Happy New Year’s! Instead of fireworks, let’s ring in the new year with a superb photostream from Flickriver user Ilhuicamina. This set is of exceptional quality and covers many significant artworks excavated from the Templo Mayor and safeguarded by INAH at the National Museum of Anthropology in Mexico City. Take a look!
It’s the ending of the old baktun and the dawning of a new one, and I’d like to greet both the new era and the return of the Sun on this Winter Solstice with the blowing of conch horns!
The Aztecs named the conch shell trumpet quiquiztli, and the musicians who played them “quiquizoani.” This is the instrument that Quetzalcoatl played to defeat the devious challenge of Mictlantecuhtli, the Lord of the Dead, and reclaim the ancestral bones of humanity at the start of the Fifth Sun. I have seen some speculation that the “mighty breath” blown by the Plumed Serpent to set that newborn Sun moving in the sky was actually a tremendous blast on a conch horn. It’s the trumpet the priests played to call their colleagues to offer blood four (or five) times a night in the ceremony of tlatlapitzaliztli, and also during the offering of incense, according to Sahagun in the Florentine Codex . Tecciztecatl, the male Moon God, is sometimes depicted emerging from the mouth of a quiquiztli. The sound of the instrument itself was considered by the Aztecs to be the musical analog to the roar of the jaguar. Like the twisting spiral within the shell, the associations are nearly endless, doubling back on each other in folds of life, death, night, dawn, and breath.
The quiquiztli appeared in two offerings at the Templo Mayor in Tenochtitlan (offering #88). One shell was found on Tlaloc the Rain Lord’s side (not at all surprising, given the overwhelming watery connotations of the instrument). A second one was found on Huitzilopochtli’s side of the manmade replica of Coatepetl. If you would like to actually hear one of these very trumpets being played, you can click HERE to visit the International Study Group on Music Archaeology’s page for these trumpets. You can directly download the MP3 recording by clicking HERE.
I also found a beautiful photograph of an Aztec or Mixtec conch trumpet (covered in intricate carvings) currently in the holdings of the Museum of Fine Arts here in Boston. If you’d like to view the photo and see their notes on the artifact, please click HERE. If you’d rather jump right to the full-size, more detailed image, click HERE instead.
Want to learn more about the trumpet and its uses in Mesoamerican cultures past and present? Head on over to Mixcoacalli and read Arnd Adje Both’s excellent 2004 journal article called “Shell Trumpets in Mesoamerica: Music-Archaeological Evidence and Living Tradition” (downloadable full text PDF). It gives a valuable introduction to the instrument in Teotihuacan, Aztec, and Mayan societies and includes numerous interesting photos and line sketches as a bonus. I couldn’t find a direct link to the article on his site, but I did find it on his server via Google. As a courtesy, the link to his homepage is here. There is some other interesting material relating to the study of ancient Mesoamerican music on there, so I recommend poking around.
What about South American cultures? I’m a step ahead of you — why not go here to read an interesting article on Wired about a cache of 3,000 year old pre-Incan shell trumpets found in Chavin, Peru? Includes recordings and photos.
Finally, if you’re curious for an idea of how the Aztecs and Maya actually played the quiquiztli, including how they changed the tone of the instrument without any finger-holes or other devices, you can view a demonstration by ethnomusicologist John Burkhalter below. If you noticed that the trumpeter in the codex image I embedded earlier has his hand slipped into the shell, you’ll get to see what that actually does when the horn is played in the video.
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 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.
I have discovered online a very interesting classic journal article about Aztec autosacrifice by the esteemed Dr. Zelia Nuttall. Written in 1904, it lacks the benefits of recent scholarship, but it still remains a keystone work in understanding the specific form of autosacrifice that is bloodletting from the ears. Dr. Nuttall provides detailed description and discussion of the various specific forms of ear sacrifice, accompanied by extensive translation from numerous codices and photographs of pictorial depictions of this type of penance. If you are interested in learning more about how the Aztecs traditionally performed ear sacrifice, I strongly recommend following the link to read the article. Even better, as it is in the public domain, the full text is available to download as a PDF through Google Books!
Some highlights of this article are discussions of the close association of ear autosacrifice with the gods Tezcatlipoca, Mixcoatl, Huitzilopochtli, and Quetzalcoatl. Of particular interest during this veintana of Quecholli is the description of a special type of autosacrifice attributed to Mixcoatl, the God of the Hunt. The article includes several forms of ear sacrifice linked to specific veintanas, including Quecholli and Panquetzaliztli. Additionally, it describes a sacrifice offered on the day Nahui Ollin, the daysign of the current Sun, the Sun Four Movement.
Also interesting is Dr. Nuttall’s analysis of the jaguar/ocelot imagery surrounding Tezcatlipoca and his connection to the constellation Citlal-Xonecuilli, which is known today as either Ursa Major or Minor (a little help on which one, Shock?). [Edit — It’s Ursa Major. Thanks, Shock!] Instead of a bear, the Aztecs saw the constellation as a jaguar and a symbol of Tezcatlipoca. It reminded them of the time when Tezcatlipoca, acting as the First Sun, was chased from the sky by Quetzalcoatl and descended to Earth in the form of a great jaguar to devour the giants, the first people. That is why the constellation seems to swoop from its peak in the sky down to the horizon, reenacting this myth every day in the night sky.
My only irritation with this article is a few points where the good doctor strays from proper anthropological neutrality to make disparaging comments about the practice of autosacrifice, and to congratulate the Spaniards on stamping it out. I’ll admit it, I do derive a certain sly pleasure in discussing it here so that it’s not forgotten!
I came across an interesting article by Alan R. Sandstrom on FAMSI the other night. It is a summary of his observation of a modern Huaxtec ceremony honoring one of the Tlaloque, a rain spirit named Apanchanej (literally, “Water Dweller”). This festival took place in 2001 on Postectli, a mountain in the Huasteca region of Mexico.
A bit of background — the Huaxtecs are an ancient people, neighbors of the Aztecs. Like the Aztecs, they spoke and still speak Nahuatl, making them one of the numerous Nahua peoples. To this day they still live in their traditional home, one of the more rugged and mountainous sections of Mexico. They have retained more of their indigenous culture than some of the other nations that survived the Conquest due to their remoteness and the rough terrain that inhibited colonization. This includes many pre-Conquest religious traditions, even some sacrificial practices.
To read the short article summarizing Sandstrom’s experiences at the ceremony:
If you would like to read the article in English, please go HERE.
Si desea leer el artículo en español, por favor haga clic AQUI.
Some Highlights Related To Modern Practices
This article includes discussion of several details of particular interest to those interested in learning from the living practice of traditional religion. Of special note are photographs of the altar at the shrine on Postectli, including explanation of the symbols and objects on it (photograph 12). Also, the practice of creating and honoring sacred paper effigies of the deities involved in the ceremony is explored in some depth. Paper has traditionally been a sacred material among the Nahua tribes, and paper representations of objects in worship is a very old practice indeed. Additionally, there is some detail on tobacco and drink offerings, as well as the use of music and the grueling test of endurance inherent in the extended preparation and performance of this ritual.
Contemporary Animal Sacrifice
A key part of the article’s focus is on the modern practice of animal sacrifice and blood offerings that survive among the Huaxteca today. These forms of worship have by no means been stamped out among the indigenous people of Mexico, as Sandstrom documents. (Yes, there are photographs in case you are wondering — scholarly, not sensationalistic.) Offering turkeys is something that has been done since long before the Conquest, and from what I have read they remain a popular substitute for humans in Mexico. It’s fitting if you know the Nahuatl for turkey — if I remember right, it’s pipil-pipil, which translates to something like “the little nobles” or “the children.” If I’m wrong, someone please correct me, as I don’t have my notes on the Nahuatl for this story handy at the moment. They got that name because in the myth of the Five Suns, the people of one of the earlier Suns were thought to have turned into turkeys when their age ended in a violent cataclysm, and they survive in this form today. I doubt the connection would have been lost on the Aztecs when offering the birds.
To wrap things up, Sandstrom’s article was a lucky find and is a valuable glimpse into modern-day indigenous practice . I strongly recommend stopping by FAMSI and checking it out, as my flyby overview of it can’t possibly contain everything of interest. On one last detail, I strongly encourage you to read the footnotes on this one — a lot more valuable info is hidden in those.
Funny how things tend to come in clusters. One day I find the full text of Soustelle’s The Daily Life of the Aztecs, today I find a complete English translation of the Anonymous Conqueror’s Narrative of Some Things of New Spain and of the Great City of Temestitan, México. (In case you’re wondering, Temestitan is an old Spanish corruption of Tenochtitlan.)
This is one of the more obscure Conquest-era histories, allegedly written by one of the Conquistadores under Cortes. We’ve never definitively identified who the author was, but the book seems to be generally accepted as a genuinely early document. The book is an account of the Conquest itself and a concise overview of life in Tenochtitlan at the time, from a recently-arrived European perspective. As usual, such works have to be read carefully, with an awareness of problems of reliability, bias, and cultural misunderstandings/ignorance. With those caveats aside, however, early material like this can still be quite useful.
Go HERE to read Marshall H. Saville’s 1917 English translation of the Anonymous Conqueror’s Narrative of Some Things of New Spain and of the Great City of Temestitan, México, edited by Alec Christensen and kindly hosted on FAMSI.
I have also updated the First Contact & Conquest Era History page on this site with a permanent link to this work.
Now, if you will excuse me, I’m going to go crash before I face-plant on my keyboard, as I’ve been awake for almost 24 hours straight now, 13 of which were spent at work… Just had to share this random discovery before catching some sleep.
I was doing some digging online today, and had quite a stroke of good luck — I found a complete copy of Jacques Soustelle’s classic The Daily Life of the Aztecs online! The English edition of the entire book is available to read for free on Questia. Soustelle was a famous French anthropologist who specialized in studying the Aztecs before the Conquest, one of the bright lights in Mesoamerican studies of the mid 20th Century. His Daily Life of the Aztecs is one of his best-known works on this subject, covering a wide variety of details of Mexica life in great Tenochtitlan, ranging from architecture to agriculture, religion, economics, and the conduct of war. Though somewhat dated (written in 1962), most of the information in this book still remains quite useful, and his respectful, non-sensationalistic tone is refreshing. As it predates the rediscovery of the Templo Mayor (Huey Teocalli) in the 1970’s, it sadly doesn’t include much on that famous structure. Still, I strongly recommend giving it a read, as it remains one of the better general histories and anthropological overviews of life in Precolumbian Mexico.
Incidentally, I have now activated the Pre-Conquest History page in the History section of this blog’s static pages and placed an additional permanent link to this book there.
In the spirit of the aphorism “a picture is worth a thousand words,” I recommend stopping by the British Museum’s Aztec collection online. They have available 27 photographs (well, 26 if you ignore the crystal skull that’s been proven to be a hoax) of beautiful Aztec and Mixtec artifacts. Among them are statues of Quetzalcoatl, Tezcatlipoca, Mictlantecuhtli, Tlazolteotl, Tlaloc, Xochipilli, and Xipe Totec, as well as a rare mosaic ceremonial shield, a turquoise serpent pectoral, and a sacrificial knife. The images are thought-provoking and intense, as these objects speak wordlessly the vision of the Nahua peoples without Colonial censorship.
As a bonus, I located an excellent photograph of a jade mask of Xiuhtecuhtli, God of Time and Fire, which is a part of the British Museum’s collection but is not on their website. Thank you Z-m-k for putting your fine photography skills to work on this worthy subject material and for your kindness in sharing it under the Creative Commons Attribution Share-Alike 2.5 License.
Shock kindly shared the link to this story with me recently, and I thought I would highlight it here as an interesting archaeological discovery. I look forward to when they publish their full findings.
Most Important Offering in Past 30 Years Discovered in Great Temple
Presidencia de la República
go to original
Mexico City – President Felipe Calderón toured the House of the Bows and Bells of the Great Temple Archaeological Zone, where the largest, most important offerings recorded in 30 years of excavations in this zone were recently discovered…
I’m in a storytelling mood again, so I think it’s time for the legend about Huitzilopochtli’s miraculous birth and His battle at Coatepec against Coyolxauhqui and the Centzon Huitznahua. My version of the tale follows the most common form quite closely, as there don’t seem to be many variants of this one that need to be dealt with. As a bonus, I included a photo of the famous Coyolxauhqui Stone that was located at the foot of Huitzilopochtli’s side of the Templo Mayor in Tenochtitlan, a structure that retold this particular myth in stone.
The Battle Of Coatepec: Huitzilopochtli Defeats the Moon and Stars
As told by Cehualli
Long ago, before the foundations of Tenochtitlan were laid, the great goddess Coatlicue, “She With The Snake Skirt,” was living peacefully at Coatepec. One day, She was sweeping Her home as She always did, when a peculiar sight greeted her. A little ball of beautiful feathers was drifting down from the sky towards Her.
“What a lovely bunch of feathers!” Coatlicue said as She stopped Her sweeping to pick them up. “Perhaps they are a gift from another god. Either way, I will keep them.” She tucked them into Her clothes for safekeeping and resumed Her sweeping. Later, once She had finished sweeping, She reached for the feathers to take them and put them away, but they were gone. “Where are my beautiful feathers? Did I drop them?” She looked around for the feathers, but they were nowhere to be found.
Coatlicue suddenly stopped Her search and placed a hand against Her belly. “What’s this? I’m pregnant!” She wondered at this miracle. “The beautiful feathers have become a baby — how can this be?” Excited and amazed, She shared this incredible news with the other gods and godesses.
Coyoxauhqui, the Moon goddess, “She Who Wears The Golden Bells,” was not happy for Her mother. Later that night, She gathered Her brothers, the Cenzton Huitznahua, the Four Hundred Southern Stars. “Our mother has no sense of shame! She’s pregnant, and who is the father? We don’t know! She claims it’s a miracle, but I don’t believe Her. No, She’s let Herself be overcome by lust and is acting like a common whore. We’re going to have to kill Her to remove the stain of shame from Our family. Who’s with Me?” she cried out, raising Her shield and shaking Her warrior’s bells.
The Four Hundred Southern Stars all shouted back to Her in agreement. “We’re all with You! For Her disgusting behavior, We will help You kill Our mother!” Then they all began to prepare for war. All of them except one, that is. A single Star, Cuahuitlicac, crept away from the secret meeting and ran for Coatepec.
“Mother!” he cried out. “Mother, your daughter and sons are planning to kill You!”
Coatlicue wept in terror and heartache at the news. “So I will be murdered at the hands of my own children, even though I’m innocent of any immorality!”
Then a strange voice was heard. “Don’t be afraid, Mother. I won’t let Them lay a hand on You. I’m here, and will protect You, no matter what the danger.” It was Coatlicue’s unborn son, Huitzilopochtli, speaking to Her from within Her womb. Cuahuitlicac and his mother were amazed. “I’ve already got a plan for dealing with these murderous kinslayers. Just tell Me when the army gets to the top of Coatepec, and I’ll do the rest.”
So, Coatlicue waited with trepidation in Her home atop Snake Mountain as the only loyal Southern Star watched Coyolxauhqui’s army march slowly towards Them. Even from his vantage point on the peak, he could hear the terrifying war-shouts, jingling of bells, and clashing of spears against shields. Coyolxauhqui marched Her army higher and higher up the slopes, calling out “Coatlicue! Prepare to die for your shameful deeds! We come to avenge Our family’s honor!”
At that time, Cuahuitlicac called out to Huitzilopochtli, “They’re here! And Coyolxauhqui Herself is leading them!”
In an instant, Huitzilopochtli was born. In the blink of an eye, He was a full-grown man, painted for war in blue and yellow. He straightened His warrior’s array and picked up His shield and darts. “See, Mother? I am here to protect you!” He took up His xiuhcoatl, the Fire Serpent, a blazing thunderbolt that flared to life in His hand, and with an echoing shout He raced like a comet towards the very startled Coyolxauhqui. They fought like two fierce jaguars, but in the end, Huitzilopochtli struck off the Moon goddess’s head and threw Her lifeless body tumbling down the side of Coatepec. Some say that He then threw Her severed head into the sky, where it still is to this day as the moon, Her golden bells shining in the night.
Before the Cenzton Huitznahua could react, He was in their midst like a raging fire.
They fought back, but nothing they did could drive Him away. They tried to frighten Him, but He just kept attacking. Finally, the Southern Stars pleaded with Him to spare them. “No!” Huitzilopochtli snarled. “You will all die for betraying your mother so cruelly!” The enraged god chased them, killing them mercilessly. Only a very few Stars escaped to hide in the farthest reaches of the southern sky.
With the army crushed, Huitzilopochtli proudly walked the battlefield and picked up the regalia of one of the Stars. He took it as a trophy, wearing part of it as His own and absorbing the might of the Stars. This great battle at Coatepec was the Hummingbird On The Left’s first victory, His first steps on the long road through the maelstrom of war that would ultimately take Him and His chosen people to Tenochtitlan.
The Coyolxauhqui Stone
As I said in my previous post on the “why” of sacrifice, I’d be writing one soon on the “what.” Next time, it’ll be “how and when,” and we’ll be good to go on the basics of the cornerstone ritual in worshipping the Teteo.
The people of the Anahuac valley offered a wide variety of different goods and services to the gods. Most of them can be fit into three quick and dirty categories: blood offerings, property offerings, and services.
Blood offerings are the best known, and they come in several forms. There’s the classic heart extraction and other types of lethal human sacrifice, of course, but no one’s going to be doing any of those, so don’t even think about it. More important to modern-day practitioners, people would offer small amounts of their own blood to the gods. This is called autosacrifice, and everyone would do it, priest, king, and commoner alike. Finally, the last type of blood sacrifice is animal sacrifice. Quail were the most common choice, though I have found references to turkey hens and specific festivals where snakes, lizards, toads, and other small animals were offered. Anyway, quail offerings were mostly done by the priests and nobility, partially because meat was scarce and expensive in the days before the current style of large-scale industrial farming.
The second major category of offerings are those of property. The Aztecs gave a dazzling array of material goods to the Teteo, ranging from food and drink to clothing, incense, and art. Incense was the backbone of property offerings, and was burned for the pleasure of the gods very frequently. The particular type used was a resin made from tree sap, and is called copal. Copal comes in many different types, and has a wonderful sweet smell. I encourage you to check out one of the external links I have to an entire article on copal. Everyone would burn it, and its use wasn’t restricted to particular festivals or the like. Similarly, people would often offer flowers, and they weren’t just for the godesses. The gods like them too!
Different foods were offered, such as tortillas, tamales, amaranth dough cakes, and fresh vegetables like corn or chia. Drinks were also provided for the gods, especially a liquor called pulque or octli. Sometimes people would give well-made articles of clothing to the gods to show their devotion. Amate paper was often burned for the gods. This may sound strange to many people, as most of us in the West these days don’t exactly think of paper as sacred. Not so among the Aztecs. Paper was rare, expensive, and hard to make, so it was highly valued and reserved for religious use and the writing of sacred painted books, called Codices today. (FAMSI has a lot of them online that you can look at, check them out HERE.)
Speaking of rare, expensive goods, artwork and other related precious objects round out the list of property offerings. Excavations in the remains of the Templo Mayor (a.k.a. Huey Teocalli in Nahuatl, Grand Temple in English) in Mexico City have uncovered caches of beautiful art that were apparently given to the gods. The objects range from jewelry to statues to feathercrafts and harder to describe things. So if you have an artistic streak, this might be a wonderful way for you to make offerings. Beautiful feathers and precious stones (especially turquoise and jade) were also prized as offerings.
The last category is services, offering by doing stuff. Sweeping and cleaning was actually a devotional activity back in the day, as it was a form of clearing away chaos and decay. All sacred spaces were routinely swept, whether they were the imperial temples or the humble household shrine. Finally, music, dance, song, and poetry were often done for the enjoyment of the Teteo, and certain instruments were considered to be favored by certain deities. For example, the conch shell trumpet was linked to Quetzalcoatl, the flute was Tezcatlipoca’s preferred instrument, and I’ve seen a reference or two to the huehuetl, the big drum, being Huitzilopochtli’s instrument. Music and dance were very important ways to worship in Mesoamerica, and many of the festivals would culminate in most of the town gathering to dance and sing. Sacred dance is still done today, either as worship or for secular reasons of love of culture. Today it’s called danza in Mexico, and if you hit YouTube or GoogleVideo you can find recordings of some of the danzantes performing. Very beautiful!
That’s the end of this article exploring the kinds of things that were traditionally sacrificed. Next time, I’ll get down to discussing how and when to do some specific kinds of offerings.