Drawing from historical sources, iconography, and beliefs of modern Indians, Lopez Austin (philosophy and letters, Universidad Nacional Autonoma de Mexico) offers a new interpretation of the two mysterious places in the world vision of the Aztecs. Chapters on each of the two are supported with discussions of the relationships of the essences and making a model based on contemporary native concepts. The Spanish version was published in 1994 by Fondo de Cultura Economica, Mexico. Annotation copyrighted by Book News, Inc., Portland, OR
In Aztec Philosophy, James Maffie shows the Aztecs advanced a highly sophisticated and internally coherent systematic philosophy worthy of consideration alongside other philosophies from around the world. Bringing together the fields of comparative world philosophy and Mesoamerican studies, Maffie excavates the distinctly philosophical aspects of Aztec thought. Aztec Philosophy focuses on the ways Aztec metaphysics—the Aztecs’ understanding of the nature, structure and constitution of reality—underpinned Aztec thinking about wisdom, ethics, politics,\ and aesthetics, and served as a backdrop for Aztec religious practices as well as everyday activities such as weaving, farming, and warfare. Aztec metaphysicians conceived reality and cosmos as a grand, ongoing process of weaving—theirs was a world in motion. Drawing upon linguistic, ethnohistorical, archaeological, historical, and contemporary ethnographic evidence, Maffie argues that Aztec metaphysics maintained a processive, transformational, and non-hierarchical view of reality, time, and existence along with a pantheistic theology. Aztec Philosophy will be of great interest to Mesoamericanists, philosophers, religionists, folklorists, and Latin Americanists as well as students of indigenous philosophy, religion, and art of the Americas.
In August 1576, in the midst of an outbreak of the plague, the Spanish Franciscan friar Bernardino de Sahagún and twenty-two indigenous artists locked themselves inside the school of Santa Cruz de Tlaltelolco in Mexico City with a mission: to create nothing less than the first illustrated encyclopedia of the New World. Today this twelve-volume manuscript is preserved in the Biblioteca Medicea Laurenziana in Florence and is widely known as the Florentine Codex. A monumental achievement, the Florentine Codex is the single most important artistic and historical document for studying the peoples and cultures of pre-Hispanic and colonial Central Mexico. It reflects both indigenous and Spanish traditions of writing and painting, including parallel columns of text in Spanish and Nahuatl and more than two thousand watercolor illustrations prepared in European and Aztec pictorial styles. This volume reveals the complex meanings inherent in the selection of the pigments used in the manuscript, offering a fascinating look into a previously hidden symbolic language. Drawing on cuttingedge approaches in art history, anthropology, and the material sciences, the book sheds new light on one of the world’s great manuscripts—and on a pivotal moment in the early modern Americas.
Christian churches erected in Mexico during the early colonial era represented the triumph of European conquest and religious domination. Or did they? Building on recent research that questions the “cultural” conquest of Mesoamerica, Eleanor Wake shows that colonial Mexican churches also reflected the beliefs of the indigenous communities that built them. European authorities failed to recognize that the meaning of the edifices they so admired was being challenged: pre-Columbian iconography integrated into Christian imagery, altars oriented toward indigenous sacred landmarks, and carefully recycled masonry. In Framing the Sacred, Wake examines how the art and architecture of Mexico’s religious structures reveals the indigenous people’s own decisions regarding the conversion program and their accommodation of the Christian message. As Wake shows, native peoples selected aspects of the invading culture to secure their own culture’s survival. In focusing on anomalies present in indigenous art and their relationship to orthodox Christian iconography, she draws on a wide geographical sampling across various forms of Indian artistic expression, including religious sculpture and painting, innovative architectural detail, cartography, and devotional poetry. She also offers a detailed analysis of documented native ritual practices that—she argues—assist in the interpretation of the imagery. With more than 200 illustrations, including 24 in color, Framing the Sacred is the most extensive study to date of the indigenous aspects of these churches and fosters a more complete understanding of Christianity’s influence on Mexican peoples.
Cuernavaca, often called the “Mexican Paradise” or “Land of Eternal Spring,” has a deep, rich history. Few visitors to this modern resort city near Mexico City would guess from its Spanish architecture and landmarks that it was governed by its Tlalhuican residents until the early nineteenth century. Formerly called Cuauhnahuac, the city was renamed by the Spanish in the sixteenth century when Hernando Cortés built his stone palacio on its main square and thrust Cuernavaca into the colonial age. In Visions of Paradise, Robert Haskett presents a history of Cuernavaca, basing his account on an important body of late-seventeenth-century historical records known as primordial titles, written by still unknown members of the Native population. Until comparatively recently, these indigenous-language documents have been dismissed as “false” or “forged” land records. Haskett, however, uses these Nahuatl texts to present a colorful portrait of how the Tlalhuicas of Cuernavaca and its environs made intellectual sense of their place in the colonial scheme, conceived of their relationship to the sacred worlds of both their native religion and Christianity, and defined their own history. Surveying the local history of Cuernavaca from precontact observations by the Aztecs through postclassic times to the present, with a concentration on early colonial times, Haskett finds that the Native authors of the primordial titles crafted a celebratory history proclaiming themselves to be an enduringly autonomous, essentially unconquered people who triumphed over the rigors of the Spanish colonial system.
The Art of Urbanism explores how the royal courts of powerful Mesoamerican centers represented their kingdoms in architectural, iconographic, and cosmological terms. Through an investigation of the ecological contexts and environmental opportunities of urban centers, the contributors consider how ancient Mesoamerican cities defined themselves and reflected upon their physicalâe"and metaphysicalâe"place via their built environment. Themes in the volume include the ways in which a kingdomâe(tm)s public monuments were fashioned to reflect geographic space, patron gods, and mythology, and how the Olmec, Maya, Mexica, Zapotecs, and others sought to center their world through architectural monuments and public art. This collection of papers addresses how communities leveraged their environment and built upon their cultural and historical roots as well as the ways that the performance of calendrical rituals and other public events tied individuals and communities to both urban centers and hinterlands. Twenty-three scholars from archaeology, anthropology, art history, and religious studies contribute new data and new perspectives to the understanding of ancient Mesoamericansâe(tm) own view of their spectacular urban and ritual centers.
In Social Memory in Ancient and Colonial Mesoamerica, Amos Megged uncovers the missing links in Mesoamerican peoples' quest for their collective past. Analyzing ancient repositories of knowledge, as well as social and religious practices, he uncovers the unique procedures and formulas by which social memory was communicated and how it operated in Mesoamerica prior to the Spanish conquest. Megged's volume also suggests how social and cultural historians, ethnohistorians, and anthropologists can rethink indigenous representations of the past while taking into account the deep transformations in Mexican society during the colonial era.
Astrology is the practice of relating the heavenly bodies to lives and events on earth, and the tradition that has thus been generated. Many cultures worldwide have practised it in some form. In some it is rudimentary, in others complex. Culture and scholarship have categorised it as both belief and science, as a form of magic, divination or religious practice – but in many ways it defies easy categorisation. The chapters in this volume make a significant contribution to our understanding of astrology across a range of periods of cultures. Based on papers presented at the annual conference of the Sophia Centre held in 2012, the contributions range from China and Japan, through India, the ancient Near East, the classical world and early modern Europe, to Madagascar and Mesoamerica. The different topics include ritual and religion, magic and science, calendars and time, and questions of textual transmission and methodology. Astrology in Time and Place is essential reading for all interested in the history of humanity’s relationship with the cosmos.
Drawing from historical sources, iconography, and beliefs of modern Indians, Lopez Austin (philosophy and letters, Universidad Nacional Autonoma de Mexico) offers a new interpretation of the two mysterious places in the world vision of the Aztecs. Chapters on each of the two are supported with discussions of the relationships of the essences and making a model based on contemporary native concepts. The Spanish version was published in 1994 by Fondo de Cultura Economica, Mexico. Annotation copyrighted by Book News, Inc., Portland, OR
Xurt'an (the end of the world) showcases the rich storytelling traditions of the northern Lacandones of Naha' through a collection of traditional narratives, songs, and ritual speech. Formerly isolated in the dense, tropical rainforest of Chiapas, Mexico, the Lacandon Maya constitute one of the smallest language groups in the world. Although their language remains active and alive, their traditional culture was abandoned after the death of their religious and civic leader in 1996. Lacking the traditional contexts in which the culture was transmitted, the oral traditions are quickly being forgotten. This collection includes creation myths that describe the cycle of destruction and renewal of the world, the structure of the universe, the realms of the gods and their intercessions in the affairs of their mortals, and the journey of the souls after death. Other traditional stories are non-mythic and fictive accounts involving talking animals, supernatural beings, and malevolent beings that stalk and devour hapless victims. In addition to traditional narratives, Xurt'an presents many songs that are claimed to have been received from the Lord of Maize, magical charms that invoke the forces of the natural world, invocations to the gods to heal and protect, and work songs of Lacandon women, whose contribution to Lacandon culture has been hitherto overlooked by scholars. Women's songs offer a rare glimpse into the other half of Lacandon society and the arduous distaff work that sustained the religion. The compilation concludes with descriptions of rainbows, the Milky Way as "the white road of Our Lord," and an account of the solstices. Transcribed and translated by a foremost linguist of the northern Lacandon language, the literary traditions of the Lacandones are finally accessible to English readers. The result is a masterful and authoritative collection of oral literature that will both entertain and provoke, while vividly testifying to the power of Lacandon Maya aesthetic expression.
