Tezcatlipoca Artifacts

List of Artifacts

The artifacts associated with Tezcatlipoca, the Aztec God known as the Smoking Mirror, were once abundant, serving as conduits between the earthly realm and the divine. Crafted with sacred meaning, these objects ranged from obsidian mirrors to ritual knives, statues, temples, codices, and intricate carvings. They were more than mere objects; they were extensions of a belief system that shaped entire civilizations.

Tragically, the arrival of colonial forces led to the widespread destruction and desecration of these sacred artifacts. Temples were razed, and countless objects of immense cultural and spiritual significance were lost forever. What remains today is a fraction of what once was, making each surviving artifact a precious relic, a sacred link to a bygone era.

These remaining pieces are not just historical artifacts; they are sacred heirlooms, each carrying the weight of a civilization's lost history and the hopes of its descendants. As you explore this section, understand that you are witnessing remnants of a nearly erased world, fragments that are as invaluable as they are irreplaceable.

Mask of Tezcatlipoca

Origins

Tezcatlipoca's mask was made by the Mexica(Aztecs) during 15th-16th century in years being 1400-1521 CE. The skull, turquoise, lignite, pyrite and shell which make up the sacred artifact were all procured from the farthest reaches of the Mexica empire and beyond. Turquoise was sent as tribute to the Aztec capital from various provinces, including present-day Veracruz, Guerrero, and Oaxaca. These tributes came as raw chunks or cut and polished mosaic tiles used to decorate masks, shields, staffs, discs, knives, and bracelets. According to a tribute list from Emperor Moctezuma II, ten turquoise mosaic masks, crafted by skilled Mixtec artisans, were sent annually from a province in Oaxaca. The effort made in assembling this diverse selection of exotic materials emphasizes the divine “other-worldly” nature both of the mosaic and whoever wore or displayed it.

The base of the mask is a human skull, which has been hollowed out at the rear and lined with deer hide. The jaw is articulated, attached via hinges to the deer skin, allowing for movement. Extended straps made from the same deer hide enable the mask to be donned as part of ceremonial attire, a practice illustrated in the Mixtec "Zouche-Nuttal Codex".

The mask's surface is intricately adorned with alternating stripes of vivid blue turquoise and dark black lignite. Adding to its mystique, the eyes are fashioned from twin spheres of lustrous iron pyrite, encircled by rings carved from white conch shell. Further enhancing its visual impact, the nasal area is embellished with plates of radiant red Spondylus, also known as thorny oyster shell.

Use

Tezcatlipoca's Mask was most likely used for ceremonies or rituals. If it was used for Ceremonies and Rituals its fair to assume there was a headdress that went along with it that's been lost to history.

Structure and Design of the Mosaic Mask

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The foundational element of the mosaic mask is a human cranium, which has been hollowed out at the rear and lined with deer hide. The jaw is articulated, attached via hinges to the deer skin, allowing for movement. Extended straps made from the same deer hide enable the mask to be donned as part of ceremonial attire, a practice illustrated in the Mixtec Zouche-Nuttal Codex.

Materials

Mosaic skull of Tezcatlipoca, c. 15th-16th century C.E., Mixtec/Mexica, turquoise, pyrite, pine, lignite, human bone, deer skin, conch shell, agave,

Current Location and Photographer

British Museum in London: Image used here was taken by a photographer NOT ASSOCIATED with website. Click here for the attribution to the photographer /

CC BY-SA 4.0

Myths and Theories

There are some stories of this mask being the one gifted to Hernan Cortez but there hasn't been any definitive proof of it being this mask, it is thought that it was another mask that was gifted the mask of Quetzalcoatl or Tlaloc there's even been the theory the other mask is a mix of Quetzalcoatl and Tlaloc.

A quick summary of Hernan Cortez: The Spanish and Europeans rarely showered nobles once a month and regular people showered once a year, The natives showered daily or regularly, much like people today. Cortez's group smelled bad in comparison they were followed around with incense and flowers. Because of that Hernan Cortez thought the Aztecs thought he was a god so that's a version of how that myth started. It is a topic of debate whether or not they did think that he was god, a misunderstanding, or if it was colonist propaganda.

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Obsidian (smoking) Mirror

Historical Origins of Obsidian Mirrors in Mesoamerican Cultures

Click here or on the image for more examples of Obsidian Mirrors

Mixtec Civilization

The Mixtecs (circa 1500BCE-1500 CE), an indigenous people from the region now known as Oaxaca, Guerrero, and Puebla, are renowned for their intricate craftsmanship, particularly in working with materials like obsidian. Obsidian mirrors in Mixtec culture were used by priests and rulers for divination and communication with the gods. These mirrors symbolized power and insight, serving as spiritual tools to reveal hidden truths and future events. The Mixtecs' advanced knowledge of materials and their skilled artisanship is evident in the carefully crafted and polished obsidian mirrors they produced.

Olmec Civilization

The Olmecs (circa 1400-400 BCE), one of the earliest Mesoamerican civilizations, used obsidian for various purposes, including the crafting of ritualistic objects. Although there's no conclusive evidence to show that obsidian mirrors were used, the religious context in which obsidian was employed suggests the material had spiritual significance.

Maya Civilization

The Maya civilization (circa 2000 BCE - 1500 CE) made extensive use of obsidian in their religious and ceremonial practices. Obsidian blades were specifically used for bloodletting rituals. However, the archaeological record doesn't provide definitive evidence for the use of obsidian mirrors in Maya spiritual practices.

Teotihuacan

The city-state of Teotihuacan (circa 1-550 CE) was a major center for obsidian tool production. While not directly linked to the Aztecs, Teotihuacan influenced various Mesoamerican societies. Obsidian artifacts, including potentially mirrors, have been found in different parts of Mesoamerica, suggesting a broad distribution of such products.

Toltec Civilization

The Toltecs (circa 900-1150 CE) are often viewed as the cultural predecessors to the Aztecs. Known for their art and architecture, the Toltecs utilized obsidian in their craftsmanship. While it is plausible that obsidian mirrors were used in Toltec rituals, definitive archaeological evidence is lacking.

Aztec Civilization

By the Aztec era (circa 1345-1521 CE), obsidian mirrors had become strongly associated with Tezcatlipoca, the god of the night sky. These mirrors played a role in divination and everyday life. Unlike earlier civilizations, there is substantial evidence to support the ritualistic use of obsidian mirrors by the Aztecs.

Conclusion

The use of obsidian mirrors in Mesoamerica appears to have evolved over time, with each civilization adding its own layer of spiritual, ritualistic, and practical significance to these objects. By the time of the Aztecs, obsidian mirrors had acquired complex symbolic meanings, reflecting the cumulative beliefs and practices of earlier civilizations.

Tezcatlipoca The Smoking Mirror

Click here or on the image for more examples of ancient Aztec Mirrors

"Tezcatlipoca" translates to "The Smoking Mirror" in Nahuatl, and this name is deeply symbolic. Obsidian mirrors were not just physical objects but were considered to be imbued with spiritual significance. They were believed to be portals through which Tezcatlipoca could observe the human realm. This belief was particularly potent given Tezcatlipoca's role as a god of the night sky, conflict, and change. He was considered omnipresent and all-seeing, qualities that were symbolized through the obsidian mirror.

Obsidian was abundant in the region and was used for various purposes, from making sharp blades for weapons and rituals to crafting mirrors. However, its abundance did not diminish its spiritual value. In fact, the material's commonality might have made the belief in Tezcatlipoca's omnipresence even more pervasive. If obsidian was everywhere—in weapons, mirrors, and ritual objects—then so was Tezcatlipoca's gaze.

The belief that Tezcatlipoca could see through any piece of obsidian added a layer of spiritual surveillance to Aztec society. This could have served as a form of social control, reinforcing moral and social norms. If Tezcatlipoca could see all, then he could also see any transgressions, making the obsidian mirror a potent symbol of divine judgment.

The obsidian mirror is closely associated with Tezcatlipoca(The Smoking Mirror), one of the main Gods in the Aztec pantheon. Tezcatlipoca is often depicted with an obsidian mirror on his head, on his chest, and in place of his left foot that he lost while creating the world, symbolizing his ability to see all things.

Obsidian mirrors were closely tied to Aztec/Mesoamerican spirituality and rituals. Tezcatlipoca was known as the patron of sorcerers and magic. Smoking Mirrors were often used by priests for divination and other ceremonial practices. The mirrors were believed to be portals to the spiritual world and were used to communicate with Gods or ancestors.

Aztec Codices Relevant to Tezcatlipoca

Codex Zouche-Nuttall Date: 1200-1521 CE

Main Plot: Genealogies, alliances, and conquests of Mixtec rulers.

Codex Borgia Date: Circa 1400 CE

Main Plot: Ritualistic and divinatory themes. Generally thought to be one of the most important documents of Mexica religion, Tezcatlipoca is the only God in any of the Codices to have all 20 day signs on his body as depicted within the codex Borgia.

Codex Borbonicus Date: Circa 1520 CE

Main Plot: Aztec calendar and rituals.

Post Conquest Codices after 1521, Propaganda and Cultural Suppression:

The Spanish conquest of Mesoamerica made significant systematic efforts to dismantle indigenous religions, which were often labeled as paganism or heresy by European colonizers. This effort to dismantle their religions included the destruction of temples, idols, religious texts, anything in support of past traditions faced extreme persecution that could even lead to the death penalty for showing faith. They were forced to do labor within missions and convert to a European god under threat of never leaving the missions (could call it slavery)until they did convert or death if they didn't. In this environment, codices produced under colonial rule might reflect a mix of indigenous knowledge and the influence of European perspectives, including attempts to demonize or demean indigenous gods and practices. Some of the explorer's journals who were there wrote about this they even wrote about feeling some remorse for saying what they said about the indigenous people. The Spanish also introduced European writing systems and book formats, which influenced how indigenous scribes recorded their traditions. For example, before the colonization in most cases in Mesoamerica they would read and write in a snake pattern.

Codex Magliabechiano Date: 1529-1531 CE

Main Plot: Aztec religion and rituals.

Codex Telleriano-Remensis Date: Circa 1563 CE

Main Plot: Religious and cosmological themes.

Codex Florentino Date: 16th century

Author: Bernardino de Sahagún

Main Plot: Encyclopedic work about the Nahua peoples and their customs, calendar, and history.

Toltec Statues Atop Pyramid of Quetzalcoatl in tula

The Toltec statues atop the pyramids of Quetzalcoatl in Tula the ancient capital of the Toltecs made 900CE-1200CE its commonly thought that they represent warriors dressed in godly armor or attire, or they represent Tezcatlipoca, Quetzalcoatl, Tlaloc, and another God. Although its generally accepted their warriors. Even if it wasn't directly the gods, they were wearing godly armor their pantheon's main Gods were Tezcatlipoca Quetzalcoatl, and Tlaloc.

Toltec Carving next to Statues Atop Pyramid of Quetzalcoatl

The Toltec Carving most likely was of a ruler such as Ce Acatl Topiltzin Quetzalcoatl the King and high priest of Tollan and the Toltecs, or as mentioned before with the statues, a Toltec God like Tezcatlipoca or Quetzalcoatl. Its important to not the veneration of Quetzalcoatl was there far before King Ce Acatl Topiltzin Quetzalcoatl. The king was high priest of Quetzalcoatl so its possible he adopted his name during his lifetime.

Jaguar Mural in Teotihuacan

Tezcatlipoca?

This mural from Teotihuacan (100 BCE-550CE) depicts a jade-adorned Jaguar man or deity, stopping on his journey to kneel before a temple with offerings to give. He is wearing a headdress of Quetzal feathers, a significant symbol of power and status. HIs pupils are dilated, and his eyes are of a bird his eyelid is colored by green feathers, in his hand, he holds a shield featuring a black circle at the center, which may represent a Tezcacuitlapilli a mirror like on some Mesoamerican shields—a slightly speculative but intriguing possibility, as it could suggest both protective and reflective/religious functions.

The imagery bears a striking resemblance to Tezcatlipoca and his nagual form, Tepeyollotl, the jaguar deity. Given that this mural predates the Mexica and Toltec cultures, it might depict an ancestral version of these figures. It could even represent the Werejaguar —a term used by researchers for ancient Mesoamerican depicting mainly infants with jaguar features that permeate the Olmec civilization(1500BCE-1200BCE) as found in many of their statues and architecture, suggesting a possible demigod or legendary/mythic figure whose adult form is shown here. Researchers don't know the name of the possible demigod so they nicknamed it werejaguar it could be the grown depiction of this ancient figure.

Teotihuacan's religious influence is evident as their culture venerated deities like Tlaloc and the Feathered Serpent Quetzalcoatl who is known rival with Tezcatlipoca in later Toltec and Aztec cultures. However, much about their beliefs remains mysterious. This mural could be portraying an early form of the jaguar warriors, potentially the werejaguars, highlighting how Teotihuacan's culture profoundly shaped the region.

The combination of jade and quetzal feathers, especially in a headdress, denotes not only royal and divine status but also significant religious symbolism. Thus, a depiction of a jade jaguar warrior, possibly wearing an obsidian mirror, in one of Teotihuacan's most significant structures, underscores the deep cultural and spiritual layers of Tezcatlipoca, Mesoamerica, and Mexico.

Tezcatlipoca

Tezcacuitlapilli

The Tezcacuitlapilli has been around since the preclassic era until the conquest (2500 BCE- 1523-CE) its materials and use evolved throughout the Preclassic, classic, and post classic eras. The Tezcacuitlapilli are based on two attributes: their mineral composition and their ability to reflect light. Early investigators into Mesoamerica made this method of classification then they were also classified by eras and the criteria of similar minerals as more researchers found more mirrors and used this combined method of classification to make a more robust and vast description as shown below.

Raw Materials and Descriptions

Preclassic Era: 2500 BCE-400BCE

Description:
- Concave mirrors.
- Could produce fire.
- Worn as pectorals or diadems.
- Made from a single piece (monomineral).
Materials:
- Magnetite
- Hematite
- Ilmenite
- Mica
- Gypsum

Classic: 250CE-900CE

Description:
- Flat surface mirrors.
- Stone base, usually slate.
- Shiny mineral on the front.
- Designs added to the back.
- Began to be worn on the back.
Materials:
- Pyrite
- Slate
- Mica
- Marcasite

Postclassic 900-1521CE

Description:
- Flat surface mirrors.
- Wood or stone base.
- Mosaic work on the front.
- Decorated using lapidary, metallurgical, and feather techniques.
- Perforated mirrors worn on the back.
Materials:
- Turquoise
- Obsidian
- Copper
- Silver
- Gold

Mini Tezcatlipoca Statue

9.9 cm wide, 12.7 cm tall, 6.5 cm deep. This Miniature Tezcatlipoca wears a headband with disc decorations, large circular earflaps, bangles, and a necklace with three beaded strands. The shield and arrows on the left arm signify the character's warlike nature. Carved on the top of the head is the glyph "1 skull," complemented by a black mirror on the right side of the head and the dark stone from which the figurine is made. These elements represent the God Tezcatlipoca. Tezcatlipoca is known as a creator and destroyer, omnipresent, and the patron of wizards and warriors. The date "1 skull" marks Tezcatlipoca's day in the 260-day calendar.

Auguste Genin's collection

Box of Artifacts

Obsidian Pieces from August Genin's Collection

August Genin was a avid collector Of Mesoamerican artifacts he is said to have had one of the biggest collections in the world up to his death, after his death his collection dispersed some pieces going into museums, others into other private collectors collections, and more places.