存有與美術：從多瑪斯到吉爾松

本文聚焦在吉爾松的藝術哲學之上，耙梳出多瑪斯（Thomas Aqinas, 1225-1274）的存有思想與二十世紀多瑪斯主義者（Thomist）吉爾松（Etienne Gilson, 1884-1978）藝術哲學之間的內在關聯，一方面展現吉爾松對於多瑪斯哲學在藝術論題上的繼承與發揮，並且透過吉爾松對美術和藝術的洞察，豐富我們對於美術、藝術的認識；另一方面，在本文最後，我們也將略述「存有」面向在藝術理論當中的其他可能發展，並指出多瑪斯關於美的思想在當代研究中更多的可能性。

關鍵字

多瑪斯；吉爾松；存有；藝術哲學；美術

並列摘要

This article focuses on illustrating the internal relationship between Thomas Aquinas's thoughts on being and Gilson's philosophy of art. It, on the one hand, reveals the way in which Aquinas's philosophy was inherited and adopted by Gilson on the topic of art. Through Gilson's insights on fine art and on art our understanding of the two is enriched. On the other hand, we would also indicate some other possible ways of ”being” related to art theory and thus hope to illuminate some possible direction in which Aquinas's thoughts of beauty may be developed in contemporary studies.