Xōchipilli, the “bloom sovereign”, was the Aztec divine force of excellence, joy, blossoms, sexuality and expressions of the human experience of verse, painting, composing, and tune. Xōchipilli’s name contains the Nahuatl words xōchitl (bloom) and pilli (ruler or tyke), together making up the name “blossom sovereign”.
A few archeologists trust the divinity was first adored amid the long periods of the Teotihuacan human progress, however was later embraced by the Aztecs. As one of the divine beings related with fruitfulness, he was likewise connected to agrarian produce and development of staple yields.
Xōchipilli was viewed as a divine being equipped for happy underhandedness, cunning and down to earth jokes. Regardless of this, in contrast to different divine beings, he wasn’t thought about similar to a vindictive or wrathful god, which made him rather famous and cherished.
A standout amongst the most acclaimed imaginative portrayal of this divinity is found in the Aztec Hall of the Museo Nacional de Antropología in Mexico City, Mexico. In the mid-1800’s, a sixteenth century statue of Xōchipilli was uncovered in favor of the spring of gushing lava Popocatapetl close Tlamanalco.
The statue is of a solitary figure situated upon a sanctuary like base, with carvings of holy and psychoactive blossoms including mushrooms (Psilocybe aztecorum), tobacco (Nicotiana tabacum), morning greatness (Turbina corymbosa), sinicuichi (Heimia salicifolia), potentially cacahuaxochitl (Quararibea funebris), and one unidentified bloom.
Mixed beverages were likewise connected with this god. A late spring festivity called the Festival of Flowers occurred each year out of appreciation for Xōchipilli and his twin sister Xochiquetzal. Moves were performed, verse recounted, and music played. Amid such merriments, admirers drank Pulque and expended mushrooms known as teonanácatl (substance of the divine beings).
The figure itself is discovered leg over leg on the base, head tilted up, eyes open, jaw strained, with his mouth half open and his arms opened to the sky, conceivably implying profound edification.
Robert Gordon Wasson, Richard Evans Schultes and Albert Hofmann trusted the statue speaks to a figure in the throes of entheogenic happiness. The position and articulation of the body, in blend with the reasonable portrayals of psychedelic plants which are known to have been utilized in sacrosanct settings by the Aztec bolster this translation.
As indicated by one understanding, the huge utilization of the blossom here arrives in a totally otherworldly sense, offering significance to the bloom of the body and its sprouting. This bloom can be no other than the spirit.
The relationship of the blossom with the sun is additionally clear; as one of the pictographs for the sun is a four-petaled bloom, and the dining experiences of the ninth month, committed to Huītzilōpōchtli, were completely offered over to bloom contributions.
Wasson held that in the statue’s portrayal, Xōchipilli “is consumed by temicxoch, ‘dream blooms’, as the Nahua state depicting the marvelous experience that pursues the ingestion of an entheogen. I can consider not at all like it in the long and rich history of European craftsmanship: Xōchipilli retained in temicxoch.”