From the Temple of Bastet, Bubastis, Egypt 12th Dynasty, around 1800 BC. From a colossal statue in a temple.

Scan by Thomas Flynn using a Sony DSC HX5 and 123D Catch

Granite head of Amenemhat III

Lion Crushing a Serpent (1832)
by Antoine-Louis Barye (1796 - 1875)

Although his contemporaries criticized his style and his choice of animal subjects, Barye is today esteemed as the founder of the Parisian animaliers.
The noble lion, representing the new King and the people of France, is shown in a triumphant struggle against the serpent, symbolizing Charles X (reigned 1824–1830) and the ousted Bourbon dynasty. The pair additionally suggests a celestial sanction for Louis-Philippe’s reign by alluding to the constellations of Leo (the lion) and Hydra (the sea serpent), which “ruled the heavens” during the days of the July Revolution (July 27-30, 1830).

![](http://rigsters.com/sketchfab_img/lion_preview.jpg)

The scanned sculpture is a copy made by Guy Hain, who is a French art forger who produced number of fake bronze sculptures.
The Lion is located by the entrance of Ny Carlsberg Glyptotek in Copenhagen.

Lion Crushing a Serpent

From the mortuary temple of Amenhotep III, Thebes, Egypt 18th Dynasty, about 1350 BC.

Scan by Thomas Flynn using a Sony DSC HX5 and 123D Catch.

Seated statue of Amenhotep III

The Ming Great Wall (明長城; Ming changcheng), built by the Ming dynasty (1368–1644), forms the most visible parts of the Great Wall of China today. A comprehensive archaeological survey, using advanced technologies, has concluded that the Ming walls measure 8,850 km (5,500 mi) from Jiayu Pass in the west to the sea in Shanhai Pass, then looping over to terminate in Manchuria at the Hushan Great Wall.

See https://skfb.ly/RBvT for tower detail.

Great Wall survey

Egypt (Thebes)

Dynasty 22, 945–712 BC

Painted wood

Gift of Theodore M. Davis 

Harvard  Museum of the Ancient Near East 1902.50.9

Ankh-khonsu was a doorkeeper in the Temple of Amun-Re at Karnak. He inherited his position from his father Ankh-en-amun. His brightly painted coffin lid is covered with images of protective deities. Particularly prominent are winged scarab (dung) beetles, symbols of rebirth. One sits on Ankh-khonsu’s head and encircles his face with its wings. A second scarab covers his chest. Both scarabs hold a shen hieroglyph, symbol of eternity, with their hind legs in place of a dung ball. Offering spells including Ankhkhonsu’s name are written on the outside of his coffin. Traces of resins (now black) and water poured over it during his funeral are visible on the top and sides of the coffin.

Photogrammetry by Peter Der Manuelian

3D modeling by Mohamed Abdelaziz, Indiana University, Egyptology

This model is for educational, non-commercial use only

Coffin of Ankh-Khonsu

Ellora is a UNESCO World Heritage Site located in the Aurangabad district of Maharashtra, India. It is one of the largest rock-cut monastery-temple cave complexes in the world, featuring Hindu, Buddhist and Jain monuments, and artwork, dating from the 600–1000 CE period.Cave 16, in particular, features the largest single monolithic rock excavation in the world, the Kailasha temple, a chariot shaped monument dedicated to Lord Shiva. The Kailasha temple excavation also features sculptures depicting the gods, goddesses and mythologies found in Vaishnavism, Shaktism as well as relief panels summarizing the two major Hindu Epics.

There are over 100 caves at the site, all excavated from the basalt cliffs in the Charanandri HillsAll of the Ellora monuments were built during Hindu dynasties such as the Rashtrakuta dynasty, which constructed part of the Hindu and Buddhist caves, and the Yadava dynasty, which constructed a number of the Jain caves.

Ellora Caves | India

Coffin of Pa-di-mut

Egypt (Thebes, Deir el-Bahari)

Dynasty 22, 945–712 BC

Painted cartonnage (linen and plaster)

Gift of Theodore M. Davis 

Harvard Museum of the Ancient Near East 1901.9.1

-------------------------

Coffin of Mut-iy-iy

Egypt (Thebes)

Dynasty 22, 945–712 BC

Painted wood

Gift of Theodore M. Davis 

Harvard Museum of the Ancient Near East 1902.50.10

-------------------------
Coffin of Ankh-khonsu

Egypt (Thebes)

Dynasty 22, 945–712 BC

Painted wood

Gift of Theodore M. Davis 

Harvard Museum of the Ancient Near East 1902.50.9

-------------------------

Photogrammetry by Peter Der Manuelian

3D modeling by Mohamed Abdelaziz, Indiana University Egyptology

This model is for educational, non-commercial use only.

Coffins of Pa-di-mut, Mut-iy-y, and Ankh-Khonsu

Here is the detail scan. link to the collection https://skfb.ly/oCyDJ 

The product of the popularization of pagodas after they were introduced to China . No longer the role of Buddhist pagodas.

It was produced by combining Chinese culture.
Sightseeing, worship, monument purpose. Chinese pagoda.

Gold represents "阳" (Sun, positive) in Tai Chi.
Red represents righteousness and fairness. It is festive and removes evil spirits.

Eight thick pillars make your heart feel that the building is very stable.
Yes, Chinese architectural wisdom. And Chinese 风水 "Feng Shui".

Historically, Chinese dynasties have always been very large. So they keep trying good management systems to extend the life of the dynasty.

The ancient Chinese understood a truth, "水能载舟,亦能覆舟" means "Water can carry a boat, but it can also overturn it." the water is people.

Therefore, the meaning of Chinese architectural style is stability and solemnity.

"天下太平" Mean "Between the sky and the land all the where,all can peace and stability."

Chinese pagoda

Monastery of Batalha in Portugal or [Santa Maria da Vitória na Batalha](https://en.wikipedia.org/wiki/Batalha,_Portugal) was created to honor Virgin Mary for the victory of the Portuguese over the Castillian crown. 

After the death of Ferdinand I (1383), there was a succession war between Ferdinand's daughter Beatrice, queen of Castile and Ferdinand's half brother, John I. The battle of Aljubarrota was the decisive moment which marked the victory of John, the founding of the Aviz dynasty (1385-1580) and the beginning of military alliance between England and Portugal. This alliance is still active today (800 years old) and was used during the second world war.

The battle was also an important mark in the 100 years war. It was one of the many losses the French suffered. A trend that was changed later by Jeanne d'Arc. 

![](https://upload.wikimedia.org/wikipedia/commons/4/44/Batalha_monastery.jpg)

Monastery of Batalha

You can copy, modify, and distribute this work, even for commercial purposes, all without asking permission. Learn more about the Cleveland Museum of Art’s Open Access initiative: http://www.clevelandart.org/open-access-faqs

*Head of Amenhotep III Wearing the Blue Crown* (c. 1391-1353 BC). Egypt, New Kingdom, Dynasty 18, reign of Amenhotep III. Granodiorite. Overall: 39.1 x 30.3 x 27.7 cm (15 3/8 x 11 15/16 x 10 7/8 in.) Gift of the Hanna Fund 1952.513

Learn more on The Cleveland Museum of Art's Collection Online
https://www.clevelandart.org/art/1952.513

Photogrammetry by Thomas Flynn

1952.513 Head of Amenhotep III

Granodiorite squatting figure of Roy, High Priest of Amun during the reigns of Ramses II, Merenptah and Sety II, holding a Hathor-headed sistrum before, the dorsal pillar is inscribed with two vertical registers of hieroglyphs - invocations to Amun-Ra and Mut; lower section lost.

19th Dynasty, dating to circa 1220 BC. Found in Thebes, Egypt.

Height: 88 centimetres (Original) Height: 113 centimetres (Restored)

Model by Daniel Pett, made using a Nikon D5100 and Photoscan. The lighting conditions in the gallery where this is displayed make it quite hard to get a good image of the reverse.

British Museum Collection online: http://bit.ly/statueRy 

[Buy a resin cast.](http://www.britishmuseumshoponline.org/invt/cmcr60560)


[![ORCiD](https://img.shields.io/badge/ORCiD-0000--0002--0246--2335-green.svg)](http://orcid.org/0000-0002-0246-2335)
[![DOI](https://zenodo.org/badge/85835385.svg)](https://zenodo.org/badge/latestdoi/85835385)

A statue of Roy, High Priest of Amun

Uthirakosamangai (Tamil: உத்திரகோசமங்கை) is a Shaiva temple situated near Ramanathapuram in the Ramanathapuram district of Tamil Nadu. The temple is believed to be built by the Pandya kings, Achutappa Nayak (1529–1542 A.D.), a Hindu ruler of Thanjavur, Muthuveerappar and other kings of Ramanthapuram districtSethupathy dynasty at various times. The temple has been glorified by the hymns of 9th-century saint Manickavasagar and 15th-century saint Arunagirinathar. <br>
Modélisé à partir d'une vidéo sur Youtube
![](https://upload.wikimedia.org/wikipedia/commons/a/a1/Uthiragosamangai10.jpg)

Uthirakosamangai temple, India

Statue of 4th Dynasty pharaoh Khafre in the Egyptian Museum, Cairo.
Similar, but not identical to the seated statue of Khafre in the Aswan Museum [(https://skfb.ly/6YAWR](https://skfb.ly/6YAWR))

Created from 80 photographs (Canon EOS Rebel T7i, 24MP) using Metashape 1.5.5.

Photographed in January 2020.

Statue of Khafre, Egyptian Museum, Cairo

The coffin ensemble of Taditjaina consists of an outer coffin (inventory no. 150a; approx. 76 x 193 x 73 cm) and an inner one (inventory no. 150b; approx. 43 x 173 x 48 cm). They are possibly from the Theban necropolis, and date back to the beginning of the 26th Dynasty (approx. 664–525 B.C.). Both coffins perfectly fit into one another. The two coffins and the mummy of lady Taditjaina were a gift to the Württembergian royal house from the German consul to Alexandria, Mr. von Dumreicher, between 1820 and 1830. They were later given to the University of Tübingen in 1911. The wooden coffins are white stuccoed, and have polychrome scenes, painted red, black, blue, dark green and yellow. The inscriptions of the coffins contain various scenes and texts from the ancient Egyptian Book of the Dead—a guide for the afterlife. The texts should guarantee the continued existence and provision of Taditjaina, the lady of the house, the noble one, in the Netherworld.

(inventory no. 150a–b)

Coffin Ensemble of Taditjaina

Stone lion is a common object to ward off evil spirits in Chinese traditional culture. It is a sculpture with artistic value and ornamental value that stone is used as raw material to carve the image of lion. The earliest stone lion is in front of the tomb of Gaoyi in the Eastern Han Dynasty. It is a kind of decoration often used in traditional Chinese architecture. It can be seen on Chinese palaces, temples, pagodas, bridges, mansions, gardens, mausoleums and buttons. But more often, stone lions are a pair of lions placed on the left and right sides of the gate.

Stone lion

EA520: An 18th Dynasty granodiorite statue of Sekhmet, standing, with papyrus-staff before, base and arms missing or damaged.

Height: 155 centimetres (dorsal pillar) Width: 38 centimetres Depth: 35 centimetres Weight: 500 kilograms (estimated).

This is not on display.

COL: http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=111620&partId=1

Made by Daniel Pett from 337 photographs taken with a Nikon D5100.

Sekhmet

The night variation of Batalha. This model was created using LUTs. 
Monastery of Batalha in Portugal or Santa Maria da Vitória na Batalha was created to honor Virgin Mary for the victory of the Portuguese over the Castillian crown.

After the death of Ferdinand I (1383), there was a succession war between Ferdinand’s daughter Beatrice, queen of Castile and Ferdinand’s half brother, John I. The battle of Aljubarrota was the decisive moment which marked the victory of John, the founding of the Aviz dynasty (1385-1580) and the beginning of military alliance between England and Portugal. This alliance is still active today (800 years old) and was used during the second world war.

The battle was also an important mark in the 100 years war. It was one of the many losses the French suffered. A trend that was changed later by Jeanne d’Arc.

![](https://upload.wikimedia.org/wikipedia/commons/4/44/Batalha_monastery.jpg)

Monastery of Batalha - Night

An Dinh Palace - Using aerial dataset + lidar

The Complex of Hué Monuments is located within the Thua Thien-Hue Province in the geographical center of Vietnam. Established as the capital of unified Vietnam in 1802, Hue was not only the political but also the cultural and religious center under the Nguyen dynasty until 1945. The Hué Monuments Complex has suffered from the effects of wars, as well as modern development and expanding human settlements.

CyArk 2019: Complex of Hué Monuments - An Dinh Palace - LiDAR - Terrestrial , Photogrammetry - Terrestrial , Photogrammetry - Aerial . Collected by CyArk . Distrubuted by Open Heritage. https://doi.org/10.26301/4z5b-vz23

An Dinh Palace photogrammetry + lidar

Entrance to the Mastaba of Mereruka in the necropolis of Saqqara, Egypt.  Mereruka was a vizer of Egypt during Dynasty VI.

Created from 47 photographs (Canon EOS Rebel T5i, 18MP) using Metashape 1.5.1.  Photographed March 16, 2019.

Tomb of Mereruka, Saqqara Egypt

A city gate from Tang dynasty, nearly collapsed due to lack of maintenance.

Model of the whole fortress: https://skfb.ly/St76

Lost city gate

"Turquoise, brown and dark manganese faience mosaic was common in monumental Seljuq prayer niches. This impressive niche with Qur’anic inscriptions and arabesque and geometric patterns, once belonged to the Bey Hakim Mosque in Konya, Turkey. It was assembled from fragments and restored parts." ~ http://www.discoverislamicart.org/database_item.php?id=object;ISL;de;Mus01;19;en&cp

Name of Object:
Prayer niche (mihrab)

Location:
Berlin, Germany

Holding Museum:
Museum of Islamic Art at the Pergamon Museum

Date of Object:
About Hegira 669 / AD 1270

Museum Inventory Number:
I. 7193

Material(s) / Technique(s):
Glazed ceramic, faience mosaic.

Dimensions:
Height 395 cm, width 280 cm

Period / Dynasty
Seljuqs of Rum (Anatolian Seljuq)

Provenance:
Bey Hakim Mosque, Konya, Turkey.

![](https://i.imgur.com/Uq7BfcQ.jpg)

Prayer niche (mihrab)

Smithsonian source data can be found [here](https://ids.si.edu/ids/media_view?id=3d_package:d8c6393a-4ebc-11ea-b77f-2e728ce88125)

This media file is in the public domain (free of copyright restrictions). You can copy, modify, and distribute this work without contacting the Smithsonian. For more information and to review the 3D disclaimer, visit the Smithsonian’s [Terms of Use](https://www.si.edu/Termsofuse) page.

Baluster vase, from a five-piece garniture (F1980.190-.194)

Medium: Porcelain with cobalt pigment under clear colorless glaze

Dimensions: H x Diam (assembled): 46.3 × 17.2 cm (18 1/4 × 6 3/4 in)

Style: Jingdezhen ware

Type: Ceramic Vessel

Origin:  Jingdezhen, Jiangxi province, China

Date: 1662-1722

Period:  Qing dynasty 

Credit Line:  Gift of Myron S. Falk, Jr. and his sisters, Mrs. Mildred F. Loew and Mrs. Eleanor F. Lenzner

Accession Number: F1980.191a-c
 
EDAN-URL: edanmdm:fsg_F1980.191a-c

Baluster vase, from a five-piece garniture

**Birmingham Museum of Art**

Shiva Nataraja (Lord of Dance)
2013

Artist: Sri Pradakaran, Sri Govindan and Sri Pratiban
Sri Rajan Industries, Tamilnadu, India

This is a bronze sculpture of the Hindu god Shiva in his dancing form of Nataraja (Lord of Dance).  As Nataraja, Shiva performs the Ananda Tandava (dance of bliss), the dance in which the universe is created, maintained, and dissolved.  This sculpture depicts all three of those aspects at once.  Shiva in his role as Nataraja represents the Indian conception of the never-ending cycle of time.  The purpose of this sculpture is to alert the viewer that through belief and devotion to Shiva, one can achieve salvation (or moksha).  Cast in 2013, this sculpture is an example of the centuries-old tradition of the lost-wax casting method perfected during India’s Chola dynasty (c. 850 CE – 1250 CE).

[Click for more info](https://www.artsbma.org/guide/stop/528)

Shiva Nataraja

Smithsonian source data can be found [here](https://ids.si.edu/ids/media_view?id=3d_package:d8c62634-4ebc-11ea-b77f-2e728ce88125)

This media file is in the public domain (free of copyright restrictions). You can copy, modify, and distribute this work without contacting the Smithsonian. For more information and to review the 3D disclaimer, visit the Smithsonian’s [Terms of Use](https://www.si.edu/Termsofuse) page.

Baluster vase, one of three in a five-piece garniture (F1980.190--194)

Medium: Porcelain with cobalt pigment under clear colorless glaze

Dimensions: H x Diam (assembled): 45.5 × 17.1 cm (17 15/16 × 6 3/4 in)

Style: Jingdezhen ware

Type: Ceramic, Vessel

Origin: Jingdezhen, Jiangxi province, China

Date:1662-1722

Period: Qing dynasty

Credit Line: Gift of Myron S. Falk, Jr. and his sisters, Mrs. Mildred F. Loew and Mrs. Eleanor F. Lenzner
    
Accession Number: F1980.192a-c

EDAN-URL: edanmdm:fsg_F1980.192a-c

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