Tlaloc was heard before I saw him. Rain poured incessantly from the statue’s skyward-facing mouth into the water around him, resembling a heavy, Mexican rainy season rainfall. Eduardo, the young taxi driver who had brought me here, got out with me when I arrived late in the afternoon on a spring day. He’d never heard of the Tlaloc statue, but he had always admired old Mexican cosmology and engineering, he claimed. He showed me his forearm, which was completely covered with an exquisite tattoo of Coatlicue, the Aztec goddess of fertility, as we approached the monument. He stated, “I believe in the Virgin and the Saints.” “However, I was nurtured by my mother, who encouraged me to complete my education, and I have two sisters, two daughters, and a wife.” Women in the countryside, where I grew up, aren’t respected for anything other than helping males. This tattoo is in appreciation of women and all they are capable of.”
Eduardo was also well-versed in Tlaloc. He called up a TV program about another Aztec Tlaloc’s Myth arrival in this part of Mexico: a dust-colored 168-ton monolith transported in 1964 from the village of Coatlinchan, where it had dwelt for decades, to the adjacent Museum of Anthropology. Images of Coatlinchan’s peasants, swathed in shawls and work clothing, appearing stricken, are interspersed with old footage of the statue’s passage through hordes of enthralled watchers in Mexico City. In the news footage Eduardo shows me, a TV analyst adds, “There is a great grief.” Mexicans vividly recall the city being drenched in the biggest rainstorm ever recorded for that time of year on the day the monolith arrived in Mexico City.
Tlaloc by Rivera, on the other hand, evokes a completely different vibe. This god, rather than being a prisoner, is bursting at the seams with uncontrollable energy. Like a dancing god Shiva, his legs and arms flap as if caught in mid-leap across the earth or in a frenzy of miraculous creation. Nubbled stone mosaics cover his entire torso, including two sacred corncobs, which are the reason ancient Mexicans prayed so earnestly for Tlaloc’s rainy generosity.
Tlaloc was designed to be completely appreciated from airplanes, as captivating as he is at eye level. “The spraying water mimics rain and connects water with the air,” wrote author Jeff Bale. His body is designed to reflect the mountain ranges where Tlaloc was worshipped.” The depiction of an eagle poised on a cactus, overlooking a river, is on Tlaloc’s left sandal. It’s the first depiction of Mexico City, which the Aztecs attributed to an eagle who guided early travelers to Tenochtitlan.
This motif, it turned out, is also prominently displayed on the extensively tattooed sleeve of Oscar Huerta, a 38-year-old office worker who happened onto Tlaloc the same time I did. He was out with his wife, Sandra Itzel, 38, and their six-year-old son Eric Ramses Huerta.
“We just happened upon this place,” Huerta explains. Indulging me, he put out his arm in front of Tlaloc’s foot, which had almost comparable imagery. Itzel extended her own arm, which was meticulously tattooed with the image of a Mayan governor from the Palenque archaeological site. Itzel says, “Our pals are tour guides and anthropologists, and they’ve helped instill in us a love for our culture.” “These tattoos are a part of who I am as a Mexican.” We are also devout Catholics. Syncretism, on the other hand, is a part of being Mexican.”
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The Aztec Mexica Tlaloc pouring rain design is one of the most popular and well known designs inspired by the ancient Aztec sun calendar. It is considered a must-have for any fan of Mexican culture, and looks great on all kinds of apparel and accessories. Here we take a closer look at this iconic design, and show you where to buy it online.
Aztec Tlaloc Mexican Maya Aztec Shirts
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