Palette of king narmer hide tutorial navigation .

Some artifacts are of such vital importance to our understanding
of ancient cultures that they are truly unique and utterly
irreplaceable. The gold mask of Tutankhamun was allowed to
leave Egypt for display overseas; the Narmer Palette, on the other
hand, is so valuable that it has never been permitted to leave the
country.
Discovered among a group of sacred implements ritually buried in a
deposit within an early temple of the falcon god Horus at the site of
Hierakonpolis (the capital of Egypt during the pre-dynastic period), this
large ceremonial object is one of the most important artifacts from the
dawn of Egyptian civilization. The beautifully carved palette, 63.5 cm
(more than 2 feet) in height and made of smooth greyish-green
siltstone, is decorated on both faces with detailed low relief. These
scenes show a king, identified by name as Narmer, and a series of
ambiguous scenes that have been difficult to interpret and have resulted
in a number of theories regarding their meaning.
The high quality of the workmanship, its original function as a ritual
object dedicated to a god, and the complexity of the imagery clearly
indicate that this was a significant object, but a satisfactory
interpretation of the scenes has been elusive.
The object itself is a monumental version of a type of daily use
item commonly found in the predynastic period—palettes were
generally flat, minimally decorated stone objects used for
grinding and mixing minerals for cosmetics. Dark eyeliner was an

essential aspect of life in the sun-drenched region; like the dark
streaks placed under the eyes of modern athletes, black
cosmetic around the eyes served to reduce glare. Basic
cosmetic palettes were among the typical grave goods found
during this early era.
In addition to these simple, purely functional, palettes however,
there were also a number of larger, far more elaborate palettes
created in this period. These objects still served the function of
being a ground for grinding and mixing cosmetics, but they were
also carefully carved with relief sculpture. Many of the earlier
palettes display animals —some real, some fantastic—while later
examples, like the Narmer palette, focus on human actions.
Research suggests that these decorated palettes were used in
temple ceremonies, perhaps to grind or mix makeup to be ritually
applied to the image of the god. Later temple ritual included
elaborate daily ceremonies involving the anointing and dressing
of divine images; these palettes likely indicate an early
incarnation of this process.
A ceremonial object, ritually buried
The Palette of Narmer was discovered in 1898 by James Quibell
and Frederick Green. It was found with a collection of other
objects that had been used for ceremonial purposes and then
ritually buried within the temple at Hierakonpolis.
Temple caches of this type are not uncommon. There was a
great deal of focus on ritual and votive objects (offerings to the

God) in temples. Every ruler, elite individual, and anyone else
who could afford it, donated items to the temple to show their
piety and increase their connection to the deity. After a period of
time, the temple would be full of these objects and space would
need to be cleared for new votive donations. However, since
they had been dedicated to a temple and sanctified, the old
items that needed to be cleared out could not simply be thrown
away or sold. Instead, the general practice was to bury them in a
pit under the temple floor. Often, these caches include objects
from a range of dates and a mix of types, from royal statuary to
furniture.

Two Dogs Palette, Hierakonpolis,
Egypt c.3100 B.C.E. (Ashmolean Museum, University of Oxford) The "Main Deposit"
at Hierakonpolis, where the Narmer Palette was discovered, contained
many hundreds of objects, including a number of large relief-covered
ceremonial mace-heads, ivory statuettes, carved knife handles,
figurines of scorpions and other animals, stone vessels, and a second
elaborately decorated palette (now in the Ashmolean Museum at
Oxford) known as the Two Dogs Palette.

Conventions that remain the same for thousands of
years
There are several reasons the Narmer Palette is considered to be
of such importance. First, it is one of very few such palettes
discovered in a controlled excavation. Second, there are a
number of formal and iconographic characteristics appearing on
the Narmer palette that remain conventional in Egyptian two-
dimensional art for the following three millennia. These include
the way the figures are represented, the scenes being organized
in regular horizontal zones known as registers, and the use of
hierarchical scale to indicate relative importance of the
individuals. In addition, much of the regalia worn by the king,
such as the crowns, kilts, royal beard, and bull tail, as well as
other visual elements, such as the pose Narmer takes on one of
the faces where he grasps an enemy by the hair and prepares to
smash his skull with a mace, continue to be utilized from this
time all the way through the Roman era.

The king is represented twice in human form, once on each face,
followed by his sandal-bearer. He may also be represented as a
powerful bull, destroying a walled city with his massive horns, in
In addition to the primary scenes, the palette includes a pair of
fantastic creatures, known as serpopards—leopards with long,
snaky necks—who are collared and controlled by a pair of
attendants. Their necks entwine and define the recess where the
makeup preparation took place. The lowest register on both
sides include images of dead foes, while both uppermost
registers display hybrid human-bull heads and the name of the
king. The frontal bull heads are likely connected to a sky
goddess known as Bat and are related to heaven and the
horizon. The name of the king, written hieroglyphically as a
catfish and a chisel, is contained within a squared element that
represents a palace facade.

As mentioned above, there have been a number of theories
related to the scenes carved on this palette. Some have
interpreted the battle scenes as a historical narrative record of
the initial unification of Egypt under one ruler, supported by the
general timing (as this is the period of the unification) and the
fact that Narmer sports the crown connected to Upper Egypt on
one face of the palette and the crown of Lower Egypt on the
other—this is the first preserved example where both crowns are
used by the same ruler. Other theories suggest that, rather than
an actual historical representation, these scenes were purely
ceremonial and related to the concept of unification in general.

More recent research on the decorative program has connected
the imagery to the careful balance of order and chaos (known as
ma’at and isfet) that was a fundamental element of the Egyptian
idea of the cosmos. It may also be related to the daily journey of

the sun god that becomes a central aspect in the Egyptian
religion in the subsequent centuries.
Palette of Narmer (detail)
The scene showing Narmer wearing the Lower Egyptian Red
Crown (with its distinctive curl)* depicts him processing towards
the decapitated bodies of his foes. The two rows of prone bodies
are placed below an image of a high-prowed boat preparing to

pass through an open gate. This may be an early reference to
the journey of the sun god in his boat. In later texts, the Red
Crown is connected with bloody battles fought by the sun god
just before the rosy-fingered dawn on his daily journey and this
scene may well be related to this. It is interesting to note that the
foes are shown as not only executed, but rendered completely
impotent—their castrated penises have been placed atop their
severed heads.
On the other face, Narmer wears the Upper Egyptian White
Crown* (which looks rather like a bowling pin) as he grasps an
inert foe by the hair and prepares to crush his skull. The White
Crown is related to the dazzling brilliance of the full midday sun
at its zenith as well as the luminous nocturnal light of the stars
and moon. By wearing both crowns, Narmer may not only be
ceremonially expressing his dominance over the unified Egypt,
but also the early importance of the solar cycle and the king’s
role in this daily process.
This fascinating object is an incredible example of early Egyptian art.
The imagery preserved on this palette provides a peek ahead to the
richness of both the visual aspects and religious concepts that develop
in the ensuing periods. It is a vitally important artifact of extreme
significance for our understanding of the development of Egyptian
culture on multiple levels.
*The Red Crown of Lower Egypt and the White Crown of Upper
Egypt were the earliest crowns worn by the king and are closely
connected with the unification of the country that sparks full-

blown Egyptian civilization. The earliest representation of them
worn by the same ruler is on the Narmer Palette, signifying that
the king was ruling over both areas of the country. Soon after the
unification, the fifth ruler of the First Dynasty is shown wearing
the two crowns simultaneously, combined into one. This crown,
often referred to as the Double Crown, remains a primary crown
worn by pharaoh throughout Egyptian history. The separate Red
and White crowns, however, continue to be worn as well and
retain their geographic connections. There are a number of
Egyptian words used for these crowns (nine for the White and 11
for the Red), but the most common—deshret and hedjet—refer
to the colors red and white, respectively. It is from these
identifying terms that we take their modern name. Early texts
make it clear that these crowns were believed to be imbued with
divine power and were personified as goddesses.
Essay by Dr. Amy Calvert

Palette of king narmer hide tutorial navigation .

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