Moai, or mo‘ai, are monolithic human figures carved by the Rapa Nui people on Easter Island in eastern Polynesia between the years 1250 and 1500. Musée du cinquantenaire (Brussels, Belgium). Made with CapturingReality.

Nearly half are still at Rano Raraku, the main moai quarry, but hundreds were transported from there and set on stone platforms called ahu around the island's perimeter.The tallest moai erected, called Paro, was almost 10 metres (33 ft) high and weighed 82 tonnes (90.4 tons).[8][9] The heaviest moai erected was a shorter but squatter moai at Ahu Tongariki, weighing 86 tonnes. One unfinished sculpture, if completed, would have been approximately 21 m (69 ft) tall, with a weight of about 270 tonnes. The moai were toppled in the late 18th and early 19th centuries, possibly as a result of European contact or internecine tribal wars.

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Moai (replica)

Homo heidelbergensis, -700 000 to -200 000 BCE, Africa and Europe. Musée du cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap Pro from AutoDesk.

This ancestor was a great migrator. Some populations migrated to Europe, where they gave Homo neanderthalis; while those who remained in Africa have evolved into Modern Men (Homo sapiens). This period delivered wooden hunting weapons that were machined with good sharp stone tools. This implies a society that begins to structure itself to make the tools, the weapons, to process the slaughtered animals.

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Homo Heidelbergensis

Aphrodite, ca 360-340 BC J.-C., Cypriot production, Provenance of Amathonte (Cyprus), excavations of Ed. Paridant, Limestone painted. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap Pro from Autodesk.

This feminine figure, with many jewels, holds a flower in her right hand and a bird, dove or pigeon, in her left hand. These motifs bring her closer to the bearers of offering, like the neighboring sculpture. The turreted crown, a motif from the Middle East, covered with a veil, however, designates it as a deity, Aphrodite, cult very developed on the island of Cyprus.

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Aphrodite

Sekhmet,  the Lion-goddess, 1300 BCE, Egypt. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap pro from AutoDesk.

Sekhmet is a warrior goddess as well as goddess of healing. She is depicted as a lioness, the fiercest hunter known to the Egyptians. It was said that her breath formed the desert.

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Sekhmet

Statue of young woman, 2nd century CE, copy of model from 3rd century BCE, Italy, marble. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap from AutoDesk.

The girl is dressed in a chiton (tunic) with sleeves and a himation (coat) complex pleated, probably derived from an original early Hellenistic era. The head originally did not belong to the body but dates from the same period.

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Statue of young woman

Totem Pole - Giant-Cannibal with eagle and copper plate in his hand, Canada - British Columbia, Kwakiutl Culture - Calvin Hunt and Mervyn Child, Cedar, 1999. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap pro from AutoDesk.

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Totem Pole - Giant-Cannibal

Gothic pillar, place of production and date unknown, blue stone. Musée d'Art et d'Histoire (Musée du Cinquantenaire, Brussels, Belgium). Made with ReMake and ReCap pro from AutoDesk.

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Gothic pillar

Table clock engraved with Allegories of the Liberal Arts, Southern Netherlands for the use of Italy, late 16th century. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap from AutoDesk.

Monogram engraved '4 / I-B (unknown artist). Gilt copper, gilded brass, steel. Movement with springs and rockets, with two vertical trains, later adapted to the pendulum.

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Table clock

The Great Colonnade of Apamea (Syria), 115 CE, reconstruction, plaster. Musée du Cinquantenaire (Brussels, Belgium). Made with ReCap Photo Pro from AutoDesk.

At nearly 2km from the north to the south of the city, a portico of about 7.50 m wide spreads on both sides of the high street that was the backbone of urban planning Apamea. The columns were surmounted by a curved frieze with continuous decoration of acanthus foliage, and not a Doric frieze mistakenly placed in 1935. On the floor of the portico, a series of mosaic dating from the year 469 CE.

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The Great Colonnade of Apamea

Fragments of a sarcophagus, 150-175 CE, Asia Minor, marble. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap from Autodesk.

A robust wild boar rushes to Anchee, while Meleager is brandishing a lance with his arm. Behind the boar of Calydon, Theseus is about to strike him with a stick. On the upper edge and in the field, a later epitaph is engraved in bad characters of the third century: "I have received the tomb ... and the columns" and "¨ [This tomb belongs to] Markos Aurélios Anikétos. 'One, by violence, comes to place some other [body, he will suffer a punishment].'

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Fragments of a sarcophagus

Bodhisattva, Shanxi Province, Jin Dynasty, c. 1200, Cassia wood, traces of polychromy, rock crystal. Musée du Cinquantenaire (Brussels, Belgium). Made with ReMake and ReCap from AutoDesk.

A bodhisattva is a "promised enlightenment," but delays its entrance into nirvana to help all living beings to attain illumination. The crystalline pupils are made of rock crystal. Such care is justified by the fact that the consecration of a Buddhist statue consisted in opening his eyes ritually. This ceremony gave him a soul and made it an object of worship. The tiara in her hair, the necklace on her chest, the drapery retained at the waist by an elaborate belt are the image of the historical Buddha, Shakyamuni. The bodhisattva originally stood in a temple next to a larger Buddha. The present presentation at the museum aims to restore the oblique angle of vision under which it appeared to the visitor in the Chinese sanctuary.

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Bodhisattva

Roof antena 2 used as a decoration in abandoned building modular kit.

Roof Antena 2

Roof antena 1 used as a decoration in abandoned building modular kit.

Roof Antena 1

Maqueta titulada “RG‑31 Mk5E Nyala”, realizada por D. Ángel Ruiz Martínez de Medinilla y galardonada con el 1º Premio de Materiales en 2012 en los Premios Ejército. Representa un vehículo blindado RG‑31 Mk5E, versión española del conocido MRAP sudafricano, diseñado para resistir minas y artefactos explosivos improvisados. Este modelo fue empleado por las Fuerzas Armadas españolas en misiones internacionales, especialmente en Afganistán, donde su protección y movilidad resultaron esenciales para escoltas, patrullas y apoyo a unidades desplegadas. La escena muestra el vehículo sobre terreno desértico, con detalles de antenas, equipos exteriores y desgaste operativo que reflejan su uso real en zona de operaciones. No aparecen figuras ni armamento adicional más allá de la propia configuración del vehículo.

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