Aztec art is a fascinating reflection of the rich cultural heritage of the Aztec people. The Aztecs were a powerful Mesoamerican civilization that flourished between the 14th and 16th centuries in central Mexico.
Their artistic creations, whether in the form of sculptures, paintings, or other mediums, embody their deep-seated spiritual beliefs, traditions, and history. In this article, we will explore 6 of the most noteworthy masterpieces of Aztec art and delve into their meaning and significance.
Aztec Sun Stone
The Aztec Calendar Stone, commonly referred to as the Sun Stone, is perhaps the most recognizable piece of artwork created by any of the impressive societies of Mesoamerica. Discovered near Mexico City’s cathedral in the 18th century, this basalt stone was skillfully carved around 1427, displaying a solar disk that depicts five successive suns from Aztec mythology.
The Calendar Stone, although not utilized as an actual calendar, measures 3.78 meters in diameter, is nearly one meter thick, and was originally part of the Templo Mayor complex of Tenochtitlan. In the center of the stone, a depiction of either the Day Sun, Tonatiuh, the Night Sun, Yohualtonatiuh, or the primordial earth creature Tlaltecuhtli can be seen, with the latter representing the final world’s destruction when the fifth sunsets.
Additionally, the four other suns that replaced each other are illustrated around the central visage, marking the era before the fifth sun took effect after the gods Quetzalcoatl and Tezcatlipoca fought for control of the cosmos.
On either side of the central figure, two jaguars’ heads or paws clutch a heart, representing the terrestrial domain. At the bottom center of the stone, there are two fire serpent heads, and their bodies loop around the perimeter of the stone, each ending with a tail. Finally, the Calendar Stone illustrates the four cardinal directions and inter-cardinal directions with larger and lesser points.
Coatlicue
The Aztec sculpture known as the massive basalt statue of Coatlicue, created during the last fifty years of Aztec rule, is commonly regarded as an exceptional example of Aztec art.
The statue portrays the goddess, who is presented frighteningly with two snake heads, clawed feet, and hands, a necklace made up of dismembered hands and human hearts, a skull pendant, and donning a skirt composed of writhing snakes.
It has been hypothesized that the statue is one of four and symbolizes the revelation of female power and terror. The 3.5 m tall statue tilts forward somewhat, resulting in an overall dramatic effect that is so emotional that it is the reason why the statue was re-buried multiple times after its initial excavation in 1790.
Currently, the statue of Coatlicue is kept for display at the National Museum of Anthropology in Mexico City.
Tizoc Stone
The Stone of Tizoc, a large circular basalt sculpture carved around 1485, showcases an impressive combination of real-world politics and cosmic mythology in Aztec Art. Originally used as a platform for human sacrifice, the stone features reliefs around its perimeter which display Aztec ruler Tizoc attacking warriors from Matlatzinca.
As the victims were typically vanquished warriors, the depiction is fitting. The defeated are represented as Chichimecs or landless barbarians, while the victors wear the noble dress of revered ancient Toltec. The upper surface of the 2.67-meter diameter stone displays an eight-pointed sun disk. Today, the Stone of Tizoc is housed in the National Museum of Anthropology located in Mexico City.
Aztec Mosaic Skull of Tezcatlipoca
It is thought that this mosaic represents Tezcatlipoca: the god also known as “Smoking Mirror,” who was one of the four powerful creator deities, considered among the most important gods in the Mexica pantheon.
Tezcatlipoca is typically portrayed with obsidian mirrors on his head and is usually depicted in opposition to Quetzalcoatl. The name “Smoking Mirror” comes from the Nahuatl word “tezapoctli” which means “shining smoke.”
Depictions of Tezcatlipoca are often marked by specific black stripes on the face and a smoking mirror displayed on his headdress, temple, or in place of a severed foot. A human skull serves as the base for the mosaic; the back of the skull has a cut lined with deerskin to which the movable jaw is attached.
The skull could have been worn as part of priestly regalia by using long deerskin straps. Similar skull ornaments can be found in the Mixtec Zouche-Nuttal Codex.
The mosaic design is made up of alternating bands of bright blue turquoise and black lignite, while the eyes are made of rings made of white conch shell framing two orbs of polished iron pyrite. Plates of bright red Spondylus shell line.
The Double handed serpent
The Double handed serpent is an icon of Aztec art, likely worn as a pectoral on ceremonial occasions. The beautifully carved wood, made from Cedrela odorata, is covered in exquisite turquoise mosaic and features serpent heads on both sides.
Serpents held great significance within Aztec religion; the word for serpent in the Aztecs’ language (Nahuatl) is ‘coatl,’ and is associated with various gods such as Quetzalcoatl (Feathered Serpent), Xiuhcoatl (Fire Serpent), Mixcoatl (Cloud Serpent), and Coatlicue (She of the Serpent Skirt), who was the mother of Huitzilopochtli, an Aztec god.
In addition to their symbolic importance, serpents were also commonly used as architectural elements in ceremonial spaces, such as the wall of serpents (known as coatepantli) that surrounded part of the Great Temple at Tenochtitlan, the capital of the Aztec empire.
This particular object features bright red details around each serpent’s head nose, and mouth, created using Spondylus (thorny oyster) shell, while the teeth are crafted from Strombus (conch) shell. Additionally, the gaping mouths feature brightly colored hematite resin adhesive, while remnants of beeswax adhere to the edge of the empty eye sockets – which may have originally been inlaid with iron pyrites.
While the reverse of the body is undecorated, it may have originally been gilded, as evidenced by the intricate detail on the heads, which were worked in mosaic on both sides. Resins derived from pine and Bursera (copal) were used as adhesives to affix the delicate mosaic in place.
Codex Borgia
The Mesoamericans created screen fold manuscripts with exceptional artwork, such as the Codex Borgia, which is an Aztec manuscript from the late Post-Classic era (1250-1521). The Codex Borgia has been extensively studied for centuries, and scholars still research it to get a better understanding of its original use and significance.
Despite being commonplace and valued in Mesoamerica, only twelve manuscripts survived after the conquest of the Aztecs by Spain, as most of them were burnt or otherwise destroyed. These manuscripts are referred to by their European holder’s name or the place where they are presently held, such as the Codex Borgia, which was named after Cardinal Stefano Borgia, an enthusiastic collector of Aztec Art, manuscripts and coins.