COYOLXAUHQUI: HISTORY AND ARTISTIC REPRESENTATIONS - CULTURE VOCABULARY - 2025

Coyolxauhqui was a deity of the Mexica culture that represented the Moon. Its Nahuatl name is made up of two words: coyolli, which means "bell" and xauhqui, which translates as "that adorns." Therefore, Coyolxauhqui means "the one adorned with bells."

Due to this, all the representations that have been found of this goddess are easily identified, since in the face of the deity you can see a series of discs that hang from her cheeks, similar to bells.

Coyolxauhqui colored monolith from traces of pigments found. Source: Drini

Although it is mainly associated with the Moon, some archaeologists establish that Coyolxauhqui must represent another celestial body, since in his sculptures no lunar glyph or any other type of sign was found that directly links it with the Earth's natural satellite.

From Coyolxauhqui, two sculptures of important archaeological value have been found, these being a quarry monolith and a colossal head. The first was discovered in 1978 under the stairs of the Templo Mayor, while the second was found in the foundations of a house in Santa Teresa, now the Republic of Guatemala.

The history of Coyolxauhqui

The story of this goddess begins, in turn, with the life of Coatlicue, who was the goddess of death and life. This deity lived in Coatepec and had decided to retire to a secluded life. Coatlicue was the mother of the four hundred Surianos, of the gods of the South Straits and of Coyolxauhqui, who was the leader among her brothers.

Coyolxauhqui learned that Coatlicue was pregnant and that the identity of the father was unknown. According to the legend, Coatlicue picked up a feather that fell from the sky and placed it in her bosom; in this way she realized that she was pregnant.

The other children found out, they were dishonored and angry. Taking advantage of this, Coyolxauhqui convinced his brothers to murder their mother. Upon learning of his children's plan, Coatlicue was saddened by his future. However, the son who was in her womb spoke to her and assured her that she need not worry, as he would protect her.

Coyolxauhqui faces his brother Huitzilopochtli

When her sons approached Coatlicue to assassinate her, the armed god Huitzilopochtli was born, who killed the four hundred Southerners and wounded his sister Coyolxauhqui with a snake. He then decided to behead her and sent the head to heaven so that her mother could see her every night.

Later, Huitzilopochtli dismembered what was left of his sister's body. In this way, Coyolxauhqui became the representation of the Moon and her brothers of the stars.

For this reason, it is said that Coyolxauhqui was a goddess of strong and rebellious character, who led her brothers. She faced her brother Huitzilopochtli with the aim of defending the honor of her family and that strength cost her her life.

Artistic representations

Beautiful and colossal head of Coyolxauhqui

The head of Coyolxauhqui is part of the great sculptures of the golden age of the Aztecs (15th century) and can currently be located in the National Museum of Archeology. Compared to other similar works, Coyolxauhqui sculpture is exceptional, since it recognizes the face of a perfectly carved human being with a certain sensuality.

On the head of the figure there is a headdress that covers it in its entirety, including the forehead; it only leaves the face free that remains hieratic This face is adorned with small discs and a nose ring hangs from its nose, which covers up to the chin. It also has long ear flaps.

On the upper discs - the only ones that can be fully appreciated - a cross-shaped sign with four small dots is engraved. On the other hand, only part of the intermediate circles is visible. The last discs have an opening at the bottom, which suggests the shape of bells.

Justino Fernández, in his text Approach to Coyolxauhqui (nd), proposes that the cross symbol is a presentation of gold, so it is intuited that the bells on the face of the goddess must be of precious metal, as corresponds to the accessories of all deities.

The sculpture is about 91 centimeters high, while it has a width of 110 centimeters. It was made of a hard and porphyry stone, whose color and quality make the viewer understand that it is a work of the first order.

The monolith of Coyolxauhqui

It consists of an engraving in the shape of a shield, whose diameter reaches 320 centimeters. The round figure of the monolith is similar to the shape of the full moon, which reaffirms the link between Coyolxauhqui and our satellite.

Archaeologists working on the monolith. Source: CDMX Government

On the stone you can see the dismembered deity, whose limbs have been placed around the trunk. The goddess wears small feathers in her hair, as well as a bell on her cheek and an eyelash. Like her mother Coatlicue, Coyolxauhqui was represented with a belt adorned with human skulls.

Some scholars claim that the dismemberment and beheading of the goddess were a role model during the ritual sacrifices of the Mexica. In these celebrations the hearts of the captives were extracted, and then beheaded and dismembered. Finally, the bodies were thrown down the stairs of the pyramid, probably on top of the goddess's monolith.

The monolith was found on the stairs of the Templo Mayor, while a group of workers from the Compañía de Luz made a series of excavations to install underground wiring. Thanks to this discovery, archaeological studies in the place were expanded.

Some consider that the monolith sought to recreate the myth of Coyolxauhqui, since it was located in the lower area of ​​a building dedicated to Huitzilopochtli. For this reason, it is affirmed that this sculpture is a representation of the murder of the goddess on the Coatepec hill.

Currently you can visit this monolith in the facilities of the Museo del Templo Mayor, located in Mexico City.

References

1. Fernández, J. (sf) An approach to Coyolxauhqui. Retrieved on December 19, 2019 from UNAM: historicas.unam.mx
2. Fortoul, T. (2019) The one that adorns itself with bells. Retrieved on December 19, 2019 from medigraphic.com
3. Garza, T. (2011) The rhetorical legacy of Coyolxauhqui. Retrieved on December 19, 2019 from Google books: books.google.com
4. Matos, E. (sf) The six Coyolxauhqui: variations on the same theme. Retrieved on December 19, 2019 from UNAM: historicas.unam.mx
5. Milibrath, S. (1997) Decapitated lunar goddesses in Aztec art, myth and ritual. Retrieved on December 19, 2019 from Cambridge.org
6. SA (sf) Coyolxauhqui. Retrieved on December 19, 2019 from Wikipedia: es.wikipedia.org