لوحة نارمر

(تم التحويل من Narmer Palette)
لوحة نارمر
Narmer Palette.jpg
لوحة نارمر.
الخامةالحجر الغريني
الحجمح. 64 سم × 42 سم
أنشئت3200–3000 ق.م. (تقريباً)
أُكتشفت1897–1898
الموقع الحاليالمتحف المصري، القاهرة
الهويةCG 14716

لوحة نارمر (Narmer Palette، تُعرف أيضاً باسم لوحة هيراكونپوليس العظيمة Great Hierakonpolis Palette أو لوحة نعرمر)، هي قطعة أثرية مصرية هامة، يرجع تاريخها إلى حوالي القرن 31 ق.م، تنتمي، على الأقل اسميًا، إلى فئة لوحات التجميل. تحتوي اللوحة على بعض من أقدم النقوش الهيروغليفية التي عُثر عليها على الإطلاق. يعتقد البعض أن اللوحة تصور توحيد العليا ومصر السفلى تحت حكم الملك نارمر. بالإضافة إلى رأس الصولجان العقرب ورؤوس صولجان نارمر، والتي عُثر عليها أيضًا معًا في الهبيئة الرئيسية في نخن، توفر لوحة نارمر واحدة من أقدم الصور المعروفة لملك مصري. على إحدى جانبيها، يُصوَّر الملك مرتدياً التاج الأبيض لمصر العليا (الجنوب)، وعلى الجانب الآخر يصور الملك وهو يرتدي التاج الأحمر لمصر السفلى (الشمال)، مما يجعله أيضًا أول مثال معروف لملك يرتدي كلا التاجين.[1] تُظهر اللوحة العديد من التقاليد الكلاسيكية للفن المصري القديم، والذي يجب أن يكون قد أُضفي عليه الطابع الرسمي بالفعل بحلول وقت إنشاء اللوحة.[2] وقد أشار عالم المصريات بوب برير إلى لوحة نارمر بأنها "أول وثيقة تاريخية في العالم".[3]

اكتشفت اللوحة، التي ظلت بقت لمدة خمسة آلاف عام في حالة ممتازة تقريبًا، بواسطة عالما الآثار البريطانيان جيمس كويبل وفردريك گرين، فيما أطلقا عليه الخبيئة الرئيسية في معبد حورس بمدينة نخن الأثرية، أثناء موسم الحفر 1897-1898.[4][5][6] كما عثرا أثناء الحفر على رأس صولجان نارمر ورأس صولجان العقرب.[7] لم يُسجل المكان والظروف الدقيقة لهذه الاكتشافات بشكل واضح جدًا بواسطة كويبل وگرين. في الواقع، وضع تقرير گرين اللوحة في طبقة مختلفة على بعد ياردة أو ياردتين من الخبيئة، وهو ما يعتبر أكثر دقة على أساس ملاحظات التنقيب الأصلية.[8] لقد قيل أن هذه المكتشفات عبارة عن تبرعات ملكية للمعبد.[9] نخن، أو هيراكونپوليس، كانت إحدى مراكز القوى الأربعة في صعيد مصر التي سبقت توحيد صعيد مصر في نهاية فترة نقادة الثالثة.[10] استمرت أهمية هيراكونپوليس الدينية لفترة طويلة بعد تراجع دورها السياسي.[11] عادة ما تُستخدم اللوحات لطحن مستحضرات التجميل، لكن هذه اللوحة كبيرة للغاية وثقيلة (ومتقنة الصنع) بحيث لا يمكن صنعها للاستخدام الشخصي وربما كانت أداة طقسية أو نذرية، صُنعت خصيصًا للتبرع بها أو استخدامها في، معبد. إحدى النظريات هي أنها كانت تستخدم لطحن مستحضرات التجميل لتزيين تماثيل الآلهة.[12]

لوحة نارمر هي جزء من مجموعة دائمة في المتحف المصري بالقاهرة.[13] وهو أحد المعروضات الأولية التي يتمكن الزوار من رؤيتها عند دخولهم المتحف.[13] رقمها في مجلة الدخول هو JE32169 ورقم فهرسها العام هو CG14716.

جعل الكثير من العلماء من لوحة نارمر شاهداً على المرحلة الثانية من عهد الملك نارمر، وهى المرحلة التى استمتع فيها بنتائج جهوده وجهود أسلافه بعد أن حقق وحدة البلاد الكاملة تحت حكمه، وسجل عليها آخر مراحل كفاحه ونتائجها. إلا أنه عند مناقشة عملية التوحيد، يميل بعض الباحثين (من أمثال فرانشسكو رافائيل، وجفري سپنسر، و"والتر إمرى") إلى عدم اعتبار صلاية نعرمر هي المصدر الرئيسي الذى يشهد على التوحيد الكامل بين مصر العليا والسفلى؛ بل يميلون أكثر إلى النظر إلى الموضوع المسجل عليها على أنه حفل تذكاري لنصر عسكري، أو بالأحرى أنه موضوع شعائري يهدف إلى تعزيز دور الملك من خلال تصويره في هذا المشهد (وليس بالضرورة أنه سجل في فترة حكم نارمر)، إن لم يكن رمزاً يشير إلى عقيدة القوة وعبادة الملك.

ويذكر سپنسر أن اعتبار لوحة نعرمر السجل الرئيسى للنصر النهائي الذى حققه نارمر على الشمال - ربما يكون هو التفسير السليم، غير أن الضرورة لا تقتضيه، وخاصة في ضوء تزايد الأدلة على إنجاز التوحيد بطريقة تدريجية استغرقت أكثر من مائتى عام، وهو ما يجعلنا نستبعد فكرة وقوع معركة فردية حاسمة. كما يذكر إمري أنه لا يمكن أن يكون هناك شك في أن نارمر قد أصاب الوجه البحري بهزائم عسكرية منكرة، وله بحقِّ النصر أن ينتحل لشخصه شعارات الحكم التى كانت لخصمه المهزوم؛ ولكن هذا لا يجعله بالضرورة الحاكم الشرعى للوجه البحرى. ولوحاة نعرمر من اللوحات الكاملة النادرة، وقد اشتركت نقوش وجهيها في مناظر معينة، واختلفت في مناظر أخرى. فظهر أعلى الجزء العلوى لكل منهما اسم نعرمر داخل إطار مستطيل يرمز إلى واجهة قصره، ويسمَّى عادة باسمه المصرى القديم "سرخ". وظهر على جانبى الاسم (على الوجهين) رأسان للمعبودة حتحور مثلاها بوجه سيدة مليحة بقرنى البقرة وأذنيها. وكانت هذه الحالة من المرات الأولى التى صوّر المصريون فيها ربَّاتِهم بصورة تجمع بين الهيئتين البشرية والحيوانية في وضوح.

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الوصف

سروخ تحمل رموز ريبوس n'r (سمك السلور) وmr (إزميل) داخلها، التمثيل الصوتي لاسم نارمر.[14]

The Narmer Palette is a 63-centimetre-tall (2.07 ft), shield-shaped, ceremonial palette, carved from a single piece of flat, soft dark gray-green siltstone. The stone has often been wrongly identified, in the past, as being slate or schist. Slate is layered and prone to flaking, and schist is a metamorphic rock containing large, randomly distributed mineral grains. Both are unlike the finely grained, hard, flake-resistant siltstone, whose source is from a well-attested quarry that has been used since pre-dynastic times at Wadi Hammamat.[15] This material was used extensively during the pre-dynastic period for creating such palettes and also was used as a source for Old Kingdom statuary. A statue of the 2nd dynasty pharaoh Khasekhemwy, found in the same complex as the Narmer Palette at Hierakonpolis, also was made of this material.[15]

رموز هيروغليفية مبكرة على لوحة نارمر.

The Palette is carved in low relief. At the top of both sides is an identical royal insignia called a serekh, which is "a composite hieroglyphic symbol standing for the king/crown/state and the state's property."[16] The serekhs bear the rebus symbols n'r (catfish) and mr (chisel) inside, being the phonetic representation of Narmer's name.[14] Both serekhs are flanked by a pair of bovine heads with highly curved horns, thought to represent the cow goddess Bat. She was the patron deity of the seventh nome of Upper Egypt, and was also the deification of the cosmos within Egyptian mythology during the pre-dynastic and Old Kingdom periods of Ancient Egyptian history.[17]


وجه اللوحة

لوحة نارمر (الوجه).

As on the other side, two human-faced bovine heads, thought to represent the patron cow goddess Bat, flank the serekhs. The goddess Bat is, as she often was, shown in portrait, rather than in profile as is traditional in Egyptian relief carving. Hathor, who shared many of Bat's characteristics, is often depicted in a similar manner. Some authors[which?] suggest that the images represent the vigor of the king as a pair of bulls.[بحاجة لمصدر]

The largest relief on this side depicts Narmer, who lifts a royal mace in his right hand while with his left he pulls up a kneeling captive by the hair. In contrast to the verso depiction of Narmer, where he is shown with the Red Crown of Lower Egypt, on this side he wears the White Crown of Upper Egypt.[18] His pose reflects the Ancient Egyptian convention of showing an important figure from multiple perspectives at once. His feet, legs and head are shown in profile, while the torso and hips turn slightly and his shoulders face the front. One eye, even though it would normally not be seen if this were an actual profile head, is also shown from the front. The purpose was to provide the most complete information possible about a person on a flat surface.[19][20] The Palette also shows the Egyptian canon of body proportions. Based on an established unit correlating to the distance across the knuckles of human fist, this conventional form of measurement was a means of standardizing the proportions of important figures in Egyptian art. The standard measurement, which is already apparent in the Palette, was 18 fists from the ground to the hairline on the forehead.[21] Both artistic conventions remained in use until at least the conquest by Alexander the Great over 3,000 years later. The minor figures in active poses, such as the king's captive, the corpses and the handlers of the serpopard beasts, are much more freely depicted.

تفاصيل من لوحة نارمر تظهر حزامًا به أربع شُرابات مطرزة وهدب في الخلف يمثل ذيل الأسد.

Attached to the belt worn by Narmer are four beaded tassels, each capped with an ornament in the shape of the head of the goddess Hathor. They also are the same heads as those that adorn the top of each side of the palette. At the back of the belt is attached a long fringe representing a lion's tail.

On the left of the king is a man bearing the king's sandals, flanked by a rosette symbol. To the right of the king is a kneeling prisoner, who is about to be struck by the king. A pair of symbols appear next to his head perhaps indicating his name (Wash) or indicating the region where he was from.[بحاجة لمصدر] Above the prisoner is a falcon, representing Horus, perched above a set of papyrus flowers, the symbol of Lower Egypt. In his talons, he holds a rope-like object which appears to be attached to the nose of a man's head that also emerges from the papyrus flowers.

ظهر اللوحة

لوحة نارمر (الظهر)

Below the bovine heads is what appears to be a procession. Narmer is significantly larger than anyone else on that register, an artistic convention known variously as hierarchical proportion, hierarchic scale[22] or hierarchy of scale. As on the recto, his disproportionate size reinforces the ideas of conquest and political power as a god-like leader. He wears a Red Crown of Lower Egypt, symbolized by a papyrus. He holds a mace and a flail, two traditional symbols of kingship. To his right are the hieroglyphic symbols for his name, though not contained within a serekh. Behind him is his sandal-bearer, whose name may be represented by the rosette appearing adjacent to his head, and a second rectangular symbol that has no clear interpretation, but which has been suggested may represent a town or citadel.[23]

Immediately in front of the pharaoh is a long-haired man, accompanied by a pair of hieroglyphs that have been interpreted as his name: Tshet (this assumes that these symbols had the same phonetic value used in later hieroglyphic writing).[بحاجة لمصدر] Before this man are four standard bearers, holding aloft an animal skin, a dog, and two falcons. At the far right of this scene are ten decapitated corpses with their heads at their feet and their severed genitals protruding from their mouths. These figures are generally understood to be victims of Narmer's conquest.[24] Above them are the symbols for a ship, a falcon, and a harpoon, which may indicate the names of the towns that were conquered.[25]

تفصيل من لوحة نارمر، مع أقدم تصوير معروف لـ vexilloid.

Below the procession, two men are holding ropes tied to the outstretched, intertwining necks of two serpopards confronting each other. The serpopard is a mythological creature, a mix of serpent and leopard. The circle formed by their curving necks is the central part of the Palette, which is the area where the cosmetics would have been ground. Upper and Lower Egypt each worshipped lioness war goddesses as protectors; the intertwined necks of the serpopards may thus represent the unification of the state. Similar images of such mythical animals are known from other contemporaneous cultures, and there are other examples of late-predynastic objects (including other palettes and knife handles such as the Gebel el-Arak Knife) which borrow similar elements from Mesopotamian iconography, suggesting Egypt-Mesopotamia relations.[26]

At the bottom of the verso, a bull is seen knocking down the walls of a city while trampling on a fallen foe. Head lowered, Narmer is shown here as a stylized, two-dimensional beast who will vanquish his enemies. Bulls had an ideological connection to Egyptian kingship.[27] "Bull of his Mother," for example, was a common epithet given to an Egyptian king as the son of the patron cow goddess.[28] This posture of a bovine has the meaning of "force" in later hieroglyphics.[بحاجة لمصدر]

الجدل العلمي

The Palette has raised considerable scholarly debate over the years.[29] In general, the arguments fall into one of two camps: scholars who believe that the Palette is a record of an important event, and other academics who argue that it is an object designed to establish the mythology of united rule over Upper and Lower Egypt by the king. It had been thought that the Palette either depicted the unification of Lower Egypt by the king of Upper Egypt, or recorded a recent military success over the Libyans,[30] or the last stronghold of a Lower Egyptian dynasty based in Buto.[31] More recently, scholars such as Nicholas Millet have argued that the Palette does not represent a historical event (such as the unification of Egypt), but instead represents the events of the year in which the object was dedicated to the temple. Whitney Davis has suggested that the iconography on this and other pre-dynastic palettes has more to do with establishing the king as a visual metaphor of the conquering hunter, caught in the moment of delivering a mortal blow to his enemies.[32] John Baines has suggested that the events portrayed are "tokens of royal achievement" from the past and that "the chief purpose of the piece is not to record an event but to assert that the king dominates the ordered world in the name of the gods and has defeated internal, and especially external, forces of disorder".[33]

في الثقافة العامة

The Narmer Palette is featured in the 2009 film Watchmen as one of the Egyptian objects that are present in Ozymandias's office. The Australian author Jackie French used the Palette, and recent research into Sumerian trade routes, to create her historical novel Pharaoh (2007). The Palette is featured in manga artist Yukinobu Hoshino's short story "The temple of El Alamein". The Palette is also featured in The Kane Chronicles by Rick Riordan where the palette is fetched by a magical shawabti servant. In Ubisoft's 2017 game Assassin's Creed Origins, the Palette is a quest item and minor plot point toward the end of the main quest's storyline. The Narmer Palette is a main plot point in Lincoln Child’s The Third Gate novel, in which they attempt to find the tomb of king Narmer in the Sudd.

انظر أيضاً


المصادر

  1. ^ Friedman, Renée. “City of the Hawk.” Archaeology, vol. 56, no. 6, 2003, pp. 50–56. Accessed 7 Jul. 2022.
  2. ^ Wilkinson, Toby A. H. Early Dynastic Egypt. p.6 Routledge, London. 1999. ISBN 0-203-20421-2
  3. ^ Brier, Bob. Daily Life of the Ancient Egyptians, A. Hoyt Hobbs 1999, p.202
  4. ^ [1] J. E. Quibell, Hierakonpolis pt. I. Plates of discoveries in 1898 by J. E. Quibell, with notes by W. M. F. Petrie, Quaritch, 1900
  5. ^ [2] J. E. Quibell, Hierakonpolis pt. II. Plates of discoveries, 1898–99, with Description of the site in detail, by F. W. Green., Quaritch, 1902
  6. ^ The Ancient Egypt Site – The Narmer Palette Archived 2006-06-15 at the Wayback Machine accessed September 19, 2007
  7. ^ Millet, N. B. “The Narmer Macehead and Related Objects.” Journal of the American Research Center in Egypt, vol. 27, 1990, pp. 53–59
  8. ^ Shaw, Ian. Exploring Ancient Egypt. p.33 Oxford University Press, 2003.
  9. ^ Bard, Kathryn A. The Emergence of the Egyptian State, in The Oxford History of Ancient Egypt. Ed. Ian Shaw, p.61. Oxford University Press, 2000
  10. ^ Wilkinson 1999, pp. 36–41.
  11. ^ Friedman 2001, pp. 98–100, volume 2.
  12. ^ Brier, Bob. Great Pharaohs of Ancient Egypt, The Great Courses lecture series
  13. ^ أ ب Shaw, Ian. Ancient Egypt: A Very Short Introduction. p.4. Oxford Press, 2004.
  14. ^ أ ب Wengrow, David, The Archaeology of Ancient Egypt Cambridge University Press, ISBN 978-0-521-83586-2 p.207
  15. ^ أ ب Shaw, Ian. Ancient Egypt: A Very Short Introduction. pp.44–45. Oxford University Press, 2004.
  16. ^ Andelković, Branislav (2011). "Political Organization of Egypt in the Predynastic Period". In Teeter, Emily (ed.). Before the Pyramids: The Origins of Egyptian Civilization (PDF). Oriental Institute Museum Publications 33 (in English). The University of Chicago. p. 30. ISBN 978-1-885923-82-0.{{cite book}}: CS1 maint: unrecognized language (link)
  17. ^ Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt, p.172 Thames & Hudson. 2003. ISBN 0-500-05120-8
  18. ^ Fairservis, W. A. “A Revised View of the Naʿrmr Palette.” Journal of the American Research Center in Egypt, vol. 28, 1991, pp. 1–20
  19. ^ Watts, Edith W. (1998). The Art of Ancient Egypt: A Resource for Educators. New York: Metropolitan Museum of Art. p. 44.
  20. ^ "Egyptian art and architecture." Britannica Library, Encyclopædia Britannica, 30 Oct. 2020. Accessed 12 Jul. 2022.
  21. ^ Smith, W. Stevenson, and Simpson, William Kelly. The Art and Architecture of Ancient Egypt, pp. 12–13 and note 17, 3rd edn. 1998, Yale University Press (Penguin/Yale History of Art), ISBN 0300077475
  22. ^ "Sculpture." Britannica Library, Encyclopædia Britannica, 19 Nov. 2020. Accessed 4 Jul. 2022.
  23. ^ Janson, Horst Woldemar; Anthony F. Janson History of Art: A Survey of the Major Visual Arts from the Dawn of History to the Present Day Prentice Hall 1986 ISBN 978-0-13-389321-2 p.56
  24. ^ Friedman, Renee. “City of the Hawk.” Archaeology, vol. 56, no. 6, Nov. 2003, p. 50. Accessed 4 July 2022.
  25. ^ Sheposh, Richard. “Narmer Palette.” Salem Press Encyclopedia, May 2021. Accessed 4 July 2022.
  26. ^ Wilkinson, Toby A. H. Early Dynastic Egypt. p.6, Routledge, London. 1999. ISBN 0-203-20421-2.
  27. ^ Toby A. H. Wilkinson. “What a King Is This: Narmer and the Concept of the Ruler.” The Journal of Egyptian Archaeology, vol. 86, 2000, pp. 23–32. Accessed 4 Jul. 2022.
  28. ^ Breasted, James Henry. Ancient Records of Egypt, Chicago 1906, part Two, §§ 143, 659, 853; part Three §§ 117, 144, 147, 285 etc.
  29. ^ Hendrickx, Stan, 2017. "Narmer Palette Bibliography"
  30. ^ Shaw, Ian and Nicholson, Paul. The Dictionary of Ancient Egypt. p.197 Harry N. Abrams, Inc. 1995. ISBN 0-8109-9096-2
  31. ^ Wilkinson, Toby A. H. Early Dynastic Egypt. p. 40. Routledge, London. 1999. ISBN 0-203-20421-2
  32. ^ Shaw, Ian. & Nicholson, Paul. The Dictionary of Ancient Egypt, pp. 196–197. The British Museum Press, 1995.
  33. ^ Baines, John "Communication and display: the integration of early Egyptian art and writing" Antiquity, vol. 63:240, 1989, pp. 471–482.


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المراجع

قراءات إضافية

  • Bard, Kathryn A., ed. Encyclopedia of the Archaeology of Ancient Egypt. London: Routledge, 1999.
  • Brewer, Douglas J. Ancient Egypt: Foundations of a Civilization. Harlow, UK: Pearson, 2005.
  • Davis, Whitney. Masking the Blow: The Scene of Representation In Late Prehistoric Egyptian Art. Berkeley: University of California Press, 1992.
  • Lloyd, Alan B., ed. A Companion to Ancient Egypt. Chichester, UK: Wiley-Blackwell, 2014.
  • Málek, Jaromír. In the Shadow of the Pyramids: Egypt during the Old Kingdom. Norman: University of Oklahoma Press, 1986.
  • Redford, Donald B., ed. The Oxford Encyclopedia of Ancient Egypt. 3 vols. New York: Oxford University Press, 2001.
  • Shaw, Ian. Ancient Egypt: A Very Short Introduction. Oxford: Oxford University Press, 2004.
  • Shaw, Ian, and Paul Nicholson. The British Museum Dictionary of Ancient Egypt. Rev. ed. London: British Museum, 2008.
  • Wengrow, David. The Archaeology of Early Egypt: Social Transformation in North-East Africa, 10,000 to 2650 BC. Cambridge, UK: Cambridge University Press, 2006.
  • Wenke, Robert J. The Ancient Egyptian State: The Origins of Egyptian Culture (c 8000–2000 BC). Cambridge, UK: Cambridge University Press, 2009.
  • Wilkinson, Toby. Early Dynastic Egypt. London: Routledge, 2001.

وصلات خارجية

مراجع مكتبية عن
Narmer Palette

Coordinates: 30°02′52″N 31°14′00″E / 30.0478°N 31.2333°E / 30.0478; 31.2333

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