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The tonalamatl was structured around the sacred 260-day year, the tonalpohualli. This 260-day year consisted of 20 trecena of 13 days each. Each page of a tonalamatl represented one trecena, and was adorned with a painting of that trecena's reigning deity and decorated with the 13 day-signs and 13 other glyphs. These day-signs and glyphs were ...
The Tonalamatl was painted in the eastern part of the state of Tlaxcala, a region populated by Otomí speakers. [1] Its history during the 16th and 17th century is unknown, but according to the Library of Congress, [2] the Aubin Tonalamatl was part of a collection owned by Lorenzo Boturini Benaducci (1702-51) that was confiscated on his expulsion from New Spain in the mid-1740s.
As a typical calendar codex tonalamatl dealing with the sacred Aztec calendar – the tonalpohualli – it is placed in the Borgia Group. It is a divinatory almanac in 17 sections. Its elaboration is typically pre-Columbian: it is made on deerskin parchment folded accordion-style into 23 pages.
The first section is one of the most intricate surviving divinatory calendars (or tonalamatl). Each page represents one of the 20 trecena (or 13-day periods), in the tonalpohualli (or 260-day year). Most of the page is taken up with a painting of the ruling deity or deities, with the remainder taken up with the 13 day-signs of the trecena and ...
The Aztec sun stone and a depiction of its base. The Aztec or Mexica calendar is the calendrical system used by the Aztecs as well as other Pre-Columbian peoples of central Mexico.
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The second section, spanning pages 8 to 24, is a tonalamatl, describing the 260-day tonalpohualli calendar. The third section is a history, itself divided into two sections which differ stylistically.