艺术作品、物、存在的真理--对《艺术作品的本源》的一个有限澄清

Artwork,Thing and Truth of Being:A Limited Clarification about"Der Ursprung des Kunstwerkes"

在康德传统中,对艺术作品的哲学反思被置于"美学"(Asthetik)这个哲学分支学科之下。按照这门学科的规划,我们应当首先通过一般性的考察(这种考察通常从审美主体的感受出发),针对"什么是美"这一问题给出特定的回答,再根据获得的洞见来分析并界定艺术作品的本质。在《艺术作品的本源》中,海德格尔采取了完全不同的反思策略:通过对艺术作品的分析来展示形而上学对于"存在者作为存在者"(das Seiende als solches)的思考的不充分性,以及对于"存在作为存在"(das Sein als solches)这一更根本维度的彻底忽视。海德格尔的核心洞见是,只有将哲学理解为一种"艺术存在论"(Ontologie der Kunst),"存在作为存在"这一维度通过艺术作品的自我展示才能被恰当地分析。

In the Kantian tradition,philosophical reflection on artworks is usually viewed as pertaining to aesthetics,a sub-field of philosophy which stresses that we should first provide an answer to the question"what is beauty"via some general philosophical considerations(mostly,considerations about aesthetic experiences the subject possesses),then employ that answer in determining the nature of artworks.In"The Origin of the Artworks",however,Heidegger illuminates a different approach.He attempts to reveal,by virtue of analyzing artworks,the inadequacy of the metaphysical understanding of"beings as beings"(das Seiende als solches)as well as the complete ignorance of the dimension of"Being as Being"(das Sein als solches)throughout the entire history of philosophy.Heidegger 5s insight can be summarized as a warning that the dimension of"Being as Being"can receive proper analysis only through the self-manifestation of artworks,and this will not happen unless philosophy is properly understood as ontology of art.