现象学视域下的海德格尔美学——艺术作品中的真理显现与主客二分的超越

Heidegger’s Aesthetics from a Phenomenological Perspective —The Manifestation of Truth in the Work of Art and the Transcendence of the Subject-Object Dichotomy

摘要: 本文旨在通过现象学方法探讨海德格尔的美学思想，核心聚焦于其著作《艺术作品的本源》。文章论述了艺术作品如何作为“真理发生”的场域，从而超越传统哲学中主客二分的思维模式。通过与柏拉图的模仿论美学进行对比，文章突出了海德格尔思想的独特性及其在艺术与真理关系上的革新。本文亦梳理了围绕梵高《农鞋》的学术争论，指出海德格尔阐释农鞋画的关键不在于鞋的归属认定，而在于艺术作品让真理发生的本体论价值。最后，论文探讨了海德格尔美学对当代艺术、技术批判的启示，并对未来的研究方向进行了展望。文章的核心论点是：在海德格尔看来，艺术的本质并非模仿或主观表达，而是存在之真理的自行显现与解蔽(aletheia)。

Abstract: This paper aims to explore Heidegger’s aesthetic thought through a phenomenological approach, focusing primarily on his work The Origin of the Work of Art. It discusses how the artwork serves as a site for the “happening of truth,” thereby transcending the subject-object dichotomy characteristic of traditional philosophical thinking. By contrasting Heidegger’s views with Plato’s aesthetic theory of mimesis, the paper highlights the uniqueness of Heidegger’s thought and his innovative perspective on the relationship between art and truth. The paper also reviews the scholarly debates surrounding Van Gogh’s A Pair of Shoes, arguing that the significance of Heidegger’s interpretation lies not in identifying the shoes’ owner, but in the ontological value of the artwork as a locus where truth occurs. Finally, the paper examines the implications of Heidegger’s aesthetics for contemporary art and the critique of technology, while offering an outlook on future research directions. The central argument is that, for Heidegger, the essence of art lies neither in mimesis nor in subjective expression, but in the self-manifestation and unconcealment (aletheia) of the truth of Being.