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‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪43‬‬ ‫ﺑﺎ ﻋﻠﻰ ﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ‪،‬‬ ‫ﺁﺷﻨﺎﻳﻰ ﺧﻮﺩﺁﻣﻮﺯ ﺑﺎ ﻫﻨﺮ‬

‫ﺟﻤﻌﻪ ‪ 22‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 28‬ژﺍﻧﻮﻳﻪ ‪2016‬‬ ‫ﺍﺳﺘﺎﺩﻯ ﻣﻐﻀﻮ ِﺏ ﺍﺳﺘﺎﺩ‬ ‫ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ ﺩﺭ ﺧﺎﻃﺮﻩﺍﻯ ﻛﻪ ﺩﺭ‬
‫ﺗﺎﺑﺴﺘﺎﻥ ‪ 94‬ﺩﺭ ﻣﺠﻠﻪ »ﺗﻨﺪﻳﺲ« ﻣﻨﺘﺸﺮ ﺷﺪ‬
‫ﺷﻨﻴﺪﻡ ﺍﺳﺘﺎﺩ ﺑﻬﺰﺍﺩ ﺑﺎ ﻋﺼﺒﺎﻧﻴﺖ ﮔﻔﺖ‪ :‬ﻫﺮ ﻛﺴﻰ‬ ‫ﺑﺎ ﺧﺒﺮ ﺷﺪﻳﻢ ﻛﻪ ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ‬ ‫ﺩﺭﺑﺎﺭﻩﻯ ﺁﺷﻨﺎﻳﻰ ﺧﻮﺩ ﺑﺎ ﻫﻨﺮ ﻧﻘﺎﺷﻰ ﭼﻨﻴﻦ‬
‫ﺭﺍﺟﻊ ﺑﻪ ﻣﻌﺼﻮﻣﻰ ﺑﺎ ﻣﻦ ﺣﺮﻑ ﺑﺰﻧﻪ‪ ،‬ﺑﺎ ﺍﻭ ﺣﺮﻑ‬ ‫ﻫﻨﺮﻣﻨﺪ ﻧﻘﺎﺵ ﻭ ﮔﺮﺍﻓﻴﺴﺖ ﻭ ﻳﻜﻰ ﺍﺯ‬ ‫ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻣﻦ ﺩﺭ ﻛﺮﻣﺎﻧﺸﺎﻩ ﻭ ﺩﺭ ﻧﻮﺟﻮﺍﻧﻰ‬
‫ﻧﻤﻰﺯﻧﻢ‪ .‬ﺁﻗﺎﻯ ﺁﻝﺍﺣﻤﺪ ﺑﺮﺁﺷﻔﺘﻪ ﻭ ﺩﺭ ﺳﻜﻮﺕ‬ ‫ﻫﻤﻜﺎﺭﺍﻥ ﻗﺪﻳﻤﻰ ﻛﻴﻬﺎﻥ ﺩﺭ ﺩﻫﻪﻯ ﭼﻬﻞ‬ ‫ﺑﺎ ﻛﺎﺭﻫﺎﻯ ﺭﻭﺑﻨﺲ‪ ،‬ﺭﺍﻣﺒﺮﺍﻧﺪ ﻭ ﺗﻰ ﺳﻴﻦ ﺍﺯ‬
‫ﺑﻠﻨﺪ ﺷﺪ ﻭ ﺑﻪ ﻃﺮﻑ ﻣﻦ ﺁﻣﺪ ﻭ ﮔﻔﺖ‪ :‬ﭘﻴﺮﻣﺮﺩ‬ ‫ﺭﺍﻩ ﻣﺸﺎﻫﺪﻩ ﻛﺘﺎﺏ ﺁﺛﺎﺭﺷﺎﻥ ﺁﺷﻨﺎ ﺷﺪﻩ ﺑﻮﺩﻡ‬
‫ﻋﺼﺒﺎﻧﻰ ﺍﺳﺖ ﻭ ﺑﺎ ﺧﺎﻧﻢ ﺩﺍﻧﺸﻮﺭ ﺭﻓﺘﻨﺪ…«‬ ‫ﺧﻮﺭﺷﻴﺪﻯ ﺩﺭ ﺑﺴﺘﺮ ﺑﻴﻤﺎﺭﻯ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﻛﺎﺭ ﻛﺮﺩﻥ ﺑﺎ ﺭﻧﮓ ﺭﻭﻏﻦ ﺭﺍ ﺑﺪﻭﻥ ﻣﻌﻠﻢ‬
‫ﻫﻤﻮﺍﺭﻩ ﺭﺳﻢ ﺑﺮ ﺍﻳﻦ ﺑﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺷﺎﮔﺮﺩﺍﻥ‬ ‫ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ ﻛﻪ ﻣﺘﻮﻟﺪ ﺩﻭﻡ‬ ‫ﺧﻮﺩﻡ ﺷﺮﻭﻉ ﻛﺮﺩﻡ‪ .‬ﺑﻌﺪﻫﺎ )‪ (1329‬ﺩﺭ ﺗﻬﺮﺍﻥ‬
‫ﻭ ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﻛﻪ ﺑﻌﺪﻫﺎ ﺧﻮﺩ ﺑﻪ ﺍﺳﺘﺎﺩﺍﻧﻰ‬ ‫ﺍﺳﻔﻨﺪ ‪ 1312‬ﺩﺭ ﺷﻬﺮ ﻛﻨﮕﺎﻭﺭ ﺍﺳﺖ‬ ‫ﺑﻪ ﻭﺳﻴﻠﻪ ﺷﺨﺼﻰ ﻛﻪ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺧﺎﻧﻮﺍﺩﮔﻰ‬
‫ﺗﺒﺪﻳﻞ ﺷﺪﻧﺪ‪ ،‬ﺧﺎﻃﺮﺍﺗﻰ ﺍﺯ ﺗﺎﻳﻴﺪ ﻭ ﻫﻤﺮﺍﻫﻰ‬ ‫ﺩﻭﺭﻩﻫﺎﻯ ﺁﻣﻮﺯﺵ ﻫﻨﺮﻯ ﺭﺍ ﺩﺭ‬ ‫ﻣﺎ ﺑﻮﺩ ﺑﻪ ﺍﺳﺘﺎﺩ ﺣﺴﻴﻦ ﺑﻬﺰﺍﺩ ﻣﻌﺮﻓﻰ ﺷﺪﻡ‬
‫ﺍﺳﺘﺎﺩﺍﻥﺷﺎﻥ ﺩﺭ ﺟﻮﺍﻧﻰ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ‬ ‫ﻫﻨﺮﺳﺘﺎﻥ ﻛﻤﺎﻝﺍﻟﻤﻠﻚ ﻭ ﺩﺍﻧﺸﻜﺪﻩﻯ‬ ‫ﻭ ﺍﻭ ﻣﺮﺍ ﺑﻪ ﻣﺪﺭﺳﻪ ﻛﻤﺎﻝ ﺍﻟﻤﻠﻚ ﻓﺮﺳﺘﺎﺩ ﻛﻪ‬
‫ﻏﻀﺐ ﻭ ﺗﻜﺬﻳﺐ ﺍﺳﺘﺎﺩ ﺑﻬﺰﺍﺩ ﺍﻣﺎ ﺍﺯ ﻫﺮ ﺗﺎﻳﻴﺪﻯ‬ ‫ﻫﻨﺮﻫﺎﻯ ﺗﺰﻳﻴﻨﻰ ﺩﺭ ﺗﻬﺮﺍﻥ ﮔﺬﺭﺍﻧﺪ ﻭ‬ ‫ﺩﺭ ﺁﻧﺠﺎ ﺍﺻﻮﻝ ﻧﻘﺎﺷﻰ ﺳﻪ ﺑﻌﺪﻯ‪ -‬ﻛﻼﺳﻴﻚ‬
‫ﺻﺎﺩﻕﺗﺮ ﺍﺳﺖ ﻭ ﺍﻳﻦ ﺭﺍ ﺍﺳﺘﺎﺩ ﻣﻌﺼﻮﻣﻰ ﺩﺭ‬ ‫ﭼﻨﺪﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻓﺮﺩﻯ ﻭ ﮔﺮﻭﻫﻰ ﭘﻴﺶ‬ ‫ﻏﺮﺑﻰ ﺭﺍ ﺯﻳﺮ ﻧﻈﺮ ﺍﺳﺘﺎﺩﺍﻥ ﺣﺴﻴﻦ ﺧﺎﻥ ﺷﻴﺦ‬
‫ﻫﻤﻪﻯ ﺁﺛﺎﺭﻯ ﻛﻪ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ ﺑﻪ ﺍﺛﺒﺎﺕ ﺭﺳﺎﻧﺪ‪.‬‬ ‫ﺍﺯ ﺍﻧﻘﻼﺏ ‪ 57‬ﺩﺭ ﺗﻬﺮﺍﻥ ﻭ ﻛﺸﻮﺭﻫﺎﻳﻰ‬ ‫‪ ،‬ﻣﺤﻤﻮﺩ ﺍﻭﻟﻴﺎ ﻭ ﺭﻓﻴﻊ ﺣﺎﻟﺘﻰ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ‪.‬‬
‫ﻣﺎﻧﻨﺪ ﭼﻴﻦ ﻭ ﺍﻳﺘﺎﻟﻴﺎ‪ ،‬ﻭ ﭘﺲ ﺍﺯ ﺗﺮﻙ‬ ‫ﺍﻟﺒﺘﻪ ﺩﺭ ﻫﻨﺮﺳﺘﺎﻥ ﻛﻤﺎﻝﺍﻟﻤﻠﻚ ﺩﺭﻭﺱ ﻧﻈﺮﻯ‬
‫ﺩﻋﻮﺕ ﻛﻴﻬﺎﻥ ﺍﺯ ﺑﺮﻳﮋﻳﺖ ﺑﺎﺭﺩﻭ ﻭ‬ ‫ﺍﻳﺮﺍﻥ ﺍﺯ ﺳﺎﻝ ‪ 1983‬ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ‬ ‫ﻣﻌﻤﻮﻝ ﻧﺒﻮﺩ‪،‬ﻭﻟﻰ ﻣﻦ ﺑﻪ ﺍﺗﻔﺎﻕ ﺩﻭ ﺩﻭﺳﺖ‬
‫ﺳﺎﻟﻮﺍﺩﻭﺭ ﺩﺍﻟﻰ‬ ‫ﻏﺮﺑﻰ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ‪ .‬ﻭﻯ ﺳﺎﻝﻫﺎﺳﺖ ﻛﻪ‬ ‫ﺩﻳﮕﺮﻡ ﻣﺤﻤﺪ ﺻﺪﻳﻖ ﻭ ﭘﺎﺭﺳﺎ ﺟﻬﺖ ﺟﺒﺮﺍﻥ‬
‫ﺳﺎﻛﻦ ﺷﻬﺮ ﻣﻮﻧﺘﺮﺍﻝ ﺩﺭ ﻛﺎﻧﺎﺩﺍﺳﺖ‪.‬‬ ‫ﺍﻳﻦ ﻛﻤﺒﻮﺩ ﻳﻚ ﮔﺮﻭﻩ ﺗﺤﻘﻴﻖ ﺗﺸﻜﻴﻞ ﺩﺍﺩﻳﻢ‬
‫ﺍﻳﻨﻚ ﺑﺎﺑﻚ ﻣﻌﺼﻮﻣﻰ‪ ،‬ﺍﺯ ﻫﻤﻜﺎﺭﺍﻥ ﻛﻴﻬﺎﻥ‬ ‫ﺗﺎﺑﻠﻮﻫﺎﻯ ﺍﻭ ﺗﺎ ﻫﻤﻴﻦ ﺳﺎﻝ ‪ 2015‬ﺑﺎﺭﻫﺎ‬ ‫ﺗﺎ ﻣﺒﺎﻧﻰ ﻧﻈﺮﻯ ﻫﻨﺮ ﻏﺮﺏ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﻛﻨﻴﻢ‬
‫ﻟﻨﺪﻥ ﻛﻪ ﻛﺎﺭﺗﻮﻥﻫﺎﻳﺶ ﻫﻤﻮﺍﺭﻩ ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ‬ ‫ﺩﺭ ﺷﻬﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺁﻣﺮﻳﻜﺎ ﻭ ﻛﺎﻧﺎﺩﺍ ﻭ‬ ‫ﻭ ﺳﻮﺍﻝﻫﺎ ﻭ ﺗﻜﻪﻫﺎﻯ ﺍﻓﺘﺎﺩﻩ ﺍﻳﻦ ﭘﺎﺯﻝ ﺭﺍ ﺩﺭ‬
‫ﺧﻮﺍﻧﻨﺪﮔﺎﻥ ﻛﻴﻬﺎﻥ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ ﺩﺭ ﻳﺎﺩﺩﺍﺷﺘﻰ‬ ‫ﺍﺭﻭﭘﺎ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﮔﺎﻟﺮﻯ‬
‫ﺧﺎﻃﺮﻩﺍﻯ ﺍﺯ ﭘﺪﺭ ﺩﺭﺑﺎﺭﻩ ﻫﻤﻜﺎﺭﻯﺍﺵ ﺑﺎ‬ ‫ﺳﻴﺤﻮﻥ ﺩﺭ ﺗﻬﺮﺍﻥ ﻧﻴﺰ ﺩﺭ ﺳﺎﻝ ‪2004‬‬ ‫ﻓﻀﺎﻯ ﻫﻨﺮﻯ ﺍﻳﺮﺍﻥ ﺁﻥ ﺭﻭﺯ ﭘﻴﺪﺍ ﻛﻨﻴﻢ‪«.‬‬
‫ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﺩﺭ ﺩﻫﻪﻯ ﭼﻬﻞ ﺧﻮﺭﺷﻴﺪﻯ‬ ‫ﻣﻬﻤﺎﻥ ﺗﺎﺑﻠﻮﻫﺎﻯ ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ‬ ‫ﺍﻭ ﺩﺭ ﺯﻣﻴﻨﻪﻯ ﺁﺷﻨﺎﻳﻰ ﺧﻮﺩ ﺑﺎ ﺭﺷﺘﻪﻫﺎﻯ‬
‫ﺭﺍ ﻳﺎﺩﺁﻭﺭﻯ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﻧﻮﻳﺴﺪ‪»:‬ﺍﻳﻦ ﺧﺎﻃﺮﻩ‬ ‫ﺑﻮﻣﻰ ﻫﻨﺮ ﻧﻘﺎﺷﻰ ﭼﻨﻴﻦ ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ‪:‬‬
‫ﺭﺍ ﻳﻜﻰ ﺩﻭ ﺑﺎﺭ ﺍﺯ ﭘﺪﺭﻡ ﺷﻨﻴﺪﻡ‪ .‬ﺍﻭﺍﺋﻞ ﺩﻫﺔ‬ ‫ﺑﻮﺩ‪.‬‬ ‫»ﺩﺭ ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 1330‬ﺩﺭ ﻣﺪﺭﺳﻪ ﻫﻨﺮﻫﺎﻯ‬
‫‪ 1340‬ﺑﻮﺩ ﻛﻪ ﺍﻭ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ‬ ‫ﺑﺮﺧﻰ ﺍﺯ ﺁﺛﺎﺭ ﻭﻯ ﺩﺭ ﻣﻮﺯﻩﻫﺎﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺗﺰﻳﻴﻨﻰ ﺗﻬﺮﺍﻥ ﺍﺳﻢﻧﻮﻳﺴﻰ ﻛﺮﺩﻡ ﻭ ﺑﺎ ﻓﻨﻮﻥ ﻭ‬
‫ﺩﺭ ﺑﺨﺶ ﺭﻭﺍﺑﻂ ﻋﻤﻮﻣﻰ )ﮔﺮﺍﻓﻴﻚ ﻭ ﺁﮔﻬﻰ(‬ ‫ﻣﺎﻧﻨﺪ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ‬ ‫ﻇﺮﺍﻳﻒ ﻫﻨﺮﻫﺎﻯ ﻣﻴﻨﻴﺎﺗﻮﺭ‪،‬ﺗﺬﻫﻴﺐ‪ ،‬ﻧﻘﺸﻪ ﻗﺎﻟﻰ‪،‬‬
‫ﺁﻏﺎﺯ ﻛﺮﺩ‪ .‬ﻫﻤﺎﻥ ﻣﻮﻗﻊ ﺁﻗﺎﻯ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﻫﻢ‬ ‫ﻭ ﻣﻮﺯﻩ ﻛﺮﻣﺎﻥ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷﻮﻧﺪ ﻭ‬ ‫ﻛﺎﺷﻰ ﻭ ﺳﺎﻳﺮ ﺭﺷﺘﻪﻫﺎﻯ ﺿﻤﻴﻤﻪ ﺍﻳﻦ ﻫﻨﺮﻫﺎ‬
‫ﺩﺭ ﻛﻴﻬﺎﻥ ﻣﺸﻐﻮﻝ ﺑﻮﺩ‪ .‬ﺁﻗﺎﻯ ﻓﺮﺍﻣﺮﺯﻯ ﻫﻢ‬ ‫ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺁﻧﻬﺎ ﺩﺭ ﻛﻠﻜﺴﻴﻮﻥﻫﺎﻯ‬ ‫ﺁﺷﻨﺎ ﺷﺪﻡ ﻭ ﺍﺯ ﺗﺠﺮﺑﻪﻫﺎ ﻭ ﻧﻈﺮﻳﺎﺕ ﻃﻴﻒ‬
‫ﺑﻪ ﮔﻔﺘﺔ ﭘﺪﺭﻡ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭ ﻛﻴﻬﺎﻥ ﺑﻮﺩ‪.‬‬ ‫ﺧﺼﻮﺻﻰ ﺩﺭ ﺳﻴﺪﻧﻰ‪ ،‬ﺑﻤﺒﻰ‪ ،‬ﺗﻬﺮﺍﻥ‪،‬‬ ‫ﻭﺳﻴﻌﻰ ﺍﺯ ﺍﺳﺘﺎﺩﻛﺎﺭﻫﺎﻯ ﺑﺮﮔﺰﻳﺪﻩ ﺍﻳﺮﺍﻧﻰ ﺑﻬﺮﻩ‬
‫ﺁﻗﺎﻯ ﻣﺼﻄﻔﻰ ﻣﺼﺒﺎﺡﺯﺍﺩﻩ ﻣﻮﺳﺲ ﻭ ﻣﺪﻳﺮ‬ ‫ﻣﺎﺩﺭﻳﺪ‪ ،‬ﻟﻴﺴﺒﻮﻥ‪ ،‬ﺍﺳﺘﻜﻬﻠﻢ‪ ،‬ﻓﺮﺍﻳﺒﻮﺭگ‪،‬‬ ‫ﺑﺮﺩﻡ‪ .‬ﺍﻳﻦ ﺍﺳﺘﺎﺩﺍﻥ ﺩﺭ ﺑﺨﺶ ﻋﻤﻠﻰ‪ ،‬ﺣﺴﻴﻦ‬
‫ﻛﻴﻬﺎﻥ ﺩﺭ ﻧﻈﺮ ﺩﺍﺷﺖ ﻳﻚ »ﻛﺘﺎ ِﺏ ﺳﺎﻝ« ﻳﺎ‬ ‫ﻟﻨﺪﻥ‪ ،‬ﻣﻮﻧﺘﺮﺍﻝ‪ ،‬ﺗﻮﺭﻧﺘﻮ‪ ،‬ﻭﻧﻜﻮﻭﺭ‪ ،‬ﻟﺲ‬ ‫ﺑﻬﺰﺍﺩ‪ ،‬ﻣﺤﻤﺪ ﻋﻠﻰ ﺯﺍﻭﻳﻪ‪ ،‬ﺣﺴﻴﻦ ﺍﻟﻄﺎﻓﻰ‪ ،‬ﻋﻠﻰ‬
‫ﺳﺎﻟﻨﺎﻣﻪ ﺑﺮﺍﻯ ﻛﻴﻬﺎﻥ ﻣﻨﺘﺸﺮ ﻛﻨﺪ‪ .‬ﺍﺯ ﺁﻧﺠﺎ‬ ‫ﺁﻧﺠﻠﺲ‪ ،‬ﺳﺎﻥ ﻓﺮﺍﻧﺴﻴﺴﻜﻮ‪ ،‬ﻭﺍﺷﻨﮕﺘﻦ‬ ‫ﻛﺮﻳﻤﻰ‪ ،‬ﻧﺼﺮﺕﺍﷲ ﻳﻮﺳﻔﻰ‪،‬ﻋﺒﺪﺍﻟﻪ ﺑﺎﻗﻰ‪ ،‬ﻫﺎﺩﻯ‬
‫ﻛﻪ ﭘﺪﺭﻡ ﺩﺭ ﺑﺨﺶ ﺁﮔﻬﻰ ﻭ ﮔﺮﺍﻓﻴﻚ ﺑﻮﺩ ﺍﺯ‬ ‫ﺍﻗﺪﺳﻴﻪ‪ ،‬ﭘﺎﺷﺎﻳﻰ ﻭ ﻋﻠﻰ ﺭﺧﺴﺎﺯ ﻭ ﻫﻤﭽﻨﻴﻦ ﺩﺭ‬
‫ﺍﻭ ﺧﻮﺍﺳﺖ ﺗﺎ ﻃﺮﺣﻰ »ﻧﻮ« ﻭ »ﺟﻨﺠﺎﻟﻰ«‬ ‫ﻭ ﻧﻴﻮﻳﻮﺭﻙ ﺟﺎﻯ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺑﺨﺶ ﻧﻈﺮﻯ‪،‬ﺳﻴﻤﻴﻦ ﺩﺍﻧﺸﻮﺭ‪ ،‬ﺟﻼﻝ ﺁﻝ ﺍﺣﻤﺪ‬
‫ﺑﺮﺍﻯ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺮﻳﺰﺩ‪ .‬ﭘﺪﺭﻡ‪ ،‬ﭘﺲ ﺍﺯ ﻣﺪﺗﻰ‪،‬‬
‫ﻃﺮﺣﻰ ﺑﻪ ﺁﻗﺎﻯ ﻣﺼﺒﺎﺡﺯﺍﺩﻩ ﻣﻰﺩﻫﺪ ﻛﻪ‬ ‫ﻭ ﭘﺮﻭﻳﺮ ﻣﺮﺯﺑﺎﻥ ﺑﻮﺩﻧﺪ‪«.‬‬
‫ﺷﺪﻳﺪﺍً ﻣﻮﺭﺩ ﺍﺳﺘﻘﺒﺎﻝ ﻭﻯ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪.‬‬ ‫ﺍﺭﺯﺵ ﻫﻨﺮ ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ ﭘﻨﻬﺎﻥ‬
‫ﻭ ﺍﻣﺎ ﺩﺭﺑﺎﺭﻩ ﺁﻥ ﻃﺮﺡ‪ :‬ﻗﺮﺍﺭ ﺷﺪ ﺩﻭ ﻧﻔﺮ ﺭﺍ‬ ‫ﻧﻤﻰﻣﺎﻧﺪ ﻭ ﻓﺮﺻﺘﻰ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻭﻯ ﻗﺮﺍﺭ‬
‫ﺍﺯ ﺍﺭﻭﭘﺎ ﺑﺮﺍﻯ ﺷﺐ ﺭﻭﻧﻤﺎﻳﻰ ﺍﺯ »ﻛﺘﺎﺏ ﺳﺎﻝ‬ ‫ﻣﻰﮔﻴﺮﺩ ﺗﺎ ﺩﺭ ﺭﺍﻩ ﺭﺷﺪ ﻭ ﺗﻌﺎﻟﻰ ﻫﻨﺮﻯ ﺧﻮﺩ‬
‫ﻛﻴﻬﺎﻥ« ﺩﻋﻮﺕ ﻛﻨﻨﺪ ﺗﺎ ﺑﻪ ﺍﻳﻦ ﺗﺮﺗﻴﺐ ﻧﻈﺮ‬ ‫ﺑﻴﺸﺘﺮ ﺑﻜﻮﺷﺪ‪ .‬ﺍﻭ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﻧﻴﻤﻪ ﺩﻭﻡ ﺩﻫﻪ‬
‫ﻣﺮﺩﻡ ﻭ ﻧﺸﺮﻳﺎﺕ ﻭ ﻣﺤﺎﻓﻞ ﮔﻮﻧﺎﮔﻮﻥ ﺑﻪ ﺍﻳﻦ‬ ‫‪ 1330‬ﺩﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﻨﺮﺳﺘﺎﻥ ﻛﻪ ﺑﺎ ﺣﻀﻮﺭ‬
‫ﺳﺎﻟﻨﺎﻣﻪ ﺟﻠﺐ ﺷﻮﺩ‪ ،‬ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ ﺑﺮﻧﺎﻣﻪﺍﻯ‬ ‫ﺁﻗﺎﻯ ﻣﻬﺮﺩﺍﺩ ﭘﻬﻠﺒﺪ )ﺍﻭﻟﻴﻦ ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ‬
‫ﺟﺎﻟﺐ ﺑﺮﺍﻯ ﺷﺐ ﺭﻭﻧﻤﺎﻳﻰ ﺑﺎﺷﺪ‪ .‬ﺁﻥ ﺩﻭ ﻧﻔﺮ‬ ‫ﺍﻳﺮﺍﻥ(‪ ،‬ﺍﺳﺘﺎﺩﺍﻥ‪ ،‬ﻣﺪﻳﺮﺍﻥ ﻭ ﻫﻨﺮﺟﻮﻳﺎﻥ ﺑﺮﮔﺰﺍﺭ‬
‫ﻳﻜﻰ ﺑﺮﻳﮋﻳﺖ ﺑﺎﺭﺩﻭ ﺑﻮﺩ ﻭ ﺩﻳﮕﺮﻯ ﺳﺎﻟﻮﺍﺩﻭﺭ‬ ‫ﮔﺮﺩﻳﺪ‪ ،‬ﺍﺯ ﻃﺮﻑ ﻭﺯﻳﺮ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻭﻗﺖ‪،‬‬
‫ﺩﺍﻟﻰ؛ ﺩﻭ ﭼﻬﺮﻩ ﺳﺮﺷﻨﺎﺱ ﻭ ﻛﺎﻣ ًﻼ ﺟﻨﺠﺎﻟﻰ ﺩﺭ‬
‫ﺁﻥ ﺩﻭﺭﺍﻥ‪ .‬ﺍﺯ ﺳﻮﻯ ﻛﻴﻬﺎﻥ ﻧﺎﻣﻪﻫﺎﻯ ﻣﻔﺼﻞ ﻭ‬
‫ﺩﻋﻮﺗﻨﺎﻣﻪ ﺑﺮﺍﻯ ﺍﻳﻦ ﺩﻭ ﻫﻨﺮﻣﻨﺪ ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪ‪.‬‬

‫ﺑﺮﻳﮋﻳﺖ ﺑﺎﺭﺩﻭ ﺩﺭ ﭘﺎﺳﺦ ﺑﺴﻴﺎﺭ ﺗﺸﻜﺮ ﻛﺮﺩﻩ ﺑﻮﺩ‬ ‫ﻧﻘﺎﺵ ﺑﻪ ﻭﺍﻻﺣﻀﺮﺕ ﺷﻤﺲ ﺗﻘﺪﻳﻢ ﺷﺪ‪ .‬ﺩﺭ‬ ‫ﻣﻴﻨﻴﺎﺗﻮﺭﻫﺎﻯ ﻣﺎ ﺍﺯ ﺯﻣﺎﻥ ﺻﻔﻮﻳﻪ ﻭ ﺑﻌﺪ ﺍﺯ‬ ‫ﻣﻰﺭﻭﺩ‪…» :‬ﺍﻓﺘﺘﺎﺡ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﻴﻨﻴﺎﺗﻮﺭﻫﺎﻯ ﻧﻮﻩ‬ ‫ﻳﻚ ﺑﻮﺭﺱ ﺗﺤﺼﻴﻠﻰ ﭼﻬﺎﺭﺳﺎﻟﻪ ﺍﻧﮕﻠﺴﺘﺎﻥ ﺑﻪ‬
‫ﻭﻟﻰ ﻳﺎﺩﺁﻭﺭ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﺗﺎ ﺩﻭ ﺳﺎﻝ ﺑﺮﻧﺎﻣﻪﺍﺵ‬ ‫ﺗﺎﻻﺭ ﺍﺯ ﭘﻴﺶ ﻏﻠﻐﻠﻪﺍﻯ ﺩﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ ﻭ ﺣﻀﺎﺭ‬ ‫ﻧﻘﺎﺷﻰﻫﺎﻯ ﭼﻬﻞﺳﺘﻮﻥ ﻫﺮ ﺭﻭﺯ ﻛﻮﭼﻚ ﻭ‬ ‫ﻧﺘﻴﺠﻪ ﻳﻜﻰ ﺍﺯ ﺳﻠﺴﻠﻪﻫﺎﻯ ﺍﻣﭙﺮﺍﻃﻮﺭﻯ ﭼﻴﻦ‬ ‫ﻣﻦ ﺗﻌﻠﻖ ﮔﺮﻓﺖ‪ .‬ﮔﻔﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻛﻪ ﻛﺎﺭﻫﺎﻯ‬
‫ﺑﺮﺍﻯ ﻓﻴﻠﻢﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﭘُﺮ ﺍﺳﺖ ﻭ ﺍﻣﻜﺎﻥ ﺳﻔﺮ‬ ‫ﺑﺎ ﺣﺎﻻﺕ ﻫﻴﺠﺎﻧﻰ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﻛﺎﺭﻫﺎ ﺑﻰﺗﺎﺑﻰ‬ ‫ﻛﻮﭼﻚﺗﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺮﺍﻯ ﻧﻤﻮﻧﻪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﻮﺩ‪ .‬ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺭ ﺗﺎﻻﺭ ﻓﺮﻫﻨﮓ )ﺧﻴﺎﺑﺎﻥ‬ ‫ﻣﻦ ﺷﺒﺎﻫﺘﻰ ﺑﻪ ﻧﻤﻮﻧﻪﻫﺎﻯ ﺗﻌﻠﻴﻤﻰ ﻭ ﺳﻨﺘﻰ‬
‫ﺑﻪ ﺗﻬﺮﺍﻥ ﻧﺪﺍﺭﺩ ﻭ ﺍﻓﺰﻭﺩﻩ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺩﻋﻮﺗﻨﺎﻣﻪ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻳﻚ ﻛﺎﺭ ﻧﺼﺐ ﺷﺪﻩ ﺑﻮﺩ ﺩﺭ ﺍﺑﻌﺎﺩ‬ ‫ﺣﺎﻓﻆ( ﺑﺎ ﺣﻀﻮﺭ ﻭﺍﻻﺣﻀﺮﺕ ﺷﻤﺲ‪ ،‬ﺁﻗﺎﻯ‬ ‫ﻫﻨﺮﺳﺘﺎﻥ ﻧﺪﺍﺭﺩ ﻭ ﻣﻮﺿﻮﻉ ﺁﻧﻬﺎ ﻛﺎﺭ ﺭﻭﺯﻣﺮﻩ‪،‬‬
‫ﺍﺯ ﻃﺮﻑ ﺭﻭﺯﻧﺎﻣﻪ ﻛﻴﻬﺎﻥ ﺑﺮﺍﻯ ﺍﻭ ﺑﺴﻴﺎﺭ ﺟﺎﻟﺐ‬ ‫ﻣﻰﻛﺮﺩﻧﺪ…«‬ ‫ﺗﻘﺮﻳﺒﻰ ‪ 3×2‬ﻣﺘﺮ‪ ،‬ﮔﺎﻭﻣﻴﺸﻰ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ‬ ‫ﻣﻬﺮﺩﺍﺩ ﭘﻬﻠﺒﺪ‪ ،‬ﺍﺳﺘﺎﺩﺍﻥ ﻭ ﺳﺮﺁﻣﺪﺍﻥ ﻫﻨﺮ ﻭ‬ ‫ﭼﻬﺮﻩﻫﺎﻯ ﻣﺮﺩﻡ ﻛﺮﺩﺳﺘﺎﻥ ﻭ ﻧﺤﻮﻩ ﺯﻳﺴﺖ‬
‫ﺑﻮﺩﻩ ﻭ ﺳﺒﺐ ﺧﻮﺷﺤﺎﻟﻰ ﻭﻯ ﺷﺪﻩ ﻭ ﻣﺘﺄﺳﻒ‬ ‫ﻫﻤﻪ ﺍﻳﻦ ﻫﻨﺮ ﻭ ﺗﺸﺮﻳﻔﺎﺕ ﺑﻪ ﺟﺎﻯ ﺧﻮﺩ‪ ،‬ﺁﺷﺘﻰ‬ ‫ﻛﻪ ﺑﺎ ﺁﺏ ﻣﺮﻛﺐ ﺭﻭﻯ ﭘﺎﺭﭼﻪ )ﺷﺎﻳﺪ ﺍﺑﺮﻳﺸﻢ(‬ ‫ﻓﺮﻫﻨﮓ ﺍﻓﺘﺘﺎﺡ ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﺯ ﭼﻨﺪ‬
‫ﺍﺳﺖ ﻛﻪ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺩﺭ ﺁﻥ ﺑﺮﻧﺎﻣﻪ ﺷﺮﻛﺖ ﻛﻨﺪ‪.‬‬ ‫ﺑﺎ ﺍﺳﺘﺎﺩ ﺑﻬﺰﺍﺩ ﭼﻪ ﺷﺪ؟ ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ‬ ‫ﺍﺟﺮﺍ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻮﺏ‪ ،‬ﺍﻭﻟﻴﻦ ﻋﻜﺲﺍﻟﻌﻤﻞ ﻣﻦ‬ ‫ﺳﺎﺩﻩ ﺁﻥ ﺍﺳﺘﺎﻥ ﺑﻮﺩﻩ ﺍﺳﺖ‪«.‬‬
‫ﻭ ﺍﻣﺎ ﻧﻘﺎﺵ ﺳﺮﺷﻨﺎﺱ ﻭ ﺟﻨﺠﺎﻟﻰ ﺳﺎﻟﻮﺍﺩﻭﺭ‬ ‫ﻫﻨﺮﺟﻮ ﺍﻳﻦ ﺑﻮﺩ ﻛﻪ ﻣﻰﺩﻳﺪﻡ ﺍﮔﺮ ﺍﻳﻦ ﻛﺎﺭ ﺭﺍ‬ ‫ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺟﻮﺍﻧﻰ‬
‫ﺩﺍﻟﻰ ﺩﻋﻮﺕ ﺭﺍ ﻗﺒﻮﻝ ﻛﺮﺩﻩ ﻭ ﮔﻔﺘﻪ ﺑﻮﺩ ﺑﺎ‬ ‫ﺩﺭ ﺩﻭﺭﺍﻥ ﻛﺎﺭ ﺑﺎ ﻛﻴﻬﺎﻥ‬ ‫ﺑﺎ ﻳﻚ ﻣﻴﻨﻴﺎﺗﻮﺭﺳﺎﺯ ﺧﻮﺩﻣﺎﻥ ﻣﻘﺎﻳﺴﻪ ﻛﻨﻴﻢ‬ ‫ﺟﻬﺖ ﺗﺎﺯﮔﻰ ﻭ ﺍﻫﻤﻴﺖ ﺩﺍﺷﺖ‪ .‬ﺍﺯ ﺟﻨﺒﻪ ﻋﺮﻑ‬ ‫ﺧﺸ ِﻢ ﺁﺷﺘﻰﻧﺎﭘﺬﻳﺮ ﺍﺳﺘﺎﺩ‬
‫ﻛﻤﺎﻝ ﻣﻴﻞ ﺧﻮﺍﻫﺪ ﺁﻣﺪ‪ .‬ﻣﻨﺘﻬﺎ‪ ،‬ﻳﻚ ﻣﻮﺭﺩﻯ‬ ‫ﻧﻮﺷﺘﻪﻯ ﺧﻮﺩ ﺭﺍ ﭼﻨﻴﻦ ﭘﺎﻳﺎﻥ ﻣﻰﺩﻫﺪ‪:‬‬ ‫ﻛﻪ ﻧﺸﺴﺘﻪ ﻭ ﺭﻭﻯ ﺯﺍﺗﻮ ﺩﺍﺭﻩ ﻳﻚ ﺷﻜﻮﻓﻪ ﺭﺍ‬ ‫ﺳﻴﺎﺳﻰ ﻛﻪ ﺑﮕﺬﺭﻳﻢ‪ ،‬ﺣﻀﻮﺭ ﺍﺳﺘﺎﺩ ﺑﺰﺭﮔﻰ ﺩﺭ‬
‫ﭘﻴﺶ ﺁﻣﺪ ﻛﻪ ﺁﻗﺎﻯ ﻣﺼﺒﺎﺡﺯﺍﺩﻩ ﻭ ﭘﺪﺭﻡ ﺍﺯ‬ ‫»ﻛﺴﻰ ﺍﺯ ﭘﺸﺖ ﺳﺮ ﺑﺎﺯﻭﻯ ﻣﺮﺍ ﻛﺸﻴﺪ ﻭ‬ ‫ﺑﺎ ﻭﺳﻮﺍﺱ ﺗﻤﺎﻡ ﭘﺮﺩﺍﺯ ﻣﻰﺯﻧﺪ‪ ،‬ﺩﺭ ﺫﻫﻦ ﻣﻦ‬ ‫ﺣﺪ ﺍﻭ ﺗﺪﺍﺭﻙ ﻭ ﻣﺪﻳﺮﻳﺖ ﺩﻗﻴﻖ ﻭ ﺳﻨﺠﻴﺪﻩﺍﻯ‬ ‫ﻣﻌﺼﻮﻣﻰ ﺩﺭ ﻧﻮﺷﺘﻪﺍﺵ ﺑﺮﺍﻯ ﻣﺠﻠﻪﻯ‬
‫ﺧﻨﺪﻩ ﺭﻭﺩﻩﺑﺮ ﺷﺪﻧﺪ‪ .‬ﺩﺍﻟﻰ ﻳﻚ ﻟﻴﺴﺖ ‪60-50‬‬ ‫ﮔﻔﺖ‪» :‬ﺑﺮﻭ ﺍﻭﻥ ﻃﺮﻑ ﺗﺎ ﺻﺪﺍﺕ ﻛﻨﻢ«‪ .‬ﺁﻗﺎﻯ‬ ‫ﺁﺯﺍﺩﻯ ﻋﻤﻞ ﻭ ﺟﻬﺎﻥﺑﻴﻨﻰ ﺁﻧﻬﺎ ﺩﺭ ﺩﻭ ﻗﻄﺐ‬ ‫ﺭﺍ ﻃﻠﺐ ﻣﻰﻛﺮﺩ ﻛﻪ ﺑﻪ ﻭﺿﻮﺡ ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪.‬‬ ‫»ﺗﻨﺪﻳﺲ« ﺑﺎ ﻃﻨﺰ ﺑﻪ ﺑﺎﺯﻯ ﺳﺮﻧﻮﺷﺖ ﻭ ﻏﻀﺐ‬
‫ﻧﻔﺮﻩ ﺍﺯ ﺩﻭﺳﺘﺎﻥ ﺧﻮﺩ ﺩﺍﺩﻩ ﺑﻮﺩ ﻭ ﮔﻔﺘﻪ ﺑﻮﺩ‬ ‫ﺁﻝﺍﺣﻤﺪ ﻭ ﺧﺎﻧﻢ ﺩﺍﻧﺸﻮﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺍﺳﺘﺎﺩ ﺑﻬﺰﺍﺩ ﺭﺍ‬ ‫ﻣﺨﺎﻟﻒ ﻗﺮﺍﺭ ﻣﻰﮔﺮﻓﺖ‪ .‬ﻛﺎﺭﻫﺎﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﺩﻳﮕﺮ ﺍﻳﻦﻛﻪ ﺁﺷﻨﺎﻳﻰ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻣﻠﺘﻰ ﺑﺎ ﻣﻠﺖ‬ ‫ﺍﺳﺘﺎﺩ ﻣﻰﭘﺮﺩﺍﺯﺩ ﻭ ﻣﻰﻧﻮﻳﺴﺪ‪» :‬ﺩﺭ ﺁﻥ ﻧﻤﺎﻳﺸﮕﺎﻩ‬
‫ﻛﻪ ﺍﻳﺸﺎﻥ ﺑﺪﻭﻥ ﺩﻭﺳﺘﺎﻥﺷﺎﻥ ﺳﻔﺮ ﻧﻤﻰﻛﻨﻨﺪ‬ ‫ﺩﻳﺪﻡ ﺭﻭﻯ ﻧﻴﻤﻜﺘﻰ ﻧﺸﺴﺘﻪ ﺑﻮﺩ ﻭ ﭼﻨﺪ ﻧﻔﺮ ﺩﻭﺭ‬ ‫ﺍﻏﻠﺐ ﺩﺭ ﺍﻧﺪﺍﺯﻩﻫﺎﻯ ﺑﺰﺭگ ﺑﻮﺩ ﻭ ﺑﻪ ﻫﺮ ﺣﺎﻝ‬ ‫ﺩﻳﮕﺮ ﺍﺯ ﺑﺴﻴﺎﺭﻯ ﺟﻬﺎﺕ ﻣﻬﻢ ﻭ ﻣﻐﺘﻨﻢ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻃﻮﺭ ﻫﻤﺰﻣﺎﻥ ﻣﻦ ﻫﻢ ﺗﺸﻮﻳﻖ ﺷﺪﻡ ﻭ ﻫﻢ‬
‫ﻣﻌﻤﻮﻻً! ﺩﺭ ﺍﻳﻦ ﺳﻴﺎﻫﻪ ﺍﺳﻢﻫﺎﻳﻰ ﻧﻈﻴﺮ ﻓﻼﻧﻰ‬ ‫ﻭ ﺑﺮﺵ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺁﻗﺎﻯ ﺁﻝ ﺍﺣﻤﺪ ﺑﻪ‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩ ﺍﻳﻦ ﺁﺛﺎﺭ ﮔﻮﻳﺎﻯ ﭘﺨﺘﮕﻰ ﻭ ﺑﻠﻮﻍ‬ ‫ﺯﻣﺎﻧﻰ ﻛﻪ ﭘﺎﻯ ﻣﻘﺎﻳﺴﻪ‪ ،‬ﺳﻨﺠﺶ ﻭ ﺑﻴﺪﺍﺭﻯ‬ ‫ﺗﻮﺑﻴﺦ! ﺩﺭ ﺍﺻﻞ ﺑﻪ ﻗﻮﻝ ﺑﻜﺴﻮﺭﻫﺎ ﺩﻭ ﻋﺪﺩ‬
‫ﻳﻚ »ﮔﺪﺍﻯ ﺳﺮﺷﻨﺎﺱ ﻣﺎﺩﺭﻳﺪ«‪ ،‬ﺑﻬﻤﺎﻧﻰ ﻳﻚ‬ ‫ﻃﺮﻑ ﺍﻭ ﺭﻓﺖ ﻭ ﺑﺎ ﺗﻮﺍﺿﻊ ﺗﻤﺎﻡ ﺟﻠﻮ ﺍﺳﺘﺎﺩ ﺯﺍﻧﻮ‬ ‫ﻫﻨﺮﻣﻨﺪﻯ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻛﺸﻮﺭ ﺧﻮﺩﺵ ﻫﻢ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺑﺎﺷﺪ‪ ،‬ﻳﻜﻰ ﺩﻳﮕﺮ ﺗﻌﺮﻳﻔﻰ ﻗﻄﻌﻰ ﻭ‬ ‫ﻫﻮﻙ ﭼﭗ ﺑﻮﺩ ﻛﻪ ﻧﺜﺎﺭ ﺷﺪ ﺍﺯ ﺍﻳﻦ ﻗﺮﺍﺭ ﻛﻪ‪:‬‬
‫»ﻧﻮﺍﺯﻧﺪﻩ ﺧﻴﺎﺑﺎﻧﻰ«‪ ،‬ﻳﻜﻰ ﺩﻳﮕﺮ » َﻣﺴ ِﺖ ﺑﻴﻜﺎﺭ«‬ ‫ﺯﺩ ﻭ ﺩﺳﺖﻫﺎﻯ ﺍﻭ ﺭﺍ ﺩﺭ ﺩﺳﺖﻫﺎﻳﺶ ﻛﻤﻰ ﻧﮕﻪ‬ ‫ﺟﺎﻳﮕﺎﻩ ﻣﻬﻤﻰ ﺩﺍﺭﺩ‪ .‬ﺗﺎﺯﮔﻰ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺭﺍ ﻣﻦ ﺑﻪ‬ ‫ﺣﺘﻤﻰ ﺍﺯ ﻭﺍژﻩﻫﺎﺳﺖ ﻛﻪ ﺯﻳﺮ ﺳﻮﺍﻝ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺍﻭﻝ ﺑﻮﺭﺱ ﺍﻫﺪﺍﻳﻰ ﺭﺍ ﺑﻪ ﻭﺍﺳﻄﻪ ﮔﺮﻓﺘﺎﺭﻯﻫﺎﻯ‬
‫ﻭ… ﺩﻳﺪﻩ ﻣﻰﺷﺪ‪ .‬ﺍﻳﻦ ﻟﻴﺴﺖ ﭘﺮ ﺍﺯ ﺍﻧﺴﺎﻥﻫﺎﻯ‬ ‫ﺩﺍﺷﺖ ﻭ ﭼﻴﺰﻫﺎﻳﻰ ﻣﻰﮔﻔﺖ ﻛﻪ ﻧﺸﻨﻴﺪﻡ‪ .‬ﺍﻣﺎ‬ ‫ﺍﻳﻦ ﺟﻬﺖ ﮔﻔﺘﻢ ﻛﻪ ﻫﻨﺮﻣﻨﺪ ﻣﻬﻤﺎﻥ ﺑﺎ ﻛﻤﻚ‬ ‫ﺯﻧﺪﮔﻰ ﺩﺍﺧﻠﻰﺍﻡ ﻧﺘﻮﺍﻧﺴﺘﻢ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻢ ﻭ ﺩﻭﻡ‬
‫ﺟﺎﻟﺐ ﺑﺎ ﺍﻟﻘﺎﺑﻰ »ﺟﺎﻟﺐﺗﺮ« ﺑﻮﺩ‪ .‬ﺑﺮﺍﻯ ﺭﻣﺰﮔﺸﺎﻳﻰ‬ ‫ﻫﻤﺴﺮﺵ ﺍﺟﺮﺍ ﻭ ﺧﻠﻖ ﺳﻪ ﺍﺛﺮ ﻣﺘﻔﺎﻭﺕ ﺭﺍ ﺩﺭ‬ ‫ﺍﻳﻨﻜﻪ ﺍﺳﺘﺎﺩ ﺑﻬﺰﺍﺩ ﺑﻪ ﺧﺎﻃﺮ ﺗﻤﺮﺩ ﻣﻦ ﺍﺯ ﻛﭙ ِﻰ‬
‫ﺍﻳﻦ ﻟﻴﺴﺖ ﺑﺎﻳﺪ ﺑﺎ ﺭﻭﺣﻴﺎﺕ ﺩﺍﻟﻰ ﺁﺷﻨﺎ ﺑﻮﺩ‪.‬‬ ‫ﺣﻀﻮﺭ ﺑﺎﺯﺩﻳﺪﻛﻨﻨﺪﮔﺎﻥ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺗﺎﻻﺭ ﻓﺮﻫﻨﮓ‬ ‫ﻛﺎﺭﻫﺎﻳﺶ‪ ،‬ﻣﺮﺍ ﻳﻚ ﺳﺎﻝ ﺍﺯ ﺗﺤﺼﻴﻞ ﻣﺤﺮﻭﻡ‬
‫ﺧﻼﺻﻪ‪ ،‬ﻣﺼﺒﺎﺡﺯﺍﺩﻩ ﻭ ﭘﺪﺭﻡ ﺑﻌﺪ ﺍﺯ ﻛﻠﻰ‬ ‫ﮔﻨﺠﺎﻧﺪﻩ ﺑﻮﺩﻧﺪ‪ ،‬ﻛﺎﺭ ﺁﻧﻬﺎ ﻧﻮﻋﻰ ﻧﻤﺎﻳﺶ ﺳﺮﻋﺖ‬ ‫ﻛﺮﺩ‪ .‬ﮔﻔﺘﻪ ﺑﻮﺩ‪» :‬ﺩﺭﺍﻳﻦ ﻣﺪﺭﺳﻪ ﻳﺎ ﺟﺎﻯ ﻣﻦ‬
‫ﺧﻨﺪﻩ‪ ،‬ﺍﺯ ﻃﺮﺡ ﻣﻨﺼﺮﻑ ﺷﺪﻧﺪ‪ .‬ﻳﻌﻨﻰ ﺍﮔﺮ‬ ‫ﺍﺟﺮﺍﻳﻰ ﺩﺭ ﻋﻴﻦ ﺗﻤﺮﻛﺰ ﺑﻮﺩ ﻛﻪ ﺍﺯ ﺗﺴﻠﻂ ﻭ‬
‫ﻟﻴﺴﺖ ﺩﻭﺳﺘﺎﻥ ﺩﺍﻟﻰ ﻭﺍﻗﻌﻰ ﻫﻢ ﻣﻰﺑﻮﺩ‪،‬‬ ‫ﻣﻬﺎﺭﺗﻰ ﻃﻮﻻﻧﻰ ﺣﻜﺎﻳﺖ ﺩﺍﺷﺖ‪ .‬ﻗﻄﻊ ﻫﺮ‬ ‫ﺍﺳﺖ ﻳﺎ ﻣﻌﺼﻮﻣﻰ«‪.‬‬
‫ﻛﻴﻬﺎﻥ ﻧﻤﻰﺗﻮﺍﻧﺴﺖ ﭼﻨﺪﻳﻦ ﻫﺰﺍﺭ ﺩﻻﺭ ﺧﺮﺝ‬ ‫ﺳﻪ ﺗﺎﺑﻠﻮ ﺣﺪﻭﺩ ‪ 45 × 35‬ﺳﺎﻧﺘﻰﻣﺘﺮ ﺑﻪﻧﻈﺮ‬ ‫ﻣﻮﺿﻮﻉ ﺟﺪﻯ ﺑﻮﺩ ﻭ ﻇﺎﻫﺮﺍ ﺑﺪﻭﻥ ﻭﺳﺎﻃﺖ‬
‫ﺳﻔﺮ ﺁﻧﻬﺎ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﻜﻨﺪ‪ .‬ﺍﻳﻦ ﺷﺪ ﻛﻪ ﺍﺻﻼ ﺍﺯ‬ ‫ﻣﻰ ﺭﺳﻴﺪ ﻛﻪ ﺭﻭﻯ ﻛﺎﻏﺬ ﺩﺳﺖﺳﺎﺯ ﻭ ﻣﻘﺎﻭﻡ‬ ‫ﺭﺍﺑﻄﻪﻯ ﺷﺎﮔﺮﺩ ﻭ ﺍﺳﺘﺎﺩ ﺗﺮﻣﻴﻢ ﻧﻤﻰﻳﺎﻓﺖ‪.‬‬
‫ﺧﻴﺮ ﻣﺎﺟﺮﺍ ﻣﻰﮔﺬﺭﻧﺪ ﺍﻣﺎ ﺧﺎﻃﺮﺓ ﺁﻥ ﺑﻴﻦ ﭘﺪﺭﻡ‬ ‫ﺳﺎﺧﺘﻪ ﻣﻰﺷﺪ‪ .‬ﻧﻘﺶ ﻫﻤﺴﺮ ﻧﻘﺎﺵ ﺁﻣﺎﺩﻩ‬ ‫ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ ﺩﺭ ﺍﺩﺍﻣﻪ ﺗﻌﺮﻳﻒ ﻣﻰﻛﻨﺪ‪:‬‬
‫ﻭ ﺁﻗﺎﻯ ﻣﺼﺒﺎﺡﺯﺍﺩﻩ ﻭ ﻫﻤﻜﺎﺭﺍﻧﻰ ﻛﻪ ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﻛﺮﺩﻥ ﻣﻮﺍﺩ ﻭ ﻟﻮﺍﺯﻡ ﻛﺎﺭ ﻭ ﺗﻌﻮﻳﺾ ﻗﻠﻢﻣﻮﻫﺎ ﺑﻮﺩ‪،‬‬ ‫»ﺧﺎﻧﻢ ﺳﻴﻤﻴﻦ ﺩﺍﻧﺸﻮﺭ ﻭ ﺁﻗﺎﻯ ﺁﻝﺍﺣﻤﺪ ﺑﻪ‬
‫ﺑﺎ ﺳﺮﻋﺘﻰ ﺑﺎﻭﺭ ﻧﻜﺮﺩﻧﻰ‪ .‬ﺍﻟﺒﺘﻪ ﻣﻦ ﺩﺭ ﺯﺍﻭﻳﻪﺍﻯ‬ ‫ﻣﻦ ﺩﻟﺪﺍﺭﻯ ﻣﻰﺩﺍﺩﻧﺪ ﻭ ﻣﻰﮔﻔﺘﻨﺪ ﺑﺎﻳﺪ ﭼﻨﺪ‬
‫ﻃﺮﺡ ﺑﻮﺩﻧﺪ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪«.‬‬ ‫ﻧﺒﻮﺩﻡ ﻛﻪ ﺑﺒﻴﻨﻢ ﻃﺮﺍﺣﻰ ﻫﻢ ﻣﻰﻛﻨﺪ ﻳﺎ ﻧﻪ‪،‬‬ ‫ﺭﻭﺯﻯ ﺻﺒﺮ ﻛﺮﺩ‪… .‬ﭼﻨﺪ ﻣﺎﻩ ﮔﺬﺷﺖ‪ .‬ﺩﺭ ﻳﻚ‬
‫ﺍﻳﻨﻚ ﻋﻠﻰﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ ﺩﺭ ‪ 82‬ﺳﺎﻟﮕﻰ ﺩﺭ‬ ‫ﺍﻣﺎ ﻫﺮ ﺳﻪ ﻛﺎﺭ ﺭﺍ ﺩﺭ ﻣﺪﺕ ﺯﻣﺎﻥ ﻣﺤﺪﻭﺩ ﻧﻴﻢ‬ ‫ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ ﭘﺎﻳﻴﺰﻯ ﺁﻗﺎﻯ ﺁﻝ ﺍﺣﻤﺪ ﺭﺍ ﺗﻮﻯ‬
‫ﺑﺴﺘﺮ ﺑﻴﻤﺎﺭﻯ ﺍﺳﺖ ﻭ ﻛﻴﻬﺎﻥ ﺩﻛﺘﺮ ﻣﺼﺒﺎﺡﺯﺍﺩﻩ‬ ‫ﺳﺎﻋﺖ ﺗﻤﺎﻡ ﻛﺮﺩ‪ .‬ﻣﻮﺿﻮﻉ ﻛﺎﺭﻫﺎ ﻳﻜﻰ ﻣﻨﻈﺮﻩ‪،‬‬ ‫ﻛﺘﺎﺏﻓﺮﻭﺷﻰ ﻻﺭﻭﺱ ﺩﻳﺪﻡ‪ .‬ﺍﺯ ﭼﻨﺪ ﻗﺪﻣﻰ ﺻﺪﺍ‬
‫ﻳﻚ ﺑﺎﺭ ﺩﻳﮕﺮ ﺍﺯ ﺻﻤﻴﻢ ﻗﻠﺐ ﺑﺎ ﺍﻭﺳﺖ ﺩﺭﺳﺖ‬ ‫ﺩﻭﻣﻰ ﺍﺳﺐ ﻭ ﺳﻮﻣﻰ ﮔﻞ ﺑﻮﺩ ﻛﻪ ﺑﻌﺪﺍﺯ ﺍﻣﻀﺎ ﺩﺭ‬ ‫ﺯﺩ ﻭ ﮔﻔﺖ ﻓﺮﺩﺍ ﺑﻴﺎ ﺗﺎﻻﺭ ﻓﺮﻫﻨﮓ‪ .‬ﺑﻌﺪ ﺍﺯ ﺳﻼﻡ‬
‫ﻣﺎﻧﻨﺪ ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺩﻭﺭ‪ ،‬ﻫﻨﺮﺵ ﺭﺍ‬ ‫ﺣﺎﺷﻴﻪﻫﺎﻯ ﺯﻳﺒﺎﻳﻰ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺷﺪﻧﺪ ﻭ ﺗﻮﺳﻂ‬ ‫ﮔﻔﺘﻢ ﻧﻤﺎﻳﺸﮕﺎﻩ؟ ﮔﻔﺖ‪ :‬ﺁﺭﻩ‪ ،‬ﻗﺮﺍﺭﻩ ﺑﺎ ﺳﻴﻤﻴﻦ‬
‫ﻭﺳﺎﻃﺖ ﻛﻨﻴﻢ ﻭ ﺍﺯ ﭘﻴﺮﻣﺮﺩ ﺑﺨﻮﺍﻫﻴﻢ ﺑﺮﻭﻯ ﺳﺮ‬
‫ﺩﺭ ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ ﺑﻪ ﻛﺎﺭ ﻣﻰﮔﺮﻓﺖ‪.‬‬
‫ﺩﺭﺱ ﻭ ﻣﺸﻖﺍﺕ‪ ،‬ﺭﻳﻴﺲ!«‬
‫ﺑﺎﺭﻯ‪ ،‬ﻫﻨﺮﺟﻮﻯ ﺟﻮﺍﻥ ﻓﺮﺩﺍ ﺑﻪ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻣﻮﻋﻮﺩ‬

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