Tlahuizcalpantecuhtli[t͡ɬaːwisˈkaɬpantekʷt͡ɬi] is a principal member of the pantheon of gods within the Aztec religion, representing the Morning Star Venus. The name comes from the Nahuatl words tlāhuizcalpan[t͡ɬaːwisˈkaɬpan] "dawn" and tēuctli[ˈteːkʷt͡ɬi] "lord". Tlahuizcalpantecuhtli is one of the thirteen Lords of the Day, representing the 12th day of the Aztec trecena.
In Aztec mythology, Tonacatecuhtli was a creator and fertility god, worshipped for peopling the earth and making it fruitful. Most Colonial-era manuscripts equate him with Ōmetēcuhtli. His consort was Tonacacihuatl.
In Aztec mythology and religion, Xipe Totec or Xipetotec was a life-death-rebirth deity, god of agriculture, vegetation, the east, spring, goldsmiths, silversmiths, liberation, and the seasons. Xipe Totec was also known by various other names, including Tlatlauhca, Tlatlauhqui Tezcatlipoca and Yohuallahuan, and Yaotzin. The Tlaxcaltecs and the Huexotzincas worshipped a version of the deity under the name of Camaxtli, and the god has been identified with Yopi, a Zapotec god represented on Classic Period urns. The female equivalent of Xipe Totec was the goddess Xilonen-Chicomecoatl.
In Aztec mythology, Huehuecóyotl[weːweˈkojoːt͡ɬ] is the auspicious Pre-Columbian god of music, dance, mischief, and song. He is the patron of uninhibited sexuality and rules over the day sign in the Aztec calendar named cuetzpallin (lizard) and the fourth trecena Xochitl.
The Aztec religion originated from the indigenous Aztecs of central Mexico. Like other Mesoamerican religions, it also has practices such as human sacrifice in connection with many religious festivals which are in the Aztec calendar. This polytheistic religion has many gods and goddesses; the Aztecs would often incorporate deities that were borrowed from other geographic regions and peoples into their own religious practices.
The Ramírez Codex, not to be confused with the Tovar Codex, is a post-conquest codex from the late 16th century entitled Relación del origen de los indios que hábitan esta Nueva España según sus Historias. The manuscript is named after the Mexican scholar José Fernando Ramírez, who discovered it in 1856 in the convent of San Francisco in Mexico City.
Aztec codices are Mesoamerican manuscripts made by the pre-Columbian Aztec, and their Nahuatl-speaking descendants during the colonial period in Mexico.
Codex Ríos is an Italian translation and augmentation of a Spanish colonial-era manuscript, Codex Telleriano-Remensis, that is partially attributed to Pedro de los Ríos, a Dominican friar working in Oaxaca and Puebla between 1547 and 1562. The codex itself was likely written and drawn in Italy after 1566.
The tonalamatl[toːnaˈlaːmatɬ] is a divinatory almanac used in central Mexico in the decades, and perhaps centuries, leading up to the Spanish conquest. The word itself is Nahuatl in origin, meaning "pages of days".
The Codex Borgia, also known as Codex Borgianus, Manuscrit de Veletri and Codex Yohualli Ehecatl, is a pre-Columbian Middle American pictorial manuscript from Central Mexico with a calendrical and ritual content, dating from the 16th century. It is named after the 18th century Italian Cardinal, Stefano Borgia, who owned it before it was acquired by the Vatican Library after the Cardinal's death in 1804.
The Codex Telleriano-Remensis, produced in sixteenth century Mexico on European paper, is one of the finest surviving examples of Aztec manuscript painting. Its Latinized name comes from Charles-Maurice Le Tellier, archbishop of Reims, who had possession of the manuscript in the late 17th century.
The Codex Mexicanus is an early colonial Mexican pictorial manuscript.
In Mesoamerican mythology the Lords of the Night are a set of nine gods who each ruled over every ninth night forming a calendrical cycle. Each lord was associated with a particular fortune, bad or good, that was an omen for the night that they ruled over.
Fray Pedro de los Ríos was a Domician missionary in New Spain in the mid-16th century. Little is known about him, but he contributed to the creation of the manuscripts now known as the Codex Telleriano-Remensis and Codex Vaticanus A, which describe Aztec culture and history. The Codex Vaticanus A is also known as the Codex Ríos, after Pedro de los Ríos.
In Aztec religion, Chantico is the deity reigning over the fires in the family hearth. She broke a fast by eating paprika with roasted fish, and was turned into a dog by Tonacatecuhtli as punishment. She was associated with the town of Xochimilco, stonecutters, as well as warriorship. Chantico was described in various Pre-Columbian and colonial codices.
Codex Vaticanus B, also known as Codex Vaticanus 3773, Codice Vaticano Rituale, and Códice Fábrega, is a pre-Columbian Middle American pictorial manuscript, probably from the Puebla part of the Mixtec region, with a ritual and calendrical content. It is a member of the Borgia Group of manuscripts. It is currently housed at the Vatican Library.
Aztec medicine concerns the body of knowledge, belief and ritual surrounding human health and sickness, as observed among the Nahuatl-speaking people in the Aztec realm of central Mexico. The Aztecs knew of and used an extensive inventory consisting of hundreds of different medicinal herbs and plants. A variety of indigenous Nahua and Novohispanic written works survived from the conquest and later colonial periods that describe aspects of the Aztec system and practice of medicine and its remedies, incantations, practical administration, and cultural underpinnings. Elements of traditional medicinal practices and beliefs are still found among modern-day Nahua communities, often intermixed with European or other later influences.
In Aztec mythology, Creator-gods are the only four Tezcatlipocas, the children of the creator couple Ometecuhtli and Omecihuatl "Lord and Lady of Duality", "Lord and Lady of the Near and the Close", "Father and Mother of the Gods", "Father and Mother of us all", who received the gift of the ability to create other living beings without childbearing. They reside atop a mythical thirteenth heaven Ilhuicatl-Omeyocan "the place of duality".
In the Aztec culture, a tecpatl was a flint or obsidian knife with a lanceolate figure and double-edged blade, with elongated ends. Both ends could be rounded or pointed, but other designs were made with a blade attached to a handle. It can be represented with the top half red, reminiscent of the color of blood, in representations of human sacrifice and the rest white, indicating the color of the flint blade.
