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In ancient Mesopotamian religion, Kilili, ki.li.li; was a female demon of Sumerian origin, likely associated with owls. She is also attested as a minor goddess who functioned as a servant of Ishtar.
Kilili's name is that of a bird, most likely an owl. [1] In one document she is equated with d ab-ba-šú-šú, meaning "she who leans on the window" in Sumerian. [1] She could be called as "queen of the windows", "the one of haunted places" and it assumed she was imagined as an owl-demoness. [2]
She was usually affiliated with Ishtar. Direct identification between them, while attested, [3] is limited to a single late esoteric explanatory text. [4] In the god list An = Anum she is one of Ishtar's eighteen messengers (lúkin-gi-a), [1] alongside other similar figures such as Barīrītu ("she who comes at dusk") and Abtagigi. [5] Kilili under the name dab-ba-šú-šú could be considered as a complement to the goddess Abtagigi, whose name means "retiring through the window." [5] Kilili can be considered as having a connection to sex due to her link with Ishtar, however the "window" in her name is likely not implicating prostitution, unlike for the succubus Kisikil-lila (also called Ardat-lilî). [5] The phrase "spilling through the window" can also reference various evils, and Kilili's name has no clear connection to that of Kisikil-lila. [5]
According to the Tākultu text from the Neo-Assyrian period, she was also worshiped in one of the temples of the goddess Gula, [1] located in Assur. [6] She was also present in neo-Babylonian Uruk, as indicated by a document mentioning offerings of dates to her and a number of pieces of jewelry dedicated to her. [4] She continued to be worshiped there in the Seleucid period. [4] There is also evidence that she was worshipped elsewhere at a temple of Bēlet-Ninua in the neo-Babylonian period. [6]
The Burney Relief, also known as The Queen of the Night relief, is a terracotta panel from the Old Babylonian Period depicting a nude female figure, standing upon two lions flanked by owls. [7] The goddess possesses wings and birdlike talons, and wears a horned tiara. [7] Several theories as to which deity the relief depicts have been proposed, most commonly Inanna/Ishtar, due to the presence of her symbols (lions), the nudity, and the possible connection between the relief and the myth Inanna's Descent to the Netherworld. [7] Frans Wiggermann, who has done a number of in-depth studies on Mesopotamian demons, asserts that the evidence for the figure as Kilili is the most compelling. [6] The figure on the relief is a goddess, associated with Ishtar (the presence of the lions), has birdlike qualities (linking to Kilili), and contains owls as well, the bird affiliated with her. [6] Unaccounted for are the "loop-ring" symbols held in the hands of the goddess, though this is equally a mystery for any other identification of the goddess. [6]
Inanna is the ancient Mesopotamian goddess of love, war, and fertility. She is also associated with beauty, sex, divine law, and political power. Originally worshiped in Sumer, she was known by the Akkadian Empire, Babylonians, and Assyrians as Ishtar. Her primary title was "the Queen of Heaven".
Sin or Suen (Akkadian: 𒀭𒂗𒍪, dEN.ZU) also known as Nanna (Sumerian: 𒀭𒋀𒆠DŠEŠ.KI, DNANNA) was the Mesopotamian god representing the moon. While these two names originate in two different languages, respectively Akkadian and Sumerian, they were already used interchangeably to refer to one deity in the Early Dynastic period. They were sometimes combined into the double name Nanna-Suen. A third well attested name is Dilimbabbar (𒀭𒀸𒁽𒌓). Additionally, the moon god could be represented by logograms reflecting his lunar character, such as d30 (𒀭𒌍), referring to days in the lunar month or dU4.SAKAR (𒀭𒌓𒊬), derived from a term referring to the crescent. In addition to his astral role, Sin was also closely associated with cattle herding. Furthermore, there is some evidence that he could serve as a judge of the dead in the underworld. A distinct tradition in which he was regarded either as a god of equal status as the usual heads of the Mesopotamian pantheon, Enlil and Anu, or as a king of the gods in his own right, is also attested, though it only had limited recognition. In Mesopotamian art, his symbol was the crescent. When depicted anthropomorphically, he typically either wore headwear decorated with it or held a staff topped with it, though on kudurru the crescent alone served as a representation of him. He was also associated with boats.
Shamash was the ancient Mesopotamian sun god, earlier known as Utu. He was believed to see everything that happened in the world every day, and was therefore responsible for justice and protection of travelers. As a divine judge, he could be associated with the underworld. Additionally, he could serve as the god of divination, typically alongside the weather god Adad. While he was universally regarded as one of the primary gods, he was particularly venerated in Sippar and Larsa.The moon god Nanna (Sin) and his wife Ningal were regarded as his parents, while his twin sister was Inanna (Ishtar). Occasionally other goddesses, such as Manzat and Pinikir, could be regarded as his sisters too. The dawn goddess Aya (Sherida) was his wife, and multiple texts describe their daily reunions taking place on a mountain where the sun was believed to set. Among their children were Kittum, the personification of truth, dream deities such as Mamu, as well as the god Ishum. Utu's name could be used to write the names of many foreign solar deities logographically. The connection between him and the Hurrian solar god Shimige is particularly well attested, and the latter could be associated with Aya as well.
The Burney Relief is a Mesopotamian terracotta plaque in high relief of the Isin-Larsa period or Old-Babylonian period, depicting a winged, nude, goddess-like figure with bird's talons, flanked by owls, and perched upon two lions.
Zarpanitu was a Mesopotamian goddess regarded as the spouse of Marduk. Not much is known about her character, though late sources indicate that she was associated with pregnancy and that she could be assigned similar roles as her husband, including that of queen of the gods. She was originally worshiped in Zarpan, a village near Babylon, though the latter city itself also served as her cult center.
Nanaya was a Mesopotamian goddess of love closely associated with Inanna.
Ningishzida was a Mesopotamian deity of vegetation, the underworld and sometimes war. He was commonly associated with snakes. Like Dumuzi, he was believed to spend a part of the year in the land of the dead. He also shared many of his functions with his father Ninazu.
Ninshubur, also spelled Ninšubura, was a Mesopotamian goddess whose primary role was that of the sukkal of the goddess Inanna. While it is agreed that in this context Ninshubur was regarded as female, in other cases the deity was considered male, possibly due to syncretism with other divine messengers, such as Ilabrat. No certain information about her genealogy is present in any known sources, and she was typically regarded as unmarried. As a sukkal, she functioned both as a messenger deity and as an intercessor between other members of the pantheon and human petitioners.
Ninazu was a Mesopotamian god of the underworld of Sumerian origin. He was also associated with snakes and vegetation, and with time acquired the character of a warrior god. He was frequently associated with Ereshkigal, either as a son, husband, or simply as a deity belonging to the same category of underworld gods.
Amasagnudi was a Mesopotamian goddess regarded as a servant of Anu and as the wife of Papsukkal. She is only known from a handful of sources, including the god list An = Anum and documents from Seleucid Uruk.
Papsukkal (𒀭𒉽𒈛) was a Mesopotamian god regarded as the sukkal of Anu and his wife Antu in Seleucid Uruk. In earlier periods he was instead associated with Zababa. He acquired his new role through syncretism with Ninshubur.
Tishpak (Tišpak) was a Mesopotamian god associated with the ancient city Eshnunna and its sphere of influence, located in the Diyala area of Iraq. He was primarily a war deity, but he was also associated with snakes, including the mythical mushussu and bashmu, and with kingship.
Geshtinanna was a Mesopotamian goddess best known due to her role in myths about the death of Dumuzi, her brother. It is not certain what functions she fulfilled in the Mesopotamian pantheon, though her association with the scribal arts and dream interpretation is well attested. She could serve as a scribe in the underworld, where according to the myth Inanna's Descent she had to reside for a half of each year in place of her brother.
Anu or Anum, originally An, was the divine personification of the sky, king of the gods, and ancestor of many of the deities in ancient Mesopotamian religion. He was regarded as a source of both divine and human kingship, and opens the enumerations of deities in many Mesopotamian texts. At the same time, his role was largely passive, and he was not commonly worshipped. It is sometimes proposed that the Eanna temple located in Uruk originally belonged to him, rather than Inanna, but while he is well attested as one of its divine inhabitants, there is no evidence that the main deity of the temple ever changed, and Inanna was already associated with it in the earliest sources. After it declined, a new theological system developed in the same city under Seleucid rule, resulting in Anu being redefined as an active deity. As a result he was actively worshipped by inhabitants of the city in the final centuries of the history of ancient Mesopotamia.
Kanisurra was a Mesopotamian goddess who belonged to the entourage of Nanaya. Much about her character remains poorly understood, though it is known she was associated with love. Her name might be derived from the word ganzer, referring to the underworld or to its entrance. In addition to Nanaya, she could be associated with deities such as Gazbaba, Ishara and Uṣur-amāssu. She is first attested in sources from Uruk from the Ur III period, and continued to be worshiped in this city as late as in the Seleucid period.
Annunitum or Anunītu was a Mesopotamian goddess of war. While initially she functioned as an epithet of Ishtar, she started to develop into a separate deity in the final years of the Sargonic period and through the Ur III period.
Ašratum was a Mesopotamian goddess of Amorite origin. She was regarded as the wife of the god Amurru. Her name is a cognate of Ugaritic Athirat, but despite likely sharing the same origin these two goddesses occupied different positions in the respective pantheons.
Bizilla was a Mesopotamian goddess closely associated with Nanaya and like her sometimes listed alongside courtiers of Inanna. However, she is also attested in connection with Ninlil, and it is assumed that she was viewed as the sukkal of this goddess in Ḫursaĝkalama near Kish.
Urkayītu, also known as Urkītum, was a Mesopotamian goddess who likely functioned as the divine representation of the city of Uruk. Her name was initially an epithet of Inanna, but later she came to be viewed as a separate goddess. She was closely associated with Uṣur-amāssu, and like her belonged to the pentad of main goddesses of Uruk in the Neo-Babylonian period. She also continued to be worshiped in this city under Achaemenid and Seleucid rule.
Ardat-lilî was a Mesopotamian demon. She is described as the ghost of a young woman who died without experiencing sexual fulfillment or getting married, and as a result attempts to seduce young men. She is one of the members of the category of lil demons, who were considered subjects of Pazuzu. A text placing her in the entourage of the god Erra is also known. Incantations directed against her are attested as early as in the Old Babylonian period. References to her are also known from other genres of texts.
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