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Cacaxtla

Cacaxtla is a pre-Columbian archaeological site located near San Miguel del Milagro in the state of Tlaxcala, Mexico, within the Puebla-Tlaxcala region. It was inhabited by the Olmeca-Xicalanca people and flourished as a political, military, and commercial center during the Late Classic and Epiclassic periods from approximately 650 to 900 CE.^[1] Renowned for its exceptionally preserved murals—depicting themes of mythology, religion, war, peace, nature, battles, deities, and daily life using vivid pigments in red, blue, yellow, black, and white—the site showcases a unique syncretism of artistic styles influenced by Maya, Teotihuacan, and local cultures.^[1] Its architecture, including the massive Gran Basamento (a 656-foot-long and 82-foot-high platform complex with palaces, pyramids, plazas, a ball court, and interconnected shrines), highlights advanced construction techniques with stucco-covered surfaces and painted decorations.^[1] The site's significance lies in its role as a hub of long-distance trade, evidenced by artifacts such as jade, obsidian, and ceramics that indicate connections to Teotihuacan, the Maya regions, the Gulf Coast, the Valley of Mexico, and central Mexico.^[1] Cacaxtla was likely abandoned around 900–1000 CE, possibly due to internal conflicts, external pressures, or societal changes, after which it experienced partial destruction from natural erosion and human activity.^[1] Rediscovered in 1975 by local farmers who found artifacts—official research and excavations by Mexico's National Institute of Anthropology and History (INAH) began shortly thereafter, leading to the preservation of key structures under a protective roof covering over 100,000 square feet since the 1980s.^[1] Today, Cacaxtla, often studied alongside the nearby ceremonial complex of Xochitecatl, provides invaluable insights into Mesoamerican cultural exchanges, artistry, and post-Teotihuacan regional dynamics in central Mexico.^[1]

History

Ancient History

Cacaxtla originated as a significant settlement in the Puebla-Tlaxcala Valley during the Late Classic period, with initial development between approximately 200 and 650 CE. It functioned as the capital of the Olmeca-Xicalanca confederation, a group whose roots trace to migrations from the southern Gulf Coast region, potentially incorporating cultural elements from Maya groups in the area.^[1]^[2] These migrations contributed to the site's early establishment around 400 CE, transforming it into a political and economic hub amid the post-Teotihuacan regional shifts.^[3] The site's prosperity peaked during the Epiclassic period from 650 to 900 CE, following the decline of Cholula and Teotihuacan around 650–750 CE, when Cacaxtla emerged as a dominant hegemonic power in the region. Controlling key trade routes that linked central Mexico to the Gulf Coast, it facilitated the exchange of goods such as obsidian, feathers, and cacao, supporting an estimated population of around 10,000 inhabitants.^[1]^[4] This era saw the architectural zenith of Cacaxtla, characterized by expansive platforms, which underscored its military role amid regional conflicts with neighboring polities.^[1] Cacaxtla's decline commenced around 900 CE, leading to its abandonment by 1000 CE, likely due to a combination of factors including possible invasions from expanding groups like the Toltecs and societal changes, though the exact reasons remain uncertain.^[1] The nearby site of Xochitecatl complemented Cacaxtla ceremonially, sharing trade networks and cultural influences throughout its occupation.^[1]

Discovery and Excavation

The archaeological site of Cacaxtla was accidentally discovered in 1975 when looters tunneled into a mound in search of artifacts, inadvertently exposing sections of the ancient murals.^[5] This led to immediate intervention by the National Institute of Anthropology and History (INAH), with official excavations commencing in 1975 under the direction of archaeologists including Jorge Angulo Villaseñor and Sergio Vásquez Zárate.^[6] Initial efforts focused on securing the site and documenting the vibrant murals, which revealed a non-Maya culture exhibiting strong stylistic influences from the Maya lowlands, challenging prior understandings of regional interactions during the Epiclassic period.^[7] Major excavation phases unfolded from 1975 through the 1980s, led primarily by Sergio Vásquez Zárate, uncovering the Gran Basamento—a massive raised platform complex spanning approximately 12 hectares that served as the site's core palace and ceremonial center.^[6] Workers installed temporary protective roofs over the murals by 1982 to shield them from environmental exposure, while systematic digs revealed additional structures, artifacts, and evidence of defensive fortifications amid ongoing threats from further looting attempts.^[5] Challenges included the murals' rapid degradation due to humidity and sunlight after exposure, as well as logistical difficulties in excavating rammed-earth architecture prone to erosion, prompting early conservation priorities alongside archaeological recovery.^[8] Research efforts persisted into the 1990s and 2000s, emphasizing preservation and analysis, with geophysical surveys in the 2010s using ground-penetrating radar to map subsurface features and identify potential unexcavated structures extending the site's footprint.^[6] In the 2020s, studies on pigment composition, including Maya blue variants, confirmed the importation of artistic techniques and materials from distant regions, underscoring Cacaxtla's role in long-distance exchange networks.^[9] A 2015 INAH report highlighted trade artifacts, such as obsidian tools and ceramics, linking the site to Teotihuacan influences, further illuminating its economic and cultural connections despite its post-Teotihuacan timeline.^[10] These ongoing investigations continue to refine interpretations of the site's abandonment around 900 CE, integrating multidisciplinary approaches to address preservation needs.

Site Overview

Location and Layout

Cacaxtla is situated in the municipality of Natívitas, in the southern region of the state of Tlaxcala, Mexico, approximately 20 km southwest of Tlaxcala city.^[3]^[11] The site occupies a hilltop position at an elevation of about 2,300 meters above sea level, overlooking the fertile Atoyac River valley in the Puebla-Tlaxcala basin.^[1] This strategic location in the central Mexican highlands provided natural advantages for surveillance and defense, while the surrounding volcanic landscapes and fertile plains supported agricultural productivity and regional trade networks.^[1]^[12] The overall layout of Cacaxtla centers on the Gran Basamento, a massive artificial platform measuring approximately 200 meters in length and rising 25 meters in height, which forms the core of the site's acropolis.^[11] This elevated structure, enhanced by defensive walls, moats, and controlled access ramps, housed elite residences, administrative buildings, and ceremonial spaces, with lower terraces extending outward for broader public or ritual activities.^[1] The spatial organization follows a terraced design along a central axis, incorporating superimposed platforms and interconnected plazas that reflect hierarchical control over the surrounding terrain.^[1] Cacaxtla forms part of a dual-site complex with the nearby Xochitecatl, located about 1 km to the west, where Cacaxtla functioned primarily as the elite residential and administrative hub complementing Xochitecatl's more public ceremonial role.^[13] The site's volcanic soils, resulting from regional geological activity, contributed to the exceptional preservation of its structures and artifacts by sealing them under protective layers of ash and clay.^[12] This environmental context, combined with the hilltop's defensibility, underscores Cacaxtla's role as a fortified center during the Epiclassic period.^[1]

Architectural Features

The architecture of Cacaxtla prominently features the talud-tablero style, adapted from Teotihuacan influences, characterized by sloping bases known as taludes and vertical panels or tableros that define the profiles of platforms and structures.^[1] This technique is evident in early Classic period buildings uncovered during site excavations, with later iterations showing elongated proportions that diverge slightly from Teotihuacan norms.^[14] In elite areas, elements of Maya architectural influence appear, blending regional styles into a hybrid form.^[12] Construction relied on local materials such as volcanic stone, adobe bricks, and stucco coatings applied to walls and platforms for durability and aesthetic finishing.^[1] These were used to build multi-story palace complexes stacked in up to seven superimposed levels on elevated platforms, creating expansive residential and administrative compounds for the elite.^[15] Within these compounds, columned halls and pilastered rooms arranged around patios provided functional spaces, reflecting a sophisticated urban planning adapted to the hilltop terrain.^[12] Notable structures include the Gran Basamento, a massive ceremonial platform measuring approximately 200 meters long and 25 meters high, which supports a complex of pyramids, shrines, and elite residences.^[1] Stepped pyramids rise from this base, integrated with staircases and terraces, while a ballcourt nearby facilitated ritual games central to site activities.^[1] The hilltop location further enhanced the defensive layout of these features.^[14] Defensive architecture underscores the site's militarized character, with surrounding walls and a water-filled moat designed to protect against invasions, particularly from the south.^[16] These elements, up to several meters in scale, enclosed the core citadel area during the Epiclassic period.^[1] Unique subterranean features include a network of underground tunnels, likely used for ritual purposes, storage, or defensive access, which were uncovered during excavations in the 1980s.^[1]

Murals

Battle Mural

The Battle Mural at Cacaxtla is located in Structure 501 on the Gran Basamento, a major platform complex at the site.^[5] This monumental artwork, measuring approximately 22 meters in length, dates to before 700 CE during the Epiclassic period.^[2] It adorns the sloping limestone wall of a temple base, divided into two registers by a central staircase, and depicts a dynamic scene of warfare between two opposing armies.^[17] The composition portrays an intense conflict, with victorious warriors in jaguar and eagle costumes—exhibiting Maya stylistic influences such as elaborate feathered headdresses and atlatls—overpowering defenders clad in bird suits.^[18] The attacking force, characterized by darker skin tones and robust builds, captures and subjugates the lighter-skinned, more slender bird warriors, some of whom are shown nude or in female attire like quechquemitl capes and skirts, symbolizing defeat and possible ritual incorporation.^[2] Iconographic elements include ritual sacrifice motifs, such as bound captives and bloodletting symbols, alongside star glyphs and hierarchical indicators like ranked warrior attire, which together narrate a story of conquest and cosmic order in Mesoamerican warfare traditions.^[17] This mural provides key evidence of Cacaxtla's military expansion during a period of regional instability, potentially illustrating clashes between the local Olmec-Xicalanca groups and invading Maya-influenced factions from the Gulf Coast.^[19] The ethnic distinctions in physical features and costumes underscore themes of cultural hybridization and territorial dominance, reflecting the site's role as a fortified center amid post-Teotihuacan power shifts.^[2] Discovered in the late 1970s and partially restored during the 1980s, the mural retains vivid colors derived from mineral pigments, including red hematite, blue palygorskite, and yellow ochres, applied over a white lime base.^[20] These pigments, some sourced from distant regions, highlight the artistic sophistication and trade networks supporting Cacaxtla's monumental expressions.^[21]

Priestly Attire Murals

The Priestly Attire Murals adorn the porticos of the Hall of the Columns in Structure A on Cacaxtla's acropolis, dating to the Late Classic period (ca. 600–900 CE). These paintings feature two life-sized figures, each approximately 1.5 meters high, depicting elite religious personages in dynamic poses: a blue "bird man" clad in an eagle costume on the south portico and a red "feline man" in a jaguar costume on the north portico. The bird man holds a ceremonial bar topped with a flint-tipped centipede lance, while the feline man grasps an obsidian dart bundle, elements that evoke ritual authority and martial symbolism.^[19]^[10]^[22] The figures' attire underscores their priestly roles, with elaborate feathered headdresses, jade ornaments, and intricate body paint in vibrant Maya Blue and red pigments signifying divine transformation and participation in fertility rites. Long loincloths, hipcloths, padded belts, knotted wristlets, and paper streamers complete the ensemble, drawing from Maya ruler costumes to convey status and ritual purity. Symbolic motifs abound, including serpents at their feet representing the plumed serpent (associated with Quetzalcoatl) and jaguar-serpent hybrids, alongside stars and sacrificial tools like lances and darts, which tie into Mesoamerican cosmology of human mediation between divine forces and earthly cycles. The feline man's goggled headband and serpent wings further link him to rain and fertility deities akin to Tláloc, emphasizing themes of renewal and cosmic balance.^[19]^[22]^[5] Interpretations position these figures as ruling priests or shamans, illustrating the theocratic structure of Cacaxtla's elite, where religious leaders embodied divine intermediaries in societal rituals. The murals' bilateral symmetry across opposing porticos highlights duality—such as bird-serpent versus jaguar-rain oppositions—mirroring cosmological principles of harmony and conflict resolution. Executed in wet fresco technique on stucco, the paintings demonstrate sophisticated layering and perspective influenced by lowland Maya styles, applied over multiple generations to affirm cultural identity and political alliances. Their proximity to the Battle Mural implies a ritual framing for warfare, portraying priests as overseers of martial-divine transitions.^[19]^[22]^[5]

Venus Temple Murals

The Venus Temple murals are situated in the western sector of Cacaxtla's Gran Basamento, within a structure dated to approximately 650–800 CE based on associated radiocarbon evidence and stylistic analysis.^[23]^[5] These paintings adorn two pillars flanking a doorway, depicting a pair of blue-skinned supernatural figures—a male and a female—standing on aquatic bases with raised arms and elaborate attire including feline-skin kilts and beaded collars.^[24] The male figure, often called the "scorpion man," features wings emerging from his elbows, a scorpion tail, and holds a Venus glyph in his claw-like hand, while the female counterpart, though more deteriorated, mirrors this form with similar wings and a Venus emblem at her waist.^[24]^[19] Central to the iconography is the Venus glyph, represented as an eye with a half-ring and five radiating white rays, appearing at least six times across the composition, including on the figures' belts and in their grasp, symbolizing the morning star aspect of Venus.^[24]^[23] This pointed emblem on the blue male figure's abdomen directly evokes Venus's role in Mesoamerican astronomy, tied to the 584-day synodic period that structured calendars for warfare, agriculture, and ritual timing.^[25] Surrounding elements include serpentine motifs and star symbols that underscore Venus's dual nature—benevolent as a harbinger of rain and maize fertility, yet malevolent in associations with drought, battle, and human sacrifice—flanked by warrior-like deities that blend local Central Mexican styles with imported Maya influences.^[5] Skeletal undertones in the blue pigmentation reference sacrificial captives, linking the figures to cycles of cosmic renewal through conflict.^[23]^[25] These murals exemplify Cacaxtla's adoption of Maya Venus cults, evident in the glyph's lowland Maya form, to legitimize elite rulership and synchronize military campaigns with celestial events, such as Venus's appearances marking auspicious times for conquest.^[5] The blue hue and scorpion attributes further connect to Teotihuacan rain deity traditions, adapted here to portray Venus as a warrior patron, highlighting Cacaxtla's role as a cultural crossroads in the Epiclassic period.^[24]^[25] The murals' survival is attributed to the collapse of the temple's roof around the site's abandonment, which sealed them from environmental exposure for centuries, supplemented by volcanic ash layers.^[26] Restoration efforts in the 1990s by INAH specialists employed ultraviolet analysis to uncover hidden pigment layers and underlying sketches, revealing the full extent of the original composition while stabilizing the fragile plaster.^[1]^[27] Today, a protective modern roof shields the site, ensuring continued study of these astronomical narratives.^[1]

Red Temple Mural

The Red Temple Mural is located in the Governors' Room of Structure 503 within the administrative complex at the Cacaxtla archaeological site in Tlaxcala, Mexico, and dates to approximately 700–900 CE during the Epiclassic period. This mural, partially visible due to architectural collapses and environmental exposure, features scenes dominated by red pigments that depict enthroned figures seated in positions of authority, surrounded by attendants in elaborate attire.^[28] The iconography prominently includes rulers grasping scepters as symbols of command, tribute bearers offering goods such as bundled resources and ceremonial items, and symbolic animals like jaguars, which represent predatory power, territorial dominion, and economic oversight by the ruling class.^[5]^[19] Depictions of daily elite life are evident in elements such as communal feasting scenes with shared vessels and ritual offerings of foodstuffs and luxury items, setting this mural apart from the more overtly ceremonial and mythological motifs in other site paintings.^[29] Scholars interpret these compositions as deliberate propaganda reinforcing the legitimacy of Cacaxtla's elite, visually mapping out the site's administrative hierarchy through layered portrayals of governance, resource distribution, and hierarchical interactions.^[30] Artistically, the work relies on red ochre as the primary pigment for its bold, earthy tones, though much of the mural exhibits poorer preservation from prolonged exposure compared to sheltered sections elsewhere at the site; digital reconstructions undertaken in the 2010s by projects like the Prehispanic Mural Painting in Mexico initiative have restored visibility to fragmented areas, revealing the original vibrancy and compositional flow.^[10]^[20] The mural's style briefly reflects influences from central Mexican artistic conventions, particularly in its emphasis on hierarchical figuration and symbolic motifs of power.^[31]

Cultural Significance

Artistic Influences and Style

The murals of Cacaxtla exhibit a distinctive fusion of artistic techniques, blending low-relief painting methods associated with Late Classic Maya traditions—such as the application of wet fresco and vibrant mineral-based pigments—with the bold, outlined figural styles and iconographic motifs characteristic of central Mexican cultures, including those from Teotihuacan. This synthesis is evident in the use of Maya-inspired narrative compositions that emphasize individualized human forms and dynamic interactions, contrasted with Teotihuacan's more rigid, symbolic representations of deities like the feathered serpent and avian-human hybrids. Scholars attribute this eclecticism to Cacaxtla's position as a cultural crossroads during the Epiclassic period (ca. 600–900 CE), where local artists adapted foreign elements to create a unique visual language.^[32]^[33] Evidence of Gulf Coast Maya influence is particularly pronounced in the iconography, including depictions of jaguar warriors and Venus-related glyphs, which suggest the involvement of imported artists, captives, or cultural exchanges around 650 CE. These motifs, such as blue-star emblems denoting Venus and jaguar-clad figures in ritual combat, parallel elements from sites like Chichén Itzá and reflect broader Mesoamerican astronomical and martial symbolism, likely transmitted through migration from the southern Gulf Coast or western Maya Lowlands. The presence of such non-local imagery in a highland central Mexican context underscores Cacaxtla's role in regional networks, possibly bolstered by trade or conflict-driven population movements during the post-Teotihuacan era.^[34]^[35] Cacaxtla's local style further distinguishes itself through dynamic poses that convey motion and emotion, narrative sequencing that unfolds stories across mural panels, and a sophisticated color symbolism where red evokes blood, sacrifice, and earthly power, while blue—often the iconic Maya blue pigment—signifies divinity and celestial forces. This approach creates a sense of immediacy and hierarchy, with figures layered in asymmetrical compositions to guide the viewer's eye through ritual and conflict scenes. In terms of narrative complexity, the murals share affinities with Bonampak's war depictions in their focus on sequential action and elite interactions, yet they adapt these to altiplano themes of territorial defense and cosmology, remaining enigmatic in their non-Maya cultural setting as highlighted in recent analyses.^[32]^[3] Recent pigment sourcing research has illuminated these exchanges, linking the Maya blue used in Cacaxtla's murals—derived from palygorskite clay and indigo—to trade routes in the Maya lowlands, including sources in Yucatán and central Petén, indicating sustained connections despite the site's central Mexican location. This material evidence supports interpretations of Cacaxtla as a hub of cosmopolitan artistry, where dyes and techniques traveled alongside ideas, enriching local expressions without direct Maya colonization.^[36]

Societal and Religious Role

Cacaxtla served as a strategic buffer state in the Epiclassic period (ca. 650–900 CE), positioned between emerging Toltec influences in central Mexico and Maya groups to the southeast, enabling the Olmeca-Xicallanca people to control vital trade routes across the Puebla-Tlaxcala region.^[12] This geopolitical role facilitated oversight of obsidian distribution from highland sources and cacao procurement from Gulf Coast lowlands, positioning the site as a key node in interregional exchange networks that linked the Basin of Mexico to coastal corridors like the Usumacinta River.^[12]^[19] Religiously, Cacaxtla exemplified syncretism, merging Maya Venus cult practices—evident in star motifs and the Venus Temple murals—with local Central Mexican veneration of rain and war deities, such as Tlaloc and warrior figures associated with ritual combat. Recent discoveries, including a scorpion-shaped mound nearby featuring similar scorpion and Venus iconography (as of October 2025), further suggest extended regional networks reinforcing these blended cosmic themes.^[25]^[37] Theocratic imagery in the murals, including bloodletting glyphs, heart extractions, and divine warriors in jaguar and bird attire, underscored the sacred authority of rulers who embodied these blended cosmic forces to legitimize their dominion.^[25] This fusion not only reflected elite access to distant iconographic knowledge but also reinforced spiritual hierarchies within the community. Socially, Cacaxtla's society was stratified, dominated by elite priest-rulers who resided in the acropolis's palace complexes and used murals as propaganda to exalt their status, depict military triumphs, and foster societal cohesion amid potential factionalism.^[30] These paintings manipulated perceptions by glorifying rulers as semi-divine figures intertwined with supernatural elements, while contrasting elite prowess against subdued foes, thereby maintaining hierarchical control over a populace engaged in agriculture and tribute labor.^[30] Economically, the site's prosperity stemmed from tribute and commerce, as archaeological evidence reveals imported luxury goods like jade ornaments, quetzal feathers, and Maya Blue pigment, alongside cacao depictions in the Red Temple mural, highlighting wealth accumulation between 700 and 900 CE.^[19] Ethnohistoric accounts link Cacaxtla's Olmeca-Xicallanca inhabitants to Postclassic Tlaxcalan identity, influencing the region's resistance against Aztec expansion through preserved cultural and martial traditions.^[12]^[38]

Preservation and Access

Conservation Efforts

Following the accidental discovery of the murals in 1975, initial conservation interventions in the 1980s focused on shielding the exposed structures from environmental degradation. In 1986, the National Institute of Anthropology and History (INAH) installed a massive metal roof over the Great Platform and associated buildings, spanning over 9,000 square meters (more than 100,000 square feet) and recognized as one of the largest protective covers for archaeological sites worldwide; this measure effectively protected the murals from direct exposure to rain and solar radiation, halting further pigment fading and structural deterioration.^[1]^[39]^[40] Since the 1990s, INAH has implemented ongoing preservation programs, including the chemical consolidation of the murals' stucco layers using synthetic polymers to stabilize powdered and flaking pigments while re-adhering detached sections, thereby enhancing the longevity of these fragile artworks. Complementing these efforts, the Cacaxtla-Xochitecatl Site Museum, established in 1996, incorporates climate-controlled viewing chambers that maintain optimal humidity and temperature levels to minimize natural decay processes affecting the originals, with life-size reproductions displayed for public viewing to reduce direct exposure.^[41]^[6]^[42] The site's conservation faces significant challenges, including seismic risks inherent to its location in a volcanically active region near Popocatépetl, which heightens vulnerability to tremors; tourism-induced wear from foot traffic and handling; and climate change effects such as rising humidity that exacerbate microbial growth and material instability. The region was affected by the 2017 central Mexico earthquake, prompting INAH to assess and reinforce structures against future seismic events.^[43] Advancements in the 2020s have integrated digital technologies, with INAH employing 3D scanning for detailed mapping and virtual reconstructions that enable non-invasive diagnostics and predictive modeling of deterioration, alongside biocleaning techniques to eliminate biological contaminants without harsh chemicals. Recent INAH sustainability initiatives from 2022 to 2025 emphasize eco-friendly upgrades, such as replacing portions of the original metal roofing with lighter, recyclable materials to lessen the structure's environmental footprint while maintaining protection.^[44]^[45]

Visiting the Site

Cacaxtla is accessible by car from Puebla, approximately a 1-hour drive via Highway 117 toward Tlaxcala, followed by local roads to San Miguel del Milagro.^[46] The site operates daily from 9:00 a.m. to 5:00 p.m., with the entry fee set at 100 MXN per adult as of 2025 INAH updates; admission is free for Mexican citizens on Sundays and for children under 13, students, teachers, seniors, and people with disabilities.^[47]^[48] On-site facilities include elevated rooftop walkways that allow visitors to view the protected murals from above without direct contact, preserving the site's integrity. The adjacent site museum houses replicas of the murals, original artifacts such as ceramics and sculptures, and exhibits explaining the site's history. Guided tours are available in Spanish and English, providing context for the structures and artwork.^[26]^[49] For an optimal visit, consider purchasing a combined ticket that grants access to both Cacaxtla and the nearby Xochitecatl site, located just a short distance away, to explore related Olmec-influenced pyramids in one trip. Avoid the rainy season from June to September, when paths can become slippery due to the hilly terrain. Photography is permitted throughout the site but without flash to protect the sensitive murals.^[50]^[51] Accessibility features include wheelchair ramps along the main paths and walkways, though the site's steep natural slopes and some uneven sections may limit full exploration for those with mobility challenges. Audio guides are available at the museum entrance to assist with self-paced visits.^[26]^[49]

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[32]
Mural Painting as Political Propaganda - Lugares INAH
We know that in the Epiclassic the architecture and mural paintings of Cacaxtla were mainly influenced by the ideas and techniques of the lowland Maya, while ...
[33]
The Murals of Cacaxtla: The Power of Painting in Ancient Central ...
The Cacaxtla paintings present an unexpectedly deep knowledge of the art and religion of the Maya, Zapotec, and other distant Mesoamerican peoples.
[34]
[PDF] Mural Painting in Cacaxtla and Teotihuacan Cosmopolitism
Mural painting in Cacaxtla (figs. 1-8), a fortified site in southwest Tlaxcala regarded as an artistic phenomenon of the Epiclassic Period (eighth to.Missing: Battle | Show results with:Battle
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The Murals of Cacaxtla - University of Texas Press
Jan 15, 2015 · This book demonstrates how generations of ancient Mexican artists, patrons, and audiences created a powerful statement of communal identity that still captures ...
[36]
THE ART OF WAR: IMAGERY OF THE UPPER TEMPLE OF THE ...
Aug 20, 2009 · Venus is argued to be indicated by warriors who bear a large blue star sign around their waist, much like the Cacaxtla figures. Neither ...
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The Murals of Cacaxtla: Monumental Art as Evidence of Migration
The study indicates that the iconography and styles of Cacaxtla murals align with the cultural traits of migrant groups from the Gulf Coast and Oaxaca, ...<|separator|>
[38]
Central petén blue pigment: A maya blue source outside of Yucatán ...
Aug 10, 2025 · The authors suggest several routes by which palygorskite might have been transported from Yucatán to Buenavista. The pigment or knowledge of ...
[39]
(PDF) History of Cholula; The Creation of a "Sacred Vatican" In ...
After the collapse of Teotihuacan, there are historical accounts that state that the “Olmeca-Xicallanca” founded Cacaxtla-Xochitecatl, 45 kilometers from ...
[40]
The Long Road to Cacaxtla - Tanama Tales
Cacaxtla is an archeological site located near the southern border of the state of Tlaxcala. What makes this site unique? It contains the oldest mural painting.
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How To Visit Cacaxtla To See Its Fascinating Ancient Murals
Mar 9, 2024 · The ancient ruins of Cacaxtla are known for the best=preserved murals in Mesoamerica, dating from between 600-800 AD. Where is Cacaxtla? The ...
[42]
[PDF] THE MAYA SITE OF CALAKMUL: IN SITU PRESERVATION ... - CORE
However, at several archaeological sites, the use of synthetic polymers to fix powdered and flaking paint (Palenque and Cacaxtla) and to re-adhere detached ...
[43]
High-resolution 3-D GPR applied in the diagnostic of the ...
The aim of this paper is to verify whether GPR surveys allow estimating the state of adhesion of the mortar layers and identify the size and geometry of the ...Missing: defensive moat
[44]
Application of non-invasive geophysical methods (GPR and ERT) to ...
Aug 6, 2025 · This paper addresses the integrated application of three geophysical survey methods over an important archaeological site located in south Italy ...
[45]
Virtual Reality: A Knowledge Tool for Cultural Heritage
Aug 7, 2025 · Based in the experience of building 3D representations of Mesoamerican archeological sites, we will discuss the need to integrate an ...
[46]
Cacaxtla: un proyecto de conservación del patrimonio.
Mar 25, 2024 · Resumen. Es conveniente contar con una información más amplia acerca de la zona arqueológica de Cacaxtla: las características de sus ...
[47]
Cacaxtla to Puebla - 4 ways to travel via taxi, bus, and car - Rome2Rio
The fastest way to get from Cacaxtla to Puebla is to drive which takes 34 min and costs $60 - $95. ... How far is it from Cacaxtla to Puebla? The distance between ...
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Zona Arqueológica de Cacaxtla - Xochitécatl - INAH
Sep 1, 2022 · Cacaxtla - Xochitécatl. Facebook. José Vicente de la Rosa Herrera Horario: lunes a domingo de 9:00 a 17:00 hrs ... 2025. logo gobierno de mÃƒÂ© ...
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¿Cuánto costará la entrada a Cacaxtla-Xochitécatl en 2025? INAH ...
Jan 7, 2025 · En ese sentido, la entrada este año costará 100 pesos por persona, precio que incluye la visita al museo de sitio y el recorrido por ambas áreas ...Missing: horarios | Show results with:horarios
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Museo de Sitio de Cacaxtla - Lugares INAH
Place. Museo de Sitio de Cacaxtla ; Hours. Wednesday to Sunday from 10:00 to 17:00 h - Last entry 16:00 h ; Categoría de precios (costo de entrada). Entrada libre.Missing: Puebla 2025
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Museo de Sitio de Cacaxtla - Sistema de Información Cultural
Oct 13, 2025 · Lunes a domingo de 9 a 17:30 h. Entrada general: $100 (incluye acceso a la Zona Arqueológica, así como al museo y Zona Arqueológica de ...
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Cacaxtla Site Museum
Explore the ancient murals and preserved ruins at Museo de Sitio de Cacaxtla in Tlaxcala, Mexico. Get practical tips on hours, tickets, photography, ...