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L E O N A R D O L P E Z LU J N A N D

S A B U R O S U G I YA M A THE RITUAL DEPOSITS IN THE MOON


PYRAMID AT TEOTIHUACAN

T
H E A R C H A EOLOGI CA L WOR K
The explorations of the Moon Pyramid Project, conducted from to , have given archae-
ologists a better understanding of how the second largest monument in the ancient city of
Teotihuacan was built. Painstaking systematic excavation of long tunnels into its interior revealed
a long sequence of construction expansion from the modest start of the pyramid around
to the citys collapse in about . The majestic forty-six-meter-tall platform currently visible
corresponds to the seventh and final stage of this sequence and it encloses in its interior six smaller,
superimposed buildings (see S. Sugiyama and Cabrera Castro, ). For descriptive purposes,
these buildings have been designated with arabic numbers from to , from the smallest and oldest
to the largest and most recent.
Our explorations also revealed that at least three of the seven buildings of the Moon Pyramid
numbers , , and contained amazing ritual deposits, buried by the ancient Teotihuacanos to
celebrate and consecrate each new enlargement. After eight years of intensive archaeological work,
we recovered five burials from inside the pyramidnumbered to almost all of them composed
of a wide variety of artifacts, plants, animals, and human beings (fig. .; see also fig. .).1 They
were invariably found in the construction fill and aligned on the citys north-south axis. Burials ,
, and were found at the base of the pyramidat the natural tepetate bedrock levelwhile burials
and were at the summit and near the center of the pyramid, respectively. It is worth noting that
none of them were deposited in hollow chambers like those found at sites in Mesoamerica ranging
from Tenochtitlan and Monte Albn to Palenque. In contrast, once the rite of inhumation was com-
pleted, at Teotihuacan it was customary to fill the receptacles with tons of earth and stone, which
resulted in tragic consequences for the future preservation of the materials. Following is a brief
summary of these ritual deposits and a discussion of their possible functions and symbolism.

Burial 2
Burial , at the base of the pyramid, is one of the richest and most complex of the deposits
exhumed at Teotihuacan to date (fig. .). The Teotihuacanos placed it just north of the northern
facade of Building during the construction of Building , an enlargement dated to around the first
half of the third century . Explored in , this burial rested on a thin layer of mud laid
directly on the bedrock, and it was limited by a quadrangular stone enclosure that measured .
. . meters.

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Burial 5

Burial 4
Burial 3
Burial 6

Building 5
Burial 2

Building 6
Building 1
Building 7
Building 2
Building 4
Building 3

In this deposit we discovered the complete skeleton of an individual


who had been sacrificed and offered to the building. The corpse was
found in a seated position, leaning on the east wall and facing toward
the west. His arms were positioned behind his back with his hands
together, as if they had been tied at the wrists. According to bioarchae-
ological studies, the individual was a male, forty to fifty years old. The
data from the analysis of stable oxygen isotopes in the bone and dental
phosphate reveal that the subject spent his childhood in a place other
than Teotihuacan.2 Therefore, he may have been a foreigner captured
in battle and later sacrificed to the pyramid. Significantly, the skeleton
displayed two greenstone earflares and a beaded necklace, which sug-
gest his high social status.
The individual was accompanied by a lavish offering that consisted
of hundreds of artifacts in obsidian, jadeite and Guatemalita (a type of
chalcedony), shell, ceramic, fiber, slate, and pyrite. There were also
dozens of animals from both the Teotihuacan region and tropical and
coastal zones. The identified species included two complete pumas and
one wolf, in addition to two puma skulls. There were also nine golden
eagles, a prairie falcon, a crow, a horned owl, and at least six rattle-
FIG. 10.1 Plan of the Moon Pyramid with location of burials.
snakes, as well as numerous mollusks. It is worth adding that the puma Digital illustration by Hironori Fukuhara, modified by Bob Aufuldish
FIG. 10.2 Burial . Ink drawing by Saburo Sugiyama
and wolf skeletons were found in wood cages, and one of the two pumas
was associated with excrement remains, which indicates that these
mammals were buried alive (see N. Sugiyama, ).
In the center of Burial , we also found an unusually complex array
of objects and materials that had clearly been placed in a deliberate and
parallel manner. Two of them consisted of a greenstone figured paired
with an obsidian figure (cats. , ); one of the greenstone figures
appears to be female, while the other is likely male. The offering with the
male figure was placed at the east of the chamber, and that of the female
figure was at the very center, suggesting it was the focus of the entire
burial. The nearby presence of a necklace of shell carved to resemble

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FIG. 10.3 Burial . Ink drawing by Saburo Sugiyama
FIG. 10.4 Burial . Photograph by Shigeru Kabata
FIG. 10.5 Burial . Photograph by Hirokazu Kotegawa

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human teeth (cat. ), and the skeletons of three rattlesnakes and a other, in an extended position on their backs, oriented east-west with
golden eagle, underscore its importance. Both of the greenstone figures their heads toward the east. In contrast, individual -D was found in
are in turn each surrounded by nine big obsidian blades organized in a a lateral flexed position on his left side. The four were all male, but
radial pattern. A third grouping, placed between the pairs of figures and they were from different age groups at the moment of death: -A was
obsidian blades, included other equally symbolically charged objects: a about thirty-five years old; -B, from eighteen to twenty years of age;
slate disk, obsidian projectile points, and a ceramic Storm God jar (cat. -C, around twenty-five years old; and -D, close to fifteen years.
). Taken as a whole, and in comparison to other offerings from the According to isotopic analysis, they were foreigners, perhaps immi-
Moon Pyramid and the Feathered Serpent Pyramid, these three group- grants who moved to Teotihuacan, or war captives.3
ings comprise a complex statement about the cosmological and martial The jewels worn by individuals -A, -B, and -C are similar to those
aspects of the Teotihuacan state, and the sacrifices required to maintain worn by the sacrificial victims found in the Feathered Serpent Pyramid:
its authority. -A displayed a pair of round shell earflares; -B possessed two small
round earflares, a nose ornament in the shape of a serpent rattler, and
Burial 3 a beaded necklace, all made of greenstone (cat. ); -C had a pair of
This burial also stands out for its richness and complexity (fig. .). It small round shell earflares and a necklace with representations of max-
was deposited north of the northern facade of Building during the illae made of the same material; and -D lacked any ornaments. These
construction of Building , around . The materials in Burial differences in grave goods might indicate that the individuals belonged
were found in in the interior of a quadrangular pit measuring to different classes or sociopolitical groups.
. meters on each side and . meter deep that was excavated by the Just as in Burial , the four individuals were accompanied by a general
Teotihuacanos in the bedrock layer. The deposit contained the mortal offering that included hundreds of artifacts in obsidian, jadeite and
remains of four individuals who, like the individual in Burial , seem Guatemalita, shell, fiber, slate, and pyrite. What stand out from the fau-
to have been sacrificed to the building, as evidenced by their arms nal remains are the skulls of fourteen wolves, three pumas, and possibly
behind their backs, wrists together, and fibers on both their extrem- one jaguar, which still retain the first few cervical vertebrae. This indi-
ities and their jaws, perhaps the remains of ties and gags. The bod- cates that the heads were severed from the body when they were still
ies of individuals -A, -B, and -C were arranged parallel to each covered with soft tissue. During the archaeological exploration we also

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recovered the complete skeleton of what seems to be a roadside hawk, tons of earth and stones. A meticulous analysis of the context revealed
as well as various species of seashells. that the floor was never repaired; the fill for the cavity continued above,
We located two concentrations of artifacts right in the middle of the beyond its upper edge. At the same time, a topographic survey showed
pit. Each included a carved greenstone anthropomorphic sculpture, that Burial was located exactly at the three-dimensional center of
several beads also made of greenstone, a sea snail shell and numerous Building . This information supported the idea that the deposit was
smaller seashells, and obsidian objects including anthropomorphic made to commemorate the closing of Building and the erection of the
eccentrics, projectile points, and blades. The two greenstone sculptures second-to-last enlargement of the pyramid, around . The pit was
mentioned are miniatures of exceptional quality that represent dignitar- composed of four rough talud walls, which in fact were built of tepetate
ies each seated in a cross-legged position, wearing a headdress, loin- blocks cut when the hole was excavated to become the receptacle for
cloth, and removable earflares (cats. ). the deposit. Therefore, its interior space narrowed as it descended to the
square, flat base, which was . meters under the upper edge.
Burial 4 As in the case of all ritual deposits in the Moon Pyramid, the archae-
This burial, discovered and explored in , was deposited north of ological materials were concentrated at the base of the cavity. What
the northern facade of Building , precisely when Building was being stood out were the complete bodies of three individuals: -A, located
constructed over it, around . Unlike those of Burials and , the in the middle of the western end of the pit; -B, near the southwest
offerings in Burial were placed directly in the earth and rocks of the corner; and -C, in the center of the northern end. Each of the three
construction fill (fig. .). was seated cross-legged and facing the west, with hands rested one on
The content of Burial was limited to seventeen human skulls with top of the other, directly over their feet. This position evoked majesty
the first cervical vertebrae in anatomical position, in addition to a sup- and high rank virtually throughout Mesoamerica, and in iconography it
plementary vertebra that belonged to an eighteenth individual. Apart was a position used exclusively by deities and elites in power. As a result
from these skeletal remains, no other associated materials were uncov- of diverse studies, we know that the individuals in Burial were males
ered. Despite the deplorable condition of these materials, painstaking who died at an advanced age: -A was between fifty and sixty years of
bioarchaeological analysis was successfully conducted, revealing that age; -B, between forty-five and fifty-five; and -C, between forty and
almost all of the sacrificed individuals were young men, under thirty- forty-five. According to the preliminary results of isotopic analysis, the
five years of age. We can see different types of cranial deformation and individuals were probably all foreigners.5
dental mutilation (this latter practice was atypical of the population Individuals -A and -B were seated next to each other.
at Teotihuacan), which suggests that the victims may have come from Significantly, they wore almost identical ornaments, made of jadeite
diverse origins and might have been members of high social status. In and Guatemalita from the Motagua Valley. Each of them had a set of
consonance with this interpretation, isotopic studies indicate that most grave goods that consisted of a pair of large round earflares, a necklace
of them were foreigners who changed their place of residence in the with twenty-one globular beads (or perhaps twenty beads, with the
course of their lives, perhaps as a result of their work, such as trade, twenty-first being a bead that had been deposited in the mouth of each
warfare, or diplomacy.4 individual), and a spectacular bar-shaped pendant customarily worn
As part of the expansion ceremony for the pyramid, these individu- by Maya rulers (cat. ). In other words, these two individuals were
als lost their lives one by one, when their necks were violently broken, attired at the moment of their death as figures related to Maya dynas-
perhaps with a club or a stone axe. Then their heads were severed from ties. This suggests there were much more intense, direct, and complex
the dead bodies with extremely sharp obsidian blades. These heads were relations between the Maya and the people of Teotihuacan than we had
taken to the foot of the back facade of the pyramid and placed in the imagined until now, at least among the elites of both societies in the
fill of the new building enlargement, all at the same level in a roughly fourth century .
rectangular area. Many of them were positioned upright, with the neck The personal ornaments of -C were highly distinctive. This individ-
placed downward. Finally, a fine layer of red pigment was spread on the ual, spatially set apart from -A and -B, had a badly deteriorated stick
offering, which was covered over with large irregular stones. beside his right arm, perhaps the remains of a staff, a scepter, or a spear-
thrower. He wore two large shell disk earflares with jadeite appliqu.
Burial 5 In addition, he displayed a complete necklace composed of rectan-
Burial is quite different from the preceding examples in terms of gular shell plaques and disks, also made of shell with jadeite appliqu.
architectural position and content (fig. .). It was discovered in Although there are no completely identical necklaces in Classic period
when the upper portion of Building was explored. The excavation of a Mesoamerican iconography, we can find important analogies both at
south-north tunnel on the central axis of the pyramid revealed that the Teotihuacan and in the Maya area. The rich attire of -A, -B, and -C
floor was broken at the north end of the summit. The fractured area was was complemented by long whitish grassy fibers and diminutive obsid-
rectangular in shape and measured six meters on each side: it was the ian eccentrics in the shape of human beings, serpents, and blades. These
edge of the enormous pit containing Burial , which had been filled with materials were distributed regularly behind the head and back of each

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FIG. 10.6 Burial . Illustration by Saburo Sugiyama, Grgory
Pereira, Nawa Sugiyama, and Hironori Fukuhara

person, with a greater concentration in the central area of the pit. cylindrical shape; grassy fibers; and serpent skeletons. Finally, at each of
In front of the three skeletons, we discovered bonesin anatomical the four corners there was a group of obsidian blades.
positionof animals that could have symbolized the individuals alter The cause of death of these three high-ranking individuals remains
egos. The possibility also remains that they might also have formed part to be clarified. It is difficult to say with any certainty if they died in a
of their names, or appellatives for their lineage, political, military, or conflict, or if they were captured and taken to Teotihuacan expressly to
religious affiliations. Thus, -A was directly associated with a golden consecrate the next-to-last enlargement of the Moon Pyramid. Another
eagle, while -B and -C were each connected to a puma. possibility is that one of the individuals died and, as a consequence, two
In addition to the ornaments and animals associated with the three of his high-ranking servants received the honor of being sacrificed to
cross-legged individuals, we located numerous offerings dispersed accompany him to the otherworld.
throughout the pit. In the center, immediately behind -A and -B,
there was an anthropomorphic jadeite figurine also modeled in a seated Burial
cross-legged position and with his own ornaments made of the same In view of what we had detected in Burial in the three-dimensional
materials as those of the cadavers: two earflares, a pectoral, a neck- center of Building , we undertook new explorations in in search
lace with nine diminutive beads, and another necklace with nine large of an earlier ritual deposit in the central portion of Building . We
globular beads (cats. ). The figure was covered with a weaving of opened a tunnel toward the north in the upper part of the adosada
grasslike fibers and surrounded by different types of shells, anthropo- platform, which was added on to the front of the pyramid. As a result
morphic and zoomorphic obsidian miniatures, pyrite remains, and small of the strict regularity of Teotihuacan liturgy, our predictions were
serpent skeletons. Near the east wall of the offering we found a trum- fulfilled when we detected what would be designated Burial , even
pet shell (cat. ); shell beads and earflares; a large anthropomorphic though it was found not exactly in the three-dimensional center but, for
eccentric, projectile points, and blades made of obsidian; greenstone reasons that are not entirely clear, rather slightly toward the north of
beads, pendants, earflares, and T-shaped plaques known as resplandores the central point of Building . This deposit dates approximately to the
(tiny headdresses); small slate disks; a polished artifact in an unusual first half of the third century, when Building was constructed, and it

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is contemporary with Burial . It is framed by rough walls, which form a carefully placed in the deposit. Because the restoration and analysis of
rectangular receptacle measuring . meters. the materials are still in progress, it is difficult to calculate their numbers
Burial included twelve sacrificial victims, apparently all of them with precision, because the skeletons were in extremely poor condi-
adult males (fig. .). Just as in Burials and , they were interred with tion and many of them were incomplete.7 The current estimate is about
their arms tied behind their backs. They can be divided into two major forty-three animals, twenty of which were complete or almost complete.
groups, taking into account the presence or absence of personal orna- As in earlier cases, canids, felines, and birds of prey, possibly eagles, have
ments, as well as the way the corpses were treated.6 The first group was been identified. Often the animals feet, talons, or wings were positioned
composed of -A and -B; these individuals occupied the central axis together, suggesting that they were also tied up and sacrificed during
of the deposit, were placed in a flexed position, and wore lavish orna- the consecration ceremony. These animals were intentionally deposited
ments. Individual -A had two earflares, a beaded necklace, and a both at the corners and in central positions near the side walls.
perforator made of jadeite (cat. ), which might have been a tool for
autosacrifice; in addition, in his mouth he had a tubular pendant and Consecration Deposits at the Moon Pyramid
jadeite beads. In contrast, -B had two worked shell valves near his ears; To be able to assess the implications of the ritual deposits explored by
he also had a jadeite perforator (cat. ), an obsidian sacrificial knife, the Moon Pyramid Project over the course of seven field seasons and to
and a complex necklace made of shell plaques, decorated with repre- offer a more cogent explanation of the meaning of the discoveries, sev-
sentations of human maxilla also made of shell, similar to those seen eral more years of detailed analyses of the materials and archaeological
from the Feathered Serpent Pyramid. contexts are necessary, as well as the processing of huge amounts
The second group consisted of ten skeletons that we registered as of samples and data. Nevertheless, we believe it is possible to offer at
individuals -C to -L. They were located near the north wall of the this time some preliminary conclusions.
burial, distributed irregularly and in random positions, which suggests The first has to do with the religious significance of these depos-
that their bodies were tossed in one on top of the other. It is notable its. According to our analyses, it is clear that the offerings were delib-
that all of them lacked the skull and the first cervical vertebrae, and erately and meticulously placed in the interior of rectangular pits by
were not associated with any ornaments. Teotihuacan priests, who adhered to a strict liturgy.8 They distributed
In addition to the individuals described, the deposit contained the objects along imaginary coordinates, often marking the center and
numerous artifacts, almost all of them concentrated on the northern the cardinal and intercardinal directions. They were also careful to
portion of the north-south axis. The most interesting of all the com- group objects with the same characteristics in sets of , , , , , or ,
plexes of offerings was carefully placed before the twelve sacrificial numbers that were significant in their conceptions of time and space,
victims. On the tamped-down bottom of that burial we discovered a particularly relating with the -day ( +) solar cycle and -
design incised into the earth in the shape of two concentric circles with day ( ) ritual calendar cycle. This rigorous symbolic order makes
straight and undulating lines drawn radially from the center. Surely us think they might be actual cosmograms, miniature representations of
this image was carved by the Teotihuacanos to mark where the first and the universe that were built in the framework of consecration ceremo-
most important offerings in Burial had to be placed. This is confirmed nies held at each architectural enlargement of the pyramid to imitate
by the fact that nine pairs of obsidian eccentricseach composed of an the cosmogonic actions of the gods.9
undulating knife and a profile serpentwere carefully placed over the The second conclusion has to do directly with the impressive tempo-
design, also arranged in radial position (cat. ar). On top of these ral continuity of massive human sacrifices to dedicate major buildings at
eccentrics were added a slate disk mirror with pyrite appliqu and two Teotihuacan. Recently, certain authors have disputed the significance of
anthropomorphic figures, one carved in obsidian and the other made the discovery of more than individuals sacrificed at the dedication of
of wood covered with serpentine mosaic (cats. ). As with the the Feathered Serpent Pyramid, suggesting it was a unique event in the
two anthropomorphic figures from Burial , it is highly likely that these citys history. However, by taking into account the Moon Pyramid data,
obsidian and serpentine figures had originally been positioned vertically what is immediately clear is that this type of massive sacrificial event
and that, as time passed, they had fallen over, leaving the serpentine was carried out repeatedly to sanctify each stage of this building, at least
figure facedown. The Teotihuacanos had also distributed groups of between and . Furthermore, if we analyze the problem in a
obsidian prismatic blades and projectile points, as well as pieces of slate, much larger context, we realize that the deeply rooted and widespread
regularly around the eccentrics and the mirror. A bit closer to the outer Mesoamerican custom of consecrating religious structures through the
circle, they deposited Tlaloc vessels and fiber objects that have not yet sacrifice and interment of large numbers of human victims was perpet-
been identified. In this portion there were also remains of red and white uated from the Middle Preclassic to the Late Postclassic, from the Maya
pigment, as well as carbon. Finally, they placed bodies -A and -B to city of Uaxactun to Tzintzuntzan, the Purepecha capital in Michoacan.
the south and southeast of the group of offerings, and then they tossed In other words, the burials described here are new examples of a
cadavers -C to -L to the north and northeast of the same complex. recurrent phenomenon that had a long temporal duration of sweeping
The offering was accompanied by an unusual number of animals geographic dimensions.

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The third conclusion is related to the victims identities. Osteological NOTES
S. Sugiyama, Cabrera Castro, and Lpez Lujn
analysis of the DNA and strontium and oxygen isotopes carried out to
; S. Sugiyama and Lpez Lujn a; S.
date on the sacrificial victims from the Feathered Serpent and Moon Sugiyama and Lpez Lujn b; S. Sugiyama
and Cabrera Castro ; S. Sugiyama and
Pyramids indicate an extremely broad preference for subadult and
Lpez Lujn .
adult males who were not from Teotihuacan. This information, together White, Price, and Longstaffe ; Spence and
Pereira .
with the weapons, attire, and bellicose symbols often associated with
Ibid.
the corpses, points to the identification of most of these individuals as Ibid.
Ibid.
military men, fundamentally war captives. In the specific case of Burial
Pereira and Chvez .
, we know that the twelve sacrificial victims were all adult males. Ten N. Sugiyama et al. .

of them were treated with extreme brutality: their wrists were bound, Lpez Lujn ; Lpez Lujn ; Lpez
Lujn .
they were sacrificed and decapitated, and finally they were thrown into Lpez Austin and Lpez Lujn .
the deposit without any further consideration. The complete absence of Houston, Stuart, and Taube : .
Lpez Austin, Lpez Lujn, and S. Sugiyama
personal ornaments further underscores the degrading treatment they .
were given. We should bear in mind that nudity in Mesoamerica was a
symbol of military submission and humiliation.10
The fourth conclusion is connected to the dozens of animals interred
in the Moon Pyramid burials. Only felines, canids, birds of prey, and rat-
tlesnakes were found. It is highly significant that there were no exam-
ples of rabbits, deer, dogs, turkeys, geese, quails, and armadillos, which
were so common in apartment compounds at Teotihuacan. Carnivorous
mammals and birds of prey tend to be associated directly with warfare
and sacrifice in Teotihuacan mural painting, ceramics, and sculpture.
In many cases they are given certain anthropomorphic features, at the
same time that they are shown heavily armed or equipped with large
sacrificial knives skewering hearts. Therefore, these images have been
interpreted as metaphoric allusions to military orders similar to those
that will be seen later at Tula and Tenochtitlan.
If our reasoning is correct, the Moon Pyramid offerings attest to the
enormous importance of warfare and sacrifice from early dates and
throughout the history of Teotihuacan, especially in the religious ideol-
ogy that upheld state power. Archaeological evidence demonstrates that
despite the existence of a public state discourse where explicit scenes
of sacrifice and warfare were shunned, the Teotihuacanos frequently
conducted human sacrifice on a massive scale and were involved in a
setting of endemic warfare, just as the Zapotec and Maya, who were
their contemporaries.
Seen as a whole, the finds at the Feathered Serpent and Moon
Pyramids contradict the idyllic vision of a peaceful Teotihuacan state,
led by ascetic priests who exercised political functions and redistributed
the economic surplus among the citys inhabitants.11 Quite the contrary,
an abundance of solid evidence attests to the importance of collective
human sacrifice and warfare in this society. From this renewed per-
spective, the people of Teotihuacan take on the very real, earthly, and
belligerent characteristics of not only their Mesoamerican contemporar-
ies, but also, unfortunately, the entire human race.

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LIST OF CONTRIBUTORS Matthew H. Robb is chief curator of the Fowler Museum at the University of
California, Los Angeles.

Rubn Cabrera Castro is professor emeritus, director of the Proyecto La Ventilla, and
an investigator at the Zona de Monumentos Arqueolgicos de Teotihuacan for the
Instituto Nacional de Antropologa e Historia.
David M. Carballo is associate professor in the Department of Archaeology at Boston
University.
George L. Cowgill is professor emeritus in the School of Human Evolution and Social
Change at Arizona State University.
Julie Gazzola is director of the Proyecto Primeras Ocupaciones en Teotihuacan
Direccin de Estudios Arqueolgicos for the Instituto Nacional de Antropologa e
Historia.
Sergio Gmez Chvez is an archaeologist, investigator, and director of the Proyecto
Tlalocan of the Zona de Monumentos Arqueolgicos de Teotihuacan for the
Instituto Nacional de Antropologa e Historia.
Christophe Helmke is associate professor in the Department of Cross-Cultural and
Regional Studies at the University of Copenhagen.
Leonardo Lpez Lujn is senior researcher in archaeology at the Museo del Templo
Mayor and director of the Proyecto Templo Mayor for the Instituto Nacional de
Antropologa e Historia.
Diana Magaloni is director of the Program for Art of the Ancient Americas at the Los
Angeles County Museum of Art.
Linda R. Manzanilla is an archaeologist in the Institute of Anthropological Research
at the Universidad Nacional Autnoma de Mxico and a member of El Colegio
Nacional.
Jesper Nielsen is associate professor in the Department of Cross-Cultural and
Regional Studies at the University of Copenhagen.
Nelly Zo Nez Rendon is an archaeologist at the Zona de Monumentos
Arqueolgicos de Teotihuacan for the Instituto Nacional de Antropologa e
Historia.
Hillary Olcott is assistant curator in the Department of the Arts of Africa, Oceania,
and the Americas at the Fine Arts Museums of San Francisco.
Megan E. ONeil is associate curator in the Program for Art of the Ancient Americas
at the Los Angeles County Museum of Art.
Jorge Prez de Lara Elas is an independent photographer based in Cuernavaca,
Mexico
Alejandro Sarabia Gonzlez is an archaeologist, director of the Proyecto Pirmide del
Sol, and director of the Zona de Monumentos Arqueolgicos de Teotihuacan for
the Instituto Nacional de Antropologa e Historia.
Nawa Sugiyama is assistant professor in the Sociology and Anthropology
Department at George Mason University.
Saburo Sugiyama is research professor in the School of Human Evolution and
Social Change at Arizona State University and professor of the Graduate School of
International Cultural Studies at Aichi Prefectural University.

Erika Carrillo is an archaeologist at the Zona de Monumentos Arqueolgicos de


Teotihuacan for the Instituto Nacional de Antropologa e Historia.
Laura Filloy Nadal is senior conservator at the Museo Nacional de Antropologa for
the Instituto Nacional de Antropologa e Historia.
Nikolai Grube is professor in the Department for the Anthropology of the Americas
at the University of Bonn.

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CITY OF WATER
TEOTIHUACAN
CITY OF FIRE

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Teotihuacan_v33 FINAL.indd 2 7/28/17 1:01 PM
CITY OF WATER
TEOTIHUACAN
CITY OF FIRE

M AT T H E W H . R O B B

W I T H R U B N C A B R E R A C A ST R O , DAV I D M . C A R B A L LO , G E O R G E L .

C O W G I L L , J U L I E GA Z Z O L A , S E R G I O G M E Z C H V E Z , C H R I STO P H E

H E L M K E , L E O N A R D O L P E Z LU J N , D I A N A M AGA LO N I , L I N DA R .

M A N Z A N I L L A , J E S P E R N I E L S E N , N E L LY Z O N E Z R E N D N , H I L L A RY

O LC OT T, M E GA N E . O N E I L , A L E JA N D R O S A R A B I A G O N Z L E Z , N AW A

S U G I YA M A , S A B U R O S U G I YA M A

AND

E R I K A C A R R I L LO , L AU R A F I L LOY N A DA L , N I KO L A I G R U B E

P R I N C I PA L P H OTO G R A P H Y BY
JORGE PREZ DE LARA ELAS

W I T H N E W M A P I L LU ST R AT I O N S BY
H I L L A RY O LCOT T

Fine Arts Museums of San Francisco de Young


Los Angeles County Museum of Art

Published by the
Fine Arts Museums of San Francisco de Young
and
University of California Press

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CONTENTS

Directors Foreword . . .
Max Hollein and Michael Govan

Foreword . . .
Mara Cristina Garca Cepeda

Foreword . . .
Diego Prieto Hernndez

Lighting the World: Teotihuacan and Urbanism in Central Mexico . . .


David M. Carballo and Matthew H. Robb

A Speculative History of Teotihuacan . . .


George L. Cowgill

Teotihuacan: Planned City with Cosmic Pyramids . . .


Saburo Sugiyama

Reappraising Architectural Processes at the Ciudadela through Recent Evidence . . .


Julie Gazzola

The Underworld at Teotihuacan: The Sacred Cave under the Feathered Serpent Pyramid . . .
Sergio Gmez Chvez

The Feathered Serpent Pyramid at Teotihuacan: Monumentality and Sacrificial Burials . . .


Saburo Sugiyama

The Sun Pyramid Architectural Complex in Teotihuacan: Vestiges of Worship and Veneration . . . 6
Alejandro Sarabia Gonzlez and Nelly Zo Nez Rendn

The Central Plaza of the Sun Pyramid: Collective Space at Teotihuacan . . .


Nelly Zo Nez Rendn

The Moon Pyramid and the Ancient State of Teotihuacan . . .


Saburo Sugiyama and Rubn Cabrera Castro

The Ritual Deposits in the Moon Pyramid at Teotihuacan . . .


Leonardo Lpez Lujn and Saburo Sugiyama

Pumas Eating Human Hearts? Animal Sacrifice and Captivity at the Moon Pyramid . . .
Nawa Sugiyama

Teotihuacan Apartment Compounds, Neighborhood Centers, and Palace Structures . . .


Linda R. Manzanilla

Foreigners Barrios at Teotihuacan: Reasons for and Consequences of Migration . . .


Sergio Gmez Chvez

La Ventilla and the Plaza of the Glyphs . . .


Rubn Cabrera Castro

The Xalla Palace in Teotihuacan . . .


Linda R. Manzanilla

Daily Life in Teotihuacans Southern Periphery: The Tlajinga District . . .


David M. Carballo

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Of Gods and Rituals: The Religion of Teotihuacan . . .
Christophe Helmke and Jesper Nielsen

The Storm God: Lord of Rain and Ravage . . .


Jesper Nielsen and Christophe Helmke

The Old Fire God . . .


Matthew H. Robb

The Maize God . . .


Matthew H. Robb

The Water Goddess . . .


Matthew H. Robb

Space, Object, and Identity in the City of the Gods . . .


Matthew H. Robb

Lapidary Work at Teotihuacan: Production and Use . . .


Julie Gazzola

The Colors of Time: Teotihuacan Mural Painting Tradition . . .


Diana Magaloni

Stucco-Painted Vessels from Teotihuacan: Integration of Ceramic and Mural Traditions . . .


Megan E. ONeil

Mapping Teotihuacan . . .
Hillary Olcott

Map of Teotihuacan . . .

CATALOGUE OF THE EXHIBITION WITH MAPS CATALOGUE INTRODUCTION . . .

CATALOGUE SECTIONS AND SITE KEY . . .

INTRODUCTION TO TEOTIHUACAN . . .

FEATHERED SERPENT PYRAMID, TUNNEL, CIUDADELA . . .

SUN PYRAMID, PALACE OF THE SUN ( ZONE 5A ) , HOUSE OF THE PRIESTS . . .

MOON PYRAMID, QUETZALPAPALOTL PALACE . . .

EAST PLATFORM . . .

TLAJINGA . . .

OAXACA BARRIO . . .

TETITLA . . .

LA VENTILLA . . .

STREET OF THE DEAD COMPLEX, WEST PLAZA GROUP . . .

TECHINANTITLA . . .

XALLA . . .

Bibliography . . .
Index . . .
Acknowledgments . . .
List of Contributors . . .
Map Sources and Image Credits . . .

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The Fine Arts Museums of San Francisco and the
Los Angeles County Museum of Art are grateful to the
following exhibition sponsors and lenders.

E X H I B I T I ON S P ON S OR S
National Endowment for the Humanities
Diane B. Wilsey
The Donald L. Wyler Trust
The Charles D. and Frances K. Field Fund
Wells Fargo
Janet Barnes and Thomas W. Weisel Family
Alec and Gail Merriam

E X H I B I T I ON L E N D E R S
Art Institute of Chicago
Cleveland Museum of Art
Dumbarton Oaks Research Library and Collection, Washington, DC
Fine Arts Museums of San Francisco
Los Angeles County Museum of Art
The Metropolitan Museum of Art, New York
Museo Nacional de Antropologa / INAH, Mexico City
Natural History Museum of Los Angeles County
Saint Louis Art Museum
University of Pennsylvania Museum of Archaeology
and Anthropology, Philadelphia
Zona de Monumentos Arqueolgicos de Teotihuacn / INAH,
Teotihuacn, Mexico

This catalogue has been published with the assistance of the


Andrew W. Mellon Foundation Endowment for Publications.

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