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在２０世纪西方的非理性大潮中，加达默尔的解释学美学思想捍卫了美与真、艺术与认识的本真关联，在摹仿论的基础上力图统一传统艺术与现代艺术，独创性地阐明了艺术作品的存在方式，从意义理论出发开启了艺术接受研究，所有这些都可说是对２０世纪西方美学的丰富和发展。加达默尔美学思想的局限除了其存在论的哲学基础之外，其美学辩证法也是不彻底的，走向了“恶无限”，其语言论探索过于夸大语言的威力，最终陷入了哈贝马斯批判的“语言唯心主义”之中。
In the irrational tide of the West in the 20th century, Gadamer’s hermeneutic aesthetics has defended the true connection between beauty and truth, art and cognition, tried hard to unify the traditional art and modern art on the basis of imitation theory, Elucidated the existence of works of art, starting from the theory of the theory of artistic acceptance of the study, all of which can be said that the 20th century, the enrichment and development of Western aesthetics. Apart from the philosophical foundation of his existentialism, the limitations of Gadamer’s aesthetic thoughts are also incomplete. They go to “infinite evil”. His exploration of linguistic theory excessively exaggerates the power of language and ends up in Habermas’ Critical “language idealism”.