The Planet Venus and Temple 22 at Copán
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A Mat of Serpents: Aztec Strategies of Control from an Empire in Decline
A Mat of Serpents: Aztec Strategies of Control from an Empire in Decline Jerónimo Reyes On my honor, Professors Andrea Lepage and Elliot King mark the only aid to this thesis. “… the ruler sits on the serpent mat, and the crown and the skull in front of him indicate… that if he maintained his place on the mat, the reward was rulership, and if he lost control, the result was death.” - Aztec rulership metaphor1 1 Emily Umberger, " The Metaphorical Underpinnings of Aztec History: The Case of the 1473 Civil War," Ancient Mesoamerica 18, 1 (2007): 18. I dedicate this thesis to my mom, my sister, and my brother for teaching me what family is, to Professor Andrea Lepage for helping me learn about my people, to Professors George Bent, and Melissa Kerin for giving me the words necessary to find my voice, and to everyone and anyone finding their identity within the self and the other. Table of Contents List of Illustrations ………………………………………………………………… page 5 Introduction: Threads Become Tapestry ………………………………………… page 6 Chapter I: The Sum of its Parts ………………………………………………… page 15 Chapter II: Commodification ………………………………………………… page 25 Commodification of History ………………………………………… page 28 Commodification of Religion ………………………………………… page 34 Commodification of the People ………………………………………… page 44 Conclusion ……………………………………………………………………... page 53 Illustrations ……………………………………………………………………... page 54 Appendices ……………………………………………………………………... page 58 Bibliography ……………………………………………………………………... page 60 …. List of Illustrations Figure 1: Statue of Coatlicue, Late Period, 1439 (disputed) Figure 2: Peasant Ritual Figurines, Date Unknown Figure 3: Tula Warrior Figure Figure 4: Mexica copy of Tula Warrior Figure, Late Aztec Period Figure 5: Coyolxauhqui Stone, Late Aztec Period, 1473 Figure 6: Male Coyolxauhqui, carving on greenstone pendant, found in cache beneath the Coyolxauhqui Stone, Date Unknown Figure 7: Vessel with Tezcatlipoca Relief, Late Aztec Period, ca. -
The Maya and Their Neighbours Internal and External Contactsthroughtin1e
The Historical Profile of Kukulcan Jansen, M.E.R.G.N.; van Broekhoven, L.N.K.; Valencia Rivera, R.; Vis, B.; Sachse, F. Citation Jansen, M. E. R. G. N. (2010). The Historical Profile of Kukulcan. Acta Mesoamericana, 22, 89-104. Retrieved from https://hdl.handle.net/1887/16341 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded from: https://hdl.handle.net/1887/16341 Note: To cite this publication please use the final published version (if applicable). ACTA MESOAMERICANA Volume Lama van Broekhoven, Rogelio Valencia Ri vera, Benjamin Vis, Frauke Sachse(eds.) The Maya and their Neighbours Internal and External ContactsThroughTin1e Proceedings of the 10th European Maya Conference Leiden December 9-10,2005 Separata VERLAG ANT ON SAURWElN 2010 Wayeb Advisory Editorial Board Alain Breton Andres Ciudad Ruiz Elizabeth Graham Nikolai Grube Nom1an Hammond Die Deutsche Bibliothek -- CIP Einheitsaufnahme Bin Titelsatz dieser Publikation ist bei Der Deutschen Bibliothek erhiiltlich ISBN 1419-1 Copyright VerlagAnton Saurwein, Markt Schwaben, 20 I 0 Alle Reehte vorbehalten / all rights reserved Fraukc Sachse Druek: Wissner, Miinchen Bindung: Scllmldkon:l, Printed in The Historical Profile of Kukulcan Maarten E.R.G.N. Jansen LEIDEN UNIVERSITY Introduction region between Maya and Mexica, namely those contained in the Nuu Dzaui (Mixtec) In the liminal zone between the Classic and codices, which so far have received little the Postclassic we encounter a Toltec ruler of attention but may be highly pertinent to this legendary proportions, called Kukulcan question.3 (K'uk'ulkan) by the Yucatec Maya and Quetzalcoatl by the Mexica. Both names mean The narrative "Plumed Serpent". -
Aztec Deities
A ztec Z T E C Deities E I T I E S Aztec Z T E C Deities E I T I Figurte 1 “Roland's Friend: 2002” E S Other Works ™ ramblin/rose publications My Father's Room The Four Season's of the Master Myth If Only…A collaboration with Bill Pearlman Mexican Vibrations, Vibraciones Méxicanas Mexican Secrets, Estrangement and Once Again…Alone; with poems by Bill Pearlman Twenty A Magical Number with Tonalphalli: The Count of Fate & Convergence: 2002 CD/DVD: Gods, Land & People of Mexico Con tu permiso: Dioes, Tierra y Gente de México CD/DVD: Work in Progress: The Four Seasons of the Master Myth Books can be downloaded free: www.salazargallery.com www.E-artbooks.com Aztec Z T E C Deities E I T I Figurte 1 “Roland's Friend: 2002” E S Roland Salazar Rose ™ PUBLISHED BY RAMBLIN/ROSE PUBLICATIONS Images Copyright Roland Salazar Rose 2000-2008 All content, identified in this book “Aztec Deities” published 2008, marked by this notice: “1, 2, 3, 4, 5, 6, 7, 8, 9, 10 & 11” are “from Wikipedia®, the free encyclopedia and are considered “copyleft”; therefore the following copyright notice applies to each and every page of written text so identified by “1,2,3,4,5,6,7,8,9,10&11”. “Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, with no Front-Cover Texts, and with no Back-Cover Texts. -
Huitzilopochtli
Huitzilopochtli The god of war, sacrifice and the sun. His name means ‘Hummingbird of the South’. He is always shown wearing a headdress made of large feathers and wielding the turquoise snake, Xiuhcoatl, as a weapon. visit twinkl.com Tlaloc The god of rain and water. Aztecs would pray to Tlaloc for rain to help their crops grow although he could also send storms if he was angry. He is often shown with fangs and large eyes. visit twinkl.com Tezcatlipoca The god of the night, magic and the earth. His name means ‘smoking mirror’. His sacred animal is the jaguar and he is usually shown with yellow and black stripes across his face. visit twinkl.com Chicomecoatl The goddess of agriculture, nourishment and corn. Her name means ‘seven snakes’. She is usually shown as a young girl carrying flowers. visit twinkl.com Quetzalcoatl The god of life and wind. His name means ‘feathered serpent’. Aztecs believe that Quetzalcoatl created mankind. He is often shown as a feathered serpent which could fly (similar to a dragon). visit twinkl.com Xochiquetzal The goddess of beauty and art. She is usually shown as a young, beautiful woman wearing fancy clothes. She looked after mothers and people who made beautiful things, such as craftspeople. visit twinkl.com Chalchiuhtlicue The goddess of rivers and lakes. Her name means ‘she of the jade skirt’. She is also sometimes seen as the protector of navigators. She is usually shown wearing a tasselled headdress and a skirt with a stream of water flowing out of it. visit twinkl.com Mixcoatl The god of the hunt and the stars. -
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 Devil and the Skirt an Iconographic Inquiry Into the Prehispanic Nature of the Tzitzimime
THE DEVIL AND THE SKIRT AN ICONOGRAPHIC INQUIRY INTO THE PREHISPANIC NATURE OF THE TZITZIMIME CECELIA F. KLEIN U.C.L.A. INTRODUCTION On folio 76r of the colonial Central Mexican painted manuscript Codex Magliabechiano, a large, round-eyed figure with disheveled black hair and skeletal head and limbs stares menacingly at the viewer (Fig. 1a). 1 Turned to face us, the image appears ready to burst from the cramped confines of its pictorial space, as if to reach out and grasp us with its sharp talons. Stunned by its gaping mouth and its protruding tongue in the form of an ancient Aztec sacrificial knife, viewers today may re- coil from the implication that the creature wants to eat them. This im- pression is confirmed by the cognate image on folio 46r of Codex Tudela (Fig. 1b). In the less artful Tudela version, it is blood rather than a stone knife that issues from the frightening figures mouth. The blood pours onto the ground in front of the figures outspread legs, where a snake dangles in the Magliabecchiano image. Whereas the Maglia- bechiano figure wears human hands in its ears, the ears of the Tudela figure have been adorned with bloody cloths. In both manuscripts, long assumed to present us with a window to the prehispanic past, a crest of paper banners embedded in the creatures unruly hair, together with a 1 This paper, which is dedicated to my friend and colleague Doris Heyden, evolved out of a talk presented at the 1993 symposium on Goddesses of the Western Hemisphere: Women and Power which was held at the M.H. -
Legend of the Tepozteco: Mesoamerican and Catholic Mythology
LEGEND OF THE TEPOZTECO: MESOAMERICAN AND CATHOLIC MYTHOLOGY Margarita Vargas-Betancourt Stone Center of Latin American Studies Tulane University Prepared for delivery at the 2004 Meeting of the Latin American Studies Association, Las Vegas, Nevada October 7-9, 2004 Tepoztlan, a town located south of Mexico City, under a ridge of mountains known as the Ridge of Tepoztlan, has become a favorite subject of anthropological research. The reason for this is that its history has exemplified the continuity of certain pre-Hispanic traditions and the transformation that the conquest produced in rural communities, as well as the change and resistance that the process of modernization has brought about in modern Mexico (Corona Caraveo, 1999: 15-16). Doubtless, the most renowned studies are Robert Redfield’s Tepoztlan, a Mexican Village (1930), Oscar Lewis’ Life in a Mexican Village: Tepoztlan Restudied (1951) and Tepoztlan, Village in Mexico (1960), and Claudio Lomnitz-Adler’s Evolución de una sociedad rural (1982). These studies are excellent anthropological records of life in Tepoztlan (Tostado Gutiérrez, 1998: 9). However, more than analyzing the myths, they deal with the changes Tepoztlan underwent as modernization and industrialization took place in the country. Philip K. Bock’s “Tepoztlan Reconsidered” (1980) complements these analyses because it explains why the traditional systems have survived in the town. The legends of Tepozteco and the ritual in which he is commemorated are keynotes in the preservation and revitalization of collective memory. The word Tepozteco designates several entities. It refers to Tepoztecatl, the pulque god whose temple is on top of one of the mountains that make up the ridge, but it also denotes the mountain per se, and sometimes it refers to the wind. -
Aztec Art & Architecture
AZTEC ART By MANUEL AGUILAR-MORENO, Ph.D. PHOTOGRAPHY: FERNANDO GONZÁLEZ Y GONZÁLEZ AND MANUEL AGUILAR-MORENO, Ph.D. DRAWINGS: LLUVIA ARRAS, FONDA PORTALES, ANNELYS PÉREZ AND RICHARD PERRY. TABLE OF CONTENTS INTRODUCTION THE AZTEC ARTISTS AND CRAFTSMEN Tolteca MONUMENTAL STONE SCULPTURE Ocelotl-Cuahxicalli Cuauhtli-Cuauhxicalli Dedication Stone Stone of the Warriors Bench Relief Teocalli of the Sacred War (Temple Stone) The Sun Stone The Stones of Tizoc and Motecuhzoma I Portrait of Motecuhzoma II Spiral Snail Shell (Caracol) Tlaltecuhtli (Earth God) Tlaltecuhtli del Metro (Earth God) Coatlicue Coatlicue of Coxcatlan Cihuacoatl Xiuhtecuhtli-Huitzilopochtli Coyolxauhqui Relief Head of Coyolxauhqui Xochipilli (God of Flowers) Feathered Serpent Xiuhcoatl (Fire Serpent Head) The Early Chacmool in the Tlaloc Shrine Tlaloc-Chacmool Chicomecoatl Huehueteotl Cihuateotl (Deified Woman) Altar of the Planet Venus Altar of Itzpaopalotl (Obsidian Butterfly) Ahuitzotl Box Tepetlacalli (Stone Box) with Figure Drawing Blood and Zacatapayolli Stone Box of Motecuhzoma II Head of an Eagle Warrior Jaguar Warrior Atlantean Warriors Feathered Coyote The Acolman Cross (Colonial Period, 1550) TERRACOTTA SCULPTURE Eagle Warrior Mictlantecuhtli Xipec Totec CERAMICS Vessel with a Mask of Tlaloc Funerary Urn with Image of God Tezcatlipoca Flutes WOOD ART Huehuetl (Vertical Drum) of Malinalco Teponaztli (Horizontal Drum) of Feline Teponaztli (Horizontal Drum) With Effigy of a Warrior Tlaloc FEATHER WORK The Headdress of Motecuhzoma II Feathered Fan Ahuitzotl Shield Chalice Cover Christ the Savior LAPIDARY ARTS Turquoise Mask Double-Headed Serpent Pectoral Sacrificial Knife Knife with an Image of a Face GOLD WORK FIGURES BIBLIOGRAPHY INTRODUCTION A main function of Aztec Art was to express religious and mythical concepts to legitimize the power of the State. -
Jenks Hehmeyer ANTH 281 Professor Foias Animal Coessence in the Seeds of Divinity: Naturalism, the Gods, and the Souls Introduct
Jenks Hehmeyer ANTH 281 Professor Foias Animal Coessence in The Seeds of Divinity: Naturalism, the Gods, and the Souls Introduction In this essay, I provide my analysis of three pieces from the upcoming The Seeds of Divinity exhibit at the Williams College Museum of Art (WCMA). The exhibit includes objects from five Precolumbian Mesoamerican civilizations: the Aztec, Maya, Teotihuacan, Zapotec, and West Mexico/Nayarit. One of the pieces covered by this paper, WAM 1966.52, is of Aztec origin. The Aztec empire was founded by the Mexica people of central Mexico in 1428, and lasted less than a century, with the Spanish conquest marking its end in 1521 (Conrad and Demarest 1984). During this short time, the Aztec developed great military strength, a massive central urban center at the capital Tenochtitlan, and a complex set of religious practices that often involved human sacrifice. The Aztec pantheon of gods features many well-known deities, including the feathered serpent Quetzalcoatl, the rain god Tlaloc, and the Mexica patron god Huitzilopochtli. Worship of these gods often involved the creation of localized embodiments, or teixiptlahuan, in which a human being or an inanimate object took on the appearance of a god, and in doing so, could temporarily become that god. Human teixiptlahuan were often sacrificed themselves, while inanimate teixiptlahuan were often worshiped with sacrifices of humans or animals, and by other rituals (Bassett 2015). Hehmeyer 2 The other two pieces—WAM 1985.100 and 1929.77—are Zapotec effigy urns. The Zapotec civilization lasted from approximately 700 B.C. to the time of the Spanish conquest. -
The Sanctuary of Night and Wind
chapter 7 The Sanctuary of Night and Wind At the end of Part 1 (Chapter 4) we concluded that Tomb 7 was a subterraneous sanctuary that belonged to a Postclassic ceremonial centre on Monte Albán and that this centre appears in Codex Tonindeye (Nuttall), p. 19ab, as a Temple of Jewels. Combining the archaeological evidence with the information from the Ñuu Dzaui pictorial manuscripts we understand that the site was of great religious importance for the dynasty of Zaachila, and particularly for Lady 4 Rabbit ‘Quetzal’, the Mixtec queen of that Zapotec kingdom. The depiction in Codex Tonindeye confirms that this sanctuary was a place for worship of sa- cred bundles but it also indicates that here the instruments for making the New Fire were kept. The Temple of Jewels, therefore, combines a religious fo- cus on the ancestors with one on the cyclical renewal of time. Continuing this line of thought, in Part 2 we explore the historical and ide- ological importance of that ritual. This has led us to discuss the meaning of several other ancient Mesoamerican artefacts, codices and monuments, such as the Roll of the New Fire (Chapter 5) and representations of rituals in Aztec art (Chapter 6). With these detailed case studies, we now confront the chal- lenge to try to say something more about the type of rituals that took place in the Temple of Jewels, so we can get an idea of the religious value of Tomb 7 and the religious experiences that ritual practice entailed. Fortunately, the representations of rituals and their associated symbolism in precolonial picto- rial manuscripts, particularly those of the Teoamoxtli Group (Borgia Group), allow us to reconstruct some of the Mesoamerican ideas and visionary experi- ences. -
La Ley De Topiltzin. Fundamentos Mitológicos Del Protocolo Ritual En Las Exequias De Los Señores De Anáhuac
La Ley de Topiltzin. Fundamentos mitológicos del protocolo ritual en las exequias de los señores de Anáhuac Topiltzin’s law. A mythological model of the protocol in the funeral rites of the lords of Anáhuac PATRICK JOHANSSON K. Doctor en letras por la Universidad de París, Sorbona. Profesor en la Facultad de Filosofía y Letras de la UNAM e investigador del Instituto de Investigaciones Históricas de la misma univer- sidad. Autor de diversas obras, entre ellas La palabra, la imagen y el manuscrito. Lecturas indígenas de un texto pictórico en el siglo XVI. RESUMEN El protocolo de las exequias de los señores de Anáhuac obedecía a un modelo establecido por Quetzalcóatl y referido como “Ley de Topiltzin”. El ritual y sus fases constitutivas tienen antecedentes históricos, pero lo esencial del aparato mortuorio se funda en una mitología que le confiere legitimidad. Quetzalcóatl define el protocolo ritual mediante una gesta parcialmente “escenificada” en el contexto de las exequias de los gobernantes. Entre los mitos fundantes de la liturgia funeraria nahua, figura el relato “Huida de Quetzalcóatl a Tlillan, Tlapallan”. El análisis de los textos que lo entrañan revela una isotopía narrativa en la que el rey-sacerdote tolteca, ya viejo, toma conciencia de que debe morir e ir a Tlillan Tlapallan. PALABRAS CLAVE protocolo ritual, exequias, mito, muerte, Quetzalcóatl, rey, sol, Venus ABSTRACT The protocol of the funeral rites of the lords of Anahuac followed the example set by Quetzalcoatl known as “Topiltzin’s law”. The ritual and its phases have an historic origin, but the essential part of its ceremonial apparatus is based on a mythol- ogy, which provides a legitimacy. -
The Iconography of Toltec Period Chichen Itza
CHAPTER 10 The Iconographyof Toltec PeriodChichen Itza The site of Chichen Itza, Yucatan, contains the largest corpus of ancient bas-relief sculptures in the Maya area. Found primarily in architectural contexts on exterior façades, benches, columns, lintels, and interior chambers, the majority of these scenes are quite unlike Classic Maya sculpture of the southern Maya lowlands or even that of the nearby and roughly con- temporaneous Puuc region. Since the 19th century work of Désiré Charnay (1887), it has been widely recognized that the iconography of Chichen Itza is notably similar to that of Tula, Hidalgo, situated some 1,100 kilometers to the west (e.g., Seler 1902-1923:1:668-705, 5:197- 388; Tozzer 1930, 1957; Jiménez Moreno 1941; Lothrop 1952; Ruz Lhuillier 1962; Andrews IV 1965; Kristan-Graham 1989). For many years, it has been thought that this art followed the Puuc florescence of the northern Maya lowlands. The Puuc style traits at Chichen Itza were considered to be before the advent of Central Mexican art and iconography. Thus the contrasts between the Maya “Old Chichen” and the Toltec “New Chichen” were examined and explained through a chronological construct. A foreign Toltec culture entirely eclipsed earlier Classic Maya art and architecture. Invasion and mass-migration have been frequently cited as explanations for the widespread appearance of Toltec imagery at Chichen Itza (e.g., Morley and Brainerd 1956; Tozzer 1957; Kelley 1983). In recent years, it has become increasingly evident that the Maya and Toltec styles at Chichen Itza do not simply form two distinct periods but rather, are at least partly contem- poraneous.