With a new museographic script that contextualizes development of Cacaxtla Prehispanic city, as well as a display that reveals secrets of the mural paintings, which designs and colors remain after 1,000 years, restructuring of this Tlaxcala Archaeological Site Museum was concluded.

Renewal of the 700 square meters area was complete: the old constructive materials, adobe, wood, tile and batten were replaced with more modern and adequate ones to shelter the 120-pieces archaeological heap, where the collection Señores de Cacaxtla, integrated by 11 ceramic sculptures, outstands.
The concept of the museum to be open by the end of January 2010 parted from a clear idea: to bring the public closer to the main attractions of Cacaxtla, among them, the mural paintings, which are observed from afar because they are located in restricted areas. Experts from the National Institute of Anthropology and History (INAH) put together this project.

Dr. Guillermo Goñi Motilla, director of the archaeological site, commented that scale replicas of the paintings were created; this way, details of paintings such as Hombre Jaguar (Jaguar Man) will be watched from short distance, as well as aquatic scenes from Templo Rojo (Red Temple) and Hombre Escorpion (Scorpion Man) from Temple of Venus.
A plasma screen will display a video that explains techniques used to create the paintings that can be appreciated after 1,000 years of their creation.

Restorer Diana Magaloni Kerpel, director of the National Museum of Anthropology (MNA), has conducted research regarding Cacaxtla mural painting; she mentioned that it combines decorative and symbolic elements from the Central High Plateau and Maya Region, presenting influences from El Tajin and Oaxaca Region as well.

“The good conservation state they present is due, in part, to the excellent pictorial technique, but also because they were intentionally protected by Cacaxtla inhabitants, by a layer of mud before being buried.

“This fact, summed up to the particular artistic patron where human figure is the center of the composition, the represented characters that have real proportions and the glyphs and signs that spin around to give them name and meaning, point out to a particular artistic school”, refers the restorer in her studies.

Architecture at Cacaxtla is the theme of other video to be projected, where the Great Base is an example of the constructive system used by its inhabitants, who raised, one over the other, new constructive stages on the North-South oriented monticule.

An Epi Classic Site

Cacaxtla had its peak between 650 and 950 AD, during Epi Classic period. Population deserted Teotihuacan, immigrating to centers such as Cacaxtla and Xochicalco, which grew in size and importance.

The political environment produced frequent armed conflicts, as the one illustrated at La Batalla mural. This city maintained commercial relations with the Gulf Coast, Maya and Oaxaca regions, among others.

Government and social organization was complex; most population worked in agriculture and tool manufacture, and a small group devoted to religion and political activities.

Cacaxtla last inhabitants, Olmeca-Xicalanca people, were defeated in Cholula by Toltecas. They allied with Chichimeca people, who would later found Prehispanic Tlaxcala.