Ancient Aztec Origins of Dia De Los Muertos//Day of the Dead

Dia De Los Muertos, like most holidays celebrated in the Western world, has an ancient origin dating back many, many moons. Before Mexico was even a country and before the Earth knew anything of Christianity, there were Earth-based cultures living all over the world, in harmony with nature and seemingly barbaric to the European mindset. 

More than 500 years ago, when the Spanish Conquistadors landed in what is now central Mexico, they encountered natives practicing a ritual that seemed to mock death.

It was a ritual the indigenous people had been practicing at least 3,000 years. A ritual the Spaniards would try unsuccessfully to eradicate. A ritual known today as Dia de los Muertos, or Day of the Dead.

Although the ritual has since been merged with Catholic theology, it still maintains the basic principles of the Aztec ritual, such as the use of skulls. Dia de los Muertos is celebrated in Mexico and certain parts of the United States.

Today, people don wooden skull masks called calacas and dance in honor of their deceased relatives. The wooden skulls also are placed on altars that are dedicated to the dead. Sugar skulls, made with the names of the dead person on the forehead, are eaten by a relative or friend, according to Mary J. Adrade, who has written three books on Dia de los Muertos.

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The Aztecs and other Meso-American civilizations kept skulls as trophies and displayed them during the ritual. The skulls were used to symbolize death and rebirth.

The skulls were used to honor the dead, whom the Aztecs and other Meso-American civilizations believed came back to visit during the month long ritual.

Unlike the Spaniards, who viewed death as the end of life, the natives viewed it as the continuation of life. Instead of fearing death, they embraced it. To them, life was a dream and only in death did they become truly awake.

"The pre-Hispanic people honored duality as being dynamic," said Christina Gonzalez, senior lecturer on Hispanic issues at Arizona State University. "They didn't separate death from pain, wealth from poverty like they did in Western cultures."

The Spaniards considered the ritual to be sacrilegious. In their attempts to convert them to Catholicism, the Spaniards tried to kill the ritual. They perceived the indigenous people to be barbaric and pagan. But, like the old Aztec spirits, the ritual refused to die.

To make the ritual more Christian, the Spaniards moved it so it coincided with All Saints' Day and All Souls' Day (Nov. 1 and 2), which is when it is celebrated today.

www.eastloshigh.com

Previously it fell on the ninth month of the Aztec Solar Calendar, approximately the beginning of August, and was celebrated for the entire month. Festivities were presided over by the goddess Mictecacihuatl. The goddess, known as "Lady of the Dead," was believed to have died at birth, Andrade said.

In Aztec mythology, Mictecacihuatl was the Queen of Mictlan, the underworld, and wife of Mictlantecuhtli. Her purpose is to keep watch over the bones of the dead. She presides over the festivals of the dead (which evolved into the modern Day of the Dead) and is known as the Lady of the Dead, since it is believed she died at birth.Her cult is sometimes held to persist in the common Mexican worship of Santa Muerte. Photo: crystalinks.com

Today, Day of the Dead is celebrated in Mexico and in certain parts of the United States and Central America.

"It's celebrated differently depending on where you go," Gonzalez said.

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 http://www.azcentral.com

Amiens Cathedral- A gothic architectural wonder.

Truth be told, the subject of Medieval art is pretty captivating in it's entirety. Though, there are a few works that have greatly stood out throughout time. I'd like to share a bit about them for all of the art history lovers. Today, we'll start with this Gothic beauty, Amiens Cathedral.

Amiens Cathedral, France. © Editions Gelbart

Europe is home to some of the world’s most ancient, intricate and innovative architecture. The first photo on this virtual tour shows the western facade of a beautiful cathedral, sitting just north of Paris in the Picardy area of France. The Gothic style of carving and sculpture seen on the west facade likely indicates the builders of Amiens had previous work experience in Paris, bringing with them ideas for grander shapes and proportions. It was in this era that ribbed vaulting emerged as a way to “raise the roof” of the cathedral. This structural skeleton partially supports paneling between the walls This technique was developed by the Normans as a keystone to Gothic architecture.

The intricate carving detail and intended use of light for shadow and imagery is very creative and impressive, especially for a time when a very small portion of the population could even read or write. The west portals of the cathedral change through the play of natural light. The designers of this cathedral used stained glass art to allow even more light and color into their house of worship. I find it interesting that light has been explored as a medium in sculptural art all over the world since ancient times.

Stained glass window art in Amiens Cathedral.

Recently, I was fortunate enough to visit an ancient, sacred site...Chichen Itza in Mexico. The pyramid Temple of Kukulkan stands at the center of Chichen Itza as one of the largest buildings on the Yucatan Peninsula (more on this adventure to the Temple of Kukulkan here). On the equinox at Chichen Itza, the Sun causes a shadow to appear on The Temple of Kukulkan as a serpent slithering down the side. It’s interesting to consider that another culture (halfway around the world and separated by oceans) also chose to experiment with light on their giant sculptures to create optical illusions and shadow movement.

There are many beautiful pointed arches and buttresses all over the Amiens Cathedral, almost like lace or the boning of a handmade dress. It’s very clear why we refer to Gothic architecture as “skeletal”. It does appear to be quite bony from many angles. Further, it’s possible that this skeletal look helps provide a bit of credence to the connection between Gothic architecture and the dark, almost morbid interpretation of the word “gothic” in fashion today (I'll elaborate on this in a later post).

Amiens Cathedral. Photo: www.anselm.edu

The geometric patterns on the floor of the nave are extremely interesting. Some would say they are a collection of sacred mathematical shapes and symbols from cultures all over the world. For example, the pattern block towards the back right has an ancient Egyptian quality. Another block seems to feature some form of swastika, a Sanskrit symbol translating to “it is good’. It wasn't until recently that this symbol of purity was tainted by an Austrian authoritarian. The ancient swastika dates back to 3300 BCE in the Indus Valley Civilization. Hopefully through the use of knowledge and communication we can turn people on to the truth about such things...

Central floor of Cathedral. Photo: www.passages.altaplana.be

Another important factor to note is the sheer size of this building. The massive internal dimensions demonstrate the builders desire to reach for heaven and allow as much light in as possible. The Amiens Cathedral is the tallest cathedral in France ever to be completed with it’s stone vault nave standing at 138.8 feet. Although it has lost most of its original stained glass, Amiens Cathedral is famous for the 13th century Gothic stained glass sculptures found in the main west­-facing facade and the south­facing transept portal, glorious from inside and out.

Interior of Amiens Cathedral. Art by Victor-Jules Génisson (1805-1860)

Stone carvings depicting the life of St. John the Baptist and the life and martyrdom of St. Firmin, who brought Christianity to Amiens in the 4th century. Photo and description: www.modestine4.blogspot.com

The alleged skull of St. John the Baptist in Amiens Cathedral. Photo: www.pravmir.ru

Both sides of the ambulatory (a place for walking) are decorated with illustrations dedicated to the two saints responsible for so many pilgrims making the trip to Amiens...St. John the Baptist and St. Firmin, the first bishop of Amiens.

"Legend says the head of John the Baptist was brought back from Constantinople (modern Istanbul) in 1206 after the sacking of the city by the Fourth Crusade. The face is mummy like and covered by a large polished crystal to preserve it for deterioration. The authenticity has not been studied by scientist but it has been venerated since the 13th century by a steady stream of pilgrims. This relic at the very least has historical and artistic value as well as being a testament to the faith of the people who found religious significance in its presence. The People of the 21st century may be skeptics or repulsed, but the people of by-gone generations were more simple in their faith. They used such objects to enliven their faith. This alone gives this relic significance. The fact that it has endured in Amiens Cathedral for more than nine centuries, surviving the French Revolution and two World Wars makes it worth a visit." -worldheritagesite.com

Amiens Cathedral Labrynth. Photo: www.elsesmaze.wordpress.com

The Labrynth in Amiens Cathedral. Photo: elsesmaze.wordpress.com

Amiens cathedral is a powerful site of pilgrimage that houses sacred relics of past holy men, so it's appropriate to have the high Gothic ceilings and large gathering spaces, allowing visitors to feel as if they are entering into an otherworldly and illuminated house of God. These were the goals of Robert of Luzarches, Thomas de Cormont, Renaud de Cormont, the Gothic architects who designed Amiens Cathedral...light and height.

Since many pilgrims in Medieval times were unable to make the physical voyage to Jerusealum, cathedrals like Amiens served as very close seconds. The labyrinth of Amiens was created as a symbolic representation of the journey to Jerusalem, the ultimate Christian holy land. This labyrinth is usually closed to the public but when available, some people miss it all together as they spend so much time looking up. Others discover the labyrinth but mistakenly walk the white line, thinking it's a maze. Rather, pilgrims are meant to follow the dark colored path leading to the center artwork, believed to be the four bishops who oversaw the making of the cathedral. Then, at their own pace, visitors use the path to move back out into the world, spiritually cleansed and healed.  


---Works Cited---
Gardner, Helen. 2012. Art Through The Ages 14th edition 
Binding, G. 2002. High Gothic The Age of the Great Cathedrals. 
Cologne, Taschen. Williamson, P. 1995. Gothic Sculpture.