The Philosophy of Fine Art, volume 3 (of 4): Hegel's Aesthetik — Georg Hegel — John Shaqi
The Philosophy of Fine Art, volume 3 (of 4): Hegel's Aesthetik
Georg Hegel · en
To such an extent buildings of this type run on for miles with their
rows of animal figures, their Memnons, their immense doors, their walls
and colonnades of the most stupendous dimensions, some of greater
breadth, some of less, their isolated obelisks and much else, that
while we wander within works so huge and so calculated to excite our
surprise, which in part possess merely a more restricted purpose in
the diverse activities of the system of culture to which they belong
the question is irresistible, what these masses of stone have to tell
us of the Divine they secrete. For on closer inspection symbolical
meanings are everywhere in-woven in these constructions in that the
number of Sphinxes and Memnons, the position of columns and passages
have relation to the days of the year, the twelve signs of the Zodiac,
the seven planets, the great periods of the lunar cycle and other
phenomena. To some extent we find here that sculpture has not yet
freed itself from architecture; and in some degree again the really
architectonic aspect of measure, interval, number of columns, walls,
steps, and so forth is so treated, that the real object of these
relations is not to be found in their own intrinsic character, that
is, in their symmetry, harmony, and beauty, but is referable to their
symbolical definition. And in this way all this work of construction
asserts itself independently as an object in itself, as itself a
cultus, in which both nation and king are united. Many works, such as
canals, the lake Maeotis, and generally waterworks have a particular
relation to agriculture and the floods of the Nile. An example of this
we have in the statement of Herodotus[51] to the effect that Sesostris
had the entire country, which up to this time had been ridden and
driven over, cut up into canals to provide drinking-water, and in this
way made horses and wagons useless. The main constructions, however,
remained those buildings with a religious purpose, which the Egyptians
instinctively piled up much as the bees do their cells. Their property
was regulated[52], their other social conditions equally so, the soil
of the country was extraordinarily fruitful, and required no laborious
cultivation, so that we may almost say their agriculture merely
consisted in sowing and harvest. We hear little of other interests and
exploits, such as are common to nations, and, with the exception of the
tales of the priesthood with reference to the maritime undertakings of
Sesostris, we have no account of sea voyages. Speaking generally, the
Egyptians restricted their efforts to this work of construction within
their own country. It is, however, what we have called self-substantive
and symbolical architecture which forms the fundamental type of their
imposing works and for this reason that the human ideal, the spiritual
in its aims and external forms, has not as yet come to self-knowledge,
or constituted itself the object and product of its free activity.