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The Great Goddess of Teotihuacan (or Teotihuacan Spider Woman) is a proposed goddess of the pre-Columbian Teotihuacan civilization (ca. 100 BCE - 700 CE), in what is now Mexico. ==Discovery and interpretation== In years leading up to 1942, a series of murals were found in the Tepantitla compound in Teotihuacan. The Tepantitla compound provided housing for what appears to have been high status citizens and its walls (as well as much of Teotihuacan) are adorned with brightly painted frescoes. The largest figures within the murals depicted complex and ornate deities or supernaturals. In 1942, archaeologist Alfonso Caso identified these central figures as a Teotihuacan equivalent of Tlaloc, the Mesoamerican god of rain and warfare. This was the consensus view for some 30 years. In 1974, Peter Furst suggested that the murals instead showed a ''feminine'' deity, an interpretation echoed by researcher Esther Pasztory. Their analysis of the murals was based on a number of factors including the gender of accompanying figures, the green bird in the headdress, and the spiders seen above the figure.〔Pasztory (1977), pp. 83–85.〕 Pasztory concluded that the figures represented a vegetation and fertility goddess that was a predecessor of the much later Aztec goddess Xochiquetzal. In 1983, Karl Taube termed this goddess the "Teotihuacan Spider Woman". The more neutral description of this deity as the "Great Goddess" has since gained currency. The Great Goddess has since been identified at Teotihuacan locations other than Tepantitla – including the Tetitla compound (see photo below), the Palace of the Jaguars, and the Temple of Agriculture – as well as on portable art including vessels〔Pasztory (1977), pp.87–91.〕 and even on the back of a pyrite mirror.〔Berlo (1992), p. 145. This mirror back is presently in the Cleveland Museum of Art and can be seen (here ).〕 The 3-metre-high blocky statue (see photo below) which formerly sat near the base of the Pyramid of Moon is thought to represent the Great Goddess,〔Headrick (2002). Berlo (1992), p. 137.〕 despite the absence of the bird-headdress or the fanged nosepiece.〔The absence of the bird-headdress and the fanged nosepiece is noted in Cowgill (1997), p. 149.〕 Esther Pasztory speculates that the Great Goddess, as a distant and ambivalent mother figure, was able to provide a uniting structure for Teotihuacan that transcended divisions within the city.〔Pasztory (1993), p. 61-62.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Great Goddess of Teotihuacan」の詳細全文を読む スポンサード リンク
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