Warrior armed with a stick pointing down, with left shoulder, back and hips protected by armor; the head provided with long hair and turban like a helmet, shows the characteristic artificial deformation of the front-occipital type; the earlobes have 5 earrings each and the nose is decorated with a large ring; the deep gaze and the open mouth showing the teeth, as well as the offensive attitude of the arms that hold a stick with the tip pointing downwards, reflect a warrior spirit in an attitude of battle, while the position of static in alertness could be referable to the defensive attitude of the tomb of which it belongs.

The vase is decorated with stylizations of aquatic plants and perhaps a cormorant.

Depiction of peppers (Capsicum spp.) And band of geometric motifs.

The bottle chamber represents a scene of sacrifice in the context of the so-called "Mountain Scene": astride two mountains, worshiped as rain-bearers, a sea eagle snatches a fish that lies on the peaks below where cactus and agaves grow.

Depiction of a seated ulama (= ball game) player, with protections at the waist, wrists, legs and around the shoulders.

It depicts a character with long hair, face paint, necklace, with his hands on his stomach.

A farmer is depicted with a headdress, fringed tunic with short sleeves, digging sticks and peppers (Capsicum spp.): The eye paintings suggest participation in a rite referable to the harvest.

Figurine, probably from the island of Jaina, representing a young nobleman sitting cross-legged wearing and a folded headdress, perhaps made of paper, and a kilt covering the loincloth. She wears large discoidal earrings and a necklace with large globular beads with a central, possibly zoomorphic, pendant. On the chin it has a decoration or an ornament in relief, perhaps plant substances. The figures of the island of Jaina allow us to see the cross-section of Mayan society, which the imagery present in the official monuments does not contain.

The stele is decorated with intertwined A and O-shaped motifs that represent the "glyph of the year" in all Mesoamerican cultures. The glyph of the year is placed on geometric motifs that seem to echo the cephalic ornaments typical of the Zapotec culture and perhaps the glyph "C" of the Zapotec writing. Although, as written in the article on writing, there were different writing systems in Mesoamerica, some glyphs were used with the same meaning by peoples of different languages. It is unclear whether the sound was the same or varied from language to language.

Parrot-shaped single-chamber aerophone vessel in whose head is contained the whistling mechanism of which this constitutes the resonance chamber. The legs grab a cob of corn. The parrot is a bird harmful to the corn crops of which it is greedy, and is also an animal associated with death.

In the central part there is a smiling circular face (Happy Face), or the "solar god", portrayed from the front with large eyes in concentric circles, a toothed mouth and four long rays, two of which ending with zoomorphic heads. The figure is surrounded by a myriad of animal figures referring to the cosmogony and the coastal pantheon: mythical snakes, birds of prey and sea, scolopendras, polyps, jagged triangles and Greek. All of these figures can be traced back to the rituals dedicated to fertility and the protection of all terrestrial and marine sources of nourishment.

The tzompantli is an architectural structure of the ceremonial centers of much of Mesoamerica. It is made up of the skulls of the sacrificed or of prisoners of war fixed on poles or walls. It appears from the Initial Postclassic period.

Very realistic depiction of the face of a Moche dignitary with headdress, secured under the chin, from which the ears protrude. Also in this case, the so marked and particular characteristics of the face, exclude a repetitive representation perhaps referring to a particular person of rank bearing face painting.

Assisted birth scene in the presence of pregnant women: the three male assistants of the pregnant woman apply a narcotic plant leaf to her face to soothe her pains, prepare a potion and help the unborn child escape. All the characters have the characteristic skull deformation and coffee bean eyes.

Strongly expressive female figure in hieratic pose, with large head, slit eyes indicating death and open mouth containing a jade tube used in the funeral ritual; the headdress richly adorned with feathers and pendants denotes supernatural power; the earlobes are pierced, the hands hold symbols, the sandals on the feet are adorned with propitiatory bows, a necklace with a knotted pendant around the neck. A long robe covers the body which is tightly covered with a flayed human skin: based on this detail, the figure represented seems to be a precursor of the Aztec divinity Xipe Totec associated with fertility and rebirth. It could also be a Cihuateotl (= Sacred Woman, Woman Goddess), a woman who died in childbirth. In the Veracruz culture, as well as in the Aztec one, in fact, women who died in childbirth were venerated like the warriors who died in battle, having also fought between life and death to give birth.