The Pyramid of the Sun, or Pirámide del Sol, is the largest pyramid at Teotihuacan and was by far the largest building in the New World when it was completed in the 2nd century. It is thought to have taken over 100 years to construct and contains over 1.1million cubic-metres of adobe mud bricks at its core. Its scruffy exterior is the result protruding brickwork designed to support over 60,000 square-metres of stucco – which was once painted and decorated with murals. At its base, the Pyramid of the Sun measures 223.5m and its peak reaches 71.2 metres tall (you can see just about see people stood at the top in fig. W2-0006). Some deviations from its original form were caused by the aggressive archaeology carried out by Leopoldo Batres in the early 20th century – this most noticeably a resulted in a fifth layer being added close to the peak.
Its alignment at 15.25 north of true-east, which meant it faced the sunset on the 11th August and the 29th April (of the following year). There are 260 days separating these two sunsets, which equals the number of days in the Sacred-Calendar. The sun then continues north to the Tropic of Cancer and returns 105 days later, and
W1-0010: Aerial View, demonstrating the odd alignment of the Adosado platformit is possible that the Adosada Platform at the front of the Pyramid was designed to point at the solstitial event, because it is considerably skewed at an angle of around 21º north of east.
These sacred alignments and measurements are found not just within the Pyramid of the Sun, but also within its relationship with other structures. For example, during the 3rd century the Pyramid of the Moon measured 87.15m, which was approximately 40% the size of the Pyramid of the Sun. Between the 29th April and the 11th August there are 105 days, which is 40% of 260. So the Pyramid of the Sun represented the ritual calendar of 260 days and the sun’s slow death towards the winter solstice and its resurrection back to Teotihuacan, whilst the Pyramid of the Moon represented the sun’s transit north, to the summer solstice.
4,6785713 May, 2019
■●■SILKWOOD ART PRESENTS■●■ "IT'S EARLY GIFT BUYING TIME FOR SMART PEOPLE!
Turquoise is a sacred stone. It is called "Xiuhuitl," which translates as year, grass, or the turquoise stone. The word xihuitl can also mean fire, comet, the color red, preciousness, and soul or life. It is born beneath the earth, in a place called Tlalxicco, "The Place of the Earth's Navel," or "Xiuhtetzaqualco," the "Turquoise Enclosure," which is also the home of Xiuhtecuhtli, the Turquoise Lord, who is the father of the Teteo, the gods, and the lord of fire, time, and wisdom. The brilliant blue of turquoise, especially of Teoxihuitl, "divine turquoise," which is the most intense in color, is like the blue at the center of the hottest flame. The Tlatoani, or emperor, wore a crown and nose ring made of turquoise, which bring ro mind the power of fire and the authority of Xiuhtecuhtli, the father of the Teteo. The Xiuhcoatl, the Turquoise Serpent, is the spirit animal of Xiuhtecuhtli and the weapon of the sun, Huitzilopochtli, and symbolizes fire, heat, and time. The first photo shows a Mixtec shield of beautiful turquoise mosaic, while the second shows the Aztec or Central Mexicab glyph for Turquoise.
A mirror, 500 to 600 AD, from Michoacan, but in the style of Teotihuacan. This mirror is made with a jade jaguar inlayed onto a pyrite surface. The pyrite has eroded with time, but would have originally been reflective. Such mirrors were used for rituals of divination and ancestor worship. The jaguar connected the participant with the otherworldly qualities of the jaguar and its connection to the mountains, the night, and rye starry sky. #teotihuacan#ancientmexico#prehispanic
1,230419 June, 2019
🏺‘El Caracol’ at Chichén Itzá was used by the Mayans as an observation tower to study the stars and the sky. ⠀⠀⠀⠀⠀⠀⠀⠀
🔭 Even looks like it would be the perfect place for an ancient telescope, but the first known telescope wasn’t invented until a few hundred years after the Mayan reign at Chichén Itzá. ⠀⠀⠀⠀⠀⠀⠀⠀
🌌 I guess it’s only fitting that this shot, which happens to be one of my favorites, appears to show the clouds opening up from the tip of El Caracol to allow visitors (or Mayan ghosts of yesteryear 👻) to observe the sky.
63419 June, 2019
Pottery and ceramics are a cornerstone of the artwork in civilizations around the world. The primary material (clay) is relatively inexpensive, but the skill of the artist can be quite high, and the resulting artwork can survive for centuries, even millennia, in the right conditions.
Pottery-as-artwork can be seen throughout the Pre-Columbian Americas. The shapes and designs could serve a narrative purpose, reminding the viewer of a historical or legendary tale. Other times, they had a religious significance, reflecting the nature of a ritual in which they were used.
These snake vessels from Mexico may have been used in such a ritual. Serpents feature prominently in the Mayan religion, and the shedding of skin represented death and rebirth.
🎨Snake Vessels (Colima, Mexico, 200 BCE - 500 CE). Ceramic. Gift of Mr. and Mrs. Harold Kaye, 1959.119 (right). Bequest of Charles B. Cohn in memory of Stuart P. Anderson, 1985.80 (left). Both vessels on display in Gallery 422.
Este antiguo códice presenta a distintos instrumentos musicales prehispánicos, ¿a cuántos puedes identificar?
4118 June, 2019
Huehueteotl, el Dios Viejo, abuelo de los Teteo, que es el señor del fuego, el tiempo y el hogar. Se sienta en el centro del cosmos, y alrededor de él todo gira. Él es el antiguo señor del volcán, que tiene su trono en el corazón de la montaña. Aparece como un anciano, marchito con la edad, y con un brasero en la cabeza. El brasero está tallado con símbolos de fuego.
Huehueteotl, the Old Old God, grandfather of the Teteo, who is the lord of fire, time, and the hearth. He sits at the center of the cosmos, and about him all being spins. He is the old lord of the Volcano, who has his throne in the mountain's heart. He appears as an old man, wizened with age, and with a brazier atop his head. The brazier is carved with symbols of fire.
If you're coming to the #GanasdeExistir artist panel this Saturday, plan on staying for #Agua at 4pm. Martin Espino will present his soundwork composition, along with other works for electronic and ancient instrument combinations. Mr. Espino is a #Scholar , #MasterTeacher and #Composer of the instruments of Ancient Mexico.
“𝐅𝐥𝐨𝐫 𝐲 𝐑𝐢𝐜𝐚 𝐏𝐥𝐮𝐦𝐚”
* Diosa del Amor
* Diosa de la Belleza
* Diosa de los Artesanos
* Protectora de las Prostitutas
* Diosa de la Libertad Sexual
* Diosa de la Fertilidad
* Teteocan (celestial)
* Tamoanchan (terrestre)
Plumas, margaritas y azulejos.
* Tezcatlipoca (amante)
Culto transformado en la Virgen de Ocotlán.
* Goddess of love
* Goddess of beauty
* Goddess of the craftsmen
* Protectress of prostitutes
* Goddess of sexual freedom
* Goddess of fertility
* Teteocan (celestial)
* Tamoanchan (terrestrial)
Feathers, daisies and tiles.
* Tezcatlipoca (lover)
*Cult transformed into the Virgin of Ocotlán.
"Fleur et Riche Plume"
* Déesse de l'amour
* Déesse de la beauté
* Déesse des artisans
* Protectrice des prostituées
* Déesse de la liberté sexuelle
* Déesse de la fertilité
* Teteocan (céleste)
* Tamoanchan (terrestre)
Plumes, pâquerettes et tuiles.
* Tezcatlipoca (amant)
Culte transformé en la Vierge d'Ocotlán.
100211 June, 2019
Uxmal, Mexico 🇲🇽
76511 June, 2019
Ritual scarification is still practiced in parts of Africa and among the black peoples of the South Pacific. However, Olmec scarification marks are not of black origin from the South Pacific or Melanesian, as the patterns used on ancient Olmec sculptures are still common in some parts of Africa. This style of scarification tattoo is still used by the Nuba and other Sudanese African peoples. In fact, the face of a girl with keloid scarification on this face is identical to the same keloid tattoo on the face of an old Olmec terracotta head from ancient Mexico. Similar keloid tattoos also appear on the arms of some Sudanese and are similar to similar keloid scars on the arms of some clay figures of ancient Olmec terracotta figurines of the Negroid peoples of ancient Mexico. Bronze head of a former king of Benin Bronze head of a former king of Benin, West Africa, The tradition of fine sculpture in West Africa goes back well before the year 1000 BC. Afro-Olmec Collosal head of the warrior king Afro-Olmec (Xi), circa 1100 BC. Descendants of Ancient Africans in Recent America Today, in many parts of the Americas, there are still people of African descent racial origins who continue to exist, whether mixed with the largest African-American population or as part of distinct Aboriginal groups living on their own land, with their own culture and languages. An example of this type is the Washitaw Nation, which owned about a million square kilometers of the former Louisiana territories (see www.hotep.org), but now has only about 70,000 acres of its entire former territory. The recapture of their lands in the United States was a long process that was partially completed in 1991, when they obtained the right to own their land in a US court. The Black Californian became a country in the late 1800s, after many years of war with the Spanish invaders of the Southwest, with Mexico and with the United States. @paireauxshoes#Mood#Culture#civilization#olmec#Africa#America#Roots#Wood#people#Afro#Descendants#Sudanese#Benin#Bantou#Tradition#Sculptures#Scarification#Ritual#Tattoo#Identical#Men#Woman#Black#Usa#AncientMexico .
40010 June, 2019
Thank you to the beautiful Otomi people who built these beautiful temples. We walked 4 miles to these magical places (swipe for them). The Otomi people walked more than 20+ miles to get to their magical place. #begratefuleveryday#ancientmexico
48310 June, 2019
I don’t really like ‘replicas’ of anything but knowing how very few relics have been found of this era, I wouldn’t mind one of this Olmec Jaguar 🐆. Beautiful. Strong. Ancient.
So if any of my collector friends know someone.. 📞
Tlalxico significa, en el idioma Mexica (azteca) de náhuatl, "En el ombligo de la tierra", es decir, el Centro. Un "Cocijo" es un término Zapoteco, por el cual los días del Tonalamatl se dividen en cuatro cuartos, más un quinto, el Centro. Cada cuarto es un "Cocijo" (que también es el nombre de la deidad de la lluvia Zapoteca). Esta pintura, por lo tanto, describe el Centro, el Ombligo de la tierra, el Quinto Cocijo.
Un disco de rayas negras y grises está en la parte posterior de la pintura, que a su vez está rodeada por un disco punteado gris y negro. Las franjas negras y grises son una representación glífica del agua; representa los océanos, y el anillo exterior de color gris salpicado de negro son nubes. La diosa en la parte inferior de la pintura, que es Ciuhuacoatl, la Mujer Serpiente, la Tierra, debe ser imaginada como si estuviera en el centro de este disco; el disco debe imaginarse como acostado horizontalmente, con la diosa en su centro, y el árbol que crece desde su ombligo elevándose verticalmente hacia los cielos. Esta imagen, de la tierra rodeada de agua y nubes, y el árbol vertical, es una imagen de la visualización mexica de la tierra, porque la tierra se percibía como flotando en un mar oscuro, que se extendía a los horizontes y se plegaba. allí, fluyendo hacia el cielo, mientras un gran árbol en el centro, el Axis Mundi, sostiene los cielos en su lugar.
En la pintura, Cihuacoatl, la Tierra, lleva un casco de cráneo, y los huesos están pintados en su falda, porque ella es la muerte, la tierra hambrienta, que está esperando para comernos y que será nuestra tumba. El collar de papel cruzado que lleva, manchado de sangre, simboliza el sacrificio, porque se ha sacrificado por nosotros, sus hijos. De su ombligo crece un árbol de plumas, de cuyo tronco crecen preciosas plumas de quetzal, que simbolizan la sabiduría, el crecimiento, la vegetación y todas las cosas preciosas. Del mismo modo, dos grandes mazorcas crecen de su ombligo, porque el maíz es su regalo más precioso para los hombres. #aztecart#worldtree#artemexico#ancientmexico#arteespiritual#azteca#mexica#ometeotl#cihuacoatl