Stamp, Butterfly 14th–early 16th century Aztec This ceramic stamp features the image of a butterfly depicted from a dorsal view with outstretched wings, frontal legs, and proboscis. Contained by a double-banded, circular border, the butterfly bears another circle on its abdomen or back. The latter motif likely signifies a rounded jade bead (chalchihuitl), which is equated in the Nahuatl language with the color green, fertility, and imagery enjoyed a long history in the arts of Mesoamerica and probably had multiple meanings and associations through time. In the Early Clas

Stamp, Butterfly 14th–early 16th century Aztec This ceramic stamp features the image of a butterfly depicted from a dorsal view with outstretched wings, frontal legs, and proboscis. Contained by a double-banded, circular border, the butterfly bears another circle on its abdomen or back. The latter motif likely signifies a rounded jade bead (chalchihuitl), which is equated in the Nahuatl language with the color green, fertility, and imagery enjoyed a long history in the arts of Mesoamerica and probably had multiple meanings and associations through time. In the Early Classic murals at Teotihuacan and Cholula, they are associated with warriors, fire, fertility, death, and rebirth. Among the Mixtecs and Aztecs of the Late Postclassic period (ca. 1300–1521), they adorn nosepieces and colorful feasting vessels as well as the sculptures of both male and female gods. As companions to Xochiquetzal ("Flower Queztal") and Xochipilli ("Flower Prince"), they represent the themes of pleasure and abundance; yet with Itzpapalotl ("Obsidian Butterfly"), ravenous hunger and duplicity. Nevertheless, most scholars agree that Mesoamericans regarded butterflies as something akin to the soul—a belief that was also shared by the ancient Greeks and Hindus. Often found adorning ceramic incense burners—and typically appearing in funerary contexts—their associations with fire, regeneration, and respiration are clear. Furthermore, butterflies, along with hummingbirds and other winged beings, were closely related to concepts of a metaphorical level, the inclusion of stamps with the dead may refer to ideas of ephemerality as expressed in Aztec poetry. After all, in their narrow capacity as objects of embellishment, stamps are solely used to adorn surfaces—all of which are diaphanous (, cloth), breakable (, ceramic), and otherwise perishable. Therefore, by decorating their own skins with these same stamps, the Aztecs may have conceptuall

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