(jazz piano) - [Voiceover] We're in the
National Museum of Anthropology in Mexico City, looking at an amazingly beautiful feathered headdress. - [Voiceover] This is a replica
of a feathered headdress that's currently in the museum in Vienna, sent to Europe by Hernan Cortes, the Spanish conquistador
who defeated the Aztecs. - [Voiceover] So, Cortes
comes in with his army of Spanish soldiers,
conquers the Aztec people, and is overwhelmed by the beauty of much of what he sees, especially
these feathered objects, and sends a lot of them
back to Spain to Charles V. I can see why he would
send these objects back. There's nothing like it in
Spain that I can think of. - [Voiceover] And even
though this is a replica, it gives us a really good sense of what some of these feather objects
would have looked like. And you have these stunning
quetzal tail feathers, which only come from the male quetzal, and we see so many of them, and usually the bird only has two,
three tail feathers. So these come from a lot
of different quetzals, a kind of bird that you
find in Central America. Places like Costa Rica. So what this is speaking to
is the long distance trade that's happening as well as tribute items that are sent back to the
Aztec capitol of Tenochtitlan. - [Voiceover] So the Aztecs have an empire with lots of cities
that they've conquered, and what they exact from those cities is luxury goods, and
that includes feathers, that includes textiles, cacao, shells, and they're all coming to the capitol of the empire, which is actually here in what is present-day Mexico City, but was then Tenochtitlan,
did I say that right? - [Voiceover] Almost, Tenochtitlan. - [Voiceover] So the
feathers, we have to imagine, as part of an entire
costume, and in so much Aztec art, we see not only
the feather headdress, but we see paper ornaments, we see other kinds of elaborate
aspects of costume that were part of rituals,
part of performances. - [Voiceover] Costume
was incredibly important to the Aztecs, as it was to
many Meso-American cultures. And what's unfortunate
for us is we're seeing this here as a static item. But imagine feathers with
this beautiful iridescence, shimmering in the light
and moving with wind, and being danced and able to transform the ruler wearing this into
something else entirely. If you see where you're
supposed to place this on top of your head, and then you see the extent to which the
feathers radiate outwards, it's almost like your identity becomes less important than what you're wearing. - [Voiceover] You're completely
subsumed by this costume. - [Voiceover] And besides these
gorgeous quetzal feathers, what we have here are pure gold ornaments as well as other colors of feathers like a beautiful turquoise blue. - [Voiceover] The people who made this lived in a special quarter of the capitol. - [Voiceover] They were called in Nahuatl, the language of the Aztecs,
amanteca, feather workers. And they were highly regarded, and after the Spanish conquest when
people like Hernan Cortes, the Spanish conquistador,
encountered objects like this, they were so
impressed, that this is actually a type of artistic production that doesn't cease with the conquest, but what we do see is a
shift in subject matter. Instead of say, making
ritual headdresses like this, we see objects that display
Christian iconography. Very close to the feathered headdress here in the museum, we see a
replica of a chalice covering that is made of feathers,
and if we're looking at the subject matter,
it looks very Aztec. We see water glyphs, and what looks like a ray of fire and a strange kind of mouth, or symbols that are very unfamiliar to us, in other words. And this is the beginning
of a reinterpretation of Christian iconography
using Aztec glyphs. - [Voiceover] So we have a coming together of these two cultures, a hybrid art form. A chalice is something that
we see in Christian rituals, it's the vessel that contained the wine that becomes the blood
of Christ during Mass. And so this coming together of these two very different cultures, but Aztec culture forced to become a Christian
culture by the Spanish. (jazz piano)