{"id":756,"date":"2026-02-21T09:44:01","date_gmt":"2026-02-21T09:44:01","guid":{"rendered":"https:\/\/shatranj.art\/?page_id=756"},"modified":"2026-03-02T06:56:13","modified_gmt":"2026-03-02T06:56:13","slug":"poster-1","status":"publish","type":"page","link":"https:\/\/shatranj.art\/lv\/exhibit\/poster-1\/","title":{"rendered":"plak\u0101ts 1"},"content":{"rendered":"
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Sp\u0101\u0146u \u0161aha fig\u016bru att\u012bst\u012bba no v\u0113sturisk\u0101 \u0161aha (acedrex) uz m\u016bsdienu \u0161ahu (ajedrez)<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1. Lingvistisk\u0101 mai\u0146a: No X uz J<\/b><\/h3>

At\u0161\u0137ir\u012bba starp Acedrex un Ajedrez ilustr\u0113 sp\u0101\u0146u valodas fon\u0113tisko evol\u016bciju, jo t\u0101 cent\u0101s piel\u0101got ori\u0123in\u0101lo ar\u0101bu valodas nosaukumu sp\u0113lei:<\/p>

  • A<\/b>cedrex (13. gadsimts):\u00a0<\/strong>\u0160\u012b ir galven\u0101 pareizrakst\u012bba, kas izmantota kara\u013ca Alfonsa X 1283. gada trakt\u0101t\u0101, Libro del Acedrex<\/i>. \u0160aj\u0101 laik\u0101 \u201cc\u201d (pirms \u201ce\u201d) un \u201cx\u201d tika izmantoti, lai fon\u0113tiski fiks\u0113tu no ar\u0101bu valodas p\u0101rmantoto ska\u0146u \u201csh\u201d. Shatranj<\/i>.<\/p><\/li>

  • Ajedrez (15. gadsimts):<\/b> Att\u012bstoties valodai, \u0161\u012b \u201c\u0161\u201d ska\u0146a p\u0101rg\u0101ja m\u016bsdien\u012bgaj\u0101, klusaj\u0101 \u201cj\u201d. jota<\/i>). L\u012bdz br\u012bdim, kad 1497. gad\u0101 Luiss Ramirezs de Lucena public\u0113ja savu noz\u012bm\u012bgo darbu, rakst\u012bba bija p\u0101rg\u0101jusi uz m\u016bsdienu formu.<\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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    2. Meh\u0101nisk\u0101 mai\u0146a: \u201cEl Viejo\u201d pret \u201cDe la Dama\u201d.\u201d<\/b><\/h3>\n

    Kam\u0113r main\u012bj\u0101s nosaukums, noteikumi piedz\u012bvoja revolucion\u0101ru varas papla\u0161in\u0101\u0161anos, kas piln\u012bb\u0101 main\u012bja sp\u0113les gaitu. \u0160o p\u0101reju vislab\u0101k raksturo divas sist\u0113mas, kas aprakst\u012btas Lucenas 1497. gada darb\u0101:<\/p>\n\n

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      El Viejo (Vecais ce\u013c\u0161):<\/b> Tas atspogu\u013co tradicion\u0101los viduslaiku Acedrex noteikumus, kur sp\u0113le bija l\u0113na, pozicion\u0101la c\u012b\u0146a. \u0160aj\u0101 sist\u0113m\u0101 fig\u016bra, ko m\u0113s tagad saucam par d\u0101mu, bija Alferza (kara\u013ca padomnieks), kas dr\u012bkst\u0113ja p\u0101rvietoties tikai par vienu laukumu pa diagon\u0101li. Vienlaikus tradicion\u0101lais Alfils dr\u012bkst\u0113ja l\u0113kt pa diagon\u0101li tie\u0161i divus laukumus, p\u0101rlecot p\u0101ri cit\u0101m fig\u016br\u0101m.<\/p>\n<\/li>\n \t

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      De la Dama (M\u016bsdienu ce\u013c\u0161):<\/b> \u0160is \u201cjaunais\u201d sp\u0113les stils p\u0101rv\u0113rta \u0161ahu par \u201c\u0101tru, taktisku un eksploz\u012bvu\u201d sp\u0113li. Saska\u0146\u0101 ar \u0161iem noteikumiem alferza tika aizst\u0101ta ar \u201cd\u0101mu\u201d, kas ieguva neierobe\u017eotu t\u0101lumu visos virzienos. M\u016bsdienu \"Alfil\" ar\u012b p\u0101rtapa par neierobe\u017eotu diagon\u0101lo sl\u012bdni, p\u0101r\u0146emot sp\u0113c\u012bgu kust\u012bbu, kas k\u0101dreiz bija rezerv\u0113ta t\u0101d\u0101m eksperiment\u0101l\u0101m fig\u016br\u0101m k\u0101 \"Krokodils\".<\/p>\n<\/li>\n<\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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      P\u0101reja no krokodila uz ziloni<\/b><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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      \u201cNeierobe\u017eotas diagon\u0101les\u201d kust\u012bbas p\u0101reja uz nosaukumu \u201cAlfil\u201d sp\u0101\u0146u literat\u016br\u0101 iez\u012bm\u0113 b\u016btisku p\u0101reju no viduslaiku \u201cShatranj\u201d uz m\u016bsdienu \u0161ahu. Lai gan kara\u013ca Alfonso X \u201cLibro de los Juegos (1283)\u201d pirmo reizi neierobe\u017eoto diagon\u0101les g\u0101jienu ieviesa ar \u012bpa\u0161u fig\u016bru, ko sauca par krokodilu (Cocodrilo<\/i>), nosaukums \u201cAlfil\u201d \u0161ai kust\u012bbai standarta 8\u00d78 sp\u0113l\u0113 tika izmantots tikai 15. gadsimta beig\u0101s.<\/p>\n\n

      1. \u201cKrokodils\u201d Alfonsa gr\u0101mat\u0101 (1283)<\/b><\/h3>\n

      Alfonso X gr\u0101mat\u0101 \u201cLibro de los Juegos\".\u201c<\/i>, standarta Alfil joproj\u0101m bija tradicion\u0101l\u0101 viduslaiku fig\u016bra, kas l\u0113ca tie\u0161i divus laukumus pa diagon\u0101li. Tom\u0113r Alfonso tika iek\u013cauts papla\u0161in\u0101ts 12\u00d712 variants, ko sauca par \u201cGrande Acedrex\".\u201c<\/b> (Lielais \u0161ahs), kur\u0101 tika iek\u013cauta jauna fig\u016bra \u201cKrokodils\u201d (Cocodrilo<\/i>).<\/p>\n\n

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        Kust\u012bba:<\/b> Krokodils p\u0101rvietoj\u0101s tie\u0161i t\u0101pat k\u0101 modern\u0101 fig\u016bra - sl\u012bd\u0113ja jebkur\u0101 att\u0101lum\u0101 pa netrauc\u0113t\u0101m diagon\u0101l\u0113m.<\/p>\n<\/li>\n \t

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        Iedvesma:<\/b> V\u0113sturnieki \u0161o nosaukumu saista ar slavenu diplom\u0101tisku d\u0101vanu - dz\u012bvu krokodilu, ko 1260. gad\u0101 \u0112\u0123iptes sult\u0101ns nos\u016bt\u012bja Alfonso X k\u0101 da\u013cu no kara\u013ca meitas laul\u012bbu pied\u0101v\u0101juma. \u0160\u0101 krokodila dabisk\u0101 lieluma koka makets, paz\u012bstams k\u0101 \u201cLagarto\".\u201c<\/i>, kas v\u0113l \u0161odien kar\u0101jas Sevi\u013cas katedr\u0101l\u0113.<\/p>\n<\/li>\n<\/ul>\n

        2. P\u0101reja uz \u201cAlfil\u201d 15. gadsimt\u0101<\/b><\/h3>\n

        Nosaukums \u201cAlfil\u201d tika ofici\u0101li lietots neierobe\u017eotai diagon\u0101les kust\u012bbai standarta 8\u00d78 sp\u0113l\u0113 p\u0113c \u201cValensijas reformas\u201d ap 1475. gadu.<\/p>\n\n

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          Scachs d'amor (ap 1475):<\/b> \u0160is valensie\u0161u dzejolis ir pirmais liter\u0101rais darbs, kur\u0101 aprakst\u012bti m\u016bsdienu \u0161aha noteikumi. Taj\u0101 \u0161ai fig\u016brai nep\u0101rprotami pie\u0161\u0137irta \u201cdinamisk\u0101ka loma\u201d, p\u0101rvietojot p\u0113c diagon\u0101les tik daudz laukumu, cik vien t\u0101 var\u0113ja. Dzejol\u012b \u0161\u012bs fig\u016bras jau tiek d\u0113v\u0113tas par \u201cAlfil\u201d (valensie\u0161u\/katal\u0101\u0146u valod\u0101), kas ilustr\u0113 to, ka \u0161aj\u0101 period\u0101 \u0161is nosaukums tika p\u0101rcelts no vec\u0101 \u201cl\u0113ciena\u201d uz jauno \u201csl\u012bdni\u201d.<\/p>\n<\/li>\n \t

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          Libre dels jochs partits dels schacs (1495):<\/b> \u0160\u012b zudus\u012b gr\u0101mata, kuras autors ir Fran\u010desko Vi\u010dents, tiek uzskat\u012bta par pirmo m\u016bsdienu \u0161aha trakt\u0101tu. Tiek uzskat\u012bts, ka taj\u0101 ir standartiz\u0113ts nosaukums \u201cAlfil\u201d jaunajai kust\u012bbai vis\u0101 Pireneju pussal\u0101.<\/p>\n<\/li>\n<\/ul>\n

          3. Pirm\u0101 par\u0101d\u012b\u0161an\u0101s kast\u012blie\u0161u (sp\u0101\u0146u) literat\u016br\u0101<\/b><\/h3>\n

          Ja mekl\u0113jat tie\u0161i kast\u012blie\u0161u (sp\u0101\u0146u), nevis valensie\u0161u literat\u016bru, pirmais gal\u012bgais \u201cAlfil\u201d lietojums m\u016bsdienu kust\u012bbai ir:<\/p>\n\n

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            Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/b> \u0160\u012b ir vec\u0101k\u0101 saglab\u0101jusies iespiest\u0101 gr\u0101mata par moderno \u0161ahu kast\u012blie\u0161u valod\u0101, ko sarakst\u012bjis Luiss Ramiress de Lucena.<\/p>\n<\/li>\n \t

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            Lucena \u0161o darbu d\u0113v\u0113 par Alfil (vai Arfil) un nodala \u201cjaunos\u201d noteikumus (de la dama) un \u201cvecos\u201d noteikumus (el viejo). Vi\u0146\u0161 apstiprina, ka \u201cjaunais Alfil\u201d tagad iet p\u0101ri diagon\u0101lai, faktiski absorb\u0113jot kust\u012bbu, kas s\u0101kotn\u0113ji tika pie\u0161\u0137irta Alfonso \u201cKrokodilam\u201d.<\/p>\n<\/li>\n<\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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            No Alferzas uz D\u0101mu (d\u0101mu) un Reinu (karalieni)<\/b><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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            Lai gan m\u016bsdien\u0101s tiek lietoti abi termini, izv\u0113le starp \u201cdama\u201d un \u201creina\u201d sp\u0101\u0146u \u0161aha literat\u016br\u0101 iez\u012bm\u0113 p\u0101reju no viduslaiku sp\u0113les uz m\u016bsdienu \u0161ahu un atspogu\u013co ilgsto\u0161us centienus izvair\u012bties no valodas p\u0101rpratumiem.<\/p>\n\n

            1. Pirm\u0101 liter\u0101r\u0101 par\u0101d\u012b\u0161an\u0101s: \u201cReina\u201d viduslaikos\u201d<\/b><\/h3>\n

            Visp\u0101r\u0113j\u0101 liter\u0101raj\u0101 izpratn\u0113 termins \u201creina\u201d (d\u0101ma) par\u0101d\u012bj\u0101s ar sp\u0101\u0146u \u0161ahu saist\u012bt\u0101 dzej\u0101 ilgi pirms tam, kad tas k\u013cuva par standarta nosaukumu fig\u016brai uz galda.<\/p>\n\n

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              11. gadsimts (\u0160egals):<\/span><\/b> Sp\u0101\u0146u rab\u012bns \u201c<\/span>Abraham ibn Ezra\u201d<\/span> 11. gadsimta beig\u0101s uzrakst\u012bja dzejoli, kur\u0101 \u0161is gabals min\u0113ts k\u0101 \u201c<\/span>Shegal\u201d<\/span> (ebreju valod\u0101 apz\u012bm\u0113 karalieni).<\/span><\/p>\n\n

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              Viduslaiku romantika:<\/b> J\u0113kaba de Cessolisa mor\u0101les trakt\u0101tu iespaid\u0101 \u0161o darbu bie\u017ei d\u0113v\u0113ja par \u2019<\/span>\u201dReg\u012bna\"<\/span> lat\u012b\u0146u valod\u0101 un \u201c<\/span>reina<\/span>\u201c<\/span><\/b> agr\u012bnaj\u0101s rom\u0101\u0146u valod\u0101s, lai gan tas joproj\u0101m p\u0101rvietoj\u0101s ar v\u0101ju, viena kvadr\u0101ta diagon\u0101lo kust\u012bbu, k\u0101 tas ir \u201c<\/span>Alferza<\/span>\u201c<\/span><\/b>.<\/span><\/p>\n\n

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              2. Pirmie m\u016bsdienu trakt\u0101ti: \u201cDama\u201d k\u0101 standarts<\/b><\/h3>\n

              Kad 15. gadsimta beig\u0101s main\u012bj\u0101s noteikumi, lai izveidotu sp\u0113c\u012bgo \u201cneierobe\u017eoto\u201d da\u013cu, ko paz\u012bstam \u0161odien, sp\u0101\u0146u trakt\u0101tos v\u0113lamais termins faktiski bija \u201cDama\u201d, nevis Reina.<\/p>\n\n

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                Libre dels jochs partits dels schacs (1495):<\/span><\/b> Fran\u010desko Vi\u010denta (Francesc Vicent) Valensij\u0101 sarakst\u012bt\u0101 gr\u0101mata tiek uzskat\u012bta par pirmo iespiesto gr\u0101matu par moderno \u0161ahu.<\/span> Taj\u0101 galven\u0101 uzman\u012bba tika piev\u0113rsta \u201cDama\u201c<\/b> (Lady) un ir nopelns par \u201cjauno\u201d kust\u012bbas noteikumu standartiz\u0101ciju.<\/p>\n

                Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/span><\/b> Luis Ram\u00edrez de Lucena skaidri lietoja terminu \u201cDama\u201c, lai defin\u0113tu m\u016bsdienu sp\u0113li (de la dama). Vi\u0146\u0161 reti lietoja v\u0101rdu \u201cReina\u201d, jo \u0161o sp\u0113li bie\u017ei d\u0113v\u0113ja par \u201cD\u0101mas \u0161ahu\u201d (bie\u017ei vien to saist\u012bja ar Kast\u012blijas karalieni Izabellu I).<\/span><\/p>\n<\/li>\n<\/ul>\n

                3. Kad \u201cReina\u201d k\u013cuva par bie\u017eu alternat\u012bvu<\/b><\/h3>\n

                Sp\u0101\u0146u \u0161aha literat\u016br\u0101 p\u0101reja uz \u201cReina\u201d s\u0101ka bie\u017e\u0101k par\u0101d\u012bties 16. gadsimt\u0101, kad sp\u0113le p\u0101rvar\u0113ja savu s\u0101kotn\u0113jo \u201creformu\u201d periodu.<\/p>\n\n

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                  Ruy L\u00f3pez de Segura (1561):<\/b> Sav\u0101 fundament\u0101laj\u0101 darb\u0101 \u201cLibro de la Invenci\u00f3n Liberal y Arte del Juego del Axedrez\u201d Ruy L\u00f3pez lietoja abus terminus, lai gan \u201cDama\u201c<\/b> joproj\u0101m tehniski domin\u0113ja strat\u0113\u0123iskajos aprakstos.<\/p>\n<\/li>\n \t

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                  \u201cR\u201d konflikts:<\/b> Galvenais iemesls, k\u0101p\u0113c \u201cReina\u201d nekad nav piln\u012bb\u0101 aizst\u0101jis \u201cDama\u201d tehnisk\u0101 \u0161aha literat\u016br\u0101, ir \u0161aha not\u0101cija. Sp\u0101\u0146u \u0161aha pierakst\u0101 \u201cRey\u201d (karalis) tiek rakst\u012bts ar burtu \u201cR\u201c. Lai izvair\u012btos no p\u0101rpratumiem, d\u0101mai \u201cDama\u201c tiek pie\u0161\u0137irts burts \u201cD\u201d.<\/p>\n<\/li>\n<\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

                  Spanish chess piece evolution from historical chess (acedrex) toward modern chess (ajedrez) 1. The Linguistic Shift: From X to J The difference between Acedrex and Ajedrez illustrates the phonetic evolution of the Spanish language as it sought to adapt the original Arabic name for the game: Acedrex (The 13th Century):\u00a0This is the primary spelling used […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":743,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-756","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/pages\/756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/comments?post=756"}],"version-history":[{"count":53,"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/pages\/756\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/pages\/756\/revisions\/1883"}],"up":[{"embeddable":true,"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/pages\/743"}],"wp:attachment":[{"href":"https:\/\/shatranj.art\/lv\/wp-json\/wp\/v2\/media?parent=756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}