THE STAR OF THE DESERT. Written by Sara Ballini / revised by Nilufar Mali

Prima donna, beautiful, enigmatic, seductive, transgressive, whimsical. "The woman at the window" was certainly an aspect of the Sumerian "Lady of Heaven" Inanna / Ishtar goddess of war, justice, agriculture and responsible for the cycles of nature.

In particular, the aspect identified with the figure of the "woman at the window" is that of the prostitute, Ishtar in fact was also the patron goddess of prostitutes and of herself who identified herself as such. The goddess has in fact a dual nature, on the one hand sacred and on the other a prostitute, thus preserving both sides that do not oppose but unite in a single divine and sacred essence. The priestesses themselves were prostitutes, even if sacred, since they practiced in places and ways suitable and opportune to the rituals of the times. The word prostitute refers to a specific category of women, of any social class, who did not depend on men, and who were free and fiercely independent.

The name of the aspect identified with the figure of the "woman at the window" was Kilili, which probably meant "woman garlanded", the Sumerians called her "Aba-shushu" which means: "One who looks out, or who looks out from the window".

Inanna and Ebiḫ

1-6.

Goddess of fearsome divine powers, clothed in terror, riding the great divine powers, Inana, made perfect by the saint

a-an-kar

weapon, soaked in blood, rushing into great battles, with the shield resting on the ground (?), covered with storm and flood, great lady

Inana, knowing full well how to plan conflicts, destroy powerful lands with arrows and lands of strength and oppression.

7-9.

In heaven and on earth you roar like a lion and destroy the people. Like a huge wild bull you triumph over hostile lands. Like a scary lion you pacify the insubordinate and the non-submissive with your gall.

10-22.

My lady, for having acquired the stature of heaven, child

Inana, to your becoming as magnificent as the earth, to your coming out as

Utu

the king and spread your arms, as you walk in heaven and wear frightening terror, when you wear daylight and splendor on earth, as you walk on mountain ranges and produce luminous rays, while bathing in the

girin plants of the mountains (in light), on your giving birth to the bright mountain, the mountain, the sacred place, on your ......., on your strong being with the mace like a joyful lord, like a lord enthusiastic (?), about your cheering in such a battle as a destructive weapon - black-haired people ring out in a song and all lands sing their song softly.

23-24 I will praise the lady in battle, the great daughter of Suen, the maiden Inana.

25-32. (Inana announced :) "When I, the goddess, was walking in heaven, walking the earth, when I, Inana, was walking in heaven, walking the earth, when I was walking in Elam and Subir, when I was walking in the Lulubi mountains, when I turned towards the center of the mountains, while I, the goddess, approached the mountain she did not show me respect, while I, Inana, approached the mountain, she did not show me respect, while I approached the mountain range of Ebiḫ she did not showed no respect. "

33-36. "Since they have not acted appropriately of their own accord, since they have not put their nose to the ground for me, since they have not rubbed their lips in the dust for me, I will fill my hand with flying in flight. Mountain range and let that you learn to fear me ".

37-40. "Against its magnificent sides I will place magnificent rams, against its small sides I will place small rams. I will storm it and start the 'game' of the holy Inana. In the mountain range I will start battles and prepare for conflicts."

41-44. "I'll prepare the arrows in the quiver. I'll make ... ... sling stones with the rope. I'll start polishing my spear. I'll prepare the throwing staff and shield."

45-48. "I will set fire to its dense forests. I will take an ax for its wickedness. I will have Gibil, the purifier, do its work on its waterways. I will spread this terror across the inaccessible Aratta mountain range."

49-52. "Like a city that An has cursed, may never be restored. Like a city in which Enlil frowned, may he never raise his neck again. May the mountain observe (?) My conduct. May Ebiḫ give me honors. and praise me. "

53-58. Inana, the daughter of Suen, put on the robe of royalty and girded herself with joy. He adorned his brow with terror and dreadful splendor. He has arranged rosettes of carnelian around his sacred throat. He vigorously brandished the seven-headed šita weapon to his right and placed lapis lazuli straps at the foot.

59-61 At dusk he went out royally and stopped in the street at the Gate of Wonders. He made an offer to An and offered him a prayer.

62-64 An, delighted by Inana, stepped forward and took his place. He filled heaven's seat of honor.

65-69. (Inana announced :) "An, my father, I salute you! Turn your ear to my words. An has made me terrifying in all heaven. Thanks to you my word is unrivaled either in heaven or on earth. of the sky are the silig weapon, the antibal and mansium emblems ".

70-79. "Put the hoof in place and secure the throne and foundation, bring the power of the šita weapon that bends like a mubum tree, hold the ground with the yoke six times, extend the thighs with the quadruple yoke, chase raids murder and widespread military campaigns, appear to those kings in the ....... of the sky like the moonlight, shoot the arrow from the arm and fall on fields, orchards and forests like the tooth of the locust, to bring the harrow to the rebel lands, to remove the locks from the city gates so that the doors remain open - King An, you really gave me all this, and ……. "

80-82. "You have placed me on the right hand of the king to destroy the rebel lands: may he, with my help, smash heads like a hawk at the foot of the mountain, King An, and I can ... your name all over the land like a thread . "

83-88. "May he destroy the lands like a snake in a crevice. May he crawl around like a saĝkal snake coming down from a mountain. May he establish control over the mountain, examine it and know its length. May he go out into the sacred countryside of An. and know its depth. I want to surpass the other deities, since the Anuna deities have ……. "

89-95. "How can it be that the mountain has not feared me in heaven and on earth, that the mountain has not feared me, Inana, in heaven and on earth, that the mountain range of Ebiḫ, the mountain, has not feared me in heaven and on earth? Because he has not acted properly of his own accord, because he has not put his nose to the ground, because he has not rubbed his lips in the dust, I can fill my hand with the soaring mountain range and learn the fear of me. "

96-99. "Against its magnificent sides allow me to place magnificent rams, against its small sides allow me to place small rams. Let me storm and start the 'game' of the holy Inana. In the mountain range let me organize the battle and prepare the conflicts. "

100-103. "Let me prepare the arrows in the quiver. Let me ... ... sling stones with the rope. Let me start polishing my spear. Let me prepare the throwing staff and shield."

104-107. "Let him set fire to his dense forests. Let him take an ax for his wickedness. Let Gibil, the purifier, do his work on his waterways. Let me spread this terror through the inaccessible chain. mountain range of Aratta. "

108-111. "Like a city that An has cursed, may never be restored. Like a city before which Enlil has frowned, may he never raise his neck again. May the mountain observe (?) My conduct. May Hebi give me honor. and praise me. "

112-115. An, the king of gods, replied, "My little girl demands the destruction of this mountain - what is she assuming? Inana asks the destruction of this mountain - what is she assuming? She asks the destruction of this mountain - what is she assuming?"

116-120. "He has poured out dreadful terror upon the abodes of the gods. He has spread fear among the sacred abodes of the Anuna gods. His fear is terrible and weighs on the Earth. The radiance of the mountain range is terrible and weighs on all lands. majestically in the center of paradise ".

121-126. "The fruit is suspended in its lush gardens and the luxuriance spreads. Its magnificent trees, a crown in the skies, ....... are a marvel to behold. In Ebiḫ ....... lions abound under the canopy of bright trees and branches. Rams and deer abound freely. Wild bulls rise in the lush grass. Pair of deer among the cypresses of the mountain range. "

127-130. "His fear is terrible - you cannot cross it. The splendor of the mountain range is terrible - maiden Inana, you cannot resist." So he spoke.

131-137. The lover, in his rage and rage, opened the arsenal and pushed the lapis lazuli gate. It started a magnificent battle and caused a great storm. Holy Inana took the quiver. He raised a massive flood of evil silt. He stirred up an evil rushing wind with vase fragments.

138-143. y lady faced the mountain range. It has advanced step by step. He has sharpened both edges of his dagger. He grabbed Ebiḫ's neck as if he were plucking esparto grass. He pressed the teeth of the dagger into it. It roared like thunder.

144-151 - The rocks that formed the body of Ebiḫ thundered on his sides. From its sides and from the crevices large snakes spewed venom. He cursed its forests and cursed its trees. He killed his oaks with drought. He poured the fire on her flanks and thickened the smoke. The goddess established authority over the mountain. The holy Inana did as she wanted.

152-159 He went to the mountain range ofbiḫ and addressed: "Mountain range, because of your elevation, because of your height, because of your beauty, because of your beauty, because of your wearing a sacred robe, to because of yours up to the sky, because you didn't put your nose on the ground, because you didn't rub your lips in the dust, I killed you and shot you down.

160-165. Like with an elephant, I grabbed your tusks. As with a great wild bull, I brought you to the ground by your big horns. As with a bull, I pushed your great strength to the ground and chased you wildly. I made tears the norm in your eyes. I put moans in your heart. The birds of pain are building nests on these flanks. "

166-170. or a second time, rejoicing in a terrifying terror, he rightly said: "My father nlil has poured out my great terror in the middle of the mountains. To my right he has placed a weapon. To my left is placed a ...... .. My anger, a harrow with big teeth, tore the mountain to pieces. "

171-175 "I have built a palace and done much more. I have put in place a throne and its strong foundation. I have given the artists of the kurĝara cult a dagger and a goad.

cult performer of gala and lilis drums. I transformed the cult artists of the pilili "

176-181. "In my victory I rushed to the mountain. In my victory I rushed to Ebiḫ, the mountain range. I went on like a raging deluge, and like the rising water I overflowed the dam. I imposed my victory on the mountain.. I imposed my victory on Ebiḫ. "

182-183 - Praise be to you for destroying Ebiḫ, great son of Suen, maiden Inana.

184 - Praise be to Nisaba.

© Copyright 2003, 2004, 2005, 2006 The ETCSL project, Faculty of Oriental Studies, University of Oxford Updated 2006-12-19 by JE

In considering any Divinity we should free ourselves from the duality typical of the modus operandi of the monotheistic religions that we have inherited and approach both a purely intellectual analysis and real

canons of practice, which from the operational-ritualistic point of view consider the concept of polarity existing in nature.

As Luciferians we do not consider the abstract concepts of "good" and "evil" but rather the close intrinsic relationship between creation and destruction, between order and chaos, cosmos and anti-cosmos.

Istar (also adapted in Ishtar) is therefore both the goddess of love, fertility and eroticism and the goddess of war, in Babylonian mythology, derived from the equivalent Sumerian goddess Inanna.

These two aspects, apparently antithetical, are instead the literal and symbolic representation of the human impulses that allow the survival of the species or the carnal drive and the struggle for dominance over the resources that allow the subsistence of the individual. Ishtar is therefore both the protector of motherhood, the one who makes the soil fertile and the vegetation thrives, the compassionate and benevolent divinity is deserving of it but is also the destruction of war and storm: it is death and rebirth. The balance between these aspects (existing which allows the existence of the Cosmos itself) is essential both in life and in the LHP path.

Taking into consideration its multiple incarnations and emanations, we wanted to analyze a characteristic and determining aspect of the predatory instinct, Kilili.

One of its aspects refers to Enheduanna, priestess wife of the god Nanna (god of the moon), or priestess of An, god of the sky, Her birth name was Semitic, since she came from Akkad, but she took an official Sumerian name: " En ”(Priest / Priestess),“ Hedu ”(ornament),“ Ana ”(of heaven).

Enheduanna was the only daughter of Sargon's five sons. Not much is known about his mother Tashlutum. She was certainly the legitimate wife of the ruler and spoke the Akkadian language, while Enheduanna composed in Sumerian. Upon reaching adulthood, the young princess was consecrated to the moon god Nanna with a sacred wedding that took place in the temple of Ur. This ceremony fused, in perfect syncretism, the Sumerian Inanna with the Semitic Ishtar and inaugurated a role that was followed by Akkadian princesses hundreds of years after the fall of the Akkadian empire.

Enheduanna organized and presided over the temple complex of the city of Ur, the very heart of the city, and did not abandon her father even during a coup attempt by a Sumerian rebel named Lugal-Ane (identified with Lugalzzaggisi), who forced her exile. One of the tasks that Enheduanna had in the Sumer region was to keep the population under control thanks to the religion of which she was one of the main representatives.

Let us now consider the aspect of Azazel (Aramaic: רמשנאל ,Hebrew: עזאזל ,Aze'ezel Arabic: عزازل Azazil) is an enigmatic name present in both Hebrew and apocryphal sacred texts.

The first appearance of the name "Azazel" is found in the "Book of the Watchers", the first part of the Book of Enoch. The text in question is however considered apocryphal internally to Judaism, since the ancient world, moreover the character mentioned does not correspond to Azazel, being actually called Asael. This name (Asael) denotes one of the rebellious angels who taught men to build weapons and women ornaments and cosmetics (1 Enoch 8,1).

Metallurgy is an ancient symbolic art that represents the process of self-transformation. In this sense Asael can be interpreted as the Magus who carries out this initiatory process through Black Alchemy. He uses fire to forge through knowledge, purify and give shape to his own unique and unrepeatable vision that will

allow him to acquire power to dominate the world through the use of intelligence and strategy as it happened for the Kings in Ancient times that they came to self-deify thanks to their deeds.

Asael is associated with Saturn. From the teachings of the Fraternitas Saturni we learn that Saturn is Associated with the Demiurge bearer of Knowledge (Lucifer) Fire & Ice, page 33) but in the symbolism of Jupiter (Order Incarnate) it is balanced with Venus (which as we have seen represents love, Music, as much as the martial instinct, the aggression of passion and War.).

We have seen com Ishtar both a deity and a deification mask associated with Venus as well as Aphrodite, Helel-ben-Sahar, Hathor and Bast ... but also with Al-Uzza and Azizos. The characteristics are identical in two completely different theological periods.

The connection are Azizos and Al-Uzza

In ancient Levantine mythology, Azizos or Aziz is the Palmyrus god of the morning star. He is usually portrayed as riding a camel with his twin brother Arsu. He was revered separately in Syria as the god of the morning star, in the company of the astral god Monimos. Azizos was identified as Ares by Julian in his work "Hymn to King Helios". He says "Now I am aware that Ares, who is called Azizos by the Syrians who live in Emesa ..."

Al-ʿUzza in Arabic: زُعْال ,al-ʿUzzā- which literally means "the Most Powerful" - is the name of an Arab female deity from the pre-Islamic era.

With Manat and Allat she was part of the most revered female triad in Ḥijaz and, as such, was also an object of worship by the Banū Quraysh of Mecca. His name already appears in the lihyanite, Nabataean, Thalmudic and South Arabian epigraphs, so much so that some scholars think that we are faced with the cult of a divinity comparable to Aphrodite.

The fact that the choreiscists had their own urban deity, housed in the shrine of the Kaʿba, should not be misleading as Hubai was the tribe's own deity, while al-ʿUzzā was the divinity of the Kināna lineage which, in all likelihood, the Quraysh also referred.

The divinity of al-ʿUzzā and that of Allāt were in Mecca called al-Gharānīq (in Arabic: الغرانيق :(a word aimed at enhancing their exceptional beauty but which literally meant "crane, storks", whose particular beauty in the eyes of rejoice will in all likelihood remain completely unknown to us

It is mentioned in Cor. III: 19-20

verses that were initially followed by the well-known "Satanic Verses", and to it, according to a tradition of Ibn al-Kalbī, Muhammad, still a child and unaware of the prophetic destiny that awaited him, would have sacrificed with his uncle Abū Ṭālib - whose brother Abū Lahab was called ʿAbd al-ʿUzzā, meaning "servant of al-ʿUzzā" - a "gray-coated sheep" (shatan afrā)

It did not initially have a sanctuary (bayt) of its own and was venerated in the form of a spring (al-Buss) and three trees belonging to the genus of acacias (samūrāt) in the Ḥurāḍ valley, in the oasis of Nakhla al Shāmiyya (The palm grove Syrian), distinct from Nakhla al-Yamaniyya (The Yemeni palm grove), in which,

during one of the many feats of arms of the (Ayyām Fijār) some coreiscites who feared for their lives and who, exploiting the sacredness of when, in effect, ḥaram (forbidden, sacred), they escaped in that way to an almost certain end.

Later a sanctuary was built for her by Ẓālim b. Asʿad, of the Banū Ghaṭafān, equipped with a basin (ghabghab) in which the blood of the victims immolated in his honor was collected and the B. Sulaym provided for his custody (sidāna).

Returning to the Mekkaʾi where he had explored the possibility of moving to escape the increasingly dangerous atmosphere for himself and the group of Muslim faithful that had formed, it was precisely in Nakhla that Muhammad stopped and, after having asked in vain for protection (amān) to the maternal clan of B. Zuhra and its sayyid, al-Akhnas b. Sharīq, and then to that of B. Āmir and its sayyid, Suhayl b. ʿAmr, finally succeeded in obtaining that al-Muʾṭim b. ʿAdī, sayyid of B. Nawfal granted him his amān.

The place of Nakhla al-Shāmiyya was destroyed after the conquest of Mecca in 631 AD / 8 of the Hegira, by order of Muhammad the three acacias were cut at the root on that occasion.

Ashtar or Attar, the deity of both the Arab and the ancient Caanites (the original Lucifer who fell from the sky) was later identified as Ashtar / Chemosh, with the same identical characteristics, the binomial love and war, life and death, creation and destruction.

The name appears as as Attar (Aramaic) Athtar (South Arabia), Astar (Askum), Ashtar (Moab), Attar (Ugarit) and Ushtar in Mesopotamia. As we have seen, divinity occurs in both genders.

Attar is also identified with the planet Venus, the Morning Star and the Evening Star, in some manifestations of Semitic mythology. The divinity is also connected in the Hellenistic period with Astarte.

Attar was revered in Southern Arabia in the pre-Islamic period. Again he is a god of war, it was believed that he brought water to humanity

In ancient times, the Arabian territories shared divinities with the Mesopotamian ones, due to the proximity to Babylon, and except for the symbols and the gender of these divinities they were identical. For example, the sun god Shamash became the goddess Shams, and in southern Arabia Ishtar became the male storm god Athtar. Even in this thing, although Athtar represented fertility as well as war (water is essential to life and even more precious for the peoples of the desert). When he represents water, he is not only the one causing the rain but also the one creating streams that existed only in the rainy season.

THE WISDOM OF KILILI.

Kilili, the sacred prostitute, gave extreme wisdom to her children, wisdom understood as a skill of discernment transmuted into active, practical wisdom. In fact, the statement: "You are Kilili" meant: "You are the wisest of the wise" or "the wise man who deals with people's problems".

In this wisdom, the prostitute goddess posed in front of the window, observing and meditating on the world and its problems.

Kilili was often invoked for spells and litanies, where she was called to solve complicated problems, the goddess was called: "Kilili, the queen of windows" because the window represented the solution to the problems that the goddess could offer.

The "mural crowns" worn by Assyrian queens and often by goddesses have been associated with Kilili, in fact it was hoped that such crowns could give farsightedness and wit to the queens who were bearers.

KILILI DEA MESSENGER.

Kilili, the woman at the window, was essentially a messenger, capable of acting as a link between humans and the goddess Inana / Ishtar.

In fact, from the window he listened to the litanies and fulfilled the spells only of the most deserving, bringing them to the attention and hearing of the superior mother goddess Ishtar, thus giving the right advice to solve even the most complicated and desperate problems through ingenuity and wisdom.

KILILI'S VAMPIRIC APPEARANCE.

The prostitute goddess, woman at the window, in addition to giving infinite wisdom, and the key to solutions, also teaches the powers of energetic vampirism, through sexual fluids, blood, containing vital energy.

In this sense, the word vampirism is understood as an inner push, projected towards an evolution of one's self, which occurs through a voluntary change.

The predatory nature of a vampire is often mistaken for harmful and dangerous, in reality it represents a clear example of natural survival instinct, exactly as it happens in the animal world, the predator feeds on its prey essentially to survive.

Vampirism, a gift from the goddess, represents the dark and primordial instinct that is expressed in the basic desires and wills of the self and becomes a means to achieve one's personal goals or to solve the impending problems.

Kilili then teaches his chosen ones to mold that (internal) darkness into productive (external) behavior, in accordance with the will is the purpose of implemented vampirism.

The essence of Kilili's vampirism is therefore to understand the predatory, violent and dark aspects of the nature of the self, to accept them, and then to seek and find inner balance!

KILILI IN ART.

Many small ivory carvings of the goddess have been found by archaeologists in the Near East and date back to the first millennium BC

According to some sources, in modern times, the painter and artist Salvador Dalí portrayed the goddess in one of his famous paintings, “Girl at the window (Muchacha en la ventana)” made in 1925 by the Spanish painter. Preserved in the Museo Nacional Centro de Arte Reina Sofía in Madrid, the canvas depicts a girl looking out the window, and for some the painter was inspired by the goddess Kilili.

Soror Sarah

with my everlasting gratitude and loyalty to the work, guidance, inspiration and teachings of Michael W. Ford (Magus Akthya).

Bibliografia:

Encyclopedia of Gods, Michael Jordan, Kyle Cathie Limited, 2002

Drijvers, H. J. W. (2015).Cults and Beliefs at Edessa. Brill Publishers. pp. Chapter Six: THE CULT OF AZIZOS AND MONIMOS AND OTHER ARAB DEITIES. ISBN 978-90-04-29562-9.

Texidor, Javier (1979). The Pantheon of Palmyra. Eeiden: E.J.Brill. p. 70. ISBN 90-04-05987-3. Retrieved Jan 31, 2020.

Drijvers, H.J.W. (1980). Cults and Beliefs at Edessa (Jan 31, 2020 ed.). Leiden: E.J.Brill. p. 150. ISBN 90-04- 06050- Flavius Claudius Julianus; Wright, Emily Wilmer Cave (tr.). "Hymn to King Helios (154)". Retrieved Feb 1, 2020.

Lemma «al-ʿUzzā» (M.C.A. Macdonald - Laila Nehmé), in: Encyclopédie de l'Islam, Leida, E.J. Brill, 2002, vol. X, pp. 1045b-1046.

Toufiq Fahd,Le panthéon de l'Arabie centrale è la veille de l'Hégire, Paris, Librairie Orientaliste Paul Geuthner, 1968.

Michelangelo Guidi, Storia e cultura degli Arabi fino alla morte di Maometto, Firenze, Sansoni, 1951. Claudio Lo Jacono, Maometto l'Inviato di Dio, Roma, Ed. Lavoro, 1995.

Jewish Encyclopedia:Ashoreth in

Undressing_Inanna by Dina Katz - Leiden

The_Exaltation_of_Inanna by W.Halo, Yale University Press

The Royal Iscriptions of The Neo.Assyrian Period, Haym Tadmor and Shigeo Yamada Fallen Angels: Watchers and the Witches Sabbat, Michael W.Ford

State Archives of Assyria Cuneiform Texts, Volume VI, Pirko Lapinkivi, The Neo-Assyrian Myth of Istar's Descent and Resurrection, The Neo-Assyrian Text Corpus Project. Publications of the Foundation for Finnish Assyriological Researh



Mesopotamiac Cosmic Geography, Wayne Horowitz, Eisenbrauns, Winona Lake, Indiana, 1998 Legends of the Kings of Akkade, The Texts, Joan Goodnick Westenholz, Winona Lake, Indiana, 1998 The Sumerian goddess Inanna (3400-2200 BC), Paul Collins, Institute of Archeology, UCL