The term has been glossed as "birthplace of the gods", or "place where gods were born",  reflecting Nahua creation myths that were said to occur in Teotihuacan. Nahuatl scholar Thelma D.
Volume 8, Number 3, Sept. Wagner was a Teotihuacan mural eccentric San Francisco architect who bequeathed his collection of 70 mural fragments to the Fine Arts Museums of San Francisco.
His Will took the museums totally by surprise. The fragments ranged in size from a few inches to 14 feet and originally came from a city in the central valley of Mexico known as Teotihuacan.
They date from between AD which is known as the Classic Period. This city occupied an area of 9 square miles with an estimated population ofinhabitants. It must therefore have been one of the largest cities in the world in its time. Wagner, who had previously been a resident of Teotihuacan mural, left no documentation which dated the removal of the murals, or described the area of the city from which they had been taken.
He did, however, leave sales receipts and notarized statements in his papers. Subsequently Rene Millon, an archaeologist from the University of Rochester, has discovered the specific location from which the murals were removed.
It is an area containing two or three palaces located in "the square of the ransacked murals. It is thought that these quarters housed some of the government functionaries, or perhaps that they were inhabited by descendants of an old reigning dynasty which Teotihuacan mural still managed to preserve a high position in Teotihuacan society.
Description of the Fragments The fragments are about three to five inches thick. They consist of a volcanic ash aggregate which includes clay and pottery shards. This ground is covered with a very thin coating of lime 2 mm which, in contrast to the coarse backing material, is extremely smooth.
The lime layer was painted in fresco, very similar to that technique employed by the Italians. Some of the murals appear to have been burnished, possibly with a smooth stone. Most of the murals are painted in red monotones a local specular hematite which make the surface of the mural sparkle.
Other colors include white calcitegreen malachiteyellow limoniteblack charcoal and blue our results on the composition of the blue pigment are at present inconclusive but we are carrying out further tests the results of which will be published at a later date. The subject matter of the murals range from elaborate priest deities in warrior-like costumes to warrior birds and a wonderful feathered serpent flanked by flowering trees these contain symbols at their centers which as yet are undeciphered.
It is thought that the fragments might belong to five or six murals but the manner in which they interconnect is hard to determine.
By careful examination of the edges and surface topography, some idea of their original architectural position can be deduced.
Legal Aspects This collection of murals was the largest anywhere outside Mexico, and The Fine Arts Museums soon realized the great importance of the bequest and the impact it would make. The collection had been seen in the San Francisco area by several people including a local curator sometime in the late s, so it was deduced that the murals had been removed from Mexico prior to this date.
This discovery was significant because it meant that The Fine Art Museums could legally keep the murals in accordance with the bilateral treaty between Mexico and the United States.
This treaty established provisions whereby cultural properties would be returned to the country of origin; however the terms of the treaty were not retroactive. Possibly then, in consideration of the UNESCO act, of the size and scope of the collection and of the ethical issues regarding cultural patrimony which were raised by the Wagner collection, the museums approached officials in Mexico to discuss the bequest.
It does provide for the joint conservation, exhibition and disposition of the murals.
During the transfer the murals were mishandled, resulting in some breakage. The settlement of this unfortunate mishap led to the hiring of an outside conservator acting for the moving company, who was to estimate the extent of the damage caused by the move.
This was quite a tall order for someone who had never seen the murals before and who could not confer with "in house" conservators or do any tests on the mural fragments. This all took quite a protracted period of time.
It was eventually settled, but did delay the start of the project. The condition of the murals, save for the damage caused in transit, was fair.Teotihuacan’s murals constitute a primary source for understanding the city’s religion and social organization.
Murals painted in upper class Teotihuacan living areas have provided important clues about the people’s spiritual beliefs, especially veneration of a figure often called the .
Teotihuacan Mural Project by Lesley Bone. The Teotihuacan Mural Project began following the death of Harold Wagner in Wagner was a rather eccentric San Francisco architect who bequeathed his collection of 70 mural fragments to the Fine Arts Museums of San Francisco.
His Will took the museums totally by surprise. W Jaguar blowing a conch The Palace of the Jaguars is located immediately to the west of the Plaza of the Moon at Teotihuacan. The most prominent mural is that of a jaguar blowing a feathered conch shell that drips with blood (fig.
W). Whilst it equally looks as though the jaguar is drinking from the shell, the scroll forms that . Mural from the Tepantitla compound showing what has been identified as an aspect of the Great Goddess of Teotihuacan, from a reproduction in the National Museum of Anthropology in Mexico City.
After Teotihuacan [ edit ]. Teotihuacan Religion. The most important deity at Teotihuacan seems to have been, unusually for Mesoamerica, a female. The Spider Goddess was a creator deity and is represented in murals and sculpture and typically wears a fanged mask similar to a spider's mouth.