Popol Vuh in the context of "List of Maya gods and supernatural beings"

During the pre-Columbian era, human sacrifice in Maya culture was the ritual offering of nourishment to the gods and goddesses. Blood was viewed as a potent source of nourishment for the Maya deities, and the sacrifice of a living creature was a powerful blood offering. By extension, the sacrifice of human life was the ultimate offering of blood to the gods, and the most important Maya rituals culminated in human sacrifice. Generally, only high-status prisoners of war were sacrificed, and lower status captives were used for labor.

Human sacrifice among the Maya is evident from at least the Classic period (c. AD 250–900) right through to the final stages of the Spanish conquest in the 17th century. Human sacrifice is depicted in Classic Maya art, is mentioned in Classic period glyph texts and has been verified archaeologically by analysis of skeletal remains from the Classic and Postclassic (c. AD 900–1524) periods. Additionally, human sacrifice is described in a number of late Maya and early Spanish colonial texts, including the Madrid Codex, the Kʼicheʼ epic Popol Vuh, the Kʼicheʼ Título de Totonicapán, the Kʼicheʼ language Rabinal Achi, the Annals of the Kaqchikels, the Yucatec Songs of Dzitbalche and Diego de Landa's Relación de las cosas de Yucatán.

The Maya death gods (also Ah Puch, Ah Cimih, Ah Cizin, Hun Ahau, Kimi, or Yum Kimil) known by a variety of names, are two basic types of death gods who are respectively represented by the 16th-century Yucatec deities Hunhau and Uacmitun Ahau mentioned by Spanish Bishop Diego de Landa. Hunhau is the lord of the Underworld. Iconographically, Hunhau and Uacmitun Ahau correspond to the Gods A and A' ("A prime").In recent narratives, particularly in the oral tradition of the Lacandon people, there is only one death god (called "Kisin" in Lacandon), who acts as the antipode of the Upper God in the creation of the world and of the human body and soul. This death god inhabits an Underworld that is also the world of the dead. As a ruler over the world of the dead (Metnal or Xibalba), the principal death god corresponds to the Aztec deity Mictlāntēcutli. The Popol Vuh has two leading death gods, but these two are really one: Both are called "Death," but while one is known as "One Death," the other is called "Seven Death." They were vanquished by the Hero Twins.

The two principal death gods count among the many were-animals and spooks (wayob) inhabiting the Underworld, with the God A way in particular manifesting himself as a head hunter and a deer hunter. Ah Puch was banished after he broke his promise with the Maya king and was sent to the storm that would bring him to earth forever.

The Título de Totonicapán (Spanish for "Title of Totonicapán"), sometimes referred to as the Título de los Señores de Totonicapán ("Title of the Lords of Totonicapán") is the name given to a Kʼicheʼ language document written around 1554 in Guatemala. The Título de Totonicapán is one of the two most important surviving colonial period Kʼicheʼ language documents, together with the Popol Vuh. The document contains history and legend of the Kʼicheʼ people from their mythical origins down to the reign of their most powerful king, Kʼiqʼab.

Kʼicheʼ (/kiːˈtʃeɪ/ kee-CHAY; natively [kʼiˈtʃʰeʔ], also known as Qatzijobʼal lit. 'our language' among its speakers), or Quiché, is a Mayan language spoken by the Kʼicheʼ people of the central highlands in Guatemala and Mexico. With over a million speakers (some 7% of Guatemala's population), Kʼicheʼ is the second most widely-spoken language in the country, after Spanish. It is one of the most widely-spoken indigenous American languages in Mesoamerica.

The Central dialect is the most commonly used in media and education. Despite a low literacy rate, Kʼicheʼ is increasingly taught in schools and used on the radio. The most famous work in the Classical Kʼicheʼ language is the Popol Vuh (Popol Wuʼuj in modern spelling). The second most important work is The Title of Totonicapán.

Like other Mesoamerican peoples, the Maya peoples recognize in their staple crop, maize, a vital force with which they strongly identify. This is clearly shown by their mythological traditions. In the Mesoamerican Classic period (200–900), the Maize God shows aspects of a culture hero. According to the 16th-century Popol Vuh, the Hero Twins have maize plants as alter egos and humanity was created from maize. The discovery and opening of Maize Mountain, the place where the corn seeds were hidden, remains one of the most popular tales.

Among the Classic Mayas, the howler monkey god was a major deity of the arts—including music—and a patron of the artisans, especially of the scribes and sculptors. As such, his sphere of influence overlapped with that of the Tonsured Maize God. The monkey patrons—there are often two of them—have been depicted on classical vases in the act of writing books (while stereotypically holding an ink nap) and carving human heads. Together, these two activities may have constituted a metaphor for the creation of mankind, with the book containing the birth signs and the head the life principle or 'soul', an interpretation reinforced by the craftsman titles of the creator gods in the Popol Vuh.

Based on its facial features, the stone sculpture of a seated writer found within the House of the Scribes in Copan is often described as a howler monkey. However, it is the two large statues of simian figures shaking rattles (see fig.), found on both sides of the 'Reviewing Stand' of Copan's temple 11, that approach much more closely the standard representation of this animal in Maya art and in Long Count inscriptions (including the snakes in the corners of the mouth). Variously described as wind gods and as 'were-monkeys' and ritual clowns, these statues may actually represent howler monkeys in their quality of musicians. A ceramic incense burner modeled like a howler monkey scribe has been found at post-classic Mayapan.

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 [hunaxˈpu] and Xbalanque [ʃɓalaŋˈke] in the Kʼicheʼ language, the Twins have also been identified in the art of the Classic Mayas (200–900 AD). The twins are often portrayed as complementary forces.

The Twin motif recurs in many Native American mythologies; the Maya Twins, in particular, could be considered as mythical ancestors to the Maya ruling lineages.