Greetings! I would like to welcome everyone to the Papers in the Attic blog page. If this is your first time visiting us, please take this opportunity to review some of our previous articles and share some of your experiences and thoughts by posting a comment. Have a blessed day!

With the recent chain of events and the legalization of the “Necronomicon Religion,” many are left to wonder how the Art of Ninzuwu fits into the Necronomicon Tradition, and vice-versa. Perhaps, the Art of Ninzuwu and the Necronomicon Tradition are not separate sciences, but one in the same.  Let us examine this idea a bit further

Our first step in an investigation of this nature begins with an accurate meaning of the terms Ninzuwu and Necronomicon Tradition. In The Yi Jing Apocrypha of Genghis Khan, we are given clear definition as to what Ninzuwu means:

“Remember, that the Ninzuwu are the Caretakers of the Stars in this Space and the other. The Art of Ninzuwu is a sacred form of magic. The Ninzuwu are the Magicians of the Yi Jing……Take special care to preserve our heritage and our race among the societies of men. The Ninzuwu are the Magicians of the Yi Jing. This is a rare art and should not be confused with the magic of mankind. “

Based the definition given in the Yi Jing Apocrypha, the term Ninzuwu means Magicians of the Yi Jing. Part of this definition encompasses the Ninzuwu as “caretakers of the stars in this space and the other.” Here, we see that the Ninzuwu is a Magician of Heaven (caretakers of the stars) and Earth (the other). This idea of a magician of the Yi Jing, or Heaven and Earth, is completely in tune with the spirituality as presented by the Simon Necronomicon. In Gates of the Necronomicon by Simon, we find a very unique definition held by the Mad Arab in connection with the Underworld:

“To the Mad Arab, any act of contacting the Dead, various spirits, or monstrous entities was an act of “opening the Gate”: the Gate to the Underworld, which is perceived by him to exist both below the earth and somewhere in space.”

Here we see that in ancient Mesopotamian spirituality, the Gate to the Underworld held the key of access to both a place below earth and the regions of what we call outer space. Taking this into account, it would seem that a Ninzuwu, being a magician of Heaven and Earth would understand the workings of the Gate of the Underworld. In The Ivory Talblets of the Crow, we read:

“There is only one palace. It is the Dragon, but it is also called the Gate of Death in error by many who do not understand. You still do not understand. Look up at the heavens and see the darkness of the night that surrounds you. Is it not lifeless? While it may be spoken about in a manner that is commmon, it is still home of the Wanderers and the Fiery Ones.”

Not only are the Ninzuwu in line with some of the principles of Necronomicon spirituality, but exemplified in the Simon Necronomicon itself. The idea of a Magician of the Yi Jing, of Heaven and Earth, of the Upper and Lower realms,was all spoken about decades ago in the Simon Necronomicon, save that Simon did not use the term magician, but a witch. In the tome’s introduction, we read:

“Therefore, the Goddess of the Witches has two distinct forms: the Ancient One, Goddess of the Dragon-like telluric Power which is raised in Magickal rituals, and the Elder Goddess, Defeater of Death, who brings the promise of Resurrection and Rejuvenation to her followers those who must reside for a time after death and between incarnations in what is called the “Summerland”.”

Simon here states that in the case Necronomicon Cosmology, the “goddess of the witches” appears in two forms, Inanna/Ishtar, representative of the stellar regions, Heaven, and Tiamat, which is symbolic of the telluric power of the Earth. Nowhere is Simon’s observation more exemplified than in the Art of Ninzuwu’ Nine Vasuh Letters.

The Vasuh term Ninzuwu is composed of nin, zu, and wu. In order to get a clear idea of the definition of Ninzuwu, we must break down its numerical value, a practice that is used often by Initiates of our tradition. Let us first begin with the term nin.

In simple gematria, nin is equal to 14 + 9 + 14 = 37, or Tuu-Nzu. Tuu-Nzu in Vasuh language means appear. Therefore, the term nin in the Vasuh language means appear. 

Zu is equal to 26 + 21 = 47, or Hmu-Nzu. Hmu-Nzu is the sum of the ninth Vasuh letter Shki. Shki is equal to 19 + 8 + 11 + 9 = 47, or Hmu-Nzu. The term zu in the Vasuh language means Shki. Shki is defined in The Ivory Tablets of the Crow as follows:

“(9th) Shki. It is the ninth letter in the language of the Vasuh, and pertains to putting someone in a jar, or a gate, or a vessel. It can also be used to send death energy into an event, person, or object. Pronounced eek-hss.”

Zu means Shki in the Vasuh language and is the principle of death energy, not in a literal sense, but that which is absorbing and transformational.

Wu is equal to 23 + 21 = 44, or Hmu-Hmu. Hmu-Hmu is the sum of the first Vasuh letter Zhee. Zhee = 26 + 8 + 5 + 5 = 44, or Hmu-Hmu. Thus, we find that the term wu in the Vasuh language means Zhee. Zhee is defined in The Ivory Tablets of the Crow as follows:

“(1st) Zhee. It is the first letter appearing in the Vasuh language. It means light of the goddess. Pronounced eehzz.”

So here we have the powers of Heaven and Earth, the light of the goddess, Inanna/Ishtar, in the first Vasuh letter Zhee, but also Shki, Tiamat, the telluric power of the Earth. This alchemy of Heaven and Earth is found in the term Ninzuwu itself.


Pazuzu, the shadowside of Ninazu-The original practioner of the Art of NinzuwuThe Race of the Anzu Bird, known in Japan as the Tengu. (Illustrated by Bartolomeo Argentino)
Pazuzu, the shadow-side of the Sumerian deity Ninazu-The founding race of the Art of Ninzuwu. The Race of the Anzu Bird, known in Japan as the Tengu.  (Illustrated by Bartolomeo Argentino)

The Ivory Tablets of the Crow

The Art of Ninzuwu is said to be established by the Tengu, who are none other than the Sumerian Anzu, which according to the Apocrypha: Sumerian and Akkadian Glossary means raven, and is also connected with the deity Ninazu, the founding race of Ninzuwu, who was later known as Pazuzu.   Thus, we find that the crow, in the Ivory Tablets of the Crow, relates to the soul, but historically to the race of the Zu Birds, who work as emissaries acting as mediators between the gods and men. A complete detailed discussion on this topic can be found in an article entitled, Finding The Art of Ninzuwu in an Ancient Sumerian Deity.

In Gates of the Necronomicon, Simon proposes that it would be “racial suicide” to only work with the race of the serpent or gods, as we are descendants of both:

“As creatures who are unique in that we possess both sets of attributes-Serpent and God-we should labor mightily to preserve this uniqueness. To do otherwise would be to achieve racial suicide. “

This opinion echoes the Babylonian Creation Epic as the human race is said to be created from the blood of Kingu and the breathe of the gods. It is only natural that self-aware individual celebrates Heaven and Earth. In The Ivory Tablets of the Crow, we read:

“The beginning of every journey is always in this time now. For many years I struggled between the sides of darkness and light. There is no freedom in these choices for they are not choices at all. Can an infant choose between its mother or father? There is no freedom in such things. Just take what is not useful and plant it in a good place. This is the only choice you have.”

Here, we find the same thoughts expressed by the Mad Arab in the Simon Necronomicon:

“And a man may cry out, what have I don’t, and my generation that such evil shall befall me? And it mean nothing, save that a man, being born, is of sadness, for he is of the Blood of the Ancient Ones, but has the Spirit of the Elder Gods breathed into him. And his body goes to the Ancient Ones, but his mind is turned towards the Elder Gods, and this is the War which shall be always fought, unto the last generation of man; for the World is unnatural. When the Great KUTULU rises up and greets the Stars, then the War will be over, and the World be One.”

While the work of the Ivory Tablets of the Crow, along with other Ninzuwu publications can be enjoyed as a path uniquely fitted in its own element, it main purpose is to work as an extension of the Necronomicon Practitioner. This is discussed by the Mad Arab in the symbolism of the following words:

“Know, too, that I have spoken with all manner of spirit and daemon, whose names are no longer known in the societies of Man, or were never known. And the seals of some of these are writ herein; yet others I must take with me when I leave you. ANU have mercy on my soul!”

In the course of his journey the Mad Arab came upon names that were never known in the societies of man, but had to take some of these with him, as they were never to be revealed. Why is this? In The Marie Laveau Corpus Text, we find a very lengthy answer to this question:

“The development of composite deities was not only a common occult practice, it was a scientific one.  When villages began to come together for trade and developing greater methods of survival, new nations were born. It was due to this continual process that the deities of one community would now become merged with those of another, forming a completely new deity.  Though it is not popularly known, many of the deities that were revered in ancient times were created by the use of this very same method. Roman Syria and the Near East by Kevin Butcher, gives us a deeper insight about this process:

“Even the most ancient deities had to prove their value in the contemporary world. It was up to the worshippers to champion the causes of their ancestral or favoured gods. The great religious centres and sanctuaries attracted not only hordes of pilgrims, but other divinities as well. Powerful social groups could try to constrain the meanings of gods in the sanctuaries under their control for their own ends, but there could also be occasions when it was in their interests to change or add meanings, particularly when faced with pressure from another powerful group to incorporate other gods into the cult. Within the cities great families or tribal groups might have an attachment to particular deities , and arrangements such as the father-mother-son/daughter triad, rather than signifying some very antique myth, might be an invention designed to solve religious tension at a particular sanctuary. The following of a god could also be enhanced by assimilation with another. This might involve some transmutation or additional layering of meaning ion the part of the god, producing a hybrid that seems irrational to us. For example, there is an inscription naming the deity of the Palestinian Mount Carmel as Zeus Carmelus Heliopolitanus, combining two site-specific entities with a generic Greek one. …Such composite deities were the products of calculated strategies in a world where religion and politics were not separated, and where different social groups had an interest in a single spiritual focus.”

Composite deities were formed in the ancient world for political, religious, and social aims. If a warring cult had access to the same rites of invocation for a said deity, the opposing cult could curb such access by adding different attributes to a generic god in order to make the entity exclusive to that particular group.  The creation of a composite deity could also be generated as a means of two groups coming together in oral treaty.”

When the student has been successfully initiated into the Necronomicon Tradition, they will encounter energies who are called by names not known in the society of men, so that their power can be exercised by the worthy. See those who are drawn out by the false ego, will only attract to themselves an egotistical form of magic, of which we find many records of in human society. There are many gods and demons of fantasy listed in the societies of man. However, the seven gate initiation into Necronomicon Spirituality, will lead the student into an area unknown by those who still trapped by the ego. This unknown area is what Simon alludes to in the tome’s Introduction as “Summerland.” It is no wonder that some of the advanced magicians of this tradition, like Kenneth Grant, Michael Bertiaux, and Warlock Asylum, have all published their findings into these unknown regions of the invisible realm, and in so doing have stumbled across many energies not known in the history of humankind. The Simon Necronomicon clearly defines this process in its Introduction:

The actual meaning of this phrase has taken volumes to explain, but roughly it concerns the uniting of the conscious Self, a process of individuation which culminates in a rite called “Knowledge and Conversation of the Holy Guardian Angel”; the Angel signifying the pure, evolved Self.

Yet, there are many terrors on the Way to the Self, and an Abyss to cross before victory can be declared. Demons, vampires, psychic leeches, ghastly forms accost the aspiring magician from every angle, from every quarter around the circumference of the magick circle, and they must be destroyed lest they devour the magician himself. “

This passage confirms for us that the complete Necronomicon Tradition will never be in print, nor should it be.  The basis to the alchemical Necronomicon by Simon, and other works, is to lead the magician into a certain gnosis and communication with a particular kingdom of the unseen realms.  This kingdom was witnessed by the Sumerians, but was not limited to Sumerian spirituality in itself.  This is evident in the writings of the Mad Arab, as he plainly admits to have invoked Asian deities:

“I have raised armies against the Lands of the East, by summoning the hordes of fiends I have made subject unto me, and so doing found NGAA, the God of the heathens, who breathes flame and roars like a thousand thunders.”

The spirits employed by the Mad Arab were not limited to Sumer, as can plainly be seen by his statement cited above. Nga, or NGAA as spelled in the alchemical Necronomicon, is an ancient Siberian death god as well as Creator.  This clearly shows that the Mad Arab’s pantheon was not limited to the Sumerian paradigm, but also composite deities like AzagThoth, and the oriental god Nga.

What is so interesting about the deity Nga, who is cited by the Mad Arab, is that myths surrounding this god are identical to those appearing in Shinto lore. In a Wikipedia article entitled Nga, we read of one legend associated with this divine presence:

“According to one story, the world threatened to collapse on itself. To try to halt this cataclysm a shaman sought the advice of the other demiurge, Num. The shaman was advised to travel below the earth, to Nga’s domain and call upon him. The shaman did as told and was wed with Nga’s daughter. After that point he began to support the world in his hand and became known as “The Old Man of the Earth.”

This Siberian myth, which is symbolic of an initiatory rite into the universal necromanteion cults, is identical to a Shinto myth invoking the same ritual that is the premise for the workings found in the Armor of Amaterasu Ohkami. Taken from the Nihon Shoki, we read:

“Therefore Hiko-hoho-demi no Mikoto’s grief was exceeding1y profound, and be went and made moan by the shore of the sea. There he met Shiho-tsutsu no Oji. The old man inquired of him saying – “Why dost thou grieve here?” He answered and told him the matter from first to last. The old man said: “Grieve no more. I will arrange this matter for thee.” So he made a basket without interstices, and placing in it Hoho-demi no Mikoto, sank it in the sea. Forthwith he found himself at a pleasant strand, where he abandoned the basket, and proceeding on his way, suddenly arrived at the palace of the Sea-god. This palace was provided with battlements and turrets, and had stately towers. Before the gate there was a well, and over the well there grew a many branched cassia-tree, with wide-spreading boughs and leaves. Now Hiko-hoho-demi no Mikoto went up to the foot of this tree and loitered about. After some time a beautiful woman appeared, and, pushing open the door, came forth. She at length took a jewel-vessel and approached. She was about to draw water, when, raising her eyes, she saw him, and was alarmed. Returning within, she spoke to her father and mother, saying: “There is a rare stranger at the foot of the tree before the gate.” The god of the Sea thereupon prepared an eightfold cushion and led him in. When they bad taken their seats, he inquired of him the object of his coming. Then Hiko-hoho-demi no Mikoto explained to him, in reply, all the circumstances. The Sea-god accordingly assembled the fishes, both great and small, and required of them an answer. They all said: “We know not. Only the Red-woman has had a sore mouth for some time past and has not come.” She was therefore peremptorily summoned to appear and on her mouth being examined the lost hook was actually found.

After this, Hiko-hoho-demi no Mikoto took to wife the Seagod’s daughter, Toyo-tama-hime, and dwelt in the sea-palace. For three years he enjoyed peace and pleasure, but still had a longing for his own country, and therefore sighed deeply from time to time. Toyo-tama-hime heard this and told her father, saying: “The Heavenly Grandchild often sighs as if in grief. It may be that it is the sorrow of long in, for his country.”The god of the Sea thereupon drew to him Hiko-hoho-demi no Mikoto, and addressing him in an easy, familiar way, said: ” If the Heavenly Grandchild desires to return to his country I will send him back.” So he gave him the fish-hook which he had found, and in doing so instructed him, saying: “When thou givest this fish-hook to thy elder brother, before giving it to him call to it secretly, and say, ‘A poor hook.'” He further presented to him the jewel of the flowing tide and the jewel of the ebbing tide, and instructed him, saying: “If thou dost dip the tide-flowing jewel, the tide will suddenly flow, and therewithal thou shalt drown thine elder brother. But in case thy elder brother should repent and beg forgiveness, if, on the contrary, thou dip the tide-ebbing jewel, the tide will spontaneously ebb, and therewithal thou shalt save him. If thou harass him in this way, thy elder brother will of his own accord render submission.”

The Necronomicon Practitioner’s pantheon has its foundational initiatory structure. However, like a high school graduate venturing into the world, we are not obligated to only socialize with those that we went to high school with.  Just as we have the right to life, we have a right to meet spirits and people from various cultures not only our own. Man’s progression out of a racist society is only a physical manifestation of what has occurred in the unseen realms in centuries prior.


4 thoughts on “How Does The Art of Ninzuwu Fit Into The Necronomicon Tradition?

  1. Excellent article!

    Did you know that, according to Frederick Augustus van der Burgh in his, Sumerian Hymns from Cuneiform Texts in the British Museum, the term NIN-ZU means “Lord of Wisdom” ?

    1. Warlock Asylum says:

      Yes. I am familiar with this definition

  2. VisNatura says:

    Greetings to all on the Papers in the Attic. I discovered your site a couple of months ago, and have read the majority of your article.

    After a ton of reading, even more confusion, and fortunately, a satisfying amount of learning, I’ve decided that I will learn and attempt to practice the Simon Necronomicon Tradition. To my surprise and joy I have found this recent post, and I was hoping that perhaps there is someone willing to guide me in this wonderful and mysterious new endeavor of mine.

    I hope to hear back, may everyone have a blessed night.

    -Love is the Law, Love under Will.

    1. Warlock Asylum says:

      Greetings VisNatura,

      Thank you for your inquiry. If you would like to begin to learn more about the process and membership, please email us at


Leave a Reply