艺术学（Kunstwissenschaft）无论是作为一个学术概念，还是作为一个学科概念，它的发生学真相，都与当下中外学者的研究结论大相径庭。艺术学的创始人既非费德勒，也非谢林，而是温克尔曼。一般艺术学的创始人既非齐美尔曼，也非德索，而是由经济学家荣格-斯蒂林最先提出，由谢林丰富和完善。艺术学研究的实践，也是由温克尔曼创始，由赫尔德发展，由谢林总其大成。总之，艺术学从概念的提出，到其学术和学科内涵的丰富和完善，从整个学科体系的建构，到其研究实践的系统性示范，可以说，到19世纪初谢林在耶拿大学讲授《艺术哲学》时，都已经全部完成了。温克尔曼、赫尔德和谢林通过不到半个世纪的学术接力，不仅合力完成了一般艺术学的理论的系统化建构，巩固了艺术学的学科基础，而且也开创了非思辨、思辨以及思辨与非思辨兼具这样三种研究范式。谢林虽然算不上艺术学的创始人，却是艺术学历史上唯一在理论和实践两方面都取得了卓越成就的学术大师，直至当今，依然无人超越。

The genesis of Kunstwissenschaft， as an academic idea or a disciplinary concept， is quite different from what the current scholarship has concluded. The founder of Kunstwissenschaft was neither Konrad Fiedler nor Friedrich Wilhelm Joseph von Schelling， but Johann Joachim Winkelmann. The first person who proposed allgemeine Kunstwissenschaft was neither Reinhard Zimmermann nor Max Dessoir but Johann Heinrich Jung-Stilling and it was then improved by Schelling. The academic practice of Kunstwissenschaft was conducted by Winkelmann first， developed by Johann Gottfried Herder， and perfected by Schelling. In short， by the time Schelling delivered his lectures on The Philosophy of Art at Jena University in the early nineteenth century， he had proposed the concept of Kunstwissenschaft， mapped out its academic and disciplinary field， constructed the entire disciplinary system， and demonstrated the mode of research practices. Within less than half a century， Winkelmann， Herder and Schelling not only systematically constructed the theory of allgemeine Kunstwissenschaft and consolidated its disciplinary foundation， but also created three research paradigms： — non-speculative， speculative， and the combination of both. Although Schelling did not propose the concept of Kunstwissenschaft， he was definitely the only academician in the history of Kunstwissenschaft studies who has made outstanding achievements in both theory and practice.