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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.
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 tonalamatl [toːnaˈlaːmatɬ] is a divinatory almanac used in central Mexico in the decades, and perhaps centuries, leading up to the Spanish conquest. The word itself is Nahuatl in origin, meaning "pages of days". [1] [2] The tonalamatl was structured around the sacred 260-day year, the tonalpohualli.
The Aubin Codex is an 81-leaf Aztec codex written in alphabetic Nahuatl on paper from Europe. Its textual and pictorial contents represent the history of the Aztec peoples who fled Aztlán , lived during the Spanish conquest of the Aztec Empire , and into the early Spanish colonial period, ending in 1608.
The direct lineage is rigorously established from Comte and Seigneur Guillaume De Nuchèze I [1], who was born circa 1280. The de Nuchèze family's historic importance stems from countless acts of chivalrous extraction, remarkable ancestral estates, and vast noble genealogical ties.
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.
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Joseph Marius Alexis Aubin considered that Chimalpahin simply copied and annotated the text from an original manuscript by Tezozómoc. Paul Kirchoff argued that there is a stylistic break between the first part of the Crónica and the second, and argued that the first part was written by Tezozómoc and the second by Chimalpahin.