ON THE THEORY OF TRUTH IN ART: FROM HEIDEGGER TO GADAMER

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This article examines the concept of truth in art through a dialogue between the later Heidegger’s philosophy and Gadamer’s philosophical hermeneutics. Heidegger understands art as “the setting-itself-to-work of truth,” where truth is not propositional correctness but the dynamic interplay of revealing and concealing. His interpretation of Van Gogh’s painting of shoes exemplifies this view, yet it was criticized by Meyer Schapiro for projecting a fictional peasant world onto the artwork. This critique raises a fundamental question: does Heidegger’s theory collapse into subjective interpretation?

The article argues that this problem can be clarified through Gadamer’s notion of understanding as a hermeneutic event. Drawing on the ideas of play and the fusion of horizons, it shows that interpretation is neither purely subjective nor strictly objective. Even when factually mistaken, an interpretation may still disclose ontological truth by allowing the being of the artwork to emerge. Truth in art thus appears not as fixed content, but as an event realized through interpretation Tùy chọn