>>9705642

(Please read from the start)

“At the bottom of the Palette, a bovine image is seen knocking down the walls of a city while trampling on a fallen foe. Because of the lowered head in the image, this is interpreted as a presentation of the king vanquishing his foes, "Bull of his Mother" being a common epithet given to Egyptian kings as the son of the patron cow goddess.[16] This posture of a bovine has the meaning of "force" in later hieroglyphics.”

>> See how the city walls return along with the buttresses. We don’t have that in the upper register.

Some in the alternative history interpret that middle and third registers with connections to astrology. The circle of the middle register – formed by the serpopards – is considered a solar eclipse or a black hole. While the bull trampling an enemy is said to refer to constellations.

“Scholarly debate

The Palette has raised considerable scholarly debate over the years.[17] 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,[18] or the last stronghold of a Lower Egyptian dynasty based in Buto.[19] 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.[20] 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.”

>> Let’s talk a bit about the palettes:

It’s obvious the main stream history given explanation doesn’t hold in its entirety.

1 – The rhomboidal palettes: Saying those palettes are for cosmetics use, doesn’t hold much ground, mostly that no mortars or pestles were found next to them or in their vicinity. There is total absence of a convex cavity: without it, the ingredients will spill off the palette since it’s flat. And there is no handle. I’ve added some confirmed cosmetic palette pictures for anons to have a visual comparison. The back of the real cosmetic palettes are barely decorated (simple decoration) or not at all.

Some do have symbolic or small carvings on them, while they also come in many shapes and forms. In other words, they are rather plain for being used as decoration. I didn’t notice any holes (for hanging) in the rhomboidal shapes, so we got to disregard them as a decorative item.

They might be something like votive offerings to the temple, but this doesn’t explain their presence in tombs (remember anons, a large number of these palettes were found in Hierakonpolis tombs). Using them for religious ceremonial purposes doesn’t make much sense since they are so flat and plain.

At some point, I thought them being used as milestones, but this doesn’t explain why we found them in tombs; so this thought of mine is wrong. And then I thought they might be weight stones but no scales were found in those tombs. I’ve added a layout of one of the tomb in Hierakonpolis with a Rhomboidal palette, just for anons to see how they were laid in it.

Could they have been wrapped with perishable material, like animal skin, papyrus or fabric? These rhomboidal palettes are the hardest to figure out. The riddle wasn’t solved here.

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>>9716853

(Please read from the start)

2 – The zoomorphic palettes: the same arguments made for the rhomboidal palettes can be made for these about being cosmetic palettes. These do not have any votive use, for the same arguments I’ve given for the rhomboidal palettes.

Most have holes in them, which implies they can be hanged. Seeing how plain they are, but in animal shapes, this category of palettes can be used for decorative purpose, which can also explain their presence in tombs.

Since the designs are of animals, they can also represent “protein” offerings for the dead to be consumed in the afterlife. In the layouts of the tombs, you can see there were many jars near the dead, which contained the food offerings. So could these be a symbolic representation of the “protein” source to go along with the rest, as food for the dead in the afterlife? It’s just a theory of mine, nothing more, nothing less. I might be totally wrong about it. Just saying my thoughts out loud.

3 – The decorated palettes: I’ve never seen a cosmetic palette with this much decoration on BOTH sides. The subjects decorating it are usually considered as manly = hunting, wild life and war. I’m not convinced these are used for cosmetics.

Same goes for them being decorative palettes; we don’t need to decorate both sides because only one side will be seen. Some say, these palettes were used like how painting palettes are used. If so, where are the traces of substance and most importantly where is the handle to hold this steady?

They don’t have any religious subject, it’s more like a “political” or “social” one = war, hunting. Some suggest these palettes we colored, as in having vivid colors on the scenes. Till now, there is no conclusive result about this.

But these, I strongly believe, are some type of register or records. If they have hidden astrological meaning or not, I think these are like a piece of paper written on both sides, which contains certain type of information, to be preserved. This explains why we found them in temples and in tombs and it also explains the subjects chosen for the decoration. Temples were known to be records keepers = the archives. And does it surprise anyone that a person kept some type of register of a specific historical event in his tomb? If some are truly “star maps” then it makes perfect sense why they were found in temples.

Again, I believe these are registers to pin or preserve a specific event in time.

It’s hard for me to believe that these palettes were not listed as an out-of-place-artifacts, and they have been overlooked by the alternative history as well. The mystery of these palettes is far from being solved and it seems they are of importance.

But maybe looking at the context of these palettes might help us get a better picture and clear a bit the fog surrounding them.

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>>9716881

(Please read from the start)

Next we are going to take a look at Hierakonpolis (the Hellenistic name), also known as Nekhen in Ancient Egypt:

https://en.wikipedia.org/wiki/Nekhen

“Nekhen (/ˈnɛkən/) or Hierakonpolis (/ˌhaɪərəˈkɒnpəlɪs/; Ancient Greek: Ἱεράκων πόλις Hierakōn polis "Hawk City",[1] Egyptian Arabic: ‎, romanized: el-Kōm el-Aḥmar, lit. 'the Red Mound'[2]) was the religious and political capital of Upper Egypt at the end of prehistoric Egypt (c. 3200–3100 BC) and probably also during the Early Dynastic Period (c. 3100–2686 BC).

The oldest known tomb with painted decoration on its plaster walls is located in Nekhen and is thought to date to ca. 3500-3200 BC. It shares distinctive imagery with artifacts from the Gerzeh culture.”

“Horus cult center

Nekhen was the center of the cult of a hawk deity, Horus of Nekhen, which raised one of the most ancient Egyptian temples in this city. It retained its importance as the cultic center for this divine patron of the kings long after the site had otherwise declined.

The ruins of the city originally were excavated toward the end of the nineteenth century by the English archaeologists James Quibell and Frederick W. Green.

Quibell and Green discovered the "Main Deposit", a foundation deposit beneath the temple,[3] in 1894. Quibell originally was trained under Flinders Petrie, the father of modern Egyptology, however, he failed to follow Petrie's methods. The temple was a difficult site to excavate to begin with, so his excavation was poorly conducted and then poorly documented. Specifically, the situational context of the items therein is poorly recorded and often, the reports of Quibell and Green are in contradiction.”

>> If you believe in Fairytales, then you can believe this excuse given about the “poor” excavation and records. The same type of excuse given by Jacques de Morgan.

“The most famous artifact commonly associated with the main deposit, the Narmer Palette, now is thought probably not to have been in the main deposit at all. Quibell's report made in 1900 put the palette in the deposit, but Green's report in 1902 put it about one to two yards away. Green's version is substantiated by earlier field notes (Quibell kept none), so it is now the accepted record of events.”

>> So even the dating of the Narmer’s palette is doubtful.

“The main deposit dates to the early Old Kingdom,[4] but the artistic style of the objects in the deposit indicate that they were from Naqada III and were moved into the deposit at a later date. The other important item in the deposit clearly dates to the late prehistoric.[6] This object, the Scorpion Macehead, depicts a king known only by the ideogram for scorpion, now called Scorpion II, participating in what seems to be a ritual irrigation ceremony.[7] Although the Narmer Palette is more famous because it shows the first king to wear both the crowns of Upper and Lower Egypt, the Scorpion Macehead also indicates some early military hostility with the north by showing dead lapwings, the symbol of Lower Egypt, hung from standards.”

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