A psychopomp is a being that in Celtic mythology or religions led the souls of the deceased to the otherworld. These Celtiberian fish appeared on ceramic plates found in Numancia, symbolized water, and as guide animals carried souls to the afterlife.

In Céltica Hispania there were horned deities, it is possible that the image corresponds to that of the god Cernnunos with his deer horns appearing in a Numancia ceramic. Although it has also been interpreted as a zenith wolf with open jaws or as the stag beetle. What it seems is that it is a deification of the Horned Male, related to abundance and fertility.

Libero, cry of freedom !!! ... The Iberians were lovers of freedom, they did not accept a leader, only in times of war and for short periods of time. While their value and loyalty to their bosses and leaders was recorded by ancient writers. The Greeks admired their bravery and resistance, they fought without fear and did not retreat even with the lost battle.

The image of the bird with outstretched wings of the Elche ceramic from Acudía has a mystical character, linked to divinity is related to the Mediterranean goddesses and chronicles of the cycles of nature, life and death. In some contexts this image of the bird is related to the blessings of travel or as a guide in the transit journey of the soul to the underworld.

Adaptation of the war scene of an Iberian horseman on horseback that appeared in the ceramic vessels of Liria in Elche, decorated with paintings and epigraphs written in the Iberian-Levantine alphabet. At the bottom of the drawing we have incorporated the bundle of arrows. Whose text talks about Zaldi (horse in Iberian), who is wild, indomitable and brave, with a stately appearance, rebellious and ready for warlike violence.

Naked, in front of oneself, next to the oak, the sun awaits us, it plays night vigil.

Let the log burn, let us burn the old,

and with its ashes we purify our soul,

their fertile sowing give us an abundance of heart and wisdom.

May the ancestors join us in the great banquet until dawn.

The life that sleeps under the earth will be reborn after darkness.

Yule.

February 27, 380, the emperor Theodosius abolished the religion and festival of the Sun Invictus by the famous edict of Thessalonica. Until then the Romans worshiped the Sun god during the Republic, and with greater prominence in the Imperial era, since the gradual entry of different religions of salvation of monotheistic tendency, such as Christianity and Mithrism, was giving greater weight to the power of the star king, the one who conquered the darkness ...

Emperor Aurelian made it official on December 25 as the day of the birth of the Undefeated Sun (the main divinity of the Roman pantheon at that time) back in the year 274 and later Juliano the Apostate would declare Helios (Greek equivalent) as the only divinity, and would try to prevent the spread of growing Christianity.

Finally, during a long process of syncretism, both the Festival of the Birth of the Invincible Sun "Dies Natalis Solis Invicti" held after the Winter Solstice, when daylight increased, as well as many other acts and celebrations were gradually reconverted. Paganism would come to an end, a new stage would begin with a victorious sun reborn in the arms of a Galilean.

An ancient Persian myth told us of the coming of an envoy from the Sun, Mithras, who, dressed with Phrygian, torch and dagger, will be worshiped by shepherds, and in a primordial cave he will redeem men through the sacrifice of a primeval bull. According to legend after being captured, he will carry it on his shoulders and kill him. The new world will be reborn after its ascension to heaven together with its resurrected dead beyond the stars ...

As often happens, the myth was lost in time until Rome rescued it back in the 1st century BC. assimilating him to the God Invictus, where after the Saturnalia every December 25, Mitra would be reborn victorious "natalis solis invicti" (death, resurrection and growth of the crops).

The light is reborn and returns, the end of the darkness of days is approaching. With the sowing and the field work completed, it is time to celebrate the coming of light. Let's light candles, decorate our homes with plants, get together with family and friends, exchange gifts, drink and eat, these are days of fun.

Rome dresses up with sacrifices in honor of Saturn and agrarian cults, there are no slaves or masters, no wars or executions, no sickles or hoes, just public banquets, joy, laughter, happiness, country delight and carnival, let's rejoice for a year more of this ancient pagan celebration !! The winter solstice is soon over, our undefeated Sun is returning soon. Happy Saturnalia!!

The representation of the wolf in Iberian iconography, as a cult totemic animal, with strong roots in pastoral populations, related to myths and religious symbolism, represents ardor, heroism and warrior mysticism. Combat scenes between wolf and man are common, some symbolize death threat, lineage of power, protection in combat ... and the cult of the night, the path or initiation rite, in the passage to the afterlife, lupus as a guide in the afterlife ...

So recurrent in Iberian art, we find it in the sculptural ensembles of "El Pajarillo", in the Elche-Archena style ceramics, in the mints of the Iltirta and Iltiraka mint, in the "Copa del Carnassier", in the "Torso de Guerrero de la Alcudia"... and in the "Pátera de Perotito" where a young man, his hands are raised in a ritual position, is devoured by the wolf, merging with him, in his transit with the beyond ...

Because the wolf is also death, dying to live, dying to resurrect, when we are eaten we will renew our spirit, as a different being that is reborn as a new man. A journey of the initiate to the world of spirits, a descent to the bottom of the caverns, twinned with a wolf guide who will transfer us his great qualities...

In our eagerness to recover the ancestral memory of ancient peoples, we are trying to collect as much graphic material as possible about the Iberians found in ceramics, vessels or glasses, found in deposits in Azaila de Teruel, in San Miguel de Liria, in Tosal de San Miguel, in Acudía de Elche, in the Serreta de Alcoy, in Verdolay, in Archena ... in so many places on the peninsula, to recreate it digitally, trying to be as precise and rigorous as possible in that recreation process to contribute our little granite of sand in the recovery and dissemination of the Iberian Culture.

How could it be otherwise, we begin this new one with the spectacular discovery, found in the South Countryside in an olive grove of the Rambla, of an Iberian lioness - it is still to be determined, but everything indicates that it is so, those last fierce lions of the caverns that survived until their contact with the Iberian people— along with a ram that they have captured and are devouring. They place it between the 5th and 4th centuries BC. C, and apparently it could express a funerary symbol where the injured animal would correspond to the soul of the deceased person.

In the Illustration it can be read in a non-dual system of Iberian signs: León Ibérico

The Iberians gained fame for their fighting prowess, but their writing systems, their trade, and their art show that they were much more than great warriors. Their mother tongue "Iberian" was spoken from the Hérault River (France) to Porcuna (Jaén) and they left thousands of inscriptions written in an original alphabet of signs that was a mystery for centuries that little by little is deciphering ... Written on coins , lead sheet, amphorae, mosaic, stone stele, silver crockery or trousseau, painted and engraved ceramics, copper plates, silver trousseau, walls ... Its enormous diffusion in the peninsula reveals to us how consolidated it was. The same alphabet was also shared with the Lusitanian and Proto-Basque languages.

[In the image the head of the wolf on the pectoral disc of the armor of the Iberian warriors]

A door opens, it is time to communicate with the world of the dead. Everything is prepared for the magic rite, the bonfires are lit, the skulls are decorated, the spirits are rolled, together with the druid we prepare for the ritual night of Halloween, the Celtic Samhain awaits us. Worship of fallen ancestors and protection against the evil dead. The common and varied pagan belief in the whole world, fallen darkness, ancient traditions, Holy Companies, lemurs and manes, Jack o'lantern, pumpkins and masquerades ... it is All Hallows' Eve , Halloween has begun, waiting to be guided in this life towards the immortal...

The image corresponds to a staff found in Numancia, a symbol of distinction, centrality and duality represented by a rider who, on the back of two horses with concentric circles (the sun in its nocturnal journey), carries severed heads.

Horses are very present in Iberia both in grazing and hunting for their strength and endurance, as in offerings to the god of war Cosus to take over their equine virtues or in sacrifices for warriors to take them on their travels. to the underworld.

In the Celtiberian world the initiation rite of cutting off the enemy's heads was practiced because they believed that it was where the soul resided, the vital essence of the person who survived when he died and transmitted his qualities to them, in addition to immortality.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

The Iberians gained fame for their fighting prowess, but their writing systems, their trade, and their art show that they were much more than great warriors. Their mother tongue "Iberian" was spoken from the Hérault River (France) to Porcuna (Jaén) and they left thousands of inscriptions written in an original alphabet of signs that was a mystery for centuries that little by little is deciphering ... Written on coins , lead sheet, amphorae, mosaic, stone stele, silver crockery or trousseau, painted and engraved ceramics, copper plates, silver trousseau, walls ... Its enormous diffusion in the peninsula reveals to us how consolidated it was. The same alphabet was also shared with the Lusitanian and Proto-Basque languages.

[In the image the head of the wolf on the pectoral disc of the armor of the Iberian warriors]

["BAN" (people) "KEBERRIE" (Iberians) "EBAR" (from Iberia). According to the interpretation of the inscription on a bowl from the city of Turba]

The Celtiberian Warriors proudly wore one of their most important and representative indispensable pieces in their armor: the Helmet; and it is not surprising since it, according to its characteristics, ornamental designs and composition, represented its social status. They were a symbol of the Celtiberian elites.

These helmets, in addition to protecting and adorning, had a magical, supernatural character. They were thrown into the sea as an offering and it is thought that the helmets found in a single site could be a type of Sanctuary dedicated to the God of War.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

The Celtiberian Warriors proudly wore one of their most important and representative indispensable pieces in their armor: the Helmet; and it is not surprising since it, according to its characteristics, ornamental designs and composition, represented its social status. They were a symbol of the Celtiberian elites.

These helmets, in addition to protecting and adorning, had a magical, supernatural character. They were thrown into the sea as an offering and it is thought that the helmets found in a single site could be a type of Sanctuary dedicated to the God of War.

The image corresponds to a staff found in Numancia, a symbol of distinction, centrality and duality represented by a rider who, on the back of two horses with concentric circles (the sun in its nocturnal journey), carries severed heads.

Horses are very present in Iberia both in grazing and hunting for their strength and endurance, as in offerings to the god of war Cosus to take over their equine virtues or in sacrifices for warriors to take them on their travels. to the underworld.

In the Celtiberian world the initiation rite of cutting off the enemy's heads was practiced because they believed that it was where the soul resided, the vital essence of the person who survived when he died and transmitted his qualities to them, in addition to immortality.

As for the signs deciphered and translated to "UNS KELTEKIAO" they refer to an inscription that appeared on a ceramic vase from Liria, which they have interpreted as "Celtic Union".

The fierce resistance against the invader of the pre-Roman peoples comes from afar. In the peninsula, the process concluded with the Cantabrian wars (19 BC), where in a bloody war the Romans fought against the Celtic peoples of the North (the Asturian and Cantabrian tribes). Iberia was the scene of wars of occupation, subjugation, strategic alliances, cultural assimilation, interests and betrayals from Carthage -Sagunto- and subsequent rebellions, in the development of Romanization, such as the ilergetes and Iberians (submitted in 190 BC), the resistance Turdetanas, Celtíberas or Lusitanas with Viriato at the head ...

These Celtic or Proto-Celtic peoples (Galaicos, Cantabrians, Astures, Belos, Titos and Pelendones, Arévacos, Vacceos, Celtíberos, Vettones, Carpetanos, Lusitanos) who, from the end of the Bronze Age and throughout the Iron Age, shared the culture of the Urn Fields - use of iron for weapons and cremation of their dead -, beliefs, gods, cults, magic, forests, devotion to ritual warfare and duels, resisted - fighting and defending in its fortified Castros - until the Roman Empire put an end to the Spanish Celtic or Celtiberia by destroying the last Celtiberian bastion (Numancia).