Art Work in Hans-Georg Gadamer

As a ground for the discussion of a broad subject, philosophy has been inquiring the possibility of understanding art within these wide borders. Art occupies the agenda of philosophers particularly in terms of its relationship with reality. There are cases where art has been placed in a hierarchy in terms of its epistemological value and thus been overshadowed, and sometimes highlighted as an upper formal structure. This article will be based on the approach of Hans Georg Gadamer, who developed an objection to the style of art in modern era in its overshadowed form, by means of his philosophical hermeneutics, and will try to demonstrate the effort of artwork towards reacquiring its position within the framework of this understanding of hermeneutics. Although the history of hermeneutics in itself traces further back, its adoption of art as its subject in this sense, is a contemporary issue. Gadamer, whose objective is to develop a general theory of interpretation, does not attempt to develop a different explanation of this theory of interpretation. As opposed to this, his basic purpose is to discover the thing that is common in every mode of understanding, namely to demonstrate that understanding pertains to the very essence of the thing that is understood. It is the result of this effort that an artwork is removed from being the object of a mental abstract process of understanding to be made belonging to its own self as of the meaning, and the existence of consciousness which is formulized as aesthetical consciousness will be deeply questioned