Theory and layout of Zuist temples (with a project for Reykjavik’s Temple of Heaven)

FOUNDATIONS OF COSMOLOGY

Zuism is the worship of Heaven–𒀭 An–, which is the north ecliptic pole coiled by the constellation Draco, the source of all the star-gods.1 Heaven is the active whirling force which proceeds throughout all the heavenly bodies, the Earth, and also all the beings on Earth, generating all of them. It is the whirling force that resides at the centre of all beings, producing their whirl of life. Humans are able to craft Heaven’s force by emulating its order, for good or bad aims.2

Zuism is an “open” religion, which accepts different ways to worship Heaven, depending on the different points of view from which Heaven is perceived. The different gods themselves, the different stars and constellations and their forces, but also the Earth herself, are all “faces” through which Heaven manifests to us. Different temples for the various deities shall thus be built, and there is the need for common architectonic principles.

The north ecliptic pole centred in Draco.

FUNCTIONS OF TEMPLES

Temples or templates (the Latin word templum literally means a place for “contemplating” Heaven, drawing meaning from its stars) are meant as reproductions of the order of Heaven on Earth, therefore connecting with Heaven’s force.

The specific meaning of Mesopotamian temples—𒂍 é in Sumerian—, whose characteristic feature is the central raised platform or tower (𒅆𒂍𒉪 unir in Sumerian or ziqquratu in Akkadian, literally “mountain”, “mountain peak”), is to emulate Heaven’s force which proceeds throughout all things in the manner of their rotational shaft, the axis mundi. Mesopotamian temples were specifically built to represent mountains; the mount itself is a symbol of the axis mundi, as studied by Mircea Eliade, of the cosmic mountain which comes down from Heaven (the north pole, the progenitor of the universe), and, in the opposite direction, ascends towards Heaven, and therefore provides the way for returning to Heaven.3

Another foremost feature is the quadrilaterality of temple buildings, given the importance of the square form in symbolising the north pole and therefore communing with it.4 Temples, essentially, function as centres of irradiation for establishing a cosmos, a structured experience of reality.

Temples are also meant as observatories for the study of Heaven. Zuism, as a scientific religion, encourages the study of Heaven, which, in its broadest sense, is both the nature immediately perceivable by mankind and the deep space-time (the outer space-time of astronomy, and the inner space-time of particle physics).

THE TEMPLE OF HEAVEN IN REYKJAVIK

The images above show the roof dragons of a Chinese and a Germanic temple. The image below shows a temple of the popular conception of the supreme God of the north pole (Jade Emperor) in Qinghai. The shrine is built on top of a mount-like platform, possibly a heritage from Mesopotamia.

As the coalescence of a new gnosis, a new ark of knowledge for the awakening and spiritual heightening of human beings, the Zuist Church needs a physical centre of presence to align with Heaven and study and emulate its order, thus providing a cosmic focus. Iceland will be at the forefront of the Zuist spiritual renewal, and the centre of the Zuist Church in Iceland will be the Temple of Heaven in Reykjavik.

The project for the Temple of Heaven in Reykjavik envisions a structure built with modern materials (sealed coloured concrete, better if Roman concrete which includes volcanic ash and is both stronger and cheaper than modern concrete) and characterised by the sharp lines of modern architecture, but inspired by the Mesopotamian, Chinese and Germanic architectural traditions.

All these cultural sources are related, as demonstrated by academic studies.5 The Temple of Heaven in Reykjavik shall function as a cosmic centre similarly to the Temple of Heaven in Beijing. The roofs shall feature lithe dragons just like those of Chinese, but also Germanic, temples. The dragons symbolise the constellation Draco at the north ecliptic pole but also the chthonic spirits and kinship spirits which sublimate themselves when they are inspired by, and organise themselves according to, the order of Heaven, in the struggle for ascending towards it.

Other features adopted from the Chinese tradition shall be elements for worship, including squared and round incense cauldrons and a squared table for sacrifices. The importance of the square for communing with the north pole will thus be affirmed even in worship practices, just like in Chinese religion.6

The Temple of Heaven shall be built with the sides pointing to the four cardinal directions, and with the ingang to the south,7 so that the staircase to the top shrine, the “stairway to Heaven”, would emulate the ascension towards the northern skies, towards the north pole, towards the supreme ancestor of the universe, the heart of An. By aligning with the Earth’s axis of rotation, the temple would connect to the whirling force of the north celestial pole, which in turn rotates, through the precession, around Draco and the north ecliptic pole, thus ultimately linking to the heart of An.

Ancient historians, notably Herodotus, reported–and modern archaeological study has proven–that Mesopotamian temples were painted in seven colours. Each level of the “mountain” (the unir) was associated with one of the major seven planetary gods (the Anunnaki) seen from the Earth’s perspective, and painted in the associated colour. The sequence of the colours, and therefore of the star-gods, has generally been reconstructed as follows (the list starts from the lowest level of the unir and ends with the highest level):8

WHITE – Jupiter (Marduk)

BLACK – Saturn (Ninurta)

RED – Mars (Nergal)

BLUE – Venus (Inanna)

ORANGE – Mercury (Nabu)

GREEN (SILVER) – Moon (Nanna)

YELLOW (GOLD) – Sun (Utu)

Our project for the Temple of Heaven in Reykjavik has a very dark blue as the colour of the top shrine, with the surmounting pyramidal roof in a slightly lighter blue. The grapheme “An”, in yellow, is featured on the front side of the pyramidal roof, above an outline of the constellation Draco in the same colour. The apex of the pyramidal roof is surmounted by a crescent Moon, just like it was for ancient Mesopotamian temples,9 being Nanna a symbol of the oneness of all the gods, the pleroma of An,10 and as such also called Enzu 𒂗𒍪 (“Lord of Wisdom”).11 As for the shaft, the unir, we present two versions for it, one reflecting the colouring of ancient Mesopotamian temples, and the other one with the unir in the same shade of blue as the top shrine, but decorated with yellow depictions of the circumpolar constellations Little Dipper/Chariot and Big Dipper/Chariot.

The following illustrations depict the two models. What is drawn is conceived as the central, and essential, complex of the Temple of Heaven. Further shrines, dedicated to the seven planetary gods associated with the colours and to other deities, as well as buildings for community uses and priests’ quarters, may be constructed behind or besides the central complex.

Temple of Heaven in Reykjavik, model 1: unir with the colours of the seven planetary gods. PDF version

Temple of Heaven in Reykjavik, model 2: deep-blue unir with Chariot constellations. PDF version

TEMPLES TO LESSER DEITIES

Zuist temples dedicated to lesser deities–that is to say deities who come below the utmost An–, and minor temples in general, may be built according to less strict rules than those governing the major Temple of Heaven. It is also worthwhile to take into consideration that, given the current trends, the Lutheran Church of Iceland will likely see a swift decline in the coming years. Many church properties might be put on sale, and other religions might acquire them as it is happening throughout Europe to Christian churches of all denominations. The Zuist Church might buy former Lutheran churches and convert them into Zuist temples.

These minor temples will not necessarily have to be oriented towards the point of the horizon where the star-gods rise, also given that the locations of the rising of constellations change throughout time. It will be important, nevertheless, for prayers and sacrifices to be directed towards these locations, or, otherwise, towards the north which is the source of all.

Temples of lesser deities shall be characterised by the colour associated to the given enshrined deity. Former Christian buildings acquired by the Zuist Church should be painted in the colour associated to the deity they would be dedicated to, and the Christian cross on the top of the building should be replaced with the symbol of An, or with the 𒍪 zu symbol.

General model for minor Zuist temples, with the zu symbol on the top, and the name of the deity whom the temple is dedicated to featured on the front side of the pyramidal roof (in this case 𒀭𒂗𒆤 Dingir Enlil, “Divine Wind Lord”). PDF version

Footnotes:

1. As already defined in the short article Elements of Zuist theology, published in February 2018 by the Zuist Church. It is also recommended to read Didier (2009), especially Vol. I, p. 88 ff and 115 ff (“Mesopotamian Views of the Pole”), where he describes Mesopotamian astral religion.

2. Umbe the energy of the north pole, it is suggested to read the article Why is the Earth strung on an axis? Hypothetical considerations, published on 16 March 2017 by the Russian site “Point of View Analyst Team”. This site promotes a Gnostic-Theosophical-New Age vision and its terminology may not be Zuist, but some of the studies in the article are relevant for our discourse.

3. Didier (2009), Vol. I, pp. 203–210.

4. Ibid., Vol. I, p. 218 ff.

5. Ibid., passim and Vol. III, p. 257 ff, where the author discusses the close relation between Mesopotamian and Chinese culture.

6. Ibid., Vol. II, pp. 78–83.

7. Sparavigna (2017), passim.

8. James & Van der Sluijs (2008), p. 69.

9. Ibid.

10. Parpola (1993), pp. 184–185, nn. 89, 93.

11. Kasak & Veede (2001), pp. 17–18.

Ansbrandt of Reykjavík, March 2018

The article is also availabe in PDF and on Academia

 


Sources:

 

Credits for some elements of the images:

Praying man outline: Jon Candy, CC BY-SA 4.0

Running man outline: Charlie Llewellin, CC BY 4.0

Contemplating woman outline: Cathleen Trawhiti, CC BY 4.0

Trees: AnySnapshot, CC BY 3.0

Potted plants: Vector Graphics, CC BY 3.0

Smoke: Freepik, CC BY 3.0

Elements of Zuist theology

In this article the author explains the foundations of Sumerian/Zuist astral theology, that is to say the general theory of Heaven-Earth and of the main gods Enlil, Inanna and Enki.


Zuism is essentially the worship (id est worth-giving) of Heaven, of the north ecliptic and celestial pole and of the constellations which spin around it. It is the knowledge of Heaven, which is an ancient gnosis, returning as a new gnosis for a new era; from this comes the name “Zuism”, 𒍪 zu meaning “to know” in Sumerian (Wolfe 2015, passim). We believe that stars, with their movements, influence the formation and life of categories of beings on Earth. They generate beings out of Earth, either by direct influence or by assimilation of the knowing subject (the star-gazer) and the known object.

Our gods are the stars (Rogers 1998, passim), offspring of An/Dingir 𒀭 (Heaven), the hub of whose vault is the north ecliptic pole winded by the constellation Draco, the Dragon. Our God of Heaven is therefore immanent, not exclusively transcendent (like that of Christians and other Abrahamics): our God is existent.i The harmonisation of human (earthly) activities with the movements of the stars, with the gods, is the practice of Zuism and the way for wellbeing, for good life. Zuism is the means to bring the “lords of Heaven down to Earth” (the literal meaning of Anunnaki), to “square” the latter, 𒆠 Ki, providing her with forms.ii

This is the foundation of the religions of all ancient organic civilisations, of Sumerian religion as their fountainhead, and even of Chinese religion as one among its successors which has preserved particularly well such original knowledge (Didier 2009, passim). We believe that the disruption of the attunement of Earth with Heaven and its stars is the reason why civilisations degenerate and die, as beings themselves degenerate, their actions become senseless, and institutions lose meaning and become empty logistical machineries (Pankenier 1995, pp. 150–155). The reason why the entire Western world is currently dying is because it has lost its “link with the stars”, which is the original meaning of the word “religion” (literally “re-linking”).iii

This is the Zuist astronomical calendar, the mapping of the north pole and the three circles of stars and asterisms spinning around it (Didier 2009, p. 95, Vol. I); the coloured enclosures are those of the stars/gods explained in the next part of the article.

The very centre of the skies is the heart of An, the ecliptic north celestial pole, which is within the coil of the constellation Draco (Rogers 1998, p. 21; Didier 2009, pp. 261–265, Vol. III), an ancient symbol of the shapeless and protean primordial potentiality. The constellation Ursa Minor (or Little Dipper) is his chariot, MULMar.gid.da.an.na, literally “Chariot of Heaven”, and is goddess Ninhursag/Damkianna (Rogers 1998, p. 18), whose second name means “Lady of Earth and Heaven”, or simply Ki (squared “Earth”).

The ring of constellations nearer to the centre, or northern or inner sky, is the “Path of Enlil” (Didier 2009, p. 95, Vol. I). Enlil, literally “Wind Lord”, is the god of breath, weather, heights and thunder (Ishkur), and is astrally identified as MULApin, literally the “constellation Plough” (highlighted in yellow), today commonly known as Triangulum. Enlil’s female consort, Ninlil (the “Wind Lady”), is MULMar.gid.da, literally the “Chariot” (highlighted in orange), also known as the constellation Ursa Major or Big Dipper (Rogers 1998, p. 18).

The ring of constellations farther from the centre, or southern or outer sky, is the “Path of Enki” (Didier 2009, p. 95, Vol. I). Enki, literally the “Squared Earth Lord”, is the god of water and craft, and is astrally identified as MULIku, literally the “constellation Field” (highlighted in blue), today commonly known as the “Square of Pegasus” (Rogers 1998, p. 21). Mankind’s craft, represented by Enki’s square, is the power learnt from Heaven to harmonise earthly activities with stars, to shape things according to astral patterns and provide them with meaning (Didier 2009, passim).

The middle ring of constellations, standing between the inner Path of Enlil and the outer Path of Enki, is known as the “Path of An” itself (Didier 2009, p. 95, Vol. I). Within the Path of An, between Enlil and Enki, stands MULDili.pat, which is Venus (highlighted in pink), the astral body of goddess Inanna/Ishtar (Rogers 1998, pp. 11, 19), whose Sumerian name literally means “Lady of Heaven” and whose Semitic name means “Enduring Star”.iv

The image represents Indara (Indo-European god of thunder, corresponding to Enlil) slaying the Dragon, in a Hittite seal of 2000 BCE. Indara, with the astral square (attribute of Enki) on his head and holding an axe or carpenter’s square in his right hand, symbolises the power to make order out of chaos, the Dragon, symbol of primordial undeterminacy which at the same time is infinite potentiality. The square and the weapon (which in the Sanskrit counterpart, Indra, is the vajra, the thunder) symbolise the creative craft which men may learn from Heaven. The technology of wheel and wedge, the weaponry of axe and sword, all were invented by imitating Heaven and its circumpolar stars (chiefly the two Dippers).

Footnotes:

i. It is logically inferrable that, according to the Zuist vision, Christianity (at least in its modern, dying corrupt forms and institutions) and Islam are false religions, or non-religions, since they fail to relink Heaven, Earth and humanity. Our God is existing, as the starry sky and its cycles; their God is non-existing, as an otherworldly abstract thing. Also all the theories of Sitchinianism, which are very popular nowadays and feed on misinterpretations of ancient knowledge, are abstract nonsense, hellish (that is to say infernal, which fails to heighten to Heaven and instead lowers to formless matter) science fiction.

ii. In Zuism, religion, society and state are one and the same thing. Paradise on Earth, or the Kingdom of Heaven, is established when human activities are patterned after the movements of Heaven, when human institutions mimic Heaven; when Heaven, Earth and humanity are in harmony.

iii. “Religion” comes from the same root of the Latin religere (careful “re-reading” or “re-collecting”, right practices, cf. Cicero’s De Natura Deorum) and religare (“re-linking”, cf. Lucretius and later Lactantius’ Divinae Institutiones).

iv. Ishtar/Astarte, id est “Enduring Star”, is probably the same meaning of Dili.pat.

 

Ansbrandt of Reykjavík, February 2018

The article is also availabe in PDF and on Academia

 


Sources: