Back: Relief of the Bodhi tree and an empty dias with Buddhapada on the step, flying celestials above and kneeling worshippers on each side. 

Front: Relief depicting a stūpa with a figure of the Buddha standing at the entrance; about the dome of the stūpa flying celestials, some playing instruments. On the dome are relief panels depicting the Gift of Sujātā, the Conversion of Nanda, the First Sermon, the Great Departure, the Birth of the Buddha and Māyā's Dream.

Height: 124.37 centimetres
Width: 86.25 centimetres
Thickness: 12.5 centimetres
1st Century BC (obverse face) 
3rd Century  (reverse face)

COL entry:  http://bit.ly/2cSDUtK

Produced from 410 full resolution photographs taken by Thomas Flynn with a Canon G7x. Model processed by Daniel Pett.

[![DOI](https://zenodo.org/badge/99800839.svg)](https://zenodo.org/badge/latestdoi/99800839)

Amaravati double-sided relief

The equestrian statue of Marcus Aurelius is a larger-than-life bronze statue of the Roman Emperor Marcus Aurelius. Its original site is unknown, but it may have been part of a triumphal arch on whose attic it stood. According to medieval sources, a small barbarian figure kneeling in front of a horse was part of the statue. The dating of the statue, which was originally completely gilded, is disputed and fluctuates between the years around 165 AD with a reference to the triumph over the Parthians in 166 AD, the 170s with a reference to the Marcomannic Wars and a dating only to the time of Commodus' autocratic rule from 180 AD onwards. 

A cast stands in the city of Tulln an der Donau. The statue is intended as a reminder of the centuries-long presence of the Romans on the Danube border.

![](https://noe-3d.at/SF/reiterstatue01.jpg)

Reiterstatue Marc Aurel

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.

Grabfigur

The ages of love (A426), relief in marble, after the original model from 1824. Thorvaldsen Museum (Copenhagen, Denmark). Made with ReMake and ReCap from Autodesk.

In this relief we see a winged Psyche in the role of distributing small angelic figures known as cupids, symbolizing love. Psyches gives these cupids to women and men, young and old. There is the young woman kneeling in adorationof her cupid. There is the woman who embraces and kisses her cupid, and the woman who has lost interest in hers. There is the man who is too tired to take an interest in his cupid, and there is the old man who reaches out for his, but cannot catch it. The relief is based on a model from classical antiquity.

For more updates, please follow @GeoffreyMarchal on Twitter.

The ages of love

跪射俑是秦始皇陵兵马俑中的精锐弩兵。创作于秦代（约公元前3世纪），高约1.2米。其核心特征为右膝跪地、左膝弓起的待射姿态，双手作持弩状。铠甲下摆因跪姿而上翻，鞋底刻有防滑纹，细节极为写实。采用模塑结合工艺制作，原通体施有彩绘。1974年在陕西临潼与兵马俑一同被偶然发现，多出土于二号坑，是展现秦军实战战术与雕塑艺术的杰作。
English Version
The Kneeling Archer is an elite crossbowman in the Terracotta Army, created in the Qin Dynasty (c. 3rd century BCE), standing about 1.2 meters tall. Its defining feature is a ready-to-shoot pose: kneeling on the right knee with the left raised, hands positioned as if holding a crossbow. The armor's lower edge is folded up to accommodate the posture, and the shoe soles have anti-slip patterns, showing meticulous realism. Made with mold-and-sculpting techniques​ and originally painted, it was accidentally discovered in 1974​ in Lintong, Shaanxi, mostly in Pit No. 2. It is a masterpiece showcasing Qin military tactics and sculptural art.

跪射俑 Kneeling Terracotta Archer Figure

The statue of Saint Peter stands at the entrance to the Calvary Church in Kőszeg and dates from the 18th century. It is part of the Baroque tradition of the Stations of the Cross.

The saint is depicted in a humble, kneeling posture. His hands are folded in front of his chest, suggesting prayer or repentance. His gaze is directed slightly upward, as if he were turning to God. He wears a simple, flowing robe that falls in soft folds over his body. Particularly striking are the keys at the base of the statue—a classic symbol of Peter. They represent the “keys to the Kingdom of Heaven,” which, according to Christian tradition, were handed to him by Jesus.

Hl. Petrus

Kneeling Chair with wooden frame and green padding.

Kneeling Chair

This model was generated using Meshy, an AI-powered 3D creation toolkit. Meshy helps creators turn ideas into high-quality 3D models with ease. View the original model and claim a free month of Pro on Meshy: [https://www.meshy.ai/s/jhH8Zt](https://www.meshy.ai/s/jhH8Zt)

Kneeling in Prayer

Incomplete polychrome vase. It features a scene composed of five figures. One individual, shown kneeling in right profile, wears his hair gathered under a turban and a loincloth marked with jaguar spots. He appears to be offering an object to a standing figure depicted richly attired. Behind this central figure rises a vertical column of seven pseudo-glyphs. Further behind stands another individual holding a spear in his left hand and wearing a loincloth decorated with circular motifs. This is followed by a robust figure shown dressed in a loincloth and mantle, holding a tubular artifact. Adjacent to him is a column containing four glyph-like designs positioned at waist level. The final figure carries objects in his hands. He wears a segmented loincloth and rectangular anklets. 
IDAEH Cultural Property No. 16.2.5.0373
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: 217

Vase

This model was generated using Meshy, an AI-powered 3D creation toolkit. Meshy helps creators turn ideas into high-quality 3D models with ease. View the original model and claim a free month of Pro on Meshy: [https://www.meshy.ai/s/5bXEov](https://www.meshy.ai/s/5bXEov)

SKYND kneeling

Back: Relief of the Bodhi tree and an empty dias with Buddhapada on the step, flying celestials above and kneeling worshippers on each side.

Front: Relief depicting a stūpa with a figure of the Buddha standing at the entrance; about the dome of the stūpa flying celestials, some playing instruments. On the dome are relief panels depicting the Gift of Sujātā, the Conversion of Nanda, the First Sermon, the Great Departure, the Birth of the Buddha and Māyā’s Dream.

Height: 124.37 centimetres Width: 86.25 centimetres Thickness: 12.5 centimetres 1st Century BC (obverse face) 3rd Century (reverse face)

Male kneeling donor figure to left of Pieta on front or altar reredos dating from the second half of the 15th century, standing up against the internal face of the eastern wall of the chancel of Strade Dominican Friary (MA070-067001-), Co. Mayo.  Described by archaeologist John Hunt as; 'The man has a similar costume to that worn by the bearded man on the tomb-front of the wall monument in the northern wall of the chancel.  The gole, however, is cut square below though the method of fashioning the garment is similar with the seams of the four sections of the front carefully indicated. The buttons closing the side placket of the gown and the belt with its pendant end are similar, and here also the rosary and the shuttle-like object hang from it'. See Archaeological of Ireland Description at: https://tinyurl.com/2u942udw

Strade Abbey Male Figure

In Mayan culture, wars of power among city-states resulted in the capture of rulers, nobles and their families who, during the course of events, could be ritually sacrificed by the victor. This relief was probably commissioned by the victorious ruler of Dos Pilas, presenting one of his captured nobles in a submissive position. The fragment shows a captive kneeling and with his hands tied in front. He wears a loincloth and a rolled cloth headdress, with his hair tied up and knotted with a string. The texts mention the name of his captor, called "Guardian/ Captor of Aj Bolon Ti" (Lord of Fire), as well as a personal epithet of the captive, who is called "Guardian/ Captor of Yax Tok Bahlam".
 IDAEH Cultural Property No.  16.2.5.1002
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

Relief with Bound Captive

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

Sculpted kneeling statue, ignore the feet this is like my third sculpt 

It's not optimized in any way so beware

Kneeling Statue (HIGH POLY NOT RETOPOLOGIZED)

For full functionality, we recommend downloading the source format.The converted file is intended exclusively for browser preview. In the original file, the following are fully preserved:✔ original scene hierarchy✔ all materials without simplification✔ correct PBR texture maps✔ proper object namingIf you are going to integrate the model into a project, select the Original format.This sculpture captures Venus kneeling as she draws Cupid into an affectionate embrace and kisses his forehead. The child god presses close to her chest embodying a deep bond and maternal tenderness. Venus s lowered posture and gentle gaze convey intimacy while the composition remains balanced and fluid. The scene radiates quiet love and protective affection.

Venus Kissing Cupid

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

Polychrome plate (red, black, and white on dark orange) with tubular supports containing rattles. The interior surface is decorated with a red band along the rim, followed by a band featuring two stylized zoomorphs (a jaguar and a possible reptile) extending across the entire inner wall. At the center, a scene portrays two figures seated on a throne painted black with red and white circles, engaged in a conversational posture.  The principal figure, is seated and shown in left profile, wearing a headdress, earspools, necklace, and pectoral, with a loincloth decorated with jaguar-skin motifs. The secondary figure is kneeling in an attitude of reverence. The surface retains areas of repainting.
 IDAEH Cultural Property No.1.2.144.0073
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: 242

Plate w/ Figures and Zoomorphic Motifs

**Artist:** *Katharine Hobson-Kraus*

**Material:** Bronze casting

**3D Reconstruction:** *Alex Emami*

This small bronze monument honors *Charlotte Müller* (born October 18, 1840 – died April 8, 1935), known as the oldest street vendor in the world. She ran a popular fruit and sweets stand near the Göttingen train station from 1889 until her death at age 94. A beloved local figure, she was twice widowed, had three daughters, and became famous for her long career, later even noted in the Guinness Book of Records.

The sculpture, created by American-born sculptor *Katharine Hobson-Kraus*, shows Charlotte in a kneeling pose as if selling her wares. Charlotte posed for the artist in 1932, three years before her passing.

This model is part of [Open Museum](https://github.com/nuit-dhiver/GoeODM). It's an independent project dedicated to capturing and maintaining 3D models of monuments and public art. [You can support the project by donating.](https://www.paypal.com/paypalme/saiemami)

Charlotte Müller

For production-ready use, we recommend downloading the source format.The converted file is intended only for use in the web viewer. In the original file, the following are fully preserved:✔ native scene structure✔ complete materials without reduction✔ accurate texture maps✔ proper object namingIf you intend to use the asset in a production environment, download the original version.This sculpture captures a quiet everyday moment a barefoot boy kneeling down intently studying a marble in his hand. His posture one leg raised one arm resting across the knee conveys a natural concentration evoking childhood innocence and the simple joy of play. The anatomical realism and grounded pose give the figure a sense of life humility and subtle poetry.

Iron Marble Player

Figurine in the form of a kneeling woman seated on her heels. With her right arm she carries a child, and with her left hand she holds what appears to be a rolled piece of cloth resting on her knees. The facial features of both figures are accentuated with black paint. The woman wears a tall, nearly conical, high-crowned hat with a short brim, placed over a textile headdress. The chest area bears black-painted designs that may represent clothing. The figurine was produced using a mold with hand-modeled details. Although the paint was initially thought to be modern, archaeological precedents exist of very similar figurines painted in the same manner (see, for example, Gómez González 2011: 87). The paint has been determined to be original.

 IDAEH Cultural Property No. 1.2.179.0049
 
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: 322

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