[3] She first appears in sources contemporaneous with the reign of the Akkadian Empire, and according to Javier Álvarez-Mon enjoyed a degree of popularity in the early periods.

"[6] Its style is characteristic for the Mesopotamian art of the Early Dynastic IIIa period (roughly 2500 BCE), though the inscription is some 250 years more recent, and states that Eshpum, a local official, dedicated it to Narundi on behalf of Maništušu, king of the Akkadian Empire:[7] 𒈠𒀭𒅖𒌅𒋢 / 𒈗 / 𒆧 / 𒀹𒅗 / 𒀵𒋢 / 𒀀𒈾 / 𒀭𒈾𒊒𒋾 / 𒀀𒈬𒈾𒊒"ma-an-iš-tu-su / lugal / kiš / eš18-pum / ARAD2-su / a-na / {d}na-ru-ti / a mu-na-ru For Manishtushu king of Kish, Eshpum his servant, dedicated this statue to Narundi"[8]According to Nancy Highcock, Eshpum most likely repurposed the statue of an anonymous earlier worshiper after finding it during a refurbishment of a temple, possibly choosing it for this purpose because of its antiquity.

[13] The usual identification of the statue as a representation of Narundi rests exclusively on the assumption that her name occurs in the latter, which remains uncertain.

[18] Another, identified on a small statuette, implores her, Inshushinak, Shamash, Nergal and a deity whose names is not preserved to deprive anyone who removes it of descendants.

[19] On a commemorative stele describing the construction of a temple of a canal she is listed after Inshushinak, Shamash, Enlil, Enki, Ishtar, Sin and Ninhursag, and before the "totality of the gods.

[21] She also appears in a single feminine theophoric name, Narudi-gamilat, identified in a document from this city dealing with servile weavers and dated to the reign of Rim-Sin I of Larsa.

[2] According to Javier Álvarez-Mon, out of the seven members of the latter group, Šipali[x], Ibnahāš[x], Ibnasasa, Dahšišrīš, Rūšpānašpiš, Nahūndi and Igištu, only the last two appear in any other sources.

[23] Wiggermann suggests that a statue of a naked woman from the reign of Ashur-bel-kala according to an accompanying inscription made "for titillation" and placed under the protection of the Sebitti might be a representation of Narundi or an analogous deity.

[25] According to Beate Pongratz-Leisten, it is impossible to evaluate if the Assyrian attestations of Narundi are an indication of a surviving continuous cult or if they simply constitute literary references to older rituals.

[2] It prescribes the preparation of figures representing her, the Sebitti (labeled as sons of Enmesharra[2]), the twin gods Lugalirra and Meslamtaea, and the lion-like creature Ugallu.

[23] Her statuette had to be made of tamarisk wood and decorated with red and yellow pigment to represent a robe with a sash and headwear.

[34] While examples of statues presumed to originate in similar rituals are known from excavations, they cannot be identified with certainty as representations of specific deities.