The Palette of Narmer

The Palette of Narmer Historical archives or policy-making propaganda The Palette of Narmer The Palette of Namer is an old-fashioned Egyptian artefact, pre-dating the Early Dynastic period. This form tablet depicts the legacy of King Namer, alone due to its mysterious nature, it is pipe down unknown if these enactments ar a historical record or a tool of political propaganda. Based on its size, shape and detailed images it is obvious that this pallette was not apply for daily purposes or historical archives.With get on inspection of the images on the palette, it is clear that the chief purpose of the piece was not to record the historical ventures of King Narmer but to assert his kingship and dominance either over Ancient Egypt. Political propaganda is a form of communication, usually visual, that has a primary(prenominal)(prenominal) purpose of influencing people towards a ca design or position by showing only one side of the argument. This persuasion technique is e mploy in the detailed depictions on the Palette of Narmer to promote his dominate motive over his subjects.King Narmer is shown as a large, god-like figure who towers over those approximately him, all other characters on the palette are shown following or be overpowered by Narmer. The other figures on the palette have the appearance of idolise as Narmer rules over them with an iron fist. This applies hero-worship and seeks to build support by installing anxieties into his subjects, enemies and all who gaze upon the palette. Through these techniques we can see that the main in ten dollar billsion of the artefact was to show Narmer as Egypts ultimate allowance figure.Throughout the panels of the palette we see Narmer asserting his dominance over existencey antithetical people. On the top panel of the scarer side of the pallet, Narmer is depicted inspecting ten decapitated enemies slain in battle, once again in hear to install fear. He again is drawn much larger than those ar ound him, and is holding a mace in his left hand and a flail in his right, which is a traditional symbol of kingship. In the following(a) panel we see the taming of two wild carnals these mystical creatures have oft been see as a metaphor for the union of Upper and lower berthEgypt low King Narmers com firearmd. This unification of Egypts regions was seen as a major achievement for Narmer, which plays another role of propaganda people naturally desire to be on the winning side, showing Narmers victory is a technique to incite people that his leadership is effective and again reassures his power. The scene on the tush panel of the front of the palette portrays a bull conquering his antagonist and attacking the walls of a city with its horns.In this image the bull is to be interpreted as King Narmer, showing his potency and power as he defeats and kills his enemy. The wall can be thought of as Lower Egypt as he conquers it and unifies Egypt. The reverse side of the palett e is mostly taken up by a large and detailed image of a man, doubtless Narmer, striking down upon an enemy. Narmer has his opponent by the hair, bagging for mercy on his knees, showing Narmers pure ferocity and god like stature. These images can be interpreted as Narmers conquest of Lower Egypt. This again plays on the fear associated with propaganda.On the very bottom panel of the reverse side of the palette, two go enemies under the feet of Narmer. These conquered foes are prototypes of towns that Narmer has vanquished. Each panel on the palette is a celebration of King Narmer, and his brave conquests showing him as an almighty and feared leader, successfully using propaganda to build his reputation, gain supporters and strike fear into his enemies. Weaved throughout the palettes detail are several subtle symbols that help project King Narmer person-to-person propaganda to help him secure his kingship.These hieroglyphs can be interpreted to have antithetical meanings, but a re very similar and all point to the depiction of the sheer power of Narmer. A reoccurring symbol of the bovine, a sign of strength and force, surround the Kings name (in serekh) on both sides of the palette, referring to his bull-like vigour and power. A falcon is shown on the back side of palette, the falcons head was commonly associated with Narmers name, and represents his rule. These animals are used as representations asserting King Narmers virtue and endowment.The theme of higher archery is apparent on the palette the treatment of the others is degrading, making Narmer appear supreme. The enemies are do evident on the palette, all represent with as smaller man, naked, and cowering at the mercy of Narmer. The King is dressed in the traditional short skirt, with an animals tail and a crown upon his head, demonstrating his royalty. This illustrates the different side of the spectrum, colleague and leader allowing Narmer to again place himself above everyone else.On both sides of the palette, a man standing behind the king is depicted holding Narmers sandals in his left hand and a basket in his right, the fact that the king is shown barefooted, suggests that this man is a servant to the king this illustrates the kings superiority. There are two actual images of King Narmer on the palette on the front side he is shown wearing the Red Crown, which is associated to Lower Egypt, while on the reverse side he is shown wearing the White Crown, a representation on Upper Egypt. Having equal representation of both Upper and Lower Egypt by, the association of their unification is made.Each symbol, large or small, has an effect on the subconscious, making you see the argument in favor of Narmer. These symbols attribute to the appearance of Narmer, share him gain respect and support through the use of propaganda. The exact flesh out of the palette cannot be fully proven as historical facts, but with the common propaganda techniques present on the tablet, it discredi ts the validity of the events. It is still unknown if the unification of Upper and Lower Egypt occurred under the control of Narmer.The Palette of Narmer has created scholarly flip over among the historical community, whether it proves the unification of the Egyptian regions or was used only for self-promotion. The dish to the question hinges on the images within the palette inscription, the sheer nature of the depictions suggests that the palette does not prove that King Narmer unified Egypt in the Pre-Dynastic Period. The exact use of the palette is undiscovered to this day, but based on its size and the images on its surface it is apparent that it was used for the sole purpose of personal propaganda through subconscious control by King Narmer.References Kinnaer, Jacques, The Ancient Egypt Site. The Ancient Egypt Site. 30 June 2011. (8 October 2012) 1 . Kinnaer, Jacques, The Ancient Egypt Site. The Ancient Egypt Site. 30 June 2011. 2 . Kinnaer, Jacques, The Ancient Egypt S ite. The Ancient Egypt Site. 30 June 2011 3 . Kinnaer, Jacques, The Ancient Egypt Site. The Ancient Egypt Site. 30 June 2011.