By Florine Asselbergs
In Conquered Conquistadors, Florine Asselbergs unearths that a huge pictorial map, the Lienzo de Quauhquechollan, lengthy inspiration to symbolize a sequence of battles in principal Mexico, was once really painted within the 1530s through 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 rfile of the reviews of indigenous conquistadors. the folks of the Nahua group of Quauhquechollan (present-day San Martín Huaquechula), in vital Mexico, allied with Cortés through the Spanish-Aztec struggle and have been assigned to the Spanish conquistador Jorge de Alvarado. De Alvarado and his allies, together with the Quauhquecholteca and millions 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 textile map, the Lienzo de Quauhquechollan. Conquered Conquistadors, released in a eu version in 2004, overturned traditional perspectives of the ecu conquest of indigenous cultures. American historians and anthropologists will savour this re-creation and Asselbergs's astute research, such as context, interpretation, and comparability with different pictographic debts of the "Spanish" conquest. This seriously illustrated variation contains an insert replica of the Lienzo de Quauhquechollan.
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Additional info for Conquered Conquistadors: The Lienzo De Quauhquechollan: A Nahua Vision of the Conquest of Guatemala (Mesoamerican Worlds)
A storyteller (tlamatini in Nahuatl) presented the oral traditions related to the text. 16 They helped viewers understand the contents and meaning of the pictorial. , which persons and events were considered relevant to depict, and which were considered less relevant and were subsequently left out). The transformation of oral traditions to pictorial documents was never a complete replacement of the former by the latter. Pictorials and orally recited texts were used in combination, and each played an essential part within indigenous historiography.
These disciplines combine to gain a better understanding of the cultural and historical contexts out of which a pictorial emerged. In this book, I follow this interdisciplinary approach. In addition, I deal with the Lienzo de Quauhquechollan as a narrative and analyze it accordingly. In brief, “iconology” is the theory of images, or the study and psychology of icons (Mitchell 1986:3). Iconology focuses on the interpretation of the content and the philosophy or theology of a work of art instead of only describing it (Burke 2001:35).
Particularly helpful in my study of the Lienzo de Quauhquechollan have been the Codex Mendoza, the Lienzo de Tlaxcala (especially the Glasgow manuscript), and Durán’s work. 18 This method is based on a special branch within archaeology (known as ethno-archaeology) and on the iconological method as defined by Panofsky and adapted to function in the context of colonialism. Ethno-iconology takes into consideration the cultural continuity that exists within indigenous communities to generate new interpretations of as yet unidentified pictorial conventions.