Representative for the Old Kingdom of the Ancient Egypt, “The Palette of Narmer” is believed to symbolize the unification of the Upper Egypt (South Egypt) with the Lower Egypt (North Egypt) (Barnet 52). The palette includes myths and symbols, encrypted in hieroglyphic inscriptions on both sides. The art work is laid down on a triangular – like shape, with all corners rounded and the upper side bearing two protuberances, connected by a median, rounded line.
The represented motifs and symbols create a conceptual unity. It bears the artistic conventions of the Early Dynasty, as the Kings and the hierarchically important figures are represented with their head in profile, eyes rendered frontally to capture the expressivity of the royalty, feet are also depicted in profile, while shoulders and torso are frontal (Barnet 52). The art work contains relief forms carved to denote a historical moment, namely the unification of the Upper with the Lower Egypt.
As such, the figure of the pharaoh, possibly Narmar, is depicted as much larger than those of normal individuals, symbolizing his hierarchical superiority. On one side of the palette, he bears the white crown, of the Upper Egypt, as he prepares to assassinate the sitting rival, who is similar in size with Narmar, indicating his equal hierarchical positioning, hence, denoting the historical figure of the Lower Egypt’s ruler. On the other side of the palette, the same character who wears the white crown on the first side, wears now the red crown, of the Lower Egypt, signifying the unification of the two regions. Moreover, the two lions with their necks elongated and intertwined, also symbolize a union between two comparable forces (Barnet 51).
The relief scenes presented on the both sides of the palette overlap to tell a story in more episodes. Because of this overlapping, some figures are shown in perspective, being visibly smaller than the central themes, as it is the case of the sandal bearer and the royal palace on the front side of the palette, or the decapitated enemies and even Nermer and his followers, as compared with the lions with their elongated, intertwined necks (Barnet 51).
The Old Empire of the Ancient Egypt was characterized by a subtle continuity of the religious motifs, visible in the personification of Nermer pharaoh as a godly figure, due to the hierarchical scale used to represent him in comparison with the rest (Barnet 52). In Ancient Egypt, the role of the palettes was to grid the cosmetics, but since the palette of Nermer is very large, its purpose is believed to be different, serving as an ornament or a historical document.
The palette is an artistic representation, but also a political document dedicated to Nermer, glorifying his power. This double purpose is still consistent with the current reality, as artistic representations are still designed to glorify the political leaders. Both the Egyptian palette and the nowadays visual images, dedicated to political figures, are aimed at enhancing the cult of personality, popularizing the leaders, and glorifying them with super human qualities.
The Palette of Nermer is a significant art work, representative for the Old Kingdom of Ancient Egypt in terms of technique but also cultural and historical depiction. It remains today as a document that praises a pharaoh, indicating the fact that in Ancient Egypt the pharaohs were cherished and worshiped as Gods.
Works Cited
Barnet, Sylvian. Looking Back. Course material. Print.
