ITHIBATI Aliyeweka saini hapa chini anathibitisha kuwa ameisoma Tasnifu hii iitwayo: “Usawiri wa Ujinsia Katika Filamu: Uchunguzi wa Matumzi ya Lugha Katika Filamu za Steven Kanumba”, na kupendekeza ikubaliwe na Chuo Kikuu Huria cha Tanzania kwa ajili ya kukamilisha masharti ya Digrii ya Umahiri katika Kiswahili ya Chuo Kikuu Huria cha Tanzania. ________________________ Prof. Emmanuel Mbogo (Msimamizi) Tarehe: _________________ HAKI MILIKI Haki ya kunakili tasinifu hii inalindwa na Mkataba wa Berne, Sheria ya Haki ya Kunakili ya mwaka 1999 na mikataba mingine ya sheria za kitaifa na kimataifa zinazolinda mali za kitaaluma. Haki zote zimehifadhiwa. Hairuhusiwi kuiga au kunakili kwa njia yoyote ile, iwe ama kazi nzima au sehemu ya Tasnifu hii, isipokuwa shughuli halali, kwa ajili ya utafiti, kujisomea, au kufanya marejeo ya kitaaluma bila kibali cha maandishi cha Mkuu wa Kurugenzi ya Taaluma za Uzamili kwa niaba ya Chuo Kikuu Huria cha Tanzania. IKIRARI Mimi Ahmad Abdalla Suwed, nathibitisha kwamba tasinifu hii ni kazi yangu ya halisi na kwamba haijawahi kuwasilishwa na haitawasilishwa katika Chuo Kikuu kingine kwa ajili ya Digrii yoyote. Saini _______________________ Tarehe _______________________ TABARUKU Natabaruku kazi hii kwa wazazi wangu kwa mapenzi yao kwangu na kunisomesha hadi leo nimefikia hatua hii kitaaluma. SHUKRANI Kwanza kabisa kabla napenda kutoa shukurani zangu kwa Mwenyezi Mungu Allah Subhanahu Wataalah kwa kunijaalia afya njema kipindi chote cha masomo yangu, kunipa nguvu, uwezo, akili, busara na maarifa katika kipindi chote cha masomo yangu ya uzamili. Nasema kwa unyenyekevu mkuu, Alhamdulillah Rabbilaalamina. Pili, shukurani za pekee ni kwa wazazi wangu kwa kunizaa, kunilea, kunisomesha. Kwa uvumilivu wao kuwa mbali nami hasa katika kipindi chote nilichoishi Tanzania kwa ajili ya masomo yangu ya uzamili. Nawaombea maisha marefu yenye afya na baraka tele! Tatu, napenda kutoa shukurani zangu za dhati kwa Msimamizi wangu Prof. Emmanuel Mbogo kwa kunilea kitaaluma na kunikuza katika misingi ya nadharia na vitendo katika fasihi ya Kiswahili. Kunifunza na kunipa miongozo juu ya filamu. Namuombea afya njema na maisha marefu ili walio azidi kuwa hazina ya taaluma kwa wenye kiu ya kuitafuta. Nne, napenda kuwashukuru wahojiwa wangu wote walioshiriki katika utafiti huu kwa ukarimu na ushirikiano walionipa kipindi chote nilichokuwa uwandani. Nitakuwa mchahe wa fadhira nisipotoa shukrani zangu kwa watanzania wote walionifunza Kiswahili nikaweza kuishi bila shida Tanzania. Namshukuru Bi. Hadija Jilala kwa kunifunza lugha ya Kiswahili na kunipa changamoto za kitaaluma juu ya filamu ya Kanumba na hasa mswada wake wa Kanumba na Fasihi ya Kiswahili ambao ulinipa chachu ya kutafiti eneo hili kwa kutumia filamu za Kanumba. Nitakuwa mchache wa fadhira nisipotoa shukurani kwa wanaidara wote wa idara ya lugha na fasihi kwa maoni na miongozo yao hadi leo nimefanikiwa. IKISIRI Utafiti huu unahusu usawiri wa ujinsia katika filamu uchunguzi wa matumizi ya lugha katika filamu za Steven Kanumba. Lengo kuu la utafiti huu ni kuchunguza usawiri wa kijinsia katika lugha ya filamu za Steven Kanumba ili kuona ni jinsi gani lugha inatumika kusawiri masuala ya kijinsia katika jamii. Utafiti huu ulitumia mbinu nne za ukusanyaji data ambazo ni; maktaba, usaili, dodoso na majadiliano ya vikundi. Sampuli ya utafiti huu iliteuliwa kwa kutumia mbinu ya; madhumuni maalum na utuezi nasibu wa sampuli. Utafiti huu umegundua kuwa, filamu za Kanumba zimetumia lugha kwa namna ambayo inasawiri mahusiano ya kijinsia katika jamii mbalimbali hususani jamii ya Watanzania na Afrika. Matokeo ya utafiti huu yamebainisha kuwa Kanumba katika filamu zake ametumia zaidi kejeli na dhihaka kuliko vipengele vingine vya lugha. Matumizi ya kejeli na dhihaka yanaonyesha ndiyo mbinu ya kifani inayotawala kazi za Kanumba. Utafiti huu umedhihirisha kuwepo kwa usawiri wa mwanamke kwa namna mbalimbali. Katika kazi za fasihi za Kanumba imedhihirika kwamba mwanamke anasawiriwa kama mama, chombo cha starehe, kiumbe dhaifu na tegemezi, kiumbe kisichokuwa na maamuzi binafsi, chanzo cha matatizo, msaliti, na ni kiumbe mvumilivu na mnyenyekevu. Utafiti huu pia umebaini kuwa, matumizi ya lugha katika filamu za Steven Kanumba yanadhihirisha tofauti baina ya mwanamke na mwanaume katika jamii. Imegundulika kuwa kuna mahusiano tofauti baina ya mwanamke na mwanaume. Tofauti ya mahusiano haya imejengeka katika misingi ya kijamii ambapo tangu awali jamii inawaona wanaume ni tofauti na wanawake. YALIYOMO ITHIBATI ii HAKI MILIKI iii TABARUKU v SHUKRANI vi IKISIRI viii ORODHA YA VIELELEZO xiii ORODHA YA CHATI xiv SURA YA KWANZA 1 1.0 UTANGULIZI WA JUMLA 1 1.1 Utangulizi 1 1.2 Usuli wa Tatizo 1 1.3 Tatizo la Utafiti 3 1.3 Lengo la Utafiti 4 1.3.1 Lengo Kuu la Utafiti 4 1.3.2 Malengo Mahususi 4 1.4 Maswali ya Utafiti 4 1.5 Umuhimu wa Utafiti 5 1.6 Mipaka ya Utafiti 5 1.7 Uzingativu wa Maadili 6 1.8 Matatizo ya Utafiti 10 1.9 Historia ya Kanumba 10 1.9.1 Sehemu Ifuatayo Inaonyesha Kazi Alizofanya 14 1.9.2 Tuzo Alizowahi Kupata 14 1.9.3 Tawasifu ya Kanumba (Kaiandika Mwenyewe) 14 1.10 Muundo wa Tasnifu 17 1.11 Hitimisho 18 SURA YA PILI 19 2.0 MAPITIO YA MAANDIKO NA KIUNZI CHA NADHARIA 19 2.1 Utangulizi 19 2.2 Historia ya Filamu Afrika 19 2.3 Historia na Maendeleo ya Filamu Nchini Tanzania 21 2.3.1 Filamu Kipindi cha Ukoloni 22 2.3.2 Filamu Baada ya Ukoloni 23 2.4 Tafiti Tangulizi Kuhusu Filamu 26 2.5 Vipengele vya Lugha 27 2.5.1 Tamathali za Semi 27 2.5.2 Sitiari 28 2.5.3 Tashibiha 30 2.5.4 Tashihisi 30 2.5.5 Ishara 31 2.6 Tafiti za Lugha Katika Kazi za Fasihi 31 2.7 Mwega wa Kinadharia 34 2.8 Hitimisho 36 SURA YA TATU 37 3.0 MBINU ZA UTAFITI 37 3.1 Utangulizi 37 3.2 Eneo la Utafiti 37 3.3 Kundi Lengwa 38 3. 4 Sampuli na Mbinu za Uteuzi wa Sampuli 40 3.4.1 Uteuzi wa Madhumuni Maalumu 40 3.4.2 Uteuzi Nasibu 42 3.7 Utafiti Tangulizi 45 3.7 Mbinu za Ukusanyaji wa Data 50 3.7.1 Mbinu ya Maktaba 51 3.7.2 Mbinu ya Usaili 52 3.7.3 Mbinu ya Dodoso 54 3.7.4 Mbinu ya Majadiliano ya Vikundi 55 3.8 Zana za Kukusanyia Data 56 3.9 Uchambuzi wa Data 57 3.10 Hitimisho 58 SURA YA NNE 60 4.0 UWASILISHAJI NA UCHAMBUZI WA DATA 60 4.1 Utangulizi 60 4.2 Muhtasari wa Filamu Zilizofanyiwa Uchunguzi 60 4.2.1 Moses 60 4.2.2 My Valentine 61 4.2.3 Johari 61 4.3 Kubainisha Vipengele vya Lugha Katika Filamu za Kanumba 62 4.4 Mdafao na Ujitokezaji wa Vipengele vya Lugha 62 4.5 Usawiri wa Ujinsia katika Filamu za Kanumba 65 4.6 Usawiri wa Nafasi ya Mwanamke Katika Filamu za Kanumba 71 4.6.1 Mwanamke Kama Mama 72 4.6.2 Mwanamke Kama Chombo cha Starehe 74 4.6.3 Mwanamke Kama Kiumbe Dhaifu na Tegemezi 76 4.6.4 Mwanamke Kama Kiumbe Kisichokuwa na Maamuzi Binafsi 78 4.6.5 Mwanamke Kama Chanzo cha Matatizo 79 4.6.5 Mwanamke Kama Msaliti 80 4.6.6 Mwanamke Kama Kiumbe Mvumilivu na Mnyenyekevu 81 4.7 Tofauti ya Mwanamke na Mwanaume Katika Filamu za Kanumba 82 4.8 Hitimisho 84 SURA YA TANO 86 5.0 MUHTASARI, HITIMISHO NA MAPENDEKEZO 86 5.1 Utangulizi 86 5.2 Muhtasari wa Matokeo ya Utafiti 86 5.3 Hitimisho 89 5.4 Mapendekezo 91 MAREJEO 92 VIAMBATISHO 98 ORODHA YA VIELELEZO Kielelezo 3.1 Washiriki wa Utafiti 44 Kielelezo 4.1 Mdafao wa Ujitokezaji wa Vipengele vya Lugha 63 Kielelezo 4.2 Matokeo Kulingana na Jinsi 68 Kielelezo 4.3 Mabadiliko ya Filamu za Kanumba Kuhusu Mwanamke 69 Kielelezo 4.5 Nafasi ya Mwanamke Katika Jamii 71 ORODHA YA CHATI Chati 4 .1 Mdafao wa Vipengele vya Lugha Katika Filamu za Kanumba 63 Chati 4.2 Matokeo ya Dodoso 67 SURA YA KWANZA 1.0 UTANGULIZI WA JUMLA 1.1 Utangulizi Lugha ni mhimili wa kazi yoyote ya sanaa. Watunzi wa kazi za fasihi hutumia lugha inayoambatana na utendaji wa wahusika ili kujenga, kukuza mgogoro baina ya wahusika wa tamthiliya na kupeleka simulio mbele. Sura hii ni sura tangulizi ambayo inabainisha tatizo la utafiti lililofanyiwa uchunguzi katika utafiti huu. Sura hii imegawanywa katika sehemu saba. Sehemu ya kwanza inahusu usuli wa tatizo, sehemu ya pili inaelezea tatizo la tafiti, sehemu ya tatu inahusu malengo ya utafiti, sehemu ya nne inahusu maswali ya utafiti ambayo utafiti huu ulikusudia kuyajibu na umuhimu wa utafiti. Sehemu ya tano inajadili vikwazo ambavyo mtafiti alikabiliana navyo wakati wa ukusanyaji wa data za utafiti huu. Aidha, sehemu ya sita ya sura hii inabainisha masuala ya kiitikeli (kimaadili) ambayo mtafiti aliyazingatia kabla, wakati na baada ya kukamilisha zoezi la uksanyaji data za utafiti. Sehemu ya saba inaelezea matokeo ya utafiti wa awali ambao ulifanyika kabla ya utafiti huu kufanyika. 1.2 Usuli wa Tatizo Tamthilia ni utanzu wa fasihi ambao huwa na majibizano ya wahusika pamoja na vitendo. Kuna tamthilia andishi na simulizi; na hivyo tuseme tamthilia huweza kuwa kipengele cha fasihi andishi na simulizi (Mulokozi, 1996). Katika siku za hivi karibuni tamthilia hizi zimerekodiwa katika filamu na kuuzwa. Moja ya filamu maarufu nchini Tanzania na katika nchi nyingine za Afrika Mashariki ni filamu za Steven Kanumba. Miongoni mwa filamu zake ni pamoja na Uncle JJ, Family Tears, Wrong Marriage, Young Billionaire, Moses, My Valentine, Johari, Cross My Sin na kadhalika. Filamu hizi, zaidi ya mambo mengine, zinatumia lugha ambayo husawiri mambo kadha wa kadha katika jamii. Miongoni mwa mambo hayo ni suala la uongozi, utawala, siasa, jinsia na mambo mengineyo. Utafiti huu unakusudia kuchunguza jinsi lugha inayotumika katika filamu hizo inavyosawiri suala la jinsia. Fasihi ni kazi ya sanaa inayotumia lugha kuwasilisha ujumbe kwa hadhira kwa njia ya maandishi ama mdomo na vitendo (Mulokozi, 1996). Kwa kutumia tanzu mbalimbali za fasihi tunaweza kubadili mielekeo, mitazamo, tamaduni, imani, mila na desturi za jamii inayohusika katika muktadha na wakati mahsusi. Fasihi inaweza kutumiwa kuzuia au kuchelewesha maendeleo na mapinduzi. Fasihi inasaidia kujifunza utamaduni wa jamii; kuelewa mwelekeo, itikadi na mahitaji yao, na kuwasaidia kuitumia fasihi yao kuendeleza mazingira yao. Hivyo ni wazi kuwa fasihi huweza kuibua masuala mbalimbali yanayoibuka katika jamii na kuleta athari kwa jamii kwa haraka zaidi (Mulokozi, 1983). Fasihi ina tanzu nyingi. Mojawapo ya tanzu za fasihi ni ushairi. Ushairi ni utunzi unaotumia lugha ya mkato yenye mnato na mvuto katika kufikisha ujumbe wake kwa jamii (Mulokozi na Kahigi, 1973). Utafiti huu unachunguza usawiri wa kijinsia katika tamthilia za Kanumba ambazo alitunga ili kuona ni jinsi gani anatumia lugha kuswiri suala la jinsia katika jamii. Aidha kwa kuchunguza matumizi ya lugha katika tamthiliya za Kanumba tutaweza kubaini nafasi ya mwanamke ikilinganishwa na ile ya mwanaume na mahusiano yao katika jamii. Lugha kama zana inayotumiwa na wasanii wa kazi za sanaa katika kufikisha ujumbe kwa jamii huwa na vipengele mbalimbali vya kiisimu. Vipengele hivi hubeba dhana na ujumbe mbalimbali kwa jamii ambayo msanii amelenga ujumbe huo uifikie. Kwa maana hiyo basi, kama kazi ya fasihi filamu huwa na lengo la kuelimisha, kuonya, kuadilisha na kutunza amali za jamii. Dhima zote hizi huwasilishwa kwa kutumia lugha ambapo, mtunzi huteua maneno ambayo huyakusudia yalete athari fulani kwa jamii huku yakisawiri mahusiano ya aina mbalimbali baina ya wahusika wa kike na wa kiume kama wawakilishi wa watu wenye sifa mbalimbali katika jamii. Lugha anayopewa mhusika na msanii humsawiri mhusika huyo kama sura ya jamii nzima endapo mhusika huyo atatumiwa na mtunzi kama mhusika jumui. Hivyo basi, utafiti huu utachunguza matumizi ya lugha katika tamthiliya za Kanumba ili kuona ni jinsi namna anavyotumia lugha kusawiri suala ujinsia katika jamii. 1.3 Tatizo la Utafiti Filamu ni tasnia ambayo imeonyesha kukua kwa kiwango kikubwa na kupendwa na watu wa rika zote nchini na hata nje ya mipaka ya Tanzania. Soko la filamu hizi kwa sasa limekua sana na ni filamu zinazonunuliwa sana kwa sasa. Wasanii wa filamu wanatumia sanaa hii kama njia mojawapo ya kuelimisha jamii, kuonya, kuasa, kukosoa, kuadilisha, kutunza amali za jamii na kueleza hisia na matamanio yao kwa jamii husika. Katika kutimiza dhima hizo, wasanii hao huitumia lugha kisanii ili kujenga maudhui. Lugha inayotumika huwa na dhima kubwa ya kusawiri masuala mbalimbali yakiwemo ya kijinsia. Hata hivyo, kulingana na uelewa wangu hakuna utafiti uliokwisha fanywa kuhusu usawiri wa kijinsia katika lugha inayotumika katika filamu hizo. Utafiti huu sasa unakusudia kuchunguza matumizi ya lugha katika filamu za Steven Kanumba ili kuona ni namna gani vipengele vya lugha vinatumika kusawiri suala la jinsia na hivyo kuziba pengo lililopo sasa. 1.3 Lengo la Utafiti Utafiti huu una malengo ya namna mbili, lengo kuu na malengo mahsusi kama inavyofafanuliwa hapa chini: 1.3.1 Lengo Kuu la Utafiti Lengo kuu la utafiti huu ni kuchunguza usawiri wa kijinsia katika lugha ya filamu za Steven Kanumba ili kuona ni jinsi gani lugha inatumika kusawiri masuala ya kijinsia katika jamii. 1.3.2 Malengo Mahususi Utafiti huu una malengo mahususi matatu. 1. Kubainisha vipengele vya lugha katika filamu za Kanumba 2. Kujadili sababu za uteuzi wa lugha katika kusawiri masuala ya kijinsia 3. Kujadili jinsi vipengele vya lugha vilivyobainishwa vinavyosawiri mahusiano ya kijinsia baina ya wanawake na wanaume 4. Kujadili nafasi ya mwanamke kama inavyosawiriwa na vipengele vya lugha katika filamu za Kanumba 1.4 Maswali ya Utafiti Utafiti huu unakusudia kujibu maswali yafuatayo; 1. Ni vipengele vipi vya lugha vinavyotumika katika filamu za Kanumba? 2. Je, ni kwa nini uteuzi wa lugha ya namna fulani hufanyika katika kusawiri masuala ya kijinsia? 3. Je, vipengele vya lugha vilivyobainishwa katika filamu za Kanumba vinasawiri vipi mahusiano ya kijinsia baina ya wanawake na wanaume? 4. Je, nini nafasi ya mwanamke kama inavyosawiriwa na vipengele vya lugha katika filamu za Kanumba? 1.5 Umuhimu wa Utafiti Umuhimu wa utafiti huu umejikita katika nyanja kuu nne; kwanza, utafiti huu unawasaida wanafunzi wa elimu mitindo, wanaisimu na wanafasihi kuelewa jinsi na upekee wa mwandishi katika uteuzi wa vipengele vya lugha kiisimu katika ujenzi wa kazi za fasihi hususani katika tungo za filamu. Pili; utafiti huu utawasaidia wanafunzi na watafiti wengine kupata marejeleo na pia kuwahimiza watafiti kufanya utafiti zaidi katika kazi za fasihi simulizi na andishi hususani katika tasnia ya filamu.Tatu; utafiti huu unatoa mchango katika historia ya filamu na kutoa mchango wa maarifa kuhusu filamu na nafasi yake katika kuelezea mitazamo ya kijamii na hatimaye utatajirisha maktaba ya vyuoni nchini na duniani kote. 1.6 Mipaka ya Utafiti Utafiti huu umejikita katika kuchunguza matumizi ya lugha katika filamu za Steven Kanumba zilizotungwa kwa lugha ya Kiswahili. Steven Kanumba ameigiza, kuongoza na kutunga filamu nyingi, hivyo basi, siyo rahisi kuchunguza filamu zote za Steven Kanumba. Kwa maana hiyo utafiti huu ulichunguza filamu ambazo Kanumba alitunga hadithi ili kuona yeye kama msanii alikuwa na picha gani kuhusu mahusiano ya mwanamke na mwanaume katika jamii. Filamu zilizochunguzwa ni filamu nne tu ambazo ni Moses, My Valentine, She is My Sister v na Johari. 1.7 Uzingativu wa Maadili Kipengele hiki kinalenga kujadili masuala ya kimaadili yaliyohusika katika utafiti huu na namna mtafiti alivyoweza kuzingatia maadili ya utafiti kabla, wakati na baada ya kukusanya data. Fasili ya utafiti katika fani ya sayansi jamii inasema kwamba ni kitendo kinachohusisha ukusanyaji wa data kutoka kwa watu na wakati mwingine data zinazohusu watu (Padget, 1992; Lee, 1993; Berg, 2004). Hivyo basi, suala la kimaadili katika tafiti za sayansi jamii ni suala ambalo mtafiti hawezi kuliepuka hasa pale anapofanya utafiti wa kitakwimu au usio wa kitakwimu. Kwa mfano, Padget (2004) anabainisha kwamba, masuala ya kimaadili huibuka katika aina zote za utafiti, na utafiti usio wa kitakwimu ukiwemo. Kwa upande wa utafiti huu, ni utafiti wenye sifa za kitakwimu na zisizo za kitakwimu. Hii ina maana kwamba, ni utafiti ambao unatumia mbinu za utafiti wa kitakwimu kwa upande mmoja na usio wa kitakwimu kwa upande mwingine. Hivyo basi, data za utafiti huu zilikusanywa kwa kutumia mbinu ya usaili, dodoso, maktaba na majadiliano ya vikundi. Hii ina maana kwamba, kwa kutumia mbinu hizo, utafiti huu ulihusisha makundi ya watu tofauti tofauti, asasi na pia mahusiano ya kibinadamu na tamaduni zao. Kwa maana hiyo, ni dhahiri kwamba, kwa kufanya hivi tusingeweza kuepuka masuala ya kiamaadili na kanuni zake katika kufanya utafiti huu. Daymon na Holloway (2002) wanasisitiza kuwa wakati wa kukusanya data kupitia mahusiano ya kijamii ni muhimu kuweka mkazo wa karibu katika masuala ya kimaadili kwa sababu kuna vipengele vinayohusiana na mchakato wa kukusanya data. Masuala ya kimaadili ambayo yanapaswa kuzingatiwa katika utafiti ni pamoja na usiri, uwazi, utiifu, ushiriki wa hiari ama kujitolea kwa wahojiwa bila kulazimishwa, kuomba idhini na ruhusa ya kufanya utafiti katika maeneo ya utafiti, na uvumilivu. Haki za kisheria na vipengele vya kimaadili lazima vizingatiwe katika mbinu zote za utafiti kama ni za kitakwimu au si za kitakwimu (tazama Weiss, 1994; Lofland na Lofland 1995; Silverman, 2005; Belk, 2006). Baada ya kumaliza kuandaa pendekezo la utafiti na kufuata taratibu zote za uwasilishaji wa pendekezo la utafiti katika jopo la kurugenzi ya elimu ya juu, mtafiti alitakiwa kwenda uwandani kukusanya data. Kwa vile utafiti huu ulihusisha watu na asasi mbalimbali, na kwa vile kila asasi ina sheria, taratibu, kanuni na utamaduni wake, mtafiti alihitaji kupata kibali ambacho kilimsaidia kuingia katika maeneo husika. Kibali hiki kilikuwa ni kitu muhimu sana kwa mtafiti ili kuweza kuingia kwenye maeneo ya utafiti. Suala lingine la kimaadili ambalo mtafiti alisisitiza ni kuwaomba washiriki kushiriki kwa hiari na kujitolea katika kutoa data. Schutt (2006) anasema kuwa, kwa watafiti, ni jambo la muhimu sana kuhakikisha kwamba washiriki wa utafiti wanashiriki kwa kujitolea. Hii ina maana kwamba mtafiti anapaswa kuhakikisha kuwa wahojiwa wanaoshiriki katika kutoa data, watoe data hizo kwa hiari na uamuzi wao binafsi bila kushinikizwa. Hivyo basi, katika mchakato wa kufanya usaili na kugawa dodoso mtafiti alielezea lengo la utafiti kwa washiriki na kuwaomba wajitolee kwa hiari na kushiriki kikamilifu katika usaili na kujibu maswali yaliyopo katika dodoso. Vile vile, wakati wa kutoa maelezo tangulizi ya mwongozo wa maswali ya usaili funge na dodoso mtafiti aliweka bayana malengo ya shughuli husika. Hali kadhalika, alisisitiza kwamba wahojiwa wanaombwa kujibu maswali ya dodoso na usaili kwa hiari. Aidha, mtafiti alitumia muda huo kujadiliana na wahojiwa juu ya lengo kuu la utafiti huu na matarajio yake ili kupata mawazo, maoni na mtazamo wao. Kwa kuambiwa na kuelewa malengo ya utafiti huu, wahojiwa waliweza kutoa mawazo, maoni na mtazamo wao juu ya kile wanachofahamu kuhusiana na utafiti huu kwa uhuru zaidi. Hivyo basi, kwa kufanya haya, ilisaidia zoezi zima la utafiti na kurahisisha shughuli ya ukusanyaji wa data za utafiti huu. Jambo lingine la kimaadili ambalo mtafiti alilizingatia ni kuheshimu ridhaa ya washiriki kabla ya kutumia zana za utafiti. Hivyo basi, mbali ya usaili na dodoso, mtafiti alitumia zana za ukusanyaji data kama vile; kinasa sauti, kamera na video kamera. Kabla ya kutumia zana hizi mtafiti aliwaeleza wahojiwa sababu ya kutumia zana hizi na kuwaomba ridhaa yao. Wahojiwa walielezwa umuhimu wa kutumia zana hizo katika utafiti huu, pia walielezwa wazi kuwa kila kitu kitakachorekodiwa pamoja na picha zote zitakuwa ni siri na zitatumika kwa usiri mkubwa kwa ajili ya malengo ya utafiti huu tu na si vinginevyo. Wahojiwa walikubali na kuwa tayari kurekodiwa na kupigwa picha za kamera na video ingawa pia wapo baadhi yao ambao walionekana kutoridhika na zoezi hili. Hata hivyo, pale ambapo wahojiwa hawakuwa tayari kurekodiwa mtafiti alilazimika kuandika kila kitu kilichozungumzwa na mhojiwa katika notibuku. Pamoja na hali hiyo, tatizo hili halikuathiri mchakato mzima wa kukusanya data katika utafiti huu. Jambo lingine la kimaadili ambalo mtafiti alilizingatia wakati wa kukusanya data ni suala la usiri. Kwa kuzingatia usiri inadhihirisha kwamba data za utafiti zitatumika kiasi kwamba hakuna mtu mwingine zaidi ya mtafiti atakaye jua chanzo cha data hizo. Mtafiti lazima ahakikishe kwamba mifano kutoka katika data hazionyeshi wala kubainisha utambulisho wa mshiriki ama mhojiwa. Kwa nyongeza, data zinaweza kuhifadhiwa katika vitu mbalimbali kama vile nyaraka za maandishi, tepurekoda za usaili, tepurekoda za video, na picha. Vitu hivyo vyote vyenye uwezo wa kumtambulisha mhojiwa lazima vihifadhiwe kwa uangalifu wakati wa ukusanyaji wa data na mwishoni mwa utafiti (Silva, 1995; Kvale, 1996; Speziale na Carpenter, 2007; Bachman na Schutt, 2007). Kwa kuzingatia suala la usiri, mtafiti aliwaahidi na kuwahakikishia wahojiwa walioshiriki katika usaili na kujaza hojaji, kuwa, kila kitu katika data walizozitoa na mjadala wa data hizo utafanywa kwa usiri mkubwa. Wahojiwa hawakutakiwa kuandika majina yao ili kulinda siri ya mtoa data. Hata hivyo, ieleweke kwamba, hakuna urejelezi wa jina uliofanywa katika uchambuzi, uwasilishaji na mjadala wa data. Hata wakati wa mchakato wa kukusanya data mtafiti hakuweza kutoa siri ya data alizopewa na mhojiwa mmoja kwa mhojiwa mwingine, ikiwa ni pamoja na majina yao. Kulingana na ahadi ambayo mtafiti aliitoa kwa wahojiwa wake, data zote alizokusanya kutokana na rekodi ya usaili, rekodi za video, picha, notibuku, notisi za uwandani na taarifa za hojaji mtafiti amezitunza kwa usiri mkubwa. Hii inaonyesha kwamba mtafiti alichukua hatua muhimu katika kuzingatia vipengele vyote vya uzingativu wa maadili katika utafiti. 1.8 Matatizo ya Utafiti Katika utafiti huu yapo matatizo ambayo yalijitokeza kabla na baada ya kwenda uwandani. Matatizo, katika utafiti wa aina yoyote ile, hayawezi kuepukika. Hivyo basi si ajabu kwamba katika utafiti huu pia yapo matatizo ambayo yaliyomkabili mtafiti. Matatizo hayo ni pamoja na upungufu wa fedha za utafiti, muda mfupi ambao mtafiti alipaswa kukamilisha utafiti huu, badhi ya watafitiwa kutokuwa tayari kutoa taarifa na ucheleweshwaji wa vibali vya kuendelea na ukusanyaji data. Baadhi ya matatizo hayo kama vile ukosefu wa fedha, watafitiwa kutokuwa tayari kutoa data na ucheleweshwaji wa vibali yalimfanya mtafiti kuchelewa kuanza utafiti wake kama ambavyo alipanga kulingana na ratiba ya utafiti. Aidha, mtafiti alikabiliana na vikwazo hivi kwa kukusanya fedha kwa kunakili data katika shajara na notibuku baada ya kusikiliza tamthiliya za Kanumba. Tatizo la baadhi ya watafitiwa kutokuwa tayari kuhojiwa lilishughulikiwa kwa njia ya usampulishaji nasibu tabakishi ambapo ilichukuliwa kuwa kila memba katika sampuli ya watafitiwa ana nafasi ya kuwa sampuli ya utafiti. Hivyo, mtafitiwa aliygoma kuhojiwa baada ya kuombwa kutoa taarifa za utafiti hakulazimishwa ili kuepusha kutolewa kwa data ambayo isingefaa kwa utafiti huu. Tatitzo la kucheleweshwa kwa vibali vya utafiti lilitatutliwa kwa mtafiti kuongeza masaa ya kukusanya data kwa siku tofauti na alivyokuwa amepanga hapo awali ili kumwezesha kukusanya data ambayo ingekidhi malengo ya utafiti wake. 1.9 Historia ya Kanumba Steven Charles Kanumba alizaliwa tarehe 8 mwezi wa kwanza mwaka 1984 katika hospitali ya serikali ya mkoa wa Shinyanga mjini Shinyanga nchini Tanzania. Shinyanga ni eneo ambalo lipo katika kanda ya ziwa. Wenyeji na wakazi wa Shinyanga ni Wasukuma na Wanyantuzu ambao huishi Bariadi. Shinyanga ni moja ya mikoa 21 ya Tanzania bara. Shinyanga wenyeji wake ni Wasukuma, kwa kabila Kanumba alikuwa ni Msukuma, ambapo tunaweza kusema ni Msukuma wa Shinyanga. Tunasema ni Msukuma wa Shinyanga kwa sababu kabila la Wasukuma ni kabila ambalo limechukua Mikoa ya Mwanza na Shinyanga. Hivyo wapo wasukuma wa Mwanza na Wasukuma wa Shinyanga. Kwa asili yake ni kijana wa Kisukuma. Baba yake anaitwa Charles Kanumba na mama yake anaitwa Flora Mutegoa. Katika historia ya tasnia ya filamu nchini Tanzania, Steven Kanumba ndiye aliyekuwa msanii wa kwanza nchini kufanya kazi nje ya nchi na kuweza kuwavuta wageni kutoka nchi mbalimbali kuja kuigiza Tanzania. Hasa walikuwa Wanaigeria kama vile Mercy Johnson, Emmanuel France, Nkiru Silvanus, Ramsey Nouah, na wengine wengi tu. Kanumba pia ameweza kuwaleta waongozaji filamu kadhaa wa Kinigeria nchini Kwa kawaida Wasukuma ni wacheshi, wakarimu na wenye upendo na heshima kwa kila mtu. Hizi ni sifa ambazo The Great alikuwa nazo kulingana na marafiki zake, magazeti, vyombo vya habari na televisheni ambazo zilimwelezea Kanumba kwa sifa hizi. Rejea mahojiano ya Janeth mtangazaji wa Televisheni ya Clouds alipohojiwa katika kipindi maalumu kuhusu Kanumba tarehe 7 mwezi wa 4 2012. Alimwelezea Kanumba kama kijana mpole aliyependa kusikiliza na kusaidia kila mtu, kijana mcheshi na mkarimu. Steven alianza masomo yake katika shule ya msingi ya Buyogi, iliyopo mkoani Shinyanga na baada ya elimu ya msingi alijiunga na shule ya sekondari ya Mwadui. Akiwa kidato cha nne alipata uhamisho na kuhamia katika shule ya sekondari ya Dar Christiana Seminary iliyopo jijini Dar es salaam. Baada ya kuhitimu kidato cha nne Kanumba aliendelea na masomo ya kidato cha tano na sita katika shule ya sekondari ya Jitegemee iliyopo jijini Dar es salaam. Lugha kuu ambazo alikuwa akiongea ni lugha mama yake ya Kisukuma, Kiswahili pamoja na Kiingereza. Steven Charles Kanumba alikuwa ni muigizaji na muongozaji wa filamu nchini Tanzania. Alifariki dunia akiwa na umri wa miaka 28 tarehe 7 April 2012. Inasemekana zaidi ya watu 40, 0000 walihudhuria maziko yake akiwemo mke wa Rais Mama Salma Kikwete, Makamu wa Rais Dkt. Mohamed Gharib Bilal na Waziri wa Habari, Utamaduni na Michezo wa wakati ule Mheshimiwa Emmanuel Nchimbi. Steven Kanumba alizikwa katika makuburi ya Kinondoni. Msanii huyu anayesemekana kuwa msanii nyota mkubwa wa filamu nchini Tanzania na pia ndiye msanii aliyeonekana katika filamu za Nollywood. Kanumba alianza kuigiza katika miaka ya tisini ambapo aliigiza maigizo ya kanisani. Mwaka 2001 alijiunga na kundi la sanaa la Kaole lililopo jijini Dar es salaam. Kwa mara ya kwanza lionekana katika michezo ya kuigiza ya televisheni kupitia michezo ya kuigiza ya Jahazi na Dira. Baadaye alitengeneza filamu yake ya kwanza iliyojulikana kama Haviliki. Mwaka 2006 alionekana katika filamu ya Dar 2 Lagos filamu iliyongozwa na Mtitu Game. Filamu iliyowahusisha wanaigeria na watanzania. Mwaka 2009 alikuwa mgeni maalumu katika mashindano ya Big brother Africa yaliyofanyika Afrika Kusini. Mwaka 2011 alitangazwa kuwa balozi wa Oxfam GROW. Kabla ya kifo chake alikuwa najiandaa kwenda kuigiza katika filamu za Hollywood. Kanumba alianza uigizaji miaka ya 90. Katika miaka ya 2002 nyota ya msanii huyu iling’ara na kuwaka katika sanaa ya uigizaji wa filamu ambapo alipata umaarufu mkubwa na kujulikana katika kila kona za nchi ya Tanzania. Kulingana na gazeti la Majira la tarehe 11 mwezi April 2012 katika toleo maalumu Kanumba alifahamika zaidi miaka ya 2002 alipojiunga na kundi la sanaa ya maigizo maarufu kama Kaole Sanaa Group. Akiwa kama muigizaji aliifanya kama kazi na kitu ambacho alikipenda. Katika mahojiano yake na Clouds TV ya 2012. Alieleza kwamba aliifanya kazi ya uigizaji kama kitu pekee ninachokipenda na kama kazi inayoniingizia kipato. Hivyo basi, Kanumba alipambana kuonyesha kipaji chake na pia kuwaburudisha kuwaelimisha, na kuwaonya watazamaji wake. Filamu alizotunga ni Johari, Gharika, Baragumu, Sikitiko Langu, Johari 2, Dangerous Desire, Dar 2 Lagosi, Cross My Sin, Village Paster, Family Tears. Filamu alizokwisha igiza ni pamoja na; Jahazi, Dira, Tufani, Gharika, Baragumu, Sikitiko Langu, Johari, Dangerous Desire, Dar 2 Lagosi, Riziki, Cross My Sin na The Point of no Return. Alifanya kazi nyingi ikiwemo uigizaji katika televisheni, uigizaji wa filamu, uongozaji wa filamu, uandishi wa maelezo ya filamu na pia alipata tuzo mbalimbali katika enzi za uhai wake. 1.9.1 Sehemu Ifuatayo Inaonyesha Kazi Alizofanya Filamu ambazo Kanumba ameshiriki kama mwigizaji ni pamoja na Haviliki, Neno, Ulingo, Riziki, Sikitiko Langu, Dangerous Desire, My Sister, Penina, Cross My Sin, A Point Of No Return, The Lost Twins, The Stolen Will, Village Pastor, Magic House, Oprah, Red Valentine, Family Tear, The Movie’s Director, Fake Smile, Unfortunate Love, Hero Of The Church, Saturday Morning, Shauku, Crazy Love, 2006 Johari, 2006 Dar 2 Lagos, 2010 More Than Pain, 2010 Young Billionare, 2010 Uncle JJ, 2010 This Is It, 2010 Off Side, 2011 Deception, 2011 Devil Kingdom, 2011 The Shock, na 2011 Moses. Aidha, Kanumba amewahi kuongoza filamu mbalimbali. Miongoni mwa filamu ambazo ameshiriki katika uongozaji wake ni: Mr Bahili, Kaka Benny, Lango La Jiji, Papara, Super Model, 2010 Young Billionare, 2010 More Than Pain, 2010 Uncle JJ, 2010 This Is It, 2011 Deception, 2011 Devil Kingdom, 2011 The Shock, 2011 Moses. 1.9.2 Tuzo Alizowahi Kupata Vilevile kutokana na kazi za sanaa ambazo Kanumba ameshiriki amepewa tuzo mbambali kutokana na umahiri alioonesha katika kazi hizo. Baadhi ya tuzo alizopata ni: 2006 Best Actor of the Year, 2007 Best Actor in Tanzania Award na 2007/2008 Best Artist of the Year Award. Kanumba alianza uigizaji miaka ya 90. 1.9.3 Tawasifu ya Kanumba (kaiandika mwenyewe) Kulingana na mtandao wa kijamii facebook Kanumba aliandika profile yake mwenyewe kuhusu yeye alizaliwa wapi na lini na amefanya nini katika maisha yake ya sanaa. Profile hiyo inajionesha kama ifuatavyo; Steven Charles Kanumba is my name, i was born in a Christian family of 2 girls and i happen to be the last born and the only boy to Mr. & Mrs. Charles Meshark Kanumba. I was given birth on january 8th 1984. I originate from Shinyanga Region in Tanzania. I am Sukuma by Tribe. I completed my Primary Education in Bugoyi Primary School in Shinyanga. After completing my primary education i started my secondary education right away in Mwadui Seminary Secondary School in Shinyanga where by I shifted to Dar-es-salaam Christian Seminary Secondary school here in Dar-es-salaam when I was still in form II and completed my O-Level Education there. Thereafter I moved to Jitegemee Sec. School to complete my A. Level Education. Growing up, acting has always been something that I really liked to do. Apart from that i also liked singing and that made me grave to be an artist while I was still in teens, still in school ie. I started acting in church a lot of people told me i had a talent so I decided to join Kaole Sanaa Group which delt with Acting. After joining Kaole Sanaa Group I met different Teachers from Bagamoyo and other College who helped me to build up my career of Acting for a period of 1 year, after that I got a special Training from University of Dar es salaam Under Doctor Nyoni for about 3 months therefore I was sure to go to work and indulge myself in Soap Operas/Series. I then took acting as my career. Little by little I got to win peoples' attention which made me work even harder and become successful. After all the hard work that I kept in series I decided to play a part in movies so I took a step forward and associate myself in film industry. I happen to do a lot of movies that did very well in the market and I’m still doing movies up today and it just get better day by day. in addition to this I archieved a lot through my hard work that is prestigious awards, travel across different countries, working with people from different part of the world meeting different people and learn new things and experiencing different life. I also got to get to work with Nollywood in Nigeria where by I did more than five movies with famous actors from Nolllywood, it was the wonderfull experience. I also got a chance to Visit The United States of America and there is where i got the experience of a lifetime I got visit Hollywood, Warner Bros Pictures, Universal Studios and Disney Land, I learnt a lot I met people who work there so I got to ask alot of Quaestions and gained a lot of knowledge. Speaking about me as Steven Kanumba i'm a very down to earthguy I like hanging out with my friends and I like to associates myself with people, I love children with all my life, I'm just a simple guy, I'm not outgoing a lot, I love going to movies and just be chilled out and relaxed places. I'm not married for the time being but I am in a commitment in the name of God I hope that one day we will get married. I would like to end with my most sincerly appreciation, first and foremost I would like to thank God Almighty for giving and Blessing me a beautiful talent cause apart from acting being my Job, it also happen to be something I love doing and when I am at it I do it with passion. I would also like to thank my whole family but special a
AHMAD ABDALLA SUWED(12-2013)

ﺗﺗﻣﺣور ﻣﺷﻛﻠﺔ اﻟدراﺳﺔ ﻓﻲ ﻣﺣﺎوﻟﺔ ﻣﻌرﻓﺔ واﻗﻊ اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻓﻲ اﻟﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ اﻟﻣﻌﺎﺻرة ﻣﻧذ ﺑداﯾﺗﮭﺎ ﺧﻼل اﻟﻘرن اﻟﻣﺎﺿﻲ وﺣﺗﻰ وﻗﺗﻧﺎ وذﻟك ﻟﻺﺟﺎﺑﺔ ﻋﻠﻰ ﺗﺳﺎؤﻻت اﻟرﺳﺎﻟﺔ واﻟﺗﺣﻘق ﻣن ﻓروﺿﮭﺎ ﻟﻐرض ﺗﺣﻘﯾق ،اﻟﺣﺎﺿر أھداﻓﮭﺎ ، اﻟﺗﻲ ﻣن أھﻣﮭﺎ : -ﺗوﺿﯾﺢ اﻟﻘﯾم اﻟﺟﻣﺎﻟﯾﺔ اﻟﺗﻲ ﺗﻘوم ﻋﻠﯾﮭﺎ اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻓﻲ ﻓن 1 اﻟﺗﺻوﯾر ﺑﺻﻔﺔ ﻋﺎﻣﺔ ﺑﻣﺧﺗﻠف أﺳﺎﻟﯾﺑﮫ واﺗﺟﺎھﺎﺗﮫ . وأھم ﺳﻣﺎﺗﮭﺎ وﺧﺻﺎﺋﺻﮭﺎ ، -اﻟﺗﻌرف ﻋﻠﻰ واﻗﻊ ﻓن اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ 2 ﺿﻣن أطﺎر اﻟﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ اﻟﻣﻌﺎﺻرة . -اﻟﻛﺷف ﻋﻠﻰ ﻣدى ﻗدرة اﻟﻔﻧﺎن اﻟﺗﺷﻛﯾﻠﻲ اﻟﻠﯾﺑﻲ ﻋﻠﻰ ﺗﻧﺎول ﻣوﺿوع اﻟﺻورة 3 واﻟﻣوﺿوﻋﻲ ﻷﻋﻣﺎل ، اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻣن ﺧﻼل اﻟدراﺳﺔ واﻟﺗﺣﻠﯾل اﻟﻌﻠﻣﻲ ، اﻟﻌدﯾد ﻣن اﻟﻔﻧﺎﻧﯾن اﻟﺗﺷﻛﯾﻠﯾﯾن اﻟﻠﯾﺑﯾﯾن اﻟذﯾن ﺗﻧﺎوﻟوا ھذا اﻟﻣوﺿوع ﻣﺣل اﻟدراﺳﺔ واﻟﻛﺷف ﻋن اﻟﻘﯾم اﻟﺟﻣﺎﻟﯾﺔ واﻹﺑداﻋﯾﺔ ﻓﯾﮫ . ﺣﯾث ، وﻗد ﺗﺿﻣﻧت اﻟدراﺳﺔ ﺳﺗﺔ ﻓﺻول، ﺗﺿﻣن اﻟﻔﺻل اﻷول ﻣﻧﮭﺟﯾﺔ اﻟدراﺳﺔ ﻛﻛل وﻓروﺿﮭﺎ وﺣدودھﺎ اﻟزﻣﺎﻧﯾﺔ ،وأھداﻓﮭﺎ ،وأھﻣﯾﺗﮭﺎ ، ﺗم ﻋرض ﻣﺷﻛﻠﺔ اﻟدراﺳﺔ ، واﻟدراﺳﺎت اﻟﺳﺎﺑﻘﺔ اﻟﻣرﺗﺑطﺔ ﺑﮭﺎ ، أﻣﺎ اﻟﻔﺻل اﻟﺛﺎﻧﻲ ،واﻟﻣﻛﺎﻧﯾﺔ وﺗﺣدﯾد ﻣﺻﻠﺣﺎﺗﮭﺎ وﺗوﺿﯾﺢ ﻣﻔﮭوﻣﮭﺎ اﻟﻔﻧﻲ اﻷﻛﺛر ﻋﻣﻘﺎ ً ،ﻓﺗﺿﻣن ﺗﻌرﯾف اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻣن ﻣﺟرد ﺗﺣﻘﯾق اﻟﺷﺑﮫ وﻧﻘل اﻟﺷﺧﺻﯾﺔ ﻧﻘﻼً ﺣرﻓﯾﺎ ًﺳطﺣﯾﺎ ً، وﺗﺗطرق اﻟﺑﺎﺣث ﻓﻲ ھذا وﻛذﻟك اﻟﻌﻧﺎﺻر اﻟﻣﻛوﻧﺔ ،اﻟﻔﺻل إﻟﻰ أوﺿﺎع رﺳم اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻣﻊ ذﻛر أﻧواﻋﮭﺎ ﻣن ﺣﯾث ﺗﻧﺎوﻟﮭﺎ ،واﻟﺻﯾﺎﻏﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ ﻟﮫ ،ﻟﮭذا اﻟﻣوﺿوع ﻟﻠﺷﺧﺻﯾﺔ اﻟﻣرﺳوﻣﺔ ، وﺗﻧﺎوﻟت اﻟدراﺳﺔ ﻓﻲ اﻟﻔﺻل اﻟﺛﺎﻟث ﻣن ﺧﻼل ﻣﻧﮭﺞ اﻟﺑﺣث اﻟﺗﺎرﯾﺧﻲ ﻣراﺣل ﺗطور رﺳم اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﺗﺎرﯾﺧﯾﺎ ً ، ﺣﯾث ﯾﺳﺗﻌرض اﻟﺑﺎﺣث ﺗﺎرﯾﺦ رﺳم اﻟﺑورﺗرﯾﮫ ﻣن ﺧﻼل أرﺑﻊ ﻓﺗرات ﺗﺎرﯾﺧﯾﺔ ﻣن ﺗﺎرﯾﺦ اﻟﻔن ، وﻓﯾﮫ اﺳﺗﻌرﺿت ، اﻟﺟزء اﻷول وھو اﻟﺻور اﻟﺷﺧﺻﯾﺔ ﻓﻲ اﻟﺣﺿﺎرات اﻟﻘدﯾﻣﺔ اﻟدراﺳﺔ أھم رﺳوم اﻟﺻور اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ اﻟﺗﻲ ظﮭرت ﻣن ﺧﻼل اﻟﺣﺿﺎرة وھﯾرﻛﺎﻻﻧوم ،ﻣﺗﻣﺛﻠﺔ ﻓﻲ اﻟﺻور اﻟﺷﺧﺻﯾﺔ اﻟﻣﻛﺗﺷﻔﺔ ﻓﻲ ﻣدﯾﻧﺔ ﺑوﻣﺑﺎي ،اﻟروﻣﺎﻧﯾﺔ ﻓﻲ اﻟﻘرن اﻟﺳﺎدس ﻋﺷر ﺣﯾث ﯾﻣﻛن اﻋﺗﺑﺎرھﺎ ﺑداﯾﺔ ﻟرﺳم اﻟﺻور اﻟﺷﺧﺻﯾﺔ وﻣن ،واﻟﻔرﯾﺳﻛو ، ﺑﻣﻔﮭوﻣﮭﺎ اﻟﻣﺗﻌﺎرف ﻋﻠﯾﮫ ، اﻟﺗﻲ ﻛﺎﻧت اﻏﻠﺑﮭﺎ ﻣﻧﻔذة ﺑﺎﻟﻔﺳﯾﻔﺳﺎء ﺛم ﺗﻧﺎوﻟت اﻟدراﺳﺔ ﻓﻲ ھذا اﻟﻔﺻل اﻟﺻور اﻟﺷﺧﺻﯾﺔ ﻟﻣوﻣﯾﺎءات اﻟﻔﯾوم ،اﻟﺗﻲ اﻛﺗﺷﻔت م ،اﻟﺗﻲ ﺗﻌود ﻟﻠﻘرون اﻷوﻟﻰ ﻟﻠﻣﯾﻼد ﻓﻲ ﻣدﯾﻧﺔ اﻟﻔﯾوم ﺧﻼل ﻓﺗرة اﻟوﺟود 1888ﺳﻧﺔ وﻣﺎ ﻣﺛﻠﺗﮫ ﺗﻠك اﻟرﺳوم ﻣن أھﻣﯾﺔ ﻓﻲ ﺗﺎرﯾﺦ رﺳم اﻟﺑورﺗرﯾﮫ ﻣن ،اﻟروﻣﺎﻧﻲ ﻓﻲ ﻣﺻر واﻟﺗﻘﻧﯾﺔ ﺑﺷﻛل ﻏﯾر ﻣﺳﺑوق ﻓﻲ اﻟﻔﻧون اﻟﺳﺎﺑﻘﺔ ،وﻣن ﺛم ﺗطرﻗت ،ﻧﺎﺣﯾﺔ اﻟﻣﻌﺎﻟﺟﺔ ،وﻣﻧﮭﺎ اﻟﻔن اﻟﻣﺳﯾﺣﻲ ،اﻟدراﺳﺔ ﻓﻲ اﻟﺟزء اﻟﺛﺎﻧﻲ إﻟﻰ ﻓﻧون اﻟﻌﺻور اﻟوﺳطﻰ واﻟﻘدﺳﯾﺔ اﻟدﯾﻧﯾﺔ ، ﻣﺗﻣﺛﻼ ﻓﻲ اﻹﯾﻘوﻧﺎت واﻟرﺳوم اﻟدﯾﻧﯾﺔ ، اﻟﺗﻲ ﻛﺎﻧت ﺗﺗﻣﯾز ﺑﺎﻟرﻣزﯾﺔ وﺗطرﻗت اﻟدراﺳﺔ ﻟﻠﻔن اﻹﺳﻼﻣﻲ ، اﻟذي أوﺿﺣت ﻓﯾﮫ اﻧﮫ وﺑﺎﻟرﻏم ﻣن أﺗﺟﺎه اﻟﻔن اﻹﺳﻼﻣﻲ ﻟﻠﻌﻧﺎﺻر اﻟﺗﺟرﯾدﯾﺔ ، اﻟﺗﻲ ﯾﻘوم ﻋﻠﯾﮭﺎ ﻣﺗﻣﺛﻼ ﻓﻲ اﻟزﺧرﻓﺔ اﻟﮭﻧدﺳﯾﺔ واﻟﻧﺑﺎﺗﯾﺔ واﻟﺧطﯾﺔ ﻓﺈن أن ھﻧﺎك اﻟﻌدﯾد ﻣن اﻷﻣﺛﻠﺔ ﻓﻲ ﺗﺎرﯾﺦ اﻟﻔن اﻹﺳﻼﻣﻲ ﻟﺗﻧﺎول اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ، اﻟﺗﻲ ظﮭرت ﻣن ﺧﻼل اﻟﺻور اﻟﻣﻧﻘوﺷﺔ ﻋﻠﻰ اﻟﻧﻘود ﻓﻲ وﻛذﻟك ﻣن ﺧﻼل اﻟﺻور اﻟﺷﺧﺻﯾﺔ اﻟﺗﻲ ، اﻟﺳﻧوات اﻷوﻟﻰ ﻟﻠﻌﺻر اﻹﺳﻼﻣﻲ اﺳﺗﺧدﻣت ﻓﻲ اﻟﻌدﯾد ﻣن اﻟﻛﺗب اﻷدﺑﯾﺔ واﻟﺗﺎرﯾﺧﯾﺔ ﻛرﺳوم ﺗوﺿﯾﺣﯾﺔ ﻓﻲ ﻣﺧﺗﻠف اﻟﻣﻧﺎطق اﻹﺳﻼﻣﯾﺔ ﻓﻲ ﻓﺗرات ﻣﺧﺗﻠﻔﺔ ، واﻟﺟزء اﻟﺛﺎﻟث ﻣن اﻟﻔﺻل اﻟﺛﺎﻟث ﺗﻧﺎوﻟت ﻓﯾﮫ اﻟدراﺳﺔ اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﻓﻲ ﻋﺻر اﻟﻧﮭﺿﺔ واﻟذي ﯾﻌﺗﺑر ﻣن اﻟﻔﺗرات اﻟﻣﮭﻣﺔ واﻟﺗﺎرﯾﺧﯾﺔ ﻓﻲ ﺗﺎرﯾﺦ اﻟﻔن ﺑﺷﻛل ﻋﺎم واﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﺑﺷﻛل ﺧﺎص وأﻟﻘت اﻟدراﺳﺔ اﻟﺿوء ﻓﻲ ھذا اﻟﺟزء ﻋﻠﻰ أھم اﻟﻔﻧﺎﻧﯾن اﻟذﯾن ﺗﻧﺎوﻟوا اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ،ﻣﺳﺗﻌرﺿﮫ ﻷھم أﻋﻣﺎﻟﮭم وﻣﻧﮭم اﻟﻔﻧﺎن ﻓﺎن أﯾك ،ﻓﻲ ھذه اﻟﺣﻘﺑﺔ اﻟﺗﺎرﯾﺧﯾﺔ ﺛم ﺗﻧﺗﻘل اﻟدراﺳﺔ ،وﻏﯾرھم ،وﺟﯾورﺟﯾوﻧﻰ ،وﻟﯾوﻧﺎردو داﻓﻧﺷﻰ ووأﻟﺑرﺧت دورر ﻣﺗﺗﺑﻌﺎ ﻓﯾﮭﺎ اﻟﺑﺎﺣث ﺗﺗطور رﺳم اﻟﺻورة ، ﻟﻠﻣراﺣل اﻟﻼﺣﻘﺔ ﻣن ﺗﺎرﯾﺦ اﻟﻔن وﻣﺎ ظﮭر ﻓﯾﮭﺎ ﻣن اﺧﺗﻼف ﻓﻲ ،اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻓﻲ اﻟﻣدارس اﻟﻔﻧﯾﺔ اﻟﻣﺧﺗﻠﻔﺔ اﻷﺳﻠوب واﻟﻣﻌﺎﻟﺟﺔ وﺗوﺿﯾﺢ أھم ﺳﻣﺎت ﻛل ﻣدرﺳﺔ ﻓﻲ ﺗﻧﺎوﻟﮭﺎ ﻟﻠﻣوﺿوع ﻣﺣل اﻟدراﺳﺔ واﻟﺗرﻛﯾز ﻋﻠﻰ أھم اﻟﻔﻧﺎﻧﯾن اﻟذﯾن ﺗﻣﯾزوا ﺑرﺳم اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ واﻟﻛﻼﺳﯾﻛﯾﺔ اﻟﺟدﯾدة ،واﻟرﻛوﻛو ، ﺑداﯾﺔ ﻣن ﻓﺗرة اﻟﺑﺎروك، وأھم أﻋﻣﺎﻟﮭم ﺑﺎﻟﺧﺻوص وﺻوﻻً إﻟﻰ ﻓﺗرة ظﮭور اﻟﻔن اﻟﺣدﯾث ﻣﺗﻣﺛﻼ ﺑداﯾﺔ ﻓﻲ واﻟواﻗﻌﯾﺔ،و اﻟروﻣﺎﻧﺗﯾﻛﯾﺔ اﻻﻧطﺑﺎﻋﯾﺔ ﻓﻲ ﻧﮭﺎﯾﺔ اﻟﻘرن اﻟﺗﺎﺳﻊ ﻋﺷر ﻛﻧﻘطﺔ ﺗﺣول ﻣﮭﻣﺔ ﻓﻲ اﻻﻧﺗﻘﺎل ﻣن اﻟﻔن وﻣن ﺛم ﺗﻧﺗﻘل اﻟدراﺳﺔ ﻟﻣدارس اﻟﻔن اﻟﺣدﯾث اﻷﺧرى ، اﻟﻛﻼﺳﯾﻛﻲ ﻟﻠﻔن اﻟﺣدﯾث واﻟﺗﻌﺑﯾرﯾﺔ ، وﯾﺗﻧﺎول اﻟﻔﺻل اﻟراﺑﻊ اﻟﺻورة ، واﻟﻣﺳﺗﻘﺑﻠﯾﺔ ، واﻟﺗﻛﻌﯾﺑﯾﺔ ،اﻟوﺣﺷﯾﺔ اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻓﻲ اﻟﻔن اﻟﺗﺷﻛﯾﻠﻲ اﻟﻠﯾﺑﻲ اﻟﻣﻌﺎﺻر ،اﻟذي ﻣن ﺧﻼﻟﮫ اﺳﺗﻌرﺿت واﻟﺛﻘﺎﻓﯾﺔ ﺧﻼل ﻓﺗرة اﻟﺣﻛم اﻟﻌﺛﻣﺎﻧﻲ ، اﻟدراﺳﺔ ﺑداﯾﺔ ﺑﺷﻛل ﻣوﺟز اﻟﺣﯾﺎة اﻟﻔﻛرﯾﺔ واﻻﺳﺗﻌﻣﺎر اﻻﯾطﺎﻟﻲ ﻟﻠﯾﺑﯾﺎ ، اﻟذي ﺧﻠﺻت ﻓﯾﮫ اﻟدراﺳﺔ إﻟﻰ إن ﺧﻼل ﻓﺗرة اﻟﺣﻛم اﻟﻌﺛﻣﺎﻧﻲ واﻻﺳﺗﻌﻣﺎر اﻻﯾطﺎﻟﻲ ﻟﻠﯾﺑﯾﺎ ﻟم ﺗﻠ َق اﻟﺣﯾﺎة اﻟﺛﻘﺎﻓﯾﺔ واﻟﻌﻠﻣﯾﺔ ﻋﺎﻣﺔ واﻟﻔن اﻟﺗﺷﻛﯾﻠﻲ ﺑﺷﻛل ﺧﺎص اﻻھﺗﻣﺎم واﻟرﻋﺎﯾﺔ ﻣﻣﺎ ﻛﺎن ﻟﮫ أﺛره اﻟواﺿﺢ ﻓﻲ ﺗﺄﺧر ظﮭور ﺣﯾث اﺗﺳﻣت ﺗﻠك اﻟﻔﺗرة ﻣن ﺣﯾﺎة اﻟﺷﻌب ،اﻟﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ ﺑﺷﻛﻠﮭﺎ اﻟﺣﻘﯾﻘﻲ واﻟﺣرﻣﺎن ، وﻛﺎن ﺟل اھﺗﻣﺎم اﻹﻧﺳﺎن واﻧﺷﻐﺎﻟﮫ ﺑﺗوﻓﯾر اﻟﺣﯾﺎة اﻵﻣﻧﺔ ،اﻟﻠﯾﺑﻲ ﺑﺎﻟﻌوز ﻣن ﺛم ﺗﺳﺗﻌرض اﻟدراﺳﺔ ﺑﺷﻛل ﻋﺎم ، اﻟﻣﺳﺗﻘرة ﺑﻌﯾد اً ﻋن ھﯾﻣﻧﺔ اﻟﻘوى اﻷﺟﻧﺑﯾﺔ ﺳﻣﺎت واﺗﺟﺎھﺎت اﻟﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ اﻟﻣﻌﺎﺻرة ﻓﻲ ﻣراﺣﻠﮭﺎ اﻟﻣﺧﺗﻠﻔﺔ ﻣﻧذ ﺑداﯾﺗﮭﺎ ﻣﺑﯾﻧﺔ أھم ﻣراﺣﻠﮭﺎ وﺗطورھﺎ ،ﺛم ﺗﻠﻘﻰ اﻟدراﺳﺔ اﻟﺿوء ﺑﺷﻛل ﻣن ،وﺣﺗﻰ ﯾوﻣﻧﺎ ھذا اﻟﺗﻔﺻﯾل ﻋﻠﻰ ﻣراﺣل ﺗﺗطور رﺳم اﻟﺻورة اﻟﺷﺧﺻﯾﺔ اﻟﻧﺻﻔﯾﺔ ﻓﻲ ﺣرﻛﺔ اﻟﺗﺷﻛﯾل اﻟﻠﯾﺑﻲ واﺳﺗﻌراض ﻷھم اﻟﻔﻧﺎﻧﯾن اﻟذﯾن ﺗﻧﺎوﻟوا اﻟﻣوﺿوع ﻣﺣل اﻟدراﺳﺔ ﻓﻲ اﻟﻔﺗرات وﺗﻣﯾزوا ﻓﯾﮫ ، وﻗﺎﻣت ، اﻟزﻣﻧﯾﺔ اﻟﻣﺧﺗﻠﻔﺔ ﻟﮭذه اﻟﺣرﻛﺔ ، اﻟذﯾن أوﻟوھﺎ أھﻣﯾﺔ ﺧﺎﺻﺔ اﻟدراﺳﺔ ﻓﻲ اﻟﻔﺻل اﻟﺧﺎﻣس وﻣن ﺧﻼل اﻟﻣﻧﮭﺞ اﻟﺗﺣﻠﯾﻠﻲ ، اﻟذي ﯾﻘوم ﻋﻠﻰ اﻟﺗﺣﻠﯾل ﺗﺗﻧﺎول اﻟدراﺳﺔ ﻋرض وﺗﺣﻠﯾل ﻣﺧﺗﺎرات ﻣن اﻷﻋﻣﺎل ، اﻟﻌﻠﻣﻲ واﻟﻣوﺿوﻋﻲاﻟﺗﺻوﯾرﯾﺔ ﻟﻣوﺿوع اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﻟﻌدد ﻣن اﻟﻔﻧﺎﻧﯾن ﻓﻰ ﻓﺗرات ﻣﺧﺗﻠﻔﺔ ﻣن اﻟﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ ، وھم ﻋوض ﻋﺑﯾدة ،وﻋﻠﻲ ﻗﺎﻧﺎ ، ورﻣﺿﺎن اﻟﺑﻛﺷﯾﺷﻲ، اﻟذﯾن ﻛﺎن ﻟﮭم إﻧﺗﺎﺟﮭم اﻟﻔﻧﻲ اﻟﻣﺗﻣﯾز ﻟﮭذا ، وﻣﺣﻣود اﻟﺣﺎﺳﻲ ، وﻋﺑد اﻟرزاق اﻟرﯾﺎﻧﻲ اﻟﻣوﺿوع ﻣﺣل اﻟدراﺳﺔ وﻣن ﺧﻼل اﻟﻔﺻل اﻟﺳﺎدس ﯾﺗم ﻋرض اﻟﻧﺗﺎﺋﺞ واﻟﺗوﺻﯾﺎت وﻛﺎﻧت ﻧﺗﺎﺋﺞ اﻟدراﺳﺔ ﻛﺎﻵﺗﻲ : -ﺗم ﺗﺣدﯾد ﻣﻔﮭوم واﺿﺢ ﯾﻌﺗﻣد ﻋﻠﻰ أﺳس ﻓﻧﯾﺔ ﺻﺣﯾﺣﺔ ﻟﻠﺻورة اﻟﺷﺧﺻﯾﺔ 1 اﻟﻧﺻﻔﯾﺔ ، ﻣن ﺣﯾث ھﻲ ﻟﯾﺳت ﻋﻼﻗﺔ ﺗﺳﺟﯾﻠﯾﺔ ﺳطﺣﯾﺔ ﻣﻊ اﻟﺷﺧﺻﯾﺔ اﻟﻣرﺳوﻣﺔ ﻟﻣﺟرد ﻧﻘل اﻟﺷﺑﮫ وإﻧﻣﺎ ھﻲ اﺑﻌد ﻣن ذﻟك وأﻛﺛر ﻋﻣﻘﺎ ﺑﺎﻟﻘراءة اﻟﻌﻣﯾﻘﺔ ﻟﻠﺷﺧﺻﯾﺔ واﻟﻛﺷف ﻋن أﺑﻌﺎدھﺎ اﻟﻧﻔﺳﯾﺔ ، اﻟﺗﻲ ﯾظﮭر ﻓﯾﮭﺎ اﻟﻔﻧﺎن اﻧﻔﻌﺎﻻﺗﮫ اﻟداﻟﺔ ﻋﻠﻰ ھذه اﻟﺷﺧﺻﯾﺔ ﻓﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﺗﻣﯾز اﻟﺷﺧﺻﯾﺔ وﺗﻔردھﺎ ﯾﺳﻌﻰ اﻟﻔﻧﺎن ﻣن ﺧﻼل اﻟﻣوﺿوع إﻟﻰ ﻋﻣل ﻓﻧﻲ ﯾﺗﻣﺗﻊ ﺑﺷروط ﻓﻧﯾﺔ وﻗﯾم ﺟﻣﺎﻟﯾﺔ . -ﺗم ﺗﺣﻘﯾق ﺻﺣﺔ ﻓرﺿﯾﺔ اﻟدراﺳﺔ ، اﻟﺗﻲ ﻣﻔﺎدھﺎ إن رﺳم اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﻟم 2 ﯾﻠق اﻻھﺗﻣﺎم ﺑﺎﻟﻘدر اﻟﻛﺎﻓﻲ ﻣن اﻟﻔﻧﺎﻧﯾن اﻟﺗﺷﻛﯾﻠﯾن اﻟﻠﯾﺑﯾﯾن ﺑﺧﺎﺻﺔ ﻓﻲ اﻟﻣراﺣل اﻷوﻟﻰ ﻟﻠﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ اﻟﻣﻌﺎﺻرة ، اﻟﺗﻲ ﯾرﺟﻊ أﺳﺑﺎﺑﮭﺎ ﺣﺳب ﻣﺎ أظﮭرﺗﮫ اﻟدراﺳﺔ واﻟظروف اﻟﻣﺣﯾطﺔ ﺑﮭﺎ ﻓﻲ ﺑداﯾﺎﺗﮭﺎ ،وﺧﻼل اﺳﺗﻌراﺿﮭﺎ ﻟﻠﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ اﻟﻠﯾﺑﯾﺔ وﻣﻌﺎھد ، إﻟﻰ ﻏﯾﺎب دور اﻟﻣؤﺳﺳﺎت اﻟﺗﻌﻠﯾﻣﯾﺔ اﻟﻣﺗﺧﺻﺻﺔ ﻣن ﻛﻠﯾﺎت ﻓﻧون ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﻏﯾﺎب اﻟﻣراﺳم اﻟﺧﺎﺻﺔ ﺑﺗﻌﻠﯾم اﻟرﺳم وﻓق ﻣﻧﺎھﺞ أﻛﺎدﯾﻣﯾﺔ ﺻﺣﯾﺣﺔ وﻛذﻟك ﻗﻠﺔ اﻟﻧوادي واﻟﺟﻣﻌﯾﺎت اﻟﺧﺎﺻﺔ ﺑﺎﻟﻔن اﻟﺗﺷﻛﯾﻠﻲ ﺧﻼل ﺗﻠك اﻟﻔﺗرة ﻣن اﻟﻧﺻف اﻷول ﻣن اﻟﻘرن اﻟﻌﺷرﯾن واﻟﺗﻲ ﻛﺎن ﻟﮭﺎ أﺛرھﺎ اﻟﺳﻠﺑﻲ ﻟﻠﺣرﻛﺔ اﻟﺗﺷﻛﯾﻠﯾﺔ ﺑﺻﻔﺔ ﻋﺎﻣﺔ وﻋﻠﻰ ﺗﻧﺎول ﻣوﺿوع اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﺑﺻﻔﺔ ﺧﺎﺻﺔ ،اﻟذﯾن أُﺗﯾﺣت ﻟﻠﺑﻌض ، -أظﮭرت اﻟدراﺳﺔ إن اﻟﻔﻧﺎﻧﯾن اﻟﺗﺷﻛﯾﻠﯾﯾن ﻣن اﻟﺟﯾل اﻟﺛﺎﻧﻲ 3 ﻣﻧﮭم ﻓرﺻﺔ اﻟدراﺳﺔ ﺑﺎﻟﺧﺎرج ، اﻟذﯾن اﺗﺟﮭوا ﻓﻲ أﻋﻣﺎﻟﮭم إﻟﻰ ﺻﯾﻎ وﻣﻌﺎﻟﺟﺎت ﺗﻌﺗﻣد ﻋﻠﻰ اﻟﺣداﺛﺔ ﻓﻲ اﻟﻣﻌﺎﻟﺟﺔ واﻟﻣوﺿوع ، واﻟذﯾن وﻣن ﺧﻼل ﻣﺣﺎوﻻﺗﮭم ﻓﻲ اﻟﺗﺟدﯾد ﻓﻲ ، اﻷﺳﺎﻟﯾب واﻟﺗﻘﻧﯾﺔ اﻟﻣﺳﺗﺧدﻣﺔ ﻟم ﯾﺗﻧﺎوﻟوا ﻣوﺿوع اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﺑﻣﻔﮭوﻣﮭﺎ اﻟذي أوﺿﺢ ﺗﻧﺎول اﻟﻌدﯾد ، اﻟذي ﺑﯾﻧﺗﮫ اﻟدراﺳﺔ ﻓﻲ اﺳﺗﻌراﺿﮭﺎ ﻟﺗﺎرﯾﺦ اﻟﻔن اﻟﻌﺎﻟﻣﻲ ﻣن اﻟﻔﻧﺎﻧﯾن اﻟﻌﺎﻟﻣﯾﯾن ﻣوﺿوع اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﺑﺻﯾﻎ وﻣﻌﺎﻟﺟﺎت ﺣدﯾﺛﺔ ﻛﺎﻟﺗﻲ .وﻏﯾرھم ، وﻣودرﯾﺎﻧﻲ ، وﻛﺎﻛوﺷﻛﺎ ،ﻧﺟدھﺎ ﻋﻧد ﺑﯾﻛﺎﺳو وأﺛرھﺎ اﻻﯾﺟﺎﺑﻲ ﻓﻲ ، -ﺑﯾﻧت اﻟدراﺳﺔ دور اﻷﻛﺎدﯾﻣﯾﺎت واﻟﻣؤﺳﺳﺎت اﻟﺗﻌﻠﯾﻣﯾﺔ 4 وﻣن ﺿﻣﻧﮭﺎ ﻣوﺿوع ، اﻟﺗﻧوع ﻓﻲ ﺗﻧﺎول اﻟﻣوﺿوﻋﺎت اﻟﻣﺧﺗﻠﻔﺔ ﻣن ﻗﺑل اﻟﺧرﯾﺟﯾن اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ﺣﯾث أﺻﺑﺢ اﻟﻔﻧﺎﻧون اﻟﺷﺑﺎب أﻛﺛر ﺗﻧﺎو ﻻً ﻟﮭذا اﻟﻣوﺿوع ﺑﺻﯾﻎ أﻛﺎدﯾﻣﯾﺔ ﺻﺣﯾﺣﺔ ﻧﺗﯾﺟﺔ ﻟﻠﻣﮭﺎرات اﻟﺗﻲ اﻛﺗﺳﺑوھﺎ ﺧﻼل دراﺳﺗﮭم . وﺿﺣت اﻟدراﺳﺔ اﻧﮫ ﻻ ﺗوﺟد ﺗواﺻل وﺗﺄﺛر ﺑﺎﻟﺗﺟﺎرب اﻟﺳﺎﺑﻘﺔ ﺑﯾن اﻷﺟﯾﺎل 5 واﻷﺳﺎﻟﯾب اﻟﺗﻲ ﺗﻧﺎوﻟت ﻣوﺿوع اﻟﺻورة اﻟﺷﺧﺻﯾﺔ ، اﻟﻣﺧﺗﻠﻔﺔ ﻓﻲ ﺻﯾﻎ اﻟﻣﻌﺎﻟﺟﺔ ﺑﺎﻟﺷﻛل اﻟﻣطﻠوب.وﺳﺑل اﻟﺗﻐﻠب ﻋﻠﻰ اﻟﺳﻠﺑﯾﺎت ، -اﻟﺧروج ﺑﺑﻌض اﻟﺗوﺻﯾﺎت ﻟﺗﻌزﯾز اﻻﯾﺟﺎﺑﯾﺎت. Abstract The portrait situation and its development phases in contemporary Libyan plastic arts movement. The problem of the study pivoted on trying to figure out the reality of the portrait in contemporary Libyan plastic arts movement since its inception during the last century up to the present, to answer the study requisitions and check assumptive purpose for achieving its objectives which include: 1-Clarifying aesthetic valuesthat portrait depends on them inpainting artsgenerally with its various methods and trends. 2 - Recognize the reality of portrait art, and the most important traits and characteristics within the framework of contemporary Libyan plasticartsmovement. 3 - Detect the ability of Libyan artists who dealt with the subject of portrait art through studying and scientific and objective analyzing,for artworks of many of Libyanplasticartists who studiedthissubject, and disclosureitsaesthetic and creative values. The study included six chapters, the first chapter included a whole study methodology, then displayed the problem of the study, and its importance, objectives, assumptions , the temporal and spatial limits, determiningits interests and associated previous studies. Chapter II, included the definition of portrait art, clarifying the artistic concept of it which is most deeper than just achieving the similarities and imitate character literally and superficial, and in this chapter the researcher reached to the positions of painting portrait, as well as the components of this subject, and its drafting, with mention for the typesofthe painted character. In the thirdchapter the study took up the development stages of painting portrait historically through historical research course, where the researcher displayed the history of painting through four historical periods of art history: The first part was about the portrait in ancient civilizations, and the studydisplayedthe most important paints emerged through Romanian civilization, represented by those discovered in Bombay city, and Herkalnom in the sixteenth century which can be considered the beginning of portrait painting with its customary concept, which were mostly executed by mosaics and fresco. Then the study handled in this chapter the portraits of Fayoum mummies which discovered in 1888, and returned to initial centuries A.D. in Fayoum during Roman presence in Egypt, and its importance represented in history of the portrait unprecedented treatment and technique in prior arts. In the second part the study discussed the arts at Middle Ages, including Christian art, represented by icons and religious paintings which werecharacterized by symbolism, and sacred religious. Then the study broached to the Islamic art, which showed that although the underlying direction of Islamic art was to abstract elements, represented by the geometric decoration , plant and linear, there were many examples in Islamic history art dealing with portrait, which emerged through the image engraved on coins in the early years of Islam era, as well as through portraits that had been used in manyliterary and historical books as illustrative paints in various Muslim regions at different periods. The third part was about the portrait at the Renaissance, which considered as one of the important and historical periods in the art history generally and portrait particularly and the study illuminated in this part on the most important artists who dealt with portrait in this historical period, displaying their most important works, as van Eyck, Albrecht Dorer , Leonardo Da Vinci, Giorgione, and others. Then the study moved to the subsequent phases of art history, andthe researcher tracing the portrait development in different technical schools, and what differences appeared in style and treatment and clarified the most important features of each school in their approach to the considerationsubject, and focused on the most important artists who had distinguished themselves inportraitpainting, and their most important works in particular beginning of Baroque period, Rococo, new-classical, romantic, and realism, leading to the emergence of modern art, represented in the beginning of Impressionism at the end of the nineteenth century as a turning important point in transition from classical art to modern art. Then the study moved to the other modern art schools, as Brutalism, Cubism, Futurism, Expressionism. Chapter IV dealt with the portrait painting in the Libyan contemporary plastic art, which through it the study briefly displayed initially the intellectual and cultural life during the period of Ottoman rule and Italian colonialism of Libya, which concluded that during that period the cultural and scientific life generally and the plastic art particularly, had not received any attention or care, which had its clear impact on the real movement delay of the Libyan Plastic art, where that period of life marked Libyan people by destitution and deprivation, and the most important work and concern was providing a safe and stable life away from the domination of foreign powers. Then the study generally displayed the attributes and trends of Libyan contemporaryPlasticarts in its various phases since its inception to the present day, indicating to the most important stages and evolution, and then highlights in details the stages of painting portrait development movement in Libyan plastic arts and displayed the most important artists who took the matter under study in different periods for this movement, and placed on it aparticular importance, and they haddistinguished in it. in Chapter V, through analytical method, which is based on scientific and objective analysis, the study addressed view and analyze to a selection of portrait artworks for many Libyan artists, as Awad Obeida, Ali Ghana, Ramadan Bakshishy, Mahmoud Hassi, and Abdul Razzaq Riani, who had a distinguish artistic production about this subject. through Chapter VI the results and recommendations were displayed and these results as follows: 1–Aclear concept were identified relied on correct technical bases for portrait , since it is not a recorded superficial relation with thepainted personalityandsimply copy similarities but further more in-depth with deep personality reading and disclosure of its psychological dimensions, which show the artist the emotions of this personality, in addition to personal excellence and uniqueness ,the artist seeks through the subject to make an artwork with technical conditions and aesthetic values. 2 - The hypothesis of the study was achieved, explaining that the portrait painting had not received enough attention from Libyans artists especially in the initial stages of the contemporary Libyan plastic art movement returning causes as shown by the study and during its displaying for the Libyan plastic art movement, and the initial surrounding circumstances, to the absence of the role of educational specialized institutions as arts schools, and institutes, in addition to the absence of ceremonies for teaching painting according to correct academiccourse, as well as the lack of clubs and societies forplasticart during the period from the first half of twentieth century, which had a negative impact of the plastic art movement in general and on portrait painting subject in particular. 3-The study showed that artists of the second generation whomsome of them had the opportunity to study abroad, and turned in their work to formulas and treatments relied on modernity in treatment and subject, and through their attempts at innovation in used methods and techniques did not take portrait subject with its concept, which shown by the study in its review of world art history, which explained that many international artists dealt with portrait subject with modern formats and treatments such as those found at Picasso and Modriani, Cacochka and others. 4 - The study showed the role of academies and educational institutions, and their positive impact on diversity of handling various topics by graduates, including the subject of the portrait where young artists became more addressed to this topic in correct academic formats as a result of the skills they had acquired during their studies. 5 - The study clarified that there is no communication and influenced by past experience between the different generations in the modes of treatment, and methods that addressed the subject of the portrait as required. 6 - coming out with some recommendations to enhance the positives
ﺟﻣﺎل أﺣﻣد ﻣﺻطﻔﻰ (2012)

لم يكن للعرب في عهد النبي صلى الله عليه وسلم فن خاص بهم يستحق الذكر، ولكنهم عندما فتحوا سوريا و العراق ومصر وإيران, تبنوا الفنون الرفيعة الراقية في هذه البلاد ، وبدأ أسلوب ناشئ ينمو تدريجيا مشتقاً من هذه الفنون . وطبقاً لتعاليم الإسلام خلت العمائر الدينية الإسلامية من التماثيل والصور، وأدى ذلك إلى استخدام الموضوعات المستمدة من الطبيعة استخداماً زخرفياً بحثاً. وفي بداية نشأة المساجد لم تكن المئذنة أو القبة والمحراب من عناصر عمارة المسجد، ولكن المعماري الذي فهم من عمارة المسجدأنها تعبير عن الكون بشكل مصغر، فأنشأ المحراب ليبين اتجاه القبلة ثم بعد ذلك أخذ المعماريون والمهندسون والفنيون والمزخرفون يبدعون في العمائر الدينية والمدنية ، وهذا ماتجلى لنا في المساجد الكبيرة الجامعة في الأمصار الإسلامية ، مثل الجامع الإموي في سوريا ، ومسجد شيان في الصين ، ومسجد كيرمان في إيران ، وجامع قرطبة في الأندلس ، وقبة الصخرة في فلسطين ، وهكذا انتشرت هذه الفنون من مكان لآخر ، لتبرز لنا معناً عظيماً يتمحور في الفن الإسلامي بصفة عامة ، والمحاريب بصفة خاصة قليد المعماري الذي اتبعه معماريوا المسجد الليبي ، هو بناء مسجد بسيط خال من الزخرفة ، و تلاحظ هذه الظاهرة في أغلب المساجد التي شيدت سواء قبل الفترة العثمانية أو في أثنائها ، غير أن هناك بعض المساجد التي حظيت بنصيب من الزخرفة منذ فترة مبكرة ، كالزخارف الجصية المحفورة ذات عناصر زخرفية نباتية ،و كذلك الزخارف الحجريةالمحفورة والكتابات الكوفية المحفورة في الحجر. كما هناك بعض المساجد قد حظيت بعناية زخرفية ، متمثلة في وجود بعض الزخارف البسيطة ، مثل استخدام عنصر الوريدة البارزة في كوشات العقود ، و التي تصاحبها أحيانا مجموعة أخرى من الوريدات الصغيرة ، محفورة في الأطر التي تحدد مداخل الجوامع ، و مداخل بيت الصلاة ، و في حالات أخرى تكسي كوشات العقود ببلاطات من القشاني ذات اللون الواحد أوالمتعددة الألوان و في أمثلة أخرى تكون زخارف المحاريب انعكاسا لنفس التصميم و الزخرفة لمدخل بيت الصلاة الذي يقع على محور واحد مع المحراب من أبرز الزخارف التي أستخدمت في مساجد المدينة القديمة (طرابلس) عنصر الوريدة البارزة في كوشات العقود،تصاحبها أحيانا مجموعة أخرى من الوريدات الصغيرة محفورة في الاطر ، وفي بعض الأحيان يضاف إليها عنصر الهلال الزخرفي المموج لقمم عقود المداخل ،وفي حالات أخرى تكسي كوشات العقود ببلاطات من القاشاني ذات اللون الواحد أو الألوان المتعددة .
صلاح الدين الفيتوري (2010)