Aztec Iconography

Analyzing and understanding the Aztec view of the cosmos is critical to extracting meaning from their texts, symbols, and belief system.  The entire Aztec world view is constructed from that foundation, with myriad variations and overlapping concepts.  The fullness and intricacy of Mexica spirituality linked the world of heaven to the success (or failure) of mankind; it could "web the space between the mundane and the supramundane, lacing the world of ritual to the world of the everyday, and each to the sacred."  Religious symbolism, published to the population of the Central Valley of Mexico through art, literature, and ceremony, was an attempt to unify the people behind the central authority.

The Grolier Codex (Codice Maya de Mexico, CMM) is discussed in the context of the archaeoastronomy of the ancient Americas on pages 98-99 of the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson. One of four known ancient Maya books, the Grolier Codex depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. A numbered photographic arrangement of the Grolier Codex depictes the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Other photos: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

This study borrows investigative methods
from the functional approach to myth,
which focuses on myths to accomplish political
goals and social movements (Solomon,
1979). By tapping into “rich cultural
reservoirs” (Solomon, 1979, p. 271), visual
texts often employ mythical elements
for telling power. Because the presence
of myth has been established in other
research, a functional approach to the
strategic use of myths and other forms of
cultural archetypes is also needed. “There
is an inherent functional relationship between
myths and goals whether it is a goal
for social change or preservation of present
power relations” (Halualani, 1997, p.
89). Culture is largely about power, and
Mesoamerican art is largely about exercising
cultural power. The impact of power
has been profound over the years. Many
scholars such as Donald Bahr (2004),
Dorothy Hosler (1994), Mary Miller
(1986), and Frank Waters (1975) have produced
outstanding interpretations of the
Chicano movement themes of La Raza
and Aztlán.

In 'Time and the Ancestors: Aztec and Mixtec Ritual Art', Maarten Jansen and Aurora Pérez present new interpretations of enigmatic masterpieces from ancient Mexico. Combining iconographical analysis with the study of archaeological contexts, historical sources and living cultural traditions, they shed light on central symbols and values of the religious heritage of indigenous peoples, paying special attention to precolonial perceptions of time and the importance of ancestor worship. They decipher the meaning of the treasure deposited in Tomb 7 at Monte Albán (Oaxaca) and of artworks such as the Roll of the New Fire (Selden Roll), the Aztec religious sculptures and, last but not least, the mysterious chapter of temple scenes from the Book of Night and Wind (Codex Borgia).
[ For high quality open access of each chapter > https://brill.com/view/title/34471 ]

This work reconstructs the repertory of insignia of rank and the contexts and symbolic meanings of their use, along with their original terminology, among the Nahuatl-speaking communities of Mesoamerica from the fifteenth through the seventeenth centuries. Attributes of rank carried profound symbolic meaning, encoding subtle messages about political and social status, ethnic and gender identity, regional origin, individual and community history, and claims to privilege.

Olko engages with and builds upon extensive worldwide scholarship and skillfully illuminates this complex topic, creating a vital contribution to the fields of pre-Columbian and colonial Mexican studies. It is the first book to integrate pre- and post-contact perspectives, uniting concepts and epochs usually studied separately. A wealth of illustrations accompanies the contextual analysis and provides essential depth to this critical work. Insignia of Rank in the Nahua World substantially expands and elaborates on the themes of Olko's Turquoise Diadems and Staffs of Office, originally published in Poland and never released in North America.

Because of copyright reasons, only a preview is available for download here.

In her groundbreaking investigation from the perspective of the aesthetics of religion, Isabel Laack explores the religion and art of writing of the pre-Hispanic Aztecs of Mexico. Inspired by postcolonial approaches, she reveals Eurocentric biases in academic representations of Aztec cosmovision, ontology, epistemology, ritual, aesthetics, and the writing system to provide a powerful interpretation of the Nahua sense of reality.
Laack transcends the concept of “sacred scripture” traditionally employed in religions studies in order to reconstruct the Indigenous semiotic theory and to reveal how Aztec pictography can express complex aspects of embodied meaning. Her study offers an innovative approach to nonphonographic semiotic systems, as created in many world cultures, and expands our understanding of human recorded visual communication.
This book will be essential reading for scholars and readers interested in the history of religions, Mesoamerican studies, and the ancient civilizations of the Americas.

"This excellent book, written with intellectual courage and critical self-awareness, is a brilliant, multilayered thought experiment into the images and stories that made up the Nahua sense of reality as woven into their sensational ritual performances and colorful symbolic writing system."
Davíd Carrasco, Harvard University

The fourth known pre-Columbian Maya codex—the only one discovered in the 20th century—was found by looters in the mid-1960s. First exhibited in New York in 1971, what has come to be known as the Grolier Codex is half of a hybrid-style 20-page, 104-year Mesoamerican divinatory Venus Almanac. With new radiocarbon dates that place it in the 13th century CE, it is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research,* it remains an unacknowledged Mexican national treasure as it has never been officially recognized except in the State of Chiapas. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare and ritual sacrifice, the goal of which was to obtain captives whose blood was shed to invoke the personified forces of rain and fertility. The Grolier Codex offers unique images of 10 of the 20 manifestations of Venus (named in the Maya Dresden Codex), greatly enriching our knowledge of these traditions documented in four other pre-Columbian codices as well as numerous archaeological and ethnohistoric sources. This article is a summary of the talk given on November 7, 2014 to the Pre-Columbian Society of Washington DC and includes a brief history of accounts of the discovery of the Grolier Codex and allegedly associated artifacts; photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries leading to an interpretation of the Codex—based on the Dresden Codex and other sources; and offers a new Latinized name that recognizes that the “Codex Mayano-Mexicanus” is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico.

          *See <http://umd.academia.edu/JohnBCarlson>.

Also utilized as part of the November 7, 2014 talk are TWO 1983 historical STUDY GUIDE documents which can be viewed at the following academia.edu links:

• GROLIER CODEX Page Study Guide: Pages 1-9 and Reconstructed Page 10/11 (1983): 

https://www.academia.edu/7911420/GROLIER_CODEX_Page_Study_Guide_Pages_1-9_and_Reconstructed_Page_10_11

• GROLIER CODEX Comparative Study Guide (1983): Grolier pages 1-9 and reconstructed page 10/11 with Maya Dresden Codex Venus Almanac page numbers 48/1 – 50/2 with Venus Station and Directional Associations; Names (on Dresden Rows 17 & 22) of the associated Venus Impersonators; and Initial (1983) interpretations of the Grolier Codex scenes & iconographic interpretations. Over the three decades since 1983, some of the glyphic and iconographic interpretations have changed, as discussed in the presentation. The details are in press:

https://www.academia.edu/9208071/GROLIER_CODEX_Comparative_Study_Guide_1983_

*****

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

The fourth known pre-Columbian Maya codex, the only one discovered in the twentieth century, was found by looters in the mid-1960s. First exhibited in New York in 1971, what has come to be known as the  Grolier Codex is half of a 20-page, 104-year divinatory hybrid-style Mesoamerican Venus Almanac, probably the physically oldest surviving pre-Columbian book, and with new radiocarbon dates that place it in the thirteenth century CE. It is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research, it remains an unacknowledged Mexican national treasure, as it has never been officially recognized. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare, the goal of which was to obtain captives for sacrifice, their blood shed to invoke the personified forces of rain and fertility. The  Codex offers unique images of 10 of the 20 manifestations of Venus, greatly enriching our knowledge of these traditions. The present study offers a brief history of accounts of the discovery of the Codex and allegedly associated artifacts; presents a documented photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries; and offers a new Latinized name that recognizes that the Codex Mayano-Mexicanus is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico.


*****
This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

Order at: https://mexicon.de/product/fuentes-mesoamericanas-7-2020/

The Codex Telleriano-Remensis is one of the most beautiful Aztec manuscripts from the early colonial period of Mexico. The first half of this codex relates to the Aztecan calendar system, whereas the second one is a detailed account of Aztec history, spanning a time from the beginning of the mythical migration of the Mexica in the eleventh century to the early colonial period in the mid-sixteenth century, including such far-reaching events as the foundation of Tenochtitlan, the war against Tlatelolco, and the conquest of Tenochtitlan led by Hernán Cortés in the years 1519–1521. This eventful history was recorded in a native writing system that can be described as a sophisticated composition of iconography, calendar notation, and such signs that are linked to the language of the Aztecs: Nahuatl. Even though the original Nahuatl text is accompanied by Spanish annotations written in Latin letters, many of the Nahuatl writing signs hitherto remained undeciphered. The first part of the present volume addresses the principles of this exceptional writing system. The second part is a meticulous study of the historical section, presenting numerous new decipherment proposals for yet uninterpreted or misinterpreted signs. The study is topped off with three catalogs, each printed in color: a catalog of the Nahuatl writing signs appearing in the Codex Telleriano-Remensis including their proposed reading, and two catalogs of the deciphered place signsa and the name signs of the depicted historical figures, respectively.

Human sacrifice was a global phenomenon, still little understood. The most renowned manifestation occurred in Aztec culture, which utilized frequent large-scale sacrifices. Through an in-depth analysis of the format and content of Aztec human sacrifice (based on primary sources), this thesis finds a remarkable degree of acquiescence and social expectation was involved.  The author notes serious deficiencies in current theories which attempt to explain the rite.  He then applies Frederick Streng's model of religious practices as means of "ultimate transformation" and develops the hypothesis that human sacrifice provided a means of personal and societal transformation for Aztec culture.  On this basis, he reconstructs some of the complex "sacrificial mysticism" underlying the practice. He finds this embodied in Aztec sacrificial themes such as atonement, remorse, transformative 'birth', 'mirroring,' extinction and symbiotic exchange.

Commentary on precolonial religious Mexican codex Fejérváry-Mayer, paying special attention to the history of the decipherment of the religious codices from ancient Mexico (Borgia Group). Chapter on ongoing religious traditions in indigenous communities, especially concerning divination and dream symbolism.

Con base en un estudio sistemático de las características de 152 esculturas de roca volcánica del centro de México, Ángel González López propone un método para su comprensión; muchas de ellas fragmentadas y descontextualizadas, y otras del recinto sagrado de Tenochtitlan. En una revisión histórica de 200 años el autor plantea el existencia de principios ordenadores que indican el uso de estas figuras en contextos religiosos, políticos, e históricos.  El presente trabajo explica cómo antes de la Colonia, según el registro arqueológico tales imágenes de piedra representaron deidades, personificadores en forma de sacerdotes o víctimas destinados al sacrificio. O bien, eran íconos de personajes del más alto rango social.  Los antiguos escultores plasmaron una gran variedad de animales naturales y fantásticos. También modelaron una increíble diversidad de instrumentos ceremoniales.  Más aún, se indica cómo la relación entre los grupos indigenas y sus creaciones pétreas cambió con la Conquista.  El autor señala como las esculturas que se salvaron de ser destruidas fueron enteradas como parte de los cimientos de las nuevas construcciones coloniales, o para esconderlas de amenazas potenciales.  Otras se colocaron en museos.  Finalmente, uno de los grandes valores de este libro es destacar el papel modificador que tuvo la arqueología en nuestra comprensión de este arte escultórico tan singular como original.

Dissertation, Columbia University, 1981

The dissertation studies and lists all Aztec stone sculptures with hieroglyphs, which are interpreted in terms of historical events in particular.  One hieroglyph was argued to be the name of Montezuma II, and its variations were carved on the Teocalli of Sacred Warfare (Montezuma's Throne), the Calendar Stone, and the cliff carving on the ruler Montezuma II at Chapultepec, recognized here for the first time.

The United Nations Conference on Environment and Development (the Rio de Janeiro Earth Summit, UNCED), Rio de Janeiro, Brazil, held 3rd-14th June 1992, launched the United Nations Framework Convention on Climate Change (UNFCCC) which operates through its annual roadshow the UN Conference of Parties (COP) that seeks to establish sustainable management of the global climate system.

The  'Earth Summit' by UN in 1992 brought the problems  in climate to the attention of even some of the world's most remote and isolated nations. One of these nations was the Hopi Nation in Arizona, a non-sovereign nation - which the UN labels as 'indigenous peoples'. In a long chain of events beginning from the League of Nations' decision in 1926 to deny the First Nations of Americas and the small island nations' representation in that international forum, its successor the United Nations, turned down four attempts by the Hopi Nation to raise the issue between 1948 and 1992. Finally, in the immediate aftermath of the Rio Earth Summit (1992), the United Nations Secretary-General Javier Pérez de Cuéllar authorised the Hopi Nation to table the matter to the floor of UN General Assembly 10th-11th December 1992.

The First Nations of Americas Ethnoclimatology Motion and the Tradition-Keepers ('Faith-Keepers') background to that motion is elaborated here in this UNFCCC submission with further points were raised in 1st-2nd October 2018 at CRIAS conference. This contextualises the First Nations of Americas UN General Assembly Investigation Request 101292 which was the Concluding Plea of the World Indigenous Peoples' Joint Summit with the United Nations Parties ('Member States') Delegations to open the first UN Year of the Indigenous People (1993) to other ethnoclimatologies appearing world wide. The Geophysical Annotations were discussed at the Cochabamba-Tiquipaya Climate Summit (CMPCC1) in aftermath of the collapsed Copenhagen Climate Summit COP15 (2009) with the request from the UNESCO Delegation of the Plurinational State of Bolivia on 7th January 2010 and His Excellency President Evo Morales Ayma.

The key tenents of the Geophysical Annotations being:

(1) A signal noise from a substantial radiocarbon-dilution effect due to major sea level retreats and rises during the Ice Ages that depressurised methane clathrates - releasing copious amounts of methane and carbon dioxide into air from depressurised seabed clathrates and also from thawing terra firma permafrost; this results in regressive, or sideway, 14C  readings in tree rings ("tree rings in a wrong order"). Thus, the Ice Ages era (the last glacial maxium to holocene thermal maximum period) cores of the tree trunks can appear substantially 14C-younger than the tree trunks' latest (outermost) tree-rings which cannot be the case due to the extreme steadiness of the radiocarbon's decay rate.

(2) Methane accumulates to upper troposphere, stratosphere, and mesosphere: hence any methane signature in the ice cores is only from methane-in-transit. Additionally the global warming episode that ended the ice ages had heavy methane loads that warmed and melted away most of the era's recent ice surfaces, thus obliterating the-then-most recently laid down snow stratum (leaving behind the earlier less methane rich snow layers). This caused incomplete records (time gaps) in the ice cores, and hence "global warming" always appears "before" higher atmospheric CO2 or CH4 levels (hence appearing as if them being 'respondents', rather than the drivers of climate warning).

(3) Noting that the partial melting equations can also be run inverse direction, it is proposed that the Pleistocene glaciations resulted in damage to Peridotite which partially melted producing basalt deposition in a large scale onto the seafloor in vast effusive eruptions with field emission of heat rather than radial spot emission of heat like in modern-day Surtseyan eruptions that have only a minimal heat crossing to sea surface due to small spatial extent of hot subsea surface. The vaporisation of sea water in field emission is vast due to spatial extent of hot subsea surface greatly exceeding the thickness of overlying water column, leading to runaway snowfalls. This caused an inflated size hydrological cycle which effectively washed out atmosphere-generated radiocarbon while geological seabed-associated depressurised carbon-12 was being released en masse leading to negligible carbon-14 readings (the radiocarbon-dilution effect by the Pleistocene's hydrological cycle / sea bed depressurisation).

On these three premises, the First Nations of Americans Ethnoclimatology Motion at the United Nations General Assembly on 10th-11th December 1992 is proposed as a variant possibility to the climate theories advocated aggressively by the Western Group of Nations and their influential academia. Its implications to present-day climate change suggest that the Polar Ice Caps will continue on their much-faster-than-anticipated loss trajectory to violent collapses. This aspect was highlighted in Sea Research Society's Evidence Giving at the UK Houses of Parliament in Environmental Audit Committee evidence giving on 5th and 24th April 2017. The urgency of situation is underlined by the fact that despite world-wide economic shut down by covid-19, carbon dioxide has continued its rapid rise to 417 parts per million indicating that time to act is running out as the remaining North Pole marine ice cap is soon to melt away and then destabilise the surrounding glaciers post Arctic sea ice (most notably the Greenland Ice Sheet).

This paper traces the putative Aztec/Nahua divinity Ometeotl, "Lord of Duality" back to, well, to nothing. There are no sources for this duality other than a desire to create a "classical" vision of Aztec culture somewhat resembling Christianity. Not abstract, not spiritual, Omiteuctli, "Bone Lord" was the epitome of ancestral re-generation.

I wrote this paper c. 1990 (the font was Palatino!) and the rhetoric of post-modernism flavors it somewhat, though I never drank much of the post-modern Kool Aid. As an ethnographer, it was evident that cultures created their understandings of truth(s). For me, the study of culture has always been in great part, epistemology - how a people make sense of the world.

In this paper presented at the Pre-Columbian Society of Washington DC, November 2013, the author proposes answers to questions which have puzzled scholars since the 19th century concerning the enigmatic recumbent Mesoamerican figure known as the "chacmool", so named by French adventurer and photographer Augustus Le Plongeon.  While most scholars are convinced that chacmools were a genuine innovation for a specific type of sacrificial altar for the placement of an offering bowl, several key questions have remained: (1) What was the culture and place of origin of this remarkable sculptural innovation? (2) Who were these male figures?  (3) What is the origin and meaning of the challenging recumbent pose for these human figures with the unblinking, enigmatic gaze? (4) What were they, and what were they called, or described with a phrase, in any Mesoamerican language? Based on recent archaeological discoveries, the author presents a new interpretation of the "chacmool" as the elite "hip ulama" ball game ballplayer stylistically rendered in a serene and formalized ritual “por abajo” stance, well after the game is over, to play the final role as the recipient of the sacrifices. With this new interpretation the author hopes to open the door to finding the indigenous name or description of the "chacmool".

Follow the two (2) URL links to view this 2 page web based article (published May 3, 2015). Co-edited with Ian Mursell for Mexicolore (http://www.mexicolore.co.uk/) - who added many additional illustrations - based in part on an abbreviated version published in the "Smoking Mirror" Vol. 21, No. 4, December 2013, Pre-Columbian Society of Washington, DC.

http://www.mexicolore.co.uk/maya/ballgame/the-chacmool-and-the-ballgame-part-1

http://www.mexicolore.co.uk/maya/ballgame/the-chacmool-and-the-ballgame-part-2

The author proposes answers to questions which have puzzled scholars since the 19th century concerning the enigmatic recumbent Mesoamerican figure known as the "chacmool", so named by French adventurer and photographer Augustus Le Plongeon.  While most scholars are convinced that chacmools were a genuine innovation for a specific type of sacrificial altar for the placement of an offering bowl, several key questions have remained: (1) What was the culture and place of origin of this remarkable sculptural innovation? (2) Who were these male figures?  (3) What is the origin and meaning of the challenging recumbent pose for these human figures with the unblinking, enigmatic gaze? (4) What were they, and what were they called, or described with a phrase, in any Mesoamerican language? Based on recent archaeological discoveries, the author presents a new interpretation of the "chacmool" as the elite "hip ulama" ball game ballplayer stylistically rendered in a serene and formalized ritual “por abajo” stance, well after the game is over, to play the final role as the recipient of the sacrifices. With this new interpretation the author hopes to open the door to finding the indigenous name or description of the "chacmool".

The spread of Christianity to the New World went hand-in-hand with the colonizing efforts of European powers. Evidence of this cultural shift remains visible in the architecture of colonial missions in Spanish America.  Before colonization, Mexico had a rich history of monumental architecture and artistic traditions that demonstrate the complexity of the native cultures. The Spanish destroyed many of the indigenous landmarks and built their cities and churches on the ruins of temples. Taking advantage of the spiritual importance these sites held for the native people the Spanish worked to facilitate associations between Christian saints and native gods.  Furthermore, the missionaries used native labor to build the new churches and monasteries and commissioned native artists to decorate the walls with mural paintings. By focusing on three Augustinian missions built in the 16th century, I will discuss the utilitarian function as well as the spiritual.  Concentrating on the general architecture and mural decoration of three religious buildings; the church of San Miguel Archangel in Ixmiquilpan, the monastery of San Agustín in Acolman, and the temple and ex-monastery of the Divino Salvador in Malinalco, I will identify several architectural and artistic traditions that were consistent with pre-Hispanic practices and can still be seen in mission architecture from the period. In all of the examples there are occurrences of both Christian and native iconography that demonstrate the amalgamation of these two distinct religious ideologies and the resulting cultural hybridity that can be seen when considering the indigenous motifs within in a Christian context.

Leaders and elites within Post Classic Aztec civilization frequently used their visual and ritual culture to create sociopolitical stability throughout their empire. One notable example of this trend is the Teocalli of the Sacred War, a gladatorial stone decorated with imagery and iconography evoking Aztec ancestry and cosmology. The utilization of this artifact in Aztec ritual created a visually powerful ceremony which reinforced the dominance of the Aztec empire and demonstrates the dual spiritual and political function of Aztec art.

The original 1982 manuscript presented both at the 44th International Congress of Americanists, Manchester, England in 1982 and the American Astronomical Society in Boston, January 1983.  This research article is the only scholarly study that provides an independent proof that the Codice Maya de Mexico, (CMM) formerly known as the Grolier Codex, must be a genuine pre-Columbian codex – because it contains key iconographic and other data that could not have been known to a potential fabricator in the mid-1960s when the Codex was found.  One of four known ancient Maya books, the Grolier Codex depicts different manifestations of the planet Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. The author also demonstrates his discovery that the previously labeled pages 10 and 11 of the Codex are actually two parts of the same page "10".

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Grolier Codex.

In a myth that provided a charter for Mexica domination of Central Mexico, the deity Huitzilopochtli defeated his foes with a spear-thrower in the form of a fire serpent, or Xiuhcoatl. While Huitzilopochtli was a being unique to the Mexica, the Xiuhcoatl is generally considered to derive from an earlier entity referred to as the Teotihuacan War Serpent. Although the influence of Teotihuacan symbolism on later cultures of Central Mexico is undeniable, the portrayal of solar deities with supernatural zoomorphic weapons is more readily apparent in art of the Late Classic Maya Lowlands. Classic Maya solar deities and rulers often wield lances in the form of skeletal centipedes with protruding tongues made of flint. This paper explores the relationship between supernatural centipedes and fire serpents and argues that Maya conceptions of solar weaponry contributed to the development of the bellicose sun gods of Late Postclassic Central Mexico.

In 'Time and the Ancestors: Aztec and Mixtec Ritual Art', Maarten Jansen and Aurora Pérez present new interpretations of enigmatic masterpieces from ancient Mexico. Combining iconographical analysis with the study of archaeological contexts, historical sources and living cultural traditions, they shed light on central symbols and values of the religious heritage of indigenous peoples, paying special attention to precolonial perceptions of time and the importance of ancestor worship. They decipher the meaning of the treasure deposited in Tomb 7 at Monte Albán (Oaxaca) and of artworks such as the Roll of the New Fire (Selden Roll), the Aztec religious sculptures and, last but not least, the mysterious chapter of temple scenes from the Book of Night and Wind (Codex Borgia).
[ For high quality open access of each chapter > https://brill.com/view/title/34471 ]

El artículo trata sobre la versión de la historia de la peregrinación azteca contenida en la Tira de la Peregrinación o Códice Boturini.
Un artículo en esta línea se realizó en 2007, en Estudios de Cultura Náhuatl (ECN). Muchas de esas ideas se retoman aquí, aunque ahora se ahonda en ellas y se consolidan propuestas.

There exists a vast literature examining every aspect of Aztec culture. Despite this, few studies focus specifically on Aztec architecture and its implications for understanding broader aspects of Aztec cosmology. This dissertation contributes to our knowledge of Aztec society through an exploration of architectural and urban design principles that guided the building of their cities and ceremonial precincts.

By examining ethnohistoric and archaeological sources, and drawing on evidence from several disciplines—art, astronomy, geography, geometry, mathematics and religion—I compile a body of information relevant to the study of Aztec architecture and urban planning. Cosmovision studies offer an understanding of ritual space and time; pictorial manuscripts contribute mathematical insights; analyses of monumental sculpture provide geometric knowledge; and high mountain archaeological research highlight the sacred landscape. The resulting information was then used in a set of archaeoastronomical analyses of seven pre-Aztec and Aztec architectural complexes. This approach builds on previous studies that have revealed the importance of astronomical considerations in Mesoamerican settlements.

In order to analyse Aztec ceremonial architecture and urban planning from an archaeoastronomical perspective, I developed a methodology that allowed accurate analyses of the astronomical and topographic orientations of settlements and ceremonial architecture. This methodology integrates a wide range of digital applications including Google Earth, Google Maps, solar charting, topographic analysis, open-content collaborative, geo-location-oriented photo sharing applications as well as a custom-built geometric application.

The results allow for a new understanding of: (1) the design principles of the Huey Teocalli, the unique Aztec double-temple architectural type found in almost all of their ceremonial centres, (2) the layout and design principles utilized in the construction of Tenochtitlan and Tlatelolco and, (3) the Aztec remodelling of Tenayuca, Santa Cecilia Acatitlan and Teopanzolco. These analyses are also extended to the antecedent cultures of the region, revealing new aspects of the urban design principles of Teotihuacan and Tula including an additional interpretation of the Tlaloc mural in Teotihuacan.

The implications of this research extend beyond Aztec scholarship, providing a replicable methodology that can be applied to the archaeoastronomical analysis of ancient settlements and ceremonial structures anywhere in the world.