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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 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 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 ...
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In the Florentine Codex, a set of eighteenth-century volumes which form one of the prime sources of information about the beliefs and history of Postclassic central Mexico, Tlālōcān is depicted as a realm of unending Springtime, with an abundance of green foliage and edible plants of the region.
Itztapaltotec is an obscure figure, known only from tonalamatl (calendars). Brief, confusing information about him is given in two related manuscripts, the Codex Telleriano-Remensis and the Codex Ríos (or Codex Vaticanus A).
Macuiltochtli (pronounced [makʷiɬtoːtʃtɬi], 'Five Rabbit'; from Classical Nahuatl: macuilli, 'five' + tochtli, 'rabbit') is one of the five deities from Aztec and other central Mexican pre-Columbian mythological traditions who, known collectively as the Ahuiateteo, symbolized excess, over-indulgence and the attendant punishments and consequences thereof.
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.