The last Iberian was a human comet that crossed this world until it was lost in the Iditarot, that distant place of which the natives of Alaska spoke. Its splendor left us with a blast of light that, like the ancient shamans of the tribe, deeply connected us with the forgotten memory of the true meaning of life and its mystery, its cosmic meaning. An invitation to reconnect with that ancestral past in which we beat in harmony with Mother Earth, which desperately urged us to strengthen ties with nature as keys to living in the future, to embrace and save Gaia - who reacts when we mistreat her. , and not be carried away by the drift of modernity that tries to dominate it to maximize material growth.

He wanted to be a wolf to live in unpolluted lands. It was that lupus that was part of mythology - where Palaeolithic man, fully integrated into nature, merged with the wolf in a rite of passage - turned into a warrior to face aggression ... Our archetype was a A rebellious, indomitable, visionary, free and wild hero who did not allow himself to be tamed and who fought tirelessly for life, forests and threatened fauna. The spell of his word, his energy, his enthusiasm, his vitality, his strength, his message and his codes captivated and transformed with his light a lineage, that of the line of the free, that like cranes stretched by the lash of the winter know, if not to return, at least feel, perceive and look out to that lost paradise that you dreamed of, so that in the Iberian nights the beautiful howls of the wolf will not stop being heard.

[Text and Design inspired by Felix Rodríguez de la Fuente and the masterful Cuarto Milenio program: “Felix, the last hero” by Iker Jiménez]

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).

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, Celtiberians 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) that, from the end of the Bronze Age and throughout the Iron Age, chose the cultural influence of the Urn Fields - use of iron for weapons and incineration of their dead - (especially the northwest quadrant of the peninsula), shared beliefs, gods, cults, magic, forests, devotion to ritual warfare and the duels, and they resisted - fighting and defending themselves in their fortified Forts - until the Roman Empire put an end to the Spanish Celtic or Celtiberia by destroying the last vital stronghold of Celtiberian heroic resistance in 139 BC (Numancia).

They were sorcerers and magicians who practiced sacrifices and rituals, philosophers and theologians who studied and taught the arts of the natural sciences. Their innumerable knowledge and valued advice made them essential in any society, town or kingdom, those wise men were the elite of the Celts and the link between deities and man. The sacred forest was his temple, the cosmos and the spirit his school, the plants and animals his inspiration to understand the relationship between the divine, humans and nature.

They were sorcerers and magicians who practiced sacrifices and rituals, philosophers and theologians who studied and taught the arts of the natural sciences. Their innumerable knowledge and valued advice made them essential in any society, town or kingdom, those wise men were the elite of the Celts and the link between deities and man. The sacred forest was his temple, the cosmos and the spirit his school, the plants and animals his inspiration to understand the relationship between the divine, humans and nature.

They were sorcerers and magicians who practiced sacrifices and rituals, philosophers and theologians who studied and taught the arts of the natural sciences. Their innumerable knowledge and valued advice made them essential in any society, town or kingdom, those wise men were the elite of the Celts and the link between deities and man. The sacred forest was his temple, the cosmos and the spirit his school, the plants and animals his inspiration to understand the relationship between the divine, humans and nature.

They were sorcerers and magicians who practiced sacrifices and rituals, philosophers and theologians who studied and taught the arts of the natural sciences. Their innumerable knowledge and valued advice made them essential in any society, town or kingdom, those wise men were the elite of the Celts and the link between deities and man. The sacred forest was his temple, the cosmos and the spirit his school, the plants and animals his inspiration to understand the relationship between the divine, humans and nature.

The first warriors of the Iberian Peninsula were fierce and faithful Iberians who defended with their death their warlords. They were expert riders who carried bows, arrows and the feared Falcata that they used until the end of the battle. Just like the men, the women, in addition to devoting themselves to cattle and cultivation, also participated in the warrior life and in the Assembly where the important decisions of the tribal states were taken. Dedicated to the cult of female deities (symbol of creation & fertility), they also offered rites to the Sun and the Moon. In their temples, adorned with sculptures of sacred wolves —representing the warrior ardour, the cult of the night, the guide in the beyond— magical ceremonies were celebrated by priestesses such as the famous Lady of Elche.

The Bards make their old melodies resound... Their poems and songs take us back to the mythical Iron Age, to the captivating Celtic world, where legendary, fierce and undisciplined warriors have populated Europe. Armed with a shield of skin, an iron sword, lime milk on their hair, covered with the skin of the wolf's head and the almost naked body, they have managed to sack Rome and reach the very Delphi in Greece. 

Their pagan gods and the worship of nature reveal to us a magical and mystical civilization, led by powerful druids who every year announce the Samhain, the celebration of the end of the crops and the beginning of the dark season, where the spirits of the dead roam freely...