Johann Joachim Winckelmann, 1717- 1768:論古代藝術 Geschichte der Kunst des Alterthums ("The History of Art in Antiquity"),

Of the apparent simplicity and flowing ease of the classic writers, how justly does Horace remark;
 ut sibi quivis 
Speret idem, sudet multúm, 
frustraque laboret  ausus idem:
 tantum series iuncturaque pollet, tantum de medio ...

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[PPT]Horace : Ars Poetica (the Art of Poetry) - Pyrrha's Roman Pages

www.pyrrha.rtwilson.com/utpicturaHoraceVirgilCatullus.pptx

speret idem, sudet multum frustraque laboret. ausus idem : I will aim for poetry moulded from the familiar so that if anyone. wants the same for himself, he may ...

ヨハン・ヨアヒム・ヴィンケルマン（Johann Joachim Winckelmann, 1717年12月9日 - 1768年6月8日）は、18世紀ドイツの美術史家である。

Masterwork[edit]

Figurehead from the title page of Geschichte der Kunst des Alterhums Vol. 1 (1776). Winckelmann is center, surrounded by Homer and Romulus and Remus with the she-wolf in the foreground, and the Sphinx and an Etruscan vase in the background.

Winckelmann's masterpiece, the Geschichte der Kunst des Alterthums ("The History of Art in Antiquity"), published in 1764, was soon recognized as a permanent contribution to European literature. In this work, "Winckelmann's most significant and lasting achievement was to produce a thorough, comprehensive and lucid chronological account of all antique art— including that of the Egyptians and Etruscans."^[14] This was the first work to define in the art of a civilization an organic growth, maturity, and decline. Here, it included the revelatory tale told by a civilization's art and artifacts—these, if we look closely, tell us their own story of cultural factors, such as climate, freedom, and craft. Winckelmann sets forth both the history of Greek art and of Greece. He presents a glowing picture of the political, social, and intellectual conditions which he believed tended to foster creative activity in ancient Greece.

The fundamental idea of Winckelmann's artistic theories are that the end of art is beauty, and that this end can be attained only when individual and characteristic features are strictly subordinated to an artist's general scheme. The true artist, selecting from nature the phenomena suited to his purpose and combining them through the exercise of his imagination, creates an ideal type in which normal proportions are maintained, and particular parts, such as muscles and veins, are not permitted to break the harmony of the general outlines.

日本語訳書[編集]

• 「ギリシア芸術模倣論」（澤柳大五郎訳、座右宝刊行会、新版1976年）
• 「古代美術史」（中山典夫訳、中央公論美術出版、2001年）

Geschichte der Kunst des Alterthums ("The History of Art in Antiquity", 

論古代藝術    邵大箴譯，北京：中國人民大學出版社，1989

可惜專有名詞全是漢文，無原文。。
原書插圖為

北京版採用：

溫克爾曼

溫克爾曼（Johann Joachim Winckelmann，1717年12月9日－1768年6月8日）生於德國司登達（Stendal），在義大利的里雅斯特逝世，德國考古學家與藝術學家。

他為考古學奠基。溫克爾曼是文藝復興人文主義者Flavio Biondo的追隨者，因此自稱義大利人文主義者。Biondo以前為古董收藏者，因此溫克爾曼的古物藝術的藝術史學方法也是跟隨著Biondo。溫克爾曼的藝術評價成為美學的基礎。

1768年，溫克爾曼到維也納接受瑪麗亞·特蕾西亞嘉奬，在返回羅馬居處的途中，在義大利的里雅斯特一間旅館內，因同行的旅人覬覦他手上的金幣和銀幣，而把溫克爾曼殺害，後來溫克爾下葬於的里雅斯特大教堂。