Practice of the emale upper body except for the head. Decimated. Sculpted using Zbrush.

Female Body Gesture Practice

Seated Buddha preaching. Unusually for this hand gesture, the Buddha wears the over-robe on both shoulders with a thick curved neckline, an edge lying below the right forearm, the semi-circle between the legs rather deep and the fall of gathered drapery from the left wrist, where the backthrow may be visible, undulating in high relief to lie splayed and almost flat on the seat. 

Height: 95 centimetres Width: 53 centimetres Diameter: 24 centimetres 
COL: [RRI5353](http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?partId=1&objectId=225497)

Made by Daniel Pett from 49 photographs taken with a Nikon D5100

Buddha Preaching

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

A hand i was working on to get the right gesture, scanned first the hand and the palm wrinkles was the first thing that came out fine of 3DF Zephyr but the fingers not so well, at least served as reference for sculpting, modified a couple of finger's from other model's arround internet, modified and get the pose done quickly as I could.

Hand Gesture1

Wounded Amazon, Rome, 150 A.D., Marble

In Greek art, the Amazons, a mythical race of warrior women from Asia Minor, were often depicted battling such heroes as Herakles, Achilles, and Theseus. This statue represents a refugee from battle who has lost her weapons and bleeds from a wound under her right breast. Her chiton is unfastened at one shoulder and belted at the waist with a makeshift bit of bridle from her horse. Despite her plight, her face shows no sign of pain or fatigue. She leans lightly on a pillar at her left and rests her right arm gracefully on her head in a gesture often used to denote sleep or death. Such emotional restraint was characteristic of classical art of the second half of the fifth century B.C. 

![](http://rigsters.com/sketchfab_img/wounded-amazon-rigsters.jpg)

Wounded Amazon

Etienne-Maurice Falconet, 1757
marble (rock), h 185.0cm × w 47.5cm × d 68.5cm × d 63.5cm

Rijksmuseum Amsterdam
Already in the 18th century this famous sculpture was known by various nicknames, the best known of which was L'Amour Menaçant, ‘menacing love’. The threat is most evident in the Cupid’s knowing gaze, while the gesture he makes invokes us to secrecy. The statue was made for Madame de Pompadour, King Louis XV’s art-loving mistress.
(From museum website)

Seated Cupid - Rijksmuseum

Gilt bronze statuette of Sakyamuni Buddha seated on a lotus throne. The gesture (*mudra*) of the right hand of the Buddha suggests he is preaching the Buddhist law. H. 68 centimeters (base included). Dated late Tang or Five Dynasties (10th century). Excavated from the crypt of the Thunder Peak Pagoda (Leifengta) in Hangzhou, China. Now exhibited at the Zhejiang Provincial Museum Gushan Branch in the same city.![](https://flic.kr/p/23JYekD)

Gilt bronze statuette of Sakyamuni Buddha

Green Tara, 14th-15th century CE, now in the collection of the Minneapolis Institute of Art. 

From the sculpture's description on [artsmia.org](https://collections.artsmia.org/art/31183/green-tara-tibet) :

*Green Tara is one of the most revered female bodhisattvas, a being who postpones enlightenment to assist others on earth. She is the companion of the Cosmic Buddha Amoghasiddhi and equally transmits his gifts to the worshiper. Remarkable for its size and age, this statue is made from pieces of sheet copper—some now missing—that were hammered, formed, and fastened with rivets. The deity’s right hand, opened in the gift- bestowing gesture, would have rested on her right knee. Her left hand once held the stem of a lotus, which blossomed at her shoulder.*

This model has been repaired for Sketchfab sharing - the upper legs are open in the actual sculpture, but closed and textured in this model.

Green Tara, 14th-15th century CE

A small (36cm) wooden monk sculpture in the collection of the Minneapolis Institute of Art.
From the sculpture's description on artsmia.org:
'Shown in the gesture of discourse or expounding the law (vitarka mudra), this monk has been rendered with particular sensitivity and with a minimum of detail. The statue relates closely in size, style and surface condition to four priest statues remaining in Far Eastern temples. Scholarship now shows that the group, once thought to be Japanese in origin, is actually Chinese and that the ultimate stylistic source for the sculpture is rooted in Tang dynasty sculpture (618-907).'

More information about the object here:
https://collections.artsmia.org/art/1473/figure-of-a-monk-china

10th C BCE Chinese monk

Sheev Palpatine, revealed in his true Sith identity as Darth Sidious, stands at the pinnacle of his dark ascension, a master of manipulation and corruption. In a moment of apparent vulnerability, he feigns fear, pleading for his life as his long-concealed power is confronted. Beneath the desperate facade, the cunning of a lifetime of deception simmers; every word is calculated, every gesture a lure. His eyes, dark and piercing, betray the immeasurable cruelty and ambition that have guided him to this moment. Even as danger looms, he exudes a terrifying calm, ready to exploit weakness and turn fate to his will. The galaxy itself seems to tremble before his commanding presence, the embodiment of patience, malice, and the insatiable lust for absolute power.

SWJA Movie Duels: Darth Sidious(Unmasked)

For proper use, we recommend downloading the Original format.The Converted version is intended only for use in the web viewer. In the source file, the following are fully preserved:✔ full scene structure✔ unsimplified materials✔ proper texture maps✔ proper object namingIf you intend to use the asset in a production environment, choose the Original format.This sculpture captures a young boy crouching entirely absorbed in the act of playing perhaps with marbles. His posture the tension in his limbs and the downward gaze all radiate deep concentration and innocence. There is no grandeur here just the simple elegance of an everyday moment. The unadorned physique the natural motion and the quietude expressed in the figure create a striking sense of life within the stone as if time has paused for this one gesture.

Marble Player

For full functionality, we recommend downloading the original file.The converted file is intended for web viewing only. In the Original format, the following are fully preserved:✔ full scene structure✔ unsimplified materials✔ correct PBR texture maps✔ correct object namesIf you plan to use this model in production, choose the Original format.This sculpture seems to capture the very instant before flight. The winged adornments at the feet suggest the breeze itself is lifting the figure while the poised elegant posture embodies movement frozen in time. Tension and grace ripple through the limbs creating a harmony between power and lightness. The extended hand and the focused gaze imply silent speech a gesture toward something just beyond reach. It s a celebration of motion of air of presence that is both here and almost gone a vision of beauty in suspension.

Mercuryigvsf

Stylized 3D character of a middle aged man with a retro and mysterious appearance. He wears a sleeveless argyle sweater over a long sleeved shirt gloves classic pants and formal shoes. His face features a neatly trimmed mustache slicked back hair and a suspicious stern expression that gives him a curious or watchful demeanor. The model is fully rigged with a Blender compatible skeleton including IK Inverse Kinematics constraints for both arms and legs allowing smooth and natural animation for walking running and expressive gestures.

Suspicious Neighbor Rigged

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)

大梵天王是京都三十三間堂内守护千手观音的「二十八部众」护法神之一，为国宝，创作于镰仓时代，像高170厘米。其原型为婆罗门教最高神梵天，后融入佛教成为重要护法神。根据图片所示，雕像为双臂立像，面容庄严，头戴高冠。其右手抬起至胸前，掌心向内，作特定印相或持物姿态（原物或已失）；左手则清晰可见托举一净碗。身披袍服，立于岩座之上，整体风格威严古朴，展现了镰仓时代佛教造像的写实性。

The statue of Great Brahmā is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō. A National Treasure​ from the Kamakura period, it stands 170 cm tall. Its origin is the supreme Hindu deity Brahmā, later adopted into Buddhism. As seen in the image, it is a two-armed standing figure with a solemn expression and a tall crown. Its right hand is raised near the chest, palm inward, forming a specific mudra or gesture (possibly once holding an object now lost), while its left hand clearly supports a bowl. Draped in robes and standing on a rock base, its majestic and archaic style reflects the realism of Kamakura-period Buddhist sculpture.

京都三十三間堂二十八衆-No.16大梵天王

For proper use, we recommend downloading the original file.The converted file is intended for web viewing only. In the source file, the following are fully preserved:✔ original scene hierarchy✔ unsimplified materials✔ correct PBR texture maps✔ correct object namesIf you intend to use the asset in a production environment, choose the source file.Stylized 3D character of a middle aged man with a retro and mysterious appearance. He wears a sleeveless argyle sweater over a long sleeved shirt gloves classic pants and formal shoes. His face features a neatly trimmed mustache slicked back hair and a suspicious stern expression that gives him a curious or watchful demeanor. The model is fully rigged with a Blender compatible skeleton including IK Inverse Kinematics constraints for both arms and legs allowing smooth and natural animation for walking running and expressive gestures.

A high-fidelity 3D scan of a traditional Moroccan Berrad, the centerpiece of the famous tea ceremony. Unlike the polished silver versions used for formal occasions, this model showcases a more rustic, everyday version with a deep natural patina, highlighting its long-term use over open flames or charcoal.

The scan clearly defines the curved spout (essential for pouring tea from a height to create the "crown" of foam), the hinged lid with its characteristic pointed finial, and the heat-resistant handle silhouette. This item represents the heart of social life in the Maghreb, where tea is more than a drink—it’s a gesture of welcome.

Vintage Moroccan "Berrad" Teapot

Dismissing Gesture

Anthropomorphic mold to manufacture figurines, with the negative image of a male character slightly kneeling on his left knee and with his right foot resting on the ground. He holds his right hand in front of his chest in a gesture, with the fingers facing up. With his left hand he holds a conch shell over his shoulder, as if listening to a conch shell or perhaps holding a conch trumpet. The hair is tied up with ribbons and fabric, with a headband decorated with a series of vertical plates above the forehead.  He wears a hip cloth with a knotted belt, hanging earflares with what appear to be animal fangs, wristlets, decorated sandals, and a beaded necklace with a rectangular breastplate. Probably from the Cobán area in Alta Verapaz
 IDAEH Cultural Property No. 16.2.5.0250
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 213

Mold of Man w/ headdress holding conch shell

Is he helping?
Is he judging?
Is he complicit?

Or is he simply… there?

The unseen figure becomes a presence without definition. An awareness without declared intention. Action is postponed. Meaning is suspended. The moment stretches.

At what point does observation become participation?
At what point does inaction become choice?

Perhaps the question is not directed at him at all.
Perhaps it is the quiet inquiry that follows every human gesture.
In the age of spectatorship, perhaps we are all step bro.

So the question lingers:

What are you doing?
What am I doing?
What are any of us doing?

whatareyoudoingstepbro???

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 (3)

This altar offers a look at the royal court of Yaxchilán. At the center, King Itzamnaaj B’ahlam II  sits on a stone throne holding a three-pointed flint weapon. Before him, a warrior in a jaguar-skin cape presents a kneeling captive in a gesture of submission.  On each side, members of the nobility are portrayed carrying skulls on their backs and playing rattles embellished with feathers. The surrounding inscription opens with the date 7 Muluk 17 Yaxk’in (June 14, 764), and dedicates the monument using the verb pehtaj, commonly found on round sculptures. The text names several other individuals.
 IDAEH Cultural Property No.1.2.1.0314
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made using Artec Leo

Altar of Itzamnaaj Bahlam II

The relief depicted on the surrounding wall of the Calvary Church in Köszeg most likely represents a scene from Christ's Way of the Cross. At the center is Jesus Christ, recognizable by the halo around his head, in a posture of fatigue and quiet resignation. He is surrounded by several figures who can be interpreted as Roman soldiers or pursuers, driving him on or harassing him. The animated postures, the sometimes aggressive gestures, and the deeply cut folds of the garments lend the scene a strong dramatic tension and vividly illustrate the suffering of Christ. The richly curved Baroque frame with volutes and ornamental decoration highlights the depiction like a picture field and refers to its devotional function. In conjunction with the other reliefs arranged along the wall, the work is clearly to be understood as part of a closed-ended Way of the Cross on Calvary, which was intended for processions and personal meditation.

Kreuzwegrelief

"Figurine representing a seated woman with her legs crossed in front, in a clear attitude of thinking or with a gesture of melancholy. Her head rests on her right palm, with her arm and elbow resting on her thigh. For this reason she is affectionately nicknamed ""The Thinker."" She wears an off-the-shoulder dress with the bottom edge cut into triangles, a round earflare (the right one), and wide wristbands. The hair is combed with fringes cut in a staggered manner, characteristic of the Classic period in the Usumacinta and Río La Pasión region.
 IDAEH Cultural Property No.  16.2.5.0948
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made using Artec Space Spider"

Asset Library

About These Assets