بحران های وجودی در آینه جنبش عینیت نو؛ بازتابی از نیهیلیسم نیچه ای؛ مورد مطالعه: آثار نقاشانه ی اتودیکس (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در لابه لای انبوهی از تصاویر تاریخ هنر، شاهد آثاری با موضوع جنگ هستیم. از منظر تماتیک نشانه های تصویری اکثر این آثار در حوزه هنرهای تجسمی بیانگر خشونت، مرگ، انحطاط و در برخی موارد فروپاشی تمدن انسانی است؛ اما از میان همه ی این جنگ ها، جنگ جهانی اول و دوم یکی از دهشناک ترین وقایع ضد انسانی به شمار می آید. پیش از وقوع جنگ نیچه فیلسوف آلمانی با نقد مدرنیته و ترویج این گزاره که «خدا مرده است» به تحلیل شرایط انسانی و معنای وجود پرداخت. او هشدار داد کهفقدان اصول معنوی در زندگی می تواند به نیهیلیسم منجر شود.با پایان جنگ جهانی اول جنبش هنری با عنوان«عینیت نو» ظهور یافت. این سبک از طریق نقد زیبایی شناسانه به بیان احساسات عمیق انسان عصر خود پرداخت. هنر تبدیل به رسانه ای برای انتقاد و تأمل درباره موجودیت انسانی و جستجوی معنا در دنیای پس از جنگ شد. هدف پژوهش حاضر، مطالعه چگونگی بازتاب نیهیلیسم نیچه ای در آثارنقاشانه ی اتودیکس است و به این پرسش پاسخ می دهد که : چه نسبتی میان نیهیلیسم نیچه ای و آثار اتودیکس وجود دارد؟ پژوهش حاضر، به لحاظ هدف، بنیادی است و ماهیتی تاریخی داشته و به روش توصیفی_تحلیلی با بهره گیری از منابع کتابخانه ای انجام پذیرفته است. نتایج این پژوهش حاکی از آن است که آثار نقاشانه اتودیکس به بیان تحولات سیاسی- اجتماعی انسان زمانه خود پرداخته و نسبت آرای نیچه به نیهیلیسم را از طریق رسانه نقاشی بازتاب داده است. او سبکی واقع گرایانه ترس، ناامیدی، فروپاشی فیزیکی و روانی جامعه تهی شده از معنا را چنان که نیچه پیشگویی کرده بود به تصویر کشید.Existential Crises in the Mirror of the New Objectivity Movement: A Reflection of Nietzschean Nihilism, Case Study: The Painterly Works of Otto Dix"
Art has long mirrored the human condition, particularly during times of conflict. War has been depicted through powerful, often disturbing imagery that conveys destruction, death, and the collapse of civilization. Among history’s most devastating conflicts, World War I and World War II stand out for their horror and existential impact. These wars not only brought physical destruction but also triggered profound cultural and philosophical crises. In this context, Friedrich Nietzsche’s thought remains especially relevant. A 19th-century philosopher, Nietzsche critiqued the rationalism of modernity and warned of spiritual decline. He used the metaphor of a “homeland-burning war” to describe the cultural collapse he saw unfolding, blaming the West’s overreliance on reason at the expense of deeper human values. His insights foreshadowed the disillusionment and fragmentation that would define much of the 20th century. In many ways, Nietzsche’s philosophy helps us understand how the trauma of war extends beyond the battlefield, seeping into the very foundations of culture, identity, and meaning.Nietzsche’s proclamation that “God is dead” was not literal but symbolic—it expressed the loss of shared transcendent values in modern life. As religion waned and rationalism rose, Nietzsche believed humanity entered a state of nihilism—a void where meaning, morality, and spiritual grounding disappeared. His philosophy aimed not to destroy but to diagnose this condition and challenge the foundations of modern thought to inspire new values and ways of being.Modernity, for Nietzsche, is dominated by reason. Before Socratic philosophy, truth was experienced as something embedded in life. But with the rise of Socratic and Platonic ideals, truth became abstract and detached from daily experience. Nietzsche rejected this rationalist turn, proposing instead concepts like the Apollonian and Dionysian, the will to power, the Ubermensch, and eternal return—ideas that celebrated vitality, strength, and creativity over abstraction and conformity.After World War I, artists began echoing Nietzsche’s critique. The German New Objectivity (Neue Sachlichkeit) movement emerged in the 1920s, reflecting the disillusionment of a society ravaged by war. Rooted in expressionism yet grounded in political and social realism, the movement captured the spiritual and moral decay of post-war Europe. Otto Dix became a central figure, using a stark visual language to expose the trauma and degradation wrought by war. His paintings depicted not just battlefield horrors but also a society drained of meaning.Dix’s The Trench and similar works are visceral portrayals of dehumanization. Fragmented, mutilated bodies symbolize not only physical destruction but also the loss of metaphysical grounding. In this, Dix’s art powerfully aligns with Nietzsche’s concept of nihilism—the collapse of values and the absence of meaning. His visual metaphors speak to a cultural and existential crisis, echoing Nietzsche’s philosophical warnings.With the rise of Nazism, such critical art was condemned as “degenerate.” The regime confiscated, ridiculed, and often destroyed these works, branding them as threats to the purity and moral order of the German Volk. Artists like Otto Dix and Max Beckmann, whose work exposed the horrors of war and the corruption of society, were persecuted, dismissed from academic posts, or forced into exile. This suppression reflected a larger cultural silencing under fascism, which aimed to eliminate dissent and enforce ideological uniformity. The Nazi campaign against modern art was not merely aesthetic—it was deeply political, targeting any expression that challenged nationalist myths, militarism, or the glorification of power. In this climate, the avant-garde became a battleground for freedom of expression and the survival of critical thought.The philosophical roots of this crisis can also be traced to Rene Descartes’ declaration, “I think, therefore I am.” This marked a turning point in Western thought, shifting authority from God to human reason. While this empowered individual autonomy, it also led to alienation and the erosion of shared moral frameworks. The resulting spiritual void mirrors the existential concerns at the heart of both Nietzsche’s and Dix’s work.This study explores how Nietzschean nihilism is reflected in Otto Dix’s art, particularly in his representations of war and human suffering. It uses a historical-philosophical approach, employing descriptive-analytical methods with library sources. The goal is to demonstrate how Dix’s visual language resonates with Nietzsche’s critique of rationalism and modernity.The findings suggest that Dix’s paintings serve as a powerful visual expression of Nietzsche’s diagnosis of nihilism. Through a realistic style infused with horror and despair, Dix portrays the collapse of both the body and the spirit in a world without meaning. His work becomes a visual counterpart to Nietzsche’s philosophical insights, urging viewers to confront the dark legacies of modernity, war, and the death of transcendence.
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