The aim of this thesis is an explanation of the murals of Portico 2 in Tepantitla palace in Teotihuacan on the basis of the scientific literature and the knowledge, that I have gained by studying. Here will be introduced opinions, ideas and theories of diferent scholars about what is depict on the murals, It will be made a try about a critical evaluation and revision, and I will do my best for make out a beneficial conclusion. There is no uniform view of what is depicted on the paintings of the portico 2 of the Tepantitla palace. Alfonso Caso expained the murals like Tlalocan, the paradise dominated by the God of Rain and Storm Tlaloc, Esther Pasztory and Peter T. Furst expained them as an image of the cosmic tree - the axis of the world - that connects the heavens, the earth and the underworld. Annabeth Headrick and María T. Uriart agree that murals represent a ceremony. For Headrick, the top register is the focal point, which is supposed to be the scene of raising of the sacred cosmic tree (the lower register is then a record of the celebrations taking place during the ceremony). For Uriarte, the concept of ball game and the significance of the toponym Teotihuacan, what both is connected with begining of time. Patrizia Granzier interprets the scene as a garden - a place where sacred and profane...

Iconography has the capability to memorialize and guarantee one's place in history; iconography can also provide powerful insight into human culture, and explore social and cultural values in a visual manner. Iconography can incorporate information about group identities, allegiances, religious affiliations, propaganda, and acceptance within both modern and ancient societies. By studying a specific iconographic figure, the Central Mexican god Tlaloc, as a visual representation of a belief or identity, we can glean a greater understanding of the cultural transmission of iconographic symbols. The substantial use of this icon, in both Central Mexico and the Maya region, reveals iconography as capable of being catalogued and traced over space and time to interpret meaning. With these goals in mind, this research project focuses on the iconographic representations of the Central Mexican god Tlaloc in the Maya region. It was during the Early Classic Period (A.D. 250-550) that Tlaloc transcended the boundaries of Central Mexico and was adopted into Maya ideology. During the Late Classic Period (A.D.550-900), a 'Maya Tlaloc' was established and used to express ideologies depicting warfare and ritual activity. The adoption of Tlaloc imagery among the ancient Maya ultimately holds significant value to understanding Maya ideology and religion as well as facilitates an understanding of wide-scale interactions with Central Mexico.

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En l’absence de sources écrites teotihuacaines, la religion que pratiquaient les anciens Teotihuacains ne peut être appréhendée que par les traces archéologiques laissées par certains rites, par une analyse des sources écrites (mayas et aztèques) relatives à Teotihuacan, et surtout par une étude iconographique des principales figures divines de son panthéon. Après avoir détaillé les rites que pratiquaient les Teotihuacains et qui sont connus par ailleurs en Mésoamérique, la première partie de ma thèse propose une étude systématique des sources relatives à Teotihuacan (et notamment de la Relación de Teotihuacan). La seconde partie est consacrée à l’étude de l’iconographie et du symbolisme de Tlaloc, du Jaguar réticulé, de Xipe Totec, du Vieux dieu du feu, du Dieu papillon, et du Serpent à plumes. / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished