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Fang and Feather: The Origin of Avian-Serpent Imagery at Teotihuacan

Fang and Feather: The Origin of Avian-Serpent Imagery at Teotihuacan and Symbolic Interaction with Jaguar Iconography in Mesoamerica The Central Mexican city of Teotihuacan rose to prominence in the last century BC and lasted for nearly six centuries. The site was constructed unlike any other in Mesoamerica. The civic plan was arranged around two main perpendicular avenues and lined with temples and public monuments. By the third century AD, population was housed in apartment compounds, also precisely aligned with the overarching grid plan (Manzanilla 1999). Such uniformity insinuates the presence of some sort of governing agent. Yet, even after decades of archeological research at the site, there is little consensus on what form of government that was. There are no stelae proclaiming the great achievements of Mayan ajaws, no definitive palaces, no royal burials of the Classic Period. Instead, Teotihuacan murals tell a different story by depicting ornately dressed administrators, armor-clad warriors, and fantastic creatures not found in nature. These murals are key, as they were the birthplace of the Feathered Serpent, distinct from the Avian-Serpents depicted since the Terminal Formative. I propose that the Feathered Serpent of Teotihuacan was a new deity serving as a symbol of the city and was conceived in direct opposition to the jaguars used to symbolize kingship in contemporary Mayan polities. Past studies have treated the murals of Teotihuacan as either literal representation of supernatural deities—often equated to the Aztec Quetzalcoatl—or as a set of signs to be translated like a language. This study concludes that there is an intermediate interpretation wherein the feathered serpent is both a god and a symbol of identity.