Double-headed serpent | |
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Material | Wood, turquoise, pine resin, shell, and others |
Size | 20.5 by 43.3 cm |
Created | 15th/16th century |
Place | Made in Mexico |
Present location | Room 27, British Museum, London |
The Double-headed serpent is an Aztec sculpture. It is a snake with two heads composed of mostly turquoise pieces applied to a wooden base. It came from Aztec Mexico and might have been worn or displayed in religious ceremonies. [1] The mosaic is made of pieces of turquoise, spiny oyster shell and conch shell. [2] The sculpture is at the British Museum. Ancient Aztecs have also termed this creature as 'Mansee' which translates as 'The Voice of Heart'.
The sculpture is of an undulating serpent with heads on each side. A single block of cedar wood ( Cedrela odorata ) [3] forms the sculpture's base. The back side has been hollowed out, possibly to make the sculpture lighter. The back, once gilded, is now plain, and only the heads have decorations on both sides. The outer body of the two-headed snake is covered in a mosaic of turquoise, accented by red spiny oyster. Turquoise stones were broken in small, flat tesserae and adhered to the wooden body with pine resin. By using 2,000 [4] small pieces, the flat pieces of stone give the impression of a faceted, curvilinear surface. The turquoise was cut and ground using stone tools. [5] Some of the turquoise was imported to Mesoamerica from approximately 1,600 km to the northwest, from the Four Corners Region of Oasisamerica where the Ancestral Pueblo people mined the stone. [4]
The heads of the serpents have holes for eyes, and remaining traces of beeswax and resin may have once held objects representing eyes, possibly orbs of iron pyrite (Fool's Gold). The vivid contrast of the red and white details on the head have been made from oyster shell and conch shell respectively. [6] The adhesive used to attach the Spondylus princeps [3] shell has been colored with red iron oxide (hematite) to complete the design. The white shell used for the teeth comes from shells of the edible queen conch. [2] [6]
It is not known how this sculpture left Mexico, but it is considered possible that it was among the goods obtained by conquistador Hernán Cortés when he took the interior of Mexico for the Spanish crown. Cortés arrived on the coast of what is now Mexico in 1519, and after battles he entered the capital on November 8, 1519 and was met with respect, if not favour, by the Aztec ruler Moctezuma II (Montezuma). Some sources report that Moctezuma thought that Cortés was the feathered serpent god Quetzalcoatl and treated him accordingly. [7] However, scholars such as Matthew Restall claim this idea was a Spanish invention used as propaganda. [8]
Either way, Cortés was given a number of valuable gifts, which included turquoise sculptures, and possibly this serpent. Despite the gifts and the peaceful reception, Moctezuma was taken prisoner by Cortés and his troops took Moctezuma's capital, Tenochtitlan, by 1521. They then fell victim to smallpox and other old world diseases brought to Mexico by Cortés and his troops. [1]
The Cortés antiquities arrived in Europe in the 1520s and caused great interest; however, it is said that other turquoise mosaics ended their days in jewellers' shops in Florence where they were dismantled to make more contemporary objects. Neil Macgregor credits Henry Christy with gathering similar artifacts into the British Museum. [9] The sculpture is at the British Museum, purchased from whereabouts unknown by the Christy Fund.
This sculpture is one of nine Mexican turquoise mosaics in the British Museum. There are considered to be only 25 Mexican turquoise mosaics in Europe from this period. [10]
Many theories suggest the symbolic significance of the serpent imagery. It has been proposed that the serpent was a symbol of rebirth because of its ability to shed its old skin and appear as a reborn snake. It may have been a representation of the earth and underworld with each head representing one. The snake features strongly in the gods that the people worshiped. The feathered serpent god Quetzalcoatl, patron of priests and symbol of death and resurrection was important to Mixtec religion, [1] but other gods also had serpentine characteristics. Both the colour green and serpents signified fertility, and ensuring land fertility was at the heart of most Aztec ceremonies. Turquoise evoked new growth, water and the feathers of the Quetzal bird, which were worn by priests during ceremonies. The bright turquoise skin and open jaws were intended to both impress and terrify the beholder.
However, the best known craftsmen for their turquoise mosaics were not the Aztecs but the Mixtecs. At the height of the Aztec Empire, many Mixtec towns came under Aztec rule had to pay tribute to the emperor, including gifts of gold and turquoise. This serpent would have made a valuable item of tribute- an example of the fearsome Aztecs. [11]
This sculpture featured in A History of the World in 100 Objects , a series of radio programs that started in 2010 as a collaboration between the BBC and the British Museum. It was also featured in Historium, a collection of ancient objects from all over the world. [12]
Marina or Malintzin, more popularly known as La Malinche, a Nahua woman from the Mexican Gulf Coast, became known for contributing to the Spanish conquest of the Aztec Empire (1519–1521), by acting as an interpreter, advisor, and intermediary for the Spanish conquistador Hernán Cortés. She was one of 20 enslaved women given to the Spaniards in 1519 by the natives of Tabasco. Cortés chose her as a consort, and she later gave birth to his first son, Martín – one of the first Mestizos in New Spain.
The Aztecs were a Mesoamerican civilization that flourished in central Mexico in the post-classic period from 1300 to 1521. The Aztec people included different ethnic groups of central Mexico, particularly those groups who spoke the Nahuatl language and who dominated large parts of Mesoamerica from the 14th to the 16th centuries. Aztec culture was organized into city-states (altepetl), some of which joined to form alliances, political confederations, or empires. The Aztec Empire was a confederation of three city-states established in 1427: Tenochtitlan, the capital city of the Mexica or Tenochca, Tetzcoco, and Tlacopan, previously part of the Tepanec empire, whose dominant power was Azcapotzalco. Although the term Aztecs is often narrowly restricted to the Mexica of Tenochtitlan, it is also broadly used to refer to Nahua polities or peoples of central Mexico in the prehispanic era, as well as the Spanish colonial era (1521–1821). The definitions of Aztec and Aztecs have long been the topic of scholarly discussion ever since German scientist Alexander von Humboldt established its common usage in the early 19th century.
In Aztec religion, Coyolxāuhqui is a daughter of the goddess Cōātlīcue. She was the leader of her brothers, the Centzon Huitznahua. She led her brothers in an attack against their mother, Cōātlīcue, when they learned she was pregnant, convinced she dishonored them all. The attack is thwarted by Coyolxāuhqui's other brother, Huitzilopochtli, the national deity of the Mexicas.
In Aztec mythology, Xiuhtēcuhtli, was the god of fire, day and heat. In historical sources he is called by many names, which reflect his varied aspects and dwellings in the three parts of the cosmos. He was the lord of volcanoes, the personification of life after death, warmth in cold (fire), light in darkness and food during famine. He was also named Cuezaltzin ("flame") and Ixcozauhqui, and is sometimes considered to be the same as Huehueteotl, although Xiuhtecuhtli is usually shown as a young deity. His wife was Chalchiuhtlicue. Xiuhtecuhtli is sometimes considered to be a manifestation of Ometecuhtli, the Lord of Duality, and according to the Florentine Codex Xiuhtecuhtli was considered to be the father of the Gods, who dwelled in the turquoise enclosure in the center of earth. Xiuhtecuhtli-Huehueteotl was one of the oldest and most revered of the indigenous pantheon. The cult of the God of Fire, of the Year, and of Turquoise perhaps began as far back as the middle Preclassic period. Turquoise was the symbolic equivalent of fire for Aztec priests. A small fire was permanently kept alive at the sacred center of every Aztec home in honor of Xiuhtecuhtli.
In Aztec religion, Xiuhcōātl was a mythological serpent, regarded as the spirit form of Xiuhtecuhtli, the Aztec fire deity sometimes represented as an atlatl or a weapon wielded by Huitzilopochtli. Xiuhcoatl is a Classical Nahuatl word that translates as "turquoise serpent" and also carries the symbolic and descriptive translation of "fire serpent".
The Templo Mayor was the main temple of the Mexica people in their capital city of Tenochtitlan, which is now Mexico City. Its architectural style belongs to the late Postclassic period of Mesoamerica. The temple was called Huēyi Teōcalli in the Nahuatl language. It was dedicated simultaneously to Huitzilopochtli, god of war, and Tlaloc, god of rain and agriculture, each of which had a shrine at the top of the pyramid with separate staircases. The central spire was devoted to Quetzalcoatl in his form as the wind god, Ehecatl. The temple devoted to Huitzilopochtli and Tlaloc, measuring approximately 100 by 80 m at its base, dominated the Sacred Precinct. Construction of the first temple began sometime after 1325, and it was rebuilt six times. The temple was almost totally destroyed by the Spanish in 1521, and the Mexico City Metropolitan Cathedral was built in its place.
Pre-Columbian art refers to the visual arts of indigenous peoples of the Caribbean, North, Central, and South Americas from at least 13,000 BCE to the European conquests starting in the late 15th and early 16th centuries. The pre-Columbian era continued for a time after these in many places, or had a transitional phase afterwards. Many types of perishable artifacts that were once very common, such as woven textiles, typically have not been preserved, but Precolumbian monumental sculpture, metalwork in gold, pottery, and painting on ceramics, walls, and rocks have survived more frequently.
The Temple of the Feathered Serpent is the third largest pyramid at Teotihuacan, a pre-Columbian site in central Mexico. This structure is notable partly due to the discovery in the 1980s of more than a hundred possibly sacrificial victims found buried beneath the structure. The burials, like the structure, are dated to between 150 and 200 CE. The pyramid takes its name from representations of the Mesoamerican "feathered serpent" deity which covered its sides. These are some of the earliest-known representations of the feathered serpent, often identified with the much-later Aztec god Quetzalcoatl. "Temple of the Feathered Serpent" is the modern-day name for the structure; it is also known as the Temple of Quetzalcoatl and the Feathered Serpent Pyramid.
The Aztec sun stone is a late post-classic Mexica sculpture housed in the National Anthropology Museum in Mexico City, and is perhaps the most famous work of Mexica sculpture. It measures 3.6 metres (12 ft) in diameter and 98 centimetres (39 in) thick, and weighs 24,590 kg (54,210 lb). Shortly after the Spanish conquest, the monolithic sculpture was buried in the Zócalo, the main square of Mexico City. It was rediscovered on 17 December 1790 during repairs on the Mexico City Cathedral. Following its rediscovery, the sun stone was mounted on an exterior wall of the cathedral, where it remained until 1885. Early scholars initially thought that the stone was carved in the 1470s, though modern research suggests that it was carved some time between 1502 and 1521.
The National Museum of Anthropology is a national museum of Mexico. It is the largest and most visited museum in Mexico. Located in the area between Paseo de la Reforma and Mahatma Gandhi Street within Chapultepec Park in Mexico City, the museum contains significant archaeological and anthropological artifacts from Mexico's pre-Columbian heritage, such as the Stone of the Sun and the Aztec Xochipilli statue.
The National Palace is the seat of the federal executive in Mexico. Since 2018 it has also served as the official residence for the President of Mexico. It is located on Mexico City's main square, the Plaza de la Constitución. This site has been a palace for the ruling class of Mexico since the Aztec Empire, and much of the current palace's building materials are from the original one that belonged to the 16th-century leader Moctezuma II.
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Tenayuca is a pre-Columbian Mesoamerican archaeological site in the Valley of Mexico. In the Postclassic period of Mesoamerican chronology, Tenayuca was a settlement on the former shoreline of the western arm of Lake Texcoco. It was located approximately 10 kilometres (6.2 mi) to the northwest of Tenochtitlan.
Quetzalcoatl is a deity in Aztec culture and literature. Among the Aztecs, he was related to wind, Venus, Sun, merchants, arts, crafts, knowledge, and learning. He was also the patron god of the Aztec priesthood. He was one of several important gods in the Aztec pantheon, along with the gods Tlaloc, Tezcatlipoca and Huitzilopochtli. The two other gods represented by the planet Venus are Tlaloc and Xolotl.
Moctezuma's headdress is a featherwork headdress or military device which tradition holds belonged to Moctezuma II, the Aztec emperor at the time of the Spanish conquest. However, its provenance is uncertain, and even its identity as a headdress has been questioned. It is made of quetzal and other feathers with sewn-on gold detailing. It is now in the Weltmuseum Wien, and is a source of dispute between Austria and Mexico, as no similar pieces remain in Mexico.
The use of mirrors in Mesoamerican culture was associated with the idea that they served as portals to a realm that could be seen but not interacted with. Mirrors in pre-Columbian Mesoamerica were fashioned from stone and served a number of uses, from the decorative to the divinatory. An ancient tradition among many Mesoamerican cultures was the practice of divination using the surface of a bowl of water as a mirror. At the time of the Spanish conquest this form of divination was still practiced among the Maya, Aztecs and Purépecha. In Mesoamerican art, mirrors are frequently associated with pools of liquid; this liquid was likely to have been water.
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