When I only had two days in Egypt I knew I had to visit the famous Egyptian Museum in Cairo. I only had time to see three items in that museum and I decided to first go see The Palette of Narmer from Hierakonpolis, Early Dynastic period, c. 2950 BCE. The Palette of Narmer on one side, Narmer is portrayed wearing the war crown of Upper Egypt and the red wicker crown of Lower Egypt which connotes that Lower Egypt tumbled to him in the victory. These animals have been deciphered as speaking to Upper and Lower Egypt yet there is nothing in this segment to legitimize that understanding. At the base of this side of the palette, the lord is delineated as a bull getting through the dividers of a city with his horns and stomping his adversaries underneath his hooves. Underneath this scene is the biggest etching on the palette of two men lacing the serpentine necks of obscure monsters.
The opposite side of the palette is a solitary, strong picture of Narmer with his war club going to strike down a foe he holds by the hair. An uncovered worker remains behind the ruler holding his shoes while, before him or more his casualty, the god Horus is portrayed viewing over his triumph and gift it by bringing him more enemy detainees.
The next piece of art work that I went to see was the tablet looking item that was of Akhenaten and his family c. 1352-1336 BCE. This is a depiction of what his family looks like normally. In relatively every known delineation of Akhenaten, there is a sunlight-based circle appeared above him, a portrayal of the sun god Aten. Although Aten existed in the Egyptian religion before the Amarna time frame, he before long rose to be known as the most noteworthy of all divine beings as Akhenaten endeavored to eradicate all indications of the previous pantheon and make Aten the solitary god in the sky.
Also, Pharaoh revere reduced colossally in the workmanship (however was not evacuated totally), and was supplanted by delineations of Akhenaten loving Aten, in this way uprooting the possibility that the pharaoh was a divine being in his own right. With this new conviction, delineations of Akhenaten were additionally separated from pictures of the past as his job turned out to be more accommodating to the desire of the god, and in this manner his portrayals were less initiative based.
The last piece of art I went to see was the inner coffin of Tutankhamun from the tomb of Tutankhamun ruled 1332-1332 BCE, Dynasty 18. Tutankhamun’s sarcophagus held not one but rather three caskets in which to hold the body of the ruler. The external two caskets were created in wood and shrouded in gold alongside numerous semiprecious stones, for example, lapis lazuli and turquoise. The internal casket, be that as it may, was made of strong gold. At the point when Howard Carter originally happened upon this casket, it was not the glossy brilliant picture we find in the Egyptian historical center today. In his exhuming notes, Carter states, it was “secured with a thick dark pitch-like layer which stretched out starting from the hands to the lower legs. This was clearly a blessing fluid which had been poured over the pine box amid the entombment function and in the incredible amount.