小斯特劳斯的《埃及进行曲》- 埃及《纳米尔调色板》

小斯特劳斯的《埃及进行曲》- 埃及《纳米尔调色板》没什么关系，是我自己把他们串起来的。

最近读了关于法国百岁老人，现代人类学家 Claude Levi - Strauss的一些文章，采访，他老人家对人类的远景很悲观，我也变得己人忧地， 很郁闷。 远在上个世纪30年代，他放弃巴黎舒适的生活(他出生在一个艺术气氛很浓的富裕的犹太家庭），怀揣着16世纪写的一本关于亚马孙的书，就只身前往巴西，印第安人的部落与他们一起生活，他想远离现代文明， 研究到底是什么赤裸裸的人，人类文明又是怎么起源的。

也可能是受孩子的影响，我也开始对Classics也感兴趣了，想去追寻远古，人类文明的婴幼儿时期，这次回国带回了一些关于古文明的书， 有时听着音乐读这些书很享受， 如果说几千年前的古国时代是人类的婴幼儿时期，那我们现在所处的时代又是什么时期呢？青少年反叛时期？ 但愿我们的时代不是人类文明的老年痴呆期！

我 一直在庆幸自己 能生活在文明发达的今天，物质精神享受有极大的选择，人性解放自由， 可慢慢地我又在想，人类文明究竟要发展到什么地步啊？人是很贪婪的，而我们脚下的土地还是那一块， 而且正在慢慢地退色。

古埃及是古国中的古国，当我听到小斯特劳斯的《埃及进行曲》， 我的眼前好像出现了古埃及的古战场上的厮杀，统一上下埃及的埃及开国君王美尼斯头顶神鹰率领千军万马趾高气扬的样子， 这是我听音乐自己想的，也许小斯特劳斯创作这首曲子的灵感是来自某位埃及女公主什么的，皇宫里翩翩起舞， 我不知道，那我就自己大胆地乱联想。  其实我对埃及不是很懂，正因为这样自己趁机多学多了解古文明史， 满足自己对人类文明婴幼时期的好奇心。

《纳尔迈调色板》

作者: 不详
创作时间：公元前3000年左右（出土于黑拉康波里斯）       
材质与技法：石板，浮雕
规格： 高63.5cm
现藏地：埃及开罗，埃及美术馆

    高63厘米，出土于黑拉康波里斯的一块盾形石板，两面雕刻着纪念荷露斯名为纳尔迈的国王统治的画面。
左：纳尔迈头戴上埃及的白色王冠并佩带早期君主制度的其他标志，手持权标头欲重击跪着的战俘。战俘的头旁有一组象形文字，表明此人叫瓦师；上方的图案可能补充说明荷露斯国王（猎鹰）已经打败了三角洲上的敌人，或许瓦师是敌人的首领。纳尔迈身后是一个高级人物，他拿着国王的便鞋。

右：上栏和下栏是征服形象，中栏是用纠缠在一起的被俘的神兽表达的和睦主题。上栏中，纳尔迈头戴下埃及的红色王冠，在两个特别的高级人物陪同下，走过去查看两行砍下首级饿被缚的敌人。这三个人的前面是四个打着特殊形状的旗子的人，这些旗子后来被称作“荷露斯的追随者”或“追随荷露斯的神”。无论他们的起源为何，在纳尔迈时代，他们显然是一系列象征王权的符号的组成部分。无首敌人之上的符号意义不明。下栏中，由公牛象征的国王的征服力量直接向有围墙的设防城镇进攻。

Egyptischer-Marsch op.335 - Johann Strauss Jr

Herbert Von Karajan-Conductor
Berlin philarmonic

The Narmer Palette, also known as the Great Hierakonpolis Palette or the Palette of Narmer, is a significant Egyptian archeological find, dating from about the 31st century BC, containing some of the earliest hieroglyphic inscriptions ever found. It is thought by some to depict the unification of Upper and Lower Egypt under the king Narmer. On one side the king is depicted with the White crown of Upper (southern) Egypt and the other side depicts the king wearing the Red Crown of Lower (northern) Egypt. Along with the Scorpion Macehead and the Narmer Maceheads, also found together in the "Main Deposit" at Hierakonpolis, the Narmer palette provides one of the earliest known depictions of an Egyptian king, who is shown using many of the classic conventions of Egyptian art that must already have been formalized by the time of the palette's creation.^[1] The Egyptologist Bob Brier has referred to the Narmer Palette as "the first historical document in the world".^[2]

The palette, which has survived five millennia in almost perfect condition, was discovered by British archeologists James E. Quibell and Frederick W. Green in what they called the main deposit in the temple of Horus at Hierakonpolis during the dig season of 1897–1898.^[3] Also found at this dig were the Narmer Macehead and the Scorpion Macehead. The exact place and circumstances of these finds were not recorded very clearly by Quibell and Green. In fact, Green's report placed the palette in a different layer one or two yards away from the deposit, which is considered to be more accurate on the basis of the original excavation notes.^[4] It has been suggested that these objects were royal donations made to the temple.^[5] Hierakonpolis was the ancient capital of Upper Egypt during the pre-dynastic Naqada III phase of Egyptian history.

Palettes were typically used for grinding cosmetics, but this palette is too large and heavy (and elaborate) to have been created for personal use, and was likely a ritual or votive object, specifically made for donation to, or use in, a temple. One theory put forward^{[by whom?]} was that it was used to grind cosmetics to adorn the statues of the gods.

The Narmer Palette is part of the permanent collection of the Egyptian Museum in Cairo

Scholarly debate on the palette

The palette has raised considerable scholarly debate over the years. In general the arguments fall into one of two camps: scholars who believe that the palette is a record of actual events, 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, or the last stronghold of a Lower Egyptian dynasty based in Buto. 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.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。