フンボルトが著書『植物地理学考および熱帯地方の自然画』，『自然の光景』，『コスモス』において描いた「自然画」は科学と芸術という二つの側面を備えていた．フンボルトにとって自然とは，一方では科学の対象として人間による支配が可能であり，一方では人間の心に作用して芸術すなわち文学的自然記述と風景画を生み出させる存在であった．したがって宇宙の，地球の，地上の諸地域の「自然の概観」である「自然画」は，文学的表現で科学の成果と風景画とを描いてこそ完全な自然の描写となるのであった．「自然画」において科学と芸術は，「自然画」の骨幹としての役割を果たしていたゲーテ形態学によって結び付けられていた．フンボルトの根底となる自然観はロマン主義的有機体論であるが，「自然画」の描写では一般には有機体論と対立すると考えられているニュートン機械論から，自然の数量化に基づく因果関係の追究を導入していた．フンボルトによる「自然画」の描写は，地理学へのニュートニアニズムの導入と密接なかかわりをもつことが明らかとなった．, In one of his major works “Ideen zu einer Geographie der Pflanzen” Humboldt described “Naturgemälde der Tropenländer” along with a colored plate “Naturgemälde der Anden”. He also described some “Naturgemälde” inserted in each chapter of his work “Ansichten der Natur” as well as in the first volume of “Kosmos”. My present study is aimed at detailed analyses of “Naturgemälde” by Humboldt. For Humboldt, “Naturgemälde” implies a picture depicting the scenery of the universe, the earth, or various regions on the earth. Such a picture should never fail to convey stillness and total impressions of the scenery which only landscape paintings can afford. It satisfies a literary demand to give a vivid description of nature. Humboldt's “Naturgemälde” is also outcome of his scientific research into natural phenomena. Humboldt is of an opinion that nature should be a subject of scientific investigation and that while man can control all natural effects by his own power, he cannot help being emotionally moved by nature. By perceiving nature, man has given birth to the arts, that is, literary description of nature and landscape paintings. As a results, “Naturgemälde” provides perfect presentation of nature when landscape paintings as well as the results of scientific research are given literary expression. Humboldt describes “Naturgemälde” according to his firm belief in nature. The literary presentation of nature regarded as an ideal by Humboldt is only made possible when we perceive nature by intuition. Its fundamental principle is to describe poetic sentiment stirred by nature in our mind in a brief and yet individual style by richly expressive words borrowed from classics. His ideal landscape paintings are to be produced by resorting to intuition and indicate total impressions of physiognomy of each region. Humboldt's contemplation on natural phenomena in the universe, on the earth, and also in various regions is based on the morphological view of nature proposed by Goethe. Goethe's morphological method provides Humboldt with a useful method essential to investigate nature. Humboldt declares that each of various regions on the earth has its own characteristic physiognomy. The total physiognomy of each region consists of a variety of elements such as blueness of the sky, shapes of clouds and moutains, and vegetation. The aim producing landscape paintings lies in presentation of the impressions of total physiognomy of each region. In Humboldt's opinion physiognomy of nature is determind by such factors as soil, climate, and altitudes. As a consequence, physiognomy of each region indicates causal chains of various phenomena. For Humboldt science means nothing but quantitative analyses of those chain of causation. Goethe's morphological view provides a key by which the artistic aspect of Humboldt's “Naturgemalde” can be closely connected with its scientific aspect. In this way Goethe's morphology plays an essential role in “Naturgemälde”. Siding with Goeth and Schelling, Humboldt holds a romantic, organic view of nature. Therefore he consideres that nature as a whole possesses “a fundamental force” producing and governing all phenomena. However, he stresses that the aim of natural science is to make manifest in a quantitative way the causal chains of phenomena. While accepting a romantic, organic view of nature, he, on the other hand, makes an effort to give a quantitative explanation of nature. Humboldt praises highly Newton's scientific achievement and derives a quantitative approach to nature from a Newtonian mechanical view., 論説, ARTICLE