History in the Toltec Creation Story

Tezcatlipoca, Smoking Mirror

History in the Toltec Creation Story. And this creator couple had four children, all named Tezcatlipoca, Smoking Mirror, in honour of the first reflection. In one sense, Tezcatlipoca was a reification of age-old Mesoamerican patterns of symbolic thought, which abstracted supernatural connotations from the natural world. Specifically, Tezcatlipoca emerged as a supernatural embodiment of cultural attributes inspired by, and bestowed upon, aspects of regional geography/geology and local fauna by the Late Postclassic, pre Aztec cultures of the Valley of Mexico that were shaped by analogical symbolic reasoning and political exigencies.

Perhaps nowhere is this more evident than in the deity's relationship with obsidian (itztli) and the jaguar (ocelotl) two natural kinds imbued with ideational significance across Mesoamerica, recombined in metaphysics, and given physical expression in a distinctive kind of material culture: obsidian mirrors.

To fathom the extent to which consciousness can evolve, one must delve into what is commonly perceived as mythology the narrative of the Nahuatl lineage's creation. Those capable of perceiving beyond historical narratives will discern that this account delineates diverse worlds or dimensions existing in close proximity to us.

In the genesis, all was Centeotl, the embodiment of unity and oneness, also known as Amomati or Itzcuauhtli the Black Eagle a profound darkness from which all emanated, reminiscent of the biblical concept where light emerges from darkness.

Archeologic secret key is in Smithsonian Institution

To soar or create, the Black Eagle gazed upon its reflection, metaphorically birthing subject and object.
This initial reflection assumed the name Tezcatlipoca, the smoking mirror.
When queried about its location, one can only respond that it resides
in the 13th heaven distant yet intimately close, as we are perpetually within it.

The White Tezcatlipoca, Quetzalc�atl, embodying light and knowledge in ancient Mexico

Inaugural reflection

The smoking mirror's inaugural reflection depicted the sacred couple, Ometecuhtli and Omecihuatl, also known as Mr. and Mrs. Two, embodying male and female essences. This divine couple bore four children, all named Tezcatlipoca, honoring the first reflection. Despite being deemed gods by many, including scholars, these Tezcatlipocas are, in reality, essences manifestations of energy permeating everything. They find expression in the spiritual, astronomical, and human realms alike.

Each Tezcatlipoca was assigned a cosmic direction:
The north: The Black Tezcatlipoca, guardian of dreams and the underworld's core.

The west: The Red Tezcatlipoca, also Xipe Totec, Lord of Shedding, tasked with organizing the dreams of the Black Tezcatlipoca and overseeing forces of change, renewal, life, and death.

The south: The Blue Tezcatlipoca, Huitzilopochtli, overseeing the warrior's transformative will, guiding dreams to unlock potential, and serving as a prophet.

The east: The White Tezcatlipoca, Quetzalcoatl, embodying light and knowledge in ancient Mexico.

Danzante, Mixtec, Maya, Olmec influences

Cosmic dance, early colonial period

These four Tezcatlipocas, or forces, brought order to Centeotl's dream. Their movement, ollin, birthed the Ohmaxal the Cosmic Cross sustaining perpetual change. From this cosmic dance emerged matter, evolving into stars, planets, and eventually, energy and physical beings.

In a profound sense, Tezcatlipoca embodies the crystallization of longstanding Mesoamerican patterns of symbolic thought, extracting supernatural significance from the natural world. Specifically, he emerges as a supernatural manifestation of cultural attributes inspired by the Late Postclassic, pre-Aztec cultures of the Valley of Mexico.

These cultures, shaped by analogical symbolic reasoning and political imperatives, bestowed upon Tezcatlipoca traits derived from regional geography, geology, and local fauna. Nowhere is this more evident than in the deity's associations with obsidian (itztli) and the jaguar (ocelotl) two elements endowed with ideational significance across Mesoamerica, amalgamated in metaphysical concepts, and manifested physically in a distinctive form of material culture: obsidian mirrors.

These mirrors, like Tezcatlipoca himself, exude a compelling ambiguity, notably illuminated by a "dark light. They participate in a pan-Amerindian "aesthetic of brilliance," endowing sacredness and power to a multimedia collection of lustrous objects that serve as material metaphors for access to and control of the luminous spirit realm, the source of status and political power.

Obsidian mirrors

Tezcatlipoca thus emerges as a product of both a conceptual landscape rooted in the physical environment and a cultural landscape shaped by the ever-evolving political milieu from the Late Postclassic to the Early Colonial period. Obsidian mirrors, akin to Tezcatlipoca, embody ambiguity. Forged from raw materials extracted from the earth and shaped by human hands, these mirrors, according to ethnohistorical sources, seemingly grant their possessor entry into the intangible realm of reflections, where souls, spirits, and the cosmic forces dwell. Viewed from this perspective, it is not only unsurprising but also deeply profound that Tezcatlipoca personifies a potent amalgamation of powerful imagery, encapsulated in the linguistic apotheosis of Aztec conceptual thought the "Lord of the Smoking Mirror."

He dwelled ubiquitously, spanning the realms of the deceased, the earthly domain, and the heavens. Like the wind, he remained unseen, moving across the land as a shadow. In essence, Tezcatlipoca effortlessly traversed both spatial and mythical confines, embodying a shamanic transformative figure. This shamanic quality, elevated to the status of an imperial state divinity, manifested in his omniscience and the wielding of his namesake magical obsidian mirror (tezcatl). This mirror, a metaphor for rulership and power, endowed him with the ability to "know everything" and peer into the hearts of humanity

Quetzalcoatl snake eat man

The semantic proximity between material and deity was so profound that obsidian was considered a tangible manifestation of Tezcatlipoca. Fray Diego Duran noted that the god's temple image was crafted from a lustrous stone, as black as jet, from which sharp blades and knives were fashioned. This intimate connection between Tezcatlipoca and obsidian underscores Alfred Gell's observation that "the technology of enchantment is founded on the enchantment of technology."

The link between Tezcatlipoca and obsidian extended into the realm of animal symbolism, particularly evident in the god's association with the jaguar. Across Mesoamerica and South America, the jaguar held a prominent role as the apex predator in the natural world. It served as a prototype for cultural categories such as hunting, warfare, and sacrifice, and functioned as the quintessential spirit familiar for shamans, priests, and political leaders. Aztec jaguar symbolism, aligned with this broader conceptual framework of the feline, found expression in Tezcatlipoca's ocelotl warrior cadre and his own nocturnal predatory nature.

Favorite things from the creator of this website about false Gods

Whats Quetzalcoatl snake eat on image? Eat Alfa Romeo Cars emblem :)

Legend or truth?

In modern Mexico, people are really afraid of nahuales. It is said that they turn into animals that steal cattle and eat children, and if the animal is killed, the person sleeping in their bed dies immediately afterwards. Legend or truth? This information was put out by the Church so that people would move away from nahualism.

In the realm of nahualism, animals are recognized as equals possessing distinct consciousness, irrespective of prevailing human perspectives. Through practices like dances and various disciplines, we endeavor to embody the essence of animals, integrating this transformation into our minds and dreams. This process allows us to assimilate the consciousness of different animals, embracing both their physical and energetic attributes.
Upon reaching an advanced stage of training, our focus extends to the consciousness of elements such as rain and fire. Only at this juncture do we attain a broader perspective, witnessing the complete flower: the profound truth that is the void and its reflection.

In the Toltec lineage training, the initial phase involves gradually expanding consciousness through controlled breathing and specific postures, details of which I will elaborate on later. Subsequently, we explore alternative angles of perception that grant access to other realities.

The captivating notion that our tonal, the waking state we perceive as reality, along with the myriad experiences in our lives, is merely a visual angle, resonates deeply with me. Consider the idea that the illusion we all inhabit is akin to a reflection in a mirror simultaneously existing and non-existent.

Sforza Castle in Milan

Alfa Romeo Cars emblem. The red figure in the mouth of the Alfa Romeo Snake is not a flame or tongue, but a human. The symbol was adopted from the historic crest of the Visconti family, and it stands for power and influence. The serpent has become a symbol of the city of Milan, and for the name Biscione.

Regarded as one of the finest automotive logos in the annals of graphic design, the Alfa Romeo emblem has maintained its prestige despite undergoing various modifications throughout the years. Introduced in its earliest form in 1910, the emblem is thought to portray the coat of arms of the Visconti family, a prominent and esteemed family in Milan during that period. The emblem featured a classic red cross set against a white background. Additionally, the serpent on the Alfa Romeo badge is a symbolic tie to an ancient Italian legend recounting the triumph of Uberto over a formidable dragon.

The story goes that an early designer at Alfa combined the symbols he saw of the Visconti family on the Sforza Castle in Milan.