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The Barroque Paradise of Santa María Tonantzintla (Part II1)
14 ETHNOLOGIA ACTUALIS Vol. 16, No. 2/2016 JULIO GLOCKNER The Barroque Paradise of Santa María Tonantzitla II The Barroque Paradise of Santa María Tonantzintla (Part II1) JULIO GLOCKNER Institute of Social Sciences and Humanities, Meritorious Autonomous University of Puebla, Puebla [email protected] ABSTRACT The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the ornaments of the church evoke Tlalocan, paradise of the ancient deity of rain known as Tlaloc. Following this interpretation this study explores the relation between the Virgin Mary and the ancient Nahua deity of Earth and fertility called Tonatzin in order to show the profound syncretic bonds which exist between Christian and Mesoamerican traditions. KEY WORDS: syncretism, altepetl, Tlalocan, Tamoanchan, Ometeotl, Nahua culture, Tonantzintla 1 This text is a continuation of the article published in previous volume. In. Ethnologia actualis. Vol. 16, No. 1/2016, pp. 8-29. DOI: 10.1515/eas-2017-0002 © University of SS. Cyril and Methodius in Trnava. All rights reserved. 15 ETHNOLOGIA ACTUALIS Vol. 16, No. 2/2016 JULIO GLOCKNER The Barroque Paradise of Santa María Tonantzitla II The myth of the origin of corn From the rest of the plants cultivated traditionally in the area, corn stands out, a plant divinized during the pre-Hispanic era with the name Centeotl. -
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. -
The Monk and the Mariposa: Franciscan Acculturation in Mexico
The Monk and the Mariposa: Franciscan acculturation in Mexico 1520-1550 Thesis submitted for the degree of MPhil, University of Kent October 2015 Penelope Reilly 1 Acknowledgements I would like to thank William Rowlandson for his unfailing enthusiasm and encouragement and inspiring conversations throughout the past three years. I would also like to thank Beatriz Aracil Varón for kindly sending me texts of her work. I would like to thank the British Library. Finally, I would like to thank my husband, John, for persuading me to undertake this project in the first place, and for showing such great interest particularly in the autos. 2 Abstract Acculturation by the Franciscan Friars in Mexico from 1520-1550 This thesis sets out to examine the process of acculturation as experienced by the Franciscan friars during the first years of their mission in Mexico at the beginning of the sixteenth century. It will suggest that the acculturation was a two-way affair; that the Franciscans were as much changed by their contact with the indigenous people as were the natives by their contact with the friars. It begins with a study of the various changing interpretations of the notion of ‘acculturation’ and argues that beside the classical linear interpretation such expressions as ‘reverse acculturation’, ‘transculturation’ and ‘co-acculturation’ may be more appropriate for these particular circumstances. It then examines how the friars came to be in Mexico and the Aztec culture which they encountered which both shocked by its human sacrifice and yet provided striking examples of parallels with the Christian religion, thus indicating an early example of possible mutual accommodation. -
The University of Chicago the History of Idolatry and The
THE UNIVERSITY OF CHICAGO THE HISTORY OF IDOLATRY AND THE CODEX DURÁN PAINTINGS A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY KRISTOPHER TYLER DRIGGERS CHICAGO, ILLINOIS JUNE 2020 Copyright © 2020 by Kristopher Driggers All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ………..……………………………………………………………… iv ABSTRACT……………………………………………………………………………….. viii ACKNOWLEDGMENTS .….………………………………...………………………….. ix INTRODUCTION: The History of Idolatry and the Codex Durán Paintings……………… 1 CHAPTER 1. Historicism and Mesoamerican Tradition: The Book of Gods and Rites…… 34 CHAPTER 2. Religious History and the Veintenas: Productive Misreadings and Primitive Survivals in the Calendar Paintings ………………………………………………………… 66 CHAPTER 3. Toward Signification: Narratives of Chichimec Religion in the Opening Paintings of the Historia Treatise…………………………………………………………… 105 CHAPTER 4. The Idolater Kings: Rulers and Religious History in the Later Historia Paintings……………………………………………………………………………. 142 CONCLUSION. Picturing the History of Idolatry: Four Readings ………………………… 182 BIBLIOGRAPHY……………………………………………………………………………. 202 APPENDIX: FIGURES ……………………………………………………………………... 220 iii LIST OF FIGURES Some images are not reproduced due to restrictions. Chapter 1 1.1 Image of the Goddess Chicomecoatl, Codex Durán Folio 283 recto…………………..220 1.2 Priests, Codex Durán Folio 273 recto………………………………………………......221 1.3 Quetzalcoatl with devotional offerings, Codex Durán folio 257 verso………………...222 1.4 Codex Durán image of Camaxtli alongside frontispiece of Motolinia manuscript (caption only)..……………………………………………………………………….....223 1.5 Priests drawing blood with a zacatlpayolli in the corner, Codex Durán folio 248….….224 1.6 Priests wearing garlands and expressively gesturing, Codex Durán folio 246 recto.…..225 1.7 Tezcatlipoca, Codex Durán folio 241 recto ..………………………………….……….226 1.8 Image from Trachtenbuch, Christoph Weiditz, pp. -
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 -
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 TEMPLE of QUETZALCOATL at TEOTIHUACAN Its Possible Ideological Significance
Ancient Mesoamerica, 2 (1991), 93-105 Copyright © 1991 Cambridge University Press. Printed in the U.S.A. THE TEMPLE OF QUETZALCOATL AT TEOTIHUACAN Its Possible Ideological Significance Alfredo Lopez Austin/ Leonardo Lopez Lujan,b and Saburo Sugiyamac a Institute de Investigaciones Antropologicas, and Facultad de Filosofia y Letras, Universidad Nacional Autonoma de Mexico bProyecto Templo Mayor/Subdireccion de Estudios Arqueol6gicos, Instituto Nacional de Antropologia e Historia, Mexico cDepartment of Anthropology, Arizona State University, Tempe, AZ 85287-2402, USA, and Proyecto Templo de Quetzalc6atl, Teotihuacan, Mexico Abstract In this article the significance of Teotihuacan's most sumptuous monument is studied: the Temple of Quetzalcoatl. Based on iconographic studies, together with the results of recent archaeological excavations, it is possible to deduce that the building was dedicated to the myth of the origin of time and calendric succession. The sculptures on its facades represent the Feathered Serpent at the moment of the creation. The Feathered Serpent bears the complex headdress of Cipactli, symbol of time, on his body. The archaeological materials discovered coincide with iconographic data and with this interpretation. Other monuments in Mesoamerica are also apparently consecrated in honor of this same myth and portray similar symbolism. Sometime about A.D. 150, a pyramid was built at Teotihuacan, Sugiyama 1985, 1989a, 1989b, 1991). A recent study of the characterized by a sculptural splendor that was unsurpassed iconography and the functions of the Temple of Quetzalcoatl during the following centuries of the city's life. The structure led Sugiyama (1989b, 1991) to three central conclusions: (1) the has a rectangular base with seven superimposed tiers (Cabrera sculpture interpreted as the head of the rain god or as the deity and Sugiyama 1982:167) and a stairway on the western facade. -
Dioses-Del-Mexico-Antiguo.Pdf
El hombre es el gran hacedor de dioses. Transforma el barro y la piedra para crearlos a su imagen y semejanza; les da vida plasmada de esta manera en los múltiples rostros de los dioses antiguos. Así como el hombre transfiere su poder creador a los dioses, paradójicamente son los dioses quienes dan vida al hombre. Hoy estamos ante la presencia de los dioses ancestrales. Para ello hemos tomado como referencia principal a las divinidades del Centro de México, con proyección hacia otras regiones de Mesoamérica. Aquí podemos ver la concepción que del universo tenían los pueblos antiguos; conoceremos de los rituales que unían al hombre con las deidades y nos transportaremos al tiempo de los dioses, tiempo que se convertía en la dualidad que nos lleva a estar frente al rostro de la vida...y de la muerte. Iniciemos, pues, nuestro recorrido. SALAS Presentación El hacedor de dioses... Los mexicas y su cosmos Sala 1 El universo de los dioses * El espacio horizontal El tiempo y los rituales Sala 2 El vértice sagrado * El espacio vertical Sala 3 El espacio cósmico * El juego de pelota Sala 4 El ritual y las ofrendas * El alimento de los dioses Sala 5 El tiempo sagrado * La cuenta de los días Sala 6 La dualidad vida muerte * Lluvia y sequía El hombre frente a la naturaleza mítica Sala 7 Los dioses de la vida * El alimento de los hombres Los dioses de la muerte Sala 8 Los dioses de la muerte * Guerra e inframundo Resucitar a los dioses Créditos Comentarios con respecto a este servicio: Servicios Hemerográficos DGSCA-UNAM PRESENTACIÓN La muestra Dioses del México antiguo, que reúne alrededor de 200 piezas, entre esculturas, vasijas, relieves, lápidas, máscaras y utensilios diversos de origen prehispánico, constituye un acervo ilustrativo de la recreación plástica que se hizo de los dioses en el mundo mesoamericano. -
Patrick Johansson K
Patrick Johansson K. And the Flint Stone became a Rabbit... The Creation of the South and the Origin of Time in the Aztec “Legend of the Suns” Among the different elements that compose what has been called “cultural memory”, the memory of the very beginning is probably one of the most important items. Carved in stone, painted in pictographic books, theatrically performed in rituals, contained in choreographic sets of movements or verbally expressed, the creation (or expansion) of the world has been a major mythological matter in Nahuatl pre- Columbian culture. The semantic ambiguity of the English word “matter”, which can be either a diffuse raw material or a specific formal subject, helps to express the in- choative character of a cosmogony that emerges from a mythological magma and takes shape until it reaches its formal equilibrium. Among many other mythological texts, the so-called “Legend of the suns” is per- haps the most important one about the Nahua conception of world creation and nahua origin. It forms part of a sixteenth century manuscript written in Nahuatl by a native but using the European script and today known as the Codice Chimalpopoca (1982). In the following the analysis will be based on the original manuscript. The text pro- vides signs, symbols, rhythms and more generally a metaphorical narrative structure that matches the deep infraliminal concern of Nahua collectivities about the beginning of the world and constitutes a matter for memory. We do not intend to do here an exhaustive study of this particular version of the myth. We only wish to point out some specific aspects of its narrative that could help understand Nahua mechanisms of production of a “mytho-logical” meaning and the importance of cosmogonic sagas in the construction of cultural memory. -
L. General Introduction Mental and Invaluable Histoire Des Choses De
ANTITHESIS AND COMPLEMENTARITY: TEZCATLIPOCA AND QUETZALCOATL IN CREATION MYfHS MÓNICA MINNECI l. General introduction Without doubt, lezeatlipoea is one of best-known deities of pre Columbian Mexico. This god with a multiform personality is one ofthe most enigmatie representatives of the Aztee Pantheon. He is also gen erally regarded by researehers as an essentially baneful deity. This should not surprise us; the Mexieans themselves described him as a terrifying and unpredietable godo The Francisean Sahagún, author of the monu mental and invaluable Histoire des Choses de la Nouvelle-Espagne, gives us sorne striking deseriptions of this: Itwas believed that he alone ruled the world, that [rom him proeeeded prosperity and riehes and that he alone withdrew these things on a whim [... ] when he roamed on earth he incited wars, enmities, dísagree ments, whích led to trouble and perturbatíon. They said that he set men against one another in order to promote war, they also called him N ecoe Yaotl, wich means sower of discord (Sahagún 1880, 14-15). His apparently arbitrary eharaeter also comes aeross in the prayers which the Aztees addressed to him: Your majesty knows very well what [the new king] will do in a few days since we men are your entertainment, your theatre, and serve as a laughing stock for your amusement. (idem, 307). Tezeatlipoea was also a sorcerer. He liked to prowl the roads after sunset to surprise tardy travellers. Aeeording to Sahagún, when sorne unfortunate was suddenly eonfronted by terrifying apparitions, sueh as a death's head following behind him, a headless, footless wraith groan ing ceaselessly, or a simple ghost, he immediately attributed these vi sions to Tezeatlipoca (idem, 297-308). -
Popol-Vuh-The-Mayan-Book-Of
www.TaleBooks.com INTRODUCTION INTRODUCTION (See illustration: Map of the Mayan region.) THE FIRST FOUR HUMANS, the first four earthly beings who were truly articulate when they moved their feet and hands, their faces and mouths, and who could speak the very language of the gods, could also see everything under the sky and on the earth. All they had to do was look around from the spot where they were, all the way to the limits of space and the limits of time. But then the gods, who had not intended to make and model beings with the potential of becoming their own equals, limited human sight to what was obvious and nearby. Nevertheless, the lords who once ruled a kingdom from a place called Quiche, in the highlands of Guatemala, once had in their possession the means for overcoming this nearsightedness, an ilbal, a "seeing instrument" or a "place to see"; with this they could know distant or future events. The instrument was not a telescope, not a crystal for gazing, but a book. The lords of Quiche consulted their book when they sat in council, and their name for it was Popol Vuh or "Council Book." Because this book contained an account of how the forefathers of their own lordly lineages had exiled themselves from a faraway city called Tulan, they sometimes described it as "the writings about Tulan." Because a later generation of lords had obtained the book by going on a pilgrimage that took them across water on a causeway, they titled it "The Light That Came from Across the Sea." And because the book told of events that happened before -
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.