Free 8K model of a vintage Chinese wooden commode with ornate carvings, round brass hardware and warm aged patina - traditional cabinet.

Chinese Commode

Free 8K model of a vintage Chinese wooden console table with ornate carvings and traditional Asian styling; antique patina, ideal for period interiors.

Chinese Console Table

Chiesa San Pietro - Backside Facade  (Tuscania - VT)
San Pietro is a Romanesque and Gothic-style, Roman Catholic church just outside Tuscania, province of Viterbo, region of Lazio, Italy.
Facade of the church
The façade has a large rose window, decked with mosaics, hedged at the corners by the symbols of the four evangelists, and flanked by reliefs with elaborate carvings of plants, menagerie of animals, and a complex iconography of saints and figures of the old testament.
Below is a loggietta and on the ground is a sculpted main portal with a large rounded arch. The nave is flanked by rounded Romanesque arches and leads to a presbytery with a Ciborium for main altar. The presbytery has a geometric mosaic floor. The crypt has gothic tracery.
wikipedia

coordinates: 42.412855, 11.878552

photogrammetry: 55 photos

Chiesa San Pietro - Backside  (Tuscania) RAWscan

Traditional_carvings_on_Chinese_city_walls

Sailing ships were often bestowed with elaborate carvings and this wooden cat once adorned the famous 'Cutty Sark'. The ship was actually built in Dumbarton, on site currently occupying Scottish Maritime Museum building.

A cathead is a large wooden beam located on either bow of a sailing ship, and angled outward at rougly 45 degrees. The beam is used to support the ship’s anchor when weighing or lowering it. Many had a cat’s or lion’s head carved on the seaward beam end.

This little cat was a donation from the 'Cutty Sark' Trust and is the carved end of one of the ship’s original catheads. The beams were removed as part of restoration work, with the Museum receiving the donation in 1987.

Model created as a part of 'Scanning The Horizon' 3D digitisation project at the Scottish Maritime Museum.

Cat's head from the Cutty Sark

Though there are inscriptions dating to the 1160s, the main church was built in 1215 under the auspices of the brothers Zakare and Ivane (of the Zakarid-Mkhargrzeli family), the generals of Queen Tamar of Georgia, who took back most of Armenia from the Turks. The southern facade of the Katoghike has a portal with fine carvings. The tympanum is decorated with a representation of trees with pomegranates hanging from their branches, and of leaves intertwining with grapes. The pictures of doves are placed between the arch and the outside frame; the doves’ heads are turned to the axis of the portal. Above the portal is carved a lion attacking an ox, symbolizing the prince's power. - https://en.wikipedia.org/wiki/Geghard

Images captured with a Sony A7rii and reconstructed with RealityCapture. Model is scaled 1:1.

Geghard Monastery - Portal of Katoghike Church

Antique Chinese Carved Canopy Bed

The red stone carvings in front of the Chishui Waterfall Scenic Area in Guizhou,

Red_Stone_Sculpture

This photogrammetry scan of the central entrance to Lichfield Cathedral was taken using a Nikon Z6ii camera with a 20mm wide angle lens. The scan consists of 54 photos and captures the intricate details of the entrance’s architecture. The Lichfield Cathedral is a medieval cathedral located in Lichfield, Staffordshire, UK. It is known for its stunning architecture and rich history. The central entrance is one of the most striking features of the cathedral and is adorned with intricate carvings and sculptures.

Central Entrance to Lichfield Cathedral

A concentration of carvings on the Langdale Boulders, near Pike O'Stickle. Very slippy mud, so apologies for limited viewing angles.

Copt Howe

The **Ancient Dragon House** is a masterpiece of traditional Japanese architecture blended with mystical anime aesthetics. This "Old Type" residence features weathered timber frames and classic sliding doors, but its most striking feature is the sweeping roof, almost entirely reclaimed by **lush green leaves and hanging vines**.

According to legend, the house is protected by a dragon spirit, evidenced by the intricate stone carvings winding around the pillars and the dragon-shaped gables. Designed with a vibrant, hand-painted anime style, this environment feels like a hidden sanctuary from a fantasy film—where nature, ancient tradition, and magic coexist in perfect harmony.

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**Would you like me to generate the image of this house now so you can see the leaves and dragon details?**

Fantasy+dragon+3d+model

This portion of Rock 6 at Luine demonstates the huge timespan of the tradition of rock engraving in Valcamonica.  There are the faint lines of Epipaleolithic animal carvings; these heavily overlain by possibly Neolithic/Bronze Age cup marks & occasional rings, and 1st Century BC alphabetic inscriptions, Roman age numerals and finally, a possibly Christian era cross (refer to the annotations on the model).  This represents nearly 9000 years of human creative activity on and around this site.

Valcamonica, Luine - Rock 6 (4)

Rock 5 is covered with many carvings, but these are clustered within a number of discrete areas which are separated by the natural folds and undulations of the surface.  Here, there is a nice group of duelling, square-bodied warrior dated to the Late Iron-Age.

Valcamonica, Bedolina - Rock 5 (2)

This rock was long known by local inhabitants as the 'Puppet Stone' in reference to the carvings upon it.  The main facing containing most of the engravings is badly damaged, especially the lower part, which remained underground for a long time.

To date over 150 engravings have been identified, including many animals, a dagger and a ploughing scene.  The animals include; stags with large antlers, fawns, chamois with short, hooked horns, ibex with backward-fgacing horns and swine (wild boars & pigs).  The canids, depicted in groups with downward-pointing tails, are interpreted as a pack of wolves.  The cattle, without horns or tails, may represent young oxen or cows grazing.

The presence of daggers which closely resemble finds from the graveyard of Remedello Sotto, dates most of the figures to 2900-2500 BC.  A few animals depicted in a dynamic style, similar to that of figures on the Cemmo 3 & 4 stelae, may be attributed to the Bell Beaker Culture (2500-2200 BC).

Valcamonica, Massi di Cemmo - Boulder 1

This 3D model is a magnificent battle axe carved entirely out of shimmering blue ice. Sharp icicles hang from the bottom of the blade and the base of the handle, making it look incredibly cold. Detailed carvings and frozen layers give the weapon a magical appearance that would be perfect for a winter hero.

Iceaxe

This is the second 3D model of the 'Great Animal' on Rock 6 at Luine.  The other (Model Luine - Rock 6 (1)), was made from photos taken in July 2025 when viewing conditions were not at all ideal due to the strong overhead sun.  The photos on this model were taken on my second visit in November 2025, when the sun was less intense and striking the carved surfaces at a more oblique angle.  

Rock 6 has over 50 square metres of widely differing carvings from many periods.  The Great Animal is The earliest of the carvings here, and one of the earliest in Valcamonica.  The figure is generally agreed to be an elk, wounded by thrown weapons.  It is thought to date at the latest from the sixth millennium BC - elks became extinct in Valcamonica around this time.  Its collar must be considered a later 'add-on.' There are six other, much less well defined, epipaleolithic animal figures identified on Rock 6 but this example is the most visible.  The other animal figures are mostly elks but one or two may be goats.

Valcamonica, Luine - 'Great Animal' Rock 6 (3)

Rock Varvings recording the travels of the royal family.

The Cheonjeon-ri Petroglyphs are located along the Daegokcheon river at Cheonjeon-ri in Ulsan. Silla royal family members visited the area in 525 and 539 and left a record of it on the rock that is approximately 2.7m in height, and 9.5m in width. They referred to the valley as Seoseokgok and included the names of those who visited the valley. This is a good example of how Silla recorded events an the time.

Rock Carvings - Gyeongju National Museum | KOREA

The [**Piccolomini Altar**](https://en.wikipedia.org/wiki/Piccolomini_Altarpiece) in the Siena Cathedral is an elaborate Renaissance marble structure commissioned by Francesco Todeschini Piccolomini, later Pope Pius III. Designed in the late 15th century and attributed to Andrea Bregno, the altar resembles a miniature architectural façade, featuring niches, pilasters, and finely detailed relief carvings.

It was intended to house a series of statues, some of which were sculpted by a young Michelangelo, marking an important early stage in his career. The central niche contains a small devotional image above a simple altar table, creating a focal point for worship.

The altar combines Renaissance balance and symmetry with rich ornamentation, reflecting both religious devotion and the prestige of the Piccolomini family. Today, it stands as a significant artistic and historical feature within the cathedral interior.

Siena - Duomo Piccolomini Altar (Scaniverse)

Rock 12, the is the largest area of exposed bedrock at Seradina and, with its hundreds of carvings, constitutes an exceptional window on the world of the Iron Age Valcamonica tribes.

The wide surface is one of the most important and well-known in the whole of Valcamonica rock art and is marked by themes which make it unique in the context of the local Iron Age.

On this small section of Rock 12, a there is a row of relatively small armed warriors who, with their arms aloft, appear to be paying some sort of tribute to a much large, animated, human figure above, who is armed with a shield and long spear.

Valcamonica, Seradina 1 - Rock 12 (5)

Rock 12, the is the largest area of exposed bedrock at Seradina and, with its hundreds of carvings, constitutes an exceptional window on the world of the Iron Age Valcamonica tribes.

The wide surface is one of the most important and well-known in the whole of Valcamonica rock art and is marked by themes which make it unique in the context of the local Iron Age.

The bottom section of Rock 12 comprises warriors (including duels) and horsemen, but it is dominated by an unusual composition of several unarmed humans with their arms pointing downwards.  This is a gesture towards the Earth, unlike the 'praying men' who hold their arms up  as if addressing the sky.

a human figure  larger than the others is positioned in the centre of the composition, His power, which has nothing to do with weapons, is emphasosed by his large hands, large feet and clearly visible gender.  The exceptional elements indicate him as a possible deity, shaman or ancestor-spirit (early Iron Age).

Valcamonica, Seradina 1 - Rock 12 (2)

Rock 12, the is the largest area of exposed bedrock at Seradina and, with its hundreds of carvings, constitutes an exceptional window on the world of the Iron Age Valcamonica tribes.

The wide surface is one of the most important and well-known in the whole of Valcamonica rock art and is marked by themes which make it unique in the context of the local Iron Age.

The six ploughing scenes identified on this rock can be interpreted as an Iron Age revival of a theme already present two thousand years before.  Here, yoked horses are depicted. replacing the previous oxen of Neolithic and Bronze Age carvings.  

The plough teams are almost always led by someone with a hoe and sometimes followed by erotic scenes.  The symbolic value of this kind of representation is associated with fertility and fertility rites.

Valcamonica, Seradina 1 - Rock 12 (1)

For production-ready use, we recommend downloading the source format.The viewer version is intended for web viewing only. In the Original format, the following are fully preserved:✔ full scene structure✔ all materials without simplification✔ proper texture maps✔ correct object namesIf you plan to use this model in production, download the source file.Prunkspie is a German noun denoting a decorative often ornate staff or spear carried by nobles and knights in the Middle Ages. The skewer served less as a weapon and more as a status symbol and sign of power. Often ceremonial skewers were adorned with precious stones gold or silver fittings and ornate carvings. Nowadays pompous skewers are mainly shown at historical festivals and parades.

Prunkspie

A detailed Gothic-style cabinet featuring elegant arches, ornate carvings, and a classic medieval design. This 3D model captures the dark, dramatic aesthetic of Gothic architecture, making it ideal for historical environments, fantasy scenes, interior visualizations, and game development projects. Carefully crafted geometry and balanced proportions ensure it fits well in both real-time applications and high-quality renders.

Gothic Cabinet 01

This relatively small rock is mostly decorated with carvings from the Copper & Bronze Ages.  Its surface is densely engraved with images of weapons, mainly daggers, in use in the Copper Age (3300-2200 BC) and the First Bronze Age (2200-1800 BC). 

Actual copper daggers, with a triangular blade & half-round pommel, like these have been discovered during archaeological excavations in the big Copper Age cemetery found in Remedello at the end of the nineteenth century.  

Other daggers show stretched and elongated blades, a type more common during the Bronze Age.  On the left, two fighting warriors have been date to within the late Bronze Age, about 1200-1000 BC.

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