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Question for June 2021

Why did they like to paint their bodies so much?? Asked by White Court Primary School. Chosen and answered by Professor Cecelia F. Klein

The Aztecs were like people all over the world in wanting to signal their personal and social identities and interests by means of artificially marking their skin, their teeth, their hair, and/or choosing the clothing items they wore. In our culture many women do this with makeup, such as lipstick and eye liner; by styling their hair a particular way; or by choosing to wear slacks and jeans rather than a dress or skirt. Men, in turn, may decide to grow a moustache or beard, or let their hair grow long, or have their head completely shaved. Both men and women today are increasingly choosing to have parts of their body permanently marked with tattoos as well, and many, if not most, are now artificially whitening their teeth. Some go to tanning booths to acquire a tan, others use tanning creams, and still others sit out in the sun for prolonged periods of time to achieve the same result. The clothes we buy and wear today are also chosen to express our personality, our taste (such as our favorite colors), our social status and affiliations (such as sports participation or club memberships), our interests (such as hiking or ice skating), and/or our values (for example, some men refuse to wear necktie or a tuxedo because they regard them as too “stuffy”).

The Aztecs were very much like us, in other words. For example, instead of whitening their teeth, some unmarried Aztec women colored them red (yes, red!) because red was believed to attract men. Unmarried women also wore their hair long and loose, whereas married women bound up their hair into two twisted “horns” on the top of their head. Their hairdos signaled their marital status to everyone they encountered.

The Aztecs did, however, make more use of paint than we do to change the color of their skin. This was so in part because, for them, the color and composition of the paint were themselves significant; certain colors and materials were believed to imbue the paint with their own special powers. For example, in order to protect themselves against dangerous, invisible forces, Aztec priests painted their entire body with a black substance made of ground up poisonous creatures and insects, such as scorpions. They did this because it was hoped the noxious creatures in the paint would ward off any spiritual forces who might attack them.

When paint was used to create a specific design on a person’s body, on the other hand, it often helped to identify the person as a deity. Women who were chosen to represent a certain goddess in a religious ceremony, for example, were not only dressed like the goddess, but also painted with the specific facial design associated with her, an act that may have involved using more than one color. The same was true of men who were chosen to impersonate a particular god. In all of those cases, the color of the paint was important.

Yellow, for example, was associated with fire and the sun, whereas green (actually, blue-green) symbolized preciousness, water, and blooming plants. The faces of men chosen to impersonate the 400 evil brothers of the Aztec patron god Huitzilopochtli were painted with blue and yellow horizontal stripes, a type of face painting that Huitzilopochtli, after conquering them, is said to have taken for himself. The result is that one way we can recognize Huitzilopochtli in painted manuscripts today is by his face painting. Huitzilopochtli’s face painting was therefore not about fashion. Instead, it symbolized his defeat of his evil brothers, thereby sending a clear message to the Aztecs’ current and future enemies that they would be ill advised to try any monkey business.

Picture sources:-
• Pic 1: photo by Ian Mursell/Mexicolore
• Pic 2: image from the Florentine Codex scanned from our own copy of the Club Internacional del Libro 3-volume facsimile edition, Madrid, 1994
• Pic 3: Image from the Codex Vaticanus A/Ríos scanned from our own copy of the ADEVA facsimile edition, Graz, Austria, 1979
• Pic 4: illustration by Iñaki Garrido Frizzi, scanned from our own copy of Enciclopedia gráfica del México antiguo: Los dioses supremos by Salvador Mateos Higuera, Secretaría de Hacienda y Crédito Público, Mexico City, 1992
• Pic 5: image scanned from our own copy of the Codex Borbonicus (ADEVA facsimile edition, Graz, Austria, 1974).

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Professor Cecelia F. Klein

Professor Cecelia F. Klein

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