Tezcatlipoca: Trickster and Supreme Deity

Tezcatlipoca: Trickster and ultimate Deity brings archaeological proof into the physique of scholarship on “the lord of the smoking mirror,” probably the most vital Aztec deities. whereas iconographic and textual assets from sixteenth-century chroniclers and codices have contributed tremendously to the knowledge of Aztec non secular ideals and practices, individuals to this quantity reveal the various methods fabric facts expands on those conventional resources.

The interlocking complexities of Tezcatlipoca’s nature, a number of roles, and metaphorical attributes illustrate the level to which his impression penetrated Aztec trust and social motion throughout all degrees of overdue Postclassic crucial Mexican tradition. Tezcatlipoca examines the result of archaeological investigations—objects like obsidian mirrors, gold, bells, public stone monuments, or even a mosaic skull—and finds new insights into the ideally suited deity of the Aztec pantheon and his position in Aztec culture.

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G. , Durán 1994 [1581], 270). but when this can be real, why are the pictures donning characteristics Wicke associated with different deity names? The solution of seeming contradictions like those may possibly fluctuate from case to case. the 1st case, the Matlatzinca being, is a god from outdoors the Basin of Mexico that used to be most likely overseas to the Aztecs, and the second one case, that of the Tlatelolca god, comprises the god of a close to neighbor of the Tenochca that shared a virtually exact tradition. The resources at the Matlatzinco quarter are complicated and contradictory, so the game of the 1st instance is especially hypothetical and relies on José García Payón’s (1936, 193–95) reconciliation in his reconstruction of the background of the Aztec conquests there. Coltzin, the god of the Matlatzinca of the Valley of Toluca, was once the god of a participating lord who obtained specific privileges after his capitulation. Like different enemy T ezcatlipoca and H uitzilopochtli deities, Coltzin’s photo used to be delivered to Tenochtitlan, yet, not like so much of them, he used to be observed via his monks; and the previous ruler of Calixtlahuaca, Chimaltecuhtli, was once delivered to Tenochtitlan to stay for 4 years. He carried with him the sacred fireplace from Calixtlahuaca to the adoratorio of his humans in Tenochtitlan. it sounds as if, he used to be additionally allowed to provide a sacrificial sufferer to his god (Coltzin? ) in his new domestic (Chimalpahin Cuauhtlehuanitzin 1965, 107, 217; Durán 1994 [1581]). it's even attainable that the god and his retinue have been arrange of their personal barrio, Tlamatzinco, instead of with the opposite conquered deities within the prison-temple known as Coatlan. simply because Matlatzinca tradition was once possible very assorted from Tenochca-Nahua tradition and Coltzin used to be a god no longer formerly identified to the Tenochca (Sahagún 1950–82, ebook II: 171–72), it's attainable that he used to be referred to as Tlamatzincatl and reclassified in Tenochtitlan as “another Tezcatlipoca,”17 as Sahagún characterised him. Sahagún’s statement, I recommend, would possibly not suggest he was once defined as a model of Tezcatlipoca at domestic; really, it can suggest that during Tenochtitlan he was once reconceived as like Tezcatlipoca in being the excessive god of his polity. unlike the situation created by means of the lifestyles of a participating lord one of the Matlatzinca, the Tenochca warfare with the Tlatelolca used to be a real civil conflict among adjoining Mexica polities that had varied photos of Huitzilopochtli and nearly exact cultures in different respects. The battles fought among them have been very fierce, and upon defeat the Tlatelolca Huitzilopochtli used to be taken from his temple to Tenochtitlan, the place he was once either commemorated and humiliated via demotion (Umberger 2007b). I recommend that the Tlatelolcatl at the Tizoc Stone represents the Huitzilopochtli of Tlatelolco as defeated and demoted. however the query arises of what he had in universal with Painal, the Tenochca deity who likewise shared a few Huitzilopochtli’s features, equivalent to the starry sky masks. Sahagún (1950–82, booklet I: three) describes Painal as an imitator, consultant, and subordinate of Tenochca Huitzilopochtli whose swift events stirred up the airborne dirt and dust.

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