48 documented Maya supernatural beings from the Evil Eye grimoire, including 20 ancient and 15 lesser in power tier.
Acat is a Maya deity associated with the craft and ritual of tattooing, described in the cited sources as being invoked in relation to the tools, inks, and workspaces of tattoo artists and as steadying the artists' hands so tattoos made in the image of gods could confer those gods' power.
Ah Muzen Cab is a Yucatán Maya divine figure associated with bees and honey, attested in summary sources as protector of Melipona bees and as a participant in Chilam Balam creation and ritual chapters. He is also linked in secondary accounts to the upside-down 'Descending' or 'Diving God' image found in Maya iconography at sites such as Tulum.
Akna is a female figure named in modern secondary sources as associated with childbirth and motherhood. The provided materials conflate brief mentions linking the name to both Maya and Inuit maternal goddesses; primary Maya iconographic or epigraphic evidence for a distinct Maya Akna is not supplied in the sources.
The alux (plural aluxoʼob or aluxob) is a small, place-bound sprite or spirit in Maya tradition of the Yucatán Peninsula, Belize, and Guatemala, conceived as knee-high, miniature, traditionally dressed Maya-like beings created by ancient gods and normally unseen but able to assume physical form to communicate or frighten humans.
In the provided sources, 'Anteater' refers to the real-world mammals of the suborder Vermilingua and to modern cultural/technical items named after that animal (games, software, student media). There is no documentation in these materials of an anteater as a supernatural entity within a traditional cosmology.
Awilix is a principal deity of the Postclassic Kʼicheʼ Maya centered at Qʼumarkaj, serving as a lunar and night-associated patron of the Nijaʼibʼ lineage. The deity is linked with the moon, night, the Underworld, sickness and death, and is a patron of the Mesoamerican ballgame; sources record both feminine and possibly masculine identifications.
In Yucatec Maya tradition the Bacab are a fourfold office of aged interior-earth deities who stand at the four cardinal points as holders of the world, associated with subterranean waters, thunder, rain, calendrical Year Bearer days, divination, and curing rituals.
Balam is a name that appears in modern secondary demonological compilations and in English-language reference listings as a demon-name; the supplied sources do not provide primary traditional descriptions, rites, or a sustained cosmology for a demon called Balam. The same lexical form (B'alam/Bahlam) is also a Maya-language word meaning 'jaguar' and occurs widely in Maya personal and place names, a distinct and unrelated usage.
Camazotz is a bat-associated spirit in Late Post‑Classic Kʼicheʼ Maya narrative (notably the Popol Vuh) and a recurring bat motif in Classic Maya iconography. In the Popol Vuh Camazotz appears as bat-like beings serving the lords of Xibalba who attack the Hero Twins; Classic imagery links leaf‑nosed bats to night, death, disease, and nahual (way‑spirit) functions.
Chaac is the Maya god of rain, thunder, and lightning, a central agricultural deity who produces storms by striking clouds with a lightning axe. He appears as both a singular figure and as multiple directional Chaacs, is associated with subterranean waters (cenotes and caves), and is the focus of communal rain-request rituals and specialist rainmaker practices.
A Classic Maya divine figure depicted in late 8th-century palace art and associated with elite ritual contexts. In the provided sources the figure appears as a small, held effigy described as “a god of royalty,” notable for a serpent leg, grotesque head, and a smoking torch on its brow; textual references on the panel refer to an undefined ritual completed in 795.
Chaneques are small, place-bound sprite-like beings in Mexican and wider Mesoamerican folklore, described as owners or inhabitants of particular dangerous places and as guardians of nature and households. Traditions portray them ambivalently: they may protect harvests and homes when propitiated, yet can mislead travelers, displace souls, cause illness, or physically harass people in some accounts.
Chin is a named male numinous figure attested in colonial-era Spanish descriptions of certain Maya groups (notably Verapaz and reports from the Itzá) as having demonstrated sexual intercourse with other male deities and humans; his actions are cited etiologically in those sources as a precedent for regulated same-sex practices in some Maya communities. The surviving extracts do not present Chin with a full cult biography, ritual prescriptions, or iconographic identification in primary indigenous texts.
Cipactli is a primeval chthonic monster from central Mexican (Aztec/Mexica and related Mesoamerican) mythic cosmology, depicted as a composite crocodilian/fish/toad whose body serves as raw material for creation. The name also denotes the first day-sign of the 13 × 20 tonalpohualli divinatory calendar and carries associations with beginnings, dynastic foundation, and life-force (tonalli).
Cizin (also spelled Kisin and attested under many related names such as Ah Puch, Yum Cimil, Hun-Came) is an important Maya death deity associated in the sources with death and earthquakes. Scholars have labeled this death figure ‘God A’ and link him to a broader set of Maya death gods attested across regional traditions.
A composite avian-serpent supernatural figure attested across multiple Mesoamerican cultures (Olmec, Teotihuacan, Maya, Toltec, Aztec, Kʼicheʼ). Associated in sources with cosmological roles such as creation, wind and rain, knowledge, Venus, and calendric/origin mythic functions, and widely represented in monumental architecture and iconography.
God L is a major Classic and Postclassic Maya deity associated with long‑distance trade, wealth (notably cacao and merchandise), age (the 'Mam' or grandfather figure), and underworld/night forces expressed through jaguar and owl symbolism. He appears in codices, ceramics, and monumental reliefs where he combines mercantile, shamanic/magic, and martial aspects.
Goddess I is an important Maya deity, chiefly attested in the Dresden Codex and in Classic‑period imagery. She is represented as a youthful woman who presides over feminine vital functions—eroticism, human procreation, and marriage—with an aged aspect associated with weaving.
Haʼ Kʼin Xook was an historical ajaw (ruler) of Piedras Negras in the Classic Maya period who reigned from 14 February 767 AD to 24 March 780 AD. He is known from monument inscriptions and stelae (noted for an accession monument and an image of the king dispersing incense) and is treated in the sources as a political-ritual figure rather than a supernatural being.
Paired supernatural patrons in Classic and Postclassic Maya religion who oversee scribal arts, sculpture, music, and related ritual knowledge; personifications of the day-sign Batz in calendrical/divinatory contexts and remembered in colonial-era narratives such as the Popol Vuh and accounts by Bartolomé de las Casas.
A legendary creature in Maya tradition with characteristics of an evil sorcerer and ability to transform into various animal forms. (Note: - The power tier should be Greater, not Lesser, considering its ability to transform itself and connect with shamanic or magical powers. - The origin story is incorrect; it mentions the Huay Chivo as )
Hun Hunahpu is a mythic ancestral figure in the Kʼicheʼ Maya Popol Vuh narrative: one of two brothers (with Vucub‑Hunahpu) who were lured into Xibalba, sacrificed, and whose severed head was suspended in a trophy tree and changed to a calabash. The calabash-head's juice impregnates Xquic, producing the Hero Twins (Hunahpu and Xbalanque); later the Twins recover their fathers' remains but cannot fully resuscitate them. Some scholars compare Hun Hunahpu with the Classic-period Tonsured Maize God, though this identification is debated in the sources provided.
Huracán (Mayan: Hunraqan), often rendered in Kʼicheʼ as U Kʼux Kaj ('Heart of Sky'), is a Kʼicheʼ Maya creator deity associated with wind, storm, fire, and lightning. He takes part in the cosmogonic attempts to create humanity and is the agent of the Great Flood who calls land up from the waters.
Itzam Kʼan Ahk II (born 18 Nov 701 – died 26 Nov 757) was an ajaw (king) of the Late Classic Maya polity Piedras Negras. He is attested in multiple stelae and panel inscriptions as a political and ritual actor who celebrated calendrical rites, engaged in regional diplomacy and warfare, and was buried at a sacred mountain (identified with Pyramid O-13) whose tomb and associated monuments were venerated by successors.
Itzamná is a principal upper-world creator deity in Maya religious thought, associated with the sky, priestly arts (including writing), calendrical authority, agriculture (maize), and rulership. He appears across Classic iconography and Postclassic codices in multiple transformative aspects (aged tonsured maize form, a Principal Bird Deity, and within a two‑headed caiman earth image) and is invoked in specific ritual months in early‑colonial reports.
Ixchel is a major Maya goddess attested in Post‑Classic and colonial accounts and identified by scholars with the Classic codical figure ‘Goddess O’ (often rendered Chak Chel). She functions primarily as an aged female divine patron of childbirth, midwifery, and medicine, and is also associated in codices with rain/water imagery and occasionally fearsome jaguar/warrior aspects.
Ixtab (Ix Tab) is an indigenous Yucatec Maya female supernatural figure reported in colonial sources as the being who receives or escorts those who died by hanging to a special heaven. The figure's identification as a pre‑Spanish 'goddess of suicide' is contested in modern scholarship and popular accounts.
Jacawitz is a Postclassic Kʼicheʼ Maya mountain-and-fire deity, patron of the Ahaw Kʼicheʼ lineage and member of a triad with Tohil and Awilix. Associated with a temple-pyramid at Qʼumarkaj and with foundation myths locating the gods at Tollan, Jacawitz indexes mountain, fire, and lineage symbolism and likely received demanding offerings in ritual practice.
Kukulkan is the Maya Feathered Serpent deity — a plumed serpent figure functioning as a divine animal, a mediator in Classic royal ritual (the Vision Serpent), and a territorial/political divinity in Postclassic Yucatán (notably Chichén Itzá and Mayapán). The cult circulated across the Maya area and appears in archaeological, iconographic, and folkloric sources.
Kʼakʼ Tiliw Chan Yopaat was the ajaw (ruler) of the ancient Maya city-state Quiriguá who reigned in the 8th century AD. He is documented as having declared Quiriguá's independence from Copán, receiving the K'awiil sceptre at accession (734 AD), defeating Copán and capturing its ruler in 738 AD, and presiding over a prolific period of monumental sculpture at Quiriguá.
Kʼawiil is a named Maya deity personifying lightning, generative power, and political/ancestral potency. He appears in Classic and Post‑Classic iconography and codices connected with cosmogony, the release of maize and cacao seeds, and the legitimization of rulers.
Kʼinich Ahau is the Classic and post‑Classic Maya sun deity — a personified solar force associated with the day, calendrical patronage, rulership/apotheosis, and a set of iconographic types (monumental stucco masks, codex imagery of 'God G', and aquatic/eastern sunrise scenes). He appears in epigraphic, colonial, and modern Lacandon traditions with overlapping cosmological roles rather than a single fixed persona.
Kʼinich Yax Kʼukʼ Moʼ is the historically attested dynastic founder and first ruling kʼul ajaw of the Classic-period Maya polity centered at Copán (ruled 426–c.437 CE). He functions in the Copán inscriptional and monumental program as the sacred legitimizing ancestor of the dynasty; archaeological remains attributed to him were recovered from the Hunal tomb in Temple 16.
Ix Uhu'l Chan Lem, conventionally nicknamed "Lady Eveningstar" or "Lady Ikʼ Skull" in modern scholarship, is a historical Maya noblewoman (704–751) attested as a wife of Itzamnaaj Bʼahlam III of Yaxchilan and proposed by some scholars to have served as a regent during an interregnum prior to her son Yaxun Bʼalam IV's accession in 752.
Lady Kʼabʼal Xook (Lady Xoc) is a historical Late Classic Maya royal woman of Yaxchilán, principal wife and aunt of King Itzamnaaj Bʼalam III (Shield Jaguar). She is best known from three carved lintels (24–26) over the doorway of Structure 23 that depict her performing elite bloodletting rituals that invoke ancestral and supernatural visions used to legitimate dynastic authority.
A historical 7th-century noblewoman associated with the Classic Maya polity of Dos Pilas; recorded in modern scholarship as a woman born in Itzan who married Bʼalaj Chan Kʼawiil and was mother to subsequent Dos Pilas kings. The supplied sources treat her as a dynastic/historical figure rather than a supernatural being.
Mam is a pan‑Maya kinship term used as a respectful appellation for aged ancestral powers and several local elder deities. It names a set of distinct local figures—mountain spirits, earth deities, a ritual straw effigy used during the Uayeb, and particular cult figures such as the Tzutujil Mam Maximón—each tied to specific places, seasons, or social domains.
Maximón is a syncretic Maya folk deity and folk saint venerated in the Guatemalan Highlands (notably Santiago Atitlán and Zunil). He is an ambivalent, worldly figure—commonly represented by household or community effigies—that receives offerings (cigars, liquor, flowers, bread) and serves as a local mediator for petitions and favors. His identity and stories vary by town and combine pre-Hispanic Maya elements with Christian saint imagery, sometimes including associations with Judas Iscariot or Saint Simon.
Central culture-hero brothers of the Kʼicheʼ Popol Vuh and Classic Maya iconography, Hunahpu and Xbalanque undergo trials, avenge earlier wrongs, defeat the lords of Xibalba by trickery and a ballgame, transform other beings, and are finally transformed into celestial bodies associated with sun and moon. They mediate between human society, the maize cosmos, and the underworld and appear in both colonial textual tradition and Classic Maya art.
A mythical figure associated with lunar mythology, said to pound elixir or medicine for mortals and occasionally foodstuffs. (Note: 1. Power tier: Downgrade to Ancient, as while it's associated with lunar mythology, its abilities are not cosmic in scope. 2. Abilities: Add that the contents of the mortar differ among cultural tradi)
A human shapeshifter in Maya tradition who transforms into their tonal animal counterpart. (Note: - Power tier: Greater (not Ancient, as it's regional rather than deity-level) - Sensory cues: unknown (according to source material, not explicitly stated) - Weaknesses: no information provided - Ward)
Qʼuqʼumatz is the Kʼicheʼ Maya Feathered Serpent deity of wind and rain, presented in the Postclassic Popol Vuh as a creator god who, together with Tepeu, shaped the world and humanity and who functions as a mediator in Maya cosmology.
No reliable documentation for a Maya supernatural entity called "sip," "sipit," or "ah sip" exists in the provided source set. The available sources are unrelated to Maya folklore and do not describe any entity by these names; further ethnographic or colonial Maya-language sources are required to substantiate such an entity.
A caring spirit that protects animals and the jungle in Maya tradition. (Note: 1. The power tier should be adjusted to "Minor Spirit" based on the description of Tata Duende being a powerful regional entity does not align with its local and caring nature. 2. The sensory cues sec)
Central figure in Pre-Columbian Maya mythology, symbolizing divine power and wisdom, often associated with visions or insights. (Note: - Power tier: downgrade to Ancient (deity-level) as Primordial implies a cosmic or world-shaping entity, which may be too powerful for this entity. - Appearance: add "usually depicted" to indicate tha)
Way (plural wayob) is a Yucatec Maya term denoting a human-linked animal-being tied to sleep; it can mean a person who transforms into an animal while asleep (a Mesoamerican nagual) or the animal transformation/companion itself. Wayob appear in Classic Maya iconography (marked by a special hieroglyph) and are recorded in later Yucatec usage and museum interpretation as both harmful nocturnal agents and as ritual companions for rulers on journeys to the Otherworld.
Wayob (singular way or uay) are Maya supernatural companions or transformative alter-forms tied to the state of sleeping: humans (especially sorcerers or elites) send forth or become animal or apparition forms while asleep to act in the world. In ethnographic sources they appear often as domestic animals or meteorological powers and are implicated in harm and disease; Classic Maya inscriptions and art show a broader typology including jaguars, birds, hybrids and skeletal underworld figures linked to rulership and death imagery.
A supernatural being in Maya tradition, described as a 'demonic femme fatale' who preys upon men in the Yucatán Peninsula. (Note: 1. Power tier should be Primordial, as Xtabay's described abilities have no clear limits in the region and imply an otherworldly power. 2. Origin story: add that it is inferred from the context of May)