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Folios 94-104 were created with the traditional naturally-sourced color palettes of pre-European codices: red from the cochineal insect, yellow from tecoçahuitl stones and flowering plants, black from tree sap and charcoal, green from trees and native brush plants, blue from flowering herbs, and various more muted shades derived from crushing ...
Netotiliztli was also not associated with a particular location, and could be practiced in public in temples, or in private settings. [7] The dances could occur at any time, although celebrations often aligned with the agricultural season, as festivals and ceremonies marked the beginning of the agriculture season to ensure a plentiful harvest.
The red draft lines were never painted over. Some of the erasures the tlacuilo made are still evident. Angela Herren Rajagopalan, a scholar of pre-Columbian Mesoamerican art, believes that the tlacuilo worked all at once rather than folio-by-folio. [10] The red draft ink used in the codex is likely diluted cochineal extract or a clay-based ...
(Black Tezcatlipoca) [6] [7] Quetzalcōātl, god of the life, the light and wisdom, lord of the winds and the day, and the lord of the West. Quetzalcoatl is the old arch-nemesis of Tezcatlipoca. Sometimes, Quetzalcoatl was the ruler of the East like Xipe-Totec [citation missing].
The Aztec names of the Deities are known because their names are glossed in the Codex Telleriano-Remensis and Codex Tudela. Seler argued that the 9 lords each corresponded to one of the nine levels of the underworld and ruled the corresponding hour of the nighttime; this argument has not generally been accepted, since the evidence suggests that ...
Ichcahuipilli armor was a lightweight, multifunctional garment worn on the torso of the warrior, designed to provide blunt-force trauma protection against clubs and batons, slash protection from obsidian macuahuitl, and projectile protection from arrows and atlatl darts. [3]