Classical Nahuatl
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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). -
EVERYTHING ABOUT PULQUE AGAVOLOGY 'Water from the Green Plants…'
EVERYTHING ABOUT PULQUE AGAVOLOGY 'Water from the green plants…' Tequila's predecessor, pulque, or octli, was made from as many as six types of agave grown in the Mexican highlands. Pulque is one of about thirty different alcoholic beverages made from agave in Mexico - many of which are still made regionally, although seldom available commercially. The drink has remained essential to diet in the central highlands of Mexico since pre-Aztec times. Pulque is like beer - it has a low alcoTeqhol content, about 4-8%, but also contains vegetable proteins, carbohydrates and vitamins, so it also acts as a nutritional supplement in many communities. Unlike tequila or mezcal, the agave sap is not cooked prior to fermentation for pulque. Pulque, is an alcoholic spirit obtained by the fermentation of the sweetened sap of several species of 'pulqueros magueyes' (pulque agaves), also known as Maguey Agaves. It is a traditional native beverage of Mesoamerica. Though it is commonly believed to be a beer, the main carbohydrate is a complex form of fructose rather than starch. The word 'pulque' comes from the Náhuatl Indian root word poliuhqui, meaning 'disturbed'. There are about twenty species of agave and several varieties of pulque. Of these there was one that was called "metlaloctli" ie "blue pulque," for its colouration. Plant Sources of Pulque The maguey plant is not a cactus (as has sometimes been mistakenly suggested) but an Agave, believed to be the Giant Agave (Agave salmiana subspecies salmiana). The plant was one of the most sacred plants in Mexico and had a prominent place in mythology, religious rituals, and Mesoamerican industry. -
La Doctrina De Xochipilli
La Doctrina de Xochipilli Jenaro Ismael Reyes Tovar María Guadalupe Rodríguez Licea Dibujos: Rubén Soto Orozco Sabiduría Gnóstica Material didáctico de uso interno y exclusivo de estudiantes del Instituto Cultural Quetzalcóatl de Antropología Psicoanalítica, A.C. www.samaelgnosis.net | www.samaelgnosis.org | www.samaelgnosis.us La Doctrina de Xochipilli www.samaelgnosis.net La Doctrina de Xochipilli Autores del libro y fotografías: Jenaro Ismael Reyes Tovar y María Guadalupe Rodríguez Licea Portada y dibujos: Rubén Soto Orozco © Todos los derechos reservados. Flores, símbolo de la belleza espiritual y la alegría del alma. [Teotihuacán] Página web: www.samaelgnosis.net www.samaelgnosis.org www.samaelgnosis.us El contenido de este libro está basado en las conferencias y libros del V.M. Samael Aun Weor. Es el resultado del trabajo y cariño que ponen los instructores gnósticos y el equipo de voluntarios del Instituto Cultural Quetzalcóatl. 2 La Doctrina de Xochipilli www.samaelgnosis.net Introducción l amor es la fuerza más poderosa que existe en todo el cosmos infinito; tiene el poder de transformar radicalmente al ser humano, es capaz de llevarlo, de ser un simple E gusano del lodo del mundo a las esferas más sublimes y divinas. En el origen de los tiempos, el amor dio existencia al universo; y, una vez creado, esta fuerza tiene la capacidad de sostenerlo firme en su marcha; por tanto, si es tal el poder que tiene, cuando el ser humano lo llega a encarnar, éste posee, en consecuencia, la potestad para transformar su vida completamente. El amor todo lo puede, todo lo penetra, todo lo vence. -
Pulque, a Traditional Mexican Alcoholic Fermented Beverage: Historical, Microbiological, and Technical Aspects
REVIEW published: 30 June 2016 doi: 10.3389/fmicb.2016.01026 Pulque, a Traditional Mexican Alcoholic Fermented Beverage: Historical, Microbiological, and Technical Aspects Adelfo Escalante 1*, David R. López Soto 1, Judith E. Velázquez Gutiérrez 2, Martha Giles-Gómez 3, Francisco Bolívar 1 and Agustín López-Munguía 1 1 Departamento de Ingeniería Celular y Biocatálisis, Instituto de Biotecnología, Universidad Nacional Autónoma de México, Cuernavaca, Mexico, 2 Departamento de Biología, Facultad de Química, Universidad Nacional Autónoma de México, Ciudad Universitaria, Ciudad de México, Mexico, 3 Vagabundo Cultural, Atitalaquia, Mexico Pulque is a traditional Mexican alcoholic beverage produced from the fermentation of the fresh sap known as aguamiel (mead) extracted from several species of Agave (maguey) plants that grow in the Central Mexico plateau. Currently, pulque is produced, sold and consumed in popular districts of Mexico City and rural areas. The fermented product is a milky white, viscous, and slightly acidic liquid beverage with an alcohol content between 4 and 7◦ GL and history of consumption that dates back to pre-Hispanic times. In this contribution, we review the traditional pulque production Edited by: process, including the microbiota involved in the biochemical changes that take place Jyoti Prakash Tamang, Sikkim University, India during aguamiel fermentation. We discuss the historical relevance and the benefits of Reviewed by: pulque consumption, its chemical and nutritional properties, including the health benefits Matthias Sipiczki, associated with diverse lactic acid bacteria with probiotic potential isolated from the University of Debrecen, Hungary Giulia Tabanelli, beverage. Finally, we describe the actual status of pulque production as well as the social, Università di Bologna, Italy scientific and technological challenges faced to preserve and improve the production of *Correspondence: this ancestral beverage and Mexican cultural heritage. -
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. -
Clothes Make the God: the Ehecatl of Calixtlahuaca, Mexico
Clothes Make the God: The Ehecatl of Calixtlahuaca, Mexico Jennifer Lynn Burley During the fifteenth and early sixteenth centuries in of this addition to his name, he is regularly identified by a Central Mexico, the Aztec government commissioned works red, protruding buccal mask, the Calixtlahuaca Ehecatl’s of art throughout the inner provinces of its empire as well as permanent feature. in the capital, Tenochtitlan, where Mexico City now stands. The deity image belongs to a group of sculptures that One of the provincial areas was the colony of Calixtlahuaca, Aztec scholar Richard Townsend terms cult effigies—anthro- located in the Tollocan province, 70 miles west of the impe- pomorphic figures that were the object of ceremonies.5 As rial capital. A number of Aztec period sculptures have been evidenced by the absence of permanent clothing and lack found at this site.1 Among these is the only known imperial- of detail in the body, this type of effigy would have been style deity image found at a temple in the Aztec realm, the dressed and its clothing could be changed for different oc- unclothed sculpture of the Aztec wind god, Ehecatl (Figure casions. As in other Aztec productions, the Calixtlahuaca 1). The stone sculpture was found at Calixtlahuaca during Ehecatl’s garments were an essential part of the deity image, José Garcia Payón’s excavation of the site in the 1930s on the and the image cannot be interpreted without considering its southeast side of Structure 3, a round temple known to be the costume. Townsend’s analysis emphasizes the supernatural type of building associated with the wind in Mesoamerica.2 aspect of cult effigies, but they had other meanings as well. -
An Effigy of Tezcatlipoca from the Bilimek Collection in Vienna
Ancient Mesoamerica, 31 (2020), 343–359 Copyright © Cambridge University Press, 2020 doi:10.1017/S0956536119000324 AN EFFIGY OF TEZCATLIPOCA FROM THE BILIMEK COLLECTION IN VIENNA Jeremy D. Coltman ,a Guilhem Olivier,b and Gerard van Busselc aDepartment of Anthropology, University of California, Riverside, 1334 Watkins Hall, Riverside, California 92521 bInstituto de Investigaciones Históricas, Universidad Nacional Autónoma de Mexico, Circuito, Mario de La Cueva S/n, C.U., Coyoacán, C.P. 04510, Mexico City, Mexico c Weltmuseum Wien, Heldenplatz, 1010 Vienna, Austria Abstract Most representations of Tezcatlipoca, the supreme sorcerer of Late Postclassic central Mexico, come from the codices of the Mixteca- Puebla tradition. This important deity was also represented, however, in statues, wall paintings, bas-reliefs, as well as head-shaped ceramic pieces, the latter of which are little-known and poorly studied. In this study, we offer a detailed analysis of one of the best examples of Tezcatlipoca head-shaped ceramic pieces sheltered in the Bilimek Collection at the Weltmuseum in Vienna. We compare the Tezcatlipoca effigy head of Vienna with similar pieces from the Colección Fundación Televisa in Mexico City, the Museo Regional de Cholula, and the Museo del Valle de Tehuacán, all representations being fine examples of the Eastern Nahua artistic tradition. The similarity between the iconography on the Tezcatlipoca pedestal in Vienna and the murals of Ocotelulco and Tizatlan, Tlaxcala, are particularly striking, sharing representations of skulls, hands, and a motif we have identified as a mirror. We also analyze in detail the links between the iconography of Tezcatlipoca with that of the Macuiltonaleque. Finally, we propose the possibility of a ritual use of these ceramic vessels, associated with the ingestion of pulque in the framework of a Tezcatlipoca drinking cult. -
Quetzalcoatl, the Maya Maize God, and Jesus Christ
Journal of Book of Mormon Studies Volume 11 Number 1 Article 3 7-31-2002 Quetzalcoatl, the Maya Maize God, and Jesus Christ Diane E. Wirth Follow this and additional works at: https://scholarsarchive.byu.edu/jbms BYU ScholarsArchive Citation Wirth, Diane E. (2002) "Quetzalcoatl, the Maya Maize God, and Jesus Christ," Journal of Book of Mormon Studies: Vol. 11 : No. 1 , Article 3. Available at: https://scholarsarchive.byu.edu/jbms/vol11/iss1/3 This Feature Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of Book of Mormon Studies by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Title Quetzalcoatl, the Maya Maize God, and Jesus Christ Author(s) Diane E. Wirth Reference Journal of Book of Mormon Studies 11/1 (2002): 4–15, 107. ISSN 1065-9366 (print), 2168-3158 (online) Abstract Many scholars suggest that Quetzalcoatl of Mesoamerica (also known as the Feathered Serpent), the Maya Maize God, and Jesus Christ could all be the same being. By looking at ancient Mayan writings such as the Popol Vuh, this theory is further explored and developed. These ancient writings include several stories that coincide with the stories of Jesus Christ in the Bible, such as the creation and the resurrec- tion. The role that both Quetzalcoatl and the Maize God played in bringing maize to humankind is com- parable to Christ’s role in bringing the bread of life to humankind. Furthermore, Quetzalcoatl is said to have descended to the Underworld to perform a sacrifice strikingly similar to the atonement of Jesus Christ. -
Presentación De Powerpoint
REVISTA PULQUIMIA • El Maguey y el Pulque en las artes audiovisuales Jacinto Preciado, Lizeth Sevilla y Alejandra Velasco • Maguey, poesía…y una historia de amor Elvia Chaparro • Las representaciones del maguey y del pulque en las culturas de Mesoamérica Rodolfo Ramírez Rodríguez • Fractal quiotero Itzmalín Benítez • El quiote o escapo floral del maguey y sus usos Primera Parte Samuel Rangel Calderón • Maguey, creador de maravillas Orestes Montero DICIEMBRE 2013 3 REVISTA PULQUIMIA Directorio Mayahuel Coordinación Alejandra Velasco Pegueros Macuiltochtli Coordinación Lizeth Sevilla Tepoztécatl Coordinación Jacinto Preciado Camarena Tlacuilo Diseño Editorial Javier Gómez Marín Revista Pulquimia, Año 1, Volumen 1, Número 3, Diciembre del 2013, Pedro Loza 719, Guadalajara Jalisco, México, C.P. 44100. Publicación editada por el “Colectivo Pulquimia: Trasmutando la Decadencia en Maravilla….” E-mail: [email protected] Sitio web: http://pulquimia.com D.R. Reservas de Derecho de Autor. Esta revista tiene como objetivo difundir la cultura del maguey y el pulque, es de libre distribución y sin fines de lucro. Prohibida su venta. Se permite la reproducción siempre y cuando se cite la fuente y los autores. Fotografía de portada: Hombres en una pulquería Nacho López, 1950. Fotografía de esta página: Penca, Elvia Chaparro. Índice 2 El Maguey y el Pulque en las artes audiovisuales Jacinto Preciado, Lizeth Sevilla y Alejandra Velasco 8 Maguey, 32 poesía…y una historia de amor Fractal quiotero Elvia Chaparro Itzmalín Benítez 22 34 Las representaciones del El quiote o escapo floral maguey y del pulque en las del maguey y sus usos culturas de Mesoamérica Primera Parte Rodolfo Ramírez Rodríguez Samuel Rangel Calderón 45 Maguey, creador de maravillas Orestes Montero 1 El Maguey y el Pulque en las artes audiovisuales Jacinto Preciado, Lizeth Sevilla y Alejandra Velasco Gran parte de la memoria y la historia del pulque nos la muestran las bastas imágenes de diversos fotógrafos que han llevado su atención y su lente hacia el maguey, el pulque y la cultura pulquera. -
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. -
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. -
Aztec Archaeology: Codices and Ethno- History Academic Year 2019-2020 15 Credits
UCL Institute of Archaeology ARCL 0137: Aztec Archaeology: Codices and Ethno- history Academic Year 2019-2020 15 credits Monday 9-11 in Room 412 Co-ordinator: Dr. Elizabeth Baquedano [email protected] Telephone: 020 7679 7532 Offering at Templo Mayor First Essay due 9 December 2019 Second Essay due 13 January 2020 Codex Mendoza 2 1. OVERVIEW A brief summary of the This course examines the critical boundaries between course contents the historical records, the painted books (codices) and the material culture of archaeology. It focuses on the Spanish Chroniclers of Sixteenth Century Mexico who saw and recorded the dazzling brilliance of Aztec life and culture. The evidence from these two distinctive literary sources will be set against the insight gained by archaeological investigations over the last thirty years – in particular the excavations of the Great Temple of the Aztecs that has done so much to revolutionize our knowledge of that civilization. Moving back and forth between the indigenous painted books and the chronicles of Sixteenth century Mexico and archaeology, the student will be able to synthesize the information in order to understand Aztec culture, where religion, politics and economic concerns overlap in complex ways. The course begins with an overview of the Aztecs from their humble beginnings to Empire builders looking at the Aztec Annals and the archaeological evidence. We then turn to the Spanish Conquest examining the documentary evidence especially the writings of the Conquistadors Hernán Cortés and Bernal Díaz del Castillo as well as the writings of the Catholic friars Bernardino de Sahagún and Diego Durán.