Zuist Doctrinal Handbook (Zúisk Kenningarbók)

The Zuist Doctrinal Handbook (Zúisk Kenningarbók) has been realised by collecting all the essays about Zuism published on this website between early 2018 and 2019.

Zuism solves the theism-atheism dichotomy

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).


The name “Zuism” comes from the Sumerian verb 𒍪 zu, meaning “to know”; it is a cosmic religion, based upon the belief in an ordered world, in an order which is observable in Heaven (𒀭 An or Dingir) and Earth (𒆠 Ki), in the skies and in the atom. The gods (𒀭 dingir) are the laws of this order, and, evocable and reproducible by the creative word (𒌓 utu), they constitute the measures (𒈨 me) of existence which humans must respect. The order of Heaven is its energetic logos, 𒆤 lil in Sumerian.

This definition of Zuism tells that it is a scientific religion, whose order may be observed, studied and reproduced, always with respect towards this order’s multiple manifestations and what they actually are, and not through their violation and manipulation for individual ends. Zuism is not a faith in a transcendent human-like God and his personal will; 𒀭 An is the universal cosmos and the nature of things.

This makes Zuism very different from the religions of transcendental theism, like Christianity and Islam, and makes it capable — similarly to other great cultural religions, like Hinduism and Chinese religion — of welcoming theological positions differing from theism, like pantheism, panentheism and atheism. All these theological positions, and individuals and communities espousing them, may coexist within Zuism. The latter, thus, proposes itself as a reconciliation of the dichotomy between scientific atheism and religious theism, consequently emerging as well as a new type of social organisation capable of reconciling religious and secularist positions in the field of politics.

Zuist Church, April 2019

The article is also availabe in PDF and on Academia

CC BY-SA 3.0

The Zuist altar and calendar

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

This pamphlet puts forward a model for the Zuist altar, to be kept either by the individual Zuist practitioner in his household or by communities in a temple, and presents a draft of the Zuist calendar. The “altar”, etymologically a place for “heightening”, shall be a representation of Sumerian theo-cosmology, a place where to meditate upon the generation of the order of Heaven and the gods, and where to commune with such forces. The calendar is the year, the Latin annus, thus the order of An itself coming into human activities. This pamphlet is therefore, at the same time, a theo-cosmological summary.


The Zuist altar shall be a reflection of Zuist astral theology and cosmology, an instrument of meditation on the generation of the divine from the supreme source of An, and then the latter’s manifestation as a multiplicity of ordered gods governing different phenomena. At the same time, the altar shall be an instrument for communicating with these gods and with the supreme source, through offerings and prayers. This function fulfils the etymological meaning of “altar”, from Latin altare, a place for “heightening” to, or remembrance of, the supreme source of all things. Altus (“high”) in Latin means both “high” and “profound”, “ancient”.

By virtue of relying upon the oldest theo-cosmology of mankind, Zuism may provide a theological pattern for all the Indo-European religions which are currently undergoing a revival throughout Europe in the form of relatively wide-scope new religious movements, including Latvian Dievturity, Celtic Druidry, Germanic Heathenry, Hellenism, Lithuanian Romuva, Slavic Rodnovery, and even Wicca; movements which often lack strong theological groundwork. The same astral threefold divinity, so clearly and systematically expressed in Sumerian theology-cosmology, is in fact shared by all Eurasian religions.1

Representation of a Zuist altar organised according to the three stages of creation as narrated in the Enuma Elish, which will be described hereinbelow. The cylindrical statuettes of the three forms of An (An in itself, Enlil and Enki) and of the seven star-gods which manifest in material Earth (Ki) as differing though intermingling qualities of being (Anunnaki), are inspired in their guise to the owl idols of Ishtar found at the goddess’ temple in Tell Brak (the so-called “Eyes’ Temple”), in Syria. Their layout is not haphazard, but corresponds to that of the stars of the Chariots’ constellations (Margidda).

Before the manifestation of Heaven (An 𒀭) and, subsequently, of the seven star-gods, the cosmological poem Enuma Elish tells that there is undifferentiated unity (AbzuMummuTiamat = [±] 0), primordial watery undeterminacy, the male water Abzu 𒀊𒍪 (“watery knowledge” or “confused knowledge”), which consciously (Mummu, or Nammu 𒇉, which is primordial potential consciousness which develops into reason in the differentiated stages of creation) merges with female water, Tiamat 𒀭𒋾𒊩𒆳. The divine principle starts to organise itself out of primordial undifferentiation by dividing into the binary system of forces of Lahmu and Lahamu (“muddy” male and positive [+] and female and negative [-] principles) and then clarifying into Anshar (“Whole Heaven” [+]) and Kishar (“Whole Earth” [-]), whose ongoing dance weaves the infinite fabric of the cosmos (Anki 𒀭𒆠).2 They are, respectively, the male and heavenly principle and the female and earthy principle, represented as serpents, comparable to 阳 yang and 阴 yīn (“bright” and “dark”, “waxing” and “waning”, “emanation” and “absorption” of creation), personified as 伏羲 Fúxī and 女娲 Nǚwā, of Chinese religio-philosophical culture.

The heavenly force that continually organises creation out of primordial undeterminacy (creatio continua of ordo ab chao, not creatio ex nihilo as in Abrahamic religions), and which takes the manifested form of Heaven (An), the universe itself, is Ashur 𒀭𒀸𒋩 or Anshar 𒀭𒊹 (the “Only God”), which, according to the Assyriologist Simo Parpola, is the same principle as the Ein Sof (אֵין סוֹף) discussed by the Jewish Kabbalists, wherefrom all the divine force emanates.3 Ashur manifests itself as An in the visible reality, “mirroring” itself in the material world.4

An is the north ecliptic pole coiled by the constellation of the Dragon (Draco), and expresses itself as three sky bands. The ring of constellations closer to the north ecliptic pole is the “Way of Enlil”, traditionally characterised by the luludanitu colour (white, red and black), and representing the active force (lil 𒆤, the pneuma) of An; Enlil 𒀭𒂗𒆤 (“Lord of the Breath”) is the active face of An and is associated to the precessional (changing) north celestial pole, and to the constellations of the Chariots (Margidda; Ursa Major and Ursa Minor in modern astronomy) close to it, which also represent its weapons. The ring of constellations farther from the ecliptic centre is the “Way of Enki”, traditionally associated to the colour jasper green; Enki 𒀭𒂗𒆠 (“Lord of the Squared Earth”) is the full materialisation of An, embodied by the lugal (highest sacerdotal figure) in communion with the gods, and associated to the constellation of the Field (Iku; the Square of Pegasus in modern astronomy). The ring of constellationn in-between these two is the “Way of An” in conjunction with Inanna (“Queen of Heaven”), herself represented by the star of the Daisy (Dilipat; which is Venus).5

The three then begets the seven, emanating as the seven stars of the Chariots’ constellations and the seven major bodies of the system of the Sun. These astral orders thus correspond to the seven stages of manifestation of the supreme God in the flesh. These seven star-gods are the Anunnaki (the “offspring between Heaven and Earth”), who perfuse the force of God all throughout the material world (and are thus referred to as the “divine writing” of Heaven), intermingling to generate differing categories of being in matter:6

  • Marduk 𒀭𒀫𒌓 — “Sun Calf” is Jupiter, the white deity of air and authority, proxy of the active power of Enlil in the Sun system;
  • Ninurta 𒀭𒊩𒌆𒅁 — “Barley Lord” is Saturn, the black deity of war and hunting;
  • Nergal 𒀭𒄊𒀕𒃲 — “Underworld Lord” is Mars, the red deity of woe and dearth;
  • Inanna 𒀭𒈹 — “Spouse of Heaven” is Venus, the blue deity of love and war, whose central position and female nature conjoins the seven with the supreme oneness of An;
  • Nabu 𒀭𒀝 — “Announcer” or “Glowing” is Mercury, the orange deity of wisdom and writing;
  • Nanna 𒀭𒋀𒆠 — the Moon is the green deity of fertility and fruitfulness;
  • Utu 𒀭𒌓 — the Sun is the yellow deity of justice, whose movements are the word of the creation of An.7

In front of the altar, the Zuist practitioner shall meditate through the recitation of cosmological poems which narrate the generation of the ordered world starting from the supreme principle, such as the Enuma Elish (divided into seven acts, like the seven star-gods of An), or which narrate the struggle of the individual human to understand and return to the supreme principle of divinity, such as the Epic of Gilgamesh. The latter is defined by Parpola as a mystical poem which reproduces the twelve stages of the tree of life, meant as a “mystical path of spiritual growth culminating in the acquisition of superior esoteric knowledge”.8

As widely explained by the present author in other essays, Christianity is a corrupted and corrupting religion,9 its churches are nests of evil breeds, people born without reason of being, thinking just to their numerical and material growth.10 This does not delegitimises part of Judeo-Christian original literature, which has Mesopotamian roots, the meaning of which Christians themselves no longer understand. Some books contained in the Bible, such as the Qohelet and the Apocalypse (with its mysticism of the seven stars and the four forms of being) are therefore suitable for finding new value within Zuism (their Christ is our Enki as lugal).

Even Indian prana techniques (and yoga disciplines) and Chinese qi techniques, inherited from the Orient, may be appropriated by Zuism and refashioned as techniques of the lil (of the “breath”), to be practised in front of the altar while visualising the cosmology and its various phases or gods.


The foremost model for human action in attunement with the divine rhythm is the calendar, and the Zuist calendar is An itself: The annus, that is the year, that is the rhythm of Heaven, that is the rhythm of the supreme God manifesting in the flesh.

In ancient Mesopotamia, each city devised its own variation of the calendar. The calendar that was considered the best one, and which remained consistent throughout history, was that of Nippur, the city of Enlil. The following prototype of Zuist calendar is based on that of Nippur;11 it has to be considered incomplete and liable to future refinements.

Sumerian-Mesopotamian calendars were lunar, which means that each month started with the new moon (note that the word “month” itself means “lunation”, since ancient Germanic culture was lunar, too). Each month was associated with one or more astrotheological figures, and festivals were celebrated during these months according to the lunar phases.

  1. Barazaggarra — falls between the Gregorian March and April and is dedicated to the celebration of the threefold manifestation of God as Heaven (An). In the astral map of the north pole, the three manifestations’ astral projections fall within Barazaggarra and mark the beginning of the three paths of the constellations around the pole and the three ways of the wheel of the year: that of Enlil (MULApin, i.e. “STARPlough”, that is Triangulum in modern astronomy, with his wain MULMargidda, “STARChariot”, that is the Great Chariot or Big Dipper in the Ursa Major),12 that of Inanna (MULDili.bat, i.e. “STARForbearing” or “STARDaisy”13) and that of Enki (MULIku, i.e. “STARField”, that is the Square of Pegasus).14 It is the month for planning and distributing, and festivals are to be celebrated at the New Moon and Full Moon. Akitu, the twelve-days great festival of the new year, takes place at the start of the month and includes the full recitation of the Enuma Elish.
  2. Ezengusizu — falls between April-May and is dedicated to the celebrations of all the seven gods Anunnaki, the fullness of the powers of the manifested An, symbolised in this case by MULMul, i.e. the “Stars of the Stars”, which are the seven Pleiades. It is also dedicated to MULAnunitu or Antu,15 the “STARSpouse of Heaven”, goddess of childbirth who corresponds to the constellation of the Northern Fish, and also to her MULShugi or “STARCharioteer”, who is Enmesharra, representing the progenitor of Enlil (i.e. An itself), and which is the constellation of Perseus.16 It is the month for starting works and festivals are celebrated at the Full Moon.

    The great goddess as a fish, in the guise of the Syrian figure of Atargatis or Derketo.

  3. Sigga — falls between May-June and is dedicated to MULSibazianna, the “STARShepherd of Heaven”, who is Dumuzi, the god of death and rebirth, and the constellation of Orion, and his two animals MULMush, the “STARSnake”, which is the constellation of Hydra and is the god Ningizzida, and MULUra, the “STARLion”, which is the constellation of the Lion (Leo).17 It is a month for clearing the way for the new phenomena to grow, and festivals are celebrated at the New Moon.

    Ningizzida, the serpent of life.

  4. Shunumun — falls between June-July and is dedicated to Marduk, the steward of Enlil in the Sun system, in his bodily form which is, in this case, MULUdaltar, which is a phase of Jupiter. The month is also dedicated to the MULMashtabba, the “STARSTwins” (Lulal and Latarak, two gods protectors of the household18), and to MULGagsisa, i.e. “STARArrow”, which is Sirius. It is a month of hard work, continuing what has been sown in the previous months and will keep growing in the next month. Festivities fall at the New Moon and the Full Moon.
  5. Nenegarra — falls between July-August and is dedicated to the ancestors, celebrated through the Ghost Festival held at the Full Moon. It is the month when lamps, fires and incense burners are kindled, as representations of the genealogical fire and as paths to be trodden by the spirits of the ancestors. The deity associated with the month is Ninlil, female counterpart of Enlil (thus representing the inhalation of the Spirit, of the Lil, rather than its exhalation which is Enlil himself), embodied by MULMargidda, i.e. STARChariot, also known as the Great Chariot (or Ursa Major) and also possibly the Little Chariot (or Ursa Minor). Then there are MULMashtabba Galgal, the “STARSGreat Twins” (Gemini, identified as Lugalgirra and Meslamtaea, aspects of Nergal19) and MULBan, i.e. “STARBow”, which is the Elamite Inanna, daughter of Enlil.20
  6. Kininanna — falls between August-September and is dedicated to the goddesses in general, and in particular to Inanna, the “Queen of Heaven”, the celestial aspect of the great goddess, represented by Venus. The autumnal rains begin to turn the weather cool and moistened, preparing the groundwork for new future growth. Astrally, the month is associated to MULSupa or Shupa (whom is Enlil who decrees the fate of the land, and is Boötes), to MULUga (which is the “STARRaven”, who is Ishkur, aspect of Enlil personifying the thunder, also known by the Akkadian name Adad, and corresponds to the constellation of Corvus), and to MULBir, “STARKidney” (which is the constellation of Canopus or Argo).21 At the middle of the month, there is the festival celebrating the great goddess.
  7. Duku — falls between September-October and is dedicated to the exaltation of the goddess as a mother figure, symbolised by MULNinmah, i.e. “STARGreat Lady”, the goddess of motherhood22 corresponding to the stars of Argo, and who is also associated to MULZibanitum or Zibbaanna, i.e. the “STARScale of Heaven”, which is the constellation of the Libra. The month is also associated to Ninurta or Ningirsu, represented by MULEntenabarguz, which is the constellation of Centaurus.23 It is also the month dedicated to the mythological episode of the descent of Inanna into the underworld to rescue her lover Dumuzi. The celebrations are held at the Invisible Moon.
  8. Apindua — falls between October-November and is a month of quiescence and waiting. It is dedicated to Adad, represented by MULHanish, and to MULGirtab, which is the constellation of the Scorpion (Scorpius) and the goddess Ishhara, goddess of inhabited lands. Then, it is dedicated to MULUridim, which is the constellation of the Wolf (Lupus).
  9. Gangane — falls between November-December and is a month dedicated to Nergal, in the forms of MULUdkaduha or Ukaduha, i.e. “STARPanther” and MULSalbatanu, which is Mars when it keeps changing its position across the sky. The month is also associated to Nintinugga, also called Gula, embodied by MULUz, “STARGoat”, which is the constellation of the Lyra.24
  10. Abe — falls between December-January and is dedicated to Enki as MULGula, i.e. the “STARGreat One”, which is the constellation of Aquarius. It is also associated to MULAllul, i.e. “STARCrab”, which is Cancer, and to MULAmushen, i.e. “STAREagle”, the constellation of the Eagle (Aquila).25 Ninkasi, the goddess of beer, is also celebrated during this month.
  11. Ziza — falls between January-February and the main celebration is that of the New Moon. The month is dedicated to the god Damu, god of vegetation and general earthly nature, represented by the homonymous constellation which is either Delphinus or the head of Draco, but is also dedicated to MULShimmah, the “STARSwallow”, and also to MULNumushda, the “STARCrown”.26
  12. Shegurku — the last month falls between February-March and returns to Marduk, represented this time by MULNibiru (or Marduk itself in our map), which is Jupiter as it changes position across the sky. Then, the month is dedicated to MULKaa, the “STARFox”, which is Alkor and is Erra, god of strength, and to MULKu, the “STARFish”, this month’s manifestation of Enki.27 It is a month dedicated to harvesting, recollecting and beginning to think about new projects for the next year. Festivals are celebrated at the Full Moon.

Zuist Church, March 2019

The article is also availabe in PDF and on Academia

CC BY-SA 3.0


1. Zuist Church (2018c), passim.

2. Parpola (1993), p. 191.

3. Ibidem, p. 185.

4. Ibidem, p. 191.

5. Zuist Church (2018a), pp. 3–5.

6. Ibidem, pp. 6–7.

7. Kasak & Veede (2001), passim. For the colour associations see James & Van der Sluijs (2008), passim.

8. Parpola (1993), p. 192.

9. Zuist Church (2018b, 2018c), passim.

10. The best example of this are the churches of American Evangelical and Pentecostal Protestantism.

11. A good source about the calendrical tradition of Mesopotamia is: Cohen, Mark E. (1993). The Cultic Calendars of the Ancient Near East. CDL Press: Bethesda, Maryland.

12. Rogers (1998), p. 18.

13. Kasak & Veede (2001), p. 23.

14. Rogers (1998), p. 21.

15. Also Nintu (“Lady of Birth”), she is the same as Ninhursag (“Lady of the Hills”), also called Damkianna (“Wife of Heaven”), and by other titles. They are all aspects of the Earth (Ki) herself in her role as welcomer and harbourer of the power of Heaven.

16. Rogers (1998), pp. 16–19.

17. Ibidem.

18. Ibidem, p. 19.

19. Ibidem, p. 26.

20. Ibidem, pp. 18–19.

21. Ibidem.

22. She is the same as Ninhursag, Ninmah being another one of her titles.

23. Rogers (1998), pp. 16–19.

24. Ibidem.

25. Ibidem.

26. Ibidem.

27. Ibidem.


  • James, Peter; Van der Sluijs, Marinus Anthony (2008). “Ziggurats, Colors, and Planets: Rawlinson Revisited”. Journal of Cuneiform Studies, 60. pp. 57–79.
  • Kasak, Enn; Veede Raul (2001). “Understanding Planets in Ancient Mesopotamia”. Folklore, 16. Folk Belief and Media Group of Estonian Literary Museum.
  • Parpola, Simo (1993). “The Assyrian Tree of Life: Tracing the Origins of Jewish Monotheism and Greek Philosophy”. Journal of Near Eastern Studies, 52 (3). University of Chicago Press. pp. 161–208.
  • Rogers, J. H. (1998). “Origins of the ancient constellations: I. The Mesopotamian traditions”. Journal of the British Astronomical Association, 108 (1).
  • Zuist Church (2018a). “Zuist theology”.
  • Zuist Church (2018b). “De civitate Caeli”.
  • Zuist Church (2018c). “An: God-Sky-Time-Being”.

Organisation of the Zuist Church – Zuist enhood and Zuist flags

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

This pamphlet proposes a hierarchic and geographic social organisation of Zuism, anchored in Heaven and coming down to the Earth as a three-tiered structure of mankind, reflecting the order of Heaven. The Zuist Church is thus interpreted as a means for a reinstitution of An, God-as-Space-Time, the reattuning of humanity with its rhythms, with the divine time, and therefore the establishment of a new vertical celestial civilisation, giving new meaning to the nonsensical fidgeting of all forces in the horizontalisation resulting from the disintegration of the machinery of Western modernity.


The British scholars Roland Littlewood (anthropologist) and Simon Dein (psychiatrist), in their essay entitled Did Christianity lead to schizophrenia? (2013) recognise the fundamental characteristics of the Christian belief as the same as those of schizophrenic psychopathology. We further analyse the roots of these characteristics as follows:

Firstly, Christianity does not recognise the immanence of God (what the Greeks called Ouranos, Khronos and Zeus, the Latins Deus, and the Mesopotamians An 𒀭), does not identify God as manifest in the world as Heaven and its ongoing ordering (creatio continua) of pre-existing matter (the cosmological Earth). Instead, what is called “God” in Christianity is an abstract entity which created the world ex nihilo as a separate object, in the past, and what is called “Heaven” is a future and transcendent dimension.1

Twothly, Christianity stiffens the ordering of Heaven — what the Greeks called Logos, the Latins Ratio or Oratio, and the Mesopotamians Lil 𒆤 or DINGIREnlil 𒀭𒂗𒆤, the “GODSTARMaster of the Spirit” — as a historicised spatio-temporal person (Jesus of Nazareth in Palestine), thus bereaving the world of meaning, since the world is no longer recognised as being the ongoing generation of the changeful working of Heaven. By not recognising God as Heaven and its ordering, and interpreting what we Zuists call Lil as a historicised, spatiotemporally fixed person whom is the only incarnation of the delocated, transcendent, non-existent “God”, Christianity in fact ousts both God and its ordering (the Lil, the Logos) from the world and from mankind (from the human reason, mind or thought), bereaving the world and mankind of life, threatening to kill the world and human thought.2

Thirdly, upon these bases, Christianity uproots the individual from its natural umbegoing world, its context, giving it the illusion of an exclusive relationship with the abstract “God”, through the spatiotemporally fixed “Jesus”. Christianity pretends to be the only way to the delocated “God”, for all humanity. This results in a hypertrophy of the ego of the Christianised individual ripped off from any context, an illusory omnipotentisation of the individual reason which is no longer linked to the universal Ratio, to the order of Heaven, and results as well in the individual reason’s objectification and potential violent exploitation of the world.3

The Christian conception of the Logos is a stiffening, a sclerotisation of thought and word, which gives way to the psychotic maddening of human reason.4 Christianity, at one time, rejects the actual world and the potentialities at play in it (it is a loss of the being-in-the-world, Heidegger’s in-der-Welt-Sein), and drives the intelligence of the uprooted and hypertrophied individuals towards an otherworldly future, resulting in alienation and anomy, and in the destruction of the world,5 which is otherwise, and naturally, always organised by the presencing awareness of mankind. Christianity bereaves humanity of its role, which according to all traditional Eurasian religio-cosmologies, well represented in the Mesopotamian and Chinese traditions, is to continuously co-create and re-work the world together with the gods, in attunement with the order of the God of Heaven.6

Such psychosis, which began in early Christianity, was reinforced with the Protestant Reformation and the secular processes which it triggered, including industrial capitalism, and is fully concomitant with “Westernisation” (including “modernisation” and the liberal idea of the abstract, anomic, atomised, isolated “individual” which is “free from” whatever contextual bounds and roles7), ultimately destroys the agency of the human being. The individual loses “any sense of naturalness or capacity for spontaneous action, thus exacerbating self-alienation”. After the loss of the world (worsened in modern industrialised societies, which are senseless as they have arisen from the Christian objectification of the world), the individual “is plunged into an idiosyncratic internalised experience, into a set of fragmented pluralistic alternatives in which the act of choice itself becomes problematic, and in which the individual self is increasingly restricted to its processes, indeed it itself becoming an object for scrutiny”.8

The Italian historian of religion Ernesto de Martino came to similar insights in his unfinished work La fine del mondo (1977), through his study of the different structures of time which different religious worldviews give access to. He found that the modern West is subject to a loss of meaning (even on the plane of language, which always reflects the relationship between humanity and the world), psychopathological stiffening of thought within a horizonless relativism, a relativistic fragmentation launched into a materialist progress. He attributes this state of things to Christianity’s historicisation of myth and fixation of it in time — the life of Jesus, which is placed at the centre of history —, which pretends to be the final solution of all being, thus blocking and ousting the creativity of the symbol (myth and rite), the device traditionally used to renovate time — the spiral time of traditional societies —, and projecting a linear time, or teleological plan, waiting for an otherworldly “Kingdom of Heaven”, which, having utterly failed, has become secularised and has turned into a purposeless fall into material Chaos, a reification of becoming (historical time) bereft of being; the ultimate schizophrenia without possible reintegration; the “end of the world”, of the Western world.9

By uprooting the individual from the world and casting it into private psychosis, by deadening the world through the denial of its potentialities, by disguising itself behind a fake egalitarianism (which is actually a psychotic symptom) determined by a private relationship with an abstract God, Christianity may be straightforwardly defined as a levelling project of destruction of the natural (i.e. given by birth itself) and healthy plurality of the world.


Christianity opened the way to the loss of Heaven and thus to the psychotic maddening of human reason, which was projected into an endless becoming, exempting mankind from its role of co-creation of the cosmos. The psychosis was worsened by Protestantism, which, ultimately becoming secularised, brought to the nonsensical and horizontal fidgeting of human forces in the financial-industrial machination of Western capitalism, all projected into the ideology of material progress, the secularisation of the linear time of Christianity, of the never-coming “Kingdom of Heaven” of the non-existing God of Christianity. It is worthwhile to note that the Christian psychosis is a private psychosis, a psychosis which brings within itself a movement of privatisation. De Martino clearly identifies the phases of civil institution as anabasis/anastrophe or ascending and public-wise movement, while the phases of civil collapse as catabasis/catastrophe or descending and private-wise. They correspond, in the life of the individuals, to movements of communal participation and healing, and movements of private internalisation and shattering, psychopathological breakdown. Modern Western civilisation is subject to what he calls an “inversion of sign”, by which anastrophic growth, or altruistic publicisation, turns into the opposite movement of catastrophic collapse, or egoistic privatisation.10

As a reintegration of the psychosis of the Western world, De Martino proposed the establishment of an “integral humanism”, both a “religion of man” and a new “unifying discipline which ever-renews itself in order to adapt to the ever-changing multiplicity”, meant to overcome the Christian theological abstraction and its purposeless temporal projection, putting at the centre the Heideggerian concept of Dasein as a “presentification”, the conscious symbolising, time-renewing, space-ordering, world-making, cosmifying activity of a mankind aware of its creative role of mediator of Heaven on Earth.11 Zuism may fulfill De Martino’s vision, and also the Fourth Political Theory opened by the Russian Neo-Eurasianist philosopher Aleksandr Dugin, whom highlights the non-linear morphology of time, the fact that time is the mind itself working in the present, and therefore the “reversibility of time”, the possibility to recover concepts from the past to compose new projects for future societies, new institutionalisations of space-time established by the creative “action of presencing accomplished by the mind”.12 Furthermore, with its doctrine of the amargi 𒂼𒅈𒄄, Zuism may represent a movement of communal participation and altruistic publicisation, establishing temples as communal properties and banks of shared goods,13 just like what temples are in the Chinese tradition (communal property,14 instituted and operating by crowdfunding15).

Zuism intends to heal the disruption brought by Christianity, proposing itself as a platform for a re-institutionalisation of the creativity of God-as-Time-Space-Being, An, a re-attunement of mankind with its yearly rhythm, a re-hoisting of the axis mundi, that is to say a re-threading of the order of Heaven, the reconnection of its three moments (An in itself, Enlil, Enki; or Deus, the universal Ratio and the localised human ratio) in the very fabric of society. The Zuist Church intends to be a new institutionalisation of human society as a vertical celestial civilisation, anchored in Heaven (An) and bringing its order (Enlil) down to the Earth (Enki). Icelanders, the people of Thule or Hyperborea (the land “Beyond the North”, i.e. closest to the origin of all things, nearest to the God in the heights of Heaven), the people whom most directly may experience the time of An, the God-Time, God-Year and God-Thought chanted in their runic songs,16 shall have a crucial role in such new institutionalisation of space-time. It is a system which provides unity (An, the Space-Time) while at the same time taking into account plurality (the various dingir, the plural times of the various entities of the world).


The lugal 𒈗 (“great man”) is of supreme importance in the terrestrial hierarchy of the Zuist Church. He is a religio-political figure, a sacerdotal king who represents the link connecting the three realms of Heaven (An), Earth (Ki) and humanity. He is the reflection of Heaven on Earth, specifically embodying Heaven’s third aspect, which is DINGIREnki 𒀭𒂗𒆠, the “GODSTARMaster of the Squared (i.e. Ordered) Earth”, representing human craft and productivity in alliance with the creation of the gods; representing humanity co-creating with the gods a celestially-centred kingdom where all the spirits are at peace and from where all evil demons are cast away. The lugal is always subordinated to the god whom he represents; he represents in person the god of the city (polyad god) and its temple — the city (and its population) and the temple being the god’s body and head, respectively — but has no personal properties, all properties belonging to the god of whom the lugal is a mere intermediary.

Within society, the lugal works just like the “personal god” (also referable to as tutelary spirit, genius, numen or demon) of an individual and the father of a family. Like the personal god generating and organising the individual (joining the ishtaru, which is the individual’s female aspect, or matter, or “personal goddess”17), and the father generating and organising a family in conjunction with the mother, his wife, so the lugal is the father of the city and its population, embodying the latter’s tutelary spirit. The lugal, endowed with divine grace like the Sun (Utu), channels with magical words the heavenly forces of birth and waxing, and casts away the evil ghosts of waning and death, the evil spirits which try to haunt disrupted, atomised and anomised populations, such as those which are proliferating in the contemporary Western world and are preyed upon by the forces of the machination of rootless and uprooting globalism (international banks, foundations, organisations).

In the words of the Italian Assyriologist Pietro Mander:

In general, we may affirm that kingship constitutes the main axis mundi between the society of men and the divine world. Its main feature, […] is its subordination to the major shrine of a city: Indeed, the sovereign is nothing more than the steward or the administrator of the property of the polyad god, whom is the only true owner of the city and of its territory.18

By descending the axle which, from Heaven, reaches the earth, we immediately meet the king. He, besides having the role as the shaft of transmission between Heaven and earth, also represents the constant reference paradigm for all the people who dwell in the kingdom. Thus, just as the king becomes the tutelary numen of his kingdom, in analogy with the personal god with respect to the individual, so the pater familias must become the tutelary numen of his household, filling it with “divine” grace, the only active force able to dispel evil entities. About this, it is worthwhile to remember that some sovereigns were attributed with the epithet “sun god of the country” […].19

The lugal, just like the father of a family, should represent the morally perfected man as a universal being, able to understand divinity, embody it, and put it into practice, into moralising activity. He has the duty of making the reign whole according to the rules of the gods, integrating the outcasts into healthy orders of being, applying justice in judging good-doers and wrong-doers, exorcising evil demons, and ultimately expanding such healthy, divinely-ordered state; if he succeeds and his successes are acknowledged, he has the right to build or expand the temple dedicated to the god of the city. The temple, and its central tower, represents the sublimation of material chaos into gradually ordered heavenlier states of being.

As expressed by Mander:

The sovereign, being, so to speak, the “antenna” of humanity towards the divine world, constitutes the realisation of man, intended as a whole and universal being. As a living symbol, the king realises himself once he has attained his purposes. That is to say, once he has complied with the divine wishes; once he has established justice in the kingdom; once he has defended and supported the weakest; once he has widened the boundaries of the cosmos repelling the frontiers of chaos farther away; once he has made his country prosperous. At this point, he may conclude his work with a supremely symbolic act: Building the temple, or restoring it if it already existed. The architectural artefact represents the universe, on one hand, and on the other hand it is made up of brute matter, which, shaped by human work, is arranged in a precise order which enables its heightening from the earth towards Heaven. In this respect, the ziqqurrat tower, whose mass refines itself as long as its elevation rises, fully expresses the effort to elevate brute matter, by refining it, up to the sky which the tower reaches with a minimal mass.20


Zuism intends to be a “rectification” of being, a reintegration of the secular and the sacred, thus a new “orthodoxy” (cf. the Greek ὀρθός orthós, “right”) irradiating from Iceland to all of Europe, and potentially worldwide. According to the Mesopotamian tradition, the divinely-ordered city “has its roots in Heaven”, which means that its nodes of power and its activities are modelled after the constellations’ patterns and their movements. The temple-cities of Mesopotamia were distributed in the region in analogy with the stars of the sky, each of them being the seat—or “body” —of a given deity. The major city was Nippur, seat of Enlil and where the religious calendar was administered.21

Reykjavík shall be the new Nippur, body of Enlil, called “Enlil City” among the Zuists. The Zuist Church shall be organised according to a hierarchy which reflects the order of Heaven on Earth, thus into a three-tiered structure of authority, a threefold “enhood” (i.e. priesthood, en 𒂗 or ensi 𒑐𒋼𒋛 being the generic Sumerian word for “priest”), as already well described in the essay De civitate Caeli.22 This shall be meant to establish a celestially-centred civilisation, a “Gate of Heaven” (𒆍𒀭𒊏 Ka.dingir.ra in Sumerian, Babilu in Akkadian), to verticalise all the forces of society towards the supernal God of Heaven, the supreme good end, that is to say to attune all the forces at play in society, which articulate in space, with the rhythm of God-as-Time-Being, with the supreme order of the constellations of the northern culmen of the skies — An, in one single word.

The sacerdotal-territorial organisation of the Zuist Church shall reflect the three rings of Heaven:

The lugals of An-as-Enlil (the “Master of the Spirit”), with a lugal for every state — also called “lugalship” —, shall be the highest sacerdotal rank, possibly recognising the Lugal of Iceland as the primus inter pares, the leader of all lugals, thus organising themselves in a synodal structure. They shall be associated with the celestial “Way of Enlil”, the ring of the astral map closer to the north ecliptic pole in Draco and containing the Chariot constellations, respectively the quiet heart and active power of the supreme An; the dragon shall thus be their symbol, together with the eagle — both representations of heavenly wisdom (zu). They shall have, as the highest sacerdotal rank, knowledgeable in all matters pertaining to the mystery of the sky and divinity, juridical power. Their garments shall be of the colour associated, according to the Mesopotamian tradition, to the inner band of the astral map of the sky: luludanitu, which is an ensemble of white, red and black.

Lugal of An-Enlil

The ens of An-and-Inanna shall be one for each territorial jurisdiction or great “enship” within the lugalships, corresponding to the regions within states. As leaders of territorial divisions they shall deal with territorial matters, mediating the supreme intelligence of Heaven, represented by the lugal, on Earth, or into matter, in this case represented by Inanna, the “Lady of Heaven”. They shall thus have an executive function, and shall mediate between the lugal and the various local communities of Zuist believers, putting the lugal’s decisions into practice and presenting the communities’ instances in front of the lugal. They shall be associated with the celestial “Way of An-Inanna”, the middle ring of the astral map of the sky, and with its colour in traditional Mesopotamian imagination: lapislazuli blue; their garments shall be of this colour.

En of An-Inanna

The ens of An-as-Enki (the “Master of the Earth”) shall govern, within each great enship, the “small enships”, or popular communities of believers, determined by locality (for instance, the community of a village), ethnicity (for instance, an ethnic minority in a given state), kinship (an extended family or groups of them), professional guild (for instance, the category of ironmongers), or simply devotion to a particular deity. Besides working as the organisers of all the matters of the communities, they shall represent the communities in front of the ens of An-and-Inanna. They shall be associated with the celestial “Way of Enki”, the ring of the astral map of the sky farther from the north ecliptic pole in Draco. Their garments shall be of the colour traditionally associated to this band of the sky: jasper green.

En of An-Enki

Representation of the organisation of the Zuist Church of Iceland, an exemplification of the general theory enucleated hereinbefore: The Lugal of Iceland (represented in the map by the red sign 𒀭) shall be the supreme leader with direct power over the ens of An-Inanna and direct jurisdiction over Reykjavík and Höfuðborgarsvæðið, its direct “lugalship”; there shall be one en of An-Inanna (represented by the blue sign 𒀭) for each region (“enship”); and many ens of An-Enki (represented by the green sign 𒀭) leading many local communities (“small enships”) within each region, led by the en of An-Inanna of each region.


Horizontal aspect ratio: 7:1:2:1:14; vertical aspect ratio: 7:1:2:1:7.

1. Flag of the Zuist Church

Representing the whole Zuist community


  • An grapheme – FFFFFFFF
  • Background and edge – D40000FF and 000000FF

A white An grapheme at the centre, on a red background framed by a black edge. The colours are those of luludanitu, the colour of the ring of the sky which directly surrounds the north ecliptic pole in the constellation Draco and encompasses the north celestial pole of the Chariots, thus the colour of An as Enlil, that is to say of An manifesting as the world and its spiritual order (Zuist Church 2018b, p. 4).

2. Flag of An and the seven star-gods Anunnaki

Representing the manifestation theology


  • An grapheme – DDFF55FF
  • The seven star-gods manifesting the powers of An (right to left): Jupiter/Marduk – FFFFFFFF; Saturn/Ninurta – 000000FF; Mars/Nergal – FF2A2AFF; Venus/Inanna – 2AFFD5FF; Mercury/Nabu – FF7F2AFF; Moon/Nanna – 55FF55FF; Sun/Utu – FFD42AFF
  • Background – 1C1C24FF

The Anunnaki (“Heaven on Earth”) seven gods represent the seven stars of the Chariot constellations and the seven planets of the system of the Sun, their reflection. They are the seven stages of manifestation of An (the tree of life), the “heavenly writing”, and the stairway for spiritual ascension towards its supreme heart. They shape all beings in matter according to differing configurations, and they are associated to seven colours (Zuist Church 2018b, p. 7).

3. Flag of the three skies and the Zuist enhood

Representing the hierarchic organisation


  • Left stripe – 008000FF
  • Central stripe and An grapheme – FFFFFFFF and D40000FF
  • Right side – 0044AAFF
  • Top and bottom bands – 000000FF

This flag represents the sacerdotal and territorial organisation of the Zuist Church. The white stripe at the centre, with the An grapheme and the top and bottom black bands, represents the all-overseeing lugalship of An-as-Enlil. The blue stripe to the right represents the enship of An-and-Inanna, while the green stripe to the left represents the small enship of An-as-Enki. The colours are those associated to the three concentric rings of the astral mapping of the northern culmen of the sky, whose centre is the north ecliptic pole in Draco, heart of An (Zuist Church 2018b, p. 4).

Zuist Church, February 2019

The article is also availabe in PDF and on Academia

CC BY-SA 3.0


1. Zuist Church (2018d), pp. 5–7.

2. Ibidem.

3. Ibidem.

4. Zuist Church (2018c), p. 7.

5. Littlewood & Dein (2013), note 19: “[…] monetarisation and credit, the market, interest, industrialisation, and communication technology, all of which have led to a gradual ‘disembedding’ from our pagan Being in the World”. For the Zuist definition of the word “Pagan”, according to its original Latin etymology meaning “civil”, see the introductory pamphlet What is Zuism (Zuist Church 2018a).

6. Zuist Church (2018d), p. 6. Also see: Mander (2011), p. 14.

7. Dugin (2012), pp. 51–52.

8. Littlewood & Dein (2013), passim. Also, Christianity consists in “[…] an emphasis on scrutinising and questioning the convoluted workings of a hidden and immaterial self, seen as distinct from other similar selves and from the natural world, now with private communication with an omniscient presence who already knows one’s thoughts and emotions, and with ambiguous agency for personal actions and experience in the world which are no longer to be taken as tacit and unproblematic […]”.

9. De Martino (1977), pp. 294–296, 311–321, 329–335, 466–470, 472–474 & 482–483.

10. Ibidem, pp. 62–67 & 256.

11. Ibidem, pp. 294–296, 311–321, 329–335, 466–470, 472–474 & 482–483.

12. Dugin (2012), pp. 70 & 159.

13. Zuist Church (2018c), pp. 9­–10.

14. Abramson, Daniel Benjamin (2011). “Places for the Gods: Urban Planning as Orthopraxy and Heteropraxy in China”. Environment and Planning D: Society and Space. 29 (1): 67–88.

15. Hao, Lizhou (12 January 2017). “Crowdfunding and the Family Temple Economy”. Realising Eurasia: Civilisation and Moral Economy in the 21st Century. Max Planck Institute for Social Anthropology.

16. Dugin (2008), passim.

17. Mander (2011), p. 9.

18. Ibidem, p. 8.

19. Ibidem, pp. 16–17.

20. Ibidem, p. 15.

21. Ibidem, pp. 7–8.

22. Zuist Church (2018c), pp. 10–12.


An: God-Sky-Time-Being, and the celestial trinity of Eurasia

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

This essay further develops the work begun in Zuist theology – The trinity of An, the seven deities, the word and the measures and De civitate Caeli. It discusses the three celestial forms of An, through a comparison with analogous conceptions found throughout Eurasia. The essay then discusses An’s essence as both time and being, and thus as organisation of space, and the role of the sovereign as An’s channel on earth in a celestial civilisation. The essay also strengthens the critique of the errors of Christianity seen from the Zuist theological and sociological perspective.

In all the traditional religions of Eurasia, God is conceived as a universal power whose visible manifestation is the vault of Heaven, with its stars, hinged at the ecliptic north celestial pole, the unmoving centre of the universe, with the precessional north celestial pole, and its nearby constellations, spinning around it. The fixed ecliptic north celestial pole is coiled by the constellation of the Dragon (Draco), while the moving precessional north celestial pole is umbegone by the constellations of the two Chariots (also called Dippers or Bears; Ursa Major and Ursa Minor), the Big Chariot and Little Chariot, which often represent its male and female aspect, respectively.1 Its centre, in the current epoch, is in α Ursae Minoris (Polaris), the first star of the “handle” of the cluster of the Little Dipper.

Artistic representations of the constellations of the Dragon (Draco) and of the Bears, the Little and the Great Bear (also known as Dippers or Chariots), at the north celestial pole, from Gaius Julius Hyginus’ Poeticon Astronomicon, dated 1482.


The ecliptic pole represents the quiescent heart of the supreme God of Heaven, while the precessional pole represents its changeful activity. A third aspect is its terrestrial power, and it is incarnated among humans by the sovereign of a divinely ordered civilisation and by the father of each divinely ordered family.2 This trinity of persons of the supreme God  is represented in all Eurasian religions. In the most ancient tradition, the Sumerian-Mesopotamian one, they are ① 𒀭 An (the supreme “Heaven”), ② 𒀭𒂗𒆤 Enlil (the “Lord of the Spirit”3) and ③ 𒀭𒂗𒆠 Enki (the “Lord of the Earth”), respectively Anu or Ilu/El, Ellil or Bel/Baal and Ea/Ya in the Akkadian-Semitic rendition. The three facets of the supreme God of Heaven are also conceived as the spirits of the three rings of the sky, and the respective constellations, revolving around the ecliptic pole.4 Zuism, which proposes itself as the re-embodiment of the Sumerian-Mesopotamian tradition, may therefore also provide a theological platform and reference point for all Eurasian religions.

Representation of the fixed north ecliptic pole (NEP) and the moving north celestial pole (NCP), which is centred in α Ursae Minoris (Polaris) in our epoch. Note that the two Little and Big Chariot (or Little and Big Dipper) are represented in the four phases of their rotation around it, imagining the blue ones as the current phase. The red Draco, otherwise, is not represented in its rotation.
This configuration of the northern culmen of the sky is known in many Eurasian religious cultures as representing the physical manifestation of the supreme God of Heaven, in its quiescent (NEP) and active (NCP) form. The seven stars of the Chariots are also regarded as the operative power of the God of Heaven, and they are reflected in the seven planets. In the Mesopotamian tradition the Dippers are also represented as the Bull of Heaven (Didier 2009, Vol. I, pp. 113–119).

In religious cultures which followed in time, and continued, the Sumerian-Mesopotamian tradition, the three aspects of God are represented as follows:

  • Taranis (Dis Pater), Esus and Toutatis in Celtic cultures;5
  • Tiān or 上帝 Shàngdì, 黃帝 Huángdì and 炎帝 Yándì in Chinese culture;6
  • Amun, Ra and Ptah in Egyptian culture;7
  • Odin, Thor and Frey in Germanic cultures;8
  • Jupiter (Deus Pater), Mars and Quirinus in Roman culture;9
  • Deivos or Svarog, Perun and Veles in Slavic cultures;10
  • Varuna, Indra or Mitra and Aryaman in Vedic Sanskrit culture.11

As explained by Wim van den Dungen in his analysis of Egyptian theology, the three aspects represent, reprectively, ① the hidden essence and principle of unity, ② the luminous presence and principle of filiation, and ③ the physical solidity and principle of realisation of the supreme God of the universe.  All the lesser gods are sparkles of the supreme God and they themselves manifest through such threefold nature.12 In Greek philosophy, the three persons of the God of Heaven are variously rendered in intellectualised formulations: ① The utmost, unknowable essence is the Form of Good in Platonism and the Primum Movens in Aristotelianism; ② the second person is the Logos (straightforwardly identified as Enlil in Sumerian-Mesopotamian theology by the Assyriologist Pietro Mander); and ③ the third person becomes the Anima Mundi, which descends from the Logos.13 The three aspects of God and three bands of the sky are also associated, as thoroughly studied by Georges Dumézil, to three functional classes in society and to three colours. The three functional orders are ① the magical and juridical function of the priestly class, ② the executive function of the warrior class, and ③ the productive function of cultivators, farmers and craftsmen.14 The colours are, in Mesopotamia, respectively, ① luludanitu—which is an ensemble of white, red and black—associated to An-Enlil, and to the inner ring of the sky (wherein Enlil himself is identified as MULApin, i.e. “STARPlough”, which is the constellation of the Triangulum), closer to the ecliptic north celestial pole (An itself) and centred in it; ② lapislazuli-blue associated to An-Inanna, and to the middle ring of the sky (wherein Inanna herself is identified as MULDili.bat, which may mean “STARForbearing” or “STARDaisy” and is Venus) between the inner and the outer rings; ③ jasper-green associated to Enki, and to the outer ring of the sky (wherein Enki himself is identified as MULIku, i.e. “STARField”, that is the constellation of the Square of Pegasus), farther from An. In later Indo-European cultures, the three colours are almost invariably ① white, ② red and ③ black,15 associated respectively to the sacerdotal, the warrior, and the productive function.16

Representation of the three bands of the sky around the ecliptic north celestial pole, with their constellations. This is also the wheel of the year, of the time of God, as described in the following parts of the essay.


The eight-arrowed star symbol of Dugin’s Neo-Eurasianism. According to Nad (2014) it represents “the compass, something that provides orientation, introducing order in the seemingly chaotic space, the geometric symbol of the universe”. It is a symbol of “stars”, God, the gods and men as gods.

Cross symbols, including the pan-Eurasian swastika symbol (also illustrated at page 2 of the present essay), the Mesopotamian An 𒀭 grapheme which is the same as the “Gate of God” (𒆍𒀭𒊏 Ka.dingir.ra in Sumerian, Babilu in Akkadian) and as the modern eight-arrows star symbol of Alexander Dugin’s Neo-Eurasianism and Fourth Political Theory,17 traditionally represent the organisation of the sky centred around the ecliptic north celestial pole, the operating heart of space-time, of the supreme God of the universe.18

As explained by Mander, the grapheme 𒀭 An, which means “Heaven”, but also more general “divinity” (dingir in Sumerian, ilum in Akkadian), also has the meanings of “spike”, “cluster”, “petiole”, and is also frequently interpreted as meaning “star”, “asterism”, though these, mul in Sumerian, are more precisely represented by doubling (𒀭𒀭) or tripling the An grapheme. On a philosophical level, its most appropriate rendition is “centre of irradiation” and “navel of the world” (a concept treated by Mircea Eliade), which emanates the web of the world (personified by the goddess Uttu, “Spider”, the last daughter of Enki19), which connects all things; it is the sacred centre shared by all entities. It is well represented by the Sumerian figurative meanings of the spike composed of many spikelets, the bunch of grapes, and the petiole from which the fruit (metaphor of the world) hangs.20

However, due to the centuries-long errors of Christianity, these symbols have lost their original meaning, and what they represent is no longer widely acknowledged. Christianity appropriated the triune conception of the God of Heaven from pan-Eurasian theology, reformulating it in the terms of ① God as the Father, ② God as the Holy Spirit and ③ God as the Son. The fault of Christian theology was to try to fix, to stiffen, the creative operation of the universe (the Logos, the second and third persons of God in traditional Eurasian theology) in a definitive way, as one single spatio-temporal person (Jesus of Nazareth), and at the same time to abstract the supreme God of the universe, no longer identifying it as visibly manifest in the order of Heaven hinged at the ecliptic and precessional north celestial poles, but conceiving it as a transcendent entity. Due to the same corruption of ideas, “Heaven” was no longer identified as the thisworldly sky, but as a future otherworld.21

As the selling of a relative spatio-temporal entity and way of thought (Jesus and his teaching) as the absolute truth, Christianity is a channelling of chaos in the world, inherently “madness and violence”, as it denies the worth of other ways to reach truth, philosophy—i.e. to understand the principle of the universe, God, in its multiple manifestations and operations as Heaven in the world. Christianity, ultimately, denies thought; smothers thought and smothers truth itself, denying its living and changing manifoldness.22

Moreover, Christian eschatology and the transcendentalisation of Heaven projects the thought of individuals away from the present and from the potentialities at play in it. According to the British anthropologists and psychiatrists Roland Littlewood and Simon Dein, Christianity is a psychosis. The fundamental features of Christian mindset are the same that are found in medical diagnoses of psychosis: “An omniscient deity, a decontexualised self, ambiguous agency, a downplaying of immediate sensory data, and a scrutiny of the self and its reconstitution in conversion”.23 The decontextualisation or alienation of the self—its eradication from mankind’s divine role in-between Heaven and Earth (𒀭𒆠 Anki),24 which is to co-work with the gods, through the 𒈨 me (the “measures”, “means”, “manners” or “morals”), for the continuous realisation of the cosmos; to co-create with the gods25—brings to its hypertrophy, illusory omnipotentisation, self-analysis of its own aspects and functioning, and estrangement from reality within an exclusive relationship with an all-seeing, non-existing “delocated” God of Christianity, so that the self is bereft of “any sense of naturalness or capacity for spontaneous action”, in a process which increasingly exacerbates self-alienation and loss of the world.26

As it is explained by Littlewood and Dein:27

As agency is withdrawn from the natural world, from others, from animals, plants, stars, and spirits, our individual agency appears enhanced and yet there remains the uneasy balance between the “is it me?” and the “is it something external?” […] Many external causes, spirits, and stars, not only no longer have agency but are no longer validated by our society, so any personal explanations of an external locus of control become increasingly idiosyncratic and divorced from our common social life. […] This type of estrangement from experience (later reinforced by a number of secular and religious developments) fits well with Sass’ criteria for the reflexive self-consciousness that has perhaps propelled us into schizophrenia.


The supreme God of the north celestial pole, An, is the essence of the consciousness and idea of the empire, that is to say the structuration of society in accordance with Heaven, spatiotemporally aligned with it, with the time of God, with God-as-Time which is God-as-Being.28 The imperial idea is the only one capable of realising the true essence of mankind: That is to say, to realise humanity as a polar phenomenon and to realise its role of bridge between Heaven and Earth, of the order of Heaven on Earth; building temples to the gods of Heaven, establishing and expanding the magical circle of the celestial empire. Such idea is embodied by the sovereign, the lugal in Zuism, whose duty is to commune directly with God on behalf of the entire reign, functioning as the latter’s axis mundi and antenna, channelling the ideas for the realisation of the divine city and its empire.29

According to the scholar Daniele Perra, who writes in the wake of the Fourth Political Theory opened by the Russian Eurasianist philosopher Aleksandr Dugin, the departure of mankind from the God of the celestial pole has broken the axis of conjunction between Heaven and Earth, the way for vertical ascension towards Heaven and horizontal expansion of its order, giving way to the loss of truth and trust, the disruption of societies into anomic and atomised individuals, the generation of beings in violence and their destination to wicked and egoistic existences. The empire tends to the a supreme idea, the idea of God, which is realised in shared, communal forms of human life, in which the individual becomes aware of his worth through the sense of actively belonging to a community that is at one time spiritual and political. The hierarchic structuration of society (the three classes mentioned in the foregoing parts of the present essay) in a celestial empire, gives to all the levels of society the sense of participating in a higher divine order, and therefore value, meaning and dignity—contrariwise to what happens in modern atomised and degenerate Western societies, where power is represented by anomic entities whose only aim is financial profit. Indeed, the imperial idea is diametrically opposite to the worldview of the modern era, and of the Western world, which revolves around the concept of an anomic, atomic, uprooted individual, forged by Christian alienation, the Protestant Reformation and the bourgeois revolutions of the late 18th century. The empire is therefore the instrument for the liberation of mankind from wickedness (which is not part of the human essence, as maintained by the Christian doctrine); mankind’s liberation from unholy degenerating societies which have lost the link with Heaven; mankind’s spiritual redemption. There is no distinction between the city (i.e. civilisation) of God and the city of man. Freedom, in the society of a celestial empire, is trust towards the divine order of Heaven, of God-as-Time-Being, and its earthly channel, the sovereign and the forefather.30

Perra writes that the project of a celestial empire may be realised only by rejecting the idea of a linear progress of time, typical of Christianity and modernity, recovering the ancient conception of a circular time, which is the same order of the circular Heaven. An is indeed the root of the Latin annus, the “year”; An is God-as-Time, and thus God-as-Year. The supreme God of the celestial pole is time, and is the cycle of the year. Time “has to be interpreted as a divine manifestation”, a cyclical manifestation of the eternal source, which is therefore reversible, as it may flow both forward and backward. The return to the celestial empire, the project of Zuism, the return to An, is therefore a return to the moment when mankind “sublimated itself by sharing the eternal time of God”. The north celestial pole is, in the studies of the Dutch scholar Herman Wirth, “the point wherefrom the rays of civilisation spread towards the south of the world”, as the original Arctic mankind lived a direct cosmic-ecstatic experience of the Divine, of the divine light of the God-Year represented by the rhythm of the sun. Living within pristine time, always identical to itself, original mankind did not experience distinction between the created and the uncreated, being and thought.31

In the words of Wirth himself, according to a translation by Dugin:32

The sacred meaning of the Year is completely unknown to the modern, city-dwelling man. For him the year is only an abstract, temporal understanding in no way different from all other intervals of time along which modern “socio-economic” life operates. The year is known to him only on the calendar, in business records, and wardrobe changes. The modern urban man is no longer in step with the rhythm of creation. His encounter with the God-Year in nature occurs only sporadically, during vacations or natural disasters. In order to return to the experience of the Year, the modern man must “recover” from his civilized existence that is separated from the experience of being. As the pace of work and life is becoming faster, even the gap with the more human Year, with the cycle of man’s Destiny-Life, is increasing. In need of “recovering” are none other than those “social” people who, freed from all the natural laws of the God-Year, turn night into day, and day into night, and make “optimal use of time” while they are in fact killing time. The God-Year in nature refreshed men, but they can no longer find an inner path to it. If they understood its very meaning, they would have never set off in mad pursuit of Mammon, making money into a goal of life; they would have not started believing that senseless industrialization and the enlargement of cities is inevitable; and they would not be mired in such deep materialism that seals the poverty, weakness, and nothingness of their soul, the soul of “modern humanity”. The main reason for all ills is modern men’s fall from the eternal rhythm of the God-Year. They themselves do not live, but are lived by something extraneous, something alien. They rot in their bodies and souls and grow old even in youth.

The Hawk Lady, an artwork by Dragoš Kalajić, a Serbian philosopher and artist whose style is called “Hyperborean realism” and represents the essential forms of the original experience of an enlightened Arctic mankind. Here, the circle represents the cyclical time of the God-Year, and there is an eagle, symbol of heavenly wisdom (𒍪 zu) and spiritual ascension (Parpola 1993, p. 198, n. 143).
© Courtesy of www.dragoskalajic.com

About the worldview of the original Arctic mankind, and its civilisation which is the Hyperborea (i.e. “Over-the-North”), which consisted in the immediate experience of An, of pure Time-Being, Dugin writes:33

The whole world was permeated  with divine energies, and people themselves were seen as children of the Sun, descendants of gods, as angelic, supreme beings professing a particular world view, a God-worldview, or Gottesweltanschauung. […] They worshipped the One World imbued with the presence of the One God whose signs of manifestation changed, unfolding in time and space, but while remaining essentially the same, the Self. […] [Wirth] believed that the great sacred formula lying at the heart of polar civilization was not simply a description of the external world, but magical thought itself given flesh. “God creates thinking”, Wirth quotes the famous phrase of an Icelandic runic song. Knowledge is Being, both coinciding and each having no right to eminency.

This immediate experience of An is the root of Dugin’s reading of the Dasein (“Therebeing”), the logical power to put order into the Chaos of primordial matter, institutionalising time and creating organised space, handling the weapon of the name-giving Word to establish measures (me34) of things. It is what Dugin calls the original political (from politus, politicus, which originally meant “clean, cleansing”, at the same time referring to the divinely ordered city35) ontological topography.36 Zuism is meant to be a channel for this return to the God-as-Sky-as-Time-as-Being, for the re-establishment of the holy circle of the divine city and its empire, of the empire of the celestial Hyperborea.

This image represents Indara (Indo-European god of thunder, corresponding to Enlil as Ishkur) 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, by channelling and applying the creative craft from Heaven. He is therefore an image of the cosmic sovereign.

Zuist Church, October 2018

The article is also availabe in PDF and on Academia

CC BY-SA 3.0, except for Dragoš Kalajić’s artwork


1. In Germanic European folklore, the Little Dipper is often defined as the Woman’s Wagon, while the Big Dipper as the Man’s Wagon (or Odin’s Wagon). For more, see: Hinckley Allen, Richard (1963). “Ursa Major, the Great Bear”. Star Names: Their Lore and Meaning. Dover Publications.

2. Mander 2011, p. 16.

3. The Lil 𒆤 is the “Breath”, the “Spirit”, the Logos, thus the magical enlightening “Word” (Utu 𒌓; Latin Oratio) begetting, shaping and linking all things, which is also the human power of “naming” entities, thus shaping their fate. See: Mander 2011, p. 6. It is the equivalent of both 理 (“Reason”, Latin Ratio) and 氣 (“psychophysical stuff”) in Chinese. See: Zuist Church 2018b, pp. 5–6.

4. The triune supreme God of Heaven and its astral connections are well explained throughout: Zuist Church 2018a & 2018b.

5. Duval 1989, passim. In late British mythology, in the Arthurian Cycle, the supreme person is Uther Pendragon while the second person is the son Arthur (the “Bear”).

6. Didier 2009, passim. Particular Chinese religions present peculiar formulations of the trinity of God. For instance, Taoism represents it as the 三清 Sānqīng, the “Three Purities”.

7. Van den Dungen 2002, passim.

8. Dumézil 1973, passim.

9. Dumézil 1941, passim. The Hellenic equivalents are Zeus Pater, Ares, while the third had no univocal equivalent; in the older tradition the triad was rather OuranosKhronos, Zeus (“Day”) and Poseidon (the “Lord of the Earth”).

10. Kushnir 2016, p. 40, where the three aspects of God (Rod in Slavic Rodnovery) and the three colours (white, red and black) are also associated to the three aspects of reality: Prav, Yav and Nav.

11. Achuthananda Swami 2018, p. 22. In Hinduism, the original trinity has been variously reformulated throughout history. The well-known modern trinity is composed of Brahma, Vishnu, and Shiva.

12. Van den Dungen 2002, passim.

13. Mander 2011, p. 6.

14. De Benoist 2002, passim.

15. Cf. the Norse poem Rígsþula of the Edda, but the three colours are well documented in other literature about the Indo-Europeans. Also see: Kushnir 2016, p. 40.

16. Zuist Church 2018a, pp. 4–5; Zuist Church 2018b, p. 10 ff.

17. Zuist Church 2018b, p. 2. 天门 Tiānmén, the “Gate of Heaven”, in Chinese thought.

18. Ibidem, p. 5.

19. Mander 2011, pp. 12­–15.

20. Ibidem, pp. 5­–6.

21. Zuist Church 2018b, p. 6.

22. These are among the critiques to Christianity moved by Porphyry of Tyre (233/234–305 CE) in his Against the Christians (Contra Christianos).

23. Littlewood & Dein 2013, passim.

24. Zuist Church 2018a, p. 3; Zuist Church 2018b, pp. 5–6. 天地 Tiāndì (“Heaven–Earth”) in Chinese thought.

25. Zuist Church 2018a, p. 10; Mander 2011, p. 14. In Chinese, the 禮 lǐ and 祖 , “rites” and “ancestral patterns”, and the latters’ names and thus destinies, 名 míng and 命 mìng.

26. Littlewood & Dein 2013, passim.

27. Ibidem.

28. An is Time and is Being, is Time-Being. It is worthwhile to note how in the ancient Greco-Roman tradition Ouranos/Uranus (“Heaven”, intended as the space of the vault of the sky) and Chronus/Kronos or Saturn (“Time”) represent God as Space-Time, while Zeus/Deus (from the Indo-European Dyeus; “Heaven”, but also “Day”) represents God as the most immediate Being from human perspective, thus the Day and the Year.

29. Perra 2017, passim; Mander 2011, p. 18. Regarding the words “empire” and “emperor”, it is worthwhile to note that their pristine meaning is the same as “interpreting” and “interpreter”, as witnessed by etymology. The emperor is one who “brings forth/arranges from within” (literal meaning of the Latin imperō, imperāre, a variation of in+‎parō, parāre, which also has the meaning of “learning”), the same as an interpreter, one who “fathers/makes from within” (the Latin verb interpretor, interpretārī). For these etymologies see: Zeizlindt 2018, p. 144, n. 493.

30. Perra 2017, passim.

31. Ibidem.

32. Dugin 2008, passim.

33. Ibidem.

34. Mos, mores, meaning “customs” or “morality” in Latin, even related to “man”, “mind” and “medium/middle”, probably come from the same root as the Sumerian me. See: Pokorny 1959, pp. 703–706 ff: *me-, *mo-, *met-, *med-; pp. 726–728: *men-.

35. Pokorny 1959, p. 798 ff: *pel-, *pelə-, *plē-.

36. Zeizlindt 2018, p. 155.


De civitate Caeli – The civilisation of Heaven

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

The essay puts Zuism in dialogue with some of the most important currents of contemporary philosophical enquiry. It shows the compatibility of the Zuist project with the Eurasianist Fourth Political Theory of Aleksandr Dugin, and the affinity of Zuism with broader Eurasian religion, especially Chinese religion; then it puts forward a criticism of Christianity and Sitchinianism, both proven as wrong and misleading forms of thought. Endly, the essay introduces the Zuist projects for new social structures.

Drawing by the Serbian artist Dragoš Kalajić, representing ⨁ one of the many variations of the symbol of Hyperborea, the God of Heaven (𒀭 An) at the ecliptic north pole, with an eagle head. In Zuism, the eagle is a symbol of heavenly wisdom (𒍪 zu), of the wisemen who know Heaven (the eagle-faced apkallu; Parpola 1993, p. 167, n. 31), and of Anzu, whom is the same as the Iranic Simurgh, the bird of the north pole. The eagle, reputed to be able to gaze directly at the Sun, represents the part of the soul which strives to ascend to Heaven, opposed to the snake, the part of the soul which longs for the Earth (Parpola 1993, p. 198, n. 143).
© Courtesy of www.dragoskalajic.com


Zuism proposes itself as a radical transformation of society, in a period when people in the West are increasingly challenging the authority of traditional institutions and feeling the need for a break with the stagnant order of the world, the collapsing Anglo-American empire, represented by Christianity and the entire construction of the Judeo-Christian civilisation, which does not represent the true roots of Europe. The Indo-Europeans are the true roots of Europe.1

Zuism inscribes itself among the attempts to change the stagnant present through the reactualisation of past structures of thought, identity and socialisation. It opens the way for the hoisting of a new axis mundi, a new configuration of the Logos, a new civilising centre where Heaven will meet the Earth, and wherein a new mankind will gather.

As such, Zuism is particularly apt for fulfilling the Fourth Political Theory elaborated by the Russian philosopher Aleksandr Dugin, an open yard2 for a “new institutionalisation of the world”.

The architecture of the postmodern world is completely fragmented, perverse and confused. It is a labyrinth without an exit, as folded and twisted as a Moebius strip. The Logos, which was the guarantor of strictness and order, serves here instead to grant curvature and crookedness, being used to preserve the impassability of the ontological border with nothing from the eventual and inevitable trespassers seeking to escape into the beyond. (Dugin 2012, p. 209)

Let the buffoonery of postmodernism have its turn; let it erode definite paradigms, the ego, super-ego and Logos; […] let nothing carry along in itself the substance of the world — then secret doors will open, and ancient, eternal, ontological archetypes will come to the surface and, in a frightful way, will put an end to the game. (Dugin 2012, pp. 97-98)

The world around us becomes what it is by the fundamental action of presencing accomplished by the mind. When the mind sleeps, reality lacks the sense of present experience. It is fully immersed in a continuous dream. The world is created by time, and time, in its turn, is the manifestation of self-aware subjectivity, an intrasubjectivity. […] Time is that which is inside us, and what makes us who we are. Time is man’s ultimate identity. (Dugin 2012, p. 159)

The Fourth Political Theory has opened a unique perspective: if we comprehend the principle of the reversibility of time, we are not only able to compose the project of a future society, but we will also be able to compose a whole range of projects of different future societies, thus we would be able to suggest some non-linear strategies for a new institutionalisation of the world. (Dugin 2012, p. 70)

The Fourth Political Theory is so called because its purpose is to represent a fourth way overcoming the three political theories which shaped modernity—fascism, communism and liberalism—among which the latter has apparently triumphed in the contemporary, degenerating postmodern world. The number four is also “the sign of Jupiter, the planet of order and monarchy. It is an Indo-European, patriarchal symbol of the God of Heaven—Dyaus, Deus, Zeus”,3 the Zuists’ An or Dingir, the father of the fixed ecliptic north pole winded by the constellation Draco,4 of the Hyperborea.5 Another symbol used by Dugin is the eight-arrows star, which derives directly from our symbol of the “Gate of God” (𒆍𒀭𒊏 Ka.dingir.ra in Sumerian, Babilu in Akkadian), the ancient Sumerian grapheme An or Dingir itself, representing the ecliptic north pole from which everything emanates à 𒀭.6 It is “the compass, something that provides orientation, introducing order in the seemingly chaotic space, the geometric symbol of the universe”. It is a symbol of “stars”, that is to say God, the gods and men as gods.7

Dugin appeals to the shared effort of European and Asian intellectuals who perceive the “eschatological tension of the present time”, for the formulation of the Fourth Political Theory,8 which he himself characterises as a “Fourth Nomos of the Earth”, using Carl Schmitt’s terminology; a coalescence of political science, political theology, geopolitics and a “new model of the political organisation of space”.9 In Schmitt, a “nomos of the Earth” is an Ordnung, “ordering”, as well as an Ortung, a “localisation”. Unifying these in a single word, Dugin develops the concept of Dasein (“Therebeing”) inherited from Martin Heidegger:

[…] We may propose to consider Heidegger’s Dasein as the subject of the Fourth Political Theory. Dasein is described in Heidegger’s philosophy at length through its existential structure, which makes it possible to build a complex, holistic model based on it, the development of which will lead to, for instance, a new understanding of politics. […] If the subject is Dasein, then the Fourth Political Theory would constitute a fundamental ontological structure that is developed on the basis of existential anthropology. (Dugin 2012, pp. 40-41)

In Dugin, the Dasein is  “a new conception of the Logos and of humanity that works as the magnetic centre of the Fourth Political Theory”, “a fundamental ontological theory with at its core the awareness of the truth of Being: ‘there’ (da) and ‘be’ (sein) is a gesture, an indication of where the fountain of Being is located”.10

Zuism, represented by the Gate of God, by the gate of the fixed ecliptic north pole of Heaven, reproduced on Earth by the Zuist temple,11 wants to be a cradle for the new Dasein, for the new, re-ordered mankind, a pole of irradiation for a new civilisation to align the Earth with Heaven. According to Dugin, the nature of Dasein is being “intween/intwixt” (inzwischen);12 in our case it represents mankind which occupies its due position between Heaven and Earth, linking Heaven and Earth. Zuism, therefore, proposes itself as a “rectification”, a new orthodoxy, a new “right”, that is to say a new alignment with the pole of Heaven, for the world and for Europe in particular.13

Zuism as a new centre, and Zuist temples as its many centres, may be compared to the Heideggerian concept of Ort, a German word originally meaning the “tip of the spear”, which is used to render the Latin word “locus”; the theurgical establishment of “an ordered space, centre of gravitation and irradiation of activity”.14 In his essay entitled Georg Trakl. Eine Erörterung seines Gedichtes (1953), Heidegger says:

All the forces of the spear converge into its tip. The Ort gathers by attracting towards itself, as it is the highest and most extreme point. By bringing together, it transfixes and permeates everything. The Ort, as that which unites, draws to itself and keeps what it has drawn to itself. It does not keep what it has drawn to itself in the manner of a casket, but in order to integrate it within its own light, thereby giving it the ability to unfold according to its own true being.15

According to a reading of Dugin’s thought, “time coagulates around Dasein into different complexes, establishing topographies in which concepts combine and recombine in a nonlinear and reversible way. Concepts from the past may be reëvoked, providing the bases for the composition of projects for the future and the strategies for their institutionalisation”.16

Zuism is otherwise describable as Dugin’s Ereignis, the “event” of the return of Being, the “central axis threading everything around itself”, politics, theology and mythology; “the triumphant return of Being, at the exact moment when mankind forgets about it, once and for all”.17 When Dasein manifests in the Ereignis, it institutionalises time; time is at the same time a function of Dasein and becomes institutionalised in it. Dugin compares it to Gilbert Durand’s topographical Traiectum, the crossroads which “institutionalise time”.18

Zuism as the cradle for Dasein is therefore a new institutionalisation of space-time, or time-space. It establishes anew what Dugin calls the “original political ontological topography”, that is “the fundamental structure of any political entity and experience”.19


Dugin calls for a recourse to archaic and Eastern theologico-mystical systems to trigger a reconfiguration of the Logos and the rise of a new civilisation, since they preserve the “real form” of the original knowledge about the how to institutionalise the world.20

[…] The theology of monotheistic religions, which at one time displaced other sacred cultures, will not be the ultimate truth […]. Theoretically, nothing limits the possibilities for an in-depth readdressing of the ancient archaic values, which can take their place in the new ideological construction, upon being adequately recognised and understood. […] Not only the highest supra-mental symbols of faith can be taken on board once again as a new shield […]. If we reject the idea of progress that is inherent in modernity […], then all that is ancient gains value and credibility for us simply by virtue of the fact that it is ancient. […] “Ancient” means good, and the more ancient — the better. Of all creations, Heaven is the most ancient one. The carriers of the Fourth Political Theory must strive toward rediscovering it in the near future. (Dugin 2012, pp. 27–28)

Among Eastern cultures, and especially among the living great traditions, Zuism shares many fundamental structural ideas with Chinese religion. Both these religious cultures are characterised by a scientific outlook: Both Sumerian and Chinese religion are not blind faith in a supernatural, otherworldly reality, but rather are based on the observation of Heaven, of natural phenomena, and on techniques meant to regulate human activity in accordance with the order of Heaven. They are scientific, thisworldly religions whose aim is to create Heaven on Earth.

This similarity is due to the common origin of Sumerian and Chinese religious cultures. John C. Didier finds a common “center-plus-agency structure” that “ancient proto-Chinese and Chinese may have inherited from a transmitted Sumerian-Babylonian religion”.21 This transmission may have occurred from the 4th millennium BC onwards, via Indo-European peoples, and such spiritual knowledge is ultimately shared by a common pan-Eurasian religion,22 whose most ancient core is found in the myths of Siberia.23

The supreme God of Heaven, the ecliptic north pole, which is “the creative source of all energy and thus also the patriarch of the entire cosmos”, with the Dipper constellations revolving around it representing its offspring which “helps as an agent to produce and/or govern further evolutionary developments of the cosmos”,24 is the same An or Dingir 𒀭 (with his offspring Enlil and Marduk-Jupiter representing his active, moving emanation) of Sumerian-Mesopotamian religious culture, Dyeus (called Deus Pater by the Latins, later contracted as “Jupiter”, Zeus by the Greeks) of the Proto-Indo-Europeans, and Dīng 口, 帝 (“Deity”) or Tiān 天 (“Heaven”) of Chinese religious culture.25 Other symbols of the God of Heaven in these cultures are the cross potent and the swastika (which in Sanskrit means “well-being”, “it is the good”).26

In all these cultures, the vault of Heaven, revolving around the centre, the ecliptic north pole identified as the heart of the God of Heaven coiled by the constellation Draco, is divided into three concentric bands of constellations, associated with the God of Heaven itself and its two main manifestations. In Sumerian religious culture the band closer to the centre is the “Path of Enlil”, the middle band is the “Path of An”, and the farther band is the “Path of Enki”, the god of humanity.27

Besides An, all the other main concepts of Sumerian-Mesopotamian religion find equivalents in Chinese and broader Eurasian religion. Ki 𒆠 (“Earth”) is the same as the Chinese 地 Dì, and the compound Anki 𒀭𒆠 (“Heaven-Earth”), signifying the “cosmos”, the ordered world when Heaven and Earth are in harmony,28 is the same as the Chinese concept of 天地 Tiāndì.

The Sumerian equivalent of the Hellenic concept of Logos, the the Latin Ratio and Oratio—the structural “order” of the universe emanated by the supreme God of Heaven and the “word” which gives such order—is the Lil29 𒆤 (translatable as “wind”, “air”, “breath” or “spirit”30), also in its personification Enlil (𒂗𒆤, the “Master of Breath”).31 Utu 𒌓, which means both “word” and “Sun”, is the Lil when understood as the divine utterance which has performative, creative power to make order out of chaos—Abzu 𒀊𒍪 (“Deep Water” or “Watery Knowledge”, or “Before Knowledge”) or Engur or Nammu 𒇉, the primordial “Mother”, which is the same as the Chinese Hùndùn 混沌.32 The Lil is what unites Heaven and Earth; it stands between them33 and all things are made of it; it is characterised by movement and expansion.34 From this perspective, the Lil is also comparable to the concept of pneuma. In Chinese religion, its equivalents are 理 (“reason”, “order”, or “pattern”) and 氣, the former defining the structural order of Heaven and the latter defining the energised matter of which all things are made.

The Chinese Li as Logos is reflected in the homophonous lǐ  禮 carrying the meaning of “rite” (even in the Indo-European tradition Ratio and ritus ultimately come from the same root35). In Chinese religious culture, rites are devices for the moralisation, the structuration, of space-time, and consist in the transmission of ancestral forms ( 祖; through the “naming”, 名 míng, and thus the “destination”, 命 mìng, of things).36 The equivalent concept in Sumerian-Mesopotamian religion is me 𒈨 (“measure”, “mean”), which is likely the phonetic root of the Latin concept of mos, mores (“habits”, “morals”).37



Christianity is fundamentally a religion for the slaves, deliberately created to breed and domesticate masses of slaves. In his 1992 work The End of History and the Last Man, Francis Fukuyama, in the wake of Nietzsche and Hegel, called Christianity “the most prominent ideology of slavery”, a perverse moralism which justifies and glorifies weakness and fault (“turn the other cheek”). At the same time, it postpones its plan of universal equality to an otherworldly future. This results in a rejection of the present world, of thisworldly potentialities, and thus in an alienation of individual intelligences from the present world, and in the fall of the latter into anomy.38

The Bible, in Ephesians 6:5–8, one of its passages about slavery, says:

Slaves, obey your earthly masters with respect and fear, and with sincerity of heart, just as you would obey Christ. Obey them not only to win their favour when their eye is on you, but as slaves of Christ, doing the will of God from your heart. Serve wholeheartedly, as if you were serving the Lord, not people, because you know that the Lord will reward each one for whatever good they do, whether they are slave or free.

These verses tell about a religion of social and spiritual stagnation, which paralyses the development of humanity preventing any possibility of meritocracy. According to Christianity, people must humbly accept their position in society, as there is no way for them to improve their condition. There is no possibility of perfectibility, in this world. Christianity is what cultivates the Nietzschean “last men”, bereft of any dignity, at the time of what Fukuyama calls the “end of history”, as Christianity, and its ideological spawns (far-fetched mass egalitarianism and liberalism), ultimately smother any possibility of dynamic evolution of humanity and thus mark the deadlock of history.39

Such conception is radically different from that which is found in Chinese religious culture, in which humanity may continuously develop, refine itself through ritual self-cultivation, moralisation of space-time, with the purpose of becoming one with Heaven.40 The same conception shall be recovered from the Sumerian tradition, in Zuism, through the ideas of utu an me.

According to a reading of the history of Western thought, Christianity is also deemed responsible for the concealment of the original meaning of the Logos and for the consequent sclerotisation of thought occurring in Western civilisation.41 Dugin says:

The architecture of the postmodern world is completely fragmented, perverse and confused. It is a labyrinth without an exit, as folded and twisted as a Moebius strip. Logos, which was the guarantor of strictness and order, serves here instead to grant curvature and crookedness, being used to preserve the impassability of the ontological border with nothing from the eventual and inevitable trespassers seeking to escape into the beyond. (Dugin 2009, p. 209)

The sclerotisation of the Logos goes back to “the Christian conception of God as an abstract, otherworldly entity, that is to say, as a transcendent cause that is separated from its creation”, thus external to the universe and to the Logos which informs the universe.42 A further step is Christianity’s reification or objectification of the Logos as one single entity, spatiotemporally confined in the person of Jesus of Nazareth, so that the Logos is ultimately separated from the world and from humanity, which in turn are bereft of any spiritual value.43 Comparing the Logos with Jacques Lacan’s concept of the web of the “Symbolic Order”, it becomes clear that Christianity’s reduction of symbols to one historicised entity results in what Lacanians call “obduracy” or “network sclerosis”: “The network of symbols ceases to be dynamic […] and it protractedly reproduces itself as a machine-like empty shell”.44 The separation of God from the Logos and of the two from lower human reason, results in the explosion of the system into all types of “nonsensicality and madness”.45


Sitchinianism46 or the ancient astronaut theory, which is sadly a popular thought paradigm among contemporary masses, is just the latest spawn of the Christian abstraction of God and objectification of the Logos. The late scholar D. M. Murdock, historian of religion and astrotheology, writes that:

[…] The ancients themselves were quite clear about what it was exactly they were worshipping and fancifully describing in epic poetry. […] For example, the Sumero-Babylonians themselves said that the gods were the planets, not people, and that their stories were myths representing personifications of these bodies. […] They developed over a period of many thousands of years a complex astronomical/astrological system that incorporated the movements and qualities of numerous celestial bodies, which could be called the celestial mythos. (Murdock 2014, passim)

This astral religion served to regulate life on Earth according to the patterning of Heaven. Murdock proposes that Sitchinianism may have been deliberately spread “by the same type of motivation that produced the Bible, a chronicle largely consisting of the plagiarized myths of other cultures that were reconstituted as humans of a particular ethnicity”.47

According to Murdock:

[…] The Anunnaki […] are not “people”, human or otherwise. The Anunnaki, in general, represent the seven nether spheres and guardians of the seven gates through which the sun of God passes into the netherworld or darkness. They are also the tutelary spirits of the earth. […] The ancients were not so dumb that they mistook planets for people, even though they personified those planets and, where the knowledge or gnosis of the mythos was lost, they hoped for the incarnation, or the carnalization or appearance of a god. (Murdock 2014, passim)

Quoting Barbara G. Walker, Murdock says:

A generally accepted view of the universe in antiquity was the doctrine of the planetary spheres, conceived as great crystal domes or inverted bowls nested inside one another over the earth, turning independently of one another at various rates, and emitting the “music of the spheres” with their motions. The theory was evolved to explain the apparently erratic movement of planets against the background of the fixed stars. Reading from the innermost sphere outward, arranging them according to the days of the week, they were the spheres of the moon, Mars, Mercury, Jupiter, Venus, Saturn, and the sun. Outermost was the eight sphere, the Empyrean, the home of fixed spheres and the ultimate God: the highest heaven. As a corollary to this theory, it was also assumed that there were seven nether spheres descending under the earth: the seven hells to which Dumuzi and Inanna (or Tammuz and Ishtar) journeyed; whose seven gates were guarded by the seven Anunnaki or Maskim, the nether counterparts of the planetary spirits. According to an Akkadian magic tablet, “They proceed from the ocean depths, from the hidden retreat”. From the ancient idea of the seven nether spheres, Dante took his vision of the descending circles of hell. (Murdock 2014 quoting Walker 201348)

Dragoš Kalajić’s artwork representing the seven stars of the Big Dipper, or Great Chariot, the constellation which revolves around the north pole of Heaven. In the traditions of all Eurasia, including Mesopotamia, the Big Dipper is associated with the utmost God of Heaven, specifically as its operative power. Each of its seven stars represents one of the seven planets near the earth: The Sun, Moon, Mercury, Venus, Mars, Jupiter, and Saturn. The symbolism of the number seven in many Eurasian traditions originates from the Big Dipper (Didier 2009, vol. I, p. 113).
© Courtesy of www.dragoskalajic.com


Poster by the Chaldean artist Amer Hanna Fatuhi. The Mesopotamian temple (in the poster the Etemenanki, “Temple of the Foundations of Heaven and Earth”), functions as the centre of an ordered world.
© Courtesy of www.amerfatuhiart.com

Zuism’s aim is to establish a new social structure. Temples (é 𒂍) in Sumer and broader Mesopotamia were economic powerhouses, centres of business and industry. As written by Leslie A. White, relying largely upon the studies of V. Gordon Childe, Mesopotamian temples had waged workers including bakers, brewers, spinners, smiths and farmers, and obviously the clergy who supervised them. The temples also functioned as banks: “The early temple archives record the god’s loan of seed or plow animals to cultivators, the fields he has let to tenants, wages paid to […] employees […]. The god is the richest member of the community”.49

The Igibi Bank, active around 575 BCE, “acted as a buying agent for clients, loaned on crops, attaching them in advance; loaned on signatures and on objects deposited, and received deposits on which it paid interest”. White writes that the contract as a legal device for business transaction was invented by the Mesopotamian temple system; it was used in the rental of fields, houses, working animals and vehicles.50 As in this testimony:

Warad-Ilisch […] has received from the sun-priestess Iltani, one shekel of silver by the Sun God’s balance. This sum is to be used to buy sesame. At the time of the sesame-harvest, he will repay in sesame, at the current price, to the bearer of this document. (White 1959, pp. 326–327, quoting the Encyclopædia Britannica51)

Zuist temples shall recover the functions that temples had in ancient Mesopotamia. In a 2016 article, Izabella Kaminska writes about how “the emergence of civilised states such as Sumer was closely connected to the role temples played in standardising, clearing and redistributing value in society. Temple authorities, the theory states, kept account of the assets and liabilities of each individual in a centralised manner, meaning citizens could claim as many goods from the temple store as the temple records permitted. This was often based on the amount of provable work they had done. Tangible coins were thus unnecessary. The accounting system was ubiquitous in society and trusted”.52

Sumer was an “industrial-religious accounting complex” in which land was considered property of the gods and not of individuals or families, so that this spurred “non-rivalrous collaboration” for cultivation and settlement. At the same time, church, bank and state were separated, as it was the king (lugal) who authorised and oversaw the bala (“exchange”), the taxation system by which the temples collected goods and surplus and conveyed them into welfare and development projects. Through this temple-state system, people “gave up their nomadic/predatory/hunter-gatherer existence” as they “were provided with a neutral territory and common religious purpose, something which in turn gave them an excuse to opt into a mutually beneficial subsidisation platform of their own accord”.53

Amagi 𒂼𒄄 or amargi 𒂼𒅈𒄄, literally “return to the mother”, which became a figure of speech for “freedom”, implies the restoration of persons and properties to their original status, with the cancellation of debts and obligations. This practice shall be restored by Zuism, starting from the redistribution of collected taxes and the use of the surplus for the projects of the community.


Sumerian religious ministers were called en 𒂗, ensi 𒑐𒋼𒋛, or lugal 𒈗, with the latter occupying the highest position in the hierarchy. They were at the same time the political leaders: The ensi (“priests”) were the leaders of individual city-states while the lugal led confederations of many cities, or maybe the whole Sumer. The lugal, which literally means “great man”, likely also had military functions, while the ensi dealt with internal affairs.54

Below the en there were various male and female assisting figures in the temple hierarchy. The upper rank  included the lagar, the eresh-digir or nin (“priestess”, who had an important role and is sometimes considered as the female equivalent of the en), the lu-mah and the egi-zi.55 The second rank included cultic officiants and specialists in charge of the purification of the holy spaces and of the care of the statues and liturgical objects, namely the gudu, the shita, the nu-esh, the a-tu, the sanga, the susbu and the ishib.56 The fourth rank included liturgical cantors and musicians, nar and gala.57 The fourth and lower rank of the temple functionaries were the female voters, nu-gig or lukur.58

In Zuism it would be possible either to reinstitute this system in its entirety, or to establish a new enhood adapted to the context of contemporary Europe, to meet the need for a reformation and resacralisation of Europe. What is proposed by the present essay is a threefold enhood that would reflect the three forms of the supreme God of Heaven in Sumerian theology (An itself, Enlil and Enki), their associated three concentric bands of the starry sky spinning umbe the ecliptic north pole,59 and the three functional classes of traditional Indo-European societies as studied by Georges Dumézil.60 It is indeed possible to draw a parallel between the utmost trinity of Heaven of Sumerian theology, its equivalents in other Eurasian cultures (for instance the Germanic trinity: Odin, his active emanation Thor, and Frey), and the three functions studied by Dumézil.

Representation of the fixed north ecliptic pole (NEP) and the moving north celestial pole (NCP), which is centred in α Ursae Minoris (Polaris) in our epoch. Note that the two Little and Big Chariot (or Little and Big Dipper) are represented in the four phases of their rotation around it, imagining the blue ones as the current phase. The red Draco, otherwise, is not represented in its rotation.
This configuration of the northern culmen of the sky is known in many Eurasian religious cultures as representing the physical manifestation of the supreme God of Heaven, in its quiescent (NEP) and active (NCP) form. The seven stars of the Chariots are also regarded as the operative power of the God of Heaven, and they are reflected in the seven planets. In the Mesopotamian tradition the Dippers are also represented as the Bull of Heaven (Didier 2009, Vol. I, pp. 113–119).

The three orders of enhood would articulate as follows:

The lugal of An-Enlil — Associated with the inner band of the sky closer to the ecliptic north pole in Draco, the “Path of Enlil”, he would represent the transcendently active power of Heaven. That is to say, he would represent both the fixed, “transcendental”, ecliptic north pole in Draco (NEP in the image), thus An in potentiality, and the moving, “active”, celestial north pole (NCP), that is to say Enlil, the Logos, both Ratio and Oratio.61 In many Eurasian traditions, indeed, the sacerdotal class, which has the leading function in society, is associated with the power of the Dragon.62

Le Dragon ou ses hypostases sont détenteurs d’un savoir sacré, d’un savoir surnaturel, d’un don de prophétie ou de talents de magiciens. Ce sont autant de qualités qui relèvent de la première fonction. Y aurait-il donc un rapport entre le Dragon et les prêtres? Aussi étonnant que cela puisse paraître, c’est le cas. (Papillon 2005, p. 50)

The Zuist lugal would be the highest sacerdotal rank like the Vedic brāhmaṇa associated with Varuna or the jarl of the Norse Rigsthula, associated with Odin—divine equivalents of An. He would embody divine sovereignty, intimate knowledge of Heaven, and juridical power.63 His role would be to “architect”, to create and arrange ideas, tools of knowledge, to devise how to bring the laws of Heaven down to Earth. He would be the supreme leader of the Zuist Church, embodiment of the entire religious network. Otherwise, the Zuist Church might be organised in a synodal rather than monocratic structure, with many lugal, one for each nation.

The Zuist lugal would represent, at the same time, military qualities like the ancient Sumerian lugal, thus reconciling the Eurasian military function (the Vedic kṣatriya associated with Mitra or the Norse karl associated with Thor, the “Thunder”—divine equivalents of Enlil)64 with the sacerdotal one. However, his military function would be normally limited to the ideal plane. His attire would be of the colours associated with the inner sky in the Mesopotamian tradition: Luludanitu, that is to say the ensemble of red, white and black, representing the “threefoldness withheld in potence in the transcendent supreme God”.65

The en(s) of An-Inanna — They would be many, assigned to different territorial jurisdictions, and would be associated with the middle band of the sky, the “Path of An” which has its starting point in Venus, which is Inanna 𒈹, the “Lady of Heaven” and goddess of war.66 They would represent the twoth function of Indo-European trifunctionalism, the military one, fully put into practice; the descent of the divine power of Heaven into matter. From this vision comes the importance of the female component, Inanna, representing matter which provides the foundation for the establishment of the heavenly laws; the ens of An-Inanna might have an actual female counterpart, a wife, the “nin of An-Inanna”. Their power would thus be executive,67 their role being to “engineer”, to actualise the laws uttered by the lugal in given different contexts and to act as vicars of the lugal in different contexts. Their attire would be blue, the colour associated with the middle sky and with Inanna.68

The en of An-Enki — They would be associated with the outer band of the sky farther from the ecliptic north pole in Draco, the “Path of Enki”.69 Enki 𒂗𒆠 means the “Master of the Earth”,70 and his ens would act as those who deal directly with the local affairs of the Zuist Church. They would be the leaders of local Zuist communities, elected by them, and would represent their community in front of the higher ranks of the ecclesiastical hierarchy. They would represent the productive class of craftsmen, herders and farmers of Indo-European trifunctionalism, the Vedic vaiśya associated with Aryaman or the Norse thræll associated with Ingfrey, the “Lord of Generation/Production”—divine equivalent of Enki.71 Their attire would be green, the colour associated with the outer sky in the Mesopotamian tradition.72

Left to right: The en of An-Enki clad in green; the en of An-Inanna clad in blue; and the lugal of An-Enlil, clad in white with red and black elements.

Zuist Church, July 2018

The article is also availabe in PDF and on Academia

CC BY-SA 3.0, except for Dragoš Kalajić’s and Amer Fatuhi’s artworks


1. Dugin (2016b).

2. Dugin (2012), p. 13: “[…] This is not dogma, nor a complete system, nor a finished project. This is an invitation to political creativity, a statement of intuitions and conjectures, an analysis of new conditions, and an attempt to reconsider the past. The Fourth Political Theory is not the work of a single author, but is rather a trend comprising a wide spectrum of ideas, researches, analyses, prognoses, and projects. Anyone thinking in this vein can contribute his own ideas. As such, more and more intellectuals, philosophers, historians, scientists, scholars, and thinkers will respond to this call”.

3. Dugin (2017).

4. Zuist Church (2018b), p. 1.

5. Dugin (2016a).

6. Zeizlindt (2018), p. 53. The Chinese equivalent concept, relevant for the second chapter of the present essay, is 天门 Tiānmén, the “Gate of Heaven”.

7. Nad (2014).

8. Dugin (2012), p. 31.

9. Ibid., pp. 35 & 43.

10. Zeizlindt (2018), p. 145; Dugin (2012), p. 54.

11. Zuist Church (2018a).

12. Dugin (2012), pp. 189–190.

13. About the original meaning of “orthodoxy”, and orthotes (ὀρθότης), as the “right” way of doing things, that is to say “rightly” in alignment with the God of Heaven (Dyeus, An), see: Zeizlindt (2018), p. 45 ff about the “ar root”; pp. 81–93 about the original, pristine conception of God/Heaven.

14. Zeizlindt (2018), p. 146.

15. Ibid., p. 111.

16. Ibid., p. 45.

17. Zeizlindt (2018), p. 154–155; Dugin (2012), p. 29.

18. Dugin (2012), p. 70.

19. Zeizlindt (2018), p. 155.

20. Dugin (2012), p. 210.

21. Didier (2009), vol. I, p. ix.

22. Ibid., vol. III, p. 257 ff.

23. Ibid., vol. III, p. 264.

24. Ibid.

25. Ibid., vol. III, pp. 260–263.

26. Ibid., vol. III, p. 268.

27. Ibid., vol. III, p. 266.

28. Kramer (1956), pp. 46–47.

29. Murdock (2014), passim.

30. Kramer (1956), p. 47.

31. Hillar (2012), p. 274; Mander (2011), p. 6: Mander explains that Enlil is the Logos, the Universal Intellect, the Anima Mundi which descends from it, the God of the Gods.

32. Zuist Church (2018b), p. 6, note 33; Zeizlindt (2018), p. 56: Hundun is “the inchoate state of things and yet a receptacle for any possibility”.

33. Hillar (2012), p. 274.

34. Kramer (1956), p. 47.

35. Zeizlindt (2018), p. 45 ff.

36. Ibid., pp. 43 ff & 59 ff.

37. Ibid., p. 51.

38. Ibid., p. 34.

39. Ibid., pp. 18 ff & 26 ff.

40. Ibid., pp. 53 ff & 66 ff.

41. Ibid., p. 23 ff.

42. Ibid., p. 21.

43. Ibid., pp. 24–25.

44. Ibid., p. 25.

45. Ibid., p. 93.

46. “Sitchinianism” comes from the name of the most known proponent of the misleading theory, the Azerbaijani economist Zecharia Sitchin.

47. Murdock (2014), passim.

48. The quote is entirely from Walker, Barbara G. (2013). The Woman’s Dictionary of Symbols and Sacred Objects. Harper Collins. p. 13.

49. White (1959), pp. 326–327.

50. Ibid.

51. “History of Banking”. Encyclopædia Britannica, 14th ed., vol. 3. 1929. p. 67.

52. Kaminska (2016), passim.

53. Ibid.

54. Crawford (2013), p. 283.

55. Ibid., p. 248.

56. Ibid., pp. 262–263.

57. Ibid., pp. 264–265.

58. Ibid., p. 266.

59. Zuist Church (2018b), pp. 1–5.

60. The theory of a tripartite ideology among the early Indo-Europeans, which was established in all the civilisations they founded, was first put forward by Georges Dumézil in Flamen-Brahman (1929) and Mitra-Varuna (1940), and later formalised in Jupiter, Mars, Quirinus (1941–1948) and L’Idéologie tripartite des Indo-Européens (1958).

61. Zuist Church (2018b), pp. 1–5. Note the important distinction between “ecliptic north pole” and “celestial north pole”. Also see page 5 of the present essay for the association of the Lil with the Logos and its equivalents in other Eurasian cultures.

62. Papillon (2005), p. 50.

63. Zeizlindt (2018), pp. 169–170.

64. Ibid.

65. Zuist Church (2018b), p. 4.

66. Ibid., pp. 4–5.

67. Zeizlindt (2018), pp. 169–170.

68. Zuist Church (2018b), p. 4.

69. Ibid., pp. 4–5.

70. Ibid., p. 3.

71. Zeizlindt (2018), p. 170.

72. Zuist Church (2018b), p. 4.


Zuist theology – The trinity of An, the seven deities, the word and the measures

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

Helical model of the Solar System, put forward by DjSadhu and reviewed by the astrophysicist Rhys Taylor. The image is taken from a set made by DjSadhu.


An or Dingir1 𒀭 (Akkadian: Anu or Anum, or Ilu,2 West Semitic: El), literally meaning “Heaven” or “Sky”, is the supreme God of the universe, the supreme Being, the utmost power3 and “prime mover” of creation, and therefore the utmost ancestor of all beings.4 It is “the one who contains the entire universe”.5 He is the father of all star-gods and contains them all. His most visible manifestation from the Earth’s perspective is the north ecliptic pole winded by the constellation Draco (the Dragon, symbol of primordial protean undeterminacy and therefore infinite potentiality).6

Together with Enlil 𒀭𒂗𒆤 (“Wind Lord”; also Nunamnir,7 in Akkadian also simply Bel, “Lord”8) and Enki 𒀭𒂗𒆠 (“Squared Earth Lord”; Akkadian: Ea), An forms a trinity, a threefold conception of the supreme God. In this trinity, An in itself represents the supreme in its state of “transcendental obscurity”,9 while Enlil is its “transcendent” aspect, and Enki is its “immanent” aspect.10 In our theology, “transcendental” may mean, in the wake of the meanings that this term has acquired through German idealism, something that is both transcendent and immanent, that is transcendently active as the energy begetting any immanent being. In this sense, An manifests as the dynamism of Enlil and Enki. They are An’s twofold face.

According to the eminent scholar Simo Parpola, at least in Assyrian theology it is rather Ashur 𒀭𒀸𒋩 or Anshar 𒀭𒊹 (which may mean “Whole Heaven”, “God as Many”, “Flowing One” or “One Flash”) to be the wholly transcendent God, while Anu is the first stage of its process of manifestation in the flesh.11 According to the theology of the Enuma Elish, Ashur, the infinite Heaven, “reflects” itself as Anu in the material universe.12

Scene from an Assyrian cylinder seal representing Enlil and Enki (gods of kingship, as the “mirrored king”) surrounding the tree of life, which has the guise of a pomegranate tree and is the structuration of the supreme God in the flesh, and also in the “perfected man” as the “image of God” (Parpola 1993, pp. 167–168). The winged disk hovering over it is An, or Ashur, the transcendental aspect of God (Parpola 1993, pp. 184–185). The two gods hold a rope which symbolises the keeping of the balance between Heaven and Earth, and the link between them (Gabrieli 2017, p. 77), or the stream of energy, with lightning ends, emanated by the supreme God, source of all wisdom (Parpola 1993, p. 185, n. 93). The winged disk and the rope also represent the north pole in Draco (Didier 2009, Vol. I, p. 259). The eagle-faced and winged figures are the men of wisdom (𒍪 zu), the apkallu or ummanu (court scholars) (Parpola 1993, p. 167, n. 31), in the act of sprinkling holy water (Parpola 1993, p. 165, n. 24). Like eagles (Parpola 1993, p. 198, n. 143), they are able to gaze directly at the Sun of God.

As the transcendently active aspect of An, Enlil is identified with the north celestial pole, that is to say the culmen of the Earth’s axis of rotation, and the culmen of the sky from the Earth’s perspective, which moves in circle through the constellations around the north ecliptic pole. As the transcendently active aspect of An, Enlil is also identified as pure breath or spirit, lil13 𒆤 being the Sumerian concept for the pneuma, the substance of all things, especially in its shifting and moving state prior to coalesce into any shape.14 Lil, and thus Enlil, is also comparable to the Greek concept (later adopted by the Christians) of the logos, the “word” and “order” (also discussed in the next chapter as utu).15

Enki is the supreme power manifest in the Earth, in earthly beings, and in mankind as well through the struggle to emulate Heaven by learning its craft. He rises out of the AbzuNammu 𒀊𒍪/𒇉 (the primordial “Abysmal Matrix”, his mother,16 discussed in the next chapter), mastering its waters to establish the civil world,17 the “squared” Earth (𒆠 Ki). He therefore represents the incarnation of the supreme God in matter (the concrete action of the north pole[s] in shaping matter), and in mankind’s ancestors, founders of blood kinships, of lineages of power-craft. He is associated with semen (and the phallus), the life-giving male power coming from the “channelled” waters of the Abzu.18

In Zuist theology, therefore, Earth is necessary for the manifestation of Heaven. The idea of “cosmos”, of ordered world, is indeed expressed by the compound Anki 𒀭𒆠, “Heaven–Earth”.19 This is also highlighted in mythologising, by the fact that An’s vehicle (of manifestation) is Damkianna, the “Lady of Earth and Heaven”, another name of Ninhursag 𒀭𒊩𒌆𒉺𒂅 (the “Lady of Mountains and Valleys”), who is identified as the constellation closest to the north pole, the Little Dipper (or Small Chariot, or Little Bear), in Sumerian called MULMar.gid.da.an.na, the “Chariot of Heaven”.20

The three aspects of Heaven are also identified with three concentric rings of the physically visible sky from the Earth’s perspective, and with the star-gods (constellations) moving within these rings, drawing the scheme of time (the calendar).21 The three aspects of Heaven, and their three skies, are also associated to a colour symbolism. The inner sky of An as Enlil is conceived as red, white and black,22 representing the threefoldness withheld in potence in the transcendent supreme God. These three colours are together known as luludanitu. The middle sky is lapislazuli-blue, the colour of Inanna, and the outer sky of An as Enki is jasper-green.23

Mapping of the three sky bands associated with the three faces of the supreme God. The names just below the Roman numbers are the months, according to the nomenclature of Nippur (acknowledgedly the best Mesopotamian calendar); the mul are the associated “stars”.

① The inner or northern sky, nearer to the north pole, is the “Path of Enlil”, with Enlil himself identified as MULApin (“STARPlough”, that is Triangulum in modern astronomy, whence the god’s association with the invention of agricultural tools24) and his female consort Ninlil 𒀭𒊩𒌆𒆤 (“Wind Lady”; in Akkadian also simply Belit, “Lady”25) as MULMar.gid.da (“STARChariot”, that is the Big Chariot or Big Dipper in the Great Bear);26

② The outer or southern sky, farther from the north pole, is the “Path of Enki”, with Enki himself identified as MULIku (“STARField”, that is the Square of Pegasus);27

③ The middle sky, in-between the two paths of Enlil and Enki, is the “Path of An” itself, with its starting point in MULDili.bat (which may mean “STARForbearing”28, but scholarly sources also suggest “STARDaisy”29), which is Venus–Inanna (or better spelled Ninana, the form without the initial N being an Akkadian alteration of the Sumerian name) of the seven planetary gods (discussed later in our essay).30

It is worthwhile to heed, given the recent resurgence in Iceland and Europe (and among European-ilk people in America) of Germanic Heathenism, that Germanic theology (and the Indo-European tradition in general), has an equivalent vision of the triune supreme God, conceptualised as Odin (the “Force”, “Spirit”, or “Sight”) in its transcendental aspect, Thor (the “Thunder”) in its ordering activity, and Ing-Frey (the “Lord of Begetting”) in its generativity as the male spermatic power. Furthermore, as already explained, An (and its two faces, especially Enlil) is identified as the north ecliptic and (as Enlil) celestial pole, the heart of the skies and source of all gods and beings, like Varuna and Indra in Vedic Sanskrit culture, and the Chinese supreme God (口 Dīng, 帝 or 天 Tiān), amongst other theological traditions.31

Zuist cosmology of the forces of Earth, showing the ecliptic axle associated with An, centred in the constellation Draco, and the Earth’s axis of rotation, centred in the precessional celestial pole, currently α of the Little Bear or Small Dipper, drawing the sky band of Enlil. The two spinning Chariot constellations draw a swastika in the four phases of time, a symbol associated with the polar supreme God in many cultures (Didier 2009, Vol. I, p. 259).


In Zuist theology, the supreme God of Heaven is also the power of the performative word (utu 𒌓, which is also the name of the Sun in Sumerian). The word-power of An, Anutu (also rendered “Anship”), is the “foundation of the cosmos, around which the hierarchy of all divine powers unfolds”. It is the creative word which begets things and events, not necessarily ex nihilo, but in an ordering process which configures reality,32 making order out of still undeterminacy (Abzu–Nammu, the “Abyss” of the primordial “Matrix” or “Noise”,33 called Tiamat 𒀭𒋾𒊩𒆳 or Tamtum 𒀭𒌓𒌈 in the Akkadian tradition).

The word-power of An, reflecting its twofold face, may also take the form of a destructive power or a preservative power, reabsorbing or maintaining creation, respectively  the Enlilutu (“Enlilship”, the word-power of Enlil) and the Enkiutu or Eautu (“Enkiship” or “Eaship”). The word-power of Enki is particularly associated with magic/witchcraft and technique in tangible reality, that is to say the power to alter the forces at play in an already given configuration of reality.34

It is worthwhile to stress that Enlil is not conceived as a malevolent force, but as the necessary destructivity which prepares the way for a new beginning, the force to make plans for it, as well as a punisher of evil-doers.35 Enki is instead the resourceful, skilful, hardy and wise force which puts into practice the ideas of Enlil.36


The term Anunnaki literally means the “offspring of Heaven–Earth”, and in Sumerian religion it was a general term comprising all the gods.37 A later, Babylonian term for the gods was Igigi. In the Babylonian sources the two categories are often distinguished, with the former being the netherworld (earthly) gods and the latter the upperworld (heavenly) gods, or viceversa.38

The most important amongst the Anunnaki are the seven gods of the stars nearest to the earth: Marduk 𒀭𒀫𒌓 (“Sun Calf”; Jupiter, the white deity of air and authority, lieutenant of Enlil), Ninurta 𒀭𒊩𒌆𒅁 (“Barley Lord”; Saturn, the black deity of war and hunting), Nergal 𒀭𒄊𒀕𒃲 (“Underworld Lord”; Mars, the red deity of woe and dearth), Inanna 𒀭𒈹 (“Lady of Heaven”; Venus, the blue deity of love and war), Nabu 𒀭𒀝 (“Announcer” or “Glowing”; Mercury, the orange deity of wisdom and writing), Nanna 𒀭𒋀𒆠 (the Moon, the green deity of fertility and fruitfulness) and Utu 𒀭𒌓 (the Sun, the yellow deity of justice).39 In a sheen description, the seven Anunnaki “represent the seven nether spheres, [are the] guardians of the seven gates through which the sun [i.e. word] of God passes into the netherworld”,40 perfusing light and order into the netherworld’s darkness. The star-gods are also poetically described as the “heavenly writing”, the writing of An.41 In other words, they influence, energetically shape, the life of beings on Earth. They are stages in the “tree of life”, the process of God’s manifestation in the flesh, structuring all beings, as reconstructed by Parpola based on Assyrian sources.42 The seven planets are also the near-Earth reflection of the seven stars of the Chariot constellations which spin around the north celestial pole, regarded as the active power of the utmost God of Heaven in the traditions of Eurasia. The seven-day week, with each day associated with a star-god, is a heritage going back to Mesopotamian religion.

Cylinder seal representing the scene of the Epic of Gilgamesh in which the hero and his companion Enkidu kill the monster Humbaba while entering the Cedars’ Forest. Over the figures there are seven spheres, likely the seven planets, but also the seven stars of the Chariot constellations.43 The larger eighth star is unmistakeably an emphasised Ishtar, Utu or rather the ecliptic north pole itself, thus An.

Utu–Sun is the “judge of the Anunnaki”, while Marduk–Jupiter is the “commander of the Anunnaki”. The “king” (i.e. begetter) of them all is Enlil, the transcendently active face of An.44 The eldest amongst them is, however, Nanna–Moon, better spelled Nannar and in Sumerian also called Enzu or Zuen 𒂗𒍪 (“Lord of Wisdom”), pronounced as Suen and later Sin in Akkadian. Regarded as gentle and reliable,45 Enzu is, in some Akkadian esoteric literature, the symbol of the pleroma (the sum of the powers of all the gods),46 thus of An,47 and is the third stage in the Assyrian “tree of life”.48 The crescent of Enzu, for these reasons, often surmounted Mesopotamian temples’ cusps.49

Inanna–Venus (goddess of love and war) and Nabu–Mercury (god of healing, literacy and communication, as it moves swiftly through the sky) are conceived as both male and female, though the former is predominantly female and the latter is predominantly male. They are female as the morning star in the east and male as the evening star in the west.50 Ninurta–Saturn, moving slowly through the sky, is the god of stability, but also war and hunt, called MULGenna (“STARLaw and Justice”) as an astral body and as a representative of the Sun during the night.51 Nergal–Mars is the god of plague, war, death and of the underworld. Identified as Gibil, the fire god, he also the patron of craft and smithing. Nergal even has a connection with the constellations Square and Plough, and therefore with the supreme trinity.52


Like Enlil, Marduk is associated to the north celestial pole.53 Thus, Marduk as Jupiter may be considered as a representative of the supreme north pole among the stars closest to the Earth. A frequently-used Sumerian term for Jupiter intended as an astral body, amongst the many epithets denoting its positions in the sky and qualities, is MULNe.bi.ru, Nibiru, or Neberu, especially when in culmination and when associated to the north pole. Another frequent name, from Akkadian times, is MULSul.pa.e, literally “STARLord of the Bright Dawn”, denoting Jupiter in the east.54

Marduk is an important figure, since in the Enuma Elish he is the slayer of Tiamat, the Akkadian name of Abzu–Nammu, the primordial unlimited matrix, symbolised by the sea.55 Marduk, being of the same ilk of An, is endowed with the power of the performative word, the Anutu, in its three possibilities: Creative, destructive and preservative.56 Tiamat has the infinite potential to generate monstrous beings, that is to say beings without limit, order and measure, and without ancestry, whom she unleashes against the ordered world. Her word-power is cacophony, senseless noise, while the power of Marduk is that of the intelligent word which governs matter making ingenious and useful things out of it.57

Marduk slays Tiamat, who threatens to destroy all gods and all boundaries dissolving again the ordered world into chaos. Marduk represents the order of the world, which may be dissolved but always re-founded. After having killed Tiamat, he uses the substance of her body to re-mould Heaven (the stars and their cyclical movements) and Earth (the rivers, seas and lands) within a web, this last being a symbol of the laws and the finitude of the re-established cosmos.58

Scene from a cylinder seal depicting Marduk who fights Tiamat, here represented as a horned dragon. Marduk holds his weapon, the abubu, the thunderbolt of discernment, discrimination, or “deluge” (Gabrieli 2017, p. 167).


Mankind’s role in creation is to cultivate the manifestation of the gods.59 Entities and behavioural phenomena are generated and kept in harmony among themselves by internal laws which in Sumerian are called me 𒈨, “measures”, “manners” and “morals”. They are the plans laid down by the gods.60 Yet, within this structure, mankind enjoys a degree of detachment from its own internal laws, and therefore a degree of free will, a gift which is necessary for mankind’s spiritual ability to co-work with the gods in creation by emulating Heaven. The gods favour those who act in conformity with the laws of morality, which means upkeeping goodness and truth, righteousness and straightforwardness, justice and freedom, mercy and kindness. Disgrace falls upon those who act evilly and falsely, unjustly and oppressively, sinfully and perversely, cruelly and pitilessly.61

The eagle represents the bright aspect of the human soul, capable of ascension to Heaven by following the gods, whereas the snake represents the dark force of descension towards the Earth. The eagle’s wings are a symbol of spiritual heightening, and its eyes a symbol of spiritual sight (wisdom), as it is traditionally considered the only animal able to gaze directly at the Sun (God), training its youth to do likewise and rejecting those who fail.62

The divine laws, when practised, become habitual and are transmitted genealogically. Progenitors who grasped these laws and established them in kinships and cultural lineages are worthy of veneration. In this way the divine reveals itself in mankind, so that “the centre itself [i.e. the supreme God] forever remains absolutely central to the human world but simultaneously infinitely transforming in the particular, to be reborn in each generation, in each human birth”.63 It is, therefore, a vision which may be described as a synthesis of principled structuralism and behaviourism.

Uligang Ansbrandt, April 2018

The article is also availabe in PDF and on Academia

CC BY-SA 3.0, except for DjSadhu’s image on top


1. Gabrieli (2017), p. 99.

2. Didier (2009), Vol. I, p. 84.

3. James (1963), p. 23 ff.

4. Black & Green (1992), p. 30.

5. Parpola (1993), p. 180, n. 77.

6. Vv.Aa. (1951), pp. 300–301.

7. Didier (2009), Vol. I, p. 116.

8. Murdock (2014), passim. Also see the entry “Enlil” of the Encyclopaedia Britannica (2018).

9. James (1963), p. 140.

10. Saggs (1987), p. 191.

11. Parpola (1993), passim, and pp. 206–207 for the etymology.

12. Ibid., p. 191, n. 113.

13. Kramer (1956), p. 47.

14. The lil is analogous to the Chinese concept of 氣  and 理 .

15. Murdock (2014), passim; Mander (2011), p. 6: Enlil is appropriately translatable as the “Lord of the Logos”. Mander defines Enlil as the Logos itself, the Universal Intellect and the Anima Mundi which descends from it, the God of all the Gods.

16. Black & Green (1992), p. 134.

17. Ibid., p. 75.

18. Horry (2016), passim.

19. Kramer (1956), pp. 46–47. Anki is equivalent to the Chinese concept of 天地 Tiāndì (“Heaven–Earth”), it itself meaning the “cosmos”, Heaven’s manifestation.

20. Rogers (1998), p. 18.

21. Didier (2009), Vol. I, p. 95.

22. Ataç (2018), p. 78.

23. Ibid., p. 78; Wright (2002), pp. 34–35.

24. Kramer (1956), p. 52.

25. Entry “Ninlil” of the Encyclopaedia Britannica (2018).

26. Rogers (1998), p. 18.

27. Ibid., p. 21.

28. “Enduring Star” is the accepted meaning of the Semitic name of Inanna, that is Ishtar (Hellenised: Astarte).

29. Kasak & Veede (2001), p. 23.

30. Rogers (1998), p. 17.

31. Didier (2009), passim, but for the direct comparison see Vol. III, pp. 265–266; Vol. II, p. 228.

32. Gabrieli (2017), p. 128.

33. Abzu 𒀊𒍪 literally means “Before Knowledge” or “Watery Knowledge”, “Dissolved Knowledge”, and was also named Engur 𒇉. Nammu, also better rendered as Mummu, is the primordial “Mother”, is written with the same grapheme as that for Engur, and is the personified Abzu. See Black & Green (1992), p. 134. Mummu has also been rendered as “Matrix”, “Chaos”, “Noise”, “Confusion”, “Scream” amongst other translations. It is the primordial, unshaped potentiality. See Gabrieli (2017), p. 88 ff. It is analogous to the Chinese concept of 混沌 Hùndùn.

34. Ibid., p. 129. Also see Stephens (2013), Stone (2016) and Horry (2016).

35. Kramer (1956), pp. 52–53.

36. Ibid., pp. 55.

37. Murdock (2014), passim.

38. Gabrieli (2017), p. 119, n. 617; Bertman (2005), p. 119.

39. Kasak & Veede (2001), passim. For the colour associations see James & Van der Sluijs (2008), passim.

40. Murdock (2014), passim.

41. Kasak & Veede (2001), p. 14.

42. Parpola (1993), passim.

43. Didier (2009), Vol. I, p. 113.

44. Murdock (2014), passim.

45. Kasak & Veede (2001), pp. 17–18.

46. Parpola (1993), p. 185, n. 93.

47. Ibid., pp. 176, 184, nn. 66, 89.

48. Ibid., p. 179.

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

50. Kasak & Veede (2001), pp. 22, 24.

51. Ibid., p. 26.

52. Ibid., pp. 27–28.

53. Didier (2009), Vol. I, p. 118.

54. Ibid., Vol. I, p. 88; Kasak & Veede (2001), p. 21.

55. Gabrieli (2017), p. 89.

56. Ibid., p. 130.

57. Ibid., pp. 103, 159.

58. Ibid., p. 139.

59. Kramer (1956), p. 56.

60. Ibid., p. 50. The concept of me corresponds to the Chinese concept of 禮 .

61. Ibid., p. 56.

62. Parpola (1993), pp. 197–198, n. 143.

63. Didier (2009), Vol. III, p. 268. The author speaks of the humanisation of the divine in the Axial Age.


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

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).


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.


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 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


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


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.

Uligang Ansbrandt, March 2018

The article is also availabe in PDF and on Academia


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

The rest of the article is under CC BY-SA 3.0 license

Elements of Zuist theology

This text is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).

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, also known as Sumerian-Mesopotamian Neopaganism,i 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.ii 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.iii

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”).iv

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”.v

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).


i. The name “Zuism” has become the most common descriptor for the modern movement of Sumerian-Mesopotamian religion, being the name under which the religion is recognised by the Icelandic government. Other descriptors have been used, by minor informal groups which existed before the recognition under Icelandic law. They include “Sumerian-Mesopotamian Neopaganism” or “Sumerian-Mesopotamian Reconstructionism”, “Babylonian Neopaganism” or “Babylonian Reconstructionism”, and “Kaldanism” (“way of the Chaldeans”).

ii. 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.

iii. 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.

iv. “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).

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

Uligang Ansbrandt, February 2018

The article is also availabe in PDF and on Academia

CC BY-SA 3.0


What is Zuism?

This article is part of the Zuist Doctrinal Handbook (Zúisk Kenningarbók).


The term “Zuism” derives from the Sumerian word 𒍪 zu, meaning “to know”. Zuism is therefore the “way of knowledge”, the way of knowing the appropriate modality of being human. It is the gnosis on how to appropriately stand in-between Heaven (𒀭 An or Dingir) and Earth (𒆠 Ki), by acting in accordance with the creative word (𒌓 utu) and the measures (𒈨 me) represented by the gods (𒀭 dingir), all constituting the energetic logos (𒆤 lil) of Heaven. It is a scientific and cosmic religion, open to the study of Heaven intended as the universe and the entirety of nature and to the reproduction of its laws, both in the macrocosm and in the microcosm.

The name “Zuism” has become the most common descriptor for the modern movement of Sumerian-Mesopotamian religion, being the name under which the religion has been recognised by the Icelandic government, since 2013. 𒍪 Zu means “to know”, as Zuism intends to be a new gnosis for a recoalescence of society, a re-socialisation according to the oldest religion of human civilisation. The Zuist Church of Iceland was founded years before, around 2010, and its history may be further traced back to a group of Icelandic believers who dwelt in Delaware, United States.

Decades before the recognition under Icelandic law, at least since the 1980s, there were already some groups of Sumerian-Mesopotamian religion, mostly small and informal, scattered throughout various countries, mostly Anglo-American countries. The term “Zuism” is synonymous of other descriptors which have been used by these groups, including “Sumerian-Mesopotamian Neopaganism” or “Sumerian-Mesopotamian Reconstructionism”, “Babylonian Neopaganism” or “Babylonian Reconstructionism”, and “Kaldanism” (“way of the Chaldeans”).

Zuism is an international religious movement, which intends to represent all the groups professing Sumerian-Mesopotamian religion. The Zuist organisation that is under the recognition of the Icelandic government, the Zuist Church of Iceland, intends to be a platform for all those who believe in Sumerian-Mesopotamian religion, and has already established branches in various countries since the mid-2010s. Many people are taking part in the development of Zuism, either within the Zuist Church or outside of it.

Note it well: Though seldom used, the term “Pagan” is accepted within Zuism in the original Latin meaning of pāgānus, that is to say “civilian”, related to the noun pāgus (“region/district/settlement/establishment/kinship” of a civilisation), to pāx (“peace”) and the verb pācō, pācāre, pācāvī, pācātum (“to make peaceful/appease”), and to the verb pangō, pangere, pepigī, pāctum (“to fasten/fix/set/establish”), all coming from the Indo-European root *pak-, *pag- (“to be firm/steady/standing”). In the Zuist usage, it means human society when it is divinely established in a celestial civilisation. Zuists reject the modern American distortion of the term as meaning any abnormal pseudo-“religious” movement, anything antisocial, uncivil, without normal civilisation. See: Pokorny, Julius (1959). Indogermanisches etymologisches Wörterbuch. Francke Verlag. p. 787 ff.

Uligang Ansbrandt, January 2018

The article is also availabe in PDF and on Academia

CC BY-SA 3.0