From the very early stages of its development, art performed different functions: narrative, entertaining, and political, to name but a few. The study of the art of the Ancient World offers some valuable insights into another function of art that is the function of communicating power. This can be particularly well distinguishable while exploring the art of Ancient Egypt. Most notable, even though it is commonly known that rulers used art to communicate power then, the way art reached this purposed differed in each particular case what can be seen while comparing the Palette of King Narmer and the statues King Menkaure (Mycerinus) and Queen.
Before comparing and contrasting how the two objects of art communicate power, it is first and foremost necessary to perform a brief review of their historical background and to outline some factual framework essential for a better understanding of these artworks. Thus, the Palette of King Narmer is a more than two-feet which dates back to c. 3000-2920 B.C.E. which offers the depictions of King Narmer and some episodes that experts cannot interpret accurately. What they are certain about is that the quality of the object, as well as its general view, implies that it was a ritual object, closely associated with god and power (“Palette of King Narmer” par. 3-4). The statues of King Menkaure (Mycerinus) and Queen date back to 2490–2472 B.C.E. and their interpretation is a far easier task: they were apparently made to emphasize the power and perfection of the Pharaoh (King Menkaure (Mycerinus) and Queen” par. 1). It follows then that both objects, each in its own manner, were intended to communicate power. Yet, it is clear a glance that the manner how they do it differs radically. This is first and foremost explained by the materials used for these objects of art and their shapes.
In terms of materials, both objects use stone which contains strong connotations for power as such: it symbolizes strength, eternity, and novelty. In this respect, what might draw our attention is the difference between the types of stone used. Thus, the palette is made of greyish-green siltstone (“Palette of King Narmer” par. 2). This material is fundamental, yet, relatively neutral. The connotations that it will bring will largely depend on the artist. In contrast to this, the material used for the statues of King Menkaure (Mycerinus) and the queen is the embodiment of power as such. The two statues are made of dark stone that “captures the physical ideals of the time and creates a sense of eternity and immortality” (“King Menkaure (Mycerinus) and Queen” par. 1). In this respect, it should be pointed out that the selected materials perfectly match the objects’ shape and fit in their connotation framework. Simply put, both objects are intended to, in this or another manner, communicate power. What their creators do is create a special concept. In the case of the first object, its creator chooses a form of a palette that best complies with the glorious neutrality of greyish-green siltstone; together, they enable the artist to focus on the story that should be told (i.e. the story of King Narmer) which contains strong connotations for power for those acquainted with it. In the case of the second object, its creator chooses a form of life-size statues that best complies with impressive and aggressively dominating black stone; together, they enable the artist to create a sense of pure power that needs no context or explanations.
From the standpoint of their form and shape, the two artifacts differ radically. In this respect, I shall clarify that I would intentionally choose two objects of different forms and shapes two explore how these forms and shapes convey power. Thus, for instance, let us examine how power is translated in the Palette of King Narmer. In this respect, the palette plays a role of a modern book: it offers multiple illustrations of the episodes involving King Narmer. King Narmer, as such, symbolizes power; in effect, he is its explicit personalization. It follows then that the form of the palette implies some limitations on the object in terms of the connotations that it can convey. Thus, left untouched, this palette is not associated with power at all; instead, it is the narrative element incorporated in it that translates the implications for power through some recognizable symbols (e.g. King Narmer).
Opposite to this, the statue of the pharaoh Menkaure and a queen relies completely on its form in terms of communicating power to the audience. Thus, in contrast to the Palette of King Narmer, this art object does not tell any story. Yet, the impression it produces is equal (not to say more forceful) to that produced by the palette. The thing is that the sense of power is inherent to the form of the statues: life-size in height of scope and perfect in terms of body parameters, the shape of the statues clearly communicates the idea of the pharaoh’s superiority. In other words, the shape of the two objects creates two different manners of translating power. The shape of the Palette of King Narmer suggests that we perceive the implied sense of power through cognition: while looking at it, we “read about power.” The shape of the two statues, in turn, implies that we perceive power through sense and intuition: while looking at it, we “feel” the power with our skin.
To summarize, it can be seen that form and material play an important role in enabling an art object to fulfill its semantic function. Thus, both objects that were compared and contrasted in the present discussion pursue one and the same purpose that is the purpose of communicating power. In the meantime, the creator of the Palette of King Narmer chooses a narrative format: the palette form and the greyish-green siltstone enable him to communicate the message through illustrations “about power.” The creator of the statues King Menkaure (Mycerinus) and Queen, in turn, chooses a sensually impressive format: the life-size shape of the statues and the glory of the black stone enable him to communicate the message through intuitively interpreted signs and codes.
