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The humid environment in the Valley of Mexico with its many lakes and swamps permitted intensive agriculture. The main crops in addition to maize were beans, squashes, chilies and amaranth.
Particularly important for agricultural production in the valley was the construction of chinampas on the lake, artificial islands that allowed the conversion of the shallow waters into highly fertile gardens that could be cultivated year round.
Chinampas are human-made extensions of agricultural land, created from alternating layers of mud from the bottom of the lake, and plant matter and other vegetation.
These raised beds were separated by narrow canals, which allowed farmers to move between them by canoe. Chinampas were extremely fertile pieces of land, and yielded, on average, seven crops annually.
On the basis of current chinampa yields, it has been estimated that one hectare 2. The Aztecs further intensified agricultural production by constructing systems of artificial irrigation.
While most of the farming occurred outside the densely populated areas, within the cities there was another method of small-scale farming.
Each family had their own garden plot where they grew maize, fruits, herbs, medicines and other important plants. When the city of Tenochtitlan became a major urban center, water was supplied to the city through aqueducts from springs on the banks of the lake, and they organized a system that collected human waste for use as fertilizer.
Through intensive agriculture the Aztecs were able to sustain a large urbanized population. The lake was also a rich source of proteins in the form of aquatic animals such as fish, amphibians, shrimp, insects and insect eggs, and water fowl.
The presence of such varied sources of protein meant that there was little use for domestic animals for meat only turkeys and dogs were kept , and scholars have calculated that there was no shortage of protein among the inhabitants of the Valley of Mexico.
The excess supply of food products allowed a significant portion of the Aztec population to dedicate themselves to trades other than food production.
Apart from taking care of domestic food production, women weaved textiles from agave fibers and cotton. Men also engaged in craft specializations such as the production of ceramics and of obsidian and flint tools , and of luxury goods such as beadwork , featherwork and the elaboration of tools and musical instruments.
Sometimes entire calpollis specialized in a single craft, and in some archeological sites large neighborhoods have been found where apparently only a single craft speciality was practiced.
The Aztecs did not produce much metal work, but did have knowledge of basic smelting technology for gold , and they combined gold with precious stones such as jade and turquoise.
Copper products were generally imported from the Tarascans of Michoacan. Products were distributed through a network of markets; some markets specialized in a single commodity for example the dog market of Acolman and other general markets with presence of many different goods.
Markets were highly organized with a system of supervisors taking care that only authorized merchants were permitted to sell their goods, and punishing those who cheated their customers or sold substandard or counterfeit goods.
A typical town would have a weekly market every five days , while larger cities held markets every day.
Some sellers in the markets were petty vendors; farmers might sell some of their produce, potters sold their vessels, and so on.
Other vendors were professional merchants who traveled from market to market seeking profits. The pochteca were specialized long distance merchants organized into exclusive guilds.
They made long expeditions to all parts of Mesoamerica bringing back exotic luxury goods, and they served as the judges and supervisors of the Tlatelolco market.
Although the economy of Aztec Mexico was commercialized in its use of money, markets, and merchants , land and labor were not generally commodities for sale, though some types of land could be sold between nobles.
In Aztec marketplaces, a small rabbit was worth 30 beans, a turkey egg cost 3 beans, and a tamal cost a single bean. For larger purchases, standardized lengths of cotton cloth, called quachtli, were used.
There were different grades of quachtli, ranging in value from 65 to cacao beans. About 20 quachtli could support a commoner for one year in Tenochtitlan.
Another form of distribution of goods was through the payment of tribute. When an altepetl was conquered, the victor imposed a yearly tribute, usually paid in the form of whichever local product was most valuable or treasured.
Several pages from the Codex Mendoza list tributary towns along with the goods they supplied, which included not only luxuries such as feathers, adorned suits, and greenstone beads, but more practical goods such as cloth, firewood, and food.
Tribute was usually paid twice or four times a year at differing times. Archaeological excavations in the Aztec-ruled provinces show that incorporation into the empire had both costs and benefits for provincial peoples.
On the positive side, the empire promoted commerce and trade, and exotic goods from obsidian to bronze managed to reach the houses of both commoners and nobles.
On the negative side, imperial tribute imposed a burden on commoner households, who had to increase their work to pay their share of tribute.
Nobles, on the other hand, often made out well under imperial rule because of the indirect nature of imperial organization. The empire had to rely on local kings and nobles and offered them privileges for their help in maintaining order and keeping the tribute flowing.
Aztec society combined a relatively simple agrarian rural tradition with the development of a truly urbanized society with a complex system of institutions, specializations and hierarchies.
The urban tradition in Mesoamerica was developed during the classic period with major urban centers such as Teotihuacan with a population well above ,, and at the time of the rise of the Aztec, the urban tradition was ingrained in Mesoamerican society, with urban centers serving major religious, political and economic functions for the entire population.
The capital city of the Aztec empire was Tenochtitlan , now the site of modern-day Mexico City. Built on a series of islets in Lake Texcoco , the city plan was based on a symmetrical layout that was divided into four city sections called campan directions.
Houses were made of wood and loam , roofs were made of reed, although pyramids, temples and palaces were generally made of stone.
The city was interlaced with canals, which were useful for transportation. Anthropologist Eduardo Noguera estimated the population at , based on the house count and merging the population of Tlatelolco once an independent city, but later became a suburb of Tenochtitlan.
Michael E. Smith gives a somewhat smaller figure of , inhabitants of Tenochtitlan based on an area of 1, hectares 3, acres and a population density of inhabitants per hectare.
The second largest city in the valley of Mexico in the Aztec period was Texcoco with some 25, inhabitants dispersed over hectares 1, acres.
The center of Tenochtitlan was the sacred precinct, a walled-off square area which housed the Great Temple, temples for other deities, the ballcourt , the calmecac a school for nobles , a skull rack tzompantli , displaying the skulls of sacrificial victims, houses of the warrior orders and a merchants palace.
Around the sacred precinct were the royal palaces built by the tlatoanis. The centerpiece of Tenochtitlan was the Templo Mayor , the Great Temple, a large stepped pyramid with a double staircase leading up to two twin shrines — one dedicated to Tlaloc , the other to Huitzilopochtli.
This was where most of the human sacrifices were carried out during the ritual festivals and the bodies of sacrificial victims were thrown down the stairs.
The temple was enlarged in several stages, and most of the Aztec rulers made a point of adding a further stage, each with a new dedication and inauguration.
The temple has been excavated in the center of Mexico City and the rich dedicatory offerings are displayed in the Museum of the Templo Mayor.
Archaeologist Eduardo Matos Moctezuma , in his essay Symbolism of the Templo Mayor , posits that the orientation of the temple is indicative of the totality of the vision the Mexica had of the universe cosmovision.
He states that the "principal center, or navel, where the horizontal and vertical planes intersect, that is, the point from which the heavenly or upper plane and the plane of the Underworld begin and the four directions of the universe originate, is the Templo Mayor of Tenochtitlan.
Other major Aztec cities were some of the previous city state centers around the lake including Tenayuca , Azcapotzalco , Texcoco , Colhuacan , Tlacopan , Chapultepec , Coyoacan , Xochimilco , and Chalco.
In the Puebla valley, Cholula was the largest city with the largest pyramid temple in Mesoamerica, while the confederacy of Tlaxcala consisted of four smaller cities.
In Morelos, Cuahnahuac was a major city of the Nahuatl speaking Tlahuica tribe, and Tollocan in the Toluca valley was the capital of the Matlatzinca tribe which included Nahuatl speakers as well as speakers of Otomi and the language today called Matlatzinca.
Most Aztec cities had a similar layout with a central plaza with a major pyramid with two staircases and a double temple oriented towards the west.
Aztec religion was organized around the practice of calendar rituals dedicated to a pantheon of different deities. Similar to other Mesoamerican religious systems, it has generally been understood as a polytheist agriculturalist religion with elements of animism.
Central in the religious practice was the offering of sacrifices to the deities, as a way of thanking or paying for the continuation of the cycle of life.
The main deities worshipped by the Aztecs were Tlaloc , a rain and storm deity , Huitzilopochtli a solar and martial deity and the tutelary deity of the Mexica tribe, Quetzalcoatl , a wind , sky and star deity and cultural hero, Tezcatlipoca , a deity of the night, magic, prophecy and fate.
The Great Temple in Tenochtitlan had two shrines on its top, one dedicated to Tlaloc, the other to Huitzilopochtli. Quetzalcoatl and Tezcatlipoca each had separate temples within the religious precinct close to the Great Temple, and the high priests of the Great Temple were named " Quetzalcoatl Tlamacazqueh ".
In some regions, particularly Tlaxcala, Mixcoatl or Camaxtli was the main tribal deity. A few sources mention a deity Ometeotl who may have been a god of the duality between life and death, male and female and who may have incorporated Tonacatecuhtli and Tonacacihuatl.
Additionally the major gods had many alternative manifestations or aspects, creating small families of gods with related aspects. Aztec mythology is known from a number of sources written down in the colonial period.
One set of myths, called Legend of the Suns, describe the creation of four successive suns, or periods, each ruled by a different deity and inhabited by a different group of beings.
Each period ends in a cataclysmic destruction that sets the stage for the next period to begin. In this process, the deities Tezcatlipoca and Quetzalcoatl appear as adversaries, each destroying the creations of the other.
The current Sun, the fifth, was created when a minor deity sacrificed himself on a bonfire and turned into the sun, but the sun only begins to move once the other deities sacrifice themselves and offers it their life force.
In another myth of how the earth was created , Tezcatlipoca and Quetzalcoatl appear as allies, defeating a giant crocodile Cipactli and requiring her to become the earth, allowing humans to carve into her flesh and plant their seeds, on the condition that in return they will offer blood to her.
And in the story of the creation of humanity, Quetzalcoatl travels with his twin Xolotl to the underworld and brings back bones which are then ground like corn on a metate by the goddess Cihuacoatl, the resulting dough is given human form and comes to life when Quetzalcoatl imbues it with his own blood.
Huitzilopochtli is the deity tied to the Mexica tribe and he figures in the story of the origin and migrations of the tribe.
On their journey, Huitzilopochtli, in the form of a deity bundle carried by the Mexica priest, continuously spurs the tribe on by pushing them into conflict with their neighbors whenever they are settled in a place.
In another myth, Huitzilopochtli defeats and dismembers his sister the lunar deity Coyolxauhqui and her four hundred brothers at the hill of Coatepetl.
The southern side of the Great Temple, also called Coatepetl, was a representation of this myth and at the foot of the stairs lay a large stone monolith carved with a representation of the dismembered goddess.
Aztec religious life was organized around the calendars. As most Mesoamerican people, the Aztecs used two calendars simultaneously: a ritual calendar of days called the tonalpohualli and a solar calendar of days called the xiuhpohualli.
Each day had a name and number in both calendars, and the combination of two dates were unique within a period of 52 years.
The tonalpohualli was mostly used for divinatory purposes and it consisted of 20 day signs and number coefficients of 1—13 that cycled in a fixed order.
The xiuhpohualli was made up of 18 "months" of 20 days, and with a remainder of 5 "void" days at the end of a cycle before the new xiuhpohualli cycle began.
Each day month was named after the specific ritual festival that began the month, many of which contained a relation to the agricultural cycle.
Whether, and how, the Aztec calendar corrected for leap year is a matter of discussion among specialists. The monthly rituals involved the entire population as rituals were performed in each household, in the calpolli temples and in the main sacred precinct.
Many festivals involved different forms of dancing, as well as the reenactment of mythical narratives by deity impersonators and the offering of sacrifice, in the form of food, animals and human victims.
Every 52 years, the two calendars reached their shared starting point and a new calendar cycle began.
This calendar event was celebrated with a ritual known as Xiuhmolpilli or the New Fire Ceremony. In this ceremony, old pottery was broken in all homes and all fires in the Aztec realm were put out.
Then a new fire was drilled over the breast of a sacrificial victim and runners brought the new fire to the different calpolli communities where fire was redistributed to each home.
The night without fire was associated with the fear that star demons, tzitzimime , might descend and devour the earth — ending the fifth period of the sun.
To the Aztecs, death was instrumental in the perpetuation of creation, and gods and humans alike had the responsibility of sacrificing themselves in order to allow life to continue.
As described in the myth of creation above, humans were understood to be responsible for the sun's continued revival, as well as for paying the earth for its continued fertility.
Blood sacrifice in various forms was conducted. Both humans and animals were sacrificed, depending on the god to be placated and the ceremony being conducted, and priests of some gods were sometimes required to provide their own blood through self-mutilation.
It is known that some rituals included acts of cannibalism , with the captor and his family consuming part of the flesh of their sacrificed captives, but it is not known how widespread this practice was.
While human sacrifice was practiced throughout Mesoamerica, the Aztecs, according to their own accounts, brought this practice to an unprecedented level.
For example, for the reconsecration of the Great Pyramid of Tenochtitlan in , the Aztecs reported that they sacrificed 80, prisoners over the course of four days, reportedly by Ahuitzotl , the Great Speaker himself.
This number, however, is not universally accepted and may have been exaggerated. The scale of Aztec human sacrifice has provoked many scholars to consider what may have been the driving factor behind this aspect of Aztec religion.
In the s, Michael Harner and Marvin Harris argued that the motivation behind human sacrifice among the Aztecs was actually the cannibalization of the sacrificial victims , depicted for example in Codex Magliabechiano.
Harner claimed that very high population pressure and an emphasis on maize agriculture, without domesticated herbivores, led to a deficiency of essential amino acids among the Aztecs.
Harris, author of Cannibals and Kings , has propagated the claim, originally proposed by Harner, that the flesh of the victims was a part of an aristocratic diet as a reward, since the Aztec diet was lacking in proteins.
Ortiz also points to the preponderance of human sacrifice during periods of food abundance following harvests compared to periods of food scarcity, the insignificant quantity of human protein available from sacrifices and the fact that aristocrats already had easy access to animal protein.
The Aztec greatly appreciated the toltecayotl arts and fine craftsmanship of the Toltec , who predated the Aztec in central Mexico. The Aztec considered Toltec productions to represent the finest state of culture.
The fine arts included writing and painting, singing and composing poetry, carving sculptures and producing mosaic, making fine ceramics, producing complex featherwork, and working metals, including copper and gold.
Artisans of the fine arts were referred to collectively as tolteca Toltec. The Mask of Xiuhtecuhtli; ; cedrela wood, turquoise, pine resin, mother-of-pearl, conch shell, cinnabar ; height: Kneeling female figure; 15th—early 16th century; painted stone; overall: Frog-shaped necklace ornaments; 15th—early 16th century; gold; height: 2.
The Aztecs did not have a fully developed writing system like the Maya, however like the Maya and Zapotec, they did use a writing system that combined logographic signs with phonetic syllable signs.
Logograms would, for example, be the use of an image of a mountain to signify the word tepetl, "mountain", whereas a phonetic syllable sign would be the use of an image of a tooth tlantli to signify the syllable tla in words unrelated to teeth.
The combination of these principles allowed the Aztecs to represent the sounds of names of persons and places. Narratives tended to be represented through sequences of images, using various iconographic conventions such as footprints to show paths, temples on fire to show conquest events, etc.
Epigrapher Alfonso Lacadena has demonstrated that the different syllable signs used by the Aztecs almost enabled the representation of all the most frequent syllables of the Nahuatl language with some notable exceptions ,  but some scholars have argued that such a high degree of phoneticity was only achieved after the conquest when the Aztecs had been introduced to the principles of phonetic writing by the Spanish.
The image to right demonstrates the use of phonetic signs for writing place names in the colonial Aztec Codex Mendoza. Song and poetry were highly regarded; there were presentations and poetry contests at most of the Aztec festivals.
There were also dramatic presentations that included players, musicians and acrobats. There were several different genres of cuicatl song : Yaocuicatl was devoted to war and the god s of war, Teocuicatl to the gods and creation myths and to adoration of said figures, xochicuicatl to flowers a symbol of poetry itself and indicative of the highly metaphorical nature of a poetry that often utilized duality to convey multiple layers of meaning.
A key aspect of Aztec poetics was the use of parallelism, using a structure of embedded couplets to express different perspectives on the same element.
For example, the Nahuatl expression for "poetry" was in xochitl in cuicatl a dual term meaning "the flower, the song". A remarkable amount of this poetry survives, having been collected during the era of the conquest.
In some cases poetry is attributed to individual authors, such as Nezahualcoyotl , tlatoani of Texcoco, and Cuacuauhtzin , Lord of Tepechpan, but whether these attributions reflect actual authorship is a matter of opinion.
The Aztecs produced ceramics of different types. Common are orange wares, which are orange or buff burnished ceramics with no slip. Red wares are ceramics with a reddish slip.
Very common is "black on orange" ware which is orange ware decorated with painted designs in black. Aztec I is characterized by floral designs and day- name glyphs; Aztec II is characterized by a stylized grass design above calligraphic designs such as s-curves or loops; Aztec III is characterized by very simple line designs; Aztec four continues some pre-Columbian designs but adds European influenced floral designs.
There were local variations on each of these styles, and archeologists continue to refine the ceramic sequence.
Typical vessels for everyday use were clay griddles for cooking comalli , bowls and plates for eating caxitl , pots for cooking comitl , molcajetes or mortar-type vessels with slashed bases for grinding chilli molcaxitl , and different kinds of braziers, tripod dishes and biconical goblets.
Vessels were fired in simple updraft kilns or even in open firing in pit kilns at low temperatures.
Aztec painted art was produced on animal skin mostly deer , on cotton lienzos and on amate paper made from bark e. The surface of the material was often first treated with gesso to make the images stand out more clearly.
The art of painting and writing was known in Nahuatl by the metaphor in tlilli, in tlapalli - meaning "the black ink, the red pigment". There are few extant Aztec painted books.
Of these none are conclusively confirmed to have been created before the conquest, but several codices must have been painted either right before the conquest or very soon after - before traditions for producing them were much disturbed.
Even if some codices may have been produced after the conquest, there is good reason to think that they may have been copied from pre-Columbian originals by scribes.
The Codex Borbonicus is considered by some to be the only extant Aztec codex produced before the conquest - it is a calendric codex describing the day and month counts indicating the patron deities of the different time periods.
After the conquest, codices with calendric or religious information were sought out and systematically destroyed by the church - whereas other types of painted books, particularly historical narratives and tribute lists continued to be produced.
Sculptures were carved in stone and wood, but few wood carvings have survived. In Aztec artwork a number of monumental stone sculptures have been preserved, such sculptures usually functioned as adornments for religious architecture.
The Coyolxauhqui Stone representing the dismembered goddess Coyolxauhqui , found in , was at the foot of the staircase leading up to the Great Temple in Tenochtitlan.
The most well known examples of this type of sculpture are the Stone of Tizoc and the Stone of Motecuzoma I , both carved with images of warfare and conquest by specific Aztec rulers.
Many smaller stone sculptures depicting deities also exist. The style used in religious sculpture was rigid stances likely meant to create a powerful experience in the onlooker.
An especially prized art form among the Aztecs was featherwork - the creation of intricate and colorful mosaics of feathers, and their use in garments as well as decoration on weaponry, war banners, and warrior suits.
Working with colours of the same hue you can integrate subtle changes of tone or texture to create a fascinating collage of plants. Used widely in cottage garden planting schemes and stand alone displays.
Adjacent colours create a harmonious effect: Colours close together in the colour wheel are used to create harmony. Pair yellow with red or orange and blue with purple or greens to create a natural, relaxing display.
Opposites colour complement each other: Colours opposite in the colour wheel produce a striking effect.
Pink and yellow, blue and orange and red and green are famous contrasting combinations and can be used to create an energetic, eye catching display.
Perfect for a contemporary design or creating a tropical feel. Triadic colours: triadic planting selects three colours spaced at equal distances around the colour wheel creating a beautifully balanced palette.
Be careful to select plants with a similar intensity of colour and you can create a display packed with visual interest, with less contrast than opposite colours, resulting in a more harmonious feel.
View All Yellow Plants. Plant alongside orange and green colours to create a harmonious display. View All Adjacent-Colour Plants.
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