这一切造成了艺术与真理的分道扬镳。
第四部分，在关于艺术与真理的问题的关系问题上，论文从传统真理观逐层深入地进行分析，从真理与自由、真理与非真理角度得出存在的真理即“无蔽”。
He explores the relationship by means of analyzing the traditional views on truth and draws ainconclusion that the truth of "Being" is "Alotheia", which founds itself in the artistic works.
伽达默尔是以“审美无区别”来反对康德的“审美区别”，来拉近艺术和真理的界限，把艺术整体与完整存在全然联系起来。
Gadamer is "no distinction between the aesthetic," to oppose Kant's "aesthetic distinction" to narrow the boundaries of art and truth, and integrity of the arts as a whole there is completely linked.
伽达默尔在《真理与方法》一书中对艺术作品偶缘性问题的讨论，是他超越主观论美学而从艺术本体论向普遍意义的诠释学本体论过渡的一座桥梁。
Transcending subjectivist aesthetics, Gadmer s discussion of occasionality in his "Truth and Method" Bridges his artistic ontology and hermeneutical ontology on a universal level.
伽达默尔在《真理与方法》一书中对艺术作品偶缘性问题的讨论，是他超越主观论美学而从艺术本体论向普遍意义的诠释学本体论过渡的一座桥梁。
Transcending subjectivist aesthetics, Gadmer s discussion of occasionality in his "Truth and Method" Bridges his artistic ontology and hermeneutical ontology on a universal level.
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