The Aztecs began as a wandering tribe whose historical origins are unknown, although they themselves recorded their mythical place of origin as Aztlan. After a long journey they arrived in the Basin of Mexico where they founded the city of Mexico-Tenochtitlan. There they incorporated artistic and architectural styles from the previous cultures they had found on their travels into their own culture: conscious of historical precedent, they sought to situate themselves in the established history of the region. By associating themselves with the grandeur and magnificence of previous cultures they added a dimension of power and legitimacy to their own aspirations as an emerging military and economic power. This can be seen in the Aztecs’ appropriation of cultural aspects from the cities of Teotihuacan and Tula. During this process they deliberately obscured their past ancestry as nomads.

The Olmec, of the Gulf coast, have been called the ‘mother culture’ of Mexico’s pre-Columbian past, and were in their ascendency during the Early to Late Formative period (1500–100 BC). They are mainly associated with a series of colossal head sculptures and small contorted images of individuals known as ‘were-jaguars’. There are no strong stylistic links between the art of the Olmec and that of the Aztecs, but a high quality Olmec jade mask has been unearthed from the Aztec Templo Mayor (Great Temple) in Mexico-Tenochtitlan. It is thought to have been a gift to an Aztec ruler and demonstrates that the Aztecs were aware of the artistic production of their predecessors.

The Aztecs were fascinated by the magnificent Classic period city of Teotihuacan (AD 0-750) situated to the north-east of modern Mexico City. Teotihuacan evolved as an urban centre over a long period eventually covering some 20km2. It is characterised by monumental architecture, in particular the pyramids of the Sun and Moon, numerous palatial complexes, plazas, and wide avenues. It was the centre of an extensive trade network, boasting a ritual calendar and highly developed arts. For unknown reasons the city was suddenly abandoned and partially burned in AD 750. It was not until long after this that the Aztecs first frequented the site and even carried out their own archaeological excavations. The Aztecs gave the name ‘place of the gods’ to Teotihuacan and were keen to associate themselves with the city’s historical splendour. They appropriated and then adapted its artistic and architectural styles for their capital city, to express their cultural and historical aspirations. Stylistic evolution can be seen in the difference between Classic period Teotihuacan masks, which tend to be stylised, while Aztec masks are more naturalistic.

The great city of Tula, the capital of the Toltecs and west of Teotihuacan, was also frequented by the Aztecs. It flourished during the Early Postclassic period (AD 900-1200) and was believed to have been at the centre of a vast trade network through the architectural similarities it shares with the Maya city of Chichen Itzá in the Yucatan. The Aztec appropriated the mythical Toltec ruler Quetzalcoatl as a god, and the monumental sculpture of Tula with its distinctive butterfly pectorals inspired similar free standing human figures by Aztec sculptors. However, Aztec sculptures were not simply copies but statements of cultural difference.

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