Ancient Egyptian art in the context of "Cruciform halo"

The Narmer Palette, also known as the Great Hierakonpolis Palette or the Palette of Narmer, is a significant Egyptian archaeological find, dating from about the 31st century BC, belonging, at least nominally, to the category of cosmetic palettes. It contains some of the earliest hieroglyphic inscriptions ever found. The tablet is thought by some to depict the unification of Upper and Lower Egypt under the king Narmer. Along with the Scorpion Macehead and the Narmer Maceheads, also found together in the main deposit at Nekhen, the Narmer Palette provides one of the earliest known depictions of an Egyptian king. On one side, the king is depicted with the bulbed White Crown of Upper (southern) Egypt, and the other side depicts the king wearing the level Red Crown of Lower (northern) Egypt, which also makes it the earliest known example of a king wearing both types of headdress. The Palette shows many of the classic conventions of Ancient Egyptian art, which must already have been formalized by the time of the Palette's creation. Egyptologists Bob Brier and A. Hoyt Hobbs have referred to the Narmer Palette as "The oldest Egyptian historical record".

The Palette, which has survived five millennia in almost perfect condition, was discovered by British archeologists James Quibell and Frederick W. Green, in what they called the Main Deposit in the Temple of Horus at Nekhen, during the dig season of 1897–98. 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 metres (yards) away from the deposit, which is considered to be more accurate on the basis of the original excavation notes. It has been suggested that these objects were royal donations made to the temple. Nekhen, or Hierakonpolis, was one of four power centers in Upper Egypt that preceded the consolidation of Upper Egypt at the end of the Naqada III period. Hierakonpolis's religious importance continued long after its political role had declined. 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 probably a ritual or votive object, specifically made for donation to, or use in, a temple. One theory is that it was used to grind cosmetics to adorn the statues of the deities.

A halo (from Ancient Greek ἅλως, hálōs, 'threshing floor, disk'), also called a nimbus, aureole, glory or gloriole (Latin: gloriola, lit. 'little glory'), is a crown of light rays, circle or disk of light that surrounds a person in works of art. The halo occurs in the iconography of many religions to indicate holy or sacred figures, and has at various periods also been used in images of rulers and heroes. In the religious art of Ancient Greece, Ancient Rome, Christianity, Hinduism, and Buddhism (among other religions), sacred persons may be depicted with a halo in the form of a circular glow, or flames in Asian art, around the head or around the whole body—this last form is often called a mandorla.

Halos may be shown as almost any colour or combination of colours, but are most often depicted as golden, yellow or white (when representing light) or as red (when representing flames). The earliest artistic depictions of halos were probably in Ancient Egyptian art.

In the visual arts, style is a "distinctive manner which permits the grouping of works into related categories" or "any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made". It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art".

Style is often divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see; in others, they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, from the very slow development in style typical of prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development.

In art and archaeology, sculpture and painting, a register is a horizontal level in a work that consists of several levels arranged one above the other, especially where the levels are clearly separated by lines. Modern comic books typically use similar conventions. It is thus comparable to a row, or a line in modern texts. In the study of ancient writing, such as cuneiform and Egyptian hieroglyphs, "register" may be used of vertical compartments like columns containing writing that are arranged side by side and separated by lines, especially in cylinder seals, which often mix text and images. Normally, when dealing with images it only refers to row compartments stacked vertically.

The use of registers is common in Ancient Egyptian art, from the Narmer Palette onwards, and in medieval art in large frescos and illuminated manuscripts. Narrative art, especially covering the lives of sacred figures, is often presented as a sequence of small scenes arranged in registers.

The Egyptian goose (Alopochen aegyptiaca) is an African member of the Anatidae family including ducks, geese, and swans. Because of their popularity chiefly as an ornamental bird, the species has also been introduced to Europe, the United States and elsewhere outside their natural range. Egyptian geese were regularly represented in ancient Egyptian art.

The Eye of Horus, wedjat eye or udjat eye is a concept and symbol in ancient Egyptian religion that represents well-being, healing, and protection. It derives from the mythical conflict between the god Horus with his rival Set, in which Set tore out or destroyed one or both of Horus's eyes and the eye was subsequently healed or returned to Horus with the assistance of another deity, such as Thoth. Horus subsequently offered the eye to his deceased father Osiris, and its revitalizing power sustained Osiris in the afterlife. The Eye of Horus was thus equated with funerary offerings, as well as with all the offerings given to deities in temple ritual. It could also represent other concepts, such as the moon, whose waxing and waning was likened to the injury and restoration of the eye. The multiple meanings of the Eye of Horus sometimes overlapped with the meanings of the Eye of Ra, which was a distinct but related concept in Egyptian mythology.

The Eye of Horus symbol, a stylized eye with distinctive markings, was believed to have protective magical power and appeared frequently in ancient Egyptian art. It was one of the most common motifs for amulets, remaining in use from the Old Kingdom (c. 2686–2181 BC) to the Roman period (30 BC – 641 AD). Pairs of Horus eyes were painted on coffins during the First Intermediate Period (c. 2181–2055 BC) and Middle Kingdom (c. 2055–1650 BC). Other contexts where the symbol appeared include on carved stone stelae and on the bows of boats. To some extent the symbol was adopted by the people of regions neighboring Egypt, such as Syria, Canaan, and especially Nubia.