nahui ollin aztec

The Identity of the Central Deity on the Aztec Calendar Stone. Her groundbreaking insight provided a key historical context for the monument , dating it to between 1503 and 1519, an attribution that is now widely accepted.

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This is an important detail to consider, for it suggests that the central face, as a more visually developed ixtli, is more integral to the Olin sign than to the solar disc. Die fünfte Sonne ImmramaCo. Ollin is associated with transmutation, disorder, and seismic change. A Reconsideration of Some Hieroglyphs on the Mexica Calendar Stone. This interior placement is highly significant, for it suggests that the glyphs are closely associated with the central face in some way, perhaps as labels or designations.

Perhaps, then, it is not to be taken as an explicit year reference, but as something more oblique and metaphorical. However, Umberger (1981:205, 1988), following an earlier suggestion by Peñafiel (1890), was surely correct to see this as a particularly elaborate version of the name hieroglyph of Moteuczoma II, of which there are many examples on other monuments (Umberger 1981, 1988) (Figure 5).

On La Palma, Stela 5, for example, the local king of the Lakamtuun royal line is portrayed within a hieroglyph pronounced ajaw, “king,” in the writing of the time period 7 Ahau (Figure 8). 2000.

Now, this little detail is interesting enough in its own right, but I’d like to call your attention to one last thread of the story that makes it even more fascinating. Klein, Cecilia. 1988. The notion that time itself could be embodied and personified through a living king or queen seems to have been prelevant in Mesoamerican ideology and theology. Some readers may be confused by the varied spellings of the Aztec ruler’s name.

This seems natural, given how we see the interaction of name glyph and image on several other examples from mexica sculpture.

2005. I would also like to thank a number of students and colleagues at UT-Austin for their insights, including Tim Beach, Elliot Lopez-Finn, Edwin Román Ramirez, Sergio Romero, and, especially, Stephanie Strauss, who first pointed out the possible diadem on the Calendar Stone’s central face. In Current Topics in Aztec Studies: Essays in Honor of Dr. H.B.

This interpretation seems intrinsically attractive given 1 Flint’s visual juxtaposition with Moteuczoma II’s name glyph, as if these were two names associated with and reflective of one another. The last of these definitions of ixtli is of special note given the many varied interpretations of the central visage proposed over the last several decades.

In other words, a number of merged identifies may play into the overall significance of the central face.

It seems at once integral to the larger design of the solar disc as well as to the Olin day sign that forms the Nahui Olin (“Four Movement”) name of the current sun or era. It’s just the cycle of nature.

It’s a particularly special day because its the name day of Tonatiuh, the Sun of the Fifth Era — i.e., the present cosmic age. Name glyphs do not simply “float” within compositions in painting and sculpture; they must act to identify something specific and visible. According to the myth, all the gods had gathered to sacrifice themselves and create a new age. Rather she interpreted it as an image of Yohualteuctli, the “Night Lord,” who Seler had specifically identified as the nocturnal sun within the Underworld.

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