After wrapping up my little piece about Morning Star mythology in Pre-Columbian America, I turned back to re-creating Aztec codex pages from the calendar and my work on the Vulture trecena (13-day ‘week’), its patron being the god of the Evening Star. The detailed process of pixelating is fairly time-consuming and lends itself to much cogitation and curiosity about the deity at hand. But first some Maya stuff on the Evening Star.
Lady Evening Star of Yaxchilan
No surprise, but my internet search provided precious few hits for Maya Evening Star, the only one being for a Maya queen of Yaxchilan named Great Skull and known as Lady Evening Star. Here’s some fancy ancient royalty gossip: A princess from the formidable city-state Calakmul, she married the ruler of Yaxchilan, Itzamnaaj B’alam III (Shield Jaguar the Great), was the mother of Yaxun B’alam IV (Bird Jaguar) and ruled 742-751 CE until her son’s maturity.
Apart from being the title of a regal queen, other Maya concepts of the Evening Star, if there were any, have been lost to the fires of history. Unless they were carved in stone like this portrait of Lady Evening Star on Stela 35 from Yaxchilan. References on Venus, a hugely important theme in Maya astronomy and culture, rarely even mention the Evening Star, though the Maya well knew it was related to the Morning Star as another phase of that planet.
I have no doubt that the famous Dresden Codex probably discusses the Evening Star, but I can’t read through those boggling glyphs looking for mentions and have no idea what it was called in either the Yucatec or Quiché Maya languages. But I really wanted to find out something of the history and mythology of my Vulture trecena patron.
That’s why I went back to my program from the Getty Museum show of the Maya Codex of Mexico (the Grolier Codex), a Maya-Toltec document dating 1021-1154 CE, where in the fragmentary pages on the cycles of Venus, I’d found the Morning Star image that inspired my earlier blog. In fact, for the Evening Star phases, the Maya Codex contains three gruesome images that show a deity with a death’s-head/skull-face. The best preserved presents a deity holding up a victim/prisoner’s bleeding head, apparently having recently decapitated the poor fellow with a large flint knife in his other hand. The skull-faces no doubt mean that the Maya identified the Evening Star is an entity of the Underworld (Xibalba), which wasn’t necessarily a bad thing. They considered life and death a mystical continuum.
Evening Star, Codex Maya de Mexico
The Underworld connection could well belong to an original Maya notion of the Evening Star. In later traditions, it was considered the guide/companion of the sun on its nightly journey through the Underworld. The earlier Maya may well have had a similar myth for the bright star that followed the setting sun. I hesitate to speculate on the Maya meaning of the victim in this scene, but it bears witness to the long-standing tradition of human sacrifice in Mesoamerica. Natural phenomena (like the movement of the sun, the rain, etc.) always came at a price in human blood.
Though the Maya Codex shows the Morning and Evening phases of Venus as different types of figures (including a being with a mask suggestive of a storm-deity), they understood well that it was all the same planet. Maybe Chak Ek’ was actually the deity of Venus itself, making no distinction between its phases: 236 days as Morning Star, 90 days in superior conjunction (behind the Sun), 250 days as Evening Star, and 8 days in inferior conjunction (passing between Earth and Sun). That would explain finding no evidence of separate deities, but of course finding no evidence of something doesn’t prove the absence of that something.
Similarly, I’ve found nothing on what the Venus-phases meant to the culture of Teotihuacan, which certainly revered the planet as the god Quetzalcoatl. That central Mexican metropolis possibly also didn’t separately deify the Morning and Evening Stars. However, the Maya Codex indicates that by Toltec times the concepts of the two phases were diverging, at least in their visualizations. At some time in succeeding centuries, later Nahua cultures evidently completed the separation, generating the new deity Tlahuizcalpantecuhtli (Lord of the House of the Dawn) for the Morning Star and another called Xolotl for the Evening Star.
Oddly, they deified the dog as the Evening Star—literally the apotheosis of dog! In two of the surviving “Aztec” codices, the new god appears in strikingly similar poses vividly recalling the decapitation motif in the Maya Codex. The earlier Underworld connection of the Evening Star is suggested by the night-capes both of these Xolotls wear.
Two Xolotls with Victims, Codex Fejervary-Mayer l., Codex Vaticanus r.
Since so little is known about the Maya Evening Star, most authorities like to extrapolate the later mythology of Xolotl back into that period, but I wonder if such lore was in fact inherited. The Maya indeed revered the dog as a guide, companion, protector and bringer of light to darkness, which may have involved escorting the sun through the night. However, Xolotl’s role as psychopomp for souls through the Land of the Dead (Mictlan), eerily paralleling the Hellenic concept of Cerberus in Hades and the Egyptian god Anubis, may well be a later elaboration.
A specific Maya reference to the dog is four images on pp. 25, 26, 27 & 28 of the Dresden Codex shown in relation to rituals for celebrating new years, but I don’t know how that might fit into the ancestry of Xolotl. In any case, they underline the cultural importance of the dog.
Xolotl appears relatively often in the surviving codices, in all but one instance in the guise of a dog. In Codex Borgia the dog-god occurs three times in its typically ornamented style, one too damaged to make out any details. The figure on the left below appears in the “magical journey” sequence, and the central image is from a “heaven temple.” The Sun symbol on its back refers to escorting the Sun through the Underworld at night. Earlier in the codex, as patron of the day Earthquake, Xolotl appears uniquely as a deformed human—which is no doubt why scholars have called him the deity of monstrosities, including twins. (The twin theme obviously refers to the close relationship between the Evening and Morning Stars.)
Three Xolotls, Codex Borgia
In two other codices, Xolotl is depicted as a fairly naturalistic dog, unfortunately not naturalistic enough to discern its breed. In the Nahuatl language, “dog” is Itzcuintli, but that’s also a generic term. These images only indicate some sort of a shaggy dog, not at all like the hairless canine Xoloitzcuintli (named for the god) which has been designated the national dog of Mexico. These dogs also look nothing like the small chihuahua which was apparently raised for eating. The spiked collar on the left example I expect is an abstracted “night-sun” symbol, and the explicit anatomy of the central figure is hard to overlook.
Three Naturalistic Xolotls, Two (l.) from Codex Vaticanusand One (r.) from Codex Laud
Said to have come from the area of Veracruz, Codex Fejervary-Mayer conversely presents Xolotl as a full-fledged, anthropomorphic canine deity ensconced in an elegant temple. In addition, the codex contains several pages with this Xolotl in various aggressive postures, (including eating someone’s head!), which recall panels of Morning Star violence. In one, Tlahuizcalpantecuhtli mysteriously wears a dog’s head. These Codex F-M scenes may indicate a lingering conceptual overlap between the two phases of Venus in a distant conservative area of Mexico.
Two Xolotls, Codex Fejervary-Mayer
The scene on the right surely relates to the earlier images with victim, but here blood issues from his body like from a heart sacrifice. Another conservative aspect of Codex F-M iconography is that, except for the first one holding the victim and heart, its Xolotl dog-gods all have the same head—basically that of those anthropomorphic New-Year dogs in the Dresden Codex. Here we see examples of mythological evolution in action.
In codices with tonalamatls (books of the Aztec Calendar), Xolotl is celebrated as the patron of the Vulture trecena and formally consecrated as the god-dog, often enthroned.
Three Divine Xolotls, (l – r)Codices Borbonicus, Borgia and Vaticanus
Besides their masses of divine regalia, all three wear the conch-shell pendant (‘wind-jewel’) symbolizing their connection to Quetzalcoatl/Venus, but none is breed-specific. Curiously, the Vaticanus example is swaddled in a traditional corpse-bundle, perhaps a veiled reference to the Evening Star’s Underworld connection. Now that’s a trio of indisputably alpha dogs!
In its Vulture trecena patron panel, Codex Telleriano-Remensis, an early post-Conquest text painted on European paper, takes the dog to a yet higher level of glory, presenting a fantastic, iconic, metaphorical scene of Xolotl as the brilliant Evening Star with a gleaming Sun (Tonatiuh) setting into the gaping maw of Tlaltecuhtli, Lord of the Earth.
Evening Star with Setting Sun From Codex Telleriano-Remensis (re-creation)
Personally, as an opinionated artist, I think this eye-boggling panel is an absolute epitome of Aztec iconography. You’re welcome to your own opinion. Meanwhile, I’ll note that here Xolotl looks absurdly like a Pekinese, but that makes no difference to the spectacular metaphor.
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Unlike the myths of the Morning Star, it’s surprising that with the celebrity of Xolotl in Mesoamerica, the Evening Star cult didn’t spread into North America. However, the dog’s traditional loyalty, companionship, guidance and protection was generally appreciated by tribes across the whole continent, and sometimes it was included in rituals and ceremonies. I’ve only found a few legendary references from the Ojibwe and Pawnee (usually about wife or daughter of the Evening Star) and one from the Algonquin about an Osseo, Son of the Evening Star, but there’s no connection to a dog. It seems that Xolotl’s godhead was only valid in Mexico.
But that hasn’t mattered much. All across North America, dogs domesticated humans beings and became de facto gods in their own right, ruling their mortal owners’ Morning (days) and Evening (nights) and living (for the most part) idle lives of divine luxury. Their worshipful care consumes an enormous sector of the economy, I’d bet grossly larger even than that for religious institutions—an apotheosis without even needing an Evening Star mystique or human sacrifice.
The seventeenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Waterfor its first numbered day, which is coincidentally the 9th day of the veintena (20-day “month”). In Nahuatl, Water is Atl.It was known as Muluk (Water) in Yucatec Maya and Toj (Rain or “Thunderpain”) in Quiché Maya.
The Aztecs saw the day Water, typically shown as a container spilling water, as connected with the flow/passage through life and time as well as purification and the accumulation of resources and potentials. It’s associated anatomically with the back of the head/hair. The divine patron of the day is Xiuhtecuhtli, the Lord of Fire/Turquoise, who’s a patron of the Snake trecena.
PATRON DEITY RULING THE WATER TRECENA
Chalchiuhtotolin (see Icon #3), the Jade (or Jeweled) Turkey, is another nagual (manifestation) of Tezcatlipoca (see Lizard trecena). As the magnificent patron of his Jaguar Warriors of the Night and of military power and glory, it cleanses them of contamination, absolves them of guilt, and overcomes their fates. Appropriately it’s the patron of the day Flint, the sacrificial knife.
Though symbolic of sustenance and abundance, Chalchiuhtotolin is also associated with disease and pestilence, a creature of death and decay, regeneration and transformation. Chalchiuhtotolin is also linked to the earth’s fertility, agricultural cycles, and the natural order of life and death. Appeasing Chalchiuhtotolin was believed to ensure a smooth transition for the deceased into the afterlife and promote fertility and abundance in the earthly realm.
AUGURIES OF THE WATER TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
Trecena theme: Generative Vitality, Purification. This life-giving time frame has a generative “firewater” aspect to its energy, representative of the original creation forces that sparked life itself. There is a strong sense of abundance associated with these forces, but these energies can also be “electrical” in the sense that they can “spark” important events, often associated with stimulation and cleansing. Like water itself, this period holds the potential to create pathways that can shape or change the world. This trecena has also been associated with omens.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/ Look for the Muluk trecena.
THE 13 NUMBERED DAYS IN THE WATER TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with 1 Water, it continues the trecena with: 2 Dog, 3 Monkey, 4 Grass, 5 Reed, 6 Jaguar, 7 Eagle, 8 Vulture, 9 Earthquake, 10 Flint, 11 Rain, 12 Flower, and 13 Crocodile.
There’s one special day in the Water trecena:
One Water (in Nahuatl Ce Atl) –the day-name of Chalchiuhtlicue, the Jade Skirt, the patron of the Reed trecena. In the Florentine Codex, it’s noted as a feast day for those involved in the water industries, but I can only speculate what those were.
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
Aztec Calendar – Water trecena – Tonalamatl Balthazar
Yet again, I knew nothing about traditional images of the Jade Turkey and simply played with a Nuttall-style guy in a turkey-suit, the dominant green color reflecting the “jade.” Only many years later did I discover true details of this deity’s mythology—and the unusual type of turkey it references. The following patron panels will explain a lot of little-known turkey-trivia.
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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)
Aztec Calendar – Water trecena – Tonalamatl Borgia
Besides the “Jade Turkey,” Chalchiuhtotolin is also called the “Jeweled Turkey”—referring to Meleagris ocellata, an endangered species native to Yucatan, Belize, and Guatemala and named for “eyes” on its imposing fan of tail feathers. With stunning blue-to-purple-to-green plumage, this rara avis is a distant cry from the standard “Thanksgiving” turkey (Meleagris gallopavo).
Ocellated Turkey
Surely known personally to the Maya but likely only mythically in Mexico, this rare bird as patron of the Water trecena shows its ancient heritage. The peoples of Mexico found significant sustenance and abundance in its drabber but larger cousin, the Wild Turkey, ancestor of our even bigger domestic turkey. But they “idolized” a mythical jeweled fowl that could be called the “Turquoise Turkey” (Xiuhtotolin). Coincidentally and appropriately, that could also mean “Fire Turkey.” Since the bodies of ocellata were many shades of iridescent emerald-green, simply “Jade Turkey” is its best label.
The color palettes of codex artists included very few shades of blue which differed over time and area. The Maya had a famous blue of unknown source, and the Mexicans later achieved a generous blue like in Codex Borbonicus. In Codex Borgia, most intended blues have degraded into shades of grey (as have any hues of green into brownish-golds). Codex Laud and Codex Fejervary-Mayer use a dark greenish or slate tone for blues and/or greens, with other colors fairly vivid. In Vaticanus b (predominantly cochineal red and brownish gold), they managed some subdued blues and greens almost like highlights. But a true turquoise was way out of an artist’s reach, not to mention any shade of purple.
That made it essentially impossible to depict Chalchiuhtotolin in all its iridescence. The Jade Turkey mostly appears in codices with a red head and brownish feathers, like their common farmyard gobblers. But in Codex Borgia, the mythical bird has a stylized ocellated fantail (now become blacks and greys) and brownish-gold medallions for the glowing green on its breast.
I chose to color our divine bird naturalistically—i.e., just about as supernaturally as it gets, that turquoise head and purplish tail. I wonder about that suspicious ear on the back of its head. Turkeys don’t have ears like mammals. And what’s that big tassel-thing on its breast? Well, recently I learned about turkeys’ beards. When toms (and some hens) get on in years, they can grow a long spike of feathers straight out from their breasts. That ornament and a many-eyed fan makes a formidable fowl of military majesty, a great patron for the Jaguar Warriors of the Night.
Chalchiuhtotolin seriously dominates this patron panel, especially with all that stuff the deity is evidently exhaling. The upper curlicues we now know are grey smoke and orangish fire, which makes sense for a “Fire Turkey,” a fire-breathing warrior-bird, but the curly thing caught in the disembodied claw sure doesn’t. Hanging right there in the center of the panel, it must be primally important, maybe a hieroglyphic message or utterance by the deity. Or it may be simply an abstraction for the wide range of calls, cackles, and gobbles that turkeys make.
Meanwhile, the surreal item on the right invites more interpretation. No doubt, it involves two spotted serpent tails encircling a body of water. However, the snakes’ heads lift up between knobbed sides like spouts of water (with eyes and mouths!) and top off with big flowers. The motif of a snake containing a volume of water is also seen in ancient Maya iconography—and this is after all, the Water trecena. Gathering and containing water, the essence of accumulation, provides the Jade Turkey’s abundance. So, here there be water-serpents.
Which raises a neat linguistic point: At a recent lecture, I learned that in Aztec iconography many of the images are actually hieroglyphs, pictorially and/or phonetically significant. For instance, a pot or jug with water splashing out of it can be read as a word in Nahuatl. The first syllable of their word for pot/jug/jar is co-,and their word for ‘water’ is atl. So, co-atl spells ‘snake.’ This item is in fact a decorative and emphatic hieroglyph for ‘water-serpent.’
This page for the Water trecena I consider perhaps the most glorious in the Tonalamatl Borgia, not only for its intended colors but for its surrealism. Even without the appended material and fancy water-serpent glyph, this image of Chalchiuhtotolin is inarguably the apotheosis of the turkey. (Worshipping it is a whole lot kinder—and respectful—than cooking it for dinner.)
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
Aztec Calendar –Water trecena – Tonalamatl Yoal
This series of compiled trecena pages that I call Tonalamatl Yoal opts for a far less naturalistic image of an ocellata with the brown feathers and red head of the common gallopavo. However, there’s no clear reason for its yellow feet or the epaulets on its wings. The “jeweled” aspect of divine Chalchiuhtotolin is shown by the jade pendants on its plumage and probably the turquoise collar, but I can’t explain the apron of quetzal plumes that almost hides its jaguar-pelt “pants.” Those may indicate its nagual connection to Tezcatlipoca as does the variant smoking mirror in its headdress—a logical source of the flame and smoke seen before as the breath of the Borgia bird. Apart from the shape of the head, this heavily stylized portrayal of the deity doesn’t look much like a turkey, especially that tail, but it’s certainly an elegant fowl.
Instead of any water-serpent reference, on the right side is another figure of a human worshipper performing a ritual blood sacrifice like the guy in the Jaguar trecena. That one (with the same bound hairdo but no headdress) pierces his tongue with a pointed stick. This one jabs himself in the ear with a sharpened flowering shinbone—oddly emblematic of Quetzalcoatl, as are the two ornamental conch shells. The devout fellow also offers the deity a fancy incense bag.
Though it shares the stage here with a worshipper, Chalchiuhtotolin is clearly the sole patron of this Water trecena. As before with the tongue-piercer with Quetzalcoatl in the Jaguar trecena, this ear-stabber may merely indicate the preferred method of blood-sacrifice to the Jade Turkey. I haven’t studied the matter, but I suspect the Aztecs had prescribed rituals of phlebotomy for specific deities, including slicing other body-parts, flagellation, flaying, and eye-poking (like in the Flower trecena). It was obviously a great culture for masochists.
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for Water trecena
It’s no surprise that the turkey in the Tonalamatl Aubin patron panel can scarcely be called elegant. Looking more like a limp rubber chicken, it’s nevertheless supposed to be the divine Chalchiuhtotolin as shown by a half-hearted smoking mirror in its headdress. While the little guy pretends to stab his ear, three awkward conch shells seem to relate to familiar water-serpent symbols. Apparently, the Aubin artist(s) held Chalchiuhtotolin in only minimal awe.
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Codex Borbonicus patron panel for Water trecena
The Jade Turkey in the Codex Borbonicus patron panel, however, is rather awesome with an ornate smoking mirror and Tezcatlipoca’s beribboned circular pendant. Its anthropomorphic nature (a guy in a turkey suit) nicely justifies my own even more awesome interpretation in Tonalamatl Balthazar. In the crowd of ritual paraphernalia, I wonder about that central green pulque pot; is he drinking from it or vomiting into it? The little guy on the right of it with the colorful snake is again stabbing an ear and carrying an incense bag and a conch shell. The co-atl glyph in the lower right corner must refer to both the Water trecena and water-serpent, and fire and smoke issue from a burning temple. The cluster of symbols (including a familiar scorpion) might be elements of some hieroglyphic sentence.
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Codex Vaticanus patron panel for Water trecena
In Codex Vaticanus, the Jade Turkey distinctly reflects the Borgia image, some blue in the fantail with stylized “eyes, a geometrically abstracted wing, and a small beard on its breast. One gets the feeling that the artist probably intended to paint the white spaces in ocellata colors but didn’t get around to it. (I’m tempted to finish the job but have other fish to fry right now.)
The cluster of motifs above its head also reflects the Borgia image: plumes of smoke and fire and stylized water-serpent heads (without faces) capped with flowers. In this instance, the red “walls” of the waterspouts are evidently penitential thorns, explaining the knobbed structures in Borgia. Most interesting is the curly exhalation with stars attached grasped again in a disembodied claw; it suggests darkness or night, possibly explaining the enigmatic brown Borgia detail. The deity was sometimes called the “Precious Night Turkey”—maybe since Tezcatlipoca was the god of the night or for its patronage of the Jaguar Warriors of the Night.
This Vaticanus Chalchiuhtotolin is exceptional, both in stylized detail and in being the sole image in the patron panel. Displaying no specific emblem of Tezcatlipoca, this Jade Turkey seems (like the Borgia bird) to proclaim its independent divinity.
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I’m impressed by the virtuosity of the Vaticanus artist(s) in stylizing certain animals like the dog (discussed in the previous Vulture trecena) and this Jade Turkey. Elsewhere in the codex they have twice drawn turkeys in the context of their patronage of the day Flint, on pp. 29 and 93:
Two Turkeys, Codex Vaticanus
From different sections of the codex but in similar poses (and both sporting impressive beards), these two gobblers may well have been drawn by different artists in slightly different personal styles. The one on the left is clearly a common variety tom, but apart from the necessarily red head, the one on the right looks to be an authentic ocellata with the eyes on its fantail and more intricate plumage. Perhaps the magnificent trecena patron image was created by yet a third artist, someone more fluent in religious symbolism.
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.
The sixteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Vulturefor its first numbered day, which is coincidentally the 16th day of the veintena (20-day “month”). In Nahuatl, Vulture is Cozcacuauhtli.However, for the Maya, the day apparently had only a peripheral association with the vulture and was known as Kib’ (Wax or Candle) in Yucatec and Ajmac (Owl or “sinner”) in Quiché with different significance. Per Dr. Paquin’s fine book (cited below), the Maya saw Kib’ as connected with the four Bacabs (directions or sky-bearers) and associated it with incense, the “soul force” of the universe, and notably bees.
On the other hand, the Aztec saw the day Vulture connected with the spiritual realm, restoring order and balance, and prosperity. Folks born on a Vulture day would be vigorous, prudent, wise, and good teachers and advisors. Those born on One Vulture would be happy, wealthy, admired, and lucky in business. Anatomically, the day was connected with the right ear.
PATRON DEITY RULING THE VULTURE TRECENA
The patron of the trecena is Xolotl, the Evening Star, god of twins, often called the “Evil Twin” of Quetzalcoatl (by the goddess Chimalma, while other lore has them borne by Ometeotl, the Creative Pair). Still other lore says Xolotl and Tlahuizcalpantecuhtli (Morning Star) are the real twins, though the Morning Star is the more dangerous/evil, and what’s more they’re both naguals of Quetzalcoatl (Venus). Also, reflecting the Maya Hero Twins, Quetzalcoatl and Tezcatlipoca are supposedly the famous twins, which further obfuscates divine family trees.
Usually, twins were seen as monstrosities, one of the two often killed at birth, and so Xolotl is called the deity of monstrosities. Adding to his “evil” reputation, he’s considered the god of malice and treachery, representing the bestial side of people, the opposite of intellect.
Recalling the European three-headed dog Cerberus in Hades and the jackal/dog Anubis in ancient Egypt’s Duat, Xolotl is most often depicted as a dog—who serves as psychopomp of souls in Mictlan. In the same way, when the Cihuateteo have brought the sun to its setting, the dog-god escorts Tonatiuh on his nightly journey through the Underworld. The setting sun-god is called Tlalchi-Tonatiuh, Sun close to (or under) the Earth, and is occasionally thought of as an ephemeral “patron” of the Vulture trecena.
AUGURIES OF THE VULTURE TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
Trecena theme: Mischief, Duality, Transformation. With the patron deities of this trecena both representing of the close proximity of the sun to the earth, it is not unusual to see some tendency towards “fire in the earth” during this period. These energies seem to underscore the dualistic nature of this trecena, metaphorically suggestive of the sun’s journey through the underworld, and its struggle towards rebirth. This can precipitate havoc, often of an intense or fiery nature, often involving some form of duality. However, the ultimate purpose is often transmutation, a push towards the birth of something new, as suggested by the initiating energy of Kib’, the Vulture energy that is ultimately oriented towards a restoration of order.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/ Look for the Kib’ trecena.
THE 13 NUMBERED DAYS IN THE VULTURE TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 16th day of the veintena, 1 Vulture, it continues: 2 Earthquake, 3 Flint, 4 Rain, 5 Flower, 6 Crocodile, 7 Wind, 8 House, 9 Lizard, 10 Snake, 11 Death, 12 Deer, and 13 Rabbit.
There are two special days in the Vulture trecena:
Four Rain (in Nahuatl Nahui Quiahuitl) – Featured on the Stone of the Suns, this is the day-name of the idyllic Third Sun/Era ruled by the Storm God Tlaloc. However, when Tezcatlipoca abducted his wife Xochiquetzal, the angry deity destroyed the world in a rain of fire (probably a volcano). Its people became butterflies, dogs, or birds—some say turkeys.
Five Flower (in Nahuatl Macuil Xochitl) is patron of games (particularly patolli) and gambling, music and singing, who brings and cures hemorrhoids and venereal diseases. He’s one of the five Ahuiateteo (Gods of pleasure and excess thereof). So far we’ve seen Five Lizard, Five Vulture, and Five Rabbit, and we’ll meet Five Grass in the last trecena, Rabbit. They are sometimes also called the Macuiltonaleque (Lords of Number 5) who escort the sun (Tonatiuh) across the day-sky and deliver him to the five Cihuateteo to prepare him for sunset, whereupon Xolotl takes him through the Underworld night.
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
In those dark ages of the early 90s, my information on most Aztec deities was severely limited. I’d read about Xolotl being the Evening Star and god of monstrosities but had no clue about his canine or solar characteristics. Reacting solely to a comment about his “reversed hands and feet” (but unaware that iconographically a great many divine hands and feet got reversed), I once again gathered regalia and motifs from Codex Nuttall, without realizing its appropriateness made up a wicked kind of Tlaloc mask, and to ice the cake, gave my Xolotl a hunched back. Though terribly inaccurate in detail, the result was sufficiently monstrous for its purpose. In fact, you’ll see shortly that it’s rather nicer than a disturbing authentic image of Xolotl Deformed.
The Vulture trecena panel in Codex Borgia is a great piece of positive PR for Xolotl showing an almost cuddly puppy-dog (major fangs and jaguar claws notwithstanding). It avoids implying any sinister aspect, except perhaps the bloody teardrop. Meanwhile, his nagual-connection to Quetzalcoatl is stressed by that god’s emblematic conch-shell pendant (wind-jewel).
Xolotl is obviously the sole patron in this panel, the other items being simply ritual details. The Earthquake day-sign by his foot indicates his patronage of that day, and the four dots specify the day-name of the current Fifth Sun. The deer-leg in the bowl above is a frequent offering to deities, but I can’t even guess what the bag of plumes might mean. The chopped-up snake we now know as a common symbol of sacrifice. Overall, the panel makes a pretty poster.
However, Codex Borgia doesn’t always issue pretty propaganda for Xolotl. Other pages may well have been drawn by different artists—like the panel depicting Xolotl as patron of the day Earthquake. Rather than as a dog, it shows him as a deformed monstrosity:
Xolotl Deformed, Codex Borgia
Here the bloody teardrop has become a drooping eyeball which a dubious legend ascribes to his “crying his eyes out” when at the creation of the Fifth Sun, Ehecatl supposedly massacred various gods. I frankly can’t accept that wild story, nor the claim that Xolotl was also murdered by the Wind God and turned into an axolotl (a “water-dog” salamander). After all, who would now lead Tonatiuh through the Underworld at night (or souls through Mictlan)?
There’s a lot of confused lore about Xolotl, often cited by Spanish priests/ethnographers for nefarious reasons, including a claim that he helped Quetzalcoatl bring the bones of people from the Fourth Sun up from Mictlan to create the people of the Fifth Sun. In much more likely fact, it’s actually Ehecatl who made that arrangement with Mictlancihuatl, the Lady of Mictlan. As well, being the Breath of Life, Ehecatl is an extremely unlikely mass murderer. Conversely, Spanish writers tried to whitewash Quetzalcoatl as being opposed to human sacrifice—in order to use him in their catechism as a Christ-figure.
By the way, the drooping eyeball might symbolize an Underworld connection. It’s emblematic of the Cihuateteo and shown in Borgia Plate 42 on several figures being “generated” by a death-deity. The hand across Xolotl’s lower face is essentially an emblem of the Ahuiateteo, and these two details may intend his connection with those other escorts of Tonatiuh.
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
Aztec Calendar –Vulture trecena – Tonalamatl Yoal
Talk about pretty posters! I think this Tonalamatl Yoal patron panel takes the cake, so to speak. In Yoal’s colorful, fancy style, a super-ornate Xolotl (nothing at all sinister here) is paired with an equally ornate Tlalchi-Tonatiuh as the sun sinking into the gaping maw of Tlaltecuhtli, Lord of the Earth. It’s a stunning image of the Evening Star at the ephemeral moment of sunset, epitomizing the myth of Xolotl as the sun’s companion through the night.
In this regard, let me opine that the artist(s) of Tonalamatl Yoal had splendid artistic concepts for their trecena patron pairs—which were unfortunately isolated on separate pages—but frankly they lacked the technical expertise to fully achieve those concepts. That’s why I felt justified in “re-creating” their images—to make them more of what the original artist(s) must have had in mind. Their original sketchy, careless images simply couldn’t convey the art of their vision.
I hesitate to comment more on this panel but must. You will note that in Yoal’s fashion, the figure of Xolotl is heavily loaded with divine regalia, naturally including several items associated with Quetzalcoatl. Curious is the inclusion in his headdress of a bunch of unspun cotton and a spindle of spun thread, generally emblems of the goddess Tlazolteotl. But even more curious is the fact that Xolotl’s canine head looks very like a Pekinese, another cuddly puppy.
This gorgeous image of Tlalchi-Tonatiuh wears a Tlaloc-like mask with a goggle-eye but remarkably has no traditional fangs. Though Codex Rios annotated this figure (in Italian) as “Tlachitonalie,” I didn’t know what that meant, and several years ago I took this to be the God of Rain Quiahuitl to use for my Icon #15. Now I understand that it’s in fact the setting sun, and the rain-mask is probably connected with the sun’s watery route through Mictlan (where nine rivers must be crossed). Live and learn. However, I’ve yet to learn what that strange item is protruding from his mouth with all the shell ornaments. No clue…
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for Vulture trecena
Forget cuddly puppies in the Tonalamatl Aubin panel. Here Xolotl is so clumsily (one might say monstrously) drawn that he scarcely even resembles a dog. At least the three crosses on his regalia, the wind-jewel pendant, and the bow in his headdress connect him to Quetzalcoatl. Meanwhile, the little Tlalchi-Tonatiuh on the left with a full Tlaloc face wears a “night-sun” symbol and sinks into the merely schematic mouth of Tlaltecuhtli. The unusual border of flowing water may well be one of the rivers of Mictlan.
So far, so un-impressive. However, I’m struck by the free-floating items. The little bundle of sticks with a carrying strap is rather innocuous and uninteresting, but the chili pepper is quite emphatic. This is the first time I’ve seen one depicted in the codices, and other culinary ingredients are usually shown all together in a bowl or pot. This chili probably has some ritual significance. Maybe the inherent penance of eating something so hot?
This panel is perhaps the most disappointing in the whole troubling Aubin series. But that’s just me with my modern refined aesthetic. This Tonalamatl was painted in the state of Tlaxcala, and maybe the Tlaxcalans back then found it hugely beautiful. Eye of the beholder and all that…
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Codex Borbonicus patron panel for Vulture trecena
The sunset theme is repeated in Codex Borbonicus, also with a Mictlan-river border, which like in Aubin is unique in its series of trecena patron panels. This Tlalchi-Tonatiuh with a bestial head and unknown something protruding from its mouth resembles Tlaloc or Quiahuitl only in the goggle eye. An exquisite “night-sun” symbol replaces its body as it sinks into the maw of an ornate Tlaltecuhtli. Paired with an ornamented Xolotl as a cute dog (Chihuahua?), this panel is a great metaphorical sunset with Evening Star, but I feel the Yoal panel outshines it vastly.
The conglom of ritual items is familiar: a deer-leg offering (as in Borgia and Aubin) and a wrapped bundle of sticks (as in Aubin). Occurring twice now, the latter must surely mean something divinatory. I’m amused by the impertinent snake in the incense bag—and struck by another penitential chili pepper! This intricate panel is perhaps the clearest example of iconographic connections between Tonalamatl Aubin and Codex Borbonicus.
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Codex Vaticanus patron panel for Vulture trecena
As often noted before, iconographic connections between Codex Borgia and Codex Vaticanus are obvious in the Vulture trecena panel, portraying basically the same motifs in their individual styles. This Vaticanus Xolotl isn’t quite as cuddly as the Borgia version, but it’s elegantly adorned (with another emblematic wind-jewel). Its body being wrapped in a corpse bundle might lead one to think the Vaticanus artist simply got hooked on this simplistic device (after four other panels with the motif), but I believe it was used here with reason. Like in Borgia, there’s no reference to Tlalchi-Tonatiuh, and the corpse bundle establishes Xolotl’s important connection to the Underworld. I’ve taken the liberty of seriously restoring and rectifying this panel because it’s such a striking image of a mythical dog—worthy of a tattoo.
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I’m still staggered by the jewel-like Yoal sunset scene with Xolotl as the Evening Star, but after this review of the Vulture trecena patron panels, I can’t help but conclude that the dog-god has been mythologically maligned. I’ve seen nothing to indicate malice, treachery, or even mischief. Though he might represent the animal and anti-intellectual aspects of nature, I expect that his monstrous reputation rests in that one Borgia image as patron of the day Earthquake. In the parallel day-panel in Vaticanus, he’s an almost naturalistic, enthusiastic hound:
Xolotl, Codex Vaticanus
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.
Significantly, in the Aztec calendar March 6, 2024, was the day Ome Acatl (Two Reed) and my 115th birthday in that ceremonial cycle of 260-day years. In our western calendar, I’ve recently celebrated my 81st birthday, wrapping up nine cycles of nine Gregorian years and starting in on my tenth cycle. The nine include a first inchoate period of childhood and eight discrete personas. For lack of a better description, I’m calling this new ninth persona the venerable iconographer, researcher, and/or historical theorist. We’ll just have to wait and see how that pans out.
Here’s an illustrated summary of my nine cycles for easy reference.
Cowboy at 3 or 4
Inchoate Childhood in almost rural Indiana (9 years)—Little can be said about Dickie except that he was the bright but spoiled son of Yvonne and Ray. You can read about him between the lines of my memoir-biography “Ms. Yvonne, the Secret Life of My Mother.”
Class Picture at 15
Cute, clueless kid in the backwoods of Arkansas (9 years)—At 15 with a stylish flattop hairdo, Richard was an outstanding student, accomplished loner, and an avid rock’n’roll dancer, usually solo. He had the misfortune of being raised Catholic and being futilely in love with Annette Funicello. You can read about my adolescent traumas in my semi-fictional novel “Bat in a Whirlwind.”
At 21 in the House of the Rising Sun
Wild faerie slut in New Orleans’ French Quarter (5 years)—Shown here in 1963 in his apartment at 387 Audubon Street, Rick had just turned 21, was majoring in Russian at Tulane University, spent nights dancing in Latin and Greek sailor bars, and had urges to art and literature. In this photo he’s stunned by frenzied sex with a football-player named Tom. Such sordid adventures are described in my second semi-fictional novel “Divine Debauch.”
Early 1968 with Aimee
Reluctant father and Slavic scholar in northern universities (6 years)—Richie is pictured here in early 1968 at 25 with younger daughter Aimée in apartment on East Kingsley in Ann Arbor MI. On my marriage to Barbara and birth of older daughter Jacqueline, read my first real memoir “There Was a Ship.”
Single again in 1970 in Milwaukee
Hippie poet, footloose and feckless (2 years)—Photographed in December 1970 at 28 in his Bellevue apartment in Milwaukee by his mother on a visit, Richie was again stunned, first by the welcome shock of being divorced and second, by a passionate affair with a ballet dancer named Kenny. These two years of that and other love affairs are detailed in my second memoir “Lord Wind.”
In 1978 at Logan Circle
Courtesan in a Victorian mansion at Logan Circle in Washington DC (9 years)—Shown in 1978 at 36 in publicity photo for performance of his translation of Tchaikovsky’s opera “Joan of Arc” by the Canadian Opera Company in Toronto, Richard was now a professional arts administrator with OPERA America. My libidinous lifestyle in the 70s, DC’s golden age of gay liberation, is celebrated in my third memoir “Gay Geisha.”
At Gay Freedom Parade in Denver
Mature gay gentleman working in various glamorous cities (16 years)—Taken in 1982 when Richard was 40 at the Denver Gay Freedom Parade in a Denver Post front-page picture—with his partner Ernesto. He’d been working for the Central City Opera House and later would work in other arts organizations. Recent exposure to ancient American earthworks eventually led to my first nonfiction book in 1992, “Remember Native America!” Discovery of the Aztec Calendar in the late 80s led to my second in 1993: “Celebrate Native America!”
In 2006 with Baby Jade Tree
Grandfatherly gay character, the Used Plant Man of Santa Fe (16 years)—Taken in 2006 at 64 for an article in The New Mexican on Babylon Gardens, Richard had now become a grandfather four times over. I’d also written another nonfiction book, “Getting Get,” was still an avid disco dancer, gave shows of my sculpture (found-object assemblage), and was working on the above novels and memoirs.
Widely unknown elder writer and artist (10 years)—Pictured here in 2020 at the age of 78 in New Orleans for a new production of “Joan of Arc” (by the New Orleans Opera), Richard was retired from business and now spent his time in (Aztec) drawing and finishing the above novels and memoirs. In the later 20-teens, my show YE GODS! (Icons of Aztec Deities) enjoyed seven venues across NM before being closed down by the pandemic. It also hampered my ecstatic dance activities, but the solitude facilitated my blogging and artwork on Aztec themes.
The fifteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Housefor its first numbered day, which is the 3rd day of the veintena (20-day “month”). In Nahuatl, House is Calli, and it’s known as Ak’b’al in Yucatec Maya and Ak’ab’al in Quiché.
My early research told me that for the Aztecs, the day House represents nobility and intelligence. Its sign is a stylized house (calli) or temple (teocalli); educational centers were a telpochcalli, and priests were trained in the calmecac. My great Maya advisor, Dr. Paquin, tells me that they considered Ak’b’al to represent a sanctuary or place of retreat, a place for contemplation, study, and creative exploration. She adds that the day also represents the night and darkness, i.e., the magical nocturnal realm. How much of that made it into Aztec symbology, one wonders, but they associated the day House anatomically with the right eye. The patron of the day is the Heart of the Mountain, Tepeyollotl (See Icon #17), god of caves (speaking of sanctuary/retreat), who appeared in the Deer trecena as Jaguar of the Night, another rather appropriate detail.
PATRON DEITY RULING THE HOUSE TRECENA
The ruler of the House trecena is the frankly frightening Itzpapalotl (the Obsidian Butterfly), the ancestral goddess of the stars (Milky Way), lady of mystery and death—but perversely, also of beauty and fertility. (See Icon #8.) Patron of the day Cozcacuauhtli (Vulture), she’s a fearsome warrior who rules over the paradise of Tamoanchan for victims of infant mortality. She may be the mother of Mixcoatl, the Cloud Serpent, and is a patron of the dire sisterhood of Cihuateteo (Divine Women), warrior spirits of women who die in childbirth. She’s patron and leader of the Tzitzimime, star demons that come down and devour people during solar eclipses. Like them, Itzpapalotl can be depicted with a skull-face and butterfly or eagle wings, but she can also be a beautiful woman. Below, we’ll see her in all those aspects—and as a surreal nightmare!
AUGURIES OF HOUSE TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
The theme of the House trecena is Darkness, Mystery, Trauma, and Challenge. Overseen by a deity who appears to represent the struggles of the soul as it strives to overcome the traumas and tribulations of life, this trecena often places emphasis on events and issues that have significant moral and ethical implications for humanity. Personal sacrifices and “warrior” instincts may be needed to navigate through the challenges of the earthly realm. This is a good period for reflection, assessment, and soul-searching in order to find new ways to move through the darkness and into the light.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/ Look for the Ak’b’al trecena.
THE 13 NUMBERED DAYS IN THE HOUSE TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 3rd day of the current veintena, 1 House, it continues: 2 Lizard, 3 Snake, 4 Death, 5 Deer, 6 Rabbit, 7 Water, 8 Dog, 9 Monkey, 10 Grass, 11 Reed, 12 Jaguar, and 13 Eagle.
There’s one special day in the House trecena:
One House (in Nahuatl Ce Calli)—Day-name of one of the five main Cihuateteo (Divine Women), spirits of women who die in childbirth. Except for One Eagle (Ce Cuauhtli), we’ve seen all the others in their respective trecenas: One Deer (Ce Mazatl), One Monkey (Ce Ozomatli), and One Rain (Ce Quiahuitl). The picture below shows a Cihuateotl, One Deer, seen in two codices with clearly very orthodox iconography. They mainly differ in which way the snakes hang from their arms and the patterns on their skirts. The bloody teardrops are emblematic of the Cihuateteo as spirits of the Underworld (Mictlan).
A Cihuateotl: Codex Borgia (l.), Codex Vaticanus (r.)
Somewhere I read that One House may be the day-name of Itzpapalotl herself, so that could in truth be a cameo appearance of the goddess in the Flower trecena as a seductive woman. Meanwhile, Tlazolteotl is sometimes called a Cihuateotl, but I’d bet as the celebrity mother-goddess, she’s probably another patron of the five Divine Women.
Lore has it that especially on their name-day nights, the Cihuateteo lurk at crossroads to seduce and murder men or to capture young children—so they can become mothers. Although honored as fallen warriors, they’re sometimes shown with skeletal faces and clawed feet and hands, goddesses of the twilight. Their supernatural chore is to conduct the sun into the underworld at the end of the day—then go out and haunt the crossroads like bogey-mamas.
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
Aztec Calendar – House trecena – Tonalamatl Balthazar
After trying my best to be authentic in portraying the first fourteen trecena patrons, I indulged in a bit of imagination in this representation of Itzpapalotl, modelled on the Codex Borbonicus image (See below). However, fascinated by her “butterfly” persona, I replaced her Borbonicus bird-wings with those of a tropical butterfly called Armandia Lidderdalei. Please forgive my artistic license. Meanwhile, I cued to her claws in the Borbonicus panel (for which she’s called “the Clawed Butterfly”), though confusing jaguar claws and eagle talons. Noting a reference to her “skeletal face,” I gave her one not unlike that in the following Borgia image.
The result is probably the most gruesomely gorgeous deity I’ve ever drawn. By the way, that’s a sacrificial knife she holds in her left hand/claw. I adapted this image for my coloring-book series Ye Gods! Icons of Aztec Deities (2017-2020), and it was the big hit of the show. In fact, an arts-for-youth group used the black-and-white image as a “cartoon” for their huge rainbow-winged mural of the goddess that can still be seen from the highway. I greatly appreciate the anonymous recognition and welcome anyone’s use of my artwork however they like.
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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)
Aztec Calendar – House trecena – Tonalamatl Borgia
Compared to my Itzpapalotl, this one in Tonalamatl Borgia is merely pretty ghastly, just enough for the leader of the Star Demons (Tzitzimime, singular Tzitzimitl). In the following image I drew from the Post-Conquest Codex Tudela, they look fairly grisly, like a Mesoamerican Medusa.
A Tzitzimitl, Star Demon
Honestly, I can think of little else to say about this ghastly Itzpapalotl. The central motifs embody her message of mystery and darkness: her temple of night/stars, an overthrown throne and dead guy, and a fellow blindfolded for some reason. (Sometimes a blindfold indicates weeping—but then why’s he crying?) On the other hand, the tree with a monster-head for roots is an ancient symbol that occurs often in codices, also bleeding, sometimes chopped/wounded by a deity. The motif is inherited from Maya iconography where a crocodile (caiman) head represents the Earth Monster, out of which grows the Tree of Life. The bleeding, monster-rooted tree also appears with Itzpapalotl in her day-Vulture patron panels both in Borgia and Vaticanus.
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
Aztec Calendar – House trecena – Tonalamatl Yoal
In both the Telleriano-Remensis and Rios versions, the intricate figure of Itzpapalotl includes her eponymous butterfly, though stylized within an inch of its insect life as a clawed bug with an outrageously unreal head (triple fangs and star-studded antennae!). For my Tonalamatl Yoal, I gave it the elongated and segmented abdomen added in the Rios copy reflecting a simple arc in Telleriano-Remensis, and I made it blue to suggest a psychedelic dragonfly. If you’re going to hallucinate, you might as well go all the way.
As far as claws go, notice that these are distinctly avian as opposed to the jaguar type in Borgia. Relying on her exuberant accessories in Telleriano-Remensis, I merely replaced some shapeless golden baubles on her unusual furry anklets and wristlets with symbolic stars and gave her a skirt, blouse and mantle in an appropriate night pattern borrowed from Borgia’s temple. Maybe we could also call her Itztlicue (Obsidian Skirt).
While the green plumes are standard ceremonial quetzal feathers, the brown ones in headdress and bustle would seem to be those of the Vulture, the day of which she’s the patron. In the course of re-positioning the goddess’s arms, I emphasized her reputedly alluring femininity by exposing her breast in an iconographically acceptable way, but that doesn’t do very much to beautify her sardonic, toothy grin. Overall, Itzpapalotl is one scary mother of mystery and darkness, an impressive Cihuateotl or Tzitzimitl.
Rather than a monster-head, this bleeding tree has a mass of normal roots and so maybe doesn’t refer to the ancestral Maya theme. Its luxurious display of many kinds of stylized fruit and flowers is in no way botanically realistic but tells us this is still a Tree of Life. Its divinatory purport is unclear (mysterious), and why the pretty thing been chopped in half is still unknown (another mystery). Thus it’s a fitting patron-companion for Itzpapalotl.
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for House trecena
The panel in Tonalamatl Aubin leaves no doubt that the central blooming, fruited Tree of Life (again chopped in half) is some kind of a secondary patron of the House trecena. This one is bigger than Itzpapalotl, who’s relatively plain, except for many vulture feathers and bird-claws. In Aubin’s typical awkward stylization, I’d be hard-pressed to call her an attractive woman. Her lack of divine ornamentation suggests to me that the artist was way more concerned symbolically with the Tree and other divinatory clues in the trecena panel.
In terms of clues, I’m genuinely puzzled by the white thing she holds, possibly a conch shell, but the wrong shape and of inscrutable significance. The inverted pot of water and snake-head censer are common motifs, but that strange blue bar with bows in the dead center is a profound mystery. Another such bar is held by Chalchiuhtlicue in the Yoal Reed trecena, where I figured it was a blade of some sort. Maybe this one is too, considering the beheaded sacrificial bird…
And considering the decapitated human figure on the left, which must certainly be important for the auguries of this trecena. With the blindfolded head floating above, it easily reflects the impending fate of that blindfolded figure in Borgia. The detail of two serpents “bleeding” out of the guy’s severed neck is particularly striking because I’ve only seen it elsewhere in that famous huge (8.3 ft.) statue of Coatlicue, the Snake Skirt, sometimes reputed to be mother of the gods and mortals. I think that coincidence is mostly stylistic and has little to do with Itzpapalotl.
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Codex Borbonicus patron panel for House trecena
This eagle- (or vulture-) winged figure of Itzpapalotl in Codex Borbonicus was the model for my butterfly version of the goddess, though I ignored those furry wrist- and ankle-bands also seen in Yoal and opted for the skeletal face from Borgia. Here in the upper left, her companion Tree of Life with its severely stylized blossoms is planted in a fancy pot and has again been cut in half. However, rather than bleeding, the base has grown new flowering shoots, whatever that might mean for interpretations.
The dispersed conglom of familiar ritual items includes a beheaded eagle (with blade), incense bag, serpent, etc., as well as the scorpion seen in many Borbonicus patron panels. Most notable is on the lower left where a blindfolded guy lies on a temple of the starry night with two snakes wrapped around his neck, harking directly back to the Aubin image. Perhaps this was to indicate a severed neck without removing the head? In any case, this assemblage fairly well restates all the themes in the Borgia panel—except for the enigmatic overthrown throne.
As in most Borbonicus patron panels there are graphic discrepancies and distortions that I’ve not bothered to remark upon, but in this one, I challenge you to discover the glaring error. Did you find it? Answer: Itzpapalotl’s clawed right hand has a real thumb. The artist may have simply forgotten to color it like a claw. Not that it makes much difference to this elegant image of the goddess of the stars.
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Codex Vaticanus patron panel for House trecena
As might be expected, Codex Vaticanus returns to the canonical motifs of Tonalamatl Borgia, simply rearranged and severely re-visioned. The gruesome goddess has here become a surreal monster worthy of a nightmare. It has a crocodilian head (with an insect’s antennae), a lizard-like body with jaguar claws, and a radiating “wing” not at all like that of a bird or butterfly. In fact, it looks more like a dinosaur’s bony crest. This Itzpapalotl gets my vote as the freakiest freak in the in the whole freaking Aztec pantheon.
I can’t imagine what to make of the geometric item behind the throne—or why this “bug-zilla” is urinating so copiously. A similar composite creature portrays Itzpapalotl in a Vaticanus panel as patron of the day Vulture. For a long while, I assumed this thing was the god of monstrosities, Xolotl, and only in reviewing the House trecena panels did I realize my mistake. Now I know.
It’s interesting that this patron panel once again emphasizes the overthrown throne and dead and blindfolded guys—but still doesn’t explain their divinatory significance. And odd how it greatly de-emphasizes the bleeding Tree of Life with its little caiman-head root.
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These five authentic patron panels show the remarkable orthodoxy of the ceremonial calendar, only differing in small details and degrees of emphasis. In this House trecena, of course, the threatening goddess Itzpapalotl in her wildly varying manifestations is effectively balanced by the positive, hopeful Tree of Life—which leaves the prophetic doors wide open. Meanwhile, considering these demonic images of Itzpapalotl (and Tzitzimime), I can almost understand how the Spanish priests might call the thousands of codices they burned “devil books.”
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.
The fourteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Dogfor its first numbered day, which is the 10th day of the veintena (20-day “month”). In the Nahuatl language, Dog is Itzcuintli, and it’s known as Ok in Yucatec Maya and Tz’i’ in Quiché Maya.
Understandably, the day Dog is connected anatomically with the nose (i.e., the olfactory sense) and symbolizes protection, loyalty, companionship, comfort, compassion, watchfulness, and devotion. It guards households and lineages as well as the portal between worlds, conducting the sun through Underworld at night and leading souls of the dead to Mictlan. In those functions, Dog represents a light in the dark and night vision. As the psychopomp (guide) in Mictlan, that Dog is a breed called Xoloitzcuintli, the “Mexican hairless” dog, named for the dog-god Xolotl, also an Underworld figure. Meanwhile, the Xoloitzcuintli is Mexico’s national dog and a symbol of Mexico City. Per Fr. Duran’s 16th-century account, people born on a Dog day will be courageous and generous, ascend in the world, and have many children.
In line with the Dog’s duties in the Underworld, the patron of that day is Mictlantecuhtli, Lord of the Land of the Dead (See Icon #10), a patron of the Flint trecena.
PATRON DEITY RULING THE DOG TRECENA
The patron of the Dog Trecena is Xipe Totec, god of liberation, rebirth, and springtime. He’s the lord of nature, agriculture, and vegetation and patron of gold- and silver-smiths and the day Eagle. Counter-intuitively he’s the god that invented warfare. In another paradox, as lord of the sunset, Xipe Totec is called the Red Tezcatlipoca (a nagual of that god) but also seen—along with Tlahuizcalpantecuhtli (see Snake trecena)—as a god of the East. Symbolizing renewal, like an ear of maize stripped out of its husk, he (and his cult’s priests) often wore the skins of flayed sacrificial victims. He brings and cures rashes, boils, pimples, inflammations, and eye infections.
AUGURIES OF DOG TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
Overseen by the Lord of Renewal and the life-affirming Feathered Serpent, this fire-oriented trecena tends to be oriented around the renewal of leadership, the forging of new directions, and the restoration of life. One of the key symbols associated with this time frame is a dog holding a torch, bringing light into darkness and showing the way. As guidance, justice, and forgiveness tend to be prominent themes in this period, it’s a good time to slough off the old, burn away transgressions, and take steps towards new possibilities.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/ Look for the Ok trecena.
THE 13 NUMBERED DAYS IN THE DOG TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 10th day of the current veintena, 1 Dog, this trecena counts: 2 Monkey, 3 Grass, 4 Reed, 5 Jaguar, 6 Eagle, 7 Vulture, 8 Earthquake, 9 Flint, 10 Rain, 11 Flower, 12 Crocodile, and 13 Wind.
Special days in the Dog trecena:
One Dog (in Nahuatl Ce Itzcuintli)—According to the Florentine Codex, this was a great feast day dedicated to Xiuhtecuhtli, the lord of fire, when people fed the fire with offerings (including decorative paper arrays) and incense. On this day rulers were elected, a court of justice sentenced wrong-doers, and minor offenders were released and absolved of transgressions.
Four Reed (in Nahuatl Nahui Acatl) was known as “the ruler’s day sign,” the day when new lords and rulers were installed, and tribute was paid to them. It was also a propitious day for the drilling of a New Fire because nahui acatl also meant “fire drills in all 4 directions.”
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
Aztec Calendar – Dog trecena – Tonalamatl Balthazar
In my image of Xipe Totec, modelled on Codex Borbonicus (see below), I stuck close to its form but in my ignorant enthusiasm played with psychedelic colors that broke iconographic traditions. Instead of the usual yellow or brown flayed skin and red body, I chose a dramatic red skin and white body; unaware of the cultural significance of his green quetzal plumes, I gave him multi-colored crests; and rather than his standard red-and-white streamers and scarf, I fancied him up with wildly colorful decorations. Note the sunset scene on his back-flap, the eagle on his shield (as patron of that day-sign), and other unwitting departures from tradition. Inspired by the spring connection, I gave him a nice “bouquet” of greenery to hold, indicating his lordship of nature and vegetation. Despite all the heresies (blasphemies?), I think my Xipe Totec is a great vision of this outrageous divinity. Now for some “dogmatic” views.
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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)
Aztec Calendar – Dog trecena – Tonalamatl Borgia
Though this elegant Borgia image of Xipe Totec on the left doesn’t wear a victim’s flayed skin, he displays his standard red-and-white accessories. Some other traditional motifs are the convex red curve down his face and the bundle of arrows in his hand (signaling his connection to warfare and lordship). Most unusual is his stupendous crown, unlike anything I’ve ever seen elsewhere on any deity. His strange Y-shaped nosepiece only occurs in some of his Borgia portraits (including in the final Rabbit trecena). It’s another unique puzzle.
Amongst the ritual items in the center of this panel, the pointed red-and-white striped scepter is an emblem of Xipe Totec in his images in many codices. In some, it’s a full-scale staff with one or two points and in some the circular motif is an open oblong shape. Beyond a diagnostic of this deity, I’ve yet to figure out the significance of this scepter/staff and probably never will.
The figure on the right Dr. Paquin and many scholars see as a Feathered Serpent (Quetzalcoatl), a deity of “many faces.” (See Icon #14). I find it puzzling, first because if it’s supposed to be “life-affirming,” why is it eating the little guy? That doesn’t seem to embody the trecena’s theme of forgiveness. But I mostly question why it has a claw-footed leg (one only!) and a crocodilian head (without a snake’s fangs). Frankly, it looks to me more like an Earth Monster (Cipactli) shown often in the codices with a single leg and crocodilian snout and representing the mouth of the Underworld which both devours and produces life. That ties in well with the themes of renewal and rebirth. Another interpretation is that it may be a fire-serpent (Xiuhcoatl) relating to Xipe Totec’s militarism. In any case, I won’t presume to decide this eminently debatable issue.
Looking for an answer to the puzzle of that Y-shaped nosepiece, I checked out other images of Xipe Totec and found another Borgia portrait of him as patron of the day Eagle.
Xipe Totec as Patron of Day Eagle (Codex Borgia)
Imagine my revulsion to see him holding a severed arm, the hand pinching his nose as though to block a stench. In fact, the wearing of a (rotting) human skin must have stunk to high heaven. Like a clothespin, that Y-shaped nosepiece must have served the same purpose. And then just imagine my surprise to see again in the upper register the one-clawed serpent, this time either eating or spitting out a rabbit. As the parallel day-Eagle patron panel in Codex Vaticanus portrays these very same motifs, there must be a deeper relationship between Xipe Totec and the ambiguous creature beyond their companionship in the Dog trecena. Again, renewal and rebirth?
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
Aztec Calendar – Dog trecena – Tonalamatl Yoal
This dramatic image on the right is virtually identical in both source codices, a plumed, legless serpent devouring a little guy. Its head looks more like a snake, but it still lacks a serpent’s fangs. No doubt this is the good reason scholars see it as the Feathered Serpent (Quetzalcoatl). The discrepancy may lie in slight doctrinal differences between the areas where the codices were drawn, but either way, I figure the creature/deity still represents renewal and rebirth.
On the other hand, in terms of iconographic detail, the figure of Xipe Totec on the left is much more “dogmatic” than those in Borgia. In particular, he wears the (stinky) flayed skin, here in a pale yellow like that worn by Tlazolteotl in the Earthquake trecena, and I’ve given him the brown eagle-feathered skirt which Rios will give him later in the Rabbit trecena.
Most intriguing is his shield with the unusual, divided device, and I’m puzzled by the bundle of arrows (reeds) without arrow heads. Since his Telleriano-Remensis page is missing, I had to rely on the Rios copy, and instead of its murky brownish tones, I’ve colored many of his ornaments in his trademark red-and-white. My big question is how come, when Xipe Totec isn’t a lord of the day, he’s holding a totem bird? Such a blue bird is normally brandished by Xiuhtecuhtli, but in that case it should more properly be a blue hummingbird and not a parrot. I suppose this might simply be another instance of doctrinal difference—or iconographic confusion.
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for Dog trecena
Speaking of iconographic confusion, in this patron panel from Tonalamatl Aubin, the expected Feathered Serpent or Earth Monster is now a hungry (fanged) blob of eagle feathers, so we can’t tell which it’s meant to be. Xipe Totec here wears another flayed skin and more brown eagle feathers and carries a shield with a divided device, different than the one in Yoal but similar.
Note the dog behind his head for the trecena, the eagle in the upper left for his day, and that extraneous blue-beaked bird-head. Apropos extraneous, what’s that “Four Earthquake” day-sign on the left? That’s the name of the current Fifth Sun, and Xipe Totec has no connection to that legend. Even more inexplicable is the number eight at the bottom unattached to any day-sign.
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Codex Borbonicus patron panel for Dog trecena
Here’s the Codex Borbonicus model for my trippy Xipe Totec. Even without my psychedelic colors, he’s at least as dramatic and much more authentically detailed. One thing I didn’t understand in my version was the smoking mirror on his head (symbolic of his being the Red Tezcatlipoca). I didn’t and still don’t recognize the scepter in this image, and that was another excuse for giving mine the bouquet of greenery.
The odd little symbol on the banner is totally unfamiliar, but it must be rather important being attached to the concentric shield smack in the middle of the composition. A sort of two-legged ankh? Meanwhile, the One Dog day-sign attached to the shield makes sense for the trecena. Again, I’m mystified by the Four Earthquake day-sign attached to his foot and wonder if that Three Eagle day-sign might be his day-name. I haven’t run across any for him before.
Observe the suggestive bucket of blood by his left foot and the inscrutable item with ten dots and the peak of his traditional staff on top. In the upper right corner is a decapitated green parrot-like bird which I assume means birds may have been a premium sacrifice to the deity. (This detail may well explain that bird-head in the Aubin panel above.)
Since it has no leg at all, we probably should accept Xipe Totec’s plumed companion as the Feathered Serpent/Quetzalcoatl, a clue to that identity being the adjacent double-headed serpent seen in Quetzalcoatl’s headdress in the Jaguar trecena. However, this feathered creature’s head, nose, and dentition are distinctly feline. In any case, the mystical creature fits beautifully into the long history of images of the Plumed Serpent.
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Codex Vaticanus patron panel for Dog trecena
This patron panel from Codex Vaticanus I’ve rectified and restored slightly. Regarding Xipe Totec on the right, one wonders if the Vaticanus artist simply got on an easy “corpse-bundle” kick after Itztlacoliuhqui in the Lizard trecena and similarly bundling up Tlazolteotl in the Earthquake trecena. (The same funerary device will be used later for some reason for Xolotl in the Vulture trecena.) However, here I think it may signify Xipe Totec’s powers of rebirth. To be reborn, I suppose even a deity would have to die. Though he wears no emblematic regalia beyond the red stripe down his face, this god is well identified by his traditional candy-striped staff and standard bundle of arrows. On the left we once again find a one-legged Earth Monster reiterating the ambiguity of this subsidiary patron of the Dog trecena. For the purpose of divination, take your pick.
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Something about these images of Xipe Totec troubles me. Namely, if he’s supposed to be the deity of springtime, nature, agriculture, and vegetation, there are no iconographic references to any of that. Apart from a suspiciously intimate relationship with the Earth Monster, all I see are military and lordship symbols. Perhaps the underlying message of nature is dramatized by the monster/serpent creature eating the little guy (and rabbit)—showing that philosophically speaking, life lives on life. Or if I might use a stronger, but still appropriate idiom: dog eat dog. So, my invented bouquet of greenery in the deity’s hand turns out to be quite apropos.
As for that ambiguous serpentine creature, I’ve concluded that its one leg is actually an epitome of intentional ideoplastic art. As remarked in the Jaguar trecena, that’s an image meant to be understood in intended detail rather than as optically accurate. Here the viewer’s quick brain automatically, unconsciously creates an invisible second leg immediately behind the one in front, a neat trick that makes drawing things in natural perspective conveniently unnecessary.
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.
Recently there have been a bunch of media stories about new twists on the out-of-Africa theories of the spread of early humans across the globe, and I’m surprised that invested anthropological authorities are actually considering alternatives to their sacrosanct interpretations about human history. Even more surprising is their grudging recognition that human populations seem to have left Asia and crossed Beringia into the Americas long before 12,000 BC, that set-in-stone date they gamble their scholarly reputations on.
It seems that writing history is actually a game of creating explanations to be assumed true until proven mistaken. In fact, like all things past or future, history is purely immanent—existing only in the mind, and that immanent universe is truly infinite, everything possible. Historians can guess with impunity about past events, and the burden of disproof lies with those who disagree.
I have no difficulty with human populations leaving Asia whenever and spreading south down the American continents (all the way to Tierra del Fuego!), nor with of dozens of primordial populations coming across oceans to the “New World” from Asia, Africa, the Middle East, and Europe. Scholars vociferously deny or simply ignore most of them. Recently, their denial of well-documented Pre-Columbian Viking voyages has been faltering—and they’ve started romanticizing these murderous marauders as handsome, heroic explorers. But you have only to read “The Farfarers” by Farley Mowat to learn the ugly truth about the rapacious Northmen.
Wherever they came from, it’s clear that roving bands of feral humans spread thickly across the American continents. For the most part, those populations seem to have settled permanently into their new locales like water filling low places. But there’s also been a great deal of sloshing around, overflowing into other catchments, draining in various directions, and even drying up or soaking into the earth, often leaving only their “ruins” and cultural artifacts.
My decades of interest in Panamerican prehistory have led me to learn of (and conjure up) some immanent cases of that inter- and intracontinental slosh of peoples on the move. I will now pull together what I think I know about the migrations and interchanges of peoples in the Americas. We need to discuss this immanently important, rarely mentioned subject. Let me begin.
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Chapter I: The Pacific Littoral
The spectacularly long Pacific coastline (from Tierra del Fuego north to Alaska) has been a sailing route for millennia but is rarely mentioned by historians except for the travels of later European mariners/explorers. From earliest times, the peoples of Peru, Ecuador, and Colombia were seafarers, sailing the shores for fishing and trade. The route north to Mesoamerica is how the art of metalworking came there from the Andes and how the staple crop maize was taken south from Guatemala to South America.
Story #1: CIRCUMSTANTIAL EVIDENCE
Through geographical detective work, I deduced that boatloads of missionaries, merchants, and/or migrants from Chavín de Huantar in Peru (c. 1,500 BC) brought the sacred ceremonial calendar and other cultural concepts probably to Mesoamerica, possibly to ancient Izapa in Guatemala. From there, the complex is thought to have crossed the Isthmus of Tehuantepec into the Vera Cruz lowlands to the timeless Olmecs. I’ve already told this quite believable story in back in 2018.
Story #2: RELIABLE TESTIMONY
In the first millennium AD when the Maya civilization was in full Classic swing with warring kingdoms in Yucatan and Guatemala, I claim that refugee Maya peoples fled by boat along the Pacific littoral, settling at spots in western Mexico and farther north on the California and Pacific Northwest coasts. I base my claim on the report of Capt. Meriwether Lewis in “The Journals of Lewis and Clark” (ed. Bernard DeVoto) from March 19, 1805, where he wrote (sic!):
The Killamucks, Clatsops, Chinooks, Cathlahmahs, and Wâc-ki-a-cums resemble each other as well in their persons and dress as in their habits and manners. their complexion is not remarkable, being the usual copper brown of most of the tribes of North America. they are low in statu[r]e, reather diminutive, and illy shapen; poss[ess]ing thick broad flat feet, thick ankles, crooked legs wide mouths thick lips, nose moderately large, fleshey, wide at the extremity with large nostrils, black eyes and black coarse hair. their eyes are sometimes of a dark yellowish brown the puple black. the most remarkable trait in their physiognomy is the peculiar flatness and width of forehead which they artificially obtain by compressing the head between two boards while in a state of infancy and from which it never afterwards perfectly recovers. this is a custom among all the nations we have met with West of the Rocky mountains. I have observed the heads of many infants, after this singular bandage has been dismissed, or about the age of 10 or eleven months, that were not more than two inches thick about the upper edge of the forehead and reather thiner still higher. from the top of the head to the extremity of the nose is one straight line. this is done in order to give a greater width to the forehead, which they much admire. this process seems to be continued longer with their female than their mail children, and neither appear to suffer any pain from the operation. it is from this peculiar form of the head that the nations East of the Rocky mountains, call all the nations on this side, except the Aliohtans or snake Indians, by the generic name of Flatheads.
As others surely have, I’ll note Capt. Lewis has described here in exquisite detail the traditional Maya practice of skull deformation. It seems reasonable to me that this widespread cultural practice in the American West could have come from coastal colonies of refugee Maya. The also widespread practice of nose-piercing (as in the Nez Perce tribe and others) could just as easily have been brought by such “civilized” immigrants to the northern forests and mountains.
Story #3:A WILD GUESS
Toltec pressure and even later Aztec aggression no doubt also drove other peoples of western Mexico north in their boats along the ancient Maya route to the Pacific Northwest. I base this intuitive hunch on a linguistic coincidence (which I usually tend to dismiss).
The city of Seattle was named for the “chief” of a Native American tribe on the Olympic Peninsula. Phonetically, “Seattle” amounts to se-atl, and Ce Atl is the Nahuatl day-name (One Water) of the goddess of water, Chalchiuhtlicue, the Jade Skirt. As a name for a “town” or chief, One Water seems quite appropriate for a Nahua “colony” in that eminently watery area. But again, I’ve already told this and Story #2 back in 2018.
DNA tests should be run on Northwest tribes to look for markers of Mesoamerican populations. It would also make sense to compare the languages of those tribes with those of Mesoamerican peoples. (There’s a distinctly Nahuatl-ish sound to the names of the Tlingit and Kwakiutl tribes.)
Story #4:AN EPIC ESCAPE
Let’s back up some centuries and return to the Andes. In book “Advanced Civilizations of Prehistoric America,” Frank Joseph, an independent researcher cold-shouldered by academics, discusses the Huari of the Lake Titicaca area (often called the Wari) and the neighboring Llacuaz people, observing that their principle currency was the spiny oyster Spondylus princeps shell.
That seashell was sometimes found along their coast, but their main source was from the distant north in the Sea of Cortez. In the latter centuries of the first millennium CE, Joseph proposes that these peoples sailed those thousands of miles to collect their “money” and meanwhile “explored” up the Colorado and Green Rivers across Arizona. The Llacuaz established colonies in the Green River basin, and the Huari pushed on into northwestern New Mexico where, by the early ninth century, they started building vast structures at Chaco Canyon.
Joseph suggests that when the Chimu (possibly Chinese!) invaded Peru c. 1,000 CE, establishing a civilization centered at Chan Chan, they drove the Huari and Llacuaz out of their Lake Titicaca home area. Many thousands of refugees boarded their reed boats and balsa rafts and fled north to their distant colonies in North America. The Llacuaz, superb hydrological engineers, became the Hohokam civilization—whose descendants are the Pima and Papago tribes.
The refugee Huari people must have exploded the population at Chaco Canyon, and these “Anasazi” spread out across the Four Corners area, an ancestral culture for the present-day Puebloan peoples. Joseph points out that Chaco architecture (like Pueblo Bonito) replicates their traditional styles in Peru—the D-shaped, multi-storied “apartment complexes” and particularly the round, sunken “kivas” which are now culturally central to their Puebloan descendants.
This is the only “origin story” I’ve found for the ancient civilizations of the American Southwest. Though it involves migration across mind-boggling distances (think of the vast spread of the Indo-Europeans out of Central Asia across Europe and India!), it makes ultimate sense and comes with some dramatic evidence. Until someone offers a better story, I’ll go with this one.
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Chapter II: The Gulf of Mexico
The Gulf of Mexico and Caribbean Sea, enclosed by the archipelago of the Greater and Lesser Antilles, amounted to a prehistoric American “mediterranean” arena of cultures. Sea-faring peoples like the Maya of Mesoamerica and the Arawaks and Caribes of the South and Central American coasts roved around the basin, not unlike Old World traffic on its Mediterranean Sea.
Story #5: THE SANCTUARY
As well as along the Pacific littoral, Maya refugees from civil violence (like the Itza and other Maya peoples) also fled into the American Southeast. In Florida, Georgia, Tennessee, and along the Gulf coast, they settled among resident “natives.” As early as 200 CE, the immigrants brought their mound/pyramid and artistic traditions, contributing to Mississippian culture. See my “Remember Native America!” and my ethnographic essay. I should note that the skull-deformation and nose-piercing mentioned above in Story #2 also occurred in many parts of the world, including among early immigrants into the American Southeast.
Another independent researcher (of Creek heritage), Richard Thornton, writes a blog called “The Americas Revealed,” which I’ve followed for several years. Though vociferously opposed and denied by academic authorities, he discusses the Maya, Arawaks, and Caribes also penetrating in early centuries into the Southeast, and as an accomplished city planner and archaeologist, he has modelled their traditional towns and architecture at archaeological sites in the area.
As well as the early Maya, Thornton says that later Mesoamericans such as the Totonacs and Huastecs also fled the depredations of Toltec and Aztec imperialists and trekked around the Gulf into the Southeast, adding their cultures into the melting pot that would produce the Native American stew of tribes like the Creek, Choctaw, Chickasaw, Caddo, and others. Some retained legends of their migrations from specific locales in Mesoamerica.
In addition, citing serious linguistic evidence, Thornton says that a South American people called the Panoans migrated from Ecuador and Peru into the Southeast and brought their own seasoning into the melting pot. At first there seemed not to have been much friction or violence between the many disparate cultures, each group continuing their ethnic lifeways in their own immigrant communities. Densely scattered across the landscape, they were like the Maya’s decentralized urban pattern of town-states, some bonafide cities with pyramid/temple and plaza complexes.
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Chapter III: Cross-Country Migrations
Thus far we’ve seen sea-rovers on the Pacific littoral and around the American Mediterranean Gulf, and now let’s talk about the land-roving folk within the continents. I know virtually nothing about peoples moving around in South America but suspect a considerable flow between the Amazonian and Pacific slopes of the Andes. However, I’ve just read somewhere that in distant millennia the first peoples of Mesoamerica migrated there from South America. I think they’re talking around 6,000 BP, so that sounds perfectly feasible. Why not?
Story #6: LATECOMERS
Meanwhile, I do know bits and pieces about the land-rovers of North America (besides all that about primordial folk from Asia spreading south through the continents). One bit is a widely discussed issue in American archaeology: Very late, around 13-1400 AD, a small group of Athabaskans (originally of course from Siberia) left their subarctic home in far northwest North America and migrated into the American Southwest, specifically into the Four Corners area, to become today’s Navajo and Apache tribes.
Strategically, these Athabaskans arrived soon after the Chaco civilization “disappeared,” and they were bitter enemies of the remnant populations of Anasazi, the Pueblos along the Rio Grande, and the Hopi in Arizona. In view of this historical migration, I find it curious that Navajo mythology has that people emerging from under the earth somewhere, maybe near Shiprock (a volcanic core mountain) in northwestern New Mexico. However, many peoples the world over claim to have come into this world from the underworld.
Story #7: THE STEW
Meanwhile, in the same centuries, as the Mississippian civilization in the American Southeast (and the Caribe kingdoms in the Antilles) grew more warlike with rival city-states (much like the earlier Maya situation perhaps), various peoples moved around to elude their oppressors. Many migrated across the Mississippi River onto the plains. Thornton tells of the People of the Eagle (Kansa) from central Georgia who moved into what would become Kansas.
By the early 1600s, under pressures of aggressive neighbors and newcoming land-hungry European invaders, some Mississippian folks evacuated the Carolina coast and moved way out onto the plains of the Dakotas. In that strange new environment, they mastered the Europeans’ horse culture and became the Sioux, the quintessential Plains Indian.
Over the centuries, many other ethnic communities in the vast Southeastern woodlands certainly must have upped and gone somewhere else for whatever reason, stirring up the stew of peoples. For instance, in the early 18th century various Southeastern peoples pressed south into La Florida (by then thoroughly depopulated by disease and Spanish occupation) to become the Seminoles.
In the 17th and 18th centuries, probably inspired by contacts with European concepts, many polities in the central Southeast coalesced into the Creek Confederacy, which for a long time constituted an autonomous “country” west of the European colonies along the Atlantic coast. After battling these “Five Civilized Tribes” for several years in the Creek (and Seminole) Wars, General Andrew Jackson became President of the US of A and in one of the hugest land-grabs in history, exiled the Southeastern peoples to the new “Indian Territory,” part of the recent Louisiana Purchase. Between 1830 and 1850, some 60,000 native people took the Trail of Tears hundreds of miles west to Oklahoma, a forced migration on which thousands died.
During the 18th century, before the coastal European colonies had fully occupied Appalachia, a large tribe from the Canadian Maritimes spread south down the mountain chain and by late in the century had encountered the confederated tribes, probably with considerable friction. These were the Cherokee, who now claim to have lived in the Southeast “for thousands of years” and would usurp the history of the diverse “native” tribes. Indeed, some Cherokee joined them on the Trail of Tears. Those remaining in the western Carolinas and elsewhere soon were accepted by the US of A as a “civilized” (pacified) tribe, and in turn they accepted the new country’s dominion.
Story #8: RITUAL JOURNEYS
The culture and cosmology of the Hopi people, an affiliation of several clans now living in northeastern Arizona, is based on migrations. A legend has them migrating from somewhere in the far south, either South America, Central America, or Mexico. In the first case, they may have left Peru along with the Huari and Llacuaz refugees (Story #4), having settled on the desert mesas at roughly the same time in the late first millennium CE when the others were colonizing southern Arizona and Chaco Canyon. Significantly, Hopi architecture with its multi-storied communal dwellings and circular kivas closely reflects Chaco traditions.
Coincidentally, their migration seems also to have involved a long ocean voyage, but some folks theorize that the Hopi sailed all the way from Asia or elsewhere. For linguistic reasons, I incline to the Peruvian story. We don’t know what language was spoken by the immigrant Chaco people, but I bet it was one of the Uto-Aztecan family—since the linguistically related Utes and Shoshoni tribes were likely early offshoots of the Chaco civilization, and the Hopi language is also Uto-Aztecan. (I’m not sure how the Puebloan languages would fit into this matrix.)
On another hand, in the same way as the Navajo and many other peoples, the Hopi “mythology” has their clans emerging from a hole in the earth (cave?) called the “sipapu” located somewhere near those same desert mesas. Then their principle deity Masau-u then sent the many clans on individual ritual migrations to the four ends of the earth and back in order to find their promised land. Surprisingly, after hiking from seas to shining seas, the clans eventually converged again on those same desolate mesas, founding their town of Oraibi around 1100 CE.
Each migrating to the four ends of the earth, the several Hopi clans must have encountered many other peoples, like the Toltecs in Mexico and the Mississippian cities in the Southeast. The possible histories of cultural contacts are legion. Meanwhile, those migrating clans often left petroglyphic evidence of their passing through many areas with their identifying symbols.
Story #9:LEGENDARY MIGRATION
When I ran across “The History of the Indies of New Spain” by Fr. Diego Durán (1537-1588) around 50 years ago, I was enchanted by his detailed account of the legendary migration of the Aztecs into Anahuac (the Valley of Mexico).
The migration legend is intertwined with the mythology of the Mexica’s main deity, the war god Huitzilopochtli, Hummingbird of the South. Leaving their previous home around 1200 CE, he led the Mexica migration for well over a century to finally find their promised land on a swampy island in Lake Texcoco in 1325 CE. Within a century, they’d built a huge city on that island called Tenochtitlan, Place of the Cactus, and had begun assembling an empire based on trade and military might—which in 1519 fell victim to Cortez and his Spanish conquistadores.
The legend describes the impossibly violent birth of Huitzilopochtli at a place where the Mexica were living called Chicomoztoc (Seven Caves) and his autocratic and arbitrary leadership of the nomadic migrants, who settled down in various places for lengthy periods to sow and harvest crops. On their travels, they pillaged the “Red City” (possibly the site in Chihuahua known as Casas Grandes or Paquimé), and they vandalized many resident populations, gaining a reputation as utterly uncivilized barbarians. For an egregiously atrocious offense against the ruler of a city on the lake, they were driven out onto the island where they found the prophesied eagle on a cactus eating a snake. That iconic image is now an official symbol of the Mexican state.
It’s intriguing to know that during their migration and in Anahuac, the Mexica spoke essentially the same language as resident populations, a dialect of Nahuatl—because those peoples had earlier also migrated south from Chicomoztoc. Duran tells us that by 820 CE the first six “nations” (tribes or clans) started sequentially leaving the Seven Caves: the Xochimilca, Chalca, Tecpanecs, Colhua, Tlalhuica, and Tlaxcalans. Settled down again after long wanderings, the several clans established large cities around Lake Texcoco and in various other central areas of Mexico. The Mexica were just the long last tribe to leave the Caves.
This shared history of migration seems to say that the language of the Chaco civilization must have in fact been (as suggested in Story #8) Uto-Aztecan, another dialect of Nahuatl, and it raises again the question of the Huari (Peruvian) language. That question gets complicated by the fact that the Toltec civilization (900-1160 CE) also spoke Nahuatl. An “empire” centered at Tula just north of Lake Texcoco and at Chichen Itza in the Yucatan, they could have also been migrants from the far north—or just as easily, like Chaco, an early invasion or colonization of Huari from Peru, refugees or otherwise. The time frames suggest maybe the earlier Seven Caves migrants had a hand in the destruction of the Toltecs. Remember, history is but an immanent story.
This is not to imply that Chicomoztoc might have been Chaco Canyon. At Chaco, there may have been seven great-house pueblos, but they were nothing like caves. My radical theory is that Chicomoztoc was the several cliff-dwelling towns of Mesa Verde, a major outlier of the Chaco civilization with a real road connecting the centers. That makes vastly more sense to me than the mound-site in Wisconsin ridiculously called Aztalan or some vague spot lost in the deserts of Sonora/Chichimeca. Until someone can convince me otherwise, I’ll go with Mesa Verde.
A deeper legend has the Mexica (and other tribes) coming originally from a place called Aztlan, a “place of whiteness” or “place of herons.” Some speculate it’s somewhere in northwestern Mexico or the American Southwest. In that legend, the peoples lived at a large lake and were driven out by enemies, forced to make a long sea-voyage and then wander lost in deserts—before finally getting to Chicomoztoc. This “place of herons” scenario closely parallels the Huari fleeing before the Chimu from Lake Titicaca to Chaco, and if Chicomoztoc was in fact Mesa Verde, all the puzzle pieces fall neatly into place. Ergo, Aztlan looks like it was Lake Titicaca, and the Huari probably spoke a version of Nahuatl. That story works just fine for me.
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Epilogue
In Story #7: The Stew, I unavoidably remarked on some migrations spurred by cultural pressure of post-Columbian European invaders, like that of the Sioux and the tragic Trail of Tears in the 19th century, but the countless forced migrations of native peoples in recent centuries (like the Navajo to Bosque Redondo) are far more than I can bear to think about.
When Cristóbal Colón arrived in 1492, he and his family immediately started colón-izing the indigenes of the Greater Antilles (Cuba, Puerto Rico, Jamaica, and Hispaniola) by enslaving, slaughtering, and driving them to escape into the interiors of North and South America. As soon as they were decimated or totally wiped out, black slaves were imported from Africa to work the Spanish mines and sugar plantations on the islands. This was just the first small step in the European displacement and destruction of native populations across the American hemisphere.
The thirteenth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Earthquake (or Motion/Movement)for its first numbered day, which is the 17th day of the veintena (20-day “month”). In the Nahuatl language Earthquake is Ollin, and it’s known as Kab’an in Yucatec Maya and No’j in Quiché Maya.
Nineteen of the 20 day-signs of the vientena are glyphs based on concrete things or items, but the one for the day Earthquake is something else entirely, the symbol of an abstract “think” (i.e., a thought or concept). The lobed or flanged form can rotate as needed but varies stylistically across the codices, while usually retaining a similar shape in each one:
Variations of the Day-Sign Earthquake
The enormously embellished symbol for Earthquake in the center of the Stone of the Suns is literally the day-sign “Four Earthquake,” day-name of the current Fifth Sun (which occurs in the Jaguar Trecena), and the central face is that of its titular deity Tonatiuh. Within its four lobes are the day-names of the previous four Suns (starting on upper right and moving counterclockwise): Four Jaguar, Four Wind, Four Rain, and Four Water.
The divine patron of the day Earthquake is Xolotl, god of the Evening Star, who will be seen later as patron of the Vulture Trecena. Sometimes called Quetzalcoatl’s evil twin, he’s the deity of malice, treachery and danger and represents the darkness of the unconscious.
PATRON DEITY RULING THE EARTHQUAKE TRECENA
The patron of the Earthquake Trecena is the far less dire goddess Tlazolteotl (Goddess of Filth), whom we’ve already seen as a patron of the Deer Trecena (in Borgia) and Reed Trecena (in Yoal). Her unprecedented patronage of two (or three) trecenas suggests that she’s one of the most important (powerful) deities in the Aztec pantheon. To recap, Tlazolteotl is goddess of fertility and sexuality, motherhood, midwives, and domestic crafts like weaving, as well as patron of witchcraft and fortune-tellers and of lechery and unlawful love, including adulterers and sexual misdeeds. She cures diseases, particularly venereal, and as the goddess of purification and bathing, forgives sins. People confess their sins to her only once in their life, usually at the very last moment, and besides that rite (which Spanish clergy recognized as parallel to their sacrament of confession), her rituals include offerings of urine and excrement. One of several earthmothers, Tlazolteotl is reputedly the mother (sire unknown) of the maize deities Centeotl and Chicomecoatl. She’s also 7th lord of the night and patron of the mystical number 5.
AUGURIES OF EARTHQUAKE TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
The theme of this trecena is evolutionary movement. It’s associated with the opening and closing of major eras within the Maya Calendar system and aligned with re-birth or emergence, which can sometimes manifest as world-shaping beginnings and endings. Traditionally this was a generative period during which “confessional rites” were conducted, possibly tied in with the fertile forces of “evolutionary movement” that can bring forth significant change. This would be a good trecena for “stock-taking” and for making “evolutionary” leaps forward.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/ Look for the Kab’an trecena.
THE 13 NUMBERED DAYS IN THE EARTHQUAKE TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 17th day of the preceding veintena, 1 Earthquake, this trecena continues with 2 Flint, 3 Rain, 4 Flower, 5 Crocodile, 6 Wind, 7 House, 8 Lizard, 9 Snake, 10 Death, 11 Deer, 12 Rabbit, and 13 Water.
There are only two relatively special days in the Earthquake trecena:
Four Flower (in Nahuatl Nahui Xochitl)—important for the Maya as 4 Ajaw, though some of its significance may have survived into later cultures. Dr. Paquin advises that the energy of the day was associated with the beginning and ending of eras. For the Maya, their Fourth World was created on 4 Ajaw in 3114 BC, and after a long-count cycle of 5126 years, a 4 Ajaw day brought the conclusion to that era on 12/21/2012 when a new Maya Calendar era began.
Twelve Rabbit (in Nahuatl Mahtlactli ihuan ome Tochtli)—day-name of the Rabbit in the Moon as seen in the Borgia Death Trecena. I’ve no idea how the day may have been celebrated, but as a Rabbit-god of intoxication, Twelve Rabbit was likely the deity of lunacy (moon-madness).
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
As the patron of the Earthquake trecena, I based my Tlazolteotl rather loosely on the Codex Borbonicus patron panel (see below), at the time the only readily available image of the goddess. I didn’t realize that the frontal view was absolutely unique in Aztec iconography (meanwhile with a standard profile face). Much later I found a similar Codex Borgia example and a couple in Codex Laud, but Tlazolteotl seems the only deity ever to appear in a “crotch-shot,” which perhaps follows from her role as a mother-goddess. Certain female figures in Codex Nuttall sit with legs crossed in front but with upper body in profile.
I took the Borbonicus image as license to include the new-born infant but didn’t realize the symbolism of crescents and gave her a stepped nosepiece appropriate for Chalchiuhtlicue. The rest of her regalia is my invention, again inspired by figures in Codex Nuttall. I’m not sure how she wound up with that menacing Borgia mouth, but many women have admired this image.
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TONALAMATL BORGIA (re-created by Richard Balthazar from Codex Borgia)
In the Borgia panel, the only symbolic markers for Tlazolteotl on the left are the three crescents on her clothing, the crescent nosepiece, and the black coloration around her mouth (indicative of her eating the filth of peoples’ sins). Those were apparently considered sufficient to distinguish her under the fairly standard details of regalia and throne.
In the center, the mysterious snake (with stars) was a real puzzle for me until a knowledgeable friend explained that white-striped, red snakes are sacrificial; the odd brown and grey strips of jaguar fur below are fire and smoke. (See them also in central temple scene in the Crocodile trecena.) But why does the snake have three fangs? Also, those aren’t three tongues—just the long bottom one is. I believe that the two brown items represent the snake’s hissing, like the animal-howl symbols in the Deer, Flower, and Monkey trecenas. The large central figure is probably equivalently significant for divination as the other two elements in this elegant panel.
On the right, the third element of temple with ornate bird was also a puzzle for me until I looked closely and realized that under all that stylization was a vulture. The head is much like that of the Borgia day-sign for Vulture (Cozcacuauhtli)—with ears no less! The clincher was the dirty beak. Species identification aside, the vulture’s divinatory significance must come from its meaning as a day-sign: cleansing, purification, and prosperity—reinforcing those defining characteristics of Tlazolteotl. (She’s also a goddess of luxury, which is why I gave my version a fancy fan.)
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
The slapdash sketch of Tlazolteotl in Codex Telleriano-Remensis looks like it was drawn by an artist either with palsy or psychedelically inebriated, distorting her proportions and features and loading her down with identifiers. In “copying” it, the poor Italian artist-copyist for Rios tried with limited success to simplify the mess. I’ve given her more realistic and readable details like some in her bust as seventh Lord of the Night (top row, fourth from the left, and last on lower right). She’s one of the more complicated and enigmatic figures in Tonalamatl Yoal.
To allay any confusion about who she might be, there’s that billboard/banner on her back with 15 crescents, and for consistency, I gave her the standard crescent nosepiece. Reflecting her connection to luxury (mentioned above), she wears a long “granny” skirt with layers of tassels, as well as a sacred jaguar-pelt apron and bustle. This heavy skirt explains her unusual stance as though walking—instead of the standard dancing posture of most figures. The spindles and tassels in her headdress and on her earplug (like those in her image as Night Lord) indicate that she’s the patron of weaving, often called Ixcuina, goddess of cotton.
However, the top half of her body is clothed in the flayed human skin of a (female) sacrifice. See the dangling extra hands and flaccid breasts. Wearing a flayed skin is an attribute of the god Xipe Totec, but it occasionally adorns Tlazolteotl as well. The difference here is that her own body seems to have been flayed (arms and legs), which means that maybe she’s wearing her own skin. How’s that for a horrific scenario? Though the flesh marks might resemble the speckles on her cotton tassels, I’ve given them a red overtone like the flaying marks on Itztlacoliuhqui in the Lizard trecena. The only way I can explain those little shells stuck all over her is that perhaps they’re what was used to flay her. Ouch!
Moving on, consider that bowl of offerings she extends (to the other figure?), a grisly collection of dead baby-head, severed hand, heart, and probably the tail-end of a sacrificed snake. A sharp contrast to her simple, elegant image in Borgia, this gruesome detail is best overlooked. But it’s impossible to overlook the strange circular, apparently transparent, item that magnifies part of her hand and the offering bowl, an enigmatic anachronism if I’ve ever seen one. We have no evidence that the Aztecs had or knew anything about lenses. The Rios artist must have thought the same because this mysterious detail was omitted in that copy. Kudos to whomever can explain this weirdness. Or is this just more psychedelic inebriation?
Assuming that whoever drew the T-R goddess also drew that codex’s image of the “bird-man,” a page which is sadly missing from the document, the Rios copyist probably had to deal with another lot of hallucinatory details. So, we can’t be sure how accurately this guy got copied. In particular, the bird-costume doesn’t relate to any recognizable avian species.
Its brown plumage looks like that of the eagle in the Monkey trecena, but that topknot is outrageously unreal, and the black-striped eye (which may well have been in the T-R original) doesn’t help at all. Guessing from the bird in Borgia, maybe this is supposed to be a vulture too, the fantasy of an artist unfamiliar with the species. There are no vultures in Mexico (or in Italy) that even vaguely resemble this big bird. Also, all vultures seem to have longer, thinner beaks, usually of whitish or darker hue, not gold.
The Rios copy explicitly identifies the figure as Tezcatlipoca, and so a vulture makes sense as the disguise of this invisible deity, since he’s never shown as an eagle. Only that be-ribboned circular pendant is (not exclusively) a diagnostic, but the long nose-bar is uncharacteristic. The artist gave the figure a muddy greyish skin and brownish gold face, but I decided to use the vaguely mauve tone of Quetzalcoatl’s skin in the Jaguar trecena to indicate the supernatural status of this disguised deity.
For divinatory purposes, I expect we should consider themes that the day Vulture shares with Tezcatlipoca, whatever they might be. Besides this appearance in a vulture-suit and his weird epiphany in the Borgia Lizard trecena to support his nagual Itztlacoliuhqui, the invisible Tezcatlipoca will show up again later as the Black One in the Borgia Eagle trecena and in his jaguar disguise in the other tonalamatls. In other trecenas he appears only as a nagual, like Tepeyollotl in the Deer trecena and Chalchiuhtotolin in the Water trecena. Occurring (even in disguise or symbol) in four trecenas must mean that Tezcatlipoca is about as big a shot as a deity can get. He and Tlazolteotl together make a major power couple.
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for Earthquake trecena
In the patron panel in Tonalamatl Aubin, we find many already familiar motifs in its typically careless execution, both with Tlazolteotl on the right and the other two symbolic elements, though reversed from Borgia’s layout. The deity’s accoutrements (including a flayed skin) are quite like those in Yoal, as well as that honking crescent nosepiece just so we don’t forget who she is. New is the symbol of her lascivious sexuality: a snake under her throne. Note she even has an offering bowl with a heart and severed hand. I question her need for that loincloth—and in particular, those two little footprints in the upper right. My intuition says they signify ritual pilgrimages to her holy places. Any ideas about the little loop of ribbon over her head?
The juxtaposed temple on the left, far less ornate than the one in Borgia, holds another bird of anomalous species, but presumably a vulture. It’s crowned with more outrageous plumes and as an earplug (without an ear!) wears a smoking mirror, trademark of the ephemeral Tezcatlipoca. So, we’re seeing some pretty consistent themes—at least until we look at the central element reflecting the sacrificial snake in Borgia. Here there’s no snake but two intertwined “beings,” the taller one, who may be flayed and wears a crude Ehecatl (life) mask, holds aloft in his right hand an outsized xiuhcoatl (fire-serpent) weapon, symbol of divine power, and carries in his left an incense bag for worship. This is where I must leave further interpretation to you.
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Codex Borbonicus patron panel for Earthquake trecena
In the patron panel in Codex Borbonicus, the monumental full-frontal image of Tlazolteotl, as mentioned earlier, is the source of my own image of the goddess, though I obviously ignored her emphatic iconography—like the dozens of crescents, voluminous draperies of cotton (a true Cotton Queen!), several decorative spindles, and grisly details of the flayed skin she wears over her own flayed body. Missing are the many shells (flaying tools) we saw in both Yoal and Aubin, but other familiar elements can be seen in the scattered conglom: offerings of a head and heart (lower right), sacrificed snake (lower left), and pilgrimage footprints (top center). Particularly significant is the day-sign 9 Reed by her left foot—her sometimes day-name. The spilling bowl of water (upper right) clearly relates to her purification function.
The ornamental bird on the right (with human hands and feet) has generic brown plumage, but its head (apart from the familiar black stripe) looks like a standard eagle. Nevertheless, this many-plumed bird again must be a vulture disguise of Tezcatlipoca—judging by the be-ribboned circular pendant and smoking mirror trademark on its head. The panel also reflects the tripartite layout of Borgia and Aubin with the central pair of intertwined serpent and centipede. The serpent here represents life (like the Ehecatl figure in Aubin), and the centipede is an ancient symbol (since Maya times) of the Underworld.
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Codex Vaticanus patron panel for Earthquake trecena
The Codex Vaticanus artist apparently opted for simplicity. The goddess has only the blackened mouth and crescent nosepiece to identify her, and she’s wrapped in a corpse-bundle, maybe as a reflection of Itztlacoliuhqui in the Lizard trecena. Little attention was devoted to the sacrificial snake in the center, and the bird in the decorative temple is evidently a real vulture—note the dirty beak. Its red topknot and clawed wings, however, are ornithologically hard to explain.
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This review of the Earthquake trecena indicates that we need to add a new (stealth) patron for the time period, the invisible, transcendental Tezcatlipoca (See my Icon #19.)—in his disguise as a vulture. His close association with Tlazolteotl makes me wonder if maybe there’s some mythological hanky-panky going on between the two of them. After all, she’s also the patron of promiscuity and adultery, and he’s a famous seducer. (Might he be the father of Centeotl and Chicomecoatl?)
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.
For at least 35 years, I’ve been fascinated by the art and iconography of the Aztecs of central Mexico, specifically by their ceremonial calendar, and didn’t pay much attention to that of the Maya from several hundred years earlier of Yucatan and Guatemala. I saw little connection between cultures beyond the philosophical structure of the ceremonial calendar that had passed down over millennia from the even earlier Olmec through both the Maya and Teotihuacan to the Toltecs and on to the Nahuatl peoples and late-coming Aztecs. But that was just because I was resolutely ignorant of Mesoamerican history.
Of course, I’d seen a few examples of the art of the earlier cultures, mostly pieces of Maya murals from San Bartolo and Bonampak:
Details of the San Bartolo and Bonampak Maya Murals
While remarkably elegant, they didn’t seem to relate much to my favorite Aztec styles and subjects. The same could be said about my passing acquaintance with the few Maya codices that survived the Spanish book burnings like the Madrid and Dresden codices. I never even bothered to look into the Paris codex.
Details of the Madrid and Dresden Maya Codices
Though impressed with these later Postclassic documents, I left ancient Maya art and mythology to other friends and scholars and blithely continued my intimacies with the Aztec calendar and their wild deities, assuming little iconographic continuity over the intervening centuries.
My ill-informed attitude changed when a kind friend returned from a show at the Getty Museum in Los Angeles in early January 2023 with the program for “Códice Maya de México” (Maya Codex of Mexico). A fourth surviving codex I hadn’t known about, it was only discovered in 1965 and previously called the Grolier Codex. The document has been dated to between 1021 and 1154 CE, earlier the other three Maya codices.
The severely damaged manuscript tracks and predicts the movements of the planet Venus (also the subject of the Dresden Codex), a prime concern of the Maya for both agriculture and divination. Its ten fragmentary panels deal with Inferior and Superior conjunctions, Evening Star, and Morning Star, each with thirteen of the same Maya calendrical day-signs in various disordered numerical sequences. The program explains that each date “marks the crucial first day of a phase of Venus.”
I can’t pretend to understand the astronomical system, but the deities accompanying the phases with their personal regalia and ritual activities were strikingly familiar, also hinting of the art of Teotihuacan and Toltec. Their headdresses, ornaments, pendants, and weapons—as well as bound prisoners— could easily be Aztec images. The panel that particularly held my eye was page 8, the second one dealing with the Morning Star phase:
Panel 8 of the Maya Codex of Mexico
The repeating day-glyph is Kib—corresponding to the Aztec Cozcacuauhtli (Vulture)—and the sequence 10, 5, 13, 8, 4, etc. (if that’s the direction the count runs), mystifies me. The eagle-clawed deity with bird headdress must surely be the Maya god of the Morning Star known as Chak Ek’. The arrow/spear that he shot into the temple is a familiar motif in the Aztec codices from centuries later.
That and the structure of repeating numbered day-signs recall five mysterious panels in Codex Borgia of Tlahuizcalpantecuhtli (Lord of the House of the Dawn—the Morning Star) attacking gods and places in this way. Checking into those panels, I found them each also accompanied by odd sequences of the same, though different, day-signs. What’s more, similar sets of Morning Star panels in both Codex Vaticanus and Codex Cospi apparently also reflect the Maya theme.
However, while the Maya panels involve the seven day-signs Wind, Lizard, Rabbit, Grass, Jaguar, Vulture, and Flint, the Aztec panels use five different day-signs: Crocodile, Snake, Water, Reed, and Earthquake. So, the Aztecs clearly were using the numbered-day structure of these Morning Star panels for some purpose other than astronomy.
Morning Star Panels with Day-Sign Crocodile
This first set displays an oddly numbered sequence of Crocodile day-signs with the next three day-signs (Wind, House, and Lizard) appearing inside the main panel. The numbering runs clockwise in Borgia from lower right (1, 8, 2, 9, 3, 10, etc.), and counterclockwise in Vaticanus from the same position. This turns out to be the sequence of the day-sign’s occurrence in the calendar count (tonalpohualli), not any notation of Venus cycles.
Meanwhile, in the Cospi version, the lower half of a double panel, the border shows successive days in their properly numbered calendrical order, and with the other half above is a curious sequence of 1 Snake, 6 Death, 7 Deer, and 8 Rabbit. The other Cospi panels for 1 Water, 1Reed, and 1 Earthquake take the odd count through Flower, sorely confusing the basic principle.
All five day-signs, Crocodile, Snake, Water, Reed, and Earthquake symbolize East, which is perfectly fitting for the Morning Star. The border sequences are ordered lists of all calendar days relating to East, and the three other days shown inside the panels represent the other directions:
Now let’s consider the narrative content of the Crocodile (above) and other panels in this series:
Morning Star Panels with Day-Sign Snake
Morning Star Panels with Day-Sign Water
Morning Star Panels with Day-Sign Reed
Morning Star Panels with Day-Sign Earthquake
In the Borgia series, Tlahuizcalpantecuhtli appears in various guises, a Death god, Eagle, Dog, Rabbit, and another Death god. In Vaticanus, he’s a consistent image of a flayed deity with “dangerous” eyes, and in Cospi he’s more or less the same Death god. In all of these images, he attacks someone or something with a spear. Apparently, bellicosity implies great power.
Considering his victims confuses things. In the Borgia Crocodile set, he attacks Chalchiuhtlicue, in Vaticanus some male god (maybe Xochipilli), and in Cospi Centeotl. In the Snake set, the Borgia victim is Tezcatlipoca, and in Vaticanus and Cospi Chalchiuhtlicue. In the Water set, in Borgia he attacks Centeotl, but in Vaticanus and Cospi the throne of a water deity (Tlaloc?). In all the Reed sets, he attacks the throne of some deity, and in the Earthquake set, he strikes a military symbol in Borgia and the divine jaguar of rulership in the others.
That variation in victims doesn’t explain why the Morning Star is so aggressively pugnacious, but it certainly helps understand how Tlahuizcalpantecuhtli had the chutzpah to attack the Sun God Tonatiuh during the creation of the Fifth Sun. Ever since Maya times, the Morning Star seems to have been a mighty bad boy much to be feared. In Aztec mythology he became an important nagual (manifestation) of the great god Quetzalcoatl, the Plumed Serpent.
On his way to Aztec fame, during the earlier Toltec (Postclassic) era, the cult of the Morning Star was apparently carried in the 12th century by those trader/warriors to the Mississippian civilization in North America. An effigy pipe called “Big Boy” from that period was found at Spiro OK in an astronomical arrangement representing creation myths. It portrays Morningstar, a mythical warrior also known as Redhorn.
Mississippian Effigy Pipe “Big Boy”
(drawing by author)
The Morning Star was also a Mississippian culture hero referred to as Birdman, and imagery of him with wings and clawed feet like the Maya Chak Ek’ is found in rock art, shell gorgets, and copper ornaments throughout the Mississippian area. In the mythologies of later tribes, he’s a prominent deity/hero: Apisirahts for the Blackfoot and either male or female deities for the Iroquois, Wichita, Pawnee, Ojibwe, Crow, and other tribes. In the Southwest, the Tewa have a Morning Star god called ‘Agojo so’jo (Big Star), a messenger of the Sun associated with warfare. Obviously, for at least a thousand years, the Morning Star has been a mighty myth of the Americas, and it’s still revered among Native American artists.
Morning Star Design by Contemporary Acoma Artist Irvin J. Louis, c. 2022
The twelfth trecena (13-day “week”) of the Aztec Tonalpohualli (ceremonial count of days) is called Lizardfor its first numbered day, which is the 4th day of the veintena (20-day “month”). In the Nahuatl language Lizard is Cuetzpallin, and it’s known as K’an in Yucatec Maya and K’at in Quiché Maya.
Pre-Conquest Codex drawings of the anatomical connection of the day Lizard are indecisive at best. Codex Rios points to the abdominal region of a male body, perhaps intimating the intestines—or the womb in a female? I can find no diagram of specific female anatomy, but the vagina is at times linked to a flower. In Codex Borgia plate 17, the Lizard is apparently “tied” (modestly under his loin flap) to Tezcatlipoca’s male genitalia (testicles?) and in plate 72 explicitly to his penis; in Borgia 53 it’s again linked explicitly to the penis. In plate 75 of Codex Vaticanus, it’s at Ehecatl’s left hand and in Borgia 73 at Mictlantecuhtli’s. (Meanwhile, in Borgia 17 the snake appears suggestively on his loin flap and in Borgia 73 as Ehecatl’s tongue and in Vaticanus 75 as Mictlantecuhtli’s.) I think it’s safe to say that the Aztecs broadly linked the Lizard to sexual organs, be they whichever, and concomitantly to reproduction and fertility.
My learned colleague Dr. Paquin advises that from the Maya perspective, K’an is about the germination of corn (maize) in the womb of the Earth, with emphasis on growth potential. From that to the Aztec concept of Lizard as representing sex and reproduction is but an intuitive step. Dr. Paquin also notes that one reference remarks, “those born under the sign One Lizard were forceful and alert, and sound of body, and that falling down will not injure them any more than a lizard would be hurt if it falls from a high to a low place.” Also, a Mayan elder wrote that K’an-born people “possess a powerful energy that allows them to overcome obstacles.” Dr. Paquin also advised, “I have found many, many examples of K’an-born people being overwhelmingly wealthy—as if there is no limit to their ability to germinate into enormous opulence whatever they touch.” How much of that was relevant to later Aztec thought is debatable.
Not surprisingly, the divine patron of the day Lizard is Huehuecoyotl, the Old Coyote (See Icon #6), the god of sexual indulgence (as well as of music, dance, storytelling, and choral singing), seen earlier as patron of the Flower Trecena.
PATRON DEITY RULING THE TRECENA
In my research long ago, the patron of the Lizard Trecena was identified as Tezcatlipoca, the Smoking Mirror (See Icon #19), deity of fate and bringer of war and change. The 10th lord of the day and god of the North, he protects slaves and is patron of magicians, sorcery, and divination, as well as bringing and curing diseases.
However, more recently another patron of the trecena has been recognized: Itztlacoliuhqui, the Curved Obsidian Blade. Maybe reflecting the Maya God Q, he’s the deity of stone, frost, ice, cold, sin, punishment, castigation, and human misery, but also of objectivity and blind-folded justice. Spawned by a conflict between Tlahuizcalpantecuhtli, Lord of the House of the Dawn (See the Snake Trecena), and Tonatiuh, God of the Fifth Sun (See the Death Trecena), the Obsidian Blade somehow wound up as one of the naguals (manifestations) of Tezcatlipoca. His complicated heritage suggests a subconscious Aztec tendency to syncretism also involving Quetzalcoatl, the Plumed Serpent, creator of the Fifth Sun, who, as the planet Venus is the “overlord” of his nagual Tlahuizcalpantecuhtli, and possibly a twin/nemesis of Tezcatlipoca. The Aztec deities have subtle ways of blending and merging into an amorphous theological stew.
AUGURIES OF LIZARD TRECENA
By Marguerite Paquin, author of “Manual for the Soul: A Guide to the Energies of Life: How Sacred Mesoamerican Calendrics Reveal Patterns of Destiny” https://whitepuppress.ca/manual-for-the-soul/
The first half of this trecena extends the “anything is possible” sequence that gives birth to the 20-day Maya month (uinal) as begun in the Monkey trecena, and now the emphasis is more of a cautionary nature. The theme of this trecena is about the germination of new ideas or directions, but it can also be a time of “testing.” In this period, careful nurturing of new ideas and staying vigilant is advised in order to help the “seeds of the new” to take root and flourish.
Further to how these energies connect with world events, see the Maya Count of Days Horoscope blog at whitepuppress.ca/horoscope/. The Maya equivalent is the K’an trecena.
THE 13 NUMBERED DAYS IN THE LIZARD TRECENA
The Aztec Tonalpohualli, like the ancestral Maya calendar, is counted through the sequence of 20 named days of the agricultural “month” (veintena), of which there are 18 in the solar year. Starting with the 4th day of the preceding veintena, 1 Lizard, this trecena continues with 2 Snake, 3 Death, 4 Deer, 5 Rabbit, 6 Water, 7 Dog, 8 Monkey, 9 Grass, 10 Reed, 11 Jaguar, 12 Eagle, and 13 Vulture.
In general Aztec calendrics there’s only one day in this trecena of particular import, Five Rabbit. However, for the ancient Maya in the “Chilam Balam of Chumayel,” the first seven days continue their “Creation” sequence, as once again kindly provided by Dr. Paquin. These later steps in the Maya sequence are just as vague, convoluted, and confused as the first thirteen in the Monkey Trecena. It’s small wonder that later Aztec lore apparently forgot that obscure ancient mythology, opting for the dramatic tale of Tezcatlipoca creating the First Sun, Four Jaguar (Nahui Ocelotl), in the process losing his left foot in battle with the Earth Monster Cipactli.
One Lizard (in Yucatec Maya 1 K’an) the day when the Creator deity was troubled (as in his spirit afflicted), and he first created anger (perhaps first felt anger) “because of the evil that he had created.” In the preceding trecena on the day Nine Rain, there was an attempt at creating hell, (the Underworld or Xibalba), and on Ten Flower as yet uncreated wicked men went there. Speaking of convolutions, evil doesn’t appear until tomorrow, Two Snake, and it’s intriguing that the Creator got angry for what “he” hadn’t done yet.
Two Snake (in Yucatec Maya 2 Chikchan) the day when evil appeared and was discovered by men. So, it was only now that men could be wicked enough to go to hell back on Ten Flower.
Three Death (in Yucatec Maya 3 Kimi) the day when the first death was invented. So, the wicked went to hell yesterday (or four days before) but only died today. One gets the feeling that perhaps this Maya creation sequence somehow runs halfway backwards in time.
Four Deer (in Yucatec Maya 4 Manik’) is a Creation-sequence day left blank in the Chilam Balam manuscript but thought to be something like “Spirit passing over.” Maybe it’s simply the Maya Creator’s “day of rest” like the Judeo-Christian Seventh Day, a Sabbath or sabbatical.
Five Rabbit(in Nahuatl Macuil Tochtli) is the day-name of one of the five Ahuiateteo or male deities of pleasure/excess, a big shot among the 400 rabbit-gods of intoxication and often paired with One Monkey (See Monkey Trecena), one of the female Cihuateteo.
(in Yucatec Maya 5 Lamat) is the day when the seven great waters of the sea were established. Remember that “all things” and “everything” had been created separately on two other days earlier in the sequence. So, were the waters only now gathered together into the “seven great waters”—into seas already created on Three Reed? Speaking of confusion…
Six Water (in Yucatec Maya 6 Muluk) the day when all the valleys were submerged before the world had awakened. Why were the valleys submerged when the waters had only yesterday been “established” in their great seas? The “breath of life” had already been created on Twelve Wind, and there’s been no mention of the earth being asleep till now. In fact, it’s long been a busy place what with being born on Seven Earthquake and being luxuriously furnished with rocks, trees, animals, birds, and man on other earlier days.
Seven Dog (in Yucatec Maya 7 Ok) the day when “occurred the invention of the word of God” when the uinal (the 20-day monthly cycle) was created, and all was set in order.” Inventing the word of God is a hard act to follow—or believe.
Incidentally, the trecena includes two more days significant for the ancient Maya but of no apparent import for the Aztecs:
Eight Monkey (in Yucatec Maya 8 Chuwen or in Quiché Maya 8 Batz’) is still a major ceremonial day for the Guatemalan Maya, sometimes referred to as the Maya New Year, primarily focused on celebrating the renewal of the sacred calendar.
Nine Grass (in Yucatec Maya 9 Eb’) was the day-name of a Maya goddess of Death and the fertile earth, as well as an oracle. I haven’t seen any Aztec notice of this goddess, but that might well be the day-name of Huitzilopochtli’s sister Malinalxochitl (Grass Flower), a sorceress and goddess of snakes, scorpions, and insects of the desert. If not, no matter…
THE TONALAMATL (BOOK OF DAYS)
Several of the surviving so-called Aztec codices (some originating from other cultures like the Mixtec) have Tonalamatl sections laying out the trecenas of the Tonalpohualli on separate pages. In Codex Borbonicus and Tonalamatl Aubin, the first two pages are missing; Codex Telleriano-Remensis and Codex Rios are each lacking various pages (fortunately not the same ones); and in Codex Borgia and Codex Vaticanus all 20 pages are extant. (The Tonalpohualli is also presented in a spread-sheet fashion in Codex Borgia, Codex Vaticanus, and Codex Cospi, but that format apparently serves other purposes.)
TONALAMATL BALTHAZAR
As described in my earlier blog The Aztec Calendar – My Obsession, some thirty years ago—on the basis of very limited ethnographic information and iconographic models —I presumed to create my own version of a Tonalamatl, publishing it in 1993 as Celebrate Native America!
As mentioned above, when I drew my version of the Lizard Trecena (in colored pencil) over 30 years ago, its patron was generally seen as Tezcatlipoca, the Smoking Mirror. The only codex image I’d found of the Black One was a figure from plate 21 in Codex Borgia, which I reversed and doctored up with a bigger and more ornate shield and arrows, enhanced with subtle detail changes, and gave lots of blue (to go better with black). My unwitting iconographic mistake was to omit the traditional yellow stripes on his face. With the eponymous smoking mirror as a left foot, my image thus wove in the story of his epic battle with the Earth Monster and (again unwittingly) incorporated several of the deity’s traditional emblems. He’s a real showstopper.
The figure of Tezcatlipoca on the right in this patron panel from the Tonalamatl Borgia is the only one to be found in the surviving Tonalamatls, and it’s likely why earlier scholars called him the patron of the Lizard Trecena. Other figures of this deity occur in Codex Borgia in many contexts, most similar (like my own above), but in fact he was reputed to be invisible, in rituals his presence merely indicated by the mystical appearance of a right-foot print in a box of sand.
Invisibility made it easy for Tezcatlipoca to manifest as various naguals including Tepeyollotl, Heart of the Mountain (patron of the Deer Trecena); Chalchiuhtotolin, the Jade Turkey (patron of the upcoming Water Trecena); Itztli, god of sacrifice and another form of Tecpatl, the sacrificial knife.; Xipe Totec, the Flayed God or Red Tezcatlipoca (patron of the upcoming Dog Trecena); and of course his companion in this patron panel, Itztlacoliuhqui, the Curved Obsidian Blade.
Being the “jaguar of the night,” the figure stands on the thatched roof of the night sky (as does Tepeyollotl in the Deer Trecena). I suspect that this added “pedestal” is why the codex artist fore-shortened the god’s traditionally larger plumed back-bundle. Unfortunately, the original codex image is severely damaged, particularly in this ornament and around his hindquarters. So, I’ve reconstructed it, his skirt, and tail-flap using details from other Borgia images. By the way, the item in his painfully twisted upper hand is apparently a scepter of divine power/rulership.
Meanwhile, Itztlacoliuhqui enthroned on the left is one of the more elegant and enigmatic images of this unusual deity. Unique among Aztec deities, no item of human form (except an elemental head) detracts from this image as an abstract, divine idol. Elsewhere in Borgia as patron of the day Reed, he looks like Tezcatlipoca but still wears the blindfold of objectivity.
Among other odd items of the Blade’s paraphernalia, the most telling is that arrow/dart stuck in his head, whereon hangs the tale of the celestial conflict mentioned earlier. In short, when Quetzalcoatl/Ehecatl created the Fifth world, a young god named Nanahuatzin leapt into the cosmic conflagration to become the new sun (Tonatiuh) and then refused to move until the other gods recognized his supremacy. Unwilling to kowtow, Tlahuizcalpantecuhtli (the Morning Star) shot an arrow at Tonatiuh, which that god caught and threw back at him, hitting the Lord of the House of the Dawn in the forehead. To redeem the situation, Tonatiuh turned the target into a new god, a nagual illogically of Tezcatlipoca, namely Itztlacoliuhqui. I can’t explain why the arrow is broken here, except maybe to make it fit on the page.
The rest of the panel is comfortably uncluttered. The ornamental pulque pot is likely homage to the intoxicated Five Rabbit just below it, but the other two items bear comment. The inverted (empty) vase at the top probably intends to warn people about what recklessness can cause if they’re not cautious in generating new ideas and directions (not to mention opulence). The falling figure may indicate someone in a situation out of their control (a victim of fate). Usually, falling indicates a deceased person (with closed eyes), but this one’s eyes are open. We’ll come to understand this motif better with evidence from other tonalamatls.
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TONALAMATL YOAL (compiled and re-created by Richard Balthazar on the basis of Codex Telleriano-Remensis and Codex Rios)
Aztec Calendar – Lizard trecena – Tonalamatl Yoal
The more human image of Itztlacoliuhqui on the left is heavily loaded down with divine accoutrements. Here the blind, black-striped face wears an abstract crescent nosepiece instead of a blindfold, and the legendary arrow is now a large ornate spear. A curious detail is that the left side of his/its body has been flayed, and strips of flayed skin are evidently included in the headdress and profusion of flaps and scarves (no doubt as signs of holiness). The flaying may also refer to his connection with Tlahuizcalpantecuhtli, who’s almost always represented thus. In his right hand is a swatch of straw or broom thought to indicate cleaning/clearing required before “germination of new ideas or directions;” in the Borgia panel it’s probably reflected in that idol’s straw cape.
The two human figures on the right immediately clarify the meaning of Borgia’s falling fellow. They represent Itztlacoliuhqui’s symbolism of justice and/or castigation and punishment of sin. Both stoning and strangling were standard Aztec methods of execution, which I strongly suspect didn’t come with the religious benefits of sacrificial rites. Note these two figures’ eyes are closed indicating death. While this trecena generously portends the “nurturing of new ideas,” it clearly doesn’t pretend to be gentle or forgiving. Of course, objective justice rarely is.
The Codex Rios copies of this trecena page are exceptionally blurry and careless, and I relied solely on the Telleriano-Remensis original for this re-creation. An innovation was making the bladed crest on his headdress black to indicate obsidian, which various sources claim as an iconographic attribute of Itztlacoliuhqui. However, in other images the points are normally left white, the primary color of this deity. My other innovation was to reposition his left arm so that it wasn’t jutting from his forehead, a frequent problem with Aztec-style figures.
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OTHER TONALAMATLS
Tonalamatl Aubin patron panel for Lizard trecena
In the Tonalamatl Aubin, the Blade is almost entirely white with only red points on the obsidian crest of the standard headdress (struck with only a small arrow). Here his whole body, eyeless face, and headdress are flayed. In the upper hand is evidently the broom (on an arm typically and weirdly coming out of his forehead). The two (deformed) humans seem to be bleeding from punishment, maybe for disporting with pulque and some kind of flower or fruit, but they’re still alive. The four small bleeding items beg explanation, particularly the front half of the snake. Whoever uses these panels for divination will just have to make what they will of such details.
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Codex Borbonicus patron panel for Lizard trecena
The patron panel in Codex Borbonicus presents yet another elegant and enigmatic figure of Itztlacoliuhqui. This time he has a human body, a crescent nosepiece as in Yoal, and again only a small arrow piercing his headdress, and he holds a rather large broom for sweeping the way clean. His mostly white raiment of bands, sashes, and pointy ornaments conveys an appropriate sense of crystalline cold and ice. Some sources suggest that the bumpy texture of his legs and arms represents a covering of unspun cotton (tlazolli) destined to be “ordered” as spun cotton (ichcatl). I find that interpretation strained, but this texture doesn’t look anything like the striped flaying we’ve seen in his other images.
As in most Borbonicus patron panels, lots of ritual objects are shown in a scattered conglom, including two little executed folks on the lower right, some inverted containers (pulque and water), and another front half of a snake, for whatever that might mean. Oddly, on the lower left where the symbol of the trecena is usually placed, instead of a lizard, we find a two-headed snake. Quite curious, in the upper center the arrow has a side-notched flint point I’ve not seen in other Aztec instances. Even odder, at the bottom center is an inscrutable animal head (a deer?). Have fun interpreting this arcane collection.
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Codex Vaticanus patron panel for Lizard trecena
The Codex Vaticanus patron panel more or less restates the Borgia version—minus the big cheese, Tezcatlipoca—again leaving his nagual Itztlacoliuhqui as undisputed patron of the trecena. Only this time, the blind “idol” is even more abstracted, looking like a standard corpse bundle with a broken arrow stuck in the top. This tells me that the deity of stone, cold, etc., must be dead, not a god of Death but a defunct god, which is a passing strange concept. But an arrow in the head is usually lethal, and the dead can afford to be objective.
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Put simply, the Lizard Trecena is an optimistic, if rather gruesome, time period in the Aztec calendar. Our discussion has now set the record straight that the ominous Curved Obsidian Blade is its sole patron, and sinners should beware. Fortunately, it only lasts for 13 days…
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UPCOMING ATTRACTION
The calendar’s thirteenth trecena will be that of Earthquake (or Motion/Movement) with Tlazolteotl, Goddess of Filth, again as its patron. (She was also a patron of the Deer Trecena.)
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You can view all the calendar pages I’ve completed up to this point in the Tonalamatl gallery.