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While other well-known post-colonial Aztec codices mostly document native life in Tenochtitlan, the largest city in the Aztec empire and the one that would eventually develop into the modern-day capitol of Mexico City, much of the content of the Codex Ixtlilxochitl is associated with life in Texcoco and offers a more diverse perspective on day ...
The Mexicayotl movement started in the 1950s with the founding of the group Nueva Mexicanidad by Antonio Velasco Piña.In the same years Rodolfo Nieva López founded the Movimiento Confederado Restaurador de la Cultura del Anáhuac, [1] the co-founder of which was Francisco Jimenez Sanchez who in later decades became a spiritual leader of the Mexicayotl movement, endowed with the honorific ...
However, Robertson's views, which equated Mixtec and Aztec style, have been contested by Elizabeth-Hill Boone, who considered a more naturalistic quality of the Aztec pictorial school. Thus, the chronological situation of these manuscripts is still disputed, with some scholars being in favour of them being pre-Hispanic, and some against.
Many statues and images (in pre-Columbian and post-Columbian codices) of these warriors have survived. [5] They fought with a wooden club, studded with obsidian volcanic glass blades, called a macuahuitl. They also used spears and atlatls. To become a jaguar warrior, a member of the Aztec army had to capture a total of four enemies from battles ...
Mural by Diego Rivera showing the pre-Columbian Aztec city of Tenochtitlán.In the Palacio Nacional in Mexico City.. Mexican muralism refers to the art project initially funded by the Mexican government in the immediate wake of the Mexican Revolution (1910–1920) to depict visions of Mexico's past, present, and future, transforming the walls of many public buildings into didactic scenes ...
The temples themselves represented mountains, Aztec symbols for water and fertility. [3] The architecture, particularly the sculptures on and in the temples, were symbolically painted. [10] Each cardinal direction was represented by a color and ruled by a religious figure, details which were incorporated into Aztec architecture on many occasions.
Tlālōcān (Nahuatl pronunciation: [t͡ɬaːˈloːkaːn̥]; "place of Tlāloc") is described in several Aztec codices as a paradise, ruled over by the rain deity Tlāloc and his consort Chalchiuhtlicue. It absorbed those who died through drowning or lightning, or as a consequence of diseases associated with the rain deity.
Xiuhcoatl was a common subject of Aztec art, including illustrations in Aztec codices, and was used as a back ornament on representations of both Xiuhtecuhtli and Huitzilopochtli. [1] Xiuhcoatl is interpreted as the embodiment of the dry season and was the weapon of the sun. [ 2 ]