Aztec was
pictographic and
ideographic proto-writing, augmented by phonetic
rebuses. There was no alphabet, but puns also contributed to recording sounds of the Aztec language. Unlike the
Maya Script, Aztec is not considered a true writing system because there was no set corpus of signs or set rules on how they were used. Instead, Aztec scribes created individual compositions, with each scribe deciding how to represent the ideas he wished to convey.
[2] The only conventionalized signs that were for a few plants, animals, parts of the human body, natural phenomena, some cultural artifacts, and the names of the first 20 days of the calendar. And in native manuscripts, the sequence of historical events are indicted by a line of footprints leading from one place or scene to another. Names of towns were often represented by pictures of typical vegetation of that region. These
logographic glyphs were used by other peoples of Central Mexico who spoke different languages.
[2]
The
ideographic nature of the script is apparent in abstract concepts, such as death, represented by a corpse wrapped for burial; night, drawn as a black sky and a closed eye; war, by a shield and a club; and speech, illustrated as a little scroll issuing from mouth of the person who is talking. The concepts of motion and walking were indicated by a trail of footprints.
[3]
A glyph could be used as a rebus to represent a different word with the same sound or similar pronunciation. This is especially evident in the glyphs of town names.
[4] For example, the glyph for Tenochtitlan, the Aztec capital, was represented by combining two pictograms: stone
(te-tl) and cactus
(nochtli).
Aztec writing was not read in any particular order, and the glyphs were not written linearly, but arranged to ideographically represent a scene. At the bottom of the picture would be the ground, at the top the sky, and in between the actors and scenes of the narrative.
[3]
Since the Aztecs had not discovered the rules of perspective, distance is shown by placing the furthest figures at the top of the page and the nearest at the bottom. Relative importance is indicated by size: a victorious king, for example, may be drawn larger than his defeated enemy. Color is also important. The signs for grass, canes, and rushes look very much the same in black and white, but in color there could be no mistake: in the
Codex Mendoza grass is yellow, canes are blue, rushes green. A ruler could be recognized at once from the shape of his diadem and from its color, turquoise, which was reserved for royal use
[5]