A bronze Naṭarāja from Tamil Nadu and a painted one from Kerala share no single face, yet no one mistakes him. In Śilpa Śāstra the identity of a sacred figure lives in its lakṣaṇa: the gesture, the emblem, the headdress, the measured proportion. We remake ancient scenes the same way. Hathor keeps her horns, sun-disk and menat across every version, and the people who carry them change from Nile to Nubia to the Aegean. Here they are, side by side.
Made from vision, not from a model. The icon-maker was to enter meditation and see the deity described in its dhyāna verse before carving. As Coomaraswamy renders a verse of the Śukranīti, the imager must be "expert in vision… certainly not in the presence of a model" can the work be done. The brief is a poem, and the studio is the mind. (source)
The full gallery, every scene in every look: https://hathor.soapbox.community/remakes · Shilpa Shastra gallery: https://hathor.soapbox.community/gallery
Royal Mausoleum of Mauretania
Source: Photo: Dan Sloan, CC BY-SA 2.0
Original: 
Realistic — As depicted
Ruins of ancient Garama (Germa)
Source: Photo: Franzfoto, CC BY-SA 3.0
Original: 
Realistic — As depicted
Running archers (Tassili rock painting)
Source: Photo: Patrick Gruban, CC BY-SA 2.0
Original: 
Realistic — As depicted
Stele of the Libou (Numidian) horseman
Source: Photo: Meriam Cherif, CC BY-SA 4.0
Original: 
Realistic — As depicted
Tattooed Libyan chief, faience tile of Ramesses III
Source: Photo: Tim Evanson, CC BY-SA 2.0
Original: 
Realistic — As depicted
Tents of the Azdjer Tuareg (Foureau mission, 1894)
Source: Fernand Foureau (photogr.), Molteni (reprod.), public domain
Original: 
Realistic — As depicted
The black masked woman (Tassili rock painting)
Source: IssamBarhoumi, CC BY-SA 4.0
Original: 
Realistic — As depicted
Tuareg horseman at Bida (1912)
Source: Photo: H. S. W. Edwardes, public domain
Original: 
Realistic — As depicted
Tuareg women of the Azdjer (Foureau mission, 1894)
Source: Fernand Foureau (photogr.), Molteni (reprod.), public domain
Original: 
Realistic — As depicted
Tumulus of the tomb of Tin Hinan, Abalessa
Source: Photo: Bernard Gagnon, CC BY 4.0
Original: 
Realistic — As depicted
Vanquished Libyan, bronze statuette
Source: Photo: Guillaume Blanchard, CC BY-SA 2.0 (GFDL)
Original: 
Realistic — As depicted
Women with hand bags (Tassili rock painting)
Source: IssamBarhoumi, CC BY-SA 4.0
Original: 
Realistic — As depicted
Aegeus consulting the Pythia (as Themis) — Kodros Painter kylix, Berlin F2538
Source: Kodros Painter — User:Bibi Saint-Pol, own work, 2008-02-16 · Public domain · Wikimedia Commons
Original: 
Realistic — Greek · Nubian · Libyan (Amazigh) · Levantine · Pale
Constantin Hansen — Apollo and Pythia (SMK KMS3894)
Source: Constantin Hansen — image · Public domain · Wikimedia Commons
Original: 
Realistic — Greek · Nubian
John Collier — Priestess of Delphi (1891)
Source: John Collier — IAECKq72SfCN9A at Google Cultural Institute maximum zoom level · Public domain · Wikimedia Commons
Original: 
Realistic — Greek · Nubian · Libyan (Amazigh) · Levantine · Pale
Louis Jean François Lagrenée — Alexander Consulting the Oracle of Apollo
Source: Louis-Jean-François Lagrenée — [1] · Public domain · Wikimedia Commons
Original: 
Realistic — Greek · Nubian · Libyan (Amazigh) · Levantine · Pale
Bull-leaping at Knossos
Source: Fresco, Heraklion Archaeological Museum (CC0)
Realistic — Minoan · Nubian · Libyan (Amazigh) · Levantine · Pale
Keftiu envoys bring gifts to Egypt
Source: Tomb of Rekhmire facsimile, Metropolitan Museum (CC0)
Realistic — Minoan · Nubian · Libyan (Amazigh) · Levantine · Pale
The Ladies in Blue
Source: Knossos fresco reproduction, Metropolitan Museum (CC0)
Realistic — Minoan · Nubian · Libyan (Amazigh) · Levantine · Pale
The Prince of the Lilies
Source: Knossos fresco, Heraklion (Wikimedia, CC BY-SA 4.0)
Realistic — Minoan · Nubian · Libyan (Amazigh) · Levantine · Pale
All 20 scenes in this set, and every other remake, are in the gallery: https://hathor.soapbox.community/remakes. Made on our own servers in Hathor Studio; each scene links to its place in the gallery.