海德格〈藝術作品的本源〉(1936)一文之閱讀：藝術，作品與真理

A Reading of Heidegger's the Origin of the Work of Art (1936): Art, Work, and Truth

Richard E. Palmer ； 何佳瑞(Chia-Jui Ho)

《哲學與文化》 35卷2期 (2008/02) Pp. 69-84

https://doi.org/10.7065/MRPC.200802.0069

摘要

〈藝術作品的本源〉一文是海德格教授生涯中首次對藝術的探討，發表於1935-1936數次的系列課程中。他提出了對於藝術獨具一格的說明，擴展至他早期以存有者的存有作為起始點的基礎存有學。課程的前兩頁介紹連結了這部作品和稍晚出現的高達美的哲學詮釋學，高達美聲稱，對於瞭解他的哲學，這是一個重要的作品。海德格的這篇論文，在三頁半對於這一主題的介紹之後，即分為三個部分： 第一部分：物與作品 海德格說，在藝術作品作為一個作品的理解當中，我們由於傳統對於物的概念和工具的概念而在理解上造成殘缺，傳統對於物的概念過於被因襲的範疇所影響。以梵谷「農人的鞋」為例，海德格指出，畫作不似物，它訴說，它開放出了一個農人的世界，反映出世界與大地的鬥爭。此外，海德格更進一步主張，「存有的真理在作品中發生。」於是，藝術作品，在其自身的存有中，即是某物發生，即是一個解蔽的的事件。 第二部分：作品與真理在這一部分，海德格以山谷中的希臘神廟為例。神廟環繞其自身建立了世界，而建成它的石塊則棲息在大地之上。他說，在大地與世界的爭執中，世界世界化。神廟不僅建立世界，它還將建造世界的東西突顯出來。它讓大地成為大地，它讓事物在它們的物質性當中閃耀與顯露。但是世界與大地之間有一種緊張關係。在世界與大地的爭執中，真理發生了。為了要解釋這種爭執，海德格必須說論及澄明與遮蔽，以及真理作為無蔽正是從這兩者的爭執中出現的。真理進入一敞開領域的方式之一就是在作品中，作品捕捉住並且揭露了真理現身的方式。他最後的聲明即是，「美就是作為無蔽的真理本質上的一種現身方式。」 第三部分：真理與藝術 在最後一部分，海德格承認他所理解的真理可以發生在藝術以外的其他形式之中。它發生在一個陳述的建立中，發生在對人類而言的接近的接近性中，在必要的犧牲中，在思想者的思考中，以及發生在科學發現新事物或者如何以新的方式思考之時。但是，真理典型地發生在藝術之中，而一個人要明白真理如何發生必須要瞭解藝術。他討論藝術的創造，在此方式之中藝術將其自身建立在大地與世界的爭執之中，在澄明與遮蔽的交互影響之中。藝術家「帶出」(bring forth)大地並且建立真理。藝術是「真理的生成與發生」。在一個藝術作品的產生當中，猶如某物首次顯露。但是，藝術不能沒有一個讓作品發生在他或她之中以保藏作品的接收者，所以，藝術在藝術作品中立於藝術家與保藏者之間並且需要這兩者。在這部分的最後，海德格探討作為藝術本質的詩，因為，「藝術在存有者中間打開了一方敞開之地，在此敞開之地的敞開性中，一切存有遂有了迥然不同之儀態」。海德格結論說，藝術在它的現實性當中就是藝術作品的本源。「藝術讓真理源出」。藝術通過一個創建的跳躍而發生，跳躍引發它，且這個引發是「真理進入存有的特殊方式」和進入歷史的方式。

關鍵字

海德格 ； 藝術作品的本源 ； 物 ； 作品 ； 真理 ； 藝術

並列摘要

In The Origin of the Work of Art, a series of lectures delivered several times in 1935 and 1936, Heidegger discusses art for the first time in his career as a teacher. He puts forth a distinctive account of art, extending his earlier fundamental ontology that took the being of beings as it starting point. The first two introductory pages of the lecture link this important work with the later philosophical hermeneutics of Hans-Georg Gadamer, who stated that it was an important work for understanding his philosophy. Heidegger's essay, after three and a half pages of introduction to the topic, is divided into three parts:
Part Ⅰ: Thing and Work
Heidegger says that in understanding the work of art as a work we are handicapped by the traditional conception of a thing, which is too much influenced by traditional categories, and by the concept of a tool. Taking the example of Van Gogh's ”Peasant Shoes,” Heidegger points out that unlike a thing, the painting speaks, it opens up the world of the peasant, reflects the struggle between world and earth. Furthermore, Heidegger goes a step further to claim that ”the truth of being happens in the work.” The artwork, then, in its being, is something that happens, an event of disclosure.
Part Ⅱ. The Work and Truth
In this part, Heidegger takes the example of a Greek temple standing in a valley. The temple sets up a world around itself but it is made of stone resting on the earth. The world worlds, he says in the strife between earth and world. The temple not only sets up a world, it sets forth the things out of which the world is made. It lets earth be earth, it lets things shine and otherwise appear in their materiality. But there is a tension between world and earth. In this strife between world and earth truth happens. To explain this, he has to speak about clearing and concealment, and truth as the unconcealment that arises out of the strife between the two. One of the ways that truth steps into the open is in the work, which captures and discloses the way truth appears. His final assertion is that ”Beauty is one way in which truth essentially occurs as unconcealment.”
Part Ⅲ. Truth and Art.
In the final section, Heidegger concedes that truth as he understands it occurs in other forms besides art. It occurs in the founding of a state, it occurs in the nearness of the near for a human being, in essential sacrifice, the thinking of a thinker, and when science discovers something new or how to think in a new way. But truth happens quintessentially in art. But to see how this happens one must understand art. He discusses the createdness of art, the way in which art establishes itself in the strife between earth and world, in the interaction of clearing and concealing. The artist ”brings forth” earth and establishes truth. Art is ”the becoming and happening of truth.” In bringing forth a work of art, it is as if something is appearing for the first time. But art cannot come to stand without a receiver who preserves the work by letting it happen in him or her, so art in the artwork stands between and requires the artist and the ”preserver.” In the final part of the section Heidegger discusses poetry as the essence of art, because ”in the midst of beings, art breaks open an open place in whose openness everything is other than usual.”
Heidegger concludes that art is the origin of the artwork in its actuality. ”Art lets truth originate.” Art comes about through a founding leap that originates it, and this originating is ”a distinctive way in which truth comes into being,” and into history.

並列關鍵字

Heidegger ； The Origin of the Work of Art ； Thing ； Work ； Truth ； Art

參考文獻

海德格、孫周興譯(1994)。林中路。台北市:時報文化。