Rulership and war in teotihuacan

Transcription

1 Even though it was night, even though it was not day, even though there was no light they gathered, the gods convened there in. Rulership and war in teotihuacan THE TEMPLE OF THE FEATHERED SERPENT Place of the Gods 600 AD Urban Grid located in what was central Mexico, is one of the world's greatest archaeological sites. Between 100,000 and 250,000 people lived there at its peak around 600 AD, making it one of the ancient world's largest cities with an urban core covering some twenty square kilometers. Settlement began about 200 BC and the basic layout of the city was complete by the mid-second century AD. Most of the major construction was accomplished within the next hundred years. is a complex urban grid filled with single and multifloor apartment compounds. This grid, unique in Mesoamerica in its scale and organization, implies a high degree of social control. Presumably an elite group of nobles directed the building projects and coordinated trade and tribute relations with far-flung corners of Mesoamerica. The façade of the Temple Pyramid of the Feathered Serpent, in alternating motifs shows his head emerging through the feathered rim of a mirror and wearing a blocky headdress as a symbol of ruler ship, which combines the Feathered Serpent s associations of militarism, sacrifice, and authority. (Sugiyama 1992) Mask Temple Pyramid of the Feathered Serpent Photograph Garrett

2 s Murals Mural Fragment Representing a Priest Fresco Art Institute of Chicago s greatest art forms were architecture and mural paintings. Facades of pyramids and interiors of palaces, temples, and homes were frequently decorated with splendid frescoes. The fragment shown here was part of a cycle painted on the interior walls of an aristocratic palace. It shows a rain priest walking or dancing in profile and wearing an elaborate headdress and costume. His speechscroll, adorned with seashells and plants, indicates that he is praying for water and agricultural prosperity, which were highly valued in his society. To create the frescoes from which this fragment came, workmen in layered coats of ground lime or stucco over the palace s rough walls. The artist then mixed and applied pigments to the wall while it was still wet. The colors used were earth tones, such as hematite red and ochre, as well as greens, blues, and whites. Once the composition was painted or drawn and the painting almost dry, artists would burnish the entire surface with a stone until smooth. Processional Figure with Tassel Headdress Fresco Collection Rushton E. Patterson, Jr. s murals constitute a primary source for understanding the city's religion and social organization. Found throughout the city on the walls of apartment compounds such as Tetitla. In this mural, a priest prays for water and agricultural prosperity, as shown by the curling speech symbols with shells and flowers. Flowers and water are cast from one hand, while the other holds an incense bag. He wears the goggles that came to be associated with Tlaloc, the storm god. Masks Life size stone masks, a signature of, may have been attached to the bundled mummified remains of important deceased individuals, perhaps serving as oracles. This mask is made of shell, obsidian, and malachite mosaic. The tiny glyph on the forehead may record a name. Mask AD Stone, Shell, Obsidian and Turquoise

3 ART AND ARTIFACTS Rulership and War in : The Temple of the Feathered Serpent In the first century BCE Central Mexico saw the rise of the powerful culture of. The giant city of was the center of this culture, which would dominate the political history of ancient Mexico for the next 800 years. With an area of 30 square kilometers and a population of inhabitants was the largest city of the period and one of the largest cities in the world. The people of built monumental temples, streets, marketplaces and palaces and decorated them with splendid relief, murals and ground paintings. One of the most important temple was the Temple of the Feathered Serpent in the center of the city Originally painted in bright colors this temple was part of the ciudadela or citadel, a complex, which served as dwellings and administration buildings for the lords of. Temple of the Feathered Serpent (110 cm x 150 cm, oil and acrylic) Two warriors descend the steps of the Temple of the Feathered Serpent. The balustrade of the temple is decorated with heads of the Feathered Serpent, the symbol of rulership and fertility in. The serpent heads are breaking through water lily pads. Behind it, the stepped façade shows the plumed body of the Feathered Serpent winding its way through water, and in the water, shells. The goggleeyed head of the Turquoise Serpent, the symbol of war can also be seen. Originally the eyes of the serpent heads were inlaid with volcanic glass (obsidian), which reflected the sun s brilliance. Both warriors wear elaborate headdresses and jewelry of polished jade. The man to the left wears the tassel headdress, an emblem of the storm gods of often worn by warriors and ambassadors. His right arm is protected by cotton armor. He carries two spears and a spear thrower, the common offensive weaponry of. The man to the right wears a helmet in the shape of the Feathered Serpent. His shield is covered with parrot feathers. Mask Temple Pyramid of the Feathered Serpent Photograph Garrett Painting by Christiane Clados The Great Goddess is usually depicted frontally, with additional motifs pertaining to agricultural fertility. The Storm God is usually shown in profile and is identified by his distinctive facemask and the lightning bolt carried in his left hand. Animals, including coyotes, owls, and jaguars, are also prominent in the murals. The paintings were laid down quickly on thinly plastered walls. Red dominates the color scheme, although blues, yellows, and greens appear. The style is flat and linear, and the primary deities often appear in abbreviated versions.

4 ACTIVITIES Language Arts Technology Art The people of, like many ancient Americans, believed in a multiplicity of deities. Have your students investigate what some of these ancient deities were, what powers they had, and how they were depicted in the art and architecture of that time. Ancient American deities are similar to Greek and Roman gods and, like those from many other cultures, they provide inspiration for powerful images and wonderful stories. Discuss with your students the seemingly timeless appeal of these images and myths why they inspired following generations and continue to fascinate artists, writers, and moviemakers today. Art Language Arts After studying the image of the Mural Fragment Representing a Priest from the Art Institute of Chicago, ask students to use their imaginations and draw their own figure related to agriculture. How would this person be dressed? What shapes, symbols, and colors would they use in their drawing? A speech scroll may be included if they wish. Using clay, create a relief or fresco painting from your drawing using earth tones, such as hematite red and ochre, as well as greens, blues, and whites. Figure AD Museo Nacional de Antropologia TEXTBOOKS Unwrapping Ancient Mysteries Invitations to Literacy Level 6 Theme 3 Houghton Mifflin 2001 Discover Our Heritage The Ancient Americas Level 7 Chapter 6 Houghton Mifflin 2001 RESOURCES Art Institute of Chicago. Mexicanidad: Mexican Art from Ancient Times to the Present. Teacher Packet with Eight Slides. Chicago, Illinois Pastory, Esther. : An Experiment in Living. New York, New York: Thames and Hudson Arnold, Caroline. City of the Gods: Mexico s Ancient City of. Houghton Mifflin Mural Fragment Representing a Priest Fresco Art Institute of Chicago INTERNET LINKS Home Page Home Page o.html

5 New Tomb at Archaeology Magazine March 2, 1999 Angela M.H. Schuster exico/ Metropolitan Museum teot.html Terracotta Tripod Vessel AD Museo Nacional de Antropologia