Nicole Sommer February 8, 2010
The Victory Stele of Naram-Sin is a relieved depiction of the King's victory. The hierarchy of scale shows Naram-Sin is the most important figure in the piece. Everyone in the piece looks up towards Naram-Sin, who has a heroic and God-like stance on top of the mountain. Naram-Sin's soldiers march in an orderly fashion up the side of the mountain, while the defeated fall in an unorganized manner down the mountain. The defeater's unorganized manner reinforces their subordination. Their disorganization shows the ...view middle of the document...
The Palette of King Narmer from Hierakanpolis has a registered fashion of art. The top of the palette has animal's heads that are drawn from the front, which is rather uncharacteristic of later Egyptian art. In most publications, these heads have been described as cows' heads, which is interpreted as an early reference to the cult of a cow-goddess. It is, however, equally possible that the animals are bulls and that they refer to the bull-like vigor of the king, a symbolism that occurs elsewhere on the palette.
The central part of the palette is taken up by a finely carved and highly detailed raised relief showing a king, undoubtedly Narmer, ready to strike down a foe whom he grabs by the hair. Behind him an apparently bald person holds the king's sandals in his left hand and a basket in his right. The signs written behind this man's head may denote his title. The king's victim is kneeling before him, his arms flung next to his body, as if to indicate that he was bound. Apart from a girdle, he is represented naked. The contrast between the naked victim and the king perhaps denotes that the victim was considered barbaric. Underneath the king's feet, at the bottom of the palette's back, lie two overthrown, naked enemies. One of their arms is raised up, the other is drawn behind their backs. Their legs are sprawling. In fact, their entire posture indicates that they are fallen enemies.