This paper aims to highlight examples of artistic motifs common throughout Egyptian history but augmented in novel ways during the 27th Dynasty, a time when Egypt was part of the Achaemenid empire and ruled by Persian kings. These kings represented themselves as traditional pharaohs within Egypt’s borders and utilized longstanding Egyptian artistic motifs in their monumental constructions. These motifs, however, were manipulated in subtle ways to send targeted messages to audience(s) of this art. Art historians tend to situate visual styles and motifs within the longue durée of artistic tradition and pick a singular, official, and centralized perspective to narrate the history and reception of that art. In the case of Egypt, this perspective is often that of the king, and there is an assumption that there was a monolithic message sent to his people. But we are not dealing with a homogenous people; a diverse population would have had varied reactions to and interpretations of this visual signaling. By highlighting both the augmentation of traditional motifs undertaken by the Achaemenid administration and the multiplicity of perspectives they held for their audience(s), we can better understand ancient art as being dynamic in function and interpretation, rather than as a static snapshot of carbon-copied royal authority.

中文翻译：

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旁观者之眼：第 27 王朝的图案（重新）诠释

本文旨在重点介绍埃及历史上常见的艺术主题，但在第 27 王朝期间以新颖的方式得到增强，当时埃及是阿契美尼德帝国的一部分，由波斯国王统治。这些国王将自己描绘成埃及境内的传统法老，并在其纪念性建筑中运用了长期存在的埃及艺术主题。然而，这些主题被以微妙的方式操纵，向这种艺术的观众发送有针对性的信息。艺术史学家倾向于将视觉风格和主题置于艺术传统的漫长岁月中，并选择单一的、官方的和集中的视角来叙述该艺术的历史和接受。就埃及而言，这种观点通常是国王的观点，并且有一种假设，即向他的人民发送了一条统一的信息。但我们面对的并不是一群同质的人；我们面对的是一群同质的人。不同的人群对这种视觉信号会有不同的反应和解释。通过强调阿契美尼德政府对传统主题的增强以及他们为观众持有的多种观点，我们可以更好地理解古代艺术在功能和解释上是动态的，而不是碳的静态快照。抄袭皇家权威。