Mesoamerican Culture, History, and Religion

Posts tagged “Huitzilopochtli

That Is Not Dead Which Can Eternal Lie

In honor of the springtime finally rolling around after this seemingly-endless winter, I’d like to introduce you to a mysterious creature which the Aztecs said dies and rises with the seasons.

“In the winter, it hibernates.  It inserts its bill in a tree; [hanging] there it shrinks, shrivels, molts. And when [the tree] rejuvenates, when the sun warms, when the tree sprouts, when it leafs out, at this time [it] also grows feathers once again. And when it thunders for rain, at that time it awakens, moves, comes to life.”

What is this mysterious creature that defies death?

It’s the hummingbird (huitzitzili in Nahuatl).

Incidentally, remember that the hummingbird is Huitzilopochtli’s symbol, and note that many hummingbirds, including several species in Mexico, have the brilliant blue-green color of divinity for their plumage, just like another sacred bird, the resplendent quetzal.  These feathers, believed to have been shed like dead leaves in the fall, are linked to fresh, living plants by Sahagun’s informant, called into existence after the warmth of the sun, power of the sky gods, works in tandem with the watery might of Tlaloc and the other earth and vegetation gods, spiraling together to burst forth in life and movement.  Thus, a bird that’s possibly the perfect representation of the sky with its ability to hover and move at will in the air, shows its other face as a facet of the earth/water/plant divinity complex, a deity web that also extends into the realm of the dead.  Thus, this tiny little winged jewel is a microcosm of the vast world around it and the deities interwoven in the system.

“Canto del Colibri,” courtesy of jjeess11

*****

Sahagún, Bernardino , Arthur J. O. Anderson, and Charles E. Dibble. General History of the Things of New Spain: Florentine Codex. Santa Fe, N.M: School of American Research, 1950-1982, Book XI, pp.24.

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Alarcón: Prayers For Protection From Evil While Sleeping

Among the populace of the Aztec empire, the line between religion and magic often blurred in day to day life.  While the priestly class held a great amount of power in mediating between the people and the gods, and by extension had a powerful influence on directing orthodoxy, folk practices flourished within the family household.  One of these was the practice of offering prayers and desirable substances (often copal incense, tobacco, and sometimes blood) to the lesser spiritual beings inhabiting everything from the trees to the crops to the tools by which people lived.  While these animistic entities were less grand than the mighty cosmic lords like Huitzilopochtli and Quetzalcoatl, with their broad power over the universe and the state, these local spirits had their own gifts.  This influence carried extra weight for the humble individual due to its intimate proximity — while Tezcatlipoca’s wrath could lay waste to the entire kingdom, the fury of a small farmer’s sole cornfield could prove just as deadly for that individual as his livelihood dried up.

In this post, I’ll share with you a set of three of these short folk prayer-spells, collected by the inquisitor Hernando Ruiz de Alarcón in his “Treatise on Heathen Superstitions” in the early 17th century.  These incantations were intended to guard a sleeper against evildoers invading his or her home in the night, and to express gratitude in the morning for a safe rest.  Note that the supplicant in these prayers is actually praying to the spirits of their bed and their pillow, rather than a more familiar high god like Tlaloc.  Incantations are quoted from the excellent English translation of Alarcón by J. Richard Andrews and Ross Hassig.  Incidentally, if you can read Spanish, I found a full text copy of the Paso y Tronsco fascimile online at the Biblioteca Virtual Miguel de Cervantes, viewable by clicking HERE.  Commentary about each prayer is my own material.

Let it be soon, O my jaguar mat, you who lie opening your mouth toward the four directions.  You are very thirsty and also hungry.  And already the villain who makes fun of people, the one who is a madman, is coming.  What is it that he will do to me?  Am I not a pauper?  I am a worthless person.  Do I not go around suffering poverty in the world?

The supplicant here calls upon his bed (“jaguar mat”), a mat made of reeds and palm fronds to protect him from the nocturnal sorcerer, the nahual.  This particular flavor of witch was greatly feared throughout the region due to his ability to control minds, paralyze, and shapeshift.  He was believed to often indulge in robbery like a cat burglar, breaking into homes in the dead of night to bewitch and rob his prey.  Sometimes, he would violate and kill his victims.  Interestingly, Quetzalcoatl was noted by Sahagún in the Florentine Codex to be the patron of this supernatural lawbreaker.

The structure of this prayer is double-layered — the supplicant begins with calling on the spirit of his bed to protect him, but then shifts to make a declaration of his extreme poverty and worthlessness as a robbery target.  Perhaps he had in mind a subtle defense here — rather than asking the spirit to try to destroy or disempower the witch, which might be unlikely to work as they were considered to be quite strong, he’s asking it to trick the burglar by convincing him that there’s nothing of value in this house, better go somewhere else.

The bed itself is described in an interesting way.  It reaches out towards the four directions, thus anchoring it very firmly in physical space, but also possibly linking it to the greater spiritual ecosystem, as a common verbal formula of invoking the whole community of the divine is to call to all the directions and present them with offerings.  It also reminds me of the surface of the earth (tlalticpac) which similarly fans out as a flat plane towards the cardinal directions, making the bed a tiny replica of the earthly world.  The reference to gaping mouths, hunger, and thirst acknowledges that the spirit of the bed has its own needs and implies that the speaker will attend to them.  In the Aztec world, nothing’s free, and a favor requested is a favor that will have to be paid for.  Alarcón doesn’t note what offering is given to the mat here, but in other invocations of household objects recorded in the book, tobacco and copal smoke come up repeatedly.

Let it be soon, O my jaguar seat, O you who are wide-mouthed towards the four directions.  Already you are very thirsty and also hungry.

This prayer is the companion of the one discussed above, except directed to the sleeper’s pillow (the “jaguar seat”).  Incidentally, you might be wondering why these two objects are named “jaguar.”  Andrews and Hassig speculate in their commentary that it may have been inspired by the mottled appearance of the reeds making up the bedding.  I think it may be a way of acknowledging that these simple, seemingly-mundane objects house a deeper, supernatural power.  The jaguar is a creature of the earth, of the night, and sorcery in Mesoamerican thinking, and in particular is a symbol of Tezcatlipoca.  It doesn’t seem like a coincidence to me that a nocturnal symbol is linked to things so intimately tied to sleep and being interacted with in the context of their magical power.  The adjective “jaguar” also appears elsewhere in Aztec furniture as the “jaguar seat” of the kings and nobles, which is often used as a symbol of lordly authority.  The gods themselves are sometimes drawn sitting on these jaguar thrones, including in the Codex Borbonicus (click to view).  Once again, another possible link to ideas of supernatural power and rulership — authority invoked to control another supernatural actor, the dangerous witch.

O my jaguar mat, did the villain perhaps come or not?  Was he perhaps able to arrive?  Was he perhaps able to arrive right up to my blanket?  Did he perhaps raise it, lift it up?

This final incantation was to be recited when the sleeper awoke safely.  He muses about what might have happened while he slumbered.  Maybe nothing happened… or maybe a robber tried to attack, coming so close as to peek under the blanket at the defenseless sleeper, but was turned away successfully by the guardian spirits invoked the previous night.  Either way, the speaker is safe and sound in the rosy light of dawn, alive to begin another day.

*****

Ruiz, . A. H., Andrews, J. R., & Hassig, R. (1984). Treatise on the heathen superstitions that today live among the Indians native to this New Spain, 1629. Norman: University of Oklahoma Press. pp.81-82


Quiquiztli: The Conch Shell Trumpet

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!

Aztec Conch Trumpeter (quiquizoani), Codex Magliabecchi

Aztec Conch Trumpeter (quiquizoani), Codex Magliabecchi

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.


Astronomical Alignments at the Templo Mayor of Tenochtitlan, Mexico

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.

Courtesy link to the original video at Psydarketo’s YouTube page.

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WorldCat Citation

Šprajc, I. (January 01, 2000). Astronomical alignments at the Templo Mayor of Tenochtitlan, Mexico.Archaeoastronomy, 31, 25, 11-40.


Two Aztec Censer Photos

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.

Aztec Ladle Censer

Image 055 in Rightstream’s Flickr photostream, photograph taken by Lin Mei in 2006

Used under a Creative Commons 2.0 License

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.

Tlexictli Brazier

Image 001 in Rightstream’s Flickr photostream, photograph taken by Lin Mei in 2006

Used under a Creative Commons 2.0 License


Malinalxochitl

The next story in the Mexican founding saga tells of the tyranny of Huitzilopochtli’s sister, Malinalxochitl (“Grass Flower”).  This myth follows after “First Steps From Aztlan” and “Leaving Coatepec,” and sets the stage for the birth of Copil and the further difficulties the fledgling Mexica face.

Malinalxochitl

As told by Cehualli

It had been some time since the Mexica had left their ancestral homeland of Aztlan, and they were wandering in the wilds of Michoacan, following Huitzilopochtli’s dream.  But the Portentous One wasn’t the only divinity accompanying them — His sister, Malinalxochitl, had come with them.  She was beautiful both in form and manner, graceful and elegant.  She was also a powerful sorceress, as she was a Huitznahua woman, one of the stars come to walk among men.  She could drive men mad, shake a river from its course, or strike her enemies dead with a glance.  For a time she ruled them on their wanderings, her flesh and blood guidance complementing unseen Huitzilopochtli’s directions in dreams and her magic a formidable force added to His strength.

Eventually, however, Malinalxochitl grew arrogant and tyrannical, forgetting her duty to guard her brother’s tribe.  She began to torment the Mexica in Huitzilopochtli’s physical absence.  She even forced them to worship her as a goddess on pain of death.

“How wonderful this is!” she thought to herself as she eyed the frightened people as they hurried away from yet another city that had grown unfriendly to them.  “They obey my every whim, and my brother stays silent.  Perhaps He’s abandoned them, or a rival god struck Him down while He roamed ahead.  After what He did to Coyolxauhqui, it would be a fitting end for Him.”

The priests and the people, however, secretly prayed to their silent protector.  “Huitzilopochtli!  Your sister has become corrupt, and instead of being a torch, a light for your people, she’s become a deadly tyrant!  Please save us!”

One night, Huitzilopochtli came to the eldest priest in his dreams.  “How dare my sister do this!  And using sorcery against My people – !” He raged.  “Very well then, we will get rid of her.  When she sleeps tonight, slip away and leave her behind.  If she wishes to behave like a treacherous scorpion, let her be alone like one.” The priest nearly wept with joy as the answer to his prayers.  “However, you must promise Me something — you must not follow her heart and copy her charms and spells.  That’s a coward’s way of fighting, and I won’t stand for my people to be seen that way.  No, instead you will win with courage and skill at arms!  That’s My way.”

The priest agreed, and when he awoke he told the god’s words to the rest of the tribe.  When it had grown dark, they packed up and slipped away into the night, leaving Malinalxochitl behind.

When she awoke, Malinalxochitl wailed in betrayed anger.  “Huiztilopochtli, you dog!  I’m not through with You or Your wretched people!  My sister and I will be avenged.”  Vowing to make them pay, the scorned Huitznahua woman went to make the nearby city of Malinalco her own and to bide her time to strike.

Fountain Grass Flower, Photo by Giligone (licensed under the Creative Commons Attribution-ShareAlike 3.0 License)
Fountain Grass Flower, Photo by Giligone (licensed under the Creative Commons Attribution-ShareAlike 3.0 License)

Operation Circle Care

In the spirit of yesterday’s post on charity, I’m highlighting a Pagan charity that addresses an issue dear to my heart.  Namely, it’s Circle Sanctuary’s Operation Circle Care, and they put together care packages for Pagan troops in the military.  This is a moving cause to me as many of my relatives have been in the military, the most recent of which is my younger brother.  (In case you’re wondering, he finished 2 tours of duty in Iraq with honor, and has since joined a private security contracting firm and is back in Baghdad under their banner.  He’s doing all right, is healthy and in one piece.)  Plus, we all know Huitzilopochtli has a special place in His heart for soldiers.

I strongly encourage you to stop by Circle Sanctuary’s Operation Circle Care page and check it out.  They welcome a wide varierty of forms of support for the troops, from money and goods to prayers and rituals.

Click to visit Circle Sanctuary’s Operation Circle Care page.