IMAGES OF POWER: PREDYNASTIC and OLD KINGDOM EGYPT: FOCUS

(Egyptian Sculpture of Predynastic and Old Kingdom Egypt)

ONLINE

ASSIGNMENT:

http://smarthisto

ry.khanacademy

.org/palette-of-

king-

narmer.html

TITLE or

DESIGNATION:

Palette of

Narmer

CULTURE or

ART

HISTORICAL

PERIOD:

Predynastic

Egyptian

DATE: c. 3100-

3000 B.C.E.

MEDIUM: slate

TITLE or DESIGNATION:

Seated Statue of Khafre, from

his mortuary temple at Gizeh

CULTURE or ART

HISTORICAL PERIOD: Old

Kingdom Egyptian

DATE: c. 2575-2525 B.C.E.

MEDIUM: diorite

ONLINE ASSIGNMENT:

https://www.khanacademy.org/human

ities/ancient-art-civilizations/egypt-

art/predynastic-old-kingdom/a/king-

menkaure-mycerinus-and-queen

TITLE or DESIGNATION: King

Menkaure and his queen (possibly

Khamerernebty)

CULTURE or ART HISTORICAL

PERIOD: Old Kingdom Egyptian

DATE: c. 2490-2472 B.C.E.

MEDIUM: slate

ONLINE ASSIGNMENT:

https://www.khanacademy.

org/humanities/ancient-

art-civilizations/egypt-

art/predynastic-old-

kingdom/v/the-seated-

scribe-c-2620-2500-b-c-e

TITLE or DESIGNATION:

Seated Scribe from

Saqqara

CULTURE or ART

HISTORICAL PERIOD:

Old Kingdom Egyptian

DATE: c. 2450-2325 B.C.E.

MEDIUM: painted

limestone with inlaid eyes

of rock crystal, calcite, and

magnesite

IMAGES OF POWER: PREDYNASTIC and OLD KINGDOM EGYPT: SELECTED TEXT

(Egyptian Sculpture of Predynastic and Old Kingdom Egypt)

The Palette of King Narmer, c. 3100-3000 BCE, slate

Dating from about the 31st century BCE, this “palette” contains some of the earliest

hieroglyphic inscriptions ever found. It is thought by some to depict the unification of

Upper and Lower Egypt under the king Narmer. On one side, the king is depicted

with the bulbous White crown of Upper (southern) Egypt, and the other side depicts

the king wearing the level Red Crown of Lower (northern) Egypt.

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 large picture in the center of the

Palette depicts Narmer wearing the

White Crown of Upper Egypt, and

wielding a mace. To his left is a man

bearing the king's sandals, flanked by a

rosette symbol.

To the right of the king is a kneeling

prisoner, who is about to be struck by

the king. A pair of symbols appear next

to his head, perhaps indicating his

name, or indicating the region where he

was from.

Above the prisoner is a falcon,

representing Horus, perched above a set

of papyrus flowers, the symbol of Lower

Egypt. In his talons he holds a rope-like

object which appears to be attached to

the nose of a man's head that also

emerges from the papyrus flowers,

perhaps indicating that he is drawing

life from the head.

Horus was born to the

goddess Isis after she

retrieved all the

dismembered body

parts of her murdered

husband Osiris.

Isis used her powers to

resurrect Osiris in

order to conceive a

son. Once Isis knew

she was pregnant with

Horus, she fled to the

Nile Delta marshlands

to hide from her

brother Seth who

jealously killed Osiris

and who she knew

would want to kill

their son.

Pyramid texts c. the 25th

century BCE describe the

nature of the pharaoh as

both Horus and Osiris.

The pharaoh as Horus in life

became the pharaoh as

Osiris in death, where he

was united with the rest of

the gods.

New incarnations of Horus

succeeded the deceased

pharaoh on earth in the form

of new pharaohs.

The “Eye of Horus” is an ancient Egyptian symbol of protection and royal

power from deities, in the is case from Horus or Ra, the sun god (sometimes

spelled “Re”). The symbol is seen on images of Horus’ mother Isis and on other

deities associated with her.

Two human-faced bovine heads,

thought to represent the patron cow

goddess Bat, flank the serekhs,

uncharacteristically shown in full

frontal view. This frontal display of

the cows is atypical in ancient

Egyptian art except for

representations of this goddess and

Hathor (who often appears in this

view also). Some authors suggest that

the images represent the vigor of the

king as pair of bulls.

Below the king's feet is a third section,

depicting two naked, bearded men.

They are either running, or are meant

to be seen as sprawling dead upon the

ground. Appearing to the left of the

head of each man is a hieroglyphic

sign, the first a walled town, the

second a type of knot, likely indicating

the name of a defeated town.

A figure, named by hierogylphic

inscription and standing on his own

ground-line, holds the king’s sandals.

Narmer is barefoot because he is standing

on sacred ground, performing sacred acts.

The same sandal-bearer, likewise labeled,

follow Narmer on the other side of the

palette.

Phonetic hieroglyphs centered at the top

of each side of the palette name the king:

a horizontal fish (nar( above a vertical

chisel (mer). A depiction of the royal

palace- seen simultaneously from above,

as a groundplan, and frontally, as a

façade (front wall of a building) –

surrounds Narmer’s name to signify that

he is a king.

Next to the heads of these two defeated

enemies are, on the left, an aerial

depiction of a fortified city, and on the

right, a gazelle trap, perhaps emblems of

Narmer’s dominion over both city and

countryside.

Below the bovine heads thought to

represent the cow goddess Bat, who was

the patron deity of the seventh nome of

Upper Egypt, is what appears to be a

procession, with Narmer depicted at

almost the full height of the register (a

traditional artistic representation

emphasizing his importance), shown

wearing the Red Crown of Lower Egypt,

whose symbol was the papyrus. He

holds a mace and a flail, two traditional

symbols of kingship.

Two men are holding ropes tied to the

outstretched, intertwining necks of two

serpopards confronting each other,

mythical felines with bodies of leopards

(or more likely lionesses, given that

there are no spots indicated) and

snakelike necks. The circle formed by

their exaggeratedly curving necks is the

central part of the Palette, which is the

area where the cosmetics would be

ground.

These animals have been considered an

additional symbol for the unification of Egypt,

but it is a unique image in Egyptian art and

there is nothing to suggest that either animal

represents an identifiable part of Egypt,

although each had lioness war goddesses as

protectors and the intertwined necks may

represent the unification of the state.

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.

Contemporary 3000

BC cylinder

seal of Uruk displaying

similar serpopard

motif, Louvre.

In the uppermost register, Narmer, wearing the red crown of Lower Egypt,

reviews the beheaded bodies of the enemy. The dead are seen from above, their

heads placed in between their legs.

The Palette has raised considerable scholarly debate over the years. In general the

arguments fall into one of two camps: scholars who believe that the Palette is a

record of actual events, and other academics who argue that it is an object designed

to establish the mythology of united rule over Upper and Lower Egypt by the king.

The identity of Narmer is the subject of ongoing debate, although mainstream

Egyptological consensus identifies Narmer with the Protodynastic pharaoh Menes

(or "Merinar" reversing the 2 hieroglyphs which spell "Narmer"). Menes is also

credited with the unification of Egypt, as the first pharaoh. This conclusion of joint

identity is evidenced by different royal titularies in the archaeological and historical

records, respectively.

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.

Khafre (Gizeh), c. 2575-2525 BCE, diorite

Khafre was an Egyptian pharaoh of the Fourth dynasty, who had his capital at

Memphis. According to some authors he was the son and successor of Khufu, but it is

more commonly accepted that Djedefre was Khufu's successor and Khafre was

Djedefre's brother and successor.

Khafre was the builder of the second largest pyramid at the Giza Necropolis complex

(his is 3 metres shorter than Khufu's). Most modern Egyptologists also credit him with

the building of the Great Sphinx.

The seated king radiates

serenity and his closed form

manifests the purpose of

lasting for eternity. He is

idealized and sits upright on a

throne formed of two stylized

lions’ bodies.

The falcon-god Horus extends his

protection to shelter the pharaoh’s

head (left).

Khafre has the royal false beard

fastened to his chin and wears the

royal linen nemes headdress with

the uraeus cobra kingship on the

front.

The seated statue is one of a

series of similar statues

carved for the pharaoh’s

valley temple near the

Great Sphinx.

The work is created of

diorite, and exceptionally

hard dark stone brought

some 400 miles down the

Nile from royal quarries in

the south.

Intertwined lotus and

papyrus plants- symbol of

the united Egypt- are

carved between the throne’s

legs.

Carved from a spur of rock in an ancient quarry, the colossal statue is probably an

image of Khafre (originally complete with the pharaoh’s ceremonial beard and uraeus

cobra headdress), although some scholars think it portrays Khufu and predates the

construction of Khafre’s complex. Whichever king it portrays, the sphinx – a lion with a

human head – was associated with the sun god and therefore was an appropriate image

for a pharaoh. The composite form suggests that the pharaoh combines human

intelligence with the fearsome strength and authority of the kings of beasts.

Pyramids are not stand-alone structures.

Those at Giza formed only a part of a

much larger complex that included a

temple at the base of the pyramid itself,

long causeways and corridors, small

subsidiary pyramids, and a second

temple (known as a valley temple) some

distance from the pyramid.

These Valley Temples were used to

perpetuate the cult of the deceased king

and were active places of worship for

hundreds of years (sometimes much

longer) after the king’s death.

Images of the king were placed in these

temples to serve as a focus for worship—

several such images have been found in

these contexts, including the magnificent

seated statue of Khafre, now in the

Egyptian Museum in Cairo.

On January 10, 1910, excavators under

the direction of George Reisner, head of

the joint Harvard University-Museum

of Fine Arts, Boston, Expedition to

Egypt, uncovered an astonishing

collection of statuary in the Valley

Temple connected to the Pyramid of

Menkaure. Menkaure’s pyramid had

been explored in the 1830s (using

dynamite, no less). His carved granite

sarcophagus was removed (and

subsequently lost at sea), and while the

Pyramid Temple at the base was in only

mediocre condition; the Valley Temple,

was—happily—basically ignored.

Reisner had been excavating on the

Giza plateau for several years at this

point; his team had already explored the

elite cemetery to the west of the Great

Pyramid of Khufu before turning their

attention to the Menkaure complex,

most particularly the barely-touched

Valley Temple.

Menkaure flanked by Hathor (left) and

nome goddess

In the southwest corner of the

structure, the team discovered a

magnificent cache of statuary carved in

a smooth-grained dark stone called

greywacke or schist.

There were a number of triad statues—

each showing 3 figures—the king, the

fundamentally important goddess

Hathor, and the personification of a

nome (a geographic designation, similar

to the modern idea of a region, district,

or county).

Hathor was worshipped in the pyramid

temple complexes along with the

supreme sun god Re and the god Horus,

who was represented by the living king.

The goddess’s name is actually ‘Hwt-hor’, which

means “The House of Horus,” and she was connected

to the wife of the living king and the mother of the

future king. Hathor was also a fierce protector who

guarded her father Re; as an "Eye of Re" (the title

assigned to a group of dangerous goddesses), she could

embody the intense heat of the sun and use that

blazing fire to destroy his enemies.

There were 4 complete triads, one incomplete, and at

least one other in a fragmentary condition. The

precise meaning of these triads is uncertain. Reisner

believed that there was one for each ancient Egyptian

nome, meaning there would have originally been more

than thirty of them.

More recent scholarship, however, suggests that there

were originally 8 triads, each connected with a major

site associated with the cult of Hathor. Hathor’s

prominence in the triads (she actually takes the

central position in one of the sculptures) and her

singular importance to kingship lends weight to this

theory.

Menkaure and Khamerernebty (Gizeh), c. 2490-2472

BCE, slate

In addition to the triads, Reisner’s team also

revealed the extraordinary dyad statue of Menkaure

and a queen that is breathtakingly singular.

The two figures stand side-by-side on a simple,

squared base and are supported by a shared back

pillar. They both face to the front, although

Menkaure’s head is noticeably turned to his right—

this image was likely originally positioned within an

architectural niche, making it appear as though

they were emerging from the structure.

The broad-shouldered, youthful body of the king is

covered only with a traditional short pleated kilt,

known as a shendjet, and his head sports the

primary pharaonic insignia of the iconic striped

nemes headdress (so well known from the mask of

Tutankhamun) and an artificial royal beard. In his

clenched fists, held straight down at his sides,

Menkaure grasps ritual cloth rolls.

The dyad shows King Menkaure standing next to

a woman, who wraps her arms around him

affectionately or protectively. In a break with

Egyptian artistic tradition, the woman is roughly

the same size as Menkaure and stands with one

foot forward, as if she is walking.

In most Egyptian art, women are rarely shown to

be the same size as the king, who was considered

divine. Further, the one- foot-forward, or

striding, pose is generally reserved for men;

women in statues usually stood with their feet

together.

While the woman’s size and pose suggest that

she was unusually powerful, there is

unfortunately no clear answer to the question of

who she was.

Despite the statue’s fine carving and careful

polishing on the top half, the base is rough and

unfinished, lacking any inscription that might

identify the woman.

There are three major theories about the identity of the

woman. The first suggests that she is Khamerernebty II,

a queen of Menkaure’s, or another of Menkaure’s wives.

The second theory identifies the woman as Menkaure’s

mother, Khamererneby I. Evidence for this

interpretation includes the woman’s body shape; instead

of the idealized young body that most Egyptian images of

women have, this woman has a slightly saggy belly,

suggesting that she has given birth. Although she looks

very young otherwise, this could indicate that the woman

represents Menkaure’s mother. This possibility also

makes the apparent power of the woman less mysterious;

as the mother of the king, Khamerernebty I would have

been the most powerful woman in Egypt.

The third suggested possibility is that the woman is a

goddess. The goddess Hathor appears in several other

statues of Menkaure. Hathor was a mother goddess, and

was important in the Egyptian afterlife, which was seen

as a rebirth. However, the woman is lacking certain

aspects of conventional portrayals of Hathor, most

notably the cow horns extending from the goddess’s head

in nearly every image.

Menkaure’s queen provides the perfect female

counterpart to his youthful masculine virility.

Sensuously modeled with a beautifully

proportioned body emphasized by a clinging

garment, she articulates ideal mature

feminine beauty.

Menkaure and his queen stride forward with

their left feet—this is entirely expected for the

king, as males in Egyptian sculpture almost

always do so, but it is unusual for the female

since they are generally depicted with feet

together. They both look beyond the present

and into timeless eternity, their otherworldly

visage displaying no human emotion

whatsoever.

The dyad was never finished—the area around

the lower legs has not received a final polish,

and there is no inscription. However, despite

this incomplete state, the image was erected in

the temple and was brightly painted—there

are traces of red around the king’s ears and

mouth and yellow on the queen’s face.

Unusual for a pharaoh’s image, the

king has no protective cobra

(known as a uraeus) perched on his

brow.

This notable absence has led to the

suggestion that both the king’s

nemes and the queen’s wig were

originally covered in precious

metal and that the cobra would

have been part of that addition.

Seated scribe, from Saqqara,

Egypt, c. 2500 BCE, painted

limestone

The sculpture was carved from

limestone, and still contains its

bright colors; red ochre for the

flesh, black for the hair and white

for the kilt. It also contains rock

crystal, magnesite, wood, and

copper/arsenic inlay for the eyes.

It is not known who the scribe was,

but since it was found in the tomb

of an official called Kai, it might

represent himself. He is sitting in

a very upright position, and is

almost symmetrical.

He was perhaps holding a

reed pen in his right hand,

which is now lost (if it ever

existed). Although he is

cross-legged this was a

common position in the East,

but it was thought to be

unusual since this type of

pose was generally only used

by immediate members of

the royal family only.

Scribe sculptures were

popular in Ancient Egypt,

because the ability to read

and write was important for

those holding important

administrative office posts.

Although he occupied a position of

honor in a largely illiterate society,

the scribe was a much lower figure

in the Egyptian hierarchy than the

pharaoh, whose divinity made him

superhuman. In the history of art,

especially portraiture, it is almost

a rule that as a person’s

importance decreases, formality is

relaxed and realism increases.

The sculptor conveyed the

personality of a sharply intelligent

and alert individual with a

penetration and sympathy seldom

achieved at this early date.

Obesity characterizes many

nonroyal Old Kingdom male

portraits, perhaps because it

attested to the comfortable life of

the person represented and his

relatively high position in society.

IMAGES OF POWER: PREDYNASTIC and OLD KINGDOM EGYPT: ACTIVITES and REVIEW

(Egyptian Sculpture of Predynastic and Old Kingdom Egypt)

The king is followed by

the sandal bearer in

order to convey that

the king is barefoot

and performing a holy

act.

The circular

depression alludes to

the palette’s function.

It indicates where the

makeup would be

placed.

Narmer’s crown on the front of the palette

indicates his domination over both Upper and

Lower Egypt.

The image of a high-

prowed boar preparing

to pass through an

open gate may be an

early reference to the

journey into the

afterlife.

The frontal bull heads

are likely connected to

a sky goddess known

as Bat and are related

to heaven and the

horizon.

The enemies of King

Narmer are depicted

decapitated and in

rows, with their heads

placed between their

legs.

Here the king may be

represented as a bull,

destroying a walled

city.

Narmer’s palette is an

elaborate, formalized

version of a utilitarian

object commonly used

in the Predynastic

period to prepare eye

makeup, which

Egyptians used to

protect their eyes

against irritation and

the glare of the sun.

To confidently express

his power, Narmer

raises a mace as he

prepares to slay an

impotent foe.

The White Crown

worn by Narmer (in

the shape of a bowling

pin) indicates that he

is the ruler of Upper

Egypt.

The figure of a sandal

bearer makes a second

appearance to

emphasize that

Narmer is barefoot

and performing a

sacred act.

Here the figure of

Narmer is depicted in

hierarchical

proportion, meaning

that he is larger than

the other figures. This

convention is used to

indicate his supreme

status among all other

beings, including his

enemies and the gods.

The falcon is a representation of

the god Horus. The falcon is

shown holding a rope binding a

foe’s head, which is emerging

from a marsh. This head is

likely a personification of Lower

Egypt.

This ceremonial palette was

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 Predynastic

period).

The figures of the lowest region,

depicting two naked, bearded

men, are either running, or are

meant to be seen as sprawling

dead upon the ground.

Appearing to the left of the

head of each man is a

hieroglyphic sign, the first a

walled town, the second a type

of knot, likely indicating the

name of a defeated town. They

are perhaps emblems of

Narmer’s dominion over both

city and countryside.

Phonetic hieroglyphs centered at the top of

each side of the palette name the king.

VIDEO: Seated Scribe from Smarthistory