During Narmer's reign, Egypt had an active economic presence in southern Canaan. 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.
This is the oldest known example of a type of scene that would continue to be used until the end of the pharaonic culture, even by kings who do not seem to have waged any wars at all. Some authors suggest that the images represent the vigor of the king as a pair of bulls. The serpopard is a mythological creature whose name is a portmanteau of the words "serpent" and "leopard" though the spotless beast with tufted tail more closely resembles a lioness.
The difficulty is aligning the contemporary archaeological evidence which lists Horus Names with the King Lists that list personal names. While the chisel is shown conventionally where the catfish would be expected, there is a symbol that has been interpreted by several scholars as an animal skin.
It would be a mistake however, to read the Narmer Palette as a mere tale of conquest. Share The Upper Kingdom Side on the left; the Lower Kingdom side on the right The Narmer Palette is a ceremonial shield shaped palette that depicts the 31st century Pharaoh, Narmer, unifying Upper and Lower Egypt; either side of the palette shows various tasks he performed to accomplish this.
Similar images of such mythical animals are known from other contemporaneous cultures, and there are other examples of late-predynastic objects including other palettes and knife handles which borrow similar elements from Mesopotamian iconography.
Collins is a thriller about Prince Aha later king Hor-Ahawith Narmer included in a secondary role. A large picture in the center of the Palette depicts Narmer wielding a mace wearing the White Crown of Upper Egypt whose symbol was the flowering lotus.
The dominant them however, is the victory of the god incarnate over the forces of evil and chaos. In front of the King is the symbol for royaly, the falcon Horus of Nekhen. Early texts make it clear that these crowns were believed to be imbued with divine power and were personified as goddesses.
It is from these identifying terms that we take their modern name. To the right of the king is a kneeling prisoner, who is about to be struck by the king.
In addition to these simple, purely functional, palettes however, there were also a number of larger, far more elaborate palettes created in this period. In the first scene, which takes up most of the space on the palette, the King is the dominant figure.
On this label, a catfish strikes down a fallen enemy. These standards might be the emblems of the royal house of Narmer, or of the regions that already belonged to his kingdom.Palette of King Narmer, from Hierakonpolis, Egypt, Predynastic, c.
B.C.E., slate, 2′ 1″ high (Egyptian Museum, Cairo) Vitally important, but difficult to interpret Some artifacts are of such vital importance to our understanding of ancient cultures that they are truly unique and utterly irreplaceable.
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King Narmer's Pallete, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.
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