We have as of now seen that the Aztecs attempted to clarify divine peculiarities through fantasies that describe the battle of the divine beings—that is, the battle of the radiant bodies. This drove them to mention precise observable facts, which they recorded on their landmarks and in their codices, that are proof of the high level stage they had reached in the study of stargazing. It additionally drove them to take on a schedule, which was without a doubt the result of the more established societies that had gone before them. Despite the fact that it is sub-par compared to the excellent calculation made by the Mayas, which is as yet not outperformed by our present-day framework, the Aztec schedule has, in any case, components that make it an exceptional logical improvement for an in other group were, in different fields, extremely distant from the social level it showed.
The sun, called Tonatiuh, was summoned by the names of "the sparkling one," "the delightful youngster," "the bird that takes off." He was by and large addressed by a plate, beautified in Aztec design. This circle is generally known on the grounds that it is a fundamental piece of the commended landmark called the Aztec Calendar, which is just an extremely intricate portrayal of the sun.
In the focal point of the plate is the essence of Tonatiuh; along the edges seem his hands, tipped with bird paws gripping human hearts, for the sun was viewed by the Aztecs as a falcon. Toward the beginning of the day, as he rose high up, he was called Cuauhtlehuanitl, "the falcon who rises"; in the evening he was called Cuauhtemoc, "the hawk who fell," the name of the last, lamentable, courageous Aztec head.
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| Aztec Sun Stone Mural Art |
Around the figure of Tonatiuh, there are designed in huge aspects the date "4 Earthquake," the day on which the current sun is to be annihilated by quakes. In the square shapes of the sign "tremor" are the dates on which the previous suns died ("4 Jaguar"; "4 Wind," addressed by the top of the god Ehecatl-Quetzalcoatl; "4 Rain," addressed by the head of Tlaloc; "4 Water," addressed by a container of water from which arises the bust of the goddess Chalchiuhtlicue).
A ring encompassing these figures contains different portrayals of the indications of the days. Starting at the top with the top of the gator Cipactli, the ring closes with the sign for the blossom, Xochitl. Then, at that point, follow the groups with drawings of the sun based beams and of gems of jade or turquoise, for the Aztecs called the sun Xiuhpiltontli, "the turquoise youngster." They considered him the most valuable thing known to man and consistently imagined him as a gem. At last, the two external groups are the two fire snakes who bear the sun through the sky. Between their teeth seem the essences of the gods who utilize these snakes as camouflages.
These snakes of fire, or xiuhcoatls, that encompass the sun likewise orbited the Great Temple of Tenochtitlan and framed the well known coatepantli, or "mass of snakes." Nothing of the last option remains today aside from a couple of heads, which are in the National Museum of Mexico. In one more sanctuary at Tenayuca, in any case, such heads should be visible encompassing the sanctuary devoted to the sun.
Huitzilopochtli fittingly addresses the blue sky or the sky of day, however he is a manifestation of the sun. His battle with the nighttime powers drove by the moon has effectively been described, and how he should overcome the divine forces of the night every day to keep humankind alive and keep the lords of haziness from annihilating the sun. It has additionally been brought up that Huitzilopochtli, in contrast to most of different divine beings, appears to have involved a position of significance just among the Aztecs. Without a doubt, up to right now, the main portrayal of this god in any original copy that comes from a district outside the Tenochtitlan region that has been drawn out into the open is the one called attention to by Beyer1 in the Fejervary-Mayer manuscript,2 however a similar Mexican god seems, by all accounts, to be depicted in a painting decorating the sanctuaries of Tulum, a Mayan city that went under solid Toltec impact.
Notwithstanding, the ancestral person of Huitzilopochtli is obviously uncovered in the legends of the Aztec relocations protected in the codices and annals and in the establishments of Tenochtitlan.
In actuality, it was Huitzilopochtli who, in the year "One Flint," the extended period of his introduction to the world, actuated the heads of the Aztec clan to leave their legendary country, Aztlan, situated in a lake, and attempt the long wanderings prior to setting up a good foundation for themselves on another island, additionally situated in a lake, which would have the equivalent physical as well as similar legendary conditions as the spot from which they had come. During their wanderings Huitzilopochtli was mindful so as to organize what his kin ought to do; and his representatives, who conveyed his sculpture, whence came their name, teomama, let individuals know when they should settle and when they should leave the spots where they had taken up their homestead. In this manner they went through hundreds of years meandering through the north and focal pieces of Mexico until they at last settled down in the rear entryway.
Since the god had vowed to give his kin an unmistakable country and domain over the world, it was important for the Aztecs to stay separate from the other native countries, their foes. This was extremely essential that when they were solidly settled in the valley and business relations and relationships started to break their segregation, the ministers were mindful so as to see that a lord's girl who had been given in union with an Aztec ruler was forfeited. Threats would then break out once more, and long-seething abhorrences would be mixed between the Aztecs and the clans they were bound to overcome.
Yet, later they left the place that is known for whiteness, they needed to set up a good foundation for themselves in a spot that should have been uncovered by otherworldly signs. At the point when the amazed clerics observed the bird balanced on the prickly plant, the sign Huitzilopochtli had given them, the trees became white and the waters became white; there the Aztecs were to establish Tenochtitlan. A flood of blue water and one more of red spouted forward from the spring, showing the hieroglyphic atltlachinolli, which signifies "water, a consumed thing," or the blessed conflict which had as its genuine the contribution of the blood and hearts of the casualties to the sun. Metzli, the moon, is additionally envisioned on occasion with a plate enlivened on its external groups like the sunlight based circle, however for the most part, this plate is dark or debris shaded. At the middle, there seems the figure of a bone bent into a structure taking after a cross-segment of a little container of water or the figure of a bunny, as clarified in the legend about the sun, the moon, and the hare.
The falcon and the puma were the animals wherein the powers of light and obscurity were manifest. Heroes who achieved the significant privilege of being called by these names were more devoted than others to providing sustenance to the sun by penance.
The astral divine beings, being survivors of the sun, show up in the codices with their bodies painted with white chalk, striped in red, similarly as the Aztecs painted the detainees of war who were to be forfeited. Facial composition as a dark veil marks them as divine forces of the evening.
There were numerous astral divinities, however the most significant were Mix-coatl, "the cloud snake," or the Milky Way; Camaxtle, tutelar divine force of the Tlaxcaltecans; Tlahuizcalpantecuhtli, "the ruler of the place of sunrise," and so forth Every one of the stars, imagined as divine beings, were believed to be gathered in two groups called Centzon Mimixcoa, "the unnumbered ones from the North," and Centzon Huitzndhuac, "the unnumbered ones from the South." They were the champions against whom the sun should do fight every day.
In any case, the planets were the tzitzimime, or tzontemoc, "the people who fell recklessly," that is, the individuals who appeared to fall into the west, recognizing in this way their course of development from that of different stars. It is they who, changed into panthers on an awful night toward the century's end, will boil rational, changed into wild monsters, to eat up man.
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