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

By Florine Asselbergs

In Conquered Conquistadors, Florine Asselbergs finds that a huge pictorial map, the Lienzo de Quauhquechollan, lengthy notion to symbolize a chain of battles in important Mexico, used to be truly painted within the 1530s by means of Quauhquecholteca warriors to record their invasion of Guatemala along the Spanish and to proclaim themselves as conquistadors. This portray is the oldest identified map of Guatemala and a unprecedented rfile of the reviews of indigenous conquistadors. the folks of the Nahua group of Quauhquechollan (present-day San Martín Huaquechula), in relevant 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 hundreds of thousands of different 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 eu conquest of indigenous cultures. American historians and anthropologists will have fun with this re-creation and Asselbergs's astute research, along with 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 resources for Conquered Conquistadors: The Lienzo De Quauhquechollan: A Nahua Vision of the Conquest of Guatemala (Mesoamerican Worlds)

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The names by which most Mesoamerican pictorials are known today have been determined by a variety of circumstances, such as their place of origin, the place where they were (re)discovered, or a collector’s name. These names often also include references to the material or the theme (for example, lienzos, mapas, genealogías). It cannot be presumed, however, that the makers and users of the documents thought in terms of the same classifications or the same names. Their way of referring to their own works may have been very different, and modern classifications and names often tell us little about a pictorial’s original meaning or function.

These sources can be used as pictographic or logographic “dictionaries” (Jansen and Pérez Jiménez 2000:27). 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.

Iconology is used for deciphering the pictography and understanding the pictorial language or codes. The structure and rhetoric of the story, in turn, are analyzed using some of the tools offered by semiotic narratology. My research methodology involved these steps: 1. Iconographical analysis. The obvious first step in my research was to identify and interpret the signs used in the document: the pictographs. What do they 27 Theory and Methodology mean, and how can they be understood? As Panofsky stated, an iconographical analysis “presupposes a familiarity with specific themes and concepts as transmitted through literary sources, whether acquired by purposeful reading or by oral tradition” (Panofsky 1972:11).

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