Papers by Elena Mateos Ortega
Culto a la Montaña y Arte Rupestre: el caso de Tepoztlán, Morelos., 2022
El municipio de Tepoztlán, en Morelos, es conocido por la belleza de su paisaje y la majestuosida... more El municipio de Tepoztlán, en Morelos, es conocido por la belleza de su paisaje y la majestuosidad de sus cerros; por su historia y sus tradiciones. Sin embargo, esos mismos cerros ocultan un gran número de abrigos con arte rupestre que fueron pintados durante miles de años y que continúan siendo desconocidos por el público. Este trabajo se dedica a ellos, a su iconografía e iconología; a la relación de éstos con los cerros; a la interpretación del arte rupestre y a la respuesta hacia varias de las preguntas que todos nos hacemos: ¿Para qué se pintaban los cerros? ¿Quiénes los pintaron? ¿Qué significan los motivos elegidos para ser plasmados en la roca?
Thesis Chapters by Elena Mateos Ortega
Culto a la montaña y arte rupestre: el caso de Tepoztlán, Morelos, México, 2022
This doctoral thesis explores the rich rock art heritage of Tepoztlán, Morelos, México. The resea... more This doctoral thesis explores the rich rock art heritage of Tepoztlán, Morelos, México. The research focuses on the discovery and documentation of 27 previously unknown rock art sites, which exhibit a variety of fascinating rock paintings. The study encompasses an in-depth iconographical analysis and a chronological examination based on stylistic characteristics. By examining the motifs, symbols, and artistic techniques employed in the rock art, the meaning and significance of these sites are elucidated.
This first chapter delves into the multifaceted nature of hills in Tepoztlán, uncovering their diverse roles and profound significance in the local community. Through an examination of symbolic interpretations and the utilization of natural resources, particularly water, it becomes evident that the hills transcend their physical presence to become integral elements of the cultural landscape. The hills hold a special place in the collective imagination of Tepozteco, manifesting as symbols of identity and featuring prominently in local legends and rituals.
The legend and deity associated with Tepozteco, revered as the patron saint of Tepoztlán, exemplify the interplay between the hills and cultural identity.
Additionally, rituals further strengthen the connection, as exemplified by the annual dressing of the cross of Tlacatépetl and the significant cult observed in "The 7 Caves" of San Andrés de la Cal, where contemporary worship takes place within the mountain caves. It is crucial to transcend the physical morphology of the hills and delve into their mythical origins. Some hills derive their names from ancient myths, such as Chalchiltépetl, known as the "Treasure Hill," or Tlahuiltépetl, the awe-inspiring "Hill of Light." By tracing historical sources, we uncover the existence of rituals associated with specific hills, such as the Hill of Light, which was historically marked by a grand bonfire every 52 years. However, the understanding of this hill has evolved over time, with its name now associated with the observation of an annual light on its peak during New Year's Eve.
This illustrates how myths adapt to the needs and interpretations of the local inhabitants, shaping their relationship with the environment. The study highlights the significance of exploring the collective imagination surrounding these stone monuments, particularly in the context of rock art. By understanding the cultural and spatial interplay between the inhabitants of Tepozteco and their surrounding landscape, a deeper comprehension of the cultural heritage and artistic expressions emerges. This research underscores the importance of preserving and studying these sites, shedding light on the rich cultural tapestry of Tepoztlán and inspiring further exploration in the field of rock art studies.
Culto a la montaña y arte rupestre: el caso de Tepoztlán, Morelos, México., 2022
Introduction for my doctoral thesis, published originally in Spanish. This is the first chapter o... more Introduction for my doctoral thesis, published originally in Spanish. This is the first chapter of many that will keep coming as I'm translating my work into English.
Books by Elena Mateos Ortega
Fronteras Rupestres en México, 2025
El término “frontera” tiene múltiples significados, comúnmente asociado con divisiones políticas ... more El término “frontera” tiene múltiples significados, comúnmente asociado con divisiones políticas entre países, pero en arqueología y la historia del arte, delimita zonas de influencia, estilos y periodos cronológicos. En el arte rupestre, especialmente en México, se superponen culturas y estilos, sugiriendo no solo un cambio social, sino también la posibilidad de comunicación con el inframundo, funcionando como un umbral entre el presente y lo trascendental.
The term “border” is polysemous, often associated with political divisions between countries, but in archaeology and art history, it delineates areas of influence, styles, and chronological periods. In rock art, particularly in Mexico, cultures and styles overlap, suggesting not only a social change but also the possibility of communication with the underworld, functioning as a threshold between the present and the transcendental.
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Papers by Elena Mateos Ortega
Thesis Chapters by Elena Mateos Ortega
This first chapter delves into the multifaceted nature of hills in Tepoztlán, uncovering their diverse roles and profound significance in the local community. Through an examination of symbolic interpretations and the utilization of natural resources, particularly water, it becomes evident that the hills transcend their physical presence to become integral elements of the cultural landscape. The hills hold a special place in the collective imagination of Tepozteco, manifesting as symbols of identity and featuring prominently in local legends and rituals.
The legend and deity associated with Tepozteco, revered as the patron saint of Tepoztlán, exemplify the interplay between the hills and cultural identity.
Additionally, rituals further strengthen the connection, as exemplified by the annual dressing of the cross of Tlacatépetl and the significant cult observed in "The 7 Caves" of San Andrés de la Cal, where contemporary worship takes place within the mountain caves. It is crucial to transcend the physical morphology of the hills and delve into their mythical origins. Some hills derive their names from ancient myths, such as Chalchiltépetl, known as the "Treasure Hill," or Tlahuiltépetl, the awe-inspiring "Hill of Light." By tracing historical sources, we uncover the existence of rituals associated with specific hills, such as the Hill of Light, which was historically marked by a grand bonfire every 52 years. However, the understanding of this hill has evolved over time, with its name now associated with the observation of an annual light on its peak during New Year's Eve.
This illustrates how myths adapt to the needs and interpretations of the local inhabitants, shaping their relationship with the environment. The study highlights the significance of exploring the collective imagination surrounding these stone monuments, particularly in the context of rock art. By understanding the cultural and spatial interplay between the inhabitants of Tepozteco and their surrounding landscape, a deeper comprehension of the cultural heritage and artistic expressions emerges. This research underscores the importance of preserving and studying these sites, shedding light on the rich cultural tapestry of Tepoztlán and inspiring further exploration in the field of rock art studies.
Books by Elena Mateos Ortega
The term “border” is polysemous, often associated with political divisions between countries, but in archaeology and art history, it delineates areas of influence, styles, and chronological periods. In rock art, particularly in Mexico, cultures and styles overlap, suggesting not only a social change but also the possibility of communication with the underworld, functioning as a threshold between the present and the transcendental.
This first chapter delves into the multifaceted nature of hills in Tepoztlán, uncovering their diverse roles and profound significance in the local community. Through an examination of symbolic interpretations and the utilization of natural resources, particularly water, it becomes evident that the hills transcend their physical presence to become integral elements of the cultural landscape. The hills hold a special place in the collective imagination of Tepozteco, manifesting as symbols of identity and featuring prominently in local legends and rituals.
The legend and deity associated with Tepozteco, revered as the patron saint of Tepoztlán, exemplify the interplay between the hills and cultural identity.
Additionally, rituals further strengthen the connection, as exemplified by the annual dressing of the cross of Tlacatépetl and the significant cult observed in "The 7 Caves" of San Andrés de la Cal, where contemporary worship takes place within the mountain caves. It is crucial to transcend the physical morphology of the hills and delve into their mythical origins. Some hills derive their names from ancient myths, such as Chalchiltépetl, known as the "Treasure Hill," or Tlahuiltépetl, the awe-inspiring "Hill of Light." By tracing historical sources, we uncover the existence of rituals associated with specific hills, such as the Hill of Light, which was historically marked by a grand bonfire every 52 years. However, the understanding of this hill has evolved over time, with its name now associated with the observation of an annual light on its peak during New Year's Eve.
This illustrates how myths adapt to the needs and interpretations of the local inhabitants, shaping their relationship with the environment. The study highlights the significance of exploring the collective imagination surrounding these stone monuments, particularly in the context of rock art. By understanding the cultural and spatial interplay between the inhabitants of Tepozteco and their surrounding landscape, a deeper comprehension of the cultural heritage and artistic expressions emerges. This research underscores the importance of preserving and studying these sites, shedding light on the rich cultural tapestry of Tepoztlán and inspiring further exploration in the field of rock art studies.
The term “border” is polysemous, often associated with political divisions between countries, but in archaeology and art history, it delineates areas of influence, styles, and chronological periods. In rock art, particularly in Mexico, cultures and styles overlap, suggesting not only a social change but also the possibility of communication with the underworld, functioning as a threshold between the present and the transcendental.