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.
Cross-cultural comparisons and analogies within Mesoamerica are possible. The cultures of Mesoamerica shared a mutual history, a calendar, and, to a degree, "certain basic religious and mythological beliefs" Pasztory Prior to Teotihuacan art, Olmec artistic representations, elements of which are recognizable in Teotihuacan murals Lombardo And broad continuities are seen between Teotihuacan and contemporaneous groups, as well Teotihuacan mural with Aztec symbolism.
However, this approach has limitations. The direct historical approach to interpretation of Teotihuacan art by analogy with Aztec art began before the temporal gap between the artwork of the two cultures at least years was fully appreciated.
Kubler rejected the use of analogy between Aztec and Teotihuacan art, warning that over long spans of history disjunctions of form and meaning may be expected more often than continuity in their associations Kubler Teotihuacan mural recent authors, among them Cowgill and Berlo, have also commented on this issue: Nevertheless, it is increasingly clear that there were many broad continuities Obviously we must be careful, look for specifics more than generalities, and be sensitive to differences as well as resemblances.
Fundamental questions seem to have been ignored in the study of Teotihuacan mural art, and unstated theoretical assumptions seem prevalent.
I believe it is valid to assume that the world view of a society, whether those views are religious, magical, mythical, natural, scientific or combinations of these, will be inherently evidenced, at least to some extent, in its symbolic system. Contrarily, I regard as invalid the assumptions that only one world view exists in a society, that world views are consistent over the temporal span of a society, or that one or the other of the possible world views i.
To what extent was the symbolic system interrelated with particular arenas of the social system, with the arts, entertainment, social life, production, politics, religions, or other arenas? What evidence, outside of the interpretation itself, supports the relationships and meanings posited?
Different groups in a society may have entirely distinct world views, especially in a large and complex urban civilization such as Teotihuacan. Does all the art adhere to a symbolic system, or is only a portion of the art systematic?
Who controlled the content of the art? In my view, the interpretations discussed below disregard these questions and theoretical issues. At the opposite end of the spectrum, that is, the specific, I also question certain interpretations and their underlying assumptions. For example, some quite simple geometric decorations have been interpreted as inherently meaningful.
While some of these interpretations might be true, geometric forms can also simply be decorative. In the case of these examples, the motifs lack contextual support for the interpretations. As in these examples, interpretations often assume that complex meaning is inherent in the most basic motifs, or that every design, even the most ubiquitous of geometric forms, is part of a symbolic system.
This case, that of assumptions in interpretation of simple geometric forms, exemplifies a more complex problem of assumptions when considered in relation to more complex motifs. I first present some general interpretations by diverse writers, and then discuss specific categories and elements.
When they are offered in the literature, and this is not always the case, I include the rationales for the interpretations.
My purpose is to present sufficient material to assess the religious interpretation. The various interpretations are not consistent; the authors are not always in agreement.
This variability certainly justifies questions about the accuracy of the interpretations. Several authors make very broad assumptions about religion and Teotihuacan.
Millon argued that Teotihuacan:W Jaguar blowing a conch The Palace of the Jaguars is located immediately to the west of the Plaza of the Moon at Teotihuacan. The most prominent mural is that of a jaguar blowing a feathered conch shell that drips with blood (fig.
W). Whilst it equally looks as though the jaguar is drinking from the shell, the scroll forms that . 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.
Teotihuacan’s murals constitute a primary source for understanding the city’s religion and social organization. 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. The Teotihuacan Murals Museum ""Beatriz de la Fuente"", on one side of the Pyramid of the Moon, exhibits the murals recovered over a period of more than a century of excavations in the archeological zone.