科學的認知能力並非是獲至真理的唯一路途，藝術經驗也是另一個非方法的理解方式。高達美以遊戲理論為存有論的基礎，企圖清楚的指涉出傳統主客對立思維模式之下對事物認識不足，認為藝術作品的理解經驗可以補充此一不足。因此Gadamer肯定藝術經驗是存有真理的顯現，而藝術經驗則是由藝術作品本身和欣賞者的理解所共同完成的，因此，對於真理並不是只有一種理解的方式。Gadamer透過對遊戲的分析，說明遊戲經驗所代表的藝術作品理解方式是具有可行性的。 在高達美的分析中，遊戲的主要特徵在於：自為的主體活動，遊戲的自我表現及遊戲是一來回往返的活動，說明遊戲者與遊戲之間的互動，一如藝術作品與觀賞者之間的互動，作品向觀賞者展開，觀賞者帶著自身的視域來理解作品，在理解的過程中，作品與觀賞者的視域交融，達成視域融合。對Gadamer而言，融合的過程就是藝術作品的理解過程同時也是真理開顯的過程。 The cognitive ability of science is not the only way to acquire the truth. The experience of art is another non-method way to understand. Gadamer’s theory of playing is based on ontology, and he attempts to point out the inadequacy understanding of subjective and objective. Thinking the inadequacy can supple by the understanding experience of artwork. He is sure that the experience of art is strongly truth appearance. And a experience of art is constituted by the artwork and the understating of spectator. Therefore, there is not only way to understating the truth. After the playing analysis, it shows that understanding can be practice by art experience. In Gadamer, the main characteristics of playing: activities of subject, self-evident, and back and forth. This concept described in detail how interaction between playing and player. It likes artwork and spectator. The artwork opens its world to spectator. The Spectator is trying to understand the artwork world by his own horizons. In this process, the spectator’s horizon and artwork world are fused together. For Gadamer, the fusion means understanding of artwork, and it is also a truth revealment process.
