In the spring of 1946, archeologist Wilfrido Du Solier brought to light a surprising multicolor painting located on one of the main platforms of the Prehispanic city of Tamohí (Tamuín, San Luis Potosí). The painting, a fresco, has geometric motifs, feathers and richly dressed characters; the notable use of colors includes green, dark red, black and yellow (or orange), on a white coated background. This painting is interpreted as a procession of gods or priests associated with Quetzalcóatl, a deity with an important presence in this region.
Some of the characters appear sitting down, wearing emblems on their hands and great headdresses of feathers and birds, while others, with simpler features, are represented as walking, maybe as attendants. The scene shows garments, headdresses and paper and feather objects, fans, rattles, masks and conical caps that are characteristic of Quetzalcóatl and his patroness, Tlahuizcalpantecuhtli (Venus, morning star). In addition to the elements related to Quetzalcóatl, there are also skull headdresses, which suggests that deities of the underworld, such as Mictlantecuhtli, lord of the Mictlán and of the dead, and Tlazoltéotl, earthly goddess are of Huasteco origin. On the other hand, we can see Tezcatlipoca because of his face paint, and the arrows and bird he holds. Among the characters in the painting we can infer the presence of warriors who carry decapitated heads.
The characters are outlined in red and black on a white background, with an upper strip painted green. The colors used in the Tamohí mural, as occurs in other artistic contexts, hold a strong connection to the cosmovision, religious practices and concept of the cosmos. Although the mural has deteriorated, archeologists have been able to identify three main colors—red, black and yellow—associated with the cardinal points or cosmic paths, a symbolism that continues today in regional rituals and other cultural displays.