Quetzalcoatl, the Maya Maize God, and Jesus Christ
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2. Water and Fire: Archaeology in the Capital of the Mexica Empire
2. Water and Fire: Archaeology in the Capital of the Mexica Empire Leonardo Lopez Luján The archaeology of México- Tenochtitlan Tenochtitlan made up for the lack of archae- As recently as two decades ago, systematized ological exploration on a large scale. For example, information on Mexico-Tenochtitlan, the the graphic and written information on the metropolis of the most important Mesoamerican Templo Mayor (Great Temple) of Tenochtitlan state at the time of the Europeans' arrival, was was enough to reveal the history of the most extremely scarce. Unlike other cities such as Tikal, important religious building of the empire from its Monte Albán and Teotihuacan, the capital of the founding, through its multiple extensions and Mexica (Aztec) empire was never the site of right up to the time when it was completely extensive excavation projects that were to bring its dismantled. In fact, no other monument in Ancient principal remains to light. The explanation for this Mexico so commanded the attention of both archaeological ignorance is very simple. In 1521, natives and outsiders alike or was the subject of the island occupied by the twin cities of Mexico- such lengthy descriptions as this double temple Tenochtitlan and Mexico-Tlatelolco fell into the dedicated to Huitzilopochtli (the God of Sun and hands of the Spanish conquerors (fig. 8). After the War) and Tláloc (the Rain God). All kinds of victory, Hernán Cortés took the historie decision information relating to the Great Temple can be to destroy the metropolis which had been home to found in the indigenous pictographic documents between 200,000 and 300,000 inhabitants and and Náhuatl language texts; in the accounts of the covered an area of 13.5 square kilometres (Rojas European conquerors who saw it functioning and 1992: 31-5, 57-84). -
Metaphors of Relative Elevation, Position and Ranking in Popol Vuh
METAPHORS OF RELATIVE ELEVATION, POSITION AND RANKING IN POPOL VUH Nathaniel TARN and Martin PRECHTEL Rutgers University This paper is an account of work very much in progress on the textual analysis of Popol V uh, and is one study among others (since this theme is attracting a number of students today) of inter-con nections and mutual illuminations between Popol Vuh and the con temporary ethnographic record in Highland Guatemala and Chiapas. For some considerable time now Popol Vuh has been considered as the major extant text of the Mesoamerican literary traditions, and as one of the most remarkable of all human creation stories, both for its beauty and for the complexity of its cosmological and mythical messages. While it may or may not have had a hieroglyphic original, the present alphabetic version of Po pol V uh wars written down some where between 1545 and 1558 by an anonymous member of the Cavek lineage of the Quiche Maya of Guatemala. This lineage had been a ruling house until it fell to the Spaniards in 1524. The manu script was copied by Francisco de Ximenez, a Spanish priest, some 150 years later. While there are references to Christianity in the text, these are few and it is generally regarded as one of the purest extant accounts of prehispanic Maya world-view. At the end of the hook, what we call mythical history shades into the historical history of the Quiche, so that the hook can serve as an illustration of the extent to which these two kinds of history are not held a,part by Maya generally. -
Panthéon Maya
Liste des divinités et des démons de la mythologie des mayas. Les noms sont tirés du Popol Vuh des Mayas Quichés, des livres de Chilam Balam et de Diego de Landa ainsi que des divers codex. Divinité Dieu Déesse Démon Monstre Animal Humain AB KIN XOC Dieu de poésie. ACAN Dieu des boissons fermentées et de l'ivresse. ACANTUN Quatre démons associés à une couleur et à un point cardinal. Ils sont présents lors du nouvel an maya et lors des cérémonies de sculpture des statues. ACAT Dieu des tatouages. AH CHICUM EK Autre nom de Xamen Ek. AH CHUY KAKA Dieu de la guerre connu sous le nom du "destructeur de feu". AH CUN CAN Dieu de la guerre connu comme le "charmeur de serpents". AH KINCHIL Dieu solaire (voir Kinich Ahau). AHAU CHAMAHEZ Un des deux dieux de la médecine. AHMAKIQ Dieu de l'agriculture qui enferma le vent quand il menaçait de détruire les récoltes. AH MUNCEN CAB Dieu du miel et des abeilles sans dard; il est patron des apiculteurs. AH MUN Dieu du maïs et de la végétation. AH PEKU Dieu du Tonnerre. AH PUCH ou AH CIMI ou AH CIZIN Dieu de la Mort qui régnait sur le Metnal, le neuvième niveau de l'inframonde. AH RAXA LAC DMieu de lYa Terre.THOLOGICA.FR AH RAXA TZEL Dieu du ciel AH TABAI Dieu de la Chasse. AH UUC TICAB Dieu de la Terre. 1 AHAU CHAMAHEZ Dieu de la Médecine et de la Guérison. AHAU KIN voir Kinich Ahau. AHOACATI Dieu de la Fertilité AHTOLTECAT Dieu des orfèvres. -
Children of the Plumed Serpent: the LEGACY of QUETZALCOATL in ANCIENT MEXICO Press Images
^ Children of the plumed serpent: THE LEGACY OF QUETZALCOATL IN ANCIENT MEXICO Press images 1 2 3 9 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 2 21 22 23 24 25 26 28 27 3 Children of the plumed serpent: THE LEGACY OF QUETZALCOATL IN ANCIENT MEXICO Press images, Full image captions 1. Unknown Tripod Vessel with Effigy Figure , (AD 1200-1500) Mexico, Western Oaxaca, Miahuatlan Slip-painted ceramic 12 7/16 x 4 ½ in. American Museum of Natural History, New York Photo © AMNH, courtesy of the Division of Anthropology, American Museum of Natural History, by Denis Finnin 2. Unknown Relación Geográfica Map of Teozacoalco, (AD 1580) Mexico, Oaxaca 56 x 69 11/16 in. (142 x 177 cm) Nettie Lee Benson Latin American Collection, University of Texas Libraries Photo © Benson Latin American Collection, University of Texas at Austin 3. Unknown Codex Selden, (AD 1556-1560) Mexico, Western Oaxaca Deerskin, gesso and pigments 20 leaves: 10 7/8 x 10 7/8 in. (27.5 x 27.5 cm) each Bodleian Library, University of Oxford Photo © The Bodleian Library, University of Oxford 4. Unknown Rain-god Vessel , (AD 1200-1500) Mexico, Colima, El Chanal Slip-painted ceramic 9 ¾ x 8 ¼ x 11 ¼ in. (24.7 x 21 x 28.5 cm) Kimbell Art Museum, Fort Worth, Texas Photo © Kimbell Museum/Art Resource, NY 5. Unknown Skull with Turquoise Mosaic, (1400-1521) Mexico, Western Oaxaca or Puebla Human skull with turquoise, jadeite and shell 6 ½ x 6 x 8 in. (16.51 x 15.24 x 20.32 cm) Gift of Constance McCormick Fearing Photo © 2012 Museum Associates/LACMA 6. -
ATINER's Conference Paper Proceedings Series LIT2016-0009 Athens, 23 February 2017 the Lawrentian Truth: Selfhood and The
ATINER CONFERENCE PRESENTATION SERIES No: LIT2016-0009 ATINER’s Conference Paper Proceedings Series LIT2016-0009 Athens, 23 February 2017 The Lawrentian Truth: Selfhood and the Primal Consciousness Neena Gandhi Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER’s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER’s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: LIT2016-0009 ATINER’s Conference Paper Proceedings Series LIT2016-0009 Athens, 23 February 2017 ISSN: 2529-167X Neena Gandhi Assistant Professor, American University of Sharjah, United Arab Emirates The Lawrentian Truth: Selfhood and the Primal Consciousness ABSTRACT “If I am to become an Angel,” ” says Tom Brangwen in The Rainbow, “it’ll be my married soul and not my single. It’ll not be the soul of me when I was a lad for I hadn’t a soul as would make me an angel then”, voicing an important Lawrentian truth. For Lawrence, “the great relationship” is the relationship between man and woman and the ultimate aspiration of life is to perfect one’s essential being which can only be achieved when an individual is able to polarize his or her primal consciousness with that of another. This paper traces the trajectory of Lawrence’s concept of love and selfhood through his novels. In his early novels such as The White Peacock (1911), Sons and Lovers (1913) and The Rainbow (1915), Lawrence displays a lot of faith in individual relationships which, in fact, become the medium for the self to realize itself. -
Aztec Mythology
Aztec Mythology One of the main things that must be appreciated about Aztec mythology is that it has both similarities and differences to European polytheistic religions. The idea of what a god was, and how they acted, was not the same between the two cultures. Along with all other native American religions, the Aztec faith developed from the Shamanism brought by the first migrants over the Bering Strait, and developed independently of influences from across the Atlantic (and Pacific). The concept of dualism is one that students of Chinese religions should be aware of; the idea of balance was primary in this belief system. Gods were not entirely good or entirely bad, being complex characters with many different aspects and their own desires and motivations. This is highlighted by the relation between Quetzalcoatl and Tezcatlipoca. When the Spanish arrived with their European sensibilities, they were quick to name one good and one evil, identifying Quetzalcoatl with Christ and Tezcatlipoca with Satan during their attempts to integrate the Nahua peoples into Christianity. But to the Aztecs neither god would have been “better” than the other; they are just different and opposing sides of the same duality. Indeed, their identities are rather nebulous, with Quetzalcoatl often being referred to as “White Tezcatlipoca” and Tezcatlipoca as “Black Quetzalcoatl”. The Mexica, as is explained in the history section, came from North of Mexico in a location they named “Aztlan” (from which Europeans developed the term Aztec). During their migration south they were exposed to and assimilated elements of several native religions, including those of the Toltecs, Mayans, and Zapotecs. -
Myths and Legends: the Feathered Serpent God 1 Storytimetm
TM Storytime Myths and Legends: The Feathered Serpent God 1 Teaching Resources The Feathered Serpent God is a myth from the Aztec civilisation IN BRIEF about one of their most important gods, Quetzalcoatl, and how he brought people to life. 1 LITERACY LESSON IDEAS The Feathered Serpent God is a good story to read alongside learning about the Aztec civilisation. Quetzalcoatl was an important and powerful god in ancient Central America. Find out more about him on our Quetzalcoatl Fact Sheet and find out about other Aztec gods in our Top 10 Aztec Gods Sheet. See our Feathered Serpent God Word Wise Sheet to find the meanings of any new or tricky words, and have a go at our Quick Comprehension Checker and writing exercises. Put this myth in the correct order using our Story Sequencing Sheet. Looking at the pictures, write the story in your own words using our Simple Storyboards. Make up your own myth to explain why humans come in different shapes and sizes. Discuss your ideas in class. Use our Storytime Writing Sheet to write it. Act out The Feathered Serpent God myth using our printable Quetzalcoatl, Xolotl and Skeleton Masks. The skeletons can be the Lord and Lady of the Underworld. 2 SCIENCE LESSON IDEAS Imagine you are Quetzalcoatl and you have to put the bones you’ve carried back together to make a human. Do you know where each bones goes? Fill in the blanks on our Super Skeleton Sheet and learn the names of some important bones too. Continued on page 2... © storytimemagazine.com 2018 TM Storytime Myths and Legends: The Feathered Serpent God 2 Teaching Resources 3 HISTORY LESSON IDEAS The Aztecs were fascinating. -
Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices
1 Multilingual Discourses Vol. 1.2 Spring 2014 Tanya Ball The Power of Death: Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices hrough an examination of Aztec death iconography in pre- and post-Conquest codices of the central valley of Mexico T (Borgia, Mendoza, Florentine, and Telleriano-Remensis), this paper will explore how attitudes towards the Aztec afterlife were linked to questions of hierarchical structure, ritual performance and the preservation of Aztec cosmovision. Particular attention will be paid to the representation of mummy bundles, sacrificial debt- payment and god-impersonator (ixiptla) sacrificial rituals. The scholarship of Alfredo López-Austin on Aztec world preservation through sacrifice will serve as a framework in this analysis of Aztec iconography on death. The transformation of pre-Hispanic traditions of representing death will be traced from these pre- to post-Conquest Mexican codices, in light of processes of guided syncretism as defined by Hugo G. Nutini and Diana Taylor’s work on the performative role that codices play in re-activating the past. These practices will help to reflect on the creation of the modern-day Mexican holiday of Día de los Muertos. Introduction An exploration of the representation of death in Mexica (popularly known as Aztec) pre- and post-Conquest Central Mexican codices is fascinating because it may reveal to us the persistence and transformation of Aztec attitudes towards death and the after-life, which in some cases still persist today in the Mexican holiday Día de Tanya Ball 2 los Muertos, or Day of the Dead. This tradition, which hails back to pre-Columbian times, occurs every November 1st and 2nd to coincide with All Saints’ Day and All Souls’ day in the Christian calendar, and honours the spirits of the deceased. -
The Maya Vase Book
THE MAYA VASE BOOK THE HERO lWINS : MYfH AND IMAGE MICHAEL D. COE BACKGROUND heroes are inextricablywoven with those over his shoulders. After he had been ofgods, but also the charters for the elite duly baptized, and a Christian mass sung, I have been long puzzled by the curious groups which ruled these andent socie the K'ekchf drama began, to the sound of absence of any but the most cursory ties. Even today, throughout the Hindu shell trumpets, turtle carapaces, and other references to the Popol Yuh, the sacred Buddhist world of South and Southeast instruments. This was the Dance of bookoftheQuiche Maya, inEricThompson's Asia, the dynastic struggles of the Ma Hunahpu and Xbalanque, the Hero Twins, greatand encyclopedic Introduction to the habharata and the royal adventures of and theirdefeatofthe Lordsofthe Under Study oJ the Maya Hieroglyphs U950 and the Ramayana come alive in numberless world, Xibalba. latereditions). Surelyhemusthave noted shadow-puppet plays and ballets per the striking fact that in both Quiche and formed in both villages and royal courts. The performance opened with the ap Ixil, thenamefor the dayAhau, last ofthe Indeed, the actions ofKing Rama and his pearnnce oftwo youths in the plaza, wearing twentynamed days in the 260-daycount, monkey army in winning back his queen tight-fitting garments and great black is Hunahpu -- first-born ofthe Hero Twins. are as alive to Balinese children as events masks with horns. They proceeded to a Thompson was in many respects the ofmodern Indonesian political history. platform covered with clean mats and greatest Mayanist of all, with a deep adorned with artlfidal trees; a small knowledge of mythology and ethnohis Similar dramatic performances almost brushpile covered a hidden exit. -
God of the Month: Tlaloc
God of the Month: Tlaloc Tlaloc, lord of celestial waters, lightning flashes and hail, patron of land workers, was one of the oldest and most important deities in the Aztec pantheon. Archaeological evidence indicates that he was worshipped in Mesoamerica before the Aztecs even settled in Mexico's central highlands in the 13th century AD. Ceramics depicting a water deity accompanied by serpentine lightning bolts date back to the 1st Tlaloc shown with a jaguar helm. Codex Vaticanus B. century BC in Veracruz, Eastern Mexico. Tlaloc's antiquity as a god is only rivalled by Xiuhtecuhtli the fire lord (also Huehueteotl, old god) whose appearance in history is marked around the last few centuries BC. Tlaloc's main purpose was to send rain to nourish the growing corn and crops. He was able to delay rains or send forth harmful hail, therefore it was very important for the Aztecs to pray to him, and secure his favour for the following agricultural cycle. Read on and discover how crying children, lepers, drowned people, moun- taintops and caves were all important parts of the symbolism surrounding this powerful ancient god... Starting at the very beginning: Tlaloc in Watery Deaths Tamoanchan. Right at the beginning of the world, before the gods were sent down to live on Earth as mortal beings, they Aztecs who died from one of a list of the fol- lived in Tamoanchan, a paradise created by the divine lowing illnesses or incidents were thought to Tlaloc vase. being Ometeotl for his deity children. be sent to the 'earthly paradise' of Tlalocan. -
The Bilimek Pulque Vessel (From in His Argument for the Tentative Date of 1 Ozomatli, Seler (1902-1923:2:923) Called Atten- Nicholson and Quiñones Keber 1983:No
CHAPTER 9 The BilimekPulqueVessel:Starlore, Calendrics,andCosmologyof LatePostclassicCentralMexico The Bilimek Vessel of the Museum für Völkerkunde in Vienna is a tour de force of Aztec lapidary art (Figure 1). Carved in dark-green phyllite, the vessel is covered with complex iconographic scenes. Eduard Seler (1902, 1902-1923:2:913-952) was the first to interpret its a function and iconographic significance, noting that the imagery concerns the beverage pulque, or octli, the fermented juice of the maguey. In his pioneering analysis, Seler discussed many of the more esoteric aspects of the cult of pulque in ancient highland Mexico. In this study, I address the significance of pulque in Aztec mythology, cosmology, and calendrics and note that the Bilimek Vessel is a powerful period-ending statement pertaining to star gods of the night sky, cosmic battle, and the completion of the Aztec 52-year cycle. The Iconography of the Bilimek Vessel The most prominent element on the Bilimek Vessel is the large head projecting from the side of the vase (Figure 2a). Noting the bone jaw and fringe of malinalli grass hair, Seler (1902-1923:2:916) suggested that the head represents the day sign Malinalli, which for the b Aztec frequently appears as a skeletal head with malinalli hair (Figure 2b). However, because the head is not accompanied by the numeral coefficient required for a completetonalpohualli Figure 2. Comparison of face date, Seler rejected the Malinalli identification. Based on the appearance of the date 8 Flint on front of Bilimek Vessel with Aztec Malinalli sign: (a) face on on the vessel rim, Seler suggested that the face is the day sign Ozomatli, with an inferred Bilimek Vessel, note malinalli tonalpohualli reference to the trecena 1 Ozomatli (1902-1923:2:922-923). -
Changes and Continuities in Ritual Practice at Chechem Ha Cave, Belize
FAMSI © 2010: Esperanza Elizabeth Jiménez García Sculptural-Iconographic Catalogue of Tula, Hidalgo: The Stone Figures Research Year: 2007 Culture : Toltec Chronology : Post-Classic Location : México, Hidalgo Site : Tula Table of Contents Abstract Resumen Introduction The Tula Archaeological Zone The Settlement Tula's Sculpture 1 The Conformation of the Catalogue Recording the Materials The Formal-architectural Classification Architectural Elements The Catalogue Proposed Chronological Periods Period 1 Period 2 Period 3 Acknowledgments List of Figures Sources Cited Abstract The goal of this study was to make a catalogue of sculptures integrated by archaeological materials made of stone from the Prehispanic city of Tula, in the state of Hidalgo, Mexico. A total of 971 pieces or fragments were recorded, as well as 17 panels or sections pertaining to projecting panels and banquettes found in situ . Because of the great amount of pieces we found, as well as the variety of designs we detected both in whole pieces and in fragments, it was necessary to perform their recording and classification as well. As a result of this study we were able to define the sculptural and iconographic characteristics of this metropolis, which had a great political, religious, and ideological importance throughout Mesoamerica. The study of these materials allowed us to have a better knowledge of the figures represented, therefore in this study we offer a tentative periodic scheme which may reflect several historical stages through which the city's sculptural and architectural development went between AD 700-1200. Resumen El objetivo de este trabajo, fue la realización de un catálogo escultórico integrado por materiales arqueológicos de piedra que procedieran de la ciudad prehispánica de Tula, en el estado de Hidalgo, México.