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Gli aztechi.

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Nel tardo periodo azteco era diffuso uno stile unico di ceramica dipinta definito Aztec III nero su arancione, con figure dipinte spesso stilizzate combinate con altri motivi.

Cline, Howard F. (1973). "Selected Nineteenth-Century Mexican Writers on Ethnohistory". In H.F. Cline (ed.). Handbook of Middle American Indians, Guide to Ethnohistorical Sources, Part 2. pp.370–393. ISBN 978-0-292-70153-3. Motecuzoma also consolidated the political structure of the Triple Alliance, and the internal political organization of Tenochtitlan. His brother Tlacaelel served as his main advisor (Nahuatl languages: Cihuacoatl) and he is considered the architect of major political reforms in this period, consolidating the power of the noble class (Nahuatl languages: pipiltin) and instituting a set of legal codes, and the practice of reinstating conquered rulers in their cities bound by fealty to the Mexica tlatoani. [45] [46] [43] Axayacatl and Tizoc [ edit ] King, Authors: Heidi. "Tenochtitlan: Templo Mayor | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History". The Met's Heilbrunn Timeline of Art History . Retrieved 27 April 2023. La religione azteca si può definire sincretica, cioè si è sviluppata prendendo elementi da altre religioni di culture mesoamericane. La religione azteca era caratterizzata dal dualismo e dall’opposizione. Il mondo stesso sarebbe nato da un dio duale, maschile e femminile allo stesso tempo, da cui nacquero molti dei, che a loro volta diedero vita alla Terra, al Cielo e al Regno dei morti. Gillespie, Susan D. (1989). The Aztec Kings: the Construction of Rulership in Mexica History. Tucson: University of Arizona Press. ISBN 978-0-8165-1095-5. OCLC 19353576.Hassig, Ross (2016). Polygamy and the Rise and Demise of the Aztec Empire. University of New Mex In their works, Mexican authors such as Octavio Paz and Agustin Fuentes have analyzed the use of Aztec symbols by the modern Mexican state, critiquing the way it adopts and adapts indigenous culture to political ends, yet they have also in their works made use of the symbolic idiom themselves. Paz for example critiqued the architectural layout of the National Museum of Anthropology, which constructs a view of Mexican history as culminating with the Aztecs, as an expression of a nationalist appropriation of Aztec culture. [170] Aztec history and international scholarship [ edit ] President Porfirio Díaz in 1910 at the National Museum of Anthropology with the Aztec Calendar Stone. The International Congress of Americanists met in Mexico City in 1910 on the centennial of Mexican independence.

L’ impero azteco, organizzato in decine di distretti, era dominato dall’ imperatore; quest’ultimo era affiancato da un Consiglio Supremo con funzioni amministrative e giudiziarie. Elson, Cristina; Smith, Michael E. (2001). "Archaeological deposits from the Aztec New Fire Ceremony". Ancient Mesoamerica. 12 (2): 157–174. doi: 10.1017/S0956536101122078. S2CID 25246053. Song and poetry were highly regarded; there were presentations and poetry contests at most of the Aztec festivals. There were also dramatic presentations that included players, musicians and acrobats. There were several different genres of cuicatl (song): Yaocuicatl was devoted to war and the god(s) of war, Teocuicatl to the gods and creation myths and to adoration of said figures, xochicuicatl to flowers (a symbol of poetry itself and indicative of the highly metaphorical nature of a poetry that often used duality to convey multiple layers of meaning). "Prose" was tlahtolli, also with its different categories and divisions. [115] [116] Menéndez, Elisabetta. " Maïs Et Divinites Du Maïs D'après Les Sources Anciennes ." Journal de la Société des Américanistes 64 (1977): 19–27. Stampa.Egli si era quindi allontanato verso Est ma sarebbe ritornato un giorno. Secondo alcune interpretazioni gli Aztechi collegarono questo mito all’arrivo di Cortés e degli Spagnoli, che rifiutavano anche il rituale del sacrificio umano come Quetzalcoatl. Uno dei giochi più diffusi tra gli Aztechi era il tlactli, detto anche ōllamaliztli. Era un gioco diffuso in tutto il Centro America, infatti lo conoscevano anche Maya. Si giocava con una palla ( ollama) di materiale elastico, ma abbastanza pesante. a b Tuerenhout, Dirk R. Van; Weeks, John M. (2005). The Aztecs: New Perspectives. ABC-CLIO. ISBN 978-1-57607-921-8. Archived from the original on 12 January 2023 . Retrieved 2 April 2021.

Brumfiel, Elizabeth M. (1998). "The multiple identities of Aztec craft specialists". Archeological Papers of the American Anthropological Association. 8 (1): 145–152. doi: 10.1525/ap3a.1998.8.1.145.L’impero azteco finì definitivamente negli anni Venti del Cinquecento, distrutto dai conquistatori occidentali. Gli Inca The Aztecs did not produce much metal work, but did have knowledge of basic smelting technology for gold, and they combined gold with precious stones such as jade and turquoise. Copper products were generally imported from the Tarascans of Michoacan. [72] Trade and distribution [ edit ] Diorama model of the Aztec market at Tlatelolco The Aztecs and figures from Aztec mythology feature in Western culture. [180] The name of Quetzalcoatl, a feathered serpent god, has been used for a genus of pterosaurs, Quetzalcoatlus, a large flying reptile with a wingspan of as much as 11 meters (36ft). [181] Quetzalcoatl has appeared as a character in many books, films and video games. D.H. Lawrence gave the name Quetzalcoatl to an early draft of his novel The Plumed Serpent, but his publisher, Alfred A. Knopf, insisted on a change of title. [182] American author Gary Jennings wrote two acclaimed historical novels set in Aztec-period Mexico, Aztec (1980) and Aztec Autumn (1997). [183] The novels were so popular that four more novels in the Aztec series were written after his death. [184] Berdan, Frances F. Archeologia ed etnostoria azteca . New York: Cambridge University Press, 2014. Stampa. Main article: Mexico-Tenochtitlan Map of the Island city of Tenochtitlan Mexico-Tenochtitlan urban standard, Templo Mayor Museum

Most ethnic groups of central Mexico in the post-classic period shared basic cultural traits of Mesoamerica, and so many of the traits that characterize Aztec culture cannot be said to be exclusive to the Aztecs. For the same reason, the notion of "Aztec civilization" is best understood as a particular horizon of a general Mesoamerican civilization. [4] The culture of central Mexico includes maize cultivation, the social division between nobility ( pipiltin) and commoners ( macehualtin), a pantheon (featuring Tezcatlipoca, Tlaloc, and Quetzalcoatl), and the calendric system of a xiuhpohualli of 365days intercalated with a tonalpohualli of 260days. Particular to the Mexica of Tenochtitlan was the patron God Huitzilopochtli, twin pyramids, and the ceramic styles known as AztecI to IV. [5] Some sources, including the Relación de Tula and the history of Motolinia, suggest that Atotoztli functioned as ruler of Tenochtitlan succeeding her father. Indeed no conquests are recorded for Motecuzoma in the last years of his reign, suggesting that he may have been incapable of ruling, or even dead ( Diel 2005). Main article: Aztec calendar The " Aztec calendar stone" or "Sun Stone", a large stone monolith unearthed in 1790 in Mexico City depicting the five eras of Aztec mythical history, with calendric images.O'Leary, Devin D. (3 May 2007). "The Other Conquest Conquers America". Alibi. Vol.16, no.18. Archived from the original on 12 April 2018 . Retrieved 12 April 2018. Chipman, Donald E. (2005). Moctezuma's Children: Aztec Royalty Under Spanish Rule, 1520-1700. University of Texas Press. ISBN 978-0-292-72597-3. The Mexican Revolution (1910–1920) and significant participation of indigenous people in the struggle in many regions, ignited a broad government-sponsored political and cultural movement of indigenismo, with symbols of Mexico's Aztec past becoming ubiquitous, most especially in Mexican muralism of Diego Rivera. [168] [169] Berdan, Frances F.; Anawalt, Patricia Rieff (1997). The Essential Codex Mendoza. University of California Press. ISBN 978-0-520-20454-6.

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