  This distinction between pure beauty, found in Greek sculpture, and the more concrete beauty found in Greek drama means that ideal beauty actually takes two subtly different forms. Beauty takes these different forms because pure sculptural beauty—though it is the pinnacle of art’s achievement—has a certain abstractness about it. Beauty is the sensuous expression of freedom and so must exhibit the concreteness, animation and humanity that are missing, for example, in Egyptian sculpture. Yet since pure beauty, as exemplified by Greek sculpture, is spiritual freedom immersed in spatial, bodily shape, it lacks the more concrete dynamism of action in time, action that is animated by imagination and language. This is what lends a certain “abstractness” (and, indeed, coldness) to pure beauty (PKÄ, 57, 125). If art’s role is to give sensuous expression to true freedom, however, it must move beyond abstraction towards concreteness. This means that it must move beyond pure beauty to the more concrete and genuinely human beauty of drama. These two kinds of ideal beauty thus constitute the most appropriate objects of art and, taken together, form what Hegel calls the “centre” (Mittelpunkt) of art itself (PKÄ, 126).