The Stele of Hammurabi lists out a code of laws for the people of Babylon to follow. There are over 300 law entries written out in the work.

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Hieratic scale is demonstrated by Narmer's overwhelming stature in comparison to the figures around him. Phonetic hieroglyphs at the center top of each side identify the name of the king. The bull symbolizes the power of the king. Many figures are portrayed in the composite pose: heads and legs are shown in profile while eyes and torsos are rendered frontally.

Faience is the glazed medium that is responsible for the Egyptian Blue found in many Egyptian sculptures. Though Lapis Lazuli is known for its ultramarine color, similar to faience, it was not used often due to its scarcity.

Depicted in this stele are the king, Hammurabi, and the sun god, Shamash.  Shamash is shown here delivering the text of the message on the stele to Hammurabi.

The Stele of Hammurabi is associated with the Babylonians, and dates back to 1792-1750 BCE.

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This is a stele, or a stone slab used as a site marker. This particular one (The Stele of Hammurabi) was put in a centralized meeting spot in town so that all could read its message.

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The moai of Easter Island are the small eastern Polynesian Island's most famous monuments, 887 statues with giant heads that are placed all around the island. While sharing much in common with other Polynesian sculpture, the remoteness of Easter Island and its intense tribal warfare make these symbolic monuments to ancestors larger and more stylized than other similar pieces of art.

The cloaks were called 'ahu'ula. These were capes made of red, yellow, and black feathers. They were worn during both ceremonies and battles. 

The Malangan figures were single use sculptures made in an island of Papua New Guinea for malangan, a set of rituals that were used to say goodbye to the dead, affirm clan identities, and negotiate land rights.

Triglyphs and metopes are a characteristic of the doric order temple, but were abandoned by the time the ionic order became the favored architectural tradition in favor of an uninterrupted frieze that could house relief sculpture.