images of power - Castle High School

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-ofkingnarmer.html
TITLE or
DESIGNATION:
Palette of
Narmer
CULTURE or
ART
HISTORICAL
PERIOD:
Predynastic
Egyptian
DATE: c. 31003000 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/egyptart/predynastic-old-kingdom/a/kingmenkaure-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/ancientart-civilizations/egyptart/predynastic-oldkingdom/v/the-seatedscribe-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.
Contemporary 3000
BC cylinder
seal of Uruk displaying
similar serpopard
motif, Louvre.
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.
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)
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.
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 frontal bull heads
are likely connected to
a sky goddess known
as Bat and are related
to heaven and the
horizon.
The image of a highprowed boar preparing
to pass through an
open gate may be an
early reference to the
journey into the
afterlife.
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.
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.
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.
Phonetic hieroglyphs centered at the top of
each side of the palette name the king.
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.
VIDEO: Seated Scribe from Smarthistory