This gallery presents the geographical location of the cities from which the museum’s collection originates, along with a historical overview of the development of Maya culture and some objects that reflect the physical features of the Maya people of the Yucatán Peninsula.

Covering nearly 138,000 km², the geography of the Yucatán Peninsula is characterized by flat landscapes made of soft limestone, except along the coasts and in the southern part. A series of small elevations, known as the Puuc hills, crosses the region. Rainwater does not remain on the surface but instead carves paths underground; upon reaching the water table, it forms subterranean rivers, caves, caverns, and the sacred "cenotes". The flatlands, covered with vegetation, gradually become dense jungle as one moves southeast.

The Maya's deep knowledge of their environment enabled them to use their resources rationally—for food, medicine, construction materials, and raw materials for crafting everyday, luxury, and ritual goods. Due to their extraordinary characteristics, certain birds, reptiles, and felines were considered representatives of the three levels of the cosmos: the celestial, the earthly, and the underworld.

They built spectacular cities whose monumental architecture mirrored the cosmos. The Maya conceived time as cyclical and developed a complex writing system that records their history, that of their rulers, and their worldview. Archaeological remains reveal the work of specialists such as potters, lapidaries, painters, sculptors, architects, and merchants, among many others.

This gallery features pieces related to the development of Maya architecture during the Late Classic period (600–800 CE), taking as a reference the ancient city of Xcalumkin, located in the Puuc region, known for its exceptional carved stone sculpture.

This gallery invites visitors to explore the ritual and funerary life of the Maya people through objects found in burial contexts on an artificial island built off the coast of Campeche.

This gallery features a representation of the tomb of the divine lord Fire Claw or Jaguar Claw, along with the original rich funerary offerings, which include a jadeite funerary mask, earspools, and necklaces made of the same material, as well as pearls and Pacific spondylus shells. It also includes polychrome ceramics, whose epigraphic inscriptions reveal the name of this ruler.

This gallery exhibits black ceramics typical of Calakmul, with lids depicting animals and mythical figures such as the king vulture, the peccary, or the god Mam. Also on display are stucco sculptures of the god Chaak and incense burners bearing the image of the Jaguar god, along with a collection of musical instruments including flutes and drums.

A basic explanation is offered about the Tzolk’in (ritual calendar) and the Haab’ (solar cycle), systems of time measurement that allowed for the development of the Long Count, whose beginning is marked by a mythical event and accounts for a calendar known as the 13 Baktuns. In this same gallery, visitors can see the altar from Uxul, originating from the Northern Petén region in the southern part of the state, whose epigraphic inscriptions are representative of Maya writing.

This gallery addresses the social stratification of Maya society and the warrior theocracy that fueled the development of Maya culture through the capture of prisoners, used both for the construction of large cities and for the sacrifice of noble captives as offerings to the gods. Sculptural representations of these divine lords can be seen on stelae, along with ritual weapons that once belonged to them.

Social hierarchy was closely tied to Maya cosmology. The highest lineages, linked to the gods, held the divine right to rule over commoners. The governing institution included priests and wise men whose knowledge of the cosmos allowed them, through rituals and ceremonies, to ensure the continuity of society and maintain the balance of the universe. They were also responsible for managing and regulating economic activities such as agricultural cycles, craft production, and trade. Their observations of the celestial vault, calendars, and predictions allowed them to understand the periodicity of natural phenomena and to maximize environmental resources.

Warfare played a vital role among the Maya as a means to maintain territory and publicly legitimize political power. It also served as a tool for subjugating populations in order to control resources and demand tribute. In addition, it facilitated the capture of prisoners for construction work and the maintenance of monumental architecture in the city-states, for laboring on the rulers’ lands, for service, or even for imposing authorities on smaller settlements.

Warfare was a frequent theme in Maya art and iconography from early times and became a symbol of prestige. Scenes depicting captured and humiliated rulers before local dignitaries are common and appear in sculptures, reliefs, and murals in public spaces, serving to assert political authority.