藝術的概念是一個歐洲文藝復興之後的產物，而藝術的精神性價值與重要性在啟蒙時期得到許多的詮釋與正當化，特別是從啟蒙到德國古典哲學觀念論與唯心主義的脈絡之中，唯心主義的強調與歐洲人文主義的發展有某種同構並行的關係，十九世紀現代主義興起之後藝術的自主性變成一種重要價值，與當時興起的布爾喬亞階級意識也產生了呼應。本文企圖對藝術的精神性進行一個簡單的知識考古學式探索，並且由二十世紀兩大思想家阿多諾與本雅明的說法來反思此一藝術精神性概念的局限，語言作為藝術精神性的承載媒介卻在語言學的轉向中發展出藝術精神性的語言學異化情境。

The concept of art is developed after the Renaissance in Europe. The spiritual value and importance of art are interpreted in various ways and legitimized in the Enlightenment period. The development of Enlightenment and Classical Philosophy in German with its focus on Idealism parallels to the development of Humanism in Europe. After the rise of Modernism in the 19th century, the autonomy of art becomes an important value corresponding to the class consciousness of Bourgeois. This article intends to conduct an archeological exploration on the spirituality of art. The article discusses the ideas of two important thinkers in the twentieth century, Theodor W. Adorno and Walter Benjamin, to reflect on the limiting concept of spirituality in art. With the Linguistic Turn in Western philosophy during the 20th century, language becomes an important medium to carry on the spiritual meaning in art. But the Linguistic Turn also gives chance to the alienation of such spirituality of art in the inner cycle of linguistic system.