Palettes in Ancient Egypt

Narmer Palette
Narmer Palette
Objects characteristic of early Nile cultures, palettes also appear in the Near East as imports or local imitations. Traces  of  dyes  indicate  that  they  were  used  to  grind  and  mix  mineral  pigments. Ocher, malachite, galena, pyrolusite, and hematite were  ground  and  then  mixed  with  resins,  oils,  and  fats.  The  mixtures  were used as body paints and cosmetics; powdered ocher was used  to tint ceramic vessels, and in a funeral context it was sprinkled in  grave pits or used to paint certain containers for human remains.  Typologically,  the  origin  of  palettes  is  in  Late  Paleolithic  grinders.  In  the  Early  Khartoum  period  (7400-4900  BCE),  flat  gneiss  plates  were  also  used  for  grinding  ocher.  In  the  Early  Khartoum  Neolithic  (4900-3800  BCE),  round,  oval,  and  nearly  rectangular  palettes  of  sandstone,  diorite,  and  porphyry appear in  elite burials and in settlements. Similar objects have been found in  sites of the Late Khartoum Neolithic (3800-2700 BCE).  Farther to  the north, sandstone palettes stained with ocher appear in Epipaleo- lithic cultures (e.g., Abkan, Elkabien).

Palettes  reached  their  zenith  of popularity in the Egyptian Predynastic period; they are especially common in the South, though the  oldest examples come from the North.  In  Faiyum  A, several  shapeless  or  roughly  oval  limestone  and diorite  palettes  have been found. A shield-shaped palette and several fragments in  siltstone,  basalt,  and  granite  come  from  Merimde.  El-Omari  has  provided two examples of calcite palettes, one tetragonal and one  oval. Several Upper Egyptian rhomboid or rectangular palettes of  siltstone—one ornamented with a schematic drawing that may be a  dog—are known from Maadi; tetragonal or unshaped local palettes  of  limestone  are  infrequent;  some  have  schematic  representations  of unidentifiable animals or geometric patterns.
Cosmetic palette
Cosmetic palette
By Guillaume Blanchard

Most  Upper  Egyptian  palettes  were  found  in  men's,  women's,  and children's graves, frequently near the face of the deceased. In  Southern  cultures,  the  five  oldest  examples  come  from  Tasa  (limestone or calcite [Egyptian alabaster],  in  geometric  shapes).  During  the  Badari  culture,  siltstone (earlier labeled as schist) becomes the dominant material,  and two types of palettes occur: one is rectangular, with the long  sides  straight  or  slightly  convex,  and  the  short  sides  concave  or  with  triangular  indentation;  the  other  is  oval-pointed,  sometimes  with incisions on the points.

Palettes are common in the Nubian A-Group and above all in  the Naqada culture. Typological and chronological development is  similar in both. The Naqada I phase is characterized by rhomboid  palettes.  Some  are  decorated  on  the  top  with  stylized  birds  or  horns; others are ornamented with schematically outlined, engraved  animal  figures  (e.g.,  a  crocodile  or  an  elephant),  or  with  signs  (harpoon, horns) reminiscent of the later so-called nome standards.  The  most  beautiful  is  the  Stockholm  Palette,  decorated  with  a  representation of a hippopotamus hunt:  a man in a small boat, and before him a hippopotamus, joined to  the hunter by a broken line, symbolizing the harpoon rope; behind  appear other animals (hippopotamus, two herbivores). Toward the  end of Naqada I (Phase Ic) there appear zoomorphic palettes: fish,  tortoises, and the "pelta-shaped"—in fact, a stylized representation  of  a  boat,  with  the  ends  sometimes  modeled  into  schematic  bird  heads.

During  the  Naqada  II  phase,  the  rhomboid  palettes  decrease,  though  examples  still  occur.  Shield-shaped  palettes  are  popular.  Pelta-shaped  and  zoomorphic  (fish,  tortoise,  elephant,  hippopotamus,  ram,  horned  animals)  continue  to  occur.  A  particular subgroup comprises waterfowl. Birds or bird heads often  decorate  the  tops  of  palettes,  especially  those  that  are  shield- shaped. On these, there also occur signs ("Min's emblem" on the el- Amra Palette), figures (a stylized cow's head and five stars on the  d-Gerzeh  Palette),  and  scenes.  One  of  the  oldest  (Phase  He)  decorated with a relief is the Manchester Palette, depicting a man  stalking a flock of ostriches. The identical shapes of the man's and  the birds' heads may indicate that a masked hunter is depicted, and  that the palette is associated with hunting magic.

The  period  of Naqada III  is  marked  by geometrization  of  palettes (square, rectangular, and round). The edges are frequently  decorated with a simple geometric design forming a sort of frame.  Other  shapes  are  rare.  Characteristic is  the  change  in  function of  certain  types:  the  geometrical  palettes  are  utilitarian;  the  shield- shaped  form  are  ceremonial  palettes,  and  their  decoration  is  connected with certain ideas. The latter were probably used in rites  and  rituals  involving  chiefs  and  rulers.  The  group  of  ceremonial  palettes is comprised of two basic types: one type is decorated with  zoomorphic and anthropomorphic scenes; the other is adorned onlv  with so-called heraldic and coronation animals, sculpted in tull relief. There are presently  about twenty-five such palettes and fragments known, the majority  of uncertain provenance, dated primarily to Naqada III. Some of  them  have  round  dishes  in  the  center,  invoking  the  primeval  function of the palettes, but not related to the sun cult, as has been  claimed.

The  most  significant  in  the  first  group  is  the  Oxford  Palette,  found at the Hierakonpolis Main Deposit. It is shield-shaped; from  the  midpoints  of  the  sides,  sculpted  in  high  relief,  extend  the  figures of two wild dogs (Lycaon pictus), with their heads in full  sculpture. On the obverse appear two scenes. The upper, occupying  two-thirds  of  the  surface,  shows  two  fantastic  animals— serpopards— whose long necks surround the dish. These creatures  are  licking  a  dead  antelope,  above  which  is  a  long-necked  bird  (ostrich?). Behind the serpopards' necks and below the dish there  are three wild dogs. In the lower scene, three domesticated dogs in  collars  are  attacking  a  herd  of  herbivores,  symbolized  by  four  animals. On the reverse, the proportions are reversed: in the upper  scene (one-third of the surface), two lions attack animals identical  to the dead antelope on the obverse. The lower portion is again a  hunt: predators (a panther and a wild dog) and fantastic animals (a  serpopard and a griffin) attack a herd of herbivores. At the bottom  there is a man playing a flute (?), wearing an animal mask and a  tail on his belt, with a giraffe next to him.

The Oxford Palette is the only known example to contain such  elaborate  zoomorphic  scenes.  This  group  also  includes  objects  (e.g., the Louvre Palette) decorated with a few figures, which are  probably  an  abbreviation  (legible  to  the  ancients)  of  the  more  detailed  scenes  described.  The  animals  seen  on  these  palettes  include wild dogs, serpopards, lions, birds, oryx, and ibex. Not all  the figures are unambiguously legible to us, which results in differences  in  interpretation  and  numerous  controversies  regarding  the  symbolism and meaning of this group.

The scenes and figures described above have been interpreted  as chaotic and symbolizing "power," or as symbols associated with  life and death, peace and struggle;

the heraldic animals have been read as images of the divinities to  whom  the  palette  is  dedicated,  and  the  scenes  themselves  have  been  thought  to  be  connected  with  the  divine  myth.  Others  interpret  the  palettes  with  zoomorphic  decoration  as  the  fil-st  manifestation  of  the  cult  of  the  Divine  Eye  (the  sun),  and  the  animals  as  symbolizing  particular  mythological  figures.  A  more  likely explanation of the symbolism in this group of palettes is that  they are connected with hunting magic. The hunting theme occurs  very generally in predynastic art, initially in the same pictures as  other  subjects  (cf.  the  Hierakonpolis  painting).  Later,  perhaps  because of the limited space for decoration,  the  subjects  were  separated.  Still,  the  early  chiefs  and  rulers  were  still  the  "first  hunters"  for  their  subjects,  and  so  magical  operations were needed to aid them in performing this function and  to  ensure  success  in  the  hunt—a  success  also  enjoyed  by  other  members of society through the mediation of the king. This is also  indicated by palettes that depict domestic dogs sucking the teats of  heraldic  wild  dogs  (Metropolitan  Museum Palette,  Munagat  fragment).  The  magical  intention  was  probably  for  the  dogs  to  acquire the characteristics of wild nature. To the same categories of  hunting magic we may also assign artifacts in which the function of  the heraldic animals is served by herbivorous hunt victims (e.g., the  White Oryx Palette).

One of the more controversial motifs found on several palettes is  a palm flanked by two giraffes. Its relatively frequent occurrence  indicates that it is not coincidental. It has been regarded as a Near  Eastern motif of adoration for the holy tree; as the symbol of long  years of peace (the palm), observed by two "seers" (the giraffes); as  the  seat  of  the  sun  (the  palm),  and  the  props  of  heaven  (the  giraffes); or as a substitute for the pharaoh, similar to the srh. Since  the  motifs  in  question  also  occur  on  other  Predynastic  artifacts,  though  often  separately,  none  of  these  theories  would  seem  fully  correct.  Although  the  palm  may  be  a  symbol  associated  with  the  state and authority, it is not a substitute for the pharaoh, but rather  for  the  state,  in  both  the  territorial  and  ideological  senses;  the  giraffes may incarnate primeval forces friendly to man, symbolizing at the same time a certain part of the country.

The decoration of the Hunters' Palette (Phase IIIa/b?) stands on  the  borderline  between  zoomorphic  and  an-thropomoiphic  decoration. Its center is occupied by a representation of hunting. On  both sides appear two rows of hunters dressed in kilts, with animal  tails fastened to their belts and feathers in their long hair. Armed  with bows, lances, maces, and knives, they are hunting lions and  herbivorous animals. There is a striking lack of heraldic or fantastic  animals; yet nome standards appear in the hands of some hunters,  as  well  as  obvious  hieroglyphic  signs—thepr-mv  shrine  and  the  double protoma of a bull. This artifact, too, has been the subject of  much  controversy,  serving  for  example  as  the  foundation  for  a  theory  on  dualism  in  Egyptian  thought—an  interpretation  that  should be subjected to criticism. Probably its subject matter is hunt- ing  with  beaters,  interrupted  by  the  sudden  appearance  of  lions,  while in the hieroglyphic characters we may discern the symbol for  the king or the kingdom.

The obverse of the Battlefield Palette (Phase lllb?) is yet another  on  which  animals  have  the  dominant  role.  In  contrast  to  the  preceding example, however, the animals here are either an express  incarnation of the ruler (the lion), or they benefit from his victory: predatory birds and a canine predator  on  the  Lucerne  fragment.  People  are  depicted  here  as  defeated  naked  prisoners,  or  as  corpses  lying  on  the  battlefield.  Only  one  human  figure,  dressed  in  a  long  cloak  (preserved  fragmentarily),  clearly belongs to the victors. An important role is played here by  the nome standards (ibis, falcon), holding the captives with human  hands. Standards serve a similar function on the fragmentary Bull  Palette, perhaps the artistic masterpiece of this genre, which shows  the figure of the victor-ruler in the shape of a bull. The reverse of  the  Battlefield  Palette  is  decorated  with  the  palm-and-giraffes  motif. The fragment of the Libyan Palette is decorated on one side  with registers containing rows of bulls, asses, rams, and trees. Next  to the last is the hieroglyph 77?. On the other side, seven fortresses  are being destroyed or built by animals holding hoes in their hands.

The most  famous is the Narmer Palette, found near the Main Deposit of the Hierakonpolis  temple. On the side without a dish, under the symbols of Bat or Hathor and the royal srh,  are  two  scenes.  In  the  first,  the  king,  wearing  the  White  Crown  and  accompanied  by  a  sandal-bearer,  is  about  to  smite  a  kneeling  enemy  with  a  mace;  beside  him  is  a  pair  of  hieroglyphs  (his  name?). Facing the king is an emblematic group: a falcon with one  human arm, leading a personified land sign by a rope, and perching  on six papyrus stems that sprout from the sign. The second scene  shows two naked dead enemies and the hieroglyphic markings of  fortresses. On the other side are three registers. First, the pharaoh in  the Red Crown inspects ten beheaded prisoners;  before him are four standards and a high official (vizer, scribe, or  priest); after him, a sandal-bearer. Above the corpses is something  that is most likely the caption of a door leaf with a falcon behind it,  and  a  boat  with  a  falcon  on  a  harpoon  hovering  above.  Second,  serpopards are held in bonds by two men; the dish is framed by the  entwined necks of the animals. Third, a bull, symbolizing the pha- raoh, is destroying a fortress and trampling an enemy.

The Narmer Palette has been the object of much speculation and various, sometimes fantastic,  theories.  Among  the  most  important are those that treat it as evidence of the victory of King  Narmer  over  the  following:  the  Delta  and  the  unification of the country; the Northern rebellion, the last Lower Egyptian dynasty;  or the Canaanites. Others treat it as a year-names tablet. The theory  most nearly in accordance with the present state of research is that  the  palette  constitutes  the  ritual  confirmation  of  expansion,  was  used  in  magical  rites  preceding  further  expeditions  or  in  rituals  involving  the  ruler  during  his  coronation  or during  holidays  commemorating that event (the Appearance of the King of Upper Egypt and Lower Egypt), or for a sed jubilee.

All the palettes under discussion may have some links with the  cult and rituals surrounding the rulers of the day. We should probably agree with John Baines (1995) in asserting that  "although  the  reliefs  look  like  propaganda,  correlates  in  the  everyday world would have had to be in living ceremonial, in what  was proclaimed about the king, and in the architecture of palaces.  The  reliefs,  however,  must  be  interpreted  on  their  own  terms,  as  objects with a very small audience who were deeply involved with  their meaning and creation," and not as part of a lost repertoire.  In later periods, the function of the palette was limited to the  utilitarian.  Examples  from  the  dynastic  periods  are  rare,  and  are  typically rectangular with a trapezoidal cross section.

Recent Posts:

·        Ancient Egypt videos
·        Palaces in Ancient Egypt

Labels