海德格爾中后期提出了藝術與物性的關系問題,批評了特性的載體、感覺多樣性的統一體和具有形式的質料三種關于物的規定方式,認為創作是讓某物作為一個被生產的東西而出現,作品把物因素置入敞開的領域中加以顯現。海德格爾的思考奠基于其藝術存在論,體現了他對藝術是什么以及人是什么的思考,與20世紀藝術的走向相關聯,進而成為當代美學以及藝術理論中爭論的一個核心問題。雖然其他美學家或思想家大多不是沿著海德格爾本人的思路,而似乎是將其批評過的思路加以改造進行探討,但是在反模仿論、反形而上學方面卻與海氏異曲同工。

In his middle and later writings,Heidegger puts forward the issue of the relation of art and objecthood,holding that creation presents an object as a production and an artwork manifests the thingly element in a broad field,with criticism of the three definitions of the thing: the thing as a carrier of properties,the thing as a unit of sensorial perception,and the thing as matter moulded in a particular form. Heidegger’s ideas based on his art ontology reflect his thoughts about what art is and what a human being is,which are related to the art trends of the 20th century and then become a core issue of contemporary debates in aesthetics and art theory. Although other aestheticians or thinkers seem to discuss such issues in a remoulding way of what Heidegger criticizes while seldom following his own thinking,they are similar with Heidegger in the terms of anti-mimesis and anti-metaphysics.