An exception was the 100-foot high Colossus of Rhodes - a huge statue of the god Helios, built on the island of Rhodes by Chares of Lindos about 280 BCE, during the era of Hellenistic Greek sculpture.
The model here, though somewhat simplified, indicates the surface complexity of the finished version, whose outer sides are filled in with sheet metal. He described his model as follows in a note published in the catalogue of the exhibition at the Tate Gallery: 'Just as the Parthenon, Minerva's Temple on the Acropolis in Athens, was meant to represent the symbol of Wisdom, the Fine Arts and Science, so the idea of an International Contest for the erection of a monument to the "Unknown Political Prisoner" refers to the birth of a moral strength powerful enough to defeat the giants of a spiritual enslavement, to fling their idols of tyranny into hell and to return to man the indispensable freedom and faith which will allow him to keep heaven and earth.
I have been inspired, in a similar manner, by a work like the Parthenon, which would fulfil the ideal of a monument possessing neither substantial human form, nor with the "mysterious beauty" of the skin covering the human frame.
Stone masons and craftsmen from these ancient cultures are believed to have been a key influence on Greek sculpture, notably the less sophisticated style of Archaic Greek sculpture (c.650-480 BCE), as in the limestone statue known as "The Auxerre Kore" (c.630 BCE, Louvre).
Thereafter most 3-D Greek art, including that of the Parthenon, created during the glorious golden age of High Classical Greek sculpture (450-400 BCE), was made out of marble or bronze.
For more about the evolution of stone sculpture (mostly Buddhist) in China, see: Chinese Art Timeline (18,000 BCE - present).