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Conquered Conquistadors: The Lienzo De Quauhquechollan: A by Florine Asselbergs

By Florine Asselbergs

In Conquered Conquistadors, Florine Asselbergs unearths that an enormous pictorial map, the Lienzo de Quauhquechollan, lengthy concept to symbolize a chain of battles in significant Mexico, was once truly painted within the 1530s by means of Quauhquecholteca warriors to rfile their invasion of Guatemala along the Spanish and to proclaim themselves as conquistadors. This portray is the oldest recognized map of Guatemala and an extraordinary record of the studies of indigenous conquistadors. the folk of the Nahua group of Quauhquechollan (present-day San Martín Huaquechula), in primary Mexico, allied with Cortés through the Spanish-Aztec battle and have been assigned to the Spanish conquistador Jorge de Alvarado. De Alvarado and his allies, together with the Quauhquecholteca and hundreds of thousands of alternative indigenous warriors, trigger for Guatemala in 1527 to begin a crusade opposed to the Maya. The few Quauhquecholteca who lived to inform the tale recorded their travels and eventual victory at the large fabric map, the Lienzo de Quauhquechollan. Conquered Conquistadors, released in a ecu version in 2004, overturned traditional perspectives of the eu conquest of indigenous cultures. American historians and anthropologists will savor this re-creation and Asselbergs's astute research, consisting of context, interpretation, and comparability with different pictographic money owed of the "Spanish" conquest. This seriously illustrated variation comprises an insert replica of the Lienzo de Quauhquechollan.

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Extra resources for Conquered Conquistadors: The Lienzo De Quauhquechollan: A Nahua Vision of the Conquest of Guatemala (Mesoamerican Worlds)

Sample text

Three place glyphs in particular drew 30 Theory and Methodology my attention. The first consists of a bell-shaped mountain with a wall and green quetzal feathers on top. The Nahuatl roots related to these elements are tenam(i) for “wall” and quetzal for the feathers of the quetzal bird. ” The second glyph consists of a Nahua sign for “movement” (olin) on top of a mountain (tepe) and could also be expected to end with the locative suffix (Olin-tepe-c). The third one consists of a mountain with three flowers (xochi–“flower,” tepe–“mountain,” and the locative suffix, yielding Xochi-tepe-c).

The Lienzo de Tuxpan, Lienzo de Tequixtepec II, and Lienzo de Zacatepec). 75 m; see Glass and Robertson 1975:110). 35 m, the Lienzo de Quauhquechollan is among the larger ones as well. With regard to the pictographic elements and layout of the extant lienzos, I identified these common characteristics: 1. There is almost always a central place, usually represented by a place glyph and a temple or a church. This central place is usually situated more or less in the center of the painting, or, if elsewhere, it is shown in considerable size.

The European chronicler Peter Martyr (or Pietro Martire d’Anghiera) mentioned two indigenous maps Cortés had sent to Spain in 1522. One was painted on a piece of cotton cloth about 10 m long and depicted the Mexica provinces and their enemy states. The other was a smaller map, representing Tenochtitlan and its temples, bridges, and lakes. Both documents are lost, but Martyr’s remarks imply that these indigenous maps showed cartographic characteristics familiar to him as a European (Kagan 2000:49; Linné 1948:189).

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