在伽达默尔的解释学视角中,艺术品作为不同于自然物的、不以实用目的为主的、面向观众敞开的显现物是具有可理解性的,观赏者只要不断地与艺术品进行交流且形成深入的视域融合,就能够达成对艺术品的理解。然而,这种“理解”是随着社会历史的变迁而转移的,同时也正是这些不断变迁的“理解”使得艺术品成为流动着的、有生命的显现物。由此,我们就不能忽视以齐美尔为代表的社会学视角对于艺术品的研究,因为,艺术品作为社会中的产品同时也具有社会象征性,它在接纳观赏者理解的同时也引导并建构观赏者的理解,即艺术品正是由于特定的社会中所具有的某种时代精神而显现成观赏者所理解的样子。 In Gadamer’s hermeneutic perspective, works of art, as different from the natural objects, not practical purposes, are open to the audience is understandable, and the viewer only needs to constantly communicate with the works of art And the formation of in-depth fusion of the horizon, we can achieve the understanding of the artwork. However, this “understanding ” is transferred with the change of social history, and it is also these ever-changing “understanding ” that the artwork becomes a flowing, living manifestation. Therefore, we can not ignore the study of artwork from the perspective of sociology represented by Simmel because the artwork, as a product in society, also has social symbolism. It also guides and guides the understanding of the viewer To construct a viewer’s understanding that artwork is exactly what a viewer understands precisely because of a particular spirit of the times in a particular society.