چکیده:
بازنمایی طبیعت یکی از موضوعات مهم در نقاشی به شمار می‌رود. یکی از مواردی که معنای وسیعی از بازنمایی طبیعت را بر ما عیان می‌کند، فلسفه است. از ارزنده‌ترین مباحث فلسفی، مفهومی به نام امر والا می باشد. در این اثنا، دریا به مثابه ابژه‌ای که می‌تواند نشانی از امر والا باشد، در جنبش های هنری قرن نوزدهم مجالی برای بروز یافت. پژوهش حاضر در جست‌وجوی شاخصه‌های امر والا از دیدگاه کانت، در نقاشی‌های رئال بازنمایی امواج دریا در قرن نوزدهم اروپا می باشد. در این پژوهش، با روش توصیفی-تحلیلی، و بهره‌گیری از روش گردآوری کتابخانه ای در جمع آوری اطلاعات، و با نمونه‌گیری گزینشی از میان آثار نقاشی دریا در سدۀ نوزدهم اروپا و امریکا، پنج اثر انتخاب شده و به شیوه تجزیه‌وتحلیل کیفی، مورد بررسی قرار گرفته اند. الگوی بازنمایی دریا در نقاشی رئال قرن نوزدهم، بنا بر نوع امر والا متفاوت است. امر والای پویا در آثار مورد بررسی، از طریق نمایش قدرت و قهر دریا تصویر شده است. برای نمایش والای ریاضی نیز هنرمند عظمت و وسعت و گستردگی دریا را ترسیم کرده است. با نگاهی دقیق‌تر به آثار تحلیلی درمی‌یابیم که سبک رئالیسم، بستری برای نمایش مسائل سیاسی، و بعضاً نمایش طبیعت بدون اغراق و به دور از احساسی‌گری رمانتیسم بود.
The general concept of representing or imitating nature in art means that art is nothing but a mimesis of the nature, the artist recreates what he experiences in the outside world, i.e., nature, by means of artistic tools. Philosophy may reveal the broad meaning of nature representation particularly the sea. The concept of the sublime is one of the most valuable philosophical topics in the history of aesthetics. The sublime includes the feeling that is evoked as a result of the lack of imagination in the understanding of a very large object. Kant divides the sublime concept into two types: mathematical and dynamic. A very large object is understood either in terms of magnitude (size) or power. Mathematical and dynamic are distinguished depending on the connection with theoretical or practical reason. Mathematic highness expresses the fact that the subject of judgment is faced with vast magnitudes or greatness in time or space. Strength is superior to great obstacles. If it overcomes the resistance of something that has power, it is called force. Nature, considered in the aesthetic sense as a power that has no force on us, and is a dynamic sublime. Despite the wide range of research on Immanuel Kant and the concept of sublime, no research has been presented that focuses on representation of the sea in the 19th century. Therefore, the present research examines the concept of the sublime and its types, as well as the motivation of artists to create works of painting with the theme. Sea is discussed in the works of realistic paintings of the 19th century in Europe and America. Focusing on the concept of sublime this research explores the interpretation of the representation of sea waves in the above-mentioned works. The research method is descriptive-analytical and data collecting is desk-based. By selective sampling, five works have been selected and analyzed qualitatively. The results show that the pattern of the representation of sea is different according to its type. The high and dynamic matter in the studied works is done through the display of the power and violence of the sea. The drawing of sea storms, the overwhelming power of nature over humans, and sometimes the drawing of metaphysical quality, become an arena for visual metaphor and symbolic expression of the artist's intention. The apprehension caused by the events in dealing with the wild nature revives a high dynamic feeling in the subject. Realism is a platform for showing political issues, as well as nature representation without exaggeration and far from Romanticism sentimentality.
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