>>9669534

(Please read from the start)

The next palette is called the Battlefield Palette:

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

“The Battlefield Palette (also known as the Vultures Palette, the Giraffes Palette, or the Lion Palette)[1] may be the earliest battle scene representation of the dozen or more ceremonial or ornamental cosmetic palettes of ancient Egypt. Along with the others in this series of palettes, including the Narmer Palette, it includes some of the first representations of the figures, or glyphs, that became Egyptian hieroglyphs. Most notable on the Battlefield Palette is the standard (iat hieroglyph), and Man-prisoner hieroglyph, probably the forerunner that gave rise to the concept of the Nine Bows (representation of foreign tribal enemies).

The palettes probably date mostly from the Naqada III (ca. 3300–3100 BC),[2] i.e. late predynastic period, around 3100 BC.[3] The two major pieces of the Battlefield Palette are held by the British and Ashmolean Museums.”

“The Battlefield Palette, two fragments

The Battlefield Palette obverse contains the circular defined area for the mixing of a cosmetic substance. It contains the battlefield scene, and forerunners of hieroglyphs: prisoner, tribal-territory wooden standard, the horus-falcon and an ibis bird resting on standards. The fractured lower half of the prisoner on the obverse right may have a hieroglyph at his front (the rectangle, as rounded for land) with suspected papyrus plants attached on top.

The reverse of the palette has dramatically stylized versions of a bird, two antelope-like mammals, a vertical palm-tree trunk, a partial top with fruits, and short horizontal palm fronds.”

>> The animals on the reverse look like this or that, but it’s not for sure. It’s named by some as the Giraffe palette, but some say those are not giraffes but Antelope like animals. So your guess is as good as mine and as good as any other theory out there about them. I strongly believe those animals are not identified properly.

There is also only ONE person with clothes on this palette; unfortunately he is half “cut”. The lower part of his body is carved on the upper right corner, of the lower fragment, obverse side. His clothing is interesting because of their similarity with Mesopotamian clothing, mostly the early Sumerian one. Don’t get me wrong here anon, I’m not saying they are identical, but, there are some similarities. Comparing them with the clothes worn by Narmer on his famous palette and then dynastic Egypt, the difference in clothing style is striking.

This “clothed” person might not be “Egyptian” but it might be the leader of the “enemies” we see being captured. With their hands/arms tied up behind their back, they are not wearing any clothes = naked. So whoever this “clothed” person is, either he is from the “enemy’s side” or he is from ancient Egypt, he must have a higher status (king, noble, leader etc.) than the rest in order to wear such clothing, while the rest have none. Which brings me to the date: during this period, the earliest Sumerian city-states thrived, mostly Uruk, just compare the clothes. So could this “clothed” person have had some sort of “trading” business with Mesopotamia? Or is he from a Nubian or sub-Saharan area, defeated by the Egyptians? Anons, shouldn’t forget that we are talking about the pre-dynastic era here, where city-states existed and ancient Egypt was divided into 2 kingdoms. The city-states of Lower Egypt traded a lot with the Phoenician coast and Mesopotamia (page 88). So there are many possible explanations here. It all depends WHO this defeated enemy is.

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>>9680471

(Please read from the start)

Then, there is the Libyan palette: https://en.wikipedia.org/wiki/Libyan_Palette

“The Libyan Palette (also variously known as the City Palette,[1] the Libyan Booty Palette, the Libyan Tribute Palette, the Siege Palette, the Tehenu- or Tjehenu Palette) is the surviving lower portion of a stone cosmetic palette bearing carved decoration and hieroglyphic writing. It dates from the Naqada III or Protodynastic Period of Egypt (c. 3200 to 3000 BC). The palette was found at Abydos, Egypt.

The palette is made of schist and it is 19 cm long and 22 cm wide.[2] Housed in Room 43 on the ground floor of the Egyptian Museum, Cairo,[3] its Journal d'Entrée number is JE27434 and its Catalogue Général number is CG14238.”

“Content

On one side, there is a scene of walking lines of animals within registers and the hieroglyphic inscription hnw or tjhnw (usually transcribed as tehenu), most likely a toponym of Western Nile Delta or, according to most scholars, what was later associated with Libya.[4][5][6] Below these animals, an orchard with olive trees is depicted.

The opposite side of the Libyan Palette shows the feet of some persons above a register line. Under the register, seven fortified towns are depicted, with the name of each town written within the wall. Above each town, an animal grasps its wall with the mr (hoe) hieroglyph.[5] Günter Dreyer has interpreted this scene as a scene of destruction and the animals, or animal standards, as royal names.[1][4][7] However, other scholars have suggested that the animals represent royal armies or symbols.[1] Another completely different interpretation is that the scene represents the foundation of these cities.”

>> The first notable thing is the number of “cities” = 7. Anons should remember that these cities are in the pre-dynastic era, which means these are city-states. So this means each city-state had a “king”, so here we are dealing with 7 kings and can we say 7 kingdoms = 7 city-states.

Not all the city-states have animal symbols though….yes, they can be symbols representing the coat of arms of either the conquered or the ones doing the conquering. The problems lies in the fact that we only have the lower section of this palette, maybe if we had the rest, things would have been clearer. Some in the alternative history even suggest the reverse contains constellations, zodiac signs and stars; it’s a star map. Interesting theory.

One last notable is where this palette was found = in Abydos.

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>>9680523

(Please read from the start)

There are 2 palettes that are kind of similar in the subject of the design. One is called the 2 dogs palette and the second is called the 4 dogs palette. They are named according to the number of dogs on them: one has two and the second has 4 of them. “The Four Dogs Palette, displaying African wild dogs,[1] giraffes, and other quadrupeds, Louvre” – this is from: https://en.wikipedia.org/wiki/Cosmetic_palette

What is interesting in these 2 palettes are the animals, mostly those with long necks that are “called” giraffes by main stream historians. If anons zoom in and examine closely those “giraffes” they have feline faces, paws and tails. Just compare visually with a giraffe: the tail is different, the “horns” are missing; and where are the giraffe’s spots? This is like playing “spot the difference”. We can argue that the shape of giraffe changed, evolved….but it’s the first time I see a giraffe change and evolve from a feline looking type to the current mammal. So no, this doesn’t hold ground. On the 2 dogs palette, on each side of the “circle”, we have these long neck animals which are both biting an antelope. Can someone tell me why giraffes are biting into an antelope? = because these are not giraffes; while the real giraffe is carved on the tip of the reverse side of the 2 dogs palette. Compare visually.

Some suggest that these are felines with stretched necks on purpose just to fill the space and/or a styled way to make the circle. That fits for the 2 dogs palette front, but it doesn’t work for the 4 dogs palette. So this doesn’t provide a satisfying explanation as well. And on the reverse side of the 2 dog palette it seems one of the long neck feline animal is biting into the leg of an Antelope: no need to manage or fill space here, so why the long neck?

While in the alternative history, some suggest that these are actually dinosaurs (= extinct) or animals that no longer exist nowadays called Serpopards (= imaginary). Well, a lot of people simply laughed this idea away for decades. I was among them because it never made sense. I thought just like the rest: this is ridiculous – until I started lurking on this board, and I realized what I was taught, what I knew about this, wasn’t true. So I started searching, and I found this cylinder seal from Mesopotamia, precisely from Uruk, the Sumerian city-state, dating back from 4100-3000 B.C., in display at the Louvre museum. What do you see anons? What do you see?

On this cylinder seal, there is plenty of space, no need to “fill” it by stretching stylistically the necks. All the sculptor needs to do is make the felines a bit bigger in size to fill the space. But this isn’t the case, is it? This is making me think these long necked animals truly existed. It’s a crazy wild thought, isn’t it? But if you add to it the Sivatherium statuette found in Kish (page 61), is it that crazy wild thought now? We have 2 animals with long necks that are not around: one is supposed to be extinct millions of years ago, and the second one is supposed to be the fruit of an artist imagination according to the main stream history. I say this is misleading, a lie and wrong. For around a year now, I’ve started to suspect these animals truly existed, along side humans. They might have gone extinct around the IVth millenium B.C., but they were around just long enough for humans, from back then, to keep an artistic representation of them.

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>>9680584

(Please read from the start)

Let’s take a quick look at these Serpopard, shall we anons:

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

“The serpopard is a mythical animal known from Ancient Egyptian and Mesopotamian art. The word "serpopard" is a modern coinage. It is a portmanteau of "serpent" and "leopard", derived from the interpretation that the creature represents an animal with the body of a leopard and the long neck and head of a serpent. However, they have also been interpreted as "serpent-necked lions". There is no known name for the creature in any ancient texts.”

“Images

The image is featured specifically on decorated cosmetic palettes from the Predynastic period of Egypt, and more extensively, as design motifs on cylinder seals in the Protoliterate period of Mesopotamia (circa 3500–3000 BC). Examples include the Narmer Palette and the Small Palette of Nekhen (Hierakonopolis). The cylinder seal displayed to the right displays the motif very clearly. Typically, two creatures are depicted, with their necks intertwined.”

“Interpretations

The image generally is classified as a feline, and with close inspection resembles an unusually long-necked lioness. It bears the characteristic tuft of the species at the end of the tail, there are no spots, the round-eared head most closely resembles the lioness rather than a serpent, because serpents do not have ears, and there are no typical serpent features such as scales, tongue, or head shape.

It has been suggested that in Ancient Egyptian art the serpopard represents "a symbol of the chaos that reigned beyond Egypt's borders", which the king must tame. They are normally shown conquered or restrained, as in the Narmer Palette, or attacking other animals. But in Mesopotamian art they are shown in pairs, with intertwined necks”

>> On Narmer’s palette they are also a pair with intertwined necks. Not just in Mesopotamia.

“In Mesopotamia, the use of these "serpent-necked lions" and other animals and animal hybrids are thought to be "manifestations of the chthonic aspect of the god of natural vitality, who is manifest in all life breaking forth from the earth.”

>> Animal hybrids….oh this is a good one.

“Similarly to other ancient peoples, the Egyptians are known for their very accurate depictions of the creatures they observed. Their composite creatures have very recognizable features of the animals originally representing those deities merged.

Lionesses played an important role in the religious concepts of both Upper and Lower Egypt, and are likely to have been designated as animals associated with protection and royalty. The long necks may be a simple exaggeration, used as a framing feature in an artistic motif, either forming the cosmetic mixing area as in the Narmer Palette, or surrounding it as in the Small Palette.

Depictions of fantastic animals also are known from Elam and Mesopotamia,[4] as well as many other cultures.”

>> (((They))) are pulling our leg on this one anons.

Just a note: Remember in the myth of the destruction of mankind (book of the Heavenly Cow) the Eye - Hathor, sent by Ra takes the lioness form of Sekhmet (page 71).

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