The Old Path
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| Theology | Polytheism |
| Language | Anjyarri, Akkadi Dialects, Common |
| Founder | "Unknown" |
| Current Patriarch | ... |
| Origin | The Ancient Empire of Anjyarr |
| Territory | Anjyarri Desert |
| Most Dominant | The Empire of Anjyarr |
| Separations | The Path |
Introduction
"I shall tread my life in honor of Kathra, my path ever changing like the shifting dune sea, never a clear line to follow, for I make my own choices. I shall serve my ruler 'till thee grants me the death I deserve, and from this death, I shall be reborn, for Baseth decides my fate. All under the light of the sun; the light of Sohtek."
Beliefs
The common faith embedded in the realm of Anjyarr, known to the people that inhabit the dunes and cities among the Dark-Elves, is known as "The Path", or in Anjyarri: Tarik il Iʂik. Whereas "The Path" views life as a struggle, where the Khadan are the soldiers of the Iʂik (light), the Kha'mal follow a similar path, yet traversed differently.
Known as the Tarik Ejelkhi, or in the common tongue: "The Old Path" or "The Golden Path" as it is sometimes dubbed, is a more ancient version of the faith that is practiced today. It is a religion mostly spread orally through stories and mythos, today. With fractions of the religion and its story spread across the various tomb hieroglyphs. Certain splinter groups have also begun worshipping the ruler of Anjyarr or other key figures of Azari'lunn origin, either as their guards or servants, seeing their long life as a version of immortality. In truth, the Azari'lunn use this vision of them given by the nomads for their own gain and to improve the lives of the realm itself.
Life and death, the two most significant points in someone's existence, are the most sacred to the Kha'mal. The goddess Kathra created all life equally and gifted it with free will so they each walk their own path.
It is believed that where one has lived to their fullest potential and performed his role in the world, they would be guided and judged by Baseth, the god of death, and brought to the afterlife. However, if one would fail the test and their judgment rendered them unworthy of the afterlife, they would be cast into the Duçath, the Voidal Plain. Here, their souls would be frozen and consumed by monsters of said realm, known as Demons.
However, it is not uncommon to hear the stories of immortality and godhood, for immortality is seen as a gift granted by the gods. One receiving immortality, or harboring its power, is seen to be ascending to godhood and being given a role amongst the many deities in the skies or ruling over the people and guiding them to greatness. Many Pharos, the kings and queens of Anjyarr, were able to harness this gift thanks to sorcery and are worshipped equally, almost more, than the primary gods. Great temples and tombs would be designed for these Khadan worthy of ascension, for they would rule over it once they returned. To the Kha'mal, only the gods can gift someone with rebirth, and many voidal entities tied to the undead are viewed as heretical or decaying shells of their former lives that need to be put to rest. If ascension did not occur, it was formally believed that those who had been proven worthy by the gods would be reformed into stars, who would guide the remaining Khadan through the night.
Desecrating one's body, or grave, is seen as the most sinful and defiling act, often punishable by death. The Tarik Ejelkhi or the Ejelkhi Pantheon would number an unknown amount of gods and deities, each representing a part of life on someone's path. Each acts as a guide or helping hand, and to worship one is to thank it for the life you have lived so far.
The Khadan of these tribes do believe in an ending to the world, however. Named: "The Last Light" refers to the sun god's last light shining on Eden. The moon will block the sun so long that The Void will break through to the mortal domain and consume all, ending all creation made by Kathra. The gods will rain down on the world to destroy the corruption, sacrificing themselves and creating new life through this. When this happens differs for each tribe. Yet, many consider it may start when all mortals have lost their way and let their souls be engulfed by darkness. It is up to the followers of the "Tarik Ejelkhi" to rectify the evil and stay on the true path of life laid out for them by Kathra.
Demographics
The tribes of the Kha'mal refused to stray from their past and stayed true to their roots as a people and belief, continuing the faith under a different name. Its religion is spread almost like a cult through the Kha'mal tribes. Groups of nomads have made it into the society in the cities, extending this alternate branch of the modern religion to the common folk of Anjyarr. It is not uncommon for a Kha'mal priest to hold sermons on both the current and old rendition of "The Path", as freedom of religion is allowed in the nation. This has caused both religions to overlap on specific faith sections, looking similar yet different.
Practices
Practices in the religion of the Kha'mal tribes range from each nomadic faction. Many prefer the use and spread of sermons to unite the people through priests or cultists. Others pray in silence, hands folded or placed on the ground, to either one or many deities. Each religious ritual often ends with a blessing through the markings with the blood of an animal or water from the rivers. Marking one's body with permanent jewelry, paint, or tattoos is also common. Some of these tattoos resemble the person's character tied to a deity or a figure in the Pantheon they worship. Feasts and songs are commonly used throughout history, and the nomads of the Kha'mal tribes and their faith use this plenty. Songs about fallen warriors or Pharoes, stories of their gods, or those they have lost along the path, are retold every generation. The “Old Path” is a verbal religion, where stories would be expressed through art and symbols. Though scholars were able to record mythos, these scrolls are welcomed by the followers with open arms.
The Patriarch is the one who unites all priests and followers of the faith. He or she is the one who stands at the top of the Path's hierarchy and is often seen as a spiritual guide, a messenger, a spreader of faith, a uniter of people, or a leader. They go over the various rituals, indoctrinating new priests or even helping heal the sick and wounded alongside the priests themselves. They are the caretakers of all temples and rule over them, similar to how the gods rule over each of their domains. The role of a Patriarch often goes for life, but once the position is open, a new one is elected by all the Khadan who follow the "Old Path".
Another role one can perform is devoting themselves to serving the ruler of Anjyarr. The women who choose this path become personal servants, called the Golden Maidens. These maidens are seen in crimson robes and tunics, expressing the beauty and perfection of the female body. The clothing is decorated and embroidered with golden lines and jewelry, which adds to a golden mask that rests on their face. The mask has a stoic yet elegant gaze that matches the beauty of their true face that is only allowed to be seen by the one they serve. Only off duty can they remove it and relieve themselves among the population or their family. Not only do their skills range from serving but also to protect. Once the first line of the Golden Guards has fallen, even the female servants can carry the weapons to defend their deity.
The role of the personal guard of the deity or ruler is known as the Golden Company, the Golden Guards, or simply named the "Kataphracts". These Kha'mal warriors dressed in white and gold serve their master zealously and are silent but expressive guards regarding their duty. The ones dressed in black, the warriors tasked with guarding the temples and tombs, are often immortalized by the fact that they constantly replenish their numbers once a member of the guard has fallen. This often makes them appear to be a mere immortal unit, never able to be defeated. Their appearance intimidates those unknown to their culture and faith, yet they are made all in honor of their gods and those they serve. They are the most respected warriors by all Kha'mal as they stand by their deity, tomb or temple until their duty ends.
Figures
The nomads see many deities and gods as crucial figures that one may follow on their path. Seeing them as guides or characters, one might need in life. However, due to the history of the Kha'mal never being recorded in total, many of these gods have faded and been forgotten. Not all the deities that are still known are worshipped equally. Many are mere figures from history. However, some recurring characters of the Ejelkhi Pantheon are either still openly worshipped, their stories being recounted, or portrayals found in tombs and ruins.
Kathra
The first, the creator, mother of all beings and worlds, the oldest of old. Kathra, also known as the goddess from whom all becoming arose, is the head deity in ancient Khadan mythology. She is a god of many titles that befitted her. Still, she is represented as the one who created all the world, the realms of mysticism, and all ethnicities in Eden with all the ability to make their own decisions, the universe with its stars, sun, and moon. She stands for wisdom, unity, creation, imagination, and all manners of emotion. She is the mother of all the gods and her creations in Anjyarr and is worshipped as such. Physical Depiction Kathra is depicted as a motherly figure in various tombs and shrines, now beneath the dune sea of Anjyarr. Her appearance shifts throughout history and has now been revised into a fair-looking, olive-toned woman dressed in burgundy robes and a tunic. Her hair, put in locks, has lines of white and has decoratively been plaid with gold and silver. She wears a crescent-shaped tiara embroidered in her hair on her head, on which a star of unknown white crystal is shaped.
Sohtek
The all-seeing light, the one guiding the sun, he who shows the way of life by revealing the path ahead. Sothek is seen as the second-highest god in the Ejelkhi Pantheon. While simultaneously seen as guiding the sun from east to west, Sothek is depicted as a leader, a helpful god, and very supportive and welcoming. He was the first creation of Kathra and, as such, leads the Khadan the most on their journey. It was said that with his powers, he would see it all wherever his light would go. However, there were two domains he could not reach, the domain of Urtaq and Rahme: the earth and the underworld. Physical Depiction Sohtek is described as a tall, bulky, olive-skinned man wearing either yellow or golden robes. He is often portrayed holding silver chains wrapped around his arms which may be used to pull the sun. His eyes are represented to have a golden iris; hence many tombs have the Eye of Sothek engraved on their entrances.
Mohekh
The white light, "The Traveler", the guide of the night; Mohekh is the twin brother of Sohtek, the god of the moon. Mohekh is behind his twin brother in rank, which often frustrates him. Mohekh is described as a silent guide, a mute god who stands for those in the night and the creatures that come alive during this time. He is also the one giving each star and body in the sky a place to display its light and role in the universe. It is portrayed in many discovered relics that Mohekh and Rahme were connected or together, hinting at a relationship. Physical Depiction The description of Mohekh varies from each era and portrayal. However, he is most known to be a majestic twin version of Sohtek, looking like an exact copy. Wearing white and gray robes, and like his brother, he wore chains of gold around his forearms to pull the moon forward. His notable feature of portrayal is the shape of a wolf howling at the moon. Said to be a song he created to draw the moon on but also to warn the people of the dangers that lurk at night. He appears to wanderers lost at night as a hooded old man from a distance, disappearing once they close the distance on him.
Khasar
Warrior spirit of the Khadan, he who conquers the evils of the dark, riding on a monstrous steed, Kasar is the god of war and conquest, but also the embodiment of courage, honor, chivalry, and justice. He stands for everyone able to defend himself or others and, as such, is a favorite among the warbands and justice system of the Kha'mal. Khasar may be an honorable god, but he is known to have a short temper, performing actions rather than using words. Physical Depiction Khasars prior depiction is a warrior riding a giant scorpion he tamed from the very Anjyarri desert into battle; hence the Scorpion is seen as his symbol. With him, war hounds follow, causing the legend that wild dogs are a sign of approaching doom. He is the most handsome of the Ejelkhi deities. He is displayed as a muscled figure with dark-blue skin clad in armor made of an unknown metal and wielding various weapons, most notably a spear or two khopesh swords made from the same unknown metal. However, some depictions display his weapons to be made out of pure flames.
Khan'su
"Great trickster", spawn of Mohekh, protector, defender, and master of the arcane; Khan'su, sometimes called Kanshu, embodies trickery and witchcraft. He is a figure of the dark, flying through the night sky to spot those that got lost, helping his father with warnings. Birthed forth from Mohekh and Rahme, he is seen as both the good and evil of arcane magic. He is playful, curious, sarcastic, and enjoys teasing or tricking people, letting them wander off their Path to see what would happen to those unfortunate. He is also responsible for the magic leak in the world of Eden, and many Demons are often tied to him due to their similar powers. Thanks to relics and inscriptions found in ruins, speculation indicates that Khan'su might play around with Demonkind to end his boredom, which often comes with horrible results, with much-added protest from the other deities. He is also the most disliked of the Pantheon, but his personality does not care. He is liked most among the old kings and queens that sought immortality through arcane sorcery and was laboriously worshiped in the sorcerer's cults. Physical Depiction Khan'su is often portrayed as the youngest male god of the list that is still widely known. In every illustration, he is seen with white falcon wings, sometimes replacing his arms entirely. Attired in robes similar to his father, Khan'su decorates himself with jewelry and pickings found in the dune sea. He is often seen wielding a staff with a crescent moon-faced upwards, held in similar falcon wings. However, a different portrayal shows his head is that of a raven's skull, his wings made of bone, and his body is similar to a mummified corpse. This is tied when Khan'su's curiosity has caused death or destruction, but it is also a form he takes to scare others.
Bhaseth
Sailor of the sea of souls, weigher of hearts, the protector of the dead; Baseth is the god of death and guardian of the souls traversing to the afterlife. He is tasked with looking over every soul entering his domain, helping them across a bridge over the Duçath, the Voidal Plain. Before said bridge, each soul would be tested, with Baseth using his hands to split and weigh the soul and test the worthiness of the individual. He often represents mummification or the embalmment of the body, the peace and horror of death, rebirth, and the one giving the power of ascension. His presence can be seen in many tombs and ruins, even before the first Pharoes.
Physical Depiction Baseth's symbol is a pair of black crow wings with a white human skull. He is depicted as a tall, elegant man with bronze skin. He is wearing a short shendot (wrapped skirt) and high sandals, bare-chested beside a golden corset with a human skull encircled by the sun displayed on it. His head has a crown with his symbol engraved or a warrior's helmet covering his face, hiding it from mortals. His hands are wrapped in white cloth, hiding his two bone hands, his left being white, the right charcoal-black bones. Both represent life and death, rebirth and decay. He reveals them when performing the weighing of the soul and holds powers unknown by even the other gods.
Urtaq
Creator of earth, sculptor of the mountains, the carver of the land; Urtaq is seen as the god of the earth, mountains, and all that comes from it. He is said to be born from the earth, having dug his way out like a scarab or dung beetle coming forth from its dungball. His name translates to "Earth's being", and his character represents a nitpicking sculptor. He is often tied to representing burial and the ruptures in nature, such as earthquakes, which are often said to be caused by his angry outbursts towards a frustrated Sohtek who cannot see Urtaqs underground world with the sun's light. His last connection is that of the chaos and harsh nature of the desert itself, yet this is often conjoined to Mjir'jah. Physical Depiction Urtaq has always been depicted as both an insect and a man. Often seen as a giant scarab of shining gold and silver, he is also represented as a humanoid with chitin skin and a coal-black head that house a pair of blazing red eyes. What makes him stand out from the other gods is that his voice emits both a male and female tone, which, while he is mainly enunciated as a male god, he is often depicted as an intersex god. His symbol, the Scarab, or two men praying to a mountain, is seen in many tombs embedded in the mountain ranges surrounding the Anjyarri desert.
Sa'har
"Lady of the River Bringing Vegetation", "Eternal Lady of the Ocean", bringer of currents; Sa'har is the lady of the sea. Representing all nature of the ocean, fishery, sailoring, and exploration. The currents and floods, the rivers, and soil fertilization. Born from the first rain Kathra created, producing the world's oceans, Sa'har is neither good nor evil, as the sea can both be beautiful and treacherous. Physical Depiction There are two depictions of Sa'har, the first being a naked lady with her body made out of pure waving water and a crown made of leaves, the other one closely tied to the Merfolk known on Eden, the body of both women and fish. Her skin was as blue as diamonds, and the fishy scales as white as pearls, wielding a scepter of rusting gold. She was either depicted in temples in her entire body or with the symbol of three waves or three fish.
Mjir'jah
Essence of the world, "Mother Nature", or sometimes called the "Beauty of Eden", Mjir'jah is the embodiment of the nature that has blossomed in the world. After Kathra put down the seeds of life for its first trees, she carved Mjir'jah from the wood of the largest and most beautiful of all. Mjir'jah represents nature, the animal kingdom, the circle of life and fertility, and motherhood. She also often stands for the deviance of a mother's protection or survival of womanhood. The many gods squabble over her beauty as she is the most captivating of all. She enjoys the attention, yet her duty is guarding the plants, not the hand of another. She and Urtaq are characterized as close friends in many drawings and stories. Physical Depiction Depicted as a slender yet muscular woman tied to nature's power and beauty, Mjir'jah was the tallest of the female deities. A chestnut-skin tone with deep green eyes able to pull in any mortal, Mjir'jah was portrayed in a dress of leaves, vines, and flowers. With her, she wielded a cane made from the highest tree that grew on the tallest mountain top of Urtaq, and an ankh in the other, known as the Key of Life, from which she creates new life. On her shoulder rests a dove, who, together with others, flies over the world to tell her about the progression and deterioration of nature.
Rahme
"Collector of Souls", "Lady of the Dead", she who guards the end, keeper of the celestial flame; Rahme is the embodiment of death, the goddess of the underworld. Whereas Baseth guides the souls to her gate called the Gate of Rahme, she safe keeps the souls once in the underworld. She is a wielder of the Celestial flame, the fire that keeps the Voidal entities from entering and consuming her domain, making them unable to reach the bridge leading to her gate. She grants those worthy of ascension and returns them to the mortal world with the power of immortality to guide the Khadan. Her world is one of the untold secrets, and only those who arrive there see their depiction of a peaceful afterlife, whether a field of reeds or an unending beach; it changes for every soul. In many portrayals and stories, she is told to be married to Mohtek, the moon god, and birthed a son named Khan'su. Two sphinxes guard the gate of Rahme, seen as her pets. Their names are Kı'yameth and Yhen'iden. Roughly translating to Ending and Rebirth. However, Kı'yameth is also translated to Apocalypse in other depictions. Physical Depiction Similar to Sa'har, Rahme has different depictions depending on her representation as death is neither good nor evil: it is a part of life, the ending of your path. Rahme is either portrayed in the form of a monumental black and gold sphinx or the Celestial flame itself: a humanoid-shaped yellow flame. A third depiction in tombs is a human skeleton dressed in a white-golden dress, her face covered by a golden mask, with a female body figure extending her hand over a deceased. This hints at her greeting the fallen in the underworld. The other hand is either a white-silver torch, wielding the flame, but she is also seen barehanded wielding it.
Tarath
Birthed in the temple city of Al'Tojik, Tarath was the royal heir to a wealthy king of a tribe who sought to build an empire based on his image and of his great fathers before him. He let enslaved people build temples greater than any of its time, statues of himself, spreading his fame throughout Anjyarr, turning Al'Tojik into the grandest city of the realm and its capital. He united the tribes, created borders, and made conquests to gain wealth for the Khadan thanks to an ever-growing army. While he was not the first Pharo to be bestowed immortality, he set the foundation of the many cults that would gather the means of sorcery. Physical Depiction Due to the ruins of Al'Tojik having been lost and no traces left, nor temples, of Pharo Tarath, the only depiction is of him in stories. These stories, unfortunately, vary too much of him to give him an accurate portrayal, but he was dubbed "The First Guide by many Khadan.
Met'hani
The stories of Met'hani, the first female Pharo, are favorites of the women of the Kha'mal tribes. What makes her so famous is the start and tragic end of her legacy. The “Eternal Lady”, “The Golden Queen of Aanos”, her intelligence, temper, and bravery were as legendary as her beauty and added to an intense sense of honor and justice. She fought against the enemies of Anjyarr on the frontlines and used her charismatic political power to further the realm's gain. However, the cults influenced her in the question of immortality and eternal reign, and soon they were sent out to find the answer. However, her sister Somnyah'la, named Sleepwalker, grew jealous of her sisters' power and, as one of the priests in the cult, sought out the darkest powers for answers. Meeting with a Demon and solving its riddles, she was influenced into sacrificing Met'hanis firstborn and heir, consuming the infant's blood to obtain the power of immortality. While she succeeded, and the Demon granted her what was promised, she was turned into a Vampyr who began a short conquest for her power with her undead followers. She was eventually banished into the Demonic realm thanks to the Cult and Met'hani's sacrifice. Her reign was tragically short, cut down as she was in her prime. All of Anjyarr mourned her passing, for they knew she would have brought great glory to the empire. She was laid to rest in the tombs embedded in the mountain ranges, and many still wait for her return. Physical Depiction Met'hani is described as a tall, beautiful, olive-skinned woman in many stories. Black long, braided hair in locks covered her head on which a golden-blue gem sun crown rested. Her attire changes in each portrayal. However, she was depicted as being a daughter of Khasar, wearing armor embedded with gems and golden skulls that matched both her bravery and beauty.
Akhmat
Akhmat was known as the Great King and Pharo of the city of Sepharat, the capital of Anjyarr at his time, now known as the "Valley of Kings". Going by many titles, such as his most famous, "The Great Uniter", Akhmat was known all over Anjyarr by all the Khadan tribes that kneeled to him. Akhmat was depicted as a great and powerful Pharo. He listened to the priests of the Sorcerers Cult and realized that only a leader who could command the gods' respect would earn the people's total adoration. To this end, Pharo Akhmat, alone amongst all the kings of Anjyarr, paid homage to the ancient gods; early in his reign, he ordered the restoration of temples and erected magnificent statues to be constructed in their honor. It turned Sepharat into a temple city, more significant than any human city ever made at the time. He sacrificed his two children on the highest temple of Kathra to gain their favor, and when the time came, he conquered the various cities trying to break free from Anjyarr's empire. He reigned as the greatest Pharo to be ever known and, thanks to the cult, the first to find the answer to immortality. Blessed by long life, believed to be gifted the powers for his sacrifice, now seen as a new deity by the Khadan, ascended to godhood, he led the Khadan into a prosperous age. He eventually passed, yet his legacy was never forgotten, for he was interred in the most incredible tomb ever constructed. Physical Depiction Akhmat was described as clad in many white, red, and gold robes. With a crown of a sun-covered red serpent, his armor was covered in decorative skulls and religious crests. He wielded a great Kopesh and was often depicted on a chariot, carried on a throne of crimson and gold, or Giant Scorpion.
Symbolism
Eye of Sohtek
The Eye of Sohtek, Sohteks Eye, or the Eye of The Sun, as it is named, is the symbolic eye seen in many Hieroglyphs in temples around Anjyarr. It is the personal symbol standing for the all-seeing eye of the god of the sun, Sohtek, and represents eternal guidance and the Khadan ancestral lands: Anjyarr itself. It is often paired with a sun surrounding the eye itself.
Crescent Moon
The Crescent Moon symbol is the insignia for Mohekh, the moon god. It stands for guidance at night, protection from/or fight against darkness. But also the divinity of the sky, universe, and the stars, finding your place in life. Paired with the two white wings of a falcon, it is shifted into the mark of Khan'su, the trickster god, which then stands for the sorcerer's background of the one resting in the tomb.
Red Scorpion
The Red Scorpion of Khasar stands for the deviance against foes, the Khadan people's power, and the desert's dangers. It is seen as both a symbol of unity and war, and warlords that are laid to rest often have this symbol amongst the various hieroglyphs.
Three waves, three fish
The hieroglyphs of three waves or three fish stacked on top of each other both represent the goddess of the ocean: Sa'har. It may tie to the sea's wildlife, the nature of the currents, floods, or land fertility.
Dove
The dove bird is seen as a symbol of nature by many people following the "Old Path". To the Khadan, it is a carrier of messages, the eyes of their nature goddess, Mjir'ja, and killing a dove in cold blood is blasphemous. The hieroglyph of a dove spreading its wings above terrain is linked to nature's growth, a dove dying to decay.
Black and red serpent
The black and red serpents represent one of Akhmat's titles: "The Serpent of the Dune Sea". The serpents are seen throughout the hieroglyphs in the Tomb of Akhmat, including on his banners.
Sphinx
The creatures known as Sphinxes are ancient beings tied to the goddess Rahma and the Underworld. Massive statues of these creatures were raised in honor of her and the dead and have also come in variations. The sphinxes with animalistic features are tied to the ones guarding Rahme's Gate, while human female features, or a masked face, represent Rahme herself in Sphinx form.
Golden masks
The golden masks of Rahme, or death masks, as they are often known as are worn by the Golden Maidens. They are the servants of the ruler of Anjyarr and are worn to hide their beauty or true self from the population, for only the one they serve is allowed to gaze upon it. This originates from a myth where Mohekh was the only god allowed by Rahme to see her true face. A golden mask portrayed in hieroglyphs often represents the mystery of a certain death: the cause of the entombed one's death being unknown.