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El Canto Del Ave Huactli: El Patrono Secundario De La Trecena Ce Olin (1 Temblor) Del Calendario Ritual Del Centro De México Llamado Tonalpohualli
Marta Gajewska (Universidad de Varsovia) EL CANTO DEL AVE HUACTLI: EL PATRONO SECUNDARIO DE LA TRECENA CE OLIN (1 TEMBLOR) DEL CALENDARIO RITUAL DEL CENTRO DE MÉXICO LLAMADO TONALPOHUALLI Resumen: El objetivo de este artículo es presentar un detallado análisis del huactli, el ave que desempeñaba, casi únicamente, la función del patrono secundario de la decimotercera trecena ce olin (1 temblor) del tonalpohualli, el calendario ritual del centro de México. Como el segundo patrono de dicha trecena, el ave huactli representaba a Tezcatlipoca, “el Espejo Humeante”, el muy conocido trickster mesoamericano. En el estudio se recopilan, en la medida de lo posible, todos los datos concernientes al ave en cuestión, comenzando por sus representaciones gráfi cas en los códices calendáricos, para confrontarlas a continuación con las menciones sobre el huactli en las fuentes alfabéticas. Puesto que la risa del ave y la función burlesca de Tezcatlipoca parecen tener fuertes vínculos en la cultura náhuatl, se plantea un acercamiento al rol tricksteriano del dios en la fi esta toxcatl, en los convites consagrados a Omacatl y, fi nalmente, en el mito de Tula. Palabras clave: cultura náhuatl, códices, religión, iconografía, Tezcatlipoca, trickster Title: Th e Song of the Huactli Bird: the Secondary Patron of the Trecena Ce Olin (1 Earthquake) of the Ritual Calendar from Central Mexico Called Tonalpohualli Abstract: Th e purpose of this paper is to present a detailed analysis of huactli, the bird which played, almost exclusively, the role of the secondary patron of the thirteenth trecena or thirteen- day period ce olin (1 Earthquake) of tonalpohualli, the ritual calendar of Central Mexico. -
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). -
Princeton University Library Chronicle and Are In- Vited to Participate in Meetings and to Attend Special Lectures and Exhibitions
PRINCETON UNIVERSITY LIBRARY CHRONICLE PRINCETON UNIVERSITY L I B R A R Y C H RO N I C L E P 3w2 Q volume lxvii ∙ n u m ber 2 ∙ winter 2006 · LXVII · N O . � · WINTER ���� PULC-Winter06-cover.indd 1 3/7/06 9:38:52 AM Friends of the Princeton University Library The Friends of the Princeton University Library, founded in 1930, is an association of individuals interested in book collecting and the graphic arts, and in increasing and making better known the resources of the Princeton University Library. It se- Editorial Board cures gifts and bequests and provides funds for the purchase of rare books, manu- gr etch e n m. ober f r a nc, Editor scripts, and other materials that could not otherwise be acquired by the Library. Membership is open to those subscribing annually seventy-five dollars or more. m a r i a a. di bat t ista c h a r l e s c. g i l l i s p i e Checks payable to Princeton University Library should be addressed to the Trea- fred i. greenstein wanda gunning surer. Members receive the Princeton University Library Chronicle and are in- vited to participate in meetings and to attend special lectures and exhibitions. n a nc y s. k l at h pau l e. s igm u n d don c. sk em er the council Nancy S. Klath, Chair Alison Lahnston, Vice-Chair Charles Heckscher, Secretary G. Scott Clemons, Treasurer 2003–2006 Peter Bienstock Joseph J. Felcone Christopher Forbes Peter H. -
Tlalloc-Tlallocan: El Altepetl Arquetípico
Americae European Journal of Americanist Archaeology Tlalloc-Tlallocan: el altepetl arquetípico José Contel Americae, 1, 2016 | Altepetl, p. 89-103 mis en ligne le 15 novembre 2016 Coordinateur du dossier « Altepetl » : M. Charlotte Arnauld ISSN : 2497-1510 Pour citer la version en ligne : CONTEL José, « Tlalloc-Tlallocan: el altepetl arquetípico », Americae [en ligne] | 1, 2016, mis en ligne le 15 novembre. URL : http://www.mae.u-paris10.fr/americae-dossiers/americae-dossier-altepetl/tlalloc-tlallocan-el-altepetl-arquetipico/ Pour citer la version PDF : CONTEL José, « Tlalloc-Tlallocan: el altepetl arquetípico », Americae [en ligne] | 1, 2016, mis en ligne le 15 novembre 2016, p. 89-103 (http://www.mae.u-paris10.fr/americae-dossiers/americae-dossier-altepetl/tlalloc-tlallocan-el-altepetl-arquetipico/). José Contel : CEIIBA – EA 7412, université Toulouse – Jean-Jaurès [[email protected]]. © CNRS, MAE. Cette œuvre est mise à disposition selon les termes de la Licence Creative Commons : Attribution – Pas d’Utilisation Commerciale – Pas de Modification 4.0 International. Tlalloc-Tlallocan: el altepetl arquetípico José Contel CEIIBA – EA 7412, université Toulouse – Jean-Jaurès [[email protected]] Hace más de un siglo, Georges Raynaud escribía con gran clarividencia en un opúsculo dedicado a Tlalloc “De todos los dioses relacionados con Cipactli, sólo uno está vinculado como él con la tierra y el agua, el dios que podríamos calificar también de altepetl: Tláloc. Él fue quien heredó de la tierra primordial, de la tierra mezclada con agua, su rostro característico de dragón”. Las fuentes también describen Tlallocan como el altepetl original del que derivan los altepeme terrestres. El culto de Tlalloc está estrechamente vinculado al de las montañas y consecuentemente al culto del altepetl. -
The Correlation Between the Colonial Northern Zapotec and Gregorian Calendars
C H A P T E R O N E JOHN JUSTESON A N D DAVID TAVÁREZ The Correlation between the Colonial Northern Zapotec and Gregorian Calendars INTRODUCTION This paper provides evidence for the correlation between dates in the Gregorian calendar and dates in the Zapotec calendar, as it was in the northern Sierra of Oaxaca near the end of the seventeenth century.1 It concerns specifically the correlation of two calendrical cycles that are not only found in the Zapotec calendar system but that are widely distributed in Mesoamerica: the 260-day ritual calendar and the 365-day calendar (the VAGUE YEAR). Based on the data provided by Córdova (1578a: 204–212), the sixteenth- century Zapotec ritual calendar can be seen as a permutation of two inde- pendent cycles, each of which advances once a day: a thirteen-day cycle (the TRECENA, referred to by Córdova as the cocii¯), whose successive days are named by successive numerals from 1 to 13; and a twenty-day cycle (the VEIN- TENA), whose successive days are named by a fixed sequence of roots, mostly of 17 JOHN JUSTESON AND DAVID TAVÁREZ TABLE 1.1. Colonial Zapotec day names, mostly as extracted by Kaufman (2000a) from Córdova (1578a), and from calendars reported by Alcina Franch (1993) for the Villa Alta and Choapan regions of Northern Zapotec. Capital E transcribes a letter that appears sometimes as e¯ and sometimes as I¯; EE is for ee¯ varying with ii¯. The symbol = joins the compounded units within a compound word. Meanings are due to Kaufman, informed by Urcid (1992, 2001). -
Quetzalcoatl and the Irony of Empire : Myths and Prophecies in the Aztec Tradition / Davíd Carrasco ; with a New Preface.—Rev
Quetzalcoatl and the Irony of Empire Quetzalcoatl and the Irony of Empire Myths and Prophecies in the Aztec Tradition Revised Edition David Carrasco ~University Press of Colorado Copyright © 2000 by the University Press of Colorado International Standard Book Number 0-87081-558-X Published by the University Press of Colorado 5589 Arapahoe Avenue, Suite 206C Boulder, Colorado 80303 Previously published by the University of Chicago Press All rights reserved. Printed in the United States of America. The University Press of Colorado is a cooperative publishing enterprise supported, in part, by Adams State College, Colorado State University, Fort Lewis College, Mesa State College, Metropolitan State College of Denver, University of Colorado, University of Northern Colorado, University of Southern Colorado, and Western State College of Colorado. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992 Library of Congress Cataloging-in-Publication Data Carrasco, Davíd. Quetzalcoatl and the irony of empire : myths and prophecies in the Aztec tradition / Davíd Carrasco ; with a new preface.—Rev. ed. p. cm. Includes bibliographical references and index. ISBN 0-87081-558-X (alk. paper) 1. Aztec mythology. 2. Aztecs—Urban residence. 3. Quetzalcoatl (Aztec deity) 4. Sacred space—Mexico. I. Title. F1219.76.R45.C37 2000 299'.78452—dc21 00-048008 09 08 07 06 05 04 03 02 01 00 10 9 8 7 6 5 4 3 2 1 To my mythic figures -
The Teotihuacan Cave of Origin 53
The Teot?huacan cave of origin The iconography and architecture of emergence mythology in Mesoamerica and the American Southwest KARLA. TAUBE It is now a well-known fact that the greatest structure Alfonso Caso (1942) the scene depicts the afterlife at Teotihuacan, the Pyramid of the Sun, is carefully Paradise of Tlaloc, there are two basic problems with oriented to a specific natural feature. On the western this interpretation. Caso identifies the large figures side, at the central basal portion of the stairway, a cave above Mural 3 and neighboring Mural 2 as the god leads in to almost the exact center of the pyramid. Ren? Tlaloc, but in recent years others have noted that the Mill?n (1983: 235) notes the extreme importance of the entity is female, not male (e.g., Kubier 1962, 1967; Teotihuacan cave: Pasztory 1973, 1974; F?rst 1974; Taube 1983). Second, the Tlalocan interpretation does not account the must be where it is and nowhere else because pyramid for the other Patio 2 murals, which share many features the cave below itwas the most sacred of sacred with Mural 3 byt cannot be considered . simply places the rituals performed in the cave must have representations of the afterlife. Viewed as the celebrated a system of myth and belief of transcendent emergence of mankind out of the underworld, Mural 3 importance. is far more consistent with the other Patio 2 murals, The ideological significance of the cave has been which appear to portray legendary or actual events and considered in accordance with two general lines of places (Taube 1983). -
Mysteries of the Maya Calendar Museum a Guide for Teachers & Librarians
Mysteries of the Maya Calendar Museum A Guide for Teachers & Librarians uch'ab yak'abil Mayan glyphs for “beginning” and “end” Ben Leeming The Rivers School, Weston, MA Moses Mesoamerican Archive, Harvard University 1 A Letter from the book’s authors Dear Teachers & Librarians: We are a father and daughter team whose ethnic roots are in Mexico and whose lives are intertwined with the cultural patterns and legacies of the Maya and the Aztecs. We also descend from generations of school teachers from the US-Mexico borderlands and we dedicate part of our time to helping teachers get good educational information about Latin American lives and cultures. We’ve written and produced Mysteries of the Maya Calendar Museum with two goals: 1) help kids learn some fundamentals of the Maya Calendar and Maya culture and 2) ease fears and anxieties kids may have about the so called “Maya Prophecy of the End of the World in 2012”. According to the Maya, this year does mark the end of a great cycle of time, which the Maya measured by their “Long Count” calendar. This complex mathematical calculation that goes back over 5,000 years measured every day in this long cycle of time and identified these days with particular gods, natural forces and events. The "end date" of this calendar is December 21st, 2012. This end date has stimulated some media sites to produce confusion and some fear that catastrophes in nature and society will happen around that date. We have noticed that kids in particular are curious and sometimes fearful about these rumors. -
El Murciélago Y Su Relación Con El Dios Xipe Tótec Y Con Venus
Gabriela Valenzuela Pérez* / Alberto Juárez Osnaya** El murciélago y su relación con el dios Xipe Tótec y con Venus Resumen: Al considerar el vasto universo de la religión mesoamericana, a partir del análisis iconográfico se eligió el murciélago como imagen específica para realizar un estudio comparati vo sobre la importancia mítica y ritual de este animal, y así aportar mayores elementos sobre su función e importancia, así como su relación con el dios Xipe Tótec y con Venus. En estudios anteriores se utilizaron los términos de “dios” y “deidad” en la descripción del murciélago porque los primeros investigadores (Caso y Bernal) así lo denominaron. Sin embargo, se tratará de de mostrar —con base en el análisis iconográfico y en los contextos arqueológicos en que se repre senta—, que no es un dios, sino un ser que tiene varias funciones dentro de la cosmogonía mesoamericana. Palabras clave: iconografía, murciélago, Xipe Tótec, Venus, dios. Abstract: In the vast universe of Mesoamerica religion, based on iconographic analysis the bat was chosen as a specific image in a comparative study of the mythical and ritual importance of this animal to contribute information on its function and importance, as well as its relationship with the god Xipe Totec and the planet Venus. In earlier studies the terms “god” and “deity” were used to describe the bat because early researchers (Caso and Bernal) designated it in this way. However, here efforts are made to demonstrate—on the basis of iconographic analysis and ar chaeological contexts in which they appear—that bats are not gods, but rather entities that had multiple functions in Mesoamerica cosmogony. -
Cognitive Dissonance in Early Colonial Pictorial Manuscripts from Central Mexico Lorena Diane Mihok University of South Florida
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-14-2005 Cognitive Dissonance in Early Colonial Pictorial Manuscripts from Central Mexico Lorena Diane Mihok University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Mihok, Lorena Diane, "Cognitive Dissonance in Early Colonial Pictorial Manuscripts from Central Mexico" (2005). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/770 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Cognitive Dissonance in Early Colonial Pictorial Manuscripts from Central Mexico by Lorena Diane Mihok A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Institute for the Study of Latin America and the Caribbean College of Arts and Sciences University of South Florida Major Professor: E. Christian Wells, Ph.D. Karla L. Davis-Salazar, Ph.D. Mario Ortiz, Ph.D. Date of Approval: November 14, 2005 Keywords: Nahua, ethnohistory, art history, codex, mexico © Copyright 2005, Lorena Diane Mihok Acknowledgements I would like to thank my major professor, Dr. E. Christian Wells, for the great amount of encouragement, advice, and patience he has given me during this entire thesis process. Special thanks to Dr. Karla Davis-Salazar, for sharing her time and insight along the way, and to Dr. Mario Ortiz and José Enrique Moreno-Cortés for their wonderful assistance with the transcriptions and translations of these codices. -
Proto-Orthography in the Codex Borbonicus
HOW DRAWING BECOMES WRITING: PROTO-ORTHOGRAPHY IN THE CODEX BORBONICUS Taylor Bolinger Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: John ‘Haj’ Ross, Major Professor Timothy Montler, Minor Professor Jongsoo Lee, Committee Member Brenda Sims, Chair of the Department of Linguistics and Technical Communication Mark Wardell, Dean of the Toulouse Graduate School Bolinger, Taylor. How Drawing Becomes Writing: Proto-Orthography in the Codex Borbonicus. Master of Arts (Linguistics), May 2013, 84 pp., 19 tables, 59 illustrations, references, 51 titles. The scholarship on the extent of the Nahuatl writing system makes something of a sense-reference error. There are a number of occurrences in which the symbols encode a verb, three in the present tense and one in the past tense. The context of the use of calendar systems and written language in the Aztec empire is roughly described. I suggest that a new typology for is needed in order to fully account for Mesoamerican writing systems and to put to rest the idea that alphabetic orthographies are superior to other full systems. I cite neurolinguistic articles in support of this argument and suggest an evolutionary typology based on Gould's theory of Exaptation paired with the typology outlined by Justeson in his "Origins of Mesoamerican Writing" article. Copyright 2013 by Taylor Bolinger ii CONTENTS Page LIST OF TABLES AND FIGURES ......................................................................................................... iv CHAPTER 1 INTRODUCTION