Few ancient civilizations evoke as much intrigue and mystique as the Maya. Known for their advanced knowledge, striking architecture, and enigmatic cultural practices, the Maya left behind numerous unanswered questions.
Among the greatest mysteries is the sudden abandonment of their grand cities scattered across the lowlands of present-day Guatemala, Mexico, Belize, and Honduras.
El Perú, also known as Waka’, is a significant pre-Columbian Maya archaeological site that thrived during the Preclassic and Classic periods (approximately 500 BC to 800 AD).
Situated near the San Pedro River in northern Guatemala’s Petén Department, Waka’ served as the capital of a prominent Maya city-state.
The site was rediscovered in the 1960s by oil prospectors, marking the beginning of decades of exploration and study.
Among the most fascinating finds at El Perú is a collection of 23 intricately crafted ceramic figurines. These artifacts were discovered in a royal tomb, arranged in a circular formation, likely by mourners paying homage to their deceased king.
The figurines tell a vivid story of ancient Maya rituals and beliefs, centered on the journey of the king to the underworld.
At the heart of the scene is the king himself, accompanied by his animal spirit guide—a magical deer adorned with an oval pendant engraved with the “Ik’” symbol, representing breath, wind, and life.
Encircling the king are other members of the Maya royal court, each contributing to the ceremonial narrative.
A warrior queen holds her shield with pride, while a living king stands draped in opulent, multi-layered textiles befitting his status.
The heir to the throne carries an enema syringe, a crucial instrument for administering hallucinogens central to the ritual. Dancers, scribes, and noblewomen perform in this sacred tableau.
Adding to the mystical atmosphere are figures with supernatural roles. A female shaman, her face twisted in an ecstatic howl, channels deeper spiritual powers.
Dwarves wearing removable helmets prepare for ritual boxing, a practice believed to summon life-giving rains.
Among them is a dwarf with a deer helmet, holding a conch shell trumpet meant to produce music and open the portal to the underworld.
In David Freidel’s article, “Resurrecting the Maize King”, he discusses how these figurines are a depiction of a royal court performing a ceremony.
More specifically the figures show a king kneeling with his arms crossed. The king figure’s hair is similar to that of the [Maize God]. Freidel therefore names the unknown deceased individual the Maize King.
Beside the king is a deer spirit, possibly healing the king. This deer spirit may have been the way, spirit companion, of a different king watching the ceremony.
One of the most intriguing artifacts from burial is an Olmec-style figurine discovered near the head of the buried ruler.
Encased within two lip-to-lip cache vessels coated with a red pigment containing cinnabar, the figurine holds deep ritualistic significance.
According to Michelle Rich, the ancient Maya often associated cinnabar-coated vessels containing offerings with the resurrection of rulers, particularly with the Maize God.
A trefoil sprout adorning the figurine’s crown further reinforces this connection to the Maize God, as the symbol was frequently used in depictions of the deity.
The figurine itself portrays a dynamic and symbolic design. With one leg raised in what appears to be a dancing pose, the left arm bent, and the right arm missing, it evokes a sense of movement and vitality.
The head features a fin-like shape, potentially representing a fish or shark, while the jaguar-like mouth includes a tooth resembling that of a shark.
Its crescent-shaped eyes bear a striking similarity to the Olmec death god’s eyes, linking the figurine to themes of mortality.
(Photo credit: Museo Nacional de Arqueología y Etnología, Guatemala, Guatemala City / Photos by Ricky Lopez).