Others point to the Maya water deity Ixchel, the goddess of the moon, rain, surface waters, weaving and childbirth, sometimes called the Midwife of Creation. In her role as Mother Goddess and weaver, she set the universe in motion through the movement of her drop spindle. However, she had two sides:
The term has been glossed as "birthplace of the gods", or "place where gods were born",  reflecting Nahua creation myths that were said to occur in Teotihuacan.
Nahuatl scholar Thelma D. Sullivan interprets the name as "place of those who have the road of the gods. The name is pronounced [te. By normal Nahuatl orthographic conventions, a written accent would not appear in that position. Both this pronunciation and Spanish Teotihuacan mural The original name of the city is unknown, but it appears in hieroglyphic texts from the Teotihuacan mural region as puh, or "Place of Reeds".
This naming convention led to much confusion in the early 20th century, as scholars debated whether Teotihuacan or Tula-Hidalgo was the Tollan described by 16th-century chronicles. It now seems clear that Tollan may be understood as a generic Nahua term applied to any large settlement.
In the Mesoamerican concept of urbanism, Tollan and other language equivalents serve as a metaphorlinking the bundles of reeds and rushes that formed part of the lacustrine environment of the Valley of Mexico and the large gathering of people in a city.
Around BCE, Teotihuacan mural of the central and southeastern area of Mesoamerica began to gather into larger settlements.
For many years, archaeologists believed it was built by the Toltec. This belief was based on colonial period texts, such as the Florentine Codexwhich attributed the site to the Toltecs. However, the Nahuatl word "Toltec" generally means "craftsman of the highest level" and may not always refer to the Toltec civilization centered at Tula, Hidalgo.
In the Late Formative era, a number of urban centers arose in central Mexico. The most prominent of these appears to have been Cuicuilcoon the southern shore of Lake Texcoco.
Scholars have speculated that the eruption of the Xitle volcano may have prompted a mass emigration out of the central valley and into the Teotihuacan valley. These settlers may have founded or accelerated the growth of Teotihuacan.
There is evidence that at least some of the people living in Teotihuacan immigrated from those areas influenced by the Teotihuacano civilization, including the ZapotecMixtecand Maya peoples. The builders of Teotihuacan took advantage of the geography in the Basin of Mexico. From the swampy ground, they constructed raised beds, called chinampas, creating high agricultural productivity despite old methods of cultivation.
The earliest buildings at Teotihuacan date to about BCE. The largest pyramid, the Pyramid of the Sunwas completed by CE. This was not the Teotihuacan state; it was a group of the Feathered-Serpent people, thrown out from the city.
The Feathered-Serpent Pyramid was burnt, all the sculptures were torn from the temple, and another platform was built to efface the facade The Dynasty went on to have sixteen rulers. Zenith[ edit ] The city reached its peak in CE, when it was the center of a powerful culture whose influence extended through much of the Mesoamerican region.
Notably absent from the city are fortifications and military structures.
View of the Pyramid of the Moon from the Pyramid of the Sun The nature of political and cultural interactions between Teotihuacan and the centers of the Maya region as well as elsewhere in Mesoamerica has been a long-standing and significant area for debate. Substantial exchange and interaction occurred over the centuries from the Terminal Preclassic to the Mid-Classic period.
The Harald Wagner Collection of Teotihuacan Murals The Harald Wagner collection of Teotihuacan murals is the largest and most important outside of Mexico. The murals are remarkable for their quality, condition and iconographic breadth. The murals of Teotihuacan also known as The City of the Gods are unrivaled in their time and scope among other Mesoamerican tribal groups. The vivid colors and composition of the murals show an attention to detail and desire to make beautiful pieces that would last for thousands of years. The murals of Teotihuacan also known as The City of the Gods are unrivaled in their time and scope among other Mesoamerican tribal groups. The vivid colors and composition of the murals show an.
Some believe that it had direct and militaristic dominance; others that adoption of "foreign" traits was part of a selective, conscious, and bi-directional cultural diffusion. New discoveries have suggested that Teotihuacan was not much different in its interactions with other centers from the later empires, such as the Toltec and Aztec.
Platform along the Avenue of the Dead showing the talud-tablero architectural style Restored portion of Teotihucan architecture showing the typical Mesoamerican use of red paint complemented on gold and jade decoration upon marble and granite.
The talud-tablero style disseminated through Mesoamerica generally from the end of the Preclassic period, and not specifically, or solely, via Teotihuacano influence. It is unclear how or from where the style spread into the Maya region.
During the zenith main structures of the site, including the pyramids, were painted in dark-red maroon to Burgundy colors only small spots remain now and were a very impressionable view.
Teotihuacan is known for producing a great number of obsidian artifacts. No ancient Teotihuacano non- ideographic texts are known to exist or known to have existed.The Harald Wagner Collection of Teotihuacan Murals The Harald Wagner collection of Teotihuacan murals is the largest and most important outside of Mexico.
The murals are remarkable for their quality, condition and iconographic breadth.
Teotihuacan Mural Project by Lesley Bone. The Teotihuacan Mural Project began following the death of Harold Wagner in Wagner was a rather eccentric San Francisco architect who bequeathed his collection of 70 mural fragments to the Fine Arts Museums of San Francisco.
His Will took the museums totally by surprise. Teotihuacan Mural Project by Lesley Bone. The Teotihuacan Mural Project began following the death of Harold Wagner in Wagner was a rather eccentric San Francisco architect who bequeathed his collection of 70 mural fragments to the Fine Arts Museums of San Francisco.
His Will took the museums totally by surprise.
Murals painted in upper class Teotihuacan living areas have provided important clues about the people’s spiritual beliefs, especially veneration of a figure often called the . Teotihuacan’s murals constitute a primary source for understanding the city’s religion and social organization.
W Tepantitla Mural 3 – Mountain of Abundance The compound of Tepantitla is decorated with a number of murals that provide a fascinating insight into how the Teotihuacano believed the world worked and how it had to be maintained.