{"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\/sk\/exhibit\/poster-1\/","title":{"rendered":"plag\u00e1t 1"},"content":{"rendered":"
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V\u00fdvoj \u0161panielskych \u0161achov\u00fdch fig\u00far od historick\u00e9ho \u0161achu (acedrex) k modern\u00e9mu \u0161achu (ajedrez)<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1. Jazykov\u00fd posun: Od X k J<\/b><\/h3>

Rozdiel medzi slovami Acedrex a Ajedrez ilustruje fonetick\u00fd v\u00fdvoj \u0161panielskeho jazyka, ktor\u00fd sa sna\u017eil prisp\u00f4sobi\u0165 p\u00f4vodn\u00e9mu arabsk\u00e9mu n\u00e1zvu hry:<\/p>

  • A<\/b>cedrex (13. storo\u010die):\u00a0<\/strong>Toto je z\u00e1kladn\u00fd pravopis pou\u017eit\u00fd v trakt\u00e1te kr\u00e1\u013ea Alfonza X. z roku 1283, Libro del Acedrex<\/i>. V tomto \u010dase sa na fonetick\u00e9 zachytenie zvuku \u201c\u0161\u201d, ktor\u00fd bol zdeden\u00fd z arab\u010diny, pou\u017e\u00edvalo \u201cc\u201d (pred \u201ce\u201d) a \u201cx\u201d. Shatranj<\/i>.<\/p><\/li>

  • Ajedrez (15. storo\u010die):<\/b> S v\u00fdvojom jazyka sa zvuk \u201c\u0161\u201d zmenil na modern\u00e9, hrdeln\u00e9 \u201cj\u201d (v sloven\u010dine sa pou\u017e\u00edva jota<\/i>). V \u010dase, ke\u010f Luis Ram\u00edrez de Lucena publikoval svoje prelomov\u00e9 dielo v roku 1497, sa pravopis posunul k modernej podobe.<\/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. Mechanick\u00fd posun: \u201cEl Viejo\u201d vs. \u201cDe la Dama\u201d<\/b><\/h3>\n

    K\u00fdm sa menil fonetick\u00fd n\u00e1zov, pravidl\u00e1 prech\u00e1dzali revolu\u010dn\u00fdm roz\u0161\u00edren\u00edm pr\u00e1vomoc\u00ed, ktor\u00e9 \u00faplne zmenilo tempo hry. Tento prechod najlep\u0161ie definuj\u00fa dva syst\u00e9my op\u00edsan\u00e9 v Lucenovom diele z roku 1497:<\/p>\n\n

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      El Viejo (Star\u00e1 cesta):<\/b> To predstavuje tradi\u010dn\u00e9 stredovek\u00e9 pravidl\u00e1 Acedrexu, kde hra bola pomal\u00fdm pozi\u010dn\u00fdm bojom. V tomto syst\u00e9me bola fig\u00fara, ktor\u00fa dnes naz\u00fdvame Dama, Alferza (kr\u00e1\u013eovsk\u00fd poradca), ktor\u00e1 sa mohla pohybova\u0165 len po diagon\u00e1le jedn\u00e9ho pol\u00ed\u010dka. Z\u00e1rove\u0148 bol tradi\u010dn\u00fd Alfil obmedzen\u00fd na skok presne o dve pol\u00ed\u010dka po diagon\u00e1le, pri\u010dom preskakoval ostatn\u00e9 fig\u00fary.<\/p>\n<\/li>\n \t

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      De la Dama (Modern\u00e1 cesta):<\/b> Tento \u201cnov\u00fd\u201d \u0161t\u00fdl hry zmenil \u0161ach na \u201cr\u00fdchle, taktick\u00e9 a v\u00fdbu\u0161n\u00e9\u201d stretnutie. Pod\u013ea t\u00fdchto pravidiel bola alferza nahraden\u00e1 \u201cd\u00e1mou\u201d, ktor\u00e1 z\u00edskala neobmedzen\u00fd dosah vo v\u0161etk\u00fdch smeroch. Modern\u00fd \"Alfil\" sa tie\u017e vyvinul na neobmedzen\u00fd diagon\u00e1lny jazdec a osvojil si siln\u00fd pohyb, ktor\u00fd bol kedysi vyhraden\u00fd pre experiment\u00e1lne fig\u00fary, ako napr\u00edklad \"Krokod\u00edl\".<\/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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      Prechod z krokod\u00edla na slona<\/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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      Prechod \u0165ahu \u201cneobmedzen\u00e1 diagon\u00e1la\u201d k n\u00e1zvu \u201cAlfil\u201d v \u0161panielskej literat\u00fare znamen\u00e1 z\u00e1sadn\u00fd posun od stredovek\u00e9ho \u201c\u0161atranu\u201d k modern\u00e9mu \u0161achu. Zatia\u013e \u010do v knihe \u201cLibro de los Juegos (1283)\u201d kr\u00e1\u013ea Alfonza X. sa prv\u00fdkr\u00e1t objavil neobmedzen\u00fd diagon\u00e1lny \u0165ah prostredn\u00edctvom \u0161pecifickej fig\u00fary s n\u00e1zvom Krokod\u00edl (Cocodrilo<\/i>), n\u00e1zov \u201cAlfil\u201d sa pre tento pohyb v \u0161tandardnej hre 8\u00d78 za\u010dal pou\u017e\u00edva\u0165 a\u017e koncom 15. storo\u010dia.<\/p>\n\n

      1. Krokod\u00edl v Alfonzovej knihe (1283)<\/b><\/h3>\n

      V knihe Alfonsa X. \u201cLibro de los Juegos\u201c<\/i>, \u0161tandardn\u00fd Alfil bol st\u00e1le tradi\u010dnou stredovekou fig\u00farou, ktor\u00e1 sko\u010dila presne o dve pol\u00ed\u010dka po diagon\u00e1le. Alfonso v\u0161ak obsahoval roz\u0161\u00edren\u00fd variant 12\u00d712 s n\u00e1zvom \u201cGrande Acedrex\u201c<\/b> (Ve\u013ek\u00fd \u0161ach), v ktorom sa objavila nov\u00e1 fig\u00fara s n\u00e1zvom \u201cKrokod\u00edl\u201d (Cocodrilo<\/i>).<\/p>\n\n

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        Hnutie:<\/b> Krokod\u00edl sa pohyboval presne tak, ako modern\u00e1 fig\u00farka - pos\u00faval sa na \u013eubovo\u013en\u00fa vzdialenos\u0165 po vo\u013en\u00fdch uhloprie\u010dkach.<\/p>\n<\/li>\n \t

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        In\u0161pir\u00e1cia:<\/b> Historici sp\u00e1jaj\u00fa tento n\u00e1zov so sl\u00e1vnym diplomatick\u00fdm darom: \u017eiv\u00fdm krokod\u00edlom, ktor\u00fd poslal egyptsk\u00fd sult\u00e1n Alfonzovi X. v roku 1260 ako s\u00fa\u010das\u0165 ponuky na sob\u00e1\u0161 pre kr\u00e1\u013eovu dc\u00e9ru. Dreven\u00fd model tohto krokod\u00edla v \u017eivotnej ve\u013ekosti, zn\u00e1my ako \u201cLagarto\u201c<\/i>, ktor\u00fd dodnes vis\u00ed v sevillskej katedr\u00e1le.<\/p>\n<\/li>\n<\/ul>\n

        2. Prechod na \u201cAlfil\u201d v 15. storo\u010d\u00ed<\/b><\/h3>\n

        N\u00e1zov \u201cAlfil\u201d sa za\u010dal ofici\u00e1lne pou\u017e\u00edva\u0165 pre neobmedzen\u00fd diagon\u00e1lny pohyb v \u0161tandardnej hre 8\u00d78 po \u201cvalencijskej reforme\u201d okolo roku 1475.<\/p>\n\n

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          Scachs d'amor (cca 1475):<\/b> T\u00e1to valencijsk\u00e1 b\u00e1se\u0148 je prv\u00fdm liter\u00e1rnym dielom, ktor\u00e9 opisuje modern\u00e9 pravidl\u00e1 \u0161achu. V\u00fdslovne sa v nej tejto fig\u00fare pripisuje \u201cdynamickej\u0161ia \u00faloha\u201d, a to pohybova\u0165 sa po diagon\u00e1le na to\u013eko pol\u00ed, ko\u013eko sa len d\u00e1. V b\u00e1sni sa u\u017e tieto fig\u00farky ozna\u010duj\u00fa ako \u201cAlfil\u201d (vo valencij\u010dine\/katal\u00e1n\u010dine), \u010do ilustruje, \u017ee n\u00e1zov sa v tomto obdob\u00ed preniesol zo star\u00e9ho \u201cskokana\u201d na nov\u00fd \u201cjazdec\u201d.<\/p>\n<\/li>\n \t

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          Libre dels jochs partits dels schacs (1495):<\/b> T\u00e1to straten\u00e1 kniha, ktor\u00fa nap\u00edsal Francesc Vicent, sa pova\u017euje za prv\u00e9 pojednanie o modernom \u0161achu. Predpoklad\u00e1 sa, \u017ee \u0161tandardizovala n\u00e1zov \u201cAlfil\u201d pre nov\u00e9 hnutie na celom Pyrenejskom polostrove.<\/p>\n<\/li>\n<\/ul>\n

          3. Prv\u00fd v\u00fdskyt v kast\u00edlskej (\u0161panielskej) literat\u00fare<\/b><\/h3>\n

          Ak h\u013ead\u00e1te konkr\u00e9tne kast\u00edlsku (\u0161panielsku), a nie valencijsk\u00fa literat\u00faru, prv\u00e9 definit\u00edvne pou\u017eitie slova \u201cAlfil\u201d pre modern\u00fd pohyb je v:<\/p>\n\n

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            Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/b> T\u00fato najstar\u0161iu zachovan\u00fa tla\u010den\u00fa knihu o modernom \u0161achu v kast\u00edl\u010dine nap\u00edsal Luis Ram\u00edrez de Lucena.<\/p>\n<\/li>\n \t

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            Lucena ozna\u010duje dielo ako Alfil (alebo Arfil) a rozli\u0161uje medzi \u201cnov\u00fdmi\u201d pravidlami (de la dama) a \u201cstar\u00fdmi\u201d pravidlami (el viejo). Potvrdzuje, \u017ee \u201cnov\u00fd Alfil\u201d teraz prebieha naprie\u010d diagon\u00e1lou, \u010d\u00edm vlastne pohlcuje pohyb, ktor\u00fd bol p\u00f4vodne priraden\u00fd Alfonzovmu \u201cKrokod\u00edlovi\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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            Z Alferzy sa stala Dama (d\u00e1ma) a Reina (kr\u00e1\u013eovn\u00e1)<\/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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            Hoci sa dnes pou\u017e\u00edvaj\u00fa oba term\u00edny, vo\u013eba medzi \u201cdama\u201d a \u201creina\u201d v \u0161panielskej \u0161achovej literat\u00fare ozna\u010duje prechod od stredovekej hry k modern\u00e9mu \u0161achu a odr\u00e1\u017ea dlhodob\u00fa snahu vyhn\u00fa\u0165 sa jazykovej z\u00e1mene.<\/p>\n\n

            1. Prv\u00e9 liter\u00e1rne vyst\u00fapenie: Stredovek\u00e1 \u201cReina\u201d<\/b><\/h3>\n

            Vo v\u0161eobecnom liter\u00e1rnom zmysle sa v\u00fdraz \u201creina\u201d (kr\u00e1\u013eovn\u00e1) objavil v \u0161achovej po\u00e9zii v \u0161paniel\u010dine d\u00e1vno predt\u00fdm, ako sa stal \u0161tandardizovan\u00fdm n\u00e1zvom pre fig\u00farku na \u0161achovnici.<\/p>\n\n

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              11. storo\u010die (\u0160egal):<\/span><\/b> \u0160panielsky rab\u00edn \u201c<\/span>Abrah\u00e1m ibn Ezra\u201d<\/span> nap\u00edsal koncom 11. storo\u010dia b\u00e1se\u0148, v ktorej sa toto dielo spom\u00edna ako \u201c<\/span>Shegal\u201d<\/span> (hebrejsk\u00fd v\u00fdraz pre kr\u00e1\u013eovn\u00fa).<\/span><\/p>\n\n

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              Stredovek\u00e1 romantika:<\/b> Pod vplyvom mor\u00e1lnych trakt\u00e1tov Jacoba de Cessolis sa dielo \u010dasto ozna\u010dovalo ako \u2019<\/span>regina\u201d<\/span> v latin\u010dine a \u201c<\/span>reina<\/span>\u201c<\/span><\/b> v ran\u00fdch rom\u00e1nskych jazykoch, aj ke\u010f sa st\u00e1le pohybuje slab\u00fdm, jedno\u0161tvorcov\u00fdm diagon\u00e1lnym pohybom \u201c<\/span>Alferza<\/span>\u201c<\/span><\/b>.<\/span><\/p>\n\n

              <\/div><\/li>\n<\/ul>\n

              2. Prv\u00e9 modern\u00e9 trakt\u00e1ty: \u201cDama\u201d ako \u0161tandard<\/b><\/h3>\n

              Ke\u010f sa koncom 15. storo\u010dia zmenili pravidl\u00e1 a vznikol siln\u00fd \u201cneobmedzen\u00fd\u201d kus, ktor\u00fd pozn\u00e1me dnes, v \u0161panielskych trakt\u00e1toch sa uprednost\u0148oval term\u00edn \u201cDama\u201d, nie \"Reina\".<\/p>\n\n

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                Libre dels jochs partits dels schacs (1495):<\/span><\/b> T\u00fato knihu nap\u00edsal Francesc Vicent vo Valencii a pova\u017euje sa za prv\u00fa tla\u010den\u00fa knihu o modernom \u0161achu.<\/span> Zamerala sa na \u201cDama\u201c<\/b> (Lady) a zasl\u00fa\u017eil sa o \u0161tandardiz\u00e1ciu \u201cnov\u00fdch\u201d pravidiel pohybu.<\/p>\n

                Repetici\u00f3n de Amores y Arte de Ajedrez (1497):<\/span><\/b> Luis Ram\u00edrez de Lucena v\u00fdslovne pou\u017eil term\u00edn \u201cDama\u201c na definovanie modernej hry (de la dama). Zriedkavo pou\u017e\u00edval slovo \u201cReina\u201d, preto\u017ee hra sa \u010dasto naz\u00fdvala \u201c\u0161ach d\u00e1my\u201d (\u010dasto sa sp\u00e1ja s kr\u00e1\u013eovnou Izabelou I. Kast\u00edlskou).<\/span><\/p>\n<\/li>\n<\/ul>\n

                3. Ke\u010f sa \u201cReina\u201d stala \u010dastou alternat\u00edvou<\/b><\/h3>\n

                Prechod na \u201cReina\u201d sa v hlavnej \u0161panielskej \u0161achovej literat\u00fare za\u010dal \u010dastej\u0161ie objavova\u0165 v 16. storo\u010d\u00ed, ke\u010f hra prekro\u010dila svoje po\u010diato\u010dn\u00e9 \u201creformn\u00e9\u201d obdobie.<\/p>\n\n

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                  Ruy L\u00f3pez de Segura (1561):<\/b> Ruy L\u00f3pez vo svojom z\u00e1kladnom diele \u201cLibro de la Invenci\u00f3n Liberal y Arte del Juego del Axedrez\u201d pou\u017eil oba term\u00edny, hoci \u201cDama\u201c<\/b> zostala technicky dominantn\u00e1 v strategick\u00fdch opisoch.<\/p>\n<\/li>\n \t

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                  Konflikt \u201cR\u201d:<\/b> Hlavn\u00fdm d\u00f4vodom, pre\u010do slovo \u201cReina\u201d v technickej \u0161achovej literat\u00fare nikdy \u00faplne nenahradilo slovo \u201cDama\u201d, je \u0161achov\u00e1 not\u00e1cia. V \u0161panielskej not\u00e1cii sa pri \u201cRey\u201d (kr\u00e1\u013e) pou\u017e\u00edva p\u00edsmeno \u201cR\u201c. Aby sa predi\u0161lo z\u00e1mene, kr\u00e1\u013eovnej sa prira\u010fuje p\u00edsmeno \u201cD\u201c pre \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\/sk\/wp-json\/wp\/v2\/pages\/756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/comments?post=756"}],"version-history":[{"count":53,"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/pages\/756\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/pages\/756\/revisions\/1883"}],"up":[{"embeddable":true,"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/pages\/743"}],"wp:attachment":[{"href":"https:\/\/shatranj.art\/sk\/wp-json\/wp\/v2\/media?parent=756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}