The Venus-Rain-Maize Complex in the Mesoamerican World
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El Oro De Tenochtitlan: La Colección Arqueológica Del Proyecto Templo Mayor Tenochtitlan’S Gold: the Archaeological Collection of the Great Temple Project
El oro de Tenochtitlan: la colección arqueológica del Proyecto Templo Mayor Tenochtitlan’s Gold: the Archaeological Collection of the Great Temple Project LEONARDO LÓPEZ LUJÁN Doctor en arqueología por la Université de Paris X-Nanterre. Profesor-investigador del Museo del Templo Mayor, INAH. Miembro del Proyecto Templo Mayor desde 1980 y su director a partir de 1991. Véase www.mesoweb.com/about/leonardo.html JOSÉ LUIS RUVALCABA SIL Doctor en Ciencias por la Université de Namur. Investigador del Instituto de Física de la UNAM. Director del Laboratorio de Análisis No Destructivo en Arte, Arqueología e Historia (ANDREAH) y del Laboratorio del Acelerador Pelletron. Véase www. fisica.unam.mx/andreah RESUMEN El territorio mexicano no es rico en yacimientos de oro nativo. Dicho fenómeno explica por qué las civilizacio- nes mesoamericanas aprovecharon este metal en cantidades siempre modestas. En este artículo se analiza la totalidad de la colección de oro del Proyecto Templo Mayor a la luz de la información histórica, arqueológica y química, con el fin de ofrecer nuevas ideas sobre su cronología, tecnología, tipología, función, significado, tradición orfebre y “zona geográfica de uso” en el Centro de México durante el Posclásico Tardío. PALABRAS CLAVE Tenochtitlan, recinto sagrado, Templo Mayor, Azcapotzalco, ofrendas, oro, orfebrería ABSTRACT Mexico is a not a country rich in native gold depos- its. This would explain why the precious metal was always used rather sparingly in Mesoamerican civilizations. This article will analyze the entire collection of gold pieces from the Great Temple Project in light of various historical, archaeological, and chemical data, and offer new insights about the chronology, typology, function, meaning, manufac- turing tradition, and “geographical area of use” of gold in Late Postclassic Central Mexico. -
Encounter with the Plumed Serpent
Maarten Jansen and Gabina Aurora Pérez Jiménez ENCOUNTENCOUNTEERR withwith thethe Drama and Power in the Heart of Mesoamerica Preface Encounter WITH THE plumed serpent i Mesoamerican Worlds From the Olmecs to the Danzantes GENERAL EDITORS: DAVÍD CARRASCO AND EDUARDO MATOS MOCTEZUMA The Apotheosis of Janaab’ Pakal: Science, History, and Religion at Classic Maya Palenque, GERARDO ALDANA Commoner Ritual and Ideology in Ancient Mesoamerica, NANCY GONLIN AND JON C. LOHSE, EDITORS Eating Landscape: Aztec and European Occupation of Tlalocan, PHILIP P. ARNOLD Empires of Time: Calendars, Clocks, and Cultures, Revised Edition, ANTHONY AVENI Encounter with the Plumed Serpent: Drama and Power in the Heart of Mesoamerica, MAARTEN JANSEN AND GABINA AURORA PÉREZ JIMÉNEZ In the Realm of Nachan Kan: Postclassic Maya Archaeology at Laguna de On, Belize, MARILYN A. MASSON Life and Death in the Templo Mayor, EDUARDO MATOS MOCTEZUMA The Madrid Codex: New Approaches to Understanding an Ancient Maya Manuscript, GABRIELLE VAIL AND ANTHONY AVENI, EDITORS Mesoamerican Ritual Economy: Archaeological and Ethnological Perspectives, E. CHRISTIAN WELLS AND KARLA L. DAVIS-SALAZAR, EDITORS Mesoamerica’s Classic Heritage: Teotihuacan to the Aztecs, DAVÍD CARRASCO, LINDSAY JONES, AND SCOTT SESSIONS Mockeries and Metamorphoses of an Aztec God: Tezcatlipoca, “Lord of the Smoking Mirror,” GUILHEM OLIVIER, TRANSLATED BY MICHEL BESSON Rabinal Achi: A Fifteenth-Century Maya Dynastic Drama, ALAIN BRETON, EDITOR; TRANSLATED BY TERESA LAVENDER FAGAN AND ROBERT SCHNEIDER Representing Aztec Ritual: Performance, Text, and Image in the Work of Sahagún, ELOISE QUIÑONES KEBER, EDITOR The Social Experience of Childhood in Mesoamerica, TRACI ARDREN AND SCOTT R. HUTSON, EDITORS Stone Houses and Earth Lords: Maya Religion in the Cave Context, KEITH M. -
Aztec Festivals of the Rain Gods
Michael Graulich Aztec Festivals of the Rain Gods Aunque contiene ritos indiscutiblemente agrícolas, el antiguo calendario festivo de veintenas (o 'meses') de la época azteca resulta totalmente desplazado en cuanto a las temporadas, puesto que carece de intercalados que adaptan el año solar de 365 días a la duración efectiva del año tropical. Creo haber demostrado en diversas pu- blicaciones que las fiestas pueden ser interpretadas en rigor sólo en relación con su posición original, no corrida aún. El presente trabajo muestra cómo los rituales y la re- partición absolutamente regular y lógica de las vein- tenas, dedicadas esencialmente a las deidades de la llu- via - tres en la temporada de lluvias y una en la tempo- rada de sequía - confirman el fenómeno del desplaza- miento. The Central Mexican festivals of the solar year are described with consi- derable detail in XVIth century sources and some of them have even been stu- died by modern investigators (Paso y Troncoso 1898; Seler 1899; Margain Araujo 1945; Acosta Saignes 1950; Nowotny 1968; Broda 1970, 1971; Kirchhoff 1971). New interpretations are nevertheless still possible, especially since the festivals have never been studied as a whole, with reference to the myths they reenacted, and therefore, could not be put in a proper perspective. Until now, the rituals of the 18 veintenas {twenty-day 'months') have always been interpreted according to their position in the solar year at the time they were first described to the Spaniards. Such festivals with agricultural rites have been interpreted, for example, as sowing or harvest festivals on the sole ground that in the 16th century they more or less coincided with those seasonal events. -
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. -
Contexts of Offerings and Ritual Maize in the Pictographic Record in Central Mexico
Contexts of offerings and ritual maize in the pictographic record in Central Mexico NATALIA MORAGAS SEGURA and ELENA MAZZETTO he objective of this article is an initial enquiry into the evidence and classification of the Tofferings of maize in Central Mexico from the Classic period to early colonial times. In order to achieve this goal, we will analyse the presence of maize in Central Mexico according to the evidence found in mural paintings and some pictographic codices. Two Mesoamerican cultures will be considered to achieve our analysis: the Teotihuacan and Mexico-Tenochtitlan. Maize was instru- mental in the performance of daily rituals and in the diet of these ancient Mesoamerican cultures and the cereal also had sacred connotations in pre-Hispanic, colonial and contemporary narratives. We suggest this by reading the iconographic and symbolic representations of corn in the form of seeds and pods, or as an ingredient in cooked foods which are represented in the mural paintings of Teotihuacan as well as some codices of the post-Classic Nahua tradition. These methodological enquiries reveal evidence of a cultural continuity in Central Mexico as a contrasting perspective on the archaeological and ethno-historical period. Introductory remarks In 1943, Paul Kirchhoff coined the term ‘Mesoamerica’ as a cultural concept to refer to the development of complex societies (Kirchhoff 1943, Flannery 1968) in the region. This concept defines a variable geographical area but also emphasizes the cultural traits that were shared by a number of different indig enous cultures. The geographical area covers Mexico to Belize, Guatemala, El Salvador, Honduras, Nicaragua, and northern Costa Rica. -
The Museum of the Templo Mayor Photo by José Ignacio González Manterola González José by Photo Ignacio
The Museum of the Templo Mayor The Museum of the Templo Mayor, designed by architect Pedro Ramírez Vázquez, was created to display more than 7,000 objects found in excavations which took place between 1978 and 1982 at the site of what was once the main temple of the Mexicas. Inaugurated on October 12th, 1987, the museum recreates the duality of life and death, water and war, agriculture and tribute, symbols of Tlaloc and Huitzilopochtli, deities to whom the Main Temple of Tenochtitlan was dedicated. View of the facade of the Eagle Warrior. Photo by Luis Antonio Zavala Antonio Luis by Photo Warrior. Eagle Museum of the Templo Mayor Photo by José Ignacio González Manterola González José by Photo Ignacio Tlaltecuhtli A few steps from the museum foyer lies the imposing relief of Tlaltecuhtli, the Earth goddess of the Mexicas. A monolith weighing almost 12 tons that was originally placed at the foot of the Main Temple was discovered in October 2006 on the property of the Nava Chávez estate, on the corner of Guatemala and Argentina Streets. Thanks to 3 years of arduous and detailed restoration work, the visitor can see the impressive representation of this deity in its original polychrome. Historical Background This room presents a panorama of the research developed about the Mexica culture since the first archeological discoveries in 1790 until the present time. A model at the entrance to the room illustrates the places where the most important pre-Hispanic pieces were found in the main square of Mexico City. ROOM 1 ROOM The visitor can see objects found in the first excavations of the Main Temple from the beginning of the 20th century until the Templo Mayor Project, initiated in 1978 as a result of the discovery of the great circular sculpture of the goddess Coyolxauhqui. -
Emily Floyd Fray Bernardino De Sahagún and the Construction Of
Emily Floyd Fray Bernardino de Sahagún and the construction of the Aztec Pantheon Fray Bernardino de Sahagún is often hailed as the first great ethnographer. This characterization of Sahagún pays tribute to his exhaustive curiosity and deep interest in the cultures he recorded. At the same time, it obscures his motivations in compiling his vast compendium of culture, religion, and history. In overemphasizing Sahagún's supposed impartiality and objectivity, this approach discourages critical readings of his work. Sahagún's work should not be read as an unbiased source for knowledge about the Aztecs, ignoring the context in which it was compiled. In Book 1 of the Florentine Codex, The Gods, Sahagún provides a visual and written list of the Aztec deities. In this paper, I will argue that while the representation of the Aztec deities in The Gods draws upon both Aztec and Christian visual conventions, close association with either religious tradition was potentially dangerous. By giving the Aztec gods a Greco-Roman gloss, Sahagún distanced the deities from pre-Catholic religious practice and placed them into the ambiguous language of Renaissance approaches to the Greco-Roman deities. This portrayal has the effect of distancing the deities from religious practice and placing them into the equal parts glorifying and secularizing context of the Renaissance Greco-Roman pantheon. The visual language employed by Sahagún's artists in The God's list of Aztec deities owes little to Aztec visual conventions. Sahagún's artists were students of the friars at the Colegio de Santa Cruz de Tlateloco, trained in European theories of proportion and draftsmanship. -
WORKS of ORIGINAL AZTEC and MIXTEC ART 1) Statue Of
WORKS OF ORIGINAL AZTEC AND MIXTEC ART 33" 1) Statue of chicomecoatl. Aztec. Red volcanic stone. high X 15 1/2" wide X 7". 2) Statue of Chicomecoatl. Aztec. Basalt. 15" high X 7" wide X 6" • 3) Jaguar Mortar. Aztec style (Guerrero). Stone with mica particles, length 10 1/2" X width 6X3 1/2" high. 4) Phallic Tlaloc . Aztec . Stone. 8 1/2" high X 6" wide X 5". 6" 5) Mortar in the Shape of a Pulque Bowl. Aztec. Stone high X 5 3/4" diameter. 6) Pulque Bowl Lid. Aztec. Stone. 5 1/4" diameter. 7) Large Panel of Dancing Deity Macuilxochitl or Impersonator (Ixiptla). Aztec. Basalt. 22 1/2" high X 14 1/2" wide X 4 1/2" thick. Heavy. 8) Hunchbacked Figure (probably Xolotl). Aztec. Basalt. 7" high X 4" wide X 4". 9) Head of Ehecatl. Aztec. Volcanic Stone. 9 1/2" high X 7" wide X 6". (Crude). 10) Double Brazier (candelario?). Aztec. Red volcanic stone. 4 3/4" high X 4 3/4" wide X 2 1/2". 11 ) Head of "Macehualli." Aztec. Red volcanic stone. 13 1 /2" high (with stand) X 7 1/2". 12) Head of "Macehualli." Aztei c. Grey volcanic stone. 12 1 /2" high (with stand). X 5". X 5" 13) Xiuhtecuhtli. Aztec. Grey volcanic stone. 8"1 high wide X 5 1/2". 14) "Chichimec" Skull. Aztec. Basalt. 8" high X 6" wide X 5 1/2" • 15) Head of Xipe Totec. Aztec. Red Stone. 13" high (with stand) X 8" • Skull. Aztec. Volcanic stone (with red paint). -
Abhiyoga Jain Gods
A babylonian goddess of the moon A-a mesopotamian sun goddess A’as hittite god of wisdom Aabit egyptian goddess of song Aakuluujjusi inuit creator goddess Aasith egyptian goddess of the hunt Aataentsic iriquois goddess Aatxe basque bull god Ab Kin Xoc mayan god of war Aba Khatun Baikal siberian goddess of the sea Abaangui guarani god Abaasy yakut underworld gods Abandinus romano-celtic god Abarta irish god Abeguwo melansian rain goddess Abellio gallic tree god Abeona roman goddess of passage Abere melanisian goddess of evil Abgal arabian god Abhijit hindu goddess of fortune Abhijnaraja tibetan physician god Abhimukhi buddhist goddess Abhiyoga jain gods Abonba romano-celtic forest goddess Abonsam west african malicious god Abora polynesian supreme god Abowie west african god Abu sumerian vegetation god Abuk dinkan goddess of women and gardens Abundantia roman fertility goddess Anzu mesopotamian god of deep water Ac Yanto mayan god of white men Acacila peruvian weather god Acala buddhist goddess Acan mayan god of wine Acat mayan god of tattoo artists Acaviser etruscan goddess Acca Larentia roman mother goddess Acchupta jain goddess of learning Accasbel irish god of wine Acco greek goddess of evil Achiyalatopa zuni monster god Acolmitztli aztec god of the underworld Acolnahuacatl aztec god of the underworld Adad mesopotamian weather god Adamas gnostic christian creator god Adekagagwaa iroquois god Adeona roman goddess of passage Adhimukticarya buddhist goddess Adhimuktivasita buddhist goddess Adibuddha buddhist god Adidharma buddhist goddess -
Texto Completo (Pdf)
Ab Initio, Núm. 11 (2015) Marta Gajewska Tlazolteotl, un ejemplo… TLAZOLTEOTL, UN EJEMPLO DE LA COMPLEJIDAD DE LAS DEIDADES MESOAMERICANAS TLAZOLTEOTL, AN EXAMPLE OF THE COMPLEXITY OF THE MESOAMERICAN DEITIES Marta Gajewska Máster en Estudios Hispánicos (Universidad de Varsovia) Resumen. En este artículo se intenta Abstract. In this article we will try to demostrar que la clasificación de los demonstrate that the classification of dioses mesoamericanos en los complejos Mesoamerican gods in the complex of de las deidades simplifica la visión de deities simplifies the vision of each one cada uno de éstos en particular. A partir in particular. Based on the analysis of del análisis de las distintas funciones de Tlazoteotl’s various functions, we will la diosa Tlazolteotl se verificarán sus try to verify her different categorizations diferentes categorizaciones (telúrica, (telluric, lunar…), aiming to prove that lunar, etc.) y se demostrará que es una it was a deity with multiple meanings deidad de múltiples significaciones que which acquired along the centuries, adquirió a lo largo de los siglos según according to the needs that were las necesidades que iban surgiendo. appearing. Palabras clave: Tlazolteotl, deidades, Keywords: Tlazolteotl, deities, religión mesoamericana, iconografía, Mesoamerican religion, iconography, códice. codex. Para citar este artículo: GAJEWSKA, Marta, “Tlazolteotl, un ejemplo de la complejidad de las deidades mesoamericanas”, Ab Initio, Núm. 11 (2015), pp. 89-126, disponible en www.ab-initio.es Recibido: 30/05/2014 Aceptado: 31/03/2015 I. INTRODUCCIÓN Tlazolteotl, una de las deidades del centro de México, ha sido tradicionalmente identificada como la diosa de la inmundicia, de la basura y del pecado corporal. -
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. -
The Fertilizing Role of Monkey Among Ancient Nahuas Jaime Echeverría Garc
Entre la fertilidad agrícola y la generación humana: el rol fecundante del mono entre los antiguos nahuas Between agricultural fertility and human generation: the fertilizing role of monkey among ancient Nahuas JAIME ECHEVERRÍA GARCÍA Jaime Echeverría García es doctor en Antropología por el Instituto de Investigaciones Antropológicas de la UNAM. Es miembro del Sistema Nacional de Investigadores (nivel 1). Sus principales líneas de investigación son la locura, la alteridad y el miedo entre los nahuas prehispánicos. Entre sus publica- ciones se encuentran Los locos de ayer. Enfermedad y desviación en el México antiguo, Extranjeros y marginados en el mundo mexica y “Tonalli, naturaleza fría y personalidad temerosa: el susto entre los nahuas del siglo XVI”. RESUMEN En este artículo estudio los simbolismos de fertilidad, procrea- ción y abundancia atribuidos al mono entre los antiguos nahuas, los cuales fueron proyectados hacia los ámbitos agrícola y humano. De forma sobresaliente, la figura del simio intervino en el buen desarrollo del ciclo agrícola, desde el cultivo de la semilla hasta la cosecha del fruto maduro, así como en la reproducción humana. De esta manera, el mono estuvo presente en sitios rurales, durante el parto, en el culto a los cerros, a los dioses de la lluvia y del pulque, entre otros contextos. La metodología que se siguió fue la vinculación del dato arqueológico, el histórico y, en menor medida, el etnográfico. PALABRAS CLAVE nahuas, mono, fertilidad, procreación, cosmovisión ABSTRACT In this article I study the symbolisms of fertility, procreation and abundance attributed to monkey among ancient Nahuas, which were projected toward the farm and human spheres.