This thesis examines how Jacob van Ruisdael's windmill paintings from the 1640s to the 1680s integrate elements of the Dutch sublime, a concept that predates the Romantic sublime, while sharing its foundational influence from Longinus. This research examines windmills as a technological structure and symbol of resilience in 17th-century Dutch society by the historical contextualization of Ruisdael's artistic development and the theoretical exploration of the Dutch sublime's distinctive characteristics rooted in Calvinist theology. A visual analysis of three themes with three paintings each is categorized as "Windmill as Primary Object," "Windmill with Nature," and "Windmill in the Built Environment". In the analysis, Ruisdael's constant attempt to combine realism and the sublime became evident from aspects such as the hierarchy within the composition, atmospheric effects, and use of symbols. The findings show how Ruisdael transformed windmills from mere topographical elements into mediators between earthly existence and divine power through integrated dramatic contrast, elevated grounds, and nuanced atmospheric perspective to evoke contemplative reflection rather than overwhelming terror. This research concludes by understanding how Dutch landscape painting engaged with sublime aesthetics through the distinct Calvinist influence.