海德格將真理的問題帶入了藝術哲學的領域之中，並且從作品存有的角度將藝術定義為「（存有的）真理自行置入作品」。杜夫海納卻從人的美感經驗入手來討論作品世界中表達的真理。雖然兩人都深刻地探討了作品中的真理，但卻呈現出了截然不同的探索進路和理論體系。本文旨在透過一種對比的進路，梳理從海德格到杜夫海納關於作品真理的看法，呈現兩者之間的隱含的延續與斷裂，並指出兩人思想體系產生差異的原因：包括了兩人處理主客關係方式的不同、立論出發點的不同，以及對作品中真理定義的不同等。本文期望藉著對兩者的分析，使藝術中真理的論題有一更清晰且深刻的輪廓，在指陳兩者的優勢與劣勢之後，也提出兩種進路須相互檢證以通向作品真理的必要。藝術，正是真理從中向我們發出閃光的那一道裂隙。

Heidegger brings the question of truth into the domain of the philosophy of art and defines art, from the perspective of being of artworks, as “truth’s setting-itself-to-work.” However, Dufrenne approaches truth expressed in works of arts through one’s aesthetic experiences. They both have profoundly explored truth in artwork, even though adapting different approaches and theoretical frameworks. Putting their approaches in contrast, this article is meant to sort out the opinions of Heidegger and Dufrenne regarding truth in artworks, and to present continuity and discontinuity of the two by pointing out the root causes of their differences. These differences include their distinctive viewpoints of subject-object relations, and starting points of arguments and definitions concerning the truth of a work. Through analyzing these two philosophers, we wish to present a clearer and deeper picture of the issue on truth in artworks. After addressing their respective strong and weak points, we claim that, to reveal truth in artworks, it is necessary to examine and complement each approach in combination. Art is a small opening through which the truth is illuminated.