The Palette of Narmer

The Palette of Narmer

Hierakonpolis.  Early Dynastic period, c. 2950 BCE.

The Narmer Palette is a fascinating piece.  Although it was, in all technicality, a ground for mixing eye-shadows, this particular palette would have been purely ceremonial, and remains an excellent example of the artistic conventions that began during the Early Dynastic period in Egypt.  In this period,  following the unification of Upper and Lower Egypt, Egyptian kings were depicted as having god-like status.  This is evident in the Narmer Palette in several ways.  Firstly, Narmer, capable ruler of Upper Egypt, is considerably larger than everyone else in the scene.  This, by convention, is a mark of his importance.  There was no Western conception of linear or atmospheric perspective in Ancient Egypt, simply a hieratic scale of persons and figures--the larger they were, the more important and vice versa.  Therefore the ruler is obviously the focus in this scene.  There is also an element of subordination that makes the here-seen merciless leader the emphasis in the composition.  

Another extremely relevant element of the Early Dynastic artistic convention seen here is the way in which the figures are represented.  There is no attempt to recreate these persons in a lifelike or realistic fashion.  Rather, each body is idealistically posed in such a way as to be seen from its most aesthetic angle.  For example, you will notice that Narmer's head is at a full profile while his torso remains facing forward.  You will also notice that the smaller figures, those of lesser social importance or rank, do not adhere to this convention as strongly as their fierce leader.  This is yet another way in which the king is distinguished from his surroundings in this scene; the strong composite pose was reserved for dignitaries.

The symbolic elements presented in the Palette of Narmer, while significant in their own light, cannot fully be disconnected from the formal composition.  Their placement in the image has very much to do with the way in which this scene is interpreted.  This sort of iconography, using meaningful images to tell a story, is consistently used in Ancient Egyptian art.  In this particular image, Narmer is identified first and foremost by inscribed hieroglyphs located at the top of the palette--symbols representing sounds that when said together would sound like "Narmer".  He also wears the traditional kilt and beard of a king, as well as the white crown, signifying his control of Upper Egypt.  Clasped in Narmer's hand and in line of his next blow, is a figure whose size is most closely comparable to the king's.  This figure can thus be interpreted as someone of importance, though obviously not so important as Narmer himself.  On the right hand side of the panel, papyrus reeds, symbolic of Lower Egypt, identify this obvious foe as the ruler of Lower Egypt, here being dominated by the Upper Egyptian king.  The god Horus (depicted as a falcon and in whose temple this palette was found) observes this scene from above, his hook in the nose of the man from whose head sprouts the papyrus.  Clearly, Horus approves.  All of these symbols, taken together, enable viewers to interpret the story being told here--Narmer, ruler of Upper Egypt, is conquering his Lower Egyptian counterpart, thus signifying the very important unification of Upper and Lower Egypt and the beginning of Egypt's growth as a powerful and kingly nation.