The artwork titled the was used to record information of the Aztecs in which to see how the Aztec societies functioned. It was created around 1541 or 1542 CE and it consisted of 71 pages of ink and color on spanish paper. This particular artwork was commissioned by the Viceroy of New Spain that would tell the life of a common Aztec since through the codicies you were able to “read” the Aztecs daily life. These codex’s include contextual information written by Franciscan Friars and the illustrations are by indigionous aztec artists.
Unlike the Maya and Mistec did, the Aztecs didn’t create these codisied on their own but instead they were often commissioned, often through the Spanish crown after the conquest of Cortez.
The frontispiece means that it was the first page of the large-scale book and it was the first account of what we define as the mexicana culture whom they deprive of the Aztecs. This page was made in the viceroy of Mexico, Antonio Mendoza and it was created to be sent to the king of spain and the habsburg emperor, Charles the 5th.
Unfortunately this page never got to its destination since it was stolen by a group of french privateers and was taken to the king of france. This piece later stayed in France, and was kept in the collection of the king’s cosmic grofier. Later in the 17th century, this map maker transferred from France to England to a private collection and then finally to the british library.
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We see Tequitqui which is a strange combination of what we state is a Endo-christian artwork that has aspects of classical greek, roman, or medieval imagery with imagery that is distinct to indegidous people who create the artwork.
The aztec god of thunder and rain is similar to apollo belvedere in the stance of contrapposto and in each of the gestures. Therefore european art has an influence on indigiunous artworks. The codex mendoza has 71 floios of spanish paper and includes a variety of aztec imagery of what happened in their daily life. These images were created by indegious artist but native speakers interpreted it for the spanish/franciscan scribe who were able to speak the aztec language of Nahuatl. The codex of mendoza is meant to tell three stories. These stories include the story of the aztecs themselves, the explanation of how the aztecs gain their money in their economy and the valuable aspects of daily life from birth to death. In the frintesoieve you see the storylines associated with the foundation of Tenochtitlan. On the frontispiece we see the eagle that is perched on the cactus that symbol is connected with the mexican flag and the storyline of how the axtec capital tenochtitlan was created. Additionally we find a signature that is not part of the original cortex.
In the mission of where it was brought to France by the pirates, it was given to the cosmographer, andre who wrote his name in the codez 5 times. On the codex we see rather usual imagery like the eagle on cactus that indicates the beginning of the capitol, we see imagery of the templo mayor which is the stepped pyramid of the temple that is dedicated to tlaloc and Huitzilopochtli. The eagle is on a cactus in the middle of texcoco. According to the ancestral myth, Huitzilopochtli tells the Aztecs to leave their home since they are northdatic people and searches for a place to establish his empire. The explanation of the storyline is written by the fransican scribes. We can see Tlaloc and others are identified as the subsequent chiefs. Tlaloc has a side bible since he is the star of the entire ancestry. Surrounding the templo mayor we would’ve seen skull racks. The idea is that we see Tlaloc and he is being established as one of the first aztec empires. We can also see different emperors with their symbols but since Tlaloc is the founding one we see a cactus behind him.
The artwork, “The Angel with Arquebus,” is an oil on canvas artwork that was made in the 17th century CE. The angel we see is a bit more elongated and more elegant. The elongated hat with the plumbing from it may be references if unca nobility since the feathers themselves were used in ceremonies and you associate them with the emperor and with religious ceremonies., in aztec culture by having the large cuts of feathers that are used in the herd of Montezuma the second. The clothing is inspired by Viceroy guards uniform which resemble the kind of dutch guards. The imagery shown is a defender of contholesisnms and the faith of spoaniush royanly. Compared to the thunder god, the arquebas’s imagery of the gun connects may go with the plumed hat that may have moved from the indeginous culture to the spanish viroecoy culture where catholicism was not the mandated religion.
During the time of the 17th through the 19th century, paintings that had angels were shown with elegant clothing and many holding a harquebus which became ratehrly popular in the Andes. These angels were created by christian missionaries who wanted to force catholicism and stop the practice of pre-hispanic religion. The angels holding arquebuses were created in the 18th century by the Master of Calamarca who was a bolivian painter. There was also the idea of depicting the catholic counter reformation and the church as an army making the angles serve as soldiers. In this painting, the gun and angel serve as faithful christians since the gun represents the power of the Spaniards over the ingedious people and the protection that the christians received. The angel holds the gun as if he is a professional and the gun is loaded and ready to be fired.
Strangely the angel does not hold the trigger neither hold it at eye level ready to fire. Additionally, early american images connected many angels to sacred beings such as sacred plants and natural disasters. In the upper left hand corner, we see the names of the angels which relate to the planetary and elemental angels during the indiginous religion. The asexual body of the angel aslo is consitent with the depictions in the buble. The extended and exaggerated lines of the angel’s body show the mannerist style that was favored in the 17th century. The dress of the angel consisted of a typical indigous noblemen as well as a contemporary european fashion through the excess of textile indication the high social status of Asiel.
Artwork "Frontispiece of The Codex Mendoza". (2022, Feb 26). Retrieved from https://paperap.com/artwork-frontispiece-of-the-codex-mendoza/
