ ﻗﻤﺔ ﺍﻷﻧﺎﻗﺔ ﺑﺜﺪﻳﻴﻪ ﺍﻟﻔﺎﺗﻨﺔ ﻭ ﻫﻮ ﻋﺎﺭﻱ ﺍﻧﺰﻟﻖ ﺛﻮﺑﻪ ﺃﺳﻔﻞ ﺍﳊﺰﺍﻡ ﺑﺴﺒﺐ ﺣﺮﻛﺎﺗﻪ ﺍﻟ ﻗﺔ
ﻋﻨﺪ ﳏﺎﻭﻟﺘﻪ ﺟﻠﺐ ﺍﳉﻨّﻲ ﺇﻟﻴﻪ ،ﻭ ﻧﺘﻌﺮّﻑ ﻋﻠﻰ ﻫﺪﺍ ﺍﻷﺧﲑ ﺑﺪﻳﻠﻪ ﺍﳌﺄﻟﻮﻑ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺍﻟﻌﻨﺼﺮ ﺍﳉﺪﻳﺪ ﺍﳌﻤﻴّﺰ ﳍﺎﺗﻪ ﺍﺠﻤﻟﻤﻮﻋﺔ ﻳﻜﻤﻦ ﰲ ﺍﻟﺜﻌﺒﺎﻥ ﺍﻟﺬﻱ ﺣ ﹼﻞ ﳏّﻞ ﺍﳊﻔﺚ )ﺭﻣﺰ ﺍﻟﻌﻘﻢ( ﻛﻤﺎ ﳜﺘﻠﻒ
ﻋﻦ ﺍﺠﻤﻟﻤﻮﻋﺎﺕ ﺍﻟﺴﺎﺑﻘﺔ ﺑﺒﺴﺎﻃﺔ ﺍﻟﺼﺨﺮﺓ ﺍﻟﱵ ﳚﻠﺲ ﻋﻠﻴﻬﺎ ﺍﳋﻨﺜﻮﻱ ﻭ ﺍﺧﺘﻔﺎﺀ ﺍﻟﺮﻣﻮﺯ ﺍﳌﻌﺘﺎﺩﺓ ﻛﺎﳌﺼﻔﺎﺭ ﻭ
ﺍﳌﻨﺴﺄﺓ.
ﻳﺘﺴّﻢ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺎﻻﻋﺘﺪﺍﻝ ﻭ ﺍﻟﺪﻗﹼﺔ ﰲ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻭ ﻳﻌﺒّﺮ ﻋﻦ ﺍﻷﻧﺎﻗﺔ ﺍﳍﻠﻴﻨﻴﺔ ﻣﻴﺰﺓ ﺍﳌﺪﺭﺳﺔ ﺍﻟﱪﺍﻛﺴﻴﺘﻠﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ.
-30ﺳﻴﻼﻥ:
ﺍﳌﺮﺍﺟ :
Boucher-Colozier, « recherches sur la statuaire de Cherchell ». MEFR. 1954. PP101-
146. n°114.
S.Gsell, in R.Archéologique. 1901. I. P 77. / Promenades archéologiques aux environs
d’Alger. Paris 1926. p 50. n°76.
Reinach, op cit. T III. P 17 n°6.
Wierzejski, op cit. N°25..
50
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ=1.05ﻡ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﻭﺍﻗﻒ ﺑﻘﺖ ﺍﺛﺄﺭ ﳊﻴﺔ ﻃﻮﻳﻠﺔ ﺗﻨﺒﺴﻂ ﻋﻠﻰ ﺍﻟﺼﺪﺭ ﻭ ﻳﻈﻬﺮ ﺍﳉﺴﻢ ﺃﺷﻌﺮ ﻣﻦ ﺍﻟﻮﺭﻛﲔ ﺣﱴ ﺍﻟﻜﻌﺒﲔ
ﺣﻴﺚ ﻳﻐﻄﹼﻰ ﲜﻮﺯﺓ ﻛﺜﻴﻔﺔ ﺗﻔﻴﺾ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ،ﺑﻴﻨﻤﺎ ﺑﻘﻲ ﺍﻟﻔﺨﺬﻳﻦ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻋﺎﺭﻳﺎﻥ.
ﻧﻼ ﺣﻆ ﺍﻟﻴﺪﻳﻦ ﺍﳌﻔﺮﻃﺔ ﰲ ﺍﳉﺴﻢ ﻭ ﻫﻲ ﺗﺴﺘﻨﺪ ﻋﻠﻰ ﺍﻟﻮﺭﻛﲔ ﻭ ﳓﺖ ﺍﻟﻘﺪﻣﲔ ﺑﺸﻜﻞ ﻣﺮﺑﻊ ﺧﺸﻦ
)ﺣﻮﺍﻓﺰ؟( ﻭ ﻛﺎﻥ ﺳﻴﻼﻥ ﻣﺘﻜﺄ ﻋﻠﻰ ﻋﻤﻮﺩ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﺴّﻢ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺎﻟﻐﻼﺿﺔ ﻭ ﺍﻧﻌﺪﺍﻡ ﺍﻟﺪﻗﹼﺔ ﰲ ﺍﻻﳒﺎﺯ ﻭ ﻳﺒﺘﻌﺪ ﲤﺎﻣﺎ ﻋﻦ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﻟﱪﺍﻛﺴﺘﻠﻴﺔ ﺍﳌﺬﻛﻮﺭﺓ
ﺳﺎﺑﻘﺎ.
ﻳﻌﺘﱪ ﺳﻴﻼﻥ ﻣﻦ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳍﺎﻣﺔ ﰲ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭﻫﻮ ﳐﻠﻮﻕ ﻣﻴﺘﻮﻟﻮﺟﻲ ﻧﺼﻔﻪ ﺇﻧﺴﺎﻥ ﻭ ﻧﺼﻔﻪ
ﺣﺼﺎﻥ ﻳﻌﺮﻑ ﻛﺮﻗﻴﻖ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﻛﻤﺮﺑﻴّﻪ ﰲ ﻣﺮﺣﻠﺔ ﺍﻟﺸﻴﺨﻮﺧﺔ .ﻳﻌﺮﻑ ﺃﻳﻀﺎ ﺑﺘﺴﻤﻴﺔ "ﺍﳉﻨّﻲ
38
ﺍﳊﺼﺎﻥ" ﻛﻤﺎ ﺷﺎﻉ ﻮﺫﺝ ﺳﻴﻼﻥ ﺍﻟﺸﻌﺮ ﰲ ﺍﻟﺘﺼﻮﻳﺮﺍﺕ ﺍﻟﻔﻨﻴﺔ ﻟﻠﻤﺮﺣﻠﺔ ﺍﻟﺒﺪﺍﺋﻴﺔ.
ﺍﻟﺘ ﺭﻳ :
38
Daremberg et Saglio, op cit. p 1092.
51
ﻳﺘﻤﻴﺰ ﺑﺄﺩﻧﻴﻴﻪ ﺍﳊﺎﺩّﺗﲔ ﻭ ﳊﻴﺘﻪ ﺍﳌﺘﺪّﺍﻟﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺑﺎﻥ ﻫﻮ ﺍﻟﻪ ﺍﻷﺭﻳﺎﻑ ﻭ ﺍﳌﻮﺳﻴﻘﻰ ﺷﺨﺼﻴﺔ ﻣﻴﺘﻮﻟﻮﺟﻴﺔ ﻧﺼﻒ ﻣﺎﻋﺰ ﻭ ﻧﺼﻒ ﺇﻧﺴﺎﻥ ﻳﻨﺘﻤﻲ ﺇﱃ ﳎﻤﻮﻋﺔ
ﺍﻟﺸﺨﺼﻴﺎﺕ ﺍﳌﺄﻟﻮﻓﺔ ﰲ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
ﺍﻟﺘ ﺭﻳ :
52
Charon l’Encrillon, in R.Af. II. P 291.
Monceaux, in Gazette Archéologique. 1886. p 60. pl VII.
MEFRA. 1954. n°104.
Reinach, op cit. T III. P 138 n°1.
Waille, op cit. Fig 13.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺑﺎﺭﻭﺱ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ= 1.47ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻨﻘﺺ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺪﺭﺍﻉ ﺍﻷﳝﻦ ﻭ ﺟﺰﺀ ﻣﻦ ﺍﻷﻳﺴﺮ ﻭﺭﺃﺱ ﻭ ﺫﻳﻞ ﺍﻟﻔﻬﺪ ﻛﻤﺎ ﻃﺮﻕ ﺍﻷﻧﻒ ﻭ ﺍﻷﻋﻀﺎﺀ
ﺍﳉﻨﺴﻴﺔ.
ﻳﻈﻬﺮ ﺟﻨّﻲ ﺍﳊﻘﻮﻝ ﻫﻨﺎ ﰲ ﻫﻴﺌﺔ ﺷﺎﺏ ﻭﺳﻴﻢ ﺑﺄﻋﻀﺎﺀ ﺭﺷﻴﻘﺔ ﻣﻠﺌﻬﺎ ﺍﻟﻌﺼﺒﻴﺔ ﻭ ﻣﻦ ﻃﺒﻴﻌﺘﻪ ﺍﻟﻮﺣﺸﻴﺔ ﱂ
ﺘﻔﻆ ﺇﻻ ﺑﺄﺩﻧﻴﻴﻪ ﺍﻟﻌ ﻳﺔ ﺍﻟﺒﺎﺭﺯﺓ ﲢﺖ ﺧﺼﻼﺕ ﺷﻌﺮﻩ ﺍﳌﻌﻜﹼﻒ ﻭ ﺭﺷﺎﺷﺘﻪ ﻣﻦ ﺍﻟﻮﺑﺮ.
ﻳﻈﻬﺮ ﺭﺃﺳﻪ ﻣﻌﺼﺒّﺎ ﺑﺘﺎﺝ ﻣﻦ ﺍﻟﻘﺼﺐ ﻭ ﻣﻌﻄﻔﻪ ﻣﻮﺿﻮﻋﺎ ﺃﻣﺎﻣﻪ ﻋﻠﻰ ﻋﻤﻮﺩ ،ﻭ ﻳﺒﺪﻭ ﰲ ﻭﺿﻌﻴﺔ ﺍﳌﺸﻲ.
ﻋﻠﻰ ﻳﺴﺎﺭﻩ ﻧﺸﺎﻫﺪ ﺍﻟﻨﻤﺮ ﺍﳌﺮﲤﻲ ﻋﻠﻰ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﳌﺒﻌﺜﺮﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭ ﺍﳉﻨّﻲ ﻳﺪﺍﻋﺒﻪ ﻭ ﳝﻨﻌﻪ ﻣﻦ
ﺍﻟﺘﻤﺘّﻊ ﺑﻐﻨﻴﻤﺘﻪ ﻣﺎﺳﻜﺎ ﺑﻪ ﻣﻦ ﺫﻳﻠﻪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻌّﺪ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻣﻦ ﺃﺣﺴﻦ ﻣﻨﺤﻮﺗﺎﺕ ﻣﺪﻳﻨﺔ ﺷﺮﺷﺎﻝ ﻭ ﻳﻨﺘﻤﻲ ﺇﱃ ﺍﳒﺎﺯﺍﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﺍﳍﻠﻨﺴﱵ ﻭ ﳓﻦ
ﻻ ﺯﻟﻨﺎ ﻫﻨﺎ ﰲ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻋﱪ ﺷﺨﺼﻴﺔ ﻓﻮﻧﻮﺱ ﺟﻨّﻲ ﺍﳊﻘﻮﻝ ﺍﳌﻌﺮﻭﻑ ﺑﺄﺥ ﺭﺿﻴﻌﺎﺕ
39
ﺩﻳﻮﻧﻴﺰﻭﺱ.
ﻻ ﺑ ّﺪ ﻫﻨﺎ ﻣﻦ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺍﻻﺧﺘﻼﻑ ﺍﻟﻘﺎﺋﻢ ﺣﻮﻝ ﻫﻮﻳﺔ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺬﻱ ﻳﺮﻯ ﻓﻴﻪ ﺍﻟﺒﻌﺾ "ﺳﺎﺗﲑ ﰲ
40
ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ".
39
M.Philibert , op cit. P 94.
40
Reinach.S, op cit. T II. P 138 n°1.
53
R.Af. 1902. p 16. pl V.
S.Gsell, Mélanges…XXII.1902. P 356.
Wierzejeski, op cit. N°17C.
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﻗﺮﻗﻮﺭﻱ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺑﺎﺭﻭﺳﺎﻏﺮﻳﻘﻲ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ= 1.18ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻔﺘﻘﺪ ﺍﻟﺘﻤﺜﺎﻝ ﺭﺃﺳﻪ ﻭ ﺫﺭﺍﻋﻴﻪ ﺍﻷﻣﺎﻣﻴﲔ ﻭ ﻳﻈﻬﺮ ﻭﺍﻗﻔﺎ ﻋﺎﺭﻳﺎ ﺑﺄﺭﺟﻞ ﻣﺘﻘﺎﻃﻌﺔ ﺑﺄﻧﺎﻗﺔ .ﻳﺒﺪﻭ ﰲ ﺻﻮﺭﺓ
ﺷﺎﺏ ﻭﺿﻊ ﻋﻠﻰ ﺃﻋﻠﻰ ﺻﺪﺭﻩ ﻭ ﺫﺭﺍﻋﻪ ﺍﻷﻳﺴﺮ ﺟﻠﺪ ﺮ ﻣﺮﺑﻮﻁ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻷﳝﻦ ﺑﻘﻮﺍﺋﻢ ﺍﳊﻴﻮﺍﻥ .ﻳﺘﻜﹼﺄ
ﺳﺎﺗﲑ ﻋﻠﻰ ﺟﺪﻉ ﺷﺠﺮﺓ ﻳﻨﺤﺮﻑ ﰲ ﺍﲡﺎﻫﻬﺎ ﳓﻮ ﺍﻟﻴﺴﺎﺭ ﻭ ﻓﻌﻠﻘﺖ ﻋﻠﻴﻪ ﻋﺼﻰ ﺍﻟﺮﺍﻋﻲ ﻭ ﻧﺎﻱ ﺑﺎﻥ ﺩﻭ
ﺛﻼﺛﺔ ﻋﺸﺮ ﺃﻧﺒﻮﺏ ﻏﲑ ﻣﺘﺴﺎﻭﻳﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺍﻋﺘ ﺍﻟﻔﻨﺎﻥ ﰲ ﳓﺖ ﻛﻞ ﺗﻔﺎﺻﻴﻞ ﻫﺪﺍ ﺍﻟﺴﺎﺗﲑ ﺍﻟﻌﺎﺯﻑ ﻋﻠﻰ ﻧﺎﻱ ﺑﺎﻥ ﻋﻨﺎﻳﺔ ﻛﺒﲑﺓ ﺗﺒﺪﻭ ﻣﻦ ﺧﻼﳍﺎ
ﺗﺄﺛﲑﺍﺕ ﺍﳌﺪﺭﺳﺔ ﺍﻟﱪﺍﻛﺴﻴﺘﻠﻴﺔ.
54
ﻳﻮﺟﺪ ﺛﻘﺐ ﻋﻠﻰ ﻗﻤﺔ ﺍﳉﻤﺠﻤﺔ ﺧﻠﻒ ﺍﻷﺩﻧﲔ ﻳﺒﺪﻭ ﺃﻧﻪ ﻛﺎﻥ ﻳﺴﺘﻌﻤﻞ ﻟﻮﺿﻊ ﺯﺧﺎﺭﻑ ﻏﲑ ﺛﺎﺑﺘﺔ ﺭﲟﺎ
ﺗﻜﻮﻥ ﺃﻛﺎﻟﻴﻞ؟
ﺍﻟﺘﺤﻠﻴﻞ:
ﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻳﺼّﻮﺭ ﺟﻨّﻲ ﺍﳊﻘﻮﻝ ﰲ ﻣﺮﺣﻠﺔ ﺍﻟﻄﻔﻮﻟﺔ...
ﺍﻟﺘ ﺭﻳ :
ﻻ ﺗﺴﺒﻖ ﻣﻨﺘﺼﻒ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.
55
ﻭﺟﺪﺕ ﺛﻼﺛﺔ ﺟﺬﻭﻉ ﲟﺘﺤﻒ ﺷﺮﺷﺎﻝ ﱂ ﺗﺘﻤﻜﻦ ﻣﻦ ﲢﺪﻳﺪ ﻫﻮﻳﺘﻬﺎ ﺃﻥ ﻛﺎﻧﺖ ﲤﺜﹼﻞ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﺃﻡ ﺍﻹﻟﻪ
ﻓﻮﻧﻮﺱ؟
-40ﺳﺎﺗﲑ ﻳ ﻉ ﺷﻮﻛﺔ:
421 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 22ﺍﻟﻠﻮﺣﺔ .9
ﺍﳌﺮﺍﺟ :
De Villefosse, Bulletin des musées. 1892. p 304.
Gauckler, op cit. Pl X. 1. P 121.
Gsell, Cherchell antique Iol Caesarea. Alger 1952. p 86 n°156.
Rattier, Catalogue manuscrit du musée de cherchell. 1852. n°3.
Reinach, op cit. T II. P 144. n°1.
R.Af. 1900. p 245.
Waille , op cit. p 90 fig 14.
Wierzjeski, op cit. N°44.
.
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﻗﺮﻗﻮﺭﻱ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻛﺮﺍﺭ ﺍﻷﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ= 0.88ﻡ .ﻉ= 0.24ﻡ .ﺱ= 0.23ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﺳﺎﺗﲑ ﺟﺎﻟﺲ ﻓﻮﻕ ﺻﺨﺮﺓ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﳝﺴﻚ ﺭﺟﻠﻪ ﺍﻟﻴﺴﺮﻯ ﳏﺎﻭﻻ ﺑﺪﻭﻥ ﺷﻚ ﻧﺰﻉ ﺷﻮﻛﺔ ﻣﻦ
ﺍﻟﻘﺪﻡ ﺍﻷﻳﺴﺮ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ،ﺃﻣﺎ ﺍﻟﺮﺃﺱ ﻓﻘﺪ ﺃﺗﻠﻒ.
ﳓﺖ ﺍﳉﺴﻢ ﻋﺎﺭﻱ ﻭ ﺭﺷﻴﻖ ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﻛﺒﲑﺓ ﺑﻘﻲ ﻣﻨﻬﺎ ﺣﻴّﺰﺍ ﻣﻌﺘﱪﺍ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻗﺪ ﻳﻜﻮﻥ ﺭﻛﻴﺰﺓ
ﳌﻨﺤﻮﺗﺔ ﺃﺧﺮﻯ ﺿﺎﻋﺖ ؟
ﺍﳌﺮﺍﺟ :
J.Lassus, “notes et documents” in LIBYCA. 1957. T V. PP 299-301.
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ ﻛﺎﻥ ﺿﻤﻦ ﳎﻤﻮﻋﺔ ﺟﻮﺭﺝ ﻟﻮﻳﺲ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ ﺍﳌﺘﺒﻘﻲ= 0.75ﻡ.ﺍﺭ ﻛﺎﻣﻞ =1.50ﻡ .ﻉ= 45.ﻡ ﻉ ﻛﺎﻣﻞ= 0.60ﻡ
56
ﺍﻟﻮﺻﻒ:
ﺑﻘﻲ ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻦ ﻧﻘﺶ ﺑﺎﺭﺯ ﻟﺴﺎ ﺗﲑ ﻧﺮﻯ ﻓﻴﻪ ﺍﻟﺴﺎﻕ ﺍﻟﻴﻤ ﺑﺎﳉﺎﻧﺐ ﳑﺪﻭﺩﺓ ﺇﱃ ﺍﳋﻠﻒ ﻣﺮﺗﻜﺰﺓ
ﻋﻠﻰ ﺣﺎﻓﺔ ﺍﻟﺮﺟﻞ .ﳓﺘﺖ ﻋﻀﻼﺕ ﺭﺑﻠﺔ ﺍﻟﺴﺎﻕ ﺑﻄﺮﻳﻘﺔ ﻣﺄﻟﻮﻓﺔ ﻣﻨﺢ ﻓﻴﻬﺎ ﺍﻟﻔﻨﺎﻥ ﺻﻮﺭﺓ ﺍﳊﺮﻛﺔ ﻭ ﺗﻈﻬﺮ
ﺍﻟﺴﺎﻕ ﻗﺼﲑﺓ ﻧﻮﻋﺎ ﻣﺎ.
ﺧﻠﻒ ﺍﻟﻔﺨﺬ ﺍﻟﻴﻤﻦ ﻭ ﻣﻨﺴﺄﺓ ﺧﻠﻒ ﺍﻟﺴﺎﻕ ﺍﻟﻴﺴﺮﻯ ﻗﺪ ﻛﺎﻥ ﺳﺎﺗﲑ ﻣﺎﺳﻜﺎ nébrideﻻ ﺗﺰﺍﻝ ﺗﻈﻬﺮ
ﻬﺑﺎ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ،ﻭﻋﻠﻰ ﺳﻄﺢ ﺍﻷﺭﺽ ﻳﻮﺟﺪ ﴰﻌﺪﺍﻥ .
ﺍﻟﺘﺤﻠﻴﻞ:
ﻣﻦ ﺧﻼﻝ ﺍﻟﺸﻜﻞ ﻭ ﺍﳌﻘﺎﺳﺎﺕ ﻭ ﺍﳌﻮﺿﻮﻉ ﻳﺮ ﻼﺳﻮﺱ ﺃﻥ ﻫﺪﺍ ﺍﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ ﺍﺳﺘﻌﻤﻞ ﻟﺰﺧﺮﻓﺔ ﺧﺸﺒﺔ
ﻣﺴﺮﺡ ،ﻭ ﻟﻴﺲ ﻫﺪﺍ ﺑﺎﻟﻐﺮﻳﺐ ﻋﻠﻤﺎ ﺑﺎﻥ ﺍﻷﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﺭﻓﻘﺎﺋﻪ ﻭ ﺑﺎﻷﺧّﺺ "ﺳﺎﺗﲑ" ﻛﺎﻧﻮﺍ ﻤﻮﻥ
41
ﻛﻞ ﺍﻻﺳﺘﻌﺮﺍﺿﺎﺕ ﺍﳌﺴﺮﺣﻴﺔ ﺍﻟﱵ ﻳﻌﺘﻘﺪ ﺃﻬﻧﺎ ﺗﻨﺒﻊ ﻣﻦ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
ﻓﺎﺩﺍ ﻛﺎﻥ ﺍﻷﻣﺮ ﻛﺪﺍﻟﻚ ﻓﻬﺪﺍ ﻳﻌﲏ ﺍﺭﺗﺒﺎﻁ ﺍﳊﻴﺎﺓ ﺍﻟﺜﻘﺎﻓﻴﺔ ﺍﻟﻔﻨﻴّﺔ ﺑﺎﻟﻄﻘﻮﺱ ﺍﻟﺒﺎﺧﻴﺔ-ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﻣﺪﻳﻨﺔ
ﺷﺮﺷﺎﻝ...
ﺍﻹﺣﺎﻟﺔ:
ﺗﻌﺘﱪ ﻫﻴﺌﺔ "ﺳﺎﺗﲑ ﺍﻟﺮﺍﻗﺺ" ﻫﺎﺗﻪ ﻏﲑ ﻣﺄﻟﻮﻓﺔ ﻛﺜﲑﺍ ﻭ ﺇﻥ ﻛﺎﻧﺖ ﺗﺬﻛﺮﻧﺎ ﺑﺒﻌﺾ ﺍﳌﻨﺤﻮﺗﺎﺕ ﺍﳌﻜﺘﺸﻔﺔ ﰲ
42
ﺃﺭﻭﺑﺎ.
ﺍﳋﻤﺮ: -42ﺑﺎﺧﻮﺱ ﻭ ﺳﺎ ﻲ
ﺍﳌﺮﺍﺟ
Doublet, op cit. P 77. pl IX.3
Fiche d’inventaire n° IS.42. MNA
Reinach, op cit. T II. n°7 . P 136
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﻟﻮﻳﺲ ﻧﻴﻜﻮﻻ ﺳﺎﺑﻘﺎ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =1.16ﻡ .ﺍﺭ ﺍﻟﻘﺎﻋﺪﺓ= 0.80.ﻡ
ﺍﻟﻮﺻﻒ:
41
Ch.Vars, « recherches archéologiques sur Cirta » in R.Const. 1894. T29. P 469.
42
Cf Reinach, op cit. T III. 109.1, 435.5 / TII. 62.2 / T III. 293.2
57
ﻳﻈﻬﺮ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﻭﺍﻗﻔﺎ ﻋﺎﺭﻳﺎ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻣﻌﻄﻒ ﻣﻮﺿﻮﻉ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻷﻳﺴﺮ ،ﺭﺟﻠﻴﻪ ﻣﺘﻘﺎﻃﻌﺔ ﻭ ﻳﺒﺪﻭ
ﺍﳉﺴﻢ ﻋﺎﺿﻞ ﻭ ﺍﻟﻮﺭﻛﲔ ﺛﺨﻴﻨﺔ .ﺿﺎﻉ ﺍﻟﺮﺃﺱ ﻭ ﺍﻟﺬﺭﺍﻋﲔ ﻭ ﻋﻠﻰ ﳝﲔ ﺍﻷﻟﻪ ﺑﻘﺖ ﺧﻮﺍﻟﺐ ﺮ ﻛﺎﻥ
ﻳﺮﺍﻓﻘﻪ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ ﻭ ﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﺍﳊﻴﻮﺍﻥ ﻛﺎﻥ ﻭﺍﻗﻔﺎ ﻋﻠﻰ ﻗﺎﺋﻤﺘﻪ ﺍﻟﻴﻤ ﻭ ﺭﺍﻓﻌﺎ ﺍﻷﺧﺮﻯ.
ﻋﻠﻰ ﻳﺴﺎﺭﺍﻷﻟﻪ ﻧﻼﺣﻆ ﻗﺪﻣﻲ ﻃﻔﻞ ﻭ ﺃﺛﺎﺭ ﻳﺪﻩ ﺍﻟﻴﻤ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﺮﻓﻮﻋﺔ ﳓﻮ ﻓﺨﺪ ﺍﻷﻟﻪ ،ﻭﻫﻮ ﺭﲟﺎ
ﺳﺎﻗﻲ ﺍﳋﻤﺮ ﻣﺮﺍﻓﻖ ﺑﺎﺧﻮﺱ؟
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺬﻛﺮ ﺭﺍﻳﻨﺎﻙ 43ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﲢﺖ ﺗﺴﻤﻴﺔ "ﺳﺎﺗﲑ" ﻭ ﳓﻦ ﻴﻞ ﺇﱃ ﻫﻮﻳﺔ "ﺑﺎﺧﻮﺱ" ﺍﻟﺬﻱ ﻋﺎﺩﺓ ﻣﺎ ﻳﻈﻬﺮ
ﻣﺮﻓﻮﻗﺎ ﺑﻄﻔﻞ ﺳﺎﻗﻲ ﺍﳋﻤﺮ ﻛﻤﺎ ﻫﻮ ﰲ ﻫﺪﺍ ﺍﻟﻨﻤﻮﺫﺝ.
-43اﻟﻪ اﻟﺮیﻒ:
ﺍﳌﺮﺍﺟ :
Doublet, op cit. P 77. pl IX.1.P 76.
Fiche d’inventaire n° IS.36. MNA
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ ﻛﺎﻥ ﺿﻤﻦ ﳎﻤﻮﻋﺔ ﺟﻮﺭﺝ ﻟﻮﻳﺲ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 1.02ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻨﻘﺼﻪ ﺍﻟﺮﺃﺱ ﻭ ﺍﻟﺬﺭﺍﻉ ﺍﻷﳝﻦ ﻭ ﺟﺰﺀ ﻣﻦ ﺍﻷﻳﺴﺮ .ﻳﻈﻬﺮ ﻓﻮﻧﻮﺱ ﻭﺍﻗﻔﺎ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﺟﺪﻉ ﺷﺠﺮﺓ ﺑﺬﺭﺍﻋﻪ
ﺍﻷﻳﺴﺮ ﻭ ﺭﺟﻼﻩ ﻣﺘﻘﺎﻃﻌﺔ .ﻳﺒﺪﻭ ﻧﺼﻒ ﻻﺑﺲ ﺟﻠﺪ ﺣﻴﻮﺍﻥ ﻗﺼﲑ ﻣﺮﺑﻮﻁ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻷﻳﺴﺮ ﻭ ﻳﺼﻞ
ﺃﻋﻠﻰ ﺍﳉﻬﺎﺯ ﺍﳉﻨﺴﻲ.
ﻧﻼﺣﻆ ﻣﺼﻔﺎﺭﻩ ﺍﻟﻘﺼﱯ ﻣﻌﻠﹼﻘﺎ ﻋﻠﻰ ﺟﺬﻉ ﺍﻟﺴﻨﺪ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺣﻴﻮﺍﻥ ﳑﺪﻭﺩ ﻳﺸﺒﻪ ﺍﻟﻌﺠﻞ ،ﻋﻠﻰ
ﻣﺴﺘﻮﻯ ﺍﻟﺜﺪﻱ ﺍﻷﻳﺴﺮ ﺑﻘﻲ ﺃﺛﺮ ﻟﺴﺎﻥ ﻛﺒﲑ ﻗﺪ ﻳﻜﻮﻥ ﻳﺸّﺪ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﻮﺿﻮﻋﺔ ﻋﻠﻰ ﺻﺪﺭ
ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﻛﺎﻥ ﺭﲟﺎ ﻳﻌﺰﻑ؟
ﺍﻟﺘﺤﻠﻴﻞ:
ﻣﻦ ﺧﻼﻝ ﺍﳌﺼﻔﺎﺭ ﻭ ﺛﻮﺑﻪ ﺍﻟﺮﻋﻮﻱ ﻧﺘﻌّﺮﻑ ﰲ ﻫﺬﺍ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﱪﺍﻛﺴﻴﺘﺎ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻓﻮﻧﻮﺱ "ﺍﻟﻪ
ﺍﻟﺮﻳﻒ" ﺃﺣﺪ ﺃﺗﺒﺎﻉ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ.
43
Reinach, op cit. n°7. P 136.
58
-44ﻋﻤﺎد ذو ﻋﻨﺎﺻﺮ دیﻮﻥﻴﺰیﺔ:
ﺍﳌﺮﺍﺟ :
Fiche d’inventaire n° IS.37. MNA
Wvilleumier, Musée d’Alger. P 42. pl IV.1,2.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 2.53ﻡ
ﺍﻟﻮﺻﻒ:
ﻋﻤﺎﺩ ﻣﺮﺑﻊ ﺍﻟﺰﻭﺍﻳﺎ ﻧﻘﺸﺖ ﻛﻞ ﺯﺍﻭﻳﺔ ﻣﻨﻪ ﺑﻨﻘﻮﺵ ﳐﺘﻠﻔﺔ ﺍﻟﻌﻨﺎﺻﺮ ﻣﻨﻬﺎ ﺑﺎﻃﻴﺎﺕ ،ﻣﺰﻫﺮﻳﺎﺕ ،ﺃﻭﺭﺍﻕ،ﺃﺷﺮﻃﺔ ،ﺃﺷﺨﺎﺹ
ﺗﺮﻗﺺ ،ﻧﺒﺎﺗﺎﺕ ،ﻓﻮﺍﻛﻪ ﻭ ﺣﻴﻮﺍﻧﺎﺕ .ﻭ ﻳﻨﻘﺴﻢ ﺇﱃ ﺛﻼﺛﺔ ﺳﺠﻼﹼﺕ:
ﺍﻟﺴﺠﻞ -1ﻳﻈﻬﺮ ﻓﻴﻪ ﺭﺃﺱ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺑﻠﺤﻴﺔ ﻃﻮﻳﻠﺔ.
ﺍﻟﺴﺠﻞ -2ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﻣﺮﺍﺀﺓ ﻭﺍﻗﻔﺔ ﺃﻣﺎﻡ ﻣﺪﺑﺞ.
ﺍﻟﺴﺠﻞ -3ﻧﻘﺸﺖ ﻋﻠﻴﻪ ﺑﺎﻃﻴﺔ ﻃﻮﻳﻠﺔ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﺛﻼﺛﺔ ﻗﻮﺍﺋﻢ ﺣﻴﻮﺍﻧﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺍﻟﺘﺎﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻣﻴﻼﺩﻱ.
59
ﺍﻟﻮﺍﺟﻬﺘﺎﻥ 3ﻭ :4ﻧﻘﺶ ﻧﻴﻄﻞ ﺑﻌﺮﻭﺓ ﻭﺍﺣﺪﺓ ﰲ ﺍﻷﺳﻔﻞ ﻣﻊ ﻋﻨﺎﺻﺮ ﻧﺒﺎﺗﻴﺔ ﳏﻮّﺭﺓ ﻭ ﻏﺼﻴﻨﺎﺕ ﻭ ﰲ
ﺍﻷﻋﻠﻰ ﻛﺄﺱ ﺩﻭ ﻋﺮﻭﺗﺎﻥ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻛﻞ ﻫﺎﺗﻪ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻨﺒﺎﺗﻴﺔ ﻭ ﺍﻵﻻﺕ ﺍﳌﻮﺳﻴﻘﻴﺔ ﻭ ﺍﻟﻜﺆﻭﺱ ﻋﺒﺎﺭﺓ ﻋﻦ ﺍﳌﻠﺤﻘﺎﺕ ﻭ ﺍﻟﺮﻣﻮﺯ ﺍﳌﺄﻟﻮﻓﺔ
ﻟﺒﺎﺧﻮﺱ.
-46ﻋﻤﺎ ﺍﻥ ﻣﺰﺧﺮﻓﺎﻥ:
ﺍﳌﺮﺍﺟ :
LIBYCA. 1953.I. pp273-275.
ﺍﳌﺼﺪﺭ :ﻋﻠﻰ ﺑﻌﺪ 500ﻡ ﺝ ﺳﻴﺪﻱ ﻏﻴﻼﺱ .ﺍﺣﺪﺍﺛﻴﺎﺕ ﻻﻣﺒﲑ 360 x 448.5
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 1.70ﻡ .ﺍﻟﻘﺎﻋﺪﺓ= 28.ﻡ ﻋﻠﻰ 0.20ﻡ.
ﺍﻟﻮﺻﻒ:
ﻧﻘﺶ ﻫﺪﺍ ﺍﻟﻌﻤﺎﺩ ﺑﺰﺧﺮﻓﺔ ﳏﻮّﺭﺓ ﻭ ﰲ ﻭﺍﺟﻬﺘﻴﻪ ﺍﻟﻌﺮﻳﻀﺘﲔ ﻧﻼﺣﻆ ﻧﻔﺲ ﺍﻟﺪﻳﻜﻮﺭ ﺍﳌﻮﺟﻮﺩ ﰲ ﺍﻟﻌﻤﺎﺩﺍﻥ
ﺍﻟﺴﺎﺑﻘﺎﻥ .ﻳﺒﺪﺃ ﺍﶈﻮﺭ ﺍﳌﺮﻛﺰﻱ ﺑﻌﺮﻕ ﻭﺭﻗﺔ ﺑﲔ ﻗﺎﺋﻤﱵ ﺃﺳﺪ ﺗﺸﻜﹼﻼﻥ ﺃﻗﺪﺍﻡ ﻣﺒﺨﺮﺓ ﻋﻮﺿّﺖ ﻧﻔﺜﺎﺕ
ﺍﻟﺪﺧﺎﻥ ﺍﳌﺘﺼﺎﻋﺪ ﺑﺄﻭﺭﺍﻕ ﻭ ﺃﻏﺼﺎﻥ ﻧﺒﺎﺗﻴﺔ ﲤﹼﺮ ﻋﱪ ﻛﺄﺱ ﺗﺘﺪّﱃ ﻣﻨﻪ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
ﰲ ﻭﺳﻂ ﻛﻞ ﻫﺎﺗﻪ ﺍﻟﺰﺧﺎﺭﻑ ﺍﻟﻨﺒﺎﺗﻴﺔ ﺗﻮﺟﺪ ﻋﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﺔ ﺩﻳﻮﻧﻴﺰﻳﺔ ﻣﺜﻞ ﺍﻟﻄﺒﻠﺔ )ﺍﻟﱵ ﲢﻤﻠﻬﺎ ﺳﻜﲑﺍﺕ
ﺑﺎﺧﻮﺱ(.
ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺍﳉﺎﻧﺒﻴﺔ ﻓﻘﺪ ﳓﺘﺖ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﻭ ﺃﺿﻴﻒ ﺇﻧﺎﺀ ﺇﻏﺮﻳﻘﻲ ﺗﻠﺘّﻒ ﺣﻮﻟﻪ ﺃﻭﺭﺍﻕ ﻭ ﺃﺯﻫﺎﺭ ﻭ
ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻳﻈﻬﺮ ﺛﻌﺒﺎﻥ ﻳﻜﻮّﻥ ﻋﺮﻭﺓ ﺍﻷﻧﺎﺀ ﻭ ﻳﺸﺮﺏ ﻣﻨﻪ.
ﺍﻟﺘ ﺭﻳ :ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﻟﻔﻦ ﺍﻷﻏﺴﻄﻲ.
60
ﺍﳌﻘﺎﺳﺎﺕ.
ﺍﻟﻮﺻﻒ:
ﻋﻤﺎﺩﺍﻥ ﻣﺜﻠﺜﺎﻥ ﻤﻼﻥ ﻧﻔﺲ ﺍﻟﺰﺧﺎﺭﻑ ﺍﳌﻮﺟﻮﺩﺓ ﻋﻠﻰ ﺍﻟﻌﻤﺎﺩ ﺭﻗﻢ .45
ﺑﺎﺭﺯ: -49ﻧﻘ
424 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 30ﺍﻟﻠﻮﺣﺔ .12
ﺍﳌﺮﺍﺟ :
Wierzeijeski, « catalogue du musée de cherchell ». R.Af. 1900. p 254. n°93..
ﺍﳌﺼﺪﺭ :ﺿﻮﺍﺣﻲ ﺍﳌﻠﻌﺐ ﺍﻟﺮﻭﻣﺎﱐ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻛﺮﺍﺭ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.20ﻡ .ﻉ= 0.30ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﺟﺰﺀ ﻣﻨﺤﻮﺕ ﻓﻮﻕ ﻗﺪﻡ ﴰﻌﺪﺍﻥ ﻛﺒﲑ ﲟﺸﻬﺪ ﺍﳌﻮﻛﺐ ﺍﻟﺒﺎﺧﻲ ﻧﻼﺣﻆ ﻓﻴﻪ ﺷﺎﺏ ﻋﺎﺭﻱ ﲜﻠﺪ
ﺣﻴﻮﺍﻥ ﻳﺮﺗﺪﻳﻪ ﻛﻮﺷﺎﺡ ،ﻭﺭﺍﺀﻩ ﺳﻴﻼﻥ ﰲ ﺣﺎﻟﺔ ﺳﻜﺮ ﻭ ﺣﺎﺿﻨﺔ ﺑﺎﺧﻮﺱ ﰲ ﻣﺆﺧﺮّﺓ ﺍﳌﻮﻛﺐ ﺍﳌﺘﻘﺪّﻡ
ﺗﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ ﺛﻴﺎﻬﺑﺎ ﻏﲑ ﻣﻨﺘﻈﻤﺔ .
ﺍﻟﺘﺤﻠﻴﻞ:
61
ﺗﻨﺘﻤﻲ ﻫﺎﺗﻪ ﺍﳌﻨﺤﻮﺗﺔ ﺍﻟﱵ ﻫﻲ ﻧﺴﺨﺔ ﳌﻮﺩﻳﻞ ﻫﻠﻴﲏ ﻛﺜﲑﺍ ﻣﺎ ﻗﻠﹼﺪ ﺇﱃ ﺍﻟﻔﻦ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻣﻦ ﺧﻼﻝ ﳑﺜﹼﻠﻲ
ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﰲ ﻛﻞ ﻣﻦ ﺳﻴﻼﻥ "ﻣﺮﺑّﻲ ﺍﻷﻟﻪ" ﻭ ﺣﺎﺿﻨﺘﻪ ﺍﻟﱵ ﺗﻈﻬﺮ ﰲ ﻫﻴﺌﺔ ﺭﺍﻗﺼﺔ ﺑﺎﺧﻴﺔ ﺗﻌﺰﻑ
ﺍﻟﻨﺎﻱ ﺇﺣﺪﻯ ﺍﻵﻻﺕ ﺍﳌﻮﺳﻴﻘﻴﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
ﺳﻴﻼﻥ ﻫﻮ ﺍﻵﺧﺮ ﻧﻘﺶ ﰲ ﺣﺎﻟﺔ ﺳﻜﺮ ﺍﻟﱵ ﻫﻲ ﻣﻴﺰﺓ ﺍﳊﻔﻼﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ،ﺃﻣﺎ ﺍﻟﺸﺎﺏ ﺍﻟﻌﺎﺭﻱ ﻗﺪ ﻳﻜﻮﻥ
ﻫﻮ ﺳﺎﺗﲑ ﺍﻟﺬﻱ ﻋﺎﺩﺓ ﻣﺎ ﻳﺮﺗﺪﻱ ﻭﺷﺎﺡ ﺟﻠﺪ ﺣﻴﻮﺍﻥ.
ﺍﻹﺣﺎﻟﺔ:
ﻳﺸﺒﻪ ﻫﺪﺍ ﺍﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ ﻗﺎﻋﺪﺓ ﴰﻌﺪﺍﻥ ﺃﺧﺮﻯ ﺍﻛﺘﺸﻔﺖ ﺑﻘﺮﻃﺎﺟﺔ ﻭ ﻫﻲ ﳏﻔﻮ ﺔ ﲟﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
44
ﺑﺎﳉﺰﺍﺋﺮ.
44
Doublet, op cit. p 44-83. pl XI.1-2.
45
J.Martin, op cit. p 12
62
-51ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻷﻧﺘﻨﻴﻮﺱ:
ﺍﳌﺮﺍﺟ :
E.Boucher-Colozier, « Nouveaux visages de Cherchell » in LIBYCA. 1954. PP 73-76.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 36.8ﺳﻢ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻣﻨﺤﻮﺗﺔ ﻟﺴﻤﲑ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺃﺩﺭﻳﺎﻧﻮﺱ ﺃﻧﺘﻴﻨﻮﺱ ﻣﻜﺴﻮﺭ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻷﻧﻒ ﻭ
ﻃﺮﻕ ﰲ ﺍﳉﻬﺔ ﺍﻟﺴﻔﻠﻴﺔ ﻟﻠﻮﺟﻪ .ﺗﺘﺴﻢ ﺍﳌﻨﺤﻮﺗﺔ ﻫﺎﺗﻪ ﺑﺮﻗﺔ ﺍﻟﺘﻘﺎﺳﻴﻢ ﻭ ﺎﻝ ﺍﻟﺘﺴﺮ ﺔ ﺍﳌﺘﻜﻮﻧﺔ ﻣﻦ
ﺧﺼﻼﺕ ﻃﻮﻳﻠﺔ ﺗﺘﺪﱃ ﰲ ﺍﻟﺮﻗﺒﺔ ﻋﻠﻰ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
ﻳﺘﻮﺝ ﺍﻟﺮﺃﺱ ﺑﺘﺎﺝ ﺩﻳﻮﻧﻴﺰﻱ ﻣﻜﻮﻥ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ﻭ ﺃﻋﻠﻰ ﺍﻷﺩﻧﲔ ﻳﻈﻬﺮ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺍﳌﻐﻄﻰ ﺟﺰﺋﻴﺎ
ﺑﻮﺭﻗﺔ ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻨﺘﻤﻲ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺍﻟﱵ ﺗﺼﻮﺭ ﲰﲑ ﻫﺪﺭﻳﺎﻥ ﺇﱃ ﺍﳌﻨﺤﻮﺗﺎﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ،ﺁﺩ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ
ﺃﻥ ﳝﺜﻞ ﺃﻧﺘﻴﻨﻮﺱ ﺑﻌﺪ ﻣﻮﺗﻪ ﻭ ﺗﺄﻟﻴﻬﻪ ﰲ ﺻﻮﺭﺓ ﺑﻌﺾ ﺍﻵﻫﺔ ﺍﻟﺸﺎﺑﺔ ﻣﻦ ﺑﻴﻨﻬﺎ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﺍﻟﻪ
ﺍﻟﺘﺠﺪﻳﺪ ﻭ ﺣﻴﻮﻳﺔ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﻫﺪﻩ ﺻﻔﺎﺕ ﻣﺮﺗﺒﻄﺔ ﺑﺎﻟﻄﺎﺑﻊ ﺍﳉﻨﺎﺋﺰﻱ.
ﺍﻹﺣﺎﻟﺔ:
ﺃﻧﺘﻴﻨﻮﺱ ﺑﺮﺍﻛﺴﻲ ﲟﺘﺤﻒ ﺍﻟﻔﺎﺗﻴﻜﺎﻥ
ﲤﺎﺛﻴﻞ ﻣﺘﺤﻒ ﻧﺎﺑﻮ
ﲤﺎﺛﻴﻞ ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﱐ British museum
ﲤﺎﺛﻴﻞ ﻣﺘﺤﻒ ﺳﺎﻥ ﺑﺘﺮﺳﺒﻮﺭ St petersbourg
ﺃﻧﺘﻴﻨﻮﺱ ﻣﻮﻧﺪﺭﺍﻏﻮﺭ ﲟﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ
63
ﻣﻼﺣ ﺔ ﺣﻮﻝ ﻣﻨﺤﻮﺗﺎﺕ ﺷﺮﺷﺎﻝ:
ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﻛﻠﻮﺯﻳﻲ 46ﺃﻧﻪ ﻣﻦ ﺍﻟﺼﻌﺐ ﺗﺄﺭﻳﺦ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺒﺎﺧﻴﺔ ﻟﺒﻤﺪﻳﻨﺔ ﺷﺮﺷﺎﻝ ﻷﻥ ﻣﻌﻈﻤﻬﺎ
ﻭﺟﺪ ﺑﻘﺎﻋﺎﺕ ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻐﺮﺑﻴﺔ ﺍﻟﱵ ﺷﻴﺪﺕ ﻣﻊ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺃﻭ ﺑﺪﺍﻳﺔ ﺍﻟﺜﺎﻟﺚ .ﻓﺎﺠﻤﻟﻤﻮﻋﺔ ﺍﳌﺘﻜﻮﻧﺔ
ﻣﻦ:
-ﻓﺮﻳﻖ ﺳﺎﺗﲑ ﻭ ﺑﺎﻥ ،ﺭﺃﺱ ﺳﺎﺗﲑ ،ﺭﺃﺱ ﺑﺎﻥ ،ﳎﻤﻮﻋﺔ ﺑﺎﺧﻮﺱ-ﺃﻣﺒﻴﻠﻮﺱ ،ﺍﻟﻪ ﺍﻷﺭﻳﺎﻑ-ﺑﺎﺧﻮﺱ،
ﺃﻣﺒﻴﻠﻮﺱ-ﺍﻟﻔﻬﺪ ﻭ ﺟﺬﻉ ﺑﺎﺧﻮﺱ ﺳﺎﳘﺖ ﻛﻠﹼﻬﺎ ﰲ ﺯﺧﺮﻓﺔ ﲪﺎﻣﺎﺕ ﻗﻴﺼﺮﻳﺔ ﻭ ﻫﻲ ﻋﻤﻮﻣﺎ ﺫﺍﺕ ﻧﻮﻋﻴﺔ
ﺟﻴّﺪﺓ ﻭ ﻟﻜﻨﻨﺎ ﻻ ﻠﻚ ﺃﺩﻟﹼﺔ ﻗﻄﻌﻴﺔ ﻟﻨﺴﺒﻬﺎ ﺍﱃ ﻣﺮﺣﻠﺔ ﺍﳌﻠﻚ ﻳﻮﺑﺎ ،ﻓﻤﻦ ﺍﳌﻤﻜﻦ ﺃﻥ ﺗﻌﻮﺩ ﺍﱃ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ
ﺍﻷﻭﻝ ﺃﻭ ﺍﻟﺜﺎﱐ...
ﻛﻤﺎ ﻻ ﻧﺴﺘﺒﻌﺪ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﳌﻮﺟﻮﺩﺓ ﺑﺎﳊﻤﺎﻣﺎﺕ ﻗﺪ ﺟﻠﺒﺖ ﻣﻦ ﻣﺒﺎﱐ ﺍﻗﺪﻡ ،ﺃﻣﺎ ﺗﻠﻚ ﺍﻟﱵ
ﺍﻛﺘﺸﻔﺖ ﻫﻨﺎ ﻭ ﻫﻨﺎﻙ ﻓﻘﺪ ﻛﺎﻧﺖ ﺗﺰﺩﺍﻥ ﻬﺑﺎ ﺍﳌﺒﺎﱐ ﺍﻟﺴﻜﻨﻴﺔ ﻭ ﺍﳊﺪﺍﺋﻖ.
ﻳﺒﻘﻰ ﲤﺜﺎﻝ ﺑﺎﺧﻮﺱ ﺍﻟﻀﺨﻢ ﻭ ﲤﺜﺎﻝ ﺳﺎﺗﲑ ﺍﻟﺬﻱ ﻳ ﻉ ﺷﻮﻛﺔ ﻣﻦ ﺭﺟﻞ ﺑﺎﻥ ﻓﻘﺪ ﳓﺘﺎ ﻛﻼﳘﺎ ﰲ ﺭﺧﺎﻡ
ﻛﺮﺍﺭ ﻭ ﻣﻦ ﺍﶈﺘﻤﻞ ﺃﻥ ﻳﻜﻮﻧﺎ ﻗﺪ ﺃﳒﺰﺍ ﺑﻄﺮﻳﻘﺔ ﺻﻨﺎﻋﻴﺔ ﺑﻮﺭﺷﺎﺕ ﳐﺘﺼّﺔ ﰲ ﺍﻳﻄﺎﻟﻴﺎ؟
ﺳﲑﺗﺎ /ﺴﻨﻄﻴﻨﺔ:
-1ﺟﺬﻉ ﺳﺎﺗﲑ:
421 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 24ﺍﻟﻠﻮﺣﺔ .9
ﺍﳌﺮﺍﺟ :
A.Berthier, Le musée de Constantine. Extrait de la Revue Algeria.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
46
Boucher-Colozier, op cit.
64
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ ﺷﺒﻴﻪ ﺑﺮﺧﺎﻡ ﴰﺘﻮ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.96ﻡ .ﻉ= 0.50ﻡ.
ﺍﻟﻮﺻﻒ:
ﻳﻨﻘﺺ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺮﺃﺱ ﻭ ﺍﻟﺬﺭﺍﻋﲔ ﻭ ﻛﺴﺮ ﺍﻟﺮﺟﻠﲔ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻔﺨﺬﻳﻦ .ﻳﻈﻬﺮ ﺳﺎﺗﲑ ﻋﺎﺭﻳﺎ
ﺑﺎﺳﺘﺜﻨﺎﺀ ﻭﺷﺎﺡ ﺟﻠﺪ ﺍﻟﺸﺎﺓ ﺍﻟﺬﻱ ﳝﺮ ﻣﻦ ﻛﺘﻔﻪ ﺍﻷﳝﻦ ﺇﱃ ﺍﻟﻮﺭﻙ ﺍﻷﻳﺴﺮ.
ﻳﺒﺪﻭ ﺍﻟﺘﻤﺜﺎﻝ ﲟﻈﻬﺮ ﺃﻧﻴﻖ ﺭﲟﺎ ﻳﻜﻮﻥ ﻧﺴﺨﺔ ﺑﺮﺍﻛﺴﻴﺘﻠﻴﺔ.
65
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻤﻴﺰ ﲤﺜﺎﻝ ﺑﺎﺧﻮﺱ ﻫﺪﺍ ﲟﻼﻣﺢ ﳐﻨﺜﺔ ﺗﻌﱪ ﻋﻦ ﻃﺒﻴﻌﺔ ﺍﻹﻟﻪ ﺩﻭ ﺍﳉﻨﺲ ﺍﻟﻐﺎﻣﺾ ﺩﻟﻚ ﻣﺎ ﺟﻌﻞ ﻓﻨﺎﻧﻮ ﺍﻟﻔﺘﺮﺓ
ﺍﳍﻠﻨﺴﺘﻴﺔ ﳚﺴﺪﻭﻧﻪ ﰲ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺍﳌﺨﻨﺚ47.ﻭ ﻣﺎ ﻳﺆﻛﺪ ﻫﻮﻳﺔ ﺍﻟﺘﻤﺜﺎﻝ ﻫﻮ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﻣﻌﻪ ﺍﻟﱵ
48
ﲢﻤﻞ ﺍﺳﻢ ﺍﻹﻟﻪ ﻟﻴ ﺑﺎﺗﺮ ﺃ ﺴﻄ .
49
ﻳﺒﺪﻭ ﺃﻧﻪ ﺑ ﻣﻜﺎﻥ ﺇﺭﺟﺎﻉ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺬﻱ ﻫﻮ ﻮﺫﺝ ﻟ ﻟﻪ ﺍﻷﻣﺮﺩ ﻭ ﺍﻟﺸﺎﺏ ﺇﱃ ﺍﻟﻔﻨﺎﻥ ﺑﺮﺍﻛﺴﻴﺘﻞ.
ﺑﺎﺧﻮﺱ: -3ﺟﺬﻉ
ﺍﳌﺮﺍﺟ :
Doublet et Gauckler, op cit. p 35.
Prudhome, Catalogues manuscrits. E22.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ.
ﺍﻟﻮﺻﻒ:
50
ﺗﺒﻘﻰ ﺍﳉﺪﻉ ﻣﻦ ﲤﺜﺎﻝ ﺑﺎﺧﻮﺱ ﺃﻧﻴﻖ ﰲ ﺳﻦ ﺍﳌﺮﺍﻫﻘﺔ ﻭ ﻳﺸﺒﻪ ﺟﺪﻉ ﺃﺧﺮ ﻣﻮﺟﻮﺩ ﲟﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﻻ ﺗﺰﺍﻝ ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﺍﳌﻤﻴﺰﺓ ﻟ ﻟﻪ ﺗﺘﺪﱃ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ.
ﺑﺎﺧﻮﺱ: -4ﺭﺃﺱ
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ ﺷﺒﻴﻪ ﺑﺮﺧﺎﻡ ﴰﺘﻮ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.45ﻡ .ﻉ= 0.33ﻡ
ﺍﻟﻮﺻﻒ:
47
Daremberg et Saglio, op cit p 138.
.
48
CIL. 10867.
49
L.C.Féraud, op cit. p 408.
50
R.Cagnat, Musée de Lambése. Paris 1895. pl IV.1
66
ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺃﺱ ﺃﻣﺮﺩ ﺑﻴﻀﻮﻱ ﺍﻟﺸﻜﻞ ﻣﻐﻄﻰ ﲝﻮﺩﺓ ﳐﺮﻭﻃﻴﺔ ﺍﻟﺸﻜﻞ ﻳﺘﺴﻠﻞ ﻣﻨﻬﺎ ﺷﻌﺮ ﻛﺚ ﻭ ﻣﻨﻌﺮﺝ
ﻳﻨﺘﻬﻲ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺃﻋﻠﻰ ﺍﻟﻘﺒﻌﺔ .ﺗﺒﺪﻭ ﺍﳉﺒﻬﺔ ﻋﺮﻳﻀﺔ ﻭ ﺿﻴﻘﺔ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺼﺪ ﻭ ﺍﻟﻌﻴﻨﺎﻥ ﻗﻠﻴﻠﺔ
ﺍﻻﻧﻔﺮﺍﺝ ،ﺍﻟﻔﻢ ﻋﺮﻳﺾ ﻳﻨﺘﻬﻲ ﺑﺪﻓﻦ ﺣﺎﺩ ﺃﻣﺎ ﺍﻟﺮﻗﺒﺔ ﻓﻬﻲ ﻋﺮﻳﻀﺔ ﻏﲑ ﻣﺘﻨﺎﺳﻘﺔ ﻣﻊ ﺃﺑﻌﺎﺩ ﺍﻟﻮﺟﻪ ﻣﺎ ﻳﺪﻝ
ﻋﻠﻰ ﻬﺗﺎﻭﻥ ﺍﻟﻔﻨﺎﻥ ﰲ ﳓﺘﻪ.
ﰲ ﺍﳉﻬﺔ ﺍﳋﻠﻔﻴﺔ ﻳﻈﻬﺮ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺷﻜﻞ ﻛﺘﻠﺔ ﺗﱪﺯ ﻓﻴﻬﺎ ﲤﻮﺟﺎﺕ ﺍﳋﺼﻼﺕ.
ﺗﻐﻠﺐ ﻋﻠﻰ ﺗﻘﺎﺳﻴﻢ ﺍﻟﻮﺟﻪ ﻧﻮﻉ ﻣﻦ ﺍﻟﻜ ﺑﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺬﻛﺮ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﺑﺎﺳﻢ ﺑﺎﺧﻮﺱ ﻋﻠﻰ ﺑﻄﺎﻗﺔ ﺟﺮﺩ ﺍﳌﺘﺤﻒ ﻭ ﻟﻜﻨﻨﺎ ﱂ ﻧﻌﺜﺮ ﻋﻠﻰ ﺃﻱ ﻮﺫﺝ ﻣﺸﺎﺑﻪ
ﲟﺘﺎﺣﻒ ﺃﺧﺮﻯ ﺃﻭ ﰲ ﻣﺼﻨﻔﺎﺕ...
ﺯﻳﺎﻣﺔ:
67
ﺍﻹﺷﺎﺭﺓ ﺍﻟﻮﺣﻴﺪﺓ ﺍﻟﱵ ﻭﺟﺪﻧﺎﻫﺎ ﳍﺪﺍ ﺍﻟﺘﺎﺑﻮﺕ ﻻ ﺗﻌﻄﻲ ﺃﻳﺔ ﻣﻌﻠﻮﻣﺎﺕ ﺣﻮﻝ ﻫﻮﻳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﺗﻘﺘﺼﺮ
51
ﻋﻠﻰ ﻭﺻﻒ ﺍﳌﻨﺤﻮﺗﺔ ﺑﺎﳌﺸﻬﺪ ﺍﳉﻨﺎﺋﺰﻱ...
ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻟﻘﺪ ﻻﺣﻈﻨﺎ ﺑﻌﺾ ﺍﻟﺘﺸﺎﺑﻪ ﻣﻊ ﺍﻟﺴﺎﺗﲑ ﺍﳌﻨﻘﻮﺵ ﻋﻠﻰ ﺻﻔﻴﺤﺔ ﺗﺒﺴﺔ )ﺭﻗﻢ .3ﺹ(102
ﻛﻤﺎ ﻧﻘﺘﺮﺡ ﻣﻘﺎﺭﻧﺔ ﺷﺨﺼﻴﺘﻨﺎ ﻫﺪﻩ ﺑﺘﻤﺜﺎﻝ ﺍﻹﻟﻪ ﺑﺎﻥ ﺧﺎﺻﺔ ﰲ ﻣﻼﻣﺢ ﺍﻟﻮﺟﻪ ﻣﺎ ﻋﺪﻯ ﺍﻟﺴﺎﻗﺎﻥ
52
ﺍﻟﻌ ﻳﺘﺎﻥ.
ﺃﻣﺎ ﺍﺫﺍ ﻓﻀﻠﻨﺎ ﺗﺄﻭﻳﻞ ﻻﺑﻮﺭﺕ 53ﺍﻟﺬﻱ ﻳﺮﻯ ﺍﻣﺮﺍﺀﺓ ﺭﺍﻗﺼﺔ ﰲ ﻣﻜﺎﻥ ﺳﺎﺗﲑ /ﺳﻴﻼﻥ ﻓﻴﻤﻜﻨﻨﺎ ﻗﺮﻥ ﺻﻮﺭﺓ
ﻫﺪﻩ ﺍﻟﺮﺍﻗﺼﺔ ﺍﻟﻌﺎﺭﻳﺔ ﺑﺼﻮﺭﺓ ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ ﺍﻟﱵ ﻋﺎﺩﺓ ﻣﺎ ﺗﻈﻬﺮ ﻋﺎﺭﻳﺔ ﺃﻭ ﻧﺼﻒ ﻋﺎﺭﻳﺔ ﻭ ﻫﻮ ﻣﺸﻬﺪ
ﺩﻳﻮﻧﻴﺰﻱ ﻣﺄﻟﻮﻑ ﰲ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﳉﻨﺎﺋﺰﻳﺔ.
ﺳﻜﻴﻜﺪﺓ:
51
A.Pelletier, op cit.
52
S.Reinach, Répertoire de la statuaire grecque et romaine. Paris E Leroux 1908. T II. P 68. n°1.
53
Laporte, op cit. p 56
68
ﺍﻟﻘﺮﺍﺻﻨﺔ: -1ﺗﺎﺑﻮﺕ ﺃﺳﻄﻮﺭﺓ ﻳﻮﻧﻴﺰﻭﺱ ﻭ
ﺍﳌﺮﺍﺟ :
M.Papier, in Bull. Accadémie. D’Hippone. 1888-1890. pp 135-147. n°24.
SGsell, usée de Philippeville. Colls et collections archéologiques de l’Algérie et
Tunisie. 2eme Série. Paris ed Ernest Leroux. 1898. Pl II.Fig 2.
.
ﺍﳌﺼﺪﺭ :ﺟﻨﻮﺏ ﺷﺮﻕ ﺍﳌﺪﻳﻨﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ:
ﺗﻈﻬﺮ ﰲ ﻭﺍﺟﻬﺔ ﺍﳊﻮﺽ ﻗﻼﺩﺓ ﺗﺄﻭﻱ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻟﻠﻤﻴﺖ ﻭ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﻋﺮﺑﺔ ﳚﺮّﻫﺎ ﺳﻨﺘﻮﺭ ﻭ ﺳﻨﺘﻮﺭﺓ
ﺗﺮﺗﺪﻱ ﺟﻠﺪ ﺣﻴﻮﺍﻥ ﻭ ﲤﺴﻚ ﺍﻷﻭﱃ ﻛﻨّﺎﺭﺓ ﻭ ﺍﻟﺜﺎﻧﻴﺔ ﺍﻟﻨﺎﻱ ﺍﳌﺰﺩﻭﺝ ﻭ ﻧﻼﺣﻆ ﻋﻤﻮّﺭﻳﲔ ﻳﻮﺟﻬﻨﻬﻢ .ﻋﺮﺑﺔ
ﺍﻟﻴﻤﲔ ﻳﺮﻛﺐ ﻓﻴﻬﺎ ﺍﻷﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻜﻠﹼﻼ ﺑﺎﻟﻜﺮﻭﻡ ﻭ ﻳﺮﺗﺪﻱ ﻭﺷﺎﺡ ﻣﻦ ﺟﻠﺪ ﺣﻴﻮﺍﻥ ﻭ ﳝﺴﻚ ﺑﻴﺪﻩ
ﻣﺰﺭﺍﻗﻪ ﻭ ﻃﺒﻠﺘﻪ ﻭ ﺑﺎﻟﻘﺮﺏ ﻣﻨﻪ ﻳﻈﻬﺮ ﺳﻴﻼﻥ ﳝﺴﻚ ﺑﻜﺮﻣﺔ ﻭ ﺧﻠﻒ ﺍﻟﻌﺮﺑﺔ ﺳﺎﺗﲑ ﺑﻌﺼﻰ ﺍﻟﺮﺍﻋﻲ.
ﺍﻣﺎ ﺍﻟﻌﺮﺑﺔ ﺍﻟﻴﺴﺮﻯ ﻓﺒﻬﺎ ﺃﺭﻳﺎﻥ ﺯﻭﺟﺔ ﺩﻳﻮﻧﻴﺰﻭﺱ ﲤﺴﻚ ﻫﻲ ﺍﻷﺧﺮﻯ ﲟﺰﺭﺍﻕ ﻭ ﺑﺎﻃﻴﺔ ﻭ ﺗﺮﺍﻓﻘﻬﺎ ﺳﻜﲑﺓ
ﺗﺪّﻕ ﺍﻟﺼﻨﺞ ﻭ ﺳﺎﺗﲑ ﺑﻌﺼﺮ ﺍﻟﺮﺍﻋﻲ ﻭ ﺍﻷﻟﻪ ﺑﺎﻥ .ﻧﺮﻯ ﺃﺳﻔﻞ ﻛﻞ ﺳﻨﺘﻮﺭ ﺍﻟﺴﻠﹼﺔ ﺍﻟﺴﺮّﻳﺔ ﺍﻟﱵ ﳜﺮﺝ ﻣﻨﻬﺎ
ﺍﻟﺜﻌﺒﺎﻥ ﻭ ﺍﺳﻔﻞ ﻛﻞ ﺳﻨﺘﻮﺭﺓ ﺮﺓ ﻣﻘﺮﻓﺼﺔ.
ﺍﻟﻐﻄﺎﺀ ﺯﺧﺮﻑ ﲟﺸﻬﺪ ﺃﺧﺮ ﻳﻈﻬﺮ ﺃﻭﻻ ﰲ ﺍﳌﺮﻛﺰ ﻗﻼﺩﺓ ﻓﺎﺭﻏﺔ ﳝﺴﻜﻬﺎ ﻋﻤّﻮﺭﺍﻥ ﻳﻌﻠﻮﳘﺎ ﺩﻳﻜﺎﻥ ﻭ ﻋﻠﻰ
ﺍﻟﻴﻤﲔ ﻣﺸﻬﺪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭﻫﻮ ﻳﻌﺎﻗﺐ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻧﻴﲔ ﺍﻟﻠﺪﻳﻦ ﲢﻮﻟﹼﻮﺍ ﺍﱃ ﺩﻻﻓﲔ ﺑﻌﺪ ﺍﻥ ﺭﻣﻰ ﻬﺑﻢ ﰲ
ﻣﻴﺎﻩ ﺍﻟﺒﺤﺮ.
ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﻣﺮﺍﺀﺓ ﻋﺎﺭﻳﺔ ﳑﺪﻭﺩﺓ ﻭ ﻋﻠﻰ ﻳﺴﺎﺭ ﺍﻟﻘﻼﺩﺓ ﺍﺭﻳﺎﻥ ﻧﺎﺋﻤﺔ ﻭ ﻳﻮﻧﻴﺰﻭﺱ ﻳﻘﺘﺮﺏ ﻣﻨﻬﺎ ﻣﺮﻓﻮﻗﺎ
ﺑﺴﻴﻼﻥ ﻭ ﺑﺎﻥ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻌﻠﺬﻕ ﺍﻷﻣﺮ ﺑﺘﺎﺑﻮﺕ ﻣﻬّﻢ ﺍﱃ ﺍﻟﻐﺎﻳﺔ ﻛﻮﻧﻪ ﳝﺜﹼﻞ ﻣﺸﺎﻫﺪ ﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺸﻜﻞ ﻴﻞ ﻭﻭﺍﺿﺢ.
ﺍﳌﺸﻬﺪ ﺍﻟﺪﻱ ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻟﻐﻄﺎﺀ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﺑﺎﳉﺰﺍﺋﺮ ﻭ ﻧﺎﺩﺭ ﰲ ﺍﻷﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺃﻻ
ﻭﻫﻮ ﻣﻠﺤﻤﺔ ﻳﻮﻧﻴﺰﻭﺱ ﻣ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻧﻴ ﺍﻟﱵ ﲡﺴّﺪ ﺃﻋﻈﻢ ﺍﻧﺘﺼﺎﺭﺍﺕ ﺍﻷﻟﻪ ﻭ ﻫﻲ ﻣﻮﺿﻮﻉ
ﺍﻟﺘﺮﻧﻴﻤﺔ ﺍﻟﺴﺎﺑﻌﺔ ﳍﻮﻣﲑﻭﺱ ﺍﻟﱵ ﺗﺪﻛﺮ ﻗﺒﺾ ﺍﻟﻘﺮﺍﺻﻨﺔ ﻋﻠﻰ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﻫﻮ ﺩﺍﻫﺒﺎ ﺍﱃ ﺟﺰﻳﺮﺓ ﻧﺎﻛﺴﻮﺱ
54
ﰒ ﺛﺄﺭﻩ ﻣﻨﻬﻢ ﻭ ﺍﻟﻌﻘﺎﺏ ﺍﻟﺸﺪﻳﺪ ﺍﻟﺪﻱ ﻧﺎﻟﻮﻩ ﻣﻨﻪ.
54
Daremberg et Saglio, op cit. p 610.
69
ﺍﻣﺎ ﺍﻟﺪﻳﻚ ﺍﻟﺪﻱ ﻳﻈﻬﺮ ﻣﻊ ﺍﻟﻌﻤﻮّﺭ ﻓﻬﻮ ﻣﻦ ﺑﲔ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﳊﻴﻮﺍﻧﻴﺔ ﺍﻟﱵ ﺗﻮﺭﺩ ﰲ ﺍﻷﻳﻜﻨﻮﻏﺮﺍﻓﻴﺎ ﻭ
ﻟﻜﻨﻬﺎ ﻏﲑ ﻣﺄﻟﻮﻓﺔ.
ﺍﻷﻣﺮﺍﺀﺓ ﺍﳌﻤﺪﻭﺩﺓ ﻗﺪ ﺗﻜﻮﻥ ﲡﺴﻴﺪﺍ ﻟ ﻫﺔ ﺍﻟﺒﺤﺎﺭ ﺍﻡ )ﻭ ﳓﻦ ﻧﻔﻀّﻞ ﻫﺪﺍ ﺍﻷﻓﺘﺮﺍﺽ( ﺗﺮﻣﺰ ﺍﱃ ﺟﺰﻳﺮﺓ
ﻧﺎﻛﺴﻮﺱ ﺣﻴﺚ ﻭﻗﻌﺖ ﺍﳌﻌﺮﻛﺔ.
ﺍﳌﺸﻬﺪ ﺍﻟﺪﻱ ﻳﺰﺧﺮﻑ ﻭﺍﺟﻬﺔ ﺍﳊﻮﺽ ﻻ ﻳﻘﹼﻞ ﺃﳘﻴﺔ ﺍﺫ ﳚﺴّﺪ ﻣﻮﻛ ﺍﻷﻧﺘﺼﺎﺭ ﺍﻟﺪﻱ ﻳﺮﻛﺒﻪ ﺍﻷﻟﻪ ﻣﻊ
ﺭﻓﻘﺎﺋﻪ ﻋﻨﺪ ﻋﻮﺩﺗﻪ ﻣﻦ ﻣﻌﺎﺭﻛﻪ ﻭ ﻣﻠﺤﻤﺎﺗﻪ ﺍﳌﻨﺘﺼﺮﺓ ﻭ ﻫﻨﺎ ﻳﺘﻌﻠﹼﻖ ﺍﳌﺮ ﺑﺎﻧﺘﺼﺎﺭﻩ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻧﻴﲔ.
ﻳﻈﻬﺮ ﺍﻷﻟﻪ ﻣﻊ ﺭﻓﻴﻘﺘﻪ ﻭ ﺯﻭﺟﺘﻪ ﺃﺭﻳﺎﻥ ﻛﻼﳘﺎ ﻋﻠﻰ ﻋﺮﺑﺔ ﳚﺮّﻫﺎ ﺭﻓﻘﺎﺋﻪ ﺍﻟﺴﻨﺘﻮﺭﻳﲔ ﻭ ﺍﻟﺴﻨﺘﻮﺭﺍﺕ ﻭ ﻫﻢ
ﳐﻠﻮﻗﺎﺕ ﻣﻴﺘﻮﻟﻮﺟﻴﺔ ﳍﻢ ﺻﻠﺔ ﻗﺮﺍﺑﺔ ﻣﻊ ﺳﺎﺗﲑ ﻭ ﻳﺘﻤﻴّﺰﻭﻥ ﺑﻄﺒﻴﻌﺘﻬﻢ ﺍﻟﺒﺪﺍﺋﻴﺔ ﻭ ﺍﳌﺘﻮﺣﺸﺔ .55ﻋﺎﺩﺓ ﻣﺎ ﲡﹼﺮ
ﻫﺎﺗﻪ ﺍﳌﺨﻠﻮﻗﺎﺕ ﺍﻟﻌﺮﺑﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﻟﻜﻦ ﻧﺎﺩﺭﺍ ﻣﺎ ﲡﹼﺮ ﺍﻟﺴﻨﺘﻮﺭﺍﺕ ﺍﻟﻌﺮﺑﺔ .
ﻳﻌﺘﱪ ﻫﺪﺍ ﺍﳌﻮﻛﺐ ﺩﻳﻮﻧﻴﺰﻱ ﻛﺎﻣﻼ ﺑﻜﻞ ﻋﻨﺎﺻﺮﻩ ﺍﳌﻌﺘﺎﺩﺓ ﻣﻦ ﺭﻓﻘﺎﺀ ﺍﻷﻟﻪ )ﺯﻭﺟﺘﻪ ،ﺳﻴﻼﻥ ،ﺳﺎﺗﲑ ،ﺑﺎﻥ ،
ﺍﻟﺴﻜﲑﺓ ﻭ ﺍﻟﺴﻨﺘﻮﺭ( ﻭ ﺭﻣﻮﺯﻩ )ﺍﳌﺰﺭﺍﻗﻦ ﺍﻟﻜﺮﻭﻡ ،ﺍﻟﻮﺷﺎﺣﻦ ﺍﻟﺼﻨﺞ ،ﺍﻟﻨﺎﻱ ﺍﳌﺰﺩﻭﺝ ،ﻋﺼﻰ ﺍﻟﺮﺍﻋﻲ ﻭ
ﺍﻟﺴﻠﹼﺔ ﺍﻟﺴﺮّﻳﺔ( ﻭ ﺍﺧﲑﺍ ﺭﻣﺰﻩ ﺍﳊﻴﻮﺍﱐ )ﺍﻟﻨﻤﺮﺓ(.
56
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﻔﲑﻳﺔ )ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻮﺿﻮﻉ ﺍﻧﺘﺼﺎﺭﺍﺕ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺪﻱ ﻳﺰﺩﻫﺮ ﰲ ﻫﺪﻩ ﺍﻷﻭﻧﺔ(.
-2ﺗﺎﺑﻮت:
ﺍﳌﺮﺍﺟ :
SGsell,op cit. Pl III Fig 1.
ﺍﳌﺼﺪﺭ :ﺧﻠﻒ ﺛﻜﻨﺔ ﺍﻟﻔﺮﺳﺎﻥ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﻁ= 2.08ﻡ .ﺍﺭ= 0.50ﻡ
اﻟﻮﺻﻒ:
ﳓﺘﺖ ﰲ ﻣﺮﻛﺰ ﺍﻟﻮﺍﺟﻬﺔ ﻗﻼﺩﺓ ﲢﻮﻱ ﺻﻮﺭﺓ ﺍﳌﻴﺖ ﻭ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺍﻃﺎﺭ ﻣﻨﻘﻮﺵ ﺑﺘﺨﺪﻳﺪﺍﺕ ﻋﻠﻰ ﺷﻜﻞ
ﺣﺮﻑ sﻭ ﻧﻼﺣﻆ ﻋﻠﻰ ﺍﻟﻄﺮﻑ ﺍﻟﻴﻤﻦ ﺻﻮﺭﺓ ﻟﺴﺎﺗﲑ ﰲ ﻫﻴﺌﺔ ﺍﻟﺮﺍﺣﺔ ﺍﻟﺸﻬﲑﺓ ﻳﻈﻬﺮ ﻭﺍﻗﻒ ﻋﺎﺭﻱ
ﻳﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺸﺒﻪ ﻫﺪﺍ ﺍﻟﺴﺎﺗﲑ "ﺳﺎﺗﲑ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ" ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﻮﺫﺝ ﺃﺻﻠﻲ ﺑﺮﺍﻛﺴﻴﺘﻠﻲ ، 57ﻭ ﻬﻮﺭ ﺭﻓﻴﻖ
ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﳚﻌﻠﻨﺎ ﻧﺼﻨﻒ ﻫﺪﺍ ﺍﻟﺘﺎﺑﻮﺕ ﺿﻤﻦ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
55
Ibid p 1010.
56
R.Turcan, Les sarcophages romains à représentations dionysiaques. Ed de Broccard. 1996. p 17.
57
Daremberg et Saglio, op cit. 1090.
70
58
ﺍﻹﺣﺎﻟﺔ :ﻳﺸﺒﻪ ﺳﺎﺗﲑ ﺷﺮﺷﺎﻝ )ﺍﻧﻈﺮ ﺭﻗﻢ 19ﺹ.( 44ﻭ ﺳﺎﺗﲑ ﺭﻭﻣﺎ.
-3ﺗﺎﺑﻮﺕ ﻃﻔﻞ:
ﺍﳌﺮﺍﺟ :
S. Gsell,op cit. Pl IV. Fig 1.
Delamare, op cit. Pl 160. fig 7.
ﺍﳌﺼﺪﺭ :ﺷﺎﺭﻉ ﻗﺴﻨﻄﻴﻨﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﻁ=0.88ﻡ .ﺍﺭ= 0.33ﻡ
ﺍﻟﻮﺻﻒ:
ﺗﻈﻬﺮ ﻗﻼﺩﺓ ﺑﺎﳌﺮﻛﺰ ﺗﺄﻭﻱ ﺻﻮﺭﺓ ﺍﻟﻄﻔﻞ ﺍﳌﻴﺖ ﻭ ﻫﻲ ﻗﺪ ﺍﺗﻠﻔﺖ ﻭ ﰲ ﺍﺍﻷﺳﻔﻞ ﺍﻛﻠﻴﻞ ﻛﺒﲑ ﳝﺴﻜﻪ
ﻣﻦ ﺍﻟﻄﺮﻓﲔ ﻋﻤّﻮﺭﻳﻦ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻨﺘﻤﻲ ﻫﺪﺍ ﺍﻟﺘﺎﺑﻮﺕ ﺇﱃ ﻣﻮﺿﻮﻉ ﺍﻟﻌﻤﻮﺭﻳﲔ les amoursﺑ ﻛﻠﻴﻞ ﺍﻟﻔﻮﺍﻛﻪ ﺍﳌﺄﻟﻮﻑ ﰲ ﺍﻟﺘﻮﺍﺑﻴﺖ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ،ﻣﺜﻞ ﺗﺎﺑﻮﺕ ﺗﻴﻤﻘﺎﺩ.
ﺍﻟﺘﺎﺭﻳ :
ﻻ ﻠﻚ ﺗﺎﺭﻳﺦ ﻣﻀﺒﻮﻁ ﻏﲑ ﺍﻧﻨﺎ ﻧﻔﺘﺮﺽ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺘﺮﻭﺣﺔ ﻣﺎﺑﲔ 120ﻭ 330ﻡ ،ﻭ ﻫﻲ ﻣﺮﺣﻠﺔ ﺍﻧﺘﺎﺝ
59
ﺍﻟﺘﻮﺍﺑﻴﺖ ﺩﺍﺕ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
58
Helberg (traduction Toutain), Guide dans les musées d’archéologie de Rome. I. P14. n°19.
59
R.Turcan, op cit. p 17.
71
ﺍﻟﻮﺻﻒ:
ﺗﻈﻬﺮ ﻋﻠﻰ ﺍﳊﻮﺽ ﺑﲔ ﻋﻮﺩﻳﻦ ﻛﻮﺭﻧﺘﻴﲔ ﺍﻟﺮﺍﻋﻲ ﺍﻟﻄﻴّﺐ ﻭﻫﻮ ﺷﺎﺏ ﻭﺍﻗﻒ ﻤﻞ ﺧﺮﻭﻑ ﻋﻠﻰ
ﻛﺘﻔﻴﻪ ﻭ ﲜﻨﺒﻪ ﺧﺮﻭﻓﺎﻥ ﺃﺧﺮﺍﻥ .ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻧﻼﺣﻆ ﺑﺎﻃﻴﺔ ﻛﺒﲑﺓ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺗﻔﺎﺣﺎﺕ ﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺑﺎﻃﻴﺔ
ﺍﺧﺮﻯ ﻬﺑﺎ ﻋﻨﻘﻮﺩ ﻋﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻨﺘﻤﻲ ﻫﺪﺍ ﺍﻟﺘﺎﺑﻮﺕ ﺍﱃ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﳌﺴﻴﺤﻴﺔ ﺍﻟﱵ ﺍﺳﺘﻤﺮّﺕ ﰲ ﺗﻮﺿﻴﻒ ﻋﻨﺎﺻﺮ ﺩﻳﻮﻧﻴﺰﻳﺔ ﻣﻊ ﻗﻮﻟﺒﺘﻬﺎ ﰲ
ﻗﺎﻟﺐ ﻣﺴﻴﺤﻲ ﺟﺪﻳﺪ ﻳﻜﻤﻦ ﻫﻨﺎ ﰲ ﺷﺨﺼﻴﺔ "ﺍﻟﺮﺍﻋﻲ ﺍﻟﻄﻴّﺐ" ﺍﻟﺪﻱ ﳝﺜﹼﻞ ﺳﻴّﺪﻧﺎ ﻋﻴﺴﻰ ﻭ ﻫﻮ ﻳﺴﺪﻝ
ﲪﺎﻳﺘﻪ ﻋﻠﻰ ﺍﳌﻴﺖ ﻛﻤﺎ ﻛﺎﻥ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻤﻲ ﻋﺎﱂ ﺍﻷﻣﻮﺍﺕ.
ﺃﻣﺎ ﺍﻟﻴﺎﻃﻴﺔ ﻭ ﺍﻟﺘﻔﺎﺡ ﻭ ﺍﻟﻌﻨﺐ ﻓﻬﻲ ﻛﻠﹼﻬﺎ ﺭﻣﻮﺯ ﺩﻳﻮﻧﻴﺰﻳﺔ ﺍﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﳍﺎ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻠﻰ
ﺍﳌﺴﻴﺢ.
ﺍﻟﺘ ﺭﻳ :
ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻡ ﻳﻘﺎﺭﺏ ﻣﺮﺣﻠﺔ ﺍﳒﺎﺯ ﺗﺎﺑﻮﺕ ﺗﻴﺒﺎﺯﺓ ،ﻭ ﻟﻮ ﺃﻧﻪ ﺍﻗﹼﻞ ﺟﻮﺩﺓ ﻣﻨﻪ.
-6ﺟﺰﺀ ﻣﻦ ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
S. Gsell,op cit.
72
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ= 0.35ﻡ
ﺍﻟﻮﺻﻒ:
ﺟﺰﺀ ﻣﻦ ﻣﻨﺤﻮﺗﺔ ﲤﺜﻞ ﻳﺪ ﺑﺎﺧﻮﺱ ﻭ ﻫﻲ ﲤﺴﻚ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺗﻨﺘﻤﻲ ﺍﱃ ﲤﺜﺎﻝ ﻳﺘﻄﺎﺑﻖ ﻣﻊ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺴﺎﺑﻖ ﰲ
ﻣﻘﺎﺳﺎﺗﻪ.
-8ﺳﺎﺗﲑ:
ﺍﳌﺮﺍﺟ :
S. Gsell,op cit.PL v. Fig 4.
Bertrand, I.C.R.A.Hippone. 1893. Pl II.
ﺍﳌﺼﺪﺭ :ﺑﻮﻳﻌﻠﺔ ﺍﻋﻠﻰ ﺍﳌﺴﺮﺡ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
73
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.34ﻡ.
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﺍﻟﺘﻤﺜﺎﻝ ﺗﻨﻘﺼﻪ ﺃﻋﻀﺎﺀ ﺍﻟﻌﻠﻴﺎ ﻭ ﺍﻟﻘﺪﻣﺎﻥ ﻭ ﻛﺴﺮ ﺃﻧﻔﻪ ،ﻳﺮﺗﺪﻱ ﺟﻠﺪ ﺍﻟﻨﻤﺮﺓ ﻭ ﻳﻈﻬﺮ ﺑﻌﻨﺎﺻﺮﻩ ﺍﻟﻌ ﻳﺔ
ﺃﻱ ﺍﻷﺩﻧﲔ ﺍﳌﺪﺑّﺒﺔ ﻭ ﺍﻟﻐﺪﺗّﲔ ﺍﻟﻌ ﻳﺔ ﺍﺳﻔﻞ ﺫﻗﻨﻪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻭﺭﺩ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﰲ ﻛﺘﺎﻟﻮﺝ ﻗﺰﺍﻝ ﲢﺖ ﺍﺳﻢ "ﺳﺎﺗﲑ " ﻭ ﳓﻦ ﻧﻔﻀّﻞ ﺍﻟﺘﻌﺮّﻑ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻓﻮﻧﻮﺱ
"ﺍﻟﻪ ﺍﻷﺭﻳﺎﻑ" ﺭﻓﻴﻖ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻌ ﻳﺔ ﻭ ﺧﺎﺻﺔ ﺍﻟﻐﺪّﺗﲔ ﻣﺜﻞ ﺍﻟﺪﻱ ﻭﺟﺪ ﲟﺪﺍﻭﺭﺵ
)ﺍﻧﻈﺮ ﺭﻗﻢ .4ﺹ.(98
ﺳﻄﻴﻒ:
ﺑﺎﺭﺯ: -1ﻧﻘ
ﺍﳌﺮﺍﺟ :
Benouniche.F, Le musée national des antiquités. Alger 1974. n°342.
ﺍﳌﺼﺪﺭ :ﺑﺮﺝ ﺑﻮﻋﺮﺭﻳﺞ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻵﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ.
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﻠﺔ ﻣﺬﺑﺞ ﻣﺴﻴﺤﻲ ﺗﻈﻬﺮ ﻋﻠﻴﻪ ﻧﻘﻮﺵ ﻋﻠﻰ ﺷﻜﻞ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻧﻼﺣﻆ ﻋﻨﺼﺮﺍ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﱵ ﺗﻮﺍﺻﻠﺖ ﻣﻊ ﺍﳌﺴﻴﺤﻴﺔ ﺃﻻ ﻭﻫﻲ ،ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ.
ﺑﺎﺧﻮﺱ: -2ﺭﺃﺱ
ﺍﳌﺮﺍﺟ :
Fiche d’inv n° IS.01. MNA
ﺍﳌﺼﺪﺭ :ﺑﻴﺎﺭ ﺣﺪﺍﺩﺓ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
74
ﺍﳌﻘﺎﺳﺎﺕ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﻧﺼﻔﻲ ﻟﺒﺎﺧﻮﺱ ﻋﺒﺎﺭﺓ ﻋﻦ ﻗﻨﺎﻉ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﻹﻟﻪ ﻣﻠﺘﺤﻴﺎ ﺑﺸﻌﺮ ﻭ ﳊﻴﺔ ﻣﺘﻤﻮﺟﺔ ﺗﻨﺘﻬﻲ ﲝﻠﺰﻭﻧﻴﺎﺕ
ﻭ ﺷﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﰲ ﺗﺼﻮﻳﺮ ﺑﺎﺧﻮﺱ ﻣﻠﺘﺤﻴﺎ ﻓﻨﺎﺩﺭﺍ ﻣﺎ ﻳﻈﻬﺮ ﻫﻜﺬﺍ ﲟﺘﺎﺣﻔﻨﺎ ﺃﺩ ﻳﻔﻀﻞ ﻋﺎﺩﺓ ﺗﻨﺎﻭﻝ
60
ﺍﻹﻟﻪ ﰲ ﺻﻮﺭﺓ ﺍﻷﻣﺮﺩ ﺗﻌﺒﲑﺍ ﻋﻦ ﺷﺒﺎﺑﻪ ﺍﻟﺒﺪﻱ ﻣﺜﻞ ﺍﻹﻟﻪ ﺍﺑﻮﻟﻮﻥ.
ﺗﻌﺘﱪ ﺍﳌﻨﺤﻮﺗﺎﺕ ﺍﻟﻨﺼﻔﻴﺔ ﻟﺒﺎﺧﻮﺱ ﺃﻭﻝ ﺗﺼﻮﻳﺮﺍﺕ ﺍﻹﻟﻪ ﰲ ﺍﻟﻔﻦ ﺍﻹﻏﺮﻳﻘﻲ-ﺍﻟﺮﻭﻣﺎﱐ ﻭ ﺗﺮﺗﺒﻂ ﺑﺎﻟﺘﺼﻮﺭ
61
ﺍﻹﻏﺮﻳﻘﻲ ﺍﻟﻘﺪﱘ ﻟﺒﺎﺧﻮﺱ ﰲ ﻫﻴﺌﺔ ﺍﻹﻟﻪ ﺍﳌﺰﺍﺭﻉ ﻟﻠﻌﻨﺐ ﻭ ﺗﺮﻣﺰ ﺇﱃ ﺗﻮ ﻴﻒ ﺍﻟﻔﻦ ﰲ ﺳﺒﻴﻞ ﺍﻟﺪﻳﺎﻧﺔ.
-3ﻛ ﺱ ﺍﻟﻄﺎﻭﻟﺔ:
ﺍﳌﺮﺍﺟ :
H.Pavis D’Escuray-Doisy, « vasque chrétienne d’Ain Roua » LIBYCA. 1954. PP160-
168.
ﺍﳌﺼﺪﺭ :ﻋﲔ ﺍﻟﺮﻭﺓ ﻋﻠﻰ ﺑﻌﺪ 26ﻛﻠﻢ ﺵ-ﺷﺮ ﺳﻄﻴﻒ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻛﺎﻧﺖ ﲟﺮﻛﺰ ﺑﺎﺳﺘﻮﺭ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 21ﺳﻢ .ﻗﻄﺮ ﺧﺎﺭﺟﻲ= 73.5ﺳﻢ .ﺱ= 3ﺳﻢ
ﺍﻟﻮﺻﻒ:
ﺗﻨﻘﺺ ﺍﻟﻜﺄﺱ ﺍﳊﺎﻓﺔ ﺍﻟﻌﻠﻴﺎ ﻋﻠﻰ ﻳﺴﺎﺭ ﺍﻟﻌﺮﻭﺓ ﻭ ﻳﻨﺘﻤﻲ ﺍﻟﺸﻜﻞ ﺍﻟﻌﺎﻡ ﳍﺪﺍ ﺃﻟﻜﺎﺱ ﺇﱃ ﺍﻷﺷﻜﺎﻝ ﺍﳌﺄﻟﻮﻓﺔ ﰲ
ﺍﻟﻔﺨﺎﺭ ﺍﻟﻘﺪﱘ .ﻧﻘﺸﺖ ﺍﳊﻮﺍﻑ ﺍﳋﺎﺭﺟﻴﺔ ﻟﻠﻜﺄﺱ ﺑﺰﺧﺎﺭﻑ ﺗﻈﻬﺮ ﻣﻦ ﻳﺴﺎﺭ ﺇﱃ ﳝﲔ ﺍﻟﻌﺮﻭﺓ ﻛﺎﻟﺘﺎ :
ﻳﻨﻄﻠﻖ ﻋﺮﻑ ﺍﻟﺪﺍﻟﻴﺔ ﺑﺄﻭﺭﺍﻕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﻳﻨﺘﻬﻲ ﺑﻘﻼﺩﺓ ﺃﺗﻠﻔﺖ ﻛﺎﻧﺖ ﲢﻮﻱ ﻃﻐﺮﺍﺀ ﻣﺴﻴﺤﻴﺔ،
ﻭ ﻳﻈﻬﺮ ﻋﺼﻔﻮﺭﺍﻥ ﻣﺘﻘﺎﺑﻼﻥ ﲟﻨﻘﺎﺭﳘﺎ ﺣﺒﺔ ﻋﻨﺐ ﻭ ﻋﺼﻔﻮﺭﺍ ﺛﺎﻟﺜﺎ ﻳﻨﻘﺐ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ.
ﺃﻣﺎ ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻜﺄﺱ ﻓﺘﻤﺘﺰﺝ ﺑﻪ ﺍﻟﺪﺍﻟﻴﺔ ﺑﻌﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﺔ ﻣﺘﻨﻮﻋﺔ ﻣﻨﻬﺎ ﺍﳊﻴﻮﺍﻧﻴﺔ ﻭ ﺍﳍﻨﺪﺳﻴﺔ )ﺃﻓﻌﻰ،
ﻋﻘﺮﺏ ،ﳏﺎﺭﺓ( ﻭ ﳜﺘﻠﻒ ﻋﻦ ﺍﻟﻨﺼﻒ ﺍﻷﻭﻝ ﺍﻟﺬﻱ ﺍﲣﺬ ﺍﻟﺪﺍﻟﻴﺔ ﻋﻨﺼﺮﺍ ﺯﺧﺮﻓﻴﺎ ﺭﺋﻴﺴﻴﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺃﳒﺰﺕ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺑﺘﻘﻨﻴﺔ ﺧﺎﺻﺔ ﺍﺳﺘﻌﻤﻠﺖ ﺍﻟﻨﻘﺶ ﺍﳌﺴﻄﺢ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﶈﺎﺭﺓ ﺍﳌﻘﻌﺮﺓ ﻭ ﺗﻘﺘﺮﺏ ﻫﺪﻩ
62
ﺍﻟﺘﻘﻨﻴﺔ ﻣﻦ ﺍﻟﻨﻘﺶ ﻋﻠﻰ ﺍﳋﺸﺐ ،ﻭ ﻋﺎﺩﺓ ﻣﺎ ﺗﺴﺘﻌﻤﻞ ﰲ ﺍﻟﺰﺧﺮﻓﺔ ﺍﳌﻌﻤﺎﺭﻳﺔ.
60
M.Blanchard-Lemée, M.Ennaifer, L.Slim, Sols de l’Afrique romaine. Ed imp nat Paris 1995. p 100.
61
M.Colignon, Mythologie figurée de la Grèce. Paris A.Quantin. S.D. P 252.
75
ﺗﻈﻬﺮ ﻋﻠﻰ ﻫﺪﻩ ﺍﻟﻜﺄﺱ ﻋﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﺔ ﺩﻳﻮﻧﻴﺰﻳﺔ ﻭﺛﻨﻴﺔ ﺍﻋﺘﺪﻧﺎﻫﺎ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻭ ﻫﻲ:
-ﺍﻟﻌﺼﺎﻓﲑ ﺭﻣﺰ ﺍﻷﺭﻭﺍﺡ ﺍﳌﺘﻌﻄﺸﺔ ﺍﻟﱵ ﲡﺪ ﺍﻟﻨﺠﺎﺓ ﻭ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﰲ ﺍﻟﻌﻨﺐ.
-ﺍﻟﻌﻘﺮﺏ ﻭ ﺍﻷﻓﻌﻰ ﻫﻲ ﻃﻼﺳﻢ ﻭﻗﺎﺋﻴﺔ ﻭﺛﻨﻴﺔ ﻭ ﺗﻌﺪ ﺃﻳﻀﺎ ﻣﻦ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﻟﱵ ﻛﺎﻥ ﻳﺮﺍﻭﺿﻬﺎ
ﺩﻳﻮﻧﻴﺰﻭﺱ-ﺷﺪﺭﻓﺔ ﻭ ﻳﻘﻲ ﺍﻟﺒﺸﺮﻳﺔ ﻣﻨﻬﺎ .ﻭ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﺃﻋﺎﺩ ﺍﺳﺘﻌﻤﺎﻝ ﻫﺎﺗﻪ ﺍﻟﺼﻮﺭ ﻭ ﻗﻮﻟﺒﻬﺎ ﰲ
ﺇﻃﺎﺭ ﻣﺴﺘﻨﺼﺮ ﻭﻟﻜﻨﻬﺎ ﻻ ﺗﺰﺍﻝ ﺗﺮﻣﺰ ﺇﱃ ﺍﻟﻘﻮﻯ ﺍﻟﺸﺮﻳﺮﺓ ﺍﻟﱵ ﳚﺐ ﺃﻥ ﻳﺘﻘﻴﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻻﺟﺌﺎ ﳓﻮ ﺍﳌﺴﻴﺢ
ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﺇﻟﻴﻪ ﻫﻨﺎ ﺑﺎﻟﻌﻨﺐ.
63
ﻳﻔﺘﺮﺽ ﺃﻥ ﺗﻜﻮﻥ ﻫﺎﺗﻪ ﺍﻟﻜﺄﺱ ﻗﺪ ﺃﺳﺘﻌﻤﻠﺖ ﻟﻠﻮﺿﻮﺀ ﰲ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﺑﺰﻏﻮﺍﻥ.
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ.
ﻴﻠﺔ:
-1ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
Fiche d’inv n° IMI.012. MNA
Y.Allais, « statuette de bacchus trouvée à Djemila » in LIBYCA. TV. 1957. fig 5..
ﺍﳌﺼﺪﺭ :ﺃﺳﻮﺍﺭ ﺍﳌﺪﻳﻨﺔ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 10.5ﺳﻢ
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺻﻐﲑ ﻣﺼﻨﻮﻉ ﺑﺘﻘﻨﻴﺔ ﺍﻟﺴﺒﻚ ﳝﺜﻞ ﺍﻹﻟﻪ ﻭﺍﻗﻔﺎ ﺻﺪﺭﻩ ﻧﺼﻒ ﻣﻐﻄﻰ ﻳﺜﻮﺏ nébrideﻭ ﺭﺃﺳﻪ
ﻣﺘﻮﺟﺎ ﺑﺎﻟﻠﺒﻼﺏ ﻭ ﺗﻈﻬﺮ ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ ﻣﻘﺴﻮﻣﺔ ﺇﱃ ﺷﺮﻳﻄﲔ ﻣﺘﻤﻮﺟﺔ ﻭ ﻣﺮﻓﻮﻋﺔ ﻋﻠﻰ ﺍﻷﺫﻧﲔ
ﻭ ﻣﻠﻤﻮﻣﺔ ﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ ﺑﻜﻌﻴﻜﺔ ﻛﺒﲑﺓ ﺗﺘﺪﱃ ﻣﻨﻬﺎ ﺧﺼﻼﺕ ،ﺗﺸﺒﻪ ﺗﺴﺮ ﺔ ﺍﺑﻮﻟﻮﻥ.
ﳓﺖ ﺍﻹﻟﻪ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﺮﺍﺣﺔ ﺑﺮﻣﻮﺯﻩ ﺍﳌﻌﺘﺎﺩﺓ ﻭ ﻫﻲ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺍﳌﺰﺭﺍﻕ ﻭ ﻳﻘﺘﺮﺏ ﺑﺮﺟﻠﻪ ﺍﻟﻴﺴﺮﻯ ﺍﳌﻨﺪﻓﻌﺔ
ﺇﱃ ﺍﻟﻮﺭﺍﺀ ﺑﺘﻤﺘﺜﺎﻝ ﺃﺧﺮ ﲟﻨﻄﻘﺔ ﺑﺒﻨﺎﺳﺔ ﰲ ﺍﳌﻐﺮﺏ64.ﻭ ﻫﺪﻩ ﺍﳌﻘﺎﺭﻧﺔ ﺗﺴﺎﻋﺪﻧﺎ ﻋﻠﻰ ﺗﺼﻮﺭ ﲤﺜﺎﻟﻨﺎ ﻣﺎﺳﻜﺎ
ﺍﳌﺰﺭﺍﻕ ﺑﺎﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻭ ﺍﻟﻜﺄﺱ ﺫﻭ ﺍﻟﻌﺮﻭﺗﺎﻥ ﺑﺎﻟﻴﻤ ﻟﻴﺴﻜﺐ ﺍﻟﺸﺮﺍﺏ.
ﺍﻟﺘﺤﻠﻴﻞ:
62
G.Marcais , « art chrétien d’Afrique et art berbère » in Annali dell’istituto universitario orientale di Napoli. . vol
III. Rome 1949. p 63.
63
De la Blanchére, Collection du musée Allaoui. 1ere série Paris 1890. p 45. pl III.
64
R.Thouvenot, « statuette de Dionysos » Publications du Sce des antiquités du Maroc. Fas 9. 1951. p101. pl
XXII.
76
ﻧﻼﺣﻆ ﰲ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺍﻧﻌﺪﺍﻡ ﺍﻟﺮﺧﺎﻭﺓ ﺍﻟﱵ ﲤﻴﺰ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻋﺎﺩﺓ ﺍﺫ ﺗﺘﺴﻢ ﺑﺎﻟﺘﻨﺎﺳﻖ ﺍﻟﻌﺎﻡ
ﻭ ﺍﻻﺗﺰﺍﻥ ﺑﲔ ﺍﳊﺮﻛﺎﺕ.
ﻬﺮ ﻃﺎﺑﻊ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﻌﺎﺭﻱ ،ﺃﻭ ﺷﺒﻪ ﻋﺎﺭﻱ ،ﻣﻊ ﺍﻟﻨﺤﺎﺗﲔ ﺍﻹﻏﺮﻳﻖ ﻣﻨﺪ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ ﺣﻴﺚ
ﺗﺼﻮﺭﻩ ﺍﳌﺪﺭﺳﺔ ﺍﻟﱪﺍﻛﺴﻴﺘﻠﻴﺔ ﲟﻼﻣﺢ ﺃﻧﺜﻮﻳﺔ .ﺃﻣﺎ ﲤﺜﺎﻝ ﻴﻠﺔ ﻓﺎﻟﻈﺎﻫﺮ ﺃﻧﻪ ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﻮﺫﺝ ﺭﺟﻮ ﻗﺪ
ﻳﻨﺘﻤﻲ ﺇﱃ ﻣﺪﺭﺳﺔ ﺳﻜﻮﺑﺎﺱ؟
ﻳﺸﺒﻪ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺭﺃﺱ ﻟﺒﺎﺧﻮﺱ ﻣﻦ ﺍﻟﻔﺨﺎﺭ ﺃﻛﺘﺸﻒ ﻗﺮﺏ ﺃﺛﺎﺭ ﻣﻌﺒﺪ ﻟﺒﺎﺧﻮﺱ )ﺃﻧﻈﺮ ﺃﺳﻔﻞ ﺭﻗﻢ (2
ﰲ ﺍﻟﻔﻢ ﺍﻟﺸﺒﻪ ﻣﻔﺘﻮﺡ ﻭ ﺍﳊﺪﻗﺎﺕ ﺍﶈﻔﻮﺭﺓ ﻭ ﺍﻟﻨﻈﺮﺓ ﺍﻟﺒﻌﻴﺪﺓ .ﻭ ﺣﺴﺐ ﺍﻟﺒﺎﺣﺜﺔ ﺃ 65ﻗﺪ ﻳﻜﻮﻥ
ﺍﻟﺘﻤﺜﺎﻻﻥ ﻣﻮﺿﻮﻋﺎﻥ ﻣﻌﺎ ﲟﻌﺒﺪ ﺭﲰﻲ ﺃﻭ ﺧﺎﺹ ﻟﻠﻴﱪ ﺑﺎﺗﺮ ﺑﺎﳌﺪﻳﻨﺔ ﻓﻴﻀﺎﻓﺎﻥ ﺇﱃ ﳎﻤﻮﻋﺔ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ
ﻭ ﺍﻷﻫﺪﺍﺀﺍﺕ ﻭ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﻷﺧﺮﻯ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺃﳘﻴﺔ ﻋﺒﺎﺩﺓ ﺑﺎﺧﻮﺱ ﰲ ﻴﻠﺔ.
ﺍﻟﺘﺎﺭﻳ :ﻃﺮﻳﻘﺔ ﳓﺖ ﺣﺪﻗﺔ ﺍﻟﻌﲔ ﺑﺎﳌﻘﺺ ﺍﳌﻼﺣﻈﺔ ﺗﺆﺭﺥ ﺍﻟﺘﻤﺜﺎﻝ ﺑﻔﺘﺮﺓ ﺍﻷﻧﻄﻮﻧﻴﲔ ﺍﻵﺧﺮﻳﻦ.
ﺑﺎﺧﻮﺱ: -2ﺭﺃﺱ
ﺍﳌﺮﺍﺟ :
Y.Allais, « quartier est de Djemila » in LIBYCA. 1954. P 354. fig 4.
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﻣﻌﺒﺪ ﻟﻴﱪ ﺑﺎﺗﺮ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﻃﲔ ﻣﺸﻮﻱ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.10ﻡ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺍﺱ ﻣﻨﺤﻮﺕ ﰲ ﺍﻟﻄﲔ ﺍﳌﺸﻮﻱ ﻛﺴﺮ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻌﻨﻖ ﻭ ﻗﻤﺔ ﺍﻟﺮﺃﺱ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳋﺪﻳﻦ
ﳑﺘﻠﺌﲔ ﻭ ﻣﻼﻣﺢ ﺍﻟﻮﺟﻪ ﻃﻔﻮﻟﻴﺔ ﻧﻮﻋﺎ ﻣﺎ ﳐﻨﺜﺔ ﻭ ﻫﻮ ﻣﻜﻠﻞ ﺑﺘﺎﺝ ﻣﻦ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﺍﻟﻠﺒﻼﺏ.
ﻳﺸﺒﻪ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﱪﻭﻧﺰﻱ ﺍﻟﺴﺎﺑﻖ ﰲ ﻃﺮﻳﻘﺔ ﳓﺖ ﺣﺪﻗﺔ ﺍﻟﻌﲔ ﻭ ﺗﻘﺎﺳﻴﻢ ﺍﻟﻮﺟﻪ.
ﺍﻟﺘ ﺭﻳ :
ﻳﺒﺪﻭ ﻣﻦ ﻃﺮﺍﺯ ﻣﺘﺄﺧﺮ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺑﺎﺧﻮﺱ ﺍﻟﱪﻭﻧﺰﻱ ﻓﻘﺪ ﻳﻜﻮﻥ ﺃﳒﺰ ﺑﻌﺪ ﻣﺮﺣﻠﺔ ﺍﻷﻧﻄﻮﻧﻴﲔ.
65
Y.Allais, op cit
77
Y.Allais, op cit. 1954. p 356..
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﻣﻌﺒﺪ ﻟﻴﱪ ﺑﺎﺗﺮ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.115ﻡ .ﻉ= 0.07ﻡ
ﺍﻟﻮﺻﻒ:
ﻭﺟﺪﺕ ﺑﻘﺎﻳﺎ ﲤﺜﺎﻝ ﻧﺴﻮﻱ ﺗﺘﻤﺜﻞ ﰲ ﺍﻟﺮﻗﺒﺔ ﻭ ﺍﳉﺰﺀ ﺍﳋﻠﻔﻲ ﻟﺮﺃﺱ ﺍﻹﳍﺔ ﻣﻐﻄﻰ ﺑﻠﺤﺎﻑ ﻭ ﻗﺪﻡ ﻣﻨﺘﻌﻞ ﻳﱪﺯ
ﻣﻦ ﺍﻟﺜﻮﺏ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺮﻯ ﺍﻟﺒﺎﺣﺜﺔ ﺃ 66ﰲ ﻫﺪﻩ ﺍﻷﺟﺰﺍﺀ ﺑﻘﺎﻳﺎ ﲤﺜﺎﻝ ﺍﻟﺮﺑﺔ ﻟﻴﱪﺍ ﺍﻟﱵ ﻛﺎﻧﺖ ﲤﺴﻚ ﺑﺪﻭﻥ ﺷﻚ ﺑﻘﺮﻥ ﺍﻟﻮﻓﺮﺓ
ﺍﻟﺬﻱ ﺗﻨﺒﻊ ﻣﻨﻪ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﺗﺪﻋﻢ ﺭﺃﻳﻬﺎ ﺑﻜﺘﺎﺑﺔ ﻣﻬﺪﺍﺓ ﺇﱃ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﻟﻴﱪﺍ ﺍﻛﺘﺸﻔﺖ ﻋﻠﻰ ﺑﻀﻌﺔ ﺃﻣﺘﺎﺭ
ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ.
-4ﺭﺃﺱ ﺑﺎﺧﻮﺱ:
414 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 6ﺍﻟﻠﻮﺣﺔ .2
ﺍﳌﺮﺍﺟ :
L.Leschi , Djemila antique Cuicul.Alger 1953. p 58. ph 43.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻜﱪﻯ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﺑﺎﺧﻮﺱ ﲟﻼﻣﺢ ﺷﺎﺑﺔ )ﻣﺮﺍﻫﻖ؟( ﻫﺎﺩﺋﺔ ﻭ ﻟﻄﻴﻔﺔ ﻳﻌﻴﻨﺎﻥ ﻭﺍﺳﻌﺘﺎﻥ ﻭ ﻓﻢ ﺃﻧﻴﻖ ﺗﺮﺗﺴﻢ ﻋﻠﻴﻪ ﺍﺑﺘﺴﺎﻣﺔ
ﻣﻠﻐﺰﺓ .ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ ﻣﺰﺩﺍﻧﺔ ﺑﺘﺎﺝ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ﻭ ﻋﻨﻘﻮﺩﻳﻦ ﻣﻦ ﺍﻟﻌﻨﺐ ﻋﻠﻰ ﻗﻤﺔ ﺍﻟﺮﺃﺱ ﻭ ﺗﺘﺪﱃ
ﲢﺖ ﺍﻷﺫﻧﲔ ﺧﺼﻠﺘﲔ.
ﻧﻼﺣﻆ ﻛﺴﺮ ﺃﻓﻘﻲ ﺃﺳﻔﻞ ﺍﻟﺪﻗﻦ ﻭ ﰲ ﺍﻷﻧﻒ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺬﻛﺮﻧﺎ ﺍﻟﻨﺤﺖ ﺍﻟﺮﻗﻴﻖ ﻭ ﺍﻟﻘﻴﻤﺔ ﺍﻟﺘﻌﺒﲑﻳﺔ ﺍﻟﱵ ﺗﺘﻤﻴﺰ ﻬﺑﺎ ﻫﺪﻩ ﺍﳌﻨﺤﻮﺗﺔ ﺑﺄﺟﻮﺩ ﺃﻋﻤﺎﻝ ﺍﻟﻔﻦ ﺍﻟﺮﻭﻣﺎﱐ ﺫﻭ
67
ﺍﻟﺘﺄﺛﲑ ﺍﳍﻠﻨﺴﱵ.
66
Y.Allais, op vit. P 356.
67
Ballu, op cit
78
ﻋﻨﺪ ﻣﻌﺎﻳﻨﺘﻨﺎ ﳍﺬﺍ ﺍﻟﺮﺃﺱ ﺑﺪﻗﺔ ،ﻻﺣﻈﻨﺎ ﺇﳘﺎﻝ ﺍﻟﻔﻨﺎﻥ ﺑﻌﺾ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﺪﻗﻴﻘﺔ ﻛﺨﺼﻼﺕ ﺍﻟﺸﻌﺮ ﻭ ﺍﳉﻬﺔ
ﺍﳋﻠﻔﻴﺔ ﻟﻠﺮﺃﺱ.
ﻳﺎﺧﻮﺱ: -5ﺭﺃﺱ
417 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 13ﺍﻟﻠﻮﺣﺔ .5
ﺍﳌﺼﺪﺭ :ﲪﺎﻣﺎﺕ ﺍﻟﻜﺎﺑﺘﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺻﻔﺮ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺃﺱ ﺻﻐﲑ ﻟ ﻟﻪ.
ﺑﺎﺧﻮﺱ: -6ﺟﺬﻉ
418 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 16ﺍﻟﻠﻮﺣﺔ .6
ﺍﳌﺮﺍﺟ :
ﺍﳌﺼﺪﺭ :ﻴﻠﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﻟﻮﺻﻒ:
ﻓﻘﺪ ﺍﻟﺘﻤﺜﺎﻝ ﺭﺃﺳﻪ ﻭ ﺃﻃﺮﺍﻓﻪ ﺍﻟﺴﻔﻠﻰ ﻭ ﺍﻟﻌﻠﻴﺎ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﺬﺭﺍﻉ ﺍﻷﻣﺎﻣﻲ ﺍﻷﳝﻦ ،ﻳﺒﺪﻭ ﺃﻥ ﺍﻹﻟﻪ ﳓﺖ ﰲ
ﻭﺿﻌﻴﺔ ﺍﻟﻮﻗﻮﻑ ﻋﺎﺭﻳﺎ ﻭ ﻋﺎﺿﻼ ،ﺫﺭﺍﻋﻪ ﺍﻷﻳﺴﺮ ﻣﺮﻓﻮﻋﺎ ﺇﱃ ﺍﻷﻋﻠﻰ ﺭﲟﺎ ﻷﻧﻪ ﻛﺎﻥ ﳝﺴﻚ ﺍﳌﺰﺭﺍﻕ ﻛﻤﺎ
ﻳﻈﻬﺮ ﰲ ﺍﻟﺮﻗﻢ 1ﻭ ﰲ ﻋﺪﺓ ﺎﺫﺝ ﺃﺧﺮﻯ 68.ﺃﻣﺎ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻓﻤﺎ ﺗﺒﻘﻰ ﻣﻨﻬﺎ ﻳﺮﻳﻨﺎ ﺃﻬﻧﺎ ﻛﺎﻧﺖ ﻣﺒﺴﻄﺔ
ﳓﻮ ﺍﻷﺳﻔﻞ ﻃﻮﻝ ﺍﳉﺴﻢ ﻻﺭﲟﺎ ﻣﺎﺳﻜﺔ ﺃﻟﻜﺎﺱ ﺫﻭ ﺍﻟﻌﺮﻭﺗﲔ.
ﻧﺘﻌﺮﻑ ﺑﺴﻬﻮﻟﺔ ﻋﻠﻰ ﺑﺎﺧﻮﺱ ﺑﻔﻀﻞ ﺧﺼﻠﺔ ﺍﻟﺸﻌﺮ ﺍﳌﻠﺘﻮﻳﺔ ﻋﻠﻰ ﻛﻼ ﺍﻟﻜﺘﻔﲔ ﺯﻳﺎﺩﺓ ﻋﻠﻰ ﺭﻣﻮﺯﻩ ﺍﻟﱵ
ﻛﺎﻥ ﻤﻠﻬﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﳓﺖ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻭﻓﻖ ﺗﻘﻨﻴﺔ ﺟﻴﺪﺓ ﺭﺍﻋﻰ ﻣﻦ ﺧﻼﳍﺎ ﺍﻟﻔﻨﺎﻥ ﺇ ﻬﺎﺭ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﺪﻗﻴﻘﺔ ﻛﺎﻟﻌﻀﻼﺕ
ﻭ ﺍﻟﻨﻬﺪﻳﻦ ﻓﻈﻬﺮ ﺍﻟ ﻟﻪ ﰲ ﺻﻮﺭﺓ ﺷﺎﺏ ﻋﺎﺿﻞ ﻭ ﻣﺘﻨﺎﺳﻖ ﺍﻷﺷﻜﺎﻝ.
68
S.Reinach, op cit. T III.
79
ﺍﻹﺣﺎﻟﺔ:
69
ﻳﺸﺒﻪ ﲤﺜﺎﻝ ﲟﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ.
-8ﺑﻘﺎﻳﺎ ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ:
69
S.Reinach, op cit. T I. P 114. n°1 (louvre 2955).
70
S.Reinach, op cit. T I. P 384. PL 688. n°1617, 1619.
80
ﻣﺎﺗﺒﻘﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﻫﻮ ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﱵ ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﺟﺬﻉ ﺍﻟﺸﺠﺮﺓ ﰲ ﺍﳉﻬﺔ ﺍﻟﻴﺴﺮﻯ ﻭ ﻣﻠﺘﺼﻘﺎ ﻬﺑﺎ ﺍﳊﻴﻮﺍﻥ
ﺍﻟﺒﺎﺧﻲ )ﺍﻟﻨﻤﺮﺓ( ﺍﻟﻮﺍﻗﻒ ﻋﻠﻰ ﺃﻃﺮﺍﻓﻪ ﺍﻷﻣﺎﻣﻴﺔ ،ﺃﻣﺎ ﺭﺃﺳﻬﺎ ﻓﻘﺪ ﻗﻄﻊ ﻭﻟﻜﻦ ﻻﺷﻚ ﺃﻧﻪ ﻛﺎﻥ ﻣﺮﻓﻮﻋﺎ ﺇﱃ
ﺍﻷﻋﻠﻰ ﳓﻮ ﺍﻹﻟﻪ.
ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺗﻈﻬﺮ ﺍﺛﺄﺭ ﻗﺪﻣﻲ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﺟﺪﻉ ﺍﻟﺸﺠﺮﺓ ﺑﻮﺍﺳﻄﺔ ﻟﺴﺎﻥ ﻻ ﻳﺰﺍﻝ
ﻣﻮﺟﻮﺩﺍ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﳝﻜﻦ ﻣﻘﺎﺭﻧﺔ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺃﻭ ﻣﺎ ﺗﺒﻘﻰ ﻣﻨﻪ ﺑﻨﻤﻮﺫﺝ ﻛﺎﻣﻞ ﻣﻄﺎﺑﻖ ﰲ ﻣﺼﻨﻒ ﺍﻟﺘﻤﺎﺛﻴﻞ ﺍﻹﻏﺮﻳﻘﻴﺔ
71
ﺍﻟﺮﻭﻣﺎﱐة.
-9ﺑﻘﺎﻳﺎ ﺎﻝ ﺑﺎﺧﻮﺱ:
418 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 17ﺍﻟﻠﻮﺣﺔ .6
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﻟﻮﺻﻒ:
ﺑﻘﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﻜﺎﻣﻞ ﰲ ﺍﻷﺻﻞ ﻗﺎﻋﺪﺓ ﺑﻴﻀﻮﻳﺔ ﺍﻟﺸﻜﻞ ﻳﻠﺘﺼﻖ ﻋﻠﻰ ﻃﺮﻓﻬﺎ ﺍﻷﻳﺴﺮ ﺟﺪﻉ ﺍﻟﺴﻨﺪ ﺍﻟﺬﻱ
ﺗﻠﺘﻒ ﺣﻮﻟﻪ ﺍﻟﻜﺮﻣﺔ ﻭ ﻋﻨﻘﻮﺩﺍﻥ ﻣﻦ ﺍﻟﻌﻨﺐ ،ﻭ ﻧﻼﺣﻆ ﻟﺴﺎﻧﲔ ﻭﺍﺣﺪ ﰲ ﺍﳉﻬﺔ ﺍﳉﺎﻧﺒﻴﺔ ﺍﻟﺴﻔﻠﻰ ﻟﻠﺠﺪﻉ
ﻭ ﺍﻟﺜﺎﱐ ﰲ ﺍﻷﻋﻠﻰ ﻛﺎﻧﺎ ﻳﺼﻼﻥ ﺍﻹﻟﻪ ﺑﺎﻟﺴﻨﺪ.ﺃﻣﺎ ﺑﺎﺧﻮﺱ ﻓﻼ ﺗﺰﺍﻝ ﺃﺛﺎﺭ ﻗﺪﻣﻴﻪ ﺗﻌﻄﻴﻨﺎ ﻓﻜﺮﺓ ﻋﻦ ﻭﺿﻌﻴﺔ
72
ﺍﻟﺮﺍﺣﺔ ﺍﳌﺄﻟﻮﻓﺔ ﺍﻟﱵ ﻛﺎﻥ ﻳﺘﺨﺬﻫﺎ ﺍﻹﻟﻪ ﻛﻤﺎ ﻳﻈﻬﺮ ﰲ ﻣﺼﻨﻒ ﺭﺍﻳﻨﺎﻙ.
71
Ibid, t III. P33 n°1..
72
S.Reinach, idem. T I. P 137. pl272. n°1571. T I.
81
ﳓﺖ ﺳﺎﺗﲑ ﻭﺍﻗﻔﺎ ﰲ ﺳﻦ ﺍﳌﺮﺍﻫﻘﺔ ﺃﻭ ﺍﻟﻄﻔﻮﻟﺔ ﺭﲟﺎ ﻭ ﻫﻮ ﻧﺼﻒ ﻋﺎﺭﻱ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻭﺷﺎﺡ ﺟﻠﺪ ﺍﳊﻴﻮﺍﻥ
ﺍﳌﻌﻘﻮﺩ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻟﻴﺴﺮ ﻭ ﻳﺘﺪﱃ ﺑﺜﻨﺎﻳﺎﻩ ﺍﻟﻄﻮﻳﻠﺔ ﺣﱴ ﺃﻋﻠﻰ ﺍﻟﻔﺨﺬ ﺗﺎﺭﻛﺎ ﻧﺼﻒ ﺍﻟﺒﻄﻦ ﻭ ﺍﻟﺼﺪﺭ ﻋﺎﺭﻳﺎ.
ﻳﻈﻬﺮ ﺍﻟﻮﺟﻪ ﻣﺴﺘﺪﻳﺮ ﲟﻼﻣﺢ ﻃﻔﻮﻟﻴﺔ ﻫﺎﺩﺋﺔ ،ﺍﻟﻌﻴﻨﺎﻥ ﳎﻌﺪﺗﺎﻥ ،ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﻃﻮﻳﻠﺔ ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ
ﺍﻟﺪﻧﲔ ﺍﳌﺪﺑﺒﺘﲔ ﻭ ﰲ ﺍﻷﻋﻠﻰ ﺍﻟﻘﺮﻭﻥ ﺍﻟﺼﻐﲑﺓ ﺭﻣﺰ ﻃﺒﻴﻌﺔ ﺳﺎﺗﲑ ﺍﻟﻌ ﻳﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﻮﺟﻪ ﻳﺬﻛﺮﻧﺎ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺴﺎﺗﲑ ﺳﻜﻴﻜﺪﺓ )ﺃﻧﻈﺮ ﺭﻗﻢ 8ﺹ (73ﰲ ﺍﳍﻴﺌﺔ ﻭ ﺍﻟﻮﺷﺎﺡ
ﺍﳌﻄﺎﺑﻘﲔ ﻭ ﳜﺘﻠﻒ ﻋﻨﻪ ﰲ ﺍﻷﻧﺎﻗﺔ ﻭ ﺍﻟﺪﻗﺔ ﺍﻟﱵ ﲤﻴﺰ ﺍﳌﺪﺭﺳﺔ ﺍﻟﱪﺍﻛﺴﻴﺘﻠﻴﺔ.
-11ﺎﻝ ﻓﻮﻧﻮﺱ:
ﺍﳌﺮﺍﺟ :
L.Leschi, Guide de Djemila antique cuicul. P 58.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ:
ﻭﺟﺪ ﺍﻟﺮﺃﺱ ﻣﻨﻔﺼﻼ ﻋﻦ ﺍﳉﺴﻢ ﻭ ﻳﺒﺪﻭ ﺍﻟﻮﺟﻪ ﲟﻼﻣﺢ ﻣﺎﻛﺮﺓ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻤﻴﺰ ﳓﺖ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺎﻟﺪﻗﺔ ﺣﱴ ﺃﻧﻪ ﻳﻌﱪ ﻋﻦ ﺃﺣﺴﻦ ﺍﳒﺎﺯﺍﺕ ﺍﻟﻔﻦ ﺍﻟﺮﻭﻣﺎﱐ.
82
ﻧﺼﺐ ﺣﺠﺮﻱ ﺩﻭ ﺇﻃﺎﺭ ﻣﻜﻮﻥ ﻣﻦ ﺃﻋﻤﺪﺓ ﻭ ﺃﻭﺭﺍﻕ ﻣﻨﺠﺰﺓ ﺑﺎﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ ﻴﻄﺎﻥ ﺑﺮﺟﻞ ﻭ ﺍﻣﺮﺍﺀﺓ
ﻳﺘﻤﺎﺳﻜﺎﻥ ﻣﻦ ﺍﻟﻜﺘﻒ ،ﻋﺎﺭﻳﺎﻥ ﲝﺪﺍﺀ ﻳﺼﻞ ﺇﱃ ﺭﺑﻠﺔ ﺍﻟﺴﺎﻕ ﻭ ﻣﻜﻠﻼﻥ ﺑ ﻛﻠﻴﻞ ﻣﻦ ﺍﻷﻭﺭﺍﻕ ﻭ ﺍﻟﻮﺭﻭﺩ
.(MITRA).ﻳﻈﻬﺮ ﺍﻟﺮﺟﻞ )ﺑﺎﺧﻮﺱ( ﻣﺎﺳﻜﺎ ﺑﺎﻟﺒﺎﻃﻴﺔ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻭ ﺭﻓﻴﻘﺘﻪ )ﲰﻴﻠﻲ ( ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻗﺮﻥ
ﺍﻟﻮﻓﺮﺓ ﰲ ﺷﻜﻞ ﻗﺮﻥ ﺍﻟﻔﻴﻞCORNUCOPIA.
ﺍﻟﺘﺤﻠﻴﻞ:
ﳜﺘﻠﻒ ﺍﻟﺒﺎﺣﺜﺎﻥ ﻟﺴﻜﻲ ﻭ ﻣﺮﻻﻥ ﺣﻮﻝ ﻫﻮﻳﺔ ﺍﻟﺮﺟﻞ ﻭ ﺍﳌﺮﺍﺀﺍﺓ ﺍﻟﻈﺎﻫﺮﺍﻥ ﻋﻠﻰ ﺍﻟﻨﺼﺐ ﺃﺩ ﻳﺮﻯ ﺍﻷﻭﻝ
ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﻭ ﺃﻣﻪ ﲰﻴﻠﻲ ﺑﻴﻨﻤﺎ ﻳﺮﻯ ﺍﻟﺜﺎﱐ ﺍﻷﻟﻪ ﻟﻴﱪ ﻭ ﺍﻹﳍﺔ ﻟﻴﱪﺍ.
ﻭ ﻟﻠﺬﻛﺮ ﻟﻘﺪ ﻭﺟﺪﺕ ﻧﺎﻗﺸﺘﺎﻥ ﻣﻬﺪﺍﺓ ﺇﱃ ﻟﻴﱪ ﻭ ﻟﻴﱪﺍ ﲟﺪﻳﻨﺔ ﻴﻠﺔ ،ﻭﺍﺣﺪﺓ ﲟﻨﺎﺳﺒﺔ ﺗﻜﺮﻳﺲ ﲤﺜﺎﻝ ﻟﺴﺎﺗﲑ
)ﺃﻧﻈﺮ ﺭﻗﻢ 5ﺹ (287ﻭ ﺍﻷﺧﺮﻯ ﻛﺎﻧﺖ ﺗﻌﻠﻮ ﻣﺪﺧﻞ ﻣﻌﺒﺪ ﺍﻹﳍﺎﻥ )ﺃﻧﻈﺮ ﺭﻗﻢ 6ﺹ ،(290ﻫﺪﺍ ﻣﻦ
ﺟﻬﺔ.
ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻭﺟﺪ ﺇﻫﺪﺍﺀ ﺃﺧﺮ ﺇﱃ ﺍﻷﻟﻪ ﻟﻴﱪ ﻭ ﺃﻣﻪ ﺳﻴﻤﻠﻲ ﲟﺪﻳﻨﺔ ﺳﻄﻴﻒ )ﺃﻧﻈﺮ ﺭﻗﻢ 4ﺹ.(294
ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﻫﺪﺍ ﺍﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ ﰲ ﻛﻮﻧﻪ ﺍﻟﺘﺼﻮﻳﺮ ﺍﻟﻮﺣﻴﺪ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ-ﺑﺎﺧﻮﺱ ﻣﻊ
ﺯﻭﺟﺘﻪ ﺃﻭ ﺃﻣﻪ؟ ﻓﻘﺒﻞ ﻫﺪﺍ ﻛﻨﺎ ﻧﻜﺘﻔﻲ ﺑﺄﻧﺼﺎﺏ ﺍﻟﻐﺮﻓﺔ ﺑﺘﻮﻧﺲ ﺍﻟﱵ ﲤﺜﻞ ﺑﺎﺧﻮﺱ ﻣﻊ ﺍﻹﳍﺔ ﻓﻨﻮﺱ ﻭ ﺍﻹﻟﻪ
73
ﺃﺭﻭﺱ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻡ.
ﻋ ﺍﻟﺒﻴﻀﺎﺀ:
ﻋﻤﺎ ﻣﺰﺧﺮ :
ﺍﳌﺮﺍﺟ :
Delamare, pl 59. fig 1.
P.Caynel, « une basilique donatiste de numidie » in MEFR. LI. 1934. P 190.
ﺍﳌﺼﺪﺭ :ﺑﺎﺯﻟﻴﻜﺎ ﻗﺼﺮ ﺍﻟﻜﻠﺐ
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﻌﻤﺎﺩﺍﻥ ﻳﺰﺧﺮﻓﺎﻥ ﻣﺪﺑﺞ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﳓﺘﺎ ﺑﺘﻘﻨﻴﺔ ﺍﻟﻨﺤﺖ ﺍﻟﻨﺎﻓﺮ:
-1ﺍﻟﻌﻤﺎﺩ ﺍﻷﻭﻝ ﻣﺴﺘﻄﻴﻞ ﳓﺖ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﻜﺄﺱ ﺩﻭ ﺍﻟﻌﺮﻭﺗﲔ ﻭ ﻗﺪﻡ ﻳﻨﺒﻊ ﻣﻨﻪ ﻋﺮﻑ ﺍﻟﺪﺍﻟﻴﺔ
ﺍﻟﱵ ﻳﺘﺪﱃ ﻣﻨﻬﺎ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ،ﻭ ﻋﻠﻰ ﺣﻮﺍﻑ ﺍﻹﻧﺎﺀ ﻳﺘﻮﺿﻊ ﻋﺼﻔﻮﺭﺍﺕ ﺭﲟﺎ ﲪﺎﻣﺘﺎﻥ ﻣﺘﻘﺎﺑﻠﺘﲔ
ﺗﺘﻬﻴﺌﺎﻥ ﻟﻠﺸﺮﺏ.
73
A.Mcharek, « la provenance des stelles punico numides dites de la Ghorfa » in MEFRA. 1888. PP 756-758.
83
-2ﺍﻟﻌﻤﺎﺩ ﺍﻟﺜﺎﱐ ﻣﺴﺘﻄﻴﻞ ﻛﺴﺮ ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻨﻪ ﻭ ﳓﺖ ﻓﻴﻪ ﻧﻔﺲ ﺍﳌﺸﻬﺪ ﻣﻊ ﺗﻌﻮﻳﺾ ﺍﻟﻌﺼﻔﻮﺭﺍﻥ
ﺑﺴﻤﻜﺘﺎﻥ ﺗﺘﻬﻴﺌﺎﻥ ﻟﻠﺸﺮﺏ ﻣﻦ ﺍﻟﻘﺪﺡ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻨﺘﻤﻲ ﺍﻟﺰﺧﺮﻓﺘﺎﻥ ﺇﱃ ﺍﻟﻨﺤﺖ ﺍﳌﺴﻴﺤﻲ ﺍﳌﻌﱪ ﻋﻦ ﺍﻟﺮﻣﺰ ﺍﻟﻘﺮﺑﺎﱐ ﺍﻟﺸﺎﺋﻊ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﺍﺩ ﺗﺮﻣﺰ
ﺍﻟﺴﻤﻜﺘﲔ ﻭ ﺍﳊﻤﺎﻣﺘﲔ ﺇﱃ ﺍﳌﺴﻴﺤﻲ ﺍﻟﻨﺮﻡ ﺑﺎﻟﻄﻌﺎﻡ ﺍﻟﺴﻤﺎﻭﻱ.
ﻳﻌﺘﱪ ﻫﺪﺍ ﺍﳌﺸﻬﺪ ﺍﳌﺄﻟﻮﻑ ﻋﻦ ﺗﻮﺍﺻﻞ ﺑﻌﺾ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻔﻨﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻭ ﺗﺘﺠﺴﺪ ﰲ
ﺍﻟﻌﺼﺎﻓﲑ ﻭ ﺍﻟﺴﻤﻚ ﺍﻟﱵ ﺗﻮﺣﻲ ﺇﱃ ﺍﳌﺴﺎﺭﻳﻦ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺍﳌﻠﺘﺤﻘﲔ ﲜﻨﺔ ﺑﺎﺧﻮﺱ ﺣﻴﺚ
ﺍﻷﺑﺪﻳﺔ ﻭ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﺍﳌﻌﱪ ﻋﻨﺎ ﺑﺎﻟﻘﺪﺡ ﺩﻭ ﺍﻟﺸﺮﺍﺏ ﺍﳌﻘﺪﺱ.
ﻭ ﺍﳌﻌﺮﻭﻑ ﻋﻦ ﺍﳋﻤﺮ ﺃﻧﻪ ﻣﻘﺪﺱ ﺳﻮﺍﺀ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺃﻭ ﰲ ﺍﻟﺪﻳﺎﻧﺔ ﺍﳌﺴﻴﺤﻴﺔ ﻓﻬﻮ ﺩﻡ ﺍﻷﻟﻪ
74
ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﻨﺎﺑﻊ ﻣﻦ ﺍﳌﻌﺼﺮﺓ ﻭ ﺩﻡ ﺍﻟﻴﺴﻮﻉ.
ﺍﻹﺣﺎﻟﺔ:
76
ﻳﺸﺒﻪ ﻫﺎﺩﻳﻦ ﺍﻟﻌﻤﺎﺩﻳﻦ ﺯﺧﺎﺭﻑ ﺃﺧﺮﻯ ﻭ ﺟﺪﺕ ﲟﺪﻳﻨﱵ ﺧﻨﺸﻠﺔ 75ﻭ ﺗﺒﺴﺔ .
ﺍﻟﺘﺄﺭﻳﺦ :ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺗﻘﻨﻴﺔ ﺍﻟﺰﺧﺮﻓﺔ ﺍﳌﻼﺣﻈﺔ ﻋﻠﻰ ﺃﻋﻤﺪﺓ ﺧﻨﺸﻠﺔ ﻭ ﺗﺒﺴﺔ ﻳﻘﺘﺮﺡ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻡ.
ﺧﻨﺸﻠﺔ:
74
Daremberg et Saglio, op cit. p 623.
75
MEFR. 1893. PL VII.
76
S.Gsell ? Musée de Tebessa. Pl VII. FIG 6.
84
-2ﻋﻤﺎ ﻣﺰﺧﺮ :
ﺍﳌﺮﺍﺟ :
Gsell et Graillot, op cit. fig 7. pl VII.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﻟﻮﺻﻒ:
ﻋﻤﺎﺩ ﻣﺴﺘﻄﻴﻞ ﻛﺴﺮ ﻣﻨﻪ ﺍﳉﺰﺀ ﺍﻟﻴﻤﻦ ﻣﻦ ﺍﻷﻋﻠﻰ ﻭ ﺿﺎﻉ ﺍﳉﺰﺀ ﺍﻷﺳﻔﻞ ﻣﻨﻪ.
ﺗﻈﻬﺮ ﰲ ﺍﻷﻋﻠﻰ ﻃﻐﺮﺍﺀ ﺑﺪﺍﺋﺮﺓ ﺗﻌﻠﻮﻫﺎ ﻛﺘﺎﺑﺔ ﻻﺗﻴﻨﻴﺔ ﺑﻘﺖ ﻣﻨﻬﺎ ﻋﺒﺎﺭﺓ NDEOﻭ ﺃﺳﻔﻠﻬﺎ ﳓﺖ ﻋﺮﻑ
ﺍﻟﺪﺍﻟﻴﺔ ﺍﻟﺬﻱ ﺗﻨﺒﻊ ﻣﻨﻪ ﺃﻭﺭﺍﻕ ﺣﻠﺰﻭﻧﻴﺔ ﻣﺘﻨﺎ ﺮﺓ ﻭ ﻋﻨﻘﻮﺩﻱ ﻣﻦ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘﻘﻨﻴﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ﻫﻨﺎ ﻫﻲ ﺗﻘﻨﻴﺔ ﺍﻟﻨﺤﺖ ﺍﻟﻨﺎﻓﺮ ﺑﻮﺍﻗﻌﻴﺔ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻌﻤﺎﺩ ﺍﻟﺴﺎﺑﻖ.
ﺗﻴﻤﻘﺎ :
-1ﺗﺎﺑﻮﺕ:
ﺍﳌﺮﺍﺟ :
J.Lassus, La forteresse byzantine de Thamugadi. Paris 1981. p 223. fig 182..
ﺍﳌﺼﺪﺭ :ﺃﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﻟﻪ ﰲ ﺍﻟﻨﺎﻓﻮﺭﺓ ﺵ ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﻴﻤﻘﺎﺩ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﻁ= 2.12ﻡ .ﻉ= 0.66ﻡ
ﺍﻟﻮﺻﻒ:
ﳓﺘﺖ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﳊﻮﺽ ﺍﻟﺘﺎﺑﻮﺕ ﺃﺭﺑﻌﺔ ﺟﻨﻴﲔ ﳎﻨﺤﲔ ﻳﻌﺎﻧﻘﻮﻥ ﺃﻛﺎﻟﻴﻞ ﺛﻘﻴﻠﺔ ﻣﺮﺑﻮﻃﺔ ﺇﱃ
ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ﺑﺄﺷﺮﻃﺔ ﻭ ﺗﺘﺸﻜﻞ ﻣﻦ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﺘﻔﺎﺡ ﻭ ﺍﻷﺟﺎﺹ ﻭ ﻓﻮﺍﻛﻪ ﺃﺧﺮﻯ...
ﻭ ﰲ ﻗﻌﺮ ﻛﻞ ﻣﻦ ﺍﻹﻛﻠﻴﻼﻥ ،ﻳﻈﻬﺮ ﻭﺟﻪ ﺍﻣﺮﺍﺀﺓ ﻭ ﰲ ﺍﳌﺮﻛﺰ ﻗﻼﺩﺓ ﲢﻮﻱ ﺻﻮﺭﺓ ﺍﳌﻴﺖ .
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻨﺘﻤﻲ ﻫﺪﺍ ﺍﻟﺘﺎﺑﻮﺕ ﺇﱃ ﻣﻮﺿﻮﻉ ﺍﻟﻌﻤﻮﺭﻳﲔ ) (les amoursﺑ ﻛﻠﻴﻞ ﺍﻟﻔﻮﺍﻛﻪ ﺍﳌﺄﻟﻮﻑ ﰲ ﺍﻟﺘﻮﺍﺑﻴﺖ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
85
ﺍﻹﺣﺎﻟﺔ:
77
ﺗﺎﺑﻮﺕ ﺭﻭﻣﺎﱐ ﻣﻄﺎﺑﻖ ﰲ ﻣﺼﻨﻒ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ.
ﺑﺎﺭﺯ: -3ﻧﻘ
ﺍﳌﺮﺍﺟ :
Ballu et Cagnat, 1902. p22. pl VIII, Fig 1.
77
R.Turcan, Les sarcophages romains à représentations dionysiaques. Paris 1966. p 123. pl 2.3.
78
S.Gsell, in R.Af. 1893. p 180. note1.
79
E.Babelon, Monnaies de la république. I. P 329.n°6.
86
R.Cagnat, Musée de Timgad.Musées et collect archéologiques de l’Algérie et
Tunisie.ed Ernest Leroux. Paris 1895. Pl VIII.1. p 23.
ﺍﳌﺼﺪﺭ :ﺍﳌﺴﺮﺡ ﺍﻭ ﺍﻟﻜﺎﺑﺘﻮﻝ؟
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﻴﻤﻘﺎﺩ ) ﰲ ﺍﳋﺎﺭﺝ (
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ= 0.71ﻡ .ﻁ= 1.25ﻡ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺻﻔﻴﺤﺔ ﻣﺴﺘﻄﻴﻠﺔ ﻛﺒﲑﺓ ﻧﻘﺸﺖ ﻭﺍﺟﻬﺘﻬﺎ ﺍﻷﻣﺎﻣﻴﺔ ﺑﺎﻃﺎﺭﺍﺕ ﻣﻨﻈﹼﻤﺔ ﺑﲔ ﺗﺸﺒﻴﻜﺎﺕ ﻋﻤﻴﻘﺔ
ﲢﻮﻱ ﺳﺘﺔ ﻣﻨﻬﺎ ﺃﻗﻨﻌﺔ ﻣﻜﺸّﺮﺓ ﻟﺮﺟﺎﻝ ﻭ ﻧﺴﺎﺀ ﻭ ﰲ ﺍﳌﺮﻛﺰ ﺻﻮﺭﺓ ﺭﺟﻞ ﺑﻠﺤﻴﺔ ﻣﺪﺑّﺒﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺼﻨّﻒ ﻫﺪﻩ ﺍﻟﺼﻔﻴﺤﺔ ﺿﻤﻦ ﺍﻟﻨﻘﻮﺵ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﺫﻟﻚ ﻋﻠﻰ ﺃﺳﺎﺱ ﺻﻮﺭ ﺍﻟﺮﺟﺎﻝ ﺍﻟﻠﺬﻳﻦ ﻳﺘﻤﻴﺰﻭﻥ
ﺑﺄﺫﻧﲔ ﻣﺪﺑﺒّﺔ ﻛﺘﻠﻚ ﺍﻟﱵ ﲤﻴّﺰ ﺷﺨﺼﻴﺔ ﺳﺎﺗﲑ ،ﻭ ﻗﺰﺍﻝ ﻳﻘﺎﺭﻥ ﺻﻔﻴﺤﺔ ﺗﻴﻤﻘﺎﺩ ﻣﻊ ﺻﻔﻴﺤﺔ ﺃﺧﺮﻯ ﻭﺟﺪﺕ
ﺑﺘﺒﺴﺔ 80ﻭﲤﺜﻞ ﺳﻮﺍﺗﲑ ﻭ ﺳﻜﲑﺍﺕ ﺑﺎﺧﻮﺱ ،ﻛﻤﺎ ﻳﺆﻛﹼﺪ ﺭﺃﻳﻪ ﺑﺎﻹﻃﺎﺭﻳﻦ ﺍﻷﺧﲑﻳﻦ ﺍﻟﻠﺬﺍﻥ ﻳﺮﻯ ﻓﻴﻬﻤﺎ
ﻣﺰﺭﺍﻕ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﺻﻨﺠﺎﺕ ﻭ ﻫﻲ ﺭﻣﻮﺯ ﺍﻹﻟﻪ ﺍﳌﺄﻟﻮﻓﺔ.
ﺍﻣﺎ ﻛﺎﻧﻴﺎ ﻓﻴﻘﺘﺮﺡ ﺃﻥ ﳚّﺴﺪ ﲤﺜﺎﻝ ﺗﻴﻤﻘﺎﺩ ﺍﻷﳍﺔ "ﻟﻴﱪﺍ" ﺭﻓﻴﻘﺔ ﺍﻷﻟﻪ "ﻟﻴﱪ ﺑﺎﺗﺮ" ﺑﻨﺎﺀ ﻋﻠﻰ ﺍﻛﻠﻴﻞ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ.
ﻻﻣﺒﻴﺰ:
-1ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
R.Cagnat, Catalogue du musée de Lambese. Musées et collect archéologiques de
l’Algérie et Tunisie.ed Ernest Leroux. Paris 1895. Pl IV. 1.P 29.
ﺍﳌﺼﺪﺭ .:ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ.ﺍﺭ= 0.75ﻡ
ﺍﻟﻮﺻﻒ:
ﺑﻘﻲ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺍﳉﺪﻉ ﻭ ﻛﺴﺮﺕ ﺍﻷﻃﺮﺍﻑ ﺍﻟﺴﻔﻠﻰ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻔﺨﺪﻳﻦ ﻭ ﻛﺪﺍ ﺍﻟﺪﺭﺍﻉ ﺍﻷﳝﻦ ﻣﻦ
ﺍﻷﻋﻠﻰ ﻭ ﺍﻷﻳﺴﺮ .ﻻ ﺗﺰﺍﻝ ﺃﺛﺎﺭ ﺍﻟﻠﺴﺎﻥ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻠﺘﺼﻖ ﺑﻪ ﺍﳌﺰﺭﺍﻕ ﻋﻠﻰ ﺍﳋﺼﺮ ﺍﻷﻳﺴﺮ.
80
S.Gsell, Musée de Tébessa. P 3. note 4. Pl II. Fig 2.
87
ﺍﻟﺘﺤﻠﻴﻞ:
ﺭﻏﻢ ﻓﻘﺪﺍﻥ ﺍﳌﻠﻠﺤﻘﺎﺕ ،ﻳﺒﻘﻰ ﻣﻦ ﺍﻟﺴﻬﻞ ﺍﻟﺘﻌﺮّﻑ ﻋﻠﻰ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺗﻪ ﺍﻟﻜﻼﺳﻜﻴﺔ ﺣﺎﻣﻼ ﺍﳌﺰﺭﺍﻕ
ﻭ ﻣﺴﺘﻨﺪﺍ ﻋﻠﻴﻪ ﺑﺪﺭﺍﻋﻪ ﺍﻷﳝﻦ ﻭ ﻣﺎﺳﻜﺎ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﻠﻮﺑﺔ ﻋﻠﻰ ﺭﺍﺱ ﺍﻟﻨﻤﺮﺓ ﻛﻤﺎ ﻳﻈﻬﺮ ﲟﺘﺤﻒ
ﻧﺎﺑﻮ 81ﻭ ﲟﺘﺎﺣﻒ ﺷﺮﺷﺎﻝ)ﺭﻗﻢ .1ﺹ (31ﻭ ﺳﲑﺗﺎ )ﺭﻗﻢ .1ﺹ (65ﻭ ﺍﳉﺰﺍﺋﺮ )ﺑﺎﺧﻮﺱ ﺍﳊﺎﺟﺐ(.
-2ﺎﻝ ﺍﻷ ﺔ ﺍﳌﺮﺿﻌﺔ:
420 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 21ﺍﻟﻠﻮﺣﺔ .8
ﺍﳌﺮﺍﺟ :
R.Cagnat,op cit,. Pl III.2. .P 41.
M.Bertrand ﺍﳌﺼﺪﺭ .:ﻣﻠﻜﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ.ﺍﺭ= 1.80ﻡ
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺍﻣﺮﺍﺀﺓ ﺗﺮﺗﺪﻱ ﺛﻮﺏ ﺍﻟﺒﺎﻻ ﺍﻟﺮﻭﻣﺎﱐ ﻭ ﻫﻲ ﻣﻜﻠﹼﻠﺔ ﲝﺒﻼﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﲢﻤﻞ ﻃﻔﻼ ﺑﻴﺪﻫﺎ
ﺍﻟﻴﺴﺮﻯ ﲢﺎﻭﻝ ﻟﺮﺿﺎﻋﻪ ،ﻭ ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ ﺷﻜﻞ ﺃﺳﻄﻮﺍﱐ )ﻛﻌﻜﺔ ﺃﻡ ﺭﻏﻴﻒ(.
ﺍﻟﺘﺤﻠﻴﻞ:
ﰲ ﺑﺪﺍﻳﺔ ﺍﻷﻣﺮ ﺃﻗﺘﺮﺡ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﺘﻤﺜﺎﻝ ﳚﺴّﺪ ﺍﳍﺔ ﺍﳋﺼﻮﺑﺔ
TELLUS
ﺍﻟﱵ ﻋﺎﺩﺓ ﻣﺎ ﺗﻈﻬﺮ ﻣﻜﻠﹼﻠﺔ ﺑﺎﻟﻌﻨﺐ ﻭ ﺗﺮﺿﻊ ﻃﻔﻼ ﻣﺜﻞ ﺍﻟﻨﻤﻮﺩﺝ ﺍﳌﺪﻛﻮﺭ ﺑﺎﺭﻭﺑﺎ 82ﻛﻤﺎ ﻧﺸﲑ ﺍﱃ ﻭﺟﻮﺩ
ﻋﺒﺎﺩﻬﺗﺎ ﲟﻨﻄﻘﺔ ﺑﻮﺭﺑﺎﻗﻲ ﺣﻴﺚ ﺃﻛﺘﺸﻒ ﻣﺪﺑﺢ ﻧﺪﺭﻱ ﻣﻬﺪﻯ ﳍﺎ )ﺃﻧﻈﺮ ﺍﻟﻔﺼﻞ 2ﺹ.(367
ﻭ ﻟﻜﻦ ﺍﻷﳍﺔ "ﺗﻠﻮﺱ" ﻻ ﲢﻤﻞ ﺍﻟﺮﻏﻴﻒ ﺃﻭ ﺍﻟﻜﻌﻜﺔ؟ ﻭﲟﺎﺩﺍ ﻧﻔﺴّﺮ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳌﻜﺘﺸﻔﺔ ﰲ ﻧﻔﺲ ﻧﻄﺎﻕ
ﺍﻛﺘﺸﺎﻑ ﺍﻟﺘﻤﺜﺎﻝ ﻭ ﲢﻤﻞ ﻛﺘﺎﺑﺔ ﺗﺪﻛﺮ ﺍﺳﻢ ﺍﻷﳍﺔ ﺍﻟﻌﻈﻴﻤﺔ ﺍﳌﻘﺪّﺳﺔ ﺍﳌﺮﺿﻌﺔ:
)(nutrici deae aug sacr
ﻭ ﻋﻠﻰ ﻫﺪﺍ ﺍﻷﺳﺎﺱ ﻓﻀّﻞ ﻧﺴﺐ ﲤﺜﺎﻝ ﻻﻣﺒﻴﺰ ﺇﱃ ﺍﻹﳍﺔ ﺍﳌﺮﺿﻌﺔ ﺍﻟﱵ ﺗﻈﻬﺮ ﻫﻲ ﺍﻷﺧﺮﻯ ﻣﻜﻠﹼﻠﺔ ﺑﺎﻟﻌﻨﺐ
ﻛﺪﻳﻮﻧﻴﺰﻭﺱ.
ﺍﻹﺣﺎﻟﺔ:
83
ﺇﳍﺔ ﺣﺎﺿﻨﺔ ﻣﻦ ﺍﻟﻄﲔ ﺍﳌﺸﻮﻱ ﲟﻨﻄﻘﺔ ﺑﲑ ﺑﻮﺭﻛﺒﺔ )ﺳﻴﺎﻗﺎ(.
81
Lenormant, Chefs d’œuvre de l’art antique. IV. Pl 25.
82
sStephani, Comptes rendus de la commission archéologique de St Petersbourg. 1859. p 133.
83
Ch.André Julien, Histoire de l’Afrique du nord. Payot Paris 1931. fig 124, p 217.
88
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻧﲔ ﺍﻷﻭﻝ ﻭ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.
ﻳﻮﻧﻴﺰﻱ: -3ﳏ
ﺍﳌﺮﺍﺟ :
Fiche d’inventaire n° IMI 132.
L.Leschi, Algérie antique. 1952.p 194.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ﺑﺎﳉﺰﺍﺋﺮ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ ﻭ ﻓﻀﺔ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﻋﻠﺒﺔ ﺻﻐﲑﺓ ﺃﺳﻄﻮﺍﻧﻴﺔ ﻏﻄﺎﺀﻫﺎ ﺍﻟﻌﻠﻮﻱ ﻣﺜﻘﻮﺏ ﰲ ﻭﺳﻄﻪ ،ﺯﺧﺮﻑ ﻛﻞ ﺍﶈﻴﻂ ﺍﳋﺎﺭﺟﻲ
ﻟﻠﻌﻠﺒﺔ ﺑﺘﻘﻨﻴﺔ ﺍﳊﹼﺰ ﺍﳋﻔﻴﻒ ﲟﺸﻬﺪ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻳﺒﺪﻭ ﻓﻴﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ ﺍﳍﻴﺌﺔ ﺍﻟﻜﻼﺳﻜﻴﺔ ﻓﻮﻕ
ﻋﺮﺑﺘﻪ.
-3ﺎﱄ ﺳﻴﻼﻥ:
425 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 34ﺍﻟﻠﻮﺣﺔ .13
ﺍﳌﺮﺍﺟ :
G.Doublet, op cit. Pl IX.16.P 65.
ﺍﳌﺼﺪﺭ.:
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﳌﻘﺎﺳﺎﺕ0.15 :ﻡ ﻋﻠﻰ 0.10ﻡ
ﺍﻟﻮﺻﻒ:
ﲤﻴﺜﻼﻥ ﻣﺘﻄﺎﺑﻘﺎﻥ ﳝﺜﹼﻼﻥ ﺳﻴﻼﻥ ﺃﺻﻠﻊ ﻳﺘﻤﻴﺰ ﲝﻮﺍﺟﺐ ﻛﺜﻴﺜﺔ ﻭ ﻋﻴﻨﺎﻥ ﺃﺳﻴﻮﺗﲔ ﻭ ﺃﺩﻧﲔ ﳐﻔﻀﺘﲔ ،ﺷﻨﺒﻪ
ﻃﻮﻳﻞ ﻭ ﳊﻴﺘﻪ ﳓﺘﺖ ﺑﺴﺘﺔ ﺧﺼﻼﺕ .ﻳﻈﻬﺮ ﺳﻴﻼﻥ ﺑﺒﻄﻦ ﰲ ﻏﺎﻳﺔ ﺍﻷﻧﺘﻔﺎﺥ ﻣﺘﺰّﻧﺮ ﲝﺰﺍﻡ ﻳﺘﻜﻮﻥ ﻣﻦ
ﺃﻭﺭﺍﻕ ﻧﺒﺎﺗﻴﺔ ﻭ ﺑﻘﺎﺋﻤﺔ ﺍﺳﺪ ﻣﺮﻭﺣﻴﺔ.
ﻤﻞ ﺍﻟﺘﻤﺜﺎﻻﻥ ﺍﺛﺎﺭ ﺣﻔﺮﺓ ﰲ ﺍﻟﻈﻬﺮ ﻛﺎﻧﺖ ﺗﺼﻠﻬﻤﺎ ﺑﺎﻟﺼﻔﻴﺤﺔ ﺍﳌﻜﺘﺸﻔﺔ ﻣﻌﻬﻤﺎ .
ﺍﻟﺘﺤﻠﻴﻞ:
89
ﻳﻈﻬﺮ ﺳﻴﻼﻥ ﰲ ﻫﺪﻳﻦ ﺍﻟﺘﻤﻴﺜﻼﻥ ﰲ ﻫﻴﺌﺔ ﺍﻟﻘﻮﺓ ﻭ ﺍﻻﺳﺘﻘﺮﺍﺭ ﻭ ﻛﺎﻥ ﻳﺰﺧﺮﻑ ﻣﻊ ﳎﻤﻮﻋﺔ ﻣﻨﺤﻮﺗﺎﺕ
ﺑﺮﻭﻧﺰﻳﺔ ﺃﺧﺮﻯ ﺻﻔﻴﺤﺔ ﻛﺎﻥ ﻳﺰﺩﺍﻥ ﻬﺑﺎ ﺻﻨﺪﻭﻕ ﺧﺸﱯ ﺿﺎﻉ )ﻋﻠﻰ ﻏﺮﺍﺭ ﺻﻨﺎﺩﻳﻖ ﺑﻮﻣﱯ( ﻣﺮﺻّﻊ
ﺑﺼﻔﺎﺋﺢ ﺑﺮﻭﻧﺰﻳﺔ ﺗﺸﻜﹼﻞ ﺭﲟﺎ ﺃﻏ ﳎﻤّﻊ ﺍﻹﳍﺔ ﺍﻷﺳﻴﻮﻳﺔ ﺍﻟﱵ ﺍﻛﺘﺸﻔﺖ ﺑﻼﻣﺒﻴﺰ(panthéon isiaque)84. .
-5ﺳﻴﻼﻥ:
ﺍﳌﺮﺍﺟ :
G.Doublet, op cit. Pl IX.1.P 62.
ﺍﳌﺼﺪﺭ .:ﻻﻣﺒﻴﺰ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟﻠﺜﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﳌﻘﺎﺳﺎﺕ 0.08 :ﻡ ﻋﻠﻰ 0.11ﻡ
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺻﻐﲑ ﻟﺴﻴﻼﻥ ﻳﺮﺗﺪﻱ ﺟﻠﺪ ﺍﻟﻨﻤﺮﺓ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻷﳝﻦ ﻭ ﻳﺒﺪﻭ ﻣﻜﹼﻠ ﺑﺄﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ﻋﻠﻰ ﺻﺪﻏﻴﻪ
ﰲ ﺻﻮﺭﺓ ﺷﻴﺦ ﻣﻠﺘﺤﻲ ﻳﻨﻈﺮ ﺍﱃ ﺍﻷﻋﻠﻰ ،ﳓﻮ ﺍﻟﻴﺴﺎﺭ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻛﺎﻥ ﻳﻨﺘﻤﻲ ﺍﱃ ﺍﺠﻤﻟﹼﻤﻊ ﺍﻷﳍﻲ ﺍﻷﺳﻴﻮﻱ ﻣﺜﻞ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺴﺎﺑﻖ.
ﻋﻨﻮﻧﺔ:
ﺎﻝ ﺳﻴﻼﻥ:
ﺍﳌﺮﺍﺟ :
De Pachtére, Musée de Guelma. Pl V, p 29.
S.Gsell. Ch.A.Joly, Khamissa, Mdaourouch, Announa. Partie III. Alger Jourdan. Paris
De Broccard 1916. p 88. fig 25.
S.Reinach, op cit. T IV. P 76. n°7.
ﺍﳌﺼﺪﺭ :ﻣ ﻝ ﺍﻷﻧﺘﺴﺘﻴﲔ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.70ﻡ .ﻉ= 0.27ﻡ.
84
G.Doublet, Musée de Stéphane Gsell. Op cit. Pl IX.
90
ﺍﻟﻮﺻﻒ:
ﻓﻘﺪ ﺍﻟﺘﻤﺜﺎﻝ ﺭﺃﺳﻪ ﻭ ﺃﻃﺮﺍﻓﻪ ﺍﻟﻌﻠﻮﻳﺔ ﻭ ﺍﻟﺴﻔﻠﻰ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﻣﻨﺘﺼﻒ ﺍﻟﻔﺨﺬﻳﻦ.
ﻳﻈﻬﺮ ﺳﻴﻼﻥ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﻋﻤﻮﺩ ﳏﻤﻞ ﺑﺎﻟﺪﺍﻟﻴﺎﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ،ﻳﺘﺪﱃ ﻣﻦ ﻛﺘﻔﻪ ﺍﻷﳝﻦ ﺟﻠﺪ ﺍﻟﻨﻤﺮ
ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﺫﻳﻠﻪ ﰲ ﺃﺳﻔﻞ ﺍﻟﻈﻬﺮ .ﺃﻣﺎ ﺍﳉﺰﺀ ﺍﻷﺳﻔﻞ ﻣﻦ ﺍﳉﺴﻢ ﻓﻬﻮ ﻣﻐﻄﻰ ﺑﺘﻨﻮﺭﻩ nébrideﺗﺒﺪﺃ ﻣﻦ
ﺃﺳﻔﻞ ﺍﻟﺒﻄﻦ ﺑﺜﻨﺎﻳﺎ ﺃﻓﻘﻴﺔ ﻭ ﺗﻌﻘﺪ ﻋﻨﺪ ﺍﻟﻮﺭﻙ ﺍﻟﻴﺴﺮ ،ﻭ ﻟﺜﺨﺎﻧﺔ ﺟﺴﻤﻪ ﺗﻀﻴﻖ ﺍﻟﺘﻨﻮﺭﺓ ﺑﺒﻄﻦ ﺳﻴﻼﻥ ﺑﺎﻧﺘﻔﺎﺥ
ﺑﺎﺭﺯ ،ﻭ ﻋﱪ ﺍﻟﻔﻨﺎﻥ ﻋﻦ ﲰﻨﺔ ﺍﳉﺴﻢ ﺑﻄﻴﺎﺕ ﻋﻤﻴﻘﺔ ﺗﻔﺮﻕ ﺍﻟﺼﺪﺭ ﻋﻦ ﺍﻟﺒﻄﻦ.
ﻳﺒﺪﻭ ﺃﻥ ﺳﻴﻼﻥ ﻫﺪﺍ ﻛﺎﻥ ﻣﻠﺘﺤﻴﺎ ﻟﻮﺟﻮﺩ ﺃﺛﺎﺭ ﺷﻌﲑﺍﺕ ﻷﻋﻠﻰ ﺍﻟﺼﺪﺭ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻧﺘﻌﺮﻑ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﺳﻴﻼﻥ ﺍﳌﺘﻘﺪﻡ ﰲ ﺍﻟﺴﻦ ﰲ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﻣﻦ ﺧﻼﻝ ﺛﺨﺎﻧﺔ ﺍﳉﺴﻢ ﻭ ﺍﻟﺘﻌﺐ ﺍﻟﻈﺎﻫﺮ
ﻋﻠﻰ ﺍﻟﻌﻀﻼﺕ.
ﰲ ﺃﻭﻝ ﻭﻫﻠﺔ ﳝﻜﻦ ﺗﺼﻮﺭ ﺳﻴﻼﻥ ﺩﻭ ﺍﻟﻘﺮﺑﺔ ﻏﲑ ﺃﻥ ﻏﻴﺎﺏ ﺃﻱ ﺍﺛﺮ ﳍﺪﺍ ﺍﻟﺮﻣﺰ ﺍﳌﺄﻟﻮﻑ ﻋﻠﻰ ﻛﺘﻔﻴﻪ ﺃﻭ
ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻷﻳﺴﺮ ﳚﻌﻠﻨﺎ ﻧﻔﻀﻞ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺳﻴﻼﻥ ﻭ ﻫﻮ ﻳﺪﺍﻋﺐ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﻳﻐﺮﻳﻬﺎ ﺑﻌﻨﻘﻮﺩ
85
ﺍﻟﻌﻨﺐ ﺍﻟﺬﻱ ﻳﺮﻓﻌﻪ ﺇﱃ ﺍﻷﻋﻠﻰ .ﺗﻼﺣﻆ ﻧﻔﺲ ﺍﻟﻮﺿﻌﻴﺔ ﰲ ﲤﺜﺎﻝ ﻣﺸﺎﺑﻪ ﲟﺘﺤﻒ ﻣﻮﻧﻴﺦ.
ﻳﺒﺪﻭ ﺃﻥ ﺍﻟﺘﻤﺜﺎﻝ ﱂ ﻳﻨﺤﺖ ﰲ ﻛﺘﻠﺔ ﻭﺍﺣﺪﺓ ﻟﻮﺟﻮﺩ ﺛﻘﺐ ﲢﺖ ﺍﻹﺑﻂ ﺍﻟﻴﻤﻦ ﻓﺘﺤﺖ ﺍﻟﺬﺭﺍﻉ ﺍﻷﳝﻦ ﻋﻠﻰ
ﺣﺪﺓ ،ﰒ ﺃﺿﻴﻒ ﻟﻠﺠﺴﻢ.
ﻴﺴﺔ:
-1ﺭﺃﺱ ﺑﺎﺧﻮﺱ:
414 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 8ﺍﻟﻠﻮﺣﺔ .2
ﺍﳌﺮﺍﺟ :
G.Souville, Inventaire raisonné du musée de Guelma.n°224.
S.Gsell , Ch.A.Joly, Khamissa…p 95.pl XXI.44
ﺍﳌﺼﺪﺭ:ﻋﲔ ﺍﻟﻴﻮﺩﻱ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ ﻣﻦ ﻓﻠﻔﻠﺔ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.43ﻡ .ﻉ= .0.28ﻁ ﺍﻟﺮﻗﺒﺔ= 0.14ﻡ
85
S.Reinach, op cit. T I. P 420.
91
ﺍﻟﻮﺻﻒ:
ﺣﺴﺐ ﺿﺨﺎﻣﺘﻪ ﻳﺒﺪﻭ ﺃﻥ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﻛﺎﻥ ﻟﺘﻤﺜﺎﻝ ﺍﻛﱪ ﻣﻦ ﺍﳊﺠﻢ ﺍﻟﻄﺒﻴﻌﻲ ﻗﺪ ﻳﺼﻞ ﺍﱃ 2.10ﻡ.
ﻳﻈﻬﺮ ﻭﺟﻪ ﺍﻷﻟﻪ ﳑﺘﻠ ﻭ ﻣﺴﺘﺪﻳﺮ ﺑﻘﺴﻤﺎﺕ ﺃﻧﺜﻮﻳﺔ ،ﺍﻟﻌﻴﻨﺎﻥ ﻟﻮﺯﻳﺘﺎﻥ ﻭ ﻏﺪﻬﺗﻤﺎ ﺍﻟﺪﻣﻌﻴﺔ ﻭ ﺍﺿﺤﺔ ﻛﺄﻬﻧﻤﺎ
ﲢﺪّﻗﺎﻥ ﰲ ﺷﻴ ﻣﺎ ﺭﻏﻢ ﺃﻥ ﺍﳊﺪﻗﺔ ﱂ ﺗﻨﺤﺖ.
ﺷﻮﻫّﺖ ﺍﻟﺸﻔﺘﲔ ﺍﻟﱵ ﺗﺮﺗﺴﻢ ﻋﻠﻴﻬﺎ ﺍﺑﺘﺴﺎﻣﺔ ﺧﻔﻴﻔﺔ ،ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ ﻃﻮﻳﻠﺔ ﲢﻴﻂ ﺑﺎﻟﻮﺟﻪ ﺑﺸﻌﺮ ﳑﻮّﺝ ﻭ
ﻳﺘﻮّﺝ ﺍﻟﺮﺃﺱ ﺑﺘﺎﺝ ﻣﻦ ﺃﻭﺭﺍﻕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻣﺮﺗﺒّﺔ ﻭﻓﻖ ﻣﺒﺪﺀ ﺍﻟﺘﻨﺎ ﺮ.
ﱂ ﺗﻨﺤﺖ ﺍﻟﻨﺎﺣﻴﺔ ﺍﳋﻠﻔﻴﺔ ﻟﻠﺮﺍﺱ ﻭ ﺍﺍﳉﻬﺔ ﺍﻟﻌﻠﻴﺎ ﺑﺪﻗﹼﺔ.
ﺍﻹﺣﺎﻟﺔ:
ﻳﺸﺒﻪ ﻫﺪﺍ ﺍﻟﺮﺃﺱ ﲤﺜﺎﻝ ﺃﺧﺮ ﻟﺒﺎﺧﻮﺱ ﻭﺟﺪ ﲟﺪﺍﻭﺭﺵ ﺧﺎﺻﺔ ﰲ ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ )ﺃﻧﻈﺮ ﺭﻗﻢ 1ﺹ.(95
-2ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
Ballu, in BCTHS. 1917. P 241. n°1.
G.Souville, op cit. n°225..
ﺍﳌﺼﺪﺭ:ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ ﺍﳉﺪﻳﺪﺓ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻓﻠﻔﻠﺔ ﺍﻷﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 1ﻡ .ﻉ= 0.66ﻡ.
ﺍﻟﻮﺻﻒ:
ﺑﻘﻲ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺟﺪﻉ ﺃﻛﱪ ﻣﻦ ﺍﳊﺠﻢ ﺍﻟﻄﺒﻴﻌﻲ ﻓﻘﻂ ﻳﻈﻬﺮ ﻣﻦ ﺧﻼﻟﻪ ﺑﺎﺧﻮﺱ ﻋﺎﺭﻳﺎ ،ﻭﺍﻗﻔﺎ ﳝﻴﻞ ﻧﻮﻋﺎ
ﻣﺎ ﺍﱃ ﺍﻟﻴﻤﲔ ،ﺧﺼﺮﻩ ﻣﻘﻮّﺱ ﻭ ﻋﻀﻼﺗﻪ ﻗﻠﻴﻠﺔ ﺍﻟﱪﻭﺯ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻧﺘﻌﺮﻑ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﺑﺎﺧﻮﺱ ﺑﺴﻬﻮﻟﺔ ﺑﻔﻀﻞ ﺧﺼﻠﱵ ﺍﻟﺸﻌﺮ ﺍﳌﺘﺒﻘﻴﺔ ﻋﻠﻰ ﺍﻟﻜﺘﻒ ﺍﻷﳝﻦ ﻭ ﺛﻮﺏ
ﺍﻟﻜﻼﻣﻴﺪ chlamydeﺍﳌﻮﺿﻮﻉ ﻓﻮﻕ ﻛﺘﻔﻪ ﺍﻷﺧﺮ.
ﺑﺎﺧﻮﺱ: -3ﺟﺬﻉ
ﺍﳌﺮﺍﺟ :
G.Souville, op cit. p 117.
92
ﺍﳌﺼﺪﺭ :ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ ﺍﳉﺪﻳﺪﺓ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.24ﻡ .ﻉ= 0.16ﻡ.
ﺍﻟﻮﺻﻒ:
ﺑﻘﻲ ﻣﻦ ﲤﺜﺎﻝ ﺻﻐﲑ ﻟ ﻟﻪ ﺟﺪﻉ ﻋﺎﺭﻱ ﻳﻈﻬﺮ ﻭﺿﻌﻴﺔ ﺍﻟﻮﻗﻮﻑ .ﳓﺘﺖ ﺍﻟﻌﻀﻼﺕ ﺑﺸﻜﻞ ﻗﻠﻴﻞ ﺍﻟﱪﻭﺯ
ﻭ ﺑﻘﺖ ﺍﻟﻨﺎﺣﻴﺔ ﺍﳋﻠﻔﻴﺔ ﻟﻠﺘﻤﺜﺎﻝ ﺩﻭﻥ ﺻﻘﻠﻬﺎ ﺟﻴﺪﺍ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺪّﻝ ﺃﺛﺎﺭ ﺧﺼﻼﺕ ﺍﻟﺸﻌﺮ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﺑﺄﻧﻨﺎ ﺃﻣﺎﻡ ﲤﺜﺎﻝ ﻟﺒﺎﺧﻮﺱ.
ﺑﺎﺧﻮﺱ: -4ﺟﺬﻉ
ﺍﳌﺮﺍﺟ :
S.Gsell et Joly, op cit. pl XIII. P 41.
S.Reinach, op cit. T V. n°7. P 48.
ﺍﳌﺼﺪﺭ :ﻭﺭﺍﺀ ﺍﳌﺴﺮﺡ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =0.60ﻡ .ﻉ= 0.39ﻡ.
ﺍﻟﻮﺻﻒ:
ﻳﻨﻘﺺ ﺍﳉﺪﻉ ﺍﻟﺪﻱ ﺑﻘﻲ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻷﻃﺮﺍﻑ ﺍﻟﺴﻔﻠﻰ ﻭ ﺍﻟﻌﻠﻴﺎ ﻭ ﺍﻟﺮﺍﺱ ،ﻳﻈﻬﺮ ﺍ ﻭﺍﻗﻔﺎ ﻋﺎﺭﻳﺎ ﻭ ﻛﺄﻧﻪ
ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﺍﻟﺮﺟﻞ ﺍﻟﻴﻤ ﻭ ﻫﺪﺍ ﻣﺎ ﺳﺒّﺐ ﺗﻮﺍﺭﻛﺎ .ﻣﻦ ﺧﻼﻝ ﻣﺎ ﺗﺒﻘﹼﻰ ﻣﻦ ﺍﻟﺪﺭﺍﻉ ﺍﻟﻴﺴﺮ ﻳﺒﺪﻭ ﺃﻧﻪ ﻛﺎﻥ
ﻣﺮﻓﻮﻋﺎ ﻤﻞ ﺍﳌﺰﺭﺍﻕ؟
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻈﻬﺮ ﻣﺮﺓ ﺃﺧﺮﻯ ﺧﺼﻠﺔ ﺍﻟﺸﻌﺮ ﺍﳌﻠﺘﻮﻳﺔ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﻭ ﺍﳌﻤّﻴﺰﺓ ﻟ ﻟﻪ ﺑﺎﺧﻮﺱ ،ﻛﻤﺎ ﻧﻼﺣﻆ ﻋﻠﻰ ﺍﻟﺮﺩﻑ
ﺍﻷﻳﺴﺮ ﻛﺘﻠﺔ ﺭﺧﺎﻣﻴﺔ ﻻ ﺷﻚ ﺃﻬﻧﺎ ﺍﺳﺘﻌﻤﻠﺖ ﻷﺑﺼﺎﻝ ﺇﺣﺪﻯ ﻣﻠﺤﻘﺎﺕ ﺍﻹﻟﻪ ﺍﺫ ﻳﻈﻬﺮ ﻋﻠﻴﻬﺎ ﺷﻜﻼ ﻣﻠﺘﻮﻳﺎ
ﻛﻐﺼﻦ ﺍﻟﻜﺮﻣﺔ.
-5ﺟﺬﻉ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
A.Ballu, in BCTH. 1917. P 244. n°22.
93
G.Souville, op cit. p 117.
ﺍﳌﺼﺪﺭ:ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ ﺍﳉﺪﻳﺪﺓ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 1.00ﻡ .ﻉ= 0.66ﻡ.
ﺍﻟﻮﺻﻒ:
ﻣﺎ ﺗﺒﻘﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﻋﺒﺎﺭﺓ ﻋﻦ ﺍﻟﺼﺪﺭ ﺍﻧﻄﻼﻗﺎ ﻣﻦ ﻣﻨﺘﺼﻒ ﺍﻟﺒﻄﻦ ﻳﻈﻬﺮ ﻋﺎﺭﻳﺎ ﻭ ﻋﺎﺿﻼ.
ﳓﺖ ﺍﻟﺘﻤﺜﺎﻝ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﳋﻠﻔﻴﺔ ﺑﻨﻔﺲ ﺍﻟﺪﻗﹼﺔ ﺍﳌﻼﺣﻈﺔ ﰲ ﺍﳉﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺑﻘﺖ ﺃﺛﺎﺭ ﺍﳋﺼﻼﺕ ﺍﳌﻤﻴّﺰﺓ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ.
ﺑﺎﺧﻮﺱ: -7ﺟﺪﻉ
ﺍﳌﺮﺍﺟ :
G.Souville, op cit. n°258.
94
ﺍﳌﺼﺪﺭ:ﺍﻟﺴﺎﺣﺔ ﺍﻟﻌﺎﻣﺔ ﺍﳉﺪﻳﺪﺓ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.25ﻡ .ﻉ= 0.14ﻡ
ﺍﻟﻮﺻﻒ:
ﻧﻔﺲ ﺍﻟﻄﺎﺑﻊ ﻛﺎﲤﺎﺛﻴﻞ ﺍﻟﺴﺎﺑﻘﺔ ﺣﻴﺚ ﺗﺪّﻝ ﺧﺼﻠﺔ ﺍﻟﺸﻌﺮ ﺍﳌﺘﻤﻮﺟﺔ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﻋﻠﻰ ﻫﻮﻳﺔ ﺑﺎﺧﻮﺱ.
ﻣﺪﺍﻭﺭ :
-1ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
De Pachtére, Musée de Guelma. Pl V.3. P 18.
S.Reinach, op ,cit. T IV. P 65. n°2.
G.Souville, op cit. p 161.
ﺍﳌﺼﺪﺭ :ﲪﺎﻣﺎﺕ ﺍﳌﺪﻳﻨﺔ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =1.48ﻡ .ﻉ= 0.58ﻡ..
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﲤﺜﺎﻝ ﻭﺍﻗﻒ ﻋﺎﺭﻱ ﺍﻛﱪ ﻣﻦ ﺍﻟﻄﻮﻝ ﺍﻟﻌﺎﺩﻱ ﻧﻮﻋﺎ ﻣﺎ ﺫﻭ ﻗﺎﻣﺔ ﺭﺷﻴﻘﺔ ﻭ ﻋﻀﻼﺕ ﻗﻠﻴﻠﺔ ﺍﻟﱪﻭﺯ.
ﻳﺒﺪﻭ ﺍﻟﺮﺃﺱ ﲝﺠﻢ ﺃﻛﱪ ﻣﻦ ﺍﳉﺴﻢ ﻭ ﻫﻮ ﻣﻜﻠﹼﻼ ﺑﺪﺍﻟﻴﺔ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺗﻐﻄﻲ ﺍﻷﺩﻧﲔ ﻭ ﰲ ﺍﻷﻋﻠﻰ ﻋﻨﻘﻮﺩ
ﺻﻐﲑ ﻋﻠﻰ ﺷﻜﻞ ﻋﻘﺪﺓ ﻓﺮﺍﺷﻴﺔ .ﻳﻨﻈﺮ ﺍﻷﻟﻪ ﺍﱃ ﺍﻟﻴﻤﲔ ﻭ ﻛﺄﻧّﻪ ﰲ ﺣﺎﻟﺔ ﺗﺄﻣّﻞ ﻭ ﺗﺮﺗﺴﻢ ﻋﻠﻰ ﺷﻔﺘﻴﻪ
ﺍﻟﺮﻓﻴﻌﺔ ﺑﺴﻤﺔ ﺧﻔﻴﻔﺔ.
ﻓﻘﺪ ﲤﺜﺎﻟﻨﺎ ﻫﺬﺍ ،ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﳌﻌﺘﺎﺩﺓ ﻭ ﻫﻲ ﺍﳌﺰﺭﺍﻕ ﻭ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﻟﻜﻦ ﻻ ﺗﺰﺍﻝ ﺍﺛﺎﺭ ﻭﺻﻠﻬﺎ ﺑﺎﳉﺴﻢ
ﺎﻫﺮﺓ ﻣﻦ ﺧﻼﻝ ﺍﻟﻠﺴﻨﺔ ،ﰲ ﺃﻋﻠﻰ ﺍﻟﻔﺨﺪ ﺍﻟﻴﻤﻦ ،ﻋﻠﻰ ﺍﳉﻬﺔ ﺍﻟﻴﺴﺮﻯ ﻟﻠﺨﺼﺮ ﻭ ﺧﺎﺭﺝ ﺍﻟﺮﻛﺒﺔ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻈﻬﺮ ﺑﺎﺧﻮﺱ ﰲ ﻫﻴﺌﺔ ﻛﻼﺳﻴﻜﻴﺔ ﻛﺎﻥ ﻳﺴﺘﻨﺪ ﻋﻠﻰ ﻣﺰﺭﺍﻗﻪ ﺑﺪﺭﺍﻋﻪ ﺍﻟﻴﺴﺮ ﻭ ﻤﻞ ﻛﺎﺱ ﺍﳋﻤﺮ ﺃﻭ ﺍﻟﻌﻨﺐ
ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﳓﻮ ﺍﻟﻨﻤﺮﺓ ﺍﳌﻘﺮﻓﺼﺔ ﻋﻠﻰ ﺳﻄﺢ ﺍﻷﺭﺽ.
ﺍﻷﺣﺎﻟﺔ:
95
ﻧﻼﺣﻆ ﺗﺸﺎﺑﻪ ﲤﺜﺎﻟﻨﻪ ﻫﺪﺍ ﺑﺒﺎﺧﻮﺱ ﺳﲑﺗﺎ ﻭ ﲤﺜﺎﻝ ﺳﻜﻴﻜﺪﺓ ﻣﻦ ﺣﻴﺚ ﺍﳍﻴﺌﺔ ﻭ ﺑﺮﺍﺱ ﺑﺎﺧﻮﺱ ﺷﺮﺷﺎﻝ ﻣﻦ
ﺣﻴﺚ ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ) .ﺭﻗﻢ .3ﺹ( 33
ﺑﺎﺧﻮﺱ: -2ﺎﻝ
ﺍﳌﺮﺍﺟ :
De Pachtére, op cit. Pl V.1.
S.Reinach, op cit. T IV. n°5. P 65..
ﺍﳌﺼﺪﺭ:ﺍﳊﻤﺎﻣﺎﺕ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =1.00ﻡ .ﻉ= 0.31ﻡ
ﺍﻟﻮﺻﻒ:
ﻓﻘﺪ ﺍﻟﺘﻤﺜﺎﻝ ﺭﺍﺳﻪ ﻭ ﻳﺒﺪﻭ ﺻﻐﲑﺍ ﻧﻮﻋﺎ ﻣﺎ ﻣﻘﺎﺭﻧﺔ ﻣﻊ ﺍﳊﺠﻢ ﺍﻟﻄﺒﻴﻌﻲ ،ﻳﻈﻬﺮ ﺍﻷﻟﻪ ﻭﺍﻗﻔﺎ ﻋﺎﺭﻳﺎ ﲜﺴﻢ ﳓﻴﻞ
ﻭ ﻋﻀﻼﺕ ﻗﻠﻴﻠﺔ ﺍﻟﱪﻭﺯ،ﺩﺭﺍﻋﻪ ﺍﻷﻳﺴﺮ ﻛﺎﻥ ﻣﻨﺒﺴﻄﺎ ﺣﺴﺐ ﻭﺟﻮﺩ ﺑﺮﻭﺯ ﺻﻐﲑ ﺩﺍﺋﺮﻱ ﻣﺜﺒّﺖ ﻋﻠﻰ
ﺍﻟﻘﺎﻋﺪﺓ ﻭ ﻫﻲ ﻬﻧﺎﻳﺔ ﺍﳌﺰﺭﺍﻕ ﺍﻟﺪﻱ ﺍﻋﺘﺪﻧﺎﻩ ﰲ ﲤﺎﺛﻴﻞ ﺍﻷﻟﻪ.86
ﺃﻣﺎ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻓﻤﻦ ﺍﻟﻈﺎﻫﺮ ﺃﻬﻧﺎ ﻛﺎﻧﺖ ﻣﻮﺟّﻬﺔ ﳓﻮ ﺍﻷﺳﻔﻞ ﺣﺎﻣﻠﺔ ﺍﻟﻜﺄﺱ ﺩﻭ ﺍﻟﻌﺮﻭﺗﲔ ﻟﺘﻘﺪﳝﻪ ﺍﱃ ﺍﻟﻔﻬﺪ
ﺍﻟﺪﻱ ﻻ ﺗﺰﺍﻝ ﺍﺛﺎﺭﻩ.
ﻧﺸﺎﻫﺪ ﰲ ﻫﺪﺍ ﺍﻟﻨﻤﻮﺩﺝ ﺍﻟﻔﻬﺪ ﺟﺎﻟﺴﺎ ﻋﻠﻰ ﳝﲔ ﺍﻷﻟﻪ ﳓﺘﺖ ﺃﻃﺮﺍﻓﻪ ﺍﻷﻣﺎﻣﻴﺔ ﺍﻟﱵ ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﺑﺪﻗﹼﺔ ﻭ
ﺃﳒﺰ ﻣﻦ ﻗﻄﻌﺘﺎﻥ ﺍﻟﺮﺃﺱ ﻋﻠﻰ ﺣﺪﺓ ﰒ ﺃﺿﻴﻒ ﺍﳉﺴﻢ ﻭ ﺍﻟﺪﻟﻴﻞ ﻫﻮ ﺍﻟﺜﻘﺐ ﺍﳌﻮﺟﻮﺩ ﺍﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ.
ﻭ ﻧﻔﺲ ﺍﻟﺘﻘﻨﻴﺔ ﺍﺳﺘﻌﻤﻠﺖ ﻷﻳﺼﺎﻝ ﺭﺍﺱ ﺍﻷﻟﻪ ﺑﺎﳉﺴﻢ ﻋﱪ ﺍﻟﺜﻘﺐ ﺍﳌﻮﺟﻮﺩ ﺃﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺴﻢ ﻫﺪﺍ ﺍﻟﺘﻤﺜﺎﻝ ﺑﺴﻼﻣﺔ ﺍﻟﻨﺠﺎﺯ ﺭﻏﻢ ﺃﻥ ﻣﻮﺿﻮﻉ "ﺑﺎﺧﻮﺱ ﰲ ﻭﺿﻌﻴﺔ ﻛﻼﺳﻴﻜﻴﺔ" ﻋﺎﺩﻱ ﻭ ﻣﺄﻟﻮﻑ ﻳﺘ ّ
ﻋﻠﻰ ﻏﺮﺍﺭ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺴﺎﺑﻘﺔ.
86
S.Reinach ? op cit. pp376, 379, 382, 384.
96
G.Souville, op cit. n°21.
ﺍﳌﺼﺪﺭ:ﺍﻟﻔﻮﺭﻭﻡ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =0.38ﻡ .ﻉ= 0.40ﻡ
ﺍﻟﻮﺻﻒ:
ﻧﺸﺎﻫﺪ ﺟﺰﺀ ﻣﻦ ﲤﺜﺎﻝ ﻃﻔﻞ )ﻳﺒﺪﻭ ﺍﺻﻐﺮ ﻣﻦ ﺍﳊﺠﻢ ﺍﻟﻌﺎﺩﻱ( ﺑﻘﻲ ﻣﻨﻪ ﺍﻟﺒﻄﻦ ﻭ ﺍﻟﺴﺎﻗﲔ ﻭ ﻫﻮ ﺟﺎﻟﺲ ﻭ
ﺭﺟﻠﻴﻪ ﻣﺘﻘﺎﻃﻌﺘﲔ ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﺗﺸﺒﻪ ﺍﻟﺼﺨﺮﺓ.ﻳﻮﺟﺪ ﺃﻣﺎﻣﻪ ﺩﻳﻚ ﻣﺸّﻮﻩ ﱂ ﻳﺒﻘﻰ ﻣﻨﻪ ﺳﻮﻯ ﺍﻟﺒﻄﻦ ﻭ
ﺍﻟﻘﻮﺍﺋﻢ ﻭ ﻳﻈﻬﺮ ﺍﻟﻄﻘﻞ ﳏﺎﻃﺎ ﺑﺪﺍﻟﻴﺎﺕ ﺍﻟﻌﻨﺐ ﻭ ﺑﲔ ﺍﺣﺪﻯ ﺍﻟﻌﻨﺎﻗﻴﺪ ﻳﺼﻞ ﺍﻧﺒﻮﺏ ﺍﳌﺎﺀ ﻣﺎ ﻳﺪّﻝ ﻋﻠﻰ
ﻭ ﻴﻔﺔ ﺍﳌﻨﺤﻮﺗﺔ )ﻧﺎﻓﻮﺭﺓ(.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻮﺣﻲ ﻟﻨﻞ ﺩﺍﻟﻴﺎﺕ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺗﺮﺍﻓﻖ ﺍﻟﻄﻔﻞ ﺍﻥ ﺍﻷﻣﺮ ﻣﺘﻌﻠﻖ ﲟﻨﺤﻮﺗﺔ ﺩﻳﻮﻧﻴﺰﻳﺔ ﻗﺪ ﺗﻜﻮﻥ ﲤﺜﻞ ﺳﺎﺗﲑ ﺍﻟﻄﻔﻞ
ﺃﻭ ﺟﻨّﻲ ﺍﳊﻘﻮﻝ ﺍﻟﺼﻐﲑ ﻣﺜﻞ ﺩﻟﻚ ﺍﻟﺪﻱ ﻭﺟﺪ ﺑﺸﺮﺷﺎﻝ )ﺭﻗﻢ 28ﺹ(48؟
-5ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
97
G.Souville, op cit. p 233.n°579.
ﺍﳌﺼﺪﺭ:ﳎﻬﻮﻝ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ = 0.90ﻡ .ﻉ= 0.48ﻡ.
ﺍﻟﻮﺻﻒ:
ﳓﺖ ﺍﻷﻟﻪ ﰲ ﺍﻟﻮﺿﻌﻴﺔ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﻋﺎﺭﻱ ﲜﺴﻢ ﺭﺷﻴﻖ ﻭ ﻋﻀﻼﺕ ﻏﲑ ﺑﺎﺭﺯﺓ ﻭ ﻧﻼﺣﻆ ﺑﺮﻭﺯ ﻋﻠﻰ
ﺍﻟﻜﺘﻒ ﺍﻷﻳﺴﺮ ﺭﲟﺎ ﺍﺷﺎﺭﺓ ﺃﻧﻪ ﻛﺎﻥ ﳝﺴﻚ ﺍﳌﺰﺭﺍﻕ ﺍﳌﺘﺼّﻞ ﺑﻜﺘﻔﻪ ،ﻭ ﺑﺮﻭﺯ ﺃﺧﺮ ﺃﻋﻠﻰ ﺍﻟﻔﺨﺪ ﻭ ﻫﻮ ﺃﺛﺮ
ﺍﻟﻜﺎﺱ ﺍﻟﱵ ﻛﺎﻥ ﻤﻠﻬﺎ ﳓﻮ ﺍﻷﺳﻔﻞ؟
ﻚ ﺍﻬﻧﺎ ﻛﺎﻧﺖ ﻟﺴﻠﻘﻲ ﺍﳋﻤﺮ ﺍﻟﺼﻐﲑ ﺍﻟﺪﻱ ﻧﻼﺣﻆ ﺃﻳﻀﺎ ﺑﻘﺎﻳﺎ ﻳﺪ ﺻﻐﲑﺓ ’ﺃﻋﻠﻰ ﺍﻟﻔﺨﺪ ﺍﻟﻴﺴﺮ ﺑﺪﻭﻥ ﺷ ّ
ﻳﺮﺍﻓﻖ ﺍﻷﻟﻪ ﺃﺣﻴﺎﻧﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻋﻼﻭﺓ ﻋﻠﻰ ﺍﳌﻠﺤﻘﺎﺕ ﺍﻟﱵ ﺑﻘﻴﺖ ﺍﺛﺎﺭﻫﺎ )ﺍﳌﺰﺭﺍﻕ ،ﺍﻟﻜﺎﺱ ،ﺳﺎﻗﻲ ﺍﳋﻤﺮ ﺍﻟﺼﻐﲑ( ﺗﺸﲑ ﺧﺼﻠﱵ ﺍﻟﺸﻌﺮ
ﺍﻟﻄﻮﻳﻠﺔ ﻣﻊ ﺍﻟﺸﺮﻳﻄﲔ ﻋﻠﻰ ﺍﻟﻜﺘﻔﲔ ﺍﱃ ﻫﻮﻳﺔ ﺑﺎﺧﻮﺱ.
ﺎﳌﺔ:
98
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻨﺘﻤﻲ ﻫﺪﻩ ﺍﻟﺰﺧﺮﻓﺔ ﺇﱃ ﻋﻨﺎﺻﺮ ﺍﻟﺪﻳﻜﻮﺭ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺍﳌﺄﻟﻮﻑ ﰲ ﻓﻦ ﺍﻟﺘﺤﺖ ﻭ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ
ﺍﻟﻮﺛﻨﻴﺔ ﰒ ﺍﳌﺴﻴﺤﻴﺔ ،ﻓﺎﻟﻜﺄﺱ ﻫﻲ ﺭﻣﺰ ﻗﻮﺓ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ.
-2ﻋﻤﺎ ﺍﻥ ﻣﺴﻴﺤﻴﺎﻥ
ﺍﳌﺮﺍﺟ :
Delamare, op cit. p 166. pl 18D.10.11
ﺍﳌﺼﺪﺭ:ﳎﻬﻮﻝ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺟﺰﺋﲔ ﻣﻦ ﻋﻤﺎﺩﻳﻦ ﻤﻞ ،ﺍﻷﻭﻝ ،ﺯﺧﺮﻓﺔ ﻣﺸﻜﹼﻠﺔ ﲝﺒﻠﺔ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺗﺘﺪﱃ ﻣﻨﻬﺎ ﺍﻟﻮﺭﻗﺔ
ﻭ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﳏﻔﻮﺭ ،ﻭ ﺍﻟﺜﺎﱐ ﺗﻈﻬﺮ ﰲ ﺍﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﳏﻔﻮﺭ ﺍﻟﻄﻐﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻭ ﺃﺳﻔﻠﻬﺎ
ﺣﺒﻠﺔ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻨﺘﻤﻲ ﻫﺬﻳﻦ ﺍﻟﻌﻤﺎﺩﻳﻦ ﺍﱃ ﻃﺎﺑﻊ ﳎﻤﻮﻋﺔ ﺗﺒﺴﺔ ﻭ ﺧﻨﺸﻠﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ
-3ﺗﺎﺑﻮﺕ:
ﺍﳌﺮﺍﺟ :
F.G.De Pachtére, Musée de Guelma. Ed Leroux 1909. p 44.
Delamare, op cit. pl 179.15. p 165..
ﺍﳌﺼﺪﺭ:ﺍﳉﺪﺍﺭ ﺍﳉﻨﻮ ﻟﻠﻤﺪﻳﻨﺔ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﲪﺮ
ﺍﳌﻘﺎﺳﺎﺕ :ﻁ= 1.55ﻡ .ﺍﺭ= 0.52ﻡ
ﺍﻟﻮﺻﻒ:
ﻧﻘﺸﺖ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﻟﻠﺘﺎﺑﻮﺕ ﺑﺰﺧﺮﻓﺔ ﻋﻠﻰ ﺷﻜﻞ ﻣﺰﻫﺮﻳﺔ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻠﱵ ﺍﻟﻌﻨﺐ ﰲ ﻃﺮﺍﺯ ﲡﺮﻳﺪﻱ
ﳏﻆ ،ﻭ ﻋﻠﻰ ﺟﺎﻧﱯ ﺍﻃﺎﺭﻳﻦ ﻣﺰﺧﺮﻓﲔ ﲟﻌﻴﻨﺎﺕ ﻭﻭﺭﺩﺍﺕ.
ﺍﻟﺘﺤﻠﻴﻞ:
99
ﺗﻨﺘﻤﻲ ﻫﺪﻩ ﺍﻟﺰﺧﺮﻓﺔ ﺍﱃ ﺳﻠﺴﻠﺔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﱵ ﺍﻋﻴﺪ ﺗﻮ ﻴﻔﻬﺎ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ
ﺍﳋﻤﺮ ﺭﻣﺰ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰒ ﺩﻡ ﺍﻟﻴﺴﻮﻉ ﻭ ﺍﳋﻠﻮﺩ ﰲ ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ ﺍﻟﺴﻌﻴﺪﺓ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ.
ﺗﻨﺎﺳﻔﺖ:
ﺗﺒﺴﺔ:
87
Picard, op cit. p 208.
100
-1ﺎﻝ ﺳﺎﺗﲑ:
ﺍﳌﺮﺍﺟ :
S.Gsell, Musée de Tebessa. Paris ed Leroux 1902. pl XI,6.
ﺍﳌﺼﺪﺭ:ﻭﺟﺪ ﺑﺎﳌﺪﻳﻨﺔ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻈﻬﺮ ﺷﺎﺏ ﰲ ﻭﺿﻌﻴﺔ ﺍﻧﻴﻘﺔ ﻣﻘﺮﻓﺺ ﻳﻠﻤﺲ ﺍﻟﺮﺽ ﺑﻜﻌﺒﻪ ﺍﻟﻴﻤﻦ ،ﺩﺭﺍﻋﻪ ﺍﻷﻳﺴﺮ ﻣﺮﻓﻮﻋﺎ ﺍﱃ ﺍﻷﻋﻠﻰ ﻣﺎ
ﺃﺩّﻯ ﺍﱃ ﺍﳓﻨﺎﺀ ﺍﳉﺴﻢ ﳓﻮ ﺍﳉﺎﻧﺐ.ﻳﺮﺗﺪﻱ ﺳﺎﺗﲑ ﻭﺷﺎﺡ ﺟﻠﺪ ﺍﻟﻨﻤﺮ ﻧﺮﺍﻩ ﳝّﺮ ﻣﻦ ﺍﻟﻜﺘﻒ ﺍﻷﻳﺴﺮ ﺍﱃ ﺍﻟﻮﺭﻙ
ﺍﻷﳝﻦ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻣﻦ ﺧﻼﻝ ﺍﻟﻮﺷﺎﺡ ﻧﺘﻌﺮﻑ ﺑﺴﻬﻮﻟﺔ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﺳﺎﺗﲑ ﺍﻟﺪﻱ ﻋﺎﺩﺓ ﻣﺎ ﻳﺮﺗﺪﻱ ﺟﻠﺪ ﺍﻟﺸﺎﺓ ﻛﺮﻣﺰﺍ
ﻟﻄﺒﻴﻌﺘﻪ ﺍﻟﻌ ﻳﺔ )ﻣﺜﻞ ﺳﺎﺗﲑ ﺳﲑﺗﺎ ﺭﻗﻢ 1ﺹ .(65ﻛﻤﺎ ﻳﻘﺘﺮﺏ ﺳﺎﺗﲑ ﺗﺒﺴﺔ ﻣﻦ ﲤﺜﺎﻝ ﺃﺧﺮ ﻭ ﺟﺪ ﺑﺎﻟﺒﺤﺮ
88
ﺍﻷﻳﻮﱐ.
ﺍﻟﺘﺎﺭﻳ :ﺑﲔ ﺍﻟﻘﺮﱐ ﺍﻷﻭﻝ ﻭ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.ﻭ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻧﺴﺨﺔ ﻟﻨﻤﻮﺫﺝ ﺃﺻﻠﻲ ﻫﻠﻴﲏ.
-2ﺳﺎﺗﲑ:
ﺍﳌﺼﺪﺭ:ﳎﻬﻮﻝ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =0.54ﻡ.
ﺍﻟﻮﺻﻒ:
ﲤﺜﺎﻝ ﺃﺧﺮ ﻟﺴﺎﺗﲑ ﲝﺠﻢ ﺃﺻﻐﺮ ﱂ ﻳﺒﻘﻰ ﻣﻨﻪ ﺳﻮﻯ ﺍﻟﺒﻄﻦ ﻭ ﺃﻋﻠﻰ ﺍﻟﺮﺟﻞ ﻭ ﰲ ﺍﺳﻔﻞ ﺍﻟﻈﻬﺮ ﻧﻼﺣﻆ ﺫﻳﻠﻪ
ﺍﻟﺬﻱ ﺑﺮﻣﺰ ﻋﻠﻰ ﻫﻮﻳﺘﻪ.
ﺑﺎﺭﺯ: -3ﻧﻘ
88
CRAI. 1901. Fig p 62.
101
ﺍﳌﺮﺍﺟ :
Besnier.M, in MEFR. XVII. 1897. PP463-465.
S.Gsell , op cit. p 36. pl II. Fig 2.
R.Cons. XXIV. 1886-7. PP 221-225..
ﺍﳌﺼﺪﺭ:ﲪﺎﻣﺎﺕ ﺣ ّﻲ ﺍﻟﻔﺮﺳﺎﻥ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﳌﻘﺎﺳﺎﺕ .ﻁ= 1.16ﻡ .ﻉ= 0.98ﻡ
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺻﻔﻴﺤﺔ ﺣﺠﺮﻳﺔ ﻛﺒﲑﺓ ﺛﻘﺒﺖ ﰲ ﺍﻟﻮﺳﻂ ﺑﺜﻘﺐ ﻣﺴﺘﺪﻳﺮ ﻤﻞ ﺣ ّﺰ ﻛﺎﻥ ﻳﻮﺿﻊ ﻓﻮﻗﻪ ﻏﻄﺎﺀ ﻭ
ﻛﺎﻧﺖ ﺍﻟﺼﻔﻴﺤﺔ ﺗﻐﻄﻲ ﺑﺌﺮ .ﳓﺘﺖ ﺯﻭﺍﻳﺎﻫﺎ ﺍﻟﺮﺑﻌﺔ ﲜﺪﻭﻉ ﺭﺟﺎﻝ ﻭ ﻧﺴﺎﺀ ﻣﻨﻬﻢ ﺭﺟﻼﻥ ﻋﺎﺭﻳﺎ ﺍﻟﺼﺪﺭ
ﻣﺸﻌﺜﹼﺎ ﺍﻟﺸﻌﺮ ﻭ ﺍﻟﻠﺤﻴﺔ ﺑﺎﺩﻧﲔ ﻣﺪﺑﺒّﺔ )ﺳﺎﺗﲑﺍﻥ(.
ﺃﻣﺎ ﺍﻷﻣﺮﺋﺘﺎﻥ ﻓﺘﻈﻬﺮﺍﻥ ﺑﺘﺴﺮ ﺔ ﻫﻠﻨﺴﺘﻴﺔ ﺗﺘﺸﻜﹼﻞ ﻣﻦ ﺷﻜﻠﺘﺎﻥ ﻣﺘﻤﻮﺟﺘﺎﻥ ﺗﺆﻃﹼﺮ ﺍﻟﺼﺪﻏﲔ ﻭ ﺗﻨﺘﻬﻲ
ﺑﻜﻌﻴﻜﺔ ﻋﻠﻰ ﺍﻟﺮﻗﺒﺔ ﻛﻤﺎ ﺗﺘﺪﻟﹼﻲ ﺧﺼﻠﺘﲔ ﻭﺭﺍﺀ ﺍﻷﺩﻧﲔ ﻭ ﲤﺜﻞ ﻫﺎﺗﲔ ﺍﻟﺸﺨﺼﻴﺘﲔ ﺳﻜﲑﺍﺕ ﺑﺎﺧﻮﺱ.
ﺍﻟﺘ ﺭﻳ :ﺭﻏﻢ ﺗﺸﺎﻬﺑﻪ ﻣﻊ ﻧﻘﺶ ﺗﻴﻤﻘﺎﺩ )ﺃﻧﻈﺮ ﺭﻗﻢ .3ﺹ (87ﺍﻻ ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﻘﺶ ﻳﻌﻮﺩ ﺍﱃ ﻓﺘﺮﺓ ﺳﺎﺑﻘﺔ
)ﻗﺒﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ(.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻣﻦ ﺍﻟﻈﺎﻫﺮ ﺍﻥ ﻫﺪﺍ ﺍﻟﻨﻘﺶ ﳝﺜﹼﻞ ﺃﻋﻀﺎﺀ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
102
ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻷﻳﺴﺮ ﻧﻘﺸﺖ ﳒﻤﺎﺕ ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻷﳝﻦ ﺳﻠﺴﻠﺔ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻷﺧﻨﺜﺔ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ
-ﺑﻼﻃﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit.. pl V, 4. p 55.
ﺍﳌﺼﺪﺭ.:ﺍﻟﺒﺎﺯﻟﻴﻜﺎ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﳌﻘﺎﺳﺎﺕ .ﺍﺭ =0.43ﻡ .ﻁ= 1.10ﻡ..
ﺍﻟﻮﺻﻒ:
ﱂ ﻳﺒﻘﻰ ﻣﻨﻬﺎ ﺳﻮﻯ ﺍﻟﻘﺴﻢ ﺍﻷﻳﺴﺮ ﻭ ﻛﺎﻧﺖ ﺗﻮﺿﻊ ﻓﻮﻕ ﳑّﺮ ﳍﺪﺍ ﺯﺧﺮﻓﺖ ﻋﻠﻰ ﺟﻬﺎﻬﺗﺎ ﺍﻷﺭﺑﻌﺔ ﻬﺗﻤّﻨﺎ
ﻣﻨﻬﺎ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﺍﻟﱵ ﲢﻤﻞ ﻛﺄﺱ ﺗﻨﺒﻊ ﻣﻨﻪ ﺩﺍﻟﻴﺔ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﻳﺄﻛﻞ ﻣﻨﻬﺎ ﺍﻷﻳﻞ.
ﺍﻟﺘﺤﻠﻴﻞ:
103
ﺘﻞ ﻛﺄﺱ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﺍﻟﻌﻨﺐ ﰲ ﺍﻟﻔﻦ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻣﻜﺎﻧﺔ ﺗﻈﺎﻫﻲ ﺗﻠﻚ ﺍﻟﱵ ﻳﺘﻤﺘﻊ ﻬﺑﺎ ﺍﻟﺼﻠﻴﺐ ﰲ ﺍﻟﻔﻦ
ﺍﳌﺴﻴﺤﻲ ،ﻭ ﻛﻤﺎ ﻛﺎﻥ ﻳﺮﻣﺰ ﺍﱃ ﲪﺎﻳﺔ ﺍﻷﻟﻪ ﺍﻟﻄﻴﺒﺔ ﺍﳌﻤﺘﺪﺓ ﻋﻠﻰ ﻋﺎﱂ ﺍﻷﻣﻮﺍﺕ ﻭ ﺍﻷﺣﻴﺎﺀ ،ﻭﺍﺻﻞ ﺍﻟﻔﻨﺎﻥ
89
ﺍﳌﺴﻴﺤﻲ ﺗﻮ ﻴﻔﻪ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﳉﻨّﺔ ﺍﻷﺑﺪﻳﺔ.
-ﻭﺳﺎ ﺓ:
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit.. pl V. 8. P 57.
Martigny, Dictionnaire des antiquités chrétienne. 3eme édition. S.V.Vigne. p 798.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻧﻘﺸﺖ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻭﱃ ﻗﺮﱐ ﺍﻟﻮﻓﺮﺓ ﺍﻟﱵ ﲣﺮﺝ ﻣﻨﻬﺎ ﺃﻭﺭﺍﻕ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﻠﺒﻼﺏ.
-ﻭﺳﺎ ﺓ:
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit.. pl V. 3. p 57
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻧﻘﺸﺖ ﻋﻠﻰ ﺍﻟﻮﺍﺟﻬﺘﺎﻥ ﺃﻏﺼﺎﻥ ﺗﺘﻔﺮﻉ ﻣﻨﻬﺎ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
-ﻭﺳﺎ ﺓ:
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit.. pl V. p57.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
89
Picard, op cit. p 208.
104
ﺍﻟﻮﺻﻒ:
ﻧﻔﺲ ﺍﻟﺰﺧﺮﻓﺔ ﺍﻟﺴﺎﺑﻘﺔ
-ﻋﻤﻮ :
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit.. pl V. 4.p 60.
ﺍﳌﺼﺪﺭ:ﺍﻟﺒﺎﺯﻟﻴﻜﺎ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻧﻘﺸﺖ ﻋﻠﻰ ﺍﺣﺪﻯ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺃﺭﺑﻊ ﲰﻜﺎﺕ ﻣﺘﻨﺎ ﺮﺓ ﲢﻤﻞ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ ﺣﺒّﺔ ﻋﻨﺐ ﺑﻔﻤﻬﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻌﺘﱪ ﻫﺪﺍ ﺍﳌﺸﻬﺪ ﺭﻣﺰ ﺳ ّﺮ ﺍﻟﻘﺮﺑﺎﻥ ﺍﳌﻘﺪّﺱ ﺍﻟﺪﻱ ﺘﻔﻞ ﺑﻪ ﺍﳌﺘﻌﺒّﺪﻳﻦ ﺍﳌﺴﻴﺤﻴﲔ.
ﻋﻤﻮ :
ﺍﳌﺮﺍﺟ :
S.Gsell , op cit. p 36. pl VI.3.P 60
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻧﻘﺸﺖ ﰲ ﺍﳉﺎﻧﺐ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﻭﺍﺟﻬﺔ ﺍﻟﻌﻤﻮﺩ ﺩﺍﻟﻴﺘﲔ ﻣﺘﻌﺎﻧﻘﺘﲔ ﻳﺒﺪﻭ ﺍﻬﻧﺎ ﻛﺎﻧﺖ ﺗﻨﺒﻌﺎﻥ ﻣﻦ ﻛﺄﺱ ،ﻭ ﰲ
ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻧﺮﻯ ﲰﻜﺎﺕ ﻛﺘﻠﻚ ﺍﻟﱵ ﺷﺎﻫﺪﻧﺎﻫﺎ ﺳﺎﺑﻘﺎ ،ﺃﻣﺎ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻟﺮﺍﺑﻌﺔ ﻓﺘﺰﺩﺍﻥ ﺑﻐﺼﻦ ﺍﻟﻠﺒﻼﺏ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻣﺮﺓ ﺃﺧﺮﻯ ﻧﺸﺎﻫﺪ ﺍﻋﺎﺩﺓ ﺗﻮ ﻴﻒ ﻋﻨﺎﺻﺮ ﺩﻳﻮﻧﻴﺰﻳﺔ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﺑﻌﺪ
ﺍﳌﻮﺕ ﻟﻠﻤﺘﻌﺒﺪﻳﻦ ﺍﳌﺴﻴﺤﻴﲔ )ﺍﻟﺴﻤﻚ ﺫﻭ ﺣﺒّﺎﺕ ﺍﻟﻌﻨﺐ(.
105
ﻟﺒﺎﺧﻮﺱ: ﺑﺎﺭﺯ -6ﻧﻘ
ﺍﳌﺮﺍﺟ :
M.Le Capitaine Maitrot, in R.Cons. 1911. p 86.
ﺍﳌﺼﺪﺭ:ﻗﻮﺱ ﻧﺼﺮ ﺳﺒﺘﻴﻢ ﺳﻔﲑ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﻟﻮﺻﻒ:
ﻣﻦ ﺑﲔ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺰﺧﺮﻓﻴﺔ ﺍﳌﻜﻮّﻧﺔ ﻟﺪﻳﻜﻮﺭ ﻫﺪﺍ ﺍﻟﻘﻮﺱ ﻭ ﺑﺎﻟﻀﺒﻂ ،ﰲ ﺍﻟﻮﺍﺟﻬﺔ ﺍﳉﻨﻮﺑﻴﺔ ﺗﻈﻬﺮ ﺻﻮﺭﺓ
ﺑﺎﺧﻮﺱ ﰲ ﻗﻼﺩﺓ ﺑﺸﻌﺮ ﻳﺮﻓﺮﻑ ﻭ ﺧﻄﻢ ﺮ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻌﺘﱪ ﻫﺪﺍ ﺍﻟﻨﻘﺶ ﺍﻟﺒﺎﺭﺯ ﻣﺜﺎﻝ ﻧﺎﺩﺭ ﻳﺼﻮﺭ ﺑﺎﺧﻮﺱ ﲟﻼﻣﺢ ﺣﻴﻮﺍﻧﻴﺔ )ﺧﻄﻢ ﺍﻟﻨﻤﺮ( ﰲ ﻗﻼﺩﺓ .
-7ﻣﻨﺤﻮﺗﺔ ﺑﺎﺧﻴﺔ:
ﺍﳌﺮﺍﺟ
M.Le Capitaine Maitrot, op cit. p 624. n°25.
ﺍﳌﺼﺪﺭ:ﺿﻤﻦ ﳎﻤﻮﻋﺔ ﻟﻘﻰ ﺑﺎﳌﺒ ﺍﻟﺪﻳﲏ sacrum
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ:ﺣﺠﺮ
ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﺧﻄﻢ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ.
ﻋﻨﺎﺑﺔ:
ﺑﺎﺭﺯ: -1ﻧﻘ
ﺍﳌﺮﺍﺟ
L.Leschi, Algérie antique. Paris 1952. p22.
S.Dahmani, Hippo Regius. Alger 1973. p 104. fig 1.
ﺍﳌﺼﺪﺭ:ﺍﳌﺴﺮﺡ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻋﻨﺎﺑﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
106
ﺍﻟﻮﺻﻒ:
ﻧﻘﺶ ﺑﺎﺭﺯ ﳝﺜﻞ ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ ﻭ ﻫﻲ ﲢﻤﻞ ﻋﻠﻰ ﻛﺘﻔﻬﺎ ﻗﻄﻌﺔ ﻣﻦ ﻤﻮﺭ ﻭ ﻫﻲ ﰲ ﺣﺎﻟﺔ ﺍﳍﺬﻳﺎﻥ
ﺍﻟﺒﺎﺧﻲ ،ﻭ ﰲ ﻗﺎﻋﺪﺓ ﺍﻟﻨﻘﺶ ﺗﻈﻬﺮ ﺍﻟﻄﺒﻠﺔ ﺭﻣﺰ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺫﺍﺕ ﺍﻷﺟﺮﺍﺱ ). (crotales
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻮﺣﻲ ﺍﻟﺴﻜﲑﺍﺕ ﺇﱃ ﻧﺴﺎﺀ ﻣﺪﻳﻨﺔ ﻃﻴﺒﺔ ﺍﻟﱵ ﺃﺻﺎﻬﺑﺎ ﺍﳉﻨﻮﻥ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻋﻨﺪﻣﺎ ﺍﻧﺘﻘﻢ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻦ ﺃﻫﻠﻬﺎ
ﺍﻟﻠﺬﻳﻦ ﺭﻓﻀﻮﺍ ﺍﻻﻋﺘﺮﺍﻑ ﺑﻪ ﻛﺎﻟﻪ.
107
ﺍﻹﺣﺎﻟﺔ:
90
ﻳﺸﺒﻪ ﲤﺜﺎﻻﻥ ﺑﺎﻳﻄﺎﻟﻴﺎ.
-3ﺑﺎﻃﻴﺔ ﻳﻮﻧﻴﺰﻳﺔ:
ﺍﳌﺮﺍﺟ
Marec.E, « Le forum d’Hippone » in LIBYCA. 1954. P 408. Fig 13,14,15.
S.Dahmani, op cit. p 104. Fig 1..
ﺍﳌﺼﺪﺭ:ﺍﻟﻔﻮﺭﻭﻡ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻋﻨﺎﺑﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 55ﺳﻢ .ﻁ= 60ﺳﻢ .ﻗﻄﺮ= 90ﺳﻢ .ﺍﺭ ﺍﳌﺘﻮﻗﻊ= 1.40ﻡ.
ﺍﻟﻮﺻﻒ:
ﺍﻛﺘﺸﻔﺖ ﻋﺪﺓ ﺃﺟﺰﺍﺀ ﻣﻦ ﺑﺎﻃﻴﺔ ﻏﺎﻳﺔ ﰲ ﺍﳉﻤﺎﻝ ،ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻨﻬﺎ ﻣﺰﺩﺍﻥ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻌﺮﻭﺗﺎﻥ
ﺑﺮﺃﺳﻲ ﺳﻴﻼﻥ ﺍﳌﻠﺘﺤﻲ ﺍﳌﻜﻠﹼﻞ ﺑﺎﻟﻌﻨﺐ ﻭ ﺍﳉﺮﻳﺴﺎﺕ ،ﻭ ﰲ ﺍﳉﺰﺀ ﺍﻷﻋﻠﻰ ﻧﻘﺶ ﻣﻨﻈﺮ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ
ﱂ ﻳﺘﺒﻘﻰ ﻣﻨﻪ ﺳﻮﻯ ﺑﻌﺾ ﺍﳉﺰﺍﺀ ﻛﺎﻟﺮﺟﻞ ﻭ ﺍﺳﻔﻞ ﺍﻟﺘﻮﻧﻴﻚ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻌﺘﱪ ﻫﺪﻩ ﺍﻟﺒﺎﻃﻴﺔ ﻣﺰﺩﻭﺟﺔ ﺍﻟﺮﻣﺰﻳﺔ ،ﻓﺮﺃﻧﺎ ﻛﻴﻒ ﺃﻥ ﺍﻟﺒﺎﻃﻴﺔ ﺗﻌﺘﱪ ،ﰲ ﺣﺪ ﺫﺍﻬﺗﺎ ،ﻋﻨﺼﺮﺍ ﺩﻳﻮﻧﻴﺰﻳﺎ ﻗﻮﻳﺎ
ﻳﺸﲑ ﺍﱃ ﻗﻮﺓ ﺍﻷﻟﻪ ﺍﻟﺴﺤﺮﻳﺔ ﻤﻠﻬﺎ ﻛﺴﻼﺡ ﺧﻼﻝ ﺍﳌﻌﺎﺭﻙ ﻭ ﻛﻘﻨﺎﻉ ﻭﻗﺎﺋﻲ ﺿﺬ ﺍﻷﺭﻭﺍﺡ ﺍﻟﺸﺮﻳﺮﺓ ،ﻫﺪﺍ
ﻣﻦ ﺟﻬﺔ.
ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ،ﺍﻟﺰﺧﺮﻓﺔ ﺍﻟﱵ ﲢﻤﻞ ﻫﺪﻩ ﺍﻟﺒﺎﻃﻴﺔ ﻣﻘﺘﺒﺴﺔ ﻣﻦ ﺍﻟﻔﻦ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺗﻮ ﻒ ﻣﺮﺑّﻲ ﺍﻹﻟﻪ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﻋﻀﻮ ﻫﺎﻡ ﻣﻦ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
ﺍﻹﺣﺎﻟﺔ:
ﺍﻟﻠﻮﻓﺮvase Borghése. ﺍﻹﻧﺎﺀ ﺍﻟﺒﻮﺭﺟﻴﺰﻱ ﲟﺘﺤﻒ
-4ﻣﻨﺤﻮﺗﺔ ﺑﺎﺧﻴﺔ:
ﺍﳌﺮﺍﺟ
Marec.E, « notes et documents ». in LIBYCA. T VI. 1958. P166. Fig 7..
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻋﻨﺎﺑﺔ
90
Lexicon iconographicum mythologiae classica. (LIMC) T III.1. Dionysos 123a. p 307. (Roma). Dionysos 124b.
p 308 (Palvalentini).
108
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﳌﻘﺎﺳﺎﺕ :ﻉ= 0.15ﻡ .ﻉ= 0.075ﻡ.
ﺍﻟﻮﺻﻒ:
ﻋﺎﺭﺓ ﻋﻦ ﻗﺪﻡ ﲢﻔﺔ ﺑﺮﻭﻧﺰﻳﺔ ﻳﻨﺘﻬﻲ ﲟﺨﺎﻟﺐ ﺍﻟﺸﻘﺮ ﺗﺸﻜﹼﻞ ﻗﺎﻋﺪﺓ ﻋﻤﻴﺪ ﻳﺮﺗﻜﺰ ﻋﻠﻴﻬﺎ ﺟﺪﻉ ﺍﻣﺮﺍﺀﺓ ﲢﻤﻞ
ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻭ ﻓﻮﺍﻛﻪ ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻌّﺪ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﳌﺎﺃﻟﻮﻓﺔ ﻭ ﻬﻮﺭﻩ ﰲ ﻫﺪﻩ ﺍﻟﺘﺤﻔﺔ ﳚﻌﻠﻨﺎ ﻧﺘﺴﺄﻝ ﻋﻦ ﺍﻣﻜﺎﻧﻴﺔ
ﺭﺑﻄﻬﺎ ﺑﺼﻮﺭﺓ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﻗﺮﺑﺎﻥ ﺍﻟﻌﻨﺐ ﰲ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺪﺭﻳﺔ؟
109
ﺎ ﻴﻞ ﻳﻮﻧﻴﺰﻳﺔ ﻬﻮﻟﺔ ﺍﳌﺼﺪﺭ:
-2ﺟﺰﺀ ﻣﻦ ﺎﻝ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
G.Souville, op cit. n°701..
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﻟﻮﺻﻒ:
ﱂ ﻳﺒﻘﻰ ﻣﻦ ﺍﻟﺘﻤﺜﺎﻝ ﺳﻮﻯ ﺭﻣﺰﻩ ﺍﻟﺸﻬﲑ ،ﺃﻻ ﻭﻫﻮ ،ﺍﳌﺰﺭﺍﻕ ﺍﳌﺰﺧﺮﻑ ﺑﺄﻭﺭﺍﻕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻛﺎﻥ
ﳝﺴﻚ ﺑﻪ ﺍﻷﻟﻪ.
110
ﺍﻟﻮﺻﻒ:
ﳓﺖ ﺭﺃﺱ ﺑﺎﺧﻮﺱ ﺑﻄﺮﻳﻘﺔ "ﺍﳍﺮﻣﺲ" HERMESﻳﻈﻬﺮ ﺍﻟﻮﺟﻪ ﻣﺘﻄﺎﻭﻝ ،ﺍﻷﺫﻧﲔ ﺟﺪ ﻋﺎﻟﻴﺔ ،ﺍﻷﻧﻒ
ﻣﺴﻄﹼﺢ ،ﺣﺠﺎﺝ ﺍﻟﻌﻴﻨﺎﻥ ﻃﻮﻳﻞ ﻭ ﻛﺬﺍ ﺍﻟﻠﺤﻴﺔ ﻭ ﺍﻟﺸﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ:
91
ﺗﻌﺘﱪ ﻧﺴﺨﺔ ﻣﺘﻮﺳﻄﺔ ﺍﻷﺩﺍﺀ ﻟﻨﻤﻮﺫﺝ ﻫﻠﻠﻴﲏ ﺃﳒﺰﻩ ﺍﻟﻔﻨﺎﻥ ﺃﻟﻜﺎﻣﲔ ﰲ ﻣﺪﻳﻨﺔ ﺑﺮﺟﺎﻡ.
91
Bieber, Jahrbuch. 1917. p 8.
111
-2.2ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﻭ ﺍ ﻨﺎﺋﺰﻳﺔ:
-2ﻧﺼ ﺟﻨﺎﺋﺰﻱ:
ﺍﳌﺮﺍﺟ :
F..Missonier, « Stéles et inscriptions de Gouraya » in R.Af. 1933. p 72. -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.61ﻡ .ﻉ= 0.51ﻡ.
ﺍﻟﻮﺻﻒ:
112
ﻳﻈﻬﺮ ﰲ ﺍﻟﻮﺍﺟﻬﺔ ﻓﺎﺭﺱ ﳝﺘﻄﻲ ﺣﺼﺎﻥ ﻭ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻋﺼﻔﻮﺭ ﻭ ﻧﻼﺣﻆ ﺷﺨﺺ ﺃﺧﺮ ﻗﺼﲑ
ﺍﻟﻘﺎﻣﺔ ﻳﺴﺘﻘﺒﻠﻪ ،ﻭ ﰲ ﺍﻷﻋﻠﻰ ﺗﺎﺝ ﳐﻤّﺲ ﻭ ﻭﺭﻗﺘﺎﻥ ﻣﻦ ﺍﻟﻠﺒﻼﺏ ﻛﻤﺎ ﻧﻼﺣﻆ ﻭﺭﻗﺔ ﻟﺒﻼﺏ ﺑﲔ ﻛﻠﻤﺎﺕ
ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﱵ ﺗﺬﻛﺮ ﺍﺳﻢ ﺍﳌﻴﺖ "ﻓﻜﺘﻮﺭ ﻳﻮﻟﻴﻮﺱ" ﻭ ﺍﺳﻢ ﺍﳌﻬﺪﻳﺔ ﺃﻣﻪ "ﻣﻮﻧﺎ".
ﺍﻟﺘﺤﻠﻴﻞ:
ﻧﺴﺘﻄﻴﻊ ﺍﻟﻘﻮﻝ ﺃﻥ ﻫﺪﺍ ﺍﻟﻨﺼﺐ ﻳﻔﻮﻕ ﺍﻟﻨﺼﺐ ﺍﻷﻭﻝ ﰲ ﺍﻷﳘﻴﺔ ﻷﻧﻪ ﻮﻱ ﻋﻨﺎﺻﺮ ﺩﻳﻮﻧﻴﺰﻳﺔ ﺇﺿﺎﻓﻴﺔ
ﻋﻼﻭﺓ ﻋﻠﻰ ﺃﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ﺍﻟﱵ ﻗﻠﻨﺎ ﺃﻬﻧﺎ ﺗﻌﺘﱪ ﻛﻌﻼﻣﺔ ﻋﻦ ﳑﺎﺭﺳﺔ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﺗﺬﻛﺮﻧﺎ
ﺑﺎﻟﺪﻳﻮﻧﻴﺰﻳﲔ ﺍﻟﺘﺮﺍﺳﻴﲔ ﺍﻟﺪﻳﻦ ﻛﺎﻧﻮﺍ ﻳﺴﺘﻮﴰﻮﻥ ﺑﺄﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ1ﺗﻌﺒﲑﺍ ﻋﻦ ﺇﳝﺎﻬﻧﻢ ﺑﺎﻟﻪ ﺍﳋﻤﺮ ﻭ ﺍﻟﻌﻨﺐ.
ﺃﻣﺎ ﺍﻟﻌﻨﺼﺮﺍﻥ ﺍﻵﺧﺮﺍﻥ ﻓﺎﻷﻭﻝ ﻳﻜﻤﻦ ﰲ ﺃﲰﺎﺀ ﺍﳌﻴﺖ ﻭﺃﻣﻪ "ﻓﻜﺘﻮﺭ ﻭ ﻣﻮﻧﺎ" ﺍﻟﱵ ﻋﺮﻓﺖ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ
ﻭ ﺗﺒﺪﻭ ﻣﺮﺗﺒﻄﺔ ﲟﺪﻟﻮﻝ ﺩﻳﲏ ﺑﻴﺪ ﺃﻬﻧﺎ ﺗﻨﺴﺐ ﺇﱃ ﺃﺷﺨﺎﺹ ﻣﻄﻠﹼﻌﲔ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﻣﺪﻥ
ﺃﺧﺮﻯ ﻣﻦ ﺍﳉﺰﺍﺋﺮ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻛﺴﻄﻴﻒ ﻭ ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ2ﺣﻴﺚ ﻭﺟﺪﺕ ﻛﺘﺎﺑﺎﻬﺗﻢ ﺍﻟﱵ ﺗﻄﺮﻗﻨﺎ ﺇﻟﻴﻬﺎ ﰲ
ﺩﺭﺍﺳﺘﻨﺎ ﻫﺪﻩ.
ﺍﻟﻌﻨﺼﺮ ﺍﻟﺜﺎﱐ ﰲ ﺭﺃﻱ ﻣﻴﺴﻮﻧﻴﻲ ﻟﻪ ﻋﻼﻗﺔ ﺑﺼﻮﺭﺓ ﺍﻟﻔﺎﺭﺱ ﺍﻟﱵ ﻳﺆﻭﻟﹼﻬﺎ ﺑﺼﻮﺭﺓ "ﺍﻟﺼﻴّﺎﺩ ﺍﻟﺒﻄﻞ" ﺍﻟﺬﻱ
ﻳﻈﻬﺮ ﻋﻠﻰ ﺍﻷﻧﺼﺎﺏ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﺘﺮﺍﺳﻴﺔ ﻛﻤﺎ ﻳﻈﻬﺮ ﻫﻨﺎ ﰲ ﻗﻮﺭﺍﻳﺔ ﲝﻴﺚ ﺣﻮﻟﹼﺖ "ﻣﻮﻧﺎ" ﺍﻷﻡ ﻋﺎﺑﺪﺓ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﺑﻨﻬﺎ ﺇﱃ ﺑﻄﻞ ﺻﻴّﺎﺩ ﻭ ﻭﺿﻌﺖ ﻟﻪ ﺍﻟﻨﺼﺐ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺗﻌﻠﹼﻘﻬﺎ ﺑﺎﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ .ﻭ ﻋﻠﻰ ﻫﺪﺍ
ﺍﻷﺳﺎﺱ ﻳﻘﺘﺮﺡ ﻭﺟﻮﺩ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﲟﺪﻳﻨﺔ ﻗﻨﻮﻗﻮ ﻣﻊ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ.
ﺍﻟﺘ ﺭﻳ :ﻣﺮﺣﻠﺔ ﺩﻳﻮﻗﻠﻴﺎﻧﻮﺱ.
1
F.Missonier, op cit. P 72.
2
CIL.VIII, 8547 et 916.
113
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻣﻜﺴﻮﺭ ﰲ ﺍﻷﺳﻔﻞ ﳓﺖ ﺃﻋﻼﻩ ﺍﳍﻼﻝ ﻭ ﰲ ﺃﺳﻔﻠﻪ ﻛﻮﺓ ﺗﺄﻭﻱ
ﺍﳌﻬﺪﻱ ﻋﺎﺭﻱ ﻭﺍﻗﻒ ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﻳﺮﻓﻊ ﻳﺪﻳﻪ ﰲ ﻫﻴﺌﺔ ﺍﻟﺼﻼﺓ ﻭ ﻳﻘﺪﻡ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻣﻦ ﺍﻟﻌﻨﺐ ﻭ
ﺑﺎﻷﺧﺮﻯ ﻛﻌﻚ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ Iﻕ.ﻡ -ﺍﻟﻘﺮﻥ Iﻡ.
ﺍﻟﻨﺼ ﺭ ﻢ :2
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. 1966.n°16.Pl XVII.4.p 440. -
A Maitrot de la Motte-Capron, B A H.n°33.1913.p 159. -
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻫﻴﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.59ﻡ .ﻉ=0.33ﻡ .ﺱ= 0.05ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﻨﺤﻮﺕ ﺑﻄﺮﻳﻘﺔ ﺑﺪﺍﺋﻴﺔ ﺧﻄﻴﺔ ﳓﺖ ﺃﻋﻠﻪ ﺍﳍﻼﻝ ﻭ ﰲ ﺃﺳﻔﻠﻪ ﻛﻮﺓ ﺗﻈﻬﺮ
ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﻋﺎﺭﻳﺔ ﻭﺍﻗﻔﺔ ﺗﻘﺪﻡ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻛﻌﻜﺔ ﻭ ﺑﺎﻷﺧﺮﻯ ﻋﻨﻘﻮﺩ ﻣﻦ ﺍﻟﻌﻨﺐ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻬﺎ ﳝﺮ
ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ Iﻕ.ﻡ -ﺍﻟﻘﺮﻥ Iﻡ.
ﺍﻟﻨﺼ ﺭ ﻢ :3
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°19. p 440
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻫﻴﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.45ﻡ .ﻉ=0.36ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻋﺎﺭﻱ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻛﻌﻜﺔ ﻭ ﺑﺎﻷﺧﺮﻯ
ﻋﻨﻘﻮﺩ ﻣﻦ ﺍﻟﻌﻨﺐ ﻭ ﺃﺳﻔﻠﻪ ﻳﻈﻬﺮ ﺍﳋﺮﻭﻑ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ Iﻡ.
114
ﺍﻟﻨﺼ ﺭ ﻢ :4
ﺍﳌﺮﺍﺟ :
-M. Leglay, op cit. 1966.n°44 n°1.
ﺍﳌﺼﺪﺭ :ﻓﻮﻕ ﺍﻟﻔﻮﺭﻭﻡ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻫﻴﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.30ﻡ .ﻉ= 0.28ﻡ .ﺱ= 0.03ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﲔ ﺳﻌﻔﺘﺎﻥ ﻳﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻭ ﻳﻘﺪﻡ ﰲ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ
ﻋﻨﻘﻮﺩ ﻣﻦ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ Iﻡ.
ﺍﻟﻨﺼ ﺭ ﻢ :5
ﺍﳌﺮﺍﺟ :
ﺍﻟﻨﺼ ﺭ ﻢ:6
433 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 59ﺍﻟﻠﻮﺣﺔ .21
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°26. p 442
ﺍﳌﺼﺪﺭ :ﺃﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﳍﺎ ﲟ ﻝ ﻣﻦ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺘﺄﺧﺮﺓ
115
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.25ﻡ .ﻉ= 0.17ﻡ .ﺱ= 0.06ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﲔ ﺳﻌﻔﺘﺎﻥ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ ﻭ ﻳﻘﺪﻡ ﰲ ﻳﺪﻩ
ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ ﻣﻦ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ Iﻡ.
116
ﺭﻢ:9 ﺍﻟﻨﺼ
433 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 60ﺍﻟﻠﻮﺣﺔ .21
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°31. Pl XVII.6. p 443
- A. Maitrot, op cit. 1913. p160 -
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.74ﻡ .ﻉ= 0.29ﻡ .ﺱ= 0.06ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻋﺎﺭﻱ ﻓﻮﻕ
ﻗﺎﻋﺪﺓ ﻧﻘﺸﺖ ﻭﺍﺟﻬﺘﻬﺎ ﺑﺼﻮﺭﺓ ﲪﻞ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺗﻨﺒﻊ ﺣﺒﻠﺔ ﻋﻨﺐ ﻏﻠﻴﻈﺔ ﻳﺴﺘﻨﺪ ﻋﻠﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ
ﻳﻘﺪﻡ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ ﺿﺨﻢ ﻳﺄﻛﻞ ﻣﻨﻪ ﺛﻌﺒﺎﻥ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻌﻨﺐ ﺍﻟﺬﻱ ﺳﻨﺘﻄﺮﻕ ﺇﻟﻴﻪ ﰲ ﺍﻷﺧﲑ ﻳﻈﻬﺮ ﰲ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﻋﻨﺼﺮ ﻣﺄﻟﻮﻑ ﰲ
ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﻫﻮ ﺣﺒﻠﺔ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﺜﻌﺒﺎﻥ ﺍﻟﺬﻱ ﻳﺄﻛﻞ ﻣﻨﻪ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 10 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°32. p 444
- A. Maitrot, op cit. 1913. p160
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.06ﻡ .ﻉ= 0.25ﻡ .ﺱ= 0.17ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ
ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺑﺎﻷﺧﺮﻯ ﺍﻟﻜﻌﻜﺔ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
117
ﺭ ﻢ: 11 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°34.Pl XVIII.1. p 444
- A. Maitrot, op cit. 1913. p161
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.58ﻡ .ﻉ= 0.20ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﻓﻮﻕ ﻛﺒﺶ ﻳﺴﲑ ﺇﱃ ﺍﻟﻴﻤﲔ
ﻭ ﲤﺴﻚ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﺿﺨﻢ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 12 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°36.Pl XVIII.2. p 445.
- A. Maitrot, op cit. 1913. p162
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻭﺭﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.38ﻡ .ﻉ= 0.26ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﺫﻭ ﺛﻨﺎﻳﺎ ﻭ ﺗﻘﺪﻡ ﰲ
ﻳﺪﻫﺎ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻭ ﰲ ﺍﻷﺧﺮﻯ ﳝﺎﻣﺔ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°37. p 445
- - Delamare, Explorations…Pl 190
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
118
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻭﺭﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.38ﻡ .ﻉ= 0.26ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﺫﻭ ﺛﻨﺎﻳﺎ ﻭ ﺗﻘﺪﻡ ﰲ
ﻳﺪﻫﺎ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻭ ﰲ ﺍﻷﺧﺮﻯ ﳝﺎﻣﺔ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 14 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-M. Leglay, op cit. 1966.n°38.P 445.
-A. Maitrot, op cit.p160 -
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.28ﻡ .ﻉ= 0.29ﻡ .ﺱ= 0.03ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻋﻠﻮﻱ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺑﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ
ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 15 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°39 . p 445 Pl XVIII.3.
- A. Maitrot, op cit.p160
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.61ﻡ .ﻉ=0.34ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻭﺍﻗﻔﺎ ﻳﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻗﺼﲑ ﻭ
ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ.
119
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 16 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°40. p 44 6.
- A. Maitrot, op cit.p161
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.64ﻡ .ﻉ= 0.26ﻡ .ﺱ= 0.04ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻬﺑﺎ ﺳﻌﻔﺘﺎﻥ ﺗﺸﻜﻼﻥ ﻗﻮﺱ ﻳﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﻮﺍﻗﻒ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ
ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻭ ﻛﻌﻜﺔ ﰲ ﺍﻷﺧﺮﻯ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 17 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°41. p 44 6.
- A. Maitrot, op cit.p161
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.39ﻡ .ﻉ= 0.24ﻡ .ﺱ= 0.05ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ
ﺍﻟﻴﺴﺮﻯ ﻭ ﻛﻌﻜﺔ ﰲ ﺍﻷﺧﺮﻯ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 18 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°42. p 44 6
- A. Maitrot, op cit.p161
120
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.36ﻡ .ﻉ= 0.35ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ
ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 19 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°44. p 44 6
- A. Maitrot, op cit.p162
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.45ﻡ .ﻉ= 0.29ﻡ .ﺱ= 0.29ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ
ﺍﻟﻴﺴﺮﻯ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ .
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 20 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°47. p 44 7
- A. Maitrot, op cit.p162
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.06ﻡ .ﻉ= 0.26ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔﻭ ﻛﻮﺓ ﻣﺜﻠﺜﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ.
121
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 21 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°53. p 448
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﻧﺎﻓﻮﺭﺓ ﺍﻟﻘﻮﺭﻗﻮﻥ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.68ﻡ .ﻉ= 0.33ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻳﻈﻬﺮ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﻤﻦ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 22 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°54. p 449
- A. Maitrot, op cit.p161
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.54ﻡ .ﻉ= 0.28ﻡ .ﺱ= 0.03ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﺑﺘﻮﻧﻴﻚ ﻃﻮﻳﻞ ﻭ ﻫﻲ ﺗﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ
ﺍﻟﻴﺴﺮﻯ ﻭ ﻛﻌﻚ ﰲ ﺍﻟﻴﻤﻦ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 23 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°58. p 449
- A. Maitrot, op cit. N° 61. p148
122
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.80ﻡ .ﻉ= 0.24ﻡ .ﺱ= 0.20ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﳝﺜﻞ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﺑﻄﻨﻒ ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﻋﻤﻮﺩﺍﻥ ﻳﻘﻒ ﲢﺘﻪ ﺍﳌﻬﺪﻱ
ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﺳﻌﻔﺔ ﻭ ﺑﺎﻷﺧﺮﻯ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻧﻼﺣﻆ TOGE ﻳﺮﺗﺪﻱ ﺍﻟﺘﻮﺟﺎ
ﻣﺬﺑﺢ ﺻﻐﲑ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 24 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°60. p 450
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.30ﻡ .ﻉ= 0.25ﻡ .ﺱ= 0.055ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﻣﺆﻃﺮﺓ ﺑﺴﻌﻔﺘﺎﻥ ﻣﺘﻨﺎﺿﺪﺗﺎﻥ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ،ﺍﻟﻜﻌﻜﺔ
ﻭ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 25 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°70. p 451
ﺍﳌﺼﺪﺭ :ﺑﲔ ﺍﻟﺴﻮﻕ ﻭ ﻧﺎﻓﻮﺭﺓ ﺍﻟﻘﻮﺭﻗﻮﻥ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.40ﻡ .ﻉ= 0.22ﻡ .ﺱ= 0.67ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﳜﺘﻔﻲ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻭ ﺗﻈﻬﺮ ﺍﻟﻘﺮﺍﺑﲔ ﺑﲔ ﺳﻌﻔﺘﺎﻥ )ﺇﻛﻠﻴﻞ ﻭ
ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻓﻮﻕ ﻛﺒﺶ ﻭﻛﻌﻜﺔ( .
123
ﺭ ﻢ : 26 ﺍﻟﻨﺼ
433 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 61ﺍﻟﻠﻮﺣﺔ .21
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°43. p 446. PL XVIII.4
- A. Maitrot, op cit. P161-162
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.59ﻡ .ﻉ= 0.29ﻡ .ﺱ= 0.05ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﻘﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ ﻳﻬﺪﻱ ﻋﻨﻘﻮﺩﻩ
ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻭ ﺍﻟﻜﻌﻚ ﺑﺎﻟﻴﻤ ﻭ ﺃﺳﻔﻠﻪ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ .
ﺍﻟﺘ ﺭﻳ II :ﻡ III -ﻡ.
ﺭ ﻢ : 27 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°59. p 450. pl XVIII.5
- A. Maitrot, op cit. P 163
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.62ﻡ .ﻉ= 0.36ﻡ .ﺱ= 0.04ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻬﺑﺎ ﺳﻌﻔﺘﺎﻥ ﺍﻟﻨﺨﻴﻞ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﻭ ﰲ
ﺍﻷﺳﻔﻞ ﺑﺎﻟﺮﻛﻦ ﺍﻷﳝﻦ ﻳﻮﺟﺪ ﺍﻟﻜﺒﺶ ﺑﻴﻨﻤﺎ ﺗﻈﻬﺮ ﰲ ﺍﻟﻮﺳﻂ ﻛﻌﻜﺔ ﻭ ﺗﺎﺝ ﻓﻮﻗﻬﻤﺎ ﺍﻟﻌﻨﻘﻮﺩ ﺍﻟﺬﻱ ﻳﻌﻠﻮﻩ
ﺇﻛﻠﻴﻞ ﻫﻼ ﺍﻟﺸﻜﻞ .ﻳﻄﻐﻰ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﻃﺎﺑﻊ ﺍﻟﺴﺬﺍﺟﺔ.
ﺍﻟﺘ ﺭﻳ II :ﻡ .
ﺭ ﻢ : 28 ﺍﻟﻨﺼ
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺇﻳﺒﻮﻥ
124
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ ﻋﻠﻰ ﺟﺎﻧﺒﻪ ﺍﻷﻳﺴﺮ ﺗﻮﺟﺪ
ﺳﻌﻔﺔ ﻴﻞ ﻭ ﺃﺳﻔﻠﻪ ﻛﺒﺶ ﻭ ﻫﻮ ﻳﻘﺪﻡ ﰲ ﻳﺪﻩ ﺍﻟﻴﻤ ﻛﻌﻜﺔ ﻭ ﰲ ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ.
ﻣﻼﺣ ﺔ :ﻳﺸﺒﻪ ﻧﻮﻋﺎ ﻣﺎ ﺍﻟﻨﺼﺐ ﺭﻗﻢ .26
ﺍﻟﺘ ﺭﻳ :؟
125
ﺭﻢ: 3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°17. p 410. Pl XV.5
ﺍﳌﺼﺪﺭ :ﻣﻌﺒﺪ ﺳﺎﺗﻮﺭﻥ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.40ﻡ .ﻉ = 0.27ﻡ .ﺱ = 0.06ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﲢﺖ ﻫﻼﻝ ﺗﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻭ ﻣﻌﻄﻒ ﻭ ﻬﺗﺪﻱ
ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﺴﺮﻯ ﻭ ﺍﻟﻜﻌﻜﺔ ﰲ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ.
126
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
127
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.27ﻡ .ﻉ = 0.28ﻡ .ﺱ = 0.28ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﺫﻭ ﺛﻨﺎﻳﺎ ﻭ ﺗﻘﺪﻡ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ ﻭ ﰲ ﺍﻷﺳﻔﻞ
ﻛﺘﺎﺑﺔ ﻻﺗﻴﻨﻴﺔ.
ﺭ ﻢ : 10 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°29. p 413
ﺍﳌﺼﺪﺭ :ﺍﳌﻌﺒﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.36ﻡ .ﻉ = 0.35ﻡ .ﺱ = 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﺫﻭ ﺛﻨﺎﻳﺎ ﻭ ﻣﻌﻄﻒ ﻭ ﺗﻘﺪﻡ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﻤ
ﻋﻨﻘﻮﺩ ﻛﺒﲑ ﻭ ﰲ ﺍﻷﺧﺮﻯ ﻛﻌﻜﺔ.
128
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 11 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°30. p 413
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.46ﻡ .ﻉ = 0.25ﻡ .ﺱ = 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻜﺴﻮﺭ ﰲ ﺍﻟﻘﻤﺔ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﺘﻮﻧﻴﻚ ﺫﻭ ﺛﻨﺎﻳﺎ ﺃﻓﻘﻴﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻭ
ﺍﻟﻜﻌﻚ ﺑﺎﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 12 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°31. p 413
ﺍﳌﺼﺪﺭ :ﺍﳌﻌﺒﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.50ﻡ .ﻉ = 0.35ﻡ .ﺱ = 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﻳﻈﻬﺮ ﻓﻴﻪ ﺛﻼﺙ ﻣﻬﺪﻳﻮﻥ ﺃﻭﺳﻄﻬﻢ ﻫﻮ ﺃﻛﱪﻫﻢ ﻭ ﻳﻘﻒ ﻋﻠﻰ ﻛﺒﺶ ﻭ ﻫﺬﻩ
ﺃﻣﺎ ﺍﻻﺛﻨﺎﻥ ﺍﻵﺧﺮﺍﻥ ﻳﻘﻔﺎﻥ ﻋﻠﻰ ﻗﺎﻋﺪﺓ ﻭ CALCEUS HERCULIS ﻋﻼﻣﺔ ﺍﻹﻫﺪﺍﺀ ﺇﱃ ﺍﻹﻟﻪ ﻫﺮﺍﻗﻞ
ﺍﳌﻮﺟﻮﺩ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﻋﻨﺐ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°32. p 414
ﺍﳌﺼﺪﺭ :ﺍﳌﻌﺒﺪ
129
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.35ﻡ .ﻉ = 0.40ﻡ .ﺱ = 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﺳﻔﻠﻲ ﻟﻨﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻳﻈﻬﺮ ﻓﻴﻪ ﺛﻼﺙ ﻣﻬﺪﻳﻮﻥ ﻳﻘﺪﻣﻮﻥ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﻜﻌﻚ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 14 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Tome II.N°34. p 414
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.32ﻡ .ﻉ = 0.22ﻡ .ﺱ = 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﺧﺸﻦ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻭﺍﻗﻒ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺑﺎﻷﺧﺮﻯ ﺍﻟﻜﻌﻚ.
ﺍﻟﺘ ﺭﻳ :؟
130
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ
131
- C I L VI. 5311
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﲪﺮ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.72ﻡ .ﻉ = 0.37ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺍﻟﻘﻤﺔ ﺃﳒﺰﺕ ﺑﻨﺤﺖ ﺧﻔﻴﻒ ﻭ ﳏﺎﻃﺔ ﺑﺴﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ ﻳﻘﻒ
ﺑﻴﻨﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺍﻟﻀﺨﻢ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺗﻈﻬﺮ ﻛﺘﺎﺑﺔ ﻻﺗﻴﻨﻴﺔ.
132
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻭ ﻣﻌﻄﻒ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ ﻭ ﻋﻠﻰ ﳝﻴﻨﻪ ﺳﻌﺎﻑ
ﺍﻟﻨﺨﻴﻞ.
ﺍﻟﺘ ﺭﻳ I :ﻡ.
133
ﺭﻢ: 9 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°32. p395
- I.L.A, I-200
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺴﺮﺡ ﻗﺎﳌﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻭﺭﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.25ﻡ .ﻉ = 0.27ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻟﻨﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﻋﻨﻘﻮﺩ ﺿﺨﻢ ﻭ ﺃﺳﻔﻠﻬﺎ ﺗﻈﻬﺮ ﻛﺘﺎﺑﺔ ﺑﺎﻟ ﺗﻨﻴﺔ ﺗﺬﻛﺮ
ﺇﺳﻢ ﺭﺟﻞ؟
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 10 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°34. p396
- I.L.A, I-202
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 5 .20ﻡ .ﻉ =0.32
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﺳﻔﻠﻲ ﻟﻨﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺃﺳﻔﻠﻬﺎ ﻛﺘﺎﺑﺔ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 11 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°35. p396
- I.L.A, I-204
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
134
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻟﻨﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺃﺳﻔﻠﻪ ﺗﻈﻬﺮ ﺍﻟﻜﺘﺎﺑﺔ.
ﺭ ﻢ : 12 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°45. Pl XIV-7. p398
- CIL XII, 10843
- I.L.A, I-217
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻧﺎﺭﺑﻮﻥ .ﺭﻗﻢ 391
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.33ﻡ .ﻉ = 0.29ﻡ .ﺱ = 0.14ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﳝﺜﻞ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺍﳊﻠﻮﻯ ﰲ ﺍﻟﻴﺴﺮﻯ ﻭ
ﻳﻈﻬﺮ ﺇﲰﻬﺎ ﺑﺎﻟ ﺗﻨﻴﺔ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°46. p398
- Delamare, op cit. Pl 177-10
- Gsell, I.L.A. I, n°218. p24
- CIL VI, 5321
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻟﻨﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑ ﻃﺎﺭ ﻋﻠﻮﻱ ﻳﻘﻒ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻭ ﻫﻮ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ
ﺍﳊﻠﻮﻯ ﻭ ﰲ ﺍﻹﻃﺎﺭ ﺍﻟﺴﻔﻠﻲ ﺇﺳﻢ ﺍﳌﻬﺪﻱ ﺑﺎﻟﻼﺗﻴﻨﻴﺔ.
135
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 14 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°47. p398
- Gsell, I.L.A. I, 219
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.23ﻡ .ﻉ = 0.18ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺃﺳﻔﻠﻪ ﻛﺘﺎﺑﺔ ﻻﺗﻴﻨﻴﺔ ﻷﲰﻪ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 15 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°50. p399
- Gsell, I.L.A, I. 224
- CIL VI, 5314
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﻜﺴﻮﺭ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭﺍﻟﺘﺎﺝ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 16 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°57. p400
- Delamare, op cit. Pl 178-2
136
- CIL VI, 5322=17483
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﻭﺍﻗﻔﺔ ﻗﺮﺏ ﻣﺬﺑﺢ ﻭ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ
ﺍﻟﻴﺴﺮﻯ ﻭ ﺍﳊﻠﻮﻯ ﺑﺎﻟﻴﻤ ﻭ ﺗﻌﻠﻮﻫﺎ ﺳﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ ﺃﻣﺎ ﰲ ﺍﻷﺳﻔﻞ ﺗﻈﻬﺮ ﻛﺘﺎﺑﺔ ﻏﲑ ﻭﺍﺿﺤﺔ.
ﺍﻟﺘ ﺭﻳ III-II :ﻡ.
ﺭ ﻢ : 17 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°58. p401
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻭﺭﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.28ﻡ ﻉ= 0.14ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻟﻠﻤﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻗﺮﺑﺎﻥ ﺍﻟﻌﻨﺐ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻛﺘﺎﺑﺔ
ﻏﲑ ﻭﺍﺿﺤﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 18 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°62. p401
- Delamare, op cit. Pl 110-81
- Héron de Villefosse, Musée Africain du Louvre. N° 225
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.20ﻡ .ﻉ= 0.19ﻡ ﺱ= 0.12ﻡ
137
ﺇﻛﻠﻴﻞ ﻳﺮﻣﺰ ﺇﱃ ﺍﻹﻟﻪ )(tympan ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻳﻈﻬﺮ ﰲ ﻣﺜﻠﺚ ﺟﺒﻬﺔ ﺍﻟﺒﻨﺎﺀ
ﺳﺎﺗﻮﺭﻥ ﻭ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﺴﺘﺪﻳﺮﺓ ﺗﻘﻒ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﺴﺮﻯ ﻣﻊ ﺍﳊﻠﻮﻯ
ﺍﻟﺘ ﺭﻳ :ﻣﻨﺘﺼﻒ IIﻡ.
ﺭ ﻢ : 19 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°64. p402
- Delamare, op cit. Pl 178-7
- Héron de Villefosse, op cit. n° 225
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.18ﻡ .ﻉ= 0.18ﻡ .ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﻣﻜﺴﻮﺭ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﻟﺬﺭﺍﻉ ﺍﻷﻣﺎﻣﻲ ﺍﻷﻳﺴﺮ ﻟﻠﻤﻬﺪﻱ ﻤﻞ ﺍﻟﻌﻨﻘﻮﺩ.
ﺭ ﻢ : 20 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°70. p402
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.60ﻡ .ﻉ= 0.28ﻡ .ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﰲ ﺣﺎﻟﺔ ﺣﻔﻆ ﺳﻴﺌﺔ ﻳﻈﻬﺮ ﺍﳌﻬﺪﻱ ﻳﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ .
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 21 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°73. p403
138
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.44ﻡ .ﻉ= 0.21ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﺍﻟﺘﺎﺝ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :22 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°75. p403
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.48ﻡ .ﻉ= 0.30ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻳﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻭ ﻫﻮ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 23 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. n°78. p403
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.25ﻡ .ﻉ= 0.16ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﻔﺲ ﺍﻟﺴﺎﺑﻖ
ﺍﻟﺘ ﺭﻳ :
139
ﺭ ﻢ :24 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Doublet, Catalogue du musée d’Alger. Pl V-2. p 70
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.56ﻡ .ﻉ= 0.32ﻡ .ﺱ= 0.11ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﻜﺴﻮﺭ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻏﲑ ﻭﺍﺿﺢ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ
ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :25 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Doublet, op cit. Pl V-4. p 70
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﻧﺼﺐ ﻣﻜﺴﻮﺭ ﺫﻭ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻬﺪﻱ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :
140
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﻜﺴﻮﺭ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻟﻠﻤﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ.
ﺭ ﻢ : 28 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Delamare, op cit. Pl 177-7
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺑﺜﻮﺏ ﳏﺰﻡ ﺑﻴﺪﻫﺎ
ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﲜﺎﻧﺒﻬﺎ ﺭﺟﻞ ﱂ ﻳﺒﻘﻰ ﻣﻨﻪ ﺳﻮﻯ ﻧﺼﻒ ﻭﺟﻬﻪ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 29 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
S. Gsell, I.L.A. I, n° 227 -
141
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ .ﺭﻗﻢ 1936
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﻧﺼﺐ ﺻﻐﲑ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﻴﺪﻫﺎ ﻋﻨﻘﻮﺩ ﻭ ﻗﺮﻥ ﺍﻟﻮﻓﺮﺓ ﻭ ﺃﻣﺎﻣﻬﺎ ﻋﺼﻔﻮﺭ ﻭ ﻛﺒﺶ ﻭ ﰲ
ﺍﻷﺳﻔﻞ ﺇﺳﻢ ﺑﺎﻟﺒﻮﻧﻴﺔ QTUBA RI
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 30 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
S. Gsell, op cit. n° 231 -
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﻧﺼﺐ ﺻﻐﲑ ﻣﻜﺴﻮﺭ ﰲ ﺍﻷﺳﻔﻞ ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﺑﻴﺪﻫﺎ ﻛﻌﻜﺔ ﻭ ﻋﻨﻘﻮﺩ ﻭ ﺃﻣﺎﻣﻬﺎ ﻣﺬﺑﺢ ﻭ ﰲ
ﺍﻷﺳﻔﻞ ﻛﺘﺎﺑﺔ ﻻﺗﻨﻴﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺳﻮ ﺃﻫﺮﺍﺱ:
ﺭﻢ:1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- S. Gsell, A A A, F 18. N°340
- P. Wuilleumier, Catalogue du Musée d’Alger, p 3. note 5
- Fiche d’inventaire du MNA, n°I.S.303
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
142
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.66ﻡ .ﻉ= 0.32ﻡ .ﺱ= 0.075ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻟ ﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻳﺘﻜﻮﻥ ﻣﻦ ﺳﺠﻞ ﻭﺍﺣﺪ ﻣﻘﻮﺱ ﺗﻘﻒ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﻔﺴﺘﺎﻥ ﻭﺍﺳﻊ
ﻗﺼﲑ ﻭ ﺣﺰﺍﻡ ﻭ ﻫﻲ ﺗﻘﺪﻡ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﺍﻟﻜﻌﻚ ﻭ ﰲ ﺍﻷﺧﺮﻯ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺳﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ.
ﺍﻟﺘ ﺭﻳ :
ﺗﺒﺴﺔ:
ﺭ ﻢ :1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Sabatier, « Le musée de Tebessa ». R Cons. 1906. Tome 40.p32-n°13
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻟ ﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻣﺴﺘﻄﻴﻞ ﺑﺴﺠﻠﲔ:
-1ﰲ ﺍﻷﻋﻠﻰ ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﺗﻈﻬﺮ ﰲ ﻣﺮﻛﺰﻩ ﺣﺒﻠﺔ ﺍﻟﻌﻨﺐ ﳏﻤﻠﺔ ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺒﺐ ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﻳﻘﻒ
ﺭﺟﻼﻥ ﺑﺜﻮﺏ ﺫﻭ ﺛﻨﺎﻳﺎ ﻭ ﳊﺎﻑ ﻳﺸﻜﻞ ﻧﺼﻒ ﺩﺍﺋﺮﺓ ﰲ ﺍﻟﻈﻬﺮ ﻛﻞ ﻭﺍﺣﺪ ﻣﻨﻬﻤﺎ ﳝﺴﻚ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﺳﻠﺔ
ﻭ ﻳﻘﻄﻒ ﺍﻟﻌﻨﺐ ﺑﺎﻷﺧﺮﻯ .
-2ﰲ ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﻧﻼﺣﻆ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻣﺰﺧﺮﻓﺔ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﺑﺴﻤﻜﺘﺎﻥ ﻭ ﰲ ﺍﻷﻋﻠﻰ ﺃﻃﺒﺎﻕ ﻭ
ﺑﺪﺍﺧﻞ ﺍﻟﻜﻮﺓ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﻗﺮﺑﺎﻧﻪ ﻓﻮﻕ ﺍﳌﺬﺑﺢ ﺫﻭ ﺍﻟﺸﻌﻠﺔ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻌﺘﱪ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻛﻮﻧﻪ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻳﺼﻮﺭ ﻣﺸﻬﺪ ﻗﻄﻒ ﺍﻟﻌﻨﺐ ﻭ ﺍﻟﻐﺮﻳﺐ
ﻛﺬﺍﻟﻚ ﻫﻮ ﺍﳌﻮﺿﻊ ﺍﻟﺬﻱ ﺘﻠﻪ ﺍﻟﺬﻱ ﳜﺼﺺ ﻋﺎﺩﺓ ﻟﺼﻮﺭﺓ ﺃﻭ ﺭﻣﻮﺯ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ...
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
143
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺗﻴﻤﻘﺎﺩ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.67ﻡ .ﻉ= 0.38ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ:
ﻧﺼﺐ ﻣﻨﺤﻮﺕ ﻋﻠﻰ ﻫﻴﺌﺔ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﺑﻌﻤﻮﺩﺍﻥ ﺗﻌﻠﻮﳘﺎ ﺗﻴﺠﺎﻥ ﺑﺄﻭﺭﺍﻕ ﺍﻷﺧﻨﺜﺔ ﺍﳌﺒﺴﻄﺔ ﲢﻤﻞ ﻗﻮﺱ
ﺍﳌﺪﺧﻞ ﻭ ﰲ ﺍﻟﻘﻤﺔ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﳑﺪﻭﺩ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ ﺃﻣﺎ ﺍﳌﻬﺪﻱ ﻓﻴﻘﻒ ﰲ ﺍﻟﻜﻮﺓ
ﺍﳌﻘﻮﺳﺔ ﻳﺮﺗﺪﻱ ﺛﻮﺏ ﻗﺼﲑ ﻭ ﻳﻘﺪﻡ ﻗﺮﺑﺎﻥ ﺍﻟﻌﻨﺐ ﰲ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻭ ﺑﺎﻷﺧﺮﻯ ﻳﺴﻜﺐ ﺇﻧﺎﺀ ﻋﻠﻰ ﺭﺃﺱ
ﻛﺒﺶ.
ﺍﻟﺘ ﺭﻳ III :ﻡ.
ﺭ ﻢ :2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. Pl XXV-fig 8. N°13-p 123
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.70ﻡ .ﻉ= 0.31ﻡ .ﺱ= 0.14ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﻋﻠﻰ ﻫﻴﺌﺔ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﻭ ﻣﻌﻄﻒ ﺗﻘﺪﻡ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ
ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﰲ ﺍﻟﻴﺴﺮﻯ ﺍﳊﻤﺎﻣﺔ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻬﺎ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
:Madaure ﻣﺪﺍﻭﺭ
ﺍﻟﻨﺼ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°4 , p 363
- S.Gsell, I L A-I. 2819
- CIL VI, 16724
ﺍﳌﺼﺪﺭ :ﺳﻴﺪﻱ ﺇﺑﺮﺍﻫﻴﻢ
144
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.66ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﻳﻈﻬﺮ ﻋﻨﻘﻮﺩﺍﻥ ﻭ ﺻﻮﳉﺎﻥ ﺑﲔ ﻛﻌﻜﺘﺎﻥ
-2ﰲ ﺍﻷﺳﻔﻞ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﺑﲔ ﻋﻤﻮﺩﻳﻦ ﻳﻘﺪﻡ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ ﻓﻮﻕ ﺍﳌﺬﺑﺢ
-3ﻛﺘﺎﺑﺔ ﻻﺗﻨﻴﺔ ﺑ ﺳﻢ ﺍﳌﻬﺪﻱ
ﺍﻟﺘ ﺭﻳ :
ﺭﻢ:2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :ﻏﲑ ﻣﺪﺭﻭﺳﺔ
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻜﱪﻯ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.02ﻡ .ﻉ= 0.43ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﺴﺘﻄﻴﻞ ﻳﻨﺘﻬﻲ ﲟﺸﻜﺎﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺍﻟﻘﻤﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻗﺼﲑ
ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ III-II :ﻡ
145
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﻦ ﺍﻷﻧﺼﺎﺏ ﺍﻟﺒﻮﻧﻴﺔ ﺍﳊﺪﻳﺜﺔ ) (néo-puniqueﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ
ﺍﺠﻤﻟﺴﺪ ﰲ ﺷﻜﻞ ﺗﺎﻧﻴﺖ ﻭ ﻫﻮ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ .ﺍﻟﺘﻘﻨﻴﺔ ﺧﺸﻨﺔ.
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ Iﻕ -ﻡ.
ﺭﻢ:2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°19-P 375
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.49ﻡ .ﻉ= 0.34ﻡ
ﻭﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ ﺍﳊﺪﻳﺜﺔ
ﺭﻢ:3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.n° 30-P 376
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.38ﻡ .ﻉ= 0.38ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻭ ﻛﻮﺓ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﰲ ﻫﻴﺌﺔ ﺭﻣﺰ ﺗﺎﻧﻴﺖ ﻭ ﺭﺃﺳﻪ ﻣﻐﻄﻰ ﺑﻘﺒﻌﺔ ﻳﻘﺪﻡ
ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ.
ﺍﻟﺘ ﺭﻳ I :ﻕ-ﻡ.
ﺭﻢ:4 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl A-fig 7. n° 33. P 376
146
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺍﻟﻘﻤﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﰲ ﻫﻴﺌﺔ ﺷﻜﻞ ﺗﺎﻧﻴﺖ ﻭ ﻳﻘﺪﻡ
ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ.
ﺍﻟﺘ ﺭﻳ I :ﻕ-ﻡ
ﺭ ﻢ :5 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°68 , P 379
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻀﻊ ﻗﺮﺑﺎﻧﺎ ﻋﻠﻰ ﺍﳌﺬﺑﺢ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ
ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ I :ﻡ.
ﺭ ﻢ :6 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°70, p 379
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ:
ﻭﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﺫﺍﺕ ﻗﻤﺔ ﻧﺴﺘﺪﻳﺮﺓ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﻭ ﻋﺼﻔﻮﺭ.
ﺍﻟﺘ ﺭﻳ // :
147
ﺭﻢ:7 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°75 , P 380
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.58ﻡ .ﻉ= 0.44ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﻣﻬﺪﻳﺎﻥ ﺃﺣﺪﳘﺎ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﻭ ﺗﺎﺝ.
ﺍﻟﺘ ﺭﻳ // :
ﺭﻢ:8 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl A-n°86 , P 380
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.65ﻡ .ﻉ= 0.35ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ ﰲ ﺍﻟﻴﺪ ﺍﳌ ﻭ
ﺍﻟﺘﺎﺝ ﰲ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ // :
148
ﻭﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻭ
ﺍﳊﻠﻮﻯ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ – Iﺑﺪﺍﻳﺔ IIﻡ.
ﺭ ﻢ : 10 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°91 , p 381
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﻟﻔﻮﺭﻭﻡ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.68ﻡ .ﻉ= 0.30ﻡ
ﻭﺻﻒ :ﻧﻔﺲ ﺍﻟﺪﻛﻮﺭ ﺍﻟﺴﺎﺑﻖ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﻌﻨﻘﻮﺩ ﺍﻟﻈﺎﻫﺮ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ – Iﺑﺪﺍﻳﺔ IIﻡ.
ﺭ ﻢ : 11 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-28. n°92 , p 381
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﻔﺲ ﺍﻟﺪﻛﻮﺭ ﺍﻟﺴﺎﺑﻖ .
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ : 12 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-.31 n°101 , p 382
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
149
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.56ﻡ .ﻉ= 0.33ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﺷﺒﻪ ﻣﺮﺑﻊ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﻘﻤﻴﺺ ﻗﺼﲑ ﻳﻘﺪﻡ ﻗﺮﺑﺎﻧﺎ ﺿﺨﻤﺎ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺣﻠﻮﻯ
ﰲ ﺍﻷﺧﺮﻯ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ – Iﺑﺪﺍﻳﺔ IIﻡ.
ﺭ ﻢ : 13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-39. n°118 , p 383
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.60ﻡ .ﻉ= 0.28ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺍﻟﻘﻤﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻓﻮﻕ ﻛﺒﺶ ﻳﻘﺪﻡ ﻗﺮﺍﺑﻴﻨﻪ ﺑﲔ ﻳﺪﻳﻪ ﻭ
ﻳﻈﻬﺮ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﳊﻘﻞ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺍﻟﻨﺼ ﺭ ﻢ : 14
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-41. n°121 , p 383
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.82ﻡ .ﻉ= 0.31ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻛﻮﺓ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﻘﻤﻴﺺ ﻓﻮﻕ ﺍﻟﻜﺒﺶ ﻳﻘﺪﻡ ﻗﺮﺍﺑﻴﻨﻪ ﻭ ﻳﻈﻬﺮ ﺍﻟﻌﻨﻘﻮﺩ ﰲ
ﺍﳊﻘﻞ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
150
ﺭ ﻢ : 15 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-42. n°122 , p 383
ﺍﳌﺼﺪﺭ :ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.53ﻡ .ﻉ= 0.28ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻭ ﻛﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻳﻈﻬﺮ ﰲ ﺍﳊﻘﻞ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ II :ﻡ
ﺭ ﻢ : 16 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-43. n°124 , p 384
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﺎﻋﺔ ﺍﻟﺪﺍﻓﺌﺔ ﻟﻠﺤﻤﺎ ﻣﺎﺕ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.53ﻡ .ﻉ= 0.31ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺘﻮﻧﻴﻚ ﻭ ﻤﻞ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 17 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. Pl B-48. n°132 , p 384
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﺍﻟﻔﻮﻭﻡ ﺍﳉﺪﻳﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.55ﻡ .ﻉ= 0.25ﻡ
151
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻭ ﻛﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ
ﻭ ﻗﺮﻥ ﺍﻟﻮﻓﺮﺓ ﺑﺎﻷﺧﺮﻯ.
ﺍﻟﺘ ﺭﻳ II :ﻡ.
ﺭ ﻢ : 18 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Ballu, « Rapport sur les fouilles executées en 1916 en Algérie ».
BCTHS.1917-N°36
ﺭ ﻢ : 19 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Idem. N° 41
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.54ﻡ .ﻉ= 0.34ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 20 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Ballu, op cit. N°46
ﺍﳌﺼﺪﺭ// :
152
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.67ﻡ .ﻉ= 0.34ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﺑﺜﻮﺏ ﳏﺰﻡ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺍﳊﻤﺎﻣﺔ ﰲ ﺍﻟﻴﺴﺮﻯ ﻭ ﰲ
ﺍﻷﺳﻔﻞ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﰲ ﺍﻟﺮﻛﻦ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 21 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Idem, n° 47
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.82ﻡ .ﻉ= 0.31ﻡ
ﻭﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﻛﺎﻫﻦ ﺗﺎﻧﻴﺖ ﻤﻞ ﺭﻣﺰ ﺍﳍﻼﻝ ﻭ ﺍﻹﻧﺎﺀ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﻭ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 22 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Ballu, op cit. N° 48
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.54ﻡ .ﻉ= 0.43ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻤﻞ ﺍﳍﺮﺍﻭﺓ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :؟
153
ﺭ ﻢ : 23 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Idem, n° 52
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.54ﻡ .ﻉ= 0.40ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺑﻘﻤﺔ ﻋﻠﻰ ﺷﻜﻞ ﻧﺼﻒ ﺩﺍﺋﺮﺓ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 24 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Ibid, n°53
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.56ﻡ .ﻉ= 0.33ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ
ﺭ ﻢ : 25 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- Ballu, op cit. N° 62
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.65ﻡ .ﻉ= 0.30ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻠﻮﻯ.
ﺍﻟﺘ ﺭﻳ :؟
154
ﺍﻟﻘﻌﺮﺓ:
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II- n°1. P 199
- B.A.C, 1904. p CLXI
- J.Carcopino, SYRIA.1925, pl IV bis. P 52
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﻟﺪﺍﺋﺮﺓ ﺍﻟﻌﺴﻜﺮﻳﺔ .ﺑﻮﺳﻌﺎﺩﺓ؟
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.48ﻡ .ﻉ= 0.35ﻡ .ﺱ= 0.20ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﻧﺼﻒ ﺃﺳﻄﻮﺍﱐ ﻳﻨﺘﻬﻲ ﺑﻨﺼﺐ ﺭﺑﺎﻋﻲ ﺍﻟﺰﻭﺍﻳﺎ ﻳﻈﻬﺮ ﰲ ﺍﻟﺴﺠﻞ ﺍﻷﻋﻠﻰ
ﺍﳌﻬﺪﻱ ﻓﻮﻕ ﻛﺒﺶ ﻳﻘﺪﻡ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ ﺿﺨﻢ ﻭ ﺑﺎﻷﺧﺮﻯ ﻳﺴﻜﺐ ﳏﺘﻮﻯ ﺇﻧﺎﺀ ﻋﻠﻰ ﺭﺃﺱ
ﺍﻟﻜﺒﺶ.
ﰲ ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﺗﻈﻬﺮ ﻛﺘﺎﺑﺔ ﺑ ﺳﻢ ﺟﻨﺪﻱ ﻣﻦ ﺍﻟﻔﺮﻗﺔ ﺍﻷﻏﺴﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ
ﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°2 , p 200
- J.Carcopino, op cit. n°1-P 51
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.36ﻡ .ﻉ= 0.35ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﺑﻨﺼﺐ ﺭﺑﺎﻋﻲ ﺍﻟﺰﻭﺍﻳﺎ ﻳﻈﻬﺮ ﺍﳌﻬﺪﻱ ﺧﻠﻒ ﺍﻟﻜﺒﺶ ﻳﺮﺗﺪﻱ ﻣﻌﻄﻔﺎ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ
ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ.
155
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 3
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°3 , p 200
- J.Carcopino, op cit. n°2-P 51
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.47ﻡ .ﻉ= 0.36ﻡ .ﺱ= 0.12ﻡ
ﺻﻨﺪﻭﻕ ﺑﻨﺼﺐ ﺭﺑﺎﻋﻲ ﺍﻟﺰﻭﺍﻳﺎ ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺗﻘﺪﻡ ﻋﻨﻘﻮﺩ ﻛﺒﲑ ﰲ ﺍﻟﻴﺪ ﺍﻟﻮﺻﻒ:
ﺍﻟﻴﺴﺮﻯ ﻭ ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ ﲤﺴﻚ ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 4
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°4 , p 200
- J.Carcopino, op cit. n°3-P 51
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.50ﻡ .ﻉ= 0.42ﻡ .ﺱ= 0.20ﻡ
ﺍﻟﻮﺻﻒ :ﺑﻨﺼﺐ ﺭﺑﺎﻋﻲ ﺍﻟﺰﻭﺍﻳﺎ ﻳﻈﻬﺮﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﻠﺒﺎﺱ ﻋﺴﻜﺮﻱ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ.
ﺍﻟﻘﻨﻄﺮﺓ:
ﺭﻢ: 1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, « La collection de Vulpilliére à El Kantara ». MEFR.1933 , N°6-P
71
- M.Leglay, op cit. T II, n°14. P 191
156
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ . Vulpilliéresﺍﻟﻘﻨﻄﺮﺓ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.34ﻡ .ﻉ= 0.23ﻡ
ﻭﺻﻒ :ﺑﻨﺼﺐ ﺻﻐﲑ ﺧﺸﻦ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ -IIﺑﺪﺍﻳﺔ IIIﻡ.
ﺭﻢ:2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit. 1933 , N°6. 773-74 D. P 71
- M.Leglay, op cit. T II, n°22. P 192
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.70ﻡ.
ﻧﺼﺐ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻋﻠﻰ ﺷﻜﻞ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﻓﻴﻬﺎ ﺯﺧﺮﻓﺔ ﻭﺭﺩﻳﺔ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﻋﻤﺎﺩﺍﻥ ﺍﻟﻮﺻﻒ:
ﻣﺰﺩﺍﻧﺎﻥ ﺑﺄﻭﺭﺍﻕ ﺍﻟﺮﻧﺪ ﻴﻄﺎﻥ ﺑﺎﻟﺴﺠﻞ ﺍﳌﺮﻛﺰﻱ ﺍﻟﺬﻱ ﻳﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻓﻮﻕ ﺍﻟﻜﺒﺶ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ ﻭ
ﺳﻠﺔ ﻓﻮﺍﻛﻪ ﺑﺎﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ -IIﺑﺪﺍﻳﺔ IIIﻡ.
ﺭ ﻢ :3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
157
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﺳﺠﻞ ﻣﺮﻛﺰﻱ ﻣﻌﻤﺪ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻭﺍﻗﻔﺎ ﻋﻠﻰ ﻛﺒﺶ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﺇﻧﺎﺀ ﺻﻐﲑ
ﻭ ﺑﺎﻷﺧﺮﻯ ﻋﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ -IIﺑﺪﺍﻳﺔ IIIﻡ.
158
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 6
ﺍﳌﺮﺍﺟ :
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 7
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit, .1933 . n°6.74 C, p 71
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.33ﻉ= 0.32ﻡ.ﻁ= 0.60ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﻧﺼﻒ ﺃﺳﻄﻮﺍﱐ ﺫﻭ ﻭﺍﺟﻬﺔ ﺃﻣﺎﻣﻴﺔ ﲤﺜﻞ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ
ﻳﺮﺍﻓﻘﻪ ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ III- II :ﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 8
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit, .1933 . n°6.74 D, p 71
- M.Leglay, op cit. N° 36-p196
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
159
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.44ﻉ= 0.37ﻡ.ﻁ= 0.85ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﻧﺼﻒ ﺃﺳﻄﻮﺍﱐ ﺫﻭ ﻭﺍﺟﻬﺔ ﺃﻣﺎﻣﻴﺔ ﻣﻌﻤﺪﺓ ﺑﻌﻤﺎﺩﺍﻥ ﻣﺰﺧﺮﻓﺎﻥ ﺑﺎﻟﺮﻧﺪ ﻳﻘﻒ
ﺑﻴﻨﻬﻤﺎ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻓﻮﻕ ﺍﻟﻜﺒﺶ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﻰ ﳝﻴﻨﻪ ﻳﻈﻬﺮ ﺍﳌﺬﺑﺢ.
ﺍﻟﺘ ﺭﻳ III- II :ﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 9
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit, .1933 . n°6.74 B, p 71
- M.Leglay, op cit.n°37-P 196
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.46ﻉ= 0.37ﻡ.ﻁ= 0.65ﻡ
ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﺫﻭ ﻭﺍﺟﻬﺔ ﺃﻣﺎﻣﻴﺔ ﻣﻨﻘﻮﺷﺔ ﰲ ﺷﻜﻞ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻮﺻﻒ:
ﺍﻟﻌﻨﻘﻮﺩ ﻭﰲ ﺍﻷﺳﻔﻞ ﺑﻘﻒ ﺍﻟﻜﺒﺶ ﺇﱃ ﺍﻟﻴﻤﲔ.
ﺍﻟﺘ ﺭﻳ III- II :ﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ :10
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. n°38-P 196
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.60ﻉ= 0.38ﻡ.ﻁ= 0.81ﻡ
ﺍﻟﻮﺻﻒ :ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﻧﺼﻒ ﺃﺳﻄﻮﺍﱐ ﺫﻭ ﻭﺍﺟﻬﺔ ﺃﻣﺎﻣﻴﺔ ﺑﺴﺠﻠﲔ :
-ﻛﻮﺓ ﻣﺆﻃﺮﺓ ﺑﻌﻤﺎﺩﺍﻥ ﻣﻔﺘﻮﻻﻥ ﻳﻘﻒ ﺑﻴﻨﻬﻤﺎ ﺍﳌﻬﺪﻳﺎﻥ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﻟﺮﺟﻞ ﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺍﳌﺮﺃﺓ ﺍﻟﱵ
ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ.
160
-ﻛﺒﺸﺎﻥ ﻣﺘﺼﺎﺭﻋﺎﻥ
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ :11
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit, .1933 . n°6.74 A, p 71
- M.Leglay, op cit. n°39-P 196
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.53ﻉ= 0.40ﻡ.ﻁ= 0.50ﻡ
ﺻﻨﺪﻭﻕ ﺟﻨﺎﺋﺰﻱ ﻧﺼﻒ ﺃﺳﻄﻮﺍﱐ ﺫﻭ ﻭﺍﺟﻬﺔ ﺃﻣﺎﻣﻴﺔ ﻣﻨﻘﻮﺷﺔ ﺑﻨﻘﺶ ﺑﺎﺭﺯ ﳝﺜﻞ ﺍﳌﻬﺪﻱ ﺍﻟﻮﺻﻒ:
ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﻴﺪﻩ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ III :ﻡ.
ﺍﻟﺼﻨﺪﻭ ﺭ ﻢ : 12
ﺍﳌﺮﺍﺟ :
- H.I.Marrou, op cit, .1933 . n°6.74 E, Pl II-2 n°281.p 71
- M.Leglay, op cit. N°41, Pl XXX-7. p 198
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.40ﻁ= 0.75ﻡ.ﻉ= 0.38ﻡ
ﺍﻟﻮﺻﻒ:ﻧﻘﺸﺖ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﻟﻠﺼﻨﺪﻭﻕ ﺑﻨﺤﺖ ﺑﺎﺭﺯ ﳝﺜﻞ ﺍﻟﻘﻤﺔ ﺍﳌﺜﻠﺜﺔ ﻟﻮﺍﺟﻬﺔ ﻣﻌﺒﺪ ﺫﺍﺕ ﺣﻠﻴﺔ
ﺟﺒﻬﻴﺔ ﻓﻴﻬﺎ ﻭﺭﺩﺓ ﺑﺴﺘﺔ ﺑﺘﻼﺕ ﺗﺮﻣﺰ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ .ﰲ ﺍﻷﺳﻔﻞ ﺗﻈﻬﺮ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﺄﻭﻱ ﺯﻭﺝ ﻣﻦ
ﺍﳌﻬﺪﻳﲔ ﻋﻠﻰ ﻛﺒﺸﺎﻥ ﻛﻼﳘﺎ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩﺍ.
ﺍﻟﺘ ﺭﻳ III :ﻡ
161
ﺭ ﻢ: 13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°27-Pl XXX.5, p 194
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﱐ .ﻟﻨﺪﻥ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.68ﻉ= 0.41ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻬﺑﺎ ﺯﺧﺮﻓﺔ ﻭﺭﺩﻳﺔ ﺫﺍﺕ ﺴﺔ ﺑﺘﻼﺕ ﻭ ﲢﺖ
ﺍﻟﻄﻨﻒ ﺍﳌﺮﺗﻜﺰ ﻋﻠﻰ ﻋﻤﺎﺩﺍﻥ ﻣﺰﺧﺮﻓﺎﻥ ﺑﺎﻟﺮﻧﺪ ﺗﻘﻒ ﺍﳌﻬﺪﻳﺔ ﻋﻠﻰ ﻬﺮ ﻛﺒﺶ ﻭ ﺗﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ
ﺍﻟﻴﻤ ﻭ ﻋﺼﻔﻮﺭﺍ ﰲ ﺍﻟﻴﺪ ﺍﻷﺧﺮﻯ ﻭ ﻋﻠﻰ ﻳﺴﺎﺭﻫﺎ ﺳﻠﺔ ﻓﻮﺍﻛﻪ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ – IIﺑﺪﺍﻳﺔ IIIﻡ.
162
- Delamare, op cit. Pl 23-16
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ؟
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.53ﻉ= 0.40ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻛﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﻣﻜﺴﻮﺭﺓ ﰲ ﺍﻷﺳﻔﻞ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﲢﺖ ﺍﳍﻼﻝ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ
ﰲ ﻳﺪﻩ ﺍﻟﻴﻤ .
ﺍﻟﻨﺼ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- G.Doublet, P.Gauckler, Musée de Constantine. 1893. Pl IV-1, p 85
ﺍﳌﺼﺪﺭ :ﻛﻮﺩﻳﺔ ﻋﻄﻲ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﺎ ﺓ :؟
163
ﺍﳌﻘﺎﺳﺎﺕ :ﻁ= .0.60ﻉ= 0.30ﻡ.ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻋﻠﻰ ﺷﻜﻞ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﳓﺖ ﻓﻴﻬﺎ ﺭﺃﺱ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻭ
ﰲ ﺍﻷﺳﻔﻞ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﺑﲔ ﻋﻤﻮﺩﺍﻥ ﻣﻔﺘﻮﻻﻥ ﺑﺘﻴﺠﺎﻥ ﺛﻼﺛﻴﺔ ﺍﻷﻭﺭﺍﻕ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :
ﻴﻠﺔ: Cuicul-
ﺍﻟﻨﺼ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°6, p 209
- A. Ballu, B A C. 1913. P 165
- Année Epigraphique, 1914. 43
Frugifer ﺍﳌﺼﺪﺭ :ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ ﻗﺮﺏ ﻣﻌﺒﺪ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.80ﻃﻮﻝ ﺍﻟﻀﻠﻊ= 0.135ﺳﻢ.
164
ﺍﻟﻮﺻﻒ :ﻧﺎﻗﺸﺔ ﻧﺬﺭﻳﺔ ﻋﻠﻰ ﺷﻜﻞ ﻗﺎﻋﺪﺓ ﻣﺴﺪﺳﻴﺔ ﺍﻷﺿﻼﻉ ﻧﻘﺸﺖ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺍﳋﻤﺲ ﻭ ﻟﻜﻨﻬﺎ
ﺃﺗﻠﻔﺖ .ﳝﻜﻨﻨﺎ ﺍﻟﺘﻌﺮﻑ ﺇﺑﺘﺪﺍﺀﺍ ﻣﻦ ﺍﻟﻴﺴﺎﺭ ﺷﺨﺼﻴﺔ ﻫﺮﺍﻗﻞ ﰒ ﻃﻔﻞ ﻋﺎﺭﻱ ﳝﺴﻚ ﺑ ﻟﺔ ﻣﻮﺳﻴﻘﻴﺔ ﻓ ﻭﺯ ﺃﻭ
ﺑﻄﺔ ﻭ ﺃﺧﲑﺍ ﺳﺎﺗﲑ ﺑﻘﺪﻣﻴﻪ ﺍﻟﻌﻨ ﺰﻳﺘﲔ ﻭ ﻗﺮﻭﻧﻪ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻈﻬﺮ ﻋﻀﻮ ﻣﻦ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭ ﻫﻮ ﺳﺎﺗﲑ ﺍﻟﺬﻱ ﻳﺮﺍﻓﻖ ﺍﻹﻟﻪ ﰲ ﺍﻟﺰﻳﺎﺡ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭ ﰲ
ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ .ﻭ ﻳﻌﺘﻤﺪ ﺍﻟﺒﺎﺣﺚ ﻟﻮﻗﻠﻲ 3ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺔ ﺇﱃ ﺟﺎﻧﺐ ﺻﻮﺭﺓ ﻫﺮﺍﻗﻞ ﻟﺘﺄﺭﻳﺦ ﺍﻟﻘﺎﻋﺪﺓ
ﺑﻔﺘﺮﺓ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﺮﻭﺱ ﺍﻟﱵ ﻋﺮﻓﺖ ﺇﺯﺩﻫﺎﺭ ﻋﺒﺎﺩﺓ ﺍﻹﳍﻲ ﺑﺎﺧﻮﺱ ﻭ ﻫﺮﺍﻗﻞ ﰲ ﻛﺎﻓﺔ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﻭ ﰲ
ﻴﻠﺔ ﺑﺎﻷﺧﺺ ﺇﺫ ﻳﻌﺘﱪ ﻫﺬﺍ ﺩﻟﻴﻞ ﺟﺪﻳﺪ ﻋﻦ ﳑﺎﺭﺳﺔ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ ﲜﻤﻴﻠﺔ.
ﺍﻟﺘ ﺭﻳ III -II :ﻡ.
165
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .1.62ﻉ= 0.49ﻡ .ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻳﺘﻜﻮﻥ ﻣﻦ ﺃﺭﺑﻊ ﺳﺠﻼﺕ :
-1ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﺗﺴﺘﻨﺪ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺇﻭﺯﺗﺎﻥ ﻭ ﰲ ﺍﻟﺪﺍﺧﻞ ﺳﺎﺗﻮﺭﻥ ﻓﻮﻕ ﺍﻟﻌﺮﺵ ﳏﺎﻁ ﺑﺸﺎﻳﺎﻥ ﻋﺎﺭﻳﺎﻥ
ﻳﻘﺪﻣﺎﻥ ﻗﺮﺍﺑﲔ ﻳﺒﺪﻭ ﺃﻬﻧﻤﺎ ﻋﻨﺎﻗﻴﺪ ﻋﻨﺐ.
-2ﺷﺮﻳﻂ ﺑﻪ ﻛﺘﺎﺑﺔ ﺑ ﺳﻢ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻭ ﺍﳌﻬﺪﻱ ﻭ ﺍﳌﻬﺪﻳﺔ.
-3ﺍﻟﺴﺠﻞ ﺍﻟﺜﺎﻟﺚ ﺑﻪ ﻣﻬﺪﻱ ﺃﺧﺮ ﻭ ﻣﻬﺪﻳﺔ ﺃﺧﺮﻯ
-4ﺍﻟﺴﺠﻞ ﺍﻟﺮﺍﺑﻊ ﻳﻈﻬﺮ ﻓﻴﻪ ﺭﺟﻞ ﻭ ﺛﻮﺭ ﺍﻟﺘﻀﺤﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻘﺮﻥ IIﻡ.
166
- M.Leglay, op cit. T II, n°18, p 171
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.72ﻉ= 0.44ﻡ.ﺱ= 0.17ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﺳﺠﻼﻥ:
-1ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻳﺰﺩﺍﻥ ﺭﻛﻨﻬﺎ ﺍﻷﻳﺴﺮ ﺑﺰﺧﺮﻓﺔ ﻭﺭﺩﻳﺔ ﺫﺍﺕ ﺳﺘﺔ ﺑﺘﻼﺕ
-2ﻛﻮﺓ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﻤ ﻭ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﻳﻠﺘﻒ ﺣﻮﻝ ﺍﻟﻘﺮﺑﺎﻥ.
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ -IIﺑﺪﺍﻳﺔ IIIﻡ.
4
M. Leglay, op cit. T II-p 175
167
ﺗﻴﻤﻘﺎ – : Timgad
ﺍﻟﻨﺼ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°8, p 135
- A. Ballu, R. Cagnat, Musée de Timgad….Pl V-6, p 21
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺗﻴﻤﻘﺎﺩ .ﺭﻗﻢ ﺍﳉﺮﺩ 4
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.73ﻉ= 0.47ﻡ.ﺱ= 0.16ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺫﻭ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﰲ ﺍﻟﺴﺠﻞ ﺍﻟﻌﻠﻮﻱ ﻬﺑﺎ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ ﺃﻣﺎ
ﺍﻟﺴﺠﻞ ﺍﻟﺜﺎﱐ ﻓﻘﺪ ﳓﺖ ﰲ ﺷﻜﻞ ﻛﻮﺓ ﻣﺮﺑﻌﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻭ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﻘﺮﻥ IIﻡ.
168
ﺭ ﻢ : 3ﺍﳌﺮﺍﺟ : ﺍﻟﻨﺼ
- M.Leglay, op cit. T II, n°10, Pl XXVII-5.p 135
- A. Ballu, Rapport sur les travaux ….effectués en 1925. Ed Jules
Carbonel.Alger 1926. N° 7- P 42
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.67ﻉ= 0.42ﻡ.ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﻬﺪﻯ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻣﺴﺘﻄﻴﻞ ﺍﻟﺸﻜﻞ ﺫﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﺍﻟﻘﻤﺔ ﺫﺍﺕ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﳑﺪﻭﺩ ﰲ ﻫﻴﺌﺔ ﺇﻟﻪ ﺍﻷﻬﻧﺎﺭ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﻈﻬﺮ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺗﺴﻜﺐ ﳏﺘﻮﻯ ﺍﻹﻧﺎﺀ ﻋﻠﻰ ﺍﳌﺬﺑﺢ
ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ ﻭ ﻳﻠﺘﻒ ﺣﻮﻝ ﺍﳌﺬﺑﺢ ﺛﻌﺒﺎﻥ ﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻧﺮﻯ ﻃﻔﻞ ﰲ ﻫﻴﺌﺔ ﺍﻹﻟﻪ ﻫﲑﻭﺱ Eros
ﻋﺎﺭﻱ.
-3ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﺑﻪ ﺟﻨﻴﺎﻥ ﺻﻐﲑﺍﻥ ﳝﺴﻜﺎﻥ ﺑ ﻛﻠﻴﻞ ﻛﺒﲑ ﻳﻌﻠﻮﻩ ﻛﺒﺶ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﻘﺮﻥ IIﻡ.
169
ﺭﻢ: 5 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°9.p 135
- A. Ballu, R. Cagnat, op cit. n°8- P 216
ﺍﳌﺼﺪﺭ:ﻗﺮﺏ ﲪﺎﻣﺎﺕ ﺍﻟﻔﻴﻼﺩﻟﻒ1905 .
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.90ﻉ= 0.42ﻡ.ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺑﺜﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﳑﺪﻭﺩﺍ
-2ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﳏﺘﺠﺒﺔ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﺑﺎﻟﻴﺴﺮﻯ ﺗﻌﺎﻧﻖ ﺭﻓﻴﻘﻬﺎ
-3ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﻳﺴﲑ ﺇﱃ ﺍﻟﻴﻤﲔ
5
M. Leglay, op cit. T II-P 137
170
ﺭﻢ: 7 ﺍﻟﻨﺼ
429 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 48ﺍﻟﻠﻮﺣﺔ .17
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°13.p 137
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺳﺠﻼﻥ ﻳﺸﻜﻼﻥ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ :
-1ﰲ ﺍﻟﻘﻤﺔ ﺑﻄﺒﻠﺔ ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﳑﺪﻭﺩ ﰲ ﻫﻴﺌﺔ ﺇﻟﻪ ﺍﻷﻬﻧﺎﺭ
-2ﰲ ﺍﻟﺴﻔﻞ ﺩﺍﺧﻞ ﺍﻟﻜﻮﺓ ﺍﳌﻘﺒﺒﺔ ﺗﻘﻒ ﺍﳌﻬﺪﻳﺔ ﺑﲔ ﻋﻤﺎﺩﺍﻥ ﺫﻭ ﺗﻴﺠﺎﻥ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :
171
ﺭﻢ: 9 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°50.p 152
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ .// :ﺭﻗﻢ 79
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.70ﻉ= 0.38ﻡ.ﺱ= 0.145ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺳﺠﻠﲔ :
-1ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﳑﺪﻭﺩ ﰲ ﻫﻴﺌﺔ ﺇﻟﻪ ﺍﻷﻬﻧﺎﺭ
-2ﻛﻮﺓ ﻣﻘﺒﺒﺔ ﻣﺰﺧﺮﻓﺔ ﺑﻘﻮﻗﻌﺔ ﺑﲔ ﻋﻤﺎﺩﺍﻥ ﻣﺰﺩﺍﻧﺎﻥ ﺑﺴﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ ﻳﺄﻭﻳﺎﻥ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﻋﺼﻔﻮﺭﺍ
ﻭ ﻋﻨﻘﻮﺩﺍ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻬﺎ ﻳﻈﻬﺮ ﺛﻮﺭ ﻭ ﻛﺒﺶ ﻳﺄﻛﻼﻥ ﰲ ﺳﻠﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ IIIﻡ.
ﺭ ﻢ : 10 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
M.Leglay, op cit. T II, n°54.p 154 -
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ ﺍﳉﺮﺩ 89
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.15ﻉ= 0.35ﻡ.ﺱ= 0.105ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻳﻈﻬﺮ ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺗﻘﻒ
ﺍﳌﻬﺪﻳﺔ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 11 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°60.p 155
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 76
172
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺍﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.69ﻉ= 0.305ﻡ.ﺱ= 0.91ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﰲ ﻗﻤﺘﻬﺎ ﻳﻈﻬﺮ ﺳﺎﺗﻮﺭﻥ ﳏﺠﺒﺎ ﻭ ﻛﺬﺍﻟﻚ ﰲ ﺍﻷﺳﻔﻞ ﺩﺍﺧﻞ
ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺑﲔ ﺩﻋﺎﻣﺎﻥ ﻣﺰﺧﺮﻓﺎﻥ ﺑﺄﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺃﻣﺎ ﺍﳌﻬﺪﻱ ﻓﻘﺪ ﻃﺮﻗﺖ ﺻﻮﺭﺗﻪ
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 12 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°66.p 155
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 104
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.38ﻉ= 0.38ﻡ.ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺑﻜﻮﺓ ﺻﻐﲑﺓ ﻣﻘﻮﺳﺔ ﻳﻈﻬﺮ ﺳﺎﺗﻮﺭﻥ
-2ﰲ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﻘﻒ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻭ ﺗﺴﻜﺐ ﳏﺘﻮﻯ ﺇﻧﺎﺀ ﻓﻮﻕ ﺍﳌﺬﺑﺢ
ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ
-3ﻛﺒﺶ
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ : 13 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°69. p 156
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﻠﻌﺔ ﺍﻟﺒﻴﺰﻧﻄﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 104
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.38ﻉ= 0.38ﻡ.ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﻘﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺳﺠﻼﻥ:
-1ﻛﻮﺓ ﻣﻘﺒﺒﺔ ﻭ ﻣﺆﻃﺮﺓ ﺑﺴﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ ﻣﺴﺘﻄﻴﻠﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ
173
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻬﺑﺎ ﺷﺮﻳﻂ ﻣﺰﺧﺮﻑ ﺑﺰﺧﺎﺭﻑ ﻭﺭﺩﻳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻭ ﺭﺃﺳﻪ ﺑﲔ ﻋﻨﻘﻮﺩﻳﻦ ﻭ
ﻫﻮ ﻳﻘﺪﻡ ﻗﺮﺍﺑﻴﻨﻪ ﻓﻮﻕ ﺍﳌﺬﺑﺢ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 14 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°70. p 156
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 86
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.42ﻉ= 0.22ﻡ.ﺱ= 0.11ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺳﺠﻼﻥ:
-1ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻭ ﻣﻌﻄﻒ ﻭ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 15 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°89. p 157
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 122
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺭﻣﺎﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.30ﻉ= 0.28ﻡ.ﺱ= 0.11ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺗﺒﻘﻰ ﻣﻨﻪ ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﲤﺴﻚ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻭ
ﺑﺎﻟﻴﺴﺮﻯ ﻋﺼﻔﻮﺭ.
ﺍﻟﺘ ﺭﻳ :؟
174
ﺭ ﻢ :16 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°101. p 158
ﺍﳌﺼﺪﺭ :ﻗﺮﺏ ﲪﺎﻣﺎﺕ ﻓﻴﻼﺩﻟﻒ1905 .
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 52
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.48ﻉ= 0.36ﻡ.ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻼﻥ:
-1ﺍﻟﺴﺠﻞ ﺍﳌﺮﻛﺰﻱ ﰲ ﺷﻜﻞ ﻛﻮﺓ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ
-2ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﺑﻪ ﺍﻟﻜﺒﺶ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :17 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit. T II, n°103. p 159
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :ﺭﻗﻢ 154
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.68ﻉ= 0.39ﻡ.ﺱ= 0.14ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻭﺍﻗﻔﺎ ﻋﻠﻰ
ﻗﺎﻋﺪﺓ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﻹﻧﺎﺀ patère
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ IIIﻡ.
ﺭ ﻢ : 18 ﺍﻟﻨﺼ
429 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 47ﺍﻟﻠﻮﺣﺔ . 17
ﺍﳌﺮﺍﺟ :
- P-A. Fevrier, Art de l’Algérie antique. Ed De Boccard. Paris 1971. Pl LIV
ﺍﳌﺼﺪﺭ :؟
175
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻳﺘﻜﻮﻥ ﻣﻦ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻷﻋﻠﻰ ﺇﻛﻠﻴﻞ ﻣﻜﻮﻥ ﻣﻦ ﳐﺎﺭﻳﻂ ﻣﺘﺪﺍﺧﻠﺔ ﻭ ﰲ ﺍﻟﻮﺳﻂ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ
-2ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﺩﻋﺎﻣﺘﺎﻥ ﻣﻦ ﳐﺎﺭﻳﻂ ﻭ ﰲ ﺍﻟﺮﻛﻨﲔ ﺯﺧﺮﻓﺔ ﻭﺭﺩﻳﺔ ﺗﺄﻭﻱ ﺍﻟﻜﻮﺓ ﺍﳌﺴﺘﻄﻴﻠﺔ ﺍﳌﻬﺪﻱ ﻭ
ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻫﺎ ﺍﻟﻴﻤ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 19 ﺍﻟﻨﺼ
429 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 49ﺍﻟﻠﻮﺣﺔ .17
ﺍﳌﺮﺍﺟ :
- A. Hamoutene, Inventaire du musée de Timgad. Thése pour le Doctorat 3eme
Cycle. Université d’Aix en Provence. 1983, n° I-E.36. p 103
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.82ﻉ= 0.38ﻡ.ﺱ= 0.27ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺳﺠﻞ ﻭﺍﺣﺪ ﻣﺸﻜﻞ ﻣﻦ ﺇﻃﺎﺭ ﻣﻌﻤﺎﺭﻱ ﺑﻌﻤﺎﺩﺍﻥ ﺫﻭ ﺗﻴﺠﺎﻥ ﺑﺄﻭﺭﺍﻕ
ﺍﻷﺧﻨﺜﺔ ﻭ ﻃﻨﻒ ﳓﺘﺖ ﲢﺘﻪ ﻛﻮﺓ ﻣﻘﻌﺮﺓ ﺑﺎﺭﺯﺓ ﺗﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻳﺔ ﺑﻴﺪﻫﺎ ﺍﻟﻴﻤ ﳝﺎﻣﺔ ﺗﻨﻘﺮ ﻋﻨﻘﻮﺩ ﻋﻨﺐ
ﺭ ﻢ :20 ﺍﻟﻨﺼ
430 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 52ﺍﻟﻠﻮﺣﺔ .18
ﺍﳌﺮﺍﺟ :
A. Hamoutene, op cit . 1983, n° I-E.40. p 105 -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
176
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.80ﻉ= 0.35ﻡ.ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﲝﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻭ ﺳﺠﻠﲔ :
-1ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﺎﳌﺸﺪﺏ )(serpette
-2ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﳏﻔﻮﺭ ﰲ ﻫﻴﺌﺔ ﻛﻮﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ ﺍﻟﺒﺨﻮﺭ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :21 ﺍﻟﻨﺼ
430 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 50ﺍﻟﻠﻮﺣﺔ .18
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. n° 8 , p 122 -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.10ﻡ .ﻉ= 0.32ﻡ.ﺱ= 0.25ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﲝﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻭ ﺃﺭﺑﻊ ﺳﺠﻼﺕ :
-1ﰲ ﻃﺒﻠﺔ ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﺗﻈﻬﺮ ﺯﺧﺮﻓﺔ ﻭﺭﺩﻳﺔ ﰲ ﺍﳌﺮﻛﺰ ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﻭﺭﻗﺔ ﺍﻟﻠﺒﻼﺏ
-2ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ ﺷﺎﺏ ﳏﺎﻁ ﺑﻘﺮﱐ ﺍﻟﻮﻓﺮﺓ
-3ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻳﺮﺗﺪﻱ ﺗﻮﻧﻴﻚ ﻭ ﻣﻌﻄﻒ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ
-4ﺍﻟﻜﺒﺶ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 22 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. T II, Pl XXV-5. N° 4, p 119 -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.00ﻡ .ﻉ= 0.40ﻡ.ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻳﺘﻤﻴﺰ ﺑﺪﻛﻮﺭ ﻧﺒﺎﰐ ﻋﻮﺿﺎ ﻣﻦ ﺍﻟﺪﻛﻮﺭ ﺍﳌﻌﻤﺎﺭﻱ ﺍﳌﺄﻟﻮﻑ ﺍﻟﺬﻱ ﻳﺸﻜﻞ
ﺛﻼﺛﺔ ﺳﺠﻼﺕ :
177
-1ﰲ ﺍﻷﻋﻠﻰ ﺪﺩ ﺍﻟﻄﻨﻒ ﺑ ﻛﻠﻴﻞ ﻧﺒﺎﰐ ﻳﻌﻠﻮﻩ ﺭﺃﺱ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ
-2ﺳﺠﻞ ﻳﻘﻒ ﻓﻴﻪ ﺍﳌﻬﺪﻳﲔ ،ﺍﻟﺮﺟﻞ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﺍﳌﺮﺃﺓ ﲟﻌﻄﻒ ﻃﻮﻳﻞ
-3ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﻳﺴﲑ ﻓﻴﻪ ﺍﻟﻜﺒﺶ ﺇﱃ ﺍﻟﻴﻤﲔ
ﺍﻟﺘ ﺭﻳ III-II :ﻡ
ﻻﻣﺒﻴﺰ:Lambese -
ﺭ ﻢ: 1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. 1966. T II, Pl XXIII-3. P 88 -
R. Lugand, R Const. 58.1927, 22 p 165 -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.67ﻉ= 0.325ﻡ.ﺱ= 0.09ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻋﻠﻰ ﺷﻜﻞ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﻣﺮﻛﺐ ﻣﻦ ﺛﻼﺙ ﻋﻨﺎﺻﺮ:
-1ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﳏﺠﺐ ﺑﲔ ﺍﻟﻘﻤﺮ ﻭ ﺍﻟﺸﻤﺲ
-2ﺍﻟﻜﻮﺓ ﺫﺍﺕ ﻋﻘﺪ ﻣﻨﺤﻮﺕ ﻋﻠﻰ ﺷﻜﻞ ﺻﺪﻓﺔ ﻣﻘﻌﺮﺓ ﻣﺆﻃﺮﺓ ﺑﻌﻤﻮﺩﺍﻥ ،ﺍﻷﳝﻦ ﺗﻌﻠﻮﻩ ﺑﺎﻃﻴﺔ ﺑﻌﺮﻭﺗﲔ ﻭ
ﺍﻷﻳﺴﺮ ﲪﺎﻣﺔ ﲟﻨﻘﺎﺭﻫﺎ ﻋﻨﻘﻮﺩ ﻋﻨﺐ .ﺗﺄﻭﻱ ﻫﺬﻩ ﺍﻟﻜﻮﺓ ﺍﳌﻬﺪﻳﺔ ﺑﻠﺒﺎﺱ ﺷﻌﺎﺋﺮﻱ ﻭ ﺗﻘﺪﻡ ﻗﺮﺑﺎﻥ ﻋﻠﻰ
ﺍﳌﺬﺑﺢ
-3ﺍﻟﺴﺠﻞ ﺍﻟﺴﻔﻠﻲ ﳓﺖ ﻓﻴﻪ ﺍﻟﻜﺒﺶ ﺳﲑ ﺇﱃ ﺍﻟﻴﻤﲔ ﻭ ﻳﺸﺮﺏ ﻣﻦ ﺑﺎﻃﻴﺔ ﻭ ﺧﻠﻔﻪ ﻋﺎﺯﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ
ﺍﳌﺰﺩﻭﺝ
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻈﻬﺮ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭﺍﺿﺤﺎ ﰲ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﺭﻏﻢ ﻭﺟﻮﺩ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻣﻦ ﺧﻼﻝ ﻬﻮﺭ
ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺍﳊﻤﺎﻣﺔ ﺍﻟﱵ ﺗﻨﻘﺐ ﺍﻟﻌﻨﺐ ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺍﻟﻜﺒﺶ ﺍﻟﺬﻱ ﻳﺮﺗﻮﻱ ﻣﻦ ﺍﻟﺒﺎﻃﻴﺔ ﻭ
ﺍﻟﻌﺎﺯﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ:6
-ﺍﻟﺒﺎﻃﻴﺔ ﻫﻲ ﺇﺣﺪﻯ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﺎﺳﻴﺔ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﲢﻮﻱ ﺍﻟﺸﺮﺍﺏ ﺍﳌﻘﺪﺱ
-ﺍﳊﻤﺎﻡ ﺍﻟﺬﻱ ﻳﻨﻘﺮ ﺍﻟﻌﻨﺐ ﺭﻣﺰ ﺍﳌﺴﺎﺭﻳﻦ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔﻭ ﺍﳌﻠﺘﺤﻘﻮﻥ ﲜﻨﺔ ﺑﺎﺧﻮﺱ ﻟﻠﺘﻤﺘﻊ
ﺑﺎﻷﺑﺪﻳﺔ.7
-ﺍﻟﻌﺎﺯﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ ﻋﺎﺩﺓ ﻣﺎ ﳝﺜﻞ ﺷﺨﺼﻴﺔ ﺍﻹﻟﻪ "ﺑﺎﻥ" ﻋﻀﻮ ﰲ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ.
6
M. Leglay, op cit 1966. T II, p 88
7
Daremberg, Saglio, op cit. P 623
178
-ﺍﻟﻜﺒﺶ ﺍﻟﺬﻱ ﻳﺸﺮﺏ ﻣﻦ ﺍﻟﺒﺎﻃﻴﺔ ﳝﻜﻦ ﺃﻥ ﻤﻞ ﻣﻌ "ﺍﳌﺮﺷﺪ ﺇﱃ ﺍﳌﺎﺀ" ﺍﻟﺬﻱ ﺃﺭﺷﺪ ﺟﻴﺶ ﺩﻳﻮﻧﻴﺰﻭﺱ
ﰲ ﺻﺤﺮﺍﺀ ﻟﻴﺒﻴﺎ ﻭ ﳒﺎﻫﻢ ﻣﻦ ﺍﳌﻮﺕ ﻋﻄﺸﺎ8ﻭ ﺍﻟﺒﺎﻃﻴﺔ ﺗﻌﺒﺮ ﺃﻳﻀﺎ ﻋﻦ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﰲ ﻓﺮﺩﻭﺱ ﺑﺎﺧﻮﺱ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭﻢ:2 ﺍﻟﻨﺼ
426 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 35ﺍﻟﻠﻮﺣﺔ .14
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. 1966. T II, N°14, p 67 -
R. Lugand, op cit.1927, n° 20-P 164 -
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.71ﻡ .ﻉ= 0.37ﻡ.ﺱ= 0.065ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﺜﻼﺛﺔ ﺳﺠﻼﺕ ﻣﺘﻨﺎﺿﺪﺓ ﺗﺸﻜﻞ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﺑﻌﻤﺎﺩﺍﻥ ﻣﻬﺪﺑﺎﻥ ﻤﻼﻥ
ﺍﻟﺴﺎﻛﻒ ﻭ ﰲ ﺍﻟﻘﻤﺔ ﳓﺘﺖ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻟﺴﺎﺗﻮﺭﻥ ﳏﺠﺐ ﺃﻣﺎ ﰲ ﺍﻟﺴﻔﻞ ﻳﻘﻒ ﻛﺎﻫﻦ ﺑﲔ ﻋﻤﺎﺩﺍﻥ ﺑﻌﻘﺪ
ﺍﻟﺒﻮﻻ BULLAﺭﻣﺰ ﺇﻃﻼﻋﻪ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ .ﺍﻟﺴﺠﻞ ﺍﻷﺧﲑ ﻮﻱ ﺍﻟﻜﺒﺶ
ﺍﳌﻠﺘﻔﺖ ﺇﱃ ﺍﻟﻴﻤﲔ
ﺍﻟﺘ ﺭﻳ III-II :ﻡ.
ﺭﻢ:3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
M. Leglay, op cit. 1966. T II, N°47, p 96 -
M. Besnier, M E F R. XVIII- 1898, p 475 -
ﺍﳌﺼﺪﺭ :ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﺍﳌﺴﻴﺤﻴﺔ ﺑﺎﳌﻘﱪﺓ ﺍﻟﺸﻤﺎﻟﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.60ﻡ .ﻉ=0.25ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻠﲔ :
-1ﺍﻟﺴﺠﻞ ﺍﻷﻭﻝ ﻓﻴﻪ ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ
8
M. Leglay, Saturne Africain. Histoire. 1966, p 138
179
-2ﻳﻈﻬﺮ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺜﻮﺏ ﺍﻟﺮﻭﻣﺎﱐ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻋﻨﺐ
ﺍﻟﺘ ﺭﻳ :؟
ﺭﻢ:4 ﺍﻟﻨﺼ
427 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 40ﺍﻟﻠﻮﺣﺔ .15
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, N°61, p 100
- R. Lugand, op cit.1927, n° 85-P 174
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ=0.75ﻡ .ﻉ= 0.415ﻡ.ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻠﲔ:
-1ﺍﻟﺴﺠﻞ ﺍﻟﻌﻠﻮﻱ ﺑﻪ ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ
-2ﺍﻟﻜﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﻬﺗﺪﻱ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﻋﻠﻰ ﳝﻴﻨﻬﺎ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﺍﻟﺘ ﺭﻳ :؟
ﺭﻢ:5 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, N°111, p 109
- R. Lugand, op cit.1927, n° 1-P 161
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.45ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﻗﺮﺍﺑﻴﻨﻪ )ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﻋﻠﺒﺔ ﲞﻮﺭ ( ﻭ
ﻋﻠﻰ ﳝﻴﻨﻪ ﺍﻟﻜﺒﺶ.
ﺍﻟﺘ ﺭﻳ :؟
180
ﺭ ﻢ :6 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, N°120, p 110
- R. Lugand, op cit.1927, n° 24-P 165
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.60ﻡ .ﻉ= 0.34ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﳝﺴﻚ ﺑﺎﻳﺪ ﺍﻟﻴﺴﺮﻯ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﻟﻜﺄﺱ ﻭ ﺑﺎﻟﻴﻤ ﻳﺴﻜﺐ
ﺷﺮﺍﺏ ﻓﻮﻕ ﺍﳌﺬﺑﺢ ﻭ ﻫﺬﺍ ﺭﻣﺰ ﺍﳌﺮﺍﺳﻴﻢ ﺍﻟﻄﻘﺴﻴﺔ ﺍﻟﱵ ﻳﺆﺩﻳﻬﺎ ﺍﻟﻜﺎﻫﻦ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :7 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, Pl XXIV-9. N°157, p 113
- R. Lugand, op cit.1927, n° 21-P 164
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.38ﻡ .ﻉ= 0.41ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﻜﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﺮﺗﺪﻱ ﺍﻟﺘﻮﺟﺎ ﻭ ﺗﻘﺪﻡ ﺍﻟﻌﻨﺐ ﻓﻮﻕ ﺭﺃﺱ ﺍﻟﻜﺒﺶ
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :8 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, N°158, p 113
- R. Lugand, op cit.1927, n° 19-P 164
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
181
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.48ﻡ .ﻉ= 0.41ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﻈﻬﺮ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﻬﺪﻱ ﺑﻘﺮﺑﺎﻥ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :9 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, N°36, p 94
- L. Bertrand, Catalogue du Musée de Philipeville. N° 824, p 58
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﲝﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺇﻃﺎﺭ
ﻣﻨﺤﻮﺕ ﻳﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺑﻌﻨﻘﻮﺩ ﺿﺨﻢ.
ﺍﻟﺘ ﺭﻳ :
ﺭ ﻢ :10 ﺍﻟﻨﺼ
427 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 41ﺍﻟﻠﻮﺣﺔ .15
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966. T II, Pl XXIV-8. N°50, p 97
- R. Lugand, op cit.1927, n° 46-P 169
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.88ﻡ .ﻉ= 0.33ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺯﻧﻴﺪ ﻭ ﺛﻼﺙ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺳﺎﺗﻮﺭﻥ ﲢﺖ ﻗﻮﺱ ﻣﺰﺧﺮﻑ ﺑﺎﻟ ﻟ ﻭ ﺍﻹﺳﺘﺪﺍﺭﺍﺕ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﰲ ﻋﻨﻘﻪ ﻋﻘﺪ ﺍﻟﺒﻮﻻ ﻭ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ
182
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ
ﺭ ﻢ :11 ﺍﻟﻨﺼ
427 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 39ﺍﻟﻠﻮﺣﺔ .15
ﺍﳌﺮﺍﺟ :
183
-2ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺃﻭ ﺍﻟﻜﺎﻫﻦ ﻭ ﻫﻮ ﻳﺴﻜﺐ ﺇﻧﺎﺀ ﻓﻮﻕ ﺍﳌﺬﺑﺢ
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIﻬﻧﺎﻳﺔ IIIﻡ
ﺭ ﻢ:13 ﺍﻟﻨﺼ
426 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 36ﺍﻟﻠﻮﺣﺔ .14
ﺍﳌﺮﺍﺟ :
ﺭ ﻢ : 14 ﺍﻟﻨﺼ
426 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 37ﺍﻟﻠﻮﺣﺔ .14
ﺍﳌﺮﺍﺟ :
184
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.65ﻡ .ﻉ= 0.34ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺯﻧﻴﺪ ﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﻳﻈﻬﺮ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﺆﻃﺮﺓ ﺑﻌﻤﺎﺩﺍﻥ ﻣﻘﻨﺎﻥ ﺍﳌﻬﺪﻱ ﻓﻮﻕ
ﻗﺎﻋﺪﺓ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺃﺳﻔﻠﻪ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻘﺮﻥ IIIﻡ
ﺭ ﻢ :15 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
ﺭ ﻢ : 16 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
185
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﱐ ﻣﻦ ﺍﻟﻘﺮﻥ IIIﻡ
ﺭ ﻢ : 17 ﺍﻟﻨﺼ
427 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 42ﺍﻟﻠﻮﺣﺔ .15
ﺍﳌﺮﺍﺟ :
ﺭ ﻢ : 18 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
186
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺑﻌﻤﺎﺩﺍﻥ ﻣﻀﻔﻮﺭﺍﻥ ﻤﻼﻥ ﻃﻨﻒ ﻣﺰﺧﺮﻑ ﺑﻴﻨﻬﻤﺎ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ
ﺍﻟﺒﺨﻮﺭ .
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ IIIﻡ
ﺭ ﻢ : 19 ﺍﻟﻨﺼ
ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ
ﺍﳌﺮﺍﺟ :
ﺭ ﻢ :20 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
187
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 21 ﺍﻟﻨﺼ
430 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 50ﺍﻟﻠﻮﺣﺔ .18
ﺍﳌﺮﺍﺟ :
ﺭ ﻢ : 22 ﺍﻟﻨﺼ
428 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 43ﺍﻟﻠﻮﺣﺔ .16
ﺍﳌﺮﺍﺟ :
188
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 23 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°44..P 96
- R.lugand, op cit.1927.p 161-5
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.68ﻡ .ﻉ= 0.29ﻡ .ﺱ= 0.06ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻠﲔ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ ﻣﻠﺘﺤﻲ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺑﻌﻤﺎﺩﺍﻥ ﻣﻀﻔﻮﺭﺍﻥ ﺑﻴﻨﻬﻤﺎ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ ﺍﻟﺒﺨﻮﺭ .
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ IIIﻡ
ﺭ ﻢ : 24 ﺍﻟﻨﺼ
426 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 38ﺍﻟﻠﻮﺣﺔ .14
ﺍﳌﺮﺍﺟ :
- M. Leglay, A AF.1971-Fig 19.p 146
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.65ﻡ .ﻉ= 0.21ﻡ .ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﺫﻭ ﺳﺠﻠﲔ:
-1ﺍﻟﺴﺠﻞ ﺍﻷﻋﻠﻰ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺩﺍﺧﻞ ﻛﻮﺓ ﻭ ﻫﻲ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ
-2ﰲ ﺍﻷﺳﻔﻞ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :؟
189
ﺭ ﻢ : 25 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M. Leglay, op cit. 1966.n°95.P 108
- R.lugand, op cit.1927.p 177-100
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.30ﻡ
ﺍﻟﻮﺻﻒ:ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﺑﻠﺒﺎﺱ ﻋﺴﻜﺮﻱ ﳝﺴﻚ ﺑﺎﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﺣﺒﻠﺔ ﺍﻟﻌﻨﺐ )
ﻗﺎﺋﺪ ﺍﳌﺌﺔ ( centurionﻭ ﺧﻠﻔﻪ ﳝﺮ ﺍﻟﻜﺒﺶ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :26 ﺍﻟﻨﺼ
ﺍﺍﳌﺮﺍﺟ :
- R.Lugand, op cit. n°78 P 173
- M.Leglay, op cit. N°56- P 99
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.62ﻡ .ﻉ= 0.28ﻡ .ﺱ= 0.095ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ ﳏﺠﺐ
-2ﻛﻮﺓ ﻣﺆﻃﺮﺓ ﺑﻌﻤﺎﺩﺍﻡ ﻬﺑﺎ ﺍﳌﻬﺪﻱ ﰲ ﻋﻨﻘﻪ ﻋﻘﺪ "ﺍﻟﺒﻮﻻ" ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 27 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
ﻡ.ﺩﲪﺎﱐ .1999/1998،ﺍﻟﺼﻮﺭﺓ .74ﺹ .84ﺍﺍ.ﺃ- 29.
190
ﺍﳌﺼﺪﺭ :ﴰﺎﻝ ﺍﳌﻌﺴﻜﺮ ﺍﻟﻜﺒﺒﲑ ﻷﺩﺭﻳﺎﻥ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.50ﻡ .ﻉ= 0.38ﻡ .ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻷﻩ ﺳﺎﺗﻮﺭﻥ
-2ﻛﻮﺓ ﻬﺑﺎ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﻟﻴﻤﺎﻣﺔ
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 28 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.n°79-P 104
- R.Lugand, op cit.1927.p 176-98
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.78ﻡ ﻉ= 0.32ﻡ .ﺱ= 0.8ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻞ ﻭﺍﺣﺪ ﻣﻨﺤﻮﺕ ﰲ ﺷﻜﻞ ﻛﻮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﻭ ﻣﻌﻄﻒ
ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻤﺎﻣﺔ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻳﻈﻬﺮ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 29 ﺍﻟﻨﺼ
428 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 44ﺍﻟﻠﻮﺣﺔ .16
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.n°37. P 94
- R.Lugand, op cit.1927.p 163-16
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
191
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.73ﻡ .ﻉ= 0.27ﻡ .ﺱ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺯﺧﺮﻓﺘﲔ ﻭﺭﺩﻳﺘﲔ
-2ﻛﻮﺓ ﻣﺆﻃﺮﺓ ﺑﺴﻌﺎﻑ ﺍﻟﻨﺨﻴﻞ ﺗﻘﻒ ﻬﺑﺎ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﻋﺼﻔﻮﺭﺍ ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ
ﻳﻨﻘﺐ ﺍﻟﻌﻨﺐ
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻘﺘﺮﺏ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﻣﻦ ﺍﻟﻨﺼﺐ ﺭﻗﻢ 1ﻣﻦ ﺧﻼﻝ ﺍﻟﻌﺼﻔﻮﺭ ﺍﻟﺬﻱ ﻳﻨﻘﺮ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻳﻮﺣﻲ ﻛﻤﺎ
ﻗﻠﻨﺎ ﺁﻧﻔﺎ ﺇﱃ ﺍﳌﺴﺎﺭﻳﻦ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺍﳌﻠﺘﺤﻘﲔ ﲜﻨﺔ ﺑﺎﺧﻮﺱ ﺣﻴﺚ ﻳﺘﻤﺘﻌﻮﻥ ﺑﺎﻷﺑﺪﻳﺔ.9
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 30 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
ﻡ.ﺩﲪﺎﱐ .1999/1998،ﺍﻟﺼﻮﺭﺓ.66ﺹ .80ﺍﺍ.ﺃ21.
- M.Leglay, op cit.1966. n°90-P 106
- R.Lugand, op cit.1927.p 176-108
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.72ﻡ .ﻉ= 0.46ﻡ .ﺱ= 0.15ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻞ ﻭﺍﺣﺪ ﻋﻠﻰ ﺷﻜﻞ ﻣﺸﻜﺎﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺗﻘﺪﻡ ﰲ
ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﲪﺎﻣﺔ ﻭ ﰲ ﺍﻷﺧﺮﻯ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﲤﺴﻜﻪ ﻓﻮﻕ ﺭﺃﺱ ﺍﻟﻜﺒﺶ
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ : 31 ﺍﻟﻨﺼ
428 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 45ﺍﻟﻠﻮﺣﺔ .16
ﺍﳌﺮﺍﺟ :
-M.Leglay, op cit.1966.P L XXIV-4.n°66-P 101
9
-Daremberg, Saglio, op cit.Article Bacchus-p 623
192
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.47ﻡ .ﻉ= 0.30ﻡ .ﺱ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻼﻥ:
-1ﰲ ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻬﺑﺎ ﺍﳌﻬﺪﻱ ﻳﺰﺩﺍﻥ ﻋﻨﻘﻪ ﺑ ﻛﻠﻴﻞ ﺛﻘﻴﻞ ﳝﺴﻜﻪ ﺑﺎﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ ﻭ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﺿﺨﻢ ﺑﺎﻟﻴﺪ
ﺍﻷﺧﺮﻯ
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ - IIﺑﺪﺍﻳﺔ IIIﻡ
ﺭ ﻢ :32 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-M.Leglay, op cit.1966. Pl XXIV-5.n°75.P 103
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.64ﻡ .ﻉ= 0.33ﻡ .ﺱ= 0.07ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺛﻼﺛﺔ ﺳﺠﻼﺕ ﺗﻜﻮﻥ ﺩﻛﻮﺭ ﻣﻌﺒﺪ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻬﺑﺎ ﺍﳍﻼﻝ
-2ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻃﻮﻳﻠﺔ ﻣﺆﻃﺮﺓ ﺑﻌﻤﺎﺩﺍﻥ ﻬﺑﺎ ﺍﳌﻬﺪﻱ ﰲ ﻋﻨﻘﻪ ﻋﻘﺪ ﺍﻟﺒﻮﻻ ﻳﺮﺗﺪﻱ ﺍﻟﺘﻮﺟﺎ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ
ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ
-3ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ IIﻡ
193
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.49ﻡ .ﻉ= 0.42ﻡ .ﺱ= 0.8ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﺳﺠﻼﻥ:
-1ﰲ ﺍﻟﻘﻤﺔ ﻳﻘﺎﻳﺎ ﺛﻼﺛﺔ ﺻﻮﺭ ﻧﺼﻔﻴﺔ ﻟ ﳍﺔ )ﺳﺎﺗﻮﺭﻥ ﻭ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ(
-2ﻛﻮﺓ ﺧﺸﻨﺔ ﻬﺑﺎ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﳌﻬﺪﻳﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺍﳌﻬﺪﻱ ﻭ ﰲ ﺃﻋﻠﻰ ﺍﻟﻜﻮﺓ ﻋﺒﺎﺭﺓ
pater fecit
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ:34 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-M.Leglay, op cit.1966.n°64-p 101
-R.Lugand, op cit.1927. p176-96
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.66ﻡ .ﻉ= . 0. 17ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﺗﺘﻀﻴﻖ ﳓﻮ ﺍﻷﻋﻠﻰ ﰲ ﺷﻜﻞ ﺷﺒﻪ ﻣﺜﻠﺚ:
-1ﰲ ﺍﻟﻘﻤﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ
-2ﺍﻟﺴﺠﻞ ﺍﻷﺳﻔﻞ ﺑﻪ ﺍﳌﻬﺪﻳﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ ﺍﻟﺒﺨﻮﺭ
ﺭ ﻢ :35 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-M.Leglay, op cit.1966. Pl XXIV-2. n°30 -p 92
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.54ﻡ .ﻉ= . 0.57ﺱ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﻈﻬﺮ ﰲ ﺃﻋﻼﻩ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ ﻭ ﰲ ﺍﻟﺴﺠﻞ ﺍﻷﺳﻔﻞ ﺍﳌﻬﺪﻳﺔ
ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﳊﻤﺎﻣﺔ ﻭ ﻗﺪ ﻃﺮﻗﺖ ﺍﻷﻭﺟﻪ ﰲ ﻫﺬﺍ ﺍﻟﻨﺼﺐ
194
ﺍﻟﺘ ﺭﻳ :؟
ﺍﻟﻨﺼ ﺭ ﻢ : 36
ﺍﳌﺮﺍﺟ :
-ﺍﻟﺼﻮﺭﺓ ﰲ ﻣﺼﻠﺤﺔ ﺍﻷﺭﺷﻴﻒ.ﺍﻟﻮﻛﺎﻟﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟ ﺛﺎﺭ
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭﺛﻼﺙ ﺳﺠﻼﺕ:
-1ﰲ ﺍﻷﻋﻠﻰ ﺳﺠﻞ ﻣﺴﺘﻄﻴﻞ ﺑﻪ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﺸﻤﺲ ﻭ ﺍﻟﻘﻤﺮ
-2ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻣﺰﺧﺮﻓﺔ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﲝﺰﺍﺕ ﺗﺸﻜﻞ ﺃﻭﺭﺍﻕ ﻧﺒﺎﺗﻴﺔ ﻭ ﺗﻘﻒ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻏﺮﻳﺐ
ﻣﻔﺘﻮﺡ ﰲ ﺍﻷﻣﺎﻡ ﻭ ﻓﻮﻗﻪ ﺷﺒﻪ ﻣﻌﻄﻒ ﻣﻔﺘﻮﺡ ﻭ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ .ﻳﺸﺒﻪ ﺍﻟﻨﺼﺐ ﺭﻗﻢ 34ﻭ ﻟﻜﻨﻪ ﺃﺣﺴﻦ
ﺟﻮﺩﺓ.
-3ﺳﺴﺠﻞ ﻣﺴﺘﻄﻴﻞ ﻳﻘﻒ ﻓﻴﻪ ﺍﻟﻜﺒﺶ
ﺭ ﻢ :37 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-ﺍﻟﺼﻮﺭﺓ ﰲ ﻣﺼﻠﺤﺔ ﺃﺭﺷﻴﻒ ﺍﻟﺼﻮﺭogebc .
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻣﻜﺴﻮﺭ ﰲ ﺍﻷﺳﻔﻞ ﳓﺖ ﰲ ﺍﻷﻋﻠﻰ ﺭﺃﺱ ﺳﺎﺗﻮﺭﻥ ﺑﲔ ﺍﻟﻘﻤﺮ ﻭ
ﺍﻟﺸﻤﺲ
-ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﻘﻮﺳﺔ ﻗﻠﻴﻠﺔ ﺍﻟﻌﻤﻖ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ .
ﺍﻟﺘ ﺭﻳ :؟
195
ﺟﻴﺠﻞ – :Igilgili
ﺭ ﻢ :1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-Delamare, op cit.Pl 10.Fig 2
- Heron de Villefosse, Catalogue sommaire des marbres du Louvre. N°1965
- // // , Musée Africain du Louvre. N°214
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺍﻟﻠﻮﻓﺮ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ = 0.27ﻡ.ﻉ= 0.28ﻡ.ﺱ = 0.06ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﰲ ﻗﻤﺘﻪ ﺳﺎﺗﻮﺭﻥ ﺑﺎﻟﻮﺭﺩﺓ ﻭ ﺍﳍﻼﻝ ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﻋﻨﻘﻮﺩﻳﻦ ﻣﻦ ﺍﻟﻌﻨﺐ
ﻭ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﺍﻟﱵ ﺗﺬﻛﺮ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺰﺭﺍﻋﻲ ﻟ ﻟﻪ ﻭ ﺻﻔﺘﻪ ﻛﺤﺎﻣﻲ ﺍﳊﻘﻮﻝ ﻭ ﻣﻮﺳﻢ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ .10
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ Iﺑﺪﺍﻳﺔ IIﻡ
ﺍﻳﻜﻮﺯﻳﻮﻡ: Icosium-
ﺍﻟﻨﺼ ﺭ ﻢ:1
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.T II-N°10, P 306
-P.Gavault, "Antiquités récement découvertes à Alger".R AF.38.1894-Pl Ib, pp75-77.
- Héron De Villefosse, Bull.Ant.1894.p 90
-CIL, VI-20852
10
- M.Leglay, op cit.1966.T II.p 294
196
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﺯﻧﻴﺪ ﳓﺘﺖ ﻋﻠﻰ ﺷﻜﻞ ﻭﺍﺟﻬﺔ ﻣﻌﺒﺪ ﺑﻌﻤﻮﺩﺍﻥ ﻣﻦ ﺍﻟﻄﺮﺍﺯ
ﺍﻷﻳﻮﱐ ﻤﻼﻥ ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﻭ ﰲ ﺍﻟﻄﺒﻠﺔ ﻳﻈﻬﺮ ﺍﳍﻼﻝ ﺭﻣﺰ ﺳﺎﺗﻮﺭﻥ ﻭ ﻓﻮﻕ ﺍﻟﻄﻨﻒ ﻛﺘﺎﺑﺔ ﺍﳌﻬﺪﻳﺔ .ﰲ
ﺍﻷﺳﻔﻞ ﺗﻘﻒ ﻣﻬﺪﻳﺘﺎﻥ ﰲ ﻣﺪﺧﻞ ﻣﻌﺒﺪ ﺗﻘﺪﻣﺎﻥ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ .
ﺍﻟﺘ ﺭﻳ III –II :ﻡ
ﺭ ﻢ :2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, A AF.1968. Fig 17, p 30.
-A.Devoulx, "Alger, étude archéologique et topographique".R AF.1875-T 19.n°12, p
412.
- M.K.Orfali, Inventaire des sculptures funéraires et votives de la Maurétanie
Cesarienne.Thése de Doctorat.Université d'Aix en Provence.1989.Pl XXXVI-2.
ﺍﳌﺼﺪﺭ :ﻗﺒﻮ ﺑﺸﺎﺭﻉ ﺍﻟﺒﺤﺮﻳﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.47ﻡ.ﻉ= 0.12ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻣﺄﻃﺮ ﺑﻨﺎﺗﺌﺎﺕ ﺛﻼﺛﻴﺔ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﻘﻮﺳﺔ ﺍﻟﱵ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻳﺮﺗﺪﻱ
ﺗﻮﻧﻴﻚ ﻭ ﻣﻌﻄﻒ ﻭ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :3 ﺍﻟﻨﺼ
ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.T II, P 31
- Devoulx, op cit.1875.p 327
- M.K.Orfali, op cit.Pl XXXVII-1 et 2. n°5, p 73.
ﺍﳌﺼﺪﺭ :ﻣ ﻝ ﺑﺸﺎﺭﻉ ﺍﻟﻘﻨﺼﻠﻴﲔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :؟
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.30ﻡ.ﻉ= 0.27ﻡ.ﺱ= 0.08ﻡ
197
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﺫﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﺫﺍﺕ ﻧﺘﺆﺍﺕ ﻭ ﺃﺳﻔﻞ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺗﻮﺟﺪ ﻛﻮﺓ ﺫﺍﺕ ﻗﻤﺔ
ﻣﺴﺘﺪﻳﺮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﻳﺮﻯ ﺍﻷﺳﺘﺎﺫ ﺃﻭﺭﻓﻠﻲ 11ﺃﻥ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﻳﻘﺘﺮﺏ ﺃﻛﺜﺮ ﻣﻦ ﺃﺗﺼﺎﺏ ﺷﺮﺷﺎﻝ ﻣﻦ ﺣﻴﺚ ﺗﻘﻨﻴﺔ ﺍﻟﻨﺤﺖ ﻭ
ﺍﳌﺎﺩﺓ ﺍﳌﺴﺘﻌﻤﻠﺔ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ:4 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-A.Devoulx,op cit..1875- n°12, p 412.
- A. Berbrugger, op cit.n°14.P 92
- Fiche d'inventaire du M N A. I.S.314
ﺍﳌﺼﺪﺭ :ﺷﺎﺭﻉ ﺍﻟﺒﺤﺮﻳﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.46م .ﻉ= 0.42ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻲ ﻣﻨﻪ ﺍﳉﺰﺀ ﺍﻟﻌﻠﻮﻱ ﺑﻪ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺜﻮﺏ ﺫﻭ
ﺛﻨﺎﻳﺎ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩ ﻛﺒﲑ .
ﺍﻟﺘ ﺭﻳ :؟
ﺷﺮﺷﺎﻝ:Caesarea -
ﺍﻟﻨﺼ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- C.Vatin, “Un epigramme funéraire grec de Cherchel”.A AF-T 19. 1983, pp65-
74
- B CTH, 1918-pp228-229
- )Fiche d’inventaire du M N A: I.S.396 (3345
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
11
- M.K.Orfali, op cit.1989.p 73
198
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= .0.50ﻉ= 0.25ﻡ.ﻁ= 0.045ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺰﺩﺍﻧﺔ ﻬﺑﻼﻝ ﻣﻘﻠﻮﺏ ﻭ ﺃﺳﻔﺎﻩ ﺷﻌﺮ ﺑ ﺳﻢ
"ﺑﺮﻭﻛﻠﻮﺱ" ﺍﳌﺘﻮﰲ ﻋﻠﻰ ﻋﻤﺮ ﺲ ﺳﻨﻮﺍﺕ ﻭ ﻳﻮﺻﻒ ﰲ ﺍﳋﲑ ﺑ ﺑﻦ ﻣﺮﺑﻴﺔ ﻳﻮﻧﻴﺰﻭﺱ "ﻧﻴﺰﺍ " .ﺍﺳﻔﻞ
ﺍﻟﻜﺘﺎﺑﺔ ﺗﻮﺟﺪ ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻋﻨﻘﻮﺩﺍ.
ﺫﺍﺕ ﺛﻼﺛﺔ ﺑﺘﻼﺗﺔ ﺑﺘﻼﺕ ﺗﺮﻣﺰ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺗﻮﺟﺪ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﺄﻭﻱ ﺯﻭﺝ ﻣﻦ
ﺍﳌﻬﺪﻳﲔ ﻋﻠﻰ ﻛﺒﺸﺎﻥ ﻛﻼﳘﺎ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘﺤﻠﻴﻞ:ﻳﻨﻔﺮﺩ ﻫﺬﺍ ﺍﻟﻨﺼﺐ ﺍﳉﻨﺎﺋﺰﻱ ﺑﻜﺘﺎﺑﺘﻪ ﰲ ﺻﻴﻐﺔ ﺷﻌﺮ ﻳﺬﻛﺮ ﺍﳌﻴﺖ ﻭ ﻫﻮ ﻃﻔﻞ ﰲ ﺻﻮﺭﺓ ﺍﻟﻄﻔﻞ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻹﻟﻪ ﻭ ﻣﺎ ﺫﺍﻟﻚ ﺳﻮﻯ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﻟﻌﻘﻠﻴﺔ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻹﻏﺮﻳﻘﻴﺔ ﺍﻟﱵ ﺗﺮﻯ ﺍﳊﻴﺎﺓ ﻛﻬﺪﻳﺔ ﻳﺘﺤﺼﻞ
ﻋﻠﻴﻬﺎ ﺍﻹﻧﺴﺎﻥ ﻭ ﻋﻨﺪ ﻭﻓﺎﺗﻪ ﰲ ﻭﻗﺖ ﻣﺒﻜﺮ ﻳﻌﻮﺿﻪ ﺍﻹﻟﻪ ﺑﺎﻟﺸﺒﺎﺏ ﺍﻟﺪﺍﺋﻢ ﰲ ﺍﳊﻴﺎﺓ ﺍﻷﺧﺮﺓ ﻭ ﻟﺬﺍ ﺷﺒﻪ
ﺑﺎﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﳝﻨﺢ ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ ﻭ ﺭﲟﺎ ﺗﻌﺘﱪ ﻫﺬﻩ ﺍﻟﺼﻔﺔ ﺇﺷﺎﺭﺓ ﻹﻋﺘﻨﺎﻕ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﻣﻦ ﻃﺮﻑ ﺍﻷﺑﻮﻳﻦ )ﻣﺎ ﺩﺍﻡ ﺍﻟﻄﻔﻞ ﺻﻐﲑ( ﺍﻟﺘ ﺭﻳ :؟
ﺭﻢ:2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.T II, n° 5- P 318
- H.Doisy, MEFR. 1952. N°24-P109.
ﺍﳌﺼﺪﺭ :ﻣ ﻝ ﺑﺸﺎﺭﻉ ﺍﻟﻘﻨﺼﻠﻴﲔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ .ﺭﻗﻢ ﺍﳉﺮﺩ 243
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.61ﻡ.ﻉ= 0.26ﻡ.ﺱ= 0.5ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺗﻌﻠﻮﻩ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻬﺑﺎ ﺍﻟﻮﺭﺩﺓ ﻭ ﺍﳍﻼﻝ )ﺭﻣﺰ ﺳﺎﺗﻮﺭﻥ( ﰒ ﻛﺘﺎﺑﺔ ﺍﳌﻬﺪﻱ
ﻭ ﺃﺳﻔﻠﻬﺎ ﺻﻮﺭﺓ ﺍﳌﻬﺪﻱ ﺑﻘﺮﺑﺎﻥ ﺍﻟﻌﻨﺐ ﻭ ﺣﺒﺔ ﺍﻟﺮﻣﺎﻥ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.Leglay, op cit.1966.T II,Pl XL-3. n° 10.P 319
- Berbrugger, R AF. IV.18.P 460
- Héron De Villefosse, Archives des missions scientifiques.3,2.1875. p 379
199
- CIL, VI-9328
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺍﻷﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﺃﺑﻴﺾ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.25ﻡ.ﻉ= 0.21ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻗﻤﺔ ﻣﺜﻠﺜﺔ ﰲ ﺣﺎﻟﺔ ﺣﻔﻆ ﺳﻴﺌﺔ ،ﻳﻈﻬﺮ ﰲ ﺍﻟﻘﻤﺔ ﺍﳍﻼﻝ ﻭ ﻛﺘﺎﺑﺔ ﺑﺎﻟ ﺗﻨﻴﺔ .ﰲ
ﺍﻷﺳﻔﻞ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﺴﺘﺪﻳﺮﺓ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :4 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- ……Catalogue du musée de Cherchel.Alger 1902.n°113, p14
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﺼﻮﺭ ﺍﳌﻬﺪﻱ ﰲ ﻫﻴﺌﺔ ﻃﻔﻞ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﻟﺮﻣﺎﻥ .
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :5 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- ……Catalogue du musée de Cherchel.Alger 1902.n°114, p14
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻳﺼﻮﺭ ﺍﳌﻬﺪﻱ ﻭ ﻫﻮ ﻳﻘﺪﻡ ﻗﺮﺑﺎﻥ ﺍﻟﻌﻨﻘﻮﺩ .
ﺍﻟﺘ ﺭﻳ :؟
200
ﺭ ﻢ :6 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
……Catalogue du musée de Cherchel.Alger 1902.n°286, p14-
- CIL, VI-21062
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :؟
Aemilia ﺇﱃ ﺣﻔﻴﺪﻬﺗﺎ Antistia Lucilia ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﻬﺪﻯ ﻣﻦ ﻃﺮﻑ ﺍﳉﺪﺓ
Severiaﻭ ﺗﻈﻬﺮ ﺍﳌﻬﺪﻳﺔ ﰲ ﺻﻮﺭﺓ ﻃﻔﻠﺔ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﺍﻟﺮﻣﺎﻥ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ:8 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
……Catalogue du musée de Cherchel.Alger 1902.n°406, p14-
- CIL, VI-9441
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :
201
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﻬﺪﻯ ﻣﻦ ﻃﺮﻑ Atilia Cloeﺇﱃ ﺇﺑﻨﻬﺎ Redemtusﻭ ﰲ ﺍﻟﻜﻮﺓ ﻳﻈﻬﺮ
ﺍﻟﻄﻔﻞ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ :؟
ﺗﻴﺒﺎﺯﺓ :Tipasa
ﺭ ﻢ :1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl XXV-3.
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺗﻴﺒﺎﺯﺓ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﺣﺜﻲ ﺃﺻﻔﺮ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.34ﻡ.ﻉ= 0.37ﻡ.ﺱ= 0.18ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺫﻭ ﻛﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺍﻟﻘﻤﺔ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻭ ﺑﺎﻟﻴﺴﺮﻯ
ﻋﺼﻰ.
ﺭ ﻢ :2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl XXXI-1.n° 25. P172.
ﺍﳌﺼﺪﺭ :ﻗﺒﻮ ﺑﺸﺎﺭﻋﺎ ﺍﻟﺒﺤﺮﻳﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ ﻭﺭﺩﻱ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.41ﻡ.ﻉ= 0.30ﻡ.ﺱ= 0.02ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﳝﺜﻞ ﻭﺍﺟﻬﺔ ﻣﺒ ﺻﻐﲑ ﻣﺆﻃﺮ ﺑﻌﻤﺎﺩﺍﻥ ﺫﻱ ﺗﻴﺠﺎﻥ ﻛﻮﺭﻧﺘﻴﺔ ﻳﻘﻒ ﺑﻴﻨﻬﻤﺎ ﺍﳌﻬﺪﻱ
ﻭﻫﻮ ﻃﻔﻞ ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﻳﻀﻊ ﻳﺪﻩ ﺍﻟﻴﺴﺮﻯ ﻋﻠﻰ ﺻﺪﺭﻩ ﻣﺎﺳﻜﺎ ﻋﺼﻔﻮﺭﺍ ﻭ ﺑﺎﻟﻴﺪ ﺍﻷﺧﺮﻯ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ
ﺍﻟﻌﻨﺐ.
202
ﺍﻟﺘ ﺭﻳ :؟
ﺍﻟﻨﺼ ﺭ ﻢ :1
ﺍﳌﺮﺍﺟ :
- - M.K.Orfali,op cit.1989.Pl LXIX-1.
- - M. Leglay,Reliefs inscriptions et steles de Rapidum. MEFR. 1951. PP 53-91,
n°4.
- J.P. Laporte, Rapidum. Le camp de la cohorte des Sardes en mauretanie
cesarienne. Université degli Studi.Sassari.1989. p 267, n°63.
ﺍﳌﺼﺪﺭ :ﺍﳌﻘﱪﺓ ﺍﻟﻐﺮﺑﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :؟
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﺴﺘﻄﻴﻞ ﻳﻨﺘﻬﻲ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﳓﺘﺖ ﻋﻠﻰ ﺷﻜﻞ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻭ ﰲ ﺍﻷﺳﻔﻞ
ﻛﻮﺓ ﻣﻘﻮﺳﺔ ﻣﻌﻤﺪﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻭﺍﻗﻒ ﻣﻠﺘﺤﻲ ﻳﺮﺗﺪﻱ ﺍﻟﺘﻮﺟﺎ ﻭ ﻳﻘﺪﻡ ﺍﳊﻠﻮﻯ ﻭ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺑﺎﻟﻴﺪ
ﺍﻟﻴﺴﺮﻯ ﻭ ﻳﻀﻊ ﺍﻟﻴﺪ ﺍﻷﺧﺮﻯ ﻋﻠﻰ ﻣﺬﺑﺢ ﻭ ﲢﺖ ﺃﻗﺪﺍﻣﻪ ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ .
ﺍﻟﺘ ﺭﻳ III :ﻡ
ﺭ ﻢ :2 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- - M.Leglay, op cit.1951, n° 28. p 77
- - J.P. Laporte, op cit.1989. n°67, p 268
- L.Charrier, BCTH. 1919, p 54
ﺍﳌﺼﺪﺭ// :
masqueray ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺣﺪﻳﻘﺔ
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.40ﻡ.ﻉ= .0.50ﻡ.ﺱ= 0.25ﻡ
203
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﻣﺜﻠﺜﺔ ﻭ ﻧﺘﻮﺋﲔ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﻭ ﰲ ﺍﻟﺴﻔﻞ ﺇﻃﺎﺭ
ﻣﺴﺘﻄﻴﻞ ﻣﻌﻤﺪ ﺑﻌﻤﺎﺩﺍﻥ ﻣﺘﺪﺭﺟﺎﻥ ﺗﻘﻒ ﺑﻴﻨﻬﻤﺎ ﺍﳌﻬﺪﻳﺔ ﰲ ﻫﻴﺌﺔ ﺟﺎﻓﺔ ﲣﻠﻮ ﻣﻦ ﺍﳊﻴﻮﻳﺔ ﻭ ﻫﻲ ﺗﺮﺗﺪﻱ
ﻓﺴﺘﺎﻥ ﻃﻮﻳﻞ ﲝﺰﺍﻡ ﻋﻠﻰ ﺍﳋﺼﺮ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ II :ﻡ
ﺭ ﻢ :3 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- - M.leglay, op cit.Fig 22, n°37. P 81
- - J.P. Laporte, op cit. 1989. n°2, p 285
- L.Charrier, op cit. BCTH 1912. P 469
ﺍﳌﺼﺪﺭ :ﺟﺪﺍﺭ ﻣ ﻝ ﺑﺎﻟﻘﺮﻳﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﻟﺪﺭﻙ ﺍﻟﻮﻃﲏ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.13ﻡ.ﻉ= 0.55ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﺟﻨﺎﺋﺰﻱ ﻣﺴﺘﻄﻴﻞ ﺫﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﺗﺸﻜﻞ ﺍﳊﻠﻴﺔ ﺍﳉﺒﻬﻴﺔ ﺍﻟﱵ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﻋﻨﻘﺎﺀﺍﻥ
ﻣﻐﺮﺑﺎﻥ ﻳﻀﻌﺎﻥ ﻗﺎﺋﻤﺘﻬﻤﺎ ﻋﻠﻰ ﻛﺄﺱ ﺑﻌﺮﻭﺗﺎﻥ.
ﰲ ﺍﻷﺳﻔﻞ ﺗﻮﺟﺪ ﻛﻮﺓ ﻣﺴﺘﺪﻳﺮﺓ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻣﻠﺘﺤﻲ ﻳﻀﻊ ﻳﺪﻩ ﺍﻟﻴﻤ ﻋﻠﻰ ﺭﺃﺱ ﻃﻔﻞ ﳝﺴﻚ ﺑﲔ ﻳﺪﻳﻪ
ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻛﺒﲑ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﺸﺪ ﻫﺪﺍ ﺍﻟﻨﺼﺐ ﺍﻹﻧﺘﺒﺎﻩ ﲝﻀﻮﺭ ﻋﻨﺼﺮ ﻏﲑ ﻣﺄﻟﻮﻑ ﻫﻮ ﺍﻟﻜﺄﺱ ﺍﻟﺪﻱ ﻳﻌﺘﱪ ﻋﺎﺩﺓ ﺭﻣﺰ ﻣﻦ
ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﱵ ﺗﻮﺣﻲ ﺇﱃ ﺍﻟﺸﺮﺍﺏ ﺍﳌﻘﺪﺱ ﺩﻡ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ.
ﺍﻟﺘ ﺭﻳ :؟
ﺭ ﻢ :4 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- - M.Leglay, op cit.1951, Fig 18 n°29 P 78
- J P. Laporte, op cit.1989, n°3 P 286
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :؟
ﺍﳌﺎ ﺓ// :
204
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.40ﻡ.ﻉ= 0.40ﻡ .ﺱ= 0.23ﻡ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻧﺼﺐ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻳﺔ ﺑﲔ ﻋﻤﺎﺩﺍﻥ ﻣﺸﻜﻼﻥ ﻣﻦ ﳐﺎﺭﻳﻂ ﻣﺘﺪﺍﺧﻠﺔ ﻭ ﻫﻲ ﺗﺮﺗﺪﻱ
ﺗﻮﻧﻴﻚ ﻭ ﻣﻌﻄﻒ ﻗﺼﲑ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻬﺎ ﰲ ﺍﻟﻴﺴﺎﺭ ﻳﻮﺟﺪ ﺍﻟﻌﻨﻘﻮﺩ .
ﺍﻟﺘ ﺭﻳ II :ﻡ
ﺭ ﻢ :5 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
-J P. Laporte, op cit.1989,n°3 P 286
- Berbrugger, R AF. IV.1859-60, p 94
CIL, VIII-9221-
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :؟
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.80ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻣﺴﺘﻄﻴﻞ ﺩﻭ ﻗﻤﺔ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﺣﻠﻴﺔ ﺟﺒﻬﻴﺔ ﺗﺰﺩﺍﻥ ﺑﺎﳍﻼﻝ ﻭ ﰲ ﺍﻟﺴﻔﻞ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﻭ
ﻫﻮ ﻳﻀﺤﻲ ﻋﻠﻰ ﺍﳌﺪﺑﺢ ﻭ ﲢﺖ ﺍﻟﻜﺘﺎﺑﺔ ﻳﻈﻬﺮ ﺍﻟﻜﺒﺶ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :؟
205
ﺍﻟﺘ ﺭﻳ :؟
ﺗﻴﻘﺰﻳﺮﺕ – : Iomnium
ﺭ ﻢ :1 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :ﻏﲑ ﻣﺪﺭﻭﺱ
ﺍﳌﺼﺪﺭ :ﰲ ﺟﺪﺍﺭ ﻣ ﻝ ﺧﺎﺹ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻧﻔﺲ ﺍﳌ ﻝ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.56ﻡ.ﻉ= 0.30ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﻭ ﰲ ﻣﺜﻠﺚ ﺟﺒﻬﺔ ﺍﻟﺒﻨﺎﺀ ﻳﻈﻬﺮ ﺍﳍﻼﻝ ﺑﲔ
ﻭﺭﺩﺗﺎﻥ ﺭﻣﺰ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺃﻣﺎ ﺍﻹﻃﺎﺭ ﻓﻴﺄﻭﻱ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﻭ ﻋﺼﻔﻮﺭ
ﺑﺎﻟﻴﺴﺮﻯ .
ﺍﻟﺘ ﺭﻳ III-I :ﻡ ؟
ﺭ ﻢ :2 ﺍﻟﻨﺼ
431 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 53ﺍﻟﻠﻮﺣﺔ .19
ﺍﳌﺮﺍﺟ // :
ﺍﳌﺼﺪﺭ// :
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.59ﻡ.ﻉ= 0.36ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﻛﻮﺓ ﻣﻘﺒﺒﺔ ﻭ ﻓﻴﻞ ﻣﺜﻠﺚ ﺟﺒﻬﺔ ﺍﻟﺒﻨﺎﺀ ﻳﻈﻬﺮ ﺍﳍﻼﻝ ﺑﲔ
ﺣﻴﻮﺍﻧﲔ ﱂ ﻧﺘﻌﺮﻑ ﻋﻠﻴﻬﻤﺎ ﺃﻣﺎ ﺍﻟﻜﻮﺓ ﻳﻘﻒ ﻓﻴﻬﺎ ﺍﳌﻬﺪﻱ ﺑﺎﻟﺘﻮﺟﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ // :
206
ﺭ ﻢ :3 ﺍﻟﻨﺼ
431 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 55ﺍﻟﻠﻮﺣﺔ .19
ﺍﳌﺮﺍﺟ :ﻏﲑ ﻣﻨﺸﻮﺭ
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﻘﺮ ﺍﻟﺪﺍﺋﺮﺓ ﺍﻷﺛﺮﻳﺔ
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.45ﻡ.ﻉ= 0.40ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳉﺰﺀ ﺍﻟﺴﻔﻠﻲ ﻣﻦ ﻧﺼﺐ ﻧﺬﺭﻱ ﺧﺸﻦ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻳﺮﻳﺪﻱ ﺍﻟﺘﻮﺟﺎ ﻭ ﺍﳌﻌﻄﻒ ﻭ ﳝﺴﻚ
ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ :4 ﺍﻟﻨﺼ
432 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 56ﺍﻟﻠﻮﺣﺔ .20
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl X-3.n° 19. P17.
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺟﺪﺍﺭ ﻣ ﻝ ﺧﺎﺹ
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.78ﻡ.ﻉ= 0.31ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﻛﻮﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻳﺮﺗﺪﻱ ﺍﻟﺘﻮﺟﺎ ﻭ ﺍﳌﻌﻄﻒ ﻭ
ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ ﺍﻟﺒﺨﻮﺭ .
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ :5 ﺍﻟﻨﺼ
432 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 57ﺍﻟﻠﻮﺣﺔ .20
ﺍﳌﺮﺍﺟ :
M.K.Orfali,op cit.1989.Pl XXII-3. .n° 73. P 39 -
- M.Leglay, op cit. 1966, T II. N°24-50. P 302
ﺍﳌﺼﺪﺭ :؟
207
Génie municipe ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﻌﺒﺪ
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 1.17ﻡ.ﻉ= 0.43ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﳓﺘﺖ ﻓﻴﻬﺎ ﻭﺭﺩﺍﺕ ﻭ ﺭﺃﺳﻲ ﺃﺳﺪ ﻭ ﰲ ﺍﻟﻜﻮﺓ ﺍﳌﻘﺒﺒﺔ
ﺍﳌﺆﻃﺮﺓ ﺑﻌﻤﺎﺩﺍﻥ ﺑﺴﻴﻄﺎﻥ ﻳﻘﻒ ﺍﳌﻬﺪﻱ ﺑﻌﻨﻘﻮﺩﻩ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ.
ﻳﺸﺒﻪ ﻧﺼﺐ ﺩﺭﺳﻪ ﻗﺎﻓﻮ .12
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ :6 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl IX-1.n° 13. P15.
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.63ﻡ.ﻉ= 0.30ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻘﻤﺔ ﻣﺜﻠﺜﺔ ﻭ ﻛﻮﺓ ﻣﺴﺘﻄﻴﻠﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﲔ ﺃﺣﺪﳘﺎ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ .
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ :7 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl XI-1.n° 21. P18.
- Gavault, op cit. 1897, p 122
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.55ﻡ.ﻉ= .0.4ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﻭ ﻋﻠﺒﺔ ﺍﻟﺒﺨﻮﺭ .
ﺍﻟﺘ ﺭﻳ // :
12
-P.Gavault, Etude sur les ruines romaines de Tigzirt. Ernest Leroux. Paris 1897. n°8 , Fig 22 p 124
208
ﺭ ﻢ :8 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl XXVI-3.n° 90. P47
- Gavault, op cit.1897. pp 122-127
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.53ﻡ.ﻉ= 0.42ﻡ
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﻭ ﻣﻘﺒﺐ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﳌﻬﺪﻱ ﻣﻊ ﺇﺑﻨﻪ ﺍﻟﺪﻱ ﻳﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﻳﺪﻩ ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ // :
ﺭ ﻢ :9 ﺍﻟﻨﺼ
ﺍﳌﺮﺍﺟ :
- M.K.Orfali,op cit.1989.Pl X-4.n° 20. P18.
- Gavault, op cit.1897. pp 122-127
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍﻟﻌﺮ // :
ﺍﳌﺎ ﺓ// :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 0.56ﻡ.ﻉ= 0.40ﻡ.
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﻣﺴﺘﻄﻴﻞ ﺑﻜﻮﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﻭ ﻣﻌﻄﻒ ﺗﻘﺪﻡ ﺍﻟﻌﻨﻘﻮﺩ ﺑﺎﻟﻴﺪ
ﺍﻟﻴﻤ .
ﺍﻟﺘ ﺭﻳ // :
209
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ ؟
ﺍﳌﺎ ﺓ :؟
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻧﺼﺐ ﻧﺬﺭﻱ ﺑﻜﻮﺓ ﻣﻘﺒﺒﺔ ﺗﺄﻭﻱ ﺍﳌﻬﺪﻳﺔ ﺑﺜﻮﺏ ﻃﻮﻳﻞ ﺑﲔ ﺇﺑﻨﺘﻬﺎ ﻭ ﺇﺑﻨﻬﺎ ﺍﻟﺬﻱ ﻳﻘﺪﻡ ﻋﻨﻘﻮﺩ
ﺍﻟﻌﻨﺐ ﰲ ﺍﻟﻴﺪ ﺍﻟﻴﺴﺮﻯ .
ﺍﻟﺘ ﺭﻳ :؟
210
-2.3ﺍﻟﻔﺴﻴﻔﺴﺎﺀ
ﺗﺒﺴ ﺔ:
ﺎﻃﻔﻲ ﺍﻟﻌﻨ : -1ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻌﺸﺎ
ﺍﳌﺮﺍﺟ :
ﻉ.ﺳﻠﻄﺎﱐ .ﻣﺮﺷﺪ ﻋﺎﻡ ﻟﻠﻤﺘﺤﻒ ﻭ ﺍﳌﻌﺎﱂ ﺍﻷﺛﺮﻳﺔ ﻟﺘﺒﺴ ﺔ.ﺍﻟﻮﻛﺎﻟﺔ ﺍﻟﻮﻃﻨﻴﺔ ﻟ ﺛﺎﺭ .ﺗﺒﺴﺔ .1994ﺹ .89
R.Guery, Compte rendu de mission à Tebessa.1964, p4. Sce d’archives. Anapsmh.
ﺍﳌﺼﺪﺭ :ﻋﻠﻰ ﺍﻟﻀﻔﺔ ﺍﻟﻴﻤ ﻟﻮﺍﺩ ﺯﻋﺮﻭﺭ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ؟
ﺍﳌﻘﺎﺳﺎﺕ :
ﺍﻟﻮﺻﻒ :ﲤﺜﻞ ﺍﻟﻠﻮﺣﺔ ﻣﻨﻈﺮ ﻣﺄﻟﻮﻑ ﻟﻠﻌﺸﺎﻕ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﺑﲔ ﺇﻟﺘﻮﺍﺀﺕ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﰲ ﻛﻞ ﺇﻟﺘﻮﺍﺀ ﻳﻈﻬﺮ
ﻋﺎﺷﻖ ﻋﺎﺭﻱ ﻭ ﳎﻨﺢ ﻳﻘﻄﻒ ﺍﻟﻌﻨﺐ ﺃﻭ ﻤﻞ ﺳﻠﻤﺎ ﻟﻴﺼﻌﺪ ﻋﻠﻴﻪ ﻓﻮﻕ ﺍﻟﻌﺮﻳﺸﺔ ﺃﻭ ﻤﻞ ﺳﻠﺔ ﳑﻠﻮﺀﺓ
ﺑﺎﻟﻔﻮﺍﻛﻪ.ﺗﺘﺨﻠﻞ ﻫﺪﻩ ﺍﻹﻟﺘﻮﺍﺀﺍﺕ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ’ﻋﻨﺎﻗﺒﺪ ﺍﻟﻌﻨﺐ ﻭ ﺑﻌﺾ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺍﻷﺧﺮﻯ ﻛﺎﻟﺒﺎﻃﻴﺔ ﻭ
ﺍﻟﻌﺼﺎﻓﲑ ﺍﻟﱵ ﺗﻨﻘﺮ ﺍﻟﻌﻨﺎﻗﻴﺪ .ﻛﻤﺎ ﺗﻈﻬﺮ ﰲ ﻣﺮﻛﺰ ﺍﻟﻠﻮﺣﺔ ﺩﺍﺋﺮﺓ ﻛﺒﲑﺓ ﻣﺸﻜﻠﺔ ﻣﻦ ﺷﺮﻳﻂ ﻣﻦ ﺍﻷﻭﺭﺍﻕ ﻭ ﺍﻷﺯﻫﺎﺭ
ﲢﻴﻂ ﺑﺎﻣﺮﺃﺓ ﳑﺪﻭﺩﺓ ﻣﺘﻜﺌﺔ ﻋﻠﻰ ﻳﺪﻫﺎ ﺍﻟﻴﻤ ﻳﻈﻬﺮ ﺍﳉﺰﺀ ﺍﻷﻋﻠﻰ ﻣﻨﻬﺎ.
ﻧﻼﺣﻆ ﺃﻳﻀﺎ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﺗﻨﺒﻊ ﻣﻦ ﻗﺪﻡ ﻛﺒﲑ ﻳﻘﻒ ﻓﻮﻗﻪ ﺍﻹﻟﻪ "ﺑﺎﻥ"ﻭ ﻫﻮ ﻋﺎﺭﻱ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺳﻠﺔ ﻓﻮﺍﻛﻪ ﻭ
ﻣﻨﺴﺄﺗﻪ ﻭ ﺑﺎﻷﺧﺮﻯ ﳝﺴﻚ ﲝﻴﻮﺍﻥ ﻏﲑ ﻭﺍﺿﺢ.
211
ﻟ ﺷﺎﺭﺓ ﻟﻘﺪ ﻭﺟﺪﺕ ﻓﺴﻴﻔﺴﺎﺀ ﺃﺧﺮﻯ ﺑﺘﺒﺴﺔ ﺗﺼﻮﺭ ﺳﻔﻴﻨﺔ ﺃﺧﺮﻯ ﻭ ﺑﺘﻮﻧﺲ ﲟﻨﻄﻘﺔ ﺘﺮﺓ.1
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻜﺘﺴﻲ ﻫﺪﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺃﳘﻴﺔ ﺧﺎﺻﺔ ﻛﻮﻬﻧﺎ ﺃﻭﻝ ﻓﺴﻴﻔﺴﺎﺀ ﺩﻳﻮﻧﺰﻳﺔ ﻋﺜﺮ ﻋﻠﻴﻬﺎ ﺑﺎﳉﺰﺍﺋﺮ ﺗﺼﻮﺭ ﺳﻔﻴﻨﺔ ﻗﺪﳝﺔ.
ﻓﺎﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﺰﻱ ﻣﺆﻛﺪ ﻣﻨﻪ ﻣﻦ ﺧﻼﻝ ﻬﻮﺭ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﺑﻴﻨﻤﺎ ﺍﻟﻌﻨﺼﺮﺍﻥ ﺍﻵﺧﺮﺍﻥ )ﺍﳌ ﻝ ﻭ ﺍﻟﺴﻔﻴﻨﺔ( ﻓﻤﻦ
ﺍﶈﺘﻤﻞ ﺃﻬﻧﻤﺎ ﻣﺮﺗﺒﻄﺎﻥ ﲜﲏ ﺍﻟﻌﻨﺐ .ﺍﳌ ﻝ ﺍﻟﺬﻱ ﺃﺗﻠﻒ ﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻀﻴﻌﺔ ﺍﻟﻮﺍﻗﻌﺔ ﻗﺮﺏ ﺣﻘﻞ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳌﻌﺼﺮﺓ’
ﻓﺒﻌﺪ ﺍﳉﲏ ﻤﻞ ﺍﻟﻌﻨﺐ ﺇﱃ ﺍﳌﻌﺼﺮﺓ .ﺃﻣﺎ ﺍﻟﺴﻘﻴﻨﺔ ﺍﻟﱵ ﺗﺬﻛﺮﻧﺎ ﺑﺘﻠﻚ ﺍﻟﱵ ﺗﻈﻬﺮ ﳏﻤﻠﺔ ﺑﺎﻷﻧﻔﻮﺭﺍﺕ ﰲ "ﻓﺴﻴﻔﺴﺎﺀ
ﺍﻷﻟﻌﺎﺏ" ﻓﺮﲟﺎ ﺗﺮﻣﺰ ﺇﱃ ﻭﺳﻴﻠﺔ ﻧﻘﻞ ﺍﳋﻤﺮ ﺍﳌﺴﺘﺨﺮﺝ ﻣﻦ ﺍﻟﻌﻨﺐ؟...
-3ﻓﺴﻴﻔﺴﺎﺀ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
R.Guery, Compte rendu de mission à Tebessa.1964. p3.Sce d’archives
-ﻉ .ﺳﻠﻄﺎﱐ .ﻧﻔﺴﻪ .ﺹ 128
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﻣ ﻝ ﺑﻨﺘﺰ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
-4ﻓﺴﻴﻔﺴﺎﺀ:
ﺍﳌﺮﺍﺟ :ﻏﲑ ﻣﻄﺒﻮﻋﺔ
ﺍﳌﺼﺪﺭ :ﺍﳊﻲ ﺍﻟﻌﺴﻜﺮﻱ .ﺃﻛﺘﺸﻔﺖ ﰲ ﺳﺒﺘﻤﱪ 2001
ﺍﳌﻘﺎﺳﺎﺕ ) :ﺍﻟﻈﺎﻫﺮﺓ ( 4.50ﻋﻠﻰ 1.40ﻡ
ﺍﻟﻮﺻﻒ :ﻟﻮﺣﺔ ﻣﺴﺘﻄﻴﻠﺔ ﺑ ﻃﺎﺭ ﻫﻨﺪﺳﻲ ﺍﻟﺰﺧﺮﻓﺔ ﻴﻂ ﺑﻌﻨﺎﻗﻴﺪ ﻋﻨﺐ ﻛﺒﲑﺓ ﻣﺘﻨﺎﻭﻟﺔ ﺑﺎﻷﺑﻴﺾ ﻭ ﺍﻷﺳﻮﺩ ﻭ ﺍﻟﺘﻘﻨﻴﺔ
ﺍﳌﺴﺘﻌﻤﻠﺔ ﺑﺪﺍﺋﻴﺔ ﻛﻤﺎ ﺗﺸﻬﺪ ﻋﻠﻰ ﺩﻟﻚ ﺍﳊﺠﻢ ﺍﻟﻜﺒﲑ ﻟﻠﻤﻜﻌﺒﺎﺕ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻈﻬﺮ ﰲ ﻫﺪﻩ ﺍﻟﻠﻮﺣﺔ ﺃﺑﺴﻂ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺃﻻ ﻭ ﻫﻮ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :
-5ﻓﺴﻴﻔﺴﺎﺀ ﻣﺴﻴﺤﻴﺔ:
ﺍﳌﺮﺍﺟ :
M F G. De pachtére, Inventaire des mosaïques de Gaule et d’Afrique.T3. N° 9. Ed Ernest
Leroux. Paris 1911
1
L.Foucher, « un voilier antique ». A.AF.T1 1967.p85. fig 2.
212
ﺍﳌﺼﺪﺭ :ﻛﻨﻴﺴﺔ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺇﻧﺪﺛﺮﺕ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﺗﺘﻜﻮﻥ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﻣﺮﺑﻊ ﻣﺮﻛﺰﻱ ﺘﻮﻱ ﻋﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﺔ ﻭ ﰲ ﺍﳊﻨﻴﺎﺕ ﺗﻈﻬﺮ ﻛﺆﻭﺱ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺩﺍﻟﻴﺎﺕ
ﺍﻟﻌﻨﺐ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻋﺼﺎﻓﲑ ﻭ ﺃﻳﻞ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺇﺣﺘﻔﻈﺖ ﻫﺪﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﱵ ﺃﳒﺰﺕ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﺑﻌﻨﺎﺻﺮ ﻭﺛﻨﻴﺔ ﻣﻘﺘﺒﺴﺔ ﻣﻦ ﺍﻟﺴﺠﻞ ﺍﻟﺪﻳﻮﻧﺰﻱ ﻣﻦ
ﺧﻼﻝ ﺍﻟﺪﺍﻟﻴﺔ ﻭ
ﻭ ﺍﻟﻜﺄﺱ .ﻧﻘﻮﻝ ﻫﺪﺍ ﻋﻠﻤﺎ ﺑﺄﻥ ﺍﻟﻜﺄﺱ ﻭ ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﺪﺳﺔ ﳍﺎ ﺃﳘﻴﺔ ﺧﺎﺻﺔ ﰲ ﺍﻟﺘﺼﻮﻳﺮﺍﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﺰﻱ ﻭ
.
ﺗﻌﺪ ﺿﻤﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻮﺛﻨﻴﺔ ﺍﻟﱵ ﻭﺍﺻﻞ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﰲ ﺗﻮﺿﻴﻔﻬﺎ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﳉﻨﺔ ﻭ ﺍﳋﻠﻮﺩ
ﺗﻴﻤﻘﺎ :
-6ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ:
ﺍﳌﺮﺍﺟ :
M F G. De Pachtere, idem. N°166-
G M A.Hanfman, The season sarcophages in dumbarton oakes. Dumbarton oakes studies.II.-
Harvard University press.1951. I –II.P 149.n° 141
S.Germain, Les mosaïques de Timgad.Etude descriptive et analytique. Etudes d’antiquités-
Africaines. Paris 1973. p56
213
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﺪﺧﻞ ﻣﻨﺎ ﺮ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺿﻤﻦ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺇﺩ ﻛﺎﻥ ﺍﻹﻟﻪ ﺩﻳﻮﻧﺰﻭﺱ ﲝﻜﻤﻪ ﺇﻟﻪ
ﺍﻟﻨﺒﺎﺗﺎﺕ ﻣﺴﺌﻮﻻ ﻋﻦ ﺗﻨﻈﻴﻢ ﺗﻮﺍﺗﺮ ﺍﻟﻔﺼﻮﻝ ﻭ ﳍﺪﺍ ﻋﺎﺩﺓ ﻣﺎ ﺗﺮﺗﺒﻂ ﺻﻮﺭ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﻬﺑﺬﺍ ﺍﻹﻟﻪ.
ﰲ ﻏﺎﻟﺐ ﺍﻷﺣﻴﺎﻥ ﻳﺮﻣﺰ ﺇﱃ ﺍﻟﻔﺼﻮﻝ ﺑﺼﻮﺭﺓ ﺍﻣﺮﺃﺓ ﺷﺎﺑﺔ ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﻫﻨﺎ ﺃﻭ ﻋﺠﻮﺯ ) ﻟﻠﺸﺘﺎﺀ ( ﻭ ﻧﺎﺩﺭﺍ ﺑﺼﻮﺭﺓ
ﺭﺟﻞ ﺃﻭ ﺟﲏ ﺍﻟﺴﻨﺔ ﺃﻭ ﺳﺎﺗﲑ ﻭ ﺍﻟﻌﻨﺼﺮ ﺍﳌﺄﻟﻮﻑ ﻟﻔﺼﻞ ﺍﳋﺮﻳﻒ ﻫﻮ ﺣﺠﻨﺎﺕ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﻳﺘﻢ ﺟﻨﻴﻬﺎ ﰲ ﻫﺪﺍ
ﺍﳌﻮﺳﻢ.2
ﺍﻟﺘ ﺭﻳ :ﻋﻠﻰ ﺃﺳﺎﺱ ﺩﺭﺍﺳﺔ ﻫﺎﻧﻔﻤﺎﻥ3ﺗﻌﻮﺩ ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺇﱃ ﺍﻟﻘﺮﱐ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ ﻭ ﰲ
ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﺍﺯﺩﻫﺮﺕ ﺗﻘﻨﻴﺔ ﲤﺜﻴﻞ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﰲ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﲟﻠﺤﻘﺎﻬﺗﺎ ﰲ ﻣﺮﺣﻠﺔ ﺳﺎﺑﻘﺔ. 4
ﻻﻣﺒﻴﺰ:
-7ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ:
440 ﺍﻟﺼﻮﺭﺓ 75ﺍﻟﻠﻮﺣﺔ .28
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere. Op cit TIII. N° 181
- R. Const. T XXVII. 1893. p 97
ﺍﳌﺼﺪﺭ :ﺍﻟﻘﺴﻢ ﺍﳉﻨﻮ ﻣﻦ ﺍﳌﻌﺴﻜﺮ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﻘﺎﺳﺎﺕ2.71 :ﻡ×1.93ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺘﺮﻛﺐ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺃﺭﺑﻌﺔ ﺃﻭﲰﺔ ﻣﺴﺘﺪﻳﺮﺓ ﰲ ﺍﻷﺭﻛﺎﻥ ﺗﻔﺼﻞ ﻣﺎ ﺑﻴﻨﻬﺎ ﻧﺒﺎﺗﺎﺕ ﺍﻷﻗﻨﺜﺔ ﺫﺍﺕ ﺍﻟﻠﻮﻥ ﺍﻷﺳﻮﺩ
ﻭ ﺍﻷﺧﻀﺮ ﻭ ﰲ ﻛﻞ ﻭﺳﺎﻡ ﺗﻈﻬﺮ ﺍﻣﺮﺃﺓ ﺷﺎﺑﺔ ﲤﺜﻞ ﻓﺼﻼ ﻣﻦ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻭﺳﺎﻡ ﺍﳋﺮﻳﻒ ﺍﻟﺬﻱ ﺃﺗﻠﻒ:
-ﻭﺳﺎﻡ ﺍﻟﺼﻴﻒ ﳝﺜﻞ ﺍﻣﺮﺃﺓ ﺑﻴﺪﻫﺎ ﺍﳌﺸﺬﺏ ﻭ ﺭﺃﺳﻬﺎ ﻣﺘﻮﺝ ﺑﺎﻟﺴﻨﺎﺑﻞ
-ﻭﺳﺎﻡ ﺍﻟﺮﺑﻴﻊ ﺑﻪ ﺍﻣﺮﺃﺓ ﺗﺮﺗﺪﻱ ﺟﻠﺪ ﺣﻴﻮﺍﻥ ﻭ ﺷﻌﺮﻫﺎ ﻣﻜﻠﻞ ﺑﺎﻷﺯﻫﺎﺭ
-ﻭﺳﺎﻡ ﺍﻟﺸﺘﺎﺀ ﻳﺼﻮﺭ ﺍﻣﺮﺃﺓ ﳏﺘﺠﺒﺔ ﲢﻤﻞ ﺍﻟﺒﻬﺸﻴﺔ
ﻳﻈﻬﺮ ﰲ ﻣﺮﻛﺰ ﺍﻟﻠﻮﺣﺔ ﻭﺳﺎﻡ ﻣﺜﻤﻦ ﺍﻟﺰﻭﺍﻳﺎ ﻭ ﻣﻘﻌﺮ ﺍﻷﺿﻼﻉ ﺘﻮﻱ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﻫﻴﺌﺔ ﺷﺎﺏ ﳏﺎﻁ
ﻬﺑﺎﻟﺔ ﻭ ﻣﺘﻮﺝ ﲝﺠﻨﺎﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ،ﻳﺮﺗﺪﻱ ﺟﻠﺪ ﺍﻟﻔﻬﺪ ﺍﳌﺮﺑﻮﻁ ﻋﻠﻰ ﻛﺘﻔﻪ ﺍﻷﳝﻦ.
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺳﻮﺩ ،ﺍﻷﺑﻴﺾ ،ﺍﻟﺮﻣﺎﺩﻱ ،ﺍﻷﲪﺮ ،ﺍﻷﺻﻔﺮ ،ﺍﻷﺧﻀﺮ ،ﺍﻟﺒﲏ ،ﺍﻟﻮﺭﺩﻱ ،ﺍﻟﱪﺗﻘﺎ ﻭ ﺍﻷﲰﺮ
ﺍﳌﺎﺩﺓ :ﺍﳌﺮﻣﺮ
2
Ch .Picard, « L’age d’or dans la mosaique romaine de l’Afrique du nord ». Dossiers de l’archéologie . Archéologia nov-dec
1978.pp55-56.
3
G M A.Hanfman, op cit. P 149.
4
S.Germain, op cit. p56.
214
ﺍﻟﺘﺤﻠﻴﻞ:ﲡﺴﺪ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﳌﻨﻈﺮ ﺍﻟﺪﻳﻮﻧﺰﻱ ﺍﻟﻜﻼﺳﻜﻲ ﻟﻠﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﻣﻊ ﺍﻹﻟﻪ ﺩﻳﻮﻧﺰﻭﺱ ﰲ ﺍﻟﻮﺳﻂ ،ﺇﺫ ﻫﺬﻩ
ﺍﳌﺮﺓ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﻋﻜﺲ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺴﺎﺑﻘﺔ ﻭ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ﺷﺎﺋﻊ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﳝﺜﻞ ﻓﺼﻞ ﺍﳋﺮﻳﻒ ﰲ ﻫﻴﺌﺔ ﺇﻣﺮﺃﺓ ﺗﺴﺎﻫﻢ
ﺩﺍﺋﻤﺎ ﰲ ﺍﻟﺮﻗﺼﺔ ﺍﳌﻘﺪﺳﺔ ﺍﳌﻘﺎﻣﺔ ﺑﺸﺮﻑ ﺩﻳﻮﻧﺰﻭﺱ 5ﻓﺒﺪﻭﻥ ﺷﻚ ﺃﻥ ﺍﻟﻮﺳﺎﻡ ﺍﳌﻔﻘﻮﺩ ﻛﺎﻥ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺸﻜﻞ.
ﳝﻜﻦ ﻣﻘﺎﺭﻧﺔ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺑﻔﺴﻴﻔﺴﺎﺀ ﺳﻮﺳﺔ ﺑﺘﻮﻧﺲ ﺍﳌﺆﺭﺧﺔ ﺑﺎﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ.6
215
ﺍﻷﻟﻮﺍﻥ :ﺍﻟﺒﲏ ،ﺍﻷﺧﻀﺮ ،ﺍﻷﲪﺮ ﺍﻟﺮﻣﺎﱐ ،ﺍﻷﺑﻴﺾ ﻭ ﺍﻷﺳﻮﺩ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻌﺪ ﻫﺬﻩ ﺍﳌﺸﺎﻫﺪ ﺿﻤﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺄﻟﻮﻓﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ،ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﺑﺘﻮﻧﺲ7ﻛﻤﺎ ﺗﻘﺘﺮﺏ ﻟﻮﺣﺘﻨﺎ
.
ﻫﺬﻩ ﻣﻦ ﺧﻼﻝ ﺍﻟﻨﻤﻂ ﺍﻟﺰﺧﺮﰲ ﺍﻟﺬﻱ ﻣﺜﻠﺖ ﺑﻪ ﺍﻷﺭﺿﻴﺔ ﻣﻦ ﻓﺴﻴﻔﺴﺎﺀ ﻣ ﻝ ﺑﺎﺧﻮﺱ ﲜﻤﻴﻠﺔ
ﻭ ﻧﺘﻌﺮﻑ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻋﻠﻰ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻌﺮﻭﻓﺔ ﰲ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﺰﻱ ﻭ ﺻﻮﺭﺕ ﻛﻠﻬﺎ ﳑﺪﻭﺩﺓ ﲢﺖ ﺃﻏﺼﺎﻥ
ﺍﻟﺪﺍﻟﻴﺔ ﺭﻣﺰ ﺍﻹﻟﻪ ﺩﻳﻮﻧﺰﻭﺱ:
" -ﺑﺎﻥ" ﺇﻟﻪ ﺍﻟﺮﻳﻒ ﻭ ﺍﻟﺮﻋﺎﺓ ،ﺿﻤﻦ ﺭﻓﻘﺎﺀ ﺍﻹﻟﻪ ﺩﻳﻮﻧﺰﻭﺱ ﻭ ﻏﺎﻭﻱ ﺳﻜﲑﺍﺗﻪ.
" -ﺳﻴﻼﻥ" ﺗﻜﻔﻞ ﺑﺘﺮﺑﻴﺔ ﺍﻹﻟﻪ ﰲ ﻃﻔﻮﻟﺘﻪ.
" -ﺃﺭﻳﺎﻥ" ﺇﺑﻨﺔ ﻣﻴﻨﻮﺱ ﻭ ﺃﺧﺖ ﺍﳌﻴﻨﻮﻃﻮﺭ ،ﺯﻭﺟﺔ ﻭ ﺭﻓﻴﻘﺔ ﺩﻳﻮﻧﺰﻭﺱ ﰲ ﺍﳌﺸﺎﻫﺪ ﺍﻟﻔﻨﻴﺔ.
" -ﺳﻜﲑﺍﺕ ﺑﺎﺧﻮﺱ" ﻭ ﻫﻢ ﺍﻟﺮﻓﻴﻘﺎﺕ ﺍﻟﻀﺮﻭﺭﻳﺎﺕ ﰲ ﺍﳌﻮﻛﺐ ﺍﻹﳍﻲ.
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, op cit. N° 192
- Héron de Villeffosse, “Séance de la commission de l’Afrique du nord ». BCTHS. 1905.p
CLXXVI
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﺑﺎﻙ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻻﻣﺒﻴﺰ
ﺍﳌﻘﺎﺳﺎﺕ1.10×1.25 :ﻡ ﻭ 0.80 ×1ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺘﺮﻛﺐ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺛﻼﺛﺔ ﺃﺟﺰﺍﺀ:
-ﻳﺘﻜﻮﻥ ﺍﳉﺰﺀ ﺍﻷﻭﻝ ﻣﻦ ﺯﺧﺎﺭﻑ ﺯﻫﺮﻳﺔ ﺑﺜﻤﺎﱐ ﺑﺘﻼﺕ ،ﻣﺜﻤﻨﺎﺕ ﺍﻷﺿﻼﻉ ﻭ ﻣﻘﻌﺮﺓ ﻭ ﻣﻦ ﺑﺎﻗﺎﺕ ﺍﻷﺧﻨﺜﺔ ﺩﺍﺧﻞ
ﺑﻮﻳﻀﺎﺕ.ﺃﻣﺎ ﺍﳌﻨﻈﺮ ﺍﻟﺘﺼﻮﻳﺮﻱ ﻓﻬﻮ ﳝﺜﻞ ﺍﻣﺮﺃﺓ ﺟﺎﻟﺴﺔ ﺑﲔ ﻣﺒ ﻭ ﺷﺠﺮﺓ ﺑﻴﺪﻫﺎ ﺇﻧﺎﺀ ﻭ ﻗﺼﺐ ﻭ ﺎﺫﻳﻬﺎ ﺭﺟﻞ
ﻛﺎﻥ ﻤﻞ ﺟﻌﺒﺔ ) ﺍﻹﻟﻪ ﺗﺒﻮﻟﻮﻥ ﻭ ﺇﳍﺔ ﺍﳌﻴﺎﻩ ﺳﲑﺍﻥ (.
-ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ ﻳﺼﻮﺭ ﻣﺘﻌﺮﺟﺎﺕ ﺑﺎﳌﻨﻈﻮﺭ ﻭ ﺭﺟﻞ ﻳﺘﻬﻴﺄ ﻟﻠﻌﺰﻑ ﻋﻠﻰ ﺍﻟﻨﺎﻱ ) ﺑﺎﻥ ( ﻭ ﺗﺘﺠﻪ ﳓﻮﻩ ﺍﺑﻨﺔ ﺇﻟﻪ ﺍﻟﺒﺤﺮ
ﲤﺘﻄﻲ ﺍﻟﺪﻟﻔﲔ.
-ﺍﳉﺰﺀ ﺍﻷﺧﲑ ﺗﻈﻬﺮ ﻓﻴﻪ ﺍﻣﺮﺃﺓ ﻋﺎﺭﻳﺔ ﲝﺰﺍﻡ ﻭ ﺳﺎﺗﲑ ﻤﻞ ﻣﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ ﻋﻠﻰ ﻛﺘﻔﻪ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺍﳉﺰﺀ ﺍﻷﻭﻝ ﻣﻦ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻳﺘﻌﻠﻖ ﺑﺎﻹﻟﻪ ﺃﺑﻮﻟﻮﻥ ﺍﻟﺬﻱ ﻳﻌﺪ ﺿﻤﻦ ﺍﻵﳍﺔ ﺍﻟﱵ ﺇﻗﺘﺮﻧﺖ ﺻﻮﺭﻬﺗﺎ ﺑﺎﻹﻟﻪ
ﺩﻳﻮﻧﺰﻭﺱ/ﺑﺎﺧﻮﺱ ،ﻛﻤﺎ ﺗﻈﻬﺮ ﺃﻳﻀﺎ ﺇﺣﺪﻯ ﺇﳍﻴﺎﺕ ﺍﳌﻴﺎﻩ ﺍﻟﱵ ﺗﻌﺘﱪﻫﺎ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﺍﻹﻏﺮﻳﻘﻴﺔ ﺣﺎﺿﻨﺎﺕ ﺩﻳﻮﻧﺰﻭﺱ.8
7
P. Gauckler. De Lablanchére, Musée Alaoui. Paris 1847. p 23, fig 103.
8
M M CH.Daremberg. E D M Saglio, op cit. T I. pp 605-632
216
ﺍﳉﺰﺀ ﺍﻟﺜﺎﱐ ﻳﺴﺘﻌﺮﺽ ﺭﻣﺰﺍﻥ ﻣﺄﻟﻮﻓﺎﻥ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﳌﺼﻨﻮﻋﺔ ﻭ ﺍﻟﺮﻣﻮﺯ ﺍﳊﻴﻮﺍﻧﻴﺔ ﺍﻟﱵ ﺗﺮﺍﻓﻖ ﺍﻹﻟﻪ ﺃﻻ ﻭ ﻫﻲ:
-1ﻧﺎﻱ ﺍﻹﻟﻪ ﺑﺎﻥ ﻳﺄﰐ ﰲ ﻗﺎﺋﻤﺔ ﺍﻵﻻﺕ ﺍﳌﻮﺳﻴﻘﻴﺔ ﺍﻟﱵ ﺗﺆﺩﻱ ﺍﻹﻳﻘﺎﻋﺎﺕ ﻟﺮﻗﺼﺎﺕ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ ﻭ ﺗﺮﻣﺰ ﺇﱃ
ﺍﻟﻘﺮﻗﻌﺔ ﺍﳌﺮﺣﺔ ﺍﻟﱵ ﻻ ﳚﺐ ﺃﻥ ﺗﺰﻭﻝ ﺣﻮﻝ ﺍﻹﻟﻪ.9
-2ﺍﻟﺪﻟﻔﲔ ﳝﻜﻦ ﺃﻥ ﻳﻮﺣﻲ ﺇﱃ ﲢﻮﺭ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻧﻴﲔ ﻛﻤﺎ ﳝﻜﻦ ﺃﻥ ﻳﺮﻣﺰ ﺇﱃ ﻋﻨﺼﺮ ﺍﻟﺮﻃﻮﺑﺔ ﺍﻟﱵ ﺗﻌﺘﱪ ﺻﻔﺔ
.
ﻣﻦ ﺻﻔﺎﺕ ﺑﺎﺧﻮﺱ/ﺩﻳﻮﻧﺰﻭﺱ
ﺍﳉﺰﺀ ﺍﻟﺜﺎﻟﺚ ﻳﻮﺣﻲ ﻣﺒﺎﺷﺮﺓ ﺇﱃ ﺍﳌﻨﺎ ﺮ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺍﳌﺄﻟﻮﻓﺔ ﻣﻊ ﻬﻮﺭ ﻋﻨﺼﺮ ﻫﺎﻡ ﻫﻮ ﺳﺎﺗﲑ ﺣﺎﻣﻼ ﻣﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ
ﺍﻟﺬﻱ ﻳﻠﻌﺐ ﺩﻭﺭ ﺻﻮﳉﺎﻧﻪ ﻭ ﺳﻼﺣﻪ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ .ﻓﻌﺎﺩﺓ ﻣﺎ ﻤﻞ ﻫﺬﺍ ﺍﻟﺮﻣﺰ ﻣﻦ ﻃﺮﻑ ﻛﻞ ﺷﺨﺼﻴﺎﺕ
ﺍﳌﻮﻛﺐ ﺍﻟﱵ ﺗﻠﻮﺣﻪ ﰲ ﻓﺘﺮﺍﺕ ﺳﻜﺮﻫﺎ ﻭ ﺗﺴﺘﻌﻤﻠﻪ ﻟﻠﻨﺼﺮ ﺧﻼﻝ ﺍﳊﺮﻭﺏ.
9
idem. p 621
10
M F G.De Pachtere, op cit .n° 195
217
-11ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ:
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, idem. N° 204.p 49
- R.Lugand, idem.p 123. n°5
ﺍﳌﺼﺪﺭ :ﻣﻌﺴﻜﺮ ﻻﻣﺒﻴﺰ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ1،03 × 2،04 :ﻡ .ﻋﺮﺽ ﺍﻟﺸﺮﻳﻂ 0،13ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺒﻘﻰ ﻣﻦ ﺍﻟﻠﻮﺣﺔ ﺟﺰﺀﺍﻥ ﻳﻈﻬﺮ ﻓﻴﻬﻤﺎ ﺑﺎﳉﻬﺔ ﺍﻟﻌﻠﻴﺎ ﺷﺮﻳﻂ ﲞﻂ ﻣﻨﻜﺴﺮ ﻳﻜﻮﻥ ﻣﺜﻠﺜﺎﺕ ﰲ ﻭﺿﻌﻴﺎﺕ
ﻣﺘﺒﺎﻳﻨﺔ .ﺃﻣﺎ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺮﺋﻴﺴﻲ ﻓﻘﺪ ﺗﻨﺎﻭﻟﻪ ﺍﻟﻔﻨﺎﻥ ﰲ ﻗﻼﺩﺗﺎﻥ ﻳﺴﺎﻭﻱ ﻗﻄﺮ ﻛﻞ ﻭﺍﺣﺪﺓ ﻣﻨﻬﺎ 0،14ﻡ ﻭ ﻫﻲ
ﻣﺸﻜﻠﺔ ﻣﻦ ﺇﻛﻠﻴﻼﻥ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻟﻐﺎﺭ ﺍﳋﻤﺎﺳﻴﺔ ﺍﳌﺘﺪﺍﺧﻠﺔ ﺑﻴﻨﻤﺎ ﺯﺧﺮﻓﺖ ﺍﳌﺴﺎﺣﺔ ﺍﳌﺘﺒﻘﺎﺓ ﺑﻘﻮﺍﻗﻊ ﻭ ﻓﺮﺍﺷﺎﺕ
ﻣﻨﻤﻨﻤﺔ:
-ﲢﺘﻮﻱ ﺍﻟﻘﻼﺩﺓ ﺍﻟﻴﻤ ﻋﻠﻰ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻟﺮﺟﻞ ﺻﺪﺭﻩ ﻋﺎﺭﻱ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻣﻨﺠﻼ
-ﲢﺘﻮﻱ ﺍﻟﻘﻼﺩﺓ ﺍﻟﻴﺴﺮﻯ ﻋﻠﻰ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻻﻣﺮﺃﺓ ﻋﺎﺭﻳﺔ ﻣﻜﻠﻠﺔ ﺑﺄﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﺳﻮﺩ ،ﺍﻷﲪﺮ ﺍﻷﺭﺟﻮﺍﱐ ،ﺍﻷﺧﻀﺮ ﺍﻟﻘﺎ ،ﺍﻷﺧﻀﺮ ﺍﻟﻔﺎﺗﺢ ،ﺍﻷﺧﻀﺮ ﺃﳋﺮﺩ ،ﺍﳌﻐﺮﺓ ،ﺍﻟﺒﲏ
ﺍﻟﻔﺎﺗﺢ ﻭ ﺍﻟﻘﺎ .
ﺍﳌﺎﺩﺓ :ﺭﺧﺎﻡ ﻭ ﻏﺮﺍﻧﻴﺖ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻻ ﺯﻟﻨﺎ ﻣﻊ ﻣﻮﺿﻮﻉ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺍﳌﺮﺗﺒﻂ ﺑﺎﻹﻳﻜﻨﻮﻏﺮﺍﻓﺔ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﻟﺘﻌﻠﻖ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﺘﻨﻈﻴﻢ
ﺗﻮﺍﺗﺮ ﺍﻟﻔﺼﻮﻝ ﳍﺬﺍ ﻗﺪ ﻳﺘﻮﺳﻂ ﺍﻹﻟﻪ ﺻﻮﺭ ﺍﻟﻔﺼﻮﻝ ) ﺍﻟﻠﻮﺣﺔ ﺭﻗﻢ ( 5ﺃﻭ ﻗﺪ ﻳﻐﻴﺐ ﺷﻜﻠﻴﺎ ﻓﻘﻂ .ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﻣﺎ
ﺗﺒﻘﻰ ﻣﻦ ﻟﻮﺣﺘﻨﺎ ﻫﺬﻩ ﻻ ﳝﻜﻨﻨﺎ ﺍﻟﺘﻴﻘﻦ ﻣﻦ ﻭﺟﻮﺩ ﺍﻹﻟﻪ ﺃﻡ ﻻ ،ﻏﲑ ﺃﻥ ﺍﻟﻌﻨﺼﺮ ﺍﻟﻐﲑ ﺍﳌﺄﻟﻮﻑ ﻫﻨﺎ ﻫﻮ ﻭﺟﻮﺩ ﺇﻣﺮﺃﺓ
ﻣﻦ ﺟﻬﺔ ﻟﻔﺼﻞ ﺍﳋﺮﻳﻒ ﻭ ﺭﺟﻞ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻟﻔﺼﻞ ﺍﻟﺼﻴﻒ ﺇﺫ ﻋﺎﺩﺓ ﻣﺎ ﳝﺜﻞ ﺍﻟﺮﺟﺎﻝ ﺃﻭ ﺍﻟﻨﺴﺎﺀ ﻋﻠﻰ ﺣﺪﻯ.
-12ﻓﺴﻴﻔﺴﺎﺀ ﺑﺎﺧﻴﺔ:
ﺍﳌﺮﺍﺟ :
-Héron de Villeffosse, « Séance de la commission de l’Afrique du nord ».BCTHS.1905.p
CLXXVI
ﺍﳌﺼﺪﺭ:ﻣﻠﻜﻴﺔ ﺑﺎﻙ
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﻟﻮﺻﻒ :ﺗﻨﻘﺴﻢ ﺍﻟﻠﻮﺣﺔ ﺇﱃ ﻗﺴﻤﺎﻥ ﺑﻮﺍﺳﻄﺔ ﻧﺒﺘﺔ ﺫﺍﺕ ﺃﻭﺭﺍﻕ ﻋﺮﻳﻀﺔ:
-ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻳﻈﻬﺮ ﺳﻴﻼﻥ ﻧﺎﺋﻤﺎ ﺭﺟﻠﻪ ﺍﻟﻴﺴﺮﻯ ﻣﻄﻮﻳﺔ ﲢﺖ ﺍﻟﻴﻤ ﻭ ﳝﺴﻚ ﺑﺎﻟﻄﻔﻞ ﺑﺎﺧﻮﺱ ﻋﻠﻰ ﺭﻛﺒﺘﻴﻪ.
218
-ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻣﺜﻠﺖ ﺣﻮﺭﻳﺔ ﺍﻟﺒﺤﺮ ﺟﺎﻟﺴﺔ ﻋﻠﻰ ﺣﺼﺎﻥ ﺍﻟﺒﺤﺮ ﻛﻤﺎ ﻳﻈﻬﺮ ﻋﺎﺷﻖ ﻭﺍﻗﻔﺎ ﻋﻠﻰ ﺫﻳﻞ ﺍﳊﻴﻮﺍﻥ ﻭ ﳝﺴﻚ
ﺑﻄﺮﻑ ﻣﻦ ﻭﺷﺎﺡ ﺍﳊﻮﺭﻳﺔ ﻣﻦ ﺟﻬﺔ ﻭ ﺮ ﲝﺮﻱ ﻳﺘﺠﻪ ﳓﻮ ﺍﳊﺼﺎﻥ ﺍﻟﺒﺤﺮﻱ ﻭ ﺃﺳﻔﻞ ﻗﺎﺋﻤﺘﻪ ﻳﻘﺮﺃ ﺇﻣﻀﺎﺀ ﺍﻟﻔﻨﺎﻥ .
(ASPASIOS) ACMACOY KM
ﺳﲑﺗﺎ:
-13ﻓﺴﻴﻔﺴﺎﺀ ﻧﺒﺎﺗﻴﺔ:
ﺍﳌﺮﺍﺟ :
- M F G.De Pachtere, op cit. N°234
ﺍﳌﺼﺪﺭ:؟
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ0،89 × 1،98 :ﻡ
ﺍﻟﻮﺻﻒ :ﻧﻼﺣﻆ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﲝﺎﻟﻘﺎﺕ ﺗﺆﻃﺮ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ،ﺃﻭﺭﺍﻕ ﺍﻟﻜﺮﻣﺔ ،ﺃﺯﻫﺎﺭ ﻭ ﻋﻨﺒﺎﺕ.
ﺍﳌﻜﻌﺒﺎﺕ ﻣﺘﻮﺳﻄﺔ ﺍﳊﺠﻢ ﻭ ﻣﺘﻌﺪﺩﺓ ﺍﻷﻟﻮﺍﻥ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﺪﺧﻞ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺿﻤﻦ ﺍﳌﻨﺎ ﺮ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﱵ ﻻ ﲡﺴﺪ ﺃﺷﻜﺎﻝ ﺍﻹﻟﻪ ﺃﻭ ﺭﻓﻘﺎﺋﻪ ﻭ ﺇ ﺎ
ﺍﺳﺘﻌﻤﻠﺖ ﺭﻣﻮﺯ ﻧﺒﺎﺗﻴﺔ :
-ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﻻ ﺗﻘﺘﺼﺮ ﻋﻠﻰ ﲡﺴﻴﺪﻫﺎ ﺍﻟﺮﻣﺰ ﺍﻟﺮﺋﻴﺴﻲ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﻞ ﺗﺮﻣﺰ ﺇﱃ ﺍﻹﻟﻪ
11
ﻧﻔﺴﻪ ﺍﻟﺬﻱ ﻳﺴﻴﻞ ﺩﻣﻪ ﲢﺖ ﺍﳌﻌﺼﺮﺓ ﻟﻴﻌﻄﻲ ﺍﳋﻤﺮ
-ﺍﻷﺯﻫﺎﺭ ﻫﻲ ﺍﻷﺧﺮﻯ ﺗﻌﺪ ﻣﻦ ﺭﻣﻮﺯ ﺩﻳﻮﻧﻴﺰﻭﺱ.
-14ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﺒﺎﻃﻴﺔ:
ﺍﻟﺼﻮﺭﺓ ﺭﻗﻢ 71ﺍﻟﻠﻮﺣﺔ .25ﺹ 437
ﺍﳌﺮﺍﺟ :
- M F G.De Pachtere, op cit. n°
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ0،89 × 1،75 :ﻡ
ﺍﻟﻮﺻﻒ :ﰲ ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﺗﻈﻬﺮ ﰲ ﺍﻷﺳﻔﻞ ﺑﺎﻃﻴﺔ ﺫﺍﺕ ﻗﺪﻡ ﻣﻌﺮﻯ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺑﺎﻗﺔ ﻛﺜﻴﻔﺔ ﻣﻦ ﺍﻷﻏﺼﺎﻥ ﲢﻤﻞ
ﻧﻔﺲ ﺍﻷﻭﺭﺍﻕ ﻭ ﺍﻷﺯﻫﺎﺭ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺴﺎﺑﻘﺔ.
11
M M Ch.Daremberg.E D M.Saglio, op cit. p 622
219
-15ﻓﺴﻴﻔﺴﺎﺀ ﺍﻧﺘﺼﺎﺭ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, op cit. N° 218
- P E. Bach, “Le tombeau de praecilius”. Ann de Const. T III 1856-57. pp25-40.pl n°4
- P E. Bach, Ann de Const. T 28. 1893. pp278-279
- Cherbonneau, « Explications des objets antiques dessinés par M.L.Féraud ». R.const .T
7.1863.p 262. pl XIV-XV
- S.Gsell, Mon Ant Alg. T II. N°20. pp 54,105
- S.Gsell, A A A. f 17. p19. n° 20
- Chabassiére, « Note sur le tombeau de praecilius à constantine ». BCTHS.1902.p175
ﺍﳌﺼﺪﺭ :ﺿﺮﻳﺢ ﺑﺮﺍﻳﻜﻠﻴﻮﺱ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺿﺎﻋﺖ؟
ﺍﳌﻘﺎﺳﺎﺕ2،97 × 5 :ﻡ
ﺍﻟﻮﺻﻒ :ﺍﳌﺸﻬﺪ ﺍﻟﺮﺋﻴﺴﻲ ﻟﻠﻮﺣﺔ ﻳﻘﻊ ﰲ ﻣﺮﻛﺰﻫﺎ ﳝﺜﻞ ﺇﻧﺘﺼﺎﺭ ﺑﺎﺧﻮﺱ ﺑﻘﺖ ﻣﻨﻪ ﺑﻌﺾ ﺍﻷﺟﺰﺍﺀ:
12
-ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺻﺪﺭ ﻭ ﺫﺭﺍﻉ ﺃﻳﺴﺮ ﻻﻣﺮﺃﺓ ﻋﺎﺭﻳﺔ ) ﺃﺭﻳﺎﻥ؟ (
-ﰲ ﺍﻟﻮﺳﻂ ﺍﻟﺬﺭﺍﻉ ﺍﻷﻣﺎﻣﻲ ﻭ ﺻﺪﺭ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﺪﺳﺔ ﻭ ﺑﺎﻟﻴﺴﺮﻯ ﺍﳌﺰﺭﺍﻕ.
-ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺻﺪﺭ ﻭ ﺫﺭﺍﻉ ﺃﻳﺴﺮ ﻻﻣﺮﺃﺓ ) ﺇﳍﺔ ﺍﻟﻨﺼﺮ ؟ (
ﻴﻂ ﻬﺑﺬﺍ ﺍﳌﺸﻬﺪ ﺇﻃﺎﺭ ﺑﻪ ﺃﻗﻨﻌﺔ ﺳﺎﺧﺮﺓ ﺗﻔﺼﻞ ﺃﺯﻭﺍﺝ ﺍﻟﻌﻨﻘﺎﺀ ﺍﳌﻐﺮﺏ ﺍﳌﺘﺼﺎﺭﻋﺔ ﻭ ﻗﺎﺋﻤﺘﻬﺎ ﻣﺮﻓﻮﻋﺔ ﳓﻮ ﺍﻟﻜﺄﺱ ﻭ
ﺑﲔ ﻛﻞ ﺯﻭﺝ ﺻﻮﺭ ﺭﺃﺱ ﻣﺸﻊ ﳝﺜﻞ ﻗﺮﺹ ﺍﻟﺸﻤﺲ ﻭ ﻋﻠﻰ ﳝﲔ ﻭ ﻳﺴﺎﺭ ﻫﺬﺍ ﺍﻹﻃﺎﺭ ﺗﻈﻬﺮ ﺑﻘﺎﻳﺎ ﺇﻃﺎﺭﺍﻥ ﻬﺑﺎ ﺃﲰﺎﻙ
ﻭ ﺍﻟﻌﺸﺎﻕ ﺍﻟﺼﻴﺎﺩﻳﻦ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺣﺴﺐ ﺍﻷﻭﺻﺎﻑ ﺍﻟﱵ ﻭﺻﻠﺖ ﺇﻟﻴﻨﺎ ﻳﺒﺪﻭ ﺃﻥ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺗﻨﺎﻭﻟﺖ ﻣﻮﺿﻮﻉ ﺇﻧﺘﺼﺎﺭﺍﺕ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ
ﻋﻠﻰ ﺃﻋﺪﺍﺀﻩ ﻏﲑ ﺃﻥ ﺇﺗﻼﻑ ﺟﺰﺀ ﻛﺒﲑ ﻣﻦ ﺍﻟﻠﻮﺣﺔ ﳚﻌﻠﻨﺎ ﳒﻬﻞ ﺑﺄﻱ ﺇﻧﺘﺼﺎﺭ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﻫﻨﺎ .ﻫﻞ ﻫﻮ ﺇﻧﺘﺼﺎﺭ ﺍﻹﻟﻪ
ﰲ ﺃﺳﻴﺎ ﺍﻟﺼﻐﺮﻯ ﺣﻴﻨﻤﺎ ﻛﺎﻥ ﻤﻲ ﺍﳌﺪﻥ ﺍﳍﻠﻴﻨﻴﺔ ،ﺃﻡ ﻋﻨﺪ ﺩﺧﻮﻟﻪ ﺑﻼﺩ ﺍﳍﻨﺪ ﺃﻡ ﺇﺛﺮﻯ ﻏﺎﺭﺍﺗﻪ ﺑ ﻳﻄﺎﻟﻴﺎ ﻭ ﺇﺳﺒﺎﻧﻴﺎ13؟
ﺇﱃ ﺟﺎﻧﺐ ﻫﺬﺍ ﻳﻈﻬﺮ ﻋﻨﺼﺮﺍﻥ ﻣﻬﻤﺎﻥ ﰲ ﻟﻮﺣﺘﻨﺎ ﳘﺎ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺍﻟﻜﺄﺱ ﺇﺫ ﺗﻌﺘﱪ ﺍﻟﻜﺆﻭﺱ ﺍﳌﺴﺘﻌﻤﻠﺔ ﻹﺣﺘﻮﺍﺀ ﺍﳋﻤﺮ
ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻟﱵ ﺗﺘﺒﻊ ﺩﻭﻣﺎ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﺃﺣﻴﺎﻧﺎ ﺣﺎﻣﻼ ﺍﻟﻜﺄﺱ ﻳﺴﻜﺐ ﻣﻨﻪ ﺍﻟﺸﺮﺍﺏ ﻋﻠﻰ ﺍﻷﺭﺽ ﻛﻤﺎ ﻤﻠﻪ
ﺃﻳﻀﺎ ﺳﺎﺗﲑ ﰲ ﺍﳌﻮﺍﻛﺐ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ.
ﺍﻟﺘ ﺭﻳ :ﺗﻌﻮﺩ ﻓﺘﺮﺓ ﺑﻨﺎﺀ ﺍﻟﻘﱪ ﺍﻟﺬﻱ ﻭﺟﺪﺕ ﺑﻪ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺇﱃ 439ﻣﻴﻼﺩﻱ.
12
J. Bérard, « Un triomphe bachique sur une mosaïque de cherche ». MEFR. 1936-37. p 163
13
M M Ch.Daremberg.E D M.Saglio, op cit. p 614
220
ﻴﻠﺔ:
-16ﻓﺴﻴﻔﺴﺎﺀ ﺃﺯﻳﻨﻮﺱ ﻧﻴﻜﺎ:
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, op cit. N° 291
- A.Ballu, “Rapport sur les fouilles exécutées en 1909 par le service des monuments
historiques de l’Algérie ». BCTHS. 1910. p 106
- A. Ballu, Ruines de Djemila antique Cuicul. Alger 1921. p 75
- A. Ballu, Guide illustré de Djemila. Alger 1926. p 116
- A. Merlin, « Le génie au lézard de Djemila ». R. Const. 1953. pp 99-106
ﺍﳌﺼﺪﺭ :ﲪﺎﻣﺎﺕ ﻣ ﻝ ﺍﳊﻤﺎﺭ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﻘﺎﺳﺎﺕ10 × 4 :ﻡ .ﺍﳌﻜﻌﺒﺎﺕ ) 10-6ﻣﻢ ﻟ ﺷﺨﺎﺹ 8-4 .ﻣﻢ ﻟ ﻭﺟﻪ10-9 .ﻣﻢ ﻟﻠﺒﺎﻗﻲ (
ﺍﻟﻮﺻﻒ :ﺗﺘﻜﻮﻥ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺷﺮﻳﻂ ﻋﺮﻳﺾ ﻣﻦ ﺍﻟﻘﺮﻭﻥ ﺍﳌﺘﺸﺎﺑﻜﺔ ﲢﻴﻂ ﲝﻘﻞ ﻣﻦ ﺩﺍﻟﻴﺎﺕ ﺍﻟﻌﻨﺐ ﺍﳌﺘﻌﺎﻧﻘﺔ ﺗﻨﺒﻊ ﻣﻦ
ﺑﺎﻃﻴﺘﺎﻥ ﻭ ﺗﺸﻜﻞ ﺃﻭﲰﺔ ﻮﻱ ﻛﻞ ﻭﺍﺣﺪ ﻣﻨﻬﺎ ﺣﻴﻮﺍﻥ ﺃﻭ ﺷﻜﻞ ﻳﺼﻞ ﻋﺪﺩﻫﺎ ﺇﱃ ﺛﻼﺛﺔ ﻭ ﺳﺒﻌﻮﻥ ﻣﺘﻮﺯﻋﺔ ﻋﻠﻰ
ﺴﺔ ﺻﻔﻮﻑ ﻣﻦ ﺍﻷﻋﻠﻰ ﺇﱃ ﺍﻷﺳﻔﻞ:
ﻃﺎﻭﻭﺱ ،ﺭﺟﻞ ﳝﺴﻚ ﲞﺮﺟﺔ ﻣﺰﺩﻭﺟﺔ ،ﺛﻮﺭ ،ﺷﺨﺺ ﺑﺜﻴﺎﺏ ﻓﺨﻤﺔ ،ﻋﺒﺪ ﻤﻞ ﻓﺎﻧﻮﺱ ﻭ ﺧﺒﺰ ،ﻋﺒﺪ ﺃﺧﺮ ﳝﺴﻚ
"ﺍﳊﻤﺎﺭ ﺍﳌﻨﺘﺼﺮ".ﺍﻟﻘﻼﺩﺓ ﺍﻟﺜﺎﻧﻴﺔ ﺑﻌﺪ ﺍﻟﻄﺎﻭﻭﺱ ﺗﻜﺘﺴﻲ ﺃﳘﻴﺔ ﺧﺎﺻﺔ ASINUS NICAﺑﺪﻟﻮﺍﻥ ﰒ ﲪﺎﺭ ﻭ ﺍﻟﻜﺘﺎﺑﺔ
ﺇﺫ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺟﲏ ﳎﻨﺢ ﳝﺴﻚ ﺑﻌﻈﺎﻳﺔ ﻣﻦ ﺧﻴﻂ ﺑﻨﻔﺲ ﺍﳊﺮﻛﺔ ﺍﻟﱵ ﳝﺴﻚ ﻬﺑﺎ ﺑﺎﺧﻮﺱ ﻋﻈﺎﻳﺔ ﺃﺧﺮﻯ ﺑﻔﺴﻴﻔﺴﺎﺀ
ﺍﳉﻢ ﺑﺘﻮﻧﺲ .14ﻭ ﰲ ﻟﻮﺣﺘﻨﺎ ﻫﺬﻩ ﺻﻮﺭ ﺍﳊﻴﻮﺍﻥ ﻭ ﻫﻮ ﰲ ﺣﺎﻟﺔ ﻏﻀﺐ ﻭ ﻋﺪﻭﺍﻧﻴﺔ ﺑﻌﺪﻣﺎ ﺃﻟﻘﻲ ﻋﻠﺒﻪ ﺍﻟﻘﺒﺾ ﺑﻴﻨﻤﺎ
ﺗﺒﺪﻭ ﻋﻠﻰ ﻣﻼﻣﺢ ﺍﳉﲏ ﺍﻟﺘﺴﻠﻴﺔ ﻭ ﺍﻹﺭﺍﺩﺓ ﰲ ﻫﺰﻡ ﺍﻟﻌﻈﺎﻳﺔ .
ﺍﻷﻟﻮﺍﻥ :ﻳﻄﻐﻰ ﻓﻴﻬﺎ ﺍﻷﲪﺮ ﻭ ﺍﳌﻐﺮﺓ
ﺍﳌﺎﺩﺓ :ﺭﺧﺎﻡ
ﺍﻟﺘﺤﻠﻴﻞ :ﲝﻜﻢ ﺗﺮﻛﻴﺒﻬﺎ ﻭ ﺍﻟﻄﺮﺍﺯ ﺍﻟﺬﻱ ﺃﳒﺰﺕ ﺑﻪ ﺗﻨﻔﺮﺩ ﻓﺴﻴﻔﺴﺎﺀ ﺍﳊﻤﺎﺭ ﺍﳌﻨﺘﺼﺮ ﻋﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻷﺧﺮﻯ ﲜﻤﻴﻠﺔ
ﻭ ﺣﱴ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺗﻘﺘﺮﺏ ﺃﻛﺜﺮ ﻣﻦ ﻓﺴﻴﻔﺴﺎﺀ ﺟﻨﻮﺏ ﻓﻠﺴﻄﲔ ﻟﻠﻘﺮﻥ ﺍﻟﺴﺎﺩﺱ ﻣﻴﻼﺩﻱ ﻣﺜﻞ ﻟﻮﺣﺔ ﺑﻴﺴﻦ
ﺍﳊﻤﺎﻡ .15ﺭﻏﻢ ﺇﳒﺎﺯ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﺇﺫ ﻳﻔﺴﺮ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ16ﻋﺒﺎﺭﺓ "ﺍﳊﻤﺎﺭ ﺍﳌﻨﺘﺼﺮ"
ﺑ ﻧﺘﺼﺎﺭ ﺇﻟﻪ ﺍﳌﺴﻴﺤﻴﲔ ﺃﻭ ﺍﳊﻤﺎﻣﺔ ﺇﻻ ﺃﻬﻧﺎ ﻻ ﲣﻠﻮ ﻣﻦ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﻮﺛﻨﻴﺔ ﺍﳌﻘﺘﺒﺴﺔ ﻣﻦ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ:
-ﺃﻭﺭﺍﻕ ﺍﻟﻜﺮﻭﻡ ﻫﻲ ﺭﻣﻮﺯ ﺩﻳﻮﻧﺰﻳﺔ ﻭﻗﺎﺋﻴﺔ ﲤ ﺍﻟﻔﺮﺍﻏﺎﺕ ﺑﲔ ﺍﻷﻭﲰﺔ.17
ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﺪﺳﺔ ﺍﻟﱵ ﺗﻌﺒﺮ ﻋﻦ ﺍﳉﻨﺔ ﻭ ﺍﳋﻠﻮﺩ ﻋﻨﺪ ﺍﳌﺴﻴﺤﻴﲔ ﻣﺜﻠﻤﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻟﺪﻯ ﺃﺗﺒﺎﻉ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ.18
14
M L. Poinssot. A Merlin, Monuments Piot. T XXXIV. P 95
15
Actes du colloque international sur la mosaïque Gréco-romaine . du 29 aout au 3 sept 1963. Paris. CNRS.
16
Ch. Picard, Religions de l’Afrique antique. Paris Librairie Plon.1954.p205
17
Y. Allais, Djemila. 1938. p 67
18
Ch. Picard, « De l’age d’or de la mosaïque romaine en Afrique du nord ».Dossiers de l’Archéologie. Nov-dec 1978. p 101
221
-ﺍﳊﻤﺎﺭ ﻛﺎﻥ ﺣﻴﻮﺍﻧﺎ ﳏﺒﻮﺑﺎ ﻟﺪﻯ ﺍﻹﻟﻪ ﺇﺫ ﻛﺎﻥ ﳝﺘﻄﻴﻪ ﰲ ﻣﻨﺎﺳﺒﺎﺕ ﳐﺘﻠﻔﺔ ﻭ ﻳﺮﺍﻓﻘﻪ ﰲ ﻣﻮﺍﻛﺒﻪ.
-ﺍﻷﺭﻧﺐ ﻋﺎﺩﺓ ﻣﺎ ﺗﻘﺪﻣﻪ ﺍﻟﺴﻜﲑﺍﺕ ﺇﱃ ﺍﻹﻟﻪ.19
-ﺍﳉﲏ ﺫﻭ ﺍﻟﻌﻈﺎﻳﺔ ﻳﺬﻛﺮﻧﺎ ﺑﺒﺎﺧﻮﺱ ﺍﻟﺮﻭﻣﺎﱐ ﻭ ﺑﺸﺪﺭﻓﺔ ﺍﻟﺒﻮﱐ ﺍﻟﺬﻱ ﻳﻘﻀﻲ ﻋﻠﻰ ﺍﻷﻓﻌﺎﻝ ﺍﳌﺆﺫﻳﺔ ﻟﻠﻌﻈﺎﻳﺔ ﺭﻣﺰ
ﺍﻟﺸﺮ ﻭ ﺍﳉﻦ ) ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺍﳉﻢ ( ﺃﻭ ﻳﻴﻨﻮﺏ ﻋﻦ ﺍﻹﻟﻪ ﺟﲏ ﺍﻟﻔﺼﻞ ﻟﻴﻘﻮﻡ ﺑﺪﻭﺭﻩ ﺍﻟﻮﻗﺎﺋﻲ .ﺇﺫﻥ ﺗﺮﺗﺒﻂ ﺻﻮﺭﺓ
ﺍﳉﲏ ﺫﻭ ﺍﻟﻌﻈﺎﻳﺔ ﻣﺒﺎﺷﺮﺓ ﺑﺎﻹﻟﻪ ﺑﺎﺧﻮﺱ/ﺩﻳﻮﻧﻴﺰﻭﺱ ﺧﻠﻴﻔﺔ ﺍﻹﻟﻪ ﺷﺪﺭﻓﺔ ﺍﻟﺬﻱ ﻳﻜﻠﻒ ﻋﺎﺩﺓ ﲝﻤﺎﻳﺔ ﺍﻟﺒﺸﺮﻳﺔ ﻣﻦ ﺷﺮ
ﺍﻷﻓﺎﻋﻲ ﻭ ﺍﻟﻌﻘﺎﺭﺏ ﻭ ﺍﻟﻌﻈﺎﻳﺎﺕ.ﻭ ﻗﺪ ﺫﻫﺐ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﺃﻣﺜﺎﻝ ﺳﺘﲑﻥ20ﺇﱃ ﺗﺄﻭﻳﻞ ﺃﺧﺮ ﻟﻠﻌﻈﺎﻳﺔ ﻛﺴﺤﺮ ﻃﻴﺐ
ﳊﻤﺎﻳﺔ ﺣﻘﻮﻝ ﺍﻟﻜﺮﻭﻡ ﻣﻦ ﺷﺮ ﺍﻟﺰﻭﺍﺣﻒ ﻛﻤﺎ ﻳﺬﻛﺮﻩ ﺍﳌﺆﺭﺥ ﺑﻠﲔ ﺍﻟﻘﺪﱘ.21
ﻛﻞ ﻫﺬﻩ ﺍﻟﺘﻔﺴﲑﺍﺕ ﺗﺆﻛﺪ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺍﻟﻮﺛﲏ ﳍﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﱵ ﺗﺸﻬﺪ ﻋﻠﻰ ﺇﺳﺘﻤﺮﺍﺭﻳﺔ ﺍﻻﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﻘﺪﳝﺔ
ﺍﻟﺒﻮﻧﻴﺔ ﻭ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﰲ ﺍﳌﻨﻄﻘﺔ ﺣﱴ ﻣﻊ ﺩﺧﻮﻝ ﺍﳌﺴﻴﺤﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﺃﺭﺧﺖ ﺍﻟﻠﻮﺣﺔ ﲝﺪﻭﺩ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ ﻣﻴﻼﺩﻱ ﻋﻠﻰ ﺃﺳﺎﺱ ﲢﻠﻴﻞ ﺑﻌﺾ ﺍﻟﻌﻨﺎﺻﺮ ﻓﻴﻬﺎ ﻣﺜﻞ ﺷﻜﻞ ﺍﻟﺜﻮﺏ
ﺍﻟﺬﻱ ﻳﺮﺗﺪﻳﻪ ﺃﺣﺪ ﺍﻷﺷﺨﺎﺹ ﺍﻟﻈﺎﻫﺮﻳﻦ.
-17ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ:
436 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 70-69ﺍﻟﻠﻮﺣﺔ .24
ﺍﳌﺮﺍﺟ :
- l.leschi, « Mosaïque à scènes dionysiaques « . Monuments et mémoires publiés par CRAI.
Fondation Eugene Piot. T 35. Paris ed Leroux 1935-36. p 161
- M. Blanchard, « La scène du sacrifice du bouc dans la mosaïque dionysiaque de cuicul ».
A.AF. T 15. 1980. pp 169-181
- J. Lassus, « Mosaïques dionysiaques d’El Jem et de Djemila ». Mélanges d’archéologie et
d’épigraphie offerts à Carcopino. Paris Hachette 1966. pp 593-603
- P A. Fevrier, Djemila. Alger 1971. pp73-99. fig 44.59.60
19
M M Ch.Daremberg. E D M.Saglio, op cit. P 621
20
A. Merlin, op cit. P 105
21
Pline, Hist Nat. xxx. 52 et 104
222
-ﻣﻨﻈﺮ "ﺍﻟﻄﻮﺍﻑ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ" ﻋﻠﻰ ﻳﺴﺎﺭ ﺍﻟﻠﻮﺣﺔ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﻹﻟﻪ ﰲ ﻣﺮﺣﻠﺔ ﺍﻟﻄﻔﻮﻟﺔ ﻭ ﻫﻮ ﻣﺘﻮﺟﺎ ﳝﺴﻚ ﻣﺰﺭﺍﻗﻪ ﻭ
ﳝﺘﻄﻲ ﺍﻟﻨﻤﺮﺓ ﺍﻟﱵ ﻳﻘﻮﺩﻫﺎ ﺳﺎﺗﲑ.
-ﻣﻨﻈﺮ "ﺭﺿﺎﻋﺔ ﺩﻳﻮﻧﻴﺰﻭﺱ" ﰲ ﺍﻷﺳﻔﻞ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﻹﻟﻪ ﻭ ﻫﻮ ﻳﺮﺿﻊ ﺣﺎﺿﻨﺘﻪ ﺍﳉﺎﻟﺴﺔ ﺑﺎﻟﻘﺮﺏ ﻣﻦ ﺣﻮﺭﻳﺔ ﺍﳌﻴﺎﻩ
ﺍﻟﱵ ﺗﺘﺄﻣﻞ ﺍﳌﺸﻬﺪ ﺑﻨﻈﺮﺓ ﺣﻨﻴﻨﺔ ﻛﻤﺎ ﻳﻈﻬﺮ ﺳﺎﺗﲑ ﻣﻜﻠﻼ ﳑﺪﻭﺩﺍ ﻳﺸﺮﺏ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﳌﻘﺪﺱ ﻭ ﲜﺎﻧﺒﻪ ﺭﺷﺎ.
-ﻣﻨﻈﺮ "ﺗﻀﺤﻴﺔ ﺇﻳﻜﺎﺭﻳﻮﺱ" ﰲ ﺍﻷﻋﻠﻰ ﻳﺼﻮﺭ ﺷﺨﺼﻴﺔ ﻣﻠﻜﻴﺔ ﲢﺘﻞ ﺍﳌﺮﻛﺰ ﲢﻤﻞ ﺍﻟﺼﻮﳉﺎﻥ ﺍﻟﺬﻫﱯ ﻭ ﺃﻣﺎﻣﻬﺎ
ﻣﺬﺑﺢ ﻭ ﰲ ﺍﳋﻠﻒ ﺗﻈﻬﺮ ﺷﺠﺮﺓ ﻋﺎﺭﻳﺔ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻳﻈﻬﺮ ﺳﺎﺗﲑ ﳚﺮ ﺍﻟﺘﻴﺲ ﳓﻮ ﺍﳌﺬﺑﺢ.
-ﺍﳌﺸﻬﺪ ﺍﻟﺮﺍﺑﻊ ﻳﺼﻮﺭ ﺛﻼﺛﺔ ﻧﺴﺎﺀ ﺍﻷﻭﱃ ﺟﺎﻟﺴﺔ ﻳﺪﻳﻬﺎ ﻣﺘﻼﻗﻴﺘﺎﻥ ﻋﻠﻰ ﺳﻠﺔ ﺫﺍﺕ ﻏﻄﺎﺀ ﻣﻮﺿﻮﻋﺔ ﻓﻮﻕ ﺭﻛﺒﺘﻴﻬﺎ
ﻋﻠﻰ ﻳﺴﺎﺭﻫﺎ ﺍﻣﺮﺃﺓ ﺃﺧﺮﻯ ﺭﺍﻛﻌﺔ ﺗﺮﻓﻊ ﺍﻟﺴﺘﺎﺭ ﻋﻦ ﺳﻠﺔ ﺑﻴﺪﻫﺎ ﻭ ﲤﺴﻚ ﺑﻘﻀﻴﺐ ﺟﻨﺴﻲ ﻟﺘﺮﻳﻪ ﻟﻠﻤﺮﺁﺓ ﺍﻟﺜﺎﻟﺜﺔ ﺍﻟﱵ
ﺗﺪﻳﺮ ﻭﺟﻬﻬﺎ ﻣﻦ ﺍﻟﻔﺰﻉ ) ﻃﻘﺲ ﺗﻘﻠﻴﺪﻱ ﻫﺎﻡ ﰲ ﻣﺮﺳﻢ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ (.
ﻭ ﺗﻈﻬﺮ ﰲ ﺯﻭﺍﻳﺎ ﺍﻟﻠﻮﺣﺔ ﻛﺮﻳﺎﺗﻴﺪﺍﺕ ﻭ ﺁﳍﺔ ﺍﻟﻨﺼﺮ ﺍﺠﻤﻟﻨﺤﺔ ﲢﻤﻞ ﻋﻠﻰ ﺭﺃﺳﻬﺎ ﴰﻌﺪﺍﻥ ﺗﻨﺒﻊ ﻣﻨﻪ ﺃﺷﺮﻃﺔ ﺗﻔﺼﻞ
ﺍﳌﻨﺎ ﺮ ﺍﳋﻤﺴﺔ ﻋﻦ ﺑﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﺘﻤﻴﺰ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻋﻦ ﺑﺎﻗﻲ ﻟﻮﺣﺎﺕ ﻴﻠﺔ ﺑﺘﺮﻛﺒﻬﺎ ﺍﳌﻨﻔﺮﺝ ﺍﻟﺬﻱ ﻳﺘﺴﻢ ﺑﺎﻟﺘﻨﻈﻴﻢ ﻭ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﻭ
ﻧﻀﺎﺭﺓ ﺍﻟﻠﻮﻥ ﺃﻛﺜﺮ ﻣﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﱵ ﺃﳒﺰﺕ ﻓﻴﻤﺎ ﺑﻌﺪ ﺧﻼﻝ ﺍﻟﻘﺮﱐ ﺍﻟﺮﺍﺑﻊ ﻭ ﺍﳋﺎﻣﺲ ﻭ ﻟﻘﺪ ﺃﺛﺎﺭﺕ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ
ﺩﺭﺍﺳﺎﺕ ﳐﺘﻠﻔﺔ ﺍﻵﺭﺍﺀ ﻧﺬﻛﺮ ﻣﻨﻬﺎ:
-ﺩﺭﺍﺳﺔ ﺍﻟﺒﺎﺣﺚ ﻻﺳﻮ22ﺍﻟﺬﻱ ﻳﻘﺎﺭﻥ ﻟﻮﺣﺘﻨﺎ ﺑﻔﺴﻴﻔﺴﺎﺀ "ﻣ ﻝ ﺍﻟﻄﻮﺍﻑ ﺍﻟﺪﻳﻮﻧﺰﻱ" ﺑﺎﳉﻢ ﻭ ﻳﺮﻯ ﺃﻬﻧﺎ ﺗﻨﺘﻤﻲ ﺇﱃ
ﻣﺪﺭﺳﺔ ﺛﻴﺴﺪﺭﻭﺱ ﻭ ﻳﻼﺣﻆ ﺃﻥ ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ﺃﻛﺜﺮ ﻏ ﻣﻦ ﺣﻴﺚ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺎ.
-ﺍﻟﺒﺎﺣﺜﺔ ﺑﻼﻧﺸﺎﺭ23ﻋﺎﳉﺖ ﻣﺸﻬﺪ ﺍﻟﺘﻀﺤﻴﺔ ﰲ ﲢﻠﻴﻞ ﺩﻗﻴﻖ ﻭﺻﻠﺖ ﻣﻦ ﺧﻼﻟﻪ ﺇﱃ ﻧﺘﺎﺋﺞ ﻣﻬﻤﺔ ﻭ ﺟﺪﻳﺪﺓ:
-1ﻣﻨﻈﺮ ﺗﻀﺤﻴﺔ ﺍﻟﺘﻴﺲ ﻻ ﻳﺘﻌﺪﻯ ﺍﻟﻔﺘﺮﺓ ﺍﳍﻠﻨﺴﺘﻴﺔ ﻭ ﺑﺎﻟﻀﺒﻂ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻭ ﻳﻌﻮﺩ ﺃﺻﻞ ﻫﺬﻩ ﺍﻟﺘﻀﺤﻴﺔ ﺇﱃ
ﺇﻧﺘﻘﺎﻡ ﺍﻟﺪﺍﻟﻴﺔ ﻣﻦ ﺍﻟﺘﻴﺲ ﺑﻌﺪﻣﺎ ﻛﺎﻥ ﻳﺄﻛﻠﻬﺎ.
-2ﺍﻟﺸﺨﺼﻴﺔ ﺍﳌﻠﻜﻴﺔ ﺍﻟﱵ ﺗﻘﺪﻡ ﺍﻟﻘﺮﺑﺎﻥ ﻟﻴﺴﺖ ﺇﻳﻜﺎﺭﻳﻮﺱ ﻷﻥ ﻫﺬﺍ ﺍﻷﺧﲑ ﺗﺼﻔﻪ ﺍﻟﻨﺼﻮﺹ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺔ
ﻛﻤﺰﺍﺭﻉ ﺑﺎﺭﻉ ﻭ ﻓﻘﲑ ﻭ ﻫﺬﺍ ﻻ ﻳﺘﻔﻖ ﻣﻊ ﺍﳌﻈﻬﺮ ﺍﻟﻔﺨﻢ ﻟﻠﺸﺨﺼﻴﺔ ﺍﳌﺼﻮﺭﺓ...
-3ﺍﻟﺸﺠﺮﺓ ﺍﻟﻌﺎﺭﻳﺔ ﺧﻠﻒ ﺍﳌﺬﺑﺢ ﺗﻀﻊ ﺍﳌﺸﻬﺪ ﰲ ﺍﳍﻮﺍﺀ ﺍﻟﻄﻠﻖ ﰲ ﻓﺼﻞ ﺍﻟﺸﺘﺎﺀ ﻭ ﺑﺎﻟﺘﺎ ﺗﻌﱪ ﺍﻟﺘﻀﺤﻴﺔ ﻋﻦ
ﺣﻔﻠﺔ ﺷﺘﻮﻳﺔ ﻣﺜﻞ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺎﺕ ﺍﻟﺮﻳﻔﻴﺔ ﺑﺄﺛﻴﻨﺎ.
-4ﺗﺸﺎﺑﻪ ﺻﻮﺭﺓ ﺍﳌﻬﺪﻱ ﺑﺼﻮﺭﺓ "ﺑﺎﺧﻮﺱ ﺍﳌﻨﺘﺼﺮ" ﻓﻮﻕ ﺍﻟﻌﺮﺑﺔ ﺑﻔﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﻭ ﺑﺼﻮﺭﺓ ﺍﻹﻟﻪ ﺳﺒﺎﺯﻳﻮﺱ
ﺍﳌﻌﺮﻭﻑ ﺑﺎﻟﺪﻳﻮﻧﺰﻭﺱ ﺍﳌﻠﺘﺤﻲ ﻟﻠﺤﻔﻼﺕ ﺍﻟﺸﺘﻮﻳﺔ.lénéennes
-5ﺇﻧﺘﻤﺎﺀ ﻣﺸﻬﺪﻱ ﺍﻟﺘﻀﺤﻴﺔ ﻭ ﺍﻟﺘﻌﻠﻴﻢ ﺇﱃ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﻄﻘﻮﺳﻴﺔ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﻳﺘﺮﺃﺱ ﺍﻹﻟﻪ ﺍﳌﻠﺘﺤﻲ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ.
22
J. Lassus, op cit. P 594
23
L. Blanchard, op cit. p 170
223
-ﺍﻟﺒﺎﺣﺜﺔ ﺩﻧﺒﺎﺑﲔ24ﺗﻔﺴﺮ ﻣﺸﻬﺪ ﺍﻹﻟﻪ ﻓﻮﻕ ﺍﻟﻔﻬﺪ ﺑﺮﻣﺰ ﺇﺣﺘﻔﺎﻝ ﺍﻹﺷﺘﺮﺍﻙ ﻭ ﺗﺮﻯ ﺃﻥ ﺍﺧﺘﻴﺎﺭ ﺍﳌﺸﺎﻫﺪ ﰲ ﻫﺬﻩ
ﺍﻟﻠﻮﺣﺔ ﻳﻮﺣﻲ ﺑﺄﻭﺟﻪ ﻣﻦ ﻃﻘﻮﺱ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ.
-ﺑﻨﺪﻳﻨﻠﻲ25ﺗﺮﻯ ﺗﺸﺎﻬﺑﺎ ﻛﺒﲑﺍ ﺑﲔ ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ﻭ ﻓﺴﻴﻔﺴﺎﺀ ﺃﺧﺮﻯ ﺑﺒﻮﻣﱯ ﻭ ﺗﺴﺘﻨﺘﺞ ﺃﻥ ﺍﻟﻠﻮﺣﺘﺎﻥ ﺗﻌﻮﺩﺍﻥ ﺇﱃ
ﻧﻔﺲ ﺍﳌﻨﺒﻊ ﺍﻟﻔﲏ.
-ﻟﺴﻜﻲ 26ﻳﺴﻤﻲ ﺍﳌﺸﻬﺪ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﻓﻴﻪ ﺩﻳﻮﻧﺰﻭﺱ ﻓﻮﻕ ﺍﻟﻨﻤﺮﺓ ﲟﺸﻬﺪ ﺍﻟﺘﻌﻠﻴﻢ ﺍﻟﺬﻱ ﻳﻮﺣﻲ ﺇﱃ ﺇﺣﺪﻯ ﺻﻔﺎﺕ
ﺍﻹﻟﻪ ﺃﻻ ﻭ ﻫﻲ ﺗﺮﻭﻳﺾ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﳌﻔﺘﺮﺳﺔ ﻛﻤﺎ ﻳﺸﲑ ﺇﱃ ﺗﺴﺮ ﺔ ﺍﻟﻄﻔﻞ ﻭ ﺍﻹﻣﺮﺓ ﰲ ﻫﺬﺍ ﺍﳌﺸﻬﺪ )ﺍﻟﺘﺎﺝ (mitra
dionysiaqueﺍﻟﺬﻱ ﻳﺮﻣﺰ ﺇﱃ ﻋﻼﻣﺔ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ،ﻓﺎﻹﻟﻪ ﻗﺪ ﺍﺟﺘﺎﺯ ﻣﺮﺣﻠﺔ ﺍﻹﻃﻼﻉ ﻋﻠﻰ ﺃﺳﺮﺍﺭ
ﺩﻳﺎﻧﺘﻪ.
ﺍﻟﺘ ﺭﻳ :ﺗﻀﺎﺭﺑﺖ ﺃﺭﺍﺀ ﺍﻟﺒﺎﺣﺜﲔ ﺑﲔ ﻭﺳﻂ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻭ ﺑﺪﺍﻳﺔ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ.
ﺍﻹﺳﺘﻨﺘﺎ :ﺗﺘﺴﻢ ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ﺑﻄﺎﺑﻊ ﺭﻭﺣﻲ ﻋﻤﻴﻖ ﺃﺩﻯ ﺑﺒﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ 27ﺇﱃ ﻧﺴﺐ ﺍﻟﻘﺎﻋﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ
Thiase dionysiaqueﺍﻟﻠﻮﺣﺔ ﺇﱃ ﻣﻌﺒﺪ ﻛﺎﻥ ﻳﻠﺘﻘﻲ ﻓﻴﻪ ﺃﻋﻀﺎﺀ ﺍﻟﺮﻗﺼﺔ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺍﳌﻘﺪﺳﺔ
ﰲ ﺍﻟﺴﺮ ﻭ ﻳﺴﺘﺪﻟﻮﻥ ﰲ ﺫﻟﻚ ﺑﺘﻄﺎﺑﻖ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺘﻨﺎﻭﻟﺔ ﰲ ﺍﻟﻠﻮﺣﺔ ﻭ ﻭﺟﻮﺩ ﻫﺬﻩ ﺍﻷﺧﲑﺓ ﺑﻘﺎﻋﺔ ﻣﻨﻔﺼﻠﺔ ﻋﻦ ﺍﳌ ﻝ
ﻛﺎﻧﺖ ﻣﺰﻭﺩﺓ ﺑﻜﻮﺓ ﺗﺄﻭﻱ ﲤﺜﺎﻝ ﺇﻟﻪ ﻳﻘﺎﺑﻞ ﻣﺸﻬﺪ ﺍﻟﺘﻀﺤﻴﺔ ﺍﳌﺼﻮﺭ ﻋﻠﻰ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ،ﻭ ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ
28
ﻳﻔﺘﺮﺿﻮﻥ ﻣﻌﺒﺪ ﺩﻳﻮﻧﻴﺰﻱ ﻣﺜﻞ ﺍﻟﺬﻱ ﺫﻛﺮ ﰲ ﻧﺎﻗﺸﺔ ﻣﻦ ﻣﺪﺍﻭﺭﺵ
ﻭ ﺗﺸﺎﻃﺮﻫﻢ ﰲ ﺍﻟﺮﺃﻱ ﺍﻟﺒﺎﺣﺜﺔ ﺩﻧﺒﺎﺑﲔ 29ﺑﻘﻮﳍﺎ ﺃﻥ ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ﻣﺜﺎﻝ ﻧﺎﺩﺭ ﻋﻦ ﻛﻴﻔﻴﺔ ﺗﻮ ﻴﻒ ﻟﻮﺣﺔ ﻓﺴﻴﻔﺴﺎﺋﻴﺔ
ﻹ ﻬﺎﺭ ﺍﻟﻮ ﻴﻔﻔﺔ ﺍﻟﻌﺒﺎﺩﻳﺔ ﻟﻠﻐﺮﻓﺔ ﺍﻟﱵ ﻭﺿﻌﺖ ﻬﺑﺎ.
ﺃﻣﺎ ﺍﻟﺒﺎﺣﺜﺔ ﺑﻼﻧﺸﺎﺭ-ﻟﻮﻣﻲ30ﻓﺘﺮﻯ ﺃﻧﻪ ﻣﻦ ﺍﶈﺘﻤﻞ ﺃﻥ ﳑﻮﻝ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﻄﻠﻌﺎ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺃﻭ ﻣﺘﺸﺒﻌﺎ
ﺑﺎﻹﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﳍﺬﺍ ﺇﻋﺘ ﺑﺪﻗﺔ ﺑﺎﻟﺘﻔﺎﺻﻴﻞ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﱵ ﺗﺼﻮﺭ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻔﻨﻴﺔ ﲤﺘﺎﺯ ﻟﻮﺣﺘﻨﺎ ﺑﺪﻗﺔ ﰲ ﺍﻟﻌﻤﻞ ﻭ ﺑﻐ ﺍﻷﻟﻮﺍﻥ ﲡﻌﻠﻬﺎ ﺃﻗﺮﺏ ﻣﻦ ﻓﻦ ﺍﻟﺮﺳﻢ ﻭ ﺗﻌﺪ ﻣﻦ ﺃ ﻞ
ﺍﻟﻠﻮﺣﺎﺕ ﰲ ﳎﻤﻞ ﺍﻟﻌﺎﱂ ﺍﻟﺮﻭﻣﺎﱐ ﺍﻟﻘﺪﱘ .ﺃﻣﺎ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺘﺎﺭﳜﻴﺔ ﻓﻬﻲ ﺗﻌﺘﱪ ﻭﺛﻴﻘﺔ ﻴﻨﺔ ﻹﻧﺘﺸﺎﺭ ﺃﺷﻜﺎﻝ ﻭ
ﺗﻘﻨﻴﺎﺕ ﺍﻟﻔﻦ ﺍﻹﺳﻜﻨﺪﺭﻱ ﺑﺎﳌﻘﺎﻃﻌﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﺧﺎﺻﺔ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺣﻴﺚ ﻟﻌﺒﺖ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﻟﺸﺮﻗﻴﺔ
)ﺍﻟﺴﻮﺭﻳﺔ ﻭ ﺍﳌﺼﺮﻳﺔ( ﺩﻭﺭﺍ ﻫﺎﻣﺎ ﰲ ﻣﻴﺪﺍﻥ ﺍﻟﻔﻨﻮﻥ.
ﻭ ﺃﺧﲑﺍ ،ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺪﻳﻨﻴﺔ ﺗﻘﺪﻡ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺩﻻﺋﻼ ﺟﺪﻳﺪﺓ ﻋﻦ ﺇﻧﺘﺸﺎﺭ ﺍﻹﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺫﺍﺕ ﺍﻷﺻﻞ
ﺍﳍﻠﻴﲏ ،ﺍﻷﺳﻴﻮﻱ ﻭ ﺍﳌﺼﺮﻱ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ.31
24
K M D.Dunbabin, The mosaic of roman north Africa. Studies in iconography and patronage. Ed Clarendon press. Oxford
1978p 179
25
C. Bendinelli, Un mosaico dionisiaco Africano e il fregio dionisiaco della villa dei misteri a Pompei. Torino 1937. p 3
26
L. Leschi, op cit p 114
27
L. Leschi, op cit. P 169
28
S. Gsell , I L A. N° 2131
29
K M D. Dunbabin, op cit. P 180
30
M. Blanchard-Lemee, « La scéne…. ». A. AF. T 15 1980. p 181
31
L. Leschi, idem. P 172
224
: ﺎﻃﻔﻲ ﺍﻟﻌﻨ -18ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻌﺸﺎ
ﺍﳌﺮﺍﺟ :
- Blanchard-Lemée, Maisons à mosaïques du quartier central de Djemila (Cuicul). Paris
1975. p231.
ﺍﳌﺼﺪﺭ :ﻗﺎﻋﺔ ﺍﻷﻛﻞ ﺍﳌﺮﻛﺰﻳﺔ ﲟ ﻝ ﺁﻭﺭﺑﺎ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﻘﺎﺳﺎﺕ 0.10 × 0.80 :ﻡ
ﺍﻟﻮﺻﻒ :ﳝﺜﻞ ﻫﺬﺍ ﺍﳉﺰﺀ ﺍﳌﺘﺒﻘﻲ ﻋﺎﺷﻘﺎﻥ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﻋﺎﺭﻳﺎﻥ ﻛﻞ ﻭﺍﺣﺪ ﻣﻨﻬﻤﺎ ﻳﻈﻬﺮ ﰲ ﻏﺼﻦ ﻣﻦ ﺍﻟﺪﺍﻟﻴﺔ
ﻳﺸﻜﻞ ﺩﺍﺋﺮﺓ ﺍﻷﻭﻝ ﳝﺴﻚ ﺑﻴﺪﻩ ﻣﺸﺬﺏ ﺻﻐﲑ ﻟﻴﻘﻄﻒ ﺑﻪ ﺍﻟﻌﻨﺐ ﺃﻣﺎ ﺍﻟﺜﺎﱐ ﻓﻼ ﺗﻈﻬﺮ ﻳﺪﻳﻪ.
ﺍﻟﺘﻘﻨﻴﺔ ﺗﺘﺴﻢ ﺑﺎﻟﺪﻗﺔ ﻭ ﺍﳌﻜﻌﺒﺎﺕ ﳐﺘﻠﻔﺔ ﺍﳌﻘﺎﺳﺎﺕ ﺗﺘﺮﺍﻭﺡ ﻣﻦ 5ﺇﱃ 7ﻣﻢ.
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﲪﺮ ،ﺍﻷﺯﺭﻕ ،ﺍﻷﺧﻀﺮ ،ﺍﻟﺒﲏ.
ﺍﳌﺎﺩﺓ :ﺍﻟﺮﺧﺎﻡ ﻭ ﻋﺠﻴﻨﺔ ﺍﻟﺰﺟﺎﺝ )ﰲ ﺣﺒﺎﺕ ﺍﻟﻌﻨﺐ(.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﻔﲑﻳﺔ
225
ﺎﻃﻒ ﺍﻟﻌﻨ : -19ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻌﺎﺷ
ﺍﳌﺮﺍﺟ :
- op cit. p229
ﺍﳌﺼﺪﺭ :ﺍﻟﻔﻨﺎﺀ ﺍﳌﻌﻤﺪ ﲟ ﻝ ﺁﻣﻔﺘﺮﻳﺖ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ .ﺍﻟﻮﺍﺟﻬﺔ ﺍﳋﺎﺭﺟﻴﺔ
ﺍﳌﻘﺎﺳﺎﺕ 1-0.95 × 0.50 :ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺒﻘﻰ ﺟﺰﺀﺍﻥ ﻣﻦ ﺍﻟﻠﻮﺣﺔ ﰲ ﺣﺎﻟﺔ ﺣﻔﻆ ﺳﻴﺌﺔ ﺟﺪﺍ ﻋﺒﺎﺭﺓ ﻋﻦ ﺩﺍﺋﺮﺗﺎﻥ ﻏﲑ ﻛﺎﻣﻠﺔ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻟﻌﺎﺷﻖ
ﻋﺎﺭﻱ ﺑﲔ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﰲ ﻭﺿﻌﻴﺔ ﺍﻟﻘﻄﻒ.
ﺍﳌﺎﺩﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﺯﺭﻕ ،ﺍﻷﲪﺮ ،ﺍﻷﺧﻀﺮ
ﺍﻟﺘ ﺭﻳ :ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ -ﺑﺪﺍﻳﺔ ﺍﳋﺎﻣﺲ ﻣﻴﻼﺩﻱ.
ﺳﻄﻴﻒ:
-20ﻓﺴﻴﻔﺴﺎﺀ ﻧﺼﺮ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
- Blanchard-Lemée, « Reflexions sur la notion d’ateliers de mosaïstes. L’exemple des
mosaïques de Sétif ». BAA. 7e supp. Actes du colloque international sur l’histoire de
Sétif. Setif 8/9/10 dec 1990. pp91-101.
226
ﺑﺮﻣﻮﺯﻩ ﺍﻟﻌﻨ ﺰﻳﺔ ﻭ ﻫﻮ ﻳﺮﻓﻊ ﺍﻟﺴﻠﺴﻠﺔ ﺍﻟﱵ ﻳﺸﺪ ﻬﺑﺎ ﺳﺠﻴﻨﺔ ﺗﺘﻘﺪﻡ ﳎﻤﻊ ﺍﳌﺴﺎﺟﲔ ﻭ ﺧﻠﻔﻬﻤﺎ ﻳﻈﻬﺮ ﻓﻴﻞ ﻭ ﺯﺭﺍﻓﺔ ﻭ
ﻼﻥ ﺃﺣﺪﳘﺎ ﻳﺮﻛﺒﻪ ﻃﻔﻼﻥ ﺯﳒﻴﺎﻥ ﻭ ﺍﻷﺧﺮ ﻤﻞ ﺑﺎﻃﻴﺘﺎﻥ .ﻭ ﺃﺧﲑﺍ ﻳﺘﻘﺪﻡ ﺍﳌﻮﻛﺐ ﺷﻴﺦ ﻧﺼﻒ ﺭﺃﺳﻪ ﺃﺻﻠﻊ
ﺑﺸﻌﺮ ﻭ ﳊﻴﺔ ﺑﻴﻀﺎﺀ ﻳﺮﺗﻜﺰ ﻋﻠﻰ ﻋﺼﻰ ﻭ ﻳﻨﻈﺮ ﻭﺭﺍﺀﻩ ﰲ ﺇﲡﺎﻩ ﺍﻟﻌﺮﺑﺔ ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ ﻋﻠﻰ ﻳﺴﺎﺭﻩ ﺃﺳﺪ ﻭ ﺧﻠﻔﻪ ﺷﺠﺮﺓ.
ﺍﻷﻟﻮﺍﻥ :ﺍﳋﻠﻔﻴﺔ ﺑﻴﻀﺎﺀ .ﺍﻷﺧﻀﺮ ،ﺍﻷﺻﻔﺮ ،ﺍﻷﲪﺮ ،ﺍﻷﺳﻮﺩ...
ﺍﻟﺘﺤﻠﻴﻞ :ﻧﻘﻒ ﺣﺎﺋﺮﻳﻦ ﺃﻣﺎﻡ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﱵ ﺗﺘﻤﻴﺰ ﺑﺘﻨﻮﻉ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﳌﺴﺘﻌﻤﻠﺔ ﻓﻴﻬﺎ ﺇﺫ ﻊ ﺍﻟﻔﻨﺎﻥ ﺑﲔ ﻋﺪﺓ ﻋﻨﺎﺻﺮ
ﻭ ﺃﻟﻮﺍﻥ ﳐﺘﻠﻔﺔ ﻓﺼﻮﺭ ﻣﺸﻬﺪ ﺇﻧﺘﺼﺎﺭ ﺑﺎﺧﻮﺱ ﻭ ﻋﻮﺩﺗﻪ ﻣﻦ ﺍﳍﻨﺪ ﲟﺴﺎﺟﻴﻨﻪ ﻭ ﻏﻨﺎﺋﻤﻪ ﺑﺪﻗﺔ ﻓﺎﺋﻘﺔ ﻭ ﻋﻨﺎﻳﺔ ﻛﺒﲑﺓ ﻭ
ﺇﺳﺘﻌﻤﻞ ﻣﻦ ﺃﺟﻞ ﺫﻟﻚ ﻣﻜﻌﺒﺎﺕ ﺻﻐﲑﺓ ﻭ ﻃﺮﻳﻘﺔ ﺍﳌﻨﻈﻮﺭ ﻭ ﺍﻟﻈﻼﻝ ﻛﻤﺎ ﺃ ﻬﺮ ﺍﳊﺮﻛﻴﺔ ﺳﻮﺍﺀ ﰲ ﺍﻷﺷﺨﺎﺹ
) 14ﺷﺨﺺ( ﺃﻭ ﺍﳊﻴﻮﺍﻧﺎﺕ ) 7ﺣﻴﻮﺍﻥ(.
ﻳﻌﺘﱪ ﻣﻮﺿﻮﻉ "ﺍﻹﻧﺘﺼﺎﺭ ﺍﳍﻨﺪﻱ" ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﱵ ﻬﺮﺕ ﺑﻌﺪ ﻏﺎﺭﺍﺕ ﺍﻹﺳﻜﻨﺪﺭ ﺍﳌﻘﺪﻭﱐ ﰲ ﺍﳍﻨﺪ ﺇﺫ ﺗﺬﻛﺮ
ﺍﻟﺮﻭﺍﻳﺎﺕ ﺃﻧﻪ ﻋﻨﺪ ﺩﺧﻮﻝ ﺍﻹﻟﻪ ﺇﱃ ﺑﻼﺩ ﺍﳍﻨﺪ ﻣﻊ ﺟﻴﺸﻪ ﻭﺍﺟﻬﻪ ﺍﻟﺴﻜﺎﻥ ﺑﺎﻹﺣﺘﻘﺎﺭ ﻭ ﻟﻜﻦ ﺳﺮﻋﺎﻥ ﻣﺎ ﺇﻬﻧﺰﻣﻮ ﻭ
ﺃﺣﺮﻗﺖ ﺃﻣﻼﻛﻬﻢ ﻋﻠﻰ ﻳﺪ ﺍﳉﻴﺶ ﺍﻹﳍﻲ ﻭ ﺇﺛﺮﻫﺎ ﺃﺩﺧﻞ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳊﻀﺎﺭﺓ ﻋﻠﻴﻬﻢ ﻭ ﻋﻠﻤﻬﻢ ﺻﻨﺎﻋﺔ ﺍﳋﻤﺮ ﻭ
ﺃﺻﻮﻝ ﺍﻟﺒﻨﺎﺀ ﻭ ﺍﻟﺘﻤﺪﻥ .ﳍﺬﺍ ﻋﺎﺩﺓ ﻣﺎ ﻳﺼﻮﺭ ﺍﻹﻟﻪ ﺭﺍﺟﻌﺎ ﻣﻦ ﺍﳍﻨﺪ ﺇﱃ ﺑﻼﺩ ﺍﻹﻏﺮﻳﻖ ﻣﻊ ﻣﻮﻛﺒﻪ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﻓﻴﻪ
ﺍﻹﻟﻪ ﺑﺎﻥ ﰲ ﺩﻭﺭ ﺣﺎﻣﻞ ﺍﻟﺴﻼﺡ ﻭ ﻣﺮﻭﺽ ﺍﳉﻴﺎﺩ ﻭ ﲡﺮ ﺍﻟﻌﺮﺑﺔ ﺍﻹﳍﻴﺔ ﻓﻴﻠﺔ ﺑﻴﻨﻤﺎ ﻋﻮﺿﺖ ﻫﻨﺎ ﺑﻨﻤﺮﺍﻥ.32
ﺗﺮﻯ ﺑﻼﻧﺸﺎﺭ 33ﺃﻥ ﻓﺴﻴﻔﺴﺎﺀ ﺳﻄﻴﻒ ﻣﺜﺎﻻ ﻓﺮﻳﺪﺍ ﰲ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻓﻬﻲ ﺗﺼﻮﺭ ﻣﺸﻬﺪﺍ ﺩﻳﻮﻧﻴﺰﻳﺎ ﻣﺄﻟﻮﻓﺎ ﻋﻠﻰ ﺍﻟﺘﻮﺍﺑﻴﺖ
ﺍﳉﻨﺎﺋﺰﻳﺔ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ )ﺗﻌﺪﺩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﻭ ﺍﻟﺘﺪﺭﺝ ﻭ ﺍﻟﺘﺪﺍﺧﻞ ﰲ ﺍﻟﺴﺠﻼﺕ( ﻛﻤﺎ ﺃﻬﻧﺎ ﺗﺘﻤﻴﺰ ﻋﻦ ﺍﻟﻠﻮﺣﺎﺕ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﲜﻤﺎﻟﻴﺔ ﻏﺮﻳﺒﺔ ﻋﻦ ﺗﻘﺎﻟﻴﺪ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻹﻓﺮﻳﻘﻴﺔ ﻭ ﺃﻗﺮﺏ ﻣﻦ ﺇﳒﺎﺯﺍﺕ ﺍﳌﺸﺮﻕ ﺍﳍﻠﻴﲏ
) .(Antioche-Philippolisﺭﻏﻢ ﻫﺬﻩ ﺍﻹﺧﺘﻼﻓﺎﺕ ﺗﺸﺘﺮﻙ ﻟﻮﺣﺘﻨﺎ ﻫﺬﻩ ﻣﻊ ﻓﺴﻴﻔﺴﺎﺀ ﺳﻮﺱ ﻭ ﺍﳉﻢ ﺑﺘﻮﻧﺲ ﺍﻟﱵ
ﺗﻨﺎﻭﻟﺖ ﻧﻔﺲ ﺍﳌﻮﺿﻮﻉ ﺑﻨﻔﺲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺘﺎﻟﻴﺔ:
-ﺍﻟﻌﺮﺑﺔ ﺍﻟﱵ ﳚﺮﻫﺎ ﺍﻟﻨﻤﺮﺍﻥ ﺇﱃ ﺍﻟﻴﻤﲔ
-ﻣﺒﺪﺀ ﺍﻷﻣﺎﻣﻴﺔ ﰲ ﺗﺼﻮﻳﺮ ﺍﻹﻟﻪ
-ﲤﺮﻛﺰ ﺭﻓﻘﺎﺀ ﺍﻹﻟﻪ ﺣﻮﻝ ﺍﻟﻌﺮﺑﺔ.34
ﺍﻟﺘ ﺭﻳ :ﺃﻗﺘﺮﺡ ﻣﻨﺘﺼﻒ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ ﻋﻠﻰ ﺃﺳﺎﺱ ﻃﺮﺍﺯ ﺗﺴﺮ ﺎﺕ ﺭﺿﻴﻌﺎﺕ ﺑﺎﺧﻮﺱ ﻛﻤﺎ ﳝﻜﻦ ﺗﺄﺭﻳﺦ
ﺍﻟﻠﻮﺣﺔ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺸﺒﻪ ﺍﳌﻮﺟﻮﺩ ﺑﲔ ﺍﻟﺴﺠﻨﺎﺀ ﺍﻟﺰﻧﻮﺝ ﺍﻟﻈﺎﻫﺮﻳﻦ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺳﻄﻴﻒ ﻭ ﺑﲔ ﺭﺳﻮﻣﺎﺕ ﺿﺮﻳﺢ
ﻓﻴﻼ ﺑﺎﻣﻔﻴﻠﻲ " "villa pamphiliﺑﺮﻭﻣﺎ ﺍﻟﱵ ﺗﻌﻮﺩ ﺇﱃ ﻓﺘﺮﺓ ﺍﻟﺴﻔﺮﻳﲔ.
32
M M CH.Daremberg. E D M Saglio, op cit. T I. p 613
33
M. Blanchard-Lemée, op cit. p91
34
M. Blanchard-Lemée. H Ennaifer. L Slim, Sols de l’Afrique romaine. Ed Imprimerie Nationale. Paris 1995. p101.
227
ﺟﻴﺠﻞ:
-21ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ:
438 ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ 72ﺍﻟﻠﻮﺣﺔ .26
ﺍﳌﺮﺍﺟ :
- K M D. Dunbabin, The mosaic of roman north Africa. Studies in iconography and
patronage. Ed Clarendon Press. Oxford. 1978. p 178.
ﺍﳌﺼﺪﺭ :؟
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ 3.70 × 2.25 :ﻡ
ﺍﻟﻮﺻﻒ :ﺍﻹﻃﺎﺭ ﻣﻜﻮﻥ ﻣﻦ ﺷﺮﻳﻂ ﺑﺴﻴﻂ ﻣﺰﺩﻭﺝ ﺑﺪﺍﺧﻠﻪ ﺿﻔﲑﺓ ﻭ ﻳﺄﻃﺮ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺛﻼﺛﺔ ﺟﻬﺎﺕ ﻓﻘﻂ.
ﺍﻟﻠﻮﺣﺔ :ﺍﻟﻌﻨﺼﺮ ﺍﻟﺮﺋﻴﺴﻲ ﻓﻴﻬﺎ ﻫﻮ ﺮﺓ ﺻﻮﺭﺕ ﲝﺠﻢ ﺃﻛﱪ ﻣﻦ ﺍﻟﻮﺍﻗﻊ )ﻃﻮﳍﺎ 1.80ﻡ( ﺗﺸﻐﻞ ﺃﻛﱪ ﺣﻴﺰ ﻭ ﻫﻲ
ﺗﺘﻬﻴﺄ ﻟﺸﺮﺏ ﺍﳋﻤﺮ ﻣﻦ ﺑﺎﻃﻴﺔ ﻛﺒﲑﺓ ﻭ ﺣﻮﻝ ﻋﻨﻘﻬﺎ ﺭﺑﺎﻁ ﺃﲪﺮ ﻭ ﻋﻠﻰ ﻬﺮﻫﺎ ﻳﺮﻛﺐ ﺷﺨﺼﺎ ﺇﻧﺪﺛﺮﺕ ﺻﻮﺭﺗﻪ
ﺑ ﺳﺘﺜﻨﺎﺀ ﺍﻟﺴﻮﻁ ﺍﻟﺬﻱ ﻤﻠﻪ .ﰲ ﺍﻷﺳﻔﻞ ﺑﺎﻟﺮﻛﻦ ﺍﻷﳝﻦ ﻧﻼﺣﻆ ﺭﺟﻼ ﻋﺎﺭﻳﺎ )ﺑﺎﻥ؟( ﻭﺍﻗﻔﺎ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻣﺼﻔﺎﺭ ﻭ
ﺑﺎﻷﺧﺮﻯ ﻋﺼﻰ ﺍﻟﺮﺍﻋﻲ ﻭ ﻭﺷﺎﺡ ﺃﻣﺎ ﺍﻟﺮﻛﻦ ﺍﳌﻘﺎﺑﻞ ﻓﻘﺪ ﺃﺗﻠﻒ ﺑﻘﻴﺖ ﻓﻴﻪ ﺻﻨﺠﺔ ﲤﺴﻚ ﻬﺑﺎ ﻳﺪ ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ
ﺑﺪﻭﻥ ﺷﻚ.35
ﺍﳌﺎﺩﺓ :ﺍﻟﻐﺮﺍﻧﻴﺖ ﻭ ﺍﻟﺮﺧﺎﻡ
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﺳﻮﺩ ،ﺍﻟﺮﻣﺎﺩﻱ ﺍﻟﻔﺎﺗﺢ ﻭ ﺍﻟﻘﺎ ،ﺍﻷﺧﻀﺮ ﺍﳋﺮﺩ ،ﺍﻷﺻﻔﺮ ﺍﳌﻐﺮﺓ ،ﺍﻷﲪﺮ ﺍﻷﺟﻮﺭﻱ ،ﺍﻟﺒﲏ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻨﺎﻭﻝ ﺍﻟﻔﻨﺎﻥ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺸﻜﻞ ﻏﲑ ﻭﺍﻗﻌﻲ ﺇﺫ ﺑﺎﻟ ﰲ ﺣﺠﻢ ﺍﳊﻴﻮﺍﻥ ﻭ ﺻﻐﺮ ﻣﻦ ﺣﺠﻢ
ﺍﻷﺷﺨﺎﺹ ﻓﻜﺄﻧﻪ ﺃﺭﺍﺩ ﺃﻥ ﳚﻌﻞ ﻣﻦ ﺍﻟﻨﻤﺮﺓ ﻭ ﺍﻟﺒﺎﻃﻴﺔ ﺍﻟﻌﻨﺼﺮﺍﻥ ﺍﻟﺮﺋﻴﺴﻴﺎﻥ ﰲ ﺍﳌﺸﻬﺪ؟
-ﻣﻦ ﺍﻷﺭﺟﺢ ﺇﱃ ﺍﻟﻌﻘﻞ ﺃﻥ ﻳﻜﻮﻥ ﺭﺍﻛﺐ ﺍﻟﻨﻤﺮﺓ ﻫﻮ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺬﻱ ﻋﺎﺩﺓ ﻣﺎ ﻳﺼﻮﺭ ﰲ ﻫﺬﻩ ﺍﻟﻮﺿﻌﻴﺔ ﻭ
ﻫﻮ ﻃﻔﻼ ﻭ ﺭﲟﺎ ﻫﺬﺍ ﻣﺎ ﻳﻔﺴﺮ ﺍﳊﺠﻢ ﺍﻟﺼﻐﲑ ﻟ ﻟﻪ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﺍﳊﻴﻮﺍﻥ.
-ﺍﻟﺒﺎﻃﻴﺔ ﻫﻲ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻷﺳﺎﺳﻴﺔ ﻟ ﻟﻪ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﺗﺼﻮﺭ ﻋﻠﻰ ﻗﺪﻣﻴﻪ ﻓﻮﻕ ﺳﻄﺢ ﺍﻷﺭﺽ ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﻫﻨﺎ.36
-ﺍﻟﺼﻨﺠﺔ ﻫﻲ ﺁﻟﺔ ﻣﻮﺳﻴﻘﻴﺔ ﻣﺴﺘﻮﺣﻠﺔ ﻣﻦ ﺁﺳﻴﺎ ﺍﻟﺼﻐﺮﻯ ﻭ ﺿﻤﺖ ﺇﱃ ﺭﻣﻮﺯ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻛﺮﻣﺰ ﻟﻄﻘﻮﺱ
ﺍﻟﻌﺮﺑﺪﺓ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﲢﻤﻠﻬﺎ ﺭﺿﻴﻌﻠﺖ ﺍﻹﻟﻪ ménadesﺃﻭ ﺳﻜﲑﺍﺗﻪ . bacchantes
-ﺍﻟﺮﺟﻞ ﺍﻟﻌﺎﺭﻱ ﻗﺪ ﻳﻜﻮﻥ ﺍﻹﻟﻪ ﺑﺎﻥ Panﺣﺴﺐ ﺗﺴﺮ ﺘﻪ ﺍﻷﺷﻌﺜ ﺔ ﻭ ﺭﻣﻮﺯﻩ ﺍﳌﺄﻟﻮﻓﺔ ﺃﻱ ﺍﳌﺰﻣﺎﺭ ﻭ ﻋﺼﻰ
ﺍﻟﺮﺍﻋﻲ.
-ﺍﻟﻨﻤﺮ ﺭﻣﺰ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻛﻤﺎ ﳝﺜﻞ ﺳﻜﲑﺍﺗﻪ ﺍﻟﻠﻮﺍﰐ ﻳﺘﺤﻮﻟﻦ ﺇﱃ ﺮﺍﺕ ﺣﻴﻨﻤﺎ ﺗﺮﺗﻌﺪﻥ ﰲ ﻃﻘﻮﺱ ﺍﻟﻌﺮﺑﺪﺓ.37
35
K M D. Dunbabin, The mosaic of roman north Africa. Studies in iconography and patronage. Ed Clarendon Press. Oxford.
1978. p 178.
36
M M CH.Daremberg. E D M Saglio, op cit. T I. p 625
37
M Blanchard-Lemée, op cit. p 89.
228
ﺃﻣﺎ ﺍﻟﺒﺎﺣﺜﺔ ﺩﻧﺒﺎﺑﲔ38ﻓﺘﻘﻮﻝ ﺃﻥ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺗﻨﻔﺮﺩ ﻋﻦ ﺑﺎﻗﻲ ﺍﻟﻔﺴﻴﺴﺎﺀ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﺻﻮﺭﺓ ﺍﻟﻔﻬﺪ ﺍﳌﻤﺘﻄﻲ ﻭ
ﺗﻼﺣﻆ ﺃﻥ ﺍﻟﻄﻔﻞ ﺍﺠﻤﻟﻨﺢ ﻋﻠﻰ ﻬﺮ ﺍﻟﻨﻤﺮﺓ ﻳﻈﻬﺮ ﻣﺒﻜﺮﺍ ﰲ ﻓﺴﻴﺴﺎﺀ ﺩﻟﻮﺱ ﻭ ﰲ ﻣ ﻝ ﺇﻟﻪ ﺍﻷﺭﻳﺎﻑ ﺑﺒﻮﻣﱯ maison
du fauneﻟﻘﺪ ﻛﺎﻧﺖ ﻫﻮﻳﺘﻪ ﳏﻞ ﻣﻨﺎﻗﺸﺎﺕ ﻋﺪﻳﺪﺓ ﻭ ﰲ ﺣﺎﻟﺔ ﺇﻓﺘﻘﺎﺩﻧﺎ ﻟﻠﺼﻮﺭﺓ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺍﻟﺼﻌﺐ
ﺍﻟﺘﻤﻴﻴﺰ ﺑﲔ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﻫﲑﻭﺱ Erosﻭ ﺻﻮﺭﺓ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﻄﻔﻞ .
ﻫﺬﻩ ﻻ ﻳﺘﻨﺎﻗﺾ ﻃﺒﻌﺎ ﻣﻊ ﺍﳋﺼﺎﺋﺺ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﺍﻟﻠﻮﺣﺔ ﻣﺜﻞ ﺍﻟﺒﺎﻃﻴﺔ ﺍﻟﱵ ﺗﺮﻣﺰ ﺣﺴﺒﻬﺎ ﺇﱃ ﺷﺮﺍﺏ ﺍﻟﻨﺠﺎﺓ
ﻭ ﺃﺧﲑﺍ ﺗﺸﲑ ﺇﱃ ﺃﻥ ﺍﻟﻔﺴﻴﺴﺎﺀ ﺍﻟﱵ ﺗﺼﻮﺭ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻓﻮﻕ ﺍﻟﻨﻤﺮ ﱂ ﺗﻜﺘﻔﻲ ﺑﺄﺩﺍﺀ ﺩﻭﺭ ﺯﺧﺮﰲ ﺑﻞ ﲡﺎﻭﺯﺗﻪ ﺇﱃ
ﺍﻟﺪﻭﺭ ﺍﻟﺪﻳﲏ ﺍﻟﻌﺒﺎﺩﻱ ﺍﳌﺘﻌﻠﻖ ﲟﺮﺍﺳﻴﻢ ﺇﺣﺘﻔﺎﻝ ﺍﻹﺷﺘﺮﺍﻙ.
-22ﻓﺴﻴﺴﺎﺀ ﺑﺎﺧﻮﺱ:
ﺍﳌﺮﺍﺟ :
- M FG. De Pachtere, op cit. N° 299
- S. Gsell Catalogue du musée de Philipeville. Paris 1898. pl X.2
- S. Gsell, M.A.A. Fontemoing 1901. Tome II. N° 23. p 105.
- S. Gsell, A A A. Feuille 7. n°71. p 73.
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ 1861
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺳﻜﻴﻜﺪﺓ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ 0.97ﻡ
(ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻭ ﻫﻮ ﻳﺮﺗﺪﻱ emblema ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻗﻄﻌﺔ ﻣﺴﺘﺪﻳﺮﺓ )
ﻗﻤﻴﺼﺎ ﻭ ﻓﻮﻗﻪ ﻣﻌﻄﻔﺎ .ﻭﺟﻬﻪ ﻃﻮﻳﻞ ﺑﺬﻗﻦ ﻣﺪﺑﺐ ،ﻣﻼﳏﻪ ﺭﻗﻴﻘﺔ ،ﻧﻈﺮﺗﻪ ﺗﺄﻣﻠﻴﺔ ﻭ ﺷﻌﺮﻩ ﺃﺷﻘﺮ ﻭ ﳎﻌﺪ ﻭ ﻣﻜﻠﻞ
ﺑﺘﺎﺝ ﻋﺮﻳﺾ ﻣﻦ ﺃﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ) .( mithra
ﺍﻟﺘﺤﻠﻴﻞ :ﺃﳒﺰﺕ ﺍﻟﻠﻮﺣﺔ ﺑﺪﻗﺔ ﻛﻤﺎ ﻳﺒﺪﻭ ﻣﻦ ﺧﻼﻝ ﺍﺳﺘﻌﻤﺎﻝ ﺍﳌﻜﻌﺒﺎﺕ ﺍﻟﺼﻐﲑﺓ ﻭ ﻫﻲ ﲤﺜﻞ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ
ﺑﺼﻮﺭﺓ ﲣﺘﻠﻒ ﻋﻦ ﺗﻠﻚ ﺍﻟﱵ ﺍﻋﺘﺪﻧﺎﻫﺎ ﰲ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺳﻮﺍﺀ ﰲ ﺷﻜﻞ ﺍﻟﻮﺟﻪ ﻭ ﻗﺴﻤﺎﺗﻪ ﺃﻭ ﰲ ﺍﻟﺘﺴﺮ ﺔ ﻭ ﺍﻟﺘﺎﺝ.
ﻓﻌﺎﺩﺓ ﻣﺎ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﻣﺘﻮﺟﺎ ﺑﺎﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﻷﻭﻝ ﻣﺮﺓ ﻳﻈﻬﺮ ﺃﺷﻘﺮﺍ ﻭ ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﳝﻜﻦ ﺗﺸﺒﻴﻬﻪ
ﻧﻮﻋﺎ ﻣﺎ ﺑﺒﺎﺧﻮﺱ ﻓﺴﻴﺴﺎﺀ "ﻣﻨ ﺰﻝ ﺍﻟﻄﺎﻭﻭﺱ" ﺑﺘﺴﺪﺭﻭﺱ ﰲ ﺗﻮﻧﺲ. 39
ﺎﳌﺔ:
-23ﻓﺴﻴﺴﺎﺀ:
ﺍﳌﺮﺍﺟ :
38
K M Dunbabin, idem. P 178.
39
L Foucher, « Dionysos dans les mosaïques d’Afrique romaine ». Dossiers de l’Archéologie. Nov-dec 1978. p 40.
229
- G Souville, Inventaire raisonné du musée de Guelma. N° 1.137.
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻗﺎﳌﺔ؟
ﺍﻟﻮﺻﻒ :ﺑﻘﻲ ﺟﺰﺀ ﻣﻦ ﺍﻟﻠﻮﺣﺔ ﳝﺜﻞ ﺑﺎﻃﻴﺔ ﳝﺴﻚ ﻬﺑﺎ ﻋﺎﺷﻖ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻈﻬﺮ ﺭﻣﺰﺍﻥ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﳘﺎ ﺑﺎﻃﻴﺔ ﺍﳋﻤﺮ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻌﻨﺐ ﺍﻟﺬﻱ ﻳﻮﺣﻲ ﺇﱃ ﺻﻔﺔ ﺍﻹﻟﻪ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﻛﻤﻜﺘﺸﻒ ﺍﻟﺪﺍﻟﻴﺔ.
ﻟ :
-24ﻓﺴﻴﻔﺴﺎﺀ ﻳﻮﻧﻴﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
- S Gsell, M.A.A. II. N°22. p 105.
- S Gsell, A A A. Feuille 6.24. n° 6. p 3.
- M F G. De Pachtere, op cit. N° 22. p 105.
ﺍﳌﺼﺪﺭ :ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻓﺮﻧﺴﺎ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻟﻮﺣﺔ ﻳﺼﻮﺭ ﺭﺃﺱ ﺳﺎﺗﲑ ﻣﺘﻮﺝ ﺑﺄﻭﺭﺍﻕ ﻧﺒﺎﺗﻴﺔ ﻭ ﻫﻮ ﻳﺸﺮﺏ ﻣﻦ ﻗﺪﺡ ﺯﺟﺎﺟﻲ ﻭ ﳝﺴﻚ ﺑﻌﺼﻰ
ﺍﻟﺮﺍﻋﻲ.
ﺷﺮﺷﺎﻝ:
-25ﻓﺴﻴﺴﺎﺀ ﺑﺎﺧﻴﺔ:
ﺍﳌﺮﺍﺟ :
- M Durry, Musée de Cherchel.p 42
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ crescenzoﺳﺎﺑﻘﺎ .ﺣﻔﺮﻳﺎﺕ .1920
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﳎﻬﻮﻝ
ﺍﻟﻮﺻﻒ :ﰲ ﺇﻃﺎﺭ ﻣﻦ ﺗﺸﺒﻴﻚ ﻣﻜﻮﻥ ﻣﻦ ﻣﻌﻴﻨﺎﺕ ﻭ ﻏﺼﻴﻨﺎﺕ ﺗﻈﻬﺮ ﺭﻣﻮﺯ ﺑﺎﺧﻴﺔ ﰲ ﻧﻄﺎﻗﺎﻥ :
ﺍﻷﻭﻝ ﻳﺼﻮﺭ ﻓﻮﻕ ﻧﺒﺘﺔ ﻭ ﺍﻟﺜﺎﱐ ﻓﻴﻞ ﻭ ﻓﺎﺭﺱ ﻭ ﻛﻼ ﺍﻟﻨﻄﺎﻗﺎﻥ ﳏﺎﻃﺎﻥ ﺑﺄﻭﲰﺔ ﻳﺘﻨﺎﻭﺏ ﻓﻴﻬﺎ ﺍﻟﻨﻤﺮ ﻭ ﺍﻟﺴﻠﺔ ﺍﻟﺮﻣﺰﻳﺔ
. ciste
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻨﺎﻭﻟﺖ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺒﺎﺧﻴﺔ ﺍﻟﺘﺎﻟﻴﺔ:
230
-ﺍﻟﻌﺼﻔﻮﺭ ﻳﻠﻌﺐ ﺩﻭﺭ ﺇ ﺎﺋﻲ ﰲ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺒﺎﺧﻴﺔ mystères bacchiquesﻓﻬﻮ ﻳﺮﻣﺰ ﺇﱃ ﺍﶈﻈﻮ ﲔ ﺍﻟﻠﺬﻳﻦ
ﺇﻃﻠﻌﻮ ﻋﻠﻰ ﺃﺳﺮﺍﺭ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺃﲤﻮﺍ ﺗﻌﻠﻴﻤﻬﻢ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﳝﺜﻠﻮﻥ ﻳﻨﻘﺒﻮﻥ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ.40
ﻣﻊ ﺍﻷﺳﻒ ﺿﻴﺎﻉ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻭ ﻗﻠﺔ ﺍﳌﻌﻠﻮﻣﺎﺕ ﲡﻌﻠﻨﺎ ﻧﻔﺘﺮﺽ ﺃﻥ ﺍﻟﻨﺒﺘﺔ ﺍﻟﱵ ﻤﻠﻬﺎ ﺍﻟﻌﺼﻔﻮﺭ ﻫﻲ ﺍﻟﻜﺮﻣﺔ؟
-ﺍﻟﻔﻴﻞ ﻳﺮﻣﺰ ﰲ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺇﱃ ﺍﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺘﻄﺎﺑﻖ ﻣﻊ ﺍﻟﺮﻣﺰ ﺍﻟﺴﺎﺑﻖ ﲟﺎ ﺃﻥ ﺍﳌﻄﻠﻊ ﻋﻠﻰ
ﺃﺳﺮﺍﺭ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻳﺘﻤﺘﻊ ﺑﺎﳊﻴﺎﺓ ﺍﻷﺑﺪﻳﺔ ﺑﻌﺪ ﻣﻮﺗﻪ.41
-ﺍﻟﻨﻤﺮ ﻫﻮ ﺍﳊﻴﻮﺍﻥ ﺍﻟﺬﻱ ﻳﺮﺍﻓﻖ ﺩﻭﻣﺎ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﻳﺮﻣﺰﻥ ﺇﱃ ﺳﻜﲑﺍﺗﻪ ﻛﻤﺎ ﺭﺃﻳﻨﺎ ﺳﺎﺑﻘﺎ.
-ﺍﻟﺴﻠﺔ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﱵ ﳜﺮﺝ ﻣﻨﻬﺎ ﺍﻟﺜﻌﺒﺎﻥ ﻫﻲ ﺍﻷﺧﺮﻯ ﺭﻣﺰ ﺩﻳﻮﻧﻴﺰﻱ ﻳﺘﻌﻠﻖ ﺑﺎﻟﻌﺒﺎﺩﺓ ﺍﻟﺴﺒﺎﺯﻳﺔ ﰲ ﺁﺳﻴﺎ ﺍﻟﺼﻐﺮﻯ
)ﺍﻹﻟﻪ ﺳﺒﺎﺯﻳﻮﺱ sabaziosﺍﳌﻄﺎﺑﻖ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ(.42
231
ﲤﺜﻞ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺘﺼﻮﻳﺮﻳﺔ ﻋﺮﺑﺔ ﺍﻟﻨﺼﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﲡﺮﻫﺎ ﺮﺗﺎﻥ ﺇﱃ ﺍﻟﻴﻤﲔ ﰲ ﺣﺮﻛﺔ ﺑﻄﻴﺌﺔ ﺇﺣﺪﺍﳘﺎ ﺗﺸﺮﺏ ﰲ ﺑﺎﻃﻴﺔ
ﻛﺒﲑﺓ ﻣﻮﺿﻮﻋﺔ ﻋﻠﻰ ﺍﻷﺭﺽ ﺑﻴﻨﻤﺎ ﺗﺪﻳﺮ ﺍﻷﺧﺮﻯ ﺭﺃﺳﻬﺎ ﻭ ﺗﻨﻈﺮ ﺇﱃ ﺍﻷﻣﺎﻡ.
ﻳﺮﻛﺐ ﺍﻟﻌﺮﺑﺔ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻣﺘﻮﺟﺎ ﻭﺍﻗﻔﺎ ﰲ ﻫﻴﺌﺔ ﺍﳌﻨﺘﺼﺮ ﻳﺮﺗﺪﻱ ﺍﻟﻮﺷﺎﺡ nébrideﻭ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﻣﺰﺭﺍﻗﻪ
ﺫﻭ ﺍﻟﺼﻨﻮﺑﺮﺓ .ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺧﻠﻒ ﺍﻟﻨﻤﺮﻳﻦ ﻧﺸﺎﻫﺪ ﺳﺎﺗﲑ ﻭﺍﻗﻒ ﻋﺎﺭﻱ ﺍﻟﺼﺪﺭ ﻳﻨﻈﺮ ﺇﱃ ﺍﻟﻴﻤﲔ ﺭﺃﺳﻪ ﻣﺘﻮﺝ
ﺑﺄﻭﺭﺍﻕ ﺍﻟﻠﺒﻼﺏ ،ﺫﺭﺍﻋﻪ ﺍﻷﳝﻦ ﳑﺪﻭﺩ ﺇﱃ ﺍﻟﻮﺭﺍﺀ ﻣﺎﺳﻜﺎ ﺭﳏﺎ ﻭ ﺑﻴﺪﻩ ﺍﻷﺧﺮﻯ ﺟﻠﺪ ﺍﻟﺮﺷﺄ ﺍﳌﻌﺘﺎﺩ ﺫﻭ ﺭ ﺎﺕ ﲪﺮﺍﺀ
ﻭ ﺧﻀﺮﺍﺀ ﻭ ﻳﺴﺘﻌﻤﻠﻪ ﻫﻨﺎ ﻛﺪﺭﻉ.
ﺍﳌﺎﺩﺓ :ﺍﻟﻌﺠﻴﻨﺔ ﺍﻟﺰﺟﺎﺟﻴﺔ ﻭ ﺍﻟﺮﺧﺎﻡ
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺳﻮﺩ ،ﺍﻷﺑﻴﺾ ،ﺍﻟﻮﺭﺩﻱ ،ﺍﻷﺯﺭﻕ ﺍﻟﻔﺎﺗﺢ ،ﺍﻷﺯﺭﻕ ﺍﻟﻐﺎﻣﻖ ،ﺍﻷﺧﻀﺮ ،ﺍﻟﺮﻣﺎﺩﻱ
ﺍﻟﺘﻘﻨﻴﺔ :ﺍﻟﻠﻮﺣﺔ ﺍﳌﺮﻛﺰﻳﺔ ﺃﳒﺰﺕ ﺑﺘﻘﻨﻴﺔ opus vermiculatumﺑﻴﻨﻤﺎ ﺍﺳﺘﻌﻤﻠﺖ ﺗﻘﻨﻴﺔ opus tesselatumﰲ ﺍﻟﻠﻮﺣﺔ
ﺍﻟﺰﺧﺮﻓﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻨﺎﻭﻟﺖ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﻮﺿﻮﻉ "ﺍﻧﺘﺼﺎﺭ ﺑﺎﺧﻮﺱ ﻭ ﻣﺮﻭﺭﻩ ﻓﻮﻕ ﺍﻟﻌﺮﺑﺔ" ﺍﳌﻌﺮﻭﻑ ﻋﱪ ﻓﻦ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ
ﺍﻟﺮﻭﻣﺎﱐ ﺑﻜﺜﺮﺓ .ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﲟﻼﻣﺢ ﺃﻧﺜﻮﻳﺔ ﻛﻤﺎ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ ﰲ ﺍﻹﳒﺎﺯﺍﺕ ﺍﻟﻔﻨﻴﺔ ﺫﺍﺕ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﳍﻠﻠﻴﻨﻴﺔ ﺃﻣﺎ ﻋﻦ
ﻧﻮﻋﻴﺔ ﺍﻻﻧﺘﺼﺎﺭ ﻓﻬﻞ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻹﻧﺘﺼﺎﺭ ﺍﳍﻨﺪﻱ ﺍﳌﺄﻟﻮﻑ ﰲ ﺍﻟﻔﺴﻴﻔﺴ ﺎﺀ ؟
ﻟﻴﻤﻜﻨﻨﺎ ﺍﻹﺟﺎﺑﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﻻﻧﻌﺪﺍﻡ ﺍﻟﻔﻴﻠﺔ ﻭ ﺍﻟﺴﺠﻨﺎﺀ ﺍﻟﺬﻳﻦ ﻳﻐﻨﻤﻬﻢ ﺑﺎﺧﻮﺱ ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﰲ ﻓﺴﻴﻔﺴ ﺎﺀ
ﺳﻄﻴﻒ.44ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﻳﻌﺘﱪ ﻣﻨﻈﺮ ﺍﻹﻟﻪ ﻓﻮﻕ ﺍﻟﻌﺮﺑﺔ ﻣﺘﻜﺮﺭ ﰲ ﻋﺪﺓ ﺎﺫﺝ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻧﺬﻛﺮ ﻣﻨﻬﺎ ﻓﺴﻴﺴﺎﺀ
ﺍﳉﻢ ﻭ ﺳﻮﺳﺔ ﺑﺘﻮﻧﺲ 45ﻭ ﻓﺴﻴﻔﺴ ﺎﺀ ﻭﻫﺮﺍﻥ 46ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻹﻟﻪ ﻣﺮﻓﻮﻗﺎ ﺩﻭﻣﺎ ﺑﻌﻨﺎﺻﺮ ﻣﻦ ﻣﻮﻛﺒﻪ ﻋﻜﺲ ﻟﻮﺣﺘﻨﺎ
ﻫﺬﻩ ﺍﻟﱵ ﲢﺘﻮﻱ ﻋﻠﻰ ﺷﺨﺼﻴﺔ ﻭﺣﻴﺪﺓ )ﺳﺎﺗﲑ( ﲡﻌﻠﻨﺎ ﻧﺸﺒﻬﻬﺎ ﺑﻔﺴﻴﻔﺴ ﺎﺀ ﻣﺘﺤﻒ ﺗﺮﺍﻗﻮﻧﺔ ﺍﻟﱵ ﺗﻈﻬﺮ ﻓﻴﻬﺎ ﺇﳍﺔ
ﺍﻟﻨﺼﺮ ﻭﺣﺪﻫﺎ.
ﺇﺫﺍ ﻗﺎﺭﻧﻨﺎ ﺑﺎﺧﻮﺱ ﺷﺮﺷﺎﻝ ﺑﺒﺎﺧﻮﺱ ﺳﻄﻴﻒ ﻧﻼﺣﻆ ﺃﻬﻧﻤﺎ ﻳﺮﺗﺪﻳﺎﻥ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﻭ ﺑﺜﻴﺎﺏ ﺑﻨﻔﺲ ﺍﻷﻟﻮﺍﻥ ﻫﺬﺍ ﻣﻦ
ﺟﻬﺔ ﻭ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺗﺸﺘﺮﻙ ﻟﻮﺣﺘﻨﺎ ﻫﺬﻩ ﻣﻊ ﻟﻮﺣﺔ ﺟﻴﺠﻞ 47ﰲ ﻬﻮﺭ ﺍﻟﺒﺎﻃﻴﺔ ﺍﻟﱵ ﻳﺸﺮﺏ ﻣﻨﻬﺎ ﺍﻟﻨﻤﺮ ﻣﻊ
ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺍﻧﻌﺪﺍﻡ ﻫﺬﺍ ﺍﻟﻌﻨﺼﺮ ﰲ ﺍﻟﻔﺴﻴﻔﺴ ﺎﺀ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻹﻓﺮﻳﻘﻴﺔ.
ﺃﻣﺎ ﺷﺨﺼﻴﺔ ﺳﺎﺗﲑ ﺍﳌﺴﻠﺢ ﻓﻬﻲ ﻣﻴﺰﺓ ﻣﺸﺎﻫﺪ ﺍﳌﻌﺎﺭﻙ ﻭ ﺍﻧﺘﺼﺎﺭﺍﺕ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ 48ﺇﺫ ﻳﻌﺪ ﺳﺎﺗﲑ ﻣﻦ
ﺟﻨﻮﺩ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﻳﻠﻮﺡ ﻫﻮ ﺍﻷﺧﺮ ﲟﺰﺭﺍﻗﻪ ﰲ ﳏﻞ ﺍﻟﺴﻼﺡ.
ﰲ ﺍﳋﺘﺎﻡ ﺗﺘﻤﻴﺰ ﻟﻮﺣﺔ ﺷﺮﺷﺎﻝ ﺑﺎﻟﺒﺴﺎﻃﺔ ﺍﻟﺸﺪﻳﺪﺓ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﻏ ﻭ ﺗﻨﻮﻉ ﺍﳌﺸﺎﻫﺪ ﺍﻹﻓﺮﻳﻘﻴﺔ
ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻧﻔﺲ ﺍﳌﻮﺿﻮﻉ ﻭ ﺗﺘﺠﻠﻰ ﻫﺬﻩ ﺍﻟﺒﺴﺎﻃﺔ ﰲ ﺇﳒﺎﺯ ﺍﻟﺮﺳﻢ )ﺇﺧﻔﺎﺀ ﺟﺴﻢ ﺳﺎﺗﲑ
ﺧﻠﻒ ﺍﻟﻨﻤﺮ ،ﺇ ﻬﺎﺭ ﻋﺠﻠﺔ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﻟﻌﺮﺑﺔ( ﺃﻭ ﰲ ﺧﺸﺎﻧﺔ ﺍﻟﺘﻘﻨﻴﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ﰲ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺰﺧﺮﻓﻴﺔ
232
ﻭ ﺍﻹﻃﺎﺭ opus tesselatumﻋﻜﺲ ﺍﻟﻠﻮﺣﺔ ﺍﳌﺮﻛﺰﻳﺔ ﺍﻟﱵ ﻳﺒﺪﻭ ﺃﻬﻧﺎ ﺗﺮﻛﺖ ﻟﻔﻨﺎﻥ ﻣﺎﻫﺮ ﻭ ﻟﻜﻦ ﺭﻏﻢ ﺫﻟﻚ ﻓﻬﻲ
ﺗﺒﺪﻭ ﻏﺎﺭﻗﺔ ﰲ ﺇﻃﺎﺭ ﺃﻛﱪ ﺑﻜﺜﲑ ﻣﻨﻬﺎ ﻣﺎ ﺟﻌﻠﻬﺎ ﻻ ﺗﱪﺯ ﻷﻭﻝ ﻭﻫﻠﺔ.
ﺍﻟﺘ ﺭﻳ :ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﳌﻼﺣﻈﺎﺕ ﻭ ﺍﻟﻨﻘﺎﺋﺺ ﺍﻟﺴﺎﺑﻘﺔ ﺃﻋﺎﺩ ﺑﺮﺍﺭ 49ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴ ﺎﺀ ﺇﱃ ﻣﺮﺣﻠﺔ ﻣﺘﺄﺧﺮﺓ ﰲ ﺣﺪﻭﺩ
ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ.
-27ﻓﺴﻴﺴ ﺎﺀ ﻣﺴﻴﺤﻴﺔ:
ﺍﳌﺮﺍﺟ :
- V Waille, « Une mosaique découverte à Cherchel ». R Af. 1898. pp165-167.
M F G. De Pachtere, op cit. N° 463
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﺩﻟﻘﻴﺶ ﻋﻠﻰ ﻳﺴﺎﺭ ﺑﺎﺏ ﺗﻨﺲ .ﺣﻔﺮﻳﺎﺕ 1895
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ ﺍﳉﺪﻳﺪ
ﺍﳌﻘﺎﺳﺎﺕ 4.25 × 4.50 :ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺘﺨﺬ ﺍﻟﻠﻮﺣﺔ ﺷﻜﻼ ﻣﻘﻮﺳﺎ ﺗﺒﺪﺃ ﺃﻭﻻ ﺑ ﻃﺎﺭ ﻋﺮﻳﺾ ﻣﻜﻮﻥ ﻣﻦ ﺿﻔﲑﺓ ﲰﻴﻜﺔ ﻭ ﺧﻂ ﻣﺴﻨﻦ ﻣﺰﺩﻭﺝ.
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺰﺧﺮﻓﻴﺔ ﺗﺼﻮﺭ ﻃﺎﻭﻭﺳﺎﻥ ﻣﺘﻮﺍﺟﻬﺎﻥ ﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﻛﺄﺱ ﺫﻭ ﻋﺮﻭﺗﺎﻥ ﺗﻨﺒﻊ ﻧﺘﻪ ﻛﺮﻣﺔ ﺫﺍﺕ ﻓﺮﻋﺎﻥ
ﻳﺸﻜﻼﻥ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺣﻠﺰﻭﻧﻴﺎﺕ ﲢﻮﻱ ﺑﺪﺍﺧﻠﻬﺎ ﻋﻨﺎﻗﻴﺪ ﻋﻨﺐ ﻣﻨﻔﺮﺩﺓ ﺃﻭ ﺣﻴﻮﺍﻧﺎﺕ ﺗﺘﻬﻴﺄ ﻟﻨﻘﺐ
ﺍﻟﻌﻨﺎﻗﻴﺪ ﻣﺜﻞ ﺑﻄﺔ ،ﺃﺭﻧﺐ ،ﺩﻳﻚ ،ﺗﺪﺭﺝ ﻣﺬﻫﺐ ،ﺃﻳﻞ ،ﲰﻨﺔ ،ﲰﺎﱐ ﻭ ﺣﺠﻞ.
ﻭ ﺑﲔ ﺍﳊﻠﺰﻭﻧﻴﺎﺕ ﺍﻟﱵ ﻳﺼﻞ ﻋﺪﺩﻫﺎ ﺇﱃ ﺳﺒﻌﺔ ﻋﺸﺮ ﺗﻈﻬﺮ ﺗﺸﺒﻴﻜﺎﺕ ﻧﺒﺎﺗﻴﺔ ﻭ ﺃﺯﻫﺎﺭ.
ﺍﳌﺎﺩﺓ :ﺭﺧﺎﻡ ﺇﻓﺮﻳﻘﻲ ،ﺍﳌﻴﻨﺎ
ﺍﻷﻟﻮﺍﻥ :ﻣﺘﻌﺪﺩﺓ ﺍﻷﻟﻮﺍﻥ ﺗﺼﻞ ﺇﱃ ﺎﻧﻮﻥ ﺗﺪﺭﺟﺎﺕ ﻟﻮﻧﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﻭﺍﻳﻞ50ﺃﻧﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﺴﻴﺤﻴﺔ ﻓﻴﻜﻮﻥ ﺍﻟﻄﺎﻭﻭﺳﺎﻥ ﺍﳌﻤﺜﻼﻥ ﻓﻴﻬﺎ ﺭﻣﺰ ﻟﻠﺒﻌﺚ
ﰲ ﺭﻭﺿﺔ ﺍﳉﻨﺔ...
ﻫﺬﺍ ﻭ ﻗﺪ ﺭﺃﻳﻨﺎ ﺗﺼﻮﺭ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺒﺎﺧﻴﺔ ﺍﳌﺴﺎﺭﻳﻦ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﳌﻘﺪﺳﺔ ﻭ ﻫﻢ ﻳﻠﺘﺤﻘﻮﻥ ﲜﻨﺔ ﺑﺎﺧﻮﺱ ﺣﻴﺚ ﻳﺘﻤﺘﻌﻮﻥ
ﺑﺎﻷﺑﺪﻳﺔ ﻭ ﺍﻟﻔﻦ ﺍﻹﻓﺮﻳﻘﻲ ﺍﻟﺬﻱ ﻳﺘﺴﻢ ﺑﻄﺎﺑﻊ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﻏﺎﻟﺒﺎ ﻣﺎ ﻛﺎﻥ ﻳﻜﺘﻔﻲ ﺑﺘﺼﻮﻳﺮ ﺍﻟﻘﺪﺡ ﺍﳌﻘﺪﺱ ﺍﻟﺬﻱ
ﻮﻱ ﺍﻟﺸﺮﺍﺏ ﺍﻟﺮﺑﺎﱐ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ .ﻭ ﻋﺎﺩﺓ ﻣﺎ ﺗﺼﻮﺭ ﺩﺍﻟﻴﺎﺕ ﺍﻟﻌﻨﺐ ﻭ ﻫﻲ ﺗﻨﺒﻊ ﻣﻦ ﺍﻟﻘﺪﺡ ﻭ
ﺍﻟﻌﻨﺎﻗﻴﺪ ﺍﻟﱵ ﻳﻨﻘﺮﻫﺎ ﻣﺘﻌﺒﺪﻱ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺓ ﻋﺼﺎﻓﲑ ﻭﻟﻘﺪ ﻭﺍﺻﻞ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﰲ ﲤﺜﻴﻞ ﺍﻟﻘﺪﺡ ﺃﻭ
ﺍﻟﺒﺎﻃﻴﺔ ﻟﻠﺘﻌﺒﲑ ﻋﻦ ﺍﳉﻨﺔ ﻭ ﺍﳊﻴﺎﺓ ﺍﻵﺧﺮﺓ ﻳﺸﺮﺏ ﻣﻨﻬﺎ ﻋﺼﻔﻮﺭﺍﻥ ﻣﺘﻘﺎﺑﻼﻥ ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﻫﻨﺎ.51
49
J Bérard, op cit. P 157
50
V Waille, P.165
51
Ch Picard, op cit. p 205
233
ﺍﻟﺘ ﺭﻳ :ﺗﻨﺴﺐ ﺍﻟﻠﻮﺣﺔ ﺇﱃ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﺇﻓﺘﺮﺍﺿﺎ ﺃﻥ ﺗﻜﻮﻥ ﺍﳊﻨﻴﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ ﻫﻲ ﺻﺪﺭ ﻛﻨﻴﺴﺔ
52
ﻣﺴﻴﺤﻴﺔ؟
52
V Waille, op cit. P165
53
J Lassus, « Cherchell la mosaïque de Thétis et pelée ». BAA. 1962.p 94.
234
ﺧﺘﺎﻣﺎ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﺃﻥ ﻫﺬﺍ ﺍﳌﺸﻬﺪ ﻳﻨﻔﺮﺩ ﻋﻦ ﺍﳌﺸﺎﻫﺪ ﺍﻟﱵ ﺗﻄﺮﻗﻨﺎ ﺇﻟﻴﻬﺎ ﺳﺎﺑﻘﺎ ﻟ ﻧﻪ ﺍﻟﻮﺣﻴﺪ ﺍﳌﻌﺮﻭﻑ ﺇﱃ ﺣﺪ ﺍﻷﻥ
ﺍﻟﺬﻱ ﻳﺮﺑﻂ ﳑﺜﻠﻲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺮﻭﺍﻳﺔ ﻣﻴﺘﻮﻟﻮﺟﻴﺔ ﻏﲑ ﺩﻳﻮﻧﻴﺰﻳﺔ.54
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ.55
235
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺻﻔﺮ ،ﺍﻷﲪﺮ ،ﺍﻷﺧﻀﺮ ،ﺍﻷﺳﻮﺩ ،ﺍﻷﺯﺭﻕ ﻭ ﺍﻷﺑﻴﺾ.
ﺍﻟﺘﺤﻠﻴﻞ :ﲣﺘﻠﻒ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻋﻦ ﺍﻟﻠﻮﺣﺔ ﺍﻷﻭﱃ ﻣﻦ ﺧﻼﻝ ﺍﳌﻮﺿﻮﻉ ﺍﳌﺘﻨﺎﻭﻝ )ﻣﺸﻬﺪ ﻭﺍﻗﻌﻲ( ﻭ ﰲ ﺍﻟﻨﻈﺎﻡ ﺍﳌﺘﺒﻊ
ﺍﻟﻘﺎﺋﻢ ﻋﻠﻰ ﺃﺭﺑﻌﺔ ﺃﺷﺮﻃﺔ ﺣﻮﻝ ﻣﺸﻬﺪ ﻣﺮﻛﺰﻱ ﻣﺮﺑﻊ ﻭ ﻫﺬﺍ ﻣﺎ ﻳﻌﺮﻑ ﺑﺎﻟﺘﺮﻛﻴﺒﺔ ﺍﳍﻠﻨﺴﺘﻴﺔ ﺍﻟﻜﻼﺳﻜﻴﺔ.57
ﺃﻣﺎ ﻣﺸﻬﺪ ﻗﺴﻴﻼﻥ ﻣﻊ ﺍﻷﻃﻔﺎﻝ" ﻓﻴﻈﻬﺮ ﰲ ﻓﺴﻴﻔﺴ ﺎﺀ ﻣ ﻝ ﺍﻟﺰﻳﺎﺡ ﺍﻟﻴﻮﻧﻴﺰﻱ ﺑﺎﳉﻢ ﰲ ﺗﻮﻧﺲ58ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ
ﻭﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﻳﻌﺮﻑ ﻣﻨﻈﺮ ﺟﲏ ﺍﻟﻌﻨﺐ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﻤﻮﻣﺎ ﻭ ﺣﱴ ﰲ ﻣﻮﻗﻊ ﺷﺮﺷﺎﻝ ﺑﺎﻟﺬﺍﺕ 59ﻏﲑ ﺃﻥ
ﻟﻮﺣﺘﻨﺎ ﻫﺬﻩ ﺗﺘﻤﻴﺰ ﺑﺘﺼﻮﻳﺮ ﺍﻟﺪﺍﻟﻴﺔ ﺍﳌﻌﺮﺷﺔ ﺑﺘﻘﻨﻴﺔ ﺟﺪﻳﺪﺓ ﺗﺘﺴﻢ ﺑﺎﻟﻮﺍﻗﻌﻴﺔ ﻭ ﻫﻲ ﺗﻘﻨﻴﺔ ﺍﳌﻨﻈﻮﺭ ﻭ ﻳﻄﻐﻰ ﻋﻠﻰ ﻫﺬﻩ
ﺍﻟﻠﻮﺣﺔ ﻃﺎﺑﻊ ﺍﳌﺮﺡ ﻭ ﺍﻟﻔﺮﺡ ﻭ ﺫﺍﻟﻚ ﻣﻼ ﺍﻋﺘﺪﻧﺎﻩ ﰲ ﻣﻨﺎ ﺮ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ ﺳﻮﺍﺀ ﰲ ﻋﻨﺎﺑﺔ ﺃﻭ ﺗﺒﺴﺔ60ﻭ ﻣﺎ ﺳﺎﻫﻢ ﰲ
ﺫﺍﻟﻚ ﺃﻛﺜﺮ ﻫﻮ ﺗﺼﻮﻳﺮ ﺳﻴﻼﻥ ﺑﺸﻜﻞ ﻛﺎﺭﻳﻜﺘﻮﺭﻱ ﳜﺘﻠﻒ ﲤﺎﻣﺎ ﻋﻦ ﺳﻴﻼﻥ ﺍﻟﻠﻮﺣﺔ ﺍﻷﻭﱃ .ﻭ ﻳﻔﺴﺮ ﺍﻟﺒﺎﺣﺚ
ﻻﺳﻮ61ﻫﺬﺍ ﺍﻻﺧﺘﻼﻑ ﺑﺄﻥ ﻳﻜﻮﻥ ﺍﻟﻔﻨﺎﻧﺎﻥ ﺍﻟﻠﺬﺍﻥ ﺃﳒﺰﺍ ﺍﻟﻠﻮﺣﺘﲔ ﱂ ﻳﻌﲑﺍﻥ ﺃﳘﻴﺔ ﻟﻠﺘﻨﺎﺳﻖ ﺑﲔ ﺍﳌﺸﻬﺪﻳﻦ ﻭ ﺑﲔ
ﺗﻮﺣﻴﺪ ﺍﻹﺣﺴﺎﺱ ﻋﻨﺪ ﺗﺄﻣﻞ ﺍﻟﻠﻮﺣﺔ ﰲ ﳎﻤﻠﻬﺎ ﻭ ﺭﲟﺎ ﻳﺮﺟﻊ ﺫﺍﻟﻚ ﻟﻨﻘﺺ ﰲ ﲤﻜﻦ ﺍﻟﻔﻨﺎﻥ ﻣﻦ ﻋﻤﻠﻪ ﻭ ﻗﺪ ﻟﻮﺣﻈﺖ
ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﻟﻮﺣﺎﺕ ﺃﺧﺮﻯ ﺇﻓﺮﻳﻘﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﻳﻘﺘﺮﺡ ﻻﺳﻮ 62ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻘﺎﺭﻧﺔ ﻗﺎﻡ ﻬﺑﺎ ﻣﻊ ﻟﻮﺣﺔ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﺑﺴﺎﺣﺔ ﺁﺭﻣﺮﻳﻨﺎ .
ﻋ ﺑﺎﺑﻮ :
-30ﻓﺴﻔﺴ ﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ:
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, op cit. n° 216. p52.
- B CTHS. 1906. p CCLIX.
- Fiche d’inventaire du M. N. A.n°I.M.011.
ﺍﳌﺼﺪﺭ :ﻓﻴﻼ ﺭﻭﻣﺎﻧﻴﺔ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﻘﺎﺳﺎﺕ 3.18 × 4.50 :ﻡ
ﺍﻟﻮﺻﻒ :ﻳﺘﻜﻮﻥ ﺍﻹﻃﺎﺭﻣﻦ ﺿﻔﲑﺍﺕ ﻣﺘﻌﺎﻧﻘﺔ ﺩﺍﺧﻞ ﺍﻟﻠﻮﺣﺔ ﻭ ﺗﺆﻃﺮ ﺳﺘﺔ ﺃﻭﲰﺔ:
ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺘﻮﻱ ﺍﻟﻮﺳﺎﻣﺎﻥ ﺳﻠﺔ ﻬﺑﺎ ﺃﺯﻫﺎﺭ ﺍﻟﺮﻣﺎﻥ ﻭ ﺍﻟﺘﲔ ﺃﻭ ﺍﻟﻌﻨﺐ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﰒ ﺗﻈﻬﺮ ﺃﺭﺑﻌﺔ ﺃﻭﲰﺔ ﻬﺑﺎ
ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﰲ ﺻﻮﺭ ﻧﺼﻔﻴﺔ :
-ﺍﻟﺮﺑﻴﻊ ﻣﻜﻠ ﺑﺎﻷﺯﻫﺎﺭ
57
J Lassus, « Remarques sur la transmission des thèmes dans la peinture antique ».Cahiers Techniques de l’art. 1961.p 10. fig
5.
58
L Foucher, La maison de la procession dionysiaque.p 115.
59أﻧﻈﺮ اﻟﻠﻮﺡﺔ 22رﻗﻢ 65 -63.ص 434
60أﻧﻈﺮ ﻓﺴﻴﻔﺴــــــــﺎء رﻗﻢ.1.ﺹﻔﺤﺔ.211.
61
J Lassus , BAA 1962. p 103.
62
J Lassus, op cit. P 104
236
-ﺍﳋﺮﻳﻒ ﺷﺎﺏ ﺃﻣﺮﺩ ﺑﻌﺼﺎﺑﺔ ﻋﻠﻰ ﺍﳉﺒﲔ ) mithra dionysiaque؟( ﻭ ﻋﻨﻘﻮﺩﻳﻦ ﻣﻦ ﺍﻟﻌﻨﺐ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ
ﺍﻟﺸﻌﺮ ﻃﻮﻳﻞ ﺃﲪﻮ ﻭ ﻣﺴﺮﺡ ﺇﱃ ﺍﻟﻮﺭﺍﺀ ﻳﺮﺗﺪﻱ ﻭﺷﺎﺡ ﺟﻠﺪ ﺮ ﻭ ﳝﺴﻚ ﲟﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ .ﺗﺒﺪﻭ ﺍﻟﻨﻈﺮﺓ ﺗﻌﻴﺴﺔ.
-ﺍﻟﺸﺘﺎﺀ ﺭﺃﺳﻪ ﳏﺠﻮﺏ ﻭ ﻣﻜﻠﻞ ﺑﺎﻟﻘﺼﺐ ﻭ ﺑﻴﺪﻩ ﺍﺠﻤﻟﺮﻓﺔ .
-ﺍﻟﺼﻴﻒ ﻣﻜﻠﻞ ﺑﺴﻨﺎﺑﻞ ﺍﻟﻘﻤﺢ ﻭ ﳝﺴﻚ ﺍﳌﻨﺠﻞ
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﺳﻮﺩ ،ﺍﻷﺧﻀﺮ ،ﺍﻟﺒﲏ ،ﺍﻷﲪﺮ ﺍﻵﺟﻮﺭﻱ ،ﺍﻷﺻﻔﺮ ،ﺍﻟﱪﺗﻘﺎ ،ﺍﻟﻮﺭﺩﻱ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻻ ﺯﻟﻨﺎ ﻣﻊ ﻣﻮﺍﺿﻴﻊ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺍﳌﺄﻟﻮﻓﺔ ﰲ ﻓﺴﻴﻔﺴ ﺎﺀ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ
ﻣﻨﻈ ﻢ ﺗﻌﺎﻗﺐ ﺍﻟﻔﺼﻮﻝ ﻭ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻻ ﻳﻈﻬﺮ ﻣﺒﺎﺷﺮﺓ ﺑﻞ ﻳﺮﻣﺰ ﺇﻟﻴﻪ ﻋﻦ ﻃﺮﻳﻖ ﺻﻮﺭﺓ ﺍﳋﺮﻳﻒ ﺑﺎﻟﺮﻣﻮﺯ
ﺍﳌﻌﺘﺎﺩﺓ )ﺍﳌﺰﺭﺍﻕ ﻭ ﺇﻛﻠﻴﻞ ﺍﻟﺪﺍﻟﻴﺔ( ﻭ ﻗﺪ ﻳﻜﻮﻥ ﺇﺣﺪﻯ ﺭﻓﻘﺎﺋﻪ ﺃﻭ ﺟﲏ ﺍﻟﻔﺼﻮﻝ؟
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ
ﺳﻮ ﺃﻫﺮﺍﺱ:
237
ﺎﺀ ﺳﺎﺗﲑ: -31ﻓﺴﻴﻔﺴ
ﺍﳌﺮﺍﺟ :
- M F G. De Pachtere, op cit. N° 29.
ﺍﳌﺼﺪﺭ :ﻓﻴﻼ ﺭﻭﻣﺎﻧﻴﺔ ﻋﻠﻰ ﺭﺑﻮﺓ ﺍﳌﻌﺴﻜﺮ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﺇﻧﺪﺛﺮﺕ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻛﺎﻧﺖ ﺍﻟﻠﻮﺣﺔ ﺗﺼﻮﺭ ﻗﻨﺎﻉ ﺳﺨﺮﻱ ﻟﺸﺨﺼﻴﺔ ﺳﺎﺗﲑ ﻣﺮﻓﻮﻕ ﺑﺪﻟﻔﻴﻨﺎﻥ ﻭ ﺑﻄﺘﺎﻥ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻬﻮﺭ ﺳﺎﺗﲑ ﳚﻌﻞ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺿﻤﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﻐﲑ ﺷﺎﺋﻌﺔ ﻭ ﻳﻮﺣﻲ ﺇﱃ ﺍﻧﺘﺼﺎﺭ ﺍﻹﻟﻪ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﻋﻠﻰ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻧﻴﲔ .63
ﻻ ﻧﺪﺭﻱ ﺇﻥ ﻛﺎﻧﺖ ﻫﺬﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻛﺎﻣﻠﺔ ﺃﻡ ﻻ ﻭ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﻟﺜﺎﻧﻴﺔ ﻗﺪ ﺗﻜﻮﻥ ﺍﺣﺘﻮﺕ ﺷﺨﺼﻴﺎﺕ ﺃﺧﺮﻯ ﻣﻦ
ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺃﻭ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻧﻔﺴﻪ؟
ﻧﺸﲑ ﺇﱃ ﻬﻮﺭ ﺍﻟﺪﻟﻔﲔ ﺑﻔﺴﻴﻔﺴ ﺎﺀ ﺃﺧﺮﻯ ﺑﻼﻣﺒﻴﺰ ﺣﻴﺚ ﺗﻄﺮﻗﻨﺎ ﺇﱃ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﺒﺎﺧﻴﺔ ﳍﺬﺍ ﺍﳊﻴﻮﺍﻥ.64
63
M M Ch.Daremberg. E D M.Saglio, op cit p621
-64أﻧﻈﺮ اﻟﻔﺴﻴﻔﺴـــﺎء رﻗﻢ .9اﻟﺼﻔﺤﺔ216..
238
ﺍﻟﻠﻮﺣﺔ ﲤﺜﻞ ﺍﻧﺘﺼﺎﺭ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺍﻟﺬﻱ ﻳﺒﺪﻭ ﻭﺍﻗﻔﺎ ﺑﺎﳌﻈﻬﺮ ﺍﻷﻣﺎﻣﻲ ﻋﻠﻰ ﻋﺮﺑﺘﻪ ﻳﺮﺗﺪﻱ ﻓﻮﻕ ﺛﻮﺑﻪ ﺍﻟﻮﺷﺎﺡ ﲜﻠﺪ
ﺍﻟﻨﻤﺮ ﻭ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺭﳏﺎ ﻃﻮﻳﻼ ﻭ ﻫﻮ ﻣﻜﻠﻼ .ﲡﺮ ﺍﻟﻌﺮﺑﺔ ﺇﱃ ﺍﻟﻴﻤﲔ ﻣﻦ ﻃﺮﻑ ﺮﻳﻦ ﺃﺣﺪﳘﺎ ﻳﺪﻳﺮ ﺭﺃﺳﻪ ﻭ
ﻛﺄﻧﻪ ﻳﻨﻈﺮ ﰲ ﺍﲡﺎﻩ ﺍﳌﺸﺎﻫﺪ ﻭ ﻳﺮﺍﻓﻖ ﺍﻹﻟﻪ ﻋﻠﻰ ﺍﻟﻌﺮﺑﺔ ﺍﻣﺮﺃﺗﺎﻥ ﺗﺮﺗﺪﻳﺎﻥ ﺛﻮﺏ ﻃﻮﻳﻞ ﺍﻷﻭﱃ ﻋﻠﻰ ﳝﻴﻨﻪ ﻣﻜﻠﻠﺔ ﺑﺎﻟﺮﻧﺪ
ﻳﺮﻯ ﻓﻴﻬﺎ ﺍﻟﺒﺎﺣﺚ ﺑﺮﺍﺭ65ﺁﺭﻳﺎﻥ ﺯﻭﺟﺔ ﺑﺎﺧﻮﺱ ،ﺃﻣﺎ ﺍﻟﺜﺎﻧﻴﺔ ﻓﻬﻲ ﺇﳍﺔ ﺍﻟﻨﺼﺮ ﺍﺠﻤﻟﻨﺤﺔ ﻭ ﺍﳌﻜﻠﻠﺔ ﺑﺎﻟﺮﻧﺪ .ﺗﺘﺒﻊ ﺍﻟﻌﺮﺑﺔ ﻣﻦ
ﺍﳋﻠﻒ ﺳﻜﲑﺓ ﺑﻔﺴﺘﺎﻥ ﻣﺸﻤﺮ ﺗﻀﺮﺏ ﺍﻟﻄﺒﻠﺔ ﻭ ﺗﻨﻈﺮ ﰲ ﺍﲡﺎﻩ ﺍﻹﻟﻪ ﻭ ﺧﻠﻒ ﺍﻟﻨﻤﺮﻳﻦ ﻳﻈﻬﺮ ﺃﻭﻻ ﺳﻴﻼﻥ ﲜﺴﻤﻪ
ﺍﻟﺜﺨﲔ ﻭ ﺑﻄﻨﻪ ﺍﳌﻨﺘﻔﺦ ﻭ ﻫﻮ ﻣﻠﺘﺤﻲ ﻭ ﻣﻌﺼﺐ ﺍﻟﺮﺃﺱ ﻭ ﺃﻣﺎﻣﻪ ﺍﻹﻟﻪ ﺑﺎﻥ ﻋﺎﺭﻱ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﳌﺼﻔﺎﺭ ﻭ ﻳﺘﻮﺝ ﺭﺃﺳﻪ
ﺑ ﻛﻠﻴﻞ ﺍﻟﺮﻧﺪ ﻭ ﺃﺧﲑﺍ ﻧﻼﺣﻆ ﺭﺃﺱ ﺷﺨﺼﺎﻥ ﺁﺧﺮﺍﻥ ﻣﻜﻠﻼﻥ ﺑﺎﻟﺮﻧﺪ ﻭ ﻤﻼﻥ ﺍﻟﺮﻣﺢ ﻗﺪ ﻳﻜﻮﻧﺎ ﺳﺘﲑﺍﻥ؟
ﺍﳌﺎﺩﺓ :ﺍﻟﺮﺧﺎﻡ ﻭ ﺍﳌﻴﻨﺎ
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻌﺘﱪ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﺜﺎﻻ ﺃﺧﺮﺍ ﳚﺴﺪ ﻣﻮﺿﻮﻉ ﻋﻮﺩﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻣﻦ ﺍﳍﻨﺪ ﺑﻌﺪ ﺍﻧﺘﺼﺎﺭﻩ ﻋﻠﻰ ﺍﻷﻋﺪﺍﺀ ﻭ
ﻛﻤﺎ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ ﺻﻮﺭ ﰲ ﻣﻮﻛﺐ ﺍﻧﺘﺼﺎﺭﻱ ﻣﻠﻜﻲ ﻣﻊ ﻛﻞ ﺭﻓﻘﺎﺋﻪ )ﺳﺎﺗﲑ ،ﺑﺎﻥ ،ﺳﻴﻼﻥ ،ﺁﳍﺔ ﺍﻟﻨﺼﺮ ،ﺍﻟﺴﻜﲑﺓ(
ﻭ ﺯﻭﺟﺘﻪ ﻷﻭﻝ ﻣﺮﺓ .ﻭ ﺑﺎﳌﻘﺎﺭﻧﺔ ﻣﻊ ﻓﺴﻴﻔﺴ ﺎﺀ ﺷﺮﺷﺎﻝ ﻭ ﺳﻄﻴﻒ ﺗﻈﻬﺮ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺇﳍﺔ ﺍﻟﻨﺼﺮ ﺍﻟﱵ ﺍﻋﺘﺪﻧﺎﻫﺎ
ﰲ ﻟﻮﺣﺎﺕ ﺳﻮﺱ ﺑﺘﻮﻧﺲ66ﺍﻟﱵ ﺗﺸﺘﺮﻙ ﺃﻳﻀﺎ ﻣﻊ ﻓﺴﻴﻔﺴ ﺎﺀ ﻭﻫﺮﺍﻥ ﰲ ﺍﻟﺘﻔﺎﺻﻴﻞ ﺍﻟﺘﺎﻟﻴﺔ:
-ﺍﻟﻌﺮﺑﺔ ﺍﻟﱵ ﳚﺮﻫﺎ ﺍﻟﻨﻤﺮﺓ ﺇﱃ ﺍﻟﻴﻤﲔ
-ﻣﺒﺪﺃ ﺍﻷﻣﺎﻣﻴﺔ ﰲ ﺗﺼﻮﻳﺮ ﺍﻹﻟﻪ
-ﻟﺒﺎﺱ ﺍﻟﺜﻮﺏ
-ﺍﳊﺮﻛﻴﺔ ﰲ ﺗﺼﻮﻳﺮ ﺍﳊﻴﻮﺍﻧﺎﺕ ﻭ ﺑﻌﺾ ﺍﻟﺸﺨﺼﻴﺎﺕ
-ﲤﺮﻛﺰ ﺭﻓﻘﺎﺀ ﺍﻹﻟﻪ ﺣﻮﻝ ﺍﻟﻌﺮﺑﺔ
65
- J. Bérard, op cit. P 163
66
- Blanchard-Lemée, Les sols de l’Afrique romaine. P 98
239
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺜﺎﻧﻴﺔ 1.53 :ﻡ × 4.32ﻡ
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺜﺎﻟﺜﺔ 3.20 :ﻡ × 4.32ﻡ
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺮﺍﺑﻌﺔ 2.67 :ﻡ × 4.32ﻡ
ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻟﻮﺣﺔ ﻛﺒﲑﺓ ﻋﻠﻰ ﺷﻜﻞ ﺣﺮﻑ Tﻛﺎﻧﺖ ﺗﺒﻠﻂ ﻗﺎﻋﺔ ﺍﻷﻛﻞ triclinumﳌ ﻝ ﻓﺨﻢ ﻭ
ﺗﺘﻜﻮﻥ ﻣﻦ ﺃﺭﺑﻌﺔ ﻟﻮﺣﺎﺕ ﺩﺍﺧﻞ ﺇﻃﺎﺭ ﻣﺰﺩﻭﺝ ﺍﻟﺪﺍﺧﻠﻲ ﻳﺘﻨﺎﻭﻝ ﺩﻛﻮﺭ ﺗﺼﻮﻳﺮﻱ ﻭ ﺍﳋﺎﺭﺟﻲ ﺩﻛﻮﺭ ﻫﻨﺪﺳﻲ.
ﺘﻮﻱ ﺍﻹﻃﺎﺭ ﺍﻟﺘﺼﻮﻳﺮﻱ ﻋﻠﻰ ﺻﻮﺭ ﻣﺴﺘﻘﺎﺓ ﻣﻦ ﺍﻟﺴﺠﻞ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻣﺜﻞ ﺍﻟﺴﻜﲑﺍﺕ ﻭ ﺍﻟﺴﻮﺍﺗﲑ ﺍﻟﺮﺍﻗﺼﲔ ،ﺃﻗﻨﻌﺔ
ﻟ ﻟﻪ ﺑﺎﻥ ﻭ ﻟﺴﻴﻼﻥ ،ﳐﻠﻮﻗﺎﺕ ﳎﻨﺤﺔ ،ﺗﺮﻳﺘﻮﻥ ... triton
ﺇﻧﻄﻼﻗﺎ ﻣﻦ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺜﺎﻧﻴﺔ ﲤﺜﻞ ﺍﻟﻠﻮﺣﺎﺕ ﺍﳌﺘﺒﻘﺎﺓ ﻣﺸﺎﻫﺪ ﻣﻴﺘﻮﻟﻮﺟﻴﺔ ﻫﻲ "ﻣﺎﺭﺳﻴﺎﺱ ﺃﻣﺎﻡ ﺁﺑﻮﻟﻮﻥ ﻭ ﺁﻭﳌﺒﻮﺱ"،
"ﻻﺗﻮﻥ ﰲ ﲪﺎﻳﺔ ﺍﻹﻟﻪ ﺑﻮﺳﻴﺪﻭﻥ"" ،ﻫﺮﺍﻗﻞ ﻳﻘﻬﺮ ﺷﲑﻭﻥ" ﺃﻣﺎ ﺍﻟﻠﻮﺣﺔ ﺍﻷﻭﱃ ﺍﻟﱵ ﲣﺺ ﻣﻮﺿﻮﻉ ﺩﺭﺍﺳﺘﻨﺎ ﻓﻬﻲ
ﺗﺼﻮﺭ ﻣﺸﻬﺪ "ﺍﻟﻄﻔﻞ ﺯﺍﻗﺮﻭﺱ ﻳﺪﺍﻋﺐ ﺍﻟﻨﻤﺮﺓ".
ﻳﺘﻜﻮﻥ ﺍﻹﻃﺎﺭ ﺍﳌﺴﺘﻄﻴﻞ ﻟﻠﻮﺣﺔ ﻣﻦ ﺃﺭﺑﻌﺔ ﺃﻗﻨﻌﺔ ﰲ ﺍﻷﺭﻛﺎﻥ ﻣﻨﻬﺎ ﺇﺛﻨﺎﻥ ﰲ ﺍﻷﻋﻠﻰ ﻹﻟﻪ ﺍﻟﺒﺤﺮ ﻭ ﺇﺛﻨﺎﻥ ﰲ ﺍﻷﺳﻔﻞ
ﻹﻟﻪ ﺍﳊﻘﻮﻝ ﺍﳌﻜﻠﻞ ﺑﺎﻷﻭﺭﺍﻕ ﻭ ﺍﻟﻔﻮﺍﻛﻪ ﺑﻴﻨﻤﺎ ﻳﺼﻮﺭ ﺍﻟﺸﺮﻳﻄﺎﻥ ﺍﳉﺎﻧﺒﻴﺎﻥ ﳐﻠﻮﻕ ﳎﻨﺢ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻪ ﻋﻨﻘﺎﺀ ﻣﻐﺮﺏ
ﺟﺎﻟﺲ ﻭ ﺍﻟﺸﺮﻳﻄﺎﻥ ﺍﻷﻓﻘﻴﺎﻥ ﺑﺎﻃﻴﺔ ﻛﺒﲑﺓ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺃﻭﺭﺍﻕ ﻭ ﻋﻠﻰ ﺟﺎﻧﺒﻴﻬﺎ ﺃﺳﺪﺍﻥ ﳝﺘﻄﻴﻬﻤﺎ ﻃﻔﻼﻥ ﳝﺴﻜﺎﻥ ﲟﻨﺴﺄﺓ
ﺇﻟﻪ ﺍﳌﺮﺍﻋﻲ.
ﺗﺼﻮﺭ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﺸﻬﺪ ﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﻜﺎﺑﲑﻳﺔ ﺇﺫ ﺗﻈﻬﺮ ﻠﺔ ﺭﻣﺰ ﺍﻟﻐﺎﺑﺔ ﺍﳌﻘﺪﺳﺔ ﺃﻣﺎﻣﻬﺎ ﻣﺬﺑﺢ ﺍﳉﺪﺓ ﻭ ﻋﻠﻰ
ﻗﺪﻣﻴﻬﺎ ﺍﻹﻟﻪ ﻛﺎﺑﲑ ﻧﺼﻒ ﻋﺎﺭﻱ ﻣﻜﻠﻞ ﺑﺎﻟﻠﺒﻼﺏ ﲢﺎﺫﻳﻪ ﺭﻓﻴﻘﺘﻪ ﺍﳌﻜﻠﻠﺔ ﺑﺎﻟﻨﺮﺟﺲ ﺑﻴﺪﻫﺎ ﺳﻠﺔ ﻭ ﻋﻠﻰ ﻗﺪﻣﻴﻬﺎ ﻳﻈﻬﺮ
ﺍﻟﻄﻔﻞ ﺯﺍﻗﺮﻭﺱ/ﺩﻳﻮﻧﻴﺰﻭﺱ ﳝﺘﻄﻲ ﺮﺓ ،ﺑﻴﺪﻩ ﺍﳌﻨﺴﺄﺓ ﻭ ﺃﻣﺎﻣﻪ ﺭﺿﻴﻌﺘﻪ ﲤﺪ ﻟﻪ ﺩﻭﺍﻣﺘﲔ ﰒ ﻳﻈﻬﺮ ﺷﺨﺺ ﺷﺒﻪ ﺃﺣﺪﺏ
ﺟﻠﺪ ﺣﻴﻮﺍﻥ ﻭ ﻳﻘﻮﺩ ﺍﻟﻨﻤﺮﺓ ﻭ ﺍﻷﺭﺟﺢ ﺇﱃ ﺍﻟﻌﻘﻞ ﺍﻟﺘﻌﺮﻑ ﰲ ﻫﺬﻩ ﺍﻟﺼﻮﺭﺓ ﻋﻠﻰ ﺳﺎﺗﲑ ﻛﻤﺎ ﺗﻘﺘﺮﺡ ﺍﻟﺒﺎﺣﺜﺔ
ﺩﻧﺒﺎﺑﲔ 67ﻭ ﻟﻴﺲ ﺍﳌﺘﻮﺣﺶ ﺑﺮﺗﺎﻻﻭﺱ ﻛﻤﺎ ﻳﻘﻮﻝ ﺩﻭ ﻻﺑﻼﻧﺸﲑ...68ﻭ ﻳﻈﻬﺮ ﻭﺭﺍﺀ ﺍﻟﻨﻤﺮﺓ ﺳﻴﻼﻥ ﺑﻴﺪﻩ ﺍﻟﻴﻤ
ﻏﺼﻦ ﻣﻮﺭﻕ ﻭ ﺑﺎﻷﺧﺮﻯ ﺭﻣﺢ ﻭ ﺧﻠﻔﻪ ﺳﻜﲑﺓ ﲤﺴﻚ ﺍﳌﺰﺭﺍﻕ ﻭ ﰲ ﻣﺮﻛﺰ ﺍﳌﺸﻬﺪ ﻧﻼﺣﻆ ﺍﻹﻟﻪ ﺑﺎﻥ ﲟﻨﺴﺄﺗﻪ ﻭ
ﻣﺼﻔﺎﺭﻩ.
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﺸﺎﻃﺮ ﺩﻭ ﻻﺑﻼﻧﺸﲑ ﰲ ﺍﻟﺘﻌﺮﻑ ﻋﻠﻰ ﺍﻟﻄﻔﻞ ﺯﺍﻗﺮﻭﺱ ﰲ ﻫﺬﺍ ﺍﳌﺸﻬﺪ ﺍﻟﺒﺎﺣﺚ ﺭﻭﺑﲑ69ﻭ ﻻ ﻳﺴﺘﺒﻌﺪ
ﺍﻟﺒﺎﺣﺚ ﺗﻮﺭﻛﺎﻥ70ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺸﻬﺪ ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﺇﺣﺪﻯ ﺍﻟﺘﻮﺍﺑﻴﺖ ﺍﻟﱵ ﺗﺼﻮﺭ ﻃﻔﻮﻟﺔ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺃﻣﺎ ﺩﻧﺒﺎﺑﲔ
71ﻓﻬﻲ ﺗﺮﻯ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻣﺸﻬﺪ ﺭﻭﺍﺋﻲ ﻟﻘﺼﺔ ﺷﻌﺒﻴﺔ ﺗﺘﻌﻠﻖ ﺑﻄﻔﻮﻟﺔ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﱵ ﺃﺧﺬﺕ ﻛﻤﻮﺩﻳﻞ
ﻟﺰﺧﺮﻓﺔ ﺍﻟﺘﻮﺍﺑﻴﺖ ﻣﺒﻜﺮﺍ.
67
K M D. Dunbabin. Op cit. 1978. p 177
68
- De la Blanchere, op cit. 1893. p 60
69
- C. Robert, op cit. 1980.p 215
70
- Turcan, Les sarcophages romains à représentations dionysiaques…p 555
71
- K M. Dunbabin, op cit. 1978. p 177
240
ﰲ ﻛﻠﺘﺎ ﺍﳊﺎﻟﺘﲔ )ﺯﺍﻗﺮﻭﺱ ﺃﻭ ﺩﻳﻮﻧﻴﺰﻭﺱ( ﺗﻨﺘﻤﻲ ﻟﻮﺣﻨﺎ ﻫﺬﻩ ﺇﱃ ﺍﳌﺸﺎﻫﺪ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﺎﺩﻣﻨﺎ ﻧﻌﻠﻢ ﺑﺘﻌﺮﻳﻒ
ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﺍﻟﻜﻼﺳﻜﻴﺔ ﻟﺸﺨﺼﻴﺔ "ﺯﺍﻗﺮﻭﺱ" ﺑ ﺑﻦ ﺍﻹﻟﻪ ﺯﻭﺱ ﻭ ﺑﺮﺳﻔﻮﻥ ﺍﳌﺪﻋﻮ "ﺑﺎﻟﺪﻳﻮﻧﻴﺰﻭﺱ ﺍﻷﻭﻝ" .ﺇﺫ ﺑﻄﻠﺐ
ﻣﻦ ﻫﲑﺍ ﺍﻟﻐﻴﻮﺭﺓ ﺃﻛﻠﻪ ﺍﳉﺒﺎﺑﺮﺓ ﺑ ﺳﺘﺜﻨﺎﺀ ﻗﻠﺒﻪ ﺍﻟﺬﻱ ﺃﺧﺼﺐ ﺑﻪ ﺍﻹﻟﻪ ﺯﻭﺱ ﻋﺸﻴﻘﺘﻪ ﲰﻴﻠﻲ ﺍﻟﱵ ﺃﳒﺒﺖ ﺇﺛﺮﻯ ﺫﺍﻟﻚ
ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳌﻌﺮﻭﻑ.72
ﻳﺒﻘﻰ ﺍﻟﺴﺆﺍﻝ ﺍﳌﻄﺮﻭﺡ ﻫﻮ ﻧﻮﻋﻴﺔ ﺍﻟﻌﻼﻗﺔ ﺍﳌﻮﺟﻮﺩﺓ ﺑﲔ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺜﻼﺙ
ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﻻ ﺗﺘﻌﻠﻖ ﲝﻴﺎﺓ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻏﲑ ﺃﻧﻪ ﲡﺪﺭ ﺍﺇﺷﺎﺭﺓ ﺇﱃ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﺍﳊﺎﺷﻴﺔ ﺍﻟﱵ
ﺗﺆﻃﺮ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺜﻼﺙ:
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺜﺎﻧﻴﺔ :ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ ﰲ ﺭﻗﺼﺔ ﺑﺎﺧﻴﺔ
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺜﺎﻟﺜﺔ :ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺳﺎﺗﲑ ﺑﲔ ﺳﻜﲑﺗﺎﻥ ﰲ ﺭﻗﺼﺔ ﻭ ﺃﻋﻼﳘﺎ ﺳﻜﲑﺓ ﺃﺧﺮﻯ ﲢﻤﻞ ﺍﳌﺰﺭﺍﻕ ﻭ ﺍﻟﺴﻨﻄﻮﺭ
tympanonﻭ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺳﺎﺗﲑ ﻋﺎﺯﻑ ﺍﻟﻨﺎﻱ ﺍﳌﺰﺩﻭﺝ ﺑﲔ ﺳﻜﲑﺗﺎﻥ.
ﺍﻟﻠﻮﺣﺔ ﺍﻟﺮﺍﺑﻌﺔ :ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﺍﻟﻐﺎﺑﺔ ﺍﳌﻘﺪﺳﺔ ﳝﺪ ﺫﺭﺍﻋﻪ ﳓﻮ ﺳﻴﻼﻥ ﺍﻟﺬﻱ ﻳﺮﻗﺺ ﻣﻊ ﺳﺎﺗﲑ ﻭ
ﺃﻋﻼﳘﺎ ﻧﻼﺣﻆ ﺳﻜﲑﺓ ﺗﺪﻕ ﺍﻟﺼﻨﺠﺎﺕ ﻣﻊ ﺳﻜﲑ ﺭﺍﻗﺺ ﳝﺴﻚ ﺍﳌﺰﺭﺍﻕ.
ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺳﻜﲑﺓ ﺗﻌﺰﻑ ﻧﺎﻳﺎﻥ ﺗﺘﺒﻌﻬﺎ ﺳﻜﲑﺓ ﺃﺧﺮﻯ ﺑﺎﳌﺼﻔﺎﺭ.
ﻛﻞ ﻫﺬﻩ ﺍﻟﺸﺨﺼﻴﺎﺕ ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺍﳌﺄﻟﻮﻑ ﺍﻟﺬﻱ ﻳﺮﺍﻓﻖ ﺍﻹﻟﻪ ﰲ ﻛﻞ ﻣﺮﺍﺣﻞ ﺣﻴﺎﺗﻪ ،ﻓﻬﻞ ﻳﻌﲏ
ﻭﺟﻮﺩﻫﺎ ﰲ ﳎﻤﻞ ﺍﻟﻠﻮﺣﺔ ﺗﺼﻨﻴﻒ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻷﺭﺑﻌﺔ ﺿﻤﻦ ﺍﻟﺘﺼﻮﻳﺮﺍﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺃﻡ ﺃﻧﻪ ﻻ ﻋﻼﻗﺔ ﳍﺎ ﺑﺎﳌﻌ ﺍﻟﻌﺎﻡ
ﻟﻠﻤﺸﺎﻫﺪ ﺍﻟﺜﻼﺙ ﺍﻷﺧﺮﻯ ﺍﻟﻐﲑ ﺩﻳﻮﻧﻴﺰﻳﺔ ﺣﺴﺐ ﺍﻟﺒﺎﺣﺜﺔ ﺩﻧﺒﺎﺑﲔ 73ﺍﻟﱵ ﺗﻘﺘﺮﺡ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻄﻔﻞ
ﺍﻟﻈﺎﻫﺮ ﰲ ﺍﻟﻠﻮﺣﺔ ﳎﺮﺩ ﻃﻔﻞ ﻋﺎﺩﻱ ﻀﺮ ﻣﺮﺍﺳﻴﻢ ﺍﺣﺘﻔﺎﻝ ﺍﻻﺷﺘﺮﺍﻙ ﻣﻊ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﰲ ﻧﻔﺲ ﺍﻟﺴﻴﺎﻕ
ﺗﻔﺴﺮ ﺷﻜﻞ ﺍﻟﻘﺎﻋﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ )ﺣﺮﻑ (Tﻣﺮﺗﺒﻂ ﺑﺎﻟﻮ ﻴﻔﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺆﺩﻳﻬﺎ ﻭ ﻫﻲ ﺇﻳﻮﺍﺀ
ﺍﻟﻮﻟﻴﻤﺎﺕ ﺍﻟﺸﻌﺎﺋﺮﻳﺔ ﺍﻟﱵ ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﳌﺮﺍﺳﻴﻢ ﺍﻟﺒﺎﺧﻴﺔ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﱵ ﻟﻮﺣﻈﺖ ﲟ ﻝ ﺍﻟﺰﻳﺎﺡ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺑﺎﳉﻢ ﰲ
ﺗﻮﻧﺲ؟
ﻋﻨﺎﺑﺔ /ﺇﻳﺒﻮﻥ:
ﺎﻃﻔﻲ ﺍﻟﻌﻨ : ﺎﺀ ﺍﻟﻌﺎﺷﻘ -34ﻓﺴﻴﻔﺴ
ﺍﻟﺼﻮﺭﺓ ﺭﻗﻢ 74ﺍﻟﻠﻮﺣﺔ .28ﺹ 440
ﺍﳌﺮﺍﺟ :
- E. Marec, « Deux mosaïques d’Hippone ». Libyca Archéologie Epigraphie. Tome I.
1953.pp95-108
72
- P. Grimal, Dictionnaire de la mythologie grecque et romaine. Presses universitaires de France. Paris 1951. p 477
73
- K M. Dunbabin, op cit. 1978. p 178
241
- E. Marec, Rapport présenté à l’académie d’Hippone le 10 juin 1948. Sce d’Archives.
Anapsmh.p 10
- E. Marec, Fouilles d’Hippone. Travaux exécutés du 1-15 mai 1948. Sce d’Archives.
Anapsmh. P 14.
- E. Marec, Hippone antique Hippo Regius. Imp officielle. Alger 1950. p 44
- S. Dahmani. J P. Morel, Mosaïques d’Hippone. Le musée d’Hippone. Centre Culturel
Français.
ﺍﳌﺼﺪﺭ :ﻣ ﻝ ﺭﻭﻣﺎﱐ ﻗﺮﺏ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﺑﺎﳊﻲ ﺍﳌﺴﻴﺤﻲ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﺘﺤﻒ ﻋﻨﺎﺑﺔ
ﺍﳌﻘﺎﺳﺎﺕ 3 × 4.55 :ﻡ .ﺍﳌﺸﻬﺪ ﺍﻟﺮﺋﻴﺴﻲ2.10 × 3.67 :ﻡ
ﺍﻟﻮﺻﻒ :ﺗﻈﻬﺮ ﺍﻟﻠﻮﺣﺔ ﰲ ﺇﻃﺎﺭ ﺯﺧﺮﰲ ﻫﻨﺪﺳﻲ ﻋﺮﻳﺾ ﻣﺸﻜﻞ ﲟﺮﺑﻌﺎﺕ ﻳﺴﺎﻭﻱ ﺿﻠﻌﻬﺎ 0.031ﻡ ﺗﺮﺳﻢ
ﻣﺸﻬﺪﺍ ﻣﻜﻮﻧﺎ ﻣﻦ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﺍﻟﺬﺍﻫﺒﺔ ﻣﻦ ﺍﻟﺰﻭﺍﻳﺎ ﺍﻷﺭﺑﻌﺔ ﳓﻮ ﺍﳌﺮﻛﺰ ﻭﰲ ﻭﺳﻂ ﻛﻞ ﺿﻠﻊ ﻣﻦ ﺍﻟﻠﻮﺣﺔ
ﺑﻈﻬﺮ ﺑﺎﻃﻴﺔ ﻋﺎﻟﻴﺔ ﺫﺍﺕ ﻗﺪﻡ ﳑﻠﻮﺀﺓ ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﻟﺜﻘﻴﻠﺔ ﻭ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻠﺘﺎﻥ ﺑﺄﺑﺮﺷﻴﺎﻬﺗﺎ ﻭ ﺃﻭﺭﺍﻗﻬﺎ ﻭ
ﻋﻨﺎﻗﻴﺪﻫﺎ ،ﲤﺮ ﻋﱪ ﺣﻠﻘﺎﺕ ﺟﺎﻧﺒﻴﺔ ﺑﺄﺷﺮﻃﺔ ﲪﺮﺍﺀ ،ﺫﻫﺒﻴﺔ ﻭ ﺳﻮﺩﺍﺀ ﰒ ﲡﺘﻤﻊ ﰲ ﺣﻠﻘﺔ ﻣﺮﻛﺰﻳﺔ ﺃﻛﱪ ﺗﻨﻈﻤﻬﺎ ﰲ
ﺷﻜﻞ ﺻﻠﻴﱯ ﺑﺄﻏﺼﺎﻥ ﳏﺪﺑﺔ .ﻭ ﺑﲔ ﺗﻠﻚ ﺍﻷﻏﺼﺎﻥ ﻳﻘﻔﺰ ﺍﺛﻨﺘﺎ ﻋﺸﺮﺓ ﻋﺎﺷﻘﲔ ﳎﻨﺤﲔ ﳑﺘﻠﺌﻲ ﺍﻟﻮﺟﻨﺘﲔ ﻭ
ﻣﻨﻈﻤﻲ ﺍﻟﺘﺴﺮ ﺔ ،ﺃﺭﺑﻌﺔ ﻣﻨﻬﻢ ﺻﻌﺪﻭﺍ ﻓﻮﻕ ﺍﻟﻜﺆﻭﺱ ﻭ ﺍﻟﺒﺎﻃﻴﺎﺕ ﻳﺘﻬﻴﺌﻮﻥ ﻟﺮﻛﺾ ﺍﻟﻌﻨﺐ ﺑﻴﻨﻤﺎ ﳝﺴﻚ
ﺍﻵﺧﺮﻭﻥ ﺑﺎﳌﱪﺩ ﻟﻘﻄﻒ ﺍﻟﻌﻨﺐ ﻭ ﻧﺸﺎﻫﺪ ﺃﺣﺪﻫﻢ ﻳﺘﺤﻠﻰ ﺑﺴﻠﺔ ﺍﻟﻈﻬﺮ ﻭ ﺍﻷﺧﺮ ﻳﻘﺪﻡ ﺍﻟﻌﻨﺐ ﻟﻌﺼﻔﻮﺭ .ﻳﺘﺨﻠﻞ
ﺍﻟﻠﻮﺣﺔ ﻋﺼﺎﻓﲑ ﺫﻭ ﺭﻳﺶ ﺳﺎﻃﻊ ﺍﻟﺒﻌﺾ ﻣﻨﻬﻢ ﻂ ﻓﻮﻕ ﺍﻷﻏﺼﺎﻥ ﻭ ﺍﻟﺒﻌﺾ ﺍﻷﺧﺮ ﻳﺄﻛﻞ ﺣﺒﺎﺕ ﺍﻟﻌﻨﺐ.
ﺍﻷﻟﻮﺍﻥ :ﺍﳋﻠﻔﻴﺔ ﺑﻴﻀﺎﺀ ﺗﻈﻬﺮ ﳌﻌﺎﻥ ﺍﻷﺧﻀﺮ ﺍﻟﺰﻣﺮﺩﻱ ﻟ ﻭﺭﺍﻕ ﻭ ﺍﻷﺻﻔﺮ ﺍﶈﻤﺮ ﻟﻠﻌﻨﺐ ﻭ ﻣﻐﺮﻱ ﺍﻷﻏﺼﺎﻥ ﻭ
ﺍﻟﻮﺭﺩﻱ ﻟﺒﺸﺮﺓ ﺍﻟﻌﺎﺷﻘﲔ ،ﺍﻟﺬﻫﱯ ﻭ ﺍﳋﺒﺎﺯﻱ ﻷﺟﻨﺤﺘﻬﻢ...
ﺍﻟﺘﻘﻨﻴﺔ :ﺍﻟﺘﺴﻼﺗﻮﻡ ﻟﻠﺤﺎﺷﻴﺔ ﻭ ﺍﻟﻔﺮﻣﻜﻮﻻﺗﻮﻡ ﻟﻠﻤﺸﻬﺪ ﺍﻟﺮﺋﻴﺴﻲ
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﻨﺘﻤﻲ ﻫﺬﺍ ﺍﳌﺸﻬﺪ ﺍﳌﻌﺮﻭﻑ ﺇﱃ ﺍﻟﺘﻘﺎﻟﻴﺪ ﺍﻟﺒﻮﻣﺒﻴﺔ ﺣﻴﺚ ﺗﻮﺟﺪ ﺃﻣﺜﻠﺔ ﻣﺸﺎﻬﺑﺔ ﺳﻮﺍﺀ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ
75 74
ﺑﺘﻮﻧﺲ( ﺃﻭ ﺑ ﻳﻄﺎﻟﻴﺎ ﰲ ﺳﺎﺣﺔ ﺎﺀ ﺃﻭﺩﻳﻨﺎ ﻭ ﻓﺴﻴﻔﺴ
)ﻓﺴﻴﺴ ﺎﺀ "ﺳﻴﻼﻥ ﺍﳌﺮﺑﻮﻁ"ﲟﺘﺤﻒ ﺍﳉﻢ
ﺁﺭﻣﺮﻳﻨﺎ. 76
-ﺗﻈﻬﺮ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻔﻨﻴﺔ ﺍﻟﻌﻨﺎﻳﺔ ﻭ ﺍﻟﺪﻗﺔ ﰲ ﺇﳒﺎﺯ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻣﺜﻞ ﻋﺮﻭﻕ ﺍﻷﻭﺭﺍﻕ ﺍﳌﺴﻨﻨﺔ ﺑﺎﻷﺯﺭﻕ ﻭ
ﺍﻷﺧﻀﺮ ،ﺷﻔﺎﻓﻴﺔ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ،ﻗﻄﺮﺍﺕ ﺍﻟﻀﻮﺀ ﻋﻠﻰ ﻛﻞ ﺣﺒﺎﺕ ﺍﻟﻌﻨﺐ ،ﺗﻨﻮﻉ ﺭﻳﺶ ﺍﻟﻌﺼﺎﻓﲑ ،ﲡﺴﻴﻢ
ﻭﺟﻪ ﻭ ﺟﺴﻢ ﺍﻟﻌﺸﺎﻕ ﺍﻟﻘﺎﻃﻔﲔ...ﻭ ﻳﻄﻐﻰ ﻋﻠﻰ ﻛﻞ ﻫﺬﻩ ﺍﻟﺘﻔﺎﺻﻴﻞ ﻃﺎﺑﻊ ﺍﳉﺎﺫﺑﻴﺔ ﻛﻤﺎ ﻧﻼﺣﻆ ﺃﻥ
ﺍﻟﻔﻨﺎﻥ ﱂ ﻳﺴﺘﻌﻤﻞ ﻣﺒﺪﺃ ﺍﻟﺘﻨﺎ ﺮ ﰲ ﺃﺩﺍﺀ ﻋﻤﻠﻪ ﻓﺠﺎﺀﺕ ﺣﺮﻛﺎﺕ ﺍﻟﻌﺸﺎﻕ ﻛﻠﻬﺎ ﻣﺘﻨﻮﻋﺔ.ﻋﻤﻮﻣﺎ ﺗﺘﻤﻴﺰ ﻫﺬﻩ
74
- M. Blanchard-Lemée. M Ennaifer, op cit. 1995. Fig 69
75
- Ducoudray. Lablanchére, Catalogue du musée Allaoui……Pl V
76
- K M. Dunbabin, op cit. 1978. Pl LXXVIII. P 202
242
ﺍﻟﻠﻮﺣﺔ ﻋﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﳌﺸﺎﻬﺑﺔ ﳍﺎ ﺑﻌﻤﻞ ﺃﻗﻞ ﺇﻛﺘﻀﺎﺿﺎ ﻭ ﺃﻛﺜﺮ ﺍﻧﻔﺮﺍﺟﺎ ﻭ ﻳﻌﻮﺩ ﻫﺬﺍ ﺇﱃ ﺍﺳﺘﻌﻤﺎﻝ ﻧﻈﺎﻡ
ﺟﺪﻳﺪ ﻟﺘﻮﺯﻳﻊ ﻣﺘﻨﺎﺳﻖ ﻟﺼﻮﺭ ﺍﻟﻘﺎﻃﻔﲔ ﻭ ﺍﻟﻌﺼﺎﻓﲑ.
-ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﺮﻣﺰﻳﺔ ﻳﺸﲑ ﻣﻜﺘﺸﻒ ﺍﻟﻠﻮﺣﺔ ﺍﻟﺒﺎﺣﺚ ﻣﺎﺭﻳﻚ 77ﺇﱃ ﻃﺎﺑﻌﻬﺎ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺍﻟﺒﺎﺭﺯ ﺍﻟﺬﻱ ﻳﺬﻛﺮﻧﺎ
ﺑﺎﳌﺸﺎﻫﺪ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﻳﺘﺠﻠﻰ ﺫﺍﻟﻚ ﻣﻦ ﺧﻼﻝ ﺷﺨﺼﻴﺎﺕ ﺍﻟﻌﺸﺎﻕ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﻛﻤﺎ ﻳﺮﻯ ﺍﺧﺘﻼﻑ ﻫﺬﻩ
ﺍﻟﻠﻮﺣﺔ ﻋﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻮﺛﻨﻴﺔ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻧﻔﺲ ﺍﳌﻮﺿﻮﻉ ﺑﺘﻮﻧﺲ ﰲ ﺍﻟﺸﻜﻞ ﺍﻟﺼﻠﻴﱯ ﻷﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ
ﺍﻟﺬﻱ ﺗﻨﻔﺮﺩ ﺑﻪ ﻓﺴﻴﺴ ﺎﺀ ﻋﻨﺎﺑﺔ ﺇﺿﺎﻓﺔ ﺇﱃ ﻬﻮﺭ ﺍﻟﻌﺸﺎﻕ ﲜﻨﺎﺡ ﻭﺍﺣﺪ ﻓﻘﻂ .ﻭ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﺼﺪﺭ
ﺍﻟﻠﻮﺣﺔ ﺃﻻ ﻭﻫﻮ ﺍﳊﻲ ﺍﳌﺴﻴﺤﻲ ﻫﺬﺍ ﻣﻦ ﺟﻬﺔ ،ﻭ ﻣﻘﺎﺭﻧﺔ ﺍﻟﺮﻣﻮﺯ ﺍﻟﻈﺎﻫﺮﺓ )ﺍﻟﺒﺎﻃﻴﺔ ،ﺍﻟﻌﺼﺎﻓﲑ ،ﺍﻟﻌﻨﺐ(
ﺑﻌﻨﺎﺻﺮ ﺯﺧﺮﻓﻴﺔ ﻣﺸﺎﻬﺑﺔ ﳓﺘﺖ ﻋﻠﻰ ﺃﻋﻤﺪﺓ ﺑﺒﺎﺯﻟﻴﻜﺎ ﻗﺼﺮ ﺍﻟﻜﻠﺐ 78ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ،ﻻ ﻳﺴﺘﺒﻌﺪ ﺍﻟﺒﺎﺣﺚ
ﺃﻥ ﻳﻜﻮﻥ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﻗﺪ ﺇﺳﺘﻮﺿﻒ ﻣﻮﺿﻮﻋﺎ ﻭﺛﻨﻴﺎ ﺩﻳﻮﻧﻴﺰﻳﺎ ﻭ ﻛﻴﻔﻪ ﻣﻊ ﺍﻟﺪﻳﺎﻧﺔ ﺍﳉﺪﻳﺪﺓ ﺇﺫ ﺃﺻﺒﺤﺖ
ﺍﻟﺒﺎﻃﻴﺔ ﺗﺮﻣﺰ ﺇﱃ ﺳﺮ ﺍﻟﻘﺮﺑﺎﻥ ﺍﳌﻘﺪﺱ ﻣﻊ ﺍﻟﺪﺍﻟﻴﺔ ﺍﻟﻄﻘﺴﻴﺔ ﻓﻴﻤﺜﻞ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﰲ ﻫﺬﻩ ﺍﳊﺎﻟﺔ ﺍﳌﻼﺋﻜﺔ
ﺍﻟﺬﻳﻦ ﻳﻬﺪﻭﻥ ﺍﻟﻌﻨﺎﻗﻴﺪ ﺇﱃ ﺍﳌﺴﻴﺤﻴﲔ ﺍﻟﻨﻬﻤﲔ ﻋﻠﻰ ﺍﻟﻄﻌﺎﻡ ﺍﻟﺴﻤﺎﻭﻱ.79
ﰲ ﺭﺃﻳﻨﺎ ﺇﺫﺍ ﺑﻘﻴﻨﺎ ﰲ ﳎﺎﻝ ﺍﳌﻘﺎﺭﻧﺔ ﻣﻦ ﺍﻷﻓﻀﻞ ﺗﻘﺮﻳﺐ ﻟﻮﺣﺔ ﻋﻨﺎﺑﺔ ﻣﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻮﺛﻨﻴﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﰲ ﺗﻮﻧﺲ ﺃﻭ
ﰲ ﺭﻭﻣﺎ ﻣﻦ ﺃﻥ ﻧﻘﺎﺭﻬﻧﺎ ﺑﺰﺧﺮﻓﺔ ﺑﺎﺯﻟﻴﻜﺎ ﻗﺼﺮ ﺍﻟﻜﻠﺐ .ﻫﺬﺍ ﺑﻴﺪ ﺃﻥ ﺍﻷﻭﱃ ﺗﻈﻬﺮ ﻧﻔﺲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺍﳌﺘﻤﺜﻠﺔ ﰲ
ﺍﻟﻌﺎﺷﻘﲔ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﺑﲔ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﺍﻟﻌﺼﺎﻓﲑ ﻭ ﺍﻟﺒﺎﻃﻴﺎﺕ ،ﺑﻴﻨﻤﺎ ﺗﻈﻬﺮ ﺍﻟﺜﺎﻧﻴﺔ ﺑﺼﻮﺭﺓ ﲡﺮﻳﺪﻳﺔ ﳏﻀﺔ ﻻ
ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺳﻮﻯ ﻋﺼﻔﻮﺭﺍﻥ ﻭ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺍﻟﻌﻨﺐ.
ﺎﺀ ﻋﻨﺎﺑﺔ ﺩﻳﻮﻧﻴﺰﻳﺔ ﺃﻡ ﻣﺴﻴﺤﻴﺔ ﻓﻬﻲ ﺩﺍﺋﻤﺎ ﻋﻠﻰ ﺻﻠﺔ ﺑﺎﳋﺼﺎﺋﺺ ﻭ ﰲ ﻛﻠﺘﺎ ﺍﳊﺎﻟﺘﲔ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻓﺴﻴﻔﺴ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﺎﺩﺍﻡ ﺍﻟﻄﺎﺑﻊ ﺃﻟﻘﺮﺑﺎﱐ ﻟﻠﺪﺍﻟﻴﺔ ﻭ ﺑﺎﻃﻴﺔ ﺍﳋﻤﺮ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻣﺎ ﻫﻲ ﺇﻻ ﺍﺳﺘﻤﺮﺍﺭﻳﺔ ﻟﻼﻋﺘﻘﺎﺩﺍﺕ ﺍﻟﺒﺎﺧﻴﺔ
ﲞﺼﻮﺹ ﺍﳌﺴﺎﺭﻳﻦ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺍﻟﺘﺤﺎﻗﻬﻢ ﲜﻨﺔ ﺑﺎﺧﻮﺱ ﰲ ﺻﻮﺭﺓ ﻋﺼﺎﻓﲑ ﺗﺄﻛﻞ ﺣﺒﺎﺕ ﺍﻟﻌﻨﺐ ﺃﻭ
ﺗﺸﺮﺏ ﻣﻦ ﺍﻟﻘﺪﺡ ﺍﳌﻘﺪﺱ.80
ﺎﺀ ﺩﻳﻮﻧﻴﺰﻳﺔ ﲟﺒ ﻣﺴﻴﺤﻲ ﻋﻠﻤﺎ ﺑﺄﻥ ﻣﻮﺿﻮﻉ ﺟﲏ ﻭ ﺍﻟﺒﺎﺣﺚ ﻣﺎﺭﻳﻚ 81ﻳﺘﺼﻮﺭ ﺑﺴﻬﻮﻟﺔ ﻭﺟﻮﺩ ﻓﺴﻴﻔﺴ
ﺍﻟﻌﻨﺐ ﺑﻘﻰ ﻣﺴﺘﻌﻤﻼ ﻣﻊ ﺑﺪﺍﻳﺔ ﺍﳌﺴﻴﺤﻴﺔ ﻭ ﻳﺘﻮﻗﻊ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺒ ﰲ ﺍﻷﺻﻞ ﻏﲑ ﻣﺮﺗﺒﻂ ﺑﺎﻟﻌﺒﺎﺩﺓ ﺍﳌﺴﻴﺤﻴﻴﺔ ﻣﺎ ﺩﺍﻡ
ﺃﻧﻪ ﻛﺎﻥ ﻳﺄﻭﻱ ﻟﻮﺣﺘﺎﻥ ﻭﺛﻨﻴﺘﺎﻥ ﺇﺣﺪﺍﳘﺎ ﻟﻮﺣﺘﻨﺎ ﻭ ﺍﻟﺜﺎﻧﻴﺔ ﻓﺴﻴﻔﺴ ﺎﺀ ﺭﺑﺎﺕ ﺍﻟﻔﻦ ﺍﻟﺘﺴﻊ...
77
- E. Marec, Fouilles d’Hippone. Op cit.p 14
78
- P. Cayrel, « Une basilique donatiste de numidie ». MEFRA 1934. Fasc I-V. Ed de Boccard.Paris. pp114-142.
79
- idem. P 15
80
- Ch. Picard, op cit. 1954.p 205
81
- E. Marec, op cit. Alger 1950. p 44
243
- J P. Morel, “Recherches stratigraphiques à Hippone”. BAA. 1968. Fig 34. p 76.
ﺍﳌﺼﺪﺭ :ﻣ ﻝ ﲝﻲ ﺍﻟﻔﻮﺭﻭﻡ
ﻣﻜﺎﻥ ﺍﻟﻌﺮ :ﻣﻐﻄﺎﺓ ﺑﺎﻷﺗﺮﺑﺔ ﰲ ﺍﳌﻮﻗﻊ ﺍﻷﺛﺮﻱ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﺗﻈﻬﺮ ﺍﻟﻠﻮﺣﺔ ﻣﺰﺧﺮﻓﺔ ﺑﻌﻨﺎﺻﺮ ﻫﻨﺪﺳﻴﺔ ﺗﺘﺨﻠﻠﻬﺎ ﰲ ﺍﻟﻮﺳﻂ ﺃﺭﺑﻌﺔ ﺃﻭﲰﺔ ﻣﺜﻤﻨﺔ ﺍﻷﺿﻼﻉ ﺗﺼﻮﺭ ﺍﻟﻔﺼﻮﻝ
ﺍﻷﺭﺑﻌﺔ ﻭ ﲢﻴﻂ ﻫﻲ ﺍﻷﺧﺮﻯ ﺑﻮﺳﺎﻡ ﻣﺮﻛﺰﻱ ﺩﺍﺋﺮﻱ ﺃﺗﻠﻒ ﻛﻠﻪ ،ﻭﺳﺎﻡ ﺍﻟﺼﻴﻒ ﻓﻠﻢ ﻳﺒﻘﻰ ﻣﻨﻪ ﺎﻫﺮﺍ ﺳﻮﻯ
ﺇﻛﻠﻴﻞ ﺍﻟﺴﻨﺎﺑﻞ ﺑﻴﻨﻤﺎ ﻧﻼﺣﻆ ﰲ ﻭﺳﺎﻡ ﺍﳋﺮﻳﻒ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻟﺮﺟﻞ ﺷﺎﺏ ﲟﻼﻣﺢ ﻫﺎﺩﺋﺔ ﻭ ﺣﺰﻳﻨﺔ ﻣﻜﻠﻼ ﲝﺠﻨﺎﺕ
ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﻳﻈﻬﺮ ﺟﺰﺀ ﻣﻦ ﻋﺼﻰ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺗﻨﻄﻠﻖ ﻣﻦ ﺍﻟﻜﺘﻒ ﰒ ﲣﺘﻔﻲ ﻓﻬﻞ ﻫﻮ ﻣﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ ﺍﳌﻌﺘﺎﺩ؟
ﺍﻟﺘﺤﻠﻴﻞ :ﻛﻤﺎ ﻗﻠﻨﺎ ﻋﻦ ﺍﳌﺸﺎﻫﺪ ﺍﻷﺧﺮﻯ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻣﻮﺿﻮﻉ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﻓﻬﻲ ﻋﻠﻰ ﺻﻠﺔ ﺑﺎﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﺑﺎﻋﺘﺒﺎﺭ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻣﻨﻈﻢ ﺍﻟﻄﺒﻴﻌﺔ ﻭ ﺗﻮﺍﺗﺮ ﻓﺼﻮﳍﺎ .ﺿﻴﺎﻉ ﺍﻟﻮﺳﺎﻡ ﺍﳌﺮﻛﺰﻱ ﰲ ﻫﺬﻩ ﺍﻟﻠﻮﺣﺔ ﻻ ﻳﺴﻤﺢ ﻟﻨﺎ
ﺑﺎﻟﺘﻌﺮﻑ ﻋﻠﻰ ﻫﻮﻳﺔ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﺼﻮﺭﺓ ﺑﻪ ﻭ ﻧﻜﺘﻔﻲ ﺑﺎﻓﺘﺮﺍﺽ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻧﻔﺴﻪ ﻋﻠﻰ ﻏﺮﺍﺭ
ﻓﺴﻴﻔﺴﺎﺀ ﻻﻣﺒﻴﺰ 82ﺃﻣﺎ ﻭﺳﺎﻡ ﺍﳋﺮﻳﻒ ﻓﻴﻈﻬﺮ ﻫﻨﺎ ﲟﻼﻣﺢ ﺷﺎﺏ ﲝﺠﻨﺎﺕ ﺍﻟﻌﻨﺐ )ﻣﻠﺤﻖ ﺩﻳﻮﻧﻴﺰﻭﺱ( ﻭ ﺍﳌﻼﺣﻈﺔ
ﺍﻟﱵ ﻧﻘﻮﻡ ﻬﺑﺎ ﻫﻲ ﺃﻭﺟﻪ ﺍﻟﺘﺸﺎﺑﻪ ﺑﲔ ﻫﻴﺌﺔ ﻭ ﻣﻼﻣﺢ ﺍﻟﺸﺎﺏ ﻭ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﺠﻤﻟﺴﺪ ﰲ ﻟﻮﺣﺔ "ﻣﻮﻛﺐ ﺍﻟﻨﺼﺮ"
ﻟﺴﻮﺳﺔ ﺑﺘﻮﻧﺲ83ﻓﻬﻞ ﻫﺬﺍ ﻳﻌﲏ ﺃﻥ ﺻﻮﺭﺓ ﺍﳋﺮﻳﻒ ﻫﻨﺎ ﲡﺴﺪ ﺍﻹﻟﻪ ﻧﻔﺴﻪ ﻭ ﻟﻴﺲ ﺻﻮﺭﺓ ﺍﳋﺮﻳﻒ؟
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ.84
244
--2.4ﺍﳌﺴﻜﻮﻛﺎﺕ
245
ﺍﻟﻘﻄﺮ 20 :ﻣﻢ .ﺍﻟﻮﺯﻥ5 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﻮﺻﻒ
ﺍﻟ ﻬﺮ ﻧﻔﺲ ﺍﻟﻮﺻﻒ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻬﻮﺭ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﻷﻋﻠﻰ ﻭ ﺍﻟﺴﻨﺒﻞ ﰲ ﺍﻷﺳﻔﻞ
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ : 3
ﺍﳌﺮﺍﺟ :
- L.Charrier, op cit. 1912, n°89- Pl VII.89. p 39
ﺍﻟﻮﺭﺷﺔ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ :؟
.ﺍﻟﻮﺯﻥ :؟
ﺍﻟﻮﺟﻪ :ﻛﺘﺎﺑﺔ ﺑﻮﻧﻴﺔ ﺗﺘﺮﺟﻢ ﺑﻌﺒﺎﺭﺓ HAMAMLEKETﻭ ﺻﻮﺭﺓ ﺍﳌﻠﻚ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﺑﺸﻌﺮ ﻃﻮﻳﻞ .
ﺍﻟ ﻬﺮ :ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ ،ﺳﻨﺒﻞ ﺍﻟﻘﻤﺢ ﻣﻦ ﺍﻟﻴﺴﺎﺭ ﺇﱃ ﺍﻟﻴﻤﲔ ﻭ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻣﻦ ﺍﻟﻴﻤﲔ ﺇﱃ ﺍﻟﻴﺴﺎﺭ.
ﺍﻟﺘ ﺭﻳ // :
246
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :2
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°573. P 174
ﺍﳌﺼﺪﺭ // :
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 22 :ﻣﻢ
.ﺍﻟﻮﺯﻥ8.60 :
ﺍﻟﻮﺟﻪ :ﻳﺸﺒﻪ ﺍﻟﺴﺎﺑﻖ ﻣﻊ ﺍﺧﺘﻼﻑ ﻃﻔﻴﻒ.
ﺍﻟ ﻬﺮ :ﻧﻔﺲ ﺍﻟﺴﺎﺑﻖ
247
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ : 3
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°574. P 174
ﺍﳌﺼﺪﺭ // :
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﱐ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ21 :ﻣﻢ .
ﺍﻟﻮﺯﻥ7.40 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺻﻮﺭﺓ ﺍﳌﻠﻚ ﻏﲑ ﺃﻧﻪ ﺃﻣﺮﺩ.
ﺍﻟ ﻬﺮ :ﻧﻔﺲ ﺍﻟﻮﺻﻒ.
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ : 4
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°574. P 174
ﺍﳌﺼﺪﺭ // :
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓAE :
ﺍﻟﻘﻄﺮ14 :ﻣﻢ .ﺍﻟﻮﺯﻥ3.50 :
ﺍﻟﻮﺟﻪ// :
ﺍﻟ ﻬﺮ // :
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ : 5
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°576. P 174
- J. Babelon, Catalogue de la collection Lynes. N°40 71.
248
ﺍﳌﺼﺪﺭ // :
ﻣﻜﺎﻥ ﺍ ﻔ :ﻏﺮﻓﺔ ﺍﳌﻴﺪﺍﻟﻴﺎﺕ ﺑﺒﺎﺭﻳﺲ
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﻟﻘﻄﺮ 22 :ﻣﻢ .
ﺍﻟﻮﺯﻥ4.70 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﺼﻮﺭﺓ ﺇﺿﺎﻓﺔ ﺇﱃ ﻛﺘﺎﺑﺔ ﰲ ﺍﻟﻴﺴﺎﺭ ﺑﺎﻟﺒﻮﻧﻴﺔ R SKOBBﻭ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ .
ﺍﻟ ﻬﺮ :ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﺳﻨﺒﻞ ﻗﻤﺢ ﰲ ﺗﺎﺝ ﻣﻦ ﺍﻷﻭﺭﺍﻕ ﻭ ﻛﺘﺎﺑﺔ ﰲ ﺍﻷﺳﻔﻞ ﻏﲑ ﻭﺍﺿﺤﺔ.
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ : 6
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°571. P 175
- L. Muller, op cit. 1862, n°215
- L. Charrier, op cit. 1912, n°106
- J. Babelon, op cit.n°4046
ﺍﳌﺼﺪﺭ Timici :ﻋﲔ ﺗﻴﻤﻮﺷﻨﺖ ؟
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﻟﻘﻄﺮ 23 :ﻣﻢ .
ﺍﻟﻮﺯﻥ9.35 :
ﺍﻟﻮﺟﻪ :ﺻﻮﺭﺓ ﺍﳌﻠﻚ ﺃﻣﺮﺩ ﺑﺸﻌﺮ ﻛﺚ ﻭ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ
TMCI ﺍﻟ ﻬﺮ :ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﺑﲔ ﻋﺮﻓﺎﻥ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﺇﺳﻢ ﺍﳌﺪﻳﻨﺔ ﺑﺎﻟﺒﻮﻧﻴﺔ
ﺍﻟﺘ ﺭﻳ // :
249
ﻣﺴﻜﻮﻛﺎﺕ ﺑﺮﻣﺰ ﺇﻟﻪ ﺍﻟﻌﻨ ﻭ ﺍﳋﻤﺮ :
250
ﺍﳌﺎ ﺓ :ﺑﺮﻭﻧﺰ
ﺍﻟﻘﻄﺮ 23 :ﻣﻢ .
ﺍﻟﻮﺯﻥ8.50 :
.BQ-S ﺍﻟﻮﺟﻪ :ﺻﻮﺭﺓ ﺍﳌﻠﻚ ﺇﱃ ﺍﻟﻴﻤﲔ ﺑﺸﻌﺮ ﻃﻮﻳﻞ ﻭ ﻣﺘﻤﻮﺝ ﻭ ﳊﻴﺔ ﻣﺪﺑﺒﺔ ﻭ ﺃﻣﺎﻣﻬﺎ ﺇﲰﻪ ﺑﺎﻟﺒﻮﻧﻴﺔ
ﺍﻟ ﻬﺮ :ﺇﺳﻢ ﺍﳌﺪﻳﻨﺔ ﺍﻟﱵ ﺿﺮﺑﺖ ﻓﻴﻬﺎ ﺍﻟﻌﻤﻠﺔ ﰲ ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ SIGANﰒ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻋﺎﺭﻱ
ﻭﺍﻗﻒ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﺑﻴﺪﻩ ﺍﻟﻴﻤ ﺍﳌﺰﺭﺍﻕ ﻭ ﲜﻨﺒﻪ ﺛﻮﺭ ﳝﺴﻚ ﺑﻘﺮﻧﻴﻪ ﺃﻣﺎ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻳﻈﻬﺮ ﺍﻟﻌﻨﻘﻮﺩ.
ﺍﻟﺘ ﺭﻳ 33-49 :ﻕ.ﻡ
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻈﻬﺮ ﰲ ﻫﺪﻩ ﺍﻟﻌﻤﻠﺔ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﰲ ﻫﻴﺌﺔ ﺷﺎﺏ ﳓﻴﻞ ﺑﺮﻣﻮﺯﻩ ﺍﳌﺄﻟﻮﻓﺔ "ﺍﳌﺰﺭﺍﻕ ﻭ
ﺍﻟﻌﻨﻘﻮﺩ".
251
ﻣﻜﺎﻥ ﺍ ﻔ :ﻏﺮﻓﺔ ﺍﳌﻴﺪﺍﻟﻴﺎﺕ ﺑﺒﺎﺭﻳﺲ ﺭﻗﻢ 739
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 22 :ﻣﻢ .
ﺍﻟﻮﺯﻥ12 :
.BQS ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﺼﻮﺭﺓ ﻣﻊ ﺍﳊﺮﻭﻑ
ﺇﱃ ﺍﻟﻴﻤﲔ ﺑﺪﻭﻥ ﺇﻃﺎﺭ. SIGAN ﺍﻟ ﻬﺮ :ﺍﻟﻜﺘﺎﺑﺔ
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻮﺭﺷﺔ// :
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﱐ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 22 :ﻣﻢ .
ﺍﻟﻮﺯﻥ12 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﺼﻮﺭﺓ ﺑﺪﻭﻥ ﻛﺘﺎﺑﺔ
ﺍﻟ ﻬﺮ :ﻧﻔﺲ ﺍﻟﻮﺻﻒ ﺍﻟﺴﺎﺑﻖ
ﺍﻟﺘ ﺭﻳ // :
252
ﺍﻟﻮﺟﻪ :ﺻﻮﺭﺓ ﺑﺪﺍﺋﻴﺔ ﻟﻠﻤﻠﻚ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﻭ ﺇﲰﻪ ﺑﺎﻟﺒﻮﻧﻴﺔ ﻣﻊ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ.
ﺍﻟ ﻬﺮ :ﻛﺘﺎﺑﺔ ﺧﻄﻴﺔ ﺇﱃ ﺍﻟﻴﻤﲔ SIGANﻭ ﻧﻔﺲ ﺍﻟﺼﻮﺭﺓ ﻟ ﻟﻪ ﺑﺎﺧﻮﺱ ﻏﲑ ﺃﻥ ﻣﺰﺭﺍﻗﻪ ﻣﺼﻮﺭ
ﺑﻄﺮﻳﻘﺔ ﺍﻟﺘﻨﻘﻴﻂ ﻛﻤﺎ ﺗﻈﻬﺮ ﴰﺲ ﰲ ﺍﻷﺳﻔﻞ.
ﺍﻟﺘ ﺭﻳ // :
253
ﺍﻟﻮﺟﻪ :ﺭﺃﺱ ﺍﳌﻚ ﺑﻮﺧﻮﺱ ﺑﺸﻌﺮ ﻃﻮﻳﻞ ﻭ ﳊﻴﺔ ﻣﺪﺑﺒﺔ ﻭ ﺇﱃ ﺍﻷﻣﺎﻡ ﺍﳊﺮﻭﻑ ﺍﻟﺒﻮﻧﻴﺔ .BQ-S
ﺍﻟ ﻬﺮ :ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﲟﺰﺭﺍﻗﻪ ﻣﺎﺳﻜﺎ ﺛﻮﺭ ﻣﻦ ﻗﺮﻧﻪ ﻭ ﺃﻣﺎﻣﻪ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ ﰲ ﺍﳋﻠﻒ
ﺑﺎﻟﺒﻮﻧﻴﺔ ﺇﺳﻢ ﻣﺪﻳﻨﺔ ﺳﻴﻘﺎ IGAN
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ:7
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°545. P 165
- L. Charrier, op cit. 1912, 102
ﺍﻟﻮﺭﺷﺔ :ﺇﻳﻜﻮﺯﱘ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ /ﺍﳌﺘﺤﻒ ﺍﻟﱪﻳﻄﺎﱐ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 17 :ﻣﻢ
ﺍﻟﻮﺯﻥ3.80 :
ﺍﻟﻮﺟﻪ :ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺷﺪﺭﻓﺔ ﺃﻣﺮﺩ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﻭ ﻛﺘﺎﺑﺔ ﺩﺍﺋﺮﻳﺔ ﻏﲑ ﳏﺪﺩﺓ ﻭ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ ﺇﱃ
ﺍﻟﻴﺴﺎﺭ.
ﺍﻟ ﻬﺮ :ﺮﺓ ﺗﻘﻔﺰ ﺇﱃ ﺍﻟﻴﻤﲔ ﺗﻌﻠﻮﻫﺎ ﻋﺒﺎﺭﺓ " YKZﺇﻳﻜﻮﺯﱘ" ﻭ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ.
ﺍﻟﺘ ﺭﻳ II-III :ﻕ.ﻡ .ﻓﺘﺮﺓ ﺑﻮﺧﻮﺱ ﺍﻟﺜﺎﱐ 1؟
2
ﻋﻠﻰ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺍﻟﺒﻮﱐ ﺷﺪﺭﻓﺔ ﺍﻟﺬﻱ ﻳﻘﺎﺑﻠﻪ ﺑﺎﺧﻮﺱ / ﺍﻟﺘﺤﻠﻴﻞ :ﺗﻌﺮﻑ ﺍﻟﺒﺎﺣﺚ ﺷﺎﺭﻱ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﺣﺎﻣﻲ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻟﺬﻱ ﺍﻧﺘﺸﺮﺕ ﻋﺒﺎﺩﺗﻪ ﰲ ﻫﺪﻩ ﺍﳌﻨﻄﻘﺔ ﻣﻦ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺣﻴﺖ ﻳﻈﻬﺮ ﺃﻳﻀﺎ ﰲ
ﻋﻤﻼﺕ ﺳﱪﺍﻃﺔ ﺣﺎﻣﻼ ﺍﻟﻜﺄﺱ ﻭ ﺍﳌﺰﺭﺍﻕ ﻭ ﻣﺮﻓﻘﺎ ﺑﻨﻤﺮﺗﻪ.
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :8
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°568. P 172
- L. Charrier, op cit. 1912, 102
ﺍﻟﻮﺭﺷﺔ :ﻗﻮﺭﺍﻳﺔ
1
R.Judas, Revue numismatique Francaise.1856, pp234-236
2
L.Charrier, op cit.1912, p 130
254
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 20 :ﻣﻢ .
ﺍﻟﻮﺯﻥ5 :
ﺍﻟﻮﺟﻪ :ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﻌﻞ-ﴰﻮﻥ ﻣﻠﺘﺤﻲ ﻭ ﻣﺘﻮﺝ ﺑﺘﺎﺝ ﻣﺸﻊ ﺇﱃ ﺍﻟﻴﻤﲔ ﻓﻮﻕ ﻛﺘﻔﻪ ﺍﻟﺼﻮﳉﺎﻥ ﻭ
ﺃﺳﻔﻠﻪ ﻋﺒﺎﺭﺓ .GNGN
ﺍﻟ ﻬﺮ :ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺷﺪﺭﻓﺔ ﺃﻣﺮﺩ ﻣﻜﻠﻞ ﺑﺄﻭﺭﺍﻕ ﺃﻣﺎﻣﻪ ﻋﻨﻘﻮﺩ ﻋﻨﺐ ﻭ ﺧﻠﻔﻪ ﺣﺮﻑ Gﻭ ﺣﺒﻴﺒﺎﺕ
ﺣﺮﻑ.
ﺍﻟﺘ ﺭﻳ :؟
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :9
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°569. P 173
- J.Babelon, op cit.Vol IV-4068
- L. Charrier, op cit. 1912, 104
ﺍﻟﻮﺭﺷﺔ// :
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 21 :ﻣﻢ
ﺍﻟﻮﺯﻥ5.50 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﺴﺎﺑﻖ
ﺍﻟ ﻬﺮ :ﻧﻔﺲ ﺍﻟﺴﺎﺑﻖ ﻏﲑ ﺃﻥ ﺍﻟﻌﻨﻘﻮﺩ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﻭ ﺍﻟﻜﺘﺎﺑﺔ ﺇﱃ ﺍﻟﻴﻤﲔ.
3
J.Babelon, op cit
255
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :10
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°570. P 173
ﺍﻟﻮﺭﺷﺔ// :
ﻣﻜﺎﻥ ﺍ ﻔ :ﳎﻤﻮﻋﺔ ﺧﺎﺻﺔ
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 20 :ﻣﻢ .
ﺍﻟﻮﺯﻥ4.10 :
ﺍﻟﻮﺟﻪ :ﻧﻔﺲ ﺍﻟﺴﺎﺑﻖ ﻟﻜﻦ ﺑﺪﻭﻥ ﻛﺘﺎﺑﺔ
GN ﺍﻟ ﻬﺮ :ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺷﺪﺭﻓﺔ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﺑﻄﺮﺍﺯ ﳐﺘﻠﻒ ﻋﻦ ﺍﻟﺴﺎﺑﻖ ،ﺍﻟﻌﻨﻘﻮﺩ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﻭ ﺍﳊﺮﰲ
ﺇﱃ ﺍﻟﻴﻤﲔ.
ﺍﻟﺘ ﺭﻳ // :
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :11
ﺍﳌﺮﺍﺟ :
- J. Mazard, op cit.1955, n°571. P 173
ﺍﻟﻮﺭﺷﺔ// :
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﺎ ﺓ// :
ﺍﻟﻘﻄﺮ 20 :ﻣﻢ .
ﺍﻟﻮﺯﻥ:
ﺍﻟﻮﺟﻪ :ﺍﻟﻮﺟﻪ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﻭ ﺍﻟﻜﺘﺎﺑﺔ ﰲ ﺍﻷﺳﻔﻞ ﻣﻊ ﺣﺒﻴﺒﺎﺕ ﺣﺮﻑ.
ﺍﻟ ﻬﺮ :ﻻ ﻳﻘﺮﺃ.
ﺍﻟﺘ ﺭﻳ // :
ﻣﻼﺣ ﺔ :ﻟﻘﺪ ﺃﻛﺘﺸﻒ ﻋﺪﺩ ﻛﺒﲑ ﻣﻦ ﺍﻷﻣﻔﻮﺭﺍﺕ ﺍﳌﺴﺘﻌﻤﻠﺔ ﻟﻠﺨﻤﺮ ﰲ ﺣﻔﺮﻳﺎﺕ ﻣﺪﺍﻓﻦ ﺳﻴﺪﻱ
ﺇﺑﺮﺍﻫﻴﻢ ﺑﻘﻮﺭﺍﻳﺔ ،ﺩﺍﻟﻚ ﻣﺎ ﻳﺪﻋﻮ ﺇﱃ ﺍﻓﺘﺮﺍﺽ ﻭﺟﻮﺩ ﻋﻼﻗﺔ ﺑﲔ ﻋﺒﺎﺩﺓ ﺍﻹﻟﻪ ﺍﻟﺒﻮﱐ ﺷﺪﺭﻓﺔ "ﺇﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ
ﺍﳋﻤﺮ" ﻭ ﳑﺎﺭﺳﺔ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳌﻨﻄﻘﺔ.4
4
J. Mazard, op cit.1955, p 172
256
ﺍﻟﻌﻤﻠﺔ ﺭ ﻢ :12
ﺍﳌﺮﺍﺟ :
- L. Charrier, op cit. 1912, 103
ﺍﻟﻮﺭﺷﺔ :ﺷﺮﺷﺎﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :
AE ﺍﳌﺎ ﺓ4 ½ :
ﺍﻟﻘﻄﺮ :؟ .ﺍﻟﻮﺯﻥ :؟
ﻟﻮﺟﻪ :ﺭﺃﺱ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻣﻜﻠﻼ ﺑﺎﻟﻠﺒﻼﺏ ﺇﱃ ﺍﻟﻴﻤﲔ ﻭ ﺃﻣﺎﻣﻪ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻭ ﺧﻠﻔﻪ ﺍﳊﺮﻑ ﺍﻟﺒﻮﱐ
.G
ﺍﻟ ﻬﺮ :ﺭﺃﺱ ﺍﻹﻟﻪ ﺑﻌﻞ ﴰﺎﻥ ﻣﺸﻌﻊ ﺇﱃ ﺍﻟﻴﻤﲔ ،ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺍﻟﺼﻮﳉﺎﻥ ﻭ ﰲ ﺍﻷﺳﻔﻞ ﻛﺘﺎﺑﺔ ﺑﻮﻧﻴﺔ..
ﺍﻟﺘ ﺭﻳ :؟
257
ﺇﻫﺪﺍﺀ ﻣﺪﺑﺞ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﻌﺴﻜﺮ ﻛﻤﺎ ﻧﻌﻠﻢ ﺃﻧﻪ ﰲ ﻓﺘﺮﺓ ﺍﻹﻣﱪﺍﻃﻮﺭ ﻗﺎﻟﻴﺎﻧﻮﺱ ﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻌﻤﻠﺔ
ﻻﻣﺒﻴﺰ...5
ﺗﺪﻝ ﺇﺫﻥ ﻋﻤﻠﺘﻨﺎ ﻫﺪﻩ ﺑﺮﲰﻴﺔ ﻋﺒﺎﺩﺓ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﳌﻘﺘﺮﻧﺔ ﺑﺪﻳﻮﻧﻴﺰﻭﺱ ﺍﻹﻏﺮﻳﻘﻲ ﻭ ﺑﺎﺧﻮﺱ ﺍﻟﺮﻭﻣﺎﱐ ﻛﻤﺎ
؟ (. ) ﺭﲟﺎ ﺗﻘﺎﺳﺖ ﻳﻈﻬﺮ ﻣﻦ ﺧﻼﻝ ﺭﻣﺰ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ ﰲ ﺇﺣﺪﻯ ﻣﺪﻥ ﺍﻟﱪ ﻭﻗﻨﺼﻠﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ
5
J. Carcopino, BCTHS.1904 , n°30- P 199
258
ﺍﳌﺼﺎﺑﻴ ﺍﻟﺰﻳﺘﻴﺔ-2.5
: Cirta – ﺳﲑﺗﺎ
ﻣﺼﺒﺎ ﺑﺎﺧﻮﺱ ﺍ ﻨﺪﻱ: 1 ﺍﳌﺼﺒﺎ ﺭ ﻢ
ﺍﻟﺼﻮﺭﺓ ﺭ ﻢ
: ﺍﳌﺮﺍﺟ
- M. Cherbonneau, « Explication des objets dessinés par M.L.Féraud ».
R S A C. 1863, n°710 Pl XXII. PP261-294.
. ﺍﻟﻜﻮﺩﻳﺔ. Costa ﳎﻤﻮﻋﺔ ﻛﻮﺳﺘﺎ:ﺍﳌﺼﺪﺭ
ﻣﺘﺤﻒ ﺳﲑﺗﺎ: ﻣﻜﺎﻥ ﺍ ﻔ
ﺳﻢ7.5 =ﺍﻟﻘﻄﺮ. ﻡ0.11 = ﻁ. ﺳﻢ3 = ﺇﺭ:ﺍﳌﻘﺎﺳﺎﺕ
ﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻓﺎﲢﺔ ﺃﻣﺎbec cordiforme ﻣﺼﺒﺎﺡ ﺑﺜﻼﺙ ﻋﺮﻭﺍﺕ ﻭ ﺭﺃﺱ ﻗﻠﱯ ﺍﻟﺸﻜﻞ:ﺍﻟﻮﺻﻒ
.ﺍﳊﻮﺽ ﻓﻨﺤﺖ ﻓﻴﻪ ﻭﺟﻪ ﺑﺎﺧﻮﺱ ﻣﻠﺘﺤﻲ "ﺑﺎﺧﻮﺱ ﺍﳍﻨﺪﻱ" ﺑﺸﻌﺮ ﻗﺼﲑ ﻣﻜﻠﻞ ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ
. ﻳﺮﻯ ﰲ ﻫﺪﻩ ﺍﻟﺼﻮﺭﺓ ﺷﺨﺼﻴﺔ ﺳﻴﻼﻥ ﺃﻭ ﺳﺎﺗﲑ1 ﺩﻧﻮﻑ
: ﺍﻹﺣﺎﻟﺔ
- M.Ponsich, les lampes romaines en terre cuite de la Maurétanie tingitane.
Rabat 1961. PL V type II A1 .n°30 , P 80.
- J.Deneauve, Lampes de Carthage. Ed CNRS-Paris 1969, pl LXXXIII-909.
- Catalogue Arguel. R S A C. Tome 18. 1904, n°100
- R S A C. Tome II, p 110
1
J.Deneauve, op cit. 1969. Pl XLVI-430. P 130
259
- R S A C. 1858.Tome IV, n,445
ﺍﻟﺘ ﺭﻳ II-I :ﻡ
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- M. Cherbonneau, op cit. 1863, n°721. PP261-294.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﻳﺰﺧﺮﻑ ﰲ ﺍﳊﻮﺽ ﺑﻘﻨﺎﻉ ﻣﺴﺮﺣﻲ ﺳﺎﺧﺮ ﻳﺒﺪﻭ ﻓﻴﻪ ﺍﻟﻔﻢ ﻛﺒﲑ ،ﺍﻟﻌﻴﻨﺎﻥ ﻣﺴﺘﺪﻳﺮﺗﺎﻥ ﻭ
ﺍﻟﺘﺴﺮ ﺔ ﻣﻜﻮﻧﺔ ﻣﻦ ﺃﺷﺮﻃﺔ ﺗﺘﺪﻟﻰ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﰲ ﻬﻧﺎﻳﺘﻬﺎ ﻋﻨﻘﻮﺩﻱ ﻋﻨﺐ ﻛﺄﻗﺮﺍﻁ ﺍﻷﺫﻥ.
ﺍﻟﺘﺤﻠﻴﻞ :ﺗﺪﻝ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻋﻠﻰ ﺃﻥ ﺍﻟﺸﺨﺼﻴﺔ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﺍﳌﺼﺒﺎﺡ ﺗﻨﺘﻤﻲ ﺇﱃ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ
ﺳﺎﺗﲑ ﺃﻭ ﺳﻴﻼﻥ؟
ﺍﻹﺣﺎﻟﺔ :
- J.Deneauve,op cit. 1969.pl LXII-612.154
ﺍﻟﺘ ﺭﻳ :ﻓﺘﺮﺓ ﻫﺪﺭﻳﺎﻥ
260
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 4
ﺍﳌﺮﺍﺟ :
- M. Cherbonneau,op cit. 1863,Pl IV- n°670. P48.
- G.Doublet, P.Gauckler, op cit.1893. note 6, p 57
- V.Hinglais, “Catalogue du musée archéologique de constantine”.R S A C
1904, n°38-P 244
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.071ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺑﻴﻀﻮﻱ ﺍﻟﺸﻜﻞ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻭ ﺭﺃﺱ ﻣﺴﺘﺪﻳﺮ ﻭ ﺣﻮﺽ ﻳﻈﻬﺮ ﻓﻴﻪ ﻋﻤﻮﺭ ﳎﻨﺢ
ﳚﺮﻱ ﻭ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﺷﻴﺌﺄ ﻣﺎ.
ﻳﺮﻯ ﻗﻮﻛﻠﺮ ﰲ ﺻﻮﺭﺓ ﻫﺪﺍ ﺍﻟﻌﻤﻮﺭ ﻗﺎﻃﻒ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 6
ﺍﳌﺮﺍﺟ :
- V.Hinglais, op cit.1904, n° 465-P 274
ﺍﳌﺼﺪﺭ :ﺗﻴﺪﻳﺲ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 8.05ﺳﻢ .ﻉ= 11ﺳﻢ .ﺍﺭ= 2.03ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻣﻨﻘﺎﺭ ﻭ ﻣﻘﺒﺾ ﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﺃﻣﺎ ﺍﳊﻮﺽ ﻓﻨﺤﺖ ﻓﻴﻪ ﺷﺨﺺ ﻋﺎﺭﻱ ﻭﺍﻗﻒ ﳝﺴﻚ
ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ ﺷﻴ ﻏﲑ ﻣﻌﺮﻭﻑ ﻭ ﺑﺎﻷﺧﺮﻯ ﻣﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ ،ﻗﺪ ﻳﻜﻮﻥ ﺳﻴﻼﻥ؟
261
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﻔﻠﻰ )(basse époque
ﺍﳌﺼﺒﺎ ﺭ ﻢ :8
ﺍﳌﺮﺍﺟ :
- Fiche d’inventaire n° 79
ﺍﳌﺼﺪﺭ :ﺗﻴﺪﻳﺲ .ﺣ ّﻲ ﺍﻟﻔﺨﺎﺭﻳﻦ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻗﻼﺩﺓ ﻣﺼﺒﺎﺡ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺳﻴﻼﻥ ﳝﺘﻄﻲ ﲪﺎﺭﻩ ﻭ ﻣﻌﻪ ﺷﺨﺼﻴﺔ ﻋﺎﺭﻳﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ :9
ﺍﳌﺮﺍﺟ :
- Fiche d’inventaire n° 119.
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ.:ﺍﻟﻘﻄﺮ= 6ﺳﻢ
262
ﺍﻟﻮﺻﻒ:ﺟﺰﺀ ﻣﻦ ﻣﺼﺒﺎﺡ ﻳﻈﻬﺮ ﻓﻴﻪ ﺍﺑﺮﻳﻖ ﺍﳌﺰﺝ ﺗﻨﺒﻊ ﻣﻨﻪ ﺣﺒﻼﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ.
– :Tiddis ﺗﻴﺪﻳ
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﻟﺼﻮﺭﺓ.
ﺍﳌﺮﺍﺟ :
- Fiche d’inventaire n° 3 F. Ce 619
ﺍﳌﺼﺪﺭ :ﺗﻴﺪﻳﺲ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 3ﺳﻢ .ﻁ= 12ﺳﻢ.ﺍﻟﻘﻄﺮ= 9ﺳﻢ
2
Catalogue M S.21
3
Idem 146. Doublet . Gauckler, op cit.1893.note 11, p 57
4
ibid 145. ibid 1893, note 12. p 57
263
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﻣﺴﺘﺪﻳﺮ ﲟﻨﻘﺎﺭ ﻣﺴﺘﺪﻳﺮ ﻗﻠﱯ ﺍﻟﺸﻜﻞ ﻭﺣﻮﺽ ﻣﺰﺧﺮﻑ ﲟﺸﻬﺪ ﺻﻴﺎﺩ ﻳﺮﺩ ﻫﺠﻮﻡ ﺛﻼﺙ
ﺣﻴﻮﺍﻧﺎﺕ ﻣﻔﺘﺮﺳﺔ ﺇﺣﺪﺍﳘﺎ ﻫﻲ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻛﻤﺎ ﺗﺘﺤﻠﻰ ﺍﻟﺸﻔﺔ ﲝﺠﻨﺎﺕ ﻭ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ .
ﺍﻟﻄﻴﻨﺔ ﻣﻐﺮﻳﺔ ﺍﻟﻠﻮﻥ ﻭ ﺍﻟﺒﻄﺎﻧﺔ ﺑﺮﺗﻘﺎﻟﻴﺔ ﺩﺍﻛﻨﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- Idem.1900, n° 152-P 30
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﺻﻔﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺇﻟﻪ ﺍﻷﺭﻳﺎﻑ fauneﲟﺰﺭﺍﻕ ﺑﺎﺧﻮﺱ .
ﻳﺸﺒﻪ ﻣﺼﺒﺎﺡ ﻭﺟﺪ ﺑﺘﺒﺴﺔ )ﺭﻗﻢ (2
ﺍﻟﺘ ﺭﻳ :
264
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- Ibid 1900. n° 153-P 30
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﺭﻣﺎﺩﻳﺔ ﻭ ﺣﻮﺽ ﻤﻞ ﻧﻔﺲ ﺍﻟﺪﻳﻜﻮﺭ ﺍﻟﺴﺎﺑﻖ ﺑﺎﻹﺿﺎﻓﺔ ﺇﱃ ﻬﻮﺭ ﻛﺘﺎﺑﺔ ﰲ
EX-FO FI // CINA // KAPITO // ﺍﳉﻬﺔ ﺍﻟﺴﻔﻠﻰ
ﺍﻟﺘ ﺭﻳ :
ﻋﻨﺎﺑﺔ:Hippone -
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- Delamare,…..PL 193 , 3-4
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻋﻨﺎﺑﺔ
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺑﻌﺮﻭﺓ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﰐ ﺍﻹﳍﺔ ﺇﺯﻳﺲ ﻭ ﺍﻹﻟﻪ ﺳﲑﺍﺑﻴﺲ ﺃﻣﺎ ﺍﶈﻴﻂ ﻓﺘﻈﻬﺮ ﻓﻴﻪ
ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﻭ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ .
ﺍﻹﺣﺎﻟﺔ :
- J.Deneauve,op cit.1969.pl LXXXIII-913. p 194
- M.R.De la blanchére, Collections du musée Allaoui.Paris. Librairie de Firmin-
Didot et cie. 1890.n° 135-P 162
- M.Besnier, P.Blanchet, op cit. 1900, n° 175-P 32
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- E.Marec, Monuments chrétiens d’Hippone.Ville épiscopale de St Augustin.
Arts et métiers graphiques, Paris 1958.Pl 214-b, p 236
265
ﺍﳌﺼﺪﺭ :ﺍﳊﻲ ﺍﳌﺴﻴﺤﻲ
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﲝﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺒﺎﻃﻴﺔ ﺗﻌﻠﻮﻫﺎ ﳝﺎﻣﺘﺎﻥ ﺑﲔ ﻣﻨﻘﺎﺭﳘﺎ ﻋﻨﻘﻮﺩ ﻋﻨﺐ
ﺍﻟﺘﺤﻠﻴﻞ :ﳝﺜﻞ ﻫﺪﺍ ﺍﳌﺼﺒﺎﺡ ﻣﻮﺿﻮﻉ ﻣﺴﻴﺤﻲ ﻣﺄﻟﻮﻑ ﻣﻘﺘﺒﺲ ﻣﻦ ﺍﻹﻳﻜﻨﻮﻏﺮﺍﻓﻴﺎ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ ﺭﺃﻳﻨﺎ ﰲ
ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻛﻴﻒ ﺃﻥ ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﺪﺳﺔ ﺗﻌﺒﺮ ﻋﻦ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﻭ ﺍﻟﻴﻤﺎﻣﺔ ﺍﳌﺘﻌﺒﺪ ﺍﳌﺴﻴﺤﻲ...
ﺍﻟﺘ ﺭﻳ IV :ﻡ
ﺗﺒﺴﺔ – :Theveste
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Besnier, P.Blanchet, op cit. 1900,Pl VIII-3. n° 93-P 26
- Delamare,…..PL XX-736 , P 170
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.087ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲰﺮﺍﺀ ﻭ ﻋﺮﻭﺓ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺒﺎﻃﻴﺔ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻠﺔ ﺍﻟﻌﻨﺐ ﺑﻌﻨﺎﻗﻴﺪﻫﺎ .
ﻳﺸﺒﻪ ﺍﳌﺼﺒﺎﺡ ﺭﻗﻢ 3ﺑﺘﻴﻤﻘﺎﺩ.
ﺍﻹﺣﺎﻟﺔ :
- M.Ponsich,op cit. 1961. PL XVI type III B1 .n°187 , P 94.
- J.Deneauve,op cit. 1969. pl LXX-736.
ﺍﻟﺘ ﺭﻳ :
5
E.Marec, op cit.1958.p 236
266
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- M.Besnier, P.Blanchet, op cit. 1900, n° 151-P 30
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺇﻟﻪ ﺍﻷﺭﻳﺎﻑ ﺭﻓﻴﻖ ﺑﺎﺧﻮﺱ ﻭﻫﻮ ﻳﺮﺗﺪﻱ ﺟﻠﺪ
ﺍﻟﺸﺎﺓ ﻭ ﻤﻞ ﺍﳌﺰﺭﺍﻕ ﺍﻟﺒﺎﺧﻲ.
ﺍﻟﺘ ﺭﻳ :
ﺑ ﺮ ﺃﻡ ﻋﻠﻲ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Besnier, P.Blanchet, op cit. 1900, n° 117-P 27
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.077ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﺑﻴﻀﺎﺀ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﻭ ﺣﺎﻓﺔ ﻣﺰﺧﺮﻓﺔ ﺑﺄﺭﺑﻌﺔ ﻋﻨﺎﻗﻴﺪ ﻋﻨﺐ ﻭ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- M.Besnier, P.Blanchet, op cit. 1900, n° 149-P 30
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.08ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﺻﻔﺮﺍﺀ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺮﺃﺱ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻣﻜﻠﻼ ﺑﺎﻟﻌﻨﺐ
ﺃﻣﺎ ﺍﻹﻃﺎﺭ ﻓﻴﺰﺩﺍﻥ ﲝﻠﻴﺎﺕ ﺑﻴﻀﻮﻳﺔ .
267
ﺗﻨﻮﻛﻼ:
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- M.Besnier, P.Blanchet, op cit. 1900,Pl VIII-7- n° 377-P 45
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.13ﻡ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺭﺟﻞ ﻋﺎﺭﻱ ﻳﺴﲑ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﺑﻴﺪﻩ ﻣﺰﻣﺎﺭ
ﺍﻹﻟﻪ ﺑﺎﻥ ﺭﻓﻴﻖ ﺩﻳﻮﻧﻴﺰﻭﺱ .
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-56..inv 49. p 148
268
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 7.5ﺳﻢ .ﻁ= 10.5ﺳﻢ .ﺇﺭ= 2.2ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻭ ﻋﺠﻴﻨﺔ ﲰﻴﻜﺔ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺃﺭﻧﺐ ﻳﺄﻛﻞ ﻋﻨﻘﻮﺩ ﻋﻨﺐ
.
ﺍﻹﺣﺎﻟﺔ :
- M.Ponsich,op cit. 1961. PL XXII .n°304 , P 102.
- J.Deneauve, op cit.1969. pl XLI.n° 355 ,p 118
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 3
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-62..inv 81. p 150
- M.Besnier,P. Blanchet, op cit.1900, n°3 Pl VII. P 62
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 9.3ﺳﻢ .ﻁ= 14.3ﺳﻢ.ﺱ= 3.4ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻭ ﻋﺠﻴﻨﺔ ﲰﻴﻜﺔ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺒﺎﻃﻴﺔ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻼﺕ ﺍﻟﻌﻨﺐ .
ﺍﻹﺣﺎﻟﺔ :
- M.Ponsich,op cit. 1961.n°187 , P 94
- J.Deneauve, op cit. 1969. plLXX.n° 736 ,p 170
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 4
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-150..inv 19. p 166
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 8ﺳﻢ .ﻁ= 11ﺳﻢ .ﺇﺭ= 3ﺳﻢ
269
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﻭﺭﺩﻳﺔ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﺩﺍﻛﻨﺔ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺍﻹﳍﺔ ﻓﻴﻨﻮﺱ ﺃﻣﺎ
ﺍﻹﻃﺎﺭ ﻓﻴﺰﺧﺮﻑ ﲝﺒﻼﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ
ﺍﻟﺘﺤﻠﻴﻞ :ﺇﻥ ﻬﻮﺭ ﺍﻹﳍﺔ ﻓﻴﻨﻮﺱ ﻣﻊ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺗﺮﻣﺰ ﻫﻲ ﺇﱃ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻟﻴﺲ ﺑﺎﻟﺼﺪﻓﺔ ﺇﺩ
ﺪﺙ ﺃﻥ ﺗﺼﻄﺤﺐ ﻫﺪﻩ ﺍﻹﳍﺔ ﺇﻟﻪ ﺍﻟﻌﻨﺐ ﻭ ﺍﳋﻤﺮ ﻭ ﺗﺴﺘﺮﻙ ﻣﻌﻪ ﰲ ﺍﻟﺜﺎﻟﻮﺙ ﺍﻹﳍﻲ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ)ﻟﻴﱪ
ﺑﺎﺗﺮ-ﻓﻴﻨﻮﺱ-ﻣﻠﻘﺎﺭﺕ( ﻛﻤﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻓﺐ ﻣﺪﻳﻨﺔ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ ﺧﻼﻝ ﻓﺘﺮﺓ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺳﺒﺘﻴﻤﻮﺱ
ﺳﻔﺮﻭﺱ .ﺗﻈﻬﺮ ﻓﻴﻨﻮﺱ ﻛﺪﺍﻟﻚ ﻋﻠﻰ ﺃﻧﺼﺎﺏ ﺍﻟﻐﺮﻓﺔ ﻟﻠﻘﺮﻥ ﺍﻟﺜﺎﱐ 6ﺑﺮﻓﻘﺔ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﰲ ﺃﻧﺼﺎﺏ
ﺃﺧﺮﻯ ﻳﺸﺘﺮﻙ ﺇﻳﺮﻭﺱ ﺇﻟﻪ ﺍﳊﺐ ﻣﻊ ﺍﻹﻟﻪ ﻟﻴﱪ ﻭ ﺍﻹﳍﺔ ﻓﻴﻨﻮﺱ . 7
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 5
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-233..inv 1. p 88
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ=7.ﺳﻢ
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﻣﺼﺒﺎﺡ ﺑﺜﻘﺒﲔ ﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻣﺒﻄﻨﺔ ﺑﺒﻄﺎﻧﺔ ﺑﻨﻔﺲ ﺍﻟﻠﻮﻥ ﺃﻣﺎ ﺍﳊﻮﺽ ﻓﻬﻮ ﻣﺰﺧﺮﻑ
ﺑﺼﻮﺭﺓ ﻧﺼﻔﻴﺔ ﻟﺴﻜﲑﺓ ﺑﺎﺧﻮﺱ ﺑﺎﳉﺎﻧﺐ ﺗﺘﻤﻴﺰ ﺑﺘﺴﺮ ﺘﻬﺎ ﺍﳌﺰﺩﺍﻧﺔ ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ .
ﺍﻹﺣﺎﻟﺔ :
- M.Ponsich,op cit. 1961. .PL XXIV .n°325 , P 104.
- J.Deneauve, op cit. 1969. pl LXXXII.n° 905 ,p 192
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 6
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-3168-253. p 192
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ:
6
G.Ch.Picard, Les religions de l’Algérie antique. Librairie Plon Paris 1954, Fig 10 p 112
7
Idem. 1954, p 115
270
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﺣﻮﺽ ﻣﺼﺒﺎﺡ ﺑﺜﻘﺐ ﺍﻟﺘﻔﺮﻳ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺃﺳﺪ ﻭﰲ ﺍﻹﻃﺎﺭ ﺗﻈﻬﺮ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 7
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-3181-257. p 193
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﺟﺰﺀ ﻣﻦ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﻌﻨﺎﻗﻴﺪ ﻭ ﺣﺒﻼﺕ ﺍﻟﻌﻨﺐ .
ﺍﻟﺘ ﺭﻳ :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 8
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-364..inv 133. p 230
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 8.5ﺳﻢ .ﻁ= 14.5ﺳﻢ .ﺇﺭ= 3.5ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻓﺎﲢﺔ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺒﺎﻃﻴﺔ ﺗﻌﻠﻮﻫﺎ ﲪﺎﻣﺘﺎﻥ ﺗﻨﻘﺮﺍﻥ
ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ .
ﺍﻹﺣﺎﻟﺔ :
- Ennabli, Lampes chrétiennes de Tunisie/Musées du Bardo et de Carthage.
Paris-Cnrs. 1976, n° 808, Pl XLIV. P 170
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 9
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-365..inv 135. p 231
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
271
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 7.3ﺳﻢ .ﻁ= 11.9ﺳﻢ .ﺇﺭ= 3.5ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺒﺎﻃﻴﺔ ﺩﺍﺕ ﻗﺪﻡ ﻭ ﻋﺮﻭﺗﺎﻥ .
ﺍﻟﺘ ﺭﻳ // :
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 10
ﺍﳌﺮﺍﺟ :
- A.Hamoutene, op cit.1983,n° II-367..inv 137. p 232
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ // :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 7.8ﺳﻢ .ﻁ= 13.5ﺳﻢ .ﺇﺭ= 3.5ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﻭ ﺑﻄﺎﻧﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﻜﺄﺱ ﺗﻨﺒﻊ ﻣﻨﻪ ﺣﺒﻼﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ
ﺗﺄﻛﻞ ﻣﻨﻬﺎ ﳝﺎﻣﺘﺎﻥ ﲢﻄﺎﻥ ﻓﻮﻕ ﻃﻦ ﺍﻟﻜﺄﺱ .
ﺍﻹﺣﺎﻟﺔ :
- A.Ennabli, op cit. 1976. n° 840 , Pl XLVI- P 175
ﺍﻟﺘ ﺭﻳ // :
ﻋ ﺗﻴﻤﻮﺷﻨﺖ:
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 1
ﺍﳌﺮﺍﺟ :
- Demaeght. F. Doumergue, Catalogue archéologique raisonné du musée
municipal d’Oran ( Musée Demaeght )….n° 379 ,Pl V-7 .P 374
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺯﺑﺎﻧﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻘﻄﺮ= 0.085ﻡ .ﻁ= 0.143ﻡ.
272
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﺩﻭ ﻃﻴﻨﺔ ﲪﺮﺍﺀ ﻭ ﺣﻮﺽ ﻣﺰﺧﺮﻑ ﺑﺼﻮﺭﺓ ﺃﺳﺪ ﰲ ﺣﺎﻟﺔ ﻓﺮﺍﺭ ﺃﻣﺎ ﺍﻹﻃﺎﺭ ﻓﻴﺰﺩﺍﻥ
ﺑﺄﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ .
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 2
ﺍﳌﺮﺍﺟ :
- Fiche d’inventaire. I.C.222
273
ﺍﳌﺼﺒﺎ ﺭ ﻢ : 3
ﺍﳌﺮﺍﺟ :
-Fiche d’inventaire I.C.198
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻮﺻﻒ :ﻣﺼﺒﺎﺡ ﲟﻨﻘﺎﺭ ﻣﺴﺘﺪﻳﺮ ﻭ ﻋﺮﻭﺓ ﻭ ﺣﻮﺍﻑ ﻣﺰﺧﺮﻓﺔ ﺑﺄﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘ ﺭﻳ :
274
-31ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻷ ﺮﻳﺔ:
ﺷﺮﺷﺎﻝ
-1ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
CIL VIII.9235
A.Berbruger, Chronique.in R.Af 1865.p65
S.Gsell, AAA Flle 4 N° 12
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﺍﻟﺸﺎﺭﻉ ﺍﳌﺮﻛﺰﻱ ﻗﺮﺏ ﺍﳊﻤﺎﻣﺎﺕ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﻟﻌﻠﻮ = 150ﺳﻢ /ﺍﻟﻌﺮﺽ =72ﺳﻢ /ﺍﻟﺴﻤﻚ = 70ﺳﻢ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
DEO
LIBERO
RESP CAES
UrceusCVRANE. I !!!patera
!!!!!!!!!!!C
LE CVRATOR
DISP REIP
CAES
ﻧﻘﻞ ﺍﻟﻨﺺ:
ﺍﻟﺴﻄﺮ 7ﻭ 8
)Disp(unctore) reip(ublicae
)Caes(ariensis
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻳﱪ ﺑﺎﺗﺮ ﳌﺪﻳﻨﺔ ﺍﻟﻘﻴﺼﺮﻳﺔ ﻭ ﻛﺎﻥ ﺩﻟﻚ ﲢﺖ ﺭﻋﺎﻳﺔ
ﺃﺭﻛﻴﻮﺱ.........................ﻭﻫﻢ ﻭﻻﺀ ،ﻣﺴﺌﻮﻝ ،ﻣﺘﻤﻴﺰﻳﻦ ﰲ ﻣﺪﻳﻨﺔ ﺍﻟﻘﻴﺼﺮﻳﺔ
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺘﻌﻠﻖ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺑﺘﻜﺮﻳﺲ ﻣﺬﺑﺢ ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻦ ﻃﺮﻑ ﺍﳉﻤﻬﻮﺭﻳﺔ ﻛﻠﻬﺎ ﺑﻮﻻﻳﺔ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ.
-2ﻧﻘﻴﺸﺔ:
ﺍﳌﺮﺍﺟ :
CIL VIII. 9409, suppl 21066 p1998
A. Bruhl,Liber pater Paris 1953) p228
R.Cagnat in BCTH 1887 P 176 N° 794
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺳﻜﺴﺘﻮﺱ ﻓﺎﻟﺮﻳﻮ ﺍﺑﻦ ﻟﻮﻛﻴﻮ ﻣﻦ ﻗﺒﻴﻠﺔ ﻛﻮﺭﻳﻨﻴﺎ ﻭ ﻓﺎﺭﺱ ﻋﻤﻮﻣﻲ ﻭ ﻛﺎﻫﻦ ﺍﳌﻘﺎﻃﻌﺔ ﻭ ﻣﺴﺌﻮﻝ
ﻋﻦ ﻴﻊ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭﺿﻊ ﺍﻟﻨﺎﻗﺸﺔ ﺍﳌﺰﺍﺭﻋﲔ ﺇﱃ ﺳﻴﺪﻫﻢ ﺍﻟﺬﻱ ﺍﺳﺘﺤﻖ ﺩﻟﻚ
ﺍﻟﺘﺤﻠﻴﻞ:
ﻭﻳﻈﻬﺮ
ﺗﺸﻬﺪ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻌﻴﺔ ﺃﺻﺤﺎﺏ ﺍﻟ ﻭﻝ ﻭﻫﻢ ﻳﻬﺪﻭﻥ ﻣﺬﺑﺢ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﺪﻳﻨﺔ ﺍﻟﻘﻴﺼﺮﻳﺔ
.
ﻫﻨﺎ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺼﻔﺔ ﺇﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ
276
:ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ
: ﺇﻫﺪﺍﺀ-1
: ﺍﳌﺮﺍﺟ
CIL VIII.9016
M.Leglay, in Libyca 1954 p473
A.Berbruger, "épigraphie d'Auzia".in R.Af 1865.p311n°5
:ﻧﻘﻞ ﺍﻟﻨﺺ
(domo) rum et rer(um)… : 2ﺱ
adiecto tri(bunal)… :3ﺱ
lapide qu(adrato)… :4ﺱ
et fili….. :6ﺱ
ia (nuario)… :7ﺱ
ponius… : 8ﺱ
licia filia et fortunaa)… :9ﺱ
i II… :10ﺱ
1
ﻡ ﻓﺘﺮﺓ ﻣﺎﻛﺴﻤﻴﺎﻥ235 : ﺍﻟﺘ ﺭﻳ
1
R. Berbrugger .R Af 1865 p 312.
277
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑ ﻫﺪﺍﺀ ﻣﻦ ﻗﺒﻞ ﻋﺪﺓ ﺃﺯﻭﺍﺝ ﺇﱃ ﺍﻹﻟﻪ ﻳﱪ ﺑﺎﺗﺮ ﻭ ﺍﻹﳍﺔ ﻟﻴﱪﺍ ﺇﺫ ﺗﺘﺤﺪ ﻋﺪﺓ ﻋﺎﺋﻼﺕ ﻟﺘﺮﻣﻴﻢ ﻭ
ﺗﺰﻳﲔ ﻣﻌﺒﺪ ﻣﻜﺮﺱ ﻟ ﳍﺎﻥ ﻭ ﺃﻗﻴﻤﺖ ﺍﻟﻨﻘﻴﺸﺔ ﰲ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﻛﺎﻟﻨﺪﺍﺱ ﻣﻦ ﺷﻬﺮ ﺟﻮﺍﻥ ﻣﻦ ﺍﻟﺴﻨﺔ
ﺍﳌﻘﺎﻃﻌﺔ 196
ﻧﻼﺣﻆ ﺃﻥ ﺃﺻﺤﺎﺏ ﻫﺪﻩ ﺍﻟﻨﺎﻗﺸﺔ ﻫﻢ ﺃﻓﺎﺭﻗﺔ ﺗﺮﻭﻣﻨﻮﺍ ﺃﺩ ﻤﻠﻮﻥ ﺃﲰﺎﺀ ﳏﻠﻴﺔ ﻟﻴﺒﻴﺔ ﺑﻮﻧﻴﺔ) ﻣﻮﻧﺎ /ﺯﺍﺑﺎ( ﺃﻭ
ﻟﻴﺒﻴﺔ ﺑﻮﻧﻴﺔ ﻣﺘﺮ ﺔ ﺇﱃ ﺍﻟﻼﺗﻴﻨﻴﺔ)ﺳﺎﺗﻮﺭﻧﻴﻨﺎ( ﻭﻛﻨﻴﺔ ﺃﺧﺮﻯ ﺗﺪﻝ ﻋﻠﻰ ﺃﺻﻞ ﻋﺮﻗﻲ )ﻣﺎﻭﺭﻭﺱ(
ﺳﲑﺗﺎ:
-1ﺇﻫﺪﺍﺀ ﺎﻝ:
ﺍﳌﺮﺍﺟ :
CIL VIII I.Af.Lat.10867
Gsell.S, IL A II. 487, p 45/ AAA. Flle 26, 117
Poull, R. Const.1878, p 317
Ch.Vars, R. Cons. 1894 T29, p533
P.A.Fevrier, Religions et dominations dans l'Afrique romaine. Dialogues d'histoire
ancienne. 1976. Vol 21, P 314
ﺷﺎﺭﻉ Vieuxو Renaud ﺍﳌﺼﺪﺭ :ﻣﻠﺘﻘﻰ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺳﲑﺗﺎ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ = 105ﺳﻢ /ﺱ = 52ﺳﻢ /ﺍﻟﻌﺮﺽ =175ﺳﻢ /ﺍﺭﺗﻔﺎﻉ ﺍﳊﺮﻭﻑ = 9-6ﻣﻢ
ﺍﻟﻜﺘﺎﺑﺔ:
ARIΤ♠.LIBERO♠.Augusto SACR// //
Q.QVADRATIVS..fil Q V I R
QVINTVLVS.♠AEDILICiae POTEST//
TIS♠.STATVAM♠.CVM.♠AEDicVLA.♠ET
COLVMNIS♠.QVAM.♠ IN.♠PRAEFECTVRA
SVA.♠PRO. IIIVIRIS.♠AGENS.♠ SPONE POL
TICITVS. EST.♠ PRAETER.♠ LEGitiMA.HS
XX.♠N.DECVRIONATVS..REip INLATA
DEDIT.. DEDICAVIT //
L . .♠ D . ♠ D. ♠ D
278
ﻣﻼﺣ ﺔ :ﻭﳌﺎﻥ 2ﻳﻘﺮﺃ ﰲ ﺍﻟﺴﻄﺮ ﺍﻷﻭﻝ ﻛﻠﻤﺔ patri
ﻭﺟﺪﺕ ﺍﻟﻨﻘﻴﺸﺔ ﻣﻜﺴﻮﺭﺓ ﺇﱃ ﺟﺰﻳﺌﲔ ﻳﻠﺘﻘﻴﺎﻥ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﺴﻄﺮ ﺍﻟﺴﺎﺩﺱ.
ﻧﻘﻞ ﺍﻟﻨﺺ:
(L) ari LiberiA(ugusto) sacrum) Q. Quadratium, (...fil(ius) quir(ina) Quirntulus,
aedilic(iae) potest(a)tis statuam cum aedic) ula et columnis, quamin praefectura
sua pro III
)viris agens spone pollicitus est praeter leg(iti) ma (sesterium) xx milia
n(ummum) dec-
)riontus re(ip(ublicae) inlata dedit dedicavit q(ue) l(oco) d(ato) d(ecreto
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﺍﳊﺎﻣﻲ ،ﻟﻴﱪ ﺍﻟﻌﻈﻴﻢ ﺍﳌﻘﺪﺱ ،ﻛﻮﺍﺩﺭﺍﺗﻮﺱ ﻛﻮﻳﻨﺘﻮﻟﻮﺱ ﻣﻦ ﻗﺒﻴﻠﺔ ﻛﻮﻳﺮﻳﻨﺎ ﺍﺑﻦ، ....
ﻟﻪ ﻣﻨﺼﺐ ﻣﺴﺌﻮﻝ ﺍﳊﻴﺎﺓ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﻟﻪ ﰲ ﺩﻟﻚ ﻛﻞ ﺍﻟﺼﻼﺣﻴﺎﺕ ،ﻭﻋﺪ ﺑﻨﺼﺐ ﲤﺜﺎﻝ ﻭ
ﻛﻨﻴﺴﺔ ﻭ ﻋﻤﻮﺩ ﻟﺘﺸﺮﻳﻒ ﺗﻨﺼﻴﺒﻪ ﻣﺴﺌﻮﻝ ﺑﻠﺪﻱ ﺛﻼﺛﻲ ﻭ ﺃﺿﺎﻑ ﻋﻠﻰ ﺍﳌﺒﻠ ﺍﳌﻘﺮﺭ ﻋﺸﺮﻭﻥ ﺃﻟﻒ
ﺳﻴﺴﺘﺮﺱ ﻭ ﺩﻟﻚ ﺇﱃ ﺍﺠﻤﻟﻠﺲ ﺍﻟﺒﻠﺪﻱ ﻭ ﻛﺘﺐ ﺍﻟﻨﺎﻗﺸﺔ ﻭﻭﺿﻌﻬﺎ ﺑﻘﺮﺍﺭ ﻭ ﺗﺴﺮﻳﺢ ﻣﻦ ﺍﺠﻤﻟﻠﺲ ﺍﻟﺒﻠﺪﻱ
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻠﻘﺐ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻫﻨﺎ" ﺑﺎﳊﺎﻣﻲ" larﺃﻱ ﺍﳊﺎﻣﻲ ﺍﳋﺎﺹ ﻟ ﻣﱪﺍﻃﻮﺭ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﲑﻭﺱ ﻧﺴﺒﺔ ﺇﱃ
ﻗﺼﻴﺪ ﻭﺟﺪ ﰲ ﻣﺪﻳﻨﺔ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ ﻣﻮﻃﻦ ﺍﻹﻣﱪﺍﻃﻮﺭ.3
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑ ﻫﺪﺍﺀ ﻛﻨﻴﺴﺔ ﻭ ﲤﺜﺎﻝ ﻟ ﻟﻪ ﺑﺎﺧﻮﺱ ﻋﺜﺮ ﻋﻠﻴﻪ ﺑﻌﲔ ﺍﳌﻜﺎﻥ ﻭ ﻫﻮ ﻣﻦ ﺃﺭﻭﻉ ﺍﳌﻨﺤﻮﺗﺎﺕ
ﺍﳌﻜﺘﺸﻔﺔ ﰲ ﴰﺎﻝ ﺍﻓﺮﻳﻘﻴﺎ ،ﺗﺸﻬﺪ ﺇﺫﻥ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻋﻠﻰ ﻭﺟﻮﺩ ﻣﻌﺒﺪ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻛﺎﻥ ﻳﺄﻭﻱ ﲤﺜﺎﻝ
ﺍﻷﻟﻪ ﲟﺪﻳﻨﺔ ﺳﲑﺗﺎ ﻭ ﻟﻴﺲ ﻫﺪﺍ ﻏﺮﻳﺐ ﺇﺩﺍ ﺫﻛﺮﻧﺎ ﺃﻥ ﺍﻹﻣﱪﺍﻃﻮﺭ ﻗﻴﺼﺮ ﻣﺆﺳﺲ ﻣﺴﺘﻌﻤﺮﺓ ﺍﻟﺴﺘﻴﲔ ﻛﻠﻨﺎ
ﻳﻌﺮﻑ ﺑﻮﻓﺎﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺣﱴ ﺃﻧﻪ ﺃﻋﺎﺩ ﺗﻨﻈﻴﻢ ﻋﺒﺎﺩﺗﻪ ﺍﻟﺮﲰﻴﺔ ﺑﺮﻭﻣﺎ.
ﻭﺟﻮﺩ ﻫﺪﺍ ﺍﳌﻌﺒﺪ ﻣﺴﺘﻨﺪﺍ ﻋﻠﻰ ﺍﳌﺪﺭﺝ ﺍﻟﻘﺪﱘ ﺟﻌﻞ ﺍﻟﺒﻌﺾ ﻳﺘﺮﺽ ﺃﻥ ﻳﻜﻮﻥ ﺍﳌﺪﺭﺝ ﻧﻔﺴﻪ ﻣﻜﺮﺳﺎ ﻟ ﻟﻪ
ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﻟﺬﻱ ﻳﻌﺮﻑ ﺃﻧﻪ ﺃﻳﻀﺎ ﺣﺎﻣﻲ ﺍﻷﺳﺘﻌﺮﺍﺿﺎﺕ ﺍﳌﺴﺮﺣﻴﺔ ،ﻋﻠﻰ ﻏﺮﺍﺭ ﻣﺴﺮﺡ ﺃﺛﻴﻨﺎ ﺍﳌﺴﻤﻰ ﲟﺴﺮﺡ
ﺑﺎﺧﻮﺱ.4
2
G.Wilmanns, CIL VIII (1881) 10867
3
S. Aurigemma; Africa Italiana. VII. 1940 P 79
4
Ch. Vars; R.Const 1894 p 469
279
: ﺇﻫﺪﺍﺀ ﺎﻝ-2
: ﺍﳌﺮﺍﺟ
CIL VIII 7123
Gauckler, musée de Constantine (Ed Leroux Paris 1893) p16
Cherbonneau, R Af .12.1868 p244
Poulle, R.Const. 1869 p681
ﻣﻮﻗﻊ ﻣ ﻝ ﺍﻹﺳﺮﺍﺋﻠﻴﲔ:ﺍﳌﺼﺪﺭ
ﺍﳊﺪﻳﻘﺔ ﺍﻟﻌﺎﻣﺔ ؟: ﻣﻜﺎﻥ ﺍ ﻔ
ﺍﺭ/ﺳﻢ35 ﺍﳉﺰﺀ ﺍﻟﺜﺎﻟﺚ/ﺳﻢ38 ﺍﳉﺰﺀ ﺍﻟﺜﺎ. ﺳﻢ47 =ﻋﺮ/ ﺳﻢ42= ﺍﳉﺰﺀ ﺍﻷﻭﻝ ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
. ﺍﻟﻨﺎﻗﺸﺔ ﻣﻜﺴﻮﺭﺓ ﺇﱃ ﺛﻼﺛﺔ ﺃﺟﺰﺍﺀ.ﺳﻢ4 = ﺍﳊﺮﻭﻑ
:ﺍﻟﻜﺘﺎﺑﺔ
Q F QVIR ALL LIIVS ♠FA NVS♠ EQ ♠PVB
NATVS♠ AED♠ PON MAG♠ PONT♠ II VR♠ PRAEF ♠
RI D♠ COLONIAR♠ RV C ♠ET♠ CHVI ♠Q♠ Q ATVAS♠
YRORVM ♠ DVAS♠ QVAS OB HONO NQ POLLICI
EST ♠ADDIO ♠DIE ♠L VDORVM ♠SCENICO ♠ CVM MISSILI
S♠ SVA♠ PECVNIA ♠DEDIT ♠IDEMQVE ♠DE VIT
:ﻧﻘﻞ ﺍﻟﻨﺺ
…….Julius Fabianus, equo publico exornaus, aedilis, pontifex pro magistro
ponifex ferirum latinarum, praefectus juridicundo coloniarum Ruscicade et Chulla,
quinquennalis, statuas statuorum duos quas ab honorem quaesturae pollicitus es,
addito die ludorum scenicorum cum missilibus, sua pecunia dedit idemque dedicavit.
:ﺍﻟﺘﺮ ﺔ
ﻭﺍ ﻣﻜﻠﻒ ﺑﺎﻟﻌﺪﺍﻟﺔ، ﺣﱪ ﻣﻜﻠﻒ ﺑﻨﻴﺎﺑﺔ ﺭﺋﺎﺳﺔ ﺍﺠﻤﻟﻤﻊ، ﻗﺎﺿﻲ،ﻳﻮﻟﻴﻮﺱ ﻓﺎﺑﻴﺎﻧﻮﺱ ﻣﻨﺢ ﺍﻟﻔﺮﻭﺳﻴﺔ ﺍﻟﻌﺎﻣﺔ
ﻗﺪﻡ ﻭ ﺃﻫﺪﻯ ﻋﻠﻰ ﻋﺎﺗﻘﻪ ﲤﺜﺎﻻﻥ ﻟﺴﺎﺗﲑ ﻛﺎﻥ ﻗﺪ، ﻗﺎﺿﻲ ﺍﻹﺣﺼﺎﺀ،ﰲ ﻣﺴﺘﻌﻤﺮﺍﺕ ﺳﻜﻴﻜﺪﺓ ﻭ ﺍﻟﻘﻞ
.ﻭﻋﺪ ﻬﺑﻤﺎ ﲟﻨﺎﺳﺒﺔ ﻋﹼﻠﻮﻩ ﺇﱃ ﺭﺋﺎﺳﺔ ﺍﻟﻘﻀﺎﺀ ﺍﻟﻌﺎ ﻭﺃﺿﺎﻑ ﻳﻮﻣﺎ ﻟﻼﺳﺘﻌﺮﺍﺿﺎﺕ ﺍﳌﺴﺮﺣﻴﺔ
:ﺍﻟﺘﺤﻠﻴﻞ
ﺗﻌﺪ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺑﺮﻫﺎﻥ ﻋﻦ ﳑﺎﺭﺳﺔ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ ﲟﺪﻳﻨﱵ ﺳﻜﻴﻜﺪﺓ ﻭ ﺍﻟﻘﻞ ﻭ ﻫﺪﺍ ﻣﻦ ﺧﻼﻝ ﺇﻫﺪﺍﺀ
.ﲤﺜﺎﻻﻥ ﻟﺴﺎﺗﲑ ﺭﻓﻴﻖ ﺍ ﺑﺎﺧﻮﺱ ﻣﻦ ﻗﺒﻞ ﻗﺎﺻﻲ ﺍﻟﻜﻨﻔﺪﺭﺍﻟﻴﺔ ﺍﻟﺴﲑﺗﻴﺔ ﲟﻨﺎﺳﺒﺔ ﺍﺭﺗﻘﺎﺋﻪ
280
-3ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
CIL VIII Suppl. 19488.p 1854
S.Gsell, ILA II. 488
Renier. 1783
Cagnat, BCTH. 1887 n° 199 p199
ﺍﳌﺼﺪﺭ :ﺷﺎﺭﻉ le blancﺳﺎﺑﻘﺎ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻧﻘﻞ ﺇﱃ ﻣﺘﺤﻒ ﺳﲑﺗﺎ ﻭ ﺿﺎﻉ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻜﺘﺎﺑﺔ:
LIBERO
AVGVS
CITIVS MA
ﻧﻘﻞ ﺍﻟﻨﺺ:
)?Libero (et) Augus(tis) (De) citius Ma(ximus
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺍﻷﻋﻈﻢ .ﺩﻛﻴﺘﻴﻮﺱ ﻣﺎﻛﺴﻴﻤﻮﺱ....
ﺍﻟﺘﺤﻠﻴﻞ:
ﺭﻏﻢ ﻋﺪﻡ ﺍﻛﺘﻤﺎﻝ ﺍﻟﻨﺺ ﻳﺪﻝ ﻫﺪﺍ ﺍﻹﻫﺪﺍﺀ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﺍ ﻳﱪ ﺑﺎﺗﺮ ﺑﺎﳌﻨﻄﻘﺔ.
-4ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
CIL VIII. 19540
ILA. II. 965
A.Goyt, R. Const. 1882.Vol 22, p 130
ﺍﳌﺼﺪﺭ:ﻗﺮﺏ ﻗﱪ ﺑﺮﺍﻛﻠﻴﻮﺱ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻜﺘﺎﺑﺔ:
DMS
BROMIVS
V .A .X
HSE
281
BACHVS FIL
DVL POS
ﻧﻘﻞ ﺍﻟﻨﺺ:
Diis manibus sacrum. Bromius vixi annis decem. His situs est. Bachus filio
dulcissimo posuit
.ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺁﳍﺔ ﺍﻷﺭﻭﺍﺡ ﺍﳌﻘﺪﺳﺔ ،ﻭﺿﻌﺖ ﺍﻟﻨﺎﻗﺸﺔ ﺇﱃ ﺑﺮﻭﻣﻴﻮﺱ ﺑﺎﺧﻮﺱ ﺍﻹﺑﻦ ﺍﻟﺮﻗﻴﻖ ،ﻋﺎﺵ ﻋﺸﺮ ﺳﻨﻮﺍﺕ،
ﻫﻨﺎ ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
bromias ﻟﻘﺐ ﺑﺮﻭﻣﻴﻮﺱ ﻣﻦ ﺃﻷﲰﺎﺀ ﺍﳌﻌﻄﺎﺓ ﻟ ﻟﻪ ﻳﱪ ﺑﺎﺗﺮ /ﺑﺎﺧﻮﺱ 5ﻭ ﻫﻮ ﻣﺸﺘﻖ ﻣﻦ ﻛﻠﻤﺔ ﺑﺮﻭﻣﻴﺎﺱ
ﺍﻟﱵ ﺗﻌﲏ ﺇﻧﺎﺀ ﻟﻠﺸﺮﺍﺏ ،ﻛﻤﺎ ﻛﺎﻧﺖ ﺗﻠﻘﺐ ﺭﺿﻴﻌﺔ ﺍﻟﻪ ﺑﺎﺧﻮﺱ ﺑﺎﺳﻢ ﺑﺮﻭﻡ. brome 6
ﻳﻠﻘﺐ ﺍﻟﻄﻔﻞ ﺍﳌﻴﺖ ﻧﻔﺴﻪ ﺑﺒﺎﺧﻮﺱ ﻭ ﻫﻮ ﺍﺳﻢ ﳝﻨﺢ ﻋﺎﺩﺓ ﻟﻠﻌﺒﺪ ﺍﳌﻌﺘﻖ ﻛﻤﺎ ﻳﺪﻝ ﺩﻟﻚ ﻋﻠﻰ ﺃﻥ ﺣﺎﻣﻠﻪ
ﻛﺎﻥ ﻣﻦ ﻋﺒﺪﺓ ﺍﻹﻟﻪ ﻧﻔﺴﻪ.7
ﻴﻠﺔ
-1ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ
ﺍﳌﺮﺍﺟ :
S.Gsell, "inscriptions latines découvertes en Algérie" in BCTHS. 1917. N°, p 346.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﻴﻠﺔ
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻜﺘﺎﺑﺔ:
S
CILIVS. TORBENVS
ITANVS. SACERDO
PÄT . V .A . CXXV
S E
ﻧﻘﻞ ﺍﻟﻨﺺ:
5
Jalloul Boussaada, A. Mefr. 1991 p 1056
6
R.Goyt, op cit p 130
7
ILA. 965.p118
282
D(is) m(acrum) s(acrum). (Cae ou Lu)cilius obenus, Cuicul?) Itanus, sacerdo(s
Liberi) Pat(ris) vixit annis CXXV (annis), Hic situs est.
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺃﺭﻭﺍﺡ ﺍﻵﳍﺔ ﺍﳌﻘﺪﺳﺔ ،ﻟﻮﻛﻠﻴﻮﺱ ﺗﺮﺑﻨﻮﺱ ﻣﻦ ﻛﻮﻳﻜﻮﻝ ،ﻛﻬﻨﻮﺕ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻋﺎﺵ 125ﻋﺎﻣﺎ .ﻫﻨﺎ
ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺑﺬﻛﺮﻫﺎ ﻛﺎﻫﻦ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺗﺸﻬﺪ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻋﻠﻰ ﻭﺟﻮﺩ ﳑﺎﺭﺳﺔ ﺭﲰﻴﺔ ﻟﻠﺪﻳﺎﻧﺔ ﺍﻟﺒﺎﺧﻴﺔ ﲟﺪﻳﻨﺔ
ﻛﻮﻳﻜﻮﻝ.
-2ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
e
M.Leglay, "notes e documents" in LIBYCA. 1954 TII.2 sem. P472
A.Ep. 1955 Paris 1956) n° 159, P52.
ﺍﳌﺼﺪﺭ:ﺷﺎﺭﻉ ﺍﻟﺸﺮﻕ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ = 90ﺳﻢ /ﻋﺮ= 53ﺳﻢ /ﺱ = 15ﺳﻢ /ﺍﺭ ﺍﳊﺮﻭﻑ = 9-7-6ﻣﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
SAC LIBERO
FELICIANVS ET C. FLA
STORES PRAEF PRO
BVNAL ET ARA
EDICAVERVNT
ﻧﻘﻞ ﺍﻟﻨﺺ:
Sacro Libero
)? Felicianus et C.FI(avius
(quae)stores, praef(eci) pro IIviris
)(ri) bunal et ara(m
)(d)edicaverun(t
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺍﳌﻘﺪﺱ ،ﻓﻠﻜﻴﺎﻧﻮﺱ ﻭ ﻙ ﻓﻼﻓﻴﻮﺱ ﻛﺎﻥ ﻣﺴﺌﻮﻝ ﺍﳌﺎﻟﻴﺔ ﰒ ﻭﺍ ﻋﻮﻥ ﺍﳌﺴﺌﻮﻝ ﺍﻟﺒﻠﺪﻱ،
ﻣﺴﺌﻮﻻﻥ ﺛﻨﺎﺋﻴﺎﻥ ﻗﺎﻣﺎ ﺑ ﻫﺪﺍﺀ ﳏﻜﻤﺔ ﻭ ﻣﺬﺑﺢ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻜﺘﺴﻲ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺃﳘﻴﺔ ﺧﺎﺻﺔ ﻷﻬﻧﺎ ﺗﺬﻛﺮ ﺇﻫﺪﺍﺀ ﳏﻜﻤﺔ ﻭ ﻣﺬﺑﺢ ﰲ ﻧﻔﺲ ﺍﻵﻭﻧﺔ ﺇﱃ ﺍﻷﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ.
ﻫﻞ ﺗﻌﲏ ﻛﻠﻤﺔ ﳏﻜﻤﺔ tribunalﻫﻨﺎ ﺍﳌﻨﻀﺪﺓ ﺍﻟﱵ ﺗﻮﺿﻊ ﻓﻮﻗﻬﺎ ﺻﻮﺭ ﺍﻵﳍﺔ ﻣﺘﻞ ﻣﺎ ﻫﻮ ﻣﺬﻛﻮﺭ ﺑﻨﺎﻗﺸﺔ
ﻭﺟﺪﺕ ﰲ ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ ؟ ﺃﻭ ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺎﻟﺴﻠﻢ ﺍﳋﺎﺭﺟﻲ ﺍﳌﺮﺑﻊ ﻋﻠﻰ ﻣﺪﺧﻞ ﺍﳌﻌﺒﺪ ﺍﳌﻮﺍﺟﻪ ﻟﻘﺎﻋﺪﺓ
283
ﺍﳌﺬﺑﺢ ؟ ﰲ ﻫﺪﻩ ﺍﳊﺎﻟﺔ ﻳﻘﺘﺮﺏ ﻣﻦ ﺍﻟﻘﺎﻋﺪﺓ ﺍﳋﺸﺒﻴﺔ ligneum tribunalﺍﻟﱵ ﻳﺼﻌﺪ ﻋﻠﻴﻬﺎ ﻟﻮﻛﻴﻮﺱ
ﺣﺴﺐ ﺃﺑﻮ .8ﻭ ﺍﳌﻌﺮﻭﻑ ﺃﻥ ﺍﻟﻌﺒﺎﺩﺍﺕ ﺍﻟﻘﺎﺋﻤﺔ ﻋﻠﻰ ﻃﻘﻮﺱ ﺍﻷﺳﺮﺍﺭ ﻣﺜﻞ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺗﻘﻴﻢ
ﺭﻗﺼﺎﺕ ﻭ ﺃﻏﺎﱐ "ﺿﻤﻦ ﻃﻘﻮﺱ ﺍﻟﺘﻄﻠﻊ" ﺣﻮﻝ ﺍﳌ ﹼﻄﻠﻊ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺬﻱ ﻳﺘﺮﺑﻊ ﻋﻠﻰ ﻛﺮﺳﻲ ﻣﻘﺎﺑﻞ
9
ﺍﻹﻟﻪ؟
-3ﺇﻫﺪﺍﺀ
ﺍﳌﺮﺍﺟ :
Rebout. V, A.Goy, " excursions archéologiques dans les environs de Mila et
Constantine" in R.Const. 1879-80. n° 192, p210- CIL VIII. Sup. 20145.
ﺍﳌﺼﺪﺭ :ﰲ ﺟﺪﺍﺭ ﺍﳊﺪﻳﻘﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺃﺭ = 60ﺳﻢ /ﻋﺮ =1ﻡ
ﺍﻟﻜﺘﺎﺑﺔ :ﺣﺠﺮ ﻣﻜﻌﺐ ﳌﺬﺑﺢ
HERCVLI AVG . SACRVM . . C . IVLIVS
SATVRNINVS . SACERDOS LIBERI
PATRIS ARAM OPERE QUADRAARIO A FVNDAMENTIS
SVA PECVNIA EX S.S NVMMIS FECIT DEDICAVITQ CVRANTIBVS
IVLIA GETVLA VXORE ET IVLIVS GEVLEIS APA ET SATVTNINO
IVNIORE FILIIS V.S.L.A
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻫﺮﻗﻞ ﺍﻟﻌﻈﻴﻢ ﺍﳌﻘﺪﺱ ،ﻛﺎﻳﻮﺱ ﻳﻮﻟﻴﻮﺱ ﺳﺎﺗﻮﺭﻧﻴﻨﻮﺱ ،ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻭﺿﻊ ﻣﺬﲝﺎ
ﻣﺮﺑﻊ ﺍﻟﺸﻜﻞ ﻭ ﺑﻨﺎﻩ ﻣﻦ ﺃﺳﺎﺳﻪ ﲟﺎﻟﻪ ﺍﳋﺎﺹ ﻛﻠﻔﻪ ﻣﺒﻠ ﻣﺎ ﻳﻘﺪﺭ ﺏ............ﻛﺎﻥ ﺩﻟﻚ ﲢﺖ
ﺭﻋﺎﻳﺔ ﺃﻳﻮﻟﻴﺎ ﺟﺎﻳﺘﻮﻻ ﺯﻭﺟﺘﻪ ﻭ ﺃﻭﻻﺩﻩ ﺃﺑﺎ ﺟﺎﺗﻮﻟﻴﺲ ﻭ ﻳﻮﻧﻴﻮﺭ ﺳﺎﺗﻮﺭﻧﻴﻨﻮ ،ﻭ ﲢﻘﻘﺖ ﺃﻣﻨﻴﺘﻪ ﻓﻀﺤﻰ
ﲝﻴﻮﺍﻥ.
ﻟﻘﺐ APAﻳﻌﺘﱪ ﺫﻛﺮﻯ ﻋﻦ ﻗﺒﻴﻠﺔ ﺍﳉﺘﻮﻝ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺭﻏﻢ ﺇﻫﺪﺍﺀ ﺍﳌﺬﺑﺢ ﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻨﻘﻴﺸﺔ ﺇﱃ ﺇﻟﻪ ﺁﺧﺮ ﻫﻮ ﻫﺮﺍﻗﻞ ﺇﻻ ﺃﻥ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻮﺟﻮﺩ ﻣﻦ ﺧﻼﻝ
ﺍﳌﻬﺎﻡ ﺍﻟﺪﻳﻨﻴﺔ ﺍﳌﻜﻠﻒ ﻬﺑﺎ ﺍﳌﻬﺪﻱ ﻛﻬﻨﻮﺕ ﻳﱪ ﺑﺎﺗﺮ.
-4ﺇﻫﺪﺍﺀ
8
Apulée. Métam. XI. 24
9
M Leglay, LIBYCA1945, p 473
284
: ﺍﳌﺮﺍﺟ
A.Ep. 1955 Paris 1956) n° 155, P50.
A.Carcopino, "deux dédicaces religieuses de Djemila" in LIBYCA. T II. 1954, pp
421-422.
1949 ﺣﻔﺮﻳﺎﺕ ﺍﳊﻲ ﺍﻟﺸﺮﻗﻲ ﰲ:ﺍﳌﺼﺪﺭ
: ﻣﻜﺎﻥ ﺍ ﻔ
. ﻣﻢ25-3 = ﺍﺭ ﺍﳊﺮﻭﻑ/ ﺳﻢ45 = ﺱ/ ﺳﻢ57 = ﻋﺮ/ ﺳﻢ98 = ﺃﺭ:ﺍﳌﻘﺎﺳﺎﺕ
ﺣﺠﺮ ﻛﻠﺴﻲ:ﺍﳌﺎ ﺓ
ﺗﻈﻬﺮ ﺃﻋﻠﻰ. ﻗﺎﻋﺪﺓ ﺭﺑﺎﻋﻴﺔ ﺍﻟﺰﻭﺍﻳﺎ ﲢﻤﻞ ﻛﺘﺎﺑﺔ ﰲ ﺍﻟﻮﺍﺟﻬﺔ ﺍﻷﻣﺎﻣﻴﺔ ﻭ ﺍﳉﺎﻧﺒﻴﺔ ﺍﻟﻴﺴﺮﻯ: ﺍﻟﻮﺻﻒ
.ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺮﺋﻴﺴﻴﺔ ﺑﺎﻃﻴﺔ ﺗﺘﺠﻪ ﳓﻮﻫﺎ ﺮﺓ ﺗﺴﲑ ﺇﱃ ﺍﻟﻴﺴﺎﺭ ﻣﻨﺠﺰﺓ ﺑﻨﻘﺶ ﺧﻔﻴﻒ
:ﺍﻟﻜﺘﺎﺑﺔ
ﺍﳉﺎﻧﺐ ﺍﳉﺎﻧﺐ ﺍﳉﺎﻧﱯ ﺍﻷﻳﺴﺮ
ﺍﻷﻣﺎﻣﻲ
:ﻧﻘﻞ ﺍﻟﻨﺺ
Herculi Augusto Sacrum Posita iii idus
Marcus iulius Cai filius Papiria Maia (s)
285
Felicianus, vir optimus perpetuo et
Praefectus, pro ii viris Corneliano
Quin quennalibus, sacerdos consolibus
Liberi patris
Response moniture
Eius, sua pecunia cum
Base caterisque
)Omnibus po(n)suit (ornamentis
Idemque victimis a (d) hi-
Bitis dedicavite curanti-
Bus uilio valerio Gaia-
No nepote et Rutilia
Eugamia coniuge et
Flavia Felicissima nuru
Et Iulia Septimina filia
Votum solui libens anima
ﻛﺎﺭﻛﻮﺑﻴﻨﻮ 10ﻳﻘﺘﺮﺡ ﰲ ﺍﻟﺴﻄﺮ ﺍﻟﺜﺎﻟﺚ ﻗﺮﺍﺀﺗﲔ:
Viro optimo / viro honesto
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻫﺮﺍﻗﻞ ﺍﻷﻋﻈﻢ ﺍﳌﻘﺪﺱ ﻣﺎﺭﻛﻮﺱ ﻳﻮﻟﻴﻮﺱ ﻓﻠﻜﻴﺎﻧﻮﺱ ﺇﺑﻦ ﻛﺎﻳﻮﺱ ،ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ،ﻛﺎﻥ
ﻛﻬﻨﻮﺕ ﺍ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻭﺍ ﳏﻜﻤﺔ ﻭ ﺭﺟﻞ ﺑﻠﺪﻱ ﺛﻨﺎﺋﻲ ﻣﻜﻠﻒ ﺑﺎﻹﺣﺼﺎﺀ............
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻌﺮﻓﻨﺎ ﺍﻟﻨﺎﻗﺸﺔ ﺑﺮﺟﻞ ﺑﻠ ﺃﻋﻠﻰ ﺍﳌﻨﺎﺻﺐ ﺍﻟﺸﺮﻓﻴﺔ ﺑﺒﻠﺪﻳﺔ ﻛﻮﻳﻜﻞ ﻭ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ ﻛﺎﻥ ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ
ﻟﻴﱪ ﺑﺎﺗﺮ ﻗﺪﻡ ﻣﻌﻠﻤﺎ ﺇﱃ ﺍﻹﻟﻪ ﻫﺮﺍﻗﻞ ﺑﺄﻣﺮ ﻣﻦ ﺍﻹﻟﻪ ﻳﱪ ﺑﺎﺗﺮ ﻭﺗﺮﻙ ﻟﻌﺎﺋﻠﺘﻪ ﻣﻬﻤﺔ ﺗﻠﺒﻴﺔ ﺃﻣﻨﻴﺘﻪ .
ﺍﳉﺪﻳﺪ ﰲ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻫﻮ ﺍﲢﺎﺩ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻊ ﺍﻹﻟﻪ ﻫﺮﺍﻗﻞ ،ﻭ ﻫﺪﺍ ﻣﻌﺮﻭﻑ ﰲ ﺍﳉﻤﻌﻴﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﻣﻨﺪ ﺍﻟﻘﺪﻡ ﻭ ﻫﺎﻫﻮ ﻳﺘﺠﺴﺪ،ﻫﻨﺎ ،ﻣﻦ ﺟﺪﻳﺪ ﰲ ﻣﺪﻳﻨﺔ ﻴﻠﺔ ﺑﻌﻴﺪﺍ ﻋﻦ ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﻟﺴﻴﻔﺮﻳﺔ ﺑﻔﻀﻞ
ﺇﺣﻴﺎﺀ ﺍﻟﺼﺤﻮﺓ ﺍﳍﻠﻠﻴﻨﻴﺔ ﺑﺼﻔﺔ ﻋﺎﻣﺔ ﻭ ﻃﻘﻮﺱ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺪﻳﻮﻧﺰﻳﺔ ﺑﺼﻔﺔ ﺧﺎﺻﺔ.
ﻭ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﰲ ﻫﺪﻩ ﺍﻟﻨﺎﻗﺸﺔ ﰲ ﺻﻮﺭﺓ ﺍﻟﻪ ﻗﺮﻳﺐ ﻣﻦ ﻋﺒﺎﺩﻩ ﻳﻨﺼﺤﻬﻢ ﻭ ﺬﺭﻫﻢ ﻭ ﳚﻴﺐ
ﻋﻠﻰ ﺗﺴﺎﺅﻻﻬﺗﻢ )ﰲ ﺍﻟﺴﻄﺮ (7ﻛﻤﺎ ﻳﻨﺘﻈﺮ ﺍﻹﻟﻪ ﻣﻦ ﻋﺒﺎﺩﻩ ﻗﺮﺑﺎﻧﺎ ﺣﻴﺎ ﻭ ﻟﻴﺲ ﳎﺮﺩ ﺣﻠﻮﻯ ﺃﻭ ﻋﻨﻘﻮﺩ
ﻋﻨﺐ ﻛﻤﺎ ﺍﻋﺘﺪﻧﺎ ﰲ ﻣﻌﻈﻢ ﺍﻟﻘﺮﺍﺑﲔ ) ﺍﻟﺴﻄﺮ .11(11
ﻭ ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﻛﺎﺭﻛﻮﺑﻴﻨﻮ 12ﺗﺄﺛﲑ ﺍﻟﻄﻘﻮﺱ ﺍﻹﻏﺮﻳﻘﻴﺔ ﻭﺍﺿﺤﺎ ﰲ ﻫﺪﺍ ﺍﻹﻫﺪﺍﺀ ﻭ ﻳﻈﻬﺮ ﺩﻟﻚ ﰲ
ﻟﻘﺐ ﺯﻭﺟﺔ ﺍﳌﻬﺪﻱ ) ( Eugemiaﺍﳌﻨﻘﻮﻝ ﻣﻦ ﺍﻟﻠﻐﺔ ﺍﻹﻏﺮﻳﻘﻴﺔ ﻭﻣﻦ ﺍﻟﻠﻘﺐ ﺍﻟﺼﻮﻓﻴﺔ ﺍﳌﺘﺪﺍﻭﻟﺔ ﰲ
ﺑﻌﺾ ﺍﻟﻌﺒﺎﺩﺍﺕ ﺍﳍﻠﻨﺴﺘﻴﺔ ﺍﻟﱵ ﺗﺮﻣﻲ ﺇﱃ ﺍﻟﻨﺠﺎﺓ ﺑﻌﺪ ﺍﻟﻘﱪ.
10
J. Carcopino; op cit
11
J. Carcopino; op cit p429
12
Ibid p 429
286
ﺍﳌﻼﺣﻆ ﺃﻥ ﺍﻟﻌﺒﺎﺩﺓ ﺍﳌﺰﺩﻭﺟﺔ -ﻟﻴﱪ ﺑﺎﺗﺮ/ﻫﺮﺍﻗﻞ – ﻗﺪ ﺗﻄﻮﺭﺕ ﳓﻮ ﺍﻋﺘﻘﺎﺩ ﺇﺗﺒﺎﻋﻬﺎ ﺑﻨﺠﺎﻬﺗﻢ ﻣﻦ ﺍﳌﻮﺕ
ﺍﻟﱵ ﳝﻨﺤﻬﺎ ﻫﺮﺍﻗﻞ ﺭﻓﻴﻖ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﻔﻀﻞ ﺗﻘﻮﺍﻫﻢ ﻭ ﺇﳝﺎﻬﻧﻢ ،ﻭﻳﻘﺼﺪ ﺑﺎﻟﻨﺠﺎﺓ ﺍﻟﺘﻤﺘﻊ ﺑﺎﻟﻐﺒﻄﺔ ﺍﳌﺴﻜﺮﺓ
ﺍﻟﱵ ﻳﻌﻄﻴﻬﺎ ﺑﺎﺧﻮﺱ. 13
ﺍﻟ ﺘ ﺭﻳ :
ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﺎﻧﺒﻴﺔ ﺍﻟﻴﺴﺮﻯ ﻫﻮ ﺍﻟﺜﺎﻟﺚ ﻣﻦ ﺃﻳﺎﻡ ﻣﺎﻱ ) 13ﻣﺎﻱ( ﺍﳌﻮﺍﻕ ﳊﻔﻠﺔ ﻟﻴﱪ
ﺑﺎﺗﺮ ﺍﻟﱵ ﻛﺎﻧﺖ ﲢﺪﺙ ﲟﺪﻳﻨﺔ ﻴﻠﺔ ﻋﻠﻰ ﻏﺮﺍﺭ ﻣﺪﻳﻨﺔ ﻛﺎﺑﻮ ﰲ ﺣﻔﻞ ﺭﻭﺯﺍ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﳉﻨﺎﺋﺰﻱ ) la
.(Rosalie de Capoue
ﻳﻜﻮﻥ ﺇﺫﻥ ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﻘﺘﺮﺡ 237ﺃﻭ 199ﻡ .14
-5ﺷﺎﻫﺪ ):(cippe
ﺍﳌﺮﺍﺟ :
A.Carcopino, "deux dédicaces religieuses de Djemila" in LIBYCA. T II. 1954,
pp 423-425.
A.Ep. 1955 n° 156.
13
. Bruhl, op cit p 309
14
Idemque p 432
287
AVGG ♠ SAC ♠ AS ♠ POSITA
SIGVM ♠ SA ♠
TVRISCI ♠
QVEM
IVLIA ♠ VRBANA
SOMNIO
PREMONITA
Q. COMINIVS
SVCESSVS ♠
VIR♠ EIVS
CVM COMINIIS
VRBANO
COMINIANO
COMINIA
QVINTIANE
FILIS ♠EIVS
REDDERE ♠
CVRAVERVNT
IDEMQVE
VICTIMIS
ATHABITIS♠ DE
DICAVERVNT
V.S.L.A.
:ﻧﻘﻞ ﺍﻟﻨﺺ
Libero pa- perpetuo et
Tri et li- corniliano
Berae con)s(ulibus) iii idus mai-
Aug(ustis) sac(rum): as posita
Signum sa-
Turisci,
Quem
Iulia Urbana
Somnio
Pra)emonita,
Promiserat,
Q(uintus) Cominius
Suc'c)essus,
Vir eius
Cum Cominiis:
Urbano,
Cominiano,
Cominia,
Quintiane,
Fili(i)s eius
Reddere
Curaverunt;
I(i)demque,
Victimis
A(d)h(i)bitis, de-
288
;Dicaverunt
)V(otum)s(olverunt) l(ibentes) a(nimo
ﺍﻟﺘﺮ ﺔ:
ﻟﺴﺎﺗﲑ ﻣﻦ ﻗﺒﻞ ﻳﻮﻟﻴﺎ ﺃﻭﺭﺟﺎﻧﺎ ﺍﻟﱵ ﺇﱃ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﻟﻴﱪﺍ ﺍﻟﻌﻈﻴﻤﺎﻥ ﺍﳌﻘﺪﺳﺎﻥ ،ﻬﻧﺪﻱ ﲤﺜﺎﻝ ﺻﻐﲑ ﻟﺴﺎﺗﲑ
ﻭﻋﺪﺕ ﰲ ﺍﳊﻠﻢ .ﺯﻭﺟﻬﺎ ﻛﻮﻳﻨﺘﻮﺱ ﻛﻮﻣﻴﻨﻴﻮﺱ ﻭﺍﺑﻨﺎﳘﺎ ﻛﻮﻣﻴﻨﻴﺎﻧﻮ ﻭ ﺃﻭﺭﺑﺎﻧﻮ ﺍﺑﻨﺘﻬﻤﺎ ﻛﻮﻣﻴﻨﻴﺎ ﺣﺮﺻﻮﺍ
ﻋﻠﻰ ﺍﻟﻮﻓﺎﺀ ﺑﻮﻋﺪ ﺍﳌﻬﺪﻳﺔ ﺑﻌﺪﻣﺎ ﺿﺤﻮﺍ ﺑﻘﺮﺍﺑﲔ ﺣﻴﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻧﻼﺣﻆ ﺃﻥ ﻫﺪﺍ ﺍﻹﻫﺪﺍﺀ ﺑﻨﻔﺲ ﺍﻟﻄﺮﻳﻘﺔ ﺍﻟﱵ ﻬﺑﺎ ﺍﻹﻫﺪﺍﺀ ﺍﻟﺴﺎﺑﻖ ﺃﻱ ﺑﻌﺪ ﺍﻟﺘﻀﺤﻴﺔ .ﻭﻗﺪ ﺗﻜﻮﻥ ﻫﺪﻩ
ﺍﳌﻬﺪﻳﺔ ﺃﺧﺖ ﺍﳌﻬﺪﻱ ﺍﻟﻈﺎﻫﺮ ﰲ ﻧﻘﻴﺸﺔ ﻫﺮﺍﻗﻞ ﺑﻴﺪ ﺃﻬﻧﻤﺎ ﻳﺸﺘﺮﻛﺎﻥ ﺑﻨﻔﺲ ﺍﻹﺳﻢ ﻳﻮﻟﻴﻮﺱ /ﻳﻮﻟﻴﺎ.
ﺇﺫﻥ ﻋﻠﻰ ﻫﺪﺍ ﺍﻷﺳﺎﺱ ﻭ ﺑﻨﺎﺀ ﻋﻠﻰ ﻧﻘﺎﻁ ﺗﺸﺎﺑﻪ ﺃﺧﺮﻯ ﻳﻔﺘﺮﺽ ﻛﺎﺭﻛﻮﺑﻴﻨﻮ 15ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻨﻘﻴﺸﺘﺎﻥ ﻭ
ﺍﻟﺘﻤﺜﺎﻻﻥ ﺭﻗﻤﻲ 4ﻭ 5ﻣﺘﻘﺎﺑﻼﻥ ﰲ ﻧﻔﺲ ﺍﳌﻌﺒﺪ ﻣﻦ ﺟﻬﱵ ﺍﳌﺬﺑﺢ ،ﺭﲟﺎ ﻛﺎﻥ ﲤﺜﺎﻝ ﺳﺎﻳﺮ ﰲ ﺍﻟﻴﺴﺎﺭ ﻭ
ﲤﺜﺎﻝ ﻫﺮﺍﻗﻞ ﻋﻠﻰ ﳝﻴﻨﻪ؟.
ﺍﻟﺘﺎﺭﻳ 13 :ﻣﺎﻱ 237ﻡ ﺃﻭ 199ﻡ.16
-6ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
L. Leschi, BCTHS. 1950 pp 22-23.
J.Carcopino, LIBYCA. 1954, p 427.
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﺍﻳﻔﻮﻥ ﰲ ﺍﻟﻜﺎﻑ ﺍﻟﻮﺍﻗﻊ ﻋﻠﻰ ﻃﻮﻝ ﺍﻟﻄﺮﻳﻖ ﺍﳌﺆﺩﻱ ﺇﱃ ﺍﳌﺴﺮﺡ ﻣﻦ ﺍﻟﺒﺎﺏ ﺍﻟﺸﺮﻗﻲ
ﻟﻠﻔﻮﺭﻭﻡ ﺍﳉﻨﻮ .
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ:ﻁ =1ﻡ /ﺍﺭ = 62ﺳﻢ /ﺱ = 25ﺳﻢ /ﺍﺭ ﺣﺮﻭﻑ = 6-5ﻣﻢ.
ﺍﻟﻜﺘﺎﺑﺔ :ﰲ ﺇﻃﺎﺭ ﺩﻭ ﺩﻳﻞ ﺳﻨﻮﻧﻮﺓ
LIBERO ET LIBERAE
♠AVGG SAC
C . AEMILIVS . C FIL.
PAPIRIA . FELICIA
NVS . Q . AEDIL . PONTIF.
♠DESVO ♠FECIT
ﻧﻘﻞ ﺍﻟﻨﺺ:
15
Ibid p 426
16
A Ep op cit n°156
289
Libero et libera
)Aug(ustis) sac(rum
)C(aius) Aemilius C(ai) fil(uis
)Papiria felicianus q(uaestor) aedil(is) pontif(ex
Desuo fecit
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﻟﻴﱪ ﻭ ﻟﻴﱪﺍ ﺍﻟﻌﻈﻴﻤﺎﻥ ﺍﳌﻘﺪﺳﺎﻥ ،ﻛﺎﻳﻮﺱ ﺃﻣﻴﻠﻴﻮﺱ ﻓﻠﻜﻴﺎﻧﻮﺱ ﺇﺑﻦ ﻛﺎﻱ ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ،ﻛﺎﻥ
ﺭﺋﻴﺲ ﺍﻟﻘﻀﺎﺀ ﺍﻷﻋﻠﻰ ،ﺃﳒﺰﻩ ﺑﻨﻔﺴﻪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﻔﺘﺮﺽ ﺍﻟﺒﺎﺣﺚ ﻟﺴﻜﻲ ﻋﻠﻰ ﺃﺳﺎﺱ ﻣﻘﺎﺳﺎﺕ ﺍﻟﻨﻘﻴﺸﺔ ﺃﻬﻧﺎ ﻛﺎﻧﺖ ﺗﻌﻠﻮ ﺑﺎﺏ ﻣﻌﺒﺪ ﻳﺼﻞ ﻋﻠﻮ ﻭﺍﺟﻬﺘﻪ 6
ﺃﻣﺘﺎﺭ ﻭ ﻳﻮﺟﺪ ﻓﻮﻕ ﺳﻔﺢ ﻫﻀﺒﺔ ﺍﳊﻲ ﺍﳌﺴﻴﺤﻲ ﲜﻤﻴﻠﺔ ﺑﲔ ﺍﳌﺴﺮﺡ ﺍﳌﺆﺭﺥ ﺑﺎﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻭ ﺍﳌﻌﺒﺪ
ﺍﻟﺴﻔﲑﻱ .ﻭﻟﻘﺪ ﺑﻘﻲ ﻣﻦ ﺍﳌﻌﺒﺪ ﺍﻟﺬﻱ ﺘﻤﻞ ﺃﻥ ﺗﻜﻮﻥ ﻓﻴﻪ ﺍﻟﻨﻘﻴﺸﺔ ﺍﻷﺳﺲ ﻭ ﺳﻠﻢ ﻳﻌﻠﻮ ﺷﺎﺭﻉ
ﺍﳌﺴﺮﺡ . 17ﺗﻌﺘﱪ ﺇﺩﺍ ﻫﺪﻩ ﺍﻟﻨﺎﻗﺸﺔ ﺷﺎﻫﺪﺍ ﻋﻠﻰ ﻭﺟﻮﺩ ﻣﻌﺒﺪ ﻣﻜﺮﺱ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﺍﻵﳍﺔ ﻟﻴﱪﺍ ﲜﻤﻴﻠﺔ
ﻭ ﺇﻥ ﱂ ﻳﻜﻦ ﺩﻟﻚ ﺑﺎﳌﻌﺒﺪ ﺍﻟﺬﻱ ﻳﻘﺘﺮﺣﻪ ﻟﺴﻜﻲ ﻗﺪ ﻳﻜﻮﻥ ﳌﻌﺒﺪ ﺁﺧﺮ ﺑﺎﻟﺸﺎﺭﻉ ﺍﻟﺸﺮﻗﻲ ﻋﺜﺮ ﻋﻠﻴﻪ ﺩﺍﺧﻞ
18
ﺍﻷﺳﻮﺍﺭ ﺍﻷﻭﱃ
19
ﺍﻟﺘﺎﺭﻳ :ﻋﻠﻰ ﺃﺳﺎﺱ ﺇﺳﻢ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻨﺎﻗﺸﺔ ﻗﺪ ﻳﻜﻮﻥ ﺍﻟﺘﺎﺭﻳﺦ ﰲ ﺣﺪﻭﺩ ﺳﻨﺔ 212ﻡ
ﺳﻄﻴﻒ
-1ﺇﻫﺪﺍﺀ ﻳ :
ﺍﳌﺮﺍﺟ :
CIL VIII 8457
Poulle, "inscriptions diverses de la Maurétanie sétifienne et de la numidie" in
R.Const. 1873-74 n° 21-22, p381 / H. De Villefosse, R Arch. 1876 p 204.
ﺍﳌﺼﺪﺭ :ﺁﺛﺎﺭ ﻣﻌﺰﻭﻟﺔ ﻋﻠﻰ ﺑﻌﺪ 400ﻡ ﻣﻦ ﺍﳌﺪﻳﻨﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺇﺭ= 99ﺳﻢ /ﻋﺮ ﺍﳉﺰﺀ 48=1ﺳﻢ/ﻋﺮ ﺍﳉﺰﺀ 24 =2ﺳﻢ /ﺍﺭ= 21ﺳﻢ /ﺇﺭ ﺣﺮﻭﻑ=
2ﺳﻢ
ﺍﻟﻜﺘﺎﺑﺔ:
ﺍ ﺰﺀ :1
17
L. Leschi, BCTH. 1950, p 23
18
Y Allais, LIBYCA. 1954. TII. P343.
19
Jj. Carcopino, op cit p 427
290
DEORVM OMNIPOTENTIVM SANCTA
HRYSI a E RELIGIOSISSIMVM TEMPLVM C
VNA CVM RELIGIOSIS ET DENDROFORIs
SINGVLARI SIMVLACRVM DEAE ARGEnteum
AET CONSECRAE ET. EX VTRAQ PARTE INI
DAMENTIS SVIS SVMPTB MAGNIFICENT
MVLARICRISQ. NVMINVM NOVIS ID EST AL
IMPLERE VOTIS OMNIB. CVRAVERVNT.
LIBERO ANTE FORES SANCI A FVNDAMEN
PVBLICVM QVIA SANCTO DOCIVS. ADI
QVADRATO LAPEDI INSTITVERVNT ET
IGNIS NCVRSIONINIB. CONCREMATAM COLVMnis
PRAESENTATA DIGNITATE PICTVRAE AD INS
DIDERVNT . IREM IN HONORE NVMINIS
TV PROPRIIS SVMPTIB . SVA SPONTE ATQVE S
RVM . P. CCXLVIIII ET STROBILIS VE
DEDIDERVNT VNDE PVLCHERRIMI FACTi
VM NOMINIB CONSECRATIS TEMPLI TITtulis
:2 ﺍ ﺰﺀ
EIS EXORNATVM DONO
MeMORIAM SBIENCTIS OMNI
AeTERNITAS LOQVERETVR
:ﺍﻟﺘﺤﻠﻴﻞ
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑ ﻫﺪﺍﺀ ﺎﻋﻲ ﺇﱃ ﺍﻵﳍﺔ ﺍﻟﻘﺎﺩﺭﺓ ﻋﻠﻰ ﻛﻞ ﺷﻲﺀ ﻣﻌﺒﺪ ﻣﻊ ﺍﻟﻘﻴﺎﻡ ﺑﺰﺧﺮﻓﺘﻪ ﻭ ﺇﺩﺧﺎﻝ
( ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻘﺎﻡ ﻟ ﻟﻪ3 ) ﺍﻟﺴﻄﺮdendrophores ﲡﺪﻳﺪﺍﺕ ﳐﺘﻠﻔﺔ ﲟﻨﺎﺳﺒﺔ ﺍﺣﺘﻔﺎﻻﺕ
ﻭﻣﻦ ﺍﻟﻮﺍﺿﺢ ﺃﻥ ﺍﻹﻟﻪ ﺍﳌﻌﲏ ﺑﺎﻷﻣﺮ. 20 ﺩﻳﻮﻧﻴﺰﻭﺱ ﺃﻭ ﻟﺪﳝﻴﺘﺮ ﻭﻛﺎﻧﺖ ﲢﻤﻞ ﻓﻴﻬﺎ ﺍﻷﺷﺠﺎﺭ ﰲ ﻣﻮﺍﻛﺐ
.(9 ﻫﻨﺎ ﻫﻮ ﻷﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺪﻱ ﻳﻈﻬﺮ ﺑﺎﲰﻪ ﺍﻟﻼﺗﻴﲏ "ﻟﻴﱪ ﺑﺎﺗﺮ" )ﰲ ﺍﻟﺴﻄﺮ
ﻣﺎ ﻳﻘﺎﺑﻠﻪ ﰲ ﺍﻟﺘﺎﺭﻳﺦ، ﻣﻦ ﺍﻟﻔﺘﺮﺓ ﺍﳌﻮﺭﻳﻄﺎﻧﻴﺔ ﻛﺘﺎﺭﻳﺦ ﺍﻟﺘﻜﺮﻳﺲ949 ﺗﺬﻛﺮ ﺍﻟﻨﻘﻴﺸﺔ ﺳﻨﺔ: ﺍﻟﺘﺎﺭﻳ
.ﻡ289-288 ﺍﳌﻴﻼﺩﻱ
: ﺇﻫﺪﺍﺀ-2
: ﺍﳌﺮﺍﺟ
CIL VIII. 20249.
M.A. Poulle, “ inscriptions diverses de numidie et de maurétanie sétifienne” in
R.Const. 1890-91. n° 106. p 406
M. Audollent, « mission épigraphique en Algérie » in MEFR. 1890. 10. P493 N 106.
20
Daremberg et Saglio “dendophoria” in Dictonnaire des antiquités grécques et romaines. TI (Paris
Hachette et Cie 1877) pp 100-101
291
ﻗﺮﺏ ﻣ ﻝ ﻫﻨﺮﻱ ﺑﺎﻧﺴﻮ ﺑﻌﲔ ﻛﺒﲑﺓ:ﺍﳌﺼﺪﺭ
: ﻣﻜﺎﻥ ﺍ ﻔ
. ﻣﻢ45 =ﺇﺭ ﺍﳊﺮﻭﻑ/ ﺳﻢ29 = ﺱ/ ﺳﻢ49 = ﻋﺮ/ ﺳﻢ45= ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
:ﺍﻟﻜﺘﺎﺑﺔ
RNAOLI////////////
ANDVS AD /////////
F CA SACRA FL///////
D THRRHENOM///////
E RVM QVANT ////
S ANCTE TVISP/////
V ITI SATOR GEN ///
O MPTE TVIS //////
:ﻥ ﻞ ﺍﻟﻨﺺ
Regna superma poli
Venarandvs adisti
Mystica vel Bcchica sacra ferens
Tyrrheni miraculum
Sancte, tui sp(ectaturus nova moinia tem)li
Vitisator, genu(it quem Iuppiter ipse, bimater)
Compte tuis( hediris, adsis faveasque precanti)
.21ﻗﺮﺍﺀﺓ ﺍﳊﺮﻭﻑ ﺍﻟﻌﻤﻮﺩﻳﺔ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ ﺇﻥ ﱂ ﺗﻜﻦ ﻣﺘﺼﻠﺔ ﺑﺎﻟﻜﺘﺎﺑﺔ ﺣﺴﺐ ﺍﻭﺩﻭﻟﻮﻥ
Fecit de suo
:ﺍﻟﺘﺮ ﺔ
Bimater.ﺍﳌﻮﻟﻮﺩ ﻣﺮﺗﺎﻥ
ﺗﻌﺪ ﺍﻟﻨﻘﻴﺸﺔ ﺍﻟﻮﺣﻴﺪﺓ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺍﻟﱵ ﺗﺬﻛﺮ ﺇﺣﺪﻯ ﺍﳌﻠﺠﻤﺎﺕ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺔ ﻟﺒﺎﺧﻮﺱ ﻣﻊ:ﺍﻟﺘﺤﻠﻴﻞ
22
. (7 ﻛﻤﺎ ﺗﺬﻛﺮ ﺍﻹﻟﻪ ﻛﻤﺨﺘﺮﻉ ﺍﻟﻜﺮﻭﻡ )ﺍﻟﺴﻄﺮ. ﻭﻭﻻﺩﺗﻪ ﺍﻟﺘﺮﺍﺟﺪﻳﺔ،ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻳﻨﲔ
: ﺇﻫﺪﺍﺀ-3
: ﺍﳌﺮﺍﺟ
21
M. Audollent, op cit
22
Jalloul Boussada A, “le culte de liber pater en Afrique à la lumière de l’épigraphie” Africa Romana.
1991 p 1057.
292
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 87ﺳﻢ /ﻋﺮ= 36ﺳﻢ/ﺇﺭ ﺍﳊﺮﻭﻑ= 5ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺬﺑﺢ ﺑﻄﻨﻒ ﻭ ﰲ ﺃﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻧﻘﺸﺖ ﻭﺭﻗﺔ ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﻜﺘﺎﺑﺔ:
LIBERO
PATRI
DE SvO
MEMORI
VS
ﻧﻘﻞ ﺍﻟﻨﺺ:
Libero patri, de suo memorius (posuit)23
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﳑﻮﺭﻳﻮﺱ ﻭﺿﻊ ﻫﺬﺍ ﺍﳌﻌﻠﻢ ﺑﻨﻔﻘﺘﻪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺸﻬﺪ ﻫﺬﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺎﳌﻨﻄﻘﺔ.
-4ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
P, Massiera, « une dedicate africaine à liber et à sémélé » LATOMUS. TV Fasc 3-4,
Juill-dec 1964. pp245-350.
A. Merlin, BCTHS. 1947.pp 201-202.
L.Leschi, BCTHS. Séance du 1948. pp 424-425.
S.gsell, A.A.A. Flle n° 119.
ﺍﳌﺼﺪﺭ:ﺟﺪﺍﺭ ﻣ ﻝ ﲟﺸﱴ ﺃﻭﻻﺩ ﺃﻭ ﻋﻤﺎﺭ ﻋﻠﻲ ﺑﻌﺪ 18ﻛﻠﻢ ﻣﻦ ﺳﻄﻴﻒ.
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ
ﺍﳌﻘﺎﺳﺎﺕ : :ﺍﺭ= 41ﺳﻢ /ﻋﺮ= 32ﺳﻢ/ﺇﺭ ﺍﳊﺮﻭﻑ= 2 ، 5-2ﺳﻢ
ﺍﻟﻮﺻﻒ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺬﺑﺢ ﺑﻄﻨﻒ ﻭ ﰲ ﺃﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺔ ﻧﻘﺸﺖ ﻭﺭﻗﺔ ﺍﻟﺪﺍﻟﻴﺔ.
ﺍﻟﻜﺘﺎﺑﺔ:ﻋﺒﺎﺭﺓ ﻋﻦ ﻗﺎﻋﺪﺓ ﲤﻞ ﰲ ﺇﺣﺪﻯ ﺍﻟﻮﺍﺟﻬﺎﺕ ﺍﻟﻜﺘﺎﺑﺔ ﰲ ﺇﻃﺎﺭ ﻣﻘﻮﻟﺐ.
IGNECREAE
♠LIBERDES
TRA SERVA
TETONANIS
23
A.Poulle, op cit p579
293
ET DEVSIN
DEOGAVDT
SEMLAIA
MATER
L ♠TETTIVS
SATVRNI
♠♠N V S
SACERDOS
VOTALIBENS
SOLVITIKARA
♠CVMCOIVGE
ﻧﻘﻞ ﺍﻟﻨﺺ:
Igne create Liber, dextra seruat te Tonantis et deus in deus in deo gaudet,
Semeleia mater. L(ucius Saturninus sacerdos uota libens
Soluit kara cum coniuge.
ﻟﻜﺴﻲ: ﻧﻘﻞ ﺍﻟﻨﺺ ﻣﻦ
Igne create, Liber, dextra seruat tonantis et deus in deo caute, et Semeleia mater. L.
Tettius Saturninus sacerdos vota libens soluit kara cum cojuge.
ﺍﻟﺘﺮ ﺔ:
ﻣﻦ ﺍﻟﻨﺎﺭ ﺗﻜﻮﻥ ﻟﻴﱪ
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺒﺪﺃ ﺍﻟﻔﻘﺮﺓ ﺍﻷﻭﱃ ﻣﻦ ﺍﻟﻜﺘﺎﺑﺔ ﺑﻘﺼﻴﺪ ﺃﺭﻳﺴﺘﻮﻓﺎﱐ ﻳﺘﻌﻠﻖ ﲟﻮﻟﺪ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺪﺭﺍﻣﻲ )ﺍﻟﺴﻄﺮ ،( 1
ﻭﻟ ﺷﺎﺭﺓ ﻳﻮﺟﺪ ﻗﺼﻴﺪ ﳑﺎﺛﻞ ﲟﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ ﻭ ﻟﻜﻦ ﻣﻜﺘﻮﺏ ﺑﻄﺮﻳﻘﺔ ﻏﲑ ﻣﺒﺎﺷﺮﺓ.24
ﺗﺬﻛﺮ ﺣﻜﺎﻳﺔ ﻫﺬﻩ ﺍﻟﻮﻻﺩﺓ ﻛﻤﺎ ﺗﻘﺼﻬﺎ ﺃﻳﻀﺎ ﺍﻷﺳﻄﻮﺭﺓ ﺍﳉﻨﲔ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻳ ﻉ ﻣﻦ ﺃﻣﻪ ﲰﻴﻠﻲ ﺍﻟﱵ
ﻛﺎﻧﺖ ﰲ ﺍﳌﻤﺎﺕ ﻭ ﻳﻮﺿﻊ ﰲ ﻓﺨﺬ ﺍﻹﻟﻪ ﺯﻭﺱ ﺣﱴ ﻻ ﺗﺮﺍﻩ ﺯﻭﺟﺘﻪ ﺍﻟﻐﻴﻮﺭﺓ ﻫﲑﺍ ،ﰒ ﻤﻴﻪ ﺍﻹﻟﻪ ﺯﻭﺱ
ﺃﺑﻮﻩ ﺑﻴﺪﻩ ﺍﻟﻴﻤ )ﺍﻟﺴﻄﺮ .(2ﻷﻭﻝ ﻣﺮﺓ ﳚﻤﻊ ﺑﲔ ﻟﻴﱪ /ﺩﻳﻮﺯﻳﻨﻮﺱ ﻭ ﺃﻣﻪ ﲰﻴﻠﻲ ﺇﺫ ﻋﺎﺩﺓ ﻣﺎ ﻳﻈﻬﺮ ﻣﻊ
ﺍﻷﳍﺔ ﻟﻴﱪﺍ ،ﻭ ﰲ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻳﺬﻛﺮ ﻣﻊ ﺃﻣﻪ ﺍﻟﱵ ﺗﺮﻣﺰ ﺇﱃ ﺍﻷﺭﺽ ﻭ ﺍﳋﺼﻮﺑﺔ ،ﻭ ﺍﻟﻜﺘﺎﺑﺔ ﻣﻬﺪﺍﺓ ﻣﻦ
ﻃﺮﻑ ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪﺑﺎﺗﺮ ﺑﻌﺪﻣﺎ ﻗﺎﻡ ﺑﻨﺪﺭ ﻫﻮ ﻭﺯﻭﺟﺘﻪ.25
ﻳﻘﺘﺮﺡ ﻟﺴﻜﻲ ﻗﺮﺍﺀﺓ ﳐﺘﻠﺔ ﰲ ﺍﻟﺴﻄﺮﻳﻦ 6ﻭ 7ﻷﻧﻪ ﻳﺮﻯ ﺃﻧﻪ ﻻ ﻋﻼﻗﺔ ﺑﲔ ﻭﺿﻊ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﳉﻨﲔ ﰲ
ﻓﺨﺪ ﺃﺑﻴﻪ ﻟﻴﻜﺘﻤﻞ ﻮﻩ ﻭ ﺑﲔ ﻋﺒﺎﺭﺓ gaudetﺍﻟﱵ ﺗﻌﲏ "ﺍﻟﺘﻤﺘﻊ" ﻗﺪ ﻳﻜﻮﻥ ﺍﻟﻨﺎﺳﺦ ﺃﺧﻄﺄ ﻭ ﻛﺘﺐ
ﰲ ﺍﻷﻭﻝ ﺣﺮﻑ Gﻋﻮﺿﺎ ﻋﻦ Cﻏﲑ ﺃﻥ ﺣﺮﻑ Dﱂ ﻳﻮﺟﺪ ﺃﺑﺪﺍ.26
ﺍﻟﺘ ﺭﻳ :
24
CIL VIII 26 32
25
Massiera, op cit p 349
26
L. Leschi, BCTH. 1948. P 424
294
ﻭﻫﺪﺍ ﻣﺎ ﻳﻮﺍﻓﻖ ﺑﺪﺍﻳﺔ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﰲ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺑﺎﻟﺼﻮﺭﺓ،ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ
27
.ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻊ ﺑﺪﺍﻳﺔ ﺣﻜﻢ ﺍﻟﻌﺎﺋﻠﺔ ﺍﻟﺴﻔﲑﻳﺔ
Mons ﻣﻮﻧ
:ﻧﻘﻞ ﺍﻟﻨﺺ
Libero patri Augusto. Ex test(amento) C(aii) Iulii, C(aii) f(ilii), pap(iria), Vic(to) rini
q(uaestorus), aeddil(is), Iivir(i), fl(aminus) perpetui, Iulii Sca-
(p)u(l)a(?) Crescentianus, Victorinus, filii) eius, posuerunt et dedicave-
r(unt).
27
Idem p350
295
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﻟﻌﻈﻴﻢ ،ﺑﻮﺻﻴﺔ ﻛﺎﻳﻮﺱ ﺍﻳﻮﻟﻴﻮﺱ ﻓﻴﻜﺘﻮﺭﻳﻨﻮﺱ ﺇﺑﻦ ﻛﺎﻳﻲ ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ،ﺍﺷﺘﻐﻞ
ﻣﻨﺎﺻﺐ :ﻣﺴﺌﻮﻝ ﺍﳌﺎﻟﻴﺔ ،ﻣﺴﺌﻮﻝ ﻣﻜﻠﻒ ﺑﺄﺷﻐﺎﻝ ﺍﻟﻌﻤﻮﻣﻴﺔ ﻭ ﺍﻟﺜﻘﺎﻓﻴﺔ ،ﰒ ﻣﺴﺌﻮﻝ ﺑﻠﺪﻱ ،ﻭﻫﻮ ﻛﺎﻫﻦ
ﺩﺍﺋﻢ ،ﻭﺿﻊ ﺍﻟﻨﺎﻗﺸﺔ ﺃﺑﻨﺎﺀﻩ ﺍﻳﻮﻟﻴﺎ ﺳﻜﺎﺑﻮﻻ ،ﻛﺮﺳﻜﻨﺘﻴﺎﻧﻮﺱ ﻭﻓﻜﺘﻮﺭﻳﺎﻧﻮﺱ .
-2ﺟﺰﺀ ﻛﺘﺎﺑﺔ:
ﺍﳌﺮﺍﺟ :
Massiera.P, "note sur des inscriptions de Mons" BCTHS.1946-49.pp656-668.
A.Ep. 1948 n° 129, p51.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ:ﺇﺭ ﺍﳊﺮﻭﻑ=3ﺳﻢ
ﺍﻟﻜﺘﺎﺑﺔ:
LIBE
ﻋﺒﺎﺭﺓ ﻋﻦ ﺇﻃﺎﺭ ﻣﺴﺘﻄﻴﻞ ﺑﻘﺖ ﻓﻴﻪ ﺍﳊﺮﻭﻑ ﺍﻷﺭﺑﻌﺔ ﻷﺳﻢ ﺍﻹﻟﻪ ﻟﻴﱪ.
ﻻﻣﺒﻴﺰ
-1ﺇﻫﺪﺍﺀ
ﺍﳌﺮﺍﺟ :
J.Carcopino.H. Focillon, "inscriptions latines d'Afrique". BCTHS. 1904. N° 30,
p199.
A.Ep. 1904 n° 71, p17.
ﺍﳌﺼﺪﺭ :ﻏﺮﻓﺔ ﻋﻠﻰ ﺍﻟﻄﺮﻳﻖ ﺍﻟﺸﺮﻗﻲ ﻟﻠﻠﱪﺍﻳﺘﻮﺭﻳﻮﻡ.
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ 0.33 :ﻋﻠﻰ / 0.36ﺇﺭ ﺣﺮﻭﻑ= 35ﻣﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
Genio castrorum
Leg . iii aug.
GALIIENAE
NVMISIVS M
VLVS PP OF APO
296
THE CM CONS M
M T M ARM LBE
RO PQTRI POSVIT
ﻧﻘﻞ ﺍﻟﻨﺺ:
Genio castrum? leg(ionis) III Aug(ustae) Gllienae Numisius Natulus
P(rimi)p(ilus) ob apothecam consumnatam aram Libero Patri posuit.
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﺣﺎﻣﻲ ﺍﳌﻌﺴﻜﺮ ﻟﻠﻔﺮﻗﺔ ﺍﻷﻏﺴﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﺍﻟﻐﺎﻟﻴﻨﻴﺔ ،ﻣﻦ ﻃﺮﻑ ﻧﻮﻣﻴﺴﻴﻮﺱ ﻧﺎﺗﻮﻟﻮﺱ ﺍﻟﻌﻤﻮﺩ
ﺍﻷﻭﻝ ﰲ ﺍﻟﻔﺮﻗﺔ ،ﺇﻛﺘﻤﻞ ﺑﻨﺎﺀ ﳐﺰﻥ ﻟﻠﺨﻤﺮ ﻭ ﻣﺬﺑﺢ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺘﻌﻠﻖ ﺍﻟﻨﻘﻴﺸﺔ ﲜﻨﺪﻱ ﺳﺎﻣﻲ ﻣﻦ ﺍﻟﻔﺮﻗﺔ ﺍﻷﻏﺴﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﻛﻠﻒ ﺑﻌﺪ ﻋﻮﺩﺗﻪ ﺇﱃ ﻻﻣﺒﻴﺰ ﺑﺘﺴﻴﲑ ﺃﺷﻐﺎﻝ
ﺑﻨﺎﺀ ﳐﺰﻥ ﻟﻠﺨﻤﺮ )ﺳﻄﺮ ،(5ﻭﳍﺪﺍ ﻭﺿﻊ ﻛﺘﺎﺑﺔ ﻳﺸﻜﺮ ﻓﻴﻬﺎ ﺇﻟﻪ ﺍﳋﻤﺮ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭﻳﻬﺪﻱ ﻟﻪ ﻣﺬﲝﺎ )ﺳﻄﺮ
.(7ﻭﻟ ﺷﺎﺭﺓ ﻳﺒﺪﻭ ﺃﻥ ﺍﳋﻤﺮ ﺩﺧﻞ ﺿﻤﻦ ﺍﻟﺘﻤﻮﻳﻦ ﺍﻟﻌﺴﻜﺮﻱ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺷﻐﻞ ﻣﻜﺎﻧﺔ
28
ﻛﱪﻯ.
ﻣﻦ ﺧﻼﻝ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻧﻠﻤﺲ ﺃﳘﻴﺔ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻟﺪﻯ ﺍﳉﻴﺶ ﺍﻹﻓﺮﻳﻘﻲ ﺃﻣﺎﻡ ﺍﻷﻟﻪ ﻣﺎﺭﺱ ﻭ ﺍﻵﳍﺔ
29
ﻣﻴﻨﺮﻑ ،ﻭ ﻫﻲ ﺃﻭﻝ ﻧﺎﻗﺸﺔ ﺗﺬﻛﺮ ﻟﻴﱪ ﺑﺎﺗﺮ ﺩﺍﺧﻞ ﺍﳌﻌﺴﻜﺮ ﻭ ﻟﻴﺲ ﰲ ﺍﳌﺪﻳﻨﺔ.
ﺍﻟﺘ ﺭﻳ 268-253 :ﻡ.
-2ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
CIL. VIII.2632
R.Cagnat, Musée de Lambèse (Paris Leroux. 1891), p21
W, Froehner ,Mélanges d'épigraphie. Paris 1875, p33
ﺍﳌﺼﺪﺭ :ﻓﻮﻕ ﻗﺎﻋﺪﺓ ﲤﺜﺎﻝ ﺑﲔ ﻗﺎﻋﺘﺎﻥ ﻣﺒﻠﻄﺘﺎﻥ ﺑﲔ ﺍﻟﻘﺮﻳﺔ ﻭﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﺼﻐﺮﻯ ،ﰲ ﺍﳌ ﻝ ﺍﳌﺮﻛﺰﻱ.
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﻟﺴﺠﻦ؟
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 1.08ﻡ /ﻋﺮ=0.52ﻡ /ﺇﺭ ﺍﳊﺮﻭﻑ= 4ﻣﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
28
R.Cagnat, L’armée romaine d’Afrique et l’occupation militaira de l’Afrique sous les
empereurs.(Paris Ed Leroux 1902) p 380.
29
BCTHS. 1904 P200
297
ALFENQ FORTVNATO.
VISVS DICERE SOMNO.
LEIBER PATER BIMA
TVS . IOVS. E FVLMINE
NATVS. BASIS HNC NQ
VATIONEM. GENIO
DOMVS SACRAND M.
VOTVMDEODICA . PRAEF
IPSE CASTRIS . ADES ERGO
CVM PANSCO . MEMOR
HOC MVNERE NOSTRO.
NATIS SOSPITE MATRE.
FACIAS VIDERE ROMM.
DOMINIS MVNERE HONO
RE . MACTVM CORONA
TVMQVE♠
:ﻧﻘﻞ ﺍﻟﻨﺺ
Alfeno Fortunato
Visus dicere somno
Leiber Pater bimatus,
Iovis é fulmine natus,
Basis hanc novaionem
Genio domus sacrandam.
Votum deo dicavi
Praef(ectus) ipse castris.
Ades ergo cum Pasnisco,
Menor hoc munere nostro
Natis sospite matre
Facias videre Romam,
Dominis munere, honore,
Mactum coronatumque
:ﺍﻟﺘﺮ ﺔ
،ﺃﻟﻔﻴﻨﻮ ﻓﻮﺭﺗﻴﻨﺎﺗﻮ ﺭﺃﻯ ﰲ ﺣﻠﻤﻪ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻭ ﺍﻹﻟﻪ ﺟﻮﺑﻴﺘﺮ ﻓﻮﻕ ﻗﺎﻋﺪﻬﺗﻤﺎ ﻭ ﺍﻟﺬﻱ ﻤﻞ ﺍﻟﺼﺎﻋﻘﺔ
ﻭ ّﳚﺪﺩ ﺇﱃ ﺍﻹﻟﻪ ﺣﺎﻣﻲ ﺍﳌ ﻝ ﲤﻨﻴﺎﺗﻪ ﻭﳜﱪﻩ ﺃﻧﻪ ﺳﻴﺼﺒﺢ ﻣﺴﺌﻮﻝ ﺍﻟﺸﺆﻭﻥ ﺍﻹﺩﺍﺭﻳﺔ ﳍﺪﺍ ﳚﺐ ﻋﻠﻴﻪ ﻳﺸﺮﻑ
ﺍﳌﻌﺒﺪ ﺑﺘﺬﻛﺎﺭ ﻭ ﺑﺘﻘﺪﱘ ﻫﺪﺍﻳﺎ ﻭ ﻳﺸﺮﻑ ﺍﻷﻣﺔ ﲢﺖ ﺃﻧﻈﺎﺭ ﺍﻟﺸﻌﺐ ﺍﻟﺮﻭﻣﺎﱐ ﺑ ﺣﻀﺎﺭ ﺑﺎﻗﺔ ﻭﺭﻭﺩ ﻭ
.ﺗﻀﺤﻴﺔ ﺣﻴﻮﺍﻥ
:ﺍﻟﺘﺤﻠﻴﻞ
.ﻋﺒﺎﺭﺓ ﻋﻦ ﺻﻼﺓ ﻣﻮﺟﻬﺔ ﺇﱃ ﺍﺍﻷﻟﻪ ﻳﱪ ﺑﺎﺗﺮ ﻭ ﺇﱃ ﺟﻮﺑﻴﺘﺮ ﻱ ﺻﻮﺭﺓ ﻗﺼﻴﺪ ﺃﻳﻮﱐ
: ﻣﺪﺑ-3
: ﺍﳌﺮﺍﺟ
298
R.Lugand, "Etude de quelques monuments inédits du Musée de Lambèse". MEFR,
1942-27, pp119-129.
A.Ep.1928, 106, p32
ﺍﳌﺼﺪﺭ :ﴰﺎﻝ ﻗﻮﺱ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﲑﻭﺱ ،ﺑﲔ ﺍﳊﺼﻦ ﺍﻟﺒﻴﺰﻧﻄﻲ ﻭ ﺍﻟﻄﺮﻳﻖ ﺍﻟﻘﺪﱘ.
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺣﺪﻳﻘﺔ ﺍﳌﺘﺤﻒ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.28ﻡ /ﻋﺮ= 0.40ﻡ /ﺱ= 0.27ﻡ.
ﺍﻟﻜﺘﺎﺑﺔ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺬﺑﺢ ﺑﻘﺎﻋﺪﺓ ﻣﻔﺮﺯﺓ ﻭ ﻗﺴﻢ ﺃﻋﻠﻰ ﻣﺰﺧﺮﻑ ﻭ ﺑﻪ ﺣﻔﺮﺓ ﳐﺼﺼﺔ ﻹﺭﺍﻗﺔ ﺍﳋﻤﺮ.
ﻧﻘﻞ ﺍﻟﻨﺺ:
Deo. Patrio . / Libero. Patri / (c)onserva-
Tori . / dominor(um) . nn (n) (ostrorum) /.
Augg(g) (ustorum) . / q(uintus) . ranius.
)Cas/sianus trb(unus). Mil(itum)./ leg(ionis
Iii (tertiae) aug(ustae). /. V(otum) . s(olvit) .
L(ibens) a(nimo).
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺇﻟﻪ ﺍﻷﻣﺔ ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﳊﺎﻣﻲ ،ﺇﱃ ﺃﺳﻴﺎﺩﻧﺎ ﺍﻟﺜﻼﺛﺔ ،ﻭﺿﻊ ﺍﻟﻨﺎﻗﺸﺔ ﻛﻮﻳﻨﺘﻮﺱ ﺭﺍﻧﻴﻮﺱ ﻛﺎﺳﻴﺎﻧﻮﺱ ﻭﻫﻮ
ﻣﻨﱪﻱ ﻋﺴﻜﺮﻱ ﰲ ﺍﻟﻔﺮﻗﺔ ﺍﻷﻏﺴﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ،ﲢﻘﻘﺖ ﺃﻣﻨﻴﺘﻪ ﻓﻀﺤﻰ ﲝﻴﻮﺍﻥ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﻫﺪﻩ ﺍﻟﻨﺎﻗﺸﺔ ﰲ ﻬﻮﺭ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺎﺳﻢ ﺇﻟﻪ ﺍﻷﻣﺔ ﺇﺫ ﻻ ﻳﻮﺟﺪ ﻣﺜﺎﻝ ﺁﺧﺮﰲ ﺍﻟﻨﻘﻴﺸﺎﺕ
ﺍﻟﻼﺗﻴﻨﻴﺔ 30.ﻭﺗﻘﺮﺃ ﻫﺬﻩ ﺍﻟﻌﺒﺎﺭﺓ ﺑﻄﺮﻳﻘﺘﺎﻥ :ﺇﻟﻪ ﺍﻷﻣﺔ ﺃﻭ ﺍﳌﺪﻳﻨﺔ ﻛﻤﺎ ﻳﺬﻛﺮ ﺳﺮﻓﻴﻮﺱ 31ﺃﻭ ﺇﻟﻪ ﺍﻷﺟﺪﺍﺩ
32
ﻭﻫﺬﺍ ﺍﻟﻠﻘﺐ ﳝﻨﺢ ﻋﺎﺩﺓ ﺇﱃ ﺍﻹﳍﺔ ﺍﶈﻠﻴﺔ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺃﻭ ﺇﱃ ﺇﻟﻪ ﺭﻭﻣﺎﱐ ﻭﺍﺣﺪ ﻫﻮ ﺃﺑﻮﻟﻮﻥ ﺑﺘﻮﻧﺲ
ﻳﺆﻭﻝ ﻬﻮﺭ ﻫﺪﻩ ﺍﻟﻌﺒﺎﺭﺓ ﻣﻊ ﺇﺳﻢ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﰲ ﻫﺬﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺑﻄﺮﻳﻘﺘﺎﻥ:
-1ﺃﻥ ﻳﻜﻮﻥ ﻟﻴﱪ ﺑﺎﺗﺮ ﺇﻟﻪ ﺍﳌﺪﻳﻨﺔ ﺍﻷﺻﻠﻴﺔ ﺍﻟﱵ ﻗﺪﻡ ﻣﻨﻬﺎ ﺍﳌﻬﺪﻱ ،ﺟﻨﺪﻱ ﺍﻟﻔﺮﻗﺔ ﺍﻟﺜﺎﻟﺜﺔ ﺍﻷﻏﺴﻄﻴﺔ،
ﻭﺭﲟﺎ ﻳﻜﻮﻥ ﻗﺪ ﺟﺎﺀ ﻣﻦ ﺍﻟﺴﲑﺕ ﺍﻟﻜﱪﻯ ﻭ ّﺷﻴﺪ ﻣﺬﲝﺎ ﺇﱃ ﺇﻟﻪ ﻣﺪﻳﻨﺔ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻴﻔﺮﻭﺱ
33
ﺍﻟﺬﻱ ﻗﺎﻡ ﰲ ﻧﻔﺲ ﺍﻟﻔﺘﺮﺓ ﺑﺘﻜﺮﻳﺲ ﻣﻌﺒﺪ ﺑﺮﻭﻣﺎ ﺇﱃ ﺁﳍﺔ ﻟﻴﺘﻴﺲ ﻣﺎﻗﻨﺎ ،ﻫﺮﺍﻗﻞ ﻭ ﻟﻴﱪ ﺑﺎﺗﺮ؟
-2ﺃﻥ ﻳﻜﻮﻥ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻫﻮ ﺇﻟﻪ ﻣﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ ﻭ ﺑﺎﻟﺘﺎ ﻫﻮ ﺇﻟﻪ ﳏﻠﻲ ﻳﻈﻬﺮ ﰲ ﺷﻜﻞ ﺭﻭﻣﺎﱐ ﻭ
ﻫﺬﺍ ﻣﺎ ﻳﻔﺴﺮ ﻬﻮﺭ ﻋﺒﺎﺭﺓ ﺇﻟﻪ ﺍﳌﺪﻳﻨﺔ ﻣﻊ ﺇﺳﻢ ﺍﻹﻟﻪ ﺍﻟﻼﰐ؟ ﻓﻤﺎ ﻳﻌﱪ ﻫﺬﺍ ﺳﻮﻯ ﻋﻦ ﺍﳌﺮﺣﻠﺔ
ﺍﳌﺎﻗﺒﻞ ﺍﻷﺧﲑﺓ ﰲ ﺗﻄﻮﺭ ﲤﺜﻴﻞ ﺍﻷﻟﻪ ﺍﶈﻠﻲ ﺷﺪﺭﻓﺔ ﺑﺎﻹﻟﻪ ﺍﻟﺮﻭﻣﺎﱐ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺃﻣﺎ ﰲ ﺍﳌﺮﺣﻠﺔ
30
MEFR. 1924-27
31
SERVIUS, Ad geo rg. I. 498
32
CIL.VIII. 619
33
Dion Cassius. LXXVI. 16
299
ﺍﻷﳋﲑﺓ ﻟﻠﺘﻄﻮﺭ ﻳﻈﻬﺮ ﺍﻷﺳﻢ ﺍﻟﻼﺗﻴﲏ ﻟ ﻟﻪ ﻭﺣﺪﻩ ﻭ ﻫﻮ ﻟﻴﱪ ﺑﺎﺗﺮ ﻛﻤﺎ ﻻﺣﻈﻨﺎﻩ ﰲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ
ﺍﻟﻨﻘﺎﺋﺶ.34
ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﻻﻳﻔﻮﺗﻨﺎ ﺃﻥ ﻧﻘﺮﺏ ﻫﺎﺗﻪ ﺍﻟﻨﻘﻴﺸﺔ ﺑ ﻫﺪﺍﺀ ﺁﺧﺮ ﻳﺬﻛﺮ ﳐﺰﻥ ﻷﻣﻔﻮﺭﺍﺕ ﺍﳋﻤﺮ) ﺍﻹﻫﺪﺍﺀ ﺭﻗﻢ
(1ﰲ ﻧﻔﺲ ﺍﳌﺪﻳﻨﺔ ﻣﻬﺪﺍﺓ ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﻳﻜﻮﻥ ﺍﻷﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺇﻟﻪ ﻣﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ
ﻭ ﺣﺎﻣﻲ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ ﻱ ﻧﻔﺲ ﺍﻟﻮﻗﺖ.
ﺍﻟﺘ ﺭﻳ 212-209 :ﻡ
ﺗﻴﻤﻘﺎ
-1ﻛﺘﺎﺑﺔ ﻳﻨﻴﺔ:
ﺍﳌﺮﺍﺟ :
A.Ep 1976, n° 708,pp224-225/ BCTHS.1908, n° 5, p253/ BCTHS,1932-33, n°1,
p175
B. A.M.Liesenfeltety. Lebohec, in BCTHSM 10-11M 1974-75, Fasc B, p39, 123.
ﺍﳌﺼﺪﺭ :ﺃﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﳍﺎ ﰲ ﺍﻟﺒﺎﺯﻳﻠﻴﻜﺎ ﺍﻟﻜﺒﲑﺓ.
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺯﺭﻕ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ:
ﺍﻟﻜﺘﺎﺑﺔ:
CAELIVS CRESGORTYNIS F GMVS BVCO
DONATAE CONIVGI POSTER ISQVE SVIS
ﻧﻘﻞ ﺍﻟﻨﺺ:
)Caius Aelius Gresgortynis Primus buco(lista
)Donatae coniugi posterisque suis(fecit
ﺍﻟﺘﺮ ﺔ:
ﻛﺎﻳﻮﺱ ﺍﻳﻠﻴﻮﺱ ،ﻛﺮﻳﱵ ﻣﻦ ﻛﻮﺭﻳﻨﺎ ،ﺃﻭﻝ ﺍﳌﺆﺩﻳﲔ ﻟﻠﺸﻌﺎﺋﺮ ﺍﻟﺪﻳﻨﻴﺔ ﰲ ﺍﳉﻤﻌﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﻮﻳﺔ ،ﺯﻭﺟﺘﻪ
ﺃﳒﺰﺕ ﻭﻋﺪﻩ ﺑﻨﻔﺴﻬﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
34
MEFR op cit p 126
300
ﺑﻜﻮﻟﻴﺴﺘﺎ) ﺍﻟﺴﻄﺮ (1ﺍﻟﻠﺬﻳﻦ ﻳﻨﺘﻤﻮﻥ ﺇﱃ ﻌﻴﺔ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ،ﻫﻢ ﻣﻦ ﺻﻒ ﺍﳌﻌﻨﻴﲔ ﺍﳌﺆﺩﻳﲔ
ﻟﻠﺸﻌﺎﺋﺮ ﺍﻟﺪﻳﻨﻴﺔ ، 35ﻭ ﻫﺪﻩ ﺍﻟﺮﺗﺒﺔ ﱂ ﳒﺪﻫﺎ ﰲ ﻣﻮﻗﻊ ﺁﺧﺮ ﻏﲑ ﺗﻴﻤﻘﺎﺩ ﻓﻬﻞ ﻳﻌﲏ ﻫﺬﺍ ﻭﺟﻮﺩ ﻌﻴﺔ
ﺩﻳﻨﻴﺔ ﺧﺎﺻﺔ ﺑﺎﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻬﺑﺬﻩ ﺍﳌﺪﻳﻨﺔ؟.
-2ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
R. Cagnat, BCTHS, 1894, n° 78, p363.
ﺍﳌﺼﺪﺭ :ﻗﱪ ﰲ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ
ﺍﻟﻜﺘﺎﺑﺔ:
BVCOLISTAE. QVI. VIXIT. A .XX. ET
QVAE. VIXIT. ANNIS. VIII
ISTES. SIBI. ET. ARRVNTIAE
FECIT. IDEMQVE. DEDICAVIT
ﻧﻘﻞ ﺍﻟﻨﺺ:
(…….) Bucolistae qui vixit annis xx et
quae vixit annis VIII
(bucol)istes sibi et arruntiae
fecit idemque dedicavit
ﺍﻟﺘﺮ ﺔ:
ﺑﻜﻮﻟﻴﺴﺘﺎﻱ ﺍﻟﺬﻱ ﻋﺎﺵ 20ﺳﻨﺔ ﻭ ﻗﻀﻰ 8ﺳﻨﻮﺍﺕ ﺑﲔ ﺍﳌﺆﺩﻳﲔ ﻟﻠﺸﻌﺎﺋﺮ ﺍﻟﺪﻳﻨﻴﺔ ،ﻭﺿﻊ ﺍﻟﻨﻘﻴﺸﺔ
ﻭﻛﺘﺒﻬﺎ ﻟﻨﻔﺴﻪ ﻭ ﺇﱃ ﺃﺭﻭﻧﺴﻴﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺘﻌﻠﹼﻖ ﺍﻟﻜﺘﺎﺑﺔ ﺑﺸﺨﺺ ﻛﺎﻥ ﻳﺆﺩﻱ ﻭ ﻴﻔﺔ ﺩﻳﻨﻴﺔ ﰲ ﻣﻌﺒﺪ ﺩﻳﻮﻧﻴﺰﻱ ﻛﻤﺎ ﺗﺸﲑ ﺇﱃ ﺩﻟﻚ ﻋﺒﺎﺭﺓ
"ﺑﻜﻮﻟﻴﺴﺘﺎ" ﺃﻱ ﺣﺎﻣﻲ ﺍﻟﺜﲑﺍﻥ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
-3ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
A.Ep. 1957, n° 185, p56/ H. D'Escuray Doisy, "inscription de Timgad" in Libyca,
IV, 1956, n° 25, pp111-112.
Christofle. M, Rapport sur les travaux de fouilles et de consolidation. 1934-35-36,
p470
ﺍﳌﺼﺪﺭ :ﺍﳌﻘﱪﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻗﺮﺏ ﺍﻟﻜﻨﻴﺴﺔ ﺍﳉﻨﻮﺑﻴﺔ.
ﺍﳌﺎ ﺓ :ﺣﺠﺮ ﻛﻠﺴﻲ ﺃﺑﻴﺾ
35
A.bruhl; Liber pater. P 278
301
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﻁ= 2ﻡ /ﻋﺮ = 0.43ﻡ /ﺍﺭ= 0.43ﻡ /ﺇﺭ ﺍﳊﺮﻭﻑ = 7.5ﺳﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
ﻧﻘﺸﺖ ﻓﻮﻕ ﺗﺎﺑﻮﺕ ﻭﺛﲏ ﺃﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﻟﻪ ،ﻛﺎﻥ ﻣﻄﻠﻲ ﺑﻄﻼﺀ ﺃﲪﺮ.
C. HABELIVS . DONATVS . QVI ET .
φPVRPVRIVS BVCOL STA . VAQVAN VMPOTVIT
CETERVMDEGVILLIAVTAφ
ﻧﻘﻞ ﺍﻟﻨﺺ:
Caius Habellius Donaus qui et
Purpurius, bucalusta, vixit annis quantum
Potvit ceterum degunit avita bona
)C.H. (Caius Habellius ﻄﺎﺀ ﺍﻟﺘﺎﺑﻮﺕ ﻛﺘ : ﻓﻮ
ﺍﻟﺘﺮ ﺔ:
ﻛﺎﻳﻮﺱ ﻫﺎﺑﻠﻴﻮﺱ ،ﻭ ﻫﻮ ﺇﺳﻢ ﻬﺗ ﹼﻜﻤﻲ ﻣﻦ ﺻﻒ ﺍﳌﺆ ّﺩﻳﲔ ﻟﻠﺸﻌﺎﺋﺮ ﺍﻟﺪﻳﻨﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ،ﻋﺎﺵ ﺑﻘﺪﺭ ﻣﺎ ﺃﺭﺍﺩ
ﳉﺪ.
ﻭ ﺑ ﹼﺬﺭ ﻣﲑﺍﺙ ﺍ ﹼ
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺬﻛﺮ ﻫﺬﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺍﳌﻴﺖ ﻫﺎﺑﻠﻴﻮﺱ ﺍﻟﺬﻱ ﻛﺎﻥ ﺭﺍﻋﻲ ﺍﻟﺜﲑﺍﻥ ﺑﺼﻔﺔ ﺭﻣﺰﻳﺔ ﺇﺫ ﺑﺴﺒﺐ ﲤﺜﻴﻞ ﺍﻹﻟﻪ
ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﺎﻟﺜﻮﺭ ﰲ ﺑﺪﺍﻳﺔ ﻋﺒﺎﺩﺗﻪ ،ﻛﺎﻥ ﻟﺮﻋﺎﺓ ﺍﻟﺜﲑﺍﻥ ﺩﻭﺭ ﺭﻭﺣﻲ ﻭ ﻃﻘﻮﺳﻲ ﻭ ﰲ ﻓﺘﺮﺓ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ
ﺃﺻﺒﺤﻮﺍ ﻳﺆﺩﻭﻥ ﺩﻭﺭ ﲤﺜﻴﻠﻲ ﰲ ﺍﻻﺣﺘﻔﺎﻝ ﺑﺎﻟﺸﻌﺎﺋﺮ ﺇﺫ ﻛﺎﻧﻮﺍ ﻳﺮﻗﺼﻮﻥ .ﻭﻫﺪﺍ ﺍﻟﺘﻨﻈﻴﻢ ﺍﳉﺪﻳﺪ ﰲ ﻋﺒﺎﺩﺓ
ﻟﻴﱪ ﺑﺎﺗﺮ ﻬﺮ ﻣﻊ ﺍﻟﺒﺪﺍﻳﺔ ﰲ ﺍﳉﻤﻌﻴﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑ ﺳﻴﺎ ﺍﻟﺼﻐﺮﻯ ﰒ ﺩﺧﻞ ﺇﱃ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﱪ
ﺍﻟﺘﺄﺛﲑﺍﺕ ﺍﳍﻴﻠﻴﻨﻴﺔ ﻭ ﺩﻟﻚ ﻣﺎ ﻳﻈﻬﺮ ﻣﻦ ﺧﻼﻝ ﻧﻘﻞ ﻋﺒﺎﺭﺓ ﺑﻜﻮﻟﻴﺴﺘﺎ ﻣﺒﺎﺷﺮﺓ ﻣﻦ ﺍﻹﻏﺮﻳﻘﻴﺔ .
ﻧﺴﺘﺨﻠﺺ ﺇﺫﻥ ﺃﻥ ﻫﺎﺗﻪ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺗﻌﺮﻓﻨﺎ ﻋﻠﻰ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﱵ ﺍﺗﺒﻌﻬﺎ ﺍﳌﻴﺖ ﺃﻻ ﻭ ﻫﻲ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ
36
ﺭﻏﺒﺔ ﻣﻨﻪ ﺑﺎﻟﺘﻤﺘﻊ ﺑﺎﳉﺎﻧﺐ ﺍﳌﺎﺩﻱ ﻟﻠﺤﻴﺎﺓ
ﺃﻣﺎ ﺍﻟﻌﻼﻣﺎﺕ ﻋﻠﻰ ﺷﻜﻞ ﻫﻼﻝ ﻓﻮﻕ ﺫﻳﻞ ،ﺍﻟﱵ ﺗﻈﻬﺮ ﰲ ﺑﺪﺍﻳﺔ ﻭ ﻬﻧﺎﻳﺔ ﺍﻟﻜﺘﺎﺑﺔ ،ﻓﻬﻲ ﺫﺍﺕ ﺃﺻﻞ ﻓﻴﻨﻘﻲ
ﻭ ﻗﺪ ﺗﻜﻮﻥ ﲢﻤﻞ ﻣﻌ ﺩﻳﻮﻧﻴﺰﻱ ﺭﲟﺎ ﻛﺨﺎﺻﻴﺔ ﳌﺰﺭﺍﻕ ﺍﻹﻟﻪ ﻭ ﻛﻌﻼﻣﺔ ﲤﻴﻴﺰ ﺗﻌﺮﻑ ﺑﲔ ﺃﺗﺒﺎﻉ ﻫﺪﻩ
37
ﺍﻟﻌﺒﺎﺩﺓ؟
-4ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
A. Ep. 1894. 85. p27 / D'escuray Doisy, H. LIBYCA. IV. 1956, p116
36
D’escuray Doisy, op cit. p 114- 116
37
A. Bruhl, op cit p 238 .note 130
302
Gsell et Graillot, "Ruines romaines au nord de l'aures" in MEFR, 1893, T XIII, p475.
Massiera. P, LATOMUS, Revue d'études latines. T V, Fasc 3-4 1946 p347.
ﺍﳌﺼﺪﺭ :ﻋﻠﻰ ﺑﻌﺪ ﻛﻠﻢ ﻭﺍﺣﺪ ﻣﻦ ﺍﳌﻴﻞ ﻋﻠﻰ ﻃﺮﻳﻖ ﺗﻴﻤﻘﺎﺩ ﰲ ﺍﲡﺎﻩ ﺧﻨﺸﻠﺔ .
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺃ= / 0.56ﻁ = 2.33ﻡ /ﺱ = 0.17ﻡ /ﺍﺭ ﺣﺮﻭﻑ = 9-5ﺳﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
38
MEFRA, Op cit, p 475.
303
ﻭ ﻴﻔﺔ pedisequatriusﻫﺬﻩ ﻳﻘﻮﻝ ﻋﻨﻬﺎ ﺍﻟﺒﺎﺣﺚ ﺑﻨﻌﺒﻮ 39ﺃﻬﻧﺎ ﻏﲑ ﻣﻌﺮﻭﻓﺔ ﲟﻨﺎﻃﻖ ﺃﺧﺮﻯ ﻭ ﻟﺬﺍ
ﻗﺪ ﺗﻜﻮﻥ ﺑﻘﺎﻳﺎ ﳌﻤﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﺍﻓﺮﻳﻘﻴﺔ ﳏﻠﻴّﺔ ﺳﺎﺑﻘﺔ ﻣﻦ ﻃﺮﻑ ﺃﻓﺮﺍﺩ ﻋﺎﺋﻠﺔ ﳏﻠﹼﻴﺔ ﻳﻌﺒﺪﻭﻥ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ
ﻛﻤﺎ ﻳﺸﲑ ﺍﳍﻼﻝ ﻓﻮﻕ ﺍﻟﺮﺍﻳﺔ ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﺇﱃ ﳎﻤّﻊ ﺩﻳﻮﻧﻴﺰﻱ.
ﺳﻜﻴﻜﺪﺓ
ﺇﻫﺪﺍﺀ
ﺍﳌﺮﺍﺟ :
CIL. VIII. 7956.
J.Roger, "inscription de Philipeville" in R. Const. 1873-74. p 464, n°1.
ﺍﳌﺼﺪﺭ :ﺷﺎﺭﻉ ﺍﻟﺪﻳﻮﺍﻧﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﳌﺘﺤﻒ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.45ﻡ /ﻋﺮ = 0.50ﻡ /ﺍﺭ ﺣﺮﻭﻑ = 2ﺳﻢ
ﺍﻟﻜﺘﺎﺑﺔ :ﺟﺰﺀ ﻣﻦ ﲤﺜﺎﻝ
SANCTO ATTIIDI SACRVM
GENIO DENDROFORORVM C. ME
TEIVS EXVPERANS DENDROFOR
VS DECRETARIVS DE SVO FECIT LB
ENTI ANIMO DEDICAVIT
ﻧﻘﻞ ﺍﻟﻨﺺ:
Sancto atiidi sacrum
Genio dendrofororum C(aius) Met-
Teius decretarius de suo fecit lib-
Enti animo dedicavit
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺸﻬﺪ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﻭﺟﻮﺩ ﺍﲢﺎﺩ ﺩﻳﲏ ﺣﻔﻠﺔ ﺍﻟﺪﻧﺪﺭﻭﻓﻮﺭ) ﺍﻟﺴﻄﺮ ( 2ﻛﺎﻥ ﻳﺘﺮﺃﺳﻪ ﺍﳌﻬﺪﻱ ﲟﺪﻳﻨﺔ
ﺳﻜﻴﻜﺪﺓ ،ﻭﺃﻫﺪﻯ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﻣﻊ ﺍﻟﺘﻤﺜﺎﻝ ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻌﻠﻮﻫﺎ ﺇﱃ ﺟﻨﺪﻱ ﺍﻟﺪﻧﺪﺭﻓﻮﺭ ﺃﺗﺪﻳﻮﺱ .ﻛﺎﻧﺖ
ﺗﻘﺎﻡ ﻫﺪﻩ ﺍﳊﻔﻼﺕ ﺇﱃ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ /ﺩﻳﻮﻧﻴﺰﻭﺱ ﺃﻭ ﺇﱃ ﺍﻹﻟﻪ ﺩﳝﺘﺮ ﻭ ﲢﻤﻞ ﻓﻴﻬﺎ ﺍﻷﺷﺠﺎﺭ ﰲ ﻣﻮﻛﺐ
ﻣﻘﺪﺱ .ﻭﻣﻦ ﺍﶈﺘﻤﻞ ﺃﻥ ﻳﻜﻮﻥ ﺍﻷﻣﺮ ﻣﺘﻌﻠﻖ ﻫﻨﺎ ﲝﻔﻠﺔ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﻋﻠﻰ ﻏﺮﺍﺭ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳌﻜﺘﺸﻔﺔ
ﺑﺴﻄﻴﻒ) ﺇﻫﺪﺍﺀ ﺭﻗﻢ 1ﺹ ( 14؟
39
M.Bénabou, op cit. P 356.
304
ﺎﻳﺔ
ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
Ph. Leveau, N.Bens eddik, F. Roumane, "nouvelles inscriptions de Saldae" in BAA.
1971-74. n° 1.pp207-208.
A.Ep. 1976, n° 752. p235.
ﺍﳌﺼﺪﺭ :ﳎﻬﻮﻝ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﲜﺎﻳﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0.50ﻡ /ﻋﺮ = 0.15ﻡ /ﺍﺭ ﺣﺮﻭﻑ = 3.5ﺳﻢ.
ﺍﻟﻜﺘﺎﺑﺔ :ﻗﺎﻋﺪﺓ
MA
A. LI
AVG*SIM
VENERI
LAENIV
AEM*P
V D P*S
ﻧﻘﻞ ﺍﻟﻨﺺ:
? Ma(rti aug(usto) dacr
)A, Li(ber pater
)Aug(usto) sim(ulacrum
)Veneri (sacrum ? pul
)Laeniu(s... f(ilius
)Aem(ilia tribu) P(...
)V(ir) d(evotissimus), p(ecunia) s(ua) (dedit dedicavit
Marti fortunae / victoriae
40
ﰲ ﺍﻟﺴﻄﺮ : 1ﻧﻘﻞ ﺍﳌﺮﺟﻊ
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﺍﻷﻋﻈﻢ ﺍﳌﻘﺪﺱ ﻣﺎﺭﺱ ﻭ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﻷﻋﻈﻢ ،ﺃﻱ ﲤﺜﺎﻟﻪ ﺍﶈﺒﻮﺏ ﺃﳒﺰﺕ ﺍﻟﻨﺎﻗﺸﺔ ﻣﻦ ﻃﺮﻑ
ﺑﻮﻻﻳﻨﻴﻮﺱ ...ﻣﻦ ﻗﺒﻴﻠﺔ ﺃﳝﻠﻴﺎ ،ﻫﻮ ﺭﺟﻞ ﳐﻠﺺ ،ﺃﳒﺰ ﻭ ﺃﻫﺪﻯ ﺍﻟﻨﺎﻗﺸﺔ ﲟﺎﻟﻪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﺑﺎﲢﺎﺩ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻊ ﺍﻹﻟﻪ ﻣﺎﺭﺱ ﻭ ﻫﺪﺍ ﻷﻭﻝ ﻣﺮﺓ ﰲ ﺍﻟﻨﻘﻴﺸﺎﺕ ﺍﳌﻌﺮﻭﻓﺔ ﺑﺎﳉﺰﺍﺋﺮ ﻭ ﻗﺪ
ﺪﺙ ﺃﻥ ﺍ ﻳﻘﺘﺮﻥ ﺍﺳﻢ ﻟﻴﱪ ﻣﻊ ﻣﻊ ﺍﻹﻟﻪ ﺟﻮﺑﺘﺮ ﺑﻘﺼﻴﺪ ﻻﻣﺒﻴﺰ )ﺭﻗﻢ .2ﺹ (297ﻭ ﻋﻠﻤﺎ ﺑﺄﻥ ﻣﺎﺭﺱ
40
A.Ep, op cit
305
ﺍﺑﻦ ﺟﻮﺑﺘﺮ ﻭ ﺟﻮﻧﻮﻥ ﻭ ﻳﻌﺘﱪ ﺍﻟﻪ ﺍﳊﺮﺏ ﻭ ﺍﻟﺰﺭﺍﻋﺔ ﻭ ﺟﻮﺑﺘﺮ ﻫﻮ ﺍﻻﺳﻢ ﺍﻟﺮﻭﻣﺎﱐ ﻟ ﻟﻪ ﺍﻹﻏﺮﻳﻘﻲ ﺯﻭﺱ
)ﺃﺏ ﺩﻳﻮﻧﻴﺰﻭﺱ( ﻓﺎﻟﻌﻼﻗﺔ ﺑﲔ ﺍﻹﳍﺎﻥ ﺎﻫﺮﺓ.
ﺗﻘﺘﺮﺡ ﻋﻠﻰ ﺿﻮﺀ ﻫﺪﻩ ﺍﳌﻌﻠﻮﻣﺎﺕ ﺃﻥ ﻳﻜﻮﻥ ﺻﺎﺣﺐ ﺍﻟﻨﻘﻴﺸﺔ ﻗﺎﻡ ﺑ ﻫﺪﺍﺀ ﺇﱃ ﻣﺎﺭﺱ ﺑﺼﻔﺘﻪ ﺍﻟﻪ ﺍﻟﺰﺭﺍﻋﺔ ﻭ
ﺇﱃ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺼﻔﺘﻪ ﺍﻟﻪ ﺍﳋﻤﺮ ﻭ ﺍﻟﻌﻨﺐ ﺍﻋﺘﻘﺎﺩﺍ ﻬﺑﻤﺎ ﺍﻻﺛﻨﺎﻥ ﻻﺷﺘﺮﺍﻛﻬﻤﺎ ﰲ ﻋﻨﺼﺮ ﺍﻟﻜﺮﻭﻡ؟
ﻴﺴﺔ
-1ﺍﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
S.Gsell ; I.L.A. n°1301. P 129.
Ch.Al.Joly, „Thubursicum numidarum“ in R.Cons. 1905, n°89. P 175.
A.Ballu, in BCTHS. 1903-190.
ﺍﳌﺼﺪﺭ :ﻣﺒ ﺻﻐﲑ ﺫﻭ ﺣﻨﻴﺔ ﻗﺮﺏ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﺍﳌﺴﻴﺤﻴﺔ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻴﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 1.27ﻡ .ﺍﺭ ﺍﳊﺮﻭﻑ= 5ﺳﻢ.
ﺍﻟﻜﺘﺎﺑﺔ:
ﻧﻘﻞ ﺍﻟﻨﺺ:
)(indulgentia ) seve(ri), d(omini ) n(ostri
306
)(?), et Ant(onini e (Getae
Au(gggustorum) exornatorum
(equo publico), i(n) turmas adlect(o)rum
)uso ad(que) (?) omnib(us) ho(nor)ib(us
)functo, saccerdoti (1)i(beri) Patr(is
statuam quam ei univ(erase) curiae aere co(nl)a(to
ob meri(ta euis in sin(gul(os) uni(ver(os
que) etiam decrevisse(nt).....mo, de suo
p(osuit) ou posuerunt
ad cuius dedi-
ca(tionem….epulandrum….dederunt.
L(oco) d(ato) d(ecreto) d(ecurionum).
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﻃﻴﺒﺔ ﺍﻟﻌﺎﺋﻠﺔ ﺍﻟﺴﻴﻔﲑﻳﺔ ﻭ ﺃﺳﻴﺎﺩﻧﺎ ﻛﺮﺍﻛﻼ ﻭﺟﻴﺘﺎ ﺍﻟﻌﻈﻴﻤﺎﻥ ،ﺍﻟﺴﻴﺪ ﺍﻟﺬﻱ ﻭﺿﻊ ﺍﻟﻨﺎﻗﺸﺔ ﻫﻮ ﺭﺟﻞ
ﺷﺮﻳﻒ ﻳﻨﺘﻤﻲ ﺇﱃ ﻃﺒﻘﺔ ﳎﻠﺲ ﺍﻟﺸﻴﻮﺥ ،ﻭﻣﻦ ﺍﻷﺷﻴﺎﺀ ﺍﻟﱵ ﻳﻔﺨﺮ ﻬﺑﺎ ﺃﻥ ﻟﻪ ﻟﻘﺐ ﺍﻟﺸﺮﻳﻒ ﻭ ﺗﻘﹼﻠﺪ
ﺑﺎﻟﺮﻓﻌﺔ ،ﻭﻛﺎﻥ ﰲ ﺇﺣﺪﻯ ﺍﻟﻔﺮﻕ ﺍﻟﻌﺴﻜﺮﻳﺔ ﰲ ﺇﺣﺪﻯ ﺍﳉﻨﺤﺔ ،ﻛﻤﺎ ﻛﺎﻥ ﻣﺒﻌﻮﺛﺎ ﰲ ﻣﻬﻤﺔ ﻣﺎ ،ﻭﻫﻮ
ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻭﺿﻊ ﲤﺜﺎﻝ ﻣﻦ ﺍﳌﻌﺪﻥ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻌﺘﱪ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺩﻟﻴﻞ ﻋﻠﻰ ﺍﻟﺼﻔﺔ ﺍﻟﺮﲰﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺘﻤﺘﻊ ﻬﺑﺎ ﻋﺒﺎﺩﺓ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﺪﻳﻨﺔ ﻴﺴﺔ ﰲ
ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﻔﲑﻳﺔ
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻔﺘﺮﺓ ﺍﻟﺴﻔﲑﻳﺔ
-2ﺇﻫﺪﺍﺀ:
: ﺍﳌﺮﺍﺟ
Ch. A.Joly, op cit. n° 125. p 176
ﺍﳌﺼﺪﺭ :ﰲ ﺍﲡﺎﻩ ﺍﳌﺴﺮﺡ ﻓﻮﻕ ﻗﺒﻮ
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
LIB
ﻧﻘﻞ ﺍﻟﻨﺺ:
)Lib(er
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﺒﻘﻰ ﻣﻦ ﺍﻟﻨﻘﻴﺸﺔ ﺍﳊﺮﻭﻑ ﺍﻟﺜﻼﺛﺔ ﺍﻷﻭﱃ ﻣﻦ ﺇﺳﻢ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺍﻟﻈﺎﻫﺮ ﺃﻥ ﺍﻷﻣﺮ ﻛﺎﻥ ﻳﺘﻌﻠﻖ ﺑ ﻫﺪﺍﺀ
ﳍﺪﺍ ﺍﻹﻟﻪ.
307
-3ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell,I.L.A. T II. N° 1371. p 135./
)//, Recherches archéologiques algériennes.(paris 1893, ed Leroux
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﻴﺴﺔ
ﺍﳌﺎ ﺓ:ﺣﺠﺮ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻴﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ ﺍﳊﺮﻭﻑ= 0.06ﻡ.
ﺍﻟﻜﺘﺎﺑﺔ:
Q /////////////////////
/////////////////////////
SACRED/////////RI
PARIS I//////////////
ﻧﻘﻞ ﺍﻟﻨﺺ:
Q. iu(lius…..), sacerd(os)( libe)ri, Paris, p(ius) vixit annis)…..
ﺍﻟﺘﺮ ﺔ:
ﻙ ﻳﻮﻟﻴﻮﺱ ...ﻛﺎﻫﻦ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺗﻘﻲ ،ﻋﺎﺵ .......ﺳﻨﻮﺍﺕ .ﻫﻨﺎ ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ ﻟﻜﺎﻫﻦ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺗﺸﺒﻪ ﻛﺘﺎﺑﺔ ﺃﺧﺮﻯ ﻭﺟﺪﺕ ﰲ ﻧﻔﺲ ﺍﳌﺪﻳﻨﺔ ) ﺃﻧﻈﺮ ﺭﻗﻢ 7
ﺹ ( 310ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﻗﺰﺍﻝ 41ﺻﻠﺔ ﻗﺮﺍﺑﺔ ﺑﲔ ﻛﺎﻫﻨﺎ ﺍﻟﻨﺎﻗﺸﺘﺎﻥ .ﻋﻠﻰ ﻛﻞ ﺣﺎﻝ ﻣﺎ ﻳ ّﺪﻝ ﺫﻟﻚ ﺳﻮﻯ
ﻋﻠﻰ ﻭﺟﻮﺩ ﻋﺒﺎﺩﺓ ﺭﲰﻴﺔ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺎﳌﻨﻄﻘﺔ.
-4ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ
ﺍﳌﺮﺍﺟ :
S.Gsell, op cit, n° 424, p 326
S.Gsell, I.L.A.II.1372. p 135
ﺍﳌﺼﺪﺭ :ﻛﺎﻑ ﻋﲔ ﺍﻟﺒﺌﺮ
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 1.95ﻡ /ﻋﺮ = 0.50ﻡ /ﺱ= 0.25ﻡ /ﺍﺭ ﺣﺮﻭﻑ = 0.04ﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
LAETA .RVFI. F////////
SACERDOS///////////////
41
S.Gsell, Recherches archéologiques. p 323
308
PLI . LIBERI …/////////
RIS . PIA .VIX//////////
ANNIS . LXI ///////////
H S E
ﻧﻘﻞ ﺍﻟﻨﺺ:
Laeta Rufi f(ilia), sacerdos(tem) pli Liberi pat)-
Ris, pia vix(it) annis LXI (...), his sita est,
ﺍﻟﺘﺮ ﺔ:
ﻻﻳﺒﺘﺎ ﺭﻭ ﰲ ﺍﻻﺑﻨﺔ ،ﻛﺎﻫﻨﺔ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﻌﺒﺪﻩ ﻛﺎﻧﺖ ﺗﻘﻴﺔ ﻭ ﻋﺎﺷﺖ 61ﺳﻨﺔ ،ﻫﻨﺎ ﺗﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻌﺘﱪ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺩﻟﻴﻞ ﺁﺧﺮ ﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺮﲰﻲ ﻟﻌﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﲞﻤﻴﺴﺔ ،ﻭﻫﺪﻩ ﺍﳌﺮﺓ ﻳﺘﻌﻠﻖ
ﺍﻷﻣﺮ ﺑﺎﻣﺮﺃﺓ ﻛﺎﻧﺖ ﺗﺸﻐﻞ ﻣﻨﺼﺐ ﻛﺎﻫﻨﺔ.
-5ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ
ﺍﳌﺮﺍﺟ :
"M.Chabassiére, "inscriptions recueillies à Thubursicum, Madaure et Tipasa
In R.Const. 10.1866, n° 128. p146.
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 1.46ﻡ.
ﺍﻟﻜﺘﺎﺑﺔ:
RVTILIVSQF
PAPSATVRN
INVSSACERD.
LIBERI . M.
PV
ANLXXXXI
ﻧﻘﻞ ﺍﻟﻨﺺ:
)Rutilius Q(uinti) F(ilius), pap(iria) saturninus sacerdos, liberi m(agnus), p(ius)v(ixit
an(nis) nonaginta et uno
ﺍﻟﺘﺮ ﺔ:
ﺭﻭﺗﻠﻴﻮﺱ ﺇﺑﻦ ﻛﻮﻳﻨﺘﻮﺱ ،ﺍﳌﻜ ﺳﺎﺗﻮﺭﻧﻴﻨﻮﺱ ،ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻛﺎ ،ﻛﺎﻫﻦ ﻛﺒﲑ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻋﺎﺵ ﺗﻘﻴﺎ
91ﺳﻨﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
309
ﲢﻤﻞ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺩﻟﻴﻼﻥ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﻨﻄﻘﺔ ﻴﺴﺔ :
-ﺃﻭﻻ ﻭ ﻴﻔﺔ ﺍﳌﻴﺖ ﺍﻟﺬﻱ ﻛﺎﻥ ﻛﺎﻫﻨﺎ ﻛﺒﲑﺍ ﻟﻠﻴﱪ ﺑﺎﺗﺮ.
-ﺛﺎﻧﻴﺎ ﻳﻨﺘﻬﻲ ﺍﻟﻨﺼﺐ ﺍﳉﻨﺎﺋﺰﻱ ﺑﺰﺧﺎﺭﻑ ﻋﻠﻰ ﺷﻜﻞ ﻣﻌﻴﻨﺎﺕ ﺁﺧﺮﻫﺎ ﺗﻮﺟﺪ ﻱ ﻬﻧﺎﻳﺘﻬﺎ ﺭﺃﺱ ﻳﺒﺪﻭ
ﺃﻧﻪ ﻟ ﻟﻪ ﺑﺎﺧﻮﺱ.
-6ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ
ﺍﳌﺮﺍﺟ :
CIL.VIII.4883/4884
S.Gsell, l L A. I. 1368/9
Ren. 2980
-7ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
310
ﺍﳌﺮﺍﺟ :
CIL. VIII. 4887 / S.Gsell, I L A. I. 1370
Chabassiére in R.Const. 1866, p 146
ﺍﳌﺼﺪﺭ:
ﻣﻜﺎﻥ ﺍ ﻔ :
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 1.46ﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
Q. IVLIVS. Q. F
PAP. SATVRN
NVS. SACERD
LIBERI // ATRS
P .V
A N . LXXXXI
H.S.E
ﻧﻘﻞ ﺍﻟﻨﺺ:
Q'uintus) lulius Q(uinti) f(ilius), pap(iria) saturni-
Nus sacerd(os) liberi (p)atris, p(ius) v(ixit), an(nis) LXXXXI? Hic situs est.
ﺍﻟﺘﺮ ﺔ:
ﻛﻴﻮﻧﺘﻮﺱ ﻳﻮﻟﻴﻮﺱ ،ﺍﺑﻦ ﻛﻮﻳﻨﺘﻮﺱ ،ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ﺍﳌﻜ ﺑﺴﺎﺗﻮﺭﻧﻴﻨﻮﺱ ،ﻛﺎﻫﻦ ﺍ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺍﻟﺘﻘﻲ
ﺟﺪﺍ ،ﻋﺎﺵ 91ﻋﺎﻣﺎ ،ﻫﻨﺎ ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﻟﻜﺎﻫﻦ ﺍﻷﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺗﺸﺒﻪ ﻛﺜﲑﺍ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺴﺎﺑﻘﺔ ﺭﻗﻢ .5
-8ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
S.GSELL,I L A .I.1235
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= 0. 37ﻡ/ﺍﺭ ﺍﳊﺮﻭﻑ= 7ﺳﻢ
ﺍﻟﻜﺘﺎﺑﺔ :
I AVGVS O SACRVM
ﻧﻘﻞ ﺍﻟﻨﺺ :
(Libro) (patri) Augusto Sacrum
311
ﺍﻟﺘﺮ ﺔ:
ﺍﱃ ﺍﻹﻟﻪ ﻟﻴﺒﺰ ﺑﺎﺗﺮ ﺍﻷﻋﻈﻢ ﺍﳌﻘﺪﺱ
ﻣﺪﺍﻭﺭ :
)Libr(o) Aug(usto
ﺍﻟﺘﺮ ﺔ :ﺍ ﻟﻴﱪ ﺍﻟﻌﻈﻴﻢ
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑﺘﺘﻮﻳﺞ ﻗﺎﻋﺪﺓ ﲤﺜﺎﻝ ﻟ ﻟﻪ ﺑﺎﺣﻮﺱ /ﻟﻴﱪ ﻭﺟﺪ ﺑﻨﻔﺲ ﺍﳌﻜﺎﻥ 42ﻭﺍﻛﺘﺸﻔﺖ ﻫﺬﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻣﻊ
ﻧﻘﺎﺋﺶ ﺃﺧﺮﻯ ﺗﺎﺑﻌﺔ ﻟﺘﻤﺜﺎﻝ ﺍﳍﺔ ﻛﺎﻧﺖ ﺗﺰﻳﻦ ﺍﳊﻤﺎﻣﺎﺕ ﻭ ﺗﺒﻌﺪ ﲟﺪﻳﻨﺔ ﻣﺪﺍﻭﺭﺵ ،ﻭ ﻫﺬﺍ ﻣﺎ ﻳﺪﻝ ﻋﻠﻲ
ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﻟﻴﺒﺰ ﺑﺎﺗﺮ ﲟﺪﻳﻨﺔ ﻣﺪﺍﻭﺭﺵ.
-2ﺍﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ
S.Gsell, IL A .I 2052
Dessau, Inscr.lat. Sel.5579,5580
42
De Pachtére,p 28,pl 5,fig 3
312
A.Ballu, Rapport sur les travaux de fouille et de consolidation en Algérie en 1918.p
41.
1919-1918 ﺍﳌﺼﺪﺭ ﴰﺎﻝ ﺷﺮﻕ ﺍﻟﻔﻮﺭﻭﻡ ﰲ
: ﻣﻜﺎﻥ ﺍ ﻔ
:ﺍﻟﻜﺘﺎﺑﺔ
DEI LIBERII SA// // BO
Q . CQLPVRNIVS DONAT // // // // // I/I/
AEDILILCVS IIVIRALICIVS // // // //
LAETI QvoND. SACERDOTI // // // //
ACELLI A SOLO ET S RATVR // // // //
SVIS SV ?PTIBVS FECIT ET CV // // //
RATA VXORE ET CALPVR // // // //
RATA ?ATRONA ET I // // //
DEDICAVIT
: ﻧﻘﻞ ﺍﻟﻨﺺ
Dei Li beri Sa (cru,)
Q.Calpurnius Donat(us) (et un autre cogno,en ?)
Aedilicus ,(duu,)viralicus,(Q ? calpurni)
Laeti ,quond(a,) sacerdoti(s),(filius),(opus) ?
?acelli a solo et statur(a,) (areae)?
Suis su,ptibus fccit,ct cu(r)..
Rata,(spe)rata ?(hono)rata ?
Uxore,et callpur(niis)....rata,,atrona,et 0…..(filiabus)
Dedicavit.
: ﺍﻟﺘﺮ ﺔ
ﺷﻐﻞ ﻣﻨﺼﺐ ﻣﺴﺌﻮﻝ ﺑﺎﻷﺷﻐﺎﻝ ﺍﻟﻌﻤﻮﻣﻴﺔ ﻭ ﺍﻟﺜﻘﺎﻓﻴﺔ،ﻛﺎﻟﺒﻮﺭﻧﻴﻮﺱ ﺩﻭﻧﺎﺗﻮﺱ. ﻙ،ﺇ ﺍﻹﻟﻪ ﻟﻴﱪ ﺍﳌﻘﺪﺱ
...ﻛﺎﻟﺒﻮﺭﻧﻴﻮﺳﻼﻳﱵ ﺍﺑﻨﻪ ﺍﻟﺬﻱ ﻛﺎﻥ ﻛﻬﻨﻮﺕ ﻭﺯﻭﺟﺘﻪ.ﻭﺍ ﻙ
: ﺇﻫﺪﺍﺀ-3
: ﺍﳌﺮﺍﺟ
S.Gsell , I L A .I.I.2225. / C I L. VIII. 4682
ﺣﻔﺮﻳﺎﺕ ﺷﺮﻕ ﺍﳊﺼﻦ:ﺍﳌﺼﺪﺭ
. ﺳﻢ4 = ﺇﺭ ﺣﺮﻭﻑ/ ﻡ0.43 = ﻋﺮ:ﺍﳌﻘﺎﺳﺎﺕ
:ﺍﻟﻜﺘﺎﺑﺔ
313
DEO LIB// // O //ATRI
AVG // // // VM
M FL M// // // // VS
// // // // // // // // // // EIVS
// // // // // // // // // A G
// // // // // // // // // I //
ﻧﻘﻞ ﺍﻟﻨﺺ:
Deo Lib(er)o(P)atri Aug(usto) (sac)rum.
M. F1(avius) M(acri ou aer), arianus...
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺍﻷﻋﻈﻢ ﺍﳌﻘﺪﺱ ،ﻣﺎﺭﻛﻮﺱ ﻓﻼﻓﻴﻮﺱ...
-4ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell, ILA. I. 2225 /CIL.4682
ﺍﳌﺼﺪﺭ:
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﺭ= ﺃﻛﺜﺮ ﻣﻦ 1ﻡ.
ﺍﻟﻜﺘﺎﺑﺔ :ﲢﺖ ﺍﻛﻠﻴﻞ
DMS
C . IVLIVS . L . F . Q .
LAETVS . SACERDOS
LIBERI. PATRIS
PIVS. VIXIT AN
NIS IXXXI
H S E
ﻧﻘﻞ ﺍﻟﻨﺺ:
)D(iis) M(anibus) Sacrum
)C(aius ? ) Iulius Lucii ) Q(uirina
Laetus Sacerdos, Liberi Patris, Pius
Vixit annis LXXXXI, H(ic) S(itus) E(st).
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺃﺭﻭﺍﺡ ﺍﻵﳍﺔ ﺍﳌﻘﺪﺳﺔ ،ﻛﺎﻳﻮﺱ ﻳﻮﻟﻴﻮﺱ ﻻﻳﺘﻮﺱ ،ﺍﺑﻦ ﻟﻮﻛﻴﻲ ﻣﻦ ﻗﺒﻴﻠﺔ ﻛﻮﻳﺮﻳﻨﺎ ،ﻛﺎﻫﻦ ﻟﻴﱪ ﺑﺎﺗﺮ،
ﺗﻘﻲ ،ﻋﺎﺵ 91ﻋﺎﻣﺎ ﻫﻨﺎ ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻨﺘﻤﻲ ﻫﺪﻩ ﺍﻟﻨﻘﻴﺸﺔ ﺇﱃ ﳎﻤﻮﻋﺔ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﱵ ﺗﺸﻬﺪ ﻋﻠﻰ ﻭﺟﻮﺩ ﻛﻬﻨﺔ ﺗﺎﺑﻌﲔ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺎﳌﻨﻄﻘﺔ.
314
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-5
: ﺍﳌﺮﺍﺟ
S.Gsell, ILA. I. 2228
ﺍﻟﱪﺝ ﺍﳉﻨﻮ ﺍﻟﺸﺮﻗﻲ ﻟﻠﺤﺼﻦ:ﺍﳌﺼﺪﺭ
. ﻡ1.90 = ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
ﲢﺖ ﺇﻛﻠﻴﻞ:ﺍﻟﻜﺘﺎﺑﺔ
D M S
Q♠ POMPEIO♠ L♠ FIL
QVIR ♠POMPEIA
NO♠ SACERDO
TI DEI LIBERI
PATRIS♠
PIVS VIXIT
ANNIS
LXXX MENSe ?
VNO
D. XXIII
H∨ S∨ E
:ﺍﻟﻨﺺ ﻧﻘﻞ
Diis Manibus Sacrum
Q.........Pmpeio L(ucii) Fil(ius), Qui(irina) pompeia-
No Sacerd-ti dei liberi patris, pius vixit annis
LXXX, mense uno, D(ii) XXIII
H(ic) S(itus) E(st).
:ﺍﻟﺘﺮ ﺔ
ﻋﺎﻣﺎ ﻭ ﺷﻬﺮﺍ80 ﻋﺎﺵ، ﺗﻘﻲ، ﻛﺎﻫﻦ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ،ﻛﻴﻮﻣﺒﻴﻮ ﺑﻮﻣﺒﻴﺎﻧﻮ ﺇﺑﻦ ﻟﻮﻛﻴﻮ ﻣﻦ ﻗﺒﻴﻠﺔ ﻛﻮﻳﺮﻳﻨﺎ
. ﻫﻨﺎ ﻳﻮﺟﺪ. ﻳﻮﻣﺎ23 ﻭﺍﺣﺪﺍ ﻭ
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-6
: ﺍﳌﺮﺍﺟ
S. Gsell, I L A 2205
Ballu, in. BCTH. 1916. n° 36. p 194.
S. Gsell, in. BCTH. 1917. n°36. p 326.
ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻜﱪﻯ:ﺍﳌﺼﺪﺭ
.ﻡ0.51 = ﺱ/ ﻡ0.51 = ﻋﺮ/ ﻡ1.51 = ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
315
ﺍﻟﻜﺘﺎﺑﺔ
L
M
N NA . SA
NVS . QVR CERDOS
VETERAN LIBERI
SACERD
D
R
:ﺍﻟﺘﺤﻠﻴﻞ
.ﺗﺘﺤﺪﺙ ﺍﻟﻜﺘﺎﺑﺔ ﻫﺎﺗﻪ ﻋﻠﻰ ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻛﺎﻥ ﺟﻨﺪﻱ ﻣﺘﻘﺎﻋﺪ
: ﻛﺘﺎﺑﺔ ﻳﻨﻴﺔ-7
: ﺍﳌﺮﺍﺟ
S.Gsell, I.L.A. I. 2131. P 199
1920 ﻡ ﺷﺮﻕ ﺍﳊﺼﻦ ﻋﺎﻡ100 ﻋﻠﻰ ﺑﻌﺪ:ﺍﳌﺼﺪﺭ
.ﺳﻢ5.5 : ﺍﺭ ﺣﺮﻭﻑ.ﻡ0.7 : ﺱ.ﻡ74. : ﻋﺮ.ﻡ0.44 :ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
: ﻣﻜﺎﻥ ﺍ ﻔ
:ﺍﻟﻜﺘﺎﺑﺔ
TI. CL. LOQUELLA.AEDIL. IIVIRAL. FL. P. P.
SACERD. LIBERI. AEDEM. SANCTUARI. SU.
IS. SUMPTIB. FECiT. POST. CUIUS. OBITUM.
PETENTIB. CL. FLORENTINO. ET. DIO. FIL. EIUS
ORDO. SACRATOR. MEMORIAE. EIUS
CAUSA. TITULOS. INFIGI. PERMISIT
:ﻧﻘﻞ ﺍﻟﻨﺺ
Ti Cl(odius) Loquella, aedil(icius), (duum)viral(icius), fl(amen) p(er)p(etuus),
sacerd(os) Liberi, aedem sanctuari suis sumptib(us) fecit ; post cuius obitum,
petenti(bus) Cl(odiis) Florentino et Dio, fil(iis) eius, ordo sacrator(um) memoriae
eius causa titulos infigi permisit.
:ﺍﻟﺘﺮ ﺔ
ﺍﻟﺬﻱ ﺍﺷﺘﻐﻞ ﻣﺴﺌﻮﻝ ﺍﳊﻴﺎﺓ ﺍﻟﺜﻘﺎﻓﻴﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭ ﻫﻮ ﻣﺴﺌﻮﻝ ﺑﻠﺪﻱ ﻭ،ﺗﻴﺘﻮﺱ ﻛﺎﻭﺩﻳﻮﺱ ﻣﻮﻛﻮﻳﻼ
ﻛﺎﻥ ﺩﻟﻚ ﺑﻌﺪ ﺃﻥ ﺃﺧﺪﺕ ﺍﳌﻮﺕ، ﻭ ﻛﻬﻨﻮﺕ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﳌﻌﺒﺪ ﺍﳌﻘﺪﺱ ﺍﻟﺬﻱ ﺟﻌﻠﻪ ﲟﺎﻟﻪ،ﻛﺎﻫﻦ ﺩﺍﺋﻢ
. ﻓﻜﺎﻥ ﲣﻠﻴﺪﺍ ﻟﺬﺍﻛﺮﻬﺗﻢ،ﺃﻭﻻﺩﻩ
:ﺍﻟﺘﺤﻠﻴﻞ
."ﺗﺬﻛﺮ ﺍﻟﻜﺘﺎﺑﺔ ﺭﺟﻞ ﺗﻮﻟﹼﻰ ﻣﻨﺎﺻﺐ "ﺍﻟﺮﺟﻞ ﺍﻟﺒﻠﺪﻱ ﺍﻟﺜﻨﺎﺋﻲ" ﻭ "ﺍﻟﻜﺎﻫﻦ ﺍﻟﺪﺍﺋﻢ" ﻭ "ﻛﻬﻨﻮﺕ ﻟﻴﱪ
316
ﻛﻤﺎ ﺗﺘﺤﺪﺙ ﻋﻦ ﺍﳌﻌﺒﺪ ﺍﳌﻘﺪّﺱ ﺍﻟﺪﻱ ﻛﺎﻥ ﻳﺄﻭﻱ ﻣﺘﻌﺒﺪﻳﻦ ﺍﻹﻟﻪ ﻟﻴﱪ ﺣﻴﺚ ﻛﺎﻧﻮﺍ ﺘﻔﻠﻮﻥ ﺑﻄﻘﻮﺳﻪ ﻭ
ﻳﻨﺘﻘﻮﻥ ﺃﻋﻀﺎﺀﻫﻢ ﻣﻦ ﺑﲔ ﻧﺒﻼﺀ ﺍﳌﺪﻳﻨﺔ ،43ﻫﺪﺍ ﺇﱃ ﺟﺎﻧﺐ ﺃﺑﻨﺎﺀ ﺍﳌﻬﺪﻱ ﺍﻟﻠﺬﺍﻥ ﻳﻨﺘﻤﻴﺎﻥ ﺇﱃ ﺻﻒ ﺍﳋﺪﻣﺔ
ﻭ ﺍﳌﺘﺮﺑّﺼﲔ ﺿﻤﻦ ﳎﻤّﻊ ﻭ ﻣﻌﺒﺪ ﻟﻴﱪ ﺑﺎﺗﺮ.
ﻓﻘﺪ ﺫﻛﺮﻫﺎ ﺍﻟﻘﺪّﻳﺲ ﺃﻏﺴﻄﺲ ﰲ ﺭﺳﺎﻟﺘﻪ ﺇﱃ ﻣﺎﻛﺴﻴﻢ ORDO SACRATOTUM44ﺃﻣﺎ ﻛﻠﻤﺔ
ﺍﻟﺘﺎﺭﻳﺦ :ﺍﻟﻘﺮﱐ ﺍﻟﺜﺎﻟﺚ ﻭ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ.45
-8ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell, I.L.A .I .2207, p208.
Rénier, 2928.
CIL VIII. 4681.
Bucheler, Carm. Lat. Epigr. n°511. Cholodniak. Carm. Sepulcr. Lat.Epigr. 2eme
édition.
Bianchi in Studi Ital di Filo Class. 1910. n°995. PP 55-56.
ﺍﳌﺼﺪﺭ :ﻋﻠﻰ ﺑﻌﺪ ﻣﺎﺋﺔ ﻣﺘﺮ ﺷﺮﻕ ﺍﳊﺼﻦ.
ﺍﳌﻘﺎﺳﺎﺕ:
ﻣﻜﺎﻥ ﺍ ﻔ :ﱂ ﻳﻌﺜﺮ ﻋﻠﻴﻬﺎ
ﺍﻟﻜﺘﺎﺑﺔ:
D M S
T. CLODIUS. LOUELLA
AED. II. VIR. Q. FL. P. P. SAC
LIBERI PATRIS. V. A. XLVIIII
HIC. SITUS. EST
COLUM. MORU. AC. PIE
LAUD. AC. TITULIS. OR
NATUS. V. HON. PMNIBU
S. HIC CARUS FUERAT
FELIC. A. L. MINUS UNO
GESSIT. STUDIOSET
USUS. ON. ORDINIS EST
ADQUE VIR. V. EGR. FL.
PATRIAE. P. ADMOD
LARGUS MUNIDATOR
ED SATOR. IN. G. SUO// // //
LENAEI. PAAT.CULTOR
FEL. SAAC. ADDIDIT HIC
43
MEFRA. 1991. P 1058
44
- St Augustin. Lettres.17,4
-ﺣﻤﻮم ﺗﻮﻓﻴﻖ .آﻬﻨﺔ و آﻬﻨﻮت اﻟﻌﻬﺪ اﻟﻤﺒﺮاﻃﻮري اﻟﻮل ﻓﻲ ﺷﻤﺎل اﻓﺮیﻘﻴﺎ ﻡﻦ ﺧﻼل اﻟﻜﺘﺎﺑﺎت اﻟﺪیﻨﻴﺔ .رﺳﺎﻟﺖ ﻡﺎﺟﺴﺘﻴﺮ ﺗﺤﺖ اﺷﺮاف
45
اﻟﺪآﺘﻮر م.ب.ﺷﻨﻴﺘﻲ .1999/1998 .ﻡﻌﻬﺪ اﻟﺜﺎر .ﺟﺎﻡﻌﺔ اﻟﺠﺰاﺋﺮ.
317
DECUS AC NOMEN. SUAE
CLAUDIAE GENTI. INSPIC
IES. LEC. PRIMORDIA
VERSICULORUM
:ﻧﻘﻞ ﺍﻟﻨﺺ
D(is) M(anibus) S(acrum). T(itus) Clodius Lo(q)uella, aed(ilis), (duum)vir,
q’uaestor), fl(amen)
p(er)p(etuus), sac(erdos) Liberi Patris, v(ixit) a(nnis) XLVIIII.
Hic situs est, colum(en) mor(um) ac pie(tatis).
Laud(ibus) ac titulis ornatus v(ixit) hon(este).
Omnibus hic carus fuerat. Felic(iter) a(nnos)
(Quinquaginta) minus uno gessit, studios€ et
Vusus (h)on(oribus) ordinis est adque viru(m) v(ir),
Egr(egius) fl(amen), patriae p(ius) admod(erator),
Largus, munidator ed (=et) sator in g(ente) suo(rum),
Lenaei Pat(ris) cultor fel(ixque) sac(erdos),
Addidit hic decus ac nomen suae Claudiae genti.
Inspicies, lec(tor), primordia versiculorrum.
:ﺍﻟﺘﺤﻠﻴﻞ
ﻭ ﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ،(7 ﺗﺮﺟﻊ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺇﱃ ﺍﻟﻜﻬﻨﻮﺕ ﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﺴﺎﺑﻘﺔ )ﺭﻗﻢ
:ﺷﻌﺮ
2 ﰲ ﺍﻟﺴﻄﺮlo(q)uella
1 ﰲ ﺍﻟﺴﻄﺮ quinquaginta
6 ﰲ ﺍﻟﺴﻄﺮ columeen
: ﺍﻫﺪﺍﺀ-/9
: ﺍﳌﺮﺍﺟ
S.Gsell, I.L.A.I, p199. n°2134
ﻗﺮﺏ ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻜﱪﻯ:ﺍﳌﺼﺪﺭ
ﺱﻡ5 =ﻡ ﺍﺭ ﺣﺮﻭﻑ50.= ﻉ:ﺍﳌﻘﺎﺳﺎﺕ
: ﻣﻜﺎﻥ ﺍ ﻔ
ﻟﻘﺪ ﻃﺮﻗﺖ ﰲ ﻣﻌﻈﻤﻬﺎ:ﺍﻟﻜﺘﺎﺑﺔ
// // // // // // // . . .
// // // RDOTIS . .
318
// LR . ATRIUM T//M
// LI QUADRATO.
LAPIDE SUIS SUMP
TIBUS UNA CUM
AEDI // // // // II // // //
I //// // E CUM / //
// // // // // S // // // // II
M // // // // // // // // // // //
QUI // // // // // // // I //
N // // // // // // // // // // //
NA FILIA SUA.
DFDICAVI
:ﻧﻘﻞ ﺍﻟﻨﺺ
…(sacer)dotis (pater ( ?) atrium templi ( ?)
quadrato lapide suis sumptibus una cum aedicule ( ?)
restituit ( ?) et cum…(et)…na, filia sua, dedicavit.
:ﺍﻟﺘﺮ ﺔ
... ﻭ ﻳﻬﺪﻱ، ﰒ ﻳﺬﻛﺮ ﺍﺳﻢ ﺍﺑﻨﺘﻪ ﻭ ﺭﲟﺎ ﺯﻭﺟﺘﻪ ﻭ ﺃﺑﻨﺎﺅﻩ،ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-10
: ﺍﳌﺮﺍﺟ
S.Gsell, I.L.A.I.2221.p 210
Joly, in R.. Const. 1906 ? P 422.
A..Ballu, in BCTH. 1907, p 248.
F.Cumont, “une épitaphe métrique de madaure » in CRAI. 1912. pp151-156.
ﺍﳊﻤﺎﻣﺎﺕ ﺍﻟﻜﱪﻯ:ﺍﳌﺼﺪﺭ
ﺣﺠﺮ ﻛﻠﺴﻲ:ﺍﳌﺎ ﺓ
« musée du cinquantennaire » ﻣﺘﺤﻒ ﺑﺮﻭﻛﺴﻞ: ﻣﻜﺎﻥ ﺍ ﻔ
.ﻡ0.92 = ﻁ.ﻡ0.74 = ﺍﺭ:ﺍﳌﻘﺎﺳﺎﺕ
ﻋﺒﺎﺭﺓ ﻋﻦ ﻃﺎﻭﻟﺔ ﻣﺰﺧﺮﻓﺔ ﰲ ﺍﻷﺭﻛﺎﻥ ﲟﻠﻌﻘﺘﺎﻥ ﻭ ﺍﺑﺮﻳﻘﺎﻥ ﻭ ﰲ ﺍﳌﺮﻛﺰ ﻧﻘﺶ ﺗﺎﺝ ﺑﺪﺍﺧﻠﻪ:ﺍﻟﻮﺻﻒ
.ﺍﻟﻜﺘﺎﺑﻴﺔ
:ﺍﻟﻜﺘﺎﺑﺔ
D M S
INCLYTE SACRORU
M CULTOR SECURE QUIES
CIS HIC IUIJENIS QUEM TELL
US HABET QUEM TARTARUS
IPSE QUERE PIAM SEDEEM
HIC ENIM SEPULTI DECU
MBUNT. FL. NATALI
319
S. UETURIANUS
U . A. L
H S E
ﻧﻘﻞ ﺍﻟﻨﺺ:
D(iis) M(anibus) s(acrum).
Inclyte sacrorum cultor, secure quiescis.
Hic iuvenis quem tellus habet, quem Tartaus ipse.
Qu(a)ere piam sedem: hic enim sepulti decumbunt.
Fl(avius) Natalis Veturianus v(ixit) a(nnis) L. H(ic) s(itus) e(st).
ﺍﻟﺘﺮ ﺔ:
ﺇﱃ ﺃﳍﻪ ﺍﻷﺭﻭﺍﺡ ﺍﳌﻘﺪﺳﺔ،
ﺍﻟﻄﺎﺋﻔﻲ ﺍﻟﺴﺎﻣﻲ ﺍﳌﻘﺪﺱ ،ﺳﺘﺮﺗﺎﺡ ﺑﺄﻣﺎﻥ ،ﺃﻧﺖ ﺃﻳﻬﺎ ﺍﻟﺸﺎﺏ ﺍﻟﺬﻱ ﺣﻮﺗﻚ ﺍﻷﺭﺽ ﻭ ﺍﻟﺘﺎﺭﺗﺎﺭ...
ﺍﲝﺚ ﻋﻦ ﻣﺜﻮﻯ ﻧﻘﹼﻲ ﻓﻬﻨﺎ ﻳﺮﻗﺪ ﺍﻷﻣﻮﺍﺕ.46
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺼﻒ ﻓﺮﺍﻧﺰ ﻛﻮﻣﻦ ﻟﻐﺔ ﺍﻟﻜﺘﺎﺑﺔ ﺑﺄﻬﻧﺎ "ﺑﺮﺑﺮﻳﺔ" ﻭ ﺳﻴّﺌﺔ .ﺗﺘﻌﻠﻖ ﺑﺎﳌﺪﻋﻮ ﻓﻼﻓﻴﻮﺱ ﻧﺘﺎﻟﻴﺲ ﺍﻟﺬﻱ ﻛﺎﻥ
ﻣﻄﻠﹼﻌﺎ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺍﻟﺒﺎﺧﻴﺔ ﺍﳌﻘﺪّﺳﺔ ،ﻭ ﻗﺪ ﻣﻨﺤﺘﻪ ﺗﻘﻮﺍﻩ ﺍﳊ ّﻖ ﰲ ﺍﻻﺳﺘﺮﺍﺣﺔ ﺑﺄﻣﺎﻥ ﰲ ﺍﻟﺪﻧﻴﺎ ﺍﻷﺧﺮﻯ
ﺩﻭﻥ ﺍﳌﺮﻭﺭ ﺑﺎﻟﻌﺬﺍﺏ ﺣﻴﻨﻤﺎ ﻧﺰﻝ ﺇﱃ ﺍﻟﺘﺎﺗﺎﺭ.
ﻭ ﻫﻨﺎﻙ ﻛﺎﻥ ﺍﳌﻴﺖ ﺍﳌﻄﻠﹼﻊ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ،ﺣﺴﺐ ﺍﻟﻄﻘﻮﺱ ﺍﻟﺒﺎﺧﻴﺔ ﺍﻟﺴﺎﺋﺮﺓ ﰲ ﻣﺪﺍﻭﺭﺵ ،ﻋﻨﺪ ﻭﺻﻮﻟﻪ
ﺇﱃ ﺍﻟﻌﺎﱂ ﺍﻷﺧﺮ ﻳﺴﲑ ﺇﱃ ﺍﻷﺑﺪ ﰲ ﻣﺄﺩﺑﺔ ﺍﻵﳍﺔ ﻭ ﻳﺘ ﹼﺬﻭﻕ ﺣﻼﻭﺓ ﺍﻟﺴﻜﺮ.47
ﺗﺪﻋّﻢ ﻫﺪﻩ ﺍﻻﻋﺘﻘﺎﺩﺍﺕ ﻋﺪﺓ ﻧﻘﺎﺋﺶ ﺑﺎﺭﺯﺓ ﺑﺎﻟﻌﺎﱂ ﺍﻟﺮﻭﻣﺎﱐ ،48ﻭ ﻳﻌﺘﱪ ﻛﻮﻣﻦ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻋﺒﺎﺭﺓ ﻋﻦ
ﺩﻟﻴﻞ ﻗﺎﻃﻊ ﻋﻠﻰ ﺭﻭﺍﺝ ﺍﻷﻓﻜﺎﺭ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﳌﺬﺍﻫﺐ ﺍﻷﺧﺮﻭﻳﺔ ﺍﻟﱵ ﺟﺎﺀﺕ ﻬﺑﺎ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ.49
ﻴﺴﺔ
-1ﻛﺘﺎﺑﺔ ﺷﺮﻓﻴﺔ:
ﺍﳌﺮﺍﺟ :
Ch.Al.Joly, « Thubursicum numidarum » in R.Const. 1905. p 175,n°89.
Ballu, BCTHS. 1903-1904.
S.Gsell, ILA. P 129, n°1301.
46
F.Cumont, CRAI. 1912. p 152.
47
F.Cumont, . CRAI. 1906. P 76
48
F.Cumont, opc cit p 155.
49
F.Cumont, CRAI . 1912. P 156.
320
. ﻣﺒ ﺻﻐﲑ ﺫﻭ ﺣﻨﻴﺔ ﻗﺮﺏ ﺍﻟﺒﺎﺯﻟﻴﻜﺎ ﺍﳌﺴﻴﺤﻴﺔ ﺑﺎﲡﺎﻩ ﺍﳌﺴﺮﺡ:ﺍﳌﺼﺪﺭ
.ﺳﻢ5 = ﻋﻠﻮ ﺍﳊﺮﻭﻑ.ﻡ1.27 = ﺍﻟﻌﻠﻮ:ﺍﳌﻘﺎﺳﺎﺕ
:ﺍﳌﺎ ﺓ
:ﺍﻟﻜﺘﺎﺑﺔ
. . . . . . . . . . . . III // // // // // //
//////////////////////////PICA//////////
//////////// I/CENTIA SEVER//////
////////////////// EXORNATORUM
USO ADOO OMNIB HOI///// B
FUNCTO. SACERDOTI.II////////
STATUAM QUAM EI UNIV/////////
CURIAE AERE COULA//// //// ////////
TA EIUS IN SINC//// //////VERS//////////
ETIAM DECREVISSFI///////IID//////////
//////////////////////MO DE SUO P////////
///////////////////////TIONEM //////////
//////////EPULANDUM.RI//////////
////IO DEDERUNT I/ DD D
:ﻧﻘﻞ ﺍﻟﻨﺺ
321
-2ﻛﺘﺎﺑﺔ:
ﺍﳌﺮﺍﺟ :
Ch.A.Joly, op cit. p 176.n°125.
ﺍﳌﺼﺪﺭ :ﰲ ﺍﲡﺎﻩ ﺍﳌﺴﺮﺡ ﻓﻮﻕ ﻗﺒﻮ.
ﺍﳌﺎ ﺓ :ﺭﺧﺎﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
LIB
)lib(er
ﺍﻟﺘﺮ ﺔ :ﻟﻴﱪ
ﺍﻟﺘﺤﻠﻴﻞ :ﻫﺬﺍ ﻣﺎ ﺗﺒﻘﹼﻰ ﻣﻦ ﺍﻟﻨﻘﻴﺸﺔ ﻭ ﻫﻲ ﺍﳊﺮﻭﻑ ﺍﻟﺜﻼﺛﺔ ﺍﻷﻭﱃ ﻣﻦ ﺍﺳﻢ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ.
-3ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell, Recherches archéologiques Algériénnes. Ed Leroux. Paris 1893 , P
323 ,N°414
S.Gsell, ILA. II.P 135, n°1371.
ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﻴﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ ﺍﳊﺮﻭﻑ0.06 :ﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
Q IU………………….
………………………
SACERD………….RI
……………PATRIS I
H . S . ..
ﻧﻘﻞ ﺍﻟﻨﺺ:
…)Q. IU(IUS…..), SACER(OS) (LIBE)RI PATRIS , P(IUS) VIXIT A(NNIS
)HIC SITUS (EST
ﺍﻟﺘﺮ ﺔ:
ﻙ.ﻳﻮﻟﻴﻮﺱ..ﻛﺎﻫﻦ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺗﻘﹼﻲ ،ﻋﺎﺵ...ﺳﻨﻮﺍﺕ.ﻫﻨﺎ ﻳﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ ﻟﻜﺎﻫﻦ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺗﺸﺒﻪ ﻛﺘﺎﺑﺔ ﺃﺧﺮﻯ ﺗﻠﻴﻬﺎ )ﺭﻗﻢ ،(7ﻗﺪ ﻳﺘﻌﻠﻖ ﺍﳌﺮ ﺑﻘﺮﻳﺐ ﻟﻠﻜﺎﻫﻦ
ﺃﳌﺪﻛﻮﺭ ﻓﻴﻬﺎ.
322
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-4
: ﺍﳌﺮﺍﺟ
S.Gsell, op cit. p326. n°424
I.L.A.II.1372, p 135.
. ﻛﺎﻑ ﻋﲔ ﺍﻟﺒﺌﺮ، ﺣﻔﺮﻳﺎﺕ ﻴﺴﺔ:ﺍﳌﺼﺪﺭ
.ﻡ0.04 = ﻋﻠﻮ ﺍﳊﺮﻭﻑ.ﻡ0.25= ﺱ.ﻡ50.= ﻋﺮ.ﻡ1.95= ﻋﻠﻮ:ﺍﳌﻘﺎﺳﺎﺕ
:ﺍﻟﻜﺘﺎﺑﺔ
LAETA . RUFI . F………
S A C E R D O S……….
PLI . LIBERI .PA…..
RIS . PIA . VIX……….
A N N I S . L X I…….
H S E
:ﻧﻘﻞ ﺍﻟﻨﺺ
Laeta Rufi Fil(ia), Sacerdos (Temp)li Liberi (Pat)ris, Pia Vix(it) Annis LXI(..), Hic
Sita Est.
:ﺍﻟﺘﺮ ﺔ
. ﺳﻨﺔ ﻫﻨﺎ ﺗﻮﺟﺪ61 ﻛﺎﻧﺖ ﺗﻘﹼﻴﺔ ﻭ ﻋﺎﺷﺖ، ﻛﺎﻫﻨﺔ ﻟﻴﱪ ﺑﺎﺗﺮ،ﻻﻳﻴﺘﺎ ﺍﺑﻨﺔ ﺭﻭﰲ
:ﺍﻟﺘﺤﻠﻴﻞ
.ﺗﻌﺘﱪ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺩﻟﻴﻞ ﺟﺪﻳﺪ ﻳﺆﻛﹼﺪ ﺍﳉﺎﻧﺐ ﺍﻟﺮﲰﻲ ﻟﻌﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﺪﻳﻨﺔ ﻴﺴﺔ
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-5
: ﺍﳌﺮﺍﺟ
M.Chabassiére, “Inscriptions recueillies à Thubursicum, Madauri et Tipasa”.
R.Const.10.1866.p 146 , N°128.
I.L.A .II.1370?
:ﺍﳌﺼﺪﺭ
.ﻡ.1.46= ﻋﻠﻮ:ﺍﳌﻘﺎﺳﺎﺕ
:ﺍﻟﻜﺘﺎﺑﺔ
RUTILIUSQF
PAPSATURN
INUSSACERD
LIBERI.M
PU
323
A N LXXXXI
ﻧﻘﻞ ﺍﻟﻨﺺ.
Rutilius, Q(uinti) F(ilius), Pap(iria) Saturninis, Sacerd(os)Liberi M(agnus), P(iu)s
V(ixit) An(nis) nonaginta et uno.
ﺍﻟﺘﺮ ﺔ:
ﺭﻭﺗﻠﻴﻮﺱ ﺍﺑﻦ ﻟﻮﻛﻴﻨﻮﺱ ،ﺍﳌﻜﻨّﻰ ﺑﺴﺎﺗﻮﺭﻧﻴﻨﻮﺱ ،ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﺮﻳﺎ.
ﻛﺎﻫﻦ ﻛﺒﲑ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﻋﺎﺵ ﺗﻘﻴّﺎ 91ﻋﺎﻣﺎ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﲢﻤﻞ ﻫﺎﺗﻪ ﺍﻟﻨﻘﻴﺸﺔ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺩﻟﻴﻼﻥ ﻋﻦ ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﲟﻨﻄﻘﺔ ﻴﺴﺔ
-ﺍﻷﻭﻝ ﻳﻜﻤﻦ ﰲ ﻭ ﻴﻔﺔ ﺍﳌﻴﺖ ﺍﻟﺬﻱ ﻛﺎﻥ ﻛﺎﻫﻨﺎ ﻛﺒﲑﺍ ﻟ ﻟﻪ
-ﺍﻟﺜﺎﱐ ﰲ ﺍﻟﺰﺧﺎﺭﻑ ﻋﻠﻰ ﺷﻜﻞ ﻣﻌﻴﻨﺎﺕ ﺗﻨﺘﻬﻲ ﺑﻨﻘﺶ ﻟﺮﺃﺱ ﻳﺸﺒﻪ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ.
-6ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell, I.L.A .I. 1368/9
CIL. VIII.4883/4884
Ren. 2980
ﺍﳌﺼﺪﺭ :ﻏﺮﺏ ﺍﳌﺪﻳﻨﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ=.1.58ﻡ.ﻋﻠﻮ ﺍﳊﺮﻭﻑ=7ﺳﻢ .ﻋﺮ=0.50ﻡ
ﺍﻟﻜﺘﺎﺑﺔ:
D.M.S.
FABIA.
LAETA.
SACERDOS
L I B E R I.
P.V.A LVII
H.S.E .
ﻧﻘﻞ ﺍﻟﻨﺺ
Diis Manibus Sacrum. . Fabia Laeta Sacerdos Liberi.
Pia. Vixit annis LVII. Hic Sita Est.
324
ﺍﻟﺘﺮ ﺔ:
ﻓﺎﺑﻴﺎ ﻻﻳﺘﺎ ﻛﺎﻫﻨﺔ ﻟﻴﱪ ،ﺗﻘﻴّﺔ ،ﻋﺎﺷﺖ 57ﻋﺎﻣﺎ .ﻫﻨﺎ ﺗﻮﺟﺪ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﺣﺠﺮﺓ ﻣﻜﻌﺒﺔ ﰲ ﻗﺎﻋﺪﺓ ﻣﺬﺑﺢ ﲢﻤﻞ ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ ﻟﻜﺎﻫﻨﺔ ﺍﻹﻟﻪ ﻟﻴﱪ ،ﻭ ﰲ ﺍﻷﻋﻠﻰ ﻳﻮﺟﺪ
ﺇﻛﻠﻴﻞ.
-7ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ:
ﺍﳌﺮﺍﺟ :
S.Gsell, I.L.A .I. 1370. / CIL. VIII.488
Chabassière. in R.Const. 1866. p 146.
ﺍﳌﺼﺪﺭ :ﻏﺮﺏ ﺍﳌﺪﻳﻨﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﻋﻠﻮ=.146ﻡ.
ﺍﻟﻜﺘﺎﺑﺔ:
Q. IULIUS . Q . F
PA . SATURN
NU . SACERD
LIBERI // ATRS
P.V
AN . LXXXXI
H . S . E.
ﻧﻘﻞ ﺍﻟﻨﺺ
Q(uintus) Iulius. Q(uinti) F(ilius). Pap(iria). Saturninus. Sacerd(os) Liberi (pa)tris
)P(ius) V(ixit) An(nis) LXXXXI. H(ic) S(itus) E(st
ﺍﻟﺘﺮ ﺔ:
ﻙ .ﻳﻮﻟﻴﻮﺱ .ﺍﺑﻦ ﻛﻮﻳﻨﺘﻮﺱ ﺳﺎﺗﻮﺭﻧﻴﻨﻮﺱ ،ﻣﻦ ﻗﺒﻴﻠﺔ ﺑﺎﺑﲑﻳﺎ ،ﻛﻬﻨﻮﺕ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺗﻘﹼﻲ ﺟﺪﺍ .ﻋﺎﺵ
91ﻋﺎﻣﺎ .ﻫﻨﺎ ﻳﺮﻗﺪ
-8ﺇﻫﺪﺍﺀ:
ﺍﳌﺮﺍﺟ :
S.Gsell, I . L . A . 1235
.ﺍﳌﺼﺪﺭ :ﺣﻔﺮﻳﺎﺕ ﺍﻟﻔﻮﺭﻭﻡ ﺍﳉﺪﻳﺪ
325
ﺳﻢ7 = ﻋﻠﻮ ﺍﳊﺮﻭﻑ.ﻡ37. = ﺍﻟﻌﻠﻮ:ﺍﳌﻘﺎﺳﺎﺕ
ﻓﻮﻕ ﺟﺰﺀ ﻣﻦ ﺟﺎﻧﺐ ﺍﻟﺴﻄﺢ ﺍﳌﻌﻤ ّﺪ ﻟﻠﻤﺼﻠﹼﻰ:ﺍﻟﻜﺘﺎﺑﺔ
// I AUGUSTO SACRUM
:ﻧﻘﻞ ﺍﻟﻨﺺ
(Libero) (Patr)i Augusto Sacrum
ﺑﻮﻋﻄﻔﺎﻥ
: ﻛﺘﺎﺑﺔ ﺟﻨﺎﺋﺰﻳﺔ-1
: ﺍﳌﺮﺍﺟ
S.Gsell, « inscriptions inédites de l’Algérie » in BCTHS.1896. P186 , n°82. BCTHS.
1895. P 313.
C.I.L. VIII. Supp. 16910. / I . L . A. I . 562.
R.Bernelle, Comptes Rendus de l’académie d’Hippone. 1890. ap.cx n23./ R.Const.
1892. p94
Le Breton, R.Const.1895. p 313.
:ﺍﻟﻜﺘﺎﺑﺔ
..VICTORIA……. IIANUS(feuille cordiforme) E (fc) Q (fc) FL …..DOS
(fc) DEI L…..
..PATRIS F EOC….. ... R R ET IULIAE CEL
…..NIORIS (fc) FL (fc)
.. VIRI MILITARIS A… … POTI DOMITI VICTOR ….. RI (fc)
VNA (fc) CU
.. FELICE VICTOR …. … NO (fc) NEPOT / / / / / ........
SUA
( 50ﻧﻘﻞ ﺍﻟﻨﺺ )ﺣﺴﺐ ﻗﺰﺍﻝ
Victoria(nus?) (Iun?)ianus Eq(uo) (Publico) E(xornatus)…(sacer)DOS Dei Li(beri)
filius Patris (Equitum) R(omanorum) et Iuliae Cel(sinae) S(enioris)
Fl(aminicae?)..Viri Militaris (ne)poti, Domiti(i) Victor(is fratr)I, Una Cu(m) (filiis)et
Felice Victor(ino) nepot(ibus) (fecit de pecunia) sua.
CIL .VIII.supp.16910 ﺣﺴﺐ: ﻧﻘﻞ ﺍﻟﻨﺺ.
…Victor Ror…anus, eq(ues) R(omanus), fl(amen) p(erpetuus), Sacerdos Dei
Liberi…Patris aq(uitum) r(omanorum) et Iuliae Cel(sinae) (s)enioris
fl(aminicae)…viri militaris n(e)pot, Domiti(i) Victor(is) ou (ini) fratr(i)
unacu(m) …Felice Victorino nepote…
50
Gsell, in BCTHS.1896. P 186, n°82
326
ﺍﻟﺘﺤﻠﻴﻞ:
ﺇﻥ ﻧﺺ ﺍﻟﻨﻘﻴﺸﺔ ﻧﺎﻗﺺ ،ﻭ ﻣﺎ ﳝﻜﻦ ﺍﻟﻘﻮﻝ ﻫﻮ ﺃﻥ ﺍﻷﻋﻀﺎﺀ ﺍﳌﺬﻛﻮﺭﻭﻥ ﻓﻴﻬﺎ ﻳﻨﺘﻤﻮﻥ ﻛﻠﻬﻢ ﺇﱃ ﻧﻔﺲ
ﺍﻟﻌﺎﺋﻠﺔ ﻭ ﻫﻢ ﻣﻦ ﻃﺒﻘﺔ ﺍﻟﻔﺮﺳﺎﻥ ﻭ ﻳﺘﻤﺘﻌﻮﻥ ﲟﻨﺎﺻﺐ ﺩﻳﻨﻴﺔ ﻣﻨﻬﺎ
ﺍﻟﻜﺎﻫﻦ ﺍﳌﺆﺑّﺪ ،ﻛﻬﻨﻮﺕ ﻟﻴﱪ ﺑﺎﺗﺮ ،ﺍﻟﻔﺎﺭﺱ ﺍﻟﺮﻭﻣﺎﱐ ﺍﻟﺬﻱ ﲢﻠﹼﻰ ﺃﺑﻮﻩ ﻭ ﺟﺪّﻩ ﻧﻔﺲ ﺍﻟﻠﻘﺐ ،ﻛﻤﺎ ﻛﺎﻧﺖ
ﺯﻭﺟﺘﻪ ﺃﻳﻀﺎ ﻛﺎﻫﻨﺔ ﻣﺆﺑّﺪﺓ ﻭ ﺣﻔﻴﺪﺓ ﻛﺎﻫﻦ ﻣﺆﺑّﺪ.
327
-3.2ﺍﳌﻌﺎﺑﺪ ﻭ ﺍﳌﺬﺍﺑ
ﺗﺒﺴﺔ:
ﺍﳌﺮﺍﺟ :
M.Le Capitaine Maitrot, « Etude militaire de l’antique Theveste ». R.Const -
1911, p 69.
- Serre de Roch, Guide de Tebessa. Alger 1952, p 30.
Documents inédits du Sce d’Archives de l’Anapsmh. -
ﺍﳌﻮ :ﻣﺪﻳﻨﺔ ﺗﺒﺴﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﳌﺴﺘﻄﻴﻞ = 18.80ﻡ 9.00 xﻡ
ﻋﻠﻮ ﺍﻟﻘﺎﻋﺪﺓ = 4.00ﻡ
ﺍﻟﻮﺻﻒ:
ﻳﻨﺘﻤﻲ ﺍﳌﻌﺒﺪ ﺍﳌﺴﻤﻰ ﺧﻄﺄ "ﻣﻌﺒﺪ ﻣﻴﻨﺮﻑ" ﺇﱃ ﻃﺮﺍﺯ ﺍﻟﺒﻨﺎﺀ ﺍﳌﻌﻤﺪ prostyle périptèreﻭﻳﺘﻜﻮﻥ ﻣﻦ
ﺍﻷﻗﺴﺎﻡ ﺍﻟﻜﻼﺳﻴﻜﻴﺔ ﻟﻠﻤﻌﺎﺑﺪ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺃﻱ ﺍﻟﻨﺎﻭﻭﺱ ،ﺍﻟﱪﻭﻧﺎﻭﻭﺱ "ﻣﻘﺪﻣﺔ ﺍﳍﻴﻜﻞ" ﻭ ﺍﳌﻘﺪﺱ .cella
ﻳﺘﺤﻠﻰ ﺇﻓﺮﻳﺰ ﻭ ﻃﻨﻒ ﺍﳌﻌﺒﺪ ﲟﻨﺤﻮﺗﺎﺕ ﻏﻨﻴﺔ ﻛﻤﺎ ﻧﻼﺣﻆ ﻧﻔﺲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺰﺧﺮﻓﻴﺔ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﻧﻘﺎﻁ
ﺍﺭﺗﻜﺎﺯ ﺍﻷﻋﻤﺪﺓ ﺑﲔ ﺍﻟﻠﻮﺣﺎﺕ ﺍﳌﺮﺑﻌﺔ ﰲ ﺣﻘﻞ ﺍﳌﻨﺤﻮﺗﺎﺕ métopesﻭ ﻫﻲ:
-ﺻﻘﺮ ﳝﺴﻚ ﺑﲔ ﳐﺎﻟﺒﻪ ﺛﻌﺒﺎﻧﺎﻥ ﺘﻀﻨﺎﻥ ﺣﺒﻼﺕ ﺍﻟﻌﻨﺐ
-ﻣﻦ ﺑﲔ ﺍﻟﺼﻮﺭ ﺍﳌﻨﺤﻮﺗﺔ ﻳﻈﻬﺮ ﻫﺮﺍﻗﻞ ﺑﺎﳍﺮﺍﻭﺓ ﻭ ﺑﺎﺧﻮﺱ ﻣﻜﻠﻞ ﺑﺎﻟﻠﺒﻼﺏ
-ﺑﲔ ﲡﻮﻳﻔﺎﺕ ﺍﻟﻄﻨﻒ ﻣﻦ ﺍﳉﺎﻧﺐ ﺍﻷﳝﻦ ﳓﺘﺖ ﺃﻗﻨﻌﺔ ﺃﻹﳍﺔ ﻣﻴﺪﻭﺱ méduseﻣﻌﻠﻘﺔ ﺇﱃ ﺃﻭﺭﺍﻕ
ﺍﻟﺪﺍﻟﻴﺔ.
-ﰲ ﺍﻷﻣﺎﻡ ﻣﻦ ﺍﳉﺎﻧﺐ ﺍﻷﻳﺴﺮ ﺗﻈﻬﺮ ﺣﺒﻼﺕ ﺍﻟﻌﻨﺐ.
ﺍﻟﺘﺤﻠﻴﻞ :
ﻧﺴﺐ ﻫﺬﺍ ﺍﳌﻌﺒﺪ ﺧﻄﺄ ﺇﱃ ﺍﻹﳍﺔ ﻣﻴﻨﺮﻑ ،ﺟﻮﺑﻴﺘﺮ ﻭ ﺟﻮﻧﻮﻥ Junon- Jupiter Minerveﺇﻋﺘﻘﺎﺩﺍ ﺃﻧﻪ
ﻛﺎﻥ ﻳﻘﻮﻡ ﻣﻘﺎﻡ ﺍﻟﻜﺎﺑﻴﺘﻮﻝ .ﻏﲑ ﺃﻥ ﺍﻟﺰﺧﺎﺭﻑ ﺍﻟﻈﺎﻫﺮﺓ ﰲ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻌﻤﺎﺭﻳﺔ ﺍﻟﱵ ﺫﻛﺮﻧﺎﻫﺎ ﻭ ﻬﻮﺭ
ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻧﻔﺴﻪ ﻣﻊ ﻫﲑﺍﻗﻞ ﺃﺩﻯ ﺇﱃ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﺃﻣﺜﺎﻝ ﻟﺴﻜﻲ ﻭ ﺳﲑﻱ ﺩﻭ ﺭﻭﻙ 1ﺇﱃ
ﺍﻓﺘﺮﺍﺽ ﺃﻥ ﻳﻜﻮﻥ ﻫﺬﺍ ﺍﳌﻌﺒﺪ ﻗﺪ ﻛﺮﺱ ﺇﱃ ﻫﺮﺍﻗﻞ ﻭ ﺑﺎﺧﻮﺱ ﺍﻟﱵ ﻳﻌﺮﻑ ﺃﻬﻧﺎ ﺍﻵﳍﺔ ﺍﳊﺎﻣﻴﺔ ﻭ ﺍﳌﻔﻀﻠﺔ
ﻟ ﻣﱪﺍﻃﻮﺭ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﲑﻭﺱ ﻭ ﺍﻟﺰﺧﺮﻓﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ﰲ ﺍﳌﺒ ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﻟﺘﺄﺭﻳﺦ ﲡﻌﻠﻨﺎ ﺩﺍﺋﻤﺎ ﰲ ﺍﻹﻃﺎﺭ
ﺍﻟﺴﻔﲑﻱ...
1
Serre de Roch, op cit 1952. p 32
328
ﻛﻤﺎ ﲡﺪﺭ ﺑﻨﺎ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﻭﺟﻮﺩ ﺷﻮﺍﻫﺪ ﺃﺧﺮﻯ ﻋﻠﻰ ﺍﺷﺘﺮﺍﻙ ﺍﻹﳍﲔ "ﺑﺎﺧﻮﺱ ﻭ ﻫﺮﺍﻗﻞ" ﺑﺼﻔﺔ ﺭﲰﻴﺔ
ﺳﻮﺍﺀ ﲟﺪﻳﻨﺔ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ ﻣﺴﻘﻂ ﺭﺃﺱ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺳﺒﺘﻴﻤﻮﺱ ﺃﻭ ﰲ ﻧﻘﻴﺸﺎﺕ ﻣﺪﻳﻨﺔ ﻴﻠﺔ ﺗﻌﻮﺩ ﺇﱃ ﺍﻟﻔﺘﺮﺓ
ﺍﻟﺴﻔﲑﻳﺔ.2
ﻳﻌﺘﱪ ﻫﺬﺍ ﺍﳌﻌﺒﺪ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻭﺻﻞ ﺇﻟﻴﻨﺎ ﻛﺎﻣﻼ ﻭ ﻗﺎﺋﻤﺎ ﻟﻴﺸﻬﺪ ﻋﻠﻰ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ.
-2أﻇﺮ ص ..285
329
ﻴﻠﺔ :
ﺍﳌﺮﺍﺟ :
- Y. Allais, « Le quartier est de Djemila ».Libyca. 1954, p 356
ﺍﳌﻮ :ﺍﳊﻲ ﺍﻟﺸﺮﻗﻲ ﳉﻤﻴﻠﺔ
ﺍﳌﻘﺎﺳﺎﺕ :ﺍﳌﻘﺪﺱ = 6.00ﻡ ﻋﻠﻰ 4.30ﻡ
ﺍﻟﻮﺻﻒ:
ﻟﻘﺪ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﺃﺳﺲ ﻣﻌﺒﺪ ﺻﻐﲑ ﲟﻘﺪﺱ cellaﻛﻤﺎ ﻭﺟﺪ ﺟﺪﺍﺭ ﺻﻐﲑ ﻛﺎﻧﺖ ﺗﺮﺗﻜﺰ ﻋﻠﻴﻪ ﻗﺎﻋﺪﺓ
ﲤﺜﺎﻝ ﺍﻹﻟﻪ ﺃﻣﺎ ﺍﳌﺪﺧﻞ ﻓﻘﺪ ﻭﺟﻪ ﺇﱃ ﺍﻟﺸﺮﻕ ﻭ ﺑﲏ ﺍﳌﻌﺒﺪ ﻋﻠﻰ ﺣﺎﻓﺔ ﺳﺎﺣﺔ ﻣﺒﻠﻄﺔ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﱂ ﺗﻮﺟﺪ ﺃﻳﺔ ﻧﻘﻴﺸﺔ ﺗﺬﻛﺮ ﺗﻜﺮﻳﺲ ﻫﺪﺍ ﺍﳌﻌﺒﺪ ﺇﱃ ﺇﻟﻪ ﻣﺎ ﻏﲑ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﺑﻘﺎﻳﺎ ﲤﺎﺛﻴﻞ ﻭ ﻣﻨﺤﻮﺗﺎﺕ
ﺩﻳﻮﻧﻴﺰﻳﺔ ﺑﺎﻟﻘﺮﺏ ﻣﻨﻪ ﺗﻌﻄﻲ ﻓﻜﺮﺓ ﻋﻠﻰ ﻫﻮﻳﺔ ﺍﻹﻟﻪ ﺍﳌﺘﻌﻠﻖ ﺑﺎﳌﺒ :
ﺭﺃﺱ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﻭ ﺑﻘﺎﻳﺎ ﲤﺜﺎﻝ ﺍﻹﳍﺔ ﻟﻴﱪﺍ 3ﻫﺪﺍ ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﻟﻨﺎﻗﺸﺔ ﺍﳌﻬﺪﺍﺓ ﺇﱃ ﻟﻴﱪ ﻭ ﻟﻴﱪﺍ 4ﺍﻟﱵ
ﻭﺟﺪﺕ ﻋﻠﻰ ﺑﻌﺪ ﺛﻼﺛﻮﻥ ﻣﺘﺮ ﻣﻦ ﺍﳌﻌﺒﺪ .ﻛﻞ ﻫﺬﻩ ﺍﳌﻜﺘﺸﻔﺎﺕ ﺗﺪﻋﻮﻧﺎ ﺇﱃ ﺭﺑﻄﻬﺎ ﺑﺎﳌﻌﺒﺪ ﺍﻟﺬﻱ ﻳﻜﻮﻥ
ﻋﻨﺪﺋﺬ ﻣﻜﺮﺱ ﺇﱃ ﺍﻟﺜﻨﺎﺋﻲ " ﻟﻴﱪ ﻭ ﻟﻴﱪﺍ" ﻭ ﻟﻴﺲ ﻫﺬﺍ ﻏﺮﻳﺐ ﺇﺫﺍ ﺗﺬﻛﺮﻧﺎ ﻏ ﻣﻮﻗﻊ ﻴﻠﺔ ﺑﺎﻟﺸﻮﺍﻫﺪ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺳﻮﺍﺀ ﻛﺎﻧﺖ ﻓﺴﻴﻔﺴﺎﺀ ﺃﻭ ﻧﻘﻴﺸﺎﺕ...
ﺍﻟﺘ ﺭﻳ :ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻡ .
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ﺍﻟ ﺼل ﺍﻟﺜﺎﻨﻲ
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ﻣﺪﺧﻞ ﺇﱃ ﺍﻟﻔﺼﻞ ﺍﻟ ﺎ
ﺇﻥ ﺃﺛﺎﺭ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳉﺰﺍﺋﺮ ﻗﺪﳝﺔ ﺑﻘﺪﻡ ﺍﻷﺭﺽ ﺣﻴﺚ ﺍﻛﺘﺸﻔﺖ ﺣﺒّﺎﺕ ﻋﻨﺐ ﻭ ﻣﺴﺘﺤﺜﹼﺎﺕ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﺑﻄﺒﻘﺎﺕ
ﺟﻴﻮﻟﻮﺟﻴﺔ ﻟﻠﺰﻣﻦ ﺍﻟﺮﺍﺑﻊ ﺗﻮﺍﻓﻖ ﻋﺼﺮ ﺍﳉﻠﻴﺪ "ﺍﻟﺮﻳﺲ" ﲟﻠﻴﺎﻧﺔ ﻭ ﺑﻄﻴﻨﺎﺕ" ﻣﻴﺰﻭﻥ ﻛﺎﺭﻱ " )(maison caréeﺑﺎﳉﺰﺍﺋﺮ
1
ﺍﻟﻌﺎﺻﻤﺔ .
ﻛﻤﺎ ﺗﺸﻬﺪ ﺍﳌﺼﺎﺩﺭ ﺍﻹﻏﺮﻳﻘﻴﺔ –ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻘﺪﳝﺔ ﻋﻠﻰ ﻭﺟﻮﺩ ﻛﺮﻭﻡ ﺑﺮّﻳﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻗﺒﻞ ﻗﺪﻭﻡ ﺍﻟﺮﻭﻣﺎﻥ ﺗﻌﺮﻑ
ﺑﺘﺴﻤﻴﺔ "ﺍﻟﻜﺮﻭﻡ ﺍﺠﻤﻟﻨﻮﻧﺔ" ﻷﻬﻧﺎ ﻛﺎﻧﺖ ﺗﻌﻄﻲ ﻋﻨﺒﺎ ﻃﺎﺯﺟﺎ ﻭ ﻋﻨﺒﺎ ﺍﺧﻀﺮﺍ ﰲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ .ﻭ ﻳﺬﻛﺮ ﺍﳌﺆﺭﺥ ﺑﻠﻴﻨﻮﺱ ﺍﻟﻘﺪﱘ
2
ﺍﻧﻪ ﻻﺣﻆ ﺃﺛﺎﺭ ﻗﺪﳝﺔ ﻟﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺑﺎﳌﻨﺎﻃﻖ ﺍﻟﻮﺍﻗﻌﺔ ﺣﻮﻝ ﺟﺒﺎﻝ ﺍﻷﻃﻠﺲ ﻛﻤﺎ ﲢﺪﺙ ﺍﻟﻘﺪﺍﻣﻰ ﻋﻠﻰ ﺍﻹﻧﺘﺎﺝ ﺍﻟﻮﻓﲑ
3
ﻟﻠﻌﻨﺐ ﲟﻤﻠﻜﺔ ﻧﻮﻣﻴﺪﻳﺎ.
4
ﻳﺮﺟﻊ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﻓﻀﻞ ﺗﻌﺮّﻑ ﺳﻜﺎﻥ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﻠﻰ ﺃﺻﻮﻝ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺇﱃ ﺃﻫﺎ ﻣﺪﻳﻨﺔ ﺻﻮﺭ ﺍﻟﻔﻴﻨﻴﻘﻴﺔ
ﻭ ﺩﻟﻚ ﺑﻌﺪ ﺍﺳﺘﻘﺮﺍﺭﻫﻢ ﲟﺪﻳﻨﺔ ﻗﺮﻃﺎﺟﺔ ﺣﻴﺚ ﺃﻓﺎﺩﻭﺍ ﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﲔ ﲞﱪﻬﺗﻢ ﺍﻟﻘﺪﳝﺔ ﰲ ﺍﻟﺘﺤﻜﹼﻢ ﰲ ﺗﻘﻨﻴﺎﺕ ﺍﻟﻜﺮﺍﻣﺔ ﺑﻞ
ﻭﻭﺿﻌﻮﺍ ﳍﺎ ﺃﺳﺴﺎ ﻋﻠﻤﻴﺔ ﻭ ﻟﻌّﻞ ﺃﺷﻬﺮ ﺍﳋﱪﺍﺀ ﰲ ﻋﻠﻢ ﺍﻟﺰﺭﺍﻋﺔ ﺍﻟﻘﺪﳝﺔ ﻳﺒﻘﻰ ﺍﻟﻘﺮﻃﺎﺟﻲ "ﻣﺎﺟﻮﻥ" ﺍﻟﺬﻱ ﺗﺮﺟﻢ ﻛﺘﺎﺑﻪ
ﺣﻮﻝ ﺍﻟﺰﺭﺍﻋﺔ ﺇﱃ ﺍﻟ ﺗﻨﻴﺔ ﺑﻌﺪ ﺳﻘﻮﻁ ﻗﺮﻃﺎﺟﺔ ﻭ ﺃﻋﺎﺩ "ﻛﻮﳌﺎﻝ" ﺍﻟﺮﻭﻣﺎﱐ ﻛﻞ ﺍﻟﺘﻮﺻﻴﺎﺕ ﺍﻟﱵ ﺟﺎﺀﺕ ﻓﻴﻪ ﺑﻜﺘﺒﻪ.
ﻻ ﻳﻔﻮﺗﻨﺎ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﻧﻮﻉ ﻣﻦ ﺍﳌﺒﺎﻟﻐﺔ ﺍﻟﱵ ﺗﻜﺘﻨﻔﻬﺎ ﻣﺜﻞ ﻫﺎﺗﻪ ﺍﻵﺭﺍﺀ ﺍﻟﱵ ﺗﻨﻔﻲ ﲤﺎﻣﺎ ﻭﺟﻮﺩ ﺃﺳﺎﺱ) ﻋﻠﻰ ﺍﻷﻗﹼﻞ(ﻟﻠﻜﺮﺍﻣﺔ
ﻟﺪﻯ ﺍﻟﺴﻜﺎﻥ ﺍﻷﺻﻠﻴﲔ ﻟﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺇﻻ ﻓﻜﻴﻒ ﻧﻔﺴّﺮ ﺍﻟﺸﻮﺍﻫﺪ ﺍﻷﺛﺮﻳﺔ ﻭ ﺍﻟﺘﺎﺭﳜﻴﺔ ﺍﳌﺬﻛﻮﺭﺓ ﺃﻋﻼﻩ...
ﻟﻘﺪ ﻋﺎﻧﺖ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺑﺸﻤﺎﻝ ﺍﻓﺮﻳﻘﺎ ﻋﻠﻰ ﻏﺮﺍﺭ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻷﺧﺮﻯ ﺍﻟﺘﺎﺑﻌﺔ ﻟﺮﻭﻣﺎ ﻣﻦ ﻣﻨﺎﻓﺴﺔ ﺷﺪﻳﺪﺓ ﻭ ﻣﺘﻨﺎﻭﺑﺔ
ﻣﻦ ﻗﻴﻞ ﺯﺭﺍﻋﺔ ﺍﳊﺒﻮﺏ ﻭ ﻫﺪﺍ ﲝﻜﻢ ﻣﻜﺎﻧﺔ ﺍﻟﻘﻤﺢ ﺍﻟﺮﺋﻴﺴﻴﺔ ﰲ ﺍﻟﺘﻤﻮﻳﻦ ﺃﻟﻐﺪﺍﺋﻲ ﻟ ﻣﱪﺍﻃﻮﺭﻳﺔ.
1
J.A. Battandier et L.Trabut, L’Algérie le sol et les habitants. Paris 1898. p 74 et p 2. S.Santa, « Essai de reconstitution
de paysages végétaux quaternaires d’Afrique du nord. LIBYCA. Anthrop.. Prehist. Ethnogr. TVI-VII, 1958-1959. pp
37-77.
2
Pline, H.N, V, 13.
3
S.Gsell, H.A.A.N. T5. P 182.
4
G. g.Précheur, La vie rurale en Afrique romaine d’après les mosaïques. p 53.
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ﻓﻜﺎﻧﺖ ﺍﻟﻜﺮﺍﻣﺔ ﳏّﻞ ﻗﻮﺍﻧﲔ ﻭ ﻣﺮﺍﺳﻴﻢ ﲢﹼﺪ ﻣﻦ ﻧﺸﺎﻃﻬﺎ ﺗﺎﺭﺓ ﻭ ﺗﺸﺠﻌﻬﺎ ﺗﺎﺭﺓ ﺃﺧﺮﻯ ﻛﻤﺮﺳﻮﻡ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺩﻭﻣﺘﻴﺎﻧﻮﺱ
ﺳﻨﺔ 92ﻡ ﺍﻟﺬﻱ ﳝﻨﻊ ﻏﺮﺱ ﻛﺮﻭﻡ ﺟﺪﻳﺪﺓ ﺑﺎﻳﻄﺎﻟﻴﺎ ﻭ ﻳﻨّﺺ ﻋﻠﻰ ﺗﺪﻣﲑ ﻧﺼﻒ ﺃﻭ ﺃﻛﺜﺮ ﻣﻦ ﺣﻘﻮﻝ ﺍﻟﻜﺮﻭﻡ ﺑﺎﻟﻮﻻﻳﺎﺕ
ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﻣﻨﻬﺎ ﺍﻷﻓﺮﻳﻘﻴﺔ ﻭ ﺩﻟﻚ ﻧﺘﻴﺠﺔ ﻧﻘﺺ ﻛﺒﲑ ﰲ ﺇﻧﺘﺎﺝ ﺍﻟﻘﻤﺢ ﻭ ﻣﻨﺎﻓﺴﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﻮﺭ ﺍﳌﻨﺘﺠﺔ ﺧﺎﺭﺝ ﺍﻳﻄﺎﻟﻴﺎ
5
ﻟﻠﻜﺮﻭﻡ ﻭ ﺍﳋﻤﻮﺭ ﺍﻻﻳﻄﺎﻟﻴﺔ.
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ﻳﺒﺪﻭ ﺃﻥ ﻫﺪﻩ ﺍﻹﺟﺮﺍﺀﺍﺕ ﱂ ﺗﻜﻠﹼﻞ ﺑﻨﺠﺎﺡ ﻛﻤﺎ ﻳﻼﺣﻆ ﺍﻟﺪﻛﺘﻮﺭ ﺷﻴﻨﻴﱵ ﻭ ﺩﻟﻚ ﻣﺎ ﺟﻌﻞ ﺍﻹﻣﱪﺍﻃﻮﺭ ﻫﺎﺩﺭﻳﺎﻧﻮﺱ ﻓﻴﻤﺎ
ﺑﻌﺪ ﻳﻔﻀّﻞ ﺍﺳﺘﺜﻤﺎﺭ ﺍﻹﻣﻜﺎﻧﻴﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﺍﳍﺎﺋﻠﺔ ﺍﻟﻜﺎﻣﻨﺔ ﰲ ﺃﺭﺍﺿﻲ ﺍﻟﻮﻻﻳﺎﺕ ﺍﻷﻓﺮﻳﻘﻴﺔ.
ﻭ ﺍﺑﺘﺪﺀﺍ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺗﺘﺤﻮﻝ ﺍﻟﺴﻴﺎﺳﺔ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻟ ﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺑﺎﻟﻮﻻﻳﺎﺕ ﺍﻷﻓﺮﻳﻘﻴﺔ ﺇﱃ ﺍﻟﺰﺭﺍﻋﺔ ﺍﻟﺸﺠﺮﻳﺔ
)ﺍﻟﺰﻳﺘﻮﻥ ﻭ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻟﺘﲔ( ﺑﻌﺪﻣﺎ ﻛﺎﻧﺖ ﺗﻘﺘﺼﺮ ﻋﻠﻰ ﺍﳊﺒﻮﺏ .ﺣﱴ ﺍﻋﺘﱪ ﺑﻌﺾ ﺍﳌﺆﺭﺧﻮﻥ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺑﻘﺘﺮﺓ ﺍﻟﻌﺼﺮ
7
ﺍﻟﺬﻫﱯ ﻟﺘﻮﺳﻴﻊ ﻭ ﺍﺯﺩﻫﺎﺭ ﺍﻟﻜﺮﺍﻣﺔ ﺑﺸﻤﺎﻝ ﺃﻓﺮﻳﻘﺎ.
ﺑﺎﻟﻔﻌﻞ ﺗﻌﻴﺶ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻣﺮﺣﻠﺔ ﺍﺯﺩﻫﺎﺭ ﺧﺎﺹ ﻣﻊ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ ﻭ ﺩﻟﻚ ﺑﻌﺪ ﻗﺮﺍﺭ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ
ﺑﺘﺨﺼﻴﺺ ﺃﺭﺍﺿﻲ ﺍﻻﺳﺘﺮﺍﺣﺔ ﻟﺰﺭﺍﻋﺎﺕ ﺃﺧﺮﻯ ﻏﲑ ﺍﻟﻘﻤﺢ ﻣﺜﻞ ﺍﻟﻌﻨﺐ ،ﻭ ﰲ ﺣﺪﻭﺩ 280ﻡ ﻣﻨﺢ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺑﺮﻭﺑﺲ
ﺣﺮﻳﺔ ﳑﺎﺭﺳﺔ ﺍﻟﻜﺮﺍﻣﺔ ﺇﱃ ﺑﻼﺩ ﺍﻟﻐﻮﻝ ﻭ ﺍﻟﺪﺍﻧﻮﺏ ﺩﻭﻥ ﺃﺷﺎﺭﺓ ﺇﱃ ﻣﻨﻄﻘﺔ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺭﲟﺎ ﻫﺪﺍ ﻳﻌﲏ ﺃﻥ ﺍﳌﻘﺎﻃﻌﺎﺕ
8
ﺍﻷﻓﺮﻳﻘﻴﺔ ﱂ ﺗﻌﺎﱐ ﻣﻦ ﺇﺟﺮﺍﺀﺍﺕ ﺍﻟﺘﻘﻨﲔ ﺍﻟﺴﺎﺑﻘﺔ؟
9
ﻭﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﳝﻨﺢ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺃﻭﺭﻟﻴﺎﻧﻮﺱ ﺃﺭﺍﺿﻲ ﻟﻠﺴﺠﻨﺎﺀ ﺑﻮﻻﻳﺎﺕ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻻﺳﺘﺜﻤﺎﺭﻫﺎ ﰲ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ.
ﻭ ﺧﻼﻝ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻗﺎﻣﺖ ﺍﻟﺪﻭﻟﺔ ﺑ ﺣﺼﺎﺀﺍﺕ ﺟﺒﺎﺋﻴﺔ ﻟ ﺭﺍﺿﻲ ﰲ ﺍﳌﻐﺮﺏ ﺍﻟﺮﻭﻣﺎﱐ ﻟﺼﺎ ﺍﻟﻨﻈﺎﻡ ﺍﳉﺒﺎﺋﻲ ﺍﳉﺪﻳﺪ
10
ﺍﻟﺬﻱ ﴰﻞ ﺇﺣﺼﺎﺀ ﺍﻷﺭﺽ ﺣﺴﺐ ﺧﺼﻮﺑﺘﻬﺎ ﻭ ﲣﺼّﺼﻬﺎ ﰲ ﺍﻹﻧﺘﺎﺝ ﻭ ﻛﺎﻧﺖ ﺣﻘﻮﻝ ﺍﻟﻌﻨﺐ ﲢﺴﺐ ﻋﺪﺩﻳﺎ.
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ﺃﻣﺎ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻟﻮﻧﺪﺍﻟﻴﺔ ﻓﻴﻮﺭﺩ ﺃﻥ ﺇﻧﺘﺎﺝ ﺇﻓﺮﻳﻘﻴﺎ ﻣﻦ ﺍﻷﺷﺠﺎﺭ ﺍﳌﺜﻤﺮﺓ ﻛﺎﻟﻌﻨﺐ ﻛﺎﻥ ﻛﺎﻓﻴﺎ.
5
S.Reinach, « la mévente du vin sous le H.E romain » in Africa. Institut du patrimoine. 1997. p 9.
6ﺍﻟﺪﻛﺘﻮﺭ ﻡ.ﺏ.ﺷﻴﻨﻴﱵ ،ﺍﻟﺘﻐﲑﺍﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﰲ ﺍﳌﻐﺮﺏ ﺃﺛﻨﺎﺀ ﺍﻻﺣﺘﻼﻝ ﺍﻟﺮﻭﻣﺎﱐ .ﺍﳉﺰﺍﺋﺮ .198 4.ﺹ .47
7
J.P.Martin, La Rome ancienne (735 av-jc- 395 ap.jc). ed PUF. Paris 1973. p 254.
8
L.Leschi, Etudes d’épigraphie, d’archéologie et d’histoire Africaine. Paris 1957. p 81.
9
Aurelien, Hist. Aug. 48-I.4
333
-1.2ﺃﻧﻮﺍﻉ ﺍﻟﻜﺮﻭﻡ ﺍﻷﻓﺮﻳﻘﻴﺔ:
ﻻ ﻧﻌﺮﻑ ﺍﻟﻜﺜﲑ ﻋﻦ ﻧﻮﻋﻴﺎﺕ ﺍﻟﻜﺮﻭﻡ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺰﺭﻉ ﰲ ﺃﺭﺍﺿﻲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﻘﺪﳝﺔ ﻭ ﻟﻘﺪ ﻻﺣﻈﻨﺎ
ﺃﻥ ﻣﻌﻈﻢ ﺍﻷﲝﺎﺙ ﺗﻘﻠﹼﻞ ﻣﻦ ﻗﻴﻤﺔ ﺍﻟﻌﻨﺐ ﺍﻷﻓﺮﻳﻘﻲ ﺑﻮﺻﻔﻪ ﻛﻌﻨﺐ ﺫﻭ ﻧﻮﻋﻴﺔ ﻣﺘﻮﺳﻄﺔ ﻳﺼﻠﺢ ﻓﻘﻂ ﻟﺼﻨﺎﻋﺔ ﺍﳋﻤﺮ ﺍﳌﻮﺟّﻪ
ﻟﻼﺳﺘﻬﻼﻙ ﺍﶈﻠﹼﻲ...
ﺑﻜﻞ ﺗﻮﺍﺿﻊ ﻣﻨّﺎ ﻻ ﻧﺸﺎﻃﺮ ﻣﺜﻞ ﻫﺬﻩ ﺍﻵﺭﺍﺀ "ﺍﳌﺘﻄﹼﺮﻓﺔ" ﺍﻟﱵ ﲢﺼﺮ ﺍﻟﻜﺮﺍﻣﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ ﻟﻼﺳﺘﻐﻼﻝ ﺍﶈﻠﹼﻲ ﻓﻘﻂ ﻭ ﺇﻥ ﻛﺎﻥ
ﺍﻷﻣﺮ ﻛﺬﻟﻚ ﻓﻜﻴﻒ ﻧﻔﺴّﺮ ﺍﺫﻥ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻼﺗﻴﻨﻴﺔ ﺍﻟﱵ ﺗﺸﻬﺪ ﻋﻠﻰ ﻭﺟﻮﺩ ﺗّﻴﺎﺭ ﺍﺳﺘﲑﺍﺩ ﺍﳋﻤﻮﺭ ﺍﻹﻓﺮﻳﻘﻴﺔ ﺇﱃ ﺭﻭﻣﺎ؟
-ﺛﻼﺛﺔ ﻛﺘﺎﺑﺎﺕ ﻭﺟﺪﺕ ﲟﻴﻨﺎﺀ ﺃﻭﺳﺘﻴﺎ ﺑﺮﻭﻣﺎ ﺗﺸﻬﺪ ﻋﻠﻰ ﻭﺟﻮﺩ ﲡﻤّﻊ ﻟﻠﺘﺠﺎﺭ ﺍﳌﺴﺘﻮﺭﺩﻳﻦ ﻟﻠﺨﻤﻮﺭ ﰲ ﺇﻃﺎﺭ ﳎﻤّﻊ ﺭﲰﻲ
ﺑﺴﺎﺣﺔ ﺍﳋﻤﻮﺭ ﻳﻨﺘﻤﻲ ﺇﻟﻴﻪ ﺟﻨﺪﻱ ﻗﺪﱘ ﲟﻘﺎﻃﻌﺔ ﺇﻓﺮﻳﻘﻴﺎ ﲢﻮﻝ ﺇﱃ ﺗﺎﺟﺮ ﻣﺴﺘﻮﺭﺩ ﺍﳋﻤﻮﺭ ﺑﻌﺪ ﺍﳋﺪﻣﺔ ﺍﻟﻌﺴﻜﺮﻳﺔ.
13
COLLEGIUM VINARIORUM IMPORTATORUM NEGOTIANTIUM.
ﻭ ﻳﺒﺪﻭ ﺃﻥ ﺣﺮﻛﺔ ﺍﺳﺘﲑﺍﺩ ﺍﳋﻤﻮﺭ ﻣﻦ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺧﺎﺭﺝ ﺍﻳﻄﺎﻟﻴﺎ ﻭ ﺑﻼﺩ ﺍﻹﻏﺮﻳﻖ ﻋﺮﻓﺖ ﻧﺸﺎﻃﺎ ﻛﺒﲑﺍ ﰲ ﻓﺘﺮﺓ
14
ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﻌﻠﻴﺎ ﰒ ﺿﻌﻔﺖ ﻣﻊ ﺣﻠﻮﻝ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ ﻧﺘﻴﺠﺔ ﺍﻷﺯﻣﺔ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻟﻠﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ.
ﻋﻼﻭﺓ ﻋﻠﻰ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻷﺛﺮﻳﺔ ﻳﻮﺟﺪ ﻣﺆﺷّﺮ ﺃﺧﺮ ﻳﺪّﻝ ﻋﻠﻰ ﻭﺟﻮﺩ ﺣﺮﻛﺔ ﺗﺼﺪﻳﺮ ﺍﳋﻤﺮ ﺍﻷﻓﺮﻳﻘﻲ ﺇﱃ ﺭﻭﻣﺎ ﺃﻻ ﻭ ﻫﻮ
ﺍﻷﻣﻔﻮﺭﺍﺕ ﺍﻟﱵ ﺍﺳﺘﻌﻤﻠﺖ ﻟﻨﻘﻞ ﺍﻟﻨﺒﻴﺬ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﱵ ﻭﺟﺪﺕ ﲟﻨﺎﻃﻖ ﳐﺘﻠﻔﺔ ﻣﻦ ﺭﻭﻣﺎ ﻭ ﻫﻲ ﲢﻤﻞ ﺧﺘﻢ ﻣﺪﻳﻨﺔ ﺗﺒﻮﺳﻜﺘﻮ
ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﺟﺮّﺍﺕ ﺑﻨﻔﺲ ﺍﳋﺘﻢ ﰲ ﻣﻨﺎﻃﻖ ﺃﺧﺮﻯ ﻣﻦ ﺍﻟﻌﺎﱂ ﻣﺜﻞ ﺍﻟﺴﻮﺩﺍﻥ )ﺗﻴﻜﻼﺕ ﺑﻮﻻﻳﺔ ﲜﺎﻳﺔ ﺣﺎﻟﻴﺎ( .ﻛﻤﺎ
15
)ﻣﲑﻭﻱ( ﻭ ﺍﺳﺒﺎﻧﻴﺎ.
ﻧﻌﻮﺩ ﺇﱃ ﺃﻧﻮﺍﻉ ﺍﻟﻜﺮﻭﻡ ﺍﳌﻌﺮﻭﻓﺔ ﰲ ﺍﳉﺰﺍﺋﺮ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﻧﺬﻛﺮ ﺗﻠﻚ ﺍﻟﱵ ﺃﺷﺎﺭﺕ ﺇﻟﻴﻬﺎ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻘﺪﳝﺔ:
12
CIL. V. 9676.
13
CIL. XIV. P 8 et ILS. 6162, 409.ILS 616 et 430. ILS. 6168.
14
A.Chastagnol, « un scandale du vin sous le bas empire » in Annales Econ Soc Civil. 1950. Janv-Mars n°1. Imprimerie
Willaume 1951. pp166-183.
15
R.Lequement, op cit. p 189
334
-ﻛﺮﻭﻡ ﻧﻮﻣﻴﺪﻳﺎ :ﻋﺮﻑ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻜﺮﻭﻡ ﺍﻟﻠﺪﻱ ﻛﺎﻥ ﻳﺰﺭﻉ ﺑﺄﺭﺍﺿﻲ ﻧﻮﻣﻴﺪﻳﺎ ﲟﺮﺩﻭﺩﻳﺔ ﺍﻹﻧﺘﺎﺝ ﺍﻟﻮﺍﻓﺮﺓ ﻭ ﲜﻮﺩﺓ
16
vitis numisiana ﻣﻌﺘﱪﺓ ﻭ ﻛﺎﻥ ﻳﺴﺘﻌﻤﻞ ﻛﻌﻨﺐ ﺍﳌﺎﺋﺪﺓ ﻛﻤﺎ ﻳﺼﻠﺢ ﻟﺼﻨﺎﻋﺔ ﺍﳋﻤﺮ.
-libyca vitisﻛﺮﻭﻡ ﻟﻴﺒﻴﺎ:ﻧﻮﻉ ﻣﻦ ﻋﻨﺐ ﺍﳌﺎﺋﺪﺓ ﺃﻱ ﻳﺴﺘﻬﻠﻚ ﻛﻔﺎﻛﻬﺔ ﺗﻌﺪّﻯ ﺣﺪﻭﺩ ﻟﻴﺒﻴﺎ ﻭ ﺯﺭﻉ ﰲ ﺑﺎﻗﻲ ﻣﻨﺎﻃﻖ
17
ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭﻣﻨﻬﺎ ﺍﳉﺰﺍﺋﺮ ﻣﻨﺬ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ ﻭ ﺻﺪّﺭ ﺇﱃ ﺍﻳﻄﺎﻟﻴﺎ ﻣﻦ ﻃﺮﻑ ﺇﻏﺮﻳﻖ ﺻﻘﻠﻴﺔ.
18
vitis Africana -ﻛﺮﻭﻡ ﺇﻓﺮﻳﻘﻴﺎ :ﻳﺬﻛﺮﻫﺎ ﺑﻠﻴﻨﻮﺱ ﰲ ﻛﺘﺎﺑﺎﺗﻪ.
-ﻛﺮﻭﻡ ﺃﻟﺒﻮﺋﻠﻴ :ﻋﺒﺎﺭﺓ ﻋﻦ ﻓﺼﻴﻠﺔ ﻣﻦ ﻏﺮﻳﺴﺔ ﻛﺎﻧﺖ ﺗﺼﻠﺢ ﰲ ﺍﻷﺭﺍﺿﻲ ﺍﳌﺮﺗﻔﻌﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ ﻭ ﺻﻨﻔﺖ ﺿﻤﻦ ﺍﻟﻜﺮﻭﻡ
19
Vitis Albuelis ﺍﶈﻠﻴّﺔ ﻟﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ.
20
-ﻛﺮﻭﻡ ﻣﺴﺎﺭﻱ :ﻧﻮﻉ ﺑﺮّﻱ ﻣﻦ ﺍﻟﻜﺮﻭﻡ ﻭﺟﺪ ﺑﻮﻓﺮﺓ ﰲ ﺃﺭﺍﺿﻲ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﻭ ﻛﺎﻥ ﻳﺴﺘﻌﻤﻞ ﻷﻏﺮﺍﺽ ﻃﺒﻴﺔ.
vitis Massari
ﺴﻮﻥ ﻧﻮﻉ ﻣﻦ ﺍﻟﻜﺮﻡ ﻭﺟﺪﺕ ﺑﺎﳉﺰﺍﺋﺮ ﻣﻨﺪ ﻛﻤﺎ ﲡﺪﺭ ﺑﻨﺎ ﻷﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﻳﺬﻛﺮﻭﻥ ﻣﺎ ﻳﻘﺎﺭﺏ
21
ﺍﻟﻘﺪﱘ.
16
Columelle, R.R.III, 9.
17
Columelle, op cit.III , 2,1.
18
Pline, XIV, 16
19
Columelle, op cit. III, 2,24 et Pline, op cit. XIV, 31.
20
Pline, Hist.Nat. XII, 133 et XXIII, 9.
21
J.Battandier, op cit. p 75.
335
-1.3ﺗﻘﻨﻴﺎﺕ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺑﺎ ﺰﺍﺋﺮ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ:
ﻛﺎﻧﺖ ﺍﻟﻜﺮﺍﻣﺔ ﺗﺘﻄﻠﺐ ﻋﻨﺎﻳﺔ ﺩﻗﻴﻘﺔ ﻋﱪ ﻣﺮﺍﺣﻞ ﻣﺘﺘﺎﻟﻴﺔ ﻃﻮﻝ ﺍﻟﺴﻨﺔ ﻭ ﺗﺴﺘﺪﻋﻲ ﺇﺗﺒﺎﻉ ﺗﻘﻨﻴﺎﺕ ﻭ ﻋﻤﻠﻴﺎﺕ ﻣﺘﻨﻮﻋﺔ
ﺗﺒﺪﺃ ﻣﻦ ﺍﺧﺘﻴﺎﺭ ﺍﳌﻮﻗﻊ ﺇﱃ ﺃﻋﻤﺎﻝ ﺍﳊﺮﺙ ﻭ ﺍﻟﻌﺰﻕ ﻭ ﺗﻘﻠﻴﻢ ﺍﻟﺴﺮّﻋﺮﻋﺎﺕ ﻭ ﺍﳉﺮﺯﻣﺔ ﻭ ﻛﺸﻒ ﺍﳉﺬﻭﺭ...ﺍ
ﻫﺪﺍ ﻣﺎ ﻛﺎﻥ ﻳﻘﻮﻟﻪ ﺑﻠﻴﻨﻮﺱ ﰲ ﺍﳌﺴﺄﻟﺔ ﻭ ﺃﻭﻝ ﻣﺎ ﻳﻘﻮﻡ ﺑﻪ ﺍﳌﺰﺍﺭﻉ ﺍﻟﻘﺪﱘ ﻫﻮ ﺍﺧﺘﻴﺎﺭ ﺍﻷﺭﺽ ﺍﳌﻨﺎﺳﺒﺔ ﻟﺰﺭﻉ
23
ﻏﺮﺍﺋﺴﻪ ﻭ ﰲ ﻫﺪﺍ ﺍﻟﺴﻴﺎﻕ ﻳﺬﻛﺮ ﻛﻮﳌﺎﻝ ﺛﻼﺛﺔ ﺃﻧﻮﺍﻉ ﻣﻦ ﺍﻷﺭﺍﺿﻲ ﺍﳌﺴﺘﺤﺒّﺔ ﻟﺪﻯ ﺍﻟﻜﺮّﺍﻡ "ﺍﳍﻀﺒﺔ ،ﺍﻟﺘّﻞ ﻭ ﺍﳉﺒﻞ" ﰒ
ﻳﻨﺒﻐﻲ ﺍﺧﺘﻴﺎﺭ ﻧﻮﻉ ﺍﻟﻐﺮﻳﺴﺔ ﺍﻟﱵ ﺗﺘﻼﺀﻡ ﻣﻊ ﺍﻷﺭﺽ ﻭ ﺍﳌﻨﺎﺥ .ﻓﺘﻐﺮﺱ ﺍﻟﻜﺮﻭﻡ ﺍﻟﱵ ﺗﺘﺤﻤّﻞ ﺍﻟﻀﺒﺎﺏ ﻭ ﺍﻟﺼﻘﻴﻊ ﺑﺎﻷﺭﺍﺿﻲ
ﺍﳌﺴﻄﹼﺤﺔ ﺑﻴﻨﻤﺎ ﺗﻐﺮﺱ ﺍﻟﻜﺮﻭﻡ ﺍﻟﱵ ﺗﻘﻮﻯ ﻋﻠﻰ ﻣﻘﺎﻭﻣﺔ ﺍﳉﻔﺎﻑ ﻭ ﺍﻟﺮﻳﺎﺡ ﻓﻮﻕ ﺍﻟﺘﻼﻝ.
ﻳﻠﻌﺐ ﺍﻟﺘﻮﺟﻴﻪ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺠﻬﺎﺕ ﺍﻷﺭﺑﻊ ﺩﻭﺭ ﺭﺋﻴﺴﻲ ﰲ ﳒﺎﺡ ﺍﻟﻜﺮﺍﻣﺔ ﰲ ﺍﻟﻘﺪﱘ ،ﻭ ﳜﺘﻠﻒ ﺍﻟﻌﻠﻤﺎﺀ ﺍﻟﻘﺪﻣﺎﺀ ﰲ
24
ﺍﳌﻮﺿﻮﻉ ﻓﺒﻴﻨﻤﺎ ﻳﻨﺼﺢ ﻛﻞ ﻣﻦ ﻛﺎﺗﻮﻥ ﻭ ﻓﺎﺭﻭﻥ ﺑﺘﻮﺟﻴﻪ ﻏﺮﻳﺴﺔ ﺍﻟﻜﺮﻭﻡ ﳓﻮ ﺍﻟﺸﻤﺲ ﺑﻘﻮﳍﻢ "ﺍﻟﺸﻤﺲ ﻫﻲ ﺍﳋﻤﺮ"،
ﳒﺪ ﺍﳋﺒﲑ ﺍﻟﻘﺮﻃﺎﺟﻲ ﻣﺎﺟﻮﻥ ﻳﻔﻀّﻞ ﺗﻮﺟﻴﻪ ﺍﻟﻜﺮﻭﻡ ﳓﻮ ﺍﻟﺸﻤﺎﻝ ﺃﻭ ﺍﻟﻐﺮﺏ ﻷﻥ ﺍﻟﺸﻤﺲ ﻭ ﺍﳉﻔﺎﻑ ﻋﺪﻭّﺍﻥ ﺍﻟﻜﺮّﺍﻡ.
ﻭ ﺑﺎﻟﻔﻌﻞ ﻛﺎﻥ ﺍﻟﻜﺮّﺍﻡ ﺍﻷﻓﺮﻳﻘﻲ ﻳﻮﺟّﻪ ﺩﺍﺋﻤﺎ ﻛﺮﻭﻣﻪ ﳓﻮ ﻣﻐﺮﺏ ﺍﻟﺸﻤﺲ ﺃﻭ ﺍﻟﺸﻤﺎﻝ ﻟﻴﻘﻴﻬﺎ ﻣﻦ ﺍﳊﹼﺮ.
ﻣﺒﺎﺷﺮﺓ ﺑﻌﺪ ﺍﺧﺘﻴﺎﺭ ﺍﻷﺭﺽ ﺍﳌﺮﺍﺩ ﻏﺮﺳﻬﺎ ﺑﺎﻟﻜﺮﻭﻡ ﻳﻘﻮﻡ ﺍﻟﻜﺮّﺍﻡ ﺑﺘﻬﻴﺌﺔ ﺍﻟﺘﺮﺑﺔ ﻋﻦ ﻃﺮﻳﻖ ﺣﺮﺛﻬﺎ ﲟﺤﺮﺍﺙ ﺑﺴﻴﻂ
ﻳﺘﺮﻛﹼﺐ ﻣﻦ ﺟﺪﻉ ﺷﺠﺮﺓ ،ﻋﺮﻳﺶ ﻭ ﻣﻘﺒﺾ ﻭ ﻻ ﻳﺰﺍﻝ ﻳﺴﺘﻌﻤﻞ ﰲ ﺑﻌﺾ ﺍﻷﺭﻳﺎﻑ ﺍﻟﻨﺎﺋﻴﺔ ﺑﺎﳉﺰﺍﺋﺮ ،ﻭ ﲤﻴﺰ ﺍﻟﻨﺼﻮﺹ
25
ﺍﻟﻘﺪﳝﺔ ﺑﲔ ﺛﻼﺛﺔ ﻃﺮﻕ ﻣﻦ ﺍﳊﺮﺙ :
22
Pline , H.N.XVII, 2,8-12.
23
Columelle, op cit. R.R.III, 2.
24
Varron, R.R.I, 25 et Caton. R.R.VI
25
R.Billiard, La vigne dans l’antiquité. Lyon 1913. p 237.
336
-ﺍﳊﺮﺙ ﺑﺸﻜﻞ ﺧﻨﺎﺩﻕ
ﻭ ﻳﻨﺼﺢ ﻋﻠﻤﺎﺀ ﺍﻟﺰﺭﺍﻋﺔ ﺍﻟﻘﺪﻣﺎﺀ ﻭ ﺃﺻﺤﺎﺏ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻼﺗﻴﻨﻴﺔ ﺑ ﺟﺮﺍﺀ ﺛﻼﺛﺔ ﻋﻤﻠﻴﺎﺕ ﺣﺮﺙ ﰲ ﺍﻷﺭﺽ ﺍﳌﺰﺭﻭﻋﺔ
ﺍﻟﻌﻤﻠﻴﺔ ﺍﻷﻭﱃ ﺗﻌﻤﻞ ﻋﻠﻰ ﺗﺴﻤﲔ ﺍﻟﱪﺍﻋﻢ ﻭ ﲡﺮﻯ ﻋﻨﺪ ﻬﻧﺎﻳﺔ ﻓﺼﻞ ﺍﻟﺸﺘﺎﺀ ،ﺍﻟﺜﺎﻧﻴﺔ ﺗﺰﻫﺮ ﺍﻟﻜﺮﻣﺔ ﻭ ﲢﺪﺙ ﰲ ﺷﻬﺮ ﺍﻓﺮﻳﻞ
26
ﻭ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻷﺧﲑﺓ ﺗﻨﻀﺞ ﻗﻄﻮﻑ ﺍﻟﻌﻨﺐ ﺍﺑﺘﺪﺍﺀ ﻣﻦ ﺷﻬﺮ ﺟﻮﻳﻠﻴﺔ.
ﺗﺮﺟﻊ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻹﻏﺮﻳﻘﻴﺔ ﺃﺻﻞ ﺟﺮﺯﻣﺔ ﺍﻟﻜﺮﻭﻡ ﺇﱃ ﲪﺎﺭ ﻛﺎﻥ ﻳﺮﻋﻰ ﰲ ﺍﻟﺪﺍﻟﻴﺔ ﺃﻭﺣﻰ ﺑﺎﻟﻔﻜﺮﺓ ﺇﱃ ﺍﳌﺰﺍﺭﻋﲔ
ﳉﺮﺯﻣﺔ ﻛﺮﻭﻣﻬﻢ ﻟﺘﺤﺴﻴﻨﻬﺎ ﺣﱴ ﺃﺻﺒﺤﺖ ﺍﻟﺪﻳﺎﻧﺔ ﺗﺸﺘﺮﻁ ﻮﺭ ﻧﺎﲡﺔ ﻋﻦ ﻛﺮﻭﻡ ﻣﺮّﺕ ﺑﻌﻤﻠﻴﺔ ﺍﳉﺮﺯﻣﺔ ﻟﻘﺒﻮﳍﺎ ﻛﻘﺮﺍﺑﲔ
27
ﻓﻮﻕ ﻣﺬﺍﺑﺢ ﺍﻟﺘﻀﺤﻴﺔ.
ﻳﺬﻛﺮ ﺑﻠﻴﻨﻮﺱ ﺳﺘﺔ ﺗﻘﻨﻴﺎﺕ ﳉﺮﺯﻣﺔ ﺍﻟﻜﺮﻭﻡ ﻧﺘﻨﺎﻭﻝ ﻣﻨﻬﺎ ﻓﻘﻂ ﺗﻠﻚ ﺍﻟﱵ ﺗﻌﺮﻑ ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ ﻭ ﻫﻲ:
-ﺍﻟﻜﺮﻭﻡ ﺍﳌﻌﺘﺮ ﺍﻟﺒﺴﻴ :ﻫﻲ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﻮﺟﻮﺩﺓ ﲟﺪﻳﻨﺔ ﺷﺮﺷﺎﻝ )ﺃﻧﻈﺮ ﻓﺴﻴﻔﺴﺎﺀ ﺃﻋﻤﺎﻝ ﺍﳊﻘﻮﻝ ﻭ ﺩﻋﺲ
ﺍﻟﻌﻨﺐ( ﺣﻴﺚ ﻛﺎﻧﺖ ﺗﺘﺴﻠﹼﻖ ﺍﻟﺪﺍﻟﻴﺎﺕ ﻋﻤﻴﺪﺍﺕ ﻣﻦ ﺍﳋﺸﺐ ﻣﻮﺿﻮﻋﺔ ﺑﺸﻜﻞ ﺃﻓﻘﻲ ﻭ ﻋﻤﻮﺩﻱ ﻭ ﺣﺴﺐ ﻛﻮﳌﺎﻝ ﻛﺎﻥ
ﺍﺻﻐﺮ ﻋﻠﹼﻮ ﻓﻴﻬﺎ ﻻ ﻳﺘﻌﺪّﻯ ﺃﺭﺑﻌﺔ ﻷﻗﺪﺍﻡ ﻭ ﺃﻛﱪﻫﺎ ﻗﺪ ﻳﻔﻮﺕ ﺳﺒﻌﺔ ﺃﻗﺪﺍﻡ )ﻣﺎ ﻳﻌﺎﺩﻝ ﺃﻛﺜﺮ ﻣﻦ 2ﻡ( ﻭ ﻛﻠﻤﺎ ﻛﺎﻥ ﺍﳌﻨﺎﺥ
ﺭﻃﺐ ﻭ ﺍﻟﺘﺮﺑﺔ ﻏﻨﻴﺔ ﻛﻠﻤﺎ ﻳﻌﻠﻮ ﺍﻟﻌﺮﻳﺶ ﳊﻤﺎﻳﺔ ﺍﻟﻌﻨﺐ ﻣﻦ ﺍﻟﺘﻠﻒ ،ﻭ ﺩﻟﻚ ﻣﺎ ﻳﻈﻬﺮ ﻋﻠﻰ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﺣﻴﺚ ﻳﻌﻠﻮ
ﺍﺳﺘﻤﺮّﺕ ﻫﺪﻩ ﺍﻟﺘﻘﻨﻴﺔ ﰲ ﻛﻞ ﻣﻨﺎﻃﻖ ﺍﳊﻮﺽ ﺍﳌﺘﻮﺳﻄﻲ ﻷﻬﻧﺎ ﻛﺎﻧﺖ ﻭ ﻻ ﺗﺰﺍﻝ ﺗﺴﻤﺢ ﺑ ﻗﺎﻣﺔ ﺍﻟﺰﺭﻉ ﺍﶈﺸﻮﺭ ﺑﲔ ﻏﺮﺍﺋﺲ
ﺍﻟﻜﺮﻭﻡ.
26
R.Billiard, L’agriculture dans l’antiquité d’après les géorgiques de Virgile. Paris 1928. p 209.
27
Billiard, .Billiard, La vigne dans l’antiquité. Lyon 1913. p 346.
28
Pline l’ancien, Hist Nat.XIV ,13-1.
337
-ﺍﻟﻜﺮﻭﻡ ﻋﻠﻰ ﺍﻷﺷﺠﺎﺭ :ﲢﺘﺎﺝ ﻫﺪﻩ ﺍﻟﺘﻘﻨﻴﺔ ﺇﱃ ﺃﺷﺠﺎﺭ ﻣﺜﻤﺮﺓ ﳐﺘﻠﻔﺔ ﺇﱃ ﺟﺎﻧﺐ ﺃﺷﺠﺎﺭ ﺍﻟﺘﲔ ﻭ ﺍﻟﺰﻳﺘﻮﻥ ﺍﻟﱵ ﺗﺘﻌﺮّﺵ
29
ﻋﻠﻴﻬﺎ ﺍﻟﺪﺍﻟﻴﺔ ﻭﻫﻲ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﱵ ﺗﻨﺘﺞ ﺃﺟﻮﺩ ﺍﳋﻤﻮﺭ ﺣﺴﺐ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻘﺪﳝﺔ ،ﻏﲑ ﺃﻬﻧﺎ ﺍﻗﺘﺼﺮﺕ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﻠﻰ
ﺑﺴﺎﺗﲔ ﺍﳌﻠﻜﻴﺎﺕ ﺍﻟﻜﱪﻯ ﻣﺜﻞ ﻣﻠﻜﻴﺔ ﺑﻮﻣﺒﻴﺎﻧﻮﺱ ﺑﻮﺍﺩ ﻋﺜﻤﺎﻧﻴﺔ ﰲ ﺍﻟﺸﺮﻕ ﺑﻨﻮﻣﻴﺪﻳﺎ )ﺃﻧﻈﺮ ﻓﺴﻴﻔﺴﺎﺀ ﻭﺍﺩ ﻋﺜﻤﺎﻧﻴﺔ( ﻭ ﻫﻲ
ﺛﺎﱐ ﻣﻠﻜﻴﺔ ﺗﺸﻬﺪ ﻋﻠﻰ ﺍﺳﺘﻌﻤﺎﻝ ﻫﺪﻩ ﺍﻟﺘﻘﻨﻴﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺑﻌﺪ ﻣﻠﻜﻴﺔ ﺍﻟﺴﻴّﺪ ﻳﻮﻟﻴﻮﺱ ﺑﺘﻮﻧﺲ.
-ﺗﻘﻨﻴﺔ ﺍ ﺮﺯﻣﺔ ﻋﻠﻰ ﺷﻜﻞ ﻭﺍﺋﺮ :ﲣﹼﺺ ﺍﻟﻜﺮﻭﻡ ﺍﻟﻮﺍﻃﺌﺔ ﺗﻜﻤﻦ ﰲ ﺍﺭﺗﻜﺎﺯ ﺍﻟﺪﻭﺍﺋﺮ ﺍﻟﱵ ﻗﺪ ﻳﺼﻞ ﻋﺪﺩﻫﺎ ﺇﱃ ﺃﺭﺑﻌﺔ
ﻋﻠﻰ ﺛﻼﺛﺔ ﺃﻭﺗﺎﺩ .ﻭ ﻳﺮﻯ ﺍﻟﺒﺎﺣﺚ ﻟﺴﻜﻲ ﺃﻥ ﻋﺪﻡ ﻬﻮﺭ ﻣﺜﻞ ﻫﺪﻩ ﺍﻟﺪﻭﺍﺋﺮ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﻻ ﻳﻌﲏ ﺍﻧﻌﺪﺍﻣﻬﺎ ﺑﻞ
ﻳﻔﺴّﺮ ﺑﻌﺎﺩﺓ ﻧﺰﻉ ﺍﻟﺪﻋﺎﻣﺎﺕ ﺍﳋﺸﺒﻴﺔ ﰲ ﻓﺼﻞ ﺍﻟﺸﺘﺎﺀ ﻟﻮﻗﺎﻳﺘﻬﺎ ﻣﻦ ﺍﻟﺘﻠﻒ ،ﻭ ﳍﺪﺍ ﺗﻈﻬﺮ ﺩﺍﻟﻴﺎﺕ ﺷﺮﺷﺎﻝ ﻣﻌﺮﺍﺓ ﺗﺘﺼﺎﻋﺪ
30
ﺑﺸﻜﻞ ﻟﻮﻟﱯ ﺩﻭﻥ ﺭﻛﻴﺰﺓ .
ﺑﻌﺪ ﹼﻮ ﻏﺮﺍﺋﺲ ﺍﻟﻜﺮﻭﻡ ﻳﺸﺮﻉ ﺍﻟﻜﹼﺮﺍﻡ ﰲ ﺍﻻﻋﺘﻨﺎﺀ ﻬﺑﺎ ﻭ ﻣﻊ ﺣﻠﻮﻝ ﻓﺼﻞ ﺍﻟﺸﺘﺎﺀ ﺃﻭ ﻣﻨﺪ 15ﺃﻛﺘﻮﺑﺮ ﺣﺴﺐ ﻛﻮﳌﺎﻝ
ﺃﻱ ﺑﻌﺪ ﺗﺴﺎﻗﻂ ﻛﻞ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻳﻌﻤﻞ ﻋﻠﻰ ﻛﺸﻒ ﺟﺬﻭﺭﻫﺎ ﻟﺘﻨﻈﻴﻒ ﺍﶈﻴﻂ ﻭ ﺍﻟﻘﻀﺎﺀ ﻋﻠﻰ ﺍﻷﻋﺸﺎﺏ ﻭ ﺍﳊﺸﺮﺍﺕ
ﺍﻟﻀّﺎﺭﺓ ﻭ ﻬﺗﻮﻳﺔ ﺍﻟﺘﺮﺑﺔ ﻟﺘﻬﻴﺌﺔ ﺩﻓﻦ ﺍﻟﺴﻤﺎﺩ .ﻭ ﻫﻜﺬﺍ ﺗﺴﺘﻌﻤﻞ ﺍﻷﺣﻮﺍﺽ ﺍﶈﻔﻮﺭﺓ ﺣﻮﻝ ﺍﻟﻜﺮﻡ ﺃﺛﻨﺎﺀ ﺍﻟﻌﻤﻠﻴﺔ ﻟﺘﺨﺰﻳﻦ ﻣﻴﺎﻩ
31
ﺍﻷﻣﻄﺎﺭ ﻭ ﻭﻗﺎﻳﺘﻬﺎ ﻣﻦ ﺍﳉﻔﺎﻑ.
ﻭ ﻫﺪﻩ ﺍﻟﻌﻤﻠﻴﺔ ﻗﺪ ﺟﺴّﺪﺕ ﺑﺸﻜﻞ ﺭﺍﺋﻊ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﺇﱃ ﺟﺎﻧﺐ ﺍﻟﻌﻤﻠﻴﺔ ﺍﻟﱵ ﺗﻠﻲ:
ﻛﺎﻧﺖ ﺗﻘﺎﻡ ﰲ ﺷﻬﺮ ﻓﱪﺍﻳﺮ ﰲ ﻧﻔﺲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﱵ ﻳﻌﺎﺩ ﻓﻴﻬﺎ ﺩﻓﻦ ﺟﺬﻭﺭ ﺍﻟﻜﺮﻣﺔ ﺑﺄﺭﺍﺿﻲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺑﻴﻨﻤﺎ ﻳﻔﻀّﻞ
ﺷﻬﺮ ﺍﻓﺮﻳﻞ ﰲ ﺑﺎﻗﻲ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ .ﺗﻘﺘﻀﻲ ﻫﺪﻩ ﺍﻟﻌﻤﻠﻴﺔ ﺃﺩﻭﺍﺕ ﺧﺎﺻﺔ ﻟﻨﻜﺶ ﺍﻷﺭﺽ ﻣﺜﻞ ﺍﳌﻌﺰﻗﺔ ﺫﺍﺕ ﺍﻟﺴﻨّﲔ ﺍﳌﻌﺮﻭﻓﺔ
29
Pline l’ancien, op cit. XIV, 13-14.
30
L.Leschi, Etudes d’épigraphie, d(archéologie et d’histoire Africaine. Paris 1957. p 83.
31
Précheur, op cit. p 57.
338
-1.3.6ﻋﻤﻠﻴﺔ ﺗﻨﺎﺳﻞ ﺍﻟﻜﺮﻭﻡ:
ﻫﻲ ﺿﺮﻭﺭﻳﺔ ﻟﺘﺤﺴﲔ ﺍﳌﺮﺩﻭﺩ ﺍﻟﺰﺭﺍﻋﻲ ﻭ ﺿﻤﺎﻥ ﺟﻮﺩﺓ ﻋﺎﻟﻴﺔ ﻟﻠﻐﻠﹼﺔ ﻭ ﻛﺎﻧﺖ ﺗﺘّﻢ ﺑﺜﻼﺛﺔ ﻃﺮﻕ ،ﺃﻣﺎ ﺑﺎﻷﻓﺘﺴﺎﻝ ﺃﻭ
-1.3.7ﺗﻘﻠﻴﻢ ﺍﻟﺴﺮّﻋﺮﻋﺎﺕ:
-1.3.8ﻋﺒﻞ ﺍﻟﻜﺮﻣﺔ:
ﻛﺎﻥ ﺍﳌﺮﺍﺩ ﻣﻦ ﻧﺰﻉ ﻛﻞ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﺗﻨﻘﻴﺔ ﺍﻟﻜﺮﻣﺔ ﻭ ﺿﻤﺎﻥ ﺗﻠﹼﻮﻥ ﻭ ﻧﻀﺞ ﺍﻟﻌﻨﺐ ﻋﻠﻰ ﺃﺣﺴﻦ ﻣﺎ ﻳﻜﻮﻥ.
-1.3.9ﻋﻤﻠﻴﺔ ﺟ ﺍﻟﻌﻨ :ﺑﻌﺪ ﻧﻀﺞ ﺍﻟﻌﻨﺐ ﲔ ﻣﻮﺳﻢ ﺍﻟﻘﻄﺎﻑ ﻋﺎﺩﺓ ﺑﲔ ﺷﻬﺮﻱ ﺳﺒﺘﻤﱪ ﻭ ﺃﻛﺘﻮﺑﺮ ﻳﺴﺘﻌﻤﻞ ﻓﻴﻪ
ﺍﻟﻘﺎﻃﻒ ﻣﺸﺬﺏ ﺻﻐﲑ ﻟﻠﺤﻔﺎ ﻋﻠﻰ ﺳﻼﻣﺔ ﺣﺒّﺎﺕ ﺍﻟﻌﻨﺐ ﻭ ﰲ ﺣﺎﻟﺔ ﺍﻟﻜﺮﻭﻡ ﺍﳌﻌﺘﺮﺷﺔ ﻳﺴﺘﻌﻤﻞ ﺳﻠﹼﻢ ﻣﻦ ﺍﳋﺸﺐ
ﻟﻴﺼﻌﺪ ﻋﻠﻴﻪ ﻛﻤﺎ ﻧﺮﺍﻩ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﻭ ﻳﻀﻊ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﳌﻘﻄﻮﻓﺔ ﰲ ﺳﻼﻝ ﻣﺼﻨﻮﻋﺔ ﻣﻦ ﺍﻟﺴﻮﺣﺮ ﻭ ﺯﺭﺟﻮﻧﺔ
32
ﺍﻟﻜﺮﻡ ﻭ ﻣﻄﻠﻴﺔ ﺑﺎﻟﻘﻄﺮﺍﻥ ﻣﻦ ﺍﻟﺪﺍﺧﻞ ﻟﻀﻤﺎﻥ ﺍﳌﺴﺎﻛﺔ )ﻛﺎﻧﺖ ﺗﺼﻞ ﺳﻌﺘﻬﺎ ﺣﱴ 26ﻟﺘﺮ ﺣﺴﺐ ﻛﺎﺗﻮﻥ( .ﻋﻨﺪ ﻣﻠ
ﺗﻠﻚ ﺍﻟﺴﻼﻝ ﻳﻔﺮﻏﻬﺎ ﺍﻟﻘﺎﻃﻒ ﰲ ﺳﻼﻝ ﺍﻛﱪ ﺗﻮﺟﺪ ﻋﻠﻰ ﺍﻷﺭﺽ ﻛﻤﺎ ﻧﺮﺍﻫﺎ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ )ﺍﻟﺼﻮﺭﺗﲔ
ﺍﻟﻌﻨ :ﺑﻌﺪ ﻗﻄﻔﻪ ﻳﻨﻘﻞ ﺍﻟﻌﻨﺐ ﺇﱃ ﻗﺒﻮ ﺍﳋﻤﺮ ﺍﳌﺘﻮﻓﺮ ﰲ ﻛﻞ ﲡﻬﻴﺰﺍﺕ ﺇﻧﺘﺎﺝ ﺍﳋﻤﺮ ﺍﳌﻬﻤّﺔ ﻭ -1.3.10ﻋﻤﻠﻴﺔ ﻋ
ﻫﻨﺎﻙ ﺗﺘّﻢ ﺃﻭﻻ ﻋﻤﻠﻴﺔ ﺍﻟﺪﻋﺲ ﺣﻴﺚ ﻳﻘﻮﻡ ﺍﻟﺪﺍﻋﺴﲔ )ﺍﻟﺪﻳﻦ ﻗﺪ ﻳﺼﻞ ﻋﺪﺩﻫﻢ ﺇﱃ ﺳﺒﻌﺔ ﰲ ﺍﳊﻮﺽ( ﺑﺮﻛﺾ ﺍﻟﻌﻨﺐ
ﺩﺍﺧﻞ ﺣﻮﺽ ﻣﺒﲏ ﻛﻤﺎ ﻧﺮﺍﻩ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ ﺣﻴﺚ ﻳﻈﻬﺮ ﺛﻼﺛﺔ ﺩﺍﻋﺴﲔ ﺣﻔﺎﺓ ﺩﺍﺧﻞ ﺍﳊﻮﺽ ﻭ ﺭﺍﺑﻊ ﻳﻔﺮ ﺳﻼﹼﺕ
ﺍﻟﻌﻨﺐ ﺑﻪ .ﻫﻜﺬﺍ ﻳﺴﻴﻞ ﺍﻟﻌﺼﲑ ﺍﻷﻭﻝ ﺍﳌﺴﺘﺨﺮﺝ ﻣﻦ ﺍﻟﻌﻨﺐ ﰲ ﺟﺮّﺍﺕ ﻛﺒﲑﺓ ﻣﻮﺿﻮﻋﺔ ﻗﺮﺏ ﺍﳊﻮﺽ ﻋﱪ ﻓﺘﺤﺎﺕ
ﻣﻮﺟﻮﺩﺓ ﺃﻋﻠﻰ ﺍﳉﺎﻧﺐ ﺍﻟﺪﺍﺧﻠﻲ ﳊﻮﺽ ﺍﻟﺪﻋﺲ ﰒ ﰲ ﻗﻨﻮﺍﺕ ﻣﺒﻨﻴﺔ ﺃﻡ ﻣﻦ ﺍﻟﻔﺨﺎﺭ .ﻫﺪﺍ ﻣﺎ ﻳﺴ ّﻤﻰ ﺑﻌﻤﻠﻴﺔ ﺍﻟﺘﺮﺳﻴﺐ
ﺍﻷﻭﱃ.ﻭ ﻋﺎﺩﺓ ﻣﺎ ﻳﻜﻮﻥ ﺍﳊﻮﺽ ﳎﻬ ّﺰ ﺑﺴﻠﹼﻢ ﺻﻐﲑ ﻳ ﻝ ﻣﻨﻪ ﺍﻟﺪﺍﻋﺴﲔ ﺇﱃ ﻣﺴﺎﺣﺔ ﺍﻟﺪﻋﺲ.
32
Billiard, op cit. p 35.
339
ﻭ ﲡﺪﺭ ﺑﻨﺎ ﺍﻟﺸﺎﺭﺓ ﺇﱃ ﺃﻥ ﻏﻴﺎﺏ ﺣﻮﺽ ﺍﻟﺪﻋﺲ ﲟﻮﺍﻗﻊ ﺍﳉﺰﺍﺋﺮ ﺍﻟﱵ ﻋﺮﻓﺖ ﺗﻨﻘﻴﺒﺎﺕ ﻻ ﻳﻌﲏ ﻏﻴﺎﺏ ﳑﺎﺭﺳﺔ ﺍﻟﻜﺮﺍﻣﺔ ﻬﺑﺎ
ﻣﺎ ﺩﺍﻣﺖ ﺍﺑﺴﻂ ﻭ ﺃﻗﺪﻡ ﻃﺮﻳﻘﺔ ﻟﺮﻛﺾ ﺍﻟﻌﻨﺐ ﻛﺎﻧﺖ ﺗﺘّﻢ ﻣﺒﺎﺷﺮﺓ ﻗﺮﺏ ﺍﳌﻌﺼﺎﺭ ﻋﻠﻰ ﺳﻄﺢ ﺍﻷﺭﺽ ﺍﳌﻄﻠﻲ ﺑﺒﺎﻃﻮﻥ
ﻛﺴﺮﺓ ﺍﻟﻘﺮﻣﻴﺪ ﻛﻤﺎ ﻋﺮﻑ ﻋﻨﺪ ﺍﻟﺮﻭﻣﺎﻥ ﻭ ﳌﺎﻻ ﻋﻨﺪ ﻛﺮّﺍﻣﻲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻟﻌﺪﻡ ﺗﻜﻠﻔﺘﻬﺎ ؟
-1.3.11ﻋﻤﻠﻴﺔ ﻋﺼﺮ ﺍﻟﻌﻨ :ﺑﻌﺪ ﺩﻋﺴﻪ ﻭ ﻋﺼﺮﻩ ﻳﻐﺮﻑ ﻋﺼﲑ ﺍﻟﻌﻨﺐ ﻣﻦ ﺍﳊﻔﺮﺓ ﺍﳌﻬﻴﺄﺓ ﰲ ﺍﻷﺭﺽ ﻭ ﻳﻮﺿﻊ ﰲ
ﰲ ﺍﳌﺰﺍﺭﻉ ﺍﺠﻤﻟﻬّﺰﺓ ﻛﺎﻥ ﻳﺸﻴّﺪ ﻗﺒﻮ ﺍﳋﻤﺮ ﺧﺎﺹ ﺑﺘﺼﻨﻴﻊ ﺍﳋﻤﺮ )ﻳﺬﻛﺮ ﻣﺜﻞ ﻫﺪﺍ ﺍﻟﻘﺒﻮ ﺑﻨﺎﻗﺸﺔ ﻣﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ ﺃﻧﻈﺮ ﺍﻟﻨﺼﺐ 1
ﰲ ﺃﺛﺎﺭ ﻣﻌﺼﺮﺓ ﺗﻴﺒﺎﺯﺓ ﻭﺟﺪ ﻗﺒﻮ ﺍﳋﻤﺮ ﻣﺘﻜﻮﻥ ﻣﻦ ﺹ (74ﻭ ﻛﺎﻥ ﻳﺄﻭﻱ ﻣﻌﺼﺎﺭ ﺩﻭ ﻟﻮﻟﺐ ﺃﻭ ﻣﻌﺼﺎﺭ ﺩﻭ ﺷﺠﺮﺓ ﻭ
ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻣﺘﺼّﻠﺔ ﻳﺒﻌﻀﻬﺎ ﺍﻟﺒﻌﺾ ،ﺗﺘّﻢ ﰲ ﺍﻷﻭﱃ ﻋﻤﻠﻴﺔ ﺍﻟﺪﻋﺲ ﻭ ﰲ ﺍﻟﺜﺎﻧﻴﺔ ﻧﻼﺣﻆ ﺣﻮﺿﺎﻥ ﻛﺒﲑﺍﻥ ﻣﻦ ﺍﳊﺠﺮ
ﻣﻮﺿﻮﻋﺎﻥ ﺑﺰﺍﻭﻳﺔ ﻗﺎﺋﻤﺔ ﺍﺣﺪﳘﺎ ﻣﻘﺴﻮﻡ ﺇﱃ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻭ ﺍﻷﺧﺮ ﺇﱃ ﺃﺭﺑﻌﺔ ﻭ ﻛﻠﹼﻬﺎ ﺗﺘﺼّﻞ ﻋﻦ ﻃﺮﻳﻖ ﺛﻘﺐ ﻭ ﺗﺴﺘﻌﻤﻞ
ﻟﺘﺼﻔﻴﺔ ﺍﻟﻌﺼﲑ ﺍﻟﻨﺎﺟﻢ ﻋﻦ ﺍﻟﺪﻋﺲ ﻋﱪ ﻣﺮﺍﺣﻞ ﺗﺮﺳﻴﺐ ﻣﺘﺘﺎﻟﻴﺔ ﺗﻨﺘﻬﻲ ﺑﻮﺿﻊ ﺍﻟﻨﺒﻴﺬ ﰲ ﺃﻣﻔﻮﺭﺍﺕ ﻭ ﻧﻘﻞ ﺍﻟﻌﺼﺎﺭﺓ ﺍﳌﺘﺒﻘﹼﻴﺔ
33
ﻣﺮﺓ ﺃﺧﲑﺓ ﺇﱃ ﺍﳌﻌﺼﺎﺭ ﻻﻟﺘﻘﺎﻁ ﻣﺎ ﺑﻘﻲ ﻣﻦ ﺍﻟﻌﺼﲑ.
ﻃﺒﻌﺎ ﻟﻴﺲ ﻛﻞ ﳏﺼﻮﻝ ﺍﻟﻜﺮﻭﻡ ﺍﻟﺬﻱ ﻳﻮﺟّﻪ ﺇﱃ ﺻﻨﺎﻋﺔ ﺍﳋﻤﺮ ﺑﻞ ﻋﺎﺩﺓ ﻣﺎ ﳜﺼّﺺ "ﻋﻨﺐ ﺍﳋﻤﺮ" ﳍﺪﺍ ﺍﻟﻐﺮﺽ ﻭ
ﻳﺘﺮﻙ "ﻋﻨﺐ ﺍﳌﺎﺋﺪﺓ" ﻟﻼﺳﺘﻬﻼﻙ ﺍﳌﺒﺎﺷﺮ ﻛﻔﺎﻛﻬﺔ ﺃﻭ ﺑﻌﺪ ﺃﻥ ﳝّﺮ ﺑﻌﻤﻠﻴﺔ ﺧﺎﺻﺔ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﱵ ﲣﹼﺺ ﻧﻮﻋﻴﺔ "ﺍﻟﻌﻨﺐ
ﻳﻮﺿﻊ ﺍﻟﻌﻨﺐ ﰲ ﻭﻋﺎﺀ ﺻﻐﲑ ﻣﻦ ﺍﻟﻔﺨﺎﺭ ﻳﻐﻠﻖ ﺑﺎﻟﻘﻄﺮﺍﻥ ﻟﻀﻤﺎﻥ ﻣﺴﺎﻛﺘﻪ ﻭ ﻳﻮﺿﻊ ﺑﺪﻭﺭﻩ ﺩﺍﺧﻞ ﺟﺮّﺍﺕ ﻛﺒﲑﺓ
34
ollaris uvaﳑﻠﻮﺀﺓ ﺑﻌﺼﺎﺭﺓ ﺍﻟﻌﻨﺐ ﺃﻭ ﺑﺎﳋﻤﺮ ﺍﳌﻨﻀﺞ ﻓﻴﺘﺤّﺼﻞ ﻋﻠﻰ ﻧﻮﻋﻴﺔ ﺧﺎﺻﺔ ﻣﻦ ﺍﻟﻌﻨﺐ ﺗﻌﺮﻑ ﺑﺎﺳﻢ
ﻛﺬﻟﻚ ﻛﺎﻧﺖ ﻀﺮ ﺍﻟﻌﻨﺐ ﻭﻓﻖ ﻃﺮﻳﻘﺔ ﺃﺧﺮﻯ ﻣﺸﻬﻮﺭﺓ ﺗﻜﻤﻦ ﰲ ﺗﺪﺧﲔ ﺍﻟﻌﻨﺐ ﺑﺪﺧّﺎﻥ ﻣﺼﻬﺮ ﺍﳊﺪﻳﺪ ،ﻭ ﻟﻠﺬﻛﺮ
33
Précheur-Cannonge, op cit. p 58.
34
Billiard, op cit. p 424.
35 249.
Rr.Billiard , L’agriculture…p
340
-ﺍﻟﺘﺼﻔﻴﺔ)(filtrage
ﺍﻟﺘﻐﺮﻳﺔ)(collage -
ﺍﻟﻘﺘﻞ)coupage -
ﺑﺎﳌﺎﺀ)(mouillage -ﺍﳌﺰﺝ
ﺍﻟﺘﺪﺧﲔ)(fumage -
ﻛﺎﻥ ﻳﺼﻨﻊ ﻭﻓﻖ ﻃﺮﻳﻘﺔ ﺧﺎﺻﺔ ﺗﺘﻤﺜﻞ ﰲ ﺗﺮﻙ ﺍﻟﻌﻨﺐ ﻳﻨﻀﺞ ﺣﱴ ﺍﻟﻨﻘﻊ ﻓﻴﻔﻘﺪ ﺍﻟﻌﺼﲑ ﻣﺎﺀﻩ ﻭ ﺗﺘﺤﺼﻞ ﻋﻠﻰ ﻋﺼﺎﺭﺓ ﺟ ّﺪ
ﻭ ﻗﺪ ﻧﻘﻞ ﻛﻮﳌﺎﻝ ﻋﻦ ﻣﺎﺟﻮﻥ ﺍﻟﻘﺮﻃﺎﺟﻲ ﻃﺮﻳﻘﺔ ﺃﺧﺮﻯ ﻟﺘﺤﻀﲑ ﺍﻟﺒﺎﺳﻮﻡ ﺍﺳﺘﻤﺮﺕ ﻗﺮﻭﻥ ﻋﺪﻳﺪﺓ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻭ ﺗﻘﻮﻡ
ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﻟﺘﺨﻠﹼﺺ ﻣﻦ ﺣﺒّﺎﺕ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺃﺗﻠﻔﺖ ﻭ ﺗﻔﺮﻳﺶ ﺍﳊﺒّﺎﺕ ﺍﻟﺴﻠﻴﻤﺔ ﻋﻠﻰ ﺍﻟﻘﺼﺐ ﲢﺖ ﺃﺷﻌﺔ ﺍﻟﺸﻤﺲ ﻣﻊ
ﺗﻐﻄﻴﺘﻬﺎ ﻟﻴﻼ ،ﰒ ﺗﻮﺿﻊ ﺣﺒّﺎﺕ ﺍﻟﻌﻨﺐ ﺑﺄﻣﻔﻮﺭﺍﺕ ﳑﻠﻮﺀﺓ ﺑﻌﺼﺎﺭﺓ ﺟﻴﺪﺓ ﻭ ﺗﻨﻘﻊ ﻣﺪﺓ ﺳﺘﺔ ﺃﻳﺎﻡ ﺗﻠﻴﻬﺎ ﺑﻌﺪﻫﺎ ﻋﻤﻠﻴﺔ ﺍﻟﻌﺼﺮ
36
ﻭ ﲣﺰﻳﻦ ﺍﻟﻌﺼﲑ ﲜﺮّﺍﺕ ﻟﻴﺘﺤﻮّﻝ ﺇﱃ ﺮ ﺑﻌﺪ ﺑﻀﻌﺔ ﺃﺷﻬﺮ.
ﻻ ﻳﻔﻮﺗﻨﺎ ﺃﺧﲑﺍ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﻋﺎﺩﺓ ﺍﻟﺮﻭﻣﺎﻥ ﰲ ﺇﺿﺎﻓﺔ ﺑﻌﺾ ﺍﳌﻮﺍﺩ ﻟﻠﺨﻤﻮﺭ ﻋﻨﺪ ﲢﻀﲑﻫﺎ ﻟﻠﺘﺤﺴﲔ ﻣﻦ ﻣﺬﺍﻗﻬﺎ ﻭ
ﺣﻔﻈﻬﺎ ﻛﺎﳌﻠﺢ ﻭ ﺍﳊﻠﺒﺔ ﻭ ﻣﻴﺎﻩ ﺍﻟﺒﺤﺮ ﻭ ﺍﳉﺒﺲ )ﺳﻮﻟﻔﺎﺕ ﺍﻟﻜﻠﺲ( ﺍﻟﺬﻱ ﺷﺎﻉ ﺍﺳﺘﻌﻤﺎﻟﻪ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﻠﻰ ﻭﺟﻪ
37
ﺍﳋﺼﻮﺹ ﻣﻨﺪ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ ﻣﻦ ﺃﺟﻞ ﺗﻨﻀﲑ ﻟﻮﻥ ﻭ ﺻﻔﺎﺀ ﺍﳋﻤﺮ ﻭ ﻣﻀﺎﻋﻔﺔ ﻧﺴﺒﺔ ﺍﳊﻤﻮﺿﺔ ﻓﻴﻪ.
36
op cit. p 463.
37
Pline, op cit. XIV. 126.
341
"ﺷﻮﺍﻫﺪ ﺣﻮﻝ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ
ﺍ ﺰﺍﺋﺮ ﺍﻟﻘﺪ ﺔ" ﻋﺼﺮ ﺍﳋﻤﺮ
342
-1ﺍﻟﻔﺴﻴﻔﺴﺎﺀ:
ﺷﺮﺷﺎﻝ:
343
ﻣﻦ ﺍﳊﺸﺮﺍﺕ ﻭ ﺍﻷﻋﺸﺎﺏ ﺍﻟﻀّﺎﺭﺓ ﻟﺘﻬﻴﺌﺔ ﲣﺼﻴﺐ ﺍﻷﺭﺽ ﻛﻤﺎ ﻳﺼﻔﻬﺎ ﺑﻴﻠﻴﺎﺭ ﰲ ﻛﺘﺎﺑﻪ ﺣﻮﻝ
ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﰲ ﺍﻟﻘﺪﱘ.1
-ﺍﻟﻠﻮﺣﺔ ﺍﻟﺮﺍﺑﻌﺔ :ﲤﺜﻞ ﻗﺪﻣﺎﻥ ﻛﺮﻣﺔ ﻛﺒﲑﺍﻥ ﳎﺮّﺩﺍﻥ ﻣﻦ ﺍﻷﻭﺭﺍﻕ ﻭ ﻳﺘﺼﺎﻋﺪﺍﻥ ﰲ ﺷﻜﻞ
ﺣﻠﺰﻭﱐ ،ﻭ ﻋﻠﻰ ﺍﳉﺎﻧﺒﲔ ﺩﺍﻟﻴﺎﺕ ﺃﺧﺮﻯ ﻭ ﻳﻈﻬﺮ ﺻﺎﺣﺐ ﺍﻟﺰﺭﻉ ﳝﺴﻚ ﺑﻴﺪﻩ ﺍﻟﻴﺴﺮﻯ ﺍﻟﻔﺄﺱ ﻭ
ﻳﺮﻓﻊ ﺍﻷﺧﺮﻯ ﰲ ﺣﺮﻛﺔ ﺃﻣﺮ ،ﻭ ﻋﺎﻣﻞ ﺃﺧﺮ ﻳﻨﻜﺶ ﺍﻷﺭﺽ ﻣﻨﺤﻨﻴﺎ.
-ﺍﻟﻠﻮﺣﺔ ﺍﳋﺎﻣﺴﺔ "ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ":
.434 ﺍﻟﺼﻮﺭﺓ .66ﺍﻟﻠﻮﺣﺔ .22
ﺍﻟﻌﻠﻮ =2.07ﻡ ﻭ ﺍﻟﻌﺮﺽ=1.22ﻡ.
ﻋﺒﺎﺭﺓ ﻋﻦ ﺗﻜﻤﻠﺔ ﻟﻠﻮﺣﺔ ﺍﻟﺴﺎﺑﻘﺔ ﺗﺒﻘﹼﻰ ﺟﺰﺀ ﻣﻨﻬﺎ ﳝﺜﹼﻞ ﻣﻮﺳﻢ ﻗﻄﺎﻑ ﺍﻟﻜﺮﻭﻡ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻟﻌﺮﻳﺶ
ﺍﳌﺘﻜﻮّﻥ ﻣﻦ ﻗﺼﺐ ﺗﺘﺴﻠﹼﻖ ﻋﻠﻴﻬﺎ ﺍﻟﺪﺍﻟﻴﺔ ﺍﶈﻤﻠﹼﺔ ﺑﻌﻨﺎﻗﻴﺪ ﲰﻴﻨﺔ ،ﻭ ﻧﺮﻯ ﺍﻟﻘﺎﻃﻒ ﻳﺘﺴﻠﹼﻖ ﺍﻟﺴﻠﹼﻢ ﺑﺪﻭﻥ
ﺣﺪﺍﺀ ﻭ ﺧﻠﻔﻪ ﺳﻠﹼﺔ ﻛﺎﻥ ﳝﺴﻜﻬﺎ ﺑﺎﻟﻴﺪ ﺍﻟﻴﻤ .
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺑﻴﺾ ،ﺍﻷﺳﻮﺩ ،ﺍﳌﻐﺮﺓ ،ﺍﻷﲪﺮ ،ﺍﻷﺻﻔﺮ ،ﺍﻟﻮﺭﺩﻱ ﻭ ﺍﻷﲰﺮ.
ﺍﻟﺘﻘﻨﻴﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ :ﺩﻗﻴﻘﺔ ﲝﻜﻢ ﺍﳌﻜﻌﺒﺎﺕ ﺍﻟﺮﻓﻴﻌﺔ ﺍﻟﱵ ﺗﺘﺮﺍﻭﺡ ﻣﻘﺎﺳﺎﻬﺗﺎ ﰲ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﺮﺑﻌﺔ ﺍﻷﻭﱃ
ﺑﲔ 0.0003ﻭ0006.ﻡ ﰲ ﺍﻟﻀﻠﻊ ﻭ ﰲ ﺍﻟﻠﻮﺣﺔ ﺍﳋﺎﻣﺴﺔ ﺑﲔ 0.0004ﻭ 0.0006ﻡ.
ﺍﺳﺘﻌﻤﻠﺖ ﻧﻔﺲ ﺍﻟﺘﻘﻨﻴﺔ ﻹﳒﺎﺯ ﺍﻟﺴﺠﻼﹼﺕ ﺍﳋﻤﺲ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﻟﺴﺠّﻞ ﺍﻷﺧﲑ "ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ" ﺍﻟﺬﻱ
ﺗﻈﻬﺮ ﻓﻴﻪ ﻣﻘﺎﺳﺎﺕ ﺃﻛﱪ ﺍﺩ ﻳﻘﺘﺮﺏ ﺣﺠﻢ ﺍﻟﻘﺎﻃﻒ ﻣﻦ ﺍﳊﺠﻢ ﺍﻟﻄﺒﻴﻌﻲ ﺑﻴﻨﻤﺎ ﻻ ﺗﺘﺮﺍﻭﺡ ﻗﺎﻣﺔ
ﺃﺷﺨﺎﺹ ﺍﻟﺴﺠﻼﹼﺕ ﺍﻷﺧﺮﻯ 1.10ﻡ.
ﺭﻏﻢ ﻫﺪﺍ ﺍﻻﺧﺘﻼﻑ ﻳﻌﺘﱪ ﺍﻟﺴﺠّﻞ ﺍﳋﺎﻣﺲ ﺗﻜﻤﻠﺔ ﻟﻠﻮﺣﺔ ﻓﻤﻦ ﺍﻟﻄﺒﻴﻌﻲ ﺃﻥ ﺗﻠﻲ ﺍﳊﺮﺙ ﻭ ﺍﳋﻠﻊ
ﻋﻤﻠﻴﺔ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ.
ﻫﻨﺎﻙ ﻣﻦ ﻳﻨﺴﺐ ﻫﺪﻩ ﺍﻟﻠﻮﺣﺔ ﺇﱃ ﳎﻤﻮﻋﺔ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺮﻳﻔﻴﺔ ﻋﻠﻰ ﻏﺮﺍﺭ ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﺴﻴﺪ ﻳﻮﻟﻴﻮﺱ
ﺑﻘﺮﻃﺎﺟﺔ .2ﻳﺒﺪﻭ ﻧﻮﻉ ﻣﻦ ﺍﻟﻨﻘﺺ ﰲ ﺍﻟﺘﻤﻜﹼﻦ ﻣﻦ ﺍﺳﺘﻌﻤﺎﻝ ﺍﳌﻨﻈﻮﺭ ﰲ ﺍﻟﺴﺠﻠﹼﲔ ﺍﻟﺜﺎﻟﺚ ﻭ ﺍﻟﺮﺍﺑﻊ
ﺩﻟﻚ ﻣﺎ ﺟﻌﻞ ﺍﻟﻔﻨّﺎﻥ ﻳﺼّﻮﺭ ﺍﻷﺷﺨﺎﺹ ﺑﺎﳉﺎﻧﺐ ﺃﻭ ﺑﺎﻷﻣﺎﻡ.
ﺍﻟﺘﺤﻠﻴﻞ:ﺗﻌﺘﱪ ﻫﺎﺗﻪ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻭﺛﻴﻘﺔ ﻓﺮﻳﺪﺓ ﻣﻦ ﻧﻮﻋﻬﺎ ﺣﻮﻝ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ
ﲟﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﻘﻴﺼﺮﻳﺔ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ,ﻭ ﻳﻈﻬﺮ ﺍﻟﺴﺠﻼﹼﻥ ﺍﻟﺜﺎﻟﺚ ﻭ ﺍﻟﺮﺍﺑﻊ ﺍﻟﻠﺬﺍﻥ ﺗﻨﺎﻭﻻ ﺯﺭﻉ
ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﻟﻌﻨﺎﻳﺔ ﻬﺑﺎ ﺍﺳﺘﻌﻤﺎﻝ ﺃﺩﺍﺓ ﺯﺭﺍﻋﻴﺔ ﻻ ﺗﺰﺍﻝ ﻣﻌﺮﻭﻓﺔ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺪﺍ "ﺍﻟﻔﺄﺱ ﺩﻭ ﺍﻟﺴﻨّﲔ"
1
R. Billiard , La vigne dans l’antiquité. Lyon 1913. p303.
2
BCTHS. 1921. P 118
344
ﻭ ﺍﳌﺼﻮّﺭﺓ ﺑﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻟﺮﺍﺑﻌﺔ ﻟﻼﻣﺒﻴﺰ )ﺃﻧﻈﺮ ﺍﻟﺼﻮﺭﺓ ﺭﻗﻢ (73ﻭ ﺍﳌﺬﻛﻮﺭﺓ ﰲ ﺍﻟﻨﺼﻮﺹ
ﺍﻟﻘﺪﳝﺔ ﺑﺎﺳﻢ BIDENS
3
ﻛﺎﻧﺖ ﻫﺎﺗﻪ ﺍﻷﺩﺍﺓ ﺗﺴﺘﻌﻤﻞ ﺣﻴﺚ ﻻ ﳝﻜﻦ ﻟﻠﻌﺮﺑﺔ ﺍﳌﺮﻭﺭ ﻣﺜﻞ ﻣﺎ ﻫﻮ ﺍﻷﻣﺮ ﰲ ﻟﻮﺣﺘﻨﺎ ﻭ ﺗﻔﻀّﻞ
ﻋﻠﻰ ﺁﻟﺔ ﺍﳊﺮﺙ.
-ﻧﺸﺎﻫﺪ ﰲ ﺍﻟﺴﺠّﻞ ﺍﻟﺜﺎﻟﺚ ﺍﻟﻌﻤّﺎﻝ ﻭ ﻋﻤﻠﻴﺔ ﺍﳋﻠﻊ ﺃﻱ ﻧﺰﻉ ﺍﻟﺘﺮﺑﺔ ﻋﻠﻰ ﺃﻗﺪﺍﻡ ﺍﻟﺪﺍﻟﻴﺔ ﰲ ﻓﺼﻞ
ﺍﳋﺮﻳﻒ )ﻛﻤﺎ ﺗﺪّﻝ ﻋﻠﻰ ﺩﻟﻚ ﺍﻷﻭﺭﺍﻕ ﺍﳌﺘﺴﺎﻗﻄﺔ( ،ﻭ ﻫﺪﻩ ﺍﻟﻌﻤﻠﻴﺔ ﻛﺎﻧﺖ ﻣﺘﺪﺍﻭﻟﺔ ﰲ ﺍﻟﻘﺪﱘ
4
ﻟﻼﻋﺘﻨﺎﺀ ﺑﺎﻟﺪﺍﻟﻴﺔ .
-ﳝﺜﻞ ﺍﻟﺴﺠّﻞ ﺍﻟﺮﺍﺑﻊ ﻋﻤﻠﻴﺔ ﺣﺮﺙ ﺍﺭﺽ ﺍﻟﻜﺮﻣﺔ ﺧﻼﻝ ﺷﻬﺮ ﻓﻴﱪﺍﻳﺮ ﻋﻨﺪ ﻗﺪﻭﻡ ﺍﻟﺮﺑﻴﻊ ﻛﻤﺎ ﻳﻈﻬﺮ
ﺩﻟﻚ ﻣﻦ ﺧﻼﻝ ﺍﻟﱪﺍﻋﻢ ﺍﻟﱵ ﺗﻐﻄﹼﻲ ﻓﺮﻭﻉ ﺍﻟﻜﺮﻣﺔ ،ﻭ ﻫﺪﺍ ﻣﺎ ﻛﺎﻥ ﻳﻨّﺺ ﻋﻠﻴﻪ ﻛﻮﳌﻨﺎﻝ ﻋﻨﺪ ﺍﻟﺮﻭﻣﺎﻥ
5
ﺑﻌﺒﺎﺭﺓ vites jugutae. .
-ﳝﺜﻞ ﺍﻟﺴﺠّﻞ ﺍﳋﺎﻣﺲ ﻣﺸﻬﺪ ﻗﻄﻒ ﺍﻟﻌﻨﺐ ﺍﳌﺰﺭﻭﻉ ﻭﻓﻖ ﺗﻘﻨﻴﺔ ﺍﻟﻌﺮﻳﺶ ﺍﻟﺒﺴﻴﻂ ﺑﺎﺳﺘﻌﻤﺎﻝ
ﻋﺎﺭﺿﺔ ﻭﺍﺣﺪﺓ ﺃﻓﻘﻴﺔ ﲢﻤﻞ ﺗﺸﺒﻴﻜﺔ ﻣﻦ ﺍﻟﻘﺼﺐ ،ﻭ ﻳﺒﺪﻭ ﺃﻬﻧﺎ ﺗﻌﻠﻮ ﺇﱃ ﺳﺒﻌﺔ ﺃﻗﺪﺍﻡ ﻣﺜﻞ ﺗﻠﻚ ﺍﻟﱵ
ﲢﺪﺙ ﻋﻨﻬﺎ ﻛﻮﳌﻨﺎﻝ ﻭ ﳍﺪﺍ ﺍﺳﺘﻬﺎﻥ ﺍﻟﻘﺎﻃﻒ ﺑﺴﻠﹼﻢ ﻟﻴﺼﻞ ﺇﱃ ﺍﻟﻜﺮﻣﺔ ﻭ ﻳﻘﻄﻒ ﺍﻟﻌﻨﺐ ﻭ ﻳﻀﻌﻪ
ﺑﺴﻠﹼﺔ ﻻ ﺗﺰﺍﻝ ﻣﺴﺘﻌﻤﻠﺔ ﺇﱃ ﻳﻮﻣﻨﺎ ﻫﺪﺍ.
ﺺ ﻋﻠﻴﻬﺎ ﻋﻠﻤﺎﺀ ﺍﻟﺰﺭﺍﻋﺔ ﺍﻟﻼﺗﻴﻨﻴﲔ
ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻫﺪﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺭﺳﻢ ﺗﻮﺿﻴﺤﻲ ﻟﻠﺘﻮﺻﻴﺎﺕ ﺍﻟﱵ ﻧ ّ
ﺃﻣﺜﺎﻝ ﻛﻮﳌﻨﺎﻝ ،ﻗﺎﺭﻭﻥ ،ﺑﻠﻴﻨﻮﺱ ،ﻓﺮﺟﻴﻞ...
ﺍﻟﺘ ﺭﻳ :
6
ﻳﻘﺘﺮﺡ ﻗﺰﺍﻝ ﻧﺴﺐ ﻓﺴﻴﻔﺴﺎﺀ ﺃﻋﻤﺎﻝ ﺍﳊﻘﻮﻝ ﺇﱃ ﺍﻟﻘﺮﱐ ﺍﻷﻭﻝ ﺃﻭ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ
ﺃﻣﺎ ﺑﺮﺍﺭ ﻓﻘﺪ ﺃﺟﺮﻯ ﻓﺤﺼﺎ ﺩﻗﻴﻘﺎ ﻟﻠﻮﺣﺔ ﻭ ﺍﻓﺘﺮﺽ ﻋﻠﻰ ﺃﺛﺮﻫﺎ ﻓﺘﺮﺓ ﺃﺣﺪﺙ ﺳﻮﺍﺀ ﻣﻦ ﺧﻼﻝ ﺑﻌﺾ
ﺍﻷﺧﻄﺎﺀ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻟﱵ ﻻﺣﻈﻬﺎ ﺃﻭ ﰲ ﺗﺴﺮ ﺔ ﺍﻟﺸﻌﺮ ﺍﻟﱵ ﺗﺸﲑ ﺇﱃ ﺑﺪﺍﻳﺔ ﺃﻭ ﻣﻨﺘﺼﻒ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ
ﻣﻴﻼﺩﻱ.7
3
Columnelle, De arbor. IXII.
4
Billiard, op cit. p 303
5
Columnelle. R.R.IV.17. De arbor.IV
6
BCTHS.1921.P118
7
J.Bérard, op cit. p 128.
345
ﺍﻟﻌﻨ : ﻓﺴﻴﻔﺴﺎﺀ ﻋ
ﺍﻟﺼﻮﺭﺓ ﺭﻗﻢ .64ﺍﻟﻠﻮﺣﺔ .22ﺹ .434
ﺍﳌﺮﺍﺟ :
Albertini, in BCTHS.1921.p p XXXV-LXXXI.
Durry , Catalogue du musée de Cherchell. Ed Leoux.Paris 1924. p111 ,pl XIV.
De pachtére, Inventaire des mosaïques de Gaule et en Afrique .I.PL CCXLVI.
S.Reinach, Répertoire des reliefs grecs et romains. Paris 1912. III. P 69, n°6.
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
ﺍﳌﺼﺪﺭ :ﻣﻠﻜﻴﺔ ﺑﺎﻧ .ﺣﻔﺮﻳﺎﺕ .1920
ﺍﳌﻘﺎﺳﺎﺕ3 :ﻡ ﻋﻠﻰ 3.10ﻡ
ﺍﻟﻮﺻﻒ :ﺗﺘﻜﻮﻥ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﺳﺠﻠﹼﲔ ﻳﻔﺼﻞ ﺑﻴﻨﻬﻤﺎ ﺷﺮﻳﻂ ﻣﺰﺩﻭﺝ ﺃﻓﻘﻲ ﻣﺮﻛﹼﺐ ﻣﻦ ﻣﻜﻌﺒﺎﺕ
ﺳﻮﺩﺍﺀ.
ﺍﻟﺴﺠّﻞ ﺍﻟﻌﻠﻮﻱ ﻭ ﻫﻮ ﺍﻟﺬﻱ ﻳﻬﻢ ﺩﺭﺍﺳﺘﻨﺎ ﳝﺜﻞ ﻣﺸﻬﺪ ﻋﻤﻠﻴﺔ ﺩﻋﺲ ﺍﻟﻌﻨﺐ ﰲ ﺣﻮﺽ -1
ﻣﺴﺘﻄﻴﻞ ﻳﺸﺒﻪ ﺍﻟﺘﺎﺑﻮﺕ ﻭ ﻳﻈﻬﺮ ﻣﻠﻲﺀ ﺑﻌﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺫﺍﺕ ﺍﳊﺒّﺎﺕ ﺍﻟﻜﺒﲑﺓ ﻳﺪﻋﺴﻬﺎ
ﺛﻼﺛﺔ ﺭﺟﺎﻝ ﻳﺮﺗﺪﻭﻥ ﺟﻠﺪ ﺑﺒﻘﻌﺎﺕ ﰲ ﺻﻠﺒﻬﻢ ﻭ ﻳﺘﻤﺎﺳﻜﻮﻥ ﺍﻟﻴﺪﻳﻦ ﻟﻠﻘﻔﺰ ﻋﻠﻰ ﻧﻔﺲ
ﺍﻹﻳﻘﺎﻉ .ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ ﺭﺟﻞ ﺭﺍﺑﻊ ﻋﻠﻰ ﺍﻟﻄﺮﻑ ﺍﻟﻴﻤﻦ ﻭ ﻫﻮ ﻳﺼّﺐ ﺳﻠﹼﺔ ﳐﺮﻭﻃﻴﺔ ﺩﺍﺧﻞ
ﺍﳊﻮﺽ ،ﻭ ﻧﻼﺣﻆ ﺃﺳﻔﻞ ﺍﳊﻮﺽ ﺍﻟﻘﺴﻢ ﺍﻟﻌﻠﻮﻱ ﺟﺮّﺗﺎﻥ ﻛﺒﲑﺗﺎﻥ "ﺩﻭﻟﻴﺎ" ﺗﺴﺘﻌﻤﻞ
ﻟﺘﺨﻤﲑ ﻋﺼﲑ ﺍﻟﻌﻨﺐ.
ﺐ ﻣﻦ ﻟﻮﺣﺎﺕ ﺧﺸﱯ ﻳﻈﻬﺮ ﺃﻋﻠﻰ ﺍﻟﺴﺠّﻞ ﻋﺮﻳﺶ ﺗﺘﺮﻛ ّ -2
ﺓ ﺗﺴﻠﻠﻬﺎ ﺃﻏﺼﺎﻥ ﺍﻟﺪﺍﻟﻴﺔ ﺍﻟﱵ ﺗﺘﻔﺮّﻉ ﻣﻦ ﺍﳊﺒﻠﺔ ﺍﻟﻀﺨﻤﺔ ﺍﻟﱵ ﲣﺮﺝ ﻣﻦ ﺍﻟﺘﺮﺑﺔ ﻋﻠﻰ -3
ﺍﻟﻴﺴﺎﺭ.
ﺍﻟﺴﺠّﻞ ﺍﻟﺴﻔﻠﻲ ﺗﺒﻘﹼﻰ ﻣﻨﻪ ﺟﺰﺀﺍ ﳝﺜﹼﻞ ﻣﺸﻬﺪ ﻣﻴﺘﻮﻟﻮﺟﻲ ﻣﻦ ﺍﻷﺳﻄﻮﺭﺓ ﺍﻟﺒﺎﺧﻴﺔ ﺗﻈﻬﺮ -4
ﻓﻴﻪ ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ ﻧﺎﺋﻤﺔ ﲜﻨﺐ ﺣﻮﺽ ﺃﺧﺮ ﻭ ﻋﻠﻰ ﺍﻟﻴﻤﲔ ﻣﺰﺭﺍﻕ ﻭ ﺧﺎﺭﺟﺎ ﻣﻦ
ﺍﳊﻮﺽ ﺳﻴﻼﻥ ﺑﻠﺤﻴﺔ ﺑﻴﻀﺎﺀ ﻳﺮﺍﻗﺐ ﺍﻟﺴﻜﲑﺓ ﺍﻟﱵ ﻧﺸﺎﻫﺪ ﻋﻠﻰ ﻳﺴﺎﺭ ﺭﺃﺳﻬﺎ ﻳﺪ ﺳﺎﺗﲑ
ﻭ ﻋﻤﻮﺩﺍﻥ ﺗﻠﺘﻒ ﺣﻮﳍﻤﺎ ﺍﻟﺪﺍﻟﻴﺔ.8
ﺍﻷﻟﻮﺍﻥ :ﺍﻷﺻﻔﺮ ،ﺍﻷﺑﻴﺾ ،ﺍﻷﺧﻀﺮ ،ﺍﻷﲪﺮ ﻭ ﺍﻟﺼﻔﺮ.
8
Albertini, iN, BCTHS. 1921.P xxxv
346
ﺍﻟﺘﺤﻠﻴﻞ:
-1ﺍﻟﺴﺠﻞ ﺍﻷﻭﻝ ﻭ ﺇﻥ ﱂ ﻳﻜﻦ ﻟﻨﻔﺲ ﺍﻟﻠﻮﺣﺔ ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭﻩ ﺗﻜﻤﻠﺔ ﻟﻔﺴﻴﻔﺴﺎﺀ ﺃﻋﻤﺎﻝ ﺍﳊﻘﻮﻝ
ﻭ ﻣﻮﺳﻢ ﺍﻟﻘﻄﺎﻑ ﺍﻟﱵ ﺩﺭﺳﻨﺎﻫﺎ ﻣﻦ ﻗﺒﻞ .ﺑﻌﺪ ﺍﻟﺰﺭﻉ ﻭ ﺍﻟﻌﻨﺎﻳﺔ ﺑﺎﻟﻜﺮﻣﺔ ّﻞ ﻣﻮﺳﻢ ﺟﲏ
ﺍﻟﻜﺮﻭﻡ ﺍﻟﺬﻱ ﻳﻨﺘﻬﻲ ﻃﺒﻌﺎ ﺑﻌﻤﻠﻴﺔ ﺩﻋﺲ ﺍﻟﻌﻨﺐ ﲤﻬﻴﺪﺍ ﻟﺘﺼﻨﻴﻊ ﺍﳋﻤﺮ .ﻛﺎﻥ ﺩﻟﻚ ﻳﺘﻢ ﺑﻄﺮﻳﻘﺔ
ﺑﺴﻴﻄﺔ ﰲ ﺣﻮﺽ ﻳﺮﻛﺾ ﻓﻴﻪ ﺍﻟﻌﻤﺎﻝ ﺣﻔﺎﺓ ﻋﻠﻰ ﺍﻟﻌﻨﺐ ﻓﻴﺴﻴﻞ ﺍﻟﻌﺼﲑ ﻋﱪ ﻓﺘﺤﺎﺕ ﻋﻠﻰ
ﺟﺎﻧﺐ ﺍﳊﻮﺽ ﻣﺒﺎﺷﺮﺓ ﺇﱃ ﺟﺮﺍﺕ ﻛﺒﲑﺓ ﺗﻮﺿﻊ ﲜﻨﺐ ﺍﳊﻮﺽ ﺣﻴﺚ ﲢﺪﺙ ﻋﻤﻠﻴﺔ ﺍﻟﺼﻔﻖ
ﺍﻷﻭﱃ .décantation9
-ﺍﻟﻌﻨﺼﺮ ﺍﻷﺧﺮ ﺍﻟﺬﻱ ﻻ ﻳﻘ ﹼﻞ ﺃﳘﻴﺔ ﰲ ﻫﺪﺍ ﺍﳌﺸﻬﺪ ﻫﻮ ﻧﻮﻉ ﺍﻟﻌﺮﻳﺶ ﺍﳌﺼّﻮﺭ ﺃﻋﻠﻰ ﺍﳊﻮﺽ ﺃﻻ
ﻭ ﻫﻮ "ﺍﻟﻌﺮﻳﺶ ﺍﻟﺒﺴﻴﻂ" vites jugutaeﺍﳌﺬﻛﻮﺭ ﰲ ﺍﻟﻨﺼﻮﺹ ﺍﻟﻘﺪﳝﺔ 10ﻭ ﻫﻲ ﻧﻔﺴﻬﺎ ﺍﻟﻈﺎﻫﺮﺓ
ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺃﻋﻤﺎﻝ ﺍﳊﻘﻮﻝ ﻭ ﺗﻌﺘﱪ ﻫﺪﻩ ﺍﻟﻠﻮﺣﺔ ﺍﻟﻨﻤﻮﺫﺝ ﺍﻟﺘﺼﻮﻳﺮﻱ ﺍﻟﻮﺣﻴﺪ ﺍﳌﺨﺼّﺺ ﳍﺪﻩ
ﺍﻟﻌﻤﻠﻴﺔ.
-2ﺍﳌﺸﻬﺪ ﺍﻟﺜﺎﱐ ﻻ ﻋﻼﻗﺔ ﻟﻪ ﺑﺎﻟﻮﺍﻗﻊ ﺑﻞ ﻫﻮ ﻣﺸﻬﺪ ﻣﺄﺧﻮﺩ ﻣﻦ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﻣﺄﻟﻮﻑ ﰲ ﺍﻟﻔﻦ
ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺍﻟﺬﻱ ﻋﺎﺩﺓ ﻣﺎ ﻳﺼﻮّﺭ ﺳﻴﻼﻥ ﺃﻭ ﺳﺎﺗﲑ ﻭ ﳘﺎ ﻳﻔﺎﺟﺌﺎﻥ ﺳﻜﲑﺓ ﺑﺎﺧﻮﺱ ﰲ ﺳﺒﺎﻬﺗﺎ،
11
ﻭ ﻟﻠﺸﺎﺭﺓ ﻳﻮﺟﺪ ﻧﻔﺲ ﺍﳌﺸﻬﺪ ﻋﻠﻰ ﺗﺎﺑﻮﺕ ﳏﻔﻮ ﲟﺘﺤﻒ ﻧﺎﺑﻮ .
9
Précheur.Canonge, op cit. p58.
10
Columelle, De Arbor. IV.
11
Reinach, Répertoire des reliefs grecs et romains. PARIS 1912..III.P69, n°6.
347
ﻓﺴﻴﻔﺴﺎﺀ ﻭﺍ ﻋ ﻤﺎﻧﻴﺔ
ﺍﳌﺮﺍﺟ :
J.Alquier, Les thermes romains du Val d’or. Constantine 1930. p27.
Boissier, L’Afrique romaine. Paris 1907. p 161.
S.Gsell, Monuments antiques d’Algérie. II. P27. / Promenades archéologiques en
Algérie et en Tunisie. Paris Hachette 1907.
De Pachtére, III. N°262.P61.
Précheur-Canonge, op cit. p6.n°7.6.
ﺍﳌﺼﺪﺭ :ﲪﺎﻣﺎﺕ ﺑﻮﻣﺒﻴﺎﻧﻮﺱ .ﺣﻔﺮﻳﺎﺕ 1878-1875
ﻣﻜﺎﻥ ﺍ ﻔ :ﺍﻧﺪﺛﺮﺕ
ﺍﳌﻘﺎﺳﺎﺕ5 :ﻡ ﻋﻠﻰ 3.20ﻡ
ﺍﻟﻮﺻﻒ:
ﺗﺘﻜﻮﻥ ﺍﻟﻠﻮﺣﺔ ﺍﳌﻜﺘﺸﻔﺔ ﺑﺎﻟﻘﺎﻋﺔ ﺍﻟﺴﺎﺧﻨﺔ ﻟﻠﺤﻤﺎﻣﺎﺕ ﻣﻦ ﺛﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻫﻲ ﻛﺎﻟﺘﺎ :
-1ﻗﺴﻢ ﳝﺜﻞ ﻣﺒ ﻭ ﻣﻨﻈﺮ ﺻﻴﺪ
-2ﻗﺴﻢ ﳝﺜﻞ ﻣ ﻝ ﺩﻭ ﺃﻗﺴﺎﻡ ﻣﺘﻌﺪﺩﺓ
-3ﺍﻟﻘﺴﻢ ﺍﻟﺪﺏ ﻳﻬﻢ ﺩﺭﺍﺳﺘﻨﺎ ﻳﺼﻮﺭ ﺟﻨﺎﺣﺎﻥ ﲢﻴﻂ ﻳﻬﻤﺎ ﺍﻷﺷﺠﺎﺭ pecuarii locusﻭ ﻋﻠﻰ
ﺍﻟﻴﻤﲔ ﺑﺴﺘﺎﻥ ﺑﻪ ﺍﻣﺮﺃﺓ ﺟﺎﻟﺴﺔ ﺑﲔ ﺃﺷﺠﺎﺭ ﺍﻟﻔﻮﺍﻛﻪ ﺍﻟﱵ ﺗﻌﺮﺷﺖ ﻋﻠﻴﻬﺎ ﺩﺍﻟﻴﺎﺕ ﺍﻟﻌﻨﺐ ﺍﻟﱵ
ﺗﺘﺪﱃ ﻣﻨﻬﺎ ﻋﻨﺎﻗﻴﺪ ﻛﺒﲑﺓ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﺗﻜﻤﻦ ﺃﳘﻴﺔ ﻫﺪﻩ ﺍﻟﻠﻮﺣﺔ ﰲ ﺗﺼﻮﻳﺮﻫﺎ ﻟﺘﻘﻨﻴﺔ ﺃﺧﺮﻯ ﻟﺰﺭﻉ ﺍﻟﻜﺮﻭﻡ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻏﲑ ﺗﻠﻚ
ﺍﻟﱵ ﺷﺎﻫﺪﻧﺎﻫﺎ ﺑﻔﺴﻴﻔﺴﺎﺀ ﺷﺮﺷﺎﻝ .ﻓﺒﻌﺪﻣﺎ ﺷﺎﻫﺪﻧﺎ ﺗﻘﻨﻴﺔ ﺍﻟﻌﺮﻳﺶ ﺑﻘﻴﺼﺮﻳﺔ ﻫﺎ ﳓﻦ ﻧﺘﻌﺮﻑ
ﻋﻠﻰ ﺗﻘﻨﻴﺔ ﺯﺭﻉ ﺍﻟﻜﺮﻭﻡ ﻋﻠﻰ ﺍﻷﺷﺠﺎﺭ » « vites arbustivaeﺑﻨﻮﻣﻴﺪﻳﺎ ،ﺇﱃ ﺟﺎﻧﺐ ﻮﺫﺟﺎ
ﳑﺎﺛﻼ ﺑﺎﻟﱪ ﻭﻗﻨﺼﻠﻴﺔ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﺴﻴﺪ ﻳﻮﻟﻴﻮﺱ ﺑﻘﺮﻃﺎﺟﺔ.12
ﰲ ﻫﺪﻩ ﺍﻟﺘﻘﻨﻴﺔ ﺗﻠﺘﻒ ﻏﺮﻳﺴﺎﺕ ﺍﻟﺪﺍﻟﻴﺔ ﺣﻮﻝ ﺍﻷﺷﺠﺎﺭ ﻭ ﻫﻲ ﻃﺮﻳﻘﺔ ﻛﺎﻧﺖ ﳏﺒﻮﺑﺔ ﺧﺎﺻﺔ
ﺑﺎﻳﻄﺎﻟﻴﺎ ﺣﻴﺚ ﺫﺍﻋﺖ ﺷﻬﺮﺓ ﺍﻟﻜﺮﻭﻡ ﺍﻟﱵ ﲡ ﻋﻠﻰ ﺍﻟﺸﺠﺎﺭ in arbustoﻛﻤﺎ ﻳﺬﻛﺮﻫﺎ
ﺑﻠﻴﻨﻮﺱ.13
12
Précheur.Cannobge, op cit. p56.
13
Pline, H.N.XVII,35
348
ﺃﻣﺎ ﰲ ﺇﻓﺮﻳﻘﻴﺎ ﻓﻴﺒﺪﻭ ﺃﻥ ﻫﺎﺗﻪ ﺍﻟﺘﻘﻨﻴﺔ ﺍﻗﺘﺼﺮﺕ ﻓﻘﻂ ﻋﻠﻰ ﺍﳊﺪﺍﺋﻖ ﺍﻟﱵ ﲢﻴﻂ ﺑﺎﳌﻠﻜﻴﺎﺕ ﺍﻟﻜﺒﲑﺓ
ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﰲ ﻭﺍﺩ ﻋﺜﻤﺎﻧﻴﺔ.
ﺍﻟﺘ ﺭﻳ :ﻻﺗﺘﻌﺪﻯ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ.14
14
Alquier.J, Les thermes romainsdu val d’or. Constantine 1930. p27.
349
ﻓﺴﻴﻔﺴﺎﺀ ﺗﺒﺴﺔ
ﺍﳌﺮﺍﺟ :
Allotte de la fuge, in R.Const. XXIV.1886-7. PP211-219.
Heron de Villefosse, in R.Const. 1886-87. pp240-245.
// , in CRAI.1888.P137
// , in Revue de l’Afrique Francaise. 1887. pp388-391. Pl III
ﺍﳌﺼﺪﺭ :ﲪﺎﻣﺎﺕ ﺍﻟﻔﺮﺳﺎﻥ .ﻗﺎﻋﺔ ﺍﳌﺴﺒﺢ
ﻣﻜﺎﻥ ﺍ ﻔ :ﻣﺘﺤﻒ ﺗﺒﺴﺔ.
ﺍﻟﻮﺻﻒ :ﺗﺘﻜﻮﻥ ﺍﻟﻠﻮﺣﺔ ﻣﻦ ﻗﺴﻤﺎﻥ ﳘﺎ:
-ﻣﺴﺘﻄﻴﻞ ﻛﺒﲑ ﻳﺘﺠﺰﺃ ﺇﱃ ﺳﺘﺔ ﻋﺸﺮ ﻣﺴﺘﻄﻴﻞ ﺗﺘﺨﻠﻠﻬﺎ ﺣﻴﻮﺍﻧﺎﺕ.
-ﺍﻹﻃﺎﺭ ﺍﻟﺜﺎﱐ ﻳﺼﻮﺭ ﺍﻟﺒﺤﺮ ﻭ ﺳﻔﻴﻨﺔ ﳏﻤﻠﺔ ﺑﺎﺛﲏ ﻋﺸﺮﺓ ﺃﻣﻔﻮﺭﺓ.
ﺍﻟﺘﺤﻠﻴﻞ:
ﻳﺮﻯ ﻫﲑﻭﻥ ﺩﻭﻻﻓﻮﺱ ﰲ ﻫﺪﻩ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺗﺼﻮﻳﺮ ﻟﻠﻌﺒﺔ ﻛﺎﻥ ﻳﻠﻌﺒﻬﺎ ﺍﳌﺮﺗﺪﻭﻥ ﺇﱃ ﺍﳊﻤﺎﻣﺎﺕ
ﻟﻘﻀﺎﺀ ﺍﻟﻮﻗﺖ .15ﻣﻬﻤﺎ ﻛﺎﻥ ﺍﻷﻣﺮ ﻳﻜﻤﻦ ﺍﻟﻌﻨﺼﺮ ﺍﻟﺬﻱ ﻳﻬﻤﻨﺎ ﰲ ﺩﺭﺍﺳﺘﻨﺎ ﻫﺪﻩ ﰲ ﺍﻟﻠﻮﺣﺔ
ﺍﻟﺜﺎﻧﻴﺔ ﺣﻴﺚ ﺗﻈﻬﺮ ﺍﳊﻤﻮﻟﺔ ﻋﻠﻰ ﺍﻟﺴﻔﻴﻨﺔ ﺃﻻ ﻭ ﻫﻲ ﺃﻣﻔﻮﺭﺍﺕ .ﻭ ﺍﻟﺴﺆﺍﻝ ﺍﳌﻄﺮﻭﺡ ﻳﺪﻭﺭ ﺣﻮﻝ
ﳏﺘﻮﻯ ﻫﺎﺗﻪ ﺍﳌﻔﻮﺭﺍﺕ ﻫﻞ ﻛﺎﻧﺖ ﲢﻮﻱ ﺮﺍ ﺃﻡ ﺯﻳﺘﺎ ،ﻋﻠﻤﺎ ﺑﺎﻥ ﺍﻟﻮﺳﻴﻠﺔ ﺍﳌﻌﺮﻭﻓﺔ ﻗﺪﳝﺎ ﻟﻨﻘﻞ
ﺍﳋﻤﺮ ﻣﻦ ﻣﻨﻄﻘﺔ ﺇﱃ ﻷﺧﺮﻯ ﻫﻲ ﺍﻷﻣﻔﻮﺭﺍﺕ .ﻭ ﺇﻥ ﻛﺎﻥ ﳏﺘﻮﻯ ﻫﺎﺗﻪ ﺍﻷﻣﻔﻮﺭﺍﺕ ﺍﻟﻈﺎﻫﺮﺓ
ﻋﻠﻰ ﻓﺴﻴﻔﺴﺎﺀ ﺗﺒﺴﺔ ﻫﻮ ﺮﺍ ﻓﻬﺪﺍ ﳚﻌﻞ ﻣﻨﻬﺎ ﺍﻟﺸﺎﻫﺪ ﺍﻟﺘﺼﻮﻳﺮﻱ ﺍﻟﻮﺣﻴﺪ ﻋﻦ ﺗﺴﻮﻳﻖ ﺍﳋﻤﺮ
ﲟﻨﻄﻘﺔ ﺗﺒﺴﺔ...
ﻭ ﻻ ﻳﻔﻮﺗﻨﺎ ﺃﻥ ﻧﺬﻛﺮ ﺃﻥ ﺑﻠﻴﺎﺭ ﻳﺬﻛﺮ ﻓﺴﻴﻔﺴﺎﺀ ﺗﺒﺴﺔ ﻫﺎﺗﻪ ﻛﻤﺜﺎﻻ ﻋﻨﺪ ﻭﺻﻔﻪ ﻟﻨﻘﻞ ﺍﳋﻤﺮ ﻋﻠﻰ
16
ﻣ ﺍﻟﺴﻔﻦ ﺍﳋﺎﺻﺔ ﺑﺪﻟﻚ
ﺍﻟﺘ ﺭﻳ :ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ.
15
CRAI.1888. P 137
16
A/S des bateaux vinatiers dans R.Billiard, La vigne dans l’antiquité. Lyon 1913. p190.
350
-1.2ﻃﺎﻭﻻﺕ ﺍﻟﻮﺯﻥ ﻣﻌﻄﻴﺎﺕ ﺣﻮﻝ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺻﻨﺎﻋﺔ ﺍﳋﻤﺮ:
MENSA PONDERARIUM
ﺍﺳﺘﻌﻤﻞ ﺍﻟﺮﻭﻣﺎﻥ ﻃﺎﻭﻻﺕ ﺧﺎﺻﺔ ﻟﻮﺯﻥ ﺍﳌﻮﺍﺩ ﺍﻟﻐﺬﺍﺋﻴﺔ ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺴﺘﻄﻴﻼﺕ ﻣﻦ ﺍﳊﺠﺮ ﲢﻔﺮ ﻋﻠﻰ
ﺳﻄﺤﻬﺎ ﲡﻮﻳﻔﺎﺕ ﻣﺴﺘﻄﻴﻠﺔ ﻭ ﺃﺧﺮﻯ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﲡﻬّﺰ ﻛﻠﻬﺎ ﺑﺜﻘﺐ ﰲ ﺍﻷﺳﻔﻞ ﻟﺘﻌﱪ ﻣﻨﻬﺎ ﺍﳌﺎﺩﺓ ﺍﳌﻮﺯﻭﻧﺔ ﻭ
ﻛﺎﻥ ﻫﺪﺍ ﺍﻟﺜﻘﺐ ﻳﻐﻠﻖ ﺑﺼﻔﻴﺤﺔ ﺑﺮﻭﻧﺰﻳﺔ ﰲ ﺍﻷﺣﻮﺍﺽ ﺍﳌﺴﺘﻄﻴﻠﺔ ﻭ ﺑﺴﺪّﺍﺩﺓ ﻣﻦ ﺍﻟﻔﻠﹼﲔ ﺃﻭ ﺍﻟﻄﲔ ﺍﳌﺸﻮﻱ ﰲ
ﺍﻷﺣﻮﺍﺽ ﺍﳌﺴﺘﺪﻳﺮﺓ .ﻭ ﺑﻌﺪ ﺍﻟﻮﺯﻥ ﺗ ﻉ ﺗﻠﻚ ﺍﻟﺴﺪّﺍﺩﺓ ﻟﺘﺼّﺐ ﺍﳌﺎﺩﺓ ﺍﳌﻮﺯﻭﻧﺔ ﰲ ﺍﻟﻮﻋﺎﺀ ﺍﳌﻌﻴﺎﺭ.
1
ﻳﺒﺪﻭ ﺃﻥ ﺍﻟﺘﺠﻮﻳﻔﺎﺕ ﺍﳌﺴﺘﻄﻴﻠﺔ ﺍﺳﺘﻌﻤﻠﺖ ﻟﻮﺯﻥ ﺍﳊﺒﻮﺏ ﺑﻴﻨﻤﺎ ﺧﺼّﺼﺖ ﺍﳌﺴﺘﺪﻳﺮﺓ ﻟﻠﺨﻤﻮﺭ ﻭ ﺍﻟﺰﻳﺖ.
ﻋﺎﺩﺓ ﻣﺎ ﺗﻮﺟﺪ ﻫﺬﻩ ﺍﻟﻄﺎﻭﻻﺕ ﰲ ﺍﻷﺳﻮﺍﻕ ﺍﻟﻌﺎﻣﺔ ﻟﻠﻤﺪﻥ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻓﺘﻌﺘﱪ ﻛﺸﻮﺍﻫﺪ
ﻣﺎﺩﻳﺔ ﻫﺎﻣﺔ ﻋﻦ ﺍﳌﻮﺍﺩ ﺍﻟﻐﺬﺍﺋﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﺪﺧﻞ ﺿﻤﻦ ﺍﳌﻨﺘﻮﺟﺎﺕ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻟﻠﻤﻨﻄﻘﺔ ﻭ ﺑﺎﻟﺘﺎ ﺿﻤﻦ
ﻣﻮﺍﺭﺩﻫﺎ ﺍﻟﺰﺭﺍﻋﻴﺔ.
ﱂ ﻧﻌﺜﺮ ﻋﻠﻰ ﺍﻟﻜﺜﲑ ﻣﻦ ﻫﺎﺗﻪ ﺍﻟﻄﺎﻭﻻﺕ ﺑﺎﳉﺰﺍﺋﺮ ﻭ ﺩﻟﻚ ﻟﻴﺲ ﻟﻘﻠﹼﺘﻬﺎ ﺃﻛﺜﺮ ﻣﺎ ﻳﻜﻮﻥ ﻟﻨﺪﺭﺓ ﺍﻟﺪﺭﺍﺳﺎﺕ ﻭ
ﺍﻷﲝﺎﺙ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﻫﺬﻩ ﺍﻵﺛﺎﺭ ﻭ ﻧﺬﻛﺮ ﻣﻨﻬﺎ ﺗﻠﻚ ﺍﻟﱵ ﻧﺮﺍﻫﺎ ﻗﺪ ﻬﺗﹼﻢ ﻣﻮﺿﻮﻋﻨﺎ:
1
R.Cagnat et V.Chapot, Manuel d’archéologie romaine. Paris Auguste Picard. 1916. p 238.
351
ﻃﺎﻭﻟﺔ "ﻣﻴﺪﻳﺎ ":
ﺍﳌﺮﺍﺟ :
J.Carcopino, « la table de mesure des mediani » . CRAI. 1919.PP379-387.
ﺍﻟﻮﺻﻒ:
ﻋﺒﺎﺭﺓ ﻋﻦ ﻣﺬﺑﺢ ﻣﻬﺪﻯ ﺇﱃ ﺍﻹﻣﱪﺍﻃﻮﺭ ﻣﺎﻛﺴﻤﻴﺎﻥ ﺃﻋﻴﺪ ﺍﺳﺘﻌﻤﺎﻟﻪ ﺑﻌﺪ ﻭﻓﺎﺗﻪ ﻭ ﺣﻮّﻝ ﺇﱃ ﻃﺎﻭﻟﺔ ﻭﺯﻥ
ﻣﺴﺘﻄﻴﻠﺔ ﻣﻬﻴﺄﺓ ﲝﻮﺿﲔ ﺍﺣﺪﳘﺎ ﻣﺴﺘﺪﻳﺮ )ﻫﻮ ﺍﻟﺬﻱ ﻬﺑﻤﻨﺎ( ﻳﺘﺴّﻊ ﺇﱃ ﺳﻌﺔ 5ﻟﺘﺮ ﻭ ﺟﻬّﺰ ﰲ ﻗﺎﻋﻪ ﺑﺜﻘﺐ ﻻ
ﻳﺘﻌّﺪﻯ ﻗﻄﺮﻩ 1ﺳﻢ ﻭ ﻋﺎﺩﺓ ﻣﺎ ﲡﻬّﺰ ﺍﻷﺣﻮﺍﺽ ﺍﳌﺨﺼّﺼﺔ ﻟﻠﺴﻮﺍﺋﻞ ﺑﺜﻘﺐ ﺻﻐﲑ.
ﺍﻟﱵ ﺗﺴﺎﻭﻱ ﺃﻣﻔﻮﺭﺓ ﻭﺍﺣﺪﺓ ﺗﺸﻬﺪ ﺍﻟﻜﺘﺎﺑﺔ ﺍﳌﻮﺟﻮﺩﺓ ﺍﺳﻔﻞ ﺍﳊﻮﺽ ﺃﻧﻪ ﻛﺎﻥ ﺳﺘﻌﻤﻞ ﻭﺣﺪﺓ ﻗﻴﺎﺱ
URCEUS
ﺍﻟﺘﺤﻠﻴﻞ:
ﻫﻞ ﺍﺳﺘﻌﻤﻠﺖ ﺍﻟﻮﺣﺪﺓ ﺍﳌﻮﺍﺯﻳﺔ ﻟ ﻣﻔﻮﺭﺓ ﻟﻮﺯﻥ ﺍﳋﻤﺮ ﺃﻭ ﻟﻠﺰﻳﺖ ﺃﻭ ﺍﻻﺛﻨﺎﻥ ﻣﻌﺎ؟
ﻻ ﻧﺴﺘﺒﻌﺪ ﺍﳋﻤﺮ ﺍﺩﺍ ﺃﺧﺪﻧﺎ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺗﺎﺭﻳﺦ ﺍﻟﻄﺎﻭﻟﺔ )253-238ﻡ( ﺍﻟﺬﻱ ﻳﺼﺎﺩﻑ ﺍﻟﻌﺼﺮ ﺍﻟﺬﻫﱯ
ﻟﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺇﻧﺘﺎﺝ ﺍﳋﻤﻮﺭ ﰲ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻣﻊ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﺎﻟﺚ.
352
ﻃﺎﻭﻟﺔ ﻴﻠﺔ:
ﺍﳌﺮﺍﺟ :
» A.Ballu, « Rapport sur les fouilles exécutées en 1912 par le sce des monuments historiques.
ﺍﳌﻘﺎﺳﺎﺕ :ﻉ= 2.19ﻡ .ﻁ= 0.80ﻙ .ﺍﳊﻮﺽ ﺍﻷﻭﺳﻂ= 0.345ﻋﻠﻰ 0.43ﻡ .ﺍﳊﻮﺽ ﺍﻷﺻﻐﺮ=
0.20ﻋﻠﻰ 0.20ﻡ.
ﺍﻟﻮﺻﻒ :ﻃﺎﻭﻟﺔ ﳓﺘﺖ ﺟﻮﺍﻧﺒﻬﺎ ﺟﻴﺪﺍ ﻭ ﺃﺳﻨﺪﺕ ﻋﻠﻰ ﺍﳊﺎﺋﻂ ،ﲢﺘﻮﻱ ﺛﻼﺛﺔ ﺃﺣﻮﺍﺽ ﺫﺍﺕ ﻣﻘﺎﺳﺎﺕ ﳐﺘﻠﻔﺔ
ﺃﻛﱪﻫﺎ ﻣﺴﺘﻄﻴﻠﺔ ﻻ ﺗﻌﲏ ﺩﺭﺍﺳﺘﻨﺎ ﺃﻣﺎ ﺃﻭﺳﻄﻬﺎ ﺗﻘﺪﺭ ﺳﻌﺘﻬﺎ ﺑﺄﺭﺑﻌﺔ ﻋﺸﺮ ﻟﺘﺮ ﻭ ﺃﺻﻐﺮﻫﺎ ﺏ 5.5ﻝ.
ﺍﳌﺮﺍﺟ :
M.Cagnat, « tables de mesures – étalons trouvées en Afrique » . CRAI. 1905. PP 190-497..
353
-1ﺍﻷﻭﱃ ﻋﻠﻰ ﺍﻟﻴﺴﺎﺭ )ﻗﻄﺮ ﻫﺎ 0.39ﻡ( ﻭ ﺍﻟﺜﻘﺐ 0.04ﻡ ﻛﺎﻧﺖ ﲢﻮﻱ 10ﻝ.
354
ﻃﺎﻭﻟﺔ ﻴﺴﺔ:
ﺍﳌﺮﺍﺟ :
OP CIT.
ﺍﳌﻘﺎﺳﺎﺕ :؟
ﺍﻟﻮﺻﻒ :ﻃﺎﻭﻟﺘﺎﻥ ﺗﺮﺗﻜﺰ ﻋﻠﻰ ﺗﻴﺠﺎﻥ ﻛﻮﺭﻧﺘﻴﺔ ،ﺇﺣﺪﺍﻫﺎ ﳎﻬّﺰﺓ ﺑﺄﺭﺑﻌﺔ ﺃﺣﻮﺍﺽ ﻣﺴﺘﺪﻳﺮﺓ ﻭ ﻧﺼﻒ ﻛﺮﻭﻳﺔ
ﻳﺘﺴّﻊ ﺍﳊﻮﺽ ﺍﻟﺜﺎﻟﺚ ﺇﱃ ﺴﺔ ﻟﺘﺮﺍﺕ ﻭ ﺍﳊﻮﺽ ﺍﻟﺮﺍﺑﻊ ﺇﱃ ﺎﻧﻴﺔ ،ﻭ ﺩﻟﻚ ﻣﺎ ﻳﻘﺎﺑﻞ ﻭﺣﺪ ﺍﻟﻘﻴﺎﺱ
ﺍﻷﻳﻄﺎﻟﻴﺎﻧﻴﺔ "ﺍﳌﻮﺩﻳﻮﺱ".
ﺍﻟﺘﺤﻠﻴﻞ :ﻳﺘﻌﺮّﻑ ﺍﻟﺒﺎﺣﺚ ﻛﺎﻧﻴﺎ ﰲ ﻫﺪﻩ ﺍﻷﺣﻮﺍﺽ ﺍﻷﺭﺑﻌﺔ ﺍﳌﺴﺘﺪﻳﺮﺓ ﻭ ﻧﺼﻒ ﻛﺮﻭﻳﺔ ﻋﻠﻰ ﺃﺣﻮﺍﺽ ﻗﻴﺎﺱ
3 2
ﺳﻮﺍﺋﻞ ) ﺮ ﺃﻭ ﺯﻳﺖ( ﻭ ﻳﺸﲑ ﺇﱃ ﺃﻥ ﻭﺣﺪﺗﺎ ﻗﻴﺎﺱ ﺍﳋﻤﺮ ﺃﻣﻴﻨﺎ ﻭ ﺳﻜﺴﺘﺎﺭﻳﻮﺱ ﺫﺍﺕ ﻛﻴﻞ ﺍﺻﻐﺮ ﻣﻦ
2
MENSURAE LIQUIARIE
3
hémina et sextarius
355
-1.3ﻣﻌﺎﺻﺮ ﻭ ﺎﺯﻥ ﺍﻟﻜﺮﻭﻡ
ﺷﺮﺷﺎﻝ:
ﺍﳌﺮﺍﺟ :
- Ph.Leveau, Caesarea de mauretanie. Une ville romaine et ses campagnes.
Collection de l’Ecole Française de Rome. 1984, note 16-p 467.
- // , « Les maisons nobles de mauretanie ». A.Af.18. 1982,pp109-165.
- // , « Paysans maures et villes romaines en mauretanie césarienne
centrale ». MEFR.1975, fig 2 n°2. P 860.
356
ﺍﻟﻨﺎ ﻭﺭ:
ﺍﳌﺮﺍﺟ :
- Ph.leveau, op cit. 1984, p 429
- A.Tchernia et J.PBrun, Le vin antique romain. Ed Glénat 1999. p 82.
1
A.Tchernia et J.P Brun, Le vin romain antique. Ed Glenat 1999. p 82.
2
A.Tchernia et J.P.Brun, op cit. p 82.
3
-PH. Leveau, op cit.1984, p 436
357
ﺗﻴﺒﺎﺯﺓ:
ﺍﳌﺮﺍﺟ :
- Gavault, “Tipasa”. R.Af. Tome XXVIII. 1884, pp 74-80.
- S. Gsell, “Tipasa, ville de mauretanie césarienne”.. MEFR.1894, pp 419-424.
358
ﺍﻟﺘ ﺭﻳ :ﻣﺮ ﺍﳌﺒ ﺍﻟﺮﺋﻴﺴﻲ ﺍﻟﺬﻱ ﻳﻬﻤﻨﺎ ﺑﻌﺪﺓ ﺗﻐﲑﺍﺕ ﻋﱪ ﺛﻼﺙ ﻣﺮﺍﺣﻞ:
-1ﰲ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺒﺪﺍﺋﻴﺔ ﻛﺎﻥ ﻳﻠﻌﺐ ﺩﻭﺭ ﺑﻴﺖ ﺧﺎﺹ ﻟﺼﺎﺣﺐ ﺍﻷﺭﺍﺿﻲ
-2ﺑﻌﺪ ﺣﺮﻳﻖ ﺃﻋﻴﺪ ﺑﻨﺎﺀ ﺍﻟﺒﻨﺎﻳﺔ ﺍﻷﻭﱃ ﻭ ﺧﺼﺼﺖ ﻟﺼﻨﻊ ﺍﳋﻤﺮ ﰲ ﺣﺪﻭﺩ 278ﻡ ﻭ ﺍﻷﻗﺴﺎﻡ
F.Mﺍﻷﺟﺮﺍﻥ، ﺍﻟﱵ ﺗﻨﺘﻤﻲ ﳍﺪﻩ ﺍﻟﻔﺘﺮﺓ ﻫﻲ ﺃﺣﻮﺍﺽ ﺍﻟﻘﺎﻋﺔ ،Hﻣﻌﺎﺻﺮ ﺍﻟﻘﺎﻋﺘﲔ،
ﺍﻟﺪﻭﻟﻴﻮﻡ ﻭ ﺍﳋﺰﺍﻧﺎﺕ .ﻟﻘﺪ ﺃﺭﺧﺖ ﺍﻟﺒﻨﺎﻳﺔ ﺑﻔﻀﻞ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ ﻭ ﺍﳌﻮﺍﻓﻘﺔ ﻟﻔﺘﺮﺓ ﺣﻜﻢ
ﺍﻹﻣﱪﺍﻃﻮﺭ "ﺑﺮﻭﺑﻮﺱ" PROBUSﺍﻟﺬﻱ ﺃﻟﻐﻰ ﺍﻟﻘﻮﺍﻧﲔ ﺍﻟﱵ ﻛﺎﻧﺖ ﲢﺼﺮ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﰲ
ﺃﻗﺎﻟﻴﻢ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻓﻘﻂ.
-3ﺍﻟﻔﺘﺮﺓ ﺍﻷﺧﲑﺓ ﺷﻬﺪﺕ ﻫﺪﻡ ﻛﻞ ﺍﻟﺒﻨﺎﻳﺎﺕ ﰒ ﺇﻋﺎﺩﺓ ﺑﻨﺎﺀ ﺍﻷﻗﺴﺎﻡ ﺍﻟﺪﺍﺧﻠﻴﺔ.
ﻣﻌﺼﺮﺓ ﺗﺒﺴﺔ:
ﺍﳌﺮﺍﺟ :
l.Jacquot, “Pressoir romain à Tébessa” in R.Cons. 1900. p 145.
4
L.Jacquot, op cit. p 145.
359
ﻣﻌﺼﺮﺓ ﻭ ﺰﻥ ﺯﻓﻮﻥ: RUSUCCURU -
ﺍﳌﺮﺍﺟ :
- J. Aymard, « La légende de Bellérophon ». MEFR.1934-35. PP 144-147.
- S.Gsell, A A A. Alger 1911, Flle 6. N° 70-71.
5
-R.Billiard, La vigne dans l’antiquité. Lyon 1913, p 471
6
- Caton, R..R-XXXIV
7
-R. Billiard, op cit.1913. p 466
8
-J.Aymard, op cit.1934-1935, p 147
360
-2ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺻﻨﺎﻋﺔ ﺍﳋﻤﻮﺭ ﺑﺎ ﺰﺍﺋﺮ ﻣﻦ ﺧﻼﻝ ﺍﻟﺘﺸﺮﻳﻌﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻭ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻷ ﺮﻳﺔ
-ﺗﺴﻌﲑﺓ ﺯﺭﺍﻱ:
ﺍﳌﺮﺍﺟ :
J.P.Darmon, « notes sur le tarif de Zarai ». Cahiers de Tunisie. 1964. n°47-48. PP7-23.
R.Billiard, La vigne dans l’antiquité. Lyon 1913. p 202.
M.R.Cagnat, Etudes d’histoire sur les impôts indirects chez les romains jusqu’aux invasions des
barbares. Paris 1882. p 112.
Héron de Villeffosse, Archives des missions scientifiques et littéraires. T II. Paris 1875.p 425.
CIL. VIII, 4508.
1
ﺍﳌﺼﺪﺭ :ﻣﻨﻄﻘﺔ ﺯﺭﺍﻳﺔ )ﻗﺪﳝﺎ ﺯﺭﺍﻱ(
ﺍﻟﻨﺺ:
)IMP(eratoribus) CAES(aribus) L.SEPTIMO SEVER III ET M.AURELIO ANTONIO AUG(ustis PIIS
CO(n)S(ulibus).
)LEX PORTUS MAXIM(i
ﺍﻟﺘﻌﻠﻴ :
ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺳﻮﻡ ﺮﻛﻴﺔ ﻟﱪﺗﻮﺭﻳﻮﻡ ﺯﺭﺍﻱ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﱵ ﺪّﺩ ﻣﻮﻗﻌﻬﺎ ﺳﲑ ﺃﻧﻄﻮﻧﺎﻥ ﻋﻠﻰ ﻃﺮﻳﻖ ﺍﻟﻘﻮﺍﻓﻞ
ﺍﻟﻘﺎﺩﻣﺔ ﻣﻦ ﻣﻘﺎﻃﻌﱵ ﻃﺮﺍﺑﻠﺲ ﻭ ﺍﻟﺒﻴﺰﺍﻛﻴﻨﺎ ﻭ ﺟﻨﻮﺏ ﺍﻷﻭﺭﺍﺱ ﳓﻮ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ )ﺃﻱ ﻣﻦ ﺗﻮﻧﺲ ﻭ ﻟﻴﺒﻴﺎ ﺇﱃ ﺍﳉﺰﺍﺋﺮ(.
ﻛﺎﻧﺖ ﺍﻟﺮﺳﻮﻡ ﺍﳉﻤﺮﻛﻴﺔ ﺗﺪﺧﻞ ﺿﻤﻦ ﺍﻟﻀﺮﺍﺋﺐ ﺍﻟﻐﲑ ﻣﺒﺎﺷﺮﺓ ﻋﻨﺪ ﺍﻟﺮﻭﻣﺎﻥ ﻭ ﺑﺎﺳﺘﺜﻨﺎﺀ ﻭﺛﻴﻘﺔ ﺯﺭﺍﻱ ﻫﺪﻩ ﺍﳌﺆﺭﺧﺔ
2
ﺑﺒﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻻ ﻠﻚ ﻣﻌﻠﻮﻣﺎﺕ ﺗﺎﺭﳜﻴﺔ ﻭﺍﺿﺤﺔ ﺣﻮﻝ ﻫﺪﺍ ﺍﻟﺼﻨﻒ ﻣﻦ ﺍﻟﻀﺮﺍﺋﺐ.
ﺗﺪﺧﻞ ﺗﺴﻌﲑﺓ ﺯﺭﺍﻱ ﰲ ﺇﻃﺎﺭ ﺇﻋﺎﺩﺓ ﺗﻨﻈﻴﻢ ﺍﻟﻠﻴﻤﺎﺱ ﺍﻷﻓﺮﻳﻘﻲ ﺧﻼﻝ ﺍﳌﺮﺣﻠﺔ ﺍﻟﺴﻔﲑﻳﺔ ﻭ ﻳﺮﻯ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ
3
ﺃﻬﻧﺎ ﺗﻜﻮﻥ ﻗﺪ ﻭﺿﻌﺖ ﺑﻌﺪ ﻣﻐﺎﺩﺭﺓ ﻓﺮﻗﺔ ﺍﳋﻴﺎﻟﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﻣﻦ ﻗﺒﻞ ﻣﻌﻔﻴﺔ ﻣﻦ ﺍﻟﺮﺳﻢ
1
S.Gsell, A A A, Flle 26 n°69.
2
اﻟﺪﻛﻨﻮﺭ ﳏﻤﺪ ﺍﻟﺒﺸﲑ ﺷﻴﻨﻴﱵ ،ﺍﻟﺘﻐﲑﺍﺕ ﺍﻻﻗﺘﺼﺎﺩﻳﺔ ﻭ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﰲ ﺍﳌﻐﺮﺏ ﺃﺛﻨﺎﺀ ﺍﻻﺣﺘﻼﻝ ﺍﻟﺮﻭﻣﺎﱐ .ﺍﳉﺰﺍﺋﺮ .198 .ﺹ .142 ا
361
ﺍﳉﻤﺮﻛﻲ ﺑﻴﻨﻤﺎ ﻳﻨﻔﻲ ﺁﺧﺮﻭﻥ ﺃﻥ ﺗﻜﻮﻥ ﺯﺭﺍﻱ ﻣﻌﻔﺎﺓ ﺮﻛﻴﺎ ﺑﻞ ﻛﺎﻧﺖ ﺍﻟﻄﺒﻘﺔ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻣﺴﺌﻮﻟﺔ ﻋﻦ ﺗﻘﺎﺿﻲ
4
ﺍﳉﺒﺎﻳﺔ ﻭ ﺑﻌﺪ ﺫﻫﺎﻬﺑﺎ ﺍﻗﺘﻀﻰ ﺍﻷﻣﺮ ﺗﺪﻭﻳﻨﻬﺎ.
ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ ﰲ ﺍﻟﺘﻨﻈﻴﻢ ﺍﻟﺮﻭﻣﺎﱐ ﻭﺿﻊ ﺭﺳﻮﻡ ﺮﻛﻴﺔ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﳌﻮﺍﻧ ﻭ ﻣﺮﺍﻛﺰ ﺍﳊﺪﻭﺩ ﺍﻟﻘﺎﺭﻳﺔ ) ﻫﻨﺎ ﺑﲔ
ﻭﻻﻳﱵ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﻭ ﻧﻮﻣﻴﺪﻳﺎ( ﺣﻴﺚ ﺗﻜﺜﺮ ﺍﻟﺘﺒﺎﺩﻻﺕ ﺍﻟﺘﺠﺎﺭﻳﺔ ﻭ ﺗﺸﺮﻳﻊ ﺯﺭﺍﻱ ﻫﺪﺍ ﺪّﺩ ﻗﻴﻤﺔ ﺭﺳﻢ ﺍﻟﻌﺒﻮﺭ ﻟﻜﻞ
ﺍﳌﻨﺘﺠﺎﺕ ﻭ ﺍﻟﺴﻠﻊ ﺍﻟﱵ ﺗﻌﱪ ﺧﻂ ﺍﻟﻠﻴﻤﺎﺱ ﰲ ﺍﻻﲡﺎﻫﲔ ﴰﺎﻝ ﺷﺮﻕ-ﺟﻨﻮﺏ ﻏﺮﺏ .ﺿﻤﻦ ﺍﳌﻨﺘﺠﺎﺕ ﺍﻟﻮﺍﺭﺩﺓ ﰲ
ﺍﻟﺘﺴﻌﲑﺓ ﻭ ﺍﻟﱵ ﲣﺮﺝ ﻣﻦ ﺃﺭﺍﺿﻲ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﻋﻦ ﻃﺮﻳﻖ ﲡﺎﺭ ﺃﺟﺎﻧﺐ ﺍﳌﻨﺘﺠﺎﺕ ﺍﻟﻜﻤﺎﻟﻴﺔ ﻭ ﻋﻠﻰ ﺭﺃﺳﻬﺎ
5
ﺍﳋﻤﺮ.
7 6
ﺪّﺩ ﺩﻓﻊ ﺭﺳﻢ ﺃﻣﻔﻮﺭﺓ ﻭ ﻭﺍﺣﺪﺓ ﻣﻦ ﺍﳋﻤﺮ ﲟﻘﺪﺍﺭ ﻭﺍﺣﺪ ﺳﺴﺘﺮﺱ ﻭ ﻳﻔﺴّﺮ ﻛﺎﻧﻴﺎ ﺯﻫﺎﺩﺓ ﺃ ﺎﻥ ﺍﳋﻤﺮ ﻭ
ﺍﳌﻨﺘﺠﺎﺕ ﺍﻷﺧﺮﻯ ﺑﺎﻟﻄﺎﺑﻊ ﺍﻟﻮﻗﱵ ﻟﻠﺮﺳﻢ ﺍﳉﺪﻳﺪ ﺣﱴ ﻳﺘﻌّﻮﺩ ﺃﻫﺎ ﻭ ﲡﺎﺭ ﺍﳌﻨﻄﻘﺔ ﻋﻠﻰ ﺩﻓﻊ ﺿﺮﻳﺒﺔ ﻟﻠﻌﺒﻮﺭ ﺗﺪﺭﳚﻴﺎ
:ﻣﻨﻬﺎ
ﺍﺳﺘﺤﺎﻟﺔ ﻭﺟﻮﺩ ﳏﻄﹼﺔ ﻋﺒﻮﺭ ﺗﻘﻊ ﻋﻠﻰ ﺣﺪﻭﺩ ﻫﺎﻣﺔ ﻟﻠﻠﻴﻤﺎﺱ ﺗﺴﺘﻮﺭﺩ ﺩﻭﻥ ﺃﻥ ﺗﺼّﺪ ﺑﺪﻭﺭﻫﺎ .ﻓﺎﳋﻤﻮﺭ ﻛﺎﻧﺖ
ﺗﻨﺘﺞ ﺑﺎﻷﺭﺍﺿﻲ ﺍﳌﻮﺭﻳﻄﺎﻧﻴﺔ )ﺷﺮﺷﺎﻝ ،ﺗﻴﺒﺎﺯﺓ ،ﲜﺎﻳﺔ ،ﺍﻟﻘﹼﻞ( ﻭ ﺍﻟﻨﻮﻣﻴﺪﻳﺔ )ﻻﻣﺒﻴﺰ ﻭ ﺗﻴﻤﻘﺎﺩ( ﻭ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ...
3
R.Cagnat,” a new roman custom list “in J.R.S. 1914. T4. P 144.
4
Mommsen, I.N.6897.
5
J.P.Darmon, op cit.
6
1 sesterce
7
R.Cagnat, op cit.
Héron de Villeffosse
9
J.P.Darmon, op cit. p 17.
362
ﻟﻘﺪ ﻭﺭﺩﺕ ﰲ ﺗﺴﻌﲑﺓ ﺯﺭﺍﻱ ﻣﻨﺘﺠﺎﺕ ﺗﻨﺘﻤﻲ ﻛﻠﻬﺎ ﺇﱃ ﻧﻮﻉ ﺧﺎﺹ ﻣﻦ ﺍﻗﺘﺼﺎﺩ ﻳﺪﻋﻰ "ﺍﻻﻗﺘﺼﺎﺩ
10
ﺍﳌﺰﺩﻫﺮ" ﺍﻟﺬﻱ ﻛﺎﻥ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﺍﳌﻨﺎﻃﻖ ﺍﻟﺪﺍﺧﻠﻴﺔ ﻟ ﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﱵ ﺍﺳﺘﺜﻤﺮﺕ ﺃﺭﺍﺿﻴﻬﺎ ﻣﻨﺪ ﺯﻣﻦ ﻃﻮﻳﻞ
ﺑﺰﺭﺍﻋﺎﺕ ﻗﺪﳝﺔ ﻛﻘﺪﻡ ﺍﻷﺭﺽ ﻣﺜﻞ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻀﻤﻦ ﺍﻟﺘﻤﻮﻳﻦ ﺑﺎﳋﻤﻮﺭ.
ﻭ ﺧﻼﺻﺔ ﺍﻟﻘﻮﻝ ﺃﻥ ﺗﺴﻌﲑﺓ ﺯﺭﺍﻱ ﺷﺎﻫﺪ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻋﻦ ﺍﻟﺘﺎﺭﻳﺦ ﺍﻻﻗﺘﺼﺎﺩﻱ ﳌﻨﻄﻘﺔ ﺣﺪﻭﺩ ﺑﲔ ﻧﻮﻣﻴﺪﻳﺎ ﻭ
10
OP CIT
363
ﺗﺴﻌﲑﺓ ﻻﻣﺒﻴﺰ:
ﺍﳌﺮﺍﺟ :
M.R.Cagnat, « A new custom list » in J.R.S. 1914. T 4. PP 143-146.
11
ﺍﳌﺼﺪﺭ:ﻗﺮﺏ ﺍﻟﻜﺎﺑﻴﺘﻮﻝ
ﺍﻟﻨﺺ:
…ASINUM…BOVEM…VITULUM…SUEM…PORCUM…OVEM…CAPRAS…TEDUM AGNUM
…LEX PORTO (RI) . VINI AMMINE(I)…VINI CIBARI…VINI GRAECI…VINI GRAECI
ﺍﻟﺘﻌﻠﻴ :
ﻋﺒﺎﺭﺓ ﻋﻦ ﺭﺳﻢ ﺮﻛﻲ ﻛﺘﺐ ﻋﻠﻰ ﺟﺪﻭﻟﲔ ﺍﻷﻭﻝ ﻳﺬﻛﺮ ﺍﻟﻘﻮﺍﻧﲔ ﻭ ﺍﳌﻜﻠﻔﲔ ﺑﺘﻄﺒﻴﻘﻬﺎ )ﱂ ﻧﻨﻘﻞ ﺍﻟﻨﺺ ﺍﻟﻼﺗﻴﲏ
ﻟﻌﺪﻡ ﺍﺭﺗﺒﺎﻃﻪ ﺑﺪﺭﺍﺳﺘﻨﺎ( ﻭ ﺍﻟﺜﺎﱐ )ﻧﻘﻠﻨﺎ ﺍﻟﻨﺺ( ﻳﺮﺩ ﻗﺎﺋﻤﺔ ﺍﳊﻴﻮﺍﻧﺎﺕ ﰒ ﺍﳋﻤﻮﺭ ﺍﻟﱵ ﺗﻌﱪ ﳏﻄﺔ ﻻﻣﺒﻴﺰ ﻗﺎﺩﻣﺔ ﻣﻦ
ﻏﲑ ﳏﻠﹼﻴﺔ ﻭ ﻟﻜﻦ ﻗﺪ ﻳﺘﻌﻠﹼﻖ ﺍﻷﻣﺮ ﲞﻤﻮﺭ ﳏﻠﹼﻴﺔ ﺍﲣﺬﺕ ﺃﲰﺎﺀ ﻮﺭ ﺇﻳﻄﺎﻟﻴﺔ ﻭ ﺇﻏﺮﻳﻘﻴﺔ ﺷﻬﲑﺓ ،.ﻓﻌﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ
ﻧﺪﻛﺮ ﺮ ﺍﻷﻣﻴﻨﻴﻮﻡ ﺍﻟﺬﻱ ﻛﺎﻧﺖ ﺗﻄﻠﻖ ﺗﺴﻤﻴﺘﻪ ﻋﻠﻰ ﻧﻮﻉ ﻣﻦ ﺍﻟﻨﺒﻴﺬ ﻛﺎﻥ ﻳﻨﺘﺞ ﺃﺻﻼ ﰲ ﺷﺒﻪ ﺍﳉﺰﻳﺮﺓ ﺍﻹﻳﻄﺎﻟﻴﺔ
13
)ﻭﺭﺩ ﰲ ﻣﺮﺳﻮﻡ ﺩﻳﻘﻠﺴﻴﺎﻧﻮﺱ ﻣﻦ ﺃﻏﻠﻰ ﺍﳋﻤﻮﺭ ( ﻭ ﺧﺎﺭﺟﻬﺎ ﺑﺴﻮﺭﻳﺎ ﻭ ﺑﺜﻴﻨﻴﺎﻭ ﳌﺎ ﻻ ﺑﺎﻟﻮﻻﻳﺔ ﺍﻷﻓﺮﻳﻘﻴﺔ ؟
ﺃﻣﺎ "ﺍﳋﻤﺮ ﺍﻹﻏﺮﻳﻘﻲ"ﻓﻬﻲ ﻟﻔﻈﺔ ﻛﺎﻧﺖ ﺗﻄﻠﻖ ﺣﱴ ﻋﻠﻰ ﺍﳋﻤﻮﺭ ﺍﳌﻨﺘﺠﺔ ﺧﺎﺭﺝ ﺑﻼﺩ ﺍﻹﻏﺮﻳﻖ ﻭﻓﻖ ﻃﺮﻳﻘﺔ
ﻭ ﺃﺧﲑﺍ "ﺍﳋﻤﺮ ﺍﻟﺴﻴﺒﺎﺭﻳﻮﻡ" ﻋﺒﺎﺭﺓ ﻋﻦ ﺮ ﺩﻭ ﻧﻮﻋﻴﺔ ﺟ ّﺪ ﻣﺘﻮﺳﻄﺔ ﱂ ﺗﻘﺘﺼﺮ ﺻﻨﺎﻋﺘﻪ ﻋﻠﻰ ﺍﻳﻄﺎﻟﻴﺎ ﻓﻘﻂ.
ﺍﺩﻥ ﻣﻦ ﺧﻼﻝ ﺗﺴﻌﲑﺓ ﻻﻣﺒﻴﺰ ﻧﺘﻌﺮّﻑ ﻋﻠﻰ ﺍﻷﻗﻞ ﻋﻠﻰ ﺛﻼﺛﺔ ﺃﻧﻮﺍﻉ ﻣﻦ ﺍﳋﻤﻮﺭ ﻛﺎﻧﺖ ﺗﻨﺘﺞ ﺑﻨﻮﻣﻴﺪﻳﺎ.
11
S.Gsell, A A A, Flle 26 n°69.
12
Vini Graeci, Amminei, Cibari
13
1 sextarius italique= 30 deniers (R.Billiard, op cit p 142).
364
Tablettes d’Albertini ﺍﻟﻌﻘﻮ ﺍﻟﻮﻧﺪﺍﻟﻴﺔ:
ﺍﳌﺮﺍﺟ :
P.Alquier, « chronique archéologique ». R.Const. 1928-1929. pp406-408.
E.Albertini, « Actes de vente du Ve siècle trouvés dans la région de Tébessa ». Journal des
Savants. 1930. pp23-30.
Ch.Courtois, Tablettes Albertini. Arts et métiers graphiques. Paris 1952. p 252..
ﺍﻟﺘﻌﻠﻴ :
ﻋﺒﺎﺭﺓ ﻋﻦ ﻋﻘﻮﺩ ﺑﻴﻊ ﻭ ﺷﺮﺍﺀ ﺃﺭﺍﺿﻲ ﻭ ﳑﺘﻠﻜﺎﺕ ﺗﺎﺑﻌﺔ ﻟﻌﻘﺎﺭ ﺯﺭﺍﻋﻲ ﻛﺒﲑ ﺗﺬﻛﺮ ﻛﻞ ﺗﻔﺎﺻﻴﻞ ﺍﻟﺒﻴﻊ ﻣﻦ:
ﺗﺎﺭﻳﺦ ﺗﺴﺠﻴﻞ ﺍﻟﻌﻘﺪ ،ﺍﺳﻢ ﺍﻟﺒﺎﺋﻊ ،ﻧﻮﻋﻴﺔ ﺍﻟﻌﻘﺎﺭ ﺍﳌﺒﺎﻉ ،ﺍﺳﻢ ﺍﳌﻘﺘﲏ ﻭ ﲢﺪﻳﺪ ﺍﻟﺴﻌﺮ ،ﺍﳌﺨﺎﻟﺼﺔ ﺍﻟﱵ ﻳﺪﻓﻌﻬﺎ ﺍﻟﺒﺎﺋﻊ ﻭ
ﺍﻟﻌﻘﺪ ﺍﻟﺬﻱ ﻳﻬ ّﻢ ﺩﺭﺍﺳﺘﻨﺎ ﻛﺘﺐ ﻓﻮﻕ ﺍﻟﻠﻮﺣﺔ 15.6ﺍﳌﺆﺭّﺧﺔ ﺏ 11ﻣﺎﻱ ﻣﻦ ﻋﺎﻡ 494ﻡ ﻭﺭﺩ ﻓﻴﻬﺎ ﺍﺳﻢ
ﺃﺭﻣﻠﺔ ﻭ ﺍﺑﻨﻬﺎ ﺗﺒﻴﻊ ﺃﺭﺍﺿﻲ ﺯﺭﻋﺖ ﻓﻴﻬﺎ ﺳﺘﺔ ﻏﺮﺍﺋﺲ ﻛﺮﻭﻡ ﺟﺪﻳﺪﺓ ﻣﻊ ﺃﺷﺠﺎﺭ ﺍﻟﺘﲔ.
14
ﻳﺸﲑ ﺍﻟﺒﺎﺣﺚ ﻛﻮﺭﺗﻮﺍ ﺇﱃ ﺃﳘﻴﺔ ﻫﺪﺍ ﺍﻟﻌﻘﺪ ﺍﻟﺬﻱ ﻳﺸﻬﺪ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﺍﻟﻜﺮﺍﻣﺔ ﲟﻨﻄﻘﻴﺔ ﺟﻨﻮﺑﻴﺔ ﻛﻬﺪﻩ...
ﰲ ﺍﳊﻘﻴﻘﺔ ﻟﻴﺴﺖ ﲟﻔﺎﺟﺌﺔ ﺍﺩﺍ ﺗﺬﻛﺮﻧﺎ ﺍﻷﺩﻟﺔ ﺍﻟﺜﺮﻳﺔ ﺍﳌﻜﺘﺸﻔﺔ ﲟﻨﻄﻘﺔ ﺗﺒﺴﺔ ﺍﻟﱵ ﺗﺮﺗﺒﻂ ﺑﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻭ ﺇﻧﺘﺎﺝ ﺍﳋﻤﺮ
ﻣﺜﻞ ﻓﺴﻴﻔﺴﺎﺀ ﲪﺎﻣﺎﺕ ﺍﻟﻔﺮﺳﺎﻥ ﺍﻟﱵ ﺗﻌﺘﱪ ﺷﺎﻫﺪ ﻋﻦ ﲡﺎﺭﺓ ﺃﻣﻔﻮﺭﺍﺕ ﺍﳋﻤﻮﺭ ﺑﺎﳌﻨﻄﻘﺔ) .ﺃﻧﻈﺮ ﺹ.(350
15
ﻻ ﻳﻔﻮﺗﻨﺎ ﺃﻥ ﻧﺸﲑ ﺇﱃ ﻣﺎ ﻳﻘﻮﻝ ﺍﻟﺪﻛﺘﻮﺭ ﻡ.ﺷﻴﻨﻴﱵ ﺣﻮﻝ ﺃﺻﻮﻝ ﺍﻟﻌﻘﻮﺩ ﺍﻟﻮﻧﺪﺍﻟﻴﺔ ﺍﻟﺬﻱ ﻳﻌﻮﺩ ﺇﱃ ﻗﺎﻧﻮﻥ
ﻣﺎﻧﻜﻴﺎ ﺍﻟﺬﻱ ﻳﻌﺘﱪ ﺃﻗﺪﻡ ﻭﺛﻴﻘﺔ ﻟﻠﺘﺸﺮﻳﻌﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺑ ﻓﺮﻳﻘﻴﺎ ﻭ ﻫﻮ ﻋﺒﺎﺭﺓ ﻋﻦ ﻋﻘﺪ ﺗﺴﻴﲑ ﺃﻣﻼﻙ ﺯﺭﺍﻋﻴﺔ.
14
op cit.
365
ﺇﻫﺪﺍﺀ ﻻﻣﺒﻴﺰ:
ﺍﳌﺮﺍﺟ :
A.d4Escuray-Doisy, « Lambése et les vétérans de la legion tertia augusta ». Hommages à Albert Grenier. 2.
Collect Latomus. Vol III. 1962. P 57..
ﺍﻟﻨﺺ:
…………………………………..DIVI /
ANTONINI PII FILIS
DEDICANTE CARIO MAESIO PICATIANO
LEGATO AUGUSTORUM PRO PRAETORE
……POSSESORES IMMUAES
VUNERUM ET AGRORUM…PECUNIA POSUERUNT
ﺍﻟﺘﻌﻠﻴ :
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﺑ ﻫﺪﺍﺀ ﺇﱃ ﺍﻷﺑﺎﻃﺮﺓ ﻣﺎﺭﻛﻮﺱ ﺃﻭﺭﻟﻴﺎﻧﻮﺱ ،ﻟﻮﻛﻴﻮﺱ ﻓﺮﻭﺱ ﻭ ﺃﻧﻄﻮﻧﻴﻨﻮﺱ ﺍﻟﺘﻘﹼﻲ ﻣﻦ ﻃﺮﻕ ﺟﻨﻮﺩ
ﻗﺪﻣﺎﺀ ﻛﺎﻧﻮﺍ ﰲ ﻣﻌﺴﻜﺮ ﻻﻣﺒﻴﺰ ﻭ ﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﺧﺪﻣﺘﻬﻢ ﺍﺳﺘﻔﺎﺩﻭﺍ ﻣﻦ ﺣﻜﺮﺓ ﺃﺭﺍﺿﻲ ﻓﺄﺻﺒﺤﻮ ﻣﺰﺍﺭﻋﲔ ﻣﺎﻟﻜﲔ
ﲝﻜﻢ ﺍﻟﺴﻠﻄﺔ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ .ﻗﺎﻡ ﻫﺆﻻﺀ ﻭ ﻋﻠﻰ ﺭﺃﺳﻬﻢ ﻣﺎﻳﺴﻴﻮﺱ ﺑﻴﻜﺎﺳﻴﺎﻧﻮﺱ ﺑﻮﺿﻊ ﻧﺎﻗﺸﺔ ﺑﺄﻣﻮﺍﳍﻢ ﻋﺮﻓﺎﻧﺎ ﻭ
ﺷﻜﺮﺍﻧﺎ ﻟ ﻣﱪﺍﻃﻮﺭ ﺍﻟﺬﻱ ﻗﺪ ﺃﻋﻔﺎﻫﻢ ﻣﻦ ﺍﻟﻀﺮﺍﺋﺐ ﺗﻠﺒﻴﺔ ﻟﻄﻠﺐ ﻣﻨﻬﻢ ﺑﻌﺪ ﻣﻌﺎﻧﺎﻬﺗﻢ ﻣﻦ ﻗﻠﹼﺔ ﺍﻟﻐﻠﹼﺔ ﺃﺛﻨﺎﺀ ﻋﺎﻡ ﺍﻟﻘﺤﻂ
16
ﺍﻟﺬﻱ ﻋﺎﺷﺘﻪ ﺭﻭﻣﺎ ﺳﻨﺔ .164
ﺗﺸﻬﺪ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﻋﻠﻰ ﺃﻥ ﺣﻜﻮﻣﺔ ﺍﻹﻣﱪﺍﻃﻮﺭ ﰲ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ ﻛﺎﻧﺖ ﺗﺴﻤﺢ ﺑﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﰲ ﻭﻻﻳﺔ
ﺃﻓﺮﻳﻘﻴﺎ ﻛﻤﺎ ﻫﻮ ﺍﳊﺎﻝ ﻫﻨﺎ ﲟﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ ﻭ ﺩﻟﻚ ﺑﻌﺪ ﺃﻥ ﻛﺎﻧﺖ ﲤﻨﻊ ﺩﻟﻚ )ﻣﺮﺳﻮﻡ ﺩﻭﻣﻴﺘﻴﺎﻧﻮﺱ ﰲ 92ﻡ(.
16
D’Escuray-Doisy, in B.A.C. 1927. P 267
366
ﺇﻫﺪﺍﺀ ﺑﻮﺭﺑﺎ ﻲ:
ﺍﳌﺮﺍﺟ :
S.Gsell, A.A.A. F 23. n°27.
L.Leschi, « Un autel votif de Bourbaki département d’Alger ». LIBYCA. Arch et Epig. T I. 1953
PP87-94..
ﺍﻟﻨﺺ:
TELUS TER
A MATER
BONAS SEG
ETES BONAS
VINDEMIAS
ﺍﻟﺘﻌﻠﻴ :
ﻳﺘﻌﻠﻖ ﺍﻷﻣﺮ ﲟﺪﺑﺢ ﻧﺪﺭﻱ ﺻﻐﲑ ﻓﺮﻳﺪ ﻣﻦ ﻧﻮﻋﻪ ﻛﺘﺐ ﻋﻠﻴﻪ ﺩﻋﺎﺀ ﺍﱃ ﺍﻵﳍﺔ "ﻣﺎﺗﺮ ﺗﻠﻮﺱ" ﺃﻡ ﺍﻷﺭﺽ
ﺣﺴﺐ ﻧﻮﻋﻴﺔ ﺍﻟﻜﺘﺎﺑﺔ ﻭ ﳏﺘﻮﺍﻫﺎ ﻗﺪ ﻳﻜﻮﻥ ﺍﳌﺬﺑﺢ ﻳﺰﺧﺮﻑ ﺃﺻﻼ ﻣﻌﺒﺪ ﺭﻳﻔﻲ ﺭﲟﺎ ﺑﲏ ﲟﻮﻗﻊ ﻣﺮﺗﻔﻊ ﻳﻌﻠﻮ ﺃﺭﺍﺿﻲ
ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻫﺪﻩ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻔﺮﻳﺪﺓ ﻣﻦ ﻧﻮﻋﻬﺎ ﺷﺎﻫﺪ ﻣﺎﺩّﻱ ﻋﻦ ﳑﺎﺭﺳﺔ ﺍﻟﻜﺮﺍﻣﺔ ﺑﺄﺭﺍﺿﻲ ﳎﺎﻭﺭﺓ ﳋﻂ ﻟﻴﻤﺎﺱ
ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﻛﺎﻧﺖ ﺗﺴﺎﻫﻢ ﰲ ﲪﺎﻳﺔ ﻭ ﺍﺳﺘﺜﻤﺎﺭ ﺃﺭﺍﺿﻲ ﺣﺪﻭﺩ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﰲ ﺃﻥ ﻭﺍﺣﺪ.
367
اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ
"ﺗﺤﻠﻴﻞ و اﺳﺘﻨﺘﺎج"
368
-1ﻠﻴﻞ ﻭ ﻣﻘﺎﺭﻧﺔ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻷﻳﻜﻨﻮ ﺮﺍﻓﻴﺔ
ﺍﺫﺍ ﺃﻟﻘﻴﻨﺎ ﻧﻈﺮﺓ ﻋﻠﻰ ﺍﳉﺪﺍﻭﻝ ﺍﻟﱵ ﺍﺳﺘﺨﻠﺼﻨﺎﻫﺎ ﻣﻦ ﺩﺭﺍﺳﺘﻨﺎ ﺠﻤﻟﻤﻮﻋﺔ ﺍﳌﻨﺤﻮﺗﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﱵ ﺃﺣﺼﻴﻨﺎﻫﺎ ﻋﱪ
ﺗﺮﺍﺏ ﺍﻟﻮﻃﻦ ،ﺳﻨﻼﺣﻆ ﻣﻦ ﺃﻭﻝ ﻭﻫﻠﺔ ﺑﺮﻭﺯ ﺩﻳﻮﻧﻴﺰﻭﺱ-ﺑﺎﺧﻮﺱ )ﺑﻨﻔﺴﻪ ﺃﻭ ﻋﻦ ﻃﺮﻳﻖ ﺭﻓﻘﺎﺋﻪ( ﻛﺎﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ
ﺍﻟﻌﻨ ﻭ ﻣﻦ ﺍﻟﺸﺮﻕ ﺇﱃ ﺍﻟﻐﺮﺏ ﳚﺴّﺪ ﺑﺎﺧﻮﺱ ﰲ ﻓﻦ ﺍﻟﻨﺤﺖ ﲟﻠﺤﻘﺎﺗﻪ ﺍﳌﻤﻴّﺰﺓ ﻷﻟﻪ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻣﻮﺳﻢ ﻄﺎ
ﺍﺳﺘﻬﻼ ﺍﳋﻤﺮ ﻣﻦ ﺧﻼﻝ ﺭﻣﻮﺯﻩ ﺍﳌﺘﻨﻮﻋﺔ ﻛﺎﳌﺰﺭﺍﻕ ،ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ،ﺍﻟﺪﺍﻟﻴﺔ ،ﻛﺆﻭﺱ ﺍﻟﺸﺮﺍﺏ ،ﺟﻠﺪ ﺍﻟﻨﻤﺮ ﻭ
ﻓﺄﻏﻠﺒﻴﺔ ﺍﻟﻨﻤﺎﺫﺝ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﳌﻨﺤﻮﺗﺔ ﺍﳌﻌﺮﻭﻓﺔ ﺑﺎﳉﺰﺍﺋﺮ ﻳﻄﻐﻰ ﻋﻠﻴﻬﺎ ﺍﻟﻄﺎﺑﻊ ﺍﻷﺻﻠﻲ ﻭ ﺍﻷﺳﺎﺳﻲ ﻟﻄﺒﻴﻌﺔ "ﺍﻟﻪ
ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ" ﺑﻨﻔﺴﻪ ﺃﻭ ﻋﱪ ﺃﻋﻀﺎﺀ ﺍﳌﻮﻛﺐ ﻛﺴﺎﺗﲑ ،ﺳﻴﻼﻥ ،ﺑﺎﻥ ،ﻓﻮﻧﻮﺱ ،ﺑﺮﻳﺎﺑﻮﺱ ،ﺍﳊﺎﺿﻨﺎﺕ ﻭ
ﻭ ﰲ ﺑﻌﺾ ﺍﳊﺎﻻﺕ ﻭﺑﺎﻷﺧﺺ ﻋﻠﻰ ﺍﳌﺒﺎﱐ ﺍﳉﻨﺎﺋﺰﻳﺔ ،ﻳﻈﻬﺮ ﺑﺎﺧﻮﺱ ﺑﺼﻔﺎﺗﻪ ﺍﻟﺜﺎﻧﻮﻳﺔ "ﻛﺎﻹﻟﻪ ﺳﻴّﺪ ﺍﻟﻜﻮﻥ
ﺍﳌﺴﺌﻮﻝ ﻋﻠﻰ ﺗﻮﺍﺗﺮ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ" ﻳﺒﺴﻂ ﻧﻔﻮﺫﻩ ﻋﻠﻰ ﺍﳌﻴﺎﻩ )ﺍﻟﺮﻃﻮﺑﺔ( ﻭ ﺍﻟﻴﺎﺑﺴﺔ )ﺍﻟﺘﺮﺍﺏ(.
ﻭ ﺪﺙ ﺃﻥ ﳝﺎﺛﻞ "ﻛﻮﺭﻱ" ﺳﻴّﺪ ﺍﻟﻌﺎﱂ ﺍﻷﺧﺮ) ﺑﻌﺪ ﺃﻥ ﺃﺩﺧﻠﺖ ﻫﺪﻩ ﺍﻟﺼﻔﺔ ﰲ ﺟﻨﻮﺏ ﺍﻳﻄﺎﻟﻴﺎ ﰲ ﺍﻷﺻﻞ( ﻓﻴﺒﺴﻂ
ﲪﺎﻳﺘﻪ ﺍﻟﻄﻴّﺒﺔ ﻋﻠﻰ ﻋﺎﱂ ﺍﻷﻣﻮﺍﺕ ﺣﻴﺚ ﻳﻌﺪ ﺍﳌﻄﻠﹼﻌﲔ ﻋﻠﻰ ﺃﺳﺮﺍﺭ ﻋﺒﺎﺩﺗﻪ ﺑﺎﳋﻠﻮﺩ ﺍﻷﺑﺪﻱ ﺍﻟﺴﻌﻴﺪ )ﺗﻮﺍﺑﻴﺖ ﺗﻴﺒﺎﺯﺓ ،
ﻭﺭﺃﻳﻨﺎ ﻛﻴﻒ ﻭﺍﺻﻞ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﰲ ﺗﻮ ﻴﻒ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﻮﺛﻨﻴﺔ ﻣﻊ ﺇﻋﻄﺎﺋﻬﺎ ﺻﺒﻐﺔ ﺟﺪﻳﺪﺓ ﻋﻮﺿّﺖ
ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﺑﻄﺎﺑﻊ ﺍﻟﺘﺠﺮﻳﺪ ﺍﳌﺴﻴﺤﻲ ﺣﱴ ﺃﺻﺒﺢ ﺃﻟﻜﺎﺱ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻳﻨﺎﻓﺲ ﺍﻟﺼﻠﻴﺐ ﺍﳌﺴﻴﺤﻲ ﰲ ﻓﻦ ﺍﻟﻨﺤﺖ ﻟﲑﻣﺰ
ﺩﺍﺋﻤﺎ ﺇﱃ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﰲ ﺍﻟﻌﺎﱂ ﺍﻷﺧﺮ ﻣﻊ ﺍﺳﺘﺒﺪﺍﻝ ﺍﳋﻤﺮ ﺩﻡ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﺪﻡ ﺍﳌﺴﻴﺢ.
ﻓﻜﺎﻥ ﺍﻟﻌﺎﻣﻞ ﺍﳌﺸﺘﺮﻙ ﺍﻟﻘﻮﻱ ﺑﲔ ﻓﻦ ﺍﻟﻨﺤﺖ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻭ ﻓﻦ ﺍﻟﻨﺤﺖ ﺍﳌﺴﻴﺤﻲ ﺑﺎﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ ﺧﺼﻮﺻﺎ
369
ﻭ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻋﻤﻮﻣﺎ ﻫﻮ ﺍﳋﻤﺮ "ﺍﻟﺸﺮﺍﺏ ﺍﳌﻘﺪّﺱ" ...ﻭﳍﺬﺍ ﺍﺣﺘّﻞ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﰲ ﺍﻟﺰﺧﺮﻓﺔ ﺍﻟﻨﺤﺘﻴﺔ ﻣﻜﺎﻧﺔ
370
-1.2ﺍﺳﺘﻨﺘﺎﺟﺎﺕ ﺣﻮﻝ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﻭ ﺍ ﻨﺎﺋﺰﻳﺔ:
ﻣﻦ ﺑﲔ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﺍﻟﱵ ﺗﻨﺎﻭﻟﻨﺎﻫﺎ )ﻭ ﻧﺎﺩﺭﺍ ﺍﳉﻨﺎﺋﺰﻳﺔ( ﺃﺣﺼﻴﻨﺎ 217ﻧﺼﺐ ﻳﻈﻬﺮ ﻓﻴﻪ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻣﻊ
ﺍﻟﻘﺮﺍﺑﲔ ﺍﻟﱵ ﻳﻘﺪﻣّﻬﺎ ﺍﳌﻬﺪﻱ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺍﻷﻓﺮﻳﻘﻲ ﻏﺎﻟﺒﺎ ﻭ ﺇﱃ ﺍﻷﳍﺔ ﺳﲑﻳﺲ ﰲ ﺑﻌﺾ ﺍﻷﺣﻴﺎﻥ .ﻭ ﺍﻟﻐﺮﻳﺐ
ﰲ ﺍﻷﻣﺮ ﻫﻮ ﺃﻥ ﺍﻟﻌﻨﺐ ﻳﺄﺧﺪ ﺣﺼﺔ ﺍﻷﺳﺪ ﰲ ﺍﻟﻘﺮﺍﺑﲔ ﻣﺘﺠﺎﻭﺯﺍ ﺍﻟﻘﻤﺢ ﺭﻏﻢ ﺃﻥ ﴰﺎﻝ ﺃﻓﺮﻳﻘﺎ ﻛﺎﻧﺖ ﺍﳌﻤﻮّﻥ
1
ﺍﻟﺮﺋﻴﺴﻲ ﺑﺎﳊﺒﻮﺏ ﻟﺮﻭﻣﺎ...
ﻓﺄﻥ ﻋﺒّﺮﺕ ﻫﺎﺗﻪ ﺍﻟﻈﺎﻫﺮﺓ ﻋﻠﻰ ﺷﻲﺀ ﻣﺎ ﻓﻬﻲ ﺗﻌﱪ ﻋﻦ ﺍﳌﻜﺎﻧﺔ ﻭ ﺍﻷﳘﻴﺔ ﺍﻟﱵ ﻛﺎﻧﺖ ﺗﻌﻄﻰ ﳍﺪﻩ ﺍﻟﻔﺎﻛﻬﺔ.
ﰲ ﺣﺎﻟﺔ ﻬﻮﺭ ﺍﻟﻌﻨﻘﻮﺩ ﻛﻘﺮﺑﺎﻥ ﻳﻘﺪﻡ ﻟ ﻟﻪ ﻓﻐﺎﻟﺒﺎ ﻣﺎ ﻳﺼّﻮﺭ ﺑﲔ ﻳﺪﻱ ﺍﳌﻬﺪﻳﲔ ﰲ ﺍﻟﺴﺠﻞ ﺍﻟﺮﺋﻴﺴﻲ ﻟﻠﻨﺼﺐ ﻭ ﰲ
3 2
ﺑﻌﺾ ﺍﳊﺎﻻﺕ ﻗﺮﺏ ﺍﳌﺬﺑﺢ ﺃﻭ ﻛﺒﺶ ﺍﻟﺘﻀﺤﻴﺔ )ﰲ ﻴﺴﺔ ( ﺃﻭ ﻳﻨﻘﺮﻩ ﻋﺼﻔﻮﺭﺍ )ﰲ ﻻﻣﺒﻴﺰ ( .ﻭ ﻳﺴﺘﻌﻤﻞ ﻋﻨﻘﻮﺩ
ﺍﻟﻌﻨﺐ ﻛﻘﺮﺑﺎﻥ ﻳﻘﺪّﻣﻪ ﺍﳊ ّﻲ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﻋﻠﻰ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺪﺭﻳﺔ ﻛﻤﺎ ﻳﺘﻘﺪّﻡ ﺑﻪ ﺍﳌﻴﺖ ﺇﱃ ﺍﻟﻌﺎﱂ ﺍﻷﺧﺮ ﰲ
ﺍﻟﻨﺼﺎﺏ ﺍﳉﻨﺎﺋﺰﻳﺔ.
ﻟﻘﺪ ﻻﺣﻈﻨﺎ ﺗﻮﺯّﻉ ﺍﻷﻧﺼﺎﺏ ﺍﻟﱵ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺑﻌﺪﺩ ﺃﻛﱪ ﻋﻠﻰ ﺍﳌﺪﻥ ﻭ ﺍﳌﺮﺍﻛﺰ ﺍﻟﺪﺍﺧﻠﻴﺔ )ﺳﻮﺍﺀ ﰲ
ﻧﻮﻣﻴﺪﻳﺎ ﺃﻡ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺃﻡ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ( ﺃﻛﺜﺮ ﻣﻨﻪ ﻋﻠﻰ ﺍﳌﺪﻥ ﺍﻟﺴﺎﺣﻠﻴﺔ ) 17ﻣﻮﻗﻊ ﺩﺍﺧﻠﻲ ﻣﻘﺎﺑﻞ 7ﻣﺪﻥ
ﺳﺎﺣﻠﻴﺔ( .ﻭ ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ ﺷﺎﻉ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻣﻨﺪ ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻣﻴﻼﺩﻱ ﺧﺎﺻﺔ ﰲ ﻣﺪﻳﻨﱵ ﺷﺮﺷﺎﻝ ﻭ ﺗﻴﻘﺰﻳﺮﺕ
4
ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ .ﻭ ﳒﺪ ﺍﻟﻌﻨﻘﻮﺩ ﰲ ﺍﳌﻮﺍﻗﻊ ﺍﻟﺼﺎﳊﺔ ﻟﺰﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻛﺸﺮﺷﺎﻝ ﻭ ﻋﻨﺎﺑﺔ..ﺍ .ﻛﻤﺎ ﳒﺪﻩ ﰲ
ﺍﻷﺭﺍﺿﻲ ﺍﻟﻐﲑ ﺻﺎﳊﺔ ﻟﺰﺭﺍﻋﺘﻪ ﻣﺜﻞ ﺳﻮﺭ ﺍﳉﻮﺍﺏ ﻭ ﺩﻟﻚ ﻣﺎ ﻳﻔﺴّﺮﻩ ﻣﺎﺭﺳﻴﻞ ﻟﻮﻗﻠﻲ ﺑﺎﳌﻌ ﺍﻟﺮﻣﺰﻱ ﻟﻠﻌﻨ ﺍﳌﺮﺗﺒﻂ
5
ﺑﺎﳋﻤﺮ ﺍﻟﺬﻱ ﳚﻠﺐ ﻟﻠﻤﻴّﺖ ﺭﺿﻰ ﺍﻹﻟﻪ ﻭ ﻳﺆﻣﻦ ﻟﻪ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻤﺎﻭﻱ ﺍﻟﺴﻌﻴﺪ.
1
M.Leglay, Saturne Africain. Histoire. p 195.
2
ibid. pl B.41.
3
ﺍﻟﻠﻮﺣﺔ .16ﺍﻟﺼﻮﺭﺓ ﺭﻗﻢ .44ﺍﻟﺼﻔﺤﺔ Idem, T II. pl XXIII.3 428
4
these de M..ORFALI, p 421.
5
Leglay, op cit, p 196.
371
ﻟﻘﺪ ﺟﺮﺕ ﺍﻟﻌﺎﺩﺓ ﺑﺘﻔﺴﲑ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺍﻟﺬﻱ ﻤﻠﻪ ﺍﳌﻬﺪﻱ ﺑﲔ ﻳﺪﻳﻪ ﺃﻭ ﻣﻊ ﺍﻟﻘﺮﺍﺑﲔ ﺍﻷﺧﺮﻯ ﺑﺎﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ
6
ﺍﳌﻬﺪﺍﺓ ﺇﱃ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺑﻜﻮﻧﻪ ﺭﻣﺰ ﻣﻨﺘﻮﺝ ﺍﻷﺭﺽ ﺍﳌﻬﺪﻱ ﻛﺒﺎﻛﻮﺭﺓ ﺇﱃ ﺍﻹﻟﻪ .ﻭ ﺍﺫﺍ ﺣﺪﺙ ﺃﻥ ﺣ ﹼﻞ ﺍﻟﻌﻨﻘﻮﺩ ﺃﻭ
ﺍﳊﺒﻠﺔ ﳏّﻞ ﺍﻹﻟﻪ ﻧﻔﺴﻪ ﻓﻴﺼﺒﺢ ﻣﻠﺤﻘﺎ ﺇﳍﻴﺎ ﻛﻤﺎ ﻫﻮ ﺍﻷﻣﺮ ﺑﺄﻧﺼﺎﺏ ﻻﻣﺒﻴﺰ ﻭ ﺗﻴﻤﻘﺎﺩ.
ﻭ ﲞﺼﻮﺹ ﺗﺄﻭﻳﻞ ﺎﻫﺮﺓ ﻬﻮﺭ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺑﺎﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﻣﻦ ﺟﻬﺔ ﻭ ﺍﻷﻧﺼﺎﺏ ﺍﳉﻨﺎﺋﺰﻳﺔ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ،
ﰲ ﺃﻃﺮﻭﺣﺘﻪ ﺃﻥ ﻳﻜﻮﻥ ﻋﻨﻘﻮﺩ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺪﺭﻳﺔ ﻣﺮﺗﺒﻄﺎ ﺑﺎﳋﺼﻮﺑﺔ ﺑﻴﻨﻤﺎ ﻳﺮﻣﺰ ﻋﻨﻘﻮﺩ ﻳﻘﺘﺮﺡ ﺍﻷﺳﺘﺎﺫ ﺃﻭﺭﻓﻪ
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ﺍﻷﻧﺼﺎﺏ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺇﱃ ﺍﻟﻄﺎﺑﻊ ﺍﻷﺧﺮﻭﻱ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺬﻱ ﳝﻨﺢ ﺃﺗﺒﺎﻋﻪ ﺍﳋﻠﻮ ﺩ ﺍﻟﺴﻌﻴﺪ.
ﻹﺯﺍﻟﺔ ﻭﻟﻮ ﺑﻌﺾ ﺍﻟﻐﻤﻮﺽ ﻋﻦ ﻫﺪﺍ ﺍﻟﺴﺆﺍﻝ ﺳﻨﺤﺎﻭﻝ ﻋﺮﺽ ﺑﻌﺾ ﺍﳌﻼﺣﻈﺎﺕ ﺍﻟﱵ ﳝﻜﻦ ﺃﻥ ﺗﻜﻮﻥ ﻋﻨﺎﺻﺮ
ﻣﺴﺎﻋﺪﺓ ﻟﺘﻔﻬﻢ ﻧﻮﻋﺎ ﻣﺎ ﻗﻀﻴﺔ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﲟﻘﺎﻃﻌﺎﺕ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ.
ﻻﺣﻈﻨﺎ ﺃﻥ ﰲ ﺑﻌﺾ ﺍﳌﻮﺍﻗﻊ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ ﺃﻧﺼﺎﺏ ﻣﺘﻌﺪﺩﺓ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﻛﺎﻧﺖ ﲤﺎﺭﺱ ﻓﻴﻬﺎ ﺯﺭﺍﻋﺔ
ﺍﻟﻜﺮﻭﻡ ﻗﺪﳝﺎ ﻣﺜﻞ ﻣﺪﺍﻭﺭﺵ ،ﻴﻠﺔ ،ﺗﻴﻤﻘﺎﺩ ،ﻻﻣﺒﻴﺰ ﻭ ﺷﺮﺷﺎﻝ...ﻭ ﻟﻜﻦ ﺑﺎﺳﺘﺜﻨﺎﺀ ﺍﳌﻨﺎﻃﻖ ﺍﻟﺴﺎﺣﻠﻴﺔ ﻛﺎﻧﺖ ﺗﻌﺮﻑ
ﻧﺴﺒﺔ ﺗﺴﺎﻗﻂ ﺍﻷﻣﻄﺎﺭ ﺗﻘﹼﻞ ﻋﻦ 400ﻣﻢ/ﺍﻟﺴﻨﺔ ،ﺩﻟﻚ ﻣﺎ ﺟﻌﻞ ﺯﺭﺍﻋﺔ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﻫﻲ ﲝﺎﺟﺔ ﺇﱃ ﻫﺪﻩ ﺍﻟﻨﺴﺒﺔ ﺗﻌﺘﻤﺪ
8
ﻋﻠﻰ ﺟﻬﺪ ﺍﻹﻧﺴﺎﻥ ﺇﱃ ﺟﺎﻧﺐ ﺑﺮﻛﺔ ﺍﻹﻟﻪ .ﻭﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺑﺮﻛﺔ ﺍﻹﻟﻪ ﺍﻟﻀﺮﻭﺭﻳﺔ ﳊﻤﺎﻳﺔ ﺍﶈﺼﻮﻝ ﺍﻟﺰﺭﺍﻋﻲ ﻻﺑّﺪ
ﻣﻦ ﺇﻗﺎﻣﺔ ﺍﻟﺸﻌﺎﺋﺮ ﻭ ﺍﻟﻄﻘﻮﺱ ﻭ ﺗﻘﺪﱘ ﺍﻟﻘﺮﺍﺑﲔ ﻟ ﻟﻪ ﺍﳌﺴﺌﻮﻝ saturne frugiferﻋﻦ ﲪﺎﻳﺔ ﺍﶈﺼﻮﻝ ﺃﻻ ﻭﻫﻮ
ﺳﺎﺗﻮﺭﻥ ﻓﺮﻭﺟﻴﻔﺮ.
ﺍﺩﺍ ﻗﺎﺭﻧّﻨﺎ ﺍﻟﻔﺘﺮﺓ ﺍﻟﱵ ﺍﻧﺘﺸﺮﺕ ﻓﻴﻬﺎ ﺑﻜﺜﺮﺓ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺪﺭﻳﺔ ﻭ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺫﺍﺕ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﲟﻘﺎﻃﻌﺎﺗﻨﺎ ﺃﻱ
ﰲ ﺣﺪﻭﺩ ﺍﻟﻘﺮﱐ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ )ﺍﻧﻈﺮ ﺍﳉﺪﻭﻝ ﺭﻗﻢ ( 4ﳒﺪﻫﺎ ﺗﻄﺎﺑﻖ ﺍﻟﻔﺘﺮﺓ ﺍﻟﱵ ﺃﻟﻐﻲ ﻓﻴﻬﺎ ﻣﺮﺳﻮﻡ
ﺍﻹﻣﱪﺍﻃﻮﺭ ﺩﻭﻣﻘﻴﺎﻥ ﺍﻟﺬﻱ ﻛﺎﻥ ّﺪ ﻣﻦ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﰲ ﺃﺭﺍﺿﻲ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻹﻣﱪﺍﻃﻮﺭﻳﺔ ﳊﻤﺎﻳﺔ ﺍﻟﻜﺮﻭﻡ
372
9
ﺍﻻﻳﻄﺎﻟﻴﺔ .ﻓﺎﻧﻄﻼﻗﺎ ﻣﻦ ﻫﺎﺗﻪ ﺍﻟﻔﻜﺮﺓ ﻳﻜﻮﻥ ﻣﻦ ﺍﻟﻄﺒﻴﻌﻲ ﻗﺮﻥ ﺍﻟﻌﻨﺐ ﲝﻀﻮﺭ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺣﺎﻣﻲ ﺍﻟﻜﺮﻭﻡ ﻭ
ﺍﶈﺎﺻﻴﻞ ﺍﻟﺰﺭﺍﻋﻴﺔ ﺍﻷﺧﺮﻯ ﻭ ﺍﳌﺴﺌﻮﻝ ﻋﻦ ﻣﻮﺳﻢ ﺍﻟﻘﻄﺎﻑ ﻓﻴﻬﺪﻳﻪ ﺍﳌﺘﻌﺒّﺪ ﺑﺎﻛﻮﺭﺓ ﳏﺼﻮﻟﻪ ﺗﻌﺒﲑﺍ ﻋﻦ ﺇﺭﺍﺩﺗﻪ
10
ﺑﺎﻟﺘﻘﺮّﺏ ﻣﻦ ﺍﻷﻟﻪ ﻭ ﻧﻴﻞ ﺍﻟﱪﻛﺔ.
ﻭ ﻟﻜﻦ ﻫﻞ ﻳﺼﻠﺢ ﻫﺬﺍ ﺍﻟﺘﺄﻭﻳﻞ ﻟﻠﻤﻨﺎﻃﻖ ﺍﻟﱵ ﱂ ﺗﻮﺟﺪ ﻓﻴﻬﺎ ﺃﺛﺎﺭ ﻋﻦ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ؟
ﰲ ﺣﺎﻟﺔ ﻋﺪﻡ ﺍﺭﺗﺒﺎﻁ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺑﺎﳊﻴﺎﺓ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ ﺍﻟﱵ ﺗﻮﺟﺪ ﻬﺑﺎ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺪﺭﻳﺔ ﻭ ﺍﳉﻨﺎﺋﺰﻳﺔ ﻳﻨﺒﻐﻲ
ﺍﻟﺘﺬﻛﲑ ﺑﺎﻟﻘﻴﻤﺔ ﺍﻟﺮﻣﺰﻳﺔ ﻭ ﺍﻟﺮﻭﺣﻴﺔ ﺍﻟﱵ ﺗﻌﻄﻰ ﻟﻠﻌﻨﺐ ﰲ ﺍﻟﺪﻳﺎﻧﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﺍﻷﻳﻄﺎﻟﻴﺎﻧﺘﻴﺔ ،ﻓﺎﻟﻌﻨﺐ ﻫﻮ ﺭﻣﺰ ﺍﳋﻤﺮ
11
ﺍﻟﺬﻱ ﻫﻮ ﺩﻡ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﺷﺮﺍﺏ ﺍﳋﻠﻮﺩ ﺍﻟﺴﻌﻴﺪ ﰲ ﺍﳊﻴﺎﺓ ﺍﻷﺧﺮﻯ.
ﻓﻤﺎ ﻫﻲ ﺍﺩﻥ ﻋﻼﻗﺔ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﺍﻟﺬﻱ ﻳﻬﺪﻯ ﻟﻪ ﺍﻟﻨﺼﺐ ﺍﻟﻨﺪﺭﻱ ﻭ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺃﻭ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺍﻟﺪﻱ ﻳﺮﻣﺰ ﺇﻟﻴﻪ
ﺍﻟﻌﻨﺐ؟
ﺍ ﺍﻟﻪ ﺑﺎﺧﻮﺱ /ﻟﻴﱪ ﺑﺎﺗﺮ ﻫﻮ ﺍﻟﻮﺣﻴﺪ ﻣﻊ ﺍﻷﳍﺔ ﺳﺎﺗﺮﻭﻥ ﻭ ﺳﲑﺍﺑﻴﺲ ﺍﻟﺪﻱ ﻳﻄﻠﻖ ﻋﻠﻴﻪ ﻟﻘﺐ "ﺍﻹﻟﻪ ﺍﻷﻋﻈﻢ" ﻭﻣﻦ
ﺑﲔ ﻛﻞ ﺍﻷﳍﺔ ﺍﻷﺧﺮﻯ ﻫﻮ ﺍﻟﻮﺣﻴﺪ ﺍﻟﺬﻱ ﻳﻘﺘﺮﺏ ﻛﺜﲑﺍ ﻣﻦ ﺍﻹﻟﻪ ﺳﺎﺗﻮﺭﻥ ﰲ ﺻﻔﺎﺗﻪ ﻭ ﰲ ﺍﳌﺮﺍﺳﻴﻢ ﺍﻟﻄﻘﻮﺳﻴﺔ ﺍﻟﱵ
ﺗﻘﺎﻡ ﻟﻪ .ﻟﻴﺲ ﻣﻦ ﺍﻟﻐﺮﻳﺐ ﺍﺩﻥ ﺃﻥ ﻳﻜﻮﻥ ﺳﻜﺎﻥ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻌﻮﺍ ﺑﲔ ﺭﺑّﻬﻢ ﺍﻷﻋﻈﻢ ﺳﺎﺗﻮﺭﻥ ﺍﻷﻓﺮﻳﻘﻲ ﻭ ﺍﻹﻟﻪ
12
ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﺜﻠﻤﺎ ﻓﻌﻠﻮﺍ ﻣﻦ ﻗﺒﻞ ﻣﻊ ﺍﻹﻟﻪ ﺃﴰﻮﻥ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ.
ﻭ ﺩﻟﻚ ﻣﺎ ﻳﻔﺴّﺮ ﺗﻮ ﻴﻒ ﺭﻣﻮﺯ ﺩﻳﻮﻧﻴﺰﻳﺔ ﻣﺘﻨﻮﻋﺔ ﰲ ﺃﻧﺼﺎﺏ ﻧﺪﺭﻳﺔ ﻭ ﺟﻨﺎﺋﺰﻳﺔ ﻣﻨﺪ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ ﺇﱃ ﻏﺎﻳﺔ ﺍﻟﻘﺮﻥ
ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ:
-ﻬﻮﺭ ﺃﻋﻀﺎﺀ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ )ﺳﺎﺗﲑ( ﰲ ﻴﻠﺔ ﻣﺜﻼ ﻭ )ﺍﻹﻟﻪ ﺑﺎﻥ( ﰲ ﻻﻣﺒﻴﺰ.
9 S.Reinach, « la mévente des vins sous le H.empire » in R.A. 1901. II. P 35.
11 Daremberg et Saglio, Dict des antiq gréco-romaines. T 13. P 623 Article Bacchus.
12 Leglay, op cit. p 241.
373
ﻭ ﻟﻴﺲ ﻣﻦ ﺍﻟﺼﺪﻓﺔ ﺇﻥ ﻛﺎﻧﺖ ﺃﻛﱪ ﻧﺴﺒﺔ ﻣﻦ ﺍﻷﻧﺼﺎﺏ ﺍﻟﻨﺬﺭﻳﺔ ﻭ ﺍﳉﻨﺎﺋﺰﻳﺔ ﺫﺍﺕ ﻋﻨﻘﻮﺩ ﺍﻟﻌﻨﺐ ﺗﻌﻮﺩ ﺇﱃ
ﺍﻟﻔﺘﺮﺓ ﺍﳌﺘﺮﺍﻭﺣﺔ ﺑﲔ ﻬﻧﺎﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﺎﻟﺚ ﻣﻴﻼﺩﻱ ﺍﺫﺍ ﺗﺬﻛﺮﻧﺎ ﺭﻭﺍﺝ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻊ ﻓﺘﺮﺓ ﺣﻜﻢ ﺍﻟﻌﺎﺋﻠﺔ
ﺍﻟﺴﻔﲑﻳﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ،ﻛﺎﻥ ﺍﻹﻣﱪﺍﻃﻮﺭ ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﺮﻭﺱ ﻗﺪ ﻭﺿﻊ ﻣﺪﻳﻨﺘﻪ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ ﲢﺖ ﲪﺎﻳﺔ ﺍﻟﺜﺎﻟﻮﺙ
13
ﺍﻹﳍﻲ "ﻫﺮﺍﻗﻞ-ﻓﻨﻮﺱ -ﻟﻴ " ﺍﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ ﺍﳋﻤﺮ.
374
-1.3ﺍﺳﺘﻨﺘﺎﺟﺎﺕ ﺣﻮﻝ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ:
14
ﻓﺴﻴﻔﺴﺎﺀ ﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ" " ﺘّﻞ ﺍﻹﻟﻪ ﻳﻮﻧﻴﺰﻭﺱ ﻣﻜﺎﻧﺔ ﻓﺮﻳﺪﺓ ﻣﻦ ﻧﻮﻋﻬﺎ
ﻛﺜﲑﺍ ﻣﺎ ﻀﺮ ﺍﻹﻟﻪ ﺑﻨﻔﺴﻪ ﺃﻡ ﻳﻨﻮﺏ ﻋﻨﻪ ﺃﺗﺒﺎﻋﻪ ﻭ ﺃﻋﻀﺎﺀ ﻣﻮﻛﺒﻪ ﺃﻡ ﺣﺘّﻰ ﻋﱪ ﻣﻠﺤﻘﺎﺗﻪ ﻭ ﺭﻣﻮﺯﻩ ﺑﺼﻮﺭﺓ ﻣﻠﻔﺘﺔ
ﻱ ﺍﻟﻪ ﻣﻦ
ﻟﻼﻧﺘﺒﺎﻩ ﻭ ﺩﻟﻚ ﻣﻨﺪ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺇﱃ ﻬﻧﺎﻳﺔ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ ﻋﱪ ﻛﻞ ﺍﻷﻗﺎﻟﻴﻢ ﺍﻹﻓﺮﻳﻘﻴﺔ .ﻭ ﻻ ﻳﻀﺎﻫﻴﻪ ﺃ ّ
15
ﺁﳍﺔ ﺍﻟﺒﻨﺘﻴﻮﻥ ﺍﻹﻏﺮﻳﻘﻲ-ﺍﻟﺮﻭﻣﺎﱐ ﰲ ﻫﺪﺍ ﺍﻟﺮﻭﺍﺝ ﻣﺎ ﻋﺪﻯ ﺍﻟﺮﺑّﺔ ﻓﻨﻮﺱ ﺍﻟﱵ ﺗﻘﺎﺭﺑﻪ ﰲ ﺍﻻﻧﺘﺸﺎﺭ.
ﻣﻌﻈﻢ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﺍﻟﱵ ﺗﻨﺎﻭﻟﺖ ﺍﳌﻮﺿﻮﻉ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻣﺴﺘﻮﺣﺎﺓ ﻣﻦ ﺍﻟﻔﻦ ﺍﳍﻠﻨﺴﱵ ﺁﺩ ﺗﻈﻬﺮ ﺍﻹﻟﻪ ﰲ
ﺻﻮﺭﺓ ﺷﺎﺏ ﺃﻣﺮﺩ ﲟﻼﻣﺢ ﻧﺴﻮﻳﺔ )ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻔﺼﻮﻝ ﺍﻟﺮﺑﻌﺔ ﺑﻼﻣﺒﻴﺰ ،ﻓﺴﻴﻔﺴﺎﺀ ﺍﻟﻨﺼﺮ ﺍﻟﺒﺎﺧﻲ ﺑﻮﻫﺮﺍﻥ ،ﻓﺴﻴﻔﺴﺎﺀ
16
ﺳﻄﻴﻒ (...ﻭﻓﻖ ﺍﳌﻮﺩﺓ ﺍﳍﻠﻨﺴﺘﻴﺔ ﺍﶈﻀﺔ .ﻭ ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ ﺻﻮﺭﺓ ﺍ ﺍﶈﻀّﺮ ﺍﻟﺬﻱ ﳝﻨﺢ ﺍﻟﺒﺸﺮﻳﺔ
ﺇﺣﺪﻯ ﺍﻟﺰﺭﺍﻋﺎﺕ ﺍﻷﺳﺎﺳﻴﺔ ﻭﻫﻲ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﺍﳌﺮﺗﺒﻄﺔ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﺑﺎﳊﻀﺎﺭﺓ ﺍﳌﺘﻮﺳﻄﻴﺔ ﰲ ﺍﻟﻌﻬﺪ ﺍﻟﻘﺪﱘ
17
)ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ﺍﻟﱵ ﲤﺜﹼﻞ ﻫﺒﺔ ﺍﻟﻌﻨﺐ ﻋﱪ ﺗﻀﺤﻴﺔ ﺍﻳﻜﺎﺭﻳﻮﺱ(.
ﻳﺼﻮّﺭ ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ ﳐﺘﻠﻒ ﻣﺮﺍﺣﻞ ﺣﻴﺎﺗﻪ ﻭ ﻣﻐﺎﻣﺮﺍﺗﻪ ﻣﻦ ﺍﻟﻄﻔﻮﻟﺔ )ﻓﺴﻴﻔﺴﺎﺀ ﻴﻠﺔ ،ﻓﺴﻴﻔﺴﺎﺀ ﺳﺎﻧﺖ ﻟﻮ( ﺇﱃ
ﺍﻧﺘﺼﺎﺭﺍﺗﻪ )ﺍﻧﺘﺼﺎﺭﻩ ﰲ ﺍﳍﻨﺪ ﰲ ﻓﺴﻴﻔﺴﺎﺀ ﺳﻄﻴﻒ ﻭ ﻭﻫﺮﺍﻥ( ﺇﱃ ﺟﺎﻧﺐ ﻏﺮﺍﻣﻴﺎﺗﻪ ﻣﻊ ﺯﻭﺟﺘﻪ ﺃﺭﻳﺎﻥ )ﻓﺴﻴﻔﺴﺎﺀ
ﺳﲑﺗﺎ(.
ﻭ ﺍﺫﺍ ﻏﺎﺏ ﺍﻹﻟﻪ ﻧﻔﺴﻪ ﻣﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﻳﻮﺣﻰ ﺇﻟﻴﻪ ﻣﻦ ﺧﻼﻝ ﺣﻀﻮﺭ ﺃﺗﺒﺎﻋﻪ ﻭ ﺃﻋﻀﺎﺀ ﻣﻮﻛﺒﻪ
)ﺳﻴﻼﻥ ،ﺍﻟﺴﻜﲑﺍﺕ ،ﺍﳊﺎﺿﻨﺎﺕ ،ﺳﺎﺗﲑ ،ﺟﻨّﻲ ﺑﺎﺧﻮﺱ ،ﺍﻟﻨﻤﺮ (...ﺃﻭ ﺑﺎﻟﺼﻮﺭﺓ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﺍﻟﺮﻣﺰﻳﺔ ﻋﱪ ﺭﻣﻮﺯﻩ ﻣﺜﻞ
ﺍﻟﺒﺎﻃﻴﺔ ،ﺍﳌﺰﺭﺍﻕ ،ﺍﻟﻌﻨﺐ ،ﺍﻟﻄﺎﻭﻭﺱ...ﻭﻫﺬﺍﻥ ﺍﻟﻨﻮﻋﺎﻥ ﻣﻦ ﺍﻟﻠﻮﺣﺎﺕ ﺗﻮﺟﺪ ﺑﻮﻓﺮﺓ ﰲ ﻛﻞ ﻣﻦ ﻧﻮﻣﻴﺪﻳﺎ ،ﻣﻮﺭﻳﻄﺎﻧﻴﺎ
14
K.M.Dunbabin, op cit. p 173.
15
idem, p 173.
16
L.Foucher, op cit. p 37.
17
Ch.Picard, op cit. p 200.
375
ﺗﺘﻨﻮّﻉ ﺍﳌﺸﺎﻫﺪ ﺍﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻦ ﺍﻟﻨﺎﺣﻴﺔ ﺍﻟﻜﺮﻧﻮﻟﻮﺟﻴﺔ ﻋﻠﻰ ﻧﻄﺎﻕ ﺯﻣﲏ ﻭﺍﺳﻊ ﳝﺘّﺪ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ
ﻣﻴﻼﺩﻱ )ﻓﺴﻴﻔﺴﺎﺀ ﺗﻴﻤﻘﺎﺩ( ﺇﱃ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ )ﻓﺴﻴﺴﺎﺀ ﺃﺯﻳﻨﻮﺱ ﻧﻴﻜﺎ ﲜﻤﻴﻠﺔ( ﻣﻊ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﺃﻥ ﻣﻌﻈﻢ ﺍﻟﻠﻮﺣﺎﺕ
ﺃﻣﺎ ﻣﻦ ﻧﺎﺣﻴﺔ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺘﻨﺎﻭﻟﺔ ﻧﻼﺣﻆ ﺑﺮﻭﺯ ﺍﻟﻘﺼﺺ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺔ ﻭ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﺃﻋﻀﺎﺀ
ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ )ﺳﺎﺗﲑ ،ﺍﻟﻌﻤّﻮﺭﻳﲔ ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ،ﺍﻹﻟﻪ ﺑﺎﻥ ،ﺍﻟﺴﻜﲑﺍﺕ (...ﲞﻤﺴﺔ ﻋﺸﺮﺓ ﻟﻮﺣﺔ ﺗﻠﻴﻬﺎ
ﺍﳌﺸﺎﻫﺪ ﺍﻟﱵ ﲢﺘﻮﻱ ﺭﻣﻮﺯ ﺩﻳﻮﻧﻴﺰﻳﺔ ﺗﺘﻨﻮّﻉ ﻣﻦ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺇﱃ ﺍﻟﺒﺎﻃﻴﺔ ﻭ ﺍﻟﺪﺍﻟﻴﺔ)...ﺃﻧﻈﺮ ﺍﳉﺪﻭﻝ ﺭﻗﻢ ،(.6ﰒ
ﺗﺄﰐ ﻣﺸﺎﻫﺪ ﺍﻟﻔﺼﻮﻝ ﺍﻷﺭﺑﻌﺔ ﺍﻟﱵ ﻳﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﺑﻌﻴﻨﻪ )ﻓﺴﻴﺴﺎﺀ ﻻﻣﺒﻴﺰ( ﺃﻭ ﻳﺮﻣﺰ ﻟﻪ ﻣﻦ ﺧﻼﻝ ﻓﺼﻞ
18
ﺍﳋﺮﻳﻒ ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﺳﻮﺍﺀ ﰲ ﺻﻮﺭﺓ ﺍﻣﺮﺍﺀﺓ ﺃﻡ ﺭﺟﻞ ﺷﺎﺏ ﺃﻣﺮﺩ ﻭ ﻳﺸﺘﺮﻙ ﺩﻭﻣﺎ ﻣﻊ ﻣﻮﺳﻢ ﺟﲏ ﻗﻄﺎﻑ ﺍﻟﻌﻨﺐ .
ﻭ ﻟﻘﺪ ﺭﺃﻳﻨﺎ ﻛﻴﻒ ﺃﻥ ﻫﺪﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳌﺸﺎﻫﺪ ﻳﻌﺒّﺮ ﻋﻦ ﺍ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻛﺎﳌﺴﺌﻮﻝ ﻋﻦ ﺍﳋﺼﻮﺑﺔ ﻭ ﺍﻟﻨﺒﺎﺗﺎﺕ ﻭ ﺗﻨﻈﻴﻢ
ﺗﻌﺎﻗﺐ ﺍﻟﻔﺼﻮﻝ.
ﺗﺸﲑ ﺍﻷﲝﺎﺙ ﺇﱃ ﻭﻓﺮﺓ ﺍﳌﺸﺎﻫﺪ ﺍﳌﺘﻌﻠﻘﺔ ﺑﺎﻟﻔﺼﻮﻝ ﺍﻟﺮﺑﻌﺔ ﰲ ﴰﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﻣﻨﺪ ﻣﻨﺘﺼﻒ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻣﻴﻼﺩﻱ ﻭ
ﻳﻔﺴّﺮ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﻫﺪﺍ ﺍﻟﺮﻭﺍﺝ ﺑﻨﻈﺮﺓ ﺍﳌﺴﺘﻌﻤﻞ ﳍﺪﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺇﻟﻴﻬﺎ ﻛﺮﻣﻮﺯ ﻟﻠﺨﺼﻮﺑﺔ ﻭ ﺍﻟﺘﺠﺪﻳﺪ
19
ﺍﻟﱵ ﲡﻠﺐ ﺍﻟﺮﻓﺎﻫﻴﺔ ﺇﱃ ﺑﻴﺘﻪ.
ﻳﻮﺟﺪ ﻣﻮﺿﻮﻉ ﺃﺧﺮ ﻻ ﻳﻘﹼﻞ ﺃﳘﻴﺔ ﺃﻻ ﻭﻫﻮ ﻣﺸﻬﺪ ﺍﻧﺘﺼﺎﺭ ﺑﺎﺧﻮﺱ ،ﻓﻤﻦ ﺑﲔ ﺍﳌﺸﺎﻫﺪ ﺍﻟﺘﺴﻊ ﺍﶈﺼﺎﺓ ﺑﺸﻤﺎﻝ
ﺇﻓﺮﻳﻘﻴﺎ ﺃﺭﺑﻌﺔ ﻣﻨﻬﺎ ﺗﻮﺟﺪ ﺑﺎﳉﺰﺍﺋﺮ ﺳﻮﺍﺀ ﰲ ﺇﻗﻠﻴﻢ ﻧﻮﻣﻴﺪﻳﺎ )ﺳﲑﺗﺎ ﻭ ﺳﻄﻴﻒ( ﺃﻡ ﻣﻮﺭﻳﻄﺎﱐ ﺍﻟﻘﻴﺼﺮﻳﺔ )ﺷﺮﺷﺎﻝ
ﻭﻭﻫﺮﺍﻥ( .ﻭ ﺗﺘﻤﻴﺰ ﻓﺴﻴﺴﺎﺀ ﺳﻄﻴﻒ ﻭ ﻭﻫﺮﺍﻥ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﻋﻦ ﻣﺜﻴﻼﻬﺗﺎ ﺑﺎﳉﻮﺩﺓ ﻭ ﺍﻟﺪﻗﹼﺔ ﰲ ﺍﻟﺘﻘﻨﻴﺔ ﺍﳌﺴﺘﻌﻤﻠﺔ ﻭ
ﺑﻐﻨﺎﻫﺎ ﺍﻟﺘﺼﻮﻳﺮﻱ )ﻟﻮﺣﺔ ﺳﻄﻴﻒ ﲢﻮﻱ 14ﺷﺨﺼﺎ ﻭ 7ﺣﻴﻮﺍﻧﺎﺕ( ﻭ ﺗﻨﻔﺮﺩ ﻓﺴﻴﺴﺎﺀ ﻭﻫﺮﺍﻥ ﺑﻜﻮﻬﻧﺎ ﺍﻟﻮﺣﻴﺪﺓ
ﺍﻟﱵ ﻧﺘﻌﺮّﻑ ﻓﻴﻬﻞ ﻋﻠﻰ ﻧﻮﻋﻴﺔ ﺍﻧﺘﺼﺎﺭ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﺒﻼﺩ ﺍﳍﻨﺪ.
18
K.M.Dunbabin, The mosaic of roman north Africa. Oxford. 1978. p 110.
19
idem, p 158.
376
ﺃﻣﺎﻡ ﻫﺬﻩ ﺍﳌﻜﺎﻧﺔ ﺍﳌﻌﺘﱪﺓ ﺍﻟﱵ ﺗﺘﻤﺘّﻊ ﻬﺑﺎ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﴰﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ ﻻﺑّﺪ ﻭ ﺃﻥ ﻧﺘﺴﺄﻝ ﻋﻦ ﺍﻟﺴﺒﺐ
ﰲ ﻫﺬﻩ ﺍﻟﻈﺎﻫﺮﺓ؟
ﻟ ﺟﺎﺑﺔ ﻋﻠﻰ ﻫﺬﺍ ﺍﻟﺴﺆﺍﻝ ﻳﻨﺒﻐﻲ ﺃﻥ ﻧﻀﻊ ﻣﺎ ﺑﲔ ﺃﻋﻴﻨﻨﺎ ﺗﻮﺳّﻊ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﰲ ﴰﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ ﻭ ﳒﺎﺣﻬﺎ
ﺑﻔﻀﻞ ﺗﺸﺎﺑﻪ ﺍ ﻷﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ-ﺑﺎﺧﻮﺱ ﺍﻹﻏﺮﻳﻘﻲ-ﺍﻟﺮﻭﻣﺎﱐ ﺑﺎﻹﻟﻪ ﺍﶈﻠﹼﻲ "ﺷﺪﺭﻓﺔ" ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﺇﻟﻴﻪ ﰲ ﻓﺴﻴﻔﺴﺎﺀ
ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﳋﺎﻣﺲ ﻣﻴﻼﺩﻱ )ﻟﻮﺣﺔ ﺃﺯﻳﻨﻮﺱ ﻧﻴﻜﺎ ﲜﻤﻴﻠﺔ( ﻋﱪ ﺻﻮﺭﺓ ﺍﳉﻨّﻲ ﺩﻭ ﺍﻟﻌﻈﺎﻳﺔ ،ﺿﻒ ﺇﱃ ﻫﺬﺍ ﺃﻥ ﺍﳌﻮﺍﺿﻴﻊ
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺍﻟﺸﺎﺋﻌﺔ ﺑﺸﻤﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ ﺧﻼﻝ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﻋﺮﻓﺖ ﺭﻭﺍﺟﻬﺎ ﻣﻊ ﺑﺪﺍﻳﺔ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻣﻊ ﺍﻟﻌﺎﺋﻠﺔ ﺍﻟﺴﻔﲑﻳﺔ
ﺍﻟﱵ ﺭﲰّﺖ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﰲ ﺍﺠﻤﻟﻤّﻊ ﺍﻹﳍﻲ ﺑﺮﻭﻣﺎ ﻭ ﺑﺸﻤﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ.
ﻓﻜﺎﻥ ﻣﻦ ﺍﻟﻄﺒﻴﻌﻲ ﺃﻥ ﻳﺘﺒّﻊ ﺳﻜﺎﻥ ﺍﳌﺪﻥ ﺍﻷﻓﺮﻳﻘﻴﺔ ﻋﺒﺎﺩﺓ ﺣﻜﺎﹼﻣﻬﻢ ﻭ ﺃﻥ ﻳﻌﱪﻭﺍ ﻋﻦ ﻭﻓﺎﺋﻬﻢ ﻟ ﻣﱪﺍﻃﻮﺭ ﻭ ﻟﻠﻄﺒﻘﺔ
20
ﺍﳊﺎﻛﻤﺔ ﻋﱪ ﺯﺧﺮﻓﺔ ﺑﻴﻮﻬﺗﻢ ﲟﺸﺎﻫﺪ ﻣﻘﺘﺒﺴﺔ ﻣﻦ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ.
ﺭﻏﻢ ﻫﺪﺍ ﻳﺸّﻚ ﺑﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﰲ ﺃﻥ ﺗﻜﻮﻥ ﺍﻟﻠﻮﺣﺎﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺫﺍﺕ ﻣﺪﻟﻮﻝ ﺩﻳﲏ ﻭ ﻳﺪﻋﻤّﻮﻥ
ﻓﻜﺮﻬﺗﻢ ﻫﺪﻩ ﺑﻌﺪﻡ ﺗﻄﺎﺑﻖ ﺍﳌﻮﺍﻗﻊ ﺍﻟﱵ ﻭﺟﺪﺕ ﻬﺑﺎ ﻧﺎﻗﺸﺎﺕ ﺗﺬﻛﺮ ﻣﻌﺎﺑﺪ ﻭ ﻛﻬﻨﺔ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻊ ﺍﳌﻮﺍﻗﻊ ﺍﻟﱵ ﻭﺟﺪﺕ
ﻬﺑﺎ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ...
ﻭﺑﺎﻟﻔﻌﻞ ﺍﺫﺍ ﻗﺎﺭﻧﻨﺎ ﺍﳉﺪﻭﻝ 7ﻣﻊ ﺟﺪﻭﻝ ﺗﻮﺯّﻉ ﺍﻟﻨﺎﻗﺸﺎﺕ ﻧﻼﺣﻆ ﺃﻥ ﻣﻦ ﺑﲔ ﺍﳋﻤﺴﺔ ﻋﺸﺮﺓ ﻣﺪﻳﻨﺔ ﺍﻟﱵ ﺍﻛﺘﺸﻔﺖ
ﻬﺑﺎ ﻟﻮﺣﺎﺕ ﻓﺴﻴﺴﺎﺋﻴﺔ ﺃﺣﺼﻴﻨﺎ ﺳﺒﻌﺔ ﻣﻨﻬﺎ ﻗﺪّﻣﺖ ﺃﻳﻀﺎ ﻛﺘﺎﺑﺎﺕ ﺃﺛﺮﻳﺔ ﺩﻳﻮﻧﻴﺰﻳﺔ.
ﻭ ﻟﻜﻦ ﻫﻞ ﻳﻜﻔﻲ ﻫﺬﺍ ﻟﻠﻨﻈﺮ ﺇﱃ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻛﻤﺠﺮّﺩ ﺯﺧﺮﻓﺔ ﻓﻨﻴﺔ ﻭ ﻟﻮ ﻛﺎﻥ ﺍﻷﻣﺮ ﻫﻜﺬﺍ ﲟﺎﺫﺍ ﻧﻔﺴّﺮ
ﺍﺩﻥ ﺗﺸﺪّﺩ ﺍﻟﺪﻳﺎﻧﺔ ﺍﳌﺴﻴﺤﻴﺔ ﻋﻨﺪ ﻬﻮﺭﻫﺎ ﰲ ﴰﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ ﺍﲡﺎﻩ ﺍﳌﺸﺎﻫﺪ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺔ ﻟﻮﻻ ﻳﻌﻴّﺮ ﺩﻟﻚ ﻋﻦ ﲣﻮﻓﹼﻬﺎ
21
ﻣﻦ ﺍﻹﺣﺴﺎﺱ ﺍﻟﺪﻳﲏ ﺍﻟﻮﺛﲏ ﺍﻟﱵ ﺗﻮ ﹼﻔﻪ؟...
ﻭ ﺃﺧﲑﺍ ﳓﻦ ﻧﺆﻣﻦ ﲟﻘﻮﻟﺔ ﺍﻟﺒﺎﺣﺚ ﺑﻴﻜﺎﺭ ﰲ ﺍﳌﺴﺄﻟﺔ "ﻋﻨﺪ ﺍﻟﺮﻭﻣﺎﻥ ﻭﺍﻹﻏﺮﻳﻖ ﻻ ﻭﺟﻮﺩ ﳌﺒﺪﺃ ﺍﻟﻔﻦ ﺍﺠﻤﻟﹼﺮﺩ ﺃﻱ
22
ﻟﺰﺧﺮﻓﺔ ﻭ ﻴﻔﺘﻬﺎ ﺍﻟﻮﺣﻴﺪﺓ ﻫﻲ ﺍﻟﺘﻤّﺘﻊ ﻬﺑﺎ" ،ﻓﻤﻦ ﺍﻟﺼﻌﺐ ﺍﺩﻥ ،ﲡﺮﻳﺪ ﻛﻞ ﺍﳌﺸﺎﻫﺪ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻦ ﺍﻟﻄﺎﺑﻊ ﺍﻟﺪﻳﲏ..
20
M.Yacoub, Splendeurs des mosaiques de Tunisie. Agence nationale du patrimoine. Juillet 1995. pp66-27.
21
idem, p 29.
22
Ch.Picard , Religions de l’Afrique antique. Paris 1954. p 202
377
-1.4ﺍﺳﺘﻨﺘﺎ ﺣﻮﻝ ﺍﳌﺴﻜﻮﻛﺎﺕ:
ﺗﺸﻬﺪ ﺍﳌﺴﻜﻮﻛﺎﺕ ﺑﺪﻭﺭﻫﺎ ﻋﻠﻰ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ -ﺷﺪﺭﻓﺔ ﰲ ﺍﳌﻤﺎﻟﻚ ﺍﻟﻨﻮﻣﻴﺪﻳﺔ ﻭ ﺍﳌﻮﺭﻳﺔ ﻣﻨﺪ
ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ )ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﻟﺚ ﻕ.ﻡ( ﻭ ﺗﻮﺍﺻﻠﻬﺎ ﻣﻊ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ )ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻣﻴﻼﺩﻱ(.
ﻣﻦ ﺧﻼﻝ ﺍﺠﻤﻟﻤﻮﻋﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﱵ ﺗﻌﺮّﺿﻨﺎ ﺇﻟﻴﻬﺎ ﻧﻼﺣﻆ ﺛﻼﺛﺔ ﻋﻨﺎﺻﺮ ﺗﺪّﻝ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻬﺑﺪﻩ
ﺍﳌﻨﺎﻃﻖ ﻣﻦ ﺟﻬﺔ ،ﻭﻋﻠﻰ ﺇﻣﻜﺎﻧﻴﺔ ﳑﺎﺭﺳﺔ ﺯﺭﺍﻋﺔ ﺍﻟﻜﺮﻭﻡ ﻬﺑﺎ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ.
ﺍﻟﺬﻱ ﻳﻈﻬﺮ ﰲ ﳑﻠﻜﺔ ﺍﳌﺎﺳﻴﻞ ﺍﻟﻐﺮﺑﻴﺔ ﻭ ﰲ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﺸﺮﻗﻴﺔ ﻣﻨﺪ ﺍﻟﻘﺮﻥ -ﺍﻟﻌﻨﺼﺮ ﺍﻷﻭﻝ ﻫﻮ ﻋﻨﻘﻮ ﺍﻟﻌﻨ
ﺍﻷﻭﻝ ﻕ.ﻡ ﺇﱃ ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻣﻴﻼﺩﻱ .ﻭ ﻋﺎﺩﺓ ﻣﺎ ﻳﺮﺍﻓﻖ ﺳﻨﺒﻞ ﺍﻟﻘﻤﺢ ﻋﻠﻰ ﻬﺮ ﺍﻟﺴﻜﹼﺔ.
ﺃﻻ ﻳﻌﲏ ﻫﺪﺍ ﺗﻌﺒﲑﺍ ﻋﻦ ﻋﻴﻨﺘّﺎﻥ ﺃﺳﺎﺳﻴﺘﺎﻥ ﻣﻦ ﺍﳌﻨﺘﻮﺟﺎﺕ ﺍﻟﺰﺭﺍﻋﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ ﺃﻧﺪﺍﻙ؟ ﻭ ﰲ ﻧﻔﺲ ﺍﻵﻭﻧﺔ ﻳﻌﺮﻑ ﻋﻨﻘﻮﺩ
ﺍﻟﻌﻨﺐ ﻛﺎﻟﺮﻣﺰ ﺍﻷﺳﺎﺳﻲ ﻟ ﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ – ﺑﺎﺧﻮﺱ ﻭ ﺷﺪﺭﻓﺔ ﺍﻟﺒﻮﱐ .ﻭ ﻗﺪ ﻭﺟﺪﺕ ﺗﻌﻮﻳﺬﺍﺕ ﻋﻠﻰ ﺷﻜﻞ ﻋﻨﺎﻗﻴﺪ
23
ﻋﻨﺐ ﲟﺪﺍﻓﻦ ﺗﻌﻮﺩ ﺇﱃ ﻓﺘﺮﺍﺕ ﻗﺒﻞ ﺍﳌﻴﻼﺩ ﰲ ﴰﺎﻝ ﺃﻓﺮﻳﻘﻴﺎ ﻭﻫﻲ ﺭﻣﻮﺯ ﺃﺗﺒﺎﻉ ﺩﻳﺎﻧﺔ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ.
-ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ ﻭ ﺍﳌﺰﺭﺍ :ﻫﺬﺍﻥ ﺍﻟﻌﻨﺼﺮﺍﻥ ﳘﺎ ﺭﻣﺰﺍﻥ ﻣﺄﻟﻮﻓﺎﻥ ﻟ ﻟﻪ ﺑﺎﺧﻮﺱ ﻳﻈﻬﺮﺍﻥ ﻣﻌﻪ ﺃﻭ ﻳﺮﻣﺰﺍﻥ ﻟﻮﺟﻮﺩﻩ
ﺳﻮﺍﺀ ﻛﺎﻥ ﺩﻟﻚ ﰲ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺃﻡ ﰲ ﻓﻦ ﺍﻟﻨﺤﺖ ﻭ ﳒﺪﳘﺎ ﺃﻳﻀﺎ ﻋﻠﻰ ﻣﺴﻜﻮﻛﺎﺕ ﺿﺮﺑﺖ ﲟﻮﺭﻳﻄﺎﻧﻴﺎ ﻣﻦ ﻃﺮﻑ
ﺍﳌﻠﻚ ﺑﻄﻠﻴﻤﻮﺱ )ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ ﻡ( ﻭ ﻷﻭﻝ ﻣﺮﺓ ﺗﻈﻬﺮ ﻓﻴﻬﺎ ﺍﻟﻨﻤﺮﺓ ،ﻭ ﻟﻴﺲ ﻫﺪﺍ ﺑﺼﺪﻓﺔ ﺍﺩﺍ ﺃﺧﺪﻧﺎ ﺑﻌﲔ ﺍﻻﻋﺘﺒﺎﺭ ﺃﻥ
ﺍﳌﻠﻚ ﺑﻄﻠﻴﻤﻮﺱ ﺍﺑﻦ ﻛﻠﻴﻮﺑﺎﺗﺮﺍ ﺑﻨﺖ ﺍﳌﻠﻜﺔ ﺍﳌﺼﺮﻳﺔ ﻛﻠﻴﻮﺑﺎﺗﺮﺍ ﺳﻠﻴﲏ ﻓﻠﻴﺲ ﻣﻦ ﺍﻟﻐﺮﻳﺐ ﺃﻥ ﳝﺠّﺪ ﺍﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ
24
ﺍﳋﻤﺮ ﻣﺜﻠﻤﺎ ﻓﻌﻞ ﻣﻦ ﻗﺒﻠﻪ ﺍﻟﺒﻄﺎﳌﺔ ﺍﻋﺘﻘﺎﺩﺍ ﺑﺄﻬﻧﻢ ﻳﻨﺤﺪﺭﻭﻥ ﻣﻨﻪ...
-1ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﰲ ﻫﻴﺌﺔ ﺷﺎﺏ ﻭﺍﻗﻒ ﻋﺎﺭﻱ ﲟﺰﺭﺍﻗﻪ ﻭ ﺛﻮﺭﻩ ﲟﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﺸﺮﻗﻴﺔ )ﻭﺭﺷﺔ ﺳﻴﻘﺎ( ﺧﻼﻝ ﺍﻟﻘﺮﻥ ﺍﻷﻭﻝ
ﻣﻴﻼﺩﻱ ﻣﻊ ﺻﻮﺭﺓ ﺍﳌﻠﻚ ﺑﻮﺧﻮﺱ ﻭ ﻳﺮﻣﺰ ﺍﻟﺜﻮﺭ ﺍﻟﺒﺎﺧﻲ ﺇﱃ ﺍﻟﻘﻮّﺓ ﻭ ﺇﱃ ﺍﳊﻴﻮﺍﻥ ﺍﻟﻨﺎﺳﻞ ﻭﺍ ﺍﻟﺮﻃﻮﺑﺔ ﺃﻭ ﺇﱃ ﻣﺒﺪﺃ
ﺍﻟﺮﻃﻮﺑﺔ ﻭ ﻫﻮ ﻋﺎﺩﺓ ﻣﺎ ﻳﻈﻬﺮ ﻣﻊ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻋﻠﻰ ﺍﳌﺴﻜﻮﻛﺎﺕ ﺍﻻﻳﻄﺎﻟﻴﺔ ﺍﳉﻨﻮﺑﻴﺔ ﻭ ﺍﻟﺼﻘﻠﻴﺔ.
23
Picard, op cit. p 94.
24
Picard, op cit. p 201.
378
ﻭ ﰲ ﻫﺎﺗﻪ ﺍﳌﺴﻜﻮﻛﺎﺕ ﺍﻟﱵ ﺗﻨﺎﻭﻟﻨﺎﻫﺎ ﻳﻈﻬﺮ ﺍﻟﺜﻮﺭ ﰲ ﺻﻮﺭﺓ ﺣﻴﻮﺍﻥ ﺍﻟﺘﻀﺤﻴﺔ ﳝﺴﻚ ﺑﻪ ﺍﻹﻟﻪ ﻓﻌﺎﺩﺓ ﻣﺎ ﻳﺴﺘﻌﻤﻞ
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ﺍﳊﻴﻮﺍﻥ ﺍﻟﺬﻱ ﻳﺮﻣﺰ ﺍﱃ ﺍﻹﻟﻪ ﻧﻔﺴﻪ ﻛﻘﺮﺑﺎﻥ ﻟﻪ.
-2ﻳﻈﻬﺮ ﺍﻹﻟﻪ ﺷﺪﺭﻓﺔ ﻣﻊ ﺍﻟﻨﻤﺮﺓ ﺍﻟﺒﺎﺧﻴﺔ ﰲ ﺳﻜﹼﺎﺕ ﺍﻳﻜﻮﺯﻳﻮﻡ ﺣﻴﺚ ﻧﻼﺣﻆ ﻋﻠﻰ ﻭﺟﻪ ﺍﻟﻌﻤﻠﺔ ﺻﻮﺭﺓ ﻧﺼﻔﻴﺔ
-3ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﻣﻊ ﺍﻟﻌﻨﻘﻮﺩ :ﺗﻈﻬﺮ ﻋﻠﻰ ﻋﻤﻼﺕ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺍﻟﺸﺮﻗﻴﺔ ﺍﻟﱵ ﺿﺮﺑﺖ ﰲ ﻭﺭﺷﺎﺕ ﻗﻮﺭﺍﻳﺔ ﻭ ﺷﺮﺷﺎﻝ،
ﻳﺒﺪﻭ ﺍﻹﻟﻪ ﻓﻴﻬﺎ ﻣﻠﺘﺤﻴﺎ ﻭ ﻣﺘﻮّﺟﺎ ﺳﻮﺍﺀ ﺑﺘﺎﺝ ﻣﺸﻌّﻊ )ﻗﻮﺭﺍﻳﺔ( ﺃﻡ ﻣﻜﻠﻞ ﺑﺎﻟﻠﺒﻼﺏ ﻭ ﺃﻣﺎﻣﻪ ﺍﻟﻌﻨﻘﻮﺩ )ﺷﺮﺷﺎﻝ(.
ﻋﺎﺩﺓ ﻣﺎ ﻳﻈﻬﺮ ﺍﻷﻟﻪ ﺑﺎﺧﻮﺱ ﻣﻠﺘﺤﻲ ﰲ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ ﺍﳍﻨﺪﻱ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﻧﺘﺼﺎﺭﺍﺗﻪ ﰲ ﺑﻼﺩ ﺍﳍﻨﺪ ﻋﻠﻰ ﻏﺮﺍﺭ
26
ﻻﺳﻜﻨﺪﺭ ﺍﳌﻘﺪﻭﱐ .ﻭ ﺇﺿﺎﻓﺔ ﺇﱃ ﺍﻟﻌﻨﺐ ﻳﺄﰐ ﺍﻟﻠﺒﻼﺏ ﰲ ﺍﻟﺪﺭﺟﺔ ﺍﻟﺜﺎﻧﻴﺔ ﺑﲔ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺒﺎﺧﻴﺔ .ﻳﺬﻛﺮﻧﺎ ﺍﻟﻠﺒﻼﺏ
ﺑﺎﻟﺪﺍﻟﻴﺔ ﻓﻬﻮ ﻧﺒﺘﺔ ﻫﺎﺭﺷﺔ ﻣﺜﻠﻬﺎ ﻭ ﻳﻌّﺪ ﻣﻦ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺒﺪﺍﺋﻴﺔ ﻟ ﻟﻪ ﳍﺬﺍ ﺃﺳﺘﻌﻤﻞ ﻛﺘﺎﺝ ﻟﻪ .ﻧﺴﺘﻨﺘﺞ ﺍﺫﻥ ﺃﻥ ﻋﻤﻠﺔ
ﺷﺮﺷﺎﻝ ﺗﻈﻬﺮ ﻟﻨﺎ ﺑﺎﺧﻮﺱ ﰲ ﻣﻈﻬﺮ ﺑﺪﺍﺋﻲ ﺑﻴﻨﻤﺎ ﻳﻈﻬﺮ ﻋﻠﻰ ﻋﻤﻠﺔ ﻗﻮﺭﺍﻳﺔ ﺑﺼﻮﺭﺓ ﺍﻷﻟﻪ ﺍﻟﺒﻮﱐ "ﺑﻌﻞ ﴰﺎﻥ" ﻭ ﰲ
ﺍﳋﻠﻒ ﰲ ﺻﻮﺭﺓ ﺍﻹﻟﻪ "ﺷﺪﺭﻓﺔ" .ﻧﻔﺴّﺮ ﺍﻗﺘﺮﺍﻥ ﻫﺬﺍﻥ ﺍﻹﳍﺎﻥ ﺑﺘﺸﺎﻬﺑﻬﻢ ﺇﱃ ﺩﺭﺟﺔ ﺃﻥ ﺃﺻﺒﺢ ﺍﻹﻟﻪ ﺑﻌﻞ ﲪﻮﻥ ﺍﻟﻜﺒﲑ
27
ﻳﻨﻮﺏ ﺃﺣﻴﺎﻧﺎ ﻋﻦ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ...
ﺗﻌﺒّﺮ ﻫﺎﺗﻪ ﺍﺠﻤﻟﻤﻮﻋﺔ ﺍﻟﻨﻘﺪﻳﺔ ﺍﻟﺜﺎﻟﺜﺔ ﺍﻟﱵ ﺗﻈﻬﺮ ﺑﺎﺧﻮﺱ – ﺷﺪﺭﻓﺔ ﻋﻦ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﻫﺪﺍ ﺍﻷﻟﻪ ﺑﺎﻟﻘﺴﻢ ﺍﻟﺸﺮﻗﻲ ﻣﻦ
ﺑﻼﺩﻧﺎ ﺃﻧﺬﺍﻙ ﻭ ﻟﻴﺲ ﻫﺬﺍ ﺑﺼﺪﻓﺔ .ﻓﺄﻭﻝ ﻣﺎ ﺗﻮﻏﻠﹼﺖ ﻋﺒﺎﺩﺓ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻛﺎﻥ ﺫﻟﻚ ﰲ ﻣﺪﻳﻨﺔ ﻗﺮﻃﺎﺟﺔ ﻣﻨﺪ ﺍﻟﻘﺮﻥ
ﺍﻟﺮﺍﺑﻊ ﻕ.ﻡ ﺣﱴ ﺃﺻﺒﺢ ﻣﻦ ﺑﲔ ﺍﻵﳍﺔ ﺍﳊﺎﻛﻤﺔ ﻟﺒﻌﺾ ﺍﳌﺪﻥ ﻣﺜﻞ ﻣﺪﻳﻨﺔ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ ﺇﱃ ﺟﺎﻧﺐ ﺍﻹﻟﻪ ﻣﻠﻘﺎﺭﺕ .ﻭﻣﺎ
28
ﺳﺎﻋﺪ ﻫﺬﺍ ﻫﻮ ﺗﺸﺎﻬﺑﻪ ﰒ ﺍﻗﺘﺮﺍﻧﻪ ﺑﺎﻹﻟﻪ ﺷﺪﺭﻓﺔ ﺍﻟﺒﻮﱐ.
ﻋﻠﻰ ﻫﺬﺍ ﺍﻷﺳﺎﺱ ﳝﻜﻦ ﺍﻋﺘﺒﺎﺭ ﻫﺎﺗﻪ ﺍﳌﺴﻜﻮﻛﺎﺕ ﻛﺪﻟﻴﻞ ﺇﺿﺎﰲ ﻋﻠﻰ ﺗﻮﻏﹼﻞ ﻋﺒﺎﺩﺓ ﺷﺪﺭﻓﺔ – ﺩﻳﻮﻧﻴﺰﻭﺱ ﰲ
ﺇﻗﻠﻴﻢ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﺑﺼﻮﺭﺓ ﻭﺍﺿﺤﺔ ﺣﺘّﻰ ﺃﻥ ﻣﻠﻮﻛﻬﺎ ﻌﻮﺍ ﺑﲔ ﺻﻮﺭﻬﺗﻢ ﺍﻟﺸﺨﺼﻴﺔ ﻭ ﺻﻮﺭﺓ ﺍﻷﻟﻪ ﻛﻤﺎ ﻓﻌﻞ ﺍﳌﻠﻚ
ﺑﻮﺧﻮﺱ...
25
Daremberg et Saglio, op cit. p 620.
26
Picard, op cit p 115.
27
Bruhl.A, Liber Pater. 1953. p 231.
28
Picard, op cit. p 11
379
-1.5ﺍﺳﺘﻨﺘﺎ ﺣﻮﻝ ﺍﳌﺼﺎﺑﻴ ﺍﻟﺰﻳﺘﻴﺔ:
ﻣﻦ ﺧﻼﻝ ﺍﳌﺼﺎﺑﻴﺢ ﺍﻟﱵ ﺍﺳﺘﻄﻌﻨﺎ ﻓﺤﺼﻬﺎ ﻋﱪ ﻣﺘﺎﺣﻔﻨﺎ ﻭ ﺍﳌﻜﺘﺸﻔﺔ ﲟﻮﺍﻗﻊ ﻧﻮﻣﻴﺪﻳﺎ ﻭ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻭ
ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ﻧﻼﺣﻆ ﺃﻥ ﻣﻌﻈﻢ ﺍﳌﻮﺍﺿﻴﻊ ﺍﳌﺘﻨﺎﻭﻟﺔ ﰲ ﺯﺧﺮﻓﺘﻬﺎ ﻣﺴﺘﻨﺒﻄﺔ ﻣﻦ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺎ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻓﻬﻲ ﺗﻮﺿّﻒ
ﺷﺨﺼﻴﺎﺕ ﻣﻦ ﺍﳌﻮﻛﺐ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺃﻥ ﱂ ﻳﻜﻦ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ/ﺩﻳﻮﻧﻴﺰﻭﺱ ﺑﻨﻔﺴﻪ )ﺳﲑﺗﺎ ﻭ ﺑﺌﺮ ﺃﻡ ﻋﻠﻲ( ،ﻓﻨﺠﺪ ﺍﺩﻥ
ﺳﻜﲑﺍﺕ ﺑﺎﺧﻮﺱ ﻭ ﺭﻓﻘﺎﺋﻪ ﺳﻴﻼﻥ ،ﺳﺎﺗﲑ ،ﺍﻟﻪ ﺍﻷﺭﻳﺎﻑ ﻓﻮﻧﻮﺱ ﻭ ﺍﻹﻟﻪ ﺑﺎﻥ...
ﻛﻤﺎ ﳒﺪ ﻣﻨﺎ ﺮ ﻗﻄﻒ ﺍﻟﻌﻨﺐ ﺣﺘّﻰ ﻭ ﺇﻥ ﱂ ﺗﻜﻦ ﻭﺍﻗﻌﻴﺔ ﺍﺩ ﺗﻮ ﹼﻒ ﺩﺍﺋﻤﺎ ﺷﺨﺼﻴﺎﺕ ﻣﻴﺘﻮﻟﻮﺟﻴﺔ )ﺍﻟﻌﻤّﻮﺭﻳﲔ
ﺑﺴﲑﺗﺎ(.
ﺃﻣﺎ ﺍﻟﺰﺧﺮﻓﺔ ﺍﻟﺘﺠﺮﻳﺪﻳﺔ ﺍﳌﺘﻌﻠﹼﻘﺔ ﲟﻮﺿﻮﻉ ﺩﺭﺍﺳﺘﻨﺎ ﻓﺘﻈﻬﺮ ﺟﻠﹼﻴﺎ ﻣﻦ ﺧﻼﻝ ﺯﺧﺮﻓﺔ ﺍﳌﺼﺎﺑﻴﺢ ﺫﺍﺕ ﺍﻟﺪﻳﻜﻮﺭ
ﺍﳌﻴﺘﻮﻟﻮﺟﻲ ﺍﻟﻮﺛﲏ ﺍﳌﻌﺘﻤﺪ ﻋﻠﻰ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ )ﻣﺼﺎﺑﻴﺢ ﺇﻳﺰﻳﺲ ﻭ ﺳﲑﺍﺑﻴﺲ ﺑﻌﻨﺎﺑﺔ( ،ﺃﻭ ﺫﺍﺕ
ﺍﻟﺪﻳﻜﻮﺭ ﺍﻟﻨﺒﺎﰐ )ﻣﺼﺎﺑﻴﺢ ﺍﳌﺘﺤﻒ ﺍﻟﻮﻃﲏ ﻟ ﺛﺎﺭ ﺍﻟﻘﺪﳝﺔ( ،ﺃﻭ ﺣﱴ ﻣﺼﺎﺑﻴﺢ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ )ﻋﲔ ﲤﻮﺷﻨﺖ(.
ﻭ ﻟﻘﺪ ﺭﺃﻳﻨﺎ ﰲ ﺍﻷﻗﺴﺎﻡ ﺍﻟﺴﺎﺑﻘﺔ ﺍﳌﻌ ﺍﻟﺮﻣﺰﻱ ﺍﻟﺬﻱ ﺗﺘﻤﺘّﻊ ﺑﻪ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺳﻮﺍﺀ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
)ﺩﻡ ﺍﻹﻟﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ ﻭ ﺭﻣﺰﻩ ﺍﻟﺮﺋﻴﺴﻲ( ﺃﻡ ﰲ ﺍﻟﺪﻳﺎﻧﺔ ﺍﳌﺴﻴﺤﻴﺔ ﺍﻟﱵ ﺍﺳﺘﻤﺮّﺕ ﰲ ﺍﺳﺘﻌﻤﺎﻝ ﺍﻟﻌﻨﺎﺻﺮ ﺍﻟﺰﺧﺮﻓﻴﺔ
29
ﺍﻟﺒﺎﺧﻴﺔ ﰲ ﺍﻟﻔﻦ ﺍﳌﺴﻴﺤﻲ ﻭ ﺑﺼﻔﺔ ﺧﺎﺻﺔ ﰲ ﺩﻳﻜﻮﺭ ﺍﳌﺼﺎﺑﻴﺢ ﺍﻟﺰﻳﺘﻴﺔ.
ﻭ ﺍﳌﻮﺿﻮﻉ ﺍﳌﺄﻟﻮﻑ ﺃﻳﻀﺎ ﻫﻮ ﰲ ﺍﳌﺼﺎﺑﻴﺢ ﺍﻟﺰﻳﺘﻴﺔ ﺫﺍﺕ ﺍﻟﻔﺘﺮﺓ ﺍﳌﺴﻴﺤﻴﺔ ﻭ ﺍﳌﺴﺘﻨﺒﻂ ﻣﻦ ﺍﻷﻳﻜﻨﻮﻏﺮﺍﻓﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
31 30
ﺍﻟﱵ ﺗﻨﺒﻊ ﻣﻨﻬﺎ ﺣﺒﻼﺕ ﻭ ﻋﻨﺎﻗﻴﺪ ﺍﻟﻌﻨﺐ ﺍﻟﱵ ﺗﻨﻘﺮﻫﺎ ﺍﻟﻌﺼﺎﻓﲑ )ﻋﻨﺎﺑﺔ، ﻫﻮ ﺍﻟﺒﺎﻃﻴﺔ ﺍﳌﻘﺪّﺳﺔ ﺃﻭ ﺇﺑﺮﻳﻖ ﺍﳌﺰﺝ
ﺗﺒﺴﺔ ،ﺗﻴﻤﻘﺎﺩ( .ﻭ ﻣﺜﻠﻤﺎ ﺭﺃﻳﻨﺎ ﺩﻟﻚ ﰲ ﻓﻦ ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﻳﻌﺘﱪ ﻋﻨﺼﺮ ﺍﻟﺒﺎﻃﻴﺔ ﺟ ّﺪ ﻣﻬّﻢ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭ
ﺍﳌﺴﻴﺤﻴﺔ ﻣﻌﺎ ﻹﺛﺒﺎﺗﻪ ﺭﻣﺰ ﺍﳋﻠﻮﺩ ﺍﻷﺑﺪﻱ ﺍﻟﺴﻌﻴﺪ ﻭ ﺍﳉﻨّﺔ ﺣﻴﺚ ﲡﺪ ﺍﻷﺭﻭﺍﺡ) ﺃﻱ ﺍﻟﻌﺼﺎﻓﲑ( ﺳﻌﺎﺩﻬﺗﺎ.
29
L.LESCHI , La vigne et le vin dans l’Afrique ancienne. Etudesd’épigraphie, d’archéologie et d’histoire Africaine. Paris
1957. p 84.
30
CANTHARE
31
CRATERE
380
ﺗﻌﺘﱪ ﺍﻟﺒﺎﻃﻴﺔ ﰲ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻦ ﺟﻬﺔ ﺃﺧﺮﻯ ﺭﻣﺰ ﺍﻟﻘﻮّﺓ ﺍﻟﺴﺤﺮﻳﺔ ﻟ ﻟﻪ ﺍﻟﺬﻱ ﻤﻠﻪ ﺑﺪﻻ ﻣﻦ ﺍﻟﺴﻼﺡ ﰲ
ﺍﳌﻌﺎﺭﻙ ﻭ ﰲ ﻣﺸﺎﻫﺪ ﺍﻟﻨﺼﺮ ،ﻭ ﺍﻟﻔﻨﺎﻥ ﺍﳌﺴﻴﺤﻲ ﻳﺮﻯ ﻓﻴﻬﺎ ﺭﻣﺰ ﺍﳉﻨّﺔ ﻭ ﺍﻟﻌﺼﺎﻓﲑ ﺃﺭﻭﺍﺡ ﺍﳌﺘﻌﺒّﺪﻳﻦ ﺍﻟﱵ ﺗﻨﻘﺮ ﻣﻦ
32
ﺑﺎﻃﻴﺔ ﺍﳋﻠﻮﺩ.
ﻧﺴﺘﺨﻠﺺ ﻣﻦ ﻛﻞ ﻫﺪﻩ ﺍﻷﻣﺜﻠﺔ ﺍﻟﱵ ﻟﻴﺴﺖ ﺳﻮﻯ ﻋﻴﻨّﺔ ﺑﺴﻴﻄﺔ ﻣﻦ ﺍﻟﻌﺪﺩ ﺍﳍﺎﺋﻞ ﻟﻠﻤﺼﺎﺑﻴﺢ ﺍﻟﺰﻳﺘﻴﺔ ﺫﺍﺕ
ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﲟﻘﺎﻃﻌﺎﺕ ﺍﳉﺰﺍﺋﺮ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻭ ﺍﻟﱵ ﱂ ﻧﺴﺘﻄﻊ ﺍﻟﺘﻄﻠﹼﻊ ﻋﻠﻴﻬﺎ ﻛﻠﻬﺎ ﻣﺴﺎﳘﺔ ﻓﻦ ﺍﻟﻔﺨﺎﺭ ﻋﱪ
ﺍﳌﺼﺎﺑﻴﺢ ﰲ ﺍﻟﺘﻌﺒﲑ ﻋﻦ ﺍﻟﺘﻤﺴّﻚ ﺑﺎﻟﻌﻘﺎﺋﺪ ﺍﻟﺒﺎﺧﻴﺔ ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻟﻮﺛﻨﻴﺔ ﰒ ﺍﺳﺘﻤﺮﺍﺭﻫﺎ ﺣﱴ ﻣﻊ ﻬﻮﺭ
32
Picard, Les religions de l’Afrique antique. p 205.
381
-2ﻠﻴﻞ ﻭ ﻣﻘﺎﺭﻧﺔ ﺍﳌﻌﻄﻴﺎﺕ ﺍﻷ ﺮﻳﺔ:
-2.1ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻷ ﺮﻳﺔ:
ﺗﺸﻬﺪ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﻟﻼﺗﻴﻨﻴﺔ ﻋﻠﻰ ﳑﺎﺭﺳﺔ ﻋﺒﺎﺩﺓ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺼﻔﺔ ﻣﻠﺤﻮ ﺔ ﺑﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ ﺍﻟﱵ ﻋﺮﻓﺖ
33
ﺍﻧﺘﺸﺎﺭ ﻫﺪﻩ ﺍﻟﻌﺒﺎﺩﺓ ﺃﻛﺜﺮ ﻣﻦ ﺍﳌﻘﺎﻃﻌﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﺍﻷﺧﺮﻯ.
ﻣﻦ ﺧﻼﻝ 47ﻧﺎﻗﺸﺔ ﺗﻨﺎﻭﻟﻨﺎﻫﺎ ﰲ ﺩﺭﺍﺳﺘﻨﺎ ﻫﺪﻩ ﻻﺣﻈﻨﺎ ﺗﻮﺯّﻉ ﺷﻮﺍﻫﺪ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻋﱪ ﺴﺔ ﻋﺸﺮ ﻣﻮﻗﻊ ﰲ
ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ) ﻣﺜﻞ ﻴﺴﺔ ﻭ ﻣﺪﺍﻭﺭﺵ( ﺗﻠﻴﻬﺎ ﻣﻘﺎﻃﻌﺔ ﻧﻮﻣﻴﺪﻳﺎ ) ﻴﻠﺔ ،ﺳﲑﺗﺎ ،ﺗﻴﻤﻘﺎﺩ ﻭ
34
ﻻﻣﺒﻴﺰ( ﻭ ﺃﺧﲑﺍ ﻣﻮﺭﻳﻄﺎﻧﻴﺎ ) ﲜﺎﻳﺔ ،ﺳﻜﺴﻜﺪﺓ ،ﺷﺮﺷﺎﻝ.(...
ﻫﺪﺍ ﺍﻟﺘﻮﺯﻳﻊ ﺍﳉﻐﺮﺍﰲ ﻟﻴﺲ ﻧﺘﻴﺠﺔ ﺻﺪﻓﺔ ﺑﻞ ﻳﻌﻮﺩ ﺇﱃ ﺗﺸﺒّﻊ ﺍﳌﻨﺎﻃﻖ ﺍﻟﺸﺮﻗﻴﺔ ﻟﺸﻤﺎﻝ ﺇﻓﺮﻳﻘﻴﺎ )ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ،
ﺍﻟﻄﺮﺍﺑﻠﺴﻴﺔ ﻭ ﻧﻮﻣﻴﺪﻳﺎ( ﺑﻌﺒﺎﺩﺓ ﺍﻹﻟﻪ ﺍﶈﻠﹼﻲ" ﺷﺪﺭﻓﺔ" ﺧﻼﻝ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺒﻮﻧﻴﺔ )ﻳﻘﺎﺑﻠﻪ ﺩﻳﻮﻧﻴﺰﻭﺱ( ﻭ ﺩﻟﻚ ﻣﺎ ﺳﻬّﻞ
35
ﺗﻘﺒﻠﹼﻬﺎ ﻟﻌﺒﺎﺩﺓ ﺍﻹﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻊ ﺭﻭﻣﻨﺘﻬﺎ.
ﻭ ﻣﻌﻈﻢ ﻫﺎﺗﻪ ﺍﻟﻨﺎﻗﺸﺎﺕ ﺃﻭ ﺑﺎﻷﺣﺮﻯ ﺗﻠﻚ ﺍﳌﺆﺭّﺧﺔ ﻣﻨﻬﺎ ﺗﻌﻮﺩ ﺇﱃ ﺍﻟﻘﺮﱐ ﺍﻟﺜﺎﱐ ﻭ ﺍﻟﺜﺎﻟﺚ )ﻻﻣﺒﻴﺰ ،ﻴﻠﺔ ،ﺳﻄﻴﻒ،
ﻣﺪﺍﻭﺭﺵ( ﻭ ﻫﻲ ﻓﺘﺮﺓ ﺭﻭﺍﺝ ﺍﻟﺪﻳﺎﻧﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﻔﻀﻞ ﺍﻷﻧﻄﻮﻧﻴﲔ ﻭ ﺍﻟﺴﻔﺮﻳﲔ ﻭ ﻻ ﳒﻬﻞ ﺇﺳﻬﺎﻡ ﺍﻹﻣﱪﺍﻃﻮﺭ
ﺳﺒﺘﻴﻤﻮﺱ ﺳﻔﺮﻭﺱ ﰲ ﺗﺮﺳﻴﻢ ﻭ ﻧﺸﺮ ﻋﺒﺎﺩﺓ ﺍﻷﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﻣﻨﺪ ﻣﺴﻘﻂ ﺭﺃﺳﻪ ﻣﺪﻳﻨﺔ ﻟﺒﺘﻴﺲ ﻣﺎﻗﻨﺎ.
ﺗﻨﻘﺴﻢ ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍﳌﺘﻄﺮﻗﺔ ﺇﻟﻴﻬﺎ ﰲ ﺩﺭﺍﺳﺘﻨﺎ ﻫﺪﻩ ﺇﱃ ﻛﺘﺎﺑﺎﺕ ﺟﻨﺎﺋﺰﻳﺔ ﻭ ﺍﻫﺪﺍﺀﺍﺕ ﺩﻳﻨﻴﺔ:
-1ﺍﻟﻜﺘﺎﺑﺎﺕ ﺍ ﻨﺎﺋﺰﻳﺔ:
ﺃﺣﺼﻴﻨﺎ ﻣﻨﻬﺎ 13ﰲ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻭ ﻧﻮﻣﻴﺪﻳﺎ ﻣﻌﻈﻤﻬﺎ ﻭﺟﺪﻱ ﲟﺪﻳﻨﱵ ﻴﺴﺔ ﻭ ﻣﺪﺍﻭﺭﺵ ﻭ ﺗﺬﻛﺮ
36
ﻛﻠﹼﻬﺎ ﺃﲰﺎﺀ ﺭﺟﺎﻝ ﻭ ﻧﺴﺎﺀ ﺗﻘﻠﹼﺪﻭﺍ ﻭ ﺎﺋﻒ ﺩﻳﻨﻴﺔ ﺑﺎﳌﻌﺎﺑﺪ ﻭ ﺍﺠﻤﻟﻤّﻌﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ,ﻣﻦ ﺻﻨﻒ ﺍﻟﻜﻬﻨﻮﺕ ،ﻭ
33 A.Bruhl,
op cit. p 224.
34
أﻧﻈﺮ اﻟﻠﻮﺣﺔ رﻗﻢ...
35 A.JALLOUL
.Boussaada IN mefra. 1991. p 1050.
36
SACERDOCE
382
37
ﺭﺍﻋﻲ ﺍﻟﺜﻮﺭ ﺍﳌﻘﺪّﺱ ﰲ ﺍﳊﻔﻼﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺘﻴﻤﻘﺎﺩ ﻣﺜﻼ ﻛﻤﺎ ﲡﺪﺭ ﺍﻹﺷﺎﺭﺓ ﺇﱃ ﻭ ﻴﻔﺔ ﺃﺧﺮﻯ ﺑﺎﺠﻤﻟﻤﻊ
38
ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﻬﺮﺕ ﻷﻭﻝ ﻣﺮﺓ ﻋﻠﻰ ﺍﻟﻨﺎﻗﺸﺎﺕ ﺃﻻ ﻭﻫﻲ ﻭ ﻴﻔﺔ ﺣﺎﻣﻞ ﺍﻟﺴﻠﹼﺔ ﺍﳌﻘﺪّﺳﺔ ﲟﺪﻳﻨﺔ ﺗﻴﻤﻘﺎﺩ.
-2ﺍﻷﻫﺪﺍﺀﺍﺕ ﺍﻟﺪﻳﻨﻴﺔ:
ﻋﺪﺩﻫﺎ 35ﺗﺘﺮﻛﹼﺰ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﲟﺪﻥ ﻣﺪﺍﻭﺭﺵ ،ﻴﺴﺔ ،ﻴﻠﺔ ﻭ ﻻﻣﺒﻴﺰ )ﺃﻧﻈﺮ ﺍﳉﺪﻭﻝ (10.ﻭ ﻛﻞ ﻫﺎﺗﻪ
ﻭ ﺣﱴ ﻣﻦ ﻗﺒﻞ ﺍﳉﻤﻬﻮﺭﻳﺔ ﻛﻤﺎ ﻭﺟﺪ ﲟﺪﻳﻨﺔ ﺷﺮﺷﺎﻝ ﺃﻭ ﻣﻦ ﺍﻟﻄﺒﻘﺔ ﺍﻟﻌﺴﻜﺮﻳﺔ ﰲ ﻣﺪﻳﻨﺔ ﻻﻣﺒﻴﺰ:
ﺃﻣﺎ ﻋﻦ ﻣﻮﺿﻮﻉ ﻫﺪﻩ ﺍﻷﻫﺪﺍﺀﺍﺕ ﻓﻬﻮ ﻳﺘﻌﻠﹼﻖ ﺩﻭﻣﺎ ﺑﺘﻜﺮﻳﺲ ﻣﺒ ﻟ ﻟﻪ ﻟﻴﱪ ﺑﺎﺗﺮ ﺗﻌﺒﲑﺍ ﻋﻦ ﺍﻟﺘﻤﺴّﻚ ﺑﻪ ﻭ
-ﺍﳌﻌﺎﺑﺪ ﺍﳌﻜﹼﺮﺳﺔ ﺇﱃ ﻟﻴﱪ ﺑﺎﺗﺮ ﻳﺼﻞ ﻋﺪﺩﻫﺎ ﺇﱃ 11ﻣﻌﺒﺪ ﻭ ﺃﺣﻴﺎﻧﺎ ﻳﺘّﺤﺪ ﻟﻴﱪ ﻣﻊ ﺭﻓﻴﻘﺘﻪ ﺍﻹﳍﺔ ﻟﻴﱪﺍ )ﺳﻮﺭ
37
BUCCOLISTA
38
CISTIFER PEDESQUIENARIES
383
-ﺍﳌﺬﺍﺑ ﻋﺪﺩﻫﺎ 10ﰲ ﺗﻴﺪﻳﺲ ،ﻻﻣﺒﻴﺰ ،ﻣﺪﺍﻭﺭﺵ ،ﺳﻄﻴﻒ ،ﺷﺮﺷﺎﻝ ﻭ ﺗﻴﻤﻘﺎﺩ.
-ﺍﳌﻨﻀﺪﺓ ﺍﻟﱵ ﺗﺴﺘﻘﺒﻞ ﲤﺜﺎﻝ ﺍﻹﻟﻪ ﺃﻭ ﺍﻟﻘﺎﻋﺪﺓ ﺍﻟﱵ ﻳﺼﻌﺪ ﻋﻠﻴﻬﺎ ﺍﳌﻄﹼﻠﻊ ﻋﻠﻰ ﺍﻷﺳﺮﺍﺭ ﺧﻼﻝ ﺷﻌﺎﺋﺮ ﺍﻷﺳﺮﺍﺭ
-ﺍﻟﺘﻤﺎ ﻴﻞ ﺃﻱ ﲤﺜﺎﻝ ﺍﻹﻟﻪ ﺍﻟﺬﻱ ﺳﻴﻮﺿﻊ ﲟﻌﺒﺪﻩ ﻛﻤﺎ ﺫﻛﺮ ﲟﺪﻳﻨﺔ ﺳﲑﺗﺎ ﺣﻴﺚ ﹼ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻰ ﺍﻟﺘﻤﺜﺎﻝ ﺍﶈﻔﻮ
ﻴﺴﺔ...ﻭﻗﺪ ﻳﻜﻮﻥ ﺍﻟﺘﻤﺜﺎﻝ ﺍﳌﻬﺪﻯ ﳝﺜﻞ ﺃﺣﺪ ﺃﻋﻀﺎﺀ ﲟﺘﺤﻒ ﺍﳌﺪﻳﻨﺔ ،ﺇﱃ ﺟﺎﻧﺐ ﻣﻮﺍﻗﻊ ﻣﺪﺍﻭﺭﺵ ،ﻻﻣﺒﻴﺰ،
-ﺰﻥ ﺍﳋﻤﺮ :ﺃﻫﺪﺍﻩ ﺟﻨﺪﻱ ﻣﻦ ﺍﻟﻔﺮﻗﺔ ﺍﻷﻏﺴﻄﻴﺔ ﺍﻟﺜﺎﻟﺜﺔ ﲟﻌﺴﻜﺮ ﻻﻣﺒﻴﺰ ﺇﱃ ﻟﻴﱪ ﺑﺎﺗﺮ.
ﻛﻞ ﻫﺎﺗﻪ ﺍﻟﻨﺎﻗﺸﺎﺕ ﻋﺒﺎﺭﺓ ﻋﻦ ﻭﺛﺎﺋﻖ ﻭﻓﻴّﺔ ﺗﺪّﻝ ﻋﻦ ﺍﻧﺘﺸﺎﺭ ﻋﺒﺎﺩﺓ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺼﻔﺔ ﺭﲰﻴﺔ ﰲ ﻋﺪّﺓ ﻣﻨﺎﻃﻖ ﻣﻦ
ﺍﳉﺰﺍﺋﺮ ﰲ ﺍﻟﻔﺘﺮﺓ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﺜﺎﱐ ﺇﱃ ﺍﻟﻘﺮﻥ ﺍﻟﺮﺍﺑﻊ ﻣﻴﻼﺩﻱ.ﻓﻬﻲ ﺗﻌﺒّﺮ ﻋﻦ ﻣﺪﻯ ﲤﺴّﻚ ﺍﳌﻬﺪﻳﲔ ﺑﻌﺒﺎﺩﻬﺗﻢ
BROMIUS ﺑﺴﲑﺗﺎ،
ﻭ ﻻ ﻳﻔﻮﺗﻨﺎ ﺃﻥ ﻧﺬﻛﺮ ﺃﻳﻀﺎ ﺍﻟﻨﻘﻴﺸﺔ ﺍﳌﻜﺘﺸﻔﺔ ﺑﺴﻄﻴﻒ ﻭﻫﻲ ﻓﺮﻳﺪﺓ ﻣﻦ ﻧﻮﻋﻬﺎ ﻷﻬﻧﺎ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﻮﺣﻴﺪﺓ ﺑﺸﻤﺎﻝ
ﺇﻓﺮﻳﻘﻴﺎ ﺍﻟﱵ ﺗﻘﹼﺺ ﺇﺣﺪﻯ ﺍﳌﻠﺠﻤﺎﺕ ﺍﳌﻴﺘﻮﻟﻮﺟﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻣﻊ ﺍﻟﻘﺮﺍﺻﻨﺔ ﺍﻟﺘﲑﻳﻨﻴﲔ ﻭ ﻫﻲ ﻧﻔﺲ ﺍﻟﻜﺘﺎﺑﺔ ﺍﻟﱵ ﺗﻨﻌﺖ
41
ﺍ ﺑﺎﺧﻮﺱ ﺑﻠﻘﺐ "ﳐﺘﺮﻉ ﺍﻟﻜﺮﻭﻡ ﻭ ﺣﺎﻣﻴﻬﺎ"
39
vitisator/ lenaeus
40
lari
41
CIL VIII. 20249
384
ﺍﺩﻥ ﻣﻦ ﺧﻼﻝ ﺍﻟﻨﺎﻗﺸﺎﺕ ﺍﻟﱵ ﺗﺬﻛﺮ ﻟﻴﱪ ﺑﺎﺗﺮ ﺑﺎﳌﻘﺎﻃﻌﺎﺕ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ ﰲ ﺍﳉﺰﺍﺋﺮ ﺍﻟﻘﺪﳝﺔ ﺗﻈﻬﺮ ﻟﻨﺎ ﻃﺒﻴﻌﺔ ﻫﺪﺍ ﺍﻹﻟﻪ
ﺍﻟﺬﻱ ﻳﺘﺴّﻢ ﺑﺎﻟﺘﺸﻌّﺐ ﻭ ﺍﺯﺩﻭﺍﺝ ﺍﻟﺼﻼﺣﻴﺔ .ﻓﻬﻮ ﺍﻟﻪ ﺍﳋﺼﻮﺑﺔ ،ﺍﻟﻪ ﺍﳊﻴﺎﺓ ﻭ ﺍﳌﻮﺕ ،ﺍﻹﻟﻪ ﺍﳌﻤّﺪﻥ ،ﺍﻟﻪ ﺍﻟﻜﺮﻭﻡ ﻭ
ﺍﳋﻤﺮ ،ﺍ ﺍﳊﺎﻣﻲ ﻟﻠﻤﺪﻥ ﻭ ﺍﳊﻜﹼﺎﻡ .ﻭ ﻧﺮﺍﻩ ﻳﺸﺘﺮﻙ ﺑﺎﻟﺪﺭﺟﺔ ﺍﻷﻭﱃ ﻣﻊ ﺍﻵﳍﺔ ﺍﻟﺮﻭﻣﺎﻧﻴﺔ )ﻫﺮﺍﻗﻞ ،ﺟﻮﺑﻴﺘﺮ (...ﺑﺪﻻ
ﻣﻦ ﺍﻵﳍﺔ ﺍﶈﻠﻴّﺔ ﻭ ﻳﺮﺗﺒﻂ ﺍﺭﺗﺒﺎﻃﺎ ﻭﺛﻴﻘﺎ ﺑﻌﺒﺎﺩﺓ ﺍﻷﺑﺎﻃﺮﺓ ﻣﻊ ﺍﻟﺴﻔﺮﻳﲔ ﻋﻠﻰ ﻭﺟﻪ ﺍﳋﺼﻮﺹ )ﻓﻬﻮ ﺍﻹﻟﻪ ﺍﳋﺎﺹ
ﻛﻞ ﻫﺎﺗﻪ ﺍﳌﻼﺣﻈﺎﺕ ﺃﺩّﺕ ﺑﺒﻌﺾ ﺍﻟﺒﺎﺣﺜﲔ ﺇﱃ ﺭﺑﻂ ﺍﻻﻧﺘﺸﺎﺭ ﺍﻟﻮﺍﺳﻊ ﺍﻟﺬﻱ ﻋﺮﻓﺘﻪ ﺍﻟﻌﺒﺎﺩﺓ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺑﺸﻤﺎﻝ
42
ﺇﻓﺮﻳﻘﻴﺎ ﻣﻊ ﺗﻮﺳّﻊ ﺍﻟﺮﻭﻣﻨﺔ .ﻭ ﺍﻟﻌﻨﺼﺮ ﺍﳌﺆﻳّﺪ ﳍﺎﺗﻪ ﺍﻟﻔﺮﺿﻴﺔ ﻫﻮ ﺍﻧﻪ ﻛﻤﺎ ﺭﺃﻳﻨﺎ ﺳﺎﺑﻘﺎ ﻣﻌﻈﻢ ﺍﻟﻌﺎﺑﺪﻭﻥ ﻭ ﺍﻟﻜﻬﻨﻮﺕ
ﺍﻟﺪﻳﻦ ﺗﻈﻬﺮ ﺃﲰﺎﺀﻫﻢ ﻋﻠﻰ ﺍﻟﻨﺎﻗﺸﺎﺕ ﻳﻨﺘﻤﻮﻥ ﺇﱃ ﻃﺒﻘﺔ ﺍﻷﺭﺳﺘﻘﺮﺍﻃﻴﺔ ﺍﻟﺒﻠﺪﻳﺔ ﻭ ﺍﻟﻌﺴﻜﺮﻳﺔ ﻭﻫﻲ ﻃﺒﻌﺎ ﺍﻟﻄﺒﻘﺔ
ﺍﳌﺘﺸﺒّﻌﺔ ﺑﺎﻟﺮّﻭﻣﻨﺔ.
42
Jalloul Boussada A, op cit p 1064
385
ﺍ ﺪﺍﻭﻝ ﻭ ﺍﻟﺮﺳﻮﻡ ﺍﻟﺒﻴﺎﻧﻴﺔ
386
ﺍ ﺰﺍﺋﺮ: -1ﺟﺪﻭﻝ ﺍﻟﺘﻤﺎ ﻴﻞ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ
اﻟﻤﺠﻤﻮع ﻡﺠﻤﻮﻋﺔ آﺎهﻨﺔ ﻟﻴﺒﺮا ﺳﻴﻼن ﻓﻮﻧﻮس ﺑﺎن ﺳﺎﺗﻴﺮ ﺑﺎﺧﻮس اﻟﻤﻮﻗﻊ
دﻳﻮﻧﻴﺰﻳﺔ ﺑﺎﺧﻮس /ﻟﻴﺒﺮ
49 10 01 04 03 11 20 ﺷﺮﺷﺎل
03 01 02 ﺗﺒﺴﺔ
11 01 01 01 08 ﺝﻤﻴﻠﺔ
01 01 ﺗﻴﻤﻘﺎد
05 01 03 01 ﻻﻡﺒﻴﺰ
اﻹﻟﻬﺔ
اﻟﻤﺮﺿﻌﺔ
07 07 ﺧﻤﻴﺴﺔ
13 -2ﺗﺒﺴﺔ
12 -3ﻴﻠﺔ
08 -4ﺳﻜﻴﻜﺪﺓ
07 -5ﻴﺴﺔ
05 -6ﻣﺪﺍﻭﺭ
06 - -7ﻻﻣﺒﻴﺰ
04 -9ﺳﲑﺗﺎ
04 -10ﻋﻨﺎﺑﺔ
03 -11ﺗﻴﻤﻘﺎ
04 -12ﺎﳌﺔ
03 -13ﺳﻄﻴﻒ
02 -14ﺧﻨﺸﻠﺔ
02 -15ﺯﻳﺎﻣﺔ
02 -16ﺗﻴﺒﺎﺯﺓ
01 - -18ﺗﻨ
01 -19ﺗﻨﺎﺳﻔﺖ
01 -25ﻋﻨﻮﻧﺔ
388
ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ: -3ﺟﺪﻭﻝ ﺗﻮﺯﻉ ﺍﻟﻨﻘﻮ ﺍﻟﺒﺎﺭﺯﺓ ﻭ ﺍﻟﻌﻨﺎﺻﺮ ﺍﳌﻌﻤﺎﺭﻳﺔ
389
ﺟﺐ
ﺤﺎ
اﻝ
ﺋﺮ
ﺠﺰا
رك اﻝ
ﻡﺒﺎ
ﺪي
ﺱ ﻀﺎء ﻴ
اﻝﺒﻴ
س ﻴﻦ
ﺟﻨﻮ ﻋ
ﻡﺎ
ﺲ
رﺗ
ﺏﻮ
ﺖ
ﺱﻔ
ﺗﻨﺎ
ﺲ
ﻮل ﺗﻨ
ﺠﻬ
ﻞﻡ
ﺻ
أ
زة
ﻴﺒﺎ
ﺗ
ﻡﺔ
زیﺎ
ﺸﻠﺔ
ﺧﻨ
ﻒ
390
ﻄﻴ
ﺱ
اﻟﻤﺪﻳﻨﺔ
ﻤﺔ
ﻗﺎﻝ
ﻘﺎد
ﺗﻴﻤ
ﺎﺏﺔ
ﻋﻨ
ﺮﺗﺎ
ﺱﻴ
ﻻن
ﻐﺰ
ر اﻝ
ﺱﻮ
ﻴﺰ
رﺳﻢ ﺑﻴﺎﻧﻲ ﻟﻨﺴﺒﺔ ﺗﻮزﻳﻊ اﻟﺘﻤﺎﺛﻴﻞ و اﻟﻤﻨﺤﻮﺗﺎت اﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﺣﺴﺐ اﻟﻤﺪن
ﻻﻡﺒ
ش
ور
ﻡﺪا
ﺴﺔ
ﺧﻤﻴ
ﻜﺪة
ﺱﻜﻴ
ﻴﻠﺔ
ﺟﻤ
ﺴﺔ
ﺗﺒ
ﺎل
ﺮﺷ
ﺷ
0
10
20
30
40
50
60
391
ﺳﻴ
زة
ﻴﺒﺎ
ﺗ
ﻘﺎد
ﺗﻴﻤ
ﺸ ﻠﺔ
اﻟﻤﻮﻗﻊ
ﺧﻨ
ﻒ
ﻄﻴ
ﺳ
ﺎﺑﺔ
ﻋﻨ
ﻤﺔ
ﻗﺎﻟ
ﻜﺪة
رﺳﻢ ﺑﻴﺎﻧﻲ ﻟﺘﻮزﻳﻊ اﻟﻨﻘﻮش اﻟﺒﺎرزة و اﻟﻌﻨﺎﺻﺮ اﻟﻤﻌﻤﺎرﻳﺔ اﻟﺪﻳﻮﻧﻴﺰﻳﺔ
ﺳﻜﻴ ﻻن
ﻐﺰ
اﻟ
ﻮر
ﺳ
ﺷﺎل
ﺷﺮ
ﺴﺔ
ﺗﺒ
0
2
4
6
8
10
12
14
اﻟﻤﺠﻤﻮع
-4ﺟﺪﻭﻝ ﺗﻮﺯﻳ ﺍﻷﻧﺼﺎﺏ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻭﺗﻠ ﺍﻟﱵ ﻳ ﻬﺮ ﻓﻴﻬﺎ ﻋﻨﻘﻮ ﺍﻟﻌﻨ :
ﺍﻟﻌﻨﻘﻮﺩ
392
01 01 ﻗﺎﻃﻔﻲ ﺍﻟﻌﻨﺐ ﺗﺒﺴﺔ
393
-5ﺟﺪﻭﻝ ﺍﻟﺘﻮﺯﻉ ﺍ ﻐﺮﺍ ﻟ ﻧﺼﺎﺏ ﺍﻟﱵ ﻳ ﻬﺮ ﻓﻴﻬﺎ ﻋﻨﻘﻮ ﺍﻟﻌﻨ ﺃﻭ/ﻭ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ:
ﺗﺎﻗﺴﺒﺖ ﺗﺒﺴﺔ
ﺩﻟﹼﺲ ﻣﺪﺍﻭﺭﺵ
ﺟﻴﺠﻞ ﻴﺴﺔ
ﺷﺮﺷﺎﻝ ﻗﺎﳌﺔ
ﻗﻮﺭﺍﻳﺔ ﻴﻠﺔ
ﺗﻴﺒﺎﺯﺓ ﻻﻣﺒﻴﺰ
ﺗﻴﻤﻘﺎﺩ
ﺍﻟﻘﻌﺮﺓ
ﺧﻨﺸﻠﺔ
ﺯﺍﻧﺎ
ﺍﻟﻘﻨﻄﺮﺓ
ﺳﲑﺗﺎ
ﺳﻮﺭ ﺍﳉﻮﺍﺏ
ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ
394
-6ﺟﺪﻭﻝ ﺗﻮﺯﻉ ﺍﳌﺸﺎﻫﺪ ﺍﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ:
ﺍﺠﻤﻟﻤﻮﻉ ﻃﻔﻮﻟﺔ ﺑﺎﺧﻮﺱ ﺍﻟﺮﻣﻮﺯ ﺻﻮﺭﺓ ﺍﻋﻀﺎﺀ ﻣﺸﻬﺪ ﺍﻧﺘﺼﺎﺭ ﺍﻟﻔﺼﻮﻝ ﺍﳌﻮﻗﻊ
ﺍﻟﺪﻳﻮﻧﻴﺰﻱ
395
ﻋﺪ ﺍﻟﻠﻮﺣﺎﺕ ﺍﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﺍﳌﻮ
05 ﺗﺒﺴﺔ
05
ﻻﻡﺒﻴﺰ
05
ﺱﻴﺮﺗﺎ
05
05 ﺟﻤﻴﻠﺔ
ﻗﻴﺼﺮﻳﺔ
02 ﺟﻴﺠﻞ
02 وهﺮان
02 ﻋﻨﺎﺏﺔ
01 ﺗﻴﻤﻘﺎد
01 ﺱﻄﻴﻒ
01 ﻗﺎﻟﻤﺔ
01 دﻟﺲ
01 ﻋﻴﻦ ﺏﺎﺏﻮش
01 اﻟﺸﻠﻒ )آﺎﺱﺘﻠﻮم ﺗﻨﻘﺘﺎﻧﻮم(
ﺱﻮق أهﺮاس
396
رﺳﻢ ﺑﻴﺎﻧﻲ ﻟﺘﻮزع اﻟﻤﺸﺎهﺪ اﻟﻔﺴﻴﻔﺴﺎﺋﻴﺔ ﺣﺴﺐ اﻟﻤﻮاﻗﻊ
6
5
4
ﻋﺪد اﻟﻠﻮﺣﺎت
3
2
1
0
آﺎﺳﺘﻠﻮم ﺳﻮق ﻋﻴﻦ دﻟﺲ ﻗﺎﻟﻤﺔ ﺳﻄﻴﻒ ﻋﻨﺎﺑﺔ وهﺮان ﺟﻴﺠﻞ ﻗﻴﺼﺮﻳﺔ ﺟﻤﻴﻠﺔ ﺳﻴﺮﺗﺎ ﻻﻡﺒﻴﺰ ﺗﺒﺴﺔ
ﺗﻨﺠﺘﺎﻧﻮم اهﺮاس ﺑﺎﺑﻮش
اﻟﻤﻮﻗﻊ
397
-8ﺟﺪﻭﻝ ﺗﻮﺯﻉ ﺍﳌﺴﻜﻮﻛﺎﺕ ﺫﺍﺕ ﺍﻟﻄﺎﺑ ﺍﻟﺪﻳﻮﻧﻴﺰﻱ ﺑﺎ ﺰﺍﺋﺮ:
ﺍﳌﻴﺰﺭﺍﻕ
23 ﺍﺠﻤﻟﻤﻮﻉ
398
رﺳﻢ ﺑﻴﺎﻧﻲ ﻟﺘﻮزﻳﻊ اﻟﻤﺴﻜﻮآﺎت دات اﻟﻄﺎﺑﻊ اﻟﺪﻳﻮﻧﻴﺰي
14
12
10
ﻋﺪد اﻟﻤﺴﻜﻮﺗﺎت
8
6
4
2
0
اﻟﻤﺸﻬﺪ
399
-9ﺟﺪﻭﻝ ﺗﻮﺯّﻉ ﺍﳌﺼﺎﺑﻴ ﺍﻟﺰﻳﺘﻴﺔ ﺫﺍﺕ ﺍﻟﺮﻣﻮﺯ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ:
ﺍﻟﻔﺘﺮﺓ ﺍﻟﻮﺛﻨﻴﺔ ﻧﻮﻣﻴﺪﻳﺎ .ﻏﺮﺏ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ ﺳﲑﺗﺎ .ﺑﺌﺮ ﺃﻡ ﻋﻠﻲ ﺻﻮﺭﺓ ﺍﻹﻟﻪ ﺑﺎﺧﻮﺱ
ﺍﻟﻔﺘﺮﰐ ﺍﻟﻮﺛﻨﻴﺔ ﻭ ﺍﻟﱪﻭﻗﻨﺼﻠﻴﺔ .ﻧﻮﻣﻴﺪﻳﺎ ﻋﻨﺎﺑﺔ .ﺑﺌﺮ ﺃﻡ ﻋﻠﻲ .ﻋﲔ ﺃﻭﺭﺍﻕ ﺍﻟﺪﺍﻟﻴﺔ ﻭ ﺍﻟﻌﻨﺐ
ﺍﳌﺴﻴﺤﻴﺔ ﺗﻴﻤﻮﺷﻨﺖ.ﺗﻴﻤﻘﺎﺩ
400
-10ﺟﺪﻭﻝ ﺍﺣﺼﺎﺀ ﺍﻷﻫﺪﺍﺀﺕ ﺇﱃ ﻟﻴ ﺑﺎﺗﺮ ﻭ ﺍﻟﻨﺎ ﺸﺎﺕ ﺍﻟﱵ ﺗﺬﻛﺮ ﻛﻬﻨﻮﺗﻪ:
ﻻﻣﺒﻴﺰ
ﺷﺮﺷﺎﻝ
ﻣﻮﻧﺲ
ﲜﺎﻳﺔ
ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ
ﺳﻜﻴﻜﺪﺓ
ﻗﺎﳌﺔ
ﺑﻮﻋﻄﻔﺎﻥ
401
-11ﺟﺪﻭﻝ ﺇﺣﺼﺎﺀ ﺍﻟﻨﺎ ﺸﺎﺕ ﺍﻟﱵ ﺗﺬﻛﺮ ﻣﻌﺎﺑﺪ ﻭ ﺃﻣﺎﻛﻦ ﻣﻘﺪّﺳﺔ ﻣﻜ ّﺮﺳّﺔ ﻟﻠ ﻟﻪ ﻟﻴ ﺑﺎﺗﺮ:
ﺍ ﻤﻮﻉ ﻋﺪ ﺍﳌﺼﻄﺒﻴﺎﺕ ﻋﺪﺩ ﺍﳌﺬﺍﺑﺢ ﻋﺪ ﺍﳌﺒﺎ ﻋﺪﺩ ﺍﳌﻌﺎﺑﺪ ﺍﳌﺼﺪﺭ
aediculum
06 - 01 02 03
-1ﻣﺪﺍﻭﺭ
02 - 01 01
02 - 01 01 -2ﻴﺴﺔ
05 - - 02
-3ﺳﲑﺗﺎ
02 - 02
-
03 01 02 - -4ﻴﻠﺔ
02
02 - 01
01 -5ﻻﻣﺒﻴﺰ
01 01 -
01
02 - - -6ﺳﻄﻴﻒ
01
02 -
- -7ﺗﻴﻤﻘﺎ
- - -
01 02 -8ﺎﻳﺔ
-
- -9ﺳﻮﺭ ﺍﻟﻐﺰﻻﻥ
-10ﺷﺮﺷﺎﻝ
402
-12ﺟﺪﻭﻝ ﺗﻮﺯّﻉ ﺍﻟﻨﺎ ﺸﺎﺕ ﺍﳌﺘﻌﻠﻘﺔ ﺑﻌﺒﺎ ﺓ ﺍﻷﻟﻪ ﻟﻴ ﺑﺎﺗﺮ:
ﻁﺒﻴﻌﺔ ﺍﻟﻨﻘﻴﺸﺔ
ﺍﳌﺮﺟ ﺍﻟﺘﺎﺭﻳﺦ ﺍﳌﺼﺪﺭ ﺍﻟﻮ ﻴﻔﺔ ﺍﻟﺪﻳﻨﻴﺔ ﺍﳌﺬﻛﻮﺭﺓ ﺍﻟﻮ ﻴﻔﺔ ﺍﳌﺪﻧﻴﺔ/ﺍﻟﻌﺴﻜﺮﻳﺔ/ﺍﳌﺬﻛﻮﺭﺓ
ILA.II.487, CIL.VIII.1881
ﺳﲑﺗﺎ - Praefectus proIIvir Praeter -1ﺍﻫﺩﺍﺀ ﻤﺒﻨﻰ ﻤﻘﺩﺱ ﻭ ﺘﻤﺜﺎل
-
CIL.VIII.7123 Equo publico Aedilis -2ﺍﻫﺩﺍﺀ ﺘﻤﺜﺎل ﺴﺎﺘﻴﺭ
// Pontifex promagistro
- pontif. Ferium
-3ﺍﻫﺩﺍﺀ ﺍﻟﻰ ﻟﻴﺒﺭ ﺒﺎﺘﺭ
CIL.19488.ILA.II.488
// -4ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ
latinarum Praef. Juridicundo
CIL.19540, ILA.II.965 - -5ﺍﻫﺩﺍﺀ ﺍﻟﻰ ﻟﻴﺒﺭ ﺒﺎﺘﺭ
// - -
-6ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ
A.Ep.1976. n°708 - ﺗﻴﻤﻘﺎﺩ Bromius Bacchus
- -7ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ
BCTH.1894.P 363 N)78 Primus Bucolista
// -8ﺍﻫﺩﺍﺀ ﺍﻟﻰ ﻟﻴﺒﺭ ﺒﺎﺘﺭ
Bucolista -
A.Ep. 1957.n°185 // -9ﺍﻫﺩﺍﺀ ﻤﻌﺒﺩ
Bucolista -
- -10ﺍﻫﺩﺍﺀ ﻤﻌﺒﺩ
A.Ep.1894.n°85 // -
-11ﺍﻫﺩﺍﺀ ﻤﺩﺒﺢ
Cistifer pedisequarus -
CIL. VIII.8457 ﺳﻄﻴﻒ -12ﺍﻫﺩﺍﺀ ﺍﻟﻰ ﻟﻴﺒﺭ ﻭ ﺴﻤﻴﻠﻲ
- -
CIL. VIII.20249 - // -
-13ﺍﻫﺩﺍﺀ
-14ﺍﻫﺩﺍﺀ
//
CIL. 8391, ILA.I.20248
- -
-15ﺍﻫﺩﺍﺀ ﺘﻤﺜﺎل
-
LATOMUS. V. 1946.P 245
- ﺍﻫﺩﺍﺀ-16
-
BCTH. 1896. P214 N)175 Sacerdos Aedilis Quaestoris Iiviri ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ -17
- flaminis perpetuii // -18
ILA. I.. 2051
- // -19
ILA.I. 2052 - ﻜﺘﺎﺒﺔ ﺸﺭﻓﻴﺔ-20
- Aedilicus II viralicius
ILA. I. 2052 bis Sacerdote - ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ-21
388
// flam.pro.cultoris // -36
CIL.VIII.9016
- liberi.p.patrono - ﺍﻫﺩﺍﺀ ﺘﻤﺜﺎل-37
//
BCTH.1904. P 199 N)30 ﻜﺘﺎﺒﺔ ﺸﺭﻓﻴﺔ-38
- Primpilius –
- // ﺍﻫﺩﺍﺀ ﺍﻟﻰ ﻟﻴﺒﺭ-39
CIL.VIII. 2632 - Praefectus
// - Tribunus militum Legionis ﻜﺘﺎﺒﺔ ﺠﻨﺎﺌﺯﻴﺔ-40
A.Ep. 1928. n°106
- - III // -41
BCTH. 1917. P 346 N°78
- - // -42
// // -43
LIBYCA. 1954. T II. P 421 - Quaestores praefecti pro II Viris
CIL.Supp . 20145 ﺷﺮﺷﺎﻝ ﺍﻫﺩﺍﺀ-44
Sacerdos -
-
// -45
LIBYCA. 1954. P 472 // -
CIL. Supp. 20145 ﻜﺘﺎﺒﺔ ﺩﻴﻨﻴﺔ-46
Praef pro II Viris
ﲜﺎﻳﺔ
LIBYCA. 1954. T II. P 421 - Sacerdos liberi
A.Ep. 1955. n° 156 ﺱ ﺍﻟﻐﺰﻻﻥ Sacerdos
ﺍﻫﺩﺍﺀ-47
LIBYCA. 1954. P 427 - Quaestor Aedilis
CIL. VIII. 7956
ﻡ268-253 -
ILA. 1301 ﻓﺘﺮﺓ ﻣﺎﻙ ﺍﻭﺭﻳﻞ Pontifex Equo Publico
R.Const. 1905. p 176.
212-209 Dendroforus -
n°125
ILA. 1371 ﻻﻣﺒﻴﺰ decretarius
-
// - -
ILA. II. 1372
389
- // Sacerdos -
R.Const. 1866. p 146.
n°128 -
-
Sacerdos
ILA. I. 1368/9= 48883/4
ﻴﻠﺔ
Sacerdos -
ILA. I. 1370. CIL. 4887
// Sacerdos -
ﻡ237-199
ILA. I. 1235
//
Sacerdos -
CIL. Supp. 16910=
//
ILA.I.562 - Sacerdos Eques Romanus
//
- -
Flamen perpetuus Curator Rei Publicae
ILA. I. 182= CIL. 5293 //
Sacerdos Senioris
- ﺳﻜﺴﻜﺪﺓ flaminicae
-
-
ﻴﺴﺔ
//
-
//
- //
390
//
-
//
-
//
-
- //
//
- ﺑﻮﻋﻄﻔﺎﻥ
ﻗﺎﳌﺔ
391
ﺑﻮﻋﻄﻔ ﺎن
ﻗﺎﻟﻤﺔ
ﺳﻜﻴﻜﺪة
ﺳﻮر اﻟﻐﺰﻻن
ﺑﺠﺎﻳﺔ
ﻡﻮﻧﺲ
408
اﻟﻤﻮﻗﻊ
ﺷﺮﺷﺎل
ﻻﻡﺒﻴﺰ
ﺳﻄﻴﻒ
رﺳﻢ ﺑﻴﺎﻧﻲ ﻹﺣﺼﺎء اﻹهﺪاءات إﻟﻰ ﻟﻴﺒﺮ ﺑﺎﺗﺮ
ﺗﻴﻤﻘﺎد
ﺳﻴﺮﺗﺎ
ﺟﻤﻴﻠﺔ
ﺧﻤﻴﺴﺔ
ﻡﺪاورش
0
2
4
6
8
10
12
اﻟﻤﺠﻤﻮع
رﺳﻢ ﺑﻴﺎﻧﻲ ﻹﺣﺼﺎء اﻟﻨﺎﻗﺸﺎت اﻟﺘﻲ ﺗﺬآﺮ ﺑﻤﻌﺎﺑﺪ و أﻡﺎآﻦ ﻡﻘﺪﺳﺔ ﻡﻜﺮﺳﺔ ﻟﻺﻟﻪ ﻟﻴﺒﺮ ﺑﺎﺗﺮ
7
6
5
4
اﻟﻤﺠﻤ ﻮع
3
2
1
0
ﺏﺠ
ﺗﻴ
ﻻﻡ
ﺱﻴ
ﺱ
ﺷﺮ
ﺧ ﻤﻴ
ﺟﻤ
ﺱﻮ
ﻡ ﺪا
ﻤ
ﻄﻴ
ﺎی ﺔ
ﺮﺗ ﺎ
ﻘﺎد
ﻴﻠﺔ
ﺒ ﻴﺰ
ﺷ
ر اﻝ
ﺴﺔ
ور
ﻒ
ﺎل
ش
ﻐﺰ
ﻻن
اﻟﻤﺼﺪر
409
دﻟﺲ ﺱﻜﻴﻜﺪة
ΘΦ اﻟﺠﺰاﺋﺮ ﺟﻴﺠﻞ ﻋﻨﺎﺑﺔ
ﺕﻴﻘﺰرت ﺑﺠﺎﻳﺔ
×∆ О
ﺕﻴﺒﺎزا ﺵﺮﺵﺎل
∆× Θ Φ
×ΦО Φ × ∆ΦО
× ∆О=Φ
ﻗﻮراﻳﺎ ﺕﻨﺲ ﻗﺎﻟﻤﺔ
∆ ﻣﻮزاﻳﺎ ×∆ Φ ﻗﺴﻨﻄﻴﻨﺔ
ΘΦ ﺟﻤﻴﻠﺔ ∆×ОΦ =О
∆ ﺱﻮر اﻟﺠﻮاب ∆ ×О Φﺱﻄﻴﻒ ∆ΦО
اﻟﺸﻠﻒ ×Φ ﻣﺪاورش اهﺮاس ﺱﻮق
ﻣﻠﻴﺎﻧﺔ =×
О ﺱﻮر اﻟﻐﺰﻻن ∆ ×Оﺑﺮج ﺑﻮﻋﺮﻳﺮﻳﺞ =× ∆ Φ О
وهﺮان اﻟﻘﻨﻄﺮة ﺥﻤﻴﺴﺔ
∆× Φ О
∆О Φﻻﻣﺒﺎز زراي ﻋﻨﻮﻧﺔ × ∆ Φ
ﻋﻴﻦ ﺕﻤﻮﺵﻨﺖ × ∆
× ∆ Φ Оﺕﻴﻤﻘﺎد ﺕﺒﺴﺔ
= زاﻧﺎ
∆ΦО Φ =∆О
=×
ﻣﻔﺘﺎح اﻟﺨﺮﻳﻄﺔ
ﺥﺮﻳﻄﺔ ﺕﻮزع اﻵﺛﺎر اﻹآﻨﻮﻏﺮاﻓﻴﺔ اﻟﻤﺘﻌﻠﻘﺔ ﺑﺰراﻋﺔ اﻟﻜﺮوم
Θﻣﺴﻜﻮآﺎت Оﻓﺴﻴﻔﺴﺎء
ﺑﺎﻟﺠﺰاﺋﺮ اﻟﺮوﻣﺎﻧﻴﺔ
× ﻧﺎﻗﺸﺎت ∆ ﻧﺤﺖ و ﺕﻤﺎﺛﻴﻞ
ﻗﺎﻋﺪة اﻟﺨﺮﻳﻄﺔ ENCARTA
Φأﻧﺼﺎب ﻧﺬرﻳﺔ و ﺟﻨﺎﺋﺰﻳﺔ = ﻣﺼﺎﺑﻴﺢ
اﻟﺠﺰاﺋﺮ أزﻓﻮن
ﺕﻴﺒﺎزا ﺵﺮﺵﺎل ∆
Φ
∆О + ∆ ﺟﻤﻴﻠﺔ واد ﻋﺜﻤﺎﻧﻴﺔ
ﺱﻄﻴﻒ ﺥﻤﻴﺴﺔ
ﻣﻠﻴﺎﻧﺔ = =Σ О =Σ
Φ زراي
ﺕﻴﻤﻘﺎد ﻻﻣﺒﺎز ﺕﺒﺴﺔ
=
∆ ΣО
ﻣﻔﺘﺎح اﻟﺨﺮﻳﻄﺔ
∆ ﺁﺛﺎر ﻣﻌﺎﺹﺮ اﻟﻜﺮوم
Σﺁﺛﺎر ﻣﻌﺎﺑﺪ ﻟﻺﻟﻪ ﻟﻴﺒﺮ ﺑﺎﺕﺮ
ﺨﺭﻴﻁﺔ ﺘﻭﺯ ﺍﻵﺜﺎﺭ ﺍﻟﻤﺘﻌﻠﻘﺔ ﺒﺯﺭﺍﻋﺔ ﺍﻟﻜﺭﻭﻡ ﺒﺎﻟﺠﺯﺍﺌﺭ Φﻣﺴﺘﺤﺜﺎت اﻟﻜﺮوم ﻟﻠﻌﺼﺮ اﻟﺠﻴﻮﻟﻮﺟﻲ اﻟﺮاﺑﻊ
+ﺁﺛﺎر ﻟﺤﺒﺎت ﻋﻨﺐ ﺑﻮﻧﻴﺔ و روﻣﺎﻧﻴﺔ
ﺍﻟﺭﻭﻤﺎﻨﻴﺔ Оﻓﺴﻴﻔﺴﺎء زراﻋﻴﺔ
ﻗﺎﻋﺪة اﻟﺨﺮﻳﻄﺔ ENCARTA = ﻃﺎوﻻت اﻟﻮزن
ﺍﻟﻠﻮﺣﺔ 1
ﺍﻟﺼﻮﺭﺓ -4ﺑﺎﺧﻮﺱ ﻴﺴﺔ .ﻣﺘﺤﻒ ﺎﳌﺔ ﺍﻟﺼﻮﺭﺓ -3ﺎﻝ ﺑﺎﺧﻮﺱ .ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ
413
ﺍﻟﻠﻮﺣﺔ 2
ﺍﻟﺼﻮﺭﺓ -8ﺭﺃﺱ ﺑﺎﺧﻮﺱ ﻴﺴﺔ .ﻣﺘﺤﻒ ﺎﳌﺔ ﺍﻟﺼﻮﺭﺓ -7ﻣﺘﺤﻒ ﻴﻠﺔ .ﺑﺎﺧﻮﺱ
414
ﺍﻟﻠﻮﺣﺔ 3
415
4 ﺍﻟﻠﻮﺣﺔ
416
ﺍﻟﻠﻮﺣﺔ 5
417
ﺍﻟﻠﻮﺣﺔ 6
ﺍﻟﺼﻮﺭﺓ -16ﺎﻝ ﺑﺎﺧﻮﺱ .ﻣﺘﺤﻒ ﻴﻠﺔ. ﺍﻟﺼﻮﺭﺓ -15ﺎﻝ ﺑﺎﺧﻮﺱ .ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ.
418
ﺍﻟﻠﻮﺣﺔ -7ﺍ ﻤﻮﻋﺎﺕ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ ﻟﺸﺮﺷﺎﻝ ) ﻴﺼﺮﻳﺔ(
419
ﺍﻟﻠﻮﺣﺔ 8
420
ﺍﻟﻠﻮﺣﺔ 9
ﺎﻝ ﺳﺎﺗﲑ .ﻣﺘﺤﻒ ﺳﲑﺗﺎ. ﺍﻟﺼﻮﺭﺓ -24 ﺍﻟﺼﻮﺭﺓ -23ﺭﺃﺱ ﺎﻝ ﺳﺎﺗﲑ .ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ.
421
ﺍﻟﻠﻮﺣﺔ 10
422
? ??? ? ???? ? ? ? ??? ?????
??? ??
? ???? ? ? ?? ? ? ???????? ????
ﺍﻟﻠﻮﺣﺔ 13
اﻟﺼﻮرة -33ﻨﺎﻉ ﺳﺎﺗﲑ .ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ. اﻟﺼﻮرة -32ﻨﺎﻉ ﺳﺎﺗﲑ .ﻣﺘﺤﻒ ﺷﺮﺷﺎﻝ.
425
ﺍﻟﺼﻮﺭﺓ 36 ﺍﻟﺼﻮﺭﺓ 35
ﺍﻟﻠﻮﺣﺔ 14
ﺃﻧﺼﺎﺏ ﻣﻌﺴﻜﺮ ﻻﻣﺒﻴﺰ )ﺗﺎﺯﻭﻟﺖ(
426
ﺍﻟﺼﻮﺭﺓ 40 ﺍ ﻟﺼﻮﺭﺓ 39
ﺍﻟﻠﻮﺣﺔ 15
427
ﺍ ﻟﺼﻮﺭﺓ 44 ﺍ ﻟﺼﻮﺭﺓ 43
ا ﻟﺼﻮﺭﺓ 45
ﺍﻟﻠﻮﺣﺔ 16
428
ﺍﻟﻠﻮﺣﺔ -17ﺃﻧﺼﺎﺏ ﻣﺪﻳﻨﺔ ﺗﻴﻤﻘﺎ )ﺗﺎﻣﻮ ﺎ ﻱ(
429
ﺍﻟﺼﻮﺭﺓ 51 ﺍﻟﺼﻮﺭﺓ 50
اﻟﺼﻮرة 52
)ﺍﻟﻠﻮﺣﺔ -18ﺃﻧﺼﺎﺏ ﺗﻴﻤﻘﺎ )ﺗﺎﻣﻮ ﺎ ﻱ (
430
ﺍﻟﺼﻮﺭﺓ 54 ﺍﻟﺼﻮﺭﺓ 53
ﺍﻟﺼﻮﺭﺓ 55
431
ﺍﻟﺼﻮﺭﺓ 56
ﺍﻟﺼﻮﺭﺓ 57
432
ﺍﻟﻠﻮﺣﺔ -21ﺍﻧﺼﺎﺏ ﻋﻨﺎﺑﺔ
ﺍﻟﺼﻮﺭﺓ 61
433
ﺍﻟﻠﻮﺣﺔ -22ﻓﺴﻴﺴﺎﺀ ﺷﺮﺷﺎﻝ)ﺃﻋﻤﺎﻝ ﺍ ﻘﻮﻝ(
ﺍ ﻟﺼﻮﺭﺓ -67ﺎﻃﻒ ﻤﻞ ﺳﻠﹼﺔ ﺍﻟﻌﻨ ﻛﺮﻣﺔ ﻣﻌﺘﺮﺷﺔ ﺑﺴﻴﻄﺔ ﺎﻃﻒ ﺍﻟﻌﻨ ﺍﻟﺼﻮﺭﺓ -66
434
ﺍﻟﻠﻮﺣﺔ 23
435
ﺍﻟﻠﻮﺣﺔ -24ﺍﻟﻔﺴﻴﻔﺴﺎﺀ ﺍﻟﺪﻳﻮﻧﻴﺰﻳﺔ .ﻴﻠﺔ ) ﻣ ﻝ ﺑﺎﺧﻮﺱ(
436
ﺍﻟﻠﻮﺣﺔ 25
437
ﺍﻟﻠﻮﺣﺔ 26
438
ﺍﻟﻠﻮﺣﺔ 27
ﺍﻟﺼﻮﺭﺓ 73
439
ﺍﻟﻠﻮﺣﺔ 28
440
-ﻄ ﻣﻌﺼﺮﺓ ﺍﻟﻜﺮﻭﻡ – ﺗﻴﺒﺎﺯﺓ
441