Twelfth-century Water-Moon Guanyin (Avalokiteshvara Bodhisattva in the Water-Moon Form), now in the collection of the Minneapolis Institute of Art.

From the sculpture’s description on artsmia.org:

“This form of the bodhisattva presides over his own paradise, Potolaka, which is described in scripture as a rugged seaside cave from which Avalokiteshvara could admire the reflection of the moon in the water. Appropriately, he appears meditative and relaxed and is seated informally in the “royal-ease” posture...Believers might look to a sculpture like this as a guide for their own journeys toward enlightenment.”

The sculpture on Mia’s website:

https://collections.artsmia.org/art/32122/seated-guanyin-china

A point cloud version of this model is here:
https://skfb.ly/6rxCw

A low-poly version on Thingiverse:
https://www.thingiverse.com/thing:2642999

12th C CE Water-Moon Guanyin

Doryphoros at the Minneapolis Institute of Art.

More information about the sculpture here:
https://collections.artsmia.org/index.php?page=detail&id=3520

Made with about 300 40-megapixel photos, built in PhotoScan.

This is a low-res version of the object; a bigger one is at https://skfb.ly/6GYVU

Mia's Doryphoros

Animated version of the bronze 'Zun wine vessel in the shape of an owl,' 13th-12th century BCE, now in the collection of the Minneapolis Institute of Art.

From its description on artsmia.org:

*'This owl-shaped zun is divided into two sections: the removable owl’s-head lid and the bird’s hollow body. Vessels shaped like animals constitute virtually the only bronze sculpture known from the Shang period...This owl is one of the oldest and most naturalistic of the few remaining owl-shaped zun. Its form exhibits the influence of the Shang capital, Anyang, in the North, but the style and casting technique of the vessel...indicate that it is related to the bronze tradition of the middle Yangzi region in southern China.'*

More infomation about the object here:

https://collections.artsmia.org/art/827/zun-wine-vessel-in-the-shape-of-an-owl-unknown

Owl 'Zun' wine vessel, 13th-12th century BCE

Late 18th or 19th century CE carved wooden netsuke of a snake wrapped around a turtle, now in the collection of the Minneapolis Institute of Art.

About 3.5 x 4 x 4.5cm, but scaled in VR to about 15cm on its long side.

More information about the model here:

https://collections.artsmia.org/art/122704/snake-curled-around-a-turtle-japan

Netsuke - Snake curled around a turtle

Bronze Tibetan Amoghasiddhi Buddha, 13th C CE, now in the collection of the Minneapolis Institute of Art.

Nore information about the sculpture here:

https://collections.artsmia.org/art/31182/amoghasiddhi-western-tibet-or-central-regions-tibet

From its description on artsmia.org:
*'A devotee might pray to Amoghasiddhi to overcome envy and greed, attempting to transform these emotions into the wisdom of accomplishment. He is one of the five cosmic Buddhas who are crowned and wear jewel ornaments. Associated with the color green and the elements of wind and air, Amoghasiddhi is believed to occupy the northern section of the five directions. His right hand is raised in the “have no fear” gesture. This sculpture is part of an elegant group of bronzes, probably from western Tibet, that displays masterful craftsmanship and stylistic links to Indian sculpture from the Pala period (700s to 1100s CE).'*

Tibetan Amoghasiddhi Buddha, 13th C CE

Bronze Shiva Nataraja (Lord of the Dance), circa 1100 CE, now in the collection of the Minneapolis Institute of Art.

This is the before-conservation version of the 3D model - the after-conservation version is here:

https://skfb.ly/6VIpT


From [artsmia.org](www.artsmia.org):

*'The Hindu god Shiva appears in several incarnations. Here, Shiva appears as Nataraja, or Lord of the Dance. He raises his left foot in a graceful dance pose. In his upper right hand, Nataraja holds a drum, the sound of which manifests creation. The flame that he holds in his upper left hand symbolizes destruction. Together, they symbolize the creation and destruction of the cosmic universe. The posture of the icon’s lower left and right palms signifies protection. The foot that rests on the demon’s back symbolizes the 
elimination of ignorance, while the raised left foot signifies salvation...'*


[More here](https://collections.artsmia.org/art/376/shiva-nataraja-india)

Shiva Nataraja, Lord of the Dance

Bishamonten, late 13th C CE, now in Mia's collection.


From [artsmia.org](www.artsmia.org):

*'In Hindu mythology, each of the four directions is protected by a specific god. These four gods were incorporated into Buddhism as guardian kings at an early period and came to be known in Sanskrit as Lokapalas, or Shiten’nō in Japanese. This...represents Bishamonten, the Guardian of the North. The north was believed to be the most dangerous of the cardinal directions and so its protector, Bishamonten, is the strongest of the four guardian kings. Here, wearing heavy armor and carrying a lance and miniature stupa, Bishamonten stands atop two demons, representing threats from the North that he has overpowered.'*

More info [here](https://collections.artsmia.org/art/122377/bishamonten-circle-of-higo-busshi-jokei)

About this 3D model: We’ve made a specularity map from the diffuse texture to make the Sketchfab view more like the original’s color and specularity. Check out the Model Inspector to see the customizations.

Bishamonten, Guardian of the North, 13th C CE

Seated figure of bodhisattva Guanyin, late 11th-early 12th century.

From the sculpture's page on artsmia.org:

*"A bodhisattva is an enlightened being who has delayed entering paradise in order to help others attain enlightenment. This figure represents the bodhisattva Avalokitesvara, known to the Chinese as Guanshiyin (later also as Guanyin), which means 'he who observes the sounds of the world'—including cries for help."*

More information about  it here:
https://collections.artsmia.org/art/5788/seated-figure-of-bodhisattva-guanyin-unknown

Scanned with about 100 100-megapixel images; built in Photoscan and refined a bit in ZBrush.

Seated bodhisattva Guanyin, 12th C. CE

"Shoki capturing an oni with a hat," ivory netsuke, unknown Japanese artist, 19th C BCE.

This netsuke is 3.5x3.5x2.5cm (1 3/8 x 1 3/8 x 1") - scale in VR is set to about 35x35x25cm.

A little more information about the object here:
https://collections.artsmia.org/art/30519/shoki-capturing-an-oni-with-a-hat-japan

Netsuke - Shoki capturing an oni

Third-century CE Buddha from Gandhara, now in the collection of the Minneapolis Institute of Art.

From the sculpture's description on artsmia.org: 

"This sculpture is from Gandhara, a cosmopolitan historical region in present-day northwest Pakistan. Much has been said about Gandharan art’s close affinities with Greek and Roman art, evidenced by the flowing folds of robes and chiseled facial features."

The sculpture on Mia's website:

https://collections.artsmia.org/art/6161/buddha-pakistan

3rd C CE Gandhara Buddha

Volcanic stone Ganesha, 10th - 11th C CE, now in the collection of the Minneapolis Institute of Art.

From the sculpture's description on artsmia.org:

*'...In this classic tenth-century Javanese depiction, from the island of Java, Ganesha sits erect on a double lotus base. Pot bellied and with his chubby feet held tightly together, he eats sweetmeats from a bowl in his lower left hand. His headdress, made of braided locks, bears a protective crescent moon and skull. His lower right hand grasps a broken tusk, while his upper right hand holds a rosary topped with a pomegranate, a symbol of abundance. In his upper left hand, he displays a battle-axe used to counter evil. Ganesha images often decorated the principal niche in the western wall of a Shiva temple.'*


More information:

https://collections.artsmia.org/art/81675/ganesha-indonesia

Ganesha, 10th - 11th C CE

Japanese Figurine of a Female, 1000 - 800 BCE, in the collection of the Minneapolis Institute of Art. 

From artsmia.org:

*Over the years, archaeologists have uncovered many different kinds of clay figurines—dogū—dating to Japan’s prehistoric Jōmon period (14,000–300 bce)­. The most diverse forms have been excavated in northeastern Japan, where this figurine of a female was discovered. Some are seated, others standing, some have heart-shaped heads, others round and wearing headpieces, some have little or no surface decoration, and others, like this example, known as a shakōki or “goggle-eyed” type, have distinctive large eyes and are adorned with color and complex carved decorations.*


More information about the object here:
http://collections.artsmia.org/art/124688/figurine-of-a-female-unknown-japanese

Made with a few hundred 20-megapixel photos, built in PhotoScan.

This is a low-res version of the object; contact permissions@artsmia.org for a higher-resolution file.

Jomon figurine

A big point cloud of the Humility Brings Prosperity gate, now installed in Gallery 200 at Mia.

*The gate comes from Shanxi province, which, because of its dry climate, contains the largest concentration of surviving historic wooden structures in China. An inscription on the main beam dates the gate to 1858, during the Qing dynasty (1644–1912).*

[More info](https://collections.artsmia.org/art/127331/humility-brings-prosperity-gate-china)

*This imposing gate once formed the entrance to the main courtyard of an urban middle-class family compound. The four-character panel over the doorway reads, Humility Brings Prosperity (Lüqian Jianfeng 履謙漸豐). The gate demonstrates the hallmarks of traditional Chinese architecture: a post-and-lintel structure that supports a graceful gable roof and intricate rafters, as well as brackets that extend the eaves and provide decoration. Like other works of traditional Chinese architecture, no glue or nails were used, and the gate was assembled using only joinery and wooden pins.*

Humility Brings Prosperity gate - point cloud

Model of a large (68cm or 27 inches wide) bronze shengding food vessel from southern China, now in the collection of the Minneapolis Institute of Art.

From the object's description on artsmia.org:

*Around the cauldron body are six kui (single horn) dragons in high relief climbing upward toward the lid. Supporting the vessel are three stout legs with stylized dragon masks cast into their shoulders. The surface is ornamented with interlaced dragons, incised scale patterns, and overlapping feather-like motifs. While most of the ornament was made by traditional piece-mold bronze-casting technology, the six dragons, with their complex, perforated shapes, were made separately with the lost-wax method.*

More information about the model here:

https://collections.artsmia.org/art/98381/shengding-food-vessel-china

Shengding Food Vessel, around 575 BCE

Faience baboon, 7th - 6th C BCE, about 16cm / 6 inches tall.

From the sculpture's gallery description:
"The baboon was usually associated with Thoth, one of the moon gods. This animal has a hole in the crown that once held a lunar disk sitting on top of a crescent moon, an attribute of Thoth. For a 2600-year-old artwork it is in remarkable condition, and though the animal is small in size, its posture and expression command authority."

More information about the model here:

https://collections.artsmia.org/art/126884/baboon-egypt

Baboon (Moon God Thoth)

Pio Fedi's Abduction of Polyxena, c. 1855, in the collection of the Minneapolis Institute of Art.

More about the sculpture here:
https://collections.artsmia.org/art/2035/abduction-of-polyxena-pio-fedi

Abduction of Polyxena

Cambodian bronze Terminal in the Form of Garuda, 12th-13th C CE, now in the collection of the Minneapolis Institute of Art.

More information here: 
https://collections.artsmia.org/art/1780/terminal-in-the-form-of-garuda-cambodia

The model in VR / AR is larger than Garuda's actual size (18cm / 7 inches tall).

Terminal in the Form of Garuda, 12th-13th C CE

Kalong Vase, 14th-16th C CE, now in the collection of the Minneapolis Institute of Art. 


More information about the object here:

https://collections.artsmia.org/art/127611/kalong-vase-with-fish-thailand

Kalong Vase, 14th-16th C CE

Bronze Indian Somaskanda, 14th or 15th C CE, now in the collection of the Minneapolis Instutute of Art. 

About 60cm x 70cm x 30cm (23 x 26 x 13 inches)

From its description on artsmia.org:

*'Shiva and his wife Uma sit next to each other on double lotus pedestals, between them a residual remnant of their small child, Skanda, now missing from the magnificent bronze. The standard format—known as Somaskanda—arose as early as the 6th century in temples from Tamil Nadu, and remains Shiva’s main manifest form today. In south Indian temples, bronze images play a huge role in devotional practice, where they are treated as living embodiments of the gods. The holes in the base indicate that this particular bronze would have been carried in processions outside the temple grounds.'*

More information:
https://collections.artsmia.org/art/6224/somaskanda-india

Somaskanda, 14th or 15th C CE

Bronze Shiva Nataraja (Lord of the Dance), circa 1100 CE, now in the collection of the Minneapolis Institute of Art.


(This scan is from after Shiva's fall 2020 conservation.)


From artsmia.org: 
*‘The Hindu god Shiva appears in several incarnations. Here, Shiva appears as Nataraja, or Lord of the Dance. He raises his left foot in a graceful dance pose. In his upper right hand, Nataraja holds a drum, the sound of which manifests creation. The flame that he holds in his upper left hand symbolizes destruction. Together, they symbolize the creation and destruction of the cosmic universe. The posture of the icon’s lower left and right palms signifies protection. The foot that rests on the demon’s back symbolizes the elimination of ignorance, while the raised left foot signifies salvation. A now missing ring of fire, symbolic of the simultaneous and continuous creation and destruction of the universe, would have encircled the bronze icon.’*


More: 
https://collections.artsmia.org/art/376/shiva-nataraja-india

Shiva Nataraja (after conservation), c. 1100 CE

12th-11th Century BCE Gui (food vessel) in the collection of the Minneapolis Institute of Art.

From the object's description on artsmia.org:
"Stylized animal motifs predominate Shang bronze decor. The dragon, snake, cicada, ram, owl, tiger and even elephant can all be found. These creatures were almost always subordinate to the taotie mask which typically dominates the largest or most important register of nearly all Shang bronzes. This exquisite food bowl has three such masks clearly cast in high relief encircling its cauldron. Below each mask, in the foot band, are two confronting dragons shown in profile, while four similar dragons appear above each mask in the top decorative band..."

More information:
http://collections.artsmia.org/art/833/food-vessel-yu-china

Made with a few hundred 20MP photos, built in PhotoScan.

Contact permissions@artsmia.org for a higher-res file.

Here's the STL of the object on Thingiverse:

http://www.thingiverse.com/thing:1561311

Gui (Chinese food vessel)

Vietnamese Bottle Vase (Yu-hu chun), late 15th century CE, now in the collection of the Minneapolis Institute of Art.


From the vase's descrption on artsmia.org:

*'The inspiration for Vietnamese blue-and-white wares was derived from China. The Vietnamese potters were more than mere copyists, however, and they developed a wide range of decorative motifs including peonies, lotuses, birds, flowers, animals, fish, and even landscapes. This elegant pear-shaped bottle is closely related to Chinese prototypes both in shape and decoration. The floral panels painted in underglaze blue are set against a wave background. Cloud whirls adorn the neck, plantain leaves appear below the rim, and lotus leaf lappets encircle the base.'*


More information about the vase here:

https://collections.artsmia.org/art/102199/bottle-vase-vietnam

Vietnamese Bottle Vase (Yu-hu chun), 15th C CE

Bronze Ding food vessel, 12th C BCE, now in the collection of the Minneapolis Institute of Art.

More information about the object here:

https://collections.artsmia.org/art/862/ding-food-vessel-china

Ding food vessel, 12th C BCE

Sandalwood, lacquer, and gold Chinese Amoghasiddhi Buddha, 1403 - 1424 CE, now in the collection of the Minneapolis Institute of Art.

From the sculpture's description on artsmia.org:

*'Amoghasiddhi is one of a group of five buddhas that embody five distinct types of wisdom and are thus sometimes called the “Five Wisdom Buddhas.” Of the five, who are believed to occupy the four cardinal directions and an immovable central direction, Amoghasiddhi occupies the northern position. He is an embodiment of the “Wisdom of Unrestricted Activity,” which enables one to save living beings on the path toward salvation using individualized means. Amoghasiddhi’s emblem, the double thunderbolt (vishvavajra), decorates the bottom of this sculpture... X-ray analysis has revealed what appear to be a roll of paper, a small bead or pearl, and a glass vial within a compartment inside this small statue.'* 

More information about the sculpture here:
https://collections.artsmia.org/art/31240/amoghasiddhi-buddha-china

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