By Elizabeth Baquedano
Tezcatlipoca: Trickster and ultimate Deity brings archaeological facts into the physique of scholarship on "the lord of the smoking mirror," the most vital Aztec deities. whereas iconographic and textual assets from sixteenth-century chroniclers and codices have contributed significantly to the certainty of Aztec non secular ideals and practices, individuals to this quantity show the various methods fabric facts expands on those conventional sources.
The interlocking complexities of Tezcatlipoca's nature, a number of roles, and metaphorical attributes illustrate the level to which his effect penetrated Aztec trust and social motion throughout all degrees of overdue Postclassic principal Mexican tradition. Tezcatlipoca examines the result of archaeological investigations—objects like obsidian mirrors, gold, bells, public stone monuments, or even a mosaic skull—and unearths new insights into the preferrred deity of the Aztec pantheon and his position in Aztec tradition
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Additional info for Tezcatlipoca: Trickster and Supreme Deity
The images of this section were later copied at the beginning of the Florentine Codex, although in this case its function was to indicate the chapter dedicated to all of the deities and its description. 1). First, there are two associated images, Painal and Huitzilopochtli, which breaks the verticality of the other three images and the corresponding text (also vertical). Second, next to the image of the third god, Tezcatlipoca, we clearly see the sketch of the head and body of the other deity that, when compared with the next page, can only be Quetzalcoatl (but it is difficult to discern the intention of writing any text).
Representations of Tezcatlipoca and his cult during the Epiclassic and Early Postclassic periods. A: stone relief at Chichén Itzá (modified after Olivier 2003, 289); B: stone relief at Tula (modified after Stocker 1992–93, 67); C: stone relief at Tula (redrawn from Gamboa Cabezas 2007, 46); D: rock painting at Ixtapantongo (modified after Villagra Caleti 1954). made such a big deal out of Quetzalcoatl and Tezcatlipoca among the Toltecs when the archaeological record only accords them modest presence at Tula and other Epiclassic–Early Postclassic sites.
1). 1. Folio 261r of the Primeros Memoriales by Sahagún and detail of the explanatory text (Sahagún 1993 [1559–61]). three deities appear depicted vertically in relation to the others with a description written to the left. The images of this section were later copied at the beginning of the Florentine Codex, although in this case its function was to indicate the chapter dedicated to all of the deities and its description. 1). First, there are two associated images, Painal and Huitzilopochtli, which breaks the verticality of the other three images and the corresponding text (also vertical).