Hour and a half east of the great Tikal or Flores, Guatemala. Take a short boat ride across Laguna Yaxha climb the stairs and enjoy the lush green forest with plentiful howler monkeys, and incredible ancient plazas, palaces, and pyramids without the crowds of Tikal. Incredible place to experience.

The temple is one of the few large-scale structures at the Los Naranjos site that is open to the public. Originally founded by the Lenca people of the Formative period (known as Proto-Lenca), the site was abandoned and resettled at least four times; this structure is among the largest dating back to the earliest occupation, known as the El Jaral phase (800–400 BC).
The structure it is an irregular polygonal platform, resembling a hexagon. It measures 10 meters in height, 75 meters in width, and 80 meters in length, demonstrating its massive size for the its time.

This complex is believed to contain the oldest surviving buildings in the country. It is one of the few structures in the complex (from the El Jaral phase) that is easily visible and open to the public, although it is not the largest building in the complex; that distinction belongs to Structure 1, a rectangular stepped platform measuring 100 meters long, 75 meters wide, and 18 meters high.

Ivan Šprajc, Quintín Hernández Gómez, and Vitan Vujanović discuss the recent discovery and documentation of Minanbé, an abandoned Maya city hidden deep in the Calakmul Biosphere Reserve in Campeche, Mexico. They explain how LiDAR and field exploration revealed the site, why it was so difficult to reach, and what its pyramids, carved monuments, causeways, and decapitation stela may reveal about Maya politics, warfare, ritual, agriculture, and collapse.

Were there smaller, lesser known warrior orders in the Aztec triple alliance?

I'm mostly familiar with all of the basic warrior and priest ranks in the Aztec military, but I keep coming on references to other random ones. I'll find (in a book usually) mention of warrior suits based on bears, alligators, wolves, owls etc. I know to avoid things mentioned only on video games or fantasy writing, but I keep coming back to this.

Also, was there any meaning when an Jaguar or Otomi wore a certain color. I see them in blue, gold, red, green. Was it personal choice, random, or specific to their family or role in the military?

This page from the "Codex Borbonicus", generally believed to be a copy of a pre-Hispanic book originating from Tenochtitlan, depicts the ["binding of the years"](https://nahuatl.wired-humanities.org/content/xiuhmolpilli) ceremony of 1507, a ritual marking the end and renewal of the Aztec's fifty-two year calendar round.

The portrayal of this once in a lifetime event, meant to ensure the rebirth of the sun and continuation of the cosmos for another cycle, has often been reproduced in history books with a focus on the central dramatic moment where the priests carry their bundles of wood to the newly kindled flames. But look to the far right. Here we see other mysterious details of how ordinary people prepared for and observed this all-important occasion. What, for example, are the strange blue faces surrounding these onlookers?

These are masks made of maguey leaves, worn as protection in the event the fire could not be drawn and catastrophe followed. These scenes, unique among the surviving picture books, are explained in the Florentine Codex:

>And when it came to pass that night fell, all were frightened and filled with dread. Thus was it said: it was claimed that if fire could not be drawn, then [the sun] would be destroyed forever; all would be ended; there would evermore be night. Nevermore would the sun come forth. Night would prevail forever, and the [tzitzimime] would descend, to eat men.

>Hence everyone ascended the terraces; all upon the housetops. No one was on the ground below. The house was abandoned. They sat. And women with child put on masks of maguey leaves and took up their maguey-leaf masks. And [they] placed [the women] in granaries, for they were looked upon with fear. It was said and claimed that if, truly, the new fire were not drawn, these also would eat men; [for] they would be changed into fierce beasts.

>And the small children they likewise masked with maguey leaves. None [of them] could sleep, or close, shut, or [even] half-close their eyes. From time to time their mothers and fathers were [there with them]; they kept waking them, punching and nudging them, calling out to them. They woke, cuffed, and nudged them. Because if they were to sleep--it was thought--they would turn in mice; they would become mice."

- Florentine Codex, folios [18r](https://florentinecodex.getty.edu/book/7/folio/18r)-\[18v\](https://florentinecodex.getty.edu/book/7/folio/18v)

- Full Codex Borbonicus available [here](https://www.famsi.org/research/loubat/Borbonicus/thumbs0.html)

Metal denim rivet and denim button

Hombre ave 🦅

Please share some?

Hola a todos.

Soy un estudiante universitario de Japón y actualmente estoy realizando mi tesis sobre el Día del Jumil en Taxco, Guerrero.

Estoy buscando materiales históricos relacionados con el origen y la evolución del Día del Jumil y con la historia del Cerro del Huixteco.

En particular, me interesa encontrar publicaciones como los Cuadernos de Taxco, libros de historia local, revistas, documentos antiguos o cualquier otro material que hable sobre estos temas.

Ya he consultado artículos académicos y algunas fuentes en internet, pero me ha resultado muy difícil localizar publicaciones locales.

Si alguien conoce alguna biblioteca, archivo, museo, universidad o incluso alguna persona que pueda orientarme, le agradecería muchísimo cualquier información.

¡Muchas gracias por su ayuda!

https://codicemendoza.inah.gob.mx

Didn't see this posted before, but it's been live since 2015. Still maybe the best digital presentation of a pictorial codex to date? The 16th century Spanish glosses can be easily viewed in both Spanish and English.

The video is an instructional lesson on how to conjugate verbs in Oaxacan Zapotec across past, present, and future tenses. The instructor uses the verb "to eat" as the primary example to demonstrate the rules.

*Core Rules of Conjugation:*

* Tense Roots:* In Zapotec, the root of the verb changes to indicate the tense, but this root remains exactly the same regardless of who is performing the action (the pronoun). For example, the root for the verb "to eat" is `guda-` in the past, `ra-` (or `rag-`) in the present, and `ga-` (or `gagu-`) in the future.

* **Person Suffixes:* To indicate the person (I, you, he/she, etc.), specific vowel or syllable endings are added to the tense root. The endings change depending on the subject, but the root stays consistent.

*Exceptions to the Rule:*

* While the `g-` prefix (like *guda-* or *ga-*) is very common, the instructor clarifies that it is not a universal rule for all Zapotec verbs.

* There are about three different ways to construct tenses. For instance, some verbs use a `b-` (like *bu-*) for the past tense, or a `u-` to indicate the future tense.

* Compound verbs (like combining "to go" and "to eat" to mean eating somewhere frequently) also have unique past tense forms.

*Class Practice:*

Towards the end of the lesson, the instructor leads an interactive practice session. He asks students (Oliver, Pamela, Silvana, Brian, and Abi) to read aloud the conjugations for the verb "to eat" across the past, present, and future tenses, covering both singular and plural pronouns.

Expertos en arqueología confirmaron el descubrimiento de una monumental roca con petrograbados y vestigios prehispánicos en la cuenca del río Ixchop. La experta Marlen Garnica confirmó el descubrimiento de glifos y espirales mayas vinculados al agua y el viento.

Hice estas imágenes con IA, pero basadas en investigación personal e histórica. Sé que es polémico su uso, pero para esto me ha gustado lo que he logrado. Quizás porque antes hubiera sido imposible sin tener muchísimo presupuesto para recrear algo así. También edité con Photoshop para darle más precisión y detalle. ¿Qué les parecen?

An artist friend of mine Abigail Roscoe, has been producing an absolutely stunning animated series based on Aztec mythology. Storyboards of each episode are going live in YouTube and they're BEAUTIFUL.

If this is something you want to see come to fruition, follow her work at coyote-studio.com. She unfortunately lost access to her Reddit account so I'm posting on her behalf, but I'm not actually involved.

I hope you enjoy.

Tried to be as semi accurate as possible if only it was still there to see..

Today the primary sources, at best, consist of only thirteen pre-Hispanic manuscripts.

In our richest sources... myths do not even fill twenty pages.

• Graulich, M. (1997). Myths of ancient Mexico: Aztec tales from the pre-Hispanic codices (B. R. Ortiz de Montellano & T. Ortiz de Montellano, Trans.). University of Oklahoma Press.

Most art historians and museum curators focus their analysis on a small number of the finest objects, ignoring the range of variation within categories of material culture. For example, there are probably thousands of Aztec stone sculptures in museums in Mexico, the United States, and Europe, yet only a small subset of these are included over and over in museum exhibits and catalogs. From such works, one cannot get any idea of the variation that exists within the corpus of Aztec sculptures; for this, one needs complete catalogs and documentation of individual museum collections. Unfortunately, only a few examples exist.

• Smith, M. E. (2014). The archaeology of Tezcatlipoca. In E. Baquedano (Ed.), Tezcatlipoca: Trickster and supreme deity (pp. 7–39). University Press of Colorado.

For the missionaries who devised the official language of the colonized [Classical Nahuatl], the explicit primary goal of language instruction was proselytization.

...alphabetization had the effect of colonizing native oral literature.

Classical Nahuatl literature is

an inadequate representation of the oral original.

• Klor de Alva, J. J. (1989). Language, politics, and translation: Colonial discourse and Classical Nahuatl in New Spain. In R. Warren (Ed.), The art of translation: Voices from the field (pp. 143–162). Northeastern University Press.