Formal Analysis: The Palette of Narmer and The Stele of Naram Sin

Mattea De Munnich

250836581

mdemunn@uwo.ca

October 21, 2016

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Conquest is one of the earliest and most frequently represented themes in the

artworks of ancient Egypt and Mesopotamia (Stokstad and Cothren, 2016). Originally

the rulers of these civilizations were simply economic rulers; however, over the course

of time rulers assumed the role of spiritual leaders as well and were viewed as semi-

divine (Barteet, 2016). The themes of conquest are evident in both The Palette of

Narmer (Ancient Egypt, C. 2950 BCE) (Fig. 1) and the Stele of Naram Sin (Akkad,

Mesopotamia, C. 2254-2218 BCE) (Fig. 2), which are the two pieces that will be

compared in this essay. The idea of ruler as semi-divine, however, has not yet been

formed at the time of the creation of the Palette, as it predates the Stele by almost nine

hundred years. So, while both artworks are trying to convey the idea of conquest, the

Palette is simply retelling an historical story of conquest, whereas the Stele is using an

historical story of conquest as a background in order to emphasize the divinity of Naram

Sin.

Fig. 1 Fig. 2

The Palette of Narmer from Early Dynastic Egypt is a ceremonial make up

grinding palette designed with carved stone reliefs, and was most likely kept in a temple
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(Stokstad and Cothren, 2016). The unpainted palette is carved with reliefs on both

sides, with ancient Egyptian imagery and figures thought to be depicting the unification

of Upper and Lower Egypt (Stokstad and Cothren 2016).

The images of submission portrayed in the reliefs very clearly communicate the

story of conquest that is being told. On the front side of the palette Narmer stands tall

and strong, ready to strike his fallen enemy. Hierarchic scale is used to show the relative

importance of the figures (Stokstad and Cothren). The ruler and his enemy are

portrayed as significantly larger than all of the other figures, thus communicating to the

viewer that Narmer has defeated a formidable opponent. Most of the other imagery

found on the palette also pertains to the theme of conquest. The palette is divided into

registers, with the register beneath the feet of Narmer representing yet more defeated

enemies. Also in this register are images of a fortified castle and gazelle trap, thus

signaling Narmers conquest over both city and country (Stokstad and Cothren). Another

example of conquest imagery can be found on the reverse side of the palette, where in

the upper register are depictions of conquered and decapitated enemies. Additionally,

the medium of the object is significant, as it is made of solid stone which conveys a

sense of permanence, and the idea that the conquest is everlasting. In considering all of

the above elements of the palette, it is clear that the primary purpose of the palette was

to convey a story of conquest.

Moreover, the economic and territorial power of Narmer is clearly communicated

through thee various elements of codification found in the palette. The nature of Ancient

Egyptian art is such that there is practically no variation in representation throughout its

history (Barteet, 2016). Strict conventions of representation were established very early
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on, and would have been universally understood at the time. The method of

representing pharaohs in particular was extremely codified, meaning Narmer would

have been instantly recognizable as pharaoh. A pharaohs stance was always strong

and powerful, often with one foot out in front of the other (Toby, 200). Their bodies were

shown as idealized and muscular. The bodies would be contorted into unnatural

positions to show off their most important features, such as eyes and shoulders

(Egyptian Art and Architecture, 2016). This manner of codifying the pharaoh clearly

shows the revered and powerful position of the rulers of early Ancient Egypt. Unlike later

ancient Egyptian depictions of pharaohs, however, there are no symbols to denote the

divinity of the pharaoh, because at this time in history pharaohs had not taken on the

role of spiritual leader (Narmer Palette, 2016).

The Stele of Naram Sin from the Akkadians of Ancient Mesopotamia is an

upright, unpainted, stone slab with carved reliefs portraying a conquest. The stele also

includes cuneiform inscriptions from a later period, and the relief carvings are higher

than most previous Mesopotamian works, creating a sense of depth (Stokstad and

Cothren, 2016). The stone slab itself has a rough, unfinished edge, which creates an

organic looking form. The scene being shown is thought to represent an historical event.

The Stele of Naram Sin uses many of the same elements as the Egyptian palette

to convey a story of conquest. Like the palette, images of submission are portrayed in

the stele, with relief carvings showing defeated enemy soldiers being trodden on by the

conquering Naram Sin (Barteet, 2016). Hierarchic scale is also used to show Naram Sin

as the larger and therefore more important and dominant figure, looming over his

enemies in much the same way as Narmer in the palette. Naram Sin is similarly
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portrayed as an idealized male figure, again to show his dominance and perfection over

the other figures (Stokstad and Cothren, 2016). A sense of register can also be found in

the stele, although it is less rigidly applied then in the palette (Barteet, 2016) . The level

on which Naram Sin is placed clearly shows his command over the scene of conquest.

The medium of the artwork being a solid stone slab also represents the everlasting,

eternal nature of the conquest being portrayed. All of these element clearly show that

the Stele of Naram Sin is portraying a story of conquest.

Similar to the Egyptians, the Mesopotamians also used symbolism and

codification to convey ideas and meaning in their artwork (Barteet, 2016). The

symbolism of Naram Sin stepping on the neck of his enemy was a well known symbol

for victory over the enemy, and through this symbolism it is known that Naram Sin is the

leader of the group who has conquered the opposing side (Gombrich, 1966). Other

symbolism in the depiction of the body also identifies Naram Sin as the ruler, such as

hierarchic scale, which was discussed above. Additionally, the placement of Naram Sin

on a higher register than the other figures identifies him as ruler. The objects which

Naram Sin hold in his hands are also symbols of rulership, further identifying him

(Stokstad and Cothren, 2016). Finally, the body of Naram Sin, like the body of Narmer,

is codified to show him as ruler. Naram Sin is depicted with the most sexual, athletic

body of all the figures on the Stele, and for the Akkadians the depiction of the ideal male

body in artwork signified the ruler (Stokstad and Cothren, 2016).

Unlike with the Palette of Narmer, however, the symbolism and codification in the

Stele goes a step further by exhibiting symbols of divinity, which show Naram Sins

divine right to rule. The helmet with bulls horns in ancient Mesopotamia was a symbol
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which developed to represent divinity (Barteet, 2016). Therefore, in wearing the helmet

with bulls horns, in combination with the previously mentioned elements which mark

Naram Sins rulership, the image given is one not just of Naram Sin as economic, but as

spiritual ruler. Furthermore, through analysis of other symbolic elements of the Stele it

can be understood that Naram Sins position as spiritual ruler is more central to this

artwork than his position as economic ruler.

The focus of the Stele is directed upwards, towards the heavens, with Naram Sin

symbolically placed the closest to the heavens, signifying his connection with the divine.

The figures and images of the Stele have been composed in a triangular form so that

the viewers eye, along with the eyes of the figures, are drawn up to the top of the

mountain where the clouds have parted to reveal the heavens shining down on Naram

Sin. The scene of the conquest is shown down below as the base to provide the

platform upon which Naram Sin can exhibit his divinity. Even the form of the stone slab

itself is triangularly formed to emphasize the divine scene taking place at the top of the

mountain. In addition to these visual and symbolic indicators, the understanding that the

primary theme of this artwork is the divinity of the ruler can be understood through

historical context. As has been discussed with the Egyptian Palette, the role of ruler was

at first restricted to that of economic ruler, and so this was the role most emphasized in

early works of art. As the concept of the divine right of kings became more prominent,

however, the shift in artistic representation to show the ruler as a divine leader also

became more prominent. Naram Sin was the first ruler in Mesopotamia to assert himself

as a divine ruler, and therefore it is natural that, that the Stele uses the traditional
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context of a conquest scene in order to communicate the divinity of the ruler Naram Sin.

(Religion and Power: Divine Kingship in the Ancient World and Beyond, 2007).

It is clearly understood then, that both the Palette of Narmer and the Stele of

Naram Sin are portraying a scene of conquest to the viewer, which was an extremely

common theme in artwork right from the very beginning of ancient cultural development.

Through the above analysis it is clear that this theme is conveyed using very similar

artistic methods in both the Stele and the Palette. The difference, however, between

how these two artworks approach the theme of conquest is that for the palette conquest

is the only messaging being conveyed. Representing this conquest simply represents

Namer as an economic ruler. In contrast, the stele uses the conquest story to highlight

not only the worldly power of Naram Sin, but his divine power. From this it is clear that

the role of ruler in ancient cultures shifted significantly to become more powerful over

the course of the nine hundred years between which the two artworks were created.
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