"God is in the center, all roads lead to Him."

"Tradition is not a childish and outmoded mythology but a science that is terribly real"

The thinker, philosopher and poet Frithjof Schuon, promoter of the Sophia Perennis —influenced by the work of René Guenón—, and philosopher of the metaphysical current of Shankara and Plato, scholar of Christianity, Islam and Sufism, advocated the "Unity Transcendent of Religions" (above the devotional, totemic, animist, shamanic, telluric or lunar religions of a matrix nature where the possibility of Awakening to the Supersensible Reality or to the Supreme Principle that is found at the origin of the Cosmos is not conceived) as an antidote to modern nihilism.

Tradition, understanding this not as folklore or customs but as a reflection on the physical plane of the Transcendent reality, as a bridge between heaven and earth. Thus, man is not shielded before transcendence, he can come to see the light and update that transcendent seed within himself. An initiatory path of the hero to update the spirit that we carry in potential to conquer eternity, transmuting us into unconditioned sacred warriors of the world of becoming.

Let us think of Rome and its solar spirituality, of the Greek Dorians of Apollonian worship, that lineage that founded Sparta, of the Celtiberians with their warrior brotherhoods and the mors triunphalis, of the ascetic warrior cavalry of the High Middle Ages, of the Arthurian cycle, the Temple , the Holy Roman Empire, Taoism, Tantrism, the Vedas, the samurai and Zen Buddhism… where Tradition was very much alive…

That traditional world that also considered that the forces of nature were alive, they had a soul. Nature and the universe was someone. There was a sacral interpretation of virgin nature. From the Plains Indians —Schuon "saw something of the nobility and majesty of the Primordial tradition"—, the Celts, the Slavs, the Germans, classical Greece or ancient China.

Thus, there are clues in the world of Tradition to enliven the Sophia Perennis and face the darkness of the modern world or kali-yuga. The world of Tradition as an antidote to the Modern world.

"God is in the center, all roads lead to Him."

"Tradition is not a childish and outmoded mythology but a science that is terribly real"

The thinker, philosopher and poet Frithjof Schuon, promoter of the Sophia Perennis —influenced by the work of René Guenón—, and philosopher of the metaphysical current of Shankara and Plato, scholar of Christianity, Islam and Sufism, advocated the "Unity Transcendent of Religions" (above the devotional, totemic, animist, shamanic, telluric or lunar religions of a matrix nature where the possibility of Awakening to the Supersensible Reality or to the Supreme Principle that is found at the origin of the Cosmos is not conceived) as an antidote to modern nihilism.

Tradition, understanding this not as folklore or customs but as a reflection on the physical plane of the Transcendent reality, as a bridge between heaven and earth. Thus, man is not shielded before transcendence, he can come to see the light and update that transcendent seed within himself. An initiatory path of the hero to update the spirit that we carry in potential to conquer eternity, transmuting us into unconditioned sacred warriors of the world of becoming.

Let us think of Rome and its solar spirituality, of the Greek Dorians of Apollonian worship, that lineage that founded Sparta, of the Celtiberians with their warrior brotherhoods and the mors triunphalis, of the ascetic warrior cavalry of the High Middle Ages, of the Arthurian cycle, the Temple , the Holy Roman Empire, Taoism, Tantrism, the Vedas, the samurai and Zen Buddhism… where Tradition was very much alive…

That traditional world that also considered that the forces of nature were alive, they had a soul. Nature and the universe was someone. There was a sacral interpretation of virgin nature. From the Plains Indians —Schuon "saw something of the nobility and majesty of the Primordial tradition"—, the Celts, the Slavs, the Germans, classical Greece or ancient China.

Thus, there are clues in the world of Tradition to enliven the Sophia Perennis and face the darkness of the modern world or kali-yuga. The world of Tradition as an antidote to the Modern world.

"God is in the center, all roads lead to Him."

Design inspired by the pictorial work of the thinker, philosopher and poet Frithjof Schuon, promoter of Sophia Perennis, spokesman for Traditionalism and philosopher of the metaphysical current of Shankara and Plato, advocated the "Transcendent Unity of Religions" as an antidote against nihilism contemporary.

Through his drawings, he shows the embodiment of his thoughts and the ways of life of the traditional cultures of his trips to North Africa, the Near East, India, Egypt and especially the West of North America where he showed his deep interest in life. , the symbols and rites of the Plains Indians, the Redskins.

"God is in the center, all roads lead to Him."

Design inspired by the pictorial work of the thinker, philosopher and poet Frithjof Schuon, promoter of Sophia Perennis, spokesman for Traditionalism and philosopher of the metaphysical current of Shankara and Plato, advocated the "Transcendent Unity of Religions" as an antidote against nihilism contemporary.

Through his drawings, he shows the embodiment of his thoughts and the ways of life of the traditional cultures of his trips to North Africa, the Near East, India, Egypt and especially the West of North America where he showed his deep interest in life. , the symbols and rites of the Plains Indians, the Redskins.

Once the Cantabrian wars were over, the conquest of the Empire in Iberia came to an end. Some 200 years of colonization and Romanization, a process of assimilation of the Roman way of life and its culture, in which the barbarian pre-Roman peoples fought and heroically resisted.

The adhesion and seduction of the barbarian peoples —Celtic Hispania— to Rome was a natural process. The society of leaderships - of merit, of lineage, of heroic ethics - of the Indo-European world - aristocratic, hierarchical and warrior -, that backbones the Iberian barbarians, find in Rome and its metaphysical ideal of Imperium - with the cult, oath and loyalty to the emperor, who along with heroes and kings are pontifex, bridges between heaven and earth — a continuation of his spiritual and warlike worldview, but on a much higher political scale.

Roman Hispania would comprise from the Roman landing in Ampurias between 218 BC. and the beginning of the V century with the Visigothic entry. It was fundamental for the Empire and the cradle of great rulers.

The Romans called the Iberian Peninsula Hispania. Etymologically there are many theories, from meaning it as the land of rabbits, or I-span-ya to the northern land (of Africa), where the Phoenicians lived. Or land where metals are forged, or even called Hispalis, a word of Iberian origin that would mean the western city. Although for the Greeks it would initially be the Ophioússa Peninsula, land of snakes.

Ispania the Romans listened to the Carthaginians and Iber what the Greeks heard. These finally named it Iberia. The Romans stayed with Hispania.

In the Bhagavad Gita —the epic and wisdom text of the Hindu tradition— through the Dialogue between Prince Arjuna and his charioteer Krishna —conceived before starting the fratricidal war between the Pvas and the Kauravas in the battle of Kurukshetra—, we are They offer keys to inner combat, to overcome suffering, death, the meaning of life, the correct action, the nature of the Divine… it gives us a way and a method for liberation. From the knowledge and mental discernment to identify our true identity with the being, with the transcendent self and not with the impermanent, to the fulfillment of duty through disinterested action until sacrifice in the fire of God. Our being, our thoughts and our actions actively surrendered to the absolute and supreme so that the Ego is dominated and unconditioned.

“Cut the ignorant doubt in your heart with the sword of self-knowledge. Watch your discipline. Get up "

"Free yourself from the anxiety of the things of this world, do not let yourself be governed by the illusions of this perishable world"

"The mind is a faithful friend of man, only when it has been conquered by the spirit"

"No one who does a good job will ever have a bad ending, not here or in the world to come."

He told them through an angel to look for Pelayo,

that they named him king and that they abide by him,

and in defending the land that everyone helps him,

for He would help her to protect them.

They looked for Pelayo, as he was commanded,

they found him in a cave hungry and damaged,

they kissed his hands and gave him kingship:

he had to accept it, but not willingly.

He received the kingship, but against his wish,

the protected peoples were believed with him;

the unbelieving peoples heard the news,

to come against them all were moved.

Where he was they came to look for him,

first the rock began to attack;

there Christ wanted a great miracle to show,

I think you ever heard him tell.

Arrows and arrows that they shot at the king,

neither to him nor to his people no one came,

as angry as they went, they also became,

if it wasn't themselves, they didn't kill others.

When the Moors saw such an incredible feat,

that their weapons killed their own soldiers,

they remove the fence from the cave, they leave the mountain:

they thought that God had great fury against them.

This King Pelayo, servant of the Creator,

he protected the land so well that he couldn't do better;

the Christians were thus losing their pain

although they never lost their fear of Almanzor.

[Stanzas from El Poema de Fernán González "Pelayo, named king"]

In 1212 three kings put aside their differences and, shoulder to shoulder, galloped and charged in the Navas de Tolosa against the Almohad army of Miramamolín Al Nasir that was determined to reconquer Spain and reach Rome itself.

Horsemen, cavalry, council militias, military orders, Templars, Calatravos, Santiaguistas, volunteers, gentle men ready to fight the half moon. The confrontation was cruel. Terrible scenarios with metal ripping and tearing ...

When it seemed that all was lost for Christians, the banner of the three wolves was raised...

It is Lopez de Haro who, together with his son and his Castilian knights and innkeepers, set out at the head of the vanguard determined to immolate themselves. King Alfonso VIII of Castile, who looks at it excitedly, launches the attack shouting "Here, Bishop, we all die." Pedro II of Aragon and Sancho VII of Navarra followed him ...

The epic and the enthusiasm seizes everyone and it is that the three kings ride and charge just through the hills of the Navas de Tolosa de Sierra Morena...

It is a search and an encounter, when all the paths lead us to self-flagellation, to tricks and patches that have little or nothing to do with the true meaning of life, when accelerated technique envelops us and misleads us, camouflages the way, when the ruins of the past are those ruins that inspire but do not resurrect, then it seems that nothing remains, but the sterile contemplation of decadent nihilism or the addition / addiction to the "heroine" of modernity. Here then is a path to travel the world, our world, an awakening of self-knowledge, the path of the left hand for the kali yuga, an opportunity to conquer oneself, to taste the poison and turn it into an elixir, to be a test and an example. in front of our friends and enemies, to muddy us, to make mistakes and to rectify if necessary. Make the Dark Ages our stage and theater of life, our forger of character, our spiritual nourishment — along with the sources of perennial wisdom — to overcome, conquer and liberate ourselves.

Fateful times we have had to live, a great darkness hangs over the spirit. In the midnight of the world the fight against the dragon is waiting for you. Arm yourself with strength and wisdom for the inner conquest, remember that the ego absorbs you, its tyranny controls you, do not back down, it is your heroic moment, the most vital and important in your life ...

[Sophia Perennis Collection]

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

Our tribute to all those bands that in the mid and late 90s created an autochthonous genre, "Celtiberian Black Metal". Distancing themselves from Viking metal, those groups permeated the national scene with their own identity based on the beliefs of the native peoples of ancient Iberia, their lyrics bring us closer to Celtiberian mythology, legends, heroes, gods, epics, nature, customs, rites, Iberian landscapes and the paganism of our pre-Roman culture.

Influenced by Norwegian and Polish black bands, the "barbarians" Nazgul was born in Madrid back in 1995 by the hand of its founder Defernos and the guitarist Thorgul, an emblematic reference band that defined the concept and was one of the germs of the later bands of "Celtiberian Pagan Metal".

In parallel, the Cantabrian Erun Dagoth creates a melodic and epic Death / Black musical project with Celtic Folk elements called CrystalMoors, whose themes breathe history - the Cantabrian wars for example -, mythology and nature of Cantabria - over time and outside the ranks of Crystalmoors, Erun creates a very interesting solo project called Briargh, straddling epic fantasy, paganism and Celticism. In 2018 they joined forces with the Hordak band - we who do not come from the BM, but from the power of Manowar, Running Wild, Blind Guardian or Helloween, we have discovered them with "Father" and they have conquered us! - to create the split "Árguma / Ophiusa ". Within this cultural paganism they have shared stages with bands of neofolk and dark folk roots, whose compositions sink in ancestral folklore and the magical beliefs of the Iberian peoples, such as Keltika Hispanna whose Black / Death influences are appreciated for example in their album "Terror Romanorvm ".

In this CBM tour we have come across hundreds of bands that have dealt with pre-Christian Iberian autochthonous cultures such as Aiumeen Basoa (1994), Numen (1997), Lux Divina (1998), Berserk (1998), Nakkiga (1999), Cyhiriaeth (2000), Omendark (2001), Carcharoth (2002) or Forestdome (2002).

Therefore, this small design is used almost in crude, to remember this genre and those bands that have raised and carried the flame of the spirit of the pre-Roman peoples of Iberia.

At dawn the first shadow falls on Jaén lands, towards the heart of the Eastern Sierra Morena. Giant, imposing, on his broad chest his black eagle, the arrano beltza, which he proudly carries as he breaks the chains and crosses the barrier of African slaves who protect the caliph. They have taken away his great treasure, his precious emerald. Miramamolín el Verde flees, the Navarrese forces of Sancho "the strong" have dealt the final blow on the army of the Almohad Empire.

1212. Navas de Tolosa. 

[T-shirt proposed by Mikel Sarrias Nagore]

[Information about Customized Shirts]

Motifs with Iberian art. Belonging to the Unga Monkey collection.

Hunting scenes and cave paintings. Belonging to the Unga Monkey collection.