text:
Nabis (art)

The Nabis (les nabis, ) were a group of young French artists active in Paris from 1888 until 1900, who played a large part in the transition from Impressionism and academic art to abstract art, symbolism and the other early movements of modernism. The members included Pierre Bonnard, Maurice Denis, Paul Ranson, Édouard Vuillard, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. Most were students at the Académie Julian in Paris in the late 1880s. The artists shared a common admiration for Paul Gauguin and Paul Cézanne and a determination to renew the art of painting, but varied greatly in their individual styles. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. In 1900, the artists held their final exhibition and went their separate ways.

Etymology
The Nabis took their name from a Hebrew term which comes from the word nebiim or "prophets"   The term was coined in 1888 by the linguist Auguste Cazalis, who drew a parallel between the way these painters aimed to revitalize painting (as 'prophets of modern art') and the way the ancient prophets had rejuvenated Israel.

Beginning

The Nabis were a group of young artists of the Académie Julian in Paris, who wanted to transform the foundations of art. One of the artists, Paul Sérusier, had traveled to Pont-Aven in October 1888, where under the guidance of Paul Gauguin he made a small painting of the port on wood, composed of patches of vivid color assembled to give the feeling of the port. The students called this first Nabis painting The Talisman, and it eventually became an icon of 20th-century art.

In 1889, the same year of the Paris International Exposition and the opening of the Eiffel Tower, the group held its first modest exposition at the Café des Arts, which was located without the grounds of the Exposition. It was titled The Impressionist and Synthesist Group, and included works by two well-known artists, Paul Gauguin and Émile Bernard.

In August 1890, Maurice Denis, then nineteen years old, gave the group a more concrete philosophy. Writing under the name Pierre Louis, he wrote an article in the journal Art et Critique entitled The Definition of Neo-traditionalism, which became the manifesto of the movement. The celebrated opening line of the essay was: "Remember that a picture, before being a battle horse, a female nude or some sort of anecdote, is essentially a flat surface covered with colors assembled in a certain order." This idea was not original to Denis; the idea had been forward not long before by Hippolyte Taine in The Philosophy of Art, where Taine wrote: "A painting is a colored surface, in which the various tones and various degrees of light are placed with a certain choice; that is its intimate being." However, it was the expression of Denis which seized the attention of artists. As Denis explained, he did not mean that form of the painting was more important than the subject. He wrote, "The profoundness of our emotions comes from the sufficiency of these lines and these colors to explain themselves...everything is contained in the beauty of the work." In his essay, he termed this new movement "neo-traditionalism", in opposition to the "progressivism" of the Neo-impressionists, led by Seurat.

The following year, in 1891, three of the Nabis, Pierre Bonnard, Édouard Vuillard and Maurice Denis, took a studio at 28 rue Pigalle in Paris. It was frequented by other early Nabis, including Ker-Xavier Roussel and Paul Sérusier, as well as journalists and figures from the theatrical and literary world.

In 1892, the Nabis branched out into the theatrical world and the decorative arts. Paul Ranson, assisted by Sérusier, Bonnard, and Vuillard, designed sets for a theatrical presentation of the Bateau ivre of the poet Arthur Rimbaud. Maurice Denis made costumes and sets for another theatrical production, the Trilogy d'Antoina at the Théatre Moderne, and also painted a ceiling for the residence of the art collector and painter Henry Lerolle.

The Nabis held a group exhibition in Toulouse in June 1894, and the following year presented their work in Siegfried Bing's Maison de l'Art Nouveau, the famous gallery which had given its name to the Art Nouveau movement.

Throughout their existence the Nabis were a sort of half-serious semi-secret society, who used humorous nicknames and a private vocabulary. Even the name of the group was secret until 1897. They called a studio an 'ergasterium' and ended their letters with the initials E.T.P.M.V. et M.P., signifying En ta paume, mon verbe et ma pensée ("In your palm, my word and my thoughts").

Japanese influence
The graphic art of Japan, known as Japonism, particularly woodblock prints, was an important influence on the Nabis. The style was popularized in France by the art dealer Siegfried Bing, who traveled to Japan to collect prints by Hokusai and other Japanese artists, and published a monthly art journal, Le Japon Artistique, between May 1888 and April 1891, which offered color illustrations. In 1900 he organized an exhibit of seven hundred prints at the École des Beaux-Arts.

Pierre Bonnard was particularly influenced by the Japanese style; his nickname among the Nabis was "Le plus japonard". For one series of four paintings created in 1890–91, The Women in the Garden, now in the Musée d'Orsay, Bonnard adapted a Japanese format called kakemono with a narrow vertical canvas. The models are his sister Andrée and his cousin Berthe Schaedin. The four figures are presented in curving, serpentine postures, like those in Japanese prints. The faces of the women look away from the artist; the bold patterns of their costumes and the foliage behind them dominate the paintings. He originally conceived the work as a Japanese screen, but he finally decided to separate it into four paintings, and to emphasize the decorative aspect, he added a painted border around the canvases.

The theme of women in a garden, stylistically adapted from Japanese prints, appeared in the work of other Nabis, including Maurice Denis and Paul Sérusier. Denis used the theme of women in gardens in paintings and decorative murals. Sérusier adapted the same format in his Women at the Spring (1898), stylistically depicting women descending a hill to take water from a spring.

Religion, symbolism, myths and legends
The Nabis were influenced by the literature, music and theater of the symbolist movement, and, among some of the Nabis, there was a strong current of mysticism and esotericism. Their approach to their order was partly humorous and whimsical; the studio of Ranson at 25 Boulevard du Montparnasse was called their "temple", Madame Ranson was termed "The light of the Temple", and the original Nabi painting by Sérusier was displayed in the studio like a shrine, and titled The Talisman. Sérusier whimsically painted Paul Ranson in a sort of Nabic robe, with a staff and a text before him. However, they also had a more serious side. They rejected the materialism of the new industrial age, and admired the poetry of Baudelaire, Mallarmé and Edgar Allan Poe. They placed themselves in opposition to the current of naturalism expressed in the paintings of Courbet and Manet and the literature of Émile Zola.

Maurice Denis and Paul Sérusier were the Nabis who most often painted religious subjects. The work of Denis was influenced by the paintings of Fra Angelico. He often painted scenes and themes taken from the Bible, but with the figures in modern costume, in simplified landscapes and surrounded by light, a symbol of faith. In 1895, he received a commission for a series of seven large paintings called The Legend of Saint Hubert for the Paris home of Baron Cochin. They illustrated the story of Saint Hubert hunting in the forest of Aquitaine, seeing a vision of Christ, and being converted to Christianity.

Paul Sérusier painted less Christian and more mystical scenes, particularly La Vision pros du torrent or The rendezvous of fairies (1897), showing a group of women in Breton costumes passing through the forest, carrying bouquets of flowers to a ceremony, and Femmes à la Source, depicting a series of women solemnly descending through a mystical forest to a spring. This illustrates the legend of the Danaides, who in mythology were condemned to fill and refill leaking jugs of water from a spring. He painted several works of women in Breton costumes conducting pagan ceremonies in the forests of Brittany.

Interiors
The Nabis Pierre Bonnard, Félix Vallotton and Édouard Vuillard, created particularly remarkable paintings depicting the interiors of homes, where the inhabitants of the rooms were almost entirely absorbed into the intense floral decoration and furnishings. In some of the paintings, such as Vuillard's The Seamstress and La Table de toilet (1895), or People in an Interior - Music, it is difficult to even find and count the individuals in the painting.

Women in the garden
One of the most common subjects of the Nabis was women in an idyllic garden setting, usually picking flowers or fruit. It appeared in four panels representing the seasons of a young woman's life by Maurice Denis (1890–91), painted for the bedroom of a young girl, and in the panels of women in the public parks of Paris by Édouard Vuillard (1894) painted for the residence of his patron Alexandre Nathanson; two paintings of women and children picking apples in an orchard by Pierre Bonnard (1894–96); and in a tapestry by Paul Ranson, Spring, depicting three women picking fruit. All the images are highly stylized, often using the same serpentine forms to represent the women, the trees and the foliage. The young women in the series by Denis are shown traveling along a road, dressed in vestal white in the first painting, then in different colors as they reach maturity in the final painting.

Decorative art
One of the stated objectives of the Nabis was to break down the barriers between art and ordinary life, and in particular the distinction between art and decoration. Much of the art they created was designed specifically to be decorative, for display in salons and dining rooms. They designed screens, murals, wallpaper, tapestries, dishware, lampshades, and ornament for furniture, as well as theater decor and costume design, and graphic design for advertising posters. Paul Ranson, working with Art Nouveau architect Henry Van de Velde made murals to decorate the dining room of art gallery owner Siegfried Bing. After a visit to the United States, where he saw the stained glass designs of Louis Comfort Tiffany and his firm, Bing invited the Nabis to submit their own designs for Tiffany glass. Roussel, Vuillard, Vallotton, Ranson, Denis, Bonnard, and Ibels all made designs, which Bing displayed in his gallery in Paris in April 1895, along with designs of non-Nabis, including Toulouse-Lautrec. In the end the windows were not made, but Maurice Denis continued to create window designs on symbolist themes, with bold designs and vivid colors. In 1895, Vuillard was commissioned to design a series of plates, which featured women in highly stylized costumes.

Graphic arts
Members of the Nabis worked in a variety of media, using oils on both canvas and cardboard, and distemper on canvas and wall decoration, and they also produced posters, prints, book illustrations, textiles and furniture. Considered to be on the cutting edge of modern art during their early period, their subject matter was representational (though often Symbolist in inspiration), but was design-oriented along the lines of the Japanese prints they so admired, and Art Nouveau. However, the artists of the Nabis circle were highly influenced by the paintings of the Impressionists, and thus while sharing the flatness, page layout, and negative space of art nouveau and other decorative modes, much of LesNabis' art has a painterly, non-realistic look, with color palettes reminiscent of Cézanne and Gauguin. Bonnard's posters and lithographs are more firmly in the Art Nouveau, or Toulouse-Lautrec manner. After the turn of the century, as modern art moved towards Fauvism, Expressionism, Cubism, and Abstraction, LesNabis were viewed as conservatives and, indeed, were among the last group of artists to stick to the roots and artistic ambitions of the Impressionists, pursuing these ends almost into the middle of the 20th century. In their later years, these painters also largely abandoned their earlier interests in decorative and applied arts.

Breakup
In 1897, the Nabis were not present at the well-known Salon des Indépendants, but instead held their own exposition at the Galerie Vollard, more avant-garde than the Salon. Their final exhibition as a group took place in 1900 at the Galerie Bernheim, with works of Bonnard, Denis, Ibels, Maillol, Roussel, Sérusier, Vallotton and Vuillard. After that show, each of the artists went his separate way.

Looking back in 1909, Denis described the accomplishment of the Nabis. "Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion."

In 1937, Vuillard described the breakup of the Nabis. "...The march of progress was so rapid. Society was ready to welcome cubism and surrealism before we had reached what we had imagined as our goal. We found ourselves in a way suspended in the air."

Members and associates

 * Pierre Bonnard (1867–1947), le nabi très japonard
 * Maurice Denis (1870–1943), le nabi aux belles icônes
 * Maxime Dethomas (1869–1929)
 * Meyer de Haan (1852–1895), le nabi hollandais
 * Rene Georges Hermann-Paul (1864–1940)
 * Henri-Gabriel Ibels (1867–1936), le nabi journaliste
 * Georges Lacombe (1868–1916), le nabi sculpteur
 * Lugné-Poe (1869–1940)
 * Aristide Maillol (1861–1944)
 * Paul Ranson (1864–1909), le nabi plus japonard que le nabi japonard
 * József Rippl-Rónai (1861–1927), le nabi hongrois
 * Ker-Xavier Roussel (1867–1944)
 * Paul Sérusier (1864–1927), le nabi à la barbe rutilante
 * Marguérite Sérusier, wife of Paul Sérusier; a notable decorative painter
 * Félix Vallotton (1865–1925), le nabi étranger
 * Jan Verkade (1868–1946), le nabi obéliscal
 * Édouard Vuillard (1868–1940), le nabi zouave

Other members of the group included the playwright Pierre Veber, the musician Pierre Hermant, and the linguist Auguste Cazalis, called (by Ranson) le nabi Ben Kallyre.

title: Nabis (art)


text:
Talk:Node

Removed entry
I removed this:
 * In chemical physics, a node is the location and orientation of nodes relative to atoms in the spherical harmonics used to describe atomic and molecular orbitals determines the nature of interatomic bonds and their associated chemistry.

This is not a definition, not even a sentence. AxelBoldt 19:25 Jan 3, 2003 (UTC)

Disambiguating links to Node
Most links to node have been disambiguated, though some may have been done wrong. It's sometimes difficult to determine whether the "node" linked is related to graph theory or to something else. There are a few that remain undisambiguated for one reason or another: User and Talk pages tend not to be disambiguated, to maintain history, or a related reason. GPHemsley 03:36, Sep 23, 2004 (UTC)
 * Speed of light is waiting on a response to the meaning of "node" in the context used. References to node removed. GPHemsley→◊ 19:05, Oct 11, 2004 (UTC)
 * Tree structure covers multiple meanings of "node", and therefore has valid usage of the undisambiguated link.
 * Purkinje fibers uses "node" in a way not related to any of the existing articles.

Node (music)
Why was link to Node (music) removed ? I reinserted it here. Hreinn (talk) 02:48, 29 January 2009 (UTC)
 * That article is almost certainly going to be deleted unless you do something pretty spectacular with it right now. I would advise you to concentrate on that first.  Sp in ni  ng  Spark  13:29, 29 January 2009 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Node


text:
Odilon Redon

Odilon Redon (born Bertrand Redon; ; 20 April 1840 – 6 July 1916) was a French Symbolist artist.

Early in his career, both before and after fighting in the Franco-Prussian War, Redon worked almost exclusively in charcoal and lithography, works known as his noirs. He gained recognition after his drawings were mentioned in the 1884 novel À rebours (Against Nature) by Joris-Karl Huysmans. During the 1890s, Redon began working in pastel and oil, which quickly became his favorite medium, abandoning his previous style of noirs completely after 1900. He developed a keen interest in Hindu and Buddhist religion and culture, which increasingly showed in his work.

Redon is perhaps best known today for the dreamlike paintings created in the first decade of the 20th century, which were inspired by Japanese art and leaned toward abstraction. His work is considered a precursor to Surrealism.

Early life
Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family. Redon's father made his fortune in the slave trade in Louisiana in the 1830s. Redon was conceived in New Orleans and the couple made the transatlantic journey back to France while his mother Marie Guérin, a French Creole woman, was pregnant with his brother Gaston. The young Bertrand Redon acquired the nickname "Odilon" from his mother's first name, Odile. Redon started drawing as a child; at the age of ten, he was awarded a drawing prize at school. He began the formal study of drawing at fifteen but, at his father's insistence, he changed to architecture. Failure to pass the entrance exams at Paris' École des Beaux-Arts ended any plans for a career as an architect, although he briefly studied painting there under Jean-Léon Gérôme in 1864. (His younger brother Gaston Redon would become a noted architect.)

Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and lithography. His artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871.

Career
At the end of the war, Redon moved to Paris and resumed working almost exclusively in charcoal and lithography. He called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters; he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a cult novel by Joris-Karl Huysmans titled À rebours (Against Nature). The story featured a decadent aristocrat who collected Redon's drawings.

In 1886, Redon exhibited his work with the Impressionists in their the last exhibition. The same year, he also began participating in the exhibitions of Les XX in Brussels.

In the 1890s, Redon worked in pastel and oil; he did not make noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruel's.

Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work. Influences of Japonisme blended into his art, such as the painting The Death of the Buddha around 1899, The Buddha in 1906, Jacob and the Angel in 1905, and Vase with Japanese Warrior in 1905, among others.

Baron Robert de Domecy (1867–1946) commissioned Redon in 1899 to create 17 decorative panels for the dining room of the Château de Domecy-sur-le-Vault near Sermizelles in Burgundy. Redon had created large decorative works for private residences in the past, but his compositions for the château de Domecy in 1900–1901 were his most radical compositions to that point and mark the transition from ornamental to abstract painting. The landscape details do not show a specific place or space. Only details of trees, twigs with leaves, and budding flowers in an endless horizon can be seen. The colors used are mostly yellow, grey, brown and light blue. The influence of the Japanese painting style found on folding screens, byōbu, is discernible in his choice of colors and the rectangular proportions of most of the up to 2.5 metres high panels. Fifteen of them are located today in the Musée d'Orsay, acquired in 1988.

Domecy also commissioned Redon to paint portraits of his wife and their daughter Jeanne, two of which are in the collections of the Musée d'Orsay and the Getty Museum in California. Most of the paintings remained in the Domecy family collection until the 1960s.

Personal life
At 40, Redon married Camille Falte, a young Creole from Île Bourbon. They had a son, Arï Redon (30 April 1889 – 13 May 1972 in Paris). A visual artist himself, and subject of his father's portraiture as a child, Arï's partner was Suzanne Redon.

Redon died on 6 July 1916 in Paris.

Reception and interpretations of his work
During his early years as an artist, Redon's works were described as "a synthesis of nightmares and dreams", as they contained dark, fantastical figures from the artist's own imagination. His work represents an exploration of his internal feelings and psyche. Redon wanted to place "the logic of the visible at the service of the invisible". A telling source of Redon's inspiration and the forces behind his works can be found in his journal A Soi-même (To Myself). Of his process he wrote:

"I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased."

Redon's drawings are characterized as mysterious and evocative by Joris-Karl Huysmans in the following passage from the novel À rebours (1884):

"Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance—heavy jawbone, protruding brows, receding forehead, and flattened skull top—recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."

The art historian Michael Gibson says that Redon began to want his works, even the ones darker in colour and subject matter, to portray "the triumph of light over darkness."

Redon described his work as ambiguous and undefinable:

"My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined."

Legacy
In 1903, Redon was awarded the Legion of Honour. His popularity increased when a catalogue of etchings and lithographs was published by André Mellerio in 1913; that same year, he was given the largest single representation at the groundbreaking US International Exhibition of Modern Art (aka Armory Show), in New York City, Chicago and Boston.

His choice of color and subject matter in the second part of his career led to Redon being considered a precursor to Dadaism and Surrealism. According to Surrealist André Masson, Redon's use of bright colors in his flower pastels, as well as his choice of depicting uncommon or imaginary species renders his works "released from stylized naturalism", thus demonstrating the "endless possibilities of lyrical chromatics".

In 1923, Mellerio published Odilon Redon: Peintre Dessinateur et Graveur. An archive of Mellerio's papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago.

Redon was the inspiration for Guy Maddin's 1995 short film Odilon Redon, or The Eye Like a Strange Balloon Mounts Toward Infinity.

Modern exhibitions
In 2005, the Museum of Modern Art launched an exhibition entitled "Beyond The Visible", a comprehensive overview of Redon's work showcasing more than 100 paintings, drawings, prints and books from The Ian Woodner Family Collection. The exhibition ran from 30 October 2005 to 23 January 2006.

In 2007, the Schirn Kunsthalle Frankfurt presented the exhibition "As in a Dream" with a survey of Redon's work with more than 200 drawings, lithographs, pastels, and paintings.

The Grand Palais in Paris, France featured a vast exhibition of Redon's art from March to June 2011

The Fondation Beyeler in Basel, Switzerland showed a retrospective from February to May 2014.

The Kröller-Müller Museum in Otterlo, The Netherlands, had an exhibition with an emphasis on the role that literature and music played in Redon's life and work, under the title La littérature et la musique. The exhibition ran from 2 June to 9 September 2018.

title: Odilon Redon


text:
Talk:Mixcoatl

Relation to Coyolxauhqui and the Centzonuitznauna?
I can't find any sources that corroborate the statement that Mixcoatl fathered either Coyolxauhqui or the Centzonuitznauna. Where is this assertion coming from?

I understand that there might be some reason to believe there would be mythological tension between him and Huitzilopochtli...but I'm not just finding it the literature. Festina Lente (talk) 13:54, 10 October 2019 (UTC)

Untitled
The first sentence begins, "In Aztec mythology, Mixcoatl (Cloud Serpant) was a god of the hunt, the north star and war. He (as another form of Tezcatlipoca) invented fire using the heavens, revolving around their axes, as a drill."

How does one produce fire using a drill? I have used a drill countless times and I have never had a fire break out. Perhaps if I knew the story I would understand what was meant. I am not at all familiar with the mythology in question but that should not matter; this entry should be understandable to someone who knows nothing of the subject. I think it should be reworded to remove the appearence of a non-sequiteur, even if it is only something that does not follow if you are uninformed or dense. Lots of us dense people out here to take care of. --Qaz

I did not write the sentence in question (I wrote the later bit about the legendary Chichimeca Mixcoatl), however, I do know that the traditional way to make fire is by taking two pieces of wood, making a small hole in one and making the other have a pointed end - the pointed end one is the "drill" - and it is drilled into the hole in the other until the friction causes fire.

It was this "fire-drill" that the Aztecs credited Mixcoatl with inventing. Is there a way we could phrase the sentence in question to make it clearer without having to go into a description of how to make fire?

--Erosenfield

Mixcoatl
>"While Mixcoatl was part of the Aztec pantheon, his role was less important than that of Huitzilopochtli, who was their central deity."

Thats funny because the Mexica's principal god was Huitzilpochtli, while the people of Texcoco was Tezcatlipoca, and the Acolhua was Huehueteotl. All of these groups of people make up what we call "Aztec". It was only the Mexica whose central deity was Huitzilpochtli. In fact in the codex Borgia, theres no Coatlicue or Huitzilpochtli, Huit is replaced by Mixcoatl. I would hesitate to make Mixcoatl sound less important than he really is. Xuchilbara 17:08, 7 November 2007 (UTC)

Some copy problems
Much of the text as it stands now is a pretty close (I would say, uncomfortably so) paraphrase of the entry on Mixcoatl in Miller and Taube's The Gods and Symbols of Ancient Mexico and the Maya (1993, pp.115–116); a fact I've just noticed after comparing the two. It seems it was essentially expanded from this source in this anon 2005 edit- there are a couple of words and changes of emphasis that are different, but it's unmistakably derived and follows the same structure. While Miller & Taube is an excellent and generally reliable source, I would say the article prose needs some significant refashioning to avoid the impression of being a direct lift. Bringing in some other sources for contrast and comparision would also be desirable. Will see if this can't be addressed in the next little while. --cjllw ʘ  TALK 04:43, 14 February 2008 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 14:08, 18 June 2022 (UTC)
 * Mixcoatl.svg

Axes
Is it revolving around the axes or revolving around the axis? Seems like it should be the second one. Spiel (talk) 00:06, 14 July 2022 (UTC)

T-shirt feathers?
What are t-shirt feathers? This phrase appears repeatedly, but makes no sense. Does anyone know, is it supposed to be "tail feathers?" Xolochi (talk) 06:10, 11 August 2023 (UTC)

title: Talk:Mixcoatl


text:
Talk:Radish

Some sentences need to reworded
Although sourced properly, a significant portion of this article is copied verbatim from the NY Times source. As a result, the verbatim sentences either need quotation marks around them or need to be reworded. 68.46.183.96 (talk) 03:17, 9 June 2008 (UTC)

Negative calories?
Is it true that radishes have negative calories -- that the energy it takes to digest them is greater than that which they contain? -- Tarquin
 * There's a list of alleged negative-calorie foods, including the radish, at http://www.weight.addr.com/NegativeCalorieFoods.html.  However, there are some weasel words such as 'possibly' and 'could ultimately be interpreted as ... fat loss'.  A cynic might think that this concept is just a way of selling the diet books advertised on the web page.  The suggested diet includes the command "No junk food!", which if obeyed would probably outweigh any benefit provided by radishes etc.  Heron
 * THose can't possible ALL be neg-calorie foods -- otherwise, people in the days pre-junk food would have all died! ;-) -- Tarquin
 * Perhaps people use to eat the fats from animals and the negative calorie foods would cancel it out. They were certainly a lot healthier and thinner than the people (post?)-junk food. I couldn't access the site but I do know that eggs, celery and carrot are supposedly negative calories. Hopefully, you've found some more reputable sites on negative calories. If you have, please post them here. Bec7666
 * Negative calories: It's hard to measure calorie expenditure while digesting, however Neal Barnard, MD in his book Foods that cause you to lose weight list twenty negative calorie foods. His explanation is along the line that foods high in fibre use more energy to digest than low-fibre foods (like meat and fish and processed foods). According to him, "negative-calorie" foods do not use up more energy digesting than they contain, but they do use more calories digesting than other lower fibre foods, so fewer calories are available for fat storage. He says that for every 100 calories of carbohydrate the body tries to turn into fat, 23 calories are lost in the process leaving only 77 calories to be stored instead of 100. Of course, all of the negative calorie foods have to be eaten without added fat for this to work. BTW most of the lists I've seen on the web, don't list any veg protein. Barnard lists the following: black beans, kidney beans and lentils. One site lists several fish, but further checking on the web revealed the original site just included these as low-fat sources of protein, not negative calorie foods. Basically, most low fat, high fibre fruits and vegetables that are eaten close to their natural state (not juiced and cooked without fat) can be considered "negative-calorie" foods. hope this helps — Preceding unsigned comment added by 82.178.237.246 (talk • contribs) 09:14, 2 July 2021 (UTC)

Chemicals?
I think it would be good to include mention of the chemical or chemicals whhich give radishes their characteristic pungent peppery taste. Unfortunately I don't have that information.
 * The text says this: "The raw flesh has a crisp texture and a pungent, peppery flavor, caused by glucosinolates and the enzyme myrosinase, which combine when chewed to form allyl isothiocyanates, also present in mustard, horseradish, and wasabi. " Martinevans123 (talk) 09:18, 2 July 2021 (UTC)

French "raifort"
The page currently asserts that the French "raifort" is a type of radish, but it is really just the name of horseradish. See the interlanguage link there. --Jerome K.
 * There is a big round black radish available here, but it is not "raifort" - "raifort" is indeed horseradish. Not sure what the big round black radish is called - I took one to the checkout line at the supermarket but nobody knew what it was. --Penny L.
 * i took the raifort bit out, since it is not even closely related to radishes, same family though. the big round radishes are called winter radishes, in the uk the is. --trueblood 11:54, 7 July 2006 (UTC)

PH
what is the exact optimum PH for growing radishes in? Also do you know of any internet sites that tell about experiments done to prove this? Also if you say they grow in an acidic PH why do they also grow in a basic PH as I have found? —The preceding unsigned comment was added by 64.12.116.136 (talk • contribs).

Is this vandalism or just an odd description?
"The "Cornish Radish," is a troublesome beast. Although deliciously plump and fat, they are bitter and twisted and intent on ruining your existence"?? --Rmpfu89 22:52, 10 August 2006 (UTC)
 * I had to wonder the same thing o_O Soapopera 12:19, 12 September 2006 (UTC)
 * Apparently you've never met a cornish radish. —Preceding unsigned comment added by 63.19.4.191 (talk) 20:31, 28 September 2007 (UTC)

Uh, water anyone?
maybe, people should add something about how much water is needed, like for bigger growth.

Just thinking! Chef Clover 01:13, 19 September 2006 (UTC)

Yellow radishes
There are yellow radishes (here) so I added the mention back in the article, though it does not discuss the size or flavour. WLU 23:30, 18 February 2007 (UTC)
 * i thought there would be yellow radishes, it is the flavour i doubt trueblood 07:15, 19 February 2007 (UTC)
 * I looked briefly and couldn't find anything, so I didn't bother adding the flavour back - good call. WLU 13:49, 19 February 2007 (UTC)

Agronomic radishes
Particular varieties of R. sativus radishes are grown as oilseeds (see radish oil), as sources of forage for livestock, and as cover crops. Where do you think information about them should go -- on this page, or on one or more separate pages (as in the case of daikon)? --Belgrano 20:49, 15 March 2007 (UTC)
 * If it's exclusive to R. sativus, I'd put it there, but if it is a property/use of all radishes, put it in this article. I'd also say that radish oil could easily be merged into the main radish page, as it is a wee stubb - just add a section on uses I'd say. I moved the info in radish oil into the newly-created section Radish WLU 15:14, 16 March 2007 (UTC)

Radish Tops/Greens' Name
Do radish tops/greens have their own name when used as a vegetables? For example beet tops/greens are called chard.24.83.178.11 11:17, 18 April 2007 (UTC)BeeCier
 * no they're not - beet tops are called "Beet Greens" last i heard although i've never seen them available separately from the beetroots. (Swiss) Chard is its own vegetable. it doesn't form a root like a beet or turnip, grows a little more like a lettuce but has thicker leaves and stems.  if you cut them they will regrow from the center.  — Preceding unsigned comment added by 107.39.59.127 (talk) 06:09, 4 May 2012 (UTC)
 * Usually, they're generically labelled "mustard greens" but it's not the most accurate moniker. — Llywelyn II   14:53, 22 June 2014 (UTC)

Varieties of radishes
I just added some more info on varieties of radishes. The summer radish subsection may be a little too list-like now, almost like a trivia list within the article, as there's not a lot to say about the differences between a little red radish and a little white radish.

There seems to be some significant differences in how to classify radishes beneath the species level. Right now the article is using a kind of seasonal approach. Another approach is Asian/European division, which somewhat confusingly considers Spanish varieties to be Asian, and sometimes even a type of Daikon. Another approach within Asian is to divide it beween Chinese, Japanese, and Spanish varieties. Still another is to divide the entire species based on use, with three convars (cultivar groups) split into the root food varieties, the seed pod varieties, and the leaf or seed-oil varieties (but with fancy latin names for the groups). And yet another seems to divide them based on harvest time, which has a similar effect to the Asian/European or summer/winter divisions, but with an intermediary category to catch some that are more in between.

Explaining all that in a precisely-worded, well-cited fashion is tough, and is more than I care to tackle in the foreseeable future, but I wanted to mention that it's an area of improvement for the article. The current intro to "Varieties" is pretty weak. I think a kind of ad-hoc approach, as the article currently does, is fine, but it could use more clarification that there's no classification approach at that level. -Agyle 01:07, 29 September 2007 (UTC)

radish seeds for agro fuel
i doubt that radish seeds are used for agro fuel but teach me. the provided link leads not to azn article about radish seeds but to a collection of links about agro fuel, some about rape seeds, which is also in the cabbage family but not the same as radishes. am i overseeing something?? Truetom (talk) 17:18, 25 February 2008 (UTC)
 * When I had placed that info on the page, it was a live link, now the link is dead and the home site links to a wiki mirror when radish is searched for, so it's not a reliable source. A brief google search doesn't turn up much but if a realible source can be find, it's a good addition.  My gut feeling is that if it is a potential bio-diesel, it's not used as such very frequently.  I had reverted your earlier removal based on the information having a source, but since it does not appear to, it can be freely removed from the body and the lead.  WLU (talk) 22:48, 2 March 2008 (UTC)

image caption
One image is captioned "Cut-through radishes; showing the difference between fresh and degraded radishes" but it doesn't actually indicate which are the fresh and which are the "degraded" radishes in the image. Any idea what was intended with that photo? 128.197.81.180 (talk) 17:05, 20 September 2008 (UTC)

They're hot when you eat them
Why is that? Do they have a scoville rating?...Smarkflea (talk) 22:10, 4 June 2009 (UTC)

 * Technical explanation from The Chemistry of Food: "Some radish (Raphanus sativus) varieties, such as the grey–black radish with round roots, contain as the main pungent substance (E)-4-(methylthio)-but-3-en-1-yl isothiocyanate, which is produced from the glucosinolate glucoraphasatin. Its concentration in radishes is about 1–3 g/kg, resulting in an isothiocyanate content of 0.5–1 g/kg."

 * Spice Science and Technology has a more accesible explanation, including how the isothiocyanate compound is produced, how to adjust its rate of production up (grating, waiting) or down (salt, acid, heat). It also mentions that radish sweetness can be increased by boiling, due to deoxodizing pungent sulfide compounds "to produce sweet mercaptan compounds.".

 * Scoville rating wouldn't be used for radishes, as it measures capsaicin levels in chili peppers.

 * ––Agyle (talk) 05:34, 25 June 2014 (UTC)

More to do with whether it is a Spring or Summer variety and day when harvested {before or after Midsummer). 82.30.84.177 (talk) 10:52, 18 February 2017 (UTC)

The many names of the radish
"The radish is also known by other names, including winter, Japanese, or Chinese radish; mooli or muli in Hindi,Punjabi, Urdu, and Bihari; Mula in Oriya, Assamese, Marathi  and Bengali; moolah in Nepali; moorro in Gujarati; moollangi in Tamil, Telugu and Kannada; mu in Korean; luo bo in Mandarin Chinese; lobak, loh bak, lo-bok, or lo baak in Cantonese; labanos in Tagalog; and rabu, phakkat-hua, or củ cải trắng in Vietnamese. " Removed from the article in this edit. It would be better on Wiktionary. NW ( Talk ) 23:53, 17 October 2009 (UTC)
 * Or at daikon, since many of those names are used in English. — Llywelyn II   15:33, 23 June 2014 (UTC)

 * Probably worthy of highlighting the Hindi name "Mooli" in the article more, as that is how this vegetable is known in the British Commonwealth countries. 82.30.84.177 (talk) 10:55, 18 February 2017 (UTC)

Radishes as medicine
The assertion that radishes are "suggested" for all kinds of ills is generally unsourced and too close to folk remedies to be in an encyclopedia. A reference to an unscientific "healing foods" website is not adequate backup. Myron (talk) 20:28, 13 July 2010 (UTC)

Link to German page is wrong
The correct page in German is this:
 * http://de.wikipedia.org/wiki/Radieschen

— Preceding unsigned comment added by 84.135.35.253 (talk) 10:43, 21 June 2014 (UTC)

Origin of the radish
In fairness, the MBG cite states "southern Asia" instead of "southeastern Asia", which is what I emended it to in this article. It's apparent, though, that was what was intended by the good folks in Saint Louis. British English's "South Asia" is basically a less orientalizing version of the old "Subcontinent" but Americans still basically go from Middle East to India to all-those-countries-near-Vietnam. When the MBG states that the radish spread from "South Asia" to India, it's apparent that what they meant was what well-heeled Brits would call the south end of East Asia. We could use more details on the exact countries where the wild varieties were found, however, as well as the German botanist mentioned. — Llywelyn II   14:53, 22 June 2014 (UTC)

Excised hogswallop
Removed this from the article:
 * The descriptive Greek name of the genus Raphanus (ῥάφανος) means "quickly appearing" and refers to the rapid germination of these plants. Raphanistrum, from the same Greek root, is an old name once used for this genus. The common name "radish" is derived from Latin radix (root).

given that Linnaeus was just using the Latin which simply meant "radish". The Greek form it derived from (per the OED) also just meant "radish" and is a variant derivation of the PIE roots that gave us radish: i.e., it's about the prominent edible roots and has limlittle→nothing to do with speed. (The OED *might* be wrong on this, but that would need a refn explanation of the disagreement and some sources to the contrary.) — Llywelyn II   02:32, 25 June 2014 (UTC)

Picture of "Dark Red" Radishes
In the gallery, there's a picture of labeled "dark red" that claims these are radishes. However, the roots shown look a lot more like beets to me, right down to the red stems. — Preceding unsigned comment added by 198.163.150.15 (talk) 15:55, 31 July 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 2 one external links on Radish. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Attempted to fix sourcing for http://veg-guidelines.cce.cornell.edu/28frameset.html
 * Added archive https://web.archive.org/20120722085531/http://kitchengardeners.org/rat-tailed_radish.html to http://www.kitchengardeners.org/rat-tailed_radish.html

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 05:43, 30 August 2015 (UTC)

Page Preview
Why does the page preview popup that directs to this article begin by quoting the first sentence "The radish is an edible root vegetable of the family Brassicaceae that was domesticated in Europe in pre-Roman times." but ends with "radishes are yummy." This latter statement is found nowhere in the article. Is there any way to remove that? It seems like some vandalism got captured by whatever process was used to generate the preview popup text. — Preceding unsigned comment added by 165.225.48.72 (talk) 06:41, 13 December 2019 (UTC)

"Rettich" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Rettich. Please participate in the redirect discussion if you wish to do so. Plantdrew (talk) 03:42, 18 February 2020 (UTC)

Daikon / mooli
The article has a very strong US influence which is most obvious in the descriptions of the large white Asian radish. This is indeed known by the Japanese derived term 'Daikon' in North America, but elsewhere the Hindi derived 'Mooli' is much more common. In the UK 'Daikon' is largely unknown outside specialist Japanese cuisines. I'm surprised this article is at GA given the largely American perspective. --Ef80 (talk) 11:50, 28 March 2022 (UTC)

Companion plant
"...their pungent odour deters such insect pests as aphids, cucumber beetles, tomato hornworms, squash bugs, and ants. They can also function as a trap crop, luring insect pests away from the main crop."

So do they deter or do they lure? This seems to be self-contradictory. If it is not contradictory isn't a list of the insects it lures, as well as those it deters, necessary? Hundovir (talk) 12:58, 17 April 2024 (UTC)

 * Yes, "luring such insect pests as..." would be much better. Peruvian radish fly, lesser-horned moss weevil, slimy-toed tree- frog? Not sure. Martinevans123 (talk) 13:08, 17 April 2024 (UTC)

title: Talk:Radish


text:
Ītzpāpālōtl

Ītzpāpalōtl ("Obsidian Butterfly") was a goddess in Aztec religion.

She was a striking skeletal warrior and death goddess and the queen of the Tzitzimimeh. She ruled over the paradise world of Tamōhuānchān, the paradise of victims of infant mortality and the place identified as where humans were created.

She is the mother of Mixcoatl and is particularly associated with the moth Rothschildia orizaba from the family Saturniidae. Some of her associations are birds and fire. However, she primarily appears in the form of the Obsidian Butterfly.

Iconography
Itzpapalotl's name can either mean "obsidian butterfly" or "clawed butterfly"; the latter meaning seems most likely. It's quite possible that clawed butterfly refers to the bat and in some instances Itzpapalotl is depicted with bat wings. However, she can also appear with clear butterfly or eagle attributes. Her wings are obsidian or tecpatl (flint) knife tipped. (In the Manuscript of 1558, Itzpapalotl is described as having "blossomed into the white flint, and they took the white and wrapped it in a bundle.") She could appear in the form of a beautiful, seductive woman or terrible goddess with a skeletal head and butterfly wings supplied with stone blades. Although the identity remains inconclusive, the Zapotec deity named Goddess 2J by Alfonso Caso and Ignacio Bernal may be a Classic Zapotec form of Itzpapalotl. In many instances Goddess 2J, whose image is found on ceramic urns, is identified with bats. "In folklore, bats are sometimes called "black butterflies"". Itzpapalotl is sometimes represented as a goddess with flowing hair holding a trophy leg. The femur is thought by some scholars to have significance as a war trophy or a sacred object in Pre-Hispanic art.

Ritual
Itzpapalotl is the patron of the day and associated with the stars Cozcuauhtli and Trecena 1 House in the Aztec calendar. The Trecena 1 House is one of the five western trecena dates dedicated to the cihuateteo, or women who had died in childbirth. Not only was Itzpapalotl considered one of the cihuateteo herself, but she was also one of the tzitzimime, star demons that threatened to devour people during solar eclipses.

One of the prominent aspects of the ritual surrounding Itzpapalotl relates to the creation story of the Chichimec. The ritual is illustrated in the sixteenth century document known as the Map of Cuauhtinchan No. 2. An illustration from this document shows Chichimec warriors emerging out of a seven-chambered cave behind Itzpapalotl. The deity is shown brandishing a severed leg, thought to be a symbol of battle. Beginning in the 1990s, archeologists exploring the Barranca Del Aguila region, southwest of Mexico City, have discovered caves carved to simulate the seven chambered cave, known as Chicomoztoc, from the ritual creation narrative.

Mythology
According to the Manuscript of 1558, section VII, Itzpapalotl was one of two divine 2-headed doe-deers (the other one being Chimalman) who temporarily transformed themselves into women in order to seduce men. Itzpapalotl approached the two "cloud serpents named Xiuhnel and Mimich ", who transformed themselves into men (so as to disguise themselves when all the others of the Centzonmimixcoa had been slain in the ambush?). To Xiuhnel, Itzpapalotl said "'Drink, Xiuhnel.' Xiuhnel drank the blood and then immediately lay down with her. Suddenly she ... devoured him, tore open his breast. ... Then Mimich ... ran and ... descended into a thorny barrel cactus, fell into it, and the woman fell down after him." In the myth-history narrative of the Annales de Cuauhtitlan, the cloud deity victims take the form of deer, the hearts of whom are eaten by Itzpapalotl. The theme of the heart devouring goddess appears in other global mythologies.

Influence on modern culture

 * Orizaba the Moth Fairy, a villain in Elena of Avalor, was inspired by Itzpapalotl.
 * Beyond pop culture, the name of the goddess has been used to name formations, the Itzpapalotl Tessera, on the planet Venus which are being studied for our knowledge of the geological history of our planet.
 * Additionally, the goddess is one of the Pre-Columbian motifs found in California Chicano Literature.
 * Ītzpāpalōtl also features prominently in the novel Obsidian Butterfly, the ninth book in the Anita Blake: Vampire Hunter series by Laurell K. Hamilton.
 * She was also the monster in No One Gets Out Alive, a movie on Netflix.
 * She appears in Victor and Valentino in disguise based on the folklore.
 * She appears in the American fantasy horror TV series, From Dusk till Dawn: The Series, under the guise as La Llorona.
 * She will be the main antagonist in the upcoming Mexican animated film "The Mark of the Jaguar".

title: Ītzpāpālōtl


text:
Lilo & Stitch

Lilo & Stitch is a 2002 American animated science fiction comedy-drama film produced by Walt Disney Feature Animation and released by Walt Disney Pictures. It was written and directed by Chris Sanders and Dean DeBlois (in their feature directorial debuts) and produced by Clark Spencer, based on an original story created by Sanders. It features Daveigh Chase and Sanders as the voices of the title characters and also features the voices of Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, Jason Scott Lee, Zoe Caldwell, and Kevin Michael Richardson. It was the second of three Disney animated feature films (the first being Mulan and the third, Brother Bear) produced primarily at the Florida animation studio in Disney-MGM Studios at Walt Disney World near Orlando, Florida.

The film's story revolves around two individuals: an orphaned Hawaiian girl named Lilo Pelekai, who is raised by her older sister, Nani, after their parents' deaths, and the extraterrestrial creature Experiment 626, who is adopted by Lilo as her "dog" and renamed "Stitch". Stitch, who was genetically engineered to cause chaos and destruction, initially uses Lilo to avoid recapture by the intergalactic federation. They develop a close bond through the Hawaiian concept of ohana, or extended family, causing Stitch to reconsider his intended destructive purpose in order to keep his newfound family together.

The film is based on an idea by Sanders, who originally conceived the character Stitch in the 1980s, and the film's design and aesthetics are based on his personal art style. Lilo & Stitch premiered at the El Capitan Theatre in Los Angeles on June 16, 2002, and was released worldwide on June 21. The film received positive reviews from critics, who praised its story, humor, charm, and originality. Produced on an $80 million budget and promoted with a marketing campaign that played up its oddities, it was a box-office success, grossing over $273 million worldwide. It was nominated for Best Animated Feature at the 75th Academy Awards but lost to Spirited Away.

The film's success made it a highlight of Disney's post-animation renaissance era in the 2000s, spawning a franchise that includes three direct-to-video sequels, starting with Stitch! The Movie, and three television series, including the sequel series Lilo & Stitch: The Series and spin-offs Stitch! and Stitch & Ai. A live-action adaptation is in post-production.

Plot
On planet Turo, the United Galactic Federation convicts scientist Dr. Jumba Jookiba of illegal genetic experimentation after creating Experiment 626, an aggressive and near-indestructible creature with great learning capabilities. 626 is sentenced to exile on an unpopulated asteroid, but he escapes and hijacks a space cruiser that crash-lands on Kauai, Hawaii on the planet Earth. Shortly after landing on Earth, 626 is hit by a truck and placed in an animal shelter. The Federation's Grand Councilwoman offers Jumba an early release if he retrieves 626 with the assistance of the council's Earth expert, Agent Pleakley.

On Kauai, orphaned teenager Nani Pelekai struggles to take care of her lonely, rambunctious younger sister, Lilo, following their parents' death in a car crash. Social worker Cobra Bubbles is doubtful Nani can take adequate care of Lilo and threatens to place Lilo in foster care if the Pelekais' situation fails to improve. After overhearing Lilo wishing to have a friend, Nani brings her to the animal shelter to adopt a dog. Lilo adopts 626, who is impersonating a dog, and names him "Stitch". That night, Stitch causes chaos at the restaurant where Nani works while trying to avoid capture from Jumba and Pleakley. Nani's boss blames her for the chaos and fires her. The news of Nani's firing reaches Bubbles, who visits her the next day, repeats his earlier warning, tells her to find a new job, and orders Lilo to teach Stitch to be a "model citizen".

Despite Lilo's attempts to train Stitch, his antics repeatedly ruin Nani's attempts to find a new job. While Nani, Lilo, and Stitch go surfing with Nani's former co-worker David, Jumba and Pleakley again attempt to capture Stitch and unintentionally drag Lilo underwater in the process. David rescues both Lilo and Stitch, but Bubbles arrives and tells Nani he will retrieve Lilo the following morning. Feeling guilty over the trouble he has caused, Stitch runs away. The Grand Councilwoman fires Jumba and Pleakley and tasks her second-in-command, Captain Gantu, with capturing Stitch. Jumba begins hunting Stitch using less covert methods. David informs Nani of another job opportunity; Nani leaves Lilo at home alone. Jumba and Pleakley chase Stitch back to the Pelekais' house, causing a fight between Jumba and Stitch that culminates in an explosion that destroys the house.

Nani gets the job, but frantically runs back home after seeing a fire engine driving toward her house. Bubbles arrives to collect Lilo, and as Nani and Bubbles argue over Lilo's well-being, she runs away into the woods and finds Stitch, who, in shame, reveals his alien form. Gantu captures both Lilo and Stitch, but Stitch manages to escape the ship. He is then confronted by Nani before being captured by Jumba and Pleakley. When Nani demands that they help her rescue Lilo, Stitch remembers ohana, a term for "family" he learned from Nani and Lilo, and convinces Jumba to help rescue Lilo. Jumba, Pleakley, Stitch, and Nani board Jumba's personal spaceship, pursue Gantu, and rescue Lilo.

The Grand Councilwoman arrives to take Stitch into custody personally, and fires Gantu for endangering Lilo and failing to capture Stitch. However, after observing Stitch's civilized behavior and being informed that Lilo legally owns Stitch after buying him from the animal shelter, the Grand Councilwoman decrees that Stitch will live out his exile on Earth, and that the Pelekai family has the protection of the United Galactic Federation. Bubbles reveals that he is a former CIA agent who had previously met the Grand Councilwoman in Roswell, New Mexico in 1973. Stitch, Jumba, and Pleakley, having joined Lilo and Nani's family, rebuild their house, with David and Bubbles' help.

Voice cast

 * Daveigh Chase as Lilo Pelekai, an eccentric young Hawaiian girl on the island of Kauaʻi who adopts Stitch as her pet dog.
 * Chris Sanders as Stitch, also known as Experiment 626, a blue koala-like illegal genetic experiment with the ability to create untold chaos.
 * Tia Carrere as Nani Pelekai, Lilo's stressed-out older sister and legal guardian after the death of their parents in a car accident.
 * Jason Scott Lee as David Kawena, Nani's hapless surfer boyfriend.
 * David Ogden Stiers as Dr. Jumba Jookiba, a Kweltikwan mad scientist employed by Galaxy Defense Industries who created Stitch.
 * Kevin McDonald as Agent Pleakley, a Plorgonarian Galactic Federation agent who acts as the expert of Earth.
 * Ving Rhames as Cobra Bubbles, a social worker in charge of Lilo's welfare and Nani's duties as her guardian.
 * Kevin Michael Richardson as Captain Gantu, the respected but arrogant Shaelik second-in-command of the Galactic Federation.
 * Zoe Caldwell as the Grand Councilwoman, the Grey leader of the Galactic Federation.
 * Miranda Paige Walls as Mertle Edmonds, Lilo's classmate from their hālau hula who despises and derides her.
 * Kunewa Mook as Moses Puloki, Lilo's hula teacher.
 * Amy Hill as Mrs. Hasagawa, an elderly woman who runs a fruit stand.
 * Susan Hegarty as Rescue Lady, who runs the animal shelter where Lilo adopts Stitch.

Development
In 1985, after graduating from California Institute of the Arts, Chris Sanders had created the character of Stitch for an unsuccessful children's book pitch. He said, "I wanted to do a children's book about this little creature that lived in a forest. It was a bit of a monster with no real explanation as to where it came from." But he found it difficult to condense the story and abandoned the project. In 1987, Walt Disney Feature Animation hired him for their newly formed visual development department. His first project was The Rescuers Down Under (1990), but he soon transitioned into storyboarding. After that, Sanders storyboarded sequences for Beauty and the Beast (1991) and The Lion King (1994), and was promoted to Head of Story on Mulan (1998).

In 1997, several executives at Disney Feature Animation were invited to a retreat at Michael Eisner's farm in Vermont to discuss the future animation slate beyond adapting preexisting legends, folklore or classic novels. At the retreat, Thomas Schumacher, then executive vice president of Disney Feature Animation, suggested they produce a film that would be the "Dumbo for our generation", compared to the large-budget Disney animated features they had already done. Schumacher approached Sanders about producing the film, telling him: "Everybody wants this next film to be you."

During a karaoke dinner at the Walt Disney World Swan Resort, Schumacher asked Sanders, "Is there anything you would like to develop?" Sanders remembered the children's book project he had initially developed. At his next meeting, Sanders pitched a remote, non-urban location, with Stitch crash-landing into a forest and interacting entirely with woodland animals, being ostracized by them, and living on his own at a farm in rural Kansas. But Schumacher suggested that Stitch should interact with people instead: "The animal world is already alien to us. So, if you wanna get the best contrast between this monster and the place where it lives, I would recommend you set it in a human world."

For three straight days in his Palm Springs, Florida hotel room, Sanders created a 29-page pitch book drawing conceptual sketches and outlining the film's general story. He initially revised it by adding a boy character. But as the character of Stitch evolved, Sanders decided he needed to be contrasted with a female character: "I think Stitch represented a male character so the balance would be to put him with a little girl. We wanted someone who was going to be in conflict with Stitch, and we realized a little boy might be a comrade." Sanders then glanced at a map of Hawaii on his wall, and recalling he had recently vacationed there, he relocated the story there. Not well versed in Hawaiian culture, Sanders turned to a vacation roadmap and found the names "Lilo Lane" and "Nani" there. After finishing the booklet, he shipped it to Burbank, and Schumacher approved the pitch with one condition: "it has to look like you drew it."

Writing
Dean DeBlois, who had served as "story co-head" for Mulan, was brought on to co-write and co-direct Lilo & Stitch after Thomas Schumacher allowed him to leave production on Atlantis: The Lost Empire (2001). Meanwhile, Disney executive Clark Spencer was assigned as the film's producer. Unlike several previous and concurrent Disney Feature Animation productions, the film's pre-production team remained relatively small and isolated from upper management until the film went into full production.

Originally, Stitch was the leader of an intergalactic gang, and Jumba was one of his former cronies summoned by the Intergalactic Council to capture Stitch. Test audience response to early versions of the film led to changing Stitch and Jumba into creation and creator.

While the animation team visited Kauai to research the locale, their tour guide explained the meaning of ohana as it applies to extended families. This concept of ohana became an important part of the movie. DeBlois recalls:

"No matter where we went, our tour guide seemed to know somebody. He was really the one who explained to us the Hawaiian concept of ohana, a sense of family that extends far beyond your immediate relatives. That idea so influenced the story that it became the foundation theme, the thing that causes Stitch to evolve despite what he was created to do, which is destroy."

The island of Kauai had also been featured in such films as Raiders of the Lost Ark (1981) and the Jurassic Park trilogy (1993–2001). Disney's animators faced the daunting task of meshing the film's plot, which showed the impoverished and dysfunctional life that many Hawaiians lived during the then-recent economic downturn, with the island's serene beauty. The actors voicing the film's young adults, Nani and David, were Tia Carrere, a local of Honolulu, and Jason Scott Lee, who is of Hawaiian descent and grew up in Hawaii. Both Carrere and Lee assisted with rewriting their characters' dialogue in proper colloquial dialect, and with adding Hawaiian slang terms.

One innovative and unique aspect of the film is its strong focus on the relationship between two sisters. At the time, a central relationship between sisters as a major plot element was rare in American animated films.

Casting
Daveigh Chase earned the role of Lilo in the fall of 1998 against 150 other candidates.

Stitch was initially intended to be a non-verbal character, but Sanders said he realized "he'd have to say a few things, so we made sure that we kept it to a minimum." Instead of hiring a professional actor to voice Stitch, DeBlois suggested Sanders take the role. According to Sanders, Stitch's voice was the one he regularly used "just to bother people at the studio. I'd call people on the phone and do that voice and annoy them."

Tia Carrere was originally considered for the title character in Mulan (1998), but lost the role to Ming-Na Wen. After learning Disney was doing a Hawaii-set film, Carrere sought a voice role and was hired to voice Nani. She spent two years recording her part in Los Angeles, Paris, and Toronto. Jason Scott Lee was cast as David after Carrere recommended him for the film.

Chris Williams, then a storyboard artist, suggested Kevin McDonald for the part of Agent Pleakley. After McDonald read for the part, he was cast. Cobra Bubbles was initially envisioned as more of a nebbish, with Jeff Goldblum in mind for the role. Goldblum declined the role, and Bubbles was reconceived as a more intimidating character. Sanders and DeBlois recalled Ving Rhames's performance in Pulp Fiction (1994) and cast him.

During the film's early development, Ricardo Montalbán was cast as one of the villains, with his vocal performance based on the voice he used for Khan Noonien Singh in Star Trek II: The Wrath of Khan. However, all the lines he recorded were removed and his character was cut after the meeting that lead to the removal of Stitch's gang from the story. Eventually the villainous role in the film would be Gantu voiced by Kevin Michael Richardson who is best known for playing villain roles in shows and movies. David Ogden Stiers (who had previously done voices for Disney in past films) was chosen to be the voice of Jumba. Australian actress Zoe Caldwell got the role of voicing the Grand Councilwoman, the leader of Galactic Federation.

Design and animation
In a deviation from several decades' worth of Disney features, Sanders and DeBlois chose to use watercolor painted backgrounds for Lilo & Stitch, as opposed to the traditional gouache technique. Watercolors had been used for the early Disney animated shorts, as well as the early Disney features Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Dumbo (1941), but the technique had been largely abandoned by the mid-1940s in favor of less complicated media such as gouache. Sanders preferred that watercolors be used for Lilo & Stitch to evoke both the bright look of a storybook and the art direction of Dumbo, requiring the background artists to be trained in working with the medium.

The animation itself was all based on 2D work since the budget was too small for computer-generated imagery. The character designs were based on Sanders's personal drawing style, rather than the traditional Disney in-house style. To assist the animators with adapting Sanders's style, Sue C. Nichols, the film's visual development supervisor, created a manual, Surfing the Sanders Style. Because of the limited budget, details like pockets or designs on clothing were avoided in the animation process, and since they could not afford to do shadows throughout much of the film, many of the scenes took place in shaded areas, saving shadows for more pivotal scenes.

The film's extraterrestrial elements, such as the spaceships, were designed to resemble marine life, such as whales and crabs. One altered scene in the film involved Stitch, Nani, Jumba, and Pleakley hijacking a Boeing 747 jet from Lihue Airport that scrapes against buildings through downtown Honolulu. But after the September 11 attacks, with only a few weeks left in production, the climax was reworked to have them use Jumba's spacecraft instead. The location was also shifted to have them fly through the mountains of Kauai. Regardless, the final design still has engines that resembled the 747's jet engines, according to Sanders.

Even after this adjustment, the team had enough budget for about two additional minutes of animation, which was used to create the epilogue montage of Lilo, Nani, and Stitch becoming a new family.

Release
On June 16, 2002, Lilo & Stitch premiered at the El Capitan Theatre. Alongside the filmmakers and Disney studio executives, Priscilla and Lisa Marie Presley, Wynonna Judd, Phil Collins, Gregory Hines, and Jodie Foster were also in attendance.

Marketing
Wanting Stitch to be a central part of the film's marketing campaign, Sanders pitched a subversive idea: "what if Stitch invaded other Disney properties?" Dick Cook, then chairman of Walt Disney Studios, loved the idea and allowed for four parody teaser trailers to be made (nicknamed "Inter-stitch-als"), in which Stitch crashes memorable moments of four films from the Disney Renaissance (three of which Sanders had worked on): The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), and The Lion King (1994). Most of the original actors reprised their roles in the trailers, but they were shocked when asked to act negatively toward Stitch. The trailers also include the AC/DC song "Back in Black."

The marketing campaign also included several tie-in promotions, like Lilo & Stitch toys being offered as part of McDonald's Happy Meals. In the United Kingdom, Lilo & Stitch trailers and television ads featured a cover of Elvis's song "Suspicious Minds", performed by Gareth Gates, who became famous on the UK TV program Pop Idol. In the U.S., "Hound Dog" was used for both theatrical and television trailers. The marketing campaign presented Stitch as the sort of "Disney Family Black Sheep". As a promotional campaign, comics of Lilo & Stitch ran in Disney Adventures before the film's release. The comics detailed events leading up to the film for both title characters, including Stitch's creation and escape. These events were later contradicted by the sequel Lilo & Stitch 2: Stitch Has a Glitch, rendering the comics non-canonical, but the comics are notable for introducing Experiment 625, Reuben, who was a main character in the subsequent movies and TV series. Most of the comic series have been released as a collective volume, Comic Zone Volume 1: Lilo & Stitch.

Home media
Lilo & Stitch was released on VHS and DVD on December 3, 2002. During the first day of release, more than 3 million DVD copies were sold, earning $45 million in retail sales. The THX-certified DVD release features various bonus features, including a "Build An Alien Experiment" game, an audio commentary, music videos, deleted scenes, teaser trailers, and DVD-ROM. In 2003, a 2-disc DVD version was announced to come out along with Alice in Wonderland (1951) and Pocahontas (1995), which were released in 2004 and 2005. A 2-Disc Special Edition DVD of the film was released in Australia on November 10, 2004 and the UK on August 22, 2005, along with the UK release of Lilo & Stitch 2: Stitch Has a Glitch (2005), but a release in the US was affected by many delays. On March 24, 2009, Disney finally released the special edition DVD, called the "Big Wave Edition". This DVD edition retained the original supplemental features, along with an audio commentary, a two-hour documentary, more deleted scenes, a number of behind-the-scenes featurettes, and some games.

On June 11, 2013, Lilo & Stitch was released on Blu-ray and re-released on DVD alongside Lilo & Stitch 2 in a "2-Movie Collection", which included a single Blu-ray with both films but without bonus features, a reprint of disc one of the "Big Wave Edition" DVD, and a reprint of the Lilo & Stitch 2 DVD. The "2-Movie Collection" has since seen two re-releases; one on January 31, 2017, containing only the Blu-ray and a code to redeem a digital download of the two films, and another on August 9, 2022, which places both films on separate Blu-ray discs that also contain most of their original DVD bonus features, the two DVDs from the first Blu-ray collection, and a digital download code as with the second Blu-ray collection.

Altered scene
A scene where Nani chases Lilo was modified for the UK home video release. In the original, Lilo hid in a clothes dryer, which was changed to a commode with a cabinet and pizza box used as a "door" to avoid influencing children to hide in dryers. The UK edit was later used for the film's Disney+ release and the 2022 Blu-ray release.

Box office
Lilo & Stitch opened in second place earning $35.3 million in its first weekend, ranking narrowly below Tom Cruise's Minority Report. During its second weekend, it fell to third place, behind Minority Report and Mr. Deeds. Despite the opening of Men in Black II the week after, Lilo & Stitch remained in third place.

Meanwhile, the film continued to draw in families while other major summer blockbusters like Spider-Man and Star Wars: Episode II – Attack of the Clones were still in wide release. Additionally, it went on to compete against the Warner Bros. live-action/animated hybrid film Scooby-Doo. The film earned $145.8 million in the U.S. and Canada, and $127.3 million internationally, totaling $273.1 million worldwide.

At the end of its theatrical run, Lilo & Stitch became the second-highest-grossing animated film of 2002, behind 20th Century Fox's Ice Age. They were the only two animated films to approach the $100 million mark that year. Box Office Mojo estimates that the film sold over 25 million tickets during its original run.

Critical reaction
Lilo & Stitch received critical acclaim. Rotten Tomatoes reported that the film has an approval rating of 87% based on 149 reviews, with an average rating of. The site's critics consensus reads, "Edgier than traditional Disney fare, Lilo and Stitch explores issues of family while providing a fun and charming story." Metacritic assigned the film a weighted average score of 73 out of 100, based on 30 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Roger Ebert of the Chicago Sun-Times gave the film $3 1/2$ stars out of 4, writing: "It's one of the most charming feature-length cartoons of recent years—funny, sassy, startling, original and with six songs by Elvis. It doesn't get sickeningly sweet at the end, it has as much stuff in it for grown-ups as for kids, and it has a bright offbeat look to it." Kenneth Turan of the Los Angeles Times wrote: "Looser and less obviously formulaic in its fresh approach to our hearts, the brash [film] has an unleashed, subversive sense of humor that's less corporate and more uninhibited than any non-Pixar Disney film has been in time out of mind. With its hand-drawn characters and its use of watercolors for backgrounds (the first time the studio's done that since the 1940s), this is a happy throwback to the time when cartoons were cinema's most idiosyncratic form instead of one of its most predictable." Richard Corliss of Time magazine felt the film is "a bright, engaging bauble with half a dozen Elvis Presley songs for Mom and Dad, and just enough sass. Stitch sticks his tongue into his nose and eats his snot to keep the tweeners giggling ...after a lag in the early sister scenes, Lilo reveals its own very American verve and wit, along with a smart story sense that marks the best animated features, traditional or computerized."

Claudia Puig of USA Today noted the colors "are ultra-vibrant and rich, appropriate to the Hawaiian setting. Best of all, the movie has an endearingly cheeky attitude sometimes missing from more earnest Disney tales. Witty, touching and well paced, Lilo & Stitch is ideal family fare, but little more." Desson Howe of The Washington Post also praised the film's use of watercolors, writing it is "appealing. It's easy, rather than flashy, on the eyes. And there's some sort of relief in that, in this world of hyper-powerful computer-generated imagery." Owen Gleiberman, reviewing for Entertainment Weekly, argued the "animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged. Stitch gets discovered by Lilo, a temperamental Hawaiian girl who's the whiniest of whiny brats. These two become friends in theory only: There’s so little connection between them that just about the only thing sustaining the movie is its vague E.T. outline."

Todd McCarthy of Variety felt Sanders and DeBlois "keep things moving briskly while commendably avoiding any special sentimental 'We Are a Village' point-making, despite the obvious opportunity. Character designs are familiar enough, but backgrounds possess an unusual pastel quality that gives the film an inviting atmosphere all its own." In contrast, Mick LaSalle of the San Francisco Gate felt Lilo & Stitch was more appropriate for a television series, writing the directors "find themselves locked into the structure of a feature film. They're forced to tell the story of Lilo and Stitch's relationship, to give it shape and a sense of arrival. Since this is a kid's movie, the relationship can only head in the direction of schmaltz. So the promising anarchy of the first 10 or 15 minutes is suppressed."

Peter M. Nichols states that through the character of Nani and her struggles, the film appeals to older children better than such attempts by the studio to do so as The Emperor's New Groove, Atlantis: The Lost Empire, and Treasure Planet.

Soundtrack
Lilo & Stitch: An Original Walt Disney Records Soundtrack is the soundtrack to Disney's 2002 animated feature Lilo & Stitch. It was released by Walt Disney Records on June 11, 2002, on Audio CD and Compact Cassette.

The soundtrack contains two original songs from the film written by Mark Kealiʻi Hoʻomalu and Alan Silvestri (the film's composer), and performed by Kealiʻi Hoʻomalu and the Kamehameha Schools children's chorus. It also contains five songs by American singer Elvis Presley, and two of his songs re-recorded by contemporary artists. These songs were performed by American singer Wynonna ("Burning Love") and Swedish group A-Teens ("Can't Help Falling in Love").

On June 23, 2003, the soundtrack album was certified Platinum by the Recording Industry Association of America for sales of 1 million units. On March 17, 2023, the song "Hawaiian Roller Coaster Ride" received Platinum certification from the RIAA for reaching 1 million certified units.

"Baby You Belong" by Faith Hill was used as the theme song in the Japanese version. In North America the song was simply an album track with no connotation to the film.

Spin-off media
On August 26, 2003, Disney released a direct-to-video sequel, Stitch! The Movie, which served as the pilot to a television series titled Lilo & Stitch: The Series. This series ran for 65 episodes between September 20, 2003, and July 29, 2006. The series carried on where the film left off and charted Lilo and Stitch's efforts to capture and rehabilitate Jumba's remaining experiments. The series, as well as the original parts of the franchise that focused on Lilo Pelekai and were set in Hawaii, ended with the television film Leroy & Stitch, which aired on June 23, 2006.

On August 30, 2005, Lilo & Stitch 2: Stitch Has a Glitch, another direct-to-video sequel to the film, was released. In this film (set between Lilo & Stitch and Stitch! The Movie), Stitch has a glitch because his molecules were never fully charged (this is contrary to an original opening, "Stitch's trial", which was seen on the DVD release of Lilo & Stitch). Lilo wants to win the May Day hula contest like her mother did in the 1970s, but Stitch continues to have outbursts. Lilo gets increasingly mad at Stitch as his glitch causes more problems for her and ruins her chances of winning the competition. She thinks Stitch is not cooperating properly, until she finds out that Stitch is dying. The Lilo & Stitch 2: Stitch Has a Glitch DVD also contained a short film, The Origin of Stitch, that served as a bridge between Stitch Has a Glitch and ''Stitch! The Movie''.

In March 2008, Disney announced an anime based on the Lilo & Stitch franchise aimed at the Japanese market titled Stitch!. The anime, which ran as a series from October 2008 to March 2011, features a Japanese girl named Yuna Kamihara in place of Lilo, and is set on a fictional island in Okinawa Prefecture instead of Hawaii. This series was produced by Madhouse for its first two seasons, and Shin-Ei Animation for its third season and two post-series specials in 2012 and 2015.

From March 27 to April 6, 2017, an English-language Chinese animated television series based on the franchise titled Stitch & Ai aired in China with a Mandarin Chinese dub. It was produced by Anhui Xinhua Media and Panimation Hwakai Media. Like with the Stitch! anime, it features a local girl named Wang Ai Ling instead of Lilo, and is set in the Huangshan mountains. Unlike Stitch!, however, this series was originally produced in English in co-operation with American animators (including those who worked on Lilo & Stitch: The Series) and then dubbed into Mandarin Chinese; the original English production aired in Southeast Asia during February 2018.

Live-action adaptation
In October 2018, The Hollywood Reporter reported that Walt Disney Pictures was developing a live-action remake of Lilo & Stitch to be produced by Aladdin producers Dan Lin and Jonathan Eirich and written by Mike Van Waes. In November 2020, it was reported that Jon M. Chu entered talks to direct the film and that it was unclear if the film would be released in theaters or on Disney+. In July 2022, Dean Fleischer Camp replaced Chu as the film's director. In February 2023, Zach Galifianakis joined the film. On March 31, 2023, it was announced that Maia Kealoha was cast as Lilo. Further cast members were announced that April, including Sydney Agudong as Nani, Courtney B. Vance as Bubbles, and Billy Magnussen in an undisclosed role. Kahiau Machado was originally cast as David, but was later replaced by Kaipo Dudoit. On April 21, 2023, Galifianakis was confirmed to play Jumba, and Magnussen was confirmed to play Pleakley, while Chris Sanders entered in final negotiations to return as the voice of Stitch. Tia Carrere, the original voice actress of Nani, was announced to play Mrs. Kekoa, while Amy Hill, who voiced Mrs. Hasagawa in the original, will portray a new character named Tūtū.

Video games
There were three official games released in 2002 to coincide with the film: Disney's Lilo & Stitch: Trouble in Paradise for PlayStation and Microsoft Windows, Disney's Lilo & Stitch for Game Boy Advance, and Disney's Stitch: Experiment 626 for PlayStation 2. Stitch is also a summonable character in Kingdom Hearts II and III, and appears along with his homeworld in Kingdom Hearts Birth by Sleep for the PlayStation Portable. Lilo and Stitch both appear in the Nintendo 3DS game Disney Magical World and its sequel. Stitch is also a playable character in the Disney Infinity series in the second game, Disney Infinity 2.0, and the series' third and final game, Disney Infinity 3.0. He was also a meet and greet character in Kinect: Disneyland Adventures. Some characters of the film are playable characters in the game Disney Magic Kingdoms. Stitch also appears as a playable character in the mobile game Disney Mirrorverse, and as an unlockable villager Disney Dreamlight Valley. Lilo, Stitch, Jumba, Gantu, and (from Lilo & Stitch: The Series) Angel are playable racers in Disney Speedstorm, which also features a track environment based on the film's depiction of Kauaʻi.

title: Lilo & Stitch


text:
Tamoanchan

Tamōhuānchān is a mythical location of origin known to the Mesoamerican cultures of the central Mexican region in the Late Postclassic period. In the mythological traditions and creation accounts of Late Postclassic peoples such as the Aztec, Tamoanchan was conceived as a paradise where the gods created the first of the present human race out of sacrificed blood and ground human bones which had been stolen from the Underworld of Mictlan.

Name
According to a figurative etymology in the Florentine Codex of Sahagún (bk. 10, ch. 29, para. 14), "Tamoanchan probably means "We go down to our home". The word tamoanchan does not actually come from the Nahuatl languages, but is instead demonstrated to have its roots in Mayan etymology, with a meaning which could be glossed as "place of the misty sky", or similar. Descriptions of Tamoanchan appearing in the Florentine Codex indicate that the Postclassic Nahuas thought of it being located in the humid lowlands region of the Gulf Coast of Mexico, inhabited by the Huastec Maya people.

Depiction in codices
When depicted in Aztec codices Tamoanchan is frequently associated with the trecena 1 Calli in the Aztec calendar. This is "trecena 15 in the Borbonicus and Tonalamatl Aubin". The deity Itzpapalotl, one of the main tzitzimime figures ("star demons"), commonly presides over this trecena, and by extension Tamoanchan is often considered as part of her dominion.

The toponymic glyph used for Tamoanchan in the codices depicts a cleft tree, flowering and emitting blood; these motifs is the reference of the event when sexual transgression was committed in the paradise, causing the tree of life to be cut as described in the Codex Chimalpopoca. Besides being cleft, the two portions of the Tamoanchan-tree thus separated sometimes bear striping in opposite directions (as, in Codex Borgia 44 ) such that "their diagonal position ... indicates the internal helicoidal movement." Thus, helical rotations in two opposite directions would appear to be indicated.

Historic, earthly location
Besides the mythical Tamoanchan, Mexican historian and scholar of Mesoamerican belief systems Alfredo López Austin identifies several sacred sites that were historical localities associated with Tamoanchan. According to López Austin the three Tamoanchans located on earth were: 1) the Tamoanchan in Cuauhnahuac; 2) Tamoanchan Chalchiuhmomozco mentioned by Chimalpahin Cuauhtlehuanitzin (... where Chalco Amaquemecan was later established); and 3) the Tamoanchan ... mentioned in Sahagún's work."

The first of these was where the first man and woman of the new re-peoplement were created (by Ehecatl), the "new Tamoanchan cave in the Province of Cuernavaca, actually Cuauhnahuac".

The second of these was "a fountain ... in which they saw a goddess and which they called chalchiuhmatlalatl ("blue-green waters of chalchihuite ...") on a small hill next to Iztactepetl and Popocatepetl. ... Tamoanchan Chalchiuhmomozco was so sacred that no one could defecate there. The settlers had to travel four leagues to relieve themselves at a place called Cuitlatepec, or Cuitlatetelco, but, since they were great magicians, they flew there." [Likewise for the Otomi, "Mayonikha is so sacred that no one can defecate" thereat.]

The third was the site where "the learned men, ... Tlaltecuin, and Xuchicahuaca, ... invented new sacred books, the count of destiny, the book of years, and the book of dreams."

title: Tamoanchan