海德格〈藝術作品的本源〉是海德格談論藝術最重要的作品。就現象學的歷史而言，也是一篇重要的現象學美學文獻。因此本文將討論的重心放置在〈藝術作品的本源〉上，試圖跟隨海德格的寫作重新思考藝術為何。在這樣的方向下，本文將設定以下的幾個目標。首先本文將試圖以現象學觀點來解讀〈藝術作品的本源〉，爬梳海德格思考藝術的方法。其次本文將呈現海德格如何在藝術作品中挖掘出真理的開顯模式，並分析這個藝術真理的開顯模式其實正是海德格的形上學真理。最後本文將說明，這個藝術作品的真理其實也提供了一種文化批判模式，海德格其實正是以這個藝術作品中的真理為基礎，成為二十世紀初德國威瑪時期文化的批評者。從這個角度而言，海德格其實構思了一套在20 世紀發揮巨大影響力的藝術烏托邦系統。
“The Origin of The Work of Art” is Martin Heidegger’s most important work discussing artwork. Situating it within the context of phenomenology, it is a significant aesthetic research as well. Therefore, this paper will focus on this work of Heidegger’s, in order to re-examine what art is. In this circuit of thought, I am going to investigate the relationship between art and phenomenology. Firstly, I will attempt to probe into “The Origin of The Work of Art” according to the point of view of phenomenology, and make clear of Heidegger’s method of approaching art. Secondly, I would like to demonstrate how Heidegger attains the model of truth revealing, and analyzes that the model of revealing the truth of artwork represents Heidegger’s truth of metaphysics. Last but not least, the truth of artwork provides a way to cultural critique, through which Heidegger becomes a cultural critic in the Weimar Germany in the early twentieth century. From this perspective, what Heidegger actually does was to conceive an aesthetic utopia which deeply affected what we believe today.
