moonvoice: (calm - path to the moon god)
Because of my relationship to D'miezak'r, the moon god, I could not watch the full eclipse.
I only was able to document the beginning, and the eclipse itself;
but had to go inside before the moon returned.
There aren't too many things I have to do for 'religious reasons,' but most of the ones I do
are centred around the moon, and his consort the sun.
However, I was still able to get some photos sans tripod.
You have my very steady hand to thank for these.

And many moooore. )
moonvoice: (calm - chakras)
I actually made sounds of excitement.
I love seeing tecze zrzak (rainbow dragons) being born.
This guy was insanely bright;
and yes,
it really was this bright. It was like he was on fire.
Glen has just added: 'it was MUCH brighter than that photo!!!'

Tecze Zrzak

moonvoice: (calm - baba yaga and the skull)
Decided to reprocess this illustration through Photoshop, with better colour accuracy.
I can think of no better time to do it,
than on a cold day in the middle of Winter.

moonvoice: (calm - ovatne)

D'miezak'r, the moon.

moonvoice: (Default)
Here you can see how awesome they look side by side. Taken with a flash camera, which doesn't do justice, but does at least pick up the gold and metallic highlights throughout the adornments and spirals.

This project has made me think about doing the Vilturj gods 'as animals,' in this sort of style or series. Oooo the possibilities!

Scans of each under the cut )
moonvoice: (Default)
Karijiana the Sun and D'miezak'r the Moon

(mixed media on A3 illustrator's board (11.7 x 16.5in) in watercolour pencil, regular pencil, acrylic, metallic paint, fineliner and faber castell textas).

This is insanely better in real life, but photos will have to suffice as my scanner isn't big enough for this.

Before humans, but after the creation of the world, Karijiana was many things. She was the sun, the midnight star, the flowers under the sea, the amber, and of course the Beluga. D'miezak'r was also many things. He was the moon, the sea and the fish in the sea, the silver and the heart's blood... and of course the Narwhal.

The Narwhal and the Beluga loved each other deeply, and met at midnight on any night there was a crescent moon in the sky. Beluga rode to Narwhal with the midnight star on her back, and Narwhal so delighted in her beauty that he brought her all the nourishing fish in his seas. In thanks, and to show her own love for him, she grew great gardens of flowers and shells in his waters.

Such gardens have long perished now, though some places remain where one can glimpse a pearly shell or luminous flash of what once was. But Beluga and Narwhal still meet on some midnight nights in the cold and icy North, to share the love of Karijiana and D'miezak'r; the Sun and the Moon.

click here to see the work in progress shots and an explanation of my process )
moonvoice: (Default)
Zirczekaja (pron. Zer-cheh-KAY-jah)

Depicted As

- A lithe, wiry young man - pre-adolescent, or adolescent - often quite short, with short hair. Significantly virile.
- Wolverine
- Badger

Other Names



Great, empty Fields and Pastures.
Grey and Black Soil.
Black Wood.
The Phallus.
Empty spaces.
Dog (domestic).

Presides Over

Zirczekaja presides over the underworlds, primarily the flat plateaus and the empty spaces off the paths. He also conducts a 'hunt' in the underworlds similar to the ones that Lesavny conducts in the middleworlds.

Zirczekaja also presides over death states, mutilation, sacrifice and dismemberment. He is not - however - a war god. He is associated with the loss of innocence.

Connections to Other Deities and Folklore

Zirczekaja has been presented as a friend of Lesavny in some of the folklores. He has also been associated with Vavale, as a wolverine or hound that comes to visit her with tidings from the underworlds. He has also been indicated in a story depicting the rape of Vasilia, as her rapist.

Times of Honour

- Times of stillness (no wind, etc.)

Places of Honour

- Plateaus and plains
- Fields
- Salt lakes
- The underworld


- Animals (animal sacrifice)
- Blood (given through cutting)
- Knives and Blades
- Salt
- Pain and Ritual Flagellation
- Immediate and Visceral Sex
moonvoice: (Default)
The Unicorn Series
Part One - The Unicorn's Appearance in Literature

...'there are in India...certain wild asses which are as large as horses, and larger. Their bodies are white, their heads dark red, and their eyes dark blue. They have a horn on their forehead which is about a foot and a half in length. The dust fild from this horn is administered in a potion as a protection against deadly drugs. The base of this horn, fo some two-hands'-breadth above the brow, is pure white; the upper part is sharp and of a vivid crimson; and the remainder, or middle portion, is black.

...Those who drink out of these horns, made into drinking vessels, are not subject they say to convulsions or to the holy disease (epilepsy). Indeed, they are immune even to poions if, either before or after swallowing such, they drink wine, water or anything else from these beakers.

Other asses, both the tame and the wild, and in fact all animals with solid hoofs, are without the ankle-bone and have no gall in the liver, but these have both the ankle-bone and the gall. This ankle-bone, the most beautiful I have ever seen, is like that of an ox in general appearance and in size, but it is as heavy as lead and its colour is that of cinnabar through and through. The animal is exceedingly swift and powerful, so that no creature, neither the horse nor any other, can overtake it.'

Ctesias, 4th century BC.


The above account is the first generally accepted account of the existence of unicorns. It is thought to represent (if dissatisfactorily) the Indian rhinocerous. Yet Ctesias' use of the word 'wild ass' leads us to believe otherwise - as after all - Ctesias was familiar with asses and would not have confused them with a rhinocerous.

At the time of this account, reports of a Tibetan 'unicorn' were becoming widespread. Documents from the time of Genghis Khan contained reports of a mythological creature which describe it as a 'long and fleet creature' like a gazelle, with a perfectly straight horn, the colour of deer.

There are two other significant unicorn references within ancient literature. Poet Oppian mentions Boeotian oxen has being single horned. The other reference comes from Julius Caesar himself who said that in the Hercynian Forest, a stag shaped beast with one horn there lived.

Aristotle was one of the many who believed in the existence of the unicorn, as were many other philosophers. Aelian was one of these, who between him and Ctesias, mustered up seven different 'unicorns.' One of these was the distinct Cartazon. An animal 'as large as a full-grown horse, it has a mane, tawny hair, feet like those of the elephant, and the tail of a goat. It is exceedingly swift of foot. Between its brows there stands a single black horn, not smooth but with certain natural rings, and tapering to a very sharp point. Of all animals, this one has the most dissonant voice.'

The Cartazon was considered exceptionally gentle towards other species, but would fight its own kind. They were thought to have lived in mountains in India inaccessible to man. No mature Cartazon had ever been captured. Cartazon comes from the Sanskrit - Kartajan, which means 'lord of the desert.'

Pliny mentions the unicorn in several passages (Monocerologia, 1676). 'The Orsaean Indians hunt an exceedingly wild beast called the monoceros, which has a stag's head, elephant's feet, and a boar's tail, the rest of its body being like that of a horse. It makes a deep lowing noise, and one black horn two cubits long projects from the middle of its forehead. This animal cannot be taken alive.'


The unicorn, for a long time, did not enjoy a positive reputation. It was announced by the philosopher Solinus to be 'the most cruellest of creatures, a monster with a terrible bellow. His horn, of four feet, so sharp to pierce the toughest of flesh.'

The unicorn appeared only to live in literature, including the Bible (as seen in the next part). Many did not believe in its existence. It was - most of the time - an unromanticised monster, brutal and violent, terrible and beautiful.


The Unicorn Series
Part Two - The Unicorn in Biblical Context

...'God brought them out of Egypt; he hath as it were the strength of the unicorn. Numbers xxiii. 22.

His glory is like the firstling of his bullock, and his horns are like the horns of unicorns: with them he shall push the people to the ends of the earth. Deuteronomy xxxiii. 17.

Save me from the lion's mouth; for thou hast heard me from the horns of unicorns. Psalm xxii. 21

He maketh them [the cedars of Lebanon] also to skip like a calf; Lebanon and Sirion like a young unicorn Psalm xxix. 6.

But my horn shalt thou exalt like the horn of the unicorn: I shall be annointed with fresh oil Psalm xcii. 10.

And the unicorns shall come down with them, and the bullocks with their bulls; and their land shall be soaked with blood, and their dust made fat with fatness Isaiah xxxiv. 7.

Will the unicorn be willing to serve thee, or abide in thy crib? Canst thou bind the unicorn with his band in the furrow? Or will he harrow the valleys after thee? Wilt thou trust him because his strength is great? Or wilt thou leave thy labour to him?

Wilt thou believe him, that he will bring home thy seed, and gather it into thy barn?' Job xxxix. 9-12


The fact that no one in Europe had seen a unicorn was of very little importance. No one in Europe had really seen an elephant, a tiger, a jaguar...but they believed in them with no question also.

The unicorn is often linked with tangible creatures; the bull, the calf, the deer. It is also linked with a sense of awe and of power. It is thought that this Biblical unicorn was the Re'em, the indomitable one-horned Hebrew creature. Re'em could have possibly descended from the Arabian word rim, which literally meant Aurochs; the fierce, extinct, large bullocks of time past.

It is in Alexandria that the unicorn really started to develop into a known creature, not just a literary wonder for the well-read. In the physiologus (the collection of old wives' tales which included the one about the ant-lion actually being fathered by an ant and a lion), we hear:

'[the unicorn] is a small animal, like a kid, but surprisingly fierce for his size, with one very sharp horn on his head, and no hunter is able to catch him by force. Yet there is a trick by which he is taken. Men lead a virgin to the place where he most resorts and leave her there alone. As soon as he sees this virgin he runs and lays his head on her lap. She fondles him and he falls asleep. The hunters approach and capture him and lead him to the king.'

Which led to questions such as: 'why is this animal worth such a ruse?' and 'what is the relationship between the unicorn and the virgin?' which wasn't, at that time, anything to do with purity.

The unicorn, from the Physiologus, came to represent Christianity through the following symbolism:

Horn as representing unity of father and Christ. Fiercesome nature and strength as representing that the powers of the Principalities, Thrones etc. could not come against the Messiah's will. The small stature represented Christ's humility. The virgin now comes to represent the Virgin Mary. The hunter represents the Holy Spirit, or angel Gabriel. The capture of the unicorn is the Incarnation of Christ. Leading the unicorn to the King, is the Christ-form once again finding his way back to the Holy Spirit.

There were a few other interpretations of the Physiologus, none however contributed as much to the popular view of the unicorn held today as the description above. However the unicorn was interpreted as the Devil, and the maiden as proof that virtue overcomes evil. Except in this interpretation, the Devil begins to make love to the virgin, so the maiden grasps his horn (phallic symbol anyone?) rendering the unicorn/Devil helpless, so that he can be captured by the hunter.

The virgin-capture story became popularised and sexualised over time in literature. Eventually authors wrote that the unicorn could discern virgins by sight, and should any maiden lie about her virtue, or attempt to deceive a unicorn, she would be instantly slain. Eventually it was best if the virgin was naked if the unicorn was to come (surprise surprise), and that the human virgin woman represented the 'opposite' of the unicorn, the exact polar opposite so that the unicorn was irreversibly attracted to her.

Yet the unicorn was not necessarily 'special', many people accepted that 'opposites attracted' and so came to think that the unicorn was attracted to virgins because it was only his nature. He was not special and symbolised nothing. Though important, he did not have the magical splendour of the griffin or the salamander.

As for the use of virgins, it was common to use lions and elephants and other beasts to test their 'virtue.' If they were trampled / eaten, then they weren't virgins. Later tales of the virgin and the unicorn concerned themselves with the idea of an odour of chastity which could be bought and if one annointed themselves with it, the unicorn would be deceived. This eliminated the need for the virgin, as hunters themselves could smell of sweet innocence and chastity and so deceive the unicorn.

However, if you were a 'traditionalist' and wanted to a use a virgin, no 'ordinary' virgin would do. It had to a well-bred young maiden, not too poor, nor too arrogant and rich. She had to like feminine pursuits such as picking flowers and well... I guess perhaps embroidery. They had to be beautiful, gentle and kind, which detracts from the fact that these maidens were employed for the sole purpose of deceiving the creature and the truth of its murder. The maidens were not, in essence, gentle and kind.

Sadly, the unicorn enjoyed more nobility before the virgin-capture story. The unicorn as a creature became merely a worthy prey for centuries, only to be caught by the worst of 'sportsmanship.'

Far on the edge of the world and beyond the banks of the Ganges,
Savage and lone, is a place in the realm of the King of the Hindus...
Where there is born a beast as large as a stag in stature,
Dark on the back, solid-hoofed, very fierce, and shaped like a bullock.
Mighty and black is the horn that springs from the animals' forehead,
Terrible unto his foe, a defence and a weapon of onslaught.
Often the poisoners steal to the banks of that swift-flowing river,
Fouling the waves with disease by their secret insidious poisons;
After them comes this beast and dips his horn into the water,
Cleansing the poison away and leaving the stream to flow purely
So that the forest-dwellers may drink once more by the margin.
Also men say that the beast delights in the embrace of a virgin,
Falling asleep in her arms and taking sweet rest on her bosom.
Ah! But, awakening, he finds he is bound by ropes and by shackles.
Strange is the tale, indeed, yet so, they say, he is taken,
Whether it be that the seeds of love have been sown by great Nature
Deep in his blood or for some more mysterious reason.'


The Unicorn Series
Part Three - The Unicorn and Fantasy

Discrepancy and fantasy. Did the unicorn have a divided hoof like the goat? Or a solid hoof like the bull? A goat's body with a horses head? Or a horse body with a goat's head? The goat's beard? Was that there too? Striated horns or not?

Welcome the Renaissance artists, who romanticised the unicorn and depicted it as a cloven-hoofed, goat-bearded, striated-horned, pure-white animal. It was shown solitary, without a mate, usually observed by humans or prostrating itself to the virgin maiden.

And then, the unicorn became a symbol upon heralds. It represented magic of all kinds. It represented chastity, purity and ferocity. It represented the tribes that could not be captured, those that would fight until the end.

Eventually the unicorn developed further. It developed a precious gemstone, a ruby or carbuncle at the base of its horn. This ruby, and the unicorn's red heart, were thought to cure almost any ill. The horn became known as the alicorn. It varied in colour, shape, pattern, size, striation etc. It even varied in stiffness.

The unicorn horn, according the Northern Europeans, was limp like a 'cock's comb' that could be stiffened (phallic anyone?) during combat.

The inside of the unicorn horn, when split, was thought to contain pictures of a man, fish and peacock against a black background. Al Damiri in the Book of Holy Things takes it further to say that not only were these found, but also pictures of trees, goats, birds etc.

Most unicorn horns were made of ivory and had a higher value than gold. The horn itself - good at detecting all poisons - enjoyed a better reputation than the stone ruby, also thought to be an anti-poisoning agent.

In one story the unicorn offspring are described as little fawns, but the mother is described as a monster, with fourteen heavy udders, and a horn sharper than any razor in the world.

The unicorn was thought to live in regions of the Upper Nile, in Abyssinia and Ethiopia. Indeed they were thought to reside in the same mountain range where the Queen of Sheba hid her treasure; in the Mountains of the Moon. The unicorn was also thought to reside in Tibet, where Genghis Khan was met on Mount Djadanaring by a beast which knelt three times to show his respect.

The unicorn was placed in South Africa, Mecca, the Court of Peju, Persia, India, Tartary, Scandinavia, Florida, China and the Canadian Border.

Whilst the Europeans were romanticising their unicorn, the Chinese concurrently had their ki'lin; the 'unicorn' that intermittently came from the heavens to present a fantastic omen, such as the birth of a new emperor. The ki'lin was commonly regarded as kingly as (but perhaps not important as) the dragon, and was often considered the King of Beasts. In Feng Shui, it replaced the tiger. It ate no living thing, not animal or vegetable, and would not tread upon a blade of grass or insect. It possessed a horn of twelve feet that was fleshy at the tip, a stag's body, a horse's head, and the tail of an ox. The ki'lin was not white, but pente-coloured. Its call sounded like chimes or a monastery bell.

The Chinese unicorn represented the element of earth, and was thought to spring from the very centre of the earth when needed. The ki'lin was gentle, harmless and did not kill with its horn. He was dignified, solitary, and would not tread on soil tainted with the human foot unless a mission dictates. He would not interact with his own kind. He was never hunted, and would voluntarily visit Kings should omens dictate. He was the King's equal and superior - a deity - rather than a beast to be tamed by deceitful hunters and virgins. The ki'lin has never had commercial value, as the ki'lin does not exist for medication or the edification of mankind.

In the East, the ki'lin in legend would one day appear in the form of a human, as a Messiah, to perform a mission on their benefit. Then he will walk the roads tainted by man, and it is thought that then he would save mankind.

Even in Western legend has the ki'lin thought to be a Messianic figure.

Anyway, the ki'lin was one of six other unicorns, who all derived from an original source. The other five are: King, Kioh Twan, Poh, Hiai Chai and the Too Jon Sheu.

In 1539 the unicorn was already being placed in America and Canada, as a creature with black eyes, and horn pieces were supposedly found around the necklaces of the natives of Florida. The American unicorn went by the name Souanamma.


The Unicorn Series
Part Four - Contemporary Unicorns

The legend of the unicorn really began to develop when the scholars began to play with the 'lore' that had been carefully collected and transcribed. Between 1550 and 1700 approximately 25 extended 'discussions' were published focussing exclusively on its origins, history and evolution. These discussions were long articles, and heavily referenced and foot-noted books. They were in a sense a nightmare to read.

Conrad Gesner in 1551, in his book Zoology suggested that the unicorn had been wiped out during Noah's flood. For seventy years this book wasn't doubted. It described several different species of unicorn including a new one from the Carpathians, and even today is drawn upon in contemporary texts to further imply that the unicorn was a real species mostly wiped out by some earthly disaster.

Thomas Boreman in 1730 wrote his: A Description of Three Hundred Animals, viz. Beasts, Birds, Fishes, Serpents & Insects, With a Particular Account of the Whale-Fishery (remind anyone of Fiona Apple's last album anyone?). The unicorn here is described as having one iron-hard horn on a hart's head, elephant's feet, a boar's tail and a horse's body. His voice was an ox-low. The unicorn was entirely black, except for the tip of the rough edged horn, which is thought to be red. It is described here as a solitary herbivore, fierce to its own kind, and to men who would seek to catch it.

Almost all the scholars were Protestants, bent on maintaining the Bible storyline, so the virgin-capture lived on, as did the religious implications of purity if one drank from a unicorn horn, or if one ground it into his or her drink.

There were some evolutionary traits ascribed to the unicorn which are no longer written about in the mainstream today. The first is that if pursued, a unicorn will quite happily throw himself off a precipice, fall headfirst and let his horn slice the ground and take all the impact - where upon it uses its great strength to rip its horn out of the ground and keep running. Lore explained that any water that sprung from horn holes was sacred, and lent any drinker or bather power.

Another evolutionary trait passed by the wayside was that the unicorn would bow three times on one knee to any that it perceived was a true ruler (such as it did to Genghis Khan). Indeed Ssanang Ssetsen says quite lyrically of this, 'what may it mean that this speechless wild animal bows before me like a man? Is it that the spirit of my father would send me a warning out of heaven?' Genghis Khan did not invade India after seeing this creature, thus India was saved.

Another was that the single horn twisted from the base until about ten centimetres at the top where it split and unwound into two points that were exceedingly sharp. Some soldiers reported seeing rotting flesh hanging on these points, badges of men past slain for daring to capture the fierce brown creature.

As time went by, the sea unicorn emerged, that which had the single horn on the equine head, a mane and a solid strong swimming body. Here was the first clear parallel drawn with the narwhal, a single 'horned' whale whose horn is actually an extended tooth in males for purposes of territorial and breeding dispute.

Today the unicorn is; according to Michael Page and Robert Ingpen from The Encyclopedia of Things That Never Were:

'A particularly beautiful creature once widespread throughout the northern hemisphere. Known under different names in different countries, but now popularly known by its Latin appellation deriving from unus = one, cornus = horn.' Generally the unicorn was a solitary creature. Unlike other hooved animals it did not pasture in herds but walked alone, and after the male and female unicorn had come together for mating the male would resume its solitary habit. A unicorn colt, which was born without a horn, stayed with its mother until the horn had grown to full length and then went off on its own.

The horn of the unicorn was a fearsome weapon, especially since the unicorn was a very fierce and aggressive animal which could run faster than any other creature of the plains and forests. Adult unicorns protected their territory with single-minded fury. Even an elephant would steer clear of a unicorn. Lions, being carnivorous, often lived amicably in unicorn territory since the two animals did not threaten each other's food supplies, and a lion never attacked a unicorn for fear of its great horn.

The unicorn in mainstream culture is white, with a stag or equine body, stag or equine face, and single or cloven-hoofed often given a lion or goat's tail, and forelock and fetlocks. The horn is also portrayed as white. They are considered emulations of purity and of protection, though their history is somewhat one stained with the blood trade of trading false alicorns (often inciting the mass slaughter of narwhals and antelopes to do so), and betrayal.

The unicorn has been popularised in contemporary culture through anime, My Little Ponies, the artwork of Sue Dawe and through the animation The Last Unicorn based on a same-titled book by Peter S. Beagle. This is currently being re-written in the hopes of being re-made once more. The unicorn today still hasn't lost much of its splendour and grace, beauty or ferocity, and remains a favourite mythological subject of artists, poets and musicians worldwide.
moonvoice: (Default)
Vavale (pron. Vah-VALL-ay)

Depicted As

- An old crone woman with blackened eyes and long, loose hair, living in a derelict house in the middle of swamplands, with forest behind such a house. The gate and fence of this house is made of the bones of children. The house itself is capable of great, unearthly screams.
- A swan-goose (goose).
- Disembodied hands.
- Gales of Wind (non-personified).

Other Names

Vavayega. (paralleled to Baba Yaga.)
Black Virgin.
Old Woman.
Old Woman of the Swamps.


Domestic Cat. (particularly pure black or white)
The Loom / Spinner.
Cloth / Yarn / Wool / Thread.
Plain Rings.
Gates and Fences.
Swan-geese. (Geese)
Broomsticks / Sweeping and Cleaning Tools.
Swamps / Wetlands.
The Crone.

Presides Over

If Vasilia presides over the spider and the spiderweb itself, it is Vavale who can be seen as the eternal force that weaves the spiderweb, and gives the spider knowledge of how to do it. Vavale is a creative and destructive force, representing both fate and free will. She is very dangerous, as all wisdom and knowledge can be, but she is also the impetus behind the beauty and ugliness of this world.

Vavale is the 'Wind Mother,' and births the gales and destructive winds, as well as the gentle breezes. While violent weather phenomena often comes with its own deity, or is personified as a deity, it is still often thought that the force of Vavale is behind it. She also shepherds middleworld violence, and is a very dark goddess - though not Cthonic in nature.

Vavale is a custodian of folklore, etiquette, respect and bravery. It is often told in folklore that to survive encounters with her, one must be respectful and humble, obey cultural law, and be brave and true to oneself. Those who are cowards and disrespectful in folklore are often killed and eaten, no mercy is spared for children. Vavale teaches a deeper lesson here, that without respect for elders and the community and the self, we die; literally and spiritually.

Vavale concerns herself with what we might call fundamental aspects of our existence; life, death, fate. She knows all the stories, past, present and future, and knows our stories too. Naturally, she also presides over all mysteries, those stories that we shouldn't know, or aren't ready to. She is an initiatory goddess, and often not appealed to. She often looks over and presides over the Orai'ma, or female 'shaman.' It is to them she gives folklore, wisdom, magic over life and death, and the ability to know everyone else's stories without needing tools of divination.

Old age, menopause and the wisdom of elders are also presided over by Vavale.

Vavale is a prime matriarch, and does not concern herself with men, though she may gift heroes and true warriors 'gifts' for their heart, spirit and body. She is not a goddess who helps Orai'ka or Ilkara'ka.

Connections to Other Deities and Folklore

Vavale has a rich history of being connected with other gods in folklore. She has an antagonistic relationship with Lesavny. She also has rather positive or 'friendly' relationships with L'yuvotn'r (the fox and the rain), and Zirczekaja (the empty plain). It is thought that she is the mother or grandmother of Vasilia, and at times she has been characterised as a mother or sister of Karijiana. While I tend to shy away from characterising these three female deities as a 'triple goddess,' I cannot deny that they are often connected in folklore.

Vavale tends to dislike men and 'masculine' energy, and is not a safe deity to pray or propitiate if you consider yourself a 'masculine' person. In the legends, there are varying reasons for this dislike, many spawning from her hatred of the playful, joking Lesavny who is thought to be the source of all that is 'male.'

Vavale is connected to many underworld gods, while she doesn't visit them, it is thought that they visit her for advice / knowledge / wisdom / answers. They often come to her in the form of hounds or beetles.

Vavale has also been implicated as the sister of Ucza, one of the less forgiving primary underworld deities.

Times of Honour

- Night-time.
- During the colder Winter months.
- During wind-storms.

Places of Honour

- Swamps and Wetlands.
- Forests, near Water.
- Places void of light.
- At crossroads.
- Inside the home, in darkness.
- Villere (festival of Sacrifice)


- Animal Sacrifice (any, except waterbirds).
- Feathers (particularly raven, crow or vulture feathers).
- Blood and 'Old Blood' (brown blood of menstruation).
- High quality Cloth, Yarn, Thread etc.
- Silk (for special occasions).
- Hair.
- Nails, Claws, Teeth, etc.
- Mirrors.
- Fear / Respect / Bravery. (these are considered offerings, with Vavale)
- Juniper oil and berries.
- Writing implements.
- B'lethra (plaits / plait magic)
moonvoice: (Default)
T'Klit'zi (pronounced: teh-klit-zee)

Depicted As

- An old man with bright, clear eyes and long fingernails.
- An old man at the base of a mountain or great tree.
- Sometimes personified as mountains, stone monuments or large trees.

Other Names

Old man mountain


Big trees with large boles.
Foundation structures in architecture.

Presides Over

T'klit'zi is a god of justice and fairness. He is personified by the base of mountains and trees, because it is his energy which is thought to keep these structures standing. In all stories, it is T'klit'zi's justice which allows all of these things to stand. Without the energy of T'klit'zi (which can also be quite an abstract force not necessarily personified), a mountain would simply be some grains of sand, and a tree would only be a seedling that is fit to be eaten by a rabbit, but not fit for much else.

T'klit'zi is not associated with scales that balance, but rather with a straight line or a solid foundation. He teaches morals and ethics, cultural lore and wisdom. He is essentially our instinct of what is 'right' and what is 'wrong.' He is a patron god of leaders.

He tends to teach in riddles, but he can also be very clear-speaking. T'klit'zi can be 'straight down the line' and sometimes quite black and white, and working intensively with him can give a person quite a narrow perspective on what is allowed and what is not. However, he is a more benevolent presence in the pantheon, and in his human form is often generous with wisdom.

Connections to Other Deities and Folklore

T'klit'zi is sometimes implied in the creation of the Upperworld and also implied as a protector of the Vilturj otherworld 'tree' (similar to the Norse Yggdrasil) and sometimes as the 'base' of that tree in energy. He is connected to many of the sky and mountain gods, and also to some of the underworld gods and wights. However, he predominantly keeps to himself and is likened to a solitary old man who chooses to live apart from society in order to observe in a more objective manner.

Times of Honour

- Clear skies; because a clear sky was thought to imply clarity of mind. Clear sky in the morning was thought to be especially auspicious.
- Equinoxes; because day and night are 'even.'

Places of Honour

- By any mountain.
- By granite outcrops.
- On house or building foundations.
- By large and old trees.
- By stout sticks placed in the ground.


- Stout sticks, particularly if self carved.
- Drawings of strong mountains, trees etc.
- Clear water.
- Cupped hands with nothing in them.
- A structural offering, brick / wood / rammed earth etc.
- Tools for building.
- Clear glass and crystal.
- Mirrors.
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Lesavny (pron. Leh-ZAV-nee)

Depicted As

- A darkened or black owl. (Omen of death.)
- A man in his mid-20s to 30s, with dark, curly hair that looks damp or wet. He is neatly dressed, often wearing some proportion of spiderweb. One or two items of his clothing will be reversed. His skin is slightly green. His face is angular and handsome, his nose is hooked and aquiline. Sometimes he is seen wearing leaves, branches and spiderwebs. He can be malicious or benevolent in this incarnation. He is always predatory.
- A hunting man in his mid-30s to mid-40s, sporting the horns of a reindeer or moose. He is predatory in this incarnation, and rarely petitioned.
- A young boy, post-adolescent, often sitting on rooftops or treetops, waiting for the sun to rise. There is often a white doe standing patiently beneath him, or that leaps into the sky the moment the sun rises. He is playful in this incarnation, and is known as Lesaril.

Other Names

God of Beasts.
Forest God.
Sly One.


The Forest.
Deer (Roe, Reindeer).
Frogs with Golden Eyes.
The Erect Male.
The Phallus.
Vili (Wights.)

Presides Over

Lesavny is a dangerous deity. If you choose to contact him, you do so at your own risk.

Lesavny is complex and many-faceted. He presides over chaos, the untrustworthy and that which looks charming but is deceitful. He teaches self-sufficiency, for he absolutely cannot be relied upon. Though his counsel may be wise and seem loving, he can be innately malicious and sadistic. Lesavny is cruelty and mercy combined. He presides over illness and health.

Lesavny rules the hunt and the forest. He hunts the animals, and uses them for sport, but he also protects them from those who would destroy the forest and its creatures needlessly. He is considered a master of beasts. He is rarely a 'patron deity' to humans.

Masculinity, the phallus, fertility, sex and virility are all domains of Lesavny. He inspires the female to be submissive, and the male to be a conqueror. While the is contrary to the more harmonious teachings of Karijiana, this primitive force of Lesavny is what is often invoked during certain initiative rituals. Sex with Lesavny can be violent, more about masochism and sadism than mutual love, but it can also yield truths about trust, honesty and 'laying yourself bare.'

Connections to Other Deities and Folklore

Lesavny is connected to many of the other more well-known of the Vilturj gods, such as Vavale, Vasilia, Karijiana etc. He is considered good friends with, or brothers with L'yuvotn'r and Hrum, and he is also considered to have created or to be on good terms with almost all forest / woodland vili (wights) and woodland creatures. He has close relationships with many cloud, wind and sky gods, though he himself is not an upperworld deity.

Lesavny has intervened in creation myths benevolently in favour of human kind, and is known as a constant source of vexation to other deities. He represents the chaotic aspect of nature, alongside Vavale.

Times of Honour

- Lesere - Festival of Trees
- Winter Solstice
- Autumn Equinox
- 2 and 3 am or pm.

Places of Honour

- Forest
- Forest shrines
- Paddocks with livestock in them.


- Tree branches.
- Leaf ornaments.
- Vodka.
- Meat. (Raw or cooked).
- Rock salt.
- Tree effigies
- Wolf / Frog / Raven / Lynx effigies and pictures.

It is not recommended to give Lesavny blood or semen except during Lesere. Otherwise such offerings are thought to attract his uncontrollable destructive and predatorial aspects.
moonvoice: (Default)
L'yuvotn'r (pron. Lyoo-VOT-near)

Depicted As

- A neatly dressed gentleman, with clipped black hair and a clean face. Often barefoot, holding a vessel from which he pours water. In modernised images he is also shown with an umbrella.
- As above, but with water streaming from his hands.
- The Arctic fox, and the red fox.

Other Names

L'yuvona'ma (a female incarnation)


Arctic Fox.
Vases / pitchers / urns.
Water and Rain.
The Willow

Presides Over

L'yuvotn'r is a gentle and articulate deity who presides over the rain (though not deluges and thunderstorms). He is well-dressed, neat, and also keeps in order our mannerisms and neatness. He is multilingual, and converses with trees, animals and all cultures.

He is associated with glass and stone-craft, as well as all foxes and to a lesser degree; wolves. He is immune to rain spells, though he may converse with Ilkara'te who petition him to bring his waters.

Connections to Other Deities and Folklore

It is thought that he brought the first rain to the people, when he came as a great Arctic fox out of a fresh water river, and shook the droplets off his fur. This was the 'first rain.' All foxes are sacred, and it is unlucky to kill them. This is one of the reasons why they are considered so important.

He is related back to other sky deities, and has been also depicted as Lesavny's companion. They are related, though not brothers.

He thwarts the presence of Death, in the form of Ucza by accompanying her on many of her 'real world' death spirals (Tornadoes / Hurricanes etc.) where he lets his rain balance out her destruction.

Times of Honour

- During times of rain (particularly showers / drizzle)
- During bathing and showering (remember to conserve water)
- Wet Winters.

Places of Honour

- Places of falling water, under rain, or in view of rain.
- Under willow trees.
- Near fox dens.


- Glass ornaments and effigies.
- Pure water.
- Fox effigies
- Willow (particularly when plaited as a whip, or wreathed as a crown)
- In modern practice, the umbrella is also considered an appropriate offering.
moonvoice: (Default)
Gods: Hrum (pronounced: Hroom with the 'oom' being like the 'oomph!' sound)

Depicted As

- A strong, handsome, muscular man who tends to look like he's stepped out of a furnace (sweaty, dirty, damp clothes etc.) He is known for his eyes, which are said to reflect flames even when there are none around. He is sometimes shown wearing red metals, and the colour of his hair is thought to be unknown because of the amount of dust and residue in it.
- Personified as thunder storms.
- Also personified as the sound of stampeding hooves.
- A black boar.

Other Names



Thunder cloud.
Black cloud.

Presides Over

Hrum is the primary thunder god who is also seminal in Vilturj as the god who gave humans fire as a gift to combat a long, cold period caused by Vavale. He is generally a benevolent god who is able to converse with almost all gods in an easygoing manner, and is considered one of the most accessible of all the sky gods.

Hrum will often appear as a person in visualisation and journeying, and has quite a dominating presence. He is one of the few gods in Vilturj who will happily make 'small talk,' and it can be quite difficult to cut through the light-hearted diplomacy through to the deep, primordial and ancient wisdom in those fire-reflecting eyes that gave us light, electricity, fire and life in the first place. Despite Hrum's role as the god who gave us fire, he is rarely invoked in this incarnation and seems to take joy in being remembered more as a god who brings storms instead.

In the Upperworld, Hrum lives in a large, single-storey house which has various size and patterned drums hanging from every single spare part of his walls. It is thought that the spirit of dead, respected drums accompany him in his home.

As a sky god, Hrum is unusual in that he is benevolent towards humans (even as a lightning bolt knocks your house down). He accepts gifts and gives them freely. Hrum prefers regular worship, rather than intermittent worship. He will infrequently act as a mediator between Oraite and Ilkara'te (shamans) and other gods. However, Hrum has a fierce, destructive temper which is difficult to raise. This is a good thing that it is difficult to raise, because if Hrum doesn't like you, chances are none of the other gods, spirits or energies of the Vilturj pantheon and mythos will either.

Hrum has a strong relationship with zrzak, or lightning dragons (in the mythos, Hrum does not 'create' lightning, rather he can transport things with it - like glass and flame - but lightning itself is actually a form of dragon). He also has a strong relationship with wind maidens and other female wights. He can be brotherly, paternal or flirtatious depending on who he is interacting with and why.

Hrum is a complex god, he is benevolent and accessible, yet his judgement is 'final' and he can be a force of ostracism and destructive power. He gave us fire but brings the storms that can also immediately cut all our controllable electricity and fire out of our life.

Connections to Other Deities and Folklore

Hrum's connections to other deities, to specific folklore and other wights are too numerous to be listed here. So I will list his primary relationships instead:

- Hrum has a close relationship with L'yuvotn'r, it is a brotherly relationship and L'yuvotn'r will often accompany Hrum when he is riding his storms. He also has a very close relationship with Lesavny, even though he will work against him. Hrum is one of the very few gods that Lesavny has never been able to hoodwink, and Hrum has been one of the only gods to hoodwink Lesavny!

- Hrum is associated with the chthonic horse god Ajckonzi, and the stampeding hooves of wild animals are attributed to both of them. They are sometimes considered to be spiritual twins, one stampedes across the sky (Hrum) and the other stampedes across the ground (Ajckonzi). Their relationship isn't entirely clear, but their energies can be similar.

- Hrum is a comforting paternal father figure to drowned children and adolescents, and often encourages them to come up from their lakes and rivers and join him during storms in dances. As such they tend to adore and worship him. He is also known as a god who will send lost souls on their way (using thunder to drum them home, instead of 'drumming') and is in that sense a psychopomp.

- Though Hrum will often appear to be 'younger' than some of the ancient gods, there are stories where he jokes with Vavale (one of the oldest gods in our mythos) about being here before her. Vavale takes this good-naturedly, suggesting that their might be some truth to his statement. Hrum has never been 'born', nor given 'birth' to any gods in folklore. If you ask him where he comes from directly (as I have during UPG), he tends to be quite vague and say things like 'everywhere,' or 'nowhere.'

Times of Honour

- Thunderstorms.
- Before and after storm activity, or in the sight of storm clouds.
- During any drum ceremony.

Places of Honour

- Open spaces.
- In hearing range of thunderstorms.
- Near streams, rivers, lakes, etc.
- Around fire.
- the Upperworld.


- Drumming.
- Shouting.
- Dance.
- Joy.
- Paintings of black clouds or lightning.
- Fire.
- Clay and glass objects.
- Mammoth and boar effigies.
moonvoice: (Default)
The Ethics of Weather Magic
A Traditional Perspective

A harmonious relationship with weather gods can only be achieved through consistent, respectful and long-term practice. It involves meditation, journeying, and learning the sacred ways and rituals that allow us to commune with gods and energies that are far more vast than we are. It involves understanding that we will only ever know the tip of the iceberg, so to speak, that we are small and insignificant to the near-eternal weather cycles that have been here since before cellular 'life' began.

A relationship with the weather gods is one of respect and deference, fear and love. The weather gods are not there to be commanded at our convenience, and indeed many simply will not defer to any human, or humans, no matter how much we appeal. To believe that we can simply force the weather to do our will is inane, and to believe that we have done so, ignorant.

There are hundreds of different weather and sky gods, each requires time and patience to learn and understand. It is a journey of letting go of the destructive aspects of our ego and allowing the wisdom of the sky-spirits to overtake us. Working with weather gods is a dedicated undertaking, so much so that throughout Russia and Asia there were spiritual elders and energy-workers who devoted their entire lives to sky gods.

In contemporary times, many Australian pagans have expressed interest in wanting to 'call' rain to break the ongoing drought. They have not spent years in communion with the land and weather systems to understand this drought, and do not seek to understand if it has its rightful place. Instead, it seems that 'those trees are dying, the cost of meat has gone up, I'd better call millions of tons of rain over because I'll feel good about it and my garden will grow…' Yet the changes this earth undertakes are far more complex than we can hope to understand. Weather gods have loyalty first to the earth, and then to the 'shamans' and spiritual people who entreat them through years of communion. If we do not understand the earth itself and geological change, then how can we seek to understand the motivations of the weather gods (or the weather) and our relationship to them/it?

A would-be holistic worker petulantly looks at the land around them and sees it changing in ways that he or she interprets as negative. They are like a child who wants a lolly, they look up to the sky and hold out their hands and go, 'please Mom! I want a lolly!' Like a child, they rarely try to understand why they haven't been given a lolly, and they certainly don't often respect the 'Mom' in the process of just want, want, wanting. If Australia, or America, or Africa is in a death cycle climatically, then we should not treat the symptom (the weather), but rather address our creator gods and our ancestors, and ask how we may better cope with this at a community and personal level. Turning to gods that we haven't treated with respect and asking them to baby us is a grave insult, and one that rarely works.

It is my opinion that most pagans today who claim that they work with the weather, or that they do 'rain spells', do them out of ignorance. They trust the ego over the spirit, and lack respect for the sky, often objectifying their ecosystem in the process. This isn't holistic to me, and it is not insightful. These are the people who would also philosophically treat illness by addressing only the symptoms, who treat drought by simply drenching the land if their 'power' permits it (usually followed by post-ritual bragging to the nearest coven/forum/e-community etc.)

So what can most of those who deem themselves worthy to do 'weather magic' be called today, if not weather-dancers or weather-workers? Weather abusers, or users, or manipulators. Those who choose to manipulate forces billions of years older than our own physical existence ignorantly, with only the cursory respect given before and after each ritual, are not those who are treating the weather or their ecosystem with respect.
moonvoice: (Default)
Vasilia (pron. Vah-SEE-lee-ya)

Depicted As

- A lithe, willowy maiden (physically mature) with small breasts and a feminine face.
- She is often depicted wandering alone on a path, with trees on her right hand side. She is sometimes holding a lantern or doll.
- As a star-maiden, she is a woman holding up the stars, or sending them into the night sky from her lantern.
- A spider in its web.
- Often shown as having spiders in her hair, or webs between her fingers.

Other Names

Wind Maiden.
Star Maiden.
Goddess of Gentle Breezes.
She of the Wind and Stars


The Lantern.
Children's Toys.
The Maiden.
Contained Fire.
Spider Webs.
Otherworlds / Upperworld.

Presides Over

Vasilia is a remote goddess, though generally thought to be kind and gentle. She presides over the wind, stars, and all journeys - particularly ones taken alone. She is constantly searching for ways to heal her people, or for ways to heal the land itself. She rules the 'path' and the journey, as well as the destination or the 'cure.'

Vasilia is considered a sky deity, and is fairly inaccessible. She is often abstracted as simply being the wind and stars. She primarily presides over gentle breezes and the cold winds of Spring and Autumn, which are also thought to be her seasons.

Vasilia presides over contained fires, particularly lanterns, lamps and candles. Fires that can - in other words - be held in the hand and manipulated to shed light on specific shadows when we want to find wisdom. This has been modernised to also include the torch. Her knowledge is how to seek the shadows we fear, and to bring them forward into the light.

Vasilia presides over all dolls and effigies.

Vasilia presides over all spiders and spiderwebs, the latter being one of the fundamental symbols of Vilturj. She teaches us interconnectedness and communication. She also represents all that is 'good' in this world, but that which is also hard to attain; honour, humility, bravery, honesty, purity, loyalty, strength. She teaches us that there is beauty within ugliness, and fairness, for her confrontation of the ugly Vavale showed us her compassion and ability to heal. In undertaking potentially fatal tasks, she experiences initiation. Vasilia shows us that bravery and a willingness to trust in others can bring us through even the harshest of circumstance.

Vasilia presides over instinct and subjective experience, anecdote and personal truths. She also represents our ability to face death and remain innocent and childlike. She teaches the value of overcoming cynicism and jaded attitudes. It is thought that she is a special goddess of children, teaching them whimsy and play.

Connections to Other Deities and Folklore

Vasilia is often thought to be the sister or daughter of Karijiana. She is also associated with Vavale, who confronts this goddess in order to save her family or community. She triumphs where others fail, because she remains virtuous and brave.

Vasilia is not implied in any sexual relationships with other deities, though she has been raped by Zirczekaja in some stories.

Times of Honour

- The equinoxes.
- Luflijka - festival of flowers.
- Windy Autumn and Spring days / evenings.
- Under the Stars.

Places of Honour

- New Forests. New-Growth Forests.
- Places in view of Stars.
- Fresh-water Streams and Rivers.
- Places near spider-webs.


- Handmade dolls
- Umiki (effigies)
- Small, sweet bread-buns
- Sugary sweets
- Spring water.
- Silver jewellery
- Candles and Lanterns
- Feathers (particularly white and grey feathers)
- Effigies of Birds and Spiders.
- Stars (pictures / ornaments etc.)
moonvoice: (calm - snow white and rose red)
Karijiana (pron. Car-ee-JAH-nah)

Depicted As

- A full-term pregnant woman, with sunlight or milk streaming from her fingers and feet, with golden hair. The pregnant belly is the sun itself.
- A beluga
- A pregnant woman with a sword strapped to her side, and swords at her feet.
- Sometimes shown with a river of blood between her legs, depicting the difficulties of childbirth, menstruation, and the sacrifice that women make.
- A glowing light.
- A young maiden of the sun and sea.
- A single flame.
- A fire burning the people.
- As the midnight star, she is shown as a pale / silvery woman with golden hair, in the early stages of pregnancy. There is a star at her navel, or pubis. Sometimes she is shown sitting on a narwhal, whale or dolphin (D'miezak'r), holding a golden sword that points at the moon.

Other Names

Karajana (a 'standard' spelling.)
The Feast-Healer
Queen of the Zere Czowanijanya
Fire Lady / Lady of Fire
Spring's Blush
The Midnight Star


The Sun.
Babies and Pregnancy.
The Cross.
The Doe.
Pregnant Livestock.
The Lark and Starling.
The Sword.
Fertility and Sacrifice.
The Softer Things of the Sea.

Presides Over

Karijiana is primarily a benevolent and loving goddess, generous and compassionate and warm. On rare occasions she has a vengeful nature and can have a fierce temper. Karijiana presides over the sun and 'the softer things of the sea' (sea flowers, anemones, corals, jellyfish), but as a cosmic goddess she also presides over plants, animals and people. She gives birth to fruit, fertility and is associated with childbirth and the sacrifice of childbirth.

Karijiana has a solar cult of which her priestesses are warriors. They are the czowanijanara (or czowanijanya). Their symbols are the wire and web, the c'ldrucze (an ornamental, curved blade) and the sword. The weapons - often golden - were primarily ornamental, representing a warrior spirit, though some women were trained in martial arts. These priestesses were buried with their weapons, where in the upperworlds they would become her warriors. Amber is their 'stone' and the salt and sea are natural places of worship.

Karijiana presides over sex and sexuality. Sexual rites are sacred to her, and because she has been known to have sex with men and women, her teachings in sexual lore transcend the bounds of heterosexuality. Despite her commitment to D'miezak'r, she is free to love whomever she wishes.

She also presides over the nourishing qualities of food and food cures. She was not represented by herbs, but by fruits and feasts.

Connections to Other Deities and Folklore

Karijiana is connected to D'miezak'r as his lover. She is his consort as the white Beluga (and he the Narwhal), though she often appears as the Beluga simply to sail the seas. She is also connected to D'miezak'r as the sun and he the moon. The list of connections between these two are complex. They are not considered 'opposites' of each other in a duality sense.

Karijiana has an affiliation with women, female shapeshifters and wights (spirits or vili), and nourishes the concept of sisterhood and unity within that sisterhood.

Karijiana is thought to be the mother of Vasilia, goddess of gentle breezes and the stars and spiderwebs. Sometimes however Karijiana and Vasilia are considered sisters.

Karijiana and Lesavny are connected in folklore, and often have an antagonistic relationship. She has made him both potent and impotent in the past.

The death goddess Ucza is responsible for killing all (or almost all, depending on the story) of her children that she bore from D'miezak'r.

Times of Honour

- Mid-afternoon and early morning at the break of dawn.
- Warm days.
- Luflijka - festival of flowers.
- Midsummer.
- Midnight.
- During sex.

Places of Honour

- Under the sun
- Under the stars at midnight.
- Orchards
- The sea
- Places of birthing (literal and symbolic)
- Around bonfires.
- Places of sexual rites, and the bedroom.


- Fruits and Flowers (particular in warm tones.)
- Bonfires.
- Blood (including menstrual blood).
- Sexual rites.
- Orgasm.
- Weapons.
- Gold and Amber.
- Weapons.
- Feasts or Rich, Gourmet Foods.
- Milk.
- Honeycomb.
- Joyful love in all its expressions.
moonvoice: (Default)
D'miezak'r (pron. De-MEE-zack-RR)

Depicted As

- A young, naked man, sitting on the crescent moon looking thoughtful or moody.
- A young, naked man, holding two narwhal tusks (which in glyphs often look like staffs)
- A young man wearing ragged clothing. No jewellery.
- Often shown as or with the narwhal, and sometimes with dolphins and whales. Sometimes shown as a narwhal opposite a white beluga, representing his 'marriage' to Karijiana.
- Sometimes shown as a narwhal with two tusks, or riding a narwhal with two tusks.

Other Names



The Moon.
Cetaceans (barring the beluga).

Presides Over

D'miezak'r is a remote god and is considered cold-hearted and aloof. He has no particular love of humans, or many land-based animals, though he can occasionally appear as a guide. He has a clumsy grace which relates back to his early associations with the moose.

Despite his presiding over all cetaceans (barring the beluga) and many fish, he is not considered an ocean god. He presides over the night sky, particularly on nights when the moon is shining.

Connections to Other Deities and Folklore

He is linked closely to Karijiana the sun goddess, and also therefore present in all stories of lunar and solar eclipses. It is thought that he is often self-absorbed until the hour of midnight, when he makes love to Karijiana. He is also warm and loving at times when he shines in the sky with the sun. When they are in the sky together, it is a time of profound power and love. He sheds his coldness and becomes a generous and giving deity, capable of great feats of gentleness and compassion. It is considered profoundly unlucky however to interrupt Karijiana or D'miezak'r during solar and lunar eclipses, as this is - in folklore - when they renew their wedding vows or realise that they cannot spend the rest of their lives together.

He is not commonly associated with any other deity in the Vilturj pantheon except for Vasilia, the Midnight Star, who has been considered a manifestation of Karijiana.

Has been remotely associated with Lesavny in some stories, where he is often shown as the god with a stronger set of morals or ethics. For this reason, D'miezak'r is often associated with natural law, while Lesavny is associated with contravening that natural law.

Times of Honour

- Night-time, especially when the moon shines. However, direct worship of the full moon was considered bad luck, as he was thought to show his full light for Karijiana.
- Eclipses. Not a time of direct appeal, but many celebrated the love of Karijiana and D'miezak'r at this time by celebrating personal relationships, making plaited breads, and eating sweetened minces.
- Midnight.
- When the sun and moon shine together.

Places of Honour

- Under the light of the moon
- The ocean and sea shore.


- Silver
- Ivory
- Semen (if male)
- Blood (if female, menstrual blood included)
- Singing and 'siren calls'
- White flowers
- Vodka
- Juniper
- White shells
- Staffs and ornaments made of white wood.
- Effigies of whales.
moonvoice: (Default)
The gods of Vilturj are diverse. They exist in the physical world and the three otherworlds. They are planets, weather phenomena, animals and states of mind. They have distinct and sometimes contradictory folklore attached to them, and can be easily accessible through worship, or difficult to access through years of loyal dedication (in the case of the weather gods).

For us, the gods are not archetypes that exist as higher energies within us, but independent entities that for the most part exist without any of our worship at all. This means that many of our gods are not dependent on us for their existence, and so have no reason to help us unless they are particularly benevolent or compassionate, or we have something to offer them, or we simply amuse them (as in the case of the untrustworthy Lesavny).

Our relationship to our gods is not hallmarked by a 'relationship of equals,' as seen in some aspects of neopaganism. Vilturj gods are often feared, and rightfully so. We appeal to them for help and aid, but without giving appropriate honour, respect and offerings, they can also turn their heads and ignore us, or worse; curse our families and our land. Years of dedication and loyalty to the Vilturj pantheon is in turn rewarded with prosperity, health, spiritual achievement and a heightened ability to travel successfully in the otherworlds. However, if we turn our backs on them, they also turn their backs on us.

Because Vilturj requires a constant sense of devotion and loyalty, it is difficult to worship all of the gods, or even many of them. After years, you may only be fortunate enough to have worked seriously or at length with maybe two or three deities. This is why certain Oraite and Ilkara'te 'specialise' in certain areas. An Ilkara'te that spent their whole life worshipping L'yuvotn'r (the rain god) may be far more equipped to work with the rains, than an Oraite who spent their whole life working with Vavale and so were more equipped to work with herbs and b'lethra (plait magic).

Just because Vilturj requires loyalty and devotion, does not mean you cannot question the gods or the beliefs within the religion / spirituality itself. During times of crisis, and natural times of detachment from our passions, it is normal for us to rail against the gods, our situation, or our 'lot in life.' At these times we may damage our relationship with the gods, but during a true crisis many deities are tolerant of what must seem to be our childish outbursts. In fact, some deities may even be facilitating the circumstances that lead to such outbursts. It is through questioning our beliefs and our gods that we temper our strength and spirit, however, we must remember that a little respect goes a long way.

Vilturj does not house a pantheon that plays well with other deities. Vilturj gods prefer exclusivity, though they have been known to call upon those who already practice other religions and spiritualities. I have worked with Sekhmet a few times in my life, but only at the permission of the gods I worship. There have been a couple of times where Sekhmet has been 'turned away' by Vavale.

In Vilturj, there is a primary Sun Goddess: Karijiana, and a Moon God: D'miezak'r. Many of the gods are celestial, or connected to weather phenomenon, and are sometimes not personified into human or animal incarnations. Some gods are connected with psychological states such as 'madness' or 'sorrow.' Some gods are connected to specific otherworlds. Almost all of them have 'houses' of some kind that can be visited in the otherworlds where petitions may be left for them.

No god in Vilturj is accountable to humankind. If we are wiped out tomorrow, almost all of them would go on existing in some form or another, as the rain, as the Arctic fox, as the moon and narwhal. This teaches us our place in the world, we are just as important or unimportant as everything else. When we give the gods respect and trust, we in turn learn that we may be rewarded with the same respect and trust. When we show our fellow companions compassion, we learn that these distant gods foster not only fear, but love, integrity and passion. The Vilturj pantheon may seem cold, but there are many benefits to maintaining a strong and loyal relationship to the gods - or indeed to any god.

If you are thinking of making an appeal to one of the Vilturj gods, please keep in mind everything you have read in this article. I would discourage anyone from contacting any of these gods if they are hoping for an 'equal and loving' relationship. While some Vilturj gods are quite benevolent and compassionate, they still require dedication, loyalty and hard work. One ritual may not even be enough to secure their attention, let alone their commitment. These deities tend to call those who have gotten their attention, and resist being 'called' by those who simply want to know what it's like to meet the maiden Vasilia, or the bountiful Karijiana.


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