{"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\/ro\/exhibit\/poster-1\/","title":{"rendered":"poster 1"},"content":{"rendered":"
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Evolu\u021bia piesei de \u0219ah spaniole de la \u0219ahul istoric (acedrex) la \u0219ahul modern (ajedrez)<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1. Schimbarea lingvistic\u0103: De la X la J<\/b><\/h3>

Diferen\u021ba dintre Acedrex \u0219i Ajedrez ilustreaz\u0103 evolu\u021bia fonetic\u0103 a limbii spaniole \u00een \u00eencercarea de a adapta numele arab original pentru joc:<\/p>

  • A<\/b>cedrex (secolul al XIII-lea):\u00a0<\/strong>Aceasta este ortografia primar\u0103 utilizat\u0103 \u00een tratatul din 1283 al regelui Alfonso X, Cartea Acedrex<\/i>. \u00cen aceast\u0103 perioad\u0103, \u201cc\u201d (\u00eenainte de \u201ce\u201d) \u0219i \u201cx\u201d au fost folosite pentru a capta fonetic sunetul \u201csh\u201d mo\u0219tenit din arab\u0103 Shatranj<\/i>.<\/p><\/li>

  • Ajedrez (secolul al XV-lea):<\/b> Pe m\u0103sur\u0103 ce limba a evoluat, sunetul \u201csh\u201d s-a transformat \u00een \u201cj\u201d modern, gutural (a jota<\/i>). P\u00e2n\u0103 \u00een momentul \u00een care Luis Ram\u00edrez de Lucena \u0219i-a publicat lucrarea de referin\u021b\u0103 \u00een 1497, ortografia a evoluat spre forma modern\u0103.<\/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. Schimbarea mecanic\u0103: \u201cEl Viejo\u201d vs. \u201cDe la Dama\u201d<\/b><\/h3>\n

    \u00cen timp ce numele fonetic se schimba, regulile treceau printr-o expansiune revolu\u021bionar\u0103 a puterii care a modificat complet ritmul de joc. Aceast\u0103 tranzi\u021bie este cel mai bine definit\u0103 de cele dou\u0103 sisteme descrise \u00een lucrarea lui Lucena din 1497:<\/p>\n\n

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      El Viejo (Calea veche):<\/b> Acesta reprezint\u0103 regulile medievale tradi\u021bionale ale Acedrex, unde jocul era o lupt\u0103 lent\u0103, pozi\u021bional\u0103. \u00cen acest sistem, piesa pe care acum o numim Dama era Alferza (consilierul regelui), care era limitat\u0103 la deplasarea pe diagonal\u0103 cu un singur p\u0103trat. Simultan, Alfilul tradi\u021bional era limitat la a s\u0103ri exact dou\u0103 p\u0103trate \u00een diagonal\u0103, s\u0103rind peste alte piese.<\/p>\n<\/li>\n \t

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      De la Dama (Calea modern\u0103):<\/b> Acest \u201cnou\u201d stil de joc a transformat \u0219ahul \u00eentr-o \u00eent\u00e2lnire \u201crapid\u0103, tactic\u0103 \u0219i exploziv\u0103\u201d. Conform acestor reguli, Alferza a fost \u00eenlocuit\u0103 de \u201cDama\u201d, care a c\u00e2\u0219tigat o raz\u0103 de ac\u021biune nelimitat\u0103 \u00een toate direc\u021biile. Alfilul modern a evoluat, de asemenea, \u00eentr-un alunec\u0103tor diagonal f\u0103r\u0103 restric\u021bii, adopt\u00e2nd mi\u0219carea puternic\u0103 rezervat\u0103 odinioar\u0103 pieselor experimentale precum Crocodilul.<\/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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      Tranzi\u021bia de la crocodil la elefant<\/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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      Trecerea de la mi\u0219carea \u201cdiagonal\u0103 nelimitat\u0103\u201d la denumirea \u201cAlfil\u201d \u00een literatura spaniol\u0103 marcheaz\u0103 o schimbare esen\u021bial\u0103 de la \u201cShatranj\u201d medieval la \u0219ahul modern. \u00cen timp ce \u201cLibro de los Juegos (1283)\u201d al regelui Alfonso X a introdus pentru prima dat\u0103 mi\u0219carea de diagonal\u0103 nelimitat\u0103 prin intermediul unei piese specifice numit\u0103 Crocodil (Cocodrilo<\/i>), numele \u201cAlfil\u201d nu a fost reaplicat acestei mi\u0219c\u0103ri \u00een jocul standard 8\u00d78 p\u00e2n\u0103 la sf\u00e2r\u0219itul secolului al XV-lea.<\/p>\n\n

      1. \u201cCrocodilul\u201d din Cartea lui Alfonso (1283)<\/b><\/h3>\n

      \u00cen \u201cLibro de los Juegos\" al lui Alfonso X\u201c<\/i>, Alfilul standard era \u00eenc\u0103 piesa medieval\u0103 tradi\u021bional\u0103 care s\u0103rea exact dou\u0103 p\u0103trate \u00een diagonal\u0103. Cu toate acestea, Alfonso a inclus o variant\u0103 extins\u0103 12\u00d712 numit\u0103 \u201cGrande Acedrex\u201c<\/b> (Great Chess), care con\u021binea o pies\u0103 nou\u0103 numit\u0103 \u201cCrocodilul\u201d (Cocodrilo<\/i>).<\/p>\n\n

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        Mi\u0219carea:<\/b> Crocodilul se mi\u0219ca exact ca o pies\u0103 modern\u0103 - alunec\u00e2nd pe orice distan\u021b\u0103 de-a lungul diagonalelor neobstruc\u021bionate.<\/p>\n<\/li>\n \t

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        Inspira\u021bia:<\/b> Istoricii leag\u0103 acest nume de un cadou diplomatic celebru: un crocodil viu trimis de sultanul Egiptului lui Alfonso X \u00een 1260, ca parte a unei cereri \u00een c\u0103s\u0103torie pentru fiica regelui. Un model din lemn \u00een m\u0103rime natural\u0103 al acestui crocodil, cunoscut sub numele de \u201cLagarto\u201c<\/i>, at\u00e2rn\u0103 \u0219i ast\u0103zi \u00een Catedrala din Sevilla.<\/p>\n<\/li>\n<\/ul>\n

        2. Trecerea la \u201cAlfil\u201d \u00een secolul al XV-lea<\/b><\/h3>\n

        Numele \u201cAlfil\u201d a fost folosit oficial pentru mi\u0219carea diagonal\u0103 nelimitat\u0103 \u00een jocul standard 8\u00d78, \u00een urma \u201creformei valenciene\u201d din jurul anului 1475.<\/p>\n\n

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          Scachs d'amor (c. 1475):<\/b> Acest poem valencian este prima oper\u0103 literar\u0103 care descrie regulile \u0219ahului modern. Ea confer\u0103 \u00een mod explicit acestei piese un \u201crol mai dinamic\u201d, deplas\u00e2nd c\u00e2t mai multe p\u0103trate \u00een diagonal\u0103. \u00cen poem, aceste piese sunt deja denumite \u201cAlfil\u201d (\u00een valencian\u0103\/catalan\u0103), ilustr\u00e2nd faptul c\u0103 denumirea a fost transferat\u0103 de la vechiul \u201cs\u0103ritor\u201d la noul \u201calunec\u0103tor\u201d \u00een aceast\u0103 perioad\u0103.<\/p>\n<\/li>\n \t

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          Libre dels jochs partits dels schacs (1495):<\/b> Scris\u0103 de Francesc Vicent, aceast\u0103 carte pierdut\u0103 este considerat\u0103 primul tratat de \u0219ah modern. Se crede c\u0103 a standardizat numele \u201cAlfil\u201d pentru noua mi\u0219care din Peninsula Iberic\u0103.<\/p>\n<\/li>\n<\/ul>\n

          3. Prima apari\u021bie \u00een literatura castilian\u0103 (spaniol\u0103)<\/b><\/h3>\n

          \u00cen cazul \u00een care c\u0103uta\u021bi mai degrab\u0103 literatur\u0103 castilian\u0103 (spaniol\u0103) dec\u00e2t valencian\u0103, prima utilizare definitiv\u0103 a termenului \u201cAlfil\u201d pentru mi\u0219carea modern\u0103 este \u00een:<\/p>\n\n

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            Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/b> Scris\u0103 de Luis Ram\u00edrez de Lucena, aceasta este cea mai veche carte tip\u0103rit\u0103 despre \u0219ahul modern \u00een castilian\u0103.<\/p>\n<\/li>\n \t

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            Lucena nume\u0219te piesa Alfil (sau Arfil) \u0219i face distinc\u021bie \u00eentre regulile \u201cnoi\u201d (de la dama) \u0219i regulile \u201cvechi\u201d (el viejo). El confirm\u0103 c\u0103 \u201cnoul Alfil\u201d traverseaz\u0103 acum diagonala, absorbind efectiv mi\u0219carea atribuit\u0103 ini\u021bial \u201cCrocodile\u201d lui Alfonso.<\/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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            De la Alferza la Dama (doamn\u0103) \u0219i Reina (regin\u0103)<\/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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            De\u0219i ambii termeni sunt utiliza\u021bi \u00een prezent, alegerea \u00eentre \u201cdama\u201d \u0219i \u201creina\u201d \u00een literatura spaniol\u0103 de \u0219ah marcheaz\u0103 tranzi\u021bia de la jocul medieval la \u0219ahul modern \u0219i reflect\u0103 un efort de lung\u0103 durat\u0103 de a evita confuzia lingvistic\u0103.<\/p>\n\n

            1. Prima apari\u021bie literar\u0103: \u201cReina\u201d medieval\u0103\u201d<\/b><\/h3>\n

            \u00centr-un sens literar general, termenul \u201creina\u201d (regina) a ap\u0103rut \u00een poezia spaniol\u0103 legat\u0103 de \u0219ah cu mult \u00eenainte de a deveni denumirea standardizat\u0103 pentru piesa de pe tabl\u0103.<\/p>\n\n

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              Secolul al XI-lea (Shegal):<\/span><\/b> Rabinul spaniol \u201c<\/span>Abraham ibn Ezra\u201d<\/span> a scris un poem la sf\u00e2r\u0219itul secolului al XI-lea care men\u021biona piesa ca \u201c<\/span>Shegal\u201d<\/span> (un termen ebraic pentru regin\u0103).<\/span><\/p>\n\n

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              Romantism medieval:<\/b> Sub influen\u021ba tratatelor morale ale lui Jacobus de Cessolis, piesa a fost adesea denumit\u0103 \u2019<\/span>regina\u201d<\/span> \u00een latin\u0103 \u0219i \u201c<\/span>reina<\/span>\u201c<\/span><\/b> \u00een limbile romanice timpurii, chiar dac\u0103 \u00eenc\u0103 se deplasa cu mi\u0219carea diagonal\u0103 slab\u0103, de o p\u0103tr\u0103\u021bic\u0103, a \u201c<\/span>Alferza<\/span>\u201c<\/span><\/b>.<\/span><\/p>\n\n

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              2. Primele tratate moderne: \u201cDama\u201d ca standard<\/b><\/h3>\n

              C\u00e2nd regulile s-au schimbat la sf\u00e2r\u0219itul secolului al XV-lea pentru a crea puternica pies\u0103 \u201cnelimitat\u0103\u201d pe care o cunoa\u0219tem ast\u0103zi, termenul preferat \u00een tratatele spaniole era de fapt \u201cDama\u201d, nu Reina.<\/p>\n\n

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                Libre dels jochs partits dels schacs (1495):<\/span><\/b> Scris\u0103 de Francesc Vicent \u00een Valencia, aceasta este considerat\u0103 prima carte tip\u0103rit\u0103 despre \u0219ahul modern.<\/span> Acesta s-a axat pe \u201cDama\u201c<\/b> (Lady) \u0219i este creditat cu standardizarea \u201cnoilor\u201d reguli de mi\u0219care.<\/p>\n

                Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/span><\/b> Luis Ram\u00edrez de Lucena a folosit explicit termenul \u201cDama\u201c pentru a defini jocul modern (de la dama). El a folosit rar \u201cReina\u201d, deoarece jocul era adesea numit \u201c\u0218ahul Doamnei\u201d (adesea asociat cu regina Isabella I a Castiliei).<\/span><\/p>\n<\/li>\n<\/ul>\n

                3. C\u00e2nd \u201cReina\u201d a devenit o alternativ\u0103 frecvent\u0103<\/b><\/h3>\n

                Trecerea la \u201cReina\u201d \u00een literatura principal\u0103 spaniol\u0103 de \u0219ah a \u00eenceput s\u0103 apar\u0103 mai frecvent \u00een secolul al XVI-lea, pe m\u0103sur\u0103 ce jocul a dep\u0103\u0219it perioada sa ini\u021bial\u0103 de \u201creform\u0103\u201d.<\/p>\n\n

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                  Ruy L\u00f3pez de Segura (1561):<\/b> \u00cen lucrarea sa fundamental\u0103, \u201cLibro de la Invenci\u00f3n Liberal y Arte del Juego del Axedrez\u201d, Ruy L\u00f3pez a folosit ambii termeni, de\u0219i \u201cDama\u201c<\/b> a r\u0103mas dominant din punct de vedere tehnic \u00een descrierile strategice.<\/p>\n<\/li>\n \t

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                  Conflictul \u201cR\u201d:<\/b> Principalul motiv pentru care \u201cReina\u201d nu a \u00eenlocuit niciodat\u0103 pe deplin \u201cDama\u201d \u00een literatura tehnic\u0103 de \u0219ah este notarea \u0219ahului. \u00cen nota\u021bia spaniol\u0103, \u201cRey\u201d (Regele) folose\u0219te litera \u201cR\u201c. Pentru a evita confuziile, reginei i se atribuie litera \u201cD\u201c pentru \u201cDama\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\/ro\/wp-json\/wp\/v2\/pages\/756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/comments?post=756"}],"version-history":[{"count":53,"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/pages\/756\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/pages\/756\/revisions\/1883"}],"up":[{"embeddable":true,"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/pages\/743"}],"wp:attachment":[{"href":"https:\/\/shatranj.art\/ro\/wp-json\/wp\/v2\/media?parent=756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}