Abstract
Using a variety of evidence, both from prehistoric Upper Egyptian rock art and representations on Predynastic archaeological objects, this contribution attempts to explain the apparently incongruous iconography of the famous Painted Tomb (Tomb 100) at Hierakonpolis. It proposes that the decoration of this elite burial may only be properly understood if one accepts a Naqada III modernization of the original Naqada IIC composition. Such a dynamic concept of recycling and updating may have important consequences for understanding other imagery from the same time period.
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