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FFP/Celebrate Text.Qdoc
FFP-CelebrateCYMK.doc:FFP/CelebrateCYMK_TXT 12/3/08 10:40 AM Page i CELEBRATE NATIVE AMERICA! An Aztec Book of Days FFP-CelebrateCYMK.doc:FFP/CelebrateCYMK_TXT 12/3/08 10:40 AM Page ii FFP-CelebrateCYMK.doc:FFP/CelebrateCYMK_TXT 12/3/08 10:40 AM Page iii CELEBRATE NATIVE AMERICA! An Aztec Book of Days Five Flower Press Santa Fe, New Mexico BY RICHARD BALTHAZAR FFP-CelebrateCYMK.doc:FFP/CelebrateCYMK_TXT 12/3/08 10:40 AM Page iv ACKNOWLEDGEMENTS Front cover illustration: Sincere gratitude to Ernesto Torres for his incisive and insightful editing, to John HUITZILOPOCHTLI Cole for his artistry in processing and assembling the illustrations, and to the Uni- Hummingbird of the South versity of New Mexico Library for access to editions of several Aztec codices. The Aztec god of war. Publisher’s Cataloging in Publication (Prepared by Quality Books Inc.) Balthazar, Richard. Celebrate native America! : an Aztec book of days / Richard Balthazar. p. cm. Includes bibliographical references and index. ISBN 0-9632661-1-X 1. Aztec—Calendar. 2. Indians of Mexico—Calendar. 3. Aztecs—Religion and mythology. 4. Indians of Mexico—Religion and mythology. I. Title. II. Title: Aztec book of days. F1219.76.C35B38 1993 972.018 QB193–20421 ©1993, Richard Balthazar. All rights reserved. Printed in Korea. Design/Typography: John Cole Graphic Designer, Cerrillos, New Mexico U.S.A. Software used to produce this publication: Quark XPress 3.1, Adobe Streamline 2.0 and Adobe Illustrator 3.0. Typeface: Adobe Cochin. Printed on acid free paper. FFP-CelebrateCYMK.doc:FFP/CelebrateCYMK_TXT -
Ometeotl, El Supremo Dios Dual, Y Tezcatlipoca “Dios Principal”
OMETEOTL, EL SUPREMO DIOS DUAL, Y TEZCATLIPOCA “DIOS PRINCIPAL” MIGUEL LEÓN-PORTILLA A paradoja suena afirmar que Tonantzin, Totahtzin, Nuestra Madre, Nuestro Padre, el Dios dual Ometeotl, fue para los antiguos mexicanos el principio supremo, origen de cuanto existe, y sostener a la vez que Tezcatlipoca, el “espejo humeante”, era “el dios principal”. ¿Quiere de- cir esto que eran el mismo dios la suprema pareja divina —sobre cuyo ser y atributos presentaré numerosos testimonios— y Tezcatlipoca en quien muchos textos y códices reconocen atributos como los de ser Ipalnemoani, Dador de la vida, Tloque Nahuaque, “Dueño del cerca y del junto”, Teyocoyani, “Inventor de los hombres” y sobre todo ser “el dios principal?” (Códice florentino, 1979, VI, 1 r. y 5 r.). La cuestión, de interés en sí misma por su relación estrecha con los muchos enigmas que encierra para nosotros el panteón mesoamericano, se torna además presente por obra de algunas afirmaciones debidas a Ferdinand Anders y Maarten Jansen en sus comentarios a varios códices, en especial al Vaticano A y al Vindobonense. Tratando del primero de estos, al describir los planos o niveles celestes del espacio vertical del mundo, tal como aparecen en la páqina 1 v. del mismo, expresan ellos lo siguiente: Se supone que el nivel supremo no es [está] pintado explícitamente y es el que recibe el nombre de Omeyocan u Ometeotl, término que se presta a dos etimologías bien diferentes: “Lugar de la dualidad, Dios de Dos” [sic] y “Lugar de lo huesudo, Dios de los huesos”, respectiva- mente. (Anders y Jansen, 1996, 42). -
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. -
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. -
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 -
The Rules of Construction of an Aztec Deity: Chalchiuhtlicue, the Goddess of Water
Ancient Mesoamerica, 31 (2020), 7–28 Copyright © Cambridge University Press, 2018 doi:10.1017/S0956536118000056 THE RULES OF CONSTRUCTION OF AN AZTEC DEITY: CHALCHIUHTLICUE, THE GODDESS OF WATER Danièle Dehouve Director of Research (emeritus), Centre National de la Recherche Scientifique-Université Paris Ouest Nanterre, Maison Archéologie et Ethnologie, 21 allée de l’université, 92023 Nanterre Cedex, France Abstract This article seeks to contribute to the development of a method for analyzing the attributes of the gods of central Mexico in the manuscripts and the statuary from the time of the Spanish conquest. I focus on the Goddess of Water, Chalchiuhtlicue, “Jade Her Skirt.” The method consists of isolating the component designs of her array and grouping them in semantic groups. I begin by examining these designs and show that all of them were used in the notation of toponyms. These findings call into question the traditional separation between glyphs and icons. I next study the semantic groups and show that they consist of a series of culturally selected manifestations of water. Hence, it follows that the rules of composition of the goddess were grounded on a process of “definition by extension.” Thus, most of the semantic groups referred to different secondary names of the goddess, allowing us to think that they represented theonyms of a particular type. INTRODUCTION of “diagnostic insignia” assigned to each deity (Nicholson 1971: 408), the distinction between “determinant forms” and “isolated The numerous gods of central Mexico were identified by a principal forms” (Spranz 1973:27–28), or between “distinctive” (rasgos name and several secondary names, as well as by the ornaments distintivos) and “optional” traits (rasgos discrecionales; Mikulska encasing their anthropomorphic figure. -
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. -
I PASS BY, I WALK and DANCE GUIDED by HARMONIOUS COUNTING Mathematical Theory of the Universe Origin and the Order of the C
I PASS BY, I WALK AND DANCE GUIDED BY HARMONIOUS COUNTING Mathematical theory of the Universe origin and the order of the corn account, within the Dance of the Anahuac Nation. Everardo Lara González FOREWORD This work continues the first research initiated in 1987 and published in 1993, under the name Mathematics and Symbolism in the Native dance of Mexico. I consider that, since that year, I was involved in the very first intuition of math within the traditional dance of the Anahuac. This mathematical intuition arose through the teachings generously transmitted by two persons, outstanding in their own specific areas of study: Engineer David Esparza Hidalgo, with regard to the mathematical knowledge of the Nepohualtzintzin, who devoted himself for more than thirty years of his life to the research of the Mesoamerican calculating system, as well as the contribution of the general captain of the Mesoamerican Dance, Ignacio Cortés, founder of the Tenoch group and one of the sponsors of the process for getting away from syncretism within this discipline and who, within his rehearsals of the traditional dance, suggested the presence of numbers within the rhythmic process. Afterwards, Master Cruz Hernández Ibarra, captain of the traditional dance belonging to the Mesa del Santo Niño de Atocha, kindly accepted to give information by means of interviews which were videotaped; in those interviews he teaches us about the symbolisms of certain steps within the different dances. Hernández Ibarra learned directly from Captains Gabriel Osorio and Carmelo Morales, from the zone of Guanajuato. Master Cruz’ trajectory in the traditional dance dates back to 1946 and he considers that nobody is the exclusive owner of knowledge; therefore, this must be spread towards childhood and youth as well. -
Great Goddesses of the Aztecs: Their Meaning and Functionsi
Aleksandar Boäkovic Great Goddesses of the Aztecs: Their Meaning and Functionsi El presente artículo examina algunos aspectos de las diosas veneradas durante el imperio azteca, enfocando especialmente a Coyolxauhqui y, en relación con Quetzacoatl, a las diosas de la tierra. Tomando en cuen- ta algunas consideraciones de otras tradiciones religio- sas, sugiere que Coyolxauhqui en efecto fue sacrificada; particularmente se destacan, además, los aspectos polí- ticos de la conexión de Quetzalcoatl con algunas diosas muy importantes. One of the most characteristic features of the Aztec pantheon is the 'arrangement' of deities into different complexes: one deity could at the same time be included in various ones. Part of the amazement about this feature was due to the ancient Mexican religion students' unfamiliarity with other religious traditions; and many of these include different manifestations of the sacred. Especially intriguing is the so-called Earth-Mother Goddess complex, in which Nicholson has included 21 goddesses. Interest for the important female deities was increased after the dramatic discovery of the representation of dismembered Coyolxauhqui on Feb. 21, 1978. This magnificent piece (with a diameter varying from 2.95 to 3.25 m, a thickness of 30 to 35 cm, and a maximum height of relief of 10 cm) shows the body of the moon goddess after she was slain by Huitzilopochtli: Luego con ella hirió a Coyolxauhqui, le cortó la cabeza, la cual vino a quedar abandonada en la ladera de Coatépetl, montaña de la serpiente. El cuerpo de Coyolxauhqui fue rodando hacia abajo, cayó hecho pedazos Acknowledgements: In the course of this work, as well as during my previous research, I had free access to the resources of the Library of the Mexican Embassy in Belgrade due to kindness of Mrs. -
404 OLD GODS Tectural Elements Or Could Be Protected Inside Ums, Stone Privileges
404 OLD GODS tectural elements or could be protected inside ums, stone privileges. Among the last was the right to become inebri- boxes, or chambers. Generally, the offerings included ma- ated on pulque, a fermented beverage believed to have a terials of all types, nearly always evoking powerful sym- "cold" nature. The elderly were greatly admired and re- bolism: minerals (rock crystal, quartz, green stones, cin- vered because they had accumulated authority, wisdom, nabar, stalactiteslstalagmites),plants (flowers,seeds, spines), and the capacity for transmitting their knowledge; how- animals, and human beings. They also contained semi- ever, they were also feared for their internal "fire." In fact, precious and finished objects of ceramic, stone, metal, according to sixteenth-century Nahua concepts, the el- shell, bone, textile, wood, and other materials. Orna- derly had received the influences of the fifty-two possible ments, vessels, divine images, and instruments of sacri- combinations of the four year bearers (House, Rabbit, fice and autosacrifice were quite common. Reed, Flint Knife) and their thirteen numerical coeffi- In the majority of cases, the gifts were not deposited cients. As a consequence, their tonalli and teyolia (the ani- haphazardly; rather, the faithful followed a strict ritual mistic entities lodged in the head and the heart) had been order prescribed by liturgy. Therefore, Mesoamerican of- invigorated to the extreme with powerful energy of a hot ferings were true symbolic complexes-that communicated nature. Therefore, the elderly were called chicahuac and a message through principies of spatial distribution. For pipinqui, terms that mean "strong, robust," a clear allu- example, objects were arranged horizontally according to sion to their unusual animistic strength. -
Sociopolitical Aspects of the Aztec Feast of Toxcatl
Power, Performance and Propaganda – Sociopolitical Aspects of the Aztec Feast of Toxcatl zur Erlangung des Doktorgrades eingereicht am Fachbereich Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im 2012 vorgelegt von Izabela Wilkosz Berlin 2014 1 1. Gutachterin: Univ.-Prof. Dr. Ingrid Kummels 2. Gutachter: Univ.-Prof. Dr. Stefan Rinke Tag der Disputation: 28.11.2012 2 Contents CHAPTER 1 .......................................................................................................................................... 7 INTRODUCTION ............................................................................................................................. 7 1.0. General introduction ................................................................................................................ 7 2.0. Methodology .......................................................................................................................... 11 3.0. Further research questions .................................................................................................... 15 4.0. Tezcatlipoca and Huitzilopochtli............................................................................................. 19 5.0. Ixiptla ...................................................................................................................................... 23 6.0. Terminology ............................................................................................................................ 25 CHAPTER -
Mythology and Legend in the Aztec World. Fulbright-Hays Summer Seminars Abroad, 1999 (Mexico)
DOCUMENT RESUME ED 438 232 SO 031 431 AUTHOR Shapiro, Aline TITLE Mythology and Legend in the Aztec World. Fulbright-Hays Summer Seminars Abroad, 1999 (Mexico). SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 1999-07-00 NOTE 27p.; Cover page may not reproduce adequately. PUB TYPE Guides Classroom Teacher (052) Reports Descriptive (141) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *American Indian Studies; Area Studies; Beliefs; *Cultural Context; Cultural Differences; Elementary Secondary Education; *Folk Culture; Foreign Countries; Latin American Culture; Latin American History; *Legends; *Mythology; Social Studies IDENTIFIERS *Aztec (People); Cultural Integration; Fulbright Hays Seminars Abroad Program; *Mexico ABSTRACT This curriculum project, using research and literary and historical perspectives, seeks to help students develop an awareness of the rich cultural diversity of Mexico through studying the mythology of the Aztec people. Through literature and storytelling, students see how mythology is often about real people and events and woven into the fabric of a culture. The aim is to instill in students a reverence for the past with an appreciation for the customs and traditions that continue into the 20th century. The project discusses original sources available to recount Aztec mythology and then traces the historical background of the Aztecs. It details many diverse Aztec legends and creation beliefs. The project concludes that the Aztec myths are part of the cultural legacy that the Mexican people of today have inherited. Contains 16 notes, 9 sources, and 12 children's literature selections. (BT) Reproductions supplied by EDRS are the best that can be made from the original document.