With a height of 64 CM and a width of 42 CM, the Narmer Palette was said to have been conceived during the earlier part of the 1st Dynasty when the king was Narmer. This is circa 3000 BC. The Palette was one of the discoveries in the Temple of Horus found in Hierakonpolis. This was among several other palettes which also depicted the achievements and deeds of other kings. Sometimes, Narmer has been referred to as Menes who was known to have founded the Ancient Egyptian civilization. Araldo De Luca and Francesco Tiradritti consider the Narmer Palette as one of the earliest depiction of a King taking the reins to rule and enact order among his constituents. With Narmer’s mace, the king is able to defeat invaders and enemies as well as evil. The king is also thus depicted as a war hero as Narmer is depicted in slaying and dismembering his enemies (40). The palette, consisting of scenes that are carved obverse and reverse of the artefact, remember the campaign of Lower Egypt to Upper Egypt, eventually leading to unification.
Narmer is considered as the founder of Egypt’s First Dynasty. It was his ceremonial palette that had assumingly united Upper and Lower Egypts through a ritual. The Narmer palette was said to have been one of the earliest revelations regarding the ideas on kingship through its iconography. Its workmanship suggests the qualities and the “sophisticated taste of the early Egyptian court”. Currently displayed in the entrance of the Egyptian Museum, the Narmer palette depicts the glory of Ancient Egyptian civilization (7).
The Narmer palette displays the victory if Narmer against a Lower Egyptian ruler. This is only one perspective in looking at the Narmer plate. It remains a discussion to archaeologists in determining what the purpose and interpretation of the palette is. The depiction of Narmer’s battle may be symbolic, ceremonial, or ritualistic rather actual in the unification of Egypt which adds complexities to the palette. Artefacts such as the Narmer Palette can no longer be taken literally as this is regarded as an old way of dealing with such pieces. In this manner, the Narmer Palette needs to be interpreted beyond the common idea of being historically inspired. Although recent findings pointed out by Toby Wilkinson mention that a recently discovered label of Narmer may just add weight to the Narmer Palette as having a historical source. The said label also depicts the same event illustrated in the Palette (which displays the “catfish of the king’s name smiting a bearded captive, identified by the papyrus plant on his head as an inhabitant (or leader?) of Lower Egypt” (68). Another historical suggestion is that the Palette displays a battle against Palestine.
The Narmer Palette is abundant with symbols. One of which is the sandals which is considered to be a “royal insignia”. The sandals are considered to allow the king his contact on the land and sovereign he owns, literally being a footwear that becomes an intermediary between the king and the land. It also has religious implications, and it is in fact, so sacred that it will only be entrusted to a person who “enjoys intimate access” to the king. Further, the sandals serve as a king’s symbol to come between “order and chaos”. It also stands as the king’s triumph over his enemies and invaders, through its implication of ascent and above-ness (191).
Another symbol is the Red crown which is supposed to assert authority over the Southern lands. However, the red crown fails in comparison to the white crown. The very appearance of the white crown would attest to this as it is always depicted as larger than the red crown. The white crown is traditionally thought of as the authority over Lower lands. This is due to the fact that it played the more significant role in unifying Egypt.
Indeed, the outright interpretation is the king’s victory shown through the smiting, trampling and decapitating of the bodies. The crowns he wear symbolize his authority and the overwhelming of Lower Eqypt by Upper Egypt through the crowns although it remains a question whether or not the rest of Eqypt has been conquered. There is no doubting, however, how the campaign and conquest will be one of Eqypt’s most significant as illustrated by the palette. It involves cities and fortresses assimiliated and the founding of provinces. Truly it is one of the most significant artefacts and pharoah monuments found.
It is not sufficient to interpret the Narmer Pallette as solely about war, conquest and victory. The palette is able to suggest the life of King, the concept of power, godhood and the way of life in Ancient Egypt. It stresses the level of civiliaztion, intelligence and thought as well as the perception on order and society.
The Narmer Palette is not a solved riddle although the interpretation may be confirmed. In fact, in the late 20th century, a scholar named W Fairservis, Jr. has another reading of the Palette by taking each component of the palette piece by pieace. The alternative explanation suggets that the campaign is not in the Delta, (and thus nothing among Upper and lower Egypt) but possibly Egypt and Nubia. The crowns do not necessarily stand for Upper or Lower Egypt). It also attempted to account for the female relatives of the Pharoah. However, the error of this interpretation is that it took the componenets separately and did not integrate it to the whole. thus, it left behind some aspects. It is thus, flawed in several aspects especially since the Macehead in the Palette is unmistakably identified to Buto rather Nubia. It also attempted to view Narmer as merely a small or minor king. It remains contradictory in many aspects. What boggles scholars is whether or not Narmer is the unifier of Egypt or, whether Egypt is unified prior to his rule (Fairservis).
The Narmer Palette nonetheless stood as the basis of the later illustration, artworks and artefacts to come. The very stance of the king, the insignias, the macehead and the cattles were to be followed and imitated as the template of centuries and kings to come. This alone attests to the authority of Narmer and the Palette.
Credit:ivythesis.typepad.com
0 comments:
Post a Comment