In honor of the spring equinox, I’d like to share an interesting article by Ivan Šprajc that explores some theories regarding possible astronomical associations of the architecture of the Grand Temple. Mr. Šprajc is a Slovenian archaeoastronomy specialist with an interest in the ancient astronomical practices of the Aztec, Maya, and Teotihuacan peoples. This paper, “Astronomical Alignments at the Templo Mayor of Tenochtitlan, Mexico” is the result of the studies he conducted at the excavation site of the Huey Teocalli in Mexico City.
In this paper, Šprajc agrees with his predecessors Aveni, Calnek, Tichy, and Ponce de Leon that the Templo Mayor was indeed constructed to align with certain astrological phenomena and dates. This initial concept is partially based on some clues recorded by Mendieta that the feast of Tlacaxipehualiztli “fell when the sun was in the middle of Uchilobos [archaic Spanish spelling of Huitzilopochtli].”
The more traditional position, held by Aveni et al and supported by Leonardo López Luján in “The Offerings of the Templo Mayor of Tenochtitlan” (2006) holds that the festival’s beginning was marked by the perfect alignment of the sunrise between the two sanctuaries atop the Temple on the first day of the veintena according to Sahagun. To wit, Sahagun recorded that the festival month began on March 4/5 (depending on how you correct from the Julian to Gregorian calendar) and ended shortly after the vernal equinox.
Unlike his peers, Šprajc concludes that the festival of Xipe Totec was marked by the sun setting along the axis of the Teocalli. At that time, the sun would seem to vanish as it dropped into the V-shaped notch between the two shrines of Tlaloc and Huitzilopochtli. His conclusion partially stems from a slightly different measurement of the orientation of the temple than the other archaeologists, and his preference for Mendieta’s dating of the start and end of Tlacaxipehualiztli, which would start right around the vernal equinox and then end on about April 4th.
Who do I think is correct? I think the jury is still out. Both the sunrises and sunsets were marked by the priests with copal offerings and music, and both were involved in the flow of various festivals, so we know for sure that the scholars and clergy of Tenochtitlan assigned significance to both. Given the issue of varying estimates of how much the Templo Mayor has settled into the soft soil of the remains of Lake Texcoco, and differing theories on how much the structure has warped due to intentional destruction and pressure from the layering of Mexico City on top, and it becomes hard to present a bulletproof argument for either side.
Šprajc presents some additional interesting possibilities for alignments with Mount Tlamacas and Mount Tlaloc nearby, and a potential method of tracking the movement of the sun that possesses regular intervals of 20 days (matching an Aztec month) and 26 days (two Aztec weeks) that are intriguing. However, I generally consider Sahagun more reliable than Mendieta, as his research methods were among the best at the time, and modern study has tended to vindicate his records over those of historians working at a greater remove in time after the Conquest. There’s also the issue that Šprajc seems to be quite outnumbered when it comes to support for his alignment, and some of those who disagree with him, like Leonardo López Luján, have devoted decades of their lives to studying the Templo Mayor specifically. I’d also like to close with the possibility that everyone could be wrong — the tendency to see astronomical alignments under every rock and bush that were never intended by the people they’re studying has plagued archaeology for a very long time, and in the end, it could be the case here as well. Regardless, the debate is interesting and well worth reading, and the journal article contains a number of useful photographs and diagrams of deep within the layers of the Templo Mayor that are rewarding in and of themselves.
To download a full-text PDF copy of the journal article for free from the Inštitut za antropološke in prostorske študije (Institute of Anthropological and Spatial Studies), please click HERE. Alternatively, you can read it on-line at Issuu in simulated book format straight from your web browser by clicking HERE.
As a bonus, I’ve embedded a beautiful video recorded by Psydarketo below. It’s footage of the sun rising and aligning in the central doorway of the sanctuary atop the Mayan temple at Dzibilchaltun on March 20th, 2011 — last year’s spring equinox. It’s a similar technique to what I discussed above at the Templo Mayor, except that the sun is framed in the doorway rather than in the V-shaped space between twin sanctuaries. Close enough to help give a picture of how things would have looked in Tenochtitlan, and wonderful to watch in its own right.
While doing some research on different types of censers (incense burners) used in Mesoamerica, I came across a useful article on the subject by Walter Hough, entitled (creatively) “Censers and Incense of Mexico and Central America.” The article dates from 1912 and doesn’t have the benefit of recent excavations at the Huey Teocalli in Mexico City, but I still found it valuable as a solid overview of the major types of incense burners (popochcomitl in Nahuatl) used in precolumbian Mexico and neighboring regions. It’s a well-organized and reasonably-concise article, and contains a good number of photographs of examples for each of the major shapes and style variations by broad ethnic groupings. To read “Censers and Incense of Mexico and Central America” by Walter Hough via GoogleBooks, please click HERE. A full-text PDF of the article can also be downloaded, as the article is in the public domain. (A warning note — unsurprisingly, given its age, Hough’s article is marred by some obnoxious ethnocentric language common to writing from the period. Fortunately, it’s less pervasive than what I’ve seen from some of his contemporaries, so hopefully you can look past it to benefit from the real meat of the essay.)
I’d like to comment briefly on some of the most interesting parts of the article. I’ll start with some thoughts about the large, stationary “hourglass” type censer he mentions, which were permanent installations at the temples (depicted on page 9 of the PDF, page 112 in the original numbering). Called tlexictli, or “fire navels,” they instantly bring to mind Xiuhtecuhtli (also called Huehueteotl), the ancient Lord of Fire, who is said to dwell in the “navel” of the universe, as recorded throughout the Florentine Codex by Sahagun. Also according to Sahagun, these large braziers provided not only continual light, warmth, and a place to burn copal, but were used in the disposal of some offerings and ritual implements. The objects to be cremated were burned in a tlexictli, and then the ashes were buried at certain holy sites on the edge of bodies of water (Hough, PDF p.11). It’s a fascinating variation on the theme of water meets fire that pervades traditional Aztec thought, here manifesting in a team effort of the two opposing forces in destroying sanctified objects that are due to leave the physical world for the spiritual realm.
Staying on the subject of the tlexictli a moment longer, I’d like to call your attention to the photo on page 44 of the PDF, which shows one of the “fire navel” braziers. Around the narrow waist of the censer is a knotted bow. These bows frequently show up in Aztec art, either tied around objects that are being offered or tied around people, animals, or gods. Quetzalcoatl is often shown in the codices with these bows tied around his knees and elbows, such as in plate 56 of the Codex Borgia. Mictlantecuhtli is wearing the pleated paper bows around his joints as well. To my knowledge, we don’t yet fully understand the complex meaning behind these bows, but they’re definitely associated with priestly activity and sacrifice. In that light, it seems appropriate to see these bows appear on the tlexictli.
Moving on to more familiar territory, Hough’s paper covers the ladle-type censer commonly depicted in the hands of priests offering incense in the codices, as discussed in my earlier post on the subject of daily copal offerings by the clergy. In his scheme of classification, it is labeled as a type of “gesture”popochcomitl, so called because it’s intended to be held in the hand and used in various motions during ceremony to direct the sweet smoke towards its intended recipient(s). According to the author, this ladle-like shape is a signature of gesture censers among the Nahua peoples, and isn’t as prevalent among groups to the north and south of Central Mexico. This seems to be reflected in the surviving codices, as the majority of the examples I can recall offhand are that shape. I’ve seen a few examples of a bowl-shaped vessel with copal in it as well in the ancient books, which may match the small bowl-type censers he notes as being universal across Mesoamerica.
Gesture censers in varying shapes were used outside of temple activities, as Sahagun notes that the duty to offer copal was shared by everyone in the Aztec empire, which Hough comments on in the household context a bit. Sahagun also recorded that copal was offered before performances of song and dance at the houses of the nobles, which presumably involved small censers that could be manipulated with a hand in at least some cases. I mention that possibility because it’s a custom still widely in use today, as seen among the danza Azteca groups around the world, and one that I can show you as I wrap up today’s post.
The video below is a recording of a dance for Tonatiuh, the Sun, and the dancers have several goblet-shaped censers that they use to offer copal smoke to the four directions. Once the offering is finished, they place the censers back among the other objects of the dance altar spread out on the ground, letting the copal continue to burn and smoke as they dance. Thanks go to Omeyocanze for posting this lovely video.
*Apologies for not having the citations for Sahagun’s Florentine Codex in just yet, but it’s quite late and I must call it a night before getting up for work later. I’ll add them in when I get the chance soon.
It’s been a while since I’ve posted a dance video, and I have to crash so I can get up for work in the morning, so I think I’ll kill two birds with one stone here. Speaking of birds (and bad puns), I’ve come across a video of the White Eagle Aztec dance (Ixtakcuauhtli in Nahuatl, Aguila Blanca in Spanish) on YouTube. This one is also courtesy of our friends Miguel Rivera and alexeix. Once again his performance is interesting not due to elaborate regalia, but due to the clear demonstration of the steps and drum rhythm, as well as his spirit and agility.
As to the meaning of this dance, I’m currently sketchy. I’ve seen it referenced as a warriors’ dance, which would go well with the strenuous acrobatics required and the traditional military symbolism of the eagle in traditional Aztec culture. Unfortunately, I can’t say anything conclusive one way or another at this point. I’ll have to keep looking and post an update when I find more. In the meantime, enjoy the dance!
It’s been a while since I’ve posted an Aztec dance video, so I thought I’d share another good one I’ve found. This one is another Fire Dance (Fuego), but quite a bit different from the first one I posted back in April. This dance was performed at the 2007 Evergreen State Fair in Monroe, Washington.
This version of the dance is also performed by a single danzante, a fellow who’s incredibly daring. Notice how several times during the danza he nearly crouches atop the flame! You’ll spot him carrying a small gourd rattle throughout this performance, which is a traditional instrument associated with ritual dance. Several of the gods of dance, such as Techalotl the squirrel-like Teotl, are depicted in the codices carrying rattles, and dancers impersonating these deities at festivals will wield them as well.
I’ve had a long day today and am very tired, too much running back and forth across the state, so today’s update will be a quick one. There will be a big new article coming soon though, I had plenty of time while sitting on the train to plan out a nice big feature on Aztec ethics and moral worldview. Watch for those two in the near future. In the meantime, I have another nice danza video for you to enjoy, courtesy of a YouTuber by the handle of Alexeix.
This particular video is a solo performance by a young danzante named Miguel Rivera. He’s performing the dance of Tezcatlipoca, the mercurial “Smoking Mirror.”
This particular video is interesting not because of elaborate costuming or intricate instrumentation, but because Señor Rivera is demonstrating the full sequence of dance steps and movements in great detail, and you can clearly hear the specific drum rhythm for Tezcatlipoca being played in the background. Thus, for those of you who are interested in learning some of the traditional dances and/or drum rhythms, his video should be a useful source of information.
Incidentally, if you listen, you’ll hear a rhythmic jingling sound that’s in time to his movements. It’s coming from the “bells” around his ankles. Those “bells” are actually a specific type of seed pod/nut shell that is native to Mexico. When dried out and sewn to leather or cloth wraps that are worn around the lower legs, they make that beautifully distinctive jingling sound. I’d tell you what they’re called, but I’m completely blanking on it at the moment. I’ll update this post with it when I remember. (UPDATE: they’re called ayoyotes.) Anyway, you’ll hear that sound in practically every Aztec dance recording out there, and now you know what makes it.
There shouldn’t be an issue with this embedded video going dead like the Quetzalcoatl one did for a little while, since it doesn’t look like the person who uploaded it on YouTube is opposed to embedding. (You can visit their YouTube page for this video by clicking HERE.) If it does cut out, just post a comment and let me know so I can fix it.
Here’s the video of the Aztec dance performance of part of the story of Quetzalcoatl’s descent to Mictlan, the Land of the Dead, to retrieve the precious bones so that humans can live again. It’s a nighttime performance, which is a perfect fit for the setting. Mictlan was described as a place of perpetual darkness, coldness, and night. The lighting is mostly from the bonfire and a few lamps, so it’s very moody looking and the shadows and light accentuate the motions and costumes of the danzantes.
Quetzalcoatl is portrayed by the dancer in the birdlike, beaked mask who’s carrying the serpent, while Mictlantecuhtli is played by the dancer with the lion’s-mane-like headdress with a skull in the center of the fan of feathers. Mictlantecuhtli’s servants are creatively portrayed by children in skeletal costumes. You’re probably wondering “Why kids? That’s not scary!” I think they’re echoing the myths that portray Tlaloc’s helpers, the Tlaloque, as miniature versions of the goggle-eyed Rain God. If Tlaloc’s assistants are mini-Tlalocs, then why not have the Lord of the Dead’s be miniature Mictlantecuhtlis? Either way, it’s a nice casting choice.
Got an important meeting tomorrow, so I can’t write a long post at this moment, but I do have a little something cool to make up for it. I love to hunt down videos of traditional Mesoamerican dance (danza Azteca, danza Chichimeca, etc.). I found a particularly good one on YouTube not long ago, and I thought I’d share it. It’s an Aztec dance that honors Xiuhtecuhtli, the Lord of Fire.
By the way, take a close look at the brazier that the lead danzante is dancing around — it’s in the shape of Huehueteotl the “Old, Old God,” the elderly guise of Xiuhtecuhtli. That’s an ancient style of making a brazier, and an appropriate choice — after all, part of Huehueteotl’s regalia is a brazier perched atop his head!