The Aserdian pantheon (pronounced ah-SER-dee-an) is one of the major regional pantheons on Kishar. Followed primarily by peoples living in Brightmarch and the Laqto Rainforest, the theology of the Aserdian pantheon emphasizes systems of cyclical change and rebirth.
Overview
The Aserdian pantheon foregoes any origin story of the mortal realm. Instead, followers of this pantheon hold that the universe has no beginning and no end. Cyclical change is a fundamental part of their theology - the world and everything within it decays and grows anew, never remaining static yet simultaneously never really coming to an end. Deities in the Aserdian pantheon are thought of in much the same way. They are not unchanging entities with defined beginnings, but rather are endlessly shifting in interests, tenets, depictions, and even names as the cultures that venerate them encounter new challenges and opportunities. Perhaps as a result of this, the adherents of the Aserdian pantheon tend to be extremely tolerant of divergent beliefs and quite willing to syncretize their deities with those of other cultures. Most worship not only their gods but also one or more of the countless forms of animism and ancestor worship that are common in the region.
As a general rule, followers of the Aserdian pantheon eschew holy texts. Many deities are not considered to have sacred written or oral works, and amongst those that do these texts are rarely seen as prescriptive in matters of worship.
Religious tensions are largely absent amongst followers of Aserdian gods, both with the adherents of other deities in the pantheon and with followers of other pantheons. It is common to pray to many gods simultaneously, in fact, instead of primarily focusing the object of one's veneration on a single deity.
Local nature spirits are an important part of the Aserdian pantheon, frequently worshiped alongside the pantheonic deities. In fact, it is not uncommon for these nature spirits to be given more importance than the gods in day to day prayer and offerings.
Deities
| Name | Areas of Concern | Description |
|---|---|---|
| Saclateni | Death, rebirth, change, renewal, plants, natural and cosmic cycles | Saclateni (pronounced sah-clah-TEH-nee) is the god of death, rebirth, change, and renewal, a deity who ensures the world never stands still. Followers of the Aserdian pantheon credit Saclateni with the establishment of the cycles through which new things are brought into being. Heis often worshiped alongside Errai, one the destruction to the other's re-creation.
Saclateni has relatively few clerics of his own. He and Errai are often invoked in prayers and sacrifices by the devoted followers of other gods, however, as together they are widely considered to be fundamental forces underpinning the world, worthy of worship and respect even if not necessarily the primary target of one's veneration. Depictions of Saclateni are split. Some prefer to picture the god in an anthropomorphized form, typically as a humble figure wearing the garb of a common person who causes new life to spring into being as he passes. Roughly an equal number of followers instead consider the god to be a cosmic force too broad and all-encompassing to be reduced to a simple depiction - these followers generally see Saclateni in all life, pervading everything and everyone. |
| Tarazet | Families, protection, dreams, hospitality, visions, hallucinogens | Tarazet (pronounced TAH-rah-zet) is a goddess of the family and community first and foremost, a gentle guide and fierce protector of her followers. Her clergy often perform marriage ceremonies, exhorting their goddess to watch over the new family. She is also widely invoked to protect one's dwelling. Unlike many other deities in the Aserdian pantheon, she is thought to take a very active role in the lives of her faithful. Tarazet is believed to have a strong influence on all dreams and visions, including those induced by the consumption of certain plants. Devotees of Tarazet often use hallucinogens as part of their prayers in order to form a closer connection to their goddess. Still, her clergy teach moderation of this practice, as one should not become too consumed with the world of dreams.
Tarazet's clergy typically take very active roles in their communities, often serving not only as religious figures but also as public servants, offering whatever aid they can to the needy. Temples are usually austere, as they place far more emphasis on feeding and healing those that request assistance than on displays of wealth or piety. Devout followers of Tarazet often maintain dream journals, in which they interpret the dreams granted to them by their goddess. Tarazet is typically depicted in animalistic forms, most often as an elephant. |
| Anka'a | Curiosity, art, music, invention, philosophy, sun, light, color, language | Anka'a (pronounced on-kah AH) is a goddess of curiosity, art, invention, and philosophy. She provides sparks of inspiration to those that put their minds to creative tasks, aiding them in seeing the world in novel ways. She is also associated with the sun and light, and either directly or through her followers she is said to have brought color to the world. Anka'a is additionally considered to be a goddess of language - many followers of the Aserdian pantheon believe language was a gift from the goddess, not originally for the purpose of communication but rather as a form of music.
Anka'a is most often depicted as a humanoid figure dressed in the garb of an artist, hard at work on her artistic pursuits. Statues of the goddess sculpting herself out of clay, usually with the upper half of her form complete and the bottom half far more rough, are found especially widely in her temples. These temples usually resemble workshops more than areas for prayer; to Anka's faithful, creation of artistic works is a form of prayer in itself. |
| Izar | Liberation, farmers, pastoralists, hunter-gatherers | Izar (pronounced EYE-zar) is a goddess of farmers, pastoralists, and hunter-gatherers, seen as the deity that provides all the people of the world with food to eat. She is often prayed to before a harvest or when attempting to locate a meal, especially in times of scarcity. Izar is thought to appreciate small burnt offerings of food when the forests are plentiful and the stockpiles are full, which she then collects and returns to her followers when the lean times return.
Though her aspect as a goddess of liberation is present in the Aserdian pantheon, it is far less emphasized than it is with some of her counterparts in other pantheons. Izar has few clergy, even by the standards of other gods of the Aserdian pantheon. She is considered a household goddess, one who is prayed to by many people without the need for priests to aid in their worship. The goddess is usually depicted as a woman with skin made of flower petals that constantly fall to the ground as she walks. |
| Tucana | Travel, whimsy, storytelling, fresh water, storms, nomadism | Tucana (pronounced too-CAH-nah) is a goddess of travel, whimsy, stories, and fresh water. She is also the patron of nomadic groups and peoples - it is believed that she taught them that travel brings wisdom and a breadth of experiences, and that there is always more to see in the world.
Her clergy are habitually itinerant, traveling widely to meet other followers of the goddess and grow her flock. They are endlessly keen in conversing with all, but rarely seek to proselytize, far more interested in sharing what they have heard and picking up the latest tales than in spreading their faith. To those living in particularly remote areas, the clergy of Tucana are often critical in keeping up with the events in the broader world. Tucana's priesthood widely share and recount traditional religious stories as well as those of their own creation, not only as methods of religious instruction but also simply for entertainment. Tucana is commonly depicted as a woman sitting amongst a flock of waterbirds, who crowd around her as if intently listening to a story. In some representations she is one of these birds herself, most commonly a spoonbill, larger and more elaborately colored than the rest. |
| Nashira | Writing, history, research, investigations, education | Nashira (pronounced nah-SHEE-rah) is a goddess of central importance, especially as a deity of history - many consider her the most important figure in the pantheon, or at least the most important one that takes an active role in mortal affairs. She connects communities to their past, both recent and distant, and in doing so allows them to better understand the present. Followers of Nashira believe the teaching of others to be one of most pious acts one can take. In the Aserdian pantheon Nashira is not only the goddess of written works but also of oral histories, which are often interspersed with praise for the goddess.
Nashira's clergy are often found working in libraries or as researchers, actively attempting to further mortal understanding of the world as a facet of their prayers. Unusually for Aserdian deities, her priesthood is quite well-organized, if rather diffuse. They frequently communicate with each other in order to share knowledge and take part in each other's worship. Though it has no official status as such, the House of Treasure in Yarma is widely considered by Nashira's clergy to be one of the holiest places for their faith, and a great many of their theological works are stored there. Compared to her interpretations in other pantheons, Nashira is more of a neutral goddess in the Aserdian pantheon, with her lawful aspects de-emphasized. Nashira is typically depicted as a scribe deep in her work, often wearing clothes covered in intricate writing. She is frequently pictured as sitting amongst celestial bodies, pulling ink from the night sky between them. |
| Rasalas | Cities, trade, wealth, stagnancy | Rasalas (pronounced RAH-sah-lahs) is a god of cities, development, and trade. In the Aserdian pantheon, Rasalas is seen as a much more conservative god than he is in other pantheons. He is the builder of cities, but also the one that keeps them together and stagnant long after they have begun to decline. His aspect as a god of trade is more positively received in the Aserdian pantheon.
Most of Rasalas' most devout followers are merchants and caravaneers, those whose livelihoods are dependent on trade. His clergy recount his teachings in large, ornamented temples, almost all of which can be found in major urbanized centers: Teshub and Okoton especially. Outside these areas priests of Rasalas are considerably less common. Aserdian clergy of Rasalas often have close ties to those of Khenmu, his Khapeshan aspect. Rasalas is most often depicted as either a caravaneer, leading his pack animals (representing his followers) to wealth, or as a craftsperson hard at work at his forge, drafting table, or loom. Either way, anthropomorphized forms are preferred by his followers. |
| Saiph | Souls, the dead, inevitability, the moon | Saiph (pronounced SAIF) is a god of souls, the dead, inevitability, and the moon. In the Aserdian pantheon, Saiph is a kindly shepherd that guides souls after death. Compared to his interpretation in other pantheons, followers of Saiph de-emphasize their role as judge, believing that the decision as to a soul's final destination is ultimately made by the individual in life, and that Saiph merely watches and oversees the process. The god is also sometimes seen as a divine arbiter of balance, mediating between Saclateni and Errai in their cycles of creation and destruction.
Though Saiph's faith has no church structure, their clergy maintains close ties with each other. The priesthood of the god is frequently involved in funerary rites, as they are often called upon to entreat their god to guide the deceased to wherever they may go. Inscriptions and manuscripts dedicated to the god are often buried, burned, set adrift, or otherwise interred with the dead. Saiph is typically pictured as an androgynous figure with a kindly face, often with an entourage of psychopomps surrounding them. In some depictions, most notably those of the catfolk of the eastern Laqto Rainforest and the cities of the Jarohi Coast, Saiph takes on a skeletal appearance. |
| Markab | Conflict, weapons, tactics, healing | Markab (pronounced MAR-cab) is a goddess of conflict, weapons, tactics, and healing. She is widely seen as a deity one worships out of necessity, prayed to when threatened and in need of strength. Many call upon her in times of strife, but in other times she remains a relatively minor deity in the pantheon. As is common with interpretations of the goddess across pantheons, Markab and her clergy do not condone mindless violence. An attack against a defenseless foe is a slaughter, not a fight. Victory is hollow against an enemy who can no longer pose a challenge.
Her followers vary widely, from tribal warriors to professional city guards to the herder that picks up a weapon to defend their flock. Her most devout frequently set up sparring matches with each other, using the ritualized violence as a form of prayer. Temples and priests of Markab are widespread, but they almost never preach or proselytize, as her followers prefer to learn from direct experience in the form of challenges sent from their goddess. Markab is depicted as a scarred warrior, usually dressed in practical armor with minimal ornamentation and carrying some type of weapon, most often a spear. In some depictions her weapon is shown as broken, representing those that continue to fight for survival even when the odds are strongly against them. She is nearly always pictured in the company of an armored animal companion, usually either a large cat or a dinosaur. |
| Auva | Nature, weather, air, water, natural weapons, poisons, toxins | Auva (pronounced OW-vah) is a goddess of the natural world. In the Aserdian pantheon, Auva is seen as benevolent yet prone to outbursts. Though largely a passive deity, she takes a very active role in the defense of nature - animals that fight back against those that get too close to their nests or young are seen as acting out Auva's will. Thorns, poisons, tusks, claws, and other means by which nature can defend itself are thought to be gifted by the goddess.
Her clergy can be found both in dense urbanized regions and in places that are extremely sparsely inhabited. In cities her clergy ensures that the natural world maintains a presence and is never forgotten, while in wild lands they seek to commune with their goddess as directly as possible. Her followers often leave inscriptions in her name on dead trees or prominent rock outcroppings, prayers for passing animals to see. Auva is typically depicted in a giant anthropomorphized form, usually as a figure made of stone or air emerging from a mountainside or cloud bank respectively. Her holy animal is an okapi. |
| Errai | Decay, ruins, aging, disease, natural processes of destruction | Errai (pronounced err-RYE) is a god of decay and destruction, but their influence is rarely seen as evil or unwanted. Rather, they are considered to be a necessary part of the natural cycles in the world required for renewal and change. In this role Errai is thought of as the counterpart to Saclateni. Errai and Saclateni are often invoked in prayers and sacrifices by the devoted followers of other gods, as together they are widely considered to be fundamental forces underpinning the world, worthy of worship and respect even if not necessarily the primary target of one's veneration.
Like with Saclateni, many see Errai to be a cosmic force too broad and all-encompassing to be reduced to a simple depiction - these followers generally see Errai in all life, pervading everything and everyone. The god is rarely given physical form in depictions. |
| Kalausi | Trickery, self-interest, seclusion, isolation, spite | Kalausi (pronounced cah-LAU-see) is a goddess of trickery, self-interest, and spite, worshiped especially by those who wish to find their own ways in life free from constraints applied by others. She is also widely considered the patron of those that wish to remain hidden. In some stories she taught mortals how to camouflage themselves and use invisibility magic to better remain out of sight. Isolated communities that do not want to found by the broader world often worship Kalausi, as do those individuals that have left society for their own reasons.
There are few temples to Kalausi, though her clergy are widespread. They have an almost institutional refusal to codify anything about their practices, seeing it as the responsibility of each of her followers to independently find their own interpretation of their goddess' values. Kalausi is usually depicted as a small mischievous or stealthy creature, most often a fox, moth, or chameleon. Her followers eschew portraying her as larger than life or in a dramatic manner, viewing her more as an old friend than a remote deity. |
| Mothallah | Vanity, immortality, contracts, false bargains | Mothallah (pronounced mo-THAH-lah) is a god of beauty, vanity, contracts, and false bargains. He attracts those seeking wealth, good looks, and immortality by offering such boons, but always with hidden repercussions. Mothallah is a seductive force that drives the vain towards evil, stoking their narcissism until they commit crimes against their communities, families, and friends in search of fleeting mortal treasures. His portfolio includes immortality for similar reasons, as he is thought to tempt the aging with immortality by offering the "gift" of eternal life with one hand while hiding the consequences in the other.
Mothallah is perhaps the only god of the Aserdian pantheon that is thought to be cosmologically dangerous. Through offering immortality to mortals, his designs would interrupt the cycles of death and rebirth that drive the world, causing untold yet doubtless catastrophic consequences. Making peace with one's mortality is seen as a way to drive Mothallah away from the material world, allowing it to continue to grow and shift without remaining stagnant. Temples and shrines to Mothallah are usually located in out of the way places, in secluded locales where his faithful can worship without drawing attention to their practices from those that fear the consequences. Unlike his rather more fantastical depictions in other pantheons, in the Aserdian pantheon Mothallah is always pictured in a mundane manner, simply as a well-dressed figure displaying obvious personal wealth. Other parts of his portrayal are shared across pantheons, however. For example, Mothallah is frequently imagined with his left hand raised to his chest, palm facing out, holding a scroll containing a contract in the other. |
| Eltanin | Power, ambition, rivalry, tyranny | Eltanin (pronounced el-TAH-nin) is a god of power, ambition, and tyranny, thought to be connected to mortals who would seek to impose their rule over an unwilling populace. Ambitious glory-seekers, assassins, and those consumed by a lust for power commonly worship Eltanin. He is the patron of those that take what they desire by force, those that consider the greatest possession to be strength and the ability to wield it.
There are few temples to Eltanin, and his priesthood almost always act independently of each other - in cases where they do work together, any alliances or pacts inevitably fall apart once one side attempts to gain an upper hand over the other. Devotees of Eltanin frequently engage in secretive plotting when they feel doing so would bring them to power. They never, however, conceal their identities - in their view only the weak are forced to hide, and therefore doing so is one of the greatest possible debasements. Eltanin is usually given humanoid form in his depictions. He is typically shown dressed in elaborate clothing or armor and holding symbols of strength and leadership, usually a scepter. Sometimes the scepter is shown as having obviously been broken and repaired. |
| Blind Witness | Lost opportunities, forgotten dreams, the spaces between the stars | The Blind Witness is an unusual deity. They are uncommonly worshiped even amongst followers of the Aserdian pantheon, and are rarely seen in parts of the world in which this pantheon does not have a well-established presence. Still, they have an important cosmological role. The Blind Witness is the god of lost opportunities, forgotten dreams, and the spaces between the stars. They are a god of the events that could have been and the goals that were left behind. They see the passage of time in the universe yet do not interfere.
Some temples and shrines to the god contain books for worshipers to write down dreams and wishes they have long-since abandoned, which then serve as objects of contemplation for prayer. The Blind Witness has few followers. Sects and cults to the deity can be found scattered around the world, but these are nearly always very small. Some worship the Witness out of mourning for what could have been, while others take to it out of amazed wonder. Unlike with most other deities, followers of the Blind Witness prefer not to give any depiction to their god. To most, it has no shape or form that would make sense to the mortal mind. A simple filled black circle is sometimes used as a holy symbol, representing the totality of the god. |
Area of worship
The Aserdian pantheon is the most-followed pantheon amongst those living in Brightmarch and the Laqto Rainforest, with sizable numbers of adherents as far east as Talmithe and Oscan. It is not, however, the dominant faith in these areas, as is the case for many other pantheons in locations in which they are present. The Aserdian emphasis on religious fluidity has resulted in many adopting the gods of the pantheon in addition to other religious beliefs that are held simultaneously, sometimes significantly altering the portrayal of a deity or the practices of worship as they do so.
Connections to other pantheons
The Aserdian pantheon has many notable similarities in beliefs with the Elven pantheon, such as their shared emphasis on cosmic and spiritual cycles, developed over time as a result of the close proximity of the two pantheons' followers. Many scholars of religious matters have suggested that one pantheon's set of beliefs diverged from the other at some point in the past, but it remains a matter of conjecture as to if one was the "original" faith, or if both moved in separate directions instead.