Stilll Left Handed Mandalorian
Reworked Texture

**Model by:** [Spaehling](https://sketchfab.com/spaehling)

**Website:** https://www.grip420.com/

**Discord:** [Follow us on Discord](https://discord.gg/vCaxW8F)

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Mandalorian - Star Wars

Repositorio de modelos 3D de Ddiaz Design

![](https://i.pinimg.com/originals/79/f8/19/79f819d83daef1843134d9db2a6ccef1.jpg)

The Volkswagen Golf GTI was unveiled in 1975 at the Frankfurt Motor Show. The UK market had to wait a further two years for vehicles to arrive - 1977 saw 34 examples, all of them left hand drive, sold in the GTI's first tentative year.

The GTI was powered by a 1,588 cc four cylinder engine with K-Jetronic fuel injection it developed 110 PS at 6,100 rpm and 103 lbs ft of torque at 5,000 rpm. This allowed the GTI, which weighed 810 kg unladen, to hit 60 mph from standstill in nine-seconds before reaching a top speed of 110 mph.

Instagram del proyecto: https://www.instagram.com/ddiaz.design/

Paypal Donations: https://paypal.me/sergiodd

Based on a Need For Speed Heat 3d model

Credits: https://www.facebook.com/p/GM25-100042237200164/

1976 Volkswagen Golf GTI Mk1

An 18th century bronze statue believed to be of the Roman Emperor Trajan (mistakenly referred to as Julius Ceasar by several excited tourists who stopped for a selfie opportunity, and did not read the plaque).  it is situated next to a section of the London Wall near of the Tower Hill underground station. 

Better photography focussing on the whole right arm and left hand would most likely have produced a better end result.


Model was created from 269 photos (probably could of taken more) shot with a Nikon D5300 (using a 18-55mm kit lens) and aligned on High in Agisoft (using medium level dense cloud).

Plaque Reads:

STATUE BELIEVED TO BE OF THE ROMAN EMPEROR TRAJAN / A.D. 98–117 

IMPERATOR CAESAR NERVA TRAJANUS AUGUSTUS

PRESENTED BY THE TOWER HILL IMPROVEMENT TRUST AT THE 

REQUEST OF THE REVEREND P.B. CLAYTON , CH.MC.DD. 

FOUNDER PADRE OF TOC H

Statue of Emperor Trajan (Tower Hill, London)

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.

For more updates, please consider to follow me on Twitter at @GeoffreyMarchal.

Aphrodite

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

Grave figure in the form of an angel at the Vienna Central Cemetery. The female angel has her right hand raised, in her left hand is a palm branch as a symbol of eternal life.

Grabfigur

Cemetery Angel scanned at the Trinity Cemetery in Ft. Worth.

This was processed using RealityCapture from 255 photographs. Shot using a Canon 6D with a 50mm lens, ISO 800, 1/125 sec at f/13.

You can see a flyover video of the model, with mesh, dense cloud and source photos here: https://youtu.be/ur-6IXnMeos

For some reason the some of the source photographs do not appear in the upper left hand corner of the video. This is a glitch on software end of things.

Cemetery Angel - Frances

"Assyrian kings ruled the world's largest empire prior to the rise of Persia in the 6th century bc, consolidating lands from Iran to Egypt [...] Masterfully executed with incised details and exaggerated musculature, this giant, fierce, protective spirit raises his right hand in a ritual salute. His left hand grasps a branch bearing rosettes, perhaps a stylized date palm. Across the center of the relief are inscribed lines of Akkadian cuneiform recounting military victories, conquests, plundered loot, and the reconstruction of the city. Destroyed in 612 bc, the palace lay buried for 24 centuries until rediscovered in 1845."

Neo-Assyrian, Iraq, Nimrud, Northwest Palace, reign of Ashurnasirpal II, 9th Century BC

Gypsum, Overall: 229.9 x 137 cm (90 1/2 x 53 7/8 in). Purchase from the J. H. Wade Fund 1943.246

Location: 102A Ancient Near East

Online musuem record:
https://www.clevelandart.org/art/1943.246

Photogrammetry by Thomas Flynn

1943.246 Saluting Protective Spirit, 883-859 BC

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

"La Manola" is the colloquial name for a sculptural fountain made of cast iron, approximately 3.20 meters high, located in the central area of the Parterre gardens, in the vicinity of the church of Santa María in the town of Daimiel (Ciudad Real, Spain). This composition was manufactured in the Mac Naughtan Bros foundry in the city of Glasgow based in Valencia, being installed in Daimiel in 1891.

The figure represents an upright young woman with her head slightly tilted to the right side of her. She is half-naked, dressed only by a cloth that partially covers her body. She presents her hair gathered and ornamented with a flowery crown. On her right shoulder he carries a cornucopia, while in her left hand he holds a bouquet of various flowers. The sculpture sits on a wide open-profile cup, decorated on its external face by bearded male masks. The iconographic attributes of her infer, although with a certain stylistic uncertainty, that she could represent the goddess Fortuna of the Roman world.

Sculptural fountain La Manola (1)

This is a 3D model of a post-antique marble statue by Bertel Thorvaldsen in The Royal Collection of Paintings and Sculptures at the Statens Museum for Kunst, in Copenhagen,  Denmark. The statue depicts Venus (Aphrodite), the Roman goddess of love, holding an apple. This apple represents the prize in the myth [The Judgment of Paris](www.theoi.com/Olympios/JudgementParis.html). The contrapposto figure looks down at the apple in her right hand. The left hand holds a cloth and rests upon a tree trunk.

**Bibliography:** [Statens Museum for Kunst](https://collection.smk.dk/#/en/detail/KMS6004)

# Ancient World 3D
This model posting is part of [Ancient World 3D](https://exhibits.ulib.iupui.edu/aw3d/items/show/11), a project that provides curated 3D open access conteforClassical Studies. The [original model was posted by Statens Museum for Kunst](https://mmf.io/o/104928). This entry was composed by Rachel Moore (Dr. Elizabeth Thill, advisor, Cheyenne Eversole, curator).

100.DB.11 Venus Apple Thorvaldsen

The caduceus is the staff carried by Hermes in Greek mythology and consequently by Hermes Trismegistus in Greco-Egyptian mythology. The same staff was also borne by heralds in general, for example by Iris, the messenger of Hera. It is a short staff entwined by two serpents, sometimes surmounted by wings. In Roman iconography, it was often depicted being carried in the left hand of Mercury, the messenger of the gods, guide of the dead, and protector of merchants, shepherds, gamblers, liars, and thieves.

https://en.wikipedia.org/wiki/Caduceus

Old Caduceus statuette

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

Female figure made of sandstone with long hair and cape. The head is lowered, a flower in the left hand, the right raised to the face. The statue is part of the war memorial erected in 1924 at the Hollabrunn cemetery. The artist was Theodor von Charlemont.

Kriegerdenkmal

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

Scanned at the British Museum

Plaque Reads:

"On the second lintel from Structure 23 at Yaxchilan, the sacrificial offering of blood conjures up a visionary manifestation of Yat-Balam, founding ancestor of the dynasty of Yaxchilan. In the guise of a warrior grasping a spear and shield, this ancestral spirit emerges from the gaping front jaws of a huge double-headed serpent rearing above Lady Xoc. She gazes upward at the apparition she has brought forth. In her left hand she bears a blood-letting bowl containing instruments of sacrifice, a sting-ray spine and an obsidian lancet."

Mayan Lintal (~ AD 725)

Grave figure in the shape of an angel at the Evangelical Cemetery in the 10th district of Vienna. The female angel kneeling with one leg, the lowered head resting on the upturned torch. In her left hand a wreath of flowers.

The Hygieia Fountain is a lead-cast statue fountain created by Johann Martin Fischer and erected in 1787 at public expense. It stands in the forecourt of the Josephinum (9th District, Währinger Straße 25).

The depiction of the goddess Hygieia—symbol of health—directly reflects the function of the building behind it, constructed between 1783 and 1785 as a training institution for physicians and military doctors and today housing, among other facilities, the Institute and Museum for the History of Medicine.

The central figure is a calm, classically inspired female statue dressed in antique-style drapery, standing on a high pedestal. In her left hand she holds a bowl from which a snake drinks, while another snake coils around her right arm—traditional attributes of Hygieia. The pedestal and octagonal basin are made of stone, while the basin railing and water spouts, designed as Medusa heads, are crafted from metal.

https://www.geschichtewiki.wien.gv.at/Hygieiabrunnen
Located at
Van-Swieten-Gasse 3, 1090 Wien

Hygieia Fountain

The Bilton 4 stone, reproduced as a coloured polynomial texture map. Because of the much damaged and truncated nature of this piece of carving, the entry in to The Corpus of Anglo-Saxon Stone Sculpture is a little uncertain as to the correct interpretation, but suggests a representation of Adam and Eve in the Garden of Eden. 
https://chacklepie.com/ascorpus/catvol8.php...
The Corpus draws a parallel with a stone fragment at All Saint's Church, Barwick in Elmet, where the interpretation is clearer 
(See: https://chacklepie.com/ascorpus/catvol8.php... )
Although much damaged, the left hand figure, to my eye, appears stockier in build as compared to that on the right, which appears more gracile - particularly at the waist. Given the similarities to the stone at Barwick, it seems entirely reasonable that this interpretation is the most likely.

Bilton 4

Anthropomorphic whistle  in the shape of a standing woman holding, with her right arm a wide-brimmed hat with decorated edge. In her left hand, she holds a round fan with a cylindrical handle and a spiked rim, which she points downward. She wears a skirt, leaving her bust exposed, simple jewelry, and wears her long hair combed down the middle. A very interesting feature is the facial decoration, with designs on the cheeks achieved using the scarring or excoriation technique, which consists of making incisions in the skin that, when healed, leave marks or raised designs, especially if the skin is keloid. In some cases, to enhance the relief, pebbles or other objects were placed under the raised skin, like inlays.

 IDAEH Cultural Property No.  16.2.5.0918
 
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

Woman holding a hat

小皮埃爾·勒格羅創作的《聖巴多羅買》雕像（約1703–1712年）位於羅馬拉特朗聖若望大殿。這尊高約4.25米的大理石雕像是教宗克勉十一世委託製作的十二宗徒巨型雕像系列之一，由教宗司庫洛倫佐·科爾西尼贊助。雕像展現了這位因被剝皮而殉道的宗徒：他左手持剝皮刀，雙手捧著自己被剝下的皮膚。其風格融合了巴洛克的戲劇性與古典的克制，是該系列中的重要作品。

The Statue of St Bartholomewby Pierre Le Gros the Younger (c. 1703–1712) is housed in the Archbasilica of St. John Lateran in Rome. This approximately 4.25-meter marble statue was part of Pope Clement XI's commission for twelve colossal apostle figures, sponsored by the pope's treasurer Lorenzo Corsini. It depicts the apostle who was martyred by flaying: he holds a flaying knife in his left hand and his own flayed skin in both hands. The work blends Baroque drama with classical restraint, making it a significant piece within the series.

聖巴多羅買像 St Bartholomew in Laterano, Rome

畢婆伽羅是京都三十三間堂內守護千手觀音的「二十八部眾」之一，與鳩槃荼同為「天龍八部眾」護法神。此尊國寶雕像創作於鎌倉時代，像高164釐米，為金銅鑄造。其形象為威武的武士立姿，頭戴火焰背光寶冠，面容忿怒，身著細膩的甲胄與飄逸天衣。根據圖像所示，雕像右手置於身側；左手則呈握拳或持物狀，其法器現已缺失。​ 整體姿態威嚴穩健，足踏岩座，展現了鎌倉時代護法神像的典型風格。

The statue of Vibhakara (Mahoraga) is one of the Twenty-Eight Deva Guardians protecting the Thousand-Armed Kannon at Sanjūsangen-dō, revered alongside Kumbhāṇḍa as a protector deity among the “Eight Legions.” This National Treasure, cast in gilt bronze during the Kamakura period, stands 164 cm tall. Depicted as a formidable warrior in a standing pose, it wears a crown with a flaming mandorla, an angry expression, and detailed armor with flowing celestial robes. Based on the provided image, the statue's right hand is resting at its side; its left hand is clenched or posed as if holding a ritual object, which is now missing.​ Standing firmly on a rock base, its dignified posture exemplifies the classical style of Kamakura-period guardian sculpture.

京都三十三間堂二十八部眾-No.24畢婆伽羅

Zoomorphic ocarina, with the image of a spider monkey seated and with hits legs bent, with the left hand resting on the knee. The figure wears a twisted fabric as necklace and oversized elongated ear pendants. As an instrument it has 3 chambers, with a blow chamber in the upper section. The mouthpiece of direct blow, on top of the head, makes it look bulgy. It has 2 tone holes (one on the front and two on the back (Rodens et al, 2013: 134)
 IDAEH Cultural Property No. 1.2.144.0615
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: 323

Ocarina with the shape of a Monkey

毘沙門天是京都三十三間堂的國寶雕像，創作於鎌倉時代，像高161厘米。其身份為四天王之多聞天，是守護北方的戰神與福德之神。雕像的顯著特徵是左手持握象徵勝利與福德的寶塔，通常身披鎧甲，呈現威武的武士護法形象，體現了鎌倉時代佛教護法神像的雄健風格與精湛工藝。

The statue of Vaiśravaṇa (Bishamonten) at Sanjūsangendō is a National Treasure​ from the Kamakura period, standing 161 cm tall. As Vaiśravaṇa, the Heavenly King of the North​ among the Four Heavenly Kings, he is revered as a god of victory and fortune. The statue's defining attribute is the jeweled pagoda held in its left hand, symbolizing triumph and blessings. Typically depicted in armor as a majestic warrior-guardian, it exemplifies the robust style and masterful craftsmanship of Kamakura-period Buddhist guardian deity sculptures.

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