by Max Barry

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by The Nihilistic Theocracy of Cosmic Unity Church. . 9 reads.

Culture and Religion of the Cosmic Church (PT)

The Cosmic Culture and Religion

Philosophy and religion
The religion professed by the vast majority of the Cosmic people is commonly refered to by outsiders as "Cosmic Faith" and by it's followers as "The Belief". It has only one deity, the Great Spirit, which is an entity tought to be trapped between the imortal and the mortal realms, cursed to live in a painful semi-existence, sometimes benevolent sometimes merciless towards the people of the mortal realm. He is worshipped by "raiding crusades", with the captives taken in those expedition being sacrificed in the Great Zigurat of each city. However, the core tenet of the Cosmic faith is the worship of Death. The Cosmic Church teaches that the people's lives on the mortal realm are only a mean of letting the inhabitants of the imortal realm be temporarily free to live their most primal and wild instincts, without having to cope with the rules of the imortals. Because of this, Death isn't feared, instead it is revered and thought of as a mean to return to the imortal realm. Similarly, the Necro-Priests teach that life has no meaning besides the satisfaction of one's deepest desires and the full imersion in the moment- in a rather proto-nihilistic and hedonistic worldview. The Necro-Priests are the hereditary caste that is regarded as being tasked by the Great Spirit with overseeing the mortal realm and it's temporary inhabitants.

The Traders and warriors have a great appreciation for the display of wealth in public, wether it be through a procession of slaves or through wearing lavish dresses and ornaments. In almost all of those ornaments there are small jade stones, extracted from the nearby mountain range, which are also used to fabricate the famous Death-Masks, used by the Necro-Priests, which are composed of a model of wood covered with irregularly-shaped jade plaques. Mural paintings are also extremely common and favoured by the aristocratic classes, almost always depicting the sea and it's tantrums, religious cerimonies (the most common of which is the cerimonial battle of the Death Lords) or raiding expeditions. The sea and the mountains are a great source of inspiration for artists of all kinds, who compete to see who can create the best sculpture of the Hurria peak or the best painting of the Great North tempest.

The Calendars produced bythe Cosmic people were adorned with representations of the temples and pratices of the Cosmic faith.

The Cosmic cities are spread throughout the coastal zone, serving as administrative and mercantile nucleus, and are the best example of the spetacular Cosmic architecture. The cities are built somewhat haphazardly as dictated by the topography and population growth of each independent location. Cosmic architecture tends to integrate a great degree of natural features. For instance, some cities existing on the flat plains of the coastline grew into great sprawling municipalities with vast ports filled with ships, while others built in the hills of the eastern mountain range utilize the natural loft of the topography to raise their towers and temples to impressive heights. However, some semblance of order, as required by any large city, still prevailes. At the onset of large-scale construction, a predetermined axis is typically established in congruence with the cardinal directions. Depending upon the location and availability of natural resources such as fresh-water wells, or cenotes, the city grows by connecting great plazas with the numerous platforms that create the sub-structure for nearly all Cosmic buildings, by means of sacbeob causeways. At the heart of each city existes the large plazas, with their most valued governmental and religious buildings such as the royal acropolis, great pyramid temples, and occasionally coleseums in the centre.

Music is an important part of Cosmic people's lives and costumes.

Writing and Iconography
The Cosmic language is pictographic and ideographic proto-writing, augmented by phonetic rebuses. It also contained syllabic signs and logograms. The ideographic nature of the writing is apparent in abstract concepts, such as death, represented by a corpse wrapped for burial; night, drawn as a black sky and a closed eye; war, by a shield and a club; and speech, illustrated as a little scroll issuing from mouth of the person who is talking. The concepts of motion and walking are indicated by a trail of footprints and two legs set in runing position, respectively. A glyph can be used as a rebus to represent a different word with the same sound or similar pronunciation. This is especially evident in the glyphs of town names. Cosmic Glyphs do have a set reading order, and if they are read in a direction which is not the expected one, they won't form the correct sound values. Because of this, there is, in the begining of any text, a small javelin-symbol telling the right direction.

In traditional Cosmic music songs there is a wide variety of musical instruments being used, such as the Orcka, a reedpipe made from the stalks of a local plant, and the ognopa drum, which is similar to the talking drums of West Africa. The Cosmic musicians place a great emphasys in wind instruments such as the gobala (a long horn trumpet), and the orpu, a flute a made from the bark of the mountain ash. Highly spiritual songs called vouthys are the most characteristic song type in Cosmic culture. Vouthys may have few or no lyrics, do not rhyme, and have no definite structure. They are typically about a religious subject, but vary widely in content. In the mountainous areas each person often has their own vouthy, sometimes given to them at birth, which is seen as personal to and representative of them, like a name.