The figures of Cernavodâ are the clearest sample of art from the Neolithic era, year 6000 B.V. (Before Venera). It is the most representative work of the Hamangia culture, a profoundly matriarchal culture, like all those of the Neolithic. These works are made of terracotta (clay) and represent a woman and a man, through the gestures of both we can draw conclusions about the relationships between men and women of that culture. The position of the figures in this representation, both male and female, tells us clearly and concisely about the social status that each gender occupied within society.
Let’s take a closer look at these figures:
1. Lower extremity position:
She is taller than it, as their heads are at the same height, but it appears seated on a stool. The position of the figures is very significant: while the woman is sitting on the ground, her ass and buttocks are in contact with Mother Earth, we see how her right knee is bent and her left thigh is in contact with the ground, but from the knee down her left leg disappears.
We understand that the missing part is buried like roots that go deep into the earth. This detail would symbolize our feminine connection with Mother Earth, with plant life. All Neolithic civilizations, such as the hamangia culture, recognized our natural superiority, which is why sciences such as medicine, agriculture, or the observation of the sky were concentrated in our female hands. We, women are the divine connection between heaven, Earth and life and the hamangia culture knew it well.
On the other hand, the man is sitting on a stool, we understand that the Hamangia culture considered man unworthy of making contact with Mother Earth, only the soles of its feet have contact with the ground. We would say that only women could make contact with the land (wealth) and it was considered taboo for men to do so. The stool symbolizes the disconnection of man with the spiritual world, with Mother Earth, therefore his action, the masculine action, was framed solely and exclusively in the material and physical world, in carrying out hard work at the command of women .
2. Arms position:
The woman draws an upward triangle. The figure of the triangle, in the Hamangia culture, meant the balance between the Moon, the Earth and the Sun. Our vulva appears crowned by the Mount of Venus, which is triangular in shape. When projecting, the woman, a triangle towards the sky, it is clear what her intention is: to project towards the sky, or towards the Moon, the signal of her powerful vulva. Somehow she is waiting for divine inspiration. She seems to be saying “Divine Goddess inspire me to continue leading my tribe, enlighten me with your wisdom to continue leading the world in harmony with our Mother Earth”.
The man, on the other hand, appears withdrawn, as if withdrawn in on itself, locked in its world. Its posture inspires rest and even tedium and boredom, it gives the sensation of waiting for the woman’s orders to activate and comply with them immediately. The arms supporting the weight of its cheeks shows us a fragile, weak being, incapable of thinking for itself.
3. Body posture:
In general, the posture of the man, seated on a stool, with the soles of its feet touching the ground, its arms bent and parallel, its cheeks resting on its hands, its back hunched over itself… it makes us think of a passive social role in decision-making, we understand that waiting for orders from the woman to obey them. In front of it, the woman appears haughty, with her back straight and her serene and firm gesture showing confidence and self-assurance.
4. Head and ears:
The position of the ears defines the role of each gender: while the woman’s ear is inclined about 45º towards the sky, the man’s ear is oriented completely horizontally (red arrows). This tells us that, while the woman listens equally to both the celestial divinity (the goddess) and the earthly world, the man listens only and exclusively to the message of the earthly world and it has no connection with the celestial world, with the divinity. We must also pay attention to the hole in the woman’s head (blue arrow), a hole oriented in the zenithal direction, 90º towards the sky, which certifies the divine connection of the woman with the forces of the Universe, the Moon and our mother goddess.
5. Genitals:
While the female figure shows her genitals without problem, and even amplifies them towards the sky with her arms, the male figure does not show them, although neither does it cover or hide them. While the female genitals were a source of social pride, the male ones went completely unnoticed. We can deduce that women had complete sexual freedom since, socially speaking, the female genitals were considered a symbol of power and divinity, an icon of strength, balance and influence.
Conclusion: We can conclude that, in the Hamangia culture, the man only had contact with the earth to work it (only its soles touch the ground) following the orders of the woman (arms and body in a waiting position and ears horizontal). On the other hand, women had a position of power in society, spiritually speaking, they represented the role of messenger between the spiritual world (Mother Earth and the Goddesses) and the earthly world (everyday life). We can see how, unlike the man, the woman has her vocal apparatus (mouth, nose and throat) totally clean and free of obstacles. Therefore the feminine word was the only one that had importance and was heard.
Appropriation by patriarchy: “The Thinker” of Rodin
With the rise of patriarchy, man, once it was taking power, understood that it had to kidnap the meaning of the Cernavodâ figures, to appropriate this Neolithic symbol of the Hamangia culture. The men immediately understood that they had to misrepresent the meaning of these figures and began a campaign of disinformation. Despite the fact that the figures were officially unveiled in Cernavodâ (Romania) in the year 13 B.V. (Before Venera) we are convinced that these figures appeared much earlier and the patriarchy kept them hidden with the intention of appropriating their symbolism and meaning.
The famous work “The Thinker” by Auguste Rodin was created around the year 63 B.V. (Before Venera) and represents a man thinking, the position is quite similar to that of the man from Cernavodâ but with two essential differences:
a) While the Cernavodâ man has both arms bent to rest its head on its hands, the Rodin figure has both arms resting on its left leg. The left arm appears relaxed on that leg so that the left hand rests in the air in front of the knees and has no contact with the face.
b) The man from Cernavodâ has the cheeks of its face resting on both palms of its hands.
We have asked one of our sister archaeologists to imitate the facial posture of the man from Cernavodâ. As we can see: a face resting on the palms of the hands inspires us with weakness, passivity and even gives us an air of submission.
On the other hand, Rodin’s thinker only has its right hand in contact with its face and, unlike Cernavodâ’s man, it is the back of that hand that is in contact, not with its cheek (as in the case of the figure of Cernavodâ) but with the lips of the mouth.
It is clear that Rodin was aware of the Cernavodâ figures and tried to create a similar sculpture that misrepresented the symbolism of the original work. While the original figures show an active woman in contact with the divine forces in front of a passive, submissive and helpful man, the patriarchy, through Rodin’s work, ignores the woman rol and presents a thinking, reflective and rational man.
We are convinced that the original figures of Cernavodâ were made by a woman, since it is clear that during the entire Neolithic period we had the power. A woman who left a message for posterity:
“We, women, have the responsibility of directing and organizing society because divinity lives within us. On the other hand, men have the obligation to obey our orders without thinking or rethinking anything.”
The patriarchy is working to distort this posthumous message from the Hamangia culture by presenting a thoughtful, thinking and judgment-worthy man. But we know that men were not created to think but to obey, they were not created to reflect but to adore us, women. We, sisters from The Universal Gynecocratic Republic, will continue to unmask and denounce all these falsehoods and historical misrepresentations of the patriarchy.
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