This piece from the Italian Renaissance created by Donatello depicts David from the biblical story of David and Goliath. At the time, David was widely seen as a metaphor and symbol of Florence, and the piece was used to represent the small yet courageous demeanor of David. The medium of bronze gave David a more luxurious and important stance at the time, since bronze was more expensive than other mediums. Bronze as a medium also gave Donatello more freedom with the more delicate and precise details that were needed to correctly depict David. David was sculpted in a Contrapposto Stance, where all of his weight it on one foot, giving him a more natural and relaxed appearance. Goliath's head is situated underneath David's left foot, resembling the victory that David had over Goliath. The piece has many Humanist qualities, emphasizing the potential of humanity as well as the beauty of the human body. Donatello made a bold choice by choosing nudity in this piece, since it had not only been avoided for a long period of time in religious artwork, but the statue was also the first free - standing nude since Antiquity.

This piece from the Templo Mayor Precinct in Tenochtitlan (Mexico City) Was an important part of Aztec and Mexica culture and religion. The stone was originally painted, and it depicts Coyolxauhqui which translates to "Bells for Cheeks" or "Bells on Her Face". Coyolxauhqui was an important figure and deity in Atec rituals. The stone was carved for the purpose of use for rituals, where she is depicted with bells decorating her face, feathers upon her head, and elaborate earrings. She is wearing a serpent belt with a skull on it. Multiple monster faces can be seen adorning her joints. She is also depicted as both nude and dismembered, with her breasts sagging and her belly stretched to show motherhood. The dismemberment comes from a moment in the myth about Coyolxauhqui and Huitzilopochtli when Huitzilopochtli is born from Coatlicue (Snakes for Skirt) fully grown and dismembers his sister and threw her down the mountain. This myth was a major part of the Aztec culture, as it was reenacted and celebrated with sacrifices such as war captors that were ritually marked and offered to the deities where they were killed on the sacrificial stone and then thrown down the temple.

Nkisi Nkonde are spiritual objects that were created by the people of the Kongo, who were located in parts of Central Africa, most predominantly in what is now the present day country of the Democratic Republic of the Congo and Angola. The Nkisi Nkonde served as spiritual and religious objects that were crafted in order to fulfill certain social purposes, such as justice, protection, and healing practices. The “Nkonde” part of the name Nkisi Nkonde refers to the specific type of Nkisi that a Nkonde is. A Nkonde is a specific Nkisi that is generally more active, as it can be aggressive, and they are oftentimes called an avenger or hunter. These spiritual figures are normally small statues carved from wood in a form that often represent humans. Nkisi also typically are hollow on the inside, leaving a cavity in their head or belly, which is used to house spiritual substances. Along with the use of spiritual substances inside of the Nkisi Nkonde, nails and blades were often driven into the wooden surfaces of the sculptures, each nail and blade representing an oath or promise, a call for protection, or a call for wisdom and intervention. The Nkisi Nkonde were a crucial part of the spiritual culture and beliefs of the people of the Kongo, as they were used to interconnect the physical and spiritual.

The Court of Gayumars by Sultan Muhammad was created in 1524-25 and depicts the divine kingship of Gayumars. He is portrayed as the first king of Persia, which was a form of symbolism of divinity as a ruler. The artwork depicts his harmonious connection with nature, as he is seated on a throne located in the central focal point of the piece. He is shown to be in a calm, meditative state that reflects his role as a somewhat cosmic king. The court surrounding him is filled with a number of members of his nobility, all of which look upon Gayumars, which contributes to a sense of divine hierarchy and the formation of a well - mannered society. The composition is surrounded in lush natural elements, featuring gardens, trees, and a multitude of colorful assortments. The painting, created by the Persian artist Sultan Muhammad, was made to be a part of the Shahnameh, an epic poem that was used to preserve Persian ideals and cultural values during the spread of the Islamic religion to Persia (Modern day Iran). The Shahnameh serves as one of the most important pieces of Persian literature and remains as a key cornerstone of Iranian cultural identity. In the Shahnameh, The Court of Gayumars serves as one of the most celebrated pieces of Persian miniature paintings, as it is home to a plethora of intricate details that were specifically placed through the delicate craftsmanship of Sultan Muhammad. The piece symbolizes royal authority and Persian identity, and currently is located in Toronto, Canada, in the Aga Khan Museum.