While browsing links and foraging for data, I came across an excellent pair of photos on Flickr that tie in nicely with yesterday’s post on pre-Conquest Aztec censers. Both photographs were taken by Lin Mei in 2006 at the Museo del Templo Mayor (Museum of the Grand Temple) and adjacent excavation site of the Huey Teocalli itself in Mexico City. They are hosted on Rightstream’s Flickr photostream as a part of his Templo Mayor set of images. I recommend taking a look at the full set in addition to the two I’m highlighting here, as the photos are very good quality and provide a good look at many of the fascinating examples of Mexica art and architecture uncovered by the Templo Mayor archaeology team. My thanks to Leo and Lin Mei for generously allowing their work to be shared under a Creative Commons 2.0 license.
The first photo is a beautiful example of a ladle-type censer, intended to be carried in the hand and used to incense places, people, sacred images, etc. It’s the design Walter Hough described as being derived from a basic tripod incense burner design, where one leg is elongated into a handle, producing a ladle form.
The second image is a picture of the large, stationary stone brazier Hough described as being used for burning incense, offerings, ritual implements and paraphernalia, and as vessels for sacred temple fires that were never allowed to go out. The popochcomitl in the photo below is beautifully preserved, and a great amount of sharp, clear detail is apparent. Look closely at the narrow waist of the hourglass shape, and you’ll see the belt-like knotted bow I discussed yesterday. It’s a much better example than the grainy turn of the century photograph available in the linked article. You’ll also notice a beautiful monolithic serpent head nestled between the two braziers. The alternating brazier – serpent – brazier pattern continues over large sections of the stepped pyramid. It’s a logical motif when one remembers that the Grand Temple, at least on the southern side where Huitzilopochtli’s sanctuary was, is a man-made replica of the Coatepetl (Snake Mountain) where Huitzilopochtli was born and defeated the jealous Southern Stars. If you’d like to read that story, you can click HERE for my retelling of that exciting narrative.
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!
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.