|Clave / id||Museo/tipo||Resumen EN||Descripción EN||Editar|
|The Mixteco lord ‘8 Deer Jaguar Claw’ dominated a vast area of the present day coast of Oaxaca. The museum, close to Huatulco, keeps his memory: terracotta figures dating back 2,500 years, threshers for making amate paper, polychrome pottery, objects of green stone and much more.||Editar|
|A superb display of the Cacaxtla murals including the battle scene and the Jaguar Man, with information on how they were painted, as well as archaeological finds telling the impressive story of the Lords of Cacaxtla and their warlike people, inheritors of Teotihuacan and Cholula, and their gods such as Tlaloc.||The exhibition design is based on a curatorial brief which puts the development of the pre-Hispanic city of Cacaxtla into context. This site museum, established in 1986, reveals the secrets of its mural paintings, whose designs and colors are still visible after 1,000 years. The idea is to bring the public right up to within a few inches of the murals by means of life-size reproductions. This is not possible with the originals and the reproductions show us the details of the Jaguar Man, one of the figures from the doorpost of Building A, the water scenes from the Red Temple and the Scorpion Man from the Temple of Venus, as well as other images. The murals have decorative and symbolic elements from the Central Highlands as well as the Mayan region. There were also influences from El Tajin and the Oaxaca region. The museum has a collection of 164 pieces, with the 11 sculptures of the Lords of Cacaxtla being a particular highlight.|
The museum is housed in a building designed for the purpose. The design and building materials were chosen to harmonize with the region’s vernacular architecture, and also with the site’s pre-Hispanic structures. This ensures that the buildings fit in with the landscape instead of interfering with, or detracting from its surroundings.
The Cacaxtla murals were discovered by chance in 1975 and since then there have been various investigation and conservation projects which have turned up great quantities of archeological materials. The majority of the objects exhibited in the museum were found in the excavations of the site, alongside a few others found by chance in the surrounding area.
Visitors are welcomed by a basalt sculpture found on the land surrounding the Xochitecatl hill. It dates to the Late Preclassic (100 BC-200 AD), in other words long before Cacaxtla’s apogee. The gallery space is divided into: the Formative Period, covering the earliest settlement at Cacaxtla in the first centuries AD; Painting Techniques; Gods and Men; and the Epiclassic period (650-950), which covers the city’s apogee.
Among the archeological finds that visitors can see are burnishers, architectural items, sculptures of the gods Tlaloc, Xipe and Tlazolteotl, ceramics, cists (burials surrounded by four vertical slabs in a square with another serving as a cover), the aforementioned Lords of Cacaxtla, anthropomorphic figures, bones, ornaments and a pair of urns with modeled personages, one of which was found by the archeologist Beatriz Palavicini in 2008. There are also reproductions of maps and codices from the viceregal period such as the Codex of Cuauhtinchan.
From Mexico City take Federal Highway 150 towards the turn off for San Rafael Tenanyecac (km 99), continue to San Miguel del Milagro and follow the signs.
|A new museum displaying one of the most ancient urban settlements: the most extensive and populous in Mesoamerica and a great exporter of obsidian. It has numerous intricate streets, plazas and walls, many ballcourts and a religion which extolled self-sacrifice.||At the Cantona Site Museum we can see the results of more than 20 years of archeological work, which has resulted in theories about everyday life and the world view of the society which built and lived in this city.|
The selection of finds from many seasons of excavation includes: the bones of animals eaten as food, and in some cases given as offerings, architectural features adorning some of the city’s buildings, and various implements used in daily life and rituals such as projectile tips and knives. Other items include grinding stones, great pots for grain and water storage, smaller pots and patojos (foot shaped receptacles) with signs of use in the preparation of food as well as tools used for preparing ixtle fiber. Visitors can also see musical instruments, green stone and shell ornaments and human remains found in burials.
A space was set aside for a site museum when the archeological site opened to the public in 1994, but there were no finds yet to display. The existence of a collection of objects taken from the Cantona site and kept in the town of Tepeyahualco was known about. It was in the keeping of the family of Juventino Limón, who many years previous to the arrival of INAH had carried out his own excavations of the site. The result was a “collection” which he displayed in the living room of his house, despite the fact it had never been properly inventoried by INAH. The archeological project decided not to ask for this collection and to leave the building of the museum until later on.
Each year since the opening of the site, the archeological project with its team of specialists directed by Ángel García Cook has continued to work seasons on site and over time it has rescued an immense number of pieces made from different materials, including ceramics, stone, obsidian and the remains of bone.
As a result the need for a museum at the archeological site was discussed again in 2002, and at the same time it was determined that Cantona required the basic infrastructure to run the site properly, such as a road, electrical power, water, site security, a discrete area for the services unit and a materials store. The ultimate objective was to build a site museum.
The architectural plan consists of two single-story buildings separated by a corridor, one for the exhibition galleries and the other for the administrative offices.
Coming from the city of Puebla or from Xalapa, take the 140D Amozoc-Perote road and, at the Cantona toll, join a secondary road for 4 km to reach the archeological site (it is approximately 90 km or one hour 15 minutes from both cities).
|The city of the ‘Fat Cacique’, was allied with the Spaniards against the Mexicas. This small area requires some explanation: the exhibition includes the remains of city walls, the gods of the underworld, mural painting, small figures and statues of men and animals, everyday tools, as well as the richest flora and fauna of the coast.||Editar|
|Shows the development of the zone since the find of the “Man of Chimalhuacán” (ten thousand years old), until it became a tributary to Texcoco, of the Triple Alliance, together with Tlacopan and Tenochtitlan.||Editar|
|At first the inhabitants of this site fought the Spanish conquistadors, then after a great slaughter Cholula allied itself to conquer Tenochtitlan. The museum tells the story of its inhabitants from the ninth century, with themes covering excavations, pottery, funerary customs and mural painting.||The Cholula Archeological Site Museum was opened in 1945 even before the first stage of the site’s archeological excavation—which took place between 1931 and 1956—had been formally concluded. The museum is in a modern building which has undergone a few transformations in the nearly 70 years it has been standing. At first the model of the Great Pyramid of Cholula represented its final stage of development and did not include the Church of the Virgin of Los Remedios on its peak, although it did include a profile of the dimensions and architectural style of its final stage. At the end of the second phase of excavations, from 1967 to 1971, a second gallery was added and the model was modified, now situated in a recess at the back of the first gallery. The Church of the Virgin of Los Remedios was added to the model with the patios of the south and west sectors which had now been excavated. This modification implied the removal of the profile which simulated the last building stage of the Great Pyramid. A few years later a third gallery was added, dedicated to the reproductions of the Cholula mural paintings, since the originals are not open to the public.|
The display was refreshed in 1997 and in 2007 another alteration took place due to the replacement of part of the building and the removal of part of the collection. The 1997 exhibition plan was retained, apart from the incorporation of a section dedicated to the moment of contact with the Spanish conquistadors, set in context by a key item from the collection, the historical facsimile painted in oils reproducing part of the Cholula Codex.
This site museum’s three galleries follow a chronological plan displaying an essentially archeological collection which features ceramics, stone, bone and shell artifacts, and with a smaller historical collection with some ceramics and oil paintings on canvas. The museum texts are in Spanish and English. In 2015 the whole collection of the Cholula Archeological Site Museum consisting of 265 items was registered in the Unified Registry System for Public Monuments and Archeological and Historical Sites.
The museum building does not have its own washrooms, and visitors have to use the facilities at the Cholula archeological site. These are located in the Public Services Module adjacent to the museum precinct. The archeological site’s main ticket office is in the Great Pyramid’s access tunnel, in front of this Module. Entry tickets can be purchased giving access to three areas: the site museum, the tunnel inside the Great Pyramid (306 yards long) and the ceremonial patios to the south and west sides of the Great Pyramid of Cholula. Entry is free to any of the categories set out in the Federal Fees Law. The museum does not have a dedicated parking space for visitors nor does it offer guided tours on behalf of INAH. The guides who provide services in English and Spanish have been certified by the Ministry of Tourism.
|The seat of the Tlahuicas, tributaries to the Mexicas, who came with them from legendary Aztlán. Some of the most ancient local pottery with Teotihuacán influence, even with the seal of Tenochca. An important sculpture of Xipe Tótec, the flayed god, and a temalácatl or sacrificial stone.||Editar|
|One of the most ancient and prosperous cities in the Valley of Mexico, Cuicuilco was lost after the eruption of the Xitle volcano in the third century AD. The remains bear witness to the remarkable development of the area, with objects including works of sculpture, pottery, offerings, daily utensils, garments and religious artefacts.|
This museum displays objects discovered during archeological excavations in the area, one of the oldest archeological sites in the Valley of Mexico. As far as we know, most recent studies show that Cuicuilco was the first great religious-civic center in the Central Mexican Plateau, dating to the Preclassic (700 BC to 150 AD), and located to the south of modern-day Mexico City. It was destroyed and abandoned following the eruption of the Xitle Volcano in around 280 AD; the displaced population resettled elsewhere in the valley of Mexico. The Cuicuilco site museum was inaugurated in 1970 to show different cultural aspects of its inhabitants’ lives, focusing on themes of Mesoamerica, the Trans-Mexican Volcanic Belt, flora and fauna, other Preclassic groups, a timeline, physical characteristics, a chronology of pottery work, daily activities, imported raw materials and other objects, tools, utensils and technologies, a map of the site’s location and the extent of the lava flow, the architectural layout of the altars of the Great Pyramid, religion and sculpture, offerings, rites and position of mortuary remains (deformed skulls), as well as scenes of daily life depicted in figurines, personal ornamentation and other items. A painting by Jorge González Camarena, “The Eruption of Xitle” (1947), is also on display, along with several aerial photographs taken at different times.
Cuicuilco was a settlement in the southwest of the valley of Mexico, where one of the earliest and most important cultures of the region developed before the rise of Teotihuacan. One of the main buildings, the Great Pyramid—a massive, circular structure measuring 72 feet high and with a diameter of 328 feet—shows that Cuicuilco was the site of the first large-scale constructions in the region. This architectural feat, along with the erection of at least another 14 buildings, reveals the regional power of its inhabitants and marks the beginning of an era when extensive cities were planned and built.
By 200 BC, Cuicuilco had reached its peak. To support its growing population (believed to have reached a total of 20,000) resources were extracted from the mountains, foothills, alluvial plains, lakes, springs and streams. At the height of its development, Cuicuilco stretched across an area of almost 1,000 acres.
By around 250 AD Cuicuilco was vying with Teotihuacan as one of the main population centers in the valley of Mexico; it is thought that both were competing for control over the region. But a volcano in the foothills of the Ajusco mountain range, known today as the Xitle (“navel”), brought an end to this culture. Its volcanic discharge and eventual eruption altered large parts of the ecosystem in the southwestern part of the valley of Mexico, transforming around 27 square miles of the landscape. First, the constant rain of ash and pyroclastic flows burnt many of the city’s buildings (mainly constructed out of perishable materials) and its crops; local fauna was driven away, and streams changed their courses. Then, five of the seven lava flows from the volcano began to bury Cuicuilco. Most of the buildings and houses were covered by ash and thick layers of lava; some other constructions, such as the Great Pyramid, although only partially covered, would end up being concealed and eventually forgotten under an accumulation of soil and vegetation. Only some remains survived as mute witnesses to the grandeur of Cuicuilco, including the circular mount of Peña Pobre and the pyramid of Tenantongo, phantoms now lurking between the shaded woodland of the Bosque de Tlalpan and the bustling modernity of Mexico City. Thus, the forces of nature brought a sudden end to the valley of Mexico’s first large city, developed over a period of ten centuries, in a span of only 20 years.
Cuicuilco’s importance as a cultural center before the Common Era is now being revealed by various archeological projects, with displays at the site museum of this ancient Mexican archeological site bringing its former splendor to light.
Metrobús station: Villa Olímpica, the archeological zone is walking distance from here.
|The peak of the Totonaca culture, with the most beautiful architecture of the Gulf Coast, a UNESCO World Heritage site. The museum, built by architect Teodoro Gonzaléz de León, shows vestiges of the city since the excavations of 1920, it also reconstructs the everyday life of this sophisticated culture.||El Tajín was the religious ceremonial center of the Totonac culture and home to the most beautiful architecture on the Gulf of Mexico. In light of this, on December 14, 1992, it was inscribed on the UNESCO World Heritage List. Formal research work in the area began in the third decade of the twentieth century, and this served to recover many testimonies of the art and religion of the site. For this reason, archeologist José García Payón decided to construct and open the first site museum, which displayed a wide range of friezes and columns with bas-reliefs, as well as sculptures and ceramic objects. However, it soon became clear that there was a need for a new building to house part of the initial collection and pieces found in the new excavations. The design was entrusted to the architect Teodoro González de León and it was inaugurated in 1995.|
The current site museum consists of a single floor divided into two rooms. The first exhibits sculptures made of stone and a paste of lime and sand, along with models of the Palace of the Columns and the entire archeological zone. The second presents a journey through daily life and religion, domestic utensils, human burials, bas-reliefs and mural painting in which the ancient inhabitants expressed their ideas. Visitors can also see reconstructions of the ceremonial center, the main palace and the houses of the town, and learn about one of the rituals that has made El Tajin famous: the ball game.
With a visit to the museum, visitors will gain an understanding of the general context of the history of El Tajín thanks to the introductory texts, and gain insight into religious thought, daily life, social classes and the principal ceremonies.
Via federal highway 130, Mexico-Tuxpan.
|The great lord of Death (the other life), Mictlantecuhtli, presided over this ancient Totonaca city. The only sculpture in unbaked clay found in Central America, with stucco and the remains of paint, is the treasure of the museum, together with funeral offerings and finely made ceramic figures.||Editar|
|This most important and influential site of the Valley of Guadiana is related to the Chichimeca and coastal peoples of Mesoamerica. This museum reveals its rich, 1400-year history with displays on the Chalchihuite’s environment, religion and daily life.|
The museum’s exhibits include archeological artefacts that once formed part of the Guadiana branch of the Chalchihuite culture. The most impressive works include ceremonial and domestic pottery and stone carvings, expressing the ideology of the former inhabitants of this region through the different vessels’ iconography and the shape of the various implements. Some of the items bear witness to exchanges with other groups; objects have been recovered from the archeological site of La Ferrería which belong to the Pacific Coast cultures, specifically relating to the Aztatlan group with which there was a high level of interaction, especially during the Río Tunal and Calera phases (1000-1350 AD).
Thanks to these artefacts it has been possible to reconstruct the timeframe for the Chalchihuites, a culture that existed approximately between 600 and 1350 AD, a period that has been subdivided into four phases in order to facilitate further research.
Travel along the road that leads to La Flor, arriving at the village of 4 de Octubre (formerly La Ferrería), turn eastward past the Tunal River bridge and continue along the paved road that leads to Lerdo de Tejada, which is parallel to an irrigation canal. The archeological area and site museum are approximately 1 km away, at the foot of a small hill.
|The most important city of the most ancient culture. Its monumental sculptures are unique, as are the little instruments and delicate jewelry that its inhabitants knew how to make. The museum also exhibits very fine pottery and a mockup of an Olmec dwelling.||This museum, which is the only one in the Olmec region of the Gulf coast, presents an introduction to Olmec civilization (1500-400 BC), with special emphasis on the material remains of the ancient city of La Venta in Tabasco.|
More than 200 artifacts are displayed from recent archeological excavations ranging from monumental sculptures to portable stone artifacts and ceramics. There are also many maps, timelines and dioramas on different topics, with a variety of models of Olmec architecture. The exhibition as a whole aims to provide visitors with a perspective of the site’s social and economic organization, beliefs and the everyday life of the ancient Olmecs.
The sculptural groups in two of the galleries are imposing. To welcome visitors the first gallery has a trio of figures worked in sandstone in a squatting position, wearing large helmets. These impressive stones were worked in bas relief to represent figures with a combination of human and fantastical traits. They were discovered at the foot of the site’s main pyramid.
The ceramic vessels used in everyday life and ritual are distinguished by their beautiful simplicity, while the figurines were probably portraits of ancient men, women and children. There was a variety of tools including axes, adzes, chisels and drills made from stone and used for architectural work, farming, hunting and other activities. The mockup of a story of an Olmec house has the remains of corn, beans, palm nuts, turtle and fish.
Finally, the special status of green stone should be noted. There are examples of serpentine, jade and schist represented in the small sample of offerings found in the ceremonial precinct of this first city, alongside other unique artifacts left by the inhabitants of the city of La Venta.
From Coatzacoalcos, take highway 180 to Villahermosa; the archeological zone and its Site Museum are located at km 45.
From Villahermosa, take highway 180 and then 180-D towards Minatitlán, until the junction of both roads. Take the Villa La Venta-Villa Sanchez Magallanes road, which heads north, and in Villa La Venta you will reach the archeological site and the Site Museum.
|Where women played an important role in ceremonies, according to its numerous mural paintings. The museum houses fragments of these and various examples of life in this thousand-year old city.||Editar|
|The incomparable city of the Olmec, Zapotec and Mixtec peoples, inhabited over a period of 1500 years. Monte Albán occupied a mountain top, and is where the treasure of Tomb 7 was found. The site museum presents its evolution and the extent of its rich culture. A UNESCO World Heritage Site.||One of the achievements of the Monte Albán Special Archeology Project, the museum opened its doors in November 1994. It has a built area of 11,700 square feet and is divided into permanent exhibit areas and a temporary exhibit gallery. The collection consists of 650 archeological pieces, which include stone carvings, pottery, ceramic figurines, shells and bone remains. It also displays the treasure from Tomb 7 found by Alfonso Caso in 1932. Along with the city of Oaxaca, this pre-Hispanic settlement was designated a UNESCO World Heritage Site on December 11, 1987.|
Visitors can learn about topics ranging from the history of the site’s discovery and exploration (through accounts from the many travelers who have visited it since the nineteenth century), how the pre-Hispanic city was founded on a mountain top, the architecture, ceramics, funeral rites, religion, writing system, influence and trade of this major city, as well as its eventual collapse.
|The principal Tlaxcalan fiefdom in 1519, with the remains of a temple built a century before, whose mural paintings show Tezcatlipoca on fire and other symbols of religious sacrifice, such as Xiuhcatl, or the fire serpent descending like a stream of blood.||The museum displays objects from the Tlaxcalan culture found in excavations of areas close to the pre-Hispanic temple. The culture is characterized by its codex-style polychrome ceramics, which portray an important cult to Tezcatlipoca with representations of human sacrifice rituals.|
The building was fitted out in 1991 to store the archeological collection amassed from the excavation seasons to that date. It has two exhibition galleries and a room for research. It has around 750 pieces including stone and clay sculptures, obsidian arrow tips, bone needles, spindle whorls (malacates) and an important collection of ceramics. The display also includes burials with offerings.
The building has wide stone walls and a tiled roof. The facade and back wall are decorated with details from pre-Hispanic mural paintings and polychrome ceramics that have been found at the site.
The Ocotelulco site museum has a garden with plants used in pre-Hispanic times such as various species of agave, nopal and avocado. There are also trees which came to this land with the arrival of the Spanish, such as peaches, lemons and oranges.
From the city of Tlaxcala, take Julián Carrillo avenue and the junction with Xicoténcatl avenue, which lead to the town of San Francisco Ocotelulco.
By highway, take Carretera Federal 117 D.
|The city of King Pakal, whose sumptuous tomb was discovered by archeologist Alberto Ruz in 1952. The museum houses his rich collection and shows the great skills of the ancient Maya as sculptors and metal workers, their funeral customs, the life of the elite and of the populace.||The Dr. Alberto Ruz Lhuillier Palenque Site Museum is on the Palenque archeological site, in the north of the state of Chiapas. It has had two basic functions since opening in 1958: firstly to conserve the objects found during site excavations, and secondly to provide interpretative displays for the archeological monuments.|
Considered to be one of the most notable museums of the Mayan region, it holds around 200 pieces from different parts of the Palenque site. These objects are very clear examples of the forms of artistic expression developed by the dynastic power of this ancient city. They are also information sources on the religious beliefs, ceremonial practices and the prevalent forms of political organization in the city of Palenque. From delicate clay figures to great limestone sculptures, the finds from the archeological site demonstrate the sensibility and strength of local artistic traditions, whose influence spread to other Maya cities, such as those located in the Usumacinta region.
The Palenque Museum traces its origins to a small palm-thatched timber shed which served as the storeroom for safeguarding the stucco fragments, ceramics and worked stone occasionally found on the site during the clearing of monuments. This building was located to the east of the present-day site archeology base, very close to the Otolum river, as illustrated by Alfred Maudslay in his topographical survey of 1899. In 1923 Franz Blom collected a variety of archaeological material, recovering a series of pottery, stucco and sculpted objects. Miguel Ángel Fernández began the formal excavation of the site between 1933 and 1942. These excavations considerably increased the collection of archeological material in the storeroom.
The formal history of the museum began with the arrival of Alberto Ruz Lhuillier in Palenque. He undertook some of the most important investigations of the site between 1949 and 1958, establishing a project to define the different periods of Palenque culture based on the archeological material, as well as recognizing the urgent need to conserve the monuments. In view of the notable increase of the archeological collections, as a result of the previous excavations as well as those being undertaken at the time, he erected, as part of his program, a new building which would serve as the base for the archeologists, the museum and a storeroom. The first formal Palenque site museum opened to the public on September 28, 1958. Professor Carlos Pellicer was responsible for setting up the displays which were inaugurated on that date.
Considering the growing reputation of the ancient city of Palenque and given the environmental conditions of the building, as well as its space limitations, it was decided in 1991 that a new building would be needed to enable the housing of a much larger collection and to provide a suitable and worthy exhibition for the diverse collection of artifacts, which had grown considerably with the excavation projects undertaken on site at the time. The new museum opened on May 15, 1993, with contributions from the Federal Government, the Chiapas State Government and from philanthropic sources. The donors contributed to a fund for the works, displays and curatorship. The museum was built on the site of an abandoned hotel next to the access road to the archeological site, four miles into the zone. The project not only covered the site museum displays but also a host of services including an auditorium with seating for 120 people, rooms for educational workshops, a cafeteria, library, bookshop and stores for the sale of reproductions, a craft store, parking, a ticket office, administrative areas and toilets; all distributed in three buildings surrounded by green areas. The total area is three-quarters of an acre. The works were finished in 2002 and the museum is now the site for the conservation of the archeological collections left by the ancient people of Palenque for posterity.
Finally, a gallery interpreting the tomb of the Temple of the Inscriptions was added in 2008 with lively and accessible information using electronic documents and audio-visual aids with information about the Mayan region and the ancient city of Palenque. The spatial design also reflects major themes which are essential for an understanding of ancient society, such as religion, warfare, the development of architecture, urban growth and politics.
A cultural property warehouse was inaugurated in 2009. This is for the storage of pieces found at the archeological site. It is a double-height building with sufficient space for the storage of the collection, it has walkways, storerooms and all the facilities needed for the care and conservation of the artifacts.
A museum visit now recreates a tour of the archeological site as it was in the Classic Mayan period from 250 to 900 AD. The architectural design of each of the museum spaces also has specific thematic references, including the pieces on display, touching on ideology, military campaigns and the everyday communal life of Palenque in pre-Hispanic times.
|Important Maya trading city on a tributary of the river Usumacinta 14 centuries ago. Allied to Palenque, it was defeated by its neighbours. A spread-out city, with airy temples built on adjacent hilltops. This rich museum exhibits the treasures found in the digs.||The Pomona site museum is situated inside the archaeological site of the same name. Its importance is the results of the excavations, consolidation work and analysis of the material of Pomona’s Complex I, which provided the material necessary to establish the museum, which opened in 1991. Its collection has resulted from three field excavation seasons from 1986 to 1988 carried out by the archeologist Roberto García Moll, in addition to an important private collection coming from the region surrounding the Municipality of Tenosique in Tabasco. |
The museum building is on the pattern of a traditional Tabascan house with an inner patio covered by a Marseilles tiled hip roof. The interior and the main doors have smooth columns, which give a clear view of the whole area. It has one exhibition gallery.
The objects are shown in 19 display cases and 12 plinths showing pieces of ceramic such as earthenware pots, cups, plates, figurines and jars as well as stone items, metates and hand-held grinding stones (metlapillis), grinders, green stone axes, flint knives, serpentine hatchets, flint eccentrics, items from limestone, as well as various tablets with glyphic inscriptions.
The importance of the Pomona site rests on its geographical location, as a contact zone between the plains and mountain ecosystems, making it a key site for studying the social adaptation and development capacity of the Maya of the classic period. Their consolidated way of living was reflected in the archeological materials, which encouraged their socio-political development over the territory.
Pomona is notable for its contribution to Mayan history, as can be seen from the number of important monuments with inscriptions recounting its political relations with the great Mayan states of the period, such as Palenque and Piedras Negras.
From Villahermosa or Tabasco, take Federal Highway 186 towards Escárcega, and at kilometer 148 continue on the state road 203 that leads to Tenosique, Tabasco. At km 45 take the turn off and carry on for 2 km to the Pomoná archeological site.
|3,200 years ago, the inhabitants of a great Olmec city, on the banks of the river Coatzacoalcos, flattened the tops of hills to make three platforms 50 meters high. Large stone blocks remained there sculpted into the most spectacular colossal human heads.||Editar|
|The owners of turquoise, the possessors of the calendar, the lords of time. These were the names given to the inhabitants of this ancient city that reigned over the Costa Grande of Guerrero state. Influenced by the Olmeca and the Teotihuacan cultures as seen in their fine pottery and hydraulic works.||Editar|