Around the same time Townsend (1979) made a similar interpretation in his important study of Aztec imperial art. According to the myth, all the gods had gathered to sacrifice themselves and create a new age. State and Cosmos in the Art of Tenochtitlan. The Tlalteuctli interpretation failed to win over all specialists in Aztec iconography, however. Aztec mythology is the body or collection of myths of Aztec civilization of Central Mexico. On the Lips of Others: Moteuczoma’s Fame in Aztec Monuments and Rituals. We know that elsewhere in Mesoamerica rulers were frequently presented as embodiments of the sun and of calendrical cycles, and in this light the Calendar Stone seems little different. (Oh my name might come out different on here, it’s supposed to be Xuchil or a variant.). With this info how can I go about figuring out my Nahuatl name? Indeed, in another important insight Umberger (1988) suggested that it should more correctly be seen as the calendrical name of Huitzilopochtli, the patron deity of Tenochtitlan, an embodiment of the sun, and in certain respects Moteuczoma’s supernatural counterpart. 2015. The rigid either-or dichotomies of those earlier studies go against the more fluid senses of identity that Aztec artisans and theologians ascribed to such religious imagery. For more details, please look at the "About" page. But why are they there? Die fünfte Sonne ImmramaCo. There was a problem subscribing you to this newsletter. 2000. Klein, Cecilia. II, pp. Rather she interpreted it as an image of Yohualteuctli, the “Night Lord,” who Seler had specifically identified as the nocturnal sun within the Underworld. Stuart, David. Here the poetic parallelism is made between the inauguration of the king, the rise of the bright sun, and to the symbolism of New Fire ceremony. (Side note — the name Cipactli should be familiar, as it’s also the name of the primordial earth goddess who was dismembered to form the universe by Tecatlipoca and Quetzalcoatl before the First Era/Sun. The day the new age and the new sun came to be is Mahtlactli Omei Acatl, or Thirteen Reed. And as the face of the Olin sign it presents the animate visage of both terrestrial and celestial “movement.”. If nothing else its varied interpretations reveal that the full significance of this quintessential Mesoamerican object, like much of Aztec and Maya iconography, still remains beyond our reach. The Turquoise Hearth: Fire, Self Sacrifice, and the Central Mexican Cult of War. Like the four “era” glyphs infixed within the arms of the olin, these are oriented to face one another along the central vertical axis of the composition. The Art Bulletin 58(1):1-12. In the mythological text of Temple XIX at Palenque, 1 Etznab is the day of the axe sacrifice of the great alligator(s) by the local dynastic patron god GI (see Stuart 2005:68-75).

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