Fav Art

Fav Art Piece

this is a piece done by my personal favorite artist Ron English, his ability to produce artworks that are so detailed and almost look like photos is what keeps me coming back to view more of his work. this piece especially for me brings mixed feelings, because most of the time we see clowns they are usually trying to make people laugh and be happy, but this kid looks pretty serious, maybe about the peace helmet t he is wearing, and where do we often sea a kid, whose painted as a clown, trying to send a message about peace? what gets me more is that he its a helmet not just a normal hat.. so there are a lot of mixed feelings in this picture that makes is pretty humorous but, serious at the same time. keeps you thinking about what its really saying.. but then again thats Ron English's style of artistry.

The Last Supper

The Last Supper (Italian: Il Cenacolo or L'Ultima Cena) is a 15th century mural painting in Milan created by Leonardo da Vinci for his patron Duke Ludovico Sforza and his duchess Beatrice d'Este. It represents the scene of The Last Supper from the final days of Jesus as it is told in the Gospel of John 13:21, when Jesus announces that one of his Twelve Disciples would betray him.
Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained.
 The Last Supper specifically portrays the reaction given by each apostle when Jesus said one of them would betray him. All twelve apostles have different reactions to the news, with various degrees of anger and shock.
The apostles are identified from The Notebooks of Leonardo Da Vinci with their names found in the 19th century. (Before this, only Judas, Peter, John and Jesus were positively identified.) From left to right, according to the apostles heads:

Bartholomew, James, son of Alphaeus and Andrew form a group of three, all are surprised.
Judas Iscariot, Peter and John form another group of three. Judas is wearing green and blue and is in shadow, looking rather withdrawn and taken aback by the sudden revelation of his plan. He is clutching a small bag, perhaps signifying the silver given to him as payment to betray Jesus, or perhaps a reference to his role within the 12 disciples as treasurer. He is also tipping over the salt shaker. This may be related to the near-Eastern expression to "betray the salt" meaning to betray one's Master. He is the only person to have his elbow on the table and his head is also horizontally the lowest of anyone in the painting. Peter looks angry and is holding a knife pointed away from Christ, perhaps foreshadowing his violent reaction in Gethsemane during Jesus' arrest. The youngest apostle, John, appears to swoon.
Apostle Thomas, James the Greater and Philip are the next group of three. Thomas is clearly upset; James the Greater looks stunned, with his arms in the air. Meanwhile, Philip appears to be requesting some explanation.
Matthew, Jude Thaddeus and Simon the Zealot are the final group of three. Both Jude Thaddeus and Matthew are turned toward Simon, perhaps to find out if he has any answer to their initial questions.

In common with other depictions of The Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them have their backs to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow.

Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it (Matthew 26: 23).



Leonardo da Vinci painted The Last Supper on a dry wall rather than on wet plaster, so it is not a true fresco. Because a fresco cannot be modified as the artist works, Leonardo instead chose to seal the stone wall with a layer of pitch, gesso and mastic, then paint onto the sealing layer with tempera. Because of the method used, the piece began to deteriorate a few years after Leonardo finished it.
Two early copies of The Last Supper are known to exist, presumed to be work by Leonardo's assistants. The copies are almost the size of the original, and have survived with a wealth of original detail still intact

Egyptian Pyramids

Pyramids of Egypt

The Pyramid of Khafre, also known as the Pyramid of Chefren,[1] is the second-largest of the ancient Egyptian Pyramids of Giza and the tomb of the fourth-dynasty pharaoh Khafre (Chefren)

Construction

Like the Great Pyramid built by Khafre’s father Khufu, a rock outcropping was used in the core. Due to the slope of the plateau, the northwest corner was cut 10 m (33 ft) out of the rock subsoil and the southeast corner is built up.
The pyramid is built of horizontal courses. The stones used at the bottom are very large, but as the pyramid rises, the stones become smaller, becoming only 50 cm (20 in) thick at the apex. The courses are rough and irregular for the first half of its height but a narrow band of regular masonry is clear in the midsection of the pyramid. Casing stones cover the top third of the pyramid, but the pyramidion and part of the apex are missing.
The bottom course of casing stones was made out of pink granite but the remainder of the pyramid was cased in Tura Limestone. Close examination reveals that the corner edges of remaining casing stones are not completely straight, but are staggered by a few millimeters. One theory is that this is due to settling from seismic activity. An alternative theory postulates that the slope on the blocks was cut to shape before being placed due to the limited working space towards the top of the pyramid

Inside the pyramid

Two entrances lead to the burial chamber, one that opens 11.54 m (38 ft) up the face of the pyramid and one that opens at the base of the pyramid. These passageways do not align with the centerline of the pyramid, but are offset to the east by 12 m (39 ft). The lower descending passageway is carved completely out of the bedrock, descending, running horizontal, then ascending to join the horizontal passage leading to the burial chamber.
One theory as to why there are two entrances is that the pyramid was intended to be much larger with the northern base shifted 30 m (98 ft) further to the north which would make Khafre’s pyramid much larger than his father’s. This would place the entrance to the lower descending passage within the masonry of the pyramid. While the bedrock is cut away farther from the pyramid on the north side than on the west side, it is not clear that there is enough room on the plateau for the enclosure wall and pyramid terrace. An alternative theory is that, as with many earlier pyramids, plans were changed and the entrance was moved midway through construction.

The Pyramid Complex

Along the centerline of the pyramid on the south side was a satellite pyramid, but almost nothing remains other than some core blocks and the outline of the foundation.
To the east of the Pyramid sat the mortuary temple. It is larger than previous temples and is the first to include all five standard elements of later mortuary temples: an entrance hall, a columned court, five niches for statues of the pharaoh, five storage chambers, and an inner sanctuary. There were over 52 life size statues of Khafre, but these were removed and recycled, possibly by Rameses II. The temple was built of megalithic blocks (the largest is an estimated 400 tonnes[3]), but it is now largely in ruins.
A causeway runs 494.6 metres (541 yd) to the valley temple. The valley temple is very similar to the mortuary temple. The valley temple is built of megalithic blocks sheathed in red granite. The square pillars of the T shaped hallway were made of solid granite and the floor was paved in alabaster. The exterior was built of huge blocks some weighing over 100 tonnes.,[4] There are sockets in the floor that would have fixed 23 statues of Khafre, but these have since been plundered. The interior made of granite of the Valley temple is remarkably well preserved. The exterior made of Limestone is much more weathered.

The Great Pyramid of Giza

Also known as the Pyramid of Khufu or the Pyramid of Cheops is the oldest and largest of the three pyramids in the Giza Necropolis bordering what is now El Giza, Egypt. It is the oldest of the Seven Wonders of the Ancient World, and the only one to remain largely intact. Egyptologists believe that the pyramid was built as a tomb for fourth dynasty Egyptian Pharaoh Khufu (Cheops in Greek) over a 10 to 20-year period concluding around 2560 BC. Initially at 146.5 metres (481 feet), the Great Pyramid was the tallest man-made structure in the world for over 3,800 years. Originally, the Great Pyramid was covered by casing stones that formed a smooth outer surface; what is seen today is the underlying core structure. Some of the casing stones that once covered the structure can still be seen around the base. There have been varying scientific and alternative theories about the Great Pyramid's construction techniques. Most accepted construction hypotheses are based on the idea that it was built by moving huge stones from a quarry and dragging and lifting them into place.

History

It is believed the pyramid was built as a tomb for fourth dynasty Egyptian pharaoh Khufu and was constructed over a 20 year period. Khufu's vizier, Hemon, or Hemiunu, is believed by some to be the architect of the Great Pyramid. It is thought that, at construction, the Great Pyramid was originally 280 Egyptian cubits tall, 146.5 metres (480.6 ft) but with erosion and absence of its pyramidion, its present height is 138.8 metres (455.4 ft).

The pyramid remained the tallest man-made structure in the world for over 3,800 years, unsurpassed until the 160-metre-tall spire ofLincoln Cathedral was completed c. 1300. The accuracy of the pyramid's workmanship is such that the four sides of the base have an average error of only 58 millimetres in length. The base is horizontal and flat to within ±15 mm. The sides of the square base are closely aligned to the four cardinal compass points (within 4 minutes of arc) based on true north, not magnetic north, and the finished base was squared to a mean corner error of only 12 seconds of arc.

Materials

The Great Pyramid consists of an estimated 2.3 million limestone blocks with most believed to have been transported from nearby quarries. The Tura limestone used for the casing was quarried across the river. The largest granite stones in the pyramid, found in the "King's" chamber, weigh 25 to 80 tonnes and were transported from Aswan, more than 500 miles away. Traditionally, ancient Egyptians cut stone blocks by hammering wooden wedges into the stone which were then soaked with water. As the water was absorbed, the wedges expanded, causing the rock to crack. Once they were cut, they were carried by boat either up or down the Nile River to the pyramid. It is estimated that 5.5 million tons of limestone, 8,000 tons of granite (imported from Aswan), and 500,000 tons of mortar were used in the construction of the Great Pyramid.

Construction

Many alternative, often contradictory, theories have been proposed regarding the pyramid's construction techniques. Many disagree on whether the blocks were dragged, lifted, or even rolled into place. The Greeks believed that slave labour was used, but modern discoveries made at nearby worker's camps associated with construction at Giza suggest it was built instead by tens of thousands of skilled workers. Verner posited that the labor was organized into a hierarchy, consisting of two gangs of 100,000 men, divided into five zaa or phyleof 20,000 men each, which may have been further divided according to the skills of the workers.

One mystery of the pyramid's construction is its planning. John Romer suggests that they used the same method that had been used for earlier and later constructions, laying out parts of the plan on the ground at a 1 to 1 scale. He writes that "such a working diagram would also serve to generate the architecture of the pyramid with precision unmatched by any other means." He also argues for a 14 year time span for its construction.

Interior

The original entrance to the Great Pyramid is 17 metres (56 ft) vertically above ground level and 7.29 metres (23.9 ft) east of the center line of the pyramid. From this original entrance there is a Descending Passage .96 metres (3.1 ft) high and 1.04 metres (3.4 ft) wide which goes down at an angle of 26° 31'23" through the masonry of the pyramid and then into the bedrock beneath it. After 105.23 metres (345.2 ft), the passage becomes level and continues for an additional 8.84 metres (29.0 ft) to the lower Chamber, which appears not to have been finished. There is a continuation of the horizontal passage in the south wall of the lower chamber; there is also a pit dug in the floor of the chamber. Some Egyptologists suggest this Lower Chamber was intended to be the original burial chamber, but Pharaoh Khufu later changed his mind and wanted it to be higher up in the pyramid.

At 28.2 metres (93 ft) from the entrance is a square hole in the roof of the Descending Passage. Originally concealed with a slab of stone, this is the beginning of the Ascending Passage. The Ascending Passage is 39.3 metres (129 ft) long, as wide and high as the Descending Passage and slopes up at almost precisely the same angle. The lower end of the Ascending Passage is closed by three huge blocks of granite, each about 1.5 metres (4.9 ft) long. At the start of the Grand Gallery on the right-hand side there is a hole cut in the wall (and now blocked by chicken wire). This is the start of a vertical shaft which follows an irregular path through the masonry of the pyramid to join the Descending Passage. Also at the start of the Grand Gallery there is a Horizontal Passage leading to the "Queen's Chamber". The passage is 1.1m (3'8") high for most of its length, but near the chamber there is a step in the floor, after which the passage is 1.73 meters (5.7 ft) high.

The Queens Chamber

The Queen's Chamber is exactly half-way between the north and south faces of the pyramid and measures 5.75 metres (18.9 ft) north to south, 5.23 metres (17.2 ft) east to west and has a pointed roof with an apex 6.23 metres (20.4 ft) above the floor. At the eastern end of the chamber there is a niche 4.67 metres (15.3 ft) high. The original depth of the niche was 1.04 metres (3.4 ft), but has since been deepened by treasure hunters.

The Grand Gallery 

The Grand Gallery continues the slope of the Ascending Passage, but is 8.6 metres (28 ft) high and 46.68 metres (153.1 ft) long. At the base it is 2.06 metres (6.8 ft) wide, but after 2.29 metres (7.5 ft) the blocks of stone in the walls are corbelled inwards by 7.6 centimetres (3.0 in) on each side. There are seven of these steps, so at the top the Grand Gallery is only 1.04 metres (3.4 ft) wide. It is roofed by slabs of stone laid at a slightly steeper angle than the floor of the gallery, so that each stone fits into a slot cut in the top of the gallery like the teeth of a ratchet. The purpose was to have each block supported by the wall of the Gallery rather than resting on the block beneath it, which would have resulted in an unacceptable cumulative pressure at the lower end of the Gallery.

At the upper end of the Gallery on the right-hand side there is a hole near the roof which opens into a short tunnel by which access can be gained to the lowest of the Relieving Chambers. The other Relieving Chambers were discovered in 1837/8 by Colonel Howard Vyse and J. S. Perring, who dug tunnels upwards using blasting powder.

The floor of the Grand Gallery consists of a shelf or step on either side, 51 centimetres (20 in) wide, leaving a lower ramp 1.04 metres (3.4 ft) wide between them. In the shelves there are 54 slots, 27 on each side matched by vertical and horizontal slots in the walls of the Gallery. These form a cross shape that rises out of the slot in the shelf. The purpose of these slots is not known, but the central gutter in the floor of the Gallery, which is the same width as the Ascending Passage, has led to speculation that the blocking stones were stored in the Grand Gallery and the slots held wooden beams to restrain them from sliding down the passage. This, in turn, has led to the proposal that originally many more than 3 blocking stones were intended, to completely fill the Ascending Passage.

Kings Chamber

The King's Chamber is entirely faced with granite. Above the roof, which is formed of nine slabs of stone weighing in total about 400 tons, are five compartments known as Relieving Chambers. The first four, like the King's Chamber, have flat roofs formed by the floor of the chamber above, but the final chamber has a pointed roof. Vyse suspected the presence of upper chambers when he found that he could push a long reed through a crack in the ceiling of the first chamber.

It is believed that the compartments were intended to safeguard the King's Chamber from the possibility of a roof collapsing under the weight of stone above the Chamber. As the chambers were not intended to be seen, they were not finished in any way and a few of the stones still retain mason's marks painted on them. The only object in the King's Chamber is a rectangular granite "sarcophagus", one corner of which is broken. The sarcophagus is slightly larger than the Ascending Passage, which indicates that it must have been placed in the Chamber before the roof was put in place. Unlike the fine masonry of the walls of the Chamber, the sarcophagus is roughly finished, with saw marks visible in several places. This is in contrast with the finely finished and decorated sarcophagi found in other pyramids of the same period.

Egyptian Mummies

Egyptian Mummies

The methods of embalming, or treating the dead body, that the ancient Egyptians used is called mummification. Using special processes, the Egyptians removed all moisture from the body, leaving only a dried form that would not easily decay. It was important in their religion to preserve the dead body in as life-like a manner as possible. So successful were they that today we can view the mummified body of an Egyptian and have a good idea of what he or she looked like in life, 3000 years ago.

Mummification was practiced throughout most of early Egyptian history. The earliest mummies from prehistoric times probably were accidental. By chance, dry sand and air (since Egypt has almost no measurable rainfall) preserved some bodies buried in shallow pits dug into the sand. About 2600 B.C., during the Fourth and Fifth Dynasties, Egyptians probably began to mummify the dead intentionally. The practice continued and developed for well over 2,000 years, into the Roman Period (ca. 30 B.C. - A.D. 364). Within any one period the quality of the mummification varied, depending on the price paid for it. The best prepared and preserved mummies are from the Eighteenth through the Twentieth Dynasties of the New Kingdom (ca. 1570 - 1075 B.C.) and include those of Tutankhamen and other well-known pharaohs. 

Process
The mummification process took seventy days. Special priests worked as embalmers, treating and wrapping the body. Beyond knowing the correct rituals and prayers to be performed at various stages, the priests also needed a detailed knowledge of human anatomy.
The first step;

• was the removal of all internal parts that might decay rapidly. The brain was removed by carefully inserting special hooked instruments up through the nostrils in order to pull out bits of brain tissue. It was a delicate operation, one which could easily disfigure the face. The embalmers then removed the organs of the abdomen and chest through a cut usually made on the left side of the abdomen. They left only the heart in place, believing it to be the center of a person's being and intelligence. The other organs were preserved separately, with the stomach, liver, lungs, and intestines placed in special boxes or jars today called canopic jars. These were buried with the mummy. In later mummies, the organs were treated, wrapped, and replaced within the body. Even so, unused canopic jars continued to be part of the burial ritual. The embalmers next removed all moisture from the body. This they did by covering the body with natron, a type of salt which has great drying properties, and by placing additional natron packets inside the body. When the body had dried out completely, embalmers removed the internal packets and lightly washed the natron off the body. The result was a very dried-out but recognizable human form. To make the mummy seem even more life-like, sunken areas of the body were filled out with linen and other materials and false eyes were added.

The Second Step, Wrapping;-

• Each mummy needed hundreds of yards of linen. The priests carefully wound the long strips of linen around the body, sometimes even wrapping each finger and toe separately before wrapping the entire hand or foot. In order to protect the dead from mishap, amulets were placed among the wrappings and prayers and magical words written on some of the linen strips. Often the priests placed a mask of the person's face between the layers of head bandages. At several stages the form was coated with warm resin and the wrapping resumed once again. At last the priests wrapped the final cloth or shroud in place and secured it with linen strips. The mummy was complete.

The priests preparing the mummy were not the only ones busy during this time. Although the tomb preparation usually had begun long before the person's actual death, now there was a deadline, and craftsmen, workers, and artists worked quickly. There was much to be placed in the tomb that a person would need in the Afterlife. Furniture and statuettes were readied; wall paintings of religious or daily scenes were prepared; and lists of food or prayers finished. Through a magical process, these models, pictures, and lists would become the real thing when needed in the Afterlife. Everything was now ready for the funeral.
As part of the funeral, priests performed special religious rites at the tomb's entrance. The most important part of the ceremony was called the "Opening of the Mouth". A priest touched various parts of the mummy with a special instrument to "open" those parts of the body to the senses enjoyed in life and needed in the Afterlife. By touching the instrument to the mouth, the dead person could now speak and eat. He was now ready for his journey to the Afterlife. The mummy was placed in his coffin, or coffins, in the burial chamber and the entrance sealed up.
Such elaborate burial practices might suggest that the Egyptians were preoccupied with thoughts of death. On the contrary, they began early to make plans for their death because of their great love of life. They could think of no life better than the present, and they wanted to be sure it would continue after death.

But why preserve the body?
The Egyptians believed that the mummified body was the home for this soul or spirit. If the body was destroyed, the spirit might be lost. The idea of "spirit" was complex involving really three spirits:  the ka, ba, and akh. The ka, a "double" of the person, would remain in the tomb and needed the offerings and objects there. The ba, or "soul", was free to fly out of the tomb and return to it. And it was the akh, perhaps translated as "spirit", which had to travel through the Underworld to the Final Judgment and entrance to the Afterlife. To the Egyptian, all three were essential.


Who Was Mummified
After death, the pharaohs of Egypt usually were mummified and buried in elaborate tombs. Members of the nobility and officials also often received the same treatment, and occasionally, common people. However, the process was an expensive one, beyond the means of many.
For religious reasons, some animals were also mummified. The sacred bulls from the early dynasties had their own cemetery at Sakkara. Baboons, cats, birds, and crocodiles, which also had great religious significance, were sometimes mummified, especially in the later dynasties.

Why The Egyptians mummified the body.
They believed in life after death, so when they mummified the body to be used in the afterlife.

sTrEeT aRt

Ron English (born 1966) is an American contemporary artist who explores popular brand imagery and advertising. His signature style employs a mash-up of high and low cultural touchstones, including comic superhero mythology and totems of art history, to create a visual language of evolution. He is also widely considered a seminal figure in the advancement of street art away from traditional wild-style lettering and into clever statement and masterful trompe l’oeil based art. He has created illegal murals and billboards that blend stunning visuals with biting political, consumerist and surrealist statements, hijacking public space worldwide for the sake of art since the 1980s.


English is as well known for his photorealist technique and inventive use of color and comic book collage as he is for his unique cast of characters, including sexualized animals, skeletal figures, Marilyn Monroe with Mickey Mouse breasts, the corpulent fast food spokesman MC Supersized, and one of his most significant creations, Abraham Obama, a fusion of America’s 16th and 44th Presidents. During the 2008 Presidential Election, he combined the features of Barack Obama and Abraham Lincoln for a popularly-distributed image entitled "Abraham Obama."

Culture jamming is one aspect of his work, involving 'liberating' commercial billboards with his own messages. Frequent targets of his work include Joe Camel, McDonald's, and Mickey Mouse. Ron English can be considered the "celebrated prankster father of dollar-pop", who wrangles carefully created corporate icons so that they are turned upside down, and are used against the very corporation they are meant to represent. Ron English is considered one of the fathers of modern street art[by whom?] and has initiated and participated in illegal public art campaigns since the early eighties. Some of his extralegal murals include one on the Berlin Wall's Checkpoint Charlie in 1989 and one on the Palestinian separation wall in the West Bank in 2007, with fellow street artists Banksy and Swoon (artist).[citation needed]
English has also painted several album covers including The Dandy Warhols album cover "Welcome to the Monkey House". He painted the cover of the new Slash (album). More recently he painted the cover for American superstar Chris Brown's Album (F.A.M.E). Some of his paintings are also used in Morgan Spurlock's documentaries Super Size Me andPOM Wonderful Presents: The Greatest Movie Ever Sold. Following the credits, he receives special thanks and is credited as "The Greatest Living Artist."

Here are some of his other works...

Drawing of Egyptian Artifact

Egyptian Artifact

The ushabti (also called shabti or shawabti, with a number of variant spellings, Ancient Egyptian plural: ushabtiu) was a funerary figurine used in Ancient Egypt. Ushabtis were placed in tombs among the grave goods and were intended to act as substitutes for the deceased, should he/she be called upon to do manual labor in the afterlife. They were used from the Middle Kingdom (around 1900 BC) until the end of the Ptolemaic Period nearly 2000 years later.
Most ushabtis were of minor size, and many produced in multiples – they sometimes covered the floor around a sarcophagus. Exceptional ushabtis are of larger size, or produced as a one of-a-kind master work.

Mona Lisa

Mona Lisa

To understand the painting of who the Mona Lisa is we have to understand more about the artist who painted the picture. Mona-Lisa simply translated to Lady Lisa was probably a painting of a middle class woman who at the time Leonardo was so captivated by the woman’s beauty and elusive smile is what caught the painters attention that he himself was obsessed with the picture, even when it was finished he never delivered it. The last 16yers of his life Leonardo carried this painting with him wherever he went, even into exile.

 While growing up he was separated from his biological mother, who was married away to another man in the next town away from where he grew up in Tuscan in Florence and was raised by his step mother, both who had so much love for the young Leonardo that the smile he had depicted in the painting of the Mona Lisa could have been the thing that caught his attention while painting maybe because he had last seen this smile on his mother. It is the sort of smile where we as the viewer are not quite sure if she is smiling because she knows something that we don’t or a smile that says you caught me not on my best of days. So the painting could have been a painting of his mother maybe but the smile seen in the Mona Lisa could also be seen in his other painting of two women and child called the Virgin and child with St. Anne, which could also could have been a reflection of his two mothers who he was so dearly loved and raised by.

Question still stands to who is this painting of the Mona Lisa. Well to my prediction, I wouldn’t say it was Leonardo who had painted himself as a woman, or that it could be a painting of the Virgin Mary or  Mary Magdalene , but in fact a painting of this middle class lady named Lisa, who was probably pregnant at the time in her mid 20’s there is evidence due to her swollen hands and her posture, as to cover up what lies beneath her dress in the painting, and this woman at the time probably wanted a picture of herself before she gave birth to the child she had been carrying, or the painting of her was to celebrate her pregnancy.

The background of the painting, which i think has very little and no relations to Mona Lisa herself, shows the a landscape of what Leonardo imagined what it used to look like before it became what it is today, and in relation to Mona Lisa where Leonardo came to the understanding that women played a big role in the world to the cycle of life, where the mans role was very quick and easy.