(artist unknown, found in Hierakonpolis, first dynasty). (c.3000 bc). Palette of Narmer [mudstone]. Egyptian Museum, Cairo.

This is a work of planar abstraction. Raised forms are the foreground, the remainder (untreated) the background. A “narrative” form of energy is present, meaning local areas have a sense of direction, but overall this work is static. Shapes and registers are arranged with an ancient sense of design, versus the modern adjustment of positive/negative space. I would characterize this work as more perceptual than conceptual in spite of its narrative function.

The registers on this work are built on the arrangement of planar shapes in space, which are given roughly equivalent breathing areas. They create a visually aesthetic and laterally-flowing series of patterns. The result is appropriately legible movement with overall static balance.  Differences in shape sizes do not imply depth as much as conceptual importance. The entire work is effectively flat with the exception of a handful of subjects that overlap or intertwine.

Purely geometric forms are few; they either organize the content from a design perspective, or dominate interest through their contrasting tone. With the exception of the ratio of positive to negative space, equivalence is not used in this work, however it is an example of overall harmony created based on a handful of dominant choices.

The shining star of this work is clearly communicated through his disproportionate relative size: Pharaoh Narmer. A secondary moment of energy is the perfect circle created by the intertwining necks of two fantastical beasts, “canvas”-center of the palette’s backside.

Narmer’s crown is of upper Egypt (“up” the river). Both sides document his unification of the individual lands that would become Egypt. This work of propaganda references his legitimacy through the blessings of the gods (especially Horus) and his military skill as parallel tracks that led to his gains. What this work says about the man is up to the individual observer to decide, but this work clearly communicates the mans strength and will. In this regard alone this work is effective. It’s pictorial representation of figures, solution for arranging space and strategy for organizing depth evidences a host of formal advancements from the treatment of two-dimensional renderings characteristic of the Neolithic era.