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Pygmalion Project

Anatomy Of Female Psyche

Part 1. The Stone Carvings And Stony-Hearted Women
(Physical Imperfection Of the Present Women)

Several of hundreds similar Ancient Indian stone carvings belonging to the Mathura art, and unearthed by modern archaeologists in 19-20th century, are shown below. This art was called after Mathura city, the cultural and administrative center of the Kushan empire, where suchlike sculptures were created in large numbers for sending to other regions of India. Also artists of the Mathura school produced similar sculptures locally.

All these figures were created in age of dominance of Buddhism in India, and for the purposes of decorating of sanctuaries of this religion.

The sculptures portray Yakshi's — female representatives of the half-legendary people named Yaksha's who lived originally in solitary places of the Himalayas, and later were worshipped as deities in India.

Please view these images with special attention to their female secondary sex characteristics. I mean the breasts and hips. (Click for larger image)

Yakshi's in Mathura art
Yakshi holding a mirror Yakshi holding wine flasks Yakshi carrying a parrot holding a cage Dancing Yakshi Yakshi holding potters Yakshi


Then compare these images to present-day women and women of different cultures of the past as known from realistic art, including later (Hindu) Indian art and even some samples of Ancient Indian Buddhist art.


I suppose the difference as well as your preference is clear.

Everybody appreciates intuitively the roundness of female forms, but only in the Buddhist beauties female hips and breasts reach their complete development.

There are also other images of that kind accessible on the Web:

Yakshi adjusting necklace
Double-sided Yakshi - side 2
Rail post with a Yakshi
Yakshi with parrot
Yakshi
Didarganj Yakshi — the grandest masterpiece

Yakshi from the William A. Whitaker Foundation Art Fund
Yakshi from Government Museum Chennai

Bas-relif from Bharhut stupa
Queen Maya, the Buddha's
future mother
The connection between the full-formed Ancient Indian female sculptures, and Buddhist religion was quite distinct. The earliest of such sculptures date back to the beginning of the age of dominance of Buddhism in India (2nd half of 1st millennium BC - 1st half of 1st millennium AD) and its end was marked just with the demolition of the sanctuaries decorated with such sculptures.

One of the most humane religions, Buddhism has been based on ascetism that originally signifies natural life free from the most of artificial things and problems.

Romantic couple (mithuna)
cave temple at Karli Romantic couple (mithuna)
cave temple at Karli Unlike ascetics of the other traditions, the earliest Ancient Indian ones (rishi, brahman) did not reject sexual life along with the gender problems. Who knows, maybe they were free from such problems.

According to legends ascetics lived in their forest hermitages (ashram) in couples (mithuna). So I can adduce web versions of the famous Indian epos Ramayana, the very touching story of female loyal love Savitri and Satyavan, the myth on the god of ascetics and his consort Sati & Shiva who lived in the Himalayas — the homeland of Yakshas, and finally the legend of Upagupta: The Buddhist Monk  portraying a Mathura sculptor carving sculpture of a beautiful female ascetic.

Besides, in Indian mythology in Indian mythology occurs a very common motif of the interruption of an ascetic feat (tapas) with a sexual intercourse by a beautiful women.

Also it's significant that Buddhist esoteric tradition of tantra is known to combine ascetic and sexual practices.

Later historical sources picture Ancient Indian ascetics as celibates, sex as vulgarly sensual, and gender relations as problematic.

Except that art we can see similar female images only in some works of fantasy art which probably are the reflection of some paragon imprinted in the common human hereditary memory,
Fantasy Images of Lara Croft
Lara Croft Lara Croft Lara Croft

and never in the reality or in realistic art.

Romantic couple (mithuna)
Stupa in Bharhut.At the same time, the realism of the Buddhist carvings leaves no doubt about existence of their live originals. The Ancient Indian carving left portraying woman with unnaturally steep hips represents a case when a sculptor hardly knew wide-hipped women in reality.

In addition, Ancient Indian literature carries many short mentions and picturesque descriptions of wide-hipped full-breasted women, which certainly might not be invented.

Yakshi with a swan
Mathura art So, according to Ancient Indian poetry, such women walked with an unusual gait resembling one of swan. Mr. Bihareebabu mentions this in his comments to the photos of Didarganj Yakshi.

Procession with a chariot
Indian Buddhist bas-relief Furthermore, there was a kind of objective test of perfection of female forms — female seat was to match right round form and was compared by shamefree Ancient Indian poets to the wheel of the chariot of Kama/Manmatha — Indian god of love. Also in Ancient India, a beautiful woman was called pushpaka after the magic chariot of Kubera, the legendary king of Yaksha's.

And female wide hips and full breasts of the Buddhist beauties are not mere attrating features of theirs, but very important for proper performance of the main purpose of female organism: reproduction.

Really, it is common knownledge that female pelvis is broader than male one and has a larger space in the middle to allow a baby to pass through during childbirth.

Mother playing with her child
Mathura art, Sanghol Mother carrying 
her child upon her hip
Mathura art, Sanghol However, regular women's pelvises are underdeveloped as we see now, and I'm convinced that just inadequate width of the birth canal is responsible for the enigmatic labor pain that accompanies the quite natural act of giving birth to a child. In the case of extremely narrow pelvis, called cephalo-pelvic disproportion (CPD), the Cesarean section is performed. However, every present woman's pelvis does not fully fit its natural purpose.

It is also known that forensic anatomists can determine if a dead woman had borne child during her life owing to a small space, which appears regularly between two female front pelvic bones (see image of female skeleton) after the first childbirth. The more childbirths, the larger space. Perhaps, that's why a next childbirth is easier than the previous one for a woman. Besides, a newborn's first cry seems me to be a result of shock from passing through narrow birth channel.

Yakshi pressing her breast
Mathura art
Concerning female breasts, I can remind that most of mothers wean their babies too early. They are continually dissuaded from bottle-feeding. However, they ought naturally to enjoy breastfeeding, and to need no proof of its benefits.

Women's rational reasons of weaning such as business, career, social and cultural influence only screens real physiological cause of their unwillingness to keep breastfeeding. And the silicon can't remedy that, of course.

Banner of the
Anti-Diary Coalition

Baby bottle


See the following resources related to the general problems of breastfeeding for details.


Young Mammas Need Encouragement To Nurse
Why Women Wean
Breastfeeding in a Bottle-feeding Culture — contains statistics, an attempt of blaming society and culture
McSpotlight on the Baby Milk Industry — horrific facts of bottle-feeding practice

Another essential feature of the Buddhist beauties, confirming their reality is that, in a shocking way they evince not a bit of the unnatural feeling of shame about their natural appearance so common in regular women.

Yakshi holding a branch
(yellow sandstone)
Matura art Yakshi holding a branch
(red sandstone)
Matura art They feel at ease having no real cloth on. Even their fine ornamental girdles are mere decorations like their necklaces and bangles.

According to Ancient Indian literature, the ascetic females wore simple bark-dresses, which did not adorn their bodies but concealed their own beauty instead:

Her bark-dress conceals the splendid orbs Of her breasts, and reveals not their beauty And brilliance; it seems that a sallow leaf Has barely imprisoned a bud in the morning. Kalidasa, The Recognition of Sakuntala

Even thir decorative girdles surrounding their hips only, served neither for constricting their waists nor for adorning their bodies. Those girdles were quite functional. According to the poem Cloud Messenger by Kalidasa their girdles jingling to their footsteps. In other words, their girdles as well as their bangles served as rattles at dancing.

But what must such shapely and comely women be ashamed of ?! It is just the women lacking similar forms who experience certain discomfort and need to shield their bosoms and groins somehow, being naked. Even when the woman is regarded as the Goddess of Beauty!
Nude Aphrodite and Venus in the arts
Medici Aphrodite Capitoline Venus Aphrodite and Eros Botticelli
The Birth of Venus

Usually it looks as if they screen something sacrosanct from vulgar stares, which can desecrate that. Botticelli's Venus looks like protecting her body from the cool wind. However, the comparison with the Buddhist carvings reveals clearly that all they try to conceal the banality of their forms.

No exception even for beloved men, so "the rites in honor of the Love God" are held at the lights turned out as a rule.

Death of Actaeon
Artemis hounding Actaeon for seeing her nude
In contrast to the common notion of female body as the embodiment of perfect beauty, women avoid disclosing their nude bodies. And therefore any little bit of nude female body excites necessarily the men's admiration while such a sight for our earliest ancestors was doubtlessly as accessible as daylight.

It's clear that the overappreciation of female beauty exists just because men's eyes are carefully preserved from blinding brilliance of female treasures.

Temptation scene
Notre Dame, Paris Expulsion from Eden
St Petronio cathedral
Bologna, Italy By the way, it's significant that according to the Genesis book in the Eden garden Adam and Eve

...were both naked, ... and were not ashamed    (Genesis 2:25)

and the shame of nudity and the labor pain come to people practically at once. So, at the moment of the Fall

Both of their eyes were opened, and they knew that they were naked   (Genesis 3:7)

and just as a curse for that women

...in sorrow ... bring forth children    (Genesis 3:16)

Furthermore, women are known to avoid revealing their true ages. An apparent reason is, once again, in their underdeveloped forms that lifelong stay teenage.

William Holman Hunt
Bianca Vintage fashion expo
advertisement Now the cause and the origin of women's self-consciousness and preoccupancy about their appearance becomes clear. Missing their proper forms, women use varied ruses to improve their semblance. So they like to adorn themselves furtively with varied fine dresses and accessories, from handbags to underwear. Saying figuratively, women palm off middlings in fancy wrapper, charge fancy prices for it, and dodge unwrapping that would result in debunking.

The present women only feign round-forms somehow. For example, when a woman turns her hips, so that one side of her body looks wide-hipped .

In fine arts that pose termed contrapposto is very wide-spread in female images.

Female contrapposto in the arts
Venus de Milo Aphrodite of Cnidus Ancient statue Aphrodite Anadyomene
Ancien sculpture Venus
Roman mosaic from Tunisia Hindu sculpture
Khajuraho temple Hindu sculpture
Oriental dance Leonardo da Vinci
Leda and the Swan Eros and Psyche
Fragment George William Joy
Truth Jean-Auguste-Dominique Ingres
Venus Anadyomene Jean-Auguste-Dominique Ingres
The Spring The Birth of Venus 
by Bougereau
Fragment Walter Crane
Renaissance of Venus

Women as if wriggle out of the possible exposure and give themselves airs and graces in this way. Another "popular" artifice to fake proper female forms consists in bearing legs in the shape of the letter  Y  or  K.

Sculpture of Aphrodite
Cyprus, 1th c. BC Hindu sculpture from
the Khajuraho temple Aristide Maillol
Torse de l'Ete Albert Moore
Shells Three Graces
Roman fresco Jean Regnault
Judgement of Paris Albert Moore
A Yellow Room
Gilda
movie poster Lady Pink Vintage fashion ads

All those poses seem to be exhibitions of ease. In reality they just give women possibility to relax and to feel free from continuous psychological tension.

This psychological tension of women is especially prominent in contrast to men's attitude in similar situations. For instance, in the image left you can see soldiers having rest in society of a young woman on a beach in a remote country. The soldiers have assumed natural stance of maximal stability and minimal tension, whilst the woman is standing as if on parade. In exchange, her hips look round, and she feels surer despite the physical tension as a result.

Vintage hairstyle Woman looking at herself in the glass
Kathleen Barton's Sketch Book Also remember how much time women spend arranging their hair. Female hairstyles have round outlines and make impression of round shape in this way.

Besides, women improve their appearance with varied camouflages such as fluid skirts hiding their hips, bras lifting their sagging breasts, and corsets, bodices, girdles and belts constricting their waists.

Vintage vogue pattern Vintage vogue pattern


Vishnyakov
Portait of Sarah Eleonora Fairmore Velázquez
Maria Teresa of Spain In the former times of chivalrous knights and gallant prices that modern women miss so much, ladies wore framework skirts, which made illusion of wide hips or, at least, afforded enough space for male imagination. The illusion grew up with hard and tight corsets constricting women's waists in contrast to the skirts. Some corsets served also for rising female breasts.


Under defense of these garments women felt safe from arrows of men's glances as if under armor, but these garments were also as hard and cumbersome as armor.

Leather 
corset Design 
of a framework skirt Women holding a 
cage crinoline of metal hoops Putting on a 
crinoline skirt

 

Delacroix.
Liberty Leading the People at the Barricade All the same, since the wearing it was rewarded with men's defeated hearts, so the ladies resigned themselves to the discomfort until the emancipation of 19-20th c. released them from the cages of the framework skirts and from the bonds of the corsets.

Girl measuring her waist
Present-day girdle
Nevertheless modern women have not become free from troubles about their figures. Only the ways of shaping an attractive figure have become more "natural" in present.

So for the same aim of constricting their waists present-day ladies go on severe diets and take exercises in hope to free from stomach fat thought to be superfluous. Excessive aspiration of this kind has resulted in some extreme cases of fatal anorexia. Feminists blame these cases of women's madness on men's lust for thin female bodies. Even so, it is also true that sometimes men like plump women, certainly for the same illusion of broad pelvis that the fat makes.

Besides that, in present the stomach fat may be excised, sometimes along with lower ribs, which impede some women rich in bones to feel attractive. Also surgeons can fill a woman's lean breasts with silicone and her heart with pride upon her affected bosoms.

Statue of Themis
the goddess of judges
One-sided
justice
Thus, the serious biological causes underlie the attraction of round female forms. All things considered, the image of wide-hipped and full-breasted female figure is kept in the common human hereditary memory as the paragon of female body due to the biological purposes it serves. In this way, the regular women who like to judge men's merits and demerits, and to find fault with lack of real men turn out unreal woman who unfit the basic requirements of female organism.

At that note that, unlike the faultfinding and demanding pretenders around us, the genuine shamefree women represented by those stone carvings were Buddhist ascetics, who, however, left a prosperous wonderland created by ascetics after themselves.

Hindu miniatureSo the Buddhist beauties needed no garment with affected hips, unlike women of later Hindu epoch who wore such dress as represented in miniature right. They also needed to bear their hips and legs neither in the contrapposto pose nor in the shape of the letter  Y or  K . Their hairstyles were plain and utilitarian.

All that means that the heavenly beauties who none of us supposed to be ever there, but whose image everyone kept in his heart, did step on earth. In point of fact, they were no heavenly beauties but mere true women.

However, the sizes of female breasts and hips matter not only for reproductive function of female organism. The development of female secondary sex characteristics are known to be induced by the basic female sexual hormones termed estrogens, which, besides, benefit general female physical and mental health. Thus, inadequate development of female forms testifies surely the lack of these hormones.

In other words regular women's underdeveloped forms are not mere their anatomic features or outward qualities, but undeniable visual symptoms of some serious hormonal disturbance. Usually we can't notice these crying signs of disease just because all women bear them. It is one of the cases when something regular is wrongly considered normal. Only the comparison with the Ancient Indian Buddhist carvings reveals this mistake.

No wonder now that the hormonal disorders of mass character, such as premenstrual syndrome (PMS), postpartum depression and menopause are there spread among women. Also numerous problems of women's health in general are apparently due to the just distinguished hormonal disturbance.

Besides, well-known breast cancer, one of the most common types of human cancer in general, should be indicated as the extreme exhibition of some disturbance in female breasts.

Also it's no wonder that medicals fail to comprehend the nature of those female disorders — they stay ignorant of the true norm of female health.


Thus, the little known mute sculptures tell us way more of female nature than women around us who often overuse their power of speech. Even so, I don't want you to think that the secret of true femininity was kept in the museums. I have used those sculptures for the starting point of my hypertext article as they present tangible and literally steady proofs of the regular women's physical deficiency, in addition pretty ones. In reality my ideas have occurred to me by another way.

In any event, now we can not only claim regular women to be ill but we can also understand what the common women's disease is, or in other entire being a woman is. In other words, we can answer the question

What Does It Mean To Be a Woman?

 

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