It is true that an Egyptian may be said to place his object for depiction in the centre and to encircle it with thoughts” (Logan 425).Such thought makes it harder to separate the initial meaning of the Egyptian art, and today’s insights concerning it, which are oriented mainly on the aesthetic features of the art objects.Finally, Egyptian art was produced according to the canon, that is, the pre-set way of depicting anything.
The massiveness of forms is the main characteristic of this object, and the solemn representation of the pharaoh, Ramesses II, makes the building a significant aesthetic piece of the Egyptian architecture.
However, its significance is hidden in the purpose of the creation of the temple (Simpson 266).
When looking at the size of the statues guarding the central entrance, and correlate it with the average size of a human, one begins to wonder about the original meaning of the Abu-Simbel temples.
The ideological message, in this case, is clear: the citizens should be aware of the fact that in comparison to the pharaoh they are the life forms with no significant meaning.
The existence of the canonic ways of representation implies the obvious societal gap between the classes, as it makes art itself the concept which reflects the ideas of the representatives of the sovereignty.
Davis states that such principles of the representation “are best referred to as the “canon” of official, Egyptian art; thus, a certain kind of art – the official, academic style commissioned by highly placed or royal patrons are imitated by other classes – makes up the canonical tradition” (Davis).Additionally, the author reports that there were few people who could have access to an art object not only for the sake of perception but the producing of an object.He claims that “Characteristically Egyptian artistic culture of the Dynastic Period (from c. While one could not exist without the other, it is essential to address these elements to identify the function of the Egyptian art and its impact on the ancient Egyptian civilization. The meaning of the Egyptian art can be defined as a combination of both ideology and aesthetics.Baines states that the word “art” was understood by the ancient Egyptians as “crafts,” which implies the availability of the practical purpose.The author states that “Egyptian category of ‘art,’ the nearest approach to such a thing being the word hmt, which is normally rendered ‘craft” (Baines 68).Logan states that when comparing the art of the ancient civilizations of the European continent with the Egyptian art, the ideological significance of it becomes even more observable for the occasional watcher.The author reports that “Egyptian art has an “objectivizing” orientation, and Greek art a “subjectiving’ one…The meaning of the Egyptian art was limited to its function and the target audience for which an object was designed.Not only the ideological role, which was addressed in the previous paragraph but also the function as it is: the practical purpose of the particular object.