Chinkultic – Chiapas – Mexico

Posted on 12/07/2023 by Michael

Chinkultic – Chiapas

Location

This important Maya capital is situated very close to the Montebello National Park, 50 km south-east of the city of Comitan de Dominguez, in the municipal district of La Trinitaria, Chiapas. It can be reached by taking the federal road that leads to the Montebello Lakes, the descent to the River Santo Domingo and the Lacandon Rainforest. The region boasts a mild climate and is geographically composed of wide valleys, lakes of different shades and low mountains (1,600 m above sea level), covered with pines and fir trees, which alternate with forests of oaks and low evergreen rainforest; due to the excessive humidity in the atmosphere, the trees are covered with a rich variety of epiphyte plants, such as magnificent wild bromelias and orchids, as well as offering a sanctuary to quetzals and other endangered species.

Pre-Hispanic history

The human settlement emerged in the Late Preclassic (400 BC-AD 250), as evidenced by five fragments with reliefs dated to that period, with activity concentrated around the Mirador (Group A). Subsequently, the dates on the monuments correspond to the beginning of the Early Classic, as in the case of the Disc of Hope or Chinkultic Disc (AD 573), and there is a hiatus in the epigraphic records until 9.18.0.0.0 or AD 790 (Stela 8); the last date is 10.0.15.0.0 (AD 844), inscribed on Stela 1. After this time there appears to have been ritual activity at the Mirador Group, judging from the Early Postclassic (AD 1000-1200) offerings discovered by Pierre Agrinier; later on, there is little evidence of occupation during the Late Postclassic and the worship of ancestors and the gods of the underworld seems to have been confined to caves and caverns, greatly abundant in the area due to the limestone subsoil.

Site description

The archaeological area is situated on the Rincon estate, part of the old Tepancuapan Hacienda which has now been divided up into several farming communities. During pre-Hispanic times, this area was densely populated and covered several square kilometres branching out from the civic-ceremonial centre and the Agua Azul cenote, in the zone locally known as La Bolsa. Extending over large areas are the ruins of secondary groups with pyramidal structures and ball courts, as well as the remains of residential constructions on low platforms, made of stucco-clad stone masonry and surrounded by handsome lakes. The site is situated opposite the Hidalgo colony and is reached by an asphalt road. The civic-ceremonial centre at the settlement, composed of approximately 200 mounds of varying sizes, extends over some 40 ha, although the groups of constructions are relatively scattered and display a certain integration between the architecture and the landscape. For the purposes of analysis, the core area of Chinkultic was divided into five groups known by the letters A to E. The River Yubnaranjo, which connects lakes Tepancuapan and Chanujabab, divides the site into two sections. In the northern section, the steep slope of a hill delimits the Agua Azul cenote and has a large 1000-step monumental stairway leading to the main group, called the acropolis or Group A. On the small hilltop, an architectural group was built comprising a pyramidal platform in which it is possible to distinguish two construction phases, another smaller platform, three small altars opposite the monumental stairway and another altar abutted to the lower steps of the pyramid. Two of these altars yielded tombs with offerings of ceramic vessels from the beginning of the Early Postclassic (c. AD 1200). A stela (Monument 9) was also erected opposite the pyramidal platform; although nowadays fragmented, it is possible to make out a richly garbed dignitary wearing a prominent headdress in the fashion of a hat, plus six eroded glyphic cartouches. Behind the architectural complex lies the crystalline Agua Azul cenote, some 50 m deep.

At the foot of the monumental stairway is another semi-enclosed plaza with two pyramidal structures, a small platform that possibly served as an altar and a low, elongated platform near the edge of Lake Tepancuapan. On the wall of the north side of the smaller platform, Agrinier identified a fragment from an early stela reused as a building stone. Situated on the steep slope descending from the Acropolis to the edge of Lake Chanujabab, on an embankment, are another medium-sized pyramid and several low mounds, possibly corresponding to the remains of dwellings: these constructions are known as Group E.

Immediately south of the River Yubnaranjo is Group B, which consists of a stage-like structure comprising a vast seating area made of large blocks of stone; the plaza is delimited on three sides by three large pyramids which stand some 10 m high, and at the centre is a sloping altar with a cornice, which like the pyramid in Group A displays two construction phases. In the upper middle section of the seating area is what appears to be the governor’s box, with several cylindrical altars made of limestone. Towards the south of this element lies a small courtyard (Group D ) delimited by the most important structure at the site, the Pyramid of the Slabstones, built out of ingeniously assembled giant blocks of stone, each several tons in weight.

The most important architectural complex (Group C) is undoubtedly the ball court and the adjacent plaza, which boasts the largest number of carved stelae at the site. The ball court structure is made out of finely cut blocks of limestone and is abutted to a fairly high hill slope on which sits another small acropolis consisting of three low mounds around a small plaza open to the south-west; an altar stands in the middle of the plaza, while residential mounds occupy the terraces near the top of the hill. The ball court is of the enclosed variety and one end is larger than the other; this is a common characteristic in the eastern Chiapas Highlands and was thus designed to accommodate a megalithic seating area for spectators at one end of the court. A fragment from a Preclassic monument was reused in the central part of the seating area. Situated on the platform with access stairways and in front of it are several stelae; Stela 29 was reused as an altar in front of the stairway. The adjacent plaza, which is very large, is delimited by elongated platforms and there is a mound in the middle of it. Around and on top of the platform on the north side are six fairly large stelae and another four on the south side; including all the stelae and other fragments, there are approximately 20 monuments in this part of the site, of a total of 40 reliefs. In relation to the stylistic evolution of the sculptures at Chinkultic, Navarrete has this to say ‘The ball court and the plaza in front of it witnessed the simultaneous use of at least three styles: 1) no figures, only initial series; 2) thickly outlined rigid figures; and 3) figures forming scenes with richly garbed secondary dignitaries, with a greater emphasis on the quality of the carving than in filling in spaces’.

Monuments

Although the eastern Chiapas Highlands experienced a notable decline in population after the Classic era, several monuments with dates from the tenth baktun (corresponding to the Terminal Classic) have been found. Of particular note in this respect is the last Maya date recorded in the Long Count system: 10.4.0. 0.0 (AD 909), inscribed on a monument from the Amparo estate, as well as Monument 101 at Toniná. From the Sacchana estate, in the foothills of the Cuchumatanes Highlands in Guatemala, relatively close to Chinkultic, we know of the upper sections of two stelae with the dates 10.2.5.0.0 (AD 874) and 10.2.10.0. 0 (AD 879), transported to the Ethnography Museum in Berlin at the beginning of the 20th century. The Comitan Stela, reported by Blom in 1926, shows the date 10.2.5.0.0 (AD 874) and possibly comes from Tenam Puente, the regional capital at the west end of the Comitan Valley. This epigraphic evidence suggests that the Maya population in this part of the Chiapas Highlands maintained its classic religion and culture after the so-called collapse of the Maya civilisation in the central lowlands of the Peten region.

Lynneth S. Lowe

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, pp468-470

Getting there:

From Comitan. Take a combi heading to the Lagos/Lagunas de Montebello opposite the Centre de Arbustos on the . M$55 each way. Get off just after Km30 where the site is signposted to the left. There’s a walk of just under two kilometres, mostly flat but a little bit of an uphill climb just before reaching the site. The site is well served with gardeners and one of them would more than likely give you a lift back to the main road, M$20. Regular combis head back to Comitan

GPS:

16d 07′ 25″ N

91d 47′ 00″ W

Entrance:

Free

More on the Maya

Tenam Puente – Chiapas – Mexico

Posted on 12/07/2023 by Michael

Tenam Puente – Chiapas

More on the Maya

Tenam Puente – Chiapas

Location

From the point of view of its physical geography, the Comitan Plateau situated in the eastern Chiapas Highlands presents groups of moderately high elevations ranging between 1,600 and 2,000 m above sea level; the climate is mild, with an average annual temperature of 24° C and a rainy period between June and October. The vegetation, nowadays greatly transformed, comprises some of the original pine forests and different varieties of oaks or holm oaks. There are also large quantities of bromelias and orchids, which are used as offerings in the various traditional religious processions held in the region. Due to the local karst characteristics, defined by permeable limestone soils, large masses of water are very infrequent; the Rio Grande is the only river that crosses the Comitan Valley and flows into the Montebello Lakes. For the ancient Maya groups who populated the highlands, the physical geography played a key role in the location and construction of their ceremonial centres. Elements such as caves, springs, cenotes and mountains were regarded as holy places, manifestations not only of the sacred but also of earthly power. Proof of this is the diversity of constructions to be found at the numerous pre-Hispanic settlements on the hilltops surrounding the Comitan Plateau, including the site known as Tenam Puente. The word Tenam is derived from the Nahuatl tenamitl, meaning ‘fortified place’. The second name is a reference to the old ‘El Puente’ (‘Bridge’) estate that once existed on what is now the heart of the cooperative in the village of Francisco Sarabia. According to the Danish explorer Frans Blom, the name Tenam was habitually used in the region to refer to the groups of hilltop mounds. The turn-off for the site is situated 10 km south of Comitan, on the Pan-American Highway.

Pre-Hispanic history

This site was one of the most important polities in the eastern Chiapas Highlands, occupying a prominent place in the ritual landscape not only during pre-Hispanic times but nowadays as well. The Acropolis was conceived as a sacred space with clearly defined circulation areas. We now know that this was the result of successive construction phases consisting in the modification and levelling of the hill through terraces excavated at different heights. The presence of three ball courts denotes the importance of the site within the region; to date, no other site with so many ball courts has been found either in the Comitan Valley or in the neighbouring areas. Situated in a mountain range separating the warm land from the cold land, Tenam Puente must have participated in the trade networks between the two regions.

Despite the ceramic remains from the Late Preclassic found in the eastern and uppermost section of the Acropolis, the architectural expansion of the site commenced in the Early Classic, when the western section of the Acropolis was defined. When the majority of the sites in the lowlands had been abandoned at the end of the Late Classic, Tenam Puente and other nearby sites such as Hunchavin, Chinkultic, Tenam Rosario and Santa Elena Poco Uinic continued to be occupied. The tradition of erecting stelae was a relatively late arrival in the Comitan Valley. The only complete monument that has survived to this day is currently on display at the Regional Museum of Tuxtla Gutierrez. Due to its stylistic similarities with the stelae in the Usumacinta region, Frans Blom and Oliver La Farge attributed the date of this monument to 9.18.0.0.0 in the Maya Long Count (AD 790). The presence of cultural traits from the Maya lowlands suggests a vast migration to the plateau at the end of the Late Classic. Other fragments of stelae depict a warrior with a spear grasping a prisoner by the hair.

At the end of the Late Classic, several events occurred and appear to have given rise to new funerary customs. The rectangular cists used for burials were looted and, occasionally, reused. During this phase, square tombs with seated dignitaries were used as burials, and the ceramics are of the Fine Orange and Plumbate varieties. Some of the sculpted monuments were destroyed and scattered around the Acropolis and inside a few of the temples. Funerary urns containing cremated human bones were introduced for burials, placed either at the foot of temple stairways or as offerings in the buildings at the top of the Acropolis.

Site description

Tenam Puente is an example of architecture integrated with the landscape; the buildings exploited the natural topography of a hill, modified to meet the needs of the ancient settlers. The core area comprises an acropolis situated at varying heights with plazas delimited by temples and platforms for different uses. The residential units are located around the edges, alongside crop fields and probably workshops for making lithic tools; additional temples were built on the adjacent hills. The sacred precinct contained the seat of a political power associated with religious manifestations; its topographical location was clearly strategic, representing the concept of the sacred mountain. The numerous burials recorded suggest the presence of a place where ancestors were worshipped. Buildings 17, 21, 20 and 29 formed a symbolic axis that crosses the Acropolis and divides the sacred precinct into two separate sections. The orientation of the buildings holds great significance and bears an extraordinary similarity to Santa Elena Poco Uinic, a site with very poor access which has not yet been explored. As a result of this division, the ball courts were confined to just one section of the Acropolis. The most outstanding construction on the symbolic axis is building 29, whose main facade must have been covered with modelled stucco depicting representations of Venus and other symbols associated with death and the sun gods. In front of the stairway stood a stela, probably smooth, with traces of reddish paint, suggesting that the text or iconographic motifs were painted rather than carved like the other stelae; stucco modelled masks were habitually buried beneath this stela. Another important construction along this axis is building 21, where the tomb of one of the governors of the site was found. Now sealed, the tomb had masonry walls and a flat mud roof with stucco painted in red and blue. Inside it was a large funerary urn with a rich offering comprising sea shells, the claw of a feline, a large pyrite mirror, numerous green stones and several representations of the quincunce symbol which represents the four cardinal points and the centre of the universe. Fragments of modelled stucco representing reptiles and the bones of the macaw, a bird associated with the celestial sphere, were found on the floor of the south bay. Due to its situation within the Acropolis, this building represents the axis mundi. Both the offerings and the architectural elements suggest the representation of the three planes of the universe: the tomb symbolises the underworld, the building the terrestrial plane and the bay the celestial sphere.

All three ball courts adopt the form of a double T, as well as being sunken and enclosed. The first one is situated in front of the first large terrace, in the lowest part of the Acropolis. Various alignments with slab stones were excavated on the south side, as well as a channel that may have been a steam bath. The ancient inhabitants probably used this court to watch or participate in the ceremonial game, an event that must have been associated with the underworld. The other two ball courts are situated on higher levels, are smaller than the first one and were probably restricted to use by the elite or ruling class. They have furnished several fragments of sculptures of prisoners, very similar to those reported at Tonina. The third court was probably used for settling disputes with neighbouring polities, while the adjacent plaza (Plaza B) must have hosted ceremonies to legitimise the site’s power. The architecture of the site is defined by the regional style that characterised the eastern Chiapas Highlands at the end of the Classic era. This is reflected in the use of masonry, which was initially composed of coarsely cut stones but gradually evolved, as techniques were perfected, to the use of finely cut veneer stones. By the end of the Late Classic, this system was used to clad the majority of the buildings. Stairways divided into two sections were used, recalling the late styles of the Guatemalan Highlands. Floors were made of stucco, sometimes painted red; stucco was also used to cover the treads on the stairways and for modelling different representations of gods and celestial elements to cover the main buildings. There is evidence of the use of drainage systems in some of the Acropolis buildings. Although the Acropolis was abandoned at the end of the Late Classic (c. AD 900), the settlers of the common ground, related to the Tojolabal, maintained the sacred precinct thanks to their devotion and pilgrimage to the Immaculate Heart of Mary in the northern section of the Acropolis (building 14).

Legend has it that the former owners of the ‘El Puente’ estate presented this statue of the Virgin Mary to the townspeople when the common land was created. The festivities are held in the middle of August to request rain and good harvests, which are vital for the community. Next to Building 14, the settlers erected a wooden cross where the statue is placed for the duration of the festivities. An old xhinil or holm oak on the north side of the building forms part of the sacred elements, and the pilgrims walk anti-clockwise around the tree three times after placing the statue next to the cross. However, the inhabitants of Francisco Sarabia are not the only ones who use this space; at different times in the past other communities have visited the site to conduct rituals associated with the so-called Indian theology; both groups coincide in their belief that mountains are important sacred places.

Gabriel Lalo Jacinto

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, pp461-464

How to get there:

From Comitan. Combis going Sarabia can be flagged down opposite the Centro de Abastos, on the main road through town, the Pan-American. They will take you to the site. Not sure if all combis will go there so you might have a wait coming back. M$15-20 each way.

GPS:

16d 08’ 29” N

92d 06’ 21” W

Entrance:

M$70

More on the Maya

Bonampak – Chiapas – Mexico

Posted on 04/07/2023 by Michael

Bonampak

More on the Maya

Bonampak – Chiapas

Location

This site lies deep in the Lacandon Rainforest in Chiapas, in the valley of the River Lacanha. The preHispanic settlement adopts a scattered pattern and covers an area of 2 sq km. The main constructions were built on a chain of hills in the middle of the valley, stretching from the Sierra de Cojolita to the actual river banks. However, the only parts that have been explored and are now open to the public are the Great Plaza and the Acropolis, along the southern edge of the site, which comprise the famous building with the murals. Take road 186 along the southern border (Villahermosa-Macuspana-Tenosique), follow the turnoff for the town of Palenque and continue until you reach the San Javier-Lacanha-Bonampak crossroads. From San Cristobal de las Casas and Ocosingo, take the border road, follow the turn-off for Chancala and then continue to the San Javier-Lacanha-Bonampak crossroads.

The Murals

In the words of Mary Miller, who conducted a fascinating study on the wall paintings, ‘perhaps no single artefact from the ancient New World offers as complex a view of pre-Hispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society’. Herein lies the importance of Bonampak: its murals constitute a clear and accurate testimony of the life, aspirations and activities of a Maya ruler.

In 1990 the Institute of Aesthetic Research of the Autonomous University of Mexico (UNAM) launched the ongoing project Pre-Hispanic Mural Painting in Mexico to record and study pre-Columbian wall paintings such as those at Bonampak, and in 1997 Ernesto Penaloza photographed the three painted rooms in their entirety for the first time; this material was used to create three panels displaying the complete paintings. These images and the results of the multidisciplinary research led by Beatriz de la Fuente and coordinated by Leticia Staines are included in the two volumes on Bonampak (catalogue and research projects) in the series published by the UNAM.

Pre-Hispanic history

There is little evidence of building activity in the centre of Bonampak during the Early Classic. Due to its proximity to Yaxchilan, it was probably heavily influenced by this city from a very early date, as indeed was the case in the latter days of its occupation. There are epigraphic texts at Yaxchilan that mention Bonampak rulers: Bird Jaguar (not to be confused with the Yaxchilan ruler) is mentioned in association with the sixth ruler of Yaxchilan, and Fish Fin in association with the ninth. These ties remained strong throughout the Late Classic. Knot-Eye Jaguar, lord of Yaxchilan and the father of the Bonampak ruler Chaan Muan, who commissioned the construction of stelae 1, 2 and 3 and the famous murals, not only had close ties with Bonampak: his presence has been identified at the site of Lacanha, a few kilometres north of Bonampak. The monumental precinct is composed of a great acropolis built on a natural slope and delimiting a large central plaza. Stelae 1 and 4 are in the plaza, while stelae 2 and 3 are situated on the stairway leading to the top of the Acropolis. Three of the stelae mention Chaan Muan, the protagonist of the murals. The remainder of the settlement has not yet been mapped and we therefore do not know exactly how large it is.

Site description

The only group open to the public is the Great Plaza, a rectangle space measuring 110×87 m whose main axis is oriented north-west/south-east. It is accessed via a passageway situated between structures 15 and 13. These form part of the platforms, yet to be explored, that delimit the east side (Structures 17 and 18), the north side (Structures 15 and 16) and the west side (Structures 12 and 13).

Acropolis and Stela l.

The Acropolis hill, which runs along the south side of the plaza, is covered by terraces and buildings. At the foot of it, almost at the centre of the plaza, stands the magnificent Stela 1, which is 5,06 m high, 2.6 m wide and 18-20 cm thick. Its carved face overlooks the Acropolis and depicts a richly garbed Chaan Muan II with a tall headdress. In his right hand, he holds the ceremonial sceptre; in his left, a shield with the face of the Jaguar god of the underworld. Under his feet is a band inscribed with the names of his parents and, next to his left leg, his own name.

Temple of the murals and Stelae 2 and 3.

Situated at the foot of a natural hill modified by terraces, this group stands 46 m high. It displays two horizontal axes on different levels, which provide the basis for two groups of buildings. On the lower platform, situated approximately 15 m from the ground level of the plaza, are three buildings: the one on the right is the Temple of the Murals, in the middle are the ruins of Building 2, and on the left is Building 3. The main access to this level is via a monumental stairway, situated in the middle of the group. This comprises two flights with an intermediate landing on which stand Stela 2, to the left, and Stela 3, to the right. The former represents Chaan Muan II accompanied by his wife and his mother in a bloodletting sacrifice; the second stela shows the same dignitary with a prisoner. At the top of this first section of the stairway, on the right-hand side, is the Temple of the Murals, which has three doorways leading to three separate rooms decorated with the famous wall paintings; the doorways have carved lintels depicting the capture of enemy chiefs by two Bonampak rulers and a Yaxchilan ruler, respectively.

Buildings 2, 3, 4, 5, 6, 7, 8 and 9.

Situated at the far left of this first terrace is Building 3, which displays three doorways on its main facade and a stairway leading down to the plaza. Between this and the remains of Building 2 is the stairway leading up to the temples at the top, identified from left to right as Buildings 8, 7, 6, 5 and 4. All of them contain a single chamber and a single access; the exception is Building 4, which has two. All of them are very small and contain a cylindrical altar. Building 6 is the exception in this case and displays instead a carved lintel with the bust of Chaan Muan I, dated 603. Between buildings 5 and 6 is an interrupted stairway leading to the remains of Structure 19, which has a niche and a lintel. Situated next to this structure, behind Building 4, is a small plaza with Building 9 and its platform. The building facade faces west and contains a single doorway leading to a chamber in which there is an uncarved stela.

The murals

The murals are situated in Structure 1, a three-room building resting on the first terrace of the Acropolis. The exterior of the structure was once decorated with stucco relief figures but these have now been lost. The three lintels adorning the doorways to the rooms show scenes of prisoners and texts mentioning their respective names, in a style that bears great similarity to that of Yaxchilan. The earliest date corresponds to Lintel 3, which mentions Chaan Muan’s father, Knot-Eye Jaguar, the ruler of Yaxchilan in AD 740. Chaan Muan appears to have acceded to the throne in Bonampak in 776. Lintel 2 narrates an event later in Chaan Muan’s reign, around 787, making reference to a ruler of Yaxchilan, probably Shield Jaguar II. The date of Lintel 1 corresponds to an event four days earlier.

The walls of the three rooms are covered with magnificently executed paintings in deep colours. The event depicted is associated with the designation of Chaan Muan’s son as heir to the throne and to other events that took place over a period of two years. The correct order for interpreting the murals has been a topic of some debate, although the chronological order of the events represented suggests Room 1 followed by Room 2, followed by Room 3. Small benches occupy most of the interior space and the murals were probably designed to be viewed while seated on these benches.

The narrative commences in Room 1 with a date and hieroglyphic text that divide the upper and lower fields of the mural, painted on the vaulted ceiling above the paintings on the wall. The glyphic texts are greatly deteriorated and have therefore not been translated in their entirety. The first date in the text is 790, which probably corresponds to the event recorded on the top part of the wall, the presentation of a royal heir to a group of 14 Bonampak dignitaries, all garbed in long white cloaks and gathered at the court for the occasion. This scene clearly took place inside a palace. The two seated figures, Chaan Muan and his wife, the heir’s mother, observe the scene from a throne. The second date indicates an event that took place 336 days later. Three important individuals are shown preparing for the ceremony. The figure represented entirely from the front and wearing a great headdress is probably King Chaan Muan himself. The scene below shows a procession involving musicians and dancers in fabulous costumes, carrying different musical instruments.

In Room 2, covering practically every surface of the walls, is one of the masterpieces of Maya art: an incredibly realistic portrayal of a battle scene. In the middle of the composition is the figure of a leader, again shown from the front, grasping the hair of a prisoner in one hand and a spear covered with the skin of a jaguar in the other. This figure represents Chaan Muan, who is accompanied by another warrior, probably Shield Jaguar II, the ruler of Yaxchilan. The result of the battle is presented on the north wall of the room. Once again, Chaan Muan occupies the centre of the composition, this time accompanied by a group Of warriors and two women who observe from a distance the presentation of a group of prisoners captured in battle. The principal captive lies at the feet of Chaan Muan, while the remaining captives are distributed on a six-tier structure, probably representing the different levels of the Bonampak Acropolis. The prisoners are no doubt going to be sacrificed at the presentation of Chaan Muan’s successor and heir to the throne.

The murals in Room 3 are less well preserved, although many of the original designs can still be discerned. Again, they clearly represent a grand ceremony, probably the culmination of the two previous scenes, this composition is divided into two sections: the first shows a group of elaborately garbed individuals resting on a stepped pyramid while a group of musicians and dancers parade by; the second section shows a scene in a different place, probably inside a palace, and again depicts Chaan Muan, his family and a group of courtiers. In this final section, the royal family is engaged in a bloodletting ritual, thus completing the formal presentation of the royal heir.

From: ‘The Maya: an architectural and landscape guide’, produced jointly by the Junta de Andulacia and the Universidad Autonoma de Mexico, 2010, pp172-178.

Bonampak

Acropolis; 2. Temple of the Murals; 3. Temple 2; 4. Temple 3; 5. Temples 4 to 10.

Getting there:

It is possible to get close to the site by combi from Palenque but the final stages to the site itself might be complicated. The fact that Bonampak is part of a tour that takes in Yaxchilan as well means that there are tens of people there everyday (and that’s the low season, there will be many more in the high season. That means it would be virtually impossible to use the informal methods of transport that have been discussed elsewhere. Unless you have your own transport the organised tours might be the only way to visit these sites – without a great deal of work, time and effort.