文学院知识库

19至20世纪以来，艺术几乎成为每一个人文社科领域的思想家言必谈及的话题。科学技术的高速发展消解了宗教的权威，“上帝死了”之后便是价值的虚无，在此背景下，艺术因其与科技的迥异而隐隐有成为能代替上帝作为一切问题之终极答案的急救神之势。西方马克思主义流派的艺术思想如是，后现代思潮亦然。而在传统与艺术地位高扬的现代与后现代中，海德格尔的艺术观具有承前启后的作用，要解剖传统艺术观的本质和探求如今的艺术思想之源，海氏的艺术之思是无法回避的路标。通过对其思想的探析，可以看出无论是其以思、问和非主体性的独特方式进入艺术，还是由此得出的与存在之真、存在者之真相关的艺术发生过程，都达到了对前人的思想观点进行批判与继承，同时也照亮了后人对艺术思考的路，虽然其中有些误读，但在谨慎的比较分析之下总能开拓出更广阔的思想之境。

Since the 19th and 20th centuries, art has almost become a hot topic in the area of the humanities and social sciences. Art is all the time and everywhere. Taking all the constraints, especially the status of the religion has been dropping because of the rapid development of science and technology, art seems to become the straw which can fix any problems instead of God. The western Marxism think so, and the post-modernists say either. Between the tradition and modern, Heidegger plays a pivot part in the view of art. His idea is just like a pathmark which cannot be ignored as long as we want to find the essence of traditional art view and the source of modern art view. Through an in-depth analysis and research of his ideas, we can draw the conclusion that both his unique way to the art which depends on thinking, asking and non-subjectivity and his thought about the birth of art which related to truth of being and truth of beings are his criticism and succession to previous thinking. On the other way, his thoughts also illuminate descendants’ roads of art, despite some misunderstandings, with the careful analysis it will always lead to a bright way.