This relief was probably used as a way of glorifying the current ruler, like most victory reliefs in Egypt and Nubia. Scholars have determined that Arikankharer was probably part of a group of co-regents together with his parents Natakamani and Amanitore, due to the use of the Meroitic hieroglyph  “pqtr”, which is believed to communicate a position similar to viceroy. Arikankharer’s identity as a legitimized co-ruler is also supported by a depiction of Arikankharer, Amanitore, and Natakamani together in the temple of the Meroitic Lion-god Apedemak at Naqa, in which  Arikankharer is shown touching the crown streamers of Natakamani.

Reliefs like the one at WAM would have been used to commemorate an important royal figure like Arikankharer by depicting him as a strong warrior, and were often featured in royal tombs and temples as a means of demonstrating the wealth and power of the ruler. Reliefs of rulers also played an important role in processions and festivals associated with coronation ceremonies, which took place in temples decorated with representations of victorious rulers. This relief may have represented a real conflict and victory, such as the Kushite resistance to the Romans, or it might simply have been a way of glorifying the ruler as strong and victorious over all enemies. Royal artworks, such as this object, were also used to enforce hierarchization and power and to define the boundaries of social class, as in Nubia (similarly to Egyptian practices) non-elite individuals did not have ready access to the temples and royal tombs which housed artistic representations of rulers. 

Erica Belden, Class of 2026, College of the Holy Cross.