From his arrival in Italy in 1755, Winckelmann's work is infused throughout by a fundamental antinomy: reading versus seeing. This antinomy possesses for him a decidedly epistemological significance: it allows him to present himself as the father of a discipline deserving of its name, i.e., the history of art. In Geschichte der Kunst des Alterthums (1764), he claims to break with a long tradition of art discourse which had been primarily supported by ancient texts, basing his book instead on the direct observation of the artworks. The aim of this paper is to critically examine this antinomy. How does seeing relate to reading in his working method? What relationship does art history, in the empirical dimension Winckelmann wanted to give it, have to book knowledge? Winckelmann's excerpts collection provides valuable answers to these questions. Following an old scholarly tradition, Winckelmann used to write down passages of his readings, constituting a vast handwritten library of excerpts which never left him. The result of this intense excerpting practice consists in some 7,500 pages, which allow to better define the share of empirical observation and book-based knowledge in his approach to ancient art.

中文翻译：

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阅读与观看？温克尔曼的摘录实践与艺术史谱系

自 1755 年抵达意大利以来，温克尔曼的作品始终贯穿着一个基本的二律背反：阅读与观看。这种二律背反对他具有明显的认识论意义：它使他能够将自己展示为名副其实的学科之父，即艺术史。在 Geschichte der Kunst des Alterthums (1764) 中，他声称打破了主要由古代文本支持的艺术话语的悠久传统，他的书以对艺术品的直接观察为基础。本文的目的是批判性地检验这种二律背反。在他的工作方法中，观看与阅读有何关系？在温克尔曼想要赋予它的经验维度中，艺术史与书本知识有什么关系？温克尔曼 s 摘录集为这些问题提供了有价值的答案。按照古老的学术传统，温克尔曼过去常常写下他的阅读文章，构成了一个巨大的手写摘录库，这些摘录从未离开过他。这种强烈的摘录实践的结果包括大约 7,500 页，可以更好地定义经验观察和书籍知识在他的古代艺术方法中的份额。