Ometeotl, El Supremo Dios Dual, Y Tezcatlipoca “Dios Principal”
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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 -
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 -
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 -
Goddesses Women Aztec
Aztec Women anGoddesses Author: Miriam López Hernández Editorial director: Nathalie Armella Spitalier Editorial assistant: Vicente Camacho Lucario Assistant editor: Natalia Ramos Garay English Translation: Rose Vekony Art director: Alexandra Suberville Sota Editorial design: Emmanuel Hernández López Editorial design assistant: Berenice Ceja Juárez Aztec Women and Goddesses Volume 1 in the series Mesoamerican Women First Spanish edition published in 2011. First English edition published in 2012. Original title: De mujeres y diosas aztecas. Tomo 1 de la serie Mujer mesoamericana © CACCIANI, S.A. de C.V. Prol. Calle 18 N° 254 Col. San Pedro de los Pinos 01180 México, D.F. +52 (55) 5273 2397 / +52 (55) 5273 2229 [email protected] www.fundacionarmella.org ISBN: 978-607-8187-16-4 Reproduction of this work in whole or in part, in any medium and by any method, is prohibited without the authorization of the copyright holders. Cover design: Adaptation of Mujer de sangre azteca (2011) by Ana Rosenzweig and Paola Villalva. Prologue Because we live in a society with a strong androcentric bent, academic research on women’s daily life and its contribution to their societies has traditionally occupied a secondary place in archaeology and history. But since the second half of the twentieth century, this situation has gradually changed. Now we have countless works that ana- lyze the role of women in the societies of ancient Mexico and discuss their economic, political, and religious contribution. Among this wide range of studies, the work of Miriam López Hernández stands out. A young university researcher, she is deeply inter- ested in gender studies, as they are known today, which are at the forefront of feminist thought in academia. -
Three Nahuatl Hymns on the Mother Archetype: an Interpretive Commentary
Montclair State University Montclair State University Digital Commons Department of English Faculty Scholarship and Creative Works Department of English 1988 Three Nahuatl Hymns on the Mother Archetype: An interpretive commentary Willard Gingerich Montclair State University, [email protected] Follow this and additional works at: https://digitalcommons.montclair.edu/english-facpubs Part of the Literature in English, North America, Ethnic and Cultural Minority Commons MSU Digital Commons Citation Gingerich, W. (1988). Three Nahuatl hymns on the mother archetype: An interpretive commentary. Mexican Studies/Estudios Mexicanos, 4(2), 191-244. This Article is brought to you for free and open access by the Department of English at Montclair State University Digital Commons. It has been accepted for inclusion in Department of English Faculty Scholarship and Creative Works by an authorized administrator of Montclair State University Digital Commons. For more information, please contact [email protected]. Universidad Nacional Autónoma de México University of California Institute for Mexico and the United States Three Nahuatl Hymns on the Mother Archetype: An Interpretive Commentary Author(s): Willard Gingerich Source: Mexican Studies/Estudios Mexicanos, Vol. 4, No. 2 (Summer, 1988), pp. 191-244 Published by: University of California Press on behalf of the University of California Institute for Mexico and the United States and the Universidad Nacional Autónoma de México Stable URL: http://www.jstor.org/stable/1051822 Accessed: 30-04-2018 17:17 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. -
Narrative and Ritual in the Codex Borgia
Narrative and Ritual in the Codex Borgia A structural analysis of pages 29 to 46 of this Postclassic Mexican manuscript By Samantha Gerritse Narrative and Ritual in the Codex Borgia A structural analysis of pages 29 to 46 of this Postclassic Mexican manuscript Samantha Gerritse Course: RMA thesis, 1046WTY, final draft Student number: 0814121 Supervisor: Prof. Dr. M.E.R.G.N. Jansen Specialization: Religion and Society Institution: Faculty of Archaeology Place and date: Delft, June 2013 Contents. Acknowledgements p. 5 I. 1. Introduction p. 6 1.1 General research problem p. 6 1.2 The Codex Borgia p. 7 1.3 Problems with pages 29 to 46 of the Codex Borgia p. 10 1.2 Research aims and questions p. 11 2. Mesoamerican Religion p. 13 2.1 Worldview p. 13 2.2 Calendars p. 17 2.3 Priests and public rituals p. 19 2.4 Divination p. 21 3. Theoretical Framework p. 24 3.1 Interpretation by analogy p. 24 3.2 Interpretation by narratology p. 27 4. Methodology p. 32 4.1 Analysis of the interpretations p. 32 4.2 Analysis through narratology p. 33 II. 5. Iconographical interpretations of pages 29 to 46 p. 36 5.1 An overview p. 36 5.1.1 Fábrega (1899) p. 38 5.1.2 Seler (1906; 1963) p. 41 5.1.3 Milbrath (1989) p. 49 5.1.4 Nowotny (1961; 1976; 2005) p. 55 5.1.5 Anders, Jansen, and Reyes García (1993a) p. 61 5.1.6 Byland (1993) p. 70 5.1.7 Boone (2007) p. -
Native American Myths 1St Edition Pdf, Epub, Ebook
NATIVE AMERICAN MYTHS 1ST EDITION PDF, EPUB, EBOOK Lewis Spence | 9780486112350 | | | | | Native American Myths 1st edition PDF Book August Learn how and when to remove this template message. If you continue to use this site we will assume that you are happy with it. Large amounts of rare materials found with this regions dead suggests strong evidence that they believed in a sort of afterlife. Rainbow Crow It was so cold. Welcome back. From across the continent comes tales of creation and love; heroes and war; animals, tricksters, and the end of the world. He decided to make a change, so he gathered up his paints and his paintbrushes and went out to the meadow. The Hummingbird preferred small fish like minnows and Heron liked the large ones. Dictionary of Native American mythology. Who Calls? He immediately fell in love with the girl. Most of the myths from this region were first transcribed by ethnologists during the late 19th and early 20th centuries. Native American Legends. One of the most dominant trickster stories of the Plains is Old Man, about whom numerous humorous stories are told. Native American Totems. Open Preview See a Problem? The sacred beliefs of many tribes are largely formulated and expressed in sayings and narratives having some resemblance to the legends of European peoples. They had never heard of daylight, and when it was first explained to them by Crow, who traveled back and forth between the northlands and the south, they did not believe him. This mourning came to be known as the "burning", the "cry", or the "dance of the dead". -
The Aztecs' False Worship Practices Result in God's Judgment
LIBERTY UNIVERSITY LIBERTY BAPTIST THEOLOGICAL SEMINARY DOES GOD HAVE A RIGHT TO JUDGE? THE AZTECS’ FALSE WORSHIP PRACTICES RESULT IN GOD’S JUDGMENT IN THE UNLIKELY FORM OF HERNÁN CORTÉS A Thesis Submitted to Liberty Theological Seminary in partial fulfillment of the requirements for completion of the course, THEO 690 THESIS DEFENSE By Lisa M. Timmons Lynchburg, Virginia 22 April 2013 ii PREFACE This thesis covers religious aspects of the Aztec culture right before and right after the conquest of Hernán Cortés between 1519 and 1521. One of its chief aims is to highlight two predominant features of God’s judgment as visited upon the Aztecs, viewed by many even today as a notoriously savage people group living in the Valley of Mexico just over two centuries prior to the first quarter of the sixteenth century. One aspect of this thesis details the Aztecs’ history and rise to power, followed by their rapid demise at the hands of Spanish conquistadors, while the other examines the highly flawed but effective instrument used in the destruction of their sprawling Mesoamerican empire—a conquistador from Spain by the name of Hernán Cortés. Regardless of the perspective or aim of the historical record consulted in tracing this people group’s history, one is sooner rather than later confronted by what Christians consider the Aztecs’ routine violation of the biblical doctrine of mankind as the pinnacle of God’s creation. This briefly stated observation is supported by the many religiously motivated ritualized sacrifices shown to have been commonplace in many Mesoamerican cultures, but which were systematized within a grand scheme inspired by the Aztecs’ complex divine mythology. -
The Influence of Aztec Mythology on Mexican Culture and History
Aztec Mythology: The Influence of Aztec Mythology on Mexican Culture and History James W. Salterio Torres Jordan High School for Careers INTRODUCTION The impact of the Latin American intellectual explosion in literature dramatically increased the number of books written by Latin American writers translated from Spanish to English and the number of persons reading this literature. After the Mexican Revolution, the awakened interest in Mexican authors (such as Carlos Fuentes, Octavio Paz, Juan Rulfo, Rosario Castellanos, and other writers) in Mexican mythology and culture was reflected in their works. In art, Mexican mural painters Diego de Rivera, Jose Clemente Orozco, David Alfaro Siqueiros, Rufino Tamayo, and painter Frida Kahlo expressed their deeply felt Mexican heritage by focusing on traditional pre-Columbian art and artifacts, especially on the art and mythology of the Aztecs. This unit will introduce students to the Aztec major and minor gods and their attributes and functions within Aztec society. Unfortunately, the rich range of the mythology of the Aztecs has been overshadowed by their belief in their sun’s need for human sacrifice to survive, a practice that was especially repugnant to the Spanish priests, and was a direct cause of the destruction of Aztec temples and religious writings and practices. Enough, however, has survived and been rewritten, often by churchmen themselves, to once again describe these gods and the rites that accompanied their worship. In this unit I shall retell some of these tales. This unit will describe unique characteristics belonging to each god and his influence in the everyday life of the people. For example, Yacatecutli was a god important to the economy of the state.