{"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\/uz\/exhibit\/poster-1\/","title":{"rendered":"plakat 1"},"content":{"rendered":"
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Ispaniya shaxmat figuralarining tarixiy shaxmatdan (acedrex) zamonaviy shaxmatga (ajedrez) rivojlanishi<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1. Lingvistik o'zgarish: Xdan Jga<\/b><\/h3>

Acedrex va Ajedrez o'rtasidagi farq ispan tilining o'yin uchun asl arabcha nomni moslashtirishga intilgan fonetik rivojlanishini ko'rsatadi:<\/p>

  • A<\/b>sedreks (13-asr):\u00a0<\/strong>Bu Alfonso X qirolning 1283 yildagi risolasida ishlatilgan asosiy imlo., Shaxmat kitobi<\/i>. Bu vaqtda \u201cc\u201d (e oldidan) va \u201cx\u201d arab tilidan meros qolgan \u201csh\u201d tovushini fonetik jihatdan aks ettirish uchun ishlatilgan. Satranj<\/i>.<\/p><\/li>

  • Ajedrez (15-asr):<\/b> Til rivojlanishi bilan \u201csh\u201d ovozi zamonaviy, tomog'dan chiqadigan \u201cj\u201dga o'zgardi (the jota<\/i>Luis Ram\u00edrez de Lucena 1497 yilda o'zining muhim asarini nashr etgan paytga kelib, imlo zamonaviy shaklga o'zgargan edi.<\/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. Mexanik siljish: \u201cEl Viejo\u201d vs. \u201cDe la Dama\u201d<\/b><\/h3>\n

    Fonetik nom o'zgarayotgan paytda, qoidalar inqilobiy darajada kengayib, o'yin sur'atini butunlay o'zgartirdi. Bu o'tishni Lucena'ning 1497 yildagi asarida tasvirlangan ikki tizim eng yaxshi ifodalaydi:<\/p>\n\n

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      El Viejo (Eski yo'l):<\/b> Bu Acedrexning an'anaviy o'rta asr qoidalarini ifodalaydi, unda o'yin sekin, pozitsion kurash edi. Ushbu tizimda hozir biz Dama deb ataydigan piyoda Alferza (Shoh maslahatchisi) deb atalgan bo'lib, faqat diagonalda bitta katlanishga cheklangan edi. Shu bilan birga, an'anaviy Alfil aniq ikki katlanishni diagonalda sakrashga, boshqa piyodalar ustidan sakrab o'tishga cheklangan edi.<\/p>\n<\/li>\n \t

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      De la Dama (Zamonaviy usul):<\/b> Bu \u201cyangi\u201d o'yin uslubi shaxmatni \u201ctez, taktikal va portlovchi\u201d to'qnashuvga aylantirdi. Ushbu qoidalarga ko'ra, Alferza \u201cDama\u201d bilan almashtirildi, u barcha yo'nalishlarda cheksiz masofaga ega bo'ldi. Zamonaviy Alfil ham diagonallik bo'yicha cheklovlarsiz siljishga ega bo'lib, ilgari Krokodil kabi eksperimental figuralar uchun mo'ljallangan kuchli harakatni o'zlashtirdi.<\/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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      Krokildan fillarga o'tish<\/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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      Ispan adabiyotida \u201ccheksiz diagonali\u201d harakatining \u201cAlfil\u201d nomi bilan atala boshlashi o'rta asrlar \u201cShatranj\u201didan zamonaviy shaxmatga o'tishda burilish nuqtasini belgilaydi. Alfonso X qirolning \u201cLibro de los Juegos (1283)\u201d asari cheksiz diagonali harakatni Crocodile deb ataladigan maxsus piyoda orqali birinchi marta tanishtirgan.Krokodil<\/i>), \u201cAlfil\u201d nomi standart 8\u00d78 o'yinda bu harakatga 15-asr oxirigacha qayta qo'llanilmagan.<\/p>\n\n

      1. Alfonso kitobidagi \u201cKrokodil\u201d (1283)<\/b><\/h3>\n

      Alfonso Xning \u201cLibro de los Juegos\" asarida\u201c<\/i>, standart alfil hanuzgacha an'anaviy o'rta asrlar bo'lagi bo'lib, diagonalda aniq ikki katlanishni sakrardi. Biroq Alfonso \u201cGrande Acedrex\" deb ataladigan kengaytirilgan 12\u00d712 variantni kiritdi\u201c<\/b> (Buyuk shaxmat), unda \u201cKrokodil\u201d deb nomlangan yangi piyoda mavjud edi (Krokodil<\/i>).<\/p>\n\n

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        Harakat:<\/b> Krokodil zamonaviy figura kabi harakat qildi \u2014 to'sqinliksiz bo'lgan diagonallarda istalgan masofani sirpanib yurdi.<\/p>\n<\/li>\n \t

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        Ilhom:<\/b> Tarixchilar bu nomni mashhur diplomatik sovg'a bilan bog'laydilar: 1260 yilda Misr sultonidan Alfonso X ga qirolning qizi uchun nikoh taklifi doirasida yuborilgan tirik timsoh. Ushbu timsohning haqiqiy o'lchamdagi yog'och modeli, \u201cLagarto\" nomi bilan tanilgan.\u201c<\/i>, hanuzgacha Sevilya soborida osilgan.<\/p>\n<\/li>\n<\/ul>\n

        2. 15-asrda \u201cAlfil\u201dga o'tish<\/b><\/h3>\n

        \u201cAlfil\u201d nomi taxminan 1475 yilda \u201cValensiya islohi\u201ddan so'ng standart 8\u00d78 o'yinda cheksiz diagonallik harakat uchun rasmiy ravishda qo'llanilgan.<\/p>\n\n

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          Scachs d'amor (taxminan 1475):<\/b> Bu valensiya she'ri zamonaviy shaxmat qoidalarini tasvirlovchi birinchi adabiy asar hisoblanadi. U bu piyodaga aniq \u201cko'proq dinamik rol\u201d beradi, diagonallik bo'ylab imkon qadar ko'proq katlanmaga siljiydi. She'rda bu piyodalar allaqachon valensiya\/katalan tilida \u201cAlfil\u201d deb ataladi, bu nomning eski \u201cjumper\u201ddan yangi \u201cslider\u201dga o'tganini ko'rsatadi.<\/p>\n<\/li>\n \t

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          Shatranj o'yinlari va partiyalari kitobi (1495):<\/b> Francesc Vicent tomonidan yozilgan bu yo'qolgan kitob zamonaviy shaxmat bo'yicha birinchi risola deb hisoblanadi. U Ispaniya yarimoroli bo'ylab yangi harakat uchun \u201cAlfil\u201d nomini standartlashtirgani taxmin qilinadi.<\/p>\n<\/li>\n<\/ul>\n

          3. Kastiliya (ispan) adabiyotida birinchi paydo bo'lish<\/b><\/h3>\n

          Agar Valensiya adabiyoti emas, balki Kastiliya (Ispaniya) adabiyotini qidirayotgan bo'lsangiz, zamonaviy harakat uchun \u201cAlfil\u201d atamasining birinchi aniq ishlatilishi quyidagida:<\/p>\n\n

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            Sevgi va shaxmat san'ati takrori (1497):<\/b> Luis Ram\u00edrez de Lucena tomonidan yozilgan bu kitob kastiliya tilida zamonaviy shaxmat haqidagi eng qadimgi saqlanib qolgan bosma asar hisoblanadi.<\/p>\n<\/li>\n \t

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            Lucena bu figurani Alfil (yoki Arfil) deb ataydi va \u201cyangi\u201d qoidalar (de la dama) hamda \u201ceski\u201d qoidalar (el viejo) o'rtasida farq qiladi. U \u201cyangi Alfil\u201d endi diagonallik bo'ylab harakatlanishini tasdiqlaydi, bu esa aslida Alfonsoning \u201cKrokodil\u201diga berilgan harakatni o'z ichiga oladi.<\/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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            Alferzadan Dama (xonim) va Reyna (malika)gacha<\/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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            Bugungi kunda har ikkala atama ishlatilayotgan bo'lsa-da, ispan shaxmat adabiyotida \u201cdama\u201d va \u201creina\u201d atamalari tanlovi o'rta asr o'yinidan zamonaviy shaxmatga o'tishni belgilaydi va lingvistik adashuvlardan qochish bo'yicha uzoq yillik sa'y-harakatlarni aks ettiradi.<\/p>\n\n

            1. Birinchi adabiy paydo bo'lishi: O'rta asr \u201cReina\u201d<\/b><\/h3>\n

            Umumiy adabiy ma'noda \u201creina\u201d (malika) atamasi ispan tiliga oid shaxmat she'riyatida doskadagi piyonaning standart nomi bo'lib qolishidan ancha oldin paydo bo'lgan.<\/p>\n\n

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              11-asr (Shegal):<\/span><\/b> Ispaniyalik ravvin\u201c<\/span>Ibrohim ibn Ezra\u201d<\/span> 11-asr oxirida she'r yozdi, unda asar \u201c<\/span>Shegal\u201d<\/span> (malika uchun ibroniy atama).<\/span><\/p>\n\n

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              O'rta asr romantikasi:<\/b> Jacobus de Cessolisning axloqiy risolalari ta'siri ostida, asar ko'pincha \u2019<\/span>Malika\u201d<\/span> lotincha va \u201c<\/span>malika<\/span>\u201c<\/span><\/b> Erta roman tillarida, garchi u hanuz zaif, bitta katakchali diagonallik harakati bilan siljigan bo'lsa ham, \u201c<\/span>Alferza<\/span>\u201c<\/span><\/b>.<\/span><\/p>\n\n

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              2. Birinchi zamonaviy risolalar: \u201cDama\u201d standarti sifatida<\/b><\/h3>\n

              15-asr oxirida qoidalar o'zgarib, bugungi kunda biladigan kuchli \u201ccheksiz\u201d piyonani yaratilganda, ispan risolalarida afzal atama aslida \u201cDama\u201d bo'lib, \"Reina\" emas edi.<\/p>\n\n

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                Shatranj o'yinlari va partiyalari kitobi (1495):<\/span><\/b> Valensiyada Fransesek Viyents tomonidan yozilgan bu asar zamonaviy shaxmat bo'yicha birinchi bosilgan kitob deb hisoblanadi.<\/span> U \u201cDama\"ga e'tibor qaratdi.\u201c<\/b> (Lady) va \u201cyangi\u201d harakat qoidalarini standartlashtirishga hissa qo'shgani qayd etiladi.<\/p>\n

                Sevgi va shaxmat san'ati takrori (1497):<\/span><\/b> Luis Ram\u00edrez de Lucena zamonaviy o'yinni (de la dama) aniqlash uchun aniq \u201cDama\u201c atamasidan foydalangan. U \u201cReina\u201d atamasini kam ishlatgan, chunki o'yin ko'pincha \u201cXonim shaxmati\u201d deb atalgan (Ko'pincha Kastiliya malikasi I Izabella bilan bog'lanadi).<\/span><\/p>\n<\/li>\n<\/ul>\n

                3. \u201cReina\u201d tez-tez muqobilga aylanganda<\/b><\/h3>\n

                O'yin dastlabki \u201cisloh\u201d davrini ortda qoldirib, 16-asrda ommaviy ispan shaxmat adabiyotida \u201cReina\u201dga o'tish tez-tez sodir bo'la boshladi.<\/p>\n\n

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                  Ruy L\u00f3pez de Segura (1561):<\/b> Asosiy asarida \u201cLibro de la Invenci\u00f3n Liberal y Arte del Juego del Axedrez\u201dda Ruy L\u00f3pez ikkala atamani ham ishlatgan, garchi \u201cDama\u201c<\/b> strategik tavsiflarda texnik jihatdan ustun bo'lib qoldi.<\/p>\n<\/li>\n \t

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                  \u201cR\u201d mojarosi:<\/b> Texnik shaxmat adabiyotida \u201cReina\u201d hech qachon \u201cDama\u201dni to'liq almashtirmaganining asosiy sababi shaxmat notatsiyasidir. Ispan notatsiyasida \u201cRey\u201d (Qirolicha) \u201cR\u201c harfi bilan yoziladi. Chalg'itmaslik uchun Qirolichaga \u201cDama\u201c uchun \u201cD\u201d harfi berilgan.<\/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\/uz\/wp-json\/wp\/v2\/pages\/756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/comments?post=756"}],"version-history":[{"count":53,"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/pages\/756\/revisions"}],"predecessor-version":[{"id":1883,"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/pages\/756\/revisions\/1883"}],"up":[{"embeddable":true,"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/pages\/743"}],"wp:attachment":[{"href":"https:\/\/shatranj.art\/uz\/wp-json\/wp\/v2\/media?parent=756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}