Mayan or Maya mythology is part of Mesoamerican mythology and comprises all of the Maya tales in which personified forces of nature, deities, and the heroes interacting with these play the main roles. The legends of the era have to be reconstructed from iconography. Other parts of Mayan oral tradition are not considered here.
Itzamná is, in Maya mythology, an upper god and creator deity thought to reside in the sky. Itzamná is one of the most important gods in the Classic and Postclassic Maya pantheon. Although little is known about him, scattered references are present in early-colonial Spanish reports (relaciones) and dictionaries. Twentieth-century Lacandon lore includes tales about a creator god who may be a late successor to him. In the pre-Spanish period, Itzamná was often depicted in books and in ceramic scenes derived from them. Before the names of the Maya deities were deciphered, Itzamná was known as "god D", and is still sometimes referred to as "god D" by archeologists.
Bacab is the generic Yucatec Maya name for the four prehispanic aged deities of the interior of the Earth and its water deposits. The Bacabs have more recent counterparts in the lecherous, drunken old thunder deities of the Gulf Coast regions. The Bacabs are also referred to as Pauahtuns.
Xibalba, roughly translated as "place of fright", is the name of the underworld in Maya mythology, ruled by the Maya death gods and their helpers. In 16th-century Verapaz, the entrance to Xibalba was traditionally held to be a cave in the vicinity of Cobán, Guatemala. Cave systems in nearby Belize have also been referred to as the entrance to Xibalba. In some Maya areas, the Milky Way is viewed as the road to Xibalba.
In the Late Post-Classic Maya mythology of the Popol Vuh, Camazotz is a bat spirit at the service of the lords of the underworld. Camazotz means "death bat" in the Kʼicheʼ language. In Mesoamerica generally, the bat is often associated with night, death, and sacrifice.
Chaac is the name of the Maya god of rain, thunder, and lightning. With his lightning axe, Chaac strikes the clouds, causing them to produce thunder and rain. Chaac corresponds to Tlaloc among the Aztecs.
Kinich Ahau is the 16th-century Yucatec name of the Maya sun god, designated as God G when referring to the codices. In the Classic period, God G is depicted as a middle-aged man with an aquiline nose, large square eyes, cross-eyed, and a filed incisor in the upper row of teeth. Usually, there is a k'in ('sun')-infix, sometimes in the very eyes. Among the southern Lacandons, Kinich Ahau continued to play a role in narrative well into the second half of the twentieth century.
In pre-Columbian Maya civilization, ceremonial dance had great importance. However, since dance is a transient art, it is inherently difficult for archeologists to find and evaluate evidence of its role. There is little material information left behind, beyond a few paintings on murals and vases. This lack of direct evidence leads to several different archaeological interpretations.
The Maya Hero Twins are the central figures of a narrative included within the colonial Kʼicheʼ document called Popol Vuh, and constituting the oldest Maya myth to have been preserved in its entirety. Called Hunahpu and Xbalanque in the Kʼicheʼ language, the Twins have also been identified in the art of the Classic Mayas. The twins are often portrayed as complementary forces.
The traditional Maya or Mayan religion of the extant Maya peoples of Guatemala, Belize, western Honduras, and the Tabasco, Chiapas, Quintana Roo, Campeche and Yucatán states of Mexico is part of the wider frame of Mesoamerican religion. As is the case with many other contemporary Mesoamerican religions, it results from centuries of symbiosis with Roman Catholicism. When its pre-Hispanic antecedents are taken into account, however, traditional Maya religion has already existed for more than two and a half millennia as a recognizably distinct phenomenon. Before the advent of Christianity, it was spread over many indigenous kingdoms, all with their own local traditions. Today, it coexists and interacts with pan-Mayan syncretism, the 're-invention of tradition' by the Pan-Maya movement, and Christianity in its various denominations.
Hun Hunahpu, or 'Head-Apu I' is a figure in Maya mythology. According to Popol Vuh he was the father of the Maya Hero Twins, Head-Apu and Xbalanque. As their shared calendrical day name suggests, Head-Apu I was the father of Head-Apu. He is believed to be the father of the twins' half-brothers and the patrons of artisans and writers, Hun-Chowen and Hun-Batz. Head-Apu I is paired with his brother, Vucub-Hunahpu, Head-Apu VII. The brothers were tricked in the Dark House by the lords of the Underworld (Xibalba) and sacrificed. Head-Apu I's head was suspended in a trophy tree and changed to a calabash. Its saliva impregnated Xquic, a daughter of one of the lords of Xibalba. She fled the Underworld and conceived the Twins. After defeating the Underworld lords, the twins recovered the remains of their father and their father's brother, but could not resuscitate them.
The music of the ancient Mayan courts is described throughout native and Spanish 16th-century texts and is depicted in the art of the Classic Period. The Maya played instruments such as trumpets, flutes, whistles, and drums, and used music to accompany funerals, celebrations, and other rituals. Although no written music has survived, archaeologists have excavated musical instruments and painted and carved depictions of the ancient Maya that show how music was a complex element of societal and religious structure. Most of the music itself disappeared after the dissolution of the Maya courts following the Spanish Conquest. Some Mayan music has prevailed, however, and has been fused with Spanish influences.
The traditional Mayas generally assume the Moon to be female, and the Moon's perceived phases are accordingly conceived as the stages of a woman's life. The Maya moon goddess wields great influence in many areas. Being in the image of a woman, she is associated with sexuality and procreation, fertility and growth, not only of human beings, but also of the vegetation and the crops. Since growth can also cause all sorts of ailments, the moon goddess is also a goddess of disease. Everywhere in Mesoamerica, including the Mayan area, she is specifically associated with water, be it wells, rainfall, or the rainy season. In the codices, she has a terrestrial counterpart in goddess I.
The pre-Columbian Maya religion knew various jaguar gods, in addition to jaguar demi-gods, (ancestral) protectors, and transformers. The main jaguar deities are discussed below. Their associated narratives are still largely to be reconstructed. Lacandon and Tzotzil-Tzeltal oral tradition are particularly rich in jaguar lore.
Wayob is the plural form of way, a Maya word with a basic meaning of 'sleep(ing)', but which in Yucatec Maya is a term specifically denoting the Mesoamerican nagual, that is, a person who can transform into an animal while asleep in order to do harm, or else the resulting animal transformation itself. Already in Classic Maya belief, way animals, identifiable by a special hieroglyph, had an important role to play.
Until the discovery that Maya stelae depicted kings instead of high priests, the Maya priesthood and their preoccupations had been a main scholarly concern. In the course of the 1960s and over the following decades, however, dynastic research came to dominate interest in the subject. A concept of royal ʼshamanismʼ, chiefly propounded by Linda Schele and Freidel, came to occupy the forefront instead. Yet, Classic Maya civilization, being highly ritualistic, would have been unthinkable without a developed priesthood. Like other Pre-Hispanic Mesoamerican priesthoods, the early Maya priesthood consisted of a hierarchy of professional priests serving as intermediaries between the population and the deities. Their basic skill was the art of reading and writing. The priesthood as a whole was the keeper of knowledge concerning the deities and their cult, including calendrics, astrology, divination, and prophecy. In addition, they were experts in historiography and genealogy. Priests were usually male and could marry. Most of our knowledge concerns Yucatán in the Late Postclassic, with additional data stemming from the contemporaneous Guatemalan Highlands.
God L of the Schellhas-Zimmermann-Taube classification of codical gods is one of the major pre-Spanish Maya deities, specifically associated with trade. Characterized by high age, he is one of the Mam ('Grandfather') deities. More specifically, he evinces jaguar traits, a broad feathery hat topped by an owl, and a jaguar mantle or a cape with a pattern somewhat resembling that of an armadillo shell. The best-known monumental representation is on a doorjamb of the inner sanctuary of Palenque's Temple of the Cross.
Goddess I is the Taube's Schellhas-Zimmermann letter designation for one of the most important Maya deities: a youthful woman to whom considerable parts of the post-Classic codices are dedicated, and who equally figures in Classic Period scenes. Based on her representation in codical almanacs, she is considered to represent vital functions of the fertile woman, and to preside over eroticism, human procreation, and marriage. Her aged form is associated with weaving. Goddess I could, perhaps, be seen as a terrestrial counterpart to the Maya moon goddess. In important respects, she corresponds to Xochiquetzal among the Aztecs, a deity with no apparent connection to the moon.
Cizin is a Maya god of death and earthquakes. He is the most important Maya death god in the Maya culture. Scholars call him God A.
